Editor’s note: Classical music of any kind often feels boring and inaccessible—but not with Narendra Kusnur. He offers an accessible and fun guide to Western classical music—which has shaped movie soundtracks and top 40 hits alike.
In this month’s guide, Kusnur places the GOAT of the English language, old Shakespeare himself, front and centre. He explores the relationship between the Bard and classical music, taking us through the many moments in history where composers have drawn on Shakespeare’s work to create magic—as background, as accompaniment, as inspiration. Strap in and experience these tales of love, loss, and heroic tragedy set to soaring classical music with us. As always, we’ve put all the music referenced in the article in a YouTube playlist for you to enjoy.
Written by: Narendra Kusnur
A mix of brisk marches and moving laments filled the air at Mumbai’s Jamshed Bhabha Theatre during the final piece of the Symphony Orchestra of India (SOI) Autumn Season concert on August 26. British conductor Martyn Brabbins took a bow after presenting excerpts from Russian composer Sergei Prokofiev’s ballet Romeo and Juliet.
Inspired by William Shakespeare’s 1597 tragedy about two lovers from feuding families, this music was composed by Prokofiev in 1935 and subsequently revised five years later. Of the 20 movements in the original, the Mumbai performance featured 12, with the order changed. For instance, Brabbins began with ‘Montagues and Capulets’, which is No 13 in the original order and depicts the rivalry between the families. It is in two parts—‘The Prince Gives His Order’ and ‘Dance of the Knights’. Let’s watch the same composition played by the Detroit Symphony Orchestra conducted by Russian conductor Andrey Boreko.
Prokofiev’s Romeo and Juliet is one of the most popular interpretations of a Shakespeare play by a classical composer. Interestingly, the play had musical adaptations much earlier, as Frenchman Hector Berlioz and Russian composer Pyotr Ilyich Tchaikovsky wrote their own versions in 1839 and 1870, respectively. Let us watch short extracts from both. Berlioz is represented by the lively ‘Grand Fete Chez Capulet’, depicting a scene where the Capulet family is celebrating, conducted here by Daniel Harding for the Berlin Philharmonic Orchestra. Tchaikovsky’s beautiful and famous ‘Love Theme’ is conducted by Venezuelan maestro Gustavo Dudamel, also for the Berlin Philharmonic.
If music be the food of love, play on. Over the years, many classical musicians have been inspired by Shakespeare (1564-1616). Some have created special works for performance as operas and ballets, whereas others have composed scores for films based on the Bard Of Avon’s plays. As many of these pieces are long, often over an hour in length, we choose some of the shorter extracts. Preference has been given to the catchier or melodic pieces, to cater to new classical music enthusiasts.
The first known piece to be influenced by Shakespeare was British baroque musician Henry Purcell’s The Fairy Queen, an adaptation of A Midsummer Night’s Dream, a comedy with many subplots revolving around the marriage of Theseus and Hippolyta. Written as a semi-opera in 1692, Purcell’s plot follows the star-crossed lovers of the Shakespeare play as they wander around the forests of Arden amid hilarious confusion and misunderstandings. In this clip, ‘Come All Ye Songsters’, American tenor Zachary Wilder performs for an orchestra conducted by Francesco Corti of Italy.
The most famous classical takes on A Midsummer Night’s Dream are by German composer Felix Mendelssohn, who created two separate pieces. After writing a concert overture in 1826, he wrote incidental music (which is not connected to any scenes, but plays alongside in the background or between scenes to enhance a particular atmosphere) in 1843. The latter is best known for the ‘Wedding March’, which has become a staple at many wedding ceremonies. Here, it is played by the Moscow City Symphony Orchestra conducted by Mikhail Jurowski.
Wasn’t that wonderful? A Midsummer Night’s Dream was also converted into an opera by British composer Benjamin Britten in 1960. A surprising adaptation was by Steve Hackett, guitarist of the British progressive rock band Genesis, who was accompanied by the Royal Philharmonic Orchestra in 1997. Here, we play Hackett’s piece ‘Between The Cold Moon and the Earth’. Wonder what the rock fans felt.
Certain composers are known for their fondness of Shakespeare. Italian legend Giuseppe Verdi composed music for three operas based on his plays and characters—Macbeth in 1847, when he was only 33, Otello(as Othello was spelt in Italian) in 1887, and Falstaffin 1891. For those curious, John Falstaff was an overweight fictional character who made appearances in different plays like Henry IV Parts 1 and 2, Henry V and The Merry Wives of Windsor. Successfully assimilating the original text into his music to a great extent, Verdi managed to transform the Shakespearean dramas into new compositions. Let’s see an extract from Otello, where Bulgarian soprano Sonya Yoncheva sings the aria ‘Ave Maria, Piena Di Grazia’.
In Russia, the genius Dmitri Shostakovich provided the scores for the film versions of Hamlet(titled Gamletin Russian, and released in 1964) and King Lear (Korol Lir, 1971), directed by Grigori Kozintsev. Both were based on translations by Boris Pasternak (of the novel Doctor Zhivago fame). Shakespeare’s longest play, Hamlet was a tragedy about Danish prince Hamlet and his attempts to take revenge against his uncle Claudius, who had murdered his father in an attempt to seize his throne and marry his mother. King Lear was based on the legendary Welsh figure Leir of Britain, as he prepares for his old age. Here is the ‘Funeral March’ from Hamlet, by the Gothenburg Symphony Orchestra conducted by Neeme Jarvi of Estonia, followed by the incidental music of King Lear, created in the form of a march, and played by the Boston Symphony Orchestra conducted by Andris Nelsons of Latvia.
In the UK, 20th century composer William Walton was known for his ballets, film scores, incidental music, and orchestral works. He first worked with the great actor Sir Laurence Olivier on Paul Czinner’s 1936 film, and later on the films Henry V (1944), Hamlet (1948) and Richard III (1955), which Olivier directed and acted in as the lead character. Here’s a clip from a performance of the ‘Richard III Prelude’, used at the film’s beginning to set the scene. The video begins with a commentary by actor Timothy West, after which British conductor Ruman Gamba leads the BBC Concert Orchestra.
Some other tunes can be added to your Shakespeare playlist, to represent music from other known works. Let’s begin with Tchaikovsky’s The Tempest. Composed in 1873, it contains themes depicting the stillness of the ship at sea, the grotesque nature of Caliban (the subhuman son of the sea-witch Sycorax), and the love between Ferdinand and Miranda. Here’s an extract from the opening part of the piece, played by the Berlin Philharmonic conducted by Italian maestro Claudio Abbado.
The character Falstaff was described in a separate piece by British composer Edward Elgar in this 1913 composition. It’s not played too often in concerts, but here, Argentine-Israeli great Daniel Barenboim conducts the Berlin Philharmonic.
Among modern composers, the UK’s Jocelyn Pook gave music for the 2004 film The Merchant of Venice,which is about a merchant who defaults on a large loan. Jeremy Irons stars as the main character, Antonio, and Al Pacino plays Shylock, a Jewish moneylender. The music has been described by different people as contemporary classical, crossover, and new age. Here, German singer Andrea Scholl sings ‘With Wand’ring Steps’.
We conclude with an extract from the music of the romantic comedy Much Ado About Nothing, composed by Austrian musician Erich Korngold in 1920. Here, the ‘Garden Scene’ is played by Russian-American violinist Jascha Heifetz (posing with an accordion in the picture). It’s a soothing finale to any listening session, and you could do well to close your eyes while listening.
What makes Shakespeare so popular among classical musicians? The answer is best provided in the video posted below. Hopefully, this column will not only introduce readers to some classical gems, but also tempt them to go back to (or begin) reading the works of the literature legend.
Finally, like we always conclude the column, here’s a list of tunes we have mentioned.
Narendra Kusnur has been a music journalist for over 40 years—including a decade-long stint covering the beat at the Mid-Day newspaper. He currently writes for The Hindu, Free Press Journal, Hindustan Times, and Rolling Stone India—besides the in-house magazines of prestigious institutions—such as NCPA and Shanmukhananda Hall.
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