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Intermezzo from A Midsummer Night's Dream (Mendelssohn)
All percussion sounds used in this recording were generated from Virtual Drumline software also by Tapspace.
In 1843, while serving as music director at the Academy of Arts in Berlin, Mendelssohn completed the incidental music for Shakespeare's A Midsummer Night's Dream at the behest of King Frederick of Prussia. Incidental music most commonly appears between acts of a stage play or even between movements of a large-scale musical work. Even so, such pieces have often become perennial hits, such as Mendelssohn's classic Wedding March (also from A Midsummer Night's Dream).
The Intermezzo (Allegro appassionato) follows Act II and expresses one's crazed search for a bewitched lover. According to Mendelssohn's notes in the score, Hernia seeks Lysander and loses herself in the wood. Although Intermezzo will never compete with Wedding March on the Hit Parade, it possesses a mystical, magical quality that presents unique challenges when performed in the percussion arena. Brian Slawson's percussion arrangement is both subtle and challenging and brings a unique way for modern mallet ensembles to recreate Mendelssohn's magic.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
Staying true to the meaning of the term, this intermezzo lasts approximately two minutes and 20 seconds. Requiring eight performers, only six instruments are needed. A benefit to those preparing for a performance, this is largely a re-orchestration of the original work. With a simple search on iTunes, one has access to numerous recordings of the original to develop an interpretation. This audience-friendly arrangement is suitable for a collegiate ensemble.
Written in 6/8 throughout, there is an almost endless passing of melodic material between parts. While this will definitely be challenging, several factors ease the obstacle. With a few exceptions, the highest marimba voice and the vibraphone are each paired with a glockenspiel part. Providing stability to the dovetail effect, the remaining marimbists present a clear, regular accompaniment. Throughout, there is usually a pulse on either the dotted-quarter or dotted-half note. A study in nuance, most entrances, and dare I say notes, in this piece contain a dynamic indication. Balance and blend will be a favorite topic of discussion for those attempting to adhere to and shade these markings.
–Darin Olson
Percussive Notes
Vol. 50, No. 4, July 2012
In 1843, while serving as music director at the Academy of Arts in Berlin, Mendelssohn completed the incidental music for Shakespeare's A Midsummer Night's Dream at the behest of King Frederick of Prussia. Incidental music most commonly appears between acts of a stage play or even between movements of a large-scale musical work. Even so, such pieces have often become perennial hits, such as Mendelssohn's classic Wedding March (also from A Midsummer Night's Dream).
The Intermezzo (Allegro appassionato) follows Act II and expresses one's crazed search for a bewitched lover. According to Mendelssohn's notes in the score, Hernia seeks Lysander and loses herself in the wood. Although Intermezzo will never compete with Wedding March on the Hit Parade, it possesses a mystical, magical quality that presents unique challenges when performed in the percussion arena. Brian Slawson's percussion arrangement is both subtle and challenging and brings a unique way for modern mallet ensembles to recreate Mendelssohn's magic.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
Staying true to the meaning of the term, this intermezzo lasts approximately two minutes and 20 seconds. Requiring eight performers, only six instruments are needed. A benefit to those preparing for a performance, this is largely a re-orchestration of the original work. With a simple search on iTunes, one has access to numerous recordings of the original to develop an interpretation. This audience-friendly arrangement is suitable for a collegiate ensemble.
Written in 6/8 throughout, there is an almost endless passing of melodic material between parts. While this will definitely be challenging, several factors ease the obstacle. With a few exceptions, the highest marimba voice and the vibraphone are each paired with a glockenspiel part. Providing stability to the dovetail effect, the remaining marimbists present a clear, regular accompaniment. Throughout, there is usually a pulse on either the dotted-quarter or dotted-half note. A study in nuance, most entrances, and dare I say notes, in this piece contain a dynamic indication. Balance and blend will be a favorite topic of discussion for those attempting to adhere to and shade these markings.
–Darin Olson
Percussive Notes
Vol. 50, No. 4, July 2012
