Anschluss refers to the annexation of Austria into Nazi Germany on 12 March 1938. The word's German spelling, until the German orthography reform of 1996, was Anschluß and it was known as the Anschluss Österreichs. Prior to the Anschluss, there had been strong support from people of all backgrounds – not just Nazis – in both Austria and Germany for a union of the two countries; the desire for a union formed an integral part of the Nazi "Heim ins Reich" movement to bring ethnic Germans outside Nazi Germany into Greater Germany. Earlier, Nazi Germany had provided support for the Austrian National Socialist Party in its bid to seize power from Austria's Fatherland Front government; the idea of an Anschluss began after the unification of Germany excluded Austria and the German Austrians from the Prussian-dominated German Empire in 1871. Following the end of World War I with the fall of the Austro-Hungarian Empire, in 1918, the newly formed Republic of German-Austria attempted to form a union with Germany, but the Treaty of Saint Germain and the Treaty of Versailles forbade both the union and the continued use of the name "German-Austria".
The idea of grouping all Germans into one nation-state had been the subject of debate in the 19th century from the dissolution of the Holy Roman Empire in 1806 until the break-up of the German Confederation in 1866. Austria had wanted a Großdeutsche Lösung, whereby the German states would unite under the leadership of the German Austrians; this solution would have included all the German states, but Prussia would have had to take second place. This controversy, called dualism, dominated Prusso-Austrian diplomacy and the politics of the German states in the mid-nineteenth century. In 1866 the feud came to an end during the German war in which the Prussians defeated the Austrians and thereby excluded Austria and the German Austrians from Germany; the Prussian statesman Otto von Bismarck formed the North German Confederation, which included the remaining German states and further expanded the power of Prussia. Bismarck used the Franco-Prussian war as a way to convince other German states, including the Kingdom of Bavaria, to side with Prussia against the Second French Empire.
Due to Prussia's quick victory, the debate was settled and in 1871 the "Kleindeutsch" German Empire based on the leadership of Bismarck and the Kingdom of Prussia formed - this excluded Austria. The Austro-Hungarian Compromise of 1867, the Ausgleich, provided for a dual sovereignty, the Austrian Empire and the Kingdom of Hungary, under Franz Joseph I; the Austrian-Hungarian rule of this diverse empire included various different ethnic groups including Hungarians, Slavic ethnic groups such as Croats, Poles, Serbs, Slovaks and Ukrainians, as well as Italians and Romanians ruled by a German minority. The empire caused tensions between the various ethnic groups. Many Austrian pan-Germans showed loyalty to Bismarck and only to Germany, wore symbols that were temporarily banned in Austrian schools and advocated the dissolution of the empire to allow an annexation of Austria to Germany. Although many Austrians agreed with pan-Germanism ideas, a lot of them still showed allegiance to the Habsburg Monarchy and wished for Austria to remain an independent country.
After the Nazis gained power in Germany in 1933, they used propaganda to try to coerce Austrians into advocating for an Anschluss to the German Reich by using slogans such as Ein Volk, ein Reich, ein Führer. By the end of World War I, Austria had been excluded from internal German affairs for more than fifty years since the Peace of Prague that concluded the Austro-Prussian War of 1866. Elite and popular opinion in Austria after 1918 favored some sort of union with Germany, but it was explicitly forbidden by the peace treaties; the Austro-Hungarian Empire broke up in 1918, on 12 November that year German Austria was declared a republic. The provisional national assembly drafted a provisional constitution that stated that "German Austria is a democratic republic" and "German Austria is a component of the German Republic". Plebiscites in the German border provinces of Tyrol and Salzburg yielded majorities of 98% and 99% in favor of a unification with the German Republic. In the aftermath of a prohibition of an Anschluss, the Germans in both Austria and Germany pointed to a contradiction in the national self-determination principle because it failed to grant it to the ethnic Germans outside of the German Reich.
The Treaty of Versailles and the Treaty of Saint-Germain explicitly prohibited the political inclusion of Austria in the German state. This measure was criticized by Hugo Preuss, the drafter of the German Weimar Constitution, who saw the prohibition as a contradiction of the Wilsonian principle of self-determination of peoples, intended to help bring peace to Europe. Following the destruction of World War I, however and Britain feared the power of a larger Germany and had begun to disempower the current one. Austrian particularism among the nobility played a role in the decisions; the constitutions of the Weimar Republic and the First Austrian Republic inclu
Harry Stradling Sr. A. S. C. was an American cinematographer with more than 130 films to his credit. His uncle Walter Stradling, son Harry Stradling Jr. and godson Gerald Perry Finnerman were cinematographers. Stradling was born Henry A. Stradling in Newark, New Jersey, the nephew of cameraman Walter Stradling who had worked with Mary Pickford. Confined to two-reelers in Hollywood, he left for Germany in the early 1930s, he made contributions to several Jacques Feyder films, Le Grand Jeu, La Kermesse héroïque, Die Klugen Frauen and Knight Without Armour, his first under producer Alexander Korda in England. Other English films include Action for Slander, The Divorce of Lady X, South Riding, The Citadel, The Lion Has Wings, Jamaica Inn, Q Planes. Stradling moved to the United States at the beginning of World War II. Alfred Hitchcock engaged him for Suspicion. Stradling's last four films starred Barbra Streisand, including her Oscar-winning debut Funny Girl. During his career, he photographed Marlene Dietrich, Vivien Leigh, Katharine Hepburn, Audrey Hepburn, Jean Simmons, Esther Williams, Lucille Ball, Hedy Lamarr, Rosalind Russell, Kim Novak, Judy Garland, Barbra Streisand.
Stradling died halfway through the Pussycat in Hollywood, California. Harry Stradling on IMDb 1920 passport photo of Henry A. Stradling aged 19
Joseph Cheshire Cotten Jr. was an American film, stage and television actor. Cotten achieved prominence on Broadway, starring in the original stage productions of The Philadelphia Story and Sabrina Fair, he first gained worldwide fame in three Orson Welles films: Citizen Kane, The Magnificent Ambersons, Journey into Fear, for which Cotten was credited with the screenplay. He went on to become one of the leading Hollywood actors of the 1940s, appearing in films such as Shadow of a Doubt, Love Letters, Duel in the Sun, Portrait of Jennie, The Third Man and Niagara. One of his final films was Michael Cimino's Heaven's Gate. Joseph Cotten was born in 1905 in Petersburg, the first of three sons born to Joseph Cheshire Cotten, Sr. an assistant postmaster, Sally Willson Cotten. He showed an aptitude for drama and a gift for storytelling. In 1923, when Cotten was 18, his family arranged for him to receive private lessons at the Hickman School of Expression in Washington, D. C. and underwrote his expenses.
Cotten earned spending money playing professional football for $25 a quarter. After graduation, he earned enough money as a lifeguard at Wilcox Lake to pay back his family's loan, with interest, he worked as an advertising salesman for The Miami Herald at $35 a week. He started performing at the Miami Civic Theatre, worked there for five years reviewing the shows for the Herald. Cotten went to work for David Belasco as an assistant stage manager, he understudied Melvyn Douglas in Tonight or Never took over Douglas' role for the Copley Theatre in Boston, where he worked on over 30 plays. Cotten struggled to find work in the depression so turned to modeling and acting in industrial films, he performed on radio. Cotten made his Broadway debut in 1932 in Absent Friends, he followed it with Jezebel, staged by Katherine Cornell and Guthrie McClintic, which only had a short run. He was in Loose Moments. In 1934, Cotten met and became friends with Orson Welles, a fellow cast member on CBS Radio's The American School of the Air.
Welles regarded Cotten as a brilliant comic actor, gave him the starring role in his Federal Theatre Project farce, Horse Eats Hat. Cotten was sure that Horse Eats Hat won him the notice of his future Broadway co-star, Katharine Hepburn. Cotten said Welles told him "You're lucky to be tall and thin and have curly hair. You can move about the stage without running into the furniture, but these are fringe assets, I'm afraid you'll never make it as an actor. But as a star, I think you well might hit the jackpot." In 1937, Cotten became an inaugural member of Welles's Mercury Theatre company, starring in its Broadway productions Caesar as Publius. He followed it with Danton's Death for Welles. Cotten performed in radio dramas presented on The Mercury Theatre on the Air and The Campbell Playhouse. Cotten made his film debut in the Welles-directed short, Too Much Johnson, a comedy, intended to complement the aborted 1938 Mercury stage production of William Gillette's 1890 play; the film was never screened in public and was lost until 2013.
Cotten returned to Broadway in 1939, creating the role of C. K. Dexter Haven opposite Katharine Hepburn's Tracy Lord in the original production of Philip Barry's The Philadelphia Story; the play ran for 417 performances at the Shubert Theatre, in the months before its extensive national tour a film version was to be made by MGM. Cotten went to Hollywood, but discovered there that his stage success in The Philadelphia Story translated to, in the words of his agent Leland Hayward, "spending a solid year creating the Cary Grant role." Hayward suggested that they call Orson Welles. "He's been making big waves out here," Hayward said. "Maybe nobody in Hollywood heard of the Shubert Theatre in New York, but everybody knows about the Mercury Theatre in New York." After the success of Welles's War of the Worlds 1938 Halloween radio broadcast, Welles gained a unique contract with RKO Pictures. The two-picture deal promised full creative control for the young director below an agreed budget limit, Welles's intention was to feature the Mercury Players in his productions.
Shooting had still not begun on a Welles film after a year, but after a meeting with writer Herman J. Mankiewicz Welles had a suitable project. In mid-1940, filming began on Citizen Kane, portraying the life of a press magnate who starts out as an idealist but turns into a corrupt, lonely old man; the film featured Cotten prominently in the role of Kane's best friend Jedediah Leland a drama critic for one of Kane's papers. When released on May 1, 1941, Citizen Kane — based in part on the life of William Randolph Hearst — did not do much business at theaters. Nominated for nine Academy Awards in 1942, the film won only for Best Screenplay, for Mankiewicz and Welles. Citizen Kane launched the film careers of the Mercury Players, including Agnes Moorehead, Ruth Warrick, Ray Collins. However, Cotten was the only one of the four to find major success as a lead in Hollywood outside of Citizen Kane. Alexander Korda hired Cotten to play Merle Oberon's leading man in Lydia (1
Edvard Hagerup Grieg was a Norwegian composer and pianist. He is considered one of the leading Romantic era composers, his music is part of the standard classical repertoire worldwide, his use and development of Norwegian folk music in his own compositions brought the music of Norway to international consciousness, as well as helping to develop a national identity, much as Jean Sibelius and Bedřich Smetana did in Finland and Bohemia, respectively. Grieg is the most celebrated person from the city of Bergen, with numerous statues depicting his image, many cultural entities named after him: the city's largest concert building, its most advanced music school and its professional choir; the Edvard Grieg Museum at Grieg's former home, Troldhaugen, is dedicated to his legacy. Edvard Hagerup Grieg was born in Norway, his parents were a merchant and vice-consul in Bergen. The family name spelled Greig, is associated with the Scottish Clann Ghriogair. After the Battle of Culloden in 1746, Grieg's great-grandfather, Alexander Greig, travelled settling in Norway about 1770, establishing business interests in Bergen.
Edvard Grieg was raised in a musical family. His mother taught him to play at the age of six. Grieg studied including Tanks Upper Secondary School. In the summer of 1858, Grieg met the eminent Norwegian violinist Ole Bull, a family friend. Bull recognized the 15-year-old boy's talent and persuaded his parents to send him to the Leipzig Conservatory, the piano department of, directed by Ignaz Moscheles. Grieg enrolled in the conservatory, concentrating on the piano, enjoyed the many concerts and recitals given in Leipzig, he disliked the discipline of the conservatory course of study. An exception was the organ, mandatory for piano students. In the spring of 1860, he survived two life-threatening lung diseases and tuberculosis. Throughout his life, Grieg's health was impaired by a destroyed left lung and considerable deformity of his thoracic spine, he suffered from numerous respiratory infections, developed combined lung and heart failure. Grieg was admitted many times to spas and sanatoria both in Norway and abroad.
Several of his doctors became his personal friends. In 1861, Grieg made his debut as a concert pianist in Sweden. In 1862, he finished his studies in Leipzig and held his first concert in his home town, where his programme included Beethoven's Pathétique sonata. In 1863, Grieg went to Copenhagen and stayed there for three years, he met Niels Gade. He met his fellow Norwegian composer Rikard Nordraak, who became a good friend and source of inspiration. Nordraak died in 1866, Grieg composed a funeral march in his honor. On 11 June 1867, Grieg married Nina Hagerup, a lyric soprano; the next year, their only child, was born. Alexandra died in 1869 from meningitis. In the summer of 1868, Grieg wrote his Piano Concerto in A minor while on holiday in Denmark. Edmund Neupert gave the concerto its premiere performance on 3 April 1869 in the Casino Theatre in Copenhagen. Grieg himself was unable to be there due to conducting commitments in Christiania. In 1868, Franz Liszt, who had not yet met Grieg, wrote a testimonial for him to the Norwegian Ministry of Education, which led to Grieg's obtaining a travel grant.
The two men met in Rome in 1870. On Grieg's first visit, they went over Grieg's Violin Sonata No. 1, which pleased Liszt greatly. On his second visit in April, Grieg brought with him the manuscript of his Piano Concerto, which Liszt proceeded to sightread. Liszt's rendition impressed his audience, although Grieg pointed out to him that he played the first movement too quickly. Liszt gave Grieg some advice on orchestration. In 1874–76, Grieg composed incidental music for the premiere of Henrik Ibsen's play Peer Gynt, at the request of the author. Grieg had close ties with the Bergen Philharmonic Orchestra, became Music Director of the orchestra from 1880 to 1882. In 1888, Grieg met Tchaikovsky in Leipzig. Grieg was struck by the greatness of Tchaikovsky. Tchaikovsky thought highly of Grieg's music, praising its beauty and warmth. Grieg was awarded two honorary doctorates, first by the University of Cambridge in 1894 and the next from the University of Oxford in 1906; the Norwegian government provided Grieg with a pension.
In the spring of 1903, Grieg made nine 78-rpm gramophone recordings of his piano music in Paris. Grieg made live-recording player piano music rolls for the Hupfeld Phonola piano-player system and Welte-Mignon reproducing system, all of which survive today and can be heard, he worked with the Aeolian Company for its'Autograph Metrostyle' piano roll series wherein he indicated the tempo mapping for many of his pieces. In 1899, Grieg cancelled his concerts in France in protest of the Dreyfus Affair, an anti-semitic scandal, roiling French politics. Regarding this scandal, Grieg had written that he hoped that the French might, "Soon return to the spirit of 1789, when the French republic
Robert Russell Bennett
Robert Russell Bennett was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, Richard Rodgers. In 1957 and 2008, Bennett received Tony Awards recognizing his orchestrations for Broadway shows. Early in his career he was billed as Russell Bennett. Robert Russell Bennett was born in 1894 to a musical family in Missouri, his father, George Bennett, played violin in the Kansas City Symphony and trumpet at the Grand Opera House, while his mother, worked as a pianist and teacher. She taught Bennett piano, while his father taught him trumpet; the Bennett family moved to a farm in Freeman, when Bennett was four, to speed his recovery from polio. By that time, he had demonstrated his aptitude for music and his remarkable ear by picking out the finale of Beethoven's "Moonlight" Sonata on the white keys of the piano. By his early adolescence, his father called upon him to play any given instrument as a utility member or substitute player within Bennett's Band in Freeman.
In his autobiography, Bennett recalled finding a ragtime tune on the piano at age ten and being informed by his mother that such music was trash—this lesson taught him to be, as he called it, a “life-long musical snob.” His mother taught his academic lessons until he was twelve due to health concerns. After completing his secondary education, Bennett moved to Kansas City to be a freelance musician, performing throughout the city as well as with the symphony, he began his first musical training outside of a home environment with Danish composer-conductor Dr. Carl Busch. Busch taught him counterpoint and harmony until 1916, when Bennett took his savings and moved to New York City, he found a job as a copyist with G. Schirmer while continuing to freelance and to build a network of contacts with the New York Flute Club. In 1917 he volunteered for the Army. Although he yearned for an active role, his youthful health woes caused the draft board to mark him for limited service. However, he appealed this classification and became the director of the 70th Infantry Band at Camp Funston, Kansas.
He valiantly attempted to improve the "disgraceful" musical standards of the unit, but found his efforts thwarted when the Spanish flu swept through the post in 1918. Upon his discharge several months he returned to New York, his relationship with Winifred Edgerton Merrill, a society matron, the first woman to receive a doctorate from Columbia University, led to rewards both financial and emotional—she had been one of his first employers in the city, she introduced him to her daughter Louise, whom he married on December 26, 1919. Their daughter, was born a year later. Bennett studied composition in Paris with Nadia Boulanger 1926-1929, his career as an arranger began to blossom in 1919 while he was employed by T. B. Harms, a prominent publishing firm for Broadway and Tin Pan Alley. Dependable yet creative within the confines of formulaic arranging, Bennett soon branched out as an orchestrator and arranger for Broadway productions, collaborating with Jerome Kern. Although Bennett would work with several of the top names on Broadway and in film including George Gershwin, Cole Porter, Kurt Weill, his collaborations with Jerome Kern and Richard Rodgers stand out both for sheer volume and for highlighting different facets of an arranger's relationship with a composer.
Bennett described his own philosophy: "The perfect arrangement is one that manages to be most ‘becoming’ to the melody at all points." With Jerome KernKern's working relationship with Bennett serves as a clear illustration of this point. For example, when orchestrating Show Boat, Bennett would work from sketches laid out quite by Kern, which included melodies, rough parts, harmonies; the original sketches appear remarkably close to Bennett's completed scores. With Richard RodgersIn contrast, Rodgers allowed Bennett a greater degree of autonomy; the pair had first collaborated in 1927, but the majority of their partnership occurred in the 1940s and 1950s. While scoring Oklahoma! in 1943, Bennett proved himself invaluable by reworking an elaborate and out-of-place selection into the title song. His most legendary contribution to the partnership, occurred during the scoring of the television series Victory at Sea. Richard Rodgers contributed twelve basic themes for the series, with three earmarked for the first episode, but those who worked on the series attribute its eleven-and-a-half hours worth of music principally to Bennett.
An examination of Rodgers' manuscripts for Victory at Sea reveals only seventeen pages of sheet music, so it is apparent that Bennett contributed most of the musical score. Rodgers wrote, “I give him without undue modesty, for making my music sound better than it was.” With George GershwinWith Gershwin and his Broadway musical scores, Bennett would work from annotated short scores He worked closely as Gershwin's assistant during the period in which Gershwin composed his score for the 1937 Fred Astaire-Ginger Rogers film, Shall We Dance spending late nights with Gershwin rushing to complete orchestrations for deadlines. The next year Gershwin died. Bennett would be turned to yet again as a definitive orchestrator of Gershwin's other works, both on Porgy and Bess: A Symphonic Picture and the orchestral medley, "Gershwin in Hollywood"
Enid Eulalie Bennett was an Australian silent film actress active in American film. Enid Eulalie Bennett was born on 15 July 1893 in York, the daughter of Nellie Mary Louise and Frank Bennett, she had an older brother, Francis Reginald "Reg" Bennett, a younger sister, actress Marjorie Bennett. After an unsuccessful attempt to start his own school, Frank took up the role of headmaster at the newly established Guildford Grammar School in 1896, he died in 1898. Nellie married the new headmaster, Alexander Gillespie, in 1899. With him, she had a daughter named a son named Alexander. Following Gillespie's death in 1903, Nellie supported her five children by working as a school matron. Bennett attended Lionel Logue's acting and elocution classes in Perth, after receiving encouragement from a visiting actress in 1910, she joined a touring company. By 1912, Bennett had joined the Fred Niblo-Josephine Cohan touring company, performing comedies around Australia and understudying for Cohan herself, for which she received positive reviews.
Her family had moved to Sydney by this time. In 1917, Reg was killed during the Battle of Passchendaele while serving with the First Australian Imperial Force. In the early part of 1915, theatre agents J. C. Williamson's decided to make short films of some of their popular plays, to forestall the release of imported American filmed versions, they used Niblo as director, members of his troupe appeared in Get-Rich-Quick Wallingford and Officer 666. Enid Bennett appeared in both. Three reels of Officer 666 survive today in the National Sound Archive. Film historians Andrew Pike and Ross Cooper describe it as "a crude production doggedly faithful to the stage." Both films were released in Australia after Bennett left for the United States in June 1915, travelling with Niblo and Cohan. Her first appearance in the U. S. was in Henry Arthur Jones' play Cock o' the Walk at George M. Cohan's Theatre on Broadway in late 1915. Roles of increasing importance in films followed soon after. One of her most important early films was The Little Brother in 1917, where she appeared opposite William Garwood.
This brought her to the attention of studios, in particular Thomas H. Ince, who signed her up with the Triangle Film Corporation. From 1918 to 1921, she starred in 23 films, becoming well established as an actress and attracting great publicity and positive reviews. In 1922, she starred in three films, one of which became her most famous role, the female lead of Maid Marian in Robin Hood with Douglas Fairbanks. Interviewed in the 1960s by Kevin Brownlow, Bennett said, "I had a wonderful time playing Maid Marian. Of course, the part was not too demanding, I just walked through it in a queenly manner. Was wonderful, inspiring."Following Josephine Cohan's death, Bennett married Fred Niblo in 1918. In 1924, she appeared opposite Ramon Novarro in Niblo's film Red Lily. Between 1923 and 1928 her career had slowed and she appeared in leading roles in fewer films, she made a transition to sound, appearing in two 1931 Jackie Cooper-Robert Coogan films: Skippy and its sequel Sooky. At the end of the decade she appeared in a few minor roles, the last being the Marx Brothers 1941 film The Big Store.
Niblo had retired in 1933, it appears Bennett did also. In life, sister Marjorie Bennett explained that, somewhat against her will, she had been encouraged by the family to join Bennett to keep her company in the U. S. By the mid-1920s, her mother Nellie, both her sisters, her surviving brother were living in the U. S. In 1934, her brother Alexander married actress Frances Lee; the wedding was attended by some of Hollywood's biggest names, including Gloria Swanson and Greta Garbo. In 1918, Bennett married Fred Niblo. In 1922, she and Niblo had a daughter named Loris. A son, was born that year, another daughter, was born in 1928. Niblo died in 1948. In 1963, she married American film director Sidney Franklin. In life, she resided in Malibu, California. On 14 May 1969, Bennett died at her home in Malibu, aged 75; the Aryan Princess in the Dark Happiness Keys of the Righteous When Do We Eat? Fuss and Feathers *unknown/presumably lost film Partners Three The Law of Men *lost film The Haunted Bedroom *lost film The Virtuous Thief *lost film What Every Woman Learns Her Husband's Friend The Woman in the Suitcase Hairpins The False Road Silk Hosiery Robin Hood Strangers of the Night *lost film The Bad Man Your Friend and Mine The Courtship of Miles Standish *unknown/presumably lost The Sea Hawk The Red Lily A Woman's Heart The Wrong Mr. Wright Skippy Sooky Waterloo Bridge Intermezzo Meet Dr. Christian Enid Bennett on IMDb Enid Bennett at the Internet Broadway Database Enid Bennett at Find a Grave Enid Bennett at Virtual History
Christian August Sinding was a Norwegian composer. He is best known for his lyrical work for Frühlingsrauschen, he was compared to Edvard Grieg and regarded as his successor. He was born at Kongsberg in Norway, his parents were Cecilie Marie Mejdell. He was the sculptor Stephan Sinding, his sister Thora Cathrine Sinding was married to jurist Glør Thorvald Mejdell. Christian Sinding was a nephew of Thorvald Mejdell, he was a first cousin of journalist and writer, Alfred Sinding-Larsen. In November 1898 he married née Smith-Petersen, she was the daughter of Cathrine von der Lippe. She had been married to physician and art patson, Fredrik Georg Gade, he studied music first in Christiania before going to Germany, where he studied at the conservatory in Leipzig under Salomon Jadassohn and fell under the musical influences of Wagner and Liszt. He received regular grants from the Norwegian government. In 1920–21 he went to the United States of America to teach composition for a season at the Eastman School of Music in Rochester, New York.
Sinding's publishers required from him piano and chamber music, which has broader sales than the symphonic works he preferred. His own instrument was the violin; the large number of short, lyrical piano pieces and songs that Sinding wrote has led to many seeing him as the heir to his fellow countryman, Edvard Grieg, not so much in musical style but as a Norwegian composer with an international reputation. Sinding is best remembered today for one of Frühlingsrauschen. Among his other works are four symphonies, three violin concertos, a piano concerto, chamber music and choral works to Norwegian texts, an opera, Der Heilige Berg. Sinding was made a member of the Order of St. Olav in 1905 and Commander in 1916, in 1938, received the Grand Cross, he appointed a Commander of the Order of Vasa and in 1905, he was made a member of the Royal Swedish Academy of Music. In 1924 he was granted the honor of lifetime residence at Henrik Wergeland's former home, Grotten in Oslo. Sinding had suffered from severe senile dementia since the late 1930s.
Eight weeks before his death in 1941, Sinding joined Nasjonal Samling. The Nazis had strong motivation to recruit Sinding, as he was tremendously popular before the war in both Norway and Germany. Following the liberation of Norway at the end of World War II, it was official practice for the national broadcasting system to boycott people seen as Nazi sympathisers; as a consequence, Sinding's post-war reputation in Norway became obscure. The circumstances surrounding the composer's membership continue to raise controversy. Sinding had made several remarks against the Nazi occupation, he had fought for the rights of Jewish musicians during the early 1930s and was a close friend of Nordahl Grieg. Letters by Christian Sinding held by the State Archives in Leipzig, company archives of the Music Publishing House C. F. Peters. Free scores by Christian Sinding at the International Music Score Library Project Christian Sinding Piano Quintet, Op.5 & Two Serenades for 2 Violins & Piano, Opp.56 & 92 sound-bites & short bio on Edition Silvertrust