The Foundation for the Revival of Classical Culture has as its mission the reintroduction of Classical principles of musical, artistic, and scientific practice and performance to all partakers – particularly children.

This involves demonstrating to the student that there are unexpected capabilities for profound emotional and intellectual experience that are within his or her immediate grasp, if he or she should dare to "unplug" from the Internet and engage in the physical/intellectual act of singing; the physical/intellectual act of instrumental ensemble performance; and the physical reproduction and reenactment of ground-breaking scientific experiments.  In this way, principles of creativity are directly encountered and assimilated by the mind of the student, rather than methods of procedure intended to reach a predetermined result.

The Foundation began its work by means of a series of experimental concerts, starting in November of 2011.  These were designed to refute the nearly universally unchallenged presumption that young Americans were either not to be interested in, or not available as an audience for, either the performance, or the investigation and study, of the work of Bach, Handel, Beethoven, Mozart, and other Classical composers.  During 2012-15, in a series of concerts, seminars, and classes held in New York City, the polar opposite was demonstrated to be true.  Not only was there widespread enthusiasm and support among young people, but there was also a most positive effect registered with regard to parents, who too often are forced into the role of mere policemen, in an economically challenged environment, such as today's, rather than as mentors to their own children.  

The most spectacular refutation of the "popular culture rules!" canard occurred in May of 2012, at Carnegie Hall, only six months after the Foundation began.  On Mother's Day, supposedly the worst day in the year" for concerts at Carnegie Hall, the Foundation successfully assembled 2,300 people in the "great hall" of Carnegie, Stern Auditorium. 1,700 of these were high school and junior high school age students. They listened to the Bach-Busoni Organ Toccata in C, Mozart's Fantasy in C Minor, Beethoven's "Appasionata" Sonata in F Minor, Brahm's Handel Variations, and the Chopin Scherzo in B Flat Minor.  That program, which would have proved challenging for all but the most seasoned and devoted of Classical music concert-goers, was received with "pin drop quiet", with awe , admiration and gratitude by an audience that had never been expected or allowed to experience such things before.  The Foundation provided a means for parents to lead their families, many for the first time, to Carnegie Hall, and to share with other families the drama of Beethoven's gripping "Appassionata" piano sonata, as audibly dramatic in its own way as a Shakespeare tragedy. 

Classical principles and non violence  

The science of music

The unique properties of proper tuning