Building Athens

A book review by Wor. Bro. Frederic L. Milliken

Building Athens

Building Athens

Coach John Nagy has written a most important book for the Fellow Craft, Building Athens – Uncommon Catechism for Uncommon Masonic Education – Volume 3. It is about the winding staircase with emphasis on the 7 Liberal Arts and Sciences. In case you have forgotten (heaven forbid), the 7 Liberal Arts and Sciences are Grammar, Rhetoric, Logic, Arithmetic, Geometry, Music and Astronomy.

The first three are categorized as the Trivium, the latter four labeled the Quadrivium. The Trivium, Nagy tells us: “ …is to convey to students an understanding of how Words are used as Symbols. Study of such matters includes the eventual ability to decode and encode meaning and intent using Words as a base.” The Quadrivium “… is to convey to the student and understanding of how Numbers are used as Symbols. Study of such matters includes the eventual ability to decode and encode meaning and intent using Numbers as a base.”

But the larger question I am sure you are asking by now is why is the book titled Building Athens? What does Athens have to do with the 7 Liberal Arts and Sciences?

Nagy tells us:

Masons unfamiliar with the legacy of Athens hamper their Masonic progress. To participate in Masonry at the Fellow Craft Level without having knowledge of Athens’ most famous citizens and, more specifically, their Works is to see and experience Ritual as a shadow show likened to that depicted in Plato’s Cave.

Most of us know about Socrates, Plato, Aristotle and Pythagoras. But how many of us have heard of Anaximenes, Heraclitus, Parmenides and Democritus, to name a few?

John "Coach" Nagy

John “Coach” Nagy

Actually, when Nagy first envisioned this book it was going to be more of an explanation of the rich symbolism in the Second Degree but the end result took a turn when reality dawned on the Coach.

First, in observing other Masonic writers he noted how some produced the unfolding of layers of symbolism.

“Through this insight, I realized that these Brothers had constructed writings that hid things in plain view through Symbolic Layering. They Masterfully conveyed Light without hiding it. They shared it knowing that Brothers would see Light that profanes couldn’t. Trained Brothers knew what was conveyed.”

Symbolic Layering is one fascinating aspect of this book and one which the reader must discover on his or her own. That led Nagy to his conclusion that Trained Minds are so important to understanding Symbolic Layering and the meaning of Masonry.

I quickly realized that a Mason’s mind must be first ‘readied’ to receive such information before he can benefit from it. I also realized that no matter how I might go about my initial focus, without a ‘readied mind’, my actions would be equivalent to discussing colors with a blind person. No such sharing would have relatable significance.

But how is this done? How are Freemasons readied to receive this information?

“Fellow Craft Masons that diligently invest in the education pointed toward by Ritual physically reshape their ‘Ashlars’, a.k.a. ‘brains’, toward what is required by the Builder. They furthermore reinforce natural affinities that their brains already have and cultivate interconnections that change how reality is experienced. This training transforms each mind’s ability to sort, uncover, discriminate, differentiate, distinguish, decide, detect, project, create, evaluate and a host of other mental talents that would otherwise lay dormant or poorly used if not otherwise nurtured.”

Once again Nagy emphasizes Trained Minds in Trained Masons.

“Information challenged individuals, unable to deal effectively with information overload, become lost within information. Trained Masons know what is pertinent. They furthermore know how to see through illusions offered up as a fact to see Truths hidden within and fallacies veiled in truth.”

So in Catechism form Coach Nagy sets out to retrain our minds in order that we may separate the chaff from the wheat, see the layering of symbolism and discover the meanings of Masonry and its application to our daily lives.

Nagy talks about the great Greek philosophers and their contribution to symbolic thought and the 7 Liberal Arts and Sciences.

In regards to Plato, Nagy tells us that,

Plato was influenced by Socrates, along with Pythagoras, Aristophanes, Protagoras, Homer, Hesiod, Parmenides. Aesop, Heraditus, and Orphism

As we start into the specifics Nagy tells us,

Masonry is a training ground for Symbolic understanding. Without an intimate knowledge of Symbols, Masons become malnourished by the inability to absorb what is presented.

Nagy talks a lot in the book about Shibboleths which he defines as “a word, phrase, motto, slogan, or saying used by adherents of a party, group, sect, organization, or belief, also a widely held belief, truism or platitude which can be a linguistic tool that allows for identification of a specific group based upon pronunciation  of specific words.”

The subsequent chapters of the book take each of the 7 Liberal Arts and Sciences in detail.

“Grammar is many things. It is the Strength aspect of the study of Symbols as words. It is a fingerprint, identifying sources with such pinpoint accuracy that no masking can obscure it. It tells its observer the history, culture and attitude of its source. It develops the left Temporal, Occipital and Parietal lobes of the brain thus providing pattern recognition skills to those developed. As a Mason, I recognize that Grammar knowledge allows Masons to Travel in directions that hold back illiterate men.”

“Rhetoric is the Beauty aspect of the study of Symbols as words. Moreover, as only things of Beauty can do, it invites those affected to experience its Beauty by merely taking in what is offered. Any Persuasion that occurs is not forced though; it is not put upon those so invited. It is put forth to partake in and its recipients are wholly responsible for what they do with it.”

“To Master influences such as these, Masons must know what persuades. Rhetorical study cultivates understanding, insight and planning into this. It also requires Craftsmen to know what future such Work shapes. With such training Masters duly Craft its ends. As Centers of Influence, their Work creates Spheres of Influence.”

“Logic is essential in Building anything having Integrity. Non-reason condemns people to unnecessary, damaging and life-threatening conclusions. Ritual informs Masons that Logic is important. Masons must apply Logic in their Work to assure that what they have wrought is both sound and viable in supporting their aims. Sadly, Masons receive only a shadow of what is required Logically to Raise them Above the norm.”

“Logic is the Wisdom aspect of the study of Symbols as Words. Logical abilities allow Masons to discern Truth from fallacy. The power of right reasoning is deemed essential to Masons. Without Logic, Masons cannot comprehend their rights and duties. Without Logical faculty, men are considered insane; viewed as madmen and idiots; and denied admission into the Masonic Order. Lack of Logic also limits Travel.”

“Arithmetic lets Masons see the world in such dramatic detail that they appear to be sighted to the blind untrained. It requires foundational understandings of how Numbers manifest and what can be done with them. Arithmetic is the Strength aspect of the study of Symbols as Numbers. Through Arithmetic, the world becomes a familiar place.”

“How does this happen? Arithmetic study develops the abilities of Masons to recognize relationships and reveal patterns. Its study also forces Masons to understand, confront and deal effectively with concepts related to zero and infinity. Through its Strength, Arithmetic enables Masons to have real impact through development of analogy.”

“Geometry is one of two Wisdom aspects of the study of Symbols as Numbers. Geometry puts dimension to those concepts revealed and accepted during Arithmetic study. It also facilitates dealing with irrational quantities. Geometry trains the mind to imagine things that exist, things that may exist and things that will never exist. It’s amazing how much Geometry is part of our world.”

“Masons studying Geometry bring ordered thinking to their physical world. It also hones their critical thinking; sharpness portable to other disciplines such as Music and Astronomy. Of all the aspects of Masons developed by such study, the one applied toward the measure of man may very well be its most important.”

“Music is intimately dependent upon Arithmetic and Geometry. There is Logic behind its construction. Music has both a Grammar of its own and it is itself the Grammar of sound! Most importantly, its purpose is identical to that of words when employed as Rhetoric, through its use, it persuades. Lastly, understanding of Music supports a Mason’s understanding of Astronomy.”

“Music relates to internal and external motion and requires a firm understanding of how motion Works under certain conditions. Builders who know these basics can then both evaluate and devise systems that employ such motion.”

“Ultimately, the capstone of Liberal Art and Science studies opens up a Mason’s ability to seriously study of Theology and Philosophy. Astronomical information is often times conveyed within such texts and it takes a trained individual to identify when such information is present. This requires all the skills developed by Liberal Art and Science study.”

Building Better BuildersThese are only the chapter headings – a tease. Where you mind really gets challenged is in the catechism of each chapter. There is where the general becomes the specific; there is where the learning takes place; there is where the mind is expanded; there is where you must commit much time and energy.

Once you have completed this expansion of the mind an overview of the big picture illustrates the importance of such study. Nagy tells us:

“To look deeply without toward what constitutes the makeup of your world is to put forth an effort to see and seed the possibility of knowing the very essence of Creation. Of all the actions that Masons can take, except for ‘sincere and searching self-reflection’, this action has the deepest impact. It permeates everything thereafter done.”

Finally, we are told:

“Next to the Entered Apprentice Degree, no more demanding Work in all of Masonry can ever match what is ordered upon Masons within the Fellow Craft Degree. It’s most unfortunate that the Work specified as important to Masons within the Fellow Craft ritual is ‘skipped over’ by far too many Masons as they pursue the title of that ‘next’ degree. Mentoring Master Masons would do well in tempering the enthusiasm of those Fellow Crafts desiring the next level, as well as their own, especially if they have yet to earn the title.”

Leaping over this specific Work has damaging consequences for the Mason, the Brothers who have to deal with that Mason, the Fraternity as a whole and future Masons who Enter and expect proper guidance from Brothers.

Building Athens is not just an information book but a challenge. I consider myself reasonably well informed, no Rhodes scholar mind you, but time and time again I felt a need to consult further research on some of the points Coach Nagy was making and some of the references he alluded to. This is the kind of book you might want to read twice. Once you mind has been expanded it makes much more sense the second time around and you will “get it” finally.

The only question left: ARE YOU READY TO RETRAIN YOUR BRAIN?

You can find John Nagy’s book, Building Athens – Uncommon Catechism for Uncommon Masonic Education – Volume 3, on Amazon and on his website.

Mozart and The Magic Flute

mozart and the magic fluteThe topic of Masonic Music came up recently in a sub reddit forum with the posting of the Grand Leveler video from up and coming artist Apathy. The gist of the discussion came down to what was art, and more particularly, what elevated Masonry in its art.

In one of the exchanges, Mozart’s Magic Flute was used as an exemplary example of the ideas of Masonry elevated in an artistic endeavor.

The argument aside, it made me wonder “How many of today’s Masons have actively sought out the Masonic connections in Mozart’s Great Work, let alone sat down to watch the three hour epic?”

So, not that a Google search wouldn’t facilitate this, here’s your chance.

And, if you need some enticements, I’ve brought in some commentary from just a couple of sources on the opera to give it some context and flavor to induce interest. Interestingly, look for the Vernunft, Weisheit, and Natur over the doors.

And, if the German Aria throws you, here is a German to English translation on what they’re saying.

From an NPR piece in 2009 on The Magic Flute:

Both Mozart and the opera’s librettist, Emanuel Schikaneder, were devoted Freemasons, at a time when the Masonic order was frowned upon by the authorities and mistrusted by the public. Its meetings were mysterious to outsiders and the order was believed to be connected to the principles of the Enlightenment, so established political leaders were a little nervous about it. The emperor of Austria even restricted the number of Masonic lodges allowed to operate in the country.

So, while Mozart’s drama fell into the general category of “magic opera” — works based on folk tales, with plenty of stunts, scene changes and spectacular stage effects — it was also a political statement in disguise. Mozart and Schikaneder crammed all kinds of veiled Masonic symbolism into The Magic Flute, and people have been trying to figure the whole thing out for more than 200 years.

And, the Higher Revelations blog broke down the artist and the opera well in its post from 2012, Mozart and the Freemasons: A Study of ‘The Magic Flute.’ Their conclusion sums up the notion of this Great Work saying,

Given the story, the numerous symbols and Masonic references, and the musical treatments Mozart employs, it is hard to dispute that Freemasonry played a huge influence over the creation of The Magic Flute. However, it is important not to view the work simply as a Masonic treatise. Much more than that, Freemasonry is used as a foundation stone from which the truly great elements of the opera spring.

And, lastly, the Wikipedia page does some justice in attempting to quantify Mozart’s Masonic connections.

So, rather than try and reinvent the wheel and re-explain something so well researched and commented upon already, I suggest rather sitting back and enjoying the Magic Flute in its totality, from this UGA Opera Theater production of The Magic Flute.

The Grand Leveler

the grand levelerNot much I can say about this video, other than to comment that it seems to really come from the heart takes a serious and respectful approach to the fraternity in a very modern and contemporary way. It definitely belongs in the sphere of the Masonic nexus of the material culture.

Even if you’re not a fan of the genre of the music I think you’ll find some depth in the message.

From the YouTube Credits:

Apathy – “The Grand Leveler” produced by Smoke The World
From the album “Connecticut Casual” (June 3rd, 2014)
On Dirty Version Records
Video by Reel Wolf Productions

Special thanks to the officers and brethren of Coastal Lodge #57 in Stonington CT & Bro. Jim Johnson

Nicely done.

Auld Lang Syne

auld lang syneAs another year comes to a close and and the future looms on the horizon, I wanted to take a moment out of the holiday season to say thank you to all our friends, brothers and readers who have happened by this humble blog in the past year.

It seems most apt to look at Br. Robert Burns tune Auld Lang Syne with a deeper meaning, especially as I have met and made so many new friends (both brother and non) that to each of them I offer a “cup o’ kindness” and say thank you for your friendship, fraternity, and fidelity.

And, to that growing light on the horizon, I look forward to what the new year brings; its challenges and triumphs. I hope you will join us on this path to the brighter future in light.

Auld Lang Syne

Should auld acquaintance be forgot,
And never brought to mind?
Should auld acquaintance be forgot,
And days o’ lang syne?


father time with the new yearFor auld lang syne, my jo,
For auld lang syne,
We’ll tak a cup o’ kindness yet,
For auld lang syne.
And surely ye’ll be your pint-stowp!
And surely I’ll be mine!
And we’ll tak a cup o’ kindness yet,
For auld lang syne.


We twa hae run about the braes,
And pu’d the gowans fine;
But we’we’ve wander’d mony a weary foot,
Sin auld lang syne.


We twa hae paidl’d i’ the burn,
Frae morning sun till dine;
But seas between us braid hae roar’d
Sin auld lang syne.


And there’s a hand, my trusty fiere!
And gie’s a hand o’ thine!
And we’ll tak a right gude-willy waught,
For auld lang syne.


Happy New Year.

Hando Nahkur Plays Rachmaninoff, Piano Concerto

Brother Hando Nahkur Plays Rachmaninoff’s Piano Concerto No. 3

Brother Hando Nahkur and Br. Beehive

Brother Hando Nahkur and Br. Beehive

It was a pleasure to once again go to watch the wondrous talent of Brother Hando Nahkur performing this time with the Irving Symphony Orchestra. Nahkur is emerging as one of the great new concert pianists.

He holds a Bachelor’s of Music degree from the New England Conservatory of Music, where he studied with Gabriel Chodos, a Certificate in Performance and Master’s of Music degree from Yale University School of Music, where he studied with Boris Berman and Artist Diploma from Texas Christian University School of Music, where he studied with Tamas Ungar. Currently Nahkur is continuing his studies with Joaquin Achucarro at SMU Meadows School of the Arts.

He has garnered many top prizes in both national and international piano competitions including the USA, Canada, Estonia, Italy, Russia and Greece. In recognition of his achievements he was awarded a prestigious Golden Medal of Merit in Canada.

April 13, 2013 Nahkur performed with the Irving, Texas Symphony Orchestra Rachmaninoff’s Piano Concerto No. 3 in D Minor. This piece is judged by experts to be one of the most difficult piano selections in the world to play. After a flawless hour long performance Nahkur received three standing ovations from a most appreciative audience.

When Nahkur isn’t studying and practicing, arranging music, making CDs, teaching piano and playing for his church every Sunday he spends time with his Masonic Lodge in Fort Worth Texas.

It took more than 6 months for Nahkur to start from scratch and learn Rachmaninoff’s Piano Concerto No.3. The Beehive congratulates Nahkur’s accomplishments and continued success. As he is a regular reader of The Beehive perhaps you might want to pass onto him your congratulations also!

Ke$ha’s Die Young occult foray

Pop singer KeSha’s new video Die Young, a track off her new album Warrior, is an interesting foray into the Masonic Nexus as it swirls in a mix of secret society symbolism.

Certainly not the most interesting use of esoteric or occult symbolism in music, I’d give that prop to Jay-Z and his all seeing eye hands,  but perhaps Ke$ha’s use is the most danceable.

Symbolism to keep an eye out for…

The all-seeing eye, pentagrams, triangles and nested triangles, geometric patterns galore, a lambs wool covering, and a glowing pentagram juxtaposed with an inverted cross.

The symbolism in the video is intended, as an MTV deconstruction explains, as it includes Illuminati references while telling a story of a cult like collection, in essence, dying young.

Honestly, though, I find it hard to really construct any real conclusion on the use of the iconography other than to say that it’s trying to make reference to some kind of esoteric essence through the lens-flare in a disco.

What do you think? Does the video artfully depict your secret society experience?

Brother Hando Nahkur Revisited

Once again we visit with the talented Freemason, concert pianist Hando Nahkur.  You might remember from the previous article on Freemason Information – that Brother Nahkur studied at Yale, The New England Conservatory of

Music and TCU. He has moved on this year to continue his studies to SMU, Dallas. On September 22, 2011 he gave a piano recital at SMU’s Meadows School of the Arts.

His two strongest numbers that showcased Nahkur’s piano virtuoso, amazing piano dexterity, power and fullness of emotion were Liszt’s Concerto No. 2 in A Major and Totentanz, my favorite, also by Liszt. You cannot come away from a Nahkur perfomance without realizing that here is a man who plays with great passion.

Next week, October 2, 2011, Nahkur will perform in Costa Rica with the Cartago Symphony Orchestra and December 2, 2011 he will perform in Wayland, Massachusetts.

After watching an amazing performance it was time to break bread together and bond in conversation from the trivial to the sublime. Over pizza and Pepsi we ran the gamut from life and loves, through Freemasonry and music to customs and cultures.

As we parted each to his separate way we realized that this was going to be just one of many more relationship times where a 28 year old artist and a 67 year old soon to be retiree, through the power of Brotherly love and affection, were to become yoked for life.

Brother Hando Nahkur’s You Tube Page

Brother Hando Nahkur’s website

20th century Texas history, African American, community

Book Review: Blind Lemon Jefferson

Dr. Bro. Robert UzzelI first met Dr. Bro. Robert Uzzel three years ago at a Grand Session of the Prince Hall Grand Lodge of Texas. Later I had a more in depth conversation with him at a Phylaxis Convention. Brother Uzzel came over to Prince Hall from the Grand Lodge of Texas in 1981. He has a Doctor of Philosophy Degree from Baylor University. He has taught religion and history at various Dallas area colleges and at one time was chairman of the religion department for Paul Quinn College. He has also spent some time as a Texas state social worker. And since 1975 he has been a minister in the African Methodist Episcopal Church. He served for awhile as Grand Historian for the Prince Hall Grand Lodge of Texas. Plus he is also an accomplished author.

20th century Texas history, African American, communityLast year I reviewed Uzzel’s book, Prince Hall Freemasonry In The Lone Star State. This time around I am taking a look at his book, Blind Lemon Jefferson.” It is not a Masonic book, rather a look at early 20th century Texas history and a mirror into the African American community of that time. It also heralds a great man and a trail blazer in the development of American Blues music. Without Uzzel’s comprehensive work on the life and legacy of Blind Lemon Jefferson, it is possible that this first successful blues recording artist would all but be forgotten outside the music community.

Blind Lemon’s peers, protégés, successors and performers in other musical strains all pay him due respect, however. Other great blues performers that followed him, T-Bone Walker, Josh White, Texas Alexander, Smokeyy Hogg, Lonnie Johnson, Sam ‘Lightnin’ Hopkins and even Bessie Smith bear his imprint. He is also said to have influenced Harry James, Benny Goodman, Bix Beiderbecke, Louis Armstrong and Tommy Dorsey. Bunk Johnson and Jelly Roll Morton paid him tribute in the development of their styles.

The 1960s saw resurgence in Blind Lemon’s music, with such artists as Buddy Holly, Janis Joplin, Johnny Winter, Steve Miller and Ray Orbison adopting some of his music and/or style.  Especially enamorate of Blind Lemon was Bob Dylan who recorded Lemon’s See That My Grave Is Kept Clean.

Uzzel tell us:

“Dylan, future king of folk-rock and poet for the social activism of the 1960s, was also described as part of that same tradition begun so eloquently by Blind Lemon. And indeed, while listening to Lemon Jefferson’s 1920 recordings, it is difficult not to hear traces of a young Bob Dylan some forty years later. The distance from the bottomlands of Central Texas to the folk clubs of Greenwich Village and from the country blues to rock ‘n’ roll is a short one.”

Carl Perkins performed a rockabilly version of Lemon’s “Matchbook Blues,” the Beatles recorded an adaptation of the same song and Elvis did the “Teddy Bear Blues.” And the rock group Jefferson Airplane, aka Jefferson Starship, paid Blind Lemon the ultimate tribute by naming themselves after him.

Even the great BB King acknowledges that he got a lot of his “stuff” from Blind Lemon.

Lectric Chair Blues
Blind Lemon Jefferson


I want to shake hands with my partner
and ask him how come he’s here.
I want to shake hands with my partner
and ask him how come he’s here.
I had a mess with my family
they goin’ to send me to the electric chair.

I wonder why they electrocute a man after
the one o’clock hour of the night.
I wonder why they electrocute a man after
the one o’clock hour of the night.
Because the current is much stronger
when the folkses turn out all the lights.

I sat in my electrocutin’ room,
my arms folded up and crying.
I sat in the electorcutin’ room,
my arms folded up and crying.
But my baby had to question
whether they gonna electrocute that man of mine.

Well they put me in a coffin
to take me all the way from here.
Well they put me in a coffin
to take me all the way from here.
I’s rather be in some new world
than to be married in the ‘lectric chair.

I seen wrecks on the ocean
I seen wrecks on the blue sea
But my wreck that wrecked my heart
when they brought my electrocuted daddy to me.

There are many different kinds of blues. Blind Lemon’s was a country style. No piano or band accompaniment for him. His work is often called a “holler.” Uzzel tells us that Blind Lemon sang the Texas blues,

“rooted in the Central Texas soil, characterized as having a great deal of ‘moaning and droning’ but as less percussive and with lighter emphasis on individual notes than the Delta blues.”

“The music of Blind Lemon Jefferson was an expression of archaic or country blues. This style, which is regarded as the first phase of the blues as an established form, is characterized by non-standardized forms, unamplified guitar, and spoken introductions and endings. At times, country blues performers were known to use ostinato patterns in the guitar accompaniment, bottlenecks on the frets of the guitar, and rough, growling tones, with falsetto voice used for contrast or emotional emphasis. This style stands in contrast to the classic or city blues style, which developed during the 1920s and was characterized by standardized form with regular beginnings and endings and two or more instruments in the accompaniment.”

Uzzel comprised material for this book over many years – decades. That gave him the opportunity to interview hundreds of people who knew Blind Lemon or had talked to him at one time or were influenced by him, adding a reality to the book that would have been missing without them. You will find pictures of some of these interviewees included in this work. Uzzel chronicled the effort to provide a new headstone for Blind Lemon’s grave and the effort for other historical recognition of which he was often a part of. He attended the 2001 Blues Festival in Wortham, Texas, Blind Lemon’s birthplace. There is much merit to be said for 30 years of research.

Blind Lemon Jefferson by Robert Uzzel is a well written, well documented book by an author who has a keen insight into the African American community and who has the knowledge, training and expertise in the fields of religion and history. Rather than a personal adulation of a music fan, this book is a factual representation of reality – a glimpse into the early 1900s, especially of those who were struggling, and a tribute to an icon of the music world whose legacy will now live on. Thanks to Robert Uzzel, well done!

I stood on the corner and almost bust my head.
I stood on the corner and almost bust my head.
I couldn’t make enough money to buy me a loaf of bread.
My girl’s a house maid and she earns a dollar a week.
My girl’s a house maid and she earns a dollar a week.
I’m so hungry on pay day, I can’t hardly speak.
Now gather round one, people, let me tell you true facts.
Now gather round one, people, let me tell you true facts.
That tough luck has struck me and the rats is sleepin’ in my hat.

Tin Cup Blues – Blind Lemon Jefferson

Brother Hando Nahkur Wins Record Of The Year In Europe

The Beehive did a story on classical pianist Brother Hando Nahkur in December.

This talented Brother has just received notice that he has been awarded the record of the year in Germany for his CD DeusExClavier.

Here is his press release:

Hando Nahkur and his second CD “DeusExClavier” (released in 2010 by ERP – Estonian Record Productions) receives international recognition!

Hando Nahkur’s second CD “DeusExClavier”  reaches the Top Music Charts in Europe and wins “THE RECORD OF THE YEAR – Die Platten des Jahres ” title by “ZEIT-ONLINE” in Germany:

In the end of 2010, “ZEIT-ONLINE” (one of the most important websites in Germany) announced “DeusExClavier” as “The Record of The Year – Die Platten des Jahres” in Germany. Three new CD releases of 2010 from all over the world were selected to receive the title and “DeusExClavier” was one of them. It is remarkable that Hando Nahkur’s “DeusExCalvier” was the only piano music CD to win the recognition amongst P.Vasks’ String Quartets and M.Reger’s Choir Works.

ZEIT-ONLINE: “Hando Nahkur is one of the greatest new surprises of the classical music scene… With this CD he established himself amongst the greatest pianists..”

Here is the link where “DeusExCalvier” was announced as “THE RECORD OF THE YEAR”:

“DeusExClavier” receives an outstanding review from ”PIANONews” (one of the most popular Classical Music Journals in Germany).

Performance: 6/6, Sound 6/6, Choice of Repertoire  5/6

Hando Nahkur and his second CD “DeusExClavier” are a marvelous discovery! …The “official” culmination of the record is Schumann’s Symphonic Etudes op. 13.

Nahkur’s interpretation rightfully holds its own even against the legendary versions by Wilhelm Kempff or Martha Argerich.
We will—hopefully—hear very much more from this talented pianist.

Please join the Behive in congratulating this talented young Freemason.  You can contact Nahkur on his website: