Countertenor Randall Scotting’s new CD is bound to keep the listener compelled throughout all 22 songs. It is called Lovesick, and it is a collection of songs that have as a gravity pole the range of emotions that, as the title suggests, the feeling instills.
The record fulfills its mission as an extensive collection of songs, which are not only beautifully sung, but seem to be “lived” by Scotting.
If one were to search for the reasoning that stands behind the choice of songs that are featured on this CD, they would find it obvious that the one thing that links them all is the state of being lovesick, with its entire span of emotions, from joy to melancholy and Sehnsucht. The choice of songs, as well as the way in which they succeed one another is evidently very well thought of. Exploring the entire spectrum of feelings around the state of longing because of love, the songs are not only of sadness, solitude and melancholy, but also of hope and optimism. They span five centuries, although the majority of them are from the 17th century. Even their genres vary widely, from traditional folk songs to operatic arias, and are sung in English, French and Italian. This reveals an essential aspect about what the concept behind this album apprises the listener of: the fact that this feeling is found throughout languages, genres, and lands with more or less the same emotional characteristics only demonstrates its omnipresence and its potence.
All this these taken into consideration, Randall Scotting’s task in highlighting all the emotional layers throughout all these songs is quite difficult. He nonetheless succeeds in doing so in an impressive manner. The expressivity of his vocal inflections is of an august individuality. There is a genuineness in his voice which in songs such as At the Mid Hour of Night makes the listener’s perception of melancholy ever so present and visceral. Randall Scotting’s artistry shows itself in this manner throughout, his beautiful, warm, velvety voice becomes heavy in emotion and articulation when the character of the song dwells in feelings of sadness and solitude and becomes equally as bright and vibrant in songs such as She loves and she confesses too, when the light of optimism shows itself. Randall’s expressivity also leaves a sense of mystery, very much in accordance with the subject matter. Sometimes his voice diaphanously appears, expresses the lyrical feelings and then evanescently returns into the ether. He sings passionately, immersing the listener into the world of feelings that the lovesick experiences.
The only other instrument that appears on this recording is the lute, masterfully played by Stephen Stubbs. He partakes side by side with Scotting in creating the universe that surrounds the music on this album. His playing is suggestive, with a wide range of dynamics throughout, that double the meaning of the lyrics. He also has the chance of taking frontstage in two songs for lute solo. The fact that the recording is a duo, voice and lute, allows for the songs to be more intimately interpreted, allowing more freedom with regards to rhythm and dynamics.
Lovesick is an album that will stir up any music lover’s sense of lyrical emotion, and it will carry them through a whirlwind of feelings. It is a very welcome addition to the vast array of song recordings.
