Crystal Tears = Music of Dowland and His Contemporaries – Andreas Scholl, counter-tenor/ Julian Behr, lute/ Concerto di Viole [+ bonus DVD] – Harmonia mundi

I must admit I am not partial to counter-tenors; the voice seems so unnatural, so strained (even though Scholl’s is not) and lacking the power necessary to project in the upper register. Listening to it makes you understand a little how the castrati must have sounded, but without the brilliance of a soprano’s fervor and strength. Yet they seem to be making a comeback, if comeback is the word, for the counter-tenor is for the most part a modern creation. They were used to supplement the “counter-tenor” part (the word being used to describe a part, not a singer, originally), and the role was to fill what would eventually become the “alto” line in sacred music in the 1500s. In opera the voice was almost never used, the castrato being the preferred voice for female roles, and eventually counter-tenors faded from view, as did the castrati, giving rise to the now-common “trouser roles” for women.

But what is most distressing is the gender deception that occurs when hearing this voice. Human ears naturally make adjustments and assumptions when hearing a high voice, that of a woman, and also make requisite emotional changes when hearing such. The counter-tenor attempts to fool us in a way, and for me it takes a great deal of patience to hear a man singing consistently like a woman.

Caveats aside, Andreas Scholl is a superbly talented musician, and it is evident that he puts a lot of thought into each note he sings. One cannot fault his musicality at all, and neither can one detract from the evident rich contributions of his consort, led by lutenist Julian Behr. The sound is warm and open, making for a perfectly balanced disc and optimal environment for sampling these Renaissance beauties. To add to the spice, HM contributes a documentary DVD that show recording and bull sessions among the musicians, and ends with a performance of Venus’ birds whose mournful lines. I still don’t know if I will ever be able to adapt myself to this type of voice, but if I do I am sure that the terrific talents of men like Scholl will in every way be responsible.

TrackList:
DOWLAND: Go crystal tears; WARD: Fantasia No. 4; DOWLAND: Now, O now, I needs must part; DOWLAND: Go nightly cares; WARD: Fantasia No. 3; DOWLAND: Sorrow, come!; DOWLAND: Semper Dowland semper dolens; DOWLAND: The Lady Rich her galliard; JOHNSON: Have you seen the bright lily grow?; BYRD: Though Amaryllis dance in green; BENNET Venus’ birds whose mournful lines; JOHNSON: Full fathom five; JOHNSON: Care-charming sleep; MANDO: Like as the day; DOWLAND: A Fancy; DOWLAND: Time stands still; FERRABOSCO: Four-note pavan; DOWLAND: O Death, rock me asleep; MICO: Fantasia No. 13; DOWLAND: Come, heavy sleep

–Steven Ritter