tones
compulsive cantater
I was grooving along the other Saturday to the accompaniment of Beethoven's ââ'¬Å"Egmontââ'¬Â overture, especially its marvellous finish after the execution of Egmont, when, in typical Beethovian style, it stands up on its hind legs and ROARS, symbolising that freedom and truth continue, even though the individual perish. It made me think of all those marvellous overtures that are in some ways the best introductions of all to classical music, because nowhere else in music is bright, infectious music so concentrated. In some cases, a composer is only remembered by his overtures.
This arose out of the overture's object, to commence a drama and to typify it in some way. In many cases, it gives a précis of the plot ââ'¬â€œ in some cases, too much. Beethoven abandoned the Overture to ââ'¬Å"Leonoraââ'¬Â No.3, because it gave the game of the opera away.
Originally, overtures were just the bit at the beginning. They have always been used in operas. Monteverdi, writer of the world's first true operas, wrote them ââ'¬â€œ the famous overture to ââ'¬Å"Orfeoââ'¬Â (the first opera to cover the Greek story of Orpheus and Eurydice) was later used for the opening chorus in the famous 1610 Vespers. Overtures became especially formalised in France, and the ââ'¬Å"overture in the French styleââ'¬Â became a standard part of many baroque pieces, even non-theatrical ones. Handel used them quite a lot, e.g., ââ'¬Å"Messiahââ'¬Â and the Water Music.
With the rise of a paying public for music, they became more substantial, designed as a warning signal to the patrons boozing at the bar that the show was about to start, turning into major pieces of music in their own right. And finally, they became just that ââ'¬â€œ for example, Tchaikovsky's ââ'¬Å"Romeo and Julietââ'¬Â is an overture without a theatre piece. It is really more a Liszt-style tone poem, depicting the actions of Shakespeare's drama (in the wrong order!).
So, what are your favourite overtures? Here are some of mine.
BEETHOVEN To me, the greatest of all overture writers ââ'¬â€œ they are grand, eloquent, rugged things with a carved-from-solid feeling. To me, Leonora No.3 is the greatest overture of all, especially the piledriver finale. Why ââ'¬Å"No.3ââ'¬Â? Beethoven only ever wrote one opera, to be called ââ'¬Å"Leonoraââ'¬Â, after its heroine. He wrote an overture, didn't like it, wrote another, didn't like that either, wrote a third, decided that gave away the whole plot and scrapped that too. Finally he changed the name of the opera to ââ'¬Å"Fidelioââ'¬Â and wrote an entirely different overture! Other Beethoven greats, written for various dramas by other people include ââ'¬Å"Egmontââ'¬Â, ââ'¬Å"Coriolanââ'¬Â and ââ'¬Å"Die Weihe des Hausesââ'¬Â (Consecration of the house).
ROSSINI There isn't a person on the planet who doesn't know ââ'¬Å"Guillaume Tellââ'¬Â. Yet the famous galop, which everyone knows as Bill Tell, was a later addition ââ'¬â€œ the thing originally ended with the trilling Alpine melody that abruptly gives way to the famous fanfare. Rossini's operas are splendid, bouncy, bright ââ'¬â€œhe put great efforts into them, so much so that they often weren't ready in time for the opera performance (Bill Tell got its overture three weeks after the opera opened). My personal favourite Rossini overture is ââ'¬Å"Il Barbiere de Sivigliaââ'¬Â (The Barber of Seville), closely followed by ââ'¬Å"Semiramideââ'¬Â. Other great ones are ââ'¬Å"La Gazza Ladraââ'¬Â (The thieving magpie), ââ'¬Å"La Scala di Setaââ'¬Â (The silken ladder) and the marvellous bow-tapping ââ'¬Å"Il Signor Bruschinoââ'¬Â.
VON SUPPÉ Franz von Suppé's operettas have essentially ceased to exist, and only the overtures survive. The most famous are ââ'¬Å"Dichter und Bauerââ'¬Â (poet and peasant) and ââ'¬Å"Leichter Kavallerieââ'¬Â (Light cavalry), the latter being particularly well known (dada-dum dada-dum, dada-dum dada-dum, dada-dum dada-da-da-da-daaaaa-dah). There are others that are not so well known, such as ââ'¬Å"Die schöne Galatheaââ'¬Â (beautiful Galathea). And while we're on composers known only by their overtures, nobody remembers a thing about Resnicek, except the one marvellous overture ââ'¬Å"Donna Dianaââ'¬Â. And does anyone remember Otto Nicholai for anything apart from the overture to ââ'¬Å"Die lustige Weibe von Windsorââ'¬Â (The Merry Wives of Windsor ââ'¬â€œ nothing to do with the present incumbents, I believe)?
OFFENBACH Jacques Offenbach wrote operettas, which made fun of serious operas and classical themes. His ââ'¬Å"Orphée aux enfersââ'¬Â (Orpheus in the underworld, but one critic insisted on translating it as ââ'¬Å"To hell with Orpheus!ââ'¬Â) is a sometimes ruthless burlesquing of Gluck's ââ'¬Å"Orpheus and Eurydiceââ'¬Â. The famous overture, with its famous final galop, which everyone knows as THE Can-Can, actually didn't have the can-can originally ââ'¬â€œ it was tacked on later. ââ'¬Å"La belle Hélèneââ'¬Â, a send-up of the story of Helen of Troy, also has a great overture.
STRAUSS Johann Jr. ââ'¬Å"The Waltz Kingââ'¬Â later produced highly successful operettas, which still get played today. The most famous is ââ'¬Å"Die Fledermausââ'¬Â (the bat), which has a great overture, made up from the best melodies of the operetta. Another great overture is that of ââ'¬Å"Der Zigeunerbaronââ'¬Â (the gipsy baron).
BRAHMS never wrote an opera in his life, but he wrote two ââ'¬Å"overturesââ'¬Â, the Academic Festival Overture (full of student songs, including the traditional Gaudeamus igitur), and the Tragic Overture., both great pieces.
TCHAIKOVSKY When most people think of the words ââ'¬Å"Tchaikovskyââ'¬Â and ââ'¬Å"overtureââ'¬Â, they usually insert the number ââ'¬Å"1812ââ'¬Â in between. This outrageously over-the-top bit of patriotism depicting the defeat of Napoleon at Moscow, plays fast and loose with the historical events, putting the Battle of Borodino (the bit with the cannons) after the retreat from Moscow. It was written ââ'¬Å"without much loveââ'¬Â for an open-air performance in front of the Kremlin, in what is now Red Square. The cannons would have been there and the Kremlin bells would have been rung. I don't think it was ever performed in this way, but it has always been a crowd pleaser. Most versions dispense with the choir that sings the hymn ââ'¬Å"God preserve Thy peopleââ'¬Â at the start, having it played by the orchestra instead.
In my opinion, 1812 isn't a patch musically on ââ'¬Å"Romeo & Julietââ'¬Â. ââ'¬Å"Francesca da Riminiââ'¬Â is also excellent.
Speaking of Tchaikovsky, many of the Russian composers wrote great, tuneful overtures ââ'¬â€œ Glinka's ââ'¬Å"Ruslan & Ludmillaââ'¬Â and Borodin's ââ'¬Å"Prince Igorââ'¬Â are two examples.
WAGNER GrahamN would never forgive me if I omitted his idol! Dickie wrote some very imposing overtures for his operas. My favourite is the magnificent ââ'¬Å"Die Meistersinger von Nürnbergââ'¬Â, but the rest are also great, for example ââ'¬Å"Rienziââ'¬Â, ââ'¬Å"Tannhauserââ'¬Â and ââ'¬Å"Der fliegende Hollanderââ'¬Â (The flying Dutchman).
So, what have I left out?
This arose out of the overture's object, to commence a drama and to typify it in some way. In many cases, it gives a précis of the plot ââ'¬â€œ in some cases, too much. Beethoven abandoned the Overture to ââ'¬Å"Leonoraââ'¬Â No.3, because it gave the game of the opera away.
Originally, overtures were just the bit at the beginning. They have always been used in operas. Monteverdi, writer of the world's first true operas, wrote them ââ'¬â€œ the famous overture to ââ'¬Å"Orfeoââ'¬Â (the first opera to cover the Greek story of Orpheus and Eurydice) was later used for the opening chorus in the famous 1610 Vespers. Overtures became especially formalised in France, and the ââ'¬Å"overture in the French styleââ'¬Â became a standard part of many baroque pieces, even non-theatrical ones. Handel used them quite a lot, e.g., ââ'¬Å"Messiahââ'¬Â and the Water Music.
With the rise of a paying public for music, they became more substantial, designed as a warning signal to the patrons boozing at the bar that the show was about to start, turning into major pieces of music in their own right. And finally, they became just that ââ'¬â€œ for example, Tchaikovsky's ââ'¬Å"Romeo and Julietââ'¬Â is an overture without a theatre piece. It is really more a Liszt-style tone poem, depicting the actions of Shakespeare's drama (in the wrong order!).
So, what are your favourite overtures? Here are some of mine.
BEETHOVEN To me, the greatest of all overture writers ââ'¬â€œ they are grand, eloquent, rugged things with a carved-from-solid feeling. To me, Leonora No.3 is the greatest overture of all, especially the piledriver finale. Why ââ'¬Å"No.3ââ'¬Â? Beethoven only ever wrote one opera, to be called ââ'¬Å"Leonoraââ'¬Â, after its heroine. He wrote an overture, didn't like it, wrote another, didn't like that either, wrote a third, decided that gave away the whole plot and scrapped that too. Finally he changed the name of the opera to ââ'¬Å"Fidelioââ'¬Â and wrote an entirely different overture! Other Beethoven greats, written for various dramas by other people include ââ'¬Å"Egmontââ'¬Â, ââ'¬Å"Coriolanââ'¬Â and ââ'¬Å"Die Weihe des Hausesââ'¬Â (Consecration of the house).
ROSSINI There isn't a person on the planet who doesn't know ââ'¬Å"Guillaume Tellââ'¬Â. Yet the famous galop, which everyone knows as Bill Tell, was a later addition ââ'¬â€œ the thing originally ended with the trilling Alpine melody that abruptly gives way to the famous fanfare. Rossini's operas are splendid, bouncy, bright ââ'¬â€œhe put great efforts into them, so much so that they often weren't ready in time for the opera performance (Bill Tell got its overture three weeks after the opera opened). My personal favourite Rossini overture is ââ'¬Å"Il Barbiere de Sivigliaââ'¬Â (The Barber of Seville), closely followed by ââ'¬Å"Semiramideââ'¬Â. Other great ones are ââ'¬Å"La Gazza Ladraââ'¬Â (The thieving magpie), ââ'¬Å"La Scala di Setaââ'¬Â (The silken ladder) and the marvellous bow-tapping ââ'¬Å"Il Signor Bruschinoââ'¬Â.
VON SUPPÉ Franz von Suppé's operettas have essentially ceased to exist, and only the overtures survive. The most famous are ââ'¬Å"Dichter und Bauerââ'¬Â (poet and peasant) and ââ'¬Å"Leichter Kavallerieââ'¬Â (Light cavalry), the latter being particularly well known (dada-dum dada-dum, dada-dum dada-dum, dada-dum dada-da-da-da-daaaaa-dah). There are others that are not so well known, such as ââ'¬Å"Die schöne Galatheaââ'¬Â (beautiful Galathea). And while we're on composers known only by their overtures, nobody remembers a thing about Resnicek, except the one marvellous overture ââ'¬Å"Donna Dianaââ'¬Â. And does anyone remember Otto Nicholai for anything apart from the overture to ââ'¬Å"Die lustige Weibe von Windsorââ'¬Â (The Merry Wives of Windsor ââ'¬â€œ nothing to do with the present incumbents, I believe)?
OFFENBACH Jacques Offenbach wrote operettas, which made fun of serious operas and classical themes. His ââ'¬Å"Orphée aux enfersââ'¬Â (Orpheus in the underworld, but one critic insisted on translating it as ââ'¬Å"To hell with Orpheus!ââ'¬Â) is a sometimes ruthless burlesquing of Gluck's ââ'¬Å"Orpheus and Eurydiceââ'¬Â. The famous overture, with its famous final galop, which everyone knows as THE Can-Can, actually didn't have the can-can originally ââ'¬â€œ it was tacked on later. ââ'¬Å"La belle Hélèneââ'¬Â, a send-up of the story of Helen of Troy, also has a great overture.
STRAUSS Johann Jr. ââ'¬Å"The Waltz Kingââ'¬Â later produced highly successful operettas, which still get played today. The most famous is ââ'¬Å"Die Fledermausââ'¬Â (the bat), which has a great overture, made up from the best melodies of the operetta. Another great overture is that of ââ'¬Å"Der Zigeunerbaronââ'¬Â (the gipsy baron).
BRAHMS never wrote an opera in his life, but he wrote two ââ'¬Å"overturesââ'¬Â, the Academic Festival Overture (full of student songs, including the traditional Gaudeamus igitur), and the Tragic Overture., both great pieces.
TCHAIKOVSKY When most people think of the words ââ'¬Å"Tchaikovskyââ'¬Â and ââ'¬Å"overtureââ'¬Â, they usually insert the number ââ'¬Å"1812ââ'¬Â in between. This outrageously over-the-top bit of patriotism depicting the defeat of Napoleon at Moscow, plays fast and loose with the historical events, putting the Battle of Borodino (the bit with the cannons) after the retreat from Moscow. It was written ââ'¬Å"without much loveââ'¬Â for an open-air performance in front of the Kremlin, in what is now Red Square. The cannons would have been there and the Kremlin bells would have been rung. I don't think it was ever performed in this way, but it has always been a crowd pleaser. Most versions dispense with the choir that sings the hymn ââ'¬Å"God preserve Thy peopleââ'¬Â at the start, having it played by the orchestra instead.
In my opinion, 1812 isn't a patch musically on ââ'¬Å"Romeo & Julietââ'¬Â. ââ'¬Å"Francesca da Riminiââ'¬Â is also excellent.
Speaking of Tchaikovsky, many of the Russian composers wrote great, tuneful overtures ââ'¬â€œ Glinka's ââ'¬Å"Ruslan & Ludmillaââ'¬Â and Borodin's ââ'¬Å"Prince Igorââ'¬Â are two examples.
WAGNER GrahamN would never forgive me if I omitted his idol! Dickie wrote some very imposing overtures for his operas. My favourite is the magnificent ââ'¬Å"Die Meistersinger von Nürnbergââ'¬Â, but the rest are also great, for example ââ'¬Å"Rienziââ'¬Â, ââ'¬Å"Tannhauserââ'¬Â and ââ'¬Å"Der fliegende Hollanderââ'¬Â (The flying Dutchman).
So, what have I left out?
).
) listened to his oratorio 'Rinaldo' I am quite glad he never did an opera. Its about the only thing by Brahms that definitely isn't a masterpiece.
