let’s consider Tchaikovsky’s “Romeo and Juliet”. First question to arise is: how much control does a composer have over his
composition?- and the answer will be a resounding “none”!, that is of course if the composer reached the point where selfishness and vanity are not an issue anymore: a novice or a student can take a full credit for the noisy torture they impose on the listener and lately noisy torture is the very focus of a whole pseudo-musical movement to seize one’s attention by signaling “danger”… now back to real music: what do WE accomplish in “Romeo and Juliet”?.. where does he TAKE US?.. DOES this marvel fulfill what it sets out to do – to portray Shakespearian enigmatic love relations?… the answer is “NO”! totally unrelated to its literary outline, this overture intuitively hints on something far more exciting and that is OUR ORIGIN, beginning with great tightening which is then followed by great explosion and expulsion of energies moving in all direction, circular planetary movements, expression of human love, recession of electromagnetism and upward movement-all easily detectable once provided with the clue. the idea of a BIG BANG then takes on a slightly more “human” flare, PRECEDING and permeating the explosion and everything that follows. It is a RELATIONSHIP. first plus second equals third.
you can contact me for a lecture on this topic.