Degenerate music (, ) was a label applied in the 1930s by the government of Nazi Germany to certain forms of music that it considered harmful or decadent. The Nazi government's concerns about degenerate music were a part of its larger and better-known campaign against degenerate art (). In both cases, the government attempted to isolate, discredit, discourage, or ban the works. Racial emphasis Jewish composers such as Felix Mendelssohn and Gustav Mahler were disparaged and condemned by the Nazis. In Leipzig, a bronze statue of Mendelssohn was removed. The regime commissioned music to replace his incidental music to A Midsummer Night's Dream. Though the Nazis wanted to discredit Jewish artists because of their ethnicity, they also wanted to have a better reason . The excuse was that some music was "anti-German" and that was why some songs needed to be banned . The certainty of this philosophy was contrasted by the inability to say what counted as "anti-German" . Many people, like Goebbels, could not point to what was German music and what had a "Jewish influence". Goebbels said "all music was not suited for everyone". The Nazis also regulated jazz, including the banning of solos and drum breaks, scat, "Negroid excesses in tempo" and "Jewishly gloomy lyrics". Discrimination From the Nazi seizure of power onward, these composers found it increasingly difficult, and often impossible, to get work or have their music performed. Many went into exile (e.g., Arnold Schoenberg, Kurt Weill, Paul Hindemith, Berthold Goldschmidt); or retreated into "internal exile" (e.g., Karl Amadeus Hartmann, Boris Blacher); or ended up in the concentration camps (e.g., Viktor Ullmann, or Erwin Schulhoff). Like degenerate art, examples of degenerate music were displayed in public exhibits in Germany beginning in 1938. One of the first of these was organized in Düsseldorf by Hans Severus Ziegler, at the time superintendent of the Deutsches Nationaltheater Weimar, who explained in an opening speech that the decay of music was "due to the influence of Judaism and capitalism". Ziegler's exhibit was organized into seven sections, devoted to: The influence of Judaism Arnold Schoenberg Kurt Weill and Ernst Krenek Minor Bolsheviks (Franz Schreker, Alban Berg, Ernst Toch, etc.) Leo Kestenberg, director of musical education before 1933 Hindemith's operas and oratorios Igor Stravinsky From the mid-1990s the Decca Record Company released a series of recordings under the title "Entartete Musik: Music Suppressed by the Third Reich", covering lesser-known works