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Traditional Certificates and Degrees
MA in Christian Spirituality
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Student Handbooks
Certificates and Degrees
There is a dual focus to the mission of the Graduate School of Religion and Religious Education. On the one hand, the GRE is committed through its degree programs to cultivating academic excellence and scholarly research. On the other hand, as part of a commitment to church and society the GRE encourages the development of pastoral skills in religious education and the various areas of pastoral ministry.
To honor the dual focus of the GRE's mission, GRE academic programs are described in two ways. GRE degree programs are listed and described as academically rigorous programs of study that provide theological and pastoral foundations for religious education and pastoral studies. GRE academic offerings are also listed and described in terms of pastoral and ministerial skills in the areas of religious education, spirituality and spiritual direction, pastoral care and counseling, and general pastoral studies and pastoral ministry
M.A. in Religious Education
Number of Credits
36 Credits
The Master of Arts degree provides a deepened understanding of core theological disciplines and opportunities to explore the various arts of pastoral ministry. The degree is designed for those serving the church or preparing for employment at parish, school and diocesan levels. Those seeking personal enrichment through the study of Christian faith are also welcome to apply. Students focus their studies on theological research and are required to complete a research paper.
In consultation with an academic adviser, students select theological courses in the core areas of biblical studies, systematic studies and liturgical/spiritual studies. Students also choose from a wide variety of pastorally oriented courses in religious education, spirituality and spiritual direction, pastoral care and counseling, family ministry, parish education and leadership, pastoral liturgy, youth ministry and social ministry. Students accepted into the M.A. degree program are required to complete a research paper that focuses on a particular pastoral issue or concern and integrates insights and theological methods of inquiry from throughout their program of study.
Adult, Family and Community
Youth and Young Adult Ministry
The Youth and Young Adult Ministry concentration focuses on understanding adolescent and young adult religious, spiritual, moral and psychological development; Students choose from among courses in community, family and religious education; curriculum and religious education; adult learning and development and other areas of religious education and pastoral studies. Students are asked to direct their studies
in either religious education or pastoral studies as they prepare for a career path as either religious education/catechesis with youth and young adults in parishes, schools, college and university campuses, and dioceses. This program is also offered in the distance learning format as well as the traditional classroom venue.
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for information.
M.A. in Pastoral Care
Number of Credits
36 Credits
The Masters of Arts program in Pastoral Care is designed to prepare those engaged in the work of ministry to be effective pastoral caregivers in their present and future ministries. The goal of the program is to provide knowledge and understanding of the nature and purpose of pastoral care, increased effectiveness with pastoral care interventions and sustained theological reflection on the application of pastoral care in specific situations of ministry. The program combines theory and practice and aims at the integration of theological and psychological knowledge to increase effectiveness in pastoral ministry. At the core of the program are philosophical, theological, historical, psychological, sociological and cultural foundations. Those interested in Chaplaincy in a variety of settings may use this degree to seek certification from the National Association of Catholic Chaplains (NACC) or the Association of Professional Chaplains (APC).
Various modalities of theological reflection will be utilized in the program: pastoral and practical theology, psychology, developmental theory, spirituality, and cultural and multicultural perspectives.
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for information.
M.A. in Pastoral Counseling and Spiritual Care
Number of Credits
60 Credits
The Master of Arts program in Pastoral Counseling and Spiritual Care trains students to be clinical pastoral counselors and serve as pastoral ministers who can address everyday psychological and spiritual issues and concerns. Upon completion of the program, students are eligible to become licensed mental health counselors. It also provides training for those working with families, congregations and other professional institutions.
In consultation with an academic adviser, students choose courses in core mental health disciplines and pastoral areas of study. The program requires the completion of 60 credit hours of graduate study, with 600 hours of field placement.
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for information.
Ph.D. in Religious Education
Number of Credits
72 Credits
The doctoral program in religious education prepares highly specialized professionals for leadership in religious education. Multidisciplinary fields of study intersect in the doctoral curriculum. The program is intended to nurture sound scholarship by encouraging students to develop and demonstrate erudition, reflection and research skills in their academic work, examinations, dissertations and vocational experiences. Questions of faith and theology are examined with an eye toward enhancing the general quality of religious education. The interaction of teaching, learning and theology is at the core of the program. Doctoral students grapple with the central texts and questions of theological, philosophical, historical, psychological, sociological and religious thought.
Doctoral studies in this field help prepare professionals committed to public service through
the character development and the transmission of religious heritage. The program seeks to provide students with the knowledge and skills to work as religious education professionals in various settings: colleges and universities, schools, congregations, dioceses and public service organizations.
In keeping with Fordham University's Jesuit mission, the program gives special, though not exclusive, attention to the Christian and Catholic religious tradition. A major concern, in keeping with the mission of Jesuit education, is to explore the social role that religious education can play in dealing with pivotal contemporary cultural movements, including ecology, feminism, multiculturalism, and peace and justice, as these areas intersect with theological issues, such as faith enculturation and spirituality.
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for information.
Doctor of Ministry
Doctor of Ministry
Number of Credits
36 credits beyond the M. Div or its equivalent
The Doctor of Ministry (D.Min.) program offered at Fordham University's Graduate School of Religion and Religious Education provides advanced understanding of the nature and purposes of religious ministry, increased competencies in pastoral analysis and ministry skills, sustained theological reflection, and new knowledge about the practice of ministry.
The program, combining theory and pastoral practice, strives for the integration of theological and social science knowledge to advance excellence in religious ministry and the general practice of ministry in its many forms. It also provides students with expertise in specialized areas of ministerial practice.
The foundations of the program are theological, historical, psychological and sociological. Faculty and students use various models of theological reflection: ministerial, spiritual, feminist, cultural and practical.
In keeping with Fordham University's Jesuit mission, the program gives special, though not exclusive, attention to the Christian and Catholic religious tradition. A major concern of the program, in keeping with the mission of Jesuit education, is to explore the social role that religious ministry can play in dealing with cultural and theological issues, such as ecology, feminism, multiculturalism, globalization, enculturation, peace and justice, and spirituality. The D.Min. program is designed to prepare reflective and competent professionals for positions of leadership in religious ministry. The program strives to discover and nurture sound scholarship, meaningful research and the interdependence of theory and practice. The D.Min. is conferred on the basis of scholarship, research skills and practical application demonstrated by the student's coursework, examinations, doctoral project and ministerial experience.
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for information.
Graduate Certificate Program in Faith Formation
Graduate Certificate
Number of Credits
18 credits
An 18-credit certificate offered for teachers, parish religious educators and catechists, volunteers, parish ministers and those interested in deepening their knowledge and appreciation of the faith tradition. The program is grounded in solid theology, spirituality, religious education and scripture. There are sufficient electives offered in the program to allow flexibility in responding to individual needs and goals. The competencies outlined by the United States Catholic Bishops in their document, "Co-Workers in the Vineyard of the Lord," are included in the courses offered in either the traditional classroom setting or online.
Click Here
for further information.
Graduate Certificate Program in Spiritual Direction
Graduate Certificate
Number of Credits
18 credits
The Graduate Certificate Program in Spiritual Direction is comprised of 18 graduate credits focused specifically on the core competencies needed by a spiritual director. The spiritual direction courses are designed to identify the participant's potential for becoming a spiritual director, to assist the participant in discerning a call to this ministry, to formulate a model of spiritual direction and to develop the specific skills needed by a spiritual director.
The program is designed for pastoral workers or ordained ministers who already have an M.A. in Theology, Ministry, or a related field. Applicants must also be able to show one year's experience in ministry or spiritual direction and 9 graduate credits in Fundamental Theology and Scripture. A second potential group of students are professionals with master's or doctoral degrees in clinical areas such as social work, pastoral psychology, counseling, etc., who want to integrate spirituality into their practices or who wish to understand how spiritual directors and therapists might work in concert with one another.
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MA in Pastoral Studies
MA in Christian Spirituality
Graduate Certificate in Latino Ministry
Graduate Certificate in Christian Spirituality
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Each year, the Committee for the United Nations Population Award presents an award to an individual(s) and/or institution(s) in recognition of outstanding contributions to increasing the awareness of population questions and to their solution. The Award, which was established by the General Assembly in November 1981, in resolution 36/201, and was first presented in 1983, consists of a gold medal, a diploma and a monetary prize. Nominations for the award are accepted through 31 December of each year.
Nomination data sheets:
English | French | Spanish | Arabic | Russian | Chinese
For further enquiries on the United Nations Population Award, please send email to: Ms. Renata Cap (email@example.com) or Dr. Josephine Ojiambo (firstname.lastname@example.com).
Related Links
- Italian Priest and Medical Doctor, American NGO, Win 2014 United Nations Population Award
- Al-Azhar Centre, Ugandan Physician, Receive 2013 United Nations Population Award
- Iranian Demographer, African Research Institution, Win 2011 United Nations Population Award
- UN Population Award Honours Bill and Melinda Gates, Asian Parliamentarians
- Egyptian Doctor and Nicaraguan NGO win 2009 United Nations Population Award
- Barbados Policy Maker; Family Care International (FCI) Win 2008 UN Population Award
- Ceremony to Honour American, Iranian and Two Institutions for Outstanding Population Work
- Ceremony to Honour Bangladeshi Doctor and Haitian Family Planning Provider


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Product details
Hem and sleeves are double-needled.
Taped shoulder to shoulder.
100% Cotton. Heather is 90/10 cotton/poly.
1" Ribbed collar.
Shoulders and neck are cover-seamed.
Pretty In Pink collection. A must-have essential, this tee has been voted "most popular" by clubs, groups, teams, and schools across America.
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text:
Common word for gay in Belgium
Look at him, He must be jochen (cochet)
Por Ruben Schepers 10 de junio de 2008
Jochen comes from the hebrew word Jojakim or Jojachin meaning "raisede by Jahwe". It signifies that this person is loyal, honest, brave and good. In fact, Jojakim was the ancient king of Juda and the father of Jojachin. In the German speaking area this name became very popular during the 16th and 17th century. In Dutch slang Jochen is a knick-name for a small boy at elementary school. Many Jochens became very rich. There is a coin named after Jochen, the so called Joachimsthaler.
You date a Jochen, you don´t need to work anymore.
Jochen rules!
Jochen rules!
Por Freezer1 07 de febrero de 2010
A person who likes to sing a lot. Unfortunately he´s not a Pavarotti. When he starts singing your ears pop out and the milk turns sour. In the official jury-terms of Amercian Idol Jochen means "stop,stop, stop."
Your car sounds like a Jochen - you should repair it.
What´s wrong with him - his voice is a Jochen.
Is that a Jochen on the stage - let´s get some rotten eggs or out of here.
What´s wrong with him - his voice is a Jochen.
Is that a Jochen on the stage - let´s get some rotten eggs or out of here.
Por Freezer1 07 de febrero de 2010


text:
Internet › › ›
Wireless Internet access (WLAN)
T-Mobile HotSpot with high-speed internet in terminals A and B.
With your Wi-Fi card, you can log in using mobile devices in the wireless network - for example, to find out about the latest business news and stock quotes, or the current weather at your destination or to retrieve important emails.
The deployment and exploitation costs are different.
In many complete packages of T-Home and T-Mobile mobile phone tariffs are the charges for T-Mobile HotSpot already included.
Customers without a contract can be booked in the HotSpot portal using different packages.
Further information is provided to you when you log into the network.
Free Wi-Fi access points can be found at McDonalds, at Marché Bakery, Lufthansa Lounge and Karl Jatho Lounge.
Internet access without their own mobile device
Travelers without their own wireless-enabled devices can be used in our NEWSc@fe on the Departures level of terminal C surfen, email, chat and even print.
As a special service for all major sporting events are shown for free on the big screen.
A play area for younger guests there is also free of charge.
To map departures level please click here.


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If you are looking to learn how you can use social media and other e-communications tools, such as blogging and email, in your future career while developing a sizable portfolio of writing samples, this is the internship for you.PHA is seeking a Social Media & e-Marketing Intern with an enthusiastic personality, articulate verbal and written communication skills, and who uses at least one social media site. This internship requires a team player, as you will coordinate PHA's e-marketing editorial calendar and work with staff members across the organization to help them communicate through our various e-channels.
We offer both part-time and full-time internships. You will be treated as a respected team member, and our office provides a friendly and welcoming environment. If you would like to design a project that helps you meet your educational goals, we will work with you to achieve this. Interns may also earn college credit. Our office is located in downtown Silver Spring, Md., and is Metro accessible.
Materials should include a cover letter explaining your interest in PHA and the internship, a resume and a short writing sample. Cover letters should be addressed to Diane Greenhalgh, Director, Web Services. Applications are only accepted through PHA's online Internship Application Form.
Interns are accepted on a rolling basis & our internship dates are flexible.
Suggested Due Date:August 30Internship Dates: 9/1-12/15
Suggested Due Date:November 30Internship Dates:12/15 – 2/15
Suggested Due Date: December 30Internship Dates: 2/1 - 5/15
Suggested Due Date: May 15 Internship Dates: 6/1 - 8/15
Idealist.org Career Center
About.com: Internships 101
The Washington Center for Internships and Seminars
The information provided on the PHA website is provided for general information only. It is not intended as legal, medical or other professional advice, and should not be relied upon as a substitute for consultations with qualified professionals who are familiar with your individual needs.
801 Roeder Road, Ste. 1000, Silver Spring, MD 20910 Patient-to-Patient Support Line: firstname.lastname@example.com Privacy Policy Virtual Tour of Website Provide Feedback & Report Bugs
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The National Organization for Rare Disorders (NORD) awarded PHA the Abbey S. Meyers Leadership Award in 2012 for outstanding service to PHA members in advocacy, education and other key areas.


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Hearts + Minds
U2 Shop
POPMART : Leg 1: 1997, North America
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Complete Willies Diary
360°: 2011
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'Spare Seat in the Helicopter'
02 October 2010
'Spare Seat in the Helicopter'
Coimbra. Show day.
Unbeknownst to me, the evening maid at the Hotel Fabulous had wound down my bedroom window shutters to Black Hole level. I woke up on several occasions this morning and, still finding myself in a pitch black room, rolled over and went back to sleep again. Consequently I think I must have had more sleep last night than in the previous week, eventually getting out of bed around 11am.
I wandered out and found myself a café then went shopping for port wine. Today is the birthday of Nick, lighting crew chief, to whom I am deeply indebted as it is his patience and talent that contribute enormously to the efficiency of the daily load-in and tear-down of the show system. Post-brekky I found that all the shops were closed. Retail hours in Mediterranean countries have always been a bit of a mystery to me (and very rarely appearing to coincide with any moment at which I€™m conscious.) The hotel concierge recommended that I take a leisurely lunch, go for a siesta then try again when the sun had gone down, but after my insistence that this wouldn€™t work with my day€™s schedule, he did point me towards a place he thought might be doing business. It was a €˜tidy walk€™ (as they say where I come from) to the one port vendor currently open, but this did at least give me an excuse to see a little more of the town. Said vendor managed to come up with the goods in spectacular fashion and found me what I€™d been hoping for, a good bottle of port from 1966, the year Nick was born. Mission accomplished, my driver picked me up from the Hotel Fabulous and we took the hour and a half€™s drive back to Coimbra. Beautiful day, not a cloud in the sky...
It was a perfect, warm night with the band serving up yet another killer show to an incredible audience. Maybe we really have woken up on the Joshua Tree tour, where we rather took it for granted that entire stadiums-full of people would jump up and down in unison for hours on end. A man could get complacent.
I joined the after-show €œrunner€, fighting my way through the crowd during Moment of Surrender and to the designated spot outside the venue. Several vans awaited as usual and I was instructed which one to get into. On leaving, the convoy divided, with just my vehicle and two others heading in a different direction to the rest. Shortly after this, I was surprised to find myself pulling up to a helipad. I was dimly aware that the band had choppered in, but apparently Bono had decided he would rather go back to Porto on a bus with our opening band, Interpol, leaving a spare seat in the helicopter that had been given to me. I can€™t swear that boarding a Portuguese helicopter in the dead of night would have been top of my to-do list but, let€™s be honest, the prospect of a moment of such extreme celebrity lifestyle is hard to turn down. Besides which, I didn€™t have any choice, short of walking back to Porto.
The journey was longer than I expected €" half an hour, maybe €" taken at low altitude, mostly up the night-lit coastline of Portugal. My thoughts wandered from how much more populated the area was than I€™d have imagined to wondering how a boy from Sheffield ends up in a rockstar€™s helicopter buzzing the nocturnal Portuguese coastline, to musing on how I was probably closer to potential sudden death than I had been for quite some time. Nobody in the helicopter spoke much, probably all going through a similar series of thoughts.
We landed at Porto airport, transferred to yet more vans then drove into the old town, arriving at the Hotel Fabulous only shortly after our colleagues€™ vans that had left us during the €œrunner€ and driven the whole way from the venue. The mystery of the chin-high barricade was answered too. They weren€™t expecting an angry mob, this is how they secure parking places in the tiny streets of the old town.
I was a little weary after all of the above but summoned the energy to venture to €˜hospitality€™, our post-show ritual where we gather together to drink and eat fried food in the middle of the night.
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u2fannyc - 12 October, 2010
Awesome crowd!
I was fortunate to travel from the States for both the Seville and Coimbra shows, which were fantastic. Spain and Portugal have the best, most enthusiastic audiences... Being surrounded by such positive energy was truly unforgettable. Thank you for sharing with us fans your experiences on the road, Willie! Looking forward to the US leg in 2011!
Hardfelt - 12 October, 2010
Funny how . . .
Opportunity knocks, you take it wide eyed and find that the pragmatsim of your decision is irrelevant next to the experience. Willie, how am I going to cope without your preambulations and reporting back when this is all over? I know, have a beer and crisps in you favour
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'Extraordinary Ride'
'I've loved it. Just loved it.' Homeward bound Willie grateful for an 'extraordinary tour'.
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18 Jul, 2011
'Shades On'
'I'd agreed to see the Alexander McQueen show at the Metropolitan Museum of Art.' Day off in New York City for Willie.
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15 Jul, 2011
'Love This Town.'
'It was a beautiful night and I enjoyed strolling, people-watching, window shopping.' Willie has a day off in New York.
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06 Jul, 2011
'Beautys Luncheonette'
'The booths, the counter, the old boy on the stool with his gruff greeting...' Willie discovers a special food establishment.
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'Soldier Field is a great-looking stadium and sits right in the centre of the city.' Willie in Chicago.
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text: Daniel Alfredsson returned to Ottawa as a Red Wing for the first time and scored a goal and an assist in a 4-2 Detroit victory. Alfredsson is in his first year with the Red Wings after playing 17 years for the Senators, he is that teams all time leading scorer. Drew Miller had two goals and Johan Franzen also scored a goal. Detroit has won four in a row and host Philadelphia on Wednesday at Joe Louis Arena.


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We were sad to hear that our June 3rd lecturer, Christian Cravo, had to cancel due to schedule conflicts. Fortunately the very pleasant Ian Shive agreed to step into the fray and lecture instead.
There's much to know about Ian Shive. Perhaps his passing resemblance to Christian Slater
- whom he probably encountered during his former years working in publicity at Columbia Pictures
- is not on the top ten list, but there are a number of other influential factors from his personal life that have shaped his perspective and allowed his work to stand apart from the masses of landscape photography.
On Thursday night, Ian shared his work at the Space and how and why he creates the images that leave our jaws wagging.
From Coachella Valley to Croatia, Ian Shive has travelled the world as a conservation photographer, achieving countless awards and national recognition along the way.
His current body of work examines how our world interacts with the planet's most valuable but increasingly threatened resource water.
Ian shared his most memorable accounts documenting ceremonial gatherings of water around the Ganges River to everyday communal get-togethers in Krka River in Croatia.
Ian has only been a professional full-time photographer for the last three years, but has been shooting since childhood.
His award-winning book The National Parks: Our American Landscape was released in 2009 and he shared numerous images from it.
It's clear that even without the accolades Ian would still be out in the field capturing these fantastic images and serving as an advocate for our environment.
His work is truly from the heart and you can see it in every image.
After the lecture, Ian answered a few questions from the enthusiastic crowd.
...and even though he didn't bring copies of his book to sign, some fans brought copies of their own
A gentleman and a scholar, that Ian Shive
...and so polite too.
Thank you Ian!
(All images © Unique for the Space)


text:
Prices and availability are subject to change from the time and date that you print this page.
11/29/2014 3:59:16 AM. For Customer Service, please call 800.606.6252
Pickup Check store pickup options
tall and taller. The classic cylinder, handmade with dramatic scale. Surprisingly affordable price-to-height ratio.
Details and Dimensions
cylinder vase. 5.75"Wx19.5"H
- Handblown glass
- Polished rim
- Clean with glass cleaner
- Made in China
Width: 5.75" Height: 19.5"
Return/Exchange Policy
We will accept merchandise returns of non-furniture items within 90 days of purchase. For furniture items, if you are not satisfied with your purchase, please contact us within 7 days of receipt to arrange a return. For Special Order upholstery items, returns and exchanges are limited to transit damage or manufacturing defect. We will accept a furniture return provided the return is completed within 30 days of delivery. For furniture orders placed online, please call us at 800.606.6252. For orders placed through a store, please contact the store where the sale originated. Our policy is simple. If you are not satisfied with your purchase, we promise an appropriate refund, credit or exchange.


text:
Hyperion monthly sampler – December 2014
HYP201412 Download-only monthly sampler NEW
Schubert: The Complete Songs
40CDs Boxed set + book (at a special price)CDS44201/40
Schubert: Winterreise
CKD371 Download only Studio Master FLAC & ALAC downloads available
Schubert: Winterreise
Hyperion 30th Anniversary seriesCDA30021
Schubert: Winterreise
Best of 2014 Studio Master FLAC & ALAC downloads availableCDA68034
The Essential Hyperion, Vol. 2
HYP20 2CDs Super-budget price sampler — Deleted
No 01: Gute Nacht Fremd bin ich eingezogen
Track 1 on CDS44201/40 CD33 [5'18] 40CDs Boxed set + book (at a special price)
No 02: Die Wetterfahne Der Wind spielt mit der Wetterfahne
Track 2 on CDS44201/40 CD33 [1'49] 40CDs Boxed set + book (at a special price)
No 03: Gefrorne Tränen Gefrorne Tropfen fallen
Track 3 on CDS44201/40 CD33 [2'28] 40CDs Boxed set + book (at a special price)
No 04: Erstarrung Ich such im Schnee vergebens
Track 4 on CDS44201/40 CD33 [3'15] 40CDs Boxed set + book (at a special price)
No 05: Der Lindenbaum Am Brunnen vor dem Tore
Track 5 on CDS44201/40 CD33 [4'47] 40CDs Boxed set + book (at a special price)
No 06: Wasserflut Manche Trän aus meinen Augen
Track 6 on CDS44201/40 CD33 [4'13] 40CDs Boxed set + book (at a special price)
No 07: Auf dem Flusse Der du so lustig rauschtest
Track 7 on CDS44201/40 CD33 [3'20] 40CDs Boxed set + book (at a special price)
No 08: Rückblick Es brennt mir unter beiden Sohlen
Track 8 on CDS44201/40 CD33 [2'30] 40CDs Boxed set + book (at a special price)
No 09: Irrlicht In die tiefsten Felsengründe
Track 9 on CDS44201/40 CD33 [2'27] 40CDs Boxed set + book (at a special price)
No 10: Rast Nun merk ich erst, wie müd ich bin
Track 10 on CDS44201/40 CD33 [3'08] 40CDs Boxed set + book (at a special price)
No 11: Frühlingstraum Ich träumte von bunten Blumen
Track 11 on CDS44201/40 CD33 [5'05] 40CDs Boxed set + book (at a special price)
No 12: Einsamkeit Wie eine trübe Wolke
Track 12 on CDS44201/40 CD33 [2'44] 40CDs Boxed set + book (at a special price)
No 13: Die Post Von der Strasse her ein Posthorn klingt
Track 6 on CDS44201/40 CD34 [2'25] 40CDs Boxed set + book (at a special price)
No 14: Der greise Kopf Der Reif hat einen weissen Schein
Track 7 on CDS44201/40 CD34 [2'49] 40CDs Boxed set + book (at a special price)
No 15: Die Krähe Eine Krähe war mit mir
Track 8 on CDS44201/40 CD34 [2'34] 40CDs Boxed set + book (at a special price)
No 16: Letzte Hoffnung Hie und da ist an den Bäumen
Track 9 on CDS44201/40 CD34 [1'58] 40CDs Boxed set + book (at a special price)
No 17: Im Dorfe Es bellen die Hunde, es rasseln die Ketten
Track 10 on CDS44201/40 CD34 [3'57] 40CDs Boxed set + book (at a special price)
No 18: Der stürmische Morgen Wie hat der Sturm zerrissen
Track 11 on CDS44201/40 CD34 [0'52] 40CDs Boxed set + book (at a special price)
No 19: Täuschung Ein Licht tanzt freundlich vor mir her
Track 12 on CDS44201/40 CD34 [1'21] 40CDs Boxed set + book (at a special price)
No 20: Der Wegweiser Was vermeid ich denn die Wege
Track 13 on CDS44201/40 CD34 [3'51] 40CDs Boxed set + book (at a special price)
No 21: Das Wirtshaus Auf einen Totenacker
Track 14 on CDS44201/40 CD34 [4'56] 40CDs Boxed set + book (at a special price)
No 22: Mut! Fliegt der Schnee mir ins Gesicht
Track 15 on CDS44201/40 CD34 [1'25] 40CDs Boxed set + book (at a special price)
No 23: Die Nebensonnen Drei Sonnen sah ich am Himmel stehn
Track 16 on CDS44201/40 CD34 [2'52] 40CDs Boxed set + book (at a special price)
No 24: Der Leiermann Drüben hinterm Dorfe
Track 17 on CDS44201/40 CD34 [3'56] 40CDs Boxed set + book (at a special price)
In any case, on this occasion, or rather non-occasion, the composer would have been able to play only the first twelve songs of the cycle as we know it. He was convinced that the work was already complete: he had set as many poems as had come to hand. Schubert had found Müller's texts in the almanac entitled Urania für 1823, where only twelve poems were printed. At that time he was staying with Franz von Schober, and it was almost certainly in that cultured dilettante's library that the composer had found the small but thick volume (556 pages) which had been published four years previously. (It seems that Schubert was nothing of a book-collector – money was obviously a problem – and many of the volumes of poetry he used for his work were loans from friends.)
The wording in Urania is significant: Wanderlieder von Wilhelm Müller – Die Winterreise. In 12 Liedern. This implies that Müller himself regarded the cycle as self-sufficient and complete as it went to press. The trouble was that Schubert was behind the times with Müller's later outpourings and did not know that the poet had amplified his original conception a year after the printing of Urania, in 1824 to be exact. The fact that Schubert put the word 'Fine' at the end of the twelfth song shows that he was unaware that there were further poems in the Müller set. It is also significant that the composer, in this first version of Winterreise, had composed the song Einsamkeit in D minor, as if to bring the cycle, full circle, to a conclusive end in the tonality in which it had begun.
Imagine Schubert's feelings later in the year when he discovered the 1824 edition of Müller's poems which included a further twelve Winterreise texts, new to him, some of which were interspersed between the lyrics which had already been set! We shall never know whether the composer was overjoyed at finding more poems in the vein that had so appealed to him, or whether he was dismayed that he had embarked on his cycle without realizing that there were further poems in the series. In any case it was immediately obvious that the poet had a very different sequence in mind when considering the work as a whole. This is made clear if we place the order of Schubert's cycle (as he eventually completed it) side by side with Müller's sequence. Remember that the composer came across this only in the autumn of 1827:
Die Winterreise 1824
1 Gute Nacht
2 Die Wetterfahne
3 Gefrorne Tränen
4 Erstarrung
5 Der Lindenbaum
Winterreise D911 1827 where the first 12 songs follow Müller's Urania sequence
1 Gute Nacht
2 Die Wetterfahne
3 Gefrorne Tränen
4 Erstarrung
5 Der Lindenbaum
So far so good. But now Müller began to interpolate new lyrics (in italics) into the Urania sequence. In so doing he had to recycle four of the original and earlier items which he now placed towards the end of his new, expanded cycle of poems:
6 Die Post
7 Wasserflut
8 Auf dem Flusse
9 Rückblick
10 Der greise Kopf
11 Die Krähe
12 Letzte Hoffnung
13 Im Dorfe
14 Der stürmische Morgen
15 Täuschung
16 Der Wegweiser
17 Das Wirtshaus
18 Irrlicht
19 Rast
20 Die Nebensonnen
21 Frühlingstraum
22 Einsamkeit
23 Mut!
24 Der Leiermann
6 Wasserflut
7 Auf dem Flusse
8 Rückblick
9 Irrlicht
10 Rast
11 Frühlingstraum
12 Einsamkeit
13 Die Post
14 Der greise Kopf
15 Die Krähe
16 Letzte Hoffnung
17 Im Dorfe
18 Der stürmische Morgen
19 Täuschung
20 Der Wegweiser
21 Das Wirtshaus
22 Mut!
23 Die Nebensonnen
24 Der Leiermann
If Schubert now wished his Part One to correlate with Müller's first twelve lyrics he would have to interpolate settings of four new poems and shunt four songs already completed into the (as yet uncomposed) second half. This would have been highly inconvenient from the point of view of publication plans for the work, which were already in hand at the firm of Haslinger's. But it was surely more than business expediency that stopped the composer from making a last-minute revision. The way out of the Winterreise problem was a perfect example of the participation of chance, like a turn of the cards or roll of the dice, in determining a new direction. It was the easiest solution, and for that reason some people think that it must have been entirely casual and not thought-out. Schubert simply began his Part Two with the lyrics that he had not already set, and progressed to the end, naturally leaving out the poems that he had already composed. This is probably one of the greatest examples of necessity being the mother of sublime invention, for the line-up of poems which emerged was far superior for his musical needs than the poet's could ever be. The new order concentrates the dark elegiac poems of Der Wegweiser, Das Wirtshaus and Die Nebensonnen together at the end of the cycle, mitigated by the short, contrasting mood of Mut!. On the other hand, Irrlicht, Frühlingstraum and so on, which break up the screw-turning succession of songs in Müller's order, belong in Schubert's Part One; in this earlier position they are not placed to lighten the ever-darkening landscape of the traveller's mind.
It is at the end of the cycle that Schubert suddenly shows that he is, after all, in control of the game, a sign that he was not content to keep without question every card that he had been dealt. He makes one tiny but crucial adjustment to his hand to show us that the ordering of the work is more than the merest fortuitous serendipity: he makes Die Nebensonnen the penultimate song of the cycle rather than Mut!, thus linking the last two items in the matchless hypnotic succession which seems the crowning glory of the work in almost any performance. The fact that he refused to meddle with the integrity of the twelve songs already completed speaks volumes not only as to how satisfied he was with his first cycle (and this includes how one song progresses to the next) but how he regarded it as a finished work in its own right and already something from his past. In fact Winterreise, like that other masterpiece Wolf's Italienisches Liederbuch, is two separate song cycles, and was published as such in two volumes. The fact that both masterpieces by Schubert and Wolf are regarded by the public, with every justification, as single great works is to do with the power of the composers' imaginations which weld music together from different periods to make a seamless whole.
A glance at Müller's order shows us that poet and composer had different outcomes in mind for the winter traveller. Müller's placement of Mut! before Der Leiermann, and the earlier positioning of Der Wegweiser and Das Wirtshaus, suggest a crisis surmounted, a positive re-entry into the world after a lonely journey. One would even say that there is a hint of optimism, that the story is a type of Bildungsroman where disappointment and bitterness are cured by communion with nature, and the man is rendered fit to rejoin his fellow human beings, starting off with the pathetic figure of a hurdy-gurdy player. At how many earlier points of Schubert's life would he have been sympathetic to this bright-eyed view of the world, personification as he was of man's endless capacity for optimism and enjoyment of the here-and-now, of Frühlingsglaube – a perpetual faith in spring? But the frightening thing about Winterreise (and it frightened and disturbed the composer too that he should have such negative feelings) was that this faith was no longer there, at least not in 1827. The cycle was composed at a time of coming to terms with his mortality, just as the first Müller cycle, Die schöne Müllerin, was also a cathartic work written in the year that he discovered his sickness. Josef von Spaun described the atmosphere when the Schubert circle eventually heard the completed work: 'In a voice wrought with emotion, he [Schubert] sang the whole of the Winterreise through to us. We were quite dumbfounded by the gloomy mood of these songs and Schober said he had only liked one song, Der Lindenbaum. To which Schubert only said, "I like these songs more than all the others, and you will get to like them too".'
If Schubert had come across Müller's order at the beginning of the year it is probable that he would have set it as it was, but it is also certain that the music would have been different (it would have been an early 1827 work as opposed to straddling the whole year). It is also possible that he would have regarded a twenty-four-song cycle as too great an undertaking at that stage. We owe the shape of the work as it is to a series of accidents, but this is true of many masterpieces and it is not for us to 'rescue' and recast the work, and thus deliver it from the fickle but important finger of fate. In doing so we would risk interfering with the hand of the composer. Schubert knew what he was doing. If he was the victim of fate and chance in this matter, or simply a composer unfortunate enough not to have the right book of poems in his possession at the right time, he turned everything to his artistic advantage. Is this not, after all, the least of what we might have expected from a composer–magician of his stature? If we felt, at the end of the cycle, that there was something about it which did not work, perhaps we should have to take the matter into our own hands and re-order the cycle according to Müller. But Winterreise needs no rescue team. It is certain that the majesty and power of this cycle, in countless performances over 170 years, is directly ascribable to the controlling hand of one of music's most steel-willed, if superficially unassuming, masters.
All writers on Schubert's songs are indebted to what has gone before. English-speaking readers are directed towards the following books which contain commentaries on this cycle: Schubert's Songs by Richard Capell, The Schubert Song Companion by John Reed, and Schubert – a Biographical Study of his Songs by Dietrich Fischer-Dieskau. Retracing a Winter's Journey – Schubert's Winterreise by Susan Youens is by far the most exhaustive study of the cycle in English.
Afterword—music in the street, and in the mind
Schubert must have heard countless musicians of every kind on the streets of Vienna. His youth was spent in a time of military mobilization and he must have walked in step with many a military band playing their unsophisticated marches militaires. But in this city almost everyone aspired to be a musician. Performers ranged from the relatively sophisticated Bankelsänger who sang popular and topical songs accompanying themselves on harps and guitars to the infinitely less skilled itinerant street-musicians, many of whom were blind, crippled or maimed. These vagabonds, many of them still children, had to make their living somehow. They lined the city walls and hid in dark passages with their harps and guitars, hoping to make a few pennies from striking up in pathetic tones for passers-by. As he walked home to his lodgings, one of which was located in the city walls near the Karolinentor (in late 1826 and early 1827), the composer must often have had these strains ringing in his ears.
The topic of street music was an emotive one since long before the time of Schubert, and so it has remained. The dignity of art and indignity of destitution can be a highly uncomfortable combination when confronted in reality and heard at close quarters. It is only the occasional street-musician who gives the kind of musical pleasure which results in money falling in large quantities into his hat; gifted entertainers have a good chance of progressing to a life on the boards. It is far more usual for badly played music to accompany acts of grudging, or embarrassed, compassion.
The skeletal figure of Death is sometimes represented playing the hurdy-gurdy in medieval iconography, and it is not surprising that Der Leiermann is often taken to be 'Freund Hain', the figure of Death. Perhaps this is exactly what the poet intended, but as Müller was no musician his choice of ending seems either arbitrary, or eerily pre-destined for Schubert who was no doubt both attracted to and troubled by the poem on a number of levels. This sudden and strangely appropriate mention of a musician, at the last moment in the cycle, may well have been the factor which decided the composer to expand the Ur Winterreise into a twenty-four-song work. Schubert must have been familiar with the problem of penury among musicians who could no longer work, whose talents had been eroded by misfortune and illness. Performing artists and composers, then as now, are self-employed and have to make careful plans for their future. Even a tiny accident can render a player unable to work, and Schubert's hand-to-mouth existence was not protected by such things as insurance and pension plans, much less a Musicians' Benevolent Fund.
In ordinary circumstances he need never have feared the loss of his musical capital. After Beethoven's death in March 1827 he must have known that he had inherited the great man's mantle, and had more musical talent in either of his little fingers than anyone else in Vienna—nay, probably the world—but this depended on his fingers being able to function more efficiently than the player of the hurdy-gurdy in Müller's poems. Since 1823 there had been a long and dark shadow across his life: syphilis. This disease had a number of alarming prognoses. Chief among these was that, after a number of years, it was probable that the disease would attack the brain and, with it, the powers of thought and creativity. By 1827 four years had already elapsed and, although he was still in command of all his faculties (to say the least!), there was no telling how long this would last. 'What does the future hold for me?' is a question that must have obsessed him. Whom would it not in similar circumstances? Of course, we know something that he could not foresee—that he was to die within a year of completing Winterreise, spared the effects of tertiary syphilis, still at the height of his musical powers, still composing like a god. But it was really much more likely that, in the normal course of his illness, the river of Schubertian melody would dry up. Perhaps he would be left, like the similarly afflicted Baudelaire, endlessly repeating the same words, parrot-fashion, like a record-playing needle stuck in the same groove of the brain. Can we imagine a Schubert bereft of melody and unable to compose? This was what he expected would be his fate. In the hospital where he wrote part of Die schöne Müllerin in 1823 he had seen the effects of syphilis on patients at later stages of the illness; he had no reason to suppose he would be spared. It was only a matter of time before the fall of the Damoclean sword.
It is far too easy to imagine the character of the winter traveller as a self-portrait of the composer himself, denied love and alienated from society; no such autobiographical claim should be made for the cycle as a whole. The winter traveller is in a sense bigger than Schubert himself as King Lear is bigger than Shakespeare. The hero of this cycle achieves an eloquence and stature that are reserved for the mightiest characters in opera. Winterreise is a dramatic event and cannot be explained solely by the sad fate of its creator who was largely able to forget himself and his problems when he was in the process of composing it. As we have seen, many songs in the work refer back to earlier works and can be seen simply as a continuation of Schubert's pioneering achievements in the genre, something quite separate from the special pleading of biographical parallels. But there is documentary evidence that Schubert was shaken to the core in writing this work and that he was strangely moody and withdrawn during its gestation. Of all the songs it is Der Leiermann which might have provoked this reaction. With its barren and bleak landscape it is the only song in Schubert's entire output which is denuded of music itself. There is no real harmonic movement, and the repetitive musical phrases go round in circles. The stumbling fingers of the old man are numb with cold, but perhaps they are also impeded by illness (any musician's nightmare—arthritis, multiple sclerosis, some other neurological complaint—syphilis perhaps). In this way the hurdy-gurdy player on the ice does not seem to be a symbol of death as we usually understand it, but something which, in Schubert's eyes and ears, was far worse—living death, or, in his case, life without real music. One need look no further than the last years of both Schumann and Wolf for an illustration of the protracted period of humiliating disability in the antechamber of death. In the failing music of both these masters' last periods we can detect the chilly grip and numb fingers of the hurdy-gurdy man.
Der Leiermann was not drawn from the composer's own experience; the eerie tune was not formed from the large bank of musical allusion and tonal analogue at his disposal throughout the rest of the cycle: nor could the song benefit from the unending fount of melody on which Schubert could draw at any time he chose. For example, the dactylic rhythm of death, a fingerprint which is to be found in Der Tod und das Mädchen and elsewhere, is here nowhere to be heard. Where then does this music come from? The future, perhaps. The composer's future, that is. This song is a moonscape, a projection of an unknown tomorrow. 'What will become of me?' the traveller asks. 'Am I to go with you, hurdy-gurdy man? Will your music be a fitting accompaniment for my poems?' And Schubert allows himself to ask the same thing: 'Will this music be like the music / will compose one day—sans tune, sans harmony, sans everything? Is this how life—my life at least—will come to an end?—a descent into non-music, just like those poor street people who call themselves musicians?' At the beginning of the cycle the traveller could not have imagined himself having anything in common with an itinerant musical beggar, but now ...? How the mighty have fallen! At the beginning of 1822 Schubert would never have believed that he would one day imagine a situation where his own musical abilities might have something in common with the incompetent drone and stumble of a hurdy-gurdy player.
On 8 May 1823 Schubert wrote a poem entitled Mein Gebet ('My Prayer') which includes the lines 'Take my life, my flesh and blood. Plunge it into Lethe's flood'. In the penultimate song (Der Müller und der Bach) of the other great Müller cycle, Die schöne Müllerin, the young miller-boy commits suicide by drowning himself in the millstream. The commentary on that work in Volume 25 suggests that, in sacrificing his protagonist and experiencing death alongside the young miller in musical terms, the composer found the strength to continue with what remained of his own life—five matchless years of creativity. This was a cathartic act of self-therapy by someone in extremis, a composer whose artistic survival was in danger of extinction, and who used the most powerful thing he had—his own art—to overcome the crisis.
Those who imagine the worst and put it down on paper, even turn it into art, might be thought pessimists and hypochondriacs. But the belief in knowing your enemy, looking him in the eye, and disarming him before the moment of meeting is an ancient one. In Stone Age culture, rock-paintings depicted the successful hunt in anticipation of the event; in medieval times those wishing to be spared the plague simulated its symptoms in a dance of death. Just as Schubert had drowned the miller-boy in his stead, so he encourages the winter traveller to sing non-music with the hurdy-gurdy player; he even composes the non-music for them. As the cycle ends, these two go off together into the distance, and the composer remains behind. In staging the meeting Schubert has not been absorbed or overcome by it. His own ability to write melody has remained intact; in short, he has remained in control. Thus do artists flirt with their own creations, identifying closely with what they are writing but always retaining a distance, a barrier against destruction by what they have called into life. (Mary Shelley's contemporary Frankenstein seems a warning against creators who fail to do this.) Once he had given musical form to his worst nightmare the composer may have felt less frightened by a life destitute of melody, icebound by the winter fog of a degenerative illness. He may even have felt that it was less likely to happen. And in his case, as we know, it never did become reality. This Leiermann remains a powerful and haunting creation, but even if he was the figure of Death he was not given the last musical word. To the traveller's questions 'Wunderlicher Alter, Soll ich mit dir gehn? Willst zu meinen Liedern Deine Leier drehn?' the traveller's answer seems to be an equivocal 'Yes', and the composer's a resounding 'No . A year after completing Winterreise, Schubert penned his final song, the last of the so-called Schwanengesang, on his own terms. This was Die Taubenpost, a miracle of melody, animated with the deepest love. Its beauty is heartbreaking perhaps, but it remains gracefully articulate, unimpaired by any trace of illness or self-pity.
from notes by Graham Johnson © 1997


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Subject: US 'unaware' of emerging bioterror threats
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Dhaka, Bangladesh
27-30 July 1998
Report of the Round Table on Partnership with Civil Society to Implement the ICPD - Programme of Action.
DAY 4 (closing)
Dhaka Round Table Ends with Call on Civil Society to Engage ICPD Adversaries, Make Language Accessible
Partnerships Can Provide Better Reproductive Health Care Round-table Speakers Report
Religions Potential Allies for Social Change, Round Table on Partnership with Civil Society Told
Round Table Considers Ways Civil Society Can Help Promote Reproductive Health and women's Rights
Third ICPD+5 Round Table, on Partnership with Civil Society, starts in Bangladesh. UNFPA Executive Director Stresses Need to Broaden Participation and Overcome Mistrust among Partners
Policy-Making too Important to leave to Governments alone, Dhaka Round Table Told.
DAY 0 (preview)
Dhaka Round Table to Discuss Civil Society Involvement in Carrying out the ICPD Programme of Action
Convened by the United Nations Population Fund (UNFPA) and hosted by Bangladesh's Ministry of Health and Family Welfare, the 27-30 July round-table meeting was part of "ICPD+5", a series of international activities reviewing progress since the 1994 International Conference on Population and Development (ICPD) in Cairo. The focus of this meeting was collaboration to promote the Cairo goals, involving a broad range of partners from "civil society" -- non-governmental organizations (NGOs); community institutions; religious leaders; private, business and professional associations; trade unions; and activist groups, among others.
Mirai Chatterjee, general secretary of India's Self-Employed Women's Association, offered lessons based on her group's work mobilizing rural women. She said that women should be accepted as equal partners, rather than be seen as liabilities or merely recipients of charity, and that their significant contributions as workers must be recognized. Women's right to control their work and health should also be acknowledged. She also said that health and family planning programmes need to be decentralized, and designed and run by local people.
The founder and Executive Director of Youth Development Foundation (YDF) of Ghana, Nelson G. Agyemang, talked about his organization's grass-roots work on adolescent reproductive health and development in six of the country's districts and in Cameroon. "Advocacy is both a tool and a goal of social mobilization," he said. The best advocates are those who have experience on a particular issue; are convinced; and take the initiative to do things. To improve their chances of success, advocates should research their audiences, know how to frame the issues, use information from credible, trusted sources, and present their case in a simple, clear and concise manner.
Moushira Al-Shafie, First Under-Secretary of Egypt's Ministry of Health and Population, described how the Government, international agencies and civil society groups had increased their collaboration in advocating for reproductive health, including an expansion of family planning services. One result was their successful advocacy against female genital mutilation, which ultimately led to the practice's prohibition in Egypt. "Without the help of NGOs and other actors in civil society we would never have made this kind of progress, " she said.
NGOs at Dhaka Round Table Exhibit Their Service
Civil society in Bangladesh is actively involved in providing reproductive health services. In the corridor outside the round-table meeting, staff members from eight NGOs set up display tables illustrating their work with the urban and rural poor. Most of these groups offer integrated programmes combining education, income generation, and health information and services including family planning. Each is supported by bilateral and/or multilateral donors, UNFPA among them.
Several tables displayed handicrafts made by women and girls. The Population Services and Information Training Centre displayed a poster describing the use of different contraceptive methods the group distributes. The Bangladesh Family Planning Association showed a set of panels illustrating the means by which HIV is -- and is not -- spread. Other exhibitors included BRAC (formerly the Bangladesh Rural Action Committee), the Khan Foundation, Hellen Keller International, Concerned Women for Family Planning, the Voluntary Health Service Society and Nari Maitree.
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UNFPA, Civil Society and the Programme of Action, ICPD
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The State of World Population 1997: The Right to Choose--Reproductive Rights and Reproductive Health