Loyal like German Oaks

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If all become unfaithful, we remain loyal
So that there will always be a banner for you on Earth.
Comrades of our youth, you are a picture of a better time
That consecrates us to manly virtue and a death for love’s sake.
You will never leave but always be close to us,
Loyal like German oaks, like moon and sunshine!
Once it will again be bright in all brothers’ minds,
And they will turn to the source in love and loyalty.
This grace have the heroes well wrested,
And now, as victory is ours, Satan practices new treachery.
Yet, come what may in our life,
You, o dream of glory, shall never grow old on us.
You stars looking down calmly, be our witnesses,
When all brothers fall silent and trust in false idols.
We will never break our word, never become fools,
We will preach and speak of the holy German Reich.

Annual midnight swearing-in of Nazi SS troops, Feldherrnhalle, Munich, 1938

Published in: on September 19, 2017 at 8:35 am  Leave a Comment  

Music in the Third Reich-Part 3

THE RECASTING OF WILHELM FURTWÄNGLER

It was only a matter 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 the 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
Mengelberg was dedicated heart and soul to Adolf Hitler. Like Furtwängler, Josef Willem Mengelberg’s reputation was world-wide!

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 the 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 man’s 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 for the 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
Mascagni was also a dedicated follower of Benito Mussolini from the early days of the Duce’s struggle. Pietro Mascagni one of Western Civilisation’s last great creators.

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?

Victor de Sabata, a measure of the greatness of the Fascist era. Fascist Italy also inspired some of the finest conductors of all time, and the best may have been Victor de Sabata.

Fascist Italy also inspired some of the finest conductors of all time, and the best may have been Victor de Sabata. Like Furtwängler and Mengelberg, recordings of his intelligent, dynamic interpretations, especially of Respighi, Beethoven and Puccini, are highly prized by collectors. As a measure of the greatness of the Fascist era in which he flourished, no Italian conductor since the liberal-Marxist take-over of 1945 has begun to approach de Sabata’s achievements. Fascism inspired many extraordinary composers; among the greatest was Gian-Francesco Malipiero, who was also the most important musicologist of the 20th Century, largely because he restored the complete creative output of Claudio Monteverdi, the 16th Century founder of Italian opera. The huge, meticulous edition, nearly twenty years in the making, until its completion in 1942, is still sought after by musicians throughout the world as the most invaluable sourcebook of its kind. Malipiero’s own 1936 opera, Julius Caesar, was based on Shakespeare’s play and is a triumphant Fascist revival of the Roman origins common to all Western civilisations.

The racial-nationalist Finns, whose blue Swastika flag flew alongside Adolf Hitler’s crusade against Soviet Russia, produced the most important composer in the history of their country and one of the finest of the 20th Century, Jean Sibelius. Another comrade-country, Latvia, enjoyed its golden age of composition from its independence in 1918 until its take-over by the Soviets in 1940, then again during the German liberation from 1941 to 1944. With the recent return of Latvian freedom, the splendid works of such composers as Janis Medich, who wrote during the 1930’s and early 40’s, are being heard with greater frequency by the outside world. Spanish Fascism lasted long after the post-war period with an equivalent endurance of great composition, as evidenced by the extraordinary guitar concertos by Joaquin Rodrigo in the 1950’s.

 THE UNMUSICAL ALLIES

Meanwhile, in the Allied countries, wracked with capitalist exploitation pitted against communist subversion, all the arts fell into decline. The lamentable condition of American music was examined in Issue #120. The situation was not quite as bad in England, but the country had nothing to look forward to under its increasingly Jew-dominated democracy of cultural sterility. Ralph Vaughn Williams, Arthur Bliss, Arnold Bax, Gustav Holst and their colleagues from the early part of the century were rapidly ageing with no one to match or exceed their monumental genius, save only Benjamin Britten, certainly the last English composer of any importance, who died in 1976. French musical creativity was sustained during the 1930’s by one man, Florent Schmitt, a passionate Fascist, whose compositional greatness foreshadowed the Impressionists. Only his old age and status as France’s greatest living composer saved him (barely!) from the post-war hangman’s noose. His successor, Francis Poulenc, carried on the torch of great Gallic music. But since his death in 1963, the history of French musical composition is blank.

In the Soviet union, that Frankenstein monster of the Jews, their ludicrous efforts to mass-produce ‘proletarian art’ failed miserably. Having eviscerated Russian music in the 1920’s, the Reds were at first alarmed by a strident nationalist style that suddenly burst forth in the work of Gentiles Serge Prokofiev, Rheinhold Gliere, Ipolatov Ivanov and Aram Katchaturian. These outstanding composers were allowed to proceed with their strongly folkish compositions, however, because the Soviet leaders knew that such art could be used to arouse patriotic fervour against the European fascists.

But after 1945, such ethnic sentiments, being no longer needed (indeed, they were dangerous to the Jews), were condemned. The same Russian composers who were honoured for writing ‘patriotic’ music when it was required to stir up national emotions against Hitler were denounced publicly and hounded personally as ‘enemies of the Soviet people.’ Some tried to please their masters by composing inoffensive music; those who could not were tossed into stinking Gulags. As in the allegedly ‘democratic’ societies of England, France and the U.S., serious musical composition died in the ex-USSR with Prokofiev in 1953.

The only bright spots in the musical world were those still illuminated by the sunlight of National Socialism. It is a heritage of which we who carry on in its name can be extraordinarily and justifiably proud. And when our souls are moved as we listen to a Third Reich recording of music heard and enjoyed by Adolf Hitler, we share a living, spiritual kinship with him others cannot understand. Despite the magnitude of the catastrophe that physically destroyed the Third Reich and its heroes, the music of that most glorious epoch survives for us to hear.

And it more than survives! The irrepressible force of its greatness is touching more listeners than ever before. The enduring triumph of the Reich’s music represents a sacred sign, an assurance from God, that not far behind the echoing trumpets conducted by Furtwängler and Mengelberg marches just as invincibly our Movement!

 

Published in: on September 19, 2017 at 8:26 am  Leave a Comment  

Otto Skorzeny

SS-Sturmbannführer Otto Skorzeny talks to commandos from Fallschirmjäger and Waffen-SS who took part in Operation Eiche, the rescue of Mussolini from captivity in the mountains at Grand Sasso, September 1943.

Search this site for a full history written one year ago.

 

Published in: on September 19, 2017 at 8:22 am  Leave a Comment  

Adolf Hitler: The Ultimate Avatar. limited edition

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