Friedrich Schiller - November 10,1759 - May 9, 1805
Each year we celebrate Friedrich Schiller - Poet of Freedom - with music, poetry and dialogue. Due to the constraints of the pandemic, we were not able to carry through on our planned celebration for 2020.
We offer this presentation on the life of Friedrich Schiller given by the late conductor Tony Morss, at a Schiller Celebration which took place on November 12, 2016.
Stages of Freedom Lectures, part 1 concludes with Schiller Chorus
On Friday, October 9, 2020 the Schiller Institute Chorus was honored to participate in an online program at the Providence Athenaeum in Rhode Island, founded in 1753, one of the oldest libraries in the Unites States. Dr. David Blight spoke about his Pulitzer Prize winning book, Frederick Douglass: Prophet of Freedom. The Schiller Choruses of Boston and NYC joined to close the program with a virtual performance of an Anthem entitled Listen to the Lambs, arranged by Nathaniel Dett.
Schiller Chorus releases new virtual performance.
The Schiller Institute NYC Chorus released its third virtual performance of 2020, the Anthem arranged by Nathaniel Dett, Listen to the Lambs, for the occasion of the 9/11 Memorial Concert on September 11, 2020.
Read moreHuman Creative Power: The Distinctive Characteristic of the Urgently Required New Renaissance
by Janet G. West
This article appears in the June 19, 2020 issue of Executive Intelligence Review.The Schiller Institute’s April 25–26 International Conference, titled “Mankind’s Existence Now Depends on the Establishment of a New Paradigm!” featured four panel discussions, the third panel, reported on here, “Creativity as the Distinctive Characteristic of Human Culture: The Need for a Classical Renaissance,” included a wealth of music, for which we suggest that our readers go to the video (posted above). Reports and speaker transcripts of the other panels are available in the May 1, May 8, and May 15 issues of EIR.
Read moreFor the Dignity of Every Human Life
Members of Schiller Chorus sing "Listen to the Lambs" by R. Nathaniel Dett in remembrance of George Floyd, with a statement from Diane Sare, founder Schiller Institute NYC Chorus.
Read moreChorus makes its first foray into public streaming event.
On Sunday, May 31st at 5pm, the Schiller Institute NYC Chorus experimented with an informal Zoom concert, "Eine Kleine Musikabend," to test the new domain of online live streaming events. Despite the expected glitches, the audience of primarily chorus members and friends was delighted with the result.
Schiller Institute Chorus pianist wins 2nd place in the American Prize competition
Yuting Zhou was the 2nd place winner (professional division) at The American Prize: National Competition.
Read moreSchiller Institute NYC Chorus celebrates 75th Anniversary of VE Day
The Schiller Institute NYC Chorus contributed a virtual choral performance celebrating the 75th anniversary of the famous meeting of US & Soviet forces at the Elbe River and of VE Day in honor of those who fought together to defeat fascism.
Open Letter to Germany’s Classical Music Lovers in the Year of Beethoven
The Bounds of Decency Have Been Breached
by Helga Zepp-LaRouche, Chairwoman of the Schiller Institute
Motivführung is a form of composition that, from a single musical idea, develops further themes, movements and ultimately the entire composition. It was elaborated and rigorously demonstrated in master classes by Norbert Brainin, the first violinist of the Amadeus Quartet. Shown: Norbert Brainin and Gunter Ludwig in Washington, D.C. on June 6, 1990.
Jan. 13—The first thing one can say about the performance of Beethoven’s Fidelio at the Darmstadt Theater, in a production of Paul-Georg Dittrich with a musical adaptation of the finale by Annette Schlünz, is: It’s god-awful! It couldn’t be worse. God-awful from a musical, artistic, philosophical and human standpoint. Of the long series of stupid, crude, repetitive Regietheater[fn 1] performances, that have been staged for over half a century(!)—limited at first to theater, but then also inflicted on the opera—this performance was the absolute low point.
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