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Track(s) taken from CDA67549

Ar ne kuth ich sorghe non 'The Prisoner's Song'

English, thirteenth century
author of text

Catherine Bott (soprano)
Recording details: April 2001
Angel Studios, Islington, London, United Kingdom
Produced by Catherine Bott & Stephen Henderson
Engineered by Steve Price & Mat Bartram
Release date: January 2006
Total duration: 3 minutes 33 seconds

Cover artwork: The Meeting on the Turret Stairs by Frederick William Burton (1816-1900)
The National Gallery of Ireland


'The vivid ambience of the recordings, the quality of the chosen compositions, the incisive, animated, full-toned precision of the fiddle playing and performances by Bott make for 62 minutes of pure pleasure … these performances must rank amongst Bott's best (and that's saying something)' (BBC Music Magazine)

'Delectable is just about the right word for this sequence of pieces sung by Catherine Bott, with and without the fiddles of Pavlo Beznosiuk and Mark Levy. … the simplicity and spontaneity of the pared-down and often improvisatory approach enormously enhances the emotional impact of the music, and brings the listener extraordinarily close to the characters whose deepest feelings are being voiced' (The Daily Telegraph)

'The outstanding CD of the month' (Early Music Review)

'This is some of the most elegant singing I have heard and certainly some of the best fiddle playing now available … it is an excellent single-disc anthology of medieval song' (American Record Guide)

'In every respect this CD is an utter delight. The music is charming, the performances infectious, the recording is simply outstanding and the booklet complete with full texts and translations into modern English, is a real pleasure to read … this disc is a source of unreserved pleasure' (International Record Review)

'A sublime survey of music and textual conceits from a remote yet immediately communicative past … soprano and string players wear their classical training lightly, catching the folk flavour of this beguiling repertoire' (Classic FM Magazine)

'We had to wait five years for its release. Believe me, it was worth the wait. Hear this haunting music' (Fanfare, USA)

'Charmingly and effectively done, it is well worth hearing' (Scotland on Sunday)
Ar ne kuth ich sorghe non is also known as The Prisoner’s Song. The handwriting and various linguistic features of the text fit with the first half of the thirteenth century and the south of England, most probably London or Essex. The story, though, is timeless—the singer has been wrongfully convicted and prays for release.

from notes by Catherine Bott © 2006

Dans Ar ne kuth ich sorghe non, également appelé The Prisoner’s Song, la calligraphie et diverses caractéristiques linguistiques du texte concordent avec la première moitié du XIIIe siècle et le sud de l’Angleterre, très probablement Londres ou l’Essex. L’histoire, elle, est intemporelle: le héros a été condamné à tort et supplie qu’on le relâche.

extrait des notes rédigées par Catherine Bott © 2006
Français: Hypérion

Der Ort ist eine Gefängniszelle: Sie setzt ein mit dem englischen Lied eines anonymen Verfassers aus dem dreizehnten Jahrhundert, Ar ne kuth ich sorghe non, auch bekannt als The Prisoner’s Song (Des Gefangenen Lied). Die Handschrift und verschiedene linguistische Merkmale lassen auf die erste Hälfte des dreizehnten Jahrhunderts und den Süden Englands schließen; höchstwahrscheinlich stammt es aus London oder der Grafschaft Essex. Die Fabel ist hingegen zeitlos—der Sänger ist zu Unrecht verurteilt worden und betet um seine Freilassung.

aus dem Begleittext von Catherine Bott © 2006
Deutsch: Anne Steeb/Bernd Müller

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