Category Archives: Music

Brahms & Democracy

kyril-kondrashin-brahms-symphony-1-2012

In November of 1876, one hundred and forty years ago, Johannes Brahms’ monumental First Symphony was first heard, performed in Karlsruhe, Germany.  The much anticipated work – which took Brahms over 20 years to complete – has become part of the canon of Western music.  Ironically, the premiere of The Ring by Brahms’ supposed rival and fellow musical genius, Richard Wagner, was performed for the first time in the same year.

While one critic initially called Brahms’ First Symphony “Beethoven’s Tenth,” it has surpassed that unjust description and now stands on its own merit as a distinct masterpiece.  The First Symphony, the three that followed, and the rest of Brahms’ works makes him more than Beethoven’s successor, a unique musical figure in his own right.

In one of his best newspaper articles, H.L. Mencken wrote the following about a Brahms’ performance:

My excuse for writing of the above gentleman is simply

that I can think of nothing else.  A week or so ago, . . . I

heard his sextet for strings, opus 18, and ever since then it

has been sliding and pirouetting through my head.  I have

gone to bed with it and I have got up with it.  Not, of course,

with the whole sextet, nor even with any principal tune of it,

but with the modest and fragile little episode at the end of

the first section of the first movement – a lowly thing of eight

measures, thrown off like a perfume, so to speak, from the

second subject.*

The Sage of Baltimore continued on what made Brahms so special:

In music, as in all the other arts, the dignity of the work is simply

a reflection of the dignity of the man.  The notion that shallow

and trivial men can write great masterpieces is one of the follies

that flow out of the common human taste for scandalous

anecdote. . . .  More than any other art, perhaps, music demands

brains.  It is full of technical complexities.  It calls for a capacity to

do a dozen things at once.  But most of all it is revelatory of what

is called character.  When a trashy man writes it, it is trashy music.

 

Here is where the immense superiority of such a man as

Brahms becomes manifest.  There is less trashiness in his music

than there is in the music of any other man ever heard of, with

the sole exception, perhaps of Johann Sebastian Bach. . . .

Hearing Brahms, one never gets any sense of being entertained

by a clever mountebank.  One is facing a superior man, and the

fact is evident from the first note.

While Brahms was born in Hamburg, he eventually found his way to the musical capital of the world, Vienna, which, at the time, was part of the Austro- Hungarian Empire.  Vienna was more than the musical center of Europe, but a cultural one as well which was rivaled by few in Brahms’ time.

Although mostly forgotten under an avalanche of pro-democracy historiography, the Vienna where Brahms spent most of his adult life was “ruled” by a monarch.  The rich cultural life which flourished in that political atmosphere was admitted even by those who were, no doubt, hostile and envious of it as the philosopher and economist, Hans-Hermann Hoppe, describes in his seminal book, Democracy: The God That Failed:

Even democratic intellectuals and artists from any field of

intellectual and cultural endeavor could not ignore the

enormous level of productivity of Austro-Hungarian and in

particular Viennese culture.  Indeed, the list of great names

associated with late nineteenth and early twentieth century

Vienna is seemingly endless.**

As Professor Hoppe insightfully shows, the incredible accomplishments of the likes of Brahms came in the pre-democratic era which tragically ended with WWI.

. . . rarely has this enormous intellectual and cultural

productivity been brought in a systematic connection with

the pre-democratic tradition of the Habsburg monarchy.

Instead, if it has not been considered a mere coincidence, the

productivity of Austrian-Viennese culture has been presented

‘politically correctly’ as proof of the positive synergistic effects

of a multiethnic society and of multiculturalism.

Whether the accomplishments were in the arts, music, scientific breakthrough, invention, or entrepreneurial wealth creation, all were the result of individual initiative, skill, tenacity, foresight and intelligence within a society that recognized, praised, and promoted such achievements.  There was no affirmative action or policies that promoted artists based on their skin color or gender.  When Brahms came to Vienna, he did not receive an Austro-Hungarian version of a National Endowment of Arts subsidy!

Just as important, and what is ignored by the Left and many race-denying realists on the respectable Right, is that all of these civilization-enhancing accomplishments in Vienna were made, for the most part, by white men.  No other culture or people have ever produced music comparable to Brahms and his fellow Western musical masters.

The democratic age which followed has been praised by scholars as an advancement of the human condition on all fronts.  In his book and in other places, however, Professor Hoppe has shown that just the opposite has occurred under democratic conditions with a trend toward de-civilization.  Taking the US as an example, he writes:

. . . less than a century of full-blown democracy has resulted in

steadily increasing moral degeneration, family and social

disintegration, and cultural decay in the form of continually rising

rates of divorce, illegitimacy, abortion, and crime.  As a result

of an ever-expanding list of nondiscrimination –

‘affirmative action’ – laws and nondiscriminatory, multicultural ,

egalitarian immigration policies, every nook and cranny of American

society is affected by government management and forced integration;

accordingly, social strife and racial, ethnic, and moral –cultural

tension and hostility have increased dramatically.

As Professor Hoppe notes, the latest phase in the democratic era has been  immigration policies which have been deliberately planned to destroy the various Western cultures with Germany being the most devastated.  Yet, as Mencken wrote of him, Brahms was a product of Germanic blood not that of multiculturalism.  The German people who continue to support and allow those to wantonly destroy the culture that produced a Brahms should consult Mencken:

I give you his Deutsches Requiem as an example. . . .   The thing is

irresistibly moving.  It is moving because a man of the highest

intellectual dignity, a man of exalted feelings, a man of brains,

put into it his love and pride in his country.  That country is

lucky which produces such men.

While Brahms’ music will always be listened to and played for its brilliance, it should always be remembered in what culture his genius was allowed to flourish.  How fortunate for mankind that Brahms lived in the pre-democratic era and what a loss it would have been if the First Symphony would have never been composed.

 

*Marion Elizabeth Rodgers, ed. The Impossible H.L. Mencken: A Selection of His Best Newspaper Stories.  With a Foreword by Gore Vidal.  New York: Anchor Books, Doubleday, 1991, pp. 465-468.

**Hans-Hermann Hoppe, Democracy: The God That Failed: The Economics and Politics of Monarchy, Democracy and Natural Order.  New Brunswick (U.S.A.): Transaction Publishers, 2001, pp. xii-xiii.

Antonius Aquinas@AntoniusAquinas

https://antoniusaquinas.com/

 

 

 

Rock ‘N’ Roll Has Got to GO!

R n R

Has Got to GO!

Those who believe that the Western world can solely be turned around by the enactment of sound economic policies are sadly mistaken.  Until the Left is not only defeated, but annihilate in the culture war, the decline of the West both economically and socially will continue as recently witnessed by the “controversy” over the use of public bathrooms by perverts.

To accomplish such a necessary task, those on the Right must identify the means and mechanism by which liberalism has so adroitly used to accomplish the cultural transformation.

No finer example of the Left’s use of a medium for its depraved ends can be seen in that of rock “music.”  It is safe to say that rock ‘n’ roll has done more to undermine public morality than all of the judicial activism and welfare legislation enacted throughout the past half century or so.  And, without a conducive social atmosphere created by such music, it is doubtful that the sexual revolution and its perverse byproducts such as militant homosexuality and feminism would have ever flourished.

While initially rock was relatively innocuous, it, nevertheless, was subversive to traditional morality.  Most rock songs are couched in cleverly worded lyrics which promote promiscuity, vices such as drug use, and frequently mocks Christianity, all of which has led to the corruption and eventual ruination of countless lives.

Yet, despite these well established sociological “facts” of rock ‘n’ roll’s corrupting influence, those among the Right have long ago accepted this insidious form of music.  In fact, many actually promote it.  Rock is used as lead-in and background music to conservative television and radio programs while publications carry reviews of rock albums and concerts with writers often boasting about attending such events with their wives and children in tow.

After the recent passing of the degenerate and truly odd character who went by the name of “Prince,” a number of conservative outlets praised his “music” while one popular radio and television personality attempted to make the case that Prince was an opponent of the New World Order!

At one time, the culture war was an integral part of the political discourse, however, the debate over the issues of that war have been abandoned.  The acceptance of rock music by the Right is another demonstration of how it has succumbed to nearly all of liberalism’s premises.

The Left has understood (and still does) that through mediums such as television, motion pictures, and music, they could accomplish their agenda despite setbacks in the political arena.  While unsuccessful for a time in politics, they were, nevertheless, winning the important cultural battles and it was through rock music that society was gradually transformed.

There is, thus, no need for those who seek a return to traditional society to celebrate and embrace rock music, instead it should be treated with scorn.  But, it must first be recognized for the evil that it is.

While rock music must be understood for what it represents and debunked for its part in the triumph of the counterculture, an alternative should also be offered.  Happily, one can be readily found in the sublime and societal enhancing music of such masters as Brahms, Beethoven, Bach, Mozart and Tchaikovsky.

Better still, St. Augustine reportedly remarked, “Qui cantat, bis orat” (“A person who sings prays twice”).  When Western man’s Creator is once again prayed to through the music of such greats as Palestrina, Victoria, and Byrd throughout all the lands will the cultural war be won and society revitalized while rock music will be a distant and regrettable memory of a troubled time.

 

Antonius Aquinas@AntoniusAquinas

https://antoniusaquinas.com/