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Saturday, Jul 05, 2008
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| Earthy intensity and beauty in folksongs | |
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by Rod Parke -
SGN A&E Writer TRIO MEDIAEVAL TOWN HALL FRIDAY, NOVEMBER 30 In this review, I am often quoting from my critique of last year's appearance by Trio Mediaeval because they did indeed match the perfection of that performance with a program that this time focused more on folksongs, both ancient and new. Also different this time was the addition of "special guest" Birger Mistereggen on percussion and jew's harp. What made it all so engaging were not only the personalities of the singers but also the absolute perfection of their voices. Effortless and graceful, each of the women produced a gorgeous tone in all registers. Their blend was likewise perfect. Most of the singing was almost totally free of vibrato, but when they used it, the effect was stunning. This was not the cold, sexless sound of an Emma Kirkby, but rather an amazingly warm, alluring invitation into the personalities of the performers. Sometimes they separated from each other on stage or dispersed to far distant parts of the auditorium. Such "effects" always served to clarify the music and added variety to an already fascinating program. The redhead had a slightly "edgy" voice that suited the folksy moments especially well. The brunette sang the lower parts but had no trouble with higher notes. And the blonde matched the beautiful radiance of her skin with one of the most attractive voices I have heard in a long time. She could do anything, including gorgeous soft high notes. So, three very different voices, yet when they sang together, they were like one. In almost all of the songs, Birger Mistereggen added discreet and welcome rhythms on a wide variety of percussion instruments, especially a large, rope-tensioned drum with a military history that evolved into a Norwegian folk music traditional instrument. He also provided accompaniment (and one fascinating solo) on the jew's harp. He also used (along with the women) instruments that were like tubular hand bells, producing mellow tones with warm, sustained resonance. Because almost nothing in the whole program was familiar, it was harder to get inside the music and discern nuances and differences. But none of it was less than fascinating. The modern pieces were appealing especially because of daring harmonies. In less perfect singers these would have sounded like mistakes. But with Trio Mediaeval the intervals were utterly clear and effective. The music sometimes made use of a tradition of singing without words, a style known as tulling, sulling or tralling, with improvised sounds. It was amazing to me how similar this was at times to the "mouth music" of Gaelic tradition. (See if you can find a Triple Earth Records release on CD, terra #109, sung by Talitha Mackenzie with exciting arrangements and instruments by Martin Swan. Trio Mediaeval has released several award-winning CDs, including one of folk songs for ECM.) Even though not a word of English was spoken or sung all evening, these performers seemed like people one would want to hang out with. Through smiles and body language, they turned a formal concert of disciplined perfection into a fun, friendly gathering. The sold-out Early Music Guild audience responded with equal warmth and appreciation. The printed program included full notes with translations, but this reviewer preferred, as always, to give his attention to listening to the sounds, while keeping his eyes on the performers rather than buried in the texts. Reading texts while listening is a multitasking that I have never mastered, although that is probably an equally valid approach. Two not-to-be-missed EMG concerts are coming up in February: The Academy of Ancient Music (February 16) and The Baltimore Consort (February 26). The latter is an unexpected, new addition to the season. Tickets are $15-$35 at earlymusicguild.org or by calling 206 325-7066. Reviewer Rod Parke can be reached at rod@sgn.org |
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