| | Piano Dreams: Die Schönsten Klavierstücke CD Schumann, R. CDS
Piano Dreams: Die Schönsten Klavierstücke Music | Label | ART | | Orig Year | 10/29/2008 | | CD Universe Part number | 7716074 | | Catalog number | 29192 | | Discs | 1 | | Release Date | Jul 08, 2008 |
Piano Dreams: Die Schönsten Klavierstücke Review
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Engineers include: Tony Sheppard, Erik Zobler, Barry Rudolph.
Personnel: Jamecia Bennett (vocals, soprano); Core Cotton, Carrie Harrington (vocals, alto); Terrence Frierson, Patricia Lacy, Kimberly Brown (vocals, tenor, tenor saxophone); James F. Wright (vocals, baritone); David B. Young, Michael L. Bowens (vocals, bass voice); Mervyn Warren (vocals, piano, keyboards, drums, programming, drum programming, background vocals); Richard Smallwood (vocals, keyboards, programming); Donna McElroy, Howard Hewett, Angela Wright, Patti Austin, Take 6, Vicki Hampton, Chris Willis, Kim Fleming, Bob Bailey (vocals, background ...
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It probably would have been difficult, circa 1978, for fans of the Police's bouncy, ska-inflected new wave to conceive that Sting, circa 2006, would release an album of madrigals written in the late 1500s and early 1600s by Renaissance composer John Dowland. Yet Sting has always been musically adventurous and possessed of highbrow notions, as his eclectic solo career in the intervening years demonstrated. In a way, Sting's musical journey to Elizabethan England comes as no surprise.
SONGS FROM THE LABYRINTH does not mix pop or genre elements with Dowland's compositions. Instead, this music is faithful to the originals in spirit and sound, and historically accurate in execution and instrumentation. Sting sings, plays guitar and is joined by lutenist Edin Karamazov on a set of Dowland's haunting, minor-key madrigals with their equally haunting lyrics. Instrumental interludes and spoken readings from Dowland's letters are interspersed throughout, and while the exercise may not be to everyone's taste, it is further testament to the stylistic range and ambition of this 20th-century pop icon.
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 Labèque, 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.
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