Tracks arising from Roerich Paintings. (with sound-bites)

for HIMALAYAN STUDIES Number 5

All images courtesy of the Nicholas Roerich Museum, New York. 

To view more Roerich paintings @ their site click HERE

 

 

MOST SACRED (TREASURE OF THE MOUNTAIN)  1933   (Volume 5)

Courtesy of the Nicholas Roerich Museum, New York

To listen (to closing section) click HERE

Treasure of the Mountain is from the above painting by the Russian artist Nicholas Roerich. It relates to the Mountain Kanchenjunga. In the foreground of the painting are huge crystals, it is as if we were inside the mountain. At the far top left we see in the distance a cavern lit in a golden colour and within this sacred space are a group of 'Mahatmas' or spiritual Masters. Although the painting is undeniably both dynamic and dramatic, an overall sense of stillness pervades it so that Time seems transcended. Accordingly the musical structure if events reflects the journey of the eye / 'I' around a pivotal point of relative silence. The predominant colour tone (key) to the painting is a rich deep blue.

 Consequently the primary feeling of the music is derived from these several factors: Blue; Gold; Cave; Light; Mountain; Stillness; Mythical Time; Initiate consciousness; Masters & Ceremony / Ritual. The Mahatma presiding is seen holding a Flaming Cup in some timeless and ancient ritual of the Great White Brotherhood / Shambhala.

 The predominant instrumentation consisted of ancient Tibetan singing bowls. These are antiques, their ages ranging from 200 to 800 years old. Research has demonstrated that these particular instruments when played create pulses around the same speed as that displayed by Zen monks in satori and others in a state of deep contemplation: namely alpha brain wave patterns. These instruments are, therefore, highly suited to music reflecting such states of consciousness. The link to ritual is also clear, as specific rituals are used by the practitioner of meditation / contemplation. However, these bowls are mostly linked to the Tantric Paths as also to the pre-Buddhist native Bon and in addition to Nada Yoga. Bon has strong connections to shamanistic streams so that those sacred magical bowls derive their psycho-spiritual significance from any number of combinations of these spiritual pathways. The specific choice of bowls for this piece arose out of my super-sensible studies leading to a selection corresponding to the energies derived from contemplation of the painting. My musical compositions / improvisations are always concerned with organising the several sets of sound combinations according to their effects upon the subtle bodies of Man. This particular piece not unusually combines spontaneous composition with pre-determined structures. This is often the case when the source of inspiration is a painting. 

From over 100 Bowls some 16 were selected along with two PAISTE Gongs; a Sun Gong & a No. 3B Sound Creation Gong plus a pair of Ting-shag (Tibetan Invocation cymbals).

 I have been working with the sacred instruments of Tibet since 1973, when they began to be incorporated into my percussion set-up. I now create music from my range of over 600 metallophones some of which were invented, built and developed by myself, others are often adapted. Apart from reverb in a few places, no electronics were used at all.

 

PAX CULTURA.

Frank Perry, Ringwood. January 6th, 1995.

 These words accompanied the initial release on the SOLAR label. This piece is the original version of this title (slightly different to the second version that appears on The Healing Bowls of Tibet - TIBETAN SINGING BOWLS Volume 1) commissioned by SOLAR and released in 1995.

 For more details regarding Volume 5 and a complete listing of all of the tracks - please click HERE

 

 

(C) Copyright by Frank Perry 1996. All rights reserved.

 

© Frank Perry, 1996. All of these articles are copyright. They may individually be copied and shared with others in a spirit of knowledge-sharing and fair play, but they may not be sold, printed or reproduced in quantity or changed in form without the permission of the copyright holder. None of this material may be reproduced in workshops or lectures of any kind unless quotes are credited or properly attributed.  

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