A Midsummer Night's Dream - Pittsburgh Ballet Theatre

David Briskin, Music Director and Principal Conductor for Pittsburgh Ballet Theatre,gives us some insight into the ballet music and conducting for dance:Concert Overture and Incidental MusicThe concert “Overture”, written when Mendelssohn was seventeen, tells the whole storyin musical motifs. It sets the mood, creates the atmosphere, and identifies the characters.The four chords that are heard at the beginning, middle, and end of the overture, create amysterious peacefulness as would be expected in a forest inhabited by fairies. You willalso hear them at the end of the ballet.The light and capricious scherzo theme associated with Puck, the mischievous elf servantof the fairy king, is heard each time Puck appears on the stage. The light, quick thematicmusic continues for the fairies, butterflies and bugs.When Bottom the tradesman is transformed into a donkey, the characteristic “Hee-Haw”bray is heard in the music.Mendelssohn’s “Incidental Music” for the play, composed seventeen years later, uses allof these themes in various forms throughout. Some critics at the time thought that he hadrelied too heavily on that “Overture” for thematic material. Why would he not expandon that ideal piece which was already associated with Shakespeare’s play?The other overtures and choral pieces are not as light and carefree as the “Midsummer”music. They are more dramatic and earthbound, perhaps portraying more humanqualities and worldly cares.Also included are choral pieces set with Shakespeare’s original text. The original scorecalls for two women’s voices, soprano and mezzo, and a chorus. Over the years thechorus has been a women’s chorus, a boys chorus, or a children’s chorus depending onthe preference of the conductor and the availability of the singers. When this music isplayed and sung, the dancers appearing on stage are two soloists and a chorus of fairies.Conducting for the BalletCoordinating dancers and musicians can be complex, especially if the choreographytakes liberties with the tempi or note values of the music. Conducting for Balanchineballets is enjoyable because Mr. B always respected the composer’s timing andexpressive markings. He was extremely attentive to musical values. His philosophy was,“whatever happens on stage has already happened first in the music, and that is why itsvisual interpretation takes that special shape.” This has been described as “hearingdancing and seeing music.”Balanchine’s choreography is inspired by great music. Musicians play, and the dancersdance to it, allowing all of the artists to feel equal in presenting a great work.26