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"He is like a man in a dream who has discovered a treasure. He has come upon a forest untrod by human beings for hundreds of years…. In a trance, he makes figures. The numbers of the trees. Their size. Three to four million board feet for every forty acres, he whispers to himself. Centuries of growth. Centuries of rainfall. The very moisture of the air is golden…. By autumn, trees falling, moving upstream." (Woman and Nature)There has been some shift in outlook. Today we are more likely to consider creatures that might be endangered, and the value of forests for recreation and even as a carbon sink to sequester greenhouse gases. Few of us would assign the forest existential rights. Thomas Berry is one of those few.
"So too every being has rights to be recognized and revered. Trees have tree rights, insects have insect rights, rivers have river rights, mountains have mountain rights. So too with the entire range of beings throughout the universe." (The Great Work)Taking the concept a step further, James Lovelock considers the Earth itself as a living organism.
"From a Gaian viewpoint, all attempts to rationalize a subjugated biosphere with man in charge are as doomed to failure as the similar concept of benevolent colonialism." (Gaia: A New Look at Life on Earth)Our "Images of Earth" practice (SEE HERE) considered the idea of Earth as Self, rather than Other. This is true in the most literal sense possible. The recognition of it resides deep in our collective psyche, though thousands of years of Western culture teaches us otherwise.
The celebration of light finds wondrous expression in this morning's musical selections. December 5 marks the 230th anniversary of Mozart's passing, a composer whose music and miraculously prodigious accomplishments once earned him the sobriquet "Wunderkind". Elsewhere, Hanukkah, the Jewish holiday of light, is commemorated in the Choir's poignant performance of "Inscription of Hope", based on lines scrawled on a cellar wall attributed to Holocaust victims. The Hanukkah story, recorded in the Aprocryphal Book of the Maccabees, centers questions of resistance to forced Jewish assimilation to a dominant culture, for millennia a major theme of a marginalized people. The composers Felix Mendelssohn, Darius Milhaud, and Paul Schoenfield each lived out this challenge in unique ways. Although Mendelssohn's grandfather (Moses Mendelssohn) had been a leading Jewish scholar of the 18th century, by the time of Felix's birth, the family had converted to the prevailing Lutheranism of early 19th-century Germany. The French-born Darius Milhaud rejoiced in cultural plurality in his work, with a special fondness for the popular music of Brazil, where he lived during part of W.W. I. Only the American Paul Schoenfield (b. 1947), who lived on a Kibbutz in Israel for several years, embraces his Jewish heritages unequivocally in his Six Improvisations on Hassidic Melodies. Read on for programming details, and stay tuned for spoken introductions.
Gathering Music: Adam Kent, piano
Fantasy in D Minor, K. 397
Wolfgang Amadeus Mozart
Song without Words in E Major, Op. 19, No. 1
Felix Mendelssohn
Opening Music: CUUC Choir directed by Lisa N. Meyer and accompanied by Georgianna Pappas
"Inscription of Hope"
Z. Randall Stroope
Offertory:
Rondo in D Major, K. 485
Mozart
Musical Meditation:
"Nigun" from Six Improvisations on Hassidic Melodies
Paul Schoenfield
Interlude:
"Corcovado" from Saudades do Brazil
Darius Milhaud
Postlude:
"Kozatske" from Six Improvisations on Hassidic Melodies
Schoenfield