On the Guarding…

The following are start and end points of the music:

Start: Measure 1:
The piece starts in a kind of sound genesis, which can be also a universal genesis, beginning of matter, or birth of life, a summation of time.
cello and bass should play extremely flautando; the sound should be similar to the Indian sitar—but bowed, very nasal and vibrant. They should make a field of the pedal tone, with a resonating body.
Violin 1+2 and viola have a genetic birth; or thousands of genomes and thoughts that flow in a deep prayer. The thoughts come and disappear rapidly. Everything should be played extremely distant, as watching insects, ants on their anthill. The phrases of these instruments should not be played espressivo. A lot of bow is required.
percussion makes high partials by bowing a cymbal. The cymbal should be as thin as possible, which will produce thousands of audible information. It supports violins and viola, but also piano in their acoustics.

End: Measure M267:
It is attempt to condensate everything in mind and soul, it is understanding of the totality, it is putting all things at their proper place in the universe. It is order of the faith. It is a state exempt from the evil.
Here the conductor should show an immense power of density and probably keeping the hands strongly showing the energy, slowly lifting them up. It is a very long moment; the one measure is to be repeated 27 times (approximately)! The sound must melt walls in the hall, the audience should stop breathing, and every single atom and particles of time should condense in ‘the true unfading light, in the eternal life, in hidden mystery, in everlasting exultation, in ineffable reality, and will come close to the incomprehensible face’.
The sound should absolutely no loose its power, however, it should be expanded as much as instruments allow it. No one is counting the measures, but only the conductor, but mentally. The last measure of the repeating should probably be conducted (conductor will secretly show the last four measures). No accent is allowed on the end, but super-real crescendo is possible.
The echo of the piano’s strings is going back to its primordial state. Keep the pedal down as much as it is allowed by acoustics of the piano and in the hall.

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