https://metacohen.com/delphi-songs 

Delphi Songs was premiered at the Music Workshop, Sydney Conservatorium of Music. 
A collection of musical and theatrical episodes, the piece came about after stumbling upon the last recorded words of the last Oracle of Delphi. 
I was struck by the self-awareness in the words - in an image of absolute decline, the Oracle clearly foresaw its own ending. In the ancient world, Plutarch called the Oracles obsolete, and today’s scientists regularly speculate whether the Pythia (priestesses) were intoxicated by gas formations in the rocks. Both ancient and modern perspectives recognise this sense of the sacred becoming mortal.
Delphi Songs is an anthology of four episodes, each exploring this through different perspectives. It uses texts from 480 BC to 2015.
--
COMPOSER AND CURATOR / Meta Cohen
TEXT / S.J. Bryson (2015), W.B. Yeats (1908), Prophecies spoken by the Oracle of Delphi (pre-Apolline period, 480 BC and 395 AD), Meta Cohen (2015)
PERFORMERS / Claire Burrell-McDonald, Josephine Gibson, Rowan Phemister

I commissioned the fabulous 1nfiltratrix for the cover art - please check out their work! (1nfiltratrix.tumblr.com)

Delphi Songs, for soprano, prepared piano, harp and singing bowls (2016)

Giovanni Solima

This piece was written in April 2014 for a dance/art short film by Tamara Elkins (yet to be released). The title is a reference to Debussy's The Girl with the Flaxen Hair, which was sampled to create this work.

The Girl with the Ash Brown Hair

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This etherial and solemn piece tells the story of Hine-nui-te-po (Great Woman of Night). She was created by he father, Tane, out of molten rock and ash from the Red Earth (Mount Rangitoto). Seeking a wife however, he decided to marry his daughter. When she found out the truth about who her husband really was, Hine-nui-te-po descended in rage to the underworld becoming the Goddess of Death and Night.

Text:
Hine-nui-te-po.
Goddess of Night,
Goddess of Death.
Created by her father Tane
From molten rock of the Red Earth.
Hine-nui-te-po.
The woman had no idea who she was,
Nor did she know of Tane’s wicked ways.
Quickly began his incestuous plan.
In mere days they had wed.
His wife so misled till she heard of the news
And descended to the underworld.
Hine-nui-te-po.


Hinenuitepo (2015)

You love me more

metacohen.com/delphi-songs

Soprano: Claire Burrell-McDonald
Piano: Josephine Gibson
Harp: Rowan Phemister

The first two movements of 'Delphi Songs'. Movement I uses the poem 'Maid Quiet' by W.B.Yeats and Movement II uses two prophecies spoken by the Oracle of Delphi (pre-Apolline period and 480 BC). 

Delphi Songs was premiered at the Music Workshop, Sydney Conservatorium of Music. A collection of musical and theatrical episodes, the piece came about after stumbling upon the last recorded words of the last Oracle of Delphi. 
I was struck by the self-awareness in the words - in an image of absolute decline, the Oracle clearly foresaw its own ending. In the ancient world, Plutarch called the Oracles obsolete, and today’s scientists regularly speculate whether the Pythia (priestesses) were intoxicated by gas formations in the rocks. Both ancient and modern perspectives recognise this sense of the sacred becoming mortal.
Delphi Songs is an anthology of four episodes, each exploring this through different perspectives. It uses texts from 480 BC to 2015.

I commissioned the fabulous 1nfiltratrix for the cover art - please check out their work! (1nfiltratrix.tumblr.com)

I. The Departure and II. Two Prophecies

https://metacohen.com/delphi-songs

Soprano: Claire Burrell-McDonald
Piano: Josephine Gibson
Harp: Rowan Phemister

Movement III of 'Delphi Songs'. This movement uses a gorgeous poem written specifically for the song cycle by S. J. Bryson. Set to the most modern of all the texts, it is the darkest point in the piece and makes full use of the prepared piano. 

Delphi Songs was premiered at the Music Workshop, Sydney Conservatorium of Music. A collection of musical and theatrical episodes, the piece came about after stumbling upon the last recorded words of the last Oracle of Delphi. 
I was struck by the self-awareness in the words - in an image of absolute decline, the Oracle clearly foresaw its own ending. In the ancient world, Plutarch called the Oracles obsolete, and today’s scientists regularly speculate whether the Pythia (priestesses) were intoxicated by gas formations in the rocks. Both ancient and modern perspectives recognise this sense of the sacred becoming mortal.
Delphi Songs is an anthology of four episodes, each exploring this through different perspectives. It uses texts from 480 BC to 2015.

I commissioned the fabulous 1nfiltratrix for the cover art - please check out their work! (1nfiltratrix.tumblr.com)

III. Holy Places Falling

https://metacohen.com/delphi-songs

Delphi Songs was premiered at the Music Workshop, Sydney Conservatorium of Music. A collection of musical and theatrical episodes, the piece came about after stumbling upon the last recorded words of the last Oracle of Delphi. 
I was struck by the self-awareness in the words - in an image of absolute decline, the Oracle clearly foresaw its own ending. In the ancient world, Plutarch called the Oracles obsolete, and today’s scientists regularly speculate whether the Pythia (priestesses) were intoxicated by gas formations in the rocks. Both ancient and modern perspectives recognise this sense of the sacred becoming mortal.
Delphi Songs is an anthology of four episodes, each exploring this through different perspectives. It uses texts from 480 BC to 2015.

I commissioned the fabulous 1nfiltratrix for the cover art - please check out their work! (1nfiltratrix.tumblr.com)

IV. It is Finished

No restraints

https://metacohen.com 
Stream my new ABC Classic album here: https://snd.click/aloveisalove?pid=mEVBuHYQZggL 

(they/she)
Composer, sound designer and dramaturg, working across music, theatre and interdisciplinary art. 

I am especially passionate about bringing queer, interdisciplinary and sound-driven work to the stage, and welcome any collaborations in these areas. For collaborations, commissions and score enquiries, please contact me here: https://metacohen.com/contact

Find me at the Australian Music Centre here: https://www.australianmusiccentre.com.au/artist/cohen-meta

I. The Departure and II. Two Prophecies

Meta Cohen

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