c i r c e :the black cut:

by Anna Stereopoulou

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1.
'To Rhea; The Fumigation from Aromatics'. Orphic Hymn 14 Excerpt recited /sung in Ancient Greek by Anna Stereopoulou Text follows in Ancient Greek, Modern Greek and English Ῥέας, θυμίαμα ἀρώματα "[…] ἐλθέ, μάκαιρα θεά, σωτήριος εὔφρονι βουλῇ, εἰρήνην κατάγουσα σὺν εὐόλβοις κτεάτεσσιν, λύματα καὶ κῆρας πέμπουσ' ἐπὶ τέρματα γαίης. […] Πότνια Ῥέα, θύγατερ πολυμόρφου Πρωτογόνοιο, ἦ λῖς, [...]" ✧ "[…] Έλα, μακαρία θεά, για την σωτηρία μας με καλόβουλη διάθεση και φέρε μας την ειρήνη με ευτυχισμένους καιρούς και στείλε στα πέρατα της γης ό,τι είναι άχρηστο σε εμάς, και τις καταστροφές. […] Σεβαστή Ρέα, θυγατέρα του Πρωτόγονου (Χάους) με τις πολλές μορφές, συ πού το ιερό άρμα σου οδηγεί το λιοντάρι, […]" ✧ To Rhea; The Fumigation from Aromatics "[...] Come in peace and attend our labors. Bring to us rich abundance and drive away disease, Come, Holy mother, and Bless this sacred rite [...] Daughter of the Earth and Sky, Incline to my prayer, Oh Goddess whose chariot is drawn by fierce lions running, [...]" ✧ Source: 'Orphic Hymns; (Text – Translation – Comments)', 42-43. Edited by P. Graviger. Athens (GR): Vivliothiki tis Sfiggos, 1982 Translated and interpreted -in English- by Virginia Stewart-Avalon, M.Ed. ✧ About RHEA [Titanis (Titaness) / Earth-Goddess]: http://www.theoi.com/Titan/TitanisRheaKybele.html
2.
[E i] Totem 16:40
'An Incantation Prayer: Ishtar 24' Excerpt sung in Akkadian by Labros Kantzos Text follows in Akkadian* and English [*Notated with "Latin letters and various diacritical marks") (Edition: Anna Elise Zernecke)**] "[…] 11. IGI.MEŠ-ki a-ta-mar lip-pa-ṭir ka-si-ti 12. la tu-mar-re-e e-šá-ku u dal-ḫa-ku 13. ki-ma šá ina tar-kúl-li maḫ-ṣu e-mat ZI-tim 14. e-pi-iš taq-bi-i e-pu-uš 15. dINANA lu-ú kaš-šá-pi lu-ú kaš-šap-ti 16. šá at-ti ti-de-ma ana-ku la i-du-ú 17. ina ri-kis kiš-pi ḪUL.GIG u ZI.KU5.RU.DA […]" ✧ "[…] 11. I have seen your face. May my constraint be loosened! 12. Do not be slow! I am confused and disturbed. 13. (My) life has become like that (of someone) beaten with wooden poles. 14. What you said to do, I did. 15. Ishtar! My sorcerer or my sorceress, 16. whom you know, but I do not know, 17. In an assemblage of sorcery of hate and cutting of life, […]" ✧ **Source: 'Reading Akkadian Prayers and Hymns; An Introduction', 169-171, 174, 177. Edited by Alan Lenzi. Ancient Near East Monographs – Monografías sobre el Antiguo Cercano Oriente. Copyright © 2011 by the Society of Biblical Literature. Centro de Estudios de Historia del Antiguo Oriente (UCA) / About ISHTAR [(Sum. Inana) Goddess of the Mesopotamian]: https://www.sbl-site.org/assets/pdfs/9781589835962.pdf ✧ Vocal improvisation, and composition in total is also inspired by and based on Aztec Goddess, TONANTZIN (Mother Earth) and various Aboriginal Cultures [Latin and North America, Scandinavia, Africa, Mongolia (Mongolian Throat Singing intro), Oceania]
3.
[Eii] Gear 13:46
4.
5.
Lyrics Written – Performed by Anna Stereopoulou© in English [Written in 2003, completed in 2015 for her '7 Cells to Freedom' composition (©2003)] Night... Nightmares (Nightmares) Nightmares Nightmares They're occupying my mind (Nightmares) They're occupying my time They're occupying my rhyme My night (My time) Our time (occupying my night) No time, no mind (My time) Nightmares Our time My sky Our sky No mind Our time No time... ...is occupying no mind ...is occupying my time Our sky is occupying no mind Our time is occupying my time (Our time) Our time is occupying my glance, my glance (My mind...) No time is occupying my sky Nightmares... (Our sky) ...are occupying my time Nightmares My time ...My time Nightmares... ✧ ✧ ✧ Introduction (excerpt) of Giordano Bruno’s 'Cantus Circaeus' ['The Incantation of Circe; aimed at memory practice', 1582 /ed.: John Regnault] Excerpt recited in Latin by Luca Colella Text follows in Latin and English "Visurus magam magni solis filiam, His procedens e latebris, Ibis Circeum liber in hospicium Haud arctis arctis clusum terminis. […] Concentu vario errabunt caeli volucres, In terra, in und’ in aere. Et te dimittent illaesum pisces maris, Naturali silentio. […]" ✧ "Upon seeing a female magus, the daughter of the great sun, You, emerging from your hiding-place, Will walk freely into the realm of Circe, A dwelling not enclosed within narrow limits at all. […] In harmony, the birds will be seen traversing the sky, The land, the waves, and the air. And the fish will leave you unharmed and undisturbed Through the silence that comes naturally to them. […]" ✧ Text Source: http://www.tomaszahora.org/CantusCircaeusTranslation.htm About CIRCE [Goddess / Pharmakeia (Sorceress)]: http://www.theoi.com/Titan/Kirke.html
6.
Intro Vocals: Somali Panda [Indian Classical Pattern of Singing on the word ‘Mother’ (Mā), performed in Bengali] ✧ 'Avesta: Khorda Avesta', Calebrating ANĀHĪD Aban Yasht; 5: "Hymn to the Waters" (Ardui Sur Bano Yasht) Excerpt sung in (Younger) Avestan by Labros Kantzos Text follows in (Younger) Avestan* and English** [*Notated with Latin letters and various diacritical marks) "[…] 2. ýâ vîspanãm arshnãm xshudrå ýaozhdadhâiti ýâ vîspanãm hâirishinãm zãthâi garewãn ýaozhdadhâiti ýâ vîspå hâirishîsh huzâmitô dadhâiti ýâ vîspanãm hâirishinãm dâitîm rathwîm paêma ava-baraiti. […]" ✧ "[…] 2. 'Who makes the seed of all males pure, who makes the womb of all females pure for bringing forth, who makes all females bring forth in safety, who puts milk into the breasts of all females in the right measure and the right quality; […]" ✧ Source: Avesta: Khorda Avesta (Book of Common Prayer). "This digital edition copyright © 1995 by Joseph H. Peterson. All rights reserved." - http://www.avesta.org/ka/yt5sbe.htm More Info: http://shiastudies.net/library/Subpage_L/Book_Matn.php?syslang=2&id=871&id_matn=12432 **[Translated by James Darmesteter. From 'Sacred Books of the East', American Edition, 1898.)] About ANĀHĪD: http://www.iranicaonline.org/articles/anahid ✧ Female Vocal Improvisation: Indian Classical Pattern of Singing, accompanying Traditional Epirotic Lament (Gk; Moirolói) on Piano, El. Double Bass ✧ Male Vocal Improvisation on Anatolian and Serra (Pyrrhichios) Dance /Rhythm About SERRA Dance: http://www.pontian.info/dance/serra.htm
7.

about

" c i r c e :the black cut: " is the natural continuation of Anna Stereopoulou's "...oneirograph...v.5.spindle" and " A ∞ " [aleph / infinity ('bridge' album / 7MNS)]. The whole work is based on the composer's ongoing research on the human brain (various types of waves, ear structure and function, balance, senses, etc.), Philosophy, Astrophysics and Psychoanalysis topics and theories [Mind /Soul /En (One) ], as well as many 'The Black Square' painting (Kazimir Malevich, 1915), the graphic score of the composition 'Treatise' (Cornelius Cardew, 1963 to 1967) and the 'semia' (symbols) found on the Phaistos Disk (circa 2nd millennium BC, Crete island, Greece).

The departure from Aeaea -Circe’s island-, the visit to the Underworld and Thrinacia (island of the sun god Helios), the return to Ithaca and the death of Ulysses, are 'narrated' through ancient world hymns and scripts' excerpts, which worship Mother Nature and archaic deities, and knit a scenario that is later resolved upon arrival to a new Aeaea, just after the work's Golden Ratio (time-wise), met on 'The Black Cut' section. In the place where we discover our own very first memory; our own Birth; Life itself; the Universe.
Specialised in the field of Music Composition for Film, Theatre, Dance -recently awarded with the'Best Original Score' award (9th CIFF, 2014 /'A Place Called Home' dir.: Maria Douza)- Anna Stereopoulou composed, directing an Audio Film (i.e. Soundtrack), through a special Sound Mixing that offers a psychoacoustic environment and a musical ‘review’, suggesting a genre she likes describing as Sonic Moving Images.
✧ A Hidden /Bonus Track (No. 8) comes with a series of special frequencies and the Key decoding 'circe'. Available only in printed copies.

" c i r c e :the black cut: " album is a journey through many Earth and Space coordinates, through mankind's social and musical history and, definitely, through many memories and dreams of Anna's life so far, mainly 'led' through her Piano playing.

Sincere Thanks to the historian and alpinist, Luigi Zanzi [1938 - 2015].
~ 4 S.T. + C.P.

The album is part of the composer's same titled worldwide project, launched in March 2014 and encouraged by 7MNS Music, female:pressure and Association Concept Artgentin.
Research + Production: Anna Stereopoulou©
Info: annastereoscopic.wordpress.com [section: κίρκη : circe ~ ]

credits

released May 30, 2015

Lyrics in English on 'White Dwarf' by Anna Stereopoulou [2003, 2015]
Also, excerpts of ancient scripts are sung or recited, on Tracks 1, 2, 5, 6 [Please, visit individual track pages to find lyrics and texts' excerpts.]
Anna Stereopoulou: Piano, Hammond Organ, Synthesizers, Lyre, Bansuri
Music Produced [Composed, Orchestrated, Sound Design + Mixing] by Anna Stereopoulou
Recorded: 2003, 2011, 2014-2015 at AEAEA Studio [Athens, Greece]
Recordings + Field Recordings by Anna Stereopoulou
Track 'Gear' produced in 2011, Mixed anew and completed in 2015
Live recording excerpt on 'White Dwarf' engineered by Kit Venables [Trinity College of Music, London, UK, June 20th, 2003]
Open-Source material used on 'The Port' (Lion Roar) and on 'White Dwarf' [Selection of Space Sounds, “compiled through the Canadian Array for Real-time Investigations of Magnetic Activity (CARISMA) data”.
Recitations on 'White Dwarf' recorded by Luca Colella
Female Vocals on 'Define Me Not' recorded by Somali Panda
Heartbeat sound kindly provided by Spiros Train

Violoncello on Tracks 1, 2, 5, 6 by Elsa Papeli
Electric Double Bass on Tracks 1, 2, 5 by Alexander Trampas
Vocals on Tracks 2, 6 by Labros Kantzos
Vocals on 'Define me Not' by Somali Panda
Vocals on Tracks 1, 2, 5 + Recitation on Track 1 by Anna Stereopoulou
Recitation on 'White Dwarf' by Luca Colella
Lyre on 'Gear' (w/ Boss RT-20) + 'White Dwarf' by Anna Stereopoulou
(Celtic) Lyre Construction: Stefanos Michael ['Stef Cajones', 2014]
Album Cover Image by Filio Magenta Photography
Album Cover Layout by Anna Stereopoulou

Full Credits + Further Info: wp.me/p2zRWp-t2

Research + Production: Anna Stereopoulou ©2003-2015
A STEREOSCOPIC perspective of Music & Art ©

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A STEREOSCOPIC perspective of Music & Art©

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