8. Não Tragais (2:23) Anon. Cancionero de Paris (16th century)

9. Spellsong (1:56) Caitríona O’Leary (2002) 1. Psalm 121 (2:11) Text, Bay Psalm Book (1640) 10. Ecclesiae Militantis (excerpt) (1:37) Music, American folk song (‘Barbara Allen’) Guillaume Dufay (1400-1477)

2. La Ditie de Jehanne d’Arc (3:29) 11. Fandango (3:37) Poem, Christine de Pizan (1363-1430) Santiago de Murcia (1673-1739) Music, Anon. Bayeux Manuscript (15th century) 12. Montanara di Carpino 3. O Deusa Dos Orixás (03:00) (aka Tarantella del Gargano) (4:54) Romildo S. Bastos & Traditional Italian Toninho Nascimento (1975) Arrangement, Harvey Brough 13. Tamburello Solo (2:01) Improvisation, Andrea Piccioni 4. Stu Pettu è Fattu Cimbalu d’Amuri (4:24) From Anastasius Kircher’s 14. Nunc Aperuit Clausa Porta (1:52) ‘Magnes Sive de Arte Magnetica’ (1643) Hildegard von Bingen (1098-1179)

5. Canarios / Vassi d’Iansã (2:52) 15. Witchcraft Discovered and Punished Improvisation after To the tune of ‘Fortune my Foe’ (8:38) Santiago de Murcia (1673-1739)/Traditional Brazilian Broadside Ballad (1682)

6. Ya Toda Me Entregué y Dí (3:15) 16. Pizzica Tarentata (3:24) Poem, Santa Teresa de Ávila (1515-1582) Traditional Italian Music, ‘Paseábase el Rey Moro’ (Anon. 15th/16th century) 17. Music Makes Me (3:15) Music, Vincent Youmens 7. Pizzica Nardó (1:21) Lyrics, Gus Kahn & Edward Eliscu (1933) Traditional Italian Arrangement, Harvey Brough Long before Linda Blair took on the Catholic Church and made one hell of a mess of her bedroom, possession was an integral feature of religious practice throughout the world. In the Christian west, the possessed individual was canonized or burnt at the stake depend- ing on who or what was doing the possessing. In classical civilization possession trance, or “enthusiasm” as it is literally translated, was central to the worship of Dionysus and was described by Plato, in the Phaedrus, as one of the four categories of mad- ness (telestic mania). In pre-animist and animist religions possession Satanism voodoo, witchcraft, exorcism, schiz- was a fundamental aspect of worship oid-psycho killers with multiple personalities; and a critical and binding event in the bizarre phenomenon of possession the individual and community’s keeps audiences on the edge of their relationship to nature and the divine. seats and pop culture impresarios ex- ploit it for all that it’s worth. These sensa- Music plays an important role in most pos- tionalized portrayals frighten and fascinate session rites and practices. Many cults use us perhaps because having one’s persona, particular instruments in specific ways to that indescribable essence that makes you signal or instigate the trance that leads to you, taken over by an alien spirit, demon, and incorporates possession; the Thracian god, totem or other numinous character, is aulos was present in corybantic rites, the Joan of Arc existentially terrifying in the context of the agogo initiates possession in the Brazilian rational, demystified world that we live in. Candomblé, and other cults and religions These movies, TV programmes, novels, comic use a diversity of drums, bells, voices and books and other commercial contrivances stringed instruments. also purport that such a subliminal, spiritu- Sigmund Freud alized and chthonic world actually exists be- Music also has many functions in possession, tween the cracks in modern world’s cathedral it can signify and invoke spirits and deities, of enlightenment. exacerbate hysteria leading to possession and conversely exorcise or bring a calming conclu- Despite the ancient relationship between sion to trance. Together with music, dance is possession and madness and because posses- often an important feature of possession ritu- sion is a normative and desired feature of so als and those that are ceremonial frequently many religions and cults around the world, resemble theatrical performances, employing ethnologists, sociologists, psychologists and costumes, make up, props and role-playing to psychiatrists often refrain from pathologizing heighten the experience for participants and it, instead explaining possession as a cultural spectators. or religious phenomenon. early sexual trauma, it is Possession holds a controversial, special While possession is not recognized as a psy- also diagnosed and dualistic position within the worlds chiatric or medical condition by DSM-IV – the as iatrogenic, a bo- of psychology and psychiatry. manual published by the American Psychiatric gus ploy for attention Association that includes all currently rec- or weak ego formation Whether metaphor or misconcep- ognized mental health disorders - some rather than the invasion of tion, historically variations of in- expressions of possession are con- any outside entity. sanity have been attributed to sidered symptomatic of schizo- demonic possession. In such phrenia, hysteria, Tourette’s In some cases such as the Salem witch cases priestly magi and syndrome, epilepsy, mania trials, a diagnosis of mass hysteria has sorcerers were called on and dissociative identity been pronounced, not on those claiming to Hildegard von Bingen to employ their pro- disorder. While the be or accused of being possessed, but on the ficiency in magic to latter may be con- officials and communities that condemned, exorcise the pos- sidered the pos- prosecuted and punished them. sessed, drive sible result of out demons Investigations of some forms of posses- and so cure sion such as southern Italian tarantism have the af- included a diversity of analytic approaches flicted. weaving together historical, cultural, religious and psychological interpretations in an at- tempt to explain the antecedents, operation and dynamics of such complex traditions, practices and conditions.

The Oracle of Delphi Eric Fraad de Jehanne d’Arc” by her contemporary, the poet Christine de Pizan (1364 – c.1430) and an excerpt from Dufay’s motet “Ecclesiae Militantis”.

From divine possession to demonic and our Part 2, Witches, The Theatre of Hell. Here we presented the trial of Ann “Goody” Glover, who was hanged for the crime of witchcraft in Boston in 1688. She was an Irish woman who had already been sold into slavery and deported from Ireland to Barbados by Finding the music for Possessed really came hand Cromwell, somehow made her way to Boston in hand with choosing the characters of our stage where she worked as a laundress until she fell afoul show. Possessed was first presented in 2010 at of her employer, John Goodwin. He accused her the Galway Early Music Festival and in 2012 on of having caused four of his children to become a tour of Ireland which included performances in seriously ill by black magic. Cotton Mather, in his Dublin, Kildare, Tuam and Wexford. We presented 1689 best seller Memorable Providences, Relating the show in four sections, each investigating to Witchcrafts and Possessions, described the a different and distinct cultural and historical afflictions of the children (unable to concentrate manifestation of possession. on their studies, unable to do their chores, unable to read the bible and even flying around the room) Part 1, Ecstasy, The Theatre of Heaven, was set and the trial of Goody Glover (who spoke only in St. Patrick’s Hospital, Dublin and featured the Irish) in such a hysterical way that it really begs the Chief of Psychiatry observing patients believing question: who was possessed (by an unshakeable themselves to be the medieval Christian mystics, ideology), the accused or the accusers? Mather’s Saints Hildegard of Bingen and Teresa of Ávila denunciation of Glover and her conviction and who, while in the throes of their all-consuming execution were the direct precursors of the Salem communion with the Divine, would enter ecstatic witch trials. trances and are even reported to have physically levitated. Saint Joan of Arc was another of our Goody is represented by “Spellsong”, a song I characters, she who was guided by the voices of wrote as an off-kilter (in 7/8 time), traditional Saints Michael, Margaret and Catherine to fight Irish incantation. Her story is also evoked in for the Dauphin of France. Hildegard is represented “Psalm 121”. This is a version from the Bay Psalm by her song “Nunc Aperuit Nobis Clausa Porta”, Book (1640, the first book to be printed in New Teresa by her poem “Ya toda me entregué y dí” England), a book very dear to the psalm-loving and Joan by some stanzas of the poem “Le Ditie puritans, sung, following the popular tradition of adapting folk tunes to psalm texts, to the tune of the Yoruba language. Our samba, “O Deusa Dos for the healing. In the church another ritualized Barbara Allen, a popular song of the oral tradition Orixás”, a 20th century popular version of the possession and healing were enacted (where the of England, Ireland and America (this one was Kongo/Angola-originating street samba, sings of saint was invoked as both the spider who bites collected by Cecil Sharp in Tennessee, 1916) and Iansã, godess of winds, hurricanes & the realm of and as the saviour who heals). performed in the monodic, heterophonous style the dead, and Ogun, god of iron, hunting, politics as described in many 17th century New England & war. Our scene presented Kircher describing various texts, a style that still flourishes in some Baptist exorcisms and cases of tarantism which were congregations of the Southern U.S. and also Part 4, Tarantella, The Theatre of the Spider, acted out before him by his assistants and the amongst the members of the Free Church of the was derived from the written observations tarantate. These resulted either in the deliverance Isle of Lewis, Hebrides, Scotland. of Athanasius Kircher who in 1641 witnessed of the possessed individual or the death of the numerous cases of tarantism in Puglia, Southern tarantata. Our musical offerings represent Part 3, Candomblé, The Theatre of the Gods. Italy. Tarantism also involves complicated rituals several types of tarantelle with which to From 17th century North America to 18th and and specific, functional music. Chronicled for cure the victim: the fast, traditional 20th century South America and a little flirtation centuries as a feverish, trance-like state brought on “Pizzica Nardó”, “Pizzica Tarentata” with the African/Brazilian animistic religion of by the bite of a tarantula (taranta), and only curable and “Montanara di Carpino”, the Candomblé, where adepts are possessed by deities through musical ritual, tarantism is a complex folk slow, 17th century “Stu Pettu è Fattu (orixás) while in a music-induced trance. belief in which the ceremony of possession and Cimbalu d’Amuri” and a traditional, musical cure provide a huge emotional release improvised tamburello solo. The music of Africa and the New World, although for the afflicted. The spider would appear to be considered scandalous by the church, quickly symbolic but the affliction is undeniably real. Our finale, a song from the 1933 movie, became popular in 17th century Portugal and As documented by anthropologist Ernesto de Flying Down to Rio, “Music Makes Me (Do the Spain and it is clear that musical ideas and Martino in Apulia in 1959, when the victim Things I Never Should Do)”… speaks for itself! styles were readily traded back and forth across (tarantata – usually a woman) fell ill musicians the Atlantic and incorporated into musicians’ were immediately called for. They first had to Caitríona O’Leary repertoires. The “Fandango” and “Canários” (the find the right tune (by investigation of the type first by Santiago de Murcia, a Spanish composer and colour of the offending “spider” and by trial and guitarist, the second an improvisation after and error, for some taranta spirits were sensitive Murcia) might well contain some of the rhythms to fast music, others to slow) and then they had of Candomblé; the canários was certainly danced to play for many hours as the tarantata moved in 17th cent Bahia. and danced (in a quite specific choreography and setting) until finally she felt the spider’s spirit In Candomblé specific drum rhythms are used leave her body. The tarantata and her family were to summon and dismiss each orixá (as in “Vassi then obliged to travel to the church of St. Paul in d’Iansã”), rhythms that are thought to originate Galatina on his feast day (28th of June) in order to in the rhythm of the deity’s name as spoken in pay tribute to the saint and express their gratitude Bibliography

De Martino, Ernesto The Land of Remorse, 1961

Freud, Sigmund Fragment of an Analysis of a Case of Hysteria, 1901

Freyer, Peter Rhythms of Resistance: African Musical Heritage in Brazil, 2000

Kircher, Anasthasius Sive de Arte Magnetica, 1643 Images Used

Mather, Cotton Poster from the film, Memorable Providences, Relating to Witchcrafts and Possessions, 1669 La Pelle di Satana (1971)

Rouget, Gilbert Portrait of Sigmund Freud (1922) Music and Trance, 1985 by Max Halberstadt

Szasz, Thomas Poster from the film Schizophrenia The Sacred Symbol of Psychiatry, 1976 Kwaheri (1964)

Tallmadge, William Joan of Arc’s Death at the Stake (1843) “Baptist Monophonic and Heterophonic Hymnody in Southern Appalachia” by Hermann Anton Stilke Annuario Interamericano de Investigacion Musical, Vol. 11, 1975 Right-Hand Part of The Life of Joan of Arc Triptych

Titon, Jeff Todd The Oracle of Delphi Answers an Inquirer’s Question Sleeve notes to Songs of the Old Regular Baptists, by Philippe Auguste Jeanron; unknown artists’ representation a Smithsonian/Folkways recording, 1997 known as Pythia at Thrace

Image of Hildegard von Bingen Photographs Used Poster from the film Photographs from eX’s production of Possessed directed by Eric Fraad (2012) Tarantulla (1955) Psalm 121 N’onc requeste ne te véa. Si croy que Dieu ça jus l’adonne, Through her will be harmony. Qui te rendra assez guerdon? Afin que paix soit par son fait. The unbelievers one speaks of I to the hills lift up mine eyes, And heretics and their despicable lives From whence shall come my aid, Par miracle fut envoiée (Christine de Pisan (1364 – c. 1430)) My help doth from Iehovah come, Et divine amonition, She will destroy, Which heav’n and earth hath made. De l’ange de Dieu convoiée For thus is it prophesied Au roy, pour sa provision. That she will have no mercy Hee will not let thy foot be mov’d, The Song of Joan of Arc For any place that speaks ill of God. Nor slumber; that thee keeps. Une fillete de XVI ans Loe hee that keepeth Israell, (N’est-ce pas chose fors nature?), You, Joan, were born at an opportune time, Therefore, above all of history’s brave men, Hee slumbreth not, nor sleeps. A qui armes ne sont pesans, Blessed be He who created you! She must wear the crown, Ains semble que sa norriture Maiden, appointed by God, For her deeds show well The Lord thy keeper is, the Lord In whom the Holy Spirit poured His great grace, That God has given her more courage On thy right hand the shade. Y soit, tant y est fort et dure! The Sun by day, nor Moone by night, Et devant elle vont fuyant In whom there was and is Than all those famous men. Shal thee by stroke invade. Les ennemis, ne nul n’y dure. The greatest generosity of noble gifts, And she has not finished yet! Elle fait ce, mains yeulx voiant. Who never refused any of your requests, I believe that God has given her to us The Lord will keep thee from all ills How can we ever repay you? To bring about peace. Thy soule hee keeps always, En Christianté et l’Eglise Thy going out and thy income, Sera par elle mis concorde. Miraculously sent, The Lord keeps now and aye. Les mescreans dont on devise, By Divine command, Et les herites de vie orde She was guided by God’s angel O Deusa Dos Orixás (Bay Psalm Book, 1640) To the king, for his support. Destruira, car ainsi l’acorde Iansã, cadê Ogum? Foi pro mar. Prophecie, qui l’a predit, A little girl of 16 Mas Iansã, cadê Ogum? Foi pro mar. Ne point n’aura misericorde (Is this not something supernatural?), La Ditie de Jehanne d’Arc De lieu, qui la foy Dieu laidit. To whom weapons are not heavy, Iansã penteia os seus cabelos macios Indeed she seems to have been brought Quando a luz da lua cheia clareia as Tu, Jehanne, de bonne heure née, Donc desur tous les preux passez, up for this, Ãiguas do rio. Benoist soit cil qui te créa! Ceste doit porter la couronne, Ogum sonhava com a filha de Nanã Pucelle de Dieu ordonnée, Car ses faiz ja monstrent assez So strong and sturdy is she! E pensava que as estrelas eram os En qui le Saint Esprit réa Que plus prouesse Dieu lui donne And before her flee the enemies, olhos de Iansã. Not one can endure. Sa grant grace, en qui ot et a Qu’à tous ceulz de qui l’on raisonne. She does this with many eyes watching. Mas Iansã cadê Ogum? Foi pro mar. Toute largesse de hault don, Et n’a pas encor tout parfait! In Christendom and the Church, Na terra dos orixás, o amor se dividia Entre um deus que era de paz e outro Stu Pettu è Fattù Cimbalu d’Amuri Mi alma quedó rendida; No love but His I crave deus que combatia. Y, cobrando nueva vida, Since self to Him I gave, Como a luta sã termina quando existe Stu pettu è fattù cimbalu d’amuri De tal manera he trocado, For the Beloved is mine own um vencedor Tasti li sensi mobili e accorti Que mi Amado es para mí I His alone! Iansã virou rainha da coroa de Xangó. Cordi li chianti suspiri e duluri Y yo soy para mi Amado. Rosa è lu cori miu feritu a morti (trans. Benedictines of Stanbrook, 1913) Mas Iansã cadê Ogum? Foi pro mar. Strali è lu ferru, chiai sò li miei arduri Hirióme con una flecha Marteddu è lu pensieri, e la mia sorti Enherbolada de amor, (Romildo S. Bastos & Mastra è la donna mia, ch’a tutti l’huri Y mi alma quedó hecha Toninho Nascimento, 1975) Cantando canta leta la mia morti. Una con su Criador; Não Tragais Borzeguis Pretos Ya yo no quiero otro amor, (from Anastasius Kircher’s Pues a mi Dios me he entregado, Não tragais borzeguis pretos ‘Magnes Sive de Arte Magnetica’, 1643) Y mi Amado es para mí Que na corte são defesos The Goddess of the Orishas Y yo soy para mi Amado. Ora com borzeguis pretos. This breast has become a harpsichord of love Não tragais o que defeso Iansã where is Ogum? The keys are keen and primed senses (Santa Teresa de Ávila 1515-1582) Porque quem trae o vedado But Iansã where is Ogum? He went to the sea. The strings are plaints, sighs and torments Anda sempre aventurado The rose is my heart, fatally wounded Now I am wholly yielded up, foregone, A ser vexado e preso. Iansã combs her sleek hair The pins are darts, the levers are my passions And this the pact I made, Veremvos andar aceso When the light of the full moon glimmers The hammers are my cares and my fate That the Beloved should be all mine own, Ora en cuidados secretos on the river. The maker is my lady, who at all hours I His alone! Ora com borzeguis pretos. Ogum dreamed of the daughter of Nanã Sings, happily singing of my death. And believed the stars to be the eyes of Iansã. Struck by the gentle Hunter E se saber a razão And overthrown, Deste meu trago quereis But Iansã where is Ogum? He went to the sea. Within the arms of Love A cor que trago nos pes Ya Toda Me Entregué y Dí My soul lay prone. Me deu do coração In the land of the Orishas love was divided Raised to new life at last Porque o meus cuydados Between a peaceful god and a fighting god. Ya toda me entregué y dí, This contract ‘tween us passed, Acesos e mais secretos Since a fight only ends when there is a winner Y de tal suerte he trocado, That the Beloved should be all mine own, Era me ventura pretos. Iansã became the queen of the crown of Xango. Que mi Amado es para mí I His alone! Y yo soy para mi Amado. Não tragais borzeguis pretos But Iansã where is Ogum? He went to the sea. With lance embarbed with love Que na corte são defesos Cuando el dulce Cazador He took His aim – Ora com borzeguis pretos. Me tiró y dejó herida, One with its Maker hence En los brazos del amor My soul became. (Cancionero de Paris, 16th century) Do not wear black boots Sanctorum arbitrio di prete preziosi e ori fini E sta ‘ncagnata che vuo’ da me? At court it is now forbidden Clericorum proprio a mezzo ce la cava ‘na brava funtani. mammeta lu ssape e lo vuo’ dice pure a te. To wear black boots. Cordo meditanti, Ah! pinciuè Do not wear that which is forbidden Nequam genus atrio ‘Na brava funtani sta ‘ncagnata che vuo’ da me? For he who wears what is banned Recedat ludibrio a mezzo ce la cava ‘na brava funtani mammeta lu ssape e lo vuo’ dice pure a te. Will always run the risk Umbrae petulanti e ja ja fa’ corri l’acqua sorgentivi. Of being shamed and imprisoned. Ah pinciuè They will now see you (Guillaume Dufay (1400-1477)) L’acqua sorgentivi sta ‘ncagnata che vuo’ da me? Passionately pursuing secret desires e ja ja fa’ corri l’acqua sorgentivi Now wearing black boots. May Rome, ‘ncoppa ce lu mette n’auciello a cantari. (Traditional Italian) Triumphant seat of the militant church And if you wish to know the reason Of the Heavenly Father, N’auciello a cantari How can I show my love for this woman? Why I want to wear Resound to the clergy freely singing ‘ncoppa ce lu mette n’auciello a cantari With roses in a beautiful garden This colour on my feet Praise to the pope! cantava e repusava bella dicevi. I will surround my beloved It comes from the heart And with precious stones and polished gold For my desires, Through the intercession of the saints Repusava bella dicevi And in the centre of the grotto, a lovely fountain Passionate and most private, Through the mediating hearts cantava e repusava bella dicevi From which shall flow spring water Were my black misfortune. Of the priests themselves pi voi so’ addivintato n’auciello And above it I will put a singing bird Let all evil retreat from the doorway pi’ fareme ‘nu sonno accanto a voi Who sings and sits and says: Do not wear black boots To the mocking insolence of the shadows. bella madonna. Beautiful one, for you I have become a bird At court it is now forbidden Me l’ha fatto annammura’ I have dreamed of being near you, lovely lady. To wear black boots. la cammenatura e lu parla’ I have fallen in love with your elegance and si bella tu nun ci jve your speech Montanara di Carpino annammura’ nun me facivi Were you not beautiful I would not have (aka Tarantella del Gargano) me l’ha fatto annammura’ fallen in love. Ecclesiae Militantis la cammenatura e lu parla’. La la la ‘Sta donni comma dei fari pi ama’ ‘sta donni? Ah, little one, you are angry, what do you Ecclesiae militantis Di rose dee fari ‘nu bellu ciardini. Pure la cammenatura e lu parla’ want of me? Roma, sedes triumphantis me l’ha fatto annammura’ Your mother knows and she would tell you. Patri sursum sidera ‘Nu bellu ciardini la cammenatura e lu parla’ Tamen cleri resonantis di rose dee fari ‘nu bellu ciardini si bella tu nun ci jve Laudem pontifici dantis ‘ntorni d’intorni lei annammurari. annammura’ nun me facivi. Promat voce libera! A voie llì, a voie llì, a voie llà. Lei annammurari ‘ntorni d’intorni lei annammurari Nunc Aperuit Nobis Clausa Porta For Satan, having lull’d their Souls asleep, O God, do Pardon them, while thus they lie Where did the little spider bite you? Refuses Company with them to keep. Condemned for their Wicked Deeds to Die: Under the hem of my skirt. Nunc aperuit nobis clausa porta Which may each Christian do, that they And my Saint Paul of the tarante Quod serpens in muliere suffocavit, A known deceiver he long time has been, may find You bite all the girls. Unde lucet in aurora flos de Virgine Maria. To help poor Mortals into dangerous Sin; Rest for their Souls, though Wicked Thereby to cut them off, that so they may once inclin’d. Nanni nanni nanni na (Hildegard of Bingen 1098-1179) Be plung’d in Hell, and there be made his Prey. Love is beautiful and so are those who know (Broadside Ballad, 1682) how to make love! Now is opened to us a closed door So these Malicious Women at the last, Which the serpent, by the woman, choked, Having done mischiefs, were by Justice cast; And my Saint Paul of Galatina Therefore there shines brightly in the dawn the For it appear’d they Children had destroy’d, Pizzica Taranta Grant me grace first of all. flower of the Virgin Mary. Lamed Cattel, and the Aged much annoy’d, And my Saint Paul of Galatina Rirolala rirolala Grant me grace and everyone. Having Familiars always at their Beck, Addhu te pizzicau la tarantella? Their Wicked Rage on Mortals for to wreck: Sutta lu giru della gunnella. Nanni nanni Witchcraft Discovered and Punished It being proved they used Wicked Charms, E Santu Paulu miu de le tarante To murther Men, and bring about sad harms. Pizzichi le caruse mo tutte quante. And my Saint Paul of Galatina Now listen to my Song, good People all, Hear this young girl’s prayer. And I shall tell what lately did befall And that they had about their Bodys strange Nanni nanni nanni na And Saint Paul of the scorpions At Exeter a place in Devonshire, And Proper Tokens of their Wicked Change: Bellu l’amore e chi lu sape fa! You bite the boys in the pants. The like whereof of late you ne’er did hear. As Pledges that, to have their cruel will, Their Souls they gave unto the Prince of Hell. E Santu Paulu miu de Galatina Nanni nanni At the last Assizes at Exeter, Fame na grazia a mie su la prima. Three aged Women that Imprisoned were The Country round where they did live come in, E Santu Paulu miu de le tarante For Witches, and that many had destroy’d; And all at once their sad complaints begin; Fame na grazia a mie a tutte quante. Were thither brought in order to be tryd But Roar in cruel sort, and loudly cry Music Makes Me ‘Destroy the Witch and end our misery’ Nanni nanni (Do the Things I Never Should Do) For Witchcraft, that Old Wicked Sin, Which they for long time had continued in; But all’s in vain, no rest at all they find, E Santu Paulu miu de Galatina In me you see a sinner and dancing is my crime And joyn’d with Satan, to destroy the good For why? all Witches are to cruelty enclin’d; Fammella cuntentà sta signorina. It seems a sin: I gotta give in to syncopated time Sweet Innocents, and shed their And do delight to hear sad dying groans, E Santu Paulu miu de li scurpiuni It makes me lose my dignity, it makes me harmless blood. And such laments as wou’d pierce Pizzichi li carusi a li pantaluni. lose my poise marble Stones. Some folks call it music, my folks call it noise. But now it most apparent does appear, Nanni nanni I like music old and new, but music makes me That they will now for such their deeds pay dear: (Traditional Italian) do the things I never should do. I like music sweet and blue, but music makes Recorded June 2010, St. Peter’s Church of me do the things I never should do. Ireland, Drogheda, Ireland

My self control was something to brag about Session Producer & Recording Engineer: now it’s a gag about town John Hadden The things I do are never forgiven and just Tracks 3, 4, 5 , 6 , 7, 9, 11, 12, 14, 15, 17 when I’m living them down I hear music then I’m through ‘cause music Recorded June 2012, Temple Lane Studios, makes me do the things I never should do. Dublin, Ireland. Session Producer: Adrian Hart (Youmans, Kahn, Eliscu, 1933) Recording Engineer: Mick Heffernan Caitriona O’Leary & Eric Fraad Tracks 1, 2, 8, 10, 13, 16 Translations: C.O’Leary Artistic Directors Edited & Mastered by Caitriona O’Leary Jonas Niederstadt, Berlin 2013 Voice & Percussion Remastered and Additional Editing by Clara Sanabras James Durkin, Dublin 2013 Voice & Guitar Design by Switches Design www.switchesdesign.com Steve Player Guitars & Percussion Photography by Tara Slye

Paulina van Laarhoven For more information on eX, Possessed & Treble & Bass Viol, Guitar Heresy Records please contact: [email protected] Harvey Brough www.heresyrecords.com Psaltery, Guitar, Percussion Follow Heresy Records on: Facebook,Twitter, Tumblr & Soundcloud Francesco Turrisi Frame Drums, Percussion, Colascione eX is represented by Lundström Arts Management Andrea Piccioni [email protected] Frame Drums & Percussion www.lundstrom-am.com