A G
u ide
to th e
O p e r as ; S y m p h o n i c
P o e m s ; O v e r t ur e s
I n c i d e n t al M u s i c
a 72 d
S o n g s
Bas e d
on
S H A "E S P E A R E S
’
P
L
A
Y
by
TH EO D O R E J I R W I N
.
P r i c e 3 0 C e n t s P o s t P ai d
"
T h e o d o re
I rw i n
5
4
8
N
t
S
}
.
.
F re szac:
"
C al
.
‘
3
;
S
I DHI EX
TR A G E D I E S
P age
3
Ant ony and Cle opa t ra
Coriola n us
H aml et
H enry V II I
Julius Ca e sar
"i n g L e ar
Ma cb eth
Merch ant of V enic e
Othello
Richard t he Third
R ome o and Juliet
Rom eo a n d Juliet
3
1
6
3
2
4
3
2
3
4
F
0
CO M E D I E S
As Y o u Like It
M easur e for Me asur e
Merry \ ives of W indsor
Midsummer Night s Dr eam
Much Ado Ab out Nothing
Tami ng th e S hrew
Th e Temp e st
Twelfth Ni ght
W inter s Tal e
V
’
’
Cymb eline
-
Love s L ab or Lost
V enus and Adoni s
Th e Passionat e P il grim
Th e Merchant of V enic e
Tw o Ge n tl emen of V erona
’
12
12
12
12
12
12
2 848 2 1
I n tr o d u c ti o n
Th e aim of t his b oo k is t o give a
co m pl e t e
list of th e
musi ca l c omp osition s op erati c a n d orc h estral tha t are b as ed
To so me of th ese
upo n the di ffere n t pl ays of S hake sp e ar e
work s short n ot e s are app e n de d I hop e th e b o ok will b e of
esp e cial value to librari a n s musi c club s a n d t e a c hers
Tha t th e b oo k m ay b e of th e m ost pr a cti c al use I have
ado pt e d th e followi n g pl an :
"
\Vo r k s of prim e im porta n c e ar e m ark e d thus
*
W orks of se c o n dary imp orta n c e are m ark e d thus
If there ar e sev er al c ompo sitio n s b a se d o n one play I
pla c e t hem i n th e ord er in whi ch they should b e a c quire d
A c erta i n pro portio n of c omp ositio ns n am e d have n o si g n
att ach e d The se are th e w orks whi ch hav e not st ood th e te st of
tim e
I sh oul d also st at e th at a n umb er of S h ak es pe ar e s
plays h av e ne ver b e e n se t to music sp eakin g in an or che stral
an d op er atic sens e
M a n y p e ople h ave doubt less wonder ed that th e great c om
p os ers h ave n o t written m or e musi c b ase d o n S hake spe are s
plays Th is m ay b e attribute d to two cause s : I n t h e fi rst
plac e th e attem pt to h e i ghte n th e e ffec t of S h ake sp e are s
plays b y pres e n tin g th em i n a n op erati c or orc he stra l form i s a
tas k that would dau n t any man n ot pr ofoundly c o n scious of
his abil ity o r p osse ss e d of a hi ghly favorabl e opi ni o n o f his
own tale n t s S e c o n dly some of th e gre at classi c c omp o sers
left th e O p eratic fi eld u n t o u che d ; oth ers sele ct e d t h eir subj e cts
from su c h sourc e s as th e G re ek t ra gedie s ( Gluc k ) L e ge n ds
( Moz art ) Folk L or e ( W eb er ) Myth olo gy ( W a gner ) ; and i n
fa ct with th e e x c epti o n of Me n d elss ohn a n d B erlioz w e must
loo k fo r th e musi cians wh o were at t h eir prim e during th e l a st
h alf c e ntury t o find our musi cal s etti n gs of S hak e spear e
Re gardin g th e purc ha sing of th ese compo siti ons I would
s ay th at two and som etime s four h and pia n ofort e arran g e
m e nts of mo st of th e le a din g orc he stral works c a n b e h ad whil e
the l ea di n g o p erati c w o rk s will b e fou n d i n voc al s core with
fre quently a n E n glish ve rsio n u n d er th e ori ginal te x t o f th e
op era
Th ere are several b ooks publish e d givi n g t he t raditio n al
airs to S hakespe are s son gs I omi t m ention of th o se airs but
after e a ch play will b e found a l i st of m ostly m oder n s etti n gs o f
th e B ard s l yri c s
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TR A G E D I E S
HAM L ET
F antas i a Op 6 7 A Co mp o se d 18 8 5 T schai k o wsky
Th is work do e s n ot offer th e cle ar cut outli n e of th e play
"
whic h we fi n d i n th e sam e c omp oser s sett ing of Rome o an d
"
”
”
Neither i s it as e fie ct i v e pia nisti
or Th e Temp es t
J uli e t
c ally a s the oth ers I n its orch e str al form with all th e ric h
ti n ts of the or ch e str al c ombi n ations one would have a mu ch
cl e arer co n c eptio n of t h e work Of c ours e thi s stat eme n t ap
plies to all pi anof o rt e arr an gem e n ts ; but som e w orks as th e
two m e n ti on e d ab ove are m ore e ffe ctive o n th e piano th a n
oth ers Th e b e st o n e c a n do is to state th e mov eme n ts
Op enin g with a L e n to Lu gubr e t h e musi c work s up i nt o a
Po co Animato Th e n the t emp o go es b ac k t o Andante quickly
follow ed b y a n All e gro V iva c e movem ent This movem e nt is
quite lon g r elatively sp eakin g an d is followe d by an A n dante
of ei ghtee n m e asure s This p assa ge h as t h e Russia n mould
and late r o n is tre at e d m or e fully A mour n ful mel o dy whi c h
"
”
is undoubt edly the Opheli a motif is n ext h e ard This is
give n out onc e and followe d by a p assa ge Animat o Th e th em e
”
"
pre c edin g th e
m otif the n app ear s a gain for ex
Oph elia
"
”
te nde d tr eatm ent th e n th e Oph elia motif a gain A p assage
o f st ormy mu sic fo l o w s l eadi n g into an All e gro
Al la Mar cia
a n d th e work e n d with a short Gr ave mov em ent
”
*"
M e l od ram Mae r s ch e an d E ntractes t o H amlet
Tschai k o wsky
**
S ym ph o ni c P o em NO 1 0
Li szt
This work h as n eith er pro gr am n or a n y k i n d of prefa c e
"
and i s de scrib e d in th e ori ginal manuscript as a Pr elude to
”
t he Dram a
It brin gs b efore th e h e arers th e broodi n g pri n c e
—n ot th e story of his life not ev e n h is whol e c ar e er only a
"
”
dominatin g fe ature Th e indic ations very sl ow and so mbr e
"
” "
App assionata e d a gitato assai
this e piso de i n thre e two
tim e should b e playe d e x trem ely qui etly and sh ould s ou n d
”
"
—
like a sha dow pi cture
Poi n tin g to Op helia
ironic a lugu
”
bre
shows that allusio n s t o p ers o n s and circumsta n c es a ffe ct
in g his moo d wer e not wa n ti n g
**
H aml et Orchestral P o em
M ac do well
*
Op h e li a Or c h e stral Po em
M ac do w e ll
Ov e rtur e Op 3 7
G ad e
Overt ur e
G A M ac F ar r e n
Ov e rtur e
Jo ac hi m
Opera H aml e t Co mp 1 8 68
Amb r oi se Th o mas
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Thi s Fre nc h w or k is th e o n ly attem pt t o writ e an op eratic
”
"
ve rsi o n of H amlet
and as th e musi c i s mor e tu n e ful th a n
dramati c and th e libre ttists but chere d th e play it c an hardly
be c o n sidere d as a s eriou s attempt t o pr e sent H amlet i n Op erati c
form
,
,
,
.
"I NG L EAR
*
Overture
‘
Bal aki r e fi
*
E n tr ac tes
**
”
"
Overture ,
L e R oi Lear ,
Com pos e d ab out 1 8 2 5
Th is overture ranks hi gh
( 183 7
H ecto r B erl i o z
.
Overture
amon g dram atic overture s
Baz z i ni ( 1 8 1 8 1 89 7 )
.
-
OT H E L L O
V e r di
( c o mp o s e d 1 8 8 7 )
Not abl e p assage s a n d s c ene s i n the p lay :
E n d of first a ct duet Othello D es demona
”
"
S e c ond A ct I a go S ce n e Cr edo
Fi n al e Oth ell o app e aling t o H eave n t o punish t he w ife h e
b elieve s untru e
Third Act Oth ello a c cusi n g D esdemona of u n ch astity
”
"
W il low S on g
Fourth Ac t
"
H is ( V e rdi s ) in exh austible stre am of m elody remai n e d
a s pure and full as ever while th e m or e d e cl am at ory p arts of
t h e o p era dow n to th e slighte st pi e c e o f r e citati ve ar e i n
form e d by a ri ch n e ss o f su ggestion a n d a n u n erri n g i n stinct fo r
truth suc h a s it would b e v ai n to s e ek in his e arlier work I n
Oth ello th e a cti on i s r apid for th e m ost p art and in m a n y
sc e nes the mu sic only aim s at fur n ishi n g a suitable ac co m p an i
”
—
r
fi
e
l
Th e Op era )
t
e
a
t
d
m ent to th e di al o gu e
(S
"
From th e op e n i n g s c ene t o th e stran glin g s c e n e th e
musi c flows swi ftly a s swiftly a s th e dram a Ri c h varie d and
elo quent th e o rc h e str a seldom t arri e s in its vivi d a n d a cute
c omm entary
( H un ek er )
"
”
**
Othell o
Op 93
D v o rak
Overt u re
First p erform ed i n Am eri c a 1 8 9 3
"
It is a gra ph ic p icture of th e last s c e n es o f th e tra gedy
th e prayer of D e sd em o n a h er sle e p and te rribl e awak e n i n g t h e
”
—
e
alousy
and
re
ve
n
g
e
of
th
e
Moor
pton
U
S tandar d Co n
(
J
c e rt Re p ertory )
Ro ss i n i
Op e ra
L on g sinc e va n ish e d from th e b oards
"d e nk o Fi b i sch ( 185 0 19 0 0 )
S ymph o ni c P o em
**
Opera
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S o ngs
V er d i
H ar ve y W o rthi ng to n L o o mi s
Ro ss i n i
H umfrey
A ve M ar i a
A n d l e t me th e canaki n cl i nk
Th e W i l lo w S o ng
T he W i ll o w S o ng
JU L IU S CAE S AR
Overt ur e , Op 1 2 8
Outside of this overture , W hi c h i s o n e
fe r i o r works , I c a n find n o m ention of a n y
S chumann
.
’
of S c huma nn s i n
oth er c omp ositio n s
.
ANT ONY AND CLE OPATRA
’
Vi ncent D I n d y
is o n e of t h e l e adi n g French c omp osers and suc h a
subj e ct shoul d b e p e culiarly well fitte d to D I n d y s or ch estral
c olorin g a n d m elodi c outline
Rubi nste i n
Ov e rt u re
”
"
A ugust E nna
Overtur e t i tl e of Cleo patre
*
Overture
’
D I ndy
,
’
’
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,
COR I OL ANU S
Th ere i s n o music writt e n t o S h ak e sp eare s pl ay , but B e e
’
wrote one of his nob lest ove rt ur es to a pl ay b ase d o n
the s am e sub j e ct an d writt e n I b elieve by a n Austria n dra
th o v e n
,
m at i s t
,
,
.
RI CHARD THE THIRD
"
S
ymph on i c Po em
S metana
Th e compos er sp e aks of this work i n a lett er to Liszt s ay
"
in g :
It c o n sists of one pie ce ( S atz ) a n d th e t onal vestur e
( B etonu n g ) cl ings pr etty clo sely to t h e a ct io n of th e tra ge dy
the attainm e n t of th e propo sed aim aft er th e over c omin g of all
obstacl es t riumph and fall of the h ero Tw o sh ort m oti ve s are
quot e d as re pr es ent ative of the h ero ( who a cts throughout the
wh ole movem ent ) and of the oppos in g p arty
V olkm a n also wrot e a n o verture
.
,
,
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.
MER CH ANT 0
Overt ur e
I nc i d ental
F V EN I CE
Macfar r e n
S ul li van
Mu s i c
S o ngs :
Ho w swe e t the m o o nl i gh t sl e eps
"uartett e mixe d v oi c es
Ho w s w e et th e m oo nl i ght s l ee ps
"uartett e mixe d v oi c es
H o w sweet the mo o n li gh t sle e ps
"uartette mixe d voi c es
,
Cal co tt
.
,
.
,
.
He nry Lesl i e
W ill i am R eed
MACBETH
S ymph o ni c P o em Op 2 3 ( co mp o se d 1 8 87 )
Ri char d S trauss
This i s th e first o f S tr auss s symp ho n ic po ems B eyo n d th e
titl e th at is b eyo n d th e wi der r e fere n c e to t h e drama —th er e
"
”
is l ittl e to i n di c at e th e d etails This little c o n sists of th e
”
"
wor d M a cb eth ab ov e th e sixth b ar a n d furth er o n th e se
"
words of La dy Ma cb eth H i e th ee hith er t hat I may pour my
s pirits i n thy e ar a n d ch astise with th e valour of my t o n gue all
th at imp e des the e from th e gold e n r ou n d whi c h fa t e a n d m eta
”
p hysi c al aid doth s eem to h ave crow n e d the e with al
If a
bri ef a c cou n t of th e wor k as a whole i s w a n te d w e may c all it
a n illustratio n of Ma cb et h s ch arac t er a n d s oul stru g gles
W ambach
Cantata La d y M acbeth
S p o hr
Overture an d i nc id en tal mus i c
This h a s p ass e d i n to oblivio n
B ruell
Overture
Luc as
Overture 0 p 3 0
S ul l i van
I nc id ental mus i c
V er di
Op era
Th e musi c shows
Th is o p era wa s kille d b y th e libr et t o
V e rdi stri vi n g for a hi gh er pl a n e of musi c a l expr essio n th a n
h e at taine d i n his e arli e st o peras ; but n evert h el ess it is one
of V erdi s p oor est op er as
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R afi
Overtur e
Lucas
R OME O AND JULIET
”
J ul i ette
"
Ch Go un o d
Ro me o e t
Pro duc e d i n 1 8 69
Th e libretto i s i n five a cts
First a ct : B all at Capul et s h ous e and first me eti n g o f
l overs
S e cond act : B al c o n y sc ene
Th ir d a ct : Mar ria ge of Rome o a n d Juliet Friar Laur
e n c e s c ell ; du els i n stre e t s of V e ni c e
Fourt h a ct : Parti n g of lovers in Julie t s ch amb er
Fi ft h ac t : Tomb of th e Capulet s
Goun o d s musi c is c o n sid ered by critic s to b e but a faint
”
"
r e fle ctio n of the en ch a n ti n g strai n s found i n Faust
Cc
bu t th e ge n eral dramati c
c a s i o n al l y his musi c is ve ry fine
wort h c a n b e estimate d by Gou n o d s ow n a ction i n closin g t he
Fourth Act with Fri ar Laure n c e givin g th e potio n m aki n g no
a ttempt to s et the po tio n s c e n e to musi c
S e ve n te en o p era s h ave b e e n writte n o n t his play but
G ou n o d s op er a is th e o nl y o n e that h as survived
**
Overture F antas i a
T scha i k o wsky
H er e we hav e a n or che stral work by the gre at Russia n
c om pos e r th at st a n ds in th e first r a nk of works o f its ki n d
*
Op e ra ,
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Ts c haikowsky at one t i m e h a d se rious thou ght s of writ
'
i n g a n opera o n th e play a n d it i s to b e r e grett e d th a t h e did
n ot c arry out his int e n tio n I n this o ver t ure fa n tasia n o de
scri ptive n ote s of any ki n d ar e att ach e d to th e sc or e yet we
c an tra c e th e a ctio n o f th e p lay from b e ginn i n g to e nd i n th e
m usic
Th e c omposi t io n o p e n s wit h reli gious harmonies su g gest
ing Friar Laure n c e o r symb oli c al of th e s eri ous ac tio n of th e
play Th e musi c gradu ally work s int o a n Alle gro des cri ptive
of th e h atr eds of the rival hous e s Me asur e after m e asure of
sy n cop ated cr ashi n g ch or ds rushin g passa ge s for violi n s u n
S tudie d ou t this
d e r n e at h th e b asse s i n deadly e arne stn ess
impress es th e stude n t as t horou ghly de scriptiv e of th e ra gin g
passions of th e opposing famili es Th e tumult di e s dow n and
t he Love Th eme enters I t i s ve ry short—only ei ght m easure s
—but it c ome s agai n worke d out to a m ag n ific ent clima x
Aft er t h e Love Th em e come s a p as sag e of l ame n t ing chor ds
"
Th y j oy is brie f ; c a n st th ou n ot fe el th e
th at s e e m to s ay
c hill wind that e re lon g wil l que n c h th e rapture of th ese em
bra c es ; th e icy h a n d th at will l ead the e u n re sisting to t ak e thy
”
pl ac e with thy forb ears wh o also love d a n d di e d
Th e strain is bri ef ; the L ove Them e e n t ers a gain soars
aloft th e n die s dow n Th e stormy movem ent b e gins a gai n
a n d we r ea d i n the musi c th e m any episo de s whi c h m ark th e
tumultuous p ass age of th e drama
Again th e w e ird ch ords
e n t er with a throbb i n g und er current A gain t h e L ov e Th eme
enters ; this tim e it is worke d out A p as s i o n at a Th e o minous
strains of th e feud are h e ard a gain but th ey qui ckly di e do w n
a nd somb re c h ords follow Th e n c om es a m el o di c arp e ggio
p ass a ge Could w e c all it th e soft l am ent of ge ntle h igh bo rn
m aidens o n th e p assin g o f t h e lo velie st soul of all —
and the
com positio n e n ds with dirg e lik e c h ords
”
**
Ro m e o an d J uli ette
B er lio z
Op 3 9
Dramati c symp hony with c horuses vo cal s olos an d a pro
lo gue i n c ho ral r e citative
A distinguish e d critic sp e aking of th is work says :
"
I n Rome o and Juliette B erlioz pro duce d a work whi ch
shows hi s genius a n d craftsmanship at th eir hi ghe st pitch ;
but whi c h a s a whol e is a m onstrous jumbl e of inco ngruiti es
a c om pound of all styl e s and genres
wh ere symph ony a nd
c antata th e n arrative th e lyric al th e dramatic and th e pro
gramm ati c are intermix ed in d efiance o f ta ste and r eason Th e
five pi e c es th at form th e pre dominating s ymp h onic portion ar e
of une qual value —thre e of th em b el on g to th e c omposer s very
b est a chi evements and m ost c omm e n dabl e spe c im e n s of pro
gramm e music ; and two to h is le ast h ap py achi evem ents a n d
m ost d oubtful sp ecime n s o f pro gramme musi c ”
Th e thre e notable or ch e stral p ie c es are : Th e first an d
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th en ex c e edi n gly brilli ant Rome o al o n e ; S adne ss a n d Co n
c e rt an d Ball ( Grand F estival at th e h ous e of Ca pulet ) ; th e
"
e nc hantin g Love S c en e —a s er ene ni ght t he silent a n d de
”
s er ted
garden o f Capulet ; and th e indes c rib abl e S ch erzo
"
”
"ue e n Mab o r th e Dr eam Fairy
,
.
,
HE NR Y VIII
S a i nt S aens
Opera
Pro duc e d i n 1 8 8 3 This op era is stil l po pular in Paris
This o p era l ike all o f th e di sti n guish ed Fre nc h c om p oser s
i s a m asterly pi e c e of writin g
Orpheus wi th hi s lute
S i r Arthur S ull i van
Orph e us w i th h i s lute
Carl B usc h
Orphe u s wi th h i s lu te
C F Mann e y
Clara Ro ss Ri cc i
Orph e us wi th h i s lute
Trio fem ale voi c es
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CO M E DI ES
THE TEMPE S T
”
"
Th e Temp e st h as h a d at l e ast fourte e n op erati c settings
by Fr e n c h Russian Italia n a n d G erm an c omp os ers o n e of the
most r e c ent works b ei n g
"d enk o Fi b i sch ( 1 8 5 0 1 90 0 )
D er S turm
Also
Vi e rl i ng
Ov e rtur e
R afl
Ov e rt ur e
S ull i v an
I nc i d ental m u s i c
B al l e t M us i c
A m b r o i s e Th om as
”
"
*
F antasy Th e T empest
Jo hn " P a i ne
”
"
i
V an D e r S tucken
Mus i c t o Th e T e mpest
* * F antas i a O
T scha ik o wsky
p 18 ( c o mp o se d 1 8 7 3 )
Duri n g th e winte r of 1 8 7 2 Ts ch aikowsky a sk e d his fri end
V l a d i m e r S t as s o v to su g ge st a subj e ct for a sym pho n i c fa n
tasia a S hake sp earia n subj e ct pre fe rably
S t as s o v s hortly
”
"
wrot e t o Ts ch aikowsky pro p osin g Th e Tem p est
and o u tl i n
i n g in elab orate and enthus iasti c detail th e p o eti c and dram a
ti c pla n whic h h e c on c eive d shoul d un derlie th e music as fol
lows :
"
I h ave in my mind that th e se a sh ould app ear twi c e —at
th e b e ginni n g and at th e end At th e b e gi n ni n g in th e i n
t r o d u ct i o n I thi n k o f it as c alm until Prosp ero sp e aks th e
ma gic w ord s and conjure s up th e storm But t hi s storm must
bre ak out inst anta n e ously in all its viol e n c e and not
as
I pro pos e so
u sually b e comin g gr adually wider an d lou der
p e culiar a form fo r th e storm b e c aus e in this c ase it is raise d
by ma gi c words where as in all o p era s symp honie s and o rato
rio s hitherto writt e n it ari ses from natural c auses After th e
storm h as ab at e d the m a gi c isla n d ap pe ars i n all its wo n derful
b eauty and th e still mor e b e autiful still more glorious m aid
Miranda who lik e a sunb eam walks with li ght ste p on th e
isl and H er conve rsation with Prosp ero a n d imm ediately af
t e r w ar d s with th e youth Fe rdinand wh o surpris es and e n r a p
tures h er and with whom sh e at onc e falls i n love Th e mo
tiv e of the fallin g in love sh ould b e lik e a n unfol ding like a
growing ; i n S hakespe ar e it i s s o de scrib e d at the en d of th e
first a c t ; and I b elieve that woul d b e th e v ery thi n g fo r your
tal ent After this I would p ro pose th e app eara n c e o f Cal ib an
th e animal like low slave ; th en furth er Ariel wh os e pro
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gramm e is to b e fou n d i n S hak espe are s so n g Com e u n to th es e
”
yellow sa n ds
Aft er Ari el Mira n da a n d Ferdina n d must
a gai n com e u p o n th e s c ene but this time full of im petuous
p assio n Th e n th e imp o si n g fi gure of Prosp ero who re si gns
h is ma gi c powe r a n d tak e s l e ave o f his p ast At l ast at th e
e n d a ga i n th e s e a th e c alm still s e a whic h b at he s th e lo n ely
island n o w ab a n do n e d whilst its h ap y i n habitants ar e c arri ed
”
i n a ship to dista n t Italy
I t will b e n oti c e d i n goi n g t h rough th e l ist of music al s et
tin gs that Ts ch aikowsky c om p os e d music t o s everal o f S hak e
"
spe are s pl ays I r e c omm e n d th e Life a n d Lett er s of Ts c h ai
”
k o w s ky
e dite d by Ros e Ne wm ar ch for th os e wh o wish to
get a fuller i n si ght int o th e p erso n ality of this m an w h o de
vot e d so mu ch of his tal e n t t o music a l expo sitio n s o f S h a k e
spe are s pl ays
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S o ngs
:
No m o re d ams I ll make fo r fi sh
’
W here the bee sucks
W he r e th e b ee sucks
W h ere the bee sucks
J o hn Chr i st o phe r S mi th
D r T h o mas A A rne
S ir A rthur S ull i van
P e lham H umfrey
He n r y P ur c e ll
H en ry P ur c ell
Rob ert J o hns o n
.
Co me
unt o thes e yell o w san d s
Ful l f at ho m five thy f ather l i es
Ful l f ath o m fi ve thy f ather l i es
.
T W ELFTH NI GHT
Ov e r t ure
M ackenz i e
S o ngs :
0 m i str e ss mi n e
S h e n e v e r t o l d h e r l o ve
W h en th at I was a li ttl e ti ny bo y
W hen t h at I was a l i ttle t i ny b o y
W h e n that I w as a li ttl e t i ny b o y
W h e n th at I was a l i ttle t i ny b Oy
O m i stress mi ne
Co me a way D e ath
0 m i str e ss mi ne
0 m i stress mi ne
Co m e away , c o m e away , d ea th
Co m e away , c o me away , d ea t h
W h e n that I was a l i ttle t i ny b o y
0 m i str e ss mi n e
Co me away , D eat h
W hi ch i s th e pr o per way to d r i nk "
Comic gl e e , mi x e d voic es
I f mus i c be the fo o d o f l o ve
S Co ler i d ge
T ayl o r
F ranz J o seph H ay d n
G e r ar d B art o n
0 Vi ll i e rs S tan fo r d
Jo seph V er n o n
Rob ert S ch u mann
Vi lli e rs S tanfo r d
Vi ll i e rs S tanfo r d
H W Car d ew
H W alfo r d D avi es
H W al fo r d D av i es
H W al fo r d D av i es
H W al fo r d D avi e s
H U D rayt on
H U D r ayt o n
Dr T A Arne
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J Ch arl e s Cl if to n
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**
Overture
>i""
I nci d e ntal
S c herzo
drama Inter "
Mar c h A l l e g
i
I k n o w a b an k
Du et for t w
Ti tani a s crad l e
Y o u sp o tt e d s nak i
"uartette wo rn
Ov e r h ill o v e r d ale
No w the h u n gry lio n r e
Mu ch a do abo ut n o th i ng
S i gh n o m o re l a d i e s
S i gh n o m o re l a di es
S i gh no m o re l adi e s
T ake o h take th o s e l i ps away
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H
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Fi sher
Wi l so n
,
J o hn
,
A S Y OU
e ns
L I "E IT
L uc as
Overtur e
S o ngs :
J S arg e ant
Blo w b l o w th o u wi nter w i n d
W i l li am Arms Fi sher
B l o w blo w th ou w i nte r wi n d
D o r a B ri ght
Th e mai d s g arlan d
Char l es Ho t h a m
Bl o w blo w t ho u w i nter wi n d
Charl e s H o th am
U n de r th e g re enw o o d tr e e
A gn es "i mm e r man
Blo w b lo w t ho u w i nt e r wi n d
I t was a l o ver an d hi s las s
Th o mas Mo r le y
Car l B usch
U n d er the gr e enw oo d tree
U n d e r t h e gr e e nw ood tree
C H u b ert P arry
I t was a lo ver an d hi s las s
Clou gh L e i gh t e r
Blo w bl o w thou w i nter wi n d
G e r ar d B arto n
Blo w b l o w t ho u w i nte r wi n d
B Luar d S elby
P art son g mix ed chorus
Wha t shall he have wh o kil le d th e d e er "
H R Bi s ho p
M ale quart ette
I t was a l o v e r an d h i s lass
P aul Ambr o se
"uar tette mixe d voi ce s
I t was a l o ver an d h i s las s
G erar d B art o n
I t was a l o ver an d h i s lass
H W Ca rd e w
R etr ai te ( l e c h ant D am i ens )
P au l Vid al
S o us b o i s ( 2 d chan t d Ami e ns )
P aul Vi d al
E c o ssais e d ue d es p ages
P aul Vid al
Ch o e u r d es chasseurs
P aul Vid al
S oli e t cho eur a 4 voi x mi x t e s
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W agn e r
m
a
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imit a t io n
: ci de d i ts
0
J
°
S t a nfo r d
H e c to r B erli o z
V1 l l
er s
”
It
Nothing
1 v
at
Thou gh h u
wi n g i m pre ssio n is
” —
Th e
m elanc holy
1
In
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u
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t
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S II RE W
"
‘
C
e
L
i
un
g
”
Go etz
R h e i n b erge r
.
S o ng :
S h o ul d h e
S ir
u p b rai d
Henry B is h o p
T H E ME RR Y W I VE S OF W I ND S OR
F alstaff Op e ra ( pr o d uce d 1 8 94 )
V er di
This op er a is n otable outside of th e intrinsic merit of th e
music fo r two things : First t h at V e rdi was e ighty yea rs of
ag e wh e n h e wrot e it ; a n d se condly th e m asterly l ib retto o f
B oito th e Italian po e t and mus ic ian
Th e only lib erty the
librettist t o ok w as th at of includin g a pa ssa ge or two fro m
H enry I V
"
I t i s th e very i n c ar nation o f youth and hi gh sp irits
V e rdi tol d an interviewer th at he tho rou ghly enj oyed w ritin g
it H e h as c ombine d a scho olb oy s s ense of fun w t i h t h e gra c e
a nd s ci e n c e o f Mozart Th e p art writi n g is o ft en ex c e e dingly
e lab or ate but the mo st c ompli c at e d c on c erte d p ie c e s flo w on
as naturally as a b allad Th e glorious finale fu gu e is a n e p i t o
m e o f th e w ork It i s r e ally a marvel o f c ontrapuntal ingenu
ity yet it is so full o f b ewitc hing m elody and h e althy animal
spirit s tha t a n uncultivate d heare r would prob ably thi n k it
noth in g but an o rdinary j ovi al fi n al e I n t he last a ct V er d i
ha s c au ght t h e c ha rm a n d mystery of the sl e eping fore st with
e x quisit e art In th e fairy musi c to o h e also reveal s anothe r
”
side o f hi s ge nius
"
Th e a cti o n i n F al s t a fi i s almo st as rapid as i f th e t ext
w ere s pok en ; and th e o rc he stra th e witti e st and mo s t s parkling
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10
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ri ant orch e stra I e ver he ard — c o mme nts up on the monolo gu e
and dialo gue o f the b oo k W hen th e spe e c h b ec om es rh etoric al
so do e s th e or ch estra It is h ei ght ene d sp ee c h an d i n ste ad o f
m elody o f th e antiqu e form al p a ttern we he ar th e e ndle ss me l
B u t V erdi s sp ee c h is his o w n
e d y whi c h \Nag n e r employs
and doe s no t s avour o f W a gn er I f th e ideas are not devel
op ed or do n ot assume vast er proportions it is b e caus e of th eir
ch ar a cter Th ey could not b e s o treate d wit hout do ing viole n c e
tothe se n se of proportio n Classi c puri ty i n expressio n Lati n
exub eranc e j oyfulness a n d an i n e x p r e s s i o n ab l y deli ghtful at
m o s p h e r e o f irr esponsibl e youthfulness a n d gaiety ar e al l i n
thi s ch armin g scor e N o one c an ever repro ac h V erdi with
la c k o f i dea s i n FAL S TAFF Th e y ar e n ever endin g Th e
orch estra fio w s furiously like a str e am of qui cksilver tossi n g
up re part e e ar gument fa ct s amplifyin g de ve loping and
str ength ening the text No m el ody " W h y th e o p era is one
lo ng merry tune —j o cund b lith e sweet dul ce t an d sunny Few
moods o f m elanc holy n o moods of m adness but all grac ious
V erdi s musi c al s chol arship is
folly an d fantasy
e norm o u s H e p aints d eli cat e fair y l ik e pi ctures usin g the
m ost delic ate pi gm ent s a n d with th e dai n tiest tou ch ima gin
able ; and th en he p e n s a severe and truthful c anon in th e
”
s e cond act whi c h ex cit es th e a dmir ation of the s cholar
J ame s H une ke r
"
R ichard S trauss say s :
Falsta ff is th e gr e atest master
pie ce o f m o der n I talia n music
M e r ry W iv es of W i n d s or Op e ra
Ni c o l ai
Th e overture i s familiar to everyone ; but t he op era as a
whole is far b elow th e plane of V erdi s
I n c id e ntal Mu s i c
S ull i v an
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TW ELF TH NI G H T
Overt ur e
M ac k e nz i e
W I NTER
’
S TALE
Jo s e ph S uk
M ax B ru c h
Go l d mar k
”
"
Op e ra , H e rm io ne
Opera ( pr o du ce d i n 1 90 8 )
S o ngs :
’
Autol yc u s S o ng
J G ree nh ill
L awn as w hi te as d ri ven sn o w Jo hn W i ls o n o r R Jo h n s o n
S i x S o ngs ( Fi rst S e t )
H B ai n e s
O mistre ss mine ; W h en i ci cl es ha n g by t h e wall ; Orph eus
w ith his lute ; S i gh no more l adi e s ; Lov e s renewal ; S hall I
come sweet love to th e e "
E ngl i s h L yr i cs ( S e c o n d S e t )
C Hub ert H P ar ry
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mis t re ss mi n e ; Tak e oh tak e th os e l ips aw ay ; No lo n ger
m our n fo r me ; Bl ow b l o w thou w i n t er w i n d ; W h e n icicles
h an g by th e w all
O
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CYM B EL I NE
S o ngs
H ark Hark the Lark
F ranz S chub ert
H ark H ark the Lark ( 3 part w o men s v oi ces )
F r S chubert
Arra n g e d by N Cl i fio r d Pa ge
H ark H ark the Lark
G A M cF ar r e n
"uart ette mi x e d voic es
"arl F ri e d ri ch Curschmann
H ark H ark the Lark
H ark H ark t h e Lark
D o ra B ri ght
F ear n o m o re t h e heat o f t h e s un
C H ubert H P arry
F ear n o m o re th e heat o f the sun
Ho wens te i n
Mixe d or m e n s voi c e s
F ear n o m o r e the h e at o f the sun
H W Car d ew
A uba d e
P aul Vid al
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L OVE S L AB OR S L OS T
S o ngs :
W hen d a i s i e s p i e d an d vi o lets blue
W h e n i c i c l es hang o n th e wall
Arn e
A rn e
S o ng
W ils o n
J A T ayl o r
B Luar d S e l b y
P a u l V idal
P aul V i d al
M e asure fo r M easur e
T ak e o h tak e th o s e l i ps away
T ak e oh tak e th o s e l i ps away
T ake o h take th o s e li p s away
Chans o n d H i v e r
Chans o n d e P r i ntemps
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VE NU S AND AD ONI S
S i r H enry B i sh o p
S i r H e nry R B i sh o p
Bid me di sc ou rs e
L o here th e g e nt l e lark
.
,
T H E PA S S I ONATE PI L GRI M
H ubert C P arry
Cra bb e d age an d y o uth
Har vey W o rthi ngt o n Lo o mi s
Cra b be d age an d y o u t h
.
TH E MER CH A NT OF VE NI CE
car i l lo n d Amo ur ( chans o n d e Po rta )
Duo pour s opra n o e t contralto
Les c o eurs f erme s
D u o p our s o p r an o e t alto
Le
’
P aul Vid al
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P aul Vi d al
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TW O GE NTLE ME N OF VER ONA
Wh o
Wh o
Wh o
i s S ylv i a "
i s S ylvi a "
F ranz S ch ub ert
G o ul d Mo nk
D o ra B ri ght
,
i s S ylvi a "
12