Chapter 256 'Meditation of the Twenty Holy Infants'
Chapter 690 "Meditation of the Twenty Holy Infants"
"Twenty Meditations on the Holy Child or, Twenty Gazes on the Holy Child"
Fan Ning, who was hovering above the piano keys with his wrists raised, held his breath and silently recited the title.
In fact, Fan Ning has always believed that the word "Regard" is extremely difficult to translate.
Literally speaking, it may be translated as "gazing, watching", or more deeply, it may be translated as "meditation, contemplation, visualization"
But in fact, it is 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 and awe".
From this perspective, Fan Ning speculated on the meaning of faith and prayer that the composer Messiaen wanted to represent when he was writing.
In this way, he brewed up a long-lasting, solemn and noble feeling, spread out the fingers of his hands, and played three sets of #F major chords with dignified tone and extremely pianissimo!
Song 1, "Heavenly Father's Gaze"!
"The Heavenly Father was staring at Sebastian, and He said, This is my Son, with whom I am pleased." It was almost an instant revelation, and congregants with a little spiritual awareness immediately thought of the "Inspiration Sutra"
Original text above!
They heard Fan Ning's hands alternately tapping slowly in the "time and space" spanning six octaves, controlling the resonance of the piano sound 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 it starts with a major triad, so it has a strong sense of the main key.
It seems to be still a traditional vocabulary.
The first batch of modern musicians thought so too.
But immediately, in the middle of the second set of connected chords, the mode undergoes a strange modern shift.
It contains a harsh minor second, which gives the sound color a dizzying change!
“Modern work!”
"This second work by Lavoisier is a modern piano piece!"
These avant-garde artists, who were still complaining that "the impact was not enough" before, suddenly felt a buzzing in their heads. Even the notes contained in the chords played by Fan Ning's fingertips were instantly distinguishable.
As the preface to the entire work, Song 1 is based on the preliminary statement and evolution of the "Heavenly Father Theme". In terms of the rhythm and intensity displayed by Fan Ning, every sentence is slow, and every sentence is slow.
They are all played weakly and have almost no variation.
But in the process of developing around the theme, because of its persistent law, it has produced a powerful force! This kind of tranquility and expressive power to move forward, as well as the contrast between the eternal rhythm and the tense chords,
It has also become the metaphorical basis for all subsequent “Heavenly Father themes” displayed in this work!
In the previous life, the Holy Cross Cult pointed to the possible origin of "Helios Cult" or "Mithraism", that is, the Lord of Witnesses worshiped by the ancient Hebrews. Out of awe, he did not dare to call him by his name.
Write His name as "JHWH" - only the consonants are remembered, not the vowels, so it cannot be spelled.
Just as the composer Messiaen talked about the mystery, "Indescribable and indescribable music is an expression that belongs to the field of human passion." So in this world, where there is an inexplicable connection between the church and the church,
Fan Ning uses the "Heavenly Father Theme" to refer to the "Unfallen Fire". In this way, the "Endless Fugue" in the previous sermon is connected with the "Unfallen Fire" here!
"What chord? What chord is this?"
"Why do you need to combine it like this?"
"I'm convinced! I'm really convinced! Shouldn't religious music be very old-fashioned? Can it be written like this? What kind of strange technique is this!? How on earth is this kind of atmosphere created!?"
Among the crowds of people, these avant-garde artists who were listening attentively, their thoughts were still a little sluggish, and they couldn't distinguish it for a while!
Some people even looked at the people around them questioningly, but the response they got was obviously "I don't know if you ask me."
Logically speaking, the basic elements of a work include melody, harmony, rhythm, counterpoint, etc. Their "sound-stimulated" ears should be extremely keen and well-informed.
But now, the first song of "Twenty Holy Infant Meditations" has no melody and rhythm techniques at all. Just let them listen to a few chords, and they don't understand it! They just feel that they are either connecting dots to form a line,
Extremely magnificent, or with the weight of silence, sublime and dizzying!
In this way, the music ends in a magnificent and lasting form and a sense of permanence that transcends time.
Before they could further ponder and digest it, Fan Ning's hands suddenly swept over half of the keyboard powerfully and quickly, bringing up a large group of arpeggios composed of extremely complex double notes!
Fanning pressed the pedal so deep that the chords all blended together!
The harsh reverberation of the augmented second and pure fourth, which is extremely modern, has not dissipated. In the blink of an eye, the sound of sixteenth-note bells floated faintly in the treble area, flickering like a dazzling starlight.
Song 2, "Star Gazing"!
Amazing grace, flashes of openness, instantly filled the consecrated cross.
Richelieu even found that even the cross necklace he wore on his chest was flashing, which was directly reflected in the thick glass of his glasses.
The musical idea of this piece is mainly based on the theme of "stars and crosses". It has an obvious duality and is connected in series with a common chromatic characteristic sound pattern.
The stars represent the birth of the Son, which is peace and simple joy, while the cross represents suffering and salvation, as well as horror and rough treatment. The two form a strong dramatic contrast.
Fan Ning used this to imitate antiphons and psalms in ancient church liturgical music, and then showed the roar of church bells. Above the cross, the morning star shines like a dream.
Then, he raised his hands and prepared them above the keys in the high range.
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Song 3, "The Transformation between God and Man".
At a decisive moment, Fan Ning alternately pressed the keys like a chestnut in the fire, and five consecutive third-degree chords slid down, as if a mysterious "wind of true knowledge" was blowing.
This is a quantitative melody pattern that runs throughout the entire movement, without any changes, additions or decreases in the subsequent progression - symbolizing the arrival of the eternal Jieyuan God from his home to the earth.
Subsequently, Fan Ning struck the three octaves of "E——D#——F" in the bass area, which corresponded to God's motives and symbolized human beings as mortal creatures. "Dang, Dang, Dang, Dang, Dang" was a dark repeated chord.
Taking over the percussion, an unstable sound cluster is produced.
"Ding dong ding ding dong~~" Finally, the left and right hands danced one after another, and 5 groups of cold starlight sounds appeared.
As soon as the complete musical phrase appeared, the priests immediately thought of the record in the church scriptures: "Destroying evil is like collapse, doing good is like ascending, the terrible struggle between spirituality and true knowledge. The reason why our light-dwelling ones are adults is
To transform people into saints.”
"The transformation between gods and humans? The transformation between gods and humans?" The spiritual fire in the eyes of a group of senior executives at the level of the Insight flashed to varying degrees.
"Father Lavoisier seems to be a metaphor for the mystery of the fourth type of origin? The great achievements of the Trinity of the Church come from different origins such as world source and matter source?"