“The River” Coffeehouse
Once again, in March, I performed for Bristol Christian Fellowship’s “The River” coffeehouse in Bristol, Vermont. Daniel Hamilton, who is also a great painter, opened with a set of his original songs. My set included dulcimer pieces and some songs with guitar, including “Eve’s Song” which I’d finished just in time. Several years before I’d started working on a song about what it might have been like to experience the Fall — particularly exploring separation not only from God, but from self and others as well. I’m somewhat more articulate in prose than in lyrics, so it was difficult to put these ideas into something that would work as a song. I think it’s done, now, though.
In the cool of the day, we would walk together
In the garden, by the river: the Lord, and Adam and me
In the cool of the day
His voice came to me from across a great gulf
Distorted and strange, though familiar
He said, “Where are you?”
I answered: my eyes are opened, I see that I am a stranger
To myself, to my lover, to my Lord
I’m ashamed, ’cause I’m naked; I’m afraid, so I’m hiding
From myself, from my lover, from you, my Lord
In the cool of the day… in the cool of the day
I’m still fleeing, withdrawn and defensive
Still keeping my distance from everyone, but
I’m so lonely
I’m still fleeing from the garden where I walked with God
But in his grace, I know he’s leading my steps
And I’ll walk with him again —
In the cool of the day
© 2005 Marcy Prochaska, all rights reserved
Thanks to the Hamiltons, for having me back; to the Orvises, for their gracious hospitality.
In March, I also started working on my first film score. The Cornell Lab of Ornithology and the Plantations were working on a joint production of several short nature films, to feature narration, natural sound, and music.
The film I worked on is about the Wildflower Gardens, one of many natural areas on campus. The piece takes the viewer through the seasons of the gardens, with great footage of plants, birds, and other wildlife. Scenes with water punctuate the film and provide natural transitions from season to season.
I chose pieces that would fit the mood of each season’s footage. Spring begins with Praeludium I (Bach), then summer features Hewlett (O’Carolan), Easter Thursday, an old English D minor tune, carries the piece from fall into winter, and my original upbeat Third Street Market welcomes the return to spring. For the credits, I chose Menuet (Quantz), arranged by Carrie Crompton.
The next step was to arrange the music to fit the film — adding a little bit to the Praeludium and Third Street Market, and cutting Easter Thursday and the Menuet a bit short. Then I met with the director and one of the sound engineers to see if they liked what I’d come up with.
In May we recorded all five pieces in one long session, I think from noon or 1:00 to 5:00 or so. I wasn’t sure I’d be able to record that much in so short a time, considering how long I’ve spent on my own recording projects. Pyramid was a lovely studio to work in, despite its unappealing exterior and complete lack of parking. I thought the mic they used was particularly cool — a wooden ball, about the size of a person’s head, with the mics where the ears would be.
What I especially love about being in a studio is the amazing sound. Recordings never sound as good at home as they do on good studio equipment. I guess that’s why some people spend so much money on good home systems.
The Lab is not sure yet if they will offer this film for sale to individuals or not, but if you’re in the area, stop by and you can see it in their theatre.