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For other uses, see Overture (disambiguation).
Overture (French ouverture, meaning opening) in music is the instrumental introduction to a dramatic, choral or, occasionally, instrumental composition.
Frequently an opening to a larger dramatic work such as an opera, earlier usage of the word also referred to collections of movements, known as suites. 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.
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The notion of an overture was formulated during the 17th century. The toccata at the beginning of Monteverdi\'s L\'Orfeo (1607) is a flourish of every procurable instrument (in some modern performances, at least),[weasel words] and, insofar as this constitutes an instrumental movement prefixed to an opera, it may be called an overture. Such short introductions are often titled "symphonia" as in J. S. Bach\'s cantatas.
As a musical form, however, the overture begins with the works of J-B Lully. 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 Friderich Handel (whose works have made it classical). This French ouverture consists of a slow introduction in a marked "dotted rhythm" (i.e. exaggerated iambic, 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 dances. 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 was able to use the French ouverture form for choruses, and even for the treatment of chorales. 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.
With the rise of dramatic music and the sonata style, the French overture became unsuitable for opera; and 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. 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. 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. 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 Leonora (that known as No. 3) is the most gigantic single orchestral movement ever based on the sonata style.
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. Richard Wagner\'s Vorspiel to Lohengrin is a short self-contained movement founded on the music of the Grail. 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.
The Vorspiel to Die Meistersinger, though very enjoyable by itself and needing only an additional tonic chord to bring it to an end, really loses incalculably in refinement by so ending in a concert room. In its proper position its otherwise disproportionate climax leads to the rise of the curtain and the engaging of the listener\'s mind in a crowd of dramatic and spectacular sensations amply adequate to account for that long introductory instrumental crescendo. The Vorspiel to Tristan has been very beautifully finished for concert use by Wagner himself, and the considerable length and subtlety of the added page shows how little calculated for independent existence the original Vorspiel was. Lastly, the Parsifal Vorspiel is a composition which, though finished for concert use by Wagner in a few extra bars, asserts itself with the utmost lucidity and force as a prelude to some vast design. The orchestral preludes to the four dramas of the Ring owe their whole meaning to their being mere preparations for 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.
Many nineteenth century operettas and light operas substituted for the specially composed overture in strict "overture form", as detailed above, a potpourri of airs based on the tunes of the songs that were to follow. 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 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.)
The other form of overture is the so-called concert overture, intended as an individual concert piece (see also entry on: symphonic poem) An example is Tchaikovsky\'s 1812 Overture, not classified as a symphonic poem by the composer. His equally well-known Romeo and Juliet is also labelled as a \'fantasy-overture\'. Earlier during the development of music of 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 Leonore overtures) originated as music for an opera, Benvenuto Cellini.
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 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 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.
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.[citation needed]
Notable examples are: Gone with the Wind (1939), Lawrence of Arabia, Oliver! (1968), King Kong, West Side Story, 2001: A Space Odyssey, and 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) 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.
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:
This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.
This article is licensed under the GNU Free Documentation License. It uses material from Wikipedia
