Creating a Space to Share with Regula Utzinger

By Julia Elliott, Boxford, MA

The afternoon class “Creating a Space to Share” with Regula Utzinger (a music therapist from Switzerland) focused on the music and the style of playing best suited for people in palliative situations. Regula is a warm and thoughtful teacher who encouraged the class to share their own experiences of playing lyre for patients and loved ones who were ill or near death. Through stories and melodies, we deepened our understanding of how the lyre can assist in palliative care.

At the center of Regula’s work is the belief that death is a life process and that the goal of music in palliative care is only to support the patient’s life. She described the lyre as “a vessel of pure music,” saying that people who are close to the threshold recognize its sound. The type of music one chooses can be influenced by the patient’s physical and mental condition as well as his or her cultural and personal identity. Because “music is where we come from,” it reminds the patient of their origins.

The style of playing in palliative care was a frequent topic of conversation in the class. How does one work with a melody or progression of tones on the lyre to make them truly therapeutic? We worked on cultivating a sense of expansiveness between musical phrases, incorporating a feeling of being guided by the breath, and making simple, beloved melodies richer with the addition of supporting harmonies. Regula described bringing the lyre into physical contact with the patient (by placing the instrument at their feet or against their arm or hip) as a way of helping them reestablish their physical boundaries and also to feel the resonance of the lyre tones.

A highlight of this class was that we began each session with a German song called “Zieh mit der Sonne” (move with the sun). A beautiful, expansive melody which compels the singer to move forward, we sang it while walking in a circle, first in unison and then as a very satisfying round. The beauty and purity of my classmates’ voices filled me with joy each day, and the forming and re-forming of the circle created an ever deeper unity in the group. After being together musically in this way, we were always ready to share and be together. The song brought us together in time and space and was itself a key to knowing how to bring music to those who need it.

Reflections on the International Lyre Conference in Zeist

By Diane Barnes, Hillsdale, NY

The 2018 International Lyre Conference was a wonderful experience, as they all have been. To see so many lyre players and lyre builders, about 169 total, many of whom I have seen before, is always very special. At this conference I thoroughly enjoyed Monika Mayr-Haecker and Christian Giersch’s workshop on singing and the lyre. Monika brought new movements to some of the singing exercises with her lovely, lyric voice, and Christian challenged the group to play the lyre while singing, often to play one part and sing another part (often in a foreign language)! The class was very professionally led and was both interesting and challenging. Bravo!

I have to mention that Christian Giersch wrote an outstanding piece for all lyres, especially for this conference, and he was only given one evening to teach it to us!! He did an outstanding job and I hope that lyre groups around the world will practice it and prepare it for future conferences. Thank you, Christian.

Another most amazing workshop was Martin Tobiassen leading the whole group every morning in improvisation - NO MUSIC. It was very masterfully led using tone of the day, the TAO tones, C major scale, whole tone scale and chromatic scale interwoven with our own personal percussive sounds, with certain signs Martin had invented for each tonal pattern. It was extraordinary and in the end sounded like a concert piece. Another BRAVO!

Many thanks to all of the organizers and to Anna Littel for keeping track of everything in her announcements.

Blessings from Diane Barnes

Cântaro Group from Brazil Enriched in Zeist

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Attending an international lyre conference is a very "enriching" experience in many ways. We at Cântaro are very happy to see the growth of our beloved "lyrists" every time they have that opportunity. Below, some of them tell about their experiences at the Lyre 2018 Conference in Zeist. We are increasingly encouraged to be part of this wonderful community!

It is a precious nutrition for our school and our soul to know that in every different corner of the world there is one more, and one more, and still another lyre sounding together with us!

Cântaro continues its activities strengthened, working for our annual concert, gathering our students and preparing for September 29, when we present a show for children, but also of great significance for adults. "A light in the heart" is the name of the program which seeks to kindle in all hearts the light of love and hope.

Cântaro Centro de Desenvolvimento Musical

A Tale of Two Brazilian Youths in Zeist

By Tarina Rubinger, Belo Horizonte, Brazil

Since Detroit, I decided not to miss any world lyre conference thereafter. When I invited my two 13-year-old sons, Estêvão and Cristiano, to attend, they promptly rejected the idea because after three years of pentatonic lyre and four of complete lyre, they had stopped for more than one year to devote more time to their other instruments. Their schedule was so busy at the Waldorf school as well as sports, languages, and so on. Well, I argued in favor of the experience of playing with so many musicians from all over the world, friendships of various nationalities, practice of English and German. Anything. They wanted holidays, rest, playful activities. Well, at the age of 13, they went to Holland with me.

We were in a large group of Brazilians. We passed through the south of England where we made some presentations in chapels, ruins and parks. They happily photographed and filmed us, but still without the desire to attend the conference.

However, as soon as the activities in Zeist started, the questioning was over and enthusiasm grew throughout the week. The workshops were precious to them, football was daily on the grass and friendships are still moving inside of them. Oh, all of this motivated, I do not know until when, the idea of attending the next conference. They thanked me in different ways and recognized the wisdom behind my gesture.

As soon as we arrived in Brazil, the songs from the conference moved to the piano. And so the spirit of this great union in the lyre and by the music lives in them day by day.

My Experience at the Lyre 2018 Conference in Zeist

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By Beatriz Polanczyk, Belo Horizonte, Brazil

I am Beatriz, from Cântaro, and I would like to share my experiences at the Lyre 2018 Conference in Zeist with you.

In the morning workshops I took part in "Colloquium on Lyrerythmy," with John Clark, and I experienced playing movements in space with a special group from all over the world. Now, whenever I see flame flying on the candle, I think about Lyrerythmy: how I could take this image and give back to the audience the same feeling of gentle movements, warmth and kindness.

In the afternoon workshops I attended "Playing the lyre in combination with other new developed instruments," with Eric Speelman. It gave me an idea how to play easy pieces combining other instruments such as xylophone, percussion, woodblocks and a lot of Choroi-instruments, improvising rhythms and simple melodies in order to encourage people to join us for playing along.

I was very happy for taking part in it!

Best regards,

Beatriz

And Another Experience in Zeist

By Monica Godoy, Belo Horizonte, Brazil

I am a Psychoanalyst as well as a lyrist. I attended two workshops that contributed greatly to my growth, both with music and with psychology. One workshop worked on silence and another on creation / composition. Both workshops addressed aspects of the unconscious and affective structure.

I returned to Brazil very happy with what was offered me. I will certainly attend the next conference.

Thank you,

Mônica Godoy

Lyre in Healing Cancer with Yael Barak

By Yael Barak, Harduf, Israel

This summer in Holland was very dry. In the midst of this dry heat, Lyre 2018 took place in the Waldorf School in Zeist.

I am coming from a very hot and dry land – Israel. It was very well felt how this tender listening concentration is difficult in uncomfortable surrounding conditions. Nevertheless, I had 12 participants in my workshop group, who came every morning to experience and learn more about the connection between our ear, the sense of hearing, cancer and music therapy.

I am working as a music therapist in an integrative oncology unit, as well as in our Anthroposophic Center for Cancer Patients in Harduf, Israel. The lyre is a main instrument for my music therapy with cancer patients – not only as a calming, soothing instrument, but as a real healing element. The active quality of listening that the lyre needs and enables can serves as a practical etheric strengthening for the sense of hearing, for the life forces of our body.

I was touched to see the great interest of music therapists from all over the world, as well as people who met cancer in other ways. With creating a special open space for listening, I think we could touch the edges of one of the big secrets of our time – in illness, as well as in healing. I learned a lot through our common search.

I thank the Lyre 2018 organizers and leaders to enable this space.

I invite whoever is interested in the connection of cancer and music therapy to contact us in our therapeutic center in Israel. We are now opening our gates also to world wide patients and co-operations.

Wishing blessing rain and re-enforcing autumn to everyone.

Lots of thanks,

Yael Barak

Music therapist and head manager of Tal Hama, a therapeutic center for cancer patients in Harduf, Israel

The Sacred Gateway Conference: Conscious Living, Conscious Dying, and the Journey Beyond

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By Marianne Dietzel, St. Paul, Minnesota

Sponsored by the Anthroposophical Society, one hundred and forty of us gathered in Sacramento April 6-8 from all over the country for The Sacred Gateway Conference: Conscious Living, Conscious Dying, and the Journey Beyond. Bringing personal stories of loss and of caring for our beloveds, we came to gather with others who wish to remove the stigma of death, and instead open meaning, ritual, and connection.

The conference began and ended with a eurythmy depiction of the journey of the soul between death and rebirth. A soul followed an angel guide through the planetary spheres, joining each planetary being with its gesture. This journey was accompanied by lyre music played by Andrea Pronto and Anne Riegel Koetzsch.

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Andrea and Anne creatively adapted parts of Songs of the Trees, by Colin Tanser, to accompany the journey, as well as John Billings' III (Stourbridge '83) and Heaven to Earth (Adelaide '86) during the soul's time in the region of the zodiac and upon rebirth on earth. This provided the perfect mood to allow the audience to get an artistically-rendered glimpse into this realm, building a foundation for and giving a balance to explorations of other issues around the threshold of death. In addition to lectures, workshops and a plenum on Saturday and Sunday, participants chose artistic activities, including singing led by lyrist Robin Elliot Dagg, eurythmy and writing poetry, to begin each day.

On Saturday afternoon we honored Nancy Poer, pioneer of threshold work, with testimonials from many who have been guided and inspired by her, and with single white roses handed to her one by one, accompanied by the local Threshold singers. The entire throng then surrounded her with her long rainbow silk, chanting, "Spirits all around us like a rainbow 'round the sun." Visible love and care wove about this event and all aspects of the conference.

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Saturday evening featured a Momento Mori ritual (developed by Dennis Klocek) in which all participants could walk a path of remembrance of a loved one, a lemniscate with a sojourn on earth at the bottom of the larger loop, and a sojourn in the upper Devachan in the smaller upper loop. This walking was accompanied by Marianne Dietzel playing solo lyre. Participants remarked on the poignancy of walking with the delicate lyre music in the background, while observers commented on the sight of so many walking the path.

The success of this conference resulted in a positive impulse to hold a second one on the East Coast in a year. Indeed, the date and the place have been set, and planning is underway. We hope many of you will join us in Harlemville, NY on April 26-28, 2019.

Concert tour and Lyre workshops with Jan Braunstein

By Christina Porkert, Kinderhook, NY

In June, Jan Braunstein was touring the Eastern U.S. and many of us were fortunate to participate in his workshops and/or enjoy the concerts. While I had taken the initiative to promote Jan’s visit it wouldn’t have happened without the support of many of you. Thanks to all who helped organize workshops and/or concerts in Kimberton Hills, The Fellowship Community, Camphill Copake, and The Christian Communities in Hillsdale and Detroit. Jan’s concerts raised appreciation of the lyre beyond the expected and I heard also many enthusiastic reports from participants of his workshops. While no concrete plans have been made for a return visit, seeds have been planted and hopefully will sprout into another tour before too long.

Greetings from Michigan

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By Mary Lynn Channer, Toledo, OH

To all our lyre friends, greetings from Olivia, Mary Lynn, Kristen, Nancy, Roblyn, Burley, and Christina (from left to right, all Michigan players who have attended international lyre conferences). We've been meeting at the Channers' to prepare for the Michaelmas Festival. At each of the eight yearly festivals our lyres are sounding their healing message. This time the lyres and chrotta will be giving familiar music, the first Bach Prelude for Cello and Beethoven's Moonlight Sonata, a not-so-familiar sounding.

News from the Washington DC Area

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By Sandi Zeese, Silver Spring, MD

In 2017, Colleen Shetland and I played for the Washington Waldorf School for the opening day assembly welcoming first graders, and the Rose Ceremony at the end of the school year. In December we played for their Advent Gardens (now called Evergreen Gardens), along with Anne Frances Martin. There were classes pre-K through twelfth grade, a total of 16 gardens covering three days.

Anne Frances, Colleen, and I also played for a homeschoolers’ garden and for the Acorn Hill Waldorf Nursery and Kindergarten’s Midwinter Gardens, for seven different classes.

We met with Pat O’Connor as a foursome and had some seasonal practice sessions in a classroom at the Riderwood retirement community. In March, Pat and I played lyres and sang a spring seasonal selection for our church group’s monthly dinner meeting at Riderwood. About 19 people came, and at the end of the dinner they were given the opportunity to hold the lyres and make tones. People expressed how much they enjoyed the evening and experiencing the lyre—many for the first time.

Mostly recently, Pat, Colleen, and I played a prelude together at a memorial service for Portia Imle at Riderwood Chapel on February 9, 2018.

News from Brazil

Dear Friends of the Lyre!

Cântaro represents in Brazil an important pillar of study: of lyre, kantele and Werbeck singing.

We have worked throughout the year in our classes, both in groups and with individuals, always bringing a precious soul quality to the musical work.

We periodically organize meetings with all students as an opportunity to play and sing, in a large group, the repertoire that all students have the opportunity to develop. From the most beginner to the most advanced students, everyone is prepared to participate in the great musical arrangement, each one in their level of learning,

We are always providing and valuing reflections about the spiritual being that dresses in the tone that manifests through our instruments and our voices.

We also work with parents and teachers of young children, nurturing them musically, transforming their relationship with children, as we show which is the music to play and which are the most appropriate musical games for the child from 0 to 7 years.

We believe that Cântaro is a point that radiates light for our city, for our country, and also for the rest of the world, whenever we gather together and express through music what is best in our souls and our hearts.
 
Warm regards!

Karla and Flávia

Cântaro-Centro de Desenvolvimento Musical
Nossa página no facebook: https://www.facebook.com/C%C3%A2ntaro-492391004155918/
tel: (31) 3344-3236 - Rua Mangabeiras 275 - Sto Antônio Belo Horizonte - www.cantaro.com.br

News from Ecuador

By Sheila Johns, Cuenca, Ecuador

For the 4th year in a row, four intrepid North American Waldorf teachers living in Cuenca, Ecuador hosted a community Advent Garden on the first Sunday of Advent. Officially sponsored by our Uriel Center for Human Renewal through the Arts and Education, we have been welcomed each year by a local church which has now made what they call the Advent Meditation Garden a part of their annual Advent activities. LANA member Andrea Lyman and I play lyres into the otherwise completely silent space while our artist colleagues Sandra Doren, who moved from the DC area, and Michael Pinchera, who moved from Sandpoint, Idaho, facilitate the spiral walk with candles. We provide bilingual information about the history and purpose of this tradition in advance, and it has been well attended by adults and children from the local area and abroad with interest growing each year. Many have expressed how much they appreciate the conscious preparation of this beautiful, meditative space and how the tone of the lyre has brought solace and peace to their souls. After years of creating and attending Advent Gardens in Waldorf Schools, it has been very gratifying to bring this tradition to a new culture and community as a way of introducing an experience of silence, beauty, and the tone of the lyre.
 

Lyre Rentals Program

By Julia Elliott (for the Lyre Rentals Committee)

The Lyre Rentals Program helps to promote LANA’s mission of encouraging and supporting the work of the lyre in North America.  By making lyres available to rent to new or experienced lyre players, lyrists are offered the possibility of “test-driving” an instrument before investing in a purchase.   The Lyre Rentals Committee often acts as the first contact that many musicians have with LANA.  We love responding to queries like:  “I am new to the lyre and don’t know where to start.  Can you help me?”  By equipping new lyrists with an instrument and helping to connect them with a teacher in their area, we hope to facilitate a healthy and joyful relationship with the lyre that will last a lifetime.
 
In 2017, LANA owned a total of nine rental lyres.  During the course of the year, we added to our inventory a beautiful Derscheid Legacy lyre (made for us by Alan Thewless) and a small Derscheid soprano lyre, purchased from Gundolf Kuehn in Germany.  As of this report, three of our small soprano lyres are available for rent, five are currently rented, one was sold, and one is under contract through our “rent-to-buy” program.  For lyres that are available for purchase through our “rent-to-buy” program, we encourage renters to make a decision regarding such an investment after a year of renting.
 
The following are the rental lyres LANA had available in 2017 and their current status:
                                                                                   
Choroi solo soprano lyre (39 strings)               Rented
Gartner solo soprano lyre (39 strings)              Sold
Choroi soprano lyre (35 strings)                        Rented
Gartner soprano lyre (35 strings)                       Rented
Derscheid Legacy large sop. lyre (37 Strings)  Rented
Derscheid small soprano lyre (27 strings)        Rented
Gartner small soprano lyre (27 strings)            Available
Rose soprano lyre (27 strings)                            Available
Gartner small soprano lyre (27 strings)            Available
 
As we look toward 2018, it is the hope of the Lyre Rentals Committee to purchase more lyres to make available to LANA members.  We would like to support the Derscheid Legacy initiative by ordering more of these instruments from Alan Thewless, offering them for rent or sale in the future.  We also hope to purchase and rent more lower range instruments (especially altos) as we continue to receive requests for them.  It is the Committee’s greatest wish to make the lyre available and affordable to all who are drawn to it through our Lyre Rentals Program.
 
 

Music Sales Service

By Samantha Embrey

The Music Sales service of the Lyre Association was created in 2003 so that lyrists in North America could have access to lyre music published throughout the world.  It is the only such service on the planet!

Most sales take place at LANA conferences, where participants can look at the music first hand and don’t have to pay shipping costs.  Of purchases made between conferences via email or snail mail, many are by beginners and many require guidance, both regarding the selection of music and the need for a teacher.

In the eleven or so years that I have managed the service, I’ve enjoyed communicating with the lyrists purchasing music as well as with the publishers.  Because currency exchange rates and shipping expenses can add greatly to the cost of the music we buy, I have tried to negotiate a discounted price with each publisher.  I have then tried to sell the music at an affordable price that will cover our costs and earn enough to let us buy more music.

Every year I have tried to replace sold-out inventory and add a few new items.  Currently, we have 112 publications with a total retail value of about $7800.

In 2017, I notified the board that I wish to hand over management of music sales in the next year or so.  Thus, much of my recent work has been to explain the ins and outs of the music sales and to get materials ready to transfer to Margo in May.

 

Derscheid Legacy Lyres

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By Catherine Decker as told by Channa Seidenberg

Lyre builders worldwide craft their instruments in various ways. Each builder has a signature style which gives it a unique place among other lyres.  What follows is one account of the Dersheid lyre and its present incarnation.

Having already played various lyres for many years, Channa Seidenberg first met the Derscheid lyre in the early 1990’s.  As she had lived in both Europe and the U.S., Channa had tried many types of lyre and had opportunities to listen carefully to variations in qualities in each instrument.

In 1993, Channa was invited to teach lyre at a Verbeck singing workshop offered by Ursula Koepf who taught singing at Michael Fields in Wisconsin. Channa asked to try the lyre Ursula used, and she immediately felt connected with the tonal resonance of the instrument. This was a lyre created by Heinz Derscheid.  Channa found in the Derscheid instrument a balance of warmth and light that enabled the tone to expand into the space. In Channa’s words, "After this experience, there was no going back." For her, she found the sound of this Derscheid lyre to be immensely satisfying, and she began recommending them to other lyre players.

During the ensuing years, Channa had numerous phone conversations with Herr Derscheid, placing orders and talking about his instruments. She visited him in his workshop near Stuttgart, Germany.  However, in August 2008, Channa received the unexpected news that Herr Derscheid had crossed the threshold. He had been on vacation in Norway, on a fishing boat, when he died of a heart attack.

Because Heinz Derscheid did not have an apprentice, there was no one to continue the work of building these fine instruments. Soon afterward, Channa approached the LANA board with the suggestion to obtain the rights so that someone else could carry on the tradition. She did not want this type of lyre to be lost to the world.

Channa thought of Alan Thewless, a teacher and artisan who was building his own lyres under the name Tir-anna. She inquired whether he would be interested in pursuing lyre building in the style of the Derscheid instruments.
 
In November of the same year, Alan went to Germany to meet Herr Derscheid’s widow and toured the workshop. He asked if she would be willing to sell the legal rights so that her late husband’s instruments could continue to be made. It was a challenge to meet her price, so the Lyre Association put out a request for funds to the North American lyre community.  Fortunately, an anonymous donor stepped forward with a sizable gift towards the endeavor.

Some years later, Alan returned to Germany to speak with Frau Derscheid, and a second major sum was given by the same generous donor. Frau Derscheid then sold the rights to the Derscheid instrument, and Alan was able to secure the templates, which were sent to him in Pennsylvania. Since that time, Alan has built the first “Derscheid Legacy “ lyre, which many lyre players are now eager to try!

It has been a quarter of a century since Channa first held an original Derscheid instrument and experienced its particular balance of light and warmth. Although the process took nearly ten years, the continued focus on this mission has paid off.

Alan Thewless is taking orders for these Derscheid Legacy Lyres, along with his own design, Tir-anna.  We are grateful for the persistence of Channa and the LANA board members as well as for the generosity of those who saw the value of this project. How fortunate we are that these lyres are now available to us in the U.S.!

Contents of Soundings

Volume 1, No. 1

• Catherine Read, "Christof-Andreas Lindenberg, A Biography - Part I"

• Christof-Andreas Lindenberg, "The Lyre: A Tutor for a New Instrument - Part I"

• Sheila Johns and Channa Seidenberg, "Towards a World Lyre Community: The Birth of an Idea Inspired by Lyre 2006"

• Music supplement: Michaelmas and Christmas music, Bach and more

Volume 2, No. 1

• Catherine Read, "Christof-Andreas Lindenberg, A Biography - Part II"

• Christof-Andreas Lindenberg, The Lyre: A Tutor for a New Instrument - Part II"

• Robert Grace, "Therapeutic Lemniscates"

• Music supplement: Christof-Andreas Lindenberg, "At the Threshold and Beyond"
  (12 compositions, with suggestions and explanations.)

Volume 2, No. 2

• Hajime Kira, "Where Do the Sound and the Tone of the Lyre Come From?"

• Christof-Andreas Lindenberg, "The Lyre: A Tutor for a New Instrument - Part 3"

• Ingeborg Derscheid (trans. Channa A. Seidenberg), "Biography of Heinrich-Michael Derscheid"

• Christof-Andreas Lindenberg, "At the Threshold and Beyond"

• Music Supplement: At the Threshold and Beyond II – Christof-Andreas Lindenberg (14 compositions)

Volume 3, No. 1

• Laura Langford Schnur, "Truth, Tone and Tuning"

• Gerhard Beilharz(trans. Mado Spiegler), "Describing the Indescribable: Reflections on Julius Knierim's Elaboration and Development of Lyre-playing Technique"

• Christof-Andreas Lindenberg, "The Lyre: A Tutor for a New Instrument - Part 4"

• Music Supplement: 7 compositions (Lindenberg, Josquin, Maasz, Jackson, Seidenberg)

Volume 3, No. 2

• Sheila Phelps Johns, "The Erosion of Listening: A Contemporary Crisis of Childhood"

• Paul Matthews, "This Silver Lyre" (a poem from Slippery Characters)"

• David Adams, "An Introduction to the Musical Work of Manfred Bleffert"

• Soundings Interview: "A Lyre Builder Shares His Story: Murray Wright, Australian Lyre Builder"

• Christof-Andreas Lindenberg, "The Lyre: A Tutor for a New Instrument - Part 4 (revised)"

• Music Supplement: 7 compositions (Starke, Brewer, Logan, Bach, Lindenberg, Anonymous)

Volume 4, No. 1

• Christina Porkert, "Maria Schuppel - A Pioneer of Music Therapy"

• Christof-Andreas Lindenberg, "Music in the Prebirth to Three-Year-Old Child"

• Soundings Interview: "A Lyre Builder Shares His Story: John Bryan, English Lyre Builder"

• Christof-Andreas Lindenberg, "The Lyre: A Tutor for a New Instrument - Part 4 (revised)"

• Music Supplement: 5 compositions (Schüppel, Fauré, Lindenberg, Seidenberg)

Volume 5

• Hajime Kira, “Potential of the Unique Resonance of Lyre Tones”

• Catherine Read, “Inner Balance and the Lyre”

• Christof-Andreas Lindenberg, “The Interval and Movement”

• Music Supplement: 5 compositions (Seidenberg, Anderberg, Lindenberg, Handel/Brewer)

Volume 6

• Christof-Andreas Lindenberg, “Address Given at Lyre 2000”

• Alan Thewless, “A Lyre builder Shares His Story”

• Bevis Stephens, “New Impulses for the Future Direction of Music Arising out of Working with the Schlesinger Scales”

• Music Supplement: 4 compositions (Giersch, Tanser, Martinu, Handel)

Volume 7

• Christof-Andreas Lindenberg, “Understanding the Shape of the Lyre”

• Gundolf Kühn, “My Career Path in Becoming a Lyre Builder”

• Vicky Deng, “Determination Meets Expertise: The Lyre in China”

• John Billing, “China Lyre Workshops: Step One”

• Music Supplement: 6 compositions (J.S. Bach, Knierim, Reubke, Friebe, Tanser, Khachaturian)

Volume 8

• A History of the Lyre, by Gerhard Beilharz

• The Task and Purpose of the New Instruments, by Veronika Roemer

• My Journey as a Lyre Builder, by Martin Nies

• About Intuitive Pedagogy, by Thomas Pedroli

• Sound Mythology, by Martin Tobiassen

Index of Titles in Music Supplement 8:

• Stillness – Thomas Pedroli

• Boat Song – Colin Tanser

• Ach Elslein – Alois Künstler

• A Round for Christmas – Channa Seidenberg

• Bright is the Sunshine – Maria Schüppel

• Promenade – Alexander Gretchaninoff

• Fragment B/A – Colin Tanser

• Praludium – Jan Nilsson

• Skarba – Martin Tobiassen

• Equal #1 – Ludwig van Beethoven

Volume 9 (Special Commemorative Edition Dedicated to Julius Knierim)

• Describing the Indescribable - Reflections of Julius Knierim’s Lyre-playing Technique, by Gerhard Beilharz

• From “Rauschen” to “Strömendes Gestalten”, by Gerhard Beilharz

• History of the Camphill Village Ensemble, by Channa Andriesse Seidenberg

• Music, Mobility, and the Mood of the Fifth, by Sheila Phelps Johns

• The Coming to Birth of the Lyre, Adapted by Sheila P. Johns from Mariana Bruehl’s Apollo’s Lyre

• Julius Knierim, the Impulse Carrier, by Christof-Andreas Lindenberg

• Sun and Moon, Heart and Soul — Personal Reflections of Julius Knierim, by Jeb Pronto

• Recollections of Julius Knierim, by Kerry Virginia Lee

Index of Titles in Music Supplement 9 (All by Julius Knierim):

• A Lovely Rainbow

• We Are Hungry

• Wie leicht wird erde sein

• Tribute to J.S. Bach

• 12-Tone Exercise

• Playing with 12 Tones

• Unveil to Us

• Kleiner Kanon für zwei Leiern

• Kanon zu Ostinato

• Invention

• Abendmusik

• Zwischenspiel aus “Der treue Johannes”

• Kanon

• Klingen und Nachklingen

Lyre Work in Review: Durham, North Carolina

By Joanna Carey, Durham, NC - joannapcarey@gmail.com

This year the lyre has been used primarily for festivals, for the Dead and for the Christian Community.

During Holy Week: Each day during Holy Week, eurythmist Eve Olive and I worked with the planetary tones, scales, and movement for each day. Roger Schultz brought reading material, and together we provided a daily offering for contemplation during the week. As a beloved member of our community had just crossed the Threshold, we also included her in our efforts. In addition, we offer a special eurythmy/lyre musical event for members in their first three days after crossing the Threshold. We play and move with all the planetary spheres as a recognition of the journey of the Dead.

Michaelmas: Lyre music was part of the beginning and the end of our offering.

Advent: Numerous activities occurred. An adult Advent Spiral walk was accompanied by lyre music. Zodiacal music was played for each painting/sculpture of the Madonna Sequence on two occasions during Advent.

We have a bi-monthly reading for the Dead where lyre music is played, also as an improvisation around the planetary scale of the day. Eve and I are also involved in a performance piece on the mysteries of birth and pre-birth. This offering is accompanied by lyre.

Occasional Christian Community services are blessed with lyre music.

I have almost entirely resorted to improvisational music now, as I find it so much more interesting than most written music. Also, because I am a solo lyre player, it works best for me. I love to experience what occurs in the moment. It becomes as a kind of offering for the spiritual world that often comes as a wonderful surprise, almost as if I am played upon myself. It’s difficult to explain, but I am learning to allow greater forces working through me to play the music. I then become the vehicle for its manifestation. I’m very grateful for these experiences and for my lyre and the ability to engage in this way. I encourage others to try it if you haven’t yet. It’s full of mystery and a feeling of goodness and beauty.

St. Michael, the Crescent Moon, and the Lyre

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A Polish legend from The Deeds of Michael: A Collection of Tales and Legends from Around the World; submitted by Sandi Zeese, Silver Spring, MD - sandi1020@gmail.com

Have you seen, gleaming up in clear and exalted autumn nights, the sparkling stars in the sky? They rise like hope in a human soul; and they dive down in radiant force, like a human heart’s resolve. Then they are called “falling stars” by human beings. Yet whoever loves their angel, and from childhood on, knows no fear, recognizes their true being. One sees in the clear autumn nights amidst the stars, the “Great Warrior,” who is called “St. George” on earth, but “St. Michael” in the heavens, and one sees his countenance shining in golden wisdom, which unconscious of itself, reflects the heart of the highest Godhead.

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One sees his arm, with its shimmering weapon, which strong and pure, seems to be hardened by divine justice. And with his valiant hand, St. Michael strikes the sword, which will destroy the crawling, the desirous the wallowing, the corroding impurity. And when St. Michael strikes his sword, the stars tremble and diamantine sparks fly through the air.

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Have you seen, gliding in the dark winter nights, the delicate moon crescent above the gossamer white clouds? There is around them something like a rustling of distant grass growing on the wide and fair meadows of Heaven.  The hearts of human beings looking at the crescent on wintry nights are seized by a longing to be far, far away. Yet whoever loves their angel, and from childhood on has harbored purity of heart, sees something else. That one sees the heavenly Virgin Mary standing on the narrow sliver crescent, and knows that she is a queen. For she smiles at those who are longing and hungering on earth. And she bestows on them heavenly wheat-corns which fall down from her rosy hands and bring blessings to earth.

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She prays the depths may become filled, and may become good, and may become penetrated with the miracle harbored in the heights. She bestows blessings with hands that are folded in prayer.

And one day it will happen that the birch tree, when its leaves are falling in autumn, will not weep because of its bereavement. Then the leaves will joyously fall down to earth.

And one day a stairway, whose steps resemble milk-white stone, will appear above the moon. And Maria, waving her hands in a promise of redemption will walk up the white steps to a golden table spread from Heaven with the Thanksgiving of human beings on whom the harvest has been bestowed. And it will seem as if her feet were treading on the fluttering wings of doves.

Thenceforth the moon’s crescent will not be forsaken. A song will resound from it, such as has never been heard in Heaven or on earth. St. Michael will stand on the crescent. As a heavenly smith, he has forged his sword into the frame of a lyre, whose strings are fashioned from human beings’ valiant thoughts. The dragon slayer will play and sing. He will perform his office as “heavenly lyrist." Strength is alive in his song, and he will sing of consolation and fulfillment of his old promises. He will sing of the outflowing of the highest light, encompassing the smile of Maria.

And the birch tree will tremble down to its very pith in its joyfulness, whenever this song is sounded. And autumn will be the same to it as spring.

Many a person will not see it; and many will not hear it. Yet whoever loves their angel and harbors faithfulness in their heart, such a one knows the song full well, and will want to be better.

First Steps on my Journey to Become a Therapeutic Musician with the Music for Healing and Transition Program

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By Wendy Polich, Littleton, CO - wendypolich@hotmail.com

Ever since the lyre came into my life it has given me wonderful experiences and opportunities. It has also asked much. It seems a simple instrument, yet it's not necessarily easy to play. It has beautiful tone and resonance, but to actually free its tone beautifully requires my attentiveness and generosity. It also has great healing potential.

Through much practice and patience, alone or with lyre friends and teachers, I'm becoming more skilled at playing. Through attending the Resonare music course and the various lyre conferences, I'm being given a deep wellspring from which to continually draw inspiration.

Recently, I've decided to take everything I've done and learned so far with the lyre to another level and put its healing potential to use in the wider world.  I'm exploring this through the Music for Healing and Transition Program (MHTP).  It was introduced to me through several lyre friends who are currently in, or graduates of, the program. Graduates of MHTP become Certified Music Practitioners (CMPs) playing at the bedsides of patients in hospitals, hospices and nursing homes. CMPs are not music therapists, but therapeutic musicians creating an environment that fosters healing through live music.

The program takes place through five modules, or intensive weekends, and a practicum. In between the modules there is reading, study, putting together a repertoire, and lots of practice. The modules are where students come together to learn, to practice what they've learned with their instruments, and to support one another. So far, I've completed two modules here in the Denver area, which, I'm happily told, is a welcoming place for CMPs.

It's a bit lonely being the only lyrist in my class, and at times my confidence wanes in the presence of a roomful of accomplished musicians, but I couldn't ask for a more supportive and encouraging group of people to be learning with. Harpists, guitarist/vocalists, keyboardists, flutists, dulcimer players are my classmates and teachers. Most of them have never heard the lyre, but everyone recognizes its very special tone and resonance.

What I'm learning is that there are different patient conditions that call for different types of music in regard to tempo, rhythm, melody, pitch, etc. It matters what you play, but not specific pieces because it also matters how you play. There are times when you want to play familiar music and other times when you don't. We are being trained to observe each patient moment by moment, to be open and receptive to their physical, emotional and/or spiritual needs, to adjust the music accordingly for each one, and to use our intuition.

For example, we might adjust tempo, rhythm and meter by how the patient is breathing, how stable they are, how much pain or anxiety they have or how they are responding to the music. We are learning how different modes affect different moods. We might begin playing in a mode that matches their mood, then move to another mode that helps them to relax or gives them more energy. We might lower the pitch or play very simple melodies if they are very fragile. And for the actively dying, we accompany them with very simple tones and silences, unstructured yet beautiful, being present with what is needed in every moment. When all else fails, and we don't know exactly what to play, we are encouraged to trust the music and not underestimate the power of beauty.

I am also learning (and through practice actually beginning to understand) that being able to play "by heart" and to improvise, what one teacher calls "untethering yourself from the sheet," is the best way to be present and observant to what is needed in the moment.

I'm still in the first stages of learning how to be a therapeutic musician and have quite a ways to go and a lot of practice, but I'm grateful that my lyre is, once again, giving me this opportunity and asking much.