musicians of old

Chapter 900 Nighttime Ramblings (Part Two): Beethoven (Part 1)

In fact, Fanning had already obtained the key to the "Gate of the Night".

As a pioneer who created his own key to the "path of pioneers," he consciously focused on the situation above the path of ascent when he was at a lower level, and there might be a door in the path that was related to the "innovation of music theory."

At that time, he wasn't very accurate. At first, he thought it might be the height of the third "Gate of Whirlwind Fire," but later he realized that was wrong; it was actually far beyond the fifth level.

The so-called "reform of music theory".
The creation of "The Secret of Never Ending" is no longer a matter of innovation; it is about unification!
The unique key that best suits one's own divinity is already in hand.

But the problem is, there's no door.

After the world completely collapsed, the surging matter in the layer of will had long since become indistinguishable from the skin when awake, twisted into a mess.

Even Fanning suspected that the Fiery Tower might have collapsed due to the surging currents.

Is my current level considered "Fourth Level of Sequence"? Is the next level I'm preparing to advance to "Fifth Level of Sequence"? I don't know.

It's ridiculous that they don't even know about the so-called "mystical hierarchy".

Although there was no way to pass through, as Fan Ning drifted and sank downwards all night, he gradually realized...
In some ways, do the characteristics of the Void Realm resemble those of the "Gate of the Midnight Night" in terms of its name, secrets, emotions, metaphors, and so on?
Is the process of "diving down" similar to the process of "passing through a door"?

pay tribute!

Fanning's exploration of the virtual world is an attempt to pay homage to the "Gateway to the Midnight"!
He sank again, passing through the lightless depths of the ocean, continuing downwards, downwards, until the surrounding "medium" became incomprehensibly thin, even reaching a negative axis that deviated from the "vacuum" level.

The "stars" who came before the Romantic era drifted away and faded away to a much greater extent than Fanning imagined.

Here, he witnessed the stagnation of the process and experienced the freezing of thought.

He attempted to play a Beethoven-esque phrase in "Night Walk," which should have been uplifting and inspiring, but it was frozen in the moment before reaching its peak, eternally maintaining that tense posture, unable to reach the solution it deserved.

He tried to draw a harmonic ending that should have faded out gradually, but instead it was stretched into an infinitely long "straight line", which then turned into a "dashed line".

He even felt that when describing some tiny "possible branches" that represent the development of musical motifs, the notes were like bubbles frozen in ice, remaining in a budding form, never to unfold.

From the "wasteland of ashes" to the "waterfall beneath the Void Cliff," from the "sea of ​​echoes" to the "Land of Echoes," the depth here no longer belongs to the "Land of Echoes."

This should perhaps be called a "gap in time".

Words like “darkness,” “silence,” and “cold” have lost their meaning. Even time has been frozen with cracks, and all the causal chains are eternally suspended at the most critical points. Fanning can only float and walk in the “infinitely extended incomplete process” of its cracks.

His own thinking also fell into this slowing freeze, the rise of a thought became as long as a lifetime, the fluctuations of emotions were spread out into an imperceptible plane, longing, joy, desire. All the edges were smoothed out, the colors faded, and he became almost indifferent.

But isn't this precisely the true meaning of "polar night," the very essence of the "all-encompassing" nature it represents?

Deep within Fanning's self-concept, the core that had been forged through countless analyses of musical structures and witnessed the regrets of countless artistic souls began to function again with great difficulty.

And the speed is slowly increasing.

The "Secret of the Endless Journey" is itself the most essential understanding of "process" and "structure." During his descent, Fanning gradually came to understand everything here.

He gradually came to understand that eternal night or nothingness could actually be expressed in another way—as a “zero state” after all motion, all processes, and all causes and effects have reached an extreme balance.

A temporary "zero state".

Movement and stillness are not absolute concepts in this world, much less absolute truths.

Like a perfect rest, it does not mean the disappearance of music. Even the final movement is still part of the music, carrying all the previous surges and giving birth to all the possibilities that follow.

In the instant of enlightenment, all constraints are released.

In paying homage, he answered the questions posed by true knowledge. He succeeded.

In this era where the surface and flow of the world have collapsed, Fanning successfully paid homage to the process of crossing the "Gate of the Polar Night" in the virtual world, thereby seizing the true knowledge and authority within it!

On understanding the texture of time and causality, on rests and "preservation techniques," on the secrets of absolute silence and eternal extension!

"Let's take another look at the things within this 'gap in time'."

Having experienced the comforting coolness of divinity, Fanning once again surveyed the surrounding nothingness. The brilliant afterglow of romanticism had faded away, but the tide of emotion still drew static ripples in the cracks.

Fan Ning felt a greater sense of control than before. He guided himself through the rift, and felt as if there were some cold and magnificent rational columns constructed of pure intervals ahead.

The area of ​​excessive overlap between the two?

As he extended his divine reach further, the crisp, real winter air enveloped him.

A street in the style of modern Europe, with wet cobblestone pavement reflecting the glow of gas lamps, brightly lit houses on both sides and the aroma of baking bread and frosting, and the gray-black spires of buildings visible in the distance.

The noise came along with the cold night wind.

The chatter of citizens, the cries of vendors, the rumble of horse-drawn carts—but even clearer was the powerful and familiar torrent of music emanating from inside a magnificent building ahead.

In the Symphony No. 5 in C minor, "Fate," the triplets relentlessly pound against the theater walls, striking the lonely heartstrings of Fanning who has just passed through the "Gate of the Polar Night." In the Symphony No. 6 in F major, "Pastoral," the poetry of sunlight, grass, and streams flows through the winter night, and a sincere love for the natural light dispels the chill. Fanning can even clearly hear the ingenious meter and revelatory contemplation in the Piano Concerto No. 4 in G major, and further away, the grand sound of the chorus and orchestra intertwining.
"A winter night in Vienna in December 1808?"

Fanning was like a ghost, drawn by an unseen secret, through the bustling, expectant citizens.

No one noticed his presence.

He walked in through the theater on the red carpet.

Inside the brightly lit hall, the audience held their breath. On the stage, a short, disheveled figure would sometimes tap his fingers on the piano keys, and sometimes rise to wave his hand, leaving his mark on this generation with one masterpiece after another.

Fanning sat down in an empty seat, neither in front nor behind.

The gaze pierced through layers of gloomy barriers, landing on the man who was creating miracles, yet was also being gradually strangled by fate.

His own fingers began to dance in the illusory air.

"Choral Fantasy in C minor".

At the time, preparations were rushed, and the composer did not write the opening, so he could only use an improvised piano cadenza as an introduction.

Somber, somber columnar chords, a melancholy sigh drifting down from the horizon.
Hesitation, questioning, enthusiasm, struggle.

Like thunder in dark clouds, an impending tidal wave, or a dormant volcano poised to erupt.

The brilliant sparks embodying the supreme glory of the "torchbearer" shine so brightly at this moment, creating a cruel inversion with the eternal silence of the present night.

The sound gradually faded away again.

The theater was dilapidated, with dust swirling in the dim beams of light filtering through the dome. Although it was still crowded with people, it seemed as if the "Sea of ​​Sound and Remains" from the illusory world had poured in, and everything began to fade and fall silent.

The ghost on the stage is still there, with his back to the audience, standing in front of the non-existent band and choir, his neck veins bulging, his posture still waving with all his might, the viscous, lifeless seawater having submerged the conductor's podium beneath his feet.

Although there was no sound, Fanning knew which great echo it was.

Symphony No. 9 in D minor.