Elizabeth Adda Robinson Ratcliffe
• Lewis Perry: On Living Alone
Lewis spoke at the Resident Lecture Series on 18 March 2019. The Series occurs once a month at Piedmont Gardens and is organized by Flossie Lewis, supremely gifted teacher who also makes her nest at PG.
Audio only recording
The text Lewis read from is here.
He begins reading his “Never Too Late” poem at 35:34.

• Elizabeth Robinson Ratcliffe - Reflections on Life
From growing up in China in the 1920s and ’30s, to getting a Byzantine Medieval Art History MA degree (1973), to working as a psychotherapist for more than 30 years in Oakland and Berkeley, CA.
Audio only recording
• Lewis Perry - The High Point of My Career
    beginning at 58:12 (to 01:16:02)

Mom Moments (06:21) 8mm silent home movies, 1951-1962

Grampa’s Jokes, Stories, and Songs (25:42)
Recorded in 1976 by Elizabeth with her father, Harold Wesley Robinson, when he was 90 years of age. As she recounts at the tape’s conclusion:
Two years have gone by; this is Christmas now in 1982 and Grampa has been gone from this world nearly two years. Grampa and I dialogued this little collection of jokes and songs when he was 90 years old in his room in Hillcrest House, Carmel Valley Manor. It was November of 1976 then. I thought my daughter Patty, who was living in Japan, would especially enjoy hearing his voice as a Christmas present clear across the world. And indeed she did. Now this year, I have rediscovered the tape and am making copies for other relatives who might, at Christmas time, get a kick out of remembering Dad’s great good humor and playfulness which was with him nearly to the end of his life. Along with Grampa, I send you all my Seasons Greetings and love. This is Eliabeth Ratcliffe, or Lepai, signing off.

Songs and Memories of North China American School in Tungchow, China, (31:55)
recorded by her daughter Patty, 12 December 2012

EARR Singing a Chinese Children's Song

Elizabeth sings two Chinese Children’s Songs, 13 November 2015

Growing Up In China - 1925-1940
1999 audio recording (two 90-minute cassette tapes divided into four parts) of Elizabeth recounting her years growing up in China to her son David going through old photographs. As more of the images are re-located a slide show will be produced. In the meantime, transcribed selected text excerpts are presented via the following links into the Chronology timeline as well as the China and Family Picture Books.

George Friederic Handel’s Messiah
George Friederic Handel’s Messiah was performed on 18 May 1968 in the Congregational Church of San Mateo by the Chancel Choir, Organ, and Orchestra beginning at 8:00 in the evening. Patricia Hudson was the Director and S. Leslie Grow was the Organist. Elizabeth was present at this performance and purchased the 3-record box set (manufactured by Century Records in Saugus, California). The music was played often in the house, especially during the end-of-year holidays.
SIDE 1   –   24:22
Recitative: Comfort Ye My people
Air: Ev’ry Valley Shall Be Exalted
     Tenor - Peter Sacco
Chorus: And The Glory of the Lord Shall Be Revealed
Recitative: Thus Saith the Lord
Air: But Who May Abide the Day of His Coming?
     Bass - Milton Williams
Chorus: And He Shall Purify
SIDE 2   –   17:58
  Recitative: Behold, a Virgin Shall Conceive and Bear a Son
Air and Chorus: O Thou That Tellest Good Tidings to Zion
     Alto - Margery Tede
Recitative: For Behold Darkness Shall Cover the Earth
Air: The People That Walked in Darkness
     Bass - Milton Williams
Chorus: For Unto Us a Child is Born
SIDE 3   –   24:04
  Pastoral Symphony
Recitative: There Were Shepherds Abiding in the Fields
And Lo! the angel of the Lord came upon them
And the angel said unto them
And suddenly there was with the angel
     Soprano - Edith Zitelli
Chorus: Glory to God
Air: Rejoice Greatly
Recitative: Then Shall the Eyes of the Blind Be Opened
Air: He Shall Feed His Flock . . . Come Unto Him
     Alto - Margery Tede
Chorus: His Yolk Is Easy
SIDE 4  –  23:54
  Chorus: Behold the Lamb of God
Air: He Was Despised
     Alto - Margery Tede
Chorus: Surely He Hath Borne Our Griefs
Chorus: And With His Stripes We Are Healed
Chorus: All We Like Sheep Have Gone Astray
Recitative: Thy Rebuke Hath Broken His Heart
Air: Behold, And See If There Be Any Sorrow
     Tenor - Peter Sacco
SIDE 5   –   21:14
  Recitative: He Was Cut Off From the Land of the Living
Air: But Thou Did’st Not Leave His Soul in Hell
     Tenor - Peter Sacco
Chorus: Lift Up Your Heads O Ye Gates
Air: How Beautiful Are the Feet
     Soprano - Edith Zitelli
Chorus: Their Sound Is Gone Out
Air: Why Do the Nations So Furiously Rage Together?
     Bass - Milton Williams
Chorus: Let Us Break Their Bonds Asunder
Recitative: He That Dwelleth in Heaven
Air: Thou Shalt Break Them
     Tenor - Peter Sacco
Chorus: Hallelujah!
SIDE 6   –   23:15
  Air: I Know That My Redeemer Liveth
     Soprano - Edith Zitelli
Chorus: Since By Man Came Death
Recitative: Behold I Tell You a Mystery
Air: The Trumpet Shall Sound
     Bass - Milton Williams
Chorus: Worthy Is The Lamb, Amen.

from The Program:

Georg Friedrich Handel (1685-1759) composed MESSIAH in the remarkably short period of three weeks, from August 22 to September 14, 1741. It was the eleventh of 23 oratorios composed by Handel, and was to become the best-known and most frequently performed of any. The text was selected and arranged from Holy Scriptures by Charles Jennens. The first performance took place on April 13, 1742 in Dublin, Ireland.

In general keeping with Handel’s first scoring of the work, the orchestation for tonight’s presentation consists of strings, trumpets, organ, and timpani.

MESSIAH has been performed under many kinds of conditions and interpretations, with small choirs and organs to choirs of thousands and huge symphonic orchestras. Many have struggled to find the true, the real, the authentic performance – a difficult, if not impossible, task. The deeper question remains as to how this remarkable music could be so profound as to have survived over two centuries of being all things to all people while yet maintaining the capacity to continually renew itself and move the hearts of human beings.

In preparation for this performance of MESSIAH, we have been guided by the watchwords of simplicity, gentleness, poignancy, and joy. In striving for these inherent qualities, and in trying to keep them uncomplicated, we have found Handel’s MESSIAH, to be, once again, . . . new.

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