The Artful Mind artzine

THEARTFULMINDMonthly Berkshire Artzine Since 1994

THREE GENERATIONS OF VICTOR BORGEFrederikke Borge, Johanne Kesten and Jazmine Bona

Photography by Jane Feldman

M ay 2 0 1 2

SSoonnyyaa HHeeiimmaannnnHair and [email protected] Salon Spa 413. 298. 0117

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Maestra Sara Jobin rehearses for an upcoming performance of ʻPeter and the Wolfʼ with students from Mountain Road School, NY

Mountain Road Schoola celebration of Childhood,

Nature and Creativity

www.mountainroadschool.org

Photography: Jane Feldmanwww.janefeldman.com [email protected]

THE ARTFUL MIND MAY 2012 • 1

Rob MichelsUp Close/Not SoClose

The Gallery at the Goldsmith

152 Main Street / Great Barrington, MA 413-528-001310:30-6:00, Tuesday-Saturday throughout May

Reception/ Saturday, 5/12 4:00-6:00 P.M.

MICHAEL FILMUS413-528-5471 www.michaelfilmus.com

“Across the Valley”, Oil on Canvas, 20” x 30”

MUSEUMS & GALLERIESA.P.E. LTD. GALLERY126 Main Street Northampton, MA • 413-586-5553May 8 – 30, 2012: 'Scale in Contemporary Printmaking', is an ex-hibition that pushes the boundaries, materials and scale of tradi-tional printmaking. On view are 20 works by members of ZeaMays Printmaking that explore scale and format in printmaking.Reception Friday, May 11th, 5-8pm during Northampton’s ArtsNight Out. (Gallery Hours are Tuesday–Sunday: 12-5 and Friday:12-8.)

ART ON MAINTHE GALLERY AT BARNBROOK REALTY271 Main Street, Gt. Barrington • 413-528-3623www.artonmain.blogspot.comMarch 31- May 11: Feather and Flora: Amother and son photog-raphy exhibit. Nature mandalas by Sarah Nicholson and Birdstudies by Kai Reed.

HOUSATONIC VALLEYART LEAGUESUMMER SHOWS 2012Dewey Memorial Hall, Sheffield, Mass.Wed closed. JURIEDART SHOW, Opens July 5Reception July 6, 4:30---6:30. Closes July 29MEMBERART SHOW, Opens August 2. Reception August 3,4:30---6:30. Closes August 26. GalleryAdmission is free; public welcome! (Gallery Hours:(Mon, Tu, Th, Fr, Sat 10:00---5:00 Sun 1:00---5:00)

BERKSHIRE ART GALLERY80 Railroad St, Gt Barrington, MA • 528-2690www.berkshireartgallery.com19th and early 20th Century American & European artand sculpture, contemporary artists

CARRIE HADDAD GALLERY622 Warren St, Hudson, NY • 518-828-1915Photography: New Work: April 19 – May 27, 2012. April 19through May 27, 2012.

DON MULLER GALLERY40 Main St, Northampton, MA • 586-1119Beautiful American crafts, jewelry, glass and more

ECKERT FINE ART34 Main St, Millerton, NY • 518-592-1330Featuring artist Chuck Close

FRONT STREET GALLERYFront St., Housatonic, MA• 413-274-6607 / 413-528-9546, or cell at 413-429-7141Front Street Gallery will host Robert Forte’s first exhibition in theBerkshires; it will run May 5 – June 3, with an artist reception onSunday, May 6 from 3-6 PM.Housatonic Gallery for students andartists. Featuring watercolors by Kate Knapp (Saturday and Sun-day 12-5pm or by appointment)

HUDSON VALLEYARTS CENTER337 Warren St, Hudson, NY • 800-456-0507Regional and nationally-known artisans. Classes.

ISABELLA FREEDMAN JEWISH RETREAT CENTERFalls Village, CT • 860.824.5991Former Players, Pulitzer Prize Winner, Ambassador to Join for“Judaism & Baseball” Gathering. June 29-July 2, 2012, the firstever “Judaism & Baseball” retreat is slated to delve into suchquestions as “Why ask ‘Who’s a Jew’ in Baseball?” and “The Re-sponsibility of Jews in Baseball,” provide illumination on topicsranging from baseball in Israel to Jews in black baseball, as wellas include fun activities including a draft of the All-Time JewishAll-Star Team and a Yiddish version of “Casey at the Bat.”

LAUREN CLARK FINE ART402 Park St, Housatonic, MA • 274-1432www.LaurenClarkFineArt.comLaurenLauren Clark Fine Art presents PASTELS by Helga S. Orthofer,May 24 through July 8. Reception for the artist, Saturday, May26, 4-7pm.(Business hours are Thursday-Mon, 11-5:30 and Sun-day, 12-4)

MARGUERITE BRIDE STUDIOwww.margebride.comCustom House and Business Portraits, “Local Color”, watercolorscenes of the Berkshires, New England and Tuscany. Originalwatercolors and FineArt Reproductions. Visit website for exhibitschedule

MATTATUCK MUSEUM144 West Main St, Waterbury, CT • 203-753-0381Reflections and Undercurrents, Prints of Venice, 1900-1940: May11 - Aug 26

MUSIC & MORE 2012 FESTIVALNew Marlborough, MAMeeting House Gallery: May 25: "Moments of Focus," juriedphotography show with opening reception, 5-7 p.m., MeetingHouse Gallery, Route 57. Show runs May 26-June 17; photosjudged by David LaSpina of Bard College at Simon's Rock.June22: “Sculpture on the Green,” opening reception 5-7 p.m., Meet-ing House Gallery, Route 57, NewMarlborough. Featuring piecesby Toby Frank, Joe Wheaton, Robin Tost, Eric Callahan, EllenMurtaugh and River Kelly. Show runs June 23-July 8.

SCHANTZ GALLERIES3 Elm St, Stockbridge, MA • 413-298-3044• www.schantzgalleries.com.A destination for those seeking premier artists working in glass.11 - 5 daily

THE GALLERYAT THE GOLDSMITH152 Main Street, Great Barrington, MA 413-528-0013ROB MICHELS: UP CLOSE/NOT SO CLOSERob Michels will be exhibiting his photography at The Gallery atthe Goldsmith in Great Barrington throughout May. A receptionwill be held on Saturday, May 12 4-6pm. (Hours: 10:30-6:00,Tuesday-Saturday)

THE HARRISON GALLERY39 Spring Street, Williamstown, MALeslie Peck, May 5 – May 3. Opening Reception with ArtistSaturday, May 5 – from 5 - 7pm

THE STERLING AND FRANCINE CLARKART INSTITUTE225 South St, Williamstown, MA • 413-458-2303Clark Remix, salon style installation, with two new interactive pro-grams: uCurate, and uExplore, on view til 2013

TK HOME AND GARDEN441 Warren St, Hudson, NY • 518-697-0909The Flower Show: Betzie Bendis, paintings and Barbara Leven,photography. May 5-June . Reception May 5, 5pm.

MAY CALENDAR In and Around the Berkshires 2012

2 • The Artful Mind MAY 2012

“The Why Tree”Photographs by Maurine Sutter

1 Main Street, Salisbury, CT 860-435-9758May 1-31 Wed.-Sunday from 10 am-6 pm“Created by a unique combination of traditional “wet”darkroom techniques combined with contemporary digitalmethods, the finished prints have a timeless quality featuringdelicate color on a richly textured surface. In tracing the

many steps which lead to a completed print, it might come asa surprise to find the original prints are black and white.”

THE LENOX GALLERY

69 Church Street, Lenox, MA 01201 • (413) 637-2276over twenty-five artists • on two levels open year round - call for hours

O F F I N E A R T

paint ings • drawings • watercolor • sculpture • mixed media works • pastels • portrai t commissions

“...one of the finest and most charmingprivate galleries in New England.”

510 WARREN ST. GALLERY510 Warren St., Hudson, NY • 518-822-0510Four artists during May: Maxine Davidowitz, oils; Pat Hogan,watercolors; Elaine Radiss, photography; and H. David Stein,photography. The exhibit will run Friday, May 4, - Sunday, June3, with an artists’ reception Saturday, May 5, from 3-7pm. (Fri-days and Saturdays from 12 noon until 6 P.M., and Sundays from12 noon until 5 P.M., Mondays by chance)

WILLIAM BACZEK FINE ARTS36 Main St, Northampton, MA • 413-587-9880• [email protected] www.wbfinearts.comSolo exhibition by Travis Louie. The exhibition is titled The Se-cret Pet Society and will consist of approximately fifteen newpaintings as well as etchings, digital prints and sculpture by therenowned New York artist.

MUSIC & THEATREASTON MAGNA40TH ANNIVERSARY GALAOzawa Hall, Tanglewood, Lenox, MASinger Deborah Rentz-Moore: Saturday, June 9th at 6 PM, whenAston Magna celebrates its 40thAnniversary with a Gala concertof Monteverdi, Purcell, Handel and Bach.

FODfest CONCERTSFRIENDS OF DANIEL PEARL FESTIVALwww.festfest.orgLittle Theater at Torrington High School in Torrington, CT onSaturday May 12 at Dewey Hall in Sheffield, MA. If you are amusician interested in performing, please submit your request viaour website.

IS183 • ART SCHOOL OF THE BERKSHIRES12 Willard Hill Rd, Stockbridge, MA • 413-298-5252The Live Music Cafe series will continue on the fourth Thursdayof every month final show is May 24. Doors will open at 6pm,music runs from 7-9pm, and beverages (wine, beer, water) andlight snacks will be available. There's a $10 suggested donation.

CLOSE ENCOUNTERS WITH MUSICMahaiwe PerformingArts Center, Post Office Box 34, Great Bar-rington, MA • 800-843-0778 / www.cewm.org. For further infor-mation contact www.cewm.org or 800-843-0778.THE ROARING TWENTIES: BERLIN, PARIS, NEW YORKThe program re-introduces an important but often neglected groupof diverse composers whose works were suppressed during theNazi era, along with those whose voices were silenced altogether,and places them and their works in context within 20th centurymusic.

COLONIALTHEATREPittsfield, MA • colonialtheatre.comColin Hay, May 5, 8pm; Rhythmic Circus, May 12, 8pm; DarkStar ORchestra, May 22, 7pm; Bettye LaVette, May 26, 8pm

NATIONALTHEATRE LIVEThe Moviehouse, Main st, Millerton, NY • 518-789-3408She Stoops to Conquer, Apr 22, 3pm,Apr 23, 7pm.One Man TwoGovnors, Sun May 20, 1pm, Mon, May 21, 7pm. A New Play byNick Dear ‘Frankenstein’, Sun June 3, 3pm, June 11, 7pm

SHAKESPEARE & CO.70 Kimble St, Lenox, MA • shakespeare.orgCassandra Speaks, May 26-Sept; The Tale of theAllergist’s Wife,June 12 - Sept 1; Parasite Drag, June 20- Sept 2, see website forcomplete schedule

TANNERY POND CONCERT SERIESwww.tannerypondconcerts.orgFirst concert will be on Sunday, May 27 at 3pm; June 16, featur-ing The Tokyo String Quartet is a special performance at St.Peter’s Church in Spencertown. Paul Huang, violinist with pianistJessica Osborne, on July 14 at 8pm. August 4, the Harlem StringQuartet. Emanuel Ax, on August 11. Todd Palmer, clarinet, Eliz-abeth Futral, soprano, and Ran Dank, piano will present a uniqueconcert on Sept 1 at 8pm. Sept 22 at 6pm, the Brentano StringQuartet.

TREMAINE GALLERYat The Hotchkiss School11 Interlaken Rd, Lakeville, CT • 860-435-3663Brook Singer’: Sites Unseen, May 2 - June 17, reception May 5,4-6pm

TRI-ARTS SHARON PLAYHOUSE48 Amenia Rd, Sharon, CT • 860-364-showDivas Do the Decades, June 8-10; The Best Littel Whorehouse inTexas, June 28-July 15; Altar Boyz, July 20-29; The Sounds ofMusic, Aug 9-26

WORKSHOPS AND EVENTSBERKSHIRE BOTANICAL GARDENSaturday & Sunday, May 19 & 20, 9 am – 4 pmBuild a Cob Oven: Demonstration/Hands-on WorkshopCost: Members $80; Nonmembers $90Learn the ancient art of making cob, a versatile and long-lastingbuilding material made of clay, sand, and straw. Build a cob ovenfrom the ground up at this workshop using locally sourced stone,clay, hay, sand, wood chips, and gravel. All aspects of construc-tion will be covered including siting, design, and building.Aftercuring for a month or so, the oven will be unveiled on the 9th ofJulyInstructor: Felix Lufkin

HILL-STEAD MUSEUM35 Mountain Rd, Farmington, CT • 860-677-4787Sunken Garden Poetry Festival 2012: Poetry reading, live music,workshops and talks. See Hill-stead.org for complete schedule.

KENTUCKY DERBYART SHOWAND SALEMaplebrook School, Rte 22, Amenia, NY • 845-373-8557May 5: Tommy Hilfiger’s Private Collection of autographedworks by pop artists and icon Andy Worhol. Opening recpetionMay 5, 4-7pm

PARADISE CITYARTS FESTIVALNorthampton 3 County Fairgrounds, Rte 9 at I-91, exit 19800-511-9725 / www.paradisecityarts.comMay 26 - 28: 260 Artists and craftspeople from over 30 states,live music, food, special exhibition of “Wild Things!”

RENAISSANCE ART SCHOOLUpstairs at 33 Railroad Street in Great Barrington, MA.Please go online for Spring and Summer classes.• 413-528-9600 / www.renaissanceartschool.com

PITTSFIELD FIRST FRIDAYS ARTSWALKFirst Fridays Artswalk - http://firstfridaysartswalk.comStarting May 4:First FridaysArtswalk will occur in the immedi-ate downtown area of Pittsfield on each first Friday of the month

from 5 – 8pm; a reception for the exhibiting artists will take placein most of the venues displaying art.

SABINE PHOTO ART WORKSHOPPhotographic workshops are scheduled for this spring: Set out onweekends to explore the beautiful country site of the Berkshires.Zoom in on your fellow students and capture their expressions.Designed for serious amateurs who are interested in improvingtheir artistic eye. All participants are asked to bring a digital SLRcamera and a laptop with software to present their images for editand critique sessions. Event dates: May 12/13, May 26/28, andJune 9/10. For more info please contact Sabine Vollmer vonFalken Photography Studio www.sabinephotoart.com,[email protected] tel. 413 298 4933

[email protected] for JUNE issue is MAY 10, 2012

The Artful Mind MAY 2012 • 3

Ben La Rocco: Autistic's Cardthrough May 20th

"Many years ago, in a nurse’s apartment in Paris,I saw a square card with red dots on it tacked to thewall. The nurse told me that the card was used tocommunicate with autistic patients. She had put iton her wall because it seemed pretty to her. The reddots were large. I think there were around 9 of themfloating randomly around the card. There was nodiscernible order to the dots, except that they wereall the same size. Apparently, autistic people couldnevertheless read these cards to mean something.

I don’t know if what they saw was an image, aword, or a state of being. Perhaps all. I found thecard beautiful too. It had some kind of Gallery hoursare Thursday through Monday, 11:00 till 5:00 p.m.For further information about the gallery, the artistsand upcoming exhibition, visit.”

-Bem La RoccoJOHN DAVIS GALLERY

362 1/2 WARREN STREETHUDSON, NEW YORK 12534WWW.JOHNDAVISGALLERY.COM

CALL FOR ARTISTSfrom BERKSHIRES ARTS FESTIVALS

Emerging Artists and ArtisansOffering low cost exhibition opportunities

for up to100 artists as well as25 full exhibition scholarships.

JULY&AUGUSTEXHIBITION DATES 2012:

July, 6,7, 8: Ski Butternut, Gt Barrington, MAAugust 24, 25, 26: Ski Butternut, Gt Barrington, MASept 28, 29, 30 ..... Shakespeare & Co., Lenox, MA

For Arts Festival Submission Formsand further information email:

americanartmarketing.com


Exhibiting Artists Include: John Clark, Diana Felber, Joan Giummo, Iska Kenny, Kate KnappJohn Lipkowitz, Nina Lipkowitz, Eleanor Lord, Hannah Mandel, Joel Mark, Steve Porcella,

Peggy Reeves, Jeannine Schoeffer, Doris Simon and Fine prints & Posters from Mill River Studio

510 Warren Street, Hudson, New YorkFriday and Saturday 12 - 6, Sunday 12 - 5 or by appointment

518-822-0510 ~ 413-528-9546www.510warrenstreetgallery.com

FRONT STREET GALLERYPresents the Work of

ROBERT FORTE

May 5 through June 3, 2012OPENING RECEPTION Sunday, May 5, 2012

Front Street, downtown HOUSATONIC, MA 413 274-6607

MAN IN WHITE SHIRT, OIL ON CANVAS

Lauren Clark Fine Artpresents

PPAASSTTEELLSSby

Helga S. Orthofer

architecture, cityscapes, landscapes, portraits

May 24-July 8

Reception for the ArtistSaturday, May 26

4-7pm

402 Park Street, Housatonic, MA 413-274-1432LaurenClarkFIneArt.com

Pat Hogan Elaine Radiss David Stein Maxine DavidowitzMay 4 - June 3 Reception: May 5, 3-7 pm

MAY Artist

sElaine Radiss

Pat Hogan

David Stein

Maxine Davidowitz


THE MUSIC STOREAs the Berkshires enjoys its Spring Sonata, we at The

Music Store look forward to the summer prelude at the endof the Railroad Street extension in Great Barrington.

We are proud to offer some extraordinary and unusualNEW instruments this spring:

For travelers, the incomparable Composite AcousticCargo guitar: made of 100% carbon graphite, in one piece,this pint sized guitar offers full-sized acoustic sound and pro-fessional grade electronics for the perfect gigging and travel-ing instrument in an almost indestructible body - the ForeverGuitar!For Guitarists seeking unique handmade premium instru-

ments, The Music Store offers guitars by American LuthierDana Bourgeois and introducing Steel and classical guitarsby Irish Luthier John Beckett.For instrumentalists in search of the unusual, The Music

Store offers the unique Dr. Easy’s Sonic Boxes - cigar boxguitars made from recycled ingredients and vintage cigarboxes, the Serenity Bamboo Flutes - cane and walking stickflutes which are handmade in Stockbridge, Fluke and Flea

Ukuleles - handmade in Sheffield, Catania Thumb Pianos,Gourd Pianos, Fishtix and Catspaws - handmade in Pennsyl-vania, and a host of other varied and exciting instruments formusicians of all ages and abilities.

Acclaimed as one of the area’s best music stores, TheMusic Store specializes in fine, folk and unusual musical in-struments, accessories, supplies and music motif gifts. Musiclovers and professional and amateur musicians alike willfind an exciting array of both new and used name-brand andhand-made instruments, extraordinary folk instruments andone of the Northeast’s finest selections of strings and reeds.Professional musicians seeking the finest or unusual stringsor accessories are welcome to call in advance. We will makeevery effort to satisfy the need!Music Store customers enjoy fine luthier handmade clas-

sical and steel string guitars, as well as guitars from other finelines including Alvarez, Avalon, Breedlove, CompositeAcoustic, Fender, Luna, Recording King and Takamine andfrom designers including Greg Bennett and J.T. Ribiloff.Acoustic and electric guitars from entry to professional levelinstruments are available. Famous named guitars and bassesjoin less-well known brands which appeal to those seekinghigh quality but are on tight budgets, providing any guitarista tempting cornucopia of playing possibilities.New and used student orchestral and band instruments are

available, including violins from $159 to $3000. An exten-sive array of international strings and reeds provides choicesfor the newest student to the symphonic performer. Chil-dren’s instruments, as well as a fine line of international per-cussion including middle eastern and hand made Africaninstruments along with many choices of industry standarddrum heads, stands, and sticks, as well as tuners, forks andmetronomes can be found as well.

All new instruments are backed by The Music Store’slifetime warranty which provides free set-up and adjustmentson any new instrument sold. For repair and restoration andmaintenance of fine stringed instruments - guitars, banjos,mandolins and the like - The Music Store’s repair shop offersexpert luthiery at reasonable prices on instruments of all lev-els, as well as authorized repairs on Lowden and Takamineguitars.

Those in search of the perfect present for music loverswill find a treasure trove of gift favorites such as bumper

stickers (“Driver Singing,” “Go Home andPractice,” Tune it or Die” and more), teeshirts, caps, scarves, miniature musical in-struments and instrument magnets, musicmotif mugs, socks, totes and ties. Smallbronze and metal musician statues and cud-dly ‘Music Lover’ stuffed animals, lapelpins and earrings add additional possibilitiesto gift giving customers.A proud server of the community for over

eleven years, The Music Store’s warm andfriendly staff are available for help in tuning,stringing or instrument repair. Help inchoosing tuners, capos, mutes shoulder restsand strings is as happily given as help in se-lecting instruments themselves. Since ourmission is to support and encourage our mu-sical community, consultation and adviceare always free. For capos to kazoos, guiros to congas,

rainsticks to rosin, bows to bodhrans, man-dolins to microphones, reeds to rods, Stratsto stands, local artist’s CDs and harmonicasto picture frames and music motif orna-ments, instruments and more, The MusicStore is the place to be.

The Music Store, 87 Railroad Street,Great Barrington, Massachusetts - openTuesdays through Saturdays from 10 to 6,and on Sundays from 12 to 5. Call 413-528-2460 or email us at [email protected]

Stanley RitchieBaroque Violinist and Founding Member of Aston Magna

Festival..... 8

Life with Papa: Victor Borge Harryet Candee..... 12

Planet Waves Eric Francis...... 16

Feng Shui Elisa Cashiola..... 17

Simply Sasha Sasha Seymour...... 17

Architecture & Arcadia Stephen Dietemann...... 23

Frederrike Borge: Life with Papa, Victor Borge Page 12Photographs by Jane Feldman

Archival photos supplied by Rikke Borge

[email protected] of good music, art, love and laughter

THE ARTFUL MIND

YourARTFUL MIND artzineMAY 2012

PUBLISHER Harryet Candee

COPY EDITOR Marguerite BrideADVERTISING AND LAYOUT DESIGN

Harryet Candee CONTRIBUTING WRITERS AND MONTHLY COLUMNISTS

Harryet Candee, Stephen Gerard Dietemann, Eric Francis, Todd Mack, Nanci Race

PHOTOGRAPHERSJane Feldman, Julie McCarthy Sabine Vollmer von Falken

DISTRIBUTION & OFFICE ASSISTANTR. Dadook, Shoshana Candee

BOX 985, GREAT BARRINGTON, MA 01230 [email protected] 413-528-5628

Deadline for the JUNE :: MAY 10, 2012FYI: ©Copyright laws in effect throughout The Artful Mind for logo & all

graphics including text material. Copyright laws for photographers and writersthroughout The Artful Mind. Permission to reprint is required in all instances

In any case the issue does not appear on the stands as planned due to unforseeable circumstances beyond our control, advertisers will be compensated

on a one to one basis. Disclaimer rights available upon request. Serving the Art community with the the intention of enhancing communication and

sharing positive creativity in all aspects of our lives

Our Art....Our way 6 • The Artful Mind MAY 2012

Christa Joy’s name suits her perfectly. Sheis exactly that – joy. Pure joy! Born and raised here in theBerkshires, music has always been a central theme in Christa’slife, be it singing old hymns with her grandmother, mother,and sister around the family organ when she was young,singing in school chorus at Southern Berkshire RegionalSchool District and the Berkshire Children’s Chorus, or writ-ing and performing her own songs on stages throughout NewEngland. Christa sings because it brings her joy. Christa’ssinging brings joy to others. For nearly a year now, Christa & I have been working to-

gether to produce her debut CD, “Ready or Not”, which shewill return home to the Berkshires to release on Friday June2 at the Gypsy Joynt in Great Barrington. Spring, the seasonof reawaking and renewal, seems like the perfect time for herCD to drop. It is bursting with songs of love, loss, and rebirth– honest and earnest stories of journeys through life’s chang-ing cycles. “This album could have been a concept album—moving from California, uprooting from the community wehad made and moving back to the East Coast,” Christa notes.“There’s a lot of literal journeying that happened, from thetime when my Mom was diagnosed with cancer, to the mo-ment when I felt like I had to live closer to her. A lot of thesongs are about leaving and departure. Thresholds. Steppingthrough. Some songs include returning. Arriving. Those areessential human experiences and include that universal path ofbirth, life, and death.”During the making of “Ready or Not”, Christa’s mother,

Jennifer Henderson, a loved and respected member of ourlocal community, had a relapse of the cancer she had been di-agnosed with a few years earlier. Coming into town from thePioneer Valley nearly every weekend for the better part of ayear to simultaneously work in the studio and be with and helpher mother, I often wondered how Christa managed it all,physically and emotionally, and how it influenced her musicand songwriting.

“Culturally, we spend a lot of time and energy trying toavoid this idea that we are going to die,” Christa observes.“Being creative, in itself, relates to this experience of trying tomake something meaningful out of this human life.

As an artist, both moments of joy and moments of sorrow re-mind me of my ability to be present. When a loved one has asignificant illness, it brings to the forefront the poignancy oflife. The fleeting quality of being alive and being in relation-ship with others. A lot of the songs are born from that feelingof bitter-sweetness, appreciation for what’s passing orephemeral. ‘Strange Angels’ in particular, was written in thehospital waiting room and at my mother’s bedside. That songand ‘Ready or Not’ emerged from these different experiences,that are shared, but ultimately we navigate alone. The songs,I think, are a way to make honest sense out of all that occursin our lives. Music puts me in touch with the heart level of myexperience, which is healing.”Christa’s songs are filled with vivid imagery, her lyrics po-

etic and conceptually creative. Culling from an album’s worthof examples, here is one of my favorites from her song “TheLine that I’ve Drawn”.

You’re just a house, I’m looking for a homeNot this broken down porch, not those chairs you unfold

Not those bottles you lie across a dusty sillI need more than a surface to fill

“Every moment of our lives is an opportunity to notice theeveryday magic that surrounds us. The exhaust from the busclouding the street, the closed up video store, the teenagersunderneath the awning of the closed up video store...” Christaoffers.

“Writing songs moves me away from conceptualizingabout what’s happening. It’s less like a heavy rain and morelike a morning mist...you can feel the song softly landing...The majority of my songs are inspired by people I know orexperiences people I know have gone through. Sometimesthey’re my own experiences. That’s a starting point. Thenonce I begin to write the song, it takes on a life of it’s own.There are songs I’ve written that feel like a composite of mul-tiple stories and then there are songs that emerge from oneday or one moment.”Join me on June 2 in welcoming home Christa for her CD

Release Concert at the Gypsy Joynt. It will be a celebrationof song, friendship, and this journey we call life. For a teaserof Christa’s fine new CD, check out her website www.chris-tajoy.bandcamp.com.

Todd Mack is a writer, musician, and producer, andowner of the Off the Beat-n-Track recording studio inSheffield, MA. He is also the founder and executive directorof Music in Common, a non-profit organization whose mis-sion is to strengthen, empower, and educate communitiesthrough the universal language of music.Email him [email protected]


Joy by Todd Mack

Christa Joy returns home to release her debut CD, “Ready or Not,” at the Gypsy Joynt

Main Street, Great Barrington, MA Friday June 2


Harryet Candee: Okay, to start on a up beat question, I havea joke for you: What happens when you play Beethoven back-wards?Answer: he decomposes.

Another year is rolling around for Aston Magna Festival inthe Berkshires. Are you ready and excited? What are ticketholders going to expect to see?Stanley: It’s too early to be “ready,” but I’m certainly looking for-ward to participating in this historic event. With forty years of ex-perience in Early Music behind us, the audience will hear playerswho represent the best that this country has to offer in period in-strument and vocal performance. But the younger generation willalso be represented – talented up-and-coming young musicianswho will swell the ranks of the Early Music profession.

How are you involved in the planning of the program, and,can you explain the ways all the brains behind Aston Magnacomes up with the themes of each concert?Stanley: I can claim no credit for programming, which is in thebrilliant hands of Dan Stepner. I’m just honored to be included inthe Festival – he does all the program planning.

Tell me a little about your childhood in Australia, and howyou decided to make a move to the Big A, USA?Stanley: I was born in a small farming community in New SouthWales, and took violin lessons at the local convent. When I grad-uated from High School I chose to pursue a career in music forsome reason, and enrolled in the Sydney Conservatorium ofMusic. After graduating from that institution I travelled to Paris

to study and eventually to Yale. I had no intention of staying in theUSA, but one thing led to another and I never got around to re-turning to Australia.

Do you ever go back to see family? Would composing musicbe an option from a nostalgic visit back home for you?Stanley: I’m still Australian, with friends and family there, and Ido go back as often as possible – most recently in October to at-tend our 60th High School reunion, which was most enjoyable. Asfor composing music (other than improvised ornaments), that’snot one of my talents!

Being a violinist as a profession, and knowing this instrumentand how to play and teach so well, I was just wondering, whatinstrument do you not know how to play that you would liketo learn, and why?Stanley: The keyboard – every day I regret not having been ableto learn to play the piano as a child! My aunt had one, but my par-ents couldn’t afford anything more than a violin. I would havefound keyboard skills extremely helpful in my teaching.

How does teaching help you to perform?Stanley: Heavens! One learns so much from one’s students, andI continue to do so. Having to convey concepts of interpretationto them and hearing the results – what works and what doesn’t –has helped me to understand music so much better than just hav-ing done what my teachers told me, and certainly better thanmerely practicing in a lonely room.

What were the initial reasons for creating Aston Magna, andhave those reasons expanded or changed through the years,(1972 was its starting point?)? Tell me a bit about its originand how it came about from a note on paper brainstorm idea,to actuality?Stanley:Aston Magna was a kind of happy accident: Albert Fullerand I, who had been playing Baroque violin and harpsichord to-gether for a couple of years, teamed up with Fortunato Arico(viola da gamba and cello) and in the summer of 1972 played aconcert for local dignitaries in the music studio on the grounds ofan estate in Great Barrington called Aston Magna, owned by LeeElman, a New York entrepreneur. Sometime that evening the ideawas proposed of having a summer workshop on the estate in aseparate building large enough to house a number of participants,and with a great room in which concerts could take place. Thefirst in the ensuing series of workshops and concerts took place inthe summer of 1973.

Was other musicians’ support crucial for AM’s birth andgrowth?Stanley: Definitely. Albert was a persuasive and charismatic vi-sionary, and in the early years he was able to attract a number ofwell-known American and European Early Music specialists, aswell as recruiting students from The Juilliard School and freelanceprofessional musicians interested in learning about the music ofthe 17th and 18th centuries. Albert had a phrase, “the now ofthen,” which sums up what it was that attracted all of us in thosedays – a curiosity about what it felt like to play the instrumentsused by musicians of that period, and how they thought about andperformed the music of their time.

You must be very proud to be where you are today, havingbeen a founder of AM – when you meet up with, say, Mr. Step-ner, over dinner, when you first get to the Berkshires, and pos-sibly go out for a glass of wine or dinner, time permitting ofcourse, what kind of conversations about music in general areof interest that you both like to discuss? Is it like a yearly re-union with other members, or are you all as a group of AMkeep in very close touch?Stanley: I can’t speak for all of the musicians involved, but in myown case active association with Aston Magna has become pe-ripheral and occasional. Philosophically I’m an ardent supporterthough, for Aston Magna in its original form was for me such ahigh point in my professional life, one that marked the start of atotally different and immensely more satisfying part of my career.As for dinner conversations, they don’t normally centre on musicpro music – no one likes to talk shop, after all, unless it’s to ex-change anecdotes – we’re more likely to be discussing the meritsof various wines…

I understand you have a book out, and is easy to purchasethrough Amazon.com, on Chin Technique. Please explain any-thing about this to me, and how you invented this method inrelation to playing an ancient instrument?Stanley: First I’d better clarify one point: The book is called “Be-fore the Chinrest,” and if anything it’s partly about how to use thechin as little as possible when playing the violin. Nowadays allmodern violinists use a chinrest to help support the instrument,but the device dates only from about 1830, which means that vi-olinists before mid-19th century played without one. Those of uswho participate in the revival and reconstruction of pre-chinrestplaying have to come to terms with an entirely different tech-nique. I have been teaching this at Indiana University for thirtyyears now, and recently decided to record my teaching methodsfor those whom it may interest, hence the book.

Relating this to Aston Magna, I know that the performancesaim is to interpret the music of the past as the composer hadimagined it. How are the individual musicians influenced, andtheir ideas, worked into sculpting an orchestra that is in uni-son?Stanley: Generally, of course, musicians who are on the samewavelength stylistically don’t spend much time arriving at a con-sensus. Aston Magna artists have decades of experience in thisfield, so that most of the points that need rehearsal are subtletiesof tempo and expression that are quickly resolved in a purelydemocratic process. There’s certainly room for the suggestion ofnew ideas, otherwise performances would become boring, and inany good Early Music performance there will be an element ofimprovisation.

STANLEY RITCHIEBaroque Violinist

& Founding Member of Aston Magna FestivalInterviewed by Harryet Candee Photos by Aston Magna


How do the musicians achieve the emotions needed to stir anaudience, when the science behind the playing is so techni-cal?Stanley: As with any art form the ideal is to forget the techniqueand focus on the expression, the emotional message. Of course,there are clues as to the expression in the notes, various signalsbuilt into a composition, but unless the performer is moved insome way by the music the audience won’t feel anything. Goodperformers don’t impose themselves on the music – don’t use themusic for self-aggrandizement – but humbly allow it to flowthrough them and “turn them on” to the composer’s intention.This transmits a subliminal message to which the listener can re-spond, as by crying, laughing, feeling anger or tenderness, etc.

For you, which would you say is more rewarding: Recordingmusic, or playing live in concert?Stanley: Well, that’s a complicated question, really. Take perform-ing, for example: how positive an experience it can be depends ona number of factors, such as the acoustics in the hall, the climaticconditions, whether the program is comfortable repertoire or vir-tual sight-reading, the responsiveness of the audience, etc. Wheneverything comes together in happy coincidence it can be an en-joyable experience – if not you can wish you were doing some-thing else for a living!

Recording is a totally different process. There’s a differentkind of pressure, mainly having to do with to producing a perfectproduct in a limited amount of time. Ultimately, if you’re happywith the musical results as well as the technical, you’ll have atangible memento, whereas a successful concert (unless there’s alive recording to listen to) will only be a pleasant memory.

Break time for another kind of question: Why did Mozart killhis chickens?Because they always ran around going: “Bach! Bach! Bach!”’

I always wondered, and perhaps you know the answer to this.How was Beethoven able to play and compose while beingdeaf?Stanley: By writing down the music he could hear in his mind. Asan accomplished pianist, he didn’t need to be able to hear what hewas playing in the way a string player might, who has to dealwith intonation – playing in tune.

Have you ever come across a discovery you made while inter-preting and studying a composer from the 15c to 18c, that canmark or turn our present day pages in music history?Stanley: One fascinating aspect of life as an Early Musician isthat you’re able to experience the evolution of musical style, trac-ing its development and seeing how each step on the path led log-ically to the next. One can therefore arrive at an interpretation ofMozart’s music “from behind,” as it were, rather that peeringback through the 20th and 19th centuries and trying to peel awaythe layers of tradition that veil Classical and Baroque style. Asmodern musicians trained in the traditional way we fancy that weunderstand the difference simply because of our schooling, butthe experience of coming forward through history can shed a sig-nificantly different light and open doors that we didn’t know ex-isted. So yes, one can make new discoveries – “Aha!moments”—very frequently. I think it’s a privilege.

Who changed the course of your life in music for you, andhow did they do that? If you cannot think of anyone, who wasyour biggest mentor, and still is?Stanley:Well, as modern musician I would have to say that it wasmy last teacher in Australia, Ernest Llewellyn, concertmaster ofthe Sydney Symphony, who taught me more in 18 months thananyone before or since. As a Baroque violinist, I owe everythingto Albert Fuller, who introduced me to a completely new worldof music-making and, as a result, changed the course of my lifein more ways than one.

What would you say is most interesting for you when teach-ing? Do you have constant challenges and goals with individ-ual students, or a set direction in general?Stanley: Oh, definitely the former – I couldn’t teach in a fixed,routine way if you paid me! Each student brings his or her ownset of challenges, which can be musical, technical, or a combina-tion, and addressing these and finding solutions to them is whatmakes teaching endlessly fascinating. It all comes under that

heading of problem solving, and there’s no one solution that fitsall. My goal is to help students arrive at technical comfort andstylistic fluency, and each individual needs individual attention.

Do you think people who love classical music, do so becausethey have a historical knowledge and background on the mu-sician and time period? Does this matter, especially when itcomes to the appreciation of music for the young and new-comers to the scene?Stanley: Not at all. I’m sure that environment plays a part, andthose who are exposed to classical music from an early age, suchas myself, may possibly continue to enjoy it, and not necessarilyto the exclusion of other forms, but historical knowledge, whileinteresting and enlightening, is only incidental to the appreciationof the sounds.

Stanley, I know how absorbing time is with music, and yourlove for it, living it 24/7… Do you have a life outside of musicthat involve other interests? Golf? Painting? Reading? Hik-ing? Hunting? Para-sailing? Ping-pong? I bet it involvessomething totally opposite and possibly more physical in na-ture.Stanley: Well, Harryet, I read as much as possible, and have asubscription to NetFlix, as well; I enjoy hiking in the mountainsof northern Italy (the Süd-Tirol); I have occasionally dabbled inpainting; I love watching para-sailing, but would never try it; Iabhor hunting; I do enjoy a game of ping-pong, but my ping-pongtable is groaning under piles of music papers and years of Na-tional Geographic; and at an early age I decided that I had ab-solutely no talent at all for golf! I used to be a reasonably goodsquash player, though… and let’s not forget photography and a bitof gardening.

How is it possible that Bach’s music, like his Prelude, techni-cally is able to be played backwards, and still sound good?Stanley: That’s a puzzling question! I’m not sure which Preludecan be played backwards, unless its one of those palendromicpieces that can be read upside down. As far as making Bach’smusic sound good, perhaps that’s a topic best left alone, as thereare so many approaches to his music and the degree of success isdefinitely in the ear of the listener!

For me, much of the theories in music are perplexing, like,the Circle of 5ths, say… Are the modern music brains onearth updating the understanding and knowledge of theoriesthat were created so long ago in time?

And, does it go with the flow of how music has changed anddeveloped in style and all motivational anchors?Stanley: A simple answer to your question is that yes, we knowso much more now about the degree of sophistication among mu-sicians and instrument builders and keyboard tuners prevalentduring the Baroque an Classical eras. As modern musicians we’veforgotten or refined so much, things that were taken for grantedin the 17th and 18th centuries. A couple of examples: “EqualTemperament,” whereby all intervals except the octave areequally out of tune, which was rarely employed at that time,rather than temperaments with much more chromatic flavor. Theuse of editions of pre-Romantic music with all of the expressionmarks provided by someone other than the composer, whereasthe 17th- and 18th-century musician didn’t need to be told howto interpret. Fortunately, thanks to musicological research, we’renow able to read music in the way of our musical ancestors.

Please tell our readers why they should hear, and see, AstonMagna performances this year in the Berkshires? Whatwould whet the whistles for new faces to appear in the audi-ence?Stanley: Because the music they’ll hear will be fresh, vital, nat-ural, devoid of Romantic (or romanticized) preconceptions, in thespirit and on the instruments the various composers had in mind(or as close as we performers can approach that ideal). EarlyMusic, so-called, can be defined that way, and its tentacles havenow reached far into the 20th century.

Okay, final question: What is your soul-searched and heart-felt philosophy you live by, and wish to share with studentsand children, and all ages – all over the planet. What messagewould you send out?Stanley: The only one that leaps to mind is what I tell my studentswhen they’re agonizing about what they’re going to do when theygraduate: “Do what you love doing – don’t ever lose sight of that,no matter what sidetracks you’re obliged to take as you pick yourway through the obstacle course of life.” That’s what has alwaysguided me professionally – not burning ambition (which can leadto frustration); and despite having strayed at times from the path– just doing what I love doing. As I look back over my career Ihave few regrets, and I feel privileged.

Thank you Stanley.

Four original Aston Magna artistsJaap Schroeder, Albert Fuller (Founder), Fortunato Arico and Stanley Ritchie (Founder)

Archival photo from Aston Magna


ROB MICHELSUP CLOSE/NOT SO CLOSE

Rob Michels will be exhibiting his photography at TheGallery at the Goldsmith in Great Barrington throughoutApril. A reception will be held on Saturday, May 12, 4:00-6:00 P.M.“A recent trip to Kauai, along with the always-there beauty

of the Berkshires, caused me to buy my first digital camera acouple of years ago, and re-ignited the urge to take pictureswhich had been with me, off and on, since high school, overone thousand years ago. At its heart, this compulsion is rootedin a celebration of the ability we humans (unlike many othermembers of the animal kingdom) have to see in color. Thegoal, at least with the non-macro shots, is to attempt to do jus-tice to the magnificence of the things and places which I amlucky enough to have seen; to try to create images which atleast hint at how good it felt to gaze upon this stuff. Althoughthat might sound like a fool’s errand- after all, can a photo-graph ever truly do justice to the original?- maybe it might bepossible to find a particular aspect or perspective of a scenewhich could spark a viewer’s interest. Anyway, this is whatI’m trying for.”“The macro shots strive to accomplish the same thing, in

a slightly different way. By getting up real close to some fairlyunremarkable, everyday objects, I found there were somepretty surprising images lurking, some of which were quiteabstract- indeed which bore almost no connection to the famil-iar object from which they came. That concept is, obviously,not original; I’m hoping that the images themselves, however,are.”

“When my daughter was about four years old, she saw,from her stroller, a bank of brightly colored flowers. Her clas-sic response- “Ooooh, Ahhhh, Nice!!”- has become shorthand,among my closest friends and I, for the feeling we get whenwe look at a pleasing image with vivid colors. If you utteryour version of those words when you look at my photos, itwould definitely be “mission accomplished”. The Gallery at the Goldsmith, 152 Main Street, Great Bar-

rington, MA 413-528-0013; Hours: 10:30-6:00, Tuesday-Sat-urday. Rob Michels - 413-528-5373; [email protected]

MYRON SCHIFFEREstablished as a pianist and teacher in the Berkshires since

the late 60s, Myron “Mike” Schiffer has a history of exploringthe avant garde. Prior to living in the area, Schiffer lived andworked in New York City, studying with John Mehegan andHall Overton as well as playing, teaching and hanging aroundthe fringes of jazz.Fascinated with music and the visual arts since childhood,

Schiffer enrolled in photography at The Fashion Institute ofTechnology in New York. Working in black and white at thetime, he was most notably inspired by Richard Avedon’s fash-ion photography. Once introduced to color, he was deeplymoved by the mystical color fields of Georgia O’Keefe andMark Rothko and considers this work his strongest influence. After focusing purely on his musical career for most of his

life, he’s now fulfilling his dream of indulging his interest inphotography which he started to explore in the 1970s. For thepast several years he’s been busy exhibiting his work at gal-leries, frame shops, Kimball Farms retirement community, theNorth Adams Open Studio show and Castle Street Café. His current Motion Capture Series is a minimalist expres-

sion of color, light and space, revealing the influence of mu-sical improvisation. The method he employs for this series isimprovisational movement of the camera, capturing lightsources. Schiffer’s graffiti and urban scenes follow along sim-ilar lines, capturing unexpected images.His website showcases ever-expanding galleries of many

subjects, including Urban Scenes, Found Textures, Graffiti,and the World of Nature. A small selection of Schiffer’sminiatures can be seen at Local at the Lenox Common Plazaon Rte. 7, and at the Red Lion Inn Gift Shop in Stockbridge,

MA. His most recent video slideshows, ”InteriorViews” and “Motion Capture Slideshow”, are ac-cessible on YouTube and can be found by Googling“Myron Schiffer Videos”.

Myron Schiffer - for more information contactthe studio at 413-637-2659 or visit www.myronschiffer.com

The Don Muller Gallery, located in the heart ofNorthampton, Massachusetts, features an outstanding col-lection of museum quality crafts and fine jewelry from over400 American artists. Niche Magazine has recognized thegallery as one of the Top Retailers of American Crafts everyyear since 2003. The gallery was also awarded the presti-gious Top 10 Design Retailer by Jeweler’s Circular Key-stone (JCK) in 2009, and is a member of Preferred GalleryProgram run by American Style magazine. In 2010 the DonMuller Gallery won Coolest Small Store in America by In-store magazine. The gallery is committed to providing a venue for award-

winning artists, local talent, and emerging artisans. The DonMuller Gallery focuses on distinctive handmade jewelry,glass, wood and ceramics. It is also a destination for thoseseeking unusual and designer wedding rings. The gallery’sone-of-a-kind interior also reflects and complements the ex-ceptional artwork it presents. At the gallery, customers are assured of the finest and

most thorough service. Whether you are seeking a diamondengagement ring, birthday present, or a corporate gift, youwill surely enjoy your unique experience.Don Muller Gallery, 40 Main St., Northampton, MA

413-586-1119 donmullergallery.comOpen Mon-Wed. 10-5:30, Thurs-Sat. 10-9, Sunday 12-5

DON MULLER GALLERY

The word "April" should be changed to "May"; and,2) The new reception info is ""

Housatonic Valley Art League Summer Shows 2012at Dewey Memorial Hall, Sheffield, Mass.Gallery Hours: Mo, Tu, Th, Fr, Sat 10:00---5:00

Sun 1:00---5:00. Wed closed.

JURIED ART SHOWOpens July 5Reception July 6, 4:30---6:30Closes July 29

MEMBER ART SHOWOpens August 2Reception August 3Closes August 26

Admission is free; public welcome!reception on August 3, 4:30---6:30.

PHOTO: MICHAEL LAVIN FLOWER

PHOTOGRAPH BY ROB MICHELS

mountlebanonherbfest.com

photo: Jane Feldman


510 Warren Street Gallery will feature the works of fourartists during May. The artists are Maxine Davidowitz, oils; Pat Hogan, watercolors; Elaine Radiss, photography; and H.David Stein, photography. The exhibit will run Friday, May 4,- Sunday, June 3, with an artists’ reception Saturday, May 5,from 3-7pm. Maxine Davidowitz has enjoyed a distinguished career as

a Creative Director for consumer magazines; her work onmany publications has garnered numerous awards. While shecontinues to consult to magazines, including Country Living,Consumer Reports’ ShopSmart, Scrubs and others, her focushas shifted to a career as a painter. She is currently studyingoils with James Sheehan, and has studied watercolor withStaats Fasoldt. Her work is in private collections throughoutthe Northeast. This is her first gallery show of works in oils.Pat Hogan specializes in paintings inspired by nature. Re-

cent works reflect her respect and love for our beautiful Berk-shires, the mountains and sea coast of Maine and thevanishing islands of the Chesapeake Bay. She is passionateabout watercolor and the illusions created through the trans-parency and luminescence of the medium. New work includescharcoal figure drawings and mixed media pieces. Her paint-ings are in private collections in England, Sweden, andthroughout the United States. For Elaine Radiss , “Photography has been a great joy in

my life and some of my most peaceful and spiritual momentshave been in losing myself in the petal of a flower. I strive toexpress in my images the emotional connection that I feel fornature and the preciousness of the planet. I hope they inspirepeople to want to protect what we have for future generationsto enjoy.”H. David Stein speaks about his Deconstructed Flowers:

“I love to photograph flowers and have photographed themfrom the inside out and the outside in, from top to bottom andin-between. There are many features of flowers that are beau-tiful and interesting, but each individual photograph can onlyshow a single element of the flower. I therefore set out to cre-ate photographs that showed many aspects of the flower in asingle image. This meant taking multiple photographs andmerging them into a single montage. I then allowed the flowerto grow more naturally by hand-cutting the flower to allow itto grow over the image’s mating. The end result is a floralimage that shows many views of the flower’s beauty in a sin-gle image. Look closely and you will see the intriguing fea-tures.”Exhibiting artists at the gallery, in addition to those featured

include: John Clark, Diana Felber, Joan Giummo, Iska Ken-ney, Kate Knapp, John Lipkowitz, Nina Lipkowitz, EleanorLord, Hannah Letterman Mandel, Joel Mark, Steve Porcella,Peggy Reeves, Doris Simon and fine prints and posters fromMill River Studio.June featured artist: Eleanor Lord.510 Warren Street Gallery, 510 Warren St., Hudson, N.Y.

Friday and Saturday 12-6pm, Sunday 12-5 pm. and by ap-pointment; 518-822-0510; 510warrenstgallery.com

CLOSE ENCOUNTERSWITH MUSIC

THE ROARING TWENTIES: BERLIN, PARIS, NEW YORK

The cabaret beckons at Ozawa Hall Saturday, June 2, 6 pmas Close Encounters With Music ushers in the summer seasonin the Berkshires. In a performance that evokes the twentiesof the last century—a time exemplified by Art Deco, Prohi-bition, the loosening of social restraints, Jazz, the Charlestonand flappers—“Roaring Twenties” offers a panorama of com-posers and styles that defined and shaped the era: Gershwin,Kurt Weill, Alexander Zemlinsky, Hanns Eisler, Cole Porter,Poulenc, Schoenberg, and Erwin Schulhoff provide a bi-con-tinental glimpse into a decade that still looms colorful, myth-ical and seductive in cultural history.

The program re-introduces an important but often neg-lected group of diverse composers whose works were sup-pressed during the Nazi era, along with those whose voiceswere silenced altogether, and places them and their works incontext within 20th century music. “The Roaring Twenties” performers are Jennifer Rivera,

mezzo-soprano; Will Ferguson, tenor; James Tocco, piano;and Yehuda Hanani, cello and artistic director. They bring tolife the spirit of a music that was nearly destroyed. Hear therecovered voices, come to the cabaret!Tickets are $50 and $40. A Patron Package including pre-

ferred seating and the Patrons’ reception is available at $125.The reception following the June 2 Close Encounters WithMusic “Roaring Twenties” concert is part of a $125 PreferredSeating Package which includes the concert and a ticket tothe reception. at Gateways Inn. It is not open to the generalaudience.

Close Encounters With Music - To reserve tickets go towww.cewm.org or call 1-800-843-0778.

FRANK S.PACKLICKPRINT EXHIBITIONApril 3 - June l, 2012

CLAIRE TEAGUE SENIOR CENTERSouth Main Street, Great Barrington, MA Hours: Mon. - Fri. 8 AM to 3:30 PM • 413-528-1881

TANNERY POND CONCERT SERIES

Under the artistic direction of celebrity photographer andconcert pianist, Christian Steiner, the opening of the 22nd Tan-nery Pond Concert Series will take place on Sunday, May 27followed by 6 events throughout the summer months. Our first concert will be on Sunday, May 27 at 3pm. Carter

Brey, prinicipal cellist of the NY Philharmonic, has teamedup with two young musicians, Gabriala Martinez, a pianistwhom Gustavo Dudamel has called a ‘genius’ and ElenaUrioste, a young violinist who receives rave reviews wherevershe performs. The concert on June 16, featuring The Tokyo String Quartet

is a special performance at St. Peter’s Church in Spencertown.This will be the last chance to hear two of the founding mem-bers, Kikuei Ikeda and Kazuhide Isomura, who are retiring atthe end of the year.Paul Huang, violinist, is the first recipient of the “Tannery

Pond Concerts Performance Award,” and this year’s winnerof the 2011 Young Concert Artists International Auditions.The Tannery audience will have a chance to hear him, withpianist Jessica Osborne, on July 14 at 8pm.On August 4, the Harlem String Quartet returns, by popular

demand, after being introduced last year with great success. Emanuel Ax, on August 11, needs no introduction. “He is atrue musician with the utmost taste and world renown,” ac-cording to Christian Steiner.Todd Palmer, clarinet, Elizabeth Futral, soprano, and Ran

Dank, piano will present a unique concert on September 1 at8pm.

Our final concert, on September 22 at 6pm returns theBrentano String Quartet, who have performed here severaltimes, to the Tannery. Tannery Pond - Mount Lebanon Shaker Village and Dar-

row School, New Lebanon, NY, www.tannerypondconcerts.org

Photo: Leslie Teicholz

JENNIFER RIVERA, MEZZO-SOPRANO


Harryet Candee: I know you are one of the many people livingin Great Barrington, the Berkshires, and who has a very color-ful and wonderful outlook on life and lives each day facing headon many different struggles and good things, to it’s max. Gee.I wonder if you are that way, perhaps, due to a certain personthat was with you since the day you were born. One person, inparticular. Can you guess who I am thinking of?Frederikke Borge:My invisible friend, Gunnar?

No, your father, Victor Borge, the pianist… I was hoping youwould say that! Rikke, tell me how he was an influence andmentor to you?Rikke:Oh, him! (Technically he was with me nine months or sobefore my actual emergence.) My life as a child was full of beauty, interesting people, fantastic

places and experiences. Because all of it was part and parcel ofbeing my father’s daughter (as it was for my siblings Sanna,Janet,Vebe and Ron), you could say I am completely influenced byhim. As far as mentoring, he loved to ride horses and saddled mewith the same affliction; he was a lifelong avid sailor and madesure we were all lively deck hands. He encouraged us all to be in-terested in history, current events and especially in the people whohad made, or were making great contributions to the world.

Tell us about yourself and your family.Rikke: Well, I’m sure you’d get a more accurate picture of me ifyou asked around a little, but I can try to give you a glimpse with-out telling any unfavorable bits. I’ve been in the Berserkshires formore than half of my life. I came here in the arms the man I wouldbe with for 26 years, the late film producer Steve Kesten. He hadfallen in love with the area while filming the features ‘End Of TheRoad’ and ‘Pretty Poison’ here. I became step-mother to his twodaughters, Christina and Frederika and we co-produced one morenamed Johanne. The eldest, Frederika Kesten is an actress and livesin Los Angeles. She can be spotted in the area around holidays orwhen her step-mom gets trashed by a frantic horse and has to spendsix months sitting up on the couch (2010). She spent most of herchildhood weekends, school breaks and vacations here in the Berk-shires with her father, and rode with Jean Hawkins and later withPinky Edmonds. As a professional actor she returned to partake ina summer training program with Shakespeare and Co. at their old

home, the Edith Wharton estate. Sister Christina was closer withtheir mother and so spent more of her time in New York. She even-tually lived in South Egremont with her daughter, Marlowe, forseveral years and now they both reside outside of San Francisco.Johanne (aka Hanne) is a Berkshire ‘lifer’. She attended the RudolfSteiner School, Berkshire Country Day and Berkshire School.Hanne is a singer/actress who has studied with Vikki True, ClaudeCorbeil, NYU’s Summer Intensive and as a Musical Theater majorat Emmerson and BCC. She has performed at the Berkshire The-ater Festival, Newport Intl. Music Festival and Sharon Playhouse.She has sung the National Anthem at Lime Rock Racetrack andWaconah Park and has performed with many local bands. At 5years old she made her film debut. She had to “drown” in a LosAngeles river, stunt doubling for the actress who was unable toswim. Currently she is working at Allium Restaurant and Bar inGreat Barrington, and bringing up six year old daughter Jazmine(third generation, finally a local!). I trained for a career in acting at Carnegie Mellon University,

then with Stella Adler, Uta Hagen and Sanford Meisner. Sandy’sprofessional class was recorded the year I attended, and becamethe bones for his book ‘Sanford Meisner On Acting’ (in it, I am thegirl with the braid). I have had roles in five feature films, cateredone, been a P.A. and did stunts in one. I’ve played some Off Broad-way in NY and at the Yale Repertory Theater. I spent a season withthe Mermaid Theater in Copenhagen, at the time the only Englishlanguage ticket in Denmark. That was a good thing, as I didn’tspeak Danish.

I was 18 and my father and I had just filmed a movie for theDanish Tourist Bureau. In it we cycled all around the country, see-ing the sights and eating open-faced sandwiches and regional del-icacies. Papa drove that bike on pavement, sand, grass andcobblestones. I sat on the bar between the seat and handlebars look-ing carefree. No helmet, no padding, no stunt doubles. I can tellyou I’ve never been that afraid on a horse! We never crashed,though, and the last image in the film was of us riding the bicycleinto the sea, on our way back to America. I’ve worked on soaps,episodic TV, commercials....and waited many tables. In one TVmovie with Bette Davis, she was having difficulties with the pro-ducers and so would retire to her trailer whenever any of themshowed up on the set, effectively halting production. One day sheinvited me to come along, and who was I to say no? She told me

she liked that I always entered a scene continuing an action thathad begun off camera. I was floored that she’d noticed! She wasaware of everything that went on around her. She knew camera andlighting so well, I was awe struck. More amazingly, the crew didn’tseem to mind when she would have them rearrange things to suither eye. I looked forward to a producer coming around so I couldgo play cards with Miss Davis and hear Hollywood stories. I foundout later that before I was born, Miss Davis had been to our houseand flirted with my father, making her an enemy to my mother for-ever more. When our daughter started school it became too difficult to go

to NY before breakfast and be home every night for bedtime. I gaveup acting and took up horse training. (Makes perfect sense?) I part-nered with the wonderful, venerable, brown (his word) horsemanRichard “Pinky” Edmonds. I spent the next 12 years learning fromhim about life, riding, driving, grooming, every facet of horse care,training horses and their people. Pinky and my father enjoyed mak-ing fun of me whenever they were together, (also when apart) sothey had bonded instantly. My brother, Vebe had been fallen on by a horse as a child (the

groom had led my father’s horse out of the paddock and down ourdriveway with my very young brother on its back. Somehow thegroom had lost control, the horse galloped back to the barn andslipped on the pavement). One of Vebe’s kidneys was crushed, somy mother was never happy about any of us riding. My fatheralways encouraged me to be an “Amazon”, and so although henever overtly encouraged the horse business, he never really en-couraged me to stop either. He had horses on the poultry farm inCT, and before that on the ranch in CA. When he owned “Fryden-lund Slot”, a 17th century hunting lodge that had belonged to theDanish royal family and was our summer home in Denmark, hewould ride to a café in the adjacent Deer Park where he would havehis morning coffee. His horse, bit removed for the purpose, wouldhave toast.What was the question again?

You answered it Rikke, you did! I had a great crush on Victor Borge. (how did he like to becalled?). I saw him when I was a little girl on the Ed Sullivanshow. My gosh, he made me laugh, every time he was at thepiano. I think it was unique. Watching him play at the grand

LIFE WITH PAPA VICTOR BORGEA talk with Frederrike Borge

Rikke with bust of her dad, Victor Borge, 2012, Jane feldman


piano and being funny actually got me through my dreadedpiano lessons! Talk about serious, talk about funny — all at thesame time! How was he able to do that?Rikke: I can’t tell you how many people over the years have toldme that they had hated their piano lessons until they saw him. Hemade it more fun for them, and so they kept at it.He had a normal childhood until he was about three years old.

That was when his mother began to teach him how to play thepiano. His father was first violist of the Royal Philharmonic Or-chestra and once played in an orchestra in Hamburg under thebaton of Richard Wagner (my grandfather was born in 1847!!). Sothere was music on both sides. Apparently his gift was obvious, soafter school, when the other kids were out playing, Papa was at thepiano practicing. He made his debut on the concert stage in Copen-hagen when he was around 12. He continued his studies with Fred-eric Lamond and Egon Petri at the Hochschule in Berlin. Lamondwas one of the most prominent students of Franz Liszt, and Petriwas the great disciple of Ferruccio Busoni. Ever since he was a small child, Papa’s wit was recognized. He

could make people laugh, and he was sent around to amuse variousrelatives who were ancient and ill. He said, “They either got well...or died laughing.” Legend has it that one fateful night while playing a concert, he

was taken with a pretty girl in the front row and winked at her. Thefirst four rows tittered, and the career that would make him worldfamous began. Serious musicians agreed that he had one of the finest touches

of any pianist in the world. It has been said that “Borge doesn’tplay the keys of a piano, he plays the strings”. Add to this his in-stant and multi layered wit and you have a combination that re-mains as unique as it was entertaining. All of his comedy grewfrom real or imaginary happenings and sprung from his brain ef-fortlessly and without measure. He showed us all how to findhumor in almost anything. As for what he liked to be called, old friends called him Borge,

as that had always been his first name. When my father was askedwhat his favorite word in the English language was, he answered,“Papa”.

What was his journey like growing up and surviving throughWWII? What things happened to him?Rikke: Before the Nazi occupation of Denmark my father was abig star on the stage and in films throughout Scandinavia. He hadalso been performing in Cabaret shows (think live comedy and mu-sical shows with people performing skits and political satire). Hewas alarmed that the Germans were building an army, somethingthey were not supposed to do after WWI, and so began skeweringHitler in the Cabarets. Of course Nazi sympathizers in Denmarkgot word back to Germany and my father was targeted to have hishands broken so that he would never be able play the piano again.He was chased twice but managed to get away unscathed. Then Denmark was invaded (Who wasn’t?) and my father was

forced to flee to Sweden. He managed to sneak back into Denmarkone time, heavily disguised, to visit his mother Frederikke (afterwhom I was named), who was dying in hospital in Copenhagen.During that visit (the last time he would ever see her), he told herhe’d been offered a Hollywood contract and was going ahead toset up house and would bring her over as soon as possible. Her lastwords on the subject were “Don’t let it go to your head”.

The nurses had put a Christian name on her chart so shewouldn’t be taken away for being Jewish. They also had managedto keep it from her that Denmark had even been invaded. She hadno reason to doubt the story that Papa had made up for her. Hemanaged to escape back to Sweden that night and two weeks laterhis mother died, possibly dreaming about the oranges she would beable to pick “right from the tree” in sunny California. My fatherfound a chapel in Stockholm with an organ and played for her asshe was being buried in Copenhagen. Papa and his wife then man-aged to get passage from Petsamo, Finland on the last passengership to leave Northern Europe, the “S.S. American Legion”.

How do you think his war-time experiences directly influencehim in becoming a famous performer and musician? Rikke: I don’t know if he had ideas of coming to the US before thewar. I do know that he came in flight, unprepared, without employ-ment and unable to speak English. His wife, Elsie, had been bornin America and retained her citizenship. A fact that, along with hisfame was instrumental in their success at getting on board the shipto safety. Sometime during the voyage he changed his name fromBørge Rosenbaum to Victor Borge.

In New York at night he played piano in restaurants, clubs...anywhere. During the day he sat through as many double featuresas possible to learn the language. Elsie tried to translate his routinesinto English but he always worried that if the words weren’t justright, they might not make sense, or worse they may offend. Be-coming proficient was imperative, and the sooner the better. Dur-ing the first months after arriving in New York City, Papa’s solemeal for the day consisted of a 25-cent “summer salad sandwich”at Hector’s Cafeteria on Broadway. I know that he never forgot the war. He always lived near water

in case of a repeat performance, although sometimes he said it wasto feel closer to Denmark. Probably a combination of both. Henever took freedom or democracy for granted. He loved his ‘Dan-mark’ and remained her dutiful son until the day he died. He be-came an American citizen and was ever grateful to this country forgiving him refuge and the chance to attain The Dream. The end ofhis life is a perfect illustration of the love he felt for his two coun-tries. My mother had died three months previous to the last time we

went to Denmark and he had said to me that now there was no morereason for him to be living. She had been housebound for yearsand in the last year had been unable to leave her bed. Because ofthe many strokes that she had suffered, she was no longer able tospeak or function and was fed through a tube. Fortunately he was

Continued on next page...

LIFE WITH PAPA VICTOR BORGEA talk with Frederrike Borge

Victor Borge In the Deer Park for breakfast

Newspaper photo of we three during the final trip in Denmark.

Frydenlund Slot, our summer home in Denmark 1957-63


able to afford to keep her at home and had nurses for her around theclock. She had forgotten everyone, but her face lit up when hewould enter her room. Clearly she had not forgotten him. Once,after not saying anything for some days, she angrily warned oneof the nurses to “stay away from my husband”! He had meals withher in her room and they watched television together in theevenings. Meanwhile, he had promised Tine Harden, a prominent Danish

photographer, who had made a book of photographs after followingPapa around for two years, that he would come to Denmark at pub-lishing to do a promotional tour. We went, and he spent two weeksgoing to book stores, making TV appearances and signing hundredsof dedications every day. In the evenings he would sign boxes ofbooks with his signature heart and autograph for sale as signedcopies. It was a very demanding trip and for a man on the cusp of92 years, exhausting, but he was energetic and cordial and sweetthroughout. Then it was time to come home. He had just toured allaround his beloved Denmark, had spoken to thousands of Danesand eaten wonderful Danish food. We had visited his parents’graves, as we did every trip. I believe he said his last goodbye toCopenhagen when we boarded the plane that morning, and upon ar-rival back in the States, the circle was complete. It was that nightbefore Christmas Eve when he died at home. He had his last sunrisein Denmark and his last sunset in America.

Coincidentally, he attributed his great success to the luck ofbeing in the right place at the right time, and being prepared tomake the most of the opportunity.

Did WWII affect him in other ways? Rikke: In 1963, Papa and his lawyer founded ‘Thanks To Scandi-navia’, a scholarship fund dedicated to remembering the heroicdeeds of Scandinavian people who risked their lives to save theirJewish compatriots. More than 3,500 students, descendants of thosebrave people, have come to the United States on TTS stipends tofurther their educations. Many of the awardees have been involvedin the field of medicine, so the benefit of their advanced educationswill affect large segments of the Scandinavian population. (He fi-nancially supported and did benefit performances for so many or-ganizations, charities and individuals that it would take pages tolist them.)

How did your parents meet?Rikke: He had an engagement in Chicago and needed someone whocould handle correspondence for him since his language skills werenot yet up to it. My mother, Sanna, owned an Artist Agency and

they were introduced by the manager of the theater. They met atThe Palmer House and she was unimpressed, (he had come hur-riedly from the theater and was wearing a turtle-neck shirt under hisjacket, which my mother found to be quite “gauche” - too infor-mal). He was instantly smitten, met her the next time in a propersuit and talked her into helping him. It was a good arrangement be-cause Sanna was an astute businesswoman and manager. She pro-tected him and he won her over. Eventually they would divorcetheir respective spouses and marry. They were together for over 45years. What was one of your most fondest memories you rememberabout him?Rikke: Laughing, (usually during a meal) until the tears were run-ning down our napkin covered faces and no-one could breathe orspeak.

How does he live within you?Rikke: I am forever grateful that he and my mother were not shyabout reminding us how fortunate we were. Neither had come fromwealth, both had experienced struggle and had persevered. Throughtheir hard work and smarts they had become very well off. Papahad done it twice! He had seen his considerable fortune in Scandi-navia taken away (he had always loved to drive, but in the last yearshe had a full time chauffeur, was living in a grand apartment andhis bank accounts were ‘well-filled’). He came to the United Stateswith a very limited amount of money. That experience produced alife-long concern about having (or not having!), funds. I alwaysunderstood that what they had built was not mine. If I wanted toenjoy the lifestyle as an adult that they had provided me as a child,I had better go and make it for myself.I’m still working on it......

Please explain Victor Borge’s “Phonetic Punctuation” act thathe did and had me nearly falling out of my chair in fits oflaughter.Rikke: Papa always said that he invented “Phonetic Punctuation”after observing some fellow performers rehearse for a music revue.All of them had colds, and at the end of each line they delivered,there was a cough, or a sneeze, or a sputter, or some other un-scripted sound. Those sounds, to him, represented unintentionalpunctuation marks by the cast members!

How are you and your dad similar?Rikke: I, too, love to make people laugh (but cannot play the piano).

What’s your life like these days? What are your intentions, andhow are you going about making them a reality?R: I am gearing up to get back to acting work. There are occasionalparts for old silly ladies aren’t there?

Of course, I would hire you. What do you think all artists havein common in terms of being a struggling or successful artist?Rikke: I think all artists are driven to create and to express universaltruths/feelings/questions through their work. Artists create becausethey can’t help it. Like hair or nails; you don’t ask them to grow outof you, they just do. I believe artists have no choice. Those whodeny or try to suppress their creativity must go mad. And successhas so many meanings. I think you are successful if you can touchyour audience in any way; make them think, laugh or question. Itdoesn’t matter how many people you perform for or how muchmoney you make. True success in the arts can never be measuredbecause none of us knows how much lasting effect we have on thepeople who experience our art. Of course, for the performing artist,applause can be measured. But really, the ‘unmeasurable’ is howpeople are moved to grow, change and evolve because of a seedthe artist planted that will bear fruit long after the performance isforgotten.

Your daughter Johanne, is a singer. You must be proud of her.And you obviously did something right as a parent. Do youknow what that was? Rikke: I love to hear her sing. She definitely has the musical gene.She has tremendous range and power. Apart from a lot of singingin the car, the only thing I did was stay out of her way and encour-age her from the sidelines. Of course, if she asks me for perform-ance advice I am happy to make suggestions or work with her todiscover more choices.

Was your dad close to Johanne?Rikke: She was named after his mother’s sister, who survived con-centration camp and returned to Denmark after the war. Papa foundHanne most entertaining and cute. (He loved being around familyand especially his grandchildren.) He told Hanne her voice wasvery good and encouraged her to keep singing. Believe it or not,that was high praise. Being old school, my father didn’t give com-pliments often. Consequently, when you got one, it meant a greatdeal.

What would you do today to change your life, if you could?Rikke: I would hire a professional house organizer.

Off to Europe on The Queen Mary. L-R: Papa, Mama, Sanna, Ron, Janet, Vebe and Rikke

Publicity shot in Denmark 1930's


What do you carry with you each and every day that your dadtaught you to believe in to make life good? Was he a strict dad?Rikke: I carry his curly hair, his sense of humor, perfectionism,compassion and a lot of his facial expressions. He and my motherwere strict and held us to high expectations. He was on the road somuch, though, that Mama was usually the enforcer.

What kind of music occupied most of your father’s life andlivelihood?Rikke: Papa has said that there must be a special place in heaven forall the composers... and Mozart has his own room! Besides playingthe piano, he enjoyed conducting very much. He lived a life longdream when he conducted ‘The Magic Flute’ in the Royal DanishTheater. The same orchestra, in the same theater in which his fatherhad played. It was very well received and made Papa deeply happy.

Did he ever venture off and do other things that were totallydifferent than how we remember him at the grand piano?Rikke: Yes, he was the first to bring the Rock Cornish Game Hento the U.S.. They are a small breed, each bird a perfect portion forone person. He raised and processed them on his ViBo Farms inSouthbury CT, where we lived for my first eight years.They were shipped all over the country to the bestrestaurants, hotels and purveyors of fine foods. Theywere a big hit. Once, long after the farm was gone,someone asked him if he was still raising the chickens.He replied, “No, they are raising themselves now.” Healso was one of the original partners in an amphibiousplane service in the Caribbean that is still flying.

Can you share an experience relating to your film ca-reer that you will never forget?Rikke: On my first film (‘Tattoo’), Bruce Dern taughtme that if I felt a scene was going badly to swear loudly.They would then be forced to cut and re-take the scene.Otherwise, the bad take might be printed and you riskgiving the editors work that you are not happy with. Agood lesson.

Back to your dad. He was smart and handsome. Doyou think he was perfect? Did he have any flaws? Ifso, how did it effect you and your family?Rikke: Of course he was perfect! Almost. If anything, itwas his perfectionism that created problems for him. Healways gave one hundred percent effort in everything hedid and expected everyone else to do the same. He couldbecome irate if he thought the people around him were

not trying hard enough to do a good job. Haphazard, destructive,sloppy or lazy behaviors were not tolerated in his immediate vicin-ity.

What was it about him that would always make you feel closeto him?Rikke: His kindness and generosity to those less fortunate.

You have had a wonderful life. Lived all over, visited every-where, and seen a lot! What is that like for you now that youcan look back and reflect?Rikke: The family would go along with Papa if we were on vaca-tion, or if he had an extended engagement of several weeks. Onetime when he was playing in Las Vegas, Vebe and I were quiteyoung and decided we wanted to go home. We had gotten there ina plane, so we looked up at the sky and followed the next one thatwe saw. My mother told me we almost made it to the desert beforesomeone returned us. When we were old enough we’d go along and sell souvenir pro-

grams. My brother Ron was Papa’s stage manager for his last 25years of performing.

The most wonderful part of traveling with my father was thateverywhere we went, people were happy to see us. It is always niceto be loved, even by association.

How is your father, Victor Borge now being remembered? Rikke:My father was a big believer in and supporter of Public Tel-evision. Years before he passed away, he began a relationship withthem that proved mutually beneficial. Together they produced newvideos (later DVD’s) that would be shown on PBS, and offered asthank-you gifts to those who pledged. The stations got loads of con-tributions, and Papa played happily in people’s homes. We aregrateful to be able to continue this collaboration. Consequently,you can usually find Victor Borge playing on your local PBS stationduring fund raising periods. It really is great that new kids and fam-ilies are being exposed to his music and humor.

Do you ever get the feeling he is watching over you…You canhear him say, “Oh Rikke, that was a silly thing to do!” or,‘Thatta girl!”Rikke:Yes, but he says them both in the same sentence. I still reachfor the phone to tell him about funny things that happen, but then

I remember the house isn’t even there anymore.

How can we catch a glimpse of his work he did over theyears? Is there a web site you can lead us to? Rikke: He’s all over youtube. Not because we’ve put himthere. But it’s fun to go and watch him do his thing. You canalso look him up in The Guinness Book Of World Recordsunder ‘Longest Running One Man Show In Broadway His-tory’. A Bust on the Great White Way would be nice...

I’ll see what I can do about that, Rikke! By the way,what was one of your father’s repeated favorite quotesyou would hear him say? Rikke: Probably his most widely repeated quote, and myfavorite, is: “A smile is the shortest distance between twopeople.” It’s true. Have you ever noticed how quickly youcan diffuse a tense situation or put people at ease by simplysmiling? It is a universal gesture we all share and speaksvolumes whether up close or from afar.You want another? Near the end of his one man perform-

ances, he would say: “I would like to thank my parents forhaving made this evening possible, and my children for hav-ing made it necessary.”

Thank you Rikke.

Papa & Mama 1970' Family Photo in our house in St. Croix, USVI mid1960'sRikke, Jazmine and Johanne, photo by Jane Feldman, 2012

Publicity shot with love note


MMAAYY 22001122 bbyy EErriicc FFrraanncciissPlanet Waves

The Sun is now in Taurus. May is the month of Beltane,that Pagan holiday that blends sex and money. The usual datefor celebrating this ancient holiday is May 5. This combina-tion of themes isn’t as strange an idea as it sounds, when youconsider it in the context of fertilizing the fields with love andpassion — the fields that will feed the community for the nextyear. Also in May, Venus stations retrograde. That happensin Gemini on the 15th, and it’s an invitation to review our his-tory of love, and the odd tendency we might have to feel twoways about ourselves or people we care about. Venus retro-grade leads directly to the Venus Transit of the Sun on June5. This is a rare event — the next one happens in 2117.

ARIES (March 20-April 19)Finally, you can make some progress, though lately it’s felt like

catching up. That still counts. Don’t skip steps — make each de-cision carefully, focus on the details and don’t lose sight of the bigpicture. Elements of your astrology are making you restless, as ifyou have the feeling that something big is about to happen. Youneed to coexist as peacefully as you can with that sensation, andkeep your focus on what you’re doing, what you’re planning andwhat you know is necessary. Integrity is crucial now, but I’ll re-mind you that integrity means integrated: the different aspects ofyour life working together, rather than separately or against oneanother. Part of making that happen means standing as a strong,focused center of your experience, and more precisely, the inno-vator of your own life.

TAURUS (April 19-May 20)Remember what is important to you. Remember, and at the

same time, learn. There is a message in your chart about seeingthe other side of something — a way of life, an idea about your-self, a basic value you hold. You’re not typically given to explor-ing what you think is precisely opposite what you might normallydo, though this would be an exceptionally healthy thing to workinto your routines. You’re about to see how valuable it is whenyou can step out of your point of view and consider what youmight have considered strange, threatening or irrelevant in thepast. This is just one of many occasions you will have to reinventyourself from the inside out. True freedom is based on your abilityto adapt to your circumstances and your desires.

GEMINI (May 20 – June 21)There’s an actual conversation going on within your soul space

— not the usual gossip. You seem to be making an agreementwith yourself about what it means to feel good about your exis-tence. You’re working out this dialog in the midst of a world thatseems to go increasingly mad — and the most reassuring thingyou can learn is that you’re not crazy. One hint I can offer is, don’ttry to understand what makes no sense at all. Perhaps understand-ing will come, but I suggest you focus on what you recognize in-herently, and what speaks to you in a language you comprehend.You may always feel like you have two distinct entities living inyour psyche, though the difference now is that one is willing tolisten to the other.

CANCER (June 21-July 22)Something special happens this month — the Scorpio Full

Moon coincides with Beltane, to the day. The chart looks like youbecome a magnet for many things that exist outside you or yourpersonal space, that you would like to invite into your life moreclosely. This is absolutely positively the time to stay visible andbe social, and to approach anyone you’re attracted to with confi-dence. Not everyone is going to respond — but that leaves manyother possibilities. Keep the conversation moving. There’s an oldrule about cocktail parties, where you’re supposed to circulateand not speak to anyone for more than five minutes. This allows

you to taste the energy of many different people, while keepingthe social environment light and flexible. From these encountersyou will notice who you want and who wants you. Go for mutual— really, truly mutual.

LEO (July 22-Aug. 23)The Sun reaches one of the peaks of its path through the sea-

sons this month, arriving at the hotspot in your house of career,reputation and noteworthy success. This could have the effect ofbringing what seemed like promise and potential to life. There-fore, I suggest you try your luck when it comes to anything in-volving the work you do or the reputation you have. Make contactwith those who are in a position to help; they will be impressedby your sincerity and solid values. Current developments are asmuch about what you’ve accomplished in the past as they areabout your potential now; right now the two are closely related.Keep your eyes on your vision of what is possible, which is tosay — stretch a little and reach for what you think might be im-possible.

VIRGO (Aug. 23-Sep. 22)Mars is now traveling direct in your birth sign, after a long

spell of retrograde motion. You are now doing a lot better at work-ing with yourself: at making goals and moving efficiently inwhatever direction you set. This month you have a lot of supportin doing that. What is most boldly emphasized is your long-term,long-range vision for yourself. Think in terms of the best possibleoutcomes. Allow yourself to think big, mainly by setting asideany concerns about the details that might hold you back. Onceyou catch the wind at your back, those details will not seem nearlyas meaningful or significant, but you’ll take care of them just aswell. They key is letting any form of worry get in the way of whatyou want. Perhaps a tall order — but right now, not really.

LIBRA (Sep. 22-Oct. 23)An old expression goes, “You cannot be fully committed part

of the time.” Therefore, allow yourself to be fully committed allof the time. Set aside the idea that life is full of contradictionsand paradoxes, and recognize the ways that your different talents,ambitions and favorite activities support one another. Right nowmany people are living with the sensation of ‘so much to do, Idon’t know where to start’. Therefore, the most meaningful thingyou can do is start, and keep track of where you are with eachitem on your agenda. Gradual progress on each item on a daily orweekly basis will be enough — for now. There will be a timewhen you select certain projects or goals and really accomplishsomething, but that moment is still a few weeks off.

SCORPIO (Oct. 23-Nov. 22)What has seemed like an impasse in your life the past few

months is about to burst into more movement than you’ve expe-rienced any time lately. You may feel like you’re exceeding yourspeed limit or some unspoken agreement that seems to limit yourhappiness. No such agreement is binding you today — though itmay seem like one is, if you worry too much about how othersperceive you. This is a message you’ve been getting over andover again — focus on people, not what you suspect their con-cepts might be. If you have a mission to accomplish or a role toplay, the opinions of others matter not — the only thing that youneed to concern yourself with is feeling confident you’re doingthe right thing. You should know — you’ve thought about it longenough.

SAGITTARIUS (Nov. 22-Dec. 22)You’ve been incredibly patient for a Sagittarius, especially

during the past three months. You haven’t lost any ground —

everyone else has been involved in their own version of workingthrough seeming setbacks. I know that you keep getting handedthese tests of your focus and attention to detail, and yet you maybe discovering that it’s within your nature to work things out untilthey are just exactly right. This comes with a certain kind ofpleasure, and the feeling of control — though when the momentarrives to let go and take your chances, I suggest that you do soboldly. You may soon encounter what looks like a narrow oppor-tunity, the kind you have to fit sideways to get into. Yet you’remore likely to experience that as an invitation than as a deterrent.

CAPRICORN (Dec. 22-Jan. 20)Remember that God isn’t always watching you. You’ve heard

that ‘He’ is lots of times, and at least let’s consider that it’s a dis-turbing thought; what you do isn’t anybody’s business but yourown. That is, it’s not if you don’t make it so, therefore, take yourspace. You might actually have to do something like experimentand consider the consequences later — if there are any. That’s theproblem with thinking you’re being spied on: guilt makes it dif-ficult to know what you’re really entitled to experience. Thereforeyou have to stretch that particular boundary and see what you dis-cover once you do. One risk you run is the discovery that youcould have had a lot more pleasure in your life, which I would rateas a positive, given that you’re still very much alive.

AQUARIUS (Jan. 20-Feb. 19)If you have any fear of settling down into a space you love,

now is the time to get over it. I am picking up some kind of ‘se-curity phobia’ in your charts, as if when faced with the potentialto be comfortable and set up in a solid place, you get nervous.You may not have always been this way, and I suggest you remindyourself of a time in your life when that was not the case. Part ofany anxiety about things being good is an acknowledgment ofhow badly things can go on this planet; therefore it sometimesfeels better to live as if they’re already that way. Though as LouReed has said (and I know I’ve quoted this before), you can’tcount on the worst always happening. True fact — it hardly everhappens. Therefore, relax and discover.

PISCES (Feb. 19-March 20)You have not lost your magic touch — in fact you’re about to

discover just how much stronger it’s become. One thing I suggestis that you concentrate your energies. Stay grounded; stay on-task. For the moment, you might consider remaining close tohome so that you don’t distract yourself with the need to adjust oradapt to externals. If you are selecting from among creative proj-ects, focus on the most daring, dangerous or experimental. If youare selecting from among relationship opportunities, focus on thedesire that feels right, and that speaks to you the most clearly.Everything that’s right and true is going to have that sensation ofconcern that it’s a little out of bounds, a little too much. That’s theidea: keep your connection to the dark side, so that you can keepyour connection to the light.

~ Read Eric Francis daily at PlanetWaves.net

“Hollywood can’t contain a great talent, because even the best films aren’t enough

to nurture that kind of talent.”-Kim Stanley


Simply Sasha by Sasha Seymour

FENG SHUI Elisa Cashiola

At times in our lives, we go through major changes - relocatingto a new home, welcoming a new member of the family throughbirth and marriage, getting a new job, and more - and these kindof changes can be stressful and hectic, resulting in our homesbeing disheveled and feeling disharmonious, even when thechange seems to be on a positive scale. Sometimes it takes monthsto get the reorganizing and reshifting squared away, and othertimes it is done in days or weeks. If it is taking longer than ex-pected, perhaps it is time to reflect on what is holding you backor preventing you from making those changes...after all, changeis always for the better, even when we don’t seem to think it is.Placement design is not just about the flow of energy in yourhome; it also takes into consideration what you collect in yourhome and why. This includes clutter in its many forms, most ofwhich we wouldn’t normally consider clutter (but it is still clutternonetheless) and the symbolism of the objects we surround our-selves with.Symbolism is a crucial factor when it comes to placement de-

sign. If you are seeking change in your life, it is so important tomake sure that you are supporting that change fully. Otherwise,there will be a falling back into the “old habit” occurrence or afeeling of being stuck for a long time. It is human nature, it is nor-mal, it happens to the best of us, and it is nothing to beat yourselfup about. It is just about recognizing what you may not be awareof around you and it takes an objective eye to see it. We have ob-jects that hold emotional value and memories and we tend to keepthem close by. Only someone who is not emotionally attached toit will see the object for what it is: an object, that could be helpingor holding you back by what it symbolically represents. We alsotend to collect certain objects, such as certain animals, certainshapes and so on. A huge collection of the same kind of object isconsidered clutter in a subtle way, since there isno room for other

symbols, that could enhance your life on many levels.The other aspect of symbolism is how we arrange our objects

around the house, which is a telling sign of what it is you reallywant for yourself. Our patterns of doing things can often be seenlater in years, even after several household moves. Sometimesthese patterns are a carryover from our childhood. It takes aware-ness, a willingness to see that we may be repeating the samehabits and arrangements over and over again, and a desire to workon breaking the pattern.

Too often, we collect objects that seem to clash with what we seek to achieve in life. If you want to have a relationship with asignificant other, then make sure you have objects paired up, suchas two candlesticks, a male and female figure, two lovebirds andso on. A single object symbolizes independence, and aloneness,and that is not what you want if you seek a partner, especially ifyou have many single objects all over the house. Objects in num-bers of threes is also discouraged, since it represents having an-other “person” in the relationship. Artwork is also looked closelyupon for symbolism and how it imprints on our consciousness,since there are so many different pieces of artwork available. Apainting of a meadow with a tree and flowers generates a morepeaceful feeling than a dark, brooding painting of someoneclearly in distress.Placement design will help you get your home in harmony and

balance, when you are ready to leap forward! It is very much likeexercise, you must keep exercising to see effective results. Assoon as you stop exercising, what happens? Your muscles atrophy,your body changes shape, and you start to feel sluggish. It is thesame concept with placement design. You must keep your houseflowing clearly, keep clutter from piling up, or it will accumulatein the home, resulting in a feeling of disharmony.

I can be reached at [email protected] and to find moreplacement design tips, go to my blog website at www.elisacash-iola.com

Jeannie’s Irish Soda bread5 cups flour¾ cup of sugar5 ½ teaspoons baking powder3 tablespoons of caraway seeds1 cup raisins (do not soak)

Mix all ingredients with 2 or more cups of milk until all flour is mixed in the dough.

Put into greased and floured 12” cast iron pan bake 1 hour or less at 350 degrees.

Either you can get a good 10 month start on this recipe or just pretend it’s St. Patrick’s day in May. My friend Jeannie gave me this recipe and her family enjoys it any time of year. Enjoy toasted or untoasted and it can be lightly buttered for an extra bit of decadence. Sure to be a hit, this wonderful Irish soda bread recipe is simple, delicious and good for you too.

Peace, Love and Mojo to you all.Enjoy!

What placement design can do for you


SABINE PHOTO ARTThe Artful Mind showcases Sabine’s work since 1994, the

very beginning of the monthly Berkshire Artzine. Still youngat 20 something, Sabine's studio has become a brand for con-temporary, unobtrusive, relaxed photography in the europeanstyle. Did you have a “Sabine” experience, yet?

A master of the subtleties of lighting and the nuance ofbackground, her eye for detail provides imagery to be treas-ured for a lifetime. Assignments are tailored to meet her client’s needs- a re-

membrance for a special occasion or a logo image to create anauthentic professional online presence. It is to no surprise thatshe is a sought-after wedding photographer, as well.Photographic workshops are scheduled for this spring: Set

out on weekends to explore the beautiful country site of theBerkshires. Zoom in on your fellow students and capture theirexpressions. Designed for serious amateurs who are interestedin improving their artistic eye. All participants are asked tobring a digital SLR camera and a laptop with software to pres-ent their images for edit and critique sessions. Event dates: May 12/13, May 26/28, and June 9/10.

Photo Art and Book Signing by appointment.“WOOD-LAND STYLE” and “ SHELL CHIC “, published by StoreyPublishing, author Marlene H. Marshall, all photography bySabine can be purchased from your near by book stores.Signed fine art prints are directly available through her studio.

Sabine is a member of The American Society of MediaPhotographers asmp. The International Center of PhotographyICP and the Wedding Photojournalist Association, WPJA.Sabine Vollmer von Falken 20 Glendale Rda.k.a.

Rte183,Glendale,MA01229; www.sabinephotoart.com,[email protected] tel. 413-298-4933

OPENS ITS DOORSNew studio offers a breath-centered, individualized ap-

proach to yoga. Long-time area yoga instructor Uma McNeillhas put down roots in downtown Great Barrington, opening528-YOGA in the space behind David Gavin Salon.Uma began studying yoga over 20 years with Sharon Gan-

non and David Life at Jivamukti Yoga Studio in New YorkCity. During her first trip to India in 1991, she studied with K.Patabbhi Jois and went on to receive a teaching certificatefrom Sivanada Yoga Vedanta Ashram. Upon her return toNew York City, she began teaching at the Jivamukti YogaCenter while continuing her yoga studies. She returned toIndia in 2001 to study at the Krishnamacharya Yoga Mandi-ram, and has been practicing and teaching the principles ofbreath-centered, individualized yoga ever since.Uma moved to the Berkshires in 1996 and over the years

has taught at the Kilpatrick Athletic Center and BerkshireSouth Regional Community Center, as well as having studiosin both South Egremont and Great Barrington. This new,downtown location puts her studio in the heart of Great Bar-rington, making it easy and convenient for community resi-dents to take a class before work or during their lunch hour.Breath-centered individualized yoga is aimed at increasing

the spaciousness in the human system. This is achieved byidentifying and resolving obstructions to the natural flow ofmovement in the body, affecting patterns in breath, posture,connective tissue, and thoughts or emotions. The fundamentalrhythm of breathing is the key tool to success. 528-YOGA - for more information, drop by the studio (front

door opens onto the Triplex parking lot) for a free class ses-sion or go online to 528-YOGA.com. Classes: Mondaythrough Friday from 8:30 a.m. – 9:45 a.m., Uma; Monday,Wednesday and Friday from 10:00 a.m. – 11:15 a.m. Uma;Tuesdays 6:00 a.m - 7:15 p.m, Uma; Thurs 6:00 - 7:15pm,Jenna O’Brien; Sat from 10:00-11:15 a.m, Jenna O’Brien.

WholePerson Movement Mat ClassesTuesdays 5:00 - 6:00 PM

Kilpatrick Athletic Center, Simonʼs Rock College84 Alford Rd, Gt. Barrington, MA

Semi-Private mat classes can be arranged for friends who want to exercise together

WholePerson Movement Private SessionsPersonal training in a quiet country setting featuring the

Reformer and other Pilates-designed apparatusAll WholePerson Movement Classes:• Increase strength and flexibility• Improve posture, balance, breathing, body awareness• Improve comfort, ease, grace in moving• Reduce lower back and other chronic pain• Reduce risk of re-injury from sports or occupation

SHARON TRUE, M.A., C.M.A., R.M.T.Somatic Movement Therapist and

Certified Pilates Instructor

Call for more information 413.528.2465

“The subliminal self is in no way inferior to the conscious self. It knows how to choose and to divine.”

-Henri Poincare

BERKSHIRE HILLS AIKIDOAikido is a journey of self discovery as well as an oppor-

tunity to take responsibility for your own safety. It is a deci-sion for the moment or for some people, a lifetime. We atBerkshire Hills Aikido are a group of people who seriouslystudy the principles and practices of aikido on the mat and inour daily lives.The benefits of the benefits of Aikido training:Self-defense skills;A way to move with mind body co-ordination;Heightened awareness of your surroundings;Learn to face your fear;Improved physical fitness; You will have fun;You will become more flexible in body and mind;You will be challenged every class;Your mind will quiet as you develop centering skills;You will meet good people;Your lifelong habits will be challenged;You will be freer to make new exciting changes in your

life.Ron Ragusa Sensei, is the founder of the Berkshire Hills

School of Aikido. After studying for 25 years with ShujiMaruyama Sensei, founder of the Aikido Kokikai Interna-tional Federation, Ragusa Sensei left the Kokikai organizationin 2001 to continue his study of the art independently. Mary Eastland Sensei, co-owner of Berkshire Hills

Aikido, certified Master Instructor, has studied Aikido forover twenty four years and currently holds the rank of sixthdegree black belt. Are you ready to start on a new way on a new day? Call

today!! Berkshire Hills Aikido, Great Barrington, MA01230; 413-528-3354; www.miron-enterprises.com/berkshirehillsaikido

Elisa CashiolaPlacement Designer

Specializing in the art of feng shuiAnd color

[email protected] (text only – deaf)

www.elisacashiola.com

Starting Now! Regular exercise is an essential componentof optimal health and functioning. Conscious Exercise withSharon True, owner of WholePerson Movement, takes exer-cise to a whole new level. In the personalized one-on-oneworkouts she creates in her Pilates studio she guides herclients to become masters of their own body movement. Theylearn to become conscious of the inner experience andprocess of doing an exercise, as well as of its precise outerform. Conscious Exercise workouts stretch and strengthenmuscles, promote concentration, reduce stress, and deepenunderstanding of the body.Who needs Conscious Exercise? People who want to make

the most of the body they have. This would include individ-uals who currently enjoy active lifestyles, such as performers,athletes, gardeners, and those who love all the outdoor activ-ities that the Berkshires has to offer, and who want to main-tain or expand on their physical fitness through a challengingPilates workout. It also includes individuals who are con-fronted with impediments to their enjoyment of movement,such as injury or chronic pain, stiffness, difficulties with bal-ance and coordination, or lack of body confidence. SharonTrue welcomes the opportunity to find a way to help yourbody function at its best, no matter what age or condition itis in now.True is a registered somatic movement therapist, certified

Laban movement analyst, and a certified Pilates instructor.She has been teaching Pilates-based workouts for over 15years, first at Canyon Ranch in the Berkshires and then in herown fully-equipped Pilates studio in Great Barrington. Theseyears of teaching, together withher commitment to continuingher own education, give clientsthe benefit of a vast array of ex-perience to effectively addresstheir goals and concerns. She isan expert partner and guide in thediscovery of an exercise programthat works and is a pleasure to do.

Call now to start making themost of the body you have with aConscious Exercise workout withSharon True.

WholePerson Movement [email protected] or413-528-2465, 9 AM-9 PM.

SHARON TRUEMAKE THE MOST OF THE BODY YOU HAVE

CLASS SCHEDULE

Mon-Fri 8:30 - 9:45am - UmaM-W-F 10:00 - 11:15am - Uma

Tues 6:00-7:15pm - Uma

Thurs 6:00 - 7:15pm - Jenna O’Brien

Sat. 10:00-11:15 am - Jenna O’Brien

PRICES$15.00 per Class

$120.00 for a 10-class card(good for 8 weeks)

$75.00 month unlimited(Uma only)

Owner - Uma McNeill

413.528.YOGA (9642)www.528yoga.com

274 Main StreetGGrreeaatt BBaarrrriinnggttoonn

(located in back of Main st. adjacent to the Triplex Movie Theater

parking lot area)

STARTING MAY 4Followers of the Pittsfield cultural scene will have a regular

opportunity to see works from visual artists in the newly an-nounced “First Fridays Artswalk”. Starting on May 4 and run-ning year-round, the mostly indoors art displays will be inmore than 25 venues, including galleries, retail establish-ments, and hospitality businesses along the North and SouthStreet arts corridor.First Fridays Artswalk will occur in the immediate down-

town area of Pittsfield on each first Friday of the month from5 – 8pm; a reception for the exhibiting artists will take placein most of the venues displaying art.The timing is perfect…shortly after earning its designation

as one of the five original state-recognized cultural districts bythe Massachusetts Cultural Council, downtown Pittsfield’snewly minted “Upstreet Cultural District” will strut its stuffwith the kickoff and ribbon cutting at the north end of theartswalk, near Berkshire Medical Center at 5pm. Expect tosee many dignitaries for this event as Pittsfield gets ready toofficially open the 2012 art season.FFAW is the brainchild of Mary McGinnis, Pittsfield busi-

ness woman, and Leo Mazzeo, local artist. Co-sponsors andmajor sponsors of First Fridays Artswalk include The Berk-shire Eagle, Massachusetts Cultural Council, Office of Cul-tural Development, City of Pittsfield, Berkshire ArtAssociation, Berkshire Bank, Berkshire Theatre Group,Gallery 25, Downtown Pittsfield Cultural Association.

For details of this event, contacts, and more informationabout venues and possible participation, please visit the web-site. First Fridays Artswalk - http://firstfridaysartswalk.com


MARGUERITE BRIDECUSTOM PAINTINGS

This is the season of celebrations…weddings, retirements,graduations…transitions. What would be nicer than to re-ceive a watercolor painting, done just for you? MargueriteBride has been commissioned to paint many such happy oc-casions…from custom house portraits, to favorite vacationscenes, romantic settings from weddings, honeymoons, a tripto Alaska, even a ‘65 Pontiac convertible where a marriageproposal took place. Gift certificates for house portraits are the most popular,

and are usually given to parents for a special occasion by theadult children, and often by friends for an anniversary, retire-ment, or “moving away” gift. It is always a very pleasurableartistic journey —for both the recipients and the artist— whendesigning that special painting. Have you taken a really great vacation? A trip of a lifetime?

Something in your past that you will never forget? Your tripdoesn’t have to end with a bunch of photos on your computer;your favorite scene can live forever on the wall of your den orfavorite room. Bride has painted honeymoon villas in Tus-cany, olde town Stockholm, a cherished Norwegian cottage,and a raging river where a fabulous kayak trip took place… allfrom clients’ photos. Details can be found on Bride’s website. Bride also gives private lessons in watercolor technique in

her studio on North Street, Pittsfield. Visit her website formore details about commissioning a painting, purchasing apainting or fine art reproduction lessons and updated exhibitinformation; or contact the artist directly.And don’t forget to visit Pittsfield for the inaugural First

Friday Artswalk. Visit Bride and many other artists during thespring opening of the Studios at Art on No, 311 North Streetboth happening on May 4 from 5-8pm.Marguerite Bride, 311 North Street, Pittsfield, Studio #5.

Open for First Friday Artswalks, and by appointment only.Call 413-442-7718, or 413-841-1659 (cell); website:www.margebride.com, email: [email protected]

MARGUERITE BRIDE, AMALFI COAST, W/C

HELGA S. ORTHOFERLAUREN CLARK FINE ARTLauren Clark Fine Art presents PASTELS by Helga S. Or-

thofer, May 24 through July 8. Reception for the artist, Satur-day, May 26, 4-7pm.As an artist, Helga S. Orthofer has been dividing her time

between New York City and Stockbridge, Massachusetts forover twenty-five years. In reviewing her artwork, one can feelthese fluctuations between the city and country; between thecolorful bravado of her series on Fire Hydrants, for example,and the soulful light lingering on the side of her sylvan WhiteBarns.Ms. Orthofer has played with space and light all her life,

exploring the realism of representational painting as well asthe transcendental nature of abstracted shapes shifting acrossa flattened plane. Inspired by artists as diverse as Chardin,Cezanne, Morandi, Hopper and O’Keefe, she stands very stillobserving the world with paint or pastel at hand, creating lushblue shadows or turquoise skies to express the mood of thelight she strives to convey.While there are no people inhabiting her settings, the artist

fondly refers to her still life paintings as “portraits.” Indeed,this is a true and telling description of her work, for it seemsthat Ms. Orthofer is aiming to portray the intimacy of a fa-miliar, or even ordinary, object or scene. Her sensitivity to

color and form is remarkable, butit is the depth and coloration ofher light that lingers with such aprofound emotional resonance.Lauren Clark Fine Art Gallery

is located at 402 Park Street(Route 183) in Housatonic, MA.Hours are Thursday throughMonday from 11:00 - 5:30, Sun-day from Noon - 4:00. For moreinformation call 413-274-1432, orvisit the website at www.Lau-renClarkFineArt.com

Mary DavidsonRepresented by

THE LENOX GALLERY OF FINE ART69 CHURCH STREET, LENOX, MA 413-637-2276

�

Open year Round www.davidsondesigncompany.net

Studio Appointment : 413-528-6945 South Egremont, MA

ASTON MAGNA40TH ANNIVERSARY GALA

Growing up in Pittsfield, singer Deborah Rentz-Moorenever imagined that one day she’d get to share a stage withsome of the most esteemed artists in early music. But that isexactly what she’ll be doing at Tanglewood’s Ozawa Hall onSaturday, June 9th at 6 PM, when Aston Magna celebrates its40th Anniversary with a Gala concert of Monteverdi, Purcell,Handel and Bach.Aston Magna, one of the nation’s most revered early music

festivals, has brought historically-informed music to the Berk-shires for all its 40 years, attracting some of the finest artistsin the early music world, including founding violinist StanleyRitchie and current artistic director Daniel Stepner. It’s nowonder that mezzo-soprano Rentz-Moore feels a little awe.For Rentz-Moore, the Berkshires proved the ideal location tohone her musical interests. Starting in South CongregationalChurch’s choir, she took voice lessons at the Pittsfield Com-munity Music School and later received BA and MM degrees.During her studies, Rentz-Moore sang solos with the Berk-shire Concert Choir and Berkshire Lyric Theatre. “Those ex-periences familiarized me with some of the great choral worksand introduced me to wonderful colleagues. Singing withAston Magna is truly the icing on the cake.”To order tickets to the Gala concert on June 9th or to find

out more about Aston Magna’s 2012 Festival Schedule, pleasevisit www.astonmagna.org or call 413-528-3595 /800-875-7156.


PARADISE CITYARTS FESTIVAL

Northampton’s Paradise City Arts Festival in Northamptononce again hit the Top 10 Art and Craft Fairs in America list,coming in at #3! This is truly one of the most spectacular fairsof fine craft, painting and sculpture in the entire country. With260 of the nation’s finest artists and craftspeople travelingfrom 30 states to show off their newest work, Paradise City’ssignature live music and fabulous food, a flowering sculpturegarden filled with artful delights, and a special exhibition of“Wild Things!” … all compelling reasons to come on out toNorthampton during the long holiday weekend.New Orleans meets New England at Paradise City! “The

food soars beyond expectations,” writes Boston Magazine.The Festival Dining Tent is a microcosm of Northampton’svibrant restaurant scene, including New Orleans and Cajunspecialties. While you’re dining, enjoy New Orleans-flavoredmusic by Samirah Evans and Her Handsome Devils, Northof Dixieland with a big horn sound, and the great sax playerCharles Neville with his hot young band on Memorial Day.The theme of “Wild Things” can be found throughout this

spring’s show. Catch the special exhibits of fine and func-tional art inspired by the animal kingdom – like a life-sizewolf sculpted of metal, a six-foot elephant, a gold damselflypin and an aquarium filled with hand-blown glass sea crea-tures. Alan Bennett demonstrates making a really big fish outof clay. James Kitchen unveils a 30-foot-tall “Bird” made ofsteel. And in keeping with our “animal” theme, Dakin Pioneer

Valley Humane Society is the beneficiary of Paradise City’sSilent Art Auction this May. Hundreds of beautiful workshave been donated by the exhibiting artists. 100% of the pro-ceeds support Dakin, which provides shelter, education, advo-cacy and assistance to animals and people in need. Take homea one-of-a-kind find and demonstrate your love for animals atthe same time.

At Northampton’s 3 County Fairgrounds, Route 9 at I-91Exit 19. From the Mass Pike, take exit 4 to I-91 North. Forcomplete show and travel information, and discount admis-sion coupons, visit www.paradisecityarts.com or call 800-511-9725.

BERKSHIRE ART GALLERY

8 RAILROAD STREET, GREAT BARRINGTON, MA • 413-528-2690OPEN SATURDAY AND SUNDAY NOON TO 5PM AND / OR BYAPPOINTMENT

WWW.BERKSHIREARTGALLERY.COM

Indian Summer, Stephen G. Maniatty, 1910-1984, o/c, American

DEBORAH RENTZ-MOORE, SINGER

HELGA S. ORTHOFER

ROBERT ALAN HYDE, LOBO,LIFE-SIZE SCULPTURE

FRONT STREET GALLERYPastels, oils, acrylics and watercolors…..abstract and rep-

resentational…..landscapes, still lifes and portraits….aunique variety of painting technique and styles….you willbe transported to another world and see things in a way younever have before….please come join us and experiencesomething different.For those seeking collectable, great art, Front St. Gallery

is where you should head next. A huge selection of art work,all reasonably priced. Who said art was not affordable? Easyto make an appointment to see for yourself.

Classes at Front Street for those wishing to learn andthose who just want to be involved in the pure enjoyment ofart and who have some experience under their belt. Perfectfor those seeking fresh insight into watercolors, and othermediums.Kate Knapp has been teaching for many years, and has a

keen sense of each student’s artistic needs to take a step be-yond! Perfect setting for setting up still lifes. Lighting andspace is excellent. Peak in to see!Kate Knapp’s paintings are also on display at 510 Warren

St. Gallery in Hudson, NY. Please stop by to see all the manyworks of art by exceptional artists.Front Street Gallery – Front Street, Housatonic, MA.

Gallery Hours: Saturday & Sunday, open at 12 pm or byappointment or chance. 413-274-6607.

KATE KNAPP


MICHAEL FILMUSThe muted tones of winter are slowly giving up their hold

on the land as the first light greens of a new season emerge. Intime, these soft colors of spring will change dramatically,transforming the landscape in the rich and varied colors ofsummer.

Michael Filmus has painted the Berkshires landscape formany years. He has exhibited his work in one-man shows atthe Berkshires Museum in Pittsfield and at the Welles Galleryin Lenox. In New York he has been represented by Hirschl &Adler Galleries and David Findlay Jr. Fine Art. Filmus’ worksare at numerous private and public collections including theArt Institute of Chicago and the Butler Institute of AmericanArt.Michael Filmus may be contacted in the Berkshires at 413-

528-5471 or through his website: www.michaelfilmus.com

ROBERT FORTEFront Street Gallery will host Robert Forte’s first exhibition

in the Berkshires; it will run May 5 – June 3, with an artist re-ception on Sunday, May 6 from 3-6 PM.Painting is Forte’s passion; however the road to this exhibit

has been neither direct nor readily foreseeable. A Columbiagraduate with a Harvard Law degree, Robert Forte has had asuccessful and very busy career in law, but he was also studiedart. He attended Art Students League and a variety of paintworkshops over the years.“Indeed, it was not that long ago that I was hard at work

briefing a major case before the United States Supreme Court.In other words, I practiced law, a life far removed from that ofa painter. The artistic “seed”, however, was planted at a veryearly age, when I literally drew everything in sight, grew upon (for those who remember) Jon Gnagy’s TV art lessons, andsubsequently attended the High School of Music and Art inNew York City.“Toward the end of my legal career, I decided to cultivate

that dormant seed. In the intervening years, I met and studiedwith two New York artists, Minerva Durham and CorneliaFoss, each supreme in her craft – Durham’s wizardry drawingthe figure and Foss’s incomparably beautiful paintings. Theseartists formed the foundation of my art.”Now living and painting in his studio in New Marlborough,

Forte has a new life devoted to painting.Front Street Gallery – Front Street, Housatonic, MA. 413-

274-6607.

ROBERT FORTE, SELF PORTRAIT

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22• The Artful Mind MAY 2012

MARY DAVIDSONTry walking a mile in Mary Davidson’s shoes and you may

discover why she paints whimsical acrylic portraits offootwear never designed to touch the ground.Mary Davidson is a Berkshire native who left the area to go

to collage, become a designer, run a fashion business, andeventually return as a fine artist. After honing her skills as adesigner of clothing, Mary made the leap from wearable art towondrous art. Intensive study with painters like Gloria Arnold,Jim Schantz, Pat Hogan, Don Andrews AWS, and Judi BettsAWS, helped Mary synthesize all she had learned and lovedonto the paper and/or canvas.She found it was the Berkshires, not the fashion-conscious

cities, which inspired her stylish shoe art. Even as a child,growing up around Berkshire barns and cows, Mary had aninterior landscape teaming with imaginative, intricate design,which led her to experiment in many mediums. But Mary’squirky thinking, love of repetition and pattern-on-pattern, allblossomed into a vision that is hers, alone.Mary Davidson’s “SHOE DEPARTMENT” is filled with

styles you’d love to try on for size, but can’t. Each shoe orboot is magically woven into a bright acrylic universe withmotifs that twist, turn, twirl, outline and overlap, in a playfuldance of form, color and contrast. She simply starts with ashoe and lets her intuition do the rest.

Unlike Imelda Marcos or the fictional Carrie Bradshaw,with her costly collection of Manolo Blahniks, Mary David-son chooses to sink her entire artistic soul, not her feet, intoher beloved shoes.Davidson has been juried into shows locally and regionally.

A few of her painting’s can be seen at the Lenox Gallery ofFine Art, 69 Church Street, Lenox, MA. She is a member ofthe Housatonic Valley Art League here in the Berkshires andalso a juried member of The Cambridge Art Association, inCambridge, MA.

She currently paints in series, consisting of shoes, cats,ladies with hats, dancers and her flower series. She shares herwebsite and her studio with her husband Keith Davidson whois also a painter. Some of Keith’s flower painting’s can be seenat SATI, clothing store in Lenox.Keith and Mary Davidson, Studio: South Egremont, MA.

Call 1-413-528-6945 for an appointment; www.davidsondesigncompany.net

MARY DAVIDSON, FROM THE SHOE SERIES

BERKSHIRE DIGITALFINE ART REPRODUCTION FORARTISTS AND PHOTOGRAPHERS

Entering its sixth year of business, Berkshire Digital is afine art reproduction service that offers very high quality dig-ital photography of paintings as well as Giclée printing onarchival papers and canvas. Artists & photographers use BDto create limited editions of their images. Private collectorsand galleries use BD to document their collections. Whetherthe photography needs are for archiving, printing or internetuse, BD adheres to very strict color controls along with deliv-ering stunning detail by using a large format camera with aBetter Light™ digital scanning back for photography (thesame equipment that museums are using) and Canon™ print-ers using archival pigmented inks for Giclée prints.

In addition to the art reproduction and printing services,Berkshire Digital also offers graphic design, enabling clientsto create Blurb™ books, show announcements, post cards andbrochures. The website has a complete overview along withprices.The owner, Fred Collins, has been a commercial photogra-

pher for 30 years with studios in Boston and Stamford. Fifteenyears ago, he began working with the software manipulationprogram Photoshop™ and gradually added extensive retouch-ing capabilities to help with his client’s needs. His wife Alisonowns The Iris Gallery of Fine Art, located in Boston & GreatBarrington.

Berkshire Digital, Mt Washington, MA, 413-644-9663,www.BerkshireDigital.com

BERKSHIRE ART GALLERYThe Berkshire Art Gallery features a variety of paintings,

with a specialty in 19th and 20th century artists who achievedgreat success in their lifetimes, but often are undervalued con-sidering the quality of their work and past reputations. Twogood examples, albeit from artists with different personalities,are J.J. Enwright (1911–2001) and Stephen G. Maniatty(1910–1984).

J.J. Enwright was a pseudonym for Caspar HjalmarAmundsen, a Greenwich Village bohemian who had a lifelonginterest in the sea and supported himself selling his mostlymarine paintings at outdoor art shows (he was a founder of theWashington Square Outdoor Show), and doing cover illustra-tions for Motor Boating Magazine. Largely self-taught, heconcentrated on the Long Island and Massachusetts coast-lines, particularly Sag Harbor, Rockport, Gloucester andProvincetown, sometimes signing as Enwright, sometimes asAmundsen. His harbor and dock scenes are known for theirverisimilitude and lighting. A Gloucester Pier is a good ex-ample. Colorful lifestyle aside, the Sag Harbor Historical So-ciety sponsored a retrospective show before he died inrecognition of his ability as an artist.Stephen George Maniatty, a graduate of the Massachusetts

School of Art, taught in the state’s public schools and was artdirector at the Deerfield Academy. He maintained a teachingstudio on Main Street in Old Deerfield, and found inspirationin the architecture of Deerfield and the landscape of the Pio-neer Valley, nearby Vermont and the Berkshires. His IndianSummer is a very good landscape. Like Enwright, Maniattyalso favored Rockport and North Shore marine scenes. Hewon numerous awards, including gold medals from exhibitswith the American Artists Professional League and the Rock-port and Hudson Valley Art Associations. He also showed atthe Copley Society, Guild of Boston Artists, Southern Ver-mont Art Center, etc. The Holyoke Museum holds his work.Berkshire Art Gallery, 80 Railroad Street, Great Barring-

ton, MA. Gallery hours are noon to 5pm, Saturdays and Sun-days, or by appointment or chance. Parking for customers isavailable in front of the Gallery. For information, contactJack Wood, 413-528-2690 or visit berkshireartgallery.com

INDIAN SUMMER, STEPHEN G. MANIATTY, 1910-1984, O/C, AMERICAN

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Architecture &ArcadiaStephen Gerard Dietemann


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House(a short story in four parts)

Part 1

I

Margaret is angry at herself. She stabs at the crusted gar-den dirt with her new steel hand shovel.

How could she have forgotten?

Sunlight reflecting off the tool’s freshly polished surfaceskips across the house’s newly painted shakes, a patchworkof mauve, ochre, rose. A return to the original Victorian col-ors, the house finally freed from the oppressive blanket ofwhite paint Colin had insisted on covering it with almost fortyyears ago.

“In with the new and out with the old,” Colin had said toMargaret as they — just married—watched the painters burythe original vivid colors of their newly purchased house.

Sterilized, she had thought silently at the time.

Now Margaret wipes her brow with the back of her old gar-den glove. She hopes that the pain in her back will leave heralone today.

At least for today. The anniversary of his death sevenyears ago.

II

So much work still to be done! She thinks: if Colin werestill alive the tomatoes would all be in by now. Like every-thing else he ever did this would have been done on time andproperly. He had been in charge and the center of her lifefrom the moment they met, but had it not been for the deliveryof the new hand shovel this morning she might well have for-gotten that today is the anniversary of his death. It’s strangehow we are reminded about big things by little things, shethinks, twisting the shovel. The young delivery boy, other-wise unremarkable, had large, perfectly manicured hands. Al-abaster, she thinks. A young woman would show them offproudly, gloveless even in winter. And when he spoke to her

she recognized the voice, a deep baritone, like an echo return-ing from far away. Colin’s hands and voice.

Yesterday, seven years ago, she was a married woman andtoday she is seven years a widow. That’s exactly how itworks, she thinks, one minute you are sleep walking, perhapsyou have been for many years — maybe your entire life? –and then suddenly something forces you awake. A voice ar-rives from nowhere and everything is changed.

In her case, the voice of a young state trooper. “M’am,” hehad said gently, “we found your husband.” The next thingshe remembers is the glass of water offered by the trooper’spartner. “M’am, I just want you to know that he died instantly... no pain at all. We found him in the basement. He had aflashlight; maybe he was fixing a pipe or something …” Awk-ward silences. The sound of scratchy voices on the policeradio. A moment later, the arrival of friends – Muriel, per-haps? — with food no one would ever eat. Finally aloneagain, everything is the same and everything is irreparablydifferent. A day she was certain she would never forget.

III

“You really should move in here, Margaret...”

Even by phone, Muriel’s voice slices through the stillnessof the parlor. The call arrives just as Margaret settles herselfonto the dark leather couch, relishing the cool silence of theroom. Sixty-eight and younger than Margaret by only twoyears, Muriel retains the voice of a much younger woman,just as she had forty years ago when Margaret first met herthe day Colin hired her to work as a receptionist at his archi-tectural office. “She is by no means conventionally pretty,”Colin had remarked at the time, “but she is a bit flirtatiousand the men in the office seem to respond. I hope that will notbe a problem.” In the beginning she and Margaret had beenfriends but after Margaret left the office they lost touch withone another except for the yearly office Christmas party.After Colin’s death they had spent some time together, moreshopping than talking, but soon Muriel stopped returning hercalls. Margaret was relieved, returning happily to her houseand her garden. Now, for no good reason Margaret can thinkof, the calls from Muriel have started again.

In the months after they were married, Colin’s architecturaloffice had grown rapidly and Muriel began to take on more re-

sponsibilities, including marketing. “I don’t know what I’ddo without Muriel Mays,” he’d tell Margaret at dinner fromtime to time, smiling. “She knows how to do everything and... that voice. It just seduces the clients. The men all insist onmeeting her after they talk to her on the phone.” Then, as ifan afterthought, “It’s great for business.”

Muriel continues. “Mister Thompson – you do rememberMr. Thompson — the other big architect in town besides yourhusband, right? – anyway, he is right down the hall here! Youshould really meet him; he still looks as good as he did whenhe was the competition! I do hope there are no hard feelingson his part.” Muriel continues quickly. “And let’s face it;you won’t be able to keep taking care of that old house muchlonger. Not with your back acting up all the time.”

The pain finally forces Margaret to retreat from the garden.She had tried to keep working — Colin would have said,“Don’t be such so self-indulgent, Margaret!” — but when theJune sun was at last free of the massive house and directlyoverhead it had been overwhelming.

She thinks, so much still left undone!

(End of Part 1)

~Stephen Dietemann

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24• The Artful Mind MAY 2012

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