It is the apex of arrogance & closemindedness to insist on telling a music what
IT is, instead of listening to that particular music tell us.
Music is a living, restless beast & forever moving forward & onwards even as we persist in labeling it according to our own comfort & convenience.
We, who are willing to kill something dead rather than bearing witness to any
motion that might render us dizzy or temporarily confused.
I call this piece ‘Classical’ because Classical, as with ANY genre, is ever
evolving & what it may be today, may in fact bear little resemblance to
how it may appear tomorrow while within the matrix of ‘Free Will’,
ALL THINGS maintain the right to rethink what it IS, & tamper wth the
foundational essence of what it WAS. The Promise of Liberation doesn’t belong strictly within the sphere of man, but is available to every thing conscious of itself.
And as the wisdom of our dear West indian community reminds, ‘Who FEELS It, Knows it.’
Welcome to ‘Sananda’s Requiem Sonata’,
A piece that was composed during the period of transition between THIS life
& the one it felt imperative to leave in the wake of the density of its own demise.
At the turn of the last century, we were living on the beach in Malibu, California where my daily routine was to arise early from the tumultuous slap of the waves breaking the silence of my slumber, ending the rhythm of my dreams, grab a bong’s worth & then venture into the mountains up the road to begin the day’s
meditation while the sun settled itself into the cushion of the clouds embrace.
And after arriving back at home, we would go upstairs to either pick up a
guitar (or a bass if so directed) or seat ourselves at my faithful old Baldwin piano to listen to what
the winds delivered to my doorstep & then arrange our mind accordingly.
In such a state was ‘Sananda’s Requiem Sonata’ birthed, pouring through
me accompanied by a familiar wonder of the inner world of inspiration’s origins & its random grace.
It felt like a ‘breakthrough piece’ that refused to conform
to what may have been ‘expected’ of me by the overlords of my then contracted
professional reality, but immediately & gratefully accepted by the much larger
portion of my creative spirit that couldn’t be convinced or bothered to give a fuck.
I allowed it to incubate within my confidence while awaiting the appropriate
time to finally record it & release it back into the same ethers from which it came,
bouncing off of those whose ears I were fortunate enough to find.
Which was sometime in the early 2000’s. But we recorded it again in late
May of this fine year of 2022 to advantage ourselves of the parallel maturity
of the music itself & my own internal growth as a musician, filtered through
the varying experiences that have shaped me since & granted my rough
diamonds a deeper & more emotive shine.
Please enjoy this offering, titled a ‘Requiem’ as it fell within the timeline
announcing the passing of one life & the anointing of another.
And May God’s Peace Be Unto You !
Sananda Maitreya !
*The ‘Salzburg Version’ is so named because its intro is an extemporization
of one of my favorite pieces from our dear beloved Mozart, who along with
the maestro Beethoven, is never ever far from my emotional conception of
time as it unwinds, stretching & extending the hours as they pass, between
the pillars that bind the Sun & the Moon.
The piece of which I’m referring is the Piano Concerto No. 23.
© Sananda Maitreya for TreeHouse Publishing, July 1st 2022.