Ludwig van Beethoven/es

Ludwig van Beethoven, portrait by Karl Joseph Stieler (1820)

Ludwig van Beethoven is recognized as one of the greatest composers who ever lived.

He was born in Bonn, Germany, December 16, 1770, died in Vienna, Austria, February 26, 1827. He had a very difficult childhood with a father who was an alcoholic. He had no friends save his mother. His father beat him and made him practice by the hour, not only that he would be another Mozart, but that he could provide him with drink and lots of money.

He composed many of his finest works after he had become almost totally deaf.

He was a chela of the Great Divine Director, and he served on the twelve o’clock line of the cosmic clock.

The soul of Beethoven

Beethoven’s soul expresses the intensity of the initiate. So many times the initiate is not fully aware of the levels of initiation. Beethoven did not have anything but his music and his own inner attunement with God as an explanation as to why he was facing such tests in life. As we study his life, we can learn something about our own lessons.

Beethoven escribió:

Con la mayor frecuencia dirijo la mirada hacia arriba, pero en nuestro propio beneficio y en beneficio de otros a veces nos vemos obligados a volver nuestra atención a asuntos inferiores. Esto también forma parte del destino humano.

El hombre justo debe ser capaz también de sufrir injusticias sin desviarse en absoluto del camino correcto.

No hay nada más intolerable que tener que admitir para nosotros mismos nuestros errores.

Ni la perversión ni la pasión son mi maldad. Mi crimen es la juventud. No soy malo, realmente no soy malo, aun cuando la furia surge a menudo a través de mi corazón; aun así es un buen corazón. Hacer el bien siempre que podamos, amar la libertad por sobre todas las cosas y no negar la verdad nunca.

Beethoven sabía que era un hijo de Dios, pero no necesariamente podía explicar el arrebato del fuego blanco que lo atravesaba ordenándole su música y de hecho consumiendo sustancia, o quizá manifestando justificada indignación por injusticias externas. Dice, así, que su filosofía es

Es mi sincero deseo que sea lo que sea que se diga de mí en adelante se atenga firmemente a la verdad en todas formas, independientemente de quién se vea afectado al hacerlo, yo incluido.

El destino toca a la puerta.

I will grapple with Fate [karma]; it shall not quite bear me down. O, it is lovely to live life a thousand times.

Si es posible, desafiaré al destino, aunque habrá momentos en mi vida en que seré la más miserable de las criaturas de Dios.

La Sinfonía Pastoral. El que haya tenido alguna noción de la vida en el campo puede imaginar, sin muchas palabras descriptivas, cuál fue la intención del compositor. Aun sin una descripción con palabras, es fácil reconocer todo el asunto, que es más una expresión de sentimientos que una pintura en matices.

Qué feliz soy de poder deambular entre los arbustos y las plantas, bajo los árboles y sobre las piedras. No hay nadie que ame el campo como yo. Bosques, árboles y rocas devuelven el eco de lo que el hombre más desea.

Beethoven nos da este extraordinaria sintonía con el Espíritu Santo en la naturaleza, que transfiere a sus sinfonías. Hemos así oído al hijo de Dios con la ira de Dios en su corazón y su determinación de hacer frente a su karma, su sentido de justicia y que, aun cuando tenemos a la injusticia encima, de todos modos debemos aferrarnos a la justicia y amarla; todos éstos son atributos de un iniciado en el sendero.

Muchas palabras vigorosas y desconsideradas salen de mi boca y por eso la gente me considera un loco.

Aun así espero traer algunas grandes obras al mundo y luego, como un niño viejo, terminar mi carrera terrena en alguno sitio entre gente buena.

Pero qué humillación cuando alguien que estaba parado junto a mí escuchó una flauta a la distancia y yo no oí nada, o cuando alguien escuchó el canto del pastor y otra vez yo no oí nada.

Beethoven was deaf, and he brought forth these magnificent works through the inner ear. It is a tremendous demonstration of what appears to be a human handicap,and yet the Lord decreed that he should hear pure sound and have not any interference of outer sound with that inner hearing.

Such occurrences brought me nigh to despair, a little more and I had put an end to my own life—only it, my art, held me back.

Su arte era su dharma, la devoción al dharma no le permitiría caer en la desesperación de no oír con el oído externo.

O it seemed to me impossible to quit the world until I had produced all I felt it in me to produce;...

Este es un deseo legítimo. Era Dios en él deseando dar la plenitud de sí mismo a través de esa vida. Y ni toda la adversidad ni el encuentro con el karma ni las iniciaciones podrían alterar ese deseo por su amor a Dios en el dharma y por ser uno con su deseo de producir. En otras palabras, en emitir todo lo de Dios que estaba en él.

Así que condoné esta vida miserable, en verdad miserable en un cuerpo tan sensible que un cambio en la velocidad de algo puede alterar mi estado de uno muy bueno a uno muy malo. Paciencia, ésa es la palabra. A ésta es a la que debo tomar como guía. Y es lo que he hecho. Espero que sea duradera mi decisión de aguantar hasta que le plazca al Parcae inexorable cortar el hilo. Quizá las cosas vayan mejor, quizá no. Estoy preparado, ya a mis veintiocho años, obligado [por el impedimento de la sordera] a convertirme en filósofo. No es fácil para un artista, mucho más difícil que para cualquiera. Oh Dios, Tú ves mi interior. Tú lo conoces. Tú sabes que el amor a los hombres y la inclinación a la beneficencia moran ahí. Oh, mis congéneres, cuando más tarde leáis esto, pensad que me juzgasteis mal, y el desafortunado que se consuele encontrando un compañero de infortunio, que a pesar de todos los obstáculos naturales ha hecho todo lo que está en su poder para ocupar un sitio entre los buenos artistas y los hombres de bien.

¿Acaso no es esto todo lo que Dios pide de nosotros? Hacer frente a todos los obstáculos naturales que se presentan en nuestra vida, cualesquiera que sean, y no ahogarnos en las lágrimas de la autocompasión o el sentido de injusticia por lo que Dios nos ha dado, sino hacer todo lo que esté en nuestro poder para ocupar un sitio entre los buenos artistas, los maestros ascendidos, y los hombres de bien, sus chelas.

Handwritten page from Beethoven’s Ninth Symphony

The “Ode to Joy”

Four days later, Beethoven wrote:

Me voy de tu lado, triste partida. Sí, la entrañable esperanza que traje conmigo de curarme cuando menos en parte debe abandonarme por completo. Como las hojas del otoño que caen marchitas, esta esperanza se marchitó para mí. Me voy casi como vine. Aun el noble valor que con frecuencia me animó en los hermosos días del verano se ha desvanecido. ¡Oh, Providencia, deja que cuando menos una vez tenga un día de pura alegría! Ya hace mucho que la resonancia interna de la pura alegría se tornó extraña para mí. ¿Oh, cuándo, oh cuándo, oh Dios, podré en el templo de la naturaleza y de la humanidad sentirla de nuevo? ¿Nunca? ¡Ah, eso sería tan cruel!

Escribió esas palabras mientras escribía su magnífica obra la “Oda a la Alegría”. Era un poema de Friedrich Schiller al que le puso música; su nombre original era “Oda a la Libertad”. Por motivos políticos, Schiller no empleó la palabra “libertad” y la sustituyó por “alegría”. El poema y la música juntos, si la palabra libertad se hubiera incluido, habrían incitado a la gente a derrocar política o económicamente a sus soberanos absolutos.

Beethoven entendió esto, aunque envió el mensaje de la libertad del alma con la oda a la alegría, y para él el poema era una expresión de libertad espiritual. Significaba la emancipación del alma, la liberación del espíritu de toda limitación física y material. Significaba la libertad de deambular a voluntad por los reinos espirituales superiores, de entrar en contacto con los seres celestiales que habitan esos reinos. Para él significaba la libertad de interactuar con los inmortales, los maestros ascendidos, y de escuchar la gloriosa música de las esferas.

When Beethoven received this tremendous “Ode to Joy” and this burst of freedom, he also wrote these words of his depression, “Oh, if I can but for a moment once again retrieve that joy.” He was going through the initiation of having to balance in his being the anti-art or the anti-Christ to that freedom and to that joy.

A través de él fluía la matriz de la liberación de un alma que será tocada en la tierra y anclará la música de las esferas. Para poder recibir dicha matriz, para calificar para ocupar el lugar de un chela, se vería obligado a contener esa depresión y no a verse sometido a ella, a no arrojar sus papeles, a no arrojar sus partituras y decir: “No puedo hacerlo. Estoy demasiado deprimido, lo haré otro día.” Y si hubiera dejado pasar un día y un día más y otro día más tal vez no habría vuelto a escuchar jamás la “Oda a la alegría” y la música de las esferas, porque se habría rendido a un maestro más poderoso, el maestro cuyo nombre es depresión y desaliento.

Discouragement, depression, and the forces of confusion are anti-freedom,and as a conglomerate of energy and consciousness, they are condemnation. And that condemnation is the opposition to the release of the stupendous power of God on the twelve o’clock line by the hierarch of that line, the Great Divine Director.

The nine symphonies

Saint Germain has said that no greater music of freedom has ever been written than the nine symphonies of Beethoven. These symphonies contain the power of the three-times-three, the action of the Trinity multiplied by power of three. The nine symphonies are degrees of initiation. There are nine degrees of initiations on the path of the ruby ray, and these degrees of initiations are lowered by frequency, vibration, sound, and then ultimately by God consciousness.

On April 22, 1979, Cyclopea spoke of “the symphony of the elementals, set forth by the hand of nine of the Elohim who delivered to Beethoven the nine symphonies of life. Will you not hear within them the power of the three-times-three, the threefold flame in the heart of the angels, in the heart of the sons and daughters of God, now waiting to be delivered into the heart of the beings of the elements?”

The importance of playing the symphonies

A number of ascended masters have spoken of the importance of having the nine symphonies playing in our homes.

Archangel Michael:

I would remind you that for the protection of the very souls of the people, there is needed in your home an instrument to play perpetually the music of Beethoven. It is in the nine symphonies that you will find the power of the three-times-three to neutralize the rock beat that is continually playing on this planet, gaining momentum on the airways from satellite, through television and radio, on stereo systems, in headsets, vibrating through the very marrow of the bones of the people as newer and more perfected forms of technology allow these sounds to resonate to the very core of the cell.

Blessed hearts, I tell you, it is so. Even the nucleus of the cell, that has been sealed by a certain sealing of the flame there, is now penetrated by the sound itself. And thus, you see, where you are, wherever you are upon earth, even if you are not within ear of the sound of the rock beat, most likely it is playing through your body through the very waves and currents of the earth.

Thus, I tell you, the music of Beethoven itself, when played continuously from the first to the ninth symphony, has a rolling momentum. And if it can play in your homes and if you can remember to have it in your automobiles, you will understand how it does its work of transmutation in its own way and aids and secures your health and your life.

It is like having a decree tape playing. It forms a matrix of light, a rhythm and a sound that counteracts that which is discordant at the same levels of vibratory rate and frequency in the earth; for the music that travels is actually stealing that area assigned for the holding of the harmony through sound by the Elohim of God.

Lady Master Venus:

Let there be the restoration of music in every home, and let the classics build the inner code of life. Let it re-create the DNA chain. And by the power of the nine symphonies of Beethoven and much that should be known in the cell level of every lifestream, let the portals of Venus open once again.

Helios:

You have heard the “Victory Symphony” and I tell you that victory, beloved, is the fanfare of our presence. And this music has been given to Beethoven by ourselves that you might have the spirit of victory in sound.

I say, play it and play it again and play it every day until you have victory in every way in your personhood, in your church, in this nation and in this planet. And play it, beloved, in this court when you shout your fiats of the judgment, that victory might come shining through. And see that victory descending as a mighty V that parts all darkness, which can no longer coagulate—no, beloved!

Let the full power of the “Victory Symphony” descend into your very midst and let it be the power of that music which does amplify the sounding of your word and the sounding of our light in your heart!

Sanat Kumara:

The great symphonies, the works of Beethoven, Mahler and many others—play these also perpetually in your homes, for they are upholding a certain level of vibration of molecules, of atoms and of the earth.

Mighty Victory on Beethoven

Mighty Victory speaks of the music of Beethoven:

It is untouchable. It cannot be stolen. Though mortals have attempted to pervert it, they have only bound themselves further by the sacred fire that pours through it. It is the poetry of sacred fire plucking the harp of the heart. It is the sound of Elohim.

There is one initiate called of God who will one day appear in Matter to deliver the conclusion, the finale, of six other symphonies that continue the path of initiation of the ruby ray. But that one of Cosmic Christhood shall not appear nor shall the music be heard until a retinue of lightbearers has so incorporated this mighty music of the spheres as to have assimilated it as the Body and Blood of the Cosmic Christ, Lord Maitreya.

When every atom of your being whirls to this music, when the fiery core resounds it and transmits it from the Great Central Sun, when you stand as a pillar of fire of ascension’s flame and the ruby ray and the sound of freedom emanate from you to drown out and swallow up all dissonance of the betrayers out of the pit who have spread abroad their anti-music, anti-art, anti-dharma, polluting the sound waves of the earth and the soul, when the force of the music within you can swallow up the anti-light and the anti-freedom, then you will understand.

When the sound of Elohim, of the ruby ray and its initiates is heard in physical Matter and the balance is held as pillars of fire proclaim the name I AM THAT I AM, the Word and the sound of the Word in the music of freedom, then will the music descend. Then will that one descend to record it.

You will know that in the beginning was the Word, and by the Word spoken and transmitted as the music of the spheres of Elohim, by the Word transmitted as the sounding of the soundless sound, the intoning of that music will spell the final round of the consuming of evil within the spheres of this solar system. And there will be no stopping that sound across a cosmos when it is emitted from initiates of the sacred fire, from the sacred heart of souls comfortable and comforting all life in heaven and earth by the intensity of the Blood of Christ.

Therefore listen, O children. Harmony, O blessed harmony, is your challenge for the preservation of your freedom. And you will note how accurately he, [Beethoven], said, “I do not write noisy music.” Noise, the noise of dissonance and discord, side by side with the veritable sound of fiery vortices of moving galaxies, of Elohim humming the sound of the HUM, the OM, the HRIM—all the sounds and tones of the Universal Ma can be heard in those nine symphonies of the Word....

His vibration is the light of victory, freedom and joy! Victory is his flame! Victory is that vibration! You can be it too. You can choose to be that flame if you will.

Sources

Lectures by Elizabeth Clare Prophet, December 2, 1973; July 3, 1979.