Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   Care-charming Sleep



Год издания : 2003

Компания звукозаписи : ECM

Время звучания : 1:06:15

Код CD : ECM New Series 1803 (476 052-2)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Reconstruction)      

Recorded September 2001 at Propstei St. Gerold

"Potter is never less than impressive in these wonderfully unforced performances, and all five performers show great sensitivity both to the original settings and to each other's contri-butions. The remarkable results show just what can be achieved when performance of the highest order and creative freedom meet."

- BBC Music Magazine, reviewing "In Darkness Let Me Dwell"

The Dowland Project was brought together five years ago by ex-Hilliard Ensemble singer John Potter and producer Manfred Eicher to record music of John Dowland. In the interim, the group has toured widely, building its repertoire as its mission has become clearer. John Potter and friends are approaching early music in a contemporary spirit that celebrates the music's original intentions and contexts, and along the way they are restoring the improvisational impulse to the 'classical' tradition.

John Potter: "Dowland lived on the cusp of a revolutionary change in compositional style. In some of his later songs he acknowledged the new Italian freer style, where composers were expected to provide only the bass line and the tune. This gave many more creative opportunities to the performers, who could improvise their own harmony and who didn't have to be lute players (anyone could read a bass line). Possibly even before Dowland's death, musicians were taking his famous earlier songs and reworking them in the new style."

A similar process transpired with the madrigal, one of the programmatic subjects addressed on "Care-Charming Sleep". "We tend to think of Renaissance madrigals as songs for several unaccompanied voices, because that was the format in which they were usually published. More recently, scholars have realised that the printed madrigal books were more often used as source material for a much less prescriptive kind of music-making: anyone who could sing or play could use the partbooks to put together their own unique version of any piece. Parallel with this was the 16th /17thcentury tradition of solo performers improvising on earlier polyphonic madrigals." This is the case with the Rognoni 1620 version of the four-voice 'Ancor che col partire' by Cipriano da Rore, which "takes the original tune and weaves a new, highly elaborate version round it, in much the same way as a jazz musician would treat a standard. This 'division' repertoire has many elements common to jazz, especially the creative use by the performer of someone else's music, taking the basic elements of a popular tune and reworking them into something more personalised. Wilbye's 'Weep weep mine eyes' was originally published in 1609 in his Second Set of Madrigals. It appears in a manuscript of a generation or so later, sketched as a tune and bass line, perhaps copied from the original but reduced to a performing version in the current style." The Dowland Project drew from both sources for their rendition. Potter based his vocal line on the later solo version, while the players used Wilbye's original as a basis for their improvised accompaniment. "This is the kind of performance that might have occurred in the middle of the 17th century, and which still happens today in jazz and popular music: a group of like-minded musicians getting together to do what they can with what they've got."

The like-minded musicians of the Dowland Project have between them a vast wealth of knowledge and experience.

For 17 years a singer with the Hilliard Ensemble and one of its prime conceptual thinkers (his interest in jazz giving impetus to the Officium and Mnemosyne collaborations with Jan Garbarek), John Potter has always been fascinated by vocal activity of all kinds. He was a founder member of the avant-garde ensemble Electric Phoenix and the still-extant Red Byrd - whose repertoire has embraced all options from Monteverdi to the music of Led Zeppelin bassist John Paul Jones. Potter has written extensively on singing and his book Vocal Authority (Cambridge University Press) was widely acclaimed.

Born in Seattle, Stephen Stubbs left America in 1974 to study lute with Diana Poulton and Robert Spencer in London. He soon became an important contributor to the emergent early music movement. Based in Germany since 1980 he has frequently commuted to England for collaborations with Hilliard Ensemble personnel past and present. His first New Series appearance was on the album of troubadour songs "Proensa", with Paul Hillier. Stubbs also directs the ensemble Tragicomedia and the baroque orchestra Teatro Lirico. Quote: "I see the main differences between performers of this music as a difference of priority systems. My personal priority system puts the dramatic or poetic combination of words and music at the top of the list, together with a physical feeling for rhythm." Potter has called Stubbs "the keeper of the original harmony" in the Dowland Project, the provider of a string centre against which the others can improvise.

Londoner Barry Guy, best known as an improviser and as a composer of new music (such as the Mallarme-inspired "Un coup de des" on "A Hilliard Songbook") also has impeccable credentials in early music, having toured and recorded extensively with Christopher Hogwood's Academy of Ancient Music. It was while working with this ensemble that Guy met Maya Homburger, Swiss-born specialist of the baroque violin. In addition to her work with Guy, Homburger has performed frequently with John Eliot Gardiner's English Baroque Soloists, and is the leader of the Chandos baroque players and the Trio Virtuoso. In 1997 ECM recorded the Homburger/Guy album "Ceremony" in which Biber's first Mystery Sonata leads the listener towards Guy's compositions influenced by early music and towards improvisation - another instance of a disc that explores the field of tension between old and new music. Guy is also a founder member of Evan Parker's Electro-Acoustic Ensemble, whose third ECM recording, "Memory/Vision" is released concurrently with Care-charming Sleep" in Europe.

One of the most influential figures of European jazz, John Surman has been a contributor to music on ECM since 1975, appearing on more than 30 albums for the label. His most recent discs, collaborations with American drummer Jack DeJohnnette, have been "Free and Equal" (also with the ensemble London Brass) and the live recording "Invisible Nature". An intensely lyrical player, Surman has been influenced by choral music and world folk traditions as well as the entire history of jazz. In recent seasons Surman has been receiving increased recognition for his writing abilities. The ECM recording of his oratorio "Proverbs and Songs" was shortlisted for Britain's Mercury Prize. Potter's ensemble Red Byrd has commissioned new music from Surman. Amongst the many pleasures of the Dowland Project is the interaction between John Surman and Barry Guy: these improvisational innovators are finding new ways to play together inside music of the 16th and 17th centuries…

www.ecmrecords.com/Background/Background_1803.php

========= from the cover ==========

The Dowland project and its music

In 1998 Manfred Eicher asked me to think about a CD of music by the 17th-century composer John Dowland which would, in effect, look again at ideas of historical appropriateness and use them as a point of departure for new interpretations of the songs, based on what happened to them in subsequent generations. We then got together a group of musicians that we thought would have something to say both to each other and about Dowland. The resulting record,"In Darkness Let Me Dwell", began a musical journey which is still in progress, and this recording is the latest stop along the way.

Dowland lived on the cusp of a revolutionary change in compositional style. His fame rests on having brought the lute-song to the peak of its development, specifying every note to be played by the lutenist (as was the convention - using tab-lature not unlike modern guitar notation). In some of his later songs he acknowledged the new Italian freer style, where composers were expected to provide only the bass line and the tune. This gave many more creative opportunities to the performers, who could improvise their own harmony and who didn't have to be lute players (anyone could read a bass line). Possibly even before Dowland's death, musicians were taking his famous earlier songs and reworking them in the new style.

A similar process happened with the madrigal. We tend to think of Renaissance madrigals as songs for several unaccompanied voices, because that was the format in which they were usually published. More recently, scholars have realised that the printed madrigal books were more often used as source material for a much less prescriptive kind of musicmaking: anyone who could sing or play could use the partbooks to put together their own unique version of any piece. Parallel with this was the 16th/17th-century tradition of solo performers improvising on earlier polyphonic madrigals. The Rognoni 1620 version of the four-voice "Ancor che col partire" by Cipriano da Rore (c. 1515-65) takes the original tune (something of a hit in its day) and weaves a new, highly elaborate version round it, in much the same way as a jazz musician would treat a standard. This "division" repertoire (as it is known) has many elements common to jazz, especially the creative use by the performer of someone else's music, taking the basic elements of a popular tune and reworking them into something more personalised. Wilbye's "Weep, weep, mine eyes"was originally published in 1609 in his Second Set of Madrigals as a five-voice madrigal. It appears in a manuscript of a generation or so later, sketched as a tune and bass line, perhaps copied from the original but reduced to a performing version in the current style. In our version we used both: I based what I did on the later solo version, while the players used Wilbye's original as a basis for their improvised accompaniment. This is the kind of performance that might have occurred in the middle of the 17th century (and which still happens today in jazz and popular music): a group of like-minded musicians getting together to do what they can with what they've got.

Robert Johnson represented the new generation of lutenist composers (and he was "first musician for the lutes"at James I's court, over the older Dowland). He was a man of the theatre ("Care-charming sleep"comes from Beaumont and Fletcher's The Va/entinian,"Have you seen..."from Ben Jonson's The Devil is an Ass);the new, simpler style was a perfect medium for a more rhetorical and dramatic representation of the words. These songs only existed in manuscript, and one has the impression that they are perhaps more of an aide-memoire, an outline full of latent possibility. In Purcell's "She loves and she confesses" we see this process in its glorious maturity: no more envelope-pushing, just the composer and his performers enjoying themselves in a style with which they were fully conversant.

Purcell's unique achievement was to synthesise both French and Italian styles and fuse them with his quirky Englishness. One of the techniques he took from Italy was the repeated bass line, often derived from dance music. In "Angela siete", Cherubino Busatti (early 17th cent.-1644) allows the tune to evolve over a descending scale of C major; Giovanni Felice Sances (c.1600-79) uses a famous dance bass line that many composers resorted to (Monteverdi among them) for his "Accenti queruli". As a contrast to this Benedetto Ferrari (c.1603-81) eschews convention altogether: he wrote the first "commercial" opera, and you can hear something of this in "Gia piu volte tremante", which has elements of both recitative and aria in its highly compressed, Webernesque span.

Monteverdi was a corner-stone of Italian music in the 17th century. His "Amor dov' e la fe'" (from the 8th Book of Madrigals) is more usually known as the "Lamento della ninfa", and was written to be sung by a soprano, aided and abetted by a trio of men. Role reversal was not uncommon in the 17th century, and here I sing the soprano part with the instruments taking the men's role. The descending bass line gently unfolds under Rinuccini's meditation on love, passion and jealousy, finally lapsing into silence. The album begins with, and is punctuated by, improvised lute meditations on this four-note bass line, time-lessly emerging from the silence to which they then return.

A man singing a poem written by a man who is writing, in effect, as a woman, raises fundamental questions of literary and musical meaning: what does a tenor mean when he sings an aria intended for a soprano? Does the music have gender implications, and are these obvious to non-Italian speakers? How does this relate to the composer's original intentions, if at all? Singers are often taken to task by critics for not providing translations for listeners - but how would we translate the "Lamento" text? Does it mean what it appears to mean? One reason that only brief synopses are provided for the songs on this album (and on many other ECM albums) is that to give a literal translation would be to channel the listener into very specific and perhaps redundant meanings. When a man sings "Lamento della ninfa" it cannot mean what the text says it means, therefore it cannot mean what composer and poet originally meant by it.

The final destination of the combined efforts of the living musicians and the dead Monteverdi and Rinuccini is today's audience. Any meanings originally thought to be embedded in the music have become considerably modified during this journey, and are ultimately created anew in the head of individual listeners. Poet, composer, musicians, listeners are bound together in a unique set of creative relationships which constitute the space in which the music can renew itself with every hearing.

- John Potter


  Соисполнители :

Barry Guy (Double Bass)
Claudio Monteverdi (Composer)
Henry Purcell (Composer)
John Surman (Soprano Saxophone, Clarinet)
John Wilbye (Composer)
Maya Homburger (Violin)
Stephen Stubbs (Lute)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Refrain 1         0:01:41 Stephen Stubbs
   2 Ancor Che Col Partire         0:03:57 Cipriano De Rore (violin) - Madrigal
   3 Gia Piu Volte Tremante         0:03:03 Benedetto Ferrari
   4 Care-charming Sleep (1st Version)         0:06:51 Robert (ii) Johnson - For High Voice & Lute
   5 Accenti Queruli         0:06:13 Giovanni Felice Sances
   6 Weep, Weep, Mine Eyes         0:04:23 John Wilbye - Madrigal
   7 As I Walked Forth One Summer's Day         0:05:43 Robert (ii) Johnson
   8 Refrain 2         0:01:43 Stephen Stubbs
   9 Refrain 3         0:01:50 -"-
   10 She Loves And She Confesses Too         0:03:32 Henry Purcell - Song, Z. 413
   11 Angela Siete         0:08:57 Cherubino Busatti
   12 Have You Seen But A Bright Lily Grow?         0:03:04 Robert (ii) Johnson - For Voice & Lute
   13 Refrain 4, Amor Dov'e La Fe         0:07:54 Claudio Monteverdi
   14 Care-charming Sleep (2nd Version), Johnson         0:02:47 Robert (ii) Johnson - For High Voice & Lute
   15 Ancor Che Col Partire         0:04:35 Riccardo Rognoni - For 2 Instruments (after Cipriano De Rore)

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