The overture itself is written in Sonata form, but features references to different themes and characters from the play. It opens in E Major with 4 held wind chords; the first is with just the flutes, then the clarinets are added for the second until gradually all the woodwind and horns play the final E major chord. As instruments are added, the range of the chord also increases. The violins then enter, in 3 parts, immediately changing key to E minor and beginning a staccato quaver section; the 1st subject depicting the fairies. The entire passage is written as p or pp, even the interjected wind chords are marked as pp. This creates a massive contrast when the next theme is introduced, with full orchestra suddenly entering ff to mark the entry of the Duke. The music reverts back to E Major, the melody in the strings is matched with repeated chords in the wind to create a pomp and grandeur to the music, similar to a coronation anthem.
A bridge passage, beginning with imitation around a descending scale in the wind, leads to a short return of the fairies theme to aid the modulation to B Major for the second subject; the lover's theme. The clarinets and bassoons begin with a long, soft, legato melody before the strings continue with a scalic motif with added chromatic notes. This continues in the strings with forte fanfare style interjections from the wind until a double pedal in the brass marks the introduction of the next theme depicting Puck, whose head gets turned into that of a donkey in the play. Mendelssohn mimics this through the use of descending 9th and major 10th intervals, creating the impression of a donkey call (ee-aw). A short codetta, featuring a return of the Duke's theme, ends the exposition.
The development begins with a return of the fairies theme but with added colour through interjections of staccato woodwind chords. The music modulates to F# minor before the fanfare heard during the lovers theme is reintroduced, but this time pp. The music continues very quietly, only a ff horn interjection braking the mood. Mendelssohn moves the fairies motif around different string instruments, whilst using petal notes in different sections of the orchestra; at one point the strings have a high inverted petal immediately followed by low flutes holding the bass line. A fragmented version of the lover's theme is introduced in the violins to bring the development to a close.
The recapitulation begins with the same 4 winds chords that began the piece, before the strings return with the fairies theme. Low sustained notes from the bassoons and horns add additional colour to the music, along with rhythmic timpani interjections. The music modulates to C Major before it segues straight into the lover's theme in the tonic key, omitting the Duke's theme entirely. Puck's theme is repeated, which leads into a development based on the music of the bridge passage in the exposition. Eventually the Duke's theme does return, ending the recapitulation as it did the exposition. The music builds to an obvious conclusion, except Mendelssohn reverts straight back to the fairies theme instead of placing the final chord in the cadence.
This return of the fairies theme marks the beginning of the coda. It's as though Mendelssohn was trying to mark the end of the mortal world, but that the fairies still continue. To change the music, the wind chords are sustained and developed through minor and dominant chords. The Duke's theme returns, pp, in the violins above sustained chords in a VI - Ib - V - I pattern. This creates a sleepy feel to the music, especially since Mendelssohn starts to use triplets in the melody where there were previously duplets, making it feel longer and more strung out. A long series of plagal cadences brings an end to the music. The overture finishes how it began with the same 4 wind chords. There are, however, subtle differences. The oboes are omitted, perhaps to get a more pure sound to the chords. There is no crescendo-diminuendo on the final chord and a timpani roll is added for colour; unusually though it's on the dominant, not the tonic, perhaps to make it more subtle and gentle.
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