Choices are made real through action. Ethics, morality, religion, spirituality and all our laws and decisions are products of choice. We may indeed in counsel point to the higher road, but we cannot compel any free creature to walk upon it. That leadeth to tyranny, which disfigureth good and maketh it seem hateful. [J.R.R. Tolkien, Morgoth’s Ring (1993).] I believe…
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Value for Monday of Week 17 in the season of Growth
Appreciating Nature
Real
True Narratives
The city is interesting; but the tactual silence of the country is always most welcome after the din of town and the irritating concussions of the train. How noiseless and undisturbing are the demolition, the repairs and the alterations, of nature! With no sound of hammer or saw or stone severed from stone, but a music of rustles and ripe thumps on the grass come the fluttering leaves and mellow fruits which the wind tumbles all day from the branches. Silently all droops, all withers, all is poured back into the earth that it may recreate; all sleeps while the busy architects of day and night ply their silent work elsewhere. The same serenity reigns when all at once the soil yields up a newly wrought creation. Softly the ocean of grass, moss, and flowers rolls surge upon surge across the earth. Curtains of foliage drape the bare branches. Great trees make ready in their sturdy hearts to receive again birds which occupy their spacious chambers to the south and west. Nay, there is no place so lowly that it may not lodge some happy creature. The meadow brook undoes its icy fetters with rippling notes, gurgles, and runs free. And all this is wrought in less than two months to the music of nature's orchestra, in the midst of balmy incense. The thousand soft voices of the earth have truly found their way to me--the small rustle in tufts of grass, the silky swish of leaves, the buzz of insects, the hum of bees in blossoms I have plucked, the flutter of a bird's wings after his bath, and the slender rippling vibration of water running over pebbles. Once having been felt, these loved voices rustle, buzz, hum, flutter, and ripple in my thought forever, an undying part of happy memories. [Helen Keller, The World I Live In (1907), Chapter V, “The Finer Vibrations”.]
Other narratives:
- Cheryl Strayed, Wild: From Lost to Found on the Pacific Coast Trail (Alfred A. Knopf, 2012): “a breathtaking adventure tale and a profound meditation on the nature of grief and survival”.
- Robert D. Kaplan, Earning the Rockies: How Geography Shapes America’s Role in the World (Random House (2017). “ . . . the shape of the river constrains the pilot’s course.”
- Bernie Krause, The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places (Little, Brown & Company, 2012). “Krause’s term for this symphony is ‘biophony’: the sound of all living organisms except us.”
- James Attlee, Nocturne: A Journey in Search of Moonlight (The University of Chicago Press, 2011): an idiosyncratic but engaging ode to the moon
- Victoria Johnson, American Eden: David Hosack, Botany, and Medicine in the Garden of the Early Republic (Liveright, 2018): “A biography of David Hosack, the doctor who assembled one of America’s first botanical gardens.”
- Michael Pollan, Second Nature: A Gardener’s Education (Penguin Press, 2018): “. . . an account of fixing up a farm in Cornwall, Conn.”
- Nick Pyenson, Spying on Whales: The Past, Present and Future of Earth’s Most Awesome Creatures (Viking, 2018): “. . . a travelogue to chasing whales, both living and extinct.”
- Karen Berger, Great Hiking Trails of the World: 80 Trails, 75,000 Miles, 38 Countries, 6 Continents (Rizzoli, 2017).
- Robert Llewellyn and Joan Maloof, The Living Forest: A Visual Journey Into the Heart of the Woods (Timber, 2017).
- Will Hunt, Underground: A Human History of the Worlds Beneath Our Feet (Spiegel & Grau, 2019): “A book can often have its greatest impact by rethinking familiar terrain, forcing readers to reconsider their entrenched preconceptions.”
- Robert Macfarlane, Underland: A Deep Time Journey (W.W. Norton & Company, 2019): “You know a book has entered your bloodstream when the ground beneath your feet, once viewed as bedrock, suddenly becomes a roof to unknown worlds below. . . . an epic exploration and examination of darkness and the caverns underground that have captured our imaginations, pulled us downward, housed our dead and allowed us to bury our most violent secrets.”
- Bathsheba Demuth, Floating Coast: An Environmental History of the Bering Strait (W.W. Norton & Company, 2019): “Demuth rightly approaches the region not as a barren place through which human history progressed but as a complex ecosystem on its own, in which humans play just one part.”
- Terry Tempest Williams, Erosion: Essays of Undoing (Sarah Chichton/Farrar, Straus & Giroux, 2019): “Most of the pieces here focus on Williams’s political and environmental resistance to such marauding, including her acts of civil disobedience, their fallout, and her sustained grief and anger over the despoiling of the natural world.”
- Kathleen Jamie, Surfacing (Penguin, 2019): “ . . . poet Jamie (Sightlines) meditates on the natural world, lost cultures, and the passage of time.” “Jamie’s crisp language places you in a near-meditative state.”
- Patricia Schultz, 1,000 Places to See Before You Die: The World As You’ve Never Seen It Before (Artisan, 2019): “ . . . a new, glossy coffee-table edition of the 2003 book by Patricia Schultz. . . . The most notable feature of the book is the absence of people and current events.”
- Florence Wheeler, The Nature Fix: Why Nature Makes Us Happier, Healthier, and More Creative (W.W. Norton & Company, 2017): “Scientists Examine the Benefits of Forests, Birdsong and Running Water”.
- Philip D’Anieri, The Appalachian Trail: A Biography (Houghton Mifflin Harcourt, 2021): “No one had authored the path – but also everyone had.”
- Barry Lopez, Embrace Fearlessly the Burning World: Essays (Random House, 2022): “. . . if these essays have a unifying theme and express a single mandate, they are about the redemptive importance of paying attention to the planet and to the other beings with which we share it. Attentiveness works as an antidote not only to distractedness but to the fatal unseriousness of modern life.”
- Adam Nicolson, Life Between the Tides (Farrar, Straus & Giroux): “. . . For centuries, . . . the shoreline has been ‘one of the most revelatory habitats on earth.’ Foundational tenets of taxonomy, paleontology and evolution ‘first emerged from studying what was happening to animals and plants between the tides.' . . .”
Technical and Analytical Readings
- Roger S. Gottlieb, ed., This Sacred Earth: Religion, Nature, Environment (Routledge, 1996).
Photographs
Documentary and Educational Films
- Grizzly Man, about Timothy Treadwell, who lived and died among bears
National Geographic Wild series and other nature documentaries:
Africa:
South America:
Asia:
North America:
Australia:
Europe:
Islands:
Oceans:
Imaginary
Fictional Narratives
Novels and stories:
- Paul Tremblay, Growing Things and Other Stories (Morrow/HarperCollins, 2019): “does what we expect the work of our best writers to do: reflect our world from a surprising perspective so that we might better see its beauty and contradictions, its comforts and aches. In these 19 stories, Tremblay doesn’t just hold a mirror up to reality, but live-streams it, projecting the whole spectrum of our modern anxieties so vividly it feels as if we’re watching in real time.”
Poetry
It may indeed be phantasy, when I
Essay to draw from all created things
Deep, heartfelt, inward joy that closely clings;
And trace in leaves and flowers that round me lie
Lessons of love and earnest piety.
So let it be; and if the wide world rings
In mock of this belief, it brings
Nor fear, nor grief, nor vain perplexity.
So will I build my altar in the fields,
And the blue sky my fretted dome shall be,
And the sweet fragrance that the wild flower yields
Shall be the incense I will yield to Thee,
Thee only God! and thou shalt not despise
Even me, the priest of this poor sacrifice.
[Samuel Taylor-Coleridge, “To Nature”]
Other poems:
- William Wordsworth, “Tintern Abbey”
- William Wordsworth, “I wandered lonely as a cloud”
- Percy Bysshe Shelley, “To a Sky-Lark”
- Percy Bysshe Shelley, “The Invitation” (1822)
- Percy Bysshe Shelley, “Ode to the West Wind”
- Joyce Kilmer, “Trees”
- Walter de la Mare, “Silver”
- Robert Frost, “Blueberries”
- Robert Frost, “Hyla Brook”
- Robert Frost, “Putting in the Seed”
- Robert Frost, “Rose Pogonias”
- Robert Frost, “The Vantage Point”
- Edgar Lee Masters, “Imanuel Ehrenhardt”
- Edgar Lee Masters, “William Jones”
- Seamus Heaney, “Postscript”
- Navarre Scott Momaday, “The Earth”
- John Keats, “I Stood Tip-Toe Upon a Little Hill”
- John Keats, “O Solitude! If I Must With Thee Dwell”
Wallace Stevens, “In the Carolinas” - Wallace Stevens, “The Idea of Order at Key West” (analysis)
- John Greenleaf Whittier, “What the Birds Said”
- William Blake, “The Echoing Green”
- Andrew Marvell, “The Garden”
- John Greenleaf Whittier, “The Worship of Nature”
- E. Cummings, “O sweet spontaneous”
- Pablo Neruda, “Horses”
Music: Composers, artists, and major works
Richard Strauss, Eine Alpensinfonie (An Alpine Symphony), Op. 64 (1915) (approx. 44-54’) (list of recorded performances), depicts a day in the mountains. It is “. . . a vivid musical portrayal of a climbing party's alpine ascent and descent. All of the action in Strauss' Alpine Symphony takes place within one day . . .” It was “inspired by an alpine expedition as a teenager (during which he'd lost his way), and written with an awesome view of the peaks from his villa in Garmisch.” “The sunrise grows out of a quiet, rumble which depicts night - and in a mighty crescendo, opens the day - a similar awakening to that in ‘Zarathustra,’ in fact. And, along with the day the climbers begin their ascent, which is so clearly rendered in the music. After hiking for a while they enter the wood - via a sudden tempo change - and encounter the mysteries therein, beautifully exhibited by the...well, the mysterious music.” “In the Alpine Symphony, Strauss wrote that 'this represents moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.'” Top recordings were conducted by Strauss in 1941, Knappertsbusch in 1952, Böhm in 1957, Mravinsky in 1962, Kempe in 1966, Kempe in 1971, Karajan in 1980, Karajan in 1985, Ozawa in 1996, Maazel in 1998, Thielemann in 2000, Schwarz in 2001, Janowski in 2009, Bychkov in 2010, Jansons in 2017, Jurowski in 2021, and Thielemann in 2023.
Edward Elgar, Sea Pictures, Op. 37 (1899) (approx. 22-24’) (lyrics) (list of recorded performances) is a song cycle conveying images of the sea and human activity on and about it. “The songs are about a person’s relationship with the ocean, and possibly no other European nation had the deep dependency on the ocean than Britain.” “Elgar's chosen texts often relate to the dichotomy of fear and fascination.” Top recorded performances are by Brunskill in 1926; Ripley (Weldon) in 1946; Baker (Barbirolli) in 1965 ***; Minton (Barenboim) in 1977; Palmer (Hickox) in 1986; Finnie (Thompson) in 1991; Lemieux (Daniel) in 2018; Rudge & (Vasily Petrenko) in 2019; and Garanča (Barenboim) in 2019.
Ralph Vaughan Williams, Symphony No. 3, “A Pastoral Symphony” (1922) (approx. 35-39’) (list of recorded performances): musically, the work evokes an idyllic landscape, as suggested by the title. However, the composers’ intent was something else entirely: “'It’s really wartime music – a great deal of it incubated when I used to go up night after night in the ambulance wagon at Ecoivres and we went up a steep hill and there was wonderful Corot-like landscape in the sunset. It’s not really lambkins frisking at all, as most people take for granted.'” Still: “Vaughan Williams was indeed inspired by landscape, but not English landscape; rather, the landscape of wartime France.” We can hear it for the composer’s appreciation of what was being ruined. Top recorded performances are conducted by Boult in 1953, Previn in 1971, Handley, Bakels in 1994, Norrington in 1997, Haitink in 1998, and Elder in 2014.
American composer Ferde Grofé is best known for his Grand Canyon Suite but he composed several other works in the same vein:
- Grand Canyon Suite (1931) (approx. 31-36’) (list of recorded performances): here are links to complete performances conducted by Toscanini in 1945, Ormandy in 1957, Hanson in 1959, and Bernstein in 1964.
- Death Valley Suite (1949) (approx. 13’)
- Hudson River Suite (1955) (approx. 22’)
- Mississippi Suite (1926) (approx. 13’) (list of recorded performances)
- Niagara Falls Suite (1961) (approx. 22’)
Other works:
- Charles Koechlin, The Jungle Book (Livre de la Jungle), Op. 175 (1940) (approx. 58’), is drawn from Rudyard Kipling’s story collection, “The Jungle Book” (1894). “Kipling’s Jungle Book was a lifelong obsession for Koechlin, and between 1899 and 1936 he based five orchestral pieces on it, some including voices, which together form a vast symphonic cycle.” “The stories are about relationships, family, nature and living in society.”
- Robert Schumann, Liederkreis, Op. 39 (1840) (approx. 25-26’) (lyrics) (list of recorded performances), is a song cycle that “Trac(es) Themes Of Nature From Poetry To Music”.
- Gerald Finzi, Earth and Air and Rain, Op. 15 (1935) (approx. 29’) (lyrics) (list of recorded performances), is drawn from poems by Thomas Hardy.
- Lou Harrison, Four Strict Songs for Eight Baritones and Chorus (1955, rev. 1992) (approx. 16’): “The text for Strict Songs was Harrison’s own. Supposedly “modeled on Navajo ritual song,” the four movements are a salute to holiness, nourishment, tenderness, and splendor, respectively. The text is an ecstatic exaltation of the natural world.”
- Aaron Jay Kernis, Newly Drawn Sky (2005) (approx. 17-18’), per the composer, “is a lyrical, reflective piece for orchestra, a reminiscence of the first summer night by the ocean spent with my young twins . . . and of the changing colors of the summer sky at dusk.”
- Jennifer Higdon, Sky Quartet (1997, rev. 2000) (approx. 21’): in this work for string quartet, the movements are “Sky Rising”, “Blue Sky”, “Fury” and “Immense Sky”.
- Ida Gotkovsky, Le Chant de la forêt (Song of the Forest), for chorus and wind orchestra (1989)
- Frederick Delius, Florida Suite (1887) (as edited by Beecham in 1963) (approx. 37-38’) (list of recorded performances) “. . . was inspired by the bright landscapes and balmy weather of Florida which he experienced while spending time managing an orange grove . . .”
- William Henry Fry, Niagara Symphony (1854) (approx. 12-14’) “is extravagantly panoramic in scope as befits all good travelogue pieces . . .”
- Arnold Bax, Enchanted Summer (1910) (approx. 28’)
- Antonín Dvořák, In Nature’s Realm Overture, Op. 91, B168 (1891) (approx. 14’) (list of recorded performances), “has been described as a landscape painting, due to its richness in tone, colour and timbre throughout. It is also seen as a somewhat self-portrait of Dvořák’s home town, Vysoká, where he composed in a forest with peace and quiet, and the only noises that disturbed him were the natural sounds outside his window.”
- Lou Harrison, Solstice (1950) (approx. 17’)
- George Frideric Händel, Care selve, aure grate, HWV 88 (1708) (list of recorded performances)
- Raga Miya Malhar (Malhar, Miyan Malhar) is a Hindustani classical nighttime raag aping nature’s vagaries, it is performed especially in the rainy season. It is “is a monsoon raga, popularly used for invoking and embracing rain to drench the earth and to welcome the monsoon.” Performances are by Venkatesh Kumar, Paluskar and Koparkar.
- Raga Pahadi (Pahari) is a classical raag for early evening. It “originates from the mountainous region of Himalayas.” Based on folk melodies, “the raga is like a lover, unruffled in union, serene in separation, powerful enough to achieve eternal union, but resigned to the painful parting ordained by destiny.” Performances are by Ali Akbar Khan, Nikhil Banerjee and Hariprasad Chaurasia.
- Outi Tarkiainen, The Earth, Spring’s Daughter (2015) (approx. 43-60’) “is a mythical epos illustrating the core experiences of the North and its people from the past to the present day.”
- Robert Carl, Symphony No. 5, “Land” (2013) (approx. 22’) was inspired by a trip from the Great Plans to the Rocky Mountains. Carl says: “It takes this geography as a starting point to evoke images and sensations that can only come from music, and point beyond the physical surface towards something “other”.”
- John Harmon, “Earth Day Portrait” (2001) (approx. 24’)
- Edward Joseph Collins, “Hymn to the Earth” (1929) (approx. 37’) (lyrics)
- Alan Hovhaness, Symphony No. 66, Op. 428, “Hymn to Glacier Peak” (1992) (approx. 19’)
- John Luther Adams, “Canticles of the Holy Wind” (2013) (approx. 66’) is “a hypnotic and ethereally beautiful invocation of wind, sky and birdsong through human — but wordless — voices.”
- Bernard Rands, Canti del Sole (Songs of the Sun) (1983) (approx. 27’)
- Bernard Rands, Canti Lunatici (Songs of the Moon) (1981) (approx. 33’)
- Xiaogang Ye, Sichuan Image, Op. 70 (2013) (approx. 47’), “consists of 29 brief and atmospheric pieces composed to accompany a filmed travelogue of the scenic province in Western China.”
- Ottorino Respighi, Deità Silvane (Woodland Deities), P. 107 (1917) (approx. 16’), is a cycle of five songs, whose English titles are The fauns, Garden music, Aegle, Water, and Twilight.
- Ben Shirley, High Sierra Sonata (2020) (approx. 19’), was inspired by Shirley’s visit to the Sierra mountains in 2019.
- Lei Liang, “Six Seasons” (2022) (approx. 63’) “is an essay in environmental sound art and improvisation.”
- Margaret Brouwer, Symphony No. 1, “Lake Voices” (1997) (approx. 16-17’), “captures the beauty of the Great Lakes . . .”
- Philip Glass, Aguas da Amazonia (1999) (approx. 55’): “Inspired by the Amazon River and its tributaries, the suite explores a vivid mixture of orchestral and percussive textures in Glass’ signature style.”
- Pēteris Vasks, Violin Concerto No. 2, "Vakara gaismā" (In Evening Light) (2020) (approx. 35-38’): “The underlying sense of tranquility in this concerto has its origins in a reflection on nature. Particularly birdsong inspired Vasks to write this concerto, combined with an aspect of religious faith, as he grew up a pastor’s son.”
- David Maslanka, Symphony No. 3 (1991) (approx. 48-49’) - the composer writes: “The impetus for this piece was in part my leaving university life a year ago and moving from New York City to the Rocky Mountains of western Montana. The mountains and the sky are a living presence. Animal and Indian spirits still echo strongly in this land, and these elements have found their way into my music.”
- Ernest John Moeran, Symphony in G minor, R71 (1937) (approx. 43-45’) (recordings) “may be said to owe its inspiration to the natural surroundings in which it was planned and written. The greater part of the work was carried out among the mountains and seaboard of Co. Kerry, but the material of the second movement was conceived around the sand-dunes and marshes of East Norfolk.”
- Moeran, Violin Concerto, R78 (1942) (approx. 31-33’) (recordings) “is another of those Moeran works that it is easier to think of, not as music, but as a sort of distillation of English and Irish landscape.”
- Dobrinka Tabakova, Sun Triptych (2009) (approx. 15-20’) “evokes the play of light on the natural world over the course of the day”, celebrating how the Sun creates dawn, daylight, and dusk.
Albums:
- George Winston, “Forest” (1993) (46’)
- Jacques Burtin, “Le Chant de la forêt” (Song of the Forest) (2007) (59’)
- Rich Halley Trio, “Mountains and Plains” (2005) (63’)
- Harris Eisenstadt, “Old Growth Forest” (2016) (54’)
- Brian Eno, “Deep Blue Day” (1982) (48’)
- Fergus McCreadie, “Forest Floor” (2022) (55’)
- Uakti, “Aguas de Amazonia” (Waters of Amazon) (1999) (55’), music composed by Philip Glass
- New Music Players & Primrose Piano Quartet, “Music for the South Downs” (2022) (69’) presents music by Ed Hughes, commissioned by the South Downs National Park Authority, for a film celebrating the park’s tenth anniversary.
- Haskell Small, “Alan Hovhaness: Mountain Fantasies for Piano” (2023) (59’)
- Leon McCawley, “Natural Connection: Piano music inspired by the natural world” (2024) (78’)
- Various artists, “Kristine Tjøgersen: Between Trees” (2024) (76’): “All of the works featured on Between Trees are the composer’s evocations of nature.”
- Cynefin, “Shimli” (2025) (49’): “As well as making music, Owen is a cultural historian, researcher and grain grower, the latter directly linking to the album’s title, meaning a gathering of farmers, telling stories and singing songs as their oats baked around them. This old practice continued well into the twentieth century.”
- Efrén López, Ciro Montanari & Jordi Prats, “MEL” (2025) (54’): “Drawing influences as diverse as Afghan folk to medieval European melodies, Cretan dance tunes, Persian ballads, and an Indian classical bandish, MEL is a powerful testament to tradition, spontaneity, and reverence for the small and essential. Dedicated to the bee and its gift of honey . . .”
- Ichiko Aoba, “Luminescent Creatures” (2025) (35’): “Much of Aoba’s inspiration came from visits to the Ryukyu Archipelago, which lies southwest of Kyushu, the southernmost of Japan’s four largest islands. There, she’d dive into the sea without scuba gear, going as deep as the breath in her lungs would take her. She sought the colorful array of bioluminescent beings, creatures like jellyfish, algae, and sea stars that have evolved to produce their own light within the ocean’s crushing darkness. In press materials and interviews, she’s described those dives as terrifying but beautiful, acts of submission to the environment’s boundlessness.”
Music: songs and other short pieces
- John Denver, “Rocky Mountain High” (lyrics)
- John Denver, Sunshine on My Shoulders” (lyrics)
- Fawn Fritzen, “Green Island Serenade” (lyrics)
- Franz Schubert (composer), “Naturgenuß” (Delight in Nature), D. 188 (1815) (lyrics)
Visual Arts
- Franz Marc, Der Wasserfall (1912)
- Frederic Edwin Church, El Rio de Luz (The River of Light) (1877)
- Gustave Courbet, The Calm Sea (1869)
- Albert Bierstadt, Among the Sierra Nevadas (1868)
- Gustave Courbet, The Beach at Palaves (1854)
- Joseph Mallord William Turner, Rainbow (ca. 1835)
- Jean-Baptiste-Camille Corot, Rocks in Amalfi (1828)
- Thomas Cole, Scene from the Last of the Mohicans (1826)
- Thomas Cole, Kaaterskill Falls (1826)
- Carl David Friedrich, Moonrise Over the Sea (1822)
- Jean-Honoré Fragonard, The Grand Cascade at Tivoli (1760)
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