Prayer for a New Meeting
Scenes of Wondering Beyond
A Night on Bald Mountain
This is the story of a married couple who had promised each other love eternal, now separated by the death of the husband. The dead man, unconformed with the violent separation, tries to convince his widowed wife to join him at the Hades.
The use of the term “Prayer” is meant to enhance the conflict in terms of language. After all, no one in a sane frame of mind prays to ask for the death of another being, especially the person one is married to.
But such is the wish of the unrestful and unconformed soul of a man who is dead and yet in love, frustrated by the end of a togetherness intended to be eternal, as eternal as he now wants it to be kept by urging his beloved to join him through her suicide.
On the other hand, physical death, in this particular view, is not more than a barrier, a separation between worlds and not a radical and definitive finalizing concept. In a subtler way, in the case of “Prayer”, it is love that remains beyond death, a feeling so transcending that it ignores and disrespects such obvious physical limitations (although it recognizes them, while enticing the fall).
THE MUSICAL PARTS:
. I: A Dance Party She Attended (instrumental)
The tittle situates the context: She had gone to a dance party.
. II:The Bumpy Road Back Home (instrumental)
The return back home is made through a road full of holes and bumps.
. III: Longing And A Wish
The husband longs for his wife, reminisces, shows his thoughts and starts trying to convince his widow to join him.
. IV: Echoes Of The Fall/Tango for One (instrumental)
The guitar sole evokes the fall in the unmaterial, and the tango for one demonstrates a love act in lack of a second element.
. V: Bitterness
The dead man has a glimpse of conscience about the selfish cruelty of the proposal he made, and begs for delirium and madness to leave his mind.
. VI: Lure
Even though, he insidiously continues to seduce his widow, who sees him while asleep, in a dream.
. VII: In Answer
She answers, realistically, and tries to comfort and tranquilize the unquiet soul of her husband.
. VIII: Deceit
“No faith can fathom fate” once the secret eternal union was shattered by one death, says the husband, insecure that his widow might find another man.
So, he continues to entice her to suicide. The desire of reunion - a new meeting - still remains, on a kind of wish for what it never is too late and for which death holds no barrier as long as lover reigns.
This music / story has two conotations, one can almost say it describes two tales at the same time, according to what the listener “would want to listen to”. The characters on one are driven by the search for materialistic deeds; on the other, the drive is on the search for spiritual deeds.
The first, conceptually, turns around the adventuresque search for the unknown, a magical Portal, and takes place sometime around 1950 (note: the two pics in the leaflet were actually shot in 1951).
The second story depicts the search for an Inner Portal, a new state of conscience, a new existential condition.
The musical parts:
Part 1: The Secret´s Revelation
- Tale 1: The finding of the map that guides to the reaching of the Portal, and the disputes for its possession.
- Tale 2: The discovery of the magical keys, of the processes for internalization -
The Disciple faced to his own Portal.
Part 2: The Trip Adventure
- Tale 1: The ensuing adventure and the difficulties to surpass the difficulties presented, from camelback riding to those of the obstacles on the map.
- Tale 2: The search and the preparation. The insecurities and doubts.
Questions and answers. Light and darkness.
Part 3: Rota Incognita (latin: Unknown Route)
- Tale 1: The meeting with the unknown.
- Tale 2: The meeting with the unknown. The battle between Light and Darkness.
Part 4: Reaching the Gate
- Tale 1: The final step of the adventure: The finding of the Portal, reached in a desperately fast and urgent ride. The last instant of the music is that when the Portal closes itself.
- Tale 2: The disciple faced to the Master. The reaching of all eternal truth.
The comprehension of answers.
The last instant of the music is that when the Portal is tore apart.
The song with forgiveness and the need of its concession in order to solve situations in life that linger on from the past as impediments for evolution.
It questions about how one can ever get along in life in a lighter way while bringing in mind, like a heavy imobilizing burden, all the evil
done against him - or, worst, all that which is perceived as evil doing inflicted on him with no shread of evidence that such was the intention
of those supposed to be wrong doers.
As a matter of fact, it is like a hymn to non-conformity , even while it may seem as the exact opposite to that. After all, what difference would it make for the solution of any given conflict if one only cares about that conflict by carrying it in his mind like an open wound?
Forgiveness opens space in memory for a renewed vision about the past, the present and the future of our lives. Once the past cannot be changed, it would be advisable for us to learn how to live with the reflexes it sheds in our present in a productive way, so we can try to acquire a new vision, another perspective, in order not to lose new opportunities in the future because of things that can no longer be modified.
On the other hand, we can change ourselves continuously, and we should struggle to do that in order to develop into better persons.
In the case of Forgiveness, the attitude of pardoning holds in itself a distinguished capability to provide elements of transcendence, once it can position the one who gives it beyond the limits of a self-imposed prison - focused on events from the past, which in the present succeed only in the minds of those who repeat them, over and over, with resentment and prejudice enough to lead to anger, in the end.
Here, in these lyrics, the dynamic generated by the granting of pardon makes it show as an element capable of withdrawing the human being from
a torpor and an inertia built over primary cultural concepts, merely inherited withouth any given consideration (thought) about their true benefits once they were first presented as valid, not more than the tought needed for the mere tacit recognizement (or passive acceptance) that those would be the only valid ways, and to them there would be no possible alternatives.
The musical parts:
Part 1: Stoop to Anger (Instrumental)
That is what is done by those who would rather hate than forgive shows himself.
Part 2: Parade of Fools
A dialogue that follows between a hopeful one and a grieved one: The first says the two first verses; the other, the next three, which are answered back on the last two verses, when the hopeful one sees the face of the griveved among the marching crowd while he, himself, is on his way to join the pack of fools.
Part 3: Forgiver´s Dance (Instrumental)
The repeated joy of those who can forgive.
Part 4: Second Thoughts (instrumental)
Thinking in motion about one same idea, that of an unsatisfying life, provoked by the vision of happiness.
Part 5: Fair Warning
The one who has learned about the benefit of forgiveness gives fair warning about what he knows, yet in a dance, a bit more contained.
Part 6: Forgiver´s Dance (Reprise) (Instrumental)
Given the alert, the return to the relish of dancing.
Part 7: Thinking On (Instrumental)
The doubt about the pointed solution still moves one of the minds, mas the path is always an open one.
Scenes speaks of transcendence, the way nature has, and gives us, of making our race perpetuate itself, making our inheritance (genetic, cultural etc.) remains as a presence on our descension, giving this race a character of permanence - and even immanence, perhaps - which would make us eternal, in a certain way.
Another of the human manifestations that can concede eternity is art, once properly registered, produced, distributed and disseminated - something that is issued on the air through radio waves just once, for example, travels eternally through the stars, freed of physical limitations.
The only limitation is non-creation, the fear to dare, the lack of initiative, an art that does not make itself present in the contemporary context of its existence (it might even be discovered, later on, but then the creating artist would hold no more responsibility for the issuing of his product).
Part I: A Son to Live On
One chance is given to persons about to procriate: to become better human beings. Because of that, life presents renewed opportunities for spritual growth all the time, chances to turn lose practices that bring no good, devious signs on a road from nothing onto nowhere.
The ideal path to be trodden by future parents would necessarily be a virtuous one.
When, with all the will to succeed, parents meet the sweeteness of his child, they start to wonder about what destiny would be created by them for the little one, given to him as inheritance and shared together, as closest relatives.
During life, many different people and feelings will come and go. Anyway, the nature of time is to see that growth happens and that parents can follow it until a given limit - that of their lives (or their child’s, sometimes).
One of the things done by descension is to face the elder parts their coming of age - or maturity -, but if even the “experienced” show themselves as yet ignorant about how to drive their lives onward, sometimes, that’s equall part of the ongoing proccess of mutual learning.
There would not be one single way to deal with bringing up a child, and only close attention to the dialectic of the proccess could prepare parents to deal with fatherhood, for one day their child will proceed alone to pursue an individual adventure in life. So parents should always try to capture their child’s personality in their hearts and learn to perceive it and respect whichever differences from their own selves that are shown within their child’s personal ways.
The will is written by nature: life will be the only legacy left by all parents as a gift to their own kindred, those who have inherited it. Powers such as will, power of decision and determination have also naturally been given by the child’s personal experience in the proccess of private particular education, as well as how what was taught has been perceived - all those are factors to be counted in order to make the child get to take better care and control of life when all alone.
Part II: Walk of Life (instrumental)
The rhythm of this part has a walking like attitude, with ups and downs, disconected encounters, little trips and stumbles, falls and comebacks, all culminating in a dramatic introduction to the next part.
Part III: Chase from Death (instrumental)
This part is characterized by a certain degree of acceleration of a repeated motive, translating anxiety in dealing with an inextricable common fate - like repeated round trips trying to avoid coming to one single and inevitable destiny while going in circles.
Part IV: Final Rest
The final destiny, translated in complete peace and quietness.
Part V: A Doubt to Live in
While at the same time it concedes us the fruition of life while it occurs, time measures the extension of the interval in which all succeeds.
Eternal as an universal entity, it wraps us in itself, ceases to exist for us and still remains immutable in its infinite span, not having in it a single element that points to our immediate objective perception any possible modification in it.
Time ignores us completely, only awaiting to see life transformed into death, like a bird of prey.
Prayers are made so the time we are conceded can be further extended, but it is known that this will not go beyond the point where we can no longer follow its passing - and, thus, this same passing does not affect us at all, anymore. Why praying, then?
There is a reasonable doubt about the continuity of life after death, or eternal life, this eternity being a presumption that within pure reason cannot be considered as more than wishful thinking. Nevertheless, this extension is all one thinks about when seen on the brink of life (or the whole time, perhaps, because we are never allowed to know when exactly we’ll be struck down).
In the end, when life is faced to death, all that has occurred while it lasted vanishes in the blink of an eye to make part of an unmade registry, abbandoned beyond time and matter. Beyond the human maya.
Babel Tower, such as The Gate, has two conotations: One social, and another phylosophical. For the social vision we can take two situations:
The conventional biblical vision and the modern social one. No matter which one, if any, of those “guidelines” better suits the listener, the musical discourse tries to represent the tensions, doubts, searches, meetings and partings, renewed encounters, the individual and social living, the evolution of the social and individual process.
The musical parts: The text behind the music
Part 1: Questions?
The individual questionings. The loneliness of the One within the Group. The search for a means for expression and comprehension to and fro. The self search. The search for peers / pairs. The attempt for understanding: Unchangeable Law or Eternal Cycle of Individual Evolution?
Part 2: Thounsand Minded Dark City
The questionings of the group, of society. The loneliness of the Whole in the Group. The tensions and social pressures. The social Tower of Babel. If each one has his own language, how to integrate? How to understand the “language” of the whole?
Part 3: Human Abstraction
The human being and the eternal meeting renewed. The search and the understanding of Eternal Truths. The abstraction of individuality.
This suite has been conceived by putting together five parts, of which the first one and the last one (beginning and ending) faithfuly follow the score of A Nigh On Bal Mountain by Modest Mussorgsky, who based himself on a popular tale about a special night of the year when all witches, gnomes, gobblins and nightly creatures would gather on a Mountain (Bald Mountain) to realize an enormous sabbath. The musical idea represents a confrontation between Good and Evil, in all its fury, that nevertheless with the break of Day (part 5), that invades all in a placid yet definitive way, dissolves all miasms left by the terrible sabbath, shies away all shadows left by darkness to make Life come to fruit from the ashes of Death.
Parts 2 and 4, Night Tale e Night Tale Reprise, are compositions by Jim Cuomo, from Fire Ballet, Canadian progressive rock band from the 70’s, who has gently authorized us to perform it.
It is perhaps a narrative of a Crusader who evokes the mystical powers granted to the soldiers from Camelot with the aid a wizard, before his travel to perform the sacred duty trusted upon him, which is accepted and honored, so that he goes to the distance only be engaged in many a fight, until one clad seems him defeated and killed by his moorish enemy.
Part 3, The Engulfed Cathedral by Claude Debussy, also used by Cuomo between both parts of Night Tale, could maybe look different from the others at first sight, was it not for the powerful concepts of plasmation and transmutation presented in its musical structure. Phylosophically, the clads between Darkness and Light bring these two elements before all else. The way it is presented by Cuomo in Night Tale is suggestive that maybe the soul of the dead warrior finds its rest during the piece.