Category Archives: personal testimony

history of personal belief and transformation

Separately Together*

[ *this piece written, entirely oblivious of Dr. Martin Spurin’s book, Separately Together © 2016 ]

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I can still see her face, and hear her voice.

Carol Burnett, on the Tonight Show, crowing:  “Oh, I’d LOVE to get married, again! He could live in his house – right next door – and, I could live in mine!”

Perhaps it’s simply that she and I share a birthday. Stars aligned, and all that. Needing our independence, abhoring being led around by anyone – especially a h.u.s.band.

But, just yesterday, an article appeared in the Wall Street Journal. Apparently, seniors like me – single, little baggage, or kids all grown and gone – are finding themselves perfectly content to sustain relationships without the benefit of cohabitation.

In fact, there were several couples cited by name and photograph enjoying just such a radical lifestyle. Yes; imagine that. Loving somebody, without living with somebody.

Up until encountering that societal revelation, I’d been struggling mightily with my relationship of the past two and a half years. Both of us over 60, each of us happy in our own homes, I’d been driving out more than three times weekly to spend much of my time on his property with him; after all, I’d been retired from my full time teaching position for over five years, and he was still trying to eke out the final two before he could leave his position as a dialysis nurse to our regional medical center and take his own. I rationalized that being on site had to be a help, rather than a hindrance.

But, I was underfoot. The things I did, all voluntary, were not required by him. My desire to modify my surroundings to make them feel more welcoming to me were taken as criticisms, as if he needed to make changes heretofore unnecessary. The pop of color I wanted to add to his dreary den in the form of pillows and throws pleased me but, to him, they were just more things and, invariably – considering the presence of his two Rottweilers – more laundry.

On the nights I’d spend there with him, he’d need to be asleep well before 10 in order to rise by 4:30am, while I’d need several more hours of nocturnal biorhythms to wind down. Likewise, the mornings on his rare days off he’d already be up and roasting coffee before I’d even had my REM phase of sleep.

As winter encroached, his desire to keep the house at 64 degrees F hit my small boned body like a rush of blowing snow when the door opens. I shivered until my heart almost hurt, resorting to leaving my coat on through dinner until he commented that doing so was unsettling. Wearily, I’d pull on double layers and endure, not so secretly wishing I could just crawl into my warm bed.

After the first full year, taking stock and keeping tabs became my subconscious ritual. How many times had I driven out, vs his effort to spend a day with me at my house? When I counted the dollars spent on gas, and declared them, this was cause for one of many, increasing disagreements which became verbal volleys which, in turn, escalated into a pattern of lashing out every time I had overstayed my welcome. At the height of each of these, I would pack up whatever I’d brought with me and drive away. Unbeknownst to both of us ( until the counselor intervened ) he interpreted these actions as evidence of an unstable relationship which lacked the emotional security he sought.

Were we breaking up? Were we getting back together? What, exactly, were we doing?

Admittedly, we’d talked about what we’d do, going forward. He’d alluded more than once to selling his 2 acre rural idyll and downsizing to a condo near the water; I’d openly stated that, after 30 years, I would never sell my house. This was clearly our impasse, and I wondered if it would become our deal breaker.

Imagine my astonishment.

Entering the fray: The 100th Monkey Phenomenon. The Wall Street journalist had been doing the study and, here, as by fire, were the results: couples meeting later in life were opting to stay in their own, individual homes and sustain their loving relationships anyway.  And, by all accounts, they were actually happy.

Mum and Dad loved each other, exclusively. Theirs was a match made on a train, circa 1940; Providential meeting, whirlwind courtship, broken engagement (hers) and a wedding before the war. Living together, for them, was a trial. Dad took to jogging to get out of the house, and Mum sat at her sewing machine to be alone. They held out until death, leaving so much for the family to vividly recall. My brothers had long since left town, but I’d stayed as witness.

Now, I love to witness my partner drive away. I know where he’s going, and I know where I am. I’m home, where I can keep him in my heart and thoughts until we meet up in the next day or so. It’s called space, and now it’s okay to both want and need it. And, it requires faith, expressed and exercised. Trust is better nourished when tested.

Yes. We are two old habits, and we cannot break. And now, we can still love each other, thank God.

Even if, on this particular night, we only see and hear each other in our dreams.

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© 9/5/19  [essay by] Ruth Ann Scanzillo.      All rights those of the author (of the essay), whose story it is and whose name appears above this line. Thank you for respecting original [ essay] material.

littlebarefeetblog.com

 

 

RuthAnnTALKS – Episode 1:

“Swipe Phones and Sunday Mornings”

Ruminations on devices of the past and present….

 

© 8/21/19     Ruth Ann Scanzillo.    Thank you for stopping by.   Please respect original material, in all its forms.

originally posted at my FBK page, The kNose Feed.

littlebarefeetblog.com

Why You Never Saw Her Out.

Formerly titled:

RUTH ANN SCANZILLO,

Professional Pianist / ‘Cellist.

Dear Readers of littlebarefeetblog.com:

A few have pointed out that I have no professional website; herewith a brief history of my work in the region, as a preliminary bio for the future website. Dates are occasionally approximate because, well, I’ve been around awhile and the memory isn’t complete……thanks!

Ruth Ann Scanzillo

pianist; ‘cellist

PO BOX 3628 Erie, Pennsylvania 16508

DOB: April 26, 1957                                                                                                              814.572-4628

littlebarefeet@msn.com

EDUCATION

SUNY @ Fredonia, Fredonia NY

1975 – ’77 – Graphic Design/Printmaking;

1979 – ’81 – December, 1981: Bachelor of Music, Music Education, magna cum laude, concentration: cello – Dr. Louis Richardson, Professor of Cello;

1989 – ’94 – SAA Suzuki Summer Institutes, Stephen’s Point WI; Ithaca College, Ithaca NY; Chicago, IL; registered, Violin IA; IB; Cello, I, II, and III

PIANO:

Theater:

1975 – rehearsal/performance piano, Footlights Theatre, Erie, PA

  • “You’re A Good Man, Charlie Brown!” – Jane Behan, musical director

1982-83 – rehearsal/performance piano,  Lincoln Theatre, Erie, PA

  • “SUGAR” – Mark Moffatt, director;
  • “HAIR”  —  Mark Moffat, director;

1984 – rehearsal/performance piano/instrumental ensemble director, Erie Playhouse, Erie, PA:

  • “Ain’t Misbehavin'” – Leo Estes, John Burton, directors;

circa 1985 – rehearsal/performance piano, live scene underscoring, Erie Playhouse, Erie PA:

  • “I Remember Mama” – Charlie Corritore, director;

circa 1999 – Piano I,  Fredonia Opera House, Fredonia, NY:

  • “The Fantastiks” – summer stock cast; Harry John Brown, music director;

1999 – 2000 – rehearsal pianist, Mercyhurst University D’Angelo Department of Music:

  • “Song of Norway” — Louisa Jonason, opera director;
  • “Don Giovanni” —– Louisa Jonason, opera director;

2000 – 11 –  Production, direction, set design and build, live piano accompaniment and synth. keyboard underscoring, The Dillon Drama Club,  Grover Cleveland Elementary School, Erie PA:

  • Beauty and The Beast (final production assisting founder Carolyn Dillon)
  • Wizard of Oz (2002)
  • Oliver!
  • GREASE!
  • Annie, Jr (2009)
  • A Christmas Carol
  • A Christmas Story
  • Spanky and Our Gang (two shorts, original staged adaptations);
  • Star Wars (five movies, consolidated, original staged adaptation by verbal permission conference call w/ LucasFilm licensing 2005);
  • You’re A Good Man, Charlie Brown (2011)

2011 – rehearsal and performance piano, Mercyhurst University, D’Angelo Department of Music/opera:

  • “TINTYPES” — Louisa Jonason, director (slated for August, 2011, West Bank Cafe, Manhattan. Hurricane Irene aborted); performed, September 11, 2011, Walker Hall, Mercyhurst University;

2015 – rehearsal pianist, “The Selfish Giant”, original opera by Stephen Colantti, Erie Opera Theatre, Brent Weber and James Bobick, directors;

2019 – performance piano, Keys 3, “MAMMA MIA!”, Cathedral Prep, Fr. Mik DeMartinis, director; Will Steadman, music director;

Collaborative/Chamber Music:

1986 – present:  piano collaborator for juries, hearings, college recitals and concerto competitions:

  • SUNY@Fredonia Conservatory of Music (1989 – 2008) – studios of Barry Kilpatrick, Marc Guy, Susan Royal, James East, Jack Gillette;
  • Edinboro University music department (1999 – 2014) – studios of LeAnne Wistrom, Patrick Jones, David Sublette, Robert Dolwick, Howard Lyon, Brad Amidon, Anne Wintle-Ortega;
  • Mercyhurst University D’Angelo Department of Music, vocal and instrumental performance departments (1999 – 2000; 2008-12) – studios of Louisa Jonason, Geoffrey Wands, Robert Dolwick, Chris Rapier, Alyssa, Scott Meier; and, with Shaun Pomer (1989) and Glen Kwok;
  • Erie Jr. Philharmonic Eiji Oue Concerto competition (1989 – 2013) – violin; trumpet; clarinet; tuba;
  • COYO Concerto competition, Cleveland, OH (2007) – cello; soprano;
  • Young Artist’s Debut Orchestra concerto competition (2007-08) – violin;

2011-12  – rehearsal and performance pianist, vocal performance studio of Louisa Jonason, D’Angelo Department of Music, Mercyhurst University;

2019 – String Trio, Caryn Moore, vln; Sunny Saunders, vla; self, cello; works by Pleyel, Boccherini, Haydn, Mozart, Beethoven, Massenet, et al;

Repertoire:

including, but not limited to:

  • Arutunian; Bach; Barber; Beethoven; Bernstein; Bozza; Brahms; Britten; Creston; Chopin; Chaminade; Copland; Colantti; Dvorak; Franck; Faure; Grieg; Hartley; Haydn; Hindemith; Hummel; Ibert; Korngold; Loeffler; Mozart; Mendelssohn; Neruda; Piazzolla; Puccini; Rossini; Rachmaninoff; Ravel; Saint-Saens; Schubert; Schumann; Shostakovich; R. Strauss; Telemann; Vaughn-Williams; Wieniawski; Verdi; Von Weber; H. Wolf;

for the following instruments:

  • soprano; mezzo; tenor; baritone; bass;
  • violin;
  • viola;
  • cello;
  • bass;
  • clarinet;
  • oboe;
  • bassoon;
  • flute;
  • trumpet;
  • trombone;
  • Euphonium;
  • French horn;
  • natural horn;
  • tuba
  • marimba;
  • alto and tenor saxophone;

Orchestral Piano:

1989 – 2000   – Erie Philharmonic Orchestra, Maestros Eiji Oue and Peter Bay; composers: Copland; Korngold, et al   (film scores)

CELLO:

Orchestral:

1986 – 2013   — section cello, Erie Philharmonic Orchestra, Erie PA, under maestros: Walter Hendl; Eiji Oue; Peter Bay; Hugh Keelan; Daniel Meyer; Jeff Tyzik; various additional guest batons;

1986 – 2011 — section cello/Principal cello/harpsichord, Erie Chamber Orchestra, Maestro Bruce Morton Wright;

2011 – 2018 — Principal cello, Erie Chamber Orchestra, maestros Matthew Kraemer and Bradley Thachuk, musical directors, and various baton candidates;

1999 – present:  Principal cello, Bemus Bay Pops Orchestra/Chautauqua Pops Orchestra, Bruce Morton Wright and John Marcellus, musical directors; Chautauqua Pops Strings, Lenny Solomon, musical director;

1990 – 2024 – Lake Erie Ballet NUTCRACKER pit orchestra, doubling celeste,vocal synth, and section cello;

Artist Pick up hires:

  • circa 1987 – Johnny Mathis, Erie Warner Theatre;
  • circa 1992 – Anne Murray, “
  • 2008 – Clay Aiken, Erie Civic Center;
  • 2015 – MANNHEIM STEAMROLLER, Red Tour, Erie Warner Theatre; 2020 – Green Tour, Erie Warner Theatre; 2023 – Green Tour, Erie Warner Theatre;

2019 – String Trio, Caryn Moore, vln/Rachael Brown, vln; Sunny Saunders, vla; self, cello; works by Pleyel, Boccherini, Haydn, Mozart, Beethoven, Massenet, et al;

Other Work History:

1986 – 2011 —  Public school music teacher, K – 12, School District of the City of Erie, PA  –  general/vocal and instrumental, including: marching band, choir, chorus, string ensemble, string orchestra, music appreciation, and special classes for the hearing impaired

1989 – present — Private studio teacher, Suzuki-registered cello (Books 1 – 4) and violin (Books 1 – 3).

Chamber Music:

2019 – present  — RECAPITULATTI!  Professional string trio:  Rachael Brown, vln; Sunny Saunders, vln/vla; self, cello.

Scholarships and Awards:

1975 – Card-Catlin Art Award, Erie PA – portfolio adjudicated;

1981 – Gaeliewicz String Award, SUNY@Fredonia; Hillman Scholarship, SUNY@Fredonia;

1984 – S.A.D.I.E Award for Drama In Erie :  Best Orchestra, “Ain’t Misbehavin”, Leo Estes/John Burton, directors; starring Wydetta Carter, John Burton, Michael Henderson, Tootie Howard, Marlene Spells…..

© 1/21/2020  Ruth Ann Scanzillo. I certify that the above information is true and accurate, to the best of my memory. John Burton may not have been a director of Ain’t Misbehavin’, but I believe that I am correct on all other points.  Thank you.

littlebarefeetblog.com