César Tort’s “El Orador”


Before I was born my mother used to practice El Orador (YouTube audio here): a piece for piano composed by my father, the late César Tort.

Throughout her pregnancy I happened to be a couple of inches from the piano’s keys, in embryonic state! My mother once told me that while practicing that piece I moved vigorously in her womb. I have this music amalgamated to my soul…

El Orador (The Orator) is a fantasia for piano that my father composed in 1952 and was performed for the first time by María Teresa Rodríguez, and then by my mother (photo above) in 1958, in private gatherings, after I was born.

Father Vértiz, a Catholic priest with eloquent oratory power had inspired the music of my father. According to my parents, the priest’s sermons were like a parable: they initiated in adages and after crescendos culminated in a violent rhetoric that captivated the faithful.

Published in: on September 30, 2015 at 12:02 am  Comments (15)  
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César Tort (1925-2015)

César Tort Sr., my father, died tonight at ninety.


junto al padre Mtz

My father in Madrid, Spain with Father Martínez, a teacher of the Madrid Royal Conservatory, a music college (ca. 1949-1950).


con reina Isabel

My father with Queen Elizabeth (1975). This is a low-quality photo because it has been scanned from a newspaper.


Hazme llorar (literally, “Make me cry”) is a piece composed in 1962 by my father for a duet of soprano, contralto and harp. The above is a 2014 performance at the Palace of Fine Arts, a few months before my father’s liver cancer was detected.

Published in: on September 23, 2015 at 9:57 pm  Comments (18)  


“Music, I feel, must be emotional first and intellectual second.”

—Maurice Ravel

Published in: on September 15, 2015 at 8:27 pm  Leave a Comment  

Uncle Adolf’s table talk, 65



Night of 13th-14th January 1942

The composer Bruckner—Brahms at his height—Wagner and Goring—Great architects—Talent must be encouraged.
After a hearing of Bruckner’s Seventh Symphony: This work is based on popular airs of upper Austria. They’re not textually reproduced, but repeatedly I recognise in passing Tyrolean dances of my youth. It’s wonderful what he managed to get out of that folklore. As it happened, it’s a priest to whom we must give the credit for having protected this great master. The Bishop of Linz used to sit in his cathedral for hours at a time, listening to Bruckner play the organ. He was the greatest organist of his day.

One can imagine this obscure peasant’s arrival in Vienna, amidst an effete society. One of Bruckner’s opinions of Brahms was published in a newspaper recently, and further increased the sympathy I felt for him: “Brahms’s music is very beautiful, but I prefer my own.” There you have the self-awareness, full both of humility and of pride, such as a peasant can feel, in all simplicity, when he is inspired by a true conviction. The critic Hanslick depicted Bruckner’s life in Vienna as a real hell for him. When the moment came when it was no longer possible to ignore his work, he was covered with decorations and overwhelmed with honours. What did all that mean to him? Wouldn’t it have been better not to have misunderstood him so long?

Jewry had raised Brahms to the pinnacle. He was lionised in the salons and was a pianist of theatrical gestures. He exploited effects of the hands, effects of the beard and hair. Compared with him, Bruckner was a man put out of countenance, an abashed man.

Wagner also had the feeling for gesture, but with him it was innate. Wagner was a man of the Renaissance—like Goring in a certain aspect (and it would be silly to blame him).

There is nothing crueller than to live in a milieu that has no understanding for a work already achieved or in process of gestation. When I think of a man like Schiller or Mozart! Mozart who was flung, nobody knows where, into a communal grave… What ignominy!

If I hadn’t been there to prevent it, I believe the same thing would have happened to Troost. That man revolutionised the art of building. Perhaps it would have taken a few years—and he’d have died without anyone having the slightest idea of his genius. When I got to know him, he was depressed, embittered, disgusted with life. It often happens that architects are hyper-sensitive people. Think merely of Hansen, who was the most richly gifted of the architects of Vienna. And Hasenauer? The critics had attacked him so savagely that he committed suicide before his great work was finished—and yet the Vienna opera-house, so marvellously beautiful, puts the Paris Opera into the shade. To know that one is capable of doing things that nobody else can do—and to have no possibility of giving proof of it!

It seems that people should make sacrifices for their great men as a matter of course. A nation’s only true fortune is its great men. A great man is worth a lot more than a thousand million in the State’s coffers. A man who’s privileged to be the Head of a country couldn’t make a better use of his power than to put it at the service of talent. If only the Party will regard it as its main duty to discover and encourage the talents! It’s the great men who express a nation’s soul.

Uncle Adolf’s table talk, 74



Night of 25th-26th January 1942

Beauty and the ancient Greeks
—Human genius and politics.

If we consider the ancient Greeks (who were Germanics), we find in them a beauty much superior to the beauty such as is widespread to-day—and I mean also beauty in the realm of thought as much as in the realm of forms. To realise this, it’s enough to compare a head of Zeus or of Pallas Athene with that of a crusader or a saint!

The period stretching between the middle of the third and the middle of the seventeenth century is certainly the worst humanity has ever known: blood-lust, ignominy, lies.

I don’t consider that what has been should necessarily exist for the simple reason that it has been. Providence has endowed man with intelligence precisely to enable him to act with discernment. My discernment tells me that an end must be put to the reign of lies. It likewise tells me that the moment is not opportune.

When the war’s over, and I have the sense of having accomplished my duties, I shall retire. Then I would like to devote five or ten years to clarifying my thought and setting it down on paper. Wars pass by. The only things that exist are the works of human genius.

This is the explanation of my love of art. Music and architecture—is it not in these disciplines that we find recorded the path of humanity’s ascent?

If somebody else had one day been found to accomplish the work to which I’ve devoted myself, I would never have entered on the path of politics. I’d have chosen the arts or philosophy. The care I feel for the existence of the German people compelled me to this activity. It’s only when the conditions for living are assured that culture can blossom.

Published in: on September 8, 2015 at 7:00 pm  Comments (1)  

Uncle Adolf’s table talk, 89



Night of 20th-2ist February 1942

The spirit in peril—The observatory at Linz—
The fight against falsehood, superstition and intolerance.


Christianity is the worst of the regressions that mankind can ever have undergone, and it’s the Jew who, thanks to this diabolic invention, has thrown him back fifteen centuries. The only thing that would be still worse would be victory for the Jew through Bolshevism. If Bolshevism triumphed, mankind would lose the gift of laughter and joy. It would become merely a shapeless mass, doomed to greyness and despair.

The priests of antiquity were closer to nature, and they sought modestly for the meaning of things. Instead of that, Christianity promulgates its inconsistent dogmas and imposes them by force. Such a religion carries within it intolerance and persecution. It’s the bloodiest conceivable.

In their fight against the Church, the Russians are purely negative. We, on the other hand, should practise the cult of the heroes who enabled humanity to pull itself out of the rut of error. Kepler lived at Linz, and that’s why I chose Linz as the place for our observatory. His mother was accused of witchcraft and was tortured several times by the Inquisition.

There’s no greater privilege, in my view, than to play the part of a patron of the arts or the sciences. Men would certainly have regarded it as a vast honour to be allowed to encourage the career of a man like Richard Wagner. Well, it’s already a great deal gained that people like him are no longer burned alive!

I shall not cease to think that the most precious possession a country can have is its great men. If I think of Bismarck, I realise that only those who have lived through 1918 could fully appreciate his worth. One sees by such examples how much it would mean if we could make the road smooth for men of talent.

It’s only in the realm of music that I can find no satisfaction. The same thing is happening to music as is happening to beauty in a world dominated by the shavelings—the Christian religion is an enemy to beauty. The Jew has brought off the same trick upon music. He has created a new inversion of values and replaced the loveliness of music by noises. Surely the Athenian, when he entered the Parthenon to contemplate the image of Zeus, must have had another impression than the Christian who must resign himself to contemplating the grimacing face of a man crucified.

Since my fourteenth year I have felt liberated from the superstition that the priests used to teach. Apart from a few Holy Joes, I can say that none of my comrades went on believing in the miracle of the eucharist.

The only difference between then and now is that in those days I was convinced one must blow up the whole show with dynamite.

Uncle Adolf’s table talk, 98



Night of 28th February-1st March 1942

The Bayreuth Festival 1925—Bayreuth and National Socialism—Rôle of Frau Wagner—Siegfried Wagner.

In 1925, the Bechsteins had invited me to stay with them in Bayreuth. They lived in a villa in the Liszt Strasse (I think this was the name of the street), within a few yards of Wahnfried. I had hesitated to go there, for I was afraid of thus increasing the difficulties of Siegfried Wagner, who was somewhat in the hands of the Jews.

I arrived in Bayreuth towards eleven o’clock in the evening. Lotte Bechstein was still up, but her relatives were in bed. Next morning, Frau Wagner came and brought me some flowers.

What a bustle there was in Bayreuth for the Festival! There exist a few photographs of that period, in which I figure, taken by Lotte Bechstein. I used to spend the day in leather shorts. In the evening, I would put on a dinner-jacket or tails to go to the opera. We made excursions by car into the Fichtelgebirge and into Franconian mountains.

Dietrich Eckart, who had been a critic in Bayreuth, had always told me of the extraordinary atmosphere prevailing there. At the first performance of Parsifal that I attended at Bayreuth, Cleving was still singing. What a stature, and what a magnificent voice! I’d already been present at performances of Parsifal in Munich. That same year, I was also present at the Ring and the Meistersinger. The fact that the Jew Schorr was allowed to sing the rôle of Wotan had the effect of a profanation on me. Why couldn’t they have got Rode from Munich? But there was Braun, an artiste of exceptional quality.

For years I was unable to attend the Festival, and I’d been very distressed about it. Frau Wagner also lamented my absence. She often urged me to come, by letter or by telephone. But I never passed through Bayreuth without paying her a visit.

It’s Frau Wagner’s merit to have created the link between Bayreuth and National Socialism. Siegfried was a personal friend of mine, but he was a political neutral. He couldn’t have been anything else, or the Jews would have ruined him.

Published in: on September 1, 2015 at 1:40 pm  Comments (4)  

Uncle Adolf’s table talk, 118



22nd April 1942, midday

The Metropolitan Opera House in New York closes its doors—The Americans have no great artistes.

It is reported that the Metropolitan Opera House in New York is to be closed; but the reasons given for its closing are certainly false. The Americans do not lack money; what they lack is the artistes required to maintain the activities of the greatest of their lyrical theatres.

One requires but little knowledge to know that the most famous operas are all of either German, Italian or French origin, and that among the artistes who perform them the Germans and the Italians are the most celebrated. Deprived of the services of the artistes from these two countries, the management has preferred to close its doors rather than expose the inadequacy of American artistes.

Our newspapers must not miss this opportunity! Copious comment should be made on this illuminating pointer to the cultural standard of the United States.

Published in: on August 8, 2015 at 4:06 pm  Leave a Comment  

Uncle Adolf’s table talk, 125



Berghof, 30th April 1942, at dinner

German tenors—The horror of Bruno Walter and Knappertsbusch—Furtwängler, the only real conductor.

I am very sorry that Germany at the moment possesses only two really first-class tenors, for these two unfortunates are forced to tear round and round the country singing in town after town with neither rest nor respite. The fault lies with the directors of the Operas and the conductors, who are not at sufficient pains to seek and recruit new talent.

Great conductors are as important as great singers. Had there been a sufficiency of good conductors during the time of the Weimar Republic, we should have been saved the ridiculous spectacle of the rise to eminence of a man like Bruno Walter, who in Vienna was regarded as a complete nonentity. It was the Jewish press of Munich, which was echoed by its Viennese counterpart, that drew attention to the man and suddenly proclaimed him to be the greatest conductor in Germany. But the last laugh was against Vienna; for when he was engaged as conductor of the superb Viennese Orchestra, all he could produce was beer-hall music. He was dismissed, of course, and with his dismissal Vienna began to realise what a dearth there was of good conductors, and sent for Knappertsbusch.

He, with his blond hair and blue eyes, was certainly a German, but unfortunately he believed that, even with no ear, he could, with his temperament, still produce good music. To attend the Opera when he was conducting was a real penance.

The only conductor whose gestures do not appear ridiculous is Furtwängler. His movements are inspired from the depths of his being. In spite of the very meagre financial support he received, he succeeded in turning the Berlin Philharmonic Orchestra into an ensemble far superior to that of Vienna, and that is greatly to his credit. Some people attribute this superiority to the fact that Berlin possesses a number of genuine Stradivarius, but this explanation must be accepted with reserve.

Published in: on July 31, 2015 at 8:28 am  Leave a Comment  

WN – “a pathetic joke”

by Joseph Walsh

degenerate WNOne of the most corrosive effects on the white man in the post-war era has been “rock music” in my opinion. This “music” is derived from negro tribal music, yet it is listened to by quite a few so-called pro-whites despite Hitler speaking about the danger of alien cultures in degrading Aryan culture. The National Socialists would have outlawed this music as degenerate music and indeed there was a group of youth in National Socialist Germany who listened to negro music imported from the United States, the Edelweiss Pirates, who were sent to concentration camps and the heads of the group were even hanged.

The skinhead pictured in the cartoon above [click also here to see the whole pic] is based on the skinhead youth subculture that began in the mid-60’s in England that has nothing to do with National Socialism. Skinheads ended up getting involved with John Tyndall’s National Front after a youngster from the NF formed a group for youth that caved in to degenerate music-the Punk Front. From there on skinhead rock music became associated with National Socialism even though Hitler, Himmler etc. would have imprisoned youth in concentration camps for listening to rock music.

Considering many White Nationalists, including those in Golden Dawn, are involved in rock music and these are supposed to represent the best of our race, what does that say? It means the White race is in trouble, serious trouble. There are no White men on their way to becoming supermen like the heroic SS, of course there are still racially-conscious pure-blooded White men but their character and thinking is degenerate, unlike the SS. At this rate I wonder how the White race will survive at all. The post-1945 White Nationalist movement resembles a pathetic joke at times, especially when compared to the National Socialism and Fascism of the 1920’s-1940’s.

Published in: on July 30, 2015 at 4:55 pm  Comments (7)  

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