The second movement, Galaxy Tour, represents adolescence and the search for forgotten parts of ourselves. The traveler moves beyond the familiar Milky Way and enters galaxies that symbolize emotional, spiritual and moral dimensions once known but later abandoned. Tense rhythms, dark orchestration and shifting instrumental colors reflect the uncertainty of growing up. As ancient voices seem to reappear, the movement becomes a journey inward, suggesting that maturity is not only about moving forward, but also rediscovering what humanity has forgotten.Welcome to the galaxy. In fact, the galaxies. In fact, the lost galaxies: the lost emotional, spiritual and moral dimensions that we have abandoned along the way.

You return to them in adolescence. But to truly rediscover these hidden dimensions, you cannot simply live normally within the physical world or remain trapped within the ordinary human mind. You must think not only about this world, but about other worlds as well.

That is your galaxy tour. That is your next step towards the truth.

This stage is important. Although this movement contains moments of darkness, distortion and horror, representing the pressures and discomforts of teenage life, you must continue. The next stage will determine who you truly become and who you truly are.

Butterflies in the Heart

You always begin at an emotional point. Here comes Butterflies in the Heart.

You may notice that this movement uses tempo markings in Latin. We may appear to be moving forwards in time, but in reality, we are going backwards. We are returning to discover the roots of our universe.

This section is marked sicut pulsatio, like a heartbeat. It is rhythmically controlled. The horn melodies are not lyrical. They are not commands either. They are warnings. They tell you that the journey ahead is dangerous for your mind, for your ordinary physical mind. But they also tell you that when you complete it, you will achieve great glory, strength and honour.

The col legno battuto and quasi ricochet writing in the violins and violas expresses the same idea. It is extremely difficult to repeat these techniques at a tempo of 160, within such a tightly controlled rhythm, for such a long time. But the sound achieved at the end is deeply rewarding.

I have always believed that seven is the luckiest number in all eternity. There is no number luckier than seven. That is why, although this section may appear to be in a minor key, every phrase is seven bars long.

Farewell Milky Way

Be ready to say goodbye to the Milky Way as the next section begins: Farewell Milky Way.

The dark orchestration, fast rhythmic patterns, deep, dark tremolos in the cellos and double basses, and the tense yet grand tempo marking all carry you away from everything you know.

In this section, you truly enter the lost dimensions. After this point, nothing can be predicted. The music may travel anywhere: into any key, rhythm, tempo or instrumental colour. Nothing ahead is certain.

This is the transition from physical truth to spiritual truth, and from childhood into true adolescence. Not everyone achieves this transition. But on this journey, you must.

Hovering into the Forgotten

And then comes Section C, Hovering into the Forgotten.

You explore new galaxies and new dimensions, but these are dimensions that humanity has entered before—dimensions inhabited perhaps a thousand or two thousand years ago, but now abandoned. There is almost nothing left within them.

At first, you hear only a quiet yet tense accompaniment in the English horn and clarinet, joined by deep, dark cello melodies. Everything seems to exist outside normal rhythmic patterns. The section is in 2/2, yet the cello enters at the end of the second crotchet triplet within the bar, unsettling your sense of time.

Then, very suddenly, other instruments begin to join. The lost dimensions return. Galaxies reveal themselves to our limited and uncomprehending eyes. The oboe and flute emerge, before the bassoon leads you towards something you could never expect: a voice.

It is the voice of divine beings—creatures we can never truly know. But it is also a message telling you that you are approaching the truth.

Tremolo harmonics in the violins merge with the English horn texture, while the clarinet is gradually abandoned. This shows that some people succeed in this journey and pass through this stage, while others are left behind or return to the ordinary world.

This is a section of reflection, but also a section about what we must do to understand our inner truth.

The Roots of Our Galaxies

Afterwards comes a quieter, more solemn, but also more emotional version of the first two sections combined. This section is called The Roots of Our Galaxies.

Here, you discover that the roots of these lost dimensions are emotional roots, inner roots: roots that can only be reached through bridges such as music, visual art and poetry.

The clarinet now takes the melody that was first heard in the trumpet during the second section. The first part continues to use the seven-bar motif, while the second mirrors the earlier section, transforming the deep, dark tremolos into long, sustained minims.

This is a section of reflection, a section of thinking. It is more predictable than the sections before it, but for the first time you begin to see what truly lies inside the lost dimensions. You begin to understand not only the physical dimension—the dimension of Earth—but also the emotional dimensions, the ones that have been truly lost.

We do not really know what the physical is. We only know how to interact with it. Here, you begin to discover its true meaning. The physical is simply what can be experienced through your senses, allowing you to connect more deeply with the celestial.

This section is marked sicut anima ictum: like a soul beat. We move from rhythms like a heartbeat to the same rhythms reflecting the inner motions of our souls.

The Roots of the Hole

Then the distortion begins. This section is called The Roots of the Hole.

You are moving towards the black hole. You have not reached it yet, but you already believe you know what lies inside: something that distorts time and changes your perception of reality. You assume that this must be negative. In fact, it is something deeply positive.

The brass carries the melody, distorting it even further, while augmented and highly unusual harmonies gradually take over. The section ends with a fading C augmented-seventh chord.

If you compare this passage carefully with the later black-hole section, you will hear important differences. What you hear now is not reality itself, but the human mind’s distorted expectation of it.

A black hole is not simply distortion. It is far more than that. The black hole is the journey towards truth.