the mask and mirror
Contents
1. Ea i 3 ch SANTIAGO 5 58 FE J anuary 1992 Just performed in Santiago de Compostella in the Galician area of Spain misty and lush as we arrived from more arid areas of the countr clear Celtic R ty ve Y territory in the language and music and a place I must visit again soon We arrived a day early band et al went for a wonderful Sunday lunch and then wandered over to the cathedral to observe the wonderful faces on the IE ortico J anvier 1992 J e viens de donner un spectacle Saint J acques de Compostelle en Galice dans le nord de l Espagne brumeux et luxuriant en comparaison des contr es plus arides du reste du pays un territoire nettement celtique par sa langue et sa musique Nous sommes arriv s une journ e a avance toute l quipe s est retrouv e pour un magnifique d jeuner du dimanche puis s est promen e jusqu la cath drale pour admirer le splendide portique rh Traditional music arranged and adapted by L M NA 2 vocals accordian synthesizer Brian Hughes balalaika guitars Rick Lazar drums percussion George Koller cello bass Hugh Marsh fiddle Nigel Eaton hurdy gurdy Donal Lunny bouzouki CE HE MISE LE ULAINGT Cruel claw and hungry throat THE TWO TREES 9 06 Or else they stand and sniff the wind And shake their ragged wings alas Thy tender eyes grow all unkind Gaze fio more in the bitter glass October 6 1993 Stratford H b2. McKennitt Co producing assistance from Brian Hughes and Jeff Wolpert Recorded and mixed by Jeff Wolpert with exceptions as noted Digitally remastered by Jeff Wolpert and Brian Hughes at Phase One Studios Toronto Digital editing and sequencing by George Seara Recorded at Woodley Farm Stratford MeClear Path Toronto with the assistance of Denis Tougas Keith Mariash Eric Abrahms Additional recording at Inception Sound Toronto Manta Sound Toronto by John Naslen assisted by John Hurlbut Real World Studios Box Wiltshire England by Richard Evans assisted by Russel Kearney Mixed at McClear Path except for Santiago which was mixed by Richard Evans at Real World Studios Mastered by Bob Ludwig at Gateway 5 Ofra Harnoy appears courtesy of BMG Classics RCA V ictor Red Seal Original design Margo Chase Additional design Creative Feats Inc Cover photo Ann Cutting Additional photography Horst Stasny Translations Emmy Bos All songs written and or arranged by Loreena McKennitt All songs are copyright throughout the world by Quinlan Road Music Ltd SOCAN BMI In Canada the United States Australia and New Zealand all rights are administered by Quinlan Road Music Ltd Throughout the rest of the world all rights are administered by BMG Musi SIC JE ublishing International Ll O amp O 1994 2006 Quinlan Road Limited All rights reserved Unauthorized reproduction i copying and rental of this recording or artwork i
3. accordion synthesizer Brian Hughes guitars balalaika electric guitar Rick Lazar dumbek udu drum percussion Al Cross drums Hugh Marsh fiddle George Koller bass EB POLL CIRCLE 35795 March La 1995 Morocco Ramadan I wake up early to catch my flight home and at 5 30 a m hear men chanting in the mosque one of the most moving and primitive sounds I have ever heard i They are calling their God I think when have I heard this before 3 mars 1993 Maroc le Ramadan je me lave tot pour prendre le vol de retour et a 5 h 505 j entends les m lop es des hommes dans la mosqu e les sons les plus mouvants et les plus primitifs que j aie jamais entendus Ils appellent leur Dieu JE pense quand ai je d j entendu cela F Stars were falling deep in the darkness as prayers rose softly petals at dawn i And as I listened your voice seemed so clear SO calmly you were calling your god Somewhere the sun rose o er dunes in the desert such was the stillness I ne er felt before Was this the question pulling pulling pulling you i in your beart in your soul did you find rest there Elsewhere a snowfall the first in the winter covered the ground as the bell filled the air gt gt You in your robes sang calling calling calling him in your heart in your soul did you find peace there Music amp lyric L M LM vocals harp synthesizer George Koller bass esraj
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5. LOREENA MCKENNITT the mask and mirror QRCD105R r INTRODUCTION I looked back and forth through the window of 16th century Spain through the hues of Judaism Islam and Christianity and was drawn into a fascinating world history religion cross cultural fertilization From the more familiar turf of the west coast of Ireland through the troubadours of France crossing over the P yrenees and then to the west through Galicia down through Andalusia and past Gibraltar to Morocco he Crusades the pilgrimage to Santiago Cathars the Knights Templar the Sufis from Egypt One Thousand and One Nights in Arabia the Celtic sacred imagery of trees the Gnostic Gospels who was God and what is religion what spirituality What was revealed and what was concealed and what was the mask and what the mirror e regarde par le vitrail de Espagne du si cle i observe les reflets du juda sme de L islam et du christian Je regarde par I de l Espagne du XVI si cle j ob les reflets du jud de 5 a 5 sa Des isme et je suis attir e dans un monde fascinant I histoire la religion I inter f condation des cultures Partant du ter reau plus familier de la c te ouest de Irlande en passant par les troubadours de France traversant les P yr n es et allant vers ouest par la Galice vers le sud a travers Andalousie puis a Gibraltar pour arriver au Maroc Les Croisades le p lerinage Sa
6. cussion dumbeg George Koller bass tamboura Ravi Naimpally tabla Abraham Tawfik nai oud Anne Bourne cello backing vocals Patrick Hutchinson uilleann pipes and the Victoria Scholars choir J erzy Cichocki musical director ire LFA F Er j amp THE BONNY SWANS 7 18 yee m mm Ey E PS a www a i a a E i 2 E a a e r TT i a as L rd b L Sometimes she sank sometimes Mie swam s i the te ut ona stone 8 T with a hey ho and anit o F s wit Pr and a base a Until she came to a miller S dam And sh beg a to a Ks a a As i be A 5 a October 1990 Annaghmakerrig Ireland have been striving to create the pieces and shape of The Visit Brought various books of lyrics poetry and other influences with me the Unicorn Tapestries The Golden Bough Set some traditional lyrics to music am drawn to the harp motif the swans swim so bonny omm The miller s daughter dressed in red p me with a hey ho and a Pey oa i and the essence of a fable in which a girl drowned by her jealous sister returns first as a swan and then is transformed into a harp ml he countryside of County Monaghan would make an ideal location for a visual interpretation with its lakes forests and rolling countryside i Boa i I i She went Mor some water to Le some bread 8 4 f Octobre 1990 An
7. eart From Joy the holy branches Start And all the trembling flowers they bear Pipe Intro C H Mise Le Ulaihgt The changing colours of its fruit Who Am I To Bear be composed and performed by Patrick Hutchinson tamboura George Koller Gaze no more in the bitter glass The demons with their subtle guile Have dowered the Stars with merry light Lift up before us when they pass The surety of its hidden root Has planted quiet in the night The shaking of its leafy head Has given the waves their melody Or only gaze a little while men oo eke Lite vocals piano synthesizer Ofra Harnoy cello George Koller bass Strings David Hetherington David Miller Sharon P rater Heinz Boshart Sylvia Lange Susan Lipchak Douglas P erry Kent Teeple Adele Armin Andy Benac Marie Berard Fujico Inajishi Morry Kernerman Mark Sabat String and cello arrangement by John Welsman That the stormy night receives Roots half hidden under snows Broken boughs and blackened leaves EK F or all things turn to barenness In the dim glass the demons hold The glass of outer weariness Made when God slept in times of old There through the broken branches go The ravens of unresting thoughts And made my lips and music wed Maurmuring a wizard song for thee There the Loves a circle go The flaming circle of our days Gyring spiring to and fro In those great ignorant leafy ways Remembering all that shaken hair And
8. han the rising sun Oh night that joined the lover to the beloved one transforming each of them into the other Upon that misty night in secrecy beyond such mortal sight Without a guide or light than that which burned so deeply in my heart That fireit was led me on and shone more bright than of the midday sun To where he waited still a6 it was a place where no one else could come Chorus RAT WP FF eet ti Within my pounding heart which kept itself entirely for him He fell into his sleep beneath the cedars all my love I gave F rom o er the fortress walls the wind would his hair against his brow And with its smoothest hand caressed my every sense it would allow Chorus lost myself to him and laid my face upon my lover s breast And care and grief grew dim as in the morning s mist became the light There they dimmed amongst the lilies fair there they dimmed amongst the lilies fair there they dimmed amongst the lilies fair Lyric St J ohn of the Cross translated arranged and adapted by L M Music L M ile MS vocals synthesizers Brian Hughes E guitar electric sitar Hugh Marsh fiddle George Koller cello esraj MARRAKESH NIGHT MARKET 6 30 March 16 1093 Arrived tonight in Marrakesh and am staying on the edge of the market Tt is Ramadan and there is heightened activity all around I am struck by the hooded features of men as they pass through the light
9. how the winged sandals dart Flying crying to and fro an x E E PROSPERO S SPEECH 3 23 April 1995 Stratford once again I am drawn to Shakespeare for insights into the human condition P rospero s closing speech is delivered with the sense of the actor removing his mask as an artist the illusion has ended and reality and god are left for us to determine for ourselves Li Avril 1993 Stratford une fois de plus je vais chercher dans Shakespeare des id es pour m clairer sur la condition humaine la tirade finale de Prospero pendant laquelle P acteur retire son masque d artiste illusion est termin e il nous reste la r alit et Dieu pour d cider par nous m mes en And now my charms are all o erthrown And what strength I have s mine own Which is most faint now t is true I must here be released by you But release me from my bands With the help of your good hands Gentle breath of yours my sails Must fill or else my project fails Which was to please Now I want Spirits to enforce art to enchant And my ending 1s despair Unless I be relieved by prayer Which pierces so that it assaults Mercy itself and frees all faults As you from your crimes would pardon d be Let your indulgence set me free Lyric William Shakespeare Arranged and adapted by L M Music L M BEM vocals synthesizer organ pipes George Koller bass i ge en Tw in Produced by Loreena
10. int Jacques de Compostelle les Cathares les Templiers les Soufis d Egypte les Mille et une nuits d Arabie l imagerie celtique de 1 arbre sacre les chants gnostiques i qui tait Dieu et qu est ce que la religion la spiritualit O est la r v lation et o est le myst re O est le masque et o est le miroir 3 r THE MYSTIC S DREAM 7 40 January Os PII Granada Spain evening lights across the city embrace the body of the Alhambra the smells of woodsmoke and food hang in the narrow streets Rambled around the Moorish section of the city picked up a little gold mirror an incense burner a tiny bottle of perfume i Reading Idries Shah s book The Sufis prefaced by Robert Graves a secret tradition behind all religious and philosophical systems Sufis have significantly influenced the East and West They believe not that theirs is a religion but that it is religion Lhe common sufi may be as common in the East as in the West and may come dressed as a merchant a lawyer a housewife anything to be in the world but not of iif free from ambition greed intellectual pride blind obedience to custom or awe of persons higher in rank It appears there may be an association with the Druidic order of the Celts ii 24 janvier 1095 Grenade Espagne _ le soir les lumi res de la ville embrassent le corps de V Alhambra les odeurs de feu de bois et de nourriture flottent dans les rue
11. naghmakerrig Irlande j al travaill la cr ation des oeuvres et la mise en P lt i p 3 3 7 the swans swim so bonny Oe il he we sits wi Etud een w forme de The Visit J ai apporte avec moi des livres de po mes de chansons et d autres Sources d 1n mi i LAE l sh I z i 5 f f j A i a the swans swim so bonny o oF te ee spiration la tapisserie de la Dame a la Licorne Le Rameau d Or Mise en musique de chants tradi i r zei a y 3 X 5 4 i Oh father oh daddy here Swims a swan And there does sit my brother Hugh ET a tionnels je suis attir e par le motif de la harpe et l essence de la fable ou une jeune fille noy e par une w F _ ke 8 A 3 b 5 with a hey ho and a bonny o with a hey ho a a bonny o Fai soeur jalouse est d abord reincarneee en cygne puis en harpe Abe paysage du comte de Monaghan k Em 5 mu It s very like a gentle woman And by him W illiam sweet and trieg w avec ses lacs ses for ts et ses collines arrondies serait un cadre parfait pour une interpretation visuelle f the swans swim so bonny o the swans swim so bonny o Hs They placed her on the bank to dry And there does sit my false sister AAA A f i I d is with a hey ho and a bonny o with a hey ho and a bonny o armer there lived in the nort country A h h b There came a harper passing by Who drowned me for the sake of a man a he o bonny o i i 2 b the swans swim so bonny o the swans swim so bo
12. nny o And he had daughters one two three The swans swim so bonny o These daughters they walked by the river s brim a hey ho bonny o He made harp pins of her fingers fair Traditional lyric arranged and adapted by Ta M i Music L M with a hey ho and a bonny o He made harp strings of her golden hair The eldest pushed the Pes a the swans swim so bonny o ir M egba ideai als accordion 7 He ae harp of her breast bone i _ Brian pes guitars bel with a hey ho and a bonny c o En mnd ore t t a And straight it began to play alone 4 A Ve al Lunny bood oik the swans swim so bonny o o Te En 2 ART gh Marsh fiddle i He brought it to her father hall pi Anne Bourne cello PE AT The swans swim SO bonny o Oh sister oh sister pray lend me your hand with a hey ho a bonny o And I will give you house and land the swans swim so bonny o with a hey ho and bonny o a P Rick Lazar percussion Wii j gt 4 I ll SE ae i ie a glove And there was the court assembled all i gen producer Donal a sir z ee 10 4 DOS the swans swim so bonny o iF Gra Pass Unless you give me your own true love meas sn NUA x s We the Swans swim SO bonny o us THE DARK NIGHT OF THE SOUL 6 44 May 1993 Stratford have been reading through the poetry of 16th century Spain and I find myself drawn to one by the my
13. oudre d os de graines de pierres et d pices sont vendues les femmes sont presque entierement dissimul es derri re F amp leurs voiles met je SUIS frapp e pat I impression de mystere il y a autant de cach que de d voil 3 ma er They re gathered in circles the lamps light their faces The crescent moon rocks in the sky The poets of drumming keep heartbeats suspended The smoke swirls up and then it dies Would you like my mask would you like my mirror cries the man in the shadowing hood You can look at yourself you can look at each other or you can look at the face of your god The stories are woven and fortunes are told The truth is measured by the weight of your er The magic lies scattered on rugs on the ground Faith is conjured in the night market s sound Would you like my mask would you like my mirror cries the man in the shadowing hood You can look at yourself you can look at each other or you can look at the face of your god The lessons are written on parchments of paper They re carried by horse from the river Nile says the shadowy voice In the firelight the cobra is casting the flame a winsome smile Would you like my mask would you like my mirror cries the man in the shadowing hood You can look at yourself you can look at each other or you can look at the face of your god Music amp lyric E M FMa vocals
14. rowsing through Yeats poetry and came across The Two Trees with its lovely sentiment of looking into one s own self for goodness and the struggle to avoid looking into the glass of cynicism At strikes me now to have a strong Sufi connection in that way the imagery is quintessentially Ttish and reminds me for some S vk GE y Beloved gaze in thine own heart reason of the ending of J ohn Huston s film The Dead barren countryside leafless trees and the starlings crying The holy tree is growing there 6 octobre 1993 z Stratford men feuilletant un livre de poemes de Yeats je tombe sur The Two Trees Face beau sentiment de la bont a rechercher l int rieur de soi et du combat pour viter de regarder dans le miroir du cynisme r Cela me frappe maintenant de ressentir un lien puissant avec la pens e soufiez l image est de quintessence irlandaise et me rappelle pour une raison inconnue la fin du film The Dead de John Huston un paysage d sol des arbres R E Se A Mal qui pleurent From joy the holy branches start Andall the trembling flowers they bear Remembering all that shaken hair And how the wing d sandals dart Thine eyes grow full of tender care Beloved gaze in thine own heart o Lyric William Butler Yeats arranged and adapted by L M Music L M Beloved gaze in thine own heart Thine eyes grow full of tender care The holy tree is growing there Beloved gaze in thine own h
15. s troites Promenade dans le quartier maure de la ville achat d un petir miroir dor d une cassolette d encens d un miniscule flacon de parfum Lecture du livre Les Soufis d Idries Shah pr fac par Robert Graves tenants d une tradition secr te au del de toutes les religions et des syst mes philosophiques les Soufis ont fortement influenc Orient et Occident Ils affirment que leur croyance n est pas une religion mais qu elle est la religion _ LI semblerait qu il existe un lien avec l ordre des Druides celtes A clouded dream on an earthly night Hangs upon the crescent moon A voiceless song in an ageless light Sings at the coming dawn Birds in flight are calling there Where the heart moves the stones It s there that my heart is longing PA tot thamlowetel you A painting hangs on an ivy wall Nestled in the emerald moss The eyes declare a truce of trust And then it draws me far away W here deep in the desert twilight Sand melts in pools of the sky W hen darkness lays her crimson cloak Your lamps will call me home And so it s there my homage s due Clutched by the still of the night And now I feel you move Every breath is full So its there my homage s due Clutched by the still of the night Even the distance feels so near All for the love of you Music amp lyric L M L M voice dumbeg keyboards Brian Hughes electric guitars oud Rick Lazar per
16. s and shadows they look monk like Horses carriages cars bicycles and thousands of people are embroiled in the activities of the night Bal cacophony of 4 sound I retreat to a rooftop caf to watch while sipping mint tea many circles of twenty or so people are scattered around the market each involved in their own drama of music storytelling monkeys on men s shoulders or cobras being coaxed to dance on rugs magic concoctions of I bone seeds stones and spices are sold women are veiled to a great degree I am struck by the sense of intrigue the environment creates as much is concealed as is revealed 16 mars 1993 Je suis arriv e cette nuit Marrakech et je loge en bordure du march C est le Ramadan et les rues grouillent d activit s Je suis fascin e par les silhouettes encapu chonn es des hommes qui passent de l ombre la lumi re ils ressemblent des moines Les chevaux les carrioles les voitures les v los et les milliers de passants s activent aux taches de la nuit une cacophonie Du haut d une terrasse de caf sur un toit j observe tout en sirotant du th a la menthe de nombreux cercles d une j vingtaine de personnes sont parpill s sur le march entourant un i musicien un conteur d histoires des singes perch s sur une paule d homme ou des cobras oblig s de danser sur des tapis des potions 5 9 22 A magiques de p
17. s prohibited by law and subject to criminal prosecution Tous droits r serv s Sauf autorisation la reproduction la duplication la location de ce disque et de sa pochette sont interdites sous peine de poursuites judiciaires Ca Road B O Box OBB Stratford Ontario Canada NJA MALE Made i in E U F abriqu en EU www quinlanroad com fil THANK YOU F Thanks to Brian Hughes Jeff Wolpert Richard Evans i the staff of Inception MeClear P ath Manta Real World and Gateway Mastering Thanks to the international Warner family particularly Stan Kulin Dave Tollington and Kim Cooke of Warner Musie Canada Carl Scott Jeff Gold Roberta Petersen Peter Standish Joann Woodworth of Warner Bros Records Burbank Rosa V ano of Warner Music Spain Rainer Focke at Warner International Thanks to the Quinlan Road family Bill Bruce Betty Recchia Xaine McGowan Thanks also to my mother Irene McKennitt Donal Lunny Owen Leech Graham Henderson Karen Shook Alan McGowan Ofra Harnoy John Welsman Ann Cutting Horst Stasny Margo Chase Linda Cobb Bob Ludwig Pamela Betts Richard F lohil the Carpenter Shop Stratford J ohn Dean and Glen Artefacts Architectural Antiques St Jacobs Jeff Sazant and Steve s Music Toronto STUDER Rob Yale at Digital Music Toronto Bev amp Pat Paterson Robert McKennitt The Stratford Festival George Sawa Greg Johnson U of EE ZAPATA Projects s
18. stic writer and visionary St John of the Cross the untitled work is an exquisite richly metaphoric love poem between himself and his god It could pass as a love poem between any two at any time His approach seems more akin to early Islamic or Judaic works in its more direct route of communication to his god Lave gone over three different translations of the poem and am struck by how much a translation can alter our interpretation Mai 1993 Stratford pendant la lecture de po tes espagnols du XV si cle me voil Oo 5 5 5 5 3 fascin e par un poeme du mystique et visionnaire Saint Jean de la Croix l oeuvre sans titre est Xx T P IA un poeme d amour m taphorique d une beaut exquise pour son dieu Cela pourrait etre un chant d amour entre deux tres de n importe quelle epoque n importe quel pays P ar son expression si directe envers son dieu le po me S apparente plus aux oeuvres de ip islam ancien ou du judaisme a ai lu trois traductions diff rentes de oeuvre et je suis frapp e bey YS j 5 par les grandes varietes d interpretation Upon a darkened night the flame of love was burning in my breast And by a lantern bright I fled my house while all in quiet rest Shrouded by the night And by the secret stair I quickly fled The veil concealed my eyes while all within lay quiet as the dead CHORUS Oh night thou was my guide of night more loving t
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