Robert Johnson ( 1583 – 1633) was an English composer and lutenist of the late Tudor and early Jacobean eras. He is sometimes called "Robert Johnson II" to distinguish him from an earlier Scottish composer. He worked with William Shakespeare, providing music for some of his later plays.

Early life

thumb|"Deare doe not your faire beuty wronge" by Johnson as it appears in the manuscript [[Drexel 4175—the only song in the collection with authorial attribution (at bottom right)]]

Robert Johnson was the son of John Johnson, who was a lutenist to Elizabeth I. In 1594, Robert's father died, and in 1596, he joined the household of George Carey, 2nd Baron Hunsdon as an apprentice. Robert is assumed to have been around 13 at the time, as this was a typical age to begin an apprenticeship, but his date of birth is unknown. Carey and his wife, Elizabeth Spencer, were patrons of the lutenist and composer John Dowland, who dedicated various compositions to them. The family had a London house (Hunsdon House, Blackfriars) and a country home (Hunsdon House, Hunsdon, Hertfordshire), which partially survives.

Johnson joined the Carey household at an interesting time in their patronage of the arts. In 1597, Dowland dedicated his First book of songs and ayres to George Carey. As well as supporting musicians, Carey was patron of a theatre company to which William Shakespeare belonged. He composed music for the masques and entertainments which were popular at court in the Jacobean era. For example, he wrote music for Oberon, the Faery Prince in which Prince Henry took the title role and, after the prince's death in 1612, The Memorable Masque of the Middle Temple and Lincoln's Inn. He also served at the court of Charles I, remaining on the royal payroll until 1633, the year of his death.

Compositions for the King's Men

Johnson's surviving compositions for the King's Men theatrical company have been dated to 1610–1617. During these years, the King's Men were producing plays by Shakespeare and other playwrights, such as Ben Jonson, Francis Beaumont, and John Fletcher. Johnson's main claim to fame is that he composed the original settings for some of Shakespeare's lyrics, the best-known being probably those from The Tempest: "Where the Bee Sucks" and "Full Fathom Five". He is the only composer known to have composed the original settings of Shakespeare's lyrics. While other contemporary settings of Shakespeare's lyrics exist, for example, those by Thomas Morley, they have not been proved to be connected to a stage performance.

Johnson and the Blackfriars Theatre

From 1608, the King's Men company was using the Blackfriars Theatre as its winter base, and this may have influenced the songs and instrumental music required from Johnson. The Blackfriars Theatre, which had previously been used by a company of acting/singing children, offered increased scope for incidental music compared to the Globe Theatre. However, the company continued to perform at the Globe, and other venues such as the court, where Johnson's theatre music would presumably also have been heard.

Works/discography

There is a partial discography on the HOASM website. Notable versions of the songs from The Tempest are included in Alfred Deller's album Shakespeare Songs (1967). Other recordings include a recital of Robert's lute music by Nigel North on Naxos and a lute recital by Lynda Sayce of music by Robert and his father on Dervorguilla Records.

  • Where the bee sucks (The Tempest)
  • Hark, hark! the lark (Cymbeline)
  • Come hither, you that love
  • As I walked forth
  • Woods, rocks, and mountains (supposedly from the lost Shakespearean play Cardenio)
  • 'Tis late and cold
  • O let us howl
  • Arm, arm!
  • Come away, Hecate
  • Fantasia (lute)
  • Pavan I in C minor
  • Pavan II in F minor
  • Pavan III in C minor
  • Galliard (lute)
  • Charon, oh Charon
  • Away delights
  • Come, heavy sleep
  • Care-charming sleep
  • Alman I (lute)
  • Alman II (lute)
  • Alman III (lute)
  • Alman IV
  • Corant (lute)
  • Full fathom five (The Tempest)
  • Adieu, fond love
  • Come away, thou lady gay
  • Tell me, dearest

See also

  • Drexel 4175

Notes

  • http://www.contemplator.com/england/walkfrth.html
  • http://www.elizabethan-era.org.uk/robert-johnson.htm
  • Free musical animation on the First Witches Dance
  • Music Collection in Cambridge Digital Library which contains early copies/examples of Johnson's compositions