Not many of us think of Shakespeare’s plays as examples of great musicals, but from A Midsummer Night’s Dream, to even Macbeth, Shakespeare uses music, song, and instrumental accompaniment as a dramatic device that spurs forward the story of the play, and quite often, even comments on the actions of the players themselves with songs, dances, and even musical flourishes to introduce or follow the exit of characters in the play.

 

Here today to help us explore the music of William Shakespeare’s stage productions, is our special guest, Mary Springfels.

Mary Springfels is the founder and former director of the Newberry Consort. A veteran of the early music movement in America, she has performed and recorded extensively with such ensembles as the New York Pro Musica, the Waverly Consort, Concert Royal, Sequentia, Philharmonia Baroque Orchestra, the Seattle Baroque Orchestra, Music of the Baroque, Musica Sacra, the Marlborough Festival, the New York City Opera, and Chicago Opera Theater, where she served as an artistic advisor. She is much in demand as a teacher and player in summer festivals throughout the US, among them the San Francisco and Amherst early music festivals, the Conclave of the Viola da Gamba Society of America, the Pinewoods Early Music Week, and the Texas Toot. She has recently performed with the Sonoma Bach Festival, the Arizona Bach Festival, the Dallas Bach Festival, and Ars Lyrica of Houston.

Mary joins us today to discuss her article for the Encyclopedia Britannica titled Music in Shakespeare's Plays that discusses the history of Tudor music and Shakespeare’s application of that culture to performance.