Surveying choral compositions throughout the history of the world, I have never encountered music that starts with Genesis and ends with Revelation. This is 2025 AD, and over the next ten weeks I will be posting on Splashes of Ink the ten movements that are:
The Choral Ne Plus Ultras, Opus 10
Be prepared for
No. 1: ALMIGHTY GOD SAID…The creation of Heaven and Earth
No. 2: He is the Image of the Invisible GodAn exposition on the second person of the Trinity
No. 3: The Separating Veil is Torn! One aspect of Good Friday
No. 4: Christ the Rising Star a.k.a. Blink to the Moon!The brightness, and freshness, of Easter Sunday
No. 5: The Shulammite WomanThe centre pages of the Bible finds ‘Songs of Solomon,’ and the halfway point of this composition is his favourite wife ‘The Shulammite Woman’
No. 6: My Eternal PeaceAfter a night with one’s bride, there is peace in the morning
No. 7: The Alternative Three Magi!Would one expect smiles, laughter and joy on the morning of one’s honeymoon – even the jocular? You will not be disappointed, here!
No. 8: Jauchzet Frohlocket – After J. S. BachIf one’s plans for married bliss were thwarted, declare a holy war
No. 9: The Seven Spirits of Christ* Eschatological – Part 1: Cosmological disruption
No. 10: Christ Jesus the Beau Eschatological – Part 2: (a) The end of time, and (b) a life affirming ‘Heaven’s Anthem’ symbolising a new Heaven and Earth
Asterisk (*) denotes video special.
Intrigued?
To whet your appetite further, below is a medley of the music:
"As the butler turned to go after leaving the pressed morning edition on the platter beside the bureau I asked him to prepare afternoon tea
'Certainly,' he replies 'But the clock hasn't struck 11, sir'
'It's Midsummer’s day and Madam and I,' I explain 'will be having afternoon tea at the coastal house'
-
After an hour everything is ready and we begin to make our way
As we leave the grounds I hear the characteristic buzz and snap of the motorised electric gate behind us
I look in the rear-view mirror and see the butler’s Bentley I also see the housekeeper on the doorstep waving us farewell with a handkerchief
As we turn onto the main side road I ask Madam who is checking her make-up on the back seat of our Bentley to check with the butler via the two-way communication system if he had remembered the vinyl records
He replies, 'Yes Madam'
Summer Wind
"...As the time reaches two and twenty past both Bentleys arrive at the coastal house
The standard is raised and the butler unpacks both cars ...including the music
'It's a beautiful day, darling let's have tea at the water’s edge' Madam says
'How romantic' I say
So, after removing our footwear we carry two chairs and a table down the beach
After setting up next to some rocks the butler serves us then retires to a distance
I raise my voice and say to the butler 'Can you bring the record player from the house and play some music?'
'Yes sir'
He fetches the player and puts a record on the turntable Quite calmly he presses... play
The music begins to play
The raised standard once still begins flapping softly on the mast
Madam stands up and starts tiptoeing backwards just as she learned in dance classes at finishing school
I stand up turn to her and start stepping backwards slowly in true dramatic style
Madam changes direction and starts tiptoeing towards me
As the music changes she breaks into a run
And with a leap she jumps into my arms
I catch her We embrace sweetly in circular movements Round and round and round
By now the music has become expressive Expressive, pulsating and undulating
Although it is Midsummer’s Day the clouds are gathering and the wind is picking up
There are now white pony surfs but soon they will be white horses
And what of the tide? Yes, it's advancing and quicker, too as if the moon’s orbit was being quickened by the accelerating music
Then there is a seventh wave in time with the orchestra’s down bow and the table and chairs topple over
But we keep with our ever expressive dance
As the milk and profiteroles fall to the ground there is a greater smash of waves onto the coastal rocks just as the music reaches a tutti
The water is now rushing our shins and the wind whistles wildly...
We part briefly And, just like ballerinas raise both arms to form an arch and pirouette
The music is now at its height
We both grasp each other's left forearm with our own left hand Right arms still arched in the air
We then look straight and deep into one another's eyes and begin an ever-increasing spin
As we spin faster and faster and look deeper and deeper into each other’s eyes we are unaware of the tornado we have created Or, rather, not us but the music
We are focused 100% on each other We are the centre of the whirlwind Everything else is a blur
"A few moments ago we left the hall Where we had enjoyed the concert It was a lunchtime concert And finished about 2:30 pm
On the programme were waltzes Polkas and arrangements of minuets While we were there our toes tapped And our heads swayed a bit, too
Now that the concert was over We strolled back to the car And decided to walk through The ornamented landscape garden
Mid-summer’s day was last week Melodies of high bird song was heard And the Bistro beckoned us ‘Come and sample some delights’
So we took our seats near the maze Decided iced tea and gateau And after placing our order We just sat for a second or two
As we sat under the parasol We then talked about the concert How spring-like and gai The quartet had sounded and played
As our tea and cake arrived There were a few light drops Beginning to fall on the parasol Just a little passing shower?
Thud... thud... thud... Then the intervals grew shorter Thud… thud… thud… thud… thud And the birds in the trees gradually silenced As the sound of the rain grew
The fine light rain was first quiet Starting as a hushed pianissimo But the composer had written a crescendo
This wet summer chorus Was like the increasing sound Of a sizzling frying pan
'Can you hear it', I said 'Nature is playing a waltz'
I stood up Stepped out from under the parasol And offered my right hand And you accepted my invitation
We adopted the position: Hand in hand Hand on back Hand on shoulder An indivisible one
We started slow and in time Thud, 2, 3..thud, 2, 3.. thud, 2,3 But the tempo was increasing Ziz-zl-ing, ziz-zl-ing, ziz-zl-ing
We had to keep in step From adagio… To andante… To maestoso…
Our gestures becoming more defined From pianissimo… To mezzo piano… To forte…
Round and round the music took us Our expressions wider and wider Our heart beats were synchronised All in perfect decorum
We were caught up in the music It swept us off our feet I swirled you round and round First left to right, then right to left
On the outside was a summer shower On the inside the tempest was free Lightning bolts electrifying our souls Waves crashing on the beach
By now heels and tuxedo were saturated But we could not stop We could not stop the dancing Until the very last drop
-
When the clouds broke And the sun came out again We heard the birds singing
And we smiled"
Audio
Summer Rain
Read and played by Michael Bobb
Music: Prelude in D Flat, Op. 28 No. 15, ‘Raindrop’ by Frdédéric Chopin
A representation of love: Stendhal‘s book titled Love
?What do you think about Alberich.
The following scenes in Chapter 1
Alberich’s repentance from sin. [Could Wagner be a Christian!?]
Wagner’s libretto — Stabreim
Groves Music Dictionary
Stabreim is a form of poetic verse
Iambic: Stress every second syllable
Shakespeare
Hamlet — “To be, or not to be: that is the question:”
Macbeth — “Double, double toil and trouble
Iambic Pentameter — 5 stress’ with a sentence of 10 syllables
e.g. Sonnet 18
Shakespeare & Goethe known to Wagner
Henry Cuyler Bunner, American novelist and journalist, on Goethe:
Shake, Mulleary and Go-ethe, poem
My poetry books:
Soaring Higher
The Tara Brooch
Wagner’s Ring*
Blazon
*Wagner’s Ring started. Not completed at the time due to Shakespearean Tudor anachronisms. However, someone said I “can still do it.” Decided on couplet paraphrase, instead — AA, BB, CC etc. Next, Simon Armitage, Poet Laureate, publishes his couplet version of the Owl and the Nightingale. Took my copy to the stage production at the Southbank Centre.
Read my incomplete paraphrase of Wagner’s Ring, Chapter 1: Rhinegold, Ii
Open mic:
Nick
Angela
Closing small talk.
Played during the opening of my reading ⬇️. Ten-stringed lyre.
"From left to right by nature’s design Flows continuously the ready river Rhine Lighter turquoise evenly spread Becoming darker towards the bed Near the floor the water dissipates Leaving an increasingly breathable state This vaporous man-sized space Moves continuously and at a pace Across the floor of the riverbed Where no man can naturally tread Are rough rocks and undercurrent tides And vertical caverns unimaginably wild."
As part of the Penge Festival 2025, I will be putting the case for Wagner’s Ring, debunking the myths about the composer and delivering my paraphrase of the libretto – not the entire 15 hours! we have 1.5 hours. The Rhinegold, Ii.
GOD CREATES – “Wonderfully and Fearfully” | Opus 9 No. 1
“I think I’ve just uncreated music!,” I once exclaimed. This is the first piece of ten, beginning with the beginning. Bibl. Genesis :1, Psalm 139:14.
2.
Gloria — “He Is the Image” | Opus 9 No. 2
This piece contrasts staccato and legato passages. Bibl. Luke 2:14, Colossians 1.
3.
The Crucifixion — “The Veil Is Gone!” | Opus 9 No. 3
The Crucifixion — “The Veil Is Gone!” | Opus 9 No. 3
At The Crucifixion, the holy of holies separating curtain was torn in two. Up until that time, Jewish priests faced possible death when making atonement in the temple. I have captured their terror in music – and the horror of Calvary Hill. The next piece. Bibl. Matthew 27:35, Mark 15:24, Luke 23:33, John 19:18, Leviticus 18:2.
4.
The Star in the East — “Blink to the Moon!” | Opus 9 No. 4
This title relates to Eastertide – including the Ascension. Bibl. Matthew 28:6, Mark 16:6, Luke 24:6, John 20:17, Acts 1:9.
5.
King Solomon and the Shulammite — “Princess of Jerusalem” | Opus 9 No. 5
This piece is about the heights of passionate, intimate love between husband and wife. Bibl. Song of Songs 3:9, 6:13.
6.
God My Peace — “Before My Eyes Open in the Morning” | Opus 9 No. 6
This, ‘God is my Peace’, piece is exclusively relates to the Christian supernatural experience. Bibl. John 14:27.
7.
Mr Spock’s Capriccio – “Toccata” | Opus 9 No. 7
‘Mr Spock’s Capriccio’ receives the toccata honours – with the concluding bars supplying another level of humour in the form of a lullaby. Bibl. Ecclesiastes 2:2, Proverbs26:3.
8.
Profundity’s Fugue – “Questions; Questions” | Opus 9 No. 8
A fugue where the answers to the contrapuntal subject are questions. Bibl. Mathew 21:23-42.
9.
The Return of Christ – “Eschatological” | Opus 9 No. 9
This, ‘The Return of Christ’, piece has all the thrills, spills and trills for the end of time. And, furthermore, attend the shofar direction. Bibl. 1 Corinthians 15:52, Revelation 19:16.
10.
The Destruction of Death + ‘Heaven’s Anthem’ | Opus 9 No. 10
Most people, understandably, fear death. Well, in this piece, Jesus Christ takes care of that enemy – forever. The music starts with blasts from the beautiful Saviour’s ‘weapon’. Mysterious music then comes forth. As we continue, there is an interesting two-line musical lexicon for a time. Your attention would be good to enquire the different treatments. We end the quirky dirge by becoming livelier to reach the exultant chorus I have called: ‘Heaven’s Anthem’. Bibl. 2 Timothy 1:9, Revelation 21:1.
Piano — The Ne Plus Ultras, Opus 9 Nos. 1-10 | Medley
Piano — The Ne Plus Ultras, Opus 9 Nos. 1-10 | Book
Mark: the Piano – The Ne Plus Ultras, Opus 9 Nos. 1-10 is an important addition to the piano repertoire.
The Book Cover
The look and feel of the book in your hands stimulates the senses. A love at first encounter? There must be no option but ‘satisfaction guaranteed’ when the music is played.
The music is equally avant-garde.
e-Book
The Lecturers
The 48 and the 32 – and the opus 87 in response to the 48. The opus 10 and the opus 25 – and the lauded readings of the studies. The 4 Ballades and the 4 Scherzi – only an intellectual would receive the wit therein. Padre Antonio Soler – and his influence by the Kirkpatrick 555. The contemporary Christian praise and worship music genre – especially Stoneleigh International Bible Week conferences.
Footnote: ne plu ultra* noun the perfect or most extreme example of its kind; the ultimate. Similar the last word the ultimate example the best example the perfect example the ultimate the height the acme the zenith the culmination the epitome the quintessence perfection the nonesuch le dernier cri ↩︎
J. S. Bach: Fugue in G minor BWV 578 ‘The Little’ Stokowski, Leopold License Info. License: Public Domain Copyright expired: Work from Author who died before 1947 [Died: 1750] Neighbouring Rights expired (EU: The term of protection for the neighbouring rights has been extended to 70 years since 1 November 2013. [2011/77/EU]: Recorded before 1962 and Published before 1962 [Recorded: 1958, Published: 1959]
Ad Digitos Curatus
South Norwood United Reformed Church
Music:
Same as above.
J. S. Bach: Fugue in G minor BWV 578 ‘The Little’ Stokowski, Leopold License Info. License: Public Domain Copyright expired: Work from Author who died before 1947 [Died: 1750] Neighbouring Rights expired (EU: The term of protection for the neighbouring rights has been extended to 70 years since 1 November 2013. [2011/77/EU]: Recorded before 1962 and Published before 1962 [Recorded: 1958, Published: 1959]
Archangel Michael Descending On St Paul’s Church
Saint Paul’s Church, Anerley
Music:
Same as above.
J. S. Bach: Fugue in G minor BWV 578 ‘The Little’ Stokowski, Leopold License Info. License: Public Domain Copyright expired: Work from Author who died before 1947 [Died: 1750] Neighbouring Rights expired (EU: The term of protection for the neighbouring rights has been extended to 70 years since 1 November 2013. [2011/77/EU]: Recorded before 1962 and Published before 1962 [Recorded: 1958, Published: 1959]