Category: Symphonic / Orchestral , Organ / Sacred Music
In the Prophet Elijah we find power politics, battle, curse and killing in the name of God, combined with mantic abilities like oath spells and black magic. Miracles accompany his life. - As a reaction to the overwhelmingly extensive prehistoric research with its results of an extraterrestrial intelligence (astronomical-technological knowledge; use of missiles etc.) one must not ask without reason: Was the "God" of Elijah an alien who led him as his vassal? So was the ascension of Elijah in reality an ascent in the fire and smoke of spacecraft? Was his "fire from heaven", with which he destroyed enemies, the fire of weapons and bombs? - This work "Elia - The Secret World Beyond" deals with the unknown and mysterious. It is an orchestral meditation that is supposed to make us "float" and kidnap us from all too entrenched preconceptions of being.
Duration: 8 Minuten
Publisher of notes/sheet music: Ries & Erler Musikverlag Berlin , 51579 , 2019
Instrumentation: 2 flutes / 2 oboes / 2 clarinets / 2 bassoons
4 frenchhorns / 2 trumpets / 3 trombones (T-T-B) / Basstuba
1 Percussionist: Timpani, Tamtam, 3 suspended cymbals, 3 suspended triangles, metal Chimes, Claves, Holzbrett (wooden box) mit Hammer/with hammer, Tubular Bell c+c#
String Orchestra (Vl1, Vl2, Vla1, Vla 2, Vc1 Vc2, Contrabass)
Introduction: ELIA - THE SECRET WORLD BEYOND.
Prologue to Mendelssohn's Oratorio op. 70 Elias
In the Prophet Elijah we find power politics, battle, curse and killing in the name of God, combined with mantic abilities like oath spells and black magic. Miracles accompany his life: feeding by ravens, contact with angels, the ability to control the weather with drought, rain and storm, resurrection of the dead, division and multiplication of water. Above all he was also the master of fire and was often called "prophet like fire": For example, he rained fire from heaven (sitting on a mountain away from him) to kill 102 soldiers pursuing him, or at the end of his journey he was lifted up to heaven by fire-covered wagons with storm and smoke.
As a reaction to the overwhelmingly extensive prehistoric research with its results of an extraterrestrial intelligence (astronomical-technological knowledge; use of missiles etc.) one must not ask without reason: Was the "God" of Elijah an alien who led him as his vassal? So was the ascension of Elijah in reality an ascent in the fire and smoke of spacecraft? Was his "fire from heaven", with which he destroyed enemies, the fire of weapons and bombs? It is worthwhile here to go through the knowledge that has been accumulated in endless research volumes without prejudice.
This work "Elia - The Secret World Beyond" deals with the unknown and mysterious. It is an orchestral meditation that is supposed to make us "float" and kidnap us from all too entrenched preconceptions of being. Tolerance instead of prejudice.
Musically, there are only a few references to Mendelssohn's oratorio: sometimes his "curse motif" with the sloping Tritoni c-fis / g-cis is audible, at the end also his motifs of "fire" and "wind".
(A short essay follows as an explanatory extension of the foreword, which may be surprising for some people):
Enjott Schneider: ELIA THOUGHTS
It belongs to the knowledge of all religions of the world that "God" is the original thought of the universe, a spiritual idea that has created everything and still controls and regulates it today. This universal spirit is inherent in all forms of matter - whether mineral, inorganic or living - as a shape-shaping spark, often recognizable as a natural law. In order to recognize the spirit in matter and the all-encompassing principle of love as a connection with all parameters of creation, all religions refer to mindfulness, humility instead of arrogance and megalomania, to the withdrawal of the ego in favor of togetherness, to peace instead of struggle. Respect for life in all its forms is the spiritual condition for respect for creation.
In the Bible, it is precisely the "Book of Kings" with its depictions of prophets that is often diametrically opposed to such an image of a deity traversing creation as the unifying spirit: Aggression, killing and killing take place many hundreds of thousands of times. Power politics and wars are the driving forces of an asymmetrical social structure (also with regard to patriarchal orientation). The religious behaviour of this "kings" epoch seems to be miles away from the mindful spirituality of a Christ who, in the Sermon on the Mount, advocates peace, forgiveness and mutual understanding.
In the prophet Elijah we also find power politics, struggle, cursing and killing in the name of God, mysteriously his mantic abilities, oath spells and black magic are added, which let him become a dazzling figure. This fascinated already at that time in times of his adversary king Ahab (870 -851 B.C.) up to Mendelssohn or still today the humans. Unexplained miracles accompany his life: feeding by ravens, contacts with angels who strengthened him, the ability to control the weather with drought, rain and storm, the raising of the dead, division and multiplication of water. Above all, he was also the master of fire and was often called "prophet like fire": For example, he rained fire from heaven (sitting on a mountain away from him) to kill 102 soldiers pursuing him, or at the end of his journey he was lifted up to heaven by fire-covered wagons with storm and smoke.
Today - in the age of intercontinental networked data collections, the evidence and "aha effects" are stunning. The Sumerian-Egyptian cuneiform script (with deciphered knowledge about extraterrestrial beings) is found identically also in the temples and testimonies of the pre-Columbian culture of the Maya and Aztecs. Their pyramids were not only created parallel to the Egyptian pyramids but also to the (still little known) Bosnian pyramids near Visoko. Everything with innumerable standardized technological similarities: for example a refined closure pattern (metal in rock with a punched out groove) is similarly documented in South American, Oriental or Southeast Asian buildings - in temple complexes with rock slabs, some of which weigh 10-30 tons, which could never be piled up by the type of Stone Age man known to us. In Baghdad but also in Egyptian temples, but also in Chinese caves we find - neatly iconographically documented - prehistoric "batteries" with copper cylinders, iron rods and acid lye for electrolysis. The Göbekli Tepe cave system (today Turkey), which is an astronomical precision work aligned to the constellation of the swan, contains symbols of double "C" and "H", which can also be found in central Australia. The astronomically precisely aligned temple of Solomon (whose biblical text passages assigned to it can also easily be read as "Fliegen-Können") refers in its construction to buildings in Rosslyn/Scotland. In Salomon's temple in Jerusalem there is still today a large and holy platform of colossal stone blocks, which no man or machine ever constructed could ever move. There is a similar colossal platform as a landing place in Baalbek..... which suggests that the "god" Baal was an extremely realistic minor of the god worshipped by Elijah. So was "monotheism" actually a declaration of war between the gods?
Absolutely worth mentioning and conspicuous are the biblical texts on the prophet Ezekiel, whose "flying mechanism" is described in such detail in measure and appearance that it could be reconstructed. Analogous to Elijah, he is bodily in flesh (thus not as deceased) "ascended into heaven". The tank and maintenance stations fitting to this aircraft precisely described by Ezekiel can be found worldwide in several prehistoric buildings, for example in the temple Vijiyangara in India...
All this and many other exciting topics can be thankfully studied in many books today. Without now dogmatically wanting to fix an irrevocable truth and possibly to hurt the religious feeling of a Christian who grew up completely in the traditional church doctrine, one can recommend to accept this alternative research and to take note of it without prejudice. It is scientifically, archaeologically and prehistorically proven facts of an internationally researching phalanx of enlightening people that undeniably say one thing: the world is more mysterious than we believe! The great puzzles live among us! There is a dimension beyond the material. Matter is not solid, most of our everyday life is not uncertain for us
(tangible) vacuum - emptiness.
This work "Elia - The Secret World Beyond" deals with the unknown and the enigmatic - without thinking about a clarification. It is an orchestral meditation that is supposed to make us "float" and kidnap us from all too rigid preconceptions of being. In such a sense in Islam the qualities of Elijah have been brought to the point very aptly: there "Ilyas" is mentioned in two suras of the Koran and in the Islamic saga he plays a role as a mystical person "floating" between heaven and earth. - Matter is never the primary reality. The mind shapes the matter. And in the infinite sum of all spiritual, - the real God meets us there.
Additional remarks: Um die geheimnisvollen möglichen Bezüge des Elia zu ausserirdischen Intelligenzen sinnlich zu machen, ist ein rhythmisches Leitmotiv (meist von der Oboe gespielt) der Morse Code des Namen ELIA: e = kurz / l = kurz lang kurz kurz / i = kurz kurz / a= kurz lang).
Diese brilliante Idee verdanke ich meinem Komponistenkollegen Ferran Cruixent (Barcelona).
World premiere: 07.02.2020, Laeizhalle Hamburg
Performers at world premiere: Philharmonisches Orchester der Hansestadt Lübeck, Ltg.: Hansjörg Albrecht, in Verbindung mit Carl Philipp Emmanuel Bach-Chor Hamburg (Geräusche, Vokalisen)
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The audio-snapshots above are recorded during the dress reheasals. Vocal soloist in Snap 4 / Transition to Mendelssohns Oratorio is the great baritone singer Klaus Mertens
