Favorite overtures

[serge urtizberea]

Overtures aren't often discussed here, but there are works that have interested me almost since I got into c.m in the first place. I talk mainly of concert overtures here. I don't generally enjoy opera overtures.<P>To composers who regard music and emotiion as indivisible, what do concert overtures mean to them? What are your favorite overtures, concert or otherwise? Do you consider Beethoven's to be the best of the lot?<P>I will say this of me: I find concert overtures can about as emotionally-involved as anything else. In fact, I almost see them as miniature set-pieces in music. There is a great deal of painterliness and emotional weight in Fingal's Cave and Finlandia. A Brahms' overture is almost always looming and sombre... a Mozart usually good-natured.. a Beethoven invariably passioned, rhythmic, and powerful. I especially love a Berlioz overture; hardly any overture can match the sense of "Romantic" that a berlioz contains! So many composer-specific qualities can be found in overtures. To my ears, at least.<P>In this regard, while I find Beethoven's oeuvre in this genre to be at the top, it is not without peer. I love fingal's, finlandia, Corsair, Beatrice, and Academic. I place them perfectly at the level of Ludwig's Consecration, Egmont, and fidelio. <P>I'd love to find a cd of compiled overtures that doesn't look cheap. They seem to be in short supply..sigh...

[BenG]

I agree there aren't many overture cd's out there worth buying...just the usual suspects--mostly starting with the 1812 Overture. <P>I don't understand why you don't like opera overtures, though. That would be leaving out WAY too much. Wasn't 'Fidelio' from Beethoven's sole opera? What about Rossini's overture to 'Barber of Seville?' Or all of the Mozart opera overtures? What about Wagner's Tannhauser or Die Miestersinger overtures? They were all brilliant. And here's another great overture not often heard: Tchakovsky's overture in "Eugene Onegin." Well, actually it's a polonaise, I think...but it is lush and wonderful. I also like Brahm's 'Tragic Overture' and Dvorak's 'Carnival Overture. And another Berlioz overture I like a lot is...'Roman Festival Overture.' Or something like that.<P>Happy listening,<BR>Ben

[shostakovich]

I'm glad this topic came up. I think of overtures as the gateway to serious orchestral music. Marches and dances give the most bang for the buck in terms of melody and rhythm. I am not putting down marches and dances (I love lots of 'em) when I say overtures are at the next level. They add theme and development, and are, therefore, more complete (without the extra baggage of sleep-inducing adagios often following first movements of symphonies). My hands-down favorite concert ov is Fingal's Cave (=Hebrides), and Smetana's Bartered Bride for operatic. There's a wealth of gems to be found by Beethoven, Berlioz, Mozart, Rossini, Wagner, Weber, von Suppe, Offenbach, Strauss, etc. Occasionally you come across one off the beaten path. Donna Diana by Reznicek, Secret of Suzanna by Wolf-Ferrari, and The Yellow Princess by Saint-Saens qualify. <P>I came across a CD called Light Cavalry and other Romantic Overtures in the "budget" area that I had to try. It appears to be a brand-X type: Intersound #6218. There is also a web site, intersound.com. The upshot is that it's a treasure. The Utah Sym under Joseph Silverstein do a fine job. The selections strike a bull's eye with me.<BR>Suppe: Light Cavalry (his most popular)<BR>Glinka: Ruslan and Ludmilla (his most popular)<BR>Offenbach: La Belle Helene<BR>Reznicek: Donna Diana (the aforementioned gem)<BR>Strauss: The Gypsy Baron<BR>Saint-Saens: Yellow Princess (aforementioned gem)<BR>Beethoven: Egmont (my favorite of his)<BR>Rossini: Thieving Magpie (my favorite after Barber)<BR>Berlioz: Roman Carnival (my favorite after Corsair).<BR>These are the 9 listed, and there is one not listed as well (between Egmont and Thieving Magpie). It is Mendelssohn's Ruy Blas (my favorite after Fingal's Cave). Wow! What a compilation! The cover features what appears to be a 19th C painting of a cavalry charge. Obviously I'm ecstatic over it. I hope it's a find for others.<BR>Shos

[serge urtizberea]

That is a fine passel of overtures! Ruy Blas, Roman Carnival, Carnival..., I'd forgotten about them, but have heard them all. I would love to give the Yellow Princess a try, since I am fond of S-S.<P>

[barfle]

I'm glad the Bartered Bride overture showed up. That is the only foreign language opera I have listened to all the way through and enjoyed the first time without having attended a performance first (and I'm still waiting for that opportunity). The overture is a real workout for the strings, and lots of fun to listen to.<P>I've heard the 1812 described as an old warhorse, but a really good warhorse, and I have to echo those sentiments. While I'm on the topic of warhorses, let's not forget William Tell. It is one of those pieces that introduces people to "classical" music, and is always exciting and lots of fun, as well. Yup, they're operas, so maybe one's distaste for the art form may turn them away, but I, the self-taught music appreciator, appreciate a lot of overtures.

[treebeau]

Here's a few more to add to a list of terrific overtures.<P>"Fra Diavolo" by Daniel-Francois Auber,<BR>"Zampa" by Louis Joseph Herold,<BR>"Poet and Peasant" by Franz Von Suppe,<BR>"Orpheus in the Underworld" by Jacques Offenbach<BR>"Die Fledermaus" by Johann Strauss II<P>One should love, honor, and "Auber" these overtures. Yes, you "Can Can" !<P>Regards,<BR>Tim B.<BR>

[Nicole Marie]

History on Overtures! There's a reason Overtures are so powerful and inviting. They were meant to be.<P>Performances were a social event. The public would often talk through the first few minuets of the performance. This frustrated many composers since their work was not fully being heard. So the Overture was developed to let the public know the performance was about to begin. The overture was designed to be grand and inviting to perk up the ears of chatter boxes.<P>

[hhsailor]

I equate overtures to appetisers at a restaurant. They frequently represent the chef at his or her most creative and being small in portions you can enjoy several and skip the entree!<BR>My favorite overture is Jacque Offenbach's Orpheus in the Underworld. The violin (or is it a viola?) theme has got to be one of the most beautiful melodies ever written.

[BenG]

Nicole:<BR>Gee, I didn't know that. Thanks for the history tip. It makes sense.<P>Did you also know that before a major performance--say a new symphony-- composers in the late 19th century would actually realease sheet music in advance that the public could buy and play on their home pianos. This allowed them to become familiar with the music before it was played--thus heightening their enjoyment. Nearly everyone in middle class Europe owned pianos and before radio/tv that was their main source of entertainment. Everyone learned to play. Too bad that's still not the case. Composers like Brahms got wealthy from sheet music royalties.<P>I didn't mean to be disparaging about war horses. They may be overplayed, but there's a reason for that and the pejorative description shouldn't diminish their greatness. One more overture not often heard:<P>Schumann's "Manfred Overture." I also like Saint Saens' Samson and Delila Overture, but that one might be called something else...some that sound like overtures are really bacchanales, ballades or tone poems.