Customer Reviews

Songs From The Labyrinth

5 star:		(72)
4 star:		(44)
3 star:		(19)
2 star:		(19)
1 star:		(37)

 

 

When I heard that Sting was coming out with a new collection of music, I tried to stop my giddy grin, and went on and preordered it. When I opened it up, I was hit with a bit of surprise. For one, it was released on the Deusche Grammophon label, which usually devote themselves to classical works. Looking closer I saw that it was not an array of pop songs, but rather a review of the works of John Dowland.

Oh boy, am I in for an adventure! I thought and eager ripped off the packaging and into the cd player it goes.

I was enchanted right from the start. The singing is wonderful, there was only one really bad track, and even Sting reading from one of Dowland's letters to an influential courtier at James I's court was interesting. There's a haunting quality to the songs, music written by a man who was an outsider in the land of his birth (Dowland was a catholic in a fiercely protestant England), and from what the letter tell us, a man who was living on the edge between being comfortable and poverty.

Not all of the songs are great, and there are several real clunkers in this -- for me, I detested listening to Can she excuse my wrongs? but several others are haunting in their beauty and touch of melancholy. Slipped in between the musical selections is Sting reading from a letter of Dowland's, written in 1595, to an influential courtier in Queen Elizabeth's court, and Dowland is hoping that he can gain the patronage of Lord Robert so that he can gain employment and return to England. While at first, it feels odd to have the readings in there, but eventually you get a cohesiveness that makes Dowland's story all the more poignant.

The liner notes contain the text of the letter, song lyrics, an extensive essay from Sting talking about how he came to the music of Dowland and his study of the lute, and its bigger brother, the archlute. Several photographs are included as well, and the design is very beautiful throughout.

No, it's not a perfect album. Very few are, and there are always several clunkers it seems, and this one is no different. However, for sheer exhurberance, I give this one a solid five stars -- it's bold, it's something new, and I do have to applaud Sting for getting out there and stepping out of his role as a pop icon and trying something new.

No, not everyone is going to like it. Quite a few will hate this one, but if you want to hear music of the Renaissance performed by a masterclass musician, go on and give this one a try. I think you will be pleasantly surprised.

"John Dowland: Songs for Tenor and Lute" by Nigel Rogers with Paul O'Dette on Virgin Classics, there's really no comparison technically or interpretively. Sting get's an A for effort and also an A for putting his reputation on the line in the name of a beautiful repretoire. As a lifetime lover of this music, I am thrilled to see Sting take it on as another "cause". If this cd turns on just one person to lute or classical guitar music, I say great.

As another musician/reviewer suggests, if you forget that you are listening to Sting the results seem amateurish and student-like, but the truth is that you are listening to Sting and that of course changes everything! In Sting's defense, it's true these are not operatic arias but rather intimate art songs, they are pop songs of sorts and they do mark the beginning of a long line of self-expressive songwriting that does include Sting himself. Glad they at least found a roadie who could tune a lute :)

You're missing the point if you criticize Sting for making this album. To paraphrase the man himself, these songs are not sacrosanct. In fact, to the purists who fault him for making this gentle, yet yes, self-indulgent album: it sometimes takes an artist like Sting to revive a genre or composer so the work does not fade into oblivion. Though Sting is a better bass player than guitarist or lutenist, the playing on this album is beautiful. The reverence for the music is there without being overbearing. Sting makes a powerful statement for the pure joy of...melancholy. Excellent work. Buy it. Indulge.

Sting and Dowland are an odd mix, but he makes an honorable stab at it, and it definitely a good purchase for anyone wanting a way in for music from the turn of the sixteenth to seventeenth centuries. There area numerous books on the subject of early vocal style and a host of fabulous period instrument and period voice recordings to choose from. My advice - compare and contrast, there is no single definitive performance of this repertoire. While I definitely would NOT count Sting's CDs here as close to a definitive performance, closing the book on Dowland, but it is a book worthy openi9ng, not closing. These performances examine Dowland from a unique perspective, and are a worthy addition to anyone's music collection, classical or otherwise.

Dr. Phillip W. Serna, DMus

Doctor of Music, Northwestern University, 2007
Double Bass, Viola da Gamba, Bass Guitar & Guitar
Orchestra Member: Northbrook Symphony Orchestra, Illinois Philharmonic Orchestra & the Southwest Michigan Symphony Orchestra
Early Music Member: The Chicago Early Music Consort & The Spirit of Gambo, a Chicago Consort of Viols
Chicago Federation of Musicians, Local 10-208 of A.F.M. #55608
[...]

I have been an admirer of Sting's for many years, and an admirer and performer of Dowland's work since I was a child. I wanted very much to like this recording, and there are some good things about it. His lute work does impress me, given that he took it up later in life and it's not the easiest of instruments to play. He has a deft touch and some potential on this instrument. His rendition of "Come Away" is sweet and light, with exactly the right feel. His approach suits the song so well that it doesn't matter that his voice is not one that most people would associate with singing music of this sort. (This music was not originally intended for the concert stage, but rather for private performance and enjoyment in the homes of the aristocracy and the growing middle classes.)

The problems occur with the other pieces in this collection. Dowland has a reputation for being glum, to be sure, but he does not have the reputation for being boring. Unfortunately, there is a 'sameness' about Sting's performances on these pieces that can lead the listener to exactly that conclusion. The cheery "Have you seen the bright lily grow," for example, should not remind a listener of the devastating Lachrymae ("Flow my tears"), and it does on this album.

It is always a tricky thing for a musician to branch out into a new genre. It can have pleasant results (e.g. Placido Domingo singing 'Besame Mucho'), or horrid ones (Kirsten Flagstad singing 'The Lonely Goatherd' from "Sound of Music"). The key to making such a transition successfully lies in knowing and understanding the genre into which one is diving, and giving it its stylistic due. It is then possible to make a good decision about whether to emulate currently accepted performance practices for that music or depart altogether and create something new and fresh.

One certainly does not need a thoroughly trained, classical voice to perform Dowland, but one does need to understand issues of approach and affect, and to be able to convey that vocally. Sting obviously has some such understanding, but he does not always seem to be able to bring that to the vocal part of his performance, despite his heartfelt effort. I think I would have been happier if he'd chosen a complete departure from the standard approach and created something uniquely his own from Dowland's work.

I'll admit: I'd never heard of John Dowland. I wasn't even too sure what a lute was. But, being a Sting fan, and in the mood to broaden my musical horizons, I decided to purchase SONGS FROM THE LABYRINTH just for the heck of it.

I'll say this: It's an acquired taste. Sting's music is unique--it's pop music, but with so many world influences that you can barely tell. Each album he records is an adventure, primarily because of his poetic style of songwriting. It's easy to tell, when listening to this album, where a lot of his influence comes from. John Dowland's songwriting is poetic and beautiful; Sting's performance of those tunes is equally as beautiful. Not to say it's flawless--Lord, no. Sting doesn't have quite the voice for these songs. But the beauty comes not from his singing, but from the evident love he has for Dowland's work. This is, at its essense, a tribute album, and it is one of the best tribute albums out there. SONGS FROM THE LABYRINTH is your typical Sing record, only stripped down and written by someone else. And the primary instrument is a lute. And the songs are from the seventeenth century. Other than that, yes, this is your typical Sting record, in one sense if no other: it is a work of musical art.

I love this recording.

Let me say at once this will not appeal to all tastes, and it is not my intent here to question the taste of anyone who does not care for this recording. There are many valid takes on it, though I will say that those who know little of early music or with only a tangential knowledge of classical music may need to do some more listening before evaluating.

I think response to this will very much depend on how one classifies Dowland's music, and how one has come to love it. Most contemporary lovers of this rep are those who love the sound of classically trained, classically utilized voices, and have come to Dowland within that musical frame. I myself adore the Battles, Pears, and Terfels in this music. And to those listeners this disc will rankle, and the singer will indeed sound raw and unmusical. On the other hand, Dowland's music was in its own time, and has since, had some life in the hands of untrained, unschooled voices, the street singer, folk singer, more down home guy. To one school, the opposite camp will appear dissonant, unevolved, and lacking in polish and basic musical grace. To the other, the opposite camp will appear effete and preciously sterile. Both have their points.

Odd comparison, but think about Johnny Cash (I'm from Nashville, bear with me). Now one school will, and quite validly, say that Cash can't sing his way out of a paper bag and is not musical, and if Cash were attempting classical singing - some Schubert say - well they would probably be right. But listen to Cash in his own idiom and Lordy, nobody can accuse him of lacking musicality - the guy can tear your heart out through his own musical means.

Sting here is not attempting classical singing, and I would not agree that his is a "cross over" album as some have suggested. If we accept that Dowland's music is absolutely of the classical genre, well I suppose he is crossing over, but I am not so sure I fully accept that construct, so I am not so sure he is so much doing that as honoring another, parallel and different, but valid musical tradition.

And within that different tradition, I think Sting does a fabulous job with this. As others have noted above, this must indeed be a labor of love for him - few will buy this disc, a small handful of classical lovers, a few Sting fans and completists, and a few rockers who aren't sure what it is, but he isn't going to make a big buck off of this project. And it is that labor of love that really distinguishes the recording. He clearly adores this music, and has managed to capture the sort of visceral, somewhat melancholy emotional core of Dowland's songs beautifully. Compare his "Come again Sweet Love" with Kathleen Battle's gorgeous version, you will find two totally different but valid approaches to the music - nothing of her vocal polish, but very much in the spirit of the piece is his. "Fine Knacks for Ladies" (I adore Battle's version of this one also, and the two again make a good comparison), of course, has nothing of the pure aural pleasure that Battle brings to this song. But listen to what he does with it, this really is a song of a passionate lover, who, though his "wares be trash", and is without dazzling material means is truly "liberal of love".

The structure of the disc is interesting too. Interspersed with the songs are readings from Dowland's letters, documenting his hopes, successes, and frustrations as a musician, particularly the disappointment at rejection of a court post by Elizabeth I. Thus the disc becomes a sort of story - with well chosen and ordered musical illustrations - of a musician's journey and passion.

Sting's own journey with this music is nicely documented in the booklet as well, how he always loved the songs, but could not imagine performing them as young rocker. He tells us he later learned a few for love that he would sing for others privately without daring to do so publicly.

Don't get me wrong. As a fan of operatic singing, I doubt Sting will supplant my love for my Battles Terfels and Pears, and I will still turn to them more often. And if you are one who loves this music via the classical genre to which it is generally now placed, you will not like this disc, and believe me I neither challenge or entirely disagree with the thought behind that - it is a valid choice. But if you are one who may enjoy this music through a grittier tradition, this is a wonderful recording, and I daresay might introduce a few folks to a new repertoire - and probably rather to their surprise. In its quiet way, I really think this is a very special recording.

I wasn't surprised that the former educator Gordon Sumner was interested in lute repertoire, since I once saw him perform with a hurdy-gurdy on stage (the lute-shaped wheel-bowed type with tangent keys). I was therefore thrilled to learn that he was releasing an album ("classical", no less) of Dowland lute pieces, sung and performed by him. I also was pleased to see Sting perform two of these pieces (in a rather obvious plug for the album) in the "Studio 60 on the Sunset Strip" TV episode of 10/16/06, which clinched it for me.

To be correct, Sting is playing a theorbo, not a lute; Edin Karamasov is playing one also. A theorbo is in the lute family but has an expanded number of pairs of strings (correctly, "courses") and added extensions of the neck to extend the bass range.

As a whole, "Labyrinth" is a very good concept, mixing Dowland's pieces with quotes from some of Dowland's letters which show the ups and downs in the composer's life and the twists of fate that colored his madrigals and pieces. Sting has a very interesting take on the music here; his interpretations are not always "as written"- not quite Renaissance and not quite modern- yet for the most part, remain true to the music.

But... Sting plays the lute like... well, like a guitar. He does an admirable job given that he's apparently only studied lute for two years, and you can tell it's Sting by his inimitable style. Yet, understandably, his performances lack the specific touch and character that the instrument demands and true lutenists deliver. For example, he doesn't "work" the tone of the instrument as well as he could, he doesn't pluck close to the bridge to vary the tone (or contrast it against Mr. Karamasov's playing), his ornaments are lacking or understated, and while his playing is often lovely and evocative, the single melodic line he sings in some of the pieces seems naked without the accompanying madrigal voices that play off it in full choral performances (such as with The King's Singers).

Then again, when Sting multi-tracks the madrigal lines (such as in "Fine Knacks for Ladies") and sings them all, he succeeds in making a piece refreshing. new, and accessible to listeners unfamiliar with the harmonies of the period. Regrettably, he only multi-tracks on a couple of the songs here.

His duets also are taken a bit slower than I'm used to hearing, especially in pieces like "Lord Willoughby's Welcome Home", but they are carried off well, though it's pretty much impossible to tell whether Sting or Mr. Karamasov is "carrying" the piece.

Quibbles aside, on its own merits, "Songs from the Labyrinth" is unique and refreshing, a very good album overall, and an easy, pleasant listen. I expect "Labyrinth" will succeed in exposing more people to the music of Dowland and the Renaissance, and I'd like to think that it might inspire neophyte listeners to learn more and listen further. Sting's not a legendary lutenist like James Tyler or Julian Bream, but he's enjoyable to listen to nonetheless.

I applaud Sting for not being afraid to show his other diverse talents and interests in all musical genres, and hope he'll do more albums like this.

Those who have followed Sting closely throughout his career will not be surprised by his recent departure into 400 year old lute music. He has gone on less ambitious musical diversions before: Pop Standards on the Leaving Las Vegas soundtrack and accompaniments with Chris Botti and forays into Jazz during the 80's with The Dream of the Blue Turtles album and the Bring on the Night live album.
This CD is difficult and is not for everyone. It takes a lot of discipline and several listenings to appreciate the lyrics and the music. You can't listen to this CD casually like you would a pop album.
But, it is an interesting departure. I do agree with the criticism that some of the harmonizing sounds like Queen. When the songs get deep and heavy, Sting wisely takes breaks with tracks reading Dowland letters and playing instrumentals.
People forget how talented Sting is. I am not surprised that he made this CD. This is an album well worth $12.00 if you are willing to invest some of yourself into it.

John Dowland's music is not something that the majority of people can easily digest. I do not say this in an effort to elevate elitism, or to make people flee from this album...but the cold truth is that most people are not ready to hear classically trained voices. This is no shame. The classically trained voice is an acquired taste; once acquired, however, it can be difficult to return to an enjoyment of the untrained voice.

This album, then, seems an effort doomed to a failure of the "High jump, low ceiling" variety. However, those who are open are going to be surprised and pleased.

First, to the pop/rock crowd. Sting is not singing Sting songs here. But if you love that smoky quality to Moon over Bourbon Street, if you love the late night feel of "Why should I cry for you?", if you are enchanted by his quieter moments, then this album is exactly for you. The above comparisons are not meant to imply that this is a jazzy or world beat album... just to imply that the same intimacy that you get from some of his previous songs is here in spades. The lute is a lovely instrument, not hard on the ears, similar enough to the classical guitar in tone to use it as a starting reference point. The music here is flexible and beautiful, and you just might find yourself addicted to the melancholy wonder that is John Dowland's poetry, and the lovely, decelptively simple melodies that he weaves in and out of the lute.

TO the classical crowd--Sting has never claimed to be a great voice from a classical perspective. Nor do I think that his readings of these songs would stand up to a classical contest judge. What you get here, however, is a heart felt, lovely, raw interpretation of this complex material. THis is your John Dowland's best friend singing the songs to himself. This is a classical musician's brother who can't get the melodies and music out of his mind. And when you listen to it, there is a freshness and charm to his lack of training that make this a complete success in the same vein of "Weep ye No More, sad fountains" when it was sung by Kate Winslet in Sense and Sensibility. Was Jane Eaglen's version of the song more perfect? Yes. Was it more lovely? That is debateable.

If you know what I am talking about in that last comparison, and if you have spent years searching for Kate's version, then this album is for you. Listen to it with friends, without pretension, and watch them be surprised by it.

Oh, but it looses the last star because of hte needless addition of the letter reading. Nothing is wrong with Sting's readings, but they don't add much to the album.