Hi all,

Orthodox Easter coming, as usual 1 week later than the Catholic one, and I'm still involved writing about the Easter 7 years ago, what it develops to be a very long cycle. When my song cycles begin to be very long I usually write an instrumental overture to prologue them, based on individual song themes from the cycle in question. In this instance I decided to make the overture vocal and to incorporate the first 2/3 songs in it. Any constructive criticism and observations are welcome. I am not quite sure about the harp parts, the pedalling is done automatically by the Sibelius plug in, but if anyone in the know observes any faults, please let me know. Thanks for listening.



You asked about my Easter Time,
a time that never I’ll forget,
with me as always goes this rhyme:
all what you see is what you get,
my Easter time was so great!
(it was not bad at any rate).


From Heathrow I’ve sent you,
a “Happy Easter” wish,
this afternoon in Athens,
I felt something amiss.
You sent me a reply,
polite, maybe warm,
the things that don’t apply,
excluded from the form.
This new friendship of ours,
seems by nature forced,
I’m counting the hours,
preparing for the worst.
With London left behind me,
for ever in regret,
I’d like, if you don’t mind me,
to take another bet.
This bet I always take,
with certainty I choose,
the real from the fake,
this bet I always loose.
This bet I’m always betting,
because my heart is keen,
after a little bloodletting,
this bet I always win.
I bet that love is present,
I bet that love was past,
the moon will be a crescent,
to bet my heart, I must.
I’m on the losing side,
the moon in its decline,
you take me for a ride,
my last of summer wine!
I’m on the winning side,
for my true love is my Pearl,
I took you for a ride,
when you were a good girl.

I bet your love is burning,
(this is a thought of smoke),
your lustful body yearning,
to find a place to dock.
I bet you lose your reason,
to pleasure giving vent,
Spring time is the season,
for this kind of event.
For nights you go missing,
I call and you’re not there,
your loving and your kissing,
with no one I could share.
I bet you still remember,
with loving and some guilt,
our long ago November,
under your German quilt.
I bet a lot of cases,
a lot of groundless crap,
it takes so many faces,
to bridge our scary gap.
I look at your reply,
polite, maybe warm,
but I discern the lie,
and I can smell the storm.
I’m on the losing side,
for you I don’t exist,
the turning of the tide,
will clear out this mist.


You asked about my Easter Time,
a time that never I’ll forget,
with me as always goes this rhyme:
what you can see, make sure you get,
my Easter time was so great!
(It was not bad at any rate).


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  • I listened to this last night. It isn't a genre of music I empathise with but it's certainly a solid piece and brave of you to set that entire poem. The interplay between part-singing and instrumental phrases was clever, a sort of statement-response idea; the entries for solo voice came as a welcome break. The instrumentation was varied enough to keep me engaged, particularly the piano entry part way through. It kind of brought in a new sound. 

    It would be nice to hear a live performance of this so the sung words could prevail. You're clearly experienced in composition as the balance between voices and instruments looks fine.

    I'll try to listen to it again today and may comment further. It's a question of grabbing about 20 minutes free. And thanks for making the score available. 

    A nice piece.


  • Hi Socrates

    I really enjoyed this - very well crafted, dramatic, and great melodies. I can appreciate the sentiment being expressed in the music but I have to say that this is not mirrored in the english language prose which, to my mind, is of dubious quality. The verse has to count as much as the music that is its expression. 

    I'm willing to bet that if you chose blank verse scheme the quality of the prose would benefit greatly - you would be free of the constraint of needing to make things rhyme for a start.

    I enjoyed listening to this. Thanks, Colin

  • Thank you very much, both Dane and Colin for your comments and appreciation.


    Dane, I am slightly confused about the PDF of the score being available. I made only the video available (I was hoping). At the moment I am upgrading my site, HELICON.GR and trying to make score videos accessible/watchable, while making XML and PDF present but inaccessible and not-downloadable, their links put there only for my private use. Obviously something was still wrong in there if you were able to see it(?). I cannot access the PDF  from within Composers Forum as an ordinary visitor to that site at present. My technical helper is still working and upgrading that phpBB board from time to time.


    Colin, I agree about these verses that I would not classify them amongst my best efforts. On the other hand, when I wrote them 7 years ago they were depicting very truthfully the way I was feeling and I was more after truth rather than artistry. They also still serve well the whole EASTER BALLADE as a prologue and the WYSIWYG serves also as an epilogue. I am well aware that to a 3rd person they may sound rather as forced rhymes (even to me sometimes they do). Talking of rhymes, I have taken long ago the decision to stick to them, not because I don’t like unmetered poetry but because my aim was to write simple songs really. Well, I have to say that I did not succeed in the simplicity part of it as my poems always seem to be quite long and unsuitable for song forms. Regarding blank verse, you mean of course (I hope) metered verse but not rhyming(?), something like it is found in PARADISE LOST of Milton? It is certainly much easier to set this type of blank verse, rather than unmetered poetry, but then why not go all the way and make it rhyming, constrains of expression included and just hope for the best? To me, having English as my 2nd language, the trip is quite long and hard, but I have formed the opinion that poetry can be great in other languages (Greek or Latin for example) due to their structure and inner properties to yield rhymes very easily. In English the opposite happens, English rhyming poetry has been great despite the lack of these inner properties, and only due to the talent and imagination of its creators.

    I would like to finish with a clarification, as many times I disagree completely with other people writing verse in English: To me rhyme is a completely sonic phenomenon (heard as opposed to read) and therefore rhymes such as "pearl-girl" sound perfect to my ear, whereas to another person, more academically minded, they may seem as near or imperfect rhymes.

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