"Melusine (Die schöne Melusine)"" (1830). A contemporary writer considered these works as ""perhaps the most beautiful overtures that, so far, we Germans possess"". Mendelssohn also wrote in 1839 an overture to ""Ruy Blas"", commissioned for a charity performance of Victor Hugo's drama (which the composer hated) His incidental music to ""A Midsummer Night's Dream"" (Op. 61), including the well-known Wedding March, was written in 1843, seventeen years after the Overture. The Violin Concerto in E minor, Op. 64 (1844), was written for Ferdinand David. David, who had worked closely with Mendelssohn during the piece's preparation, gave the premiere of the"
"to Britain. An organ on which Mendelssohn gave recitals of the ""Wedding March"", among other works, is housed in St Ann's Church in Tottenham. Franz Liszt wrote a virtuoso transcription of the ""Wedding March and Dance of the Elves"" (S. 410) in 1849-50. Vladimir Horowitz transcribed the Wedding March into a virtuoso showpiece for piano and played it as an encore at his concerts. Wedding March (Mendelssohn) Felix Mendelssohn's ""Wedding March"" in C major, written in 1842, is one of the best known of the pieces from his suite of incidental music (Op. 61) to Shakespeare's play ""A Midsummer Night's"
"Bridal Chorus The ""Bridal Chorus"" () from the 1850 opera ""Lohengrin"" by German composer Richard Wagner – who also wrote the libretto – is a march played for the bride's entrance at many formal weddings throughout the Western world. In English-speaking countries it is generally known as ""Here Comes the Bride"" or ""Wedding March"", though ""wedding march"" refers to any piece in march tempo accompanying the entrance or exit of the bride, notably Felix Mendelssohn's ""Wedding March"". The piece was made popular when it was used as the processional at the wedding of Victoria the Princess Royal to Prince Frederick"
"the pieces from the incidental music is the famous ""Wedding March"", frequently used as a recessional in weddings. The choreographer Marius Petipa, more famous for his collaborations with Tchaikovsky (on the ballets ""Swan Lake"" and ""The Sleeping Beauty"") made another ballet adaptation for the Imperial Ballet of St. Petersburg with additional music and adaptations to Mendelssohn's score by Léon Minkus. The revival premiered 14 July 1876. English choreographer Frederick Ashton also created a 40-minute ballet version of the play, retitled to ""The Dream"". George Balanchine was another to create a ""Midsummer Night's Dream"" ballet based on the play, using Mendelssohn's"
"Bottom entered Titania's bower carried by the fairies, one of whom thrust his upraised arm between Bottom's legs to represent a phallus. In a jab at more traditional stagings, the sequence was accompanied by Mendelssohn's Wedding March, a piece of music originally written to be played as an intermezzo between Acts IV and V, but often used in more genteel productions for the final marriage scene of the play. Despite the disturbing undercurrents of this view of sexuality, many audience members found the play witty and affectionate in its treatment of sex, in tune with the spirit of 1960s permissiveness."
"was rebuilt. Mendelssohn's ""Wedding March"" from ""A Midsummer Night's Dream"" was played at the wedding of Queen Victoria's daughter, Princess Victoria, The Princess Royal, to Crown Prince Frederick of Prussia in 1858, and it remains popular at marriage ceremonies. Mendelssohn's pupil Sterndale Bennett was a major force in British musical education until his death in 1875, and a great upholder of his master's traditions; he numbered among his pupils many of the next generation of English composers, including Sullivan, Hubert Parry and Francis Edward Bache. By the early twentieth century, many critics, including Bernard Shaw, began to condemn Mendelssohn's music"
"of which are often played for the entry of the bride. The first time that Mendelssohn's ""Wedding March"" was used at a wedding was when Dorothy Carew wed Tom Daniel at St Peter's Church, Tiverton, England, on 2 June 1847 when it was performed by organist Samuel Reay. However, it did not become popular at weddings until it was selected by Victoria, The Princess Royal for her marriage to Prince Frederick William of Prussia on 25 January 1858. The bride was the daughter of Queen Victoria, who loved Mendelssohn's music and for whom Mendelssohn often played while on his visits"
"Psalm 42 (Mendelssohn) Psalm 42, Op. 42 (MWV A 15) """"Wie der Hirsch schreit"""" (""As pants the Hart"") is a composition by Felix Mendelssohn composed and published 1837 (revised 1838) for soloists, mixed choir and orchestra. Mendelssohn set the music to Martin Luther's German translation of Psalm 42 from the Book of Psalms. At the work's first performance, in Leipzig on 1 January 1838, Mendelssohn conducted the Leipzig Gewandhaus Orchestra, with Clara Novello as soprano. He was the orchestra's musical director from 1835 until his death in 1847. Schumann opined in 1837 that Mendelssohn's setting of Psalm 42 was the"
"The Tempest (Sullivan) The Tempest incidental music, Op. 1, is a set of movements for Shakespeare's play composed by Arthur Sullivan in 1861 and expanded in 1862. This was Sullivan's first major composition, and its success quickly brought him to the attention of the musical establishment in England. Sullivan wrote his incidental music to Shakespeare's play as his graduation piece while a conservatory student at Leipzig. Felix Mendelssohn was much admired by the tutors at the Leipzig Conservatory, and Sullivan's music, following the pattern of Mendelssohn's famous score for ""A Midsummer Night's Dream"", was chosen for inclusion in the Conservatory’s"
"march for the entrance of the Mechanicals. We soon hear music quoted from the Overture to accompany the action. The ""Nocturne"" includes a solo horn doubled by bassoons, and accompanies the sleeping lovers between Acts III and IV. There is only one melodrama in Act IV. This closes with a reprise of the ""Nocturne"" to accompany the mortal lovers' sleep. The intermezzo between Acts IV and V is the famous ""Wedding March"", probably the most popular single piece of music composed by Mendelssohn, and one of the most ubiquitous pieces of music ever written. Act V contains more music than"
"the Bridal March is still used in weddings – and Ralph Vaughan Williams as composer of incidental music to ""The Wasps"", also by Aristophanes (1909). More recently, actor Tom Hiddleston played Orestes in Sophocles' Electra in 2001. The Cambridge Greek Play is now hosted in the historic Cambridge Arts Theatre. Cambridge Greek Play The Cambridge Greek Play is a play performed in Ancient Greek by students and alumni of the University of Cambridge, England. The event is held once every three years and is a tradition which started in 1882 with the ""Ajax"" of Sophocles. The history of the early"
"ancient Greece. The term is occasionally used beyond poetry, for example to describe Shakespeare's play ""A Midsummer Night's Dream"". Johann Wanning of Danzig is the composer of the first known musical ""epithalamium"", a two-movement work for six voices, probably composed in the 1580s. In Richard Wagner's ""Lohengrin"", the Bridal March (Treulich Geführt) of Act 3 is also called ""Epithalamium"" in several program notes: concert in London, 26 March 1855; concert in Paris, 25 January 1860; concert in Brussels, 24 March 1860. The ""Epithalamium of Vindex"" is a popular aria from ""Néron"" opera by Anton Rubinstein (composed in 1875–76, premiered in"
"in Mendelssohn's Concerto in A-flat major for two pianos and orchestra, and Mendelssohn alone was the soloist for Carl Maria von Weber's ""Konzertstück in F minor"". After the intermission, he joined the first violins for a performance of Beethoven's Ninth Symphony. The first British performance of the Overture was conducted by Mendelssohn himself, on 24 June 1829, at the Argyll Rooms in London, at a concert in benefit of the victims of the floods in Silesia, and played by an orchestra that had been assembled by Mendelssohn's friend Sir George Smart. Mendelssohn wrote the incidental music, Op. 61, for ""A"
"Oxenford, was produced at Covent Garden in 1862. His operetta ""The Bride of Song"" was brought out there in 1864. Benedict wrote a march for the wedding of Albert Edward, Prince of Wales and Alexandra of Denmark in 1863. ""St Cecilia"", an oratorio, was performed at the Norwich Festival in 1868; ""St Peter"" at the Birmingham Festival of 1870; ""Graziella"", a cantata, was given at the Birmingham Festival of 1882, and in August 1883 was produced in operatic form at the Crystal Palace. Here also a symphony by him was given in 1873. In the autumn of 1875, Benedict corresponded"
"The text is based partly on the description of the queen's visit in the 1821 novel ""Kenilworth"", by Sir Walter Scott and on other contemporary accounts and fiction. ""Kenilworth"" is one of Arthur Sullivan's earliest choral works, coming only three years after he completed his studies. Early in 1862, the critic Henry Fothergill Chorley, who served on the committee that had awarded the Mendlessohn scholarships to Sullivan, had hosted a private performance of Sullivan's incidental music to Shakespeare's ""The Tempest"" at his home, where George Grove, at that time Secretary to The Crystal Palace, heard the piece. Grove was sufficiently"
"to a long career in the theatre. On 15 November 1873, Gilbert's play ""The Wedding March"" debuted at the Court Theatre, written under his pseudonym F. Latour Tomline. It was a free adaptation of Eugène Marin Labiche's ""Un chapeau de paille d'Italie"" (""The Italian Straw Hat""). The play was first to have been called ""Hunting a Hat"", but the title was changed to capitalise on the popularity of the wedding march from Wagner's ""Lohengrin"". The name of the hero, Woodpecker Tapping, was taken from Thomas Moore's ballad, ""The woodpecker tapping the hollow beech tree."" The play ran for about 92"
"performance took place at the New Palace, Potsdam on 28 October 1841. A public performance followed a week later at the Berlin State Opera on 6 November 1841. The music was published that year by Kistner in Leipzig, with a dedication to his patron, King Frederick William IV of Prussia. Mendelssohn had been appointed as court composer to Frederick William IV, who had ascended the throne in June the previous year. The king had encountered Donner's translation of the play and passed it on to Tieck, the """" (stage reader) of the court. Mendelssohn composed the music quickly. Tieck first"
"exemplars of the romantic approach to Bach's works taken during that period. Felix Mendelssohn, the founder of the Bach revival, played this fantasy in February 1840 and 1841 in a series of concerts at the Leipzig Gewandhaus and delighted the audience. He attributed this effect to the free interpretation of the fantasy's arpeggios. He used the sound effects of the era's grand piano through differentiated dynamics, accentuating high notes and doubling pedal bass notes. This interpretation became the model for the adagio of Mendelssohn's second sonata for cello and Piano (Op. 58), written from 1841 to 1843. This work gives"
"from one lesson to another."" From 1842 Bennett had been a director of the Philharmonic Society of London. He helped to relieve the society's perilous finances by persuading Mendelssohn and Spohr to perform with the Society's orchestra, attracting full houses and much-needed income. In 1842 the orchestra, under the composer's baton, gave the London premiere of Mendelssohn's Third (""Scottish"") Symphony, two months after its world premiere in Leipzig. In 1844 Mendelssohn conducted the last six concerts of the society's season, in which among his own works and those of many others he included music by Bennett. From 1846 to 1854"
"Alex Mendelssohn Alex Mendelssohn (30 May 1935 - 10 December 2017) was an outback artist and opal miner in Australia of Hungarian descent, also known by his birth name ""Sándor Mendelssohn"" (variant of the name Alexander in Hungary). He was the great-great-grandson of Felix Mendelssohn, the Romantic German composer who gave the world the famous ""Wedding March"" overture. Reflecting on his 200-year ancestry at an interview with ""Adelaide Now"" (September 2000), Alex Mendelssohn was quoted as saying ""He (Felix Mendelssohn) composed on piano, and I compose on canvas."" In another interview """"His Colorful Life"""", he professed to Kristina Meredith of"
"Charles Kean returned to Shakespeare's text in an 1851 production. Arthur Sullivan composed incidental music for use in Act V of an 1874 production at the Gaiety Theatre, London, which was also used in the 1889 Haymarket Theatre production. During the period of anti-German feelings in England during World War I, many German names and titles were changed and given more English-sounding names, including the royal family's from Saxe-Coburg-Gotha to Windsor. Kaiser Wilhelm II countered this by jokingly saying that he was off to see a performance of 'The Merry Wives of Saxe-Coburg-Gotha.' The Merry Wives of Windsor The Merry"
"his Manchester orchestra, which also included Mendelssohn's ""A Midsummer Night's Dream"" music, where Sullivan's piece was received enthusiastically. The ""Manchester Guardian"" was strong in its praise for Sullivan's work. In October 1864 it was used in a production of the play at the Prince's Theatre in Manchester. In the nineteenth and early twentieth centuries, Mendelssohn's music for ""A Midsummer Night’s Dream"" was regularly used in theatrical productions. The same is not true of Sullivan's ""The Tempest"" music, although he later was commissioned to write incidental music for productions of other Shakespeare plays staged by Henry Irving and others. In his"
"was first used as stage music at the Bergen theatre where he worked as the director of music. Two years later Halvorsen published an arrangement of the piece for symphony orchestra. The melody has been used as a signature tune for the Norwegian Broadcasting Corporation's weekly radio program ""Ønskekonserten"" since its start in 1950. It is used as incidental music in the play by August Strindberg, ""The Dance of Death"", in which Edgar asks Alice to play it for him on the piano. Entry March of the Boyars Entry March of the Boyars () is an orchestral composition, written in"
"music. Between 1917 and 1939 Carl Orff also wrote incidental music for a German version of the play, ""Ein Sommernachtstraum"" (performed in 1939). Since Mendelssohn's parents were Jews who converted to Lutheranism, his music had been banned by the Nazi regime, and the Nazi cultural officials put out a call for new music for the play: Orff was one of the musicians who responded. He later reworked the music for a final version, completed in 1964. Ralph Vaughan Williams ""Over Hill, Over Dale"", from Act 2, is the third of the ""Three Shakespeare Songs"" set to music by the British"
"aunt's. Everyone is reconciled. Woodpecker and Maria go into the house together. Act I Act II Act III Haste to the Wedding Haste to the Wedding is a three-act comic opera with a libretto by W. S. Gilbert and music by George Grossmith, based on Gilbert's 1873 play, ""The Wedding March"". The opera was the most ambitious piece of composition undertaken by Grossmith. The piece was produced under the management of Charles Wyndham at the Criterion Theatre, London, opening on 27 July 1892. It closed on 20 August 1892, after a run of just 22 performances. Although a failure, the"
"marriages for them."" The operatic ""Enchanted Island"" was successful enough to provoke a parody, ""The Mock Tempest, or The Enchanted Castle"", written by Thomas Duffett for the ""King's Company"" in 1675. It opened with what appeared to be a tempest, but turns out to be a riot in a brothel. In the early 18th century, the Dryden/Davenant/Shadwell version dominated the stage. Ariel was—with two exceptions—played by a woman, and invariably by a graceful dancer and superb singer. Caliban was a comedian's role, played by actors ""known for their awkward figures"". In 1756, David Garrick staged another operatic version, a ""three-act"
"took place on 25 June 1840. Mendelssohn wrote the concert overture ""The Hebrides"" (""Fingal's Cave"") in 1830, inspired by visits to Scotland around the end of the 1820s. He visited Fingal's Cave, on the Hebridean isle of Staffa, as part of his Grand Tour of Europe, and was so impressed that he scribbled the opening theme of the overture on the spot, including it in a letter he wrote home the same evening. He wrote other concert overtures, notably ""Calm Sea and Prosperous Voyage"" (""Meeresstille und glückliche Fahrt"", 1828), inspired by a pair of poems by Goethe and ""The Fair"
"Die Hochzeit des Camacho Die Hochzeit des Camacho (""Comacho's Wedding"") is a Singspiel in two acts by Felix Mendelssohn, to a libretto probably written largely by Friedrich Voigt, based on an episode in Cervantes's ""Don Quixote"". The opera is listed as Mendelssohn's op. 10. It was written between 1824 and 1825, and first performed publicly at the Berlin Schauspielhaus on 29 April 1827. Mendelssohn was only 15 when he began to write ""Camacho"", but he had already written other ""Singspiel"" for performance within the family circle. The first act was completed in 1824, and he began work on the overture"
"comedy to theatrical impresario Gabriel Astruc. Varèse had served as chorus master for director Max Reinhardt's 1913 revival of ""A Midsummer Night's Dream"" in Berlin, using Mendelssohn's famous incidental score; now he hoped to mount a comparable spectacle in Paris to prove that Shakespeare was an ""ally"" of the French and not of the Germans. He intended to replace Mendelssohn's accompaniments with a potpourri of French music composed for the occasion by Satie, Florent Schmitt, Maurice Ravel, himself, and - not quite in keeping with the theme - Igor Stravinsky. It would be staged as a benefit for the war"
"other section in the second theme, including Bottom's braying. The fairies return, and ultimately have the final word in the coda, just as in Shakespeare's play. The overture ends once again with the same opening four chords by the winds. The Overture was premiered in Stettin (then in Prussia; now Szczecin, Poland) on 20 February 1827, at a concert conducted by Carl Loewe. Mendelssohn had turned 18 just over two weeks earlier. He had to travel 80 miles through a raging snowstorm to get to the concert, which was his first public appearance. Loewe and Mendelssohn also appeared as soloists"
"a tour of Scotland and Wales, Mendelssohn returned to the capital but fell out of a carriage and suffered a leg injury; while he was recovering, he received a large hamper from Attwood and was invited to stay at the family home at Beulah Hill in Norwood as soon as he was able to travel. Mendelssohn composed a piece for harp and piano called ""The Evening Bell"", suggested by the gate bell at Attwood's house. Following a second stay at Norwwod in 1832, Mendelssohn dedicated his ""Three Preludes and Fugues for the Organ"" (Op. 37) to Attwood. Thomas Attwood (composer)"
"incorporating ""God Save the King"" at its climax). However, the overture ""A Midsummer Night's Dream"" (1826) by Felix Mendelssohn is generally regarded as the first concert overture (Temperley 2001). Mendelssohn's other contributions to this genre include his ""Calm Sea and Prosperous Voyage"" overture (1828), his overture ""The Hebrides"" (1830; also known as ""Fingal's Cave"") and the overtures ""Die schöne Melusine"" (""The Fair Melusine"", 1834) and ""Ruy Blas"" (1839). Other notable early concert overtures were written by Hector Berlioz (e.g., ""Les Francs juges"" (1826), and ""Le corsaire"" (1828)). In the 1850s the concert overture began to be supplanted by the symphonic"
"although he had to wait a further two years to hear the work performed. In the same year Stanford directed the first performance of his oratorio ""The Resurrection"", given by CUMS. At the request of Alfred Tennyson, he wrote incidental music for Tennyson's drama ""Queen Mary"", performed at the Lyceum Theatre, London in April 1876. In April 1878, despite the disapproval of his father, Stanford married Jane Anna Maria Wetton, known as Jennie, a singer whom he had met when she was studying in Leipzig. She was the daughter of Henry Champion Wetton of Joldwynds in Surrey, who had died"