January 2, 2019

  • Going For Baroque: Timeless Love Songs

     

    Songs Without Words: Torchsongs Transformed
    Les Delices: Debra Nagy, Baroque oboe. Melisande Corriveau, viola da gamba/pardessus de viole.
    Eric Milnes, harpsichord.
    Navona Records 6195
    Total Time:  58:15
    Recording:   ****/****
    Performance: ****/****

    Les Delices is a period instrument group that is noted for their unique programming and discovery of lesser-known music.  They each perform on instruments either from the Baroque, or with modern reconstructions.  Songs Without Words might best be described as a cover album, though in the case of some of the repertoire, the original artists were not captured on tape.  That is because the group has chosen a fascinating blend of jazz standards and Baroque French airs.  It is in the latter where one begins to see the connection in the performance practice of these vocal pieces whose second verse featured elaborate ornamentation, not unlike modern improvisation.

    To that end then, the album couples some of the great “songs” of the 17th Century whose names will be as unfamiliar to jazz aficionados as the 20th Century songs may be to those who eschew jazz.  The result is a fascinating collection of tuneful melodies that blend surprisingly well and are intelligently programmed.  The transition from one to the other is so effortless that it becomes an enthralling listen.  No sooner has Billy Strayhorn’s “A Flower is a Lovesome Thing” concluded than one realizes the group has moved into a song by Jean-Baptiste de Bousset (17=662-1725), “Pourquoi, Doux Rossignol”.  The arrangements for this Baroque trio help create this gentle sense of the melodic line.  Whether these are played by the oboe or one of the viols, the simplified harpsichord support helps maintain this polished quality.  Of course, this becomes a bit more updated in a rather delightful cover of Patsy Cline’s famous recording of “Crazy” (written by Willie Nelson).  That may be the most borderline humorous moments, but the performance is beautiful and touching with the syncopated, extended harmonies in the harpsichord being a rather delightful shift.  The album is intriguing sequenced as we are treated to one of these modern standards intermingled with some of the songs of the Baroque.  The latter are rare pieces by composer Michel Lambert (1610-1696) who was the first composer to publish some of these airs with basso continuo in 1660.  His footnote, if he is mentioned at all, is as the father-in-law of Jean-Baptiste Lully (1632-1687).  But he was also an important early composer of French opera.  The latter is represented by “Recite de la Beaute” (1664) to represent some of the change in the overtly ornamental style and alternative preferences.  These are alongside songs by Marin Marais (1656-1728), Jean-Philippe Rameau (1683-1764), and Jean Chabanceau de la Barre (1633-1678).  All of these composers were known for these air de cour, or air serieux.

    What works very well here is that often one of these earlier songs melds effortlessly into a modern one (accomplished with a reduction in the time between tracks).  One only notices, for example, that we are in the 20th Century once the harmony expands after the opening bars of one of Edith Piaf’s hits, “La Foule”.  The Lennon/McCartney tune “Michelle”, Errol Garner’s “Misty” and additional music by Johnny Mandel and Joseph Kosma’s “Autumn Leaves” fill out the release.  The choices work well for this combination and the interpretations help bring out the soulful quality of the tunes.

    Les Delices make a beautiful case for the French repertoire they have chosen.  These are gorgeous melodies with fare more emotional sensibilities than one might expect.  They are performed here with impeccable detail to period technique that communicates the intensity of the emotional music.  One only wishes that the texts of the songs (or title translations) were included to aid the more casual listener.  Whether one is touched by the seeming longing and melancholy, or the glimmers of hope in the Baroque pieces, or the loving renditions of the jazz standards, it is a program that invites repeated listening.

    Every once in a while, there are these somewhat crossover type albums where the essence of popular music is distilled into a classier milieu.  Often these albums are winks or nods that the music is not really good enough as it is and needs to be “classed up”.  That is not the case here.  The intent is to better illustrate the way these seemingly disparate periods of music created songs that transcend time and place as they address the universals of love and longing.  To that end, this is one of the finest surprises in Navona’s catalog not to be missed.