My 54th Concert

"Figlio Perduto" ("Lost Son")

From Dream to Film in One Day

HAIKU, Maui, Sep 24, 2011 - Things like this don't happen unless they are meant to happen.  Ever heard a tune in your dream that you've made into a film by the end of the same day?  I haven't.   Yet that's exactly what happened today.  The music video you're about to see is the evidence.

I woke up this morning after several seemingly unrelated dreams.  Except for one thing.  The same theme song was present in all of them.  I could still "hear" it when I woke up.  But I had no idea what it was.  I had a feeling it was related to the Anahata (my soul ray and heart chakra symbol) and a ceremony I did (in Delphi?) in my dream.  I said to Elizabeth it sounded like early medieval music to me.  Or like a requiem. Then I set about to do some research on try to find out.

Well, turns out it was an old friend who visited me again in dreamtime last night - Ludwig Van.  The incredibly beautiful, hauntingly mournful music I was hearing came from the second movement of Beethoven's 7th symphony.  It was first performed in 1805, 23 years after the greatest German poet of all times - Johann Wolfgang von Goethe - wrote a poem Erlkönig ("Erlking") which inspired it.  And Goethe, in turn, was inspired by an ancient Danish legend.

Erlkönig depicts the death of a child assailed by a supernatural being - the Erlking or "Erlkönig" ("alder king"). It was originally composed by Goethe as part of a 1782 ballad opera entitled Die Fischerin. Walter, my friend from Maastricht, the Netherlands, also sent me this update:

In German and Scandinavian mythology, an “Erlkönig” is an evil spirit that lurks about to threaten humans, especially children. In an interesting German article on the topic, Burkhard Schröder claims that Goethe knew exactly what he was doing, and the term Erlkönig can be traced back to an ancient Greek goddess of death (Todesgöttin) known as Alphito (Αλφιτώ), who became a female Erlkönigin as she moved north (in Danish mythology), and even the biblical Lilith. 

Her name is related to "white flour" and some historians have called her the White Goddess.  Some source also connect her to Persephone, the daughter of Zeus the daughter of Zeus and the harvest goddess Demeter, and queen of the underworld.

The Greek connection is interesting because one of my dreams - about doing the Anahata ceremony - appears to be taking place in Greece (Delphi).  In fact, yesterday I said to Elizabeth that I have a feeling the Danish legent had its roots in Greece. 

This is also significant because the Greek Goddesses Persephone (also known as Kore) and Aphrodite have appeared to me a during soul retrieval three years ago. In fact, I address them in my prayers and incantations every day.  And they tie into Kali, the Indian Black Goddess and the ancient Egyptian Hathur, the daughter of Isis and Osiris, who was the first spirit to show herself to me four years ago in the form of Al Khadir, the Green Man.

Perhaps you also remember it from the best film of 2010, the Oscar-winning "King's Speech." Here's a description of that scene from Oregon Live:

But now he's the king and after working intensely with Lionel Logue, an Australian speech therapist, beautifully underplayed by Geoffrey Rush, Bertie is about to give the speech of his life. The stakes couldn't be higher. Britain needs a leader to take it to war.
The buildup begins as he and Logue walk Buckingham Palace's endless corridors toward the broadcast room, passing dozens of broadcasters who wish him well. At last, they enter the room with the microphone. They're alone. Logue throws open the window -- he believes fresh air helps -- as Bertie tries to compose himself.
The countdown begins -- four blinks of a red light followed by steady red. Bertie's fear is agonizing to watch.
And then this: As Firth struggles at first, we hear the ominous chugging of musical chords. Moments later, the calm, gentle Allegretto of Beethoven's Seventh Symphony spreads over the pulsing rhythm. The melody is smooth, unruffled, an aural metaphor for Bertie's aspirations.
With Logue silently prompting him through the difficult spots, the sweet, melancholic music unfolds, building in intensity, then subsiding, lasting exactly as long as the speech.

That's exactly how long it lasted during the recital of Goethe's poem.  Three minutes. It worked like magic.  I did not have to synchronize anything.  I was playing it, reciting it, and Divine choreographers did the rest. Magical.

When I started playing the tune on the piano this morning, I also discovered it was written in A major - the A note being the key of my soul.  By the end of the afternoon, the Figlio Perduto music had embalmed my whole being and penetrated every cell.  I knew I had to record it the same day, in one breath, improvising the whole thing.  Because I felt a divine force was driving me and empowering me to do.  By early evening, I was even playing parts of it on my Peruvian flute.  No sheet music for either piano or flute.  Just inner guidance.

And so, with that as a preamble, here it is now... the music, the story, the lyrics, the works...

"Figlio Perduto" ("Lost Son") - by Bob Altzar Djurdjevic


Enjoy your Sunday!

PS: For those of you who are interested, here are the lyrics...


Who rides there so late through the night dark and drear?
The father it is, with his infant so dear;
He holdeth the boy tightly clasp'd in his arm,
He holdeth him safely, he keepeth him warm.

"My son, wherefore seek'st thou thy face thus to hide?"
"Look, father, the Erl King is close by our side!
Dost see not the Erl King, with crown and with train?"
"My son, 'tis the mist rising over the plain."

"Oh, come, thou dear infant! oh come thou with me!
For many a game I will play there with thee;
On my beach, lovely flowers their blossoms unfold,
My mother shall grace thee with garments of gold."

"My father, my father, and dost thou not hear
The words that the Erl King now breathes in mine ear?"
"Be calm, dearest child, thy fancy deceives;
the wind is sighing through withering leaves."

"Wilt go, then, dear infant, wilt go with me there?
My daughters shall tend thee with sisterly care
My daughters by night on the dance floor you lead,
They'll cradle and rock thee, and sing thee to sleep."

"My father, my father, and dost thou not see,
How the Erl King is showing his daughters to me?"
"My darling, my darling, I see it alright,
'Tis the aged grey willows deceiving thy sight."

"I love thee, I'm charm'd by thy beauty, dear boy!
And if thou aren't willing, then force I'll employ."
"My father, my father, he seizes me fast,
For sorely the Erl King has hurt me at last."

The father now gallops, with terror half wild,
He holds in his arms the shuddering child;
He reaches his farmstead with toil and dread,—
The child in his arms lies motionless, dead.


 Love Light

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