musicians of old

Chapter 755 “Heaven” (Part )
"Crack. Crack. Crack. Crack."

Fanning on the podium gave instructions to the back, and the musicians rang the snow bells at the beginning of the first movement.

Fine, cool, and sparkling silver.

The woodwind instruments play repeated semitone decorations, embellished with ethereal thirds, and the starting tonality of B minor is like a wooden sled crushing the frozen brittle ice and snow.

The music then changes to the formal key of G major, and the theme is gently lifted by the French horn.

The light music of a few bars glides in the wind, and is soon caught by the string group, sliding into the arms of the cello, becoming a leisurely and tortuous phrase.
"The band is not large, even small for this era, and the opening has a slightly nostalgic and classical temperament, like a beautiful and elegant watercolor painting."

"Well, the exposition as a whole is an extremely outstanding romantic vocabulary! I never thought that Father Lavoisier could not only write retro fugues, but also modern religious piano masterpieces that foreshadow the future. His romantic inspiration is also divine! It seems that the ambitions of these top figures are the same!"

Most music critics are evaluating their first impressions of this symphony in their minds.

It's true. Even though these people followed the new trend of San Pereto and played all kinds of avant-garde music before, on the last day, they all returned to romantic works.

Their goal is different from others. It is not about how to stand out in a new style or how to rise higher in the "New Moon".
Instead, we must first seek a definitive conclusion about the "torchbearer" of the romantic era that is about to pass!

"Just, 'Heaven'?"

Everyone was trying to figure out the meaning of the title of this symphony.

Compared with Scheler's "Dream of a Summer Noon" which was performed in a "90% new" state, "The Kingdom of Heaven" is a completely new work that has never been seen by people in this world.

Its beginning sounds like a painting: a journey far from the world, refreshing sunshine, and strange colors blooming like a palette in the mountains and forests.
“Heaven.”

Some listeners who were capable of discussing mysteries thought a little further.

The Society for the Descendants of God that has caused panic in recent years, those people call the abnormal area "Heaven"!
Could it be a coincidence?
When Father Lavoisier was walking in Janus, he used iron-fisted methods to intimidate false prophets and false teachers. Later, he did not hesitate to risk his life and personally led the team into the abnormal area for the sake of the "Theme of God" that was related to the millennium foundation of the church.

This whole process is the core meaning recorded in the "Lavoisier Gospel"!
Could it be that the "Heavenly" Symphony is a "record" about Saint Lavoisier's travels in the anomalous zone? Or a "revelation"?
The music is flowing.

The original classical harmonies and scenery are occasionally permeated with cold colors, making people feel as if they are placed in an ice cellar.

The sudden rough hum of brass instruments from the band was like suddenly looking up at the sunny sky, but seeing a few strange dark clouds hanging in the corner.

The theme accompanied by the sound of snow bells reappears, and the more distinct violin counterpoint melody climbs steeply upwards, gradually bringing the music into a higher atmosphere.

This state is unfamiliar, and most listeners feel relaxed physically and mentally, but those with higher levels of inspiration always feel inexplicably chilled or even creepy.

At the lively end of the piece, many people felt that the temperature of their skin had dropped by several degrees!
This beautiful and eerie music is so fascinating and the spirit is so unconsciously immersed in it that it seems to make the body forget even its own blood supply.

During the break, many music critics secretly sighed that this year's Harvest Arts Festival was really a "lucky one".

Ordinary masters are simply not enough to listen to.

What kind of god-level works are fighting each other?
Or the kind that has been played one after another since the warm-up period before the "Seven Day Celebration".

"Buzz-buzz-buzz-buzz-buzz-buzz-"

In the second movement, Fanning instructed the French horn to play two sets of horn-like preludes.

The melody line in C major has a bit of dullness and sluggishness, and then the woodwind group presents a slow dance rhythm on the dominant chord.

This leads to the theme of this scherzo, which is quiet yet slightly weird.

Against the background of the orchestra's dreamy, soft playing, the violin group, which was tuned up a whole tone, played strange, sharp, and harsh phrases.
The second part is a pastoral melody.

The simple fourth-down leap and fifth-up scale, followed by tremolo, bring a sense of leisure and ease, like a silhouette of old times with a film background.

But everything was soon forgotten again. At the end of the picture, the muted brass instruments, the violin struck by a bow, the use of augmented fourths and diminished fifths, and the frequent occurrence of out-of-tune semitones, all these bizarre details were magnified and remained in the audience's memory.

A remnant that cannot be moved by will.

The sound of cello suddenly rang out, the third movement, almost an adagio, in a free variation form.

This time the melody became beautiful and quiet.

It has the tranquility of a lullaby, yet also sparkles with the brilliance of stars and extreme sadness.

"Boom." "Boom."

The double bass strikes a characteristic note, and the lullaby quality shifts in the second part of the theme, taking on a potential requiem element.

In the calm statement, it is always lurking, always maintaining the original rhythm, repeatedly appearing in the bass layer.

"Ding" "ding" "ding"

The harp varies and repeats the characteristic tones of the "Requiem," with hallucinogenic overtones.

The pace gradually slowed down, as if entering a restful dream again.

Fanning's beat lines were repeated softly and persistently. He recalled this strange experience, the never-ending climbing of his legs, the white steam that kept coming out of his mouth, and the uneasy and bizarre emotional fragments lurking and flowing in his empty brain.

As he thought about it, he felt that the cold air seemed to be filled with the scent of hawthorn flowers again. A faint pink light curtain appeared in front of his eyes, and the purple figure looking and waiting in the distance under the projection.

The next four variations are lonely, rigorous, profound, and touch upon spirituality.

The clarinet and cello entangled and marched forward, carrying more smoke-like past events. The oboe reappeared like a sob, and the bassoon sobbed briefly in the low place, once again highlighting the characteristic syllables of the temperament of "Requiem".
The world becomes paler, and then the bass clarinet, bassoon and violin together build a sustained C-sharp across three octaves.
This slow movement lasts more than 20 minutes, but the audience feels that their perception of the music is extended to a long degree, the kind of length that runs through the polar night.

They seemed to hear the shrill howl of the cold wind and see the snowflakes chasing each other in circles across the sky. The steep shadows of the mountains pressed down on the sky above their field of vision like a piece of celestial debris covered with colorful mold.

And below, there seemed to be a figure of a priest, walking step by step towards the dark heights!
Fear arises from repression, and emotion arises from fear!

The audience followed the conductor on the stage and recalled many sad and unhappy things in their past lives. It was easy to cry, but sometimes they couldn't help smiling.

This sense of emotional disjunction, a mixture of loss and relief, continues to follow until the music suddenly turns upward with a major sixth.

"boom!!"

The wind section horns sounded in unison, the strings rolled like waves, the timpani hammered out vigilant hammering sounds, the clouds in the night sky, which were splashed with thick dark tones, became clear and lively, and a ray of pure tone overflowed from them like light:

"re-xi-sol-re——"

"mi/re——" "mi/re——"

The clarinet repeats light appoggiaturas.

After experiencing the song-like dotted rhythm development, it flows to the minor key, sinking to the lower octave with the forte mi, and the coolness goes straight to the nose!
The fourth movement, “Heaven is full of violins”, or the seventh step beyond the sixth step of “Dream of Summer Noon”, “The Child Tells Me”!
Of course, the latter connection is too hidden and too profound, and it is difficult for the audience who are only forming a first impression to grasp its true connection.

Their entire attention was simply attracted by the innocent and pure soprano voice.

“We enjoy the joys of heaven, which are very different from those on earth;
The hustle and bustle of the world is completely absent in heaven."