Date: Sun, 10 Nov 2002 14:24:20 -0600
Subject: [Centaurs] TD10: Vaughan Williams
Ralph Vaughan-Williams was born October 12th, 1872, in Down Ampney, Gloucestershire (51n40, 01w51). I have never found any reference to his time of birth, astrological or not. At 12 GMT that day:
Sun = 19,28 Libra
The intromission of Ixion and the probable less than 1-degree Sun/TD10 conjunction makes this case very complicated to analyze looking for the action of TD10, but I always admired and loved his music a lot, I would like to investigate a little of his life.
Does any of our friends in England have a reputable source of his time of birth? Have you ever seen a chart of him?
Date: Mon, 11 Nov 2002 16:28:00 -0600
... 20+ years ago, when I was studying there, I digged the University of California Library (Santa Barbara) and found no reference to the time in any of the biographies, so I am not optimistic.
Date: Mon, 11 Nov 2002 18:00:43 -0600
Vaughan Williams's 4th and 6th symphonies occupy a special place in his life and production because of their very harsh and stern emotional tone, compared with what one usually finds in his music: pastoral and serene musings, atmospheric romantic evocations, mysticism, meditative and contemplative moods. The stronger and agitated pieces or passages of his most familiar music had never been "wild" or violent.
But the 4th Symphony broke all that, including the "folk" label under which he is usually placed. From the very start we are in a more violent and aggressive world, and also more universal or classic. It is so atypical and aggressive that it took me a long time to be able to sit and really listen to it. I always preferred any of his other symphonies and avoided being punched by the opening lines of the 1st movement.
The 4th was finished in 1934 and premiered in London with the composer as conductor on April 10, 1935. I will assume 20h GMT and use precession-corrected positions from the time of his birth:
Sun 4th Sym premiere = 19,08 Aries
As you can see, the "public identity" (=the premiere) of this symphony is strongly related to the composer's natal and death Ixion. The strong Ixion/Sun tie is the key to the role this symphony has in the composer's life. This suggests to me, intuitively, that his desire to actively participate in both World Wars may be related to this Ixion. In WWI he enlisted as medical orderly and later joined the Royal Garrison Artillery in 1916 in spite of being overaged (42-44), and in WWII contributed writing propaganda music and working for refugees.
Descriptions of the 4th symphony could give us a clue about the manifestation of his Sun/Ixion tie: "troubled anxiety", "anguish", "emotional violence", "naked aggression", "angry", "uncertain", "grinding dissonances", "a jolt", "harsh", "brutal", "despairing", "unrelieved tragedy". All this contrasts greatly with the type of music one would consider typical of him.
There have always been speculations about what this means, often in the direction of the composer being a visionary like William Blake and the 4th symphony (and even more the 6th in another, post-war context) being the prophesy of the rise of Nazism, speculations that were always denied by the composer. I quote:
<<Indeed, its impact has given rise to several misunderstandings of the work--notably, that it prophesied the rise of Fascism. Something this powerful MUST mean something. But this view, of course, came later, in the 40s. At its 1935 premiere, no one connected this with Fascism, and the composer always strenuously insisted it was pure music. Vaughan Williams's friends found it to express his humor and his "poisonous temper." The composer himself deprecated the symphony in very well-known remarks. He described the opening grinding dissonances as "cribbed from the finale of Beethoven's ninth." To a musician's questioning of a certain note, he replied, "It looks wrong and it sounds wrong, but it's right." "I don't know whether I like it, but it's what I meant." Actually, the composer protested too much. I believe the symphony expresses some inner program, but it is precisely because it talks about "inner weather" (to borrow Frost's happy term about poets) that it remains hidden.>> (Steve Schwartz) http://www.classical.net/music/comp.lst/works/v-w/v-w4.html
Subject: [Centaurs] TD10: Vaughan-Williams, Ixion (2)
Vaughan Williams' programmatic "Sinfonia Antartica" (No.7) opens with the following lines from Shelley's "Prometheus Unbound" :
To suffer woes which Hope thinks infinite;
The Sinfonia Antartica, 1st performed in Manchester on January 14, 1953, when the composer was 80, is based on material written earlier for the movie "Scott of the Antartic" --released in the UK December 30th 1948-- which tells the unfortunate adventure of explorer Robert Falcon Scott in the Antartic that took his life in 1912.
It is reasonable to assume a time of 8 p.m. for both the movie and the symphony premiere (the changes in the position of the Moon will be small anyway). Using the sidereal zodiac:
Moon "Scott of the Antartic"
(1948) = 20,06 Sagittarius
This is an interesting coincidence. The Moon is associated here with Ixion and Neptune by a square that must have been exact at the end of the show in 1948:
Ixion "Scott of the Antartic"
= 21,01 Virgo
There is a direct Ixion link between the real events that ended in Scott's death in 1912 in the Antartic and the life of Vaughan Williams:
Lunar Node of Scott's last diary
entry (29 March 1912) = 28,04 Pisces
The strongest link between Vaughan Williams and Scott, born 4 years before him in 1868, is very directly TD10:
natal TD10 of Scott (b.
June 6 1868) = 26,53 Virgo
I think it is also interesting to note that the explorer was born under a Uranus/Ixion conjunction:
Uranus R. F. Scott = 18,31
The link between the story of R.F. Scott and TD10 can be seen
also in the following: after his body was found in November 1912, news reached
London January 11th, a memorial service was held on January 14, 1913, with
the King's attendance (recall that the "Sinfonia Antartica" was first performed
January 14 1953), and 2 years later, on November 5, 1915, a statue of Robert
Scott, sculpted by his wife, was unveiled in Waterloo Place by Mr. Balfour,
the Prime Minister. So we have:
Sun of R. Scott's statue
by his wife = 18,25 Libra (noon GMT)
Date: Wed, 13 Nov 2002 09:53:26 -0600
[regarding the 4th Symphony]:
That this Symphony is strongly "Ixionic", and particularly Sun-Ixionic, is said by the astrological charting itself based on focal determination, so I simply suggest that the descriptions *could* apply to V-W's Sun/Ixion too.
The event, in this case V-W's 4th Symphony compared with his natal chart, is informing us about Ixion, specifically about Ixion-Sun. I repeat what I wrote here not long ago:
Date: Mon, 26 Aug 2002 13:17:19 -0600
<<if the body is critically focal in a chart when compared to the other bodies used, then the event is informing us about the body. The relationship is there, is a given, and the description of the event may help to figure out the astrological characteristics of the body. But this is possible only if the rules of focality are followed strictly.>>
This is an illustration of the point I was making at that time that relationships between events and planets or asteroids do *not* have to be tested by means of statistics or "scientific" methods, because they "come inside the package" of each case you analyze.
<<The relationship itself (e.g., between the body and the event) does not have to be tested. It is given by the rules of focality and is the result of applying a specific a priori system of classification. The relationships are all there because classification systems are structured. What must be tested is one's operationalization, explanation, or interpretation of the specific relationship.>>
And so far, I haven't done any in this case.