DAMIEN GUILLON – ERIC BELLOCQ – JOHN DOWLAND – LOVE SONGS –
2009
This field of love songs,
madrigals or other Renaissance forms in England is an enormous well arrayed
and furnished jungle of archives and music pieces that have been explored all
around and all along. The English, thanks to the university choirs have been
able to continue with the century-old tradition of all male choirs and thus to
cultivate and develop countertenors of all sorts since no women could take part
and children were out at this level. The most famous English countertenor is
Alfred Deller in the second half of the 20th century. I remember
hearing him in concert in 1964 or 65
in Bordeaux.
Another world opened up then. And since then I had been opened by this rare new
discovery.
Damien Guillon is the perfect
countertenor for these songs that were never performed by castratos, at least
they did not have to be since the countertenor tradition was very strong with
Purcell himself one century later being a countertenor. Thanks god at times
humanity is able to keep some old traditions that are kept not because they are
traditions but because they are good, unforgettable, beautiful.
Shakespeare used and overused
such voices since he could not have women on the stage. But the songs chosen
here correspond very well to the main tradition of the 16th and 17th
centuries in England.
The six wives of Henry VIII, the successive changes from Catholicism to
Anglicanism then back to Catholicism and finally back to Anglicanism soon to be
replaced by Puritanism to finally go back to clean and clear Anglicanism with
the Glorious Revolution that instated though the full ban for a while of all
things and people Catholic. The secret passages in the great halls, mansions
and family seats of the nobility were far from being forgotten and made useless
to hide the clandestine catholic priests or the catholic members of the
families. Today these secret passages are overused in series and films.
The tone of the songs here that
are from more than one composer as announced on the sleeves are all very languorous
and sad as if in that time love was always associated to drama and tragedy. It
is true the theater of the time was full of such sad events, the killing and
death of all members of all these doomed love affairs. Think of Ophelia and
Juliet and their male lovers. That’s a choice but we must keep in mind that
madrigals and other pieces that were not destined to go on a stage could be
sung by women and thus have lighter themes, more danceful, joyful, pleasureful.
But keep in mind there were then no women’s universities and women were hardly
educated beyond basics and their early teenage. Look at Shakespeare again.
Juliet was supposed to be married at fourteen at the latest and her education
is never alluded to whereas Romeo and Mercutio, Tybalt and all the boys were
officially students of some type or other.
Damien Guillon doubles up this
very sad music of his, these songs of languor and unrequitedness with Eric
Bellocq’s luth music that is just a lugubrious, funeral, tenebrous descent into
the hell of all scales. It is marvelous, beautiful but we are dealing here with
the beauty of introspective love that expects and waits for the coming of the
main lover of all men, death of course, and yet that’s so ambiguous since Death
is a male in the English and Germanic tradition. In other words Death, the
lover of all men, is a castrating lover that leaves these men impotent, frigid,
dead in one word.
The full unity of the music of
this CD makes it exceptional. It is a dirge, a mortal and in some way morbid
descent to the underworld of love, to the seventh hell of love’s pains and
pangs. And you have to enjoy all that torture and suffering because that’s part
of man’s fate, I mean the fate of all males, to suffer for the love they experience
for the lady they will never be able to approach, touch, kiss or even look at
except at a vast distance. I feel that in these troubled centuries in England the
famous courteous love of the Middle Ages in the Arthurian tradition has turned
somewhat sour and has become a Tenebrae à la Charpentier. “I sing, Fie fie on
love, Fie fie on love, it is a foolish thing,” sings Damien Guillon in one of
the more vivacious songs “A shepherd in a shade”. Even the poor lover of Cynthia
can only tell that Cynthia is nothing but a nest for cuckoos, which leaves
little to the lover himself.
The question about that art has
to do with what is typical of England
since 1215 and the Magna Carta. In 1215, and that had been going on for a long
time in the form of a rivalry between nobility and church on one side and the
king on the other side. It is the fiorst document in Europe
that actually sets in writing some rights for some women and children,
precisely widows and orphans in noble families. It is thus the beginning of a
rather long quest and conquest of freedom for women and Elizabeth I played an
enormous role along that long line, though the Stuarts and the Puritans will
bring or try to bring many things down.
A perfect rendition of this
period when the Canterbury Tales were forgotten and the sad side of things of
love or anything else were cultivated. We seem to forget that in Shakespeare
you always have some farcical at times farcical-looking scenes in the most
tragic and dramatic situations, but at the same time we always had some tragic
or tragic-looking scenes in the most farcical of all comedies. Ben Jonson as
for that is a genius, how he brings the tragedy of Puritanism and of man’s
vanity in simple joyful and lustful fests like “Bartholomew Fair” or “The Silent
Woman,” the former with the hanging and quartering of some condemned bloke on
the day before the Fair on the same ground, in the middle of the fair to start
afterwards, and the latter with the pangs and dangers of gender orientation for
the great pleasure of the audience and the full chastisement of the vain
husband.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 3:14 AM