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Conference: APOLLO +50

MANKIND’S FUTURE MUST DETERMINE OUR PRESENT:

A Dialogue of Cultures on How to Develop the Population and the Productive Workforce for Earth’s Next Fifty Years

Saturday, July 20, 2019, 1 PM – 5 PM

New York City

Click here to register


In 1987, Lyndon LaRouche authored the video The Woman on Mars. At that time, he proposed a 40-year mission to Mars based on re-starting the aborted Moon missions, including extensive industrialization and mining on the Moon for Helium-3, the fuel for thermonuclear fusion reactors. Nearly 20 years ago, LaRouche advanced these ideas even further in a book entitled Earth’s Next Fifty Years.

Thermonuclear fusion, applied as a commercial power source, not only supersedes any other available power source, and is non-polluting—it would supply the only efficient power source for travel throughout the solar system. Humanity—not merely China, or the United States, or Russia, but all humanity—has always looked up to the stars, because we have an extra-terrestrial imperative, to know the secrets of the universe. Eliminating war through the joint investigation of the solar system and galaxy—the local neighborhood in which we reside—is our first next step toward the adulthood of the human race.

On this 50th anniversary of mankind’s greatest scientific achievement, let us take a page from the same President John F. Kennedy, who had proposed the Apollo Project to an inspired America, and who, together with America’s “mortal enemy,” the Soviet Union pulled the world away from the brink of extinction in October 1962. In September of 1963, Kennedy told the United Nations:

Finally, in a field where the United States and the Soviet Union have a special capacity-in the field of space—there is room for new cooperation, for further joint efforts in the regulation and exploration of space. I include among these possibilities a joint expedition to the moon. Space offers no problems of sovereignty; …Surely we should explore whether the scientists and astronauts of our two countries—indeed of all the world—cannot work together in the conquest of space, sending some day in this decade to the moon not the representatives of a single nation, but the representatives of all of our countries.

Now, many other nations—India, China, Brazil, several European nations—possess capabilities far more advanced than those of the 1960s Soviet Union or United States. If a mere fraction of the wealth now wasted on war, or foolishly misspent on global warming, were pooled and deployed in a joint space effort, we could in fifteen years create an entirely new economic platform for all of humanity—a worldwide cultural “paradigm shift” as has been proposed by Schiller Institute founder Helga Zepp-LaRouche—that propels the human race forward, in the spirit of what has been called by China “win-win cooperation,” in the form of its Belt and Road Initiative (BRI.) Lyndon LaRouche in his 1984 “Draft Memorandum of Agreement Between the US and USSR” provided a model for a durable survival solution to potentially lethal conflicts among nations, by elevating the discussion to the higher self-interest of humanity, thereby dissolving the basis for conflict.

President Donald Trump has recently met with Presidents Xi of China, Putin of Russia, and Chairman Kim of North Korea, as well as others, to avert war. President Trump has also proposed a return of the United States to the Moon in five years, by 2024. Might the United States take the occasion of the July 20 commemoration to propose a joint Moon-Mars mission, involving Russia, China, India, the European Space Agency, and nations in the continents of Africa and South America, both essential launch sites for the continuous and permanent missions required?

Why permanent? Because mankind will now permanently move to the first level of human civilization, which is expressed in the ability to navigate the solar system as a whole. The higher, galactic level (the second stage), and the yet higher intergalactic level, are what we are now only able to observe, in part. For these, we yet “see as through a glass, darkly.” But we know that it takes humanity as a whole, in the tens and hundreds of billions, to develop the scientific competence to investigate and explore the more than two trillion galaxies we now know to exist. We need the creative potential of every single person on the planet to accomplish this.

To prepare for this, the new space program must be part of a broader commitment to simultaneously revolutionize the labor process on Earth as well as in space, through new stages of technologies, and through ending poverty on the planet in the next years through the cooperative arrangements and economic development made possible through the World Land Bridge. Both tasks require mastery of the concept of increasing the energy flux-density of power systems. Lyndon LaRouche’s book, Earth’s Next Fifty Years, outlines how more than one billion jobs in mining, manufacturing and agriculture, of the highest skill levels, must be created now, to fulfill mankind’s “extraterrestrial imperative” to investigate the solar system, the galaxy, and beyond.

It is the power of this vision, the potential of what the astronauts saw when they watched the Earth rise from the Moon, which we of the Schiller Institute must seek to invoke in our fellow citizens, the nation, and the world, this July 20. Join us in this mission, for which “failure is not an option.”

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Registration is required to attend conference.  Suggested Donation: $20 General, $10 for Students.  For more information, or to pre-register, call: 917-475-8828    


Schiller Institute participates in Symposium with Egyptian Consulate in Houston

On Thursday evening, June 27, 2019, the Egyptian Consulate of Houston sponsored a symposium at the Arab American Cultural & Community Center in Houston, Texas. The Egyptian Consulate requested that the Schiller Institute co-sponsor the event with them. The theme of the Symposium was “Egypt after the Revolution.” The guests in attendance for the event included Consulates from several countries, including Mexico, Greece, and Russia. There were several friends and guest of the Schiller Institute, and representatives from the World Affairs Council, the Arab community in Houston, the Caribbean American Chamber, and a number of people representing the Houston’s energy sector.

Kesha Rogers, Egyptian Consul General Khaled Rizk, and Brian Lantz of the Schiller Institute.

Kesha Rogers, Egyptian Consul General Khaled Rizk, and Brian Lantz of the Schiller Institute.

Joining Houston Consul General of Egypt, the Honorable Khaled Rizk, was Brian Lantz, speaking for the Schiller Institute.  Brian and the Schiller Institute’s bold perspective uplifted both the audience and the conference organizers.

Following an introduction, Consul General Rizk spoke and gave prepared remarks which reviewed the efforts of Egypt’s government, led by President El-Sisi to stabilize and rapidly grow Egypt’s economy after the “second revolution.” Consul General Rizk reviewed the ensuing rapid pace of developments since 2013, including future projects now underway, which include the new administrative capital, the industrial zones along the Suez.  He also highlighted the new offshore natural gas discoveries and prospects for natural gas exports.

Brian Lantz took up the role of Egypt as a key leader in the development of the New Silk Road into West Asia and Africa—the emerging new center of world economic development. The Schiller Institute’s reports were featured.  In the spirit of Egypt’s earlier role in Bandung Conference and the creation of the Non-Aligned Movement, Egypt is once again playing a leading role in south-south relations and world affairs, Lantz said. Lantz also pointed out the importance of Egypt’s diplomatic efforts, working among all the countries in West Asia and North Africa in particular, for peace and economic development.  Lantz cited some of Egypt’s initiatives in Africa, and El-Sisi’s role as the new chairman of the African Union. The African Union is deeply involved in cooperation with the Belt and Road and promoting African integration.  Now getting the economics right was stressed by Brian, with an outline of Lyndon LaRouche’s principles of physical economy.  Africa’s emerging renaissance was thereby highlighted, with its population potential and such mega projects as Grand Inga and Transaqua.

Prior to the presentations there was a reception where people were given the opportunity to talk informally. Likewise, there was a great deal of lively discussion following the presentations.  There was recognition and great respect for Lyn expressed by a number of people. A leader of the Arabic community told Brian he had been reading LaRouche’s material for years, exclaiming, “He is a genius. ”  Another person, an Indian-American engineer, was very happy to hear of our work in support of the BRI and also volunteered his respect for LaRouche over the years. An Hispanic business women who saw our Silk Road report was so excited: she participated in an art contest as a student, and won first prize for a drawing of the original photograph of the Silk Road and camels, pictured on our original report.

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The Schiller Institute participation in the event was very important and timely given the rapid pace of developments around the BRI and the growing recognition of Lyndon and Helga’s role in bringing about this beautiful new paradigm, as we have seen also with the recent events in San Francisco.  The Schiller Institute was also an invited speaker at a Chinese consular event in Houston last week, for an audience high school students, with teachers, some media, and consular officials attending.


Amidst US/China Tensions, Schiller Institute Holds “Win-Win” Forum on BRI in Los Angeles

In the midst of a flare-up of tensions between the US and China, sparked by the Anglo-American establishment’s fierce commitment to drive a wedge between the two nations, the Schiller Institute held a forum on June 15 in the Los Angeles area to promote the idea of cooperation on the Belt and Road Initiative (BRI).

The session was opened by a movement from a composition for unaccompanied violin by J.S. Bach, performed by a student from the Los Angeles County High School of the Arts. This was followed by a five minute video of Schiller Institute founder and chairperson Helga Zepp-LaRouche, who greeted the attendees and provided a strategic context for the meeting. She deplored the recent nasty provocations being directed at China by some notorious political factions in the US, and presented a vision of an alternative path, where the US and China lead the world into the future based on the highest cultural and scientific principles, and the most ambitious infrastructure scheme in human history, the BRI.

Zepp-LaRouche was followed by Shi Yuanqiang, deputy consul general for the People’s Republic of China in Los Angeles. Shi provided a very thorough explication of the goals and structure of the BRI, stressing that there is extensive consultation between China and the other nations participating in the project, that all parties participate as equals and share in the benefits. He provided examples of the projects that are being built with Chinese collaboration in Africa and Central Asia, and elaborated on President Xi Jinping’s vision of a “Community of Common Destiny”, a mutually beneficial, “Win-Win” relationship among nations. Shi emphasized that there was a place at the table for the United States.

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Following Shi’s presentation, there were remarks by Richard Chen, a board member of the US-China Forum who had acted as an interpreter for Chairman Deng Xiaoping during his historic visit to the US in 1979. Chen said that the two great accomplishments of the US after the end of World War II were the establishment of the United Nations, and the Marshall Plan. He compared China’s current role with respect to the developing nations, to the Marshall Plan.

Platt-presentation

The concluding presentation was by Schiller Institute representative Daniel Platt. He opened with an image that juxtaposed two historic paintings, showing Americans and Chinese fighting their respective battles against British colonialism during the American Revolution and the Opium Wars. Platt asserted that the methodology of the Empire, typified by the “Zero-Sum Game” approach of geopolitics, is an “article of faith” for today’s neoconservative movement. To this he contrasted President Xi’s concept of “Win-Win”, or Helga Zepp-LaRouche’s vision of humanity entering adulthood. He discussed the historical parallels between the US and China with Dr. Sun Yat-Sen’s embrace of the economic conceptions of Abraham Lincoln, and their shared approach to infrastructure development. He then reviewed the history of the proposals made by Lyndon LaRouche in the years following the dissolution of the Warsaw Pact, culminating in the World Landbridge.

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Among the eminent personalities who took part in the forum were the consul generals of Kenya and Belgium, as well as consular officials from Armenia and Malaysia, and a large delegation from the PRC consulate.


Schiller Institute Honored at San Francisco Chinese Consulate

On June 27, 2019, the Schiller Institute was invited to the Chinese Consulate in San Francisco to honor the life of the great American Statesman Lyndon LaRouche, and to celebrate the common aims of both nations and cultures.  

Everyone who attended the Open House in Honor of the Schiller Institute—as each of the three large screens proudly declared as you walked into the hall—now know the power and importance of exonerating Lyndon LaRouche. It was on the faces of everyone: a sense of joy, of optimism, of urgency, and a sense of responsibility towards the future because such a man, such an America, such a view of the world and of humanity, and such an organization exist, and at a moment when without a true America, without such a world view, mankind might not survive.

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The idea of an event was first initiated with the passing of LaRouche this past February 12. The consulate was informed soon after, and a meeting between SI reps and the Consul General was held the following week. After an hour plus long discussion with the CG and the Deputy CG ranging from LaRouche’s life and ideas to the strategic situation, the idea of an event between the SI and the Consulate was proposed.

So, on the very eve of the G20 summit (Putin and Trump would be meeting at 10 pm PT this same night), the Schiller Institute brought nearly 70 guests to an event hosted by the China Consulate. To reciprocate the generosity of the Consulate, the Schiller Institute brought Beethoven’s Op. 69 for a universal demonstration on the potential collaborative relationship between the U.S. and China with piano and cello, played at the lower tuning. Including speeches by CG Wang and SI rep Mr. Steger, the event set a new standard for collaboration around the power of LaRouche’s ideas.

macd-iThe event started with the Deputy Consul General introducing the Consul General Ambassador Wang Donghua, Schiller Institute rep. Michael Steger, and acknowledging special guests the DCG and a Consul from Vietnam, a member of the Indonesian Consulate, a member of the East-West Accord, and the President of the Russian American Congress, as well as two local Republican leaders.

The Consul General then gave a very hard hitting speech expressing China’s frustrations on the current trade talks before touching on the importance of the BRI. Given the CGs overt political tones, Mike was free to address the broader strategic aspects of the global dynamic, beginning with the introduction of the BRI by Xi, in consultation with Putin, during the chaotic coup in Ukraine, which only indicates the role of the BRI to end the risk of nuclear war today.

In summary, the importance of the G20, and the BRI as exemplary of a new global system, was on the minds of everyone on the eve of this critical summit. It is also the 35th anniversary of the SI, and the 40th anniversary of China-US diplomatic relations, and the LaRouche view of the next 40 years has never been more important. There is a long history of the U.S. and China, from Columbus’ voyage of the Italian Renaissance (nb: Columbus is honored with massive stone statue on Telegraph Hill in S.F. looking east across the GG bridge to China), to Ben Franklin printing sections of Confucius Analects in the Gazette, to Lincoln’s appointment of Ambassador Burlingame to China, to Grant’s tour of China, and his identification then of China’s coming dominance of the global economy, to FDRs insistence that no foreign ships would enter Chinese ports after the defeat of Japan, and this true history of the U.S. and China makes the point that this is the real America, the LaRouche America, and it was this that the American people are calling for today, however darkly through the mirror.

China’s development is a modern miracle and the BRI is a precious contribution to the world that must be grasped now. FDR wanted to extend U.S. production to develop the world, but his legacy was nearly destroyed. It was Lyndon LaRouche who picked up this fight for global development after WWII, and today, it is China who is making this offer, this precious gift for a new system of collaboration, of sovereignty, of space exploration. As a Russian scientist once said, space exploration makes most clear the nature of economy, that money is worthless. Energy, water, infrastructure, science and culture are paramount for a new global system, on Earth and on the Moon. This is the BRI, it is a great gift to the world that must be adopted by the U.S., and it is the very essence of the true U.S. legacy of Lincoln and LaRouche.

It’s our job to organize the American people to insist that it is adopted, otherwise the corruption in Washington will crush any potential for a breakthrough. It is not only up to the leaders, but up to us to create a new culture of development.

There was strong applause for both speeches and the DCG wishfully referred to Mike as the representative of the American people, before introducing the music.

Before the music began, we quickly asked for collaborators on the music of China, and in the course of the evening we met a music teacher, one of the very first students of piano after the cultural revolution, who wants to work on Chinese music for four hands with My-Hoa! We also met a violinst/violist who plays for the SF Ballet, a friend of one of the Consuls, so we are conspiring for future collaborations, and intend to make more classical Chinese pieces available in western notation.

maapbMy-Hoa and Andres then played Mo Li Hua or Jasmine Flower on keyboard and cello, in honor of our guests, before a lively rendition (without repeats) of Op. 69. Uncertain, the audience gave a standing ovation after the first movement, but once aware, were absolutely silent after the second, allowing the adagio cantabile of the opening of the third movement to strike the harmonious chord of collaboration that Beethoven intended.

It was now a festive celebration, with food, discussion, and humorous delight often brought by the DCG, our leading contact. The SI brought a cross section of people, from our more eccentric contacts to a range of young people, blue collar Americans, many Facebook contacts within the Chinese community in S.F., a leading retired Pakistani journalist, and all, young and old, left beaming.

The Consul General, and his staff of twenty or so, mingled and talked with all of the guests for over an hour. There was a long discussion with the Indonesian representative on the political culture of the U.S. going back to the cultural revolution and the importance of classical culture, where nations adopt a profound mission. Both she and the Vietnamese DCG were interested in holding future events with the SI. The Russian associated contacts who came were struck by the optimism, became much more educated on who we are, and one is planning to sign for exoneration.

At the end, the Consul General said good-bye and said he was very touched. We had brought LaRouche’s America to the representatives of China, and they were profoundly overwhelmed with joy. When asked by his DCG if we should do this once every two years, he said, “Once a year, at least!”

To those of us in the SI, it comes as no surprise that Lyndon’s personality and vision have such an overwhelming effect, but we also know that it is not always so easy to convey. In this case, we feel triumphant in our attempt at such a historic moment, and intend to carry that spirit into our work, outreach, and follow-up in the critical days and weeks ahead.

 

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Songs of Freedom: African American Spirituals and Songs from the New World

The Schiller Boston Community Chorus, based in Quincy, MA, joined by guests from New York, Detroit, and San Francisco, just completed a weekend of performances in concerts in Providence, RI and Quincy, MA featuring songs from the New World and classical African American Spirituals. 

Friday: Songs of Freedom

Baritone Frank Mathis.

On Friday, June 14, 2019, the SI Boston Community Chorus teamed up with Stages of Freedom, who hosted the event, for an evening of history through music. Stages of Freedom is an organization dedicated to providing young African-Americans access to swimming programs, cultural programming, and to educate inner-city youth by providing access to museums and live performance. Historians and Stages of Freedom founders, Robb Dimmick and Ray Rickman planned this concert at Manning Chapel (Brown University) specifically because of the role the Brown family played as the second largest slave-owner family in Rhode Island’s history.

By the time the concert began, on Friday, June 14th at 5:30pm, there was a sold-out audience of over 200 people.

Mr. Rickman opened the event by challenging the audience to not think of this event as “entertainment, but to improve your soul and spirit.” This, preceded by a stirring rendition of “I’ve been buked” by Hall Johnson, performed by the chorus a capella, set the tone for the entire event.

The concert featured the Schiller Boston Community chorus and soloists singing Spirituals and was carefully and dramatically orchestrated to portray the horrors of the Rhode Island slave trade, through readings taken from The Notorious Triangle by Jay Coughtry.  The unique and necessary participation of the chorus dramatic performances of five Spirituals and a Mozart choral piece and also of soprano, Michelle Erin performance of Hall Johnson’s “Give me Jesus,” baritone, Frank Mathis, “Goin’ Home” and excerpts from Roland Hayes “Life of Christ,” and soprano, Annicia Smith’s moving rendition of “Deep River” was punctuated by the remarks of invited guest, Northeast coordinator of the Schiller Institute, Dennis Speed.  All pieces were skillfully and beautifully accompanied by pianist, My-Hoa Steger.  At the conclusion of the 90-minute concert, the chorus led the audience in singing “Lift every voice and sing,” and led the audience outside the beautiful chapel to a receiving line.

Schiller Institute Boston Community Chorus and friends.

Schiller Institute Boston Community Chorus and friends.

Many in the audience had never heard Spirituals sung in such an honest and dramatic way.  Some people were visibly shocked when Dennis Speed said in his speech, that African-American Spirituals are Classical music.  While this event was intended to shock people and create discomfort in facing the history of slavery, the role of the uplifting and never-enraged Spirituals played the crucial role in carrying out the mission of Friedrich Schiller and the Schiller Institute; it provoked the audience to be better people and to respond in an impassioned way.  There is tremendous potential coming out of this concert, including a professional recording which will be sent out to thousands of people and future collaboration.

Saturday: Songs from the New World 

On Saturday, June 15th, the Schiller Boston Chorus hosted a concert entitled “Songs of a New World,” to educate people on the collaboration between Czech composer, Antonín Dvořák and African-American baritone and composer, Harry Burleigh. This history is necessary to understand if Americans are going to make the break from geopolitics and divisiveness of the old paradigm and move into a new paradigm of win-win cooperation between the best of all cultures.  This concert program was well composed with many solo and choral African-American Spirituals, Lieder by Brahms, and some lesser-known but beautiful and well-received songs by, Antonín Dvořák including two Moravian duets, a song in Czech, and the well-loved Songs my Mother Taught Me, sung by soprano, Michelle Fuchs and accompanied by My-Hoa Steger. Also, a very special rendition of the Chinese folk song, “Jasmine Flower (Moli-hua)” sung by Donna Liao, and accompanied by treble voices and piano, brought the beauty of Chinese culture to a largely American audience.  At certain points in the program, quotes by Dvořák, Burleigh, and Frederick Douglass, were read, to help the audience gain further insight into the beginnings of this American Renaissance and also why it was deliberately derailed into Jazz and the Roaring 20s culture, etc.  For more on this history, see The African-American Spiritual and the Resurrection of Classical Art:  Not Force, But Beauty, Will Change America.

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Soprano Annicia Smith singing “Deep River.”

There were a few incredible responses from the audience which characterize a more general hunger for beautiful culture that our choruses are finding around the country, particularly right now. This audience, made up entirely of the local community, including family and friends of chorus members, local business owners, and some children, gained their concentration and settled down during the opening piece, the beautiful prayer-like “Laudate Dominum” from Mozart’s Solemn Vespers. 

At the conclusion of the concert, there were many responses by audience members and chorus members alike.  Many people could not believe that we are a community chorus and that we do not hold auditions.  This led to many good discussions about the important role of the Verdi tuning and bel canto vocal training to train amateur voices.  One chorus member noticed that during one particular dramatically soft and beautiful choral phrase in a spiritual, many members of the audience simultaneously sat back in their seats and closed their eyes, as if to be relieved by the music. Many expressed how important it is to have this beauty here in this community and how every single arrangement was beautiful. 

Another important note was the affect of the historical excerpts and quotes, as a few members of the audience wanted to discuss the role of slavery in the United States and more of the history of Burleigh and Dvorak.  Following the concert, there was a wonderful food reception attended by audience and performers alike. 

This full weekend of two beautiful concerts reinforced our firm commitment to bringing high-level culture to all peoples and that if we can avoid the dangers of war, the United States can be ready to join the new paradigm.

Jen Pearl, Conductor, Schiller Boston Community Chorus  Follow the Boston chorus on Facebook.

 


In Memoriam: The Triumph of Lyndon H. LaRouche, Jr.

A memorial event celebrating the life and legacy of American statesman, Lyndon H. LaRouche, Jr. was held in Manhattan, June 8th, 2019 with simultaneous satellite events watching across the country. See the full program below.


Introduction – Dennis Speed

Prologue – Helga Zepp-LaRouche

Lyndon LaRouche in His Own Words
Dennis Speed, narrator

Hall Johnson (arr.): “When I Was Sinkin’ Down”

Hall Johnson (arr.): “I Don’t Feel No-Ways Tired”
Reginald Bouknight, tenor soloist
Schiller Institute Festival Chorus
Diane Sare, director

J.S. Bach: “Jesu, meine Freude,” BWV 227
Schiller Institute Festival Chorus
Andrés Vera, violoncello
Bruce Director, contrabass
John Sigerson, director

INTERMISSION

The Third Trial of Socrates
Dennis Speed, narrator

Roland Hayes: “They Led My Lord Away”
Elvira Green, alto

Roland Hayes: “Crucifixion”
Frank Mathis, baritone

Johannes Brahms: “Dem dunkeln Schoß der heil’gen Erde”
Schiller Institute Festival Chorus
John Sigerson, director

Ludwig van Beethoven: Sonata for Violonello and Piano, Op. 69
I. Allegro ma non tanto
II. Scherzo
III. Adagio cantabile
IV. Allegro vivace
Andrés Vera, violoncello
My-Hoa Steger, piano

Ludwig van Beethoven: “Adelaide,” Op. 46
John Sigerson, tenor
Margaret Greenspan, piano

Johannes Brahms: “Immer leiser wird mein Schlummer,” Op. 105, No. 4
Elvira Green, alto
My-Hoa Steger, piano

The Triumph of Lyndon LaRouche
Dennis Speed, narrator

Epilogue

Robert Schumann:
“Mit Myrthen und Rosen”, Op. 24, No. 9
John Sigerson, tenor
Margaret Greenspan, piano

Wolfgang Amadeus Mozart: “Ave verum corpus,” K. 618
To be sung by everyone

J.S. Bach: Chorale
“Wenn ich einmal soll scheiden” from St. Matthew Passion
Schiller Institute Festival Chorus

“Taps” for Lyndon H. LaRouche, Jr.


Mozart’s Solemn Vespers & Songs about the Moon from around the World

50 years ago, on July 20, 1969, mankind landed on the Moon. In 5 years, we are set to return. Join the Northern Virginia Schiller Institute Community Chorus for an evening celebrating these historic milestones, and the beginning of a new era with the music of Mozart, Beethoven, Dvořák, and more!

Sunday, July 21st · 6:00 pm

Holy Trinity Lutheran Church, 605 W. Market St. Leesburg, VA

RSVP

Free concert, donations welcome. Reception to follow.

 

 


Schiller Institute NYC Chorus Memorializes LaRouche in Bronx Concert

On Sunday May 5th, the Schiller Institute NYC Chorus performed the Mozart Solemn Vespers, African-American Spirituals, and Verdi at a concert dedicated to the memory of Lyndon LaRouche in Little Italy of the Bronx. The chorus was joined by five professional soloists and orchestra, and everything, except the Bach organ prelude was performed at the Verdi tuning of c=256 Hz.

250-300 people turned out in the pouring rain to hear this wonderful program, which opened with the church organist playing a Bach organ prelude, and ended with Italian Opera arias sung by the soloists. Although there were several young children in the crowd, there was not a sound, except applause, which erupted after the first amen in the Vespers. One person commented that the Vespers was performed in such a transparent way that the genius of Mozart leapt out at him—the orchestra playing counterpoint to the chorus, as another voice, and not a unison.

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Having everyone’s best loved Italian Opera arias sung by African-American, Chinese, and Greek soloists definitely demonstrated the universal quality of great music, and thrilled the Italian-Americans in the audience, and several were heard to be singing along by the end.

Also in attendance was the Ambassador from Sri Lanka to the UN, who was recognized by the priest and by Dennis Speed in his welcoming remarks, who expressed a dedication to the memory of those who had perished in the Easter massacres in Sri Lanka, killing over 300 people, including children in Sunday School. In dedicating the concert to Lyndon LaRouche, Dennis quoted from LaRouche’s review of the Mozart opera La Clemenza di Tito, and spoke of Lyndon’s critical insights and support for the choral process in Manhattan.

“All Classical art speaks directly to you, as an individual personality; it addresses the question each of us must ask ourselves at some point in our lives, or perhaps even repeatedly,
‘Who am I, and what are we? Since we are all born, and shall die, what is the meaning of that individual existence we occupy between birth and death? What is the continuation of that life, even after we are dead?’ Thus, great Classical art touches the same issues as Christianity and the themes of Judaism treated by the great Moses Mendelssohn.

“So, Mozart speaks to you personally, through La Clemenza di Tito, from the operatic stage. “Mozart does not preach; he evokes the experience of the discovery of the principle of agapë within the cognitive experience of the individual member of the audience, by means of the unfolding, ironical development within the drama as a whole. In the history of Christianity, for example, it has been the similar re-experiencing of the Passion of Christ from Gethsemane through and beyond the Crucifixion, which has been the artistic quality of reliving that impassioned experience upon which the strength of Christianity has depended. There is perhaps no more conclusive demonstration of that, than is supplied by J.S. Bach’s
St. Matthew Passion.

“…At the time of his death, and earlier, Mozart was essentially a leading Christian of his time, as his Ave Verum Corpus expresses this principle of Classical artistic composition with wonderful succinctness.” 

Lyndon LaRouche

The chorus, now in its 5th year, has 80 members from Brooklyn, Queens, Manhattan and northern NJ, and the singers range in age from 27 to 89, and include college students, young professionals and retired people, a Chinese concert pianist, and a Bishop from a Church in Harlem, who also speaks German. They have all developed over the years, to the point that new members often flee, intimidated by the quality of the Manhattan rehearsal, and we have to call them back and assure them that many of the people they think sound so good, also couldn’t read music when they joined. (And many still can’t.)

The audience was largely from the neighborhood of the church, which is a very well-known Italian area, and has Italian shops, restaurants and bakeries which have been in the same families for over a century, in several cases. Italian-Americans from all over Westchester County, NJ and Connecticut come here to get their favorite Italian foods. These shop owners have been regular patrons of the chorus, buying ads in our programs for the last 3 years, and always asking us, “When are you going to hold a concert in the Bronx???” They were thrilled that we finally were at their church, Our Lady of Mount Carmel.

The associate priest, who is from Ghana, loved every minute of the concert and asked us to come back. When we said, “Yes, maybe next year.” He said, “I wish you could be here every day!”

Video coming soon!

To find out more about the NYC Schiller Institute Chorus, visit sinycchorus.com.


At the Dawn of a Musical Revolution:

Mozart’s Solemn Vespers

The following was written by Schiller Institute music director, John Sigerson, who conducted the May 5 performance in New York City.

By the time he composed the Vesperae solennes de confessore in 1780, the 24-year-old Wolfgang Amadeus Mozart was already a vastly accomplished composer who had produced 14 masses and hundreds of other works. Yet in this work, a setting of one of the most ancient offices of the Catholic Church, we experience vigorous new buds of a musical and scientific revolution—a revolution that today is making it possible to raise all humanity “out of the dust, and lift the needy out of the dunghill” (Psalm 113, “Laudate pueri”).

For today, we can celebrate the fact that the nation of Italy, cradle of the high Florentine Renaissance and of the Church, has reached out to officially join with history’s greatest movement to eliminate poverty worldwide, China’s “New Silk Road” or “Belt and Road” initiative, a policy grounded in Confucian principles which resonate with those of the best of the Western Christian humanist tradition.

“But wait a minute!” you might be saying to yourself. “How could a revolution in music possibly launch an economic plan to eliminate poverty worldwide?” The answer is both simple and complex: We are all human, and unlike other animals and inanimate things, our ability to make breakthroughs in our spiritual grasp of universal principles governing the created universe, enables us physically to devise new technologies, and also new forms of culture, to harness those principles for the betterment of all mankind. Every truly great physical scientist, from Nicholas of Cusa and Kepler to Einstein and Vernadsky, every great physical economist from Gottfried Leibniz and Alexander Hamilton to Lyndon LaRouche, and every great Classical composer from J.S. Bach to Mozart, Beethoven, and Brahms, well knew that connection.

The nature of what is best termed the Mozart-Haydn Revolution in Music, in fact occurred about two years after Mozart composed the Vespers, i.e. in 1781-82, when Mozart, who had just moved his family to Vienna, participated in discussions with Josef Haydn and others at the salon of Baron van Swieten, who from Berlin had brought back manuscripts of the virtually suppressed works of Johann Sebastian Bach. For both Mozart and Haydn, the explosive impact of Bach’s works such as The Musical Offering and The Art of the Fugue unleashed “a new way of composing” (in Haydn’s words), based not on melodic forms, but rather on more fundamental elements underlying those forms. This new method has been described by Norbert Brainin, the late first violinist of the legendary Amadeus Quartet, as Motivführung, or motivic thorough-composition; it frees all the voices in a composition to generate new forms in such a way, that it is not the sounds of the music—however pleasant they may be—but rather the underlying, soundless musical/poetic ideas which govern the development.

Returning to Mozart’s 1780 Vespers, in hindsight we see here the buds that bore that rich fruit, in relation both to J.S. Bach, but also to Mozart’s older friend Josef Haydn.

Take, for example, the second piece in the series, “Confitebor,” a setting of Psalm 111. Anyone who has heard J.S. Bach’s famous cantata “Wachet auf, ruft uns die Stimme” will immediately hear this echoed in the opening bars of the “Confitebor,” which also happens to be in the same key of E-flat Major. Had Mozart seen or heard that cantata? Probably not in performance. The original Lutheran hymn with that melody was first published in 1599 by Philipp Nicolai, and stood in many Lutheran hymnals. But more likely, is that it was suggested to Mozart directly, via a member of Bach’s large family which extended throughout Europe.

Consider this: In April 1778, J.S. Bach’s fourth son, Johann Christoph Friedrich Bach, traveled along with his own son Wilhelm to London, where he met up with his brother, Johann Christian Bach. Two years later, in 1780, J.C.F. Bach composed his own cantata “Wachet auf” as a tribute to his father, further developing its theme. We can only speculate that when he met his brother in London two years earlier, his plans to compose it were already ripening, and that it formed part of their discussions.

Now pursue the trail further: Five months later, in August 1778, Johann Christian Bach traveled to France, where he met 22-year-old Mozart at the estate of Louis, Maréchal de Noailles. (France had recognized the new American republic in April 1778; de Noailles was a backer of the American war against the British Empire, and his granddaughter’s husband had joined with Lafayette in George Washington’s army.) J.C. Bach, then 42, was a long-time mentor and friend of Mozart, having first met him in 1764 when Mozart’s father took the eight-year-old prodigy to London. Much later, Mozart’s sister Nannerl recollected that

“Herr Johann Christian Bach, music master of the queen, took Wolfgang between his knees. He would play a few measures; then Wolfgang would continue. In this manner they played entire sonatas. Unless you saw it with your own eyes, you would swear that just one person was playing.”

Could J.C. Bach have suggested the “Wachet auf” theme that his brother was working on, to his younger friend? Perhaps, perhaps not, but the facts alone already give an idea of the rich interpenetration of ideas among Europe’s greatest musical minds. The Vesperae solennes, far from being a “solemn” work which its title might suggest, is bubbling with optimism and kernels of ideas which he developed in his later works, especially his operas. In fact, these little idea-lets fly by so quickly, that one scarcely has time to take one in, before yet another cascades in.

In part, this lack of time to develop ideas was an evil from which Mozart was already plotting to escape, namely from the Bishop of Salzburg’s strict edict that no work of sacred music last longer than 30 minutes! Fortunately, we today do not have to adhere to the Bishop’s arbitrary rule, and so we shall take a bit longer than that, in the hope that you may manage to take in as many snatches as possible of these great ideas.


Houston Concert: The Healing Power of Mozart & Spirituals

The Houston Schiller Institute Community Chorus, with Maestro Dorceal Duckens, our great pianist Joshua, and newly added string players, made beautiful music unto Heaven during our May 5th concert at the Riverside United Methodist Church, 3rd Ward, Houston. Ironically, the lights in the church sanctuary were not working the day of the concert; thus, creating a dramatic setting as the sun set through the church’s gorgeous stained glass windows. With wonderful acoustics in the church, and the evening sun filling the sanctuary, the concert made a big impact on the audience. The “Mozart Effect” on the 50+ attendees in audience was palpable.

While the church was not full, those in attendance reflected a broad outreach of our organizing around the city. We had a number of pastors, several members of the Ebony Opera Guild, members of our director’s church, Chinese contacts of the Schiller Institute, and a few members of the Riverside Church. Many attending knew Maestro Duckens only as a great singer and were amazed to discover he is also a great conductor! Also in attendance was the vocal coach from another local opera company, as well as the Choir Master from a local church.  A couple drove over an hour after they had seen the concert advertised on an online blog. Before the concert, while speaking to a member of the chorus, the couple was very curious about the connection between Schiller the poet, economics, politics, and music but as they were leaving, they shook the member’s hand and promised they were going to look up Schiller when they got home.  One of the directors from a homeless center was amazed. He had never heard Mozart performed before and had no idea about his role in the American Revolution. Another woman, employed by the church, told a member of the chorus she used to be a singer until she developed nodes on her vocal chords and could no longer sing the high soprano notes. Imagine her fascination when she learned we sing at the C=256 pitch to preserve the human voice and instruments! During the performance she was observed singing softly with every Spiritual. Another attendee, who has followed the work of the Schiller Institute and chorus member Kesha Rogers’ campaigns for congress, told a member afterwards that this concert had “healed him” since he had just suffered the loss of a child two weeks ago.

houston-vespers-ii

Worth noting is the impact the Mozart Solemn Vespers on this audience, many of whom knew the Spirituals well. One of the “church ladies” remarked to a chorus member, “you guys were full of the Spirit—even the Mozart was like that!” In observing the ladies during the concert, he noted how they looked at each other in amazement during the intense contrapuntal sections. One turned to two others and mouthed, “I want to clap” after the Laudate Dominum, but held herself back, as did the rest of the audience, until we had completed the entire work.  Following the event, we had a small reception where several of the attendees joined us for discussion; people were just beaming with joy.

Several people inquired about joining our chorus. This was certainly on a higher level than anything that we have done before. We truly unified and brought the community together from all walks of life around beautiful bel-canto music that moved the mind and soul. We were so happy to be joining our friends there in NY as both choruses sang in harmony together in different space times.

For more information about the Schiller Community Chorus or how to join, visit our Houston Chorus page.


SONGS OF A NEW WORLD – Concert June 15th 2019, Quincy MA

A contribution to the struggle for the Inalienable rights of all human beings. To Life Liberty and the Pursuit of Happiness. For the United States to overcome our cultural crisis, we must create a new unified culture, founded on the most beautiful ideas and discoveries, contributed by the American experience to the treasure chest of human culture.

Please, join our Community Chorus in celebrating and investigating through music on June 15, 3 PM in Quincy!

WP concert June 15 image

Antonin Dvorak, who was brought to American for the purpose of creating an American classical music culture, by Jeanette Thurber, the founder of the National Conservatory, recognized that that creative surge among American composers and the people in general could be ignited by the beauty and profound ideas found in the American folk music, known today as the spirituals.

Said Harry T. Burleigh:

“It was Dvořák who taught me that the spirituals were meant not only for the colored people, but for people of all races, and every creed.  In New York, I was with Dr. Dvořák almost constantly.  He loved to hear me sing the old plantation melodies.  His humility and religious feeling – his great love for common people of all lands – enabled him to sense the pure gold of plantation song… he understood the message ever manifest:  that the eventual deliverance from all that hinders and oppresses the soul will come, and man – every man – will be free.”

Although the experiment was attacked and shut down to a certain degree, the hypothesis is valid and still reverberates. The fragments exist for the artist, and the chorus, to pick them up and out of them weld together, in one harmonious whole, a nation, through the development of a uniquely American, noble school of classical music.

For more information and to RSVP, please contact Jen at SchillerBostonChorus@gmail.com


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