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Eduard de Boer: Symphonic Poem 'Toward Freedom' - Version for Singers, Accordions and Percussion
This composition, inspired the Freedom Convoy in Canada, early 2022, consists of twelve 'stanzas' that flow into one another without breaks. Here follows a description of each of these movements:
00:00 I. Introduction: Under the Yoke
A depiction of a bleak atmosphere of suppression, under the guise of ‘prioritizing the health and safety of citizens’. Central theme is a melody derived from ‘O, Canada’, Canada’s national anthem.
01:46 II. Announcement: Crossing a Borderline
Needless to say that the title is also meant in the sense of ‘going too far’.
Lyrics:
The Government's response to the pandemic will continue to prioritize the health and safety of its citizens. Therefore:
Truck drivers, in order to be permitted to re-enter the country from abroad, will be required to submit proof of being fully vaccinated.
The Government will continue to consider further targeted measures, to keep its citizens safe.
02:59 III. Growing Protest
Next to the O Canada motive, bits of Beethoven’s Alle Menschen werden Brüder theme start to appear.
05:21 IV. Framing and Shaming
The Alle Menschen werden Brüder theme is ridiculed, while the O Canada motive is wrapped in a cloak of cheap seduction.
06:45 V. Charity
A merging of Beethoven’s melody with the O Canada motive symbolizes the people’s willingness to help by donating. Halfway this ‘stanza’ the Vita Aeterna motive, symbolizing positive karma, appears for the first time.
08:26 VI. Announcement: Freezing of Accounts
The discrepancy between the intention to ‘prioritize the health and safety of citizens’ and the new legislation now becomes apparent.
Lyrics:
The illegal blockades have highlighted the fact that crowdfunding platforms are not fully captured under the Proceeds of Crime and Terrorist Financing Act. Therefore:
As of today, a bank or other financial service provider will be able to immediately freeze or suspend an account of anyone financially supporting the demonstrators, without a court order. And if you are involved in this protest, we will actively look to identify you and follow up with financial sanctions and criminal charges.
The Government will continue to consider further targeted measures, to keep its citizens safe.
10:00 VII. ‘Material Aid’
The Vita Aeterna, the O Canada and the Alle Mensche warden Brüder motives, all together in a tender triple counterpoint.
11:47 VIII. Announcement: Arrests
The discrepancy between the intention to ‘prioritize the health and safety of citizens’ and the new legislation now takes on surreal proportions.
Lyrics:
The Government's response to the pandemic will continue to prioritize the health and safety of its citizens. Therefore:
Anyone bringing material support, such as fuel as a protection against the freezing cold , to the demonstrators will be subject to arrest.
The Government will continue to consider further targeted measures, to keep its citizens safe.
12:58 IX. March with Empty Jerry Cans
When the government had descended to the level of making things like carrying jerry cans filled with fuel punishable by law, people started walking the streets with empty jerry cans, thereby making use of one of the mightiest weapons that humanity has at its disposal: humor. Beethoven’s theme, in the shape that he used in the scherzo from the finale of his ninth symphony, is now in counterpoint with the O Canada motive, now reshaped into the global anthem melody that will conclude the composition.
14:47 X. Brute Force
Time and time again, history has shown that the one thing that totalitarian systems can’t stand is humor. So, now the government descends to the level of brute force and it violently crushes the Freedom Convoy movement. It doing so, the noble O Canada motive is besmirched.
XI. Despondency
16:46 This ‘stanza’ can be subdivided into three parts: a depiction of a desolate battlefield after a battle, an expression of grief, and finally a return to the somber atmosphere of the opening stanza.
20:24 XII. Finale: Ode an die Freiheit (Ode to Freedom)
To keep a tyrannical system in place, people must be convinced that the system is there for their own good. This means that by descending to a level of brute violence, a totalitarian regime in fact signs its own death warrant, in the long run. Time and again, history has shown this, and the globalists know it.
This stanza starts off with a lonely fugue theme, getting stronger and more lively as time goes by, and then being joined by the Vita Aeterna, the O Canada and the Alle Menschen warden Brüder themes respectively. The movement culminates first into a jubilant merging of the Alle Menschen werden Brüder and the O Canada themes, and finally into the global anthem, the melody of which had already appeared in the ninth movement.
Lyrics:
Finally,
Humanity
Shall shed its shackles and shall be free . / Has shed its shackles and is now free.
Humanity
Henceforth shall be
As one in its resolve to guarantee
Freedom for each and ev’ryone, you and me.
...
https://www.youtube.com/watch?v=iOYnuxmzGaY
00:00 I. Introduction: Under the Yoke
A depiction of a bleak atmosphere of suppression, under the guise of ‘prioritizing the health and safety of citizens’. Central theme is a melody derived from ‘O, Canada’, Canada’s national anthem.
01:46 II. Announcement: Crossing a Borderline
Needless to say that the title is also meant in the sense of ‘going too far’.
Lyrics:
The Government's response to the pandemic will continue to prioritize the health and safety of its citizens. Therefore:
Truck drivers, in order to be permitted to re-enter the country from abroad, will be required to submit proof of being fully vaccinated.
The Government will continue to consider further targeted measures, to keep its citizens safe.
02:59 III. Growing Protest
Next to the O Canada motive, bits of Beethoven’s Alle Menschen werden Brüder theme start to appear.
05:21 IV. Framing and Shaming
The Alle Menschen werden Brüder theme is ridiculed, while the O Canada motive is wrapped in a cloak of cheap seduction.
06:45 V. Charity
A merging of Beethoven’s melody with the O Canada motive symbolizes the people’s willingness to help by donating. Halfway this ‘stanza’ the Vita Aeterna motive, symbolizing positive karma, appears for the first time.
08:26 VI. Announcement: Freezing of Accounts
The discrepancy between the intention to ‘prioritize the health and safety of citizens’ and the new legislation now becomes apparent.
Lyrics:
The illegal blockades have highlighted the fact that crowdfunding platforms are not fully captured under the Proceeds of Crime and Terrorist Financing Act. Therefore:
As of today, a bank or other financial service provider will be able to immediately freeze or suspend an account of anyone financially supporting the demonstrators, without a court order. And if you are involved in this protest, we will actively look to identify you and follow up with financial sanctions and criminal charges.
The Government will continue to consider further targeted measures, to keep its citizens safe.
10:00 VII. ‘Material Aid’
The Vita Aeterna, the O Canada and the Alle Mensche warden Brüder motives, all together in a tender triple counterpoint.
11:47 VIII. Announcement: Arrests
The discrepancy between the intention to ‘prioritize the health and safety of citizens’ and the new legislation now takes on surreal proportions.
Lyrics:
The Government's response to the pandemic will continue to prioritize the health and safety of its citizens. Therefore:
Anyone bringing material support, such as fuel as a protection against the freezing cold , to the demonstrators will be subject to arrest.
The Government will continue to consider further targeted measures, to keep its citizens safe.
12:58 IX. March with Empty Jerry Cans
When the government had descended to the level of making things like carrying jerry cans filled with fuel punishable by law, people started walking the streets with empty jerry cans, thereby making use of one of the mightiest weapons that humanity has at its disposal: humor. Beethoven’s theme, in the shape that he used in the scherzo from the finale of his ninth symphony, is now in counterpoint with the O Canada motive, now reshaped into the global anthem melody that will conclude the composition.
14:47 X. Brute Force
Time and time again, history has shown that the one thing that totalitarian systems can’t stand is humor. So, now the government descends to the level of brute force and it violently crushes the Freedom Convoy movement. It doing so, the noble O Canada motive is besmirched.
XI. Despondency
16:46 This ‘stanza’ can be subdivided into three parts: a depiction of a desolate battlefield after a battle, an expression of grief, and finally a return to the somber atmosphere of the opening stanza.
20:24 XII. Finale: Ode an die Freiheit (Ode to Freedom)
To keep a tyrannical system in place, people must be convinced that the system is there for their own good. This means that by descending to a level of brute violence, a totalitarian regime in fact signs its own death warrant, in the long run. Time and again, history has shown this, and the globalists know it.
This stanza starts off with a lonely fugue theme, getting stronger and more lively as time goes by, and then being joined by the Vita Aeterna, the O Canada and the Alle Menschen warden Brüder themes respectively. The movement culminates first into a jubilant merging of the Alle Menschen werden Brüder and the O Canada themes, and finally into the global anthem, the melody of which had already appeared in the ninth movement.
Lyrics:
Finally,
Humanity
Shall shed its shackles and shall be free . / Has shed its shackles and is now free.
Humanity
Henceforth shall be
As one in its resolve to guarantee
Freedom for each and ev’ryone, you and me.
...
https://www.youtube.com/watch?v=iOYnuxmzGaY
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0:00 III. Elegy - Sas Bunge in memoriam attacca:
7:35 IV. Finale
III. Elegy - Sas Bunge in memoriam
After my time as a conservatory student, I received a number of composition commissions from radio, regional orchestras, choirs and chamber ensembles. However, the reviews of the compositions I wrote were mostly negative. I was mostly described as a fossil from a time gone by. And so I came to adopt a pseudonym, in Latin, a ‘dead language’: Alexander Comitas. The Latin word comitas means kindness, affability. The idea behind it was: I intend to always remain friendly and sympathetic on the subject of contemporary music, but as a composer I will keep pursuing my own path. The way I compose is not the result of ineptitude, but of a conscious and considered choice. See for example my articles Busoni's Garden (https://www.eduarddeboer.org/busonis-garden/) and Music and Spirituality (https://www.eduarddeboer.org/music-and-spirituality/).
Meanwhile, the crisis, resulting from what is depicted in the first movement, came after all. A crisis on a personal level as well as in my composing, which for some time didn’t go well. Just before that I had met Maaike, my later – and present – wife. Fortunately for me, not always easy for her. She managed to help me out of the depression I fell into at the time, and I will always be grateful to her for sticking with me throughout this difficult period.
The choice of the pseudonym had yet another background. Alexander refers to Ernst Alexander (Sas) Bunge, a piano major teacher at the Utrecht Conservatory during the time I studied there, and also a composer of some very beautiful pieces, including many songs. He attended the premiere of my Five Tolkien Songs and became interested in me, and his knowledge became a major influence on my composing. A few years later, he would become seriously ill. When he knew that he did not have long to live, he asked me if I would like to become a trustee of his musical legacy. Thus, after his death, I got to know many more of his compositions than I had known before, including a beautiful setting of François Villon’s poem Ballade des pendus (Ballad of the Hanged) for alto and orchestra. I created a version of this work for alto and piano that I performed with a singer friend, and had a modest part in having the version with orchestra performed again. In the third movement of the string sextet, the main theme from this Ballad is used as the central theme for an adagio full of grief, culminating towards the end of this movement (at rehearsal number 107) in a quotation of the first bars of Bunge's composition.
7:35 IV. Finale
This movement is about (my) regeneration and recovery. This partly came about through the study of folk music from all parts of the world. I listened to lots of records with folk songs and dances, preferably as authentic as I could find, copied numerous melodies by ear, and I visited places like the Jaap Kunst Etnomusicological Institute in Amsterdam and the library of the musicology department of the Utrecht University, where I spent many hours copying books. As a result, I became acquainted with folk music from the Caucasus, and thus with the Armenian ethnomusicologist and composer Komitas. The last name of my pseudonym refers to him and in the final movement of the sextet some folk melodies from the Caucasus are quoted.
Incidentally, in 2013 I ended the period of my pseudonym with a musical tribute to the Armenian Komitas, in the form of my third symphony (https://www.youtube.com/watch?v=SA0DrmYppt8&t=3005s).
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Recording of the official premiere, by the Koninklijke Militaire Kapel Johan Willem Friso conducted by Tijmen Botma
In 2000, I composed a piece for choir, fanfare orchestra and large percussion ensemble, called Walpurgisnacht, to words from Goethe's Faust. The composition was premiered in July 2001. A few months later , the New York Twin Towers were destroyed. In the years to come, my view of the world would change drastically.
As many people are now aware of, the official story about 9/11 has far too many inconsistencies and leaves far too many questions unanswered to be credible. I will limit myself here to mentioning that not just the Twin Towers collapsed, but also the so-called 'Building 7', even though it wasn't hit by anything at all. A comparison comes to mind with the so-called 'false flag' 'Operation Northwoods' (you can google it if you don't know about this). Once considered a 'conspiracy theory', Operation Northwoods is now factual history, since its gradual declassification in the years between 1997 and 2001.
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Here are just a few examples of the many stories I have come across up till now, always pointing to the same: the existence of a large global network of powerful people who indulge in satanic rituals whereby children are sexually abused and killed:
Satanic elite and ritual abuse (German documentary, Dutch subtitles):
https://www.youtube.com/watch?v=8H0cm7T1PY0 (One of the victims, Noemi, recalls several meetings of her abusive father with Marc Dutroux. Both are clearly part of a network.)
An excerpt from this documentary, with English subtitles: Extreme "Satanic" Paedophilia Testimony: Deborah & the elite German and French ring:
https://www.youtube.com/watch?v=2NCqWz9Rq70
Satanic human sacrifice FBI raid 1998:
https://www.youtube.com/watch?v=h9CtZDsoOfE (Halfway this video there is an excerpt from a 'snuff movie'. Warning: extremely graphic!)
Institutional child abuse:
https://www.youtube.com/watch?v=69TtyKith_M (Many similar testimonies, each of which may be difficult to believe. The cumulative effect of all of these stories, however, is compelling.)
When in the spring
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This opera, on a libretto by Franz K. Custos, is based on the short story 'The System of Doctor Tarr and Professor Fether' by Edgar Allan Poe. In this story, the patients of a home for the mentally handicapped manage to take over power by imprisoning their carers. However, their victory is short-lived: when nurse Angelica ends up in hospital after having been administered a 'saving vaccine', the 'order-followers' of the story turn against the occupiers and these are overpowered and handed over to the police. The opera ends with an evaluation of how things could have gone so wrong and it outlines a possible road toward forgiveness of the wrongdoers.
An electronic rendition of the complete opera can be heard here: https://www.youtube.com/watch?v=q8XNWrCxQtE&list=PLjU4srAfiJLAVLvG8P8eZc4FJ3v00KHjD. Please bear in mind that this rendition sometimes hugely differs from reality. The most striking differences are:
- the necessary rubato is only reproduced approximately.
- spoken text during a song is displayed as silence.
- spoken text on a prescribed rhythm is rendered at certain pitches, as if it were sung.
The vocal score of the opera can be viewed and downloaded here: https://www.eduarddeboer.org/wp-content/uploads/2022/02/Pianouittreksel-met-Voorwerk.pdf. It also contains the spoken dialogues and an English translation of the Dutch text, which makes this electronic sound rendering easy to follow for everyone who can read music.
The libretto by Franz K. Custos can be viewed and downloaded here: https://www.eduarddeboer.org/wp-content/uploads/2022/01/Libretto-Ne-En.pdf. A scenario and overview of the numbers can be viewed and downloaded here: https://www.eduarddeboer.org/wp-content/uploads/2022/01/Scenario-Ne-En.pdf.
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The Homage to Johan Wagenaar is an concert overture—a genre in which Johan Wagenaar himself composed some of his most successful pieces—cast into a sonata form mould with a slow introduction, making use of themes that have been derived from various compositions by Wagenaar himself. In the score, these pieces are mentioned next to the various themes. Simultaneously, the composition has been modelled on the life story of this important Dutch composer, who lived from 1862 till 1941.
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00:41 The fairytale-like atmosphere is reinforced by a theme in the horns, derived from Wagenaar's symphonic poem Elverhoï (number 1).
00:56 Johan was an extramarital child from a patrician and a housemaid, which caused him a lifelong struggle with inferiority feelings. The themes of respectively the aristocracy and the common people from the first act finale of Mozart's Don Giovanni musically express the class difference between his parents (number 2).
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Development. Suddenly, a furious variant of the aristocracy's theme appears (number 17): Dina's parents are vehemently against a marriage between their daughter and Johan, who not only is a bastard child, but on top of that also a mere musician. This theme starts a musical conflict with the Taming of the Shrew theme.
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(Inverted) Recapitulation. Years later, Johan encounters Dina again (number 25). In the meantime, her father has died and Johan has acquired some status, so this time it turns out that it is possible for them to marry. Both are unified in marriage (number 29), and for Johan a time of musical triumphs follows (number 33), during which he finds support in a happy marriage (number 35).
The Dutch Fund for the Podium Arts has enabled me to compose this overture. I feel honoured to have been able to write this musical homage to what I consider one of the most important composers the Netherlands has produced.
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For general information about this oratorio for soloists, choir and wind orchestra, see https://www.eduarddeboer.org/oratorio-toward-a-golden-future-pu-met-voorwerk/, pages v and vi.
IV. Predictions, for soprano, tenor, baritone and orchestra
In addition to various predictions by prominent figures that a pandemic would someday break out, some pre-2020 visions of what some prominent figures believe to be an ideal future for humanity are also featured.
The text of the lyrics, including explanatory footnotes, can be read in the preface to the vocal score: https://www.eduarddeboer.org/oratorio-toward-a-golden-future-pu-met-voorwerk/, pages ix -xi. This movement starts at page 18.
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Aufnahme der Uraufführung, am 29. Juli 2012, Stadttheater Ingolstadt.
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For general information about this oratorio for soloists, choir and wind orchestra, see https://www.eduarddeboer.org/toward-a-golden-future-oratorio-for-soprano-tenor-baritone-childs-voice-mixed-choir-and-wind-orchestra-op-103/
XI. Ad Auream Futuram (Towards a Golden Future), for soprano, tenor, baritone, children's voice and orchestra
I see the transformation humanity is currently in as a kind of birth canal to a new, better world. This is the theme of the final movement, where texts from the Corpus Hermeticum are supplemented by lines of poetry by Franz Custos, who has also added some Latin lines in the spirit of Hermetic philosophy.
To add to this concluding section: I base my view that we will eventually face a golden future partly on the Hermetic ideas, which state that man, consisting of light and life, is in fact divine and the soul immortal. I have also read many books on life after death, such as Life in the World Unseen (https://www.ghostcircle.com/wp-content/uploads/2014/08/Anthony-Borgia-Life-In-The-World-Unseen.pdf) and A Wanderer in the Spirit Lands (https://sacred-texts.com/eso/wsl/index.htm) and listened to or read many testimonies of so-called ‘near-death experiences’. According to these books, the collective development of human consciousness will eventually lead to the point that entities that feed off our negative feelings, such as fear, sadness or anger, will no longer be able to exist here, for lack of sustenance. To mention an example, one day the insight will come that war can never bring about anything positive because negative energy always leads to negative results. The recently unleashed wars show that we have not yet reached that point. At the same time, things like the greatly increased interest in spirituality show that our collective consciousness is growing, and it is my impression that the pandemic outbreak has given a powerful impetus to this development. All in all, we are not there yet, and it looks like we are in for a difficult time in the short term; but we are nevertheless on the right track.
The text of the lyrics, including explanatory footnotes, can be read in the preface to the vocal score: https://www.eduarddeboer.org/oratorio-toward-a-golden-future-pu-met-voorwerk/, pages xviii -xx. This movement starts at page 80.
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I personally believe that we are currently in the midst of a global transformation process, whereby all hidden things are gradually 'coming to light'. The information now available by the so-called 'alternative media' on the internet is of great help in this process.
Jimmy Savile's posthumous fall from grace has slowly begun to open people's minds to the possibility that Luciferianism might well be real and rampant in circles of power in our present-day society. After his death in 2011, the once very popular BBC presenter turned out to have been not just a prolific sex offender, but also a paedophile, a necrophiliac and a procurer of young women and children to people in positions of power. Decades earlier, rumours about the notorious Belgian paedophile and child torturer Marc Dutroux having had ties with and protection from many high-ranking people did not substantiate. Dutroux could successfully be portrayed as an insane individual, committing his atrocities with only the help of his equally insane wife, and thus become a scapegoat, diverting attention away from his accomplices. In the case of Jimmy Savile, such a picture cannot be maintained, as it is a well-known fact that he was close friends with – and very probably protected by – British royalty and lots of other influential people, many of whom are now rumoured to be or to have been sex offenders and / or paedophiles themselves.
At this moment, the Jeffrey Epstein case is in the picture, and with it, the Involvement of prince Andrew. For the first time, something more than just the tip of the iceberg is in full public view. The process of Coming to Light is continuing slowly but steadily. See for instance this interview of Sonia Poulton by Shaun Attwood: https://www.youtube.com/watch?v=23Lv0I43Ah0&t=2024s.
This composition has been dedicated to Belinda McKenzie.
Photo by David East on Unsplash
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