CD 1 Macbeth – Incidental music to Shakespeare’s play (1888)
1. No. 1 – Overture
2. No. 2 – Act 1, Scene 1 (When shall we three meet again?)
3. Dialogue – Act 1, Scene 2 (Doubtful it stood …)
4. No. 14 – Prelude to Act 6
5. No. 4 – Act 1, Scene 3 (Where hast thou been, sister?)
6. Dialogue – Act 1, Scene 3 (So foul and fair a day I have not seen …)
7. No. 5 – Act 1, Scene 6 (This castle hath a pleasant seat …)
8. Dialogue – Act 1, Scene 6 (See, see, our honour’d hostess …)
9. No. 6 – Prelude to Act 2
10. Dialogue – Act 2 (Is this a dagger, which I see before me …)
11. No. 7 – Prelude to Act 3
12. Dialogue – Act 3, Scene 1 (To be thus is nothing …)
13. No. 13 – Prelude to Act 5
14. Dialogue and No. 8 – Act 3, Scene 3 (You know your own degrees …)
15. No. 9 – Prelude to Act 4 (Thrice the brinded cat hath mew’d …)
16. No. 9a – Chorus: “Black spirits and white”
17. Dialogue (By the pricking of my thumbs …)
18. No. 10 – Act 4, Scene 1 cont’d: (A deed without a name …)
19. No. 11 – Act 4, Scene 1 cont’d: Witches’ dance
20. Dialogue – Act 4, Scene 1 (Time, thou anticipat’st my dread exploits …)
21. No. 12 – Act 4, Scene 2: Chorus of Witches and Spirits
22. Appendix – No. 3 – Act 1, Scene 3
23. Marmion Overture (1867)

CD 2 The Tempest – Incidental music to Shakespeare’s play (1860-62)
1. No. 1 – Introduction
2. Dialogue – Act 1, Scene 2 (Know thus far forth …)
3. No. 2 – Ariel’s Song: “Come unto these yellow sands”
4. Dialogue (Where should this music be? I’ the air or the earth?)
5. No. 2 cont’d – Ariel’s Song: “Full fathom five”
6. Dialogue – Act 1, Scene 2 (This ditty does remember my drown’d father …)
7. No. 3 – Act 2, Scene 1: Solemn Music
8. Dialogue – Act 2, Scene 1 (What a strange drowsiness possesses them!)
9. No. 3 cont’d – “While you here do snoring lie”
10. No. 4 – Prelude to Act 3
11. Dialogue – Act 3, Scene 3 (Let it be to-night …)
12. No. 6 – Act 3, Scene 3: Solemn and Strange Music (What harmony is this?)
13. No. 6 cont’d – Banquet Dance (Melodrama)
14. Dialogue (after dance) (Bravely the figure of this Harpy hast thou ...)
15. No. 7 – Prelude to Act 4
16. Dialogue – Act 4, Scene 1 (What, Ariel! My industrious servant, Ariel!)
17. No. 8 – Act 4, Scene 1 cont’d: Masque (No tongue! All eyes! Be silent!)
18. No. 9 – Act 4, Scene 1 cont’d: Duet – Juno and Ceres (Honour, riches, etc.)
19. Dialogue with Music (This is a most majestic vision ...)
20. No. 10 – Act 4, Scene 1 cont’d: Dance of Nymphs and Reapers
21. Dialogue – Act 4, Scene 1 (Our revels now are ended …)
22. No. 11 – Prelude to Act 5
23. Dialogue (Ye elves of hills, brooks, standing lakes and groves ...)
24. No. 11a – Act 5, Scene 1: Solemn Music (A solemn air and the best comforter ...)
25. No. 12 – Act 5, Scene 1: “Where the bee sucks”
26. Dialogue – Act 5, Scene 1 (Why, that’s my dainty Ariel! I shall miss thee ...) incl. No. 12a exit music
27. Dialogue – Act 5, Scene 1 (Sir, I invite your Highness and your train …)
28. No. 12b – Epilogue (Now my charms are all o’erthrown ...)
29. Appendix 2 – Epilogue (orchestra only)

MARY BEVAN soprano
FFLUR WYN soprano
SIMON CALLOW speaker
BBC SINGERS
BBC Concert Orchestra
conducted by JOHN ANDREWS

This 2-CD set brings together for the first time Arthur Sullivan’s complete incidental music to Shakespeare’s Macbeth and The Tempest with his concert overture, Marmion. The Tempest was Sullivan’s graduation work from the Leipzig Conservatoire, and its rapturous reception in London in 1862 launched his career. The Macbeth music comes from the other end of Sullivan’s creative life. Commissioned by Henry Irving for his famous production at the Lyceum Theatre, it includes sublime melodic writing, ravishing orchestration (including the atmospheric use of two harps) and a dark dramatic energy. For both plays, Sullivan interwove music and text seamlessly – most impressively in the scenes between Macbeth and the Witches. Simon Callow’s wonderful performance of Shakespeare’s text makes it possible to appreciate how truly theatrical this music is. Marmion was composed after the epic poem by Walter Scott, which culminates in the Battle of Flodden Field. Until now, it has been heard only in a heavily abbreviated version. This recording restores the composer’s original narrative structure, with sparkling playing from the BBC Concert Orchestra.

This SACD is compatible with all CD players
2CDLX7331

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“… the music is pure delight. Mary Bevan’s Ariel beguiles the ear.” Hugh Canning, BBC Music Magazine

“… with Simon Callow narrating and Mary Bevan as Ariel, has ‘stocking filler’ written all over it.” Hugh Canning, The Sunday Times, Record of the Year, 18 December 2016