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Witchvox Chapter: Pagan Music
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Bardic Circle Featuring...
(words & music by Darragh Nagle)
s rather than stepping. Be open to more than one existence at one time.
copyright 2000 Star Rider Records
Darragh Nagle [a Witchvox Sponsor] ...
(by Darragh Nagle)
Audience Count: 13,631
The Realm was originally meant to be the final movement of "The Land of Faerie", a magickal musical adventure into the land of the fae, designed to be a voyage into the hidden and delightful places of darkness and sparkling light, and designed to be used for ceremony, healing, and faerie play. Many people have told me that they are now using this music for their ceremonies, and healings.The inspiration for the entire work came from the painting "Titania", by E. McInstry, noted illustrator and author of faerie lore from the early 1900s. Her painting hung on our family's wall during my childhood. Later, I saw "A Midsummernight's Dream", by William Shakespeare, which provided further inspiration. As I wrote the movements, i would often play them back on a portable cassette player, on my back porch in the evening, drinking some mead, looking at the moon and stars, and communing with the spirits of nature, to find more musical mysteries to include. The inspiration for "The Realm" was to visit the Realm of faerie, musically describing all of the structures, fountains of flowing water, crystal palaces, castles complete with flags waving in the air, and all of the grand places one might encounter there, as well as the wonderful sensation one might feel from experiencing faerie, where time does not exist. (I'm not sure it exists here, either, but that is another story.) To this end, various time meters are used, and there is also a passage of two time meters at once, in the flute, soaring over and above the orchestra's notes, like a bird flying over people on the ground, and all creatures sharing that fleeting moment of both worlds, together at once. The themes of "The Realm" revisits and interweaves musical themes that appear throughout the preceeding movements. The pivotal moment in the piece occurs after the grand procession through faerie, past the fountains, houses, trees and palaces, with a parade where the trumptets grow ever more loud and more daring, ever more brave and purposeful, more aroused and more powerful, which suddenly ends in the naked chords of the strings, dark, slow, and mysterious, representing the heart of wisdom, the heart of the faerie magick, and the heart of the people who walk between the trees and the worlds. Then the orchestra follows with a more gentle cadence of the parade theme, and a return to the opening theme, as we leave the parade behind and return to the woods and trees, and perhaps to the portals which are the entrances to faerie, and the exits. After completion of the Realm movement, the muse spoke to me further, saying the greater work was not finished, which led to the composition of the final movement of The Land of Faerie, "Crystal." (Instrumental - here are the cover notes for this movement) The Realm Some say time does not exist in Faerie. Some say you enter and leave by portals, or doorways between the worlds. A day spent in Faerie would be filled with sights. Magical forests, Enchanted Castles, crystals, waterfalls, huts. The pathways through Faerie are characterized by a shift, a change, turning around three time
Recorded: Recorded in home digital studio.
Guests/Players: Darragh Nagle
Technical Notes: Composed for orchestral instruments, scored on macintosh with finale allegro, midi sequenced to yamaha tg100 synthesizer.
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