Belle Dame sans Merci, by John Keats in music and film

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John Melhuish Strudwick

In 1819 the English poet John Keats reworked the figure of the “Queen of Faerie” of Scottish ballads (starting with Tam Lin and True Thomas) in turn writes the ballad “La Belle Dame sans Merci”, giving rise to a theme that has become very popular among the Pre-Raphaelite painters, that of the vamp woman who has however already a consideration in the beliefs of folklore: the
Lennan or leman shee – Shide Leannan (literally fairy child) that is the fairy who seeks love between humans. The fairy, who is both a male and a female being, after having seduced a mortal abandons him to return to his world. The lover is tormented by the love lost until death.
Fairy lovers have a short but intense life. The fairy who takes a human as lover is also the muse of the artist who offers talent in exchange for a devout love, bringing the lover to madness or premature death.
The title was paraphrased from a fifteenth-century poem written by Alain Chartier (in the form of a dialogue between a rejected lover and the disdainful lady) and became the figure of a seductive woman, a dark lady incapable of feelings towards the man the which falls prey to its spell. We are in reverse of the much older theme of “Lady Isabel and the Elf Knight

John William Waterhouse – La Belle Dame sans Merci (1893)

THE SEASONS OF THE HEART

In the ballad there are two seasons, spring and winter: in spring among the meadows in bloom, the knight meets a beautiful lady, a forest creature, daughter of a fairy, who enchants him with a sweet lullaby; the knight, already hopelessly in love, puts her on the saddle of his own horse and lets himself be led docilely in the Cave of the Elves; here he is cradled by the dame, who sighs sadly, and he dreams of princes and diaphanous kings who cry out their slavery to the beautiful lady.
On awakening we are in late autumn or in winter and the knight finds himself prostrate near the shore of a lake, pale and sick, certainly dying or with no other thought than the song of the fairy.
The keys to reading the ballad are many and each perspective increases the disturbing charm of the verses

There are two pictorial images that evoke the two seasons of the heart and ballad, the first – perhaps the most famous painting – is by Sir Frank Dicksee, (dated 1902): spring takes the colors of the English countryside with the inevitable roses in the first plan; the lady has just been hoisted on the fiery steed of the knight and with her right hand firmly holding the reins, with the other hand she leans against the saddle to be able to lean towards the beautiful face of the knight and whisper a spell; the knight, in precarious balance, is totally concentrated on the face of the lady and kidnapped.

caitiffknight
Sir Frank Dicksee La Belle Dame sans merci

The second is by Henry Meynell Rheam (painted in 1901) all in the tones of autumn, which recreates a desolate landscape wrapped in the mist, as if it were a barrier that holds the knight prostrate on the ground; while he dreams of pale and evanescent warriors (blue is a typical color to evoke the images of dreams) that warn him, the lady leaves the cave perhaps in search of other lovers.

Curiously, the armors of the two knights are very similar, but both are not really medieval and more suitable for being shown off in tournaments that on the battlefields. Elaborate and finely decorated models date back to the end of the fifteenth century.

Henry Meynell Rheam La Belle Dame sans merci

BELLE DAME SANS MERCI: a “live action short” by Hidetoshi Oneda

The ballad could not fail to inspire even today’s artists, here is a cinematic story a “live action short” directed by the Japanese Hidetoshi Oneda. The short begins with giving body to the imaginary interlocutor who asks the knight “O what can ail thee, knight-at-arms …” so we find ourselves in 1819 on an island after the shipwreck of a ship and we witness the meeting between the castaway and an old decrepit kept alive by regret ..

THE PLOT (from here) 1819. The Navigator and the Doctor survive a shipwreck only to find themselves lost in a strange forest. The Navigator is challenged by the gravely ill Doctor into pursuing his true passion – art. While he protests, the ailing Doctor dies. Later, the Navigator is beside a lake, where he finds an Old Knight who tells him his story: once, he encountered a mysterious Lady, and fell in love with her. But horrified by her true form – an immortal spirit and the ghosts of her mortal lovers – the Young Knight begged for release. Awoken and alone, he realized his failure. Thus he has waited, kept alive for centuries by his regret. The Navigator considers his own crossroads. What will he be when he returns to the world?

La Belle Dame Sans Merci by Hidetoshi Oneda – 2005

BELLE DAME SANS MERCI IN MUSIC

The first to play the ballad was Charlse Villiers Stanford in the nineteenth century with a very dramatic arrangement for piano but a bit dated today, although popular in his day.
The ballad was put into music by different artists in the 21st century.

Susan Craig Winsberg from La Belle Dame 2008

Jesse Ferguson

Giordano Dall’Armellina from “Old Time Ballads From The British Isles” 2007

Penda’s Fen (Richard Dwyer)

Loreena McKennitt from “Lost Souls” 2018

POETIC READING
 Ben Whishaw

I
O what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge is wither’d from the lake(1),
And no birds sing.
II
O what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest ‘s done.
III
I see a lily(2) on thy brow thy
With anguish moist and fever dew;
And on thy cheeks a fading rose
Fast withereth too.’
IV
I met a lady in the meads,
Full beautiful — a faery’s child,
Her hair was long, her foot was light,
And her eyes were wild(3).
V
I made a garland for her head,
And bracelets too, and fragrant zone;
She look’d at me as she did love,
And made sweet moan.
VI
I set her on my pacing steed
And nothing else saw all day long,
For sideways would she lean, and sing
A faery’s song(4).
VII
She found me roots of relish sweet
And honey wild and manna(5) dew,
And sure in language strange she said,
“I love thee true (6)
VIII
She took me to her elfin grot(7),
And there she wept and sigh’d fill sore(8);
And there I shut her wild, wild eyes
With kisses four.
IX
And there she lullèd me asleep,
And there I dream’d — Ah! woe betide!
The latest dream I ever dream’d
On the cold hill’s side.
X
I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried – “La Belle Dame Sans Merci”
Hath thee in thrall!”
XI
I saw their starved lips in the gloam
With horrid warning gapèd wide,
And I awoke and found me here,
On the cold hill’s side.
XII
And this is why I sojourn here
Alone and palely loitering,
Though the sedge is wither’d from the lake,
And no birds sing.’

NOTES
1) not by chance the landscape is lacustrine, the waters of the lake are beautiful but treacherous, but it is a desolate landscape and more like the swamp
2) the lily is a symbol of death. The knight’s brow of a deadly pallor is bathed in the sweat of fever and the color of his face is as dull as a dried rose. The symptoms are those of the consumption: the always mild fever does not show signs of diminution, turns on two “roses” on the cheeks of the sick. It is also said that Keats was a toxic addict to the use of nightshade that in the analysis of Giampaolo Sasso (The secret of Keats: The ghost of the “Belle Dame sans Merci”) is represented in the Lady Without Mercy
3) the whole description of the danger of the lady is concentrated in the eyes, they are as wild but also crazy. The rider ignores the repeated signs of danger: not only the eyes but also the strange language and the food (honey wild)
4) the elven song leads the knight to slavery
5) the manna is a white and sweet substance. It is well known that those who eat the food of fairies are condemned to remain in the Other World
6) the fairy is expressed in a language incomprehensible to the knight and then in reality could have said anything but “I love you”; yet the language of the body is unequivocal, at least as far as sexual desire is concerned
7) the elf cave is the Celtic otherworldly (see more)
8) why the fairy is sorry? Would not want to annihilate the knight but can not do otherwise? Does she know that a man’s love is not eternal and that sooner or later his knight will leave her with a breaking heart? Is love inevitably destructive?

LA BELLA DAMA SENZA PIETA’

To the disquieting fascination of the ballad could not escape Angelo Branduardi the Italian Bard, the final part of the melody of each stanza takes the traditional English song “Once I had a sweetheart.”

Angelo Branduardi from La Pulce d’acqua 1977


Guarda com’è pallido
il volto che hai,
sembra tu sia fuggito dall’aldilà…
Vedo nei tuoi occhi
profondo terrore,
che bianche e gelide dita tu hai…
Guarda come stan ferme
le acque del lago
nemmeno un uccello che osi cantare…
“è stato in mezzo ai prati
che io la incontrai
e come se mi amasse lei mi guardò”.
Guarda come l’angoscia
ti arde le labbra,
sembra tu sia fuggito dall’aldilà…
“E`stato in mezzo ai prati
che io la incontrai…”
che bianche e gelide dita tu hai…

“Quando al mio fianco
lei poi si appoggiò
io l’anima le diedi ed il tempo scordai.
Quando al mio fianco
lei poi si appoggiò…”.
Che bianche e gelide dita tu hai…”
Al limite del monte
mi addormentai
fu l’ultimo mio sogno
che io allora sognai;
erano in mille e mille di più…”
Che bianche e gelide dita tu hai…”
Erano in mille
e mille di più,
con pallide labbra dicevano a me:
– Quella che anche a te
la vita rubò, è lei,
la bella dama senza pietà”.

BELLE DAME SANS MERCI: GERMAN VERSION

Faun from “Buch Der Balladen” 2009.


“Was ist dein Schmerz, du armer Mann,
so bleich zu sein und so gering,
wo im verdorrten Schilf am See
kein Vogel singt?”
“Ich traf ein’ edle Frau am Rhein,
die war so so schön – ein feenhaft Bild,
ihr Haar war lang, ihr Gang war leicht,
und ihr Blick wild.Ich hob sie auf mein weißes Ross
und was ich sah, das war nur sie,
die mir zur Seit’ sich lehnt und sang
ein Feenlied.Sie führt mich in ihr Grottenhaus,
dort weinte sie und klagte sehr;
drum schloss ich ihr wild-wildes Auf’
mit Küssen vier.
Da hat sie mich in Schlaf gewiegt,
da träumte ich – die Nacht voll Leid!-,
und Schatten folgen mir seitdem
zu jeder Zeit.Sah König bleich und Königskind
todbleiche Ritter, Mann an Mann;
die schrien: “La Belle Dame Sans Merci
hält dich in Bann!”Drum muss ich hier sein und allein
und wandeln bleich und so gering,
wo im verdorrten Schilf am See
kein Vogel singt.”
English translation (from here)
“What ails you, my poor man,
that makes you pale and humbled so,
among the withered seashore reeds
where the song of no bird is heard (1)?”
“I met a noble lady on the Rhine,
so very fair was she – a fairy vision,
her hair was long, her gait was light,
and wild her stare.I lifted her on my white steed
and nothing but her could I see,
as she leant by my side and sang
a song of the fairies.She led me to her cave house
where she cried and wailed much;
so I closed her wild deer eyes (2)
with four kisses of mine.
She lulled me to sleep then,
and I dreamt a nightlong song!
and shadows follow me since
be it day or night (3).I saw a pale king and his son
knights pale as death, face to face;
who cried out: “The fair lady without mercy
has you in her spell!”Thus shall I remain here alone
to wander, pale and humbled so,
among the withered seashore reeds
where the song of no bird is heard”


NOTES
1) lit “(where) no bird sings”
2) I assume it’s “Aug(en)” instead of “Auf'”
3) the original says “all the time” but I opted for (hopefully) more colorful English

LINK
http://academic.brooklyn.cuny.edu/english/melani/cs6/belle.html http://ebooks.adelaide.edu.au/k/keats/john/la-belle-dame-sans-merci/
http://noirinrosa.wordpress.com/tag/la-belle-dame-sans-merci/ http://zerkalomitomania.blogspot.it/search/label/Belle%20Dame%20sans%20Merci
http://www.celophaine.com/lbdsm/lbdsm_top.html
http://www.craigrecords.com/recordings/la-belle-dame/

Loreena McKennitt

Leggi in italiano

Loreena McKennitt (Morden, 1957) has often been called a goddess of Harmony for her beautifull voice (lyrical singing with the Celtic technique of the “old style” Sean-nós) combined with the charming amber-haired figure.
A clever multi-instrumentalist (piano, Celtic harp, dulcimer, accordion) and composer, as well as a tenacious supporter of her musical project defined by herself as “eclectic Celtism“.
Her activity as a musician began in the corners of the Canadian streets where she played and sang the traditional Irish music with her harp and she self-produced her CD: Elemental, Parallel Dreams and The visit are essential musical projects, practically filmed live; the breakthrough comes with “The Mask and the Mirror” (1994), a concept album immersed in world music along the path of Santiago that welds the spirituality (and music-prayer) of Islam, Christianity and Judaism.
Loreena usually picks some musicians proficient in instruments related to each album to record with, but her core members are: guitarist Brian Hughes & percussionist Rick Lazar (both 1989), and violinist Hugh Marsh (1991). Cellist Caroline Lavelle & keyboardist/percussionist Donald Quan joined in 1995.

Elemental 1985

The debut album of the Canadian singer (Irish father and Scottish mother) when she was still playing on the street with her celtic harp and the offer box, it was recorded in a Stratford barn with almost all of the traditional Irish songs.
Blacksmith
She Moved Through the Fair
Stolen Child
The Lark
Carrighfergus 
Kellswater
Banks of Claudy
Come by the Hills
Lullaby

To Drive the Cold Winter Away 1987

The album consists of winter and Christmas songs, recorded in part at Annaghmakerrig, in County Monaghan (Ireland), in the Benedictine Abbey of Glenstal in Limerick (Ireland) and in the Church of Our Lady in Guelph, Ontario, in Canada. Essential and sparse it is centered on the angelic vocalism of the artist, so the author writes in the notese “As a child my most vivid impression of music for the winter season came from songs and carols recorded in churches or great halls, rich with their own unique ambience and tradition. In that spirit, I have ventured into several similar locations that I have come to cherish in my travels.”
In Praise of Christmas 
The Seasons
The king (Hunting the Wren)
Banquet Hall
Snow ( lyric by Archibald Lampman)
Balulalow
Let Us the Infant Greet
The Wexford Carol
The Stockford Carol

Let all that are to Mirth Inclined

Parallel Dreams 1989

Samain Night
Moon Cradle
Huron ‘Beltane’ Fire Dance (live at Alhambra ): as implied by its title, the “Huron Beltane Fire Dance” starts off as a very tribal, Native American-sounding chant, then shifts into a Celtic-Irish string piece

Annachie Gordon
Standing Stones
Dickens’ Dublin (The Palace)
Breaking the Silence
Ancient Pines

The visit 1991

I have long considered the creative impulse to be a visit – a thing of grace, perhaps, not commanded or owned so much as awaited, prepared for. A thing, also, of mystery. This recording endeavours to explore some of that mystery.
It looks as well into the earlier eastern influences of the Celts and the likelihood that they started from as far away as Eastern Europe before being driven to the western margins of Europe, particularly in the British Isles. With their musical influences came rituals around birth and death which treated the land as holy and haunted; this life itself as a visit. Afterwards, one’s soul might move to another plane, or another form – perhaps a tree. The Celts knew then, as we are re-learning now, a deep respect for all the life around them. This recording aspires to be nothing as much as a reflection into the weave of these things.” – L.M. (from here)

All Souls Night
Bonny Portmore
Between the Shadows 
(Live in Paris and Toronto)


live from San Francisco 1995 and also in “Troubadours On The Rhine”

The Lady of Shalott
Greensleeves
Tango to Evora: Loreena wrote the music on commission, for the soundtrack of the documentary “The Burning Times” by the Canadian director Donna Read, on witchcraft and the bonfires ( (a feminist re-interpretation of the witchcraft trials). A few years later Haris Alexiou writes a text that is a small fairy tale wrapped in the Greek myth and titled “Nefelis Tango”

Julia Juliati & Ronny Dutra in Tango to Evora

Courtyard Lullaby
The Old Ways
Cymbeline

The Mask and Mirror 1994

Loreena McKennitt reads the book of Idries Shah “The Sufi” (1964) and composes an album “The Mask and Mirror” (1994) in which she asks herself about spirituality and religion: “… Who was God? And what is religion, spirituality? What was revealed and what was hidden … what was the mask and what was the mirror?
And she does so by exploring mysticism, the violent, sudden, irruption of God in the soul.

The Mystic’s Dream
The Bonny Swans 
The Dark Night of the Soul
Marrakesh Night Market
Full Circle
Santiago
Live in Paris and Toronto 1999 


Cé Hé Mise le Ulaingt? The Two Trees
Prospero’s Speech

A Winter Garden – Five Songs for the Season 1995-2008

with Christmas music

1995
Coventry Carol
God Rest Ye Merry, Gentlemen
Good King Wenceslas
Snow ( lyric by Archibald Lampman)
Seeds of Love

2008
The Holly & The Ivy
Un flambeau, Jeannette, Isabelle
The Seven Rejoices of Mary
Noël Nouvelet!
Breton Carol
Gloucestershire Wassail
Emmanuel

In the Bleak Midwinter 

The Book of Secrets 1997

It is the cd that decrees the worldwide success of Loreena and leads her to face a world tour in spring 1998; in the summer of that year, near the wedding, the fiancé drowns during a boat crossing in Lake Huron, to his memory the artist dedicates the double “Live in Paris and Toronto” (1999): a magnificent live, sublime, a perfect performances and a wealth of sounds, a magical fusion between the expressiveness of each individual musician, with little gems of pure beauty in the note-for-note.

Prologue

The Mummers’ Dance
Skellig
Marco Polo inspired by a Sufi melody

The Highwayman
La Serenissima dedicated to Venice and the Venetian Baroque

Night Ride Across The Caucasus
Dante’s Prayer

Seven years of silence followed (with the exception of the collaboration with the Chieftains for the track YOU RAMBLING BOYS OF PLEASURE in Tears of Stone 1999) and of travels for the Mediterranean between 2000 and 2005, in particular Greece. A wanderer who wins the nickname of Irish gypsy

An Ancient Muse 2006

Some of the songs on this album were premiered at the Alhambra in Granada (Spain) on the dates 14, 15 and 16 September 2006 to inaugurate the return to the artist’s stage; of the concerts was released a memorable live album entitled “Nights from the Alhambra”.
The publication of the album An Ancient Muse was followed by a tour (in 2007)
Incantation
The Gates of Istanbul
Caravanserai
The English Ladye and the Knight ( lyric by Sir Walter Scott)
Kecharitomene

Penelope’s Song
Sacred Shabbat traditional tune of the Balkans
live version from “A Mediterranean Odyssey” her Mediterranean Tour in summer 2009

Beneath A Phrygian Sky
Never-ending Road (Amhrán Duit)

bonus track
Raglan Road

Nights from Alhambra 2007 ( full album)

The Wind That Shakes the Barley 2010

collection of traditional Irish songs rearranged by the artist
As I Roved Out
On a Bright May Morning
Brian Boru’s March
Down by the Sally Gardens
The Star of the County Down
The Wind That Shakes the Barley
The Death of Queen Jane
The Emigration Tunes

The Parting Glass

Lost Souls 2018

Spanish Guitars and Night Plazas
A Hundred Wishes
Ages Past, Ages Hence
The Ballad of the Fox Hunter ( lyric by William Butler Yeats)
Manx Ayre

La Belle Dame Sans Merci ( lyric by John Keats )
Sun, Moon and Stars

Breaking of the Sword
Lost Souls

LINK
Official Web site
FAQ: Old Ways Mailing List 

Loreena McKennitt

Read the post in English

Loreena McKennitt (Morden, 1957) è stata spesso definita una dea dell’Armonia per la bellezza della sua voce (il canto lirico declinato con la tecnica celtica del “vecchio stile” – in gaelico Sean-nós ) unita all’affascinante figura dai capelli ambrati.
Un’abile polistrumentista (pianoforte, arpa celtica, dulcimer, fisarmonica) e compositrice, nonchè tenace sostenitrice del suo progetto musicale da lei stessa definito “celtismo eclettico“.
La sua attività di musicista è iniziata negli angoli delle strade canadesi dove suonava e cantava le musiche tradizionali irlandesi con la sua arpa e si autoproduceva i cd (e con la sua etichetta la Quinlan Road ne ha fatta di strada!): Elemental, Parallel Dreams e The visit sono progetti musicali essenziali, ripresi praticamente in diretta; la svolta arriva con  “The Mask and the Mirror” (1994) un concept album tuffato nella world music lungo il cammino di Santiago che salda la spiritualità (e la musica-preghiera) dell’Islam, del Cristianesimo e dell’Ebraismo.
Loreena in genere sceglie alcuni musicisti virtuosi nel relativo strumento per le registrazioni di ogni specifico album, ma alcuni membri sono diventati i suoi collaboratori fissi: il chitarrista Brian Hughes e il percussionista Rick Lazar (dal 1989), e il violinista Hugh Marsh (1991). La violoncellista Caroline Lavelle e il tastierista / percussionista Donald Quan si sono uniti nel 1995.

Elemental 1985

L’album d’esordio della cantante canadese (padre irlandese e madre scozzese) quando ancora andava a suonare per strada con la sua arpa e la cassetta delle offerte, fu registrato di getto in un granaio di Stratford con quasi tutte canzoni  della tradizione irlandese.
Blacksmith
She Moved Through the Fair
Stolen Child
The Lark  (versione strumentale)
Carrighfergus 
Kellswater
Banks of Claudy
Come by the Hills
Lullaby

To Drive the Cold Winter Away 1987

L’album è composto da canzoni invernali e natalizie, registrate in parte a Annaghmakerrig, nella Contea di Monaghan (Irlanda), nell’abbazia benedettina di Glenstal a Limerick (Irlanda) e nella chiesa di Nostra Signora a Guelph, nell’Ontario, in Canada. Essenziale e scarno è incentrato sulla vocalità angelica dell’artista, così scrive l’autrice nelle note “Da bambina la mia impressione più vivida della musica invernale è nata dalle canzoni e dagli inni registrati nelle chiese o nelle grandi sale, ricche della propria unica atmosfera e tradizione. In quello spirito, mi sono recata in vari simili luoghi che ho imparato ad apprezzare nei miei viaggi”
In Praise of Christmas 
The Seasons
The king (Hunting the Wren)
Banquet Hall
Snow (poema di Archibald Lampman)
Balulalow
Let Us the Infant Greet
The Wexford Carol
The Stockford Carol composizione per arpa di Loreena McKennitt

Let all that are to Mirth Inclined

Parallel Dreams 1989

Il primo album con testi e musica composti da Loreena
Samain Night
Moon Cradle (testo di Padraic Colum)
Huron ‘Beltane’ Fire Dance (la versione live all’Alhambra): il brano inizia dal canto dei nativi americani e quindi vira in un pezzo da irish dance

Annachie Gordon (tradizionale scozzese)
Standing Stones
Dickens’ Dublin (The Palace)
Breaking the Silence
Ancient Pines

The visit 1991

La gente pensa ai Celti come a una popolazione irlandese o scozzese, ma non tutti sanno che molte tribù celte provenivano dall’Est europeo . Cosi’ ‘The Visit”, il titolo dell’album, si riferisce proprio a un viaggio in quelle culture che hanno segnato la storia dei celti. Proprio per documentare queste influenze orientali, ho usato strumenti come tamboura, sitar, udu drums e balalaika“. E dal viaggio e i luoghi visitati trae ispirazione per le sue composizioni.
All Souls Night
Bonny Portmore
Between the Shadows
(Live in Paris and Toronto)


live a San Francisco nel Palazzo delle Belle Arti, 1995

The Lady of Shalott
Greensleeves
Tango to Evora: Loreena scrisse la musica su commissione, per la colonna sonora del documentario “The Burning Times” della regista canadese Donna Read, sulla stregoneria e i roghi. Qualche anno dopo Haris Alexiou scrive un testo che è una piccola fiaba avvolta nel Mito greco e lo intitola “Nefelis Tango”

e qui la danza interpretata da Julia Juliati & Ronny Dutra
Julia Juliati & Ronny Dutra in Tango to Evora

Courtyard Lullaby
The Old Ways
Cymbeline

The Mask and Mirror 1994

Loreena McKennitt  legge il libro di Idries Shah “I Sufi” (1964) e compone un album  “The Mask and  Mirror” (1994) in cui s’interroga sulla spiritualità e la religione: “…Chi era Dio? E che cos’è la religione, la spiritualità? Che cos’è stato rivelato e che cos’è stato nascosto… qual era la maschera e quale lo specchio?

The Mystic’s Dream
The Bonny Swans 
The Dark Night of the Soul (poesia del sacerdote spagnolo San Giovanni della Croce, dal trattato “La Notte Oscura”)
Marrakesh Night Market
Full Circle
Santiago
Live in Paris and Toronto 1999 


Cé Hé Mise le Ulaingt? The Two Trees
Prospero’s Speech

A Winter Garden – Five Songs for the Season 1995

integrato in e sostituito da A Winter Garden 2008
La cantautrice scrive nel libretto del CD contenente 5 sole tracce: Questa registrazione è il risultato di una collaborazione di qualche giorno, a luglio 1995, tra alcuni dei musicisti con cui lavoro abitualmente ed altri artisti ospiti. Lo scopo principale è stato quello di analizzare il potenziale presente nella nostra chimica musicale. Come veicolo, ho scelto alcune canzoni natalizie ed invernali poco note, insieme ad una lirica tradizionale inglese da me messa in musica nel 1982 (“Seeds of Love”)Questo periodo, vissuto nel clima molto rurale e confortevole dei Real World Studios nel Wiltshire, Inghilterra, è divenuto un delle esperienze di registrazione più piacevoli che io abbia mai avuto. La compagnia degli artisti e il loro talento musicale sono stati elementi magnifici e stimolanti, pertanto il mio ringraziamento speciale va a tutte le persone coinvolte
Coventry Carol
God Rest Ye Merry, Gentlemen
Good King Wenceslas
Snow (poema di Archibald Lampman)
Seeds of Love

integrazione 2008
The Holly & The Ivy
Un flambeau, Jeannette, Isabelle
The Seven Rejoices of Mary
Noël Nouvelet!
Breton Carol
Gloucestershire Wassail
Emmanuel
In the Bleak Midwinter 

The Book of Secrets 1997

Il cd che decreta il successo di Loreena e la porta ad affrontare una tournée mondiale nella primavera del 1998 ; nell’estate di quell’anno, in prossimità delle nozze,  il  fidanzato annega in un incidente di canottaggio sul lago Huron, alla sua memoria l’artista dedica il doppio “Live in Paris and Toronto” (1999) – un live magnifico, sublime, eccelso, esecuzioni impeccabili e una ricchezza di suoni, una magica fusione tra le espressività di ogni singolo musicista, con piccole gemme di pura bellezza nei soli e nei fraseggi..

Prologue

The Mummers’ Dance
Skellig
Marco Polo ispirato a una melodia sufi

The Highwayman
La Serenissima melodia dedicata a Venezia e al Barocco veneziano

Night Ride Across The Caucasus
Dante’s Prayer

Seguono sette anni di silenzio (ad accezione della collaborazione con i Chieftains per la traccia YOU RAMBLING BOYS OF PLEASURE in Tears of Stone 1999)  e di viaggi per il Mediterraneo tra il 2000 e il 2005, in particolare la Grecia.  Un vagabondare che le aggiudica il nomignolo di Irish gypsy

An Ancient Muse 2006

Alcuni brani di quest’album sono stati presentati in anteprima, all‘Alhambra di Granada (Spagna), nelle date 14, 15 e 16 settembre 2006 per inaugurare il ritorno sulla scena dell’artista ; dei concerti è stato rilasciato un memorabile album live dal titolo “Nights from the Alhambra“.
La pubblicazione dell’album An Ancient Muse è stata seguita da una tournée (nel 2007)
Incantation
The Gates of Istanbul
Caravanserai
The English Ladye and the Knight (poesia di Sir Walter Scott)
Kecharitomene

Penelope’s Song
Sacred Shabbat melodia tradizionale dei Balcani
versione live “A Mediterranean Odyssey” dal Tour nel Mediterraneo nell’estate 2009

Beneath A Phrygian Sky
Never-ending Road (Amhrán Duit)

Traccia bonus
Raglan Road

Nights from Alhambra 2007 ( album completo)

The Wind That Shakes the Barley 2010

raccolta di brani tradizionali irlandesi riarrangiati dall’artista
As I Roved Out
On a Bright May Morning
Brian Boru’s March
Down by the Sally Gardens
The Star of the County Down
The Wind That Shakes the Barley
The Death of Queen Jane
The Emigration Tunes

The Parting Glass

Lost Souls 2018

con i colleghi storici Caroline Lavelle al violoncello, Hugh Marsh al violino, Brian Hughes alla chitarra e Dudley Phillips al basso.
Spanish Guitars and Night Plazas
A Hundred Wishes
Ages Past, Ages Hence
The Ballad of the Fox Hunter (poesia di William Butler Yeats)
Manx Ayre (dall’isola di Man)

La Belle Dame Sans Merci (poesia di John Keats )
Sun, Moon and Stars

Breaking of the Sword
Lost Souls

LINK
Official Web site
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