Richard Shulman's Blog

June 1, 2010

Liner Notes from Camelot Reawakened: A Vision Fulfilled

Filed under: What's behind the Music — by richardshulman @ 5:47 am

Camelot Reawakened: A Vision Fulfilled

for Orchestra, Piano, Choir and Soloists

for more info

Camelot Reawakened: A Vision Fulfilled

Listen to Camelot Reawakened

Orchestral Music by Richard Shulman, performed by a 35 piece orchestra consisting of members of the Asheville Symphony Orchestra, a 20 member choir, and soloists conducted by Robert Hart Baker

Camelot Reawakened: A Vision Fulfilled was recorded live in concert on Jan. 12th 2002, and in closed session on Jan. 13th at the Diana Wortham Theatre, Asheville, NC

Listen to Camelot Reawakened

The Story:

Camelot Reawakened: A Vision Fulfilled is about the fulfillment of dreams of the heart for individuals and society, and it’s creation has been a dream come true for me.

In the mid 80’s, I awoke one morning hearing an extraordinary symphonyinside me. “I could never write this down.” I thought, and the music stopped. I felt a profound sadness and then vowed to be prepared the next time I heard such inner beauty.

During this time period, a healer I was working with showed me that I could create “Musical Soul Portraits” for people. Invoking music “for the Highest Good” of others has allowed me to hear, express, and record music of Divine Connection for those I work with.

I became interested in Camelot while working on the Keeper of the Holy Grail CD, which explores our inner sacred reality as the Holy Grail. A visit to Glastonbury, England in 1995 further awakened me to some of the strands of connection between Camelot and my own life.

A year later in September 1996, as I closed my eyes in preparation to compose a musical soul portrait, I saw a vision of a sword descending from the heavens directly in front of me. I opened my eyes and asked my client, “Did you see what I saw?” She said, “I have one word for you: Camelot.”

The Musical Soul Portrait performed that evening carried a power and beauty which expressed a dream of Heaven on Earth fulfilled. I knew I had been given a gift and a beginning.

It became clear to me that this piece was about a dream of the heart — a dream of Heaven on Earth, that flowered for a time in Camelot and has continued to grow in the hearts and minds of many people. I made the commitment to follow the inspiration to its completion

Over the next three years, dozens of clients came to me with a connection to Camelot. While playing for them, I became aware of entering sacred moments. Within these moments I heard music related to the original “Camelot session.” Each person carried a piece of the “jigsaw puzzle” of a harmonious society and it was reflected in their soul’s music.

I also found “Camelot music” showing up in many of my recording sessions. I began to collect and catalog these melodies. Working an hour or two most days, in my “spare” time, these melodies gradually came together as a piece for symphony orchestra, piano, choir and soloists.

When the score was about 80% done, I approached Robert Hart Baker, conductor of the Asheville Symphony Orchestra, with a printout and a synthesizer mockup of the piece. He offered to work with me and we eventually scheduled a concert on Saturday, January 12, 2002, followed by a recording session the next day, with a 35-piece orchestra.

Writing for orchestra had actually been easy and fun! Now my challenge was to have the confidence to work with other people as director of the project. I learned to “keep the faith” in the midst of all kinds of fears, and found a generosity in many people who helped me do what I never could have done on my own. Amazingly, different people told me how to do the publicity, how to fill the hall etc., and I found that the only way to get everything done, without being overwhelmed, was to do one step at a time.

After the concert, “One step at a time” continued as I edited and mixed the music. I saw and honored how this way of being opens me to a dance with Life: doing what needs to be done, and then enjoying the response. This gives me an opportunity for the next step.

Portions of this story first appeared in the December 2001 issue of Spirit in the Smokies, with the thoughtful help of its editors. See their Web site: spiritinthesmokies.com.

Behind the Music

Listen to Camelot Reawakened

I. THE DREAM

The first movement opens in a mist. In and out of this mist weave various instruments, leading to a simple, clear statement of the first main theme by the tenor voice and piano. This is the theme of the Dream of Camelot.

It signifies the dream of our hearts. A brief interlude is followed by the return of the theme of the Dream with the full orchestra.

II. A ROYAL PROCESSIONAL

The second movement is a procession of the cast of characters in the Camelot of all of our lives. In truth, the characters of our lives are all royalty. Our cast of characters is creating a dream together. The initial thought is, “Wow, we’re going to manifest this dream. Let’s celebrate!”

III. A CELEBRATION

The celebration is an expression of that hopeful energy, but it also brings us to the point of recognizing that there’s work to be done.

IV. RELEASING THE PAST / HEALING

The celebration opens the doorway to memory. With memory we are able to start to look at what has not worked in the past when we have tried to follow our dreams. The fourth movement is about acknowledging what happened, feeling the emotions, and letting go of the patterns that didn’t serve us. Then we remember the dream, which opens us to new hope.

V. REMEMBER THE LOVE THAT WE ARE

This song is a message of hope, of being willing to face whatever fear seemingly blocks us. In that choice, we remember our deeper nature as Love. There is still a good bit of the journey for us to go on, but without love we go no further.

Lyrics: Remember the Love that We Are

I choose to be present here,

No matter how dark life seems around me now;

I’m choosing to face the fear,

The fear I believed in ’til now.


There’s a plan, there is a dream,

There is a truth waiting to be seen;

Let the promise of ages come forth.


Hear the call of the ancient song,

Speaking of visions we’ve held so long

Of Peace on Earth and a way to be

That honors the way of the heart.


In the midst of the fear, in the midst of the pain,

I will hold fast, love will remain.

Love lives in you, love lives in me

Showing the way for us all to be free.


There is a peace shining within,

Below and above, there is a Love;

Let all the Love shining between

Every soul, let it be seen.


Remember the Light in the darkest of nights,

Remember the dream, keep it alive;

One step at a time, lettting go of the fear,

Finding the truth that makes it all clear;


Finding the strength, looking inside,

Healing our wounds, nothing to hide;

The peace from inside will bring Peace on the Earth,

Honoring all, knowing our worth.


Now is a new reality;

Together with love we change our destiny;

Loving peace is already here, acting in each of our lives.


From the same place we all come,

Each one unique and a part of the one,

The One that is in everyone,

Is the Love that we feel when we love anyone.


Walking a path of the heart (as a living prayer),

Joining together what once seemed apart,

Whatever we choose to become,

In our diversity we are still one.


Life shows a new way to be,

Each choice a new opportunity,

To let go of what seems to be

And remember the Love that we are.

Remember the Love that we are. Remember Love.

VI. PRAYER

In the fourth, fifth and sixth movements, we’re looking at the past, releasing the baggage of it, choosing to face whatever we’re afraid of, and then moving forward. The sixth movement expresses a love that truly encompasses everything, even our past. Out of the past come tremendous gems of experience and learning. These gems can be used to create the

reality we want. Woven into this movement is a beautiful song of grace and self-responsibility by Lucille Olson. The melody of “Our Thoughts Are Prayers” is played by the violas just after the piano enters, about halfway through the piece. The lyrics are:

Our thoughts are prayers, and we are always praying;

Our thoughts are prayers, be aware of what you’re saying.

Keep a higher consciousness, of love and thankfulness;

And know that God is always here, and every thought remains a prayer.

VII. FOR THOSE WHO HAVE RETURNED FROM THE CENTER OF THE LABYRINTH

When we enter into the labyrinth, we face ourselves. And the ones who can face themselves are truly heros. This piece honors those who bear the gifts of self-knowing. Such gifts are for the world, as well as for themselves.

VIII. INTEGRATION AND EMPOWERMENT

The eighth movement is about taking all the pieces that we are and integrating them with purpose, creating empowerment. This is power with wisdom and love working together — an empowerment of service to the greater good.

IX. THE DREAM FULFILLED

The Dream Fulfilled is a loving paradigm in which all beings are living in their joy and in their highest reality. This music expresses a sweetness of life “better than we could imagine,” which is what life really can be. Every person who follows their dream opens a doorway for the next person to follow theirs. And as each dream comes into fruition, more and more of the collective dream can be accomplished. And the vision that each of us has for the most beautiful world imaginable, can happen.

The original Dream of Camelot theme returns towards the end of this movement, interwoven with themes from all nine movements. It is a beautiful vision — Camelot Reawakened: A Vision Fulfilled

“Every person who follows their dream opens a doorway for the next person to follow theirs. And as each dream comes into fruition, more and more of the collective dream can be accomplished. Ahd the vision that each of us has for the most beautiful world imaginable, can happen.”  – Richard Shulman

Listen to Camelot Reawakened

Orchestra Personnel

Violin I

Mary Byrd Daniels

Concertmaster

Inez Hullinger Redman

Ralph Congdon

Niamh Tuohy Clarke

R. Alexander Spainhour III

Pamela R. Robbins

Violin II

Salvatore Venittelli

Principal

Debra L. Anthony

Ashley G. Pless

Krisztina Krivatsy Stern

William Henigbaum

Melissa P. Alderman

Viola

Margery S. Kowal

Principal

N. Jan Daugherty

E. Douglas Vaughan

Kay Gilbert

Cello

Frances B. Duff

Principal

Patricia Koelling Johnston

Brigid S. Reckmeyer

Bass

Nils Robert Egerstrand

Principal

Eliot D. Wadopian

Flute

Martha H. Kitterman

Principal

Flute/Piccolo

Barbra Duvall Baker

Oboe

Yuki K. Harding

Clarinet

Harry H. ‘Chip’ Hill

Principal

Shannon Thompson

Bassoon

Rod J. Gornto

Horn

Terry A. Roberts

Principal

Mitzi Hall

Rex Gallatin

Thomas English

Trumpet

T. Mark Clodfelter

Trombone

James Sparrow

Timpani & Bass Drum

Jeremy T. Hoots

Percussion & Drum Kit

Byron Hedgepeth

Soloists

Lee Thomas

Tenor, Movement 1

Bill Melanson

Baritone, Movement 5

Donna Michael

Alto, Movement 5

Duncan Wickel

Uilleann Pipes, Movement 7

Richard Shulman

Piano, Movements 1–9

Additional overdubbed tracks

Richard Shulman

Choir Personnel

Ruth Sieber Johnson

Director

Sopranos

Geraldine Ludeman

Francie Rose

Shamora P. Pate Duffie

Celeste Lauren

Altos

Darleen Benson

Wendy Woods

Linda Giltz

Rosemary Lackey

Althea Gonzalez

Mary Miller Stair

Tenors

David Hoffman

Mark Small

Lee Thomas

Forrest Green

George Peery

Basses

Bob Di Diego

Ed Scott

Jack Hall

Richard Sackett

Additional Choir overdubs

Amy Rae Stupka

Celeste Lauren

Special Thanks for your Generous Support

Robert Hart Baker, Herb & Celeste Shulman, Christine Westfeldt, Peggy Hiatt, Gayle Hurst, Celeste Lauren.

Thanks to Marcia Heusted, whose Musical Soul Portrait initiated this project, and to all who have worked with me who have a connection to the dream of Camelot…. Samuel Welsh, for reminding me of the Holy Grail. Stephen Smith and Tom Bates for sage mixing advice… to Lauren Gdovin at RichHear Music, our friends at New Leaf and Music Design, and to all our listeners who have helped this dream to become realized.

Camelot Reawakened: A Dream Fulfilled

Composed, Orchestrated and Produced by

Richard Shulman

Conducted by

Robert Hart Baker

Score and Part Preparation:

Joseph Norris

Bowing Copyists:

Joseph Norris

John Williams

Richard Shulman

Musician Contracting:

Sally Keeney, ASO Operations Manager

Hall Liason:

Steve Hageman, ASO Director

Recording engineers:

Stephen Smith

Dick Kowal

Thomas Bates

Editing and Mixing; 2/11 – 6/11/02

Richard Shulman

Reverb Programming

Stephen Smith

Mastering: 6/9 – 6/14/02

Soundsmiths Mastering

Stephen Smith – engineer

Cover Photography:

“Magical Mystery Tor”

by L’aura Colan portrays the Michael Tor in Glastonbury England. ©1992 L’aura Colan/Photonica

“An eleventh century monk prophesized that the Holy Grail would be found where the rainbow crescent cuts St. Michael’s line (which runs 235 miles across southern England and has a monument to Michael every 30 miles).  Through camera refraction of the Sun’s light, the white beam appears to conjoin with St. Michael’s line and is cut by a rainbow crescent. A Vision Fulfilled.” – L’aura Colan

Photo Portrait of Richard

Larry White

Other Photos

Donna Michael and friends

Heron Productions

Graphic design:

Bonnie Down

Bonnie Designs

Other related RichHeart Music titles include:

Keeper of the Holy Grail, Music to Walk the Labyrinth and First Rites – Music for Healing Touch

©, (p) 2002 RichHeart Music, BMI (all rights reserved)

419 Creekside Dr., Asheville, NC 28804

1-888-699-3682 www.richheartmusic.com info@richheartmusic.com

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