At Juilliard, Maestro Vincent LaSelva requires that we learn a new and different classical score for each Orchestral Conducting class. Last week I chose Peter Ilyich Tchaikovsky, most famous for his “Nutcracker Ballet” that is performed all over the world every year during the December holiday season.

In preparation for my Tchaikovsky assignment, I did a little research on what was going on in his life at the time he wrote the three symphonies I was thinking about conducting for class: Symphony No. 4, written in 1877; Symphony No. 5, written in 1888; and Symphony No. 6, written in 1893.

Symphony No. 6 was first performed one week before he died.

I wonder what was going on in Tchaikovsky’s consciousness that late in his life before he died?

According to Consciousness Calibration research utilizing Dr. David Hawkins’ Consciousness Scale, performed at Advanced Health & Wellness in Red Hook, New York, Symphony No. 4 calibrates at 500, Symphony No. 5 calibrates at 456, and Symphony No. 6 calibrates at 150.

150! My conducting mentor, Maestro Marcus Parris, told me that Symphony No. 6 was “darker”, but I had no idea it was that much darker!

We checked and re-checked this several times. What was going on in Tchaikovsky’s consciousness right before he died, that caused him and his music to plummet so much?

According to Dr. Hawkins, Tchaikovsky’s music = in general = calibrates at 550 (see “Truth vs. Falsehood”, page 98). We calibrated the “Nutracker Ballet” symphony music to be at 466.

What happened?

According to several different sources, Tchaikovsky was a homosexual, and was not comfortable with it. When he was 37, he married a woman thinking it would make him respectable. The marriage lasted nine weeks. One source says that while Tchaikovsky was composing the Sixth symphony, he knew he was near the end of his life, and thought that he was going to go to Hell because he was a homosexual. Critic Havelock Ellis called the Sixth symphony a “homosexual tragedy.” Tchaikovsky himself stated “The program is subjective through and through, and during my journey I often wept bitterly while composing it in my head.” He claimed that he had “put his soul” into the work.

According to Dr. Hawkins’ Consciousness Scale, the God-View (that is, the view of God from the person who calibrates at that level) at the calibrated level of 150 is that of a Vengeful God.

Did Tchaikovsky know he was going to die? Did he really think that he is going to Hell? Did he think on some level that God was taking vengeance on him for being a homosexual? Was he pouring out his angst of being a tortured soul into his Sixth symphony?

Things that make you go, hmmm . . . .

As for myself, I chose to work on Symphony No. 4, which calibrates at 500. Why? Because I want to surround myself with things of the highest possible nature. My intention is to continue to produce music that calibrates above 500 on the Hawkins Scale, for the benefit of mankind. If that is my intention, then it is in my best and highest interest to study and immerse myself in music that already calibrates at and above 500. As Dr. Hawkins says, “the field is stronger than you.”

What is the field of music that you are listening to?

What kind of mental/emotional/spiritual place were the artists, composers, and performers in when they recorded the music you are listening to?

P.S. For those of you who are interested, here is the breakdown of calibrations on Tchaikovsky’s Symphony No. 4: 1st movement, 501; 2nd movement, 461; 3rd movement, 502; 4th movement, 503; symphony overall, 500.

Thank you for being here.

In preparation for this week’s Orchestral Conducting class at Juilliard,
I was studying the score and liner notes from the CD’s for Beethoven’s Fifth Symphony,
third and fourth movements.

 

I do my best to listen to several different recordings of performances,
because not only do different conductors bring their individual musical interpretations
to the performances, but they (unknowingly) also actually bring their own
Calibrated Level of Consciousness to the performance.

 

One of the things that I like to do is Consciousness Calibration Research = one on
the actual piece of music by the composer, and one on the specific recorded
performance with that conductor and orchestra.

 

Look for my comparison spreadsheet that will be available when I release
my CD series of Consciousness Music, and in our membership site,
ConsciousWorldMusic.com (currently pre-launch).

 

In the liner notes of the CBS Masterworks Series with Leonard Bernstein
conducting the New York Philharmonic, it is stated that the finale of Beethoven’s
Symphony No. 5 in C Minor, Op. 67, is “a glorious ascent from the darker recesses
of the soul to the light of courageous, challenging life.”
Wow. How cool is that?

 

Beethoven knew that his purpose was to create music that would uplift mankind.
Because of that knowing, and his courage and persistence to take action
on that intuitive knowing, his music still is still here influencing and affecting us
hundreds of years later.

 

What is the purpose of the composer(s) and performer(s) of the music
that you listen to?

 

What do you think the consciousness is of today’s popular music
composers and performers? Why are they writing and performing?

Where do you think they would calibrate on Dr. David Hawkins’ Consciousness Scale?

• Grief?
• Fear?
• Anger?
• Desire?
• Pride?
• Courage?
• Responsibility?
• Acceptance?
• Reason?
• Love?
• Joy?
• Peace?

 

Thank you.