Track 1 from Vorspiel einer Philosophie der Zukunft (Prelude to the Philosophy of the Future). "Der Ritter" translates to "the rider" in English, but could also be interpreted as "the knight". I introduce the "rider" motif (galloping rhythm) at 1:20, and the "wonder" motif at 1:46. The momentum begins to slow down around 4:00 until 5:15 when a long guitar soliloquy begins. The music becomes more pleading until 7:40, when a final burst of emotion springs forth. From 8:06 until then end, the feeling becomes more resolved and determined. The "wonder" motif returns at 10:00. Lyrics at http://wendemusic.blogspot.com/

Der Ritter

Track 4 from The Third and the Noble. I wrote this in November of 2008, re-recorded winter of 2011/2012. Lyrics at http://wendemusic.blogspot.com/

Nothingness

Track 6 from Vorspiel einer Philosophie der Zukunft (Prelude to the Philosophy of the Future). Hercynian refers to the Hercynian forest, the ancient old-growth forest that once stretched from the Rhine river to the Carpathians. From 0:16, the feeling is confined and almost oppressive, though a few "rays of light" shine through beginning at 1:09. Following a mood change at 2:02, the "nature" motif is introduced at 2:56. Following another shift in mood at 5:50, when the music becomes more open and hopeful, the "rays of light" shine through again at 7:10. A simple ascending motif brings the mood to a climax beginning at 8:03 Lyrics at http://wendemusic.blogspot.com/

Hercynian

"I walked and, I believe, descended, but I presently found a great alteration in my sensations. Before, dark and opaque bodies had surrounded me, impervious to my touch or sight; but I now found that I could wander on at liberty, with no obstacles which I could not either surmount or avoid. The light became more and more oppressive to me, and the heat wearying me as I walked, I sought a place where I could receive shade" -Mary Shelley's "Frankenstein"

"Ich erkenne nun, dass das besondere Gewebe meiner Musik (natürlich immer im genauesten Zusammenhang mit der dichterischen Anlage), was meine Freunde jetzt als so neu und bedeutend betrachten, seine Fügung namentlich dem aüsserst empfindlichen Gefühle verdankt, welches mich auf Vermittelung und innige Verbindung aller Momente des Ueberganges des äussersten Stimmungen ineinander hinweist. Meine feinste und tiefste Kunst möchte ich jetzt die Kunst des Ueberganges nennen, denn mein ganzes Kunstgewebe besteht aus solchen Uebergängen: das Schroffe und Jähe ist mir zuwider geworden; es ist oft unumgänglich und nöthig, aber auch dann darf es nicht eintreten, ohne dass die Stimmung auf den plötzlichen Uebergang so bestimmt vorbereitet war, dass sie diesen von selbst forderte" -Richard Wagner to Mathilde Wesendonck 1859

Wende (Zamiel)