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Thomas Morley (1557-1602) - I Should for Grief and Anguish ·

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Thomas Morley /Zuzana Růžičková, Alman I Harpsichord Music from England, Spain and Portugal, 1966

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In Shakespeare, music is an integral part of the action. But the First Folio, which turns 400 this year, failed to transmit how it should so

Jeff Dailey, the group’s director, glanced up encouragingly from his music stand. The dissonances they were hearing were not a mistake, he said, then added: “If you want to make it any more chromatic, like you’ve just killed a deer, you could do even more shouting than singing. Remember, you’re drunk at this point.”

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Duffin believes that there is even more music in Shakespeare’s works than is evident from the italicized lines in the First Folio. He has identified dozens of what he calls “snatches” of songs embedded in dialogue that turn out to be the opening lines or key phrases of popular songs. These would have sparked a shower of associations in contemporary audiences.

In “Winter’s Tale,” a brief allusion to a ballad about a murderously jealous husband would have raised the stakes for an audience following the play about a jealous king. In “Twelfth Night,” an otherwise out-of-context reference to “The 12th Day of December” would have been recognized as the title of a famous ballad about a battle, evoking the noise of war in a scene of domestic mayhem.