Published October 11, 2023 in LifeSiteNews

A new rock-and-roll song is blowing the whistle on musicians who comply with radical, left-wing government mandates, particularly those who did so during the COVID-19 pandemic.

“Ain’t No Rock and Roll” by American singer-songwriter Brad Skistimas was released by the anti-woke music label Baste Records on October 6. Both its lyrics and music video lament the betrayal of the values and advocacy on which the genre of rock and roll was founded, committed by artists caving to the liberalism infecting the contemporary music scene.

In his latest release, Skistimas sings about the general downfall of the music industry as it falls under the control of the government while also calling out particular artists for their participation in the betrayal of rock and roll’s tenets of freedom, justice and protest.

“Well, there ain’t no rock and roll ever since they sold out Rolling Stone,” Skistimas begins. “All the words that were sung in the past will never feel the same when we’re looking back.”

He continues by arguing that rock legends, referred to as “old men” in the song, “don’t bother standing up” after years of fame and that “there ain’t no peace and love ever since the 60s kids grew up.” Similarly, Skistimas accuses the classic “bad boy rebels” of rock and roll of not meaning the protest songs they sang, saying “we didn’t know that none of it was true.”

“There ain’t no rock and roll and the blues has lost its soul

All the punks gave the man control and every pop star’s bought and sold”

In the next verse, Skistimas continues:

“And there ain’t no Joni no Bob; no one stuck around for their protest job

All the stars and the Big Pharma whores shillin’ for a check from their corporate chores

All the actors say what they’re paid to say while the fans take the blame

All the once cool fools that were me and you, well, they pushed us all away”

Before ending the powerful ballad, Skistimas suggests that even aspiring rock stars are also engaging in “deafening” silence while “the suits lick the boots of the government [and] what they sang they never meant.”

The music video includes visuals to the harsh sentiments of the lyrics, featuring headlines slamming “anti-vaxxers” who were resistant to taking the experimental COVID-19 vaccines and advertising “vaccinated-only audiences” at concerts. Another headline announced a song with similar themes that was released by Mick Jagger of the Rolling Stones and Dave Grohl of the Foo Fighters.

John Legend, Lady Gaga, Bruce Springsteen, Elton John, Green Day and Queen’s Roger Taylor all appeared as examples of rock stars voicing support for the radical pandemic mandates, whether through the endorsement of vaccine passports, the shots themselves or postponing performances.

Sam Smith — the infamous artist who put on a satanic display at the 2023 Grammy Awards show in February — was included as one who has been “bought and sold.”

Certain words such as “rock and roll,” “peace and love” and “anti-establishment” (which was changed to pro-establishment) are blacked out in the video along with part of the faces of the musicians, emphasizing the stark message that rock and roll and the values it promotes are history.

Responding to the ‘very disappointing’ compliance of rock legends

In an email exchange with LifeSiteNews, Skistmas explained that “Ain’t No Rock and Roll” is “a response to all of my musical heroes, the supposed rebels, who either kept quiet during all the covid era lockdowns, restrictions, and mandates, or sold out to Big Pharma and joined the regime.”

Noting the critical moment “to speak up against ‘the man,’” he said that the lack of challenge from fellow musicians is “very disappointing,” save “very few exceptions like Eric Clapton and Van Morrison.”

“The response so far has been great, and I think it resonates so well because we’ve all noticed that deafening silence from the entertainment industry and Hollywood the last few years. They’ll speak up when it serves a specific pre-approved mainstream agenda, but when it came to standing up against forced and coerced injections you had bands like Foo Fighters and Rage Against the Machine literally segregating their audiences based on vaccination status. Then you had artists like Pink and John Legend making Pfizer commercials.”

Skistmas said that “this song is just for anyone who’s noticed these things, who are as disappointed as I am [and] anyone who’s realized all our former heroes weren’t actually anything special.”

The musician told LifeSiteNews that the question driving the song, “Where are my heroes?” is “one of the things that drove me to speaking out through my own music in the first place.” His latest hit was born after waiting for them to “eventually show up, but they never did.” It serves as a form of “holding them all to it now.”

“I just didn’t like the direction we were heading in 2020,” he continued when asked what sparked his conservative protest songs. “I didn’t want my kids to look back and wonder why Dad didn’t do anything about it. I had a little bit of a platform to say something, so I did.”

“What’s funny is I don’t think I changed, it’s society that changed … As it turns out, just being a normal person with common sense is the most rebellious thing you can be in this world right now.”

“Ain’t No Rock and Roll” was produced by Baste Records, a label that describes itself as “a harbinger of the counter culture to cancel culture.” It “aims to promote traditional music values and resist the influence of political correctness” and was established in spring 2023.

“As a nation, we are on the verge of a cultural revolution,” Baste Records founder Matthew Azrieli said in a statement shared with LifeSiteNews by the label’s Director of Sync and A&R Manager, Steven Lee Rachel. “We are extremely excited to be a part of this new counter cultural movement and to be working with Five Times August, a talented songwriter, and a courageous voice against tyranny.” 

Countering betrayal of a classic genre’s foundational values

Since its origins in the1940s and 1950s, rock has been known as the wild child of the musical genre family. It was the soundtrack of young Americans through the 1960s and 70s, when the nation’s youth adopted the genre’s advocacy for freedom, social justice, peace and love.

They weren’t afraid to challenge authority if unjust expectations or regulations were placed over them. While the hippie movement brought its fair share of drug abuse, homosexuality and other issues, its young participants were motivated by the good intentions and values presented in the protest songs of rock music.

Bruce Springsteen’s “Born in the USA,” lamenting the state of the nation after the Vietnam War, and the civil rights anthems of Bob Dylan were once the staples of rock music in the late 1900s. Today, the protests more frequently come in the form of social media posts and public acts endorsing left-wing agendas and political leaders.

Examples of such acts include Pearl Jam’s support of Planned Parenthood and the infamous Neil Young controversy of 2022, when the famed rock star demanded his music be removed from Spotify due to the platform’s allowance of conservative Joe Rogan’s podcast and his anti-vaccine guests.

Since early 2021, Skistmas has remained committed to the good intentions that built the classic genre, using his platform to present his conservative protest songs. Last year, he released a song titled “I Will Not Be Leaving Quietly” amid the Canadian Freedom Convoy protests. “Silent War,” the title track of his 2022 album, reflected on the intentionally divisive actions and lies of world leaders. “Sad Little Man” is on the same album and calls out the hypocritical actions of Dr. Anthony Fauci during the pandemic.

After the release of “Ain’t No Rock and Roll,” Skistmas is continuing his musical endeavors with similar projects, telling LifeSiteNews that he is “always working on new songs and music videos” that “can be used as tools for battle in our culture war.”

“I’m happy to be partnering with the new label Baste Records, who are looking for artists like me, so we can get back to making important art again, and not just the fluff we’re fed through the mainstream. They have a lot of great things in the works, so it’s an exciting time.”

More information about Skistmas and Five Times August can be found at his website.

Published October 13, 2023 in LifeSiteNews

To kick off Down Syndrome awareness month, one country artist released a song about his youngest brother as an encouraging witness to parents expecting babies with the condition.

John Paul Von Arx, a singer-songwriter who grew up in Illinois and now works as the Coordinator of Worship at Franciscan University of Steubenville, Ohio, wrote “He’s Different” about his brother Sam, who has Down syndrome. The song’s official music video was intentionally released on October 1 as a message of hope and shows the beautiful gift of children with special needs.

“When I was 14, my mom told me that she was pregnant with him,” the song begins. “She and my dad were worried because the new life inside was different.”

Recalling the day Sam was born, Von Arx continues with the first chorus:

“Oh, he’s different, different than me

Oh, he’s peaceful, peaceful and free

Different than who I thought he would be

That night I learned that my brother is more than he seems”

The second verse acknowledges that while Sam “might not ever be at the top of his class” and “may not be fast,” he would instead “take his sweet time and enjoy his whole life.” Even when people “stop and stare” upon first meeting him, his brother sings, “he doesn’t ever see them any different.”

During the bridge, Von Arx reflects on how he’s “thankful that my little brother is different than me” for showing him that “the little things matter in life, more than they seem.”

“I believe that who he is, is more than I’ll ever be,” the song concludes. “’Cause my little brother can love more than he seems.”

Von Arx, who began playing guitar at age 11 and composing original songs at 15, explained on his website that he originally made the music video for “He’s Different” in 2018 but “[has] been waiting for the right time to release it.”

“My goal is to give hope to parents expecting a baby with Down syndrome and solidarity with families of people with special needs, as well as to combat and eliminate the stigma often associated with children who have special needs,” he said.

Von Arx described his brother Sam as “one of the funniest, most loving and joyful people you will ever meet,” citing his intention to share the reality that these characteristics of special needs children outweighs the challenges and fears of their conditions.

More information about Von Arx and his music can be found on his website.

Published October 28, 2023 in LifeSiteNews

A Catholic musician has released a pro-life rap song that paints a powerful image of the heartbreaking reality of abortion.

Alvaro Vega, a rap artist from Florida who uses the stage name Communion, crafted a song and music video titled “Blood Cries Out.” The song follows the stories of two women and how abortion impacts their respective lives.

One would have cured cancer and saved her own mother’s life had she not been aborted. Another, a teenage girl, wrestles with the possibility of ending her unwanted pregnancy before realizing the alternative of adoption.

“Her name was Eva, a masterful surgeon,” Communion begins the song, describing the first character as a well-liked and “spectacular person” who spent 30 years in research before discovering a cure for cancer. The miraculous development saved “billions” of lives, including her mother, who is described as suffering from stage four Hodgkin’s lymphoma.

“She was answer to prayers, a chosen soul

God had sent her, but her story was never told

Unfortunately, her life was tragically shortened

It never happened because Eva was aborted”

The refrain continues with a chilling reminder that the “blood cries out” from “every life that’s torn apart.” While an ultrasound image is shown in the video, the song lyrics go on to say that “we can’t trade love for violence, and these babies won’t stay silent.”

The second verse follows another character, a 15-year-old high school student named Lupita who conceived a child with “the boy of her dreams” — a senior who walked away from her upon learning of the pregnancy. The song then describes the young mother’s struggle with “depression and panic,” taking a school nurse’s advice to go to an abortion center and wrestling with her Christian beliefs and what “Planned Parenthood told her … was her decision.”

“She was on the fence, the night before she had a dream

That she killed her baby boy, and she could hear him scream

The next day a sidewalk counselor told her there’s a better option

Now there’s hope she might give her baby up for adoption”

After the second verse, Communion sings that “God stands ready” to forgive women who have had abortions, saying He “knows your pain and understands everything that you’re feeling.” However, after emphasizing God’s mercy and desire to give “healing [to] a humble, contrite heart,” the song points to His “warning for the unrepentant.”

The lyrics emphasize the “right to life endowed by the Creator” under the Fifth Commandment, saying that those who “don’t repent [will] pay the consequence later.” Preceding the final refrain are a couple lines in which the artist reflects on God’s justice while acknowledging that “the money that funds abortion says ‘In God We Trust.’”

The final message of the song is a reminder that every child who has been killed in the womb “has a Father in the Heavens and they’ll never be forsaken.”

Artist inspired to spread pro-life message to youth

In an email exchange with LifeSiteNews, Vega explained that he was motivated to participate in the “Blood Cries Out” project thanks to his “strong belief that this song could have the potential to impact so many youth and young adults around the world.”

“We are fighting a culture war right now with this issue of abortion, and because music (especially rap/hip-hop) has the power to influence the culture, I feel a great responsibility to use my musical talent for good, to help win this war. I pray this song will help save many babies and even souls of people [who] support abortion or are on the fence [about it].”

Vega, who collaborated with fellow Christians Joe Salant and Jon Meenk on the project, co-wrote the lyrics and produced the music himself.

He expressed the importance of the pro-life message in modern society when “pro-abortionists are pushing their agenda even harder” since the historic overturning of Roe v. Wade last June. In post-Roe America, he pointed out, “there is still a lot of work to do to abolish abortion in each state (and around the world) and to bring light and truth to people’s minds about the evil of what abortion really is.”

Vega told LifeSiteNews that the song’s “target audience” includes any girls and women considering abortion, those who have already had one and “still hasn’t healed or received God’s forgiveness” as well as “anyone who supports abortion” or “might be on the fence on this issue.”

He shared the “overwhelmingly positive response” the song has received so far, particularly from women who have suffered from abortion and those who are already convicted pro-lifers. Although Vega has been in the music industry for several years, he said that “Blood Cries Out” is “very different than my previous work” due to its “very gritty, real look into a dark subject.” Comparatively, his other songs “has been positive, happy sounding music with more of a catechetical angle.”

Despite the stark contrast and shift from his typical work, Vega added his belief that his pro-life track “is definitely some of my best work yet,” and expressed gratitude for the opportunity to collaborate on it.

Evangelization to youth through music

Vega explained to LifeSiteNews that he got involved with rap at a young age, “influenced by Eminem’s music” and “making song with less than Christian ideals.” Eminem became as popular as he is controversial in the early 2000s and, like most other artists in the hip-hop genre, his songs focused on harsh and negative aspects of life. The raw themes are generally characterized by crude and obscene language.

“But after having a personal encounter with Jesus Christ while reading The Imitation of Christ by Thomas Kempis, I put away my vulgar rhymes and began rapping and singing exclusively for Jesus,” Vega said, taking the stage name “Communion” to reference the Holy Eucharist. “I now use my talents to preach the Gospel (in English and Spanish) to youth throughout the U.S. and around the world.”

Vega’s inspired “hip-hop evangelization ministry” has led him to perform at World Youth Day in both Panama (2019) and Portugal (2023). He explained that, as a former seminarian, he uses his master’s degree in theology to write music “integrating Scripture and theology into my songs.” His first faith-based rap song titled “I Believe” was released on YouTube a decade ago. Earlier this year, Vega released “Mother Mary” in honor of the Blessed Virgin.

Although “Blood Cries Out” is Vega’s “first pro-life song,” he expressed that he “hope[s] it’s not the last.” He continued, “I have been wanting to put out a pro-life song for a while, and this collaboration with Salant and Meenk provided the perfect opportunity to do so.”

A Spanish version of the powerful song is in the works, Vega said, and “should be out soon.”

Communion’s music can be heard on Apple Music, Spotify and Amazon music and music videos found at his YouTube channel. More information about his work can be found on his website as well as his Instagram page.

August 2021

When I went to pick up my very first clarinet, the gentleman helping us told my mom not to buy it because he wasn’t sure that my fingers could cover the finger holes effectively.  While I didn’t hear this story for many years, I still never would have guessed that music would become such an important part of who I am.

I was homeschooled my entire life up until college, which meant I didn’t have all the extra-curricular opportunities that kids in public or private school did.  Early on, my parents decided that they wanted their children to be educated in music.  They came across a local homeschool band and my two oldest siblings were quickly signed up to join.  Within the next few years, it was my turn.  At the beginning of fourth grade, I began my musical journey.

Every Monday afternoon, I went into the basement of that church and learned the basics of music theory, how to hold the instrument and (most importantly) how to blow through the thing without squeaking.  I encountered my first big obstacle (besides the whole tiny hand thing) about halfway through my second year, at which point I realized that I couldn’t play a single note which required the use of the register key.  At least, not with any consistency.  I somehow managed to get through a concert playing the melody to “Silent Night”, and then happened to mention this obstacle to my mother, who immediately signed me up for private lessons with the gentleman who had helped me find my first instrument.  This opened another door for me to grow as a musician and discover what music really meant to me.

Throughout that summer, I attended weekly lessons and committed to practicing.  By the time I returned to the Homeschool Band in the fall, I was far more confident in my ability to play the instrument.  I continued taking private lessons with one of my band directors.  Come December, I stunned the entire group by placing first in the middle school All District Band as a seventh grader.  This was when my motivation really took flight.  Suddenly I was completely comfortable and confident in my apparent gift, and I simply wanted to get better and have fun.

Over the next four years, even as I had to give up private lessons, I progressed considerably.  My directors understood the financial inability to keep up lessons, but they helped me on the side when they could.  I became slightly known in the county’s band community, as I placed well every year I auditioned for the district band and, my senior year, All Virginia.  As I approached graduation, I was set on attending the Catholic University of America to study music.  I worked for several long, hard months to prepare for the audition, hoping for a scholarship.  While I was accepted into the program, I did not receive a scholarship, so that school was out of the question.  I was devastated.  Now I had no idea what to do.  The other two schools I applied to accepted me and did offer some more financial support.  In determining these options, neither of which I was particularly excited about, I looked at two things: the Catholic Campus Ministry and the music program.  Right before I had to decide, one school (who did not have a deeply established campus ministry) cut their music major.  So, my decision became simple.  I would be attending the University of Mary Washington for music and communications.

UMW was not my first choice of college, but I grew more excited as the summer wore on before my freshmen year.  I was in touch with the music department and looking forward to my classes in that program, as well as realizing that I also had a passion and desire for studying effective communication skills, specifically journalism.  Then, on July 30, 2019, one of my beloved band directors passed away.  It was sudden and earth-shattering.  This gentleman had not only founded the Homeschool Band and Prince William Community Band (which I had also played with for at least a year), but he had become a mentor in his pride and encouragement for me as his student and he was a dear friend by the time he died.  In a matter of seconds, I had lost all my motivation to continue my musical career. 

I abandoned my disciplined practicing and did not touch my clarinet for a month.  Piano, while not as personally connected to Mr. Jones, was also extremely difficult for me to play.  I was quickly shutting music out of my life entirely.  It just hurt too much.  Still utterly shaken by this tragedy, I went to school a month later.  My parents had taken the step to reach out to a couple of the professors/directors in the program who I would be studying under and informed them that I was reeling from this blow, and music was no longer easy for me.  At the time, I was numb from the loss, but in hindsight, everyone was beyond understanding and sympathetic, and that made all the difference in my grieving process.

I was a member of the Philharmonic Orchestra for that first semester, which caused such pained memories I can hardly describe.  I missed Mr. Jones more and more every day, and I got to a point where I wouldn’t even listen to music at all.  By my second semester, the only thing keeping me connected to music was theory class. 

Then, as I was finishing the spring 2020 semester online, my mom bought me a book of clarinet sheet music for a selection of songs from Les Misérables.  I didn’t know the musical at all, hardly, so while I studied for finals, I figured I would listen to the soundtrack so I could better understand the gift my mom had given me.  I Dreamed a Dream began to play, and I stopped everything to listen to it.  Every note was dripping with beauty, every word wrenched with anguish, and simply put, it moved me to tears.  As I listened to Fantine’s story, I heard the suffering of this life in the lyrics and the hope of the next life in the music.  I remembered that music holds great beauty even in the midst of great tribulation.  It was as if I had forgotten that music was a part of who I am, and that song reintroduced me to myself. 

Back in school, it didn’t hurt as much to go to class.  I was still hung up on my purpose with music, since I was not nearly as much of an instrumentalist as I used to be.  The professors and students I engaged with, though, showed me that I didn’t have to be a performer to be a musician.  I focused on learning all I could about music and decided not to get caught up on the fact that I still couldn’t play my clarinet without crying.  Being a music student kept me connected.  It reopened the door to a place where I needed to be but had shut out because I didn’t see a way through.  God really does work in mysterious ways. 

Today, I look back and see how all these people and moments have shaped me into who I am today.  I am still working through the loss of my dear friend, but I have found my place as a musician who learns, writes, and even teaches young musicians.  I’ve moved on from focusing on performance, but that isn’t a bad thing.  I am back to embracing and sharing the gift I was given.  And thank the good Lord that I did not fall so far away that I couldn’t find my way back to music.

“D’un vieux jardin”, Lili Boulanger

May 2021

In “D’un vieux jardin”, Lili Boulanger combines diatonic structures of chords with unique uses of tempo, dynamics, and articulation to present a subtle but still undoubtedly post-tonal piece of music.  It can be difficult to understand post-tonal music, and part of this stems from the challenge of appreciating the unique sounds and structures of this style which is so unlike most popular music.  Given the unusual and complex characteristics, it is important to pay attention to pieces which show the post-tonal qualities in a simple and approachable way.  Lili Boulanger tells this post-tonal story in the disguise of diatonic chords and familiar musical techniques.

To begin to understand this piece is to start with the title.  What is the story being told?  The translation of the title is “from an old garden”.  Musically, there is a dreamy and wispy feel of walking through a garden.  This effect is portrayed through the use of very specific articulations, especially in mm. 16-17, 20-21, and 25-26 (see Figure 1).  Boulanger chose glissandos for these particular bars, which can be heard as the wind whispering in your ear as you walk lazily through a peaceful garden.  She does not take anything incredibly complicated and yet the result is quite effective.    

One of the most prominent aspects of this piece is the creative and intentional use of tempo.  This is both a diatonic and post-tonal characteristic in that it leaves the listener unsure of the stable speed at which the music is being played while also being present in every piece of music.  Boulanger uses three main tempo markings throughout the song: accelerando, a tempo, and ritardando.  These opposing forces create a dramatic effect of uncertainty within the speed at which the piece is being played.  As early as m. 4, there is an accelerando, reaching an a tempo in m. 7 (see Figure 2).  Not long after, there is another change as a ritardando appears in m. 15, marking the first of many to occur throughout the piece. 

Diatonic music has more obvious structure, including steady tempos, or at least not such abrupt tempo changes.  Part of the post-tonal effect is the sudden tempo changes, which are not used nearly as often in diatonic music as in post-tonal music.  However, the entire concept of tempo is found in every musical genre and arrangement, regardless of consistency, which makes it approachable for anyone in any field of varying genres.  Tempo is just one way that Boulanger takes a common and easily grasped concept to provide a glimpse into a complex and post-tonal world.

Alongside the inconsistent tempos, another characteristic of post-tonal music is a general sense of unpredictability.  Sudden appearances of various dynamics provide a sensation that keeps the listener guessing.  Boulanger has taken familiar dynamic markings and used them in such a way that is dramatic and unique so as to remain in the realm of post-tonality.  As visualized in Figure 3 below, mm. 17-31 showcase intense and opposing dynamics.  These are all dynamics which can be found in other works, from Bach to John Williams, but they are not used in the same way that these composers would use them.  Boulanger takes enormous leaps within the range of dynamics as opposed to smaller jumps which are less startling to the average listener. 

For an example of extremely intense dynamics, look at m. 32, which starts at pp and grows over the next four bars, reaching ff in m. 36.

Dynamics, like tempo, are not a strictly post-tonal concept, but they can be used in a certain way which gives the post-tonal feel to the music.  Once again, Boulanger is using a diatonic concept to create a post-tonal quality which is relatable and not overwhelming.

Lastly, she uses diatonic chords and progressions which still maintain the post-tonality of the piece.  The chords used are typically major and seventh chords, but once again the specific combinations provide a sound which is not diatonic.  In m. 4, there is an F major triad, veering away from the key signature but providing the major tonality which offers stability and relatability.  Similarly, you can find a C major triad in mm. 7-8, but here it is followed by a contrasting Ab7 chord.  These are both common chords in diatonic music, but because the chords directly oppose the key signature, it gives the post-tonal feel while also providing the major sound which grabs the listener’s attention. 

In mm. 16-17, there is the climax of a very post-tonal sounding section with an F7 chord, brining back around the F triad from m. 4, but adding the 7^th which creates more dissonance.  These two bars are very effective in the way they move the mystical feel of the garden with both diatonic and post-tonal characteristics. 

Similarly, in m. 42, there is an effective use of an Edim chord.  This almost fits with the key signature, but once again maintains the uncertainty of a post-tonal piece.  The chords are the most complex part of Boulanger’s writing, but even these are not too difficult for those who are only familiar with diatonic music to understand.

“D’un vieux jardin” is an example of post-tonal music, but the composer uses diatonic concepts to present a piece that is understandable as well as musically complex.  Through the specific uses of chords, tempo changes, and articulations, Boulanger has created a post-tonal quality which is not overwhelming or unrelatable to the average listener.  Placing glissandos and mysterious tempos in the music led to a mystical and dreamy setting, as if one were walking through a garden.  Triads and seventh chords provided structure as well as uncertainty.  Through her piece “D’un vieux jardin”, Lili Boulanger has written an effective story of post-tonal quality under the disguise of familiar diatonic concepts.

December 2020

During a time of great turmoil and suffering in WWI, Beethoven was brought to Japan, and the country found a source of peace and joy which has thrived in the years that followed, and which remains today.  Although Western music was first brought to Japan in the 16^th century by Jesuit missionaries, this introduction did not last once Christianity was banned from the country.  The beginning and more substantial impact ran from the 1850s up until around WWI.  Around this same time was when Beethoven’s music also made a long-lasting impression on the culture.  During the war, some German POWs were being held in Naruto, Japan, where they formed an amateur orchestra and performed Beethoven’s Ninth Symphony.  This sparked a cultural tradition of concerts which feature this famous work, specifically the last movement.  Beginning during the first World War and continuing to this day, Beethoven’s Ninth Symphony has a tremendous cultural influence on Japan and serves as a reminder that even in the darkest times, peace and joy can be found in something beautiful.

In 1914, Japanese soldiers invaded a major German military base located in Tsingtao, along the shores of China.  When the Germans refused to surrender, they were captured.  About one-thousand of them were taken to a camp in Japan.   At first, many Naruto citizens were hesitant at the thought of having soldiers held in their town.  But Col. Toyohisa Matsue, director of the Bando camp, was not a cruel man.  He ran the camp with sympathy, even though his leadership received negative reviews from others, including some of his superiors.  It is speculated that Col. Matsue behaved so humanely as a result of his own difficult childhood, when he became well-versed in defeat and felt compassion towards those who underwent similar experiences.  The Bando camp was known to be an unusually positive experience for POWs.  Unlike many camps during the war, the Germans at the Bando Camp were allowed to interact with the Japanese citizens.  Although the people of Naruto were not convinced of the prisoners’ occupancy in their town, they eventually accepted the situation, and all proceeded to make the best out of it.  The soldiers taught the locals their trades and learned native trades in return.  The soldiers set up their own newspaper and enjoyed walks in the town.  As another way to pass the time, the Germans formed an amateur orchestra, nicknamed the “Bando orchestra”, after the camp’s name.  Over one hundred concerts were organized by the POWs and performed for the community.  Beethoven’s Ninth Symphony was a favorite among the prisoners, and it became a staple in their many concerts, laying the foundation for the Beethovenian tradition which would develop in the coming years.

When the war had come to an end, the same group which first performed the Ninth Symphony played it one more time for another audience, just outside the camp.  Although the first concerts were limited to an audience inside the camp, word of the Bando orchestra reached a major patron of Western music in Tokyo, named Yorisada Tokugawa.  They played the last movement for him at another time, and the musical patron was impressed with the amateur orchestra’s enthusiasm.  Even with a group of inexperienced musicians, Beethoven’s music rang through the darkness and left a ray of hope.  The German soldiers had come into Japan as prisoners, but by the time they left, they were a group of musicians who had brought something beautiful to the country in a time filled with fear and hate. 

Time passed, and WWII arrived, carrying more violence and darkness.  The peaceful interactions between the German and Japanese soldiers during the first war were quickly forgotten in the troubles of the second war.  Many years later, after both wars had come to an end, the German POWs from WWI returned to visit Japan.  They reunited with the Naruto citizens in the 1960s.  In honor of the special connection between the countries and in commemoration of its cultural heritage, 1972 saw the founding of the Naruto German House.  Even though the years filled with war and unrest did not always have positive connections between nations, the unique relationship with German POWs and the Japanese soldiers and citizens tells a story of hope in a world so often filled with darkness.

When Beethoven’s Ninth Symphony was first introduced to Japan, the citizens of Naruto quickly and affectionately gave it the nickname “Daiku”, which translates to “Big Nine”.  More and more musicians, instrumentalists and singers, were inspired to play and sing this piece.  The final choral movement, also known as “Ode to Joy”, was adopted in a particularly fond way.  Roughly forty years after the Ninth Symphony was introduced to Japan, concert halls were consistently sold out for performances of Beethoven’s music.     

The first performance of the symphony by Japanese musicians took place in 1925 at what is now the Tokyo University of Fine Arts.  Concerts continued and the number of programs featuring the Ninth Symphony grew tremendously in the next decade.  On December 31, 1940, a Polish conductor led a Japanese group in a live radio performance of the symphony.  This special concert was to commemorate the creation of the country, fitting with the celebration of nature and humanity which Beethoven expresses in his Ninth Symphony.  Another particularly memorable and sentimental event was in 1982 at the newly built Naruto Bunka Kaikan hall.  A performance took place consisting of the amateur Tokushima Symphony Orchestra and a choir made up mostly of Naruto citizens.  There were three hundred and seventy-seven singers.  A more unique tradition came to be when singers and former mayor Toshiaki Kamei led the way to an annual concert held each first Sunday of June.  This tradition is known as “Naruto Daiku”.  Aside from this tradition, Beethoven’s Ninth Symphony is typically featured in performances during December, as a celebration of the year which is ending and in anticipation for the one which is about to begin. 

Beethoven’s Ninth Symphony was introduced in WWI, and still influences Japan today.  The “Daiku” tradition stems from a positive connection made by enemies in a war but shows that even during such a terrible time in the world, there can be peace.  Beethoven wrote this famous symphony as an expression of joy in life and embracing humanity.  The communion between nations in a time of global conflict epitomizes what Beethoven intended to prove with his great music.  Having amateur musicians and POWs playing and singing to start this Japanese tradition is living proof that Beethoven’s music has touched the hearts of the ordinary people in their ordinary lives.  Naruto citizens who went about their various ways before the Germans introduced the great symphony suddenly became involved in something almost mystical in the desire to learn and perform the famous “Ode to Joy”.  The influence of Beethoven’s Ninth Symphony began in a terrible time, but it has brought about decades of peace, joy and unity among many.