This CD has almost all the unaccompanied sacred mixed-choir music Brahms wrote after his mid-20s, plus the earlier fragments of a canonic mass. The 37-member choir performs with excellent dynamics and diction in a resonant space.
The acclaimed Mexican filmmaker Alejandro González Iñárritu strings together four stories from around the globe in Babel. It’s an effort to show an interconnected world marked by divisions, alienation and suspicion—the curse of Babel.
That time I thought I could not go any closer to grief without dying
I went closer, and I did not die. Surely God had His hand in this,
as well as friends. Still, I was bent, and my laughter, as the poets said,
was nowhere to be found. Then said my friend Daniel (brave even among lions), “It’s not the weight you carry
but how you carry it— books, bricks, grief— it’s all in the way you embrace it, balance it, carry it
when you cannot, and would not, put it down.” So I went practicing. Have you noticed?
Have you heard the laughter that comes, now and again, out of my startled mouth?
How I linger to admire, admire, admire the things of this world that are kind, and maybe
also troubled— roses in the wind, the sea geese on the steep waves, a love to which there is no reply?
Coming to God: First days
Lord, what shall I do that I can’t quiet myself? Here is the bread, and here is the cup, and I can’t quiet myself.
To enter the language of transformation! To learn the importance of stillness, with one’s hands folded!
When will my eyes of rejoicing turn peaceful? When will my joyful feet grow still? When will my heart stop its prancing as over the summer grass?
Lord, I would run for you, loving the miles for your sake. I would climb the highest tree to be that much closer.
Lord, I will learn also to kneel down into the world of the invisible, the inscrutable and the everlasting. Then I will move no more than the leaves of a tree on a day of no wind, bathed in light, like the wanderer who has come home at last and kneels in peace, done with all unnecessary things; every motion; even words.
All afternoon the sea was a muddle of birds black and spiky, long-necked, slippery.
Down they went into the waters for the poor blunt-headed silver they live on, for a little while.
God, how did it ever come to you to invent Time?
I dream at night of the birds, of the beautiful, dark seas they push through.
These poems are excerpted from Mary Oliver's book Thirst (Houghton Mifflin), used wth permission of the publisher and the author.
You can snarl and rage and roar and snipe at thugs and liars, Sure you can, and right you are for doing so, and you maybe Actually enjoy letting the lava soar out all righteously, right? But even so, there are lies inside you like viruses. You know What I am talking about; we don’t need to go into any detail. And we have been too familiar with a little thuggery, haven’t We? Not battery: You’ll say, rightfully, that you are innocent. No: I mean the times you knew about assault and battery, and Did zero. We just stood there. We pretend to be fascinated By something else that just happened to be happily elsewhere. We turned our heads, so it looked like we just hadn’t noticed; We can surely be excused if we didn’t see it, right? Right?
During Hitler’s siege of Leningrad in the winter of 1941–42, the Russian composer Dmitri Shostakovich and the entire Leningrad Philharmonic were evacuated from the city. A performance of Shostakovich’s seventh symphony, dedicated to the city of Leningrad, was planned for August 9, 1942. There were barely enough musicians left in the city to perform it. The score had to be flown in over German lines, and musicians were pulled from the front lines to bolster the meager ranks of musicians left behind. This performance was a show of resistance in a city which had just lost 1.2 million people (NPR, November 2).