musicians of old

Chapter 926 "A Thousand People" Appear!

As soon as Fan Ning finished speaking...

Hmm!? Wait a minute!?
Everyone's expression changed drastically!

"Bang--!!!!!"

The "old" pillar of light, already riddled with cracks, shattered with a deafening roar.

The once filthy, iridescent pillar of light has now completely lost all its so-called "polluted" or "holy" characteristics, transforming into the most primordial pure spiritual dust as "Ge"!
Their trajectories were all very clear, and they all easily flew towards the locations of the "starlight" that were originally connected to them.

"Whoosh whoosh whoosh whoosh!—"

The concept of the sum total of all deceased persons in the 0th history no longer exists.

There is no "sum total", nor is there anything "gone".

Everything is back to normal.

All the "grids" belong to all the "starlight" that has been picked up by the pilgrimage!
Amidst the earth-shattering roar, the original starlight palace was no longer just an illusion of geometric lines.

Stone pillars, which are actually "material", rise one after another from nothingness, and a series of majestic corridors slowly extend outwards. The thick, dark gold walls begin to spread along the invisible boundaries, and countless relief silhouettes of artists contemplating, creating, and performing appear on the walls, their postures frozen in moments of inspiration!
A long, golden-red carpet was spread out on the ground, and countless seats floated up the steps, rising in layers, solidified like flames of crystal!
The sacred space created by the first part of the Eighth Symphony has now materialized into a magnificent and towering cathedral! What is even more breathtaking, and even awe-inspiring because of its sublimity, is...
There were people in the seats.

There were people on those performance stages and in the choir.

To be precise, the previous "starlight" has transformed into human figures. Although not all of them, and although there is still a hazy starlight in the distance, the number of human figures that have been transformed into them in the area within sight is at least over a thousand!
"What's going on? Where am I?" "Is this the pilgrim from later generations?" "The young man I met in the illusory realm?"

A series of silent thoughts collided in surprise—music theorists such as Heinrich Schenk, Allen Ford, and David Levin; the handsome and dashing pianist Liszt; the aging and obese opera master Wagner; Chopin with his poetic melancholy; Schubert, short in stature, with a kind and worried expression; Mendelssohn frowning at the prostrate figure in the center of the arena; Mozart muttering to himself; and Haydn with his kind and gentle face.
This young artist from later generations actually stripped himself of his "personality"—how tragic!
Under such twisted and perverse prophecies and original sin, amidst the conspiracies and conflicts of numerous apostles, all of this was preordained.

But now, nowadays
Furthermore, his theory of unification, and the "unending secret" he sensed in the virtual world before, seem to...
Bach, who had "escaped" from the outside world, stood solemnly in front of the organ platform, his fingertips lightly touching the keys, and he turned his head to look down.

Beethoven's lion-like silhouette stands tall. This musical saint, who once discussed the "Kingdom of Freedom" with Fanning in the virtual world and gave her great encouragement, remains silent and frowning.

But for some reason, he was holding a choral music book in his hand.

Goethe.

It turned out to be a poem by Goethe, which Beethoven himself greatly admired.

The poetic drama "Faust".

In the second part of the symphony, this young man, who claimed to have "written for himself" and "a message to the new world," actually adapted the finale of "Faust" as the text!
The ending, which takes place in the "valley" scene in the original work, is not long in itself, consisting of 261 stanzas, but it is full of mysticism.

It depicts a series of metaphorical characters who appear in order of rank, passing on the souls of the male protagonist Faust and the female protagonist Greta layer by layer, starting from the mountain and ascending step by step until they are redeemed in the upper realm!

So, what's the situation in light of the current circumstances?
The sacred space before us has been created, but it is currently located at a lower level. If we were to compare it to "Faust's soul," wouldn't the next step be...?
Beethoven's figure frowned, pondered for a moment, and then slowly unveiled the sheet music in his hand.

Inspired by Beethoven's first gesture, Mozart, Haydn, Schubert, Chopin, Mendelssohn, and many other masters began to unfurl their scores in the thousands of visible seats of this magnificent cathedral!

Even Goethe himself was prominently included.

The faint echoes of the orchestral introduction emerge, and the low strings begin to pluck fragments of the "light theme" motif.

How profound and extensive was the understanding of art of these masters? Although Fanning was on the verge of death, the previous communication with Fanning in the virtual world and the resonance of the first part of the music, "Starlight," were all experienced firsthand.

With the orchestral introduction preceding them, they instantly grasped Fanning's subsequent ideas and intentions.

Then, the chorus began.

No other choir can achieve such a status or "configuration"!
These artistic masters from past lives have gathered at the choir seats of the magnificent church to softly sing the second part of the Eighth Symphony.

The truly great and unpredictable second part.

In any case, the basic requirement of choral singing is that the voices must come together, but the voices of the masters at this moment seem to be "spread out" from each other.

It seemed to drift down from various parts of the highest mountain peak, with extremely weak force, intermittent utterances, everything almost empty. "The forests are desolate, the rocks are rugged."

The roots are intertwined, and the stems are tightly connected.

A gushing spring, hidden deep within a cave.

The atmosphere instantly became mysterious.

It is completely different from the purely religious praise style of the first part.

Fanning is actually "describing the scenery" here!
These short words, every syllable, are filled with wisdom and divinity.

And transcendence.

It sent chills down my spine, as if lightning had struck my mind.

Just by reading it, you can tell that this text has definitely been adapted by Fanning, and it is definitely not something that could be written in the original literary category of "descriptive writing".

It is merely a manifestation of the appearance of "Purema".

The scene was incredibly strange and transcendent; although it was primordial, desolate, and fraught with danger, it also contained a permissible sense of "sacredness and safety."

This is probably the first work in the Secret History to give a clear "scene description" for the "symphony". Even Wagner, the founder of music drama, had to admit that this young man's ideas and techniques of "total art" had entered a mysterious and unpredictable realm of simplicity!

"The forests are desolate, the mountains are rugged. Tree roots are intertwined, trunks are tightly connected. Springs gush, deep caves hide."

The bass strings continue to pluck variations of the "Illuminated Theme," with the masters softly chanting a funeral march-like melody, interspersed with intermittent rests, enveloping the entire instrument in a higher realm.

Occasionally, a comforting hymn passage would briefly appear, the vibrato in the high register of the strings attempting to maintain a glimmer of light; however, the unease did not dissipate, and the cymbals would always strike coldly in certain measures.

The permitted "sacredness and security," along with the original state of "peril," waxed and waned, dynamically disappearing, and entered into a profound balance.

The lions silently prostrated themselves and circled me as a sign of friendliness.

Cherish this sacred land, for love dwells here.

As the chanting progressed, more and more "starlight" was given form and appeared inside this magnificent church.

This includes the “Starlight” children who sang in the children’s choir and were once part of the Turner Arts’ music rescue program.

This includes conductor Walter, little Luna, and Miss Nightingale, who stood in the lead vocal positions.

Including many more familiar figures that could be clearly recognized in the background: Professor Gu from the previous life, Professor Anton and Master Lückert from this life, the deceased Dean Gould, Principal Steinicke, and Vice Principal Huxley.
Fate is so wondrous. These masters of the 0th history were picked up in the second pilgrimage, first appearing in the magnificent cathedral, and in turn, they drew upon the "starlight" of Fanning's first pilgrimage.

Then, closer to Fanning, in the open space of the altar, came the sounds of musicians. The musicians of the old symphony orchestra and the affiliated youth orchestra appeared, holding instruments formed of light.

They were always there, always have been.

It includes "sixth" and also "eighth".

On the left is the principal violinist, Sheeran; on the right is the principal cellist, Roy; and slightly behind is the principal fluteist, Joan.

Colleagues of the Turner Art Theatre, and congregations of the South and Janus.

The lions silently prostrated themselves and circled me as a sign of friendliness.

Cherish this sacred land, for love dwells here!

Fan Ning's battered body was surrounded by layers of figures formed from "starlight".

The mysterious chanting generated some kind of unfathomable combined force, which lifted his body into the air!