GOLGOTHA TO ROZABAL -- Symphonic poem

This symphonic poem derives from an early study (1978) that I had entitled Fantasia on a Motif of Ralph Vaughan Williams. The motif in question is the descending three-note one - a semitone followed by a minor third - that dominates the dramatic opening of Vaughan Williams' 6th Symphony and in fact crops up in many of his works. It is also a motif that belongs in some of my music (witness my 4th Symphony) because of the similarity of some of the modes I employ.

Golgotha was the site of the crucifixion of the 'great spiritual teacher'* who subsequently became known as Jesus, Issa and various other names, and Rozabal is the name of the building that today houses what according to many people now is the tomb of the historical 'Jesus', in Srinagar (Kashmir). According to their line of research, Jesus was known as Yusu (Yuz) Asaph in the Far East during his long life after recovery from the crucifixion.

* I put this in quotes, because when you truly understand what was and is really going on you would not use the word 'great' for anyone doing that sort of thing, even though such individuals have undoubtedly been powerful and charismatic personalities in their particular ways. To understand more about the extremely troublesome source of 'spirituality', which guides these so-called 'spiritual teachers', please see Exit 'Spirituality' - Enter Clear-Mindedness.

This work was composed in 1996, and it wasn't till 2007 that I began in earnest to understand that 'spirituality' itself is a seriously troublesome sidetrack given to us by the dark force in order to keep us away from genuine self realization (which would get us free from dark force interference and influence) and into the control and indeed captivity of the dark force.

'Jesus', like any supposedly genuine 'spiritual teacher', was thus - no doubt completely unawarely - operating as an instrument or agent of the dark force, notwithstanding all his good intentions. It's necessary therefore to understand that I composed this work in ignorance of the real situation, and thus in order to not be led further astray by any apparent religious or 'spirituality' message in this work it is necessary for the listener to let go of all 'spirituality' subtext and regard the subject of this work as being a legend, which reflects in a generalized sort of way something of the human condition in people's underlying ongoing struggle to become free of dark force interference and control.

Please think of Golgotha to Rozabal, therefore, as NOT making a religious or 'spiritual' statement of 'faith' or 'truth' (which could only be about belief and illusory realities - not the truth of 'What Is'), but as being akin to one of Sibelius' great symphonic poems based on Nordic legends (though of course my work sounds different!).

In this music the exotic melismatic melodies suggestive of transcendent wisdom quickly become wreathed in fear and menace, and eventually all hell breaks out, yet in this context the simple uprightness of he who is open to the truth beyond belief (i.e. the truth of 'What Is' - not of the 'visionary' and 'spiritual' experiences with which the dark force would seek to ply us) stands out with an agonizing poignancy. After a passage that could well reflect Jesus' recovery from the crucifixion injuries, we hear the exotic melodies that opened the work, but some of them, now at double speed, are more like colourful birdsong, suggestive of the later part of his life in the Far East. Finally in an ethereal other-worldly fugato section a four-part choir sings briefly of the death of Jesus - that is, his natural death* at an old age in Kashmir. It draws to a climax on the words: Stretched he then his legs t'wards the west and his head t'wards the east and passed away. This leads on to a receding processional coda with the final birdsong melismas and sections of the choir floating in the texture, repeating the phrases 'Yuzu passed away', 'his legs t'wards the west' and of course 'his head t'wards the east'.

* Again, it is important NOT to take the particular description of his death as a statement of precise historical fact. My use of the particular text is simply part of the legend that I represent in this musical work. Although conceivably 'Jesus' or 'Yuzu Asaph' did know how to die in the most natural, dignified and peaceful manner possible, it's pretty unlikely that he'd have ritually laid himself out pointing in a specific direction to die - though again perhaps his (actually dark force sourced) beliefs might have caused him to do so. More likely, the description of his death given in the text that I use is just part of the legend that grew up about him after his death.

Anyway, to ritualize in any way your life or your death is to keep yourself under some measure of dark force control and therefore that is nothing to be admired nor looked up to when you read of supposedly 'great' people doing such actually very silly things.

In fact it was apparently pure coincidence that the 'baying' motif in the faster sections of the work, and certain rhythmic figures, correspond with 'Crucify him!'. The truth (sic) is that I had composed all that on a purely musical basis before I ever thought to drag poor old Jesus into it! ...But then again, the more aware person would comment "But what is 'coincidence' anyway?".

Text used in the choral section

(Adapted from Shaikh-us-Sadiq, in Kamal-ud-Din, Sayyid-us-Sanad Press, Iran, 1881,
quoted in A Search for the Historical Jesus by Fida Hassnain)

At the approach of death, sent he for his disciple Babaad, and made he his last will.
Gave he also directions about carrying on his mission of peace.
Gave he directions about the sepulchre where he would breathe his last.
Stretched he then his legs towards the west and laid he his head towards the east, and breathed his last breath.
Stretched he his legs towards the west and his head towards the east.
He passed away.
Yuzu, he passed away,
His legs towards the west,
His head towards the east...