{The opening scene} Upon the Dialogue recordation of AgathaDaemon, and a guest; Hermes Trismegestus.
A Music Prose Composition \ the Complete Orchestra Symphony et c’ie.
The Six Piece Original Work composed in Twelve Movements – albeit Twenty and Four manuscript pages. Albeit an historical discussion which begins upon the most ancient northern aspect, of ancient Cham’s Land {Aegypt}. Hermes I. whom is contemporary with Methuselah circa Year of the World | Ano Adami ante-deluvian period {before the great deluge which engulfed much, of the known world}.
Directly after the great deluge his progeny are conversing, upon the most profound philosophic points of knowledge – under an open tent - temple shrine.
AgathaDaemon {Demi-God} and his father Hermes II. Trimegestus {most wise sage} whom spoke the famous words; “So above, so below” continue their great dialogue.
Though note each character competent to gesture in emphasis of worldly demesne.
The Libretto is comprised of factual moments, which heretofore may become depicted to the extent of theatrical portrayal, of the actual historic personage {which casting must be a carefully adhered to formula criterion}, the actual physical locations recalled, as also the Events which now become celebrated. As noted; AgathaDaemon has welcomed Hermes Trismegestus contemporary with Methuselah to his famous tent, to ponder great thoughts, to weigh wisdom, and to increase knowledge.
The discourse - upon a sequence of vignette brief reflection - recalls the earliest first making, of the most ancient land, of Egypt even before it was called Cham’s Land - upon the time, and the instance of Sol, the chief god whom was followed in power by Vulcan {whom I perforce discern was a direct descendant of Cain - the son of Adam and Eve}, and he followed in power by Saturn {The first named Saturn - not to confuse with the later named Saturn - whom figured into the Roman Pantheon some two thousand years later etc’}. And he followed in time by the first named Isis and Osiris {not to confuse with the later named Osiris and Isis - whom figured into the visitation, to the North Most Land, the land which today is modern Germany - some thousand or more years later}. The first through Sixth movements {which moreover portends visible posture and fascination, with and toward the starry heavens - conveys the unique period of circa Anoque Adami 276 through anoque Adami `1656 | B’ C’ E’ `2348 {about some 1380 years of time} upon the instance, of the great deluge - and the De Novo period which began, though which did not submerse Egypt – which at that time was called more nearly Solutrea Proper – to distinguish from Solutrea in Hisperia Minores {Spain}. Therefore the stage setting; a sand oasis, the apparel being long cotton – linen robes, the tenet being quite quiet though sonorous. The temporal theme at evening twilight.
The Seventh through Twelvth movements convey, the portrayal of Events, from the subsiding, of the great deluge circa Anoque Adami `1656 | B’ C’ E’ `2348 and on upto the period, of the Egyptian Mars {Hercules Lybicus} {a few hundret years of time}. Therefore the stage scenery; of porphyry benches and columns {The pillars of Hercules} – the ocean coastal travel voyage from Egypt - along the coast of Europe as far, as the north west shore, of the north most land knowable then; Germany albeit about where Duisburg is today {The seventh movement}. While first making acquaintance the Egyptians introduce; the technique of iron metal implement manufacture {the eighth movement} - and also the formulated science of medicinal preparation {the ninth movement} - and the simple procedure of brewing Ale from graine {the tenth movement}. Then the voyage back to Egypt. The penultimate scene, {The eleventh movement}, conveys the appearance of Hercules Lybicus {whom is famous for erecting the Pillars - which defined the boundaries, of the known World West to East } and is the son of Osiris and Isis who have just come back from their new long travel voyage to rejoice upon arrival {The twelvth movement}.
The Finale.
c' f'; Manetho.
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