A Midsummer Night's Dream: Incidental Music, Op. 61; No. 11: Dance of the Clowns (Bergamask Dance) Cover Image

A Midsummer Night's Dream: Incidental Music, Op. 61; No. 11: Dance of the Clowns (Bergamask Dance): Full Orchestra, Conductor Score

$3.00 USD

A Midsummer Night's Dream: Incidental Music, Op. 61; No. 11: Dance of the Clowns (Bergamask Dance): Full Orchestra, Conductor Score

Name: A Midsummer Night's Dream: Incidental Music, Op. 61; No. 11: Dance of the Clowns (Bergamask Dance): Full Orchestra, Conductor Score
Brand: Alfred Music
SKU: 36-A624601
Price: 3.00 USD
Availability: InStock

By Felix Mendelssohn

Item: 36-A624601

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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 his 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. The "Dance of the Clowns" (Bergamask Dance) movement, No. 11, is a modified reappearance of Nick Bottom's donkey dance as heard in the overture. Instrumentation: 2.2.2.2: 2.0.0.1: Timp: Str (9.8.7.6.5 in set).

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-89-270935-6

ISBN13: 979-8-89-270935-4

UPC: 659859341279

SKU: 36-A624601

Instrumentation: 2.2.2.2: 2.0.0.1: Timp: Str (9.8.7.6.5 in set)

More about this title

About the Composer: Felix Mendelssohn

Felix Mendelssohn (1809-1847) was a German Romantic composer whose prolific output spanned symphonies, concertos, chamber music, and vocal works that shaped 19th-century music. His deep engagement with literature, particularly Shakespeare, resulted in some of his most performed compositions, including the overtures to A Midsummer Night's Dream and The Tempest. Mendelssohn's gift for orchestral color and his ability to capture the emotional and dramatic essence of literary sources made him one of the most influential composers of the early Romantic era.

Beyond composition, Mendelssohn was an accomplished organist, pianist, and conductor who championed the works of earlier composers, especially Bach and Handel. His role in founding and directing the Leipzig Conservatory solidified his impact on music education in Germany. His music remains central to the concert and educational repertoire worldwide, valued for its craftsmanship, emotional directness, and orchestral clarity.

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Why we love this

The Bergamask Dance is instantly recognizable fun. Conductors appreciate how distinctly it sits within the Midsummer Night's Dream cycle while standing entirely on its own as a concert opener or intermission piece. The orchestration is transparent and idiomatic, and the rhythmic vitality of the material keeps players engaged without overwhelming younger or less experienced ensembles.

What to expect

The music bounces and dances with comic mischief. Woodwind staccatos and string pizzicatos create a lightness that evokes the bumbling humor of the clowns, while the underlying rhythmic drive gives the piece momentum and warmth rather than coldness or cuteness.

Who it's for

This movement works beautifully for orchestras at the intermediate to advanced level. Conductors seeking a concert piece with theatrical appeal and clear pedagogical value will find the Bergamask Dance rewarding: it teaches clean articulation, rhythmic independence across sections, and transparent orchestral balance without demanding virtuosity.

How to get the most out of it

Set a clear, energetic tempo that allows the staccato articulations in the woodwinds and strings to speak crisply without sounding rushed. The lightness of the piece depends on rhythmic precision and articulate releases.
Balance the string pizzicato foundation carefully so the rhythmic pulse anchors the ensemble without overwhelming the playful melodic lines in the winds. This is not a piece that needs aggressive bass presence.
Shape the melodic material with gentle phrasing and dynamic shading even as the overall character remains buoyant and comic. The donkey-like character emerges from rhythmic precision and witty articulation, not from exaggeration or heavy orchestration.
Attend to the timpani part as a rhythmic agent, not a color addition. These strokes define the dance character and must coordinate tightly with the string sections.

How to use it

Program this as a standalone concert opener to set a brisk, audience-engaging tone. It also fits naturally within a Mendelssohn or Shakespeare-inspired concert, or as a palate-cleanser after a more serious work. Many conductors pair it with other shorter Mendelssohn orchestral pieces to create a coherent programming block that showcases his orchestral gifts.