Russell Ronnebaum & Samantha Bounkeua | Much Ado About Nothing

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Much Ado About Nothing

by Russell Ronnebaum & Samantha Bounkeua

This original score for Shakespeare's "Much Ado About Nothing" combines elements of 16th style with a modern approach to musical scoring.
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
clip
1. Hero's Opening Theme
Russell Ronnebaum & Samantha Bounkeua
0:35 $0.99
clip
2. Don John's Theme
Russell Ronnebaum
0:39 $0.99
clip
3. Masque Dance (Bourrée)
Russell Ronnebaum & Samantha Bounkeua
1:15 $0.99
clip
4. Sigh No More
Russell Ronnebaum & John Keeney
2:35 $0.99
clip
5. The Lady Is Disloyal
Russell Ronnebaum & Samantha Bounkeua
1:45 $0.99
clip
6. Watchmen (Are You Good Men and True?)
Russell Ronnebaum & Samantha Bounkeua
0:42 $0.99
clip
7. The Arrest
Russell Ronnebaum & Samantha Bounkeua
0:46 $0.99
clip
8. Dogberry and Verges
Russell Ronnebaum & Samantha Bounkeua
1:04 $0.99
clip
9. Hero's Wedding Theme
Russell Ronnebaum & Samantha Bounkeua
0:38 $0.99
clip
10. The Interrogation
Russell Ronnebaum
0:41 $0.99
clip
11. O, That I Had Been Writ Down an Ass!
Russell Ronnebaum & Samantha Bounkeua
0:45 $0.99
clip
12. Pardon Goddess
Russell Ronnebaum, John Keeney & Hunter Hnat
2:29 $0.99
clip
13. Entrance of the Veiled Brides
Russell Ronnebaum & Samantha Bounkeua
0:39 $0.99
clip
14. Hero's Unveiling
Russell Ronnebaum & Samantha Bounkeua
0:54 $0.99
clip
15. Final Dance (Galliard)
Russell Ronnebaum & Samantha Bounkeua
1:21 $0.99
clip
16. Suite Hero
Russell Ronnebaum & Samantha Bounkeua
4:49 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The first was to maintain a certain level of stylistic accuracy that would have been found in Shakespeare’s time. Both of the company dances, the masque and the final dance, are modeled after the 16th-century rhythmic patterns of the Bourrée and the Galliard. Benedick’s ballad fragment “The God of Love” is derived from a lute tune of the same title from the Francis Willoughby Lute Book, (c. 1575).

The second goal was to heighten the drama through the use of leitmotifs— a short, reoccurring musical phrase associated with a character or idea. The villain of the play, Don John, is characterized by a menacing theme while the character Hero is represented by an innocent melody which develops throughout the entire play as she experiences trials forced upon her by the circumstances of her wrongdoers.

Together, I have used historical musical elements and original thematic leitmotifs to support, enhance and advance the story being performed while balancing strict adherence to period style and a contemporary approach to musical underscoring.

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