An orchestral prelude to an opera or other work, or (since the early 19th-c) an independent, usually descriptive, concert piece of similar length. The French overture of the 17th18th-c consisted of a slow section followed by a quick one, often ending with a partial return of the opening material; the contemporary Italian overture was on the pattern fastslowfast.
Later works, such as Beethoven's overture Leonora No 3 mark a transition between the concept of overture as introduction to a dramatic entertainment, and musical forms such as the symphonic poem, which are free-standing works in their own right.History
17th century
The notion of an overture was formulated during the 17th century. and, in so far as this constitutes the first instrumental movement prefixed to an opera, it may be called an overture. He devised a scheme which, although he himself did not always adhere to it, constitutes the typical French overture up to the time of Johann Sebastian Bach and George Friderich Handel (whose works have made it classical). The slow introduction was always repeated, and sometimes the quick movement concluded by returning to the slow tempo and material, and was also repeated (see Bach's French Overture in the Klavierübung). The operatic French overture was frequently followed by a series of dance tunes before the curtain rose. and the Klavierübung French Overture of Johann Sebastian Bach is a case in point, the overture proper being the introduction to a suite of seven dances.
Bach was able to use the French overture form for choruses, and even for the treatment of chorales.
Sonata style
With the rise of dramatic music and the sonata style, the French overture became unsuitable for opera; By the time of Wolfgang Amadeus Mozart's later works the overture in the sonata style had clearly differentiated itself from strictly symphonic music. Instances of this substitution are Mozart's symphony in G, which is an overture to an unknown opera, and his overtures to Die Entführung and to Lo Sposo deluso, in both of which cases the curtain rises at a point which throws a remarkable dramatic light upon the peculiar form. In Beethoven's hands the overture style and form increased its distinction from that of the symphony, but it no longer remained inferior to it;
Modern opera
In modern opera the overture, Vorspiel, Einleitung, Introduction, or whatever else it may be called, is generally nothing more definite than that portion of the music which takes place before the curtain rises. Tannhäuser is the last case of high importance in which the overture (as originally written) is a really complete instrumental piece prefixed to an opera in tragic and continuous dramatic style. In lighter opera, where sectional forms are still possible, a separable overture is not out of place, though even Carmen is remarkable in the dramatic way in which its overture foreshadows the tragic end and leads directly to the rise of the curtain. With all its wonderful instrumentation, romantic beauty and identity with subsequent music in the first and third acts, it does not represent a further departure from the formal classical overture than that shown fifty years earlier by Méhul's interesting overtures to Ariodant and Uthal, in the latter of which a voice is several times heard on the stage before the rise of the curtain. and these works can no more be said to have overtures than Verdi's Falstaff and Strauss's Salome, in which the curtain rises at the first note of the music.
Broadway musicals
Contemporary Overtures accompanying Broadway Musicals usually contain segments from the more popular songs in the musical. (In the original 1948 production, and all other productions of the show up to 1999, the overture to the show appeared in its usual place - before the first song.)
The Overture and the Symphonic Poem
The other form of overture is intended as an individual concert piece (see also entry on: symphonic poem) and is independent of any libretto, although they are not termed as such due to the composer's own titling and evaluation of the piece and not due to its musical form and nature.
For example, Tchaikovsky's 1812 Overture is not classified as a symphonic poem by the composer and the piece is known as a concert overture. Earlier during the development of music of the Romantic era, Felix Mendelssohn wrote his Fingal's Cave (alternatively known as the 'Hebrides Overture') and the Meerestille und Glückliche Fahrt (Calm Sea and Prosperous Voyage) Overture whereas Hector Berlioz also composed his Roman Carnival Overture without alluding their pieces to any libretto.
Further, in the age when the symphonic poem has already been developed, Johannes Brahms wrote his Academic Festival Overture op.80 as well as his Tragic Overture op.81 with the latter piece, having a wide range of emotions encapsulated, can also be taken for a symphonic poem but are not titled as such by the composer.
Composers like Robert Schumann also wrote overtures based on literature written by Friedrich Schiller, Shakespeare and Johann Wolfgang von Goethe such as the Overtures to 'Die Braut von Messina', 'Julius Caesar' and 'Hermann und Dorothea'. Although these types of overtures derive its musical inspiration from these works, Schumann did not write music for the entire work as he would for an opera and would fall under this category as discussed above. Both Schumann and Tchaikovsky would, in fact, incorporate bits of the French national anthem, La Marseillaise into their overtures 'Hermann und Dorothea' and 'Overture 1812' respectively which indicate the independent nature of this type of overture.
Trivia
Musical overtures have also appeared in motion pictures, particularly early and science fiction movies. In the fashion of modern opera, these overtures appear before the opening credits and are accompanied by a black screen or occasionally a starfield.
Kingdom of Heaven has an overture in its Director's Cut.
in Baten Kaitos one of Lyude's extreme attacks is called overture.
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