A Savior's Symphony

Origins

The origins of the symphony can be traced back to the Baroque sinfonia. During the Baroque period, the sinfonia was used as an orchestral overture to an opera, oratorio, or cantata.

After the symphony had broken out of its Baroque-shell, it became a whole artform within its own right. At present the symphony because of its extensive possibilities of conceptual expression within high frequencies is one of the favorite vehicles a Savior can avail himself of to deliver his package of light-reality.

I want to invite you to look closely at the unique way in which a grand symphony that is written for a savior is conceived, composed, orchestrated, directed and finally conducted. Let's discover together the divine direction of these distinct but ultimately joined movements within one creative event.

Seed of the symphony 

Let us start at the beginning, the moment of the symphony's conception.
This supreme moment stemming from pure inspiration still is symbiotically connected with the mind of its composer.

This original idea forms the seed of the symphony and holds within itself the potential of all stages of its development. It contains within itself the perfect birth of a most delicate composition, an augmentation of its expression through incorporating a refined orchestra and the promise of an openhearted reception by a perfectly ready and open-minded audience.

Composition

To make the first step towards the implantation of the symphony’s seed let’s view in what ultimate manner the savior in his capacity as a composer attempts to reveal the content of his message.

Fully aware of the perfect light in which his original idea is conceived he is now asked to convert this undefiled vibe of creation into particle and wave-patterns that will fit the contemporary channels of communicative transmission.

He has to be aware of the expectations and the ability his chosen audience possesses to receive this transmission of creative activity.


For that reason he has to give himself the time to shape his original idea into an ultra-light arrangement in order for the highly sensitive content to be conveyed without being unnecessarily reduced by its form.

To do this he has to stay vigilant not to loose contact with the authentic source of his inspiration, while at the same time making his approach towards his chosen flock. He starts anticipating his potential listeners through examining, opening and utilizing the venues and vista's of expression that lend itself best to convey a message of pure light to a particular space-time audience .

Because of the listener’s inability to fully comprehend what is being communicated the savior/composer could choose for example to blend in a sequence of familiar melodies or contemporary patterns and set them off against the more original and innovative parts of the symphony.

Hence he would ensure himself of the availability of the listener’s ear throughout the whole performance without having to compromise the integrity of his masterpiece. Furthermore the whole  transfer of the messages’ significance is assured due to the non-conceptual nature of the message.

‘Light is the message and the message is light.’

Orchestra

The composition as it is conceived in one moment of pure inspiration and formulated into an intricate composition, has to achieve another miraculous integration. The Savior has to step into his role as a Director.

He has to select a few instrumentalists who are to become his helpers within the now imminent transcendent scheme of events.

He immediately starts to emit powerful waves of light vibration that for the very first time touch upon the pure virgin confines of the instrumentalists that he employed.

The statements that the light bearer starts to make concerning the nature of reality, his true identity and the course of action instantly encounter a rigid interference pattern.

The characteristic response from his primary circle of associates ranges from misunderstanding, disbelief, all the way to pure opposition.

In this spot of impossibility he needs to work on an optimal incorporation of his colleagues toward the formation of his orchestra.

The director’s dependency on his core group is crucial and sometimes excruciating. That’s exactly why musical rehearsals can be so intense and often exhausting.

 Here the light-barriers that are raised by a conservative generation of instrumentalists, dormant within tradition and arrogance need to be ploughed to the ground.

The light in its purity of expression and its alien origin makes allowance only for continual change. The only goal the director has to instill within his disciples is the progress towards a whole new way of life and the installment of a new covenant. Headed this way he can allow no conventional routines to be mechanically applied. At least not without serving the cutting-edge efficiency that a ground-breaking process of this magnitude requires.

Atunement

To prepare his instrumentalists for an optimal transfer of training the Director has to frequently and with unfailing consistency facilitate the atunement of his orchestra to a singularly shared reference point of light frequency.

This to ascertain a clear motivation and cooperation from his direct line of disciples.
These apostles not only have the responsibility of accepting the message for themselves but are consequently projected to convey it to others.
Here ‘individuality’ and ‘free will’ pays the biggest ‘price’ towards the whole that far excels its integral parts.



The orchestra with its instrumentalists is now led to a quiet interlude where it nourishes and excitingly anticipates the further extension of the Master’s piece.
 

Audience

Before the symphony’s performance and the entrance of its deliverer upon a space/time continuum (stage), an explicit social/cultural system is chosen for the reception of this most precious and divine legacy. The audience is chosen because it is anticipated to possess an optimal potential to receive, nourish and give growth to such a delicate and profound message of light.

Geared towards the symphony’s performance the Savior detaches himself from his role as director and descends into his role as a conductor. 

Knowing his symphonic creation by heart and having trained his instrumentalists to the best of their abilities, the Savior is about to conduct an encounter between a revolutionary master-piece, a reformed and excelling line-up of first-class professionals, and an elected audience.

Although informed about the upcoming of this symphonic event by means of the regular public channels the chosen audience couldn’t possible have a real bearing on what is about to be revealed to them.

Performance

In four movements fast to slow, dance-like and fast again, the symphony progresses to entertain, inspire and amaze an audience  that was so full of anticipation and curiosity. Boldly introduced by its own revolutionary main theme in a fast and uncompromising pace and in the next moment  led to a slower pace of rest and quit surrender to the magnificent beauty and revealed  richness and creativity. Through an integrated movement of playful and familiar melodies, harmonies and rhythmic patterns to the ultimate conclusion without holding anything back.

Each movement again is made up of four phases and we will regard the following progressions of the Savior's symphony within these phases. The exposition, development, recapitulation and the finale.

Exposition

Every chord although its intention is to express divine harmony is very likely to be received in dissonance by any contemporary audience. The apparent discord between a perfect melody supported by its harmonious accompaniment and a still mainly ignorant and corrupt generation is to be resolved the moment the sound/light vibrations reach the soundboard that resonates within.

Development

This soundboard, — representing the reception of the masterpiece by its audience — although rusted at the surface,
is nevertheless accessible to the ‘burden’ of the symphony at the core of the truth within, towards which the message is directed and where it is always received.

The light that without exception constantly and consistently streams in from Source, surges its light beyond the message and its messengers into every single moment where one perfect note is captured willingly or unwillingly, conscious or unconscious by its listener.

Recapitulation

The third phase is the recapitulation. 
The Savior is elevated for the fulfillment of his part, for the gathering of all parts in a singularly expressed desire to ascend to a new sphere of celestial order.

The Savior now is fulfilled. He has done his part to the outmost reaches of his capability.

He assimilated all parts necessary to bring forward a symphony designed to leap out of all restrictions and being transposed to the recognition of the occurrence of his own resurrection.

The Savior now comes to the humble insight that the “triumph” over death and separation didn’t come to him as a reward for single handedly and succesfully having pieced everything together.

Creative communication happens the moment of the actual transcendence of the inherent limitations of all separate parts of a system, in their failure to remain within the illusion of being disengaged or without transcendent function.

Grand finale

A single pillar of light now dawns upon center- stage creating a vortex of descending and ascending harmonies intensively drawing on the instrumentalists ability to remain present with the musical score assigned to them each individually. The conductor transfigurates before them all, and the audience rises out of their seats.

A force so much larger than the whole constellation now starts to instigate a shaft of light and irrevocably attract to itself all the now activated matter in its proximity. Matter that now no longer rightfully possesses its free-willed 'privilige' to ever return to its former denser ‘life’ form.

A quasar-occurrence symphonically catalyzed now irreversibly starts to bend the whole continuum.

An entire universe inexplicably comes to fruition like some wildflower.

A whole intricate plateau of encapsulated phantom space/time existence transforms into an expansive surge of anti-matter.

A solid and dense continuum starts to bend and curve rapidly revealing its perfect ability of becoming an exit-wormhole for a material universe that never existed.

The end of time and space as we ‘knew’ it becomes the inauguration of eternity through the infinite amplitude of one single moment in which every particle in its local universe participates in its highest possible excited state.

To make the evolutionary destined and vertically directed quantum leap. Only to discover this unbelievable transformation is the one and only creative activity that takes place throughout the whole expanding universe.

Where everything was boring before, now pure excitement becomes the only possible option to enjoin with your mind. You can choose to recognize the quasar of your own departure right at the point where space/time constantly ceases to exist!