Songs From the Labyrinth

マーケットプレイス価格:¥ 1,318 (税込)

レーベル:Deutsche Grammophon
JAN:0602517051119 売上ランキング:音楽で28783位

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  1. Walsingham
  2. Can she excuse my wrongs?
  3. Ryght honorable: as I have bin most bounde unto your honor Â…
  4. Flow my tears
  5. Have you seen the bright lily grow
  6. Then in time passing on Mr. Johnson diedÂ…
  7. The Most High and Mighty Christianus the Fourth, King of Denmark
  8. The lowest trees have tops
  9. And accordinge as I desired ther cam a letterÂ…
  10. Fine knacks for ladies
  11. From thenc I went to the Landgrave of HessenÂ…
  12. Fantasy
  13. Come, heavy sleep
  14. Forlorn Hope Fancy
  15. And from thence I had great desire to see ItalyÂ…
  16. Come again
  17. Wilt thou unkind thus reave me
  18. After my departure I caled to mynde our conferenceÂ…
  19. Weep you no more, sad fountains
  20. My Lord WilloughbyÂ’s Welcome Home
  21. Clear or cloudy
  22. Men say that the Kinge of Spain is making gret preparationÂ…
  23. In darkness let me dwell
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