#Alison emerson flute boise how to
#Alison emerson flute boise full

The mosaic of illumined consciousness in his poems lead us to a greater self-awareness, empowerment and freedom. A gentle embrace is there from his perhaps omnipresent spirit.

And a sacred hand reaches out from Hafiz's profound compassion and wisdom. So can the mind that knows all forms are part of an ultimate Self, and treats everything with respect.

#Alison emerson flute boise full

Like the wondrous life the sun and earth give in their miraculous utility, so can the artist sometimes share in that,and any human being who is full of buoyant passion вЂ“ or willing to die for some great cause, or sublime ideals. Hafiz became incapable of an unkind act, it is said. And his herculean strength, his enlightenment, will rub off on you so that you too wish (and discover yourself more able) never to harm another via sound or movement. He helps us to forgive those we have yet to forgive. His love for us is time tested and keeps encouraging and can inspire. And the impetus behind every single line of Hafiz I ever wrote is to help light a candle in your heart, to assist our perennial need to have fun, laugh and dance, 'to lift the corners of your mouth.' The weight that can be on us in an hour or a day, Hafiz is there to lighten. I have published around 700 Hafiz rendering-poems in six books.

#Alison emerson flute boise how to

Hafiz helps us inherit a treasure that is already ours, decreed at birth and he speaks directly about that in some of his poems вЂ“ how to file your claim! And with so many suffering the tyranny of some past event or anxieties about the future, what a gift being in the moment can be, especially then if a jewel can be slipped into your pocket by some magi'sbrush stroke, writings, sculpture, instrument, or ballet step. Inherent in engaging someone's interest is to make them present. To be engaged by a true teacher like Hafiz is to have lasting ingredients put into your mind, that when cookedВ through contemplation help us lead a better life. Those three words that Hafiz exemplifies, that came to me in studying the lives and works of those greats I just mentioned are an important definition and goal of art, and a standard I hold myself to: engage and give. As water is poured through a cloth to collect impurities, I try and pour myself through the poems of Hafiz, and my images of him. As Emerson saw Hafiz as a genuine measure of himself in all of his interactions, I too try to keep Hafiz before me when dealing with another person вЂ“ or animal, creature or even plant. They helped me form a three-word definition of art, which I then felt was a true gauge for success of any of poems or writings I ever become involved with, including my own. And in studying the lives вЂ“ and working with the poetry вЂ“ of Rumi, Michelangelo, St Francis, Kabir, Mira and Hafiz, and several of the other great poet-seers, East and West, I came to learn that there was a wonderful common denominator in their work. Art should be a lover it should radiate and allow you to warm yourself if in any way cold. His poetry bestows its benevolence and ability to comfort, enliven and enrich those in need. Stephen is a former professor of clarinet and saxophone at the London College of Music.I feel Hafiz is a rare master of вЂthe utility of lightвЂ™ вЂ“ or вЂthe sunвЂ™. He has worked for the Royal Shakespeare Company at the Barbican Theatre, London and the Royal Shakespeare Theatre, Stratford, and has also worked for the New Shakespeare's Globe as well as in many West End productions. Stephen has made numerous recordings, including the original cast recording of 'Phantom of the Opera'. At present Stephen plays bass clarinet with Saxpac, a saxophone septet, as well as clarinet in the Reineke Ensemble. His wind Octet Harmoniemusik of London made its debut recording with Virgin Classics as well as its Wigmore Hall debut in 1997. He was a member of the Marlborough Wind Quintet and the clarinet sextet Capital Clarinet. For many years his principal occupation was as a recitalist and lecture recitalist. Stephen has always been a keen chamber musician, and as a soloist made his debut at the Wigmore Hall in 1980. With the National Symphony Orchestra he has recorded something in the region of 65 complete musicals for TER records. He has worked for the Royal Philharmonic Orchestra, the BBC Concert Orchestra, the City of Birmingham Symphony Orchestra, the Royal Scottish National Orchestra and the Royal Ballet Sinfonia. He was for many years principal clarinet with the Orchestra de Camera, and has played for many of the British orchestras on both clarinet and saxophone. Since leaving the Royal College of Music in 1975 he has been in demand over a wide range of musical styles. Stephen Pierce (aka Morland) studied clarinet with Wilfred Kealey, Colin Bradbury and John McCaw, and studied bass clarinet with Stephen Trier.