Tomorrow, the moving truck arrives, and I'll be exchanging "Carolina Moon" for "Moon Over Miami" or at least "Luna over Lakeland." (I made that last title up). "Carolina Moon" was supposedly written on, or near, the s-shaped bridge in Hertford, NC. Hertford was the hometown of some of my ancestors. The last several years, I've been thinking of doing an Earl Wild-styled arrangement of "Carolina Moon." "Moon Over Miami" just happened to be playing as background music in the Human Resources office when I went to do paperwork at Southeastern.
I sense that my system is still a little confused about our move. Normally, when I leave my in-laws in Lake Mary, I go to Interstate 95 and drive back to NC. This time, I'll get on Interstate 4 and go to our place in Lakeland.
I'll miss looking at the Carolina moon through the pine trees in my back yard. I'll miss the silhouette of the water tower over the library. I'll miss walks through campus with Sophie (our beagle). I'll miss Murfreesboro's connection back to Lafayette and his time. And I'll miss long afternoon talks over iced tea with town and college friends.
I really enjoyed my three years living at 212 E. High St. in M'boro. Being there had a great mix of urban and rural that allowed me to enjoy both my Hulin and Harrison heritage. Being in an old-ish house in the region of my ancestors gave Kathy and me a sense of having lived at "the old homeplace," and has provided us with a psychological space to which I am sure we will often return as we interpret ourselves in new contexts.
There's so much newness involved in this move - new job, new church, new house, new neighborhood, new city, new state, new culture. Fortunately, lots of people have reached out to make the transition less intimidating.
We attended College Park Baptist in Orlando this morning. An inspiring report on youth missions was structured around verses of John Bell's "Will You Come and Follow Me." The depth and relevance of this text continues to reveal itself to me. The second verse, in particular, spoke powerfully to my needs today and to my belief in God's call:
Will you leave yourself behind if I but call your name? . . .
Will you let me answer payer in you and you in me?
Showing posts with label Murfreesboro. Show all posts
Showing posts with label Murfreesboro. Show all posts
Sunday, August 01, 2010
Wednesday, November 05, 2008
Fall and Mannerism
It's a lovely fall day in Murfreesboro - muted but colorful foliage, a little drizzle, and cool. I think living in M'boro is about as close to living in a charming New England town as one can get in North Carolina. We have lovely nature as I just described, history, old homes, and lots of individualists.
Now about mannerism:
I had a funny thought teaching yesterday. I was explaining some basic aspects of Mannerist art such as in works of El Greco in painting or Gesualdo in music. These include distortion, exageration, and jarring juxtapositions, all for dramatic effect. It struck me as I said those things that I had pretty much just described a political ad!
Now about mannerism:
I had a funny thought teaching yesterday. I was explaining some basic aspects of Mannerist art such as in works of El Greco in painting or Gesualdo in music. These include distortion, exageration, and jarring juxtapositions, all for dramatic effect. It struck me as I said those things that I had pretty much just described a political ad!
Thursday, May 29, 2008
Jefcoat and Galilee
We attended a fun Murfreesboro event - Porkfest:
20+ Eastern NC Barbecue caterers preparing their food in "Pork Alley"
A classic car show on our street
and admission to the Jefcoat Museum.
The Jefcoat is a treasure almost in our backyard!
From a musical standpoint, it houses a whole floor of square grands (including a Broadwood which was one of Beethoven's preferred brands,) pump organs, player pianos, music boxes, a cimbalom, a very ornate Erard harp, various bells, early phonographs and radios - many of which are still in working order. I anticipate a field trip for my Music History class.
In addition to the musical collection, there is a wealth of Americana - a kind of miniature Smithsonian (17,000 objects all on display at the Jefcoat vs. 136 million owned by the Smithsonian's museums - I looked this up because I was curious and because the numbers are amazing at both places.) At the Jefcoat there are all sorts of washing mashines, butter churns, ice cream mixers, a hunting room full of mounted animals, guns, and traps, etc. etc. etc.
After seeing all of this, I drove to Pasadena, MD to play a concert at Galilee Lutheran Church. The people there are always warm and Joel Borelli does a great job of enthusiastically promoting whatever he's presenting. It's a gift he has, and I appreciate it.
One thing I learned from the recital relates to Ravel Sonatine. I wasn't feeling that my performance had the type of clarity I like, but Joel commented positively on the clarity afterwards. While I didn't feel like my playing was as clear as I wanted, I was keeping most of the piece pretty quiet - which is how Ravel marked a lot of it anyway! It seems that keeping most of the dynamics pretty low helps with the clarity. (Note to self: Read and follow the score!)
Another thing that sunk in with me about the program I've been playing is that the works by Schumann and Prokofief (Papillons and movements from Romeo and Juliet) go together nicely and that seems to be the case because both works demonstrate their composer's mastery of musical characterization. To play them realy well, it might be a good idea to think more like an actor than a musician and seek to become each of the characters depicted.
20+ Eastern NC Barbecue caterers preparing their food in "Pork Alley"
A classic car show on our street
and admission to the Jefcoat Museum.
The Jefcoat is a treasure almost in our backyard!
From a musical standpoint, it houses a whole floor of square grands (including a Broadwood which was one of Beethoven's preferred brands,) pump organs, player pianos, music boxes, a cimbalom, a very ornate Erard harp, various bells, early phonographs and radios - many of which are still in working order. I anticipate a field trip for my Music History class.
In addition to the musical collection, there is a wealth of Americana - a kind of miniature Smithsonian (17,000 objects all on display at the Jefcoat vs. 136 million owned by the Smithsonian's museums - I looked this up because I was curious and because the numbers are amazing at both places.) At the Jefcoat there are all sorts of washing mashines, butter churns, ice cream mixers, a hunting room full of mounted animals, guns, and traps, etc. etc. etc.
After seeing all of this, I drove to Pasadena, MD to play a concert at Galilee Lutheran Church. The people there are always warm and Joel Borelli does a great job of enthusiastically promoting whatever he's presenting. It's a gift he has, and I appreciate it.
One thing I learned from the recital relates to Ravel Sonatine. I wasn't feeling that my performance had the type of clarity I like, but Joel commented positively on the clarity afterwards. While I didn't feel like my playing was as clear as I wanted, I was keeping most of the piece pretty quiet - which is how Ravel marked a lot of it anyway! It seems that keeping most of the dynamics pretty low helps with the clarity. (Note to self: Read and follow the score!)
Another thing that sunk in with me about the program I've been playing is that the works by Schumann and Prokofief (Papillons and movements from Romeo and Juliet) go together nicely and that seems to be the case because both works demonstrate their composer's mastery of musical characterization. To play them realy well, it might be a good idea to think more like an actor than a musician and seek to become each of the characters depicted.
Saturday, May 17, 2008
Trinity Sunday
It's another beautiful morning here in Murfreesboro. The quiet, cool, early summer mormings have begun.
I note that this is my 100th blog post since starting this blog in March 2005. I've enjoyed doing this as a hobby and as a way of connecting with people. Thanks to Martin Tiller, my friend who started blogging and got me interested. Also, thanks to Jeff Prillaman who took up blogging around the same time.
While I'm thanking folks -
This summer I hope to get a lot of composing done. As I find myself getting more comfortable in my composer skin, I have been reflecting about the people who have helped with that transformation.
Stefan Waligur, a composer Kathy and I met a few years ago in D.C., shared a CD of his work with us. The work is clear, worshipful, and can incoroprate musicians of all levels. I found the style very moving and liberating to me as a composer. The first thing I wrote that I felt really good about was my Christmas cantata which was influenced by Stefan's work.
James M. Guthrie, my colleague here at Chowan, is the other influence I am deeply appreciating. Dr. Guthrie is a superb composer - gifted and highly skilled. His great gift to me has been simply recognizing me as a composer, which frees me to produce without becoming entangled in judging my own output.
Tomorrow night I have a concert. Yesterday I found myself not knowing quite where I was technically or musically with the music I'm playing. On the eve of Trinity Sunday, I am reminded that symbolic practice is very helpful in such a situation. By "symbolic practice" I mean structuring one's practice time using meaningful numbers (such as thre)e from the Christian tradition.
I've known the works I'm playing for some time, but some sections don't feel totally secure at the moment. Trusting that three (or seven or twelve {rarely twelve!}) focused repetitions of these passages will reconnect me with my history of work with this music is very useful in keeping my practice realistic and keeping me on a good plane emotionally!
This morning I also returned to another practice I gravitate to from time to time: praying through my repertoire. Here I ask what I want the audience to get from each portion of each work, and pray for that to come to pass. This approach teaches me a lot about the music, and it helps me to make music with a consciousness of God.
Tuesday, September 18, 2007
From Baltimore to Murfreesboro
Night before last, I drove back from Baltimore to Murfreesboro after spending three days in the William Garrison Collaborative Piano Competition. One of many wonderful aspects of the experience was the renewed sense of purpose and belonging here in Murfreesboro. This is home to me now, and as always, I was happy when I drove up the hill and around the curve to see the Murfreesboro skyline (a few street lights across a field.) A startled deer leapt from the roadside, across the ditch, and ran to dark woods.
I learned or re-learned lots of important lessons this weekend.
1. It is very good to view music-making in a broader context than the music itself. Jeff had chosen a set of sacred songs to include in our repertoire for the competition, and the judges chose several of those songs for us to perform. That allowed us to witness to our beliefs and to worship on Sunday morning at the same time we were performing for the judges.
2. Competitions that pit voices against instruments put judges in a tricky bind. Vocal and instrumental music are clearly different genres, are hard to compare and contrast, and many musicians tend to specialize in one or the other.
3. Playing in the competition confirmed, yet again, the importance of balance. From a technical standpoint, I ideally approach the instrument in such a way as to be active, but not to waste energy. That wasted energy can create tension and playing problems. I felt our performances had balance in another way. We maintained technical control while also engaging all of the passion within us to perform. Often, one of these can interfere with the other.
4. Unknowns create tension. Not trying out the instrument in the hall before playing, not knowing who the judges are, not knowing which works they will request to hear: all of these things made the semi-final round very tense.
5. Regarding our repertoire, we learned that the second of Liszt's Petrarch Sonnets probably stands alone the best of the three.
6. The esoteric experience of playing for judges gave new life to my belief in the importance of performancing and the appropriateness of joy and freedom being part of performing in a normal public setting.
7. When you work hard applying all you've been taught, and when you know you've executed your plans well while managing yourself in relation to your environment, then you can have a sense of achievement and pride in your accomplishment that doesn't require affirmation from others.
Things I really liked about the weekend:
Spending three days with my good friend Jeff
Showing him around Baltimore
Seeing the renovations at Peabody
Being warmly welcomed by Mr. Shirley-Quirk and Dr. Falby at Peabody
Hearing Alan Walker's speech and Petri's Ricordanza recording
Visiting with other competitors and Peabody graduates, ushers, Liszt Society officers
Attending Mass
Staying at Ariel and Vivien's home
Thinking of my parents while on a breezy morning walk in the Dechosa's beautiful neighborhood
Ariel's prayers for us that encouraged us to boldly witness
Realizing the quality of colleagues I have at Chowan
Returning home to where I belong
I learned or re-learned lots of important lessons this weekend.
1. It is very good to view music-making in a broader context than the music itself. Jeff had chosen a set of sacred songs to include in our repertoire for the competition, and the judges chose several of those songs for us to perform. That allowed us to witness to our beliefs and to worship on Sunday morning at the same time we were performing for the judges.
2. Competitions that pit voices against instruments put judges in a tricky bind. Vocal and instrumental music are clearly different genres, are hard to compare and contrast, and many musicians tend to specialize in one or the other.
3. Playing in the competition confirmed, yet again, the importance of balance. From a technical standpoint, I ideally approach the instrument in such a way as to be active, but not to waste energy. That wasted energy can create tension and playing problems. I felt our performances had balance in another way. We maintained technical control while also engaging all of the passion within us to perform. Often, one of these can interfere with the other.
4. Unknowns create tension. Not trying out the instrument in the hall before playing, not knowing who the judges are, not knowing which works they will request to hear: all of these things made the semi-final round very tense.
5. Regarding our repertoire, we learned that the second of Liszt's Petrarch Sonnets probably stands alone the best of the three.
6. The esoteric experience of playing for judges gave new life to my belief in the importance of performancing and the appropriateness of joy and freedom being part of performing in a normal public setting.
7. When you work hard applying all you've been taught, and when you know you've executed your plans well while managing yourself in relation to your environment, then you can have a sense of achievement and pride in your accomplishment that doesn't require affirmation from others.
Things I really liked about the weekend:
Spending three days with my good friend Jeff
Showing him around Baltimore
Seeing the renovations at Peabody
Being warmly welcomed by Mr. Shirley-Quirk and Dr. Falby at Peabody
Hearing Alan Walker's speech and Petri's Ricordanza recording
Visiting with other competitors and Peabody graduates, ushers, Liszt Society officers
Attending Mass
Staying at Ariel and Vivien's home
Thinking of my parents while on a breezy morning walk in the Dechosa's beautiful neighborhood
Ariel's prayers for us that encouraged us to boldly witness
Realizing the quality of colleagues I have at Chowan
Returning home to where I belong
Monday, August 06, 2007
Welcome to Chowan
We've been in Murfreesboro for a little more than a month now and have easily adjusted to how nice life is here!
Just as I left behind some great colleagues at UR, I have some terrific new collegues here who have helped us to feel very much at home.
The town is of historical interest. It's a very old town, Lafayette passed through here, and the inventor of the Gatling gun and Walter Reed lived here.
Last week was the Watermelon Festival which is a family-friendly event complete with free watermelon, a parade, a 5K race, fireworks, and lots of good food.
This website has links to the university, the historical association, and the watermelon festival.
Just as I left behind some great colleagues at UR, I have some terrific new collegues here who have helped us to feel very much at home.
The town is of historical interest. It's a very old town, Lafayette passed through here, and the inventor of the Gatling gun and Walter Reed lived here.
Last week was the Watermelon Festival which is a family-friendly event complete with free watermelon, a parade, a 5K race, fireworks, and lots of good food.
This website has links to the university, the historical association, and the watermelon festival.
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