Fiat voluntas tua...

[pianowolfi]

Well okay, after listening to Furtwängler's "I hear an army" I think I can post this
It's a draft. Well, it's an improv, of course. But it's at the same time a draft to a composition I am at the time working on. This improv is from July 2008. It contains also the "ghost notes" that I have posted separately in miscellaneous:

https://www.pianostreet.com/smf/index.php?topic=36632.msg418872#msg418872

At some point I start singing, and it's horrible, of course, because 1. I am not a singer, 2. it was completely spontaneous, 3. I felt quite down, back then (of course it's now completely different, life goes on as so often, yipp yipp And anyway, the singing serves the only purpose to lead me later, when I am working this out, to discern instrumental parts and voice parts where it is not obvious enough. (I am actually, in all spontanity, a long term planner...)

Anyway, it's about the lord's prayer and about one of the seven parts of it, "Fiat voluntas tua, sicut in coelo et in terra" (thy will be done, in earth as it is in heaven.)

Of course, fiat voluntas tua has many different aspects. The one I tried to capture here, with the little forces I had, and the very limited possibilities, is a very "bluesy" one. Resignation. Surrender. And I must say I love it as "bluesy" as it is, without it being a blues, of course. It's just as it is. I am cutting a lot, of course, for the final version.

Anyway...

that's it.

[furtwaengler]

You know, I was expecting something really wild, but what I got was deep and profound music from a deep and profound (and perhaps at this time, aching) soul. A good retreat. You know, I notice this especially when listening to you, that I'll think 30 seconds has gone by, and I'll look down to find it at the 6 minute mark. There's a certain, innate timelessness to your playing - It's how you breath the phrases.

I can identify with this on a musical level, but as far as "Fiat voluntas tua, sicut in coelo et in terra..." It interests me, your approach to this, almost as if you are a strong will kicking against the goads. Maybe it is the moment, and music somehow reaches deeper than anything we can really ever say about it. What do you think?

There are definitely points of great conflict and struggle through and against something, but in spaces, moments of resolve and resolution...minute 13, minute 14...but a lot of what I call "chromatic angst," something I know very well.

The singing is actually quite powerful, and you should not be ashamed of it in the least. It provides a window deep into the soul, an expression that no other instrument other than your own God given voice could hope to attain. I'm telling you it is powerful, and you must believe me.

I probably would not have caught the "ghost notes" without you're introducing them in a thread. One has to listen closely, and one does listen closely to one's own things, but I must say in context they are like a response from another realm...as if you were doing exactly what you needed to be doing, honestly reaching out in the terror of your soul, and this was the response, and some sense of resolution in the response. This is all off the top of my head, and a dramatic (not realistic) explanation.

Well the piece is dramatic as it stands. And what it shall become? Oh, keep me posted!

Thanks, Pianowolfi. You've gone an extra mile.  

[pianowolfi]

You know, I was expecting something really wild, but what I got was deep and profound music from a deep and profound (and perhaps at this time, aching) soul. A good retreat. You know, I notice this especially when listening to you, that I'll think 30 seconds has gone by, and I'll look down to find it at the 6 minute mark. There's a certain, innate timelessness to your playing - It's how you breath the phrases.

I can identify with this on a musical level, but as far as "Fiat voluntas tua, sicut in coelo et in terra..." It interests me, your approach to this, almost as if you are a strong will kicking against the goads.

Yeah, that's right, I have always been like that, even to an extreme extent. I am a strong advocate of what a profound Swiss writer (Ludwig Hohl) called "the non-premature reconciliation" I may resignate, be sad, angry, but never cave in!
 

Maybe it is the moment, and music somehow reaches deeper than anything we can really ever say about it. What do you think?

There are definitely points of great conflict and struggle through and against something, but in spaces, moments of resolve and resolution...minute 13, minute 14...but a lot of what I call "chromatic angst," something I know very well.

The singing is actually quite powerful, and you should not be ashamed of it in the least. It provides a window deep into the soul, an expression that no other instrument other than your own God given voice could hope to attain. I'm telling you it is powerful, and you must believe me.

Okay I'll believe you

I probably would not have caught the "ghost notes" without you're introducing them in a thread. One has to listen closely, and one does listen closely to one's own things, but I must say in context they are like a response from another realm...as if you were doing exactly what you needed to be doing, honestly reaching out in the terror of your soul, and this was the response, and some sense of resolution in the response. This is all off the top of my head, and a dramatic (not realistic) explanation.

Yes actually there are moments when I listen to some of my stuff where I think "this is a person who knows exactly what he does". It's the person (or character in music) I strive to be. It's anyway not me, my ego. It's me in a higher sense. And there are many things that come to me in the form of an inspiration, but at the same time they are mine. Well it's difficult to describe. I would have to elaborate about the concept of inspiration in ancient and in modern times...

And maybe yes, you are right and these notes are a sort of response.

Well the piece is dramatic as it stands. And what it shall become? Oh, keep me posted!

Yes, for sure. I am thinking if this should be for two singers and piano. Or only one singer and piano. I rather tend to have two, a female voice for the first part and a male one for the second...

Thanks, Pianowolfi. You've gone an extra mile.  

You're welcome Anyway your comments are, as always, very inspiring and helpful to me

[goldentone]

I enjoyed this very much, Wolfi.  I'd like to come back later with some
detailed comments.