We know from the composer's own account that work on A Midsummer Night's Dream was by no means always easy going. Therefore when I accidentally stumbled (aurally, be it noted) upon the remarkable fact that the four chords used in Act II of the Dream were almost identical with those used in the setting of Keats's ‘Sonnet to Sleep’ in the Serenade I fully expected to learn that the composer had consciously borrowed from the earlier work, reversing the order of the first two chords (adding a B to the D major chord) and magically re-spacing and re-scoring them. As the poetic element in each piece is concerned with the properties of sleep (inducing a healing forgetfulness on the one hand, a fantastic change of identities on the other) the conscious re-working of those earlier chords of the Serenade would have seemed by no means inapt.