Mr. O'Donnell, You Are Wrong

by Iranian for Aryans

29 October 2004

I've been thinking of writing an essay like this for a few weeks. Mr. Stojgniev O'Donnell's article of 10/26/04 entitled "On Jewish Virtue (A Brief Article)" on spurred me to finally formulate it and put it to cyber-pen.

To begin with, Mr. O'Donnell stated, "[...] In few creative areas is discipline so important as in music, a field dominated today in America by Jews. I must admit that I am not an admirer of Jewish discipline in the arts. That discipline, not creativity, is the basis of Jewish success. I don't believe Vladimir Horowitz or Pinchas Zukerman are great performers of classical music, even though the media today bombard the world with propaganda about these and other Jewish musicians. The "art" of Horowitz, Zukerman, and other Jewish fiddlers and tunesmiths consists of a lot of disciplined practice but little creative spirit. Jews succeed in the arts only when they gain an advantage by hard work and practice (e.g., music), or when they can use their Talmudic skills for cutting, pasting and plagiarizing (e.g., writing). We observe also that their talent for playing instruments is not matched by any gift for creating music, though again, the American media constantly tell you that Jews like Copland, Gershwin and Bernstein are the "greats" of American music. Nevertheless -- one can never accuse the Jews of a lack of energy."

There are a few points I want to disagree with concerning the above snippet. Firstly, on what basis does Mr. O'Donnell damn Horowitz and Zukerman and the like as poor musicians? Which Aryan musicians would he classify as poor performers? It seems to me that such dogmatic, unresearched, and "party-line" statements do more harm than good. Just because Horowitz and Zukerman are Jews is not reason enough to undo them. However, let it be said, that in this age of lies, if one is non-White or Jewish, the world opinion-molders will sing their hosannahs for decades to come. Yet, this is not evidence by itself to state that Jewish musicians are staid and spiritless interpreters, one and all.

Indeed, if anyone knows his classical music, it's me. I have spent years listening to Aryan music, ever since my eleventh year of life. Incidentally, "white power" music is not Western, let alone Aryan, music. Digressions aside, Jews are, and have been, some of the best musicians, vocalists, pianists, and conductors of the White Man's tunes. Unbelievably, Jews even have made serious contributions to musical composition itself.

Jews have a rich history of fiddle-playing. Performers such as Perlman, Stern, Kreisler, Milstein, Oistrakh, Kogan, Bell, etc. are great. Oistrakh was honored by being the dedicatée of Shostakovich's First Violin Concerto (a great piece!). As for Perlman, at a dinner-table conversation, Rev. Matt Hale, himself a violinist, grudgingly admitted that even though Perlman looks more like a rat every year, he was still a great player. Further, on the topic of Jewish composers, Hale -- with a feeling of almost secretly divulging something that might later hurt him -- stated that he loves Mendelssohn's wind octet, among other pieces. Naturally, string quartets have also housed many Jews, disproportionately so.

Pianists have also had a disproportionate number of Jews. Besides Horowitz, there have been Pressler, Gilels, Moiseiwitsch (the greatest pupil of Rachmaninoff), Rubinstein, Ashkenazy (Jewish father, gentile mother), Barenboim, and Serkin, among others. So, if the Jew -- as "Der Ewige Jude" stated -- is incapable of understanding Nordic art, then why do so many Jews go into music? Money, subversion? I think the latter phenomenon has truth to it, however, not all Jews have gone the way of Schoenberg. Aside from violinists, what about vocalists? The great soprano Beverly Sills, née Silverman, who is noted for her roles in "La Traviata", and various Donizetti operas. George London, née Burnstein, the great bass-baritone, specialized in Wagnerian roles!

What about Jewish conductors? Well, the world-premier of "Parsifal" was conducted by the Jew Levi, and Jews like Leinsdorf, Barenboim, Solti, and even the ugly Levine have all been proponents of Wagner's operas; his anti-Semitism notwithstanding. Other great Jewish conductors have been: Reiner, Klemperer, Walter, Szell, Dorati, and Ormandy.

What about Jews as composers? They are nowhere close to the heights of Nordics, yet they have one notable outstanding exception, and quite a few memorable individuals. The former is Mendelssohn: without a doubt, one of the greats. He is rightfully considered a true romantic of the German school, whom Wagner (!) named "the Master". His highest achievements are his 4th and 5th symphonies, with his renowned violin concerto. Anyone who has listened to these works and considers them Jewish scribbling, or, like "Der Ewige Jüde", worthy only of the bonfire - like Slavic compositions a la Tchaikovsky, Mussorgsky, etc. which "Der Ewige Jüde" included in the fire with "Jewish" music -- is just "Jewing-down" Mendelssohn because of his Jewishness, and no other reason.

Other composers that come to mind are the (half-Jewish) Kreisler, Wolfgang Korngold, Goldmark, Meyerbeer, Offenbach, Halévy, Moisei Feinberg (or Vainberg), Gustav Mahler, the operetta-composer Kalman, (part-Jewish) Moszkowski and Castelnuovo-Tedesco, Anton Rubinstein (piano virtuoso, Tchaikovsky's peer, premiered Tchaikovsky's famous first piano concerto). Again, I'm not saying that they are at the level of big names like Brahms, Mozart, Handel, Verdi, etc., or that Jews have not played havoc in music in the form of "atonality", and the music of Glass and Reich. Rather, I am only attacking Mr. O'Donnell's viewpoint that Jews have done nothing positive in music, and that they have no creativity, save scribbling. If anyone is familiar with any of the names above, they will know that their achievements are more than scribbling. I invite readers to ask me about the creations of the above-mentioned composers. Anyway, to go further, as a whole, Jews have more names in music than other European nationalities like southeastern Slavs, Slovaks, Albanians, Iberians, and even the ultra-Nordic Scandinavians. Can you think of any great or not-so-great Danes, besides Nielsen? What about Swedes, or Icelanders?

In fact, even if Jewish over-representation in classical music is just scribbling, at least that's better than what Whites do today. Today's Aryans listen to nigger music, and despise their Western heritage of tunes. Today's descendants of Europe who give lip service to Bach and Beethoven, listen to white power music instead. To sum it up, today's Whites are immersed in negritude, whether it is rap, country, or white power music. Not so the Jews. They go for what is good, and higher. This is more than I can say for people involved in the White Nationalist (bowel) movement. The only cultured Whites I can find are some of the leaders and big names within "the movement". Actually, it's to the Jews that I must go to find kindred spirits that enjoy and appreciate not only Nordic music, but Nordic culture in all its manifestations. Where White American leaders like Bush listen to crap country, Clinton plays the brass phallus (i.e., the saxophone), I bet Ariel Sharon and his gentile-hating colleagues enjoy Mozart. Boy, has the White Man sunk! He deserves death!


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