Value for Tuesday of Week 52 in the season of Harvest and Celebration

Living with Good Orderly Direction

Meaning is about where we want to go. Direction is about how to get there.

The intellectual component of the sacred anchor is direction – the rules by which we live. Many people omit this from their conception of the sacred or religious life, mentioning only meaning and purpose; the intellectual component, direction, is also essential. It may not be as satisfying emotionally as the other elements (few people enjoy being told what to do), which probably explains why many people overlook or ignore it. Yet without it, we cannot use reason, much less wisdom, to chart an intelligent course that is likely to produce a good and productive life. We may know what we wish to accomplish (meaning) but we will not know, or will not follow, the proper steps to achieve our ends. The exclusion of direction from the holy Trinity may be as much, or more, a product of choice as of oversight.

In the Christian Trinity, the analog to direction is the Word, or Father; the analog to meaning is the Spirit, represented by the invisible feminine principle (unfortunately, the mother is absent, replaced by a formless “Holy Spirit”); the analog to purpose is the Son, the product of the parents, the Word made flesh and expressed as action. Perhaps this is why the Christian narrative is so enduring: it reaches deep into the psyche, straight to the mother lode of meaning, through a metaphor that brilliantly reflects a robust approach to life.

Real

True Narratives

Technical and Analytical Readings

All of our values are part of living a well-directed life. Below are books explicitly on the subject.

Photographs

Documentary and Educational Films

Imaginary

Fictional Narratives

Poetry

Poems:

From the dark side:

Music: Composers, artists, and major works

Johannes Brahms, Violin Concerto in D major, Op. 77 (1878) (approx. 36-46’), is a virtuoso work that takes a more calculated tone than the other great violin concerti. “. . . Brahms was serious, no doubt about it. His Violin Concerto might display a lyricism that sounds spontaneous, but this composer sweated over every bar.” “The fact that this violin concerto was written for a most famed and virtuoso violinist of that time suggests its difficulty. The concerto requires tremendous technique from the violinist performing the work.” “As the conductor and scholar Leon Botstein notes: ‘[Brahms] wanted to find a way to reconcile the most serious aspirations of instrumental music with the visceral power associated with the display of virtuoso technique.'” “Brahms intended Opus 77 to be a truly symphonic concerto; that is, a concerto that fully integrates the orchestra, rather than a showy piece designed to display the soloist’s virtuosity, in which the orchestra is relegated to mere accompaniment.” Those may have been Brahms’ intentions but the listening experience is one of hearing a brilliantly constructed concerto. Brahms’ efforts paid off brilliantly. Best recorded performances are by: Kreisler (Barbirolli) in 1936; Busch (Steinberg) in 1943; Huberman (Rodzinski) in 1944; Neveu (Schmidt-Isserstedt) in 1948; Menuhin (Furtwängler) in 1949; Martzy (Kletzki) in 1954; Szeryng (Monteux) in 1958; Francescatti (Bernstein) in 1961; Little (Handley) in 1991; Bell (Dohnányi) in 1994; Rachlin (Jansons) in 2004; Faust (Harding) in 2010; Capuçon (Harding) in 2011; Batiashvili (Thielemann) in 2012 ***; and Shaham (Jacobsen) in 2019.

Music: songs and other short pieces

Visual Arts

Film and Stage

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