Old-time musicians

"Twenty Meditations on the Infant. Or, Twenty Gazes on the Infant."

Fanning, hovering his wrist above the keys, held his breath and silently recited the title.

In fact, Fanning has always thought that the word "Regard" is extremely difficult to translate.

In the literal sense, it may be translated as "gaze, gaze", or more deeply, as "meditation, fantasy, visualization".

But in fact, it is also a preposition in French, with the meaning of "and related aspects". If we further study the source, it also has the metaphorical meaning of "respect, awe".

From this perspective, Fanning guessed the meaning of faith and prayer that the composer Messiaen wanted to represent when he was creating.

He thus brewed a lasting, solemn and noble feeling, spread out his ten fingers on both hands, and pressed three sets of # F major chords with a solemn tone and very weak force!

Song 1, "The Gaze of the Father"!

"The Father gazed at Sebastian, and He said, This is my Son, in whom I am pleased." It was almost an instant revelation, and the believers with a little spiritual perception immediately thought of the original text in the "Illuminati"!

They heard Fanning's hands slowly tapping alternately in the "time and space" spanning 6 octaves, controlling the resonance of the piano to float naturally, like a distant bell in the air.

It should be said that the first song uses the clef of # F major, and the beginning is a major triad, which has a strong sense of the main melody.

It seems to be a traditional vocabulary.

The modern musicians at the beginning also thought so.

But immediately, in the middle of the second set of connected chords, the mode underwent a strange modern shift.

The harsh minor second contained in it made the sound color obtain a dizzying change!

"Modern work!"

"Lavoisier's second work is a modern piano work!"

These avant-garde artists, who were complaining about the "lack of impact" before, suddenly felt a buzz in their heads, and they couldn't even tell which notes were included in the chords played by Fanning's fingertips!

"Ding-ding-ding-ding-" "Ding-ding-ding-ding-" "Ding-ding-ding-ding-"

The first piece is the preface to the whole work, and the whole piece is based on the initial statement and evolution of the "Father's Theme". From the rhythm and strength shown by Fanning, every sentence of it is slow, every sentence is played softly, and there is almost no change.

But in the process of developing around the theme, because of its persistent law, it has generated a powerful force anyway! .This tranquility has the power to move forward expressively, and the contrast between the eternal rhythm and the tense chords has also become the metaphorical basis for all the subsequent displays of the "Father's Theme" in this work!

In the past, the Holy Cross, which pointed to the possible origin of "Sun God Cult" or "Mithraism", was the Lord of Witnesses worshiped by the ancient Hebrews. Out of awe, they dared not call him by his name. In the scriptures, his name was written as "JHWH" - only consonants were recorded, not vowels, and it was impossible to spell.

Just as the composer Messiaen said about the mystery, "Indescribable and inexpressible music is a way of expression in the field of human passion." Then in this world, where there is an inexplicable connection between churches, Fanning used "Father's Theme" to refer to "Unfading Fire". In this way, the "Endless Fugue" preached in the previous sermon is connected with the "Unfading Fire" here!

"What chords? What are these chords?"

"Why do you have to combine them like this?"

"I'm convinced! I'm really convinced!! Shouldn't religious music be very old-fashioned and sophisticated? Can it be written like this? What kind of strange technique is this!? How is this atmosphere created!?"

Amid the crowd, the avant-garde artists who listened attentively were still a little sluggish in their thinking and couldn't tell the difference for a while!

Some people even looked at the people around them with doubts and inquiries, but the response they got was obviously "I don't know even if you ask me."

In theory, the basic elements of a work include melody, harmony, rhythm, counterpoint, etc. Their ears, which are "suffered from sound stimulation", should be extremely sharp and knowledgeable.

But now, the first song of "Twenty Holy Infants Meditation" has no melody and rhythm techniques at all. They didn't understand even if they just listened to a few chords! They just felt that they were either connected into a line, extremely magnificent, or with a silent heaviness, sublime and dizzying!

Just like that, the music ended in a magnificent and lasting form and a sense of permanence that transcends time.

Before they could further ponder and digest it, Fanning's hands suddenly swept across most of the keyboard with great force and speed, bringing up a large group of arpeggios composed of extremely complex double tones!

"Dongdongdongdongdongdongdong——" "Tick-tick-tick-tick-tick-"

Fanning stepped on the pedal very deeply, and all the chords were mixed together!

The harsh reverberation of augmented second and perfect fourth with great modern tension has not yet dissipated, and in a blink of an eye, the sound of sixteenth notes of bells floated faintly in the high pitch area, like dazzling starlight flickering.

Song 2, "Starry Gaze"!

Amazing grace, frank flashes, and the consecrated crosses were instantly filled.

Richelieu even found that even the cross necklace on his chest was flashing, directly reflected in the thick glass of his glasses.

The music of this piece is mainly based on the theme of "stars and crosses", with obvious duality, connected by a common semitone characteristic pattern.

The star represents the birth of the Son of God, which is a peaceful and simple joy, while the cross means suffering and salvation, as well as horror and rough treatment. The two form a strong dramatic contrast.

Fanning imitates the duets and psalms in the ancient church liturgical music, and then shows the roar of church bells. Above the cross, the morning star shines like a dream.

Then, he raised both hands, both ready to be above the keys in the high pitch area.

The original text is in the six # 9 @book/bar!

Song 3, "The Transformation between God and Man".

At a decisive moment, Fanning alternately pressed the keys like a chestnut in the fire, and five consecutive third chords slid down, as if a mysterious "wind of true knowledge" blew by.

This is a quantitative melody that runs through the entire movement. There is no change or increase or decrease in the subsequent progress - symbolizing the eternal world source god's arrival from the house to the mortal world.

Then, Fanning hit the three octaves of "E——D # ——F" in the bass area, corresponding to the motive of God, symbolizing humans as mortal creatures. "Ding ding ding ding ding." The dark repetitive chords were hit in succession, bringing out an unstable group of sounds.

"Ding dong ding ding dong~~" Finally, the left and right hands jumped in succession, and 5 groups of cold starlight sounds appeared.

As soon as the complete phrase was presented, the priests immediately thought of the record in the church scriptures: ". Desires and evils are like collapses, and doing good is like climbing. The terrifying struggle between spirituality and true knowledge. The reason why our bathers of light become adults is to transform people into saints."

"The transformation between God and man. The transformation between God and man?" The spiritual fire in the eyes of a group of high-level people at the level of the Profound Enlightenment flickered to varying degrees.

"Father Lavoisier seems to be hinting at the mystery of the fourth origin? The great work of the Trinity of the Church comes from different origins such as the world source and the quality source?"