Form: Sonata Form
Key: E Major/minor
This movement introduces the play by setting the atmosphere of the enchanted forest and introduces the characters of the play by presenting characteristic motives which denote the interactions between the distinct groups of characters represented in the play – Elves & Fairies, Lovers, the Athenian Court and the Tradesmen. It is interesting to note that throughout each of these motives there is a common thread of a tetrachord pattern that Mendelssohn uses to stitch together the contrasting motivic fabrics of the Overture.
The Exposition introduces these motives in sequence beginning the use of the woodwinds to sound an ethereal four-chord introduction which immediately suggests to the listener that they are moving into another realm. The introduction ends on an E major chord, but then immediately shifts to the key of e minor where soft, fast, staccato violin patterns introduce the Fairy theme. A transition is followed by the more lyrical and expressive Lover’s Theme - again using the violins. Following this, the Clowns theme is used to introduce Bottom and his fellow tradesmen. The passage is loud and disjunct and the brash Ophiclide (bass instrument replaced by the Tuba in modern orchestras) with its descending major 9th leaps which are meant to portray the “hee-haw” braying of a donkey (Bottom’s character) perfectly suit the scenario. The exposition is then closed out by a passage based on the transitional theme.
In the Development, the Fairy theme is developed along with the use of imitation in the string section. “Little woodwind fanfare figures that seem inconsequential in the exposition become very mysterious, like spirits popping up from behind mushrooms and then disappearing... The strings offer their own hee-haws. Loud horn calls evoke both the threatening darkness of the forest and Theseus' hunting party”.[1] After a straightforward recapitulation, the movement ends with a Coda that reprises the Fairy theme and the introductory chords.
The following are examples of the 6 motives that Mendelssohn uses throughout the overture and his use of the connective tetrachord pattern
[1] LA Phil 2013/14, “A Midsummer Night’s Dream (Overture and Incidental Music)”, http://www.laphil.com/philpedia/music/midsummer-nights-dream-overture-and-incidental-music-felix-mendelssohn (accessed December 11, 2012)
Key: E Major/minor
This movement introduces the play by setting the atmosphere of the enchanted forest and introduces the characters of the play by presenting characteristic motives which denote the interactions between the distinct groups of characters represented in the play – Elves & Fairies, Lovers, the Athenian Court and the Tradesmen. It is interesting to note that throughout each of these motives there is a common thread of a tetrachord pattern that Mendelssohn uses to stitch together the contrasting motivic fabrics of the Overture.
The Exposition introduces these motives in sequence beginning the use of the woodwinds to sound an ethereal four-chord introduction which immediately suggests to the listener that they are moving into another realm. The introduction ends on an E major chord, but then immediately shifts to the key of e minor where soft, fast, staccato violin patterns introduce the Fairy theme. A transition is followed by the more lyrical and expressive Lover’s Theme - again using the violins. Following this, the Clowns theme is used to introduce Bottom and his fellow tradesmen. The passage is loud and disjunct and the brash Ophiclide (bass instrument replaced by the Tuba in modern orchestras) with its descending major 9th leaps which are meant to portray the “hee-haw” braying of a donkey (Bottom’s character) perfectly suit the scenario. The exposition is then closed out by a passage based on the transitional theme.
In the Development, the Fairy theme is developed along with the use of imitation in the string section. “Little woodwind fanfare figures that seem inconsequential in the exposition become very mysterious, like spirits popping up from behind mushrooms and then disappearing... The strings offer their own hee-haws. Loud horn calls evoke both the threatening darkness of the forest and Theseus' hunting party”.[1] After a straightforward recapitulation, the movement ends with a Coda that reprises the Fairy theme and the introductory chords.
The following are examples of the 6 motives that Mendelssohn uses throughout the overture and his use of the connective tetrachord pattern
[1] LA Phil 2013/14, “A Midsummer Night’s Dream (Overture and Incidental Music)”, http://www.laphil.com/philpedia/music/midsummer-nights-dream-overture-and-incidental-music-felix-mendelssohn (accessed December 11, 2012)
Motive 1: Wind Chords
Used in the opening of the overture, these 4 chords provide a dreamlike state with their harmonically unconventional, ambiguous nature (E-G# could mean E Major or C# min). The second chord (B Major) which is the Dominant of the “home” key, shifts to the Subdominant A in its minor form in the third chord. The mood is created through lots of shifting before Tonic is finally defined. In this motive, the descending tetrachord E-D#-C-B (shown on right) is embedded in the chords.
Used in the opening of the overture, these 4 chords provide a dreamlike state with their harmonically unconventional, ambiguous nature (E-G# could mean E Major or C# min). The second chord (B Major) which is the Dominant of the “home” key, shifts to the Subdominant A in its minor form in the third chord. The mood is created through lots of shifting before Tonic is finally defined. In this motive, the descending tetrachord E-D#-C-B (shown on right) is embedded in the chords.
Motive 2: Elves / Fairies
The elves and fairies are denoted by the use of the light frolicking pianissimo staccato in violins which are divided into 4 parts. Here the descending tetrachord transforms itself into the natural minor version of E-D-C-B.
The elves and fairies are denoted by the use of the light frolicking pianissimo staccato in violins which are divided into 4 parts. Here the descending tetrachord transforms itself into the natural minor version of E-D-C-B.
Motive 3: Court
The first passage for full orchestra with its descending scale connotes the Athens Court. The tetrachord is now heard in its major form of E-D#-C#-B (from m2).
The first passage for full orchestra with its descending scale connotes the Athens Court. The tetrachord is now heard in its major form of E-D#-C#-B (from m2).
Motive 4: Lovers
The yearning legato of the movement’s second theme (now in the dominant key of B Major) played by the violins suggests the pairs of lovers in the play. Now the tetrachord which previously spanned the interval of a fourth is compressed into a third, and the pattern is B-A#-A-G#.
The yearning legato of the movement’s second theme (now in the dominant key of B Major) played by the violins suggests the pairs of lovers in the play. Now the tetrachord which previously spanned the interval of a fourth is compressed into a third, and the pattern is B-A#-A-G#.
Motive 5: Tradesmen
Rustic drones and a braying theme of the descending 9th for bottom denote the tradesmen and donkey. The tetrachord does not appear in this figure though there is still a descending pattern as was prominent in the previous motives – we get as far as D-C#-B.
Rustic drones and a braying theme of the descending 9th for bottom denote the tradesmen and donkey. The tetrachord does not appear in this figure though there is still a descending pattern as was prominent in the previous motives – we get as far as D-C#-B.
Motive 6: Hunting Party
Horn fanfares that close out the exposition denote the Royal hunting party of Thesius and Hippolyta. Again, there is no tetrachord in this motive, and the only descending pattern is from the third to the second of the chord (G#-F#).
Horn fanfares that close out the exposition denote the Royal hunting party of Thesius and Hippolyta. Again, there is no tetrachord in this motive, and the only descending pattern is from the third to the second of the chord (G#-F#).