THE CELTIC CONNECTION • MAY 1992
Page 5
Empathizing with Nature
Continued from Previous Page So, it's all an extension. One thing's an extension of the other. I bring that similar kind of passion to the music, that is in many ways connected. Even "Bonny Portmore" tune....
M — My other favourite!
L — When it comes to the destruction of the forests, for whatever reason, we only look at what our needs are — the highways we want to clear out, to make, or the lumber — and I know there are a lot of people who say, "Oh isn't she a bleeding heart person!" But how often do we think of the creatures in the forest whose home is constantly getting smaller and smaller?
M — When you sing "Bonny Portmore" you almost sound as if you're weeping — weeping for the birds and the trees. That song makes me cry and that's good! That the power of music — to put us in touch with our feelings, which we're pretty good at escaping.
L — Yes. I know last night was a particularly strong concert. I know a number of people were really moved. I know that I was in a particular kind of mode in terms of really focusing in on what each song was saying. You know, whether it was light or less light. When I think of the music or anything that's in the artistic realm that I've been affected by, it's a powerful, unforgettable thing that stays with you a long, long time. It changes you, sometimes forever.
M — When you perform, do you get into the reeling of each song?
L — Yes, I really try to work hard to set up the environment in which I will feel each performance is unique. It will go by and it may never happen again and there you are, collectively together, yourself and the whole audience where you're all witness to this whole thing, you know, and it ceases to be something of mine. I try to remind myself that there's a different group of people out there each night and going back to the material and reflecting upon and seeing that perhaps there's something I haven't thought upon or expressed.
It's a theatrical approach, having studied and been in the theatre — you draw upon the skill when you deliver the same lines, night after night, and having to keep it fresh and meaningful. Also, the musicians I work with are excellent and highly creative, so I become so inspired by what they're doing that it's unpredictable and spontaneous every single night. And then you sit back and wonder at that phenomenon. Oh, look at that! It's like the sunrise — I think it's a great moment. And the simple things are so powerful if you allow yourself to think if them.
Millions of New York Visitors Drawn to the Cathedral
Photo: Elisabeth Feryn
A CELTIC BACKGROUND INSPIRES LOREENA McKENNITT
Her music is a reflection of her philosophy of life
By JOHN FITZGERALD NEW YORK — The Centre Church of the Catholic Archdiocese of New York is one of the most famous and admired churches in the world. One could take years to explore its artistic treasures, which draw visitors by the millions from near and far.
It is the second cathedral named after the Patron Saint of the Archdiocese. The first St. Patrick's Cathedral, which still stands today, was in Mott Street in Lower Manhattan between Prince Street and Houston Street. The present day cathedral cornerstone was laid on August 15, 1856, by then then Archbishop of New York, John Hughes.
The noted mid-nineteenth century architect, James Renwick, crystallized the dream of John Hughes in blueprints of a great gothic cathedral. Three years after the cornerstone had been laid, tragedy struck America — The Civil War.
Weeds grew wild on the site until finally some 14 years later, after the end of the Civil War, the cathedral was opened and
completed, under the direction of Cardinal John McCloskey, on May 25, 1879. It was some ten years later that the spires, that reach some 330 feet over Fifth avenue and 52nd street in Manhattan, were completed.
Seating capacity of the beautiful Gothicstyle building is 2,400, and it is 400 feet long by 175 feet wide. The great organ has 7,380 pipes and the cathedral chimes have 19 bells. The stained glass windows, which enhance the beauty of the magnificent church, total 71. One in particular, the Rose Window, measures 26 feet in diameter. They exemplify three various artistic styles — French, English and American.
The great cathedral attracts thousands of visitors daily. Underneath thegreat altar is the crypt of all the deceased Cardinals of the Archdiocese. Irish visitors can visit the special altar of St. Brigid and St. Bernard.
A magnificent church which gives Glory to God has to be visited to appreciate its magnificence and artistic beauty!
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