Dark Predator

I strike his throat with a lightning bolt.

Molodak ot ainaja komakamal.

I break his body with my bare hands.

Toja es molana.

He is bent over, and falls apart.

Han ca?a.

He runs away.

Manedak ot ekam sielanak.

I rescue my brother’s soul.

Al?dak ot ekam sielanak o komamban.

I lift my brother’s soul in the hollow of my hand.

Al?dam ot ekam numa waramra.

I lift him onto my spirit bird.

Piwtadak ot En Puwe tyvijanak es sa?edak jalleen ot elava ainak majaknak.

Following up the Great Tree, we return to the land of the living.

Ot ekam ela jalleen.

My brother lives again.

Ot ekam wenca jalleen.

He is complete again.

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 Dvorak 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 wake ku pitasz belso.

Feel the strength you hold inside.

Hiszasz sivadet. En olenam g?idnod.

Trust your heart. I’ll be your guide.

Sas csecsemom, kunasz.

Hush my baby, close your eyes.

Rauho jo?e ted.

Peace will come to you.

Tumtesz o sivdobbanas ku olen lamt3ad belso.

Feel the rhythm deep inside.

Gond-kumpadek ku kim te.

Waves of love that cover you.

Pesanak te, asti o juti, kidusz.

Protect, until the night you rise.