Felix Mendelssohn: A MIDSUMMER NIGHT'S DREAM
Introduction
Cambridge IGCSE candidates will find it beneficial to be familiar with the basic story of the play. Also, candidates will find a copy of the musical score and the music useful while studying this overture.
Background
Mendelssohn was a composer of the early Romantic period. His works included symphonies, concertos, oratorios, piano and chamber music, in addition to a number of overtures. He was a member of a wealthy German family, with significant cultural and intellectual background. He was regarded as a child prodigy: he was not just a composer, but also an organist, pianist, and conductor. He made his first performance debut at age nine and started writing full symphonies at age twelve.
Mendelssohn's overture to A Midsummer Night's Dream was written in 1826, when he was 17. He was familiar with Shakespeare's plays and in 1826 told his sister Fanny that he was fascinated by A Midsummer Night's Dream and could not wait to translate it into music. He showed his first draft of the score to his friend Adolf Marx, who suggested slight changes including the braying donkey that is heard during the introduction of the workmen.
Mendelssohn's overture to A Midsummer Night's Dream was written in 1826, when he was 17. He was familiar with Shakespeare's plays and in 1826 told his sister Fanny that he was fascinated by A Midsummer Night's Dream and could not wait to translate it into music. He showed his first draft of the score to his friend Adolf Marx, who suggested slight changes including the braying donkey that is heard during the introduction of the workmen.
Instrumentation
Mendelssohn's A Midsummer Night's Dream is scored for a relatively small Romantic orchestra, using pairs of woodwind instruments, similar to the orchestra used by Beethoven. The orchestra consists of the following instruments:
There are also transposing instruments used. The following are transposing instruments in A Midsummer Night's Dream:
- 2x flutes
- 2x oboes
- 2x clarinets
- 2x bassoons
- 2x horns
- 2x trumpets
- 1x ophicleide
- 1x timpani
- 2x violins
- 1x viola
- 1x cello
- 1x bass
There are also transposing instruments used. The following are transposing instruments in A Midsummer Night's Dream:
- 2x clarinets: they are pitched at A throughout the work, sounding a minor third lower than written
- 2x horns: these horns in E sound a minor sixth lower than written
- 2x trumpets: these trumpets in E sound a major third higher than written
- 1x bass: this part is written an octave higher than it sounds
- 1x viola: the viola is written in alto clef
Directions in the Score
All markings in the score are in Italian. The tempo indication allegro di molto, meaning very fast, provides the tempo for the entire score. However, the tempo is initially redundant and the allegro di molto really begins in bar 6.
There are only two other tempo indications used by Mendelssohn:
There are many other markings found throughout the score:
There are only two other tempo indications used by Mendelssohn:
- ritard (gradually slowing down) at b384
- poco riten. (slightly slowing down) at b658
- ritard again at b378
There are many other markings found throughout the score:
- div. (short for divisi) means 'divided' and indicates that half of the section should play the top notes on the stave and the other half should play the bottom notes; it is found at b8 in the first violin part
- unis. (short for unisono) means 'united' and indicates that all instruments in the section should play the same notes after a passage in which they have been divided; it is found at b16 in the second violin part
- pizz. (short for pizzicato) means that the strings should be plucked with the finer until cancelled by the term arco, when players should return to bowing; pizz. is found at b16 of the viola part, followed by arco at b62
- a2 appears in the woodwind and brass parts; it means that both instruments written on a single stave should play the phrase that has this marking (e.g. the French horn part at b79)
- tutti at b284 indicates that all the cellos and basses should resume playing their part as only one cello and one bass are playing from b276-278
- con tutta la forza in the horn part at b294 means with all possible force i.e. very loudly
Techniques
Mendelssohn's music is tonal, but sometimes uses an extended vocabulary of chords, typical of the nineteenth century, which involves use of chromaticism and modal shifts between major and minor.
There are extended pedal points in some passages and the use of a drone. There is also use of sequential repetition and imitation.
There are extended pedal points in some passages and the use of a drone. There is also use of sequential repetition and imitation.
Structure and Form
Mendelssohn combines themes relating to characters from the play and a sonata form structure in his overture. The traditional sonata form structure is modified, particularly in the use of keys. The themes are also used at point where they would not usually be expected.
INTRODUCTION which may relate to one or more of the themes used in the main body
EXPOSITION (which introduces the main themes)
First subject in the tonic key
Transition (also called the Bridge Passage) modulates to the dominant key (if the symphony is in a major key) or the relative major (if the main key is minor)
Second subject in the dominant (or relative major) key
Codetta which finishes the exposition in the key of the second subject
DEVELOPMENT during which themes may be extended, fragmented or combined, and the music modulates frequently and extensively
RECAPITULATION which returns to the music of the exposition, but with significant modifications
First subject in the tonic key
Transition adjusted so that it does not modulate
Second subject in the tonic key
CODA which finishes the recapitulation in the tonic key; uses similar music to the codetta, but is longer
EXPOSITION (which introduces the main themes)
First subject in the tonic key
Transition (also called the Bridge Passage) modulates to the dominant key (if the symphony is in a major key) or the relative major (if the main key is minor)
Second subject in the dominant (or relative major) key
Codetta which finishes the exposition in the key of the second subject
DEVELOPMENT during which themes may be extended, fragmented or combined, and the music modulates frequently and extensively
RECAPITULATION which returns to the music of the exposition, but with significant modifications
First subject in the tonic key
Transition adjusted so that it does not modulate
Second subject in the tonic key
CODA which finishes the recapitulation in the tonic key; uses similar music to the codetta, but is longer
Section
INTRODUCTION EXPOSITION First subject Transition Second subject, first theme Second subject, second theme Codetta DEVELOPMENT RECAPITULATION CODA |
Theme
fairies athenians, fairies lovers actors fairies, lovers fairies, lovers, athenians, actors fairies, athenians |
Key
E minor E major B major B major B major multiple E minor E major |
please make sure you choose to See Term first in the above study set
Analysis
INTRODUCTION (bars 1-5)
The introduction consists of four chords played by the woodwind and brass instruments. Two flutes start by playing the notes E and G#. It is not possible to tell wether the music will be in E major or C# minor just yet. The third chord is unexpected (A minor) and is the first of the many shifts between major and minor.
The introduction consists of four chords played by the woodwind and brass instruments. Two flutes start by playing the notes E and G#. It is not possible to tell wether the music will be in E major or C# minor just yet. The third chord is unexpected (A minor) and is the first of the many shifts between major and minor.
EXPOSITION (bars 6-249) Main keys: E minor, E major, B major
First subject (bars 6-61)
Like the introduction, the first subject starts with a held chord, but it is played by the string section and at the allegro di molto tempo. Unexpectedly, an E minor chord is played, which is the minor version of the tonic key. The first theme in the key of E minor is meant as a description of the fairies. Their fluttering wings are portrayed through the use of rushing quavers, staccato and high pitch. This description is divided between the 1st and 2nd violins. The first eight bars of the theme are repeated almost exactly in b16-23. The fairy music continues in b24-38, but with the addition of pizzicato violas. At b39-40, the string are interrupted by a wind and brass chord. The chord itself is a diminished seventh chord (with one extra note). The B major chord at b41 resolves this chord, and the strings start playing fairy music again. At b56-57 the strings are interrupted by the same wind and brass chord. The fairy music ends (for now) with a perfect cadence in E major in b61-62.
Transition (bars 62-129)
This theme is meant to describe the Athenians. The tonic key of E major is established and is played by the whole orchestra in a sudden ff. The ophicleide makes its first appearance at this point. The theme is followed by music (b70-77) which anticipates the hunting calls heard later in the movement. A new version of the athenians theme begins at b63. The falling E major scale in minims and the rhythm played by the strings in crotchets gives the music a forward momentum. This is repeated from b86, but the instruments are arranged differently: the rhythm is carried out solely by the violas. This is taken up again by the string at b90. At b98 the music is in the dominant key of B major and the fairy theme returns.
The key is not the only difference at the return of the fairy theme - the music changes to legato rather than staccato and is played by all the string but the bases, rather than just the violins. It is also accompanied by woodwind and brass, which makes it loud rather than the previous pianissimo. The four bars of the fairy theme are followed by four bars that move the pitch up a tone. The fairy theme is repeated in bars 106-109 and 114-117 and eventually reaches the key of E major. Over the next twelve bars, the music unexpectedly modulates to B major again.
The modulation is achieved using a diminished 7th at bar 120, which resolves to its dominant chord F#7. The F#7 is resolved back to B major with the start of the second subject at b130.
Second subject, first theme (bars 130-193)
Like many of Mendelssohn's themes, this subject starts with a four-bar phrase which is repeated with varied accompaniment. This theme represents a pair of tender lovers and is initially played by the clarinets. The melody is taken over by the 1st violins at b138, over the cellos and basses playing the pedal in the tonic key (in this case B major). At b162 the melody is extended by repetition of the material from b140-141.
At b166, the soft, lyrical melody is interrupted by fanfare music played by the woodwind and brass, representing the athenians. The strings continue their theme in b168, but are interrupted again by the fanfare in b174.
There is a crescendo and the 1st violin melody of b179-180 is repeated as a rising sequence in b181-182 and 183-184. Some of the woodwind join the strings in b182. A loud two-octave descending scale (b192-193) in F# major leads into the next theme.
Second subject, second theme (bars 194-222)
This theme represents the workmen/actors who rehearse a play to perform for Theseus, the duke of Athens. Bottom (one of the actors) is transformed into a donkey and this is portrayed in the music. The theme begins with a repeated accented pedal note on the tonic (B), joined by the dominant (F#) two bars later. The repetition and accenting of these notes makes them sound like rustic drones. In b199-200 and 200-201 the melody uses a dotted minim and a repeated interval of a falling 9th to represent the hee-haw sound of the transformed bottom. The fact that all the instruments are playing this rhythm makes it stand out very clearly. The rustic nature of the theme is represented in its simplicity and use of repetition. The theme ends with many repeated donkey brays, which in time extend to a falling 10th (b214-216) and at a lower pitch (b218-220). The section ends with a perfect cadence in B major.
Codetta (bars 222-249)
The codetta begins with the hunting call of the royal Athenian hunting party. These calls were anticipated in b7. The hunting call consists of a four bar phrase (b222-226) which is immediately repeated with a thicker texture.
There is then a surprising return of the theme representing the athenians, this time in the dominant key. From b238 the emphasis is on the chord and key of B major, which is repeated until b249. From b246-249, the whole orchestra play a descending B major arpeggio, over a tonic pedal. This marks the end of the exposition. By this time, all character themes have been introduced.
First subject (bars 6-61)
Like the introduction, the first subject starts with a held chord, but it is played by the string section and at the allegro di molto tempo. Unexpectedly, an E minor chord is played, which is the minor version of the tonic key. The first theme in the key of E minor is meant as a description of the fairies. Their fluttering wings are portrayed through the use of rushing quavers, staccato and high pitch. This description is divided between the 1st and 2nd violins. The first eight bars of the theme are repeated almost exactly in b16-23. The fairy music continues in b24-38, but with the addition of pizzicato violas. At b39-40, the string are interrupted by a wind and brass chord. The chord itself is a diminished seventh chord (with one extra note). The B major chord at b41 resolves this chord, and the strings start playing fairy music again. At b56-57 the strings are interrupted by the same wind and brass chord. The fairy music ends (for now) with a perfect cadence in E major in b61-62.
Transition (bars 62-129)
This theme is meant to describe the Athenians. The tonic key of E major is established and is played by the whole orchestra in a sudden ff. The ophicleide makes its first appearance at this point. The theme is followed by music (b70-77) which anticipates the hunting calls heard later in the movement. A new version of the athenians theme begins at b63. The falling E major scale in minims and the rhythm played by the strings in crotchets gives the music a forward momentum. This is repeated from b86, but the instruments are arranged differently: the rhythm is carried out solely by the violas. This is taken up again by the string at b90. At b98 the music is in the dominant key of B major and the fairy theme returns.
The key is not the only difference at the return of the fairy theme - the music changes to legato rather than staccato and is played by all the string but the bases, rather than just the violins. It is also accompanied by woodwind and brass, which makes it loud rather than the previous pianissimo. The four bars of the fairy theme are followed by four bars that move the pitch up a tone. The fairy theme is repeated in bars 106-109 and 114-117 and eventually reaches the key of E major. Over the next twelve bars, the music unexpectedly modulates to B major again.
The modulation is achieved using a diminished 7th at bar 120, which resolves to its dominant chord F#7. The F#7 is resolved back to B major with the start of the second subject at b130.
Second subject, first theme (bars 130-193)
Like many of Mendelssohn's themes, this subject starts with a four-bar phrase which is repeated with varied accompaniment. This theme represents a pair of tender lovers and is initially played by the clarinets. The melody is taken over by the 1st violins at b138, over the cellos and basses playing the pedal in the tonic key (in this case B major). At b162 the melody is extended by repetition of the material from b140-141.
At b166, the soft, lyrical melody is interrupted by fanfare music played by the woodwind and brass, representing the athenians. The strings continue their theme in b168, but are interrupted again by the fanfare in b174.
There is a crescendo and the 1st violin melody of b179-180 is repeated as a rising sequence in b181-182 and 183-184. Some of the woodwind join the strings in b182. A loud two-octave descending scale (b192-193) in F# major leads into the next theme.
Second subject, second theme (bars 194-222)
This theme represents the workmen/actors who rehearse a play to perform for Theseus, the duke of Athens. Bottom (one of the actors) is transformed into a donkey and this is portrayed in the music. The theme begins with a repeated accented pedal note on the tonic (B), joined by the dominant (F#) two bars later. The repetition and accenting of these notes makes them sound like rustic drones. In b199-200 and 200-201 the melody uses a dotted minim and a repeated interval of a falling 9th to represent the hee-haw sound of the transformed bottom. The fact that all the instruments are playing this rhythm makes it stand out very clearly. The rustic nature of the theme is represented in its simplicity and use of repetition. The theme ends with many repeated donkey brays, which in time extend to a falling 10th (b214-216) and at a lower pitch (b218-220). The section ends with a perfect cadence in B major.
Codetta (bars 222-249)
The codetta begins with the hunting call of the royal Athenian hunting party. These calls were anticipated in b7. The hunting call consists of a four bar phrase (b222-226) which is immediately repeated with a thicker texture.
There is then a surprising return of the theme representing the athenians, this time in the dominant key. From b238 the emphasis is on the chord and key of B major, which is repeated until b249. From b246-249, the whole orchestra play a descending B major arpeggio, over a tonic pedal. This marks the end of the exposition. By this time, all character themes have been introduced.
DEVELOPMENT (bars 250-293)
The development is mainly based on the fairy theme. There is a sudden change from the B major from the end of the exposition to the E minor at the start of the development. This time, there are interjections from the woodwind and from b258 a varied version of the melody is passed through the strings at two bar intervals. The flutes and bassoons accompany the cellos at b264-270 in the form of a long held diminished chord. The length and orchestration of this chord refers to the introduction. The repeated D in the cello part completes the chord, making it a diminished 7th, which resolves onto F# minor in b270. The fairy theme is repeated in F# minor, with new accompanying arpeggios added in the woodwind. After eight bars of the theme, it is once again passed down through the strings at two-bar intervals (b278-283). However, this time, before it can be played it is interrupted by the athenians motif. From b284 this motif is passed around the orchestra.
The violins take up the fairy theme again in b290 while the fanfare continues. They continue this in E minor, repeating it in imitation between the 1st and 2nd violins, but it quickly disintegrates into repeated quavers and a descending B minor scale in the divided violas in b294. There is a loud interjection from the horns con tutta la forza. This could be a reference to the workmen, whose theme was loud and unstable. Bars 290-297 are repeated in b298-305, but this time in B minor rather than E minor.
The development of the fairy theme continues from b306, where the 1st violins play just the first bar of the theme before stopping. The pattern in b306-313 leads to an unexpected perfect cadence in D major. This then returns to a longer section of the fairy theme. The theme begins the same way but soon becomes just a decorated version of a descending D major scale. This takes place at the same time as the woodwind playing fanfare interjections. The final development of the fairy theme is left to the violas and cellos in b324-334. The melodic shape formed in b306-313 changes to repeated quavers which are taken up by the violins in b334. The fairy theme ends with a perfect cadence in D major at b340-341.
From b376 there is a reference to the end part of the love theme - this may refer to the lovers falling asleep in the forest as the music is very quiet, slowing down, and contains many pauses. Bars 380-382 are an interrupted cadence in C# minor. The development section ends with a repeated C# minor chord. This is the relative minor.
The development is mainly based on the fairy theme. There is a sudden change from the B major from the end of the exposition to the E minor at the start of the development. This time, there are interjections from the woodwind and from b258 a varied version of the melody is passed through the strings at two bar intervals. The flutes and bassoons accompany the cellos at b264-270 in the form of a long held diminished chord. The length and orchestration of this chord refers to the introduction. The repeated D in the cello part completes the chord, making it a diminished 7th, which resolves onto F# minor in b270. The fairy theme is repeated in F# minor, with new accompanying arpeggios added in the woodwind. After eight bars of the theme, it is once again passed down through the strings at two-bar intervals (b278-283). However, this time, before it can be played it is interrupted by the athenians motif. From b284 this motif is passed around the orchestra.
The violins take up the fairy theme again in b290 while the fanfare continues. They continue this in E minor, repeating it in imitation between the 1st and 2nd violins, but it quickly disintegrates into repeated quavers and a descending B minor scale in the divided violas in b294. There is a loud interjection from the horns con tutta la forza. This could be a reference to the workmen, whose theme was loud and unstable. Bars 290-297 are repeated in b298-305, but this time in B minor rather than E minor.
The development of the fairy theme continues from b306, where the 1st violins play just the first bar of the theme before stopping. The pattern in b306-313 leads to an unexpected perfect cadence in D major. This then returns to a longer section of the fairy theme. The theme begins the same way but soon becomes just a decorated version of a descending D major scale. This takes place at the same time as the woodwind playing fanfare interjections. The final development of the fairy theme is left to the violas and cellos in b324-334. The melodic shape formed in b306-313 changes to repeated quavers which are taken up by the violins in b334. The fairy theme ends with a perfect cadence in D major at b340-341.
From b376 there is a reference to the end part of the love theme - this may refer to the lovers falling asleep in the forest as the music is very quiet, slowing down, and contains many pauses. Bars 380-382 are an interrupted cadence in C# minor. The development section ends with a repeated C# minor chord. This is the relative minor.
RECAPITULATION (bars 392-619)
The recapitulation begins with the same chords played in the introduction. However, the chord from b1, which was ambiguous at first, is now clearly a C# minor chord, as it is supported by the strings playing C# minor. The final chord is extended by three bars and divided violins are added in b398. The violins continue, changing the chord from E major to E minor in b402. The fairy theme returns in b404, played the same way as before (divided violins in E minor). However, unlike the first subject of the exposition, there are now interjections from the wind and brass in the form of short single notes and long held notes. These are similar to those added to the theme at the beginning of the development. Effectively, bars 24-40 from the exposition are omitted from the recapitulation and the music moves straight to a version where the pizzicato accompaniment is played by 2nd violins rather than violas. A timpani roll on the dominant is also added. At b432, the music changes unexpectedly, moving to C major briefly, but returns to the dominant seventh chord at b442.
There is no reprise of the athenian theme at this point; instead, there is a much shorter transition beginning at b442. The wind and brass parts are similar to those at b122, but the strings are clearly related to the fairy theme. In the exposition, this eventually modulated to the dominant, but here it goes to the tonic. At b450 the music for the pairs of lovers starts. It is now in the tonic, and it has been reorchestrated; the melody in the first eight bars is played by the first flute instead of the first clarinet.
The melody of the lovers' theme is doubled by the 2nd violins an octave lower and the cellos and basses play a tonic pedal. The main difference between this point and the corresponding point in the exposition (other than the key) is that the clarinets join the accompaniment before the flutes (in the exposition it is the other way around). As in the exposition, the theme is interrupted by woodwind and brass fanfares from b486 and b494.
From b498, towards the end of the love theme, there is a tonic pedal in the horns. In the exposition this was a long held note, but here it creates a rhythm using crotchets and rests. At b512, rather than a descending scale leading into the next theme (like b192-193) Mendelssohn uses a descending dominant 7th arpeggio.
The actors theme begins like it does in the exposition: with a tonic pedal, joined by a dominant pedal two bars later, giving a rustic drone effect. This time the donkey brays are further emphasized with wider leaps; the recapitulation contains descending 11th (b519-521). The second half of the melody is more richly orchestrated as the violins play in unison rather than divided bars. The donkey bray descending leaps are back to 10ths by the end of the theme.
At b542 the coda is expected, as this was the point where the codetta started in the exposition. However, Mendelssohn brings back music from the transition (b78). This begins in a very similar way to the time it was first heard, with descending woodwind and brass scales in the tonic key in imitation, over a repeated tonic pedal in the lower strings. In the recapitulation a timpani roll has been added. From b550 the scales are developed and there isa perfect cadence in E major at b584.
From b586 the athenians theme returns. This has not been part of the recapitulation so far, so it returns in a different place in relation to the other themes. The music moves on to hunting music, which was originally heard in the codetta (b222). IT is now much more richly scored, with the whole orchestra playing. There is still imitation between the strings, woodwind and brass from b601. The hunting music is heard as a series of repeated accented plagal cadences. This is followed by the whole orchestra outlining the notes of the tonic chord, making the whole overture sound as if it has already finished. This is emphasized by the fact that the music from the codetta has been reprised and this could be heard as the coda. However, this is a false ending and the real coda follows.
The recapitulation begins with the same chords played in the introduction. However, the chord from b1, which was ambiguous at first, is now clearly a C# minor chord, as it is supported by the strings playing C# minor. The final chord is extended by three bars and divided violins are added in b398. The violins continue, changing the chord from E major to E minor in b402. The fairy theme returns in b404, played the same way as before (divided violins in E minor). However, unlike the first subject of the exposition, there are now interjections from the wind and brass in the form of short single notes and long held notes. These are similar to those added to the theme at the beginning of the development. Effectively, bars 24-40 from the exposition are omitted from the recapitulation and the music moves straight to a version where the pizzicato accompaniment is played by 2nd violins rather than violas. A timpani roll on the dominant is also added. At b432, the music changes unexpectedly, moving to C major briefly, but returns to the dominant seventh chord at b442.
There is no reprise of the athenian theme at this point; instead, there is a much shorter transition beginning at b442. The wind and brass parts are similar to those at b122, but the strings are clearly related to the fairy theme. In the exposition, this eventually modulated to the dominant, but here it goes to the tonic. At b450 the music for the pairs of lovers starts. It is now in the tonic, and it has been reorchestrated; the melody in the first eight bars is played by the first flute instead of the first clarinet.
The melody of the lovers' theme is doubled by the 2nd violins an octave lower and the cellos and basses play a tonic pedal. The main difference between this point and the corresponding point in the exposition (other than the key) is that the clarinets join the accompaniment before the flutes (in the exposition it is the other way around). As in the exposition, the theme is interrupted by woodwind and brass fanfares from b486 and b494.
From b498, towards the end of the love theme, there is a tonic pedal in the horns. In the exposition this was a long held note, but here it creates a rhythm using crotchets and rests. At b512, rather than a descending scale leading into the next theme (like b192-193) Mendelssohn uses a descending dominant 7th arpeggio.
The actors theme begins like it does in the exposition: with a tonic pedal, joined by a dominant pedal two bars later, giving a rustic drone effect. This time the donkey brays are further emphasized with wider leaps; the recapitulation contains descending 11th (b519-521). The second half of the melody is more richly orchestrated as the violins play in unison rather than divided bars. The donkey bray descending leaps are back to 10ths by the end of the theme.
At b542 the coda is expected, as this was the point where the codetta started in the exposition. However, Mendelssohn brings back music from the transition (b78). This begins in a very similar way to the time it was first heard, with descending woodwind and brass scales in the tonic key in imitation, over a repeated tonic pedal in the lower strings. In the recapitulation a timpani roll has been added. From b550 the scales are developed and there isa perfect cadence in E major at b584.
From b586 the athenians theme returns. This has not been part of the recapitulation so far, so it returns in a different place in relation to the other themes. The music moves on to hunting music, which was originally heard in the codetta (b222). IT is now much more richly scored, with the whole orchestra playing. There is still imitation between the strings, woodwind and brass from b601. The hunting music is heard as a series of repeated accented plagal cadences. This is followed by the whole orchestra outlining the notes of the tonic chord, making the whole overture sound as if it has already finished. This is emphasized by the fact that the music from the codetta has been reprised and this could be heard as the coda. However, this is a false ending and the real coda follows.
CODA (bars 620-686)
This final section is a surprise, as the music at the end of the recapitulation sounds as if it has already finished. The fairy theme is heard again, in E minor, like in the exposition, giving them the final word like in the play. Although the melody is staccato like in b8, the accompaniment is legato (as at b98). The theme is accompanied by woodwind arpeggios, similar to those used in the accompaniment in the development (b270) but in the coda they are twice as fast. The fairy music is once again interrupted by a wind and brass chord (diminished 7th with an extra note). The chord continues into a descending scale in semibreves. This becomes gradually quieter and instruments drop out until there are only clarinets and horns remaining. The royal theme is heard again at b663, in the tonic key. The second phase is transformed further with the addition of triplets. The piece ends in the same way it began, with the four woodwind and brass chords. This time the lingering E major chord from the strings in b682 leaves no doubt that the key of the movement in E major. The other alteration to these chords is the use of slightly different spacing and the addition of a dominant timpani roll on the final chord. From b663 there is a dreamlike quality to the music.
This final section is a surprise, as the music at the end of the recapitulation sounds as if it has already finished. The fairy theme is heard again, in E minor, like in the exposition, giving them the final word like in the play. Although the melody is staccato like in b8, the accompaniment is legato (as at b98). The theme is accompanied by woodwind arpeggios, similar to those used in the accompaniment in the development (b270) but in the coda they are twice as fast. The fairy music is once again interrupted by a wind and brass chord (diminished 7th with an extra note). The chord continues into a descending scale in semibreves. This becomes gradually quieter and instruments drop out until there are only clarinets and horns remaining. The royal theme is heard again at b663, in the tonic key. The second phase is transformed further with the addition of triplets. The piece ends in the same way it began, with the four woodwind and brass chords. This time the lingering E major chord from the strings in b682 leaves no doubt that the key of the movement in E major. The other alteration to these chords is the use of slightly different spacing and the addition of a dominant timpani roll on the final chord. From b663 there is a dreamlike quality to the music.