Stories from my life in words and music

Introduction:

In March 2025, I completed a 21 day writing challenge of Megan Macedo’s; the overall theme for this year’s challenge was Story and Place.   I chose as my personal theme Music - and decided to both write and record music, in response to the daily prompts.  Here are the results.

How did I choose my theme?  A bit of background:  when I was 18 years old, I remember saying to myself, “I am a musician first, a human being second.”  It seemed so obvious, so right, at the time; now, in retrospect, odd - and sad, also.

All my life, I have ping-ponged back and forth between making music and running away from making music.  Meanwhile, I have had a series of substantial careers that did not include music – and many music-making adventures outside of career.  Today, in 2025, I am seeking to integrate the musician and my being at a new level.  As I could not do at 18. 

My music for this intro day, at my primary PLACE as musician, my piano:  Gymnopedia, #1: Take One; Eric Satie:   https://drive.google.com/file/d/1zhAeNNEZLKHDCb6L-iJ6HXnVcSHuCdN4/view?usp=sharing

Please enjoy the words and music in your own way. Some may choose to listen to music and read the story at the same time; for others, text then words, or words, then text. Some may go through the whole series, chronologically. Others may sample bits here and there. There are no right ways.

Annie

Day 1: Woods and piano lessons

Test When I was 5, I started kindergarten, and because my older brother was starting a different school and my younger brother wouldn’t start school for another year, I walked to school alone. I loved the walk; there was a tiny forest between my house and school, with a stream running down to a child-sized pond.  I loved the feeling in the woods; so quiet, except for me, some birds, the water, perhaps a squirrel.  I would dawdle and daydream surrounded by the gentle sounds and sights of nature through the seasons, feeling free and content. 

Also in that same kindergarten year, I started begging my mother for piano lessons; she put me off, saying I could only take lessons when my hand could stretch an octave.  I spent literally every day for 2+ years at the piano, my little right hand – thumb and pinky – stretching to try to get that octave.  Every day I sat down and tried to get my hand to reach, but alas, it was too small.  I yearned in a deep way I could not explain, to be able to play that piano.  Finally, on a day when I was about 8, I reached that octave -  and ran to my mother, demanding lessons.  From then on, I spent multiple hours every day at my ‘happy  place, the piano, learning to make music.  To this day, it continues to be that place for me.

Music – Yearning for piano lessons: https://drive.google.com/file/d/1daNPFloN1F_bsw4LEe3OHdJVrfkdNqpC/view?usp=sharing

Music - Once piano lessons started: https://drive.google.com/file/d/11sVyalVMMfL7AYCdRUt27zi5oM67NpVm/view?usp=sharingBlock

Day 2: The greenwoods are alive with the sound of music

Home never really felt like home for me.  Family life was not easy and tension and peril abounded.  So when I was 16, and for two blissful summers, attended a music camp on a farm nestled in the hill country of western Massachusetts, I finally knew what it felt like to be home.

Greenwood is a small chamber music camp built on a culture of freedom, love, respect, and the highest level of chamber music performance.  We would wander the grounds, barefoot, going from musical adventure to social adventure to watching the sun set over the hills or picking raspberries or tending the flower gardens.  It was paradise.  I experienced for the first time the sense of belonging, of connections, of ease and constant joy – and of incredible collective music-making.    

To this day, over 50 years later, I return each June and experience the magic of Greenwood all over again – the sweet bucolic farmland, the culture of authentic inclusion and connection,  and the beautiful classical music-making.  Every time I arrive at Greenwood, my body relaxes and my heart soars; being there is always a homecoming for me.

Music for today: Hatikvah “The Hope” (Israel’s national anthem): https://drive.google.com/file/d/12NQjqGP70K0OEES9Ch0s4LwiwQzNCJ_z/view?usp=sharing

Day 3: Love lost, love found

When I graduated from high school, after much soul searching, I turned down acceptance at the prestigious Oberlin Conservatory of Music, instead enrolling in the second rate U. of Michigan’s School of Music, where  I thought I could get it all: great musical training and an exciting campus experience.  Instead,  I hated everything about the music school.  After just one semester, I dropped out of music and into liberal arts. 

I was heartbroken.  Gone were my musical dreams.  To add to the sting, I lost access to the pianos in the music school.  No piano, no playing.  But one day, walking by a graduate building on campus, I found myself drawn to enter; and there I discovered a grand piano in a formal salon room – and no one there!  I sat down and without any sheet music, played and played - wandering from known pieces of music to tunes that floated into my fingers to purely improvisatory piano doodlings.  That room, that piano, was my saviour – for an hour, stolen here or there, I was connected again to my big love, the piano and music-making.

Music: Ann Arbor, Michigan: 1970-1971:  https://drive.google.com/file/d/1ucxyqlZ0NUtcp3YEmrym_hangt8BlbWW/view?usp=drive_link

Day 4: Lenora, my heart, my ground

I’m not exactly sure when Lenora came to live with us.  I was about 6, I think, in the mid 1950’s. Those years are fuzzy in my memory; mother love was lacking at home and I had survived an impossible trauma.  I only know that one day, Lenora was there, trailing a burst of happiness in her wake - a young black rural woman up from South Carolina looking for a better life.  My mother looking for a live-in maid for housework, some cooking, and childcare.  

Lenora turned out to be the ground of my heart for those years, until she left to make her own life, have a family and work at NYC’s chock-full-of-nuts.  One day, I was about 13, she had moved on, and I barely got to tell her goodbye or how much I loved her.

But during those blessed years, Lenora’s presence always lifted me up and allowed me to feel, when I was in her presence, that all was well with the world.  She and I had a routine in the evenings – after her chores were finished and the rest of the family was elsewhere doing whatever, we settled down at the kitchen table playing endless games of 500 gin rummy.  During the days, I would hang in the basement while she ironed clothes.  Just to be near her.  Nourished in ways I hadn’t know and couldn’t articulate.  

And some special Sundays, she took me, little white Jewish girl, to the black Baptist church she attended, where there was singing and chanting and a holy cacophony of testifying – and I loved it. So this is a tribute to Lenora and to showing me that love, simple uncomplicated love, can be my ground.  And that there are so many ways to worship, to kneel and kiss the ground (Rumi).

Music: Chopin’s Nocturne, E flat + coda, Brahms lullaby:  https://drive.google.com/file/d/1k_6l3i2_dFcUUBHzIqeLx8WNeXEdlMeQ/view?usp=sharing

Day 5: Judaism: No. Then Yes.

When I was 18 and leaving for college, I scheduled an appointment with Rabbi Jack Stern, spiritual leader of the temple in which I grew up.  I went to his office, nervous and defiant, to tell him my decision:  “I am never going to have anything to do with Judaism again.”  His response was mild, neutral, and kind.   I didn’t know what to make of it.  But I thought: “There, I’ve taken care of that!  Judaism is behind me.”

For almost 40 years (such a Biblical number – 40 years wandering in the desert), I was a seeker of meaning and of God (although I shunned that word) outside Judaism.   I barreled my way through New Age spirituality, a few decades in the left wing of the anti-war and anti-racism movement, deep nature experiences, and finally a Hindu ashram. 

Yet after all that, as I approached 60, I returned to Judaism and to my personal relationship with the divine (which I do call God now).  Only then did I understand the wisdom of Rabbi Stern, who understood that my passion for denouncing Judaism reflected my deep connection with my religion and my ancestors.

And in my Judaism 2.0, I have discovered unexpected, delicious opportunities to spread my musical wings and shine as part of Jewish prayer circles.  When Covid hit, I and my then partner, quarantining at home, became the performing musicians on zoom for services at the temple where he was music director.  We also recorded some of the songs he had written.  

So I came home to Judaism – and to music anew – in one fell swoop.

Music:  Shelter of the Lord, by David Rothberg, Annie on piano and vocals:  https://youtu.be/naqIl_vfC2M?si=IXJcJt67PDFbcT00

Day 6: It’s personal

When the 3 hostages released by Hamas after almost 500 days of captivity came home Feb. 8, 2025, these emaciated men resembled WWII holocaust survivors.  Their stories, of physical and mental torture, near starvation, of being held in cages, broke my heart, already aching  since Hamas’ brutal attack of Oct. 7, 2023.  My heart aches for all suffering, be it Palestinian, Syrian, Sudanese, or any other peoples.  But as pertains to Israel, the feeling is personal.  Israel is my ancestral home.  One we Jews have shared and still share, however imperfectly, with Palestinians and other peoples, over many years.  When I look at Israel, I am inspired by the resilience – of the hostages, of the hostage families, of the Israeli soldiers, of so many good people who, living through shattering times, still bring love and connection forward every day. 

My particular hero among so many in this middle eastern story, is a woman whose daughter was murdered at the Nova Music Festival on Oct. 7, 2023.  She’s a nurse and greets each new group of released hostages at the medical facility in Israel where they are first received after their Gaza captivity.  I have watched her in these intense moments when hostage families are reuniting; she is gracious, majestic, warm, loving - and smiling.  With all her personal loss, she is a beacon of light.   She reminds me of the resilience of my Jewish people.  A well-earned resilience honed over the multiple millennia we Jews have been hounded from place to place.  And I am grateful to be in such good company.

Music:  Beethoven Adagio cantabile, Sonata Opus 13: https://drive.google.com/file/d/1jJ-Mwu9Le0L3dT5b7XY-G-R0qLC0F7ST/view?usp=sharing 

Day 7: Flu is my blessing of this winter

I’m starting week 4 of the flu.  No, don’t feel bad for me.  It’s bitter arctic winds and low temperatures outside, snow and plates of ice everywhere.  Inside, my windows look over parks, gardens, trees, birds,  and wind.  I’m staying home except for brief excursions for provisions (food and library) and this semi-hibernation is blissful.  Piano and accordion at hand.  Eevie cat in the house.  Podcasts, streaming shows, my favorite folks I follow on social media, neighbors, friends and colleagues - close by, in person, phone, FT, zoom.  It doesn’t get much better. 

And I ponder – music, faith, my story, work, art, identity – how are they meant to manifest in this moment of my life - and the next one?  This moment I know the answer: play, explore, enjoy, grow.  The next one is still unknown: how will I re-weave all these components together? 

This journey is one of destinations unknown. As I continue to heal from flu, I have intimations.  I don’t speak them out loud; barely even speak them to myself.  I know, as a teacher taught me years ago, the trick with desires is to keep them sufficiently general that my energy can be calm and positive.  So, yes, I do wonder from time to time about what’s next.  And my intimations – they are quietly tugging at my heart and soul; eventually, they’ll mature.  For now, Bach, my #1 beloved composer, accompanies me.

Music: Bach Allemande from French Suite in E flat major, take 3: https://drive.google.com/file/d/1SrBiL3eyhWsBH8obYJ8G2FzYjSIWvjIN/view?usp=sharing

Day 8: Piano playing: war – or dance? 

My first piano teachers were clueless about bodily stress and strain.  They told me to never move at the piano; my body must be absolutely still – ramrod, like a soldier.  Playing music is a form of dancing to me – whether it’s a jig, a waltz, a march, even a dream sequence – so my body naturally wants to move as I play.  But NO! they said – moving will ruin your playing, mess up your hands, and don’t do it.  They also instructed me in the ‘correct’ way to hold my hands at the piano: palms tightly curled, wrists rigid, and fingers moving up and down like tiny machines.  The results were good – but oh did it hurt.  The longer I played, the more my hands ached.  It was a cumulative strain on my hands, over many years.   I felt my hands were at war with the piano, and my body stuck in a straight jacket.   

This all changed in my 4th decade of piano, when a new teacher introduced me to Seymour Bernstein’s book, 20 Lessons In Keyboard Choreography.  The blurb on Amazon tells it all:  “This unique book presents 'choreography' to pianists as a means of making a physical connection to musical feeling. The author has invented symbols designating finger, wrist and arm movements that will result in physical comfort and a sense of predictability and ease when performing for others.”  Yes, I had to literally relearn how to play the piano; similar perhaps to learning to walk again.  It took time and deliberate, but never painful, practice.  To this day, I am still relearning and finding deeper pockets of relaxation in my playing.

But now, piano is no longer a war on my hands and back; instead, I seek and find relaxed technique and flowing body – my new tools to making beautiful music.

My music for this week – Schubert’s Impromptu #3 – used to be excruciating for me to play.  I would somehow soldier through to the end, sounding good, but in increasing pain.  I had no staying power at the piano.  Not anymore: https://drive.google.com/file/d/1UGK7fAe6VUJ2EHiYhO76NXxmDRaYcxaH/view?usp=sharing

Day 9: Flugelhorn exits stage left; baby accordion steals the show

In Oct. 2021, I fell face down, tripped up by a stone hidden by leaves.  I had predictable serious injuries, all of which took their toll.  But one injury – splitting my lower lip completely from stem to stern – had a significant musical impact for me.  For about a decade, I’d been playing flugelhorn.  It was the perfect instrument to take out to play (can’t do that with a piano) and I loved playing it and so did the folks I played with.  However, this lip injury turned out to be fatal for the horn.  I had and still do have pain in my lower lip, which makes playing hurt, excruciatingly.  Even if I could ignore the pain (which I can’t), I lost my ability to play and would have to dedicate several years to get back to decent playing form.  After a year of agonizing attempts, I let the horn go and grieved my beloved flugelhorn. 

Time to pivot.  I still had another instrument in the wings; what I call my ‘baby’ accordion.  It is small compared to most accordions, Italian, 40 years old, and has a gorgeous sound. When I put it in its backpack, it looks like I’m carrying a laptop; bonus, it fits in the overhead luggage compartment of airplanes.  A year ago, I started taking that squeeze box out here and there and found – that baby rocks with me and I rock with it.  I’m still learning and growing with her and she’s a joy and a delight and we’re becoming quite tight. 

Here’s a taste of her played by ‘Accordion Annie’:  Lara’s Song/Deportees:   https://drive.google.com/file/d/1OTRQ7-RvZrpysf8ATqiYodRNF1g3ZFVb/view?usp=sharing   


Day 10: Stage fright

Fear, aka stage fright, is a feature for many artists.  The act of performing for others can bring up a lot of it.  I’ve had my fair share.  As a young teen, I was entered into a piano competition;  on stage, in a huge auditorium, the first few rows full of judges, fear took hold.  I felt my body was on fire, my heart had lodged in my throat, and tension coursed through my body.  This took a particularly vexing form as my knees started bobbing up and down, rapidly.  For a pianist, working the foot pedals is where much of the magic of the sound occurs, so it felt catastrophic.  Somehow, I got through with a decent performance, but I was a wreck.

Fast forward to today.  I have finally realized that the audience, first and foremost, for my playing is – ME.   Now, as I sit at the piano – or strap on the accordion – what matters is how I feel and what I hear as I play.  That focus, returning to my heart, soul, and ears, allows me to play at my most beautiful.  Now at times, does fear arise?  Yes.  The change from that young teen I was, is that I’ve learned to respect that friend fear, use that adrenalin surge to help fuel my playing, then talk her down from the ledge, so I can be present – for my own creative experience.

Music: Beatles, Let it Be; Bach, C major, take 1: https://drive.google.com/file/d/1t4ZU7nIALZ26naK-5d4-nMRKojT4d2B4/view?usp=drive_liBlock

Day 11:  “There’s a crack in everything; it lets the light in”

It would be a full five years after 1985 before I was ready to remember the terrible that had happened to me 30 years earlier.  But later, looking back, I understood how my body knew before my mind was ready.  My body broke down first – a mysterious untreatable immune system breakdown, with collateral damage to my eyesight in one eye. It took 5 more years after illness before my mind could finally open to the truth - but my body led the way for me. 

So what might this have to do with music?  In 1985, I wasn’t making music at all.  Busy as a civil rights attorney, I had no time for music.  But I fell in love with C., a Nuyorican (Puerto Rican born on the island, raised in NYC).  This love affair landed me plumb inside the Boston Latino community, as well as those communities in Montreal and Puerto Rico.  This meant hearing music, Latin music - all varieties, countries, and eras – and  dancing, lots of dancing – the rhythm of clave all around – not to mention the parties that started late, went till morning, with food always cooking and quantities of rum consumed.  I believe it was this delicious, alive musical dancing bath and strong community I was soaking in during those years with C. that gave my body a new way to feel, and the permission to break down – so that there could be that crack for the light to come in.   

Music:  Breakthrough, take 1, Annie’s: https://drive.google.com/file/d/1oRcc1rjWZsKceGdZx0dHjNhSbvBuaOae/view?usp=sharing

Day 12:  My first language

Music is, in a sense, my first language.  Not that I didn’t talk with words as a youngster - I did – normally and all that.  But when I started playing piano at eight, I found multitudes of communication I had never known before – and I was hooked.  So fast forward to 2021 when I tripped and smashed my face.  Bizarrely, the emergency room, while sending me a dental team to stabilize my teeth, and a plastic surgery team to stitch up my split lip, never mentioned concussion.  Nor did they ask if I’d ever had a concussion before, while I’d had two – one on the ice at seven, one a decade before when a mishap with my dog sent me flying through the air to land on the back of my head. 

Back to 2021.  When I was finally well enough to drag my sorry self to my primary doc, he said, you had what we call a ‘coup contrecoup’.  I knew enough French to know that sounded bad.  He explained: when my face hit the pavement (at a speed my mathematical brain calculated later at between 30 and 40 miles an hour), my brain bounced back and forth against my brain cavity, bruising seriously.  Or as AI puts it: "A coup-contrecoup injury is a traumatic brain injury that occurs when the brain is hit by an object and then rebounds and hits the opposite side of the skull. What happens? Coup: Bruising or tissue damage at the site of impact.  Contrecoup: Damage to brain tissue on the opposite side of the impact."

In other words, I had a traumatic brain injury.  This explained why I was a mental wreck.  Bright lights were painful; loud sounds were intolerable; I had trouble speaking and could no longer spell well (I’d always been a super good speller); my memory was shot; my balance, traditionally excellent, was wonky; I could not read for more than a few moments (yup, big reader).  I feared that I was no longer mentally fit and would never return from there.  (Spoiler alert: it took time, but I did. Although my balance never returned to what It was before and I have some mental impairment; yes, there are lingering effects.  ) 

There is one thing I did during my convalescence.  I played the piano.  My instinct told me that playing might be good for my healing and so I sat at the piano, every day, and I played – Bach, especially, but also other beloved classical composers (Schubert and Beethoven close seconds).  And I COULD play.  I learned once again how playing piano helps to reorder my distressed self. My first language once again saved me.

Music:  Bach C minor partita, take1:  https://drive.google.com/file/d/1XwIo595ILFTFH9GOM8e6rCg-Mup97swL/view?usp=sharing

Postscript: From the Washington Post, 2/25/25.  “After a traumatic birth left her brain-damaged, author Samina Ali had to rebuild her identity…The doctors had told her she’d be lucky to salvage her short-term memory, lucky to regain fluency of speech, lucky to raise her child as the mother she’d once planned to be. Resuming her career as an author — that was almost certainly out of the question. But Ali no longer trusted what doctors had to say. She had sensed her own mortal peril long before calamity struck, and now her intuition was telling her something else, about how to recover. She would write herself back together…Her neurologist had never seen another patient make a more dramatic recovery. He asked her what she had done to achieve such a remarkable outcome. “I wrote a book,” she told him then. She is still grieving what was lost and still learning what it means to live her life as this version of herself. “People love a finish line,” she says, and smiles again. “There is no finish line.””

Day 13: “And it was good”

When I was 10 and away at overnight camp in the Adirondack Mts of New York state, I had my first opportunity to climb a real mountain.  The top was all rock; with 360 degree views, everywhere I looked I saw mountain peaks.  I had climbed with my camp mates but when I got to the top, I moved away from the group, to a ledge, alone, and stared in total awe at the majesty of it.  At that moment, these words came to me, as clear as if someone had spoken them aloud to me:  “Yes, there is a God!”  At that moment, I felt a conscious knowing and conviction for the first time.  I entered a new zone of identity as someone who ‘knew’ God and ‘saw’ God - and it was good (“Ki Tov”, Genesis: 2.2.)

Which explains how 60 years later, here I was, recording a song about the Israelite people, enslaved by Egypt, finally escaping to freedom.  This story has a beautiful metaphorical level; the word in the story of Exodus for Egypt is actually ‘Mitzrayim’ which also translates as ‘the narrow place’.  Mitzrayim stands for all those times in life when we are stuck in ‘narrow places’ - spiritually, emotionally, physically.  These places we must move out of to live more fully.  Finally, this song celebrates the transmission of faith, love, and story from generation to generation over thousands of years. 

Music:  B’Chol Dor V’ador, by David Rothberg with Annie:  https://www.youtube.com/watch?v=oQEJatWFEBoock

Day 14:  God, Love, Gospel Music

A decade before I returned to Judaism, I was unknowingly paving the way.  An unexpected steppingstone was joining the Boston Community Gospel Choir. I had never sung gospel, never even sang in a choir (always the accompanist, never a singer), but I was game.  This mostly black choir sang with their bodies and their voices; each song was a testament of love of God, of Jesus, of one another.  Loads of clapping and synchronized movements; I loved it.  It was a community based on God, love, and music; one that every week prayed for healing for loved ones.  I was hooked, singing and dancing praise to the holy one.

Music:  Swing Low Sweet  Chariot, Annie, piano: https://youtu.be/_PSCdzgqgmg?si=tNQAC40NSMYXn0ut

Day 15: Just a few small waltzes

“To thine own self be true”, William Shakespeare, playwright. 

Artists need to become the enemy of envy or it will eat them alive”, Larry Poons, artist.

 As I am becoming more aligned with my musical nature, I see how I have devalued my music-making, comparing myself to others.  Which leads me today to offer some small Brahms Waltzes.  My envy would have had me play some more substantial piece by Brahms; or bring in some groovy pop music; or improvise something unique and remarkable.  But when I listened to “mine own self” today, I found I just wanted to play, slowly, some Brahms waltzes.  No envy.  Just “Delight & Slowness,” Y.V., colleague/friend.  To my own self, truly.

Music: Brahms Waltzes:  https://drive.google.com/file/d/1Q-9JZjz8FiO84lCuJTicOLhXz1n-2c74/view?usp=sharing


Day 16: How? How? How?

I will ponder, until my last breath, my last musical note of my life, questions.  Deep inquiry is central to the deliciousness of my life.  Such as:

    - “How much further can my heart and soul expand in this lifetime?” 

      - “How many more ways will I serve God until my trips around the sun cease?” 

       - “How much greater will my ability to connect and be part of communities be at the end than it is now?”

I cannot answer these questions - and yet, they intrigue and excite me.  I have no words, so I am allowing the music to speak for me. 

Music: Arvo Pärt Variationen zur Gesundung von Arinuschka / Variations for Recovery for Arinuschka (written for Arvo Pärt’s wife Nora Pärt, née Nora Arina, while she recovered from illness):  https://drive.google.com/file/d/1APpqsF9s2ROb9eQPgS_yLBLRa9YqZl9d/view?usp=sharing

Day 17:  Music, everywhere, and broken piano wire

I dreamed of being a professional pianist throughout my childhood but that dream crashed when I was 18 and left conservatory.   For decades I played sometimes and then would have months when I didn’t even touch the piano.  It was painful but the best I could do.

When I met my third husband, and invited him over for dinner on our second date, he said, “Can I bring anything?”, and I said, “Yes, bring your guitar.”  Unusual, yes.  I knew he was a musician but needed to know how good he was.  And he was very good.  We spent the evening playing music together – I moving around from piano to accordion to flugelhorn.  It was magic and I was in love.  So started a relationship where music was everywhere, classical and pop, all the time. 

Our first summer, we went to a musical festival in Maine – camping on fairgrounds, incredible bands performing.  But the best part was wandering the campgrounds late at night with guitar and accordion, joining people jamming.  One night, about 2 am, we wandered into a group that were all headliners for the festival and jammed with them.  That was another magic moment – yes, not only am I a fine classical pianist, but I can jam with the best of them. 

This marriage allowed me to step into my artistry as a musician in ways I had only dreamed of before.  What a balm for my soul.  Now we are divorced; I have other growing to do, healing we could not do together.  The music remains.

My choice of music today is a Chopin waltz.  You may notice toward the middle some unusual sounds.  Those are the result of the replacement of a broken piano wire, which is still adjusting to its new life.  As am I.

Music:  https://drive.google.com/file/d/1yCOFHB8EMtbX0B3R8KdhRhkZK8sYdXal/view?usp=sharing

Day 18: A Shepherdess

When I first took piano lessons, it was straightforward.  Go to lesson, practice what teacher taught, return to lesson; rinse and repeat.  I adored the piano, practiced endlessly, and never thought much about which music I wanted to play, who with, what for. That was for teacher.  For me, it was all about practice, lessons, and maybe, just maybe, becoming a professional, whatever that might be.

Fast forward, today, playing music is a form of prayer for me.  It uplifts and soothes me; and sometimes, also those who hear me.  What’s the nature of how I be in the world, musically and in other ways?  This morning, as I started my day, as is my practice, reading a psalm, this verse grabbed me.  Perhaps, looking for one word for my lifetime journey, it is “shepherd.” 

As I read: “Trust in God; wherever you dwell, shepherd others faithfully.” Psalm 37:3.

So it turns out that what may look to the outside world like a simple equation, i.e., play beautiful music, is actually divine work.  And I am that enigma, riddle, and mystery*, of a modern day shepherdess.

*Winston Churchill: “a riddle wrapped in a mystery inside an enigma

Music: Bach’s Chaconne in D minor, a violin piece, transcribed by Brahms for piano.   https://drive.google.com/file/d/1hwsODHtVrOzqUpy-ghZ6P1Nj7morQCws/view?usp=drive_link

Day 19: I am a Contender (On the Waterfront, Marlon Brando)

A few months before the fall of the Berlin Wall, I received an unexpected invitation to help an East Berlin cabaret singer, who had come to Boston as part of a friendship tour.  She was scheduled to perform in Boston, but had no one to accompany her, as this important detail had been dropped in the tour logistics.  Other than loving the film, Cabaret, and having heard the song La Vie en Rose (long before it was made a movie), I had no relevant musical experience – except being a piano player.  So, quaking, I said yes.  I was sent sheet music of the songs on a Wednesday, had 2 rehearsals on Thursday and Friday, and performed Friday night.  The singer was demanding and difficult in our rehearsals (a diva terror, most accurately); I struggled to meet her requirements and those of her program. 

Magically, I rose to the moment and her performance, including my accompaniment, was a triumph of re-creation of a Berlin cabaret act.  At that moment, I realized not only that I could have been a contender in the world of popular music, but I was that ‘contender.’

Music: Semer Ensemble: Rescued Treasure: Music from Berlin, 1933-39: Song:  Verbei (“It’s Over”), a song from Jewish Berlin, 1930’s pre-Hitler. https://drive.google.com/file/d/11w7Bo8Ov1mC61MpLr6MqtKRBY4Z_5A3j/view?usp=drive_link

Day 20: Songs without words

make music so that my heart can speak.  Without words.  Sitting at the piano, playing, my inner landscape of emotions flows, unimpeded (unlike away from the piano).   Such an array of feelings:  joyous, energetic, bubbly; majestic, soaring, flowing like the ocean; arising from a place of unimaginable calm and peace; or of mourning and grief; or so open and tender that my heart aches.  Sometimes, after I play, I feel so indescribably vulnerable that I can’t even move. I sit motionless on the piano bench, taking time to recover, to return to the present moment.     

I realize that this is why I make music.  Yes, I create beauty with my playing, but the truest beauty I experience is the exploration and ‘speech’ of my heart. 

Music: Mendelssohn’s Songs with Words, Op. 19, No. 1: https://drive.google.com/file/d/1UETYGxxIo_1x4OBZMRZEVfXM7nLFLTGp/view?usp=sharing

Day 21: The ending is also the beginning

CODA

Coda: a musical term referring to an end that comes after the actual ending.  It’s used frequently in music.  It’s a place of lingering.  A way of extending the experience and feelings engendered by the music.   Because sometimes, we cannot bear to depart just yet. 

There are so many more stories I will tell in my life; so much more music I will create.  For now, I invite you to stay just a little bit longer, with this piece by Bach, titled in German, “Gottes Zeit ist die allerbeste Zeit”; in English, “God’s time is the best time.” 

I heard this music while revisiting a documentary film (Seymour: An Introduction) Ethan Hawkes created in 2014 about the life and work of one of my piano teachers, Seymour Bernstein.  Seymour shares that Ethan asked him to play something spiritual.  Seymour chose this piece and introduced it as follows:  “Whether or not you believe in God, this piece emanates a spiritual presence that you’ll all recognize, full of love and tenderness.”  So please, linger here a moment, my dear audience, and take in the love and tenderness.

From Bach Cantata 106: “Gottes Zeit ist die allerbeste Zeit”, (“God’s time is the best time.”)  https://drive.google.com/file/d/1kmpHYrVkv0p2itPDfRMIFfvaWR4tKJR-/view?usp=sharing