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.
What the Jews cannot destroy
they poison!
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 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
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 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
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!
Music Today
After we read the above article we realised how lucky
we are today to enjoy the outstanding works of Rapping, Techno and the latest
modern musical sounds, performed for us by talented and sensitive artists
(photo). A gift to all of us, presented by wonderful record production
companies who have managed to elevate our souls far beyond the horrendous music
that was inflicted on the populations under the Fascist regimes. Thank God,
modern democracy selects what we are allowed to hear, to see, to read and what we
can say.
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