"From the realm of night I, Cuzco, descend into the light place prepared. I am an emissary of the God Surya. I am an emissary of the focal point of the Central Sun and the seat of God-government of this galaxy. I am the Chela of Surya and my service to the earth is to hold the balance in natural forces from my retreat at Viti Levu in the South Pacific.

"Hence, beloved, in this time of the change of cycles for earth I am keenly aware of “karmic weights and measures” and of the auras of those lifestreams who are at the top of the spectrum of Light as well as those who are at the bottom who are scaled to the depths of Darkness.

"You see, beloved, there is the median ground of the mass consciousness that will remain approximately the same unless this mass consciousness is galvanized to a Lightbearer of such charisma, such charity, such qualities of the Holy Spirit as to not only quicken but to enliven and perhaps even to restore a divine spark in those in whom it has gone out.

"But, beloved, those who are in the gray area of the masses, responding only to stimuli that are bombarded upon them through the various forms of media, do not respond well to those who carry Light and [therefore they] are gradually pulled in a downward incline. The voices in this piece of [meditation] music [by Gustav Mahler played before the dictation] represent those who struggle in the twilight zone and those who are victorious in the noonday sun. *

"Beloved ones, discounting, then, the mass consciousness that goes the way of the world itself, the outcome of the planetary spheres does rest upon the few at the top and the bottom—whether those at the top recognize that they are indeed at the top and do carry the Light on behalf of millions and whether they so reckon that their role is paramount in [the] defeating, by the call to Light and the call to Hierarchy, of the fallen ones who move and wait and linger and lurk in the subterranean levels of mired consciousness."

Note:

* The meditation music played before Cuzco’s dictation was 'Chorus Mysticus,' the finale of the monumental Symphony No. 8 by Austrian composer and conductor Gustav Mahler. First performed in 1910, it was dubbed the 'Symphony of a Thousand' because of the number of voices and instruments involved in its performance. The text of Part I of the symphony is the medieval Latin hymn Veni, Creator Spiritus.

Part II is set in the closing redemption scene from Goethe’s poetic drama Faust. In Goethe’s work, Faust, a scholar who does not find satisfaction in his intellectual pursuits, makes a pact with the Devil: if he ever gives in to slothfulness or says of any moment in life, 'Linger awhile—thou art so fair,' the Devil will win his soul. Faust goes through a number of inner struggles in his life and when he dies the Devil’s demons attempt to seize his soul, believing the Devil to have won his pact; but Faust is victoriously borne to heaven by a choir of angels who say, 'He who exerts himself in constant striving, him we can save.'

Harold C. Schonberg writes in The Lives of the Great Composers that 'every one of [Mahler’s] symphonies can be described in terms of unrest, struggle, aspiration.' This is summed up in Mahler’s 'Chorus Mysticus' when the heavenly chorus sings, 'All that is transitory is but a symbol; all inadequacy here is fulfilled; the indescribable here is done; the Eternal Feminine leads us aloft.' As Michael Kennedy explains,

' The concluding Chorus Mysticus, beginning in a hushed whisper and ending in a mighty blaze of sound, sings of the Eternal-Feminine drawing mankind towards heaven . . . At the end, in an instrumental coda, Mahler brings back the Veni, Creator Spiritus theme from the symphony’s opening but with its rising seventh expanded to a ninth as the brass triumphantly affirm the faith in both man and God.'

Mahler’s unique effect is achieved by his masterful use of musical dissonance alternating with resolution through progressive modulations (key changes). The rising motion created by this compositional technique is supported with gradual additions of voices and instruments, producing layers of sound that build to a magnificent crescendo. Mahler’s purpose, writes Kennedy, 'was to emphasize the link between the early expression of Christian belief in the power of the Holy Spirit and Goethe’s symbolic vision of mankind’s redemption through love.'

The music and voices of 'Chorus Mysticus' represent 'the twilight zone' of Faust (and all souls) who experience the inner struggles of life but who through constant striving are 'victorious in the noonday sun' as they make their ascent to heaven at the conclusion of their lives.

"Ladies and gentlemen, at my retreat at Viti Levu I concern myself with every aspect of the earth body—the planes of the earth, the seas and the depths of the deep. I concern myself with the balance of forces in the earth, from its center to its upper atmosphere.

"I AM Cuzco, Chela of God Surya. I greet you on behalf of all elemental life. And I bid you be seated.

"The music you have heard * as well as other compositions by Mahler have to do with earth changes and the holding at bay of major planetary upheaval. You would do well to play tapes of this music continuously on autoreverse tape recorders. Music is what has saved the planet in the past. Yet music must be used judiciously.

"There is deep turmoil in the earth. And elemental life is burdened by the weight of planetary effluvia, as you have been told on many an occasion. We look, then, at your efforts to mitigate world karma. We look at earth’s timetable. We look at the judgments being handed down by Almighty God. And we acknowledge the labors of many in the earth who work night and day to further the upliftment of humanity—whether through saving the children, the youth, the schools, the nations, the governments and the economies, whether through healing all manner of diseases, whether through working to transmute the karma being delivered by the Four Horsemen in the form of the calamities that have been prophesied and that are coming to pass day by day." [highlighted by webmaster]

Note:

The finale from Mahler’s Eighth Symphony was played as the meditation music before the dictation.

" . . . Let music not be thought of as something that does not have ultimate power. The great symphonies, the works of Beethoven, Mahler and many others *—play these also perpetually in your homes, for they are upholding a certain level of vibration of molecules, of atoms and of the earth. Know, then, that music is a mighty powerful force. And just because it is so, the fallen angels, as you know, have moved in everywhere to take from children and adults alike the original purity of the sound of the Om that originated in the Word in the Beginning, the sound of the Om that calls Home to the Divine Mother all evolutions whose day and hour is come for their perfectionment.

"I am Sanat Kumara. I have come and tarried long in the earth. I have returned to my home star and returned to earth again. I will not be moved from this planetary home until every lightbearer is ascended in the light and free. Is this not the vow of the bodhisattva, beloved? Indeed it is."

Note:

The power of music. The meditation music played before the dictation was from Finlandia, by Jan Sibelius. The master also mentions playing the works of Beethoven, Mahler and others. For more on how music affects your spiritual development, see: Elizabeth Clare Prophet, “The Science of Rhythm for the Mastery of the Sacred Energies of Life,” a 2-hour lecture with examples taken from the music of East and West, available on 2-audiocassette album A7834.

"I am therefore advising all to eschew the evil and darkness that enter the forcefield of the four lower bodies when the attention is placed on the jangle of modern jazz. I advise all who would truly be alchemists of the Spirit to seek out the classical music of the world’s greatest composers—of Beethoven, Bach, Chopin, Haydn, Handel, Wagner, Liszt, Mozart, Mendelssohn, Mahler, and many others who have been commissioned by the Brotherhood to bring forth the music of the spheres.

"I advise all to learn to seek in meditation those peaks of cosmic elevation that will enable them to understand and interpret the language of the angels. I advise all to take the time to learn what is real and to develop passions of genuine love toward humanity. But let not these passions take the form of mere devotion to communal efforts or to the raising of one segment of life into a more advanced state of economic development; rather let them take the form of raising men to new levels of spiritual appreciation of their own divine potential as sons of God.

"Only by this form of devotion shall their hearts, touched by the hands of the Infinite Creator, be imbued with such reality and love that they will move with precision to execute the divine will. Thus shall men behold the outworkings of a Providence that has for so long yearned to find greater expression in mortal affairs, that those affairs might become truly guided by the power of Life from on high.

"Then shall liberty live in human lives. Then shall freedom in honor raise men to a state where they can invoke, by the creative power of the Spirit, a golden age that will transcend the age of Pericles and every other golden age that the earth has ever known. This shall come about through the establishment of a fountain of living flame-power, -wisdom, and -love."