Customer Reviews

John Dowland: In Darkness Let Me Dwell

5 star:		(3)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

This is an absolutely wonderful release from ECM. Bringing together performers like tenor John Potter, double bassist Barry Guy and baroque violinist Maya Homburgher, it presents a collection of contemporary interpretations of some of Dowland's consort and vocal pieces. Barry Guy has of course been a champion of the double bass for some time now, and his interests in early music put him in fine company with John Potter of the Hilliard Ensemble. Guy's caustic harmonics at times race around what has to be one of the purest unions of reed and voice these ears have ever heard. Potter really embodies the melancholy of so many of Dowland's works, yet at the same time infuses the overall collection with a sense of tranquil sublimity - we are reminded of the finer aesthetics of Dowlands lute parts. Surman works the bass clarinet and soprano sax well (best example is his improvising in "Come Again, Sweet Love..."), although at times his performance was predictable, which is surprising considering much of his previous work. The baroque violin of Maya Homburgher is typically flawless - her harmonics work wonderfully with Guy's double bass to create really visceral tensions. As far as artistic concept, source material, performance and design go, it is just so rare to see records like this being released nowadays - an absolute gem.

I bought this on a lark, at the recommendation of Amazon.com's software matchmaker; I didn't know any of the players, but I am familiar with Dowland's work. I popped it in the player along with several other new CDs and went about my business. An hour or so later this disc began to play, and I was stopped in my tracks: there's something so modern and playful about the performances, layered on top of Dowland's familiar sorrowful melodies.

I think the period performance purists will give this one a miss, but anyone with eclectic musical tastes should find plenty to like. Makes me grin every time I put it on, which is quite something for a disc subtitled 'In Darkness Let Me Dwell'.

I have had a affection for Dowland for a very long time. I loved "In Darkness Let Me Dwell" the minute I heard it and have played it repeatedly. I enjoy the liberties that were taken with this recording... they are surprising, and only enhance the sentiment of the work. I have many recordings of "Come Again",and this one is different than any other. The instrumental bridge, with it richness, is a wonderful contrast to the linear tenor voice. I am usually a purist with most music that I am familiar with... and it is rare that a new recording exceeds with a new take on the expected.

This is a very special disc. The blend of old and new instrumentation is highly successful and might even appeal to some of those who are usually more inclined towards truly authentic approaches.
I am not altogether sure why there are two versions of Flow My Tears included. Both are outstanding interpretations (one mysterious, the other almost menacing), but I would have prefered one version of this, leaving room on the disc for another of Dowland's wonderful songs.
Potter sings beautifully throughout and each instrumentalist is on top form, adding fantastic, surreal tonal colors to the whole.
I could imagine these treatments as dramatic interpretations for a movie on the life of Dowland. Drama and atmosphere are aplenty in these fine performances. Well done to all concerned.

Dowland is a composer who can grow wearisome. The LP, with 20 to 25 minutes on a side, was perfect, and I still own a couple from way back then. But his lachrymose songs eventually wear me down, no matter how excellent the performers. One long evening was spent at an all Dowland barrage, in as traditional a performance as scholarship can imagine. I was just bored by the end, despite the excellence of all on stage. This collection is similar, though in different ways. I have taken this CD and mixed it into some vocal compilations, for individually there are tracks that are splendid. "Come Again" is perfect, a blend of old and new that works spectacularly. Indeed, this is not pure old music, but a weird and wonderful updating with a charmingly gloomy reed or two. Other cuts are nearly as good, and for those tracks alone, this is a keeper.

However, on some songs, the sound just grates, and I'm not sure John Potter's voice is strong enough to hold the show alone. Several of these annoy to the point of exasperation. So though I have no inherent objection to a sax and baroque violin pairing off, this is not a perfect CD. Sound is very good (the buzzing mentioned elsewhere does not bother me, nor the rasping of bow on string.) Musicians are excellent, especially the versatile Stephen Stubbs on the not-very-versatile lute. He fills and surrounds and enhances with the gentlest plucks, supporting and amplifying all the others. The six star stuff shines, but for the rest, the material offers too little modulation. Eventually it starts to sound like whining, and the ear (or at least this ear) tunes it out.

The music on this CD was originally written about 400 years ago by John Dowland (1563-1626), but as sung by tenor John Potter (of the Hilliard Ensemble), accompanied by Stephen Stubbs (lute), John Surman (soprano saxophone and bass clarinet), Maya Homburger (baroque violin), and Barry Guy (double-bass), this music takes on a timeless quality, a quality that has been the hallmark of many releases from ECM, such as the Jan Garbarek/Hilliard Ensemble recordings Officium and Mnemosyne. This disk, however, is different from those in many ways, particularly in that those recordings featured vocal harmony (The Hilliard Ensemble) with accompaniment provided by a single instrument (Jan Garbarek's saxophone); in contrast, In Darkness Let Me Dwell features Potter's solo voice accompanied by several instruments. The arrangements are generally spare, but over the course of the album, all for the instrumentalists have their moments to shine--they do not dwell in perpetual darkness. The use of saxophone and bass clarinet brings a modern sound to the proceedings, but Surman is a master of expressive understatement, and his sound blends into the mix very naturally.

The recording was made in an abbey, but it is close-up enough that the proceedings are never drowned in reverberation. This is a fascinating recording that will reward repeated listening. The liner notes include lyrics, making it easy to follow along.

When in 1992 for the first time I went to London for a conference in pathology, as a Pole I was hoping to learn something (like anecdotes) about John Dowland (or other Brithish Renaissance masters like Thomas Tallis, or William Byrd). Unfortunately, none of the educated Britons I met has heard about these composers. This is the state of music today: people are exposed to droppings from the stages of some [bad] British pop music but know little about Dowland.
This Dowland recording is interesting: vocals are classic but some instruments, like saxophone, are not. I like it.
I am now rewriting this review. After listening to this CD 10 times, this peculiar blending of old(er) and new becomes less fresh, not to say annoying. I am now not sure if I am at all happy with this CD. Dowland in its original does not raise such doubts.

The tenor voice, lute, baroque violin and double-bass were a lovely sound which on their own would have made this an excellent CD. This is demonstrated in the sections of Come Again where the John Surman is not playing. When either of the two reed instruments is added, the balance overpowers the tenor soloist and the reeds have a poor tone quality, often to the point of allowing the reed to emit a distracting buzz.

From a historical perspective, they take too many liberties with the form and style of the pieces. The improvization done was totally out of character for the period.

I was very dissapointed with this CD, and the problems made it difficult to listen to the entire CD. If you enjoy PURE early music, do not buy this CD.