musicians of old

Chapter 934 The Truth About Being Exploited
Pogorelich repeated the same statement.

Of course, regardless of how much of this person's purpose in taking the position was to "hold the line" and "oversee," Fan Ning has no way to dwell too much on the fundamental issue at the top.

If even the "tonic" position is lost, it will affect the completion of the final section of the music, leading to a complete defeat.

So actually, even a little earlier than Pogrelic's stance, Van Ning had already instantly responded with a follow-up.

He divided his divinity into three!
Moreover, it wasn't directly for "commanding," but rather "aimed at what's above"—the figures of the young Van Ning, the wandering poet Scheler, and Father Lavoisier quickly distanced themselves from each other, each standing in their own place, projecting three different threads of inspiration, each with its own distinct light and shadow, towards the "three-pointed petals" above the dome!

His goal is the key!

"A key cannot be held, nor can it be used. To 'seize' a key—let's use the word 'seize' for now—requires a brilliant idea, a powerful declaration, or a masterpiece that creates or reveals the truth, much like the ingenious proofs of certain theorems by mathematicians throughout history. This also explains why even those who bear witness cannot necessarily seize the key, nor can they reliably retain it." Vincent once recorded such a secret observation in a "Journal about Keys."

The key to time can only attempt to obtain a more favorable "management" connection by "revealing or creating a certain truth". This means that the key cannot be stably kept in anyone's hands, and this "management" connection may also have a "one-to-many" competitive or superimposed relationship.

So Fanning finally realized what she had overlooked before.

Or perhaps it's not so much a "miscalculation" but rather an inherent flaw in choosing to execute another "Genesis Concert" plan after the time-space reset.

That is the Symphony No. 6 in A minor. In the current course of history, Fanning only wrote it, but it was never performed!

Therefore, Fanning did not activate the "unclaimed hammer".

As a result, the connection between Key-1 and Fanning in this timeline is not as strong as before. In addition, with the demise of the Holy Sun Church's "path," Bach was severely injured and escaped, and the connection between the "Theme of God" and Key-0 was also weakened.

The struggle between the three temporal powers was completely won by Key No. 1, which was controlled by the Apocalypse Secret Realm. This is the important reason why the "Tricuspid Petal" above developed an unknown disease!

Now that things have come to this point, the inherent flaws in this process of fate are unavoidable, and all we can do is try to strengthen the connections and attempt to remedy the situation as it is!
"Whoa, whoa, whoa!!!"

The threads of inspiration from Fanning's three "perspectives" respectively "tether" the -1, 1 and 0 areas of the "three-pointed petals" above.

With a raised and lowered hand gesture, Miss Nightingale, playing Greta, began the song, her voice temporarily fading. Fanning then forcefully introduced the next difficult variation of the Canon, attempting to regain some control of the key!
Hilan from the violin section began with a solo, leading into the first part of the women's choir behind her, a melody that was earnest, gentle, and inclusive.

"By that love—let tears become ointment."

With that jade bottle—pouring fragrant ointment at your feet.

With those strands of hair—gently wiping the sacred limbs
You never rejected the repentant woman's advances.

You promised her salvation through repentance and ascension to eternity!

The first part of the female trio is based on the story of Mary Magdalene, the woman who converted to Christianity, as recorded in the Gospel of Luke.

She first prayed for Gretchen's repentance and asked Our Lady of Glory for mercy.

The inspiration thread that bound key number 0 suddenly snapped shut.

Roy, from the cello section, begins her second solo, leading into the second part of the female chorus behind her, a kissing and noble love lingering with the melody—

"Abram drank from that well where his livestock drank, and from that jug of water his Savior's lips touched with its cool touch."
Thanks to this clean and abundant spring, it now gushes forth from there.
May it flow throughout the whole world, forever bright, infinitely abundant! —

In the female trio, the second part, Fanning chose to draw inspiration from another converting woman, the "Samaritan woman," to pray for Gretchen. The Gospel of John records that this was a woman who drew water from Jacob's well, and the Lord spoke to her about drinking living water that would never thirst again.

The inspiration thread that bound key number 1 also suddenly tightened.

Joan then played her flute, introducing the third part of the women's choir—

"Through that holy site, people buried their Lord there."

With that arm, it warned me to stay out.

Through forty years of faithful and persistent ascetic practice in the desert,

Based on the farewell message I wrote on that sand before I died—

The final voice that enters is based on Fanning's story in Acts of the Saints, about the third convert, "Mary of Egypt," and she also prays for the protagonist Gretchen!
Mary Magdalene, the Samaritan woman, and Mary of Egypt—the devout female voices in a three-part canon intertwine, recalling ancient redemption through counterpoint that strictly adheres to traditional formulas. Starting in C major, passing through the shadows of A minor, they ultimately converge in the bright realm of A major.

"Those female sinners pleaded desperately, and you did not refuse their approach."

They were also saved through repentance and elevated to eternity.
So please have mercy on this kind soul, and grant me forgiveness!

Fan Ning, having poured all her inspiration into this moment, suddenly felt a bit tense. She gritted her teeth, spread her arms wide, and the band, along with the choir, burst into a loud and clear sound!
Seize control of the three keys!

But the unsettling premonition did indeed come true. By the third measure, the solemn and compassionate polyphonic vocal structure had become distorted and turned into a low, fast, and indistinct whisper. The entire interior of the church began to distort.

A strange aroma, a mixture of pungent, sweet, and decaying herbs, inexplicably filled the air. Beams of the "Midday Moon" pierced through the openings, carrying with them colorful smoke. The murals and reliefs throughout the church began to twist and shift abnormally, vaguely revealing the outline of a semi-circular temple on a snow-capped mountain and the reflection of the ice surface. It was as if the figures of the musicians were projected onto the smoke, stretching out their limbs and making various bizarre and ritualistic gestures of contact.
"The Apocalypse Secret Realm?" Pogrerich, holding a knife, coldly surveyed the surroundings and the high place.

The Special Patrol Bureau's intelligence network had already cracked its musical scores and texts, as well as the dangerous individual's on-site conception of "total art" in the South Asian Indian country of the 0th history!
“Master Fanning, I don’t understand,” Mr. F’s face, reflected in the rushing water behind him, twisted and stretched into a swollen melon, “You clearly have many similar insights to me in the field of art, but why do you always misunderstand the issue of right and wrong regarding ‘defective’ and ‘perfect’ products!”

Yes, the later parts of "The Secret Realm of Apocalypse" also have similar song designs.

Even the metaphorical concept of the three converting women—Mary Magdalene, the Samaritan woman, and the Egyptian Mary—is almost identical!
After all, they are all branches of Mithraism, all based on archetypal records in the scriptures, and all aim to strengthen the connection with the three keys.

However, in retrospect, the actual presentation of this section in "The Secret Realm of Apocalypse" is extremely bizarre. It is constructed using mysterious chords and broken syllables, and the singing style is not aria or recitative, but rather a kind of confused rapid whisper, accompanied by various incomprehensible ritualistic tributes.

"As long as you continue to appreciate these three principal ladies, the final result of the connection will definitely be 'The Secret Realm of Apocalypse.'" Mr. F on the river suddenly laughed mockingly again. "That worm scientist KI never understood it until his death, and you still don't understand now! Why was it that in each of the previous timelines, even just knowing the two ladies led to 'The Secret Realm of Apocalypse'? Segmentation, hahaha, segmentation, he thought he used 'The Boy's Demon Horn' and 'The Flute of the East' to segment '1,' but little did he know that it was 'sensing' and 'convergence'! The referential guidance of those two works has long been gradually implied and replaced with '0' and '-1'! He just kept adding more and more connection between me and the other two keys! Oh, unless you completely replace the orchestra's principals after the reset, but even then you won't be able to gain a connection with the keys yourself. So, it comes back to what I said, I've said it countless times, you created a defective product! A wrong choice, inherent flaws are inevitable!!"

Before the words were finished, the large, grayish-white "heart" at the top of the dome suddenly throbbed violently, swelling to the point of almost bursting.

The entire "Three-Petaled Petal" was covered with a nauseating, uniform dark green sheen, and the three threads of inspiration that Fanning had originally connected to it were all covered with sticky mucus.

"Buzz————————!!!"

A sinking force ten times stronger than before surged forth, causing the church to tilt at an astonishing angle! The filthy river water surged wildly from the breach in the "Moon of Noon," washing away and sweeping away everything nascent and unstable, flowing towards the enormous whirlpool of the "Viper of Truth" at the distant gate!