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French ouverture, from Lat. apertura - opening, beginning

Instrumental intro to theater performance with music (opera, ballet, operetta, drama), to a vocal-instrumental work such as a cantata and oratorio or to a series of instrumental pieces such as a suite, in the 20th century. - also for movies. Special variety U. - conc. a play with certain theater features. prototype. Two main type U. - a play that has an introduction. function, and are independent. prod. with definition figurative and compositional. properties - interact in the process of development of the genre (starting from the 19th century). Common feature is to one degree or another expressed theater. the nature of U., “the combination of the most characteristic features of the plan in their most vivid form” (B.V. Asafiev, “Selected Works,” vol. 1, p. 352).

The history of U. dates back to initial stages development of opera (Italy, turn of the 16th-17th centuries), although the term itself was established in the 2nd half. 17th century in France and then became widespread. The first U. is considered to be the toccata in the opera "Orpheus" by Monteverdi (1607), the fanfare music of which reflected old tradition start performances with inviting fanfares. Later Italian. operatic introductions, which are a sequence of 3 sections - fast, slow and fast, called. “symphonies” (sinfonia) became established in the operas of the Neapolitan opera school (A. Stradella, A. Scarlatti). The extreme sections often include fugue formations, but the third more often has genre and everyday dance. character, while the average one is distinguished by melodiousness and lyricism. Such operatic symphonies are usually called Italian opera symphonies. At the same time, a different type of three-part opera, the classical one, developed in France. samples of the cut were created by J. B. Lully. For French U. typically follows a slow, stately introduction, a fast fugue part and a final slow construction, concisely repeating the material of the introduction or generally reminiscent of its character. In some later examples, the final section was omitted, replaced by a cadence structure at a slow tempo. In addition to French composers, French type U. used it. composers of the 1st half. 18th century (J. S. Bach, G. F. Handel, G. F. Telemann, etc.), introducing it not only to operas, cantatas and oratorios, but also to instrumental. suites (in the latter case, the name U. sometimes extended to the entire suite cycle). Leading value preserved by operatic rules, the definition of its functions gave rise to many conflicting opinions. Some muses. figures (I. Matteson, I. A. Shaibe, F. Algarotti) put forward the demand for an ideological and musical connection between Ukraine and opera; in the department In some cases, composers made this kind of connection in their works (Handel, especially J. F. Rameau). The decisive turning point in U.'s development occurred in the 2nd half. 18th century thanks to the approval of the sonata-symphony. principles of development, as well as the reform activities of K. V. Gluck, who interpreted U. as “an overview of the content” of the opera. Cyclic. type gave way to a one-movement opera in sonata form (sometimes with a short slow introduction), which generally conveyed the dominant tone of the drama and the character of the main character. conflict ("Alceste" by Gluck), which in the department. cases is specified by the use of appropriate music in U. operas ("Iphigenia in Aulis" by Gluck, "The Abduction from the Seraglio", "Don Giovanni" by Mozart). Means. Composers of the Great French period contributed to the development of opera. revolution, primarily L. Cherubini.

Will exclude. The work of L. Beethoven played a role in the development of the genre. Strengthening the musical theme connection with opera in the two most striking versions of U. to “Fidelio”, he reflected in their music. development of the most important moments of dramaturgy (more straightforwardly in “Leonora No. 2”, taking into account the specifics of the symphonic form - in “Leonora No. 3”). A similar type of heroic drama. Beethoven consolidated the program overture in music for dramas (Coriolanus, Egmont). German Romantic composers, developing the traditions of Beethoven, imbued Ukraine with the themes of opera. When selecting the most important muses for U. images of the opera (often leitmotifs) and, in accordance with its symphonies. As the overall course of the operatic plot develops, the poem becomes a relatively independent “instrumental drama” (for example, the poem for the operas “Free Shooter” by Weber, “The Flying Dutchman” and “Tannhäuser” by Wagner). In Italian music, including that of G. Rossini, basically preserves the old type of U. - without direct. connections with the thematic and plot development of the opera; The exception is the composition for Rossini's opera "William Tell" (1829), with its unified suite composition and generalization of the most important musical moments of the opera.

European achievements symphonism in general and, in particular, the growth of independence and conceptual completeness of operatic compositions contributed to the emergence of its special genre variety- concert program U. ( important role production played in this process. G. Berlioz and F. Mendelssohn-Bartholdy). In the sonata form of such songs there is a noticeable tendency towards an extended symphony. development (previously, operatic poems were often written in sonata form without development), which later led to the emergence of the genre of symphonic poem in the work of F. Liszt; later this genre is found in B. Smetana, R. Strauss and others. In the 19th century. Ornaments of an applied nature are becoming widespread - “solemn”, “welcome”, “anniversary” (one of the first examples is Beethoven’s “Birthday” Overture, 1815). The U. genre was the most important source of symphonism in Russian. music before M. I. Glinka (in the 18th century, overtures by D. S. Bortnyansky, E. I. Fomin, V. A. Pashkevich, in the early 19 century - by O. A. Kozlovsky, S. I. Davydov) . Valuable contribution to the development of various. types of U. were introduced by M. I. Glinka, A. S. Dargomyzhsky, M. A. Balakirev and others, who created a special type of national characteristic U., often using folk themes (for example, Glinka’s “Spanish” overtures, "Overture on the themes of three Russian songs" by Balakirev and others). This variety continues to develop in the works of Soviet composers.

In the 2nd half. 19th century Composers turn to the U. genre much less often. In opera it is gradually replaced by a shorter introduction, not based on sonata principles. It is usually sustained in one character, associated with the image of one of the heroes of the opera (Wagner’s “Lohengrin”, Tchaikovsky’s “Eugene Onegin”) or, in a purely expositional sense, introduces several leading images (Wise’s “Carmen”); similar phenomena are observed in ballets (Coppelia by Delibes, Swan Lake by Tchaikovsky). Will join. a part in opera and ballet of this time is often called an introduction, introduction, prelude, etc. The idea of ​​​​preparing for the perception of an opera replaces the idea of ​​symphonies. retelling its contents, R. Wagner repeatedly wrote about this, who gradually moved away in his work from the principle of an expanded programmatic teaching. However, along with short introductions, dept. Vivid examples of sonata style continue to appear in music. theater 2nd floor 19th century ("Die Meistersinger" by Wagner, "Force of Destiny" by Verdi, "The Woman of Pskov" by Rimsky-Korsakov, "Prince Igor" by Borodin). Based on the laws of sonata form, U. turns into a more or less free fantasy on the themes of opera, sometimes like a medley (the latter is more typical for operetta; the classic example is Strauss's Die Fledermaus). Occasionally, symptoms arise on their own. thematic material (ballet "The Nutcracker" by Tchaikovsky). At the end The U. stage is increasingly giving way to symphonies. a poem, a symphonic picture or a fantasy, but even here the specific features of the plan sometimes bring to life a close theater. varieties of the U. genre ("Motherland" by Bizet, U.-fantasy "Romeo and Juliet" and "Hamlet" by Tchaikovsky).

In the 20th century U. in sonata form are rare (for example, J. Barber's overture to Sheridan's "School of Scandal"). Conc. varieties, however, continue to gravitate towards sonatas. Among them, the most common ones are national-characteristic. (on folk themes) and solemn songs (an example of the latter is Shostakovich’s “Festive Overture”, 1954).

Literature: Seroff A., Der Thcmatismus der Leonoren-Ouvertеre. Eine Beethoven-Studie, "NZfM", 1861, Bd 54, No 10-13 (Russian translation - Thematismus) of the overture to the opera "Leonora". Etude about Beethoven, in the book: Serov A.N., Critical articles, vol. 3, St. Petersburg, 1895, the same, in the book: Serov A.N., Izbr. articles, vol. 1, M.-L., 1950); Igor Glebov (B.V. Asafiev), Overture “Ruslan and Lyudmila” by Glinka, in the book: Musical Chronicle, collection. 2, P., 1923, the same, in the book: Asafiev B.V., Izbr. works, vol. 1, M., 1952; by him, On the French classical overture and in particular on the overtures of Cherubini, in the book: Asafiev B.V., Glinka, M., 1947, the same, in the book: Asafiev B.V., Izbr. works, vol. 1, M., 1952; Koenigsberg A., Mendelssohn's Overtures, M., 1961; Krauklis G.V., Opera overtures R. Wagner, M., 1964; Tsendrovsky V., Overtures and introductions to the operas of Rimsky-Korsakov, M., 1974; Wagner R., De l'ouverture, "Revue et Gazette musicale de Paris", 1841, Janvier, Ks 3-5 (Russian translation - Wagner R., About the overture, "Repertoire of the Russian Theater", 1841, No. 5; the same, in the book: Richard Wagner. Articles and materials, M., 1974).

G. V. Krauklis

IN modern interpretation it is the beginning of the essay. Its task is to introduce the viewer in language to the future performance, to create the right atmosphere. The first seconds of music set the tone for all subsequent action on stage. The overture can be very short or long. Sometimes it lasts longer than the main part of the opera. In this case, the overture can be performed as a separate musical piece.

There are French and Italian overtures. They differ in sound tempo. The Italians have a fast intro, middle part plays slowly and the ending picks up the pace again. For the French it's the other way around.

Some authors played in the overture excerpts from an opera that the public had yet to hear. Johann Strauss Jr. and Richard Wagner used the technique summary or announcing further musical composition. Composers of the 19th century created concert overtures. These were completely independent compositions, which were performed in a separate program. Berlioz, Shostakovich, Khachaturian, Glazunov and Mendelssohn experimented in this field. They wrote overtures for celebrations, holidays, and receptions. Their creations were enthusiastically received by the public.

Overture in contemporary art

The first overtures were written and played only so that the audience could calmly take their seats in the hall. Mozart changed this tradition. He made the overture a full-fledged, significant part of the work.

Music during the credits is an integral part of any movie. It shapes the emotional perception of the picture even before the plot begins to develop. Music in the theater before the curtain opens helps the audience focus on the stage. Music before the speaker's appearance attracts interest in the person and creates excitement at the moment of his appearance in front of the public. Overture in honor

Already in L. Beethoven the overture takes shape as independent genre instrumental program music, preceding the symphonic poem. Beethoven's overtures, especially the overture to I. V. Goethe's drama "Egmont" (1810), are complete, extremely rich in development musical dramas, the intensity and activity of thought are not inferior to his symphonies.

Overture by L. Beethoven "Egmond"

Carl Maria von Weber wrote two concert overtures: "The Lord of the Spirits" (Der Beherrscher der Geister, 1811, a reworking of his overture to the unfinished opera "Rübezahl") and "Anniversary Overture" (1818).
However, as a rule, the first concert overture is considered to be “A Midsummer Night’s Dream” (1826) by Felix Mendelssohn; his other works in this genre are “The Silence of the Sea and a Happy Voyage” (Meeresstille und gluckliche Fahrt, 1828), “The Hebrides, or Fingal’s cave" (1830), "Beautiful Melusine" (1834) and "Ruy Blas" (1839).
Other notable early concert overtures are The Secret Judges (1826) and Le Corsaire (1828) by Hector Berlioz; Robert Schumann created his overtures based on the works of Shakespeare, Schiller and Goethe - “The Bride of Messina”, “Julius Caesar” and “Herman and Dorothea”; Mikhail Ivanovich Glinka's overtures "The Aragonese Hunt" (1845) and "Night in Madrid" (1848), which were the creative result of a trip to Spain and written on Spanish folk themes.

In the second half of the 19th century, concert overtures began to be replaced by symphonic poems, the form of which was developed by Franz Liszt. The difference between the two genres was the freedom of formation musical form depending on external software requirements. The symphonic poem became the preferred form for more "progressive" composers such as Richard Strauss, Cesar Franck, Alexander Scriabin and Arnold Schoenberg, while more conservative composers like A. Rubinstein, P. I. Tchaikovsky, M. A. Balakirev , I. Brahms remained faithful to the overture. During the period when symphonic poem had already become popular, Balakirev wrote the “Overture on the Themes of Three Russian Songs” (1858), Brahms created the “Academic Festival” and “Tragic” Overtures (1880), Tchaikovsky created the fantasy-overture “Romeo and Juliet” (1869) and solemn overture"1812" (1882).

In the 20th century, overture became one of the names of one-movements, average duration orchestral works, without a certain form(more precisely not in sonata form), often written for festive events. Notable works in this genre in the 20th century are “Welcome Overture” (1958) by A. I. Khachaturian, “Festive Overture” (1954) by D. I. Shostakovich, which continues traditional form overture and consists of two interconnected parts.

"Festive Overture" by D.I. Shostakovich