de San Graial, J. (2015) Fragment of the theme «The components of divine music» from Chapter I. The Celestial Piano, belonging to the book El Piano como Orpheon; Notes for the piano revolution. Association for the study of Cathar culture.
Efrén Martínez Morales– 12/10/2021
Is it extremely necessary for music to have a divine context emanating from the heart of its creation or performance? What could be the reason for this distancing exercised between the current musician and the spiritual tissue? John of the Holy Grail talks about those components that can lead us to transcend in the true musical art and also celestial.
By citing with great care these wise paragraphs and anecdotes that derive from the experience of this incredible teacher and author, I dare to expound on said components or concepts that lead to the music-divinity relationship, which should never be discarded for any moment.
It can be said that it contributes and encourages the musical community to retake this great importance with respect to the divine context , which is why it should be carried out on itself and at the same time provide great satisfactory elements. For this reason, it was that I decided to approach this appointment when I found it extremely vital in its emphasis, once it was addressed to the rest of the musicians who avoided this area; this could provide us with a great mystical and optional tool in our artistic legacy .
In other words, starting from the transmission of a message or interpretation that the musician himself gave himself to the task of conceive and translate from the deepest part of his being , until generating a great tissue or spiritual focus expressed in a range of sound planes; something like a kind of multitude of emotions, energies, colors and / or unique atmospheres that reveal or captivate, as if it were the first time in every creation and performance . In this way, it is how the true musician will achieve his maximum level in the celestial or mystical sense.
These 2 components (the conceptuality and inner listening to music) that make up divine music are classified into 4 stages:
-The 1st ; refers to the same message, since it must be formulated because it is what gives the same meaning to divine music .
-The 2nd ; focuses on breaking down the musical work , until touching the center where the true meaning or mystical essence is housed, behind these sounds and silences that are responsible for shaping it. That is, touching the archetype.
-The 3rd; alludes to the search and its appreciation of the spirit, which achieves this connection with our inner being, starting from the soul of said work as well as the composer and therefore the interpreter. This will cause the full delight of it, which will come to life through this essence that has been provided by the 2 means; the generating source who is the author when conceiving this musical idea of the work, as well as the fact that it is revived and expressed by the interpreter, who in turn transmits part of his own essence to said idea.
-And finally, the 4th; it is about reflecting this interpretation aloud, even over and over again in each work, with a unique personality and a kind of surprising, emotional and charming intention, as if it were the first time it was presented, so as not to lose sight of that spark and overlighting (term used by the author that designates a state of union with the divine dimensions that reveals to the interpreter the way of acting, feeling and perceiving) that characterizes it in its splendor.
To a large extent, John of the Holy Grail affirms how much the lack of these components in current music is related to the environment to which we are exposed today and that surrounds us before our eyes, witnessing a enormous decline of society largely due to the lack of maintenance and expression of universal spiritual values (purity, goodness, humility, love, compassion, etc.)
However, I firmly believe that if we set out to seek and conceive such an approach, it will facilitate the possibility of reincorporating it into our lives. musical activities and others daily habits that are related to the environment; Hence, a effective scenic-artistic work , accompanied by a personal balance in all areas, will maintain a guide of the spiritual focus .
Personally, the fact of having given me the task of taking Chapter I. of his book as a starting point, where I had the privilege of consulting some quotes and approaches related to those wonders of figures that have discovered in the depths of their being this Great event. With the help of one by one of his magnificent works that he leaves us as his legacy there is a growing possibility of being able reach a deep state of consciousness ; in other words, a great flourishing of spiritual bliss / highlights and wonders that connect man with divinity , if the searching musician were to enter into the discovery of an endless number of archetypal depths in our inner castles, as the author himself describes it in his musical revelations.
The conceived message and the intended performance are very essential aspects that every musician should not overlook, if he truly wishes to create and transmit such music in this wonderful and transcendental divine context .