1 800 222 6872

'Amores Pasados' - Works by Picforth, Sting, Becquer, et al / John Potter, Anna Maria Friman, Ariel Abramovich, Jacob Heringman

Album Summary

>Jones, John Paul [Bass] : Amores Pasados, for voice, harp, chitarrone, guitar, lirone, viola da gamba & percussion
>Warlock, Peter [Composer] : Sleep, song for voice & string quartet
>Campion, Thomas : Follow thy fair sun
>Campion, Thomas : Oft Have I Sigh'd for Him That Heares Me Not for voice, lute & bass viol (Thrid Book of Ayres)
>Picforth : In Nomine a 5
>Campion, Thomas : The sypres curten of the night is spread
>Banks, Tony : Follow thy fair sun, song
>Moeran, E.J. : Oh fair enough are sky and plain, for voice & piano
>Banks, Tony : The cypress curtain of the night, for voices & 2 lutes
>Sting : Bury Me Deep in the Greenwood, for voice & baroque ensemble
Performers Composers

Notes & Reviews:

For this innovative attempt to bridge the gap between art song and pop song, John Paul Jones (of Led Zeppelin fame), Sting and Genesis-keyboardist Tony Banks were commissioned to write new lute songs. Asking a rock music composer to set existing poetry within a genre we knew well meant that we singers wouldn't need to pretend to be pop singers we were still interpreting a text in a way that we're familiar with, writes John Potter in the liner notes. Thus Tony Banks set 17th century poems by Thomas Campion (whose songs can also be heard here) and John Paul Jones set poems from the three great ages of Spanish literature. Sting's Bury me deep in the Greenwood was originally intended for the film Robin Hood, and incorporates his own lyrics. Arrangement of the songs was established in the session at Oslo's Rainbow Studio in November 2014 with lutenists Ariel Abramovich and Jacob Heringman. The album's unconventional meeting of the old and the new was rounded off with songs by 20th century composers E. J. Moeran and Peter Warlock as well as the only piece known from the (almost anonymous) renaissance musician Picforth.

The Guardian, 2nd July 2015
John Potter has been a Genesis fan since the 1970s, and there's an audible dose of mutual fandom at the heart of this moody collection of lute songs old and new, plus the worthy breakdown of distinctions between "art song" and "pop song"... Potter sings with a straight, breathy voice, determined not to sound too classical.

BBC Music Magazine, November 2015
Potter and Friman especially are old hands at category-crunching, and, as ever, make it work through the integrity of their performances, as true to themselves as to the music, supported by lovely playing from the lutenists.

Notes & Reviews:

Recording information: Rainbow Studio, Oslo (11/2014).

The worlds of the crossover album and of the ECM music label don't overlap much, but this is a crossover album unlike any other released up to this time. For one thing, it deals with the Renaissance lute song, not a form in which new pieces have been written often. And for another, the vocal middle ground between Renaissance vocal styles and the rock background of the contemporary composers is unique. What you have here are Renaissance lute songs from England and Spain, plus songs by John Paul Jones of Led Zeppelin, Tony Banks of Genesis, and, at the end, Sting, expanding on his Dowland album of a decade ago. These may be put together in pairs or freestanding, according to their degree of similarity, and for variety there are a couple of songs by Peter Warlock and E.J. Moeran, each written in a kind of antique vein. Offhand it seems a strange concept, but it works very well for several reasons. One is the singing of John Potter and Anna Maria Friman, who strike just the right note: they move in the direction of natural modern vernacular singing without abandoning the Renaissance style. Then there's the fact that English rock music in its early stages had roots in the sort of folk song from which Renaissance music was not far away; when Jones and Banks were commissioned to write the songs heard here, they weren't entering completely unfamiliar territory. (Sting's "Bury Me Deep in the Greenwood," probably the strongest of the bunch, was composed for an earlier film soundtrack; reviving it here was an inspired stroke.) At a deeper level, there's the food for thought the album offers, about what popular song is, and what its relationship to cultivated traditions might be. The mood is indefinably fresh, a tangential take, but not a departure from the traditional lute song album. And finally, the engineering of Manfred Eicher, always an important part of the concepts of ECM's releases, here seems especially involved in bringing out all the connections this release illuminates. A fascinating album. ~ James Manheim



Reviews

There are currently no reviews, be the first one!
Login or Create an Account to write a review
 

Also Purchased

Works Details

>Jones, John Paul [Bass] : Amores Pasados, for voice, harp, chitarrone, guitar, lirone, viola da gamba & percussion
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 15 min. sec.
  • Period Time: Contemporary

>Warlock, Peter [Composer] : Sleep, song for voice & string quartet
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 2 min. 25 sec.
  • Period Time: Post Romantic
  • Written: 1922

>Campion, Thomas : Follow thy fair sun
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 3 min. 33 sec.
  • Period Time: Renaissance

>Campion, Thomas : Oft Have I Sigh'd for Him That Heares Me Not for voice, lute & bass viol (Thrid Book of Ayres)
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 3 min. 33 sec.
  • Period Time: Renaissance

>Picforth : In Nomine a 5
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 2 min. 31 sec.
  • Period Time: Renaissance

>Campion, Thomas : The sypres curten of the night is spread
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 3 min. 16 sec.
  • Period Time: Renaissance

>Banks, Tony : Follow thy fair sun, song
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 3 min. 39 sec.
  • Period Time: Contemporary

>Moeran, E.J. : Oh fair enough are sky and plain, for voice & piano
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 2 min. 18 sec.
  • Period Time: Post Romantic

>Banks, Tony : The cypress curtain of the night, for voices & 2 lutes
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 3 min. 35 sec.
  • Period Time: Contemporary

>Picforth : In Nomine a 5
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 2 min. 31 sec.
  • Period Time: Renaissance

>Sting : Bury Me Deep in the Greenwood, for voice & baroque ensemble
  • Performers: Ariel Abramovich (Lute); Anna Friman (Hardanger Fiddle); Anna Friman (Soprano); Jacob Heringman (Lute); John Potter (Voice)
  • Running Time: 4 min. sec.
  • Period Time: Contemporary