Much Ado About Nothing, Suite for Violin and Piano, Op. 11 Cover Image

Much Ado About Nothing, Suite for Violin and Piano, Op. 11: Violin, Solo with Piano, Solo and Piano

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Much Ado About Nothing, Suite for Violin and Piano, Op. 11 Cover Image
Much Ado About Nothing, Suite for Violin and Piano, Op. 11: Violin, Solo with Piano, Solo and Piano

Much Ado About Nothing, Suite for Violin and Piano, Op. 11: Violin, Solo with Piano, Solo and Piano

By Erich Wolfgang Korngold

Item: 36-M253991
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When Max Reinhardt was engaged to direct a German language production of Shakespeare's MUCH ADO ABOUT NOTHING at the Vienna Volksbühne in 1918, he asked Korngold to compose the incidental music. The production, under the German title VIEL LÄRMEN UM NICHTS did not open until May 6, 1920 at the Schönbrunn Palace Theater; in the pit the composer led members of the Vienna Philharmonic, performing no less than 18 pieces of music. In the meantime, due to the tardy premiere of the play, Korngold had already extracted this five-movement orchestral suite which garnered much praise when performed three months before the play's opening night. The five movements included: 1. the Overture; 2. Scene in the Bridal Chamber; 3. Holzapfel und Schlehwein (a mock-serious scene); 4. Intermezzo (Garden Scene); and 5. Hornpipe. When the play moved to Vienna's Burgtheater (more than 80 performances) and later to the Rezidenz Theater in Munich, the music continued to attract much attention. Demand for the music was such that Korngold arranged the suite into versions for violin and piano (four pieces), and for solo piano (three pieces). German composer-arranger Leo Artok (1885-1935) also arranged the most popular three items (Hornpipe, Garden Scene and In the Bridal Chamber) for small orchestra, which were then published by Schott in 1926. All editions noted above are available from the publisher. This reprint of the original Schott edition is the collection of four pieces for violin with piano accompaniment accessible by any diligent student.

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Additional Details
Series: Master String Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-361801-3
ISBN13: 978-1-63-361801-5
UPC: 746241288240
SKU: 36-M253991
Instrumentation: Violin and Piano

More about this title

About the Composer: Erich Wolfgang Korngold

Erich Wolfgang Korngold (1897, 1957) was an Austrian composer and conductor whose gift for lyrical melody and lush orchestration made him one of the most performed composers of the early 20th century. He began composing at an astonishingly young age, with his early works earning praise from Brahms and other leading figures of Vienna's musical establishment. Though he later became celebrated for his film scores in Hollywood, his theatrical and orchestral works reveal the depth of his musical craft and his instinct for dramatic storytelling.

Korngold's engagement with Shakespeare through the Much Ado About Nothing incidental music demonstrates his ability to capture character and mood through instrumental color. The suite arrangements that followed show his skill in transcribing orchestral thinking to the intimate medium of violin and piano, preserving the theatrical vitality of the original while creating music that stands on its own.

Why we love this

Korngold's four-movement suite channels the wit and charm of Shakespeare's comedy into music that refuses to sit still. The writing gives the violin genuine character development across contrasting moods, from lyrical passages to rhythmic, dance-like material, all served by accompaniment that never retreats into mere support. Programming this allows you to offer a Romantic-era alternative to the usual recital fare without sacrificing musical substance.

What to expect

The suite captures the theatrical energy of Shakespeare's play: moments of genuine warmth and tenderness alongside wit and spirited movement. Korngold's orchestral thinking remains audible in the textures, creating music that feels bigger than the two instruments playing it, with orchestral color suggested through smart voice-leading and textural variety.

Who it's for

Advanced high school and collegiate violinists seeking repertoire that combines lyricism with character work and rhythmic variety. Pianists at the same level will find engaging writing that extends beyond accompaniment into genuine musical partnership.

How to get the most out of it

  • Shape the lyrical passages with long-term direction rather than phrase-by-phrase. Korngold's melodies breathe naturally when you think architecturally.
  • Pay attention to the text markings that signal dramatic or comedic intent. The mock-seriousness of movements like 'Holzapfel und Schlehwein' depends on articulation and character, not just tempo.
  • Balance the violin line with the piano's independence. These are genuine dialogues, not soloist-and-accompaniment relationships; the pianist should feel authorized to voice their part with clarity.
  • Lean into the rhythmic vitality of dances like the Hornpipe. These movements need forward motion and a sense of theatrical playfulness to come alive.

How to use it

This works beautifully in a recital that combines classical and early 20th-century repertoire, offering a bridge between Romantic violin writing and modern theatrical sensibility. It also pairs naturally with other Korngold orchestral arrangements or with works that share his harmonic language and gift for melodic invention.

Skills your students will build

  • Maintaining phrase direction across longer spans of music
  • Character and articulation choices that serve dramatic narrative
  • Partnership and independence within chamber music textures
  • Rhythmic vitality in dance forms and scherzo-like movements
  • Balancing lyricism with theatrical expression

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