I've decided to alter this very slightly for dramatic and timing purposes. Now, when the listener questions the source of the particularly beautiful compositions, the performer will simply play it again and ask the listener to pay closer attention. As he is doing so, strings, flute, and piano will quietly come in one at a time from the edges of the stage- filling in the song, expanding it, and making it complete. The listener will not register that he is hearing these new sounds, but he will understand that something very interesting is going on in the piece.
This allows for more powerful music at the start (an overture of sorts) and it also means the performer won't have to play six different songs to make a very basic point- that music is the product of a multitude of influences, both stolen and inspired- and if you know the whole story behind a song, it usually makes it that much more poignant.
As an aside, but to continue the above point, take Beethoven's Third Symphony- aka the "Eroica" symphony. As the story (as far as I know it) goes, this piece was inspired by Napoleon. It was a symphony to exalt a great man whom Beethoven admired greatly. Around halfway through the composition of the piece, though, Napoleon declared himself emperor of the world and Beethoven scratched off any mention of him on the manuscript. The piece then became an ode "to a once great man."
Now, if you do listen to Beethoven's Third, I promise that the sounds will take on entirely new meanings as you try to understand Beethoven's feelings throughout.
That's all for now- didn't get to write much because I was in DC for the Fourth of July. I was thinking that maybe the fireworks might inspire something for "Mysterium." We will see.
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