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Program: #19-38, Air Date: 09/09/19

After a long absence from recording, the Baltimore Consort is back with music from Shakespeare’s plays (and a celebration of their 40th anniversary as a group); we will be joined by two of the founding members to share it all with us.

NOTE: All of the music on this program features the Baltimore consort featuring founding members (and our guests) Mark Cudek and Larry Lipkis.

For more information:  https://baltimoreconsort.com/music/discography/the-food-of-love-songs-dances-and-fancies-for-shakespeare/


Your purchase will help support Millennium of Music.
Their first album since 2009, The Food of Love: Songs, Dances, and Fancies for Shakespeare marks the beginning of The Baltimore Consort's 40th season. Joined by regular guest soprano Danielle Svonavec, the Consort has recorded their popular concert program of the same name, which features music from, for, and referenced in the works of Shakespeare.

There are hundreds of references to music in the works of Shakespeare. Shakespeare’s music can be placed into three general categories:

Incidental Music: The individual titles of incidental music in Shakespeare’s works are never named but the directions “music here,” “music begins,” “music for dancing,” etc. are provided.

Literary References: Shakespeare refers to the music, music theory, and instruments of the time within the text of his works. A humorous example is found in the names of the musicians Peter confronts in Romeo and Juliet: Hugh Rebec, Simon Catling and James Soundpost.

Songs: Specific songs are included for performance in the text of Shakespeare’s plays. Shakespeare authored the lyrics to some of these songs but also incorporated popular songs known to his contemporary audiences. The plays did not include notation of the tunes of these songs. However, we are certain that Robert Johnson’s settings for “Full Fathom Five” and “Where the Bee Sucks” are the same as when originally performed in The Tempest. Johnson is well documented as Shakespeare’s composer. For the other songs on the recording we are using the earliest surviving versions – both published and from manuscript – which are contemporary with Shakespeare’s productions. These include, “It Was a Lover and his Lasse,” “Farewell, Dear Love,” “When Griping Grief,” “Gravedigger’s Song,” and “Willow Song

Founded in 1980 to perform the instrumental music of Shakespeare’s time, The Baltimore Consort has explored early English, Scottish, and French popular music, focusing on the relationship between folk and courtly art song, and dance. Their interest in early music of English/Scottish heritage has also led them to delve into the rich trove of traditional music preserved in North America. Seventeen recordings on the Dorian and Sono Luminus labels have earned them recognition as Top Classical-Crossover Artist of the Year (Billboard), as well as rave reviews elsewhere. Besides touring in the U.S. (all but two states) and abroad (Austria, Canada, Germany, The Netherlands, and Scotland), they often perform on such syndicated radio broadcasts as St. Paul Sunday, Performance Today, Harmonia and the CBC’s OnStage. They have also enjoyed many teaching residencies at K-12 schools, as well as at the Madison Early Music Festival, and other university engagements.

 

As You Like It

 1. 

The Buffens (Les Buffons), Jean d’Estrée Tiers livre de danseries, 1559

2:56

2.

Kemp’s Jig, anon., Matthew Holmes MSS, ca.1588-97

1:15

3.

It Was a Lover and his Lasse, Thomas Morley, First Booke of Ayres, 1600

2:56

Twelfth Night

4.

O Mistresse Mine, Thomas Morley, Consort Lessons, 1599

2:07

5.

Peg-a-Ramsey, anon., Ballet Lute Book, ca. 1600

0:52

6.

Farewell, Dear Love, Robert Jones, First Book of Songs, 1600

2:21

Romeo and Juliet

7.

When Griping Grief, Richard Edwards, 1525–1566

3:05

8.

My Lady Carey’s Dompe, anon., ca. 1525

2:56

9.

Complain My Lute, anon., broadside ballad, 16th c.

6:18

10.

Heart’s Ease (The Honiesuckle), Anthony Holborne, Pavans, Galliards, and Almains….1599

2:57

Henry IV, Part II & A Winter’s Tale

11.

The Queen’s Goodnight, Thomas Robinson, Schoole Of Musicke, 1603

1:08

12.

Fancy, John Dowland, 1563–1626

2:19

13.

The Carman’s Whistle, anon., broadside ballad, 16th c.

5:24

14.

Cuckolds All a-Row, Playford, The English Dancing Master, 1651

0:32

15.

Whoope, Do Me No Harm/Jog On, anon., late 16th c.

2:18

Hamlet

16.

The King of Denmark, his Galliard, John Dowland

1:52

17.

Tarleton’s Riserrectione (plucked strings), John Dowland

2:36

18.

Gravedigger’s Song (“In youth when I did love”) anon., late 16th c. / Tarleton’s Riserrectione (bagpipes), John Dowland

2:37

19.

Bonny Sweet Robin, anon., Matthew Holmes MSS, ca. 1588–97

2:27

20.

Tarleton’s Jig, John Dowland (?)

2:15

The Tempest

21.

Greensleeves, anon., 16th c.

1:11

22.

Greensleeves, John Johnson, ca. 1545–1594

1:18

23.

Where the Bee Sucks, Robert Johnson, ca. 1583–1634

0:55

24.

Full Fathom Five, Robert Johnson

1:49

Merry Wives of Windsor & Othello

25.

Fortune My Foe, anon., The Dallis Lute Book, 1585

2:23

26.

Willow Song, anon., The Lodge Lute Book, ca. 1559

3:24

Midsummer Night’s Dream

27.

Fairie Rownde, Holborne, Pavans, Galliards, and Almains….1599

1:27

28.

The Mad Merry Pranks of Robin Goodfellow, The Roxburghe Ballads, Ben Jonson, 1623

 
4:04

 

Composer Info

Jean d’Estrée Tiers, Matthew Holmes ca.1588-97, Thomas Morley, Robert Jones, Richard Edwards, Anthony Holborne, Thomas Robinson, John Dowland 1563–1626, Playford, John Johnson, ca. 1545–1594, Robert Johnson, ca. 1583–1634, Ben Jonson