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Music and Memorial Day

Photo credit: Kimberly G.

Last month there was a national holiday, we know it as Memorial Day. A family at our church held a day of festivities that included a time for music and sharing. Esther and I played two pieces together, one of which was titled The Lord Shall Supply Thy Need .

Why Memorial Day? What are remembering? Many things; Providences of God, our history etc. Keeping in mind that one of the foremost reasons we have Memorial Day, is for saying thank you to those who have died in the past for our liberty, as well as for the Christian Faith, the words to The Lord Shall Supply My Need seemed fitting for the day.

I can imagine that these words might have given great comfort to those Christians fighting in the battlefield, as well as those facing the burning stake.

My Lord Shall Supply Thy Need

My Shepherd will supply my need: Jehovah is His name;
In pastures fresh He makes me feed, Beside the living stream. 
He brings my wandering spirit back When I forsake His ways,
And leads me, for His mercy's sake, In paths of truth and grace.

When I walk through the shades of death His presence is my stay;
One word of His supporting grace Drives all my fears away. 
His hand, in sight of all my foes, Doth still my table spread;
My cup with blessings overflows, His oil anoints my head.

The sure provisions of my God Attend me all my days;
O may Thy house be my abode, And all my work be praise.
There would I find a settled rest, While others go and come;
No more a stranger, nor a guest, But like a child at home.

Psalm 23, paraphrased
Isaac Watts, 1674-1748

Posting topics for July

Come back in July to read about:

• Pentatonic Music
• What Leonard Bernstein thought about J.S. Bach
• Eleganza Strings Studio Recital
• A wedding at Cheekwood Botanical Gardens 

Ag and Arts Tour 2013

A few weeks ago, we spent two whole days at Leegacy Farm, playing live harp and violin music for the 2nd. Annual Arts and Ag Tour. We played a collection of Scottish, Irish, Folk, Sacred and Classical selections. The West ladies also joined the team at Leegacy Farm for the two days. It was enjoyable to listen to their great toe tapping music when we were on break.  Fried pies, lemonade, and plenty of handmade items were in abundance......

We were situated under a canopy by a trickling waterfall....so relaxing!

Arts and Ag Tour , here we come

Rocking chairs in abundance, as well as a porch swing ( my personal favorite )

There were rabbits for sale

West ladies booth

A Book Review-- Why Johnny Can't Sing Hymns by: T. David Gordon

My concluding thoughts on Why Johnny Can't Sing Hymns are as follows:

 I agree with Gordon in that we should care about singing appropriate music to God on Sundays ( and every day ). And certainly we must encourage others to care about singing the good old hymns, but I think for those of us who have studied music, and have been convicted about singing theologically sound worship music ( the Trinity hymnal for example ), must be careful that we don't look down our noses in a very arrogant and prideful way because we think we're "more godly". We must remember that it's only by the grace of God that we know what we know, its nothing we've done or deserved.
When we share our thoughts and convictions on Hymnody, it should be out of true love for the brethren and fear of God. Soli Deo Gloria, this is what it's all about.
Gordon addresses the issue of worship music in a very gentle and sensitive way, and he is by no means condemning of others or haughty in his approach of the subject. May we all learn from his example.

-Hannah

Why Johnny Can't Sing Hymns

Written by: T. David Gordon

Reviewed by: Hannah DeLadurantey

Gordon's purpose in writing this book:

1. Prove that music in worship is significant, and that we should take more care finding out more about it.
2. How to evaluate worship music
3. Find out why hymns are unpopular in our culture, and if it is a problem, how to help cure it

Why Is Music Significant?

“ Music may be religious or profane, sublime or mundane, pious or pernicious, but music is not insignificant. It would not be a universal reality in all cultures if it were insignificant.”

In the first chapter or so, Gordon defends why God cares about worship music. As the reader, your taken on a journey to the Old Testament, where Gordon gives scripture references to allow you, the reader, perspective into how important God's place of worship was (the Temple). Gordon goes on to explain that if God took so much time and detail to explain how He wanted the Temple to look, wouldn't He care very much on what type of music was sung and played for the worship of Himself? Indeed He does care.

How does music affect us and do we have to evaluate it?

“ Like worship, music is a reality that involves us emotionally and sometimes deeply, and therefore it is difficult for us to establish the philosophical distance necessary to evaluate it on aesthetic or musical grounds. Worship music, then, is almost hopelessly impossible to discuss because it combines the passion we feel about worship with the passion we feel about music, and the whole enterprise becomes so fraught with emotion that philosophical distance is extremely difficult for most to acquire. Nonetheless, it is our duty, once we raise the subject, to do the best we can to evaluate it with all the resources available to us. ”

How to Evaluate a Hymn/Worship Music

Hymn Criteria

• theologically orthodox lyrics
• theologically significant lyrics
• literary apt and thoughtful lyrics
• lyrics and music appropriate to a meeting between God and his visible people
• well-written music with regard to melody, harmony, rhythm, and form.
• musical setting appropriate to the lyrical content

*Historical note: the Trinity Hymnal mentions the goal of compiling a hymnal that has three traits: “truly ecumenical...theocentric in orientation, biblical content”

• “ Study the psalms and ask whether, on lyrical grounds, the various form of contemporary worship music demonstrates anything like the theological or literary integrity or profundity of the individual psalms.”

Gordon presses the point that all things are lawful, but not all things are helpful (1 Corinthians 10:23 ). This he says; “is an important point to remember when evaluating worship music.” Is it helpful, is it appropriate? Gordon also points out that when making decisions on worship music, there must be a reason and some type of rationale for determining, for certain purposes, why one hymn/song is superior over another.

Gordon also lists 5 properties from Aaron Copland's book on music. Gordon says that all composers of music must make skillful choices with them: rhythm, melody, harmony, timbre, and form.

Gordon poses this question to get us thinking ( in regards to pop music in comparison to the psalms ): Do our popular tunes and words have the same effect on us as the psalms of the Bible?

Aesthetics

“ God Himself is our aesthetic standard, just as He is our ethical standard.......Human creativity is a matter of imitating God the Creator; it may very well be the most significant thing humans do, so it is not ' merely anything ', and it is surely not 'merely a matter of taste.' ”

Meta Messages/Form and Content

Gordon, in his chapter on Meta Messages, challenges us to think about worship songs/popular hymns. Do the lyrics go with the tunes? Gordon goes further on to exhort believers that Christianity is a demanding religion, it is sacred, that is, not common. Our words must match our actions just as the lyrics of our music must be paired with fitting tunes.

“ ...if even the substantial minority of the culture associates contemporary music with the trivial, the inconsequential, or the ironic, why would the church wish to use a form associated with the trivial or ironic, and employ it for worship? Is the content of worship trivial or ironic? And if not, then why attempt to put serious content into a non-serious form? People may be amused by it, and some may tap their feet to it, but would Jesus have addressed the rich young man in such a tone? ”

“ We might say, for instance, that we take God and faith seriously, but do things that seem contrary to that message......and if the culture observers are correct, the meta-message that contemporary music sends it this: Nothing is important everything is just amusing or entertaining. This is hardly a Christian message.”

Music Genres

Gordon explained a few components of music genres (their pros. and cons.). Gordon's leanings on worship music are more towards the folk genre, mostly because its music is more accessible to people.

• High/Classical: multigenerational, timeless, speaks to significant matters, communal, restrained, disciplined ( Matt. 7:14 )
• Folk:transcendent, multigenerational, significant, communal/ yet more accessible then Classical.
• Popular: immanent, banal, individualistic, accessible, idiosyncratic.

Conclusion

In the end, Gordon concludes that a change is needed in the church concerning its worship music, but that it must be a slow change. People are set in their ways, and just have not been taught what it good music. It must be a humble, slow explanation and change that will bring our churches back around to good biblical singing, not a thump on the head with the Trinity as you quickly snatch away the slide projector.

“We've lost our capacity for the sublime, and have acclimated ourselves to the mundane even to the point that we are not troubled when worship itself is mundane. We don't deny per se that worship has something to do with the sacred; we've lost the category of sacred itself.”
-T. David Gordon

Bernstein on Musical Analysis

“ Meaning” in music has preoccupied aestheticians, musicians, and philosophers for centuries. The treatises pile up, and usually succeed only in adding more words to an already obscure business. In all this mass of material we can discern four levels of meaning in music:

1. Narrative-literary meanings ( Till Euenspeigal, The Sorcerer's Apprentice, etc. )
2. Atmospheric-pictorial meanings ( La Mer, Pictures of an Exhibitions, etc. )
3. Affective-reactive meanings such as triumph, pain, wistfulness, regret, cheerfulness, melancholy, apprehensions—most typical of nineteenth-century romanticism.
4. Purely musical meanings.

     Of these, the last is the only one worthy of musical analysis. The first three may involve associations which are good to know (if the composer intended them); otherwise they are concerned only with arbitrary justification, or prettifying for the commercial reasons mentioned before. If we are to try to “explain” music, we must explain the music, not the whole array of appreciators' extra musical notions which have grown like parasites around it.

     Which makes musical analysis for the layman extremely difficult. Obviously we can't use musical terminology exclusively, or we will simply drive the victim away. We must have intermittent recourse to certain extra-musical ideas, like religion, or social factors, or historical forces, which may have influenced music. We don't ever talk down; but how up can we talk without losing contact? There is a happy medium somewhere between the music-appreciation racket and purely technical discussion; it is hard to find, but it can be found.

All excerpts were taken from The Joy of Music by: Leonard Bernstein

Bernstein and Beethoven

".....the inexplicable ability to know what the next note has to be. Beethoven had this gift in the degree that leaves them ( other composers ) all panting in the rear guard."

" Form is only an empty word, a shell, without this gift of inevitability; a composer can write a string of perfectly molded sonata-allegro movements, with every rule obeyed, and still suffer from bad form. Beethoven broke all the rules, and turned out pieces of breath-taking rightness. Rightness--that's the word! When you get the feeling that whatever note succeeds the last is the only possible note that can rightly happen at that instant, in the context, then chances are your listening to Beethoven. "

- Leonard Bernstein

The Joy of Music by: Leonard Bernstein

The Joy of Music by: Leonard Bernstein

A few months ago, I went to a library sale and spied a book titled The Joy of Music. Any book with the theme of music always catches my eye, and to see the name Leonard Bernstein connected with it meant I must peruse and likely purchase.....and so I did.

There were a few sections that I didn't care to read, like the one on Jazz, and a few words that I blackened out, but over all I think it was worth the $2.00.

The Joy of Music was originally supposed to be entitled: Conversations at Thirty, but since it was written by the time Bernstein was around 40 ( 1959 ), the titled changed to The Joy of Music.

The chapters in this book were taken from television and radio shows, so they are conversational style, with lots of musical notation since you can't actually hear the musical excerpts.

The Art

of Conducting

Telecast: December 4, 1955

Bernstein, in this chapter:  dissolves any confusion as to the role of the modern day conductor, gives a little history of the modern day conductor, explains what exactly a conductor does, and shows with words and pictures how to beat out the music with a baton.

History of the Conductor:

" Mendelssohn was the first real conductor in our sense of the word, who founded the tradition of conducting with a wooden stick/baton. Mendelssohn dedicated himself to an exact relication of the score he was conducting, through manipulation of the baton. There soon arrived, however, a great dissenter; Richard Wagner, who said Mendelssohn was doing it all wrong, and that a conductor should personalize the score he was conducting by coloring it with his own emotions and his own creative impulse. And so, out of the clash of these two points of view the history of conducting was born. Mendelssohn fathered the 'elegant' school and Wagner inspired the 'passionate' school of conducting."

Bernstein goes on to explain that both schools of conducting are needed; the ideal modern conductor is a synthesis of the two attitudes, and this synthesis is rarely achieved. “ Almost any musician can be a conductor, even a pretty good one; but only a rare musician can be a great one.”

Bernstein also expounds on why we have conductors now; “because the orchestra is bigger than it used to be, and its harder to keep everyone together rhythmically and musically.” A leader was needed and so the conductor was born! The modern day conductor has only been around for the last 200 years or so.

What do you have to be, to become a Great Conductor?

• Must have enormous authority
• Master the mechanics of conducting
• Inconceivable amount of knowledge
• Profound perception of the inner meanings of music
• Uncanny powers of communication

How to Look at a Music Score

• “Read through the score more or less superficially, like racing through a detective story. During this first reading, he must form his own opinion of the cultural and stylistic position of the work. E.g. style of Brahms period; atmosphere of his life and country; the goal he set himself in his work; the influence of other composers and artists on him. In other words, a conductor must be more than a musician he must be also a kind of artistic historian.”

• Take the score apart and study all aspects of it; what instruments are playing, where is the melody.
• Decide how fast it must go
• How loud?

What Makes a Great Conductor

Bernstein says he believes that the chief element in the conductors technique of communication is; preparation. Everything must be shown to the orchestra before it happens. Once the player is playing the note, its too late. The conductor must always be a beat or two ahead of the orchestra. He must hear two things at the same time: what the players are doing at any moment, and what they are about to do a moment later. Therefore, the basic trick is in the preparatory upbeat. The preparatory upbeat is exactly like breathing. The preparatory beat is like inhalation, and the music sounds as an exhalation. A conductor who breathes with the music has gone far in acquiring a technique.

“ But the conductor must not only make his orchestra play. He must make them want to play. He must exalt them, lift them, start their adrenalin pouring, either through cajoling or demanding or *raging. But however he does it, he must make the orchestra love the music as he loves it. It is not so much imposing his will on them like a dictator; it is more like projecting his feelings around him so that they reach the last man in the second violin section. And when this happens—then there is a human identity of feeling that has no equal elsewhere. *It is the closet thing I know to love itself. On this current of love the conductor can communicate at the deepest levels with his players, and ultimately with his audience. He may shout and **rant and **insult his players at rehearsal--as some of our greatest conductors are famous for doing—but if there is this love, the conductor and his orchestra will remain knit together through it all and function as one.”

“ Well, there is our ideal conductor. And perhaps the chief requirement of all is that he be humble before the composer ( and I would personally add, God ); that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning-- the music itself, which, after all, is the whole reason for the conductor's existence.”

*I don't agree with this statement completely, but I understand what he's trying to get across. I suppose that if you weren't a believer that this "feeling" could  be the closest thing to love......

** Don't agree that its okay to rage just to get what you want

*** Or with the rant and insult

A Book Review: The New Grove Mozart

The New Grove MOZART

Written by: Stanley Sadie

Reviewed by: Hannah DeLadurantey

We picked up this book at a library sale a few years back, and I just got around to reading it!

Sadie takes us back to the year 1756, the year Wolfgang Amadeus Mozart was born. This book is divided into 24 chapters, with each chapter focusing on where Mozart would have been and what he composed during those specific years.

Overall, this book was very detailed and helpful if you wanted to know more specifically where and when Mozart composed certain works. Personally, I found the writing style a bit dry, mostly dates and facts. Mozart didn't seem real, but instead, a stuffy dry man of dates and facts. I would have liked to be transported into the 1700's, but was sadly disappointed.

If your looking for a good informative and intriguing story of Mozart, don't pick up this book. But, if you in need to details on his works, be sure to read a copy of The New Grove Mozart

A Texas Wedding

Esther and I had the great delight of traveling to Texas last weekend for a friends wedding. And to top it off we were asked to play their ceremony music! What a joy it is to bless others with the gift God has given us, we were more than delighted to oblige both our dear friends. And since we used to live in Texas, quite a few of our friends were there, its always wonderful to catch up with familiar faces!


It was such and encouragement to witness
 a godly wedding that sought to honor parents and glorify God.

The bride had a recital before the rehearsal dinner where various musicians performed for the wedding party and other family members and friends that were there. Esther and I decided to play one of the bride's favorite pieces; Pavane by Ravel. We must agree that she has good taste since we LOVE this piece as well!

Here we are enjoying the pretty outdoors where the reception was to be held.

The Wedding Facility was very Elegant and Soothing

Simple Elegance

A gazebo decorated an area of the lawn.

This was the backdrop for bride and groom during the ceremony.

Beautiful, feminine dresses were worn by the ladies and girls, and manly classic black suits by the men.

This area was so creative and peaceful; shaded yet outside.

Here is the Chapel. The sparkling chandeliers and light colored flowers were flowing, lovely and pure looking.

At this wedding facility you could be sure to spend many an hour discovering little areas like this. Archways, trellises, benches, waterfalls and flowers were more then could be counted! We must confess that we came home with an abundance of ideas on how was can incorporate this lovely outdoor atmosphere into our own yard!



My beloved is mine, and I am his: he feedeth among the lilies. 
Song of Solomon 2:16

Tips for Becoming a Better Performer

Performance 
Some love it, others hate it. Some thrive on and live for it and others shrink from it in terror.

I used to be somewhere nearer the shrinking from it in terror, but now I think I’m somewhere in the middle of both spectrum's. This is due to a few resources as well as some fabulous teachers I've had the privilege of reading/ studying with.

~Hannah

Power Performance:

A few years back one of my harp teachers lent me a book called Power Performance by: Carrol McLaughlin. Though I don’t agree 100% with Carrol McLaughlin (in some of her psychology , I believe she has some really good tips on how to become a better performer and great insight on how to conquer your stage fright fears.  I’m not planning on going in-depth into McLaughlin’s book, but instead I'll just mention a few of highlights that helped me.

1    

        1. Practice in different environments once you get closer to your performance date:  living room, bedroom etc.

2    

         2.  Practice your concert repertoire in order, non-stop, multiple times at least that last month before your recital/concert. 

3    

         3. Play and perform as many times as you can, in front of an audience (big or small) at least a month before your recital: Nursing Homes, House Concert, the dog, friends etc.

4    

        4.  Trust that you've put the work in and that your mind and muscles know what to do. Don’t doubt yourself; stay confident.

5

        5.  Practice your music in different sections, from memory. Try to see the music in your mind when  away from your instrument. Sing your music from memory. Practice away from the instrument by reading through your music.

American HarpSociety 2010:

Three years ago I had the blessing of being able to attend an annual AHS Conference in Denton Texas. While I was there, I listened to a talk on performance. Here are the few tips I gathered and have tried to implement into my performances since:

How to Enter the Stage and Begin Playing:

1. When entering the stage, walk with confidence, head held high, smiling! No grinning, but look pleasant, your audience wants to know that you are excited and happy to be playing for them!

2. Okay, you've bowed ( don't bow too low or too shallow and please don't look at the audience while your bowing! ); now sit down. While remaining pleasant looking (no grins, or teeth need to be shown), pull your harp back to your shoulder, dampen the strings with hands and change your pedals. Now is the part many people don’t think about; look up while doing this. When a person looks down, it comes across to the audience that you are not confident and that you are being introspective. Looking up portrays confidence, which will set your audience at ease.

3. Your pedals are set (or for other instrumentalists, you've picked up your instrument). Give yourself a few seconds to collect your thoughts and FOCUS. Remember what you are trying to portray in the beginning lines so your know how to attack the first notes, now your ready play.

Gleanings from Personal Experience 
/Insight from My Music Instructors:

Though I am not the most famous of performers, I thought I’d share some personal performance helps that have helped me immensely.

1. Focus was huge for me. Blocking out all that is around me and imagining that I’m in my own practice room at home, and it’s just me and my harp playing as unto the Lord, for His glory alone. I've found that as soon as my focus is gone for a few seconds, a mistake is made or my muscle memory will take over and that definitely can throw you into a tailspin! Remembering to stay confident, trusting in the fact that I've put in the practice and that God will bless my efforts as He sees fit.

2. Always practice your “performance” in the clothes you are going to actually perform in; shoes, clothes (hair style for ladies). It is easy to get distracted by a piece of hair in your face, or the shoulder seam in your top that's more restricting than the t-shirt you normally practice in.

3. I think that the biggest thing that has helped me perform better has been keeping always in mind that the music I am performing is for God. If I am playing for my glory, this is pride and selfishness both of which are sins and very grievous to God. For God alone should receive glory and honor and it is only by His grace that I am able to play. My playing should point to Christ and the work He has done in me, and not to my “talented abilities”.

4. Lastly, relax and enjoy this moment! Remember that a performance is only once, do your best and enjoy this gift of music God has given us!

To the only wise God our Saviour, be glory and majesty, dominion and power, both now and ever. Amen

Jude 1:25

I can do all things through Christ which strengtheneth me.

 Philippians 4:13

A Book Review: Mr. Pipes and Psalms and Hymns of the Reformation

Mr. Pipes and Psalms and Hymns of the Reformation

Second book in the Mr. Pipes series by: Douglas Bond

Written by: Douglas Bond

Illustrations by: Ron Harris

Reviewed by: Hannah DeLadurantey

In Douglas Bond’s first book, Mr. Pipes and the British Hymn Makers, Mr. Pipes, a devout Christian living in England, evangelizes to two young American children who are summer vacationing in England, named; Annie and Drew. After Annie and Drew go back to their home in America, Mr. Pipes continues to develop his relationship with the two youngsters by sending them hymns to learn and thoughts to ponder. As you may gather from the titles from Bonds Mr. Pipes series, Mr. Pipe’s, Annie and Drew develop a budding relationship over hymnody and psalmody that only blooms more deeply in this second volume entitled; Mr. Pipes and Psalms and Hymns of the Reformation.

This book exudes the power and majesty of hymns in a very easy, delightful, and creative way, which is perfect since it was written for young readers!

Bond interweaves very artfully, the tales of many hymn writers while Pipes, Annie and Drew tour Europe. The book is divided up into 12 chapters, where 10 out the 12 chapters focus on a different Reformation hymn writer; Luther, Nicolai, Altenburg, Heermann, Gerhardt, Franck, Neander, Rinkart, Schutz, and Calvin.

But, Bond does not stop there! Instead, he craft fully adds other dimensions to the story by weaving in various historical and architectural discoveries that Pipes shares with Annie and Drew. E.g. History of Westminster Abbey, purpose behind Gothic Architecture etc.

And not to forget mentioning that you can practice reading your French and German in Bond’s book, since Pipes speaks both languages in various occasions while touring outside of England…..A Dieu!

There were a few small words, references and phrases I wished Bond would have left out; fairy tales and eye rolling were mentioned twice, “what a bummer”,   “ what on earth are you doing?” dirty rotten thief, creeps and cabbage head as well as kraut breath are words used to address two bully’s that are throwing rocks at Pipes Annie and Drew. Drew is gently reprimanded for using the ungodly language when Pipes reads a hymn that addresses our language, so that is good, and Drew does repent of his ungodly speech, but I’d still rather not have that type of language in a book for children. We’re sinners enough, we don’t need any other words and phrases added to our mental vocabulary, even if we do know they are bad. You never know when they might come out!

Eleganza Strings Blog in 2013

Dear Readers,

Some of you may be curious, wondering why there has been such a plethora of updates this month.

If you've looked back in our archives, you'll see a difference in the type of posts I've been updating with, and the reason is two fold:

First, I have a more relaxed practice schedule this year, so I'm able to spend more time discovering other aspects of music.

Second, I greatly enjoy reading, writing and researching the glorious art God has given to us; music. So, due to the lack of practice hours I need to put in this year, I have the great delight of being able to devote more time to areas such as these!

There is one other reason I'll be updating, and this is the most important reason of all.

It's not to attract more traffic to this site so as to drum up more clients, but instead to speak Truth and point to God, the Creator of Music. My prayer is that this years posts with broaden my knowledge of music, and my fear of the Lord.

Here are a few topics in 2013 that I'm planning on exploring on this site:

• Write Book Reviews (that concern music in some way),

• Research Various Aspects of Music such as; Performance, Teaching, Practice Habits, Music History

• Record any Music Performances Eleganza Strings may have.

You may also see a detour or two along the way, and find a post or two Psalmody, Hymnody, Composition and Arranging.

I pray that you'll enjoy reading the writing on this blog as much as I'll enjoy writing it!

Soli Deo Gloria,

Hannah for Eleganza Strings

New Repertoire List!

I finally got around to compiling a nearly completed list of our music repertoire!

Visit the Wedding/Event Repertoire page for the completed list.

-Hannah

Jewish Wedding Repertoire

Processionals
Dodi Li ( I Am My Beloved's )
Hodaya
Al Kol Eleh ( The Bitter and the Sweet )
L'kha Dodi
Hana'ava Babanot

Recessionals
Hevenu Shalon Alekhem ( Peace Be Unto You )
Mitzva G'dola ( Hassidic song of praise )
Od Yishoma
Artza Alinu
Bashana Haba'ah

Other Repertoire

Sacred Duo
Be Thou My Vision
For the Beauty of the Earth
Be Still My Soul by Sibelius
Amazing Grace
Like A River Glorious
The Church is One Foundation
The Lord's Prayer
Slane/Be Thou My Vision (an old folk melody)
The Water is Wide/When I Survey The Wondrous Cross (an English folk song)
Savior Like a Shepherd Lead Us
Blessed Assurance Knapp

Classical Duo

Meditation from Thais by Massenet
Time to Say Goodbye by Quarantotto, Peterson, Saratori
Traumerei by Schumann
Prayer by Foster and Bayer
Hymne by Vangelis

Hornpipe by Purcell 

How Beautiful by Twila Paris 

Largo: Winter, Opus 8, No.4 by Vilvaldi

Sheep May Safely Graze by J.S. Bach
Air (on the G String) by J.S. Bach
The Swan by Saint Saens


Celtic Duo 
Traditional Irish:
Danny Boy
Star of the County Down
Rights of man
Carrickfergus
The Butterfly
Tripping Up the Stairs
Larry O'Gaff
Garret Barry's Jig
Ships are Sailing
Wind that Shakes the Barley

Traditional Scottish:
Ye Banks and Braes
Flow Gently, Sweet Afton
John Anderson, My Jo
Mingulay Boat Song
Mairi's Wedding
Lochaber No More
Flower of Edinburgh
Glenlivet
Willafjord


Sacred Harp Solo
Be Still My Soul by Sibelius
Amazing Grace
The Lord's Prayer
Slane/Be Thou My Vision (an old folk melody)
The Water is Wide/When I Survey The Wondrous Cross (an English folk song)
Savior Like a Shepherd Lead Us
Blessed Assurance Knapp
The Old Rugged Cross by Bennard
It is Well with My Soul by Bliss
Come, Thou Fount of Every Blessing
What a Friend We Have in Jesus




Classical Harp Solo ( opera, classical, baroque, romatic, modern )

Hornpipe by Purcell

Sheep May Safely Graze by J.S. Bach

Air (on the G String) by J.S. Bach
Ode to Joy by Beethoven
Rondeau ( Theme from Masterpiece Theater) by Mouret
Rigaudon by Daquin
Sinfonia from the Oratorio " Soloman" by G.F. Handel
Gymnopedie No. 1 by Satie
Sheep May Safely Graze by J.S. Bach
Arioso by J.S. Bach
Aria ( Based on " Lascia ch'io pianga, from Rinaldo ) by G.F. Handel
Largo ( from the "New World Symphony" ) by Dvorak
Theme and Variations by J. Haydn
Concerto in B flat Op.4, No.6, HWV 294 by Handel
Sonata in C minor by Pescetti
The Harmonious Blacksmith by Handel
Sonata in G Major by C.P. E. Bach
Theme and Variation by G.F. Handel

God, the Giver of Good Gifts and Talents: Thoughts by A.W. Tozer

Pride, arrogance, assumption, self righteousness and ungratefulness are all things most musicians battle with. As a musician, it is easy to take for granted the gift or talent we may posses. We can quickly slip into being prideful of our abilities, and forget to give credit to whom it is due; God Almighty.

-Hannah

"Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created."

- Revelation 4:11 

Thoughts from The Pursuit of God by: A.W. Tozer


"Our gifts and talents should be turned over to Him. They should be recognized for what they are, God's loan to us, and should never be considered in any sense our own. We have no more right to claim credit for special abilities than for blue eyes and and strong muscles."


" It is my own belief that every good and beautiful thing which man has produced in the world has been the result of his faulty and sin-blocked response to the creative Voice sounding over the earth. The moral philosophers who dreamed their high dreams of virtue, the religious thinkers who speculated about God and immortality, the poets and artists who created out of common stuff pure and lasting beauty: how can we explain them? It is not enough to say simply, ' It was genius.'
What then is genius? Could it be that a genius is a man haunted by the speaking Voice, laboring and striving like one possessed to achieve ends which he only vaguely understands? That the great man may have missed God in his labors, that he may even have spoken or written against God does not destroy the idea I am advancing. God's redemptive revelation in Scripture is necessary to saving faith and peace with God. Faith in a risen Savior is necessary if the vague stirrings toward immortality are to bring us to restful and satisfying communion with God. To me this is a plausible explanation of all that is best out of Christ. But you can be a good Christian and not accept my thesis."

James 1:17

"Every good gift and every perfect gift is from above, and cometh down from the Father of lights, with whom is no variableness, neither shadow of turning."

A Book Review: Robert Schumann and Mascot Ziff

Robert Schumann and Mascot Ziff

Written: by Opal Wheeler

Illustrated by: Christine Price

Reviewed by: Hannah DeLadurantey

Overview:

Summery of the life and works of the renowned composer, Robert Schumann, and his cat (Mascot Ziff).

Concerning Content:

In Chapter 1

• There is mention of Schumann telling Ghost Stories. I don't believe this was necessary to move the story along, and Ghost Stories are unbiblical. 

In Chapter 3

• Schumann is starving for music and good instruments after he has entered the law, so he enters a music shop and lies to the clerk, telling him that he is there to try out pianos for the Lord of Branburg. But in reality, he's there to play on the pianos to appease his own musical desires. I would not have minded this story if the authoress had explained the wrongness of Schumann's deceitfulness, but instead she said Schumann “laughed at his own musical joke”.

It is never right to wink at sin. God does not wink at our sin and neither should we. For when we disobey God's laws, we threaten the state of where our very souls will spend eternity; Heaven or Hell.

Thou shalt not bear false witness against thy neighbor- Exodus 20:16

For all have sinned and fallen short of the glory of God- Romans 3:23

Jesus saith unto him, I am the way, the truth, and life: no one cometh to the Father, but by me. - John 14:6

Chapter 4

• “My good fortune!” is exclaimed by Robert because he now has his mothers very longed for blessing and permission to study music instead of the law.                                                                         The Bible clearly tells us that there is no such thing as “good fortune”  All things come from the hand of God.

But he said unto her, Thou speakest as one of the foolish women speaketh. What? shall we receive good at the hand of God, and shall we not receive evil? In all this did not Job sin with his lips. -Job 2:10

Chapter 5

• Fairies are said to have blest Robert and Clara Schumann's new baby girl; Marie. Fairies, like Ghost Stories are only fictitious inventions. It is God who creates and sustains life. Not fairies.

I was cast upon thee from the womb: thou [art] my God from my mother's belly. -Psalm 22:10

Thus saith the LORD that made thee, and formed thee from the womb, [which] will help thee; Fear not, O Jacob, my servant; and thou, Jesurun, whom I have chosen. -Isaiah 44:2

• “Good luck has come to us all” 

Again, fortune and luck do not exist, they are “fill in” words created by man, to take away from who really brings good things to us; God, the maker of heaven and earth.

Providence would have been a better word, so I think I'll cross the luck and fortune words out of this book and write in Providence.

Praiseworthy Content:

Chapter 1

• Robert is disrespectful to an elder, and clubs him on his back with a stick. But, it doesn't end there! Robert's father, August, sees this incident, and Robert is duly punished for the unkind act

Chapter 5

• Throughout this whole storybook of Robert Schumann's life, you read of the tension between Mother and Father Schumann's desires for Robert. Father Schumann encouraged his son in music, but Mother Schumann didn't. So, after Father Schumann dies, Mother Schumann requests, with great urgency, that Robert give up music and turn to the law. Robert in response to his mothers request, is shown to have not agreed with his mother's wishes, but willingly puts himself under them and obeys. Later in the story, Robert petitions his mother to allow him to study music once again, and is granted it.

Honor thy Father and Mother which is the first commandment with promise. -Ephesians 6:2

Chapter 4

•  Robert's honorableness is asking Mr. Weik permission to marry Clara Weik. 

Chapter 5

• Robert Schumann was a very thoughtful man, and multi-generational in his vision. He composed in a very forward thinking and persistent way, all manner of compositions for his collection of; Children's Pieces that were written for his own dear children.

Concluding Thoughts:
Scattered throughout the whole book, Opal Wheeler weaved in various other composers names and concerts that Schumann gave. It was intriguing to see who crossed paths with Schumann, who influenced him and who he influenced.

The beginning mentions Napoleon Bonaparte and a few other political things that would have been going on during Schumann's life. I liked that you got a little bit bigger of a picture of what was going on during that time period and who else was composing music as well.
Like the other book Wheeler wrote on Bach, this book contains lots of abridged compositions that little ones can use to tinker around on the piano. 

In the end, Robert Schumann and Mascot Ziff will still find itself on Hannah's bookshelf, give or take a few changes to its typeset:)