Classic CD, November 1996: Difference between revisions
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<center><h3> Rocking the medieval boat </h3></center> | <center><h3> Rocking the medieval boat </h3></center> | ||
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<center> Mark Funnell </center> | <center> Mark Funnell </center> | ||
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'''Combining medieval polyphony, jazz and renaissance magic with Shakespeare's Twelfth Night and other literary masterpieces, John Harle’s new album is a strange brew. What does it all mean? | |||
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JH: I am trying to create something completely new that has a historical context in the words, not in the music. Juxtaposing these elements creates a surrealism and a sense of expectation in listeners that one can knock down, taking them by surprise." | JH: I am trying to create something completely new that has a historical context in the words, not in the music. Juxtaposing these elements creates a surrealism and a sense of expectation in listeners that one can knock down, taking them by surprise." | ||
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<center><h3> Costello ideal for Shakespeare </h3></center> | <center><h3> Costello ideal for Shakespeare </h3></center> | ||
<center>''' John Harle ''' / Terror And Magnificence </center> | <center>''' John Harle ''' / Terror And Magnificence </center> | ||
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[[image:1996-11-00 Classic CD page 102 clipping.jpg|x120px|border|right]] | [[image:1996-11-00 Classic CD page 102 clipping.jpg|x120px|border|right]] | ||
Given the kerfuffle over the omission of Marianne Faithfull’s "Twentieth-Century Blues" from the classical charts, this could give the pigeon-holers apoplexy. Aided by jazz musicians and a rock singer, Harle draws on sources from mediaeval ars nova to contemporary improv. However you slice it, it’s stimulating stuff. | Given the kerfuffle over the omission of Marianne Faithfull’s "Twentieth-Century Blues" from the classical charts, this could give the pigeon-holers apoplexy. Aided by jazz musicians and a rock singer, Harle draws on sources from mediaeval ''ars nova'' to contemporary improv. However you slice it, it’s stimulating stuff. | ||
Settings of Shakespeare’s songs tend to be either fakely folksy or fifth-rate Shaftesbury Avenue. Harle’s sound like purely modern quality-pop. Closer examination reveals traditional bones and sinews in the melodies. Costello is superb – intense and emotionally affecting – on three songs from ''Twelfth Night''. Most classical singers, despite technically "better" voices, should study these performances as object-lessons in interpretation. | Settings of Shakespeare’s songs tend to be either fakely folksy or fifth-rate Shaftesbury Avenue. Harle’s sound like purely modern quality-pop. Closer examination reveals traditional bones and sinews in the melodies. Costello is superb – intense and emotionally affecting – on three songs from ''Twelfth Night''. Most classical singers, despite technically "better" voices, should study these performances as object-lessons in interpretation. |
Latest revision as of 04:55, 20 September 2021
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