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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 1812 Overture is scored for an orchestra that consists of the following: [6] Brass band: "Open" instrumentation consisting of "any extra brass instruments" available. In some indoor performances, the part may be played on an organ. Military or marching bands also play this part. Note: the brass band or its substitute is meant to play during ...
The French overture is a musical form widely used in the Baroque period. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs.
The William Tell Overture is the overture to the opera William Tell (original French title Guillaume Tell), whose music was composed by Gioachino Rossini. William Tell premiered in 1829 and was the last of Rossini's 39 operas, after which he went into semi-retirement (he continued to compose cantatas, sacred music and secular vocal music).
Cockaigne (In London Town), Op. 40, also known as the Cockaigne Overture, is a concert overture for full orchestra written by the British composer Edward Elgar in 1900–1901. History [ edit ]
The overture consists of two primary themes; the opening notes of the overture state the theme Mendelssohn wrote while visiting the cave, and is played initially by the violas, cellos, and bassoons. [11] This lyrical theme, suggestive of the power and stunning beauty of the cave, is intended to develop feelings of loneliness and solitude.
In the overture there are assigned three players to each of the three trumpet parts; the 24 oboes are divided 12, 8 and 4; and the 12 bassoons are divided 8 and 4. The side drums were instructed when to play in La Réjouissance and the second Menuet , but very likely also played in the Ouverture .
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