|
HYPERION Records CDA 66685 [63:08] full-price by Chia Han-Leon
Without the elevator-esque tinge of shopping mall Christmas music, the songs and instrumental pieces on "Gabriel's Greeting" are a delightful mix of intimate lyricism, feet-tapping rhythms and poignant tranquility. Ranging from the early 13th century to the end of the 15th, "Gabriel's Greeting" begins with the evocatively unaccompanied 3-part song Gabriel fram evene king (looks familiar? - it's Medieval English). For those unfamiliar with Early Music, it is a much "simpler" affair in the sense that vocal parts, for example, are sung "raw", without quite the attempt to 'perfect' the voice for a heavy-toned, clean-cut concert-style environment.
Medieval Europe was a cosmopolitan place where musicians travelled widely and frequently exchanged instruments and ideas. Some of the music on this record derives some of its evocativeness by way of its "exotic" harmonies which we moderns, even a Chinese like myself, might typically think Middle Eastern - as in pieces like Miri it is (track 3: "Merry it is while summer lasts") with its instrumental estampie (a troubadour tune for dancing) played on the medieval fiddle* and the quick, rhythmic booming of the hand drums, or nakers.
Embellished with the distinctive and merry jingling of tambourines and drums, this leads seamlessly into Ecce mundi gaudium (7: "Lo, the joy of the world"). The sequence is concluded with Ut iam cesset calamitas (8: "So that the calamity of the world now end") proclaiming the joy of Christ's nativity. All these short (1-2 minutes) pieces thus contribute to a whole narrative of meaning, driven by simple yet effective, tuneful music.
As we are used to, Hyperion's presentation of the entire record is a work of art - the investor rests in the knowledge that he or she is paying for good music, the intelligently penned notes and of course, another appropriately designed cover ("you can't judge a book by its cover," ok... but it's been proven you can judge a Hyperion CD by its cover!). The notes, written by Wishart herself (left) are succinct and informative, even offering points of interest to those involved in carolling; and I know of students of the English language who listen to the Medieval English lyrics with much fascination!
The three singers reach a truly high plane of beatitude in Vidi miser et iucida (11: "See, wretched man"), a beautiful song which gradually swells in strength as it proceeds, chastising man for his sins. It begins, so appropriate to our world:
As if in agreement, the astringent and raw, almost harshly beautiful sound of the medieval fiddle, in the hands of Stevie Wishart, springs into song in the following track (12), a rhythmic and eyebrow-knitting estampie based on the same song, accompanied by the rapping admonishment of percussion.
Ellis's pleasantly relaxed rendition of the famous Ther is no rose of swych vertu (12: "There is no rose of such virtue" - the rose a popular symbol of the Virgin) is answered with a tranquil realization (arrangement) for lute. You might find the music's style familiar as it is an ancestor of English carols as we know it today. In the dusky quiescence of this sensitively laid-back piece, comes Lolay, lolay: Als y lay on Yoleis night, without doubt the heart of this record.
The lyrics consist of a narration by the poet as she eavesdrops on a conversation between a maiden and a child. Asking his mother of his future and of her to sing him to sleep, the maiden complies by telling him of the only thing she knows of him: Gabriel's Greeting. Listening and following the lyrics, the listener soon realizes, as the poet does, that this is Mary lulling the boy Christ to sleep.
I think we all know that one mark of a great piece of music is its timelessness. This song, much to Vivien Ellis's credit, is an amazing 11-minute creation, and yet not for a moment did I feel its length. As the song changes perspectives through the poet, the maiden and her child, the unity of the two voices blend and intertwine hypnotically and effectively, as stars endlessly revolve in the sphere of heaven. The final work on the disc is a striding and stirringly-paced account of Nowell, nowell, nowell! This is the salutacyon of the angell Gabryell. Written and sung in Medieval English, it is a majestic and powerful account of the Annunciation, and forms a fitting farewell from the disc as much as it is a greeting from heaven.
It's Never Too
Having said all that, Chia Han-Leon will probably still end up attending a noisy Christmas party.
4.12.97. up.5.7.1998 ©Chia Han-Leon Explore the Flying Inkpot They're
Alive!
Bit deadish: Other
Resources at The Flying Inkpot
|
The Black Madonna Pilgrim Songs from Montserrat Chominciamento di gioia Instrumental and Vocal Music from the time of the Decameron Gabriel's Greeting Medieval English Christmas Music performed by Sinfonye
Llibre Vermell de Montserrat The Red Book: A 14th-century pilgrimage Madre de Deus Cantigas de Santa Maria Miracles in Praise of the Virgin Mary: Music from the Cantigas and the Llibre Vermell Music from the Gothic Era A reissue featuring the Early Music Consort of London On the Banks of the Seine Music of the Trouvères
HILDEGARD OF BINGEN |