| The first excerpt represents the past or something you must release, and is drawn from Massimilla Doni by Honore de Balzac: the sobriety of it makes the endless variety of the music all the more
wonderful. All Egypt is there.
"I do not believe that there is in modern music a composition more
perfectly noble. The solemn and majestic paternity of a king is fully
expressed in that magnificent theme, in harmony with the grand style
that stamps the opera throughout. The idea of a Pharaoh's son pouring
out his sorrows on his father's bosom could surely not be more
admirably represented than in this grand imagery. Do you not feel a
sense of the splendor we are wont to attribute to that monarch of
antiquity?"
"It is indeed sublime music," said the Frenchman.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Blue Flower by Henry van Dyke: is perishing without it. Listen, my son, listen with all your
soul to the blessed name of God our Father."
The cold agony in the breast of Hermas dissolved like a
fragment of ice that melts in the summer sea. A sense of sweet
release spread through him from head to foot. The lost was
found. The dew of peace fell on his parched soul, and the
withering flower of human love raised its head again. He stood
upright, and lifted his hands high toward heaven.
"Out of the depths have I cried unto Thee, O Lord! O my
God, be merciful to me, for my soul trusteth in Thee. My God,
Thou hast given; take not Thy gift away from me, O my God!
|
The third excerpt represents the future or something you must embrace, and is drawn from Confessio Amantis by John Gower: So that thei mihten knowe and wite
How hindringe is a wofull peine
To him that love wolde atteigne.
Thus evere on hem I wayte and hope,
Til I mai sen hem lepe a lope,
And halten on the same Sor
Which I do now: for overmor
I wolde thanne do my myht
So forto stonden in here lyht, 920
That thei ne scholden finde a weie
To that thei wolde, bot aweie
Confessio Amantis |
