Last Thursday the amazing Ben Crystal, actor, linguist, and author of Shakespeare on Toast, and co-author with David Crystal of Shakespeare's Words, conducted a workshop with the middle school students at my school in Houston, Texas. His talk was informative, funny, inspirational, and geared to young people in every way. That day he was a Shakespearean rock star, asking my young students to love Shakespeare and it worked. Members of the Sole family were part of the audience, and now, all of us very much in the mood for more Shakespeare, I have asked Sophia Sole to be my guest writer with her clever and beautiful playlist, custom made for Midsummer Night's Dream.
And here it is, Sophia Sole's "Midsummer Night's Dream Playlist":
And here it is, Sophia Sole's "Midsummer Night's Dream Playlist":
Shakespeare’s
Midsummer
Night's Dream is a passionate, volatile play: in some scenes, everyone is angry and yelling
at each other; in others, everyone is
extremely joyful and reconciling with one another. Because of this passionate volatility, I
immediately thought of Vivaldi’s
Four Seasons which always brings out the emotions and the differing
moods of each of the four seasons of the year -- fall, winter, summer and
spring. From there I looked to other classical music because I feel that the
tone is brought out more by the music itself and that words detract from it.
Classical music allows one’s
imagination to paint the imagery of a scene. The passionate, volatile tone
expressed all throughout Midsummer Night's Dream, and the classical
pieces below contribute to the theme that love is changing and can be a source
of confusion and chaos, as well as a source of harmony and peace. What follows
is my classical countdown of Midsummer Night's Dream.
For
Act I, Scene 1: Lines 1-20, I would choose Vivaldi’s
Concerto No. 1 in E
major, Op. 8, RV 269, "La primavera".
In this scene Theseus and Hippolyta are anticipating their wedding day. Theseus
grows frustrated with waiting; however, Hippolyta tells him to be patient.
After accepting that he must wait a few more days, Theseus sends out his
attendant Philostrate to excite the people of Athens for their wedding. Theseus
orders Philostrate, “Stir up the Athenian youth to
merriments. Awake the pert and nimble spirit of mirth.”
(Act
I, Scene 1: Lines 13-14) This quotation suggests that though Theseus is
becoming impatient waiting for his wedding day to come, he is still excited and
anticipatory for it, and wants others to feel the same. He also wants everyone
to celebrate his marriage. The tones of Vivaldi’s
music match because, like Theseus in the scene and spring, they are both
anticipatory and celebratory.
For
Act I, Scene 1: 232-257, I would choose Brahms’ Hungarian Dance No. 5 in G Minor.
In this scene Helena is performing a soliloquy. She is ranting, and wondering
why Demetrius does not love her when she is as beautiful as Hermia. Brahm’s
music sounds like an angry soliloquy, just like Helena is angry with Demetrius.
However, similar to Helena, there are also parts in the piece that sound
coquettish and flirty.
For
Act I, Scene 2: Lines 1-107, I would choose Beethoven’s
Sonata
No. 8 In C Minor For Piano, Op. 13, ''Pathétique'': III. Allegro.
In this scene the Mechanicals are preparing a play for the Duke and Duchess on
their wedding day. The scene begins with Peter Quince calling role; however, a
character named Bottom the Weaver, who thinks he is God’s
gift to theater, keeps interrupting to share his ideas, and explain to his
friends why he is best suited for every part. Bottom exclaims “Let
me play the lion too… I will roar that I
will make the Duke say ‘Let him roar again.’” (Act I, Scene 2: Lines 68-70) Bottom’s
constant interruptions regarding himself characterize him as self- centered and
egotistical, and add humor to his scenes. The rehearsal spins out of control,
which is similar to the tone of this sonata. Also, Peter Quince keeps trying to
reassert his authority. Throughout this musical piece by Beethoven there are
passages that evoke chaos, followed by others of calm and peace.
For
Act II, Scene 1: Lines 63-194, I would choose Vivaldi’s
Concerto No. 2 in G
minor, Op. 8, RV 315, "L'estate". In this scene
Oberon and Titania, king and queen of the fairies are arguing about the little
Indian boy. This piece is suggestive of two people bickering back and forth,
which matches the anger, accusations, and lashings of the scene. Titania
accuses Oberon of loving Hippolyta, and then Oberon accuses Titania of loving
Theseus. They constantly bicker over possession of the Indian boy, until
finally Titania leaves abruptly, which is how Vivaldi’s Summer Storm ends.
For
Act II, Scene 1: Lines 195-251, I would choose Vivaldi’s
Concerto No. 4 in F minor, Op. 8, RV
297, "L'inverno". In this scene
Helena is following Demetrius and he responds by yelling at her angrily. The
tone of this concerto elicits imagery of winter and matches the tone of the
scene because there are dark, loud parts (i.e., winter ice storms) which sound
like Demetrius yelling and spurning Helena. However, the dark passages are
followed by softer ones (i.e., stillness of fallen snow) which sound like
Helena responding lovingly, kindly, and respectfully. At the end of the scene
Helena finally realizes that he is being rude and cruel to her, and she tells
him. She says “The wildest hath not such a heart as
you.”
(Act
II, Scene 1: Line 236) She becomes furious just like the end of the symphony
when the soft parts (Helena) become dark and loud (her anger and rage).
For
Act III, Scene 1: Lines 131- 208, I would chose Vivaldi’s
Concerto No. 3 in F
major, Op. 8, RV 293, "L'autunno". In this scene Titania wakes up
with the juice of the flower of loveinidleness to see Bottom. She immediately falls
in love with him due to the magic that the flower possesses. The beginning of this
Vivaldi concerto matches the tone of the beginning of the scene. It has an
immediate, upbeat melody. The tune of the music helps me visualize the fairies
quickly flying around to appease Bottom’s
need. Both Vivaldi’s
music and the scene have the tones of love, happiness, joviality and
exuberance. The concerto evokes a joyful energy just as the scene does.
For Act III, Scene 2: Lines 296-358, I
would chose Rimsky-Korsakov’s The
Flight Of The Bumblebee. In this scene
Hermia and Helena get into an argument. They bicker back and forth; then Hermia
becomes angry at Helena because she called her short. Hermia says she wants to
gouge her eyes out. Helena acts all innocent saying she did nothing to harm her
and tells the Demetrius and Lysander to protect her. This song sounds like an
argument between two people. It has a manipulative, feisty, and angry tone just
as the scene does. The power of the song seems to escalate as the song goes on,
just as the argument between the girls does.
For
Act IV, Scene 1: Lines 207-229, I would chose Greig’s
Peer
Gynt Suite
No. 1, Op. 46: Morning Mood. In this scene, Bottom is waking up
and explaining his dream and, by doing so, he has an epiphany about the meaning
of love. This music by Peer Gynt is entitled Morning Mood and mirrors the tone
of Shakespeare’s scene --
awakening, discovery and connection amongst the various instruments
involved.
For
Act V, Scene 1: Lines 286-387, I would chose Strauss’
Radetzky
March, Op. 228.
In
this scene the Mechanicals are performing a play for the couples after their
wedding. All the couples find the play funny and amusing. The tone of the music
reflects these themes as it is very exuberant, passionate, playful and yet
purposeful. Both the scene and the music
alternate between both softer and more serious moments. The audience finds
enjoyment in the play, but the Mechanicals take their performance very
seriously. Overall, Strauss’s music evokes the imagery of a happy,
yet deliberate, celebration which is what is occurring in Shakespeare’s
scene (marriage and play). Also, the tone of the music reminds me of a finale
and things coming together. In the scene the chaos has ended, the couples are
paired, and the Mechanicals are able to perform their play.
For
Act V, Scene 1: Lines 388-455, I would choose Handel’s Water Music. In this scene the
Fairies plan to bless all beds, and Puck apologizes for all of his mischief.
The tone of this scene is happy, jovial, celebratory and triumphant. The
fairies dance around and celebrate the weddings that occurred earlier. Titania
says “Hand
in hand, with fairy grace, we will sing and bless this place.”
(Act V, Scene 1: Lines 416-417) Handel’s
music matches this tone through its lightness and airiness and helps conjure
imagery of fairies dancing around, just as in the scene the fairies dance
around from bed to bed blessing the newly married couples.
The
passionate, volatile tone expressed all throughout Midsummer
Night's Dream contributes to the theme that love is changing, and can be a source of
confusion and chaos, as well as a source of harmony and peace. The diction,
subtext, and plot of the play bring out this tone. The various melodies in the concertos,
symphonies and sonatas of this classical music playlist are ones that are
intended to provide both a musical setting and reinforcement of this tone.
Playlist:
Act I, Scene 2:
Lines 1-107 - Beethoven’s
Sonata No. 8 In C Minor For Piano,
Op. 13, ''Pathétique'': III. Allegro
Act II, Scene
1:Lines 63-194 - Vivaldi’s
Concerto No. 2 in G
minor, Op. 8, RV 315, "L'estate"
Act III, Scene 1:
Lines 131- 208 - Vivaldi’s
Concerto No. 3 in F
major, Op. 8, RV 293, "L'autunno"
Act V, Scene 1: Lines 388-455 - Handel’s Water Music
