26. THE PIETA – The last artwork of Master Titian – how Palmina helps with her Lute music

Titan’s last painting Pieta, completed by Palma il Giovane

26. THE PIETA – The last artwork of Master Titian – how Palmina helps with her Lute music

After Palmina played so beautifully the „King Fuxi Melody“ together with Palma il Giovane, he was so thankful to have composed an „innovative“ Fugue, a „Fuga a 3“ for 3 voices.
Palmina inspires him so much and this helps him to work inspired as artist.

„It was so tender you played my composition on your Pipa…“, Palma said smiling.
Palmina smiled also and she covered him with her heart-to-heart love like a golden light.

„But you played also very beautiful on your instrument, Palma, my composer!“

* * *

As they are so lovely speaking to each other they had a new vision in their Peony Gondola. Yes, in this 23rd (11.p.m.) hour of the day Palmina now laid her head on Palma’s side. She could hear and feel his heart. Palmina makes him so quite and sure and lucky.
They both saw themselves how they helped Master Titian to paint his last great artwork.
The vision told them to help, to motivate and to inspire Master Titian making his artwork in the next months.
Palma was now holding Palmina with his arm. He gave her also tenter warm sympathy in this moment.
„Look, the vision shows us that we have to help Master Titian to paint again…“
– „Yes, Palma, my composer and painter, …and we will get help for this…“

Palmina seems now again to understand something more then Palma.

And as they both dreamed now they continued to dream their vision:

* * *

Palma stood in the empty Venice Titian Art Gallery at the late morning.
She wear a green cloth. Both are now here alone, only mother was in the long kitchen doing some work.

Palma painted now Palmina in this green cloth.
She hold her left hand very high and her gesture is expressing big exciting.

„Should I stay longer in this position? Palma, it is not easy to stand in that way very long.“, Palmina looked scared.

„Ok…wan de… we are finished for this day.“
Palmina jumped softly from her wooden stage, where she often gives lute solo concerts.
Like a little sweet bird she wanted to came to his easel to see how he painted her.

„Do you think this will master Titian take in his new picture?“

– „Let’s try it, Palma, maybe he says YES, maybe he choose an other variation of it…“, Palmina said very motivated.

„Hm, yes, maybe… important that he raises from his weakness and starts to draw on a new painting…“, Palma answered.

„And the other drafts for Master Titian…?

„Yesterday, you remember, as we visited Master Titian at home, he had suddenly a vision and he stood up. He saw a miracle appearance of a „Pieta“ on the sky through his window. He saw the saint virgin holding Jesus on her knees.
Titian felt on his old weak knees and prayed. Then he tried to look at this vision to paint it.
He wanted to see if Jesus is still alive… Palma saw this scene and Palmina also.

Titian touched Jesus hand *) to see if Jesus is alive after he was taken from the crucifix.

Palmina understood all.
Titian started then to paint fast and the saint virgin-vision did not disappear as long as he drew it. As he was ready he felt weak on the floor.
Palmina and Palma came to pick him up and to help him to come back into his bed.

After a few minutes the weak Master Titian spoke very slow: „We have to draw a ‚Pieta‘.
Tomorrow we start to paint it on a big picture…. Palma help me….and please, Palmina should play her lute…And…, and make some drawings drafts of Maria Magdala, a Moses statue , Saint Helena.., The Pieta I make ready till tomorrow…and..and… Palma finish it if I will die….“
Palma nodded. Palmina nodded. Palma and Palmina looked in their eyes and they felt such a warm heart to heart connection. Yes, they felt: this is a historic moment of the culture and art in the whole history of this solar system.

* * *

„We have to help him…“ they thought both in their heart.

And Palma searched for some models for the first drafts for statues Moses, Saint Helena and living Saint Marie of Magdala.

* picture: Detail of the painting Pieta with self portrait of Titian. Behind him are the drafts of the vision with a ‚Pieta‘ appearing on the sky.

* picture: Detail of the painting Pieta with self portrait of Titian. Behind him are the drafts of the vision with a ‚Pieta‘ appearing on the sky.

And suddenly he remembered as Titian felt on his knees and Palmina thought he felt on the floor because of his weakness and wanted to cry for help.

„Titian should paint himself as self-portrait and:…

Maria Magdala is crying for help like you did yesterday to help master Titian….“

Palmina was not wondering about Palma’s creativity, she is used to miracles…

He made some fast drawing on his paper and said to Palmina. „Yes, Palmina I will draw you as St.Magdalena with a green cloth… Can you come tomorrow on our Gallery so I can paint you?“

„Yes, I will take also my two lutes for rehearsing and preparing some music pieces to play for Master Titian during he is starting with you… to paint on his big „Pieta“-Creation.

And so they did. Palma draw also very fast a men, a member of the big Venice-Titian-Art Gallery as Moses and a women as St. Helena.

He made it so fast because Palmina played so beautiful on her Lute.

During he painted in the Gallery he said also on this day:“ Yes, Titian ordered me to draw all the beautiful fine Chinese family here instead of Titian because he is felling not so strong. But it does not mean that he should not paint any more.
Now we help him to make a big artwork…. St.Mary of Magdala, Moses, St. Helena…“

„And…“,Palmina had an idea, „…draw also him, as he yesterday was on the knees to check if Jesus is still alive… draw him like that… This is it!“

Palma looked questioning.

Palmina took her Chinese Lute and played their „Spring Melody of the 8 images“

Palma smiled; it is their secret love song.

Palma said after the Melody:“Ok, you are right, maybe this will inspire him to have a self portrait in this mystic painting Pieta“.

* * *

And so it did happen:

The next day, as they visited Master Titian, he was lying in his bed very weak but his eyes full of burning live.
The vision on the sky and the fact that his Master-scholar, ho leads the Titian-school since years for him in a good way, will now assist him drawing the „Pieta“ makes him hopeful.

Everyone expected that Titian is to weak to paint again but now the miracles happened…

Palma was his Master Scholar who was since years his „voice“ to the students of the Titian-School here in Venice.
Master Titian checked always the artwork of the painting students without telling a word. Often the students expected some feedback, but Master Titian looked only very serious and always with his eyes looking into the spiritual world without saying any word to them.
Palma seemed to understand Titian’s thoughts and tried to tell the student very carefully what he or she has to make better on his artwork studies.
But Palma was often very diplomatic, not hurting the feelings of a student; some had parents with great influence…

So Master Titian had today really fire in his eyes, eyes of an old weak body who worked hard on his artworks and paintings through his whole life.
Titian was not only artist, he owned also a lot of wood areas in Austria and earned also a lot of money with selling wood. He was an organisation talent, but in his late years he talked not much, but his thoughts where strong and Palma and Palmina understood him very well, maybe this is why he loved them like his own children.

Palma and Palmina sat to his bed, showing Palma’s freshly painted drafts for Master Titian’s Pieta.
Palmina smiled and Titian looked at Palma’s drawings of Palmina as St Maria of Magdala.
Titian looked on the painting and looked to Palma saying with his weak voice:
„This is Palma!… always drawing a fantasy face of his models. Good idea… I will take all your drafts in my Pieta. Let us begin now…Please help me to come out of my bed…
Oh,no….slowly…my bones…slowly…I am an over 97* year old men….oh. no…“

Titian (1476-1576) – wikipedia – https://en.wikipedia.org/wiki/Titian
Tiziano Vecelli or Tiziano Vecellio c. 1488/1490 – 27 August 1576) known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno (in Veneto, Republic of Venice)

„You know, master Titian, we, Palmina and I decided often that I draw Palmina with a variation of her beautiful face, so the people of Venice can not find out that Palmina and I…“

„…I understand you, Palma, the strict honour codex…“, answered Master Titian.

They prepared the big white painting canvas for Titian’s special painting Method:
Grounding – White painting the main figures – Colouring the white paintings – fine painting of the colours (light reflections of other objects)..

As they tried to start to make the red-brown grounding of the big painting Palmina took her Lute and played beautifully.

And suddenly Master Titian had more power to draw…
Palmina played, Titian painted and so they made the preparations for the painting.

Titian made a little draft of his big Pieta and he looked thankfully to Palmina and to Palma. Silently he thought:“They are a miracle – They helped me – They bring me the light to do this important artwork! They belong together… I can feel it…“

* * *

Once, at one day (they worked tree years on this painting!!!) Palmina said to Palma. „Palma, you sould tell Master Titian that it is better to draw the Pieta on the lowest part in that big picture and not at the sky in the upper part…?“

„Why, my dear beloved Palmina, my Albina, my princess….“

„It is because he is not the youngest any more… If he has to draw on the middle or on the upper part of this near square format painting he has always to use wooden stairs or a scaffolding to draw on it…
If he falls down he will break his bones! He must paint from the floor! You can make the rest…hmm??? This painting is also a big change for your future here as artist in Venice. If he can continue we help him and he helps us..he likes us really very much…I think he knows that we are a secret pair…“

„You are an angel, Palmina!…Once you saved also my live, waking me up with your tender lute playing from the scaffolding in the church where I felt into sleep. You saved me from falling down…I remember it today very good…“ *)

– „I also, my Palma, my composer…you are also my first love…“

*) see chapter Nr 3. Palmina saved Palma il Giovane with light and music (Mandolin solo inspiration part III)

„I will tell him carefully that this is the only way we can finish this artwork…and he can also paint from his bed, lying in his bed, painting the St.Virgin and Jesus and his auto portrait.“

Palma was very careful to tell his master this idea; but he did it very diplomatically:

* * *

„Master Titian, it is important to draw a secret, imaginary line from right-down to the left-up side.

* Detail of image showing the „imaginary line“ from right-down to left-up
[detail picture of Titian’s Pieta]

Imaginary line“ from right-down to left-up (detail picture of Titian’s Pieta)

This line should start at your head – then going on at Jesus – then at St. Virgin – then St. Mary Magdala to her crying hands that are telling: „Jesus is still alive, he is not dead!“

We can put the scene of Pieta after crucifixion on „good Friday“ together with the image of the „Easter Sunday“ at tomb and bring it in a new timeless space in an eternal dimension.

Master Titian opened his eyes very big, then he made a mimic that is very serious.

As Palmina heard Palma talking like that she thought: „Palmina you mean, a timeless space, like we are in the Peony Pavilion, oh… I want to think: in our Peony Gondola!“

Palma nodded to her.

Palma and Palmina had been a little bit shy and afraid like little children…

Master Titian looked at Palma’s drafts and tried to visualize the idea of an imaginary line from his auto-portrait over Jesus his mother to Maria Magdala, which was the Palmina.
He thought, he looked, he thought and looked.

But then Master Titian smiled after a while and nodded „yes to them“.

„He seems to accept our suggestions and ideas…“, Palmina and Palma thought.

Then Master Titian tried to touch his own back with his left hand saying“ Oh,no…my back…oh,no… my bones…You are genius!… I would not be able to paint the ‚Pieta‘ in the upper part of the drawing…my bones…good idea…good idea…I will paint it on my knees as respect and thank you for the big vision…“

Palmina smiled secretly and Palma smiled also.
Palmina took her lute and played a sweet little dance which she composed…
„Oh, beautiful, my sweet Palmina…you composed it very well, I love also your creations very much…Take care on your hands…“, Palma thought by himself and Palmina smiled to him back feeling his thoughts. In this moment Palma thought he want to kiss her hands, but they are not alone and Titian has to start his painting work.

Palma took a cup of tea and also Titian moved his head after Palmina’s music and started to paint on the lower part of the painting.


So now the Pieta was saved. In a few days Titian will have made is first white coloured basic painting of the red-brown background.

Titian invented this method to draw only first in white, because he said:
„Listen my Master Scholar: If I have not the time to work on this painting any more I made the white basics. If I come later to work on I can do the colours and the fine colours later. But the main idea is done very fast in only white colour.
This is good, listen Palma, if you have once to paint on a lot of paintings at the same time.
It could happen that you have no time to finish it by yourself. Then your students will finish it easier and do not disturb the main idea of the painting….And once Palma, in maybe 20 years you will be the most famous painter in whole Republic of Venice and it will be a big honour to know you, to have a portrait of you – you see: all the beautiful Chinese women wants a portrait from you now… and this means a lot of hard work for your whole live. And teaching… Palma, you will held so much speech here in Venice about my way of teaching and painting…You will speak about so much stories and legends about our Venice… And don’t forget about Palmina, she is your angel, she supports you with all her love…“

Palma was surprised that he found out that Palmina and Palma are loving each other. It is their secret….

„Palma and Palmina, I am an old Master, an old man, …my body is now weak but my spirit can feel Palmina’s strong sympathy and love radiation always in your direction as she plays beautifully on her lute in the Venice-Titian-Art-Galery and in the Dogan’s Palace. She loves you and you are loving her. You both are so disciplined not to show it in the Gallery, according the strict honour codex, but outside it is allowed to have a love relation, it is your private right…“
– and Master Titian continued words of wisdom.
„You should stay in Venice, Palma. Don’t leave Venice, the city of art..In a few years there is no follow-ship of the old masters here in Venice and no one is well educated in the old traditions and secrets of artwork like you Palma…“

Titian painted with his brush in white very slowly, but like an old Master, very sure.

Palmina looked very shy smiling to Palma.

She send him warm heart to heart light and energy.
She wants to send him a little tender kiss and Palma felt it and smiled back.

And so the next months were filled with doing the supporting and assisting painting artwork at Titian’s Pieta.

At that moment where master Titian could sit on a special chair to paint his „Pieta“, Palma and Palmina sat waiting behind him in his big room and sometimes they put both their hands secretly on the fine little round small table and their little fingers are touching each other very tender an secretly.

Their spiritual love could Titian feel, as old Master, who feels also that his live is now entering the last months in being able to work on his last big artwork.

Palmina and Palma smiled at each other. They where lucky to make it possible that master Titian is doing an artwork.
But it was not automatically possible to make this, some basic ideas had to come from Palma and Palmina.

* * * * * *

And now as the days had came, they came but slowly, where Master Titian was not sure if he can draw any more, Palmina and Palma did not give up.

They had a very good idea:

Palmina and Palma moved Master Titian’s bed to the Pieta painting to make it possible for master Titian to go on drawing from his bed.

Palmina and Palma looked each other at that moment of moving the bed into their eyes and looked each other silently during Titian had his eyes closed.
Then he waked up and understood wordless the idea of Palma and Palmina.
All smiled now…

* * * * * *

But on one day he had not the power to hold the brush any more:

Palmina took her Chinese Lute and started to play the „Spring Melody of the 8 Images“ which Palma composed for her and she played it to support his speech.
Palma smiled hearing that and looked at her knowing „This is our secret heart to heart love melody.“
The love energy from heart to heart between Palma and Palmina made it also possible that master Titian could move his arms to draw for a few minutes…. and he painted a little bit during the power influence of Palmina’s Chinese Lute playing.

And after a few hours Titian took Palma’s hand and lead slowly the paint-brush , now in Palma il Giovane’s hand, together with him painting on the Pieta.
Titian felt very weak, but he fought very strong to paint and not to give up.
He was like Jesus carrying the cross and Palma was his ‚Simon of Cyrene‘ helping him to carry it.

It is Titian’s „via dolorosa“ he is now going through.
And Palmina-Albina is now like the Saint Veronica receiving the Vera Icona – the true image of Jesus on her canvas.

Palmina tried to support them and played and played without stopping.

So slowly the master Titian showed only Palma where he has to paint and he let the paintbrush only be directed after master Titian’s thoughts. Then he moved only his hand in the air and Palma followed the moving without telling a word.

Palma painted and painted – Palmas hand is now Titian’s hand.

Later master Titian only watched how Palma draw after his orders.

Palmina played, Palma draw and silently, slowly, peacefully master Titian closed his eyes with a little smile in his face…

The next day all the family of master Titian came to surround him: „We let him sleep now, he is tired… He gave his master paintbrush to Palma il Giovane to finish his master-work.“

And the next days Palma painted. Palmina played on her Lute and Titian only silently looked how Palma il Giovane is doing finishing his big artwork.

* * *

„He gave Palma il Giovane his master paint brush to finish his Pieta…“, all the Venetian People now talked all around.

In the churches all people begun to pray for master Titian that he has the power to finish his artwork: „And we pray now for Master Titian and his Master Scholar that they can finish the big artwork of the Pieta…“

And also people with other religions traditions prayed in their tradition for him.
Especially the 600 persons of the Asia delegation from China prayed in Taoistic, Konfuzian and in Buddhist tradition for them.

And also the Dogan, who was mightiest then the catholic pope*), prayed silent in his Dogan’s Palace with his servants.

The eyes of the whole Republic of Venice is now sending their hopings and prayers and their good thoughts.

*) A catholic pope is said to be the mightiest person in Europe at this century
and the Dogan of the Republic of Venice is said to be the world’s mightiest person.
That’s why maybe to contact between Asia, especially China to Venice is an old friendship tradition of high cultural meaning.

* * * * * *

„He is still alive…“, Palmina said very excited and she looked like the Saint Maria of Magdala in Titian’s Pieta, like Palma painted her in his draft for in the Titian’s painting Pieta.

Palma looked at her, she wear today exactly the green cloth as she wear once as she was modelling for Palma’s painting.
Palma loves her very much. Palmina was his best model and Titian knew it also. She could inspire Palma very much. Often he painted her with a variation of her face to make it as secret that she is his preferred model for all his paintings.

„You gave him the hope to live and to paint with your lute playing!“, answered Palma.

* * *

„….he fighting against his weakness….he wants not to die until the main idea of the Pieta is finished…“, the members of the Titian-Art-Gallery are whispering.

* * *

A lot of artists are allowed to make a last visit to Master Titian at his bed, where Palma is drawing and Palmina is playing.

There was also the famous architect Antonio da Ponte and he was ordered to create the Rialto Bridge. *) by the Republic of Venice.
He saw the Pieta drawing in Titian’s room and made some drawings of the arc bow which surrounded the Pieta of Titian.

*) The Rialto Bridge was opened on 20th March 1591, created by
Antonio da Ponte (1512–1597) who was a Venetian architect and engineer, most famous for his rebuilding of the Rialto Bridge in Venice.
wikipedia:  https://en.wikipedia.org/wiki/Antonio_da_Ponte

„It is inspiring here at your Venice-Titian-Art-Galery.
I am impressed how you both are fighting for master Titian’s finishing his last artwork…
You drew a beautiful arch-bow around the Pieta of Titian.
I have dedicated my draft of the big Rialto Bridge to this secret miracle.
Look I will make the arch-bow on the top of my bridge as this…
…Jesus is still living after his crucifixion…
…Titian is still living and his spirit is telling what Palma il Giovane has to paint after his spiritual inspiration and after Palmina’s beautiful playing…so nice compositions….who composed it? It sounds so new…“, asked Antonio da Ponte, who was very interested in arts and especially in music.

Palmina smiled to Palma and Palma showed her: „…silence… who composed it, is a secret…No one knows that I am the composer of the music…I am now so well known as Master scholar in Venice… it could be difficult for me if they see I am also a composer…“, Palma tried to tell her as heart to heart message.

Palmina understood and nodded. Palmina knows all about his heart and Palma knows all about her heart.
They feel if someone is suffering and then they support each other from heart to heart.
Only Palma’s mother knows the secret and: Master Titian AND: Master LAO from China. But they do not talk to others about this secret.

Antonio da Ponte finished his drawing of the arch portal for his new „Rialto Bridge“ *
„Now, my Rialto Bridge is more beautifully created and there are tree ways to go over it: The north steps, the middle steps and the south steps.

And look, Palma, here on this side you can enter the north steps only going to this small street: If a man wants to meet his secret love and to see her, he can meet her standing HERE on the north side and she can come from the south steps… and they can smile to each other unseen from any side…“
Palma looked interested at this Rialto Bridge draft. Palmina looked also interested during she played.

picture: The Pieta Arch-Bow on the Rialo Bridge in Venice (right)

The architect looked at Palma and Palmina and nodded to them as if he wanted to say: „Thank you for your Pieta inspiration… Thank you so much… As „thank you“-present I created for you both a secret way to meet for you both every day secretly at the Rialto Bridge!“

And the secret lovers smiled very, very lucky.

Palmina was sure that reason why this vision in their Peony Gondola came is that this is a lucky moment for the history of Venice.

The Pieta will connect Palma and Palmina more in their live; to live their secret deeply heart to heart love.
Not only Titian had a vision, also Palma and Palmina and now the creator of the Rialto Bridge will help secret lovers to see shortly maybe to exchange music scores and to secret exchange love letters…

Palma continued his painting session always asking master Titian if he did it right.
Master Titian seems always to agree with his doing.

Suddenly he said: „And now… now draw a little angel with a long candle…. here on the right side…here, over the Pieta…and don’t colour Moses and the St.Helena statue. The white colour has a poetic meaning… and draw left down the same painting I made at the beginning as I had the vision as you both where with me.*

* Detail of the Painting „Pieta“ from Titian showing a painting with a visionary Pieta appearing on the sky, with two persons kneeing and praying.

Detail of the Painting „Pieta“ from Titian showing a painting with a visionary Pieta appearing on the sky, with two persons kneeing and praying.

This was a miracle and a sign of the heaven that you where on this day visiting me… don’t copy it exactly! It should only remember my first draft and remember the miracle and the world should know that this old man here on the knees, in the picture was a painter…“

All present people around Titian in his big room smiled and laughed decently.

And suddenly Titian moved his hand and his finger pointed at his big painting.
„And …the angel… here.. is here…“

„He sees an angel…“
„Yes, but he wants Palma to draw an angel there…“
„Palma should finish the painting with an own angel…“, the People whispered

„Come Palmina, Come Palma!“ – Palmina stopped playing.
Palma came to look how Master Titian is.
They hold Master Titian’s hands like being his children.

„I have to tell you both: Stay together…work together…support and inspire important artists with your mothers Venice-Titian-Art-Gallery!
You helped me and you will help more and more talents to go their ways.
Try also to support and inspire important composers, once they will make with their compositions it possible that artists: singers, instrumentalists, dancers, poets, painters are more independent by the state and more independent by the church… Remember my words. You are the blessed who can do this for the future of the cultural development!…
He took their hands putting them together like a priest.
He made a few hard breaths and said finally:“My blessings you have…The blessing of master Titziano Vecello…“
And after he said that Master Titian closed his eyes and smiled.


The doctor came now to the bed to confirm his death.

But all saw: He didn’t breath.

Both sunk their head being very sad. All was quite now.

They both felt like children who lost their father.
They hold Master Titian’s hands…

Palmina laid her head to Palma and they hugged deeply and cried.

The priest gave him the blessings and went out to tell all Venetian to ring the bells.

* * * * * *

All the bells and also the big bell in the big saint Marco church, on the St. Marco Place sung the last melody of Titian’s death.

All the Venetian prayed and made their cross.

Also the Chinese friends of Venice where touched by this special historic moment and to see how the Republic of Venice is treating a big artist respectfully.

All Gondolieri said“ From this day on we will paint our Gondolas in black colour! We will never forget the Master Titian!“

„And I will dedicate the arch bow on the new Rialto Bridge* to the painting of the „Pieta“

* Rialo Bridge in Venice
will be finished in the year 1591 in Venice an looks today like this:
(picture: painting from Canaletto)

picture:Rialot Bridge,  painting from Canaletto

Slowly all bells in Venice begun to move and to sound mystically. (Only if a Dogan or a pope dies this happens in Venice)

The sound of hundreds of bells meaning Master Titian is dead.

All people where silent the next days and wearing black colours and praying for him.

„Palma il Giovane finished the painting Pieta,… and the Rialto Bridge will be like the Pieta-arch-bow…“, the Gondolier in whole Venice told to each other.

– „All Gondola will be painted in black colour to honour master Titian!…“

– „Palma il Giovane is the next Master of the Titian School!“

„He leads the school since nearly tree years alone with his mother and some students. Master Titian made only short controlling visits to his school….“

„Palma is his most important scholar. We should ask Palma to draw for our „Ospedale“, a big, big artwork to do for us…“
-„Yes, and the Republic of Venice – the R.O.V. is planing the order big images of Palma in Giovane…“ the friends of the Dogan of the R.O.V.

This could Palmina and Palma see in her vision now in their Peony hour, in their Peony Gondola.
Palmina laid her head again on Palma’s heart to hear it so smile to him.
Palma again hold his arm around her and gave her a little kiss on her head remembering her little kiss as he played his new fugue and she kissed him during he played on his cheek and then she played with him on her Pipa during he played the harpsichord.

She said: „My Palma…“
He answered: „My Palmina…Your love full lute playing made this, all this miracles possible.“

They saw two shooting star on the sky.

Palmina and Palma smiled.

„let us make a secret wish…!“

And both wished to meet again in 300 or 400 years.

They hold their hands and closed their eyes and smiled giving from heart to heart warm love-full energy.

And they both silently wished to see each other again on a bridge.

A bridge which connect the east-part and the west-part. The Ying and Yang.
And she will play Chinese Pipa again and he will continue to compose for her.

„My sweet. little Chinese princess! Wode xiaoxiaode zhongguode gongzi… My Liuto“
And she repeated „Wo shi nide Liuto“ and she made with her mouth saying „Liu-to“ a kissing mouth in his direction.
And Palma made it also and gave her a little, tender kiss.

Then he played on istrument which is unknown in this century, a little personal concert like this:

VIDEO: Pianosolo „Pieta“

new: https://youtu.be/-yprVqNorfA

(old: https://vimeo.com/262575839 )

(to be continued…)


25. Palmina inspires Palma with her Lute to compose first Fuga in history

music score of the „Fuga a3 Fuxi 【伏羲】“ and the chinise lute Pipa 琵琶

 25. Palmina inspires Palma with her Lute to compose first Fuga in history

„Love overcomes all problems and distances, all intrigues, all envy, all separation and all destroying forces.“

And after Palma was so lucky to hear her playing his Pipa solo Nr. 5, and after playing with her in their dreams the version for Pipa and Viola, here in their secret hour in their Peony Gondola, here at 23 o’clock/ 11.p.m., Palmina smiled tender to him.

She took again her Pipa-Lute and opened the music score of Pipa solo 4 ☳ and turned the pages till she found the King Fu Xi Melody – Melody.

(1) Original King Fuxi 伏羲 Melody of the Pipa solo Nr. 4 in pentatonic scale

Exactly this „King Fuxi 伏羲 Melody“ she played for him, for him to support his speech in the Venice – Titian – Art – Gallery.

(2) Original King Fuxi 伏羲 Melody of the Pipa solo 4 in pentatonic scale


Palmina played the „King Fuxi 伏羲 Melody“ *) on her Lute:

(old https://vimeo.com/262257499)

new:  https://youtu.be/cK2eoWGczLs

*) The Melody expresses the 8 Images after King Fuxi 伏羲 from »Early Heaven« Baguameaning, describing the cycle of a whole year:

☳ ☲ ☱ ☰ ☴ ☵ ☶ ☷

(Spring – Summer – Autumn – Winter)

The 8 Images melody is starting from early spring (first image ☳) till winter (last image ☷).

Palma looked surprised to her, hearing this short part of his composition Pipa solo 4 ☳.

Palmina smiled at Palma, he sweet and beautiful eyes asked him wordless:
„Can you transform for me this lovely Melody from the pentatonic scale into the heptatonic scale *) ?“. This she said with her warm, heart-full thoughts. (And this Palma could feel).

„Hm, transcribing a 5-scale to a 7-scale melody, this is sure the first time someone does this in the music history…hm?“

– „Yes, you are the first ever!“

Palma was thinking and trying to find a way to transcribe it.

„Yes, this melody starts at a basic scale note and then it goes his way and comes back to the basic scale step back like a cycle of the seasons, or the day, or a whole year… So this has also to happen if I transcribe it into the 7 scale. The Melody should come back to is basic start.“

*) heptatonic = 7 ton scale (s.a „diatonic scale“): c‘ – d‘ – e‘ – f‘ – g‘ – a‘ – h‘ (b‘)

do – re – mi – fa- so – la – si


Palmina saw that he needs help and she came slowly and gave him a kiss on his cheek, very, very tender and soft.

King Fuxi Melody as heptatonic (7-scale) fugue theme


Palma smiled; she brought him into an inspiration with her deep love; he was in a vision and could see and hear the melody suddenly.
Palmina gave him so much power to write it down – Thank you Palmina!

He wrote the melody down and he played it on the little harpsichord, which was with them in their Peony Gondola; and he wrote the heptatonic version of the King Fuxi Melody:

VIDEO: [fugue theme, 1.Voice on harpsichord]

old: (https://vimeo.com/262258839) / new: https://youtu.be/0u37QiudzOY

„And now…?“, Palma asked

„And now…!“, Palmina gave him a 2nd tender kiss on his other cheek.

Again this inspires him:
Palma smiled and felt again her positive heart to heart golden-light.
This gave him the creativity to write this new melody a fifth higher in addition to the 4 bars he wrote. So the 2nd cheek-kiss lifted the fugue-theme five tones higher…

He played it like that:

VIDEO [2.Voice of fugue theme]:

old: (https://vimeo.com/262259426) / new:  https://youtu.be/Te0_RbnHnuA

Palmina was very proud of Palma and said: „Now make a 2. voice to this King-Fuxi- -Melody, like you did it at the Pipa soli you composed for me so beautifully!“.
Palmina said so friendly to him.
She covered him with so much love, only with her smile and her warm sympathy, coming directly from her heart.

Palma wrote fast a second voice below the melody.

and he played this two voices now it for her on the harpsichord:

VIDEO: [Voice 1+2] https://youtu.be/18bGpYiL5tI

„Hen hao, zui hao de, very good!“, said Palmina very proud.

„And what happens if I would write a 3rd voice now, especially for you…?“, and he looked to hear in an asking way.

Palmina smiled a little bit shy. She understood him very well…

„Tèbié hao,…But, but only if you compose 2 bar – Interlude *) before that, hm? Can you promise me to compose it so?“, Palmina asked and looked into his eyes.

*) Interlude / Interludium: here a short part/ sequence of composed music between two parts, often used to connect it.

She gave him a 3rd kiss, much softer, and much tender then the other kisses before and full of heart, right on the other cheek.

Palma felt now like a „Super Composer!“
He suddenly was able to understand 3 voices polyphonic music thinking.

He wrote 2 additionally bars of a little Interlude and then…, and then he composed the 3rd voice as „Baß Fugue Theme“.

After he wrote it down he played the 3rd Baß voice of the fugue:

VIDEO [Baß: 3rd voice, fugue theme one octave lower]: old: (https://vimeo.com/26226165)  /  new: https://youtu.be/DycgJMErsRU

He used again the „fugue theme“, which was the King Fuxi Melody he transformed from  pentatonic scale  into  heptatonic scale. The other two upper voices are now floating like water, are wings of angels beside the 3rd Voice.

„Let’s look how it is from the beginning.“, Palmina wanted to hear.

Palma started his little composition from the beginning and played for her:

VIDEO (1. – 3. voice, complete „Fugue Exposition“ *) old (https://vimeo.com/262262027) / new: https://youtu.be/FycqP9XUhv0

*) „Fugue Exposition“ is the Initial part of the Fugue which introduces the „Fugue-Theme“ composed voice after Voice often as:

I – V – I – (V) …

Prim – Fifth – Prim – ( Fifth) etc…

„You composed it very well! I like it!“, Palmina said smiling.
„It is like an eternal dance of the spheres of the cosmos.
You composed a very modern fugue !!!

If composer Palestrina *) and the Venetian composer and music theoretician Gioseffo Zarlino **) would hear it, they will be amazed by your artwork!“, Palmina said lucky and wanted to jump, full of pure joy and kindness.

*) Palestrina (1525-1594) – Wikipedia https://en.wikipedia.org/wiki/Giovanni_Pierluigi_da_Palestrina
Giovanni Pierluigi da Palestrina (c. 1525 – 2 February 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a lasting influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony.

**) Gioseffo Zarlino (1517 – 1590) – https://en.wikipedia.org/wiki/Gioseffo_Zarlino
Zarlino was born in Chioggia, near Venice.
Gioseffo Zarlino (31 January or 22 March 1517 – 4 February 1590) was an Italian music theorist and composer of the Renaissance. He was possibly the most famous European music theorist between Aristoxenus [*] and Rameau, and made a large contribution to the theory of counterpoint as well as to musical tuning.

[*] Aristoxenus: (375 – 335 BC) – Wikipedia – https://en.wikipedia.org/wiki/Aristoxenus
Aristoxenus of Tarentum (Greek: Ἀριστόξενος ὁ Ταραντίνος; b. c. 375, fl. 335 BCE) was a Greek Peripatetic philosopher, and a pupil of Aristotle. Most of his writings, which dealt with philosophy, ethics and music, have been lost, but one musical treatise, Elements of Harmony (Greek: Ἁρμονικῶν στοιχείων; Latin: Elementa harmonica), survives incomplete, as well as some fragments concerning rhythm and meter. The Elements is the chief source of our knowledge of ancient Greek music.
( list of works, see list below at ***)


  „Oh no, don’t show them… It is a beginning… And it is for you, my little Pipa-Princess…
I love you so much. You are inspiring me so much. If I know you on my side I will paint and compose for my whole life and stay here in Venice with you. I am remembering our time here in Venice 400 years ago – Venice is our city of Art, Palmina. I love you!“, Palma said her as heart-to-heart message – but he was very shy.
Palmina was now his first love, a love which never hurts, a love of supporting each other, a deep old love of inner fidelity, solidarity and inspiration with a never ending dimension.

Palma is remembering the scene in the Chinese Chunk where Marco Polo and his innocent Chinese Princess made a love-fully music from heart-to-heart falling in eternal love.

„But your music is good! I love it! I like your creations very much…“, Palmina was sure.
And if she decides to find a creation good, it was her free will, and yes…, yes Palmina was a big music and art expert.
Palmina could understand music through her heart. This ability is so great. She also sees music quality with her pure heart. In thousand of years Palma will not find an equal soul like Palmina.
Since Palma met Palmina the best thing happened in Palma’s inner and outer life…

„Really, Palmina…? Really good, hm?“

„Yes“ – she smiled – „Maybe you invented, now, the first Fugue which is innovative…“ –
Palmina smiled and Palma knew that she could understand more things than others about art and music inspiration and: that she has a big intuition to the higher spheres of music.

„Play it again, Palma…“, she asked him. And Palma played it again…

And so he added now to this little fugue the theme in F-Major in his composition which is played:

VIDEO [fugue theme in F-major]: 

old (https://vimeo.com/262266320) / new: https://youtu.be/NlYsnahFNEs

…and he added 3 bars after it. Each one represents a sigh. („Three time sigh“ melodic motive)

Palma played it and outside, around their Golden Peony Gondola they saw lights coming like beautiful flames, decently dancing in the rhythm of the music, building a circle.

Later Palma composed the fugue theme also in minor…and also he wrote again the 3 „sigh“ bars which express his desire for his Albina – Palmina…

– Palma looked surprised, but Palmina seemed to know what is going on here at the clouds. (Both know the story of Dante and Beatrice in the III.part of the „La Divina Commedia“* )

Palma remembers: He could felt that also on that special day, in the moment he saw her first time with her lute: Palmina is a very talented, gifted and friendly being that Palma liked and loved since hundreds, thousands of years. And now she lead him to compose a fugue, which is in Italian called „fuga“. **

* „La Divina Commedia“, III.: describing the spiritual way of Dante guided Beatrice through the spears of the Planets – Wikipedia: https://en.wikipedia.org/wiki/Paradiso_(Dante)

„Paradiso (pronounced [paraˈdiːzo]; Italian for „Paradise“ or „Heaven“) is the third and final part of Dante’s Divine Comedy, following the Inferno and the Purgatorio. It is an allegory telling of Dante’s journey through Heaven, guided by Beatrice In the poem, Paradise […] is depicted as a series of concentric spheres surrounding the Earth, consisting of the
Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean.
It was written in the early 14th century. Allegorically, the poem represents the soul’s ascent to God.“

** Italian words are always used by all composers worldwide, independent from which culture a composer is coming from. Italian is the international language used for words to write in the music score since centuries: Allegro, Adagio, meno mosso, ritardando= „rit.“, pizzicato = „pizz.“, etc….


„And you are sure…I composed an innovative new Fuga a3?.. a fugue a tre for 3 independent voices…?“

„Yes, a fugue **) is a mystic imaginary dance of the spiritual energy or images. It is a symbol of the eternal cosmic principles and its eternal cyclic movements“, Palmina answered, „… A cosmic ballet – this type of composing will be popular in 100 year, and in 200 years after your birthday it will be a traditional composing form and every well educated musician will once knows this composition type of the „Fugue“, the „Fuga“ all over the world. It needs good composers and good musicians to understand this…“, Palmina said.

And Palmina plucked on her Chinese lute Pipa:

A – D – E – a

So Palma answered on his Viola and plucked:

c – g – d‘ – a‘

Then Palmina made a beautiful tremolo on her Pipa with her 5 Fingers of her right hand (it looks so magic) and then she repeated the King Fuxi Melody :

Palmina played the „King Fuxi 伏羲 Melody“ *) on her Lute:

(old https://vimeo.com/262257499)

new:  https://youtu.be/cK2eoWGczLs


„…Ah! I understand… I should compose the Fugue-Theme here as chinese/asian pentatonic in the middle-voice, right?…“

„YES! You are my great composer!“, Palmina said with her sweet voice which sounds like a beautifully singing Pipa.

She smiled and there was a pentatonic music secret in her eyes. ****)
A bright mystic light reflected in her eyes.

Now Palma wrote the Pentatonic Melody in F-Pentatonic, which Palmina played in D-Major (Pipa solo 4) on her wonderful Pipa so beautifully, now in F-Major between the highest and the lowest voice in his composition:

VIDEO: [pentatonic theme in F-major, hapsicord]:

old (https://vimeo.com/262263819) / new: https://youtu.be/w8lMb7PTiao


After this he wrote, and wrote… and always the „3 sighs“ he composed as 3 bars in his composition…

VIDEO: [The 3 Sighs ] https://youtu.be/ZdyXA6nVkMk


The fugue theme as unisono for all 3 voices

At the end of the Fugue/ Fuga he composed a 5-bar „Coda“ with the fugue theme in the 1. Voice.

As he composed it and they tried these bars together playing the pentatonic Melody of King Fuxi and the 2nd and 3rd voice of the „Coda“ of the fugue composition it was ready.

Now Palma started to play the whole new „Eurasian“-Fugue with his 3 voices.

Palmina was very proud, her smile and her love made him a very creative composer.

SHE, the little lutenist Palmina / Albina discovered his music talent!

As she looked at Palma very slowly and smiling during he played so on the harpsichord she decided to give him a tender kiss and she took her Pipa and as the Pentatonic King Fuxi Melody returned she played with him the Melody in its original form of Pipa solo 4:

And this beautiful little secret concert of Pipa and harpsichord was like that:

VIDEO [complete Fuga a3 FuXi Hapsicord+Pipa ]:

old: https://vimeo.com/262268350) / new: https://youtu.be/G3uccJqus68


music: [harpsichord+Pipa (last 5 bars)]
„Fuga a 3 Fuxi【伏羲】Melody“
about the King Fuxi 伏羲 Melody of Pipa solo 4
by Gerald Spitzner

( to be continued…)

**) Fuga / Fugue: – https://en.wikipedia.org/wiki/Fugue
In music, a fugue [/fjuːɡ/ fewg] is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition.
In the Middle Ages, the term was widely used to denote any works in CANONIC style; by the Renaissance, it had come to denote specifically imitative works.[2] Since the 17th century,[3] the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. [4]

Most fugues open with a short main theme, the subject,[5] which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further „entries“ of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the „final entry“ of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda.[6][7] In this sense, a fugue is a style of composition, rather than a fixed structure.

***) Aristoxenus of Tarentum , Works: – Wikipedia https://en.wikipedia.org/wiki/Aristoxenus#Other_works

Πυθαγόρου βίος“ – Life of Pythagoras: fr. 11 Wehrli
Περὶ Πυθαγόρου καὶ τῶν γνωρίμων αὐτοῦ On Pythagoras and his pupils : fr. 14 Wehrli
On the Pythagorean life (Περὶ τοῦ Πυθαγορικοῦ βίου): fr. 31 Wehrli
Pythagorean maxims or Pythagorean negations (Πυθαγορικαὶ ἀποφάσεις): fr. 34 Wehrli
Educational customs or Rules of education (Παιδευτικοὶ νόμοι): fr. 42-43 Wehrli
Political laws (Πολιτικοὶ νόμοι): fr. 44-45 Wehrli
Mantinean character (Μαντινέων ἔθη): fr. 45, I, lines 1-9 Wehrli
Praise of Mantineans (Μαντινέων ἐγκώμιον): fr. 45, I, lines 10-12 Wehrli
Life of Archytas (Ἀρχύτα βίος): fr. 47-50 Wehrli
Life of Socrates (Σωκράτους βίος): fr. 54 Wehrli
Life of Plato (Πλάτωνος βίος): fr. 64 Wehrli
On tonoi (Περὶ τόνων): a brief quotation in Porphyry’s commentary on Ptolemy’s Harmonics, p. 78 Düring (not edited by Wehrli)
On music (Περὶ μουσικῆς): fr. 80, 82, 89 Wehrli
On listening to music or Lecture course on music (Μουσικὴ ἀκρόασις): fr. 90 Wehrli
On Praxidamas (Πραξιδαμάντεια): fr. 91 Wehrli
On melodic composition or On music in lyric poetry (Περὶ μελοποιίας): fr. 93 Wehrli
On musical instruments (Περὶ ὀργάνων): fr. 94-95, 102 Wehrli
On auloi (Περὶ αὐλῶν): fr. 96 Wehrli
On auletes (Περὶ αὐλητῶν): fr. 100 Wehrli
On the boring of auloi (Περὶ αὐλῶν τρήσεως): fr. 101 Wehrli
On choruses (Περὶ χορῶν): fr. 103 Wehrli
On tragic dancing (Περὶ τραγικῆς ὀρχήσεως): fr. 104-106 Wehrli
Comparisons of dances (Συγκρίσεις): fr. 109 Wehrli
On tragic poets (Περὶ τραγῳδοποιῶν): fr. 113 Wehrli
Life of Telestes (Τελέστου βίος): fr. 117 Wehrli (according to whom this Telestes is the dithyrambic poet)
Miscellaneous table talk or Sympotic miscellany (Σύμμικτα συμποτικά): fr. 124 Wehrli
Notes or Memorabilia (Ὑπομνήματα), Historical notes (Ἱστορικὰ ὑπομνήματα), Brief notes (Κατὰ βραχὺ ὑπομνήματα), Miscellaneous notes (Σύμμικτα ὑπομνήματα), Random jottings (Τὰ σποράδην): fr. 128-132, 139 Wehrli

****) „Chinese music,
the art form of organized vocal and instrumental sounds that developed in China. It is one of the oldest and most highly developed of all known musical systems. Chinese music history must be approached with a certain sense of awe. Indeed, any survey evokes the music of a varied, still-active civilization whose archaeological resources go back to 3000 bce and whose own extensive written documents refer to countless forms of music not only in connection with folk festivals and religious events but also in the courts of hundreds of emperors and princes in dozens of provinces, dynasties, and …“. (www.britannica.com)