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The Psalm of Love,  one of five electronically synchronized Psalms in Sound and Image, was produced between 1966 and 1967 in my monastic studio at St Vincent Archabbey,  Latrobe, Pennsylvania. .These audio visual psalms were created as 20th Century songs of praise and wonder of  the experience of life. Collage photos along with drawings and brief texts flashed in sequences were synchronized  with original sound tracks. These works, highly evocative, were often presented in the context of spiritual retreats.  The sound track for this Psalm was created by Daniel Lentz in 1966  as aLovesong for Medeighniaand recorded in 1967 at Tanglewood with Phyllis Bryn-Julson as Soprano. (See  About Daniel Lentz below)  

Presentation of the Psalms in Sound & Image.  Seton Hill College, Greensburg, Pa., 1966.

The 1960's cultural climate invited experimental programs with new media to heighten personal and group experience. With floor to ceiling projection and  amplified sound, with students seated on the floor with pillows,  the presentation created a vibrant shared experience.



Untitled brush & crayon drawing, 18 by 13.5 inches. Victoria and Albert Museum Collection London.

The 17th slide to appear in the 'Psalm of  Love" was made from this drawing. This  is one of numerous drawings made in 1966 and 1967 for the Psalms in Sound and Image project. These images grew from my "experience" drawings made in Paris in 1962 and 1963. Similar energy can be seen in  the concrete castings created for the new St Vincent Monastery in 1965-66. 


The electronic equipment was packed in this trunk and shipped by Railway Express to the various cities where the Psalms were presented. 

The Psalms in Sound and Image  were presented with Kodak Carousels and projectors coupled to a Wollensak  Stereo reel to reel tape deck with amplifiers and speakers. This  sound and image technology preceded video and was popular for events in the 1960's where large images synchronized with sound were presented both indoors and outdoors. These psalms were presented at over 26 venues in 1967 & 1968. Presentations included universities and retreat centers in cities from the midwest to the East coast. This included the Christmas Holidays at Marymount Manhattan in December 1967.  The Psalms were also presented for MIA associates  at the Minneapolis Institute of Arts and several interested associations in Minnesota in 1968.

About Daniel Lentz, Composer

Daniel Lenz,  a graduate of St Vincent College in Latrobe Pennsylvania, achieved notability as a musician while a graduate student at Brandeis University. He was awarded a fellowship in composition at Tanglewood in the summer of 1966 where he recorded his “Lovesong for Medeighnia” with Phyllis Bryn-Julson as Soprano. He brought that recording to Roman Verostko’s monastic studio at St Vincent  where they synchronized his sound track with the Psalm of Love.

Lenz  received a Fulbright Fellowship in Electronic Music in 1967–68 that he completed in Stockholm, Sweden. As a visiting lecturer  at the University of California, Santa Barbara, he  formed a music ensemble, the “California Time Machine” that  toured North America and Europe.

In 1972, he  won the Gaudeamus International Composers Award.  More awards and grants followed and he formed  another music ensemble, the San Andreas Fault, that toured  North America and Europe with several recordings released  in Europe. Returning to California, he  formed the Daniel Lentz Group in Los Angeles. This ensemble has toured much of the world and released  a number of recordings. His 1987 album The Crack in the Bell was the first contemporary classical release from  Angel/EMI Records.

See also:

Note 1.   In 1966 Wollensak marketed the  5280 and 5300 Stereo Reel-to-Reel Tape Recorders. This Wollensak commercial, posted  on You Tube,  helps us understand  how exciting it was, at that time, to have two speakers with stereo sound.  While we sacrificed one track for triggering slides we tried to make up for it with amplifiers and large speakers.  See the vintage 1966 commercial:

Note 2. The Kodak Synchronizer employed one stereo track to trigger the slides and the other track carried the sound. My equipment was packed in a trunk that was shipped by Railway express that made it easy to travel the show.  The system was easily connected to sound systems in various auditoriums. 

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