FLUTE & HARP CONCERTO EVOKES INTUITIONS, MEMORIES OF OUR FRIENDSHIP IN PARIS
Three days ago (July 31), I recorded a 30-second version of a piece of music that came to me during the night. I had no idea what it was. I suspected it was Mozart or Bach. So I sent out this SOS to my musically endowed friends:
WHAT IS THIS MUSIC?
Right after listening to the marvelous lecture by Sadhguru in honor of the Guru Purnima day, this music started to well up in my ears. I felt a Divine connection through it. It first came to me dreamtime this morning.
I sat down immediately to play it and record it as a symphony orchestra piece the way I heard it, with the strings as the lead. It was all done without any practice.
Alas, I do not know that this music is. I could be Mozart or Bach, I think. So I need your help – my dear musically endowed and educated friends – in identifying these opening bars of an evidently larger piece. Thank you.
My 30-second clip is attached (MP3 file). I am calling it my GURU PURNIMA THEME for now.
Thank you in advance.
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NOBODY KNEW THE TUNE!
For the first time ever, NOBODY REPLIED! Not a single person out of thousands of my Facebook and hundreds of my email friends knew what this tune was.
So I went to work myself, and very quickly identified it as the Concerto for Flute, Harp, and Orchestra. I also learned that Mozart composed it in 1778. I have been playing it little by little every since. When it is polished enough, I will rerecord it.
For now, here is a video of its 2nd movement.
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STORY BEHIND THE STORY
And then today (Aug 2), I had this interesting intuition that the Concerto was written in Paris, at the time when Mozart and I (as Jacques Devereaux) met and became friends. I figured that this is why it was familiar to me and not to others. Because Mozart had given it to me in dreamtime.
I even recorded it in the SAME KEY (G-major) before I even knew what it was.
Indeed, this afternoon, I was able to confirm it. Mozart composed the piece soon after arriving in Paris in April 1778, for a six-month sojourn in Paris. It was commissioned by Adrien-Louis de Bonnières, duc de Guînes (1735–1806), a flutist, for his use and for that of his older daughter, Marie-Louise-Philippine (1759–1796), a harpist, who was taking composition lessons from the composer.
Intuition – pretty amazing stuff, huh?
I told Elizabeth today as we were walking to Fry’s about the dream I had in which we were in Paris. She was at our hotel and I was walking around by myself.
The dream was like time travel. I felt I was at the same time in the 18th century Paris as well as in current time.
There were Japanese or Chinese tourists, for example, around me, blocking my view of a Rococo-style palace that I wanted to photograph. It looked the beautiful Sanssouci (Carefree) palace in Potsdam – a single-story palace (see the photo). Or like sections of the Louvre.
But in my dream, this is where Napoleon was buried. (His tomb is actually at Les Invalides (see the photo – right). And it also came with music which sounded like Mozart or Bach. But I was not sure at the time.
I said to Elizabeth, “I feel as if I am being transported into the mid- to late-18th century Europe. There are so many things happening in my life right now that are taking back to that period.”
UPDATE Aug 2: And I had told Elizabeth all that BEFORE I realized that the piece of music that also came to me in dreamtime that morning was Mozart’s Flute and Harp Concerto, composed in Paris in Apr 1778!
MOZART AND ALTZAR
Mozart and I met became friends that year – 1778 – in Paris. I was then incarnated as Jacques Ferdinand Devereaux, an alchemist, philosopher, musician and one of Count Saint Germain disciples. Later, Devereaux moved to Vienna where Mozart and I continued to work on alchemical nature of music until his death in 1791.
As a child prodigy, Mozart first visited Paris in 1763 and 1764 before going to England, stopped in the city again in 1766 on his way home and then returned in 1778. This time, to look for work. The child prodigy fame gone and forgotten, Mozart was just one of the many artists who were trying to catch the attention of the French aristocracy.
By the time of that visit in 1778, Mozart had developed a distaste for having to bow and scrape to musically ignorant members of the French aristocracy on whom his career depended. He was particularly badly treated by the Duchess of Chabot, who seemed to regard him as nothing more than a hired hand, playing for her art class while she and her guests ignored his performances.
Paris, he wrote to a friend, “is totally opposed to my genius, inclinations, knowledge and sympathies…. God grant only that I may not impair my talents by staying here.”
In letter to his father about the premiere of his “Paris Symphony” in June 1778, Mozart wrote, “I can vouch for the few intelligent French people who may be there; as for the stupid ones – I see no great harm if they don’t like it. But I hope that even these idiots will find something in it to like.”
Mozart was 22 at the time. He had arrived in Paris that time with only his mother, Anna Maria, as chaperon. She died there on July 3, 1778. Which made his view of the City of Lights even darker. Perhaps that’s why he never returned to Paris, even though he had spent 10 of his 35 years on the road, performing, composing and looking for work.
And now, back to the concerto that kicked off all these intuitions and memories on July 31, 2015…
The Concerto for Flute, Harp, and Orchestra in C major, K. 299/297c, is a composition by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concertos that he wrote, as well as the only piece of music by Mozart that contains the harp!
Here are some still shots from my May 31, 2015 recording session of the Mozart Symphony #40, his birthday gift to me this year (see TURNING 70 WITH MOZART SYMPHONY #40).
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Update Aug 6, 2015
REQUIEM FOR JAPANESE VICTIMS OF NUCLEAR BOMBS
MOZART’S FLUTE & HARP CONCERTO BY ALTZAR
Last night, I was awakened in the middle of the night. Mozart’s Flute and Harp Concerto was playing again in my head.
I could not go back to sleep for the longest time. I realized that’s because I was receiving guidance from my Spirit guides. I was to record the music as a Requiem for the Hiroshima and Nagasaki victims.
You see, today is the 70th anniversary of that heinous crime against humanity in which nearly 300,000 people died, about 80,000 of them instantly on that day.
During my semi-awake time, I received the full orchestration for the piece. And even though I had been working on it for just a few days, it all clicked and worked out like a charm when I recorded it later on.
Music experts will note that my interpretation and orchestration of Mozart’s piece is slightly different than his original version. But that’s just the way I heard it. I am sure that my old friend won’t mind.
So here it is now, including an introduction by the Japanese-American George Takei who was 8 at the time of the bombing…
Mozart Flute & Harp Concerto, 2nd Movement – as Requiem for Japanese Victims of Atom Bombs – music and film by Bob Altzar Djurdjevic – recorded in its entirety on a Clavinova – Aug 6, 2015
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WHAT IS THIS TUNE?
December 1, 2015
I need your help again. While I was filming our Christmas lights last night, this tune popped into my head. Can someone please help me identify it?
Attached is a rough 40-second audio recording of it I have just made on my Clavinova without any sheet music. It is in G-major:
To me, it sounds either a part of the Carmen or William Tell operas.
Thank you in advance.
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WHAT IS THIS TUNE?
February 10, 2016
It has happened again. I need your help in identifying a piece of music that came to me in dreamtime two nights ago and kept me awake for a part of the night last night, too.
It sounds like an Asiatic theme, perhaps from Southern Russia, or Armenia. Khachaturian perhaps? Or Rimsky-Khorskakov?
Anyway, attached is a rough 56-second audio recording I have just made on my Clavinova without any sheet music.
Thank you in advance.