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Tess Remy-Schumacher | Music for Peace III

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Music for Peace III

by Tess Remy-Schumacher

Chamber Music and Original Compositions for Cello, Voice, Piano Trio, Cello Ensemble and Baroque Cello, including Ryan Malone's arrangement of Richard Strauss' Four Last Songs for Soprano and Piano Trio
Genre: Classical: Classical era
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  Song Share Time Download
1. Vier Letzte Lieder: I. Frühling (Arranged by Ryan Malone for Voice, Piano, Violin and Cello)
Ryan Malone, Paula Malone, Hong Zhu & Tess Remy-Schumacher
3:35 $0.99
2. Vier Letzte Lieder: II: September (Arranged by Ryan Malone for Voice, Piano, Violin and Cello)
Ryan Malone, Paula Malone, Hong Zhu & Tess Remy-Schumacher
4:36 $0.99
3. Vier Letzte Lieder: III. Beim Schlafengehen (Arranged by Ryan Malone for Voice, Piano, Violin and Cello)
Ryan Malone, Paula Malone, Hong Zhu & Tess Remy-Schumacher
5:20 $0.99
4. Vier Letzte Lieder: IV. Im Abendrot (Arranged by Ryan Malone for Voice, Piano, Violin and Cello)
Ryan Malone, Paula Malone, Hong Zhu & Tess Remy-Schumacher
7:43 $0.99
5. Sacred Suite: Prelude, Arranged by Samuel Magrill for Voice and Cello)
Paula Malone & Seth Malone
2:30 $0.99
6. O Del Mio Amato Ben, (Arranged by Ryan Malone for Voice, Cello and Piano)
Ryan Malone, Paula Malone & Tess Remy-Schumacher
4:20 $0.99
7. Peace Can Come for a Moment but Not Much More
Pamela Washington & UCO Cello Ensemble
3:46 $0.99
8. Flaw
Theodora Morris & UCO Cello Ensemble
4:13 $0.99
9. As We Strive to Resolve the Conflict in Our Core
UCO Cello Ensemble
2:40 $0.99
10. Apollo
Tess Remy-Schumacher & Ali Baker Fackler
8:09 $0.99
Downloads are available as MP3-320 files.


Album Notes

Music for Peace III
Strauss/Malone, Bach/Magrill, Donaudy/Malone, Prather, Jenner
Tess Remy-Schumacher, Cello
Paula Malone, Soprano
Ryan Malone, Piano
Hong Zhu, Violin
Theodora Morris, Recorder
Pamela Washington, Poet and Recitator
Ali Baker Fackler, Electronic Organ
Seth Malone, Baroque Cello
UCO Cello Ensemble:
Theerit Kanyarong, Yali Xie, Wenting Liu, Samuel Powell

Richard Strauss (1864-1949) Four Last Songs, op. posth., arranged by Ryan Malone
1 Frühling
2 September
3 Beim Schlafengehen
4 Im Abendrot

5 Johann Sebastian Bach (1685-1750)
/Samuel Magrill (*1952) Sacred Suite (2001): Prelude for Soprano and Baroque Cello

6 Stephano Donaudy (1879-1925) O Del Mio Amati Ben, arranged by Ryan Malone

Chris Prather (*1995) A Flaw In Our DNA (2017)
Pamela Washington, Poet and Recitation

7 Peace can come for a moment, but not much more.
8 Flaw
9 As we strive to resolve the conflict in our core.

10 Brian Jenner (*1970) Apollo for Cello and Electronic Organ (2016)

All rights reserved
Copyright Remy-Schumacher
XOLO 1051
LC 10679

Recording sessions:
Tracks 1-6 Radke Fine Arts Theater, Kenneth Sarkey, Cornerstone Recording Company, Recording Engineer and Producer.
Tracks 7-10 Radke Fine Arts Theater, Kerry Folsom, Recording Engineer and Producer.
Cover Drawing: Raven Cornman
Booklet Design and CD Production: Spectrum Oklahoma City
Thank you:
David and “Ma’chen”
UCO Office for Research and Grants: Dr. Gregory Wilson, Rachel Waldrop and Zac Dumas


Dr. Tess Remy-Schumacher was born in Cologne, Germany, and has studied with Boris Pergamenschikow, Maria Kliegel, Siegfried Palm, Jacqueline du Pre and William Pleeth. As a Fulbright Scholar, she studied with Lynn Harrell in his Piatigorsky class at the University of Southern California and was awarded her MM. As "most outstanding graduate of the year for performance, academic excellence and leadership," she received her DMA under the supervision of Eleonore Schoenfeld.
Dr. Remy-Schumacher has won first prizes in Germany's Jugend musiziert, New York's International Artist Competition (string division) and Rome's Carlo-Zecchi Competition with pianist Dr. Michael Staudt. She has been a concert soloist for many years performing in Asia, Australia, Europe and the U.S., including the Wigmore Hall in London, Jubilee Hall in Singapore and the Carnegie Recital Hall in New York and Bradley Hall in Chicago. In The New York Concert Review, Edith Eisler wrote about her most recent Carnegie Recital Hall performance, “Remy-Schumacher’s technique is disciplined… Her bow control and mastery of the fingerboard are complete; her intonation is excellent.” Dr. Remy also performed at the Brisbane Biennial Festival, the Australian Festival of Chamber Music and the Contempofest (Australia), the Weatherfield Music Festival (U.S.) and the Internationaler Klaviersommer (Germany).
She has recorded for WDR, NDR and MDR (Germany), WNYC New York, K-USC Los Angeles, ABC National, Australia, MBS-FM Melbourne, Australia and Swiss and Italian television. Her CDs include her own transcriptions of Robert Schumann's "Dichterliebe" with Marcus Reissenweber and Christoph von Sicherer, works by "In Sun Cho" for the Contemporary Music Society in Seoul, Korea, Villa Lobos with guitarist Stefan Grasse, the "Ibert Cello Concerto" recorded in 1999 at Radio Hilversum combined with solo cello works by Henze, Lutoslawki, Stahlke, Magrill, and the Rachmaninov Sonata in g-minor with pianist Michael Staudt. She has released 2 CDs of Cello Compositions by Sam Magrill and "Trios" by Brahms, Tchaikovsky, Beethoven and Michael Daugherty, as well as the first volume of the "Suites for Cello Solo" by Johann Sebastian Bach. Recent CD projects have included Beethoven Sonatas with Ben Davis, and David Maslanka’s “Remember Me” and Carter Pann’s “High Songs” for Cello and Wind Ensemble with conductor Dr. Brian Lamb and the UCO Wind Symphony.
Following her appointment at James Cook University from 1992-1998, she is now a professor for cello, chamber music and historical performance practice at UCO. She is the co-founder of the UCO Outreach Music program together with Dr. Chindarat Charoenwongse. She was a Visiting Fellow Performance at Harvard University 2010-2011. For the academic year 2011-2012 she was appointed Visiting Scholar at Harvard University. She also reviews for the national ASTA magazine.
She is cofounder with Dr. Ted Honea, and General Program Coordinator of the Brisch Center for Historical Performance Practice at UCO.
For more information, visit: www.tessremy.com

Paula Malone graduated from the University of Missouri-Columbia Cum Laude with a Bachelor of Music, studying with Ann Harrell. She has performed such operatic roles as the Queen of the Night in Mozart’s The Magic Flute, Gretel in Humperdinck’s Hansel and Gretel, the title role in Donizetti’s Lucia di Lamermoor, Christine in Yeston’s Phantom and Sophie from Richard Strauss’s Der Rosenkavalier. Her first love, however, is oratorio literature in which she has performed as soloist in Brahms’ A German Requiem, Mendelssohn’s Elijah, Haydn’s Creation and Rutter’s Requiem. In 2006, she appeared in recital with Sara Sant’Ambrogio, cellist from the Eroica Trio. In 2011, she premiered an arrangement of Richard Strauss’s Vier Letzte Lieder with the Eroica Trio. Mrs. Malone has taught at the University of Central Oklahoma and has been on the voice faculty of Herbert W. Armstrong College since its opening in fall 2001. She has also appeared extensively on inspirational Christian albums produced by the Philadelphia Church of God since 1996—appearing on 11 albums and recording in a variety of styles including oratorio, Christian contemporary and folk ballads.

Ryan Malone, pianist, is music director for Herbert W. Armstrong College (a four-year liberal arts college) and Imperial Academy (a private K-12 institution), both sponsored by the Philadelphia Church of God in Edmond, Oklahoma. There he teaches piano and directs the choral and orchestral activities of both schools. Toward the end of his four years at the University of Missouri-Columbia, the Missouri native was honored as one of seven national finalists in the 1998 collegiate piano competition for the Music Teachers National Association. He also placed third in the Hellam-Kerber Midwest Young Artists’ Competition in 1998 and received an honorable mention in the 1999 Wideman International Piano Competition. In addition to performing frequently as a soloist, accompanist and chamber musician, Malone is also an active composer. For the Philadelphia Church of God, he has composed over 30 original works and arrangements for the church’s nine inspirational vocal/choral albums, plus four full-length musical theater productions and two oratorios.

Dr. Zhu Hong, is a tenured full professor of violin and chamber music, string division head, and the conductor of the chamber orchestra at the University Central Oklahoma, member of the Brisch Center for Historic Performance, and member of the Oklahoma City Philharmonic.
He won the Yehudi Menuhin Award at The Second England International String Quartet Competition in 1982. In the same year, he graduated from the Central Conservatory of Music in Beijing China with a Bachelor's degree, and subsequently he was offered the assistant professor position by his alma mater, the Central Conservatory of Music. During his tenure at the Central Conservatory of Music he received a full grant to go to Australia to study at the Sydney Conservatorium of Music and to perform around the country, including the famous Sydney Opera House.
After returning back to the Central Conservatory of Music from Australia, he was promoted to lecturer, (a position between assistant professor and associate professor in China). In 1987, he received a full scholarship to study with Dr. Walter Verdehr at Michigan State University, where he earned both of his Master’s and Doctoral degrees in music performance.
Dr. Zhu has been invited to perform concertos as the soloist with the Bangkok National Symphony Orchestra in Thailand, the Chihuahua Philharmonic Orchestra in Mexico, the Marquette Symphony Orchestra in Michigan, the Oklahoma City Community Orchestra, the Oklahoma Youth Symphony Orchestra and the Oklahoma Youth Orchestra. He has also served as the concertmaster at the Midland Symphony Orchestra in Michigan, the Owensboro Symphony Orchestra in Kentucky, the Colorado Music Festival Orchestra, and the Pueblo Symphony Orchestra in Colorado.
As an experienced violin teacher, Professor Zhu has taught master classes in the United States and several countries in Asia. He has also taken his students to perform around the world. Many of his students have won awards in various of music competitions in state and international levels.

Theodora Morris is an adjunct instructor of violin, recorder and Chamber Music at The University of Central Oklahoma (UCO) and Rose State College. A native of Vienna, Austria, she completed her education at the Hochschule fur Musik in Vienna with diplomas in violin (1973) and recorder (1976), studying with Güenter Pichler, Edith Bertschinger, Rene Clemencic and Elisabet Schaftlein. She also studied historical performance practices with Eduard Melkus. In 1984, Ms. Morris moved to Arizona, studying violin with Eugene Lombardi and string pedagogy with William Magers at Arizona State University.
Ms. Morris taught strings and recorder in the Vienna public schools for ten years and performed regularly with the Capella Academica Wien, the Stadtmusik Wien, the orchestras of the Wiener Volksoper and Theater an der Wien and the Mozart Oper Salzburg.
Since moving to the United States in 1984, she has been a member of the Sun City Symphony (in AZ), the Lawton Philharmonic, the Enid Symphony and has served as concertmaster of the Oklahoma City Community Orchestra. She is a founding member and serves as concertmaster of the Edmond Chamber Orchestra.
As a member of the UCO Faculty String Quartet, she has performed chamber music throughout Oklahoma, the Southwest, China, Thailand and Germany. She has been a featured soloist with the Lawton Philharmonic Orchestra, the Oklahoma City Community Orchestra, the Jubilee Community Orchestra of Ashville, NC, the UCO Symphony, the UCO Chamber Orchestra and the Thai National Symphony in Bangkok, Thailand.
Ms. Morris is an active member of the UCO Center for Historical Performance and is a founding member of Trio Antiqua, a chamber music group founded in 2014 dedicated to the performance of early music on period instruments. She started the first university recorder studio in Oklahoma. During the summers, Ms. Morris serves on the faculty of the UCO String Chamber Music Camp.

Poet Note:
Pamela Washington is a native Oklahoman who received her Ph.D. from the University of Louisiana, Lafayette in 1993. She served as Dean of the College of Liberal Arts and Dean of the College of Fine Arts and Design at the University of Central Oklahoma and retired as Dean Emeritus in 2017.
Of “A Flaw in Our DNA“ Washington writes: “Current events such as the anti-hate rallies that seem to inevitably result in conflict and violence begs the questions, ‘can humans ever live in peace?’ Greek mythology provides the story of Pandora’s Box which seeks to explain why man must continually struggle. Genesis chapter two assures us that humankind must daily struggle because of the sin of Adam and Eve. Both stories indicate that we are cursed to never be peaceful. Is conflict, both internal and external, built somehow into our DNA? The structure of ‘A Flaw‘ is a villanelle—intensely structured and controlled. I used it as an ironic contrast to the examples of how our thoughts and actions are uncontrolled—not peaceful.”

From August through October, 2001, at the request of Dr. Tess Remy-Schumacher and Pamela Richman, I composed a contrapuntal vocal line to the J.S. Bach Suite #1 in G Major for Unaccompanied Cello, set the line to Hebrew liturgical texts, and called the composition Sacred Suite. My inspiration was Charles Gounod’s Ave Maria, in which Gounod added a vocal line to J.S. Bach’s C Major Prelude from The Well Tempered Clavier, Book I and set the melody to Latin text. Since J.S. Bach was a very spiritual and contrapuntal composer, I thought that religious texts set contrapuntal to his cello suite would be an appropriate statement of peace and harmony in the twenty-first century. The work also blends the sacred—Hebrew texts—with the secular—dance movements for cello. The work is in six movements. The first movement, performed here, is Prelude: Yih’yu.
Dr. Samuel Magrill is a professor of music and composer-in-residence at the University of Central Oklahoma where he has taught music theory and composition since 1988. He is currently Graduate Coordinator for Music. He obtained his Bachelor of Music degree in Composition from Oberlin Conservatory and his M.M. And D.M.A. In Composition from the University of Illinois, Champaign-Urbana.
Dr. Magrill has written more than one hundred compositions for a variety of instruments from solo piano and chamber music to choir, wind ensemble and symphony orchestra. His works have been performed throughout the United States, Central America, South America, Europe, Asia, Australia and at many regional and national conferences, such as SEAMUS, CMS, SCI, NASA AND NFA. He has received numerous awards and commissions, including ones from the National Endowment for the Arts, the American Music Center, ASCAP, the American Composer’s Forum’s Continental Harmony Program, brightmusic and faculty research grants and merit credit awards from the University of Central Oklahoma. His CDs include a two disc set of electro acoustic music, his four operas, collections of music for cello and other instruments and music for Wind Symphony.

Seth Malone, cellist, (at the time of this recording) is a senior in high school. He has served in the cello section of the Oklahoma Youth Orchestra for three years (serving as principal this year). Before that, he participating the Oklahoma Youth Orchestra ensembles, such as the Chamber Orchestra and the Oklahoma Youth Philharmonic, since age 11. In that time, he has also served as principal cellist for his school orchestra—Imperial Academy of Edmond. At Imperial his senior year, he was featured as soloist with the orchestra in an original concerto by his father, and at the end of the academic year, two substantial orchestral arrangements of his will be premiered by the school’s orchestra. He has studied cello under the tutelage of Dr. Meredith Blecha-Wells, Meryl Geib, and baroque cello with Dr. Tess Remy-Schumacher, and he has participated in a master class with Sara Sant’Ambrogio and Dr. Allen Whear.

Alexandra Baker Fackler, originally from Northwest Arkansas, graduated with a B. M. A. in Piano from the University of Oklahoma and a M. M in Collaborative Piano at the University of Central Oklahoma under the tutelage of Dr. Sallie Pollack. She is the accompanist for Canterbury Youth Voices Central Chorale and has been involved in the music direction of several productions at UCO. Her passion lies in accompanying and encouraging young musicians and hopes to work to make the arts more accessible to children and young adults in the future.

Theerit Kanyarong was born in Tak, Thailand. At age 15, Theerit moved to Chiang Mai where he started playing cello. He is also a member of Chiang Mai Philharmonic Orchestra. He has completed a Masters in Cello performance with Dr. Tess Remy-Schumacher at the University of Central Oklahoma and was selected as a Graduate Assistant and principal of the UCO Chamber Orchestra.
Yali Xie , born in China, has been the Assistant Cello Principal of the Pearl River Symphony Orchestra, China and adjunct Professor for “string ensemble” at the Southern China Normal University. Currently he is pursuing a Double Masters in Cello performance with Dr. Tess Remy-Schumacher and Conducting with Dr. Ralph Morris at the University of Central Oklahoma and was selected as a Graduate Assistant and principal of the UCO Chamber Orchestra.
Wenting Liu, born in China, graduated from the Wuhan Conservatory of Music. She has performed extensively. In Fall 2017, she is resuming a Masters of Music degree in Cello Performance at the University of Central Oklahoma with Dr. Tess Remy-Schumacher.
Samuel Powell is a double major in Actuary Science and Cello performance at the University of Central Oklahoma in the class of Dr. Tess Remy-Schumacher.

Brian Jenner is a native of Yukon, Oklahoma. Beginning piano at age seven, he continued with saxophone and bassoon through high school, maintaining a professional musical career on saxophone and in composition to the present day. For twenty one years, he served on active duty in both the Army and the Air Force as a saxophonist. He holds a bachelor of science degree in liberal arts and a master's of composition degree at the University of Central Oklahoma where he studied with Dr. Samuel Magrill. Many of his works have been performed with military bands and chamber recitals across the world.
The magnificence of the organ – its power and dominance – naturally inspires thoughts of vastness on a grand scale. God, space, nature, emotion... such ideas and realities create awe and wonder. The rich character of the cello – its mellowness and depth of character – engenders similar feelings, albeit with a quieter nature than the organ. The juxtaposition of the organ with the cello echoes the crossroads between a single voice and humanity as a whole. The Greek god Apollo comes to mind. This work is about him – his daily guiding of the Sun across the sky, his love of music, his ability to fire plague-filled arrows but then cure the disease inflicted. This work seeks to capture the power of the sun, the emotion of music, and the beauty and joy of life. (It should be noted that since there is not an organ in this auditorium, I chose to use the organ sound from a keyboard and use the contrabassoon in place of the pedals of the organ.)

Raven Cornman, a graduate of the University of Central Oklahoma, has maintained a great amount of passion for the arts, both visual and performing. Drawing was her first love and it began with creating dragons and unicorns at age five. At age nine, Raven was introduced to the viola as her mother saw the ability to play a musical instrument as both a privilege and an advantage. Raven was then enrolled at Harrison Academy, beginning with Festival Strings and finishing with the Oklahoma Youth Orchestra. The time between middle and high school was quite competitive as Raven would audition for multiple honor orchestras each year. Through these honor orchestras, she would meet various skilled instrumentalists, as well as other visual artists.
Despite her focus on school, music, and working a part time job, Raven would fulfill her passion for visual art by drawing and painting regularly towards the end of high school. During her years at UCO obtaining an undergrad degree, she traveled to Europe twice, once to Germany with the UCO Chamber Orchestra and a second time touring the continent with the Central European Music Appreciation group. The experience inspired Raven to continue practicing the arts and refining her craft.
A significant factor in Raven’s life is the fact that she has synesthesia – a condition in which an individual can see sounds or hear color. During her research, she was surprised to find out that not everyone has synesthesia, nor was synesthesia the same for each person. Before she was aware of the its term, Raven knew that she could see sounds, which influenced much of her experiences with painting. If wanting to see a landscape of green and gold, all that is needed is to listen to Gustav Mahler’s Adagietto and the senses are put and into an altered state of mind.

Composer and percussionist Chris Prather has graduated with his Bachelor of Music degree at the University of Central Oklahoma where he studied composition with Dr. Samuel Magrill. He was born 1995 in Lawton, Oklahoma, and eventually moved to Duncan, Oklahoma where he studied as a percussionist in the band program. Since high school, he has been been drawn to the field of music composition, and in his junior year of college, he decided to pursue that field as a career. The spring of 2017 was an auspicious season for Mr. Prather with the premiere of three of his recent works. Solitude (2016-7), written for the UCO Symphony Orchestra and conductor Jose Batty, was programmed by the director of the orchestra, Dr. Ralph Morris. Two Bicycles (2016-7) for string quartet, was selected to be premiered at the National Conference on Undergraduate Research (NCUR) which took place at the University of Memphis. 10 Years (2016-7), a chamber ensemble composition written for string quintet, drum set, two auxiliary percussionists, and two featured percussionists, incorporates classical, rock, and improvisatory elements, and was premiered on his senior percussion recital. “Memories from home” for Cello solo was commissioned, premiered and recorded by Dr. Tess Remy-Schumacher for XOLO Germany. Chris is also the recipient of the Theodore Presser Undergraduate Scholar Award and the Dean’s Recognition Award for the 2017-8 academic school year. He wants his music “to communicate emotion, and tell people’s stories.”

“A Flaw in Our DNA” is a three movement tone poem written for cello quartet with recorder featured in the second movement commissioned by Dr. Tess Remy-Schumacher and premiered by the UCO Cello Ensemble. The piece is inspired from Dr. Pamela Washington’s poem “A Flaw in Our DNA”.
After reading Dr. Washington’s poem I began thinking about the chaos in my life and the moments of peace in between. Moments of peace have the potential of being happy, but are not always that way. In life we have moments of peace amidst the chaos that are times for reflection and self evaluation, and that is what the poem represents for me. The poem is honest and sheds light on a truth about human nature, and I needed the music to complement the poem in that way. I wanted the music to mimic the core idea of the text, the back and forth between chaos and peace that is prominent in everyone’s lives. Dr. Washington describes her poem’s structure: “I used it [villanelle] as an ironic contrast to the examples of how our thoughts and actions are uncontrolled—not peaceful.” I wanted to continue her idea of irony created by structure by utilizing musical structure. The first and third movements of the piece match the structure of the first and last stanzas of the poem by having a section of music for each line of the stanzas, three sections for movement I, four sections for movement III. I used the
second movement as a chance to let the uncontrolled thoughts and actions show in the uncontrolled structure of that movement representing the inner four stanzas of the poem. One of the challenges I faced while composing this piece was incorporating a fugue as well as a movement that features recorder, and making the musical structure fit the poem. The fugue plays into the ironic contrast idea that Dr. Washington discussed. In the first movement, it is structured like a traditional fugue with its use of a subject, answer, and countersubject. In the second movement I utilize the fugue material again, only fragmented and disordered, creating a wash of sound and rhythm. I associate the recorder with youth. The recorder shows the progression of time and how the affect of our DNA flaws changes as we age and our struggles evolve. What I love the most about the poem is how it is universal. I hope that the music is able to effectively capture the moments of chaos and peace that the poem communicates.

Bow maker:
Luboš Oubrecht was born on 22nd October 1975 in Cheb. He graduated from the School for Violin-Makers in Luby in 1993 with honours, having undergone the practical part of his training - the making of bows - with his father. In 2001 Luboš Oubrecht became a member of the Circle of Artists in Violin-Making in the Association of Concert Artists and Scientists. He makes exclusively pernambuco octagonal or round bows, silver mounted with so-called new silver for all kinds of contemporary musical instruments as required by musicians. Apart from ebony, he makes frogs also of tortoise-shell, horn or snakewood. He takes advantage of the visits of outstanding artists to their family workshop for consultations and their experience with and knowledge of bows inform his further work. His bows are popular especially with young talented musicians for their meticulous execution and facility. They are in the possession of Pavel Šporcl, Ladislav Cigler, Lucie Hůlová, Martin Sedlák, Luboš Dudek, Jaroslav Kulhan of Panocha Quartette. His bows are used by musicians from the whole world for example Dr.Tess Remy-Schumacher, School of Music University of Central Oklahoma, Prof. Stephen B. Shipps from USA and other young players from Germany, Austria, Spain, Finland and Australia.

Goldfuss, Regensburg 2005


Vier Letzte Lieder (Four Last Songs) Richard Strauss

Frühling (Spring) Hermann Hesse
In dämmrigen Grüften
träumte ich lang
von deinen Bäumen und blauen Lüften,
von deinem Duft und Vogelsang.

Nun liegst du erschlossen
in Gleiß und Zier,
von Licht übergossen
wie ein Wunder vor mir.

Du [kennest]1 mich wieder,
du [lockest]2 mich zart,
es zittert durch all meine Glieder
deine selige Gegenwart!

September Hermann Hesse
Der Garten trauert,
kühl sinkt in die Blumen der Regen.
Der Sommer schauert
still seinem Ende entgegen.

Golden tropft Blatt um Blatt
nieder vom hohen Akazienbaum.
Sommer lächelt erstaunt und matt
in den sterbenden Gartentraum.

Lange noch bei den Rosen
bleibt er stehen, sehnt sich nach Ruh.
Langsam tut er die großen
müdgewordnen Augen zu.

Beim Schlafengehn (Going to Sleep) Hermann Hesse
Nun der Tag mich müd gemacht,
soll mein sehnliches Verlangen
freundlich die gestirnte Nacht
wie ein müdes Kind empfangen.

Hände, laßt von allem Tun,
Stirn, vergiß du alles Denken,
alle meine Sinne nun
wollen sich in Schlummer senken.

Und die Seele unbewacht
will in freien Flügen schweben,
um im Zauberkreis der Nacht
tief und tausendfach zu leben.

Im Abendroth Joseph von Eichendorff
Wir sind durch Not und Freude
gegangen Hand in Hand;
vom Wandern ruhen wir
nun überm stillen Land.

Rings sich die Täler neigen,
es dunkelt schon die Luft.
Zwei Lerchen nur noch steigen
nachträumend in den Duft.

Tritt her und lass sie schwirren,
bald ist es Schlafenszeit.
Dass wir uns nicht verirren
in dieser Einsamkeit.

O weiter, stiller Friede!
So tief im Abendrot.
Wie sind wir wandermüde--
Ist dies etwa der Tod?

Stephano Donaudy O del mio amato ben
O del mio amato ben perduto incanto!
Lungi è dagli occhi miei
chi m’era gloria e vanto!
Or per le mute stanze
sempre la cerco e chiamo
con pieno il cor di speranze,
Ma cerco invan, chiamo invan!
E il pianger m’è si caro,
che di pianto sol nutro il cor.

Mi sembra, senza lui, triste ogni loco.
Notte mi sembra il giorno,
mi sembra gelo il foco.
Se pur tal volta spero
di darmi ad altra cura,
sol mi tormenta un pensiero:
Ma, senza lui, che farò?
Mi par cosi la vita vana cosa
senza il mio ben.

J.S. Bach/Sam Magrill Prelude: Yih’yu Hebrew Prayer

Yih’yu l’ratzon imrei fi v’heg’yon libi l’fanecha, Adonai, tsuri v’goali.

Oseh shalom bim’romav, hu yaaseh shalom aleinu v’al kol Yisrael, v’im’ru amein.

Pamela Washington, August, 2017
A Flaw in Our DNA

Peace can come for a moment, but not much more.
A minute of rest can come as a surprise
As we strive to resolve the conflict in our core.

Childhood’s play battles with pirates, knights, and gore
Become teen savageries with minds brutalized.
Peace can come for a moment, but not much more.

Adult angst brings lost love and jobs we abhor,
But we work; we love; we reach for prize after prize
As we strive to resolve the conflict in our core.

We fight age, and death until we’re sore.
Our minds remain in distress; we agonize.
Peace can come for a moment, but not much more.

A still body, a quiet mind is a chore.
We make an effort—fail—and self-criticize
As we strive to resolve the conflict in our core.

Until we are known for making peace not war,
And our turmoil is not externalized,
Peace can come for a moment, but not much more
As we strive to resolve the conflict in our core.

Vier Letzte Lieder (Four Last Songs) Richard Strauss

Frühling (Spring) Hermann Hesse
In dusky vaults
I have long dreamt
of your trees and blue skies,
of your scents and the songs of birds.

Now you lie revealed
in glistening splendor,
flushed with light,
like a wonder before me.

You know me again,
you beckon tenderly to me;
all of my limbs quiver
from your blissful presence!

September Hermann Hesse
The garden is mourning,
the rain sinks coolly into the flowers.
Summer shudders
as it meets its end.

Leaf upon leaf drops golden
down from the lofty acacia.
Summer smiles, astonished and weak,
in the dying garden dream.

For a while still by the roses
it remains standing, yearning for peace.
Slowly it closes its large
eyes grown weary

Beim Schlafengehn (Going to Sleep) Hermann Hesse
Now that the day has made me so tired,
my dearest longings shall
be accepted kindly by the starry night
like a weary child.

Hands, cease your activity,
head, forget all of your thoughts;
all my senses now
will sink into slumber.

And the spirit, unobserved,
will on free wings float,
in the enchanted circle of the night,
deeply, and a thousand fold to live.

Im Abendroth Joseph von Eichendorff
We have gone through sorrow and joy,
walked hand in hand;
from wandering, rest we now above,
In this peaceful land.
Around us, the valleys bow
as a dark, pretty sky.
Two larks still rise
dreamily into the scented air.

Come here, and let them fly,
soon it will be time for sleep -
so that we are not lost
in this solitude.
O vast, peaceful, silence!
So deep in the sunset!
We, weary of wandering--
Is this perhaps death?

Stephano Donaudy O del mio amato ben
Oh my well beloved, lost in song!
Far and from my eyes (is he)
who was the glory and pride!
Now through silent rooms
always I try and call
with my heart full of hope,
but I try in vain, I call in vain!
And the weeping to me is dear,
that with weeping alone I nourish my heart.

It seems to me, without him, it’s sad everywhere.
Night seems like day,
I think frost fire.
Although sometimes I hope
to give myself another cure,
alone I’m tormented by one thought:
But, without him, what shall I do?
It seems so that life is a vain thing
without my love.

J.S. Bach/Sam Magrill Prelude: Yih’yu Hebrew Prayer

May the words of my mouth and the meditations of my heart be acceptable to you,
O Lord, my Rock and my Redeemer.
May the one who causes peace to reign in the high heavens let peace descend on us,
on all Israel, and all the world.



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