For Chakra music on Wednesday the focus is on the Base Chakra, located at the base of the spine. This Chakra is the energetic center for the Sacred Fire, deposited there by your Mighty I AM Presence, and the Elohim Purity and Astrea. Music that is almost entirely pure, and not qualified alongside another God Quality or Ray is not easy to find; even the beautiful Violet Flame Waltzes are pure, yet also qualified with Freedom and Joy. Today I bring you music that emphasizes and amplifies the Sacred Fire. It was used by none other than Beloved Zarathustra Himself to prepare students to receive Him. The music is the Hebrides (pronouned Heb-ri-deez in English) Overture - Fingals Cave, by Felix Mendelssohn. The inspiration for The Hebrides overture came to Felix Mendelssohn while he was visiting the eponymous archipelago located off the west coast of Scotland during a walking tour with his friend Karl Klingemann. The trip was part of Mendelssohns travels during the years 1829 to 1832 that formed his Grand Tour, a common excursion taken by young men of prominent families to gain cultural literacy. Documentation of such journeys often consisted of letters home or drawings and watercolor paintings; Mendelssohn left all of these plus concert music. Unlike his overtures A Midsummer Nights Dream and Calm Sea and Prosperous Voyage, The Hebrides was not inspired by a text, but rather by a landscape, an atmosphere. The first sketch Mendelssohn made of his impressions of the Hebrides was literally that—a pen and ink drawing dated August 7, 1829. A letter home bearing the same date and titled On a Hebridean Island stated in order to make you realize how extraordinarily the Hebrides have affected me, the following came into my mind there. Mendelssohn attached a sketch in piano reduction of the first twenty-one bars of the piece, indicating both scoring and dynamics, in almost exactly final form. The piece can be called characteristic as easily as programmatic. Mendelssohn sought an aesthetic that would not directly evoke the music of Scotland, yet would be true to the spirit of the locale; many of his revisions removed traces of complex compositional craft in favor of more primitive, and by extension, exotic language. We can find traces of this even in the repetitions of the first theme, the ornamented descending triads that occur twice on B Minor, twice on D Major, and twice on F-sharp Minor. Here Mendelssohn uses A-natural rather than A-sharp to give a modal character that suggests the ancient. The video clip used is passing images of the Hebrides and caves along the shores of Scotland, which inspired Mendelssohn. With Love
Posted on: Wed, 05 Nov 2014 23:28:44 +0000
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