jeudi 8 janvier 2015

THE IMPORTANCE OF RICHARD WAGNER

THE IMPORTANCE OF RICHARD WAGNER ))))))) by Ron McVan
If any one man must be credited for lifting Wotanism back to the world stage of Euro-tribal consciousness, without question, that individual was Richard Wagner. It is not an exaggeration to state that Wagner wanted his art to become something of a revitalized religion of the blood. It was not 'art for art's sake' that drove Wagner to the grandiose mystic heights of musical and poetic genius. The real essence of Wagner that motivated him in all things was his unwavering and determined commitment to his ancestral heritage.
Yes, unlike the many composers before him, Wagner probed deeply into the realms of music to areas where other composers dare not tread. A well-spring of profound ancestral insight Wagner found in the Norse sagas, most particularly in the Volsunga Saga. Upon this folk mythos the composer was to pour out the full flood of his talent and emotion.
Wagner's pessimism had built an extraordinary bridge. For some time an inner compulsion had been urging him towards an almost mystical synthesis, but he had held back. From the very beginning his concept of the Teutonic god Wotan and the Norse myths had bound the destiny of the gods and Volsungs closely together. This created a tightly woven interplay of mythology, history and heritage with a feeling of even something more, something greater yet to come. It seemed to beckon a new dawn of the gods and man that could perhaps even awaken the Wotan Consciousness among all of the Euro-tribes. This was something much grander than the mere pretty sounding music of the day. Wagner's music is a music attained by very few composers.
In Wagners compositions the eye is constantly transmitting very definite folkish and symbolic impressions to the brain with the result that his music readily leans to realistic suggestion, and this is exactly what Wagner had hoped to achieve. The two artists whom Wagner most admired were Shakespeare in literature and Beethoven in music. These influences are often witnessed in Wagner's work with its moody, volcanic surges of power and strong emphasis on drama.
Wagner firmly believed that through music one could very possibly redeem a culture, society and its people. To Wagner the theatre was likened to a temple of arcane art and mystic rite, and through the Teutonic myth he had found the elements which would consecrate a higher folk consciousness, an upward path, leading to the Ubermensche (Overman). Other great men, also shared Wagner's invigorating tribal folkish thoughts at the time, such as philosopher Friedrich Nietzsche, artist William Morris and the celebrated Wotanist Guido Von List, to name a few.
The years 1848 to 1852 were for Wagner a long spell of intellectual and spiritual indigestion. His too receptive brain was taking into itself more impressions of all kinds than it could assimilate. Lohengrin, his second great creative epoch which commenced with the "Flying Dutchman", had come to its perfect end. New ideas of music and drama were ripening in him, but as yet, he had no clear concept of their drift.
His failure to interest the theatre authorities in his great plans for the regeneration of the drama and music drove him deeper into politics. In a speech in 1848 which was to create many enemies for him, he stated, "Only from a new humanity, a new relationship between man and the state, could come a clean and healthy and art-loving civilization." The same year he wrote, "Men therefore, are not only entitled but bound to demand of society that it shall lead them to ever higher, purer happiness through perfecting of their mental, moral and bodily faculties."
Wagner would for example, draw attention to the ancient Aryan Greek civilization which reached its highest point in the theatre. The tragedy, to be precise, was the expression of the deepest and most noble consciousness of its people. Wagner held that a nation must have an intimate connection with its history. "The nation itself that stood facing itself in the artwork, that became conscious of itself and, during a few hours, rapturously devoured as it were, its own essence." "Since those ancient days the 'unified artwork' has been lost for us; only the dissevered arts exist now".
Wagner, the consummate visionary, sensed the great social upheavals to come and the potential new age of man which could be born from it, and was convinced that from his work would develop an integral foundation towards such a change. Even today this potential resurgence of ethnic awareness through the Wotan consciousness held a very strong possibility.
The new folk-conscious art demands a new mankind and as a prelude, a return to nature. The goal, both of art and of the folkish impulse, must be "the strong and upright ideal" to whom revolution shall give its strength and Wotanism its will. "The artist of the future", Wagner had stated, will not be the poet, the actor, the musician or the plastician, but the 'Folk' to whom alone we owe all Art itself." Before Richard Wagner’s death in 1883 he went on to complete his epic masterpiece of musical genius in 1876, the 15 hour "Der Ring des Nibelungen" (The Ring Cycle). To this day there is no music which stirs the soul of the Euro-tribes so profoundly as Wagner. So strong an impact, in fact, that the Jewish race, whose insensate distain for all forms of any form of Aryan zeitgeist, totally banned his music in Israel. The classical conductor Zubin Mehta of the New York Philharmonic, experienced the reality of this when in 1981 he tried to conduct Wagner's "Liebestod" from Tristan and Isolde, and it caused a major riot in Tel Aviv. Wagner's music however, is greatly enjoyed by all races of the world and deep down the Jewish race who are as much moved by music as anyone can only appreciate Wagner as well, yet at some point, must come to the realization that Wagner was of the 19th century and not the 20th century and should not be held accountable for what others do with a composers art after their death.
Richard Wagner's music will long be the topic of great controversy. Wagner's music was born from the soul of his race and the ethnic mythos that surrounds the gods and goddesses of Asgard. Beyond this, we can no longer seek or explain anything but can only respect it in order to permit it to take its place within us. Wagner's music was a grand achievement for one single man to accomplish in one short lifetime, and as a composer it made him a Titan. May his inspirational works serve as a first giant step of even grander achievements to come in the future of our people here in Midgard.
HEARTH OF LIFE
He soars aloft, the maker of the all, in the void of space, in the silence and din, and the cosmic glitter of infinite stars, weave a tapestry so sublime therein.
And life shines down from the sun and the sky, it trickles through rivers from mountains high, and on to the sea... and on to the sea... the world and man, and divinity! ...............Ron McVan
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