Casual pronouncements are made every so often that the lute songs (the lute is a plucked stringed instrument, an early cousin to the guitar) and madrigals of Elizabethan and Jacobean England were the popular music of their day. And Sting, who alludes to the likes of Vladimir Nabokov in his lyrics, is hardly uneducated in the legacy of fine arts, and he has a certain cerebral, inward sadness that matches the dominant mood of English music around 1600 well enough. Thus some might easily have thought it would be a short leap from Sting's own music to the lute songs of John Dowland (1563-1626). But the leap is anything but short, and Sting gets credit for having thought out fully the problems in making it. It is not just the issue of what pianist Katia Labèque, one of the classical musicians who introduced Sting to Dowland's music, called his "unschooled tenor" -- Dowland's songs are not really difficult. It is the great divide between rock (and other traditions ultimately rooted in Africa) and the European tradition: speaking in generalities, the former prizes "noise" -- sound extraneous to the pitch and to the intended timbre of an instrument or voice -- as a structural element, whereas in the latter it is strenuously eliminated. Sting's voice has plenty of "noise." The listener oriented toward classical music will object to its being there; the rock listener, noting that Sting is singing very quietly, may wonder why there isn't more of it.
Why, then, does this album work well on the whole? The short answer is that Sting took 20 years to think about how to interpret the refined melancholy of Dowland's songs. Sting passes a key test for vocal music of any kind: he understands and means what he is singing. The real gloomfests among Dowland's songs -- like "In darkness let me dwell" -- lose none of their power in Sting's performances. And he brings something of his own sense of humor to the lighter ones; a certain smirk in his reading of "Come again" suggests that he is aware an audience of Dowland's time would have heard the line "To see, to hear, to touch, to kiss, to die with thee again" as a sexual allusion. He sounds like himself, even while purging rock's blues-based treatment of pitch from his singing. And Edin Karamazov proves an ideal collaborator, creating a sharp, edgy tone that stands up to Sting's rough voice. In making Dowland's songs his own, Sting has accomplished something that really has never been done before, and perhaps he'll show some of his own fans that Renaissance music is more than an accompaniment for silly jousting competitions -- it is a labyrinth that leads us toward the roots of our own culture.
The CD/DVD set is derived from Sting's album Songs From the Labyrinth. The CD includes only seven tracks from the original, but with two more added -- "Message in a Bottle" and "Hell Hound on My Trail," which, incidentally, are not by Dowland. It makes for a short CD -- less than half an hour of music. The hour-long DVD was originally a television special and features performances of Dowland songs and interviews with Sting and Karamazov.