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Three Spells

by Cadence Chung

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1.
And even if the night were bad, how could I want the wanting day, everything in it always receding? Make me of the body, always. Wouldn’t mind the blood and guts. Wouldn’t mind the decay. The taking and never giving. And even if our distance never folds, if stars won’t touch his back— The yawn I pick up from his yawn: A memory of a breath in the surface of the dawn.
2.
Like Venus, like Antinous, like Pania slipping into the water when I could not make you stay or come closer. Love your hair even when it’s long. Love talking to you with our masks on. Love when you take your mask down so I can stare at your chin. Like a dumber blonder Saint Sebastian but less tortured and really happy to see me. O swallow me whole like Time does, then conquer Time with your Classical beauty!
3.
We reach the point the mind forgets the mind. Across our great divide and down to moon-soaked spots on the floor. I want to be so consumed by something, to think that there is no way out. Turn off the headlights. Tap the stream. If poetry could make you love me, it would, I think. Close the windows. Lock the door. Show me things. Show me more.

about

When I first discovered Jackson in Starling Magazine, his poem cycle Three Spells was what completely sold me on his work. The combination of the seldom-used cycle format, as well as the highly lyric form, stood out to me instantly. The poems are almost ‘failed sonnets’, aware of their own place in literary history, cognisant of the failures of poetic expression. Always caressing desire but never fully giving in to it, they oscillate between moments of wit, earnestness, and passion. References to various mythologies are woven throughout — from Pania, to Saint Sebastian, to Frank O’Hara.

With such a masculine quality, I knew the words needed to be set for a male singer. The piano provides a simple, often-arpeggiated accompaniment, acting as a sort of lyre against the solo flute, which echoes and morphs the singer’s melodies. Each movement in the cycle conjures a new affect, acting out the charm of each different ‘spell’. I focused on writing simple melodic refrains, using a cell-like compositional method to create songs which slowly expand through repetitive sequences. Throughout this composition, fragmented pieces of my inspirations are heard — the pseudo-Oriental melodies in the first movement, Time’s town-bells cascading in the second movement’s piano part, or the shimmering spots of moonlight in the third.

This was first performed at Verb Festival 2023 as part of the Spoiled Fruit book launch.

The text Three Spells was originally published in Starling Magazine Issue 14 and is used here with the author’s permission
www.starlingmag.com/issue-14/jackson-mccarthy

Cover image Saint Sebastian (Guido Reni c.1625), courtesy of Mackelvie Trust Collection, Auckland Art Gallery Toi o Tāmaki
www.aucklandartgallery.com/explore-art-and-ideas/artwork/8974/saint-sebastian

The recording and score are copyright © Cadence Chung 2023

credits

released January 15, 2024

Baritone: Tomairangi Henare
Flute: Jackson McCarthy
Piano: Ethan Rawhiti-Hotter
Audio production: Kassandra Wang

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about

Cadence Chung Wellington, New Zealand

Cadence Chung is a poet, composer, musician, and student from Te-Whanganui-a-Tara. Her poetry has been published widely, with her debut chapbook 'anomalia' released in April 2022 with Tender Press. Her original musical 'In Blind Faith' debuted at BATS Theatre in August 2022, and she is currently studying Classical Voice at the New Zealand School of Music. ... more

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