Top Left Link Buttons
  • English
  • German
  • Russian

Cultural renaissance updates

Category Archives

Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — Out of ruins; bring forth a renaissance.

“The Ruins of Athens” is the third of three plays written by August von Kotzebue for the opening of the lavish new theater in Pest (the first was “King Stephen”, and the second didn’t survive the censor’s knife). In the play, Athena wakes from a thousand-year sleep to find her city in ruins and under foreign occupation. She’s then whisked to Hungary, where a new center of learning and culture is being created.
For the play, Beethoven composed an overture and eight musical pieces, the best-known of which is the famous Turkish March (which is also the subject of his Opus 76 variations). [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – King Stephen Overture, Op. 117

In 1811, Beethoven was commissioned to provide music for two stage works written by the playwright August von Kotzebue. The occasion was the dedication of a new German-language theatre in Pest (part of today’s Budapest), built to alleviate the nationalist feelings incipient in Hungary and to celebrate the loyalty of Hungary to the Austrian monarch.
“King Stephen, or Hungary’s First Benefactor” relates events in the life of Hungary’s founder. Although the Overture remains popular today, the remaining nine musical numbers that Beethoven composed are rarely heard. 
Here is the complete performance with full score, performed by the Orchestra dell’Accademia Nazionale di Santa Cecilia. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — the incomparable violin concerto in D major

Beethoven composed his only violin concerto in 1806, specifically for the young violinist Franz Clement, whose playing was described as being of “indescribable tenderness”. The premier was chaotic, with Clement at one point interrupting the program to play one of his own compositions while holding the violin upside-down! Other violinists attempted the work with little success, and the concerto languished for several decades. It was the sensational 1844 performance by the 13-year-old Joseph Joachim, with Felix Mendelssohn conducting, which firmly established Beethoven’s Violin Concerto as one of the monuments in the repertoire.
Itzhak Perlman and Daniel Barenboim collaborated in this extraordinary 1992 performance. [Notes by Margaret Scialdone.]


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.


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — the 1795 Horn Sextet

Though published in 1810, the Horn Sextet was composed some time around 1795, when Beethoven was a newcomer to Vienna and popular taste was dominated by Haydn and the recently-deceased Mozart. Scored for two horns, two violins, viola and cello, the horn parts are so demanding that Beethoven probably composed with specific players in mind (one possibility being his Bonn publisher Simrock, who was a talented amateur horn player).
It’s performed here by members of the National Symphony Orchestra. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy – Four hands are better than two, Op. 6 piano sonata

With an opening theme that resembles the Fifth Symphony, Beethoven’s Opus 6 sonata for piano four hands is a rarely heard gem. Due to its brevity and relative ease of execution, it’s generally thought of as a work for piano students, but in the hands of brothers Lucas and Arthur Jussen it’s a delightful frolic. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — Three nations on Mars; Beethoven’s triple concerto.

The space agencies of three different countries – the United States, China, and the United Arab Emirates – have successfully arrived at Mars and begun a promising collaboration for the advancement of human knowledge and power. 
In that spirit, we have today’s selection: Beethoven’s Triple Concerto for violin, cello, and piano. The soloists are cellist Mischa Maisky, his son Sascha on violin, and his daughter Lily at the piano. Enjoy!  [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — the master’s climactic Op. 111 finishes his use of the sonata form.

Although Beethoven would go on to compose other works for solo piano, the Opus 111 is Beethoven’s climactic finish to the sonata form. With the first movement, he reduces the C minor key to its bare elements (think of the Pathétique) and produces a work of incredible power and passion. The second movement, innocuously called “Arietta,” takes the form of variations on a simple theme in C major, but these variations transcend anything that has ever been done on the piano.
Here is an thoughtful performance by Mitsuko Uchida. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — Opus 110 well-known, presents a gamut of settings, much like a great drama.

Opus 110 is the most popular of Beethoven’s late sonatas. The opening is lyrical and warm, and is followed by an exuberant Scherzo, whose themes were borrowed from two folk tunes – “Unsa Kätz häd Katzln ghab” (Our cat has had kittens) and “Ich bin lüderlich, du bist lüderlich” (I’m a dissolute slob, and so are you). The specific force of the allusions may not be felt, but their boisterous, comic character is clear.
However, it is the extraordinary third movement that dominates discussion of this sonata. Its principal elements are an Arioso dolente  (lamenting song) and a three-voice fugue, which unexpectedly loses heart and gives way to a second Arioso even more despairing than the first. Suddenly, the fugue is repeated, but this time the theme is turned upside-down, and it ends on a note of triumph with a flourish of arpeggios.
Seong-Jin Cho was just 17 years old when he performed this sonata at the Tchaikovsky Competition in Moscow. [Notes by Margaret Scialdone.]


Beethoven: Sparks of Joy!

Beethoven: Sparks of Joy — Wonder and human ingenuity got us to Mars, and this Beethoven song reflects upon such human qualities.

The ongoing exploration of Mars by scientists of three nations leads one to ponder the true nature of mankind and our exciting prospects for the future.
One of Beethoven’s most beautiful songs is  Abendlied unterm gerstirnten Himmel (Evening Song Under a Starry Sky), which describes the effect on the soul of gazing into the night sky and contemplating the immensity of creation. In the first strophe, the thousands of stars in the night sky make the soul feel immense, lifting it out of the dust. In the second strophe, the soul feels as if it is looking “zurück ins Vaterland” (back into the fatherland), while in the next two strophes the soul soars heavenward, finally reaching “Meine Leiden schönen Lohn” (the beautiful reward of my suffering). 
It’s sung here by Peter Schreier, with text in Spanish, English, and German. [Notes by Margaret Scialdone.]


Page 7 of 13First...678...Last