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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.




Farrakhans næstekærlige fødselsdagsgave: Beethovens violinkoncert

12. maj (EIRNS) – Ved fejringen af sin 88 års fødselsdag – og af Beethovens 250 års fødselsdag – greb lederen for Nation of Islam, Louis Farrakhan, kærligt ind i en krisehærget verden: Han udgav videooptagelsen af sin opførelse af Beethovens violinkoncert fra 2002. Denne kunne, af forskellige grunde, ikke udgives tidligere. Koncerten inkluderede en opførelse af Beethovens 5. symfoni, efterfulgt af violinkoncerten.

I Farrakhans kommentarer, efter fremførelsen i 2002, som var inkluderet i videoen, introducerede han to unge, sorte violinister, som havde været en del af orkestret. Den første var en 19-årig ung kvinde, som havde indsendt en video med sin fremførelse af Sibelius’ violinkoncert, hvilket havde efterladt Farrakhan med tårer i øjnene. ”Hun kan blive alt hvad jeg kunne håbe for nogen,” sagde han. Den anden var en ung mand, som havde indsendt en video med sin fremførelse af Tjajkovskijs violinkoncert, hvilket igen forårsagede en flod af tårer. Om ham sagde Farrakhan: ”Han er alt hvad jeg havde håbet på at blive, og endnu mere”. Dette tog  både fat på racisme, som den forbrydelse det egentlig er, og pegede samtidig i retningen af hvordan denne forbrydelses tilsigtede effekt kan overvindes, ved – gennem disciplin og den klassiske kulturs gave – at antage en sand menneskelig identitet, på trods af racismens ondskabsfulde intention. Når denne vej tages, vil vores civilisation på denne måde ikke kunne frarøves sit moralske potentiale, som det udtrykkes gennem udviklingen af et stort talent til et geni, der kunne opløfte og transformere hele dette samfund.

Her er linket til hele koncerten.




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]

[back to text]


[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




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 




Rens Lyndon LaRouches navn. Helga Zepp-LaRouches hovedtale ved videokonferencen.
Verdens valg: Udrydelse eller LaRouches æra. den 26. september 2020.

Download (PDF, Unknown)

HELGA ZEPP-LAROUCHE: Goddag! Formålet med dagens begivenhed er, at gøre mange unge mennesker i hele verden bekendte med Lyndon LaRouches navn og personlighed og ideer. Hans ideer er absolut nøglen, hvis verden skal komme ud af den nuværende krise. I betragtning af, at han var min mand i 41 år, og jeg i cirka et halvt århundrede var hans politiske allierede – en af mange – så er det følgende ikke bare noget jeg siger, men noget jeg er dybt overbevist om i min sjæl og mit sind. Han var, og fordi han på en vis måde er udødelig, er stadig den smukkeste sjæl og den mest kreative person i sin tid. Der er en meget stor uoverensstemmelse mellem hvem Lyn virkelig var og er, og det billede der tegnes af ham.

Set fra et universalhistorisk synspunkt, hvis man bedømmer et enkelt menneske ud fra hvor meget de bringer udviklingen af menneskeheden frem, mener jeg han er en af de mest enestående personer i hele historien. På den anden side, den næsten uovertrufne vold – og det siger en del, især i nutidens USA – med hvilken hans modstander angreb ham, tilsmudsede ham, dæmoniserede ham, giver jer en ide om hvor skrækslagne de var for ham.

En af de store tyske naturretsfilosoffer, Friherre von der Heydte, sagde, at LaRouche-sagen mindede ham om Dreyfus-affæren i Frankrig. Og tidligere rigsadvokat i USA, Ramsey Clark, udtalte til en kommission, som undersøgte LaRouche-sagen i 1994, at “LaRouche-sagen repræsenterer et bredere omfang af overlagt, beregnende og systematisk retskrænkelse over en længere periode, med misbruget af den føderale regerings magt, end nogen anden retsforfølgelse af den amerikanske regering i min tid, eller efter min viden.”
Det, eller de, der stod bag dette, er hvad folk i dag kalder “Deep State”, eller rettere, det angloamerikanske efterretningsapparat; det samme slags apparat som har stået bag kupforsøget mod præsident Trump siden 2016, bag Russiagate, bag dæmoniseringen af præsident Putin of Xi Jinping, og bag de folk som nu presser voldsomt på for at få gang i en krig; måske endda før det amerikanske valg, eller i det mindste drive inddæmningen af Rusland og Kina så langt, at det kunne gå helt galt, og vi kunne have den 3. Verdenskrig.

Herunder følger resten af talen på engelsk:

The effect of these people having been relatively “successful” — and naturally, I’m saying that in an ironic way — is the reason why we are now on the verge of World War III; that we have an out-of-control pandemic; that we are still threatened with the danger of a financial collapse of the entire system, and that we have famine especially in the developing countries which could quickly reach Biblical dimensions.

If we want to overcome these dangers, it is — even at this very late stage of affairs — it will depend; and we can discuss, but it is my deepest conviction, it will depend on our ability and your help to free Lyn’s name from the lies, slanders, and distortions, and to implement Lyn’s solutions which really have practically taken care of every single problem which is an existential threat to humanity today. In a very beautiful paper called, “The Historical Individual,” which I would urge you to read, he defined that he saw two major missions for himself. One, he said, I want to get you safely through the worst of the presently onrushing world and national crises. And secondly, to foster a new leadership from among the ranks of our young people, which will understand the systemic features of history, and therefore, will be much less likely to make the same mistakes as the foolish members of the recent two adult generations have made until now.

That fostering towards you. You are the young people who are the future. Therefore, it is up to you to develop out of your ranks the kinds of leaders who will make a difference in history. So, Lyn said, in that same paper, when every nation, every culture is in a tragic moment of great crisis, it is “gripped by the need for a sudden and profound change in the quality of its leadership.” Then the survival depends upon its “willingness to choose a new quality of leadership,” and not leave the fate of humanity to those narcissistic leaders who occupy leading positions now, who are only concerned about their performance, but not about the well-being of their nations or the world. You have to have the aspiration to become, all of you, true great statesmen. You have to take as your examples, according to whom you want to orient your life, such people as Benjamin Franklin, or Abraham Lincoln, Franklin D. Roosevelt, Jeanne d’Arc, or Martin Luther King; and I would like to add Lyndon LaRouche.

We have now the greatest danger that the world is run by leaders around the world — there are very few exceptions — who are mediocrities; who are really not fit to lead the world out this crisis. This is at a moment when you would need intellectual and moral giants. So, the indispensable leaders for such times as these, Lyn says in this paper, are those people who succeeded practically from childhood to let themselves be taken over by the natural potential for the sublime. The sublime — that is, that quality described by Friedrich Schiller where a human being attachés his or her identity to higher values than even our physical existence; and becomes not physically safe, but morally safe. Such a person rejects the banality of popular culture and taste. Such a person rejects the world of sense certainty; the pleasure in the here and now, and develops that innate power of that quality which is described in I Corinthians 13 — agapē. A profound passionate love for mankind, without which, the world will not get out of this crisis.

Those relatively free souls among us, Lyn says, are the “ugly ducklings,” those who are mistakenly called “eccentrics” because they don’t fit the mainstream popular accepted taste of the social clubs of that kind of paradigm which got us into this crisis. Lyn jokingly, but not so jokingly, called himself many times an “ugly duckling.” But I can assure you, his mind was the most beautiful swan you ever could see.

As a young man, Lyn studied all on his own the ideas of Leibniz, and he listened to Classical music. He rejects Kant — especially his ideas about aesthetics — that there was no meaning in beauty, and that beauty was arbitrary. He rejected Kant’s idea that there was no knowable universal truth. Lyn then joined the Second World War, participating in the India-Burma theatre. He told us many times his experiences in the Calcutta riots of 1946. This was a very decisive moment in his history, because he saw firsthand the brutish character of the British Empire in action. It was clear in his mind from that point on that the natural course of affairs would be that after the Second World War, the Americans would return back and develop India and other developing countries, as was the intention of Franklin D. Roosevelt to develop the developing countries with American technology.

Lyn was absolutely shocked when he heard that Truman would replace Roosevelt, and already told his contemporaries in India that a great man had been replaced by a very little man. And he was completely appalled when he then returned to the United States and saw how people who had developed a certain greatness in fighting Nazism and in fighting fascism and being in World War II, how they really became petit bourgeois; going into the suburban life of American cities. Lyn developed a healthy contempt for that kind of lifestyle. Then, in his function as a business consultant, he came across the theories of Norbert Weiner and John von Neumann. He studied information theory and systems analysis, and immediately recognized that these systems were not capable of describing real economic processes of physical economy, which he had started to develop into his own system based on the ideas of Leibniz.

He developed this idea of physical economy, which became the basis for him to become the most successful economic forecaster of the recent period. His love for Classical music — Bach, Beethoven — had given him very early the appreciation for the importance of the cognitive potential of each individual. From that standpoint, he was one of the very few people in the 1960s, when everybody was mesmerized by the hippies, by flower power, he immediately recognized that this paradigm shift — which was induced by the oligarchy, but people naturally didn’t know that — would destroy the cognitive potential of the population in the long term. He started an endless campaign against the danger of drugs and the combination of the rock-drug-sex counterculture. Then, I think the most important point in this early period was that Lyn recognized, having been familiar with Franklin D. Roosevelt, with the principles of the Bretton Woods system as it was intended by Roosevelt, as compared to what it would become with Churchill and Truman. He recognized in an absolutely prophetic way, what it meant that Richard Nixon, on August 15, 1971, decoupled the dollar from the gold standard, and introduced the floating exchange rates. Lyn said prophetically, that if that monetarist tendency would be continued, it would inevitably lead to the danger of a new depression, a new fascism, the danger of a new world war, or it would be replaced by a just, new world economic order.

Immediately following this in 1973, Lyn constituted a biological taskforce, whose job it was to study the impact of the austerity of the IMF and the World Bank on the developing sector; the infamous conditionalities of the IMF which prevented the developing countries from investing in infrastructure, health, and forced them to pay their debt instead. Lyn said, if you continue to do that, it would inevitably lead to the outbreak of old diseases and new pandemics. He had an absolute foresight for the epidemics and pandemics which developed since AIDS, SARS, MERS, Ebola, and now the coronavirus. All of this would have been not necessary if Lyn’s policies for the development of the developing countries would have been implemented.

From that perspective, Lyn also immediately recognized the absolute devastation of the implementation of the Malthusian policies of the Club of Rome, and how the paradigm shift occurred at the beginning of the 1970s. The idea that it was a natural question that eventually all developing countries would develop, which was expressed in the development decades of the 1950s and ’60s of the United Nations. And how that was replaced by the infamous theories of the Club of Rome; the idea that there are limits to growth, the idea that population is not a good thing. That the population bomb is the greatest threat to humanity; that there is overpopulation. Basically, Lyn obviously knew that was completely wrong; that this was completely against the laws of the actual physical universe. He developed one of his most important conceptions, which was the idea of relative potential population density. Meaning that it is a law of the universe that people must increase; the number of people must increase; they must develop more abilities to have longevity in order to be able to have more people be able to develop more skills which requires longer education. And that the effect of this would be limitless development. He also knew that the premise of the Club of Rome was completely ridiculous. The Earth is not a closed system; the whole assumption of the Malthusians is wrong. Naturally, his image of man was that man is not an accountant who manages the limited resources, and for sure not a parasite as the Greenies today day. But that the discoveries of man, which can again and again show him new physical principles which are part of the development of the universe. As a matter of fact, the most developed part of it.

Lyn, because he saw the danger these ideas would represent for humanity, he decided, as an individual, as somebody who was not backed by Wall Street or the City of London, he decided for President of the United States. He did that first on the Labor Party ticket, a party which he founded in 1973. And basically, he was in this Presidential campaign in 1976, fighting against the Trilateral Commission and all their rotten ideas, the danger of nuclear war, and the urgent need for the industrialization of the developing sector. This was a very bold idea. Lyn meant it; he went in for winning the Presidency. The U.S. Presidency is probably the most powerful institution in the present world; this is due to the American Revolution, the idea of the Declaration of Independence, that life, liberty, and the pursuit of happiness is the inalienable right of all human beings, given to them by the Creator. This Constitution of the United States defined it as the task of the government to protect those inalienable rights of all human beings. Therefore, it was the first time that there was actually a form of government which was the complete opposite of the oligarchical model which existed with the monarchies and other forms of government in Europe, where the idea was that the purpose of the government was to protect the privileges of the elite and keep the mass of the population backward.

So Lyn, as in independent, decided to go against this plutocracy, the control of the Democratic and Republican Parties by Wall Street. And actually fulfill the promise of the Declaration of Independence and the American Constitution. Lyn ran for President eight times, from 1976, and then from 1980 to 2004 as a Democrat. He had the concept that he had to wage this battle to turn the United States into a force for good, as it was intended by the Founding Fathers. Already in year before he started the first campaign, in 1975, he developed a revolutionary conception — the International Development Bank. It was the idea that it should replace the IMF; that it should be an incredible credit institution for technology transfer to industrialize the so-called Third World. He developed also in 1975, the Oasis Plan, which was the idea to develop Southwest Asia; develop new water, green the deserts. He developed with his associates, a plan for the industrialization of Africa.

Naturally, immediately, the establishment regarded Lyn as the greatest threat to their system. Because what became known only later, in 1974, Kissinger had developed a paper called NSSM 200 [National Security Study Memorandum 200: Implications of Worldwide Population Growth for U.S. Security and Overseas Interests], which was a blueprint for population reduction. It quite brazenly defined the raw materials in some of the most populous of the developing countries — actually 13 countries — as belonging to the strategic interest of the United States. Therefore, the population should be reduced, because too many people in these countries would consume too much raw materials. This scandalous paper was only made public in the 1990s, but obviously every word Lyn was saying went completely against these ideas. Then, we published these proceedings of the Africa Development; we had a conference in 1976 in Paris, and also in 1976 when Lyn’s Presidential campaign was already in full gear, I was in Paris organizing a one-week diplomatic seminar with a whole bunch of Arab ambassadors who had planned to invite Lyn to come to Paris and give them a one-week course on the Oasis Plan, on his economic theory. This was really a major event. But what happened was, on the day when the seminar was supposed to start, Lyn had just arrived from the United States. I got a phone call from the Iraqi ambassador, who said, unfortunately, I have to tell you that Mr. LaRouche has to develop a “diplomatic flu.” He must basically say he’s sick and therefore cannot participate in the seminar. Even so, he was supposed to be the main speaker, the main teacher. As it turned out, Henry Kissinger had flown himself personally into Paris that day, making pressure on the French government and all the ambassadors to cancel this event all together.

In 1976, we had already organized for one full year in many countries around the world, to implement the International Development Bank. We had talked to many embassies of the Non-Aligned sector, of Africa, of Latin America. In the fall of 1976, the Non-Aligned Movement adopted practically that plan for a New World Economic Order at the Colombo conference in Sri Lanka. So, we were extremely happy. I called up all the media in Germany and asked, “When are you reporting this?” They said, completely arrogantly, “We are not reporting this, because this is not newsworthy.” I said, “What? Three-quarters of the human species want a New World Economic Order, and you say this is not newsworthy?” Well, that was the first major lesson about the control of the media. Then, what happened was a tremendous backlash, where leaders of the Third World like Indira Gandhi, Mrs. Bandaranaike, Prime Minister Bhutto, were all destabilized, and also Gen. Juan Velasco Alvarado from Peru already in 1975, he was one of the leaders of this movement. They all were ousted or killed. But Fred Wills, the Foreign Minister of Guyana already in 1976, introduced the IDB conception to the UN General Assembly. This all happened on the orders of the IMF and the State Department.

In 1976, Lyn was running for President in the United States, and I was running for Chancellor in Germany. I thought that was necessary because the alternatives were Helmut Kohl and Helmut Schmidt; Kohl being your typical mediocre conservative, and Schmidt, who had some good features, but he had also endorsed Hjalmar Schacht, the Finance Minister of Hitler, or his policies. So, I thought it was absolutely necessary to fight for an alternative. That double candidacy brought us also closer, Lyn and myself. So, in 1977, we got married. This was then the beginning of a truly very beautiful marriage, which is obviously very precious to me. Immediately, death threats started. The so-called Red Army Faction, Bader-Meinhof groups. The Red Army Faction is RAF, which happens to also be short for the Royal Air Force of Great Britain. So, one has to think, because some of the third generation of the RAF actually were probably enemies of Lyn’s conception, and were determined that they would suppress these ideas.

Lyn continued his Presidential campaigns. In 1980, he campaigned against Bush, Sr. and ruined his Presidential ambitions at that time, which got him the lifelong hostility of the Bush family. But it also made him an acquaintance of President Reagan, which turned out to be very fruitful later on.

In 1982, we did an enormous amount of things. López Portillo, the President of Mexico, who had gotten to know our youth movement in Mexico, was completely intrigued by the fact that there would be young people who would fight for such ideas. So, he wanted to find out about LaRouche. When the peso was under massive attack, and there was a huge capital flight organized out of Mexico, he invited us to come to Mexico City. He asked Lyn to help him defend the sovereignty and the currency of Mexico. Lyn immediately wrote a program, not just for Mexico but for all of Latin America. This was called Operation Juárez. It was the idea of an infrastructure development plan, a debt reorganization, and basically developed credit mechanisms for long-term real development of the entire Latin American continent. At that time, Latin America had a $200 billion debt. They had paid that debt many times over; this is what we call “banker’s arithmetic,” but $200 billion — which is now proverbial peanuts in terms of all these quantitative easing trillions being pumped into the system. But $200 billion in 1982 was regarded to be enough to bring down Wall Street and the City of London. When López Portillo implemented that policy on September 1, 1982, it just happened to be that Lyn and I, on the same day, were in Germany in Frankfurt meeting with the management of the credit institution for reconstruction. And at 11 a.m., we just were standing there, talking. One of the biggest currency traders rushed into the room and said, “This is it! Wall Street is finished! This is a debt bomb by the Latin American countries. This is the end of the system!” Lyn just smiled and said, “No, don’t worry.” It’s just a way to save these banks; because if you reorganize them in an orderly fashion, that’s the only way they can actually be saved. So, well, that was really a very interesting moment, but the establishment thought that was the end of their system. It increased the resolve to go after Lyn.

In the same year, we went to India, and we met with Indira Gandhi. We worked with her on a development plan for 40 years for the development of India, which also was part of Lyn’s conception to develop the whole world. The programs together, the Mexico program, the India program, Latin America, Asia, Africa; it basically would have meant that the entire Malthusian order as it was then developed, would have been undone.

The same year, Lyn started to work on another grand design for the change of the world, which was that since the end of the 1970s, we had found out that the Soviet scientists were developing beam weapons. They had developed a point defense system for the city of Moscow. Lyn was actually convinced that the biggest danger of nuclear war would arise when one side — either NATO or the Warsaw Pact — would be able to develop new weapons systems based on new physical principles, making nuclear weapons obsolete. In that moment then, the one side would feel encouraged to use nuclear weapons while they are still usable. You also had the development of the medium-range missile crisis, where in Europe you had both the Pershing II and SS-20 missiles directed against each other, with only three or four minutes until they would hit their target. They were always launch on warning, and at that time, you had a gigantic peace movement of people who knew that we were on the verge of World War III. So, Lyn developed a conception how the two superpowers — the United States and the Soviet Union — would not try to out-develop themselves, but develop these new systems jointly. To develop them, to implement them, and for the first time, make nuclear weapons technologically obsolete. Because also the defense would be less costly than the offensive; it was really an absolutely incredible design. It was not what the media made out of it, who called it Star Wars; but it was an absolutely incredible conception of how to technologically make nuclear weapons obsolete. So, for one full year, we organized conferences — in Rome, in Paris, in Bonn (at that time, Bonn was the capital of Germany), in Warsaw, in Washington. Out of that developed negotiations between Lyn and the representatives of the Soviet Union in a so-called “back channel” discussion, where the Soviet Union seriously studied to adopt that policy. After one year, in February 1983, they sent the message from Moscow that this is rejected, because it would give the West more advantages. Later we found out the reasons — namely that the Ogarkov plan had completely different objectives, and therefore rejected it. But, on the 23rd of March, President Reagan announced that very policy to be the official U.S. strategic policy; the SDI, the Strategic Defense Initiative. A little bit later, Lyn developed what that policy could have been. Namely, in a protocol for the superpowers, he described how the development of these new technologies based on new physical principles would lead to a science driver in the military field. And that if they would be applied in the civilian sector, they would lead to an incredible increase of the productivity of the economy. Then, if the two superpowers would work together, they could dissolve the military blocs of the Warsaw Pact and NATO, and jointly make a technology transfer to the developing sector; ending the character of these countries as proxies in a superpower confrontation, and really go in the direction of overcoming poverty and the development of the Third World.

President Reagan had adopted that policy. He wrote two official letters to the Soviets, offering American help to apply these technologies in the civilian sector. That is generally not being discussed at all, but we were very close to establishing a completely human world order. At that time, the determination of the oligarchy to really go after Lyn escalated. Because Lyn was not only able to define conceptions which would have changed the world for the better, but he got heads of state to implement these ideas — López Portillo, Indira Gandhi, President Reagan. So, then when the Soviet Union rejected that in 1984, he said if the Soviets keep their existing policy, they will collapse in five years. Now, they did, as you know. In 1989, when the [Berlin] Wall came down, his prediction was fulfilled.

In 1982, when all of this became very clear, that Lyn was having this impact, Henry Kissinger, in May, made an infamous speech in the Chatham House in London, where he admitted that he always was following the orders of the British Empire much more closely than that of the United States government. Kissinger, in August 1982, wrote a letter to the FBI Chief of that time, William Webster, and demanded that there should be an investigation of Lyndon LaRouche as a Soviet agent of influence. Nothing was further from the truth, but that is where basically the entire apparatus which was completely upset, after Reagan started to put the SDI on the agenda, went completely wild. Bush, Shulz, that faction. However, this was a period when we did so much. In 1984, we started the Schiller Institute. It was my idea, but Lyn was completely supportive. Very quickly, the Schiller Institute, which had the idea that you needed to replace the present policy with a foreign policy based on statecraft, and that nations should relate to each other by referring always to the best of the other. The best culture, the best traditions. That you needed to fight for a new world economic order and a renaissance of Classical culture. So, in the 36 years since, the Schiller Institute has become a very influential institution on five continents. Also in 1985, we had a beautiful conference for the honor of Krafft Ehricke, one of the great space visionaries and rocket scientists, who had not only developed beautiful conceptions about colonizing the Moon and the development of Mars, he developed the idea of the extraterrestrial imperative. The idea that mankind would completely transform its nature through space travel. He was a very good friend of Lyn’s and mine.

In all of these years, Lyn was incredibly productive. He had already developed in the 1970s key conceptions about the fundamental laws of the universe. He had developed the Riemann-LaRouche economic model, which was based on the physical principles of the real universe, and not on the sense certainty perception of the mere shadows, which was one of his ways to absolutely be the best forecaster on the planet. He absolutely made clear the fundamental difference between the Plato and Aristotle traditions in European history. He initiated a beautiful campaign for the protection of the principles of Classical music, the so-called Verdi tuning, which was signed by all major singers of that time, and many instrumentalists. Lyn developed out of this a close friendship with Norbert Brainin, who was the first violinist of the famous Amadeus Quartet. After Norbert spent one time two days in our house in Virginia, he and Lyn spoke for hours and hours; two full days about music. At the end of which, Norbert said, “Well, you know so much more about music than I do.” I think this was an absolutely correct characterization. Lyn also developed beautiful friendships with such singers as William Warfield and Sylvia Olden Lee; with Piero Cappuccilli, with Carlo Bergonzi.

Lyn already in 1974 had founded the Fusion Energy Foundation, which was a scientific institution fighting for the frontiers of science. Life sciences engaged in development projects. We had assembled around us in the 1980s, more than 100 top scientists who agreed with us to build three private universities. One in Peru, one in America, one in Germany, to teach Lyn’s scientific method.

Obviously, that was all interrupted with the infamous raid of our house in Leesburg, our offices, and the prosecution which followed. The life of this organization has completely changed. Up until 1986, we were building, we were optimistic, we were only engaged in productive concepts of how to make the world better. But after this raid, we had to really defend ourselves, and obviously with the prosecution of Lyn and him being innocently in jail, this organization had really to fight for our existence. They wanted to get rid of us all together.

But before the jailing of Lyn happened, he already in 1987, again completely prophetically, wrote an article in 1987, in which he said, if I become President in 1989, I will make sure that there will be a unification of Germany with Berlin as the capital. That idea that Germany should be unified and that Germany should have a peace treaty, was also part of our wedding agreement. We had said that Lyn would be President of the United States for eight years, and then I would be Chancellor of Germany for eight years. So, this was sort of joke, but not totally. It was also meant seriously.

Then, in 1988, Lyn made the famous press conference in the Kempinski Hotel in Berlin, where he predicted that Germany would be soon unified, and Berlin would be soon the capital of Germany. Again, as Lyn’s prognosis that the Soviet Union would collapse, which he said in 1984. In 1988, nobody thought that Germany would be unified. But when the Wall came down one year later, therefore, we were the only ones who had a conception of what to do. Lyn was already sitting innocently in jail, but we immediately worked together on the Productive Triangle, the idea to develop Eastern Europe with the help of modern technology. When the Soviet Union collapsed in 1991, we immediately prolonged that to become the Eurasian Land-Bridge; the idea to connect the population and industrial centers of Europe with those of Asia through development corridors. We promoted that conception in literally hundreds of seminars and conferences. I’m absolutely sure that whole effort very much influenced what then became the Chinese New Silk Road, the Belt and Road Initiative.

The most important thing Lyn contributed however, was a method of thinking. He opened the access to ideas which had been completely forgotten, pushed aside, by the rewriting of history and the history of ideas through the oligarchy. He again made it possible for people to understand the spiritual power of the mind for hypothesis. A method which, if it would be applied by young people all over the world, would simply mean — and it has to mean — that many of the young people of the world will have a way to access how to become a genius. Many of you will also become outstanding leaders, who can change the world for the better.

So, what is the lesson of all of this? Will we give up just because Lyn’s opponents have made such a mess of the world? They have the questionable success that they succeeded; this is why we are on the verge of World War III, famine, epidemic, and general collapse. But I think if we think — and we will hear about that for the rest of this event — if Lyn’s idea would have been implemented for the past 40 years, we would have Africa to be a blossoming garden. We would have Latin America completely developed. You would have many countries who would be not less developed than China is today. You would have Europe not being the culturally relativistic mess it is right now; but Europe would have revived the beautiful culture of the Golden Renaissance and the German Classical period of Schiller and Beethoven. The United States would be a force for the good, where people would be happy to be friends of that great country.

I think history will, for sure if there is going to be a history, write that Lyn’s enemies were the worst scoundrels, on a match with all the previous scoundrels in the world; among them, Hitler and others. And that the world would have been such a much more beautiful place if Lyn’s ideas would have been implemented. That task is now yours. You will be those people who have to design a new era of mankind. If you think that job is too big, I think you should be confident. The entire history of mankind is the proof that Leibniz’s conception that we are living in the best of all possible worlds is actually true. Every great evil will generate an even greater good. I think that that is exactly what we can do, and it absolutely depends on if there are enough people who have the potential to be truly great leaders. That is what I want you to become.




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.




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)




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:

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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!

 




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

Se også en video trailer 6 min.:

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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




Videoer fra vores musikalske dialog mellem kulturer koncert den 27. juni 2018 i København

Se videoerne her.




En musikalsk dialog mellem kulturer.
Schiller Instituttet i Danmark i samarbejde
med andre afholder koncert, 28. juni.

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.

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

Tid: 28. juni kl. 19.

Sted: Russisk Center for Videnskab og Kultur, Vester Voldgade 11, København (ved Rådhuspladsen).

Gratis adgang.

Program:

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Annoncering af koncert:
En musikalsk dialog mellem kulturer:
Torsdag, 28. juni 2018 

Tid: kl. 19

Sted: Russisk Center for Videnskab og Kultur, Vester Voldgade 11 (ved Københavns Rådhus)

Gratis adgang.

Schiller Instituttet, Russisk-Dansk Dialog, Det Russiske Hus og Det Kinesiske Kulturcenter præsenterer vores anden koncert for fremme af forståelse mellem kulturer. Der vil være en skøn dialog mellem klassisk europæisk musik og traditionel musik fra Kina, Rusland og andre steder.

En hovedattraktion vil være The National Folk Music Troupe of the Heilongjiang Song and Dance Theater Folk Orchestra, et ensemble af fire kinesiske musikere, der spiller traditionelle instrumenter, og som kommer direkte fra Kina specielt for vores koncert!

Hele koncertprogrammet kommer senere på Schiller Instituttets hjemmeside: www.schillerinstitut.dk

Sidste års koncert var en bragende succes, og vi forventer, at dette års koncert bliver lige så vellykket. Kom og nyd musik fra hele verden, og tage gerne venner og bekendte med.

Koncerten fra 2017 kan høres her. 

 




Schiller Instituttet holder
Kulturaften i Dresden, Tyskland.
Med Helga Zepp-LaRouche

 




Kreativitetens musik.
LaRouchePAC’s Undervisningsserie 2018
»Hvad er det Nye Paradigme?« Lektion 4,
17. marts, 2018: pdf, dansk/engelsk; video

I dag vil jeg guide jer til den fremtidige renæssance af klassisk kultur, som jeg er overbevist om, ikke ville have været mulig uden Lyndon LaRouches opdagelser om kreativitetens forrang, ikke blot i menneskelige relationer, men også i universet som helhed. Jeg træder i baggrunden til fordel for Lyndon LaRouche selv; og til fordel for forskellige uddrag af hans mange skrifter, og ligeledes klip fra video og audio, håber jeg at kunne komme ind på de hovedtemaer, som har optaget ham hele hans liv, som begyndte i 1922. Dette vil også være meget nyttigt, for det vil gøre det muligt for os at fortsætte, hvor Dennis Small slap i den foregående lektion, hvor han talte om den særdeles uheldige David Hume. Jeg vil diskutere den ondartede indflydelse fra den måske ondeste filosof til alle tider, en person, der er baseret på Hume, men som gjorde noget endnu værre; nemlig Immanuel Kant.

 

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Den dybereliggende proces bag
Alma Deutschers musikalske geni (på dansk).
Af Michelle Rasmussen

Jeg ønsker at skrive skøn musik musik, som gør verden bedre. Alma Deutscher.

… Vores politiske bevægelse (Schiller Instituttet og LaRouche-bevægelsen) er dedikeret til ideen om, at alle børn kan blive genier, hvis deres kreative potentiale udvikles. Dette er Alma et bevis på.

Vi er overbevist om, at menneskehedens vigtigste udfordring består i at udvikle en strategi for udløsning af kreativiteten hos alle mænd, kvinder og børn, og at en afgørende metode til at opnå dette er gennem at genopleve fortidens kreative opdagelser. Også dette er Alma et bevis på.

Og vi er fast besluttet på at skabe en ny, global renæssance, for hvilken renæssance nye musikkompositioner, baseret på principperne for den mest storslåede, klassiske musik, vil være med til at vise vejen. Og igen, Almas unge, musikalske sind og sjæl beviser allerede, at dette er muligt. 

See also the english version of the article here.

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Schiller Instituttets Venner interviewer
Christian Larsen, leder af Hjørring
Musikskole, om Hjørring-modellen
for gratis musikundervisning for alle børn

Leder af Hjørring Musikskole, Christian Larsen.

Michelle Rasmussen, Schiller Instituttet; kandidat KV 2017 i København.

Michelle Rasmussen, der opstiller til kommunal- og regionsrådsvalg i København for Schiller Instituttets Venner, interviewede Christian Larsen den 3. nov. 2017.

Se alle kandidater i København, Brøndby, Aarhus og Randers: http://sive.dk/

 

København, 21. august, 2017 (Schiller Instituttet) – DR.dk Nordjylland rapporterer, at i Hjørring kommune, der har 65.000 indbyggere, »skal alle børn lære at spille et instrument. I børnehaven skal de lære at spille violin. Derefter skal de, frem til og med 5. klasse, have undervisning i forskellige instrumenter, korundervisning, og så skal de spille i orkester«.

I det kommende skoleår vil 1085 børn deltage i projektet, og på sigt er det hensigten, at alle børn skal deltage. Hjørring Musiske Skole har bl.a. indkøbt flere hundrede violiner og andre orkesterinstrumenter.

Christian Larsen, leder af Hjørrings Musiske Skole, sagde: »Vi gør det, fordi det er sjovt, og fordi børn netop i den alder har et meget stor potentiale til at udvikle hjernen, og når du spiller musik udvikler du dig kognitivt, motorisk og også følelsesmæssigt.«

I en baggrundssamtale med Schiller Instituttet tilføjede Christian Larsen også, socialt. Ideen startede i 2010 med et ønske fra græsrødder om at gentage en dansk version af Venezuelas El Sistema orkester-massebevægelse. Principperne for den danske version var, at det skulle være gratis, åbent for alle børn, med flere timers øvelse om ugen, fokusere på musisk udtryk snarer end teknik, understrege fællesskabet snarere end individet og omfatte »peer-to-peer« undervisning, hvor børn underviser børn ved siden af de voksnes undervisning. Projektet i Hjørring startede i 2011 med et enkelt orkester.

Omkostninger for det aktuelle projekt deles mellem skolesystemet og musikskolen. Samarbejdet er baseret på gensidig værdiskabelse og var ikke afhængigt af »nye penge« i systemet, men krævede blot en ændring i tankegang. De håber, det vil blive en model, som andre byer vil vedtage.

Siden rapporten på dansk fjernsyn, har der været stor, positiv feedback, og der er også flere former for græsrodsprojekter for musik i flere andre danske byer.

Christian Larsen understregede, at musikprojektet udvikler børns evne til at tænke kreativt, uden på forhånd at vide, hvad man skal gøre – at tænke uden på forhånd at få svaret at vide.

En mor, der blev interviewet i DR-artiklen, var også glad for, at hendes barn deltog i klassisk musik, som ikke mange i hendes egen generation i har været udsat for.

http://www.dr.dk/nyheder/regionale/nordjylland/i-hjoerring-kommune-skal-alle-boern-laere-spille-musik-fra-de-er-fire




Valg i Tyskland:
Tysklands fremtid er den Nye Silkevej.
Uddrag af BüSo’s valgprogram

Kære Vælger,

Mener du, at ideer er vigtige? Så er BüSo det rigtige parti for dig! For BüSo adskiller sig frem for alt fra andre partier derved, at vi forandrer verdenshistorien ved hjælp af ideer og ikke, gennem ’de små skridts politik’, pragmatisk forsøger at opretholde en verdensorden, der muliggør en udvidelse af privilegier for en lille elite og til gengæld berøver flertallet af menneskeheden et fremtidsperspektiv. Det program, som vi i 1991 foreslog som respons på Sovjetunionens opløsning, nemlig den økonomiske integration af Eurasien gennem den Eurasiske Landbro – en Ny Silkevej – som kernen i en ny, retfærdig, økonomisk verdensorden, er nu i færd med at blive virkeliggjort af Kina og yderligere 110 nationer, altså flertallet af menneskeheden. Det, vi dengang udviklede som et udkast til en fredsorden for det 21. århundrede, og som vi i de 26. år, der er gået siden da, har præsenteret på hundreder af konferencer og seminarer i hele verden, er nu, i de seneste fire år, siden den kinesiske præsident Xi Jinping i september 2013 satte den Nye Silkevej på dagsordenen, med en fantastisk dynamik vokset til at blive en helt ny model for verdensøkonomien.

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Hjørring vil lære alle børn at spille et instrument og synge

København, 21. august, 2017 (Schiller Instituttet) – DR.dk Nordjylland rapporterer, at i Hjørring kommune, der har 65.000 indbyggere, » skal alle børn lære at spille et instrument. I børnehaven skal de lære at spille violin. Derefter skal de, frem til og med 5. klasse, have undervisning i forskellige instrumenter, korundervisning, og så skal de spille i orkester«.

I det kommende skoleår vil 1085 børn deltage i projektet, og på sigt er det hensigten, at alle børn skal deltage. Hjørring Musiske Skole har bl.a. indkøbt flere hundrede violiner og andre orkesterinstrumenter.

Christian Larsen, leder af Hjørrings Musiske Skole, sagde: »Vi gør det, fordi det er sjovt, og fordi børn netop i den alder har et meget stor potentiale til at udvikle hjernen, og når du spiller musik udvikler du dig kognitivt, motorisk og også følelsesmæssigt.«

I en baggrundssamtale med Schiller Instituttet tilføjede Christian Larsen også, socialt. Ideen startede i 2010 med et ønske fra græsrødder om at gentage en dansk version af Venezuelas El Sistema orkester-massebevægelse. Principperne for den danske version var, at det skulle være gratis, åbent for alle børn, med flere timers øvelse om ugen, fokusere på musisk udtryk snarer end teknik, understrege fællesskabet snarere end individet og omfatte »peer-to-peer« undervisning, hvor børn underviser børn ved siden af de voksnes undervisning. Projektet i Hjørring startede i 2011 med et enkelt orkester.

Omkostninger for det aktuelle projekt deles mellem skolesystemet og musikskolen. Samarbejdet er baseret på gensidig værdiskabelse og var ikke afhængigt af »nye penge« i systemet, men krævede blot en ændring i tankegang. De håber, det vil blive en model, som andre byer vil vedtage.

Siden rapporten på dansk fjernsyn, har der været stor, positiv feedback, og der er også flere former for græsrodsprojekter for musik i flere andre danske byer.

Christian Larsen understregede, at musikprojektet udvikler børns evne til at tænke kreativt, uden på forhånd at vide, hvad man skal gøre – at tænke uden på forhånd at få svaret at vide.

En mor, der blev interviewet i DR-artiklen, var også glad for, at hendes barn deltog i klassisk musik, som ikke mange i hendes egen generation i har været udsat for.

http://www.dr.dk/nyheder/regionale/nordjylland/i-hjoerring-kommune-skal-alle-boern-laere-spille-musik-fra-de-er-fire




RADIO SCHILLER den 18. juli 2017:
Fremskridt i Syrien og Nordkorea;
men nu skal LaRouches Fire Økonomiske Love gennemføres,
plus en rapport om Carnegie Hall-koncert i NYC til minde om Sylvia Olden Lee

Med næstformand Michelle Rasmussen

Læs her en anden rapport om koncerten:

I New York City, i det historiske Carnegie Hall, blev en stor kunster og digter æret med en koncert i anledning af hendes 100-års dag: Sylvia Olden Lee, der blev født på dagen for koncerten, den 29. juni, i 1917. En hyldest til hendes minde og til forevigelse af hendes levende eftermæle blev sponsoreret af Fonden for Genoplivelse af Klassisk Kultur, med deltagelse af Schiller Instituttet, for et totalt fuldt hus og et publikum, der var passioneret involveret i mindet om og fejringen af arven efter denne utrolige kvinde.

Koncerten, »En hyldest til Sylvia Olden Lee, mester-musiker og lærer« bestod af arier, der blev sunget af førende elever af Sylvia Olden Lee i hele USA, og som nu er førende operasangere, og af mennesker, som hun havde rørt, og som havde lært af hende og levet ved hendes side. Den verdenskendte Simon Estes sang også. Der var arier og lieder af Verdi, Donizetti, Brahms, Schubert; men der blev også sunget afroamerikanske spirituals, der var så stor en del af arven efter denne kvinde. Sylvia Olden Lee, der var den første afroamerikanske stemmetræner, som blev ansat af Metropolitan Opera. Hun skabte ligeledes muligheden for, at operasangerinden Marian Anderson kunne bryde farvebarrieren og blive den første, sorte sanger til at synge på Metropolitan Opera, med mange andre, der sidenhen fulgte. Der var også udvalgte korstykker af spirituals, der blev sunget af et 220-mand stort kor, der omfattede Schiller Instituttets kor, og som også sang Ave Verum Corpus af Mozart og Halleluja-koret fra Beethovens Kristus på Oliebjerget. Det var en absolut fantastisk musikalsk begivenhed, men også en begivenhed, der bærer vidnesbyrd om den menneskelige sjæls udødelighed. For jeg tror, at, som alle, der deltog i denne hyldestkoncert kan fortælle jer, så blev Sylvia Olden Lee ikke blot mindet på denne koncert; hun var fysisk og åndeligt til stede for dem, der var samlet i dette lokale til hendes ære.  




Et hundrede år med ’vise og skønne’
Sylvia Olden Lee –
’Thi skønhed lever sammen med venlighed’.
LaRouche PAC Internationale Webcast,
30. juni, 2017

Vært Matthew Ogden: Vi har et meget dramatisk billede, der venter os forude, og vi står nu ved åbningen at det, der vil vise sig at blive en meget dramatisk juli måned. Vi er nu præcis syv dage fra G20-topmødet, der finder sted i Hamborg, Tyskland. Selv om indholdet af topmødet sandsynligvis ikke bliver bemærkelsesværdigt i sig selv, så er dette en ekstraordinær mulighed. Det bliver første gang, at præsident Donald Trump fra USA vi få mulighed for at have et bilateralt, regulært, ansigt-til-ansigt møde med præsident Vladimir Putin fra Rusland. Der har i løbet af den seneste uge, tre uger, fire uger, været forsøg på at køre dette potentielle topmøde af sporet og gøre det mislykket selv inden det løber af stablen. Vi må i de næste syv dage holde nøje øje med ethvert forsøg på at sprænge dette i luften eller sprænge muligheden for den rolige og klare, rationelle relation, som præsident Trump og præsident Putin kunne få ved et regulært møde.

Vi har set en række provokationer i Syrien, først og fremmest. Vi så et syrisk fly, der blev skudt ned; vi så et amerikansk militærfly, der chikanerede [den russiske forsvarsminister] Shoigus fly. Og i de seneste dage har vi set forsøget på at sætte en fælde for præsident Trump til endnu en direkte konfrontation med Syrien – og, gennem forlængelse, med Rusland – over såkaldte »kemiske våben«, de angivelige kemiske våben. Dette forsøg døde i fødslen, og der er mange faktorer i dette, vi sikkert ikke kender alle detaljerne omkring. Vi ved, at der finder en intens kamp sted om politikken bag scenerne i Det Hvide Hus. Vi så dette udspilles i forskellige offentlige former; vi så også udgivelsen af denne meget vigtige artikel af reporter Seymour Hersh, der beviste, at disse beskyldninger om kemiske våben i den tidligere hændelse, hvor Trump-administrationen bøjede sig og angreb den syriske flybase, var falske, og blot var operationer ’under falsk flag’.

Og igen, dette er alle faktorer, der er i overensstemmelse med dette forsøg på at køre dette mulige topmøde mellem Putin og Trump af sporet. Men alt peger nu på, at det kører på skinner og kunne vise sig at blive et meget vigtigt møde med det formål at stabilisere og normalisere relationerne mellem USA og Rusland. Vi ser, at ’narrativen’ er begyndt at flosse i kanterne og faktisk er ved at trevle helt op omkring historien med det såkaldte »Russia-gate«. Vi ser nu meget offentlige og fremtrædende tilbagetrækninger, som CNN blev tvunget til at foretage, og vi har set den seneste fra New York Times. Denne medie-narrativ begynder nu at gå i opløsning i kanterne, og det amerikanske folk begynder at gennemskue det. Vi har set forskellige Demokrater i Huset og Senatet sige til det Demokratiske Partis lederskab, vi kan ikke blive ved med at gå ud i valgkredsene og sige »Trump, Trump, Trump; Putin, Putin, Putin. Det hele handler om russerne, der hacker valgene. Vore vælgere er ikke interesseret i denne narrativ. Det, de er interesseret i, er økonomiens kollaps og perspektiverne for beskæftigelse. Hvordan skal vi overvinde krisen med narkotikaafhængighed? Og, meget reelt, USA’s kollapsende infrastruktur?«

Vi vil gå lidt i dybden med dette spørgsmål, men lad mig blot bemærke, at den anden, vigtige mulighed, som vi kunne få at se på G20-mødet, er en opfølgning af topmødet mellem præsident Trump og præsident Xi Jinping. Vi ved, at en meget vigtig relation blev skabt mellem Trump og Xi på Mar-a-Lago-topmødet for nogle ganske få måneder siden, da præsident Xi kom til USA. Men flere dramatiske begivenheder er indtruffet siden da; først og fremmest, Bælte & Vej Forum, der fandt sted i Beijing, hvor præsident Trump traf den meget kloge beslutning at sende en repræsentant på højt niveau – Matt Pottinger. Dette har nu etableret den mulighed, hvor der finder en meget seriøs diskussion sted på meget højt niveau omkring USA’s formelle tilslutning til Silkevejens udviklingsprojekter – Ét Bælte, én Vej-initiativet; og omkring at bringe Kina ind til at assistere med genopbygningen af infrastrukturen her i USA. Der er flere udviklinger, som vi dækkede detaljeret i sidste uge, men den vigtigste af disse var et regulært møde mellem rådgiver Yang og præsident Trump, der fandt sted i Det hvide hus; hvor præsident Trump – iflg. rapporter fra Xinhua – sagde »Ja, vi er meget interesseret i at deltage i en fælles relation med Kina for at bygge Bælte & Vej«. Dernæst var der flere satellitbegivenheder, der fandt sted omkring dette, og som diskuterede detaljerne i, hvad det ville betyde at få en sådan form for fælles samarbejde omkring udvikling både udenlands og herhjemme.

Denne diskussion om USA’s tilslutning til den Nye Silkevej kunne ikke være mere presserende nødvendig. Infrastrukturen internt i USA befinder sig nu ved et punkt, hvor den totalt er ved at disintegrere. Vi har netop haft nyheder fra New York City, som vi har dækket, om, at der har været den ene afsporing efter den anden togbrand, den ene krise i undergrundsbanen og forsinkelse efter den anden i New York City. Det leder alt sammen til det, der bliver kaldt »Helvedessommeren«. Vi har en overskrift her, som jeg viser på skærmen; dette er fra New York Times.

»Guvernør Cuomo erklærer New York Citys undergrundsbane i nødtilstand«.

Guvernør Cuomo har erklæret, at, efter den seneste togafsporing, der skete i onsdags – og som er en temmelig skræmmende oplevelse for alle involverede – med tog, der brændte og forsinkelser, der forstyrrede dusinvis af New York-indbyggeres dagligliv. Dette er blot en af mange i rækken af farlige og ødelæggende katastrofer, der er indtruffet i dette 100 år gamle undergrundssystem i New York. Det, som guvernør Cuomo nu har gjort, er at erklære New York City i en nødtilstand for så vidt angår Metropolitan Transportation Authority [MTA]. Han har givet MTA-formand Joe Lhota 30 dage til at fremlægge en komplet plan for reorganisering. Han har sagt, at staten New York vil bevilge yderligere $1 mia. i midler til MTA’s hovedplan.

Her er et citat fra guvernør Cuomo, som jeg viser her på skærmen, så I kan se, hvad han sagde om denne nødtilstand.

»Forsinkelserne driver New Yorkere til vanvid«, sagde han. »De er rasende over manglen på kommunikation, pålidelighed og nu ulykker. For kun tre dage siden var der bogstavelig talt et tog, der kørte af sporet. Det er en perfekt metafor for hele det dysfunktionelle system. I dag vil staten New York sende penge efter sine ord.«

Det er altså et citat fra guvernør Cuomo i New York.

Så jo, infrastrukturen ikke alene i New York City, men i hele USA er i en nødtilstand. Vi har brug for en nødplan for at udbedre og genopbygge vores eksisterende infrastruktur; meget af den er et halvt, hvis ikke et helt århundrede gammel og er ude over sin naturlige levetid. Men herudover, og meget eftertrykkeligt, kan vi ikke blot have en fremgangsmåde, hvor vi flikker kanterne sammen og kommer plastre på et system, der er i forfald og blev bygget i det foregående århundrede. Vi må også fuldstændig gentænke og danne os nye begreber om, hvordan en fremtidsorienteret, 50-100 årig vision for USA skal være. En vision med et USA, der er integreret i den nye, globale platform med den Nye Silkevej; med Bælte & Vej-initiativet, der er i færd med at forandre plantens fremtræden, mens vi taler.

Som sagt, så handler det ikke om at flikke ting sammen i kanterne og fikse den eksisterende infrastruktur. Det, vi har brug for, er en helhedsvision, en national vision, ikke kun for nutiden, men forlænget 50-100 år ud i fremtiden, og som vil bestemme de nødvendige delelementer, som vi bygger, for at komme derfra og dertil, for at opnå denne vision om en fremtidig platform i USA. Jeg kan godt lide det billede, som kineserne har talt om i Afrika; ideen om at bygge et helt nyt kontinent. Det, kineserne har været i stand til at præstere i Afrika på nogle ganske få år, er forbløffende mht. et økonomisk mirakel, som de bibringer dette kontinent; men det er præcis en sådan fremgangsmåde, som vi har brug for, for kontinental-USA og for hele den vestlige halvkugle – Nord- og Sydamerika tilsammen. En komplet vision for, hvad en kontinental infrastrukturplatform må være, integreret i denne Ét Bælte, én Vej; det Økonomiske Silkevejsbælte og den Maritime Silkevej. Og en af hjørnestenene ville være at bygge jernbaneforbindelsen over Beringstrædet, der ville forbinde de to, store, kontinentale landmasser på planeten på en måde, der i geologisk historie aldrig før er sket.

Men, hvordan skal vi gøre det? Dette kan tydeligvis ikke ske ved hjælp af økonomisk frimarkedstankegang. Man må have en vision, der dirigeres fra toppen og ned centralt, af den nationale regering; der blev skabt som en Forfatningsmæssig Føderal Republik af Alexander Hamilton til dette formål. Man må sige, hvilke er de nødvendige projekter? For Alexander Hamilton var det havneprojekter, veje, at åbne op for det indre af kontinentet; at bringe vareproduktion ind i det, der før blot havde været en tidligere landbrugskoloni på det tidspunkt. Men Alexander Hamiltons vision nødvendiggjorde dernæst skabelsen af de nødvendige, statslige finansinstrumenter – den Første Nationalbank – for at bringe denne vision til virkeliggørelse.

Det er sådan, kineserne har diskuteret, hvordan de har bygget den Nye Silkevej. Xi Jinping fremlagde sin vision i 2013, under en tale i Astana, Kasakhstan; og han har nu på fire korte år været i stand til at gøre denne vision til virkelighed. Som han sagde, »fra tanke til handling«. De har nu erklæret, at kineserne har til hensigt om tre år at fjerne fattigdom fuldstændigt fra Kina, og det er en bedrift, vi kan tro på, de vil opnå; som det er blevet demonstreret af det økonomiske mirakel, der hidtil er kommet fra Kina. Men dette er essensen i Henry Clays [udenrigsminister 1824-29 under præsident John Quincy Adams] og Abraham Lincolns Amerikanske System. Dette er, hvad programmet for USA’s præsidentskab bør være.

(Her følger udskrift på engelsk af resten af webcastet)   

We have a very fascinating report just incidentally, that

there is continuing to be discussion around this idea of the

American System; even coming from Republican circles inside

Washington.  Representatives of {Executive Intelligence Review}

attended a briefing in Capitol Hill just a few days ago, that was

sponsored by the American Opportunity Foundation and the American

Public Transit Association.  This drew some leading Republicans

from the levels of Federal and state government, who are strongly

in support of the idea of large public financing of

transportation infrastructure.  This might not seem to fit the

Republican profile, but if you go back to the original Republican

Party platform that President Trump cited from McKinley in the

end of the 19th Century, the idea of the American System was

written directly into the Republican Party platform.  Abraham

Lincoln, after all, was a strong advocate of the American System

and was the founding President of the Republican Party.  In fact,

two speakers at that event, surprisingly former Virginia Governor

Jim Gilmore and then the former Connecticut Department of

Transportation Commissioner Emil Frankel, both referenced by

name, explicitly, the “American System of Henry Clay.”  So, I

would not discount the fact that the ideas that the LaRouche

Movement have been championing along this front for years if not

decades, are becoming very pervasive in policymaking circles in

the United States.  Not only in the Republican Party, but in the

Democratic Party, too.

But it’s our job to consolidate and to pull this together

into a national leadership cadre who understand not just in

words, but in principle, the concept which underlies Lyndon

LaRouche’s Four Economic Laws.  If you start with Glass-Steagall

and return the banking system to what it was originally to be as

a commercial banking system which is able to guarantee credit for

small businesses and for projects of development which have

knowable rates of return, instead of this kind of Wall Street,

Las Vegas-type casino gambling which has been predominant on Wall

Street for the last 17-18 years since the repeal of

Glass-Steagall; that’s the necessary open door that we then

create the possibility to build the Third National Bank or an

equivalent of such.  And to direct large flows of direct Federal,

public credit into infrastructure not just of the 20th Century

variety, but infrastructure projects which have yet to be

conceived of.  The infrastructure of the future; or as Mr.

LaRouche identifies it in his Four Economic Laws, the platform

for creating a higher state of existence for the human economic

system.

So, this is the critical element, and I cannot say enough

how important it is to understand that we’re now at the point

where the United States integrating itself into this New Paradigm

is a very real concept.  This is something which could happen in

a very substantial way.  We have a countdown now of seven days

until the possibility for a sit-down meeting between President

Trump and President Xi, where they can discuss this in much more

detail; and the very strategically important meeting that will

occur between President Trump and President Putin, despite all

attempts to derail, undermine, and sabotage this potential

relationship.

Here in the United States, I think we just have to take a

moment to recognize the leadership significance of what has been

provided on the street level by LaRouche movement and LaRouche

PAC activists across the country; but most importantly, as we’ve

seen recently, in New York City.  We’ve had several on the ground

reports that we’ve shared with you via the LaRouche PAC Facebook

page and the LaRouche PAC website.  We’ve had some very important

insights that the American people are at the point that if you

present this kind of optimistic vision of what could possibly be

achieved if we were to overcome this geopolitics and the

attempted coup against the sitting President of the United

States, it’s a very optimistic kind of picture.  Americans are

ready to participate in that.

The other element of this though, is that there is a certain

element of optimism which has been able to cut through the

pessimism and cynicism that have pervaded the American people for

the last 16 years.  If you look at the two terms of George W Bush

followed by the two terms of Barack Obama, the American people

have become so demoralized and beaten down, and become so

acclimated to the idea that America’s role in the world is to

spread perpetual war; and the Federal government’s role

domestically is to bail out speculators on Wall Street.  But when

they see that someone’s willing to take this establishment on,

the American people have now begun to break out of their shells.

There are many elements of that.

As we’ve cited in recent days on the LaRouche PAC website,

there is a line to be remembered from the famous essay by the

19th Century English poet, Percy Bysshe Shelley, in his essay “In

Defence of Poetry,” where he talks about a time in which people

are able to absorb and communicate much more profound and much

more impassioned ideas about the future state of man and man’s

relationship to the Universe.  This was an insight that Percy

Shelley had as a poet; but as he said, “the poets are the

unacknowledged legislators of the world.”

Now, in a very, very special event that occurred yesterday,

just last night, that I had the great honor and pleasure of

attending, in New York City at the historic Carnegie Hall, there

was a great poet and artist, who was honored on her 100th

birthday:  This was Sylvia Olden Lee, who was born on this date,

June 29th — yesterday — one hundred years ago, in 1917.  She

would have been 100 years of age last night.  And a tribute to

her memory and to perpetuating her living legacy, was sponsored

by the Foundation for the Revival of Classical Culture, at

Carnegie Hall in New York City, to an absolutely packed audience,

and an audience which was impassioned in their involvement in the

memory and celebration of the legacy of this incredible woman.

Now, this tribute concert, which was called “Tribute to

Sylvia Olden Lee, Master Musician and Teacher” comprised of arias

that were sung by leading students of Sylvia Olden Lee from

across the United States who are now leading operatic singers,

people who had been touched by her and had learned from her and

who had lived alongside of her, they sang Verdi arias, Donizetti

arias; they sang art songs by Johannes Brahms, by Franz Schubert,

but they also sang the Spirituals, the African American

Spirituals which were so much a legacy of this woman: Sylvia

Olden Lee, who was the first African American vocal coach to be

hired by the Metropolitan Opera.  And she created the opportunity

for Marian Anderson to break the color barrier and become the

first Black woman singer to take the stage at the Metropolitan

Opera, with so many others to follow behind her.

Also was presented choral selections of Spirituals, of these

arrangements of {Lift Every Voice and Sing}, of {Lord, I Don’t

Feel No Ways Tired}, {Go Down Moses}, {Soon I Will Be Done}; but

also the {Ave Verum Corpus} by Wolfgang Amadeus Mozart, and the

Hallelujah chorus from Beethoven’s {Christ on the Mount of

Olives}.

So this was an absolutely stunning musical event, but it was

also an event which testifies to the immortality of the human

soul.  Because I think, as everyone who was present at this

tribute concert can tell you, Sylvia Olden Lee was not just

remembered at this concert; she was not just remembered by those

in the room, but she was physically and spiritually present to

those who were gathered in that room in her honor.  She {was}

there, in person, in a very real way.

Now, along with these beautiful musical tributes that were

sung and presented by all the various musicians that were

involved, there were also an astounding number of written and

spoken tributes that were presented in her honor. Sylvia Olden

Lee’s daughter, Eve, spoke in person at Carnegie Hall. Her former

husband, Everett Lee, spoke via video; and there was even a video

that was played of Sylvia Olden Lee herself speaking at a

Schiller Institute conference in 1994, in which she spoke about

the relationship that she had to the legendary Roland Hayes who

was a close friend of Sylvia’s father.

[https://www.youtube.com/watch?v=S2pItZ0jIe4]

There were also written greetings from Jessye Norman who is

a world renowned opera singer;  Willis Charles Patterson, a

bass-baritone; George Shirley, also a world renowned opera

singer;  Eugene Simpson, a renowned conductor and music arranger;

Everett Lee III who is the son of Sylvia Olden Lee;  Bobby

McFerrin, who is the godson of Sylvia Olden Lee and the son of

the famous Robert McFerrin, one of the renowned 20th century

African American opera singers.  Bobby McFerrin himself is a

renowned jazz vocalist here in the United States.  A variety of

others: William Ray, Marti Newland from Oberlin; also Jesse

Hamilton, a New York state senator; Blanche Cook, distinguished

professor of history at John Jay College; Gail Robinson, soprano;

Marian Dora Howe Taylor, and many others.  Also there was a

greeting from the Honorable Minister Louis Farrakhan.

And present at the event, was the biographer of Sylvia Olden

Lee, Elizabeth Nash, who worked so closely with Sylvia to draft

her memoirs, which appropriately were published under the title

{Who Is Sylvia?}, a reference to a famous English-language

Schubert Lied, based on text from William Shakespeare.  That song

was also presented at the beginning of the second half of this

extraordinary, historic concert.

The shocking thing that occurred for the audience, was in

the beginning of the second half, a representative of Mayor Bill

De Blasio’s office came out onstage, and declared that an

official proclamation had been issued by the Mayor of New York

City, declaring that June 29th, 2017 was “Sylvia Olden Lee Day.”

And I’d like to put on the screen the text of this proclamation

from Mayor De Blasio.  It reads as follows:

“Office of the Mayor, City of New York

“Proclamation:

“{{Whereas:}} The creative energy that defines the five

boroughs has long

inspired people from across the world, and generations of diverse

artists and musicians have flocked to our city and shaped our

cultural landscape. As a trailblazing African American vocalist,

pianist, and music educator, the late Sylvia Olden Lee is among

this group of influential performers who advanced the music scene

in the five boroughs and beyond. Tonight, on what would have been

Lee’s 100th birthday, New Yorkers and performing artists of all

backgrounds will celebrate her life and legacy during a concert

at Carnegie Hall, hosted by the Foundation for the Revival of

Classical Culture, the Schiller Institute, and Harlem Opera

Theater.

“{{Whereas:}} Born in 1917, Sylvia Olden Lee was raised in

Mississippi by

parents who were gifted musicians, and she began learning piano

at age five. Equipped with immense natural talent, she went on to

study piano at Howard University and at age 16 she was invited to

perform at the White House for Franklin Delano Roosevelt’s

inauguration. Lee also excelled as a vocalist and she possessed a

deep knowledge of African American spirituals. In 1954, Lee

became the first African American professional hired by New

York’s Metropolitan Opera, where she worked for many years as a

vocal coach and played a key role in coordinating the

groundbreaking debut of Marian Anderson at the Met. During her

long and successful professional career, Lee accompanied and

coached singers throughout the United States and Europe, and she

worked with many internationally-acclaimed artists, among them

Paul Robeson, Jessye Norman, Kathleen Battle and Robert McFerrin.

“{{Whereas:}} As a dedicated vocal coach and a passionate

music educator,

Lee was a mentor to generations of young artists, and her legacy

continues to inspire emerging and established musicians in the

five boroughs and beyond. Through her hard work, enthusiasm,

phenomenal talent and encyclopedic knowledge of spirituals and

classical music, Lee made tremendous contributions to the world

of music, and as a pioneering African American artist, she

fostered diversity in the cultural sector, paving the way for

others. As you gather tonight to enjoy an evening of performances

in Sylvia Olden Lee’s honor, Chirlane and I are pleased to join

in paying tribute to an outstanding artist who shaped the history

of music in New York and around the world.

“{{Now therefore,}} I, Bill De Blasio, Mayor of the City of

New York, do hereby proclaim Thursday, June 29th, 2017 in the

City of New York as:  {{Sylvia Olden Lee Day}}”

So this was an incredible tribute and celebration of Sylvia

Olden Lee Day in the City of New York.  This commemorative

program went out to everybody who was present, with this

beautiful picture of Mrs. Lee on the front of the program.  And

on the back it said, “Lift Every Voice and Sing” which was

appropriate for the concluding piece of this concert, which was a

wonderful and rousing arrangement of that national song of

freedom, {Lift Every Voice and Sing}, which was arranged and

conducted by the famous Roland Carter.  And as soon as the music

began, the audience on its feet, singing along.

Now, Lynn Yen, who is the executive director of the

Foundation for the Revival of Classical Culture, invited

everybody present to join the Schiller Institute Community Chorus

and to become part of a growing movement for the revival of

Classical culture in New York City and beyond, setting as a goal,

one year from today, that that community chorus should have 1,500

members.  And I think many members of the audience were so

inspired by that concert that they were very eager to join such

an extraordinary chorus.

The combined choruses of the Harlem Opera Theater and the

Schiller Institute Chorus comprised a chorus of hundreds on the

stage of Carnegie Hall last night.

Now, one more greeting that was written and included in this

commemorative program, was from Helga Zepp-LaRouche, herself, who

is the founder and director of the Schiller Institute.  And I’d

like to put in the screen the tribute to Sylvia Olden Lee from

Helga Zepp-LaRouche.  She said:

“Sylvia Olden Lee was one of those absolutely outstanding

artists, who are capable of crystallizing for her many pupils and

the people she inspired, the essence of a piece of music, the

true idea, only accessible to those individuals, who can read the

intention of the poet and the composer.  She implanted in many

minds throughout her life the knowledge in her students, how the

artists, the singer, the instrumentalists steps modestly behind

the composition, but at the same time adds his or her ennobled

individuality to the performance, to make it both unique and

absolutely truthful.

“In doing that, she was always playful, polemical, full of

humor, profound, loving and with a disarming openness, and by

representing all of these characteristics, she would liberate her

students, as well as the audience out of their normal un-elevated

condition to the higher plane of true art.  She was able, like

only a few, to let those around her participate directly in the

creative process, in the diligent work of the kind of perfection

it takes, to actually produce art, and not just nice sounds.

“The afternoons and evenings she would participate in

{Musikabende} or coaching sessions in our place in Virginia,

together with William Warfield, Robert McFerrin, and numerous

other Classical artists, belong to the fondest memories for my

husband, Lyndon LaRouche, and myself.  Sylvia and Bill [Warfield]

were for many years on the board of the Schiller Institute and

added an invaluable treasure to its work.  In thinking about

Sylvia, one suddenly wishes she would be still there, since what

she taught is so very needed for our humanity. — Helga

Zepp-LaRouche, Founder, Schiller Institute”

Now, I think that spirit was infused in the entirety of the

performers and the audience that was present, and many of them

are gathering again, as we speak today, in New York City at the

Lincoln Center for a follow-up symposium, again sponsored by the

Foundation for the Revival of Classical Culture, which is the

conclusion of this two-day tribute to Sylvia Lee, which is

called, “The Aesthetical Education of Humanity through Music,”

and is involving a discussion among many of those performed last

night, and who were teachers and who were touched by Sylvia Olden

Lee; including a presentation on the necessity for a return to

the so-called “Verdi tuning”: This is the A=432 tuning which was

mandated by the great operatic composer Giuseppe Verdi; and a

return to the idea of a discussion for a proposed, new National

Conservatory of Music.

Now, what I’d like to show you, just inclusion for today’s

broadcast, to give you a little bit of a taste of the

extraordinary character of Mrs. Sylvia Olden Lee, as we celebrate

her 100th birthday, is this small video excerpt from the

conclusion of a speech that she delivered at a conference of the

Schiller Institute in February 1994:

“I know from the fact that you’re here, your presence

attests to the fact that you believe in justice and one world.  I

hope you keep persevering and going into the far corners of this

globe, selling it to other people, because {we are one family}.

We all belong to {one God}, no matter what you call Him. And as

such, we should keep in touch with each other, through Classics

{and folk music}. [applause]”

So I think that’s a beautiful rallying call for all who are

believers in justice, as she said “one world,” a cooperation

among humanity, that we all send this message, sell this message

to the ends of the Earth and that we work tirelessly, to achieve

that beautiful vision, and to remain in touch with each other

through music and art, the Classics and the folk songs alike.

So again, this was a beautiful event.  All of those who had

the opportunity to attend, I’m sure, will remember this for the

rest of their lives, and will be inspired to follow in the

footsteps of such a beautiful and inspiring teacher.

As I said in the beginning of our broadcast, we are now in

the eve of the beginning of the month of July, I think we can

expect some very important opportunities, as things continue to

develop, as we look ahead to the July 7-8, one week from today,

summit — the G20, but the important bilateral meetings that will

occur on the sidelines, between President Trump and President Xi,

and President Trump and President Putin.

So we continue our work here in the United States for the

U.S. to join the New Silk Road, and it couldn’t be any more

urgent than it is right now:  Thank you very much for joining me

here today, and please stay tuned to larouchepac.com, as we bring

you more updates, in the continuation of our campaign here in the

United States.

Be sure to visit larouchepac.com, subscribe to YouTube

channel, and please become a regular member of the LaRouche PAC,

by joining our email list and by signing up on the Action Center

at larouchepac.com.  Stay tuned, and we’ll see you again.




Trump topmøde med Putin og Xi Jinping
ved G20.
Vil han gå med i deres strategiske partnerskab?
POLITISK ORIENTERING 29. juni, 2017

v/ Tom Gillesberg:

se også anden del:

lydfil:

https://soundcloud.com/si_dk/trump-topmode-med-putin-og-xi-jinping-ved-g20-vil-han-ga-med-i-deres-strategiske-partnerskab

Toms indledning: En hyldest til Sylvia Olden Lee.

Plakat for hyldestkoncerten for Sylvia Olde Lee i Carnegie Hall, hvor også Schiller Instituttets kor optræder.

»God Aften, og Velkommen til denne meget historiske dag. Jeg tænker ikke bare på vores begivenheder her i København i aften, men jeg tænker også på det, der løber af stablen om seks en halv time ovre i New York City, hvor der vil være en koncert til minde om Sylvia Olden Lee (1917-2004), som var en meget stor personlighed i amerikansk kulturliv. Hun var ’halvt sort’, hvis man kan sige det sådan, selv om hun så ’hvid’ ud; men hun insisterede på, at netop hendes sorte rødder var ekstremt vigtige, fordi hun kom ud af en familie, hvor – jeg tror, det var hendes mor, der var en meget stor operasanger, men som blev nægtet at synge som operasanger ved Metropolitan Opera, fordi hun var sort – og Sylvia Olden Lee gik i sine forældres fodspor. Hun blev en meget stor musiker og havde en fantastisk stemme; var fantastisk på klaveret, og fik meget hurtigt en særlig status. Da Franklin D. Roosevelt blev indsat som præsident, spillede hun ved indsættelsesceremonien i Det Hvide Hus – jeg tror, hun var 16 år på det tidspunkt. Det, der ikke lykkedes for hendes forældre, lykkedes for hende – hun blev ansat i Metropolitan Opera som akkompagnatør og stemmetræner og kom til at være en meget betydelig formende karakter for en stor del af musiklivet derefter i USA.

Samtidig med, at hun havde den position, var hun altid helt klar over, at hun havde en speciel rolle at spille ved at bryde denne negative tradition i USA med, at de sorte talenter ikke måtte komme frem pga. deres hudfarve. Så hun insisterede altid på, at hun var sort. Hun promoverede de sorte sangere – hun var én af nøglepersonerne i at sikre, at Marian Anderson ikke længere kunne holdes tilbage, men bl.a. spillede ved en meget stor koncert, hvor Elinor Roosevelt, Roosevelts enke, var meget vigtig i at få det arrangeret i Washington og sørge for, at man ligesom kunne bryde den her underliggende racisme, som stadigvæk florerede i USA.

Og netop med den historie kan det jo ikke overraske nogen, at da Sylvia gennem nogle venner kom i kontakt med Schiller Instituttet, så så hun netop i Schiller Instituttets arbejde – Lyndon LaRouches arbejde, Helga Zepp-LaRouches arbejde – en institution, der faktisk repræsenterede de samme idealer, som hun havde kæmpet for i hele sit lv. Og hun blev derfor, i lighed med andre, som Amilia Boynton-Robinson (1911-2015), en meget tæt samarbejdspartner med Schiller Instituttet, men specielt på det musikalske område; og faktisk også i Schiller Instituttets arbejde for at sænke kammertonen til C=256 og A=432. Det er derfor en meget stor glæde for alle musikelskere, at i dag (29. juni) officielt er udnævnt til at være ’Sylvia Olden Lee-dag’ i New York City af borgmesteren, og at der vil være denne mindekoncert i aften i Carnegie Hall, som er det fineste af det fine; men i modsætning til, hvad det plejer at være, at det er et sted, hvor alle de, der tjener minimum $100.000 om måneden, kan få lov at gå til koncerter, så er det faktisk noget, andre også kan betale sig fra, og hvor en lang række af de folk, hvis liv blev dramatisk forandret ved kontakten med Sylvia Olden Lee, vil være med på scenen. Schiller Instituttets kor i New York har netop i den anledning arbejdet meget hårdt – det er vokset meget substantielt til ca. 120 personer i de sidste måneder – og vil være der sammen med et andet kort, så det bliver et kor på 240 personer, der også vil synge Negro Spirituals.«

Hør hele Toms fremlæggelse på ovenstående videolink.  




To fortællinger om én by

Leder fra LaRouche PAC, 28. juni, 2017 – Torsdag 29. juni vil en historisk koncert blive afholdt i Carnegie Hall i New York City for at fejre Sylvia Olden Lees liv og værk. Sylvia Olden Lee var en banebrydende sanglærer ved Metropolitan Operaen og mangeårig ven og kollega i Schiller Instituttet. Sponsoreret af Fonden for Genoplivelse af Klassisk Kultur vil et 220 mand stort kor, af hvilket Schiller Instituttets 110 mand store NYC-kor udgør halvdelen, optræde. Desuden vil Convent Ave. Baptistkirkens kor, ledet af Lees (og Schiller Instituttets) mangeårige ven Gregory Hopkins, stifter og leder af Harlem Opera Theater, ligeledes optræde.

Koncerten/hyldesten til ære for Lee vil dagen efter blive fulgt op af et arbejdssymposium over Verdistemningen C=256, der vil omfatte sammenligninger mellem udvælgelser sunget i A=432 og A=440 eller højere. Den to dage lange proces vil udgøre et betydningsfuldt skridt fremad for Lyndon LaRouches »Manhattan-projekt« om opbygningen af et 1000 til 1500 mand stort kor, som LaRouche foreslog for mere end et år siden.

En sådan genoplivelse af klassisk kultur er afgørende for at bringe videnskabelig tankegang tilbage til USA, og for helt at kunne skifte landet ind i det Nye paradigme med Kinas Bælte & Vej Initiativ.

Men, der findes et andet New York, som vi dagligt bliver mindet om. I går fandt der en katastrofal afsporing sted på én af Manhattans store undergrundsbanelinjer, der medførte dusinvis af sårede (heldigvis ingen døde – denne gang) og alvorlig beskadigelse af spor og tunnel. Ingen har et skøn over, hvor længe, det vil tage at udføre reparationerne. Men dette er kun en forsmag på den »Helvedessommer«, der venter New Yorks indbyggere, med start 10. juli, hvor man har bebudet en række nedskæringer af driften på 20 % for at give plads til, at nødvendige udbedringer kan udføres.

Sagens kendsgerning er, at hele infrastrukturnettet i det større New York-område er ved at bryde sammen som følge af årtiers manglende vedligeholdelse og investering i ny kapacitet. Schiller Instituttet er i øjeblikket ved at udarbejde et totalomfattende programforslag for, hvad der må gøres og omgående sættes i værk, for at adressere denne krise – hvilket indbefatter et tæt samarbejde med Kina og dets kapacitet inden for infrastruktur, der er i verdensklasse.

Faktisk er hele det transatlantiske system i færd med at kollapse – både dets fysiske økonomi og dets finanssystem – og vil ikke kunne genrejses uden en afskrivning af den bankerotte derivatboble til $1,5 billiard, på basis af Glass/Steagall-bankopdelingsloven og den bredere politik i LaRouches Fire Love. 

Dette er fuldstændig åbenbart i det aktuelle dødvande i debatten i Kongressen om Obamacare vs. Republikanernes sygesikringslov, som begge simpelt hen slår folk ihjel for at holde Wall Streets forsikrings-molokker glade og tilfredse. Og det er åbenbart i implikationerne af brandhelvedet i Grenfell Tower i London, der bedst kan betegnes som Grenfell-krematoriet, hvor disse implikationer er, at der findes dusinvis, hvis ikke hundredevis af sådanne farlige sociale boligbyggerier til fattige immigranter og andre, som følge af privatiseringen af socialt boligbyggeri og spekulation i den britiske ejendomsboble – for begge deles vedkommende takket være det bankerotte City of London og Wall Street.

Heldigvis er alternativet til disse mord og dermed forbundet kulturelt vanvid i færd med at blive til virkelighed omkring Kinas Bælte & Vej Initiativ. Kinas præsident Xi Jinping har netop meddelt, at han afholder topmøder med den russiske præsident Vladimir Putin (3. juli), og med Tysklands præsident Frank-Walter Steinmeier og kansler Angela Merkel (kort tid efter), for begges vedkommende forud for G20-topmødet i Hamborg, den 7.-8. juli. I særdeleshed kan Xi-Putin-topmødet forventes at producere vigtige, nye udviklinger, som begge sider gentagent har erklæret i de seneste måneder, især omkring forstærket koordinering mellem Kinas Bælte & Vej og Ruslands initiativer med den Eurasiske Økonomiske Union, EAEU. Det er ligeledes signifikant, at Xi og Putin vil mødes umiddelbart forud for det forventede møde mellem Putin og Trump under G20-topmødet i Hamborg.

Dette møde kunne »ændre spillet«, som man siger, ikke alene mht. de bilaterale relationer mellem USA og Rusland, men også mht. den strategiske situation, der konfronterer hele planeten.

Det britiske Imperium og de personer i Washington, der udfører underordnede tjenester for Dronningen af England, er ganske udmærket bevidst om denne situation og er indstillet på at gøre hvad som helst, og hvor som helst (og ikke kun i Syrien), for at forhindre, at dette finder sted.

Men vi er lige så forberedt til at sikre, at det finder sted.

Som Lyndon LaRouche så hjerteligt sagde i sidste uge, så vil vi gøre New York til et historisk vendepunkt.

Foto: Plakat for hyldestkoncerten for Sylvia Olden Lee i Carnegie Hall, New York.