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by
UUC Staff
·
Published June 24, 2020
· Updated June 24, 2020
I am thrilled to announce I have become a candidate for Unitarian Universalist ministry! I will continue serving as Director of Religious Education (DRE) at University Unitarian Church, as I have been. Here is a dispatch from my journey toward ordination for those curious about the process.
I take classes in the Master of Divinity program at Seattle University’s School of Theology and Ministry, and engage a parallel process of requirements from the Unitarian Universalist Association. Just before Covid-19 struck I completed a six-month hospital chaplaincy internship at Swedish Medical Center. Our faith can be a life-saving asset in this field. Unitarian Universalists are particularly poised to offer engaged, respectful interfaith chaplaincy to people from all walks of life, without seeking to convert, or push agendas. I was astounded by the power of this work. In addition, to achieve candidate status I completed a rigorous career assessment and psychological testing. I found this process illuminating and engaging.
Unitarian Universalist ministers in formation are typically in three stages – aspirant status, candidate status, and waiting to see the Ministerial Fellowship Committee (MFC). At the MFC, candidates present a packet of information about themselves, lead worship, and are asked questions from a panel. At this point, future ministers have read a lot of UU books, completed a hospital chaplaincy internship, completed a nine-month ministerial internship at a UU congregation, and completed a Master of Divinity degree, which usually takes 3-4 years full time.
I am taking a long, intentional, and hopefully sustainable path. In all, my journey to ministry will take seven years of schooling and internships. Because it’s such a long process for me, these milestones feel extra important to celebrate.
I am a life-long UU and have been drawn to ministry since I started grilling my parents about God from my car seat. I was delighted to say “Yes” to ministry after years of deliberation, feeling that inexorable draw toward worship, mystery and service in my classes, papers and practices.
It is a privilege to do good work as your DRE in our phenomenal Unitarian Universalist congregation while I prepare for ministry. I am able to put into practice the content I learn in school. Working with children and teens forces me to be flexible, lighthearted and pragmatic in practicing my religion. I always need to ask how faith formation and family ministry can be real. Our faith isn’t hokey. It isn’t lip service. It isn’t fake. It is deep, transformative, fun, engaging and life-saving. Thank you all for being part of my story.
Melody, congratulations on your progress so far—and many blessings for this path ahead!
Hi Melody, what a wonderful path you’re on! All the best as you continue to explore and teach the valuable UU principles. Any congregation will be lucky to have you! Take care.
Randi
Congratulations, Melody. I really appreciate hearing about the process of becoming a UU minister, and your progress in the path! Thank you-you are a gift to our church and our family!
Congratulations Melody! I’ve enjoyed learning from both you and Justin!
Thank you so very much for your last paragraph! What a wonderful and life giving way to imagine our religion!
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August 23, 2021
Frank Villella
8 hr 15 min
listen
BACH Saint Matthew Passion, BWV 244
SHOSTAKOVICH Symphony No. 1 in F Minor, Op. 10 and Symphony No. 7 in C Major, Op. 60 (Leningrad)
PROKOFIEV Excerpts from Romeo and Juliet, Op. 64 and Symphony No. 1 in D Major, Op. 25 (Classical)
Generous support for Experience CSO is provided by the Walter and Karla Goldschmidt Foundation and the Mr. and Mrs. William Gardner Brown Digital Media Fund. Support for digital programming is provided by George and Minou Colis.
© 2022 Chicago Symphony Orchestra Association
Andrew Lewis on the podium with Bella Voce and the Bella Voce Sinfonia at St. Luke's Episcopal Church in Evanston in November 2018
The Chicago Symphony Orchestra's commercial recording legacy began on May 1, 1916 , when second music director Frederick Stock led the Wedding March from Mendelssohn's A Midsummer Night’s Dream for the Columbia Graphophone Company . The Orchestra has since amassed an extraordinary, award-winning discography on a number of labels — including Angel, CBS, Deutsche Grammophon, Erato, London/Decca, RCA, Sony, Teldec, Victor and others — continuing with releases on the in-house label CSO Resound under tenth music director Riccardo Muti . For My Favorite CSO , we asked members of the Chicago Symphony family for their favorite recordings (and a few honorable mentions) from the Orchestra's discography.
With degrees from Northwestern University and the Eastman School of Music, Andrew Lewis is artistic director of Bella Voce and the Bella Voce Sinfonia, music director of the Elgin Master Chorale , director of music and choirmaster at St. Luke's Episcopal Church in Evanston and assistant conductor of the Chicago Symphony Chorus. He has been a guest lecturer at Concordia University Chicago, Loyola University Chicago and Garrett-Evangelical Theological Seminary, and he has taught conducting at DePaul University. Lewis has been a guest conductor with the Milwaukee Symphony Chorus and on several occasions with the Elgin Symphony Orchestra.
BACH Saint Matthew Passion, BWV 244 Recorded in Orchestra Hall in 1987 for London Sir Georg Solti conductor Kiri Te Kanawa soprano Anne Sofie von Otter mezzo-soprano Anthony Rolfe Johnson tenor Tom Krause bass Hans Peter Blochwitz tenor Olaf Bär baritone Richard Cohn baritone Patrice Michaels soprano Debra Austin mezzo-soprano William Watson tenor Chicago Symphony Chorus Margaret Hillis director Glen Ellyn Children’s Chorus Doreen Rao director “I first heard this unparalleled masterwork as a teenager, and it was this recording. I have since become an impassioned proponent of the historically informed performance movement, but this recording still grabs me. The sense of drama and eloquence — never ponderous or self-indulgent — as well as the clarity of articulation and feeling for line and color, all add up to a magnificent interpretation. The cast of soloists is perfectly suited to this performance, and I especially am in awe of Hans Peter Blochwitz as the evangelist. He ranks up there with Peter Schreier and Anthony Rolfe Johnson (who is the tenor soloist here) as one of the greatest evangelists of all time. But it really is the Chorus that stands out. I had never ever heard such impeccable attention to every conceivable detail coupled with such unbridled ferocity. Listen in particular to the duet, “So ist mein Jesus nun gefangen,” with its biting choral interjections, which then segues to the chorus, “Sind Blitze, sind Donner.” I was absolutely gobsmacked, and, much to my parents’ annoyance, listened to that thing over and over as loudly as I could without blowing out our speakers."
SHOSTAKOVICH Symphony No. 1 in F Minor, Op. 10 and Symphony No. 7 in C Major, Op. 60 (Leningrad) Recorded in Orchestra Hall in 1988 for Deutsche Grammophon Leonard Bernstein conductor 1990 Grammy Award for Best Orchestral Performance “This is Leonard Bernstein’s only recording with the CSO, which is such a shame, because the result is absolutely gorgeous and thrilling. Our friend John von Rhein wrote, ‘I cannot recall a season finale of recent years, in fact, that sent the audience home on such a tidal wave of euphoria.’ To me, Bernstein’s recordings often represent extremes of interpretation, and I think this one is no exception. Take the first movement of the Leningrad. The soft and tender moments are about as gentle as humanly possible, while leading inexorably to a great orchestral outburst in the march. There’s a wildness to it that is hard to describe, yet everything remains in balance. The fact that this was recorded live adds to the feeling that what Bernstein achieves should be impossible, yet this brilliant orchestra delivers.”
PROKOFIEV Excerpts from Romeo and Juliet, Op. 64 and Symphony No. 1 in D Major, Op. 25 (Classical) Recorded in Orchestra Hall in 1982 for London Sir Georg Solti conductor “This recording ruined all other recordings of Romeo and Juliet for me! Listen to Dance of the Knights. Like the Bernstein/Shostakovich pairing above, Sir Georg Solti finds both grace and menace in the orchestral sound, and the result is so very beautiful.
"Musically speaking, there are other parts of this suite I find so charming and invigorating, but to hear what makes this orchestra and recording so special, just listen to the introduction to act 3. The buildup to those jarring dissonances is achieved with an absolute unanimity in their crescendo, and later, when those big, ugly chords arrive, they are perfectly balanced. The cutoff is clean and resolute, revealing gentle string chords that feel as though they were there the entire time. It’s another study in extreme contrast, perfectly executed.”
MAHLER Symphony No. 5 Recorded in Orchestra Hall in 1980 for Deutsche Grammophon Claudio Abbado conductor “I know. I’m supposed to cite one of Sir Georg Solti’s recordings of Mahler's Fifth Symphony. All of Solti’s recordings of Mahler’s symphonies with the CSO are justifiably regarded as benchmarks. But Claudio Abbado is one of my favorite conductors, and he had a fruitful relationship with the Orchestra for 20 years. I could go on with all of the usual superlatives regarding this brilliant orchestra and the way it plays Mahler, but I think we’re all pretty familiar with those. What really impresses in this recording is, for instance, Abbado’s rubato in the Adagietto. The feeling of restraint and yearning is fully formed without gilding the lily, so to speak. I get the impression that all intentionality is squarely focused on the music and not on the ego of the conductor.”
VERDI Messa da Requiem Recorded in Orchestra Hall in 2009 for CSO Resound Riccardo Muti conductor Barbara Frittoli soprano Olga Borodina mezzo-soprano Mario Zeffiri tenor Ildar Abdrazakov bass Chicago Symphony Chorus Duain Wolfe director 2010 Grammy awards for Best Classical Album and Best Choral Performance “I have to come back to the truly great Chicago Symphony Chorus for my last selection. Of course, we are all lucky that so many incredible performances of Verdi's Requiem were made here in Chicago. But the one for which the Orchestra and Chorus won a Grammy in 2010 is head and shoulders above the rest of any recording of the work ever made. Combine the fact that Maestro Muti is the greatest living Verdi interpreter with the fact that Duain Wolfe’s chorus is the best of its kind in the world, and you have a combination that just can’t be matched. Listen to the sensuousness of the ‘x’ in ‘Lux’ in the opening movement. Listen to the impossibly rich tone, sung pianissimo. Then, in the ‘Dies irae,’ listen to how the Chorus can actually compete with the monstrously large orchestra playing just about as loudly as it can. Or the opening of the ‘Rex tremendae,’ where the Chorus cries out and then turns on a dime to such a sweet tone, perfectly balanced and in tune. Now go listen to those spots in other recordings. All pale in comparison.”
Frank Villella is the director of the Chicago Symphony Orchestra Association's Rosenthal Archives.
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