Music of Shakespeare

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SKU: 11497 Category:

Tracklist

1.
O Mistress Mine
00:00
2.
O Mistress Mine (Instrumental)
00:00
3.
It Was A Lover And His Lass
02:29
4.
Willow Song
00:00
5.
Walshingham
02:17
6.
Walshingham (Instrumental)
03:02
7.
Farewell, Dear Love
02:59
8.
Take, O Take Those Lips Away
00:00
9.
Robin
01:53
10.
Bony Sweet Robin
02:59
11.
Greensleeves
00:00
12.
Greensleeves (Lute Solo)
00:00
13.
Greensleeves To A Ground (Instrumental)
00:00
14.
Greensleeves To A Ground (Instrumental)
02:31
15.
Hark, Hark, The Lark
01:18
16.
Full Fathom Five
00:00
17.
Where The Bee Sucks
02:30

Description

Music of Shakespeare Elizabethan music circa 1600 William Shakespeare (1564-1616) was not a composer: we do not know of a single piece of music composed by him. But we do know how much Shakespeare loved music from this quotation: How sweet sour music is, When time is broke, and no proportion kept! So is it in the music of men’s lives. Not only did he love music and frequently use it in his dramatic works, many passages from his works have been admired and set by composers throughout history, right up to the present day. In his plays Shakespeare used old folk songs (e.g. ‘Greensleeves’), popular songs (the ‘Willow Song’) and parodies of the day (‘Farewell Dear Love’, originally a dance called ‘Malsims’) and new settings of these songs by his contemporaries. The England of Shakespeare’s time boasted not only a flourishing literary scene but also a glorious musical world, with such great composers as William Byrd (1543-1623), Thomas Morley (1557-1603), John Dowland (1563-1626) and Robert Johnson (1582?-1633). We do not know whether these composers worked with Shakespeare, but we find Dowland’s name in ‘The Passionate Pilgrim’: If music and sweet poetry agree, […] Dowland to thee is dear, whose heavenly touch Upon the lute doth ravish human sense; […] It is interesting to note that, despite being the most celebrated lutenist of his age, Dowland did not apparently have much contact with Shakespeare, as he spent most of his musical life on the Continent, mainly at the court of Christian IV in Denmark. This is why we have not included any works by Dowland here. There is no doubt, however, that there was some kind of relationship between Shakespeare and the musicians of his day, especially Morley and Johnson.

Additional information

Artists

Recording location

Resnswoude – The Netherlands

Mastering equiment

Sony digital Editor 3000

Mastering engineer

Jared Sacks

Mixing console

Rens Heijnis Custom made

Microphones

Bruel & Kjaer, Schoeps

Recording format

PCM 44.1

Analog to digital converter

dCS900

Recording date

June 1997

Editing

Jared Sacks

Composers

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Recording engineer

jared Sacks

Producer

Jared Sacks

Type

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Format

,

Label

Genre

,

Digital to analog converter

Sony

Press reviews

Classical

(…) a deligtfull selection (…) (…) this Japanese ensemble offers many excellent works that are less often heard. (…)

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