لسلام عليكم. Of the four movements of “Requiem for a Laughing Gnome” (DRJ 405u), only the first is extant in performance, although incomplete. The performance fragment exists in poor quality from an analog vid-aud broadcast (see “television”) of what 20-21C cultural theoreticians have posited to be a public debasement video for “celebrities” who had fallen out of favor with the state. The composition for recorder, voice and footfall starts intriguingly, but unfortunately the development section is curtailed when the vid-aud is cut off.
The second movement exists in fragmented manuscript form, a piece of letterstock retrieved during the first excavation of the British Museum after Continental Flood 2. It was part of a collection of manuscripts badly deteriorated by water and soil. A minority of 20-21C CTs claim this is not DRJ 405u at all but a receipt for some sort of financial transaction (see “money”) entailing an exchange for food; a prevailing majority argue that the arrangement of numbers and key-symbols correlate with B’Wie’s music of the first movement, suggesting that the 2nd movement began as a rhythmic variation of the initial melody.
Of the third movement, nothing is known. During one re-ignition operation of the World Web, conducted in New Mombasa (AGC2 34), a fragment from a “message board” was retrieved, its author making what may have been a reference to the movement: “Gnostic.” This is very speculative.
The last movement is also unknown but according to folk legends compiled in the century after the Second Global Calamity, it was a favorite melody of King George 7 in his exile.
First movement fragment recorded during “Comic Relief” 24 Zulqada 1419 (12 March 1999 Georgian) (56 BGC1).
Top: B’Wie, photostill before sainthood ca. 56 BGC1.