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O Sweet Woods

Massachussets Independent Film Fest – Best Music Short Latitude Film Awards London - Best Music Video Europe Film Festival UK Winner – Best Music Video Kansas Arthouse Festival - Best Female Solo Artist Miami Indie Film Awards Winner – Best Music Video Kiez Berlin Film Festival - Best Music Video Barcelona Planet Film Festival - Best Song and Best Soundtrack / Music Score Berlin International Art Film Festival – Best Musician California Indies Film and Script Awards - Best Musician Santa Monica Shorts Winner – Best Musician Austin International Art Festival Winner – Best Music in a Short Film Jessica Gould, Director Lucas Harris & Aaron Fagerstrom, Audio Mixing and Mastering Aaron Fagerstrom, Video Production Debbie Patzelt, camera Jessica Gould, photography Jessica Gould, soprano Geneviève Gilardeau, violin Lucas Harris, lute Felix Deak, viola da gamba Alice Chuaqui Baldwin, harpsichord Produced by Salon/Sanctuary Concerts The cycle of plague, isolation, despair, and return is nothing new to human history. In this short film, a US/Canadian ensemble performs six songs from a time when the flight to solitude defined the most poetic of sensibilities. Director's Statement My months in pandemic isolation brought me back in touch with the melancholy English music so dear to my heart – music written during times of plague and escape. My stark rural location spoke of repertoire of solitude, despair, renewal, and return. Virtual collaboration with colleagues in Toronto and Rochester birthed the soundtrack, and our videographer in Northern Minnesota found the technical means to express the visual language I wished to communicate. Long after this challenging time is behind us, I hope that our film remains an artifact of our era's timeless and wrenching experience. May our music provide solace to those processing the receding trauma, and peace to those who seek resolution in the future, whatever the reason may be. Notes on the Songs "O Sweet Woods" was written in honor of the Earl of Essex, a brash young favorite of Elizabeth I, whose erratic behavior and poor judgement quickly turned royal favor to disdain. Exiled for misbehavior, he was eventually executed. The composer is John Dowland, a brilliant Englishman of Irish descent whose Catholicism denied him a stable position at court. He led an itinerant life and eventually found employment in Copenhagen. The song speaks not only of Essex's exile in the countryside, but evokes also the lifelong sense of unease that the composer must have felt as a religious outsider. "Like as the Lute Delights" is an encomium from singer to lutenist. It has no political import, but rather shares the delights of in-person musical collaboration. During the pandemic, these joys were sorely denied us, and this song expresses our longing for the return of live performance. "In Darkness Let Me Dwell" from A Musical Banquet, the collection of John Dowland's son, Robert Dowland, which includes songs of many different composers of the time from France, Italy, and Spain, in addition to this selection by his father, reveals the influence of foreign styles which the senior Dowland would have encountered in his travels. The text delights in mourning and the desire to remain in the tomb of a departed loved one, as befits the fashion of the time for melancholia, as much a matter of style as reality in a pre-vaccine era. "In Darkness Let Me Dwell" speaks anew to us in the covid era, as many of us struggle with losses previously unimaginable. The next two selections by Henry Purcell come from a stage work called The Fairie Queene that was loosely based on Shakespeare's Midsummer Night's Dream. "See even night herself is here" describes the curative powers of a good night's sleep. I have chosen astral imagery for this segment to accompany the slightly off-rhythm, tipsy to almost the point of hallucinogenic quality of Purcell's brilliantly inventive setting of the text. "Hark, how all things", the subsequent song, sets a text that embraces the perfect order and symmetry of the universe, which at the time, was believed to be repeated in musical structure. I have chosen for this segment footage of New England wildlife abounding, free and unfettered in its natural habitat. The final aria is from an oratorio by G.F. Handel called Theodora, which is the story of a Christian woman in ancient Rome who aches for martyrdom. She sings "Oh that I on wings could rise," longing for a death that brings her to Heaven and the everlasting joy and peace that her religion tells her it will bring. I set this song in a small aircraft, because, while few of us long for martyrdom these days, many of us long for travel and the unbounded sense of freedom that flight affords us after so many months of sheltering in place. The trees and lakes you see below are my beloved sweet woods, which have served as my place of isolation, recluse, and comfort during this profoundly challenging time. I hope you enjoy the film.