St Vitus Day Musical Gift to Gaia-Pachamama (Mother Earth)
"'Blue Danube' is actually an ancient shamanic dream or transept" (Ancient Egyptian spirit, June 5, 2013)
"You are coaxing more out of this music than was originally there" (Light Beings, June 6, 2013)
HAIKU, Maui, June 28, 2013 - The "Blue Danube" music first came to me in dreamtime six weeks ago while still on a Desert Quest in Arizona (May 16-17). I knew instantly it was a message from my Spirit guides, though not exactly what it was. I have been peeling that onion ever since. And almost every day, a new aspect of the Blue Danube revealed itself.
"You are coaxing more out of music than was originally there," the Light Beings told me on June 6 in a channeling session with Earl Backman.
I found 11 different themes woven into this 8-minute waltz. And no, this is not just a "fluffy waltz" as I used to think of it dismissively as a young pianist. It is a tour de force of nature's sounds, an "Ode de Gaia" - a "Song of and for Mother Earth" that Strauss was evidently unaware he was writing. Which is why it was so appropriate that I should dedicate it to Gaia-Pachamama.
"Vienna used to be one of those ancient shamanic sites where these people would gather," he added. "It was a site a lot of Stonehenge with almost perfect acoustics."
This Spirit who has access to Akashic Records also explained that Strauss and I knew each other as ancient shamans who lived in Vienna before the city was known as such.
This Blue Danube music has everything one can hope to experience in one
magic day on the river. You will feel serenity, tranquility,
passion, romance, elegance, joy, playfulness, fire of
elation, relaxation after climax. As any day, the piece
starts with a dawn. It is followed by sunrise. It then runs
through a full day of activities and emotions, before
settling down with the sun. Only to rise with it again the
Maybe you will have other visions as well. Which would be
wonderful. Because just as I co-created this piece with my
old friend Strauss and Andre Rieu (conductor), you can also
partake in it with your own interpretation. No one has a
monopoly on beauty and elegance.
Playing without sheet music, I recorded the Blue Danube's famous opening theme immediately (on May 17). Then Elizabeth and I waltzed to it before going out to an unrelated concert at the Musical Instrument Museum in Phoenix. The piece flowed as if I had played it before. I had not. At least not in this lifetime (see Light Beings' comments - turns out I had played it before - in my Franz Liszt incarnation; Liszt was Johann Strauss' contemporary. Interesting how fingers (muscles) can have better memory than the brain).
Ever since, the Blue Danube has stayed with me day and night. By St Vitus Day, the piece had reached the stage that I thought it might be time to publish it. What follows is a video that encompasses the following elements:
With apologies for, at times, less than perfect synching of
various instruments and voices. The orchestra track, for
example, which I used as a base of the recording, is very
played very emotionally. Which is why I love this rendition
UPDATE: June 30, 2013 - Lincoln Ascott, my friend from London, who is a filmmaker himself, just sent me a link to Stanley Kubrick's masterpiece "2001 Space Odyssey" in which the famous director uses the "Blue Danube" music in a 5.5 minute sequence. It is interesting that Kubrick also experienced the opening theme of the Strauss' waltz as "sounds of a sunrise":
An excerpt from a June 5 conversation with Ahtun Re
ALTZAR: Yes, I do. I have a very strong connection to the city of Vienna. For example, throughout the last month or so of my Desert Quest in Arizona, I kept hearing of all things the music “Blue Danube” by Johann Strauss. And I have even recorded it now in several versions, played on different instruments. And I have also felt very much at home in Vienna on my previous visits there. For me, that’s the most beautiful European city. I wonder if you can explain to me what my recent incarnations in Vienna have been that may have contributed to that sense?
AR: Describe to me your feel for the city.
ALTZAR: To me, Vienna is a city which is the only really truly (pan)European city. It represents s cross between the East and the West. Eastern Europe is represented there, both culturally and architecturally, and you have the Western Europe represented there. None of the other cities, including the beautiful places like Florence, Paris etc. have the East. And none of the eastern cities, like Moscow and cities east of it, have the West. So Vienna is like a cultural crossroads...
AR: Yes. It is also called the City of Music.
ALTZAR: And that’s actually the next thing I was going to say. The city sort of sings to me. I feel music coming from it.
AR: It should. That’s where many of the great composers worked.
ALTZAR: So I know that in my lifetime as Franz Liszt, as a child, I had lived in Vienna. So that could explain a part of it. But I wonder what my incarnations may have been in the late 19th century...
AR: [interrupting] It is more ancient. In fact, way ancient. May I explain?
[AR then goes back to the Otzi the Iceman, Caucasian Chinese Mummies (circa 3,300 BC). Even going further back to the caves of Europe in France and Spain. Like Cave of Forgotten Dreams. Goddess images with flutes. He also mentioned Malta and Stonehenge and New Grange. And Crete].
AR: Anyway, Vienna used to be one of those ancient shamanic sites where these people would gather.
AR: It was a site a lot of Stonehenge with almost perfect acoustics.
AR: It has always been sort of East meets West-place.
AR: You have had some incarnations... you know Kokopelli?
ALTZAR: Yes, of course.
[AR then goes back to describe how Kokopelli traveled and worked... blanket dance, playing of flute...]
AR: He created a sacred ecology. Sounds like you.
ALTZAR: [laughing] Yes. But why the “Blue Danube?” That’s a 19th century composition.
AR: It is a 19th century composition. But if you look at the bone whistles... there is the documentary Cave of Forgotten Dreams. In it they demonstrate a bone whistle. It has the same scale as the chakras... what is called a chromatic scale.
AR: The “Blue Danube” is actually an ancient shamanic dream or transept.
ALTZAR: Huh?! [sounding surprised]
ALTZAR: So what is my connection then to Johann Strauss?
AR: He was one of those ancient shamans.
ALTZAR: So we knew each other from way back.
AR: That is correct.
An excerpt from a June 6 conversation with Light Beings
ALTZAR [38:12 mins]: Now, I want to go back to our discussion about music. [describes Blue Danube waltz experience - May 17 download - and how quickly I picked it up on my piano - without any sheet music]
LB: That is because you were open to hearing it in the desert. Because you were on a quest. It didn’t have anything to do per se with you being in the desert. It has much more to do with future things.
But we will take exception with one thing you said. You said you had never played the Blue Danube piece before. That is, you’ve never played it before in your current incarnation. Because you have played it many times before. And the Spiritual realm knows that. So your guides used that particular piece of music as a way of reaching you, and then allowing you to be creative with the music.
And what does that mean - when you become creative with the music where you now are? It means you are taking it to a new level. It means you are coaxing more out of the music than was originally there.
* * *
SCOTTSDALE, Arizona, May 27, 2013 - Ever since a musical download I received the night of May 16-17, I seem to have been obsessed with Johan Strauss' "Blue Danube" piece. I do not recall ever playing it before. Yet, it flowed through my fingers almost instantly. At least the opening themes.
Over the next week or so, however, I discovered that this famous waltz has many themes and subplots (11 to be exact) as well we several changes of key. Which made playing it by ear without sheet music quite challenging.
What helped was the fact that I could actually visualize the scenes on the Danube which the Strauss music interpreted. I used these visual images as guideposts in lieu of sheet music.
And then this morning, in a sudden burst of inspiration, I created these two videos. That's so you can also enjoy the visual as well as audio artistry that this waltz evokes. At least in me. Most of the images in these videos came from my camera during my last visit to Vienna in 2008, when I attended my elder daughter's wedding there. That includes the "fireworks" version of "Blue Danube."
So with that as a preamble, here are now two different interpretations of the "Blue Danube" waltz.