Overture 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
A Midsummer Night's Dream pairing. It seems that a desire to lose one's individuality and find identity in the love of another is what quietly moves the events of "A Midsummer Night's Dream". As the primary sense of motivation, this desire is reflected even in the scenery depictions and the story's overall mood. In his essay "Preposterous Pleasures: Queer Theories and "A Midsummer Night's Dream"," Douglas E. Green explores possible interpretations of alternative sexuality that he finds within the text of the play, in juxtaposition to the proscribed social mores of the culture at the time the play was written. He writes that his