The Handbook of Shakespeare Music

speaking, for two baritones and a bass, the third voice descending to the double E b. This other setting is by the eminent glee composer, Mr. Samuel Webbe, who after taking the voices up to the point at which Mr. M. P. King has closed his glee, "That will be ere set of sun," proceeds to the question and answer

"Where the place? Upon the heath,

There we go to meet Macbeth."

The second line, it will be perceived, is altered from the original, and then follows another movement to these words, altered from part of Hecate's speech in the third Act

"There we'll perform such magic rites,

And raise such artificial sprites,

As by the force of their illusion

Shall draw him on to his confusion."

The glee is then brought to its close by these two lines, composed from the first scene of the fourth Act

"We'll double, double, toil and trouble,

And make our hell-broth boil and bubble."

Mr. Webbe's composition is in the key of C minor, and doubtless, with its low, sombre tone, would be felt, if it were really well performed, as much more Shakesperian in its style of treatment than the very popular, lighter work of Mr. King.

Act IV. Scene 1. A dark cave. In the middle a Caldron boiling. Thunder. Enter the three Witches.

There are two pieces of music connected with this Witch-scene, both of them composed by Mr. M. P. King. The first is a three-voiced glee, commencing "Round about the caldron go," while the second

piece is an unaccompanied glee and chorus, in three parts, thus

treated. Of six lines taken from a speech by the first Witch the first four are in a trio, and the last two are given in chorus:

I can easily believe that this would prove an effective piece if executed according to the composer's intention. The first two lines are set to a moderato movement. "I'll charm the air" is an allegretto, and the chorus is a maestoso. The whole is written commodiously for

the voices the first tenor never exceeding G, while the second tenor could be sung by any baritone. Altogether, the piece is of that kind which would be useful in a small musical society for men only.

MEASURE FOR MEASURE.

Act IV. Scene 1. A room in Mariana's house.

MARIANA discovered

sitting. A boy singing.

SONG.

Take, oh take those lips away,

That so sweetly were forsworn ;

And those eyes, the break of day,

Lights that do mislead the morn ;

But my kisses bring again,

Bring again

Seals of love, but seal'd in vain,

Seal'd in vain.

MARIANA. Break off thy song, and haste thee quick away :

Here comes a man of comfort, whose advice

Hath often still'd my brawling discontent."

The earliest setting of "Take, oh take those lips away," as yet known to me, is contained in the several editions of "Select Musicall Ayres and Dialogues," published in 1652, 1653, and 1659. The composer was Dr. John Wilson, then Professor of Music in the University of Oxford. In the printed copy the song is entitled "Love's Ingratitude," and in the British Museum Library there is an old MS. volume of music, in which Dr. Wilson's composition will be found, with some variations from the printed copy, and also graces added, in small notes, for the singing of some of the words.

The next earliest setting of this song, sung to the "dejected Mariana at the moated grange" is also a solo, by Mr. John Weldon. This setting will be found in a "Collection of New Songs," by Mr. Weldon, which songs, as the title-page informs us, were "Perform'd att his CONSORT in York Bildings." The date of this would be about 1707. Then there is another solo setting, contained in one of the volumes of the "Musical Miscellany," somewhere about 1730 (?) This was the work of Mr. Galliard, the composer of the once famous hunting-song, the "Early Horn." Mr. Thomas Chilcot also, about 1750, has done a solo setting of our song.

In Mr. Linley's work will be found another setting of these words as a solo, by himself. Mr. Linley was apparently unacquainted with the above-mentioned compositions so long prior to his own time, as he makes no mention of them, simply observing, as a reason for giving one of his own, that he was not aware of any appropriate reading of these words as a song.

Five other solo settings may also be indicated. One is in the library of the Sacred Harmonic Society, and its date may be about 1770. It has only the initials "W. N." upon it. Another is contained in a book of two cantatas and four songs, by Christopher Dixon, of

York. It is in G minor; the date I could imagine to be about 1780. A third I found on one side of a single leaf, belonging to some work unknown to me; there was a nursery-song on the other side of the leaf. A fourth setting was by Sir Henry Bishop, and was sung by Miss Stephens in the "Comedy of Errors." Lastly, there is a composition by Mr. Alfred Mellon, which, during the tercentenary movement, was sung by Mr. Santley.

I am able to name four compositions to these words in the duet form. One of these is by the well-known Mr. William Jackson, of Exeter, and another is contained in a book of "Thirteen Canzonets," for two voices, composed by T. Tremain; a third, written for soprano and tenor, with symphonies and accompaniments in the dramatic style, is in a book of six vocal pieces, marked as Opera prima," composed by William Tindal. In both these cases the dates may be assigned to soon after 1780. It may be observed, by the way, that Mr. Tremain and Mr. Tindal are musicians of whom I can find no account. The fourth duet was the composition of Mr. William Gardiner, of Leicester, who, in his "Music and Friends," tells us of his publishing such a piece, with only his initials "W. G." affixed. This was in his early

time.

By John Stafford Smith the poem has been set as a glee for alto, tenor and bass. There is also another three-voiced glee setting by the Honourable Augustus Barry. A four-voiced composition, about the date of 1780, is by Signor Giordani; this composition is headed by an announcement that it is also to be had "adapted for one voice, with the harpsichord accompaniment." Finally, there is another four-voiced composition to the poem in question, which is contained in a book of glees by Sir John Stevenson.

MERCHANT OF VENICE.

Act II. Scene 7.

Enter

Belmont. A room in PORTIA'S house. PORTIA, with the PRINCE OF MOROCCO, and both their trains.

There is a duet by Mr. Charles Horn, "All that glitters is not gold," taken from the scroll read by the Prince of Morocco in this scene. This duet was sung in the "Merry Wives of Windsor," when that play was musically performed many years ago.