Paul Kelly is scheduled to release his new album Seven Sonnets and a Song on 23 April, to mark the Shakespeare 400 anniversary.
Kelly, in consort with some of the highly accomplished Australian musicians he often works with, sings new settings of six of Shakespeare’s sonnets. “So long lives this, and this gives life to thee” – Shakespeare could never have guessed how true his words would turn out to be, or what fresh forms this life of words would take.
The ‘sonnets’ portion of the work is rounded out by Vika Bull singing a poem by Sir Philip Sidney, providing an apt proof of Kelly’s eye for talent that doesn’t have as high a profile as it deserves, no matter what the era.
The song is from Twelfth Night, one of the party pieces of the wise fool Feste, ‘O Mistress Mine’.
Kelly has long been identified as much as poet as a popular music artist, so at some level this kind of project coming from him causes little of surprise, though much of delight.
Kelly is making the album available digitally at midnight Greenwich Mean Time on 22 April, as the morning of the 23rd begins. Later that day he will give a performance of this special work at the State Library of NSW. He will also be speaking about Shakespeare and performing several sonnets at Sydney Writers’ Festival on Monday, 16 May.
Shakespeare and Music Studies: From theory into practice.
Monash University. Hosted by The Monash Shakespeare Company & The Melbourne Shakespeare Society
One-day Symposium. Call for papers:
When the field of Shakespeare and music studies emerged in the late-nineteenth century, it mainly concerned itself with the problems reconstructing the musical materials and practices of early modern theatre cultures. Since then, the field has evolved to encompass a vast body of methodologies and contexts, incorporating discussions of literature and history, and linking them to musical and theatre practices. As the field stands today, it is characterised by its eclecticism, even as it asserts its intrinsic value to Shakespeare studies more generally.
This symposium calls upon these diverse areas of expertise that make up the modern field to assist in identifying and developing strategies for the integration of music into productions of Shakespeare. We invite submissions from theatre and music practitioners, academics in literature, theatre, history and music studies, as well as postgraduate and undergraduate students, to contribute to this conversation. We impose no particular restrictions on paper topics, provided they are generally relevant to the field of Shakespeare and music studies. However, the following questions may act as a guide to submissions:
Why should music be considered a priority in the production of Shakespeare?
How can an understanding of early-modern music practice be applied to modern theatre productions?
How can knowledge of modern musical practices be applied to the staging of Shakespeare?
What specific challenges do composers face when setting Shakespeare’s language to music?
What types of musical resources can small theatre companies employ when staging Shakespeare?
How can theatre directors employ music in audition, rehearsal and production processes?
NB – Since the symposium will be practice-focused, we are also interested in considering workshop sessions.
Some travel bursaries will be available for interstate or international scholars. All submitted papers will also be considered for inclusion in an edited volume.
Please submit an abstract or proposal of approximately 200 words to firstname.lastname@example.org by 1st May 2016.