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MUSIC IN THE THIRD REICH - Part I
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MUSIC IN THE
THIRD REICH -
THEN AND NOW
http://abbc.com/nj/e2000/history/aryanmusic.htm
By A.V. Schärfenberg
A grim portrait of modem American music was presented in issue #120 of The New Order.
How could it have been otherwise, given the Jews' domination of our culture? It was no
coincidence that fine art in the U. S. was trashed at the same moment National Socialism
triumphed in Germany. The kosher corrupters who scurried away from Europe beginning in
1933 were the same alleged 'artists who poisoned our musical life. We need only look
around at the laughably deplorable state of modem American composition and performance
to appreciate the magnitude of their disastrous impact.
Elsewhere, Aryan culture was suddenly freed from Jewish domination and blossomed into a
late 2nd Millennium Renaissance. Naturally, the source of that Western revival was Adolf
Hitler's Germany. It is nothing short of miraculous that during the brief twelve-year period
of peace allowed the Third Reich, such an incredible burst of dynamically creative musical
achievement took place. The spirit of Aryan genius could at last express its genuine
instinct, uncoloured by the alien agendas of Jews hostile to everything German.
AN OPERATIC BATTLE
Generally regarded as the greatest symphonic composer of the 20th Century, Richard
Strauss was urged by 'émigré' Jew impresarios to join them at New York's Metropolitan
opera. They dangled lucrative performance fees to entice him, but he answered them
indirectly by writing a public statement in support of the National Socialist Revolution,
signing it in his own hand, 'Heil Hitler!' With the invention of the first sound tape recorder
by Third Reich scientists, Strauss conducted performances of all his major symphonic
works, recordings still prized as the best of their kind. During World War II, he composed
a concert overture dedicated to the Japanese Royal House on the occasion of its 500th
anniversary and to simultaneously commemorate the signing in 1940 of the Axis pact
between Germany and Japan. His Metamorphoses, a tone-poem lament for the devastation
wrought by the duped Allies on Germany, will forever serve as a deeply moving memorial
to the worst tragedy in human history.
Strauss's contemporary, Hans Pfitzner, although not well-known outside of his homeland,
was among the most important figures in neo-romantic music, and composed what many
listeners consider his greatest works, a pair of symphonies in 1939 and 1940, respectively.
Four years earlier, Pfitzner became the first 'Reich Cultural Senator'. The reputations of
these two musical titans were so established in the world of art that not even the hysterical
hatred of the Jews could destroy them, and their compositions are presently available to a
larger audience than ever before, thanks to Aryan man's technological advances in audio
reproduction.
But what the Jews cannot destroy they poison. A
case in point is perhaps the greatest orchestral
director ever to take up the conductor's baton,
Wilhelm Furtwängler. It would be untrue to
suggest that he was a dedicated National
Socialist. His life was music. Furtwängler was
favourably inclined to our Idea, but he was too
busy with his art for much of the outside world. As
a musician who profoundly cherished traditional
compositional values and no less deeply despised
the cultural rot of the Weimar Republic, he often
expressed his gratitude, both publicly and
privately, to Hitler for kicking out the
Schönbergs, Shaperos, et al, of the 1920's. Less
than a year after the National Socialist Seizure of
Power, however, Furtwängler found himself
embroiled in an extra-musical controversy. He
agreed to stage Matthias the Painter, by Paul
Hindemith. Oblivious to and totally disinterested
in both the story of the opera and the political identity of its composer, the innocent music
director found his rehearsals being picketed by battalions of angry Stormtroopers.
It seems Hindemith, although Aryan, was a loudmouthed Communist and his Matthias the
Painter a blatant propaganda piece urging its audience to take up arms against the
government. "even if it had been elected"-- a transparent reference to the recent National
Socialist electoral victories. Furtwängler dismissed the work's proletarian politics as so
much out-dated flummery, especially in view of National Socialism's on-going popularity,
but insisted the music was good. Performances would proceed as planned, he announced. In
a short time, whatever artistic merits or demerits Hindemith's piece might have had were
utterly eclipsed by a violent ideological storm gathering over the Berlin Opera House.
Assuming that the last of such Marxist drivel had been cleaned out after January 30th,
1933, the public in general and National Socialists in particular were outraged at news of
the up-coming Red Opera. Meanwhile, scattered remnants of the country's enfeebled,
dwindling Communists suddenly began to suck a reviving breath of life into their moribund
movement and vowed to pack the opera house on opening night, just as they used to in the
20's. Even more so an he Communists, the Stormtroopers wanted Matthias the Painter to
be staged, because they relished the opportunity of busting up the performance and
exterminating the last of the Red vermin. Not without cause, the city police feared a
serious ideological confrontation of the kind so common up until only a few years before.
Indeed, it was to bring peace and order to public life that the voters had put Adolf Hitler in
power. Even so. the National Socialist authorities were inclined to allow the performance,
no matter what came to pass, if only out of respect for Furtwängler, who was, by then, an
icon throughout the whole cultural world.
DR. GOEBBELS INTERVENES
Doubtless, Hindemith's music would have been heard, the old Reds would have had their
last hurrah (better yet, the Stormtroopers would have beaten the be'jesus out of them all)
and the controversy passed as a footnote in the history of the Third Reich. Instead.
America's and England's Jew-dominated newspapers turned the premiere into a cause
celebre of international proportions. With that, Dr. Josef Goebbels, as Reich Cultural
Minister, decided to act. He addressed a long, polite letter to Furtwängler. The situation,
he explained, had gotten out of hand. so much so that the enemies of National Socialism, to
whom music was only as good as it was politically expedient, were using the impending
performance for obvious, non-artistic purposes; namely, to incite hatred and violence
against the new regime. Dr. Goebbels added that Hindemith belonged to a by-gone era
when national greatness had been despised. The German people, after fourteen long years
of difficult struggle, had overcome that shame Now was the time for art to extol the
folk-genius of our Race, not down-grade it. He asked that the troublesome opera be
shelved for the sake of present peace and future cultural development. But, if the
conductor considered its music worthwhile, performance of an orchestral suite from
Matthias the Painter could take place.
To the great disappointment of all, save the general opera-going public, Furtwängler
responded with his own public letter, in which he heartily subscribed to each of Dr.
Goebbels' objections, including his own observation, "There are moments when even art
must make room for the good of something greater." Corning from such a fanatic musician,
it was a deeply generous statement. With the cancellation of Hindemith's first and last
chance at fame, the defunct Reds were disappointed because their own last chance for a
big political demonstration evaporated, and the Stormtroopers were disappointed because
they missed their chance to whup Germany's last Communists.
In all the hateful hullaballoo turned up by the Jews ever since, and whenever Hindemith's
name is mentioned today, conveniently forgotten was the concert performance of Matthias
the Painter, which did indeed take place in 1934, as Dr. Goebbels promised. The piece was
even recorded in a Third Reich sound studio under Furtwängler's direction in 1934! That
this concert version of musical highlights was not much performed thereafter only means
that it failed to generate any lasting hold on concert-goers' imaginations, a failure which
persists to this day, since it is not often heard, even though it is still touted as some kind of
anti-Nazi masterpiece. Indeed, the opera which was supposed to have been too wonderful
for the Nazis to appreciate or tolerate, was a huge flop when ostentatiously performed in
New York. Since then, it has never again seen the light of day.
It turns out that Hindemith was not such an interesting composer after all, and the
controversy surrounding his name had more to do with his obnoxious politics than his own
music. Overlooked, too, is the fact that, despite his Red identity, he was allowed to
compose, perform and even record in the Third Reich, hardly the tyrannical system the
Jews would lead us to believe existed. Hindemith grabbed the U.S. Jews' offer of cash and
fled with sheaves of his useless scores. Apparently, New York's kosher environment was
less inspiring than that of evil old Nazi Germany, and his artificial reputation withered away
into virtual oblivion. Happily, he lived long enough to see his life's work savaged by Jew
critics in the 1950's, when they ridiculed him as 'hopelessly obsolete.' True to character, his
one-time kosher benefactors eventually turned on their 'righteous Gentile.'
THE CRUCIFIXION OF AN ARYAN
MUSICIAN
Only the newspaper Jews overseas manipulated by the Matthias
the Painter situation to their advantage, portraying it to gullible goy
readers as proof positive that great music was being suppressed by
the Nazis, to whom Furtwängler had weakly capitulated. However,
they, too, were soon disappointed when, sure he would defect
following the Hindemith affair, they offered him (as they had offered Richard Strauss)
large performance fees with the New York Philharmonic.
He turned them down and, after war came, was personally active in donating a great deal of
concert time to soldiers and factory workers. Audiophiles for decades considered his
greatest recorded achievement to have been a performance of Beethoven's 9th Symphony,
the Choral, given in the presence of Adolf Hitler on the occasion of the Führer's 55th
birthday, April 20th, 1944. Until the very end, Furtwängler was still giving public concerts in
Berlin. His last Reich recording (the Cesar Franck Symphony in D minor) is the best
performance ever made of that work. It took place in the cataclysmic days of January,
1945.
The Jews castigated Germany's 'Nazi dictatorship' for censorship, a lie, as cited above,
when Hindemith was allowed to perform. But immediately after the war, German artists
were prevented by the occupation forces from working. Only those who could suck up to
the Allies by loudly proclaiming their anti-Nazi sentiments stood a chance of employing
their craft. The very censorship the Jewized Allies falsely condemned in National Socialism
they practised themselves when the chance came along. Among the proscribed was
Wilhelm Furtwängler, even though he never held any post in the Reich government He was
not a Party member, and had never even voted for a National Socialist candidate.
The occupation authorities promised he could resume his conducting career if he agreed to
sign a public statement begging them for forgiveness for his past participation "in the
criminal Hitler regime." He refused, declaring his life then, as always, had been entirely
musical, not political, and he objected to the accusation that he had ever been part of
anything 'criminal.' The ban against him was upheld and he had to subsist on the charity of
friends.
The Jews and their Gentile dupes in uniform tried to show the Germans that their culture
was better off under Allied occupation than with their own, elected, National Socialist
government. Trouble was, with all the country's real artists dead, jailed or censored, there
wasn't much culture to go around. Desperate to maintain their facade of democratic
civilisation, they returned to Furtwängler with a watered-down version of the statement
presented for his endorsement two years earlier. This time it read something to the effect
that he publicly condemned 'totalitarianism' in all its forms, without mentioning National
Socialism. He unhesitatingly signed the document and was allowed to resume his musical
duties.
'DEMOCRACY, SMOCKRACY!'
Although Furtwängler's return to the podium was greeted with universal acclaim, his
performances mostly lacked the greatness of his wartime and pre-war conducting. Many
concerts he held were surprisingly disappointing. The old fire seemed to have died out in
him. Only occasionally was it seen to flare to life. While a few appearances, such as his
performance of the Choral Symphony, at the re-opening of the Bayreuth Festival,
exemplified the full scope of his genius, more typical were his lacklustre renditions of
Beethoven's and Bruckner's works, his long-time favourites. He had been a Wagner
specialist, too, but his post-war recordings of Tristan and The Ring are indistinguishable
from any average interpretations. Clearly, the maim was not inspired by post-war
democracy. Yet, he was no different than artists of all kinds who reached heights of their
greatness from 1933 to 1945. Immediately thereafter, Germany and the West fell into their
steep decline toward cultural sterility and extinction from which they still have not pulled
out.
Artists depend for their supreme achievement on high inspiration. The Third Reich was the
most inspiring epoch in all of history, and its artists thereby felt their talents lifted by the
greatness of the times. In the dismal, hypocritical world of the Allies sham 'victory,' there
was only despair, not inspiration. This is no idle speculation. P roof may be found in the
very audio legacy left by Furtwängler himself. His Third Reich recordings are today widely
prized for their universal excellence. It is well-known among collectors that any
Furtwängler performance dated before 1946 will be guaranteed for its high value, even if
the technical quality is inferior by later standards, while his post-war recordings are largely
shunned for their reputation as mediocre. Recording companies make sure that the date of
a Furtwängler appearance is displayed prominently on the disccover -- if the performance
occurred during the Reich. The dates of his post-war performances are virtually never
printed, a sure sign to knowledgeable collectors that the concert was made under a
democracy and consequently of relatively slight artistic merit.
Furtwängler's death in 1954 was followed by decades of commonplace conductors who
consistently rendered the great music of the past in uniformly colourless renditions. Almost
by chance, after decades of middling music directors, audiophiles rediscovered
Furtwängler's old recordings almost by chance. For a generation oblivious to his art, his
preserved performances came as nothing less than a revelation. Sharply contrasting the
commonplace output of Leonard Bernstein, Seji Ozawa, Dean Dixon and other non-White
non-entities from the 1960's to the present, his concerts were regarded as by far the best
interpretations of great music on record. The international Furtwängler resurgence which
began some twenty years ago not only continues today, but has broadened and intensified,
Whenever another lost recording of his is discovered, it instantly shoots to die top of the
best-seller lists.
THE RECASTING OF WILHELM FURTWÄNGLER
It was only a mailer of time, of course, before the Jews were alerted to the popular
renaissance of this recalcitrant 'Nazi musician'. Banning his recordings or even making
them quietly disappear by pressuring C.D. companies into discontinuing them would have
lost the shrewd shysters new revenues generated by such sales. Instinctually unable to
forego a financial profit, they took over the Furtwängler revival themselves.
In an irony typical only of unscrupulous Jews, the same clique who fulminated against him
in the 1930's and banned him in the 1940's are peddling his recordings today. As tie most
politicised creatures on the planet, however, they are not content with the vast revenues
his C.D.'s net them. They must distort his memory to conform with their own perverse
notions of political correctness. In justifying sales of his music and using their twisted
image of him to propagandise their Gentile customers, the Great Masters of the Lie are
now depicting Furtwängler as an anti-Nazi who secretly hated Hitler and stayed in
Germany only to help save Jews from being gassed! While such a bald-faced
misrepresentation would have flabbergasted the Allied Occupation authorities who banned
him from performing, it is just one more piece of the deceitful chutzpah for which the Jews
have long been infamous.
No one should then be surprised that the loudest spokesman on behalf of a de-Nazified
Furtwängler is Hebrew Henry Fogel. He laments that this "righteous goy, oops, Gentile"
was mistaken for a Fascist. The conductor actually loved Jews and risked his life to save
them from Hitler, before whom Furtwängler gave his best performance on the Führer's
birthday! Such demented 'logic' could only come from die profit-fevered brain of a crazed
Jew. Now that his reputation has been sanitised in the mikvah of political correctness, we
no longer need trouble our conscience when buying a Furtwängler recording. The past has
been re-arranged to make things work for the Jews in the present. Such insidious duplicity
recalls one of the brain-washing slogans concocted by Big Brother in George Orwell's
prophetic novel, 1984: "Who controls the present, controls the past; who controls the past,
controls the future."
But the revival of Aryan music under National Socialism spread through the 1930's and
early 1940's beyond the borders of the Third Reich. Helga Rosswänge, Askel Schiotz and
Thorsten Raif, who made their careers in Hitler's Germany, were, bar none, the greatest
tenors Denmark ever produced, before and especially since the end of World War II.
Years before the war, Belgium's greatest tenor, Marcel Wittrich, cut a recording of the
concert aria "God Bless our Führer!", which topped the best-seller charts for most of the
1930's. Kirstin Flagstad, among the most important Wagnerian sopranos of the 20th
Century, left the Metropolitan Opera, where her success in Die Valkyrie had been nothing
short of stupendous, to join her husband in Norway. He was not only the country's leading
conductor, but a high-ranking officer in the Nasional Samlung, the Norwegian National
Socialist Movement. When a post-war return engagement at the Met was scheduled for
her, Flagstad was prevented from performing by hysterical mobs of incensed New York
Jews. They openly and successfully prevented a world-class artist from publicly performing
for ideological reasons, the very thing for which they had so long falsely condemned the
Nazis.
THE VENGEFUL GHOST OF WILLEM
MENGELBERG
Furtwängler's only contemporary to approach
and even perhaps surpass him on occasion
was the Dutch conductor, Willem
Mengelberg. His recordings, too, have
witnessed a spectacular comeback, although
in his case the Jews are far more
uncomfortable. Henry Fogel cannot bring
himself to utter a dispensatory word on his
behalf. While Furtwängler was little more
than emotionally or artistically sympathetic
to National Socialism, Mengelberg was
dedicated heart and soul to Adolf Hitler. we
coined 1940's German invasion of Holland as
his country's liberation from Jewish tyranny.
Like Furtwängler, his reputation was
world-wide and he would have been
welcomed in the United States, where he
could have lived out his life in safety.
Instead, he publicly endorsed tie greatness of
National Socialism at every occasion and
performed all over the Reich. Even so, he
was a vigorous champion of Dutch music and
all of Holland's best modern composers owed
their early success to him.
No less importantly, Mengelberg moulded
the Amsterdam Concertgebouw Orchestra
into what many regarded as the finest symphonic ensemble ever put together. The mans
contributions to music are staggering and far exceed the limitations of this newspaper
article to describe. Even so, he never joined any National Socialist organisation (Dutch or
German), and did not work or he is war effort, save to perform concerts for troops on
R&R., German as well as Dutch, and all the other Aryan nationalities who banded together
under the Swastika to fight Soviet Communism. He was content to lend the weight of his
legendary reputation to support National Socialism and did what he could for it with the
thing he knew best -- conducting great music better than anyone else in the world!
For this harmless involvement in the Movement, Willem Mengelberg was sentenced to
death in absentia (i.e., condemned without a hearing) by Holland's Allied-dominated
supreme court after the war. Fleeing for his life, he found refuge in Spain. It is to Francisco
Franco's eternal credit that he refused to turn over the proscribed musician to the Dutch
authorities for extradition and execution. Broken in spirit and health, the maestro never
again lifted his baton to call forth the incomparably magnificent sounds only he knew how
to conjure from an orchestra. He died in exile six years later, condemned and despised by
his own countrymen, but cherished and protected by beloved foreigners. The once supreme
Amsterdam Concertgebouw he created declined under the mediocrity of more politically
correct directors like bland Bernard Haitink, until the orchestra scarcely rated as a
world-class organisation. Yet, his ghost is avenging itself on all these post-war no-accounts,
who are rapidly being forgotten, while Mengelberg's recordings enjoy a resurgence of
unprecedented popularity.
MUSIC'S DEBT TO FASCISM
A similar tragedy befell Pietro Mascagni. His
Cavalleria Rusticana is one of the most often
performed staples in the whole repertoire, and, with I
Pagliacci, among the best-known operas in existence.
Mascagni was also a dedicated follower of Benito
Mussolini from the early days of the Duce's struggle.
Through the 1920's and 30's and into the war, he held
various posts in the Fascist cultural hierarchy and did
much to promote the glory of Italian music. His
long-time loyalty was proved during adversity, when
he joined Mussolini (imprisoned by traitors in 1943,
but rescued through the daring heroism of SS
commandos) in the north.
With the catastrophic end of the war, Mascagni's
name was posted on a death-list circulated by the
same Communist partisans who murdered the Duce.
Old and alone Italy's greatest living composer died of
starvation and exposure to sub-zero temperatures
while hiding from his would-be assassins in an
unheated garret during the bitter winter of 1945. The
death of one of Western Civilisation's last great
creators was another legacy that belonged to the
Allies' dishonourable triumph of brute force over
culture. The legions of opera-lovers who continue,
year after year, to applaud Cavalleria Rusticana are
ignorant of the Fascist identity and deplorable fate of
its composer.
They also applaud regular performances of music by Antonio Vivaldi, whose Seasons,
particularly, has become an often-heard concert-piece. Recordings of the 18th Century
Venetian's music sell in the millions, and it is recognized throughout the world as a pillar of
Western art. Yet, were it not for the diligent research of a famous American Fascist
working in Mussolini's Italy, Vivaldi's name and great achievements would be just as
unknown today as it was before Ezra Pound made his discovery of the lost compositions.
For this incomparable work of rescue, one of the greatest poets the U.S. ever produced was
starved and tortured in a so-called 'tiger-cage' by his fellow countrymen after the war. His
incarceration consisted of an unheated cell so tiny he could neither stand erect nor lay
down full-length, a difficult ordeal even for a man younger than his 61 years. Do the Itzak
Pearlmans of this world pay homage to the work of Ezra Pound, without whom they could
not perform Vivaldi's music?
(Recent article on this topic):

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2018-03-06 04:20:13 UTC
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Post by g***@gmail.com
MUSIC IN THE
THIRD REICH -
THEN AND NOW
http://abbc.com/nj/e2000/history/aryanmusic.htm
By A.V. Schärfenberg
A grim portrait of modem American music was presented in issue #120 of The New Order.
How could it have been otherwise, given the Jews' domination of our culture? It was no
coincidence that fine art in the U. S. was trashed at the same moment National Socialism
triumphed in Germany. The kosher corrupters who scurried away from Europe beginning in
1933 were the same alleged 'artists who poisoned our musical life. We need only look
around at the laughably deplorable state of modem American composition and performance
to appreciate the magnitude of their disastrous impact.
Elsewhere, Aryan culture was suddenly freed from Jewish domination and blossomed into a
late 2nd Millennium Renaissance. Naturally, the source of that Western revival was Adolf
Hitler's Germany. It is nothing short of miraculous that during the brief twelve-year period
of peace allowed the Third Reich, such an incredible burst of dynamically creative musical
achievement took place. The spirit of Aryan genius could at last express its genuine
instinct, uncoloured by the alien agendas of Jews hostile to everything German.
AN OPERATIC BATTLE
Generally regarded as the greatest symphonic composer of the 20th Century, Richard
Strauss was urged by 'émigré' Jew impresarios to join them at New York's Metropolitan
opera. They dangled lucrative performance fees to entice him, but he answered them
indirectly by writing a public statement in support of the National Socialist Revolution,
signing it in his own hand, 'Heil Hitler!' With the invention of the first sound tape recorder
by Third Reich scientists, Strauss conducted performances of all his major symphonic
works, recordings still prized as the best of their kind. During World War II, he composed
a concert overture dedicated to the Japanese Royal House on the occasion of its 500th
anniversary and to simultaneously commemorate the signing in 1940 of the Axis pact
between Germany and Japan. His Metamorphoses, a tone-poem lament for the devastation
wrought by the duped Allies on Germany, will forever serve as a deeply moving memorial
to the worst tragedy in human history.
Strauss's contemporary, Hans Pfitzner, although not well-known outside of his homeland,
was among the most important figures in neo-romantic music, and composed what many
listeners consider his greatest works, a pair of symphonies in 1939 and 1940, respectively.
Four years earlier, Pfitzner became the first 'Reich Cultural Senator'. The reputations of
these two musical titans were so established in the world of art that not even the hysterical
hatred of the Jews could destroy them, and their compositions are presently available to a
larger audience than ever before, thanks to Aryan man's technological advances in audio
reproduction.
But what the Jews cannot destroy they poison. A
case in point is perhaps the greatest orchestral
director ever to take up the conductor's baton,
Wilhelm Furtwängler. It would be untrue to
suggest that he was a dedicated National
Socialist. His life was music. Furtwängler was
favourably inclined to our Idea, but he was too
busy with his art for much of the outside world. As
a musician who profoundly cherished traditional
compositional values and no less deeply despised
the cultural rot of the Weimar Republic, he often
expressed his gratitude, both publicly and
privately, to Hitler for kicking out the
Schönbergs, Shaperos, et al, of the 1920's. Less
than a year after the National Socialist Seizure of
Power, however, Furtwängler found himself
embroiled in an extra-musical controversy. He
agreed to stage Matthias the Painter, by Paul
Hindemith. Oblivious to and totally disinterested
in both the story of the opera and the political identity of its composer, the innocent music
director found his rehearsals being picketed by battalions of angry Stormtroopers.
It seems Hindemith, although Aryan, was a loudmouthed Communist and his Matthias the
Painter a blatant propaganda piece urging its audience to take up arms against the
government. "even if it had been elected"-- a transparent reference to the recent National
Socialist electoral victories. Furtwängler dismissed the work's proletarian politics as so
much out-dated flummery, especially in view of National Socialism's on-going popularity,
but insisted the music was good. Performances would proceed as planned, he announced. In
a short time, whatever artistic merits or demerits Hindemith's piece might have had were
utterly eclipsed by a violent ideological storm gathering over the Berlin Opera House.
Assuming that the last of such Marxist drivel had been cleaned out after January 30th,
1933, the public in general and National Socialists in particular were outraged at news of
the up-coming Red Opera. Meanwhile, scattered remnants of the country's enfeebled,
dwindling Communists suddenly began to suck a reviving breath of life into their moribund
movement and vowed to pack the opera house on opening night, just as they used to in the
20's. Even more so an he Communists, the Stormtroopers wanted Matthias the Painter to
be staged, because they relished the opportunity of busting up the performance and
exterminating the last of the Red vermin. Not without cause, the city police feared a
serious ideological confrontation of the kind so common up until only a few years before.
Indeed, it was to bring peace and order to public life that the voters had put Adolf Hitler in
power. Even so. the National Socialist authorities were inclined to allow the performance,
no matter what came to pass, if only out of respect for Furtwängler, who was, by then, an
icon throughout the whole cultural world.
DR. GOEBBELS INTERVENES
Doubtless, Hindemith's music would have been heard, the old Reds would have had their
last hurrah (better yet, the Stormtroopers would have beaten the be'jesus out of them all)
and the controversy passed as a footnote in the history of the Third Reich. Instead.
America's and England's Jew-dominated newspapers turned the premiere into a cause
celebre of international proportions. With that, Dr. Josef Goebbels, as Reich Cultural
Minister, decided to act. He addressed a long, polite letter to Furtwängler. The situation,
he explained, had gotten out of hand. so much so that the enemies of National Socialism, to
whom music was only as good as it was politically expedient, were using the impending
performance for obvious, non-artistic purposes; namely, to incite hatred and violence
against the new regime. Dr. Goebbels added that Hindemith belonged to a by-gone era
when national greatness had been despised. The German people, after fourteen long years
of difficult struggle, had overcome that shame Now was the time for art to extol the
folk-genius of our Race, not down-grade it. He asked that the troublesome opera be
shelved for the sake of present peace and future cultural development. But, if the
conductor considered its music worthwhile, performance of an orchestral suite from
Matthias the Painter could take place.
To the great disappointment of all, save the general opera-going public, Furtwängler
responded with his own public letter, in which he heartily subscribed to each of Dr.
Goebbels' objections, including his own observation, "There are moments when even art
must make room for the good of something greater." Corning from such a fanatic musician,
it was a deeply generous statement. With the cancellation of Hindemith's first and last
chance at fame, the defunct Reds were disappointed because their own last chance for a
big political demonstration evaporated, and the Stormtroopers were disappointed because
they missed their chance to whup Germany's last Communists.
In all the hateful hullaballoo turned up by the Jews ever since, and whenever Hindemith's
name is mentioned today, conveniently forgotten was the concert performance of Matthias
the Painter, which did indeed take place in 1934, as Dr. Goebbels promised. The piece was
even recorded in a Third Reich sound studio under Furtwängler's direction in 1934! That
this concert version of musical highlights was not much performed thereafter only means
that it failed to generate any lasting hold on concert-goers' imaginations, a failure which
persists to this day, since it is not often heard, even though it is still touted as some kind of
anti-Nazi masterpiece. Indeed, the opera which was supposed to have been too wonderful
for the Nazis to appreciate or tolerate, was a huge flop when ostentatiously performed in
New York. Since then, it has never again seen the light of day.
It turns out that Hindemith was not such an interesting composer after all, and the
controversy surrounding his name had more to do with his obnoxious politics than his own
music. Overlooked, too, is the fact that, despite his Red identity, he was allowed to
compose, perform and even record in the Third Reich, hardly the tyrannical system the
Jews would lead us to believe existed. Hindemith grabbed the U.S. Jews' offer of cash and
fled with sheaves of his useless scores. Apparently, New York's kosher environment was
less inspiring than that of evil old Nazi Germany, and his artificial reputation withered away
into virtual oblivion. Happily, he lived long enough to see his life's work savaged by Jew
critics in the 1950's, when they ridiculed him as 'hopelessly obsolete.' True to character, his
one-time kosher benefactors eventually turned on their 'righteous Gentile.'
THE CRUCIFIXION OF AN ARYAN
MUSICIAN
Only the newspaper Jews overseas manipulated by the Matthias
the Painter situation to their advantage, portraying it to gullible goy
readers as proof positive that great music was being suppressed by
the Nazis, to whom Furtwängler had weakly capitulated. However,
they, too, were soon disappointed when, sure he would defect
following the Hindemith affair, they offered him (as they had offered Richard Strauss)
large performance fees with the New York Philharmonic.
He turned them down and, after war came, was personally active in donating a great deal of
concert time to soldiers and factory workers. Audiophiles for decades considered his
greatest recorded achievement to have been a performance of Beethoven's 9th Symphony,
the Choral, given in the presence of Adolf Hitler on the occasion of the Führer's 55th
birthday, April 20th, 1944. Until the very end, Furtwängler was still giving public concerts in
Berlin. His last Reich recording (the Cesar Franck Symphony in D minor) is the best
performance ever made of that work. It took place in the cataclysmic days of January,
1945.
The Jews castigated Germany's 'Nazi dictatorship' for censorship, a lie, as cited above,
when Hindemith was allowed to perform. But immediately after the war, German artists
were prevented by the occupation forces from working. Only those who could suck up to
the Allies by loudly proclaiming their anti-Nazi sentiments stood a chance of employing
their craft. The very censorship the Jewized Allies falsely condemned in National Socialism
they practised themselves when the chance came along. Among the proscribed was
Wilhelm Furtwängler, even though he never held any post in the Reich government He was
not a Party member, and had never even voted for a National Socialist candidate.
The occupation authorities promised he could resume his conducting career if he agreed to
sign a public statement begging them for forgiveness for his past participation "in the
criminal Hitler regime." He refused, declaring his life then, as always, had been entirely
musical, not political, and he objected to the accusation that he had ever been part of
anything 'criminal.' The ban against him was upheld and he had to subsist on the charity of
friends.
The Jews and their Gentile dupes in uniform tried to show the Germans that their culture
was better off under Allied occupation than with their own, elected, National Socialist
government. Trouble was, with all the country's real artists dead, jailed or censored, there
wasn't much culture to go around. Desperate to maintain their facade of democratic
civilisation, they returned to Furtwängler with a watered-down version of the statement
presented for his endorsement two years earlier. This time it read something to the effect
that he publicly condemned 'totalitarianism' in all its forms, without mentioning National
Socialism. He unhesitatingly signed the document and was allowed to resume his musical
duties.
'DEMOCRACY, SMOCKRACY!'
Although Furtwängler's return to the podium was greeted with universal acclaim, his
performances mostly lacked the greatness of his wartime and pre-war conducting. Many
concerts he held were surprisingly disappointing. The old fire seemed to have died out in
him. Only occasionally was it seen to flare to life. While a few appearances, such as his
performance of the Choral Symphony, at the re-opening of the Bayreuth Festival,
exemplified the full scope of his genius, more typical were his lacklustre renditions of
Beethoven's and Bruckner's works, his long-time favourites. He had been a Wagner
specialist, too, but his post-war recordings of Tristan and The Ring are indistinguishable
from any average interpretations. Clearly, the maim was not inspired by post-war
democracy. Yet, he was no different than artists of all kinds who reached heights of their
greatness from 1933 to 1945. Immediately thereafter, Germany and the West fell into their
steep decline toward cultural sterility and extinction from which they still have not pulled
out.
Artists depend for their supreme achievement on high inspiration. The Third Reich was the
most inspiring epoch in all of history, and its artists thereby felt their talents lifted by the
greatness of the times. In the dismal, hypocritical world of the Allies sham 'victory,' there
was only despair, not inspiration. This is no idle speculation. P roof may be found in the
very audio legacy left by Furtwängler himself. His Third Reich recordings are today widely
prized for their universal excellence. It is well-known among collectors that any
Furtwängler performance dated before 1946 will be guaranteed for its high value, even if
the technical quality is inferior by later standards, while his post-war recordings are largely
shunned for their reputation as mediocre. Recording companies make sure that the date of
a Furtwängler appearance is displayed prominently on the disccover -- if the performance
occurred during the Reich. The dates of his post-war performances are virtually never
printed, a sure sign to knowledgeable collectors that the concert was made under a
democracy and consequently of relatively slight artistic merit.
Furtwängler's death in 1954 was followed by decades of commonplace conductors who
consistently rendered the great music of the past in uniformly colourless renditions. Almost
by chance, after decades of middling music directors, audiophiles rediscovered
Furtwängler's old recordings almost by chance. For a generation oblivious to his art, his
preserved performances came as nothing less than a revelation. Sharply contrasting the
commonplace output of Leonard Bernstein, Seji Ozawa, Dean Dixon and other non-White
non-entities from the 1960's to the present, his concerts were regarded as by far the best
interpretations of great music on record. The international Furtwängler resurgence which
began some twenty years ago not only continues today, but has broadened and intensified,
Whenever another lost recording of his is discovered, it instantly shoots to die top of the
best-seller lists.
THE RECASTING OF WILHELM FURTWÄNGLER
It was only a mailer of time, of course, before the Jews were alerted to the popular
renaissance of this recalcitrant 'Nazi musician'. Banning his recordings or even making
them quietly disappear by pressuring C.D. companies into discontinuing them would have
lost the shrewd shysters new revenues generated by such sales. Instinctually unable to
forego a financial profit, they took over the Furtwängler revival themselves.
In an irony typical only of unscrupulous Jews, the same clique who fulminated against him
in the 1930's and banned him in the 1940's are peddling his recordings today. As tie most
politicised creatures on the planet, however, they are not content with the vast revenues
his C.D.'s net them. They must distort his memory to conform with their own perverse
notions of political correctness. In justifying sales of his music and using their twisted
image of him to propagandise their Gentile customers, the Great Masters of the Lie are
now depicting Furtwängler as an anti-Nazi who secretly hated Hitler and stayed in
Germany only to help save Jews from being gassed! While such a bald-faced
misrepresentation would have flabbergasted the Allied Occupation authorities who banned
him from performing, it is just one more piece of the deceitful chutzpah for which the Jews
have long been infamous.
No one should then be surprised that the loudest spokesman on behalf of a de-Nazified
Furtwängler is Hebrew Henry Fogel. He laments that this "righteous goy, oops, Gentile"
was mistaken for a Fascist. The conductor actually loved Jews and risked his life to save
them from Hitler, before whom Furtwängler gave his best performance on the Führer's
birthday! Such demented 'logic' could only come from die profit-fevered brain of a crazed
Jew. Now that his reputation has been sanitised in the mikvah of political correctness, we
no longer need trouble our conscience when buying a Furtwängler recording. The past has
been re-arranged to make things work for the Jews in the present. Such insidious duplicity
recalls one of the brain-washing slogans concocted by Big Brother in George Orwell's
prophetic novel, 1984: "Who controls the present, controls the past; who controls the past,
controls the future."
But the revival of Aryan music under National Socialism spread through the 1930's and
early 1940's beyond the borders of the Third Reich. Helga Rosswänge, Askel Schiotz and
Thorsten Raif, who made their careers in Hitler's Germany, were, bar none, the greatest
tenors Denmark ever produced, before and especially since the end of World War II.
Years before the war, Belgium's greatest tenor, Marcel Wittrich, cut a recording of the
concert aria "God Bless our Führer!", which topped the best-seller charts for most of the
1930's. Kirstin Flagstad, among the most important Wagnerian sopranos of the 20th
Century, left the Metropolitan Opera, where her success in Die Valkyrie had been nothing
short of stupendous, to join her husband in Norway. He was not only the country's leading
conductor, but a high-ranking officer in the Nasional Samlung, the Norwegian National
Socialist Movement. When a post-war return engagement at the Met was scheduled for
her, Flagstad was prevented from performing by hysterical mobs of incensed New York
Jews. They openly and successfully prevented a world-class artist from publicly performing
for ideological reasons, the very thing for which they had so long falsely condemned the
Nazis.
THE VENGEFUL GHOST OF WILLEM
MENGELBERG
Furtwängler's only contemporary to approach
and even perhaps surpass him on occasion
was the Dutch conductor, Willem
Mengelberg. His recordings, too, have
witnessed a spectacular comeback, although
in his case the Jews are far more
uncomfortable. Henry Fogel cannot bring
himself to utter a dispensatory word on his
behalf. While Furtwängler was little more
than emotionally or artistically sympathetic
to National Socialism, Mengelberg was
dedicated heart and soul to Adolf Hitler. we
coined 1940's German invasion of Holland as
his country's liberation from Jewish tyranny.
Like Furtwängler, his reputation was
world-wide and he would have been
welcomed in the United States, where he
could have lived out his life in safety.
Instead, he publicly endorsed tie greatness of
National Socialism at every occasion and
performed all over the Reich. Even so, he
was a vigorous champion of Dutch music and
all of Holland's best modern composers owed
their early success to him.
No less importantly, Mengelberg moulded
the Amsterdam Concertgebouw Orchestra
into what many regarded as the finest symphonic ensemble ever put together. The mans
contributions to music are staggering and far exceed the limitations of this newspaper
article to describe. Even so, he never joined any National Socialist organisation (Dutch or
German), and did not work or he is war effort, save to perform concerts for troops on
R&R., German as well as Dutch, and all the other Aryan nationalities who banded together
under the Swastika to fight Soviet Communism. He was content to lend the weight of his
legendary reputation to support National Socialism and did what he could for it with the
thing he knew best -- conducting great music better than anyone else in the world!
For this harmless involvement in the Movement, Willem Mengelberg was sentenced to
death in absentia (i.e., condemned without a hearing) by Holland's Allied-dominated
supreme court after the war. Fleeing for his life, he found refuge in Spain. It is to Francisco
Franco's eternal credit that he refused to turn over the proscribed musician to the Dutch
authorities for extradition and execution. Broken in spirit and health, the maestro never
again lifted his baton to call forth the incomparably magnificent sounds only he knew how
to conjure from an orchestra. He died in exile six years later, condemned and despised by
his own countrymen, but cherished and protected by beloved foreigners. The once supreme
Amsterdam Concertgebouw he created declined under the mediocrity of more politically
correct directors like bland Bernard Haitink, until the orchestra scarcely rated as a
world-class organisation. Yet, his ghost is avenging itself on all these post-war no-accounts,
who are rapidly being forgotten, while Mengelberg's recordings enjoy a resurgence of
unprecedented popularity.
MUSIC'S DEBT TO FASCISM
A similar tragedy befell Pietro Mascagni. His
Cavalleria Rusticana is one of the most often
performed staples in the whole repertoire, and, with I
Pagliacci, among the best-known operas in existence.
Mascagni was also a dedicated follower of Benito
Mussolini from the early days of the Duce's struggle.
Through the 1920's and 30's and into the war, he held
various posts in the Fascist cultural hierarchy and did
much to promote the glory of Italian music. His
long-time loyalty was proved during adversity, when
he joined Mussolini (imprisoned by traitors in 1943,
but rescued through the daring heroism of SS
commandos) in the north.
With the catastrophic end of the war, Mascagni's
name was posted on a death-list circulated by the
same Communist partisans who murdered the Duce.
Old and alone Italy's greatest living composer died of
starvation and exposure to sub-zero temperatures
while hiding from his would-be assassins in an
unheated garret during the bitter winter of 1945. The
death of one of Western Civilisation's last great
creators was another legacy that belonged to the
Allies' dishonourable triumph of brute force over
culture. The legions of opera-lovers who continue,
year after year, to applaud Cavalleria Rusticana are
ignorant of the Fascist identity and deplorable fate of
its composer.
They also applaud regular performances of music by Antonio Vivaldi, whose Seasons,
particularly, has become an often-heard concert-piece. Recordings of the 18th Century
Venetian's music sell in the millions, and it is recognized throughout the world as a pillar of
Western art. Yet, were it not for the diligent research of a famous American Fascist
working in Mussolini's Italy, Vivaldi's name and great achievements would be just as
unknown today as it was before Ezra Pound made his discovery of the lost compositions.
For this incomparable work of rescue, one of the greatest poets the U.S. ever produced was
starved and tortured in a so-called 'tiger-cage' by his fellow countrymen after the war. His
incarceration consisted of an unheated cell so tiny he could neither stand erect nor lay
down full-length, a difficult ordeal even for a man younger than his 61 years. Do the Itzak
Pearlmans of this world pay homage to the work of Ezra Pound, without whom they could
not perform Vivaldi's music?
https://groups.google.com/forum/#!topic/rec.music.classical/BS2TQeh7Fps
Why the hell do you post this piece of shit?????
Russ (not Martha)
2018-03-06 18:44:45 UTC
Reply
Permalink
[interminable pro-Nazi article about music]
Post by m***@gmail.com
Why the hell do you post this piece of shit?????
Cuz g4 likes to post stuff just for the sake of posting stuff, but never has a single idea of his own.

Russ (not Martha)
MELMOTH
2018-03-07 09:45:11 UTC
Reply
Permalink
Ce cher mammifère du nom de ***@gmail.com nous susurrait, le
mardi 06/03/2018, dans nos oreilles grandes ouvertes mais un peu sales
quand même, et dans le message
Post by m***@gmail.com
Why the hell do you post this piece of shit?????
you should learn quoting...
--
Car avec beaucoup de science, il y a beaucoup de chagrin ; et celui qui
accroît sa science, accroît sa douleur.
[Ecclésiaste, 1-18]
MELMOTH - souffrant
Bob Harper
2018-03-07 03:25:13 UTC
Reply
Permalink
A bunch of wicked nonsense. Even if it's 18 years since this post was
originally put up, it is still wicked nonsense, and belongs in the ash
heap of history.

Bob Harper
m***@gmail.com
2018-03-07 04:47:13 UTC
Reply
Permalink
Post by Bob Harper
A bunch of wicked nonsense. Even if it's 18 years since this post was
originally put up, it is still wicked nonsense, and belongs in the ash
heap of history.
Bob Harper
Why the hell would it be posted in any case???? is the poster that starved for attention he'll put anything up just to get noticed. Poor slob
g***@gmail.com
2018-10-21 05:02:03 UTC
Reply
Permalink
MUSIC IN THE
THIRD REICH -
THEN AND NOW
http://abbc.com/nj/e2000/history/aryanmusic.htm
By A.V. Schärfenberg
A grim portrait of modem American music was presented in issue #120 of The New Order.
How could it have been otherwise, given the Jews' domination of our culture? It was no
coincidence that fine art in the U. S. was trashed at the same moment National Socialism
triumphed in Germany. The kosher corrupters who scurried away from Europe beginning in
1933 were the same alleged 'artists who poisoned our musical life. We need only look
around at the laughably deplorable state of modem American composition and performance
to appreciate the magnitude of their disastrous impact.
Elsewhere, Aryan culture was suddenly freed from Jewish domination and blossomed into a
late 2nd Millennium Renaissance. Naturally, the source of that Western revival was Adolf
Hitler's Germany. It is nothing short of miraculous that during the brief twelve-year period
of peace allowed the Third Reich, such an incredible burst of dynamically creative musical
achievement took place. The spirit of Aryan genius could at last express its genuine
instinct, uncoloured by the alien agendas of Jews hostile to everything German.
AN OPERATIC BATTLE
Generally regarded as the greatest symphonic composer of the 20th Century, Richard
Strauss was urged by 'émigré' Jew impresarios to join them at New York's Metropolitan
opera. They dangled lucrative performance fees to entice him, but he answered them
indirectly by writing a public statement in support of the National Socialist Revolution,
signing it in his own hand, 'Heil Hitler!' With the invention of the first sound tape recorder
by Third Reich scientists, Strauss conducted performances of all his major symphonic
works, recordings still prized as the best of their kind. During World War II, he composed
a concert overture dedicated to the Japanese Royal House on the occasion of its 500th
anniversary and to simultaneously commemorate the signing in 1940 of the Axis pact
between Germany and Japan. His Metamorphoses, a tone-poem lament for the devastation
wrought by the duped Allies on Germany, will forever serve as a deeply moving memorial
to the worst tragedy in human history.
Strauss's contemporary, Hans Pfitzner, although not well-known outside of his homeland,
was among the most important figures in neo-romantic music...
(To hear his lied on Youtube):

Clara Ebers " Vier Lieder" Hans Pfitzner
Mr. Mike
2018-10-22 22:50:33 UTC
Reply
Permalink
MUSIC IN THE
THIRD REICH -
THEN AND NOW
http://abbc.com/nj/e2000/history/aryanmusic.htm
Gee, when something is reposted from 2000, I guess there is a
reasonable expectation that a link in that posting will not work, duh!
g***@gmail.com
2019-05-02 22:09:23 UTC
Reply
Permalink
https://groups.google.com/forum/#!topic/rec.music.classical/ogzSJ3OymEM
g***@gmail.com
2019-07-17 08:49:37 UTC
Reply
Permalink
Post by g***@gmail.com
MUSIC IN THE
THIRD REICH -
THEN AND NOW
http://abbc.com/nj/e2000/history/aryanmusic.htm
By A.V. Schärfenberg
A grim portrait of modem American music was presented in issue #120 of The New Order.
How could it have been otherwise, given the Jews' domination of our culture? It was no
coincidence that fine art in the U. S. was trashed at the same moment National Socialism
triumphed in Germany. The kosher corrupters who scurried away from Europe beginning in
1933 were the same alleged 'artists who poisoned our musical life. We need only look
around at the laughably deplorable state of modem American composition and performance
to appreciate the magnitude of their disastrous impact.
Elsewhere, Aryan culture was suddenly freed from Jewish domination and blossomed into a
late 2nd Millennium Renaissance. Naturally, the source of that Western revival was Adolf
Hitler's Germany. It is nothing short of miraculous that during the brief twelve-year period
of peace allowed the Third Reich, such an incredible burst of dynamically creative musical
achievement took place. The spirit of Aryan genius could at last express its genuine
instinct, uncoloured by the alien agendas of Jews hostile to everything German.
AN OPERATIC BATTLE
Generally regarded as the greatest symphonic composer of the 20th Century, Richard
Strauss was urged by 'émigré' Jew impresarios to join them at New York's Metropolitan
opera. They dangled lucrative performance fees to entice him, but he answered them
indirectly by writing a public statement in support of the National Socialist Revolution,
signing it in his own hand, 'Heil Hitler!' With the invention of the first sound tape recorder
by Third Reich scientists, Strauss conducted performances of all his major symphonic
works, recordings still prized as the best of their kind. During World War II, he composed
a concert overture dedicated to the Japanese Royal House on the occasion of its 500th
anniversary and to simultaneously commemorate the signing in 1940 of the Axis pact
between Germany and Japan. His Metamorphoses, a tone-poem lament for the devastation
wrought by the duped Allies on Germany, will forever serve as a deeply moving memorial
to the worst tragedy in human history.
Strauss's contemporary, Hans Pfitzner, although not well-known outside of his homeland,
was among the most important figures in neo-romantic music, and composed what many
listeners consider his greatest works, a pair of symphonies in 1939 and 1940, respectively.
Four years earlier, Pfitzner became the first 'Reich Cultural Senator'. The reputations of
these two musical titans were so established in the world of art that not even the hysterical
hatred of the Jews could destroy them, and their compositions are presently available to a
larger audience than ever before, thanks to Aryan man's technological advances in audio
reproduction.
But what the Jews cannot destroy they poison. A
case in point is perhaps the greatest orchestral
director ever to take up the conductor's baton,
Wilhelm Furtwängler. It would be untrue to
suggest that he was a dedicated National
Socialist. His life was music. Furtwängler was
favourably inclined to our Idea, but he was too
busy with his art for much of the outside world. As
a musician who profoundly cherished traditional
compositional values and no less deeply despised
the cultural rot of the Weimar Republic, he often
expressed his gratitude, both publicly and
privately, to Hitler for kicking out the
Schönbergs, Shaperos, et al, of the 1920's. Less
than a year after the National Socialist Seizure of
Power, however, Furtwängler found himself
embroiled in an extra-musical controversy. He
agreed to stage Matthias the Painter, by Paul
Hindemith. Oblivious to and totally disinterested
in both the story of the opera and the political identity of its composer, the innocent music
director found his rehearsals being picketed by battalions of angry Stormtroopers.
It seems Hindemith, although Aryan, was a loudmouthed Communist and his Matthias the
Painter a blatant propaganda piece urging its audience to take up arms against the
government. "even if it had been elected"-- a transparent reference to the recent National
Socialist electoral victories. Furtwängler dismissed the work's proletarian politics as so
much out-dated flummery, especially in view of National Socialism's on-going popularity,
but insisted the music was good. Performances would proceed as planned, he announced. In
a short time, whatever artistic merits or demerits Hindemith's piece might have had were
utterly eclipsed by a violent ideological storm gathering over the Berlin Opera House.
Assuming that the last of such Marxist drivel had been cleaned out after January 30th,
1933, the public in general and National Socialists in particular were outraged at news of
the up-coming Red Opera. Meanwhile, scattered remnants of the country's enfeebled,
dwindling Communists suddenly began to suck a reviving breath of life into their moribund
movement and vowed to pack the opera house on opening night, just as they used to in the
20's. Even more so an he Communists, the Stormtroopers wanted Matthias the Painter to
be staged, because they relished the opportunity of busting up the performance and
exterminating the last of the Red vermin. Not without cause, the city police feared a
serious ideological confrontation of the kind so common up until only a few years before.
Indeed, it was to bring peace and order to public life that the voters had put Adolf Hitler in
power. Even so. the National Socialist authorities were inclined to allow the performance,
no matter what came to pass, if only out of respect for Furtwängler, who was, by then, an
icon throughout the whole cultural world.
DR. GOEBBELS INTERVENES
Doubtless, Hindemith's music would have been heard, the old Reds would have had their
last hurrah (better yet, the Stormtroopers would have beaten the be'jesus out of them all)
and the controversy passed as a footnote in the history of the Third Reich. Instead.
America's and England's Jew-dominated newspapers turned the premiere into a cause
celebre of international proportions. With that, Dr. Josef Goebbels, as Reich Cultural
Minister, decided to act. He addressed a long, polite letter to Furtwängler. The situation,
he explained, had gotten out of hand. so much so that the enemies of National Socialism, to
whom music was only as good as it was politically expedient, were using the impending
performance for obvious, non-artistic purposes; namely, to incite hatred and violence
against the new regime. Dr. Goebbels added that Hindemith belonged to a by-gone era
when national greatness had been despised. The German people, after fourteen long years
of difficult struggle, had overcome that shame Now was the time for art to extol the
folk-genius of our Race, not down-grade it. He asked that the troublesome opera be
shelved for the sake of present peace and future cultural development. But, if the
conductor considered its music worthwhile, performance of an orchestral suite from
Matthias the Painter could take place.
To the great disappointment of all, save the general opera-going public, Furtwängler
responded with his own public letter, in which he heartily subscribed to each of Dr.
Goebbels' objections, including his own observation, "There are moments when even art
must make room for the good of something greater." Corning from such a fanatic musician,
it was a deeply generous statement. With the cancellation of Hindemith's first and last
chance at fame, the defunct Reds were disappointed because their own last chance for a
big political demonstration evaporated, and the Stormtroopers were disappointed because
they missed their chance to whup Germany's last Communists.
In all the hateful hullaballoo turned up by the Jews ever since, and whenever Hindemith's
name is mentioned today, conveniently forgotten was the concert performance of Matthias
the Painter, which did indeed take place in 1934, as Dr. Goebbels promised. The piece was
even recorded in a Third Reich sound studio under Furtwängler's direction in 1934! That
this concert version of musical highlights was not much performed thereafter only means
that it failed to generate any lasting hold on concert-goers' imaginations, a failure which
persists to this day, since it is not often heard, even though it is still touted as some kind of
anti-Nazi masterpiece. Indeed, the opera which was supposed to have been too wonderful
for the Nazis to appreciate or tolerate, was a huge flop when ostentatiously performed in
New York. Since then, it has never again seen the light of day.
It turns out that Hindemith was not such an interesting composer after all, and the
controversy surrounding his name had more to do with his obnoxious politics than his own
music. Overlooked, too, is the fact that, despite his Red identity, he was allowed to
compose, perform and even record in the Third Reich, hardly the tyrannical system the
Jews would lead us to believe existed. Hindemith grabbed the U.S. Jews' offer of cash and
fled with sheaves of his useless scores. Apparently, New York's kosher environment was
less inspiring than that of evil old Nazi Germany, and his artificial reputation withered away
into virtual oblivion. Happily, he lived long enough to see his life's work savaged by Jew
critics in the 1950's, when they ridiculed him as 'hopelessly obsolete.' True to character, his
one-time kosher benefactors eventually turned on their 'righteous Gentile.'
THE CRUCIFIXION OF AN ARYAN
MUSICIAN
Only the newspaper Jews overseas manipulated by the Matthias
the Painter situation to their advantage, portraying it to gullible goy
readers as proof positive that great music was being suppressed by
the Nazis, to whom Furtwängler had weakly capitulated. However,
they, too, were soon disappointed when, sure he would defect
following the Hindemith affair, they offered him (as they had offered Richard Strauss)
large performance fees with the New York Philharmonic.
He turned them down and, after war came, was personally active in donating a great deal of
concert time to soldiers and factory workers. Audiophiles for decades considered his
greatest recorded achievement to have been a performance of Beethoven's 9th Symphony,
the Choral, given in the presence of Adolf Hitler on the occasion of the Führer's 55th
birthday, April 20th, 1944. Until the very end, Furtwängler was still giving public concerts in
Berlin. His last Reich recording (the Cesar Franck Symphony in D minor) is the best
performance ever made of that work. It took place in the cataclysmic days of January,
1945.
The Jews castigated Germany's 'Nazi dictatorship' for censorship, a lie, as cited above,
when Hindemith was allowed to perform. But immediately after the war, German artists
were prevented by the occupation forces from working. Only those who could suck up to
the Allies by loudly proclaiming their anti-Nazi sentiments stood a chance of employing
their craft. The very censorship the Jewized Allies falsely condemned in National Socialism
they practised themselves when the chance came along. Among the proscribed was
Wilhelm Furtwängler, even though he never held any post in the Reich government He was
not a Party member, and had never even voted for a National Socialist candidate.
The occupation authorities promised he could resume his conducting career if he agreed to
sign a public statement begging them for forgiveness for his past participation "in the
criminal Hitler regime." He refused, declaring his life then, as always, had been entirely
musical, not political, and he objected to the accusation that he had ever been part of
anything 'criminal.' The ban against him was upheld and he had to subsist on the charity of
friends.
The Jews and their Gentile dupes in uniform tried to show the Germans that their culture
was better off under Allied occupation than with their own, elected, National Socialist
government. Trouble was, with all the country's real artists dead, jailed or censored, there
wasn't much culture to go around. Desperate to maintain their facade of democratic
civilisation, they returned to Furtwängler with a watered-down version of the statement
presented for his endorsement two years earlier. This time it read something to the effect
that he publicly condemned 'totalitarianism' in all its forms, without mentioning National
Socialism. He unhesitatingly signed the document and was allowed to resume his musical
duties.
'DEMOCRACY, SMOCKRACY!'
Although Furtwängler's return to the podium was greeted with universal acclaim, his
performances mostly lacked the greatness of his wartime and pre-war conducting. Many
concerts he held were surprisingly disappointing. The old fire seemed to have died out in
him. Only occasionally was it seen to flare to life. While a few appearances, such as his
performance of the Choral Symphony, at the re-opening of the Bayreuth Festival,
exemplified the full scope of his genius, more typical were his lacklustre renditions of
Beethoven's and Bruckner's works, his long-time favourites. He had been a Wagner
specialist, too, but his post-war recordings of Tristan and The Ring are indistinguishable
from any average interpretations. Clearly, the maim was not inspired by post-war
democracy. Yet, he was no different than artists of all kinds who reached heights of their
greatness from 1933 to 1945. Immediately thereafter, Germany and the West fell into their
steep decline toward cultural sterility and extinction from which they still have not pulled
out.
Artists depend for their supreme achievement on high inspiration. The Third Reich was the
most inspiring epoch in all of history, and its artists thereby felt their talents lifted by the
greatness of the times. In the dismal, hypocritical world of the Allies sham 'victory,' there
was only despair, not inspiration. This is no idle speculation. P roof may be found in the
very audio legacy left by Furtwängler himself. His Third Reich recordings are today widely
prized for their universal excellence. It is well-known among collectors that any
Furtwängler performance dated before 1946 will be guaranteed for its high value, even if
the technical quality is inferior by later standards, while his post-war recordings are largely
shunned for their reputation as mediocre. Recording companies make sure that the date of
a Furtwängler appearance is displayed prominently on the disccover -- if the performance
occurred during the Reich. The dates of his post-war performances are virtually never
printed, a sure sign to knowledgeable collectors that the concert was made under a
democracy and consequently of relatively slight artistic merit.
Furtwängler's death in 1954 was followed by decades of commonplace conductors who
consistently rendered the great music of the past in uniformly colourless renditions. Almost
by chance, after decades of middling music directors, audiophiles rediscovered
Furtwängler's old recordings almost by chance. For a generation oblivious to his art, his
preserved performances came as nothing less than a revelation. Sharply contrasting the
commonplace output of Leonard Bernstein, Seji Ozawa, Dean Dixon and other non-White
non-entities from the 1960's to the present, his concerts were regarded as by far the best
interpretations of great music on record. The international Furtwängler resurgence which
began some twenty years ago not only continues today, but has broadened and intensified,
Whenever another lost recording of his is discovered, it instantly shoots to die top of the
best-seller lists.
THE RECASTING OF WILHELM FURTWÄNGLER
It was only a mailer of time, of course, before the Jews were alerted to the popular
renaissance of this recalcitrant 'Nazi musician'. Banning his recordings or even making
them quietly disappear by pressuring C.D. companies into discontinuing them would have
lost the shrewd shysters new revenues generated by such sales. Instinctually unable to
forego a financial profit, they took over the Furtwängler revival themselves.
In an irony typical only of unscrupulous Jews, the same clique who fulminated against him
in the 1930's and banned him in the 1940's are peddling his recordings today. As tie most
politicised creatures on the planet, however, they are not content with the vast revenues
his C.D.'s net them. They must distort his memory to conform with their own perverse
notions of political correctness. In justifying sales of his music and using their twisted
image of him to propagandise their Gentile customers, the Great Masters of the Lie are
now depicting Furtwängler as an anti-Nazi who secretly hated Hitler and stayed in
Germany only to help save Jews from being gassed! While such a bald-faced
misrepresentation would have flabbergasted the Allied Occupation authorities who banned
him from performing, it is just one more piece of the deceitful chutzpah for which the Jews
have long been infamous.
No one should then be surprised that the loudest spokesman on behalf of a de-Nazified
Furtwängler is Hebrew Henry Fogel. He laments that this "righteous goy, oops, Gentile"
was mistaken for a Fascist. The conductor actually loved Jews and risked his life to save
them from Hitler, before whom Furtwängler gave his best performance on the Führer's
birthday! Such demented 'logic' could only come from die profit-fevered brain of a crazed
Jew. Now that his reputation has been sanitised in the mikvah of political correctness, we
no longer need trouble our conscience when buying a Furtwängler recording. The past has
been re-arranged to make things work for the Jews in the present. Such insidious duplicity
recalls one of the brain-washing slogans concocted by Big Brother in George Orwell's
prophetic novel, 1984: "Who controls the present, controls the past; who controls the past,
controls the future."
But the revival of Aryan music under National Socialism spread through the 1930's and
early 1940's beyond the borders of the Third Reich. Helga Rosswänge, Askel Schiotz and
Thorsten Raif, who made their careers in Hitler's Germany, were, bar none, the greatest
tenors Denmark ever produced, before and especially since the end of World War II.
Years before the war, Belgium's greatest tenor, Marcel Wittrich, cut a recording of the
concert aria "God Bless our Führer!", which topped the best-seller charts for most of the
1930's. Kirstin Flagstad, among the most important Wagnerian sopranos of the 20th
Century, left the Metropolitan Opera, where her success in Die Valkyrie had been nothing
short of stupendous, to join her husband in Norway. He was not only the country's leading
conductor, but a high-ranking officer in the Nasional Samlung, the Norwegian National
Socialist Movement. When a post-war return engagement at the Met was scheduled for
her, Flagstad was prevented from performing by hysterical mobs of incensed New York
Jews. They openly and successfully prevented a world-class artist from publicly performing
for ideological reasons, the very thing for which they had so long falsely condemned the
Nazis.
THE VENGEFUL GHOST OF WILLEM
MENGELBERG
Furtwängler's only contemporary to approach
and even perhaps surpass him on occasion
was the Dutch conductor, Willem
Mengelberg. His recordings, too, have
witnessed a spectacular comeback, although
in his case the Jews are far more
uncomfortable. Henry Fogel cannot bring
himself to utter a dispensatory word on his
behalf. While Furtwängler was little more
than emotionally or artistically sympathetic
to National Socialism, Mengelberg was
dedicated heart and soul to Adolf Hitler. we
coined 1940's German invasion of Holland as
his country's liberation from Jewish tyranny.
Like Furtwängler, his reputation was
world-wide and he would have been
welcomed in the United States, where he
could have lived out his life in safety.
Instead, he publicly endorsed tie greatness of
National Socialism at every occasion and
performed all over the Reich. Even so, he
was a vigorous champion of Dutch music and
all of Holland's best modern composers owed
their early success to him.
No less importantly, Mengelberg moulded
the Amsterdam Concertgebouw Orchestra
into what many regarded as the finest symphonic ensemble ever put together. The mans
contributions to music are staggering and far exceed the limitations of this newspaper
article to describe. Even so, he never joined any National Socialist organisation (Dutch or
German), and did not work or he is war effort, save to perform concerts for troops on
R&R., German as well as Dutch, and all the other Aryan nationalities who banded together
under the Swastika to fight Soviet Communism. He was content to lend the weight of his
legendary reputation to support National Socialism and did what he could for it with the
thing he knew best -- conducting great music better than anyone else in the world!
For this harmless involvement in the Movement, Willem Mengelberg was sentenced to
death in absentia (i.e., condemned without a hearing) by Holland's Allied-dominated
supreme court after the war. Fleeing for his life, he found refuge in Spain. It is to Francisco
Franco's eternal credit that he refused to turn over the proscribed musician to the Dutch
authorities for extradition and execution. Broken in spirit and health, the maestro never
again lifted his baton to call forth the incomparably magnificent sounds only he knew how
to conjure from an orchestra. He died in exile six years later, condemned and despised by
his own countrymen, but cherished and protected by beloved foreigners. The once supreme
Amsterdam Concertgebouw he created declined under the mediocrity of more politically
correct directors like bland Bernard Haitink, until the orchestra scarcely rated as a
world-class organisation. Yet, his ghost is avenging itself on all these post-war no-accounts,
who are rapidly being forgotten, while Mengelberg's recordings enjoy a resurgence of
unprecedented popularity.
MUSIC'S DEBT TO FASCISM
A similar tragedy befell Pietro Mascagni. His
Cavalleria Rusticana is one of the most often
performed staples in the whole repertoire, and, with I
Pagliacci, among the best-known operas in existence.
Mascagni was also a dedicated follower of Benito
Mussolini from the early days of the Duce's struggle.
Through the 1920's and 30's and into the war, he held
various posts in the Fascist cultural hierarchy and did
much to promote the glory of Italian music. His
long-time loyalty was proved during adversity, when
he joined Mussolini (imprisoned by traitors in 1943,
but rescued through the daring heroism of SS
commandos) in the north.
With the catastrophic end of the war, Mascagni's
name was posted on a death-list circulated by the
same Communist partisans who murdered the Duce.
Old and alone Italy's greatest living composer died of
starvation and exposure to sub-zero temperatures
while hiding from his would-be assassins in an
unheated garret during the bitter winter of 1945. The
death of one of Western Civilisation's last great
creators was another legacy that belonged to the
Allies' dishonourable triumph of brute force over
culture. The legions of opera-lovers who continue,
year after year, to applaud Cavalleria Rusticana are
ignorant of the Fascist identity and deplorable fate of
its composer.
They also applaud regular performances of music by Antonio Vivaldi, whose Seasons,
particularly, has become an often-heard concert-piece. Recordings of the 18th Century
Venetian's music sell in the millions, and it is recognized throughout the world as a pillar of
Western art. Yet, were it not for the diligent research of a famous American Fascist
working in Mussolini's Italy, Vivaldi's name and great achievements would be just as
unknown today as it was before Ezra Pound made his discovery of the lost compositions.
For this incomparable work of rescue, one of the greatest poets the U.S. ever produced was
starved and tortured in a so-called 'tiger-cage' by his fellow countrymen after the war. His
incarceration consisted of an unheated cell so tiny he could neither stand erect nor lay
down full-length, a difficult ordeal even for a man younger than his 61 years. Do the Itzak
Pearlmans of this world pay homage to the work of Ezra Pound, without whom they could
not perform Vivaldi's music?
https://groups.google.com/forum/#!topic/rec.music.classical/BS2TQeh7Fps
"Nazi Germany" (new book):

https://global.oup.com/academic/product/nazi-germany-a-very-short-introduction-9780198706953?prevSortField=1&sortField=1&start=300&resultsPerPage=100&type=listing&prevNumResPerPage=100&lang=en&cc=us
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2020-04-01 02:21:55 UTC
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MUSIC IN THE
THIRD REICH -
THEN AND NOW
http://abbc.com/nj/e2000/history/aryanmusic.htm
By A.V. Schärfenberg
A grim portrait of modem American music was presented in issue #120 of The New Order.
How could it have been otherwise, given the Jews' domination of our culture? It was no
coincidence that fine art in the U. S. was trashed at the same moment National Socialism
triumphed in Germany. The kosher corrupters who scurried away from Europe beginning in
1933 were the same alleged 'artists who poisoned our musical life. We need only look
around at the laughably deplorable state of modem American composition and performance
to appreciate the magnitude of their disastrous impact.
Elsewhere, Aryan culture was suddenly freed from Jewish domination and blossomed into a
late 2nd Millennium Renaissance. Naturally, the source of that Western revival was Adolf
Hitler's Germany. It is nothing short of miraculous that during the brief twelve-year period
of peace allowed the Third Reich, such an incredible burst of dynamically creative musical
achievement took place. The spirit of Aryan genius could at last express its genuine
instinct, uncoloured by the alien agendas of Jews hostile to everything German.
AN OPERATIC BATTLE
Generally regarded as the greatest symphonic composer of the 20th Century, Richard
Strauss was urged by 'émigré' Jew impresarios to join them at New York's Metropolitan
opera. They dangled lucrative performance fees to entice him, but he answered them
indirectly by writing a public statement in support of the National Socialist Revolution,
signing it in his own hand, 'Heil Hitler!' With the invention of the first sound tape recorder
by Third Reich scientists, Strauss conducted performances of all his major symphonic
works, recordings still prized as the best of their kind. During World War II, he composed
a concert overture dedicated to the Japanese Royal House on the occasion of its 500th
anniversary and to simultaneously commemorate the signing in 1940 of the Axis pact
between Germany and Japan. His Metamorphoses, a tone-poem lament for the devastation
wrought by the duped Allies on Germany, will forever serve as a deeply moving memorial
to the worst tragedy in human history.
Strauss's contemporary, Hans Pfitzner, although not well-known outside of his homeland,
was among the most important figures in neo-romantic music, and composed what many
listeners consider his greatest works, a pair of symphonies in 1939 and 1940, respectively.
Four years earlier, Pfitzner became the first 'Reich Cultural Senator'. The reputations of
these two musical titans were so established in the world of art that not even the hysterical
hatred of the Jews could destroy them, and their compositions are presently available to a
larger audience than ever before, thanks to Aryan man's technological advances in audio
reproduction.
But what the Jews cannot destroy they poison. A
case in point is perhaps the greatest orchestral
director ever to take up the conductor's baton,
Wilhelm Furtwängler. It would be untrue to
suggest that he was a dedicated National
Socialist. His life was music. Furtwängler was
favourably inclined to our Idea, but he was too
busy with his art for much of the outside world. As
a musician who profoundly cherished traditional
compositional values and no less deeply despised
the cultural rot of the Weimar Republic, he often
expressed his gratitude, both publicly and
privately, to Hitler for kicking out the
Schönbergs, Shaperos, et al, of the 1920's. Less
than a year after the National Socialist Seizure of
Power, however, Furtwängler found himself
embroiled in an extra-musical controversy. He
agreed to stage Matthias the Painter, by Paul
Hindemith. Oblivious to and totally disinterested
in both the story of the opera and the political identity of its composer, the innocent music
director found his rehearsals being picketed by battalions of angry Stormtroopers.
It seems Hindemith, although Aryan, was a loudmouthed Communist and his Matthias the
Painter a blatant propaganda piece urging its audience to take up arms against the
government. "even if it had been elected"-- a transparent reference to the recent National
Socialist electoral victories. Furtwängler dismissed the work's proletarian politics as so
much out-dated flummery, especially in view of National Socialism's on-going popularity,
but insisted the music was good. Performances would proceed as planned, he announced. In
a short time, whatever artistic merits or demerits Hindemith's piece might have had were
utterly eclipsed by a violent ideological storm gathering over the Berlin Opera House...
https://groups.google.com/forum/#!topic/rec.music.classical/9oTp5J7Zg_k
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2020-10-03 03:11:32 UTC
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MUSIC IN THE
THIRD REICH -
THEN AND NOW
http://abbc.com/nj/e2000/history/aryanmusic.htm
https://groups.google.com/forum/#!topic/rec.music.classical/OPC70hSLvOo
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