One of God's purposes for this creation is music. Especially, but not only, the classical music we studied at The Juilliard School of Music during the 1950’s is at the heart of this world.

Emotions are the treasures of human experience, meaning the treasures of this whole creation. And emotions in all their nuances are embedded in the musics of the world. Most of the main nuances are already embedded in the recordings of the last century.

But no one human being is able to experience the whole range of the emotions God has been able to conceive, let alone be able to recreate all of them in all the different musics in which they are embedded. For the latter, God needed the whole range of musicians, composers and interpreters he has created and much more besides: the children, friends, lovers and whatever else in the lives of those musicians enabled them to learn and experience the emotions they were meant to record.

The body is hyper-sensitive to vibrations, as many of the papers of The Anstendig Institute explain. And the most powerful vibrational influences on a human being are music and other types of sound, which can literally impel the human body to action and movements of an extremely precise nature.

As I have explained elsewhere (in, we come into this world with our consciousnesss unable to have any influence on how our bodies function. However, the human body and consciousness can function better if the consciousness in the body works together with the body to refine and improve the way the body functions. How that has to happen is built into the body by God and making use of that possibility has to be done together with God for God's purposes, not ours. To get to the point of this explanation, much of the path of liberation that refines and improves the human body and mind and "liberates" the human being, as described in, is written into the vibrational patterns of the musics of the world.

As I have said, it is my understanding that the most important works and their emotional qualities have already mostly been recorded over the last century. Some performers/conductors recorded some; others did others.

But there were some very precious performers who were able to accomplish certain key emotional qualities others could not. Otto Klemperer is one of those, while Robert Schumann was one of the composers who accomplished some key things other composers could not. And it is the combination of Schumann and Klemperer that gave us what is, for me, the most important gift we have from God: God's own requiem and expression of sorrow for himself and what he has to do. And that requiem is Klemperer's recording of Schumann's 2nd Symphony.

The problem of God being pure consciousness and, as I explain in "The Story of God", his being the only real natural phenomenon in this creation (everything else being a product of his consciousness) is that God himself does not know what would happen if he allowed himself to rest and not be conscious for any amount of time. Ostensibly he would simply stop. Maybe until another natural phenomenon occurs again. But he does not know whether or not that phenomenon would be him or just another new phenomenon. In other words, God cannot allow himself to sleep or rest at all. Only we can sleep and, thereby stop being conscious for periods of time. God included that feature in us because he longs for it but cannot himself have it. He realized that lesser consciousnesses would suffer without it.

Further, in this world of consciousnesses, all of them pretty much want something from God and do not really want to do anything for him, unless they think it is to their advantage. That is the nature of consciousness, along with the inherent natural tendency of all consciousness not to want any other consciousness to tell them what to do. That tendency of consciousness not to want other consciousnesses to tell it what to do is the main problem of this creation. But that is another story.

The bottom line is that, in order for God to experience most things he can conceive, he must experience them through us. But, as well as not being able to rest, in order to carry out the illusion through which he created the apparent material beings that we seem to be, God cannot, himself, make any compromises in what he has created without giving away the illusion. It is not easy for him. To satisfy his own needs and principles he had to create this world as a complete, perfect artwork. And to satisfy the needs of his artwork, he had to conceive and create everything that the artwork demands without compromise.

All of this reflects the realization God once arrived at, that to carry out his concepts correctly, he would, himself, have to suffer what no other consciousness would bear. And his own monument to himself and what he has to go though to achieve his goals and his own requiem for himself if he were able to allow himself to stop, are embedded in that recording of the Schumann 2nd Symphony, conducted by Otto Klemperer. I have found it nowhere else.

The Schumann 2nd Symphony was described by Schumann as his melancholy symphony. When played as written, it reaches depths of despair rivaled by few other works. And, in the last movement’s beginning, it even mimics the taunting cries of children nastily taunting another poor child. Clearly, it reaches the depths of the human soul.

But most interpreters do not allow themselves to realize that. They try to “fix” what they consider to be mistakes on Schumann’s part, changing the orchestration and trying their darnedest to put a positive spin on the work. In my experience, only Otto Klemperer and his teacher, the composer Hans Pfitzner, have recorded this work with the requisite sadness and melancholy. Pfitzner’s recording is very old and poor in sound. But he does play the work up to speed, as indicated by Schumann. Klemperer takes more time with the tempi. The recording is also in excellent analog sound and Klemperer’s more expansive tempi allow the full expression to come through. It is an immeasurable treasure, in our opinion.

As The Anstendig institute has explained in its papers on accurately hearing and experiencing emotions, to accurately experience the content of this recording, one has to be able to control one’s reactions to Schumann’s sound patterns, or one cannot hear and physically replicate the emotions the way Klemperer and his orchestra actually played them. And what is on the record can only be reproduced using adequate technologies capable of doing so. Lesser technological means actually change the expression of the performance as does not being able to control one’s physical reactions to it. And controlling one’s reactions to such powerful musical patterns is very difficult to do, even for seasoned musicians.


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