The sibelius problem
The Music of Sibelius in the context of an awakening of ethnic national consciousness was music that moved people emotionally. But worse for the anti-Whites was the fact that an entire nation was contextualizing and forming a habitual nostalgic connection between the music of Sibelius and their own ethnic consciousness. This connection went beyond the conscious mind and rooted into the subconscious mind. A national homeland, a national language, a national epic. And Sibelius provided the music that glued it all together. This had to be deconstructed. In today’s terms, this was an entire nation Going Free. In 1938 THEODOR W. ADORNO published a review of Bengt de Törne’s book Sibelius: A Close-Up (Faber & Faber, London, 1937). His target was Sibelius. He was infuriated by the book’s favorable treatment of the great composer. That his music could unlock the ethnic conscious of the Finns scared him. Adorno wanted to deconstruct Sibelius, he needed to be banished into the anti-White narrative. POST WWII German historical criticism has not unwillingly followed Adorno’s footsteps. In Hans Heinrich Eggebrecht’s Musik im Abendland (1996), a history of western music, Sibelius’s name is not mentioned. In depth Adorno-Sibelius story |
|
The Sibelius Problem
The awakening of Finish national consciousness is a recent phenomenon historically speaking that we are not far removed from. And now with Western culture and Westernkind under a withering anti-White assault the Finish experience gives us an object lesson of a people reclaiming their destiny.
What was, what is the Sibelius problem? Is it still with us today? Sibelius’ nationalistic music was a problem for the anti-nationalists, aka anti-whites as far back as the early part of the 20th century and maybe even earlier. Sibelius’ music woke and brought to life the ethnic national spirit of the Finish people. This was clearly a problem to the anti-nationalists. Going forward we will simply refer to the anti-nationalists as the anti-whites. A national homeland, language, and culture are the essential ingredients of a nation. For our purposes let’s break down culture into 3 major components, literature, music, and art.
The literature of Kalevala was the bedrock, the national epic describing the birth of a people. The Finish language, now totally legitimized through Kalevala took its place alongside the other national languages of Europe. Additionaly In the 1830s and 1840s the poet Runeberg was writing nationalist poetry inspired by the Kalevala based upon an idealized Finnish folk. Runeberg also wrote what was to become the Finish national anthem and his statue stands tall on the Esplanade in downtown Helsinki.Along slide Runeberg were The Turku Romantics, a group of young Finnish (albeit Swedish-speaking) intellectuals who agitated for the cultural and linguistic identity of the Finns after Finland's change of political status in 1809 when it became an independent Russian Duchy. One of these romantics was A.I. Arwidsson who is credited with popularizing the famous slogan “Swedes we are not, Russians we will not be, so let us be Finns.”
Heroic artwork based upon the heros of the Kalevala was also being created. All the elements of a nationalistic consciousness were coming together. The capstone would be the music of Sibelius. The nationalistic music of Sibelius offered an intense experience both of the self and of the collective. People groups only get to know themselves as a people through the expression of collective cultural activities. That is participation in our collective bio-spirit. Music constructs our sense of identity through the direct experiences it offers to the body, the mind, and common bio-spiritual social interactions. Music, literature, and art enables a people to place themselves in their own unique cultural narrative. The narrative in which they are the hero in their own story.
For anti-Whites wishing to destroy Westernkind this is problematic. Siebelius and his music became the target. In 1938 Theodor Adorno, yes that Theodor Adorno, wrote a critical essay, notoriously charging that "If Sibelius is good, this invalidates the standards of musical quality that have persisted from Bach to Schoenberg: ] Adorno sent his essay to Virgil Thomson the music critic of the New York Herald Tribune, who was also a critic of Sibelius; Thomson, while agreeing with the essay's sentiment, told Adorno – "the tone of it [was] more apt to create antagonism toward [Adorno] than toward Sibelius". Later, the composer, theorist and conductor René Leibowitz went so far as to describe Sibelius as "the worst composer in the world" in the title of a 1955 pamphlet. Leibowitz was a student of the Schoenberg atonal school of music composition. Atonality is to music what modern surrealism is to art. It is an attempt to deconstruct whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable and praiseworthy and replace it with whatever is ugly and debased.
These are the same attacks we see today, there is truly nothing new under the sun. To survive we must never loose control of the narrative and allow ourselves to be placed in the anti-white narrative where we are the villain.
In the description of this video I have placed links to a music by Schoenberg and Sibelius so you can decide for yourself.
Schoenberg Piano Concerto
https://www.youtube.com/watch?v=A-fyWc6Mpd8
Siebelius Finlandia
https://www.youtube.com/watch?v=F5zg_af9b8c
The awakening of Finish national consciousness is a recent phenomenon historically speaking that we are not far removed from. And now with Western culture and Westernkind under a withering anti-White assault the Finish experience gives us an object lesson of a people reclaiming their destiny.
What was, what is the Sibelius problem? Is it still with us today? Sibelius’ nationalistic music was a problem for the anti-nationalists, aka anti-whites as far back as the early part of the 20th century and maybe even earlier. Sibelius’ music woke and brought to life the ethnic national spirit of the Finish people. This was clearly a problem to the anti-nationalists. Going forward we will simply refer to the anti-nationalists as the anti-whites. A national homeland, language, and culture are the essential ingredients of a nation. For our purposes let’s break down culture into 3 major components, literature, music, and art.
The literature of Kalevala was the bedrock, the national epic describing the birth of a people. The Finish language, now totally legitimized through Kalevala took its place alongside the other national languages of Europe. Additionaly In the 1830s and 1840s the poet Runeberg was writing nationalist poetry inspired by the Kalevala based upon an idealized Finnish folk. Runeberg also wrote what was to become the Finish national anthem and his statue stands tall on the Esplanade in downtown Helsinki.Along slide Runeberg were The Turku Romantics, a group of young Finnish (albeit Swedish-speaking) intellectuals who agitated for the cultural and linguistic identity of the Finns after Finland's change of political status in 1809 when it became an independent Russian Duchy. One of these romantics was A.I. Arwidsson who is credited with popularizing the famous slogan “Swedes we are not, Russians we will not be, so let us be Finns.”
Heroic artwork based upon the heros of the Kalevala was also being created. All the elements of a nationalistic consciousness were coming together. The capstone would be the music of Sibelius. The nationalistic music of Sibelius offered an intense experience both of the self and of the collective. People groups only get to know themselves as a people through the expression of collective cultural activities. That is participation in our collective bio-spirit. Music constructs our sense of identity through the direct experiences it offers to the body, the mind, and common bio-spiritual social interactions. Music, literature, and art enables a people to place themselves in their own unique cultural narrative. The narrative in which they are the hero in their own story.
For anti-Whites wishing to destroy Westernkind this is problematic. Siebelius and his music became the target. In 1938 Theodor Adorno, yes that Theodor Adorno, wrote a critical essay, notoriously charging that "If Sibelius is good, this invalidates the standards of musical quality that have persisted from Bach to Schoenberg: ] Adorno sent his essay to Virgil Thomson the music critic of the New York Herald Tribune, who was also a critic of Sibelius; Thomson, while agreeing with the essay's sentiment, told Adorno – "the tone of it [was] more apt to create antagonism toward [Adorno] than toward Sibelius". Later, the composer, theorist and conductor René Leibowitz went so far as to describe Sibelius as "the worst composer in the world" in the title of a 1955 pamphlet. Leibowitz was a student of the Schoenberg atonal school of music composition. Atonality is to music what modern surrealism is to art. It is an attempt to deconstruct whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable and praiseworthy and replace it with whatever is ugly and debased.
These are the same attacks we see today, there is truly nothing new under the sun. To survive we must never loose control of the narrative and allow ourselves to be placed in the anti-white narrative where we are the villain.
In the description of this video I have placed links to a music by Schoenberg and Sibelius so you can decide for yourself.
Schoenberg Piano Concerto
https://www.youtube.com/watch?v=A-fyWc6Mpd8
Siebelius Finlandia
https://www.youtube.com/watch?v=F5zg_af9b8c