Having assimilated the techniques and methods of responsibility, the curious soul seeks to know more, do more and feel more deeply. If you are curious about what your life might become, and eager to find out, then you are in the process of expanding your boundaries and extending your reach. Whether you are a spiritual novice of a spiritual master, this attitude of curiosity will drive you toward a greater creativity.
The flower shoot has emerged from the ground. The bud has formed. The essence has taken shape. We are prepared to move to the higher levels of ethical, religious and spiritual attainment. That is what this experience can feel like for the person who has diligently pursued and followed this model so far. If you are eager to experience more, then this is for you.
Film and Stage
- The Man Who Wasn’t There: playing with the film noir idiom
- The Cider House Rules, a “fable about a young man's journey into the world, his loss of innocence and his acquiring of values that reflect the lessons learned on his journey”
Music: Composers, artists, and major works
Many composers have taken a theme, and constructed variations on it, thereby exploring the theme in many dimensions or from many perspectives.
- Bach produced the Goldberg Variations, BWV 988, from a simple melody. Here are links to complete performances on harpsichord by Kipnis, Hantaï and Watchorn; and on piano by Perahia, Gould (1955), Sims and Würtz.
- Beethoven crafted his 33 Variations in C on a waltz by Diabelli, Op. 120 (“Diabelli Variations”), from a thoroughly pedestrian waltz melody. Here are links to complete performances by Richter (1986), Rudolf Serkin, Sokolov and Uchida.
- Brahms, 25 Variations and Fugue on a Theme by Händel, Op. 24 (1861).
Other compositions on the theme of blossoming
- Kenessey, The Passing “was written as a complement to the nine-minute black-and-white silent film based on the fairy tale by Christian Andersen”, tracing “a mother’s search for her lost infant.” Yet somehow her discoveries along the way inspired Kenessey to send another message through the music.
- Ben Johnston, String Quartet No. 9 (1988): the composer toys with earlier musical idioms to explore “how European music might have developed had it been freed of the constraints of equal temperament” [Bob Gilmore, program notes for an album of string quartets].
- Frescobaldi, Il primo libro di capricci (Capricci for organ) (1624)
- La Barre: Suite No. 2, Book 1, in G Major, for transverse flute
- Gouvy: Sinfonietta in D Major, Op. 80: 1. Adagio - Allegro; 2. Scherzo. Allegro; 3. Tema con variazioni. Andante; 4. Finale. Allegro.
- Dutilleux, Symphony No. 2, "Le Double" (1959)
- Hendrik Andriessen, Concertino for Oboe & String Orchestra (1970)
- Weber, Variations a Theme from Silvana, Op. 33
- Joe Alexander Quintet, “Blue Jubilee”: from the blues came jazz
- Anthony Braxton, “20 Standards” 4-CD set and “23 Standards” 4-CD set, with Kevin O’Neil, Kevin Norton and Andy Eulau, illustrates the expansion of standard melodies into intricate jazz.
- Cochemea, “Vol. II: “Baca Sewa”, “. . . radiates like a blossoming flower from beginning to end.” [Ayana Contreras, Downbeat magazine, September 2021, p. 54.]
- Jihye Lee Orchestra, “April”
- Matthew Shipp String Trio, “Expansion, Power, Release”
- Robert Frost, “Going for Water”
- Johann Wolfgang von Goethe, “May Song”
- Ralph Waldo Emerson, “The Rhondora”
Little by little they began to talk to each other. Effusion followed silence, which is fulness. The night was serene and splendid overhead. These two beings, pure as spirits, told each other everything, their dreams, their intoxications, their ecstasies, their chimæras, their weaknesses, how they had adored each other from afar, how they had longed for each other, their despair when they had ceased to see each other. They confided to each other in an ideal intimacy, which nothing could augment, their most secret and most mysterious thoughts. They related to each other, with candid faith in their illusions, all that love, youth, and the remains of childhood which still lingered about them, suggested to their minds. Their two hearts poured themselves out into each other in such wise, that at the expiration of a quarter of an hour, it was the young man who had the young girl's soul, and the young girl who had the young man's soul. Each became permeated with the other, they were enchanted with each other, they dazzled each other. [Victor Hugo, Les Misérables (1862), Volume IV – Saint-Denis; Book Fifth – The End of Which Does Not Resemble the Beginning, Chapter VI, Old People Are Made to Go Out Opportunely.]