Mozart and the Upper Triad

By Joe Hasiewicz

Sometimes the most interesting discussions take place after the study group meeting ends. But unfortunately, everyone is not able to take part – so, I thought that I would share my thoughts on this one.

After the last Wednesday night study group meeting, where we discussed man’s upper triad, Âtmâ – Buddhi – Manas, a question came up:

What exactly is it from man’s physical life that makes its way up to the permanent storehouse of treasures in the enduring part of man – that becomes part of his spiritual evolution and his future incarnations – and – conversely, how does that which accumulates in the storehouse, exert its influence our physical life?

Let’s take Wolfgang Amadeus Mozart as an extreme example; his talent for music was already advanced enough for him to be proficient at the keyboard, the violin and composing music at the tender age of five. It can be argued that Mozart channeled rather than created his music. Even so, to have the ability to perceive and transform objects that exist in our mind and its higher principles into physically perceptible works of sound-art that are loved for hundreds of years after their creation is no mean feat.

So then, let’s make the assumption that a great deal of Mozart’s talent may have already been stored in the upper triad, the product of positive effort in previous lives that was assimilated into his storehouse and then manifested as his ‘gift’ in the life that began on the 27th of January in 1756. It would then be reasonable to think that any individual that has a ‘gift’ also may have brought some of it along via their storehouse and is continuing to develop it in this earthly incarnation. It is also reasonable to think that Mozart was not one of the few, but one of the many that are ‘gifted’ in one way or another.

So at this point, I took a look at my own experiences composing music and wonder if any of them would be something that was in some way related my permanent storage. Although I feel that I am a beginner, rather than a ‘Mozart,’ nevertheless some self-examination was in order. My musical experience started out with a theoretical framework, notes, chords, rhythms, structure, form and so on… but at some point, later, when actually engaging in the act of musical composition, all of that theoretical framework seemed to fall away and I found that somehow I was working intuitively – not always – actually I would say that it was more the exception than the rule – but there was something ‘intangible’ that took place. I believe that the something ‘intangible’ that was there at work could never have happened, had the theoretical framework not been put into place first. I don’t know if that ‘intangible’ was something coming from or something assimilating into my permanent storage or maybe both. I expect that this type of experience is not limited to myself but is experienced by most everyone to a greater or lesser degree and in any number of fields of endeavor that in some way benefit mankind as did Mozart did with his music. And maybe these types of interactions are but one way in which we interact with our higher and permanent Ego.

Getting back to our study group, most of the subjects that we touch on and talk about in our meetings are the study of the theoretical framework of Theosophy. We acknowledge that our conversations and the texts that we study, in and of themselves, are not the truth per se, just as musical theory is not music, but I think that they are as good a representation of which can be represented by our language and understood at our current level of intellectual development and make a great place to start. Once we have assimilated some of the theosophical framework, and made it part of ourselves, we may be better prepared to grasp the truth using our own intuition and begin to make a connection with our higher Ego – Âtmâ – Buddhi – Manas.