The Leslie F​lint​ Tr​ust

Read the full transcript below as you listen...

Present:
Leslie Flint, Rose Creet.

Communicators:
Frédéric Chopin.

Gwen Vaughan:

This tape recording is not a complete recording of the original séance. Parts of the séance was personal to Mrs. Creet and only the general and interesting remarks made by Frédéric Chopin have been re-recorded for replay to the public.

Flint:

This séance was recorded on the 26th of March 1956; private appointment for Rose Creet. Medium Leslie Flint.

[Music playing]

Flint:

[Laughing] Gadgets!

Creet and Flint:

[Laughing]

Creet:

Frédéric, I'm sitting here being all impatient.

Chopin:

Ah, you always are impatient. That is your big trouble.

Creet:

[Laughing]

Chopin:

Why? Why should you be impatient?


Creet:

Oh well, I was so thrilled last time with all the things that you said.

Chopin:

But is very difficult to explain though, because it is that we have to go back and back and back in time and resurrect, you know, all sorts of memories which are to some extent become dimmed. But the main issue... no... the main points I can retell, but a lot of the things have been lost, you know.

Creet:

Yes but whatever you can retain, Frédéric, do tell us.


Chopin:

Very difficult to make people realise what make a person complete, you know.


Creet:

Well I think I'm beginning to realise now, because I have these recordings.

Chopin:

There are so many people in your world who do not realise the essentials to make a person complete. There are many aspects of character, individuality, personality. But every aspect is important to the whole. Complete oneness is something which can only be achieved after centuries of experience in many lives, in many bodies.

The body is only like the shell, as you know. It is only the vehicle which feels and is used to express. And a person who think that one life is sufficient to know and to develop the personality, develop a completeness... well, is foolish. So many people think from birth to grave, that is Man's life. That is only one aspect. It's only one little part of the complete.

Creet:

When they're complete and they leave the Earth altogether, Frédéric, what personality do they take on, if they've lived so many times on Earth and had so many of them...?

Chopin:

Well, I try to explain to you that the physical body, it is of little consequence except in that it is necessary to have while you are on the Earth, to express yourself as a human being. But it is only the outer aspect. It is not reality. It is only the shell.

Well, that is of no consequence here. Over here, flesh and blood cannot exist, only...only the spirit. And the outer covering of the spirit can take many forms, you see. Whereas in your world you can only take one form - that is the form that you have been given from birth which develops and grows...

Creet:

Yes...


Chopin:

...such as, shall we say, Rose Creet, as you know Rose Creet physically...

Creet:

Yes.

Chopin:

...the spirit is not so, shall we say, inhibited. It is not so held back in its development. Over here we can take many forms according to our whim, although as you develop high, far removed from material things and condition and thought, where...in other words, where the body, the outer covering is of little consequence - you can become completely invisible.

In other words, you need not have an outer form. In the highest form of development it is not necessary to have the shell or the covering, but we can assume...for instance, I invariably assume the physical outer appearance of Chopin as you have known me. But if I wish - that is if I concentrate my thought sufficiently - I could return to you not as Chopin at all, but as one of my former selves.

Creet:

Oh. I see. You know that spirit photograph of yours with the shape on the keyboard.

Chopin:

Yes.

Creet:

Now, how did that appear like that? What is that supposed to be?

Chopin:

Well, it is not complete. It is a mental process that we adopt. For instance, you see, we have laws... er... yes. We have method we can adopt and we can use certain laws to create. You see, after all, life is creative. Over here we have learned how to create. In other words, for instance, if I want to build up, that is so that you can see me, I can mentally use my power - what you would call concentration - utilising atomic condition or vibration and power which you, at the moment, have no knowledge of, but which is all around you.

In other words, I can draw not only when we try to build up - so far I have not succeeded - but, for instance, we don't only have to draw from the human body. We can draw from nature, which is a great source of supply in all kinds of manifestation.

For instance, when you use a room such as this, indefinitely, for a long period for special experiments, the room is impregnated with a tremendous force which we can use and which is very essential to the reproduction of the voice, for instance. But later I hope to build the physical, outer covering of the body so that you can see a resemblance. Sometimes it is not perhaps, shall we say, complete.

You only have a hazy outline or hazy idea of what we're trying to construct, such as in the photograph. In that, for instance, we able to... out of the environment... Now, for instance, you take this room. So far you have not achieved any successful result with picture, but in my cell there is tremendous power.

Creet:

Oh.

Chopin:

That's one reason why I want you go Majorca; because it has for many centuries been used for prayer, devotion by men of good living, whose aspiration and thought has been, on the whole, very high. It was then used by various people since. But it has left behind tremendous force and owing to the altitude - the high altitude - there is a clarity of condition in nature.

And great strength is drawn from the surroundings apart from the actual building of the monastery. And also my music which... I compose some of my best work... is partly due to, not only my own emotional state of mind at the time, but also drawing from the psychic force which is very strong and powerful. That was what made me in a very short time...how you say...make possible the experiment with the picture.

Next time you go - this time - then I hope really to accomplish something in the way of photograph, apart from other things I have in mind, I hope. But it was not completely formed when the picture was taken but nevertheless it show the amount of power which is generated particularly in the room and which can be used at certain time to, especially, to build.

Unfortunately I tell you last time, a long time ago, that the atmosphere is often disturbed by so many strange people, in and out, and that is the big problem. When I suggest that you go in the Spring, I think to myself perhaps it would be less disturbed by so many people. But we have to do the best we can. And the fact is I have arranged for you to go is something; because it would have been impossible for you to have gone normally this year unless we do it the way we do it, you know.

But nevertheless we are going to have, I hope, opportunity when people clear out, you know, when they disappear. Like... well, we see. I have plans, strange things, in the garden too I want you to try.

Creet:

In the garden?

Chopin:

I don't know how to find words, you know, it is... You see, the people at Valldemossa, apart from a certain number of people, of course, who I suppose one must expect are very materialistic, but the majority are very simple; are very much like nature children, you know. And there is a great force there of elemental spirits.

Creet:

I see.

Chopin:

I don't know how to put this. You know, some people in your world think all this is silly, but we must remember that the creator or in creation, there is many form of life.

If there is life as we know in various aspect of nature, in such as shrubbery, flowers, in trees and in rock formation - if there is life as we know in all nature, there's every reason to believe - and I know - there is a smaller kingdom of smaller people who are undeveloped, but they are nature souls and they are part of nature's plan.

I know some people won't understand this but...um, [Laughs] in my little garden, which is very small, there are the spirits or I suppose you would call them spirits, but they are not mischievous or dangerous...

Creet:

Faeries?

Chopin:

Yes, what you call the Faerie kingdom.

Creet:

Yes!

Chopin:

My music attract them a long time ago and... this all sounds so silly...

Creet:

No, no it isn't silly. It's wonderful. I've been longing to see Faeries ever since I can remember.

Chopin:

Well, I don't know if you will see them, but they have a great power in nature. And, you know, they work under instruction and they can be used by souls from this side to do certain work.

Creet:

Oh yes?


Chopin:

But... I think this all sounds so silly to me.

Creet:

No, Frédéric, it isn't silly at all, to me.

Chopin:

When you go up the mountain...


Creet:

Yes.

Chopin:

...you feel when you come into Valldemossa a difference, I think. If you don't feel it I shall be surprised, because it is a part of the world which is very blessed. Unfortunately, it is becoming spoilt and it is difficult to say how long it will retain that naturalness and its power.

But I want...oh, so many things. I want to fix before it is spoilt. That is why I say to you last year you go this year. I want you to go soon: quick, you know what I mean.

Creet:

Yes, yes.

Chopin:

Not wait several years, when now it has become so popular the power may decrease, you see...

Creet:

Oh dear.

Chopin:

I must go. Goodbye.

Creet:

Oh, goodbye, and thank you so much for coming, Frédéric.

Chopin:

Oh, it is alright. It is my happiness to come. Goodbye.

RECORDING ENDS

This transcript was created for the Trust by Simon Lovelock

and edited by K.Jackson-Barnes

With grateful thanks to Joëlle Cerfoglia.