The Concert Overtures by Diana Bickley

Introduction

• Berlioz’s concert overtures raised questions on the balance between programmatic influences and pure musical coherence
• First French composer to composer an independent overture with no reference to any opera, ballet, or play. (Waverly)

Grande Ouverture des Francs-Juges

• Although it was composed as a prelude to the opera Les Francs-Juges, Berlioz regarded it as a concert overture
• Mediant Relations : [pic 1]
• After which, it returned to Fminor. The contrasting theme came in at F major and the piece ended with the ‘Olmerik’ theme in Dflat major
• Treatment of ‘development’ section (Cminor) : More episodic than developmental
• Treatment of Recap : Does not sound like a recap at all. Different speed, different texture. Unlike the exposition, Fminor went to Tonic major first before going to Dflat major.

Grande Ouverture de Waverley

• 1st independent concert overture
• Just like Francs-Juges overture, it begins with a slow introduction and moves into Allegro
• Long intro : 31 bars
• Irregular phrasing in Cello’s melody
• Initially, the piece had included the newly invented trumpets with pistons with 3 valves – shows Berlioz’s fascination with new instruments. Also shows how technology influenced music in the 19th century.

Grande Ouverture du Roi Lear

• Composed while he was in Italy
• Inspired by Shakespeare’s King Lear and a personal event happening at that time : His fiancé betrayed him
• His anger was poured into the composition of this work
• Like the previous overtures, it starts slow and then moves to a fast section. From Andante non troppo lento, ma maestoso to Allegro disperato ed agitato assai
• 1st part : Violas, Cellos and Basses have recitative-like melodies, much like Beeethoven’s 9th symphony
• Unusual recapitulation: the recitative-like melodies are now treated as transitional and contrapuntal material.

Le Carnaval romain, ouverture caracteristique

• Unlike the previous overtures, this overture starts with a swift opening passage before going to the slow-fast structure like his other overtures.
• Canonic and contrapuntal passages