by Dennis Speed
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Mark the music.
– Shakespeare, Merchant of Venice, Act V, Scene 1
Seven decades ago, the British Intelligence and U.S. State Department organization known as the Congress for Cultural Freedom launched a campaign of cultural war on the nations of the trans-Atlantic. Their focus was France, Germany, and the United States, with particular emphasis on breaking the cultural optimism of German Classical culture, i.e., the tradition of Bach, Mozart, Beethoven, and Brahms, from the post-war culture of the United States..
It was the leading conductor of his day, the very soul of the German classical tradition and who personally opposed the Nazi takeover of Germany, Wilhelm Furtwängler, who was the main recipient of their opprobrium, especially with the blatant popularization of equating the term “Classical” with that of “Nazi.” This was also expressed by their virtual-reality term “the authoritarian personality,” and the alternative, the CCF claimed, could be produced through the so-called cultural freedom of expression.
Suddenly, and for the first time, jazz musicians found themselves traveling on behalf of the State Department to promote America’s “cultural freedom of expression” — though they themselves were prohibited in their own country from sleeping in the same hotels or eating in the same restaurants with their Washington, D.C. State Department sponsors. American abstract expressionist painter Jackson Pollock’s entire career, and the careers of scores of other artists were literally made by the CCF.
Combined with Princeton Radio Research Project’s 1950s-60s AM “Top 40” radio project, otherwise known as the war on American ear-drums, the attack on German Classical culture and the promotion of so-called modern culture by the CCF’s decades-long bombardment led to several successive generations of an unrelenting ugliness in the museums, concert halls and the parks of our nation.
The purpose of all of this was to produce what we clearly see in the 2016 Presidential elections: ugly candidates with ugly ideas set to even uglier music.
The Power of Song
Lyndon LaRouche often refers to the higher political principle of the placement of the voice, i.e. the statement of an urgent and great idea, properly vocalized and written, and beautifully composed and designed to increase the capacity of people, as Percy Shelley put it, “to receive profound and impassioned conceptions representing man and nature.” This principle is today absent from political discourse, and must be introduced by a new movement of artists and leaders, and it is that new movement which LaRouche defines as the New Presidency.
During the weekend of September 11, 2016, the fifteenth anniversary of the September 11, 2001 attacks, where 3,000 Americans were killed by Saudi-backed terrorists in New York’s World Trade Center Towers, four performances of the Mozart Requiem will be performed as a living memorial to those 3,000 Americans and others murdered in that still-unresolved crime.
John Sigerson, who is the musical director of the Schiller Institute and the conductor of the upcoming performances, recently participated at a four-day discussion and workshop process in nearby upstate New York as part of the institute’s campaign to revive the Verdi tuning of C = 256.
This is the verified scientific tuning where the placement of the voice is most natural to the mind of the artist and the audience alike. As part of the Schiller Institute’s international campaign there is now an entire facility in the New York area which has re-tuned all of its pianos to accommodate this needed resurrection of bel canto voice placement and vocal training.
Mr. Sigerson, along with the founder of the Schiller Institute New York City Community Chorus, Diane Sare, together are now preparing for this extraordinary set of performances over the weekend of September 11, 2016, and something new has spontaneously begun to occur. The discussion process around Mozart’s Requiem has prompted, increasingly, what seems to be an involuntary comparison to the present electoral and national predicament. It would be nearly impossible for this comparison not to occur.
But why is the presentation of Mozart’s Requiem essential at this point to solve the American political crisis?
The horror and ugliness of the Presidential Administrations of the past fifteen years demands a requiem, not for the dead—and not for the living dead—but for the condition which perpetuates that feeling of desperation now epidemic in every part of our nation. A New Presidency begins with a properly placed intoning of Mozart’s Requiem as a key to help unlock the doorway to a new future for all mankind, already offered, but still unseen and unacknowledged in this country.
Through the work of Lyndon and Helga LaRouche, and the efforts of the leadership of Russia, China, and the nations allied with them, there is now possible a new world based on the scientific optimism of the unlimited potential of the human mind. The LaRouchePAC Manhattan Project, and the choral process that it expresses, is building the new human assembly by which that future, and the New Presidency, can be brought into being through the “sweet power of song.”