Wagner vs. Bach, 2

I invite visitors who like classical music to watch an hour-and-a-half documentary: ‘Bach: A Passionate Life’. The host of the documentary informs us that, when Luther took refuge in a castle, he believed that the devil was stalking him from the ceiling. Compare such dark paranoia with the return to the artistic spirit that then reigned in Renaissance Rome!

In that room the dark monk, Luther, translated the New Testament using many German dialects, thus creating a unified language for that nation. In one of my previous posts I said that all western nations since Constantine, except for the brief reigns of Julian the Apostate and Hitler, should be considered quackery from the new point of view. The reason why the Germans allowed themselves to be brainwashed so easily since the US-imposed Diktat is explained if we see that the inertia of their culture was infinitely more Christian than the occult paganism of the Third Reich. In other words, what succeeded again in WW2 was, as happened after the assassination of Julian, the grip that the Christian archetype holds over the white man’s psyche.

Compare my point of view with what even a racist revolutionary, a non-Christian, wrote in one of his novels. Harold Covington envisioned a dispute between Christians and pagans, both freedom fighters for the 14 words, during the racial revolution: a dispute that was only resolved when the pagans allowed that the hymn of the new Aryan republic was… a hymn that Luther had composed! Naturally, neither the late Covington nor his secular followers that can still be heard once a month on Radio Free Northwest knew that Christianity and the JQ are one and the same.

These Luther hymns went perfectly in line with the central goal of Bach’s life, as we are informed after minute 29 of the documentary linked above: ‘A well-regulated church music to the glory of (((God)))’. Those were Johann Sebastian Bach’s words: the words of the grandfather of all the composers! But without putting triple parentheses now, after the 45th minute of the documentary a writer confesses to us, when we hear Partita for Violin No. 2 in the background, that this sort of musical soliloquy ‘would convince me that there is a God’.

This is most interesting because that Partita is the music solo I have heard the most from Bach, and although it is secular (i.e., non-sacred music) it perfectly portrays the feeling of the child of my dream in my previous post: that what for my father (or Christians) seemed sublime to me it seems hellish. Infernal not in the sense of today’s degenerate music, but in another sense. Just as Gothic cathedrals represent magnificent art, much of Bach’s music (and even Beethoven’s quartets) transports me to that gargoyle-filled nightmare world of which I want nothing more than a return to a musically enlightened world.

Please understand me well. Unlike those Neanderthals who don’t understand the music of Bach, Beethoven or Wagner, since my parents were musicians by profession I did understand them. But it is the dark Zeitgeist that, as in my dark cathedrals series of dreams, bothers me even though I recognise that the Partita is a masterpiece. Curiously, when after getting used to listening to it on violin I once heard the same Partita by Bach, but this time versioned for classical guitar, the gargoyles disappeared and I was finally able to enjoy it. Something similar happens to me with the church organ and the harpsichord: I cannot hear them except when the pieces are versioned for other classical instruments, although more modern. It is the Christian Era Zeitgeist that irritates me, and to understand my subjectivity I must translate another page of El Grial:
 

______ 卐 ______

 

What impresses me about this historical revisionism is the clairvoyance of the teenager I was, whom my parents and a psychoanalyst destroyed at the time. He saw things as they were, and compared the loss of his beautiful life with the loss of the ancient Hellas. For the adolescent Caesar, the best of his Palenque had been his ‘Greek’ stage, and the stage after November 1974 was like the fourth century and subsequent European centuries. How I remember the way in which I then projected that drama on the image of an LP that my father liked, that we called the Hercules Mass.

I was deeply hurt by the transition from the world of the Greeks and the Romans to Christendom; and the face of the lad on the cover of the album, together with the Kyrie of Josquin des Prés, represented the fateful transit: sculpture and music that, in my adolescent mentality, I thought dated from the times after Constantine. Still something of the Hellenic beauty was seen in the profile of the young man—I felt inside—and it hurt me that, unlike the jovial times of the ancient world, he was now praying with his face up (note that the female above the lad is no longer Aryan). Later I remember very vividly that, already living with my grandmother in the darkest stage of my life, I blamed my father’s Christianity for the annihilation of the beautiful youth of Athens. What I was unaware of at my seventeen is that the grandiose temples, statues, and libraries of Greco-Roman culture had been ripped apart, and adepts of the old culture marginalised and even genocided by Christians…

Now I know that the tragedy of the West in general, and the tragedy of my life in particular, are two sides of the same coin. The soul that the adolescent Caesar so projected on the downgraded ‘Greek’ of the album was killed by the same regressive forces by which the Greco-Roman world was killed: the incredible evil, stupidity, massive psychosis and envy of humans. From this angle, writing about my life has also been, in some way, writing about the western tragedy.

10 Comments

  1. >>>>The reason why the Germans allowed themselves to be brainwashed so easily since the US-imposed Diktat is explained if we see that the inertia of their culture was infinitely more Christian than the occult paganism of the Third Reich.<<<<<

    It is not surprising with poor ordinary German people, but how simply and easy Himmler's elite, the most conscientious and ideologically-fueled fanatics who came through the war and survived, became prosperous shop-keepers, merchants, factory-owners, hotelmen and even politicians in postwar Germany! Many of them lived well-spent and long lifes. Let's be honest, only a few persisted in their persuasions and suffered. And that state of affairs we can see already during the very first years after WW2, just read Savitri Devi's books about her adventures.

    Do you remember an Andersen's tale?

    "In the very middle of the empty endless snow-hall there was a frozen lake; it had cracked into a thousand pieces, but each piece resembled the next one completely, so that it was nothing less than a feat; and in the middle of it the Snow Queen sat when at home, and then she said that she sat in the mirror of REASON, and that this was the only and best thing in the world."

    The Snow Queen offered Kai to assemble the word "EWIGKEIT" with pieces of ice. ‘If you can make that word out for me, you shall be YOUR OWN MASTER, and I will make you a present of the entire world and a pair of new skates.’ – She tells him.

    He had a chance to change everything and, after the final transvaluation of old values, obtain overhuman qualities, but he followed Herda, towards beer and sausages, and turned afterward into a fat mediocre burgher.

  2. I was tempted after your post about Wagner s Parcival to write a comment but now that you have brought in Bach s music it is even better and I want to relate to this post with a musical experience which I had a few months ago and which fits marvelously into your story line.
    A life without music is a mistake.
    Your story about the Bach partita is crucial to explain why in my experience of listening to classical music things turn into a joyful experience or a boring or even depressing affair.

    My parents supported music wholeheartedly and I learned to play the violin and was fond of most classical composers up to Bruckner with exception of Wagner ( ! ) and somehow I avoided listening to Bach . On a feeling level I was my whole life repulsed by the obvious “christian smell “of his works”. I never could figure out why but found relief as a student when reading that Nietzsche had said about Bach that his music ” hat zu viel rauhe Christenheit in sich” ( too much of raw christianity ). The sound of a church organ was in an in explainable way repugnant to me and to be ignored.
    Decades later I started to understand that my whole aversion again christian churches had originated in me being baptized ( protestant ) in such a location as a young child. My parents had the stupidity to drag me and my brothers to a church without having the decency to even explaining what was to happen. On the road to the church I was beaten up by my father because I was insubordinate. The baptism itself felt like an execution and had an unspeakable and unforgettable gloom about it.
    I realized that there my intense and simmering hate towards all things christian had started. Not surprising I ended up reading Nietzsche s “Der Antichrist ” when adult. When my father was old I presented him a Dutch translation of it on his birthday. He never discussed it with me.

    The last year the Dutch ” Bach Vereniging ” makes a tremendous effort to put all Bach s works on Youtube videos and played by the best of the best of Dutch musicians.
    I started listening to it because I was attracted to the visuals of the church interiors where a lot of the performances took place.
    By chance I came to listen to the Prelude and Fugue in F on organ in the Martini Church in Groningen where I was born. Now I had never set one foot inside of that church my whole life while every week passing it. ! And now I saw for the first time that that church had in it the most marvellous organ in sound quality as well as in design. It was so beautiful that I was stunned. Its design was equally majestic with the best classical sculpture I knew while the church interior and outside was boringly simple.

    Somehow this uplifting visuals with the majestic organ sound was triggering something in me which made me listen to Bach s Fugue with a totality which I never had allowed myself. And it was shocking , moving me to the core. Without the slightest associations to christendom I was able to recognize the tremendous musical genius of Bach, The melodious inventiveness and vitality that this Man put in almost all of his works is almost without equal.
    looking back I realize that the beauty of the organ opened the flood gates and I could hear Bach for what he really was.

    Also I realized , when I saw ,many other videos of organ concerts in Holland and Northern Germany that this organ building culture has reached a pinnacle of tremendous beauty and sound quality already in the 17th century, mainly through the work of a german organbuilder Arp Schnitger who also built the Groningen organ.
    It made me realize how much these church interiors show that we north Europeans have created excellence in music and art which regrettably was in the service of the christian church !

    What could this creative ability lead to when a more sane and healthy religiosity will replace this retarded religion of christendom?

    Also it made me realize that when we are enjoying art we tend to identify that what we experience as a quality that is exclusively bound to the art that we hear or see.

    This is not so !!

    All our art experience is a projection.
    All that we experience as beauty or sadness whatever, is as a potential in us, is created by us as a response to certain outside triggers,
    It looks like that when the shadow of the past with its grip on our emotional levels is cleaned from our minds we are for the first time present to what really is.

    • Yes, but I suspect that both degenerate contemporary music, and even Bach, will fall out of favour if values are indeed tranvalued. How can Bach’s music be reconciled with the art in painting and sculpture that I have been adding recently? Tonight I will add a sculpture of Ganymede and the pederast God who kidnapped him. Would the Germans have invented the organ in that parallel world, if the Greco-Roman culture had not been destroyed?

      How would music sound in that parallel world if the Greco-Roman spirit had taken over the collective unconscious of the Germanics (certainly not like this, where the Aryan lad is below the mud woman)?

      • Your questions are certainly the right ones to be asked.
        Bach s music would have been fallen out of grace after transvaluation of values had happened because it is infested too much with christian moods and sentiments and therefore can not be reconciled with , although I believe professional musicians still would refer to them because of their musical ingenuity.
        What I hinted at is this: if a spirit like Bach s would have been brought up in a mature NS culture he would have created the perfect aryan music, but how that would sound is a guess of course.
        The Germans would definitely have invented the organ in that culture, but it would have supported another kind of expression.

        Dont forget that also the classical Greeks suffered a cultural degeneration that set in with Hellenism already. My understanding is that if Greco Roman spirit would have endured and maintained itself Pythagorian knowledge would have been the foundation for a new music culture.

        By the way the contrast between the two faces of the foto you inserted has a typical 19th century flavour in which the sculptors used a lot of models. The upper figure looks like a bluntly copied model whil the lower looks more idealised.

      • Yes: the Greco-Roman art of later times was decadent (because they already committed the sin of miscegenation). But to make my point clear: How would music have sounded if, instead of that (((god))), whites would still worship Zeus (who abducted Ganymede)? How would art look today in a world of unmiscegenated pure Aryans so beautiful that, once in a while, a teen could reach the level of beauty of a girl?:

        Incidentally, the world of director Fellini (who was hetero) is nightmarish. But I’m using his Satyricon only for the actors.

      • To answer your last comment and to firmly conclude our discussion on this theme I would say that I am instinctively sure that any real artist, that means a sculptor or painter who is of white genetic make up, will instinctively and intuitively try to realize the bodily beauty that you showed in Satiricon s.
        Nature will ultimately realize that beauty in our phenotypes when we manage to develop the right spirituality that keeps us in contact with our bodies and out of the grips of a calculating bio computer that our mind is.
        The beauties that we can see show that there is the tendency in nature to move towards beauty, but they are just the lucky shots of nature seeing the inferior material it has to work with right now.

        What our musical expressions would be nobody can answer this question .

        I saw the movie atready in the seventies and remember the very enigmatic end .

      • Ascyltos was stabbed and then died. The end was nihilistic and the film horribly surreal.

        Fellini was no admirer of Aryan beauty, but at least his actors covey something of it. Today I’ll add a new entry explaining the matter.

  3. Is Athanaric, the Thervingian Gothic king (reign 369-381), worthy of recognition next to Julian the Apostate and Heinrich Himmler as a bulwark contra the Christian malware? Church historians of the fifth century condemned Athanaric due to his persecution of the Christians (History of the Goths, Herwig Wolfram, Page 64). The second wave of the Gothic persecution of the Christians, as directed by Athanaric, aimed for complete extermination (69). The Gothic prince forced the Christians (spiritual race-traitors) among his people to worship a common tribal god. Whoever refused suffered the punishment of the “divine law” of the tribe, as the idols were associated with the Ansis-Aesir and the divine ancestors or founding heroes (69).

    I see he was mentioned in Deschner’s work, however I’m having a difficulty finding a source for the exact number that Athanaric liquidated.

  4. (((God))) was a complete failure until he created Bach (according to EM Coiran).


Comments are closed.

%d bloggers like this: