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The Continuous Shrine
Home
Contacting and supporting us
Erasmus
Who is Lubomyr Melnyk?
Understanding Lubomyr
Why does the music exist?
Who, and why, am I?
Lessons and Essais
Getting started
A good day's practice
What is a flux?
The Arpegge notation
The player maintains
What do I lack?
On Lubomyr's philosophy
On the ineffable experiences
Spirituality!?
On energy
On Time
On the two modes
Static-position play
Arpegge play
On the playing of specific pieces
On Pockets of Light
On Clouds No. 81
On the meditations
On the Circular Etudes
On Cloud Passade No. 3
On Butterfly
On Parasol
Miscellany
On synchronicity
Is it beautiful?
On hearing the meditations you already knew
Oh the joy
On the melting and the glasswork
On difficulty
On "the sensation of your own existence"
On the closed, third, and mind's eye
On the use of different pianos
On speed
On the audience entity
On sustenance
On the physicality of the nonexistent hand
On focus
On Lubomyr's development
On the internal truths
On the mysterious weight
On the extraction of a running song
Extended passages from Lubomyr's writings and interviews
Interview #1
Open Time: Opening statement
Open Time: Closing statement
The Human Reality of Continuous Music
Open Time
Quotes and snippets
Aphorisms
Scores
Catalogue of continuous pieces
KMH
The Meditations
Windmills
The End of the World
The Circular Etudes
The Lund St. Petri symphony
Islands
Requiem
Poslaniye: for the Living, the Dead, and for those yet unborn
Lyrrest
The Continuous Shrine
mention KMH, bel canto, two pianos, pedal-clearing, windmills, etc., the cloud passade story.
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