The speculation that people of today do this somewhat quells the misanthropy

Shostakovich wrote many of his works “for the drawer,” because they were not safe for the current political climate.

I continue to be fascinated by the idea that political esotericism is possible in classical music. I wrote about Shostakovich before here.

This post is dedicated to my very good Stalinist friends who totally would never literally throw me in a gulag if they had the opportunity.

There are so many eerie similarities one finds to our own time when one studies Stostakovich’s relation to Stalin.

The study I drew from previously is overly technical for the layperson (to say the least!) Here is a more laid back summary of their relation.

Classical music is like space travel in that it doesn’t get the attention it deserves because of our culture’s fixation on teaching the children of humanity how to walk. “First thing’s first!” Nah, they seem perfectly content to crawl.

Why does no one ever talk about the despair that is caused by overlistening to classical music? It leaves such a void in your life. And before you ask, yes I do blame the Jews! There are no structures in our culture that facilitate the creation of NEW classical music, and this is by design.

“What about Philip Glass?” Don’t make me grimace.

It’s just a ~coincidence~ that it’s THIS word that the Soviet Union centered itself around, huh?

Well you can choose to live in an aristocratic society-within-a-society if you so desire. I’ve found that musicologists can offer a remedy to the overlistening to classical music, at least to some extent. There are more subtleties and more symmetries to it than you’d think, and anyone who has listened to it on entheogens is aware of this. The basic flawed belief is that art is “made up”. No, aestheticians can be scientists that are as objective as chemists. The interpretation of a novel, say, isn’t “just your opinion”- there are experts who can help you appreciate it more fully.

Ironically, I just deleted a paragraph for political reasons. “For the drawer” I suppose…

How nice I am to protect people from the Stalinists. Even people who have treated me poorly I protect.

Anyway, as a ray of sunshine, we can expect something like the following in the future when the final pajama party survivors die off

The faster the twentieth century moves away from us, the clearer it becomes how pivotal a moment of the entire era was Stalin’s death, particularly for the Soviet empire.

As the myth fades their style of “morality” fades with it. I myself am a symptom of its shelf-life.

If you want to know more about this Shostakovich-Stalin dynamic, this is written by someone who had face to face conversations with Shostakovich over a period of years. This is a 20th century paradigm of the Artist who had to live under the reign of the Tyrant.

Rachmaninoff escaped to the at the time relatively unzogged NYC in 1918 after the Bolshevik Revolution. Shostakovich remained. Their music reflects these decisions.

Every time-period has a different mosaic of countries that invite one to either escape to or escape from, one just has to be sensitive enough to recognize the invitation. When I see for instance Brahmin Indians escaping to the US that to me represents a lack of sensitivity. In 1918, less so. It’s probably necessary steps in the education of their people. To them it’s “high culture” here. For certain peoples who have already gone through those necessary steps of education it is not. I know people will never stop laughing at me for saying it, I don’t care- Tehran is the new Paris.

Oooh I love these bold rangordnungs

I consider the Tenth Symphony a more perfect work than Dr. Zhivago. But from an ideological and moral point of view, Dr. Zhivago, with its Christian underpinning, was a colossal breakthrough. The author’s freedom from Marxist cant, after decades of relentless brainwashing that made it the only possible paradigm for even the most talented Soviet cultural figures, was astonishing.

The Tenth Symphony premiered nine months after the death of Stalin. It fills me with a certain jubilation to imagine what art might be created after our egregore-partzuf fades away.

I feel like I’m peering into the future of the US here

he basically disavowed his novel. This was unbearable humiliation, since Pasternak continued to consider Dr. Zhivago the most important work of his life. But even this rather courageous man, who had gathered his considerable strength and boldly crossed the border of fear, was in the end broken by the still powerful repressive apparatus of the post-Stalinist Soviet Union.

Remember, Russia is “their most recent victim”. It’s absurdly under-studied in light of that. And you can read that Goodson book on banking to get an idea of how beholden “”Stalin”” was to the “”Soviet”” egregore-partzuf, Jesse. cough cough Stalin was murdered by Jews when he tried to challenge them cough cough.

I like to think there are Shostakoviches out there, and I know that there are

not only would no one utter a sound, but many of his colleagues would gladly join in the sanctioned persecution.

Whoda thunk that you’d need to understand a poet to understand a composer?

The many years of interaction between the work of Pasternak and Shostakovich have not been paid enough attention by scholars. They both considered themselves part of the Pushkin tradition, pondering the urgent issues of the artist’s role in Russia.

The Tenth Symphony, Dr. Zhivago (published four years after Stalin’s death)- the US awaits such works of free breathing.

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