YouTube Video: Classical Music and Bizet

Dinner Topics for Friday

L’Arlesienne

Pearl Fishers Duet

From Wikipedia

bizetGeorges Bizet (25 October 1838 – 3 June 1875), formally Alexandre César Léopold Bizet, was a French composer, mainly of operas. In a career cut short by his early death, he achieved few successes before his final work, Carmen, became one of the most popular and frequently performed works in the entire opera repertory.

During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of the two operas that reached the stage—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful.

After the Franco-Prussian War of 1870–71, during which Bizet served in the National Guard, he had little success with his one-act opera Djamileh, though an orchestral suite derived from his incidental music to Alphonse Daudet‘s play L’Arlésienne was instantly popular. The production of Bizet’s final opera Carmen was delayed through fears that its themes of betrayal and murder would offend audiences. After its premiere on 3 March 1875, Bizet was convinced that the work was a failure; he died of a heart attack three months later, unaware that it would prove a spectacular and enduring success.

Bizet’s marriage to Geneviève Halévy was intermittently happy and produced one son. After his death, his work, apart from Carmen, was generally neglected. Manuscripts were given away or lost, and published versions of his works were frequently revised and adapted by other hands. He founded no school and had no obvious disciples or successors. After years of neglect, his works began to be performed more frequently in the 20th century. Later commentators have acclaimed him as a composer of brilliance and originality whose premature death was a significant loss to French musical theatre.

Read more about Bizet  from Wikipedia

 

 

Advertisements

YouTube Music: Classical Music and Franz Liszt

Dinner Topics for Friday

Listen to Hungarian Rhapsody by Franz Liszt

Franz_Liszt_1858Franz Liszt, T.O.S.F. Hungarian: Liszt Ferencz; October 22, 1811 – July 31, 1886), in modern use Liszt Ferenc[n 1] from 1859 to 1867 officially Franz Ritter von Liszt,[n 2] was a 19th-century Hungarian[1][2][3] composer, virtuoso pianist, conductor, teacher and Franciscan tertiary.

Liszt gained renown in Europe during the early nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered by some to be perhaps the greatest pianist of all time. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.[4]

As a composer, Liszt was one of the most prominent representatives of the “Neudeutsche Schule” (“New German School”). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.[5] He also played an important role in popularizing a wide array of music by transcribing it for piano.

Paganini

After attending an April 20, 1832, charity concert, for the victims of a Parisian cholera epidemic, by Niccolò Paganini,[14] Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Paris in the 1830s had become the nexus for pianistic activities, with dozens of pianists dedicated to perfection at the keyboard. Some, such as Sigismond Thalberg and Alexander Dreyschock, focused on specific aspects of technique (e.g. the “three-hand effect” and octaves, respectively). While it was called the “flying trapeze” school of piano playing, this generation also solved some of the most intractable problems of piano technique, raising the general level of performance to previously unimagined heights. Liszt’s strength and ability to stand out in this company was in mastering all the aspects of piano technique cultivated singly and assiduously by his rivals.[15]

In 1833 he made transcriptions of several works by Berlioz, including the Symphonie fantastique. His chief motive in doing so, especially with the Symphonie, was to help the poverty-stricken Berlioz, whose symphony remained unknown and unpublished. Liszt bore the expense of publishing the transcription himself and played it many times to help popularise the original score.[16] He was also forming a friendship with a third composer who influenced him, Frédéric Chopin; under his influence Liszt’s poetic and romantic side began to develop.[11]

Liszt in Weimar

In February 1847, Liszt played in Kiev. There he met the Princess Carolyne zu Sayn-Wittgenstein, who was to become one of the most significant people in the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a travelling virtuoso. After a tour of the Balkans, Turkey and Russia that summer, Liszt gave his final concert for pay at Elisavetgrad in September. He spent the winter with the princess at her estate in Woronince.[22] By retiring from the concert platform at 35, while still at the height of his powers, Liszt succeeded in keeping the legend of his playing untarnished.[23]

The following year, Liszt took up a long-standing invitation of Grand Duchess Maria Pavlovna of Russia to settle at Weimar, where he had been appointed Kapellmeister Extraordinaire in 1842, remaining there until 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre. He gave lessons to a number of pianists, including the great virtuoso Hans von Bülow, who married Liszt’s daughter Cosima in 1857 (years later, she would marry Richard Wagner). He also wrote articles championing Berlioz and Wagner. Finally, Liszt had ample time to compose and during the next 12 years revised or produced those orchestral and choral pieces upon which his reputation as a composer mainly rested. His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin in 1850.

Princess Carolyne lived with Liszt during his years in Weimar. She eventually wished to marry Liszt, but since she had been previously married and her husband, Russian military officer Prince Nikolaus zu Sayn-Wittgenstein-Ludwigsburg (1812–1864), was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. After huge efforts and a monstrously intricate process, she was temporarily successful (September 1860). It was planned that the couple would marry in Rome, on October 22, 1861, Liszt’s 50th birthday. Liszt having arrived in Rome on October 21, 1861, the Princess nevertheless declined, by the late evening, to marry him. It appears that both her husband and the Tsar of Russia had managed to quash permission for the marriage at the Vatican. The Russian government also impounded her several estates in the Polish Ukraine, which made her later marriage to anybody unfeasible.[24]

Read more about Franz Liszt

 

 

History Heroes: Columbus and the Israel Connection

Dinner Topics for Columbus Day

Christopher Columbus—the History Hero who revived Judeo-Christian heritage in America

History Facts

Columbus and the Connection to house of Israel

keyLittle known is the fact that Columbus may have been a convert from Judaism to Christianity, and that he sought to gather the lost tribes of Israel to the fold of Jesus Christ.

Columbus Day, October 12, has been observed as an official U.S. holiday since 1934. The year 1992, marked the five-hundredth anniversary of Columbus’s first landfall in the New World.

columbus5Since then, many of the epic stories that make up our great American history have been purged from the schools. The rising generation is growing to adulthood with little or no knowledge of their rich heritage of liberty and their Judeo-Christian roots. October 12, if observed, no longer has much to do with the far-reaching significance of Columbus’ discovery. Like the birthdays of Washington and Lincoln, Columbus Day is being overshadowed these days by the new state religion: Islam.

Even those who did study some basic history during the 20th century, however, did not have the opportunity to know the epic hero who was Christopher Columbus. Little known is the fact that Columbus may have been a convert from Judaism to Christianity, and that he sought to gather the lost tribes of Israel to the fold of Jesus Christ. Following are excerpts from an article by Shirley Heater which documents inspiring facts about this nearly-forgotten hero. Truly this is a story to save in your personal “Treasury of Epic Stories”, to pass on to your children and grandchildren.

Christopher Columbus: Man of Vision and Faith

by Shirley R. Heater

Was the discovery made by accident, or was Columbus led by God? The Book of Mormon says he was led by the Holy Spirit, and now we have confirmation of this in Columbus’s own words, as well as additional new insights. An authentic Columbus manuscript has gone virtually unexamined until recent years. In Columbus’s Book of Prophecies, translated into English in 1991, he provides his own answers about Divine influence in his accomplishments.
Christopher Columbus, as he is known to English speakers, was born Christopher Colombo in the seaport of Genoa, Italy, in 1451.
His sailing career began when he was about 13 or 14 years old. He became a skilled seaman and navigator on merchant ships which traveled the Mediterranean Sea. In 1476, he joined his brother Bartholomew in the Portugal city of Lisbon, where they worked together on map-making. His Portuguese name was Cristovao Colom.

During his eight years in Lisbon, Columbus expanded his sailing experience into the Atlantic Ocean. He married, became the father of a son, Diego, and shortly thereafter was widowed. It was also during this period that his “vision” of sailing to new lands and saving lost souls germinated. He sought backing for his proposed venture from King John II of Portugal who turned him down.

columbusreachesamerica2Undaunted, he went to the port city of Palos de la Frontera in Spain, taking his young son with him. They were befriended by the friars of the monastery at La Rabida and then at Las Cuevas in Seville, who embraced and encouraged his ideas. His name took on the Spanish form, Cristobal Colon.

The magnitude of his intended enterprise soon opened the doors to Queen Isabella and King Ferdinand. Their interest did not wane even though other matters kept them from following through with their approval for seven years.

During that prolonged period, he made his home in Cordoba (Cordova) where he met a young woman who became the mother of his second son, Ferdinand. [Note: He is still known throughout the Spanish-speaking world as Cristobal Colon Christopher Columbus, the English form, comes to us by way of the early colonists. Whatever the version of his name–Cristoforo, Cristovao, Cristobal or Christopher–the meaning is the same: “Christ bearer” (Sale 1990: 254n)].

Isaiah and the Isles of the Sea
 
Columbus and Nephi [from the Book of Mormon] had special regard for Isaiah, the Old Testament prophet most often quoted or referred to in both Columbus’s Book of Prophecies and the Book of Mormon. More intriguing is the fact that Nephi and Columbus selected the same portions of Isaiah and that each saw himself fulfilling those prophecies.

The Book of Mormon identifies the seed of Lehi as a remnant, a branch broken off which will be restored to the knowledge of their covenant and their Redeemer (e.g., 1 Nephi 4:15-17). Nephi and his brother, Jacob, are the only Book of Mormon writers who crossed the ocean, and they uniquely view their promised land as an island. Nephi, who delighted in the words of Isaiah (2 Nephi 11:8), “likened” them to his people (2 Nephi 8:3) in their literal fulfillment.
When Columbus was led to the “isles of the sea,” the door was opened to the lands occupied by the remnant of the Book of Mormon people. This set events in motion for the eventual restoration of the knowledge of the covenants.

columbuslandingLost Tribes and Other Sheep

Through Columbus’s writings, it is obvious that he fully expected to find the lost tribes of Israel (Wiesenthal 1973:61). He saw himself as “Christ-bearer” (the meaning of his name Christopher), God’s messenger to bring a knowledge of the Savior to the lost tribes
Particularly noteworthy is Columbus’s inclusion of John 10:16 in his Book of Prophecies: “I have other sheep that are not of this sheep pen [fold], and I must bring them also; they will hear my voice, and there shall be one flock and one shepherd” (Brigham 1991:264-265). It is with great foresight that he believed that the “flock” would not just be “Israel after the flesh” but that a “spiritual Israel” would be formed of all who would come to Christ (208-209).

When Jesus visited Lehi’s descendants, he told them that they were the other sheep of which he had spoken and that he had still other sheep (3 Nephi 7:20, 24-26). He also told them that those Gentiles who repented would also be numbered among his people (v. 37). There are specific promises in the Book of Mormon to restore the Lamanites to “the knowledge of their Redeemer, … and be numbered among his sheep” which are yet to be fulfilled (Helaman 5:104). This restoration was set in motion when Columbus was led to the New World, followed by Gentiles who brought the “record of the Jews” 0 Nephi 3:155-161). It will culminate when they receive the Book of Mormon and the two books “grow together” (2 Nephi 2:17-23).

The Jewish Connection 

columbuslandsWas Columbus Jewish? There are several proponents of Columbus’s Jewish heritage, with varying viewpoints. Some believe “What there is abundant circumstantial evidence that Columbus was of a Jewish background, at least on one side of the family” (Fuson 1987:16).
The description of Columbus in the Book of Mormon as “a man among the Gentiles” could be interpreted either as a Jew or a Gentile (1 Nephi 3:145).

Columbus is seen either as a converso, a converted Jew (Madariaga 1949:54-65,119-135), or a marrano, a professing Christian who was still a secretly-practicing Jew (Wiesenthal 1973:124-133). Whether or not he was of Jewish ancestry is an interesting proposition. Columbus’s writings are abundantly interwoven with professions of faith and belief in Jesus Christ as his Savior (Brigham 1991:179-181), and he affirms his faith in a letter to the king and queen of Spain (182-183):

Columbus’s mission was permeated with a “Jewish flavor.” Many Jews supported his venture, providing maps, instruments and finances. Many crew members are believed to have been Jewish. In anticipation of finding the lost tribes on his first voyage, Columbus took along a converso, Luis de Torres, an experienced interpreter who “knew how to speak Hebrew, Chaldean, and even some Arabic” (Fusan 1987:100-101).

columbusUpon arrival in the New World, Hebrew was probably spoken in an attempt to communicate with the natives. In the log of his first voyage, Columbus linked the beginning of his voyage to America (early morning of August 3rd) and the expulsion of all professing Jews from Spain (effective at midnight of August 2nd) (Fusan 1987:52). The Jewish people were hopeful of finding a new place of refuge (Wiesenthal 1973:88). The New World was to become a haven for Jews and a new promised land. In fact, the first refugees came in the late fifteenth century; many were marranos (Sachar 1992:10).

Columbus also desired to free Jerusalem from the Muslims and restore the Holy Land to the Church. This could only be financed by discovering new lands and gathering enough gold, silver and precious stones (Fusan 1987:34). However, he knew that his desire to bring freedom to the people of the Old Testament could ultimately come only through their conversion to Jesus Christ.

Part 2: Columbus, Prophecy, and the Holy Spirit

YouTube Video: Classical Music and Verdi

Dinner Topics for Friday

The earth shall be full of the knowledge of the Lord, as the waters cover the sea. ~Isaiah 11:9

Triumphal March from “Aida”

From Wikipedia

Giuseppe Fortunino Francesco Verdi (10 October 1813 – 27 January 1901) was an Italian Romantic composer, mainly of opera. Musically, he was part of European Romanticism, and was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture – such as “La donna è mobile” from Rigoletto, “Va, pensiero” (The Chorus of the Hebrew Slaves) from Nabucco, “Libiamo ne’ lieti calici” (The Drinking Song) from La traviata and the “Grand March” from Aida.

Chorus of the Hebrew Slaves

Verdi’s masterworks dominate the standard opera repertoire a century and a half after their composition.

Early life

Verdi was born the son of Carlo Giuseppe Verdi and Luigia Uttini in Le Roncole, a village near Busseto, then in the Département Taro which was a part of the First French Empire after the annexation of the Duchy of Parma and Piacenza. The baptismal register, on 11 October lists him as being “born yesterday”, but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. The next day, he was baptized in the Roman Catholic Church in Latin as Joseph Fortuninus Franciscus. The day after that (Tuesday), Verdi’s father took his newborn the three miles to Busseto, where the baby was recorded as Joseph Fortunin François; the clerk wrote in French. “So it happened that for the civil and temporal world Verdi was born a Frenchman.”[1]

When he was still a child, Verdi’s parents moved from Piacenza to Busseto, where the future composer’s education was greatly facilitated by visits to the large library belonging to the local Jesuit school. Also in Busseto, Verdi was given his first lessons in composition.

Verdi went to Milan when he was twenty to continue his studies. He took private lessons in counterpoint while attending operatic performances, as well as concerts of, specifically, German music. Milan’s beaumonde association convinced him that he should pursue a career as a theatre composer. During the mid 1830s, he attended the Salotto Maffei salons in Milan, hosted by Clara Maffei.

Returning to Busseto, he became the town music master and, with the support of Antonio Barezzi, a local merchant and music lover who had long supported Verdi’s musical ambitions in Milan, Verdi gave his first public performance at Barezzi’s home in 1830.

Because he loved Verdi’s music, Barezzi invited Verdi to be his daughter Margherita’s music teacher, and the two soon fell deeply in love. They were married on 4 May 1836 and Margherita gave birth to two children, Virginia Maria Luigia (26 March 1837 – 12 August 1838) and Icilio Romano (11 July 1838 – 22 October 1839). Both died in infancy while Verdi was working on his first opera and, shortly afterwards, Margherita died of encephalitis[2][3] on 18 June 1840, aged only 26.[4] Verdi adored his wife and children, and he was devastated by their untimely deaths.

Middle years

Sometime in the mid-1840s, after the death of Margherita Barezzi, Verdi began an affair with Giuseppina Strepponi, a soprano in the twilight of her career.[7] Their cohabitation before marriage was regarded as scandalous in some of the places they lived, but Verdi and Giuseppina married on 29 August 1859 at Collonges-sous-Salève, near Geneva.[8] While living in Busseto with Strepponi, Verdi bought an estate two miles from the town in 1848. Initially, his parents lived there, but, after his mother’s death in 1851, he made the Villa Verdi at Sant’Agata in Villanova sull’Arda his home until his death.

As the “galley years” were drawing to a close, Verdi created one of his greatest masterpieces, Rigoletto, which premiered in Venice in 1851. Based on a play by Victor Hugo (Le roi s’amuse), the libretto had to undergo substantial revisions in order to satisfy the epoch’s censorship, and the composer was on the verge of giving it all up a number of times. The opera quickly became a great success.

With Rigoletto, Verdi sets up his original idea of musical drama as a cocktail of heterogeneous elements, embodying social and cultural complexity, and beginning from a distinctive mixture of comedy and tragedy. Rigoletto’s musical range includes band-music such as the first scene or the song La donna è mobile, Italian melody such as the famous quartet “Bella figlia dell’amore”, chamber music such as the duet between Rigoletto and Sparafucile and powerful and concise declamatos often based on key-notes like the C and C# notes in Rigoletto and Monterone’s upper register.

There followed the second and third of the three major operas of Verdi’s “middle period”: in 1853 Il Trovatore was produced in Rome and La traviata in Venice. The latter was based on Alexandre Dumas, fils‘ play The Lady of the Camellias, and became the most popular of all Verdi’s operas, placing first in the Operabase list of most performed operas worldwide.[9]

Later compositions

VerdiBetween 1855 and 1867, an outpouring of great Verdi operas followed, among them such repertory staples as Un ballo in maschera (1859), La forza del destino (commissioned by the Imperial Theatre of Saint Petersburg for 1861 but not performed until 1862), and a revised version of Macbeth (1865). Other somewhat less often performed include Les vêpres siciliennes (1855) and Don Carlos (1867), both commissioned by the Paris Opera and initially given in French. Today, these latter two operas are most often performed in their revised Italian versions. Simon Boccanegra followed in 1857. Verdi’s grand opera, Aida, is sometimes thought to have been commissioned for the celebration of the opening of the Suez Canal in 1869, but, according to one major critic,[10] Verdi turned down the Khedive’s invitation to write an “ode” for the new opera house he was planning to inaugurate as part of the canal opening festivities. The opera house actually opened with a production of Rigoletto. Later in 1869/70, the organizers again approached Verdi (this time with the idea of writing an opera), but he again turned them down. When they warned him that they would ask Charles Gounod instead and then threatened to engage Richard Wagner‘s services, Verdi began to show considerable interest, and agreements were signed in June 1870.

Verdi and Wagner, who were the leaders of their respective schools of music, seemed to resent each other greatly. They never met. Verdi’s comments on Wagner and his music are few and hardly benevolent (“He invariably chooses, unnecessarily, the untrodden path, attempting to fly where a rational person would walk with better results”), but at least one of them is kind: upon learning of Wagner’s death, Verdi lamented, “Sad, sad, sad! … a name that will leave a most powerful impression on the history of art.”[11] Of Wagner’s comments on Verdi, only one is well-known. After listening to Verdi’s Requiem, the German, prolific and eloquent in his comments on some other composers, stated, “It would be best not to say anything.”

Final years and death

Otello, based on William Shakespeare‘s play, with a libretto written by the younger composer of Mefistofele, Arrigo Boito, premiered in Milan in 1887. Its music is “continuous” and cannot easily be divided into separate “numbers” to be performed in concert. Some[who?] feel that although masterfully orchestrated, it lacks the melodic lustre so characteristic of Verdi’s earlier, great, operas, while many critics consider it Verdi’s greatest tragic opera, containing some of his most beautiful, expressive music and some of his richest characterizations. In addition, it lacks a prelude, something Verdi listeners are not accustomed to. Arturo Toscanini performed as cellist in the orchestra at the world premiere and began his friendship with Verdi (a composer he revered as highly as Beethoven).

Verdi’s statue in the Piazza G. Verdi, Busseto

Verdi’s last opera, Falstaff, whose libretto was also by Boito, was based on Shakespeare’s Merry Wives of Windsor and Victor Hugo‘s subsequent translation. It was an international success and is one of the supreme comic operas which shows Verdi’s genius as a contrapuntist.

Verdi was initially buried in Milan’s Cimitero Monumentale. A month later, his body was moved to the Casa di Riposo per Musicisti, a rest home for retired musicians that Verdi had established. In October 1894, the French government awarded him the Grand-Croix de la Legion d’honneur.[citation needed] He was the first musician to receive the Grand-Croix.[citation needed]

He was an agnostic. Toscanini, in a taped interview, described him as “an atheist”, but “agnostic” is probably the most accurate description. His second wife, Giuseppina Strepponi, described him as “a man of little faith”. [15]

Complete article

Parenting: Teaching Responsibility, not Blame

Dinner Topics for Tuesday

October Parenting Value Part 1

From Richard and Linda Eyre

Self-Reliance and Potential: General Methods

momdaughterwillow1. Praise. Reinforce your children’s self-image and individuality and build their confidence — that is required for self-reliance. Like flowers under rain and sunshine, children blossom and bloom under recognition and praise. “Catch them doing something good” and when you do, give effusive praise! When they make mistakes or fall short, help them accept responsibility for it and then praise that acceptance to the point that their pride in their self-reliance outshines their concern over the shortcoming.

2. Use yourself as the model and example. Show your children that you “value this value” and that you work for it. Take every opportunity to show your children how you are trying to improve. Talk about the things you think you’re good at and working to be better at.

Show pleasure in things you do well. Also, be obvious about taking the blame for mistakes you make. Say, “You know, that was my fault. Here’s what I could have done differently. . . .”

Let your children see that you can accept responsibility and blame and let them see that you take pride in who you are and that you are working to be better.

Sample Method for Preschoolers: Praise Creativity and Emphasize Individuality and Originality

Help your children to like their own unique selves. Just as small children need to hear the sound of letters over and over and over again before they learn to read, so also they need to hear their own unique abilities praised time after time before they actually believe in themselves and increase how much they like who they are. Simple as it sounds, the key “connection” of this chapter is that children who like themselves become capable of relying on themselves, of accepting responsibility, and of reaching for their full potential. Praise every effort you see them making — from drawing a picture to trying to tie their shoe. Look constantly for new things they learn to do or for any sort of aptitude at which they seem particularly good.

Help a child see that he is unique by making up an “I Am Special” book with a front cover tracing his silhouette, and with his height, weight, eye color, favorite food, funnest activity, best skills, and so on written inside. Help him understand that there is no one, anywhere, who is exactly like him.

Help children to learn to say, when they face something they can’t do, “I can’t do ___________, but I can do _____________.” This will help them later on to accept their weak points with their strengths.

Sample Method for Elementary Age: Consult Rather Than Manage

Put yourself in a role that maximizes your children’s development of self-reliance and self-knowledge. Try not to take initiative away from your child. Suggest rather than command wherever possible. Ask if he needs help rather than forcing it on him. Try to notice what he likes and where his natural gifts and abilities lie rather than trying to decide what he will do and what he should be good at.

When he asks you to do his homework, say no. But tell him you’ll check it after he’s done and tell him if it’s right and help him on the parts he’s tried to do but still doesn’t understand.

As children are old enough to understand the terms, tell them that you want to be their consultant and not their manager. Explain that they are the ones who have to decide what they will do and how well they will do it and that you want to help but not force. (Be sure they can separate this consulting help and guidance that relate to their choices from the laws and absolutes that govern their behavior.)

motherdaughterSample Method for Adolescent Age: Avoid Over-protectiveness

Build your adolescent’s self-respect, self-confidence, and self-reliance. Have clear rules (curfew, etc.) but within these, trust your adolescents and make a point of telling them that you not only trust them but have confidence in their ability to handle themselves and the situations they find themselves in.

This principle applies to smaller children also. Too many well-meaning parents may prevent a skinned knee or even a broken arm by being overly protective physically, but in the process they may exert undue influence and diminish the feelings of self-reliance and self-control.

 

Gallery

Culture Wars: Judeo-Christian Culture, Western Values, Multiculturalism Failure, Truth about Islam

This gallery contains 3 photos.

Culture Wars: Judeo-Christian Culture, Western Values, Multiculturalism Failure, Truth about Islam They say diversity is what made America great. It is not. Diversity had nothing to do with America’s greatness. America’s greatness had everything to do with morality and values … Continue reading

Stress Management, Classical Music, and Dvorak New World Symphony

Dinner Topics for Friday

For we must consider that we shall be as a city upon a hill. The eyes of all people are upon us. ~John Winthrop

Listen to New World Symphony

 

Dvorak_1868Antonín Leopold Dvořák  DVOR-zhahk or / Czech:  September 8, 1841 – May 1, 1904) was a Czech composer. Following the nationalist example of Bedřich Smetana, Dvořák frequently employed features of the folk music of Moravia and his native Bohemia (then parts of the Austrian Empire and now constituting the Czech Republic). Dvořák’s own style has been described as ‘the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them’.[1]

Born in Nelahozeves, Dvořák displayed his musical gifts at an early age. His first surviving work, Forget-Me-Not Polka in C (Polka pomněnka) was written possibly as early as 1854.[2]He graduated from the organ school in Prague in 1859.[3] In the 1860s, he played as a violist in the Bohemian Provisional Theater Orchestra and taught piano lessons. In 1873, he married Anna Čermáková, and left the orchestra to pursue another career as a church organist. He wrote several compositions during this period. Dvořák’s music attracted the interest of Johannes Brahms, who assisted his career; he was also supported by the critic Eduard Hanslick.

After the premiere of his cantata Stabat Mater (1880), Dvořák visited the United Kingdom and became popular there; his Seventh Symphony was written for London. After a brief conducting stint in Russia in 1890, Dvořák was appointed as a professor at the Prague Conservatory in 1891. In 1892, Dvořák moved to the United States and became the director of the National Conservatory of Music of America in New York City, where he also composed. However, a salary dispute, along with increasing recognition in Europe and an onset of homesickness made him decide to return to Bohemia. From 1895 until his death, he composed mainly operatic and chamber music. At his death, he left several unfinished works.

Among Dvořák’s best known works are his New World Symphony, the “American” String Quartet, the opera Rusalka and his Cello Concerto in B minor. Among his smaller works, the seventh Humoresque and the song ‘Songs my mother taught me‘ are also widely performed and recorded. He composed operas, choral music, a wide variety of chamber music, concerti and many other orchestral and vocal and instrumental pieces. He has been described as ‘arguably the most versatile…composer of his time’.[4]

Read more

 

Parenting Tips: Teaching Peace

Dinner Topics for Wednesday

“Peace-ability”

Parenting Value: Anger Management

 

Richard and Linda Eyre

teenagerSonAndMomkey“Calmness. Peacefulness. Serenity. The tendency to try to accommodate rather than argue. The understanding that differences are seldom resolved through conflict and that meanness in others is an indication of their problem or insecurity and thus of their need for your understanding. The ability to understand how others feel rather than simply reaction to them. Control of temper.”

Sample Method for Preschoolers: The Magazine Game

This game helps small children realize that it is all right to feel mad or sad, just as it is all right to feel happy or glad, but that it is not all right to hurt other people or their feelings because of how we feel. Flip through magazines with a child, stopping every time a person is pictured and asking, “How do you think he feels?” (Happy, jealous, worried, etc. — this is also a chance to teach children new words and the names of new emotions.) Then say, “It is okay to feel this way?” (Yes) Then say, “Is it okay to be mean to someone else if you feel mad or sad?” (No!)

Sample Method for Elementary Age: The Color Game

This is a good way to teach younger elementary-aged children the good consequences of peace and the bad consequences of anger and retaliation. Cut out two single figures in the human shape, one from red paper and one from pastel color. Tell the children that the red represents temper and impatience, the pastel is control and peace. Give them a situation and let them tell you what each figure might do in each of the following situations:

  • Your alarm clock doesn’t go off, so you’re going to be late for school.
  • You’re playing basketball and you get called for a foul you didn’t think you committed.
  • Your friend forgets to meet you for lunch.
  • Your little brother flips you with a rubber band.
  • Your mom says you can’t have a sleep over because there’s school tomorrow.
  • The new pen you just bought won’t work.

And so on. Think of your own, based on your own experiences.

Sample method for Adolescents: The “Analytical-of-Angry” Discussion

Help young teenagers conceptualize the benefits of trying to “understand” rather than trying to “win.” At dinner or some other natural conversation time make the statement that we have many situations in which there is a choice between two A words — arguing or analyzing. In other words, when someone does something to us or says something with which we disagree, we can either fight back and argue or we can try to analyze why he did or said it.

Point out the second choice is better because we learn something whenever we try to figure out why, and we keep our cool and keep our friends.

Stress Management, Classical Music, and Pachelbel Canon

Dinner Topics for Friday

  keyoldTrust in the Lord with all thine heart; and lean not unto thine own understanding. ~Proverbs 3:5

Pachelbel Canon in D Major

From Wikipedia

musicnotesJohann Pachelbel (German pronunciation: [ˈjoːhɑn ˈpaxəlbɛl]; baptised September 1, 1653 – buried March 9, 1706)[1] was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.[2]

Pachelbel’s music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.[3]

Pachelbel’s music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.

Posthumous influence

One of the last middle Baroque composers, Pachelbel did not have any considerable influence on most of the famous late Baroque composers, such as George Frideric Handel, Domenico Scarlatti or Georg Philipp Telemann. He did influence Johann Sebastian Bach indirectly; the young Johann Sebastian was tutored by his older brother Johann Christoph Bach, who studied with Pachelbel, but although J.S. Bach’s early chorales and chorale variations borrow from Pachelbel’s music, the style of northern German composers, such as Georg Böhm, Dieterich Buxtehude, and Johann Adam Reincken, played a more important role in the development of Bach’s talent.

Pachelbel was the last great composer of the Nuremberg tradition and the last important southern German composer. Pachelbel’s influence was mostly limited to his pupils, most notably Johann Christoph Bach, Johann Heinrich Buttstett, Andreas Nicolaus Vetter, and two of Pachelbel’s sons, Wilhelm Hieronymus and Charles Theodore. The latter became one of the first European composers to take up residence in the American colonies and so Pachelbel influenced, although indirectly and only to a certain degree, the American church music of the era. Composer, musicologist and writer Johann Gottfried Walther is probably the most famous of the composers influenced by Pachelbel – he is, in fact, referred to as the “second Pachelbel” in Mattheson‘s Grundlage einer Ehrenpforte.[20]

As the Baroque style went out of fashion during the 18th century, the majority of Baroque and pre-Baroque composers were virtually forgotten. Local organists in Nuremberg and Erfurt knew Pachelbel’s music and occasionally performed it, but the public and the majority of composers and performers did not pay much attention to Pachelbel and his contemporaries. In the first half of the 19th century, some organ works by Pachelbel were published and several musicologists started considering him an important composer, particularly Philipp Spitta, who was one of the first researchers to trace Pachelbel’s role in the development of Baroque keyboard music. Much of Pachelbel’s work was published in the early 20th century in the Denkmäler der Tonkunst in Österreich series, but it was not until the rise of interest in early Baroque music in the middle of the 20th century and the advent of historically-informed performance practice and associated research that Pachelbel’s works began to be studied extensively and again performed more frequently.

Popularity of the Canon in D

Pachelbel’s Canon in D major, a piece of chamber music scored for three violins and basso continuo and originally paired with a gigue in the same key, experienced a tremendous surge in popularity during the 1970s. This is believed to be due to a recording by Jean-François Paillard in 1970, which made it a universally recognized cultural item. Its visibility was greatly increased by its choice as the theme song for the popular film Ordinary People. Now one of the most recognized and famous baroque compositions, it has in recent years become extremely popular for use in weddings,[citation needed] rivalling that of Wagner‘s Bridal Chorus.

Read More

 

Mother Theresa: Christian Service

Dinner Topics for Monday

keyAlways give without remembering; always receive without forgetting. ~Brian Tracy

Mother Teresa

Mother Teresa at a pro-life meeting in 1986 in Bonn, Germany

MotherTeresa_094Blessed Mother Teresa of Calcutta,[1] born Agnes Gonxha Bojaxhiu (Albanian: [aˈɲɛs ˈɡɔɲdʒa bɔjaˈdʒiu]) and commonly known as Mother Teresa of Calcutta (26 August 1910 – 5 September 1997), was an Albanian-born Indian Roman Catholic nun. “By blood, I am Albanian. By citizenship, an Indian. By faith, I am a Catholic nun. As to my calling, I belong to the world. As to my heart, I belong entirely to the Heart of Jesus.”[2] In late 2003, she was beatified, the third step toward possible sainthood. A second miracle credited to Mother Teresa is required before she can be recognized as a saint by the Catholic church.[3][4]Mother Teresa was very fluent in speaking Bengali, the local language of the people of Calcutta(Kolkata).[5]

Mother Teresa founded the Missionaries of Charity, a Roman Catholic religious congregation, which in 2012 consisted of over 4,500 sisters and is active in 133 countries. Members of the order must adhere to the vows of chastity, poverty and obedience, and the fourth vow, to give “Wholehearted and Free service to the poorest of the poor”. The Missionaries of Charity at the time of her death had 610 missions in 123 countries including hospices and homes for people with HIV/AIDS, leprosy and tuberculosis, soup kitchens, children’s and family counselling programmes, orphanages and schools.

For over 45 years, she ministered to the poor, sick, orphaned, and dying, while guiding the Missionaries of Charity’s expansion, first throughout India and then in other countries. Her beatification by Pope John Paul II following her death gave her the title “Blessed Teresa of Calcutta”.

She was the recipient of numerous honours including the 1979 Nobel Peace Prize. She refused the conventional ceremonial banquet given to laureates, and asked that the $192,000 funds be given to the poor in India. Her awards include the first Pope John XXIII Peace Prize, the Philippines-based Ramon Magsaysay Award, the Pacem in Terris Award, an honorary Companion of the Order of Australia, the Order of Merit from both the United Kingdom and the United States, Albania’s Golden Honour of the Nation, honorary degrees, the Balzan Prize, and the Albert Schweitzer International Prize amongst many others.

Mother Teresa stated that earthly rewards were important only if they helped her help the world’s needy. When Mother Teresa received the Nobel Peace Prize, she was asked, “What can we do to promote world peace?” She answered “Go home and love your family.” In her Nobel Lecture, she said: “Around the world, not only in the poor countries, but I found the poverty of the West so much more difficult to remove. When I pick up a person from the street, hungry, I give him a plate of rice, a piece of bread, I have satisfied. I have removed that hunger. But a person that is shut out, that feels unwanted, unloved, terrified, the person that has been thrown out from society-that poverty is so hurtable [sic] and so much, and I find that very difficult.” She also singled out abortion as ‘the greatest destroyer of peace in the world’.

During her lifetime, Mother Teresa was named 18 times in the yearly Gallup’s most admired man and woman poll‎ as one of the ten women around the world that Americans admired most. In 1999, a poll of Americans ranked her first in Gallup’s List of Most Widely Admired People of the 20th Century. In that survey, she out-polled all other volunteered answers by a wide margin, and was in first place in all major demographic categories except the very young.

Continued