Sting - Songs From The Labyrinth (H33T)

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Artist: Sting
Album: Songs From The Labyrinth
Genre: Folklore Classical Renaissance
Quality: mp3
Bitrate: 320kbps
Total Time: 48:38
Total Size: 169 mb incl Album art

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

Quote:

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.
Sting passes a key test for vocal music of any kind: he understands and means what he is singing. The real gloomfests among Dowland's songs -- like "Flow My Tears" and the final "In Darkness Let Me Dwell" -- lose none of their power in Sting's performances. And he brings something of his own sense of humor to the lighter ones; a certain smirk in his reading of "Come Again" suggests that he is aware an audience of Dowland's time would have heard the line "To see, to hear, to touch, to kiss, to die with thee again" as a sexual allusion. He sounds like himself, even while purging rock's blues-based treatment of pitch from his singing; he also takes a few turns on the large archlute. And Karamazov proves an ideal collaborator, creating a sharp, edgy tone that stands up to Sting's rough voice. In making Dowland's songs his own, Sting has accomplished something that really has never been done before, and perhaps he'll show some of his own fans that Renaissance music is more than an accompaniment for silly jousting competitions -- it is a labyrinth that leads us toward the roots of our own culture. James Manheim

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Category:

Music

Size:

169.32 MB

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43 files

Added:

11/05/2012

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