"Strings On Holiday" - 12 inch diameter format on pressed wood, acrylic paint. From an original sketch completed in 1986, currently in the artist's collection. For a time this painting was featured in an art show at Mountain View Station, one of the branches of the US Postal Service at Mesa, Arizona.
I posted a picture of the original sketch for this finished painting in the blog-post entitled "Strings, Dreams and Orchestral Visions" published on 11/21/2013 (still available in the archives). In that post I indicated the story behind this rather imaginative set of images. Previously I did not believe that I could fully or adequately illustrate the visual content of my dreams, but completing the first sketch and then the final painting convinced me that the subject was within grasp. This entire scene was set out before my eyes in a vivid dream sequence which stayed with me for hours, days and weeks after first viewing. The main subject which dominated this imaginary landscape was a floating violin or cello which seemed to slowly advance across a wide agricultural field and then to just hover in front of my vantage point. The instrument seemed to glow with a white light infused from within, emitting musical notes all the way along the richly colored fields below, some notes also hovering above the ground, others disappearing beneath the field, and still others remaining partially submerged like scythes or farm implements skimming the surface. The sky above seemed to suggest a mixture of both daytime brilliance and night-time wonder. What seemed to be a farmhouse in the distance also looked like a music stand from which more notes were emanating and joining the chorus in successive waves. To the left stood an enormous red-branched tree with a fine display of sinewy extremities. In the left distance what appeared to be a striped orange and brown mountain also seemed to become part of the foliage of the red tree, suggesting a colorful bonnet or regal canopy of fantastic size and character. Surprisingly I do not remember hearing any explicit forms of music in the midst of this dream, yet there was dynamic motion, color and possibly just the mysterious sound of a solo violin. At this time (1986) I was working full time as a letter carrier for the US Postal Service and had not played a musical instrument since 1965. In 2000 some friends gave me a beautiful vintage Scandalli accordion which transformed the way I thought about music. Then I joined You Tube in 2009 and began to post some videos of accordion music including some improvisational pieces and folk and classical standards. In some respects I think that the dream of the floating violin and the imaginary landscape helped to re-ignite my passion for seeing and hearing the wondrous beauty of acoustic music. Despite my initial reluctance to try to capture this dream via visual Art, I found that the image came quickly and fairly easily once the process had begun. Correspondingly, the practice and study of music also came along so naturally with the gift of an accordion. It seems that we are only away for a short time and then we are ready to explore anew our musical or artistic roots. Once those notes are planted in the ground, we have only to look up to see the full picture.
Usery Mountain Recreational Park, just north of McKellips Road in Mesa, Arizona. The unique coloration of these mountains may have inspired some of the images seen in my original dream. The finished painting suggests the various stripes of tan and brown, transformed into the brown and orange pattern in the imaginary scene.
The original three inch diameter sketch on artist's paper, composed just after I experienced that unusual dream of the floating violin and imaginary landscape. I used color pens and tried to work quickly in order to fully capture the essence of the scene. The colors differ somewhat from the final painting but remain true to the spirit of the original vision.
A Memorable Fantasy Film in the Science Fiction Genre
Cy Endfield directed "Mysterious Island" with a screenplay written by John Prebble, Daniel Ullman and Crane Wilbur, loosely based upon the original novel by French author Jules Verne (1828-1905). The cast is comprised of Michael Craig as Capt. Cyrus Harding, Joan Greenwood as Lady Mary Fairchild, Michael Callan as Herbert Brown, Gary Merrill as Gideon Spilitt, Herbert Lom as Capt. Nemo, Beth Rogan as Elena Fairchild, Percy Herbert as Sgt. Pencroft, and Dan Jackson as Cpl. Neb Nugent. The film was produced by Charles H. Schneer, featuring a grand music score by Bernard Herrmann (recorded with the London Symphony Orchestra), cinematography by Wilkie Cooper, Art Direction by Bill Andrews, and sensational visual effects created by Ray Harryhausen.
Opening Credits and Following Scenes
The film opens with the powerful orchestral music of Bernard Herrmann, utilizing a very large orchestra incorporating 8 horns, 4 tubas and an expanded wind and percussion section. We are swept up into enormous waves of imagination as we encounter Herrmann's vivid and spectacular score. Although Ray Harryhausen has stated that his original idea was to showcase a prehistoric concept, he indicates in the accompanying documentary that this plan was altered in order to highlight the plight of survivors on a marooned island in the Pacific, a vehicle for introducing giant creatures via the "Super Dynamation" process.
The film opens with a scene from the American Civil War as Federal and Confederate armies face one another during the Siege of Richmond, Virginia in 1865. As a storm rages outside of a Confederate prison, Federal prisoners make plans to escape, hoping to capture an observation balloon despite an armed guard and the furious windstorm aloft. The masterful set design gives a very atmospheric feel to the interior of the prison and the outer courtyard where the balloon is secured in the midst of buffeting winds and heavy rainfall. Through a clever execution of events, the Federal prisoners make their daring escape and manage to take the balloon aloft, narrowly missing a few rifle shots from the Confederate guards as well as avoiding a sharp steeple almost directly in their appointed path of ascent.
The Journey Aloft
Although Capt. Harding's plan of escape is successful, the group of escapees now includes a Confederate soldier (Sgt. Pencroft) who valiantly attempts but fails to halt the stealing of the balloon. Now there are five passengers in the wicker basket beneath the balloon, including Capt. Harding, Pvt. Herbert Brown, newspaper correspondent Gideon Spilitt, Cpl. Neb Nugent and the aforementioned Sgt. Pencroft (an unwilling participant in the grand escape). As furious winds carry the balloon further and further aloft, Capt. Harding narrates the story via a descriptive voice-over, indicating they are now "prisoners of the wind" in the greatest storm in American history. The group witnesses "forests torn up by their roots," and begins to feel "helpless in the storm's mighty grip." Capt. Harding intuitively speculates internally about ever setting foot on earth again.
Music, Storms & Atmosphere
When someone notices a large body of water below, the group decides to lower the balloon's altitude in order to investigate their exact location. After days of travel initiated by incredible winds, it is thought that they may now be over the Pacific Ocean. As the descent proves to be too fast (due to a stuck release valve), Capt. Harding heroically climbs up the craft's rigging to try to stem the rapid fall but manages only to break the valve. The group is now stuck in mid-air, unable to descend or ascend, frozen at a specific height above the ocean waters below. A storm appears, forcing the crippled vessel to be carried westward in the furious current of the moment, lashed by wind-gusts and torrential patterns of rain. The balloon tears open causing a rapid descent toward the angry waters swirling beneath the imperiled craft. Capt. Harding orders everything of weight to be thrown out, guns, food, ammunition, all in order to reduce heaviness. Everyone must climb the rigging to get closer to the balloon in hopes of jettisoning the wicker basket as a further measure of weight reduction. It is a precarious moment and Herbert hesitates as he looks down upon the violently churning sea far below. Capt. Harding orders Herbert to make a snap decision, "You climb or you drown!" This scene features a magnificent portrait of the sea and the ruptured balloon as the basket is cut loose and falls to earth below. The music of Bernard Herrmann adds immensely to the overall excitement, flavor and atmosphere of the special effects introduced by Ray Harryhausen and the artists involved in this thrilling fantasy film.
A Wilderness Journey & a Memorable Encounter
Many years ago I drove from my home in Mesa to spend a day hiking in the Superstition Mountains at Lost Dutchman State Park, just north of Apache Junction, Arizona. It is a leisurely drive from where I live to the entrance of the Park, perhaps 30 to 40 minutes, with clear views all around and a rare majesty of the mountain/ desert interface on panoramic display. On this particular day I brought an Audubon Bird Call with me as well as some reading material, good hiking boots, comfortable clothing (safari style), a couple of snacks, plenty of water, and a nice cowboy hat to offer some shade from the hot desert sun. Early in the morning I started up the main trail and hiked a brief segment until I found a shady spot next to some palo verde trees and rock outcroppings. There I found a perfectly secluded spot where no one could see me and I could rest amidst the bounty of natural flora & fauna, taking delight in these extraordinary surroundings.
A Startling Sound & A Brilliant Display
As I became entirely comfortable in this desert hideaway, I began to read and to quietly mimic the sound of bird chirps through the use of the bird call. After a few minutes I suddenly became aware of a thundering sound and a delicate palpitation right next to my right eye and upper cheek. I thought for a moment that it was a very large bumble bee or honeybee and I just froze unable to move. This winged phenomenon was beating its wings wildly in an extraordinary manner, and I could hear it and feel it so distinctly, perhaps only 6 inches from my face. I turned my gaze ever so slightly toward this object and noticed very bright, iridescent colors, and a very long, slender and narrow bill. It was a beautiful hummingbird just hovering next to me, apparently attracted by the sound of the bird call and looking me over from cowboy hat to dusty boots! This moment only lasted a brief minute or two, yet I was so delighted and stunned to come that close to such a beautiful creature. The little fellow took off after a suitable inspection, allowing me to savor that spectacular chance meeting as a divine and cherished gift.
The Audubon Bird Call
The Audubon Bird Call was invented in 1947 by Roger Eddy, an author and member of the Connecticut State Legislature. This small device, just a couple of inches in length, is made of cast zinc (or other metal) and birch wood, made in Rhode Island and available from many specialty shops in either red or natural wood color. You can twist the metal knob and mimic the sounds of a host of different species of birds, from chirping sounds to song-like tweets. The wooden chamber may be treated with a bit of rosin (usually supplied by the manufacturer) in order to keep it at its best sound-producing capability. If kept dry and away from moisture or humidity, the bird call should last indefinitely and provide many hours of bird-watching enjoyment.
Hummingbirds are fascinating creatures to watch, with estimates of anywhere between 60 to 200 times per second of the flapping of their delicate wings. They experience a fast breathing rate, fast heartbeat, and high body temperature, can fly up to 60 miles per hour, are capable of incredible gyrations & mid-air maneuvers, and can live 5 to 6 years in the wild. There are some 320 species extant, covering a wide swath of geographical territory, often migrating appreciable distances. Their colors are fabulous in richness and vibrant in texture, shining in a spectacular manner, especially in the deserts of Arizona, a location noted for brilliant sunshine year round.
Lost Dutchman State Park
40 miles east of Phoenix stands this remarkable sanctuary, nestled within the Sonoran Desert, featuring many trails which lead into the Superstition Wilderness and the Tonto National Forest. You can hike Siphon Draw Trail to the top of the Flatiron, an elevation of 4,800 feet, a height which affords a monumental view of the Valley below. At that elevation, Phoenix looks like a city made of toy blocks perhaps one quarter inch high along the distant horizon, and Mesa and Apache Junction fan out in dazzling array as far as the eye can see. Mule deer, coyote, javelina, jackrabbit, desert quail, and cactus wren populate the landscape here, with hiking trails and nature trails adding to the convenience of 72 campsites within the perimeter of the Park. The name "Superstition Wilderness" was apparently inspired by Pima Indian legends, and one may still find evidence of cliff dwellings and caves in this area. Salado or Hohokam Indians may have populated this landscape 100's of years ago, with Pimas, Apaches and Yavapais living here subsequently. In the 1800's this area became an Apache stronghold. In the 1840's the Peralta family of northern Mexico produced a gold mine here. In the 1870's Jacob Waltz and his partner Jacob Weiser apparently located the mine, but kept its location a well-guarded secret. After Waltz died in 1891, no one was ever able to find the exact location of "The Dutchman's" lost mine.
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."
A Colorful & Vivid Dream
Many years ago I awoke from a particularly vivid dream which I simply could not forget. Yet I did not think I could capture the full effect of this vision through drawing or painting or any other medium. In an attempt to graphically duplicate some of the dream's elements, I went into my studio and began to sketch on an artist's pad, trying to re-draw the forms and shapes and colors which I had so vividly seen just a few moments before. This sketch is represented here in a size closely representing the original 3" diameter pen & ink drawing.
An Atmospheric Landscape of Unusual Design
In my dream I visualized a brightly painted string instrument (violin, viola or cello) loftily sailing or silently floating above a large expanse of agrarian fields, allowing momentary musical notes to emanate from the instrument, each note gently descending into the cultivated soil below. Some of the notes disappeared entirely beneath the rust/ green fields while others almost seemed to become half-planted farm implements or scythes suited for agricultural harvest. There was a farmhouse in the distance which almost became a wooden music stand in my imaginative perception. A tree in the foreground appeared to be bright red instead of the usual earth colors we usually associate with the forest or hedges of greenery. The mountains in the left distance modeled a most unusual striped effect, exhibiting variations of orange and brown and almost seeming to become the feathered branches of the red tree in the foreground. The sky above breathed with a majesty of Prussian blue and a thousand small particles of ethereal light. From this elementary sketch I painted a more finished design in a 12" format via acrylic paint, a piece which now hangs on my living room wall. Both the original sketch and finished product come as close as I could have imagined in the capture and illustration of a vividly colorful dream.
Strings & Orchestral Sounds
This sketch reminds me of the evocative power of both the string orchestra and the symphonic orchestra, sounds which I have come to cherish ever since my first exposure to music in the 1950's. The string orchestra especially captivates my musical imagination in works such as Edvard Grieg's "Holberg Suite" Op. 40, Antonin Dvorak's "Serenade for Strings in E major" Op. 22, and Edward Elgar's "Serenade for Strings in E minor" Op. 20. All three of these marvelous compositions are performed by the Rotterdam Chamber Orchestra directed by Conrad van Alphen on Telarc. I also have the "Complete Music for String Orchestra" by Edvard Grieg featuring the Norwegian Chamber Orchestra led by Terje Tonnesen on BIS. Another superlative recording is entitled "Leroy Anderson: Sleigh Ride & Other Holiday Favorites" featuring the BBC Concert Orchestra conducted by Leonard Slatkin on Naxos. Anderson's "Suite of Carols for String Orchestra (1955)" radiates a positive and enchanting glow which I never tire of, no matter how often I listen. There is great charm in Anderson's inventive style as can be heard in "Sleigh Ride," "Horse & Buggy," "Suite of Carols for Brass Choir," "A Christmas Festival," "The Golden Years," "Suite of Carols for Woodwinds," "Angels in Our Fields," "Bugler's Holiday," and several other holiday favorites. Such music becomes indelibly woven into the inner textures of our cultural character, producing notes which gently fall to earth from stringed instruments, offering a rich and bountiful harvest for future ages.