Songs from the Labyrinth
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CD Details
Composer: John DowlandPerformer: Sting
Performer: Edin Karamazov
Edition: Music CD
CD Release Date: 2006-10-10
Music Label: Deutsche Grammophon
Soundtracks:
- Walsingham
- Can she excuse my wrongs?
- Ryght honorable: as I have bin most bounde unto your honor Ã?Â?
- Flow my tears
- Have you seen the bright lily grow
- Then in time passing on Mr. Johnson diedÃ?Â?
- The Most High and Mighty Christianus the Fourth, King of Denmark
- The lowest trees have tops
- And accordinge as I desired ther cam a letterÃ?Â?
- Fine knacks for ladies
- From thenc I went to the Landgrave of HessenÃ?Â?
- Fantasy
- Come, heavy sleep
- Forlorn Hope Fancy
- And from thence I had great desire to see ItalyÃ?Â?
- Come again
- Wilt thou unkind thus reave me
- After my departure I caled to mynde our conferenceÃ?Â?
- Weep you no more, sad fountains
- My Lord WilloughbyÃ?Â?s Welcome Home
- Clear or cloudy
- Men say that the Kinge of Spain is making gret preparationÃ?Â?
- In darkness let me dwell
Music reviews of Songs from the Labyrinth
Music Review: A very special recording, albeit for a limited audience - go for it.
Rating: 5 Stars
I love this recording.
Let me say at once this will not appeal to all tastes, and it is not my intent here to question the taste of anyone who does not care for this recording. There are many valid takes on it, though I will say that those who know little of early music or with only a tangential knowledge of classical music may need to do some more listening before evaluating.
I think response to this will very much depend on how one classifies Dowland's music, and how one has come to love it. Most contemporary lovers of this rep are those who love the sound of classically trained, classically utilized voices, and have come to Dowland within that musical frame. I myself adore the Battles, Pears, and Terfels in this music. And to those listeners this disc will rankle, and the singer will indeed sound raw and unmusical. On the other hand, Dowland's music was in its own time, and has since, had some life in the hands of untrained, unschooled voices, the street singer, folk singer, more down home guy. To one school, the opposite camp will appear dissonant, unevolved, and lacking in polish and basic musical grace. To the other, the opposite camp will appear effete and preciously sterile. Both have their points.
Odd comparison, but think about Johnny Cash (I'm from Nashville, bear with me). Now one school will, and quite validly, say that Cash can't sing his way out of a paper bag and is not musical, and if Cash were attempting classical singing - some Schubert say - well they would probably be right. But listen to Cash in his own idiom and Lordy, nobody can accuse him of lacking musicality - the guy can tear your heart out through his own musical means.
Sting here is not attempting classical singing, and I would not agree that his is a "cross over" album as some have suggested. If we accept that Dowland's music is absolutely of the classical genre, well I suppose he is crossing over, but I am not so sure I fully accept that construct, so I am not so sure he is so much doing that as honoring another, parallel and different, but valid musical tradition.
And within that different tradition, I think Sting does a fabulous job with this. As others have noted above, this must indeed be a labor of love for him - few will buy this disc, a small handful of classical lovers, a few Sting fans and completists, and a few rockers who aren't sure what it is, but he isn't going to make a big buck off of this project. And it is that labor of love that really distinguishes the recording. He clearly adores this music, and has managed to capture the sort of visceral, somewhat melancholy emotional core of Dowland's songs beautifully. Compare his "Come again Sweet Love" with Kathleen Battle's gorgeous version, you will find two totally different but valid approaches to the music - nothing of her vocal polish, but very much in the spirit of the piece is his. "Fine Knacks for Ladies" (I adore Battle's version of this one also, and the two again make a good comparison), of course, has nothing of the pure aural pleasure that Battle brings to this song. But listen to what he does with it, this really is a song of a passionate lover, who, though his "wares be trash", and is without dazzling material means is truly "liberal of love".
The structure of the disc is interesting too. Interspersed with the songs are readings from Dowland's letters, documenting his hopes, successes, and frustrations as a musician, particularly the disappointment at rejection of a court post by Elizabeth I. Thus the disc becomes a sort of story - with well chosen and ordered musical illustrations - of a musician's journey and passion.
Sting's own journey with this music is nicely documented in the booklet as well, how he always loved the songs, but could not imagine performing them as young rocker. He tells us he later learned a few for love that he would sing for others privately without daring to do so publicly.
Don't get me wrong. As a fan of operatic singing, I doubt Sting will supplant my love for my Battles Terfels and Pears, and I will still turn to them more often. And if you are one who loves this music via the classical genre to which it is generally now placed, you will not like this disc, and believe me I neither challenge or entirely disagree with the thought behind that - it is a valid choice. But if you are one who may enjoy this music through a grittier tradition, this is a wonderful recording, and I daresay might introduce a few folks to a new repertoire - and probably rather to their surprise. In its quiet way, I really think this is a very special recording.
Description of Songs from the Labyrinth
Sting?s Songs From The Labyrinth is an album of 17th century music composed by John Dowland and performed on the lute, an ancient acoustic guitar. After being given a lute nearly two years ago as a gift, Sting became fascinated and immersed himself with the instrument and the history of lute music. Reminded of his almost 25 year long enthrallment with the works of John Dowland, the Elizabethan composer who wrote songs for the lute, Sting has recorded a new album of vocal and lute music. All songs were composed by Dowland in the 17th century, but have been given new life in these fresh new recordings by Sting. Sting not only sings all the songs (accompanied by leading lutenist Edin Karamasov, who appears on two Andreas Scholl albums), but also plays lute on two instrumental duets with Edin and reads short extracts from a fascinating autobiographical letter by Dowland. Sting has also written a brilliant account of the album's genesis, along with notes on the individual tracks, which serves as the CD booklet.In choosing to cover the music of John Dowland (1563-1626), who is known as the "melancholy madrigalist" from his output of cheerful ditties like "Flow My Tears," Police bandleader Sting has entered into a whole new realm of austere eeriness. Originally inspired by the gift of a lute, the rock superstar and activist sings the songs, deliciously sweet and tender or spirited by turn, accompanying himself, with Edin Karamazov sitting on lute and archlute. For listeners accustomed to hearing material of this period interpreted by rigorously trained early music stylists, especially countertenors and the like, Sting's sometimes tight-jawed, chest-heavy vocals may seem amateurish. It's undeniable that in four-part harmonies, the singer, tightly overdubbed, comes across like a combination of the Swingle Singers and Queen (meaning Freddy Mercury and crew, NOT the first Elizabeth). But it's important to remember that music of this period was routinely heard as a casual diversion in private homes, even more often than at Court. It was considered a crucial social skill to be able to join in with an adequate degree of skill, but not everyone was able to negotiate the perilous melodic twists and turns typical of the era's music. With this in mind, the overall effect is of a candle-lit, postprandial entertainment in the home of an English gentleman. Muttered readings from Dowland's letters and brief snippets of sampled birdsong aside, it is a courageous effort, displaying heartfelt admiration for the composer and a considerable degree of earnest charm. --Christina Roden
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