Songs from the Labyrinth
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CD Details
Composer: John DowlandPerformer: Sting
Performer: Edin Karamazov
Edition: Music CD
Format: Live
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 ?.
- Flow my tears
- Have you seen the bright lily grow
- Then in time passing on Mr. Johnson died?.
- The Most High and Mighty Christianus the Fourth, King of Denmark
- The lowest trees have tops
- And accordinge as I desired ther cam a letter?.
- Fine knacks for ladies
- From thenc I went to the Landgrave of Hessen?.
- Fantasy
- Come, heavy sleep
- Forlorn Hope Fancy
- And from thence I had great desire to see Italy?.
- Come again
- Wilt thou unkind thus reave me
- After my departure I caled to mynde our conference?.
- Weep you no more, sad fountains
- My Lord Willoughby?'s Welcome Home
- Clear or cloudy
- Men say that the Kinge of Spain is making gret preparation?.
- In darkness let me dwell
Music reviews of Songs from the Labyrinth
Music Review: Sting meets Dowland halfway
Rating: 4 Stars
If I did not hold Sting's 2006 Deutsche Grammophon recording of the 16-17th centuries' John Dowland's lute-accompanied music in my hands, I would not believe that the British rock star had truly attempted to pull this one off.
But I do, and he has.
And not to bad effect, either. Unlike may Sting critics who seem to think the man should stay in his rut, I admire his constant rebellion against the artistic expectations to which we admirers of his art may want to hold him. I like his audacious impertinence.
I just didn't expect *this*.
Yet Sting being Sting is rarely a bad thing, not least here. His 'unschooled tenor', as he puts it, may in some respects sound more like Dowland's work would have in the 17th century than how we'd expect it to flow in the 20th. But leaving that point aside, Sting is a great narrator.
What he has accomplished in this unlikely CD is to narrate the Dowland phenomenon for many of us who would otherwise never have known him or his art. Sting's recitations of Dowland's letter (one critic unjustly calls it 'murmured') are actually my favorite part of the album's 23 tracks.
You may want quickly to return to Sting and/or the Police doing what they do best. That will be quite all right. But don't miss what the man can do once in a while down at the end of a blind alley.
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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