Note: I’d never heard of Gernsheim before this morning, or heard any of his music. But, if his Fantasie op.81 is any indication of his talent, he is unjustly unknown. Many thanks to John Kersey, one of our regular contributors, for having brought his music back to life – and all praise for such fine playing.
I recommend John’s recordings to all our readers. The first reason shouldn’t need spelling out, but does. We are a movement of outsiders. Sometimes, we are odd in ourselves. More often, we have, by holding unfashionable ideas, placed ourselves at best on the margins. Some of us have artistic or other talents that, displayed without the accompanying libertarianism, might have made us moderately rich and famous. We have a duty to praise and generally support those libertarians who have such talents.
Indeed, there is occasional criticism on this Blog of the Jews. Whether or not any of this is justified does not concern me here. What does matter is how the Jews have, without losing themselves in the wider population, risen to considerable wealth and influence by consistent ethnic nepotism. The lefties have done the same. So have the Freemasons. We should learn from this. And the first lesson to be learned is that we should praise and support the talents of our fellow libertarians, no matter how apparently tangential they may appear to the core libertarian case.
The second reason is unpolitical. The German musical tradition between about 1750 and 1900 is one of the greatest of all human achievements. But those of us who are not musical scholars are unable to appreciate it in full. We can listen to the music of Beethoven and Schubert and Schumann and Mendelssohn and Brahms. We can listen to the alternative approaches, after Beethoven, of Liszt and Wagner. But we are not aware of the context in which these giants worked. They worked within, or reacted against, a large community of other musicians. If we do not know these other musicians, our appreciation of the great composers is defective. Imagine that we only knew of what was achieved in Hollywood between 1930 and 1950 by watching “Gone with the Wind” and “The Wizard of Oz” and “The Maltese Falcon.” These are great works that stand by themselves. Of course, though, they are best appreciated by knowing what else was coming out of the main studios at the time.
Regardless of whether he was any good – and he seems to have been a man of solid ability – we should listen to the music of Friedrich Gernsheim.
For these reasons, and perhaps for others, I do most earnestly urge our readers to buy this CD. SIG
Originally posted on John Kersey:
Two new CDs have been issued by Romantic Discoveries Recordings:
Audio sample: Fantasie, op. 81 (from vol. 1)
Total time: 76 minutes 13 seconds
Sonata in F minor, op. 1
1. Langsam, getragen (7’49”) 2. Lebhaft (3’31”) 3. Leidenschaftlich bewegt (10’06”)
Zwei Klavierstücke, op. 39
4. Lied (4’34”) 5. Gavotte (4’40”)
Tondichtung, op. 72
6. Hymnus (3’11”) 7. Romanze (5’45”) 8. Intermezzo (6’25”) 9. Jubilate (5’18”)
10. Waltz, op. 70 (4’50”)
Symbole, op. 59
11. Nachtstück (5’13”) 12. Elegie (5’11”) 13. Im Schilf (3’36”) 14. Romanze (3’00”) 15. Aeolus (2’55”)
Total time: 72 minutes 16 seconds
1. Fantasie, op. 27 (21’04”)
Ins Stammbuch, op. 26
2. Andantino (1’49”) 3. Allegretto grazioso (1’40”) 4. Andante (3’39”) 5. Allegro con brio e giocoso (2’27”) 6…
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