Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   Shakespeare Songs & Consort Music



Год издания : 2000

Компания звукозаписи : Harmonia mundi

Время звучания : 39:29

Код CD : HMA 1952002

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Reconstruction)      

There can be no doubt that music played a considerable role in Shakespeare's plays, although very little of it has survived. Intended to highlight the qualities of a character, to intensify a dramatic situation or to create a certain mood, these songs were written by composers as varied a Byrd, Weelkes and Morley and are part of the very quintessence of Elizabethan music.

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Shakespeare's audience ranged from the highest nobles to the lowest commoners; between them they knew a great variety of music ranging from the complex fancies for a consort of viols to the bawdiest folk songs. A tune like Walshingham was known to all and served as the basis of many compositions, such as Cutting's variations on it heard in the present recording. Instrumental music was used to place the mood of many settings or to accompany a tender love scene. Drums and trumpets heralded the entrances of royal personages and sounded alarms during battles. "Solemn musick" accompanied funerals and processions, and any banquet scene included such dances as Kemp's Jig. Tavern scenes or gatherings of soldiers always included a round or a part song such as He that will an alehouse keep or We be soldiers three.

Perhaps the most beautiful music in the plays is that set to Shakespeare's own lyrics. Clowns always sang or broke into such songs as O mistress mine. "Twelfth Night", in fact, closes with a clown singing When that I was, which serves as the epilogue to the play. Pages are also usually endowed with a gift for song. During a scene in "As You Like It" Audrey and Touchstone are discussing their forthcoming wedding, and a page nicely sums up the situation in It was a lover and his lass. Sometimes a song is used to set a mood or to tell us a character's innermost thoughts. In "Measure for Measure", the fourth act opens as Mariana enters with a page who sings Take, O take those lips away. Nothing could express the somber mood at this moment more eloquently.

Occasionally the main characters are required to sing. Ariel in "The Tempest" has several songs. He greets the survivors of the shipwreck with Full fathom five, and when he is finally promised his longed-for freedom, he expresses his joy in Where the bee sucks there suck I. Two of Shakespeare's heroines are called upon to sing in their most dramatic moments. As Desdemona prepares for bed she sings the haunting Willow Song. It offers a still moment which sets off the tragedy that follows. Ophelia's mad scene is laced with plaintive little ditties which tell us more about her state of mind than anything she speaks. The first of these, How should I your true love know, sums up her whole relationship with Hamlet. Bonny sweet robin, played in this recording on the lute, is another one of the melodies Shakespeare asks her to sing.


  Соисполнители :

Desmond Dupre (Lute, Viola)
Francis Cutting (Composer)
Maurice Bevan (Baritone Voice)
Max Worthley (Tenor Voice)
Philip Todd (Tenor Voice)
Thomas Morley (Composer)
Thomas Weelkes (Composer)
William Byrd (Composer)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 It Was A Lover And His Lass (As You Like It, V.3)         0:02:56 Thomas Morley
   2 Take, O Take Those Lips Away (Measure Of Measure, IV.1)         0:01:32 John Wilson
   3 O Mistress Mine (Twelfth Night, Or What You Will, II.3)         0:01:22 Thomas Morley
   4 Strike It Up, Tabor         0:01:38 Thomas Weelkes
   5 Willow Song (Othello, IV.3)         0:04:53 Anonyme
   6 Where The Bee Sucks (The Tempest, V.1)         0:01:21 Robert Johnson
   7 How Should I Your True Love Know (Hamlet, Prince Of Denmark, IV.5)         0:01:48 Anonyme
   8 Walshingham Variations         0:02:58 Francis Cutting
   9 We Be Soldiers Three         0:01:58 Anonyme
   10 When Griping Griefs (Romeo & Juliet, IV.5)         0:03:00 -"-
   11 Full Fathom Five (The Tempest, I.2)         0:01:56 Robert Johnson
   12 Calleno Custure Me (Henry V, Mention A IV.4)         0:03:09 Anonyme
   13 Then They For Sudden Joy Did Weep (King Lear, I)         0:01:20 -"-
   14 Bonny Sweet Robin         0:00:43 -"-
   15 When That I Was (Twelfth Night, V.1)         0:02:29 -"-
   16 Kemp's Jig         0:00:48 -"-
   17 Greensleeves     T       0:03:24 -"-
   18 He That Will An Alehouse Keep         0:00:57 Melismes De Ravenscroft
   19 Non Nobis Domine         0:01:18 William Byrd

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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