Sting - Songs From The Labyrinth [Deutsche Grammophon 170 3139] {Germany 2006}

Sting & Edin Karamazov - Songs From The Labyrinth
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Label/Cat#: Deutsche Grammophon 170 3139 | Country/Year: Germany 2006
Genre: Folk, Renaissance | Hoster: FP/FF

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Sting - Songs From The Labyrinth

Label: Deutsche Grammophon
Catalog#: 06025 170 3139
Format: CD, Album, Digipak
Country: Germany
Released: Oct 2006
Genre: Classical
Style: Renaissance

Tracklist:

1 Walsingham 0:38
2 Can She Excuse My Wrongs? 2:35
3 "Ryght Honorable: As I Have Bin Most Bounde Unto Your Honor..." 0:40
4 Flow My Tears (Lachrimae) 4:42
5 Have You Seen The Bright Lily Grow 2:35
6 "...Then In Time Passing One Mr. Johnson Died..." 0:32
7 The Most High And Mighty Christianus The Fourth, King Of Denmark, His Galliard 3:01
8 The Lowest Trees Have Tops 2:16
9 "... And Accordinge As I Desired Ther Cam A Letter.." 0:55
10 Fine Knacks For Ladies 1:50
11 "...From Thenc I Went To Landgrave Of Hessen..." 0:24
12 Fantasy 2:42
13 Come, Heavy Sleep 3:46
14 Forlorn Hope Fancy 3:08
15 "...And From Thence I Had Great Desire To See Italy..." 0:28
16 Come Again 2:56
17 Wilt Thou Unkind Thus Reave Me 2:40
18 "...After My Departures I Caled To Mynde Our Conference..." 0:30
19 Weep You No More, Sad Fountains 2:38
20 My Lord Willoughby's Welcome Home 1:34
21 Clear Or Cloudy 2:47
22 "...Men Say That The Kinge Of Spain Is Making Great Preparation..." 1:01
23 In Darkness Let Me Dwell 4:12

Credits:

Lute [Archlute] - Sting (tracks: 15, 20)
Lute, Lute [Archlute] - Edin Karamazov
Written-By - John Dowland (tracks: 1 to 4, 6 to 23)

Notes:

Performed by Sting & Edin Karamazov on the famous "Labyrinth Lute".

Discogs Url: http://www.discogs.com/Sting-Songs-From-The-Labyrinth/release/952248





Review

by James Manheim

Casual pronouncements are made every so often that the lute songs (the lute is a plucked stringed instrument, an early cousin to the guitar) and madrigals of Elizabethan and Jacobean England were the popular music of their day. And Sting, who alludes to the likes of Vladimir Nabokov in his lyrics, is hardly uneducated in the legacy of fine arts, and he has a certain cerebral, inward sadness that matches the dominant mood of English music around 1600 well enough. Thus some might easily have thought it would be a short leap from Sting's own music to the lute songs of John Dowland (1563-1626). But the leap is anything but short, and Sting gets credit for having thought out fully the problems in making it. It is not just the issue of what pianist Katia Lab¨¨que, one of the classical musicians who introduced Sting to Dowland's music, called his "unschooled tenor" -- Dowland's songs are not really difficult. It is the great divide between rock (and other traditions ultimately rooted in Africa) and the European tradition: speaking in generalities, the former prizes "noise" -- sound extraneous to the pitch and to the intended timbre of an instrument or voice -- as a structural element, whereas in the latter it is strenuously eliminated. Sting's voice has plenty of "noise." The listener oriented toward classical music will object to its being there; the rock listener, noting that Sting is singing very quietly, may wonder why there isn't more of it.

Why, then, does this album work well on the whole? The short answer is that Sting took 20 years to think about how to interpret the refined melancholy of Dowland songs like "Come, Heavy Sleep." His booklet notes tell the long story of how he happened to make this album, and it's quite an interesting one, involving a "labyrinth" of encounters with Lab¨¨que, with the Bosnian lutenist Edin Karamazov, who performs on this album, with a friend who gave Sting a lute inlaid with a labyrinth design based on a pattern in the floor of Chartres Cathedral in France (Sting later reproduced the maze in his garden at home), and finally with a Swiss voice teacher who schooled him in pitch precision and the occasional octave run. Sting constructs two crossover points between this temporally remote music and his popular audience. First, he intersperses the songs with selections from Dowland's letters. This has surely been done before, at Elizabethan dinners and the like, and for modern listeners it has the beneficial effect of situating Dowland's music at the center of the social and political life of its time. Sting's second crossover point is more radical: he replaces the melody line in a few of Dowland's verses with multitracked harmonies, apparently consisting entirely of his own voice. These sections appear rather randomly, but they do break up the texture in a way that suggests an additional dimension of modern perspective.

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