>>173458Reminds me of that Downfall scene. Fortunately, Hellheim is not under siege, at least not yet.https://youtu.be/U-pVz2LTakMAlthough it is not yet evening, Amber and her closest–really, only–friends play a composition titled "Transfigured Night." As a sextet, it could not be done justice with a few ordinary musicians, but fortunately those present are anything but ordinary. The song starts out gently, with sweet and slow chords reminiscent of the approach of dusk. It is not long at all until Shornberg's more unique and esoteric style subtly creeps into the music as in waves before enshrouding the listeners in its chromaticism, returning occasionally to softer clarity. Shornberg is a quite subversive composer and although the piece is nominally a romance, there are deeper intonations evoking paranoia.
What is love of what is close, for example, but a hatred of the outside? Those damned ponies are a threat to Hellquill, which is all that stands between them and the griffon heartlands. The music's violence suggests what should be done, while its calmer interludes brood over how they overpopulate and despoil what could be productive land. And of course there are sympathizers and traitors everywhere, who lurk in the shadows. Such sentiments are new to Amber and seem to spring from the music itself. Near the middle a part of her is astonished and repelled from such overwhelming thoughts, and although she cannot stop playing, during a quieter and more compatible interlude she desperately starts playing a different song.
https://youtu.be/7vdgZAJVnesThe style, which would be called
tintinnabuli had the term been coined, at first feeds off a smaller rhythm in
Verklarte Nacht and takes the center stage, with its waves evoking harmony and peace. This at first intertwines with the first composition, but soon enough Shornberg's chaos attempts to overpower it while the new composition recedes. The new song is not outdone for long, and although not as loud its tranquil melody rings clearly. Shornberg's rage rings on before mellowing into harmony as well, while the second piece raises vivid and gorgeous protestations that do not seem of this world. Amber herself is divided along these pieces, and her talons seamlessly switch between one composition and the next, if not combining the two. The two, while euphonically combining at points, clash in dissonance at times, with one piece at first feeding into earthly ambition and then dwelling in melancholy while the other has a more celestial bent that chides the other. Shornberg may be subversive, but how could one hear his timeless opposition and not feel guilt over intended wrongs?
Verklarte Nacht finishes with a vaguely pastoral phrase before finishing alongside the other work.
Amber is left exhausted by the end, confused and not entirely sure as to what transpired. What is even more uncertain is how the leader of Hellquill has received this performance, since dissonance in esoteric music is dangerous indeed and can lead to unexpected consequences.