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An Elizabethan Songbook Richard Edwards (1524-1566)
Where
grypinge griefs [4:05] Thomas Campion (1567-1620)
Come
let us sound [3:02] John Dowland(1563-1623)
In
this trembling shadow (1612) [8:05] John Danyel (1564-
c.1626)
Like as the lute delights [3:39] John Dowland
I
saw my Ladye weepe (1600) [5:35] Francis Pilkington(c.1565-1638)
Rest
sweet Nimphs [3:45] Thomas Campion
When
to her Lute [1:41] Francis Pilkington
Musick
deare solace [5:05] Thomas Morley(1557-1602)
I saw my Ladye weeping
(1600) [3:40] Robert Jones(fl.1597-1615)
If
in this flesh [4:07] Francis Pilkington
Come
all ye [4:06] John Bartlett (fl.1606-10)
Sweete
birdes deprive us never (1606) [6:09]
Emma Kirkby
(soprano); Anthony Rooley (lute)
rec. Decca Studios, West Hampstead, London, June 1978. ADD. DECCA ELOQUENCE
476 7466 [53:19]
First, a warning:
this CD was until recently available at full price with a
different title, Elizabethan Songs : The Lady Musick,
on Oiseau-Lyre 425 892-2. The new title may cause some inadvertently
to duplicate a disc which they already have. At the risk
of sounding pedantic, neither title is strictly accurate,
since some of the music is actually Jacobean: the latest
publication date which I have been able to track is 1612.
Furthermore,
the new title risks confusion with the Warner Elatus CD of
the same name, with the Boston Camerata, which Paul Shoemaker
on this website thought “nothing to write home about”.
Then a minor
complaint: the Eloquence reissue reprints in full Emma Kirkby’s
own notes which accompanied the Oiseau-Lyre version but does
not include the texts which were originally included in the
booklet. It may be that little harm is done on this occasion,
since Emma Kirkby’s enunciation is so crystal-clear that
the words are mostly audible, but I have complained before
that Australian Eloquence CDs provide generous notes, then
spoil the ship for the last ha’porth of tar by not including
the texts of vocal music. The notes are excellent, pointing
out, for example, the intertextuality of Dowland’s and Morley’s
settings of almost identical words, both published in 1600
and included on this CD (tracks 5 and 9). I take issue on
one small point: the phrase “such a woe … as winnes mennes
heartes” is not, pace these notes, “ungrammatical
in context”; it is perfectly acceptable Elizabethan – and
modern – grammar.
Kirkby’s version
of Dowland’s “I saw my Ladye weepe” has appeared on a number
of ‘Best of …’ and ‘Portrait of …’ CDs; anyone who has heard
it on such a collection will have a fair idea of the high
quality of performance and recording on this disc. These
are, of course, songs intended for the male voice and usually
sung by a counter-tenor or tenor, but Kirkby’s clear voice
comes over in a gender-free manner which seems to make this
irrelevant. The obvious comparison is with Alfred Deller,
whose counter-tenor singing voice, so very different from
his normal speaking tone, also has this genderless quality. There
are (or have been) Deller recordings of some of this music
but I am, for once, not going to compare this Emma Kirkby
CD with any other performances of similar repertoire. Those
who have read my earlier reviews will know that Emma Kirkby
is, for me, beyond compare.
If I say that
her singing throughout is straightforward, I certainly do
not mean to imply that it is dull. Poets and composers of
this period were forever bemoaning their lot: the last great
flowering of Petrarchan lovelorn poetry coincided with the
fashionable melancholy and malcontent of the period. Even
at the hands of a great poet such as Donne the effects can
seem exaggerated, though Donne’s genius usually survives
the exaggeration – look at A Nocturnal on St Lucy’s Day for
an example of an effective use of such exaggeration: the
reader is persuaded of the genuineness of Donne’s grief – and
not all the poets whose words found their way into song were
of Donne’s calibre.
Though the
theme of this anthology is, as its original title made more
clear, the power of music, the melancholy is never far away,
as in the very first song, where music is invoked to soothe
the “grypinge griefs [which] the heart would wound / And
doleful dumps the mind oppress.” The best way to treat such
words and music is not to stress the melancholy but to emphasise
the “joy [that] makes our mirth abound”, which is exactly
what Kirkby does, with a real lift and lilt in the more cheerful
passages. The melancholy is, in any case, there in the notes
and the accompaniment – the latter again correctly slightly
understated by Anthony Rooley – and does not need to be exaggerated. Kirkby’s
notes in the booklet refer to the “disarming simplicity” of
this song and that is exactly how she treats it. (I note,
however, that one distinguished reviewer, writing of the
original CD issue, could not believe that such emotional
songs were ever sung in such an unemotional way: you pays
your money and you takes your pick between us – neither of
us can make our point absolutely, since our forbears were
inconsiderate enough to leave us no recordings.)
This is certainly
not the “hey nonny nonny” music commonly associated with “Good
Queen Bess” – and all the better for it. Such music did
exist, as in the collection of madrigals The Triumphs
of Oriana, a thinly-disguised set of royal adulation
but, as the reign wore on – and the portraits of the queen
seemed to get younger and younger as she inexorably aged – the
earlier mood of optimism vanished and the queen herself became
more and more unpopular. In eight short years from 1588
to 1596 Walter Ralegh, for example, had changed from one
of the heroes of the defeat of the Armada to the leader of
a failed expedition to find El Dorado: all he brought back
was a few ounces of fool’s gold, though he managed to make
his failure into a grandiose prose epic, still well worth
reading, the Discouerie of the Empire of Guiana, which
soon became part of that late-Elizabethan best-seller, Hakluyt’s Voyages.
The best-known
song here, “I saw my Ladye weepe”, is so charged with melancholy
that to ignore it would be to misrepresent the piece, but
even here the effect is not overdone. There is a corner
of Emma Kirkby’s voice which hints at thoughts that lie too
deep for tears – Janet Baker’s voice has a similar quality– and
this corner comes to the fore here in the most natural and
unaffected manner. Here I will make a comparison: I first
heard this song on a mono LP, subsequently reissued on the
Eclipse label, performed by Peter Pears and Julian Bream
and, though I do not normally react well to the timbre of
Pears’ voice, I found his rendition of this song very affective. Listening
now to Emma Kirkby’s unforced singing in this repertoire – there
are other overlaps with that LP – makes me think that Pears
overdid the effect, though I still yield to none in admiration
for Julian Bream’s accompaniments of this repertoire. (Just
one example of the Pears/Bream collaboration in Elizabethan
music survives in the catalogue and I am not going to recommend
it, since RCA chose to reissue it, earlier this year, at
full price.)
When the music
calls for virtuosity, Kirkby is fully equal to the task,
as in the last piece on the CD, Bartlett’s “Sweete birdes
deprive us never”, where the lover, “surcharged with discontent” – of
course – betakes himself to a sylvan bower and is cheered
by bird-song, which the singer is called upon to imitate:
the piping thrush, the linnet’s cheerful voice, etc. The
discontent of the opening comes from that corner of the voice
to which I have referred but the mood and the devices of
the second part are also well captured. In the course of
the last line of the first part, which acts as a transition
between the two moods, the voice switches magically away
from its melancholy corner and the second part is sung with
a kind of girlish pleasure and effortlessness which disguises
how difficult this music must be to sing. The kite’s “whiw
whiw whiw full oft” in particular is thrown off with the
kind of art which conceals art.
Such a recital
can easily sound as if it has been thrown together, but there
is a nice symmetry about this CD, where the opening and closing
items both deal with melancholy transformed by music and
where the two best-known items – “I saw my Ladye weepe” and
Pilkington’s equally deserving “Rest sweet Nimphs” – form
the centrepiece. Some of the items may not be well known – Bartlett
is not even listed in the Concise Grove – but there
is not one dud piece or a dud performance here. Even the
little-known Bartlett hardly deserves Peter Warlock’s judgement, “a
good deal of very commonplace stuff”, at least on the basis
of the piece included here. The theme of the locus amœnus is,
of course, almost as old as poetry itself, and it was certainly
overdone in the Renaissance, but the song forms a worthy
enough end to this anthology.
The recording
throughout is clear and forward – but not too forward – and
the balance between voice and lute is ideal. The neutral,
unobtrusive ambience, neither too reverberant nor too dry,
is just right.
At just over
53 minutes the CD is rather short measure by Eloquence’s
own standards. They could have raided the Kirkby/Rooley
Oiseau-Lyre set of Dowland’s complete works, recorded at
about the same time as this CD: I can think of at least three
songs from the First Booke (1597) which would have
made good additions to this disc. As it is, I hereby issue
a plea for Eloquence to offer a 2-CD set from this source,
to rival the excellent bargain-price Virgin Veritas Dowland
and Jones set, also with Kirkby and Rooley, on 5 62410-2. Such
small criticism apart, this is a thoroughly excellent reissue. The
more music-making of this calibre Eloquence can reissue at
such a reasonable price, the better.
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