It will not be an exaggeration, on our part, to refer to Vivaldi’s concerto “Four Seasons”, Beethoven’s “Symphony No. 5 in C Minor” and Verdi’s opera “Rigolleto” as to what these masterpieces really are – a musical expression of European metaphysical idealism, which used to define White people’s existential mode throughout the centuries. Therefore, listening to the selected musical pieces actually help us to understand the spiritual essence of Western civilization, as we know it.
Vivaldi’s concerto “Four Seasons” can be described as the classical example of Baroque music at its best. The part “Spring” is dedicated to one single theme – nature’s awakening after the long winter. In it, composer explores its own feelings, in regards to this time of year, while transforming their essence into music, which corresponds to theoretical properties of Baroque music, as such that utilizes a single emotion as the tool for creating a specific musical mood.
Beethoven’s “Symphony No. 5 in C Minor, Op. 67” explores a whole range of composer’s emotions, which is one of characteristics of music associated with Classical period. In his masterwork, Beethoven utilizes a dramatic effect, produced by symphony’s low-pitched and high-pitched melodic dissonance. It is only after having listened to Symphony No. 5, in its entirety, that we grow to recognize symphony’s parts as essential elements of a single musical idea, which in its turn, reveals Beethoven’s symphony as such that clearly belongs to Classical period.
Verdi’s opera “Rigoletto” and particularly its Act 3, leave no doubt as to the fact that composer was being heavily influenced by Romanticism, as the theory of musical composition, associated with the process of Europeans becoming more sophisticated, in artistic context of this word. Act 3, just as “Rigoletto”, as whole, does not feature a steady musical tonality, as it is the case with “Four Seasons” and “Symphony No. 5”. Instead, composer relies on “musical chromaticism” as the mean of increasing opera’s dramatic appeal. This is the reason why Act 3 incorporates a variety of opposite emotions, put into music, which nevertheless does not affect the integrity of opera’s overall structure.
As we have mentioned earlier, all three musical masterpieces derive out of White people’s psyche, as the only race that evolves evolutionary. This is why, despite the fact that there are many conceptual differences between analyzed types of music, there can be no doubt as to the fact that they are based on the same metaphysical foundation. Apparently, Europeans did not only think of music as the source of aesthetic pleasure, but also as the tool of intellectual advancement.
This is why the musical styles, associated with “good old Europe”, can be referred to as anything but static. It is not a secret that only people with IQ higher than 100 are capable of deriving pleasure out of listening to classical music. Therefore, the declining popularity of such music has nothing to do with it becoming “outdated” and “old fashioned”, as it is being commonly assumed today, but rather with the fact that more and more people in Western countries are being affected by racial mongrelization (thanks to “celebration of diversity”), which in its turn, reduces their capability of enjoying intellectually refined music. The following is the brief analysis of all three musical creations, as such, that cannot be discussed outside of our understanding of European culture, as whole:
- Listening to Vivaldi’s “Four Seasons” allows us to understand what the culturally-historical concept of Baroque stands for – it is the artistic form of people’s metaphysical idealism exploring its own essence, after being released out of Christianity’s imprisonment. Vivaldi’s music is highly melodic, sensual and somewhat sad, even when played in major. This is because, during the time of Baroque, Europeans have been struggling with their realization of the fact that there is no God and that the Earth is not the center of universe. Yet, it was too early for them, at the time, to actually start looking for the God within. This is why Vivaldi’s “Four Seasons”, while being highly melodic, does not feature a “musical voluntarism”, which is the main trademark of Beethoven’s music.
- Beethoven’s “Symphony No. 5 in C Minor” is best referred to as the ultimate musical expression of “Faustian soul”. Symphony’s sheer intensity, its high melodism and the fact that it corresponds to the wide range of emotions, prevents us from discussing this particular masterpiece other then the work of genius. At the time Symphony No. 5 was composed; White people had firmly established themselves as an undisputed masters of the world. Their intellectual endeavors were not affected by considerations of political correctness. This is why it is early 19th century, which more then any other historical period is associated with Western civilization’s rapid scientific and cultural progress. Symphony No. 5 incorporates the very spirit of the era – we can talk of it as an artistic impression of the process of White people rapidly evolving from apes, through homo sapiens, into super-men. Hence, symphony’s dissonant properties, which come as a result of composer staying focused on revealing the full spectrum of his emotions to listeners, by the mean of improvising with music’s dynamics and rhythm at will.
- Verdi’s opera “Rigoletto” provides us with the insight on Romanticism, as the musical style, associated with European intellectuals’ fascination with irrationality, which was a commonplace in the middle of 19th century. Thus, opera’s tone and orchestral choreography correspond to its semantic properties more then the actual singing. One does not have to be an Italian, in order to enjoy “Rigoletto”, just as one does not have to be a German to enjoy Wagner’s “Parsifal”, for example. However, it is absolutely necessary for the potential listener to be a sophisticated individual of European ancestry, in order for his or her experience of watching “Rigoletto’s” performance not to be associated with a boredom, just as it is the case with people who are incapable of understanding the difference between attending opera and socializing.
The range of emotions that originate out of listening to Beethoven’s Symphony No. 5 in C Minor is truly extensive. I personally get to experience the overwhelming joy, by the time symphony reaches its peak, as I associate it with my vision of how justice, beauty, intelligence, health triumphs over lies, ugliness, stupidity and sickness. I get to feel that it is too early to refer to White people as such who will never be able to recover its former existential vitality, because it is only these people who are capable of pushing cultural and scientific progress forward – once there will be no White people left, human civilization will regress back into savagery, as the recent history of African “nations” illustrates.
Whites are only the race that strives towards the stars, in allegorical sense of this word, despite the fact that it often stumbles down along the way. Yet, when time comes – White people rise again, because it is they who are entrusted with the mission of spreading the light of civilization, throughout the world, despite being currently instilled with the complex of “historical guilt” by hooked-nosed “experts on racial relations”.
When this happens, it will be just like in Beethoven’s Fifth Symphony – the pure power begins to slowly grow beneath the layer of artificiality and eventually it breaks through it, rendering the advocates of metaphysical evil helpless. This is when justice triumphs. This is when light overcomes darkness. This is when the course of biological evolution gets to be put back on its natural track. These are the feelings that I get to experience, while listening to Symphony No. 5 in C Minor.