Even more than in the December Suite performances, Mr Fripp here lets his guitar speak in its own clear voice against less densely textured backgrounds.
For example, At The End of Time has evolved a long way from Newlyn. On this night it sounds resolved and calm rather than yearning or dramatic. One intricate figure that in the Ely performance seemed just an embellishment appearing near the end, here becomes an important element of the music.
Requiem is a development of the solemn theme heard on Love Cannot Bear, but builds to a richly orchestrated climax where any feeling of mourning dissolves in light. After this, the gentle fadeout through a ten minute coda is a perfect exit from the music – or maybe even a way for the listeners to take the music with them.
Perhaps these soundscapes reflect the distinction between consciousness and awareness that Fripp made in his aphorism “Being aware is not being conscious. Consciousness is being aware that we are aware”. Various disciplines can be bridges from awareness to consciousness, from ‘knowing about’ to ‘knowing’. I’m tempted to liken the solo guitar voice to a consciousness emerging from mere awareness.