First Prize, $2,000: Rita McGregor, Baby Girl
Third Prize, $500: Tony Peyser, What I Did in the 20th Century
For a complete review of the winners and their poems, go to:
First Prize, $2,000: Rita McGregor, Baby Girl
Welcome address to freshman at Boston Conservatory, given by Karl Paulnack, pianist and director of music division at Boston Conservatory.
“One of my parents’ deepest fears, I suspect, is that society would not properly value me as a musician, that I wouldn’t be appreciated. I had very good grades in high school, I was good in science and math, and they imagined that as a doctor or a research chemist or an engineer, I might be more appreciated than I would be as a musician. I still remember my mother’s remark when I announced my decision to apply to music school—she said, “you’re WASTING your SAT scores.” On some level, I think, my parents were not sure themselves what the value of music was, what its purpose was. And they LOVED music, they listened to classical music all the time. They just weren’t really clear about its function. So let me talk about that a little bit, because we live in a society that puts music in the “arts and entertainment” section of the newspaper, and serious music, the kind your kids are about to engage in, has absolutely nothing whatsoever to do with entertainment, in fact it’s the opposite of entertainment. Let me talk a little bit about music, and how it works.
The first people to understand how music really works were the ancient Greeks. And this is going to fascinate you; the Greeks said that music and astronomy were two sides of the same coin. Astronomy was seen as the study of relationships between observable, permanent, external objects, and music was seen as the study of relationships between invisible, internal, hidden objects. Music has a way of finding the big, invisible moving pieces inside our hearts and souls and helping us figure out the position of things inside us. Let me give you some examples of how this works.
One of the most profound musical compositions of all time is the Quartet for the End of Time written by French composer Olivier Messiaen in 1940. Messiaen was 31 years old when France entered the war against Nazi Germany. He was captured by the Germans in June of 1940, sent across Germany in a cattle car and imprisoned in a concentration camp.
He was fortunate to find a sympathetic prison guard who gave him paper and a place to compose. There were three other musicians in the camp, a cellist, a violinist, and a clarinetist, and Messiaen wrote his quartet with these specific players in mind. It was performed in January 1941 for four thousand prisoners and guards in the prison camp. Today it is one of the most famous masterworks in the repertoire.
Given what we have since learned about life in the concentration camps, why would anyone in his right mind waste time and energy writing or playing music? There was barely enough energy on a good day to find food and water, to avoid a beating, to stay warm, to escape torture—why would anyone bother with music? And yet—from the camps, we have poetry, we have music, we have visual art; it wasn’t just this one fanatic Messiaen; many, many people created art. Why? Well, in a place where people are only focused on survival, on the bare necessities, the obvious conclusion is that art must be, somehow, essential for life. The camps were without money, without hope, without commerce, without recreation, without basic respect, but they were not without art. Art is part of survival; art is part of the human spirit, an unquenchable expression of who we are. Art is one of the ways in which we say, “I am alive, and my life has meaning.”
In September 2001 I was a resident of Manhattan. That morning I reached a new understanding of my art and its relationship to the world. I sat down at the piano that morning at 10 AM to practice as was my daily routine; I did it by force of habit, without thinking about it. I lifted the cover on the keyboard, and opened my music, and put my hands on the keys and took my hands off the keys. And I sat there and thought, does this even matter? Isn’t this completely irrelevant? Playing the piano right now, given what happened in this city yesterday, seems silly, absurd, irreverent, pointless. Why am I here? What place has a musician in this moment in time? Who needs a piano player right now? I was completely lost.
And then I, along with the rest of New York, went through the journey of getting through that week. I did not play the piano that day, and in fact I contemplated briefly whether I would ever want to play the piano again. And then I observed how we got through the day.
At least in my neighborhood, we didn’t shoot hoops or play Scrabble. We didn’t play cards to pass the time, we didn’t watch TV, we didn’t shop, we most certainly did not go to the mall. The first organized activity that I saw in New York, that same day, was singing. People sang. People sang around fire houses, people sang “We Shall Overcome”. Lots of people sang America the Beautiful. The first organized public event that I remember was the Brahms Requiem, later that week, at Lincoln Center, with the New York Philharmonic. The first organized public expression of grief, our first communal response to that historic event, was a concert. That was the beginning of a sense that life might go on. The US Military secured the airspace, but recovery was led by the arts, and by music in particular, that very night.
From these two experiences, I have come to understand that music is not part of “arts and entertainment” as the newspaper section would have us believe. It’s not a luxury, a lavish thing that we fund from leftovers of our budgets, not a plaything or an amusement or a pass time. Music is a basic need of human survival. Music is one of the ways we make sense of our lives, one of the ways in which we express feelings when we have no words, a way for us to understand things with our hearts when we can’t with our minds.
Some of you may know Samuel Barber’s heartwrenchingly beautiful piece Adagio for Strings. If you don’t know it by that name, then some of you may know it as the background music which accompanied the Oliver Stone movie Platoon, a film about the Vietnam War. If you know that piece of music either way, you know it has the ability to crack your heart open like a walnut; it can make you cry over sadness you didn’t know you had. Music can slip beneath our conscious reality to get at what’s really going on inside us the way a good therapist does.
I bet that you have never been to a wedding where there was absolutely no music. There might have been only a little music, there might have been some really bad music, but I bet you there was some music. And something very predictable happens at weddings—people get all pent up with all kinds of emotions, and then there’s some musical moment where the action of the wedding stops and someone sings or plays the flute or something. And even if the music is lame, even if the quality isn’t good, predictably 30 or 40 percent of the people who are going to cry at a wedding cry a couple of moments after the music starts. Why? The Greeks. Music allows us to move around those big invisible pieces of ourselves and rearrange our insides so that we can express what we feel even when we can’t talk about it. Can you imagine watching Indiana Jones or Superman or Star Wars with the dialogue but no music? What is it about the music swelling up at just the right moment in ET so that all the softies in the audience start crying at exactly the same moment? I guarantee you if you showed the movie with the music stripped out, it wouldn’t happen that way. The Greeks: Music is the understanding of the relationship between invisible internal objects.
I’ll give you one more example, the story of the most important concert of my life. I must tell you I have played a little less than a thousand concerts in my life so far. I have played in places that I thought were important. I like playing in Carnegie Hall; I enjoyed playing in Paris; it made me very happy to please the critics in St. Petersburg. I have played for people I thought were important; music critics of major newspapers, foreign heads of state. The most important concert of my entire life took place in a nursing home in Fargo, ND, about 4 years ago.
I was playing with a very dear friend of mine who is a violinist. We began, as we often do, with Aaron Copland’s Sonata, which was written during World War II and dedicated to a young friend of Copland’s, a young pilot who was shot down during the war. Now we often talk to our audiences about the pieces we are going to play rather than providing them with written program notes. But in this case, because we began the concert with this piece, we decided to talk about the piece later in the program and to just come out and play the music without explanation.
Midway through the piece, an elderly man seated in a wheelchair near the front of the concert hall began to weep. This man, whom I later met, was clearly a soldier—even in his 70’s, it was clear from his buzz-cut hair, square jaw and general demeanor that he had spent a good deal of his life in the military. I thought it a little bit odd that someone would be moved to tears by that particular movement of that particular piece, but it wasn’t the first time I’ve heard crying in a concert and we went on with the concert and finished the piece.
When we came out to play the next piece on the program, we decided to talk about both the first and second pieces, and we described the circumstances in which the Copland was written and mentioned its dedication to a downed pilot. The man in the front of the audience became so disturbed that he had to leave the auditorium. I honestly figured that we would not see him again, but he did come backstage afterwards, tears and all, to explain himself.
What he told us was this: “During World War II, I was a pilot, and I was in an aerial combat situation where one of my team’s planes was hit. I watched my friend bail out, and watched his parachute open, but the Japanese planes which had engaged us returned and machine gunned across the parachute chords so as to separate the parachute from the pilot, and I watched my friend drop away into the ocean, realizing that he was lost. I have not thought about this for many years, but during that first piece of music you played, this memory returned to me so vividly that it was as though I was reliving it. I didn’t understand why this was happening, why now, but then when you came out to explain that this piece of music was written to commemorate a lost pilot, it was a little more than I could handle. How does the music do that? How did it find those feelings and those memories in me?”
Remember the Greeks: music is the study of invisible relationships between internal objects. This concert in Fargo was the most important work I have ever done. For me to play for this old soldier and help him connect, somehow, with Aaron Copland, and to connect their memories of their lost friends, to help him remember and mourn his friend, this is my work. This is why music matters.
What follows is part of the talk I will give to this year’s freshman class when I welcome them a few days from now. The responsibility I will charge your sons and daughters with is this:
“If we were a medical school, and you were here as a med student practicing appendectomies, you’d take your work very seriously because you would imagine that some night at two AM someone is going to waltz into your emergency room and you’re going to have to save their life. Well, my friends, someday at 8 PM someone is going to walk into your concert hall and bring you a mind that is confused, a heart that is overwhelmed, a soul that is weary. Whether they go out whole again will depend partly on how well you do your craft.
You’re not here to become an entertainer, and you don’t have to sell yourself. The truth is you don’t have anything to sell; being a musician isn’t about dispensing a product, like selling used Chevies. I’m not an entertainer; I’m a lot closer to a paramedic, a firefighter, a rescue worker. You’re here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.
Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don’t expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that’s what we do. As in the concentration camp and the evening of 9/11, the artists are the ones who might be able to help us with our internal, invisible lives.”
You’re currently reading “Inspirational Speech,” an entry on Piano Tree
INVITATION TO PARTICIPATE IN CONSUMER CONSULTATIONS
The Mental Health Commission of Canada (MHCC) recognizes that an ample supply and range of quality community housing and related supports is important to successful community living and recovery for persons living with mental health problems and illnesses and/or addictions issues. The MHCC has funded the Community Support and Research Unit (CSRU) of the Centre for Addiction and Mental Health (CAMH) and the Canadian Council on Social Development (CCSD) to conduct research on the current housing and related supports for people living with mental health problems and illnesses and/or addictions issues in Canada. Related supports include services that help find, access, and maintain housing, such as intensive case management, assertive community treatment teams, and crisis services. This work will inform the development of a Mental Health Strategy for Canada.
The National Network for Mental Health is partnering with CSRU and CCSD to further understand consumers’ experiences of housing and related supports. Your input is greatly appreciated and valuable in informing the research team on the experiences of housing and related supports for adults living with mental health problems and illnesses and/or addictions issues across Canada.
The National Network for Mental Health will be hosting a series of online discussions (webinars) to hear your perspectives. Webinars will be facilitated by David Reville and will run for approximately 1.5 to 2 hours. We know your time and energy is valuable, so, we will compensate all participants with $30.00. Participation is limited to 12 persons per webinar session.
Participation is confidential. Your name will remain anonymous and your user identification will be kept confidential and will not appear in any of the reports, publications or presentations that result from this project. Anonymous direct quotes might be used in future reports.
INSTRUCTIONS FOR INTERESTED PARTICIPANTS
If you are interested in participating in the online consultation, you may choose to do so in one of the following ways:
1. Participate by teleconference. To participate by teleconference, participants will only need a phone and dial-in information (e.g., the toll-free number to call and a participant code to enter). Participating by teleconference means you can speak and listen; however, you will not be able to see the facilitator or any other participants.
Conference Number(s): 1-866-231-6479
Participant Code: 441106
1. Attend by webcast. To attend by webcast and also see the presenters, participants will only need a computer and speakers. To attend the webcast click here: http://nnmh.na4.acrobat.com/housing/ on the appropriate date. Select “Enter as Guest” and then enter your name when prompted.
2. Attend by webcast and present. To attend by webcast and present yourself, participants will need a computer, speakers and a webcam or microphone. To attend the webcast click here: http://nnmh.na4.acrobat.com/housing/ on the appropriate date. Select “Enter as Guest” and then enter your name when prompted.
Please note that we will be hosting webinars by region. Here are the dates and times by region:
BRITISH COLUMBIA: Tuesday, February 23rd – 9am-11am PST
ALBERTA: Tuesday, February 23rd – 10am-12pm MST
MANITOBA: Thursday, February 25th – 9am-11am CST
SASKATCHEWAN: Thursday, February 25th – 9am-11am CST
QUEBEC: Monday, March 1st – 2pm-4pm EST
NEW BRUNSWICK: Tuesday, February 23rd – 10am – 12pm AST
NOVA SCOTIA: Tuesday, February 23rd – 10am – 12pm AST
PRINCE EDWARD ISLAND: Tuesday, February 23rd – 10am – 12pm AST
NEWFOUNDLAND and LABRADOR: Tuesday, February 23rd – 10:30am – 12:30pm NST; and 10am-12pm AST (Labrador)
ONTARIO: Friday, February 26th – 9am-11am EST
NORTH WEST TERRITORIES: Friday, February 26th – 10am – 12pm MST
YUKON: Friday, February 26th – 9am – 11am PST
NUNAVUT: Friday, February 26th – 12pm – 2pm EST
Please register by following the link below and completing the required information.
OTHER HELPFUL INFORMATION
Prior to participating in the webinar, it is useful for participants to test their computer<http://nnmh.na4.acrobat.com/common/help/en/support/meeting_test.htm> to make sure that they are set up with all of the tools they will need to participate in the webinar.
For more information about Connect Pro (the program used to host the webinar) click on the following link for an informational video: http://www.youtube.com/watch?v=2syFXr6pRZ8 OR visit the program website at http://www.adobe.com/products/acrobatconnectpro/
If you are still experiencing difficulties, and wish to participate in the webinar contact Nick Kerman at 416-535-8501 ext. 3170 or firstname.lastname@example.org and he will be able to help you.
Thank you and we look forward to hearing from you. Please register by February 19th, 2010.
Health Lecture Series 2010
North and West Vancouver Branch
LET’S TALK ABOUT LOVE
Do you want to live from the deeper, fuller waters of love? We will discuss the 4 secret steps everyone needs to know in order to create you relationship, manifest formulas that create the relationship you really, really want and recognize the neglected places in your life that are secretely hiding the depths of love you desire. Come experience, share –through storytelling, poetry and music about how everyday life is secretly teaching you about “The Deeper Waters Of Love”.
Michael Talbot-Kelly, RCC is a wholistic psychotherapist, midlife awakening specialist and spiritual counselor with over 25 years of experience counseling healing and guiding individuals towards the deeper waters of love, liberation and belonging.
LOW MOOD AND ANXIETY
Feeling low? Stressed? Anxious? Bounce Back can help. The Bounce Back program, offered through CMHA is a self-help program which offers two components: a DVD Living Life to the Full (immediate resource) and a coaching over the telephone while working with the self-help material. Come and join us for an interactive evening where a part of the DVD will be viewed and discussed.
Miriam Planovska, BSW Bounce Back Community Coach has been a coach on the North Shore for the past year and half. Over the years she has worked with wide range of people and also has a good understanding of the multicultural population.
CIRCLE DANCE: CONNECTING HANDS AND HEARTS
Circle Dance , or Sacred Circle Dance, was born in 1976 at Findhorn, a spiritual community in northern Scotland. We dance for many reasons including connection, peace, celebration, healing, spirit and fun. Dances range from lively to meditative, traditional to contemporary, and are danced to contagious music from around the world. This evening we’ll include dances that celebrate the theme of Love as we will have just passed Valentine’s Day. Come prepared to join hand and hearts!
Corinne Chepil has been teaching dance most of her life. She especially enjoys sharing the gifts of Circle Dance. Her education includes a B.A. in Dance/Psychology, a Dance Teacher Diploma and a Sacred Dance Teacher Certificate from Scotland’s Findhorn Foundation. She has been fortunate to facilitate in a variety of settings including Women’s Spirituality Celebrations, a Yoga retreat, Riverview Hospital, and the 2006 World Peace forum.
3 PILLAR FOUNDATION TO HIGH VIBRATION LIVING
Discover the 3 Pillars to High Vibration Living and how to apply them for improved health and vitality. Learn techniques on how to better manage your thoughts and achieve greater success. Experience the power of the Merkaba Technique and how it fast tracks your progress to a better life.
Steve Hulcombe is the founder of Propel Life<http://www.propellife.com/> and the Merkaba Technique. He assists individuals and organizations to align with their mission and achieve their goals by utilizing his own vibration technique, intuition and coaching strategies. You will benefit from being empowered to make high vibration choices and having old disempowering structures systematic removed thereby allowing your true essence to emerge.
EVERYONE WELCOME! EVERY WEDNESDAY AT 7:00pm – ADMISSION BY DONATION
LOCATION: 2nd Floor of John Braithwaite Community Centre, 145 West 1st Street, North Vancouver
For information, call 604-987-6959 or visit www.northwestvancouver.cmha.bc.ca