Saturday, 5 September 2015

The Feast of the Marriage of the Beast and the BBC Proms

Continuing the theme of 5 – 7 th September, that apparently in occult circles celebrate the ‘ Marriage to the Beast’ (from as above) and the topic of ‘coincidences’, and how the more often they occur we may conclude they are not, I could not help noticing the strange ‘coincidence’ of the BBC PROMS programming for this Sunday the 6th of September.
The Radio 3 preview states, “The Proms really does prove the Devil has all the best music.” Three pieces are previewed:

1. “Orff’s vividly coloured cantata ‘Carmina burana’ is the main course in this year’s free Prom. “Chosen by Francesca Treadaway, Communications Officer” “Its full Latin title is Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis (Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magic images). (WIKI)  The selection covers a wide range of topics, as familiar in the 13th century as they are in the 21st century: the fickleness of fortune and wealth, the ephemeral nature of life, the joy of the return of Spring, and the pleasures and perils of drinking, gluttony, gambling and lust. (WIKI)

2. Guy Barker provides a new concerto for trumpet virtuoso Alison Balsom called ‘The Lanterne of Light’. I can find no interpretation or critique of this specially commissioned piece but the spelling (with an ‘e’) may give a clue. I found the reference to the mediaeval  text (Appendix below) which though long, is well worth a read, and not wholly irrelevant to what is discussed here or to the other pieces of music on the programme.

3. Charles Mutter is the soloist in Saint-Saëns’s devilish Danse macabre. According to legend, “Death” appears at midnight every year on Halloween. Death calls forth the dead from their graves to dance for him while he plays his fiddle (here represented by a solo violin). His skeletons dance for him until the rooster crows at dawn, when they must return to their graves until the next year. (WIKI)
So to repeat we have a three-fold programme of music which is overtly promoted as ‘Devil Music’ adopting a saying attributed to the 19th Century leader of the Salvation Army, William Branwell Booth (1829-1912) “Why should the Devil have all the good music”. It is said somewhat ‘tongue in cheek’ and humourously. Well we all know this Satanic stuff is rubbish don’t we? Each piece on the programme can be said to have either obvious or ambiguous occult connections.

Then we have a three-fold coincidence of day (Sunday) day number (7th) and month number (9th) that just happens to equate to the ‘Marriage to the beast’.  I am not really into all this numerology stuff but as Devil worshippers and Cabalists apparently are, it would be remiss of us to ignore it. So from an article by Fritz Springmeieron the subject here: we have this:
Quote: “In my investigations into the Illuminati, I was provided information from several ex-Illuminati members about an important ritual called The Feast of the Beast. I’ve made references to this ritual occasionally and this attracted some attention by some of my readers. I’ve been asked to write about this ritual over the years, and always found more pressing things to do. My various sources gave their testimony independent of each other and this led me to conclude that the ceremony did indeed exist. A lot of pressure has come down on me, and I felt that I should go ahead and write this article rather than presume that I shall have the chance later. In simple terms, the Feast of the Beast is a yearlong event that occurs every 28 years and is attended by Illuminati leadership from around the world. It is a very high level ceremony, and would not be recognized at the anarchy ritual level of the Illuminati. Ritual is very important to Satan, and to the Illuminati. There are a number of reasons to this. One, it provides an excuse to carry out horrible things without having to feel any guilt. A person can explain away things as “It was time for that.” or “That’s the way things are done.” Or, “we must protect these traditions”.” End quote.
He goes on to discuss some important numbers originating from the notorious Aleister Crowley and particularly 28 and 82 as follows:
Quote: “The Feast of the Beast is associated with the number 28 (as well as its reverse 82, and as well as the combination 7 times 4). One of the best books on providing the occult world’s meanings of numbers is Aleister Crowley’s books Gematria and Tables of Correspondences.  On page 58 of Crowley’s Table of Correspondences under the Orders of Qliphoth, we’re informed that 28 is the number of the Beast, that is Bahimiron which is Bestial. Crowley also teaches that the number 28 is associated with the unicorn, the peacock, the peacock & the rainbow, artificial glass (& chalcedony which suggests clouds), astrology in general, a number of perfumes such as Rhubarb and Stammonia, and a 3 headed beast (heads of a bull, man & ram) riding a dragon. In his book Gematria, about the numerology of mystic numbers, we are told that in the static universe 28 means power (Netzach,  also spelled netsach), and in the world the magician makes it means “My victory, my power.”
(By the way, Netsach is used in the Word of God at 1 CHR 29:11 “Thine, O Lord [YHWH], is the greatness, and the power, and the glory, and the victory [netsach], and the majesty…”  Netsach means a bright object like a star that one travels toward, it is a shining goal, which has been achieved.)
There is no question that Cabalists view 28 as a very powerful number. Further, when we realize that 28 is also a combination of 7 (perfection) and 4 (also considered completeness or perfection), we can appreciate that 28 on a Magical calendar system is powerful. ….. At the Feast of the Beast, a beautiful bride is trained and presented to Satan, and she may well be a virgin.   …. However, there is also a small ceremony performed before the autumn equinox approximately around the 5th to the 7th of September, which is a Marriage to the Beast ceremony, that can also be called The Feast of the Beast. It is a microcosm of the large ceremony. Or perhaps one could call it an imitation.” End quote.
Here there are some personal accounts (discretion advised)
One says: “The Feast can also be held in a church in the United States. In Italy I know it can be held in a grotto. Sometimes the Beast can be refered to as The Serpent. (Not to be confused with a snake) It depends on the clan and their spiritual teachings, and lineage. The ritual can be a 13 year-old. In some clans that perform the ritual in churches the child is 7. I won’t go into ritual details in a public forum.”
From we get this: “The number 7 and 12 are also an extremely important number universally. Seven is a number of complement and is considered a Divine number. Seven days in a week, seven colors to the rainbow. The occult will also use this number 7, but their favorite numbers are 11 and 6.”
So we may conclude by saying that a night of ‘devilish music’ at the Proms happens to occur on the 6th September. I cannot help but wonder if somewhere in London or elsewhere, there will be those performing certain secret rites, for which the Proms night was a very suitable prelude?
Perhaps I should clarify that this Sunday is the sixth and Monday the seventh. Occult ceremonies in churches or grottos often happen apparently in the early hours, which could be just after midnight on Monday. David Icke (and I am not a great supporter!) nevertheless draws our attention to the fact that the Royal Albert Hall (RAH) signifies a personage of some status in occult circles. (No pun or coincidence intended).
(Tim adds:  Sorry that David Ike reference is here: And to prove in 2007 Free Masonry was fit and well and taking advantage of the RAH on the 150th anniversary of the Grand Lodge of Mark Master Masons, of which HRH Prince Michael of Kent is Grand Master.:
 APPENDIX: The Lanterne of Light
by: James M. Dean (Editor)
from: Medieval English Political Writings  1996
God that is good in Him-silf, faire in Hise aungelis, merveilouse in Hise
seintis, and merciful upon synners: have merci on us now and ever, and gyve us
grace to holde the weye of truthe in thise daies of greet tribulacioun. For now
manye that semeden to have be stable in vertu fallen from her holi purpose,
dredyng losse of worldli goodis and bodili peyne, as Crist seith (Mat. xxiv[o]):
Quoniam habundabit iniquitas, refrigescet caritas multorum. That is to seie:
“The greet plent‚ and habundaunce of wickidnesse schal kele or make coolde
the charit‚ of many.” For now the devel hath marrid this world bi his leeften-
aunt Anticrist that men ben born aboute in diverse doughtis, as wawis of the see,
wrechidli dividid in wonderful opyniouns, iche neighbore with othir. But, Seint
Poul sett oon acorde in al Cristendom, and seith (Eph. iv[o]): Unus dominus, una
fides, unum baptisma. That is to seie: “Ther is but oo Lord that alle men
schulden drede and love; oo Feith that alle men schulden bileve withouten
chaungyng; oo Baptem or Cristendom that alle men schulden kepe withouten
defouling.” Alas, hou is this oonhed or unit‚ broken, that men unrulid walken
aftir her lustis, as beestis in the corne! Certis, the wickid man that Crist spekith
of hath done this dede (Matt. xiii[o]): Inimicus homo superseminavit zizania. That
is to seie: “The enemy of God hath sowen taaris upon the seed” of Jesu Crist.
This wickid man is Anticrist, that clowtith his lawis as roten raggis to the clene
cloth of Cristis Gospel, and wakith in malise as Judas childe whilis Symon slep-
ith and takith noon hede. O thou wickid man! Is ther ony othir that may save
soulis than Crist Jesu? God seith bi the mouthe of Moyses (Deuto xxxii[o]): Per-
cuciam et ego sanabo et non est qui de manu mea possit eruere. That is to seie: “I
schal smyt, and I schal heele, and ther is non that mai skape fro myn hand.”
Who hath the keies of Davith to opyn hevene gatis, and thanne noon othir
closith to close, and thanne noon othir opyneth? Seint Jon seith (Apoc. iii[o]):
Sanctus et verus habet clavem David qui aperit et nemo claudit, claudit et nemo
aperit. That is to seie: “Holi and trewe Crist Jesu hath the keie of Davith the
whiche opineth and noon othir closith, closith and thanne noon othir opineth”
– who dingeth doun and thanne no man rerith; who rerith, and thanne no man
dingeth doun. Job seith (xii[o]): Si destruxerit nemo est qui edificet; si incluserit
hominem nullus est qui apariat. That is to seie: “Whanne the Lord God hath
distroied, ther may noon othir bijlde; and whanne the Lord God stressith a man
in the prisoun, ther mai noon othir delyver him” ne quite him from hise
boondis. And therfore in the vertu of this name Jesu stondith al mannes salva-
cioun, as it is writen (Actus iv[o]): Nec enim aliud nomen est sub celo datum hom-
inibus unde oporteat nos salvos fieri. Seint Petir seith:”Ther is noon othir name
undir hevene gyven to men but this name Jesu, in the whiche it bihoveth us to
be made saaf,” for oonli in vertu of this name cometh remyssioun of synnes, as
it is writen (Luc. xxiiii[o]): Oportebat predicari in nomine eius penitenciam et
remissionem peccatorum in omnes gentes. That is to seie: “It bihoved to be prechid
among alle folkis penaunce and remissioun of synnes in the name of Jesu.” Art
not thou thanne a wickid man, a foultid schepard, a cruel beest, the sone of
perdicioun and Anticrist him-silf that pretendist in thee and in thi membris to
bynde and lose, to blesse and curse, biside this name Jesu? Peple withouten
noumbre, folowyng thee and thi divided lawis, ben dividid from Crist Jesu, and
gon with thee blyndlingis to helle for everemore. And this is greetli to sorow, so
ferforthe that Crist makith mornyng therupon and seith (Jon v[o]): Ego veni in
nomine Patris mei et non accepistis me; si alius venerit in nomine eius illum acci-
pietis. That is to seie: “I have comen in the name of my Fadir, and ye have not
taken me; whanne anothir cometh in his owene name, him ye schal take.” And
this is Anticrist, as Seint Jon Crisostum seith upon this Gospel (Mat. xi[o]): Tu es
qui venturus es, an alium expectamus. For who that wole not resceyve Crist, in
peyne of synne he is compellid and constreyned to resceyve Anticrist. Therfore
in this tyme of hidouse derknes somme seeken the lanterne of light, of the
whiche spekith the prophete (Ps. cxviii): Lucerna pedibus meis verbum tuum. That
is to seie: “Lord, Thi word is a lanterne to my feet.” For as fer as the light of
this lanterne schineth, so fer derkness of synne and cloudis of the fendis temp-
taciouns vanischen awey and moun not abide. And algatis whanne the lanterne
lightneth into the hert, it purgeth and clensith from corrupcioun; it swagith and
heelith goostli soris. As the wise man seith (Sap. xvi[o]): Neque herba neque mal-
agma sanavit illos, sed omnipotens sermo tuus, Domine, qui sanat universa.
That is to seie: “Neithir herbe ne plaistir hath helid hem, but Lord Thi mighti
Word that heelith alle thingis.” For Lord whanne Thou diedist upon the Cros, Thou
puttidist in Thi Word the spirit of lijf, and gavest to it power of quickenyng bi
Thin owene preciouse blood, as Thou Thi-silf seist (Jon. vi[o]): Verba que ego
locutus sum vobis spiritus et vita sunt. That is to seie: “The wordis that I speke
to yow, thei ben spirit and lijf.”

POSTSCRIPT: Perhaps I should add, in relation to Sunday's Prom programme (above) that the second piece relates to the so-called 'Seven Deadly Sins' to which ALL humans fall foul, to greater or lesser extent. It is no less interesting to relate them to what we know of Hampstead.

PRIDE also known as vanity it is said 'comes before a fall'. All humans are subject to it to such an extent it must be an innate trait that flows from a state of consciousness and self introspection. It can be reinforced or undermined by the conditioning experienced in life. If not recognised and controlled it results in introversion and selfishness. We must learn to love and empathise which are the antithesis of this primary 'deadly sin'. One of the disturbing traits of the psychopath it should be noted is a absorption in self and an absence of empathy, allowing the execution of despicable acts on others without compunction.

ENVY is a state of mind that creates dissatisfaction with one's state of being and jealous of others who appear to have what is lacking in oneself. Things like physical or mental abilities, possessions or status. It is a very effective motivator and method of control, used to effect by the powerful.

GLUTTONY is another term for over-eating or unnecessary consumption of food and/or drink much in evidence in today's society.

LUST is an inordinate craving for the pleasures of the body and primarily sexual ones.

ANGER that may be suppressed or manifested with dangerous physical consequences. It is triggered by factors buried deep in the human psyche, part instinctive part learned, part reactive, part proactive.  It is also known as wrath. Religions may take their cue from the wrath of God, who has been big on it.

GREED excessive interest material wealth or financial gain, to the exclusion of human emotion. Also termed avarice or covetousness.

SLOTH is the avoidance of physical or mental effort. Also called laziness.

For what it's worth and make of it what you will, this is the BBC Proms programming for tonight (5.9.15) and this Monday (7.9.15) (See: For the imaginative, a certain theme can be detected for the programming of the three nights, whether coincidental or not.

With respect to the Bernstein programme for example 'Candide' is based on the famous work by the atheist Voltaire. From WIKI we have this: "The work describes the abrupt cessation of this lifestyle, followed by Candide's slow, painful disillusionment as he witnesses and experiences great hardships in the world. Voltaire concludes with Candide, if not rejecting optimism outright, advocating a deeply practical precept, "we must cultivate our garden", in lieu of the Leibnizian mantra of Pangloss, "all is for the best" in the "best of all possible worlds"." The 1956 libretto was by Lillian Hellman as it happens. Others including Dorothy Parker and Stephen Sondheim contributed to the text.

West Side Story is a classic of doomed love set in the gangland streets of New York and is a musical contemporary reprise of Shakespeare's Romeo and Juliet. The libretto by Stephen Sondheim was his Broadway 1956 debut. Peter Pan was a 1950 musical adaptation of J. M. Barrie's play Peter Pan, or 'The Boy Who Wouldn't Grow Up'. Boris Karloff happened to play the leading roles of George Darling and Captain Hook.

As regards Monday's programme, which just happens to be the 69th, (you may have noticed an apparent preponderance of sixes throughout or is that just my imagination?) Francesca da Rimini is based on a true and tragic tale of a furtive ten year love affair between the heroine and her handsome brother-in-law. It ends inevitably in their death when they caught together by her husband.  Boccaccio apparently put out an alternative version of the story that claimed that Francesca had been cheated as partial justification for her unfaithfulness. He was born in 1313, some 27 years after Francesca’s death. In the first volume of The Divine Comedy, Dante and Virgil meet Francesca and her lover Paolo in the second circle of hell, reserved for the lustful. Here, the couple is trapped in an eternal whirlwind, doomed to be forever swept through the air just as they allowed themselves to be swept away by their passions. The performance takes precisely 18 minutes.

WIKI tells us the Rachmaninov piece was premiered, again with the composer as soloist, on 9 November 1901, "His second piano concerto confirmed his recovery from clinical depression and writer's block, cured only by a course of hypnotherapy. The concerto was dedicated to Nikolai Dahl, a physician who had done much to restore Rachmaninoff's self-confidence." "The Moderato theme appears in Muse's 2001 song "Space Dementia". The lyric line "And tear us apart and make us meaningless again" follows exactly Rachmaninoff's melody in the first movement." The music is used and adapted in numerous film scores and situations.  The Moderato theme appears in Muse's 2001 song "Space Dementia" and the lyric line "And tear us apart and make us meaningless again" follows exactly Rachmaninoff's melody in the first movement." "In the 2005 Korean movie Blood Rain,briefly towards the end right after the scene where the sky rained blood, and right at the end of the movie from the closing scene into the closing credits."

The Monday 7th September programme is concluded by Rimsky-Korsakov's 'Scheherazade'. It was completed on August 7, 1888. It is inspired by but does not replicate specific tales or voyages of Sinbad from a Thousand and One Nights. However the basis for the story and Rimsky-Korsakov's musical interpretation of it is not far from the truth story of the Sultan Schariar, who convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely.  Rimsky-Korsakov who lived from 1844 to 1908 and was a member of the group of composers known as The Five.

So now in over-view, whether any of this has any occult significance is anybody's guess. Only those in the know, are in a position to know. However in view of the fact that the dates of 5th to the 7th (incl) have been ascribed to 'the Marriage of the Beast' in some circles, the preponderance of love, death and sacrificial themes, or the frequency of significant numerology cannot be be lightly disregarded. Three, five, six and nine all appear with amazing frequency you will have noticed.

Of course on one level this is simply great music, composed by musical genius and performed by amazingly talented musicians. But this does not rule out that someone or something is having a 'private joke' or conveying a private message that only the initiated will understand. As Ian Skelly (who I greatly admire) and who will present the Sunday Prom says in his radio 3 promo, "Why should the Devil have all the good music" and "the Devil will be picking up his fiddle and dancing with the skeletons" on Sunday night. Incidentally we are informed that the talented Ian is a full time writer and has worked closely for a decade with HRH The Prince of Wales helping him to articulate the detail of his initiatives. They wrote 'Harmony' together in n 2010 that I just happen to have in my collection.


17:30  Royal Albert Hall

Prom 67: Bernstein – Stage and Screen
Celebrate the music of Leonard Bernstein with John Wilson and his orchestra in this Prom which features highlights from 'Candide', 'Wonderful Town', 'Fancy Free', 'West Side Story' and 'Peter Pan'. Also broadcast on BBC Four on Friday 11 September.

21:00  Royal Albert Hall

Prom 68: Bach – Six Cello Suites
Cellist Yo-Yo Ma has the Royal Albert Hall stage to himself for this Late Night Prom as he takes on the challenge of J. S. Bach’s Six Cello Suites. Broadcast on BBC Four on Thursday 10 September.


Prom 69:

Tchaikovsky: Francesca da Rimini (18 mins)

Rachmaninov: Piano Concerto No. 2 in C minor   (35 mins)


Rimsky-Korsakov Scheherazade  (42 mins)

Nikolai Lugansky  piano
St Petersburg Philharmonic Orchestra
Yuri Temirkanov  conductor

"Just over a decade since their most recent visit, the St Petersburg Philharmonic and its renowned Artistic Director and Chief Conductor, Yuri Temirkanov, return to the Proms with a homegrown programme of Russian greats. Pianist Nikolai Lugansky is the soloist in Rachmaninov’s most famous work, the Second Piano Concerto, with its lyrical slow movement and brilliant, virtuosic finale. Rimsky-Korsakov’s Scheherazade dissolves the magic and colour of the tales of the Thousand and One Nights into a glittering musical tapestry that the composer himself described as ‘an oriental narrative of fairy-tale wonders’. Tchaikovsky’s swirling tone-poem of doomed lovers opens the programme." (Source: END.

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