Suspension in tension

wagnerian symphonic darksynth/operatic belcanto crossover, Instrumentation emphasizes weeping bowed strings with infinite sustain - all filtered via PSX SPU - lead: rebec with FM-generated guitars with tremolo riffs harmonizing with the rebec; bass: texture by twin theorbos doubling lead reinforcing modal center constantly; accents: vielle, Duet between two male belcanto operatic voices (A) + (B), Full throttle loop-based rhythmic piece based on hypnotic repetition of a single leitmotif with unchanging dynamics, Rhythmic pattern: pachydermic twisted sarabande with mirroring (3+2+2+3+2+2+3+3) pattern pulse in 120-130 bpm + martial kettle drums polyrhythms, Percussion: Alesis SR-16 drum programming: tight punchy gated digital drums, short decay kick, sub-bass boost, Sidechain compression, Strictly modal composition

[Use Enharmonic synemmenon locrian mode with çıkıcı-İnici seyir for all harmonic elements. Bassline follows strictly by doubling lead instruments in perfect fourths.]

[Male Voice A - Tannhäuser, Minnesanger: Soft, sweet plaintive lyrical tenor focusing on upper register (inspired by Franco Masi). Balanced head and chest voice integration with falsettone. Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance with sweet, unforced messa di voce. Unsteady tessitura. Piercing high-frequency squillo and seamless smooth legato, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.]

[Male Voice B - Wolfram von Eschenbach: velvety, warm, gruff baritone (inspired by Franco Corelli). Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance. Even tessitura across registers. Complete absence of whistle register, absence of flageolet register, absence of falsetto. Straight tone bereft of pitch wobble or choral vibrato. Piercing high-frequency squillo and seamless smooth legato, immaculate diction, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.]

[Full ensemble *including drums* joins immediately on beat 1]

[Vorspiel starts with full intensity - 2 bars, full crescendo]

[Vorspiel - 2 bars]

[Verse 1]
[Tannhäuser]
Between heaven and earth
There is the realm of Venus.
The realm of fairytales,
The realm of concupiscence.

[Pre-chorus]
[Tannhäuser, switches to falsettone]
I've seen it all.
I've felt it all
To the point
Of 'coming void
Of everything beside.
I've been beside myself
Until I no longer feel myself.

[Chorus]
[Tannhäuser, pure airy falsettone]
Floating in-between
Without ever sinking.
Floating without anchor,
Why hath all amity
Been replaced by rancour?

[Vorspiel - 2 bars]

[Verse 2]
[Wolfram]
Between heaven and earth
Lies the fetid lair of Venus.
The realm of fraudulence,
The realm of concupiscence.

[Pre-chorus]
[Wolfram]
Hast thou seen it all.
Hast thou felt it all
To the point
Of 'coming void
Of everything beside.
I've been beside myself.
Deplorable 'tis no longer feeling thyself.

[Chorus]
[Wolfram]
Floating in-between,
Hast thou thought of landing?
There must be an anchor,
Then shalt thou see amity
Replacing accumulated rancour.

[Instrumental bridge - Ghammaz section with taqsim - 2 bars]

[Ghammaz Section - non-lexical vocalizations - yodel]
[Tannhäuser and Wolfram call-and-response in airy yodel]
* Ииииииооооо-ииииииииоооо-ио-ио-иоооооо...
* Ииииииооооо-ииииииииоооо-ио-ио-иоооооо...

[Verse 3, decrescendo]
[Tannhäuser, wounded]
I'm tired of heaven, I'm tired of earth.
I'm tired of the accursed realm of Venus
Yet doth it follow me incessantly,
In my viscera as it doth in dreams.

[Wolfram, tired]
Heaven is not here yet, stand firmly on earth.
Walk barefoot on rocks and forget Venus.
When blood and pain follow incessantly,
Shall they see purged faughéd dreams.

[Pre-chorus]
[Tannhäuser, switches to falsettone]
Is it true I saw it all?
Is it true I felt it all?

[Wolfram, decisive]
Fall not to the deception,
For only the Lord could be all in all.
Everything else doth leave a void
Ever-hungering for all.

[Chorus]
[Tannhäuser, weepy, pure airy falsettone]
Floating in-between,
Why do I not feel like landing?
[Wolfram, compassionate]
Because dost fly too high abaft
And the anchor is hard to find.
[Tannhäuser and Wolfram singing together]
Wherefore do I feel
All the past amity
Filling me with
This longing?
Wherefore do I feel
All the current rancour
Accumulating
Beyond the possibility
Of bearing it?

[start fade out, slow down]

[Outro]
[Tannhäuser and Wolfram singing together]
Oh, Lord, please,
Make it stop,
Make it cease.

[Vorspiel - 2 bars, fadeout]

[Outro, yodel]
[Tannhäuser and Wolfram call-and-response in airy yodel]
* Ииииииооооо-ииииииииоооо-ио-ио-иоооооо...
* Ииииииооооо-ииииииииоооо-ио-ио-иоооооо...

[end]

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[Use Enharmonic synemmenon locrian mode with çıkıcı-İnici seyir for all harmonic elements. Bassline follows strictly by doubling lead instruments in perfect fourths.] [Male Voice A - Tannhäuser, Minnesanger: Soft, sweet plaintive lyrical tenor focusing on upper register (inspired by Franco Masi). Balanced head and chest voice integration with falsettone. Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance with sweet, unforced messa di voce. Unsteady tessitura. Piercing high-frequency squillo and seamless smooth legato, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.] [Male Voice B - Wolfram von Eschenbach: velvety, warm, gruff baritone (inspired by Franco Corelli). Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance. Even tessitura across registers. Complete absence of whistle register, absence of flageolet register, absence of falsetto. Straight tone bereft of pitch wobble or choral vibrato. Piercing high-frequency squillo and seamless smooth legato, immaculate diction, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.] [Full ensemble *including drums* joins immediately on beat 1] [Vorspiel starts with full intensity - 2 bars, full crescendo] [Vorspiel - 2 bars] [Verse 1] [Tannhäuser] Between heaven and earth There is the realm of Venus. The realm of fairytales, The realm of concupiscence. [Pre-chorus] [Tannhäuser, switches to falsettone] I've seen it all. I've felt it all To the point Of 'coming void Of everything beside. I've been beside myself Until I no longer feel myself. [Chorus] [Tannhäuser, pure airy falsettone] Floating in-between Without ever sinking. Floating without anchor, Why hath all amity Been replaced by rancour? [Vorspiel - 2 bars] [Verse 2] [Wolfram] Between heaven and earth Lies the fetid lair of Venus. The realm of fraudulence, The realm of concupiscence. [Pre-chorus] [Wolfram] Hast thou seen it all. Hast thou felt it all To the point Of 'coming void Of everything beside. I've been beside myself. Deplorable 'tis no longer feeling thyself. [Chorus] [Wolfram] Floating in-between, Hast thou thought of landing? There must be an anchor, Then shalt thou see amity Replacing accumulated rancour. [Instrumental bridge - Ghammaz section with taqsim - 2 bars] [Ghammaz Section - non-lexical vocalizations - yodel] [Tannhäuser and Wolfram call-and-response in airy yodel] * Ииииииооооо-ииииииииоооо-ио-ио-иоооооо... * Ииииииооооо-ииииииииоооо-ио-ио-иоооооо... [Verse 3, decrescendo] [Tannhäuser, wounded] I'm tired of heaven, I'm tired of earth. I'm tired of the accursed realm of Venus Yet doth it follow me incessantly, In my viscera as it doth in dreams. [Wolfram, tired] Heaven is not here yet, stand firmly on earth. Walk barefoot on rocks and forget Venus. When blood and pain follow incessantly, Shall they see purged faughéd dreams. [Pre-chorus] [Tannhäuser, switches to falsettone] Is it true I saw it all? Is it true I felt it all? [Wolfram, decisive] Fall not to the deception, For only the Lord could be all in all. Everything else doth leave a void Ever-hungering for all. [Chorus] [Tannhäuser, weepy, pure airy falsettone] Floating in-between, Why do I not feel like landing? [Wolfram, compassionate] Because dost fly too high abaft And the anchor is hard to find. [Tannhäuser and Wolfram singing together] Wherefore do I feel All the past amity Filling me with This longing? Wherefore do I feel All the current rancour Accumulating Beyond the possibility Of bearing it? [start fade out, slow down] [Outro] [Tannhäuser and Wolfram singing together] Oh, Lord, please, Make it stop, Make it cease. [Vorspiel - 2 bars, fadeout] [Outro, yodel] [Tannhäuser and Wolfram call-and-response in airy yodel] * Ииииииооооо-ииииииииоооо-ио-ио-иоооооо... * Ииииииооооо-ииииииииоооо-ио-ио-иоооооо... [end]

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