A Postmodern Love by Nick Totem

Author:Nick Totem [Totem, Nick]
Language: eng
Format: epub
ISBN: 9781943564064
Publisher: Lucen Geist Literary Press, LLC
Published: 2018-11-02T04:00:00+00:00

24

Despite his cool attitude during the meeting with Dietrich, Thomas delved into Cristiano’s past. He searched for Cristiano’s symphony, not knowing if it even existed. But there it was on YouTube.

On the screen the video posted four years before began to play. There was a full orchestra consisting of only string instruments—violin, viola, cello, bass, harp—rows and rows of them. As the musicians were busy tuning their instruments, a cacophony echoed in the concert hall. The camera panned out, displaying the audience occupying all the seats, including in the mezzanine, the young faces and the older people of various ages. The chaotic noise suddenly stopped, yielding to slight rustling here and there, as the conductor walked on stage. A loud applause erupted. The conductor wore a black suit with a bow tie and black rimmed glasses, and his gray hair was combed back smoothly. He addressed the audience in a warm, strong voice.

“Good evening, ladies and gentlemen, students and members of the faculty. My name is Clarence Harding. As many of you know, I’m a professor in the music department. Tonight I have the distinct pleasure of presenting to you: The Young Composer Concert Series. Tonight’s composition is The String Symphony written by Cristiano Caetano Cameos. Regrettably, the symphony is incomplete. We have only the first two movements. Even so, this is a most unusual and innovative composition. As you can see, the orchestra consists of only string instruments, hence the name. The symphony is also called the Voice of God. Some critics may find fault with such a claim. However, you will agree that there are passages in this symphony that reach the sublime heights of Haydn, Mozart, and Beethoven. Beautiful, harmonious, unique melodies. But the similarities end there. This is a strange, unique composition, unlike any that has come before in terms of instrumentation and acoustic arrangement. If you listen closely, you’ll hear many new innovative techniques, such as what I’d like to call acoustic intersection and amplification. Just as when you cross two beams of light in harmony, the points of intersection are much brighter, more glorious. It will undoubtedly give you a conception of the cosmos, not just in the acoustic, but in the visual; it will evoke for you a panorama of the universe, of creation, but also through a lonely voice, humanity. And lastly, the composer, though he is not here with us, dedicated this symphony to Lana Godwit Fauves.”

The conductor ascended the podium.

Then a single violin began to play. A very soft, high pitched note stirred, stretching out and becoming like a voice that was issuing forth a single command, a spark of light shearing through the darkness, a cosmic wind emanating from the edge of the universe. The note gave rise to a melody, sweet and rustic. It repeated. Another violin joined in. They repeated. Many more violins leapt in unison, evoking the wingbeats of migrating birds, the waves of ancient seas, the light rays of starbursts. Other instruments rose, inserting themselves, and sounds bounced off others, at times sustained others, or chased one another.

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