Author Topic: Overture/Anthem  (Read 486 times)

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gitz

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Overture/Anthem
« on: February 09, 2018, 02:08:58 PM »
Hi Everyone:

Here is the piece we talked about.  I have been working on an additional majestic sounding "entrance" piece in the the key of C that I may add to this piece, but here's what it is so far.  If any of you beautiful people (Francis Scott Key-type) would like to try to put lyrics to the Anthem, please go for it.  Thanks for listening.
Steve 

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Ron Besser

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Re: Overture/Anthem
« Reply #1 on: February 09, 2018, 04:35:09 PM »

Dear Steve,

I bow at your feet to you who wrote a beautiful response for music to open the Symposium.

I have a lot to say, so please wait me out.

First, a personal appraisal of how this music speaks to me:

a - The piece is in two parts but not two movements.

- - - Part I is a Pastoral.  In the Christian Church a pastoral is spiritual guidance. Honest to God, Steve, I heard as this was first played of a man coming to the peace of prayer and asking whether he should continue.  The music answers with a question. You wrote that with the staggered intonation of the theme and I must say it is so original I am not sure I ever heard a composer do that before.

b -
- -  - Part II is the Anthem and is a triumphant response to God first and t he labor you take to make it heard for the public to triumph with your thought that God answers affirmatively and is ready to make you heard around the world with beaufitul overtures of loving God so much.

I asked the Father as the music came streaming in my player this morning, “Father how does this play best?”

He answered this way: “You are correct Ron, it is a beautiful piece that must heard before anyone sees Serara and Monjoronson at the perceived Symposium you have in your mind too with Steve Gits and many others at your side.  You tell me how you would like to hear it as being orchestration for a large symphony orchestra and I hear it well with you.

Father: “The first part must be perceived as you genuinely heard Steve ask if he is worthy to go on and if he may proceed to offer this piece as a spiritual guidance of hommage and the Offertory of Dreams that all men must make to the great Creator.  You burst into tears when Steve execution what is a very difficult time signature to write and he got through it well.  That passage speaks to the inner soul so well and you are so attuned to Me that I hear it too when he plays it.  Most good music to you is God speak anyhow and most on Urantia never hear that ever.   

“You had to look up the definition of Pastoral to write Steve back as it was the only word you could hear for Part I.  Part I needs string obbligato and string choirs placing the right emphasis on the dearness and sweetness of the passage asking God, ‘Is this okay and worthy?’  Part I holds a temper briefly in the small overture to the polyphonic sounds of jazz Steve believes in most.  You do not like jazz for holy moments and this must be the holiest of holiest of moments for you, Steve, and the public to hear this as it should be orchestrated and sounded that day or days before all to see and hear.

“I greet you all as the Father of Father now, as I am sure it must be heard for Steve in particular.  We are well pleased with this son composer who toiled over this for months and more.  Ron immediately recognized this was worthy of any composer to do and he thought of Brahms and the turmoil of the concertos and the symphonies and how Brahms himself would give over to peace and tranquility to move on to some astounding orchestral ending.  I hear that in you too Steve, and you lost a calling to do this for a living but were satisfied to carry on as a family man in more normal circumstances. 

“Part I is famished for strings and not as accompanying the melody but as a full fledged string orchestra after Vaughan Williams and Tchaikovsky who have the sentimental heart a man in prayer exudes outward o the concert hall.  Re-orchestration of some of your phrasing is hard to do for strings but we must all have a heart of gold in the trumpet and the driving need for solace in the concert harp for all to hear the glissando you write into the theme.  Winds and percussion have their part too, but we do not go there for now.

 - - -
“Part II, I think will be famous!

“It will be famous because you hit the nail on the head!

“I see your work as holistic to a point of fragrance in the heart for God fun and God holly and God breathing well at this effort to honor Me.  I let Ron come in with what will happen with Part II if we can bring this off as the opening of a Symposium for God on Urantia!


Ron here Steve:
I am unsure how to proceed but you let the diamond in the rough to spit shine for the concert hall!  It is a diamond and is profoundly done as it is.

However my mind heard it played after you played it, and that was in its full orchestration and good God man do you know what your wrote?

ALSO:
C Major is Part II in spades as I like to call anything that trumps anything else just around it anywhere on earth.

The det dedde det opening is percussion and not strings.  Not snare drums but the big band belly drums paraders carry to beat the bass tempo out for the band.  That is all to be heard like a hard smack on  rock!  Then a rest follows for a solid moment of quietness.  Out of the depths of gathering grandeur comes the double flat lowest bass possible of an organ breathing hard to pulse the sounds of the C Major chord that shakes them in their chairs and seeks to break the windows.  This is God!


Part II will be an anthem that will played all over the world once we get the orchestration right and we have a piece de resistance to offer Michael, Serara, and Mother Spirit and Monjoronson and the Deities in Rome, and show what a man can do at the composing table.

I give over now to let the Father speak for all of us:



FATHER -
“Ron and I see eye to eye on all of this and Michael heard it through Ron;s mind reception and it was grandeur right from the beginning.  Man helps himself to years of heartless versions and maybe this time we hear something that is truly worthy of the attention of the great composers that have gone on such a Brahms and Saint Saens above all to Ron and the others too numerous to spell them all out here.  But he knows the diamond is in the rough with a draft play through in this excellent recording by the way as it conveys much in its ways of producing it for some reason probably known only to Steve himself.  I congratulate Ron for taking the time to hear this in a written report instead of keeping it to himself.  To Steve Gitz for a splendid attempt at a very difficult assignment well authorized to proceed forward and that is all I have to say as the universe does not run itself when I am preoccupied by events like this.  Good day. I am Father.”


MICHAEL OF NEBADON -
“I speak slowly now: Ron is quite in his rights to understand that Steve Gizt exceeded all expectations of what was to be one.  The were will be a Magisterial Mission Symposium every five or ten years as we must not push so hard we get schedules mixed into our good to do for Urantia.  I also bless those who had to endure months of practice for Steve Gitz to obtain the level of piano playing competence he is used to but forgets to practice more and more now that he is finished with business enterprises that take him all day to work out of his system sometimes.  He eye surgery was harsh to him as all surgeries tend to be for talented people- who knows why.

“In any case I know Ron now since he pretty super fused with a Creator Son who knows his worthiness too, and we all congratulate his wife for saying it is for a good cause and then leaving the room for some peace and quiet as Steve lets loose with his feelings now and then.

“It is fortunate indeed that Steve met Ron who knows music and its effects best of all and loves to play the piano for private selves only as he can only improvise endlessly if required but tires of his inability to break big time into good playing before the high on Urantia.  In any case these two will make history as Steve will have a prize for life to carry with him to the mansion worlds and Ron will have his music introduction that is both original and marvelous to hear as all people love a C Major chord that shakes their seats and this one will!  Good day to all.”


Ron- I conclude with nothing more than applause for this effort and now you know how I feel about it, I hope your feel about it as a wonderful accomplishment after some months of endless frustration even wondering if it was doable.  Well it is and was and will be doable for probably as long as life exists on Urantia as the Magisterial Son, Serara, speaks now to this surprising conclusion to something Ron only dreamed of at one time.


SERARA -

“I am so well pleased, I offer Steve this: Wait until you are in the presence of Ron and Michael and maybe even Jesus to hear how this is to go for you.  That C Major organ chord will be afforded in our own auditorium built just for this occasion.  We now have a great new composer and a Ron Besser who knows what one is to hear as I do and as Monjoronson does.  We heard some of Ron’s orchestration play blithely over your recording and agreed it cries out for what Ron suggested and more.

“We on high know what great effort it takes to make good music possible and that it is hard to do when no good composing is taking place even in our universities who teach music for performers.  It is a very sad case that music must be heard to be appreciated alive and well and Ron knows the events he attends in his mind all the time to hear the great Brahms say I have no better devote than Ron Besser on Urantia, for he alone knows something of what I was trying to express musically.  In any case you Steve are in good hands.  We ask you to let everything as you finished it today and we will be in touch for the work of orchestration and the deep need for Ron to abide with you in that work as he sure knows what sends them into the heavenly gates of satisfaction. I am Serara and I thank you all for listening.”

END
Located in Historic York, Pennsylvania

gitz

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Re: Overture/Anthem
« Reply #2 on: February 09, 2018, 05:14:24 PM »
Ron:  Thank you and Everyone for such appreciative remarks.  I'm speechless!  When I recover from being overwhelmed I'll respond to many things said by Many.  For now please let me express my gratitude for such a heartfelt acceptance from the Listeners.          Steve

Allie

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Re: Overture/Anthem
« Reply #3 on: February 09, 2018, 06:59:51 PM »
Hi Steve,

After listening to your glorious composition, I wanted to tell you how I felt.   I was transported to a higher level which is what good music should do.   I am not a music aficionado but I recognize when someone has the "gift."  

As the composer Robert Schumann once said: "To send light into the darkness of men's hearts;  such is the duty of the artist."  Bravo, Steve!  You nailed it!...........................Allie  

Dorian

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Re: Overture/Anthem
« Reply #4 on: February 09, 2018, 07:55:33 PM »
From my heart to yours Steve, thanks for the walk through paradise.  It was Baroque at it's finest. Loved it my friend. Congratulations to you.

Dorian

gitz

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Re: Overture/Anthem
« Reply #5 on: February 10, 2018, 12:18:27 PM »
Dear Ron:  You ask, "However my mind heard it played after you played it, and that was in its full orchestration and good God man do you know what you wrote?"  Yes and no.  Yes, because as I was writing this piece my heart continually felt like it was going to burst from the realization of the beautiful strains coming in to me.  And no, because I really am not musically educated as one may think.  When in geology school earning my degree, I used almost all my electives and then some in music courses.  I had to go through theory classes to be placed in the masters degree programs for polyphonic music.  I couldn't earn credit but the professor allowed me to take the courses if I took the theory simultaneously.  I hated the theory classes but gained much from the polyphonic study.  My innate gift was not so mental, rather from the heart, and I could feel that.  Ron, here's a little story you'll like.  When I was about 9 years old, my piano teacher, Sister Mary Bartholomew, gave me my first scale--the C Major. So, I practiced it at home until I could run the scale at ease.  And before I knew it I wrote a Waltz in C Major (I still play it today).  During only one summer my parents paid for some composition lessons with Mr. William Gillock in New Orleans, who challenged me every week to write 16 bars in one key, 32 bars in another, and so on.  I tell you I never really knew what I was doing but what I remember is him saying is that he was baffled that I could come up with something for each assignment so readily.  I say this because Mr. Gillock heard the Waltz in C Major and asked if I ever thought of working the piece into the C Minor key and then returning.  I didn't listen but about 20 years later I did just that and completed the Waltz for good.  So, Ron. what I'm trying to say with all this is at a young age I knew I "had" something but never really understood very well what I was doing.

Now Ron:  I am not an orchestrator by any means.  I don't even know the range of the instruments that I hear in my head as my heart writes the music.  Decades ago I bought a musical book to study instrumental ranges but never read it at all.  When I compose with orchestration in mind I just hope it's in the instrumental range.  So, I'm asking you to take charge of all the orchestration and leave me to just write the stuff.  I trust you with that project implicitly.  I'm developing a Grand March that I'm really liking for Serara, Monjoronson, and perhaps Jesus.  I would like to spend my time doing that rather than laboring with the orchestration which I am inept at doing anyway.  Please accept this request and I'm hoping that with all on your plate you will have the time.    Steve.

Ron Besser

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Re: Overture/Anthem
« Reply #6 on: February 10, 2018, 12:46:44 PM »
Steve, I enjoyed your post muchly. (no such word but the sentiment is true)

 
I never suggested you should worry about orchestration at all.  Doing the work on the piano composition is sufficient believe me!  I point out to you that Mussorgsky wrote the Pictures at An Exhibition as a final and very satisfactory work for the piano.  It is especially good for two pianos which I have heard in concert and liked very much.  But then comes along Ravel and orchestrates the piano "Pictures", and you now have one of the most played symphonic works of all time.  I am sure there is a video on YouTube for those of you who would like to hear it and the finale is great, called the "Great Gate at Kiev."

 
In any case we have to do real hard work now and see to its provisions when and if that becomes possible.  I am not trained to do any of that and lament I can barely play well at all, but that is nothing compared to the heart that hears as you do frequently and so I can accompany you in heart only in this very hard work of creativity you subject yourself to so very well.
 
MICHAEL OF NEBADON -
Ron laments his work this morning and is harshly drawn on another subject I must speak to to all of you at some point later today or tomorrow when I feel better about it myself.  Meanwhile Steve Gitz your waltz is famous up here already as we do hear your mother speak to it in her laments over not giving you a better education while you were just a little boy as that is where you gained your talent and not from some insinuation from a  very good teacher but from a very good mind and I see Ron shake his head emphatically "yes" to that remark.  Be about the business of your heart and soul Steve and let us see where this all goes soon enough.  Michael."

 
END
 

 
Located in Historic York, Pennsylvania

dreamcat01

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Re: Overture/Anthem
« Reply #7 on: February 10, 2018, 06:59:53 PM »
I have never posted any of my work here so I thought I would try it. This is a song written by my Mother and me for the Red Cross as a theme song.RED CROSS




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