Delta Flight

I had my feet up on a couch at JFK, looking at the toes of my Airs

While we waited to see which plane

would take us far away

The hump-backed 747’s were lined up outside

one smaller jet in the middle

We were to fly all night across the sea

to a country that was new to me,

a place I had avoided until now.

Vienna calling, Falco said.

And how.

The UMD singers, my daughter in their midst

my future son-in-law

my younger son came with

as a chaperone, no less

He could out-party all the rest

And so the time dragged by

I squeezed a world-design stress ball

and watched the sky

At last we boarded, and you should see

the face I must have made as we passed by

the giant planes and ended up in a

two-engine miniature

Austrian Airlines, you see,

is run by Delta too…

I settled into a window seat over the wing,

heavy with foreboding

we need at least three engines for the

November turbulence over the

North-Atlantic

Just then the cabin was filled with

another company of youngsters,

A band of cheerleaders from various schools

in uniform

pom-poms slammed into overheads

squealing and yelling far above

the more measured choir tones.

We took off into the night sky

That looks like Long Island, I sigh

Just about over Center Moriches

the plane began to shudder and pitch

We’re in for quite a ride…

For four hours we lunged around the sky

Dames und Herren, you are about to die

I kept hearing in my head

The wings flapped like a bird

I didn’t know they could do that

And with every thunderous settling as we

staggered across the sky

the cheerleaders shrieked and yelled

with voices pitched so high

they could have strangled themselves…

But with each garbled announcement

we climbed a thousand feet

Not one of us stopped to wonder

when we would ever eat

But finally we rose above the fractured waves of air

and saw the lights of parallel flights

we might make it there

after all

The stewards brought mystery meat

which I could not digest the thought of

much less the actuality

I did not have the courage to get up and stretch

so sat numbly the rest of the nine hour ride

We gave a great cheer as we landed in a foggy soup

And as we waited to depart

a Mozart piece tugged at my heart

playing softly through the intercom

A Salzburg piece, a divertimento

pure and sweet

and all at once I knew

this just might be the start of our

historic dream come true.

If only I could find a place to pee!

My daughter guarded the men’s room for me,

We’d seen it first, I could not wait

such was our fate

I heard that piece in my head again today

And wept for all the heartache that has come our way

since then

and also wondered if anyone had really cried

for what happened to Wolfgang Mozart

when he died.

It may be that a Minnegeddon is here

and that we have by now all learned to fear

an unknown judgment from

the evil of those days

A nation he never knew must justify

the way it treated him

And only God can tell

if we are headed into Heaven or to Hell…

The hidden life of Wolfgang Mozart…M4B*

We tend to think of Wolfgang Mozart as a happy child, eager to please, proud of his stunning musical gifts. By the same token we then tend to wonder how he turned into a arrogant, callous, supercilious musical snob. Of course, the movie AMADEUS captures in caricature that part of his personality. But still, when we stop to think about who this eccentric person really was, and what his life was like, many of us tend to end up feeling stumped. We hate to admit it, but there is about Mozart an aura of mystery. What was his life really like, we may then wonder? Did he even grapple with day-to-day living in the same way we do?

Many who write about Mozart tend to pander to surface lies and misconceptions. In fact, a sense of myth has developed about him, to some extent. Where did his gifts come from? we might ask. Why can’t I be anything but a humble supplicant when I perform his music? we may wonder.

Ironically, from my standpoint, most of what you may believe about Wolf is false. To complicate matters, I think you may be lulled into a sort of complacency by the myth. The myth, including AMADEUS, are, to my thinking, intended for the general public. Those who consider themselves insiders have a very different view. This dilemma can be considered comparable to the Warren Commission Report which came out after the assassination of President Kennedy. It’s purpose was to calm the public. The insiders knew it was not true.

And so it may be with Wolf…

So here’s a bit of the inside story.

Wolf was given a gift different from all the musicians around him. It is a gift analogous to comparing a major or minor interval in music to a perfect fourth or fifth. Wolf had a gift of perfection that came not just through his compositions, but the energy that they created. It was also evident when he performed. All the controversy and chaos that regularly surrounded him was related to this unusual gift. Nobody would confirm to him that he had it. He had to figure that out on his own. I think he finally did — when he wrote his last major opera The Magic Flute. The flute that carries his voice will always stop evil in its tracks and use everything for good. Its energy can survive death and time. It is, in fact, a gift of shalom.

Those in Wolf’s inner circle went to drastic means to try to control him and this gift and use it to their own ends. I think he finally figured that out as well…

And I think Wolf may also have fought off a dark angel that was trying to take control of his gift, his family, and his life. That was the other part of the gift.

And so, following that hypothesis, Wolf was dealing with a spiritual battle every day, even as he cheerfully and masterfully (if occasionally annoyingly) created and composed his marvelous works.

And he never complained…

*M4B=Mozart for Believers

A few of the mysteries behind the opera The Magic Flute…

Almost from the moment of its premiere the public was talking about the occult significance of Wolfgang Mozart’s last major opera, The Magic Flute. There was so much to consider — after all, it was full of Masonic symbols, and, despite the fact that it was a jocular singspiel, it held a pregnant sense of awe — of things not explained. To make things even more convincing, Mozart himself died a few weeks later. Was there a connection? Was Mozart poisoned? What happened? Everyone wanted to know. Or was it just the hand of fate? Some asked. Perhaps writing the Requiem under someone else’s name was what did him in? Others questioned.

Well, for one reason or another, the mystery has continued to this day. And for good reason. What if the opera were, in fact, a prophecy that included Wolf himself? What if that prophecy was to come to life over 200 years later?

Unthinkable! said many. Impossible, said others. Keep the lid on it! said the assassins…no one must know!

However, if this were to be the case, let me provide some details that are implied in the opera. I don’t ask anyone to believe what I say, simply to test my words. Just for the moment take as an hypothesis that the opera being prophecy is simply a possibility — extraordinary though that might be.

Here might be a few insights —

Pamina’s father dies after presenting her with the magic flute. Her Mother, the Queen of the Night, flies into a rage as she feels her power is threatened by her daughter’s having the flute. Sarastro, Pamina’s step-father, steps in and kidnaps Pamina to keep her out of harm’s way, but says nothing to Pamina, who is confused and frightened. Sarastro happens to be Wernher von Braun, with whom Pamina and her family have a connection. Sarastro’s temple of Isis and Osiris is the occult secrets of those committed in the US and Russia to going to the Moon and Mars.  It has, in fact, a number of different locations.  Pamina is brought to a place of relative safety, in the frozen tundra of the Northlands…

The three children are Pamina’s children. They are an even greater threat to her Mother, who comes after them and tries to bewitch them and steal them from Pamina, who is horrified. The Queen of the Night holds the children ransom, creating even more terror. To make matters even more sinister, the Queen has a ‘spare’, so to speak, in Pamina’s sister, Starla, (the so-called ‘other Queen’) who assists her Mother in stealth to try to turn the children against Pamina. And, last-but-certainly not least — add to that the possibility that Monostatos, who happens to be a bass player in an orchestra of false servants in Minnesota, has also attempted, frantically and viciously, to insinuate himself into the lives of Pamina and her children, in order to help the Queen.  He tries to cause Pamina bodily harm and slanders her to his colleagues.  She continues on, following the direction of the Zauberflote, which is always changing, and is always charming.

Pamina has had glimpses of Tamino, but nothing more, except his picture. When she sings her desperate aria “Ach, ich ful’s”…she feels she has lost everything. As the children are being deceived by the Queen, even they cannot help her.Me with my three K's...:-)

And yet, Pamina perseveres, in love and in faith…with the help of her longest best-friend, Papageno.  Papageno gives Pamina words of hope and faith at just the right moments…and together they keep moving forward…

Update 12.24.20 (M4B*)

I went to Orchestra Hall this week, on December 21st, in fact. That was also the night of the great “Christmas Star”. That day is significant to me because it is the birthday of Monostatos, who affected our lives so profoundly, and it is also the day we were married, long ago. (That lasted 666 days.) I decided to lay hands on the doors of Orchestra Hall and rebuke the enemy in the Name of Yeshua in order to demolish all of the strongholds connected with Monostatos persecuting me on that darkened stage because of the Zauberflote.

It was a cloudy day, cold, with a bitter wind.  I had invited Papageno to go with me, but he had declined. Once I reached the Nicollet Mall I was relieved that he had done so, for what I was witnessing was unexpected and almost overwhelming.  The mall stores are basically shuttered.  The only exception is Target.  There are no Christmas lights.  There are no lights at all. It is desolate. Dystopian. Like Blade Runner. Orchestra Hall had stacks of cardboard boxes in its lobby.  There are signs on the pavement reminding everyone to stand six feet apart.  WCCO is shuttered. They don’t show you that on the evening news. There were no crowds. Just people milling and talking, all carrying bags of some sort.  Acrid cigarette smoke. A woman shouting into her phone. Stragglers walking aimlessly.

Minnegeddon in Minneapolis, I thought.  What else could I call it?

I then went over to Monostatos’ apartment building and laid hands on the door there and rebuked the enemy again.  Hopefully, this nightmare involving him and the Minnesota Orchestra will now come to an end.

Is this what happens when you lock out Mozart?

During the 2012 lockout of the Minnesota Orchestra players I asked a family member who knew Mr. Vanska’s assistant for help getting to Mr. Vanska, to ask to play the Zauberflote for him.  She replied that she ‘didn’t want me to use her contacts.’  I was saddened by this, as the letter I had written to Mr. Vanska had gone unanswered, and I did not even know for certain if he had received it.  But now I could see that it wasn’t enough.  A slap on the wrist for Monostatos was not in everyone’s highest good.

But this is.

They are locked out yet again.  Orchestra Hall is dark yet again.  But this time I don’t think the lights will go back on until we all have some answers.

*M4B=Mozart for Believers

Look to Minnesota in the New Year

When Wolfgang Mozart wrote his last major opera, The Magic Flute, in 1791 he had no knowledge of a place called “Minnesota”. In fact, at that time there was no such place in any formal way, as Minnesota did not become a state until 1859. However, this opera may have turned out to be more than a delightful and exquisite singspiel — it also may contain a prophecy…

Mozart describes a minor character who is simply a blackguard who tries to torture, etc, Pamina. His name is “Monostatos”. Hmm…odd coincidence? It happens to sound not unlike “Minnesota”. Well, in the opera, Monostatos is a rogue to tries to interfere in Pamina’s relationship with her stepfather, Sarastro. Monostatos also ends up trying to assist her wicked mother, the Queen of the Night. A nasty character indeed!

Now let’s turn to another odd coincidence. The Minneapolis Symphony changed its name some time past to be called the Minnesota Orchestra. They did not have to do that. In fact, that seems a rather odd thing to do. But they did.

Then, into the orchestra walks someone who has had a significant influence on the life of my children and me. Someone who, almost literally, crawled out of the woodwork at Orchestra Hall. This person did everything in their power to control our lives. Fortunately this situation did not last forever. It did, however, last 666 days. Needless to say, the effect on all of us — especially my three children — has been traumatic.

What I call the lockout of me by the players occurred at that time. And this person, to my thinking, whose behavior qualifies them in the ranks of “the lowest of the low” can only be called “Monostatos.”

During the 18-month lockout of the MO players I attempted to bring this ironic situation to light, but to no avail.  But an inexorable process still seems to be in place. “Monostatos” is apparently still embedded in their midst. But what may have been intended for ill might instead be working for good…

And all that goodness will take place in Minnesota…:-)

A Simple Christmas…M4B*

Because of the persecution at the hands of my birth family, which included being systematically poisoned in their attempts to control this great gift of shalom that is die zauberflote and try to use it against God’s will, Christmas has a special meaning for me. I learned it the hard way. At the time, I could not understand why it seemed that God had abandoned me to people who insisted on turning themselves into monsters. Yet nonetheless I willingly stood in ankle-deep icy mud, at times with tears running down my face, and sang Christmas carols with the neighborhood children in my hometown of Fairfield, Connecticut. Although I came to realize that the persecution would intensify during the holidays, I fairfield house vnever lost my love of every piece of music connected to Yeshua, the Messiah.

But much of the hooplah came to make me quite miserable. The tree, the tinsel, the cotton batting on the mantle with a cardboard sleigh and reindeer, and of course, “Santa Claus” — whoever that was — came to represent to me an abyss of hopelessness.

“Let’s have our Christmas!” my Mother would chuckle, as she got out her notepad to record which gift was from whom, so we could immediately send thank-you notes for everything under the tree.

Well, that was it. The Bible sat dusty and untouched on a bookshelf, and everything swirled around who got what. And of course, I seemed to end up with items I had never wished for nor could ever use. That seemed to be part of the orchestration.

At the time, being quite young, it was all very confusing. Now, looking back, I can see how God has used everything for good, for I literally cannot tolerate anything having to do with Christmas that does not directly lift up the Lord Jesus Christ. I no longer ‘celebrate’ what I call ‘Xmas’. No tree. No lights. No wrappings. Just the music. And The Presence.

And I am richly blessed…I invite you to do the same…:-)

*M4B=Mozart For Believers

The life of a Mozart…’controllers’…

If you look with discernment at the life of Wolfgang Mozart you will find that there are things that just don’t seem to add up. For one, he was constantly composing and in great demand, and yet he was always beset with serious financial problems. For another, those close to him, his own Father being an excellent example — unfortunately– were extremely disrespectful to him, both in person and behind his back.

What you won’t know, unless you really dig, is that it is entirely possible that Wolf was supposed to have been subject to ‘controllers’ throughout his life. To what end? Well, we need to start with the axiom that he had been given a gift that no other musician had, and that those around him were intent on controlling that gift while trying to keep him ignorant of it. I think just about everyone would agree that Wolf was a people-pleaser. I doubt that most people understand how deep that went, though.

But Wolf made a run for it. He figured out the truth about the extraordinary gift he had been given, at least by what turned out to be the end of his life. He may have sensed where he was headed. He put all of that wisdom and knowledge into his last major opera, Die Zauberflote. That was on September 30, 1791. By November 20th he took to his bed for the last time. He took his last earthly breath on December 5th.

If you go to Vienna to look for graves you will, of course, find none for Wolf. But you will find one for Constanze, and one for his sister Nannerl. At opposite ends of town. Could they have been his controllers? I’ll let you figure that one out on your own…

Why not Mahler, Norman? (part one)

A while back music critic and arts lover Norman Lebrecht wrote a somewhat impudent and controversial book about Gustav Mahler, called ‘Why Mahler?’ Even though Mahler’s music was at last standard fare with most symphonies, his stated intent was to bring additional attention to the symphonies and lieder of Mahler. The central focus of the book was apparently to ask and answer the question of what value Maher and his music have for us today.

As curious as this book is, there may be wider and even more significant implications to Mahler and his life than anything Mr. Lebrecht has posited. In fact, Mr. Lebrecht might have deliberately slanted or eliminated significant facets of Mahler’s life, possibly even for some mysterious agenda of his own. Some of these significant issues may, in fact, have something to do with me and the Zauberflote.  And Mozart. And New York City.

Let me explain…

If I am correct, when Wolfgang Mozart died some sort of vortex of energy was created.  It was centered at the house where he died, on Rauhensteingasse, in Vienna.  It may have been created from the energy of the unusual and additional gift in Mozart’s music — something I call a ‘gift of shalom’. It is also the ‘Zauber’ in the Zauberflote. Something unique. Something overwhelmingly controversial. Something sublime. It has also been labeled “The Mozart Effect.” Exactly what happened to Wolf is another story, and one that I won’t go into now, but let me just say that it seems to me there is still a great mystery around Wolf and his death, and the existence of such a vortex just might be part of the explanation.

Mahler found his passion for composing in Vienna and spent much of his life there.  Did he sense the vortex connected to Mozart and his music?  Did he step into the mystery of what happened to Mozart and why, as, for example, I think Beethoven did? Or could he have been unsuspectedly pulled into this vortex of powerful energy?  I ask this question because of what he decided to do at a critical point in his life.

When working with the Vienna Opera became unbearably painful, Gustav Mahler set his sights on America.  New York City, to be specific.  He became the first globe-trotting conductor of great stature.  In fact, for the last five years of his life he traveled back and forth between Europe and America, conducting with the newly-funded New York Philharmonic.

All right, you might say.  A couple of interesting coincidences…

But there is more.  Mr. Lebrecht fails to include any mention of what Gustav’s wife, Alma, said about her husband’s last words.  What were they?

“Mozart!  Mozart!  Mozart!”

I boldly proclaim that this exhortation puts dear Mahler in the center of the Mozart vortex.  Not only that, but Alma actually moved to New York City after his death, living at 120 E. 72nd street.  She died there in 1964.  So was she aware of his possible connection to the vortex?

Mr. Lebrecht knows of me from my posting on his popular Slipped Disc blog during the lockout of the Minnesota Orchestra players.  I hoped, as a fellow Mahlerian (for I am indeed also obsessed with Mahler and his music) that he might listen to what I had to say.  I explained that I felt I  had an unusual and tangential connection to the lockout, in that previously some of the players, whom I have no choice but to call “Monostatos” used the stage at Orchestra Hall as a device to threaten and discourage me and, in effect, lock me out.  I had hoped for at least a sympathetic ear.  But, instead, Mr. Lebrecht allowed a music critic from Chicago (where I was born, incidentally) to attempt to slander me on that blog. That attempt was not successful and, ironically, Andrew Patner collapsed and died unexpectedly a few months later.  So it was at this point I accepted that I had not won over Mr. Lebrecht, who boasts of 1 million viewers a month on his blog.

Let me finish by stating that because of my Father’s job as a metallurgical engineer, our family moved from Chicago to the New York City metro area when I was three and I grew up in a nearby town in Connecticut.  Later I moved to New York City, living not far from where Alma had lived.  My dear husband Donner, who passed away tragically and unexpectedly this spring, grew up in the same neighborhood.

And so I ask you, and Mr. Lebrecht, to consider the possibility that the importance of Gustav Mahler has yet another dimension, one certainly mysterious but perhaps even more profound than of those we already know.

Did Mahler bring the Mozart vortex from Vienna to New York City? And, if so, what are the implications?

What do you hear in die zauberflote? ‘zauber’ –a gift of shalom — or ‘ein musikalischer spass’? :-0 M4B*

When people listen to die zauberflote (the flute, not the opera) I ask them, when given the opportunity, to tell me what they hear. Why?  Let me tell you…

I am constantly amazed at the unusual aspects of this gift. I have found that die zauberflote is like a laser — it somehow almost instantaneously starts to cleave truth from falsehood.  This astonishes me. Some hear what I call a sound of shalom — something gentle as a baby’s breath.  Others hear something less ethereal. A few have said they thought they heard Mozart’s voice in the music.  That is fascinating to me, as normally I do not.

Having people crawl out of the woodwork when I was at Orchestra Hall taught me a valuable lesson.  At that time I was naive and eager to learn. I had no idea that my practising on the darkened stage might have a powerful effect behind the scenes on some of those with a trained ear.  Those who hear a sound of shalom  usually comment on that, sometimes even accompanied by tears.  Those with a gentle heart , as Wolf says in the opera, will have an increase in favor wherever they go. But others will give me a look of contempt and begin to nitpick. They purse their lips.  They seem to take offense. They fold their arms. They murmur. They tap their feet. They complain. They sometimes even  gnash their teeth. They may even attempt to make feigned compliments while grimacing (not a pretty sight).

These adversaries may try to take me down, lock me out, slander me behind my back and exclude me from opportunities that could provide substance and respect commensurate with this great gift. If they were to lift their little finger they could open doors.  They may act obsessively, attempting to insinuate themselves into my inner circle to gain influence. They may, in effect, shun me — treat me as though I am already dead and act as though they are simply waiting for something to happen. They might even try to lure me into losing situations.  I never know what to expect.

Unfortunately, some may think they can, in effect,’steal’ die zauberflote and use it for their own ends against Gd’s will.  They cannot, of course.  (Often this destructive behavior is accompanied by calling me by my dreaded nickname, “Pam”.  When I am being “Pammed”, I have little doubt what lies in store.) However, as Believers, we do know that Gd will at times put some people in our way not to hold us down but to push us up into our destiny.  Who knows what purpose is behind this?

This gift of die zauberflote is perfect, in the way a perfect fourth or fifth (as opposed to a major or minor interval) is perfect.  What do I mean by that?  If you listen carefully to Mozart’s music you will hear something different, something extra.  A certain sound, so to speak — something gentle and joyful.  This has even been called the “Mozart Effect”, as those who listen to his music find themselves more grounded and serene.  In fact, from my standpoint, this is a gift of the Holy Spirit, which made Wolf’s music different from everyone else’s in a very subtle, yet dramatic, regard.  Nobody could copy this; nobody could imitate it.

This also seems to be true of die zauberflote.  Some who take offense at this difference appear at times try to push their own musical flaws onto me.  Some will summon up from the depth of their being their deepest worries and fears.  In actuality, were I ever to go into competition with any of them I would probably know their weak spots.

Could they have, in fact, fallen into a pothole of Wolf’s ‘ein musikalischer spass'(K522)? Yes, long ago, on a day when Wolf was probably bored with writing ‘nice’ music that everyone ‘liked’, he drew his sword and put a number of compositional anomalies into a piece by that name.  Is that, in effect, what some critics are claiming to hear in die zauberflote? If so, are they really oblivious to the fact that the indomitable Wolfgang Mozart has triumphed yet again, the joke really on them? In essence, have they been “Wolfed”?

Listen and decide for yourself what to think…I accept the grumblers, gently sidestep them, and keep moving forward.

What does ‘zauber’ mean, anyway?  Sparkling clear one moment, a mystery the next? Things turning upside down and everything working for good? (Cor. 4:24) I am used to never knowing what to expect.  Things may seem completely unpredictable, and then fall into place.  This is how die zauberflote works.  Perhaps one day its gentle shalom will persuade even them. 🙂

 

*M4B=Mozart For Believers

 

A hearty band of warriors…M4B*

As I move forward with the joyous and tumultuous saga that is die zauberflote, I would be honored and privileged if you would consider working with me.  There will be a number of opportunities coming available in the near future.

The current projects are a music video, Out of Night and Fog, for which I will be looking for a film crew,  and an upcoming holiday concert, “Blue Christmas”, for which I will be looking for, ideally, a keyboard player, drummer and a bass player comfortable with the blues and jazz. Both the filming and concert will take place in the Twin Cities.

At one point in my life, when I was quite immature, I joined the DAR.  I was a prized possession simply because of my youth.  At first I felt pampered, but before long came to realize how many slaves served in the Revolutionary War, alongside such as my ancestor, Abijah Weatherell.  I learned that those records were not kept or were so poorly maintained that it was very difficult for their family members to join this exclusive organization.  Then I found out what happened to Marian Anderson and the DAR’s refusal to let her perform at their Constitution Hall.  I ran away from them as fast as I could, and vowed never to belong to any organization that excluded others.  I have kept that promise to this day.

What is my point?  Simply that the team that is being built appears to be that of a group of reverse-exclusivity.  Everyone is welcome, but not all will wish to become involved.  A few are tapped. Some may even be offended.  The two main requirement seems to be a gentle heart and a giving nature.  For those who are saved Christians, I can say that it is best to be mature in your faith and Spirit filled, as die zauberflote will probably turn your life upside down while it puts you into a safe place, as it has me and everyone close to it.

If you are interested, and if anything I am saying makes sense to you, please email me at pamina@mindspring.com a video or audio clip of you playing something of Mozart’s.

You can find videos and clips of my playing on Sound Cloud at https://soundcloud.com/pamela-brown-3 and at pamina58 on Youtube.

Thank you so much for your consideration…

M4B=Mozart For Believers

 

 

 

The Anti-Mozarts…”Christians” who are comfortable with slander and murderous ill intent with an end of financial gain…:-0 M4B*

Long ago, when I was caught up in the web created by my Mother (whom I believe was being used by the dark angel I call Lermontov) I found myself in need of a topic for my undergraduate honors degree.  I was horrified by what looked to me to be spiritually depraved behavior on the part of my birth family toward me and this great gift of die zauberflote that I had sworn to do my best to protect (even though that backfired).

While I was away from Bucknell, at the University of Edinburgh, I spent a year studying Shakespeare (plus two history courses).  Every day there was a lecture on a different play.  I sat in the drafty, cavernous lecture hall, able to see my breath, listening with what should have been rapt attention.  But, instead, I found myself distracted.  While studying in the English lit study hall (where the U provided copies of all textbooks, so no one had to buy them) I had discovered Ben Jonson.  I found that he, though living in the shadow of Will Shakespeare, was also a dynamic and controversial dramatist.  I began to feel a kinship toward his use of satire, especially when it came to the hypocrisy of the Puritans, who were running rampant at that time in Elizabethan England.  I found we had something in common that Will and I did not — a strong distaste for religious and spiritual hypocrisy with the end of fraudulent financial gain.

And so my thesis developed.  Why was it that Jonson seemed to go out of his way to take them on?  What was their response to him? Were the same agendas he was writing about then applicable to me and my situation now?  Yes, I decided.  And so my paper developed.  It has now been published online: http://digitalcommons.bucknell.edu/honors_theses/343/

When I wrote this paper I had no idea what I would yet have to face –thank goodness, as I would have been overwhelmed.  As I work today to untangle myself and die zauberflote from what I call the ‘vortex of the evil eye’ that took Wolf’s life before his time and has tried to silence me forever, I find that I must comment on the behavior of some of the nest of those with ill-intent who are blocking me.  Their common denominator seems to be that they call themselves “Christians”, yet they are comfortable with having murderous ill intent toward me and my children.  Of course, since humility and righteousness are prerequisites for any of us actually being able to call ourselves Christians, the world that they live in is probably that of the ‘working of error’, or what I call the Kingdom of the Night.  It is ruled by — you guessed it — the dark angel, Lermontov.  And so they gather around and try to seek out any whiff of weakness in me while whirling like dervishes, comfortable that any agenda will remain hidden, while they try to ‘steal’ die zauberflote and use it against God’s will to make money for themselves, thinking that they will stay free of consequences (while conveniently forgetting what happened to Saphira and Ananias!)…

So, in a sense, perhaps nothing has changed since Jonson’s day after all….:-0

M4B=Mozart For Believers

 

 

 

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