A Visit to King's Chapel at Gibraltar, August 2001
I spent 30 to 45 minutes in the splendor of King's Chapel, admiring the spectacular architecture and observing all of the marvelously decorative elements in this very beautiful place of worship. One can almost feel the pulse of history which courses through these glorious surroundings, as if in one moment one may envision the many years of service provided in this remarkable space. As the building was badly damaged during the Great Siege of Gibraltar from 1779 to 1783, it is a wonder that these walls and ceilings have not only survived but also been the dedicated object of considerable renewal, preservation and restoration. During my visit here I was not disturbed by anyone and spent the entire time in quiet repose and methodical thought, glad of my opportunity to see this Chapel in person and to glean its importance in the history of Gibraltar, its people and its cultural surroundings.
I have stood here in the midst of the Arizona desert, feeling the power of the sun momentarily dispersed through the traveling court of clouds high overhead. In the quiet of pristine clarity, one comes closer to the ever evolving sounds of nature, hearing the sometimes muffled cries in the distance interwoven with the startling immediate presence & pulse of desert wildlife. The desert quail and other birds often respond to the sounds produced via the Audubon bird call, coming closer to inspect the source of the tweets, chirps and foreshortened birdsong. One feels the immense carpet of time-change sweep from early morning to late afternoon, noticing the colors of the day as they morph from brilliant hues to faded transparencies. These are the feathers of time, where the mountains, rocks and trees diligently mark the passage of years, decades, centuries and beyond. How great a privilege to see and hear this remarkable environment, a place of everlasting Light & Shadow.
Passages for Poets & Artists - Part II
Journeys & Visions Along the Urban Landscape
Often we encounter glimpses of things which might ordinarily escape our notice. In the 1960's I frequently traveled via the Jersey Central Railroad to Newark from the station at Dunellen on my way to New York City. As you approach the more densely populated areas, one notices a more commercial, urbanized landscape and fewer pockets of picturesque trees. Yet I distinctly remember gazing dreamily northwards from the windows of the eastward-bound train as I prepared for a day in the City.
To Gauge the Map of Tracks, Trees & Hills
As you approach Plainfield, there is a point somewhere in the vicinity of Leland Avenue which affords an expansive view to the north. On one eventful train trip many years ago, I just happened to casually glance in this direction and noticed a spectacular sight which I had never seen before. Just overhead from the dense pocket of trees to the north, in the distance I could discern a beautiful building shining in the early morning sun. It was on the southern side of one of the Watchung Hills, looking like a magnificent palace, a stone castle or royal chateau. As the train crosses Terrill Road, you can still see this building quite clearly, but the image fades as you edge toward Martine Avenue, eventually dropping from sight as you approach Westfield Road. This view lasts only a brief moment on the moving train, then vanishes altogether, not to be seen again until the long homeward-bound journey.
A Vision Upon the Watchung Hills
The beautiful building within sight of the train is known as Mount Saint Mary Academy, an independent school which offers a college preparatory program for young women, 9th through 12th grade. Situated in Watchung, just north of Plainfield along Route 22, the Academy is under the direction of the Sisters of Mercy of the Mid-Atlantic. The first building to house the Academy was erected in 1908, unfortunately destroyed by fire in 1911. The new building (the present structure) was rebuilt in 1912, featuring a prominent bell tower with the inscription "Gratias Agamus Domino Deo Nostro," (We give thanks to God). Whenever I had occasion to travel via the Jersey Central, I would earnestly look northwards to see if I could spot the bell tower and the imposing facade of this magnificent building. On certain days, if the weather was overcast and grey with slight rain or fog, you might totally miss the vision upon the hill and the grounds adjacent to the Academy. If the trees seemed to grow somewhat taller, the view could be completely cut off and suspended from sight. Sometimes you really had to search the horizon or you might miss the occasion in a matter of moments.
Andante pastorale from Symphony No. 3 by Composer Carl Nielsen (1865-1931)
There is a passage in this remarkable symphony (FS 60, Op. 27 "Sinfonia espansiva," composed in 1910-11) where two soloists enter the second movement and sing wordlessly in the "Ah" vowel, echoing one another and sounding profoundly beautiful together amidst the splendor of the orchestra. These two voices seemingly appear out of nowhere and rise to glorious heights of harmonious expression, drawing the listener in toward one of the most transcendent moments in all of Classical music. I find this music to be thrilling and resplendent in an all-encompassing manner, especially in the version offered by Dacapo with Michael Schonwandt conducting the Danish National Radio Symphony Orchestra. In this performance, Inger Dam-Jensen sings the soprano part and Poul Elming the tenor part, recorded in cooperation with Danmarks Radio. (This recording is also available on Naxos.)
A Brief But Glorious View
The second movement of Nielsen's 3rd Symphony illustrates how a moment of divine music may inspire us in an extraordinary and long-lived manner. It is just a brief interlude in the overall structure of the Symphony, a passage which Nielsen refers to as "the purest idyll." Yet this passage reflects a visionary summit peak, a moment where voices soar wordlessly over the enchantment of the symphony orchestra. It is a reminder of the art of perspective, a vital reflection of looking upward and outward and noticing something we might have previously missed. From the train to a brief vision of the mountainside Academy, from a momentary passage in music, or from the written notes of Carl Nielsen regarding his Symphony, we may each engage "...a certain expansive happiness about being able to participate in the work of life and the day and to see activity and ability manifested on all sides around us."
Passages for Poets & Artists
A Journey Across An Imaginative Landscape
In the late 1960's I often had occasion to travel via the Jersey Central Railroad from the Dunellen train station all the way to Newark, traversing the Hudson Tubes and eventually arriving at New York City. As an Art student enrolled in the New York Art Semester at Drew University, I was expected to visit museums and galleries, engage in class field trips to meet artists in their studio environments, and to keep a noteworthy journal of my thoughts, perceptions and observations. The Jersey Central provided a convenient method of commuting to NYC and I quickly became fond of train travel as an alternative to taking a car or bus to the City. The route began in Dunellen, traveled through Plainfield, Fanwood, Scotch Plains, Westfield, Garwood, and Cranford, finally reaching the great train station at Newark, a place of enormous overhead structures and miles of parallel tracks packed with passenger trains.
The View From a Train Window
There occurs a brief moment as you leave the train station at Fanwood heading East where the tracks curve slightly to the right and the train allows a view into the backyards of some vintage homes clustered along a stretch of wooded parcels of land to the North of the tracks. At this point the train seems to be at a somewhat higher elevation, perhaps as much as 10 feet higher than the backyards of the homes, giving the effect of looking downwards into a miniature canyon or autumnal valley. Just at this juncture of time and space, I would remember the lines from one of the songs by Judy Collins on her 1967 album "Wildflowers," a critically acclaimed album arranged and conducted by Joshua Rifkin. All of the songs on that recording are gems, but the one which keeps coming back to me is entitled "Albatross," one of the most beautiful works of art which Judy ever recorded. The first lines read, "The lady comes to the gate dressed in lavender and leather...," a poetic entry into a visual field of splendor. The song continues, "...She hears the steeple bells ringing through the orchard all the way from town." I do not remember if there were any gates that could be seen from the train windows, but there were certainly plenty of places that a gate might provide a beautiful entryway into these lovely homes with their petite backyards. Similarly one could occasionally view a church steeple briefly at some distance from the tracks, or imagine the bells heard in each neighborhood, or envision the neat topography of land laid out from the town center to the small wooded parcels dotted along the train tracks.
A Poetic Song with Evocative Images
Judy's song continues with vibrantly resonant language, pinpointing the grandeur of the human landscape as well as the natural landscape. "Many people wander up the hills from all around you, making up your memories and thinking they have found you." As I peer through the train windows I begin to see the history of the moment and the pattern of the events and the people in my life. From station to station, from track to track, from city to city....these thoughts and perceptions become the dialogues of a young art student transformed via time and the ongoing process of maturity. Judy speaks of "the embroidery of life" and then paints a picture which becomes indelibly etched in my artistic heart and mind. "...And in the night the iron wheels rolling through the rain, down the hills through the long grass to the sea." Joshua Rifkin's arrangement and orchestral conducting soar with an affinity for Judy's lovely voice during this powerful passage. There is a rise and fall of evocative feeling in this special music, conjuring images which remain impressively vivid.
Judy's song "Albatross" closes with some perceptive observations on the continuity of life. "Day and night and day again, and people come and go away forever." Who hasn't reflected upon our days of schooling or early family life or days spent working or travelling or interacting with others via relationships? Wave upon wave of events may occur as cycles existing in time, like the train excursions via the Jersey Central, peering out the train windows and recording the impressions one may encounter or visualize along the way. Then in the closing lines to the song, Judy so eloquently, so elegantly, quietly recites a marvelously resonant and poetic message, "Come away alone, ...come away alone....with me." This is the memorable language of love, a time and a place which can be viewed as a tender invitation, a noble passage, an everlasting entrance or an eternal gate.