Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.22
P. Bullock
Although Shakespeare’s literary reception in nineteenth-century Russia has been well mapped, less attention has been given to his musical afterlife. This chapter examines Shakespeare’s place in nineteenth-century Russian music from three complementary perspectives. First, it will consider how Shakespeare’s characters and plots were taken up in the mid-century tone poem, with a particular focus on Balakirev’s overture to King Lear. Second, it will examine the use of music in stage productions of Shakespeare’s plays, taking by way of example not just Balakirev’s incidental music for King Lear, but also Tchaikovsky’s music for Hamlet (rather than his better-known tone poems, Romeo and Juliet and The Tempest). Finally, a third model of reception is explored in the form of a discussion of Musorgsky’s treatment of Pushkin’s Boris Godunov. Rather than setting Shakespeare directly, Musorgsky engages in a triangulation of literary influence, drawing on Pushkin’s historical drama (widely regarded as an attempt to import Shakespearean principles as a way of distancing himself from the precepts of French neo-classicism) as a way of distancing himself from Italian models of operatic action (including many on Shakespearean themes).
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.6
Joseph M. Ortiz
This chapter considers the ways in which Shakespeare incorporates a sense of musical time into his plays and poetry. While scholars have often considered how poetic ideas might inform Shakespeare’s deployment of music in his works, less attention has been given to the possibility that musical conventions also inform Shakespeare’s experiments with verse. Unlike poetic verse, musical time structures do not easily accommodate pentameter or the metric irregularities that Shakespeare and his contemporaries liked to create in poetry. However, musical time does allow for the possibility of measurable, meaningful silence. Renaissance music theorists in particular were concerned with notational systems that could reliably indicate intervals of performed silence. This chapter first considers how Renaissance musicians such as Morley and Dowland theorized and defined the musical ‘rest’. It then considers Shakespeare’s prosodic experiments in Richard II and Hamlet, arguing that Shakespeare attempts to incorporate intentional, measured silence by alluding to musical terms and taking advantage of metric irregularities. By applying musical rules to printed verse, Shakespeare effectively prompts his audience to hear silence not as meaningful, but as scripted.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.10
Simon Smith
For many early modern playgoers, music was not a peripheral feature of commercial drama, but a chief attraction of the theatres—sometimes even the primary motivation for playgoing. This chapter explores early evidence of musically interested playgoers and their engagements with practical musical performance at venues like the Globe and Blackfriars. It works with a range of examples before taking The Merchant of Venice as an extended test case in the early modern relationship between drama and music. Through these materials, the chapter offers three core propositions about playhouse engagements with music during Shakespeare’s working life. The first is that musical experience was in itself a significant and widely acknowledged incentive for playgoing that can be traced across the textual record. The second is that playgoers regularly encountered music as an integral element of a play’s dramaturgy, and so their musical experiences need to be understood in the context of their wider engagements with drama. The final suggestion is that playwrights like Shakespeare anticipated the overlap of musical and dramatic experience in playhouse performance by embedding music into their dramaturgical designs, using playhouse responses to music to shape dramatic meaning.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.52
A. Rodgers
While some critics have argued that music’s role in contemporary staged Shakespeare’s meaning has diminished since the Renaissance, this chapter explores music’s deeply significant role in filmed Shakespeare, particularly in the films of Vishal Bhardwaj. Arguing that a focus on alternative lexicons (such as those expressed by music and dance) that play a significant role in non-Anglophone Shakespeare, this chapter contends that the field can offer a broader hermeneutic, hence inclusive, epistemological field, via more careful attention to the ways that non-Western and non-Anglophone cultures interpret and use Shakespeare as mythic, narrative, and sociocultural commentary on their own historical moment outside of Shakespeare’s language. Such a reconsideration of language as the most significant locus of meaning within Shakespeare’s studies facilitates a more capacious template for understanding how Shakespeare can be deployed as a form of resistant participation in what Barbara Hodgdon has called ‘the Shakespeare trade’. Via a focus on Vishal Bhardwaj’s tragic trilogy—Maqbool (2003), Omkara (2006), and Haider (2014—this chapter explores how this composer-filmmaker’s Shakespearean oeuvre provides insight into these plays’ historical and performed past, and, even more significantly, their practice-based and interpretative present and future. In particular, the chapter focuses on Bhardwaj’s participation in a ‘Shakespeare’ that interrogates the (still rather strongly stratified) boundaries of its Anglophone performance and literary traditions. In doing so, these works imagine, even help bring into being, an entity that is fluid, multicultural, and endlessly ‘adaptive’.
{"title":"Rhizomatic Harmonies","authors":"A. Rodgers","doi":"10.1093/oxfordhb/9780190945145.013.52","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.52","url":null,"abstract":"While some critics have argued that music’s role in contemporary staged Shakespeare’s meaning has diminished since the Renaissance, this chapter explores music’s deeply significant role in filmed Shakespeare, particularly in the films of Vishal Bhardwaj. Arguing that a focus on alternative lexicons (such as those expressed by music and dance) that play a significant role in non-Anglophone Shakespeare, this chapter contends that the field can offer a broader hermeneutic, hence inclusive, epistemological field, via more careful attention to the ways that non-Western and non-Anglophone cultures interpret and use Shakespeare as mythic, narrative, and sociocultural commentary on their own historical moment outside of Shakespeare’s language. Such a reconsideration of language as the most significant locus of meaning within Shakespeare’s studies facilitates a more capacious template for understanding how Shakespeare can be deployed as a form of resistant participation in what Barbara Hodgdon has called ‘the Shakespeare trade’. Via a focus on Vishal Bhardwaj’s tragic trilogy—Maqbool (2003), Omkara (2006), and Haider (2014—this chapter explores how this composer-filmmaker’s Shakespearean oeuvre provides insight into these plays’ historical and performed past, and, even more significantly, their practice-based and interpretative present and future. In particular, the chapter focuses on Bhardwaj’s participation in a ‘Shakespeare’ that interrogates the (still rather strongly stratified) boundaries of its Anglophone performance and literary traditions. In doing so, these works imagine, even help bring into being, an entity that is fluid, multicultural, and endlessly ‘adaptive’.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"924 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123049797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.43
Mervyn Cooke
Director Julie Taymor and her partner, composer Elliot Goldenthal, collaborated on two location-shot Shakespeare films: Titus (1999) and The Tempest (2010). The freshness of the collaborators’ cinematic approach to Shakespeare is in part a consequence of their having also worked extensively together in the theatre (including stage productions of these two plays, and a filmed theatrical performance of A Midsummer Night’s Dream released in 2015) and their refusal to eschew dramatic stylization on the silver screen in favour of a populist realism. The eclectic music for Titus ranges from choral incantations to distorted jazz idioms, dynamic minimalism, searingly expressive orchestral writing, mesmerizing electronics, and a black-comedy application of carnival music familiar from the collaborators’ stage work; almost all the music is foregrounded, yet little attempt is made to endow this powerful composite score with the specious unifying function traditionally demanded of film music. By contrast, the score to The Tempest is more subliminal in its effect, while still experimental in its exploration of soundscapes which shift from Caliban’s ‘thousand twangling instruments’ to sparse ideas expressed in novel guitar tunings and sonorities, evocative keyboard timbres, saxophone multiphonics, glass armonica, and steel cello. Above all, the film’s soundtrack is distinguished by its contemporary response to the play’s songs, which here include an additional lyric borrowed from Twelfth Night in order to enhance the romantic subplot, and the climactic isolation of the (female) Prospera’s epilogue in the end credits.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.11
Lucy Munro
While Shakespeare’s uses of music at the Theatre and Globe playhouses have been the subject of a good deal of scholarly attention, the soundscapes of other outdoor playhouses such as the Curtain, Rose, Boar’s Head, Fortune, and Red Bull have been largely dismissed or ignored. Yet from Robert Greene in the late 1580s and early 1590s, to plays written specifically for the outdoor playhouses in the 1620s, to Richard Brome at the Globe and Red Bull in the 1630s, the outdoor playhouses presented varied and often markedly experimental soundscapes. This chapter examines the musical traditions of the outdoor playhouses in detail for the first time, offering a new perspective on Shakespeare’s musical practice. It surveys the period between the construction of the outdoor Red Lion playhouse in 1567 and the acquisition of the indoor Blackfriars by Shakespeare’s company, the King’s Men, paying particular attention to the late 1580s and 1590s, the years during which Shakespeare established himself as a dramatist. Looking at song and instrumental music, it draws on the histories of the playhouses, playing companies and individual actor-musicians, contemporary commentaries, and a range of plays and jigs, paying particular attention to the work of Robert Wilson, Robert Greene, Thomas Dekker, and William Kemp. It argues first that Shakespeare’s early musical practices are in line with those of other playwrights working for outdoor playhouses, and second that the musical traditions of those playhouses are more wide-ranging, original, and inventive than scholars have generally recognized.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.31
J. Kopecký
Shakespeare inspired Czech Romantic composers almost exclusively in the genre of comic opera, but adapting a Shakespeare play into the form of a high-quality libretto was an extraordinarily difficult task, which then had to be matched by the musical setting and performance. Moreover, it was difficult to compete with Verdi’s Otello premiered in Prague in 1888 as the first production outside of Italy. Given these circumstances, it is not surprising that Shakespearean comic operas were first successfully produced at Prague’s National Theatre only once the quality of the opera company there had been stabilized, that is, around 1900: Karel Weis’s Viola (1892), Zdeněk Fibich’s The Tempest (1895), Josef Nešvera’s Perdita (1897), and Josef Bohuslav Foerster’s Jessika (1905). While it was through theatre that political questions were dealt with in the Czech lands under Habsburg rule, and Shakespeare became a leading artistic authority for the Czechs (unlike Schiller, whose legacy was fostered mainly by German theatres), the operas of Czech composers based on Shakespearean subjects aroused the hope of promoting the Czech arts in the struggle for national independence in an international context.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.18
B. Barclay
The role of music at Shakespeare’s Globe has radically evolved since its opening in 1997. What began as a scholarly embrace of historically informed performance (HIP), yielded to modern instrumentation, and eventually, to electronic lights and sound. What have we learned about Shakespeare and the actor-audience relationship over these profound changes? How have the practitioners evolved to meet the challenges of new leadership? What is the purpose of Shakespeare’s original architecture without his seventeenth-century toolkit? This chapter charts the changing of ‘authenticity’ from its devotional Original Practices through modern experimentation, using the inexhaustible lessons of Shakespeare’s spaces to vouch anew for live music in twenty-first-century Shakespeare everywhere.
{"title":"Historically Informed Experience","authors":"B. Barclay","doi":"10.1093/oxfordhb/9780190945145.013.18","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.18","url":null,"abstract":"The role of music at Shakespeare’s Globe has radically evolved since its opening in 1997. What began as a scholarly embrace of historically informed performance (HIP), yielded to modern instrumentation, and eventually, to electronic lights and sound. What have we learned about Shakespeare and the actor-audience relationship over these profound changes? How have the practitioners evolved to meet the challenges of new leadership? What is the purpose of Shakespeare’s original architecture without his seventeenth-century toolkit? This chapter charts the changing of ‘authenticity’ from its devotional Original Practices through modern experimentation, using the inexhaustible lessons of Shakespeare’s spaces to vouch anew for live music in twenty-first-century Shakespeare everywhere.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121085744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.24
Christopher R. Wilson
This chapter re-evaluates the status of settings of Shakespeare in the context of Victorian song from Macfarren to Henry Walford Davies, taking in Sullivan, Parry, MacKenzie, Stanford, Liza Lehmann, Maude Valérie White, Wood, and Somervell. Though often neglected today, Macfarren’s songs, including a number of Shakespeare settings, represented the ‘finest products of the period’. Seen as embodying the national emblem, Parry saw Shakespeare as central in his attempt to establish English ‘serious song’ comparable with the lieder of Schumann and Brahms and the dislodgement of commercial popular song prevalent in England. Parry’s settings of various sonnets in fact started life as German songs. Parry was not altogether successful in his mission; his only true disciple was Arthur Somervell. The last of the ‘Victorians’, Henry Walford Davies, was largely dismissed as a composer out of his time, his songs old-fashioned with their ‘forthright English melody’.
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Pub Date : 2022-02-14DOI: 10.1093/oxfordhb/9780190945145.013.39
B. Hoyle
Although they collaborated fully on only three feature films, the partnership of Sir Laurence Olivier and Sir William Walton remains one of the great filmmaker‒composer partnerships, one which bears comparison with the teaming of Alfred Hitchcock and Bernard Herrmann, or Federico Fellini and Nino Rota. The chapter draws on primary source materials in both the Walton archive at Yale University and the Olivier papers at the British Library in order to undertake a close reading of the scores for Henry V (1945), Hamlet (1948),and Richard III (1955) and assesses the ways in which Walton’s music complements and counterpoints both Shakespeare’s texts and Olivier’s editing, acting, and mise-en-scène. Comparisons are drawn between Walton’s film scoring practices and those of such prominent contemporaries as Sergei Prokofiev and Max Steiner, as well as more recent film composers such as Patrick Doyle. The chapter also situates the scores within the wider context of 1940s and 1950s British film and film music, and confirms filmmaker Michael Powell’s assertion that this trilogy represented a genuine attempt to enlarge the scope of film as an art form through its complex combination of words, music, cinematography, and design.
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