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LaRouche Legacy Foundation announces online seminar: So, Are You Finally Willing to Learn Economics?

So, Are You Finally Willing to Learn Economics?

On the 50th Anniversary of LaRouche’s Stunning Forecast of August 15, 1971

August 14, 2021

9:00 a.m. – 4:00 p.m. EDT

The LaRouche Legacy Foundation is pleased to invite you to an online seminar with leading international experts to examine the unique contributions of Lyndon LaRouche (1922–2019) to the science of physical economy. The seminar will consist of a morning and an afternoon panel, and it will be held on the 50th anniversary of President Richard Nixon’s fateful announcement of the end of the Bretton Woods system on August 15, 1971.

This is also an urgent invitation to reflect on what went wrong with economic policy in the trans-Atlantic sector over the last five decades, in order to correct those persisting policy blunders and change course before we plunge into a breakdown crisis comparable only to the 14th century New Dark Age.

Some background:

On August 15, 1971, Nixon delivered a dramatic 18-minute national television address in which he announced:

  1. The dollar was being taken off the gold standard: the dollar would no longer be redeemable in gold;
  2. A floating exchange rate system would replace the existing fixed exchange rate international monetary system;
  3. A temporary wage and price freeze would be instituted in the U.S., which quickly became Phase I, II and III drastic austerity measures.

Although Nixon announced these measures purportedly to rein in financial speculation against the dollar, they in fact opened the floodgates to the most massive, lengthy speculative binge in the history of mankind, coupled with physical economic collapse— which continues to this day.

The August 15, 1971 announcement was the most far-reaching and catastrophic economic policy decision of the 20th century in terms of its consequences down to the present. One economist, and one economist alone, called it. He warned that it was coming and explained what it meant within hours of its announcement.

That man was Lyndon LaRouche.

LaRouche spent the next five decades warning that, if those policies were continued, the world would head into a systemic breakdown crisis and the likelihood of fascist economic policies. All the while he presented detailed programs to reverse the crisis, based on the idea of peace through development and on fostering the productive powers of labor of every person on the planet.

For this, LaRouche was reviled and unjustly imprisoned for five years. His policies were not implemented in the trans-Atlantic sector, and the planet today is paying the price for that folly in the form of a hyperinflationary blowout, an uncontrolled and deadly pandemic, and the danger of thermonuclear war. As a result of the campaign to defame LaRouche and silence his ideas, most people in the United States and elsewhere have never studied his writings.

But some people, leading scientists and political leaders in different parts of the world, did listen to LaRouche and did study his works— such as the Russian scientific giant Pobisk Kuznetsov and former Mexican President José López Portillo.

Other specialists and students of LaRouche’s works will participate in the Aug. 14 seminar, and you will be able to hear from them directly about LaRouche’s economic breakthroughs, about his unmatched record of forecasts, and about his programmatic proposals to develop every corner of the planet—and the solar system.  The seminar will help you understand why it is past time to exonerate LaRouche’s ideas, both for reasons of simple justice and to be able to at last implement his policies.

As José López Portillo, the former President of Mexico, stated in 1998 in a joint seminar with Helga Zepp-LaRouche: “It is now necessary for the world to listen to the wise words of Lyndon LaRouche.”

RSVP here to receive updates about this event.


Farrakhan’s Agapic Birthday Gift: Beethoven’s Violin Concerto

May 12 (EIRNS)–In celebration of his 88th birthday, and of Beethoven’s 250th birthday, Minister Louis Farrakhan, leader of the Nation of Islam, made a loving intervention into a crisis-torn world: he released the video recording of his performance of the Beethoven Violin Concerto, which he had done in 2002, but which, for various reasons, had not been able to be released earlier. The concert included a performance of Beethoven’s 5th Symphony, followed by the concerto.

Due to the livestream, which was affected by internet receptivity, at least from this author’s vantage point, there were moments where it wasn’t clear if the orchestra was as together as it might have been at every moment. Also, in some of the very difficult passages of the concerto every note Farrakhan played wasn’t perfectly in tune, but as Ayke Agus, the violinist who agreed to work with the Minister on preparing the performance on a miraculously rapid schedule, and who was the concertmistress for the performance, said, the musical quality and the truthful, non- pretentious intent of the message transcended all technical shortcomings, which were probably not even noticed by most. Certain lyrical sections were absolutely gorgeous, with a beautiful singing quality, and the extremely high notes were beautifully placed, as a great singer would do.

The video was introduced by Farrakhan’s grandson, and then Cornel West, who spoke about the power of Beethoven’s music to unite people, but the most striking comment he made was, (paraphrase) “I have some very deep disagreements with the Minister, but I love him.”

From Farrakhan’s coach, Cornel West and the Minister, the story emerged of the Minister having attended a concert in 1942 or 1943 in Boston of Beethoven’s 5th Symphony, followed by Jascha Heifetz performing the Beethoven Violin Concerto in a way which profoundly moved the young boy. He got Heifietz’s autograph on the program, which he has to this day. He clearly had enormous talent as a child, but the nation was not ready for a black Classical violinist, and he put his instrument away for 40 years.

When he picked it up again his teacher was Elaine Skorodin Fohrman, herself a student of Heifetz, who assisted him in preparing the Mendelssohn Violin Concerto, but who was not convinced that he could master the Beethoven in such a short time (or any time under 10 years.) While her reluctance persisted, she was nonetheless present in the orchestra, both as moral support, and despite her disagreement.

In Farrakhan’s post-performance comments in 2002, which were included in the video , he introduced two young black violinists who had been part of the orchestra. The first was a 19-year-old young woman, who had sent in a video of herself playing the Sibelius Violin Concerto which left Farrakhan in tears, saying “she can be everything I had ever hoped for someone,” and a young man, who had sent in a video of himself playing the Tchaikovsky Violin Concerto, again causing a torrent of tears. Of these, Farrakhan said, “he is all that I had hoped to be, and then some” — which both addressed racism as the crime it actually is and suggested how to reject the intended effect of that crime, by seizing, through the discipline and gift of Classical culture, a truly human identity despite racism’s evil intention. In this way, when this path is taken, civilization may not be deprived of the moral potential, expressed by the development of great talent into genius which would uplift and transform that entire society. Here is a link to the full concert.


Beethoven: Sparks of Joy!

Beethoven: Spark of Joy – HIs Mass in C, God’s Grace Comes to Those Who Act for Posterity

Prince Nikolaus Esterházy II, the long-time patron of Franz Josef Haydn, commissioned a new mass setting each year for his wife’s name-day. In 1807, the commission fell to Beethoven, who, in his own words, “treated the text in a manner in which it has rarely been treated”. The great masses of Bach and Mozart are structured somewhat like operas, whereas Beethoven’s mass is powerfully symphonic, with the soloists treated as a unified quartet, inextricably interwoven with the choir. Esterhazy was not pleased, but the next performance, at Prince Lichnowsky’s residence, received a more positive response. After its publication in 1813, one commentator wrote that the mass conveyed “a childlike optimism that in its very purity devoutly trusts in God’s grace, and appeals to him as a father who desires the best for his children and hears their prayers”.
On November 18, 2018, the Schiller Institute NYC Chorus performed Beethoven’s Mass in C at the beautiful St. Bartholomew’s Church in New York City. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Lessons from history: act for your nation.

Eleonore Prochaska was the daughter of a Prussian soldier, raised in a military orphanage after the death of her mother. She was one of many German women who fought in the Napoleonic Wars, though most were ejected from the army when it was found out that they were women. In 1813, Prochaska disguised herself and joined the the Lützow Free Corps under the name August Renz, serving first as a drummer, then in the infantry. She was severely wounded in battle and died three weeks later. In death, she was memorialized as a chaste heroine and “Potsdam’s Joan of Arc”. A momument to her memory, “Der Heldenjungfrau zum Gedächtnis”, or “In memory of the maiden-heroine” survives to this day in Potsdam’s Old Cemetery.
In 1814, Johann Friedrich Duncker accompanied the King of Prussia to the Congress of Vienna, and asked Beethoven to compose incidental music for his play, “Leonora Prohaska”. The play was never performed, as the subject had already been treated in Piwald’s “Das Madchen von Potsdam” which was performed that year.
Beethoven’s music has four parts:
1) Chorus, “Wir bauen und sterben’ (We build and die);
2) Romanze (Es blüht eine Blume im Garten mein) (A Flower blooms in my garden);
3) Melodrama;
4) Trauermarsch (Funeral March);
The fourth number is an arrangement for full orchestra of the funeral march from the Piano Sonata No. 12 in A flat major, Op. 26, transposed from A flat minor to B minor.
This rarely-heard work is performed here by the Berlin Philharmonic, conducted by Claudio Abbado. [Notes by Margaret Scialdone.]


Tulsi Gabbard Rips Into Drive to Divide Human Race by Skin Color and Ethnicity

April 30 (EIRNS)–In a short video posted on her Twitter account on April 25, former Democratic presidential candidate and Congresswoman Tulsi Gabbard called on Americans to “stop the RACIALIZATION of everyone and everything,” because “we are all children of God.” Her message was blunt:

“My dear friends, my fellow Americans, please, please let us stop the racialization of everyone and everything – racialism. We’re all children of God and are therefore family in the truest sense. No matter our race or ethnicity, this is Aloha and this is what our country and the world need. The mainstream media, propaganda, media and politicians, they want us to constantly focus on our skin color and the skin color of others because it helps them politically or financially.

“Aloha means respect and love for others. It’s what enables us to see beyond our skin color and see the soul, the person with them. So, let’s do our best to cultivate this Aloha in our hearts and see and treat others through this prism of love, not through the prism of race and ethnicity. Please let us not allow ourselves to be led down this dark and divisive path of racialism and hate.” Link to her message here.

Her message (which she retweeted on April 30 with the caption, “The personal attacks against Senator Tim Scott were despicable. We need to discuss and debate issues fairly and with respect. This is the spirit of aloha”) has caught the attention of many from different sectors, ranging from Newsweek and the Washington Examiner to Black Conservative Perspective and Franklin Graham.


Celebrate Shakespeare

A tribute to Shakespeare’s Contributions to the Future

At this perilous moment in human history with a threat of possible nuclear war looming, a global pandemic decimating populations, and needlessly imposed famine stalking the Earth, we likewise have creative individuals reaching for the heavens, charting a pathway to a future of shared humanity. William Shakespeare’s 457th birthday passed this week and as he composed for the future, we who choose to bring forth a renaissance pay tribute to his works. Here is just one of his 154 sonnets, Sonnet XIV.

SONNET 14

Not from the stars do I my judgment pluck;
And yet methinks I have astronomy,
But not to tell of good or evil luck,
Of plagues, of dearths, or seasons’ quality;
Nor can I fortune to brief minutes tell,
Pointing to each his thunder, rain and wind,
Or say with princes if it shall go well,
By oft predict that I in heaven find:
But from thine eyes my knowledge I derive,
And, constant stars, in them I read such art
As truth and beauty shall together thrive,
If from thyself to store thou wouldst convert;
Or else of thee this I prognosticate:
Thy end is truth’s and beauty’s doom and date.

For the importance of Shakespeare to statecraft we provide you with but only two of Lyndon LaRouche’s writings dealing with the bard’s role in history-shaping. The True Statesman: The Historical Individual, 2002; and Nicholas of Cusa, Kepler & Shakespeare, 2013.


Beethoven: Sparks of Joy!

Beethoven: Spark of Joy — Tribute to the incomparable Christa Ludwig on her passing

To honor the memory of the great mezzo-soprano Christa Ludwig, who passed away April 26th, we hear today her legendary performance in the title role of Beethoven’s opera,  Fidelio. She sings the recitative, “Abscheulicher! Wo eilst du hin?” followed by the aria, “Komm, Hoffnung!”

Monster! Where are you rushing?
What will you do in your wild rage?
Does the call of sympathy,
The voice of humanity,
Move nothing in your savage heart?
But just as like stormy seas
Anger and hatred surge in your soul,
There appears to me a rainbow,
That rests bright on the dark clouds,
That watches so quietly,
So peacefully below,
That mirrors old times,
And newly calmed my blood flows.

Come, Hope, let the last star
Not fade for the weary,
Illuminate my goal, be it ever so far,
Love will reach it.
I follow an inner drive,
I waver not,
I am strengthened by my duty
Of true wedded love.
Oh you, for whom I bore everything,
Could I only be at your side,
Where evil has you chained,
And bring you sweet comfort!
I follow an inner drive,
I waver not,
I am strengthened by my duty
Of true wedded love.

Ms. Ludwig was also a signer of the Schiller Institute’s 1988 call for the Verdi tuning to be restored bringing the pitch back to A = 432 cycles per second. [Message by Margaret Scialdone and Mary Jane Freeman.]


Schiller Institute NYC Chorus Dedicates Concert to the “Spirit of the Elbe”

April 25 (EIRNS) – The Schiller Institute NYC Chorus & with friends from Ibero-America and Europe broadcast an uplifting concert this afternoon, which was introduced as follows by Jen Pearl:

Good afternoon, and welcome to `Beethoven’s Credo: Believe in the Future, a World Without War.’ My name is Jen Pearl and I am the chair of the board for the Schiller NYC chorus.

On December 17th, 2019, Beethoven’s 249th birthday, our chorus, the SI NYC Chorus participated in an event at Carnegie of the Foundation for the Revival of Classical Culture, opening up what was supposed to be a year-long celebration of the Beethoven 250th year. We performed the choral movement of the Ninth Symphony there, with the preeminent Gerard Schwarz as conductor. We took as our objective to perform Beethoven’s great Missa Solemnis a year later.

Then we all know what happened. While many choruses and arts organizations were forced to pull back during the lockdown, the Schiller Institute NYC Chorus pushed ahead, despite the challenges, because we know how important it is to sing beautiful and profound music in times of crisis—music, which connects us at the higher level of humanity as a single immortal species. We managed to present virtual performances of the Kyrie and Gloria last December.

Today’s concert is truly special because it features another movement the Missa Solemnis.

And while we are excited and joyful about bringing you the Credo movement of the Missa Solemnis and other beautiful selections tonight, we are also performing this concert in the context of a world fraught with crises, including an increasing potential of world war and starvation in Yemen and Syria. The beauty of tonight’s program, which reflects the very best of mankind’s creativity, is also very much in direct contrast or dissonance with the very worst actions being done at the hand of human beings, right now as we speak, toward entire nations and populations of children.

Beethoven once said that, if people understood his music, there would be no war.

On this day, April 25th, 76 years ago there was an event that resonates powerfully still today with that sentiment, that mankind should not settle disputes with violence. This was the day during WW II that American and Soviet troops met from the east and the west at the Elbe River near Torgau Germany, south of Berlin, ensuring an early end of the war, and thus became known as `Spirit of the Elbe.’ We dedicate this concert to that spirit which is much needed today. So we will begin our concert today with this short video introduction.

Near the end of the concert, Jen Pearl made the following closing remarks:

Our final offering this evening is Mozart’s Ave Verum Corpus. Mozart composed this motet in a perfect way to evoke from you the awe you would experience when seeing the body of Christ for the first time. Imagine what your reaction would be then as you listen, think of how Mozart evokes that in you!. Mozart’s opening words are `hail, hail true body. . .’ As with any great classical work, the singer and you, the audience, can relive the experience of that actual moment in history and therefore experience true immortality.

We are now in a moment of history, where we need to evoke that quality of empathy and immortality in ourselves in order to take all of mankind into our hearts and souls. As we referenced at the beginning, we invite you to join the chorus of voices that are calling for an end to these wars, sanctions, and starvation, particularly in Yemen and Syria. You can find Mrs. LaRouche’s urgent call in today’s program and I invite you to join us. Thank you, and now you will hear Mozart’s Ave Verum Corpus.

Note the concert can be viewed at this link.


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Quartet No2 in G major, Op. 18, No2 

The second of Beethoven’s Opus 18 quartets has earned the nickname “Compliments Quartet” or “Quartet of Bows and Curtseys.” With Haydnesque overtones, it was first published in 1801. Good-natured and full of surprises, it’s performed here by the world-famous Amadeus Quartet.

Founded in 1947 by refugees from Hitler’s Anschluss, the Amadeus Quartet retained its original membership for the next 40 years until the death of violist Peter Schidlof. First violinist and primarius Norbert Brainin was also famously a close friend of Lyndon LaRouche, whom he considered as more knowledgeable about music than he was! An interview with Brainin is linked here. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Piano trio, variations on “Ich bin der Schneider Kakadu” theme

“Ich bin der Schneider Kakadu” (I am Kakadu the tailor) was the name of a popular tune from Wenzel Muller’s opera “Die Schwestern von Prag (The Sisters from Prague). Beethoven composed these variations during his early years in Vienna, then sent them to the publisher after the opera was revived in 1814, with the note, “one of my earlier compositions, though it is not among the reprehensible ones”. 
Enjoy this delightful performance by the ATOS Trio. [Notes by Margaret Scialdone.]


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