Friday, April 28, 2017

Arbor Day 2017

In 1872, J. Sterling Morton started what would become Arbor Day in Nebraska City. Nebraska. This "holiday" is meant to recognize and support the planting of trees. Morton and his wife Caroline challenged people around the country to plant trees. In 1872, on the first Arbor Day, approximately one million trees were planted in Nebraska alone. National Arbor Day is celebrated every year on the last Friday in April; it is a civic holiday in Nebraska. Other states have selected the time of year in which to celebrate their own Arbor Day. The customary observance is to plant a tree. On the first Arbor Day, April 10, 1872, an estimated one million trees were planted.

I didn't plant any trees today, and there was no public event associated with Arbor Day here. But you know me, I'm a born treehugger and I celebrate trees (and birds, and flowers, and all Nature) every day. In any case, I went for a walk in the Dykeman Spring Nature Park to go say hello to some of my favorite trees, and along the way there were some other natural wonders to get pictures of.

A big Pin Oak in the park near the picnic area
Looking across the wetland to the trees, with a very large Maple in the middle next to the north duck pond
A very large Norway Maple that hangs over the creek by the railroad embankment
Tree reflections in the north duck pond
Hey guys, there's room for one more on the log!
Celandine on the forest floor along the Dykeman Walking Trail
In 1990 the late John Denver wrote a song for the National Arbor Day Foundation, with whom he made a TV commercial promoting the holiday and the planting of trees. I thought this would be the perfect way to wrap up this post. Now go plant a tree, or sit under one and meditate, or wander among a whole forest of them. Whatever you do today, make some time to celebrate trees!


© 2017 by A. Roy Hilbinger

Wednesday, April 26, 2017

A Damp Morning Walk

It rained for the last two days, and this morning things were very damp and misty. I walked through the Dykeman Spring Nature Park on the way to the grocery store and gained a pair of wet feet, especially in the wet grass up on the meadow, where the mist was most evident. 




© 2017 by A. Roy Hilbinger 

Sunday, April 23, 2017

Sunday Bach - First Sunday After Easter

Forest Floor in April
Bach wrote two cantatas for the first Sunday after Easter, and for me this solo cantata, BWV 42 (Am Abend aber desselbigen Sabbatas, On the evening of that same Sabbath) from 1725 is a veritable Bach masterpiece. It takes place in the upper room after the Marys have come back with the news that the tomb was found empty and the events that occurred there. Here's what musicologist Simon Crouch has to say about this lovely work:
One of the fascinating features of the cantatas is the use of parody. This is the adaptation of previously existing material to a new work. This occurs all over Bach's oeuvre, perhaps most notably in the b-minor Mass and in the Christmas Oratorio. This procedure was rather frowned upon in the past, perhaps because of our romantic notions of artistic originality. So what? I say. I rather enjoy hearing great material being used in different contexts. One of the most fortunate consequences of the parody technique where Bach is concerned is that occasionally we come across bits of otherwise lost works. An excellent example of this is the St. Mark Passion where we have the libretto but the music is lost. However, musicologists have been able to make reasonable reconstructions of the work because much of the music appears in the cantatas (especially BWV 198). Here we have another example. The opening sinfonia of this cantata sounds decidedly as though it's the opening movement of a lost concerto and since Bach did use known concerto movements in this way, it's a fair bet that here we do have a bit of such a work. It's rather good, well up to Brandenburg Concerto standard. After a recitative, there's a long alto aria that itself may use music from a slow movement of the same concerto. It's a very gentle and very beautiful piece. The rest of this cantata is, perhaps, not up to the standard of these movements but still is enjoyable. The following duet is driven nicely by a jerky, octave leaping continuo part and after another recitative, the final aria is workmanlike rather than inspired. As usual, the cantata finishes with a chorale setting.
I also suggest that you follow this link to read the late musicologist Craig Smith's take on this wonderful cantata. It's a tad long to post here, but it's well worth the read!

The performance I've chosen today is from 1990 by La Chapelle Royale and the Collegium Vocale Gent under the direction of Philippe Herreweghe. Enjoy!

      

Photo © 2017 by A. Roy Hilbinger

Saturday, April 22, 2017

Earth Day in the Park

As long as I live, I'll hear waterfalls and birds and winds sing. I'll interpret the rocks, learn the language of flood, storm, and the avalanche. I'll acquaint myself with the glaciers and wild gardens, and get as near the heart of the world as I can. – John Muir

Today is Earth Day, and yesterday was the original environmentalist and founder of the US National Parks system John Muir's birthday. What a happy pairing! To celebrate, I headed down to the Dykeman Spring Nature Park to get my feet on dirt and mud and humus, no pavement interfering with the contact between human and Earth. It's a cloudy, damp, and cool day, with occasional showers, which in a way is good for my photography because it brings out the lush greens and vibrant colors of the flowers and blossoms adorning Mama Gaia. There were also groups of school-age kids with garbage bags wandering the park, picking up tossed litter as part of Shippensburg's Earth Day festivities. Since some of them were walking out in the cattail swamp and down along some of the streamlets in the wetland to collect trash, I thought it a good idea to warn them to watch their toes; that's where three or four good-sized Snapping Turtles live!

I wandered through the whole park - the wetland area, the woods along the Upland Trail, and the meadow. And then I came back down the hill and headed home when the rain started coming down harder. And now I have some photos from the walk for you to enjoy. Happy Earth Day!

The sun shines not on us but in us. The rivers flow not past, but through us. Thrilling, tingling, vibrating every fiber and cell of the substance of our bodies, making them glide and sing. The trees wave and the flowers bloom in our bodies as well as our souls, and every bird song, wind song, and tremendous storm song of the rocks in the heart of the mountains is our song, our very own, and sings our love. – John Muir

The Dogwoods over the creek at McLean House are blooming!
Entering the park along the Dykeman Walking Trail
Mama Redwing Blackbird was less than pleased at my presence
Meanwhile, Papa Redwing yelled at me from out in the cattails
The Redbuds in the park, like these along the creek, are in full bloom
White Campion along the Meadow Trail
The forest floor along the Upland Trail 
On the way home I passed by the north duck pond again
© 2017 by A. Roy Hilbinger 

Wednesday, April 19, 2017

A Hodgepodge

Some pictures taken here and there on Sunday and Tuesday. The Sunday shots were in the Dykeman Spring Nature Park, and Tuesday's shots were on a visit to the Cumberland Valley Rail Trail while checking out the new footbridge over Fogelsanger Rd., part of the trail extension project. As you can tell from the shots, both days were gorgeous!

The Tree Swallows are back, but they're fast, so this quick shot of a female was the best I could get
A family of Painted Turtles sunning on a log in the Dykeman Spring wetland
The new footbridge. Now the Rail Trail starts virtually around the corner from my house
Spring Beauty flowers growing along the Rail Trail
A male Northern Flicker along the Rail Trail
© 2017 by A. Roy Hilbinger 

Tuesday, April 18, 2017

Bach for Easter - Peace Be With You (Easter Tuesday)

Mustard Garlic
Bach had three cantatas for Easter Tuesday, and I chose this little gem, BWV 158, (Der Friede sei mit dir / Peace be with you), a solo cantata for bass and chorus from 1727. Actually, it may have been written earlier in Weimar (1713 - 1717), but the first performance was in Leipzig in 1727. Here's what musicologist Simon Crouch has to day about it:
Blink and you'll miss it! At around twelve minutes long and with only four movements (recitative, aria/chorale, recitative, chorale), BWV 158 is thought to represent only a fragment of a larger work. Certainly, looking at the form of other cantatas, one would at least expect another aria before the closing chorale. If this hypothesis is true then it is a great shame since the surviving movements are all excellent and hint at a masterpiece. The major part of the cantata is taken up with a bass aria woven around a soprano chorale accompanied by a beautiful, singing, violin accompaniment. Robertson suggests comparison with Schlummert ein from the great BWV 82 and Schuhmacher (in the Teldec series notes) suggests Erbarme dich from the St. Matthew Passion. Can I say more in praise of this movement? The opening recitative includes arioso sections of outstanding beauty and the second recitative is hardly less impressive. The cantata finishes with the fifth verse of Luther's great hymn Christ lag in Todesbanden.
I've chosen the performance by the chorus and orchestra of La Chapelle Royale under the direction of Philippe Herreweghe, featuring the glorious low tones of bass Peter Kooy. Enjoy!


Photo © 2017 by A. Roy Hilbinger

Monday, April 17, 2017

Bach for Easter - The Road to Emmaus (Easter Monday)

Cumberland Valley Rail Trail
The Gospel reading for Easter Monday is Luke 24:13 - 35, the story of the two disciples walking on the road to Emmaus several days after the crucifixion, discussing the distressing events of the last few days, when they are joined on the road by the risen Christ. Bach composed a very beautiful chorale cantata for this day based on that walk - BWV 6, Bleib bei uns, denn es will Abend werden (Abide with us, for the evening draws on), 1725. Here's what musicologist Brian Robins has to say about this work:
First performed in Leipzig on April 2, 1725, BWV 6 ("Abide with us, for the evening draws on") is a cantata for the second day of Easter (Easter Monday). Although it therefore belongs to the second annual cycle (Jahrgang) Bach composed for Leipzig after his appointment as cantor there in 1723, it does not conform to the pattern of the so-called "chorale cantatas" that dominate his output at that stage of his career. The anonymous libretto is based on the Gospel for the day (Luke 24:13-35), the story of the walk of the two disciples to Emmaus. The text of the beautiful opening chorus is directly drawn from verse 29 of Luke's narrative. It is scored for SATB chorus, two oboes, oboe da caccia, strings, and bass continuo. The elegiac twilight scene as the disciples walk in conversation with the risen Christ is magically conveyed by Bach, with unison violins and violas suggesting the darkening shades of night. The alto aria that follows is believed by some authorities to have been borrowed from a lost secular cantata, Thomana sass annoch betrübt (1723), although there is apparently nothing to substantiate such a claim. Despite its dance-like rhythm and pizzicato bass it maintains the evocation of the darkening scene, the prayerful invocation to Christ to maintain his presence underlined by the expressive obbligato writing for oboe da caccia. The succeeding chorale for solo soprano is based on the hymn "Ach bleib bei uns, Herr Jesu Christ" by Nicolaus Selnecker. The accompaniment is for violoncello piccolo, a now obsolete instrument with a range between viola and cello employed by Bach in several of his cantatas. The movement has gained wider circulation as a result of its adaptation as the fifth of the "Schubler" Chorales for organ. Next comes a bass recitative, the only one in the cantata, a gloomy reflection on the theme of darkness. This somber mood is dissipated in the final confident aria for tenor, "Lord, let us look on thee." Here, resolute strength is the byword, the strings surging with bright optimism. The final number is a four-part harmonization of the second stanza of the anonymous melody of Martin Luther's hymn "Erhalt'uns, Herr, bei deinem Wort."
For today's post I've chosen a beautiful performance by the Collegium Vocale Gent under the direction of Philippe Herreweghe. Enjoy!

                

Photo © 2013 by A. Roy Hilbinger