Imaginary

Visual Arts

• Aleksey Savrasov, Summer Landscape with Pine Trees near the River (1878)
• Aleksey Savrasov, On the Volga (1875)
• Aleksey Savrasov, Rainbow (1875)
• Aleksey Savrasov, Spring Day (1873)
• Aleksey Savrasov, Autumn (1871)
• Aleksey Savrasov, After a Thunderstorm (c. 1875)
• Aleksey Savrosov, Winter Night (1869)
• Aleksey Savrasov, Summer Landscape (1860s)
• Aleksey Savrasov, Type in the Swiss Alps (1862)

Fictional Narratives

Ralph Ellison, Invisible Man (1947).

Gary Snyder is a Pulitzer Prize winning poet whose focus on ecology was informed by Zen Buddhism. His works illustrate a naturalistic conception of piety.

• Gary Snyder, The Gary Snyder Reader: Prose, Poetry, and Translations (Counterpoint, 1999).
• Gary Snyder, Turtle Island (New Directions, 1974).
• Gary Snyder, Riprap and Cold Mountain Poems (Counterpoint, 2009).
• Gary Snyder, Mountains and Rivers Without End (Counterpoint, 2008).
• Gary Snyder, No Nature: New and Selected Poems (Pantheon, 1993).
• Gary Snyder, The Back Country (New Directions, 1971).

Music: Composers, artists, and major works

Stephan Micus “is a genuine music hermit, he composes on his own, records on his own, and plays on his own an infinity of instruments: ranging from sho (the Japanese mouth organ) to ki un ki (the wind instrument used by the Udegeys Siberian tribe), from bodhran (the shamanic Irish drum) to bolombatto (the typical harp from Western Africa), just to mention a few. And always on his own, he records all the voices featured on his records: by using the most advanced multi-track recording techniques to create harmonizations that possess the intact perfume of magic.” His musical output is best grouped in three categories: reverence, living in flow and enlightenment. Most of his albums are best “seen” as expressions of the first value, reverence, a/k/a natural piety. In these albums, Micus contemplates nature, including human nature.”

• “Winter’s End” (2021): “”Like many Micus albums, Winter’s End has an epic arc to its structure. Thus, ‘Autumn Hymn’ and ‘Winter Hymn’ bookend the program, and songs two and 11, ‘Walking in Snow’ and ‘Walking in Sand,’ both contain an exquisite sense of space punctuated by a solitary 12-string guitar. Between those walks are a ‘Baobab Dance’ of four kalimbas, chikulo, and sinding (a Gambian harp); the ‘Southern Stars’ of four charangos (a Peruvian stringed instrument), five suling (a Balinese flute), a sinding, and two Egyptian nay flutes; and other impressionistic destinations and activities.
• “White Night” (2019): our lives in context, with track titles including “The Bridge”, “The River”, “Fireflies” and “The Moon”. “From one gate to the other, we embrace the world in the span of 50 minutes, starting the cycle anew. Along the way, we stop to view “The Moon,” wherein a role that might normally have been filled by lone shakuhachi finds a multivalent replacement in the double-reed duduk. Like the nay that appears alongside the Ghanaian dondon (or talking drum) in “Black Hill,” it is a thought made incarnate by contact of skin and breath. Fitting, then, that Micus’s last name should be an anagram of “Music,” as his very being is synonymous with that most connective force.”
• “Inland Sea” (2017) is a landscape portrait, like “White Night”. “While the album's title can refer to possible hospitable climates and civilization, the sparse music nonetheless is much more suggestive of something vast and desolate.” “Micus choruses his voice fifteen times over, and to it adds three genbri, a three-stringed bass instrument from Morocco. Treading the same soil packed by the feet of ‘Dancing Clouds’ (plucked nyckelharpa, 6 percussive nyckelharpa, 3 bowed nyckelharpa, steel string guitar, genbri, bass zither) and laid to rest by “For Shirin and Khosru” (2 bass zithers, 2 nyckelharpa, 3 steel string guitars, genbri), it treats melodic resolution as the caress of a loving parent who dispels fears of darkness. Thus we are protected, hoped for, and fortified to face new days, bringing our own children to the well of mortality, that they might also see the reflections of all who came before them.”
• “Panagia” (2013): the title refers to Christ’s mother in Christian mythology. The album is a reverential treatment of that which gives life. “If pressed for a comparison, I would say that Panagia resembles Japanese classical gagaku in its arrangement and color, even if it is devoid of gagaku’s exclusivity. Rather, it makes of this big blue ball a royal court where we live not as servants but as purveyors of destiny. Its play of light on reflective surfaces makes it one of the best-recorded albums in the Micus catalogue. It is the meta-statement of a meta-statement, an expression of Gaia through cycles of human thought.”
• “Snow” (2008) is another musical landscape painting. “Two doussn’gouni (a West African harp that Micus debuted on Desert Poems), along with various gongs and cymbals, give the duduk a gentle berth for travel. Guided by breath, not oar, its intense presence rides toward frosty shores, singing of the ice as gateway and kissing the land with its solemnity.”
• “Desert Poems” (2001): “Seemingly enamored with the same consuming silence of the desert that captured the heart of writer Paul Bowles, Micus translates the hidden energies of landscape into a form that escapes all measure of mortal grasp.”
• “The Garden of Mirrors” (1997): “Just as one look at the many instruments Stephan Micus plays is sure to impress, so too does one experience of what he produces with them dispel arbitrary interest in those means. Music flows from his fingertips in such an organic way that the source catches light in all of us.”
• “To the Evening Child” (1992): “This music sounds in those hushed spaces where the universe inhales, the sound that keeps all celestial bodies spinning.”
• “The Music of Stones” (1989): “The shakuhachi . . . becomes a woodland creature who knows the trees well enough to skip through the branches blindfolded.”
• “Ocean” (1986): “Micus lets unfold a territory so personal that it becomes selfless, somehow unmarked the human elements of its creation. In his playing, names, labels, and covers, even personages and politics, cease to matter. The only restriction is its very lack. Such music goes beyond the pathos of meditational action, looking into the soul of stillness, where only music can express that which all the languages of the world, lost and extant alike, never could. Their cage is not one that surrounds us but one we surround with the promise of creation, waiting with closed eyes and open hearts.”
• “East of the Night” (1985)
• “Listen to the Rain” (1983): a physical and spiritual landscape
• “Behind Eleven Deserts” (1978)

Heard as unaccompanied soloists (or accompanied by tabla only), the Iranian classical masters, performing traditional works, express the deep commitment, carried into action, which comprises the heart of piety.

• Mohammad Mousavi, nay
• Siamak Nasr and other setar masters
• Daryush Safvat Mahur and other setar masters
• Masters of santur
• Vusal Iskender in concert
• Harjinder Pal Singh, santur master
• Hossein Farjami, “The Art of Santoor from Iran”
• Faramarz Payvar, santur master
• Jalil Shahnaz, nay master

Compositions:

• Intermittently meditative and active, intermittently serious and joyful, César Franck’s Symphony in D Minor, M48 (1888), expresses a conception of Humanistic reverence.
• John Luther Adams, “Houses of the Wind” (2022): “The album is based on a 10-and-a-half-minute recording of an aeolian harp—a string instrument that’s played by the wind—that Adams made in Alaska in 1989. He’s explored the sound of the instrument before on pieces like The Wind in High Places, in which a string quartet emulates the air-driven device. But here, Adams works with the ethereal instrument itself, creating pieces that teeter between serenity, mourning, and hope.”
• Komorous, Serenade for Strings (1982)
• Copland, Quiet City (1940) – reverence for people
• Raga Chayanat usually performed in late evening, is described as a passionate, red-eyed warrior (performances by Gupta, Rajan and Ghulam Ali Khan).
• Whitacre, a capella choral works, 1991-2001
• Dahl, Hymn
• Xioagang Ye, Mount E’mei, Op. 74, inspired by a mountain in the Sichuan province, which is revered in Buddhist culture, and by folk music from that region
• Ye, Lamura Cuo, Op. 69b, a work for violin and orchestra inspired by a lake in Tibet
• Ye, The Silence of Mount Minshan, Op. 73, for string orchestra, inspired by another mountain in Sichuan
• Augusta Read Thomas, Resounding Earth (2012): “Written in 2012, Resounding Earth is scored for nearly three hundred unique bells and other resonant metal objects. The composition of the work, and the selection of the specific bells used in the recording, was completed in close collaboration between Thomas and Third Coast Percussion.”

Many overtly Christian works capture the spirit of reverence in the music:

• Grechaninov, Passion Week, Op. 58
• Sacred music of Jacobus Vaet (1529-1567), including many short pieces and also: Missa pro defunctis (Requiem); Missa Quodlibetica; Missa Ego Flos Campi.

Albums:

• Ran Blake, “Sonic Temples”
• Inkuyo, “Art from Sacred Landscapes”
• Lillian Fuchs, “Johann Sebastian Bach, 6 Suites, BWV 1007-1012”, played on viola
• Klaus Wiese, “In High Places”, with Al Gromer Khan
• Miloš Karadaglić, “The Moon & The Forest”: an album of new works for guitar and orchestra, exuding reverence for nature

Poetry

My heart leaps up when I behold
A rainbow in the sky:
So was it when my life began;
So is it now I am a man;
So be it when I shall grow old,
Or let me die!
The Child is father of the Man;
And I could wish my days to be
Bound each to each by natural piety.

[William Wordsworth, “My Heart Leaps Up”]

Why! who makes much of a miracle?
As to me, I know of nothing else but miracles,
Whether I walk the streets of Manhattan,
Or dart my sight over the roofs of houses toward the sky,
Or wade with naked feet along the beach, just in the edge of the water,
Or stand under trees in the woods,
Or talk by day with any one I love—or sleep in the bed at night
     with any one I love,
Or sit at table at dinner with my mother,
Or look at strangers opposite me riding in the car,
Or watch honey-bees busy around the hive, of a summer forenoon,
Or animals feeding in the fields,
Or birds—or the wonderfulness of insects in the air,
Or the wonderfulness of the sun-down—or of stars shining so
     quiet and bright,
Or the exquisite, delicate, thin curve of the new moon in spring;
Or whether I go among those I like best, and that like me best—mechanics,
     boatmen, farmers,
Or among the savans—or to the soirée—or to the opera.
Or stand a long while looking at the movements of machinery,
Or behold children at their sports,
Or the admirable sight of the perfect old man, or the perfect old woman,
Or the sick in hospitals, or the dead carried to burial,
Or my own eyes and figure in the glass;
These, with the rest, one and all, are to me miracles,
The whole referring—yet each distinct and in its place.

To me, every hour of the light and dark is a miracle,
Every cubic inch of space is a miracle,
Every square yard of the surface of the earth is spread with the same,
Every foot of the interior swarms with the same;
Every spear of grass—the frames, limbs, organs, of men and women, and all that
     concerns them,
All these to me are unspeakably perfect miracles.

To me the sea is a continual miracle;
The fishes that swim—the rocks—the motion of the waves—the ships,
        with men in them,
What stranger miracles are there?

[Walt Whitman, “Miracles”]

Music: songs and other short pieces

• Karl Jenkins, Benedictus, from “The Armed Man: A Mass for Peace”, performed by the cellist Hauser