Chapter Fifty of The Haunted Heaven: Communism's Dance of The Seven Veils
By Michael Moriarty
web posted May 21, 2012
I'm well into four movements for my First Symphony: In Memoriam Béla Bartók.
Or will it become a ballet?! Possibly.
He fled to America fleeing both Nazism and Communism.
I fled to Canada fleeing the Third Way with much the same trepidation that Bartok was fleeing the Third Reich.
"Clinton's 'centrism' carried the horrors of Hitler?!"
Such is the exclamation from defenders of the Washington D.C. Establishment.
No, Clinton's fallacious "Centrism" pointed directly and, with the Bush family's "Centrist" help, led inevitably to the insanities of the Shamelessly Far Left Obama Nation. Not the least fraudulence of which is Obama's widely expressed concern for the "Middle-Class".
What happened to the openly stated "Marxist sympathies" in his biography Dreams For My Father? Whom do you believe?
The Communist Front that feeds you this?!
Or Obama's boyhood dreams?
However, why involve Béla Bartók in this American political nightmare?
We're all waiting on the edge of our seats to see if America can again be manipulated into re-electing the proven, Marxist insanities, the "Internationalist" and Progressively New World Order lies of Barack Obama.
The "Communist Front" I've just mentioned and linked to is the Communist effort to portray Obama as an enemy of Communism.
What has Communist propaganda to do with Béla Bartók and Bertolt Brecht?
Béla Bartók's musical genius and vision had, in reality, set the course for all modern composers thereafter, from Alban Berg to the Soviets, Prokofiev and Shostakovich.
The trend led its way through Bertolt Brecht's, East Berlin sales pitches for Communism.
Composed in 1911, Bela Bartok's Bluebeard's Castle predates even the apparent milestones of Alban Berg's operas Wozzeck and Lulu, and Bertolt Brecht's 1918 creation, Baal.
All three composers and Brecht the playwright, however, seem similarly obsessed with the selfishly selfless mysteries of European decadence. That the character of Wozzeck eventually murders his wife for her infidelity? Such animal rage is a mere prelude to the sexual complexities of Berg's later opera, Lulu.
Both Berg operas, however, seem to be late-comers to Bartok's unrestricted vision in his ground-breaking ballet, The Miraculous Mandarin. The detailed explanation within the Chicago Symphony Orchestra's exegesis, it's Looking Beyond The Score, its description of both the background and plot of Bartók's Miraculous Mandarin leads rather smugly to the inevitability of Bertolt Brecht and his angry assaults upon bourgeois hypocrisy. The German Communist's own vision of America's Chicago in Brecht's Jungle of Cities includes a mysterious Chinaman as well.
The prophetic nature of Bartok's dramatic instincts as one of the 20th Century's earliest and most important composers cannot be overemphasized.
No, Bartók was not a 12 tone radical but he didn't have to be. The Schoenberg tonal revolution exploded and then surrendered to the unstoppably dominant classicism of Igor Stravinsky.
Both Bartók and Stravinsky chose exile in America over capitulation to the "Revolutions" of either Nazism or Communism. These two composers' combined, prophetic integrities, both bucking the prevailing popular trend toward 12 tone rows of dissonance and the later straight jacket of Stalinist prescriptions. These two giants, Bartok and Stravinsky, grow increasingly more relevant to the present-day, political plight that America now finds itself in.
What had been sold by Communism as the Bourgeoisie's Bête Jaune, The Yellow Peril, has actually arrived in the White House as Harvard's Enlightened Despotism: Barack Obama whose own experience with the Orient began in his boyhood.
The only, real common denominator within this entire lexicon of so-called "Progress" is Communism.
What brings Bartók into a seeming alignment with Communism is "Barbarism" and the similar but later Brechtian rage and theatrical condemnation of bourgeois hypocrisy. Links to the Barbaric ancestry within all of the Slavic Nations.
Why was Bartók so attracted to the violence of such stories as Bluebeard and The Miraculous Mandarin?
One of Bartók's possible answers: "The music of today extends honesty about all human emotions without excluding any!"
The frenzy of murder was becoming fashionable in this European era.
One of the axioms of that period's European intellectuals: "Murder is the hope of women!"
The hypnotic lechery of Rasputin was known by the time of Bartók's Miraculous Mandarin. The tale within the Bartók classic seems to prophesy Rasputin's later death.
Bartok believed that all true artists should face the unspeakable and the horrific without fear: The Ecstatic Tragedy.
Or, if one believes in the resurrection of Christ, the Divine Comedy.
Both, as they have always been and will always remain, are the same.
Irresistibly and obsessively magnetic.
The incessant repetitions of intercontinental violence in human history!
Dimitri Shostakovich's Lady Macbeth of Minsk was first performed in 1934, 23 years after Bartók's Bluebeard's Castle and eight years after the premier of Bartók's Miraculous Mandarin, all three works just oozing with decadent eroticism and violence, leaving both Berg and Shostakovich slightly behind The Bartók Revolution.
Stalin openly condemned Shostakovich for Lady Macbeth of Minsk.
Such damnation from on high finally led to the thinly hidden mysteries of Shostakovich's Fifth Symphony.
Can we possibly believe that Béla Bartók didn't hear of Soviet Russia's repressive and tyrannizing dictator, Joseph Stalin?
Communism's totalitarian aims had been declared by Marx decades before Budapest had even heard of the Austrian sociopath, Adolf Hitler.
The Hungarian composer left his homeland in 1940, after the outbreak of World War II, fleeing both Nazism and the inevitably onrushing Soviets.
Béla Bartók, I personally believe, is the greatest revolutionary dramatist and composer of early twentieth century music, surpassing even the operas of Alban Berg.
Bartok, having mildly distanced himself from the Schonberg tonal revolution, and having been the first composer to bring Wagnerian pretentions down to their earthiest and bawdiest realities, is the most singularly unique Touchstone to Twentieth Century music.
Chronologically Bartók seems to have outdistanced them all, literally defining the dramatic directions his subsequent colleagues would take.
For me, the entire nightmare culminates with the dramatist Bertolt Brecht and his deliberately cheap and "three-penny" stylized "operas". In 1918 he carved out the amoral compass of Marxist Art with his play Baal.
Bartók had already anticipated Brecht's direction with his Bluebeard's Castle.
Brecht, eventually the leading Communist playwright of the world, took the Bluebeard idea to his most biblical depths by personifying the Old Testament, pagan God of Baal, as the boldest of 20th Century "anti-heroes".
Written in 1918 and eventually produced in 1923, Baal has had a manic-depressive history, rising and falling and then rising again in popularity with a direct relationship to the world's political environment.
The concluding sentence of Wikipedia's description of Baal is: "A 2011 production of Baal has also been staged at the Sydney Theater Company - receiving mixed reviews."
What has Communism proven itself to be, both idealistically and realistically?
An idealized anarchism.
Only dictators and ideological dictatorships can possibly foment anarchism in order to become a tyranny by anarchic necessity.
Anarchy is a wonderful thing to play with as a modern composer and musician!
In real life, however?
Anarchy can only lead inevitably to civil war and eventually world war.
Anarchy appears to be President Barack Obama's ultimate objective, something to make martial law a somehow justifiably Presidential mandate.
That's one way to get around falling popularity polls.
Both the President and Time Magazine not only fancy Obama as the new FDR.
In 2008, Time introduced Barack Obama to its entire American readership as an inheritor of both Abraham Lincoln's and FDR's legacies:
The Roosevelt on the cover next to McCain is not Teddy!
That poor Republican on the lower Right is one lonely candidate.
When Time Magazine's not on your side, you cannot be President of the United States.
Now with Americans increasingly not on the side of President Barack Obama's reelection, how can the Obama Nation, with the help of Time Magazine, steal the election away from Mitt Romney?
The threat of anarchy.
Plus a revival of the Berg and Brecht eroticized decadence.
Is this the triumph of The Progressive New World Order?
Or is it the obligatory "Decadence" that Bertolt Brecht, Baal and all Communists have first depended upon to "destabilize" their "targeted" nations?
Or is it the first step to fomenting the requisite "Anarchy" for the Final Act Triumph of the Communist New World Order?
We all know that Obama's not gay but as this cartoon reveals he's willing to bargain with his Hollywood constituency and George Clooney.
Ah, the George's in Obama's life!
We mustn't forget the millions that George Soros is still investing in Obama.
Where's the George of Washington in all this?
In the District of Clooney.
Barack Obama inevitably learned to deal with Hollywood by posing as a "Community Organizer" out of Bertolt Brecht's favorite gangster-filled, American city, Chicago.
Obviously Obama has spent enough time in Manhattan's Columbia to also pose as a New York Public Intellectual from Harvard.
It has been, for the last century, Communism's Dance of the Seven Veils.
A possible antidote to such a ballet?
More modern tributes to Béla Bartók!
Michael Moriarty is a Golden Globe and Emmy Award-winning actor who starred in the landmark television series Law and Order from 1990 to 1994. His recent film and TV credits include The Yellow Wallpaper, 12 Hours to Live, Santa Baby and Deadly Skies. Contact Michael at firstname.lastname@example.org.