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Robert Johnson (II) (1583 - 1634)
Robert Johnson (c. 1583 – c. 1634) 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. Johnson worked with William Shakespeare providing music for some of his later plays.
Robert Johnson was the son of John Johnson, who was 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 not known. Carey and his wife Elizabeth Spencer, were patrons of the lutenist and composer John Dowland, who dedicated various compositions to them. The family's country home Hunsdon House 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.[1] As well as supporting musicians, Carey was patron of a theatre company to which William Shakespeare belonged.[1] In 1596/7 the company was briefly known as 'Baron Hunsdon's Men', but is better known as the Lord Chamberlain's Men (the name they used after Carey became Lord Chamberlain in 1597), or their subsequent name, the King’s Men. It is not known whether Johnson worked with this theatre company on any of their productions in the 1590s, such as The Merry Wives of Windsor. However, he certainly provided music for the King's Men in a later stage of his career.
After serving his apprenticeship in the Carey household, Johnson found work at court. He became a royal lutenist in James I's 'Private Musick' from 1604, and was later lutenist to Prince Henry (until the prince's death in 1612). He composed music for the masques and entertainments which were popular at court in the Jacobean era. He went on to serve at the court of Charles I until 1633, becoming “Composer for Lute and Voices”.
His compositions for the King's Men theatrical company have been dated to 1610-1617, a period when the company was using the Blackfriars Theatre as its winter base. It has been noted that the facilities at the Blackfriars Theatre offered increased scope for incidental music — songs and instrumental music — compared to the larger 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. At this time 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. (Hide extended text) ... (Read all)
Source : Wikipedia
Robert Johnson was the son of John Johnson, who was 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 not known. Carey and his wife Elizabeth Spencer, were patrons of the lutenist and composer John Dowland, who dedicated various compositions to them. The family's country home Hunsdon House 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.[1] As well as supporting musicians, Carey was patron of a theatre company to which William Shakespeare belonged.[1] In 1596/7 the company was briefly known as 'Baron Hunsdon's Men', but is better known as the Lord Chamberlain's Men (the name they used after Carey became Lord Chamberlain in 1597), or their subsequent name, the King’s Men. It is not known whether Johnson worked with this theatre company on any of their productions in the 1590s, such as The Merry Wives of Windsor. However, he certainly provided music for the King's Men in a later stage of his career.
After serving his apprenticeship in the Carey household, Johnson found work at court. He became a royal lutenist in James I's 'Private Musick' from 1604, and was later lutenist to Prince Henry (until the prince's death in 1612). He composed music for the masques and entertainments which were popular at court in the Jacobean era. He went on to serve at the court of Charles I until 1633, becoming “Composer for Lute and Voices”.
His compositions for the King's Men theatrical company have been dated to 1610-1617, a period when the company was using the Blackfriars Theatre as its winter base. It has been noted that the facilities at the Blackfriars Theatre offered increased scope for incidental music — songs and instrumental music — compared to the larger 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. At this time 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. (Hide extended text) ... (Read all)
Source : Wikipedia
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