Where all deeds are drowned, all swords returned. Avalon.

 

And little the faith I had yet in Arthur,

The Angel campaigner, strong as light,

His sun-bright stars above the wicked forest

Seeming to fade. Rusty the scabbard,

Still magic the sword. And, once more, he came.

I’ve believed too little. I make my Confession.

 

At last I understood. The flincher from spears,

Medraut, was part of Arthur, his shadow,

Chancel and gargoyle had to be cancelled 

Where all deeds are drowned, all swords returned:

Avalon. And I’ll run no more.

I’ve believed too little. I make my Confession.

 

Night and this nunnery will fall. Ravens

Will flock on the gore. Let others keep

A glimmer, a glorious page, of Logres alight

Until the dawn. My confession’s done.

Still my heart waits for hoofbeats.

(Still, my heart waits for hoofbeats…)

On our forthcoming Arthur album "King Arthur and Me- The Opera" , this is a song with tune written and sung by Maz in the role of Gwenhwyfar. Here it is as spoken word in the style of the old Welsh elegies/ eulogies on the death of a beloved lord.

Excalibur (A Dream Too Real To Live) from The Lost Land

"Throw back, throw back, Excalibur!"
I begged Bedwyr - and twice more -
"Throw back, grown black, Excalibur
That I might live forever
That Light might strike forever!
In wicked shifting thickets, the thorn
Of my heart's bursting must be:
Rose-clad, at home, and sleeping,
Or gone is the dazzling dream
That Artos, once man Arthur,
(Mis-mothered where life faltered
On long-fought malice Mordered)
Is God, is lord immortal:
A dream too real to live, thrown
Out of your world and hurled, look!

A Christ sword to Word your sky!"

From our forthcoming Arthur set "The Lost Land". The tune is the Lonely Ash Grove.

From our forthcoming Matter of Britain set "The Lost Land," this interpretation of the famous moment in the Arthur legends when the Mordred-conquering but broken king of Logres commands Bedivere (originally Bedwyr, first friend) to throw his enchanted sword Excalibur ('lightning blade') back into the Lake form whence it came, takes a number of things for granted which alas one cannot. First, that the Arthur legend is not the property of the English (as often believed) but of an older Celtic Britain which fought them for what became known as "Logres" the Lost Land - (modern Welsh Lloegr, England) - hence our use of a haunting Welsh tune. Second, the (to me) attractive Celtic 'otherworldliness' of the lyric is due - as in the verses of our "Morgan le Fay" - to my alternating use of two of the most common medieval Welsh meters (Morgan uses the other two) known collectively as cynghanedd (literally 'harmony')

The required intense focus on word-sounds and patterns here and in its sibling piece Morgan cast a spell over my composition which allowed magical thoughts to form. This in turn affected the choice of tune and the overall performance.

A Dream Too Real To Live (First Take)

"Throw back, throw back, Excalibur!"
I begged Bedwyr - and twice more -
"Throw back, grown black, Excalibur
That I might live forever
That Light might strike forever!
In wicked shifting thickets, the thorn
Of my heart's bursting must be:
Rose-clad, at home, and sleeping,
Or gone is the dazzling dream
That Artos, once man Arthur,
(Mis-mothered where life faltered
On long-fought malice Mordered)
Is God, is lord immortal:
A dream too real to live, thrown
Out of your world and hurled, look!

A Christ sword to Word your sky!"

From our forthcoming Matter of Britain set "The Lost Land," this interpretation of the famous moment in the Arthur legends when the Mordred-conquering but broken king of Logres commands Bedivere (originally Bedwyr, first friend) to throw his enchanted sword Excalibur ('lightning blade') back into the Lake form whence it came, takes a number of things for granted which alas one cannot. First, that the Arthur legend is not the property of the English (as often believed) but of an older Celtic Britain which fought them for what became known as "Logres" the Lost Land - (modern Welsh Lloegr, England) - hence our use of a haunting Welsh tune. Second, the (to me) attractive Celtic 'otherworldliness' of the lyric is due - as in the verses of our "Morgan le Fay" - to my alternating use of two of the most common medieval Welsh meters (Morgan uses the other two) known collectively as cynghanedd (literally 'harmony')

The required intense focus on word-sounds and patterns here and in its sibling piece Morgan cast a spell over my composition which allowed magical thoughts to form. This in turn affected the choice of tune and the overall performance.