The Nazi Musicologist Richard Eichenauer had said, “...the fugue is blond and blue-eyed…” when referencing Bach’s music, particularly St John’s Passion, which was considered to be ‘Judeophobic’ due to its portrayal of Jews being responsible for the call for Jesus’s death. Mozart’s ‘Die Zauberflöte’ depicts the negative portrayal of a black person, and is plagued with the notion that ‘white is beautiful,’ and that women cannot fend for themselves, nor can they escape tyrannical dictatorship. Rachmaninoff only rose to significance because of his white privilege, and the fact that he was able to emigrate to America after seeing Russian reality is only a sign that he never truly acknowledged his white power. His ‘Divine Liturgy of St. John Chrysostom’ is a sign of support for a man who touted homophobic and anti-Semitic epithets during his sermons, therefore Rachmaninoff must never be heard again. Rimsky-Korsakov, even though actively engaging in efforts to avoid being stereotypical in his Op. 35 Symphonic Suite, still dominated because of his whiteness, manliness, and unwillingness to give his platform to those who were equally as talented, if not more so. Charles Ives was a raging homophobic, who used insensitive slurs to downplay his rivals, going so far as to actively abandon a "supposed’ friend while he was in jail. Any attempt to justify Ives's comments as ‘of the times’ shows your implicit bias and support of historical white, male figures. Beethoven may be the worst of them all, not only because he was just ‘an above average composer,’ but because of his whiteness, he was able to overshadow a plethora of composers who, perhaps less influential, could have been bigger than Beethoven ever was, case in point Samuel Coleridge-Taylor. Ignore the fact that Samuel really only had one popular work, sold the rights for an extremely low value, and was ostensibly shy.
Then we have Wagner, the notorious Anti-Semite and outright proto-Nazi, who had stated that he was, “the last German who knows how to hold himself upright in the face of Jewry, which already rules everything.” But lest you think these men were the only wrong doers in Classical music past, there was also Robert and Clara Schumann who, by way of a archived letter, had said to each other, “Jews remain Jews…don't put yourself out too much,” concerning the personality of Mendelssohn. There was also Tchaikovsky who, in his famous Op.71, the ‘Nutcracker Suite,’ he routinely utilizes yellowface, a stereotypical portrayal of a Moor, and a REALLY incriminating finger posture which has no racist connotation except what can be conjured up in one’s mind. Puccini must also be mentioned because, as a white composer, he portrayed Japanese culture in a racially insensitive way in his opera, ‘Madame Butterfly,’ and every performance of his ethnically-charged opera’s is yet another show of support for a white-dominated mindset of Asian culture. Verdi, another operatic heavy weight, must also be let go as he both engaged in prejudicial exoticism, in operas like ‘The Pearl Fishers’ and ‘Aida’, but also racist stereotyping of the black male form in his opera, ‘Otello,’ where the black man is painted as the violent aggressor, who kills the innocent, white woman. Maurice Ravel’s usage of ragtime and jazz in his compositions was a notable feat, but the failure to acknowledge the influences origins showcased that he, in fact, was adhering to white, Eurocentric modalities, that not only positioned him on top of the musical hierarchy, but actively dominated over his influences which, due to their respective home culture, were seen as inferior and unworthy of being situated into the vernacular of modern, musical life. Amy Beach’s willingness to stay home, and let her husband be the breadwinner only showed the depth of her white, male supremacist conditioning. She couldn’t think for herself, and was ultimately convinced that to submit and be a submissive wife was better. She even convinced herself that her role was that of a household slave.
These 14 composers should be expunged from t