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Posts Tagged ‘singing’




On a rocky white outcrop,
Ulli and I stand in silence
at the edge of the canyon,
held by layers that range
from the Permian to the Cretaceous,
and Ulli begins to sing
a song we sang twenty years ago
and, from the strata of memory,
I unearth the German lyric,
excavate the harmony,
and we join our voices
to the structuring of time,
just one more arrangement
of temporal events
added to the linear record
since the singularity.
And the sound waves tremble
in the sensitive membrane drum
between the middle ear
and the cochlea—
a song of connection,
a song of fading light,
a song that somehow
has origins in the Ichthyostega
that crawled from the sea,
the development of Broca’s area
in the left frontal lobe of the brain,
the mountaineers who would sing
to each other across the Alps at dusk,
and this wonderful woman who
brought these words and this tune from Europe
and taught them to me in Colorado
so that decades later
we might stand side by side on this cliff
and know ourselves lucky—
after all that has happened—
lucky to find ourselves in the same remote place
singing the same familiar song,
the molecules a spiraling ricochet of praise,
our song itself part of the matter
that makes the world,
part of a pattern that is ever overlapping.
Is it any wonder
I cried?

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There comes a day when a woman knows
she’s more Mother Superior than Maria—
and though she spent decades dreaming
of spinning on stage singing The hills are alive,
she now knows she’s more likely
to be cast standing in a habit, clutching a rosary,
singing Climb every mountain.
How many dreams pass us
before we realize they’ve gone?
Already I know I will never climb Everest,
will not be an Olympic Nordic skier,
will not research the cure for AIDS.
Every day I am less the woman I dreamt I would be
and more the woman I am—
which is, apparently, a woman who sits in the balcony
to see “The Sound of Music” and drives home happy,
still singing about how her heart
wants to beat like the wings of the birds that rise
from the lake to the trees.
A woman who is learning how,
now that her dreams have faded,
she can be more present than ever.

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for an hour we danced
in the tiny kitchen
and sang with Dolly,
our voices braided
like eager vines,
and for that hour
I smiled and swayed
and I felt such spaciousness—
like a lost girl in a fairy tale
who has walked through dark woods
and arrived in a glade
with sunlight streaming
and flowers and bird song,
and though she’s still lost,
for this moment she’s safe,
not only safe, but happy,
truly deeply happy,
and when she reenters
the cold, dark woods,
as she must,
a bit of the shine
has twined into her.
Even now, I feel it,
the radiance,
how it shimmies
just like we did
beside the old oak cupboards,
how it glitters in the dark,
how it moves.

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for Merry Stoll


I loved those Sundays
when I, a teenage girl,
would climb the stairs
to the church choir loft
where my grandmother and I
would sing hymns side by side.

God, I loved her voice,
rich with vibrato and conviction,
loved her wide warble—
not a pure note,
yet wholly in tune.

Of all the selves I have been,
I cherish that girl
who knew to the core
she was lucky
to sit beside such a woman.

She didn’t yet know
nothing lasts forever,
she only knew
how she loved those moments,
their voices weaving together,
their bodies leaning into each other
like two notes grateful to be sung.

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Crickets




When they sing
it is a kind of love,
a pure-toned,
full-bodied ringing
born of friction.
You could say
it’s just a wingstroke
that makes a pulse of sound
that joins with all
the other pulses
to form a river of music,
and you would be right.
But there are many ways
to face the dark.
One is to hide.
One is to prowl.
One is to bring
the bright music
of your body
and offer it
to the night.

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Harmony




Surrounded by steep cliffs
and great open sky,
we stand on the point
and sing—not for money,
not for fame, not even
for the crow that hovers
above us on the wind—
we sing for joy, sing because
in that moment when
eight of us sing there is
one voice among us, one mind,
one invitation to move alone together
through the door of the moment
and know that as much as we
are entirely ourselves,
we are one, oh my god,
we are one.

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     composed by Jeffrey Nytch, conducted by Elizabeth Swanson
 


Sitting in the red velvet chair
in the first tier box of Carnegie Hall,
I was well aware
that for some in the audience,
this was just another song being sung,
one more moment of beauty
in a long string of moments of beauty,
but for me, looking down at that stage
full of singers, the pianist, the conductor,
I saw, too, the same space thirty-seven years ago
when my father and I sat in chairs on the stage
and listened to Vladimir Ashkenazy play piano
and my dad whispered to me,
This is only the first time
you’ll be on stage at Carnegie Hall.
So when one hundred twenty people
began to sing words I wrote,
their voices both thundersome and tender,
I lived into the chance to be who
my dad believed I could be,
the chance to live through music,
the chance to grow into a dream.

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I want a word that means
   okay and not okay,
     a word that means
devastated and stunned with joy.
   I want the word that says
     I feel it all, all at once.
The heart is not like a songbird
   singing only one note at a time,
     more like a Tuvan throat singer
able to sing both a drone
   and simultaneously
     two or three harmonics high above it—
a sound, the Tuvans say,
   that gives the impression
     of wind swirling among rocks.
The heart understands the swirl,
   how the churning of opposite feelings
     weaves through us like an insistent breeze,
leads us wordlessly deeper into ourselves,
   blesses us with paradox
     so we might walk more openly
into this world so rife with devastation,
   this world so ripe with joy.


*

by the way, friends, if you are aware of a word in another language that means okay/not okay, gosh, I would love to know it

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Unity




Today we lose the words
yours and mine and find
in their absence a song
that can only be sung together.
How did we ever think
we could attempt
this humanness alone?
To the table of love,
we bring soup, bring cherries,
bring the bread of our own
sweet communion.
We bring scissors to cut away
the tresses of the past,
bring dark wine to toast
the courage of showing up exposed.
And when we forget
the words to the song,
well, there is always laughter.
And when we forget to laugh,
well, there is always
the union of tears—
the way many rivers
become one river,
the way many voices
become one song.

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What we do now echoes into eternity.

            —Marcus Aurelius



If what we do now echoes into eternity,
then let there be more mornings such as this one
in which my mother wakes me by singing
a thin thread of melody
that praises the beauty of the day.
By breakfast, I feel the small reverberations
of her joy as they ricochet in me
chiming against loss and fear,
an unabashed gladness that rings
against the holy ribs,
that spirals inside the aortal caves,
that peals through the chasms of the hours.
By afternoon, it’s coruscating, resonating,
a bit of aural shine against the day’s ache,
helping me meet the world just
a bit more brightly.
Just think, after an eternity, how much
beauty might have come from one
simple tune sung by one open heart
willing to sing for one moment what is true.

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