Students in Tonya Lynn’s acting class are invited to see a performance of the play “Our Town” on Friday, Oct. 23 at 8 pm at the New Hazlett Theater on the North Side. Please email Linda Addlespurger and let her know if you will be coming with us. Thanks to Tickets for Kids and Prime Stage Theatre for the making this possible. And remember, copies of the play are available for $11 each. Please see Tonya in class on Saturday if you would like one.
You’ll wait a long, long time for anything much To happen in heaven beyond the floats of cloud And the Northern Lights that run like tingling nerves.
Taken from Robert Frost’s “On Looking Up By Chance at the Constellations”
No one denies that much of our life is spent focused on our own life. The entire universe swirls around us, and yet we exist each day as if we are the center of the universe. We do this because, to some extent, we are the center of the universe. All the information we receive about the world around us comes to us through our sensory organs and personal consciousness. We are like the prism through which the white light of the universe is refracted and then split into a rainbow of colors, which we name “nature,” “family,” “science,” and “God.”
This activity can be exhausting. We are constantly processing information about the world around us (Are we safe? Is that person a friend or foe? What will tomorrow bring?), even as we know that: 1) We are aware of only a fraction of the activity around us; 2) We can never predict what tomorrow holds. It can fill us with anxiety and a sense of hopelessness about our human condition.
“The sun and moon get crossed, but they never touch…
We may as well go patiently on with our life,
And look elsewhere than to stars and moon and sun
For the shocks and changes we need to keep us sane.”
Faith is about perspective—both seeing things in perspective and keeping things in perspective. If we are the center of the universe, then our existential angst is justified, for we can never be equal to the task of understanding all that is and all that will be, given our limited human capabilities. But when we look at the heavens, when we consider the moon and the stars above (cf. Psalm 8), we are presented with a different perspective—of a wonder, order, and immensity that assures us there must be some other center of the universe than our meager body and soul. The fact that, as Frost says, nothing much happens up there, where planets travel along their heavenly parabolas and galaxies continue their steady race toward the outer boundaries of the universe, is actually a source of comfort for all of us wrapped up in our busy, earthbound existence.
Frost’s contemplation of the constellations ends with this poignant line: “That calm seems certainly safe to last tonight.” At the center of the universe is a calm, a calm that has been revealed to be consistent, patient, intentional, and loving. Even more miraculous, this calm is personal in that it has been personified in Jesus Christ, the eternal Wisdom and Heart made flesh. So while the Hubble telescope reminds us of quasars in the heavens, and the daily paper reminds us of upheavals here on Earth, there is a deeper calm that is neither disrupted or disturbed by the goings-on of the universe. “That calm seems certainly safe to last tonight.” Thanks be to God.
Who wrote one of the most widely read Christian books in the first half of the twentieth century? Some suggest the answer is Evelyn Underhill, who wrote a book entitled “Mysticism.” Evelyn Underhill (1875–1941) lived in England, and studied history and botany in school. In 1907, she converted to Christianity, and four years later completed her book on mysticism. Within a few years, she was a widely sought-out lecturer and teacher, especially on matters related to the spiritual life. She used to say, “It is those who have a deep and real inner life who are best able to deal with the irritating details of outer life.”
Underhill is remembered as a woman with a lively personality and a caring concern for others. She would spend her mornings writing and then use her afternoons to visit the poor and offer spiritual direction. She was fond of quoting St. Teresa of Avila, who had said “to give Our Lord a perfect service Martha and Mary must combine.” (Read Luke 10:38-42) One scholar noted that she had a love of souls coupled with the determination to help them to grow at God’s pace and not at their own or her own–a trait that won her the love and trust of all who went to her for guidance.
I mention Evelyn Underhill because I recently ran across a charming quote of hers. In her volume of published letters, she wrote to a friend these words: “I do hope your Christmas has had a little touch of Eternity in among the rush and pitter patter and all. It always seems such a mixture of this world and the next–but that after all is the idea!” As I think about the Advent and Christmas seasons now upon us, I know Ms. Underhill is exactly right. This time of year is meant to be a mixture of “this world and the next.”
The language of Advent is saturated with images of “incarnation”: God becoming flesh in the infant Christ child; people sharing gifts in the spirit of the season; Christmas as a time of good deeds done for others. But what exactly is being “incarnated”? In a real way, it is something more than a moral idea to be nice to others or a vague spirit of goodwill that prompts acts of kindness. It is what Underhill has said it is–a mixture of this world and the next; a little touch of Eternity in the here and now.
We should not dismiss this idea as mere poetic language. The nature of an incarnate God means that God’s eternal realm also is mixed up in this temporal realm. It means that we can glimpse eternity even though we live in the present age. Skeptical psychologists may tell us that we do good deeds for Christmas just because it makes us feel good. Critical biologists may argue that altruistic behavior is simply another desirable trait in the evolutionary equation of “survival of the fittest.” But Christian faith insists that just as God dwelt in Christ, the eternal is incarnate in us through God’s loving, redeeming grace.
We are “mixed up” people–flesh and spirit, a little lower than angels, children of God. Pay close attention to what you see and feel and experience this Advent and Christmas season. Eternity has never been closer at hand!
Hope Academy students Jonathan Lee, Bethan Neely, Abigail and John Parker-Blier, and Angelina Winbush had the privilege of meeting with Lawrence Loh, resident conductor of the Pittsburgh Symphony Orchestra, last Friday at Heinz Hall. They asked him questions about music, conducting and performing; and he delighted them with responses that were funny, thought-provoking and thoroughly entertaining. You will be able to read some of their questions and his answers in an article in the program for the Pittsburgh Symphony Community Engagement Concert, being held at East Liberty Presbyterian Church on Saturday, Nov. 14. Thank you to the PSO, Lawrence Loh and Jessica Schmidt for arranging the interview and hosting us so graciously!
The Pittsburgh Symphony Orchestra Community Engagement Concert on Saturday, Nov 14 will feature music by Mozart, Bach and Grieg. Listen to snippets on iTunes to give you an idea about what you will hear that night (only so much better because it will be LIVE!). You can also purchase individual songs or the entire mix from iTunes. Click on “Read more” at the bottom of this post for more detailed information about the pieces and their composers.
Mozart Symphony No. 30 in D major, K. 186b[202]
Of all of Mozart’s symphonies, this is the one most often forgotten. It is routinely passed over in favor of his other blockbuster hits. This is partially because this symphony is less “serious” than those composed around it. When Mozart wrote this symphony, he was only eighteen years old; even though he had already shown the world his great talents, it didn’t mean that he wasn’t allowed to act his age on occasion! Mozart composed symphonies for a variety of reasons and uses. Sometimes a symphony would act as an overture to a concert of other works – a call to attention for a rowdy crowd; on other occasions it might be the center of attention itself. Above all, during the time that Mozart lived, the “symphony” form itself had not yet become the imposing monument we’re inclined to take it for today. Far from it. What a treat it is to hear the young, teenage Mozart writing music as if he’s having the time of his life!
Bach Concerto in C minor for Oboe, Violin, and String Orchestra, BWV 1060
When music comes from so long ago it can sometimes get lost in translation. Instruments have changed, as well as notation, leading to works that we consider originals today that are not all that close to the composer’s intentions. However these discrepancies are noted and studied intensely by musicologists everywhere. For this concerto, the only arrangement we have from Bach’s time is for two harpsichords. Scholars today have reconstructed an earlier arrangement, which most likely included an oboe and violin. Regardless, the music is Bach’s and it is just as lovely through these changes as it ever was.
Grieg Holberg Suite, Opus 40
Norwegian composer Edvard Grieg wrote his Holberg Suite as part of the celebrations commemorating the bicentennial of the birth of the writer, Ludvig Holberg (1684-1754). He was considered the father of Scandinavian literature. Like Grieg, Holberg was born in Bergen, Norway. Grieg originally composed his Holberg Suite as a series of solo piano pieces he called “From Holberg’s Time.” Given that Holberg lived during the same time as such composers as J.S. Bach and Handel, Grieg sought to evoke the mood and style of a Baroque keyboard suite. Upon its first performance the suite immediately earned the audience’s approval, and Grieg later arranged the work as a “suite in the olden style for String Orchestra.” The Holberg Suite’s expert and winning combination of Baroque structure and Romantic lyricism has long charmed audiences. It remains one of Grieg’s most popular works.
While most students begin taking private music lessons between the ages of four and eight, every child is different. Younger children require more intense involvement from at least one parent; and teenagers may not benefit from any parental oversight at all. Besides age, other factors to consider are the child’s personality, instrumental and musical preferences, expectations, resources (time and money), and your family’s lifestyle; yes, playing an instrument requires a commitment from the entire family. Photo: Hope Academy student, Anna Bai, getting her first violin (1/10 size) at Resonance Violins last week.
Taking a music class is a good way to evaluate your child’s interest and our Wednesday after-school singing and drumming classes are free! And once your child is playing an instrument they can participate in EL CEO (East Liberty Community Engagement Orchestra) our free orchestra on Saturdays from 3:00 to 4:30 pm.
Hope Academy currently has 85 students studying piano, strings, voice, guitar, bass, organ, French horn, clarinet, flute and percussion — so if you are interested in music lessons for your child there are teachers here who can talk with you about your options.
Dr. Gayle Kowalchyk (co-author of more than 150 educational piano books including the Music for Little Mozarts series aimed at pre-K students) gives some good advice to parents of young children here; and this article provides more in-depth information about music education for school aged children. This Guide to Great Home Music Practice will give you some ideas about reinforcing and structuring practice time.
If you are considering renting an instrument (and for beginning students this is the best option), check out Resonance Violins (for string instruments) and Volkwein’s (for string and band instruments). If you are buying an instrument please talk with your teacher first; they will be able to provide some guidance and help you to get the best instrument for your money.
Your “don’t” words and movements.
Copies of the play, “Our Town” are available for purchase at $11 each.
HAT Co has been invited to see I Am Artist this Saturday at 7 pm at the Kelly-Strayhorn Theater. Please let us know if you would like to see the show.
Pittsburgh Symphony Orchestra BNY Mellon Grand Classics
Ages 12 and up
Ages 3 – 8 with parents
SATURDAY, OCTOBER 17 at 8 pm – Kelly-Strayhorn Theater
SATURDAY, OCTOBER 24 at 11:15 am – Heinz Hall
Fiddlesticks concert for children ages 3 – 8. Cross continents throughout this concert by exploring the music of different countries. Listen to songs inspired by traditions of various cultures. Enjoy Bizet’s “Toreador Song” from Carmen, Strauss’ Bauern Polka and a traditional Japanese song entitled Sakura as well as other favorites. Enhance your child’s musical journey with “Discovery Time Adventures”! Beginning at 10:00 am throughout Heinz Hall meet PSO musicians, sing along with guest artists, create a musical passport & dance and move to world beats and rhythms.