4 Apr 2012
Shakespeare: The Sonnets 
Robert Hollingworth, the Gramophone award-winning director of ex-Factory Classical ensemble I Fagiolini, presents a new collection of musical versions of the sonnets of William Shakespeare.

Out on the birthday of the bard himself - 23 April - these musical pieces were written during the time of Elizabeth I and re-imagined for the 2012 Diamond Jubilee year of Elizabeth II. Shakespeare: The Sonnets was recorded in London over the last 6 months.

The album is played on replicas of period instruments by some of the most highly talented and specialised musicians in the world. The harpsichords, virginals, lutes, harps and theorbos (no, me neither) can be yours for £10-20K (hey, it's cheaper than a Damien Hirst plastic skull!).

Watch a short YouTube video about the making of Shakespeare: The Sonnets.

Tracklisting

1. Like as the waves make towards the pebbled shore (Sonnet 60)
2. Against that time - If ever that time come (Sonnet 49)
3. Who will believe my verse in time to come (Sonnet 17)
4. How oft, when thou, my music, music play'st (Sonnet 128)
5. O, never say that I was false of heart (Sonnet 109)
6. Love is too young to know what conscience is (Sonnet 151)
7. No longer mourn for me when I am dead (Sonnet 71)
8. Thou blind fool love (Sonnet 137)
9. Those lines that I before have writ do lie (Sonnet 115)
10. When I do count the clock that tells the time (Sonnet 12)
11. Shall I compare thee to summers day? (Sonnet 18)

More info at ifagiolini.com

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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

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