As gnostics, we become enraptured, inflamed, delighted, by the works of the great classical composers such as Mozart, Bach, Chopin, Liszt, Berlioz, Beethoven, Wagner. It also is remarkable that these paragons of music have taught in their art, the secret teachings of all ages, the secret path of initiation.
Just as we become enthralled by the pyramids of Egypt, Yucatan, the temples of the Maya, the Aztecs, the great churches and synagogues, the great mosques, all the architecture that the best of humanity has produced; these things inspire us. While these forms of art have always been profound, moving, inspiring, it is also a tremendous inspiration to understand how these great works of art have taught in their secret symbols, their allegory, the spiritual path that leads the disciple from ignorance into the light of comprehension. The path of yoga, reunion, religion.
Art has always been used to reflect divine principles, divine truths, with many meanings and symbols that hide tremendous cosmological truths and experiences of the consciousness. Even though in our studies of anthropology, or better said, gnostic anthropology, we have looked at the great architecture of the ancients, the philosophies of the Greeks, the ancient sciences of psychology, mysticism, kabbalah—it can be argued that opera is one of the most refined, and if not, the most synthetic teaching given to humanity.
This art form is truly a form of alchemy. It is alchemical, because it is a mixture of music, drama, theater, art: visual representations, costumes that are appropriate to the given context of a specific opera can help to convey profound truths about the nature of religion, of psychology.
Opera has always been utilized by the great initiates. It is very well known amongst writers that Puccini, Mozart, Beethoven and many others like Tchaikovsky, were Freemasons. Mozart's Magic Flute, which portrays the initiations of the Masonic Lodge, eventually got him into trouble, precisely because he was expressing truths in that opera that were not allowed to be conveyed to the public. But, given his inspiration, he provided a beautiful teaching about the nature of initiation, the spiritual path, of which we will be studying in this course on the Secret Teachings of Opera.
But today I want to just discuss for us some of the principles, the foundations in order to interpret opera, especially the kabbalah and alchemical knowledge that is the synthesis of this great art.
As I stated, the great architecture of humanity, the ancient religions and traditions, while profound and beautiful, are not as refined as this art form, because opera is the synthesis of many aeons of development—many centuries of expressing the teaching in a way that was only communicable and understood by other initiates.
And as I stated, this path is about קבלה kabbalah and alchemy. How is opera kabbalistic, alchemical? The word קבל kabbel in Hebrew means “to receive.” It is knowledge that we receive not only from books or scriptures, but from experience of the consciousness.
Classical music elevates the soul, because this music was composed by prophets.
Many people think that Beethoven, Mozart, Chopin, and Liszt were simply musicians, and that they had a type of genius and creativity that could not be explained. But the profound reality is that they developed their music, their art form, as a result of awakening their full conscious potential.
In their music, they portray many truths relating to mathematics, to numbers. We know that music is very mathematical, kabbalistic, because kabbalah is the science of numbers. In these studies, we know that kabbalah is intuitive. Numbers are intuitive. They represent forces in nature: principles, archetypes, blueprints for the creation of the soul, in which we find represented in the many different characters of the operas like Rodolfo in La Bohème, a reference to the 21st Arcanum of the tarot: the Fool, the ignorant, the Bohemian.
Likewise, we find the tremendous archaic teachings of the thirteenth arcanum in Puccini's Turandot; the mysteries of death and the Divine Mother. Tchaikovsky's Eugene Onegin teaches about the loss of the soul. Berlioz's Damnation of Faust, which has terrified many audiences, is a teaching about the path of failure.
So these great masters conveyed in their music, psychological truths about the dangers of the spiritual path of initiation. When we watch opera, we learn to receive the knowledge which is kabbalah, kabbel. We receive the music which inspires the heart, and through the drama of its characters, the narrative, the lyrics, or the libretto, we gain insight into the nature of what is known as the Tree of Life and its different sephiroth. For each character in an opera represents parts of the soul that must be developed, which must be integrated.
So divine art is precisely opera. It is the amalgamation or alchemy of the verb. Of music. Of drama. In opera there is sculpture, there are sets, there is music, there is poetry or literary narrative. In many cases there is dance. So, the initiates, throughout the centuries, for millennia, had provided their teachings within sculpture, within paintings, within music. As a synthesis of this great art, of these great teachings, we find that opera is the peak, the height, the most refined, precisely because it synthesizes all the art forms from the previous eras, of which we'll be talking about in this lecture.
Sadly as much as people love opera and classical music, they don't really comprehend the meaning of the great art forms. They don't understand that the dramas represented in these forms of art, in these presentations, show us something symbolic. They show us something about ourselves, if we are truly walking this path of initiation that we have been explaining in our course on the Tarot, especially.
Opera is a divine art, but in order to benefit from it, we have to awaken consciousness, because for many centuries people have listened to opera. They have watched it. They have been amused by it and have commented on it. They have debated about its purpose and the meanings of certain composers’ work. But sadly, humanity ignores the science of the Tree of Knowledge and the science of the Tree of Life, which are the synthesis of the secret teachings and which can unlock the door to understanding the great works of art, such as with Wagner's Parsifal, of which the Master Samael Aun Weor wrote a book specifically explaining its symbolism, its mysteries. Another opera of which we will be talking about later in this course.
Cosmogenesis and Anthropogenesis
So in order to discuss the nature of art and the place of opera within the scale of our humanity, it is necessary to speak about some very ancient forms of history which are not documented by our anthropologists, our scientists, who only study physical matter. We have to speak about cosmogenesis and the nature of what is called root races and subraces within our humanity and previous humanities, in order to discuss the teachings of opera. But why?
As we stated, through our many aeons, this teaching has been taught, it has been known, it has been practiced, and many operas teach an ancient form of history that is not known by humanity. It is enough to watch Wagner's Ring Cycle, Das Rheingold, in order to understand and first-hand witness the history of ancient humanities on our planet.
So in order to talk about the place of art that has developed throughout history and reached its peak with opera, we are going to talk about this ancient history in synthesis. We won't have the time in this lecture to really expound upon all the details of these ancient humanities that populated our planet, but we want to point and indicate their place in general in order to help us provide a context for this lecture.
So what is a cosmic era? A cosmic era is known as round, and as we see in this graphic, we have a beautiful depiction of ancient periods in our universal history. We have first what is known as the Mahamanvantara, which is known as the “great cosmic day.” Every universe is born, gives life, and then dies. When it is born, it has existence, when the universe manifests from the unknowable divinity known as the Ain Soph Aur, the Ain Soph, and the Ain in kabbalah, the Absolute.
It emerges and manifests into different levels of matter, energy, and perception, which are mapped by the kabbalah. So, life descends from more subtle forms of matter and energy into the more material.
Life first existed in the mental plane in what is known as the Saturnian Round. When life fully developed in its full capacity in that dimension, after many aeons, trillions of years, and after that round gave birth to seven races in its respective cycle.
It then materialized and entered into what is known as the Solar Round. Life then gestated within the astral plane. Likewise, in that era, seven races were born. When life fully developed at that level, matter, and energy descended into the ethereal plane, the fourth dimension and what is known as the Lunar Round of which Samael Aun Weor spoke about abundantly in his books.
Life in the lunar round existed in what is currently known as the moon, the physical moon which was a planet in previous eras, in the Lunar Round.
A planet always has life, it always has its humanities, its races, that are born and gestated in those eras. But when life fully develops at that level, the planet dies after many aeons, many ages. In that round, life then is extracted from that planet in order for that planet to become a moon, a cadaver.
A moon is a dead planet that once had life in previous rounds. The lunar round took place precisely in our moon, the physical moon and which is why certain writers like Madame Blavatsky taught that the moon is the mother of the Earth. This is contrary to people's belief that the moon was a part of the earth that broke off into space. But the moon was its own planet. It had its own life, its rivers, its forests, its civilizations, its races.
When that planet fully developed its races, its humanities, when the knowledge was given to those ancient epochs, those peoples, the planet eventually has to die, because life is born, is gestated, it sustains, and then it passes. So life once existed on the moon, but the soul of that planet entered into our Earth in the next round, the Terrestrial Round, of which we are currently in—the terrestrial period.
It is important to note that these rounds exist because life is descending. First through the force of involution into different states of matter and perception, so that the souls that are entering into the universe can gain experience, cognizance, understanding.
And what is a root race? There are seven races for each round, as Samael Aun Weor teaches in his books. A root race is precisely a humanity, an age in which certain people are given the opportunity to enter into the mysteries of the secret teachings. To experience and live the path of initiation.
And of course, this terrestrial period indicates with exactitude that life has reached its maximum. Its full materiality. Now we are currently in the process of entering into the higher dimensions once again, from which life first descended.
In the future rounds, life will continue to exist in the ethereal plane. Reconquering the ether. Ascending towards higher worlds and higher states of being. Likewise, the astral plane and the mental plane. Until finally, that universe or the life of the planet and the different worlds will enter back into the Absolute, what is known as the cosmic night: the Mahapralaya, the cosmic period of rest.
Each period has seven root races, of which we are currently in the fifth. We once experienced and had life on this planet through the Polar Race, followed by the Hyperborean Race, the Lemurian Race, the Atlantean Race, the Aryan Race.
Each race or root race has his life and its death. There are always periods of great cataclysms in which such humanities are exterminated once the fruits of those races have been produced. When a humanity has given forth solar men, solar initiates, solar beings through the spiritual path we have been teaching in our courses, then those humanities reach their peak of civilization, and then they decay. When they decay, they are finished through great cataclysms of which the Aztecs and the Maya have depicted in their sun calendars of Tonatiuh, in which these different humanities experience different forms of their demise, which we won't go into depth today.
But we mentioned in brief because in order to talk about opera and art, the great forms of the sacred mysteries, we have to speak about our ancient humanities.
The Seven Aryan Subraces
We are now in the fifth race, the Aryan Race, which should not be confused with the Germans, because the German people are merely one aspect of the Aryan Race.
Each race has seven subraces, of which we have an image of our Aryan Race in the top right. Why is the fifth root race the Aryan Race? Because we are governed by Ares, by Mars, by Samael, the angel of strength. The previous periods were governed by other angels, but now we are under the jurisdiction of Ares, of Samael.
It was a mistake of certain people amongst the Nordics, the Germanic peoples, to think that they were the only Aryans on the planet. That was a mistake. The Aryan Race has flourished upon the whole planet and every continent.
Each root race is divided into seven subraces as we stated.
Humanity amongst the Aryans first developed in Tibet, then moved into India and China.
The third subrace existed in the Middle East, the fourth in Greece and Rome, the fifth amongst the Nordics as well as the Anglo-Saxons, Teutons, and European people.
In Latin America, we have the sixth subrace. Right now, in the United States, we have the seventh subrace that is developing presently here and now. We have stated and it has been stated that the subraces, or better said, the subrace of the United States, is a mixture, is a crucible, a melting pot in which all the races of the our planet are mixing, precisely with the purpose of generating the seed for the next root race, which is the sixth in our terrestrial period.
The sixth root race will be known as Koradi, which is the new people, the new age, the new era of Aquarius cited by Samael Aun Weor, in the Book of Revelation. After our Aryan civilization is destroyed with great cataclysms, like the previous races before, certain people and certain seeds of our race, the seventh subrace, will be extracted and taken in order to develop the new humanity.
So the best seed is always used to cultivate new plants, new life. The same with the subrace of the United States in which the Gnostic movement is marching firmly forward, having originated from Latin America, but also has spread throughout every continent of the planet, to all of humanity, our Aryan race.
We have talked and have spoken a lot about the great cataclysm that is going to afflict our humanity in this present epoch. Nuclear wars, forms of destruction, the end of an era of perversity which has really reached the maximum. Because this Aryan race is so degenerated, divinity has no other option but to eliminate it and to save those seeds, those few people who want to change, psychologically. And through preparing ourselves to the initiative work, we provide ourselves the opportunity to exist in the future root race, if we are pure—if we fully eliminate the ego.
But why talk about opera in this context? It might seem like a digression, but it is important to note that this ancient history, which is not known by our scientists, has been taught in opera especially, Wagner's Ring Cycle, Das Rheingold.
We will talk about how these great works of art have always spoken about and alluded to these ancient forms of humanity, in a symbolic way, but which people who are very literal, don't know how to interpret… those who are very fanatical or who may like the classical composers, but don't understand the symbols of their work.
This history is only understood through the consciousness. We cannot necessarily find physical remnants of these ancient humanities. There are a few, but the real evidence lies in the internal planes in what is known as the Akashic Records. But to give some indications towards the past remnants of our ancient humanities, we know that there are statues and sculptures on Easter Island, which Samael Aun Weor stated are the remnants of Lemuria who were giants [like Fafner and Fasolt in Wagner’s Das Rheingold]. Gigantic figures, gigantic people, who existed in this third dimension, but also in the fourth before they finally descended into materiality.
What is also interesting is that there have been found by certain archaeologists and scientists, certain glass layers in the Earth found in the Sahara Desert, Libya, Mojave, and other places which could only be formed by the aftermath of tremendous atomic explosions. It is said that in order to create such layers of glass that have reached the diameter found, I believe in the Sahara or Mojave, it would take nuclear explosions 10,000 times more powerful than those used in New Mexico. The Mahabharata also has certain allusions towards nuclear war amongst the Atlanteans, who destroyed themselves through that type of technology, in which Plato, I believe in his Timaeus, hints at, that these ancient civilizations existed [Wagner even depicts the giants Fafner and Fasolt killing one another in Das Rheingold, reminiscent of how the giant civilization of Atlantis reached its tragic conclusion].
This type of history is not really easy to validate except through awakening consciousness in the internal planes, to really experience and understand from experience where these root races came from. How they lived. What they did. We have Easter Island and a few other remnants found across the planet that point towards the remnants of these civilizations.
It is interesting that we have these facts which scientists can't explain. They want to ignore that there were civilizations before us that were more powerful. The Atlantean science was by far, much more developed than our Aryan Race.
So why talk about opera? Opera developed amongst the fifth Aryan subrace, especially amongst the Anglo-Saxon, Teutonic, and European peoples. We find that beautiful forms of art that teach the secret knowledge that have been given in Tibet amongst the Indians and Chinese. Especially in the Middle East amongst the Muslims and Sufis. Likewise, amongst Grecians and Romans, and also in Europe amongst the Germans, the English, and other Europeans
While we state that opera is the synthesis of all other art forms, we also state that just because this form of art is synthetic and highly refined, doesn't indicate that the fifth Aryan subrace was superior, because we know from history that the first and second world wars were initiated by this subrace amongst the Aryans, amongst the German people as well as the Europeans, which is very degenerated.
But it was the purpose of the White Lodge to provide teachings within this subrace to give some type of knowledge and understanding for future peoples amongst the Latin Americans, among the Europeans, and especially within the United States, in which we are explaining this knowledge in a very open fashion.
In the age of Pisces, we had many forms of art that had inspired people, but people don't understand the real meaning, their significance.
In the age of Aquarius, the era of the water bearer, we are explaining this knowledge for the first time, the significance of these great works of art. The White Lodge gave many operas, many forms of music, of drama, that teach how to unite with Christ, with the truth but, because people were not necessarily benefiting from that knowledge, the White Lodge determined there was a time in which that knowledge had to be finished, concluded, which was around World War I, when the opera Parsifal debuted. We also have Turandot that came out in 1926, which is fairly late.
Since where we are now in the age of Aquarius, and because this Aryan Root Race is going to end through many great cataclysms, we are now explaining for the first time the meaning of these operas—to give to humanity the secret knowledge that has been hidden, but also has been visible to them for many centuries. But for the fact that people have not known kabbalah and alchemy, they could not interpret it. So now we give this knowledge explicitly for the benefit of those who suffer and who want to understand the path that leads out of suffering.
Art and the Sabbath
Art has always been considered sacred and the ancient epochs, but not in these present times. The Sabbath, the day of Saturn-day, Saturday, relating to the Holy Spirit, was the day of learning among the ancient cultures, in which people would recreate to listen to either opera or great works of art. To see dramas, presentations of the secret path on their day of rest, in which art is highly significant and relates not only to Venus, but to Saturn. Saturn-day—because the teachings of Saturn, the teachings of the Holy Spirit, as well as the teachings of the Third Logos, are precisely the wisdom or the intelligence of the divine, because Binah in Hebrew means “intelligence.” It is the knowledge of the higher mysteries, the secret path.
Ancient art was always used to convey profound cosmic truths, principles, realities. People would attend these performances because they understood from experience that they were divine, profound, and personal. Because when one has personal experience from initiation, from meditation, one sees one's own experience reflected in art.
Therefore, art becomes something very prophetic, divine.
“The Sabbath, the day of the theatre, the day of the mysteries, was very popular in the ancient temples. Marvelous cosmic dramas were then presented. Drama served to transmit valuable teachings to the Initiates. Different ways to experience the Being and the manifestations of the Being were transmitted to the initiates by means of drama. Among the dramas, the most ancient one is that of the Cosmic Christ. The Initiates knew very well that each of us must become the Christ of such a drama if we indeed aspire to the Kingdom of the Superman. The cosmic dramas are based on the Law of Seven. Certain intelligent deviations of such a law were always utilized in order to transmit transcendental teachings to the neophyte.” ―Samael Aun Weor, The Revolution of the Dialectic
So what does it mean to become the Christ such a drama? Many operas teach the Christic path, in which the great heroes, such as Sigmund and Siegfried in the Wagnerian Cycle of Der Ring des Nibelungen [The Ring of the Nibelungen]—they must overcome great traumas and tragedies and conflicts. Likewise, Prince Calaf from Turandot must conquer the heavenly divine kingdom of China, and marry the divine princess Turandot by overcoming the temptations of Christ.
So these works of art depict psychologically what one must do in those situations, here and now. That art reflects that path itself. It can provide inspiration for those who are working.
The Kabbalah and Alchemy of Music
As I stated, classical music is a medium for prophets. Music is the sacred language of kabbalah, of alchemy, of numbers, of intuitive principles. Music can teach us many profound things through the emotional center, through the heart. That language can only be understood when we know the Tree of Life and the mysteries of working within a matrimony, the Holy Spirit, the divine feminine, and the divine masculine.
So, art is based on these profound principles, on the world of numbers, on the worlds of numbers relating to the Tree of Life and its symbolic language.
When we have been discussing the nature of numbers in relation to the tarot, we have been talking about how those numbers reflect principles, aspects of our psychology, of our spirituality, which we must learn to work with in its progression, in its development. Music depicts through the heart, through its emotional impact in the soul—in relation to specific dramas—what one must do in the spiritual path when facing those types of temptations and ordeals.
It is also important to remember that music is divine, or can be divine. It can elevate the soul, or if it's degenerated, it can push the ego to act, the mind to indulge in negative thoughts, negative sentiment, negative feelings.
But, classical music is the language of the higher worlds. It is literally the messages of the superior angels, the prophets, who are teaching about higher levels of being, higher ways of being.
“We must comprehend the significance of music, happiness, and optimism. One remains in ecstasy when listening to The Magic Flute of Mozart, which reminds us of an Egyptian Initiation.” ―Samael Aun Weor, Igneous Rose
And if you remember the opening of The Magic Flute with its three notes, it refers to the Pyramids of Giza. So again, you see how numbers and notes take on conceptual dimensions. They represent things which are very practical for those who are meditating and waking consciousness in the internal worlds, so that when one has those experiences, one can listen to music and interpret the meaning of those messages.
Obviously when listening to The Magic Flute, we hear an initiation relating to Egypt, and personally I have been to Egypt in the astral plane. I have been to the temple of Giza in that dimension. When listening to Mozart's Magic Flute I hear and I see in my mind, my experience of being accepted into the temple. But in order to understand those messages, we have to awaken consciousness, otherwise, those messages and music will not be interpreted. They will not be understood.
This is why Samael Aun Weor stated for someone who is awakening consciousness:
“One feels amazed when listening to the nine symphonies of Beethoven, or the ineffable melodies of Chopin and Liszt. The ineffable music of the great classics comes from the exquisite regions of Nirvana where only happiness that is beyond love reigns. All the great Children of the Fire (the angels, the Elohim, the Malachim, the masters) distill the perfume of happiness and the exquisite fragrance of music and joy.” ―Samael Aun Weor, Igneous Rose
In the temples of the higher dimensions are beings that relate to the world of music. We know from Kabbalah that Tiphereth, of which we will be explaining in depth today, is the world of music.
Beethoven, the great master of major mysteries, is a guardian of the temple of music, which Samael Aun Weor confirmed when meeting him in that initiation or related to that state that he experienced.
The great masters of humanity, the angels, the Elohim, bear within their eyes, their consciousness, the beauty of divinity, the beauty of divine music. Personally, when I have been with certain Elohim, after experiencing certain ordeals and overcoming them, I remember in one occasion, I was tested in the astral plane, given certain symbolic experiences which I had to overcome in relation to the four elements.
This reminds us of The Magic Flute in how Tamino and Pamina must, in a matrimony, face the four deals of the elements. Personally, I have had that experience whereby I was tested through the elements, in a symbolic way, and after conquering those ordeals, I was face-to-face with the angels in a living room. When looking at them, one can only see the purity in their eyes, divinity, and the exquisite serenity that they exude is truly indescribable, but one can only describe it in forms of music.
The great classical compositions show us the beauty of the soul.
We could remember the sixth symphony of Tchaikovsky, in which, before the great battle in the first movement against the dragon, of which we've spoken about in Arcanum Six [Indecision from the Eternal Tarot of Alchemy and Kabbalah]. One hears the melodies and harmonies of the soul united with its consciousness (or Tiphereth united with Geburah; the human soul with the divine soul).
Music, again, is a profound medium for prophetic art. It teaches that through its dramas and symbols, its emotional impact, how the path of initiation is not taught in the dead letter of certain religions, and that when people look at religion and have made it something dead, there is a means to revive it. To give it life, specifically done through the great classical composers, which is why we heard Wagner state that:
"When religion becomes artificial, art has a duty to rescue it. Art can show that the symbols which religions would have us believe literally true are actually figurative. Art can idealize those symbols, and so reveal the profound truths they contain…I believe in God, Mozart and Beethoven, and likewise their disciples and apostles; —I believe in the Holy Spirit and the truth of the one, indivisible Art; —I believe that this Art proceeds from God, and lives within the hearts of all illumined men…” ―Richard Wagner, “An End in Paris”
…those who have awakened consciousness in the internal worlds.
“—I believe that he who once has bathed in the sublime delights of this high Art…” through having experiences in meditation and having lived it personally in the higher dimensions, “is consecrate to Her for ever, and never can deny Her…” —Richard Wagner, “An End in Paris”
…when you verify, and the examples such as The Magic Flute of Mozart, certain experiences in the astral plane, you watch those operas and you become inflamed. When we witness the same experiences depicted in symbols through music, through art, and therefore, one feels amazed and “one is consecrate to” art “forever.”
Because through “Art all men are saved." —Richard Wagner, “An End in Paris”
Divine art, opera, is a means of saving humanity or saving those who want to enter into initiation.
Personally when we went to go see Turandot at the Lyric Opera House, for those of you who are listening online, we took some of our students to go see Puccini's masterpiece in the Lyric Opera House in Chicago, and I remember that morning having certain astral experiences about what was going to happen when watching this work of art. And personally, having experienced some of the mysteries of that piece of music, truly watching that art form, really puts one into ecstasy.
It elevates the soul and when you have experience of what these masters have taught, you are consequent to her forever. Even if your ego or doubt wanted to deny the truth, you would know it and you would not be able to deny her.
Richard Wagner is a great master who depicted the entire path of initiation in his Ring Cycle of which will be giving future courses most likely.
Classical Music and the Human Machine
Talking about some of the practical dimensions of listening to music, in our Gnostic studies we emphasize that classical music elevates the five centers of the human machine, and that negative forms of music are destructive for the emotional center, especially, but also the mind and even our sexual, instinctual, and motor centers, which certain vulgar music can inspire through the ego to dance or to act in negative ways.
But the way to discern the difference between conscious music and vulgar music is through meditation—by having familiarity with superior states of being, because many of our students ask us online, but also in person, about how one can discern between conscious art and diabolic art.
In many cases, such art forms may be very similar and very hard to discern, one from the other, but the way to resolve that question is to examine your emotional center when you are listening to certain forms of art.
Does it provoke anger, resentment, pride, laziness, gluttony, avarice, greed? Negative states? Which if we are observant, we will see that those forms of art provoke those elements and therefore we can know that they are negative.
But to learn how to perceive conscious art is through meditation, and by awakening within the higher dimensions, because when you listen to works like the nine symphonies of Beethoven, and observe the reaction of the heart in a profound state of concentration and awareness, we can sense and discriminate and interpret the impact in the emotional center of that art.
This is why the ancient schools of mysteries taught that the whole science and art of the secret path had to integrate all three brains of gnostic psychology. They knew very well that people don't just learn from the intellect through lecture, through books, but through movement and through emotion. Three brains: the intellectual brain, emotional brain, and the motor-instinctive-sexual brain.
This is why Samael Aun Weor wrote in The Revolution of the Dialectic that:
“In music it is well known that certain notes can produce happiness in the thinking (intellectual) center, other notes can produce sadness in the sensitive (emotional) center and other notes can produce religiosity in the motor center.” —Samael Aun Weor, The Revolution of the Dialectic
If we are listening to Puccini's Turandot and we are very attentive, concentrated in our three brains, meditating, waiting, listening—we observe our heart—we can hear how some notes can inspire us to have profound understanding in the intellectual brain.
I believe you mentioned asking about the difference between the intellect that is superior and the intellect that is inferior. The inferior intellect churns with thought. It projects its ideas. But understanding is the capacity of the superior intellectual center in which one understands something without having to think about it, and that applies to music. You can listen to a composition and immediately know. You can understand through the notes and its emotional impact that it conceptually represents something that you experienced and therefore that produces a profound state of religiosity in the motor center. It can inspire.
The Sufis taught to dance, to perform the whirling dervishes, and we'll talk about that in our next slide about how religiosity can inspire the motor center. How certain notes produce ecstasy, not only in the mind and heart, but in the body.
This is why certain forms of dance are very sacred.
“Indeed, the old Hierophants never ignored that integral knowledge can only be acquired through the three cerebrums. A single cerebrum cannot give complete information.
“The sacred dance and the cosmic drama, wisely combined with music, served to transmit tremendous archaic teachings of a cosmogenetic, psychobiological, psychochemical, metaphysical type, etc., to the neophytes.” —Samael Aun Weor, The Revolution of the Dialectic
Inspirations and Meditations on Classical Music
This music was formed to teach conscious principles, like we find with the Sufis—many indigenous cultures, as well as ancient civilizations like amongst the Middle East. Among the esoteric circles, they would use music in conjunction with dance to portray or embody conscious principles. To inspire the devotee to want to practice the path.
So that is really the purpose of opera. Of any classical music. It is to inspire us to work, because that music is something heavenly and divine, and when we understand and feel that intuitive impact of an opera or a piece of music, and we understand its message and shows us that this path is possible, that it could be done, one then feels inspired to meditate, to work.
Music is also an expression of consciousness and the Sufis teach that one should listen to music and gather around certain dances and works in order to inspire us to enter the path, and also to help us keep walking it.
As we stated, when listening to conscious music, one should observe one's three brains. Music becomes a very profound form of concentration or concentration exercise, in which our object of meditation, we sit, or better said, our object of concentration, we relax in a chair, on a couch, or in bed. I actually don't recommend lying down because one may fall asleep, especially when the music is very calm and soothing. Instead we sit in a chair and we give our full attention, with eyes closed, to the music, to the composition.
The principle applies even to opera, but it's a little different because with opera, you need to have your eyes open. Which is why watching opera is much more demanding in terms of meditation, because with classical music you can sit, close your eyes in a chair, listen to the composition, be aware of its influence in the three brains—how the notes produce inspiration in the heart, concepts in the mind, or intuitive understandings in the mind, and religiosity in the motor center, humbleness, humility.
That is easier to do than watching an opera because when you watch an opera, you need to know who is saying what, what the characters are doing. Therefore, that type of meditation is much more difficult, which is why opera really was not intended for the masses—although people like Verdi, Wagner, Mozart, Beethoven, and others composed to earn money. In a superficial sense they had to live. But their real purpose in giving that art was to reach the few.
So people who were very trained in meditation would watch their operas, who were initiates. They would understand the meaning just by listening to the music and observing, because they had trained themselves in concentration for so long where they can listen to the music and not forget what they are doing.
Sufi Teachings on Spiritual Concerts
The Sufis teach these principles very beautifully which apply not only just to Middle Eastern dance and music, but also to opera. The Sufis taught that when one listens to such works of art, one should act like one is in a temple. That one is in the presence of the divine, because one truly is listening to Christ, to God, when one hears the Ninth Symphony of Beethoven.
As we stated in our lecture on our Arcanum Nine, literally we hear the verb, the voice of the divine Elohim, singing in unison. It is a representation of Christ. So, when we listen to music like that or watch operas, we have to be very attentive, in a state of humility, in prayer, because those works of art were not given haphazardly, but intentionally to teach specific truths.
So “Know that listening to poetry with beautiful melodies and delightful intonation—when the one who listens does not believe it to be forbidden, does not hear anything that is blamable according to the divine Command, is not driven by the reins of his lust, and does not gather with others for the sake of lusts—is wholly permissible.” —Al-Qushayri, Al-Risalah: Principles of Sufism
The Sufis emphasized that when one listens to music one should do so in accordance with the Divine Law, which they call Sharia, not to be mistaken with the punitive laws of Muslim countries, but to the spiritual discipline of the initiates in the Middle East. Ethical work.
So, music should not inspire us to identify with pride or lust or anger or fear or degeneration. That is something we can only determine by listening and being awake and following our intuition. That music is permissible when it does not inspire the ego. It does not inspire our desires. That is only something we can discern through constant work and tasting the psychological flavor of higher states in comparison with lower states. It is like comparing water and wine. It is a distinct taste, but we have to learn to meditate to discriminate the difference.
“There is no denying that poetry was recited before the Messenger of God, and that he listened to it and did not censure those who recited it.” —Al-Qushayri, Al-Risalah: Principles of Sufism
The Sufis have often argued with the orthodoxy that poetry and music are divine expressions, such as with the Qur’an, which can be read in a very melodic and beautiful way and that Prophet Muhammad did not find those forms of recitation to be illicit, negative. This is something that has pertained to the Sufi schools and their fight for survival against the Muslim orthodoxy, because many Muslims think that poetry and music are not positive. But the truth is that according to the Sufis, music is something divine.
“So if hearing it without beautiful melody is licit, how should the rule be altered by hearing it with melody? This is the obvious side of the matter. What comes next is that the one who listens should find his wish to perform acts of devotion increased.” —Al-Qushayri, Al-Risalah: Principles of Sufism
So while this pertains to listening to the Qur’an, one should feel inspired to listen to that scripture, but likewise with classical music, an opera. When we listen to such art, we should really feel motivated and inspired, which is not very difficult to do when we are approaching certain operas or music for the first time as some of us experienced with the opera Turandot at the Lyric Opera House.
“He should remember the degrees that God Most High has prepared for his servants who fear Him. This should lead him to guard against sins, and immediately convey to his heart the purity of feeling and impression required by the religion and preferred in the divine Law.” —Al-Qushayri, Al-Risalah: Principles of Sufism
So this principle applies to meditating on classical music.
“He should remember the degrees that God Most High has prepared for his servants who fear Him.” —Al-Qushayri, Al-Risalah: Principles of Sufism
Meaning, when we have respect and reverence for divinity, we listen to the music and we hear the power of the divine. Such as with Mozart's compositions, his Requiem. Especially Verdi's Requiem, in which we hear the severity of the law falling upon and punishing the souls of the damned. When we hear that music, we feel fear and reverence in recognition that we do not want to enter that fate. Likewise, when we listen to music and see operas:
“This should lead him to guard against sins, and immediately convey to his heart the purity of feeling and impression required by the religion and preferred in the divine Law.” —Al-Qushayri, Al-Risalah: Principles of Sufism
Like with Parsifal, in which we find the hero is confronted in the garden of temptation by Kundry, Kundabuffer, the inverted serpent. Listening to the sublime music of Wagner's composition, we remember in our own experiences certain temptations in the astral plane, in which witches and sorcerers try to tempt one to fall from the path. One is tempted to engage in lust in that state when one renounces that like Parsifal does. One should fear and feel inspired to reject sins as required by religion, as preferred in the divine law, which is chastity.
The great Arcanum is the divine law, which the Muslims call Sharia, or the Sufis called Sharia, because the public orthodox Muslim doctrine does not know the spiritual dimension of these things. But instead, the divine law has to do with the great Arcanum, the stipulations of chastity.
“I heard Abu Ali al-Daqqaq say, ‘The spiritual concert is forbidden to ordinary people because of the continued maintenance of their egos.’” —Al-Qushayri, Al-Risalah: Principles of Sufism
So look at all the opera house today. Millions of individuals go see the opera, but it's vulgar for them because they are egotistical. They don't understand how to meditate. They don't know how to discern the conscious qualities of that, of that work of art. Therefore it is really forbidden because amongst the Sufis, they were very strict. They felt that their dances should not be given to people who are fornicators.
But because we live in a different era now, this knowledge is more open and therefore the spiritual concert is open to all. It is why Mozart, Puccini, Wagner, Beethoven, the latter who only composed one opera, Fidelio, they gave that opera and those art forms because they wanted to give the teachings for a future people. For people who have understanding.
But “spiritual concerts are forbidden to ordinary people because of the continued maintenance of their egos. It is permissible for renunciants, people who renounce lust, desire, fornication, and the ego, because of their pursuit of inner struggle.
“It is permissible for renunciates (people who renounce lust, desire, fornication, and the ego” because of their pursuit of inner struggle.” —Al-Qushayri, Al-Risalah: Principles of Sufism
And how is this acceptable for renunciants? It is enough to look at an opera like Puccini's Turandot to see the path of renunciation there, especially in the first act in which Prince Calaf is going to ring the gong that is going to put him on trial for the three riddles—to answer before Devi Kundalini, the Divine Mother. Everyone goes against him. They strive to put him away from the path, but he fights very adamantly and very courageously, because he is renouncing evil, the infernal worlds. We will be talking about the dynamics of that opera in our next lecture.
Lastly, classical music or spiritual concert “is recommended for our companions,” for the initiates, for the masters, “for the sake of the life of their hearts.” —Al-Qushayri, Al-Risalah: Principles of Sufism
So going back to what we Richard Wagner taught, he stated that when one understands divine art, one is consecrate to her forever and cannot deny her.
Kabbalah: The Tree of Life and Classical Music
So where does music originate from, kabbalistically?
We talked about how the universe is emerged from the Absolute: the Ain, the Ain Soph, the Ain Soph Aur, descending down the different levels of materiality, energy, perception, and experience.
Music is Christ, the Word, the Logos.
“In the beginning was the Word, the Word was with God, and the Word was God.” —John 1:1
Christ is an energy. It is vibration. It is sound. It is harmony. It is the force that creates, that originates, that gives life.
Therefore, classical music as composed by the great masters of Tiphereth, those who reach the Fifth Initiation of Fire, are those who learn how to incarnate the Christ, the Word, through their heart, since Tiphereth relates to the heart.
They express the divine teachings down through Netzach, the mind, Hod, the emotional vehicle, Yesod, our vitality, and Malkuth, our physicality.
I like to read for you some quotations from a book called Christ's Will by Samael Aun Weor, who explains the nature of kabbalah, of music, of sound, of Christ, very synthetically and beautifully.
He emphasizes that the will of Christ is music, is art, because Christ is harmony, is beauty, is purity, which, can either reflect in music or in the heart of those initiates who know how to experience the truth.
16. Christ's will is ineffable music.
17. The world of willpower is the world of music...
18. Music grants to willpower the ineffable harmony of the Gods.
19. Music and willpower form a marriage of love, impossible to describe with human words.
20. Music grants willpower the quality of conjunct beauty... —Samael Aun Weor, Christ’s Will
And why is that? Music is Christ. The Divine Logos. The Verb. As we find in the Beethoven's Ninth Dymphony, relating to the nine heavens of the Tree of Life and also Kether, the Crown of Glory, which anoints or crowns any initiate who has fully reached the end of the path. Willpower is Tiphereth, the human soul, which must learn to conquer the disharmony of the mind, Netzach, the mind, Hod, the emotions, Yesod, our sexuality and instincts and Malkuth, our physical body.
So music, Chokmah, Christ, the world of sound, gives beauty to Tiphereth, because we find that the trinity finds its equilibrium within the heart, within Tiphereth.
21. Music grants willpower the harmony of the great cosmic diapason. —Samael Aun Weor, Christ’s Will
Or the great marching symphony of the cosmos, because as we heard in the Ninth Symphony of Beethoven, the Ode to Joy:
“Freude, schöner Götterfunken
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.”
The music is a march, is a symphony, in which all the Angels march towards the ineffable light of Christ, of the Absolute, the Ain Soph Aur, the “limitless light.” So those lyrics literally mean:
“Joy, beautiful spark of the Gods,
Daughter of Elysium (Empyrion: the ninth heaven, Kether).
We enter brought by fire (from Yesod, our foundation).
Himmlische dein Heiligtum! (Heavenly Thy sanctuary…)
…which is heilig, holy, Tum. We have done the mantra Tum previously, in which we invoke the crown, Kether, Chokmah, the Son, and Binah, the Holy Spirit, into our three brains. The mantra Tum is a profound mantra of ineffable power in which the Father, the Son, and the Holy Spirit, enter inside of us.
“Heiligtum” means sanctuary. So, to return to that holy sanctuary is to return to the top trinity of the Tree of Life.
“Your magic reunites those whom stern custom has parted (Deine Zauber binden wieder. Was die Mode streng geteilt).”
Your magic reunites those whom the custom of the ego has separated, has pulled apart, because the ego is disharmony, is dissonance, is conflict.
“All men should become brothers under your gentle wing,” within the Absolute.
So that is the great cosmic march. diapason. The great symphony of the initiates in which one returns the light of divine truth.
So willpower relates to that principle, because it is through our will that we will decide to enter the harmonies above or the dissonance of the infernal worlds below, beneath the Tree of Life, which is Klipoth, the hell realms.
22. The volitive acts of music are as harmonious and solemn as the movement of the stars in the space... —Samael Aun Weor, Christ’s Will
...which again is something that Beethoven depicted.
23. As long as the fifth degree of the power of the fire has not entered the third spinal chamber of the body of willpower, volitive acts will not be in accord with the vibrant harmonies of the solemn cosmic symphonies. —Samael Aun Weor, Christ’s Will
So only by raising the fire of Kundalini up the lower bodies, the first initiation of fire, relating to Malkuth. The second initiation of fire related with Yesod. The third initiation fire relating to Hod. The fourth initiation of fire with Netzach and with Tiphereth, one must raise the serpent power of Kundalini in order to create the causal vehicle. To raise it up the spine, to the mind, then into the heart.
So only when that power has reached the third spinal chamber of the body of willpower, will our willpower, our actions, will be in accord with the vibrant symphonies of the divine.
24. When willpower is distant from music, it is coarse and rude, like the caress of a feline beast... —Samael Aun Weor, Christ’s Will
What does it mean that willpower is distant from music? Because when we act from anger, from resentment, from pride, we create music, but in hell. Through disharmony, through hatred, through fear, through our interactions with humanity.
25. However, once the Sacred Fire has entered the third spinal chamber of the body of willpower, volitive actions are true living symphonies... —Samael Aun Weor, Christ’s Will
Our actions become divine, and this explains why certain composers like Tchaikovsky, Mozart, Beethoven, they depicted so much in their art. People don't comprehend how they had the capacity to express so much. That is because people in Malkuth, do not know anything about spiritual development, but when someone raises the fire of Kundalini, one can awaken capacities of genius, of intelligence, Binah in kabbalah.
So conscious acts are represented by the works of the great initiates, the prophets. Beethoven is a prophet. I don't really consider him to be a musician because he really taught in his art how to unite with Christ. The same with Wagner, Chopin, Liszt, Berlioz, Bach, and many others.
26. Christ's will has the majesty of the tempest and the love of the dawning star...
27. Music grants unto willpower that eurythmy of Apollo and that beauty of Venus de Milo...
28. The willpower of music is the phallus of the Gods...
29. The Masters of music are columns of the temple of the living God...
30. Music generates actions as perfect as the harmonies of the cosmic diapason.
31. The entire universe is the temple of music...
32. Arthur Shopenhauer, in his book entitled, "The World as Will and Representation," conceived Nature as a representation of willpower.
33. Nonetheless, he forgot that willpower is music... —Samael Aun Weor, Christ’s Will
And why is willpower music? Tiphereth is the causal world. We have Malkuth, the physical plane, the physical world. Yesod, the etheric world. Hod, the astral, emotional world. Netzach, the mental world. And Tiphereth, the causal plane.
I remember having an experience in Tiphereth after overcoming an ordeal in the astral plane in which Samael Aun Weor took me and let me experience a little vacation in Tiphereth, in which in that experience one sees the trees, the waves of the water, the wind as cause-and-effect, rippling in beautiful harmony, in perfection. I saw there many masters in their tunics of initiation who were welcoming me at that level saying, “This is what is possible for you if you work.”
So that world is a world of causality, cause and effect, in which you see how the rippling of the tides, the wind, the air, of people's speech, people's communication, of one's interactions, is of divine love, of purity.
So, the world of will is a world of music.
There is a temple of music in the world of Nirvana, the sixth dimension, the fifth sephirah of the Tree of Life [from the bottom up].
34. Every living flower, the sigh of every bird, and the love hidden within the bosom of the earth, are living incarnations of music...
35. Everything in nature has a key note, and the set of all those notes constitutes that magnificent tone of the Great Mother, which resounds in the ardent space with the Chinese Kung...
36. When Joshua blew the trumpet, the walls of Jericho collapsed, because he sounded the key note of those unconquered walls...
37. A soft word calms wrath, and discordant words break the harmony of the cosmic diapason, and generate disorder... —Samael Aun Weor, Christ’s Will
So this asks us to beg the question: what is our psychological state? Do our actions produce harmony, happiness, or suffering?
The comprehension, the beauty, and the harmony of the soul is represented in opera. Especially composed by the great masters. Not modern opera, but those composed by initiates.
Samael Aun Weor continues:
38. The ineffable orchestras of the zodiacal belt resound in the world of willpower, lifting us toward the most sublime summits of samadhi.
39. The great rhythms of fire produce the dances of the stars within the incommensurable spaces.
40. The will of music sustains the flux and reflux of life, and moves the pendulum of the infinite existences throughout the Mahamanvantara. —Samael Aun Weor, Christ’s Will
So harkening back to the beginning of our lecture, we spoke extensively about the cosmic days and the root races and the subraces. That is because when the universe forms from the absolute, it is because of music. It is because:
41. The Word is incarnated within the heart of every lotus, and in the throb of every life.
42. "In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men.” —Samael Aun Weor, Christ’s Will
So remember what Wagner said about his belief in the illumined men, the initiates, those who have incarnated Christ and who teach the path of Christ and their art as bodhisattvas, as prophets.
42. “And the light shineth in darkness; and the darkness comprehended it not.”
So look at the operas that our humanity has. The light shines in the darkness, but people don't understand the messages they contain.
42. “There was a man sent from God, whose name was John.” (That John is broken down acrostically is Johannes. I E O U A M S: the seven vowels, which we pronounce with our sacred runes, the runic exercises, the verb).
So in order to understand Christ, we have to work with those mantras, the seven notes of the musical scale.
42. “The same came for a witness, to bear witness of the Light, that all men through him might believe.”
Or better said, follow him from having understood from experience what those teachings entail.
42. “He was not that Light, but was sent to bear witness of that Light. That was the true Light, which lighteth every man that cometh into the world. He was in the world, and the world was made by him…”
Referring to those cosmic rounds we spoke about—the Saturnian, the Solar, the Lunar, and the Terrestrial periods.
42. “…and the world knew him not. He came unto his own, and his own received him not. But as many as received him (through kabel, kabbalah, through listening to the great operas of music, and listening to what those symphonies entail, that art) to them gave he power to become the sons of God, even to them that believe on his name [Hashem, the Verb]: Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God. And the Word was made flesh (through initiation), and dwelt among us, and we beheld his glory, the glory as of the only begotten of the Father, full of grace and truth." – John 1:1-14
So Samael Aun Weor continues:
43. Music is will of God...
44. Music is Christ's will.
45. Classical music generates universes, and sustains suns during the great cosmic day...
46. One becomes enraptured when listening to compositions like the nine symphonies of Beethoven...
47. One becomes ecstatically overwhelmed amidst the notes of Mozart, Chopin, and Liszt...
48. Every upright action is music of light...
49. Every wrong action is fatal music.
50. Negative music like mambo, guaracha, porro, cumbia, etc., is infernal music from the abyss that only originates fornications, adulteries, hatreds, gormandize, drunkennesses, crimes, etc. —Samael Aun Weor, Christ’s Will
Now other forms of music like rock and roll, rap, many that we can list that are degenerate. They provoke the ego to act, which is why the Sufis taught that we should only listen to music that is accordance with the divine law, with Christ.
51. We prove with this that willpower is music, and that every action is a daughter of music.
52. War marches inflame the will of men and take them to violence.
53. Funeral marches fill the eyes with tears and produce confusion of faces and bitterness.
54. Human words are articulated music, sometimes sweet and calm like inneffable melodies, sometimes satanic and discordant like infernal notes...
55. The articulated word is a terrible weapon, as much for good as for evil.
56. When humanity had not yet left Eden, it only uttered the word of the light, which as a golden river sweetly slid through the thick, sunny jungle.
57. Within the ineffable profundity of music, all of nature utters that ineffable tongue of the Gods.
58. The tongue of the Gods is sacred music.
59. This divine tongue has its sacred alphabet, and to that sacred alphabet belong the divine runes (read Igneous Rose and Magic of the Runes).
60. The creative larynx is the sexual organ of Christ's will.
61. The word of the Gods places the worlds into existence.
62. The word of the Gods is Christ's will. —Samael Aun Weor, Christ’s Will
Therefore we can say that opera, as the manifestation of the spoken verb, drama, and music, is the perfect amalgamation and alchemy of Christ. Opera is divine. It is the synthesis of all the previous eras of art and music. It is the most refined. The most synthetic.
Now we cannot say that modern classical music portrays the higher principles of the divine, even though such compositions can be very mathematical, but they tend to be very cold, dissonant, and discordant.
Classical music in a modern times tends to be from the ego, and as we stated, the Age of Pisces ended quite a while ago, but at the same time, the White Lodge had determined that humanity does not need any more works of art, of that nature. There may be some people in these times who are Gnostic and who are working on music, which is wonderful. I know a few people who are trying to do some Aquarian music. But in terms of the great prophetic works of art like opera, the time has ended, because the Aryan Race is going to be concluded soon.
73. The golden tongue resounds in all creation.
74. The golden tongue is Christ's will.
75. Now, rejoice, oh Buddha, because you have entered into the temple of music... —Samael Aun Weor, Christ’s Will
…as he states in his book Christ's Will. He is talking to the initiates who have achieved the Fourth Initiation of Fire, who were entering into Tiphereth. By raising the sacred fire of Kundalini up that spine of the essence in the world of beauty, of Tiphereth.
A person who reaches the fourth initiation of fire becomes a buddha, a master that level, but is a neophyte when entering into this dimension.
76. With patience, study the divine art of music.
77. From this moment, the professor of this sacred college (within the world of Tiphereth, Nirvana) will teach music-will to you. —Samael Aun Weor, Christ’s Will
So if you really want to learn music and its significance, we should awaken consciousness in Nirvana, the sixth dimension, the world of Tiphereth, because when you are in that dimension, you see literally cause and effect of all phenomena: thoughts, actions, movements, people, things. Everything is in a great flux and reflux of life, cosmic movement.
And so those colleges of initiation in that level will teach you how to work with music, which is how Beethoven, Mozart, Wagner, learned.
They physically received training in this world to become composers, but their real training consisted in meditation and learning in the higher dimensions, which explains why someone like Beethoven, who went completely deaf, I believe before composing his Ninth Symphony and the Missa Solemnis, he was able to compose his art, even though he physically couldn't hear anything.
So people don't have explanations other than he was a genius, and yes, he was, but we know that he was a prophet, because he was awakened in those dimensions.
78. Music-will is Christ's will.
79. Christ's will is the Word...
80. Christ's will is music.
81. Christ was the incarnation of the Word.
82. And the Word was made flesh (made manifest within the great works of art, the initiates), and dwelt among us (in our opera houses we can say).
83. He came unto his own, and his own received him not. —Samael Aun Weor, Christ’s Will
Meaning: those prophets teach through Turandot, through Tosca, through the Ring Cycle, through The Damnation of Faust, through Mefistofele by Arrigo Boito, and many works of art of initiation, and yet people do not understand the art.
84. And the light shineth in darkness; and the darkness comprehended it not. —Samael Aun Weor, Christ’s Wil
So we are discussing Christ-will, in the Verb. You see these Elohim are greeting the Sun, Chokmah, within the arms of the Divine Mother, and they are playing celestial music, which emphasizes again how when we work with sacred art, and we listen to sacred art especially, that that music can inspire us to form Christ within our hearts, within our souls, within our minds, in order to become like Elohim.
Conclusion of The Perfect Matrimony
We will conclude with an excerpt from the Perfect Matrimony, which provides a very beautiful experience by Samael Aun Weor, about an opera he saw in the fourth dimension.
He concluded The Perfect Matrimony by relating experience he had by going into a Rosicrucian temple in the Jinn state, the fourth dimension, where he watched an opera composed by an angel or performed by one of the Elohim, one of the Gods.
So as we stated, opera is the royal art of consciousness. It is a means of effectively communicating initiation and the path of the present development of our humanity, but also the past epics our humanity developed in.
Samael Aun Weor was in this temple, which was only populated by very few people. He said he could count on the fingers of one hand how many people deserved and had come present to this performance. So, this is in the fourth dimension, where he listened to an opera sung by an angel, a God.
So “…the master commanded the Angel to go up to the choir of musicians and singers in order to sing. The Angel obeyed, and after having ascended to the choir, he sang the history of the centuries in opera.” —Samael Aun Weor, The Perfect Matrimony
So this experience tells us that opera truly is a divine art and also that opera teaches us the ancient histories of humanity.
“The Angel, from the doctrinal point of view, placed himself mentally in the time of the future Fifth Round of planetary evolution.” —Samael Aun Weor, The Perfect Matrimony
So right now we are in the fourth round, the terrestrial epoch, and here in the opera that he was seeing in the higher dimensions, he was depicting the future fifth round that is going to take place in the etheric world.
“In that future age, the physical-chemical Earth will already be nothing more than a cadaver, a new moon. Then all the evolving life will develop within the ethereal plane or ethereal region of our Earth. The seven Root Races of flesh and bone will no longer exist. These races will have become extinct.
“The Angel sang with a voice so ineffable and sweet that it resembled The Magic Flute of Mozart. My whole being went into ecstasy. To hear an Angel sing is something that you can never forget in your life.
“The Angel, situated mentally in the future Earth of the Fifth Round, narrated in opera the history of terrestrial evolution. He mentioned all the prophets that have been sent to the Earth. With a melodious voice he narrated the history of the seven Root Races of the world, the apocalypse of the present Fifth Root Race, the continents that existed in the past and their general destruction, the great cataclysms of the Earth, the great wars, the superhuman efforts that had been made by the great Avatars to save humanity, the crucifixion of the Martyr of Golgotha, etc. Subsequently, he lamented with pain the few that had been saved. Only a few had managed to be born as Angels. The rest, the great majority of human beings, were swallowed up by the Abyss. Thus, from the billions of Souls that entered evolution and devolution on the planet Earth, only a handful of creatures were fit for the angelic state. ‘For many are called, but few are chosen.’
“When the Angel reached this part of his ineffable opera, I felt profoundly moved and amazed. Frankly, I had believed that the case of only a few being saved and the great majority being lost only applied to Earth, and in the past Mahamanvantara to the Earth-Moon… (which is the Lunar Period).” —Samael Aun Weor, The Perfect Matrimony
Because, in the Lunar Period, the Selenites, the inhabitants of Selene where Samael Aun Weor was teaching, even at that time, had degenerated and entered the path of black magic. Billions of souls in that planet became demons and the demons that we have now in our planet Earth, who are the heads of the black lodge, came from that epoch. Samael Aun Weor was even crucified in that world before, when he was giving his doctrine.
So he thought that the Earth-Moon, which reincarnated into the planet Earth, the life of that planet, carrying the karma of that ancient histories with it, somehow was something distinct, and that the other planets of other humanities did not experience or witness this great tragedy, of billions of souls being lost in the abyss.
“I believed that in the rest of the worlds things were different. The Angel pointed out this error when he said, ‘And this that has happened on Earth will always be repeated on all the worlds of the infinite space.’ When the Angel finished his ineffable song I understood why so many people had attended my meetings, and why, from the many who began, only a few remained with me. Now I am willing to continue with the few. I am no longer interested in having a room full of people. Indeed, many are they who begin, but few are those who arrive.” —Samael Aun Weor, The Perfect Matrimony
So that experience with an opera explains for us the fact that humanity has reached its peak, or the Aryan Race has reached its end. Because no more art is being given, on a grand scale, as we found within Europe. Because humanity has received the knowledge within music, within art, but doesn't want it. It doesn't understand it, and it is now our duty in these lectures and courses to explain some of the operas, which we will be seeing not only at Lyric Opera house, but also viewing together.
It is important to remember that with opera, we are concluding this humanity by teaching the secret knowledge in a very explicit way. So, we are going to explain many operas and works of art from the kabbalistic and alchemical traditions, so that those few who want to learn the path itself and to practice it can do so.
Questions and Answers
Question: What about modern composers who compose Beethoven or Mozart? Is that considered a medium...?
Instructor: Yes, because someone could be a medium of Christ without knowing it [Editor’s Note: a “vehicle,” not a spiritualist or a practitioner of mediumship / channeling], and you know you have people like Pavarotti and many singers who are very talented and they are not initiates, but their skill is so profound and so dharmic.
Question: What about, Pink Floyd, if there are certain songs that you feel moved? Is it all or any song that is not classical or opera is considered negative?
Instructor: I know a lot about Pink Floyd. I mean I've listened, I grew up on Pink Floyd, too. That kind of music, you know, there are certain things which can be very negative. But then there's some that it's kind of in limbo, necessarily. Not so deep down, but still it may be beautiful. But it still belongs to Klipoth, not necessarily at the deepest degree, like you find with like death metal and black metal and all sorts of other evil things, that are gangster rap, or things that are very destructive.
Question: What about Gnostic art?
Instructor: I know this is a good question because I know some of our listeners and some of our students have asked us and wanted to pursue the creation of Gnostic art and rap, which personally, I'm actually a musician myself. I played piano for about ten years and I have certain compositions that I have been inspired to do, but personally, I don't have the time or the means, because I'm teaching these lectures. So, I found that my most effective means of helping humanity is explaining art that's already been done.
But people who want to pursue art, it's their business. Personally, I am a composer and, in a very amateurish degree, minor degree, I have music in my mind that I hear that I have heard in my meditations that are divine, but for me to articulate that, it would have to be an entirely different work that would take me away from teaching these lectures.
Question: Does one need to listen to the opera in full or only specific songs?
Instructor: The best effect is when you have watched it. When you have seen a performance. You have read the lyrics, you know what they are singing. Personally, I have listened to Turandot so much and I've seen the opera so many times that when I listen to the lyrics, I know certain words and lyrics, like with Beethoven's Ninth Symphony too, which is why I could relate to you the lyrics from that Ninth Symphony, because I have listened to it so much and I know the lyrics. So, I can just cut to the chase if I wanted to listen to certain parts, because I already know the meaning of it.
Question: Would you consider church music the same or close to classical music?
Instructor: It can inspire a lot of religiosity for sure. I mean, I have been to churches where, even though not Gnostic, you hear certain songs which have very ancient roots, which are beautiful. They can inspire you, which is why many people go to those churches because they hear the music and it inspires them. There are certain roots of divinity that try to teach them that way, you know, even using people who don't know any better.
But you know, the result is a little muddled, because as I said, people have listened to the operas of the masters. "The light shineth in the darkness." But people don't comprehend the light, because we need instructors and people to teach explicitly what the kabbalistic and alchemical teachings of all that work of art symbolize.
Question: The last things I have heard is that because they changed the hertz, the frequency....
Instructor: I have heard that too, and I know that Samael Aun Weor stated explicitly that, as I mentioned in this lecture, that certain music, the vibration affects the human machine very negatively—especially mechanical music, synthesizers, electronica. If you observe your five centers and you listen to that music, after having acculturated your body and mind to listening to opera and classical music, you find that there's a disconnect. It is very discordant.
The Master Samael explains that initiates feel great love for the classical composers and feel great repulsion or revulsion towards the music of vulgar people, because that kind of music you taste and you know exactly what the egotistical messages behind it. It doesn't inspire anything decent, because if you meditate for a long time, and some people who listen to classical music in our studies for the first time, don't like it. It is because they are not accustomed to it. So, people who are not accustomed to that kind of music, you mean obviously, we gravitate towards what our level of being is. If your level of being is high, you feel only attraction towards music like Tchaikovsky's Nutcracker, his ballets, or other very beautiful music. But if we're very inferior in our states, we might listen to rock and roll or death metal or whatever.
Sadly, I know a lot of people in our movement, instructors who teach this knowledge, but they still like a lot of forms of degenerate music like metal. I remember one instructor was teaching in a certain place and he mentioned that he liked old metal music, which is stuff that I grew up on that now when I hear it, I cringe. I can't stand it, because the music is so degenerate, and you listen to it and you feel that it is bringing your level of being down.
Question: What about more like Crosby, Stills and Nash?
Instructor: My father enjoys that music and he showed me a lot. That stuff is not that degenerate. Some music is very superficial like if you look at the nine inverted spheres of Klipoth, some music is very beautiful. But it is still egotistical, we could say. It is in the first sphere of hell, which is known as limbo.
Some music is really down there, which certain bands, like black metal and not just black metal, but you know extreme forms of death metal, like Morbid Angel and Cannibal Corpse and things like that. I have known these bands and I know what their music preaches, where they talk about things that are very black. They are speaking in Aramaic and all these languages or Babylonian or whatever, and they are trying to invoke Klipoth. It is intentional. That is why these bands have inverted pentagrams, which of course for our listeners, represents the inverted man, the fallen man.
Question: On a side note, there are also all these microbreweries that are using satanic, or esoteric symbolism. I grew up on rock and rebelling against the system, so we listened to rock like Pink Floyd.
Instructor: Yeah, and sadly a lot of people in our movement don't understand that difference because they feel that, "Well this music is rebelling against the government and you know, all these political affiliations," but we emphasize in our teachings that music should elevate the soul. You should feel that your level of religiosity, your inspiration, your meditation should be lifted when you listen to music. So that's why, you know, personally I tend to be very strict. If I hear something on the radio I don't like, I avoid it.
Those listeners who are from Chicago, we listen to WFMT 98.7, which is a classical music station, and even the many things they play are very bad, because it is very modernized and very degenerate. But you can pick a good things out from them, and personally I use an iPad or iPod.
Question: I listen to Sirius Radio and I have listened to the modern songs and I just don't resonate with them.
Instructor: So the thing is our level of being attracts our life, and if we listen to music, and basically music is a type of food, and this is why the Muslim state, like in the quote amongst the Sufis that "we should only consume what is licit."
They often speak in their tradition about Halal, eating only what has been blessed or what is holy, which is similar to the Hebrew Kosher. People not only eat with food, but eat impressions, because Samael Aun Weor emphasized that one needs water for the body, air for the body, we have our food for our physical vehicle, but our mind also is nourished. Our consciousness is also nourished with impressions, which is why he also stated that if you want to have experiences in the higher dimensions, acculturate yourself to listen to classical music, because that will literally raise your level of being.
I know one missionary told me he was listening to Beethoven's symphonies and fell asleep. He had a tremendous samadhi where he left his physical body and entered the higher dimensions because he was so concentrated on the music when he fell asleep, that he awakened his consciousness. So, art can help us in that endeavor, because it gives us impressions that nourish our consciousness.
Question: Isn't it easier to surround yourself with good things rather than trying so hard to do this or do that?
Instructor: Which is why our home should be like a temple. Personally, my car is like my home because I drive so much, and I always play positive music. I listen to operas, I listen to classical compositions. Things I am really familiar with, readily, because when I listen to lyrics, I am able to hear certain things. When I really listen to a certain pieces, again and again, there are certain understandings that can kind of deepen, especially when you are studying a certain work of art.
[Editor's Endnote: If you are interesting in learning more about the principles of gnostic art, study Fundamentals of Gnostic Art].
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