Has the rezoning even hit SOHO...? They don't let the old buildings be. To threaten to destroy the old neighborhoods all the time. Truly Evi.
Showing posts with label nyc. Show all posts
Showing posts with label nyc. Show all posts
Sunday, October 31, 2021
Friday, October 1, 2021
Schumer's Dope-Based Economic Plan: Hyperinflation and No Production
Amazing, will we have a New York and other places in the USA with a productive economy? Diane Sare knows -- or else only Marijuana. Harlem Dudes, we like better the China building model of Railroads.
Wednesday, July 7, 2021
Wann Show at the Raw Gallery NYC, in the Bronx
Tuesday, December 3, 2019
Twitter over Beethoven 250 Dec 16 Carnegie Hall NYC
https://twitter.com/howiecopywriter/status/1201952134671085570?s=20 Twitter over Beethoven 250 Dec 16 Carnegie Hall NYC
PRESENTED BY FOUNDATION FOR THE REVIVAL OF CLASSICAL CULTURE
250 Years of Beethoven, Celebrated!
Monday, December 16, 2019 7 PM Stern Auditorium / Perelman Stage
URL Copied
December 2019 is considered to be 250th anniversary of Ludwig van Beethoven’s birth. Conductor Maestro Jiang Jin Yi, Music Director and Principal Conductor of the China National Symphony Orchestra, joins an international cast of artists, including pianist Tian Jiang and Kevin Short (Met Opera), to perform three of Beethoven’s most important works.
Get Tickets
From $17.50 to $125
View Seating Chart
Performers
Jiang Jin Yi, Conductor
Tian Jiang, Piano
Maryam Raya, Piano
Angela Renee Simpson, Soprano
Mary Phillip, Alto
Everett Suttle, Tenor
Kevin Short, Bass
Beethoven Celebration Orchestra and Chorus
Harlem Boys and Girls Alumni Chorus
Schiller Institute NYC Chorus
John Sigerson, Conductor
Program
BRAHMS Nänie
BEETHOVEN Piano Concerto No. 3 in C Minor
BEETHOVEN Piano Concerto No. 5 in E-flat Major, "Emperor"
BEETHOVEN "Ode to Joy"
Event Information
By clicking the link below, you will be leaving the Carnegie Hall website.
ffrcc.org/beethoven-250
Monday, June 10, 2019
FFRCC Classical Music gets National Review Attention
Good fame is pretty good, but often we settle even for some bad fame... but this National Review article about the FFRCC (Foundation for the Revival of Classical Culture Review) is pretty good.
The season is almost over at Foundation for the Revival of Classical Culture but check out this review of our concert of June 2nd.... in NYC. Don't worry, we will do it again in late September. 
A great National Review- review for baritone Frank Mathis, and pianist Jon DePeri, and don't forget the FFRCC Youth chorus performed too.
And we also have the FFRCC summer camp coming up in lower Manhattan NYC... so if you have kids 11 years old plus, who can get into some choral singing- science and drama... sign up.
A great National Review- review for baritone Frank Mathis, and pianist Jon DePeri, and don't forget the FFRCC Youth chorus performed too.
And we also have the FFRCC summer camp coming up in lower Manhattan NYC... so if you have kids 11 years old plus, who can get into some choral singing- science and drama... sign up.
Tuesday, May 14, 2019
Early Music in NYC- May 19 - Everett Suttle & Friends
MAY 19th 3:00pm PROGRAM at ST Johns in the Village, nYC, 218 W 11th street, Sunday May 19 at 3pm.
EVERETT SUTTLE AND FRIENDS
EVERETT SUTTLE, Tenor
JOHNATHAN DEPERI, Harpsichord and Piano
with special guests
KATRIN BULKE, soprano
NANCY GUICE, alto
FRANK MATHIS, baritone
JAKE HOLTZMAN, piano
TENOR AND HARPSICHORD
1) BIST DU BEI MIR JS BACH
from ANNA MADGALENA NOTENBÜCH
2) IF MUSIC BE THE FOOD OF LOVE
from THE TEMPEST. PURCELL
3) MUSIC FOR A WHILE PURCELL
from OEDIPUS
4) LE VIOLETTE SCARLATTI
from PIRRO E DEMETRIO
EVERETT SUTTLE, Tenor
JOHNATHAN DEPERI , harpsichord
BAROQUE ARIAS
1) WHERE’ ER YOU WALK HANDEL
from the Oratorio SEMELE
2) TU LO SAI TORELLI
from the cantata
COME POTESTI MAI LASCIARMI, INFIDA
3) Recit: FRONDI TENERE
Aria: OMBRA MAI FU. HANDEL
from the Opera SERSE
EVERETT SUTTLE, Tenor
JOHNATHAN DEPERI, piano
DER ERLKÖNIG D328 SCHUBERT
poem by GOETHE
EVERETT SUTTLE, Tenor
KATRIN BULKE, Soprano
FRANK MATHIS, Baritone
JOHNATHAN DEPERI, Piano
JAKE HOLTZMAN, Piano
LIEBESLIEDER WALZER, opus 52
By JOHANNES BRAHMS
Text from POLYDORA by GF DAUMER
1) Rede, Mädchen, allzu liebes (SATB)
2) Am Gesteine rauscht die Flut (SATB)
3) O die Frauen (TB)
4) Wie des Abends schöne Röthe (SA)
5) Die grüne Hopfenranke ( SATB)
6) Ein kleiner, hübscher Vogel (SATB)
7) Wohl schön bewandt (SA)
8) Wenn so lind dein Auge mir ( SATB)
9) Am Donaustrande ( SATB)
10) O wie sanft ( SATB)
11) Nein, es ist nicht auszukommen (SATB)
12) Schlösser auf ( SATB)
13) Vögelein durchrauscht die Luft ( SA)
14) Sieh‘, wie ist die Welle klar (TB)
15) Nachtigall, sie singt so schön ( SATB)
16) Ein dunkler Schacht ist Liebe (SATB)
17) Nicht wandle, mein Licht ( Tenor)
18) Es bebet das Gesträuche ( SATB)
KATRIN BULKE, Soprano
NANCY GUICE, Alto
EVERETT SUTTLE, Tenor
FRANK MATHIS, Baritone
JOHNATHAN DEPERI, Piano
JAKE HOLTZMAN, Piano
Tuesday, April 9, 2019
Harlem dudes meet Leonardo Da Vinci in NYC
Hey Harlem dudes... meet Leonardo da Vinci https://www.eventbrite.com/e/leonardo-da-vinci-musician-scientist-tickets-59459898156?aff=ebapi the music, secrets of leonardo da vinci. #nyc #stjohnsvillnyc April 13, 2 pm, St Johns in the Village... his musical instruments, science, and je ne sais quoi Dr Michael Eisenberg , curator Milan exhibition Dongmyung Ahn on strings
Friday, March 8, 2019
NYC March 10th Victoria Opera House 3pm
https://www.broadwayworld.com/bwwopera/article/Victoria-Opera-House-Brings-Classical-Music-To-Young-Audiences-With-An-Experiential-Format-20190308 Victoria Opera House at #nyc #stjohnsvillnyc March10 3pm
Tuesday, February 5, 2019
More Music Feb 10 Maryam Kheirbek at 3 pm, St Johns Vill NYC
Maryam Kheirbek is really a trooper, for Beethoven and Chopin on the Piano
Friday, January 25, 2019
Thursday, December 27, 2018
Tali Roth at St Johns in the Village NYC Classical Guitar
Tali Roth at ST Johns in the Village Church in NYC. Tali Roth, classical guitar, will open up the season at #stjohnsvillnyc St Johns in the Village #nyc, Sunday Jan 13 at 3 pm.... see www.ffrcc.org Great day from the Foundation for the Revival of Classical Culture plus wine and cheese reception.... $20 for whole deal, $10 students, poverty cases. Free for elementary school students, high school students. Get the groove.
Thursday, November 1, 2018
Two violins and a piano; Bach, Mozart and Paganini in NYC West Village
OK, time to get down to the West Village and hear real music on Sunday Nov. 4th at 3 pm. Location is St Johns in the Village, 218 West 11th Street. Get tickets on eventbrite.
Friday, October 19, 2018
Tali Roth... glory of classical guitar, Sunday , St Johns in the Vill NYC
Tali Roth guitarist ....classical guitarist-- these concerts have been great... only 100 seats. at St johns in the village, 218 West 11th st..... NY NY 10014. at 3 pm to 4 pm, plus wine and cheese reception.... all included only $10 students, $20 general admission.
Church is in lovely Greenwich Village NYC, 3 blocks south of the 14th Street subway at 7th ave, #1, 2, 3 lines.
Church is in lovely Greenwich Village NYC, 3 blocks south of the 14th Street subway at 7th ave, #1, 2, 3 lines.
“BACH TO THE FUTURE” CONCERT SERIES
Thursday, October 11, 2018
St John's in the Village, and also St Veronica's too NYC
and St Veronicas too on Sat Nov 3 at 7 pm
ESCRIPTION
Music at St Veronica's in Greenwich Village NYC NY
The Music at St Veronica's season is back in full swing! Join us for an incredible night of music performed by a full orchestra conducted by Benjamin Grow.
As music director of Tom Cipullo's acclaimed opera Glory Denied in Philadelphia, Grow was said to have "expertly coached the singers and led the orchestra" (Broad Street Review), and his "fine detailing delivered the ferocious power of this score" (Huffington Post), in what The Philadelphia Inquirer said was the "most unforgettable opera" of the year.
The Program:
Sense of Place
Felix Mendelssohn- The Hebrides (Fingal's Cave) Overture
— Intermission—
Antonin Dvorak- Czech Suite
Felix Mendelssohn- Symphony No. 4 "Italian"
History of the Concert Series:
The Church of St. Veronica, a 130 year-old Catholic church on Christopher Street, closed in July of 2017 due to low-attendance at Sunday masses. When WestView News publisher George Capsis received a letter from one of his readers informing him of the fact, he knew something had to be done.
Rather than see the church closing as another casualty of the rapidly "disappearing Village", Capsis believed that this was an opportunity to bring the community together. The West Village is a highly desirable area in New York city because of its small-town neighborhood feel (hence "The Village") in one of the biggest metropoles in the world. That neighborhood feel, however, is at risk as property values skyrocket and condominiums come to replace the iconic brownstones. Most troubling to Capsis, a nonagenarian himself, was seeing his fellow senior citizens (who have remained in the West Village thanks to rent-stabilized apartments) excluded from enjoying the community they built. For that reason, WestView News has been hosting classical music concerts at the Church of St. Veronica since November of 2017. This next concert will the first concert of the new season and we look forward to seeing our neighbors there, young, old and everyone in-between.
---------------------also see www.ffrcc.org/bach-to-the-future-page for more concerts in the village, starting with Oct 14 .... Schiller institute NYC chorus... 10 Afro amer spirituals, at ST Johns in the Village, 218 West 11th Street NY NY 10014.
Tuesday, July 17, 2018
Summer Camp with Classical Chorus and Astrolabes
See if you can make the scene, and go to www.ffrcc.org to sign up please... Cmon Harlem dudes... yes, it's in Greenwich village, but you can get on the 1 train to 14th Street and make the scene. Time for your teenager to have summer camp in the city from August 6 to 17.Tuesday, May 22, 2018
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
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
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