(CM126-7: 65 cues) First performance 1606; first folio (1623) has added musical stage directions; OS (1990) 225-33. App. B ‘Musical Additions’/ NC p. xxiv/ B258 discuss these probably spurious musical additions (possibly used in Middleton’s ‘The Witch’ c1614) in Act III v and sections of Act IV i: 39-43 and 125-32. See also SS lii (1999) 143-153 Stephen Orgel ‘Macbeth and the antic round’ where he writes on the background to and problems of staging the ‘divertissement.’ MM3 suggests the play opens without music. LH183-6: instruments: drums, trumpets, as ironic symbols of hospitality, hoboys (shawms).
| I |
i |
0 |
Thunder and lightening. (B256) kettledrums |
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ii |
0 |
Alarum within. (B256) trumpet alone in the nature of a flourish |
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iii |
0 |
Thunder. (B256) kettledrums |
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27-36 |
Drum within. (B256) rapid rolling of side-drum [A drum, a drum—Macbeth doth come] All dancing in a ring The weird sisters hand in hand… |
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86 |
[…To thy self-same tune and words] |
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iv |
0, 58 |
Flourish; Flourish |
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v |
24 |
[Hie thee hither…] (B256-7) distant trumpet heralding Macbeth’s arrival] |
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vi; vii |
0 |
{Hautboys and torches} Hautboys. Torches (GPc vi 71/ B257) *bagpipes |
156 |
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a) LH184: 1610 Robert DOWLAND 1st Queen’s Masque for Jonson: entry dance. lute DR24/ SA225/ Chan 17a (pp.211-2) ۞Pd1; consort à 6 (3sa+ 3co) SA239; ۞Hc 17 i |
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b) MH137: *pavane with old-fashioned polyphonic texture in both scenes: producing in sc vii: ironic effect |
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vii |
60 |
[screw your courage to the sticking-place And we’ll not fail] Anthony Burgess (Shakespeare. Vintage press, 1996, p.66) notes that this allusion is directly drawn from the act of tuning the lute. |
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| II |
i |
61 |
A bell rings. |
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iii |
74; 79-82 |
[Ring the alarum bell] Bell rings. [What’s the business, That such a hideous trumpet calls to parley The sleepers of the house?] |
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| III |
i |
10 |
Sennet sounded. Hautboys or trumpets. (B257) magnificent long flourish |
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iv |
0 |
Enter Macbeth… (B257) {Flourish} |
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0-{82} |
Banquet prepared. (MH137-8): a *galliard in homophonic style with little inner harmonic tension; or, for extra dramatic effect a silent banquet with ceremonial music stifled? (SM40) hautboys LH186, 189: 1583 Scotche gayliarde, lute (DL26) LSP 1 |
157 |
| v |
|
33 |
{singing dispersedly within}, [Music and a song] {within} ‘Come away, come away,’ &c {probably spurious; possibly intended for Middleton’s ‘The Witch’} Gooch 6925 |
158 |
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a) S88/ LH188: (for 1611 performance) lst folio interpolated ‘Heart’s-ease |
(281a) |
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b) CU6/ LH190, 193-5 [Gooch 6925]: US-NYp Drexel MS 4175: Robert JOHNSON attrib. ‘Come away, Hecate! M + k: EL LS12 (ii 17): 22; ۞BaS23/ ۞Eh23/ ۞KyJ9; facsimile OS230-1; S+B voices + lute Jb9; bc LH193-5; ۞PaH 15; as lute song ۞DO i 11; melody and text DO 99-100 |
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c) CM 128 solo voice + rSATB: shortened version of b) |
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| IV |
i |
0 |
Thunder |
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10-11; 20-1 |
Double, double, toil and trouble… BR68-9 has description. |
159 |
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CM 129-136 chant like melody sung by the three witches: WEELKES a melody based on an In nomine here set as an incantation with rSATB + g/k [identified as an adaptation of the In nomine à 5 viols MB ix 53] |
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43 |
Music and a song ‘Black Spirits,’ &c. {probably spurious as III v 33} cf OS232 |
160 |
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a) CU7/ LH199: (à 2 LM25 21r, 74 v) attrib. Robert JOHNSON ‘1st Witch’s dance’ Chan 16b/ SA76/ bars 1-8 WP141/ LMw i 2/ LMw i 10; rSA/T Z7; rSSA Ez23 ۞BaS24/ ۞Eh21/ ۞PaH16/ ۞Wt24; used in 1609 Jonson ‘The Maske of Queens’ lute (GB-Lbl Add. MS 38539 f4/ BA71, p.65)/ tBO f26r 81); as ‘Almaine no 6. ‘The Witches daunce in the Queen’s masque;’ 1610 Robert DOWLAND DR27; kSA246 and an à 5 setting by BRADE as ‘Hexsentanz’ in C major (BN49) SA247/ LMw i 2; ۞Pd 2/ ۞WF 12; rSS/AATB BC ii 21. Sabol notes: if played briskly, violins energetically attacking the trills, the piece will sound decidedly malevolent. PS172-3 has text of the song. WD1 as used in Middleton’s play ‘The Wyche’ (GB-Lbl Add MS 17786-91, no 6} TB6 |
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b) uDO65-7 set to ‘Packington’s Pound’; ۞DO i 5 |
(303b) |
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83, 92, 103 |
Thunder |
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122; 127 |
Hautboys [Why sinks that cauldron? And what noise is this?] A show of eight Kings |
161 |
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LH188-9: c1624. ADSON, attrib. ‘Divells dance’: antimasque à 2 (LM85 f39v-40, 98v) SA138 rA + k BJ7; rA + g LMz12; rATTBB LMh5; à 5 AC10/ SA277; bqACb 10; lute (GB-Lbl Add MS 38539 f30v) SA278 in this hautboys effectively drown noise of stage mechanisms |
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145-6 |
[I’ll charm the air to give a sound, While you perform your *antic round] |
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148 |
Music. The Witches dance, and vanish… (BR) grotesque *round dance |
162 |
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OS232 description CU8 (à 2: LM26 21v, 75r) R JOHNSON attrib. 2nd Witch’s dance; Chan 16b ii/SA77/ r bars 8-15:WP142; ۞BaS25/ ۞CamM1; with realization of continuo. LMw i 3; rSATB viols/ strings LMh 6; kSA248 (GB-Oc MS 92 f 15, ‘The Witches’) rSA/T Z8; ۞Eh22/ ۞۞Wt 13 |
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| IV |
iii |
98-99 |
[Nay, had I power, I should pour the sweet milk of concord into hell] |
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237 |
[This tune goes manly] |
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| V |
ii,iv,v,vi |
0 |
Enter… with a drummer and colours (B258) English march N&200-1 |
(78) 163 |
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v |
48 |
[Ring the alarum bell] Alarums |
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vi |
9-10 |
[Make all our trumpets speak, give them all breath, Those clamorous harbingers of blood and death] {Alarums continued} i.e. into sc vii |
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viii |
0; 10 |
Alarums |
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ix |
7 |
Alarum |
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34 |
Alarums |
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xi |
0; 26; 41 |
Retreat and flourish. Enter with a drummer and colours…; Flourish; Flourish. |
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