He was a Danish composer who worked primarily in Germany and Austria. I’ve found his seventh symphony, “The Storm”, much to my liking. It’s a brooding and tempestuous work.
Jan 222012
A commentator had asked how one would go about delving into the Western musical canon. I started out with Bach concerti, Chopin, and Tchaikovsky symphonies: the rest is history. I also listened to works numerous times before they sunk in and I appreciated them.
Anyway, I would first come up with a list of important and very likable composers to listen to, in epochal order:
Bach
Handel
Vivaldi
Haydn
Mozart
Beethoven
Schubert
Schumann
Chopin
Brahms
Tchaikovsky
Secondly, I would recommend CDs that feature the “best of” the composer’s works, such as those found on the inexpensive Naxos label. The pieces contained within the recordings are only snippets of the composer’s oeuvre, but they, nonetheless, provide a good introduction.
Lastly, once the individual has found what he or she enjoys, then I say, “Have at it!” and let the delving into the composer’s other works begin. This branching out process will take more than a decade and it is a fruitful and pregnant endeavor for the soul.
I would appreciate and welcome any criticism and/or emendation.
1950 movie devoted to White destruction
I just viewed this 1950 western. It starred James Stewart in the role of a squaw-man who wanted peace between the Chiricahua Apache and Whites. Essentially, this movie was the first movie to depict the Indians in a “fair” and “just” manner. In other words, it was a Jewish-inspired concoction devoted to making Whites look bad and feel guilty in order to make them them more malleable to racial mixing with blacks. I’m of the opinion (thanks to a friend for hammering this home) that Hollywood movies need to be emulated in order to learn the fine art of propaganda.
For example, only physically attractive people play the heroic roles. They are amiable, austere, and sagacious.The audience is in sync with them and admires them immensely. The beautiful squaw girl is played by a White 16 year-old girl who is sacrificed to (White) “racism”. Cochise is played by a noble-visaged Nordic, while handsome James Stewart – the all-American apple pie hero - is both the narrator and protagonist who, obviously, falls in love with, and later marries, the squaw.
No opportunity is lost to drive home the Jewish message. The so-called “Christian General”, Howard, clarifies that “racism” has no place in the Bible. Thus, real Christians should not be racist as the only difference between Whites and Apaches is the intensity of pigmentation. Other forms of balderdash and mendacity reign supreme: the Indians are always noble while the Whites are decrepit; Whites are wantonly cruel while Indians are only made to be so by White perfidy; the Apache have a “vibrant” culture. The list, tritely, goes on and on.
The directer, Delmer Daves, was, apparently, in the business of directing pro-miscegenatory movies. For instance, he directed the 1957 western, Jubal, which I reviewed.
So what can I further add to my opinion of Broken Arrow? According to Wikipedia,
“The film was nominated for three Academy Awards, and won a Golden Globe award for Best Film Promoting International Understanding.“
Honestly, what more is there to say?
Jan 112012
Jan 042012
I watched a documentary on the Voyager expedition to the outer planets. I was cynically snickering the whole while; scientists planning and leading an intra-solar system voyage while their society fell apart everywhere around them.
Have can I have respect for these myopic craven fools? I know their type: super-brainy nerds with not a shred of courage, carrying on as if everything is fine.
Jan 022012
Greg Johnson wrote:
Posted October 23, 2010 at 12:01 pm | PermalinkFor 18 bucks more, through Amazon Marketplace, one can get the 22 disc Sony box of all of Stravinsky conducting his own work. It is an amazing treasure trove. The Kali Yuga isn’t all dark!
Artists like Stravinsky, the Futurists, Dali, Pound, and the list goes on an on are proof that artistic “modernism” is an organically Western phenomenon, whether for good or ill; that modernists are not necessarily decadents, but people who in their own ways are deeply rooted in Western artistic traditions and seeking the renewal of our civilization; and that the Jewish promotion of artistic modernism needs to be appreciated in that context. That Jews see an angle in it does not mean that we cannot as well.
How can Stravinsky, Dali, and the majority of iconoclasts (in every bad sense of the word) of modernity, be considered organic growths (rather, putrescent mutations) while Jewish destroyers are not? What’s the difference between Picasso and Rothko? What’s the degree of degenerate separation between Webern and Glass? I think that gentile modernists are arrogant quasi-Jews.
Allow me to elaborate. These gentile cultural modernists are spoiled poo-artists who are attempting to get attention and believe that they, very conceitedly, can be the harbingers of a “New Art” and “New Direction” that would revolutionize and destroy the “staid past”. They look and dress funky, viz., Pound (with his “Bohemian” hair) and Dali with his moustache and freakish facial gestures. Pray, how is this different from the concept of Dadaism to jolt the bourgeoisie from its fatuous slumber?
Stravinsky didn’t want to rejuvenate Western music with his primitivism in the Rite of Spring, his cacophony of his neo-classical period. The man jumped from one style to another like a rootless charlatan. Dali transformed Western Art to some phantasmagoric miasma of “ideas” and “themes”. These modernists are attention-seekers, pure and simple, who wanted to shock, awe, and revolt against Tradition.
Modernists have not furthered Western culture, but stunted it and excreted upon it. They have broken its rules, its concepts, and its ideas in the name of the ever diffusive and effervescent concept of “Progress”. How can this be a “deeply connected” tie to the past? These people are destroyers not creators. They haven’t taken Western culture into a new and untrammeled path, but have rather lead it to the abattoir with their desire to destroy their civilization’s heritage. Is it for nothing that Jews have promoted these degenerates who are “…deeply rooted in Western artistic traditions and seeking the renewal of our civilization”?
Tell me, what modern poet, what modern composer, and what modern painter has outdone a Master of the past? Who hums Stravinsky’s Symphony of Psalms or recites a poem by E. E. Cummings? The Gods have surely punished these modernists for their hubris by making their creations unpopular, nugatory, and ephemeral.
The emperor has no clothes!
Jan 022012
- The Germanic Spirit???
So what if modernist “creators” had a correct ideological and salubrious bent? They could claim that their “cutting-edge” and “revolutionary” ideas were Germanic, noble, uplifting, and whatnot, while spewing destructive and inimical garbage. Anton Webern, Nazi supporter, (de)composed the following “…in the spirit of some of Bach’s Brandenburg Concertos”: ha! Emil Nolde, Nazi party member, considered his artwork (above) to exemplify the Teutonic spirit: double ha!
All the Pounds, Cummings, Antheils, atonalists, expressionists, futurists, cubists, et al. can ballyhoo the merits of their creations as much as they want, but nothing will ever change the fact that they make war against Culture, the Beaux Arts, and the ennobling Spirit of Man.
May I go further and state that by attacking the Beautiful they are also pugilists engaging the Numinous Itself?
Goebbels: “We National Socialists are not unmodern; we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters.”
Hitler’s response: “There will be no experimentation.”
Amen!
Jan 022012
I ravished this work! Another great yarn by H. G. Wells.
Incidentally, his description of one of the beasts had an uncanny verisimilitude to a physical description of a nigger. At one point, Dr. Moreau, the vivisectionist, transformed a beast into a low-grade man; specifically, a negro.