Melodic Masterpieces


Wedding March 'A Midsummer Night's Dream', Op. 61

The triumphal Wedding March, from the incidental music to Shakesphere's A Midsummer Night's Dream, is one of the most famous pieces of music ever written. It begins with a fanfare and then plunges majestically into the splendid processional music to which many a bride has walked happily to the alter.

A lighter, less stately march then takes over, as if Shakesphere's fairies, too, were tripping down the aisle. The processional music is repeated twice more, interspersed with a gentler, more lyrical passage.

The final repeat is heard in the distance and gradually fades away to merge imperceptibly into the shimmering fairy music represented by the woodwind.

Shakesphere's A Midsummer Night's DreamMendelssohn composed his overture for Shakesphere's play in 1926, when he was only 17. It was not until October 1843, however, that he added several items of incidental music to accompanya production of the play at Potsdam, near Berlin. All 11 numbers met with overwhelming success. Indeed, it is a mark of Mendelssohn's genius that, despite a gap of 17 years, the style of the later incidental pieces blends in perfectly with that of the overture.

The "Wedding March' is played after the end of Act IV and celebrates the simultaneous marriage of three couples.

 


Song Without Words - from Book 5, Op. 62

'Song Without Words' was a term introduced by Mendelssohn to describe a piano solo which incorporats a song-like melody with accompaniment in the bass (left hand).Mendelssohn's painting

Mendelssohn wrote 48 of these compositions during his lifetime. They are miniature, intimate pieces intended to be played on musical evenings in the drawing room
or salon.

Mendelssohn deliberately wrote these song melodies without words because he felt that words would get in the way of the emotions he was trying to convey. This
short piece, composed in 1842-4, is a sombre and dignified funeral march. Perfectly rounded and restrained, it conveys a sense of gentle melancholy and, like almost all these songs, is unassuming and graceful.

 

 

 

Above Right: It was Johann Goethe, the German philosopher and poet, who encouraged Mendelssohn to visit Italy. This view of Florence was painted by Mendelssohn.

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