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The near-contemporary music scholar George Grove called it "the greatest marvel of early maturity that the world has ever seen in music". [2] It was written as a concert overture, not associated with any performance of the play. The overture was written after Mendelssohn had read a German translation of the play in 1826.
In 1842, partly because of the fame of the overture, and partly because his employer King Friedrich Wilhelm IV of Prussia liked the incidental music that Mendelssohn had written for other plays that had been staged at the palace in German translation, Mendelssohn was commissioned to write incidental music for a production of A Midsummer Night's ...
Leonore No. 3 is well known for portraying some of the major events of the plot in a condensed, purely orchestral form, most notably the distant trumpet fanfares of the finale. Next to the actual, finalized Fidelio overture, this is the most commonly performed version, and still sometimes replaces the Fidelio overture in some productions.
Among the most notable were Thomas Morley, Henry Purcell, Matthew Locke, Thomas Arne, William Linley, Sir Henry Bishop, and Sir Arthur Sullivan. Felix Mendelssohn’s overture to A Midsummer Night’s Dream (1826) was a descriptive piece intended for concert performance, though he later added incidental music for a production of the play in ...
Schumann started writing the music in mid-January 1851. His wife Clara noted in her diary on 17 January that he was now working on the overture. [9] He wrote out the full score between 27 January and 2 February, finishing it only a few days before he conducted the premiere of his 3rd Symphony, "Rhenish" (6 February). [10]
Music based on The Tempest (2 C, 9 P) Pages in category "Music based on works by William Shakespeare" The following 10 pages are in this category, out of 10 total.
There is no known dancing instruction manual for English dances of Shakespeare's time, but there are descriptions of almains and the measures in the Inns of Court manuscripts (see Payne), mentions of Morris dance in church court and civic records (see Forrest), and large sections of dancing in court masques (see Ravelhofer and Welsford).
For the overture, he used the earlier stand-alone Hamlet overture-fantasia Op. 67, but in a shortened form. In the 16 other numbers, as well as writing some new music, he also used material from the incidental music to The Snow Maiden, Op. 12 (1873), from the alla tedesca movement of the Third Symphony (1875), and from the Elegy for Ivan ...