The Capital sung - English (mp3)
The Capital spoken - original Greek (mp3)
The Capital sample page of score (pdf)
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Translation by Diana Maynard THE CAPITAL 1980 I take my diving suit and drift around in the aquarium of the city. Its streets all teem with divers of murky waters: bodies of the drowned that sway, hooked onto fishing lines hinder the traffic. Avid eyes lie in wait, lie in ambush at ev'ry step: merchandise cheap, sordid bait, and the prey is trapped with ease. At the central crossings the concentration of plankton is pushed towards the gaping entrances of supermarkets. The gaping mouths of voracious cetaceans washed up in crucial areas of the capital: enormous mammals which regurgitate the incoming and outgoing shoal. In the rush hour the tidal wave is swelling the continuous perpetual tumult from the insatiable appetite of the crowd: The menace which grows, the cracked and empty jar, the invisible black hole which gulps down the galaxy |
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Translation by Diana Maynard THE HOUSES WHERE WE HAVE LIVED We have no being we do not exist anywhere the houses where we have lived they cut the ropes which held them fast at anchor freely now they blow in a void fading scenery the wind has lifted them seized them with all our possessions they vanished in one night dissolved like salt in water they have existed they exist no more they are not. |
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Translation by Diana Maynard WE HAVE CAST ANCHOR AT MIDNIGHT My eyes flooded with sleep at the sound of a drop of rain the trill of a nightingale froze in the moonlight. Now I have crowded my room with birds: stuffed birds who ever croaked. Strange moans are heard sorrowful voices in the inner ear. Within me lies the help I have been calling for years; till now my voice has not reached it. Still some kind of noise has prevented me. Now and then the door opens by itself in a mysterious manner I shall never discover. |
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Translation by Diana Maynard THE OUTSIDE AND THE INSIDE Hazily she was looking at herself in the windowpane when the house-light turned on a reflection in the glass, and all of a sudden she was whisked away with the chandelier and the furniture out into the rain. Her locks kept twining with the pyracantha beaten by the storm; they stayed unruffled. A wisp of steam rose from a teacup perched on a branch swinging; it kept its poise. The trees were driven wild by the wind; whilst on the shelves the books arranged gave an impression of the order and warmth of an imaginary room transported into the night and rigour of rain |
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Translation by Diana Maynard Hour Zero I am Akhenaten your faithful cat from the distant land of the Pharaohs. Sacred guardian of ancient tombs I bend the bow of my back and leap low o'er the moat and I come to protect your sleep from the pallid idols of Hecate from the circuit of ghosts. Hour Zero. In the moonlit whirlpool, in circles of sorcery, you are caught. Your gaze clouded discerns me from within your age, the fog of smoke, the cloud of death (trichlorophenyl hexachlorophenyl dioxin). I am your faithful cat Akhenaten motionless frosted agate illuminates the crystal of my eyes. And I succour you with my seven lives I send my gaze into your gaze, vertical I nail it like a dagger, and as ice slides into your marrow... Hour Zero I fathom with my seven lives the abyss of human terror. Wait still. Wait until I melt all the metal from the sarcophagus. At Hour Zero I prepare the antidote for my seven poisoned lives for the one and eternal: your own. Wait still. Wait a little, for my coldness to rise up to your heart. |
Full score of Honey flowers (opens new tab)
Complete electronic preview of Honey Flowers (lasting 11 minutes)
http://www.dwsolo.com/honeyflowers.mp3
Melissanthi, a poetess of Athens who died in 1991 and whose name means "bee flower", wrote many beautiful and thought provoking poems.
David set five of these to music (as above)
Four of the melodies that they inspired went on to give birth to these expressive guitar duets.
The guitars are equal partners throughout, taking turns to accompany and to sing the melody lines. The rhythms themselves are an idiosyncratic mix of English and Greek, but especially in the fast sections (1st and 5th movements) the typical 7/4 pervades the texture and should prove to be the rhythm that the audience will take away with them after the concert.
Video of Acacia from “Honey Flowers”
A Dark Goddess based on my setting of Hour Zero is a dramatic work for flute with either string orchestra or piano accompaniment:
Scores and parts (and mp3 previews) (from MusicaNeo):
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