Ylisa's Harper Concert
January 2003
Amphitheater
You reach the top of the hill
expecting to see the other side, but you find yourself at the top, last row of
the
amphitheatre. Four rows of well chiseled steps fan out from the marble
stage. Smooth, comfortable benches
seem to have grown out from the side of the hill, so masterfully they were
carved. There is a calming feel to
this place, it makes you want to take a seat and loose yourself into the worlds
of imagination, or lean back and look at the stars on a cloudless evening.
As the breeze blows through, you can hear faint whisperings of past
performances. You realize it took a
fine group of craftsmen and craftswomen to create this place.
Choose any seat, for from any and all you can hear the sighs and taste
the sounds that await you.
You notice a smooth marble column
in front of the stage that is just level to the floor of the stage.
A gold plaque bears the inscription: "Welcome one and all to the
You
see Pluto here.
Caeran
and July are here.
July
descends from the steps and slides into a seat close to the center of the
ampitheater. Hmm. It's a bit empty, but it's better early than late.
Caeran
stands at the very back of the amphitheater, holding a small chunk of meatroll
in one hand. "Alright, Pluto. Now, sit," he commands. The canine just
stands and stares, still unsure of what he is supposed to do. For now, the pup
is just excited about his new surroundings. "Please," he begs.
"Sit."
Ylisa
is looking a little preoccupied at the moment, as she gets ready to perform.
She's carrying a couple of gitars, which she deposits on the front row of
seats prior to tuning up, and she scans the theatre anxiously, checking that
people are around. Well, someone's
in the audience, anyway. July gets a
smile. Caeran gets a cheery wave,
but her expression turns a little less cheerful when she realises that he's got
a canine with him. "Heya,
Caeran." She looks cautiously
at the animal. "Is he
yours?"
July
draws her mouth into a thin, disapproving line at the teenager. A canine at a
concert? Someone should throw him out. Though from the looks of this crowd,
perhaps everyone *was* thrown out. She relaxes anyhow, flipping through a few
pages in her program. If the performers don't care, it's really none of her
business.
Marek
walks in from the
Mimi
flounces in from the
Marek
releases Inguz, who launches into the air.
Avarok
walks in from the
Caeran
waves back, but the grin on his face quickly disappears when he sees Ylisa's
reaction to Pluto. "Yes," he says with a concerned nod. "He's
mine. I hope that's not a problem." Before now, he never really considered
that pets may be a problem in joining the harpers. Would he possibly have to
give the canine up? He tells himself that it can't be the case.
Trau
hurriedly strides in from the
Avarok
walks in and, slowly, taking in his surroundings.
He looks around for people he might recognize as well.
He notices Trau, and walks over to him.
"Hello my friend, how are you, this evening?"
Othear
walks in from the
Ylisa
smiles at Caeran, but there's a hint of frustration in her voice.
"Well, he's very nice, I'm sure, but a concert really isn't the
place for canines. Please could you
take him somewhere out of barking-range and make sure he stays there?"
Shanel
walks in from the
Illata
moves with an unconscious grace in from the
July
cranes her head over the pages of her program now as all sorts of interesting
people are beginning to spill into the auditorium. Good thing she got seats
first. She notes the entrance of the harper journeywoman, all in black. Artsy
type?
Rune
blinks in from :: between ::
Shanel
slides into an empty seat near the back. A quick look around confirms her lack
of knowledge of any others here. Smiling shyly, Nel keeps to herself.
Illata
wanders in, glancing over those gathered for familiar faces as she searches for
a seat. She finally spots a few good ones near the front, but not too near the
front and she quietly slips into them, smiling at those she passes.
Caeran
reaches a sigh of relief. So his being at the hall isn't a problem. "Don't
worry, Ylisa," he promises. "He's pretty quiet. And that's why I'm in
the back, just in case. If he starts up, I'll leave." He nods with
sincerity and gives his pet a pat on the head. Would he intentionally do
anything to spoil the performance?
Mimi
lingers around somewhere between Ylisa and the stage, ever so slightly out of
sight of the general crowd as she sits in a chair, leaning over and strapping
the strap of one of her shoes together around her ankle.
Trau
saunters tiredly in, yawning his head off and stretching. He takes a seat, in
the middle, about halfway up, flinging up his robe before planting his rear on
the bench. He searches briefly for knowns, and upon scanning the area, leans
back, relaxing and waiting for the performance to start.
July
sees Illata slip into the front, and abandons her nice center seat to join her.
"Afternoon," she says a bit shyly in a generic greeting, not sure if
the girl would recognize her.
Niara
slips softly in from the
Illata
grins at July, indeed recognizing her from late night conversations at the Mug,
though it has been a while. She keeps her voice low so as not to bother the rest
of the audience. "Hey, it has been ages, how have you been?"
Ylisa
grins at the canine-loving apprentice. "If
I hear so much as a squeak out of him... go on, then."
She starts to check her tuning again.
She's working on one gitar, and there's another instrument case beside
her, awaiting attention. She plucks
strings, needing only to adjust a single peg in this last minute check, then
repeats the process with the second instrument.
That done, she gets up and carries both of them to the stage, where she
leaves them in an instrument rack.
July
scans the audience, and then leans in closer to Illata. "Same as usual,
really. I feel a bit old here though... " she notes, eying all the tanned
blonde teenage boys in the audience. How many have their real hair color, nobody
knows.
Drogo
walks in from the
Niara
clambers over seats and steps to reach a spot near the front, intent on staying
out of sight and mind, but well within ear shot of the musicians. She spots
Drogo and waves him over, eager to gossip about anything that might go wrong, or
applaud if everything goes boringly right.
Drogo
goes home.
It's
a calm and pleasant evening, with the sun still lighting the Amphitheatre, but
no longer so hot as to be uncomfortable. The
stage is almost bare, apart from a tall stool positioned towards the right hand
side. Unobtrusively placed behind it
is a small stand for musical instruments: there are a wooden drum and a couple
of gitars resting on it. Harpers are
bustling about, disappearing backstage or simply standing around chatting.
Othear
lingers ominously in the shadows, near to the back. His hood shrouds his head,
and his hands are tucked tightly into the folds of his cloak. A mien of
aloofness can be detected near and far, and only half of his face is visible
from the shadow that the thick, coal black fabric casts on him. He's just here
to listen, not to talk. Period. Of course, he might if someone came and started
a conversation, but no one ever does. Not the shadow man. No one talks to the
shadow man.
Illata
chuckles softly as she follows the path of July's gaze. She nods sympathetically
and settles more comfortably in her seat since there seems to be some activity
near the stage. "Don't worry about it." she offers unhelpfully.
JeDera
walks in from the
Diane
trudges in from the
Ylisa
waves urgently to one of the Harper Apprentices.
He bounces over to her, grinning broadly, and they exchange a few words
in a low tone. The lad glances down
at his clothes, then straightens his collar, re-laces his jerkin so that the
holes match, and rubs the dusty toe of his boot against the back of his
(fortunately dark) trouser leg without any trace of embarrassment at his
sartorial lapses. Ylisa nods
approvingly and gives him a friendly clap on the shoulder.
"You'll do, Ferdie. Just
make sure the voice is warmed up, OK?"
Liesana
steps silently in from the
"I'm
the oldest one here," July murmurs miserably to Illata. "I'm even
older than the performers," she whispers, pointing to Ylisa on stage.
"Nice dress though." Her weaver eyes notice everything. A pretty young
woman appears in the front, the same row as July and Illata, talking to a man.
July blinks for a second, her mouth opening and closing. Gah. Niara??
Shanel
sits quietly watching the people pour into the theater. Scanning each face,
hoping to find someone she knows. Finally spotting someone in the form of Diane,
Nel stands and waves attempting to get her attention. "Di!"
Mimi,
quite famously known as the dancer, wanders out from backstage, walking
carefully on surfaces that will not cause her shoes to clop. She grabs a seat
near to the stages and the ins and outs so she can watch until she has to run
off to stretch and all that pre-dance jazz.
Pluto
sniffs the air. Yes, something smells good. Sneaking softly away from his Caeran,
he moves toward what he thinks must be the source of the scent. Stopping at
Orthear's feet, he sniffs them. Yes, this is it. His master, however, is close
behind. "Now Pluto..." he scolds. He apologetically looks back up to
the man. "Sorry 'bout him."
JeDera
is far older than anyone else here by a long shot, the white streaks in her hair
and the lines on her face give her away. She
makes her way carefully to the section set apart for Harper Masters and settles
into her chair quietly. She smiles
at all the Harpers she knows and tries to get settled.
These seating areas aren't meant for creaking bones.
Liesana
makes her appearance next, the tomboyish Craftheadsecond making some concession
to being a bit of a figurehead by showing up in a dress for the occasion rather
than the breeches and peasant shirt she'd no doubt prefer.
"July!" she calls
over, spotting an old friend and sidling over to chat for a bit before she's
called upon to go take her seat over by JeDera.
Diane
is cradling her one month old in her arms when her name is capped, grinning, she
starts right towards Shanel. "I knew I'd find someone here, Nel." she
notes, slipping in to the row of seats where Shanel is and giggling, red curls
left loose. Rebel's red locks are already seeming to grow pretty quickly, almost
down around her neck. Pertty good for a one month old who was born with a full
head of hair, eh?
Othear
doesn't even look up at Caeran, but gives a visible nod, acknowledging that he
wasn't bothered in the least. He's not exactly a bundle of joy, energy, and
happiness today.
Sounds
of tuning emerge from backstage, but soon fade out.
Those performers that were still wandering around seemed to have
vanished, either backstage or to strategically placed seats, so it looks as if
things are about to start. Ylisa has
been watching the entrance, but it seems that the person she was expecting has
appeared. She nods to one of the other apprentices, who picks up a drum.
The sound of its beats cuts across conversations: the signal that the
concert is about to start. Ylisa
walks onto the stage, and stands at the front, looking very slightly
apprehensive, and waiting to get the attention of the audience.
Niara
turns away as Drogo disappears and settles herself on the bench, lifting feet up
to tuck to the side and under her as she leans against an outstretched arm. Her
gaze travels idly over the crowds, smiling in relief for Ylisa-so many people
showed up. July's name catches her ear and she turns around, her brows wrinkling
together in confusion-until she spies a familiar figure looking right at her.
"July?"
July
oohs at Liesana, ignoring her oldness (or now relative youth) for some nice
catch-up conversation. "Ooh, you look nice," she confides to Liesana,
since women are Officially only allowed to be catty towards each other.
"Who forced you into it?"
Illata
smiles brightly as she notices Liesana and she leans towards July, joining in on
the conversation, her eyebrows rising teasingly at Liesana's nice attire. As the
stage begins to hush, she finishes talking in whispers and soon redirects her
attention towards the front, waiting for something of interest to begin.
Shanel
returns the grin of her friend and cues at the baby, tickling her lightly and
hoping forever passes for a baby-laugh. "I was hoping you'd come. I was
afraid I'd have to sit here all by myself."
Dale
walks in from the
Diane
giggles softly as her baby girl burbles, soon giggling herself. "Aww, Rebel
likes ye," she notes, winking at Shanel and nodding. "Yeah, I caught a
ride from a rider who had to fly straight cause of some injury.
As
hush descends on the amphitheatre, singers file onto the stage, forming
themselves into a loose semicircle behind Ylisa.
She smiles, looking round the good-sized audience.
"Good evening. My name
is Ylisa, Senior Apprentice Harper, and on behalf of the Harper Hall, I'm
delighted to welcome you to this concert. We
have a variety of music for you tonight, and I hope it will be an enjoyable
evening. So, without further ado,
let me introduce the chorus, with a song called, "Ice in my heart."
Dale
steps out to the
July
idly recognizes other people in the crowd as well.. some people Alexander
knows.. the farmcrafter, the redheaded starcrafter with a baby, the newly
arrived smith journeyman posted at Gar.. but it's not like she remembers any of
their names anyhow, and they probably don't remember hers. But there's Niara.
She waves, to her as introductions begin. Can't talk now, but you can still
switch seats!
Liesana
crinkles her nose at July, but refrains from sticking her tongue out at her,
instead noting archly that "Just because I rarely wear dresses doesn't mean
I /never/ do, m'dear Weaver. But
you'll notice the absence of pink, lace, or frillyness from this outfit...
Oh." Someone's just noticed
Ylisa taking the stage. "Looks
like I have to go join JeDera..." she
stage-whispers. "I'll catch up
with you later." A hurried
scuttle, with skirts raised, and she takes her seat.
About
a dozen harpers form the vocal group: most are wearing apprentice knots, and
they're a mix of men and women. There's
no obvious conductor, but when they're in their places, they all turn their eyes
towards a middle-aged journeyman on one end of the row, who discreetly gives the
beat with the merest twitch of a raised finger.
Apart from that, they don't seem to need much direction.
JeDera
looks up at Liesana with a warm smile as she settles into the seat beside her.
"Hey Lies. Looks like
Ylisa has got things together." She
slips something wrapped in a cloth to the other Master.
It looks lumpy, like cake.
Shanel
smiles as the baby giggles her little baby-giggles. "Well, I'm glad. She's
cute......" Shanel's voice trails off as the concert begins. The
conversation can wait for now.
Niara
randomly sticks out her tongue and crosses her eyes at Liesana's departing back
before scrambling up a row to settle next to July. "It's been ever so
long!" she hisses under her breath as she grabs the weavers hand and
squeezes, her attention refocusing on the stage.
Pa-pa-pa-pam
Pa-pa-pa-pam-pa-pa-pa...
Pa-pa-pa-pam
Pa-pa-pa-pam-pa-pa-pa...
No
instruments support this song; the singers themselves build up an accompaniment
with wordless syllables that blend and weave their rhythms.
Over this textured fabric of sound, a woman soloist begins the lyrics.
Picture a girl in a crowded workshop,
People all round but she works apart,
Making and shaping with all her skill, but
Building a wall round her frozen heart.
How could I know that the sun was rising?
How could I know that winter would pass?
How could I know that love -
Would come at last?
The
refrain is bright, its rhythm sharp and the pace unremitting, slowing only as
the last line is reached.
Ice in my heart
Cracking and breaking,
Ice in my heart
Melts in the sun,
Ice in my heart,
Springtime is waking -
Now love has come.
Pam-pa-pam, pam-pa-pam,
Pam-pa-pam, pa-pa-pa-pam-pa-pam.
Now
the male voices take up the lyrics, while the women provide the harmonies, their
bustling syllables forming a busy background.
Pam-pa-pam, pa-pa-pa-pam-pa-pam
Diane
sets Rebel up on her knee a little, letting her rest more upright than laying
down. The baby's gurgles hush and so does she, mother and baby's attention on
the stage.
Picture a man on the Holder's business
Placing commissions, he seeks the best;
No-one to love and no-one to dream of,
So much to think of, no time to rest;
Seshat
walks in from the Gather Square and Market.
How could I know that the sun was rising?
How could I know that winter would pass?
How could I know that love
Would come at last?
Pah -
Pah -
Pah -
Pah -
Pa-pa-pa-pam-pa-pa-pa
Ice in my heart
Cracking and breaking;
Ice in my heart
Melts in the sun;
Ice in my heart,
Springtime is waking -
Now love has come.
An
interlude in which the vocalised beats play freely, then the web of vocal lines
merge again into a simple harmony of long held notes.
Male and female soloists take up the story, first alternating their
contributions, then singing together. To
lead into the chorus, all the singers join in a repeated phrase that builds into
a chord.
Catching a glimpse as he comes towards me;
Catching my breath as I meet her eyes;
Suddenly my frozen heart is warming;
Here is a love I can recognise!
Suddenly now the sun is rising,
Suddenly now the winter has passed,
Suddenly now I'm realising
Love has come
Love has come,
Love has come -
At last!
The
final chorus includes much echoing of its distinctive rhythm,
before a last repetition of the opening harmonies brings the song to a
close.
Ice in my heart
Cracking and breaking,
Ice in my heart
Melts in the sun,
Ice in my heart,
Springtime is waking -
Now love has come.
Pa-pa-pa-pam,
Pa-pa-pa-pam-pa-pa-pa...
Pa-pa-pa-pam,
Pa-pa-pa-pam-pa-pa-pa...
Pa-pa-pa-pam
Pa-pa-pa-pam-pa-pa-pa
Pa-a-a-a-am.
Pum!
Othear
steps out to the Gather Square.
Liesana,
so recently settled in her seat, stirs herself again to offer applause, clapping
her hands loudly but neatly to signal her approval.
"Well written, well played!"
As
the song ends, the chorus wait for a few seconds, most of them watching the
reaction of the audience. When the
leader gives a signal, they bow.
Othear
walks in from the Gather Square and Market.
JeDera
settles in quietly, just watching and listening.
Shanel
joins the applause enthusiastically. Her eyes widen at how well the song was
done, especially with the harmonics all vocalized.
Othear
walks out.
July
starts clapping hesitantly when she realizes the song is over. Clapping before
the song is over is a painful experience. As the singers bow, she applauds more
enthusiastically. "A capella is the best!" she acclaims to Illata next
to her.
Caeran
looks to the stage. Though he is a harper apprentice, he isn't performing in the
choir today. Since his voice it's changing, his singing isn't exactly wonderful
at this point in his life. Instead, he is content sitting and listening, keeping
a tight grip on Pluto's collar. He doesn't want him getting away again. As the
song ends, he applauds.
Mimi
applauds loudly from her strategic seat near the front. Oooh very lovely yes
very nice. So she just sits and waits for her cue to head backstage.
Illata
claps brightly, nodding to July's comment, agreeing with her on some levels. She
just likes music of all kinds, but this was very good indeed.
Diane
grins softly and cradles her baby 'tween her arms and claps with everyone else,
yay!
Larisa
applauds as well, following the journeyman she came with, as he claps a couple
heartbeats after Liesana.
Seshat
claps loudly, disappointed that she missed the beginning.
As
the chorus file of the stage, a quartet takes their place.
They form up in a close group, turned so that they can see each other. At
the back stands a young woman with a gitar and a small lad with a drum.
He must be one of the Harper Hall's youngest apprentices, and his
excitement is clearly visible on his face. In front of them are a violinist and
a young woman with a flute. Ylisa
introduces them. "Our next piece is the Threadfall Quartet, performed by
Apprentices Vella, Toman and Rayera, and Junior Apprentice Niperin."
She then retreats to the obscurity of the wings. The flautist catches the
eyes of the others and the music begins.
The
violin begins alone, with a peaceful, song-like theme that speaks of quiet days
and warm sun. Its long phrases flow
pleasantly onwards, joined after a while by the gitar, which adds a simple,
contented accompaniment.
The
melody repeats, but after a few phrases, the drummer starts to play a quiet beat
at the start of every bar. The
strength of the drumbeat gradually increases, until it starts to become a little
obtrusive. Is something amiss?
The flute enters, on a high, silver-toned note that adds a remote
interval to the underlying chord - not quite a discord, but certainly not a
comfortable element. The music takes
on a sense of unease, of threat, of something sinister on the horizon.
Flavian
walks in from the Gather Square and Market.
A
sudden realization: the drumbeat intensifies while the flute slides down a
chromatic sequence, then repeats it from a lower starting point, its notes
seeming to fall, twist, and fall again. The
threat is real now, and the gitar accompaniment switches to a fast rhythm,
giving the alarm. The violin's
melody is more intense, but starts to break, giving way at times to the flute's
now-strident tones before stopping completely, as if a peaceful day had been
shattered by the onset of Thread. The
gitar's harmonies modulate briefly into a minor key.
The
violin begins another theme, this one firm and bold, yet not heavy or ponderous;
indeed, it seems to fly from the bow. The
gitar changes key again to blend with this new element, taking on a rhythm
that's almost martial, perhaps a slow march, or the beating of great wings.
The flute fades into silence for a few moments as the focus of the music
is elsewhere, while the drum's continued tattoo adds to the urgency of the
moment.
The
flute re-enters, its notes loud and fast, seeming to cut across the texture that
the other instruments are creating, assaulting the melody and threatening to
score and scar it. The violin
responds with a faster variation on its theme, and the gitar, too, starts to
bring out that tune more boldly, as the deadly peril is met. These are the
sounds of a fight!
A
moment of shock, as the violin seems to depart from its line with a sharply
accented phrase that's almost painful in its suddenness.
Then it pauses, leaving the gitar to carry the melody, as if some wounded
dragon had left the fight to others. Soon,
however, the crisis seems to pass. The violin re-enters, seeming almost in
unison with the gitar, and together with the drum, they create a fiery crescendo
that leaves the flute silent and defeated.
There's
a pause. Then the gitar starts to
play the original theme: calm is restored, the ancient enemy defeated yet again.
The violin takes up a lyrical counter-melody that seems almost sad: even
in victory there is loss. The flute
re-enters, playing in its lower register to provide a gentle harmony.
The instruments blend together, supported by the gitar's soft, even
rhythm and a few hollow drum-beats that fade away to nothing.
The piece ends quietly.
The
musicians smile at one another, the youngest of them grinning broadly.
He whispers to the violinist, "My first performance!"
Larisa
whistles and claps wildly. A song to remember...Her journeyman grins at her
though he is younger than she...
Trau
looks almost stunned in his seat, eyes as wide as dinner plates. He claps
loudly, enjoying every bit of the performance so far. A comforted smile he wears
on his face as he is relieved from the stresses of the day.
Seshat
applauses with a smile, her eyes bright and content.
Caeran
applauds loudly. Great song. Hopefully there's more like it.
July
sits in a daze on her bench as the piece suddenly ends. You call this music?
Why, back in her day music actually used to sound *good* and be soothing, not
like this.. punk.. stuff they play nowadays. Young whippersnappers.
Grumblegrumble. She, however, holds her peace for Liesana and Illata's sakes,
and applauds politely, then a bit more warmly as her stance softens with the
smile of the youngest apprentice. He must genuinely enjoy what he does. Awww..
so cute!
Illata
holds her breath as the piece ends. Her dark eyes intent on the performers. Even
eyeing their instruments with great interest. She finally recovers enough to
clap encouragingly, leaning over to whisper in July's ear, "WOw, that was
impressive." she then notices July's expression and bursts into quiet
knowing giggles.
Diane
laughs softly, her eyes dancing as she applauds "That was great, don't you
think Nel?" she asks, grinning.
Shanel
claps loudly grinning up at the stage. Turning slightly to Diane, "They're
wonderful."
Liesana
turns to give July and her grumbling an unmasterly smirk.
"Very innovative, wouldn't you agree?"
the Harper asks of her Weaver friend.
"Shocking, and wonderful for catching the attention."
Niara
glances at July out of the corner of her eye, catching the fleeting expression
and rolling her eyes. She might not be fond of /playing/, but she enjoys it
coming from people who are. So she joins in the applause around her with a
vengeance.
July
is snapped out of her daze by Illata's laughter, blushes a bright shade of
scarlet, and begins to applaud as enthusiastically as humanly possible,
involving pounding the benches of the people in front of her with her feet
rather intrusively. Ha! She's open-minded and tolerant and avant garde and
"down with it"! Yes she is! Ha! Take that, artsy-fartsy!
As
the quartet take their bow and file off, the young drummer is hard pressed to
maintain his decorum, and those who are watching from the right angle can see
him leap for joy as soon as he thinks he's out of sight of the audience.
Ylisa has been watching from the wings, and now returns, with her gitar
on its strap ready to play. "Thanks
to our quartet." She
pauses before introducing her first solo song, fingers moving into position on
the strings. "This is a love
song, though with a rather unusual lover. I
call it 'Lament for Lost Love.' "
The
introduction to this song is gentle, the gitar's tone warm as Ylisa plucks the
strings. A line of melody seems to
emerge from the textured sound, then Ylisa begins to sing.
Her voice is soft yet clear, and restrained above an accompaniment that's
reduced to essential simplicity.
Old
and decrepit JeDera might be, but she sits quietly and listens, clapping at the
end of each piece. She keeps her
outward expression of personal opinion down to a polite clap.
It ain't over yet.
I lie in my case as it stands by the wall;
The strings that once rang are now slackened and dull;
My voice is unheard and my fretboard so worn
Has felt no caresses for many a Turn.
The
melody is left hanging. When the
second verse begins, after a few bars' link, Ylisa's voice starts to build in
volume, and the melody is now set against a bolder gitar part.
The rippling chords would seem joyful, were it not for a hint of the
minor key: hope tinged with the shadow of loss.
I long for the day when my lover will come
And lift me from darkness and join me in song;
But he has another love, fairer than I,
With hair like the sunshine and eyes like the sky.
A
second tune appears, marching through brittle arpeggios, then climbs to a high
point and falls away. The same two
phrases are repeated. The gitar
contributes sharp, plucked chords, one to a bar: its own song of bitterness.
Together they wander through valleys afar
And lost in such wonder, he needs no gitar,
His voice speaks the words that enchant and enthral,
And love-talk is music enough for his girl.
With
the return to the original, gentler melody, hope reasserts itself.
Perhaps she will leave him, or maybe some day
He'll need sweeter music to beg her to stay;
And then he'll remember his faithful old friend
And take me to cherish and furbish and mend.
The
alternate tune appears again, but with very different delivery.
This time, gitar and voice blend, a shower of plucked notes and sweeping
vocal phrases giving an almost ecstatic feel, bolder in the first half of the
verse, then slightly softer as the melodic line repeats.
I'll sing for him then as I've sung in the past,
I'll sing of a love that endures to the last;
My voice will be mellow, as rich as old wine,
And how we shall blend as his song joins with mine!
The
last note of the verse is picked up by the gitar, becoming almost ominous as the
accompaniment modulates into the minor chords that form the link to the final
stanza. This is sung to the original
tune, and as softly as the first verse.
But what can I do if he never returns,
But lie in my case while my aching strings yearn,
And long for the touch of his skin against mine,
Adrift in the memory of music so fine.
This
time, the final line resolves to the home note, and a few more plucked arpeggios
bring the song to a soft conclusion.
Ylisa
lets her hands fall from the gitar and stands breathing deeply to calm herself
and smiling at the audience. She's
looking more confident now that she's survived her first song.
July
applauds warmly as the song comes to an end, soothing her rather frayed nerves.
"The Journeywoman knows her craft," she declares unabashedly to Illata.
Niara
holds back a sniffle, her sentimental heart touched by the plight of the old
gitar. "S'not fair," she whimpers to herself before running an arm
under her nose and looking swiftly around to make sure her mushy silliness is
unnoticed.
Seshat
barely claps, her eyes filled with a deep understanding and unshed tears.
Illata
claps appreciatively before glancing at July out of the corner of her eye. The
Harper's Apprentice can hardly wait to see what her friend's reaction is to this
one. She gives the weaver a grin and nods slightly beaming stageward at Ylisa.
Mimi
applauds for Ylisa, simply beaming at the senior apprentice, and slips quietly
from her seat to disappear backstage to warm up a bit.
Caeran
sighs as he claps. Another love song. Well, at least this one was dramatic. He
latches back onto his canine's collar as he eyes Ylisa. She must be terribly
nervous.
Shanel
chuckles softly as she once again joins the applause. What a delightful song.
Larisa
leans over and whispers to her younger escort. "Wish the man in that song
would go back to his instrument...She's jealous of his lady..." She nods at
the comment of the woman about the journeywoman knowing her craft...
July
leans closer to Illata and whispered. "Of course, if the man ever *did* go
back to his gitar, he'd really have no life." Her voice pitches even higher
into a *female* falsetto. " 'I know where you've been! You've been out with
that.. gitar! I thought you loved me!' "
Liesana
snorts at overhearing July's comment to Illata and murmurs her own comment to
JeDera of "Clearly, she's never met some of the more, er, dedicated,
performance types..."
Illata
sniggers at July's impressions of the characters in the piece and struggles to
keep her attention somewhat focused on the performance. She shifts around in her
seat, a stiffled grin on her face.
JeDera
turns at Liesana's words and has to smile. "Isn't
Harpering the only life there is?" Its
hard to tell if she's serious or not.
Larisa
shakes her head..."Farming..." She mutters
"Weaving,"
July chimes in to the crafter debate nearby.
A
quick response is surprising from JeDera. "Of
course, Weaving! Otherwise we'd all
be naked and sunburnt around here!"
Ylisa
stands smiling until the applause fades, then lays her right hand over the gitar
strings and waits until she has something approaching silence
She doesn't introduce the next song, but simply starts to play when she's
ready.
Raiden
ambles, tracing dust in from the Gather Square and Market.
Ylisa
plays only a few bars of simple introduction in a minor key before she starts to
sing, but that's enough to establish a medium tempo and a hint of mystery. The
song is pitched fairly low, just right for the singer's voice.
The Turn was drawing to its close, the night was clear and cold,
And we were three days out from land, on course for Southern Hold,
The moons hung low but, from above, a brightness caught my eye:
I looked and saw the Turn's End Ghosts write silver on the sky.
The
ballad proceeds swiftly, without too much decoration from the gitar apart from a
few sharp accents. There's a story
to be told here! The tune is regular
in rhythm, and steady in pace, with a pause at the end of the third line that
adds suspense.
The lookout cried, "A
ship ahead!" His voice cut through the night,
And faintly in the distance shone the glimmer of a light,
Before my watch on deck was done, we had her well in view -
And saw her sails flap free as if untended by her crew.
We saw no man upon her deck as we were drawing near;
With 'Ship ahoy!' we hailed her but no answer could we hear;
Our captain took the wheel himself to bring us to her side,
But something made my blood run cold as nobody replied.
Brisk
finger-work on the gitar builds excitement as Ylisa keeps the story moving.
The volume increases for the next verse, and voice and expression are
animated as she looks round the audience, making eye contact, trying to tell her
tale to each person individually.
We leaped aboard her empty deck and looked about in fear,
The glows were bright, the wheel ran free, but nobody was there,
We searched that ship from stem to stern until the break of dawn,
But nothing could we find to tell us where the crew had gone.
The
next verse is delivered less forcefully, but
the narrator's wonder comes across in the intensity of Ylisa's voice as the
scene unfolds and ship's name is revealed.
The hold was stowed with barrels of the choicest Benden wine,
The table in the cabin set with food and drink so fine,
No log was there to tell her course from some far distant coast,
But on her bow was carved her name: she was the 'Turn's End Ghost.'
The
next verse is more reflective, providing a contrast with what's gone before.
Perhaps some danger threatened and their lifeboat bore them clear,
Perhaps they sighted thread sign and jumped overboard in fear,
Or maybe some great breaking wave had swept the decks of men,
But though we searched by morning light, they were not seen again.
Now
there's an interlude before the climax of the song.
Ylisa plays through the verse, wrapping some intricate ornamentation
around the melody. When she starts
to sing again, a high harmonic line from the gitar adds to the atmosphere of
mystery as she seems to share a secret thought.
The old folk tell that Turn's End Ghosts are dragons in the sky,
The first to fight to save our world and flame the Thread on high,
But maybe on that Turn's End night, the Ghosts came sweeping down
To save the lost, as dragons do, and not let sailors drown.
We could not spare a crew to bring her safely to the land
And so we left her sailing on towards the Southern strand,
But maybe on some Turn's End night when stars fall from the sky
Some other ship will meet her as she silently goes by.
The
song ends softly, sadly, slowing to
the close. Ylisa lets the last note
die away completely before smiling to the audience, a slight relaxation in her
stance hinting that she's pleased with her performance.
Larisa
adds. "Mining, Starcraft, herders." She smiles. "And without
farming, you wouldn't have the flax and the like for weaving." She speaks
quietly to not interrupt the song.
Niara
leans forward as the song progress, her story-lover's heart trilling with the
words. As the song trails to a close, she bursts into enthusiastic applause, a
smile as bright as her eyes testifying to her approval. /Those/ are the best
types of songs.
July
applauds enthusiastically, her high opinion of Ylisa already established. Yes,
nautica! Meanwhile, a small boy next to her whimpers unnoticed, "That was
my da's ship!" Well, that's your Long Lost Angst Story right there.
Caeran
applauds once again. "Nice playing!" he shouts above the din of the
crowd. Maybe he'll be up there next time. Unless the ghosts get him.
Liesana
sits in silence a moment as the last chords from the gitar and mingled voice
fade away, having fallen quiet to listen to the piece, and leave discussion of
the merits of various Crafthalls to others.
She breaks it as the applause starts, clapping herself, and chipping in a
quintessentially Liesana-ish whistle of approval.
Diane
giggles softly and turns a little in her seat, "Go Starcrafters!" she
whispers, her knot riding on her shoulder. Turning back to the performance, she
beams and claps, still cuddling her baby 'tween her arms.
Illata
allows a long moment for the mood of the piece to settle in, then applauds
enthusiastically, adding a cheer for good measure. "That was great. I love
the wide range being presented, this is a rare treat." The girl looks
happy, chuckling at the ongoing crafters debate.
Shanel
claps loudly. Not having followed any conversations around her, Diane gets an
odd look for her soft cheer.
July
confides to Liesana, "This is the sort of thing my sister would love. She
says that everything in life.." Oh, here we're starting that everything in
life debate again, ".. can be gained through salt water... tears, sweat,
and the salt sea."
Ylisa
introduces the next performer. "And
now, please welcome Apprentice Ferdie."
The harper who strides jauntily onto the stage doesn't quite manage to
display the image of Craft professionalism.
Sixteen Turns old, Ferdie has sandy-coloured hair, parted in the middle
and showing signs of having just been damped and combed into position,
ever-curious grey eyes, a considerable number of freckles and a cheerful grin.
He is, at least, reasonably tidy in black trousers, white shirt, and a
long jerkin in a rich Harper blue, laced at the front. The clothing is well made
and clean, but has an indefinable air of not quite fitting its wearer's lanky
frame.
Larisa
listens and turns to smile at some woman near her's little baby. The sweet thing
smiles back at her.
July
ignores, for once, the apprentice's lack of sartorial grace and acne (oh, those
are freckles, aren't they?) and flashes him an encouraging smile. Everyone's
been in his position once upon a time.
Ylisa
retreats to a stool at one side of the stage, still holding her gitar as she's
going to accompany the singer. Sitting,
she discreetly crosses her legs under her long skirt to allow her to play more
comfortably.
Once
about to perform, Ferdie's demeanour changes.
He holds himself straight, breathes deeply, and his expression becomes
serious. As Ylisa plays the last
line of the melody as introduction, he scans the audience, visibly gathering
himself for action. The melody is gentle, reflective, and well-placed for
Ferdie's clear tenor.
Do you remember when the world was new?
When childhood's eyes made leaves a brighter green and skies more blue?
When you and I played in the sun
And never knew that clouds would come?
I loved you then, but we were far too young;
I loved you then, but we were far too young.
Avarok
walks out.
The
volume builds slowly, then falls away again as the last line is repeated.
A variation on that line is played on the gitar, to give a link into the
next verse. This time, the delivery
is warmer, almost joyful - until the bitterness of the last lines.
These are sung strongly, the gitar's accompaniment changing to a pattern
that interjects sharp down-strokes to emphasise the stressed words.
Do you remember when the world seemed bright,
When love shed glowing colours on each day, and warmed each night,
When you and he walked hand in hand
And laughed and kissed and dreamed and planned?
I loved you then, but dared not aim so high;
I loved you then, but dared not aim so high.
Four
simple beats on the gitar carry the singer into the refrain.
Ferdie sings with passion, and seems to lose himself in the music.
He's far from being an old man like the song's narrator, but perhaps
there's a trace of real feeling there?
Lady so high, in silence I wait;
And maybe this waiting can never end;
Lady so high, in silence I wait;
But though you may never love me, I'll still be your friend.
The
last line is softer, joy and sadness mingled in the promise.
Quiet again, the gitar plays a pattern of chords that depart from what's
gone before, introducing a darker note.
Do you remember when the world turned black,
The day you heard the news that he was never coming back?
You thought the pain would never end,
Sought comfort in your oldest friend;
How could I speak of love at such a time?
How could I speak of love at such a time?
Lady so high, in silence I wait;
And maybe this waiting can never end;
Lady so high, in silence I wait;
But though you may never love me, I'll still be your friend.
There's
a longer interlude on the gitar before the final verse begins, and when it
starts, there's an element of restraint in the singer that suggests thought or
hesitation, before he throws himself into his appeal.
Do you remember only yesterday,
We spoke of all the friends the passing times have swept away?
And now that so few Turns remain,
Is there a chance I can explain
How love like mine can dream what it can't say?
How love like mine can dream what it can't say?
The
verse gathers intensity, then singer and gitar swing directly into the refrain.
Lady so high, in silence I wait;
And maybe this waiting can never end;
Lady so high, in silence I wait;
But though you may never love me, I'll still be your friend.
Lady so high, in silence I wait;
And maybe this waiting can never end;
Lady so high, in silence I wait;
But though you may never love me, I'll still be your friend.
Yes, even if you never love me, I'll still be your friend.
The
repeated refrain dies away, its last notes echoed by the gitar.
Ferdie waits a decent interval - perhaps four seconds - before grinning
broadly, nodding his head in the sketchiest of bows, and almost bouncing from
the stage.
Larisa
applauds at the end of the song.
July
sits straight on the bench, dazed, this time in a good way by the
professionalism and profundity of the young man's song. She applauds slowly, not
in the excited exuberance of her previous applause, but in deeper appreciation.
Caeran
claps joyfully. Ferdie has done well, in his opinion. He knows what it's like to
be up there, so he can appreciate his performance.
Akayla
walks in from the Gather Square and Market.
Akayla
steps out to the Gather Square.
Shanel
steps out to the Gather Square.
JeDera
folds her hands quietly in her lap, watching bemusedly. When the song is over
she turns to Liesana and smiles. "All this without a Voice instructor.
You've all done very well."
Ferdie
takes a bow, but doesn't leave the stage. Instead,
he walks to the side where Ylisa was sitting, and takes a strangely-shaped
wooden drum from the instrument rack. Ylisa
quickly swaps her gitar for a slightly smaller one, which will presumably have a
different tone. Then she turns to
the audience again. Smiling towards
her fellow-performer, she says, "Thank you, Ferdie.
And now, I'm delighted to tell you that Journeyman Mimi is going to dance
for us." She resumes her seat,
though there is as yet no trace of the dancer on stage.
Brooding
chords give the impression of movement in the darkness, as Ylisa's fingers roll
across the strings to produce notes in quick succession.
The sound gradually grows, anticipation building, as if people were
gathering, wagons drawn up for the night, perhaps a fire being built so that
travellers can meet together.
Mimi
begins to slowly make her way out from the side of the stage, her skirt held
with one of her hands, her feet brought up and down as she taps merrily out to
the center, swinging her arms around her hips as she turns around rather slowly
to face the audience, slowing and quieting her steps to a near-stop, leaning
down slightly as she brandishes her skirt around her ankles.
A
thread of sound unwinds from the gitar: a sorrowful melodic line that climbs and
turns and falls, sometimes echoing a phrase, sometimes moving swiftly on.
It is unornamented, continuing note by searching note with little
harmony, as if seeking for answers, for certainty, for love.
Even in a crowd, it seems, there can be loneliness.
Mimi
moves no further than the center of the stage, and very slowly turns around
once, hands and arms winding seductively around her face and just above her
head. Movements convey a mournful,
possibly melancholy feeling as she lifts her heels up and down, causing her hips
to rock and her skirt to sway as she casts her eyes sadly down towards the floor
to the side of her.
The
gitar's strummed pattern returns, with the same basic beat but more
ornamentation, and louder, with the sharp sound of thumb and fingernails
striking the strings more pronounced. The
drum takes up the complex rhythm, giving the gitar more freedom.
This music leaves no room for acceptance or complacency; sadness has
turned to challenge.
Just
before the rhythm picks up the dancer stops, stamping her foot onto the floor to
accent the change. She leaves old
feelings behind, elegantly stepping over to turn quickly towards the back of the
stage, skirts flaring out to reveal swiftly moving feet, and turns back towards
the front. Each lift of her foot
allows another twisting movement and a wave of Mimi's wine-red skirts.
Another
plangent tendril of sound reaches out from the gitar, but now the seeking is
more insistent, the underlying rhythm more pronounced, and there's something of
determination in the way a certain phrase recurs, like a face or a feeling that
the mind can't escape.
Mimi
ducks her head and shoulders, hands pulled back to her hips. With the yearning
of the gitar, the dancer turns her head up again, bringing her hands up as
though they are being pulled by some force, snaking them past her face to a
sudden stop, where her head is thrown back and she taps her feet slowly, at
first, then faster, and faster.
With
a sudden burst of sound that impels to action, the urgent rhythm springs again
from the gitar, full of life despite echoes of sadness.
The music presses onwards, its harmony developing as the same complex
beat continues, as if urging, insisting, demanding a response.
The
front part of Mimi's skirt is quickly snatched up with her hand as she moves
sideways across the stage, her unoccupied hand reaching across her face, and a
small clap can be heard coming from it. The
little circles of wood in the dancer's hand send off a nice chant of taps along
with her feet as she leans forwards, with steps towards the front of the stage.
She suddenly pulls backwards, leaning backwards, then turning halfway,
letting a hand linger, twisting, turning, out towards the audience, other hand
still wisping her skirt about in front of her.
Another
quieter passage: its notes are yearning, dark with hidden emotion.
Their intensity grows, and with it, the music's tension, as if an appeal
had been made but the answer still remained uncertain.
Mimi
bounces on her toes, barely leaving the ground, hitting it with an accent of her
tap shoes, brushing her hands back to another neat effect of her skirt ruffling
backwards as she takes a few steps forwards.
Her steps become faster and more urgent.
Hands and face are sent up towards the sky with a touch of light stepping
before she quickly leans down again, holding her skirt in both hands as she
edges to the side, slowly, quietly, then with a louder, fiercer tapping she
returns towards the front of the stage, ruffles of crimson brushing the front of
her knees.
Ylisa
smiles fiercely as powerful chords ring out, first low in pitch as if some force
were straining for release, then set free from all constraints, soaring
triumphantly to the higher notes. Sharp
taps on the table of the gitar accent the rhythm, and the drummer beats with
increasing force. The music
seems to overflow with energy as it accelerates towards its jubilant conclusion,
finally coming to a close, without slowing, in a burst of sharp, rapid
strumming.
Mimi
steps slowly, slowly towards the front of the stage, although her hands are
spiraling about quickly over her head. Skirt
is picked up again in her left hand which is held near her waist, then at her
hip, while she crosses one foot over behind the other with a tap, then quickly
out in front again with a small succession of added taps in there, quickly
dancing her way across the stage, actions full of energy, full of strength.
With a twirl and a determined set of her foot, just a slight movement and
one hand is brought up past her head in triumph, while her face is set in a
proud smile, the song ends.
Caeran
chuckles in both amusement and wonder. Who knew that Journeyman Mimi could dance
like that? She should be forced to do it more often. Maybe they should ask for
an encore. He bursts into applause as soon as the song is finished.
Trik
roves with uncouth grace in from the Gather Square and Market.
Ylisa
quickly hands her gitar to Ferdie, who replaces it in the rack and slips
offstage. Then she raises her hands
to applaud Mimi's performance, nodding appreciatively and silently mouthing,
"Wonderful!"
Mimi
drops her hands and backs up from the front of the stage, pausing to perform a
small curtsey, cheeks slightly flushed, and she turns to Ylisa, "Great
job!" Yesh. Your little journeywoman certainly can dance. And she ducks
offstage, to reappear in the audience, finding a seat near a few friends with a
wide grin.
Liesana
has been applauding for the performances all along, even if you didn't see
anything while her player was idle, but she's even more cheerfully loud in her
clapping for her friend's performance. "Excellent,
Mimsy! Bet your attendance levels at
your classes go through the roof."
Trau
claps very loudly, resisting the urge to whistle in appreciation. He enjoys
watching dances above everything else.
Niara
rubs her eyes, now sore from having been watching the performance intently.
"There's gonna be a test, I just know there's gonna be a test," had
been muttered over and over again throughout. Though now that it's over, she
settles back, clapping tiredly. "I hope there's not a test..."
The
vocal group returns to the stage, this time arranging themselves in two rows,
with men at the back and women in front. Their
arrangement and stance suggest a relatively formal item to come.
Their leader is journeyman Corron again, but this time he stands with
facing them in a typical 'conductor' position.
A small group of instrumentalists also take their positions with harp,
violin and flute.
The
harp begins the introduction to this choral item, plucking slow chords, one to a
bar. A violin adds sombre phrases
that seem to weave a fabric of sound round the harp's framework.
The tenors begin to sing softly, their voices restrained and almost
remote, but gradually increasing in volume.
After two lines, the basses add their strength.
The winter sun shines chill across the land;
The burden beasts inscribe their furrowed trail;
And tools are bitter in my stiffened hand,
While aching shoulders warn that strength can fail;
The
controlled growth of sound continues as the female voices enter, reaching its
peak in the last line of the verse.
But when life's green
begins to show
Where
all was dead and dark, I know
That's why I farm the land.
The
flute repeats the final part of the verse over the harp and violin's
accompaniment. Now the singing
breaks into harmony, the melody sung slowly by the sopranos over lower lines
that are full of movement.
I've known the driving labour in the field
As parching sun sets into harvest night,
To win secure another acre's yield,
Before the wind can break or rain can blight;
The
rest of the verse is sung almost in unison, with only small variations by the
lower voices, providing a contrast that emphasises the homely image.
The violin doubles the melody while the flute adds decoration.
But when I see
The table
spread
With tender roots and fragrant bread,
That's why I farm the land.
A
tenor soloist steps forward to start the third verse, his voice warm and
expressive over the support of the instruments.
As he continues, he is joined by the other voices, humming softly.
My vision is the promise in a seed
My skill, to know the lines that will breed true,
My care, to prune and water, stake and feed;
With patience, wait the birth of something new.
The
choir, in full harmony, joins in a majestic crescendo to celebrate the farmers'
achievement as the piece draws towards its close.
Flute and violin add an exuberant flourish as the final phrase is
repeated in triumph.
But when I see
That two fruits grow
Where one has grown before, I know
That's why I farm the land;
That's why I farm the land.
The
last note is held for its full, precisely measured length, then at a gesture
from the conductor, singers and instruments fall silent.
Seshat
walks out.
Caeran
smiles. That just may bring the craft debate back to life. At any rate, it was a
good song. He leans back as he enjoys the concert.
The
singers walk off stage, but their conductor simply turns to face the front, and
waits while Ylisa moves forward a few paces, halting in full view of the
audience but still not far from the side of the stage.
"Journeyman Corron stays with us for the next song, which was
written to honour our friends in the Star Craft."
She withdraws to make way for the performers.
A
middle-aged Harper journeyman, Corron is impeccably turned out in black
trousers, a white shirt, and a black waistcoat edged with red piping and laced
with a bright red woven cord. He is
of middle height and fairly rounded in build.
His face is also rounded, with dark brown eyes under neatly trimmed
brows, a small, neat nose, and a chin that's neither prominent nor lacking.
Once-black hair is receding and now mostly grey.
He holds himself erect and has an air of dignity, but a quick smile
betrays a sense of fun.
The
soloist steps forward, scanning the audience with a serious expression as he
positions himself in the centre of the stage.
The instrumentalists who are to accompany the song also take their
places: a gitarist, a violinist, and harpers with tenor and treble pipes.
The
piece begins with a slow introduction. Long
notes on the violin provide a foundation, then pipes are added, building into an
eerie harmony. The gitar enters,
harp-like, playing one rippling chord to the bar.
The
singer gathers himself and begins to sing, his deep voice resonant with the
vastness of space. The first phrase
is strong, the second longer and lower, its first few notes echoed by the rest
of the line in a rhythmic pattern that seems to die away.
The next lines start to repeat the same melody, then sweep upwards into
the second part of the verse.
Thundering in silence,
Worlds that travel,
following a path that has no signs;
Splendour in the darkness;
Brighter than a
diamond is the furthest star that shines.
Mystery of distance,
Wonder of existence,
Everywhere surprise...
Open your eyes!
The
instruments provide a short link and continue to accompany the second verse,
their sound now less ethereal, more edged. As
the singer continues, subtle emphasis on the beats reinforces the images of
craftsmanship, then a smoother delivery enhances the suggestion of vast
distance.
Labour and precision;
Grinding glass and
bending steel to make the image clear.
Far-extending vision,
Reaching out to
touch the stars and bring the distant near.
Called by hidden forces,
Worlds upon their courses
Trace the path of light:
Splendid the night!
As
the climax of the song approaches, the next verse begins with a slow crescendo,
the rich voice building in intensity as the starcrafter tells of his calling.
Rules and calculation
Help predict the
coming of the menace from on high.
This is my vocation;
Knowledge is a
treasure, for in ignorance we die!
The
power of Corron's deep voice seems to fill the amphitheatre with the warning
that follows.
Red Star in the morning:
Learn to read its warning.
Know where danger lies:
Look to the skies!
The
first verse is repeated, beginning quietly and smoothly.
The singer's voice is never loud, but carries because of its intensity
and well-controlled delivery, building to the mid-point of the verse, then
falling away again. A violin
obbligato, the only accompaniment, adds to the sense of wonder.
Thundering in silence,
Worlds that travel,
following a path that has no signs;
Splendour in the darkness;
Brighter than a
diamond is the furthest star that shines.
Mystery of distance,
Wonder of existence,
Everywhere surprise...
Open your eyes!
The
ending of the song is firm without being loud.
The violin plays a final sequence of broken chords that climbs to the top
of its range, then it, too, falls silent. On
stage, nobody moves for several seconds.
July
has closed her eyes, not watching, but deeply involved in the music. This is
probably why she hasn't said a word for such a long time. Finally, she opens her
eyes and breaks the new silence with her applause. She never knew calculus could
be so exciting.
Illata
claps loudly, Amazed at how the instruments managed to suggest so many
underlying themes to the piece. Quiet an ingenious composition. Illata shifts in
her seat, realizing she hasn't moved once the entire time, being a bit
spellbound.
Corron
acknowledges the audience's applause with a bow and a flourish, eyes twinkling.
The musicians leave; he follows them, walking briskly.
Ylisa reappears, pausing at the side of the stage to slip on her gitar,
then moves to the centre and waits for the audience to settle before she
launches into the last couple of items. The
sun is starting to dip, and the Amphitheatre is bathed in golden light.
Ylisa
starts to play softly. The sound of
the gitar strings is gentle, but intensifies as the harper begins to sing.
Let my fingers ruffle through your hair,
And dry the salt-sweat from your work-hot skin;
Let me whisper comfort in your ears:
I am the wind...
I am the wind.
More
complex harmonies change the mood from entreating and almost seductive to
something more sinister. Ylisa's
voice becomes firmer, more insistent.
Let me pierce your aching limbs with cold,
And knife the frail protection of your furs;
Let me lock your joints and chill your bones:
I am the wind...
I am the wind.
Sharp
chords signal a change of tune and pace. Now
the gitar's voice is harsh, the tone demanding, and the rhythm of the song
drives it swiftly onwards. Two long
phrases are delivered quickly, then questions scarcely veil the threat that
follows. The tune builds to a high
point, then drops to the final emphatic notes of the verse.
Though you clasp your garments,
I can tear them from your back;
Though you run for shelter,
I can pass through door and crack
So when I rage against you, will you bend?
Or will you try to stand
And shatter in my hands?
Peace
is restored. The original theme
flows smoothly from gitar and voice; but not for long, as harsher tones return.
Let me ease and soothe you with my balm,
The cooling breeze that softens cloudless skies;
Let me be your friend when days are calm:
I am the wind...
I am the wind.
Ships will run before me
As I pile the oceans high;
Storm clouds must surrender
When I lash them through the sky,
So when I rage against you, will you bend?
Or will you try to stand
And shatter in my hands?
The
gentle opening melody is transformed into a warning by a forceful delivery and
an accompaniment that insists on taking its own path.
Never seek to tell me where to go,
For such as you can never learn my ways;
I alone decide where I shall blow:
I am the wind...
I am the wind.
As
the wind mocks, Ylisa is totally wrapped up in the music.
The amphitheatre fills with the sound of her voice as she puts all she
has into the song.
Trees fall down before me
And I scorn the works of man;
Mountains hear my laughter
As I show them who I am;
So when I rage against you, will you bend?
Or will you try to stand
And shatter in my hands?
Fickle
as the wind itself, the mood of the song reverts to the earlier enticing
softness as it draws near its close. After
what has gone before, Ylisa's low voice seems almost eerie as she sings the
gentle words.
Let my fingers ruffle through your hair,
And dry the salt-sweat from your work-hot skin;
Let me whisper comfort in your ears:
I am the wind...
I am the wind.
I am the wind...
I am the wind.
The
final phrase is repeated, first by the singer and then by the gitar alone, dying
away to silence.
July
applauds as the last notes are carried away into the evening. She wears a look
of relief on her face that this song, unlike the last two, won't provoke any
more craft debates.
Illata
applauds more softly, admiring the sound of the singer's voice and sighing in
appreciation.
Caeran
claps enthusiastically but politely. He's really enjoying this today. The
weather is perfect to just sit outdoors and muse.
Ylisa
stands in silence, hardly even smiling, as she allows herself a few moments of
rest after the song. That one was
quite tiring. Then, after a deep
breath, she speaks to the audience, the cheerful expression back on her face.
"Thank you. The last
song this evening celebrates our beautiful island of Ista.
It has a chorus that's quite simple, so please feel free to join in if
you would like to."
Ylisa
begins to strum her gitar in an easy rhythm, an eight-bar introduction that
hints at the tune to come. She's
relaxed and smiling, as the mood of the song requires.
The melody begins with a four-note phrase repeated in a falling sequence,
full of movement, yet somehow conveying contentment.
When day is drawing to a close and all my work is done,
I take the road that climbs the hill, beneath the evening sun;
The land is edged with silver light that shines from sparkling sea;
My island home of Ista is beautiful to me.
My island home, my island home,
My heart belongs to Ista, my island home.
The
refrain is straightforward and easy to pick up.
Ylisa glances encouragingly round at her audience as she sings; they're
welcome to join in if they wish. The
next verse begins with no interlude. Ylisa
builds up the excitement in the long phrases that describe far-off splendours,
then sings the last line with yearning softness.
Though I may go to halls of fame, where highest Lords hold sway,
To places where our past was made, or so the harpers say,
To northern mountain's icy height, or verdant southern shore,
My island home of Ista will call me back once more.
My island home, my island home,
My heart belongs to Ista, my island home.
The
next verse is quieter, and the accompaniment changes so that the rippling notes
of the gitar seem to reflect the Istan sea.
Ylisa's voice is clear, the words distinct.
A thousand shades of forest green that clothe a fruitful land,
With hidden coves where pools of turquoise lap the silver sand,
Majestic cliffs whose towering rock drops sheer to ocean's foam,
These are the gems of Ista, my precious island home.
My island home, my island home,
My heart belongs to Ista, my island home.
July
sings along, swaying like she's doing the luau. "My island home, my island
home, My heart belongs to Ista, my island home."
Ylisa
resumes the strummed accompaniment for the final verse.
She sings in resonant tones, building in volume then softening again to
emphasise the rising and falling intervals of the second line, as she uses the
dynamics to create the impression of space and distance.
If I could fly on dragon's wings to continents afar,
Or leave this world and make the crossing to a distant star,
No wonders of the universe, no marvels yet unknown
Could take the place of Ista, beloved island home.
My island home, my island home,
My heart belongs to Ista, my island home.
My island home, my island home,
My heart belongs to Ista, my island home.
To
end the song, Ylisa repeats the chorus, slowing on the last line.
She stands smiling, upright but relaxed.
Caeran
finishes singing the final chorus. He couldn't resist joining in, no matter how
bad his voice may be. Singing about his island home is fun.
Liesana
has been singing along with the chorus, as requested, her trained soprano kept
quieter than normal performance-levels. She's
not here to distract from the main focus of the evening, but the petite woman
enjoys herself nonetheless.
July
finishes singing as well and applauds, even though she's not that patriotic.
Well, it would be bad manners not to applaud herself at least. And of course,
Ylisa was exquisite. It makes her want to run out onto the beach and eat some
pineapples.
JeDera
sings happily along with everyone else, good songs are good songs.
She claps happily along with everyone else, enjoying a good performance
as much as anyone.
Rune
suddenly disappears :: between ::
Almost
done. Ylisa scans the audience,
relieved that they took up the invitation to join in, relieved that they look as
if they enjoyed it, relieved that she doesn't have to do it again tomorrow...
She lets them clap for a few moments longer, then raises a hand for
silence. When they've settled down a
bit, she makes her final remarks. "Thank
you all for coming this evening. I
hope you've all had a good time. Thanks
also to all the performers, who've been very busy working on all this.
Goodnight!"
Diane
goes home.
July
applauds Ylisa once again just for good measure, to make up for any silent space
wherein she did not applaud. She rises from her seat, making sure to pick up her
program, and goes and mingles with the crowd.
Ylisa
stays on stage for a few moments longer, then heads down to join the other
harpers who are milling around the front rows.
Illata
applauds raucously. "Well done!" The girl is beaming with pleasure
from a great experience. This has been one of the better concerts she has been
to.
Trau
steps out to the
Caeran
bursts into applause one more time. This was indeed a wonderful concert. Taking
up Pluto's leash, he heads back toward the great hall. He can congratulate Ylsia
in person later, when she's less busy.
Sioned
walks in from the
Caeran
steps out to the
Pluto
steps out to the
Mimi
steps out to the
Trik
steps out to the
July
still has "My Island Home" stuck in her head, and continues humming it
under her breath long after having finished singing. "Hey, you putting on a
concert any time soon?" she asks, ribbing Illata.
JeDera
goes home.
Sioned
walks out.
Illata
smirks at July, then winces slightly at the ribbing, her demeanor growing a bit
more serious. She leans closer, only whispering because she hates explaining
things. "I've changed my specialty. I'm focusing on instrument crafting,
so.. there might be a show of sorts eventually, but unlikely any
performances."
Niara
steps out to the
Illata
steps out to the
Ylisa
wanders about, collecting her instruments and saying a few words of thanks to
those of the performers that she encounters.
She's looking a little stunned, and soon picks up her gitar cases and
makes for the exit.
