A Midsummer Night's Dream: Incidental Music, Op. 61 (Ein Sommernachtstraum) Cover Image

A Midsummer Night's Dream: Incidental Music, Op. 61 (Ein Sommernachtstraum): Conductor Score & Parts

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A Midsummer Night's Dream: Incidental Music, Op. 61 (Ein Sommernachtstraum) Cover Image

A Midsummer Night's Dream: Incidental Music, Op. 61 (Ein Sommernachtstraum): Conductor Score & Parts

By Felix Mendelssohn

Item: 36-A171402

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Description
Felix Mendelssohn (1809-1847) wrote music for William Shakespeare's play A MIDSUMMER NIGHT'S DREAM on two separate occasions. He first wrote the concert overture in E Major, Op. 21 in 1826 at the age of seventeen for no other reason than the love that he and siblings had for Shakespeare’s stage works. He wrote the incidental music, Op. 61 (likely the best-known incidental music in the repertoire) in 1842 as a commission from King Frederick William IV of Prussia. In creating the complete later version, the composer incorporated the original overture, Op. 21 as the overture for the incidental music and the first of the 14 numbers. Starting with what must be four of the most evocative and memorable chords in music, the work also is the origin of the Wedding March (No. 9) used in so many ceremonies today, commonly referred to as "Here Comes the Bride." The work was premiered in Potsdam, Germany on October 14, 1843 by the Leipzig Gewandhaus Orchestra, conducted by the composer. Instrumentation: 2.2.2.2: 2.3.3.1: Timp.Perc(2): Str (9-8-7-6-5 in set): Soli SS.Women's chor. The vocal score and choral score are each available separately.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 679360648117
SKU: 36-A171402
Instrumentation: 2.2.2.2: 2.3.3.1: Timp.Perc(2): Str (9-8-7-6-5 in set): Soli SS.Women's chor

More about this title

About the Composer: Felix Mendelssohn

Felix Mendelssohn (1809-1847) was a German composer whose gifts for orchestration and lyrical melody shaped the Romantic era. A prodigy who composed prolifically across all genres, he possessed a rare ability to balance structural clarity with emotional immediacy, qualities that made him a favorite of performers and audiences during his lifetime and beyond. His deep love of Shakespeare's works, shared with his siblings, led him to create some of the most performed incidental music in concert history.

Why we love this

This score offers directors one of the most grateful orchestral works to conduct; the writing is transparent, idiomatic across all sections, and brilliantly colored without being heavy. Beyond the famous Wedding March, the suite contains genuinely magical moments that audiences recognize even without knowing the work's name, and the combination of overture, dances, choruses, and character pieces gives you flexibility in programming either the complete work or selected movements.

What to expect

Luminous and playful by turns, with moments of genuine tenderness woven through. The famous opening evokes enchantment itself; from there, the music conjures fairies, lovers, mechanicals, and magic with orchestral colors that feel both precise and painterly. The emotional range moves easily from whimsy to beauty to celebration.

Who it's for

Orchestra directors programming concert work for advanced or collegiate ensembles, or looking to add a substantial multi-movement suite that works across concert and educational contexts. Conductors seeking repertoire that teaches orchestral transparency and expressive clarity will find generous material here.

How to get the most out of it

  • Balance the famous opening chords with stillness rather than weight; they need to sound crystalline and speak with clarity, not overwhelm. Let the silence before them do the work.
  • The scherzo sections move with genuine lightness. Resist the urge to push the tempo; Mendelssohn's orchestration will sparkle naturally if the lines are clean and articulate.
  • Treat the Wedding March with restraint in the opening statement. Its familiarity tempts broad, ceremonial pacing, but the original context calls for grace and lilt before any broadening.
  • Give your soloists and women's chorus adequate rehearsal time with the orchestra. The vocal writing sits well, but the integration requires precise ensemble coordination to maintain the work's delicate balances.

How to use it

Program this as a standalone orchestral suite in a concert celebrating Romantic masterworks, or use selected movements as an overture plus interlude structure across a longer program. The complete work works equally well as a season highlight or as a teaching piece for advanced ensembles learning to balance multiple musical characters within a unified vision.

Skills your students will build

  • Conducting multiple orchestral textures with equal transparency
  • Balancing choral and solo vocal lines within full orchestration
  • Shaping connected phrases across longer formal structures
  • Executing rhythmic precision in scherzo writing and compound meter passages
  • Achieving dynamic control in quiet, delicate writing (the famous opening chords)
  • Tuning and intonation in sustained harmonic passages

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