Music from A Midsummer Nights Dream (414.01) (The perennially popular set of incidental pieces for Shakespeare’s ‘Midsummer Night’s Dream’ were written in 1843 to a commission from Friedrich Wilhelm IV, King of Prussia, the Overture having been written 17 years earlier under the inspiration of a performance that Felix and his sister had seen in Berlin. He was 17 at the time and the maturity of this early work is astounding. The incidental music consisted of 13 numbers: entr’actes, dances and sons. The three pieces in this set are the best known of these. Sherzo was written to precede Act II, set in “A Wood near Athens’ and anticipates the entrance of the fairies. Nocturne comes at the end of Act III after the lovers have fallen asleep in the wood, the glorious horn solo, with its woodland associations, perfectly reflecting on the romantic scene. Wedding March appears between Acts IV and V and illustrates the joyful celebrations at the marriages of Theseus to Hippolyta, Lysander to Hermia and Demetrius to Helena. Performance notes: Scherzo: This is a real test of leggiero playing, particularly for a lower instrument. At all times, even if the louder dynamics, aim for a lightness of style, with the most precise articulation. The tempo should be fast enough to give the scherzo feel but not so fast as to make the playing become anxious. The 2nd trumpet will probably need a piccolo to play bars 343 onwards but it must still blend with the 1st trumpet. The 4th trumpet part is best played throughout on the flugel but some sections may be played on the trumpet to blend if desired. The 3rd trumpet should play the final section on the flugel if available. Nocturne: This movement requires considerable control, not only from the solo horn but also from the trombones who have to play almost continually in a supporting roe without becoming obvious. The accompaniment figuration in the middle section and the recapitulation should be as sotto voce as possible to allow the melody lines to sing in an unforced manner. The trumpets/flugel should also endeavour to maintain a cantabile style throughout. From 59 the upper trumpets (small instruments) may play an octave higher if possible. If they choose this option, the trombones should also choose the upper octave line where marked if feasible. From 1001-104 the 1st trumpet may chose the lower octave option if the written notes are uncomfortable. If this option is taken he/she should allow the 2nd trumpet to finish the phrase as marked. Wedding March: Take a good brisk tempo ands aim for a joyful style but without forcing. From letter D try to get the rhythm accurate so that the dotted crotchet/quavers pattern is distinct from the dotted quaver/semi quaver. The trombones from G should again maintain a sotto voce style; rest occasionally if necessary. )
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