Eine Musik zu Shakespeares "Viel Lärmen um nichts"

Korngold wrote Eine Musik zu Shakespeares ‘Viel Lärmen um nichts’ [Incidental music for Shakespeare’s Much Ado about Nothing] following a commission from the Volksbühne in Vienna. The composer’s relatively small ensemble of 19 instrumentalists for this work was a reaction to the scarcity of musicians in the aftermath of the First World War. Following the cancellation of the premiere performance of the work by its commissioners, the rights were secured by the Burgtheater who performed Korngold’s composition in the Baroque theatre of Schönbrunn Palace on 6 May 1920. In addition to his original scoring, Korngold produced a version for piano, solo violin, and a supplementary horn part (Karl Anton Stiegler, the then principal horn of the Vienna Philharmonic, received a fi ne cigar for his efforts) which was used in the production during performances when the orchestra was otherwise unavailable. The popularity of the incidental music prompted Korngold to compile several other versions of the work under the same name, including a suite for orchestra, a three-movement version for violin and piano, and a recently rediscovered version for string quartet. Eine Musik zu Shakespeares ‘Viel Lärmen um nichts’ is divided into 14 individual pieces. Several intermezzos are form interludes which were performed in front of a closed curtain, while others such as ‘Festmusik’ and the ‘Lied des Balthasar’ are pieces firmly integrated into the onstage action. Shakespeare’s comedy focuses on two love stories, Claudio who is ultimately married to Hero and Beatrice and Benedict who finally confess their love for one another. Throughout the play, Korngold’s incidental music mirrors the plot exactly with the composer’s rumbustious ‘Hornpipe’ and grotesque ‘Trauermarsch’ [Funeral March] are highlights of some the score’s more light-hearted moments, while pieces such as the famous ‘Mädchen im Brautgemach’ [Bridal Morning] eloquently underpins the play’s romantic story. John Mauceri’s research into historical performances of the work, discovered that Korngold had intended the string parts to be played by a quartet of soloists (violin, viola, cello and double bass) rather than with several players to a part. Leslie Korngold, the grandson of the composer, supplied private recordings, enabling tempo indications and other details to be taken into account. After the Second World War, the practice of accompanying stage plays with an orchestra fell out of fashion, but Eine Musik zu Shakespeares ‘Viel Lärmen um nichts’ has continued to be performed regularly as a concert work. Both the suite and stage versions of the work are enjoying frequent performances with choreographers additionally beginning to discover the suitability of the incidental music for dance productions.