Itzhak Perlman
2,223 words
Nothing can divide white people more than the presence of non-whites: blacks and Jews, especially. It seems that whites just can’t agree on what to do with them — other than to fight over them. One side will identify with the non-whites’ supposed outsider status and remain in thrall of their charms and talents. The other side will, well, see them for what they are.
I was reminded of this state of affairs regarding Jews when reading another brief essay by Kim du Toit. This one is entitled “Remembering” and it struck a chord with me because, if anything, it reminded me of me. I also find du Toit’s take on the Jewish Question to be highly instructive, largely because it involves classical music.
After watching a documentary about Jewish violinist Itzhak Perlman, du Toit reveals how impressed he was with Perlman’s music.
Then Itzhak Perlman came to the stage, painfully hobbling along on his crutches, his polio-ravaged legs waving helplessly as he made his way to the First Violinist’s chair. He sat down, rearranged his legs with his hands, then waited while the CSO began playing Brahms’s Violin Concerto in D major, which is characterized by a lengthy introduction before the lead violinist plays a note. Then it came time for Perlman to play. . . and the CSO took off like a fighter jet. In other words, one man’s playing grabbed the already-magnificent orchestra and literally propelled them into a performance of unbelievable virtuosity. The standing ovation from the audience lasted nearly as long as the performance itself, and several of the orchestra’s violinists dabbed at their eyes with tissues, so moved were they by the experience.
Itzhak Perlman was and is a force of nature.
Then, after commenting on what a mensch Perlman is, du Toit reminds us that Perlman is Jewish and proclaims himself a stalwart and indefatigable white knight for the Jewish people.
But, of course, he’s Jewish.
And this would make him a target for all the assholes in the world: the Muslims, the alt-Right, the academe and intellectuals (especially in Europe) and people like the loathsome Labour politician Jeremy Corbyn who are infected with their foul brands of anti-Semitism.
Make no mistake: to these people — think of Hitler and his Nazis as just the extreme embodiment — this man Perlman, this extraordinary, wonderful man who has been one of the greatest gifts to civilization ever, would be just another Jew to harass in the street, another Jewboy to kick and spit on, and just another Untermensch to load onto a train to be sent to Auschwitz.
Yes, these goy philo-Semites really do believe that things are this black and white. I know, because to some extent, I used to feel this way myself. Having been raised in the lugubrious school of Jewish history (as it seems du Toit has been) my default was to assume that historically Jews were innocent victims of irrational xenophobia and bigotry at the hands of white gentiles. The very idea that the nefarious and self-serving behavior of Jews may have brought such extreme reactions down upon them was dismissed outright because I was so starry-eyed about all the good things Jews do.
You can buy Spencer Quinn’s novel White Like You here.
And one of these things is music. In the classical music world, Jews are disproportionately represented among the great virtuosos — and especially among violinists. [1] It’s true. There must have been something about the peculiar way Ashkenazi Jews have evolved that makes them the very best at the violin — at least as far as the twentieth century goes.
This classical-music.com list of the twenty greatest violinists of all time was compiled by asking 100 leading violinists who their favorites were. Of the twenty, only six are still living (including Perlman), only one is female (Ginette Neveu), and a whopping twelve, or sixty percent, are Jewish. Make that sixty-five percent if you count Gidon Kremer who is half-Jewish. Jews also occupy nine of the top ten slots, and five of the top five.
Presumably, the democratic nature of the classical-music.com list rules out most bias. But who can say for sure? Regardless, other lists seem to have other biases: towards living, non-Jewish, or female violinists, especially. But even these cannot ignore the five-hundred-pound rabbi in the room. One such list from Classic FM produces twenty-four names, eight of which are Jewish, plus two half-Jews (Kremer and Joshua Bell) and four modern names that I’m unsure about. Connolly Music’s nine-name list produces five Jews. In 2010, Listverse gave us ten names and is clearly biased towards historical, pre-twentieth-century figures (Corelli, Vivaldi, Paganini), and still included five Jews. You can look anywhere, and the results will be similar. Jewish maestros such as Mischa Elman, Jascha Heifetz, Fritz Kreisler, Yehudi Menuhin, Nathan Milstein, David Oistrakh, Perlman, Isaac Stern, Pinchas Zukerman, and others will always appear.
And I’m not just wiki-listing here. I have a personal experience similar to the one du Toit describes. As I have stated before,
I never knew what Brahms’ Violin Concerto was supposed to sound like until I heard Jascha Heifetz’s 1959 recording of it with the Chicago Symphony Orchestra, Fritz Reiner conducting.
For classical music lovers, this is a big deal. Trying to impress MacDonald-esque counter-Semitism on such people is quite the hard sell — even if they are somewhat “woke” on the Jewish Question. [2] Jews are simply that prominent in classical music circles. Keep in mind that the names listed above are only the tip of the iceberg. For every Heifetz or Kreisler, we can safely assume there are dozens of professional Jewish musicians who aren’t (or weren’t) as accomplished. And this says nothing of all the Jewish impresarios, record label executives, salesmen, agents, and enthusiasts who keep the business of classical music moving at a tolerable clip long after the music itself fell from the mainstream. [3]
So, if all this is true, does that mean that Kim du Toit is correct? Well, not so fast.
Yes, Jews as a group deserve credit for their contributions to classical music and many other fields (with medicine probably rising to the top of the list). But du Toit makes the same mistakes that all philo-Semites make. [4] First, he makes bold generalizations about the positive qualities of Jews while NAXALTing away their negative qualities. To be fair, du Toit does mention both, and admits that many Jews are “socialists, communists, progressives, one-worlders.” But compare how he does it.
The positive:
Pound for pound, the Jews have contributed as much or more to Western civilization than any other group — it’s even called the “Judeo-Christian tradition”, FFS — and to discount this contribution deliberately, to me, shows a shallow intellect at best.
Versus the negative:
And the liberal Israelis have camp-followers all over the world: in Europe, Britain, the United States and anywhere that Jews can be found in any numbers. Does that mean “conspiracy”? Sure, if you’re a moron, because there are many, many Jews who are conservative, too — but somehow, the Conspiracy seems to have passed them by? Not credible.
See the pattern? Things come together for the positive (when he speaks only of “the Jews”) and things fall apart for the negative (when he speaks of good Jews versus bad Jews). The fact that he refuses to generalize for the negative as he does for the positive reveals a pro-Jewish bias in his thought. And why, exactly, are these so-called conservative Jews always being overshadowed by their left-wing brethren, anyway? Could it be that left-wing Jews greatly outnumber the conservative ones? Du Toit doesn’t say.
Secondly, he assumes the absolute worst from gentiles who are critical of Jews, as if generalizing about the negative qualities of Jews will somehow turn one into a pogromist. Can he find anything in the writings of Kevin MacDonald that encourages people to harass or “kick and spit on” Jews on the street, let alone physically disabled ones like Perlman? The idea is so ridiculous to become offensive. Dissidents like MacDonald see Jews (the Jewish diaspora elite, especially) as demographic enemies who are quite open and racist about opposing white civilization and whites themselves. But neither he, nor I, nor any writer at Counter-Currents or The Occidental Observer advocate for violence. Greg Johnson explicitly condemns it. We just hope to change the metapolitical landscape so that whites have the proper attitude to save their civilization from the nation-killing, anti-white Left without violence. And viewing Jews as they really are — taking the negative along with the positive — is one key way of doing that.
Finally, du Toit fails to realize that the Holocaust had a precedent. He, like many liberals (I know he will hate me for calling him that), will look to the Nazis as the source of evil rather than a reaction to a much greater evil: that of genocidal Jewish Bolshevism. One can start with chapter two of Kevin MacDonald’s Cultural Insurrections, entitled “Stalin’s Willing Executioners,” and then move to various articles from the Unz Review (such as this one which discusses the twenty million souls the Soviets snuffed out in the 1920s and 1930s). The Jewish role in the gulag system is also well documented. Aleksandr Solzhenitsyn covers Jewish Bolshevism nicely in several chapters of his still-unpublished in English 200 Years Together. Even some Jewish sources admit the disproportionately Jewish role in the early Soviet atrocities, such as those committed by Genrikh Yagoda and Naftaly Frenkel.
Vladimir Lenin himself stated the October Revolution would not have been successful without the Jews. Here he is quoted in Yuri Slezkine’s The Jewish Century [ellipses Slezkine’s]:
The fact that there were many Jewish intelligentsia members in the Russian cities was of great importance to the revolution. They put an end to the general sabotage that we were confronted with after the October Revolution. . . The Jewish elements were mobilized. . . and thus saved the revolution at a difficult time. It was only thanks to this pool of a rational and literate labor force that we succeeded in taking over the state apparatus.
I wish conservatives would understand this crucial context before bashing anyone who dares to take an overtly counter-Semitic position. If they can just do this, then perhaps rapprochement between the Dissident and mainstream Right can actually happen. If so, we may just end up getting an edge on the Left after all. . . while still enjoying the music of Itzhak Perlman.
If you want to support our work, please send us a donation by going to our Entropy page and selecting “send paid chat.” Entropy allows you to donate any amount from $3 and up. All comments will be read and discussed in the next episode of Counter-Currents Radio, which airs every Friday.
Notes
[1] The famous story ascribing Jewish violin virtuosity to the smallness of the instrument, which made it easy to carry off when escaping pogroms, is complete nonsense — unless one can imagine people like Vladimir Ashkenazi, Vladimir Horowitz, and Artur Rubinstein fleeing their shtetls with grand pianos strapped to their backs. In fact, Horowitz once claimed that there were only three kinds of pianists: gay ones, Jewish ones, and bad ones. That Glenn Gould was none of these may have partly accounted for the rather frosty relationship these two musicians shared.
[2] I’m reminded of this line from Fordham T. Smith’s review of The Karl Muck Scandal about the great German conductor who, after outrageous treatment at the hands of the Americans during World War I, ended up aligning himself with the Nazis in the 1930s:
Even before Hitler came to power, Muck was not shy about blacklisting or simply not hiring Jewish musicians. Afterwards, he fired them at Hitler’s request and claimed that only the under the most extreme circumstance would he ever bite from “the Jewish sour apple.”
[3] One story that highlights Jewish dominance of the classical music business is that of the great Spanish classical guitarist Andrés Segovia. When he was living in South America in the 1940s, he found himself completely blackballed in the United States because many of the most influential American impresarios at the time were Jews who opposed his pro-Franco attitudes during the Spanish Civil War.
[4] I almost didn’t write this article. I devoted perhaps two days of thought to a handful of paragraphs that du Toit probably dashed off in twenty minutes. I also remember how mad he got at me the first time I wrote about him. But his inclusion of “the alt-Right” in his list of violent anti-Semites is what forced my hand. He’s being downright libelous here, not to mention wrong. I identify closely with the Alt-Right — or Dissident Right, as it is called these days — and I would never countenance the kind of behavior he rather vindictively ascribes to people like me. I take his prejudiced assertions somewhat personally. But I also think that Kim du Toit is worth having serious discussions with. I admire him greatly and find his knowledge of guns, gun rights, and gun politics to be second to none. Gun rights, as I have said before, are crucial for the future of white people, and anyone who supports them as adamantly as Kim du Toit does deserve respect. If the Dissident Right and the Gun Right can reach at least some sort of understanding, especially regarding the Jewish Question, the Right will be a mighty force indeed.
38 Comments
Superb contribution. I, too, am lethally weary of those continually striving to anthropomorphize Jews.
The positive excellent creative work of anyone should and often is praised, because artistry is the work of the individual artist, after all. As a personal example, my favorite film-maker is the Jewish John Milius. He has, quite redundantly if you’ve seen one of his movies, particularly Conan the Barbarian, said that he is a “zen-fascist” and “zen-anarchist,” both of which come across like a person trying to describe Ernst Junger’s philosophy without knowing that is almost how Junger defined it himself.
Anyway, a more pithy comment on supposed political divisions between members of our favorite tribe:
Conservative Jews find ways to conserve their money as much as possible.
Liberal Jews give that money to anti-white actors and causes.
John Milius is Jewish? That’s disappointing.
Yes he is, and yes it is disappointing. Milius is, I think, inarguably the most right wing film-maker ever in that every movie he has ever made or had anything to do with is just about entirely on-point from our perspective. You could make an argument that Mel Gibson has come close just by virtue of making “The Passion of the Christ” as explicitly anti-Jewish as possible (that is, portraying the Biblical narrative of Jesus’ trial and execution accurately in terms of how it was written in the Gospels), but I get the feeling that Gibson is, like most good tradcaths, reactionary. He is just a manly man who got in trouble with the establishment and then fought back against them. Milius, on the other hand, has, despite his ancestry, seemed to make a point of never making a movie that isn’t underpinned by themes that run counter to his tribe’s prevailing (anti)morality. It’s too bad that the least Jewy filmmaker of them all is a Jew himself. Now THAT is the Kosher Sandwich from which there is no escape…because, like some of the Jewish and Asian violin masters, can any white guy really do a better job than what Milius has already done? Short of a full-fash makeover of the world and its prevailing systems of allowable discourse and expression, I say no.
Maybe you should watch some of the Third Reich films reviewed on this site:
https://counter-currents.com/author/lburkhead/
https://counter-currents.com/2011/12/opfergang-masterpiece-of-national-socialist-cinema/
https://counter-currents.com/2014/06/heimat/
https://counter-currents.com/2013/08/der-herrscher-1937/
https://counter-currents.com/tag/veit-harlan/
https://counter-currents.com/2013/02/heimkehr-revisited/
The hypocritical viciousness is so telling:
All Jewish accomplishments reveal their inherent (great) ethnic qualities.
All Jewish failures and evils are just about individuals, not Jews.
… And the converse for non-Jews, especially Whites.
Have you had this experience:
You find yourself working with a Jew in some context where he doesn’t know if you’re Jewish.
You do something that impresses him or that he values….
‘Wow, that’s great. Are you Jewish?? You must be if you’re like that’.
I have, and I’ve heard others tell the same story. Watch how quickly it changes once the Jew in question finds out you’re not Jewish too.
My advice: don’t help him along……
Yes. Jews identify excellence with ‘Jewishness’. And they’re utterly comfortable with their racism. As Whites should be.
Why is the question never asked: “If Jews are soooooo special and contribute sooooo much to us lowly goy why aren’t the non European places where they infiltrate just as culturally innovative and successful. Where are the great composers, scientists, authors, etc. in Iran or Algeria or Turkey”. As some have pointed out in recent podcasts that Jews have been in China for a hundred years. Why isn’t there great innovative accomplishments heralded from there. Answer: Because they are nothing without a host to exploit and manipulate. Thus the reason for the goy shils to constantly try to legitimate their presence among Europeans. That is the greatest insult to anyone’s intelligence. How dare you question the presence of the foreigner within your hereditary environment and the double standards that allow the foreigner to flourish. A despicable conservative meme.
Also why use the term counter-semitism? Why not just use semitism?
“This classical-music.com list of the twenty greatest violinists of all time was compiled by asking 100 leading violinists who their favorites were.”
Wouldn’t it be a matter of course that a nepotistic people, who elevate themselves through ethnocentric behaviors, would comprise the majority of the ranks of those “100 leading violinists”, and through the mechanism of nepotism, would also bias their in-group polling to favor their kin?
I’m not saying that this explains it all away. But it certainly would be a part of it, and I can only imagine that absent such nepotism, there would be a whole lot of talented people of various races who would rise to the top and maybe even nudge out a few of the chosens, if they had the opportunity and a less biased media behind them.
“Ashkenazi Jews have evolved that makes them the very best at the violin — at least as far as the twentieth century goes.”
My problem with this statement is that the 20th century was a lowpoint in the. classical music tradition, so I’m not that impressed. I wonder if in 100 years a similar article will be written about Asian violinists.
Our cultural institutions (including the other arts, as well as sports) should exist to make us better. They can only make us better if our people participate in them. You had to be an ethnic Greek to join an olympiad. No matter how strong your body or beautiful your poetry the ethnic criteria was absolute, at least before Alexander. When we come in to our own again we should follow this policy for our arts and sports.
And yet… Where are the great Jewish composers? Are there even any good ones?
Uh, Offenbach, Mendelssohn, Mahler, Gershwin, virtually all the broadway composers.
Mahler and Mendelsohn are the ones that could be considered among the more important composers. (Mahler converted to Catholicism, for what it’s worth.) Jews are well-represented among 20th century atonal composers that warrant brief mentions in musical history.
Aaron Copland, that’s another feather in their hat.
The revered and acclaimed contemporary British composer, conductor and pianist Thomas Adès, who has denounced Richard Wagner, comparing the latter’s musical output to fungus.
The fact that Jews like to insert themselves between Europeans and European culture matches everything we know about them. I don’t care how well they play violin, or piano, or if “Rosen and Smith, 1977” marginally advances lung cancer research. I just want some peace and quiet from the neverending onslaught they’ve unleashed on every aspect of my society.
If Jews wanted to be judged as individuals, they should have earned that right by dissenting from the malice their elites are responsible for. They have not done so in any significant numbers.
This is well-said.
I will listen to Perlman in the ethnostate.
But I don’t want his warmonger and pornmonger cousins running my homeland into the ground.
Ah yes, Ashkenazi Jews. . . talented German souls with some Jewish blood.
No.
At least Paganini wasn’t Jewish.
The Heifetz/Reiner recording of the Brahms Concerto was recorded in 1955, not 1959, IIRC. Heifetz and the Hungarian Jew Reiner chose tempos that are too fast to do justice to Brahms’s great piece.
I do like Perlman’s recording of the piece from the late 70’s, but that has a lot to do with the great conducting of the non-Jewish Carlo Maria Guilini.
Paganini isn’t Jewish yet, anyway.
You never know when some Jew academic will “find” the historical documents that “prove” otherwise.
Rather than pointing to negative side of Jewish role in West, I would prefer to counter Kim du Toit’s claim that “pound for pound, the Jews have contributed as much or more to Western civilization than any other group” with an examination of actual historical record.
1. Before the 1800/50s, Jewish contribution to West is minimal.
2. Judaism on its own without a Christianity-transformed by Greek philosophy, Roman law, and Germanization devolves into a Talmudist religion
3. Jews contributed very little to Western nation-building and empire making.
4. Greek Hellenic, Hellenistic, and Byzantine contributions are world historical and foundation of Western progress
5. Roman law and libertas and making of empire within which Christianity was able to become a world historical religion
6. Italian Renaissance — nothing comparable in Jewish history
7. Rise of Modern Science led entirely by Europeans
8. Enlightenment — nothing comparable in Jewish history
9. Bourgeois Revolutions
10 Romanticism
11. German Idealism
12. History of painting and sculpture is European
12. Italians, French, British, German have had their own major epochs in Classical composition and most of the major original figures: Monteverdi, Mozart, Bach, Beethoven, Berlioz, Chopin, Wagner, Brahms…
I don’t deny that in 20th century America, Jews did contribute “as much or more” in various fields, and in this respect we can say this was their “epoch” —- and it is in this context that I would bring the negatives.
I agree with all your points, except point 8 : Enlightenment – nothing comparable in Jewish history. In fact there was something comparable in the Jewish Haskala movement, which sought to modernize Jewish life, inspired by European Enlightenment. The most significant name in this respect is that of Moses Mendelssohn (1729-86). Without the Haskala movement modern Jewry, participating in European culture, is unthinkable. For further information, see : Haskala / Judaic movement / Britannica.
Jewish Enlightenment was for Jews, not for the West, whereas the Western Enlightenment gave Jews equal civic rights. Jewish Haskala encouraged Jewish nationalism and Hebrew studies. Western Enlightenment gave Jews opportunities to integrate into the West, whereas their enlightenment incited them to affirm their particular identity.
Jews latching onto something beautiful whites created centuries ago and taking over like parasites. Rinse, wash, repeat; white western cultures blew its wad in the creativity department a long time ago. Fast forward a century, we’ll be bitching about the the glut of East Asian symphony “masters”.
If Kim DuToit thinks that one can wave away MacDonald’s vast and meticulously footnoted scholarship by calling any who actually comprehended it a moron, then it is clear that there is definitely a moron involved. It just isn’t who Kim DuToit apparently thinks.
The fact is that becoming a great classical musician is hard, and the talent required to do so is rare. However, it is not that rare while becoming great is that hard. We might assume that something like 1 in 1,000 gentile whites and 1 in 500 Jews have the raw material to become not merely competent but great classical musicians. However, merely possessing the raw talent is just the ticket onboard a very long ride.
I don’t know anything about the violin but I can speak for the piano. It would be a herculean task to build and command a large enough repertoire to even become a middling professional classical pianist without being paid to do so or having some other means of full patronage, especially in one’s formative years.
While there is little doubt that Jews benefit from a broader pool of innate talent and probably from a culture that generally values things like musical excellence to a greater extent than among gentiles, the simple truth is that when achievement in a field is 99 percent perspiration and 1 percent inspiration, the kid who has to start his own business or join the workforce to eat isn’t going to achieve what the kid who gets a full-ride scholarship to Julliard or full sponsorship will. For those who are Jewsed into an ethnic nepotism network, doors open and things fall into place where they don’t for the aspiring gentile kid. This can and does frequently make all the difference on a path where the first stumble can often be the last.
Ethnic nepotism is how the little hats roll. And contra Kim DuToit’s infantile gatekeeping, many times the Jewish variety of this near universal behavior takes on the form of dictionary-definition conspiracies. As just one example of what a no-sh** Jewish conspiracy — in every sense of that word — looks like, check out David Baazov’s insane rags-to-$400 million in the bank fraud-fest buyout of PokerStars. Not one chapter of that story could have been written for a gentile protagonist.
The details are different in the world of classical music than they are in business or university admissions or scientists citing other scientists. But the overall dynamic is much the same: Doors open for them that remain closed to you.
[…] the kid who has to start his own business or join the workforce to eat isn’t going to achieve what the kid who gets a full-ride scholarship to Julliard or full sponsorship will. For those who are Jewsed into an ethnic nepotism network, doors open and things fall into place where they don’t for the aspiring gentile kid..
But is this not merely the White Privilege plaint that Blacks invariably deploy, and that we deride here, transposed into the key of Jews vs Gentiles?
It’s a different song, perhaps in the same form. The relevant question is whether or not the specific claim is true. I’m suggesting that people of equal or even superior talent are kept out through nepotistic selection in a field where such things matter.
It is more comparable to the Asian claim that they are discriminated against in elite-university admissions.
This piece seems to me rather mean-spirited. With regards to the more grandiose claims made on behalf of (and not always by) the Jewish people, neither uncritical acceptance nor vehement denunciation is necessary: simply it suffices to examine the situation skeptically.
Doubtless Perlman’s klezmer-inspired efforts and his playing on the cinematic score of Schindler’s List riles up some here. But to my mind that is not his greatest work, which is to be found in his recordings of the Bach solo Sonatas and Partitas.
Perhaps those who can only bear to hear ‘aryan’ violinists will content themselves with Mutter or Hahn, but for me it’s hypocritical to complain when Wagner is repudiated for antisemitism while eschewing great Jewish maestros such as Perlman or Barenboim.
Barenboim’s worked can sometimes safely be eschewed due to purely musical considerations.
He has some great recordings out there as both a pianist and conductor. His latest Brahms cycle with the Staatskapelle Dresden, for example, is superb,.
Other times, unfortunately, he sounds like a second-rate Furtwangler, the great “Nazi, but not actually a Nazi” conductor who Barenboim, Perlman and their pals in their humorously -nicknamed “Kosher Nostra” gang deeply admired, to say the least…
” “I can truly say that not a day passes when I don’t think, ‘I wonder what Furtwangler wound think about this’ “, said Barenboim, whose interpretations were frankly imitative.” Norman Lebrecht, “The Maestro Myth”, page 246
As a great admirer of Furtwangler myself, I usually prefer the real thing.
Where would Wagnerians be without Georg Solti’s great recording of Der Ring des Nibelungen? Or his Mahler and Richard Strauss? Sometimes von Karajan just does not quite hit the spot.
Who said anything about Solti?
And the vastly overrated Karajan’s Wagner and Bruckner are still easily superior to Barenboim’s.
Solti isn’t even in the top tier of Jewish conductors, let alone conductors in general.
Otto Klemperer and Bruno Walter, to name just two, easily outrank him.
Jewish violinists. Jewish musicians in classical music.
Practically speaking there are only Jewish violinists. There are only Jewish musicians in classical music, in the United States at least. It’s been like that for a century now.
I’m a classical musician, a pianist, a composer. I ‘scratch around’ on the violin. I’m also a white gentile. I began to be aware of the JQ half a century ago.
My personal interaction with Jewish musicians has been limited, and entirely benign. As a college student in the early ’60’s a Jewish professor of violin encouraged my composing. At a symposium for student composers, a prominent Jewish-American composer critiqued a violin sonata I had written. I accompanied a well known Jewish concert violinist in a couple of recitals, once at the college where I taught, a second time for a civic music association concert in another state. There was also an interesting encounter with a famous Jewish-American musicologist, and other encounters, less personal, with a famous Jewish concert pianist and author, and finally with the most well known of all American piano pedagogues, also Jewish.
So much for me.
These are the conclusions I’ve drawn from sixty years of observing the classical music scene in the United States.
The Jews destroyed classical music, not just in the United States but everywhere, with their 12-tone ‘music,’ their aleatoric ‘music,’ their electronic ‘music.’ Through their dominance of American schools of music they have destroyed generations of gentile musicians. No wonder our people hate classical music!
The Jews destroyed popular music. Via their control of the publishing and recording industries they replaced healthy, white forms of popular music with increasingly degraded, africanized abominations.
Well, that’s my opinion.
Now to ‘the great Jewish violinists.’
Bach’s sonatas and suites for solo violin are the supreme monuments of white European classical violin music. I don’t know (or remember) their performance history, but I will never believe that a Jewish violinist is their ‘best’ interpreter.
Jewish musicians, Jewish violinists, bring something special to their performances. They bring their Jewishness. They bring a seductive, alien element that is antithetical to the racial spirit of the works of Bach and Brahms and Wagner, et al.
We don’t know whether Jewish violinists are ‘at the top of the heap’ or not. Jewish nepotism prevents us from hearing anyone else!
Finally: Hans Schmidt, whom I met at a patriot expo twenty years ago, wrote in his Endzeiten, Endspiele: Der Ausklang des jüdischen Jahrhunderts that he would gladly forego Mendelssohn and Mahler if that were the price he had to pay for retaining Bach, and Beethoven, and Tchaikovsky, and Chopin, and Verdi, and Puccini, and…and…and…
I second Hans. If for the rest of my life I am condemned to listen to violinists inferior to Perlman, and Heifitz, and Elman, and Zukerman… Well, so be it! Anything to escape the kingship of the Jew!
“The Jews destroyed classical music, not just in the United States but everywhere, with their 12-tone ‘music,’ their aleatoric ‘music,’ their electronic ‘music.’ Through their dominance of American schools of music they have destroyed generations of gentile musicians. No wonder our people hate classical music!”
Ah, yes. 12-tone “music”. The only Schoenberg worth listening to, his orchestral arrangement of Brahms’s G minor Piano Quartet, isn’t even his own.
“The Jews destroyed popular music. Via their control of the publishing and recording industries they replaced healthy, white forms of popular music with increasingly degraded, africanized abominations.”
This.
They also destroyed, or at minimum, seriously degraded, music journalism. You can always count on a Jewish reviewer in Fanfare to reveal just how brilliant Mahler’s histrionics are or elsewhere on a Jewish writer to explain exactly how La’Darnell’s rap album is the the work of a “genius” and is filled with profound insights.
We can’t judge talent on the violin by listening to concerts and recordings which we are exposed to only because certain biased parties control who gets recorded and who gets to play publicly in the first place. In recent years it’s begowned Asian women (robots) who dominate. Reviews of their concerts & recordings make me puke. The reviewers trip all over themselves trying to describe these performances.
I’d rather listen to the sonatas and partitas for unaccompanied violin played in their lute and guitar versions.
Kim du Toit is very 1990’s, he only came back to the internet after many years away, and is
sprouting the same 1990’s stuff. He’s just a boomer libertarian who got fame promoting gun-rights.
Arguments with a Boomer….
Q- Jews are untrustworthy, and ruin western culture
A- But Iytzak Perlman plays the violin so well!
Q- Blacks are untrustworthy and have bad morals.
A- What about Bill Cosby….
…LOL….
Q- All dogs have 4 legs
A- Look there is a 3 legged dog you’re wrong!
This is perfect!