I Remember Chiarina Green (my High School Friend)

About the Author—Professor Ellis Washington, J.D.—I went to Harvard Law School for 1 year (1988-89) with future POTUS Barack Hussein Obama, (b. 1960- d. 09/29/2019), but I took the opposite path in Life—New World Order, Communism, Treason, Pedophilia & Satanic Ritual Abuse vs. Christianity, Conservatism, Protecting the Children & TRUMPism. I repeatedly refused to take the “Satan OATH” which is why I’ve been blacklisted for 32 years – for my entire legal and academic career, yet I Fight on! Why? To avenge Harvard University’s original 1692 motto—Veritas pro Christo et Ecclesia {= Truth for Christ and the Church}. To escape the 150-Year Rothschild Chattel Slavery systems (e.g., Birth certificates, Social Security numbers bought, sold & traded on Wall Street) & Rothschild Debt Slavery systems (e.g., IRS, Income Taxes, Death Taxes, fiat & counterfeit currency based on NOTHING, printed to fund False Flag wars) of the Rothschild Khazarian Mafia Matrix (1871-2021), read and share the Truth of my Critical Thinking blog with the Youth that’s nearing 20 Million views @ EllisWashingtonReport.com & on Facebook— #JesusIsLord – #DCActof1871

“I wish I could write to you as tender as I love you and tell you all the good things that I wish you.”

“I would gladly write to you only by means of music, but I have things to say to you today that music cannot express.”

“I just want to tell you how much you mean, I cannot describe it because, words are failing me right now, but know I cherish you, and I will forever love you. . .”

~ Johannes Brahms Letters to Clara Wieke Schumann {aka “Chiarina”}

*N.B.: This Memorial Essay bears the Dedication to 3 important founding members of Antioch Church of God in Christ in Detroit, Michigan—Pastor Havious Green (1921-2014), Mother Julia Mae McCarty Green (1925-2007) & Mother Naomi Green Keener, who recently celebrated her 90th birthday (9 October 2021), yet regrettably (for us who remain here), went to her heavenly reward 5 months later on March 17, 2022.  *N.B.: Suggested listening music while reading this essay – “Chiarina” from Carnaval, op. 9 by Robert Alexander Schumann – (movement begins @15:31).

Prologue—Remembering an Old Friend through Music Literature & Music History

Greetings Pastor Lafayette Price, 

I hope that you and your family are doing well. Please send the letter below to Chiarina with my regards. Although I did not intend to write an essay about her, by serendipity earlier this week (18 October), I stumbled upon the iconic literary and musical origins of Chiarina’s name while listening to some music on YouTube and thought that she would appreciate the research that I found which inspired this subsequent essay I composed below. . .

Thanks my friend,

Ellis Washington

Letter – Dear Chiarina,

I was on YouTube recently and came across what may be the origins of your unique name that I’ve always wondered about—”Chiarina” is the title of the 12th movement of a famous early composition by that great German Romanticist, Robert Schumann (1810-56) written for solo piano titled, Carnaval op. 9. If you want to hear this passionate, elegaic, and whimsical movement which in my opinion is ironically indicative of your character and bearing your name, the movement begins @15:31. 

Musical & Literary Notes— “Schumann’s pianistic output is characterized by ardent impulses and unexpected withdrawals, impetuosity and tenderness, psychological introspections and fantastic dreams, and an idealism of pure Romantic brand. The Carnaval Op. 9 displays Schumann’s great creative sense and all of his fantastic ideas in 21 short pieces, each representing a character in the Comedy of Art (Pierrot, Arlequin, and Pantalon et Colombine), or a composer (Chopin, Paganini, or Chiarina, which represent Clara Wieck), or Schumann himself, represented by Eusebius and Florestan, his calm and impetuous style.”

Chiarina, did you know that Clara Schumann had a famous platonic love affair with fellow composer Johannes Brahms? In the early 1850s Johannes Brahms (1833-97), whose career as a new, young and emerging, composer would not have succeeded as history chronicled without the faith, devotion, and solicitude of the Schumann’s who both helped establish Brahms’ musical career by teaching him piano, counterpoint, and composition, but more importantly enthusiastically championed his musical compositions throughout Germany, Austria, (especially in the great musical capital of Vienna), and throughout all the musical capitals of European society.

Likewise, I was astounded when I only recently discovered that the Chiarina movement from Schumann’s Carnaval, op. 9 was a pseudonym for Robert Schumann’s beloved wife, Clara Wieke Schumann, thus I thought you would like to read an essay I had written in 2007 that I later had published in my first book of essays in 2013, The Progressive Revolution, Vol. I, pp. 282-86. The essay is titled—Symposium—Clara Wieke: The Anti-Feminist Feminist and is quoted in full below— 

Symposium – Clara Wieck: The Anti-Feminist Feminist   By Ellis Washington Originally published  in WND.com on May 26, 2007, and later as Vol. 1 in a collection of essays in my book, The Progressive Revolution, pp. 282-86 (2013).   Socrates (470-399 B.C.) was a famous Greek philosopher from Athens who taught Plato, Plato taught Aristotle, and Aristotle taught Alexander the Great. Socrates used a method of teaching by asking questions. The Greeks called this form “Dialectic” – starting from a thesis or a question, then discussing ideas and moving back and forth between points of view to determine how well ideas stand up to critical review, with the ultimate principle of the dialogue being Veritas – Truth. ~ Setting: Leipzig, Germany, 1853  “She [Chiarina] cannot work at it [composing] regularly, and I am often disturbed to think how many profound ideas are lost because she cannot work them out.” ~ Diary of Robert Schumann Socrates: We are gathered here today at my Academy to discuss Aesthetics – What is Aesthetics (beauty)? As a case study we will examine the life of Clara Wieck, whom I’ll call “God’s Pianist.” Why do I call her this? Because when she played the piano. . . it was as if the Heavens opened up and my Soul was touched by God. {Turning to Felix Mendelssohn} You knew Clara Wieck during her early years. Tell us about her. Mendelssohn: In 1830, I remember Clara as a child prodigy of 11 years old making her debut with the Leipzig Gewandhaus, an orchestra I founded and conducted. My sister, Fanny, and I were also both child prodigies and piano virtuosos, but Clara Wieck was the greatest of us all! Socrates: {to Brahms} You met Clara Wieck in 1853 when you went to help your friend and fellow composer, Robert Schumann, who had fallen ill. Their children even called you “Papa Brahms.” After Schumann’s premature death three years later, you begged Clara to accept your proposal in marriage, which she demurred (for she wanted your genius to meet its Destiny without hinderance). Most notable of all was your platonic friendship with Clara Wieck – a legendary relationship tantamount to the sublime. What do you think of Clara Wieck? Brahms: {overwhelmed with emotion} What … what to say about Clara? In a word, I loved her passionately. She was my Muse; she was everything to me. Yes… after Clara I had other women, but I could never love another. I was 20. As a young inexperienced and insecure composer, it was this woman, Clara Wieck, who gave me the confidence in myself that I had the ability to become a great composer – a Romantic master. She played my early piano sonatas and exclaimed to me that “they were like veiled symphonies.” Yea, she went further and proclaimed that I was The One, that I had received Beethoven’s mantle – I would become the next great symphonist. Like Moses who protested against God to choose someone else to lead the Children of Israel out of the bondage of Egypt, I remonstrated against Clara saying, “Every time I try to compose a symphony, I hear the giant steps of Beethoven behind me!” Socrates: Brahms, how did you conquer your fear of Beethoven? Brahms: I listened to Clara’s voice. I looked into Clara’s beautiful brown eyes. The more I listened to her voice, the warmth, the revelatory quality of her piano playing, I heard the very voice of God and I received courage to endure. I resolved within myself that I would not be greater than Beethoven (for he is the greatest), but I would add to what he did. I would make my own way! Socrates: {A soliloquy after Clara Wieck} To me, a philosopher, Clara Wieck, you are Aesthetics (beauty) incarnate. You are the anti-feminist feminist – a working woman who devotedly raised eight children, managed the household, was the primary earner of the family by playing concerts in Germany and throughout Europe. Yet, unlike others in your generation – Elizabeth Cady Stanton and Susan B. Anthony, and later Emma Goldman, Margaret Sanger, Bella Abzug, Betty Friedan, Hillary Rodham Clinton – you did not try to become this great feminist icon or feign like you were the first woman who ever worked, as if that were something new, laudatory and exotic. No, no, no! You followed the august words of Booker T. Washington: “Do what you can with what you have, and never be satisfied!” {Socrates turning to Schumann} Schumann, since you were half crazy and neurotic for many of your years with Clara, who provided for your eight children? Who maintained the household? Schumann: Without my wife I would be nothing, a mediocrity at best in the realm of a Telemann, a Salieri… or a Ditters von Dittersdorf – Nothing more! Clara Wieck often took charge of the finances and general house running due to my inclination to depression and instability. These emotional and mental issues grew worse over the years, leading to my own premature death by suicide in 1856. I was only 46 years old. Socrates: Indeed. Let us hear the conclusion of this matter. What is Aesthetics (beauty)? In the movie about the life and times of the Schumanns, “A Song of Love,” there was pivotal scene where all the superlative masters of the Age of Romanticism were gathered together in the grand parlor of this enormous mansion. There was Schumann, Brahms, Schubert, Paganini, Joachim, von Bulow, Chopin, Mendelssohn, Verdi, Wagner, and others; at the piano was Liszt dazzling his listeners with his demonic virtuosity. However, when she entered the room filled with the greatest collection of aesthetic genius known to humanity, the music stopped – all eyes were on Clara Wieck (for truly she is God’s Pianist). They begged her to play, and she finally relented. She played her husband’s favorite composition, Schumann’s hauntingly beautiful Traumerei (Dreaming). Yes, Beethoven, Chopin, Brahms, and Liszt and could beguile you with their virtuosity, but Clara Wieck could touch the deepest recesses of your very soul. Yea, she did so much more; her playing could make you fight your own inner demons, your secret sins and compel you to become a better person – a godly person. Surely, this is Aesthetics; this indeed is beauty incarnate and it was embodied in God’s Pianist – Clara Wieck, the Anti-Feminist Feminist.”

*N.B.: Excerpt of a love letter Brahms sent to his beloved Muse, Clara Wieke Schumann (aka “Chiarina”). It is very notable that Brahms died (3 April 1897) within a year of the death of his beloved, Clara Wieke (20 May 1896). I believe that Brahms reasoned within himself that without his Muse to continue to inspire his iconic musical compositions, there was no longer a reason to remain on this earthly plane, so he gave up the ghost and died.

After Clara’s husband and Brahms’ devoted teacher Robert Schumann died alone and in profound despair inside a pitiless cell of an insane asylum in 1856, Brahms immediately offered to marry Clara and to become a father to her 8 children. (Incidentally, my high school friend, Chiarina Green is also from a family of 8 children and Chiarina is a Clinical Psychologist who if Robert Schumann lived today could have been diagnosed by her and saved from what appears to be his affliction of Schizophrenia or Bipolar Disorder which Schumann described in literary terms in his ambitious, pathbreaking piano music  in his early period—Papillons, Op. 2, Toccata, Davidsbündlertänze, Kinderszenen, Op. 15, Kreisleriana, Op. 16, and  Carnaval, Op. 9—as his Eusebius [calm, dreamy, introspective] and Florestan [impetuous, passionate, voluble] styles of musical composition).

Nevertheless, Clara (‘Chiarina’) loved Brahms so much that she rejected his proposal of marriage. Why? Because as a great musician in her own right she therefore knew that the rigors of composing at such a transcendent level as Brahms had now ascended could never be sustained while battling with the daily burdens of family Life, attending to rearing eight children and attending to the spousal needs of a wife. 

Epilogue—How Chiarina and I First Met & Other Literary Works inspired by her Family & Antioch COGIC

Literary & Musical Notes: Listen to these two videos that summarize the transcendent relationship between Brahms and Clara Schumann—(1) Brahms and Clara – A Classical Love Story (featuring Evgeny Kissin on piano); (2) Simon Rattle talks about Brahms and Schumann; (3) Excerpt from the 1947 Movie about the Schumanns and Brahms, “A Song of Love” @ https://www.youtube.com/watch?v=4SXGbr7Dk9c.

How did I first meet Chiarina?—I can remember that day as clear today as the day it happened 44 years ago in October 1977 at Cass Technical High School, a famous college preparatory high school in Detroit, Michigan that has the distinction of being the 2nd oldest technical high school in America (est. 1907). One day we were in orchestra class when this young girl whom I did not know came up to me, boldly introduced herself and invited me to her father’s church, Antioch Church of God in Christ. Since I was extremely shy at this point in my life, here, I must credit my future acquaintance with Chiarina for in part helping to bring me out of my own shadow, helping me develop self-confidence, and, despite the setbacks in life, to maintain a Worldview of what the French people call – Joie de vivre, or Joy of Life. 

Nevertheless, since I no longer believe in coincidence, here are a few other unique events about my 44-year friendship with Chiarina—my stepfather, Melvin Green shares the same surname as her father, Pastor Havious Green (no relationship that I am aware of) and lived literally next door to their church! Think about that for a moment: There are literally a half million apartments, condos and houses in Detroit and tens of thousands of churches, thus, what are the chances of Chiarina’s church being exactly next door to my stepfather’s home who shares the same surname, Green?—1,000,000,000 to 1? But everything is in God’s perfect will… His perfect time. In fact one of my favorite composers, Johann Sebastian Bach (1685-1750) wrote a famous cantata titled, “Gottes Zeit ist die allerbeste Zeit” (God’s time is the very best time), BWV 106, also known as Actus Tragicus. Having just turned 60 year old, I believe this to be true more than ever.

Finally, our names (‘Chiarina’ and ‘Ellisandro’) are the same as the Classical Music Masters of the Age of Romanticism in the 19th century—Robert Alexander Schumann and his wife, Clara Wieke Schumann (aka “Chiarina“). My full first name = Alexander—

*N.B.: My Facebook page contains the following etymological origins of my first name—“My name = Ellisandro = Alexander = Cassandra = In Greek Legend the true Prophet nobody believed.”

I eventually accepted Chiarina’s invitation to visit her father’s church where I was welcomed with open arms by the entire congregation. Eventually I joined that church and also joined the very capable members of the Antioch Chamber Orchestra directed by her older sister, Dr. Constance Price, a virtuoso violinist and husband, Dr. Layfette Price, an excellent pianist, clarinetist and saxophonist who is now the pastor of this church.

Even though in 1977 we were each other’s first boyfriend/girlfriend relationship, after about 18 months we broke up, but I stayed at that church for 10 years, and then off and on for many years subsequently – teaching Sunday School, playing French horn in the Antioch Chamber Orchestra, singing in the choir, evangelism ministry, and as a teenager was appointed as the youngest deacon of the church in 1980.

Chiarina introduces me to the writings of Iconic English Author, Medieval/Renaissance Academic and Christian Apologist, C.S. Lewis

I remember (as of 7 Dec. 2022) while reading and listening to an interesting biography of one of my favorite writers, C.S. Lewis of an occasion that happened early on in our rather brief relationship, a time in Dec. 1977 when Chiarina gifted to me a very small volume by C.S. Lewis, titled, The Screwtape Letters (1942). Up until that time I had never heard of this great English writer, iconic Academic, and Christian apologist, but Chiarina and her 7 sisters, her father and mother were all very well-read and highly educated, so it was no surprise that she was not only named after an iconic pseudonym of German literary Romanticism, but also had this book in her library and saw something in me that would grow this literary seed she had planted in me which among many essays I’ve written on C.S. Lewis are for example chronicled here in a 2-part essay series I did in 2013, C.S. Lewis: When Science becomes Magic, Part I and Part II and included in my book of essays cited below. 

The last two events I remember us sharing together were a huge concert of the Male Chorus of the Greater New Mt. Moriah Baptist Church which my stepfather, Jack Folson was the music director at that church pastored by civil rights activist and Judge, Reverend Benjamin Hooks. Chiarina and I attended that legendary concert together at a famous concert hall on Grand River (which I can’t recall the name of right now). The other even was in about March or April 1978 when Chiarina accompanied me on piano for the Solo Ensemble Annual Festival. I played the 1st movement of the Horn Concerto No. 2 in Eb Major by Wolfgang Amadeus Mozart. Chiarina was a very fine and gifted pianist and helped me to get a top award at the local and state levels. 

How Chiarina Inspired my Early Literary Output

Chiarina’s father, Pastor Havious Green was like a father to me, and his beloved and devoted wife, Mother Julia Mae McCarty Green was like a mother to me. Both of these wonderful and magisterial people have passed on to their heavenly reward, but all my life I endeavored to remember them in thought, word, and deed as evident in the following 2 essays—1) Obama, Me and Our Pastors (7 June 2008); 2) A Giant in a Wheelchair (1 Dec. 2007). The Mother Green essay includes a poem that remembers with Love and exceeding Gratitude the Antioch COGIC Family gave to me for over 30 years titled— “I Remember” which I recited to the congregation at Antioch COGIC around June or July 2009. I have included the poem below—

Poem—”I Remember” (2007) by Ellis Washington  {To Pastor Havious Green} I Remember … 30 years ago, you were a father to me when I had no father; You taught me how to pray, how to give thanks to God, How to study the Bible; I Remember …Your wife, Mother Julia Green, teaching me how to type, how to write, how to write books … to be Profound … I Remember …Your 8 daughters embracing me, making music with me … being the Brother they never had … I Remember Antioch Church of God in Christ…            I Remember the Love…                                             I Remember … I Remember!

 

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