More Music Feb 10 Maryam Kheirbek at 3 pm, St Johns Vill NYC

https://www.facebook.com/FFTROCC/videos/10156987975867152/?t=7  more music coming soon

Maryam Kheirbek is really a trooper, for Beethoven and Chopin on the Piano

Event Information

Description

SUN, February 10: Maryam Raya Kheirbeck, Piano

PROGRAM:

Beethoven | Piano Sonata #27, E minor, Op. 90
Beethoven | Piano Sonata #31, A Flat Major, Op. 110
Chopin | Waltz in A Minor, from Op. 34
Chopin | Mazurka in B Minor, Op. 33
Chopin | Prelude “Raindrop”
Chopin | Waltz in Ab Major, from Op. 69
Chopin | Ballade No. 3 in A♭ major, Op. 47
Chopin | Ballade No. 4 in F minor, Op. 52

ABOUT THE ARTIST

Maryam Raya Kheirbek is internationally recognized for her dynamic stage presence and creative versatility. Born in Washington D.C. to a family of doctors, she gave her first public recital at the age of nine, and made her Carnegie Hall debut at the age of sixteen. Most recently on December 18, 2018, Ms. Kheirbek was a soloist in a concert celebrating the 125th anniversary of “Dvorak at Carnegie Hall”, at Carnegie Hall, Stern Auditorium/Perelman Stage.

A prizewinner of numerous competitions and audience awards, she has made solo appearances in venues which include Stern Auditorium, Carnegie Hall, Weill Recital Hall, Carnegie Hall, The National Gallery of Art, The Phillips Collection, Kennedy Center’s Millennium Stage, Lincoln Center for the Performing Arts, Tenri Cultural Institute, Greenwich House Music School, The National Opera Center, The Kosciuszko Foundation, the Smithsonian Institution, the Embassy of Poland, the Embassy of France, and others. In addition to her appearances in the United States, she has performed on international stages in countries which include France, Italy, China, Estonia, Latvia, Finland, and Dubai.



“BACH TO THE FUTURE” CONCERT SERIES
A SUNDAY SERIES OF BEAUTIFUL MUSIC IN THE VILLAGE!
Attend individual concerts for inspiration every Sunday afternoon -- or, subscribe to our series, to support the work of the Foundation for the Revival of Classical Culture; Its “Bach To The Future” Music/Science Program for Students; and the new Foundation for the Revival of Classical Culture Youth Chorus. Accepting new student applications for the chorus -- ages 12 to 18! http://www.ffrcc.org! To Subscribe: https://www.ffrcc.org/bach-to-the-future-page

Beethoven in NYC, Mass in C Major, and Afro Amer Spirituals June 10th | Harlem Tee Shirts

Beethoven in NYC, Mass in C Major, and Afro Amer Spirituals June 10th | Harlem Tee Shirts



As Beethoven jotted down, while sketching out the “Dona nobis pacem” (Give us peace) section of his mighty Missa Solemnis: “Stärke der Gesinnungen des innern Friedens über alles . . . Sieg!” “Strength of sentiments of inner peace above all else . . .Victory!” which he later transformed into the motto of his entire monumental work: “Bitte um innern und äussern Frieden.” “Plea for inner and outward peace.” It is the same with the immortal Schiller: Among his many poems is his “Song of the Bell,” in which the joint planning, forging, protection, and raising of the bell is a metaphor for the composition of true political freedom. His poem concludes: Come now, with the ropes’ whole might, From her dungeon swing the bell, Till she rise to heaven’s height, In the realm of sound to dwell! Pull and lift—still more! See her move and soar! Joy unto this city bringing, May Peace become her first glad ringing!


More on Beethoven and Schiller

For him, as well as for “Poet of Freedom” Friedrich Schiller, the content and intent of peace is the ennoblement of the human soul, so that the individual can proceed to ennoble others as well. As Beethoven jotted down, while sketching out the “Dona nobis pacem” (Give us peace) section of his mighty Missa Solemnis: “Stärke der Gesinnungen des innern Friedens über alles . . . Sieg!” “Strength of sentiments of inner peace above all else . . .Victory!” which he later transformed into the motto of his entire monumental work: “Bitte um innern und äussern Frieden.” “Plea for inner and outward peace.”

It is the same with the immortal Schiller: Among his many poems is his “Song of the Bell,” in which the joint planning, forging, protection, and raising of the bell is a metaphor for the composition of true political freedom. His poem concludes: Come now, with the ropes’ whole might, From her dungeon swing the bell, Till she rise to heaven’s height, In the realm of sound to dwell! Pull and lift—still more! See her move and soar! Joy unto this city bringing, May Peace become her first glad ringing! The Concert Program The concert will begin with a selection of AfricanAmerican Spirituals which is a hallmark of Schiller Institute NYC Chorus’s efforts to preserve this precious II. Burying the Old, Evil Songs T May 18, 2018 EIR How Many Needless Deaths? 23 assertion of man’s dignity against all efforts to degrade him to a beast. The featured work is Beethoven’s Mass in C, Opus 86, which he composed in 1807 at the behest of Prince Esterházy, son of the late Prince Esterházy who had sponsored Joseph Haydn’s career.


Contrary to some who attempt to cast Beethoven as a product of the “Enlightenment,” which relegates creativity to the domain of the Unknowable, Beethoven was a true Promethean in the tradition of Plato, Kepler, and Leibniz, and was dedicated to making creative discovery intelligible to all seekers of Truth. He was therefore deeply religious in that sense, i.e., not in the sense of doctrine, and thus his approach to setting the Catholic mass.


As he noted in 1818 while working on his Missa Solemnis: In order to write true church music ... look through all the monastic church chorals and also the strophes in the most correct translations and perfect prosody in all Christian-Catholic psalms and hymns generally. Sacrifice again all the pettinesses of social life to your art. O God above all things! For it is an eternal Providence which directs omnisciently the good and evil fortunes of human men. Short is the life of man, and whoso bears A cruel heart, devising cruel things, On him men call down evil from the gods While living, and pursue him, when he dies, With cruel scoffs. But whoso is of generous heart And harbors generous aims, his guests proclaim His praises far and wide to all mankind, And numberless are they who call him good. —Homer Tranquilly will I submit myself to all vicissitudes and place my sole confidence in Thy unalterable goodness, O God! My soul shall rejoice in Thy immutable servant. Be my rock, my light, forever my trust! Sad to say, Beethoven’s passion for Truth was a bit too much for Prince Esterházy to take. Following the first performance on September 13, 1807, the Prince complained to Countess Henriette Zielinska:


Beethoven’s Mass is unbearably ridiculous and detestable, and I am not convinced that it can ever be performed properly. I am angry and mortified. Nevertheless, two movements of the Mass were joyously received in Vienna the following year, along with his Choral Fantasy, Op. 80.

This pairing of the Mass and the Choral Fantasy, by the way, is significant for Beethoven’s creative work in general. Just as his motivic development in his Mass in C foreshadows his Missa Solemnis, so the main theme of the Choral Fantasy points directly to the final choral movement of his Symphony No. 9. And it is no accident that the 1824 premiere concert of the Ninth also premiered three movements from his Missa Solemnis. The New Paradigm and the Sublime All great works of Classical art, whether they be music, drama, poetry, the plastic arts, or all combined, are dynamic ideas which impel the beholder into the domain of the Sublime. This is done through stark juxtapositions or paradoxes which are in the domain of metaphor, in the extended sense of William Empson’s treatise, Seven Types of Ambiguity. (See also Lyndon H. LaRouche, Jr., “On the Subject of Metaphor,” Fidelio, Vol. 1, No. 3, Fall 1992). As Schiller writes in his essay, “On the Sublime”: The feeling of the Sublime is a mixed feeling. It is a composite of sorrowfulness, which in its highest gradation is expressed as a shuddering; and of joyfulness, which can intensify into delight, and, although it is not properly pleasure, is what cultured souls prefer by far over all pleasure per se. This union of two contradictory sentiments into a single feeling proves our moral self-subsistence in an irrefutable manner.... Through the feeling of the Sublime, therefore, we have the experience that our state of mind is not necessarily governed by the state of our senses: that the laws of nature are not necessarily also our laws, and that we have within us a selfsubsisting principle which is independent of our sense impressions. [emphasis added]

In the 20th Century, the great conductor Wilhelm Furtwängler put the same principle another way when he argued that actual musical ideas are located entirely outside of sense-perception, “between” or “behind” the notes. Beethoven’s evocation of the Sublime is particularly compelling in the concluding “Agnus Dei” (Lamb of God) movement of both his Mass in C and his Missa Solemnis. In this section, the wrenching “Agnus Dei, qui tollis peccata mundi” (Lamb of God, who taketh away the sins of the world) assumes a downright warlike cast, as the defenseless Lamb is led to slaughter, only to be interrupted by the gentle, sunny warmth of “Dona nobis pacem,” which emerges victorious. And then, just to make the point clear, Beethoven alternates both episodes a second time. The unifying principle of the Sublime in this concluding movement is reinforced by Beethoven’s Motivführung, i.e., his use of inversions and transformations of the very same “rising fourth” thematic material that opens the entire Mass in the first “Kyrie” movement. Brothers (and Sisters)

The audience’s moral victory upon contemplation of two brothers locked in seemingly irreconcilable conflict is evident not only in Schiller’s famous “Ode to Joy” (“All men become brothers where’er tarries thy gentle wing”), but also in Schiller’s very first drama, The Robbers, and his penultimate play, The Bride of Messina. In the former play, the brothers’ dying father, in words laden with Biblical imagery, yet almost Confucian in tone, admonishes: How lovely a thing it is when brethren dwell together in unity; as the dewdrops of heaven that fall upon the mountains of Zion. Learn to deserve that happiness, young man, and the angels of heaven will sun themselves in thy glory. Let thy wisdom be the wisdom of gray hairs, but let thy heart be the heart of innocent childhood. Those who know and love Johannes Brahms’ A German Requiem will immediately recognize “How Lovely Is Thy Dwelling Place.” Such is always the dialog of great artists, across time and space. And such is the substance of the New Paradigm.
https://www.eventbrite.com/e/dona-nobis-pacem-beethoven-mass-in-c-major-tickets-45987062542

Who is Going to my Brooklyn Dec 16 Xmas Concert?

Hi are you going to my Brooklyn NY, December 16 @6 pm Christmas concert??  If not, you should.  The Foundation for the Revival of Classical Culture will present A Christmas Concert on Saturday, December 16, 2017(Beethoven's 247th Birthday!) at 6 pm, at the Co-Cathedral of St. Joseph in Brooklyn, 856 Pacific Street, Brooklyn, NY. The concert will feature the Schiller Institute NYC Chorus, together with guest soloists. Selections from Beethoven's "Mass in C Major" will be performed, together with selections from the Christmas section of Handel's Messiah, and Christmas Spirituals. The concert will be performed at the Verdi proper tuning of C=256 Hz. Celebrate Christmas with great music.

General admission is $20; children (under 18) admission is $10. Family and group rates are available. For tickets and more information, call 718-709-8722 or visit: http://ffrcc.org.

Go to My Christmas Concert

Time to go to a great Christmas Concert on Sat. Dec 16, at 6 pm till 8 pm.  Beethoven's Mass in C Major, Handel's Messiah, excerpts, spirituals  https://www.eventbrite.com/e/a-christmas-concert-tickets-39528000313 at the Brooklyn Co-Cathedral, 856 Pacific Street, NY 11238. Singing is the Schiller Institute NYC Chorus with 4 soloists.

Grave Doubt Harlem and Bronx Dudes

Harlem and Bronx NY dudes, there is a doubt if civilization can survive. You cannot trust yourself. It is the impulse of degeneration, Harlem dudes. Not just the thieving banks. Look at music, classical music. Do you fight for Furtwangler, for Beethoven to be performed properly? This Harlem and Bronx NY hip hop is degenerate beyond belief.