(Jewish Telegraphic Agency) Jews are the original “cultural appropriators” — and in decadent Weimar Germany, Jews had risen to dominate German arts and culture, but with the rise of Adolf Hitler and the National Socialists, they were stripped of their lofty and nepotistic status in order to restore German culture into the hands of the native German people:
Jews were forbidden today to give performances of Beethoven, Mozart and Goethe on the ostensible grounds that they must be allowed “to develop their own spiritual and creative genius.”
Explanation of the ban was offered by Hans Hinkel, Nazi Commissar for Jewish Cultural Affairs, who said:
“Jews must be allowed to develop their own spiritual and creative genius. If they are unable to or show themselves so poor in spiritual endowments that they cannot develop their own culture, it is all the more necessary to show the world that we cannot allow them to become the masters of our cultural life.”
Hans Hinkel, of course, knew full well that Jews were incapable of developing “their own spiritual and creative genius” — Jews are masters of mimicry — pleomorphic cultural chameleons — best depicted in Woody Allen’s film “Zelig” — able to recognize Aryan genius but capable of creating only pale facsimiles — such as Mendelssohn and Mahler.
Of course, in the classical music sphere, there were so many Jewish musicians and performers — and Germans such as conductor, Wilhelm Furtwängler who sympathized with their Jewish colleagues — that the National Socialists struggled to fill all the vacancies created by this 1937 ban.
But to better understand Jews in relation to classical music, take the example of Italian composer, Antonio Salieri — depicted in the 1984 film “Amadeus” by Jewish-looking actor F. Murray Abraham — who recognizes and envies Mozart’s genius, but is largely incapable of creating anything of lasting value on his own — so he attempts to sabotage Mozart instead.
In the film, Salieri says of Mozart, “Here again, is the very voice of God!” — and since Jewish identity is predicated upon the rejection of Christ — God come in the flesh — Jews have doomed themselves to frustrating status of recognizing that Voice but incapable of materializing it through art and culture — because they arrogantly believe that they are the living embodiment of God in the flesh while “gentiles” are merely useful animals to be exploited lacking the spirit of God.
This movie “Amadeus” is a thoroughly Jewish affair — based on the stage play by Jewish playwright Peter Shaffer and directed by Hungarian Jew Milos Forman — and featuring the Iago-like character Salieri, played by Abraham, who received an Academy Award for, no doubt, depicting the conflicted Jewish relationship to genuine classical music and art.
Johann Sebastian Bach — whom many consider the greatest composer who ever lived — inscribed each of his musical manuscripts with “S.D.G.” an abbreviation for “Soli Deo Gloria” or “for the glory of God” — a humble acknowledgment of his inspiration — while Jews, as mimics, are inspired by other, more accomplished composers rather than by God — a mere platonic shadow on the wall.
And while Jews have whined about being banned from performing German classical geniuses, they hypocritically have called for the banning of performances of Bach’s “St. John Passion” because of its “antisemitic” themes — of course, Jews hate the Gospel of John — the apostle beloved by Christ — and have called for it to be censored — preferably outright banned.
Because Jews cannot create God-inspired art, they tear it down — analyze it, deconstruct it — asking sophomoric questions like “Who says Beethoven is so great?” — a contemptuous attitude best exemplified in the words of Jewish feminist and pretentious scribbler, Susan Sontag:
“The truth is that Mozart, Pascal, Boolean Algebra, Shakespeare, parliamentary government, baroque churches, Newton, the emancipation of women, Kant, Marx, and Balanchine ballets don’t redeem what this particular civilization has wrought upon the world. The white race is the cancer of human history.”–C.I.A.-funded Partisan Review, Winter 1967
This oft-quoted screed is a classic example of Jewish “sour grapes” — from Aesop’s fable of “The Fox and the Grapes — to belittle what you yourself cannot grasp or achieve.
Along a similar vein, the “British” Jew Norman Lebrecht — unfortunately one of the most influential classical music critics today — who was once described by a world-leading conductor as having “pompous, preposterous judgment” — claimed,
“Beethoven was an above average composer, promoted by whiteness and maleness.”—Slipped Disc, July 31, 2020
Jewish sour grapes indeed.
After the fall of the Third Reich — our last Christian bulwark against the judeo-bolshevik onslaught — Jews quickly re-established their dominance and stranglehold on the culture, not only in Germany but in all western nations — and have enjoyed a virtual monopoly over the field of classical music.
Not only have many of the famous conductors of major symphonies been Jews — such as George Szell, Eugene Ormandy, Andre Previn, and Leonard Bernstein — but music criticism is also dominated by Jews, such as the above-mentioned Norman Lebrecht.
And it should therefore come as no surprise that the most performed classical music composer today is not Beethoven, Bach, or Brahms — but rather the second-rate Jewish Bohemian, Gustav Mahler.
And perhaps the most monetarily successful and famous of post-war Jewish composers and conductors — the homosexual Leonard Bernstein — was a great admirer of Mahler.
Speaking of “pompous and preposterous judgment,” listen to Leonard Bernstein project the Jewish virtue of “ambiguity” on both Mahler and Mozart — in a pretentious, rambling, and nonsensical lecture available here.
As someone once trenchantly observed,
“Leonard Bernstein was brilliant, and nobody appreciated that more than himself.”
And one of the most celebrated classical pianists of the post-war era was another Jewish homosexual — Vladimir Horowitz — once famously described as a “master of distortion and exaggeration” — whose talent “illustrates that an astounding instrumental gift carries no guarantee about musical understanding.”
Is it fair to ask if we should trust Jewish homosexuals to correctly interpret and perform the greatest masterpieces of white Christian culture?
We certainly wouldn’t be offended if Jews insisted that only fellow Jews should interpret and perform Mendelssohn or Mahler — but apparently even Jews themselves might not be up to the task.
For example, we can see this conflict between the German and Jewish spirit played out in an infamous argument that arose when Leonard Bernstein conducted Mahler’s “Das Lied von der Erde” performed by the Israel Philharmonic — when the lead vocalist — the German soprano, Christa Ludwig — who was certainly one of the greatest classical vocalists of the 20th Century — got into an argument with Bernstein about his misinterpretation of the rhythm of the piece:
Ironically, even a German is better at interpreting the Jewish composer Mahler than the Jewish conductor, Bernstein — an apt metaphor for the degraded state of classical music today.
Jews are very touchy about Mahler’s reputation — such as Woody Allen — in his 1979 film “Manhattan” — who becomes incensed when his intellectually pretentious friends call Mahler “overrated”: