Category Archives: Not yet slotted…

The Other Mozart, or the “Stealth” Mozart…and “Minnegeddon”

Just what is the Other Mozart?  To me it is matter-of-fact, but, this seems to be something of a mystery to others, so it is not a concept that anyone can just accept and run with.  Let’s start with the axiom that there was a curse placed on Wolfgang Mozart and his family, by some who realized that his uniqueness was such that it threatened to drown out anything they could ever produce.  Let’s add into the mixture a dark angel who is in charge of working this curse.  As a result, Wolf’s family and their relationships are virtually destroyed, and he is sucked into a vortex of evil energy, from which he cannot escape.  He works as fast as he can, and shines as brightly as he can, sensing that time is of the essence.

In Mozart’s last major work, the opera The Magic Flute, he finds something that has eluded him during all his earthly life.  It is a voice — of gentleness, of honesty, only doing good. It is what we call “shalom”.  In creating it he throws himself into the future, and into another realm.  He senses, though he does not know, that the full unique nature of his gifts may come to be understood at some time in the future.  He does not realize, however, that, not only is he the most extraordinary musician to ever live, but also a prophet.  At a point in the future this opera comes to life in the real world.  And so another child is born.  A girl.  “Pamina”.  The Other Mozart.

However, Pamina is born into the circumstances that destroyed Wolf.  She is surrounded by the same evil forces that closed in on him at the end of his life.  Pamina can hear the energies of this dark angel.  At one point, it even momentarily manifests itself to her.  But she has to fight her way out of this darkness, which she calls “The Curse of Night and Fog”. This dark angel, which she calls The Night Magician, tries to use even her family members to destroy her and the gift she has been given.  She doesn’t understand just what that gift is until she starts to play the flute.  It protects her from all harm, but in the process, almost destroys her family and their relationships.

Life circumstances bring her to a place we’ll call Salzburg, Northland.  In it there is an orchestra that has just changed its name from the “Salzburg Symphony” to the “Salzburg State Orchestra”.  She starts to study the flute seriously with their Principal Flute player.  “Maurice Magus” and a cadre of other players crawl out of the woodwork, enticing her to practice on the stage at their Hall, behind the backs of management — trying to ensnare her, and stop die zauberflote.  They fail, but the fate of both Pamina and this Orchestra are now intertwined.  In short, these wicked players, “Monostatos”, make sure to lock her out of opportunity by refusing to give her a proper introduction to their world of music.  They even target her three small children.  However, die zauberflote guides and protects them.  Its gentle energy also has the power to cause those who tried to destroy her to have to deal with the destiny themselves that they once sought for her.

As a result of the lockout of Pamina, at a point in the future, the SSO players find themselves ‘locked-out’ by management that is outraged at their pridefulness and hypocrisy, for things they sense happened on the stage at their Hall, behind their backs, that, if disclosed, threaten to destroy the entire organization.  Pamina, sidelined and basically silenced, does everything she can to tell them the truth about what is going on, to help them.  As she is on the outside, and has no credibility with them, she is a “Stealth” Mozart, in that she persists in trying to do the right thing, almost speaking out from the grave, so to speak.

This is the basic structure of “Minnegeddon”.  The forces of light, of die zauberflote, and those of darkness of Monostatos are at war. The battlefield is the stage at Symphony Hall.  Don’t “believe” any of these things.  But do test them, and decide for yourself what to think.

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#Minnegeddon — an orientation for beginners…

During Wolfgang Mozart’s life on earth it was pretty much a given that wherever he went he was surrounded by controversy.  Wolf may have brought some of it upon himself, as he was also known to have a wicked and sarcastic tongue, and to frequently lack empathy toward the plight of others of what he perceived to be lesser musical gifts.  At the same time, here was someone who was extraordinary to the point of being entirely different from others, with a unique quality that everyone sensed but refused to intentionally confirm to him.  There was, in fact, a mystery, as to why it was he apparently had unlimited access to the realms of music of genius while being in a constant state of turmoil in the natural world. 

It is my thinking that he created a vortex of energy that was fed upon and into by others.  I think it was such that when he entered a room there was probably even a sense of dread.  Nobody knew for sure what made him different, but he was different…and he was quickly perceived as a threat.  It was not only his talent that was threatening, it was something almost undefinable… It was something that essentially seemed to infer that it was either ‘him’ or ‘them’…that the two energies could not exist together.  

And so, Wolf was poisoned.  Perhaps literally, but not necessarily. His relationships, his garnering income, his establishing a powerhouse of a musical legacy for his family, what today we can easily call the “Mozart G’zillions,” were poisoned with petty and negative thoughts and attitudes.  His enemies probably rejoiced that he was gone forever.  However, that was not exactly the case.  The vortex of energy that swirled around him did not die with him.  It continued to gain power as time went by.

It is my thinking that some people deliberately tried to put themselves into this vortex.  Others may have slid into it, through an act of fate.  One of the latter, I believe, was Gustav Mahler.  I think he brought this vortex to America.  Some time after that, a local orchestra decided to change its name from that of a city to something that closely resembled the name of Wolf’s character “Monostatos”, in Die Zauberflote.  If I am correct, the center of the vortex is in that place, in fact, on the stage at that Hall.  The truth of his vision is becoming reality.  A battle between darkness and light is being waged full-force.  

And that is Minnegeddon.

#MinnegeddonPartDeux — another mystery?

Some of those originally involved are dead; others have left or retired. In fact, it could be said that the aisles of the Hall are already filled with the corpses of those who have tried to block die zauberflote.  But there is still a remnant that persists in obstinacy, so it seems.

The players have returned, and with them, “Monostatos”.  But now there is a difference. This time, everyone has the information they need.  All are on the same page.  Has one in management even pieced together the connection between recent events and the other lock-out? In fact, could frustration over this realization have contributed to the seemingly unnecessary harsh treatment of the players?

Questions from “Amy” — S D reply…

Amy says:
Who’s the “ringleader” you’re referring to, Pamela? Is this a real person or a character in your novel/screenplay you’ve been working on?

PB: Apparently Amy is unaware of the concept that truth can be even stranger than fiction.

And Amy say:
(clicking Pamela Brown’s name above leads to a blog that exists primarily to repeat her comments on Slipped Disc.)

PB: With all due respect, that statement is just a bit superficial. While the blog does include my SD replies (specified as such) , it also includes a number of posts, and even photos, that are biographical.

http://www.artsjournal.com/slippeddisc/2014/01/slipped-disc-editorial-today-is-zero-hour-in-minnesota.html#comment-186810

Waiting for an apology from the players? May be a long wait… s d reply

Bob Smith said, “I hope the Musicians apologize to the community and donors who they insulted during their union inspired year and a half tantrum. “

I am still waiting for a proper introduction from the ringleader of the clique I call “Monostatos” and an apology to my children for the effects they experienced by my being, in effect, ‘locked out.’

We may both have a bit of a wait. :-0

http://www.artsjournal.com/slippeddisc/2014/01/slipped-disc-editorial-today-is-zero-hour-in-minnesota.html#comment-186783

What is Die Zauberflote — or as some players call it, “the real magic flute”?

For quite a while I sat on the inside of something that, because I dealt with it every day seemed normal, but which was, in fact, unusual. Right from the start it seemed that whenever I picked up the flute and played, curious and sometimes frightening things started to happen.  Some gritted their teeth; others burst into tears of joy, some seemed to remain stoic.  Some turned on me in fury.  Others walked away in stony silence.

But the undeniable truth was that circumstances always change when I play the flute.  I have learned through trials that everything is used for good, no matter what the surface appearance may be.  I have learned that this energy of music protects me and my family from all harm.  I have learned that it pretty much stops ill intent in its tracks.  Some seem to hear the voice of Mozart in it.  Others, with ill-intent, have heard a voice in their own heads.  One called it ‘a riding crop voice’.  It may be that of the dark angel, the “Night Magician.”

 

Still, it is always a mystery.

The Parting of the Red Sea…

On this day, some years ago, Christopher Rand left the house of Pamina Payne and her children, tail between his legs, never to return.  It became a day celebrated with joy and relief every year.  It was a miracle — the light and loveliness of the magic flute had delivered them from the ill-intent of Rand, and also from the hand of Lermontov, the Night Magician.  No matter how simple their fare, or what challenges they faced, they were always grateful for this gift of freedom from tyranny.  P2A..Rossignol I.

#Minnegeddon — angst at its finest…but is it Mozart, or anti-Mozart? :-0

The locked out MO players have banded together with the almost-equally-distressed Minnesota Chorale this weekend, in a program of sadness — the Britten War Requiem and the piece most distasteful to Wolf in his last days — the Mozart Requiem:

http://www.twincities.com/music/ci_24890437/review-minnesota-orchestras-musicians-deliver-mourning-and-its

It is ironic, of course, that the MO has a connection to the anti-Mozart movie “Amadeus”, in that the score was conducted by its then director, SNM, who reportedly was upset when he realized there was no Oscar category for a movie score not composed for the movie. 

It is also ironic that back in the 70’s the then-conductor SS, along with the help of the Board, decided to change the name of the treasured and highly-regarded Minneapolis Symphony to the “Minnesota Orchestra”.  Apparently, none of them had done their homework.  In fact, SS is known to claim that he ‘loves Mozart’ yet seems to have very little understanding of what the real Mozart was all about.  Hence, the new name of the MSO is quite similar to that of the wicked servant in Sarastro’s temple — Monostatos.  Ironically, too, of course, there was no “Minnesota” in 1791 when Mozart wrote his last major opera Die Zauberflote, so one might open the door to the possibility that Mozart was either psychic or a prophet.  

And then we have the saga of the MO, in which a handful of players decided (without bothering to inform the MOA) to try to entice the Other Mozart onto the stage at Orchestra Hall to practice, in order to make them a target for destruction.  All of the information regarding these events have been made available to all of the parties involved.  As yet, it seems that no one has, as yet, been able to see the forest for the trees.  And now we have the locked-out players appearing to prefer the highly controversial Mostly-Mozart Requiem of Wolf to providing a proper introduction for the living one which they continue to try to keep locked-out.  Irony, indeed….

 

Was Mozart poisoned? s d reply…

Have you so little curiosity? There seem to be a couple of issues worth debating.  Was Mozart, as he said, actually poisoned? What was Salieri’s main concern, guilt over feeling he had contributed (directly or indirectly) to Mozart’s early demise, or concern that the rumours were flying all around Vienna that he was responsible — even to the point of Beethoven’s putting in his two cents worth? How did these rumours (if they were that) contribute to Salieri’s breakdown?  

http://www.artsjournal.com/slippeddisc/2014/01/amadeus-producer-dies.html?replytocom=185883#respond

#Minnegeddon — who should bear the angst of the Orchestra Hall rebuild?..s d reply…

I don’t recall a referendum for the citizens to vote on, per se, on the issue of the rebuild of orchestra hall. The MN legislature may have. I wrote to Gov. Pawlenty asking him to allow the uber rich patrons of the MO to take on the burden of the hall rebuild rather than the already overtaxed ordinary taxpayers of MN. Of course, that didn’t happen.

http://www.artsjournal.com/slippeddisc/2014/01/minnesota-musicians-beg-city-to-take-over-the-empty-hall.html?replytocom=185806#respond