musicians of old

Chapter 710: No End (Part )

"Ding-boom-"

It was another slow movement, with Fanning playing a series of crystal-clear chords, and a hymn-like resonance that echoed in the empty church square.

Song 19, I am asleep, but my heart is awake.

Or, it can also be called "dream gaze".

There are bright candlelight and flickering flames here. People with sincere feelings hear the "Theme of Mystical Love", which quotes the most beautiful "Song of Songs" in the church's hymns throughout the ages. It is like a violin played by an angel in a dream, slowly leaking out soft and peaceful music.

So according to the title “Twenty” of “Twenty Meditations on the Holy Infant”, we have reached the finale of this part.

But this is the only song whose title is not indicated in the catalog in advance.

"Track 20, 'The Church's Gaze.'"

Bishop Walter, who had received instructions in advance, now stepped up to the altar and spoke loudly.

"The gaze of the church?" The believers looked at each other.

"Very good, very good." Pope Janinger XIX felt that it was both unexpected and reasonable, and could not help but praise silently, "The church is a group of believers. The believers gather together to form a congregation, which is the manifestation of the sacred group. Every believer is an extension of the 'candle', so the church is the manifestation of the expanded array of the mystery of the 'candle'. In this way, gazing at the church is like gazing at a living organism. The 'candle' is originally invisible, but we are visible!"

"But why is this the only piece without a title? Is there some other purpose?"

"Master Lavoisier explained this to the priests and the audience--" Walter picked up the note again and continued to speak aloud.

"The Secret of Illumination is about the way to the future, therefore, this is a prophecy, this is a musical structure that you have never seen before and no one can understand in advance."

Immediately, Fanning's left hand played a long theme group composed of irreversible rhythms in the bass area, resounding through the sky with an incomparable dignity and progress.

This group of sounds is extremely unstable, and is symmetrically expanded on the left and right sides in a "bordered" manner. At the same time, it is also separated by fast groups of sounds that move from the middle range to the outside.

A certain kind of religious spiritual triumph and victory transcends time and space, bringing both peace and ecstasy!

"This is... This is?"

“Isn’t this a typical way to write an expansion?”

"Why does it start with the development part? Did I miss something?"

All these artists who claim that their musical vocabulary is "avant-garde", "radical" and "transcendent" were simply stunned by this opening!

Regarding the order of music structure, the normal way of thinking is definitely "presentation-development-reproduction".

You have to first throw out a theme, and then you can present the contradictions and changes in a dramatic way, right?

And this piece, “The Gaze of the Church”, is actually a structure where the development section comes before the presentation section! Specifically, the piece is composed of a sonata form with the recapitulation section omitted, and the presentation section and the development section appear inverted!

Is this something a "normal" artist could come up with?

How do you evaluate this? What is the basis for evaluation? What is the comparison?

You can't "investigate" something you don't understand at all. Is this still called "investigation"?

Laxus and other members of the Special Patrol Office's "inspection team" who were sitting in the front were completely silent.

"That's called 'prophecy'!"

The believers, however, agreed with this and felt that after these days of instruction, they had already understood about 40% to 50% of the teachings.

“This is the revelation of the ‘Secret of Illumination’ and the ‘Harmonious Litany’!”

After the initial long sound group unfolds, the concluding "God the Father Theme" appears again under Fanning's fingertips, appearing three times in total, and the three presentations are all connected by a whistling passing cadenza.

These cadenzas are characterized by the "asymmetrical expansion" texture variations in the left hand and the change of note sequence in the right hand. The two overlap with each other. Thus, in this turbid continuous sound group, the "Father's Theme" gradually climbs from B major to bD major and then to F major, showing an exciting and dizzying spiritual shock!

As the finale of "Twenty Meditations on the Holy Infants", "The Gaze of the Church" has undoubtedly become the largest and longest movement among them. The composer intentionally applies the various secrets revealed in the first 19 movements to this movement, which appear in large quantities and in a concentrated manner, and also change in large quantities and in a concentrated manner, highlighting the significance of summary, overall planning and response!

"Boom!"

"Boom!!!"

“Bang!!!!——————”

When the bells based on the dominant continuous tone sounded again, the vocabulary of "harmonic litany" appeared again, and under the background of the increasing rhythm of the time value, the music was pushed to the ultimate goal.

This long-lasting music segment is like the ringing of church bells one after another, on the top of the towering mountains, conveying brilliant majesty and gospel!

The development section that appears first ends in this way, and then the inverted presentation section appears in great glory in bar 161!

The "Father's Theme" has finally developed from the previous chords into a complete melody, positioning the tonality in the original #F major key, with powerful chords that are repeated continuously, interspersed with materials that imitate cymbals, gongs, bells, and bird songs, showing an unparalleled sacred and epic temperament.

The final epilogue also ends with the "Father's Theme", but it becomes transcendent and complete, thus becoming a great victory representing love and joy. In the end, tears filled with joy come like a tide!

On the vast and open church square, there was an extremely warm and moving applause!

“Lavoisier uses a more subtle and philosophical modern musical language than any other work, eloquently and movingly opening our eyes and ears to unexpected theological realms!”

Melaltin, along with several bishops, signaled to the audience several times to stop clapping and waving their hands.

Because the performance has not yet ended and the first half has not yet ended, we must leave enough time for the sermons and lectures in the second half.

But the applause showed no sign of stopping anytime soon.

Until Fanning on the stage started singing again, forcibly suppressing the noise with music.

The last part of "The Art of Fugue" has finally arrived!

In Counterpoint 12 and 13, Fanning uses his superb counterpoint skills to present two fugues written in strict reflection techniques.

It's more than just a reflection of the subject.

Instead, the whole article reflects each other!

That’s right, two groups, reflecting each other, that is to say, the two counterpoints actually have two each, for a total of four!

For example, Counterpoint 12 consists of two four-part fugues that are "mirror-reflected" with the III degree in D minor as the axis.

They are so clearly visible that even someone who does not know the musical notation can, as long as they get the piece of music and put the scores on the same page and in the same position together, and look at them carefully and compare them, they can see at a glance that the directions of those "tadpoles" are completely mirror images of each other.

Because of the strict inversion of reflection, the two fugues are identical in structure, the only difference being in tonality.

The presentation of the "prototype" part is based on the main key of D minor, which is transferred to the dominant key of A minor, while the "reflection part" is transferred to the subdominant key of G minor after the main and dominant are reversed. The "prototype" theme of the development part is entered twice from G minor and BB major, while the "reflection part" is converted to the dominant key of A minor and F major.

This is almost a thorough revelation of the mystical ideas of "self" and "other", "representation" and "will" using the language of theology!

(End of this chapter)