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Historisk begivenhed i København – En albansk musikskat genoplivet, af Feride Istogu Gillesberg

Indledningen og interviews er på albansk, men nød musikken.
Read the English version below the Danish.

3. januar 2021 – En delegation af fantastiske albanske kunstnere fra Tirana, Albanien, gik sammen med en schweizisk-albansk pianist og to danske sangere om at indspille 50 albanske traditionelle sange, der var arrangeret af Lola Gjoka (Aleksi), den første albanske pianist. Lola Gjokas sange er en sammensmeltning af autentiske albanske folkesange og klassisk musik – en kulturskat, som nu efter syv årtier vil gense dagens lys.
Lola Gjoka (Aleksi) 1910-1985, var den første albanske pianist, og spillede en afgørende rolle for at bringe klassisk musik til Albanien. Lola arrangerede 50 albanske sange, baseret på autentiske albanske folkesange, der stadig var levende, som de blev sunget af lokalbefolkningen rundt om i landet. Lola Gjoka (Aleksi) skrev melodierne ned og komponerede derefter klaverakkompagnement til sangene, så det var så tro mod sangenes autenticitet som muligt. Disse sange blev en del af de klassiske koncerter, som hun gav sammen med de første bel canto-operasangere i Albanien.

I 1912 fik Albanien endelig sin uafhængighed efter 500 års brutal besættelse af Det Osmanniske Rige – en uafhængighed, der blev opnået mod alle odds. Da tyrkerne endelig var ude, forsøgte nabolandene alt, hvad de kunne, for at dele Albanien mellem sig, hvilket til dels lykkedes. Da vi endelig fik en nation, var ønsket om at komme ud af den ekstreme politiske, økonomiske og kulturelle tilbageståenhed levende i Albaniens sjæl og ånd.

Hvordan den klassiske musik fandt vej til Albanien
Lola Gjoka (Aleksi) blev født i Sevastopol på Krim. Hendes forældre var albanske indvandrere. Hendes far elskede at synge albanske folkesange, og han var en passioneret mandolinspiller. Han elskede musik og ønskede, at hans datter skulle have mulighed for at spille klaver, så han købte et klaver til Lola. Da hun var 9 år gammel, begyndte Lola at få klaverundervisning i skolen, og hendes klaverlærer var meget begejstret for Lolas musikalske talent. Lola Gjoka studerede på musikkonservatoriet i Sevastopol og havde et år tilbage, da hendes studier blev afbrudt. I 1932 blev der udstedt et ultimatum i form af en lov til indvandrerne: enten skulle de blive statsborgere i Sovjetunionen eller forlade landet. Familien var for patriotisk til at opgive deres albanske identitet, da de vidste, hvor hårdt det havde været for deres folk at opnå uafhængighed.
Derfor besluttede familien at vende tilbage til Albanien. Lola var 21 år gammel da hun ankom til Albanien som den første albanske pianist. Senere afsluttede hun sin uddannelse i Athen efter at have vundet en klaverkonkurrence i Wien.

Da Lolas familie forlod Krim, tog de klaveret med, da de vidste, at der ikke fandtes klaverer i Albanien. Turen endte tragisk, da Lolas lillebror døde på rejsen. Da de ankom til Korca i Albanien, hjalp gamle venner familien med at slå sig ned, og Lola begyndte at give undervisning til piger og drenge fra mere velhavende familier for at tjene til livets ophold for familien, som havde mistet hele deres opsparing på grund af hyperinflation.

Da Lola kom til Korca, var kimen til en kulturel renæssance allerede blevet lagt af den første albanske lyriske operasanger, Mihal Ciko, som var kommet tilbage fra udlandet i 1920’erne. Han var den første albaner, der studerede i Milano på Guiseppe Verdi-konservatoriet. Mihal skabte stor begejstring, og ikke kun i Albanien. Han deltog i den internationale folkesangskonkurrence på Fiera di Milano i 1924, hvor han fremførte albanske folkesange. Sange som aldrig var blevet sunget uden for Albanien før. Mihal Cikos fortolkning var så bevægende, at han vandt konkurrencen.

Lola Gjoka og Mihal slog sig sammen og flere operasangere kom tilbage til Albanien – sopranerne Jorgjia Felice Truja, Tefta Tashko, Maria Kraja, tenoren Kristaq Antoniu og barytonen Kristaq Koco. Kimen til en kulturel renæssance blev dannet, med Lola Gjoka i epicentret.

Den store pianist akkompagnerede alle sangerne i Verdi- og Puccini-arier, tyske sange og meget mere og albanske folkesange var ligeledes en vigtig del af koncerterne. Tefta Tashko og de andre sangere kom til Lola med sange fra forskellige dele af Albanien, så Lola kunne skrive dem ned og arrangere klaverakkompagnement til dem, med respekt for folkesangenes autenticitet. Lola Gjoka (Aleksi) og Tefta Tashko blev beskrevet som bier, der samlede honning fra alle de forskellige blomster i den albanske have.

Disse sange blev en kulturel skat, der fyldte folkets hjerter med skønhed, kærlighed, optimisme og håb om en bedre fremtid. Dette var starten på en kulturel renæssance i 30’erne og 40’erne, som varede i flere årtier.

I 1970’erne omarbejdede Lola sine sange endnu en gang, og hendes sidste ønske, inden hun døde i 1985, var, at disse sange skulle være tilgængelige for den nye generation. På grund af helbredsproblemer udgav Juki, Lolas eneste barn, først en bog med sin mors 52 sange i 2007, men de blev aldrig indspillet.

Jeg blev først introduceret til nogle af Lola Gjokas (Aleksi) sange af den schweizisk-albanske pianist Ermira Lefort, som kom til Danmark i 2019 for, sammen med mig, at opføre to af Lola Gjokas sange ved koncerten »A Musical Dialogue of Cultures«, arrangeret af Schiller Instituttet, Russisk-Dansk Dialog og Det Kinesiske Kulturinstitut. Ermira og jeg blev derefter af det danske konsulat i Tirana inviteret til at give en koncert med et dansk-albansk program. På grund af Corona blev koncerten udsat til den 5. juni 2021. Skæbnen ville, at Ermira ikke var i stand til at komme til Tirana, og jeg derfor havde brug for en erstatning. Det blev pianisten Rudina Ciko, og det var virkelig held i uheld.

Da jeg i maj havde mødt Rudina i Tirana, havde hun givet mig bogen med de samlede sange af Lola Gjoka (Aleksi). Det var nogle uger før vores koncert og indimellem havde jeg tid til at kigge på sangene og opdagede, at hver enkelt af dem var både speciel og meget smuk. Efter koncerten i Tirana, på vej tilbage til Danmark, fik jeg den idé, at disse sange burde indspilles. Hver sang var som en perle i en række af perler, der tilsammen udgjorde en smuk halskæde, Folk burde have tilgang til denne skat.

Gnisten, der ventede på at blive til rigtig ild
Jeg besluttede mig for at gøre mit for at få disse sange indspillet. Gennem Rudina Ciko mødte jeg hendes mand, dirigenten Zhani Ciko, søn af den berømte bel canto-sanger Mihal Ciko, Lola Gjokas (Aleksi) veninde. Zhani Ciko var et barn af den kulturelle renæssance og bar den levende arv fra den albanske kulturelle renæssance i sit hjerte og sind. Zhani Ciko organiserede også den første opførelse af Beethovens 9. symfoni i Albaniens historie i 1970’erne.

Da jeg fortalte Zhani idéen om at indspille alle Lola Gjoka (Aleksis) sange, blev han meget begejstret og begyndte straks at arbejde på at realisere den. Zhani organiserede en gruppe af talentfulde sangere, herunder den meget kendte sopran Mariana Leka, sopranen Erlinda Agolli, tenoren Gerald Murraj, barytonen Antonio Zefi og Rudina Ciko, der akkompagnerede på klaver. Sammen med den store pianist Ermira Lefort, den kendte danske tenor Stig Fogh Andersen og mig selv, en dansk-albansk sopran, blev der dannet en gruppe, som kunne realisere ideen.
Vi mødtes alle i Danmark for at gennemføre projektet. Takket være Knud Rasmussen, organist i Virum Kirke, så åbnede Virum Kirke sine døre for os, så vi kunne lave optagelserne der. Og takket være Stig Fogh Andersen, hans søn Ask og Stigs gode veninde Heidrun Beer, så fik vi gennemført optagelserne. Det lykkedes at indspille de 50 sange på mindre end fire dage den 27.-30. december 2021. Vi afsluttede optagelserne med at filme en lille koncert i kirken, da Corona gjorde publikum umuligt.

Indspilningen af disse 50 sange er en historisk begivenhed, da det aldrig er sket før. Udgivelsen af de samlede sange på en dobbelt-cd vil finde sted i slutningen af februar i år og vil ikke kun være en skat, der atter vil blive en del af den albanske kulturarv, men også en perle, der vil blive indføjet i den europæiske kulturskat.

Må cd’erne så være en inspiration til at holde mange koncerter og kulturelle udvekslinger mellem Albanien og mange andre nationer.

For at bestille kopier af cd’erne kan man kontakte Feride Gillesberg på: feridegillesberg@gmail.com.
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Udgivet i Executive Intelligence Review Volume 49, Number 6, February 11, 2022.

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Earlier article:

Historic Event in Copenhagen – An Albanian Musical Treasure Revived

By Feride Istogu Gillesberg

January 3, 2021 — A delegation of fantastic Albanian artists from Tirana, Albania, joined forces with a Swiss-Albanian pianist, and Danish musicians, to record 50 Albanian traditional songs, arranged by the first Albanian pianist, Lola Gjoka (Aleksi). Lola Gjoka`s songs are a fusion of authentic Albanian folk songs and classical music — a cultural treasure that will now see daylight, after seven decades.

Lola Gjoka (Aleksi) 1910-1985, was the first Albanian pianist, who played a crucial role in bringing classical music to Albania. Lola arranged 50 Albanian songs, based on authentic Albanian folk songs that were still alive, as sung by local people around the nation. Lola Gjoka (Aleksi) wrote down the notes, and composed the piano accompaniment to the songs, as truthful to the authenticity of the songs as possible. These songs became a part of the classical concerts she gave, together with the first bel canto opera singers in Albania.

In 1912, Albania finally got its independence, after 500 years of a brutal occupation by the Ottoman Empire — an independence achieved against all odds. When, finally, the Turks were out, the neighboring countries tried everything they could to divide Albania among them, which partly succeeded. When we finally had a nation, the desire for rising out of extreme backwardness, politically, economically, and culturally, was vividly in the soul and spirit of the people of Albania.

How classical music made its way to Albania

Lola Gjoka (Aleksi) was born in Sevastopol, Crimea. Her parents were Albanian immigrants. Her father loved singing Albanian folk songs, and he was a passionate mandolin player. Lola Gjoka’s father loved music and wanted his daughter to have the possibility of playing the piano, so he bought a piano for Lola. When she was 9-years-old, Lola started getting piano lessons at school, and her piano teacher was very excited about Lola’s musical talent. Lola Gjoka studied at the music conservatory in Sevastopol. She had one year left, when her studies were disrupted. In 1932, an ultimatum, in the form of a law, was issued to the immigrants: either become Soviet Union nationals, or leave the country. The family was too patriotic to give up their Albanian identity, knowing how hard the achievement of independence had been for their people. So, the family left to go back to Albania. Lola was 21 years old. She arrived in Albania as the first Albanian pianist. Later, she finished her diploma in Athens, after winning a piano competition in Vienna.

When Lola’s family left the Crimea, they took the piano along, since they knew that there were no pianos in Albania. The tour ended tragically, when Lola`s little brother died on their journey. Arriving in Korca, Albania, old friends helped the family settle down, and Lola began giving lessons to girls and boys of wealthier families, to make a living for their family, which had lost all their savings due to hyperinflation.

When Lola came to Korca, a seed for a cultural renaissance had already been planted by the first Albanian lyric opera singer, Mihal Ciko, who had come back from abroad in 1920s. He was the first Albanian who studied in Milan at the Guiseppe Verdi Conservatory. Mihal created a lot of excitement, not only in Albania. He took part in the international folk song competion in “Fiera di Milano” in 1924, where he performed Albanian folk songs, songs that had never been sung outside Albania before. Mihal Ciko’s interpretation was so moving, that he won the competion.

Lola Gjoka and Mihal joined forces. More opera singers came back to Albania — the sopranos Jorgjia Felice Truja, Tefta Tashko, Maria Kraja, tenor Kristaq Antoniu, and baritone Kristaq Koco. The seed of a cultural renaissance was formed, with Lola Gjoka in the epicenter.

The great pianist accompanied all the singers in Verdi and Puccini arias, German Lieder, and much more. Albanian folk songs were an important part of the concerts. Many traditional Albanian folk songs were written down by Lola Gjoka (Aleksi) who arranged piano accompaniments, carefully keeping the authenticity of the old folk songs. Tefta Tashko and the other singers would come to her with songs from different parts of Albania, so Lola could write them down and arrange piano accompaniments. Lola Gjoka (Aleksi) and Tefta Tashko were described as bees that collected the honey from all the different flowers in the Albanian garden.

These songs became a cultural treasure that filled the hearts of the people with beauty, love, optimism and hope for a better future. This was the start of a cultural renaissance in the 30s and 40s, that lasted for several decades.

In the 1970s, Lola reworked her songs once again. Her last wish before she died in 1985, was to have these songs available for the new generation. Due to health problems, Lola’s only child, Juki, first published a book of her mother’s 52 songs in 2007, but they were never recorded.

I was first introduced to some songs by Lola Gjoka ( Aleksi) by the Swiss-Albanian pianist Ermira Lefort, who came to Denmark in 2019 to perform two of Lola Gjoka’s songs with me at the concert, “A Musical Dialogue of Cultures,” organized by the Schiller Institute, Russian-Danish Dialogue, and the Chinese Cultural Center. Ermira and I were invited by the Danish consul in Tirana to give a concert with a Danish-Albanian program. Due to corona, the concert was postponed to June 5, 2021. As destiny played out, Ermira was not able to come to Tirana, and I needed a replacement. The pianist Rudina Ciko was her replacement, a blessing in disguise.

When I met Rudina in May in Tirana, she had given me the book with the collected songs of Lola Gjoka (Aleksi), some weeks before our concert. In between, I had the time to look through the collected songs, and discovered that each of them was very special and beautiful. After the concert in Tirana, on my way back to Denmark, I was thinking that these songs ought to be recorded. Each song is like a pearl in the row of a treasure necklace, and people should have access to this treasure.

The spark that waited to be transformed into fire

I decided to do my part to get these songs recorded. Through Rudina Ciko, I met her husband, the conductor Zhani Ciko, the son of the famous bel canto singer Mihal Ciko, Lola Gjoka ( Aleksi’s) friend. Zhani Ciko was a child of the cultural renaissance, and carries the living heritage of the Albanian cultural renaissance in his heart and mind. Zhani Ciko also organized the first performance of Beethoven’s 9th Symphony in the history of Albania, in 1970s.

When I spoke to Zhani about the idea of recording all of Lola Gjoka (Aleksi’s) songs, he became very excited. He immediately began working on realizing this idea. Zhani organized a group of great singers, including the very well-known soprano Mariana Leka, soprano Erlinda Agolli, tenor Gerald Murraj, baritone Antonio Zefi and Rudina Ciko playing the piano. Together with the great pianist Ermira Lefort, Stig Fogh Andersen, a very well-known Danish tenor, and myself, a Danish-Albanian soprano, a group was formed that could realize the idea. We all met in Denmark to carry out the project.

Thanks to Knud Rasmussen, the organist at Virum Church, the church opened their doors for us to make the recordings there. And thanks to Stig Fogh Andersen, his son Ask, and his good friend Heidrun Beer, we were able to make the recordings. Thanks to all the musicians, we succeeded in recording the fifty songs in less than four days (December 27- 30, 2021).

We concluded by holding a little concert.

This recording is an historical event, as it has never been done before. Publishing Lola Gjoka (Aleksi’s) collected songs on a double CD in the spring of this year will not only be a treasure that will be given back to the Albanian cultural heritage, but, also, be a pearl to be added to the European cultural treasure.

May the CDs be an inspiration for many concerts and cultural exchanges between Albania and many nations.

To order the CDs, contact Feride Gillesberg at: feridegillesberg@gmail.com




Interview med pianist Lejla Pula fra Kosova og sanger Josipa Bainac fra Kroatien, på tysk af Feride Gillesberg

Billede: Lejla Pula, klaver, med Kosovar Philharmonics (Trincoll2014, CC BY-SA 3.0 via Wikimedia Commons)

På tysk:

Neue Solidarität

Nr. 9, 26. Februar 2014

„Kosovo eine Brutstätte musikalischer Talente“

Interview mit der Pianistin Lejla Pula aus Prishtina

Mag. Lejla Pula, Pianistin und Klavierprofessorin an der Kunstfakultät in Prishtina, ist sowohl Präsidentin der „Kosovo Chopin Assoziation“ als auch Künstlerische Leiterin des „Chopin Piano Fest“ in Prishtina.

Feride Gillesberg: Bei meinem letzten Besuch in Kosovo hat es mich sehr positiv überrascht, daß es in Kosovo eine Handvoll Musiker gibt, die für die klassische Musik brennen. Eine von diesen bist du. Was möchtest du dazu sagen?

Lejla Pula: Es ist schön und hoffnungsvoll, wenn man so eine Aussage hört. In Kosovo haben wir eine Grundbasis von 40 Jahren höherer Ausbildung im Bereich der klassischen Musik und Kunst, und man kann sagen, daß wir heute Fachschulen für verschiedene Bereiche der musikalischen Künste haben, wie die Interpretation verschiedener Instrumente, die Komposition, das Dirigieren, Musikalische Pädagogik usw. Seit der Studienzeit und danach ab den 80er Jahren als Teil der Unterrichtsgruppe der Kunst-Akademie in Prishtina bin ich bis heute aktiver Teilnehmer an der Ausbildung der Künste. Als Pianistin und Interpret der klassischen Musik war und bin ich fortwährend auf der Bühne in Kosovo präsent, habe aber auch Kosovo auf der internationalen Bühne vertreten.

Gillesberg: Kannst du uns einen Überblick geben, wie es mit der klassischen Musik in Kosovo aussieht?

Pula: Die Realität in der Gesellschaft in Kosovo ist leider so, daß noch die notwendige Offenheit fehlt, welche ermöglichen würde, daß die Künstler, insbesondere die der klassischen Musik, frei atmen können – in dem Sinne, daß die echte Kunst nicht ihren Platz in unserer Gesellschaft bekommt, den sie verdient. Die professionelle Kunst verlangt bestimmte Bedingungen für die szenische Aufführung, die Ausstattung mit Instrumenten, angemessene Konzertsäle sowie andere Arbeitsmittel, die nicht garantiert werden, weil es die erforderliche Bereitschaft, Verständnis und Bewußtsein dafür nicht gibt. Die kulturellen Institutionen bemühen sich um ihre Arbeit. Sie betrachten es als machbar und notwendig, im Rahmen unserer Gesellschaft, wie auch der kulturellen Entwicklung als ganzes, Unterstützung für die Künstler zu finden – diese Hilfe ist jedoch minimal und unzureichend.

Klassische Musik, das künstlerische Schöpfen und Kunst im allgemeinen, spiegelt die Ebene der kulturellen Entwicklung einer Gesellschaft und eines Volkes wider, und es sind sehr wichtige Segmente für die Gesamtstruktur einer Gesellschaft.

Diese verlangen auf jeden Fall eine besondere Achtung, denn Errungenschaften werden als Teil des kulturellen Erbes einer Nation zurückbleiben.

Gillesberg: Was für eine Rolle hat die klassische Musik für Kultur?

Pula: Mein Volk hat eine Ader und besondere Sensibilität für Musik im allgemeinen, aber auch für klassische Musik. Ich arbeite seit über 30 Jahren als Konzertpianistin, aber auch Ausbilder in diesem Bereich. Ich kann Ihnen sagen, daß Kosovo ein Schatz, eine Brutstätte musikalischer Talente ist. Da ist eine große Begeisterung bei Lehrern im Bereich der Kunst, so wie auch bei den Studenten. Trotz der schweren Bedingungen, dem Mangel an Instrumenten, der perspektivlosen Aussichten dieses Berufs, versuchen wir Festivals und verschiedene Konzerte zu organisieren. Das Epizentrum dieser musikalischen Aktivitäten sind bis heute begeisterte professionelle Musiker, die viele Künstler aus aller Welt einladen, in unserer Hauptstadt zu spielen. Für jedes Festival werden Dutzende von Konzerten mit einheimischen und ausländischen Künstlern mit großer Mühe, Opferbereitschaft und unter großen Schwierigkeiten organisiert. Dieses Mitwirken im Organisieren unseres kulturellen Lebens ist für uns sehr wertvoll und unersetzlich. Eines davon ist auch das Festival „Chopin Piano Fest“, das ich mit meinen Kollegen leite und das jedes Jahr in April statt findet.

Gillesberg: Welche Rolle spielt die klassische Musik für den Aufbau einer Nation?

Pula: Gerade die Pflege der kulturellen Werte einer Gesellschaft ist der Zeiger, der am glaubwürdigsten die Entwicklungsebene einer Zivilisation anzeigt. Es ist bekannt, daß das stolze Volk Kosovos eine sehr schwere Zeit und schwere Ereignisse durchgemacht hat. Wir haben sehr viel in unserem Bereich gelitten [1991-99]. Alle Unterrichtsgebäude waren geschlossen und wir mußten mit allem improvisieren. Wir haben aber „überlebt“ als Akademie und als Gesellschaft und erfreuen uns des Lebens in unserem unabhängigen Staat. Dank unserer Kriegshelden, aber auch der Arbeitenden, denn wir haben alle unsere Arbeit mit Hingabe, Aufopferung und Selbstlosigkeit unter diesen rauhen Umständen gepflegt.

Ich bin aus persönlicher Prüfung, aber auch aus meinen inneren Glauben an den Menschen, fest davon überzeugt, daß man mit gutem Willen, Hingabe und Beharrlichkeit erreichen kann, was unmöglich erscheint.

Gillesberg: Was würdest du gerne den Menschen in Deutschland sagen, denn die meisten dort kennen Kosovo nur aus politischer Sicht?

Pula: Optimismus und Hoffnung sind die Eigenschaften, welche die Künstler ausmachen, denn so eine Kunst ist seelische Nahrung und entwickelt die erhabenen Gefühle der Menschen.

Ich bin davon überzeugt, daß unsere Gesellschaft, und auch unsere Künstler in Kosovo, auf bessere Tage zugehen, weil sie es sich durch harte Arbeit und selbstlose Hingabe verdienen.

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Neue Solidarität

Nr. 3, 20. Januar 2016

Klassische Musik richtet sich nach Naturprinzipien

von Feride Istogu Gillesberg

Am 11.-12. Dezember 2015 fand in der dänischen Hauptstadt Kopenhagen ein Symposium statt zum Thema „Fortgeschrittene Einschätzung der Stimmfunktionen in Europa: Resonanz der menschlichen Stimme & Neurowissenschaft und Stimme“ („Advanced Voice Functions Assessement in Europe – Resonance of the human voice & Neuroscience and voice“). Es war das sechste Symposium dieser Art, das von der Europäischen Kooperation in Wissenschaft und Technologie (European Cooperation in Science and Technology, COST Action 2103) veranstaltet wurde. Ärzte, Künstler und Musiker aus verschiedenen Nationen waren vertreten. Das Programm war sehr kompakt. U.a. hielt dort Josipa Bainac einen Vortrag über die wissenschaftliche Stimmung, die ein wichtiger Bestandteil der menschlichen Stimme ist. Ihre Rede beruhte auf zweijährigen Untersuchungen der Autorin. Ich hatte die Freude, Frau Bainac für die Neue Solidarität interviewen zu können.

Neue Solidarität: Frau Josipa Bainac, ich hatte die Möglichkeit, Ihren spannenden Vortrag auf dem Symposium in Kopenhagen anzuhören. Wollen Sie sich kurz vorstellen?

Josipa Bainac: Vor ungefähr zwei Jahren habe ich meinen Abschluß an der Universität für Musik in Zagreb, Kroatien, als klassische Sängerin und Pädagogin gemacht. Seit 2014 studiere ich Lied und Oratorium im Masterstudium an der Universität für Musik und darstellende Kunst Wien. Seit meinen Studien in Kroatien habe ich mich intensiv für verschiedene Interpretationstechniken interessiert und mich viel mit Stimmeigenschaften und Gesangstechnik beschäftigt.

Neue Solidarität: Wie sind Sie darauf gekommen, mit der wissenschaftlichen Stimmung zu arbeiten?

Bainac: Als klassische Gesangsstudentin habe ich viele Konzerte gesungen, von Orchestern, Klavier, Cembalo oder Orgel begleitet. Nach jahrelangen Erfahrungen habe ich bemerkt, wie sich das subjektive Gefühl für die Stimme und die Gesangstechnik ändert, wenn ich mit verschiedenen Begleitinstrumenten oder Ensembles auftrete. Bald habe ich erfahren, welche Rolle die Stimmung und die Standardtonhöhe in der historische Musikpraxis hat, und durch Gespräche mit meinen Kollegen – Sänger und Sängerinnen – habe ich erfahren, daß sie manchmal bei der Interpretation unter verschiedenen Stimmschwierigkeiten leiden, z.B. wegen der zu hohen Standardtonhöhe -, wenn der Künstler lange Proben oder Auftritte singen muß.

Als mein Masterarbeitsthema habe ich deswegen geschrieben über „Die historische Entwicklung der Temperatursysteme und die Standardtonhöhenauswahl im Zusammenhang mit der Gesangstechnikentwicklung und Stimmgesundheit“. Am Anfang war ich leider in den Untersuchungsmöglichkeiten begrenzt. Das war aber nur der Anfang meiner Arbeit zu dieser Frage, die ich als eine Pilotstudie in Kopenhagen präsentiert habe.

Neue Solidarität: In Ihrem Vortrag wurde erwähnt, daß in Kroatien Aufnahmen gemacht wurden, um den Unterschied der verschiedenen Stimmungen zu demonstrieren. Warum findet so ein Prozeß in Kroatien statt, gibt es ein besonderes Interesse in diesem Feld?

Bainac: Ich habe mit dem Studium dieses Themas in Kroatien angefangen. Und während des Studiums war ich im Kontakt mit Wissenschaftlern und Persönlichkeiten, die die technischen Möglichkeiten haben, wissenschaftliche Untersuchungen zu machen. Leider gibt es in Kroatien nicht so viel Interesse zu diesem Thema, und deswegen war es kompliziert, meine Arbeit wirklich zu entwickeln, aber hier in Wien habe ich mehr Unterstützung.

Neue Solidarität: Das Schiller-Institut führt seit Jahrzehnten eine Kampagne für die wissenschaftliche Stimmung. Wie sehen Sie die Bedeutung der Verdi-Stimmung?

Bainac: Wenn man über die Stimmung spricht, muß man zwei wichtige musikalische Aspekte ins Auge fassen: die Standardtonhöhe („Kammerton“) und das Temperationssystem. Beide haben sich im Lauf der Zeit unabhängig voneinander entwickelt und oft gewechselt.

Man sagt oft, im Zusammenhang mit der historischen Interpretation, daß das Temperationssystem eine große Bedeutung für das Verständnis der harmonischen Struktur und anderen Musikkomponenten hat.

Leider vergessen wir oft die Bedeutung der Standardtonhöhe. Die Instrumente wurden im Laufe der Zeit für die neuen, oft höheren Standardtonhöhen umgebaut oder optimiert. Mit der Stimme ist es leider nicht so einfach, und bei der Interpretation von Repertoire, das für eine andere Standardtonhöhe komponiert war, kann dies zu Schwierigkeiten und in extremen Fällen zu Verletzungen führen. Die ästhetischen Fragen werden heute, aufgrund der Art, wie heute Musik konsumiert wird, übersehen.

Giuseppe Verdi war nicht nur Komponist, sondern auch Sänger – ein Bariton, der die Gesangstechnik gemeistert hat und mit diesem Wissen sehr sorgfältig die Musik für Sänger geschrieben hat. Es ist bekannt, daß er auch sehr genau und streng mit seinen Mitarbeitern – Librettisten usw. – gearbeitet hat.

Während den Überlegungen, was die universale Standardtonhöhe sein sollte, hat sich Verdi für die französische Standardtonhöhe (a’ = 435 Hz) eingesetzt. Er wurde aber kurz danach für die Standardtonhöhe a’ = 432 Hz gewonnen, wegen ihrer wissenschaftlicher Genauigkeit, wie in seinem Briefwechsel nachzulesen ist.

Nach vielen Besprechungen mit Wissenschaftlern und Mathematikern kam ich zu der Meinung, daß es wirklich keine wissenschaftlichen Beweise gibt, die bestätigen könnten, daß eine Frequenz gegenüber einer anderen Vorteile hat.

Ich habe dann mit renommierten Sängern und ihrem Repertoire experimentiert. Und aufgrund von objektiven und subjektiven Bewertungen habe ich dann festgestellt, daß die Standardtonhöhe von 432 Hz, wenn sie z.B. bei der Interpretation von Verdis und Mozarts Opernarien verwendet wird, viele Vorteile vor den heutigen 443 Hz hat.1 Für ausgezeichnete Sänger, die keine technischen Probleme haben, sind auch immer die Passaggionoten zwischen den Stimmregistern problematisch. Wenn man den Kammerton von 432 Hz nimmt, werden die Vokale runder und natürlicher gesungen – coperto. Das verschiebt die Formanten tiefer und macht den Weg zu den Passaggionoten günstiger, denn die Stimmqualität des Passaggiobereichs zwischen den Stimmregistern kommt in dieser Stimmung früher. Das ist natürlich auch mit dem Text verbunden, der so vertont ist, daß die Bedeutung durch Registerwechsel unterstrichen ist.

Bei 443 Hz kommt die Passaggio in der Stimme abrupt, weil die Sänger oft in dieser Stimmung hellere Vokale – auch in der Passaggiotransition – singen. Natürlich versuchen die Sänger immer, den Formantenbereich mit den Obertönen zu verbinden, aber in der tieferen Stimmung macht der Körper das unbewußt und ganz natürlich durch die Rundung des Vokaltrakts. Die Sänger bewerten diese Standardtonhöhe von 432 Hz als die, die ihnen mehr Stimmfreiheit, Flexibilität, schönere Farbe, Stimmleichtigkeit anbietet. Bei 443 Hz macht der Sänger das alles bewußt – mehr oder weniger erfolgreich.

Neue Solidarität: Unsere Organisation legt großen Wert auf die klassische Kultur. Wie sehen Sie die Rolle der klassischen Musik, welche Bedeutung hat sie für die Entwicklung einer Gesellschaft?

Bainac: Musik ist immer ein bedeutender Aspekt jeder Zivilisation, ob man über Ritualmusik oder über unsere raffinierte und durch Jahrhunderte entwickelte europäische Musik spricht. Das sind alles im einfachsten Sinne Kombinationen von Frequenzen, die nach der Kenntnis des Komponisten so arrangiert sind, daß sie eine gewisse Wirkung auf den Zuhörer haben. Meiner Meinung nach werden diese Grundprinzipien der europäischen Musik heute von den Interpreten und auch von den Komponisten ignoriert. Man kann auch oft die sinnlose Phrase hören, daß im Bereich der klassischen Musik schon alles gesagt sei, alles schon komponiert sei, und deswegen muß der Zuhörer heute verschiedenste intellektuelle Durchfälle von den Komponisten dulden. Das kommt leider seit dem 20. Jahrhundert aus dem Bedürfnis, alles zu quantifizieren – am besten gleich auf Profit umrechnen. Und die Komponisten und Interpreten haben sich nur auf den leichtgewonnenen Affekt des Publikums und persönlichen Erfolg ausgerichtet.

Die Tatsache, daß Musik ein Naturphänomen ist, das schon lange vor der Menschlichkeit existiert hat, muß man wieder entdecken. Dann sehen wir, daß diese Quelle unerschöpflich ist. Deswegen würde ich klassische Musik nicht nur als Musik aus einer gewissen Periode bezeichnen, sondern als Musik, die sich nach Naturprinzipien richtet, die eine objektive und positive Wirkung auf uns hat.

Neue Solidarität: Haben Sie noch eine paar abschließende Gedanken für unsere Leser?

Bainac: Wie immer haben auch wir in unserer Zeit gewisse kulturelle Probleme und Fragen. Die klassische Musik ist heute ganz populär und für die Massen zugänglich geworden. Das könnte auf den ersten Blick auf die Welt der klassischen Musik eine gute Wirkung haben. Leider hat es sich aber gezeigt, daß das breite Publikum sich nur auf die oberflächlichen Aspekte der Musik orientiert. Und die natürliche Wahl der Künstlern – Interpreten oder Komponisten – ist damit verschwunden. Deswegen liegt heute bei uns, wie wir Musik und alle anderen Künste unterstützen; daß wir wirklich nur das hinterlassen, was wir für die nächsten Generationen wertvoll finden.

Neue Solidarität: Vielen Dank für das Interview!


Anmerkung

1. International sind z.T. noch höhere Stimmungen üblich, aber bei den Untersuchungen in Wien wurden akustisch nur 432 Hz und 443 Hz detailliert analysiert.




Beethoven og kreativitet, af Michelle Rasmussen

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This article appears in the March 5, 2021 issue of Executive Intelligence Review.

Beethoven and Creativity

by Michelle Rasmussen

[Print version of this article]

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Lithograph by August von Klöber, 1818

Ludwig van Beethoven

Feb. 23—If there was one principle at the center of Lyndon LaRouche’s life’s work, it was that the crucial factor in the progress of human civilization is human creativity. It is human creativity which distinguishes man, and woman, from the beast. It is, or ought to be, the mission of society to foster the potential creativity, which, like a seed, lies dormant in every child, just waiting for loving nourishment to cause it to bloom, to create the most beautiful flower, which, in turn, delights and inspires all others to, themselves, develop their own creative potential. But, you may ask, how do you learn about, and teach creativity?

There is perhaps no better creativity teacher than Ludwig van Beethoven, he who was born 250 years ago, in another time, in another place, whose life-long struggle to perfect his own creative powers, has been, is now, and will forever be a monumental source for the study of creativity. This he was for LaRouche, who would often listen to Beethoven to get his creative juices flowing before sitting down to write. And this he can be for you, dear reader, and all of us, so that we may, also, be creative, that we may “Think like Beethoven.”[fn_1]

And what is the purpose of such creativity? As Beethoven put it, “to work by means of my art for needy humanity.”[fn_2] Not art for art’s sake. Beethoven, like Friedrich Schiller, was conscious of great art’s ability to raise the moral level of humanity, to better enable human beings to form a more perfect society, one where, in Schiller’s immortal words, “All men become brothers,” the very words which Beethoven set to music in his Ninth Symphony.[fn_3]

Beethoven wrote that art and science, “Give us intimations and hopes of a higher life” to unite “the best and noblest people,” and to “raise men to the Godhead.”[fn_4]

To a female friend, urging her to devote herself entirely to music, he wrote: “You who have such feeling for all that is beautiful and good. Why will you not make use of this, in order that you may recognize in so beautiful an art the higher perfection which sheds its rays even on us.”[fn_5]

Concerning his immortal mass, the Missa Solemnis: “In writing this great Mass, it was my chief aim to awaken, and to render lasting, religious feeling as well in the singers as in the hearers.”[fn_6]

Plato wrote that music was the most important education for the soul—to fill the soul with beauty, and make it beautiful. People would then praise beauty, receive it with joy into their souls, and become beautiful souls.[fn_7]

Beauty, Schiller said, ennobles our emotions and our intellect. Not just raw emotions which dominate us, without intellect and reason. Not just intellect and reason, without compassion and agapē—love for our neighbor. But through the freedom of mind and heart, which arises while in the act of play, and especially when experiencing the beauty of great art, the two sides of our nature can be reconciled by rising to a higher, subsuming state of mind, which we call the aesthetical state of mind.

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Friedrich Schiller, in a portrait by Ludovike Simanowiz.

Beethoven quoted Schiller’s play Don Carlos in a letter from 1797: “Wisdom is for the wise, Beauty for the feeling heart; and both belong to each other.” (Die Wahrheit is vorhanden für den Weisen, Die Schönheit für ein fülend Herz; Sie beide gehören für einander.)[fn_8]

Beethoven wielded his creative powers to touch our souls through the beauty of his music.

The Creative Process

To be creative is a process of perfecting the ability to imagine what no one before you has ever thought about. In modern terms, to think “outside of the box,” the box of “This is how it has always been done,” “These are the rules,” “These are the unquestionable doctrines.” And, to be self-conscious about how to do that. But how do you put yourself into a state of mind, where you can think freely? How can you become self-reflective about the creative process and look into your own mind?

The thought process we call the imagination, is not only the key to creativity in the arts, but, also, in scientific discovery. Lyndon LaRouche put it this way in a speech called “Creativity as Such,” in 2011:

And it’s in the process of metaphor, in which we acquire access to experimental knowledge and use of principles which lie outside the domain of sense-certainties, that mankind distinguishes himself from the beasts…. This is the special genius of Classical musical composition…. [Y]ou look at the question of irony, and you take the case of a Bach fugal composition as the perfect test to demonstrate this.… This aspect of the human mind is the location of human creativity. And the promotion of that aspect of the human experience, Classical artistic culture as an expression of the principle of metaphor, is the principle of ordinary discovery, principled discovery. And when you take this kind of thinking over into the department of the practice of physical science, the same thing! And there, you have an example of the role of Classical musical composition, as in the illustrative cases of both Max Planck and Albert Einstein, in particular—and [Vladimir] Vernadsky also! You get a demonstration that in the department of Classical artistic composition, in which the mind is experimenting with the attempt to discover principles, and expresses the yearning for that experimental result as the incentive of creativity for the human mind. That is creativity.[fn_9]

Albert Einstein, better known as a great scientist, lesser known as a devoted amateur violinist, made his greatest discoveries not in a laboratory, but through “thought-experiments.” He had an intriguing insight into the power of the imagination, which he used to make his discoveries, and, also, the power of music to stimulate his own imagination.

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Photo by E.O. Hoppe

“The power of imagination is the ultimate creative power.”
—Albert Einstein.
When he became stuck in solving an intellectual problem, Einstein often played his violin to liberate his mental powers.

Einstein:

The power of imagination is the ultimate creative power … no doubt about that. While knowledge defines all we currently know and understand … imagination points to all we might yet discover and create. Imagination is more important than knowledge. Your imagination is your preview of life’s coming attractions.[fn_10]

Imagination embraces the entire world, stimulating progress, giving birth to evolution.[fn_11]

Imagination is the language of the soul.[fn_12]

Logic will get you from A to B. Imagination will take you everywhere.[fn_13]

Einstein recounted that when he became stuck in the process of solving an intellectual problem, he would play his violin, and that would often liberate his mental powers.[fn_14]

Beethoven wrote this about the challenge of writing fugues in his late quartets: “The imagination, too, asserts its privileges and today a different, truly poetic element must be manifested in conventional form.”[fn_15]

In 1823, Beethoven wrote suggestions on how to stimulate the imagination to Archduke Rudolph, one of his very few composition students, and an important financial and political supporter:

I hope that Your Imperial Highness will continue to acquire special practice in writing down your ideas straightaway at the piano; for this purpose there should be a small table next to the piano. Not only is the imagination strengthened in this way, but one also learns to pin down the remotest ideas at once, it is likewise necessary to write without a piano. Nor should it give Yr. Imperial Highness a headache, but rather the considerable pleasure of finding yourself absorbed in this art, to elaborate a simple melody at times, a chorale, with simple and, then again, with more varied figurations in counterpoint[fn_16] and so forth to more difficult exercises. This will certainly not give Your Royal Highness a headache, but rather, when one finds oneself absorbed in art, a great pleasure. Gradually we develop the [ability to] express just exactly what we wish to, what we feel within us, a need characteristic of all superior persons [noble-minded men in A.C. Kalischer’s translation].[fn_17]

This power of the imagination involves our ability to think about the future, about how something could be, not bound by what is, in the here and now.

The concept of the imagination is related to forecasting the future effects of current causes, as in LaRouche’s economic forecasts, in which he always proposed alternative courses of action to avoid the dangers stalking in the future as the result of current wrong policies. And, likewise, deciding what to do in the here and now, based on your vision of where you want to arrive in the long-term future, the “future determining the present,” as he put it.

In classical music, imagining the future requires, on the one hand, having an insight into the pregnant possibilities of a single new musical theme or motive, but, on the other hand, the ability to invent a musical idea, which is not a theme, but a generative, developmental process, a specific quality of change—the real subject of a unified composition, which acts upon the themes as objects of creative transformation.

The seed-crystal of this development process is in the mind of the composer from the very beginning.

Beethoven from 1815: “I have always a picture in my mind, when I am composing, and work up to it.”[fn_18]

Regarding his opera Fidelio, “my custom when I am composing even instrumental music is always to keep the whole before my eyes.”[fn_19]

There is a tension between what Plato called “the one and the many”: the one unifying musical idea, and the many motives, developments, and transitions—the unfolding of the unified idea. The great German conductor Wilhelm Furtwängler spoke of the tension between near-hearing (nahhören), the music heard at that moment as it is unfolding, and far-hearing (fernhören), the future, completed, composition.

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EIRNS/Philip Ulanowsky

“The seed-crystal of the development process is in the mind of the composer from the very beginning.” Norbert Brainin, primarius of the Amadeus Quartet, described and demonstrated the process of motivic thorough composition, the subject of Beethoven’s enormously fruitful musical creativity. Here he is (right), with his long-time friend, Lyndon LaRouche, on December 4, 1987.

Beethoven was a master of this process, which we call motivic thorough composition or, in German, motivführung. Just think about the first movement of his Fifth Symphony, and how the first famous four notes—da, da, da, dum—became the object of Beethoven’s enormously fruitful musical creativity. Or the motivführung that traverses several of Beethoven’s late string quartets, as described by Norbert Brainin, the late Amadeus Quartet primarius, at a Schiller Institute seminar, where he started with Op. 132.[fn_20]

Paradoxically the one, unifying musical idea must subsume many free, independent voices. Beethoven wrote the following upon being asked by a composer to criticize his composition:

[N]ot indirectly, but frankly, as is my wont, I only tell you that you might pay a little more attention to the separate conduct of the parts in future works of this kind.[fn_21]

Creativity is not linear. LaRouche emphasized the role of surprise, paradox, metaphor, irony, even jokes, and puns, all of which Beethoven was a master. The listener is consciously led into a trap, where, suddenly, the unexpected occurs. A dramatic new element takes you by surprise, and you are forced to make a mental leap into the realm of the imagination, away from linear thinking. Afterwards, an emotional release occurs, for example, when you “get the joke.” In metaphor, there is a juxtaposition of seemingly unrelated elements in a surprising way, which can only be understood from a higher, subsuming level. (See box: Beethoven Thought
in Metaphor
)

In the process of unfolding the musical idea in a polyphonic (many-voiced) musical universe, sometimes the different individual voices come into conflict with each other, and dissonances emerge in the contrapuntal process, which urgently demand to be resolved, thus driving the unfolding process forward in a non-linear way.

This is similar to a human dialogue of cultures, where, sometimes, conflicts emerge. These conflicts, however, can be solved through the process of creating a higher unity, the which Nikolaus von Kues (Nicholas of Cusa) called the “coincidence of opposites.” This is actually a common metaphor in Danish known as things “going up in a higher unity” (at gå op i en højere enhed.) In music, the higher unity is the overall musical idea of that particular piece.

The creative process also entails great emotional tension in the midst of problem solving, as if you are hanging on a psychological cliff, or lost in no-man’s land. You begin to doubt if the problem can ever be solved. But the great thinker, whether in music, science, or elsewhere, develops a power of concentration, sometimes lasting years, based on an underlying consciousness of the importance of his or her endeavor, a striving passion, until a breakthrough occurs, as if in a flash of insight, and the problem is solved.

The creative struggle involves trying out new solutions, which are not in the rulebook, and not in your own past productions. To be self-reflective about the creative process requires not only being conscious about new methods of composition, as Beethoven sometimes explicitly wrote that he had invented, which Plato referred to as a “higher hypothesis,” but, also, to be self-conscious about the increasingly creative quality of compositional methods, which Plato called the “hypothesis of the higher hypothesis.”

From Beethoven to a publisher in 1802 regarding Piano Variations Op. 34 and 35:

Both sets are really worked out in a wholly new manner, and each in a separate and different way…. I myself can assure you that in both these works the method is quite new so far as I am concerned.[fn_22]

[W]hen feeling opens up a path for us, then away with all rules.[fn_23]

In fact, LaRouche wrote that Beethoven should be considered a physical scientist, because of his ability to make one creative breakthrough after another, to discover new worlds, new modes of musical expression. In science, we discover new physical principles of nature, even creating new states of matter, never before seen in nature. Opening your mind to the existence of a paradox, that which does not fit into the accepted theories, spurs the mind to seek new, higher, hypotheses, and design crucial physical experiments to prove, or disprove them.

In art, we use the same cognitive powers to discover new artistic principles, and, also, something new about our own creativity, which we can share with others, be they musicians or listeners. We can communicate the power of creativity, itself, to move men’s souls.

Beethoven was a master in making use of known musical forms (for example, the sonata form), and imbuing them with surprising, new, revolutionary content.

Beethoven’s Struggle to Approximate
Divine Creativity

Beethoven was self-conscious about his own divine spark of creativity, that which LaRouche devoted his life to better understand, that Götterfunken (godly spark), of Schiller’s “Ode to Joy”: Freude, schöne Götterfunken[fn_24], the which Beethoven set to music in his monumental Ninth Symphony. LaRouche pondered, what does it mean for man to be in the image of The Creator? It is this capacity for man, also, to be a creator. That, stressed LaRouche, is what separates men and women from beasts. (See the section on the divine spark in every individual in LaRouche’s article in this issue, “In the Garden of Gethsemane,” written in his prison cell in 1990.)

Beethoven wrote to publisher Breitkopf & Härtel in 1812: “my heavenly art, the only true divine gift of Heaven,” and in 1824: “I am free from all small-minded vanity: only the divine art, in it alone is the main-spring which gives me strength to devote the best part of my life to the heavenly Muses.”[fn_25]

After seeing a collection of Schubert’s songs, Beethoven’s friend Anton Schindler records him as saying: “Truly, this Schubert is lit by a divine spark.”[fn_26]

Resenting publishers who line their pockets with profits from an author’s work, treating them as “tasty brain-food,” Beethoven wrote:

The author [Beethoven] is determined to show that the human brain cannot be sold either like coffee beans or like any form of cheese which, as everyone knows, must first be produced from milk, urine and so forth—The human brain is inherently inalienable.[fn_27]

Beethoven was very conscious of his mission in life: to be as creative as he could be, in order to uplift needy humanity with the power of his music. To adopt the immortal mission of the artist: to ennoble the present, and future generations. There was no standing still or entropy, but, instead, what LaRouche called anti-entropy. Motivated by his love for mankind, Beethoven willfully became more and more conscious of his own creative powers, and constantly strove to leap up to the next higher level of creativity, with the explicit goal of more closely reaching the power of God’s own creativity. (See box: Beethoven: ‘To Spread the Rays of the Godhead’)

The Sublime

Beethoven’s passion to fulfill his mission gave him the power to rise above personal adversity, in the form of his increasing deafness. As he put it in his moving Heiligenstadt testament, he was in anguish about losing that very sense which he ought to have in perfection.

Schiller calls this the sublime—our ability to rise above sensual pain, for the purpose of a higher mission.

In 1813, Beethoven wrote: “Lend sublimity to my highest thoughts, enrich them with truths that remain truths forever!”[fn_28]

He copied from another source: “Everything that is called life should be sacrificed to the sublime and be a sanctuary of art.”[fn_29]

Beethoven wrote to his good friend Dr. Franz Wegeler, in about 1801, about his anxiety during the previous two years because of his increasing deafness, and recent happy moments due to a woman he was now in love with, continuing:

For me there is no greater pleasure than that of practicing and displaying my art. My strength, both in body and mind, for some time has been on the increase. Every day brings me nearer to the goal which I feel but cannot describe. And it is only in that condition that your Beethoven can live. There must be no rest—I know of none but sleep…. I will seize fate by the throat; it shall certainly not wholly overcome me. Oh! life is so beautiful. Would that I could have a thousand lives![fn_30]

A year later, in the testament Beethoven wrote in Heiligenstadt addressed to his brothers, but never sent, he penned that he was so desperate, that he had considered taking his own life. But he could not morally allow himself to do so, because he knew that he had so much more music to give humanity:

But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended my life—it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me…. “Divine one, thou seest my inmost soul thou knowest that therein dwells the love of mankind and the desire to do good.” Ever since my childhood my heart and soul have been imbued with the tender feeling of goodwill; and I have always been inclined to accomplish great things.[fn_31]

This became Beethoven’s moral imperative—Beethoven, the musician, and Beethoven, the man.

On September 17, 1824 to publisher Schott, after writing that his health was poor:

Apollo and the Muses will not yet hand me over to the Scythe Man, for I still owe them much; and before my departure for the Elysian Fields I must finish what the spirit suggests to me [or, as another translation has it: what the Eternal Spirit has infused into my soul[fn_32]] and commands me to finish. It is to me as if I had only written a few notes.[fn_33]

In art, there is a seeming paradox. The artist’s thoughts are often light years ahead of the general population, yet the mission of the artist is to ennoble just those people through the aesthetical experience—to raise the sights of the people to the stars. Beethoven, especially, felt this paradox, but was determined to compose at the highest level he could, despite complaints that his works were either unplayable, or not understandable.

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Beethoven, sculpted by Hugo Hagen in 1898.

Beethoven for Us, Today

Though he could not hear music with his ears, Beethoven heard music in his mind and felt it in his soul. He would go on to produce what many consider the greatest music in human history. That is why people all over the world still perform and listen to his music. That is also why we must strive to present Beethoven’s music to those, emphatically including young people, who don’t know the beauty they are missing. Let us give it to them, as Beethoven’s present to everyone, on the occasion of his 250th birthday.

Dear reader, take the opportunity to celebrate Beethoven’s birthday by immersing yourself in listening to, and even playing and singing, his works, so that you may better understand the creative beings that we are. Notes on paper represent not just tones, but the keys to Beethoven’s creative mind. Thereby, you can confirm a positive image of man, which also had a political dimension for Beethoven—the pursuit of freedom.

Six months after leaving Bonn, Beethoven quoted from Friedrich Schiller’s play, Don Carlos in the commemorative leaf that he wrote for a woman: “Do well where one can, love freedom above all, never renounce the truth, not even before the royal throne.”[fn_34]

As Schiller said, the road to Freedom goes through Beauty. That was Schiller’s solution after the French Revolution, which did not end like the American Revolution, but in a bloodbath.[fn_35] It is not rage and anger that will transform our society for the better, but reasoned future-oriented policy proposals based on the most noble image of man.

Beethoven characterized humanity as “we mortals with immortal minds.” His creativity can speak directly to you from his place in the “simultaneity of eternity,” the place LaRouche often spoke of, outside of space and time, where the emanations of the most creative people in history are found.

From a letter to a painter: “Continue to paint and I shall continue to write down notes, and thus we shall live—forever?—yes, perhaps, forever.”[fn_36]

“I would rather set to music Homer, Klopstock, Schiller, although even these would cause difficulties, but these immortal poets are worth it.”[fn_37]

To fellow composer Luigi Cherubini: “True art is imperishable, and the true artist feels inward pleasure in the production of great works.”[fn_38]

We can drink from this fountain of creativity, and nourish ourselves, so that, hopefully, we may contribute, each in his or her own way, to enriching the flow.

And ye musicians: strive to master Beethoven’s compositional principles so that we may rediscover the almost lost art of composing beautiful and profound music, and, maybe, even, go beyond.

Let Beethoven aid us in developing our own creative powers so that we may generate nothing less than a new global renaissance, for the sake of needy humanity.

mich.ras@hotmail.com

Read the author’s other articles on culture at https://rasmussenmichelle.academia.edu/.

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EIRNS/Sylvia Spaniolo

“The true artist feels inward pleasure in the production of great works.” —Beethoven. Here, the Schiller Institute NYC Chorus and orchestra in a concert on Schiller’s birthday, St. Bartholomew’s Church, New York, November 18, 2018. The Schiller Institute encourages members of the public to join the Chorus.


[fn_1]1. Lyndon LaRouche, Think Like Beethoven, paperback available here[back to text for fn_1]

[fn_2]2. Dr. A.C. Kalischer, Beethoven’s Letters, With Explanatory Notes, Dover, 1972, page 160. [back to text for fn_2]

[fn_3]3. Michelle Rasmussen, “ ‘All Men Become Brothers’: The Decades-Long Struggle for Beethoven’s Ninth Symphony,” EIR Vol. 42, No. 26, June 26, 2015, pages 38-51[back to text for fn_3]

[fn_4]4. Maynard Solomon, “Reason and Imagination: Beethoven’s Aesthetic Evolution,” in Historical Musicology: Sources, Methods, Interpretations, by Stephen A. Crist and Roberta Montemorra Marvin (editors), University of Rochester Press, 2008, page 189. [back to text for fn_4]

[fn_5]5. Kalischer, page 68. See note 2. [back to text for fn_5]

[fn_6]6. Kalischer, page 331. [back to text for fn_6]

[fn_7]7. From a more extensive footnote about Plato written by Edgar A. Poe in “The Colloquy of Monos and Una.” The Complete Tales and Poems of Edgar Allan Poe, Modern Library, 1938, page 446. [back to text for fn_7]

[fn_8]8. Written in Lenz von Breuning’s album, Kalischer, page 11. [back to text for fn_8]

[fn_9]9. Speech delivered to the Schiller Institute conference, “Classical Culture, an Imperative for Mankind,” held in Rüsselsheim, Germany, July 3, 2011. EIR Vol. 38, No. 27, July 15, 2011, pages 30-38. [back to text for fn_9]

[fn_10]10. Azquotes.com/quote/864207 [back to text for fn_10]

[fn_11]11. Albert Einstein, Einstein On Cosmic Religion and Other Opinions & Aphorisms. goodreads.com/quotes/423568. [back to text for fn_11]

[fn_12]12. www.azquotes.com/quote/831606. [back to text for fn_12]

[fn_13]13. brainyquote.com /quotes/albert_einstein_121643. [back to text for fn_13]

[fn_14]14. Read the article, “Einstein the Artist,” by Shawna Halevy, one of LaRouche’s collaborators. EIR Vol. 39, No. 19, May 11, 2012, pages 58-66 [back to text for fn_14]

[fn_15]15. Solomon, “Reason and Imagination,” in Historical Musicology, page 194. See note 4. [back to text for fn_15]

[fn_16]16. Counterpoint is the art of writing two or more lines, or voices, of music designed to be in dialogue with each other, from “point against point,” writing a contrary note to a given note, or point. [back to text for fn_16]

[fn_17]17. Michael Hamburger (editor), Beethoven: Letters, Journals and Conversations, Thames & Hudson, 2007, page 199. [back to text for fn_17]

[fn_18]18. Maynard Solomon, Beethoven Essays, Harvard University Press, 1990, page 127. [back to text for fn_18]

[fn_19]19. Solomon, “Reason and Imagination,” in Historical Musicology, page 194. [back to text for fn_19]

[fn_20]20. Over September 20-22, 1995, the Schiller Institute sponsored a series of seminars featuring Lyndon LaRouche’s close friend and collaborator Norbert Brainin, at the Dolná Krupá castle in Slovakia. Watch Mr. Brainin demonstrate the principle of motivic through composition in Seminar No. 4 here, or read more about it here[back to text for fn_20]

[fn_21]21. To Baron Carl August von Klein in 1826, Kalischer, page 365. [back to text for fn_21]

[fn_22]22. Solomon, “Reason and Imagination,” in Historical Musicology, page 191. [back to text for fn_22]

[fn_23]23. Op. cit., page 192. [back to text for fn_23]

[fn_24]24. A word coined before Schiller, by Johann Georg Adam Forster in writing about Benjamin Franklin. [back to text for fn_24]

[fn_25]25. Kalischer, page 330. [back to text for fn_25]

[fn_26]26. Manuel Komroff, Beethoven and the World of Music, Dodd, Mead, 1961, page 164. [back to text for fn_26]

[fn_27]27. Solomon, “Reason and Imagination,” in Historical Musicology, page 190. [back to text for fn_27]

[fn_28]28. Hamburger, Beethoven: Letters, page 122. See note 17. [back to text for fn_28]

[fn_29]29. Birgit Lodes, in William Kinderman (editor), The String Quartets of Beethoven, University of Illinois Press, 2020, page 186. [back to text for fn_29]

[fn_30]30. Kalischer, page 23. [back to text for fn_30]

[fn_31]31. Thayer’s Life of Beethoven, Vol. I, revised and edited by Elliot Forbes, Princeton University Press, 1991, page 305. [back to text for fn_31]

[fn_32]32. Maynard Solomon, Late Beethoven: Music, Thought, Imagination, University of California Press, 2004, page 93. [back to text for fn_32]

[fn_33]33. Kalischer, page 332. [back to text for fn_33]

[fn_34]34. To Theodora Johanna Vocke in Nuremberg, May 22, 1793. Joseph Schmidt-Görg, ”A Schiller Quote from Beethoven in a New Perspective,” in Günter Henle, Music, Edition, Interpretation, 1980, page 423. [back to text for fn_34]

[fn_35]35. Beethoven actually expressed his desire to travel to North America. “If only God will restore me to my health, which to say the least, has improved, I could do myself justice, in accepting offers from all cities in Europe, yes, even North America, and might still prosper.” Beethoven received a request for an oratorio from Boston’s Musical Society, which, in the end, he did not write. Kalischer, page 289. [back to text for fn_35]

[fn_36]36. Solomon, Late Beethoven, page 98. See note 32. [back to text for fn_36]

[fn_37]37. Kalischer, page 321. [back to text for fn_37]

[fn_38]38. Kalischer, page 296. [back to text for fn_38]

Beethoven Thought in Metaphor

Even when he was not composing, Beethoven thought in metaphor. In response to a letter from his brother which was proudly signed “landowner,” Beethoven signed his letter, “brain-owner.”a[fn_1]

From a remembrance by music critic and literary figure, Johann Friedrich Rochlitz: “Once he is in the vein, rough, striking witticisms, droll conceits, surprising and exciting paradoxes suggest themselves to him in a continuous flow.”b[fn_2][fn_3]

From his student Karl Czerny: “He could introduce a play on words anywhere.”c For example, “As regards Frau v. Stein [stone in English], I beg her not to let Herr v. Steiner be petrified, so that he may still be able to serve me.”d[fn_4]

Or he could make up funny words, calling a fugue “tone-flight-work.”e[fn_5]

Here is an example of the great fun Beethoven had when writing to Tobias Hasslinger, publisher Sigmund Anton Steiner’s assistant, who later became the publisher (Beethoven usually called Hasslinger the “little adjutant,” Beethoven being “Generalissimus”):

I dreamed that I was taking a far journey, as far as Syria, as far as India, back again as far as Arabia; finally I came indeed to Jerusalem. The Holy City prompted thoughts about the Holy Writ [Bible], when, and no wonder, I thought of the man Tobias [from the Bible], and naturally that led to my thinking of our little Tobias and our pertobias[sen] [making the name a verb, then a noun meaning to turn the name ‘Tobias’ into musicf[fn_6]]; now, in my dream journey, the following canon occurred to me:g[fn_7]

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Beethoven then forgot the canon*[fn_8], and when he remembered it again, it had turned into a three-voice canon, which he held as strongly as Menelaus had held Proteus.

His letter to Tobias Hasslinger continues:

Soon I shall send in something about Steiner, too, just to prove that he hasn’t a heart of stone. Farewell, very dearest of friends, we wish you continually that you may never be true to the name of publisher and may never be publicly humiliated…. [The pun on Verleger (publisher) and verlegen (embarrassed, at a loss) was one of which Beethoven was especially fond.]h[fn_9]

Enclosed in a letter to a publisher in 1825 with some canons, Beethoven includes:

[A] supplement, a romantic description of the life of Tobias Hasslinger in 3 parts. First part: Tobias is an assistant of the celebrated authority, Capellmeister Fux—and holds the ladder to his Gradus ad Parnassum [steps to Parnassus, the mountain where the Muses live, the name of Fux’s pedantic book on counterpoint]. As he is now inclined to practical joking, through shaking and pushing the ladder he causes many of those who had got fairly high up to fall headlong and break their necks, &c. He now bids farewell to our clod of earth and reappears at the time of Albrechtsberger [a leading counterpoint teacher who gave Beethoven some lessons].

2nd part. The already existing Fuxian nota cambiata [changed note] is now treated in conjunction with A[lbrechtsberger]. and the changing notes thoroughly expounded; the art of creating a musical skeleton is carried on to the highest degree, &c. Tobias, now a caterpillar, is turned into a grub [butterfly larva], is developed, and appears for the third time on this earth.

3rd part. The scarcely formed wings now hasten to the Paternostergässl [the address of the publisher]; he becomes Paternostergässler Capellmeister, and having gone through the school of the changing notes [Wechselnoten] he retains nothing of them but the change [Wechsel], and so gains the friend of his youth, and finally becomes a member of several inland empty-headed societies, &c. If you ask him, he will certainly allow this account of his life to be published.i[fn_10]

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[fn_1]a. Russell Sherman, Piano Pieces, Farrar, Straus and Giroux, September 30, 1997, page 114. [back to text for fn_1]

[fn_2]b. Oscar Sonneck (editor), Beethoven: Impressions by His Contemporaries, Dover Books, 1967, page 128. [back to text for fn_2]

[fn_3]c. Solomon, “Reason and Imagination,” in Historical Musicology, page 223. [back to text for fn_3]

[fn_4]d. Kalischer, page 229. [back to text for fn_4]

[fn_5]e. Kalischer, page 356. [back to text for fn_5]

[fn_6]f. The Free Dictionary Language Forums, by Farlex, “Beethoven’s writing: question.” [back to text for fn_6]

[fn_7]g. Kalischer, page 281. [back to text for fn_7]

[fn_8]https://beethoven.ru/node/909 [WoO 182: O Tobias!, трехголосный канон Бетховен (beethoven.ru)] [back to text for fn_8]

[fn_9]h. The Unheard Beethoven website, “Canon, O Tobias, WoO 182.” [back to text for fn_9]

[fn_10]i. Kalischer, page 229. [back to text for fn_10]

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Beethoven: ‘To Spread the Rays of the Godhead’

In a letter to Archduke Rudolph, Beethoven wrote:

There is nothing higher than to approach the Godhead more nearly than other mortals and by means of that contact to spread the rays of the Godhead through the human race.j[fn_1]

To Emilie, a girl of 8 to 10 years old, who had written to him in 1812:

Persevere, do not only practice your art, but endeavor also to fathom its inner meaning; it deserves this effort. For only art and science can raise men to the level of gods…. The true artist has no pride. He sees unfortunately that art has no limits; he has a vague awareness of how far he is from reaching his goal; and while others may perhaps be admiring him, he laments the fact that he has not yet reached the point whither his better genius only lights the way for him like a distant sun.

I should probably prefer to visit you and your family than to visit many a rich person who betrays a poverty of mind. If I should ever go to H., then I will call on you and your family. I know of no other human excellences than those which entitle one to be numbered among one’s better fellow creatures. Where I find people of that type, there is my home.k[fn_2]

In the 1790s, he wrote about the need “to strive towards the inaccessible goal which art and nature have set us.”l[fn_3]

When asked which of the string quartets opera 127, 130, 132 was the greatest: “Each in its way. Art demands of us that we shall not stand still…. You will find a new manner of part writing and thank God there is less lack of fancy than ever before.”m[fn_4]

For the artist “there is no more undisturbed, more unalloyed or purer pleasure” than that which comes from rising “ever higher into the heaven of art.”n[fn_5]

Freedom and progress are the aims throughout creation:

[T]he older composers render us double service, since there is generally real artistic value in their works (among them only the German Handel and Seb. Bach possessed genius). But in the world of art, and in the whole of our great creation, freedom and progress are the main objectives. And although we moderns are not quite as far advanced in solidity as our ancestors, yet the refinement of our customs has enlarged many of our conceptions as well.o[fn_6]

Dr. Kalischer commentsp[fn_7] on a letter of Beethoven to a court lawyer, Dr. Johann Baptist Bach: “We may recall the fact that the composer thought of writing an Overture on the name [B-A-C-H: B-flat, A, C, B-natural in German letter notation]; there are many sketches, the following is among some for the Tenth Symphony:

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In a letter to the new directors of the Royal Imperial Court Theatre in Vienna, Beethoven wrote: “[T]he undersigned has always striven less for a livelihood than for the interests of art, the ennoblement of taste and the uplifting of his genius towards higher ideals and perfection.”q[fn_8]     [back to text]


[fn_1]j. Solomon, “Reason and Imagination,” in Historical Musicology, page189. [back to text for fn_1]

[fn_2]k. Emily Anderson (editor), Letter No. 376, in The Letters of Beethoven, Vol. 1, W.W. Norton, 1986, pages 380-381. [back to text for fn_2]

[fn_3]l. Solomon, “Reason and Imagination,” in Historical Musicology, page 191. [back to text for fn_3]

[fn_4]m. Ibid., page 192. [back to text for fn_4]

[fn_5]n. Ibid., page 192. [back to text for fn_5]

[fn_6]o. Ibid., page 192. Words in parentheses from Kalischer, page 270. [back to text for fn_6]

[fn_7]p. Kalischer, page 326. [back to text for fn_7]

[fn_8]q. Thayer’s Life of Beethoven, revised and edited by Elliot Forbes, Vol. I, Princeton University Press, 1991, page 426. [back to text for fn_8]

     

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This article appears in the March 5, 2021 issue of Executive Intelligence Review.

January 17, 1990

In the Garden of Gethsemane

by Lyndon H. LaRouche, Jr.

[Print version of this article]

Editor’s Note: This essay was first published in EIR Vol. 44, No. 37, September 15, 2017, pages 19-21.

A prophet is not without honor, save in his own country.

—Matthew 13:57

Those of us who find ourselves in Gethsemane—a Gethsemane where we are told that we must take a role of leadership with our eye on Christ on the Cross—often experience something which, unfortunately, most people do not. We tend to look at things from a different standpoint. Before trying to situate how I see the recent period, and the period immediately before us, I should try to communicate what my viewpoint is, a viewpoint which I know is shared in some degree of very close approximation by everyone who has gone to Gethsemane with the view of the Cross in his eyes, saying, “He did it, I am now being told that I must, too, walk in His way.”

What I suggest often, in trying to explain this to a person who has not experienced it, is to say: “Imagine a time 50 years after you’re dead. Imagine in that moment, 50 years ahead, that you can become conscious and look back at the entirety of your mortal life, from its beginning to its ending. And, rather than seeing that mortal life as a succession of experiences, you see it as a unity. Imagine facing the question respecting that mortal life, asking, “Was that life necessary in the total scheme of the universe and the existence of mankind, was it necessary that I be born in order to lead that life, the sum total of that number of years between birth and death? Did I do something, or did my living represent something, which was positively beneficial to present generations, and implicitly to future generations after me? If so, then I should have walked through that life with joy, knowing that every moment was precious to all mankind, because what I was doing by living was something that was needed by all mankind, something beneficial to all mankind.”

If I am wise, then 50 years after my death, in looking back at my mortal life, I know that from the beginning with my birth, to the end with my death, that my truest self-interest was the preservation and enhancement of that which made my having lived important to those around me and those who came after me.

That is the beginning, I think, of true wisdom; that is the beginning of the Passion, which sometimes enables each of us when called, to walk through our own peculiar kind of Gethsemane. It is from this standpoint, that the mind of an individual such as our own, can efficiently comprehend history in the large.

A second point, which I often raise, I think is essential to understand the few simple observations I have to make here. It is that, in human reason, in the power, for example, to effect a valid, fundamental scientific discovery, which overturns, in large degree, previous scientific opinion, we see a fundamental distinction between man and all beasts. This power of creative reason, typified by the power to make a valid, fundamental scientific discovery, and also the power to transmit and to receive such a discovery, is that which sets man apart from and above the beasts.

The emotion associated with that kind of human activity, whether in physical science, in the development of creative works or performance of creative works of classical culture or simply in the caring for a child to nurture that quality of potential for discovery in the child, is true love. Creative activity is human activity, and the emotion associated with that kind of activity, is true love.

We start from that and say that society must be based on these considerations, that. every human being, being apart from and above the animals, has the right and the obligation to live an important life. Every human being has the right to do something, such that if one looked back 50 years after the death of that person at his or her whole mortal life, one could have said, that life was necessary to all humanity. At the same time, one could distinguish some use of this creative power of reasoning as the activity which made that life important, simply, sometimes, the development of that creative power.

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Lyndon H. LaRouche, Jr.

Two Conflicting Views of Mankind

We have, in the entirety of the approximately 2,500 years of Western European history, which includes the history of the Americas, two conflicting views of mankind. One view shares more or less the standpoint I’ve just identified: We view the human individual as bearing the divine spark of potential for reason, as a sacred life; a spark of reason which must be developed by society, nurtured by society, given opportunity for fruitful expression by society; a quality of activity whose good works must be adopted by society, protected by society, and preserved by society, for the benefit of present and future generations. That is the republic, the republic as conceived by Solon’s constitution of Athens—a notion of republic, which, in our time, is made nobler by the Christian understanding, which transforms and elevates the contributions of Solon and Socrates after him.

On the other side, there is the conception of Sparta, a privileged oligarchy, brutalizing the helots, the slaves, the so-called lower classes. That, too, is a model society, not a republic, but an oligarchy.

The struggle between these two views of mankind is epitomized by the struggle between President and General George Washington, on the one side, and King George III on the other. George Washington was a soldier and statesman of the republic, not a perfect one, but a good one. On the opposite side was poor King George III, the puppet of the evil Earl of Shelbourne, and the epitome of oligarchism, the heritage of Sparta. The tradition of King George III, which deems that some men must be kept slaves, is an oligarchical view, which hates the idea of the equality of the individual in respect to the individual human being’s possession of that divine spark, the individual human being’s right to the development of that spark, the nurture of its activity, and the defense and perpetuation of its good works.

Such is the conflict. In our time, the great American Republic, by virtue of the cultivation of ignorance and concern with smallness of mind, and neglect of the importance of what comes after us in the living of our mortal lives, has been so undermined, degraded, and corrupted, that we as a nation no longer are the nation we were conceived to be, but instead have become a nation brain-drained in front of our television sets, thinking with greater passion about mere spectator sports or mere television soap-opera than we do about urgent events in real life. We are a nation seeking gratification in drugs, in sordid forms of sexual activity, in other sordid entertainments, in that kind of pleasure-seeking, which echoes the words Sodom and Gomorrah.

And so, oligarchism, that which George III of England represented back in the eighteenth century, has taken over and rules the land which was once George Washington’s.

What this leads to is this. Today, there is a great revolution around the world against tyranny in all forms. So far, this revolution has manifested itself within the communist sector against communist tyrannies. But it is coming here, too. Wherever the divine spark of reason is being crushed by oligarchical regimes, with all their cruelties, the divine spark of reason within human beings inspires them to arise, to throw off the tyranny—not out of anger and rage against tyranny, but because the divine spark of reason in each person must be affirmed. We seek not merely to be free from oligarchy; we seek to be free from oligarchy, because not to do so would be to betray the divine spark of reason in ourselves and in others.

Agapē

The secret of great revolutions, of great civil rights movements, as Dr. King’s example illustrates, is this capacity, which the Greek New Testament called agapē, which Latin called caritas, which the King James version of the Bible calls charity, which we otherwise know as love. Whenever this power of love, this recognition of that divine spark, setting us above the beasts, prevails, wherever people can approximate that view of the sum total of their lives, as if from 50 years after their deaths, whenever movements arise which, out of love, produce people who are willing, not fruitlessly, but for a purpose, to lay down their lives, so that their lives might have greater meaning, for this purpose—there you have the great revolutions of history.

If we were to project events on the basis of what is taught in the schools about revolutions and other struggles of the past, then the human race at present were doomed. If we say that people struggle against this and that oppression, and so forth, and out of rage or whatnot, overthrow their cruel oppressor, we should lose; the human race would lose. However, if we touch the force of love, the spark of divine reason, we unleash a force, a creative force, a divine force, which is greater than any adversary, and we win. Those revolutions, which are based upon the appeal to this divine spark of reason within the individual, prevailed. Those which worked otherwise produced abominations, or simply failed.

Yes, we must struggle against injustice. But it is not enough to struggle out of anger. We must struggle out of love. And that we learn best, who have had to walk as leaders of one degree or another, through our own Gethsemane, with the image of the Cross before us.

That is the best I can say. I might say it better, but what I try to say with these poor words, is the best I can say summarily, on the subject of current history. I believe, that the great upsurge of humanity, implicit in the optimism I express, is now in progress. I am persuaded that we shall win, provided that each of us can find in ourselves that which makes us the right arm of the Creator, a man, a woman of providence, within the limits of our own capacities and opportunities.

Lyndon H. LaRouche, Jr.

Dictated from prison

Rochester, Minnesota

January 17, 1990

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Live streaming 24-timers Beethoven 250 års fødselsdag fest! 16.-17. december

Videoarkivet bliver klart om 2 dage. Klik her på FFRCC’s hjemmeside.

Vi inviterer dig til at nyde en 24-timers international fejring af Ludwig van Beethoven, fra den 16.-17. december 2020, datoen for hans 250 års fødselsdag. Fejringen blev præsenteret af Schiller Instituttets Venner, The Foundation for the Revival of Classical Culture (Fond for genoplivning af klassisk kultur). Deltag! De delte hilsner fra hele verden; videohyldest af forskellige typer; og for det meste hans herlige musik, der fejrer hans sind, kunstneriske vision og mission. Det var levende arrangeret med særlige gæster, kommentarer og sjældne optagelser af Beethovens værker.

”Jeg vil tage skæbnen i kraven; den vil aldrig bøje mig helt efter dens vilje.”
– Ludwig van Beethoven




Beethoven 250 år og menneskehedens æstetiske opdragelse

Afskrift af en tale Michelle Rasmussen, næstformand for Schiller Instituttet i Danmark, holdt ved Schiller Instituttet i Danmarks videokonference: Verden efter valget i USA, den 8. december 2020

Se hele konferencen her.

Vi har en civilisationskrise: en konfrontationspolitik, som kan føre til krig med Rusland og Kina, en COVID-19-pandemi, økonomiske og finansielle kriser og en voksende sultkatastofe i Afrika.
Vil vi etablere en ny retfærdig økonomisk verdensorden eller vil det ende i kaos og krig?

Det er en kamp mellem helt forskellige menneskesyn.
LaRouche understregede altid: hvad er forskellen mellem mennesker og dyr?
Er vi dyriske?
Eller har vi en iboende kreativ erkendelsesevne, som gør os i stand til at opdage nye principper — noget nyt, som ingen andre har tænkt på.
I videnskab opdager vi nye naturvidenskabelige principper.
I kunst opdager vi nyt om vores egne kreative evner, som kan deles med andre, som i et orkester eller kor eller med tilhørerene.

Skønhed, som Schiller sagde, forædle vores følelser og vores intellekt —
ikke kun rå følelser som dominerer os uden intellekt,
ikke kun intellekt uden medfølelse og næstekærlighed.

Men gennem at lege, speciel gennem kunst, at spille, kan de to går op i en højere enhed, som vi kalder en æstetisk tilstand, når vi er omfavnet af skønhed.

Det var Schillers løsning efter den franske revolution, som ikke endte som den amerikanske, men i et blodbad.

Platon skrev, at den vigtigste uddannelse for sjælen var musik — at fylde sjælen med skønhed og gøre den skøn.
Mennesket ville så lovprise skønhed, modtage den med glæde i sin sjæl, og blive til en skøn sjæl.

Den 16. december fejrer vi Beethoven 250-års fødselsdag.
Vi fejrer ham, som en af de mest kreative sjæle i historien, men vi fejrer også menneskehedens erkendelsesmæssige evner.

Studér Beethoven for bedre at forstå, hvad vi mennesker er.
Beethoven, selv da han ikke var i stand til at høre sin egne musik, hørte den alligevel i sit sind, og udfordrede sig selv til at lave det ene gennembrud efter det anden.

Der var ingen stilstand eller entropi, men hvad LaRouche kalder ikke-entropi.

At viljemæssigt blive mere og mere bevist om, at kende sine egne erkendelsesmæssige evner, og presse dem til det yderste for at kunne stige op til det næste niveau, og som han skrev, at nærme sig Guds egen skaberkraft.

Og han havde et formål: at opløfte den trængende menneskehed.
Han var bevidst om musikkens rolle med at forædle menneskene.

Gennem at spille, synge eller lytte, kan Beethovens kreativitet deles med andre —
noderne på papiret, er ikke kun toner, men nøglen til Beethovens kreative sind.

Og dermed kan andre mennesker bekræfte et positivt menneskesyn, som også havde en politisk dimension for Beethoven — stræben efter frihed.
Som Schiller sagde, vejen til frihed går gennem skønhed.

For at fejre Beethoven så lyt til eller syng og spil hans værker. Genoplev hans åndelige gennembrud, bekræft den menneskelig kreativitet, skab et samfund, hvor vi kan genopdage den tabte kunst at skabe skøn musik,
måske endnu mere kreativ end Beethoven, og udvikle vores erkendelsesmæssige evner, for hele menneskehedens skyld.

Så blev der spillet den første del af 2. sats af Beethovens 7. symfoni, dirigeret af Wilhelm Furtwängler, som eksempel.
Ud fra en enkel begyndelse tilføjes flere og flere stemmer for at skabe noget stort og opløftende.

Se også Deadlines indslag om Beethoven 250 år den 7. december 2020 14,

Klik her og så 14:46 minuter inde i programmet




Videoerne fra Schiller Instituttets internationale konference
lørdag og søndag den 12.-13. december
Verden efter det amerikanske valg:
Skabelsen af en verden baseret på fornuft

Panel 1, lørdag den 12. december kl. 15 dansk tid:

”Hold sammen eller hver for sig”: Frie og suveræne republikker, eller digitalt diktatur. (Se beskrivelsen nedenunder.)

Panel 2: lørdag den 12. december kl. 19 dansk tid:

Undgå faren for 3. verdenskrig: En strategisk orden baseret på menneskehedens fælles mål. (Se beskrivelsen nedenunder.) 

Panel 3: søndag den 13. december kl. 15 dansk tid:

Overvind den globale sundhedskrise og den pandemiske hungersnød: Tænkning på niveauet af modsætningernes sammenfald. (Se beskrivelsen nedenunder.)

Panel 4: søndag den 13. december kl. 19 dansk tid:

En menneskelig fremtid for ungdommen: En renæssance drevet af Beethovens klassiske kultur. (Se beskrivelsen nedenunder.)

1 minute lang video invitation:

Lørdag-søndag den 12.-13. december kl. 15 dansk tid begge dage afholder Schiller Instituttet en international konference via internettet for at behandle det presserende spørgsmål, som hele menneskeheden står over for: “Verden efter det amerikanske valg: Skabelsen af en verden baseret på fornuft.” Grundlægger og præsident for Schiller Instituttet, Helga Zepp-LaRouche, meddelte, at en fuld invitation og foreløbig liste over talere snart vil være tilgængelig, og at konferencens indhold vil fokusere på følgende:

Uanset udfaldet af den uhørte kamp omkring det nylige amerikanske valg, står det allerede klart, at det ikke kun er en intern amerikansk affære, men også en begivenhed af højeste internationale strategiske betydning. Efter fire år med en fuldstændig synkroniseret international dæmoniserings-kampagne imod præsident Donald Trump, men samtidig også mod præsident Vladimir Putin i Rusland og præsident Xi Jinping i Kina, Russiagate, en fejlslagen rigsretssag, åbent oprør og nu skamløs valgsvindel – er det vigtigt, at verden hurtigt forstår: Udfaldet af denne kamp er valget mellem 3. verdenskrig eller fred.

Trump har tiltrukket sig den ubændige vrede fra det som præsident Eisenhower identificerede som det militærindustrielle kompleks – det permanente bureaukrati, den såkaldte ‘Deep State’ og de økonomiske interesser, der kontrollerer dem, såsom City of London og Wall Street – fordi han vovede at bekendtgøre, at han ønskede at ‘afslutte de endeløse krige’, og at han mente, at et godt forhold til Rusland og Kina ‘er en god ting, ikke en dårlig ting!’.

Hvis en mentalt svækket Joe Biden blev indsat som symbolsk præsident i et par uger, for sidenhen at blive erstattet af Kamala Harris og Obama-Bush’s intervenerende krigsapparat, kunne verden på kort sigt blive trukket ind i en krig mod Rusland og Kina, hvilket ville omfatte en udvidelse af den politiske konfrontation til verdensrummet.

De to dages dialog og drøftelser med simultantolkning på forskellige sprog, herunder spansk, fransk og tysk, vil omfatte følgende paneldiskussioner:

PANEL I. ”Hold sammen eller hver for sig”: Frie og suveræne republikker, eller digitalt diktatur (lørdag d. 12. december, kl. 15 dansk tid): Dette panel vil diskutere konsekvenserne af det nuværende drama, der udspiller sig i USA, den globale kamp for at erstatte det nuværende bankerotte finanssystem med et nyt paradigme, skitseret over fem årtier af Lyndon LaRouche. Konferencen afholdes på tærsklen til Valgkollegiets møde den 14. december, hvor det besluttes hvem der bliver den næste præsident for USA. På det tidspunkt vil beviserne for klagerne om valgsvindel – påstanden fra præsident Trumps advokater om, at de har dokumenteret bevis for, at han vandt valget; metoderne til valgsvindel som rapporteret af ”whistleblowere”, og afsløringen af andre kapaciteter og handlinger, som er en del af det statskup der truer USA – stå klart, før valgmændene skal træffe deres valg. Konferencepanelet vil samle fremtrædende eksperter indenfor områderne af den amerikanske forfatning, lovgivning og efterretningsvirksomhed, og vil understrege den dramatiske relevans i dag af Benjamin Franklins svar på spørgsmålet om, hvilken slags regering USA havde modtaget fra ham: “En republik – hvis vi kan beholde den.”

Panel I speakers:
Moderator’s Welcoming Remarks
Helga Zepp-LaRouche, Schiller Institute President: Introduction
Marino Elsevyf (Dominican Republic), Attorney-at-Law, Member of the 1995 Martin Luther King International Tribunal: Report from the International Investigative Commission on Truth in Elections
David Meiswinkle (US), Attorney-at-Law; Report from the International Investigative Commission on Truth in Elections
Viktor Dedaj (France), citizen-journalist, “The Crucifixion of Julian Assange: A Journalist Committed to Truth and Peace.”
Harley Schlanger (US), Board of Directors, Schiller Institute, Inc., “What Are the Principles and Facts Concerning the Recent US Election”
David Christie (US): ”The British Empire’s Digital Dictatorship: Censorship and Mass Social Control”
Q & A Session

PANEL II. Undgå faren for 3. verdenskrig: En strategisk orden baseret på menneskehedens fælles mål (lørdag d. 12. december, kl. 19 dansk tid): Hvad der må gøres for at sætte en ny international sikkerhedsarkitektur på den internationale dagsorden; en, som sikrer overlevelsen af den menneskelige art. Paneldeltagerne vil lokalisere krigsfaren i sammenhæng med det verserende nedbrud af det transatlantiske finansielle system og diskutere de potentielle konsekvenser af planerne, som dette systems centralbanker har for digitaliseringen af betalingsmidler. Indførslen af de fire love, der er foreslået af Lyndon LaRouche, er fortsat påtrængende nødvendigt, herunder kravet om at etablere et internationalt kreditsystem i form af et Nyt Bretton Woods-system, samt behovet for internationalt samarbejde inden for rumforskning og en fusionsbaseret økonomi. Det er derfor yderst påtrængende, at P5-topmødet, foreslået af præsident Putin, med de fem permanente medlemmer af FN’s Sikkerhedsråd, straks indkaldes, for på dette fremskredne tidspunkt i krisen er det en pligt for de mest magtfulde nationer i verden at handle i fællesskab for at undgå en geopolitisk katastrofe. Dette topmøde, eller bedre, række af topmøder, må definere løsninger på de eksistentielle udfordringer menneskeheden står over for, samt definere områderne for menneskehedens fælles mål, såsom at opnå nye økonomiske platforme for verdensøkonomien ved kommerciel anvendelse af termonuklear fusionsenergi, og internationalt samarbejde inden for rumforskning.

Panel II Speakers
Helga Zepp-LaRouche, Schiller Institute President
Yan Wang, PhD, “The Chinese Economic Model”
Marcelo Muñoz (Spain), Founder and President Emeritus, Cátedra China, “China and the US: Rivalry, Confrontation, or Cooperation”
Ole Doering, PhD (Germany), Karlsruhe Institute of Technology: “A Salutogenic Symphony with Ancient Chinese Philosophy: Harmony as Polyphonic Accord and Peace as Expressive Equilibrium. Can We Make It Work?”
Prof. Emmanuel Dupuy (France), Founder and President, Institute of European Prospective and Security (IPSE): “What is at Stake in the on-going Renovation of Nuclear Doctrines and Ballistic Treaties: What Agenda for the European Countries in the Context of a Strategic Autonomy of Europe.”
Col. Richard H. Black (USA Ret.), former head of the Army’s Criminal Law Division of The Pentagon, former State Senator (Va.): “NATO Must Be Dissolved”
Q & A Session
Paul Gallagher, (US), Executive Intelligence Review, Editorial Board, “LaRouche’s New Bretton Woods and the Central Banks —
There’s Not Enough Room in this World for Both of Them”
Marc-Gabriel Draghi (France), Economist: “Orderly Debt Cancellation: Historical Precedents and Present Relevance.”
Q & A Session

PANEL III. Overvind den globale sundhedskrise og den pandemiske hungersnød: Tænkning på niveauet af modsætningernes sammenfald (søndag d. 13. december, kl. 15 dansk tid): At overvinde de ødelæggende konsekvenser over hele verden af 50 års neoliberal økonomiske politik, hvoraf COVID-19-pandemien blot er det mest oplagte eksempel. Hvis COVID-19 og faren for fremtidige pandemier skal overvindes, må verdenssamfundet enes om at etablere et globalt sundhedssystem, hvilket betyder et moderne sundhedssystem i hvert eneste land på planeten. Der må også være et nyt niveau af internationalt samarbejde inden for biovidenskab for at finde kure mod hidtil uhelbredelige sygdomme samt bedre forståelse af livet i universet som sådan. Som chefen for Verdensfødevareprogrammet, David Beasley, har bekendtgjort, er 7 millioner mennesker allerede døde af sult i år, hvilket let kunne have været forhindret. I lyset af den umiddelbare fare for at 30 millioner mere dør af sult i løbet af de næste par måneder, og 260 millioner forventes at lide den samme skæbne i det kommende år, må der være en fuldstændig ændring i landbrugspolitikken. Målet skal være at opnå fødevaresikkerhed i enhver nation og en fordobling af fødevareproduktionen på verdensplan. For at finde svar på disse eksistentielle trusler mod menneskeheden kræves en tankegang i et nyt paradigme. I stedet for profitmaksimering til et privilegeret finansoligarki, må menneskehedens fælles interesser sættes først: menneskehedens fælles mål. Til dette formål er der dannet en “en komité af modsætningernes sammenfald”, et begreb udviklet af den store renæssancetænker Nicholas af Cusa, hvis mål det er, at have mennesker af god vilje i mange nationer til at arbejde sammen for at løse disse kriser.

Moderator: Dennis Speed
1. Helga Zepp-LaRouche, “The Role of the Committee for the Coincidence of Opposites”
2. Dr. Joycelyn Elders (US), Former Surgeon General of the United States [8 min.]
3. Many members of the Committee for the Coincidence of Opposites, mostly doctors from the U.S. and one retired military officer.
4. Q & A Session
6. Hon. Joseph Maxwell (US), former Lt. Governor of Missouri, Hog Farmer: “To Feed All
Humanity: Break-up the International Food Cartels”
7. Jason Ross (US), Science Advisor, Schiller Institute: “Cusa’s Method: The Coincidence of
Opposites”
8. Q & A Session

PANEL IV. En menneskelig fremtid for ungdommen: En renæssance drevet af Beethovens klassiske kultur (søndag d. 13. december, kl. 19 dansk tid): Det fjerde panel vil være tilegnet behovet for en renæssance af klassisk kultur og ungdommens særlige rolle i gennemførelsen heraf. I dette øjeblik af historien, hvor hele samfundets fundament er rystet i sin grundvold, er der en enorm appetit på skønheden ved stor kunst, efter menneskehedens høje idealer, som de udtrykkes i de store kompositioner af klassisk musik og poesi. I alle større civilisationer er der digtere, komponister og filosoffer, som har hyldet menneskeheden som en kreative art, og det vil være dialogen mellem disse kulturer, der kan og vil skabe en ny æra for menneskeheden. I denne ånd vil hele konferencen blive viet til Beethovens år, komponisten, hvis kompositioner giver folk et håb, fordi de udtrykker hvad mennesket er i stand til.

Moderator: Diane Sare, Founder, Schiller Institute NYC Chorus
1. Jacques Cheminade (France), President, Solidarite et Progres, “The Necessity and Pathway
of a New Classical Renaissance”
2. Helga Zepp-LaRouche, President, Schiller Institute: “Bring Schiller and Beethoven to
Today’s Youth”

3. David Shavin, Schiller Institute, about his article about Beethoven’s opera Fidelio being based on the real story of the imprisonment of the Marquis de Lafayette.
4. John Sigerson (US), Schiller Institute National Music Director, “What Does It Take to
Really Understand Beethoven?”
5. Jose Vega (US), “Romeo and Juliet in Your Society”
6. Anastasia Battle (US), “A Tale of Two Revolutions”
7. Carolina Dominguez (Mexico), “Schiller in a Time of Pandemic”
8. Q & A Session




Schiller Instituttets internationale hjemmeside fejrer
Beethovens 250-års fødselsdag med en Beethoven-serie

Den 16. december 2020 markerer Ludwig van Beethovens 250-års fødselsdag. Som en del af de internationale festligheder i år og næste år til ære for Beethoven, er Schiller Instituttet glad for at indvie en ny serie på vores internationale hjemmeside (www.schillerinstitute.com) . Vi vil regelmæssigt sende videoer af Beethovens musik med korte diskussioner af stykkerne.

Friedrich Schillers smukke ord fra hans digt “Ode til Glæden” bliver storslået udødeliggjort i den sidste sats af Beethovens 9. symfoni:

Freude, schöner Götterfunken,
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, den Heiligtum.
Deine Zauber binden wieder,
Was die Mode streng geteilt,
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.

Seid umschlungen Millionen!
Diesen Kuß der ganzen Welt!
Brüder – überm Sternenzelt
Muß ein lieber Vater wohnen.

Til Glæden (dansk oversættelse):

Glæde, skønne gudegnist,
Datter af Elysium,
Vi betræder, berusede af ild,
Himmelske, din helligdom!
Din trolddom genforener,
Hvad vanen strengt har delt;
Alle mennesker bliver brødre,
Hvor din blide vinge dvæler.

Vær omfavnet, millioner,
Dette kys til hele verden! Brødre!
Over stjerneteltet
Må en kærlig fader bo.

Oversat af Werner Knudsen, akademisk.kor.dk

Schillers ord og Beethovens musik taler endnu mere lidenskabeligt og kraftfuldt til os i dag i disse tider med pandemiske sygdomme, hungersnød, økonomisk krise, social uro og trussel om krig. Lad os tage Schiller og Beethoven til vore hjerter og sind og skabe et nyt paradigme for fred og udvikling for hele menneskeheden.

Lyt, og lad Beethoven instruere os!

Læs og lyt til de daglige Beethoven indlæg her.




Dansk videokonference søndag den 8. november:
Verden efter valget i USA

Talere:

Tom Gillesberg, formand for Schiller Instituttet i Danmark:
Kan Trump og den amerikanske befolkning forsvare Trumps valgsejr imod valgsvindlen? (på dansk)

Gæstetaler: Hussein Askary, Schiller Instituttets koordinator for Sydvestasien, bestyrelsesmedlem, Bælte- og Vejinitiativ Institut i Sverige (brixsweden.org):
Nu skal USA og Europa tilslutte sig Kinas nye Silkevej, og mobilisere fødevareressourcer til bekæmpelse af sult i Afrika. (på engelsk)

Michelle Rasmussen, næstformand for Schiller Instituttet i Danmark:
Beethoven 250 år. (på dansk)

Lyd:

Hussein Askarys præsentation som skærskilt video:

Hussein Askary’s presentation as a separate video in English:

Kan Trump og den amerikanske befolkning forsvare Trumps valgsejr imod valgsvindlen?

Tom Gillesberg, formand for Schiller Instituttet i Danmark

Resumé
USA: Valgsvindel med stemmerne i svingstaterne for at få Joe Biden valgt som USA’s præsident er en del af den farvede revolution i USA for at få et regimeskifte og få afsat Donald Trump.

Dette regimeskifte har været fokus for efterretningstjenesterne og deres partnere i medierne siden Trump vandt præsidentvalget i 2016. Først med beskyldningerne om tråde til Rusland (Steel-rapporten fra britiske efterretningstjeneste, der kom med falske beskyldninger), så løgnen om Russigate, der er blevet modbevist, rigsretssagen og 4 års angreb fra medierne.

Mediernes erklæring af, at Biden har vundet valget og NATO-landes lykønskning af Biden, er et forsøg på at etablere et fait accompli og forhindre at valgsvindlen bliver afsløret.

Trump forsøger at få valgene i delstaterne undersøgt så valgsvindlen kan blive afdækket og retfærdigheden ske fyldest. Mobilisering af vælgerne for at forsvare demokratiet og beskytte Trumps valgsejr.

Massiv censur i medierne og på sociale medier for at forhindre præsident Trump i at tale til befolkningen.

Trump fik over 7 millioner flere stemmer end i 2016 selvom ikke alle stemmerne på ham er blevet tilskrevet ham.

Konkrete historier om valgsvindelen begynder at komme frem.

Tidligere NSA tekniker beskriver hvorledes programmet “Scorecard” kan bruges til at ændre stemme rapporterne fra valgstederne.

Vil USA’s befolkning lykkes med at forsvare den demokratiske proces og Trumps valgsejr?

Hvis kuppet lykkes vil demokraterne forsøge at vinde de to sidste senatspladser i Georgia så Bidens kontrollører også kan kontrollere Senatet, udvide Højesteret og få magten der.

Hvis Biden bliver præsident er der konfrontation med Rusland og Kina på dagsorden. Vil vi få krig? Atomkrig?

Oveni COVID-19 krisen i USA og dens økonomiske effekter venter en nedsmeltning af finanssystemet. Med en grøn New Deal vil utilfredsheden i befolkningen blive enorm. Hvad følger efter den censur imod dissidenter, der allerede er i gang?

Topmøde i Davos 9.-11. november med blandt andet Mark Carney, den nye chef for Bank of England Andrew Bailey, Blackrocks Fink, IMF, ECB, Bill Gates etc. om at gennemtvinge kredittørke imod alle investeringer, der ikke er “grønne”. Digitale valutaer så centralbankerne får den fulde økonomiske magt.

Der er en verden uden for Vestens og NATO’s kontrol. Kina og Rusland er ikke kuede.

COVID-19 var et lille bump på vejen for Kina. Man har igen vækst og Bælte- og Vej-Initiativet og international økonomisk opbygning fortsætter.

Vesten kan ikke stoppe Kina. Vil man forsøge krig? En atomkrig kan ikke vindes, men vil gale hoveder i Vesten forsøge alligevel?

Vil vi i stedet få en “Sputnik-effekt”, hvor Vesten må skifte kurs tilbage til økonomisk, videnskabeligt og teknologisk fremskridt for at kunne konkurrere med Kina og alle de, der vil samarbejde med Kina? Eller vil Vesten blive irrelevant?

De, der satser på økonomisk vækst drevet af menneskelig kreativitet og videnskabeligt og teknologisk fremskridt vinder i det lange løb.

Vi lever i farlige tider men står også potentielt over for det største spring fremad i menneskehedens historie.

Lyt til hele talen her.

 

Nu skal USA og Europa tilslutte sig Kinas nye Silkevej, og mobilisere 
fødevareressourcer til bekæmpelse af sult i Afrika.

Gæstetaler: Hussein Askary, Schiller Instituttets koordinator for Sydvestasien, bestyrelsesmedlem, Bælte- og Vejinitiativ Institut i Sverige (brixsweden.org):

Hussein Askary præsenterede den akutte voksende sultekatastrofe i Afrika og hvordan den kan løses. Dels gennem en nødaktion for at fragte fødevarer fra USA, Europa, Rusland og Kina, men også gennem at opbygge Afrikas egne fødevareproduktion og skabe økonomisk udvikling, især infrastrukturprojekter og industrialisering i samarbejde med Kinas Bælte- og Vej-Initiativ. 

Hussein Askary præsenterede Afrikas egne udviklingsplaner, Kinas rolle i at virkeliggøre dem, og hvorfor USA og Europe skal deltage.  

Hussein Askary brugte en Powerpoint præsentation til illustration under talen, som også findes, som en særskilt video på engelsk her.

 

Beethoven 250 år og menneskehedens æstetiske opdragelse

Michelle Rasmussen, næstformand for Schiller Instituttet i Danmark

Vi har en civilisationskrise: en konfrontationspolitik, som kan føre til krig med Rusland og Kina, en COVID-19-pandemi, økonomiske og finansielle kriser og en voksende sultkatastofe i Afrika.  
Vil vi etablere en ny retfærdig økonomisk verdensorden eller vil det ende i kaos og krig? 
  
Det er en kamp mellem helt forskellige menneskesyn. 
LaRouche understregede altid: hvad er forskellen mellem mennesker og dyr? 
Er vi dyriske? 
Eller har vi en iboende kreativ erkendelsesevne, som gør os i stand til at opdage nye principper — noget nyt, som ingen andre har tænkt på. 
I videnskab opdager vi nye naturvidenskabelige principper. 
I kunst opdager vi nyt om vores egne kreative evner, som kan deles med andre, som i et orkester eller kor eller med tilhørerene. 
  
Skønhed, som Schiller sagde, forædle vores følelser og vores intellekt — 
ikke kun rå følelser som dominerer os uden intellekt,  
ikke kun intellekt uden medfølelse og næstekærlighed. 
  
Men gennem at lege, speciel gennem kunst, at spille, kan de to går op i en højere enhed, som vi kalder en æstetisk tilstand, når vi er omfavnet af skønhed.  
  
Det var Schillers løsning efter den franske revolution, som ikke endte som den amerikanske, men i et blodbad. 
  
Platon skrev, at den vigtigste uddannelse for sjælen var musik — at fylde sjælen med skønhed og gøre den skøn. 
Mennesket ville så lovprise skønhed, modtage den med glæde i sin sjæl, og blive til en skøn sjæl. 
  
Den 16. december fejrer vi Beethoven 250-års fødselsdag. 
Vi fejrer ham, som en af de mest kreative sjæle i historien, men vi fejrer også menneskehedens erkendelsesmæssige evner.  
  
Studér Beethoven for bedre at forstå, hvad vi mennesker er. 
Beethoven, selv da han ikke var i stand til at høre sin egne musik, hørte den alligevel i sit sind, og udfordrede sig selv til at lave det ene gennembrud efter det anden. 
  
Der var ingen stilstand eller entropi, men hvad LaRouche kalder ikke-entropi.  
  
At viljemæssigt blive mere og mere bevist om, at kende sine egne erkendelsesmæssige evner, og presse dem til det yderste for at kunne stige op til det næste niveau, og som han skrev, at nærme sig Guds egen skaberkraft. 
  
Og han havde et formål: at opløfte den trængende menneskehed.  
Han var bevidst om musikkens rolle med at forædle menneskene.  
  
Gennem at spille, synge eller lytte, kan Beethovens kreativitet deles med andre —  
noderne på papiret, er ikke kun toner, men nøglen til Beethovens kreative sind.  
  
Og dermed kan andre mennesker bekræfte et positivt menneskesyn, som også havde en politisk dimension for Beethoven — stræben efter frihed.  
Som Schiller sagde, vejen til frihed går gennem skønhed. 
  
For at fejre Beethoven så lyt til eller syng og spil hans værker. Genoplev hans åndelige gennembrud, bekræft den menneskelig kreativitet, skab et samfund, hvor vi kan genopdage den tabte kunst at skabe skøn musik,  
måske endnu mere kreativ end Beethoven, og udvikle vores erkendelsesmæssige evner, for hele menneskehedens skyld. 
  
Så blev der spillet den første del af 2. sats af Beethovens 7. symfoni, dirigeret af Wilhelm Furtwängler, som eksempel.  
Ud fra en enkel begyndelse tilføjes flere og flere stemmer for at skabe noget stort og opløftende. 

 

 

Billede af det amerikanske flag. WikiImages fra Pixabay 




Schiller Instituttets videokonference
PANEL IV d. 6. sept. 21:00 – 24:00):
Opbygning af tillid i internationale relationer:
Klassisk kulturs rolle og bekæmpelse af global hungersnød

1. Jacques Cheminade (Frankrig), leder af Solidarite & Progres, tidligere præsidentkandidat

2. Marcia Merry Baker (USA), EIR-redaktionen

3. Bob Baker og amerikanske landbrugsledere:

Ron Wieczorek, South Dakota cattle rancher, LaRouchePAC
Nicole Pfrang, Kansas Cattlemen’s Association Secretary-Treasurer, cattle rancher
Mike Callicrate, Colorado, cattle rancher, Owner, Ranch Foods Direct:
4. Paul Gallagher (U.S.), EIR Editorial Board

5. Fred Haight (Canada), Schiller Instituttet

6. Michael Billington (US), chef for asiatiske anliggender, Executive Intelligence Review

7. Spørgsmål og svar

8. Beethoven-messe i C-dur, opførelse af Schiller Instituttets kor i New york
City.




Schiller Instituttets videokonference d. 5 -6. september, foreløbigt program den 1. sept.

31. august (EIRNS) – Påmindelse: begivenheden udsendes live på Zoom og YouTube. Der vil være simultantolkning på spansk, fransk og tysk på Zoom-platformen.

Dette opdaterede program udgives også på Schiller Instituttets NationBuilder-websted:  https://schillerinstitute.nationbuilder.com/20200905_conference#program

Bevægelse hen imod krig og Armageddon – eller et nyt paradigme mellem  suveræne nationer, der er forenet af menneskehedens fælles mål?

PANEL I (lørdag 16:00 – 22:00): At overvinde geopolitik: Hvorfor et P-5-topmøde er
presserende nødvendigt nu
1. Helga Zepp-LaRouche (Tyskland), grundlægger og præsident, Schiller Instituttet

2. Andrey Kortunov (Rusland), generaldirektør for Det russiske råd for internationale Anliggender

3. Zhu Feng (Kina), professor i internationale relationer og administrerende direktør, China Center for Collaborative Studies of the South China Sea, Nanjing
University

4. Dr. Edward Lozansky (US), American University i Moskva; Moskow State University

5. Martin Sieff (USA), senior korrespondent for udenrigsanliggender, UPI; Senior Fellow, American University i Moskva

6. James Jatras (USA), tidligere rådgiver, det amerikanske senats republikanske lederskab

7. Spørgsmål og svar, del 1

8. Marco Zanni (Italien), formand, Europa-Parlamentets gruppe for identitet og demokrati

9. Oberst Richard H. Black (USA ret.), Tidligere leder af hærens strafferetlige afdeling i Pentagon; tidligere statssenator, Virginia

10. William Binney (USA), tidligere teknisk direktør, National Security Agency og andre

11. Spørgsmål og svar, del 2

 

PANEL II (21:00 – 24:00 ): Videnskabens rolle i skabelsen af menneskehedens fremtid
1. Jason Ross (USA), videnskabsrådgiver ved Schiller Instituttet

2. Dr. Bernard Bigot (Frankrig), generaldirektør for den internationale termonukleare eksperimentelle reaktor (ITER), tidligere direktør for den franske
kommission for alternativ energi og atomenergi (CEA)

3. Sergey Pulinets (Rusland), Principal Research Scientist, Space Research Institute, Det Russiske Videnskabsakademi

4. Dr. Stephen O. Dean (USA), præsident, Fusion Power Associates (10)

5. Michael Paluszek (USA), Princeton Satellite Systems

6. Spørgsmål og svar

 

PANEL III (16:00 – 20:00): Bælte- og Vejinitiativet bliver til 'Verdenslandbroen': Franklin D.
Roosevelts uafsluttede projekt
1. Dennis Small (USA), latin-amerikansk redaktør, EIR

2. Dr. Natalia Vitrenko (Ukraine), præsident for Progressive Socialist Party, tidligere parlamentsmedlem og præsidentkandidat

3. Michele Geraci (Italien), tidligere minister for økonomisk udvikling

4. Hassan Daud Butt (Pakistan), tidligere projektdirektør, CPEC; Administrerende direktør for Khyber Pakhtunkhwa Provincial Board of Investment & Trade

5. Marcelo Muñoz (Spanien), grundlægger og præsident emeritus for Cátedra China, dekan for spanske forretningsmænd i Kina

6. Dr. Björn Peters (Tyskland), fysiker, iværksætter og politisk rådgiver inden for energi, bæredygtighed og råvarer

7. Spørgsmål og svar, del 1

8. Dr. Joycelyn Elders (USA), tidligere chef for USA's sundhedsvæsen m.m.

9. Marlette Kyssama-Nsona (Republikken Congo), farmaceutisk kemiker, politisk leder af Panafrican League UMOJA og specialist i folkesundhedsspørgsmål

10. Spørgsmål og svar, del 2

 

PANEL IV 21:00 – 24:00): Opbygning af tillid i internationale relationer: Klassisk kulturs
rolle og bekæmpelse af global hungersnød
1. Jacques Cheminade (Frankrig), leder af Solidarite & Progres, tidligere præsidentkandidat

2. Marcia Merry Baker (USA), EIR-redaktionen

3. Bob Baker og amerikanske landbrugsledere

4. Fred Haight (Canada), Schiller Instituttet

5. Michael Billington (US), chef for asiatiske anliggender, Executive Intelligence Review

6. Spørgsmål og svar

7. Beethoven-messe i C-dur, opførelse af Schiller Instituttets kor i New york City.




Schiller-Konference – En ny måde at tænke på bringer verden sammen for et Nyt Paradigme

Den 27. april (EIRNS) – Efter det vestlige finanssystems sammenbrud i 2008, præsenterede Lyndon LaRouche de nødforanstaltninger, påkrævede for at gøre en ende på den britisk imperiale finanspolitik, som skabte boblen til at begynde med, men advarede om at kun en kombination af verdens fire største nationer – Rusland, Kina, Indien og USA – i et fælles samarbejde kunne skabe den nye finansielle arkitektur, der kunne erstatte det bankerotte, monetære system, centreret i City of London og Wall Street. Disse forslag blev afvist til fordel for massive redningsaktioner af ”too big to fail”-bankerne, som forårsagede skabelsen af en boble dobbelt så stor i dag – omtrent 2 billiarder $, for det meste af værdiløs derivat-spillegæld. Denne idioti blev forenet med indførelsen af ondskabsfulde nedskæringer i de transatlantiske nationer samt i udviklingssektoren i Afrika og Sydamerika.

I denne sidste weekend afholdt Schiller Instituttet en todages konference med titlen ”Menneskehedens Eksistens afhænger nu af Skabelsen af et Nyt Paradigme!” Over 2500 personer skønnes at have deltaget i konferencen over internettet gennem de to dage, fra over 55 lande fra Europa, Asien, Afrika, og Amerika. Mandag eftermiddag var det samlede antal seere af det første panel på YouTube allerede oppe på 5300. Blandt de mere end 40 talere, blev hovedtalerne givet af grundlæggeren af Schiller Instituttet, Helga Zepp-LaRouche, den første permanente stedfortrædende repræsentant for den Russiske Føderation til FN og af Folkerepublikken Kinas generalkonsul i New York. Kombinationen af disse taler demonstrerede både muligheden, og den presserende nødvendighed, for at ”Østen” og ”Vesten” kan arbejde sammen for at gøre en ende på den imperiale opdeling af verden i stridende blokke, og for at takle de eksistentielle trusler som nu konfronterer menneskeheden, både i form af coronavirusset og i form af finanskatastrofen udløst af pandemien.

Over 200 spørgsmål blev indsendt i løbet af konferencen, fra flere afrikanske og sydamerikanske ambassadører, fra landmænd, fra politikere, og fra patrioter og borgere rundt om i verden. Talerne blev oversat til adskillige sprog.

Det fungerede, fordi konferencen demonstrerede en anderledes måde at tænke på, i modsætning til den geopolitiske nul-sums-tænknings atomiserede, usammenhængende strukturer, påduttet af imperiets medier og korrupte uddannelsesinstitutioner. I stedet blev de fire paneler – om strategi, videnskab, klassisk kultur og fysisk økonomi – præsenteret som en ”Enhed”, på den måde som var tilsigtet af de tænkere, hvis idéer skabte historiens største nationer – Platon, Konfutse, Nicolaus Cusanus og Gottfried Leibniz, som alle indså at ”Enheden” er større end summen af de enkelte dele.

Verden vil aldrig blive den samme efter COVID-19-pandemien. ”Årsagen” til pandemien kan ikke skjules bag ”Kina-Kina-Kina”-hysteriet (en genafspilning af den forfejlede ”Rusland-Rusland-Rusland”-kampagne, som forsøgte at fjerne Donald Trump fra embedet, og sabotere hans forsøg på at etablere venskabelige relationer med Rusland og Kina). Årsagen var ikke et land eller en person, men ødelæggelsen af det Amerikanske System efter mordet på John Kennedy, og de 50 års nedskæringer, som ødelagde både Vestens og udviklingssektorens infrastruktur og industrier – og specielt nedlæggelsen af de offentlige sundhedsvæsener, for at maksimere profitten for de Wall Street-firmaer, der kontrollerede de private sygehusselskaber.

Men verden blev også forandret for altid af denne historiske Schiller Institut-konference. En ”bestemt tone” har lydt, i dette Beethoven-år, og den tone genlyder internationalt, resonerer med den Nye Silkevej og med den nødvendige fremkomst af en Ny Bretton Woods-konference, ledt af Vladimir Putin, Xi Jinping, Narendra Modi og Donald Trump, og andre velmenende ledere, for at erstatte imperiets og de geopolitiske kriges afdankede idéer én gang for alle, og etablere et nyt retfærdigt kreditsystem, dedikeret til at give hvert barn på denne Jord en mulighed for at udvikle hendes eller hans iboende kreative potentiale til fulde.

Vi opfordrer alle, som læser denne rapport, til at blive medlemmer af Schiller Instituttet, og til at købe det første bind (af dusinvis, hvis ikke hundredvis, af kommende bind) af Lyndon LaRouches Samlede Værker, udgivet denne uge af Stiftelsen for LaRouches Eftermæle.

 




Panel 3: “Kreativitet som den markant karakteristiske egenskab ved menneskelig kultur:
Behovet for en klassisk renæssance.
Schiller Instituttets internationale videokonference den 26. april 2020

Schiller Instituttets konference Panel 3: “Kreativitet som det karakteristiske træk ved den menneskelige kultur: Nødvendigheden af en klassisk renæssance”

 

Talere ved Panel 3, kl. 17 -20:15 – ordstyrer: Dennis Speed

Beethoven, “An die ferne Geliebte” (Op. 98,) John Sigerson, tenor, Margaret Greenspan, piano

Lyndon LaRouche: “Jeg har insisteret på, at musik er forståeligt”

Helga Zepp-LaRouche – grundlægger og præsident, Schiller Instituttet

William Warfield – ‘A Poetic Musical Offering’ (‘En poetisk musikalsk gave)

Eugene T. Simpson – Professor Emeritus i stemme og kor-litteratur, Rowan University of New Jersey; grundlæggende konservator af the Hall Johnson Collection “Hall Johnson og Dvorak-drømmen: Fra ‘spiritual’ til kunstsang”

Willis Patterson – bas-bariton, professor emeritus/dekan ved the University of Michigan School of Music, Theatre & Dance – “Tilstedeværelsen af det klassiske princip i folkemusik”

John Sigerson – musikchef for Schiller Instituttet, medforfatter af ‘A Manual on the Rudiments of Tuning and Registration’ – “Den fysiske kraft af klassisk poesi og musik”

Diane Sare – grundlægger og meddirektør, Schiller Instituttet NYC Kor; Leah DeGruchy, Schiller Instituttet: “Om brugen af kor i politik”

Konferencehilsener, Gregory Hopkins – grundlægger og kunstnerisk direktør, Harlem Opera Theater.

 

RAPPORT: Panel 3 af Schiller Instituttets Konference, 26. april, 2020

Panel 3 af Schiller Instituttets Konference, 26. april, 2020

Kreativitet som det karakteristiske træk ved menneskelig kultur: Nødvendigheden af en klassisk renæssance

Det tredje panel på Schiller Instituttets idéfyldte konference begyndte med en introduktion af Dennis Speed, der dedicerede panelet til Lyndon LaRouche (1922-2019) og William Warfield (1920-2002.) Dette blev efterfulgt af en fremførelse af Beethovens sangcyklus, “An die ferne Geliebte,” udført af tenor John Sigerson og pianist Margaret Greenspan.

Dernæst blev der vist et mægtigt videoklip med Lyndon LaRouche, der talte på en koncert på Howard University i 1990’erne. Han talte om det nødvendige forhold mellem klassisk videnskab og klassisk kunst, hvilket derfor betyder, at al kunst er forståelig og ikke kun magisk; og at det er universelt.

Helga Zepp-LaRouche drøftede Friedrich Schillers storslåede menneskesyn og hans anskuelse om at måden til at opnå genialitet er gennem æstetisk uddannelse. Hun diskuterede sit eget studium af Schiller som ung studerende, og den dybe indflydelse han havde på udformningen og styrken i hendes karakter og verdensanskuelse. Hun sagde, at man i dag kan få et indblik i den aktuelle kultur ved at se på, hvordan folk har reageret på nedlukningen i forbindelse med COVID-19. Mange mennesker er henfaldet til de værste former for hedonistiske impulser som en reaktion, og atter andre har vendt sig til klassisk musik i højere grad end før. Dette er typisk i Italien, hvor folk sang opera fra deres altaner, og det samme andre steder.

Zepp-LaRouche tog derefter publikum med gennem forskellige uddrag af Schillers ‘Æstetiske Breve’ for at demonstrere, hvorfor kunstneren selv skal være på højeste niveau, og at ens individuelle mål skal være i harmoni med de større menneskelige mål.

To digte blev derefter præsenteret gennem et videoklip af en koncert-recitation af William Warfield af Paul Laurence Dunbars “Prometheus” og “When Malindy Sings.” (Prometeus og Når Malindy Synger).

Dr. Eugene Thamon Simpson gennemgik i sin præsentation, “Hall Johnson og Dvorak-drømmen: Fra ‘spiritual’ til kunstsang,” nogle væsentlige historier om den afroamerikanske ‘spiritual’, herunder kampen for at få den smukke musik ind på den etablerede koncertscene. Han demonstrerede forholdet mellem den tyske kunstsang og den afroamerikanske ‘spiritual’. Mens ‘spirituals’ tidligt blev marginaliseret og endda latterliggjort, blev ‘spirituals’ ophøjet og befriet ved Antonin Dvoráks ankomst til De Forenede Stater og hans opdagelse af dem. Afgørende i den forbindelse var Harry Burleighs rolle og hans forhold til Dvorák. Simpson demonstrerede forskellen mellem de mere forenklede opsætninger af ‘spirituals’ af Harry Burleigh, og de mere udviklede opsætninger af Hall Johnson, der også skrev ”originale” ‘spirituals’ og kompositioner. Simpson gennemgik en interessant pædagogik om Hall Johnsons kompositoriske evner ved at bruge eksemplet “Am Meer” af Schubert og “Oh, Glory” af Hall Johnson, og hvordan Johnson brugte metoden for klassisk komposition til hans opsætninger.

John Sigerson præsenterede: “Den fysiske kraft af klassisk poesi og musik.” Han gik i polemik imod klassisk musik som blot værende en “beherskelse af stil”, i modsætning til et fysisk princip. Klassisk musik handler om musik med formål, i modsætning til bare øjeblikkelige effekter. Gennem en diskussion af Max Planck og Albert Einstein, sidestillede Sigerson ”agapē” med sult efter at opdage sandheden. Han sagde, at dette er et handlingsprincip, der findes både i klassisk musik og klassisk videnskab. Han udfordrede nuværende musikere til: ‘Ændre om nødvendigt din tro, hvis din tro forhindrer dig i at være en fysisk kraft for det gode i universet.’

Dr. Willis Pattersons tale om “Tilstedeværelsen af det klassiske princip i folkemusik” var en bevægende diskussion om folkesangens forbedrende indvirkning på ens sjæl, om hvordan den er en kilde til trøst, og om den grelle kendsgerning, at det er mere produktivt end at have flere krige. Han henviste til sin egen transformation og styrke ved at studere folkemusik og ‘spirituals’, på samme måde som Zepp LaRouche havde talt om sin undersøgelse af Schiller for at styrke sin egen karakter. Dr. Patterson afsluttede sin præsentation med at henvise til Schiller og spille en optagelse af sig selv (bas-bariton) som solist i Beethovens ‘Ode til Joy’ fra 9. symfoni.

Teng Jimeng, professor i amerikanske studier ved Universitetet for Udenlandske Studier i Beijing, henviste til præsident Xi Jinpings breve om dyd og kunst, og forklarede at dette er en del af den æstetiske uddannelse i Kina sammen med altruisme og patriotisme. Teng diskuterede konfucianisme og kinesernes forpligtelse til at sætte de ældre først og hjælpe verden, og dem der lider.

 Diane Sare og Leah DeGruchy behandlede: “Om brugen af kor i politik.” Sare begyndte med at udfordre lytteren til at sikre, at denne krise aldrig sker igen, og spurgte hvorfor vi tillod disse kriser at opstå, inklusive det seneste COVID-19-udbrud, da vi vidste, at det var på vej. Hun spurgte, hvorfor er vi så hurtige til at bebrejde andre og så tøvende med at se på os selv? Degruchy tog dette op ved en meget effektiv diskussion af Shakespeares “Købmanden i Venedig”, om korets rolle i tragedien. Degruchy reciterede Portias berømte tale: “Kvaliteten af nåde er ikke anstrengt”. Sare fokuserede derefter diskussionen på nødvendigheden af selvtransformation. Hun citerede Beethovens “Missa Solemnis”, der, som hun påpegede, helt flettes sammen koret og solisterne, og hun citerede Bachs Passions-messer, som værker, der effektivt opløfter publikum til et bedre forhold til skaberen.

En entusiastisk hilsen til konferencen kom fra dirigent og tenor Gregory Hopkins. Han fortalte om sit mangeårige samarbejde med Schiller Instituttet, indbefattet turen som han foretog til Europa i 1990’erne med Schiller Instituttet. Han fortalte, hvordan det lige nu er en meget vanskelig tid for musikere, så mange af dem har mistet deres job, sundhedsforsikring og midler til at klare sig igennem. Men ifølge kineserne kan “en krise” være en “mulighed”, og det er gennem stor kunst, at vi kan blive inspireret. Som [en] ‘spiritual’ siger: “Jeg er så glad for, at problemer ikke varer ved for altid …”

 En meget intens spørgerunde fulgte præsentationerne, hvilket bedst kan værdsættes på video. Vigtigst af alt, opfordrede Zepp LaRouche alle der lyttede og alle talerne til at slutte sig til hende i en verdensomspændende renæssancebevægelse. Hun opfordrede også Dr. Willis Patterson, Dr. Simpson og Dr. Jimeng til at tale mere dybtgående, da de alle diskuterede princippet om ”altruisme” i musik/kultur.

 

The Physical Power of Classical Poetry and Music

by John Sigerson

As I reflected on this Year of Beethoven, and on how to seize its opportunity, I recalled a debate of sorts that I had in 1972 or 1973, shortly after I had joined up with Lyndon LaRouche after attending a series of classes devoted to two topics: Classical music on the one side, and, on the other side, the only economics I had found which addressed my obsession with economic progress, especially in Africa—two subjects which my college teachers had insisted were completely unrelated.

I was talking at that time with a Columbia student of music composition whom I was attempting to recruit to the idea that the world would be a better place if composers would take up the challenge that Beethoven had thrown down in his late works, especially his late string quartets. “Can you compose works like Beethoven did?” I asked him. “Yeah, sure I could, no problem,” he replied with a little swagger. “Well, then,” I pressed, “why don’t you just do so?” To which he breezily answered, “Because I don’t choose to do so!” and quickly scuttled away.

And that’s still the problem today.

This challenge, not only to transmit Beethoven’s ideas through honest performance, but to reach beyond Beethoven, has haunted human civilization ever since the composer’s death in March of 1827. A very few, such as Schumann and Brahms, have accepted the challenge, while so many others, such as Wagner and the Romantics, Stravinsky and the Modernists, not to mention the purveyors of mass popular entertainment, have “chosen not to do so.”

How can we take up this challenge today? Certainly the study, singing, and playing of great Classical works is essential for our survival. Yet we cannot fall into the trap which so many artists do, of believing that mastering the style of Classical music does justice to the composer, or to us. Great Classical music has never been a matter of style, but rather of an unquenchable yearning to transmit universal Platonic ideas, universal principles, concerning the true nature of mankind, that which distinguishes him from all other creatures known to us so far, on our journey through universal space-time.

Lyndon LaRouche threw us a lifeline for grappling with this challenge, when he characterized the Classical Lied, the Classical art-song, as the “Rosetta Stone” of music. He said that the singing of poetry is a never-failing source of inspiration to the composing mind. All great Classical poetry, from the Vedic hymns, to Homer, to Dante, to Shakespeare, Schiller, Shelley, and Poe, is sung poetry; and conversely, all great music, whether performed by singers, by instruments, or combinations of both, must be sung—and sung with beauty, and grace—if it is to have its intended effect to uplift and transform performers and audience alike.

Poetry, like music, is never a matter of style, but a matter of purpose. Particularly in troubled times, composers have taken up the songs and poems of unknown bards of the people, so-called folk songs, as a means of enriching and ennobling popular culture, by raising these songs of life and love to the highest level of moral and artistic perfection. The elevation of the African-American Spiritual, as discussed by my colleagues here, is a unique, precious example in American culture. Similarly, during the 19th century, the folk songs of many European cultures were brought to a high level of perfection by Beethoven himself, and especially by Johannes Brahms and Antonín Dvorák. In China, which has a rich trove of songs of the people, I believe that composers have yet to accomplish this to the same level as, say, Brahms, yet I’m confident that if China is not destroyed in a nuclear holocaust so desperately hoped for by the Old Paradigm dinosaurs, this will not be long in coming.

And yet, in our Western culture today, the resonance of these songs of life and love among the broad masses of our population, has been fading away under the onslaught of the brutal, bestial, rigid, largely sex-driven “pop” culture, to such an extent that if you ask a young American today if they know a simple folk song they have sung from childhood, more likely than not they will remain silent, looking at you in perplexity.

So, can true Classical composition, on the order of a Bach, Beethoven, and Brahms be revived in the face of this brutalization of our people’s culture, where the resonances of history have been supplanted by the futile quest for the here and now? I believe it can, but only if poets and composers agree to submit themselves to a struggle, not just to create beautiful melodies or clever musical juxtapositions, but to deliberately shape the intended physical effect of their own creations.

In a second I’m going to illustrate what I mean by this, with the example of two fine musicians, Max Planck and Albert Einstein.

But first, what do I mean by “physical”? Well, I mean it in the same way that Lyndon LaRouche discusses physical economy. Anyone familiar with LaRouche’s discussions and writings, must realize that by physical, he’s not referring to things, whether these be pieces of plant and equipment, or human beings, but rather to validated universal physical principles which man can discover, by means of creative acts, for the benefit of mankind’s future existence, and for the increased happiness of the universe itself.

The musicians Planck and Einstein, of course, also happened to be gifted theoretical physicists. As the fruit of their struggle, they discovered the quantized nature of electromagnetic energy—a discovery which led directly into our still very partial mastery of nuclear power. And please pardon me if I skip over many technical details, crucial though they may be.

Max Planck grew up in Germany during the latter half of the 19th century. When he announced to his friends that he was going to become a physicist instead of a pianist and composer, some of his associates told him that he was wasting his time, because all of the basic laws of discrete matter, on the one side, and of perfectly continuous electromagnetic energy on the other, had already been discovered.

Nevertheless, a problem that continued to confound physicists was the so-called black-body problem. The challenge was to pin down the distribution of power and frequencies of substances, especially metals, which, when they become hotter, emit light at various frequencies, first in the lower red frequencies, as you see when piece of metal begins to glow red, and then, as the temperature increases, going toward white. The so-called black body was a device for testing this with great precision.

The practical problem was that no one had been able to work out a formula for the distribution of the frequencies. This had become a matter of some urgency for industrial production, since the fabrication of reliable light bulbs required such a calculation, and indeed the electric firm Siemens funded an entire institution in Berlin devoted to solving this problem.

After seeing many others fail, Planck decided to take this up, and succeeded in working out an equation that seemed to account for the exact distribution of energy. However—and this is the crucial feature of his integrity—he remained dissatisfied with his own equation, and he even refused to present it to his colleagues, because he had not yet discovered its physical significance. What caused it to work that way, and no other way? he asked. Thus, he was confronted with the same kind of challenge confronting Johannes Kepler, who studied Ptolemy’s planetary epicycles, and the circular orbits of Copernicus and Tycho Brahe, and concluded that, however accurate their models might seem to be, they could not possibly be valid, because they merely described a natural phenomenon without any concern about discovering its physical cause.

Planck embarked upon a voyage which ended up challenging his own gripping, axiomatic belief in the existence of perfect continuity in nature. For, how could light, for example, be anything but a continuous wave? How could God’s creation be merely the sum of a myriad of little parts? In this, Planck was constantly at odds with morally compromised reductionists such as Ludwig Boltzmann and Ernst Mach, who argued that scientists should abandon all effort to actually understand the causality of complex phenomena such as the behavior of gases, and should be satisfied with a mere statistical likelihood that a given phenomenon be this way, and not another way.

But after trying all sorts of black-body thought-experiments, and failing to find a cause, Planck, in what he himself described as “an act of desperation,” reached into Boltzmann’s work and hypothesized a model which involved a myriad of little bouncing springs from within the black body, emitting light at frequencies all of which were whole-number increments of an extremely tiny constant value—what only later became known as the Planck quantum of action. Planck had discovered a true physical cause, even though it was squarely at odds with his own most cherished axiom of continuity.

But the story does not end there! Planck had grasped a new principle, but only incompletely. Clinging to his conviction that light itself was continuous, he thought that it was only the light’s interaction with the tiny discrete receptors in the black body which was causing his quantized effect. His paper announcing his discovery then fell into the hands of a younger third-class patent official in Switzerland named Albert Einstein, who said, in effect: “Wait a minute! What if the light itself is quantized? And what if the wave nature of light can in fact be ultimately reconciled with its quantized nature, according to a higher principle?

As they say, the rest is history. And since then, to the day he died, Einstein never abandoned his quest for that higher principle, resisting all efforts of Machians such as Werner Heisenberg, to reduce quantum physics to a statistical game which only “seems to work,” but which does not choose to investigate causes. As Einstein famously retorted to these demented fellows: “God doesn’t play dice.”

But back to music and poetry! I’d like to quote from another fine musician, namely Lyndon LaRouche. In January 1993, I, my wife Renée, and Mindy Pechenuk visited Lyndon in prison in Rochester, Minnesota, for a number of hours, where we discussed all matters musical, against the sometimes raucous background of the prison visiting-room. From the transcribed recording, which we plan to publish someday, let me read you the following, to give you a glimpse of LaRouche’s thinking:

“The equivalences of music are not ordinal, they’re not quantitative—they’re not qualitative, for example. They are in an analysis situs form. And the key to this, is two things.

“First of all, the musical domain is a quantized field. Notes exist. And space is Keplerian. Because you have the notes, they exist in certain locations, there are certain harmonics that exist, they’re ordered. And no matter what notes you’re playing, the next one is going to be there. You can change your sequence as much as you please, but the next one is going to be there. It’s all predetermined for you. And this is not alterable. And an approximation of the note, only to the extent that you’re not cheating, is the note. The note that is sung or performed is not the note. It’s the best approximation of the note. The tone is absolute; and the performer merely approximates that. And if they don’t approximate that rather well, we get unhappy; we get disturbed. But it’s analysis situs.

“The key thing is note, number one. Registration, second. And registration comes in many different varieties. It comes in aspects of instrumental colors of all kinds, or the generic term color is sometimes used. But you have many kinds of colors. You can create instruments; they have colors which are not human voice-colors. But they become a dimensionality of color. And it’s precise, it’s determined. You make a string of such-and-such a type, such-and-such a type, it’s stuck. You’ve got a color. You can modify it, but it’s there; it’s going to haunt you. And you won’t get away from it. You have to jump to another string to get to a different part of your color.”

And now, I hope you will bear with me when I cite this passage from Einstein’s Introduction to Planck’s 1932 book Where Is Science Going?:

“… The supreme task of the physicist is the discovery of the most general elementary laws from which the world-picture can be deduced logically. But there is no logical way to the discovery of these elemental laws. There is only the way of intuition, which is helped by a feeling for the order lying behind the appearance, and this Einfühlung is developed through experience….

[Einfühlung roughly means “empathy,” which is also happens to be Helga Zepp-LaRouche’s best English approximation of Schiller’s term Empfindung. Einstein continues:]

“In every important advance, the physicist finds that the fundamental laws are simplified more and more as experimental research advances. He is astonished to notice how sublime order emerges from what appeared to be chaos. And this cannot be traced back to the workings of his own mind, but is due to a quality that is inherent in the world of perception. Leibniz well expressed this quality by calling it a pre-established harmony.

“Physicists sometimes reproach the philosophers who busy themselves with theories of knowledge, claiming that the latter do not appreciate this fact fully. And I think that this was at the basis of the controversy waged a few years ago between Ernst Mach and Max Planck. Planck probably felt that Mach did not fully appreciate the physicist’s longing for perception of this pre-established harmony. This longing has been the inexhaustible source of that patience and persistence with which we have seen Planck devoting himself to the most ordinary questions arising in connection with physical science, when he might have been tempted into other ways which led to more attractive results.

“I have often heard that his colleagues are in the habit of tracing this attitude to his extraordinary personal gifts of energy and discipline. I believe they are wrong. The state of mind which furnishes the driving power here resembles that of the devotee or the lover. The long-sustained effort is not inspired by any set plan or purpose. Its inspiration arises from a hunger of the soul.

“I am sure Max Planck would laugh at my childish way of poking around with the lantern of Diogenes. Well! why should I tell of his greatness? It needs no paltry confirmation of mine. His work has given one of the most powerful of all impulses to the progress of science. His ideas will be effective as long as physical science lasts.”

So, what is the lesson to be learned here? By way of this, I throw out the following challenge to poets and composers today, especially young poets and young composers, who may also be working in a scientific field:

You poets and composers: You know who you are! (Because if you have to ask, you probably aren’t one, or at least not yet.) Take up the challenge set forth before you, not just by Planck and Einstein, but by Lyndon LaRouche, and by the speakers at this conference, to dedicate your life to changing your own axioms if need be, even your most cherished ones, if you find that those axioms are preventing you from discovering a means of crafting your compositions to become a physical cause in the universe. Are you, for example, certain that what you have created will, in fact, inspire action resulting in increases in the rate of growth of humanity’s relative potential population density? Or put more simply, along with Friedrich Schiller: Will your audience become better people as a result of experiencing your work?

That is the true content of that “hunger of the soul” in Einstein’s words, or, in the words of St. Paul to the Corinthians, Love. Be not satisfied with merely pretty, pleasant, childish things. Put yourselves through this necessary struggle, and all mankind will be forever thankful.

Or as Percy Bysshe Shelley sang to his skylark:

… We look before and after,

And pine for what is not:

Our sincerest laughter

With some pain is fraught;

Our sweetest songs are those that tell of saddest thought.

Yet if we could scorn

Hate, and pride, and fear;

If we were things born

Not to shed a tear,

I know not how thy joy we ever should come near.

Better than all measures

Of delightful sound,

Better than all treasures

That in books are found,

Thy skill to poet were, thou scorner of the ground!

Teach me half the gladness

That thy brain must know,

Such harmonious madness

From my lips would flow

The world should listen then, as I am listening now.

Thank you.

PANEL 3: TENG JIMENG, Professor of American Studies, Beijing Foreign Studies University

TENG JIMENG: First of all, thank you very much to the Schiller Institute to invite me to speak at this very great conference and to join the distinguished panel of this very great conference. I think this is a very timely conference, especially under the general background of the coronavirus which is now running rampant worldwide.

I would begin, for example, with a presentation given by President Xi back in 2008 when he was responding to a letter to eight professors teaching traditional Chinese aesthetics at this very university called the Central Academy of Fine Arts. In that letter, President Xi mentioned several notions. Two of the notions I’d like to quote here. The first one being  and . In Chinese  means virtue, and  meaning art. So, both  and  are supposed to be an integral of the Chinese traditional aesthetic education. The second notion I’d like to quote here is patriotism and also altruism; both altruism and patriotism are supposed to be the central tenets of Confucius teaching or Confucius learning. In China, this aesthetic education has been so very deeply rooted in the curriculum in high schools, in primary schools, and also in universities. Virtue has always been part of official training here in China; training officials with virtue. Once again, virtue means the skill set, the ability to communicate, compassion, and also the love of one’s people, public spirit mostly. And  meaning art, the art, for example, to communicate, the art to convey the message, the message of the redeemed, the message of the ruler. In this sense,  has played a very large role in communicating and connecting the people in the family, the community, and even people beyond the border.

The second notion, as I always cite it in my teaching, which is altruism. China has been strongly committed to this very notion of altruism. Back in the 1960s, for example, China has been even exporting food to the outside world — for example, to Africa, and committing medical teams to Africa, helping with malaria and building railroads in Africa. In fact, it was railroads in a sense which were built by China in the 1970s and the late 1960s. China actually at the time was suffering its greatest famine, the worst famine actually in its own history. So, when Chinese government has always been in a sense committed to this very principle, this Confucian principle of saving lives; saving children, saving the critically ill elderly patients in ICUs. Look at all these elderly patients being saved, and sent back home healthily out of their critical conditions previously.

These two great notions have been deeply rooted in the psyche of the Chinese people. And like a famous scholar I admire by the name of Tu Weiming, who has been teaching Confucianism worldwide. He actually quoted a lot of Confucianism, this very central value in Confucianism — the public spirit, the devotion to work for the public community, and also the people beyond the borders and out there in the cosmic community. To this very extent, I think that China shall continue to be committed to helping the world, and helping the people around the world on this planet, now suffering this very pandemic.

And lastly, let me just quote the great philosopher Confucius that “All roads that lead to prosperity are the road that we must follow. The road that leads to all under Heaven.” So, all under Heaven, in a sense, is the philosophy of Confucianism, now translated into contemporary Chinese politics. As President Xi has also in a sense said that we need to work together for the community of a shared future of all mankind. Thank you very much.




VIDEO ARKIV: INTERNATIONAL VIDEOKONFERENCE den 25.-26. april:
Menneskehedens eksistens afhænger af etableringen af et nyt paradigme nu! 

HARLEY SCHLANGER d. 22. april, 2020:  Jeg opfordrer dig til at slutte dig til os ved denne konference, da vi klart står over for et øjeblik i menneskets historie, hvor din kreative aktivitet, og din stemme er vigtig, fordi du kan nu spille en rolle i historien.

Der er ingen tvivl om, at vi er ved et vendepunkt. Den kombinerede effekt af coronavirus-pandemien og det økonomiske krak gør, at vi befinder os i ukendt farvand, og vi ser, at der vedtages en politik, som er det nøjagtig modsatte af, hvad der burde gøres. Især i forhold til økonomien, med redningspakkerne, med den stigende mængde af likviditet der pumpes ud af Federal Reserve, den amerikanske centralbank. Men endnu farligere, som Helga påpegede i vores diskussion i sidste uge, er det rablende anti-kinesiske hysteri, der kommer fra de selvsamme mennesker, der bragte Russiagate, og de selvsamme mennesker som er ansvarlige for den økonomiske krise. Især har vi identificeret Henry Jackson-Selskabet og Atlanterhavsrådet, der havde en konference for to dage siden for at diskutere, hvorfor vi er ‘i krig med Kina’, og hvorfor vi taber, og nu opfordrer den vestlige alliance til at opgradere dets aktivitet for at besejre Kina.

I stedet for skal vi samarbejde! Stillet over for denne krise bør vi hæve vores blik såvel som vores hjerter til at omfavne menneskeheden, og samarbejde for at komme med løsninger. Og i weekenden 25.-26. april – lørdag og søndag – vil vi præsentere en konference, som er åben for dig her på siden, eller på

Schiller Instituttets internationale hjemmeside

Men lad mig give dig en fornemmelse af programmet, så du kan se, hvad vi skal diskutere, og dets vigtighed. Det vil forresten være online, så det vil være tilgængeligt for alle jer, der har adgang til internettet.

 

I dag lørdag kl. 16 dansk tid
Panel 1: “Det presserende behov for at erstatte geopolitikken med et nyt paradigme i internationale relationer”.

Panel Moderator: Dennis Speed

10:00 USA østkysttid— Opening Remarks & Introduction
Dennis Speed, Schiller Institute 

10:15 — Keynote Address
Helga Zepp-LaRouche
Founder and Chairman, Schiller Institute 

10:55 — Dmitriy Polyanskiy, 1st Deputy Permanent Representative
The Permanent Mission of the Russian Federation to the United Nations

11:10 —H.E.  Ambassador Huang Ping
Consul General of the People’s Republic of China in New York
“For a Better Future: Proposed Principles Needed to Ensure Peaceful and Productive Relations Between China and the United States”

11:25–12:00 — Q&A with Zepp-LaRouche and representatives of Russia and China

12:00 — Jacques Cheminade
Chairman, Solidarité et Progrès, former French Presidential Candidate
“A Europe Not To Be Ashamed Of”

12:20 — Michele Geraci
Economist from Italy, former Undersecretary to the Development Ministry in Rome 

12:35–1:15 — Q&A with Zepp-LaRouche, Cheminade, and Geraci

1:15 — Helga Zepp-LaRouche
“Introducing the LaRouche Legacy Foundation”

1:30–2:00 — Q&A continued

Dette vil tage udfordringen op, som Lyndon LaRouche foreslog for mere end et årti siden, at de fire stormagter – Rusland, Kina, Indien og De Forenede Stater – mødes for at diskutere et nyt paradigme, herunder en Ny Bretton Woods-aftale, og inkluderende et samarbejde om LaRouches Fire Love for at muliggøre en global økonomisk genoplivning. Samarbejde, ikke konfrontation, ikke geopolitik, som er en britisk opfindelse. Vi er nødt til at afslutte regimeskiftekup, gøre en ende på de uendelige krige og i stedet arbejde sammen. Dette var præsident Trumps erklærede intention, da han blev valgt; dette er grunden til, at han blev angrebet med Russiagate, og til at der i dag er en samordnet indsats fra begge partierne, fra efterretningssamfundet og fra medierne for at vende præsident Trump mod Kina og mod Xi Jinping. Så i det første panel diskuterer vi, hvordan vi kan overvinde geopolitikken.

I dag lørdag kl. 21.00 dansk tid,
Panel 2: “For en bedre forståelse af hvordan vores univers fungerer.”

LaRouchePAC Science Team: Megan Beets, Benjamin Deniston, Jason Ross: “In Defense of the Human Species”

Plus additional experts

Dette er afgørende, fordi vi har set en forandring på områder inden for videnskabelig forskning, i mange tilfælde, som i tilfældet med den såkaldte “grønne” politik, til en anti-videnskabelig tilgang, der igen er designet til at beskytte det finansielle system, men ikke til at skabe fremgang for den menneskelige art. Og så vil vi tage spørgsmål op fra skikkelser som Kepler og Leibniz, Einstein, Vernadsky – hvad er i grunden videnskab? Og hvad er menneskets forhold til universet, det ikke-levende til det levende og det levende til noösfæren, fornuftsfæren, det vil sige domænet for menneskelig kreativitet.

Søndag 26. april kl. 17 dansk tid
Panel 3: “Kreativitet som den markant karakteristiske egenskab ved menneskelig kultur: Behovet for en klassisk renæssance.”

Beethoven, An die ferne Geliebte, John Sigerson accompanied by Margaret Greenspan

Lyndon LaRouche “I Have Insisted that Music is Intelligible!”

Helga Zepp-LaRouche, founder and and chairwoman, Schiller Institute

William Warfield, “A Poetic Musical Offering”

John Sigerson, “The Physical Power of Classical Poetry and Music”

Diane Sare, “On the Employment of Chorus in Politics”

and other experts

Sandsynligvis et af de vigtigste paneler, vi nogensinde har haft, Hvis man ser på alt det rænkespind og den dårskab der breder sig, hvilket i store træk ikke er uventet, i betragtning af fordummelsen af befolkningen, og også det virkelige stress og angst, som folk står overfor, idet vi ser civilisationen, som vi kender den, falde sammen, må folk have noget dybere at falde tilbage på for at komme med løsninger. Og en af de ting vi vil gøre, er at se på hvad det var, der gjorde det muligt for Renæssancen at opstå, den håndfuld af enkeltpersoner, videnskabsfolk, kunstnere, digtere, mennesker, der kiggede på menneskets forhold til universet og gjorde fremskridt gennem kreative opdagelser – i et øjeblik af dyb fortvivlelse, fordi Renæssancen kom efter, at den Sorte Pest havde fejet hen over Europa i midten af det 14. århundrede, og udslettet fra en tredjedel til halvdelen af befolkningen på hele kontinentet.

Så i dag, hvor vi står over for lignende kriser, kan vi ikke “vende tilbage til normalen”, fordi ‘business as usual’ var det der fik os ind i denne krise. Så ved at ændre den måde mennesket ser på sig selv, og vi ser på hinanden, som vi ser på andre nationer, at vi legemliggør Schillers princip om, at man skal være en patriot i forhold til ens eget land, men samtidig en verdensborger: Hvis vi ser på dette udtryk gennem kreativitet og musik og kunst, kan vi finde en bedre version af os selv, så vi kan arbejde på at løse disse problemer.

Søndag kl. 21 dansk tid på søndag
Panel 4: “Videnskaben om fysisk økonomi.”

Dennis Small, United States, Schiller Institute Director for Ibero-America: “LaRouche’s Legacy: Foundation of the Modern Science of Physical Economy.”

Sébastien Périmony, France, Schiller Institute representative: “When Africa Looks to the Stars.”

Phillip Tsokolibane, South Africa, leader of LaRouche South Africa.

Bob Baker, United States: “Feed the Future: Eating Is a Moral Right—A Dialogue With American Farmers.”

and other experts

Dette er LaRouches specielle felt; Lyndon LaRouche var en pioner inden for hele denne idé om fysisk økonomi. Og dette kombinerer videnskab, det kombinerer historie, det kombinerer kultur, psykologi, kan man sige, hvordan det går til, at vi kan opbygge en økonomi, der reflekterer de menneskelige væsener, som vi er.

Dette er en yderst spændende konference. Vi har talere fra hele verden. Vi håber at have deltagere fra hele verden, og jeg forventer, at mange af jer vil tage tiden til at overvinde jeres dysterhed, jeres apati, jeres frustration, jeres vrede, og tænde jeres sind og lytte til diskussionen, deltage om I vil – og for at gøre det, skal man registrere sig, så gå til Schiller Instituttets website og tilmeld dig, så du kan deltage. Det vil finde sted denne weekend, 25.-26. april, og starter kl. 16 i Europa.

Tak fordi du lyttede med. Jeg vender tilbage i næste uge med Helga LaRouche, men jeg forventer at se dig deltage denne weekend i vores konference. Tak, fordi du deltager. Farvel!

 

 

 




Appel for Beethoven året

Den følgende resolution bliver cirkuleret internationalt af Schiller Instituttet.

På et tidspunkt hvor vi er vidner til voksende og tankeløs vold, de kulturelle værdiers forfald, en næsten uhørt fordummelse af den folkelige smag, og brutaliseringen af menneskelige relationer, har vi ikke desto mindre én afgørende kilde, hvorfra en kulturel og moralsk genoprejsning kan skabes:
klassisk kunst! Det storslåede menneskesyn der er forbundet med de poetiske værker af Dante, Petrarca, Lessing eller Schiller, eller de ophøjede kompositioner af Bach, Mozart, Verdi, Beethoven, Schubert, Schumann eller Brahms er stadig et referencepunkt for den måde, hvorpå vi definerer os selv som et samfund.

Men når vi betragter kunstnerens rolle i den nutidige kultur, og anvender Schillers målestok:

Der Menschheit Würde ist in eure Hand gegeben,
Bewahret sie!
Sie sinkt mit euch! Mit euch wird sie sich heben!

Menneskets værdighed ligger i jeres hænder,
Bevar den!
Den synker med jer! Med jer, skal den hæve sig!

kommer et fornedrende billede til syne. Vores uddannelsessystem formidler næppe nogen som helst viden om klassisk kultur, vores såkaldte ungdomskultur er domineret af en grimhedskult, og selve den klassiske kultur er under massivt angreb. I årtier har efterkrigstidens teaterforeninger opfundet nye afgrundsdybe vederstyggeligheder, fremførelser af Shakespeare eller Schiller er blevet uigenkendelige, operascenen er i nogen tid blevet en slagmark, hvor diverse instruktørers perverse fantasier kan udspilles, og nu forulemper selvbestaltede moderne komponister sågar Beethovens kompositioner, tydeligvis fordi de selv er ude af stand til at skabe noget som helst.

Dette må stoppes! Tiden er inde til at iværksætte en kontraoffensiv!

Beethoven-året, hvori mange af Beethovens kompositioner vil blive fremført verden over, giver os en vidunderlige lejlighed til at mindes den vestlige kulturs bedste kulturelle tradition, og at sætte den op imod den nedadgående moralske tendens i de sidste årtier. Vi kan ikke længere overlade roret til en teater- og musikmafia, der har ødelagt klassisk kunst. Derfor kræver vi skabelsen af en renæssancebevægelse til forsvar for og genoplivning af klassisk kunst. Som Friedrich Schiller uigendriveligt beviste dette i sine æstetiske breve: Kun igennem stor kunst kan vi finde den indre kraft til at udvikle vores egen kreativitet og forbedre os selv som mennesker.

Verden befinder sig for øjeblikket midt i epokegørende forandringer, hvor igennem den tidligere æra, domineret af transatlantiske lande, er ved at få en ende, og udviklingscentret er i gang med at skifte til Asien, hvor adskillige befolkninger med rette er stolte af deres, i nogle tilfælde, 5000 år gamle civilisationer og støtter disse. Hvis Vesten har noget som helst at bidrage til udformningen af det spirende nye paradigme, i en humanistisk ånd, så er det vores fremskredne kultur forbundet med Renæssancen og den klassiske periode.

Jeg støtter denne resolution! Underskriv gerne her.

 




Fra arkivet: »Beethovens årtier lange kamp
for den Niende Symfoni«
Kun sjældent i menneskehedens historie
har der været en dialog og en syntese
mellem to, store intellekter på
Friedrich Schillers og Beethovens niveau,
endskønt de aldrig mødtes.
Resultatet heraf blev den 9. Symfoni.

Lad os begynde med Beethovens Niende Symfoni, der slutter med en overraskelse – menneskelige stemmer, der stemmer i med idéerne i Friedrich Schillers digt, Ode til glæden, indflettet i orkesterstemmerne, som dermed skaber et af historiens mest bevægende kunstværker. Lad os dernæst, ved at gå baglæns i tiden, gå igennem Beethovens tredive år lange søgen for at opnå dette og standse ved nogle af de musikalske milepæle, der førte til dette udødelige mesterværk i bevidstheden om den kendsgerning, at vi kun kan lytte til disse forløbere med deres efterfølgeres toner klingende i vore ører.

Rapporten er oversat fra engelsk. Den originale engelske rapport kan læses her. 

Download (PDF, Unknown)




Den, guderne vil tilintetgøre…

17. februar (EIRNS) – Fokuser ikke på et enkelt aspekt af de forskellige kriser, som menneskeheden står overfor, advarede Helga Zepp-LaRouche i går. Denne fremgangsmåde vil føre til en fejlagtig fortolkning af, hvad der foregår i verden, og hvad der skal gøres ved det. Spørgsmålet er: Hvorfor truer COVID-19-virusepidemien med at blive til en global pandemi, hvis den ikke begrænses? Hvorfor kan det forpurrede forsøg på rigsretssag mod præsident Donald Trump blive et endnu mere ubehageligt åbenlyst statskup? Hvorfor kan angrebet af græshoppesværme, der fejer over Afrikas Horn, blive til en fuldstændig græshoppeplage, der ødelægger fødevareforsyningen for nationer, der tegner sig for næsten 2 milliarder af klodens 7,6 milliarder mennesker? Hvorfor er den aktuelle dekonstruktion af musik og kunst på vej til at omdanne menneskehedens kultur til en satanisk sekt? Og hvorfor sker alt dette på samme tid?

Svaret er, fortsatte Zepp-LaRouche, at “vi befinder os i en ekstraordinær tumultarisk forandring af en historisk periode, hvor de fleste mennesker absolut ikke er klar over, hvor gigantisk den transformation og det sammenbrud der foregår faktisk er”. Det såkaldte ‘Vesten’ er i opløsning, det transatlantiske finanssystem befinder sig i en sammenbrudskrise, og dets regerende etablissement, centreret i City of London, er parat til at påtvinge diktatur og fascistisk nedskæringspolitik for at forsøge at holde sig oven vande. De har vist deres fuldstændige manglende evne til så meget som at overveje, hvorfor deres liberale imperialistiske system kollapser, eller se på muligheden for at det er deres egen politik, der har ført til den nuværende katastrofe.

Denne inkompetence blev udstillet til fulde på den netop afsluttede sikkerhedskonference i München, hvor talsmænd for det gamle regime, såsom den amerikanske udenrigsminister Mike Pompeo og formand for Kongressen, Nancy Pelosi, forsøgte at forvandle det til et skydetelt imod Kina, netop på et tidspunkt, hvor dette land gør sit yderste for at begrænse COVID-19-virussen til fordel for hele verden.

USA og Europa skulle samarbejde med Kina og Rusland, ikke true og angribe dem, insisterede Zepp-LaRouche. Et topmøde med de fire magter, der er specificeret af Lyndon LaRouche – USA, Kina, Rusland og Indien – må arrangeres i de kommende uger for at håndtere den voksende kaskade af eksistentielle kriser, som planeten står overfor, og løse dem ved at sætte det døende Britiske Imperium ud af spillet og organisere et nyt paradigme til erstatning herfor. Det er en mission, der kun kan opnås ved at tage fat på Lyndon LaRouches politik og metode; LaRouche, hvis levende eftermæle af den grund må renses og mobiliseres.




Når skæbnen afhænger af en prognose

Den 12. februar (EIRNS) — Det er passende, at når vi markerer etårsdagen for Lyndon LaRouches bortgang den 12. februar, 2019, tager fat på hans begreber og metode for at evaluere den aktuelle strategiske situation og kortlægge vores fremtidige kurs. Den 7. september 2007 offentliggjorde LaRouche en artikel i magasinet Executive Intelligence Review med overskriften “Når Skæbnen afhænger af en prognose” (When Fate Hangs on a Forecast), der begyndte som følger:

                ”Det egentlige strategiske formål med, og funktion af, en kompetent økonomisk prognose er ikke at forsøge at forudsige hvad der vil ske, men at få det til at ske.

                ”Dagens emne er et omtvistet felt, hvortil jeg har udviklet visse enestående færdigheder, færdigheder inden for den gren af strategisk indsigt, der kaldes langtidsprognose. Dette indebærer ikke blot passivt at forudse hvad der sandsynligvis vil ske; det handler om at udforme en politik af den type som jeg præsenterer, med den hensigt at iværksætte bydende nødvendige handlinger, der muligvis kunne redde os fra en nuværende, fremstormende global finansiel katastrofe, en kommende katastrofe, der nu er gået ind i sin sidste fase.

                ”Det er ikke igennem ren sansning, at vi er i stand til at regne ud hvilken viljemæssig kraft der, skjult for vores blik, ligger mellem disse enkelte punkter på vores sansers skærmbillede. Det er gennem vores indvirkning på universet, at vi tvinger dets hemmeligheder til at manifestere sig, ikke kun som sanseindtryk, men som en højere, autoritativ manifestation i sindet, som må teste den usete tilstedeværelse og de formodede intentioner af hvad end viljemæssige kraft, der ligger bag den handling, som ellers muligvis blot ville forblive et sanseindtryk.”

                ”Disse usynlige kræfter må således tvinges til at afsløre sig selv. De må tvinges til at afsløre ikke alene den effektive tilstedeværelse, der er skjult bag de fodspor, vi kalder sanseindtryk. Vi må teste de formodede forsætlige intentioner fra disse kræfter, afprøve disse intentioner… hvilket ægte videnskab anerkender som universelle principper, da sådanne principper blev kendt som ‘dynamis’ af Pythagoræerne eller som ‘moderne dynamik’ af Nicholas Cusanus, Johannes Kepler, Gottfried Leibniz og Bernhard Riemann. Ud fra den viden, som kun kan tilegnes på denne måde, får vi de midler, hvormed manden og kvinden, formet i skaberens billede, er i stand til at handle mere eller mindre effektivt på en måde, der opfylder vores skæbne som dødelige; på den måde, der af Ham på enestående vis er tildelt os.

                ”På denne baggrund er det en kendsgerning, at jeg siden den tid, i 1953, hvor jeg lagde mig fast på Bernhard Riemanns metode indenfor fysisk geometri, ikke nogensinde har fejlet med en økonomisk prognose, som jeg har fremlagt; og kun undtagelsesvis har denne prognose antaget formen af, hvad der for nogle fejlagtigt kunne se ud som det der normalt betragtes som en simpel forudsigelse.”

                I dag, mere end 13 år senere, er den dominerende realitet der former planeten, i høj grad som LaRouche forudsagde: det bankerotte sammenbrud af det transatlantiske finanssystem, og den 50-år lange nedstigning til helvede af de fysiske økonomier i dets værtslande med deres ofre. Græshoppesværmene, der især plager store dele af Afrika og Sydvest- og Sydasien; fremkomsten af den nye coronavirus (2019-nCoV), der – hvis det ikke havde været for de heroiske foranstaltninger, som den kinesiske regering har taget – måske allerede havde fejet over alle kontinenter og de fleste nationer med utallige ofre til følge – disse er alle dødbringende problemer, der kan begrænses og overvindes med de forholdsregler, som blev foreslået af LaRouche for årtier siden. Videnskabelige lynprogrammer til udvikling af fusionsenergi og kolonisering af rummet samt optisk biofysik er og bliver de mest presserende behov i dag for at hæve den overordnede teknologiske platform for noosfæren, den menneskelige fysiske økonomi, til at klare sådanne kriser.

                Helga Zepp-LaRouche tog spørgsmålet om de forskellige indikationer på den kollapsende fysiske økonomi op i sine bemærkninger den 11. februar, hvor hun opfordrede til ”internationalt samarbejde med Kina” for at besejre virusset. Ideen om at dette er et ‘kinesisk virus’ er udtryk for den mest afskyelige racisme. Jeg er forbløffet over, at nogen ikke kan indse, at sygdomme ikke har nogen nationalitet. Vesten burde snarere hjælpe til og sende medicinske teams, tilbyde samarbejde og ellers gå sammen for at besejre sådanne nye problemer som græshoppesværmene i Afrika. Lige nu ville det være muligt at stoppe det, men hvis man ikke handler i tide, vil det udvikle sig til et enormt problem, som det vil være meget vanskeligere at slippe af med efter et år. Mange mennesker vil dø som et resultat af fødevaremangel, fordi disse græshopper har en tendens til bare at æde enhver afgrøde og efterlade ødelæggelser.”

                Zepp-LaRouche fortsatte: ”Der er et sammenbrud i Vesten… Hvad vi har brug for er en ny model for samarbejde, et nyt paradigme, hvor man stopper denne form for geopolitisk konfrontation, der kun kan føre til en katastrofe. Og til det har vi brug for ‘De fire Love’ fra Lyndon LaRouche. Vi er absolut nødt til at tænke på den menneskelige art ud fra et fremtidigt standpunkt.”

                Hun afsluttede med at opfordre folk til at drage fordel af, at dette er året for Beethoven, og at mange mennesker, som en følge heraf, lytter til Beethovens musik. Den dybe kulturelle krise vi står midt i er en del af det samlede forfald i hele den transatlantiske sektor, sagde Zepp-LaRouche, og det at lytte til klassisk musik, især Beethoven, “er den bedste måde at få folk til at opløfte deres sind. Vi har brug for en kulturel renæssance i Vesten.”




Tænk som Beethoven – Video med Helga Zepp-LaRouche den 1. februar 2020

Schiller Instituttets grundlægger, Helga Zepp-LaRouche, talte om hvor meget det haster med at genopdage Ludwig van Beethovens genialitet i år, 250-årsdagen for hans fødsel, for at løse de store kriser verden står overfor. Som hun udtrykte det i en nylig artikel: “Hvor ellers, bortset fra i klassisk musik, kan man styrke og uddybe den passion, der er nødvendig for at se ud over ens egne bekymringer, og for at håndtere de store udfordringer for menneskeheden?” Læs Zepp-LaRouches artikel, der gennemhuller argumenterne fra dem der i øjeblikket handler for at ødelægge Beethoven og selve skønheden.

Her er et afskrift på engelsk af videoen:

DENNIS SPEED: My name is Dennis Speed. We have a very special presentation for today. There will be much time to discuss all sorts of matters of political importance, but certainly after this past week, one thing that can be said for certain about the United States and the rest of the world as well, is that a new standard of truth is required of us and of humanity as a whole. Humanity needs to act without the false need of catastrophe. Many times in history, people have been set in motion by something bad, only to then do something good. We’ve seen that often to be the motivation for the necessity for war. We don’t believe that that’s a standard that humanity can afford. We think that humanity should try, for a change, to think like Beethoven. That was a theme of much of the life of Lyndon LaRouche, who is generally talked about as an economist and statesman and Presidential candidate and so forth. But most people are unaware of his work in music.

Recently a volume has been published, entitled Think Like Beethoven, which has a compilation of Mr. LaRouche’s writings. I want to refer to something that he said as a way of introducing our speaker. This is in the essay called “What Is Music, Really?” This was actually a conversation that was transcribed in which the subtitle here is “The Principle of Music Is Love”:

“The essential thing is love. Music is love. The principle of music is love, mankind’s love of mankind. Of what mankind could be. And you want to do something that’s beautiful in terms of what mankind’s nature says. And if it isn’t beautiful, you don’t want to do it. You don’t want ugly things! And the characteristic of the 20th century was ugly music. From the beginning it’s ugly music. And the music has become uglier and uglier and uglier all the time. On every street, even in speaking. In writing. Also in smelling….

“That’s the problem. Mankind tends toward the wrong standards of truth. It starts with the conception that mankind is an animal, and mankind is not an animal. When you start with saying that mankind is an animal, that’s when all the trouble comes in. And the only way you can deal with music, really, is on the basis of love. The love of mankind and what mankind can do that is loving of mankind.

“Because the future is: You’re all going to die. And what is the passion which corresponds, therefore, to mankind? Since everybody is going to die, what’s the meaning of human life? Is it a fact? Not exactly. It’s the creation of a more powerful capability of mankind by purging mankind of its own corruption. Extracting mankind into the freedom from corruption. And all practical measures to craft and improve the quality of art is crap, because they are not sincere. They don’t correspond to some principle of the matter.

“And this is true: You see it in drama; you see it on the musical stage; you see it in performance of all kinds. The beauty is creativity, per se. It’s also the measure of what creativity is.”

So today we’re going to hear from the founder and chairman of the Schiller Institute, and I think that à proposition is going to be placed in front of us all. And I want to dare to anticipate that proposition by saying the following: The only way to celebrate the Beethoven year, this being the 250th birthday of Beethoven, is to do something that Beethoven would do. And we have an indication of what he would do today, from his opera called “Fidelio.” I think you’re going to be hearing a bit of this. Exonerating Lyndon LaRouche would be the kind of action that would indicate that we had actually understood how Beethoven thought. We would be doing what Beethoven would have done; thus indicating that we understood how Beethoven thought. The idea of the liberation of the human mind from its own shackles, is something that was addressed briefly by the President of the United States at Davos, when he referenced the idea of optimism and the great Dome of Florence. An idea which took 140 years to complete.

But it doesn’t take 140 years to recognize the truth. And it shouldn’t take more than a few months to exonerate Lyndon LaRouche. So, though I know that the topics may range widely in the case of the next speaker from I exactly indicated, I’m going to anticipate that she’s certainly going to more than touch on that matter. So, it’s always my honor and pleasure to present Helga Zepp-LaRouche, chairwoman of the Schiller Institute, and the founder of the Schiller Institute.

HELGA ZEPP-LAROUCHE: Let me welcome you, and I will try to talk about the subject which Dennis just announced. But let me situate it in a specific context. We just in the last couple of days had quite tumultuous events, where the impeachment drive against President Trump was finally defeated. He was acquitted, and he gave a rather jubilant press conference or meeting afterwards. So it is actually a moment in which one should reflect on that coup attempt, which first was done with British intelligence, the intelligence community of the United States, the heads of intelligence of the Obama administration. If one would live in a different world, one would think, “Shouldn’t it be the case that the Left opposes the CIA? Opposes the intelligence community? Shouldn’t it be that the liberals somehow have a problem if there is a coup attempt against a sitting, elected President of the United States?”

Well, but we all found out that no such thing occurs. Neither the so-called Left — if it still exists — or the Left liberals had any problem with the fact that there was overwhelming evidence that the intelligence apparatus tried to make a coup by replacing the American Constitution, turning the American republic into a British parliamentarian system; which was emphasized by Dershowitz and others. So, why is that the case?

What my presentation, which is on Beethoven and the question of culture in general, I will investigate why this is. And you will be surprised, some of you naturally know the answer already, that this behavior of the Left and the left liberals in this entire process, is the result of a gigantic — and I really mean gigantic — brainwashing effort which people are not even aware anymore of why this is the case.

What has this to do with the Beethoven year? We have a full year now of many concerts around the world. Alone in Germany there are more than 1000 concerts performing Beethoven’s music. When the first performances occurred, I had the fortune of listening one entire day in an Austrian/Swiss/German TV program to different Beethoven compositions. That is a luxury which you normally don’t have, but if you do that, and you listen for an entire day to all the different pieces — the piano concertos, the symphonies, the Missa Solemnis, Fidelio, and many others — it has an incredible effect on you. Because you are being transformed with your mind and your emotions in a completely different universe.

So, it occurred to me that this Beethoven year was a perfect opportunity, because it coincides with extremely important political and strategic decisions which have to take place. Namely, that we overcome geopolitics; that we go away from the danger of the world plunging into another World War, sleepwalking like in the First World War. That you have the absolute necessity to do what Trump set out to do in the 2016 campaign: Improve the relationship with Russia, with China. We have incredible dangers. So, it occurred to me that we should use the Beethoven year internationally to basically have many people participating in the listening of Beethoven, in the performing of Beethoven; in order to develop this unbelievable emotional strength which comes from great Classical music. And which comes more from Beethoven than from anybody else. Because it has been clear to me since a very long time, that we will politically only succeed if we combine our political efforts with a cultural renaissance of Classical music.

Now Schiller, in his Aesthetical Letters, which was his reaction to the failure and collapse of the French Revolution when the Jacobin Terror had taken over, and therefore the hopes of all republican circles in Europe that the French Revolution could replicate the American Revolution, were shattered. When that hope was shattered, and Schiller said at that time said, “A great moment had found a little people,” because the objective conditions to have a change, to have an American-like Revolution were there. But that the subject of moral condition was lacking.

So Schiller then, in his Aesthetical Letters, said that he believed that any improvement in politics could only come from the moral improvement, the ennoblement of the individual. And I believe that is absolutely true. I have made that my own creed for the last half century. That only if individuals become better human beings, that they become more noble in their emotion, their thinking more great about humanity; only then can you move history forward. Schiller, in his Aesthetical Education Letters gave the answer, that it can only be through great Classical art that that can be accomplished. Now, some people would argue, “No, what do we need Classical art for? We also have religion.” And I’m not denying that also in religion there is the command to improve. There are other people arguing, “But why do you need Classical music? I don’t know it; I don’t like it; it’s alien to me. Why don’t we just concentrate on astronomy, looking at the stars? That is also having an ennobling effect.” So, I’m not denying that either; and I don’t think there is an exclusiveness between these three questions of Classical culture, religion, and astronomy. But it is great Classical art which does something very specific in order to favor the creative faculties of the mind.

Now Schiller, and also Lyn his entire life, proceeded from that assumption. As a matter of fact, all of Schiller’s works — his poems, his dramas — were all characterized and driven by the idea that the result must be the ennoblement of the human being. And the quote you just heard from Dennis by Lyn really expresses the essence of Lyn’s entire work as well. Schiller, Confucius, and some other great thinkers had this idea that the aesthetical education is doing that ennoblement. Because if the person sinks into a great painting of Leonardo da Vinci, or Rembrandt, or listens to a Schubert song, or listens to a beautifully performed American spiritual, then you forget about your greed, you forget about your selfishness. And while thinking in the creative composition you are engaging with, you become a little bit more like that yourself. The more you make that a habit, and the less you do selfish and greedy things in between, the more you become a better person.

Just in parentheses, I want to mention that Xi Jinping, the President of China, also has many times emphasized the need to have aesthetical education, especially of students, but also of all other age brackets of society. Because if people are educated aesthetically, they develop a more beautiful mind and a more beautiful soul. And that is the source of all great works then again.

Now Trump said something just recently, namely that he wants to write an Executive Order that Federal buildings should no longer be modernist, but should be Classical. Hopefully he means Greek Classical and Renaissance Classical, and not Roman Classical, because these notions are sometimes not differentiated. But I think this is a very promising sign that first Trump talks about the Dome in Florence, now he talks about making buildings beautiful. So, we should continue on this road.

Beauty is intelligible. This is a very important point because it goes beyond opinion. People say what is my taste is my thing, and I have the right to find this beautiful, and you have another opinion. But I want to put a notion of beauty against that which is intelligible. It goes to the Italian question of the Golden Mean in Renaissance paintings and buildings, but it is also a standard of composition. It pertains to the famous debate between Schiller and Kant, where Kant in his Critique of Judgement said any arabesque which a painter throws against the wall is more beautiful than a piece of art where you can recognize the intention of the artist. Schiller got very upset about that, and wrote many of his aesthetical writings exactly to rebut this idea of Kant. He said there must be a notion borne out of reason of beauty, and then if the empirical performance and evidence conforms with that idea of reason, it is good, but not the other way around.

Since we are talking about Beethoven, and I recently wrote an open letter to defend Classical performance of Beethoven and I vowed that I would initiate a campaign to really end the acceptance of Classical music being destroyed by the modernists. And end the ugliness in music, which Lyn also did not like, as you previously heard.

I want to talk to you a little bit about “Fidelio,” because this is an opera which is very dear to my heart, and it was very dear to Lyn’s heart. The two of us really thought it was our opera, for reasons which I will come to in a second. First of all, concerning the narrative of “Fidelio,” it definitely is referring to real historical events. I think more research needs to be done, and if some of you, our listeners and audience, feel compelled to join in that, you are welcome. Because we have certain hints, but in the literature about the origins of the libretto of Beethoven’s “Fidelio” there are different views. But I think a very probable hypothesis is that it pertains the arrest and imprisonment of the Marquis de Lafayette, who as you know, was a very much an ally of the American Revolution. And in that capacity, he drew the anger of the then-British Prime Minister, William Pitt, who put pressure on the Austrian emperor to put Lafayette in jail. And there he was for several years in a dungeon. He was then freed among other things, by the courageous intervention of his wife Adrienne, who joined him in the incarceration. And then because of an unbelievable international campaign involving many VIPs appealing to Emperor Franz, he finally was released. He was released in 1797, and only five months after that, the Frenchman Jean-Nicolas Bouilly published the libretto which Beethoven then used, called Leonore, or Married Love [Léonore, ou l’Amour Conjugal].

This is, as I said, very dear to my heart, because when Lyn was put in jail innocently by the Bush Sr. Administration, I launched something called Operation Florestan. Maybe you can show this picture [Fig. 1]. This was a situation where Lyn was put in jail by a combination of the British, the Bush apparatus, and also there were clearly some collaborations with certain Soviet forces. So, when you read this article, you have to see that in 1989, the [berlin] Wall had not yet fallen, the situation was still extremely tense between the Soviet Union and the West. [See EIR article: https://larouchepub.com/eiw/public/1989/ eirv16n11-19890310/eirv16n11-19890310_022-operation_florestan_will_save_la.pdf] So, some of these things have to be seen in the context in which they were written, but I think the setting of putting Lyn in jail innocently, deprived the American population from access to the most beautiful ideas probably ever written and thought in the history of the United States.

What we did with Operation Florestan was that we talked for about five years to thousands and thousands of VIPs. We had probably a couple of thousand signatures from sitting parliamentarians all over the world, from generals, from chiefs of staff, from bishops, from cardinals, from writers, from other notables. And we launched this campaign with the iédea that Operation Florestan, being modelled on the “Fidelio” opera and the example of Lafayette, that we would get Lyn out of jail. That was by no means certain because when Lyn was given this extremely harsh sentence, it was meant that he would die in jail. So, we launched this campaign.

Now I want to talk a little bit about the “Fidelio” to make clear why this is an absolute parallel to what happened to us. First of all, the actual narrative in the “Fidelio” opera is that Florestan is kept as a prisoner by Don Pizarro, a tyrant who basically keeps him there as a political prisoner because he fears that Florestan might reveal some very comprising truth about Pizarro. His wife, Leonore, dresses up as a man; she calls herself Fidelio. She gets hired by the dungeon guard, Rocco. And Rocco’s daughter, Marzelline, falls in love with Fidelio who she thinks is a man, despite the fact that she has a fiancé, Jaquino. In the beginning of the opera, you hear now this beautiful quartet, for which I ask our singers to get ready. This is still at the very beginning of the setting. The four characters — Leonore, Rocco, Jaquino, and Marzelline — are all singing. The beauty about this quartet is that they all sing about their hopes, their inspirations, and they are all different. But despite the fact that they are all very different, the harmonious composition is one of the most beautiful examples of the art of Beethoven. Now, let’s hear “Mir ist so wunderbar.”

[Quartet performed live]

Thank you very much. The reason why we have to do it like this is because neither YouTube nor the record companies allow you, because of copyright issues, to just use some of the performances. So, that’s why we’re doing it in a little bit of an improvised way; so please have an understanding that that’s the reason why we have to do it that way. This was obviously well done, and extremely beautiful.

Now, after this development in the beginning, Pizarro comes to the dungeon to look at the prisoners, because he has learned that the minister wants to come to inspect things. He is his political enemy. And he is afraid the minister will meet Florestan, and then he could reveal these secrets. So, he wants Florestan to be killed. So, he tells Rocco to go to the dungeon and kill Florestan. Rocco does not want to do it, but then eventually he agrees to at least dig the grave, and have then the corpse of Florestan buried. So, he takes Fidelio with him, because it is heavy work and he is a little bit old. So, Leonore and Rocco go into the dungeon, and then Leonore asks Rocco that the prisoners should be allowed to see the light of day, because they are in the dark. Then comes the most beautiful chorus, the Prisoners’ Chorus, which is very famous. If you don’t have it in your ear, you should go home and listen to the whole opera; which you should do in any case.

So then, Florestan, who is struggling in the dark, who has fever, who is feeling horrible, has this beautiful vision that Leonore comes and he sees her as an angel. This again is one of the most beautiful arias you can imagine. So then, Leonore/Fidelio asks Rocco that he allows her to give the prisoner some bread and wine. And while doing that, she recognizes her husband. So, then Pizarro arrives, and he is already moving with the dagger to kill Florestan. Then Leonore throws herself between her husband and Pizarro and says you have to first kill his wife. She threatens Pizarro with a pistol. At that point, the trumpets sound to announce the arrival of the minister. Then, basically the danger is over, and Florestan and Leonore embrace each other and then comes this unbelievable duet of joy, “O namenlose Freude!” While we are hearing this now as an audio, I want you to focus on the absolute beauty of the emotions — the joy, the limitless joy, the nameless joy which unites Leonore and Florestan. It is that emotion which is love; and it is that emotion which is pure joy. The same joy which Beethoven celebrates also in the Ninth Symphony in the Ode to Joy, especially the last movement when he talks about Schiller’s Ode to Joy and this becomes the chorus.

So, let’s now listen to the “O namenlose Freude!”

[Duet is played]

So after that, the minister opens all the dungeons; the prisoners come out and are free. He recognizes Florestan, his friend, then everybody joins in the great finale, the beautiful chorus, the so-called Heil chorus where they celebrate the love of mankind, the love between the two spouses, the absolute victory of freedom over tyranny, and what man can do if you have a good plan, there can be absolutely the defeat of all tyrants. This emotion, this idea that if you struggle for a good cause, and that you overcome all the difficulties that you arrive at this higher level of sublime feeling; this is expressed in this beautiful music. So, let’s hear the “Heil sei dem Tag, Heil sei der Stunde” chorus clip.

[Chorus is played]

Well, this is only the beginning, and I would really urge you to listen to a very good performance of the entire Fidelio. There is a very beautiful one with Christa Ludwig and probably many others, but I really think you should take the time to listen to the entire opera.

So, well, I had a very urgent need to go and see such an opera. It’s a very personal thing, because as you know, in a few days it is one year since Lyn has passed away. And around the Christmas period, I just wanted really badly to see a performance of Florestan. And contrary to my normal habit when I look at the reviews and critiques before I go, which I have not done for a long time, because they are all bad generally. I just went to a performance in the Darmstadt Theatre without checking it out beforehand. And maybe it was a shock, but I think it was a healthy shock, because it was so absolutely terrible that I felt to write the open letter which I mentioned earlier, and which you may have read. [https://larouchepub.com/hzl/2020/4703-year_of_beethoven-hzl.html]

Because what this opera performance did was not only to apply Regietheater to the staging. Regietheater, as you know, is this terrible thing which was developed in the 1960s and has been used ad nauseum a zillion times since, where modern Regietheater would just take a Classical composition of Schiller or Shakespeare or some other Classical poet or dramatist, and put his own projection of what he thinks is relevant and how it should be interpreted. Then you have soldiers not dressed in historical costumes, but sitting on Harley Davidsons or being Nazi officers, just to project whatever the personal opinion of the director is. And normally they have at least one naked scene in it; they copulate on the stage. There were performances which were so ugly, actually pornographic. This has been going on for more than 50 years, so it’s not exactly original. But until recently, this kind of Regietheater was limited to the staging, the words, but they never really attacked the music.

So what happened in this performance was, not only did they apply all the terrible elements of Regietheater — having film clips while people were singing, so it was completely chaotic — but for the first time, they also changed the music. Namely this grand finale, of which you just hear two minutes of the beginning, and a modernist composer with the name of Annette Schlünz, who comes from the Eisler school tradition. This is this basically going to this whole idea of Brecht and Eisler that you also can have the Verfremdung [distancing] effect which is the idea that you should no longer allow the audience to identify with the people on the stage and become elevated; but you have to interrupt this identification every five seconds by a sound or a movie clip or something which interrupts this process; which makes it absolutely unbearable. So, this woman, Mrs. Schlünz, writes in the introduction to the program that she took this music of the final chorus, repeating a beat, then stopping suddenly, introducing alien sounds, have eight vocalists distributed in the audience who then all of a sudden get up, and if you are unhappy and one of these people stands behind you, you can have a heart attack. Then trumpets from the balconies. She described that she had the fantasy of sitting at the mixing console of the music studio, speeding up the music. That when the actual joy in the chorus is expressed, according to her it becomes like a jubalization machine; like children becoming completely hyper when they lose control of their emotions.

So obviously, this woman is completely unable emotionally to comprehend the sublime notions of the music expressed that we saw with the nameless joy, or the love between the couple, or the joy of the victory over tyranny. All of this is alien to them.

Now, where does this come from? Well, this comes all from a very sophisticated, extremely huge CIA operation called the Congress for Cultural Freedom. This was an operation in the postwar period which broke up as huge scandal in 1967. Just recently, there was an exhibition at the occasion of the 50th anniversary of the founding of this CCF in Berlin. There was an article in the Frankfurter Allgemeine Zeitung daily where the author, in a very rare moment of honesty, says — the title of the article is “How One Steals the Big Words”; meaning freedom and so forth. He says: “The worrisome quintessence of what the CIA did is that they did not sponsor some sinister right-wing ideology, but they helped the left liberalism to become the hegemonic mainstream standard of intellectuals in the West today.” That is exactly what I referred to in the beginning. Why is it that the Left and the liberals are siding with the CIA against Trump and against being on the side of the coup? This is the result of this process.

How did the CCF work? Remember that we are soon celebrating the 75th anniversary of the end of World War II, where the United States and the Soviet Union fought together in the fight against Nazism. This was going very deep. You will have on the 26th of April in Thurgau at the Elbe, the celebration of when the American and Soviet soldiers met for the first time. This was a very emotional event. For the Russians, this goes extremely deep, because they lost in the Great Patriotic War [World War II] 27 million people. They have absolutely not forgotten that, and they feel, when they allowed for example the German unification in 1989, all the promises were given to them that NATO would never expand to the East, never to the borders of Russia. They feel a tremendous sense of betrayal. This is a whole other story, but going back to this unified fight between the Americans and the Soviet Union, this was the case when Franklin D Roosevelt was still President; who had unfortunately a very untimely death at the end of the Second World War. When Truman came in, this was a much smaller man, and we all have heard from Lyn that he said when he was in India, and he got the news, the soldiers around him were asking “what do you think this signifies?” And Lyn said, I think we just lost a great man for a very little man.

It was the little man Truman who succumbed to the influence of Churchill in the postwar period. Therefore, this great alliance between the Americans and the Soviets was then replaced. Churchill announced in this famous Fulton, Missouri speech on March 5, 1946, where he announced practically what became the Cold War. That meant in the United States, elements of what Eisenhower would later call the military-industrial complex, which has turned in the meantime to what people mistakenly the Deep State, which is really the British subversion of the American intelligence services. They got more influence. In order to change the positive alliance between the Americans and the Soviets into a Cold War, and therefore a geopolitical confrontation, they thought that they had to change the axioms of thinking in the American people, but also in the European people. They had to change that which had allowed Franklin D. Roosevelt, who was after all very much anti-Wall Street, and they wanted to make sure that these values were absolutely replaced.

So in the United States, it was the attack on the tradition and heritage of Roosevelt, and in Europe it was especially that people thought they had to really destroy the roots of the people in their European Classical tradition. The CCF under the leadership of Allen Dulles and Frank Wisner, who at that time was the head of the Office of Policy Coordination in the State Department, were leading the effort. The CCF later was moved into the department for Covert Operations, and then proceeded to set up a huge cultural warfare in 35 countries. They set up 20 major cultural magazines; they controlled practically without exception all art exhibitions, concerts, who became a famous painter, who became a famous author or musician. Many of the people who cooperated with that were unaware of what they were part of; but some of them absolutely were aware.

The CCF was in continuation with the Frankfurt School, which had moved in the Second World War to exile in the United States. It was taken over by the U.S. intelligence services. One was Marcuse, another one was Theodore Adorno. Adorno explicitly said that it was now necessary to eliminate all

. In a piece called “Cultural Critique and Society” in 1949, he wrote that after the atrocity of Auschwitz, no one could write any poems anymore. He also had the absolutely insane idea that it was German idealism like that of Friedrich Schiller which would lead automatically to a radicalism and Nazism. So, that is something I really want to make a point for people to think. The image of man which is associated with the German Classical period, with the thinking of people like Lessing, Bach, Beethoven, Schiller, Humboldt, and many others, is an idea where man is principally good. Man is limitlessly perfectible. The aesthetic education allows for all potentialities in the human being to develop into a beautiful soul, into a beautiful mind, into genius. This idea of the potential of every human being to contribute through his or her self-perfection, to the common good of humanity is a very beautiful idea of man. And it has absolutely nothing to do with, and is the total opposite of what the Nazi ideology was, which was a blood and soil ideology. It was the racist idea that the Aryan race is superior to the colored races. That is what you find today in some people who say that China is the first time there is a threat coming from a non-Caucasian race to the West. Here you have it; that is Nazi ideology. I don’t need to tell you who says these things.

Now, one component to understand the work of the CCF was that also the CIA at that time started the idea that it is OK to lie. That if you have a national security reason or whatever you call it to be such a reason, it allows you to just say whatever you want, and to put in the world all lies possible as long as you have creditable deniability and you can pull you neck out the situation later on. Remember, more recently, Bolton basically said that it is completely legitimate to lie for such reason.

Obviously, the question of how the Classical German culture, which was probably the most culturally advanced period in the history of mankind; and I want to debate that if somebody wants to pick a fight. How did that end up in the pit of the 12 years of National Socialism, is obviously one of the most important questions. How does a great culture plunge into the depths of horrible things? This is a question which Americans had to go through in some recent administrations as well. How did the beautiful idea of the American Revolution turn into what was the policy of interventionist wars and everything we know? That transformation in Germany is a long story; a lot of things went into it. The Romantic movement which started maybe innocently as a literature movement, but became political and was taken over very quickly. The cultural pessimism which went with it; the destruction of the Classical forms through Romanticism; the actual cultural pessimism of people like Schopenhauer; Nietzsche; the different youth movements; the anti-technology youth movements before World War I. Then naturally, World War I, which was a long-orchestrated, British-steered event. The Versailles Treaty, which was completely unjust and could not function for a peace order. The Great Depression of 1929 and the beginning of the 1930s, and then finally World War II, and the takeover by the Nazis. But this is a long, complex story, with many factors going into it. A lot of manipulations. And the role of the British can be traced in many of these aspects.

So, I just say this: to say that the argument of Adorno, that it was German idealism that led to the Nazi atrocity, is just one of these absolute lies.

The CCF then proceeded to deliberately attack Classical music, Classical culture, Classical painting, Classical poetry. For example, they had an enormous repertoire. In 1952, they conducted a one-month music festival in Paris, which they called “Masterpieces of the 20th century,” with more than 100 concerts, ballets, operas, and they introduced all the modernist composers, atonal music, 12-tone music, Arnold Schönberg, Alban Burg, Paul Hindemith, Claude Débussy, Benjamin Britten. Some of these are full-atonal, some are mixed forms, but it was all meant to destroy the idea of Classical composition.

Why is this so absolutely bad? Because the idea that in a chromatic scale, all tones have an equal status, eliminates the possibility of the higher degrees of freedom, which you have if you have a polyphonic, harmonic contrapuntal composition, because it eliminates the possibility for ambiguity, for moving from one scale into another, of creating and fully exhausting a musical idea. It completely eliminates the idea of Motivführung [thorough composition], discussed so many times by Norbert Brainin, the first violinist of the Amadeus Quartet, in long, long beautiful discussions with Lyndon LaRouche: namely the idea that you have a musical idea — a poetical idea, put into music — and then, through thorough composition, you develop this, you exhaust the potential, and you come to a conclusion.

Now, that technique has been described, and should be studied, by Norbert Brainin in beautiful master classes he did with the Schiller Institute, for example, in Slovakia. Lyn has written in the book Dennis showed you in the beginning, Think Like Beethoven, how Joseph Haydn’s music was developed then by Mozart in the Haydn Quartets, reaching the complexity of the late Beethoven Quartets.

Lyn has basically said that Beethoven’s achievement in counterpoint, has never been approximated by any composer to date. I think I can absolutely agree. Lyn even said—and I know some people were upset when I mentioned this recently in a webcast—that Beethoven is the absolutely towering giant of all composers. People said, “What about Bach?” I’m not denying Bach. But I have a quote by Lyn where he says: “Beethoven marks an Everest, which dwarfs even Monteverdi, Bach, Mozart, Schumann and Brahms to be foothills.” Now, I’m not deprecating these composers. I just want to say that Beethoven is in a completely different league of composition, by applying this method, really in the most advanced form.

Now, Lyn wrote, over 100 pieces on music, where in this book you only find some of them. Already in 1976, he wrote a piece called “Laughter, Music, and Creativity,” which for Lyn was pretty much the same thing. He said that the 12-tone, or atonal music is a reactionary retreat led by dried-out 20th-century composers, who cannot compose. He again makes the argument, that the degrees of freedom are completely eliminated.

One important point, in my view, in this whole thing, is what the harmonic contrapuntal, polyphonic form of composition allows, it creates stress; it creates dissonance. But then, in a lawful way, in an expandable, lawful way, these stress moments get resolved, and you have the sense of completion. While in atonal and 12-tone music you have a lot of stress, for sure, but it’s never resolved. The audience is left with a complete feeling of disarray. And, therefore, exactly what the purpose and beautiful function of great Classical music is—that it elevates the emotion, that it elevates the mind, makes mankind more noble—that is completely destroyed. The whole idea of aesthetical education is denied, it’s opposed, it is meant to be made extinct. This is why this is such a devastating attack on this idea, that a moral improvement of the population can be accomplished.

What Lyn wrote in “What Is Music, Really?” which he gave as a talk on May 10, 2015, is that beauty is creativity per se, and the aim of it is to unleash the beauty of mankind. That was something that was absolutely known by many people. It was known by Confucius, who basically said that if you look at the music of a country, you can say what kind of state that country is in: whether it’s disorganized, whether it’s functioning, or not.

Now, if you apply that Confucian principle to the United States, or much of Europe today, you can say these countries don’t function very well, because their music is, for the most part, pretty horrible. It was also what Albert Einstein, for example, celebrated: Many times before he could continue working on his physical discoveries, he would play the violin, and put himself in that kind of a creative mindset.

That is why I think we cannot allow the destruction of Beethoven. This is why the defense of Classical music, of not allowing people to desecrate the greatest music ever written, that is why I wrote this appeal, asking not only all the lovers of Classical music in Germany, but actually all over the world, that we declare this Year of Beethoven, to be the end of the tolerance for ugliness.

I’m not saying we should forbid it. Let them have their atonal concerts. Let them have three people in the audience, because normal people really don’t like that kind of music, but, let them have it. I’m not for banning it. I’m just saying they should not have the right to destroy the great compositions of the Classical composers, just because they cannot write any music themselves which is beautiful.

I also absolutely want to urge you, that the Beethoven Year must also be the year of the exoneration of Lyndon LaRouche. If you read what Lyn writes about music — it should be astonishing to anybody to find somebody who’s a total politician, a statesman, an economist, a scientist, and that he would also have such unbelievable knowledge of music.

I can remember one time, when Lyn was talking with Norbert Brainin for two days, when he visited us at our farm, that after these two days, Norbert Brainin said: “This man knows more about music than I do.” I absolutely can agree with that. Because Lyn knew not only the inner meanings of all the works, the historical periods, but he also knew especially what it meant to “play between the notes,” to have a sense of the inner intention of the composers, and he could communicate that in the most beautiful way.

The fact that Lyn’s ideas are being denied to the American people, and to much of the world population, because of the unjust incarceration, because of the same apparatus which was behind the coup against Trump: I think that when President Trump said a few days ago, that one must guarantee that what happened to him, with Russiagate and with the coup attempt, must never happen again — well, there is one absolutely durable way how this will never happen again, and that is the exoneration of Lyndon LaRouche. Because, when that happens, it will become clear, that the apparatus of British infiltration of the U.S., of the idea to run the world as an empire based on the Anglo-American special relationship — which was put into place since Teddy Roosevelt, and which has been revived by many Presidents in the meantime — and that is the apparatus which tried to destroy the Presidency of President Trump.

So, if my husband is exonerated, for the sake of the beauty of his ideas, then a durable freedom in the United States, with the United States returning to be a republic, will be absolutely possible.

So, let’s make the Year of Beethoven, the year of the exoneration of Lyndon LaRouche. [applause]

SPEED: Thank you very much, Helga. We’ll go right to questions. I want to know whether we have a copy of A Manual on the Rudiments of Registration and Tuning. OK. If we don’t have it, let me just mention something as we go to questions. Some people know that it was Lyn who commissioned the writing of A Manual on Registration and Tuning. John Sigerson was one of the co-writers of that. He’s here. Also Renée Sigerson worked on it.

I cite this because perhaps John or Renée will say something about the occasion at which Lyn began to insist that the problem with the music he was hearing, was that it was incorrectly tuned. Many of us could not figure out what he was talking about. We knew there were different tunings, and we knew that the tuning at the Metropolitan Opera was high. But he was insisting on something that then ended up being verified by Liliana Gorini, the leader of the LaRouche movement in Italy, one of our key members there. Working with her father on this, she went to the library and discovered a document involving Giuseppe Verdi having passed a law when he was a member of Parliament, legislating that the tuning should be at A=432, which was exactly what Lyn was talking about.

I don’t tell this story to impress people. I tell it to say that there are some very fundamental matters that we want to get at with this. We don’t want to avoid controversy, is what I’m trying to say. Because, by not avoiding the controversy around this question, for example, the issue of European culture which will be one thing I will be referring to in a minute—by not avoiding that, not avoiding the controversy around what’s ugly, what “taste” is versus “good music”/ “bad music” — by not avoiding that, we might be able to reunify this nation. It’s probably the only actual, efficient way to do it.

So, it’s very important for us, in this discussion today, to take up all those questions — or begin the process of taking them up. I just wanted to say that, as we go to the questions. Again, I’ll alternate with the questions here, and then I’ll alternate with the questions that have been sent by email or YouTube, and so on.

Q: Hi Helga, this is Denise [ham]. I wanted to bring up the fact that in the Western world, in the United States, in particular, there is a war against children going on. In fact there is a book by that name and it was rewritten and updated, and 10 years later, it was The War Against Children of Color: Psychiatry Targets Inner City Youth [by Peter Breggin and Ginger Ross Breggin]. In this book it puts out the idea, that children as young as 5, 6, 7 years old, especially Black children living in poor areas, were targeted; and the idea was that they were going to grow up to be criminals, and they said this explicitly. And what did they do to stop this? They brought in Ritalin and other mind-destroying drugs.

You can imagine, we know that the human brain is not completely developed until the 24th year of life. And you have at the age of 5, 6 and 7 children being put on Ritalin, so they are being destroyed.

Also, besides that, you have this newest thing in New Jersey, and I think across the country, is that children in middle schools are being taught about “gender issues,” you know, “what sex are you?” This is destroying these children, confusing them, and it is mental rape — this is mental rape against children. Rather than having the idea of beauty, and music, of poetry, science being brought up in class — this is what you have. I would like you to address that and let us know what you think can be done about it. Thanks very much.

ZEPP-LAROUCHE: I think this is something which, if it’sis not corrected, will lead to the demise of the West. Because there is right now a huge campaign against China: That there is supposedly a fight of the systems, where the Chinese represent a threat to the value system of democracy, of human rights, of the liberal system of the West, and that that must be somehow contained and be defeated.

I can tell you that if we cannot, in the United States, or in Europe, for that matter, go back to a Classical education in science, in culture, and leave the trends you just described correctly, Denise — the absolute exposure to violence, through video games, the drugs; the addiction to digital overconsumption, children who are left by their parents and their environment to watch and play for hours and hours on their laptop, on their smartphone, on their Play Station, there are now many neurological studies which show, that when you do that, the synapses of the brain connect in a completely different way, and completely eliminate the possibility for truly creative work.

Now if you take that brain damage, which is caused by these phenomena, and also the whole idea of Ritalin, and the drug addiction, the violence — if you take all these factors together, I can tell you that our youth are not going to be an effective, competitive, or even equal, partner in the world community. Because the Asians are not doing that. I mean, sure there are some problems with the digital addiction in Asia as well.

But they are doing something we are not doing in the West, and that is, that they are reviving their 5,000-year-old ancient traditions in philosophy, painting, poetry, and are very proud to be some of the cradles of civilizations. They combine that idea of being based in the best tradition, with an absolute optimistic future orientation, which you see in terms of their ambitious programs for space colonization, for fusion research, and other breakthrough areas of knowledge.

So, I think that the West — I’m saying the “West,” because things in the United States and Europe are similar in this respect — if we do not shape up and really go back to a universal education, in the tradition of Wilhelm von Humboldt, who was the co-thinker of Friedrich Schiller; and he was one of the pillars of the German Classical period, who by the way, was extremely influential in the education system of the United States throughout the 19th century, and he had this idea that you had to have as a goal of education, a harmonious person, by teaching in certain areas which are more suitable to this effect than others: namely the command of your own high language, in the best poetic expressions, that would mean Shakespeare and other great poets who have written in English; then the universal history, natural science, philosophy; and that would then lead to the idea of the development of all potentialities, which are embedded in each child.

That was the Humboldt system, which existed in Germany, at least in some form until 1970, when it was replaced by an education reform, which consciously threw out that idea. But it is something which influenced every professor in the United States in the 19th century, who either studied in Germany or who studied with somebody who had been influenced by Humboldt. So there is an American tradition to connect to that. And I think that is what we have to fight for, because even if you don’t agree that this is what should happen, I think if the West is not going back to its own best traditions, they will just be pushed into the corner of history, and will become completely irrelevant.

Now I know that in the United States there is right now a tremendous possibility, because President Trump announced in his State of the Union address that he wants to fight for the full funding of the Artemis program: If you want to have lots of children and young people become astronauts, space scientists, and work on this perspective, you have to have an education system which goes with it, and you have to transform a lot of the children who are now in the condition you are describing, and actually get them in such a better condition; which is why we need a space CCC program [FDR’s Civilian Conservation Corps], which must absolutely focus on this unified, harmonized personality, because, as Krafft Ehricke said: It is never the technology which determines whether it’s good or bad; it’s always the human being, who uses the technology. So we have a tremendous job in front of us; I think the potential is absolutely there, but it needs a real studying of what must be such a humanist education. And I think this is what only our organization can bring into this fight.

 




Formand Tom Gillesbergs tale til Schiller Instituttets konference i Paris

Jacques Cheminade, LaRouche-bevægelsens leder i Frankrig og fhv. præsidentkandidat, og Tom Gillesberg på en tidligere konference.

Den 4. februar 2020 organiserede det franske Schiller Institut et meget vellykket seminar i Paris med titlen: “Dialog mellem Kulturerne eller Handelskrig: Frankrig ved en skillevej.” Tæt ved hundrede personer – kontakter, diplomater, foreninger, iværksættere og Kinaeksperter – fyldte lokalet på rådhuset i Paris’ 5. arrondissement. Såvel Schiller Instituttets internationale grundlægger og præsident Helga Zepp-LaRouche som formand for det danske Schiller Institut, Tom Gillesberg, sendte varme hilsner samt meddelelser til begivenheden.

Meddelelse fra Tom Gillesberg, formand for det Schiller Instituttet i Danmark:

Jeg er ked af, at jeg på grund af sygdom ikke kan være med jer i dag, men her er nogle tanker jeg gerne vil dele med jer.

I Danmark, og i resten af Skandinavien, har vi gennem de sidste par år set en voksende kampagne i medierne – og med støtte fra efterretningstjenester og regeringsinstitutioner – for at dæmonisere Kina, i lighed med, hvad der igennem nogen tid har været tilfældet for Rusland. Presset kommer fra USA og deres kontrollanter i Storbritannien, og udøves ofte gennem “soft power” ved at sprede historier om Kina såvel som Rusland der skal vise, at de er diktaturer, som man virkelig ikke kan stole på. På det seneste er dette set i den massive kampagne imod at lade det kinesiske firma Huawei, verdens førende leverandør af G5-teknologi, levere udstyret til det nye G5-netværk i Danmark og på Færøerne. Nogle prøver endda at bruge udbruddet af en ny form for koronavirus i Wuhan som et eksempel på, hvordan Kina og dets indflydelse verden over bringer os alle i fare.

Derfor besluttede Schiller Instituttet i Danmark i 2017 at imødegå denne voksende fjendtliggørelse med et projekt for en “Dialog mellem Kulturerne”. Sammen med venner, der var aktive i det dansk-russiske samfund, arrangerede vi en koncert, hvor vi havde klassisk musik og dans fra Rusland, Kina, Afrika, Indonesien og mange europæiske lande, for at vise, hvor berigede vi alle bliver ved at få adgang til alle disse andre nationers kultur. Kinas Kulturinstitut i København var også medsponsor, og arrangementet blev afholdt i det russiske Center for Videnskab og Kultur.

Koncerten var en stor succes. Vi havde en fuldt pakket sal, og på trods af at vi fik ekstra stole bragt ind, var vi nødt til at afvise mange der kom. Publikum blev imponeret og bevæget af mangfoldigheden og skønheden af bidragene ved koncerten. Især afsyngningen af en kinesisk folkesang af en kinesisk studerende sammen med Feride Istogu Gillesberg, vicepræsident for Schiller Instituttet i Danmark og hovedorganisator af begivenheden, betog publikum. Hvordan er det muligt, at en europæer kan synge på kinesisk og skabe så bevægende og smuk musik?

Siden dengang har vi haft yderligere to meget succesfulde koncerter, med fremtrædende og smuk deltagelse fra både russiske og kinesiske musikere, og musikere af høj kvalitet fra mange andre lande. Vi er blevet lovet, at den årlige koncert i 2020 kan finde sted i Kinas kulturcenters nyistandsatte faciliteter i København, som snart åbner.

Samtidigt har vi forsøgt at få information om Bælte- og Vej-Initiativet ud til offentligheden på enhver måde, vi kan. I København afholdt Schiller Instituttet et seminar sammen med ‘Confucian Business Institute’ ved CBS, og i Sverige har Schiller Instituttet samarbejdet om stiftelsen af BRIX, Bælte- og Vej-Instituttet i Sverige. BRIX har afholdt en række seminarer med pæn deltagelse fra akademikere og industrifolk, der er blevet adresseret i fællesskab af den kinesiske ambassadør og ledende medlemmer af BRIX og Schiller Instituttet. På samme tid har vi interveneret i mange møder og diskussioner om Kina, der finder sted  i Danmark og Sverige, for at sikre, at den rigtige historie om Bælte- og Vej-Initiativet – og nødvendigheden af at de vestlige landes aktivt deltager i dette store foretagende for menneskeheden – kommer ud, så de løgne og falske bagtalelser om det i ‘mainstream’ medierne bliver modsagt.

Som det ses med udbruddet af det nye koronavirus i Wuhan er der mange udfordringer, når man søger at løfte 1,4 milliarder mennesker ud af dyb fattigdom og at blive en moderne nation. På trods af fremragende nationalt lederskab, kan lokal inkompetence skabe store problemer. Men jeg er sikker på, at Kina vokser med udfordringen, og vi ser nu, at den kinesiske regering intet sparer for at besejre denne trussel imod menneskeheden bestående af sygdom og død.

Da den nationale regering først blev opmærksom på epidemien, handlede den hurtigt for at besejre den. Oplysninger om koronavirus blev hurtigt sendt ud over hele verden, og resten af verden kunne forsvare sig mod sygdommen på en måde, som den lokale regering i Wuhan undlod at gøre. Og forhåbentligt vil samarbejdet mellem Kina og medicinske forskningscentre i resten af verden snart føre til behandling og en vaccine. I mellemtiden yder Kina enorme menneskelige og økonomiske ofre for at få epidemien under kontrol, og udgør menneskehedens bolværk imod en verdensomspændende pandemi.

Forhåbentligt vil de enorme ressourcer, som nu indsættes i Kina, og med hjælp fra verdenssamfundet, bære frugt, og besejre den nye koronavirus. Og forhåbentlig bliver det et eksempel på, hvordan Kina og verden kan arbejde sammen om en endnu farligere dræber: fattigdom. Kina har vist, hvordan det har været muligt at løfte 850 millioner kinesere ud af dyb fattigdom. Og med Bælte- og Vej-Initiativet har de igangsat det største udviklingsprojekt, som menneskeheden nogensinde har set. Vi behøver fuldt internationalt samarbejde for at sikre sejr over fattigdom overalt i verden, ved at anvende videnskabeligt og teknologisk fremskridt til først at etablere den nødvendige infrastruktur, og derefter den nødvendige industrielle udvikling, til at løfte hele menneskeheden ud af fattigdom.

Men hvis Danmark og andre vestlige lande skal deltage i disse, for menneskeheden nødvendige tiltag, må vi først besejre det mentale angreb, der finder sted imod befolkningens sindelag. Kina og Rusland er ikke vores fjender, men er vores vigtige samarbejdspartnere i sikringen af den bedst mulige fremtid for hele menneskeheden. Lad os derfor erstatte den kunstigt skabte frygt og splittelse med en dialog mellem kulturerne, og lad os alle deltage i Bælte- og Ve-Initiativet. Så vil vi se en verdensomspændende renæssance af de bedste bidrag fra alle de forskellige kulturer, og vi vil se en eksplosion af menneskelig kreativitet og udvikling, der ikke alene forvandler livet på Jorden, men også vores solsystem, og det der ligger derudover, når vi får ubegrænset billig energi på Jorden ved at høste helium-3 på Månen og bruge det til fusionsenergi, som kineserne har tænkt sig at gøre.

Se på ‘Verdens-Landbroen’. Dette er det levende billede af de smukke ord, som vi hører i Beethovens 9. symfoni:

Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt!
Brüder! über’m Sternenzelt
muss ein lieber Vater wohnen.

Vær omfavnede, millioner!
Dette kys til hele verden!
Brødre, over stjerneteltet
må der bo en kærlig far.

Og den kærlige far bliver realiseret gennem vores handlinger; mænds og kvinders handlinger for at forandre verden til det bedre.




Kinesisk nyhedsagentur Xinhua skriver om vores koncert
“En Musikalsk Dialog mellem Kulturer”

31. januar 2020 — Vi har lige erfaret, at det kinesiske nyhedsagentur Xinhua skrev om vores koncert “En Musikalsk Dialog mellem Kulturer”, som fandt sted den 29. november 2019. Koncerten blev arrangeret af Schiller Instituttet, Russisk-Dansk Dialog, Det Russiske Hus og Det Kinesiske Kulturcenter i København.

Her er et link til koncertsiden med videooptagelsen og programmet: EN MUSIKALSK DIALOG MELLEM KULTURER den 29. november 2019

Her er billeder og Google-oversættelser af dækning på:

  1. Xinhuas hjemmesiden
  2. MSN’s kinesiske hjemmeside
  3. www.dzwww.com fra Shandong, Konfutses hjemby.

I bunden findes den kinesiske tekst.

1. Xinhuanet:

 

Bælte og Vej koncert i København. Anmeldelse
Xinhua News Agency, København, den 29. november (Reporter Lin Jing) Koncernen “Bælte og Vej, Tvær-kulturel Dialogue” blev afholdt den 29. i det Russiske Videnskabs- og Teknologicenter i København, Danmark. Dusinvis af musikere fra Kina, Rusland, Polen, Danmark, Schweiz og andre lande præsenterede i fællesskab en “musikalsk fest”, der kombinerede kinesiske og vestlige kulturer og multikulturel kollision.
  Koncerten blev arrangeret i fællesskab af Københavns Kinesiske Kulturcenter, det tyske Schiller-Institut og det Russiske Kultur- og Videnskabskulturcenter. Det viste charmen ved kunstnerisk fusion skabt af den multikulturelle kollision på Silkevejen, hvilket gjorde det muligt for publikum at sætte pris på essensen af ​​forskellige kulturer i øst og vest.
  Den indre mongolske folkesang “Hong Yan” udført af den kinesiske unge violinudøvende kunstner Zhang Kehan ​​og den polske pianist Dominic Wizjan erobrede publikets hjerter. Et russisk publikum sagde: “Jeg føler nostalgi i denne sang. Violinfortolkningen er så eufemistisk, lang, smuk og virkelig underholdende.”
  Derudover fremførte det danske Confucius Conservatory of Music to kinesiske folkesange, “Dunhuang” og “Jiangnan Love Charm”, så publikum kunne opleve de forskellige regionale skikker i det nordvestlige Kina og Jiangnan. Publikum rapporterede varm bifald og kaldte det endda “fremragende og smukt!”
  Zhang Li, direktør for Københavns Kinesiske Kulturcenter, sagde, at dette er tredje år i træk, at der er afholdt en “interkulturel dialog” -koncert i Danmark. Københavns kinesiske kulturcenter er villig til at samarbejde med lokale kulturinstitutioner for at fremme udveksling og dialog mellem forskellige kulturer og fremme sund fornuft blandt folk.
2. MSN’s kinesiske hjemmeside.
 
(XHDW) Interkulturel dialogkoncert i København
Den 29. november i København, Danmark, fremførte lærere og studerende fra Confucius Conservatory of Denmark kinesisk folkemusik på koncerten “Belt og Vej, Tværkulturel Dialog”.
Koncerten “Belt og Vej, Tværkulturel Dialog” blev afholdt den 29. i det russiske videnskabs- og teknologicenter i København. Dusinvis af musikere fra Kina, Rusland, Polen, Danmark, Schweiz og andre lande præsenterede i fællesskab en “musikalsk fest”, der kombinerede kinesiske og vestlige kulturer og multikulturel kollision.
Foto af Xinhua News Agency reporter Lin Jing
3. www.dzwww.com, som er fra Shandong, Konfutses hjemby.
Teksten er den samme som den første artikel på Xinhuas hjemmeside.
Her er den kinesiske tekst:
跨文化对话音乐会在哥本哈根举行
2019-11-30 10:00:47 来源: 新华网

新华社哥本哈根11月29日电(记者林晶)“一带一路·跨文化对话”音乐会29日在丹麦首都哥本哈根俄罗斯科技文化中心举行。来自中国、俄罗斯、波兰、丹麦、瑞士等国的数十位音乐家联袂奉献了一场中西合璧、多元文化碰撞的“音乐盛宴”。

音乐会由哥本哈根中国文化中心联合德国席勒学会和俄罗斯科技文化中心联合举办,展现了丝绸之路上多元文化碰撞下产生的艺术融合魅力,让观众们领略到东西方不同文化的精粹。

中国青年小提琴表演艺术家张可函与波兰钢琴家多米尼克·维子扬共同演绎的内蒙古民歌《鸿雁》征服了现场观众的心。现场一名来自俄罗斯的观众说:“我感受到了这首曲子中浓浓的乡愁,用小提琴演绎显得那么委婉悠长,很美,真的很享受。”

此外,丹麦孔子音乐学院演奏的两首中国民乐《敦煌》和《江南情韵》让观众体验到了中国西北与江南地区的不同地域风情。现场观众报以热烈掌声,连称“精彩、太美了!”

哥本哈根中国文化中心主任张力说,这是连续第三年在丹麦举办“跨文化对话”音乐会。哥本哈根中国文化中心愿同当地文化机构携手共同推动不同文化间的交流对话,促进各国间的民心相通。

 




Dansk oversættelse: Grænsen for det rimelige er endegyldigt overskredet:
Et åbent brev i Beethovenåret til dem, der holder af klassisk musik
af Helga Zepp-LaRouche

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Om den manglende evne til at komponere musik.

Et åbent brev i Beethoven-året til de tyskere (og andre), der holder af klassisk musik:

Menneskehedens værdighed er givet i jeres hånd, Bevar den!
Den synker med jer! Med jer vil den sig hæve.
      – Friedrich von Schiller

Det første man kan sige om opførelsen af Beethovens Fidelio på Staatstheater Darmstadt i en iscenesættelse af Georg Dittrich og en musikalsk bearbejdelse af finalen ved Anette Schlünz er: Den er mere end elendig. Fuldstændig elendig ud fra et musikalsk, et kunstnerisk, et filosofisk og et menneskeligt synspunkt. I en lang række af stupide, smagløse, gentagne opførelser af regiteater, sådan som de er blevet fremført i over et halvt århundrede(!) – først indskrænket til teateret, men i nogle år også overført til operaen – var denne opførelse det absolutte lavmål.

Da Hans Neuenfels i sommeren 1966, som en 25 år gammel instruktør på teateret i Trier, lod et flyveblad omdele for at annoncere den »første happening i Rheinland-Pfalz«, hvor han også fremsatte spørgsmålet: »Hvorfor misbruger De ikke småpiger?« var han helt i overensstemmelse med 68-ernes overbevisninger, sådan som man senest så det hos Cohn-Bendit. Siden da – efter 53 år – parrer forskellige nøgne mennesker, rockere, skizofrene eller nazi-klædte sig på scenerne og har med stor succes forvrænget de klassiske digteres og komponisters værker til ukendelighed. Originalitet er noget helt andet.

Darmstadt-teaterets Fidelio-opførelse præsenterer ikke blot et multimedie-miskmask af æstetiske smagløsheder, fremmedgørelseseffekter i Brechts stil og en overlejring af de musikalske scener i den første del med et lærred, der optager hele scenen, og hvorpå der projiceres billeder og filmudsnit, der skal illustrere den tidsmæssige baggrund for de otte opførsler, der har fundet sted fra 1805 til i dag. Det samlede indtryk er kaotisk, man får ondt af de sangere, der må synge imod dette sønderskårne flimmer, som for eksempel Leonore, der hele tiden må løbe rundt på scenen som en hovedløs høne.

Men den virkelige monstrøsitet finder sted i den anden del, hvor finalen, operaens storslåede frihedshymne, sønderhakkes af Anette Schlünz af kompositioner i den nye musikalske stil. Schlünz beskriver sine komponerede indskydelser på følgende måde i programhæftet:

»Lidt efter lidt opstår der sådant et »Heil-kor«, der delvist forstummer, eller hvor kun enkelte stemmer eller ord bliver stående. Flere gange radikaliserer jeg også Beethovens instrumentering for at forstærke hans ideer yderligere, eller jeg gentager enkelte takter og stopper så pludselig. Det var et meget stort ønske hos mig at indflette fremmede klange og indfarve
musikken forskellige steder. Den trompetfanfare, der lyder allerede ved forestillingens begyndelse fra statsteaterets balkon, tager jeg op og udvider: Det er det signal, der giver tegn til opbrud. Enkelte instrumenter og musikere falder så at sige ud af orkesterklangen og bringer derved noget nyt ind i den.

Ensemblestykket i F-dur – et fantastisk stykke musik med en ophøjethed og harmoni, som jeg ikke ville vove at røre ved – lader jeg derimod stå uberørt som en ædelsten. Det følgende mellemspil med min musik, hvor forskellige klange, inklusive otte kvindelige sangeres røster sendes ud i rummet, bryder Beethovens klangverden fuldstændigt op.«

Fra de maltrakterede tilskueres synspunkt havde Schlünz’s indskudte brag, hvor sangerne og musikerne udbasunerede deres øredøvende larm midt blandt publikum og fra alle sider, ikke mere det ringeste med musik at gøre: Grænsen til legemsbeskadigelse var entydigt overskredet.

Hvor stærkt følelsesmæssigt forstyrret Schlünz er, fremgår tydeligt af hendes næste sætninger:

»Når jeg har lyttet, har jeg ofte forestillet mig, at jeg sad ved tangenterne på en mikserpult og skruede hastigheden yderligere op. Og der ville jeg ganske enkelt tillægge Beethoven den ide, at han under kompositionen næsten havde til hensigt at drive musikken over gevind. Det er en rigtig jubelmaskine! Det minder mig om børn, der overreagerer fuldstændig af begejstring, fordi de ikke ved, hvordan de skal styre deres følelser.«

Hvis der er noget der er overreageret her, så er det den ynkelighed, Schlünz demonstrerer her, hendes følelsesmæssige impotens til at begribe det ophøjede ved kærlighedens sejr mellem Leonore og Florestan. Endvidere kan hun øjensynligt ikke udstå denne storhed; hendes forestilling om at skrue musikkens hastighed op ved hjælp af en mikserpult, er det samme ukontrollerede tab af besindelse, som Ibykus’s mordere forråder sig selv med, efter at Erinyernes kor har påkaldt poesiens højere magt i teateret i Korinth. Små, tarveligt tænkende sind kan hverken udstå store ideer eller ophøjede følelser.

Den storslåede finale i Fidelio, hvor Beethoven hylder tyranniets overvindelse ved modet i ægtefællernes kærlighed, er udtryk for den ædleste humanitet, hvor kærlighed, mod og frihedsvilje finder deres musikalske udtryk. I Leonores arie siges der forinden: »Jeg vakler ikke, vort ægteskabs kærlighedspligter styrker mig.« Beethoven valgte operaens stof: en vellykkede idealisering, i Schillers ånd, af en historisk begivenhed: markis de La Fayettes, Den amerikanske Frihedskrigs og de franske republikaneres helts, befrielse fra fangenskabet ved hans hustru Adrienne. Deri kommer Beethovens eget republikanske sindelag til udtryk, hvilket under datidens feudale strukturer og Napoleons felttog krævede personligt mod.

Sådanne dybt menneskelige følelser er ikke længere tilgængelige for det ødelagte følelsesliv hos Frankfurterskolens repræsentanter og den liberale tidsånd. Teaterinstruktøren Paul-Georg Dittrich sagde på afslørende vis i sit interview i programhæftet, at finalen forekommer ham »som en fejring, hvor man ikke engang ved, hvad der egentlig bliver fejret«. Selvom Dittrich og Schlünz ikke ved det, betyder dette under ingen omstændigheder, at de også har retten til at ødelægge denne tilgang for almindelige mennesker gennem dekonstruktionen af Beethovens komposition.

I ånden af Kongressen for Kulturel Frihed

Men præcis dette var fra begyndelsen hensigten med de forskellige strømninger, i hvis tradition Dittrich, Schlünz og hele Darmstadt-produktionen befinder sig – et sammensurium fra Adorno, Eisler-Brecht-skolen og Kongressen for Kulturel Frihed. Med et bemærkelsesværdigt stænk af sandfærdig reportage, berettede FAZ den 12. november 2017 i artiklen »CIA og kulturen: Hvordan man stjæler de store ord« om en udstilling i forbindelse med det 50-årige jubilæum for skandalen, der i 1967 blev offentliggjort, at hele den gigantiske operation fra Kongressen for Kulturel Frihed var en CIA-finansieret operation, der var en del af Den kolde Krig. Og dertil, for FAZ, den nærmest sensationelle tilståelse om det hele: »Den foruroligende pointe, at efterretningstjenesten ikke blot fremmede en ondskabsfuld reaktion, men at de derigennem hjalp med denne venstreliberalismes gennembrud, hvilket til den dag i dag har skabt de vestlige intellektuelles mainstream-standard.«

Darmstadts Fidelio-produktion er til en hvis grad endemorænen af denne proces. Det begyndte med forandringen af den amerikanske efterkrigspolitik. Efter Roosevelts utidige død, under hvis ledelse USA i 2. verdensskrig var allieret med Sovjetunionen i kampen mod fascismen, havnede den intellektuelt væsentlig mindre Truman hurtigt under Churchills indflydelse. Med sin berygtede Fulton-tale den 5. marts 1946 indledte han Den kolde Krig. Dermed fik forløberne til de elementer i det amerikanske sikkerhedsapparat, som Eisenhower, der refererede til dem som det militærindustrielle kompleks, advarede om, og som i dag ofte kaldes for den »dybe stat«, overhånden.

Den nu proklamerede kolde krig krævede, at de dybe følelser, der gennem krigsoplevelsen bandt amerikanere og russere sammen, og som fandt sit højdepunkt ved Elben i Torgau, måtte erstattes af anti-russiske følelser. Der måtte stilles et nyt fjendebillede op, og det samlede aksiomatiske tankesæt i befolkningen måtte forandres. For USA betød dette at forandre de grundantagelser, der havde bidraget til at støtte Roosevelts politik. For Europa, og specifikt for Tyskland, måtte den europæiske humanistiske kulturs rødder, som var den kulturelle identitet, der lå på den anden side af tolv års skrækherredømme, ødelægges, og erstattes gennem en konstruktion – dekonstruktionen af den klassiske kultur.

Instrumentet, der blev skabt til dette formål, var Kongressen for Kulturel Frihed (CCF), et gigantisk program af psykologisk krigsførelse, som udførtes af Allan Dulles’ efterretningskredse under ledelse af Frank Wisner – den datidige chef for udenrigsministeriets kontor for politisk koordination. Senere blev CCF flyttet til afdelingen for skjulte operationer. Operationen varede officielt fra 1950 til 1967, hvor New York Times, den 27. april 1967 offentliggjorde, at CCF var en CIA-operation – en afsløring der udviklede sig til det 20. århundredes største skandale. CCF var aktiv i 35 lande, udgav 20 magasiner, og faktisk talt styrede CIA hver eneste kunstudstilling og kulturel begivenhed. I Europa var der på dette tidspunkt så godt som ingen forfatter, musiker, maler, kritiker eller journalist, som ikke i en eller anden udstrækning stod i forbindelse med dette projekt – nogle gange bevidst, andre gange uden nogen som helst anelse.

Disse kulturprojekters orientering var i væsentlige træk de samme, som dem fra Frankfurterskolen, hvis ledende repræsentanter var i eksil i USA under den nationalsocialistiske periode, og var dér delvist hyret af den amerikanske efterretningstjeneste, som f.eks. Herbert Marcuse og andre. I hvert fald passede Frankfurterskolens syn perfekt i CCF’s program. Theodor Adorno havde f.eks. den absurde og uvidende opfattelse, at Friedrich Schillers idealisme havde ført direkte til nationalsocialismen, fordi den havde indtaget et radikalt standpunkt. Derfor var det nødvendigt at fjerne skønheden fuldkommen fra kunsten. I sin afhandling »Kulturkritik og samfund«, skrevet i 1949, toppede hans misantropiske synspunkt i den ofte citerede sætning: »Efter Auschwitz er det barbarisk at skrive et digt.«

I Darmstadt er her heller ikke noget nyt under solen: I programhæftet til Fidelio-opførelsen udtrykker George Steiner præcis denne samme mening: »Er det muligt, at der i den klassiske humanisme selv, i sin tilbøjelighed til den abstrakte og æstetiske værdibedømmelse, findes et radikalt svigt? Er det muligt, at massemord og dennes ligegyldighed overfor det vederstyggelige, som hjalp nazismen på sin vej, ikke er civilisationens fjender eller negationer, men dennes hæslige, men naturlige, medskyldige?«

Hvad der her meget tydeligt udtrykkes, er præcis CCF’s psykologiske krigsførelse, styret af CIA, som skulle udslukke den humanistiske identitet i den tyske befolkning til fordel for en anglo-amerikansk kulturel værdiskala.

Et spørgsmål om menneskesyn

For nu at understrege det en gang til: Der er ingen større modsigelse end den, der findes mellem humanismens ophøjede menneskesyn og den klassiske kunst og nationalsocialismens barbariske menneskesyn. Det klassiske menneskesyn betragter mennesket som principielt godt, som det eneste fornuftsbaserede væsen, der, gennem den æstetiske opdragelse, kan fuldkommengøre sit medfødte potentiale til et harmonisk hele, til en skøn karakter, som Wilhelm von Humboldt udtrykker dette. De klassiske kunstværker i digtningen, i billedkunsten og i musikken fejrer denne skønne menneskehed og er selv igen inspirationen for læsernes, tilskuernes og tilhørernes kreative evner.

I modsætning hertil er nationalsocialisternes menneskesyn, med dens ‘blod-og-jord’-ideologi, baseret på en racistisk, chauvinistisk og socialdarwinistisk opfattelse af den »ariske« races overlegenhed. At hævde at der er en indre forbindelse mellem disse diametralt modsatte ideer, blot fordi begge fænomener – klassicismen og nationalsocialismen – fandt sted i Tyskland, er lige så absurd som at hævde, at den amerikanske forfatning direkte gav anledning til Bush- og Obama-administrationernes interventionskrige, eller at Jean d’ Arcs (Jomfruen fra Orleans) overbevisninger var grundlaget for den franske kolonipolitik. Påstanden kom faktisk fra CIA’s djævlekøkken, og har senest siden CCF’s tid indeholdt sådanne »opskrifter« som »nødvendige løgne« og »urokkelige benægtelser«. I den seneste periode har verden igen været udsat for en rigelig dosis af dem i det igangværende kup mod præsident Trump, gennem den britiske efterretningstjeneste i samarbejde med den »Dybe Stat«.

Et af de vigtigste spørgsmål her, er spørgsmålet om, hvordan det var muligt at gå fra de tyske klassikeres ideal til nazi-styrets afgrund. For at besvare det er man nødt til at overveje hele idéhistorien fra Romantikkens angreb på Klassicismen og den deraf afledte opløsning af den klassiske form, til starten af kulturpessimismen, der startede med den konservative revolution som reaktion på ideerne fra 1789 og den politiske genoprettelse [restoration] under Wiener-Kongressen, og frem til Schopenhauer og Nietzsche, ungdomsbevægelsen forud for Første Verdenskrig og endelig Første Verdenskrig og dens konsekvenser.

Fremkaldelsen af kulturpessimisme

Fremkaldelse af kulturpessimisme var også målet for diverse CCF-musikprojekter. I 1952 afholdt CCF en månedslang musikfestival i Paris med titlen: »Mesterværker i det 20. århundrede«, hvor over 100 symfonier, koncerter, operaer og balletter af mere end halvfjerds af det 20. århundredes komponister blev opført. Boston Symfoniorkester, der kom til at spille en ledende rolle i andre CCF-projekter, åbnede festivalen med en højst mærkværdig opførelse af Stravinskys »Sacre du Printemps« (»Forårsritual«). Andre stykker blev fremført af de »atonale« komponister som Arnold Schoenberg (en af Adornos lærere) og Alban Berg samt Paul Hindemith, Claude Debussy og Benjamin Britten, for blot at nævne nogle enkelte. Til udbredelse af atonal og tolvtonemusik fulgte yderligere konferencer i Prato og Rom, konferencer, som udelukkende blev tilegnet avantgardemusik. Ved alle disse velfinansierede begivenheder blev det taget for givet, at alle skulle foregive at nyde den hæslige musik.

Ved »Darmstadts Sommerkurser for Ny Musik«, der også blev støttet af den amerikanske militærregering og CCF, optrådte Schoenberg, Anton Webern og Béla Bartók. Foredragsholdere som Adorno, Olivier Messiaen og John Cage holdt foredrag om deres musikteori. I en officiel anmeldelse af disse kurser skrev Ralph Burns – leder af USA’s militærregerings kontor for Kulturanliggender – »Review of Activity«:

»Der var generel enighed om, at meget af denne musik var værdiløs, og ville været bedst tjent med ikke at blive spillet. Overvægten af tolvtonemusik blev beklaget. En kritiker beskrev koncerterne som »en triumf for dilettanteri«.«

Pointen her er ikke at forhindre nogen i at komponere eller lytte til atonal eller tolvtonemusik eller andre former for avantgardemusik. Hver person har sin egen smag. Pointen er, at ideen om ligeværdighed af alle toner i den ‘tempererede’ kromatiske skala massivt begrænser de langt højere frihedsgrader, der flyder fra den polyfoniske, harmoniske og kontrapunktiske komposition, som den blev udviklet af Bach, Haydn, Mozart, Beethoven, Schubert, Schumann og Brahms. Det eliminerer tvetydigheden forbundet med noderne og forholdet mellem tonearterne og muligheden for harmonisk »forvekslinger«: »Motivführung« er en form for komposition, der ud fra en enkelt musikalsk idé udvikler yderligere temaer, bevægelser og til sidst hele kompositionen. Denne kompositionsteknik blev – som det blev uddybet og grundigt demonstreret i forskellige mesterklasser af Norbert Brainin, førsteviolinist i Amadeus-kvartetten – udviklet til højere kompleksitet og perfektion gennem værker som Haydns »russiske« kvartetter Op. 33, til Mozarts »Haydn«-kvartetter og derefter til Beethovens sene kvartetter.

I betragtning af de højder, som klassisk komposition opnåede med Beethoven, repræsenterer den såkaldte moderne musik – og der findes uden tvivl også gode moderne kompositioner – hvis den kaster disse principper ud af vinduet, en tilbagegang der kan sammenlignes med at reducere et anti-entropisk univers i stadig udvikling og med to billioner hidtil kendte galakser, til en flad Jord.

Klassisk musik forædler

Så godt som alle virkelig kreative mennesker, fra Confucius (Kongfutse) til Albert Einstein, anerkendte og brugte virkningerne af god eller klassisk musik til at fostre deres egne kreative evner og befolkningens æstetiske uddannelse. Confucius bemærkede med rette, at et lands tilstand kan aflæses i kvaliteten af dens musik. Fordybelse i værkerne af de store klassiske komponister åbner op for den dybeste adgang til de kreative evner i menneskets sjæl og ånd. Hvor ellers, hvis ikke i klassisk musik, kan man styrke og uddybe den passion, der er nødvendig for at se ud over ens egne bekymringer og beskæftige sig med menneskehedens store spørgsmål? Eller hvor kan man uddanne den sensibilitet, der er nødvendig for at imødekomme Schillers krav, som det blev sagt i hans tale om universel historie:

»Der skal gløde en ædel længsel i os for, ud fra egne ressourcer, at tilføje vores bidrag til den rige arv af sandhed, moral og frihed, som vi har modtaget fra tidligere tider, og som rigt forøget skal overleveres til de kommende tidsaldre; og til denne umådelige kæde, der snor sig gennem alle menneskets generationer, at fæstne vores egen flygtige eksistens.«

Det er netop denne følelsesmæssige kærlighed, som det kommer til udtryk i finalen af Fidelio, kærlighed til ens ægtefælle, kærlighed til menneskeheden og ideen om nødvendigheden af frihed, ideen om at udføre ens pligt med lidenskab og derved at blive frie, at Schiller definerer de ideelle kvaliteter af geniets smukke sjæl. Det er indbegrebet af hele klassicismens æstetiske metode og i særdeleshed Friedrich Schillers: »Det er gennem skønhed, at man opnår frihed.«

Det er imidlertid netop dette frihedsbegreb, som blev angrebet af tilhængere af det moderne regiteater, disharmonisk musik og postmoderne dekonstruktion, da det, snarere end frihed, går imod deres liberale forestilling om »frihed«.

Derfor dykker de uhæmmet ned i kassen med mølkugler og fremmedgørende effekter a lá Bertolt Brecht: afbrydelser, filmklip, bannere, kameraer, der rettes mod publikum osv., for at »chokere« seerne ud af deres vante lytte- og tænkevaner. Hvad der kom ud af det i Darmstadt var en blanding af »Clockwork Orange« (den voldsomme [filmiske] gru fra Stanley Kubrick, ledsaget af Beethovens niende symfoni), og så popstjernen Helene Fischers intellektuelle dybde. Når Helene Fischer iført et rødt latex-antræk og med orgastiske bevægelser skriger sin sang ud, »Can you feel the love tonight?« til et betaget publikum, er det omtrent lige så subtilt, som hvis spørgsmålet »rører det dig?« skulle lyse op på scenen med store neonbogstaver under hele finalen af Fidelio. Instruktøren Dittrich mener naturligvis, at det intellektuelt udfordrede publikum skal vækkes med en vognstang. Dertil kom så det tidligere nævnte bombardement af øredøvende støj fra instrumentalisterne og kormedlemmerne spredt rundt omkring i operahuset.

Publikum udtrykte sin taknemmelighed med en pligtskyldig mini-applaus. Hvis målet med iscenesættelsen var at indkalde publikum til politisk handling i nuet eller at udbrede moderne musik til et »bredere publikum« (Dittrich), må man i begge tilfælde sige: Missionen mislykkedes. Den (for tysktalende) velkendte »Hurz«-sketch fra Hape Kerkeling (tysk komiker f. 1964, red.) beskriver ganske passende reaktionen fra de fleste tilskuere, der tilsyneladende gennem alt for lang tid er blevet vænnet til de uhyrlige krav fra regiteater og CCF’s kulturkrig, som stadig pågår.

Endelig er det på sin plads med et citat fra Alma Deutscher, der virkelig kan komponere: »Hvis verden er så grim, hvorfor skal vi så gøre den endnu grimmere med grim musik?«

Før eksemplet med Annette Schlünz efterfølges og andre klassiske musikkompositioner »skændes« i Hans Neuenfels ånd, bør denne anmeldelse tjene til at starte en debat i Beethovenåret om, hvordan man kan forsvare klassikerne mod sådanne overgreb.

Fejring af Beethovenåret

Dette Beethovenår, som vil byde på opførelser af mange af mesterens kompositioner, ikke kun i Tyskland, men over hele verden, giver os en vidunderlig mulighed for at huske på vores bedre kulturelle tradition i Tyskland, til at modstå det moralske forfald i de forgangne årtier, og til, ved bevidst at lytte til Beethovens musik, at finde den indre styrke i os selv, til at levendegøre vores egen kreativitet.

Verden befinder sig nu midt i en epokegørende forandring, hvor æraen domineret af de atlantiske lande klart er ved at slutte, og hvor fokus for udvikling skifter til Asien, hvor der er mange nationer og folk, som er meget stolte af deres civilisationer, og som nærer deres klassiske kultur. Nogle af disse civilisationer er mere end 5.000 år gamle. Hvis Europa har noget at bidrage med i en humanistisk ånd til at forme det nye paradigme, der fremkommer i verden, er det vores højkultur fra renæssancen og klassicismen.

Mange videnskabsmænd, kunstnere og folk over hele verden, der sætter pris på Tyskland, har i nogen tid undret sig over, hvad der er galt med tyskerne, siden de har distanceret sig så meget fra at være et folk af digtere og tænkere. Hvis vi tillader Beethovenåret at blive spoleret, vil Tyskland sandsynligvis blive afskrevet for altid som en kultiveret nation.

Yderligere diskussion om dette emne er nødvendig og hilses velkommen.
Skriv din kommentar til: si@schillerinstitut.dk

Del gerne artiklen:
www.schillerinstitut.dk/si/2020/01/beethoven-fidelio-artikel/

Læs også: ‘Alle mennesker bliver brødre’:
Den årtierlange kamp for Beethovens niende Symfoni, af Michelle Rasmussen

 

Her er den engelske udgave af Helga Zepp-LaRouches artikel:

Download (PDF, Unknown)

Her er den oprindelige tyske udgave:

Von der Unfähigkeit, Musik zu komponieren

Ein Offener Brief an die Klassikliebhaber Deutschlands im Beethoven-Jahr:
Die Grenze des Zumutbaren ist endgültig überschritten!

 




Trump imødegår grønne fascister i Davos med renæssance-optimisme.
Schiller Instituttets ugentlige webcast med Helga Zepp-LaRouche d. 22 januar 2020

Alt imens 190 milliardærer og deres lakajer i erhvervsliv og institutioner er forsamlet i Davos og presser på med en grøn fascistisk dagsorden, greb den amerikanske præsident Trump ind med et anderledes sæt af grundregler. Mens hans tale fremprovokerede hysteri, hvor nogle beskyldte ham for “meningsløs optimisme”, priste han Firenzes borgere, der handlede med fantasi og dristighed ved bygningen af den store kuppel – en bedrift, som Lyndon LaRouche ofte omtalte som et eksempel på ånden i menneskelig kreativitet og engagement i fremskridt, der resulterede i renæssancen – og understregede dermed atter, hvorfor oligarkiet er opsat på at afslutte hans præsidentskab.

Helga dækkede en række emner, fra krigsfaren til den stigende sandsynlighed for et økonomisk sammenbrud, og vendte tilbage til nødvendigheden af et hastetopmøde mellem de tre præsidenter som et skridt i retning af et nyt paradigme for at overvinde farerne. Hun opfordrede tilhørerne til at slutte sig til os for at ændre dagsordenen, med henblik på at bringe menneskeheden tilbage til videnskab og kultur for at imødegå krig og ødelæggelse. Udnyt muligheden i dette jubilæumsår for Beethoven til at opdage den sande skønhed i den menneskelige kultur.

 




Hele koncerten: EN MUSIKALSK DIALOG MELLEM KULTURER den 29. november

Se også en video trailer 6 min.:

Download (PDF, Unknown)

Arrangører: Schiller Instituttet, Russisk-Dansk Dialog,
Det Russiske Hus og Det Kinesiske Kulturcenter

EN MUSIKALSK DIALOG
MELLEM KULTURER

Gratis adgang
29. november 2019 kl. 19

Russisk Center for Videnskab og Kultur
Vester Voldgade 11, København, ved Rådhuspladsen

Medvirkende: Musikere fra Kina, Rusland, Albanien, Poland, Sverige og Danmark (se billedet)

Også: DANMARK: SCHILLER INSTITUTTETS KOR

I en tid, hvor der er alt for meget politisk splid i verden, og verdens lande i stedet burde arbejde sammen om menneskehedens fælles mål, er det ekstra vigtigt, at vi på alle måder bygger bro mellem verdens nationer og de mange forskelligartede kulturer. Når vi oplever det skønne i andre kulturer, skaber det gensidig forståelse og et grundlag for samarbejde og fred. Klassisk kunst er derfor en vigtig nøgle til en sådan dialog mellem kulturer, og det er grunden til, at vi afholder denne koncert!

Info: 25 12 50 33, 53 57 00 51 si@schillerinstitut.dk




Video og afskrift: Fejring af Berlin murens fald og Friedrich Schillers fødselsdag.
Konference i NYC med Helga Zepp-LaRouche som hovedtaler den 11. november 2019 (på engelsk)

A Three-Fold Anniversary
Address by Helga Zepp-LaRouche (Se afskriftet nedenunder)

Excerpt from video: “The Lost Chance of 1989”
Schubert/Schiller: Die Hoffnung
Michelle Erin, soprano – Margaret Greenspan, piano – Elliot Greenspan, speaker

Schubert/Schiller: An Emma
John Sigerson, tenor – Margaret Greenspan, piano

Shakespeare: Luciana’s Monologue from Comedy of Errors, Act 3, Scene 2
Leah DeGruchy

Max Caspar on Kepler as a Philosophical Mind
John Sigerson

Schiller: “Die Teilung der Erde”
Frank Mathis

Schubert/Schober: “An die Musik”
Lisa Bryce, soprano – Richard Cordova, piano

Download (PDF, Unknown)




Alle fire paneller: Schiller Instituttets konference i Tyskland forener folk med god vilje til
at skabe et nyt paradigme

Panel 2:

Panel 3:

Panel 4:

Den 17. nov. (EIRNS) – To begivenheder i den forgangne uge demonstrerer de to modsatrettede fremtider, som menneskeheden står overfor i dag. I Washington er den skandaløse og selvklart svigagtige rigsretsundersøgelse, der ledes af demokraterne og de korrupte efterretningsfolk og embedsmænd, som sidder tilbage efter George Bush’ og Barack Obamas mislykkede præsidentskaber – alt imens de keder de fleste amerikanere, ude af stand til så meget som at nævne hvilken forbrydelse der undersøges – ikke desto mindre en farlig fortsættelse af kupforsøget mod USA’s præsident; et kupforsøg, der hidrører fra den britiske efterretningstjeneste og deres nynazistiske allierede i den tidligere ukrainske regering. Med mindre dette kup afværges, vil det så godt som givet føre til verdenskrig på kort sigt. Samtidigt afholdtes Schiller Instituttets internationale konference med deltagelse af over 300 ”nationale patrioter og verdensborgere” (som Schiller definerede ægte statsborgerskab). Under titlen: “The Future of Humanity as a Creative Species in the Universe” (Menneskets Fremtid som Kreativ Art i Universet) var konferencen viet til mindet om Lyndon LaRouches levende ideer. Alt imens hovedtalen blev holdt af grundlægger og præsident for Schiller Instituttet, Helga Zepp-LaRouche, inkluderede rækken af talere:

* Wang Weidong, ministerrådgiver, direktør for handels- og handelsafdelingen ved den kinesiske ambassade i Tyskland, om ”Potentialet for den Nye Silkevej for Europa”;

* Natalia Vitrenko, doktor i økonomisk videnskab, leder af det progressive socialistiske parti i Ukraine, tidligere parlamentsmedlem, Ukraine, om “LaRouches Videnskab om Fysisk Økonomi som nøglen til at løse verdens problemer, Eurasien og Ukraine”;

* Professor Andrei Ostrovskii, vicedirektør for Institut for Fjernøsten Studier ved Det Russiske Videnskabelige Akademi, om “Rusland i det kinesiske Bælte-og Vejinitiativ: Muligheder og udsigter”;

* Jozef Miklosko, tidligere vicepremierminister i Tjekkoslovakiet, om “LaRouche og videnskab”;

* Theo Mitchell, tidligere delstatssenator i South Carolina, om LaRouche, “manden, der skulle have været præsident for De Forenede Stater”;

* Nino Galloni, tidligere generaldirektør for budget- og arbejdsministerierne, Italien, om “Fædreland, nation og stat som set af progressive katolikker og af Lyndon LaRouche.”

Der blev endvidere holdt taler af andre medlemmer og venner af Schiller Instituttet fra U.S.A. Grækenland, Frankrig, Irak og Libanon. En koncert med musik af Beethoven, Schumann og Schubert blev afholdt på den første aften af todages begivenheden; koncerten var viet til mindet om Lyndon LaRouche.

Fru Zepp-LaRouche indfangede i hendes bemærkninger de afgørende aspekter af hendes afdøde mands ideer, der er nødvendige for, at nutidens ”verdensborgere” kan overvinde den permanente krigsførelse, kulturelle nedbrydning og det endelige sammenbrud af verdens finansielle system, som vi nu står overfor, og skabe et nyt paradigme baseret på en global renæssance af kunstnerisk og videnskabelig kreativitet:

”Det er absolut enestående for LaRouche, at han demonstrerer overgangen mellem relativistisk fysik og kreativiteten i det menneskelige sind som sådan, og forbindelsen mellem dette domæne og klassiske former for kunst og statsmandskunst. Lyn leverede rigeligt bevis for, at det alene er gennem klassiske former for poesi, drama og musik, at de åndsevner, der er i stand til at skabe gyldige hypoteser og nye indsigter i universets lovmæssighed, kan udvikles. Og hvorfor det er i musik, poesi og drama at de samme kampe mod reduktionistiske og deduktionistiske forestillinger må udkæmpes, og hvorfor kvaliteten af metafor, ironi og Furtwänglers idé om at spille mellem noderne er så afgørende for at hæve sindet til denne højere riemannske tankemåde. Hermed følger opøvelsen af følelserne væk fra det sanselige og profane område, til niveauet for lidenskabelig kærlighed til menneskeheden (agape). Den oligarkiske samfundsmodel og dets menneskesyn reducerer individet til en skabning af hedonistiske ønsker og begær, hvilket gør det let manipulerbart og modtageligt for rollen som ‘undersåt’ for Thrasymachos’ lov og orden’. Det er den kognitive oplevelse forbundet med klassiske former for komposition, der frigør individet ved at appellere til sindets skønhed og frigøre den form for ”agapisk” kærlighed til menneskeheden, som er nødvendig for at vælge det Nye Paradigme for menneskeheden, der kan sætte en stopper for den privilegerede klasses snæversynede og onde stræben efter påståede geopolitiske interesser på bekostning af de lavere klasser”.

Program for Schiller Instituttets Europæiske Konference d. 16.-17. november

Menneskehedens Fremtid som Kreativ Art i Universet

Lørdag d. 16. november

Panel 1: I en tid med strategiske omvæltninger: Vil Europa være i stand til at hjælpe med udformningen af det ’nye paradigme’?

 

* Vi kan forme en ny æra for menneskeheden!: Helga Zepp-LaRouche, formand for Schiller Instituttet

* Potentialet for den Nye Silkevej for Europa: Wang Weidong, ministerrådgiver, direktør for ‘handelsdepartementet’ ved den kinesiske ambassade i Tyskland

* LaRouches videnskab om fysisk økonomi som nøglen til at løse verdens problemer, Eurasien og Ukraine: Natalia Vitrenko, doktor i økonomisk videnskab, leder af det Progressive socialistiske Parti i Ukraine, tidligere parlamentsmedlem, Ukraine

* Ruslands deltagelse i det kinesiske “Ét Bælte Én Vej”-initiativ: Muligheder og fremtidsudsigter: Professor Andrei Ostrovskii, viceadministrerende direktør for Institut for Fjernøstenstudier ved Det Russiske Videnskabelige Akademi

* Broforbindelserne mellem Italien-Tunesien og Italien-Albanien: Forbindelsen af Bælte- og Vejkorridorerne: Prof. Enzo Siviero, direktør, E-Campus Universitet, Italien; Næstformand i Réseau Méditerranéen des Ecoles d’Ingénieurs (Netværk af Ingeniører i Middelhavsområdet)

* Udvikling af forbindelserne mellem Grækenland og ‘Bæltet og Vejen’: Leonidas Chrysanthopoulos, ambassadør, Grækenland, tidligere generalsekretær for Sortehavets Økonomiske Samarbejdsorganisation

* Pragmatisme versus ideologier: Alain Corvez, konsulent i international strategi, Frankrig

 

Panel 2: De grundlæggende videnskabelige spørgsmål vedrørende fremtiden og den ‘Nye Silkevej i rummet’

 

* Kan Europa spille en nøglerolle indenfor videnskaben: Jacques Cheminade, præsident for Solidarité et Progrès, tidligere [fransk] præsidentkandidat

* Månebyen: Næste skridt mod en ny æra for menneskeheden: Sébastien Drochon, formand for rumpolitik, det franske Schiller Institut

* LaRouches opdagelser: Uddannelse af en ny generation: Megan Beets og Jason Ross, Lyndon LaRouches “kælder-team”

* Til forsvar for afrikansk suverænitet: Diogène Senny, præsident for den Panafrikanske ‘Umoja’-Liga

 

Klassisk koncert: en hyldest til Lyndon LaRouche med værker af Beethoven, Schubert og Schumann

 

Søndag d. 17. november

 

Panel 3: Hvem er Lyndon LaRouche?

 

* Fornuftens magt: Den levende arv efter Lyndon LaRouche: Dennis Small, koordinator for Latinamerika ved Schiller Instituttet

* LaRouche og videnskab: Josef Miklosko, tidligere vicepremierminister i Tjekkoslovakiet

* Manden der skulle have været USA’s præsident: Theo Mitchell, tidligere statssenator i South Carolina

* ‘Fædreland, nation og stat’ som set af progressive katolikker og af Lyndon LaRouche: Nino Galloni, tidligere generaldirektør for budget- og arbejdsministerierne, Italien

* LaRouche, betydningen af Lyndon LaRouches ideer for den arabiske verden: Hussein Askary, Sydvestasien-koordinator for det Internationale Schiller Institut

* LaRouche, et “florentinsk” sindelag: Claudio Giudici, formand, Uritaxi (Nationale Taxi Fagforening), Firenze, Italien

* Lyndon LaRouches kamp for fred og udvikling i Libanon og Mellemøsten: Bassam El-Hachem, professor ved det libanesiske universitet, Beirut, Libanon

* Hvor er Amerika på vej hen? LaRouches løsninger som vejen ud af kaos: Harley Schlanger, tidligere talsmand for Lyndon LaRouche, bestyrelsesmedlem i Schiller Instituttet

 

Panel 4: Skønhed og klassisk kunst som et ‘kald’ for menneskeheden: Den kulturelle silkevej

 

* Nødvendigheden af en klassisk renæssance for ungdommen: Diane Sare, direktør for Manhattan Kor-projektet

* LaRouche og harmonien mellem kunst og videnskab: Antonella Banaudi, Sopran og sanglærer, ekspert i Verdis kammertone

* Sand frihed gennem ægte kunst: ‘Negro Spirituals’ enestående bidrag til klassisk boglig dannelse i Amerika: Elvira Green, mezzosopran, 30-årigt medlem af Metropolitan Opera, grundlægger af Spirituel Renaissance Sangere i Greensboro/North Carolina, USA