musicians of old

Chapter 689: The "God's Theme" Appears

"This is"

"God's Theme!?"

"The divine theme created by Saint Sebastian!?"

The Pope, standing solemnly outside the camera and in the shadows, felt that the single notes produced by the upright piano seemed to be infusing something simple, plain, yet close to the truth into the world!

In the long river of history, there seems to be an anchor that is used to mark an event that cannot be ignored!
Four measures later, Fanning adds the soprano part with fingers 4 and 5 of her right hand.

Controlling two parts with one hand, "The Theme of God" follows the development principle of fugue and answers the question in tune in the fifth above.

Then the left hand joins in, entering the third bass part and the fourth tenor part respectively.

The nature of D minor makes the overall sound of the "God's Theme" in the four parts have a slightly gloomy and compassionate tone.

But it has full ambiguity, and is by no means a manifestation of concrete emotions such as sadness and grief! There are deep secrets contained in it, and the "Shining Light Prayer", "Ascending Prayer", "Secret of the Night Watchman" and other secrets are just products derived from its development!
This is for believers or clergy, but for a wider audience, there is another non-religious adjective that rises from within -

They all felt that the temperament of the theme of "The Art of Fugue" was like,
motto!

"Theme of God" is just like the motto!
"Why does such a simple counterpoint technique remind me of any of the secret teachings of 'Candle' that I have studied throughout my life?"

"Also, there are many profound secrets of the Key and many more!"

Not only were the spirits of the priests illuminated, but even the knowledgeable people from many schools of thought also felt something in their hearts.

Yes, the first counterpoint is extremely "primitive" or "blank" in its use of technique. Except for the two imitations in the interlude, it is basically a single counterpoint, without even a fixed answer. Even in the middle part, the theme does not turn to the parallel major!

But this has no impact on its wonderful sound and solemn temperament. The counterpoint between its notes is still wonderful, and every student of the secret transmission can still find the shadow of expression and revelation in it!
In the second counterpoint, Fanning lifts his hands and plays the same single melody of "God's Theme".

This time the right hand switches to the left hand and is presented before the bass part.

However, starting from the last few notes of the theme, a dotted eighth rhythm deformation appears.

"Da-da-da-da-da-da-da."

This jumping rhythm suddenly became the main rhythmic idea of ​​the music, and began to be implemented in each part in a swaying and dynamic form!
“The momentum has grown, the scale has grown, the size of the presentation ministry is growing,” the Pope’s eyes lit up.

"Master Lavoisier's fugue is not so 'abbreviated'." The chief judge Melaltin standing behind the Pope was also thinking, "It also presents the 'Theme of God' to my congregation, but the rhythmic dynamic phrases with dotted notes have already appeared in the whole passage, becoming a fixed answer that accompanies the theme in a practical sense, while the first piece did not have a fixed answer. Not only that, the addition of the theme has already constituted a secondary presentation."

Middle section, expanded part.

Another "God's Theme" with a different color was played by Fanning in the high pitch for the first time with a graceful manner!

Bright F major! Parallel major to D minor!
Originally, the aphoristic theme was rather dark in tone, but now, it seems that its ambiguity and possibilities have been further expanded.

After ending with a dotted soft accord, Fanning raised his right hand again to play the third counterpoint theme.

This time, the form of the "God Theme" has changed more significantly.

Taking the fa note of level III as the axis of symmetry, the placement of all notes and the up and down directions between notes are all reversed!

"Reflection!"

“It turns out that the reflection of ‘God’s Theme’ also has a solemn and compassionate sound!”

At this point, the theme of the entire fugue is equivalent to an imitation of the reflection, and because it is a reflection similar to "answering questions in tune", a "mi-do-la" structure appears in the melody, and the harmony has the color of A minor.

Therefore, the entire "God's Theme", which is only four bars long, has the tonal deviation movement characteristics of D minor, A minor, and D minor!
Some kind of profound secret was once again depicted in a few concrete strokes by Fanning. "The fixed theme here is more 'fixed' than the previous one," said conductor Walter, who took a leave of absence to come to the scene of Apel, and his mind followed the flow of the music. "It seems to form a rigorous octave double counterpoint transposition relationship with the theme! The application of polyphonic techniques seems to have an increasing trend!"

Walter remembered that when he spent the summer in the fox lily fields in the south, he and his teacher Scheele had inadvertently talked about the church's legend about Saint Sebastian and the "Theme of God".

But I never dared to dream that I would actually hear the real performance and preaching of "God's Theme" in my lifetime!
In the fourth counterpoint, Fanning presents to the audience the reflection of the "Divine Theme" based on the III degree in D minor.

But this time, you need to answer the questions strictly first, and then answer the questions in tune. The order is exactly the opposite of item 3.

The compact entry of the theme and the chromatic counterpoint give the music a certain enthusiasm and sense of progress.

The scale of the development section is obviously further expanded. The reflection of the "God's Theme" is continuously modulated up and down by fifths. The recapitulation section uses two canon imitations of third and sixth intervals!

“No, it’s more than that.”

The churchgoers were fascinated, and the Pope was deeply amazed.

"The mysteries contained in it are not just the hidden knowledge level of 'Shining Light Prayer' and 'Secret of the Night Watch'."

"Even the spiritual knowledge of the 'Gate of Light and Shadow', the 'Gate of Enlightenment', and the 'Gate of Rotating Fire', there are signs of it vaguely depicting and teaching!"

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"Could this be a metaphor for another person of the Unfading Fire? Could it be related to the secret teachings of the Trinity?"

A certain mystery about the "Endless Fugue" - a mystery that only Fanning knew before - has now been quietly implanted into the hidden knowledge system of these believers. It's just that because it was revealed for the first time, they have not been able to feel it clearly!

Of course, it is not just the believers, but listeners all over the world prick up their ears, not wanting to miss any details of the movement between the parts!
Regardless of whether this polyphonic music style from the Middle Ages still fascinates modern musicians, there is at least one unavoidable fact: all composition techniques are inseparable from the basic skill of "counterpoint", and the exquisiteness of its polyphonic writing is simply a standard textbook of "fugue", a writing model in the full sense of the word!

After the fourth counterpoint was finished, the audience continued to wait there with a lingering feeling, but Fanning temporarily stopped playing, stood up and bowed properly in front of the camera.

Then a wave of applause filled with reverence roared past.

"Hmm? It seems that this stop, The Art of Fugue, will end here for now?"

"Clause 4. We will only perform up to clause 4 for now."

The cardinals who were watching the performance on two different continents at the moment - one was Mir and the other was Richelieu - both felt that they were being kept in suspense.

These four fugues are so exquisitely written.

The fugue itself has a unique sense of sound, with one voice after another gradually appearing, and the polyphonic techniques gradually increase, which makes people realize a kind of "creative power" from nothing! !

In addition, this "God's Theme" itself is so great that whether it is the original form or the reflection, people want to listen to it over and over again.

They really want to know what happens next!
The audience had learned about the arrangement in advance from the Turner Cinemas - Father Lavoisier's public performance would have at least five or six stops, and at each stop, "The Art of Fugue" and "Twenty Meditations on the Holy Infants" would be presented alternately until the end.

This "serialization" approach is really a bit distracting and makes people lose their appetite.

But doesn’t it also give us ample reasons to look forward to the latter work?
"Could it also be a polyphonic music that demonstrates superb counterpoint techniques?" a modern artist speculated.

"It doesn't seem so." The man next to him narrowed his eyes. "Look at his feet! He stepped on the pedal right from the start, and he stepped on it quite deep!"

Fanning sat back down at the piano.

Lavoisier looked up to the sky devoutly, but his hands were hovering above the piano keys.

It seems that the initial touch of the keys for this second work requires finding some special spiritual state!