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The Julius Caesar overture, Op. 128, is a concert overture written in 1851 by Robert Schumann, inspired by Shakespeare's play Julius Caesar and influenced by the Egmont and Coriolan overtures of Ludwig van Beethoven.
Leonore No. 3 is well known for portraying some of the major events of the plot in a condensed, purely orchestral form, most notably the distant trumpet fanfares of the finale. Next to the actual, finalized Fidelio overture, this is the most commonly performed version, and still sometimes replaces the Fidelio overture in some productions.
The overture in E major, Op. 21, was written by Mendelssohn at 17 years and 6 months old (it was finished on 6 August 1826). [1] Contemporary music scholar George Grove called it "the greatest marvel of early maturity that the world has ever seen in music". [2] It was written as a concert overture, not associated with any performance of the play.
Gounod's version of Shakespeare's tragedy is his second most famous work. [116] 1868 Dalibor (Smetana). One of the most successful of Smetana's operas exploring themes from Czech history. [117] 1868 Die Meistersinger von Nürnberg (Wagner). Wagner's only comedy among his mature operas concerns the clash between artistic tradition and innovation ...
Overture (from French ouverture, lit. "opening") is a music instrumental introduction to a ballet, opera, or oratorio in the 17th century. [1] During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing, instrumental, programmatic works that foreshadowed genres such as the symphonic poem.
The Overture has been described as "the single most onomatopoetic stretch of music ever composed". Sibelius published the Overture as a separate piece, and arranged two suites from the music, comprising 19 pieces. These suites condensed and combined items from the stage music, sometimes in ways that obscure the drama.
For the overture, he used the earlier stand-alone Hamlet overture-fantasia Op. 67, but in a shortened form. In the 16 other numbers, as well as writing some new music, he also used material from the incidental music to The Snow Maiden, Op. 12 (1873), from the alla tedesca movement of the Third Symphony (1875), and from the Elegy for Ivan ...
Hamlet, Op. 67b (1891), incidental music for Shakespeare's play. The score uses music borrowed from Tchaikovsky's overture of the same name, as well as from his Symphony No. 3, and from The Snow Maiden, in addition to original music that he wrote specifically for a stage production of Hamlet.