Overture
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2008-07-17T06:11:16Z
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'''Overture''' ([[French language|French]] ''ouverture,'' meaning opening) in [[music]] is the instrumental introduction to a [[drama]]tic, [[choir|choral]] or, occasionally, [[Musical composition|instrumental composition]].
Frequently an opening to a larger [[drama]]tic work such as an [[opera]], earlier usage of the word also referred to collections of movements, known as [[suite]]s. Later works, such as [[Ludwig van Beethoven|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. The [[toccata]] at the beginning of [[Claudio Monteverdi|Monteverdi]]'s ''[[L'Orfeo]]'' (1607) is a flourish of every procurable instrument{{Vague|date=May 2008}}<!--What instruments are actually specified by Monteverdi— xylophone? transverse flutes? crumhorns? tambourines? All these were "procurable" in his day.--> and, insofar as this constitutes an instrumental movement prefixed to an [[opera]], it may be called an overture.{{Fact|date=May 2008}}<!--This is an inference and, as such, a POV that needs attribution.--> Such short introductions are often titled "symphonia" as in J. S. Bach's [[cantata]]s.
====French ouverture====
As a [[musical form]], however, the so-called "French ouverture" begins with the ballet overtures of [[Jean-Baptiste Lully|J-B Lully]] (Waterman and Anthony 2001), which he elaborated from a similar, two-section form called ‘ouverture’, found in the French [[ballets de cour]] as early as 1640 (Temperley 2001). He devised a scheme which, although he himself did not always adhere to it, constitutes the typical French ''ouverture'' ("opening") up to the time of [[Johann Sebastian Bach]] and [[George Frideric Handel]] (whose works have made it classical). This French ouverture consists of a slow introduction in a marked "dotted rhythm" (i.e. exaggerated [[iamb]]ic, if the first chord is disregarded), followed by a lively movement in [[fugato]] style. The slow introduction was always repeated, and sometimes the quick movement concluded by returning to the slow [[tempo]], usually with new motivic material but occasionally recapitulating the opening, and this combined fast-slow material was sometimes also repeated (see Bach's ''Ouvertüre nach französischer Art'', BWV 831, in the ''Klavierübung''). The operatic French ouverture was frequently followed by a series of dance tunes before the curtain rose. It thus became used as the [[prelude]] to a [[suite]]; and the ''Klavierübung'''s ''French Overture'' by [[Johann Sebastian Bach]] is a case in point, the ouverture proper being the introduction to a suite of seven [[dance]]s. For the same reason Bach's four orchestral suites are called "ouvertures"; and, again, the prelude to the fourth ''partita'' in the ''Klavierübung'' is an overture.
Bach used the French ouverture form for [[refrain|chorus]]es, and even for the treatment of [[chorale]]s. Thus the ouverture, properly so-called, of his fourth orchestral suite became the first chorus of the church [[cantata]] "Unser Mund so voll Lachens"; the choruses of the cantatas "Preise Jerusalem den Herrn" and "Höchst erwünschtes Freudenfest" are in ouverture form; and, in the first of the two cantatas entitled "Nun komm der Heiden Heiland", Bach has ingeniously adapted the ouverture form to the treatment of a chorale.
====Italian overture====
In Italy, a distinct form called "overture" arose in the 1680s, and became established particularly through the operas of [[Alessandro Scarlatti]], and spread throughout Europe, supplanting the French form as the standard operatic overture by the mid-18th century (Fisher 2001). Its usual form is in three generally [[homophony|homophonic]] [[Movement (music)|movements]]: fast–slow–fast. The opening movement was normally in duple metre and in a major key; the slow movement in earlier examples was usually quite short, and could be in a contrasting key; the concluding movement was dance-like, most often with rhythms of the [[gigue]] or [[minuet]], and returned to the key of the opening section. As the form evolved, the first movement often incorporated fanfare-like elements and took on the pattern of so-called "sonatina form" ([[sonata form]] without a development section), and the slow section became more extended and lyrical (Fisher 2001). Italian overtures were often detached from their operas and played as independent concert pieces. In this context, they became important in the early history of the [[symphony]] (Larue 2001).
===18th century and Sonata style===
With the increasing popularity of the Italian opera and the [[sonata (music)|sonata]] style, the French overture fell out of fashion. [[Christoph Willibald Gluck|Gluck]] (whose remarks on the function of overtures in the preface to ''Alceste'' are historic) based himself on Italian models, of loose texture, which admit of a sweeping and massively contrasted technique.{{Fact|date=May 2008}} By the time of [[Wolfgang Amadeus Mozart]]'s later works the overture in the sonata style had clearly differentiated itself from strictly symphonic music. It consists of a quick movement (with or without a slow introduction), in [[sonata form]], loose in texture, without repeats, frequently without a development section, but sometimes substituting for it a melodious episode in slow time.{{Fact|date=May 2008}} 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. The overture to ''Figaro'' was at first intended to have a similar slow middle section, which, however, Mozart struck out as soon as he had begun it. {{Fact|date=May 2008}} Mozart's last overture, ''[[The Magic Flute]]'' (1791), seemed to point toward the 19th century Rossinian model, with its grand opening and slow, heavy introduction leading to a lighthearted main theme. 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; and the final version of the overture to ''[[Fidelio|Leonora]]'' (that known as No. 3) is the most gigantic single orchestral movement ever based on the sonata style.{{Fact|date=May 2008}}<!--This sounds like an out-of-date statement from the 1911 Encyclopedia Brittanica. At less than 15 minutes, Leonora No. 3 is surpassed in length by Schoenberg's single-movement Chamber Symphony No. 1, for example.-->
===19th century===
Although [[Rossini]] retired from writing overtures after ''[[William Tell]]'' in 1829, 19th century overtures largely owe their focus to forms he had developed and perfected long before, primarily for Italian [[opera buffa]]. Rossini’s first professional operatic overture, ''[[La Cambiale di Matrimonio]]'' (1810) bypassed strict sonata form, employing a grand opening, a slow introduction, first main theme, an extended bridge to a second main theme, crescendo, then a closing section. Attempts at this style can be clearly heard in overtures of [[Adolphe Adam]], [[Carl Maria von Weber]], [[Giuseppe Verdi]], [[Hector Berlioz]] and others, though none having achieved Rossini’s reputation as craftsmen of overtures, as the simple, transparent style requires a preponderance of inspired melodic ideas for lasting effect. However, ''William Tell'' may have more successfully served as the model for the 19th century [[Romanticism|romantic]] overture, with its revolutionary four part form, achieving the grand affect of a mini symphony, expanding the boundaries for 19th century opera as a whole. The ''[[William Tell Overture]]'' signaled the close of the classical period for the operatic stage at its premier, paving the way for [[Meyerbeer]] and [[Wagner]], its influence being heard as far forward as Tchaikovsky’s ''[[1812 Overture]]'' and Offenbach’s ''[[Orpheus in the Underworld]]''.
===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.{{Fact|date=April 2008}} 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.{{Fact|date=April 2008}} [[Richard Wagner]]'s ''Vorspiel'' to ''[[Lohengrin (opera)|Lohengrin]]'' is a short self-contained movement founded on the music of the Grail. It does not represent a further departure from the formal classical overture than that shown fifty years earlier by [[Etienne Méhul|Méhul]]'s interesting overtures to ''Ariodant'' and ''Uthal'',{{Fact|date=April 2008}} in the latter of which a voice is several times heard on the stage before the rise of the curtain.
The ''Vorspiel'' to ''[[Die Meistersinger]],'' though needing only an additional tonic chord to bring it to an end, in its proper position leads to the rise of the curtain. The Vorspiel to ''Tristan'' was finished for concert use by Wagner himself, and the considerable length of the added page shows how little calculated for independent existence the original Vorspiel was. Lastly, the ''Parsifal'' Vorspiel is a composition finished for concert use by Wagner in a few extra bars. The orchestral preludes to the four dramas of the Ring are mere preparations for the rise of the curtain{{Fact|date=April 2008}}; and these works can no more be said to have overtures than Verdi's ''[[Falstaff (opera)|Falstaff]]'' and [[Richard Strauss|Strauss]]'s ''[[Salome (opera)|Salome]]'', in which the curtain rises at the first note of the music.
===Operettas and musicals===
Many nineteenth century [[operetta]]s and [[light opera]]s substituted for the specially composed overture in strict "overture form", as detailed above, a [[potpourri (music)|potpourri]] of airs based on the tunes of the songs that were to follow. [[Arthur Sullivan|Sullivan]], for instance, seldom actually wrote out his own overtures - since they followed the potpourri format expected from an English "comic opera" of the time, any competent [[orchestrator]] could be trusted with this task.
Twentieth century and contemporary overtures accompanying [[Musical theatre|Broadway (and other) Musicals]] almost always follow this pattern, consisting of segments from the more popular songs in the musical - although some musicals dispense with a formal overture altogether. The overture usually is played before the musical starts. However, in the recent revival of [[Cole Porter]]'s [[Kiss Me, Kate]], the overture appears after the opening chorus of "Another Op'ning, another show", with the chorus remaining on stage. (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.)
==Symphonic poem==
Another form of overture is the so-called concert overture, intended as an individual concert piece. Early in the [[Romantic era]], [[Carl Maria von Weber]] wrote two concert overtures, ''Der Beherrscher der Geister'' ('The Ruler of the Spirits') and ''Jubel-Ouvertüre'' (Jubilee-Overture, incorporating ''God Save the King'' at the climactic close), and [[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. [[Hector Berlioz]]'s ''[[Roman Carnival Overture]]'' might be taken for such an independent work but (like the ''[[Fidelio#The_Overtures_to_Fidelio|Leonore]]'' overtures) originated as music for an opera, ''[[Benvenuto Cellini (opera)|Benvenuto Cellini]]''.
In the 1850s the concert overture began to be supplanted by the [[symphonic poem]], a form devised by [[Franz Liszt]] in several works that began as dramatic overtures. The distinction between the two genres was the freedom to mould the musical form according to external [[Program music|programmatic]] requirements (Temperley 2001). The symphonic poem became the preferred form for the more "progressive" composers, such as [[César Franck]], [[Richard Strauss]], [[Alexander Scriabin]], and [[Arnold Schoenberg]], while more conservative composers like [[Anton Rubinstein]], [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]], [[Johannes Brahms]], and [[Arthur Sullivan]] remained faithful to the overture (Temperley 2001).
In the age when the symphonic poem had already become popular, 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. Another example is Tchaikovsky's [[1812 Overture]]. His equally well-known [[Romeo and Juliet (Tchaikovsky)|Romeo and Juliet]] is also labelled as a 'fantasy-overture'.
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 (play)|Julius Caesar]]'' and ''[[Hermann and Dorothea|Hermann und Dorothea]]''. Although these overtures derive their musical inspiration from literary works, Schumann neither composed music for the entire work as he would for an opera nor necessarily intended a spoken performance to immediately follow. Both Schumann and Tchaikovsky would, in fact, incorporate bits of the [[France|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.
==Film==
In [[motion pictures]], an overture is a piece of music setting the mood for the film before the credits start. It does not underscore the credits or part of the plot but is seen as introductory music "in its own right". It is typically accompanied by a blank screen (played with the lights already dimmed and/or with closed curtains) or a still picture and can be several minutes long. {{Fact|date=January 2008}}
Notable examples are: ''[[Gone with the Wind (film)|Gone with the Wind (1939)]]'', ''[[Since You Went Away|Since You Went Away (1944)]]'' (again, a David O. Selznick Production), ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'', ''[[Oliver! (film)|Oliver! (1968)]]'', ''[[King Kong (1933)|King Kong]]'', ''[[West Side Story (film)|West Side Story]]'', ''[[2001: A Space Odyssey (film)#Soundtrack|2001: A Space Odyssey]]'', and ''[[A Clockwork Orange (film)|A Clockwork Orange]]''. 1979 was the last time a major American studio made use of an overture (with the films ''[[Star Trek: The Motion Picture]]'' and ''[[The Black Hole]]''), although the film ''[[Dancer in the Dark]]'' included an overture in the year 2000. Many of these ([[Epic film|epic]]) films also featured entr'actes and exit musics, which, together with the overtures, have often been cut from TV and video releases and can only be found on recent "restored" DVDs. Some of these "incidental musics" were made for [[roadshow]] presentation and were cut afterwards for the [[wide release]].
The [[anime]] series ''[[Space Battleship Yamato]]'' (1974) had the distinction of a vocal overture instead of instrumental.
For a more comprehensive list, see [[List of Films with Overtures]].
==Overtures in popular music==
* [[Def Leppard]] has Overture on both [[The Def Leppard E.P.]](1979) and [[On Through The Night]] (1980)
* [[Dream Theater]] has "[[overture 1928]]" as an opening to the conceptual album "[[Metropolis pt.2]]", as well as an overture in the [[Six Degrees of Inner Turbulence]] album.
* [[Rush]] use an overture in the 2112 album.
* [[Savatage]] - Overture on [[Dead Winter Dead]]
* [[The Who]]'s 1969 [[rock opera]] ''[[Tommy (rock opera)|''Tommy'']]'' has an [[Overture (The Who)|Overture]]. It features parts of other songs and in addition begins the story with Captain Walker [[missing in action]].
* [[The World/Inferno Friendship Society]]'s 2007 album [[Addicted to Bad Ideas: Peter Lorre's Twentieth Century]], a concept album about the life and death of Peter Lorre, featured "Peter Lorre's Overture," which incorporated themes from the rest of the album and ended with a reworking of their song "Peter Lorre."
* [[Yoshiki (musician)|Yoshiki Hayashi]] used an Overture in his album "Eternal Melody"
* [[Patrick Wolf]]'s album [[The Magic Position]] begins with a track called Overture.
* "Obertura", by the Argentine group "La Maquina de Hacer Pájaros" in their album "Peliculas"
Apart from the forementioned albums, many other [[concept albums]] in popular music feature overture-like instrumental opening pieces, although they might not be titled as such. Examples are:
* [[Savatage]] - "The Ocean" on [[The Wake of Magellan]]
* [[The Smashing Pumpkins]] - "Mellon Collie and the Infinite Sadness" on [[Mellon Collie and the Infinite Sadness]]
==References==
{{1911}}
* Fisher, Stephen C. 2001. "Italian Overture." ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Larue, Jan. 2001. "Sinfonia 2: After 1700". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Temperley, Nicholas. 2001. "Overture". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Waterman, George Gow, and James R. Anthony. 2001. "French Overture". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.
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