Uploaded July 2026 | Updated September 2026, 3 weeks ago
Flute by Arthur Rennesson, vocals by Aurora Aguilar & Farya Faraji. This is a French traditional song, reportedly from Brittany, with a melodic morphology that clearly showcases old origins, possibly reaching back to the periphery of the Middle-Ages. The instruments used are the flute, harp, and dulcimers.
Lyrics:
Celles qui vont au bois c'est la mère et la fille
La mère va chantant et sa fille soupire
"Qu'a vous à soupirer, ma blanche Marguerite?"
"J'ai bien trop d'ire en moi et n'ose vous le dire"
"Je suis fille le jour et la nuit blanche biche
La chasse est après moi, des barons et des princes"
"Et mon frère Renaud qui est encore le pire
Allez ma mère, allez, bien promptement lui dire"
"Qu'il arrête ses chiens jusqu'à demain midi
Où sont tes chiens Renaud, et la chasse gentille?"
"Ils sont dedans le bois, à courre blanche biche"
"Arrête-les, Renaud, arrête, je t'en prie"
Trois fois les a cornés, de son cornet de cuivre
À la troisième fois, la blanche biche est prise
Mandons le dépouilleur, qu'il dépouille la biche
Celui qui la dépouille dit "je ne sais que dire"
Elle a le cheveu blond et le sein d'une fille
A tiré son couteau, en quartiers il l'a mise
En on fait un dîner aux barons et aux princes
"Nous voici tous sied, hors ma sœur Marguerite"
"Vous n'avez qu'à manger, suis la première assise
Ma tête est dans le plat et mon cœur aux chevilles"
"Mon sang est répandu par toute la cuisine
Et sur vos noirs charbons mes pauvres os s'y grillent."
Translation:
Those who go into the woods are the mother and the daughter.
The mother walks singing, while her daughter sighs.
“Why do you sigh so, my fair Marguerite?”
“I carry too much sorrow within me,
Yet I dare not tell you.”
“By day I am a maiden,
By night a white doe.
The hunt pursues me—
Barons and princes alike.”
“And my brother Renaud, who is the worst of all.
Go, Mother, go quickly,
And tell him…”
“Tell him to hold back his hounds until tomorrow at noon.”
“Where are your hounds, Renaud,
And your noble hunting party?”
“They are in the forest,
Chasing a white doe.”
“Call them back, Renaud,
Call them back, I beg you.”
Three times he sounded
His copper hunting horn.
At the third call,
The white doe was taken.
“Send for the butcher,
Let him skin the doe.”
But the man who skinned her said,
“I do not know what to say…
She has golden hair
And the breasts of a young woman.”
He drew his knife
And cut her into quarters.
A feast was prepared
For the barons and the princes.
“We are all seated here,
Except my sister Marguerite.”
“You need only eat—
I was the first to sit.”
“My head lies upon the platter,
And my heart hangs at the hooks.
My blood is spilled
Throughout your kitchen,
And upon your black coals
My poor bones are roasting.”
Flute by Arthur Rennesson, vocals by Aurora Aguilar & Farya Faraji. This is a French traditional song, reportedly from Brittany, with a melodic morphology that clearly showcases old origins, possibly reaching back to the periphery of the Middle-Ages. The instruments used are the flute, harp, and dulcimers.
Lyrics:
Celles qui vont au bois c'est la mère et la fille
La mère va chantant et sa fille soupire
"Qu'a vous à soupirer, ma blanche Marguerite?"
"J'ai bien trop d'ire en moi et n'ose vous le dire"
"Je suis fille le jour et la nuit blanche biche
La chasse est après moi, des barons et des princes"
"Et mon frère Renaud qui est encore le pire
Allez ma mère, allez, bien promptement lui dire"
"Qu'il arrête ses chiens jusqu'à demain midi
Où sont tes chiens Renaud, et la chasse gentille?"
"Ils sont dedans le bois, à courre blanche biche"
"Arrête-les, Renaud, arrête, je t'en prie"
Trois fois les a cornés, de son cornet de cuivre
À la troisième fois, la blanche biche est prise
Mandons le dépouilleur, qu'il dépouille la biche
Celui qui la dépouille dit "je ne sais que dire"
Elle a le cheveu blond et le sein d'une fille
A tiré son couteau, en quartiers il l'a mise
En on fait un dîner aux barons et aux princes
"Nous voici tous sied, hors ma sœur Marguerite"
"Vous n'avez qu'à manger, suis la première assise
Ma tête est dans le plat et mon cœur aux chevilles"
"Mon sang est répandu par toute la cuisine
Et sur vos noirs charbons mes pauvres os s'y grillent."
Translation:
Those who go into the woods are the mother and the daughter.
The mother walks singing, while her daughter sighs.
“Why do you sigh so, my fair Marguerite?”
“I carry too much sorrow within me,
Yet I dare not tell you.”
“By day I am a maiden,
By night a white doe.
The hunt pursues me—
Barons and princes alike.”
“And my brother Renaud, who is the worst of all.
Go, Mother, go quickly,
And tell him…”
“Tell him to hold back his hounds until tomorrow at noon.”
“Where are your hounds, Renaud,
And your noble hunting party?”
“They are in the forest,
Chasing a white doe.”
“Call them back, Renaud,
Call them back, I beg you.”
Three times he sounded
His copper hunting horn.
At the third call,
The white doe was taken.
“Send for the butcher,
Let him skin the doe.”
But the man who skinned her said,
“I do not know what to say…
She has golden hair
And the breasts of a young woman.”
He drew his knife
And cut her into quarters.
A feast was prepared
For the barons and the princes.
“We are all seated here,
Except my sister Marguerite.”
“You need only eat—
I was the first to sit.”
“My head lies upon the platter,
And my heart hangs at the hooks.
My blood is spilled
Throughout your kitchen,
And upon your black coals
My poor bones are roasting.”










![Peroz of China - Epic Chinese Iranian Music
Music & vocals by Farya Faraji, guzheng by Yiang Ling, erhu by Amanda Toh, artwork by J.F Oliveras: https://jfoliveras.artstation.com/projects/NGd80J
This is me having some fun mixing together the modern Iranian and Chinese musical traditions as a thematic way to represent Peroz III, the son of the last Sasanian Emperor who went to exile in China. Promoted as a high ranking military officer of the Tang-era Chinese realm, he would, alongside his son Narsieh, try to reconquer Iran with the military aid of China from the hands of the Arab Muslims, but would ultimately fail to do so. Despite this, a Zoroastrian, Iranian diaspora would continue to exist in China for many centuries afterwards as refugees from the Islamic invasion of Iran.
The main melody at the beginning was created from first writing a typical Iranian melody in the mode of Shur, and then subtracting notes from it in order to create a pentatonic effect; the principal melodic form of Chinese music. I also added my Sasanian leitmotif, played in the manner of modern Persian Classical music using the setar, tar and oud, with the tombak as the drum accompaniment. The Iranian daf provides the main percussions throughout most of the piece, and theyre accompanied by the guzheng, erhu, yangqin, a Chinese dulcimer, the santour, a closely related Iranian dulcimer, and the Iranian ney flute.
More interestingly, the melody that starts at 02:48 is a historical melody from circa the period of Peroz III, played on modern Chinese instruments. Called Jiu Huzi, or the Wine Puppet, this melody comes to us from Tang-era China, and was transcribed in the 70s by Laurence Picken, who found it surviving in 12th century Japanese manuscripts, where it was called Shukoshi. The reason I featured this melody goes beyond its era-appropriate nature, as its a piece of music that is inherently linked to the Iranian world. The piece of music seems to be in reference to a tradition of puppetry that portrayed Sogdians, an Iranic people related to the Persians, whose wine seemed to have been prized by the local Chinese. An important Sogdian diaspora seemed to exist there, and these puppets would portray the exotically dressed, red-haired and blue eyed Sogdian character getting drunk and falling over. In The Golden Peaches of Samarkand: A Study of Tang Exotics (1963), Edward H. Schafer, paraphrasing the Japanese scholar Ishida Mikinosuke, writes: The same young poets who languished over the pretty Iranian waitresses in the metropolitan wineshops laughed at the little puppets representing drunken Sogdians, with their peaked caps, blue eyes, and high noses, with which they played in houses of prostitution when the ridiculous puppet fell over, the guest at whom it pointed had to empty his cup... These puppets were called chiu hu-tzu [i.e., jiu huzi, 酒胡子] or pu tsui hsien [i.e., bu zui xian, 捕醉仙].
The lyrics come from the Ballad of King Vahram, part of which I sang in my song of the same name from 2021. A piece of Middle-Persian Zoroastrian text from after the Islamic invasion (some scholars argue very soon after the invasion), it represent the hopes of the Zoroastrian Iranians for the return of a messianic figure from India who will drive away the Muslims and restore the native religion to the land.
Middle-Persian lyrics:
Be niger ka čand wad abgand ān druz pad ēn gēhān ka nēst wattar az ōy andar gēhān.
Mazgitīhā frōd hilēm, be nišānēm ātaxšān uzdēszārīhā be kanēm ud pāk kunēm az gēhān, tā wany šawēnd druz-wišūdagān az ēn gēhān.
Frazaft pad drōd šādīh
English translation:
Behold how much evil that demon has cast upon the world,
There is no more evil than they in the world,
We will destroy the mosques, establish fires,
We will raze the idol temples and blot them from the world,
Til evil gets destroyed, the daevic creature from the world,
Finished with salutations and happiness. Peroz of China - Epic Chinese Iranian Music](https://i.ytimg.com/vi/jeJ2YeOUO84/mqdefault.jpg)