musicians of old

Chapter 711: Endless (Part )

Counterpoint 13 presented by Fanning is also a set of mirror fugues. It seems to have only three parts, one less than the previous one, but the technique is actually more complicated.

The octave double counterpoint makes the positions of the parts appear to be restored after transposition. After the mirror mapping, the two parts AB still maintain the position relationship of A above and B below.

Moreover, in the "positive" part, the prototype and reflection of the theme appear alternately, while in the "reflection" part the situation is exactly the opposite.

To put it in a more difficult way, all the themes in the "positive" part are prototypes, while those in the "reflection" part are all in reflection form, thus presenting the effect of reflection within reflection!

No one in the world can judge such miraculous polyphonic techniques!

Among these members of the discussion group's "inspection team", some of those with a more upright character have already considered resigning from their appointment.

What's the point? It's nothing more than showing off one's superiority and power over life and death in front of those mediocre artists.

Perhaps I am still far from understanding modern art, which truly stands at the forefront of the wave of art history!

Amid the various thoughts of countless people, the finale of "The Art of Fugue" performed by Fanning's fingertips, which was also the finale of the entire sermon performance, finally arrived!

In terms of counterpoint numbering, it is number 14.

But considering that there are 4 canons before it, as well as 1 mirrored harpsichord fugue and 2 doubled mirrored counterpoints, its actual ordinal position is a little more than that of "Twenty Meditations on the Holy Infants".

Article 22.

Fanning played the first theme with his left hand, which was solemn, deep, and pure, almost like Gregorian chant from the early Middle Ages.

It is almost composed of whole notes and half notes, and seems to express the great spiritual vision in a slow tone.

It sounds like it should be brand new material, and people are not very familiar with it, but this does not hinder its greatness, because it naturally has a revelation that can be perceived by even the most spiritually dull people - this fugue will be everything, the beginning and end of all polyphonic music!

It is like the original creation song of the divinity, which makes everything in order and eliminates all noise and chaos!

This slowly flowing atmosphere of compassion continues until bar 114, when the first theme of the fugue is initially explored, and then the mezzo-soprano voice begins another melody flowing in eighth notes.

A second theme emerged.

Sure enough, this 22nd finale is still in the form of a "multiple fugue"!

Compared with the solemn and slow first theme, the second theme has more passionate and heroic flowing emotions.

It’s also brand new material.

However, Fanning did not show the audience the structure of the secondary exposition as he did before. After the four lower voices had presented the second theme and the high voice had supplemented it once, the music entered the second development section.

In bars 156-193, the first theme and the second theme are combined for the first time, forming a double counterpoint!

Solemnity and enthusiasm, depth and heroism, they are combined three times and transitioned by three interludes.

Just like the creation process at the beginning of the world, the music grows gradually from sparse to dense from space to time and reaches its peak. During this period, there are climaxes one after another, which makes the audience cry. It is just like the believers constantly shouting the new holy name they believe in!

At this point, the structure of this finale is actually already very large and grand!

But then, there was only a brief moment of silence that ended.

The camera seemed to pull out in an instant, allowing people to see the entire picture of a towering, magnificent ancient cathedral.

The sunlight shines through those gorgeous stained glass windows, creating a mesmerizing moment!

"B (flat) - A (la) - C (do) - H (restored) -"

Fanning played a brand new third theme!

This is Bach's signature theme "BACH"! It starts with the tenor voice in bar 193 and immediately connects and responds to the bass voice.

The believers found that this was still a completely new material that they were not familiar with before.

Compared with the previous two themes, this one has more semitone progressions, and it sets the tone for this piece of music with its ethereal, mysterious, and almost meditative temperament.

"BACH Is ​​this Saint Sebastian's signature reveal?"

Revelation has progressed to this point.

So, this finale is at least a "triple fugue"?

"Hmm, no, no."

"In the history of music, triple fugue is an extremely strict and rare magnificent structure, which is difficult for followers like me to achieve, but Master Lavoisier has already demonstrated several triple fugue paradigms."

"No! Where's Sebastian's 'God's Theme'?"

Many musicians seemed to have a sense of excitement when they heard this! "The 'God's Theme' has not appeared yet!"

"Could it be that"

The more inspired artists clenched their fists.

“This is the finale of Article 22.”

"Is it a quadruple fugue that transcends the spiritual limits of ordinary creatures, or even surpasses the sublimity of the 'Dome Gate'?"

"Four-part fugue in four parts!?"

Highly inspired people like Janinger XIX subconsciously rehearse the sound effects of the first "Compassion Theme", the second "Enthusiasm Theme" and the third "BACH Signature Theme" in their inner hearing.

It seems harmonious.

What if the original "God Theme" is superimposed on the "Compassion Theme", "Passion Theme" and "BACH Signature Theme" as the fourth theme?

The shifting relationship of rhythm is slightly adjusted in the mind.

It seems to be harmonious!

“Once this feat is achieved.”

“It’s almost happening!”

The mysterious and meditative third theme, also known as the "BACH signature theme", was gradually presented eight times in a two-part close chord under Fanning's fingertips.

Thus the third exposition of the piece ended.

The important part that the audience thought was exciting appeared in bar 233.

The first three themes are indeed aligned together!

Some hidden divine treasure was thus solemnly revealed!

This is the third expansion!

This magnificent spiritual palace is approaching completion!

The premonition of participating in the discovery of divinity, the manifestation of true knowledge, and the closed-loop achievement of lofty morality has occupied the believers' entire body and mind!

"Tick-tick-tick-tick-tick-tick-tick

Suddenly, the notes became sparse.

Eight single notes flow in solitude, and then Fanning's hands abruptly move away from the keyboard.

The music suddenly stopped!

At bar 238, those sacred and sublime counterpoint melodies come to an abrupt end!

"what's the situation?"

"Why did the performance suddenly stop?"

A huge sense of loss and sadness shattered the audience's expectations!

"Is it a mistake in the performance?" Many people couldn't help but stand up from the stage and look towards the altar. "Impossible! Master Lavoisier can't have such a problem. Why, why?"

"Revelation tells me that after the third development section, the 'God's Theme' will reunite with us again, complementing the previous three themes of compassion, enthusiasm, and signature mysticism, forming a 'four-part quaternary fugue' that is unparalleled in history and directly points to the sky! Why did Master Lavoisier suddenly stop playing!!!"

"Impossible, it could really be just a mistake! I actually wanted to pray that it was just a mistake!"

Even the Pope couldn't help but stand up and mutter to himself.

Laxus also looked at the people around him with uncertainty.

However, to the shock of everyone present, the next moment, Master Lavoisier actually stood up from in front of the piano.

Just like at the end of any performance, he held onto the piano and bowed to the audience!

“This is where my sermon ends.”

"I must tell you the truth, the truth, and the truth of all these witnesses who have gathered here."

"The 22nd finale of Saint Sebastian is an unfinished fugue."