The Sam and Sarah Adventures
By David Suffolk
Christoph Peter appreciates music as complete and perfect in every human being. It richly expresses our vitality, feelings and strivings. The goal of The Magic Flute is “the right union of the Papageno world of our natural origins with the world of Tamino, our striving spirit”. The path of love and obedience is pictured in the Sun-realm of Sarastro and the temple of wisdom. The opposite pole is the realm of night, exemplified by the Queen of the Night and her vassals. Peter finds life’s polarities pictured in the fairy-tale text and in Mozart’s music – achieved wisdom and natural instinct, spirit and nature, life and form, urgency and rest, light and dark, love and hate...
Like the human being, music always stands between polar forces. We experience ourselves, losing or finding ourselves again in a living, musical process of breathing, in the rise and fall of melody, in long and short notes, in major and minor, in the dynamics, indeed even with instruments, with the intervals or in the phrasing
The universal law of polarity necessitates a third factor: the transition or threshold between two antagonistic forces. This is directly portrayed, both on the stage and in Mozart’s music. Linking up with other scholars (notably Abert), the author presents his vision in concrete musical terms: Mozart’s music portrays inner time, inner space and inner centring. The perennial path of transformation, the “middle way” – named “T A O” in Far-Eastern tradition – becomes music. “The background of the mysteries in The Magic Flute – which people mostly seek in the text), can be found in the musical realm” (Chr. Peter). A largely unknown Mozart, who places his elements very simply and sensitively, emerges with his inclusive vision of human concerns. This definitive study of Mozart’s most sublime work is also a comprehensive study of music’s creative language; a companion for the musical artist and music lover of the twenty-first century.
Musical studies have been enriched by a book of most unusual, probably unique significance. It should be read by everyone who loves The Magic Flute. In truly masterly thoroughness and sympathetic understanding, the author helps the musician and music lover to rediscover this work. Mozart’s opera, sadly misunderstood especially today, according to Wilhelm Furtwängler, is “the most profound and unfathomable musical work in the whole world.
Hermann Pfrogner in Die Kommenden
The polymath Prof. Dr Dr HERMANN BECKH (1875–1937) is being rediscovered. This linguist, Orientalist and Christian priest – an active music-lover, who also wrote music – penned pioneer works on our musical system still respected by musicians and musicologists. Beckh also champions the music drama of Richard WAGNER.
In The ‘Parsifal’ = Christ = Experience in Wagner’s music drama – referring to Wagner’s own letters and a most remarkable letter of Nietzsche –, Beckh faces the deepest inner question of our time, identified by Wagner. In the poetic libretto and remarkable music of his final creation, Wagner presents the Grail legend and its imagery. The psychological drama and its ultimate solution is accessible to all those who reflects on their experience. Beckh’s original insights bring a new and powerful light to the search for meaning of our age, for a knowledge of the heart. The reader meets the real Wagner, acknowledged by Bruckner himself as “the master”.
ALAN STOTT, musician and translator of Beckh’s works on tonality, includes articles by Prof. Dr Dr Hermann BECKH and Lic. Emil BOCK on Wagner’s whole artistic contribution, with a study by Dr Rudolf FRIELING on King Ludwig II. These articles by founder priests of the non-sectarian “Movement for Religious Renewal”, The Christian Community, originally appeared in the journal of that name. Alan Stott’s translations of the astonishing all-round musician Christoph PETER, The Language of Music in Mozart’s “Magic Flute” and Rests and Repetition in Music, are published by Anastasi Ltd, Leominster.
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