Heather Dale, The Trial of Lancelot (Amphisbaena Music, 2000)

Heather Dale began her musical career as a member of the Society for Creative Anachronism, performing 16th and 17th century dance music, and writing her own compositions: ballads recording the history of her branch of the SCA (the Kingdom of Ealdormere) and other medieval subjects. Among these early compositions were several, of course, on the Matter of Britain, the cycle of Arthurian legend. These early amateur works were limited in their instrumentation, and occasionally revealed a weakness in the musical arrangement, but the compositions themselves were professional in quality, and Heather's singing was pure enough to deserve attention outside of the apparently narrow focus of the albums.

Her first professional CD release, The Trial of Lancelot, shows how much she has matured as an artist. Her voice and her compositions are still the central appeal, but the arrangements are now rich, and the instruments are no longer chosen by necessity and ease of access.

This astonishing work will appeal to folk and Celtic fans, and anyone interested in Arthurian mythology. The songs focus entirely on King Arthur and his court, mainly on the relationships between the figures. Unlike Maddy Prior's beautiful historically-based song cycle, Heather subscribes entirely to the mythical versions, to the ideals of honour and worthy nobility. Yet the album as a whole is tinged with regret, with the shadow that lies over the myths -- that none of it could last, that the ideals espoused were broken, betrayed, taken back. However, also unlike Maddy, this is not one unified study of one aspect of Arthurian lore, but rather, the many versions of the myth approached from as many different angles. Characters take on different colour and tone between different songs.

The CD opens with my personal favourite, "Lily Maid". Based on an earlier version of the story Tennyson made famous as the Lady of Shalott, the story takes the form of Elaine's final message to Lancelot, describing his careless treatment of her affection, and bidding him pay the funeral costs, though "Your coppers were an empty consolation". It's an affecting piece, stately but never dragging. The instruments are led by piano, and Heather's vocals are high and delicate overtop.

Some of the songs are new versions of Heather's early work, and "The Trial of Lancelot" is one such song. Each verse gives the point of view of one of the knights around the table, regarding Lancelot's betrayal, and his crime; each, in speaking, reveals their own personality, and Lancelot's reply to each, while more formulaic, does the same for himself, and the love for which he has suffered but which he feels to his core. The original version of the song was overly sparse, the verses never quite unified with Lancelot's chorus line. This new arrangement is full and rich, filling in the places where the melody was disjointed, and Heather's singing seems to call up more real emotion, in everything from Galahad's cold condemnation to Tristan's wistful longing.

Still another view of Lancelot comes through in the penultimate song "Tarnished Silver", his response when, years after their final parting, he hears of her death in the nunnery. This is probably the most sorrowful song on the album, though many of the songs are about regrets, and partings. It's lovely, though meandering, the man depicted much more mature in his thoughts and regrets than in either of the other songs.

"The Prydwen Sails Again", the tale of a doomed quest, was the single best song I had encountered among Heather's amateur efforts. The background was a rare case of keyboards put to good use, with a supporting line that sustained the raw melody and the meaning both. The new version is faster, and she fills in the background with new wailing pipes and similar sounds meant to convey creepiness and sorrow. And effects were added to make her voice a little more distant. It's too much. The song showed best in simpler trappings. It's still a lovely piece, and it is still eerie and sad, but the changes reduce the track from excellence down to somewhere in the middle of the pack.

Not that the middle of Heather's selections is anything to be ashamed of. Of the whole album, only one song really irks me. The jazzy, half-bouncy tone of "Hawthorn tree" jars badly with the story of Merlin and Viviane, the apprentice who beguiles him, seduces him, and, when she's learned enough, traps him. It's a very modern sounding song, almost a pop tune in the midst of more Celtic settings. The underlying theme of the song is old age trying to recapture youth - and failing. This overly modern rendition is taking an old story into current trappings, and I feel is just as much a failure. It is, however, a rather brighter sounding song, in spite of its subject matter, than many surrounding it. "Culhwch and Olwen" is the cheery peak of the album, a bright adventure based on one of the oldest of the Arthurian stories.

But the most popular song of all is "Mordred's Lullaby". This song is spreading among SCA members faster even than the rest of her music, as sheet music has been released -- as have the steps of a dance choreographed to the music. (Confession: After our Dance Mistress got Heather's permission, I did become involved in one of these performances in my local SCA branch. Fortunately for my objectivity, that was after hearing the album and judging it on its own merits). It's a chilling tune, as Morgan la Fey sings her son to sleep with tales of Arthur's treachery, and assures him he, their illegitimate son, will be her instrument of vengeance. It begins with a slippery wordless vocal, over jaw's harp and drums. As Heather moves into the chorus, she's joined by a murmured chant, which slowly resolves itself into a single word, repeated with ever-rising fervour -- "Loyalty". The song drives itself into your mind, a beautiful depiction of a most terrible mind.

The CD closes with a song that is a eulogy to a King whose legacy is greater than usual, with shades of old viking funerals, and the crackle of fire in the background. This song captures the feel of a firelit night, the water just barely lapping the shore, the skald chanting his farewell, and the blaze of the burial ship, all too well.

This album is a gorgeous work, a thrilling study of a legend that has fired many imaginations.