The thought above is by Paulo Cesar Vieira Xavier (foto), our guest this week. He was born in Rio de Janeiro and has lived in the Brazilian capital, Brasilia, since 1960, where he attended the youth groups at the Comunhão Espírita Spiritist Centre. For years, he has played the violin before Spiritist meetings and events, helping in the spiritual harmonisation of the ambiance. He graduated in Journalism and Music and is one of the founders of the city’s Symphony Orchestra at Teatro Nacional Claudio Santoro.

How was your first contact with Spiritism?

I was 14 years old when, in 1970, my mother took me for the first time to the youth group of Comunhão Espírita in Brasilia. I attended their courses, the talks and lectures and engaged in their social projects, with young people and the elderly. The meetings took place every Sunday and I made great friends there, whom I am still close to. We were a group of enthusiastic young people, determined to cultivate the principle of loving our neighbours in the light of Spiritism.  

Where does your passion for music come from? And why the violin?

In 1969, a publishing house launched a series of weekly publications, which were sold at newsagents and came with a record, an LP. It was called “Great Composers of Universal Music.” The first one was about Tchaikovsky, followed by Beethoven, Chopin and Bach. I fell in love with the art and biography of the musicians. By coincidence, there was a carpenter working in my building at the time, who was also a violin maker and music teacher. His name was João Batista Sampaio. I rushed home from school every day to see him at work. At the time, also by coincidence, the Brasilia Music School was temporarily based at Comunhão Espírita. I was there from Monday to Friday, taking practical and theoretical violin lessons and joining in the rehearsals of a small youth orchestra. And on Sundays I attended the meetings at the Spiritist youth group. 

How important, do you think, is the role of art in a Spiritist Centre?

It’s extremely important! Not only music, but also the theatre, painting, arts and crafts and other forms of art. Some Spiritist Centres keep a music department, childrens and youth choir, bands etc. but it’s not easy to support such a structure and keep it going. That would be the ideal, however. As André Luiz has told us, “Art in its noble form can extend the power of love.”

And what role do you think art, and in particular music, should play in the wider society and in the life and wellbeing of human beings?

Music is, above all, about emotions. In the history of humankind, from the days of tribes who lived in caves and played with their drums, music has always been present. It is the art form that establishes a more direct connection to our feelings. It helps us live with joy. It is rather difficult to put into words what music represents in the life of people and the wellbeing of humankind, but I like how Magdalena Tagliaferro summed it up: “I don’t think there’s music without commitment and love.” 

What is your opinion about the presence of music in study groups for children and public Spiritist lectures?

Music in those environments prepares people for the Spiritual and moral transformations that we can see beginning to take place on our planet, as it enters the new and long-awaited phase of Regeneration. And it doesn’t need to be only classical or sacred music. Every voice and musical instrument collaborate towards the process of evangelisation, provided they are filled with love and charity. That is my main contribution in the Spiritist Movement at the moment, attending the requests of various Spiritists organisations who ask me to play for them. 

How much priority do you think music is given within the Spiritist Movement?

Things have improved a bit, but it is still very limited. I’m from a time when every time you entered a room to receive healing, there was nice, contemplative music playing in a tape-recorder taken by the medium. Nowadays, every Spiritist Centre is aware of the importance of having a choir. Brasilia has had more than 20 Spiritist choir meetings. The city has dozens of Spiritist musicians whose potential could be put to better use, instead of restricting them to only playing at the opening of Spiritist talks and lectures. 

How can music composers, artists, writers and Spiritist leaders work to improve the quality of artistic productions in Spiritism?

Art has always been part of humankind, from the time of cavemen. One of the missions of art, throughout the centuries, has been to capture the beauty in nature. Spiritist artists have bigger responsibilities, because they are also mediums and know that they are committed to developing the sensibility of people and live for the good of all.

I would like to take this opportunity to share with all the readers the recordings of some works that help in the spiritual harmonisation of the ambience before Spiritist meetings and activities. They are all played by Paulo Cesar Vieira Xavier and available on Facebook:

- “O oboé de Gabriel”, Ennio Morricone:  
https://fb.watch/3uI_p8cJAK/

- “Inverno” Largo, A. Vivaldi: 
https://fb.watch/3uJ1vp3wq3/

- “O cisne”, Camille Saint-Säens: 
https://fb.watch/3uJ6fojX-7/