Music in the Third Reich –Part 1

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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

Wilhelm Furtwängler the greatest orchestral director ever!

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 than the 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.

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Published in: on September 11, 2017 at 7:57 pm  Leave a Comment  

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