I am lucky that I have two world-class state-supported arts institutions within easy reach of where I live — the Royal Shakespeare Company and the City of Birmingham Symphony Orchestra.

On leaving recent productions of Love’s Labour’s Lost and War and Revolution in Stratford and Birmingham I felt a better person — the experiences had added immeasurably to the quality of my life.

A lot of working-class people are made to believe this sort of art is not for the likes of them. As if Shakespeare had nothing to say to working class people or that the Shostakovich in the CBSO concert was just for toffs.

William Morris describes how the production of his art left him “ministering to the swinish luxury of the rich.”

Here we are over 100 years later and we are still at it with the working class pacified with a tidal wave of celebrity pap.

And don’t get me started on Clarkson, the cultural wing of Ukip.

As a precocious teenager I used to read the Listener — OK I was a bit pretentious — I read about classical music, theatre and poetry to help me understand what I heard on Radio 3.

Like Robert Hughes I became “an elitist in the cultural but emphatically not in the social sense.”

I appreciated the great craft that went into producing great art and hated the fact that many talented people were denied the opportunity to develop that craft.

I thought that by the time I grew up, everyone would listen to Radio 3, read poetry and broadsheet newspapers and of course watch films with subtitles. Instead we got the X-factor, Hollywood films with a reading age of eight, Damian Hurst and the Sun.

Then for a while half the adult population seemed to be reading children’s books like Harry Potter and Neil Postman’s thesis that we where “amusing ourselves to death” seemed to be coming true.

There are ways to hold back this cultural decay. We could take the best of what we know to everyone. That is what Jose Antonio Abreu did in 1975. At that time there were two professional symphony orchestras in Venezuela employing largely eastern European musicians.

Today there are dozens — full of local talent. A far cry from when Abreu gathered 11 youngsters in an underground car park and told them they were making history. The following rehearsal saw 25 turn up and the ball was rolling.

Now 40 years later the National System of Youth and Children’s Orchestras, El Sistema, has hundreds of thousands of participants.

The basics of the Sistema are simple. Children as young as two are given daily instrumental tuition. In return they are expected to join an ensemble. Public performance is an integral part of the programme including family and community members in their progress.

Get them before anyone tells them this kind thing is not for them. Now hundreds of thousands of youngsters the majority from poor homes are engaged in a process of human development.

As Abreu says, “An orchestra means, joy, motivation, teamwork, the aspiration to success. A big family dedicated to harmony.”

“El Sistema gave our society two priceless gifts: the gift of appreciating beauty, and the gift of striving for artistic excellence,” says conductor Gustavo Dudamel, just one of the great talents it has produced.

He features on the prestigious Deutsche Grammophon CD, El Sistema 40, A Celebration — a delightful compilation of recordings of the Simon Bolivar Orchestra. I wholeheartedly recommend it but only as a starter. The vigour and attack by both the orchestra and the string quartet on these mostly live recordings will I am sure leave you wanting more.

They put such gusto to the Latin American sounds of Silvestre Revueltas and Alberto Ginastera but also show they can do Beethoven as well.

One to savour for classical aficionados is also their earlier recording of Gustav Mahler’s Symphony No 7.

Having discovered its self-confidence under the inspirational leadership of Hugo Chavez, Venezuela has reappeared on the radar of the “empire.”

While preoccupied with events in the Middle East the US disengaged from what was happening in what it perceives as “its own backyard” and became isolated from the rest of the Americas.

It has made a tactical shift with regard to Cuba but make no mistake it is trying to regain control over the lands south of the Rio Grande.

In declaring Venezuela a threat to US security Barack Obama is trying to turn the clock back. This throwback can not be allowed to stand — Obama has clearly failed to read Eduardo Galeano’s Open Veins of Latin America by Edwardo Galeano, which was presented to him by Chavez in 2009.

Meanwhile you can show your solidarity by listening to the open heart of Venezuela and its unique musical community with El Sistema 40.