On Tuesday, April 18, 2000 at 12:00:00 AM UTC-7, Anonymous User wrote:
> 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?