In 2006, Sting released an album called Songs from the Labyrinth, a collaboration with Bosnian lutenist Edin Karamazov consisting mostly of compositions by Renaissance composer John Dowland. This was regarded by some as rather eccentric, but to listeners familiar with the early music revival that had already been going on for a few decades, it would have been almost too obvious a choice. For Dowland had long since been rediscovered as one of the late sixteenth and early seventeenth century’s musical superstars, thanks in part to the recordings of classical guitarist and lutenist Julian Bream.
“When I was a kid, I went to the public library in Fairport, New York, where I’m from, and I got this Julian Bream record,” says music producer and popular Youtuber Rick Beato (previously featured here on Open Culture) in the video above. Beato describes Bream as “one of the greatest classical guitarists who ever lived” and credits him with having “popularized the classical guitar and the lute and renaissance music.” The particular Bream recording that impressed the young Beato was of a John Dowland composition made exotic by distance in time called “The Earl of Essex Galliard,” a performance of which you can watch on Youtube.
Half a century later, Beato’s enjoyment for this piece seems undiminished — and indeed, so much in evidence that this practically turns into a reaction video. Listening gets him reminiscing about his early Dowland experiences: “I would put on this Julian Bream record of him playing lute, just solo lute, and I would sit there and I would putt” — his father having been golf enthusiast enough to have installed a small indoor putting green — and “imagine living back in the fifteen-hundreds, what it would be like.” These pretend time-travel sessions matured into a genuine interest in early music, one he pursued at the New England Conservatory of Music and beyond.
What a delight it would have been for him, then, to find that Sting had laid down his own version of “The Earl of Essex Galliard,” sometimes otherwise known as “Can She Excuse My Wrongs.” In one especially striking section, Sting takes “the soprano-alto-tenor-bass part” and records the whole thing using only layers of his own voice: “there’s four Stings here,” Beato says, referring to the relevant digitally manipulated scene in the music video, “but there’s actually more than four voices.” Songs from the Labyrinth may only have been a modestly successful album by Sting’s standards, but it has no doubt turned more than a few middle-of-the-road pop fans onto the beauty of English Renaissance music. If Beato’s enthusiasm has also turned a few classic-rock addicts into John Dowland connoisseurs, so much the better.
Related content:
The History of the Guitar: See the Evolution of the Guitar in 7 Instruments
Bach Played Beautifully on the Baroque Lute, by Preeminent Lutenist Evangelina Mascardi
Watch All of Vivaldi’s Four Seasons Performed on Original Baroque Instruments
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
