Showing posts with label solstice. Show all posts
Showing posts with label solstice. Show all posts

Friday, 4 January 2013

Visions of Music - Enya and "The Dream of Waking Earth"

Omnem crede diem cride diluxesse supremum
(believe each day that breaks to be your last) -  Enya, Pax Deorum



Music wakes me to story, evoking images and scenes within my mind. I've come to realise this gift is a form of synasthesia, but this knowledge does nothing to dispel my wonder at the beauty of my fantasies, and my sense of "travelling" to strange and wondrous places, within my own mind.



Behold below the story I envisaged when listening to Enya's beautiful "Pax Deorum". The story is strange, and heroic, and the ending mysterious. Alas - when the music ended I saw no more. But stories are never done, and perhaps one day I shall continue it.

The Song of Waking Earth



A wind calls above the School of the Lightgatherers: a cold, wet wind – a winter wind, that yet smells of coming sweet spring rain. With strong fingers of air it rakes the hair-fine needles of the plateau pines, so that the mighty trees toss their proud heads blackly against the night sky. But the high stone walls of the school stand firm, as they will for many years, and the wind spends itself wailing around the crenelated walltop, a wordless prophecy.

A time of change is indeed foretold – for the solstice of winter is past, and all growing things feel the foreboding of spring. Yet darkness still holds the land, and all life is gripped by bitter, blighting cold.

Beneath the meagre shelter of the rocky plateau upon which the School is built, huddles a village, surrounded by a few bare, frostbitten fields and a wide wilderness. Frequently, the inhabitants turn to look longingly toward the east – but the sun has not risen since Tallowtide, and since then, snowclouds have obscured the moon, so that none can measure the turning of the days save by the waning of candles, and notches on the hearth. As it happens every winter, Time itself is frozen in the village, but though they do not know it yet – this bleak time of waiting nears its end. Tonight is the ritual of Lightsummon. Soon, it begins again, in the School of the Lightgatherers.

Tonight, the courtyard of the Lightgatherers is torch-lit and crowded with moving figures; women all – old and young, of all heights, slender and thick-waisted; hooded and cloaked in black velvet. To a watcher on the ground their movements would appear casual – each woman walking, seemingly at whim throughout the courtyard, from end to end, around the perimeter; weaving in and out of the crowd. But if we were to glide on silent wings over the school, like a snow-owl, invisible in the night – the order in the chaos is revealed; an ever-shifting pattern, like a stately dance. No word is spoken, but as the snow in the courtyard is ground to slush by many feet, and the wind blows back the snow clouds, to reveal a sparkling sky of midnight-blue, a song is born.

From the throat of one neither old nor young, of middling height but a strong, wise face it begins – low, and quiet and rhythmic. But soon the song rises above the calling of the wind, for like a candle flame igniting many others, the chant is passed from woman to woman, growing in power until it contains the strength of a multitude. This is the song of Lightsummon; a song of many parts, and many voices. But just as a tapestry may be woven of many threads of varied hue, yet may reveal a glorious and cohesive pattern, so the song contained a mighty spell. They – the Lightgatherers – sang of the waiting of the world, and blowing clouds, and of the pounding heart of the earth that throbs with fiery force under the snow.

And now, from black iron sconces in the wall, the strongest and tallest among the women lift torches and carry them high, in gloved hands. The flames seem to blaze brighter and hotter for their singing, and fierce are the women’s smiles in the flickering light. The other Lightgatherers take warm censers from a brazier, and swing them on fine silver chains. From each moon-like globe emanates a fresh and woody scent that recalls the memory of green and pumping sap. As the sky is blown clear of the last snow-clouds, the heavy doors of the School swing open, and the Lightgatherers stride out into the night, moving swiftly in a double line across the plateau. The song now is powerful as a river, with the chanting of elder voices providing the depth, and the high harmonies of the maidens shifting and beautiful as the play of light on a rushing stream.

From a mighty height, the path from the plateau curves down toward the village. Steep it is, and treacherous, as it has been unevenly eroded by many storms and is covered with loose gravel. But fast and sure as meltwater they descend, the Lightgatherers, and their song is heard long ere they reach the village below.

From the cold stupor of winter the villagers awake, and the inhabitants of every house, from youngest child to wizened grandfather, stand at their windows to watch the Lightgatherers come, and in each hand they grip a scrap of unlit tallow-candle.

When the company of Lightgatherers enters the village, the women’s quick stride slows to a solemn, steady tread, and their song becomes gentler; less fierce and more hopeful. Though they look neither to the right nor left, the singers’ voices wake in the heart of every listener soft memories of sunlight and tender growing things – and the torches and swinging censers create a warm, sweet-scented illusion of spring. As the Lightgatherers pass, each villager lights their candle, so that to a watcher it would seem the singers leave a trail of light that bravely burns even as the company passes out of the village into darkness…

For leave they must, and take an arduous route into the frozen wild. No road is laid to guide their feet, but the uncovered moon reveals a sparse trail of white pebbles leading into the distance. Onward they march – their defiant song swelling again in volume – and they stride unceasing, over crackling frost that glitters in the moonlight like splintered glass, and around deep drifts of snow; up rocky hillsides tufted with dead, cold-blasted grass.



For an long and weary way, their torches are the only lights in the frozen waste, save the cold and distant sky-companions, the stars and the moon, but all at once, sinuous and iridescent flames of green and gold appear in the sky, forming a flickering trail of light. Though the Lightgatherers’ song was powerful before; now it sounds exultant, as if the women’s hearts had been further strengthened by the fire of the sky, and the steady pace increases.

Down at last they venture, following a frozen river into a dark valley, wooded with tall, forbidding pines. This is the valley of Telmoth, wherein few dare to go. The ways of its forest are torturous, of blackness unrelieved by any glimpse of sky – and villagers mutter of fell beasts that roam unchecked and ravenous.

Yet resolute still, into utter dark they march, down into the terrible wood – young and old together. Their torches blaze like embers of the sun, and their song is fierce as fire. Downward and inward is their path, and yet they smile still, for to wake the earth to light again they must pierce dark winter’s heart with voices and with torches – and to summon back the sun they must enter deepest shadow. 

They enter the forest, a singing, shining company. But their light is lost between the vast trunks of trees, and their song fades with distance – till all that can be heard on the Telmoth’s lip, is the sound of wailing winds, and the roaring of the pines.



Monday, 24 December 2012

I'm Dreaming of a Mythic Christmas


Star of Bethlehem, by Edward Burne-Jones

Christmas is, and always will be for me, a magical holiday, full of mystery and beauty and mythic significance. I have never known it otherwise, as my family decided before I was born to never subscribe to the consumerism and reductionist mania that seems to have possessed the world and made mockery of the season. We do not give gifts on Christmas day (except for those of "Father Christmas" to the children, in whom I am proud to say I believed until I was thirteen, and whose presence invested the holiday with a magic that refused to leave even when I found out he did not exist). Our "presents" (and only one each) are exchanged on Epiphany, the twelfth day of Christmas and the day when the three Kings in the legend gifted the Christ-child with gold, frankincense and myrrh. Nor do we have a massive dinner, in which most gets wasted and everybody ends up over-full and inebriated, rather a simple yet festive meal of chicken with apple cider and lots of summer fruit, using a recipe that has family significance. Nor are we religious (rather spiritual and hopeful agnostics). Our family used to be Catholic, but left the faith and the church many years ago. How is it then that I find Christmas to be the most beautiful day of the year?



To me and my family Christmas celebrates a beautiful and inspiring myth – the legend of the birth of Christ (for the story itself is beautiful, regardless of how it has been twisted by the bigoted religious authorities) – as well as the older celebration of the seasons. It is a time to consider death and rebirth, and to rejoice in family love. It is a time to reflect on and connect with the past – for this is a day that has been celebrated for over two thousand years. For my family, it is a time of light, magic, story and song.  For these and many other reasons Christmas has been, and always shall be for me, the most mythic time of the year.



Among all the beauties of Christmas – it is song which is most effective in conveying feelings of majesty, magic and myth at Christmas. We have only a few albums, and they have been played every Christmas for as long as I can remember. I truly believe they are the best arrangements, as they get to the heart of the season, exploring the historical, spiritual and universal elements of the occasion; from the Christian to the pagan; medieval to modern – all sung with purity, grandeur and sincerity. Look for no triteness among this selection. Even the oldest songs avoid cliché.

I will share with you a selection below. Some of my favourites I have not been able to find on Youtube (such as Rutter’s version of Silent Night from the “Christmas Star” album) but I have provided a link to Amazon where you can download the tracks for 99c each, should you so desire (and I would truly recommend it).


I love the exquisite Burne-Jonesian  cover of this beautiful album. 

I wonder as I wander



When I was younger, I used not to love this song. As a child, I thought that Christmas ought to be a day of unmixed joy and celebration. Especially because I am not Christian, and do not believe in the literal truth of the Christmas story, I did not feel the beauty and the tragedy at the core of the legend. But as I grew, I came to understand the power and enduring “truth” of story, and to feel the sorrow expressed by the singer of this song.

“I wonder as I wander” deals with the Christian singer’s amazement at the immensity of the generosity of  Christ, in being “brought forth to die” for the sake of “poor ornery people like you and like I”. It truly is an incredible thought – that someone would have such love for flawed humanity as to die for them… Although I do not believe that the historical Jesus “died for our sins”, the symbol is a humbling one of ultimate altruism, and even fictional it strikes me with the same sense of wonder and awe, causing me to ponder whether my life is worthy of such a sacrifice, and to resolve to make it worthy.

The singer’s voice is incredibly beautiful – high, cold and pure like starlight. As she sings, I can imagine her, wrapped in a peasant cloak, walking across a snow-covered hilltop, with the black fingers of winter trees clawing the twilight. With every star that shines forth in the darkening sky, she wonders…

We Three Kings of Orient



Now this song has always been a favourite. I have always been fascinated by the “kings of Orient” and their precious, symbolic gifts. As I have been blessed with the gift of vivid visualisation this evocative arrangement of the carol summons for me the most incredible imagery. I can see the kings, with their proudly wondering faces and fixed eyes reflecting the star they follow; see the silhouette of oasis-palms against a starry night sky. In the arrangement of the song, I can hear the jingle and clink of bridles and saddle-ornaments, and almost feel the cooling desert sand-dunes giving up the last of their daylight warmth to the night. In the last verse the song blazes with the fierce beauty and glory of the “star of wonder, star of light/Star with royal beauty bright”. And with the “wandering off” of the song’s ending, I am left with an image of hoof prints in star-lit sand, winding toward the horizon…        

Rise Up Shepherd and Follow



This lesser-known carol is one that I have always loved, since earliest childhood. Perhaps it is because I can identify myself with the shepherd – I would not hesitate to “follow the star”, leaving behind anything and everything in pursuit of a gleaming, wondrous goal. As I have grown, I’ve started seeing the carol as an allegory (but nonetheless self-sufficient in its own story, as all the best myths are). We all hear a “call” in our lives to “rise up, rise up and follow” – perhaps an artistic ideal, a story or some other venture – something to which we will dedicate our lives. Although the quest demands sacrifice, the prize is beautiful beyond anything – the resolution of a shining dream...




Veni, Veni Emmanuel



“O Come, O Come Emmanuel” has some of the most mythic lyrics, harking back to the ancient beginnings of the legend, and the reason for  the “coming” of Christ. “O come, O come Emmanuel/ And ransom captive Israel”. The idea of a captive people calling out for a Saviour – a Promised One to lead them from darkness and despair – is a potent one, and one with which I think we can all identify. Anyone who has ever been marginalised, discriminated against; felt loneliness and despair – will particularly resonate with this song.

There are many reasons why I love Libera’s version of this carol best. Firstly, I love that it is sung in Latin. The ancient language calls us as listeners back to an elder time when myth and history were intermingled – a place mysterious and echoing with vanished voices. Secondly, I love the sadness of this version – even in the triumphant last line “Rejoice, rejoice/ Emmanuel shall come to thee/ O Israel” there is intermingled elation and sorrow. This is extremely appropriate to the conflicting emotions evoked by the Christmas legend – joy because the Promised One has come to lift the despair from suffering Israel, yet deep grieving, for in order to save the people, Jesus must sacrifice himself. Finally, the arrangement is just so beautiful: the lone voice of the first stanzas, abandoned as a captive or abandoned Israel – the harmonies like wind on a cold night – and the choir’s powerful, triumphant singing of the last verse in English, which brings us, the present listeners together with the ancient voice of the past. The pure voices of the Libera child-singers sing ethereally from a place of darkness – the darkness and despair in our own souls.

The Corpus Christi Carol



This Middle England carol is Arthurian in its medieval imagery and references to the Fisher King (the eternally wounded knight from the Grail Quest). It is an unusual carol, in that it only references Christ at the very end, and even then indirectly, which has prompted some to theorise whether the wounded knight is actually supposed to be Christ, and the weeping maiden Mary. Personally I prefer to think of it as a “fairy tale”, as Jeff Buckley said about his version of the song (found here). I thrill to the mysterious line “The falcon hath borne my mate away…”

I’m Dreaming of a White Christmas



I love the melancholy and nostalgia of this song. Having lived all my life in a country where Christmas day is usually marked by clear sunlight and summer warmth – I have never longed wistfully after a “white Christmas”, (although I want to experience one sometime in my life).  What resonates with me about this song is the line “Where tree-tops glisten, and children listen/To hear sleighbells in the snow”. The idea of longing for a “white Christmas”  becomes for me a longing for a magic Christmas – a Christmas where children really do listen for sleighbells, as I did, but as it seems fewer and fewer children do…




Do You Hear What I Hear?



This is the favourite carol of my youngest brother, and it is not difficult to see why, with the “night wind” speaking to the “little lamb”, telling of an angel’s song, using the beautiful description “high above the trees, with a voice as big as the seas”. It has a windy, open joy and wonder in its instrumentals, and Aled Jones sings tenderly, like a parent telling a story...


As well as our trusty three Christmas albums, there are some isolated Christmas carols that I and my family love, in particular:

Jussi Bjorling’s  O Helga Natt (O Holy Night)





This carol is always incredibly powerful - it has soaring immensity and beautiful lyrics - and I don't think I've ever heard it sung badly. Perhaps it is impossible for the reductionists to diminish such a glorious song. After all, who can hear the lines "Chains shall he break/ For the slave is a brother", without feeling "a thrill of hope"? In fact - Libera and Aled Jones both sing amazingly beautiful versions (click through on their names). However, Jussi Bjorling's version, sung in his native Swedish, is specially moving and primal.

Loreena Mckennit’s The Holly and the Ivy



This carol has always been a favourite. I cannot adequately express how much I thrill to the magic, timeless lines "The rising of the sun/ The running of the deer". The Pagan influence on the Christmas season is still powerful - perhaps even more powerful and longlasting than the Christian influence (no matter how beautiful the story of the Christ-child), because it is older and more concerned with the movements of earth and cycle of the seasons. Certainly in this song the Pagan elements are stronger and more powerful than the Christian elements. Loreena McKennitt's rendition of the song is haunting and ethereal as dawn mist over a lake, or first light over a thick and secret forest.