Shakespeare: Romeo and Juliet (R&J-11)

(CM204: 11 cues) Perhaps the best-known attempt to reconstruct the music of Act I scene v played at the Capulet ball and banquet into which the masquers intruded occurred on the 1968 film soundtrack (Verona Productions) of the play with The London Early Music Consort directed by David Munrow (directed by Zeffirelli). pGP ii 170 suggests the use of instruments: trumpets, cornetti and drums. GPc v 72-3 suggests a recorder consort which Paris brings to the wedding, perhaps playing off stage as a ‘tragically ironic accompaniment to the lamenting at Juliet’s bedside. The recorders could play for the dance at Capulet’s house, but a consort of viols is perhaps likelier here, for there is dialogue throughout the music.’ John Stevens (SM34) points out ‘it would seem likely that a *broken consort of lute, rebec, pipe and tabor would have m et the play’s needs’.

Brissenden notes how Shakespeare emphasises the divine quality of Romeo and Juliet’s love by his use of dance as a prelude and a background to its revelation and how the allusions to dancing no longer occur after the first death (Mercutio’s) (BR64). Auden summarises the status of musicians as portrayed in IV iv ‘whose lives mean nothing to Capulets; they are things which make music: the lives of the Capulets mean nothing to the musicians; they are things which pay money.’ (ALd 512)