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The Bellevue String Quartet performs "Full Fathom Five -- Music Inspired by Shakespeare"

Music from Locke's The Tempest and Purcell's Fairy Queen is woven together with passages from Shakespeare, as we explore how Shakespeare uses music to create magic in his plays.

Musik från Lockes The Tempest och Henry Purcells Fairy Queen är vävt tillsammans med texter från William Shakespeares pjäser. Vi experimenterar med hur Shakespeare använder musik för att skapa magi i sina skådespel.

Live recording at Andy's Corner, Malmö Sweden, for the BookJam Concert Series
September 12, 2020

Bellevue String Quartet:
Hannah Tibell, Violin
Alison Luthmers, Violin
Rastko Roknic, Viola
Judith-Maria Blomsterberg, Cello
Fredrik Bock, Theorbo

Thank you to Musikverket for supporting this concert.
More about BookJam:   / bookjamconcerts  

From The Tempest, by William Shakespeare (1611)
Music by Matthew Locke (1667)

Ferdinand, Son to the King of Naples (Shipwrecked and separated from his father)

Where should this music be? I’ th’ air or
th’ earth?
It sounds no more; and sure it waits upon
Some god o’ th’ island. Sitting on a bank,
Weeping again the King my father’s wrack,
This music crept by me upon the waters,
Allaying both their fury and my passion
With its sweet air. Thence I have followed it,
Or it hath drawn me rather; but ’tis gone.
No, it begins again.

Ariel, an airy spirit (Serving Prospero, the sorcerer and ruler of the island)
Song setting by Robert Johnson, 1612

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade
But doth suffer a sea change
Into something rich and strange.
Sea nymphs hourly ring his knell:
Hark! Now I hear them—ding-dong bell.

Caliban, a savage and deformed slave (Serving Prospero)

Be not afeard; the isle is full of noises,
Sounds and sweet airs that give delight and hurt
not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again; and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me, that, when I waked,
I cried to dream again.

Ariel
Song setting by Robert Johnson, 1612

Where the bee sucks, there suck I;
In a cowslip’s bell I lie;
There I couch when owls do cry.
On the bat’s back I do fly
After summer merrily.
Merrily, merrily shall I live now
Under the blossom that hangs on the bough.

Prospero, the Right Duke of Milan (Exiled to the island and become a sorcerer)

You do look, my son, in a movèd sort,
As if you were dismayed; be cheerful, sir.
Our revels now are ended. These our actors,
As I fortold you, were all spirits and
Are melted into air, into thin air;
And, like the baseless fabric of this vision,
The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir, I am vexed.
Bear with my weakness; my old brain is troubled.
Be not disturbed with my infirmity.
If you be pleased, retire into my cell
And there repose. A turn or two I’ll walk
To still my beating mind.

From A Midsummer Night’s Dream, by William Shakespeare (1595-96)
Music from The Fairy Queen by Henry Purcell (1692)

Robin “Puck” Goodfellow, a mischievous sprite with magical powers

If we shadows have offended,
Think but this, and all is mended,
That you have but slumber'd here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to 'scape the serpent's tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.