Glimpses of Grief and Glee
Program
Glimpses of Grief and Glee will be a concert of original chamber music composed by Amy Aberg McLelland, NCTM. A musical journey through many common experiences many of us our experiencing during these challenging times .... from cabin fever and a desire to travel, to fear, grief, hope, faith .... the program will also feature the debut of a commissioned poem by Elinor Ann Walker. Musicians will include Amy Aberg McLelland, piano; Daniel Szasz, violin and concertmaster of the Alabama Symphony; Warren Samples, cello and principal cellist of the Alabama Symphony; Organist, Dr. Jeffrey McLelland; Sopranos Beth Middleton, Emily Herring, Janet Ort; Tenor, Nick Matthes; Dewin Tibbs, Baritone; Richard Stump, bass; Jay Smith, percussion; Narrator, Stuart Vance. Location will be Independent Presbyterian Church, Birmingham, Alabama. February 7, 2020 (limited seating, masks and social distancing required) as well as live on YouTube (IPC Birmingham).
Program:
| glimpses_program_rev_2-1-21.docx |
(click to go directly to composition or scroll down)
Postcards - Piano Trio
Blue Boy - Piano Trio/Voice
Triple Clef - Commissioned Poem
Layers
A Prayer for These Challenging Times - Piano Trio/Voice
Heavenly Father We Beseech You - Piano/soprano
And, Again I Say Rejoice! - Piano Trio/Voice
24 Hours - piano
The Basis - Voice/Percussion
Forever -- is composed of nows - Piano Trio
Mowing - Piano Trio/Voice
Puppy Suite:
200 Central Park West - Piano Trio
Day 13 - Piano Trio
Lots of people have a rug. Not many have a pug.
Blue Boy - Piano Trio/Voice
Triple Clef - Commissioned Poem
Layers
A Prayer for These Challenging Times - Piano Trio/Voice
Heavenly Father We Beseech You - Piano/soprano
And, Again I Say Rejoice! - Piano Trio/Voice
24 Hours - piano
The Basis - Voice/Percussion
Forever -- is composed of nows - Piano Trio
Mowing - Piano Trio/Voice
Puppy Suite:
200 Central Park West - Piano Trio
Day 13 - Piano Trio
Lots of people have a rug. Not many have a pug.
Narrator's script and Power Point:
| glimpses_of_grief_and_glee_-_narrator.docx |
Postcards
1. Novaturient
2. Saudade
3. Resfeber
4. Yoko Meshi
5. Fernweh
6. Trouvaille
7. Livsnjutare
8. Solivigant
9. Numinous
10. Quaquaversal
1. Novaturient
2. Saudade
3. Resfeber
4. Yoko Meshi
5. Fernweh
6. Trouvaille
7. Livsnjutare
8. Solivigant
9. Numinous
10. Quaquaversal
(as soon as Quaquaversal ends, go to slide 14 of P.P. and read the following):
P.P. Slide 14 ( Heavenly Father, we Beseech You most humbly we bow before Thy holy throne. In the power of Your spirit Lord please deliver us, pervade our family with Your love.)
Narrator: Amid stay-at-home orders during this pandemic, families have had more opportunities to spend quality time together, however there can be unintended consequences of long-term, close-quarters living. The next piece is a prayer written especially for God's healing and presence among families sung by soprano, Emily Herring. Here is "Heavenly Father We Beseech Thee."
(Emily/Amy play 1st part of Heavenly Father ... Narrator will move to P.P. slide 15 and 16 and appropriate time in piece)
P.P. Slide 15 (Keep us far from temptation and deliver us from evil heal us Lord, give us strength to forgive. Send Your protective angels to encamp around us all)
P.P. Slide 16 (And by Your loving kindness, O Heavenly Father, and by the blood of Your precious Son, Lord Jesus Christ please heal, protect, encourage and guide us all in our time of need.)
P.P. Slide 14 ( Heavenly Father, we Beseech You most humbly we bow before Thy holy throne. In the power of Your spirit Lord please deliver us, pervade our family with Your love.)
Narrator: Amid stay-at-home orders during this pandemic, families have had more opportunities to spend quality time together, however there can be unintended consequences of long-term, close-quarters living. The next piece is a prayer written especially for God's healing and presence among families sung by soprano, Emily Herring. Here is "Heavenly Father We Beseech Thee."
(Emily/Amy play 1st part of Heavenly Father ... Narrator will move to P.P. slide 15 and 16 and appropriate time in piece)
P.P. Slide 15 (Keep us far from temptation and deliver us from evil heal us Lord, give us strength to forgive. Send Your protective angels to encamp around us all)
P.P. Slide 16 (And by Your loving kindness, O Heavenly Father, and by the blood of Your precious Son, Lord Jesus Christ please heal, protect, encourage and guide us all in our time of need.)
Heavenly Father we Beseech Thee (piano/Emily)
(as soon as Heavenly Father ends, go to slide 17 of P.P. and read the following):
P.P. Slide 17 (photo of 3 puppy Corgi dogs)
Narrator: Back to some more glee now, with a set of 3 pieces about dogs and puppies!
The 1st piece entitled “200 Central Park West” is about a dog park in the Upper West Side of Manhattan, not far from the Natural History Museum. Dogs and children always seem to “humanize” the city and Amy would spend a lot of time at this dog park killing time waiting for her piano lessons when she was studying with Edna Golandsky. There are lots of fun memories from around the city as well, like a pair of English Bull Dogs she observed strolling through central park who kept sitting down making the owner wait, or a glamourous Afghan Hound exiting a high-end apartment on 5th Avenue. At the end of the piece we hear the dark side of every dog park .... the inevitable threat of a dog fight.
The 2nd piece entitled “Day 13” is quite short, and captures that magical moment when a puppy’s eyes open. It happens so quickly that you might miss it altogether if you’re not paying attention, but in the final measures you’ll hear the shift from darkness to light as a newborn puppy’s eyes first open.
(when finish reading above, move to slide 18, "200 Central Park West" and start video)
P.P. Slide 18 (200 Central Park West)
(piano trio plays 200 Central Park West along with video)
(after Central Park West ends, progress to slide 19 - "Day 13" - and start video)
P.P. Slide 19 (Day 13)
(piano trio play Day 13 along with video)
(after Day 13 ends, progress to slide 20 - (pug) -- while narrator reads the following, singers and percussionist prepare, get into place)
P.P. Slide 20 (photo of the Painting Pugcassos with donors' names)
Narrator: The title of the 3rd piece in this Puppy site is from a poem by EB White which reads: “Lots of people have a rug. Not many have a pug." An ancient breed of Chinese origin, pugs date back to the pre-Christian era. They were the prized possessions of the emperors of China and lived in a most luxurious atmosphere.
Pugs approach life with an impetuous, whimsical demeanor. Naturally spoiled little creatures pugs are suspended in life at the irresponsible age of a two year old child. They always want to have their own way and they will go to any length to get it. With a definite stubborn streak, pugs are not above using their wiles to get even with you for a perceived injustice. Yet they are delightful, comical little characters who are always finding ways to make their humans laugh.
On the screen you see some of the McLellands' pugs, who actually paint to raise money for Pug rescue, along with the names of many of the donors who helped make this concert possible. Thank you for your generous support!
So here is "Lots of people have a rug. Not many have a pug!"
P.P. Slide 21 ("Lots of people have a rug .... " check that singers/percussionist are in position and ready, then start video)
(piano trio, conga, vocalists, maracas, clave/woodblock play "Lots of people have a rug. Not many have a pug." along with video)
P.P. Slide 17 (photo of 3 puppy Corgi dogs)
Narrator: Back to some more glee now, with a set of 3 pieces about dogs and puppies!
The 1st piece entitled “200 Central Park West” is about a dog park in the Upper West Side of Manhattan, not far from the Natural History Museum. Dogs and children always seem to “humanize” the city and Amy would spend a lot of time at this dog park killing time waiting for her piano lessons when she was studying with Edna Golandsky. There are lots of fun memories from around the city as well, like a pair of English Bull Dogs she observed strolling through central park who kept sitting down making the owner wait, or a glamourous Afghan Hound exiting a high-end apartment on 5th Avenue. At the end of the piece we hear the dark side of every dog park .... the inevitable threat of a dog fight.
The 2nd piece entitled “Day 13” is quite short, and captures that magical moment when a puppy’s eyes open. It happens so quickly that you might miss it altogether if you’re not paying attention, but in the final measures you’ll hear the shift from darkness to light as a newborn puppy’s eyes first open.
(when finish reading above, move to slide 18, "200 Central Park West" and start video)
P.P. Slide 18 (200 Central Park West)
(piano trio plays 200 Central Park West along with video)
(after Central Park West ends, progress to slide 19 - "Day 13" - and start video)
P.P. Slide 19 (Day 13)
(piano trio play Day 13 along with video)
(after Day 13 ends, progress to slide 20 - (pug) -- while narrator reads the following, singers and percussionist prepare, get into place)
P.P. Slide 20 (photo of the Painting Pugcassos with donors' names)
Narrator: The title of the 3rd piece in this Puppy site is from a poem by EB White which reads: “Lots of people have a rug. Not many have a pug." An ancient breed of Chinese origin, pugs date back to the pre-Christian era. They were the prized possessions of the emperors of China and lived in a most luxurious atmosphere.
Pugs approach life with an impetuous, whimsical demeanor. Naturally spoiled little creatures pugs are suspended in life at the irresponsible age of a two year old child. They always want to have their own way and they will go to any length to get it. With a definite stubborn streak, pugs are not above using their wiles to get even with you for a perceived injustice. Yet they are delightful, comical little characters who are always finding ways to make their humans laugh.
On the screen you see some of the McLellands' pugs, who actually paint to raise money for Pug rescue, along with the names of many of the donors who helped make this concert possible. Thank you for your generous support!
So here is "Lots of people have a rug. Not many have a pug!"
P.P. Slide 21 ("Lots of people have a rug .... " check that singers/percussionist are in position and ready, then start video)
(piano trio, conga, vocalists, maracas, clave/woodblock play "Lots of people have a rug. Not many have a pug." along with video)
Puppy Suite:
200 Central Park West (piano trio)
Day 13 (piano trio)
Lots of people have a rug. Not many have a pug. (piano trio, conga, vocals)
Day 13 (piano trio)
Lots of people have a rug. Not many have a pug. (piano trio, conga, vocals)
This video will be playing on screen (without sound) during music performance of Pug piece:
(after "Lots of people have a rug ..." ends, progress to slide 21 then read the following, singers/percussionist leave stage except for Emily remains, seated behind lectern for solo during IV mvt)
P.P. Slide 22 (don't start video yet ... read the following first):
Narrator: We shift to a more serious tone with the next piece entitled "24 Hours". Each of the 4 movements depicts one of the 4 parts of the Hebrew Day and reflects on the 24-hour protection that God gives us. There is no threat, for solo piano. Based upon Psalm 91, the work is a reflection on the 24-hour protection that God gives us. As we read in Psalm 91, "There is no threat, whether seen or unseen, anticipated or unexpected, which can catch God unaware and unable to protect us."
The 1st movement, “Darkness” represents the time between Midnight and 6 AM and describes the “noisome pestilence that walketh in darkness”.
The 2nd movement, "Day", is the period between 6 AM and Noon and describes Psalm 91, Verse 4 and the image of God’s protection as portrayed by a mother bird, who safely tucks her young under her wings where they are secure. (quote): “He will cover you with his feathers, and under his wings you will find refuge; his faithfulness will be your shield and your armor.”
Throughout the 2nd movement a tribute will be paid to a few of the brave souls who so generously gave their lives protecting and helping their patients, students, and fellow human beings.
The 3rd movement, “Noonday", is from Noon to 6 PM and reflects on "the destruction that layeth waste at noonday". If The Sars-CoV-2 virus was to be personified in music, perhaps it would sound something like this. With ease, this seemingly mellow, yet maniacal menace oozes it’s way effortlessly across our planet as we witness these tiny, sub-microscopic particles, too small to even be seen under a normal microscope, invade and destroy our cells
The final 4th movement “Night”, represents the time between 6 PM and midnight and the “terrors of the night.” Terrors can be as obvious as a tsunami or as subtle as a deadly virus, which not only destroys our cells in bodies, but turns our lives, economies, and societies upside down. This pandemic has challenged us all to the point where a a simple, happy folk song, like the one you hear at the beginning of this movement becomes a battle song. Yet, we find comfort in this piece, into a battle song, yet we find comfort through the words in Psalm 91, that we "shall not be afraid of the terror by night ... For He shall give His angels charge over thee, to keep thee in all thy ways." With the close of the movement, we also find comfort and strength through the words of poet Laureate Amanda Gorman, "that even as we grieved we grew, that even as we hurt we hoped, and that even as we tired we tried."
(when finish reading above, start video on P.P. Slide 22 - 24 Hours)
(play 24 hours piece) – (movements 1-3, solo piano; mvt 4 =piano and then piano/soprano, Emily)
P.P. Slide 22 (don't start video yet ... read the following first):
Narrator: We shift to a more serious tone with the next piece entitled "24 Hours". Each of the 4 movements depicts one of the 4 parts of the Hebrew Day and reflects on the 24-hour protection that God gives us. There is no threat, for solo piano. Based upon Psalm 91, the work is a reflection on the 24-hour protection that God gives us. As we read in Psalm 91, "There is no threat, whether seen or unseen, anticipated or unexpected, which can catch God unaware and unable to protect us."
The 1st movement, “Darkness” represents the time between Midnight and 6 AM and describes the “noisome pestilence that walketh in darkness”.
The 2nd movement, "Day", is the period between 6 AM and Noon and describes Psalm 91, Verse 4 and the image of God’s protection as portrayed by a mother bird, who safely tucks her young under her wings where they are secure. (quote): “He will cover you with his feathers, and under his wings you will find refuge; his faithfulness will be your shield and your armor.”
Throughout the 2nd movement a tribute will be paid to a few of the brave souls who so generously gave their lives protecting and helping their patients, students, and fellow human beings.
The 3rd movement, “Noonday", is from Noon to 6 PM and reflects on "the destruction that layeth waste at noonday". If The Sars-CoV-2 virus was to be personified in music, perhaps it would sound something like this. With ease, this seemingly mellow, yet maniacal menace oozes it’s way effortlessly across our planet as we witness these tiny, sub-microscopic particles, too small to even be seen under a normal microscope, invade and destroy our cells
The final 4th movement “Night”, represents the time between 6 PM and midnight and the “terrors of the night.” Terrors can be as obvious as a tsunami or as subtle as a deadly virus, which not only destroys our cells in bodies, but turns our lives, economies, and societies upside down. This pandemic has challenged us all to the point where a a simple, happy folk song, like the one you hear at the beginning of this movement becomes a battle song. Yet, we find comfort in this piece, into a battle song, yet we find comfort through the words in Psalm 91, that we "shall not be afraid of the terror by night ... For He shall give His angels charge over thee, to keep thee in all thy ways." With the close of the movement, we also find comfort and strength through the words of poet Laureate Amanda Gorman, "that even as we grieved we grew, that even as we hurt we hoped, and that even as we tired we tried."
(when finish reading above, start video on P.P. Slide 22 - 24 Hours)
(play 24 hours piece) – (movements 1-3, solo piano; mvt 4 =piano and then piano/soprano, Emily)
24 Hours
(for piano solo and voice)
(for piano solo and voice)
(after last movement of 24 Hours, progress to slide 22, "Thomas Jefferson/The Basis" then read the following while singers get into position for The Basis)V mvt)
P.P. Slide 23 (The Basis)
Narrator: Turning back to a lighter note, we reflect upon the words of the 3rd President of the United States, and author of the Declaration of Independence ….the great Thomas Jefferson.
As our vocalists gather their cowbells, maracas, and guiros, and get ready for this next piece entitled “The Basis”, let’s remember some of the things Jefferson had to say about our government.
On January 16, 1787, Thomas Jefferson writes from Paris to Edward Carrington. He writes:
“the basis of our governments being the opinion of the people, the very first object should be to keep that right; and were it left to me to decide whether we should have a government without newspapers, or newspapers without a government, I should not hesitate a moment to prefer the latter. but I should mean that every man should receive those papers & be capable of reading them.”
(Vocalists sing "The Basis" - percussion (cowbell/guiro etc. tba)
P.P. Slide 23 (The Basis)
Narrator: Turning back to a lighter note, we reflect upon the words of the 3rd President of the United States, and author of the Declaration of Independence ….the great Thomas Jefferson.
As our vocalists gather their cowbells, maracas, and guiros, and get ready for this next piece entitled “The Basis”, let’s remember some of the things Jefferson had to say about our government.
On January 16, 1787, Thomas Jefferson writes from Paris to Edward Carrington. He writes:
“the basis of our governments being the opinion of the people, the very first object should be to keep that right; and were it left to me to decide whether we should have a government without newspapers, or newspapers without a government, I should not hesitate a moment to prefer the latter. but I should mean that every man should receive those papers & be capable of reading them.”
(Vocalists sing "The Basis" - percussion (cowbell/guiro etc. tba)
The Basis
(voice, percussion)
(voice, percussion)
(after The Basis ends, move to P.P. slide 23)
P.P. Slide 24 (Prayer for These Challenging Times)
Narrator: Early in the Spring of 2020, the Rev Stuart Dunnan wrote a beautiful prayer which is the inspiration for the next composition. He is the headmaster of Saint James School in Maryland and one of the few Episcopal priests still serving as the head of a secondary school in the United States.
Part of his powerful prayer reads:
“Sustaining God, loving Father, we ask for your presence and guidance as we respond to the spread of the novel Coronavirus in the world, our countries, our communities, and our school. We ask your blessing upon all in authority over us, that they may make wise decisions and act decisively to protect us and maintain the good order of the societies and economies in which we live and work.”
“We pray especially for those who are more vulnerable: the elderly and the infirm, the poor and the homeless, and for all who live alone. We pray for all who are now seriously ill and for the souls of those who have died. May they rest in peace with you.”
(piano trio/vocalists perform "A Prayer for these Challenging Times")
P.P. Slide 24 (Prayer for These Challenging Times)
Narrator: Early in the Spring of 2020, the Rev Stuart Dunnan wrote a beautiful prayer which is the inspiration for the next composition. He is the headmaster of Saint James School in Maryland and one of the few Episcopal priests still serving as the head of a secondary school in the United States.
Part of his powerful prayer reads:
“Sustaining God, loving Father, we ask for your presence and guidance as we respond to the spread of the novel Coronavirus in the world, our countries, our communities, and our school. We ask your blessing upon all in authority over us, that they may make wise decisions and act decisively to protect us and maintain the good order of the societies and economies in which we live and work.”
“We pray especially for those who are more vulnerable: the elderly and the infirm, the poor and the homeless, and for all who live alone. We pray for all who are now seriously ill and for the souls of those who have died. May they rest in peace with you.”
(piano trio/vocalists perform "A Prayer for these Challenging Times")
A Prayer for these Challenging Times
(piano trio, voice)
(piano trio, voice)
(after The Prayer for These Challenging Times ends, move to P.P. slide 24, and begin reading the following, while singers except for 2 sopranos for Blue Boy leave stage)
P.P. Slide 25 (slide with "Blue Boy" "Triple Clef" and "Layers")
Narrator: The final pieces we'll hear tonight were all inspired by poetry.
The 1st set involves a commissioned poem and a special collaboration between music and words. The composer presented the amazing poet, Elinor Ann Walker, with the music composition "Blue Boy" which was about a newborn, premature pug puppy who struggled to live his 18 hours on this earth. Walker then expanded the theme to “grief” in general, resulting in the poem "Triple Clef" and later shortened to "Clef" which the poet will recite for us this evening. But first, here is "Blue Boy."
(when finish reading above, progress to P.P. Slide 25 .... check that musicians are ready to begin Blue Boy, then start video)
P.P. Slide 26 (Blue Boy video)
(piano trio and 2 sopranos play "Blue Boy" along with video)
(after Blue Boy ends, progress to Slide 27, and then start video or mp3 of Ann reading "Triple Clef")
P.P. Slide 27 (Triple Clef - Ann reading ... mp3 or Video TBA)
P.P. Slide 25 (slide with "Blue Boy" "Triple Clef" and "Layers")
Narrator: The final pieces we'll hear tonight were all inspired by poetry.
The 1st set involves a commissioned poem and a special collaboration between music and words. The composer presented the amazing poet, Elinor Ann Walker, with the music composition "Blue Boy" which was about a newborn, premature pug puppy who struggled to live his 18 hours on this earth. Walker then expanded the theme to “grief” in general, resulting in the poem "Triple Clef" and later shortened to "Clef" which the poet will recite for us this evening. But first, here is "Blue Boy."
(when finish reading above, progress to P.P. Slide 25 .... check that musicians are ready to begin Blue Boy, then start video)
P.P. Slide 26 (Blue Boy video)
(piano trio and 2 sopranos play "Blue Boy" along with video)
(after Blue Boy ends, progress to Slide 27, and then start video or mp3 of Ann reading "Triple Clef")
P.P. Slide 27 (Triple Clef - Ann reading ... mp3 or Video TBA)
Poetry and Music
Blue Boy
Triple Clef (Poem by commissioned poet Elinor Ann Walker - inspired by the composition "Blue Boy")
(after poem mp3 ends, progress onto Slide 28 (Hope is the thing with feathers).
P.P. Slide 28 (Hope is the thing with feathers)
Narrator: We turn now to "hope" with a composition inspired by a poem by Emily Dickinson, "Hope" is the thing with feathers -
P.P. Slide 28 - START VIDEO (Hope is the thing with feathers)
(piano trio plays Hope is the Thing with Feathers piece)
P.P. Slide 28 (Hope is the thing with feathers)
Narrator: We turn now to "hope" with a composition inspired by a poem by Emily Dickinson, "Hope" is the thing with feathers -
P.P. Slide 28 - START VIDEO (Hope is the thing with feathers)
(piano trio plays Hope is the Thing with Feathers piece)
"Hope" is the thing with feathers
(after Hope ends, progress P.P. to slide 29, and begin reading "Forever" poem)
P.P. Slide 29 (Forever is composed of Nows)
Narrator: The next composition is inspired by another poem by Emily Dickinson, Forever - is composed of Nows
P.P. Slide 29 - START VIDEO (Forever is composed of Nows)
(piano trio plays Forever is Composed of Nows)
P.P. Slide 29 (Forever is composed of Nows)
Narrator: The next composition is inspired by another poem by Emily Dickinson, Forever - is composed of Nows
P.P. Slide 29 - START VIDEO (Forever is composed of Nows)
(piano trio plays Forever is Composed of Nows)
Forever is Composed of Nows
(after Forever ends, progress P.P. to slide 30 and begin reading following, while singers get into places)
P.P. Slide 30 (Mowing)
Narrator: When the composer was writing these next pieces, inspired by Robert Frost, she took a trip to Vermont and New Hampshire to revisit some of Frost’s homes, hoping to gain some inspiration .
In Frost's poem, "The Sound of Trees", he describes the trees talking loudly about how they plan to leave one day in order to pursue all sorts of grand and glorious things. You can hear their grand adventures with a boogie woogie worthy only of giant, ancient trees. The ostinato patterns in the bass and the slow harmonic progressions remind us of the trees' deep roots which prevent them from learning, however, with the shift in tonality to the dominant key at the very end, the composer gives a nod to the trees' efforts for at least daring to dream of change, even if they are forever destined to stay put.
The inspiration she sought during her trip to New England ended up being, of all things, a rusty old scythe hanging on the wall of Frost's museum farm home. Picturing the poet live such a simple life …... mowing the fields, picking apples, phoning local townspeople to master the New England accent .... she was reminded of her depression era grandmother's words to "bloom where you are planted" and to also find inspiration in the everyday chores and activities.
Here is a recording of Frost reading his poem "Mowing" and then the composition inspired by the rusty old scythe.
P.P. Slide 30 (Mowing - start video .... once Frost finishes reading, video continues with scenes of mowing ...there are 4 "swishes" on video, then singers join the video with 4 "Swishes" after which the audio on video stops but video footage continues throughout performance of music performance of Mowing).
(piano trio and vocal percussion play Mowing)
P.P. Slide 30 (Mowing)
Narrator: When the composer was writing these next pieces, inspired by Robert Frost, she took a trip to Vermont and New Hampshire to revisit some of Frost’s homes, hoping to gain some inspiration .
In Frost's poem, "The Sound of Trees", he describes the trees talking loudly about how they plan to leave one day in order to pursue all sorts of grand and glorious things. You can hear their grand adventures with a boogie woogie worthy only of giant, ancient trees. The ostinato patterns in the bass and the slow harmonic progressions remind us of the trees' deep roots which prevent them from learning, however, with the shift in tonality to the dominant key at the very end, the composer gives a nod to the trees' efforts for at least daring to dream of change, even if they are forever destined to stay put.
The inspiration she sought during her trip to New England ended up being, of all things, a rusty old scythe hanging on the wall of Frost's museum farm home. Picturing the poet live such a simple life …... mowing the fields, picking apples, phoning local townspeople to master the New England accent .... she was reminded of her depression era grandmother's words to "bloom where you are planted" and to also find inspiration in the everyday chores and activities.
Here is a recording of Frost reading his poem "Mowing" and then the composition inspired by the rusty old scythe.
P.P. Slide 30 (Mowing - start video .... once Frost finishes reading, video continues with scenes of mowing ...there are 4 "swishes" on video, then singers join the video with 4 "Swishes" after which the audio on video stops but video footage continues throughout performance of music performance of Mowing).
(piano trio and vocal percussion play Mowing)
Mowing
This video will be playing on screen during Mowing (After Frost reads the poem, then are 4 "swishes" of blade/scythe then singers join for 4, then sound stops on video as musicians play along):
(after Mowing ends, progress P.P. to slide 31, singers sit back down)
P.P. Slide 31 (The Sound of Trees ... start video)
Narrator: (don't read ... just start video on Slide 31 ... "trees talking" introduce and poem is on video while playing)
(piano trio plays The Sound of Trees)
P.P. Slide 31 (The Sound of Trees ... start video)
Narrator: (don't read ... just start video on Slide 31 ... "trees talking" introduce and poem is on video while playing)
(piano trio plays The Sound of Trees)
The Sound of Trees
This is the video that will play on screen during performance (After dialogue, then music starts)
(after The Sound of Trees ends, progress P.P. to slide 32 and read the following while singers get into position
P.P. Slide 32 (And, again, I say Rejoice! ... no video)
Narrator: We are so glad you could join us this evening and hope you found a bit of glee and hope amidst these challenging times. As we close the 50th Religious Arts Festival presented by Independent Presbyterian Church, we will turn to some of the most beautiful poetry ever written .....found in the Bible, and the 4th chapter of Philippians. In the gospel style as a tribute to the late Andre Crouch, may these words comfort you and give you strength and joy.
“Rejoice in the Lord always; and again I say, Rejoice."
(piano trio and singers play Rejoice)
P.P. Slide 32 (And, again, I say Rejoice! ... no video)
Narrator: We are so glad you could join us this evening and hope you found a bit of glee and hope amidst these challenging times. As we close the 50th Religious Arts Festival presented by Independent Presbyterian Church, we will turn to some of the most beautiful poetry ever written .....found in the Bible, and the 4th chapter of Philippians. In the gospel style as a tribute to the late Andre Crouch, may these words comfort you and give you strength and joy.
“Rejoice in the Lord always; and again I say, Rejoice."
(piano trio and singers play Rejoice)
And, Again, I Say Rejoice!
Philippians 4:4-8
King James Version
4 Rejoice in the Lord always: and again I say, Rejoice.
5 Let your moderation be known unto all men. The Lord is at hand.
6 Be careful for nothing; but in every thing by prayer and supplication with thanksgiving let your requests be made known unto God.
7 And the peace of God, which passeth all understanding, shall keep your hearts and minds through Christ Jesus.
8 Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things.
King James Version
4 Rejoice in the Lord always: and again I say, Rejoice.
5 Let your moderation be known unto all men. The Lord is at hand.
6 Be careful for nothing; but in every thing by prayer and supplication with thanksgiving let your requests be made known unto God.
7 And the peace of God, which passeth all understanding, shall keep your hearts and minds through Christ Jesus.
8 Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things.
Note: This playback of Rejoice is too fast (opening is not 144 ...but instead 112? ...think blues in opening and milk it .... And middle section/chant is Qtr = 88 which then doubls to halfnote=88 all the way to the end)