Carpathian 23 - Dark Storm

tyvinak, ecidak alatt o jüti, kinta, és szelemek lamtijaknak.
    Following the trunk of the Great Tree, we fall into the netherworld.
    Fázak, fázak nó o saro.
    It is cold, very cold.
    Juttadak ot ekäm o akarataban, o sívaban és o sielaban.
    My brother and I are linked in mind, heart and soul.
    Ot ekäm sielanak kana engem.
    My brother’s soul calls to me.
    Kuledak és piwtädak ot ekäm.
    I hear and follow his track.
    Sayedak és tuledak ot ekäm kulyanak.
    Encounter I the demon who is devouring my brother’s soul.
    Nenäm coro, o kuly torodak.
    In anger, I fight the demon.
    O kuly pél engem.
    He is afraid of me.
    Lejkkadak o kanka salamaval.
    I strike his throat with a lightning bolt.
    Molodak ot ainaja komakamal.
    I break his body with my bare hands.
    Toja és molanâ.
    He is bent over, and falls apart.
    Hän caóa.
    He runs away.
    Manedak ot ekäm sielanak.
    I rescue my brother’s soul.
    Aledak ot ekam sielanak o komamban.
    I lift my brother’s soul in the hollow of my hand.
    Aledam ot ekam numa waramra.
    I lift him onto my spirit bird.
    Piwtädak ot En Puwe tyvijanak és sayedak jälleen ot elävä ainak majaknak.
    Following up the Great Tree, we return to the land of the living.
    Ot ekäm elä jälleen.
    My brother lives again.
    Ot ekäm wenca jälleen.
    He is complete again.
    To hear this chant, visit: http://www.christinefeehan.com/members/.
    4. CARPATHIAN MUSICAL AESTHETICS
    In the sung Carpathian pieces (such as the “Lullaby” and the “Song to Heal the Earth”),
     you’ll hear elements that are shared by many of the musical traditions in the Uralic
     geographical region, some of which still exist—from Eastern European (Bulgarian, Romanian,
     Hungarian, Croatian, etc.) to Romany (“gypsy”). Some of these elements include:
    • the rapid alternation between major and minor modalities, including a sudden switch
     (called a “Picardy third”) from minor to major to end a piece or section (as at the
     end of the “Lullaby”)
    • the use of close (tight) harmonies
    • the use of ritardi (slowing down the piece) and crescendi (swelling in volume) for brief periods
    • the use of glissandi (slides) in the singing tradition
    • the use of trills in the singing tradition (as in the final invocation of the “Song
     to Heal the Earth”)—similar to Celtic, a singing tradition more familiar to many of
     us
    • the use of parallel fifths (as in the final invocation of the “Song to Heal the
     Earth”)
    • controlled use of dissonance
    • “call and response” chanting (typical of many of the world’s chanting traditions)
    • extending the length of a musical line (by adding a couple of bars) to heighten
     dramatic effect
    • and many more
    “Lullaby” and “Song to Heal the Earth” illustrate two rather different forms of Carpathian
     music (a quiet, intimate piece and an energetic ensemble piece)—but whatever the form,
     Carpathian music is full of feeling.
    5. LULLABY
    This song is sung by women while the child is still in the womb or when the threat
     of a miscarriage is apparent. The baby can hear the song while inside the mother,
     and the mother can connect with the child telepathically as well. The lullaby is meant
     to reassure the child, to encourage the baby to hold on, to stay—to reassure the child
     that he or she will be protected by love even from inside until birth. The last line
     literally means that the mother’s love will protect her child until the child is born
     (“rise”).
    Musically, the Carpathian “Lullaby” is in three-quarter time (“waltz time”), as are
     a significant portion of the world’s various traditional lullabies (perhaps the most
     famous of which is “Brahms’ Lullaby”). The arrangement for solo voice is the original
     context: a mother singing to her child, unaccompanied. The arrangement for chorus
     and violin ensemble illustrates how musical even the simplest Carpathian pieces often
     are, and how easily they lend themselves to contemporary instrumental or orchestral
     arrangements. (A wide range of contemporary composers, including Dvorák and Smetana,
     have taken advantage of a similar discovery, working other traditional Eastern European
     music into their symphonic poems.)
    Odam-Sarna Kondak (Lullaby)
    Tumtesz o wäke ku pitasz belso.
    Feel the strength you hold inside.
    Hiszasz sívadet. Én olenam gæidnod.
    Trust your heart. I’ll be your guide.
    Sas csecsemõm, kunasz.
    Hush my baby, close your