The Bæbes's first album, Salva Nos (1997), shot straight to No 2 in the classical charts, a silver disc. Subsequent albums include Worldes Blysse (which went straight to No 1), Undrentide, (co-produced by John Cale), The Rose, and the Christmas-themed album Mistletoe & Wine.
Mirabilis (2005), was launched at a concert and party in London, August 2005. A self-titled DVD was released in July 2006. The first 300 preorders were autographed by the band and received a special mention in the DVD credits.
A live album was be released in December 2006 and featured two bonus studio tracks, An Itunes exclusive was also launched which added tracks not featured on the cd release and at this time still remain exclusive so is well worth tracking down.
The new album entitled Illumination was released via preorder on the bands website in Oct 2008 and as an added incentive to fans features two bonus tracks not included on the regular wholesale edition which has a Spring 2009 official release date. There has been concerns over the mastering of the album from fans which could account for the delayed release dates.
Each album features traditional medieval songs and poetry set to music, mostly arranged by Blake specifically for the ensemble, alongside varying numbers of original compositions. They sing in a variety of languages, including Latin, Middle English, French, Italian, Russian, Middle High German, Welsh, Irish Gaelic, modern English, Swedish and the nearly extinct Cornish. Their vocals are backed by medieval instruments, including the recorder and cittern, played by the singers or fellow musicians.
One of the group's founding musicians, Dorothy Carter, died of a stroke in 2003 at the age of 68. In addition to playing autoharp, hurdy gurdy, and dulcimer with the group, she performed the lead vocals on So Spricht Das Leben (Worldes Blysse) and L'Amour de Moi (The Rose).
Emily Ovenden, who sings with the group, is the daughter of artist Graham Ovenden.
The Bæbes' musical pieces run the gamut from extremely traditional, such as their version of The Coventry Carol on Salva Nos, to songs that feel traditional but are much more modern, such as their rendition of Summerisle, a song written for Robin Hardy's 1973 cult film Wicker Man. John Cale added non-medieval instruments, including saxophone and electric guitar, to some of the arrangements on Undrentide, although with subsequent albums the band returned to more traditional instruments. Even with these instruments, however, the band's current style is quite different from medieval authentic performance groups, as it displays significant modern influence.
Current Band Members:
Katharine Blake (Contralto, Recorders, Violin, Piano), Emily Ovenden (Soprano, Recorders, Concertina, Percussion), Ester Dee (Soprano), Claire Rabbitt (Contralto, Piano), Bev Lee Harling (Alto, Violin, Citern, Recorders, Guitar), Melpomeni Kermanidou (Mezzo Soprano, Piano)
former Band Members:
Dorothy Carter, Karen Lupton, Nicole Frobusch, Nichole Sleet, Carmen Schneider, Claire Ravel, Ruth Galloway, Teresa Casella, Rachel Van Ash, Audrey Evans, Marie Findley, Cylindra Sapphire, Sophie Evans, Maple Bee, Sofia Escobar, Maxine Fone
Official website: www.mediaevalbaebes.com
Mad Song
Mediæval Bæbes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
and the night is so cold
come-hither sleep
let my griefs enfold thee
morning peeps
over the eastern steeps
and the rustling birds of dawn
the earth they do scorn
to the vault
of paved heaven
with sorrow fraught
my notes are driven
they strike the ear of night
make weak the eyes of day
[they make mad the roaring winds
and with the tempests play]
like a fiend in a cloud
with howling woe
after night i do crowd
and with night i will go
turn my back to the east
from whence comforts have increased
light doth seize my brain
with frantic pain
to the vault
of paved heaven
with sorrow fraught
my notes are driven
they strike the ear of night
make weak the eyes of day
The lyrics of Mediæval Bæbes' Mad Song appear to be a lamentation of a person undergoing deep distress and grief, and is almost like a prayer to sleep to come and carry them away. The imagery of the wind, night and morning, rustling birds of dawn, and sky paints a picture of how the natural world seems distant and unsympathetic to the singer's sorrow. The line "and the rustling birds of dawn, the earth they do scorn" suggests a disconnect with nature and the sense that the singer feels they are alone in their suffering.
The singer's sorrow is revealed to be so intense that it impacts even the elements around them. Their "notes" are driven to the paved heaven, and their lamentations make weak the eyes of day and mad the roaring winds. The song almost seems like a plea to the heavens to take away the overwhelming pressure of grief. The last stanza is particularly powerful, seeming to suggest that the singer is haunted by their anguish, unable to leave it behind and move on. Turning their back to the east, where comforts are supposed to come from, only brings them frantic pain.
Overall, the lyrics of Mad Song seem to capture the essence of grief and the feeling of being weighed down by deep sadness. The lyrics describe how even the natural world seems indifferent to the singer's pain, and how they are left feeling isolated and alone. The imagery and language of the song paint a vivid portrait of what it feels like to be in the throes of grief.
Line by Line Meaning
So wild winds weep
The winds are crying and expressing sorrow
and the night is so cold
The night is very cold and uncomfortable
come-hither sleep
Please come, sleep
let my griefs enfold thee
May my sorrows surround and embrace you
morning peeps
The morning light is gradually appearing
over the eastern steeps
On the hilly and steep terrain to the east
and the rustling birds of dawn
The birds that chirp during the dawn
the earth they do scorn
They seem to dislike and turn away from the earth
to the vault
My song rises
of paved heaven
Up to the firmament
with sorrow fraught
Filled with sadness
my notes are driven
My melodies are carried
they strike the ear of night
They reach the ears of the darkness
make weak the eyes of day
They bring down the energy of the day
[they make mad the roaring winds
They drive the stormy winds into a frenzy
and with the tempests play]
And they toy with the violent gusts of wind
like a fiend in a cloud
Like an evil spirit hiding in the clouds
with howling woe
Expressing pain and agony in loud cries
after night i do crowd
I long for the darkness of the night
and with night i will go
And I will depart with the night
turn my back to the east
Leaving behind the direction where the sun rises
from whence comforts have increased
Where I used to find comfort
light doth seize my brain
The brightness of the morning affects my mind
with frantic pain
Causing me intense distress
Contributed by Peyton A. Suggest a correction in the comments below.