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Schiller Institute 30th Anniversary Conference: Rep. Walter Jones

Walter Jones’s Message to Schiller Institute Conference:
Americans Need the Truth about 9/11

The following video-recorded  message was sent to the Schiller Institute Conference by Rep. Walter Jones, Republican of North Carolina.

I’m Walter Jones. I represent the Third Congressional District of North Carolina, in the United States House of Representatives. I’m pleased today to share some thoughts with you who are attending the Schiller Institute 30th Anniversary Conference, and I cannot think of a better title to be discussing than “It Is Time To Create a World Without War.”

So thank all of you who are in attendance, and let me share a few thoughts with you.

I have joined Steven Lynch and Thomas Massie. Steven Lynch, a Congressman from Massachusetts, and Thomas Massie from Kentucky, and myself, have joined in a letter to President Obama, written on April 10, [2014,] and I’ll read the first sentence to you. Let’s just make it short.

“We write today to urge you to declassify the 28 redacted pages of the Joint Inquiry into Intelligence Activities before and after the terrorist attack on September of 2001.”

How can you have a democracy, or a republic, and not have sunshine in your government? And I, quite frankly, have read the 28 pages. So have Steven Lynch and Thomas Massie; and a few other Members of Congress in both parties have taken the time to read the 28 pages.

We had a news conference several months ago, and we brought the families in who had lost loved ones [on 9/11]. If the President could just see the pain in the eyes and the words of those family members, then hopefully, he would declassify these 28 pages.

The 28 pages have nothing to do with national security. If it did, I wouldn’t be speaking to you today. It does not. It talks about relationships in the international world that we live in. And who we can trust and not trust. And I would encourage you today, as you leave the conference over the next couple days, to contact your Members of Congress and ask them to look seriously House Resolution 428, which was introduced by Congressman Steven Lynch [D], Congressman Walter Jones, and ask that Member of Congress to do what is right for the families of 9/11.

When you have people like Sen. Bob Graham, who for years, ever since he left the Senate, have been calling on the President, and all the Presidents, and the Senators, and the House members, to declassify these 28 pages, the families deserve to know what’s in the 28 pages, and the American people do as well.

There is no democracy, there is no republic, without the American people knowing the truth about 9/11. Thank you.


Schiller Institute 30th Anniversary Conference: Brigadier General John Johns (ret.)

EIR senior editor Jeffrey Steinberg read the following message to the 30th Anniversary conference of the Schiller Institute, from Brigadier General John Johns (ret.).

In introduction, Steinberg said:

“He’s been an outspoken critic of all the recent wars. He and General Robert Garde wrote a major piece in the New York Times several years back when it looked like we were about to go to war with Iran, and just simply said, do not do it.

“General Johns sent a paper, a lecture that he gave down in Virginia, and he asked that I just read a very brief quote from it, which is very much in line with the Schiller Institute’s tradition and spirit, and also with the presentations you’ve heard today. It’s actually from a former U.S. Senator named Carl Schurz, who was the first German-born American citizen later, to be elected to the United States Senate. He was a general in the Union army during the Civil War; later in the Senate; later he was the Interior Secretary; and at the time of the Spanish-American War, he delivered the following brief statement:

“The man who in times of popular excitement boldly and unflinchingly resists hot-tempered clamor for an unnecessary war, and thus exposes himself to the opprobrious imputation of a lack of patriotism, or of courage, to the end of saving his country from a great calamity, is, as to lovingly and faithfully serving his country, at least as good a patriot as the hero of the most daring feat of arms, and a far better one, than those who, with the ostentatious pretense of superior patriotism, cry for war before it is needed, especially if they let others do the fighting.”


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.

annicia

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.

 


Schiller Institute 30th Anniversary Conference: Daisuke Kotegawa

Kotegawa

Daisuke Kotegawa

I would like to extend a deep congratulation for your 30th anniversary meeting in New York on June 15. At this critical time of the history, it is so important that unselfish people work together towards the common welfare of all people on this earth.

It is well known from our experience in late 1990s that recovery from an economic crisis triggered by financial crisis requires special subscription. A cleaning of the banking system, with substantial change in management of major banks and with pursuit of responsibility of management, is a precondition of the bail-out of banks and restoration of confidence in the financial system. A fundamental streamlining of the financial system by reintroduction of the Glass-Steagall Act is essential to avoiding repetition of the mistakes made by Wall Street to gamble with depositors’ money. A battle against Wall Street is an urgent task for us, to defend our lives.

After restoration of confidence in financial system, a large-scale fiscal stimulus is necessary to create real demand and increase the welfare of whole world. One example is the idea of a new canal at the Kula Narrows in Thailand. Financial resources have to be mobilized for such purposes, rather than gambling by Wall Street.

Power has to be brought back to Main Streets from Wall Street. I hope that you will win in the battle soon.

With best regards,

Daisuke Kotegawa


Schiller Institute 30th Anniversary Conference: Sergei Glazyev

Glazyev with Lyndon and Helga LaRouche in Moscow, 2001

2001: At the invitation of Dr. Sergei Glazyev (right), Duma chairman of the Economic Affairs Committee, Helga and Lyndon LaRouche revisit Moscow. At a hearing before the Duma Economic Affairs Committee on June 29, 2001, LaRouche explained his policy to reorganize the world financial system and a global economic recovery in the context of Eurasian cooperation, in front of 150 members and government advisors.

It is a great honor for me to greet and congratulate you on the occasion of the 30th anniversary of the Schiller Institute!

Dear colleagues! The Institute has been and will always be a unique platform for dialogue and for the development of important solutions to various aspects of contemporary social, political, and economic development and humanitarian cooperation in the world!

Many of your ideas, proposals, and thoughts have found demand, in the development of valuable initiatives of practical significance, in the areas of social justice, the global order, and the prevention of regional conflicts.

Besides the solution of strictly practical tasks related to current, day-to-day problems of our mutual development, you also make, on a daily basis, a weighty contribution to the conceptualization and solution of urgent issues of geopolitics and public life.

I am certain that your conference today will provide an important impetus to discussions concerning the equality of peoples, regardless of where they live, the sovereign right of peoples to self-determination, and the choice of methods for building a harmonious future, based on peace, cooperation and good-neighborly relations!

I wish you fruitful work, dear colleagues, and peace to your houses!

Sergei Glazyev

Moscow, June 13, 2014


Schiller Institute 30th Anniversary Conference: Ray Flynn

Ray Flynn, the former mayor of Boston and former U.S. Ambassador to the Vatican, sent the following greetings to the Schiller Institute conference:

“The concert at Boston’s Cathedral of the Holy Cross, in commemoration of the 50th anniversary of the assassination of President John F. Kennedy, sponsored by the Schiller Institute, was one of the most inspiring events that the people of our city have experienced in a long time. People of all social and economic backgrounds turned out for this special event.

“The Schiller Institute has been a big supporter for various civic and cultural events, which have been appreciated by everyone. My best wishes to the Schiller Institute on 30 years of public service. I hope we can continue this special partnership. With deep appreciation, I am —

“Ray Flynn, former Mayor of Boston and U.S. Ambassador to the Vatican.”


Schiller Institute 30th Anniversary Conference: Tom Buffenbarger

Tom Buffenbarger

On behalf of the Officers and Members of the International Association of Machinists and Aerospace Workers, I wish to extend warm greetings and congratulations to the Schiller Institute on the Occasion of its 30th Anniversary.

The IAM and the Schiller Institute have long shared a vision for a world built upon progressive concepts and the ideas leading to a better, brighter future for all nations.

The application of sound economic principles, such as those contained in the proposed reauthorization of Glass-Steagall legislation, combined with a renewed emphasis on an innovation-driven industrial policy in tandem with rebuilding the global energy distribution network, are the goals that capture the imagination of nations as we collectively seek to build productive, progressive, and sustainable societies.

The IAM applauds the Schiller Institute for its monumental efforts to inform, educate, and promote the alternative ideas our entire planet is yearning for.

Best wishes to all for a successful 30th Anniversary celebration.

R. Thomas Buffenbarger

June 12, 2014


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.


PDF of the program

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.


Concert in Memory of JFK: Immortality in the Presidency

This article appeared in the January 24, 2014 issue of Executive Intelligence Review. We post it here with the permission of the publisher.

By Dennis Speed

I was Twenty-three years old at the turn of the century. It was a time of brave expectations. Many believed that a new epoch was at hand—that the dawn of the twentieth century would prove to be a turning point in the affairs of men. They cited recent scientific advances and predicted a future of great social progress. The era, they said, was approaching when poverty and hunger would at last disappear. In the way people make fervent resolutions at the start of a new year, the world seemed to be resolving at the start of a new century to undergo a change for the better. Who then foresaw that the coming decades would bring the unimaginable horrors of two world wars, concentration camps, and atomic bombs?

Pablo Casals,
Joys And Sorrows

Those capable of foresight—and for civilization to survive, the American population must become so capable—will recognize the truth in Casals’ observation. Yet, it is our duty to shape the future, and thus to know it. To paraphrase another slain U.S. President: We are now engaged in a 150 years war, testing whether any nation, so conceived and so dedicated, as is the United States, can long endure. Assassinations against American Presidents, have been the preferred criminal method of choice, for dealing with the problem of the American Cultural Exception. So it was with John Kennedy, his brother Robert, and Dr. Martin Luther King.

To respond to the challenge of reproducing and increasing the power of foresight for civilization’s survival in the short and long term is the unique mission of the Schiller Institute, a mission which the Institute brought to the City of Boston on Sunday, Jan. 19. The Schiller Institute Chorus, augmented by additional singers and an orchestra largely comprised of volunteers from the New England Conservatory of Music, presented Mozart’s Requiem in its entirety to an audience of 1,200 at Boston’s Cathedral of the Holy Cross, performed exactly 50 years to the day, of a 1964 Solemn High Requiem Mass specially requested by the Kennedy family.

One year after his October 1962 defiance of that faction of “principalities and powers,” including Britain’s Lord Bertrand Russell, that dared to believe that nuclear war against the Soviet Union was not only conceivable, but winnable (the Cuban Missile crisis), John Kennedy was murdered in Dallas. His assassination, along with that of his brother Robert, and of Martin Luther King, has hung “like a dead hand upon the brain of the living,” until now. Four generations have been unable to shake off their effects. That is because there is only one reliable method for doing so: People must be elevated above and beyond their own pre-selected, limiting self-expectation. People require, not “the facts” of “what really happened,” but the fire of insight needed to reverse our unending national trauma. No preaching, slogans, or imprecations will cause a terrorized people to have courage. Only their own voices, heard as through the mirror of a great artistic performance, can move the despairing to a higher place, a mountaintop where their souls, much to their surprise, actually live.

Conductor and Schiller Institute Music Director John Sigerson, in an interview with a reporter from The Pilot, newspaper of the Boston diocese, was asked whether the Schiller Institute believes that “Classical music can create a change in our culture.” Sigerson’s answer to this was “No.” Rather, he asserted, it was the juxtaposition of the “musical” with the “non-musical,” in this case several excerpts of speeches by JFK, heard at precisely selected points in the Requiem, that would allow members of the audience to be provoked to change their minds, and thus hear the music. Sigerson said: “The JFK speeches alone wouldn’t work, and the music alone wouldn’t work. It’s the uncomfortable juxtaposition of the two that works,” this by creating an unexpected cognitive discomfort and tension for the audience.

The Schiller Institute has employed for the second time—the first being in Vienna, Va., on Nov. 22, the 50th anniversary of the President’s assassination—the spiritual and therapeutic power of the MozartRequiem to restore the power of cognition to Americans. As Schiller Institute Founder Helga Zepp-LaRouche said in her remarks, such a Classical revival is necessary to inspire Americans to take up Kennedy’s mission again, even as the world currently stands at the edge of thermonuclear war.

The Preparation of the Audience

Master of Ceremonies Matthew Ogden provided a prelude to the music, using a selection of speakers, messages, and quotations to allow everyone in the audience equal access to the depth of meaning contained in the moments they were about to experience, “not in time, but in the Idea,” as Nicholas of Cusa says. For those two and one-half hours, the “virtual reality” brainwashing that accounts for the toleration of a Nietzschean “all is permissible” popular “culture” was interrupted. Those who might have objected that “it’s too long for the audience to concentrate” were once again proven wrong. It was essential that they be prepared to listen, and not merely hear, the Mozart composition. But why?

In the words of the German conductor Wilhelm Furtwängler, “As far as music is concerned, there is nothing about which the so-called ‘public’ knows less than about its own mind. Above all, there is one prior condition needful to the listener—whether as an individual or as an audience—if he is to formulate a judgment of real value: and that is, he must have enough time.” This essential pre-condition having been met before a single note was sung, the audience was thus pre-organized to respond at a higher level than it would otherwise have been capable, even with the best musical performance.

There was more to the audience preparation, however. This audience was assembled through a thorough, consistent political intervention and fight. This audience recruitment was the result of an intense organizing effort conducted over about six weeks or so. There was a successful “outreach” campaign throughout the Boston metropolitan area. One portion of the audience had come because of ads in theBoston Globe and other news outlets. The Pilot was cited by many as their source of news. Several Boston schools and colleges were represented, along with senior centers and various community organizations. Leaflets and posters were distributed in Chinese, Vietnamese, Spanish, Portuguese, English, and French. Several foreign consulates attended the concert, as well as state representatives from Maine and Rhode Island. There were messages from Michael D. Higgins, President of the Republic of Ireland; Boston City Councilman Steven Murphy; and from Nicholas Di Virgilio, tenor, the only surviving soloist from the 1964 concert (see below for his remarks).

Many who attended recalled having been at the 1964 performance: it must be remembered that for the then-largely Catholic Boston, Holy Cross was their local church. Ray Flynn, former Boston Mayor, and later, Ambassador to the Vatican, who had also attended the 1964 performance, expressed the sense of gratitude and true happiness that the citizens of Boston felt for the thoughtfulness that went into ensuring that the historic nature of the occasion did not go unrecognized (see box).

The Performance, and the ‘Pitch’

The Schiller Institute Chorus, soloists Ron Williams (baritone), William Ferguson (tenor), Heather Gallagher (mezzo-soprano) and Nataly Wickham (soprano), and the largely New England Conservatory of Music-based freelance orchestra constituted for Sunday’s performance, accomplished its primary task: to present the Mozart Requiem as a single, unified Idea. The unity of effect of the performance allowed the words of President Kennedy, the which worked to punctuate and underscore Mozart’s presentation of the idea of immortality, to pose a dialogue about the nature of immortality’s triumph over death with each audience member, as well as the audience as a whole. Maestro Sigerson also noted that the performances of the “Recordare” and “Benedictus” sections of the piece, both set for vocal quartet, were “of a piece” with the entirety, and were delivered with the exact meaning that Mozart intended them to convey.

The performance was conducted at a tuning of A=432, nearly a quarter tone lower than most modern performances, and is a standard feature of Schiller Institute musical practice. While this is sometimes referred to as the “lower” tuning, that designation is imprecise. It is the propertuning; it is merely “lower” than what is currently practiced as the wrong, “higher” tuning. The tuning range for music is perhaps more clearly stated as middle C=256 cycles per second, which yields an A=427-432. The C=256 is the tuning at which the Mozart Requiem was composed, designed, and intended to be heard.

The next day, The Boston Music Intelligencer, self-described as a “virtual journal and essential blog of the classical music scene in greater Boston,” ran an extensive positive review under the headline, “JFK Remembered in Musical Tribute,” characterizing it as “a polished traditional performance.”

One of the supporters of the Schiller Institute, conductor Anthony Morss, who has worked with, and conducted experiments demonstrating the reasons for insisting on what is also referred to as, “the Verdi pitch,” supplied an essay that appeared in the concert program intended to provide some background on the matter (see below).

Art as Necessity

The necessity of art—not only its moral, but physical necessity—was stressed in the brief and precise remarks directed to the audience by Schiller Institute founder Helga Zepp-LaRouche.

“It is necessary to commemorate the celebration of Mozart’s Requiemwhich was performed for John F. Kennedy, 50 years ago in this cathedral. It is urgent to evoke again the divine spirit of beauty of Mozart’s composition in order to reconnect us with the better world which both Kennedy and Mozart represent,” she said. Zepp-LaRouche insisted, along with the “Poet of Freedom” Friedrich Schiller, after whom the Institute, which celebrates its 30th year in 2014, was named and founded by her, that death is swallowed up in the victory of the power of musical immortality as Mozart, Bach, and Beethoven exemplify, and as the power of the Kennedy Apollo Project also demonstrates. Kennedy’s optimism allowed every American, and, with the successful landing of the human species on the moon, everyone on the planet, to know, by demonstration, that the mind, though contained in a body, is not that body; the mind has no physical limits (see box).

Zepp-LaRouche’s reference to “reconnection to a better world” highlighted the inevitable and necessary Ideas that were not merely evoked, but provoked, by the performance. And, it must needs be so: Kennedy’s appreciation for and promotion of the Classical arts and of Classical artists was at the very foundation of his Presidency, though this has been largely ignored in these intervening years. Who, for example, would even today recognize these as the words of JFK, given on the occasion of a commemoration of the poet Robert Frost at Amherst College, October 26, 1963, less than a month before his death?

“Our national strength matters, but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost…. it is hardly an accident that Robert Frost coupled poetry and power, for he saw poetry as the means of saving power from itself. When power leads men towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man’s concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses. For art establishes the basic human truth which must serve as the touchstone of our judgment.”

Now, and Then

There were some key differences between the 1964 and 2014 performances. In 1964, it was an astonishing step to include the Mozart Requiem in the context of the Catholic Solemn High Requiem Mass ceremony—the first time that that had ever been done in the United States.

There was another important difference. In the case of this performance-commemoration, 50 years of erosion of the thinking capacities of the American people, particularly by means of the cacophonous obscenity known as “popular entertainment”—including in the form of the post-2000 American Presidencies—required a uniquely insightful rendering of the music by the performers.

It is essential to note, that the chorus was composed of non-professional Schiller Institute singers, many of whom are involved in daily organizing work with both Helga and Lyndon LaRouche. Initially, many Boston-based semi-professional and professional singers had volunteered to be part of the performance, but withdrew because of a campaign denouncing the Schiller Institute, carried out by certain local members of the Democratic Party to intimidate singers. Some refused to listen, and thus “qualified” themselves to participate. Importantly, not only did the local organizers of the event, composed primarily of former members of the LaRouche Youth Movement who were assisted by an experienced and older group of LaRouche Political Action Committee organizers, not attempt to conceal in any way “who they were.” In fact, the organizers insisted that everyone they speak with fully understandwhy it was that only the Schiller Institute, and Lyndon and Helga LaRouche, out of everyone in the United States, had insisted that this 50th anniversary commemoration take place.

To answer that question, we pose a seemingly unrelated question, actually identical to the first.

Why was Kennedy, despite his flaws, seen as exceptional by people who were often critical (and sometimes pitiless) judges of human character, such as Charles de Gaulle, Douglas MacArthur, and Eleanor Roosevelt? Posed another way: Why did Kennedy embody for these severe critics of human character, as well as for many “normal Americans,” an efficient deployment of the U.S. Presidency on behalf of furthering the progress, not merely of the United States, but of mankind?

The answer to this is posed as follows.

A statement from his Jan. 20, 1961 Inaugural Address, differentiated Kennedy then, and differentiates Kennedy now, from all the Presidents who have served after him: After listing all of the tasks his Administration will aspire to accomplish, including “a call to bear the burden of a long twilight struggle, year in and year out, ‘rejoicing in hope, patient in tribulation’—a struggle against the common enemies of man: tyranny, poverty, disease and war itself,” Kennedy observed:

“All this will not be finished in the first one hundred days. Nor will it be finished in the first one thousand days, nor in the life of this Administration, nor even perhaps in our lifetime on this planet. But let us begin.”

Kennedy forecasted his “willed fate” truthfully, and acted accordingly. Despite all the things he did not live to accomplish, in that thousand days, Kennedy managed to save the world from nuclear destruction, and send to, and put the human race on the Moon. The capacity to access the revolutionary principle embedded in the American Constitution and its Declaration of Independence, on which the Lincoln and Kennedy Administrations built their respective commitments and contributions to American progress, has simply not emanated from the Presidency as the guiding policy outlook of any U.S. Administration since Kennedy’s assassination.

In fact, today, the opposite commitment now exists, in the form of the Obama Administration, and the predecessor Bush Administration, and must be reversed by an American people made culturally competent to do so.

That is the reason that the Schiller Institute was uniquely qualified to propose, organize, and perform the Nov. 22 and Jan. 19 Kennedy remembrances. We refuse to submit to voluntary amnesia. There is a connection between courage and intelligence. Kennedy lived up to his own studies of courage under adversity. None of us can do less.


The Schiller Institute Presents: A Tribute to John F. Kennedy — W.A. MOZART · REQUIEM

Click image to enlarge:

Invitation Flyer

Download Flyer (PDF)


On January 19, 1964, Boston Honored Her Fallen Son John Fitzgerald Kennedy With A Performance of Mozart’s Requiem at the Cathedral of the Holy Cross

Join Us, Exactly 50 Years Later, In A Commemorative Performance.

SUNDAY, JAN. 19, 2014
3:00 PM

CATHEDRAL OF THE HOLY CROSS
1400 Washington Street, Boston, MA 02118

Admission is free. First come, first seated.

“From the past, man obtains the insights, wisdom and hope to face with confidence the uncertainties of the future.”

John F. Kennedy’s remarks to the centennial of Lincoln’s Gettysburg Address, November 19, 1963, three days before his death

It is fitting that 50 years later we commemorate the spirit of cultural and economic progress that John F. Kennedy’s leadership represented for America and the world. With this spirit, President Kennedy confronted and sought to overcome the terrifying prospects of global war, poverty, and human degradation that faced our nation and the world during his time. In the intervening years, these existential problems have come to threaten mankind in even greater magnitude, but the national mind that had joyfully embraced the challenge to conquer the Moon, has been supplanted by a spirit that belittles the sacredness of the human individual and the power of human creativity.

Wolfgang Amadeus Mozart’s Requiem is a most fitting tribute to John F. Kennedy, as Mozart’s work communicates the same optimism and belief in man’s infinite progress to which President Kennedy dedicated his life. The spark of optimism which marked the Kennedy era, though dimmed, is still present among us because it is embedded in the very fabric of our nation from its founding.

Let us honor the memory of John Kennedy by not only reflecting on what was, and what could have been, but on how our culture has changed, and how we must now recommit ourselves to its renewal.

The concert will be performed by the Schiller Institute Chorus along with an orchestra and soloists assembled for the occasion by the Schiller Institute. The performance will be at the natural “Verdi tuning” of A=432 Hz.

The Schiller Institute was founded in 1984 on the initiative of Helga Zepp-LaRouche, wife of the American statesman and physical economist Lyndon LaRouche, for the purpose of reviving the paradigm of Classical culture and reasserting the right of all humanity to material, moral, and intellectual progress. It is named after Friedrich Schiller, the “Poet of Freedom” whose ”Ode to Joy” is immortalized by Beethoven in his Ninth Symphony.

 


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