Can an overture be an independent work? The meaning of the word overture in the dictionary of musical terms

Overture(from fr. ouverture, introduction) in music - an instrumental (usually orchestral) piece performed before the start of any performance - theatrical performance, opera, ballet, film, etc., or a one-part orchestral work, often belonging to program music.

The overture prepares the listener for the upcoming action.

The tradition of announcing the beginning of a performance with a short musical signal existed long before the term “overture” took hold in the works of first French and then other European composers of the 17th century. Up to mid-18th century V. Overtures were composed according to strictly defined rules: their sublime, generalized music usually had no connection with the subsequent action. However, gradually the requirements for the overture changed: it became more and more subject to the general artistic design works.

Having retained the function of the overture as a solemn “invitation to a spectacle,” composers, starting with K. V. Gluck and W. A. Mozart, significantly expanded its content. By means of music alone, even before he rises theater curtain, it turned out to be possible to set the viewer in a certain mood and talk about upcoming events. Not by chance traditional form The overture became sonata-like: capacious and effective, it made it possible to imagine the various active forces in their confrontation. Such, for example, is the overture to K. M. Weber’s opera “Free Shooter” - one of the first to contain an “introductory overview of the content” of the entire work. All diverse themes - pastoral and darkly ominous, restless and full of jubilation - are connected either with the characteristics of one of characters, or with a certain stage situation and subsequently appear repeatedly throughout the opera. The overture to “Ruslan and Lyudmila” by M. I. Glinka is also solved: in a whirlwind, rapid movement, as if, in the composer’s own words, “in full sail,” a dazzlingly cheerful main topic(in the opera it will become the theme of the chorus praising the liberation of Lyudmila), and the chanting melody of love between Ruslan and Lyudmila (it will sound in Ruslan’s heroic aria), and the whimsical theme evil wizard Chernomor.

The more fully and perfectly the overture embodies the plot and philosophical collision of the composition, the faster it acquires the right to a separate existence on the concert stage. Therefore, already in L. Beethoven the overture develops as independent genre symphonic program music. Beethoven's overtures, especially the overture to J. W. Goethe's drama "Egmont", are complete, extremely rich in development musical dramas, the intensity and activity of thought are not inferior to his large symphonic canvases. In the 19th century The genre of concert overture is firmly established in the practice of Western European (overture “A Midsummer Night’s Dream” by F. Mendelssohn based on the comedy of the same name by W. Shakespeare) and Russian composers (“Spanish Overtures” by Glinka, “Overture on Themes of Three Russian Songs” by M. A. Balakirev, overture-fantasy “Romeo and Juliet” by P. I. Tchaikovsky). At the same time in the opera 2nd half of the 19th century V. The overture is increasingly transformed into a short orchestral introduction that directly introduces the action.

The meaning of such an introduction (also called an introduction or prelude) may lie in the proclamation of the most significant idea - a symbol (the motive of the inevitability of tragedy in “Rigoletto” by G. Verdi) or in the characterization of the main character and at the same time in the creation of a special atmosphere, which largely predetermines the figurative structure of the work ( introduction to “Eugene Onegin” by Tchaikovsky, “Lohengrin” by R. Wagner). Sometimes the introduction is both symbolic and pictorial in nature. This is the opening symphonic painting of M. P. Mussorgsky’s opera “Khovanshchina” “Dawn on the Moscow River”.

In the 20th century composers successfully use Various types introductions, including the traditional overture (overture to the opera “Cola Brugnon” by D. B. Kabalevsky). In the genre of concert overture folk themes written “Russian Overture” by S. S. Prokofiev, “Overture on Russian and Kyrgyz Folk Themes” by D. D. Shostakovich, “Overture” by O. V. Takt a-kishvili; for Russian orchestra folk instruments- “Russian Overture” by N. P. Budashkin and others.

Tchaikovsky Overture

The 1812 Overture is an orchestral work by Pyotr Ilyich Tchaikovsky in memory of Patriotic War 1812.

The overture begins with the somber sounds of a Russian church choir, recalling the declaration of war that was carried out in Russia at church services. Then, immediately, a festive song sounds about the victory of Russian weapons in the war. The declaration of war and the people's reaction to it were described in Leo Tolstoy's novel War and Peace.

This is followed by a melody representing marching armies, played with trumpets. The French anthem "Marseillaise" reflects the victories of France and the capture of Moscow in September 1812. Sounds of Russian folk dance symbolize the Battle of Borodino. The flight from Moscow at the end of October 1812 is indicated by a descending motive. The thunder of cannons reflects military successes as they approach the borders of France. At the end of the war, the sounds of the choir return, this time performed by a full orchestra with echoes bell ringing in honor of the victory and liberation of Russia from French occupation. Behind the cannons and sounds of marching one can hear the melody of the Russian national anthem"God Save the Tsar." Russian anthem contrasted with the French anthem that sounded earlier.

In the USSR, this work by Tchaikovsky was edited: the sounds of the hymn “God Save the Tsar” were replaced by the chorus “Glory!” from Glinka's opera Ivan Susanin.

The real cannon fire envisioned by Tchaikovsky is usually replaced by a bass drum. Sometimes, however, cannon fire is used. This is the first time I've recorded this version. Symphony Orchestra Minneapolis in the 1950s. Subsequently, similar recordings were made by other groups using advances in sound technology. Cannon fire and fireworks are used in Boston Pops performances. dedicated to the Day American independence, and held annually on the 4th of July on the banks of the Charles River. It is also used at the annual graduation parade of the Australian Defense Force Academy in Canberra. Although this piece has no connection to US history (including the Anglo-American War, which also began in 1812), it is often performed in the US along with other patriotic music, especially on Independence Day.

overture

overtures, w. (French ouverture, lit. discovery) (music).

Musical introduction to opera, operetta, ballet.

Small musical composition for orchestra. Concert overture.

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

overture

Orchestral introduction to opera, ballet dramatic performance, film. Opera house

A single-movement piece of music (usually classified as program music).

adj. overture, -aya, -oe.

New explanatory dictionary of the Russian language, T. F. Efremova.

overture

A short piece of music for orchestra.

Encyclopedic Dictionary, 1998

overture

OVERTURE (French ouverture, from Latin apertura - opening, beginning) orchestral introduction to an opera, ballet, dramatic performance, etc. (often in sonata form), as well as an independent orchestral piece, usually of a programmatic nature.

Overture

(French ouverture, from Latin apertura ≈ opening, beginning), an orchestral piece that precedes an opera, oratorio, ballet, drama, film, etc., as well as an independent orchestral work in sonata form.

The opera house prepares the listener for the upcoming action. An early example of U. is the introduction to the opera “Orpheus” by Monteverdi (1607). By the end of the 17th century. Two main types of music have developed: French (ouverture a la Française), consisting of a slow introduction, a fast polyphonic part and a slow conclusion (J.B. Lully), and Italian (sinfonia) - consisting of fast, slow and again fast parts (A . Scarlatti). Both types of music played a significant role in the development of the sonata-symphonic cycle. The French U. became widespread in Germany, where it was placed at the beginning of a suite or partita (1st part of the orchestral suites and partitas in D major by J. S. Bach).

Initially, opera styles did not have ideological and figurative connections with the opera itself; only from the 2nd half of the 18th century. composers interpret the poem as a symphonic prologue to the opera, revealing its content (according to K. V. Gluck, the poem should serve as an “introductory overview of the content”), the poem can be thematically related to the opera (“Ivan Susanin”, “Ruslan and Lyudmila” by Glinka) or to generally express its main character (“The Marriage of Figaro” by Mozart, “The Barber of Seville” by Rossini).

Types of operatic operas: classical opera in sonata form, sometimes with a slow introduction, established in the 2nd half of the 18th century. (U. to the operas “Alceste” by Gluck, “Don Giovanni” by Mozart, “Fidelio” by Beethoven, “Prince Igor” by Borodin, “The Bartered Bride” by Smetana and many others); prelude, introduction, introduction - small pieces not in sonata form, which generally reveal the main conflict, the idea of the opera (“ Queen of Spades"Tchaikovsky, "Carmen" by Bizet, "Khovanshchina" by Mussorgsky) or directly introduced into the setting of the 1st act (symphonic prologues by R. Wagner); Music in the form of a medley—a series of musical numbers following one another, often united according to the principle of contrast or increasing tempo (operas by G. Rossini, L. Aubert, as well as many operettas).

The most significant of the literary plays are Beethoven's to Goethe's Egmont and Collin's Coriolanus, Balakirev's to Shakespeare's King Lear, and Mendelssohn's to Shakespeare's A Midsummer Night's Dream.

In the 19th century A prominent place in symphonic music is occupied by the concert U. - an independent orchestral piece, for the most part program (“Fingal’s Cave”, “Beautiful Melusine” by Mendelssohn, “Roman Carnival” by Berlioz, “My Homeland” by Dvorak). Along with the dramatic style (“Manfred” by Schumann, the fantasy “Romeo and Juliet” by Tchaikovsky) and landscape character (“In Autumn” by Grieg), the solemn style (“Academic” by Brahms, “1812” by Tchaikovsky, “ Solemn” by Glazunov, Glier, overtures by Myaskovsky, “Festive” by Shostakovich, “Welcome Overture” by A. I. Khachaturian, etc.). The classic type of poetry on folk themes was created by M. I. Glinka. The traditions of his U. “Night in Madrid” and “Aragonese Jota” were continued by M. A. Balakirev in “Overture in 3 Russians” folk songs”, S. I. Taneyev in “Overture on a Russian Theme” (“About the Tatar is full”) and many Soviet composers. U.K dramatic play and concert music were the immediate predecessors of the symphonic poem.

Lit.: Asafiev B., On the French classical overture and, in particular, on the overtures of Cherubini, in his book: Glinka, 2nd ed., M. ≈ Leningrad, 1950; by him, Overture “Ruslan and Lyudmila” by Glinka, in the book: Izbr. works, vol. 1, M., 1952; Druskin M., Questions of musical dramaturgy of opera, Leningrad, 1952, p. 290≈95; Popova T., Overture, 2nd ed., M., 1960; Riemann N., Die französische Ouverture zu Anfang des 18. Jahrhunderts, Lpz., 1899; Botstiber N., Geschichte der Ouvertüre und der freien Orchesterformen, Lpz., 1913.

I. E. Manukyan.

Wikipedia

Overture

Overture- instrumental intro theater performance, often musical (opera, ballet, operetta), but sometimes also dramatic, as well as vocal and instrumental works - cantatas and oratorios or instrumental pieces of the suite type. Since the 20th century, such musical introductions have often preceded films.

A special type of overture is the genre symphonic music- a concert play, historically also associated with musical theater.

Examples of the use of the word overture in literature.

Started overture Act II At the first strokes of the bow, the drowsy Albanian gentleman slowly rose up and moved closer to her, she turned around, said a few words to him and again leaned her elbows on the barrier of the box.

Klara Nikolaevna, without interrupting the music, gave orders in a whisper nurse inject each of us into the buttocks with a buffalo dose of aminazine - and overture went out by itself.

He performs overture, symphonic intermissions, sounds throughout the entire action, creates bright pictures, reveals the feelings of the characters.

Mussorgsky, accompanied on the piano by the author, and overture was performed by Cui and Balakirev in 4 hands.

Overtures Mégul interested him, but Abbe Vogler's overture, which was very popular at that time, left him completely indifferent.

For the sake of the fact that night and day, hungry, gnaws at me, For the sake of the moments of conception, for the sake of these shy pains, I sing them too, In them I hope to find what I have not found anywhere, although I have been zealously searching for many years, I sing the pure song of the soul, then flaring up, then dying out, I am reborn with animals or with the roughest nature, I saturate my songs with this, as well as with what accompanies this: The smell of lemons and apples, the spring love of birds, the forest dew, the rolling waves, the wild running of waves onto the land - I I sing their praises too, Overture, which sounds barely audible, like the anticipation of a melody, Desired closeness, the sight of a beautiful body.

But a kiss is like an introduction, overture for desecration, was for some reason unacceptable to me.

Sunbathing on deck when the ship enters the tropics is the first real pleasure of a wintered polar explorer, overture before the curtain rose, hiding behind a real, full life, Unlike most of my comrades, I did not have time to miss the sun.

But I couldn't even stand it overtures, which was waved away prestissimo, without any sense or meaning, and yet before that I indulged in fasting and prayer, for I knew that Euphon, shocked by this bulk, usually does not sound as it should.

I was obviously duped overture, I was not given the clarinet part, in Russia I miss Rossini, and any control will confirm this!

Just before this, it was pouring rain, the streets were impassably dirty - Lyudmila Sergeevna was barely able to get with her little Sadko to the theater in the middle overtures.

Alyabyev left great legacy: 6 operas, ballet, vaudeville, music for performances, Symphony, overtures, essays for brass band, numerous choral and chamber instrumental works, more than 180 romances, arrangements of folk songs.

Titles with the name of the film, with the names of the actors, accompanied by bravura musical overture, were cut off, but not completely, because the film’s action began at the end of the musical overture.

Bach's cantatas include such forms as were established in his time, such as opening symphonies, da capo arias, operatic ariosos and recitatives, overtures and dance suites, etc.

Conductor - Leif Arne Tangen Pederson Soloist - Howard Giemse Grieg - Piano Concerto, Shostakovich - Festive overture, YU.

In some countries it was preserved until the end of the 18th century: even W. A. Mozart in 1791 called the overture to his “Magic Flute” a “symphony”.

History of the Opera Overture

The first overture is considered to be the toccata in Claudio Monteverdi's opera "Orpheus", written in 1607. The fanfare music of this toccata transferred into opera the long-established drama theater the tradition of starting a performance with an inviting fanfare.

In the 17th century, two types of operatic overtures emerged in Western European music. The Venetian consisted of two parts - slow, solemn and fast, fugue; This type of overture was subsequently developed in French opera; its classical examples, and already three-part ones (outer parts in slow movement, middle parts in fast movement), were created by J.-B. Lully. In the first half of the 18th century, “French” overtures were also found in the works of German composers- J. S. Bach, G. F. Handel, G. F. Telemann, not only in operas, cantatas and oratorios, but also in instrumental suites; the entire suite cycle was sometimes called an overture.

The functions of the operatic overture were already controversial in the first half of the 18th century; not everyone was satisfied with its predominantly entertaining nature (the overture was usually performed at a time when the audience was still filling auditorium). The requirement for an ideological and musical-figurative connection between the overture and the opera itself, put forward by authoritative theorists I. Matteson, I. A. Shaibe and F. Algarotti, some composers, including G. F. Handel and J. F. Rameau, in one or another otherwise it was possible to implement. But the real turning point came in the second half of the century.

Gluck reform

In Gluck's reform operas, the cyclic (three-part) form gave way to a one-part overture, designed to convey the nature of the main conflict of the drama and its dominant tone; sometimes the overture was preceded by a short, slow introduction. This form was also adopted by Gluck's followers - Antonio Salieri and Luigi Cherubini. Already in late XVIII centuries in the overture were sometimes used musical themes the opera itself, as, for example, in Gluck's Iphigenia in Aulis, The Abduction from the Seraglio and Don Giovanni by W. A. Mozart; but this principle became widespread only in the 19th century.

Salieri's student and Gluck's follower L. van Beethoven strengthened the thematic connection of the overture with the music of the opera in his “Fidelio” - such are his “Leonora No. 2” and “Leonora No. 3”; he followed the same principle of a programmatic, essentially, overture in the music for theatrical productions(overtures "Coriolanus" and "Egmont").

Opera overture in the 19th century

Beethoven's experience has taken its toll further development in the work of German romantics, who not only imbued the overture with the thematic themes of the opera, but also selected the most important ones for it musical images, R. Wagner and his followers, including N. A. Rimsky-Korsakov, have leitmotifs. Sometimes composers sought to bring the symphonic development of the overture into line with the development of the opera plot, and then it turned into a relatively independent “instrumental drama”, like the overtures to “Free Shooter” by K. M. Weber, “The Flying Dutchman” or “Tannhäuser” by R. Wagner .

Wherein Italian composers, as a rule, gave preference to the old type of overture, sometimes to such an extent unrelated to either musical thematics or plot that G. Rossini could use an overture composed for another in one of his operas, as was the case, for example, with “The Barber of Seville” ". Although there were exceptions here, such as the overtures to the operas “William Tell” by Rossini or “Force of Destiny” by G. Verdi, with an exemplary Wagnerian leitmotif.

But already in the second half of the century, in the overture, the idea of a symphonic retelling of the content of the opera was gradually replaced by the desire to prepare the listener for its perception; even R. Wagner eventually abandoned the extended program overture. It was replaced by a more laconic introduction that was no longer based on sonata principles, connected, for example, in “Lohengrin” by R. Wagner or “Eugene Onegin” by P. I. Tchaikovsky, with the image of only one of the characters in the opera and sustained, accordingly , in one character. Such introductory parts, common also in the operas of G. Verdi, were no longer called overtures, but introductions, introductions or preludes. A similar phenomenon was observed in ballet and operetta.

If at the end of the 19th century new form While the introductions were still competing with overtures in sonata form, in the 20th century the latter were extremely rare.

Concert Overture

Opera overtures, which at that time were even more often called “symphonies”, at the turn of the 17th and 18th centuries were often performed outside musical theater, in concerts, which contributed to their transformation, already in the first third of the 18th century (around 1730), into independent species orchestral music - symphony in modern understanding.

Overture as a genre of symphonic music became widespread in the era of romanticism and its emergence was due to the evolution of the operatic overture - the tendency to saturate the instrumental introduction with the thematic theme of the opera, turning it into a programmatic symphonic work.

A concert overture is always a programmatic composition. At the turn of the 18th and 19th centuries, overtures appeared applied nature- “festive”, “solemn”, “anniversary” and “welcome”, dedicated to a specific celebration. In Russia, overtures by Dmitry Bortnyansky, Evstigney Fomin, Vasily Pashkevich, Osip Kozlovsky became the most important source of symphonic music.

In overtures of an applied nature, the simplest - generalized, extra-plot - type of program, expressed in the title, was used. It was also found in many works that did not imply an applied function, for example, in Felix Mendelssohn’s overtures “The Hebrides” and “The Silence of the Sea and Happy Voyage”, in the Tragic Overture of Johannes Brahms. In the era of romanticism, symphonic works became widespread, including overtures, with a generalized plot and a sequential plot (characterized by greater plot specificity) type of program. Such, for example, are the overtures of Hector Berlioz (“Waverley”, “King Lear”, “Rob Roy” and others), “Manfred” by Robert Schumann, “1812” by P. I. Tchaikovsky. Berlioz included a choir in his “The Tempest,” but here, as in Tchaikovsky’s fantasy overtures “Hamlet” and “Romeo and Juliet,” the concert overture was already developing into another genre beloved by the romantics - the symphonic poem.

In the 20th century, concert overtures were composed much less frequently; one of the most famous is Dmitri Shostakovich's Festive Overture.

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Notes

, With. 674.
, With. 347-348.
, With. 22.
Abert G. W. A. Mozart. Part two, book two / Trans. with German, comment. K.K. Sakvy. - M.: Music, 1990. - P. 228-229. - 560 s. - ISBN 5-7140-0215-6.
111 symphonies. - St. Petersburg: Kult-inform-press, 2000. - P. 18-20. - 669 p. - ISBN 5-8392-0174-X.
, With. 343, 359.
, With. 213-214.
, With. 675.
, With. 112.
, With. 675-676.
Koenigsberg A.K., Mikheeva L.V. 111 symphonies. - St. Petersburg: Kult-inform-press, 2000. - P. 11. - 669 p. - ISBN 5-8392-0174-X.
, With. 444-445.
Soklov O. V. . - Nizhny Novgorod, 1994. - P. 17.
, With. 676.

Literature

Krauklis G.V. Overture // Music Encyclopedia/ ed. Yu. V. Keldysh. - M.: Soviet Encyclopedia, 1981. - T. 5.
Konen V.D. Theater and symphony. - M.: Music, 1975. - 376 p.
Khokhlov Yu. N. Program music // Musical encyclopedia / ed. Yu. V. Keldysh. - M.: Soviet Encyclopedia, 1978. - T. 4. - pp. 442-447.
Steinpress B.S. Symphony // Musical Encyclopedia / ed. Yu. V. Keldysh. - M.: Soviet Encyclopedia, 1981. - T. 5. - pp. 21-26.

Excerpt characterizing the Overture

“Mon prince, je parle de l"empereur Napoleon, [Prince, I’m talking about Emperor Napoleon,] he answered. The general patted him on the shoulder with a smile.
“You will go far,” he told him and took him with him.
Boris was one of the few on the Neman on the day of the emperors' meeting; he saw the rafts with monograms, Napoleon's passage along the other bank past the French guard, he saw the thoughtful face of Emperor Alexander, while he sat silently in a tavern on the bank of the Neman, waiting for Napoleon's arrival; I saw how both emperors got into the boats and how Napoleon, having first landed on the raft, walked forward with quick steps and, meeting Alexander, gave him his hand, and how both disappeared into the pavilion. Since his entry into higher worlds, Boris made a habit of carefully observing what was happening around him and recording it. During a meeting in Tilsit, he asked about the names of those people who came with Napoleon, about the uniforms that they were wearing, and listened carefully to the words that were spoken important persons. At the very time the emperors entered the pavilion, he looked at his watch and did not forget to look again at the time when Alexander left the pavilion. The meeting lasted an hour and fifty-three minutes: he wrote it down that evening among other facts that he believed had historical meaning. Since the emperor’s retinue was very small, for a person who valued success in his service, being in Tilsit during the meeting of the emperors was a very important matter, and Boris, once in Tilsit, felt that from that time his position was completely established. They not only knew him, but they took a closer look at him and got used to him. Twice he carried out orders for the sovereign himself, so that the sovereign knew him by sight, and all those close to him not only did not shy away from him, as before, considering him a new person, but would have been surprised if he had not been there.
Boris lived with another adjutant, the Polish Count Zhilinsky. Zhilinsky, a Pole raised in Paris, was rich, passionately loved the French, and almost every day during his stay in Tilsit, French officers from the guard and the main French headquarters gathered for lunch and breakfast with Zhilinsky and Boris.
On the evening of June 24, Count Zhilinsky, Boris's roommate, arranged a dinner for his French acquaintances. At this dinner there was an honored guest, one of Napoleon's adjutants, several officers of the French Guard and a young boy of the old aristocratic French surname, Napoleon's page. On this very day, Rostov, taking advantage of the darkness so as not to be recognized, in civilian dress, arrived in Tilsit and entered the apartment of Zhilinsky and Boris.
In Rostov, as well as in the entire army from which he came, the revolution that took place in the main apartment and in Boris was still far from accomplished in relation to Napoleon and the French, who had become friends from enemies. Everyone in the army still continued to experience the same mixed feelings of anger, contempt and fear towards Bonaparte and the French. Until recently, Rostov, talking with Platovsky Cossack officer, argued that if Napoleon had been captured, he would have been treated not as a sovereign, but as a criminal. Just recently, on the road, having met a wounded French colonel, Rostov became heated, proving to him that there could be no peace between the legitimate sovereign and the criminal Bonaparte. Therefore, Rostov was strangely struck in Boris’s apartment by the sight of French officers in the very uniforms that he was accustomed to look at completely differently from the flanker chain. As soon as he saw the French officer leaning out of the door, that feeling of war, of hostility, which he always felt at the sight of the enemy, suddenly seized him. He stopped on the threshold and asked in Russian if Drubetskoy lived here. Boris, hearing someone else's voice in the hallway, came out to meet him. His face at the first minute, when he recognized Rostov, expressed annoyance.
“Oh, it’s you, I’m very glad, very glad to see you,” he said, however, smiling and moving towards him. But Rostov noticed his first movement.
“I don’t think I’m on time,” he said, “I wouldn’t have come, but I have something to do,” he said coldly...
- No, I’m just surprised how you came from the regiment. “Dans un moment je suis a vous,” [I am at your service this very minute," he turned to the voice of the one calling him.
“I see that I’m not on time,” Rostov repeated.
The expression of annoyance had already disappeared from Boris's face; Having apparently thought it over and decided what to do, he with particular calm took him by both hands and led him into the next room. Boris's eyes, calmly and firmly looking at Rostov, seemed to be covered with something, as if some kind of screen - blue dormitory glasses - were put on them. So it seemed to Rostov.
“Oh come on, please, can you be out of time,” said Boris. - Boris led him into the room where dinner was served, introduced him to the guests, calling him and explaining that he was not a civilian, but a hussar officer, his old friend. “Count Zhilinsky, le comte N.N., le capitaine S.S., [Count N.N., captain S.S.],” he called the guests. Rostov frowned at the French, bowed reluctantly and was silent.
Zhilinsky, apparently, did not happily accept this new Russian person into his circle and did not say anything to Rostov. Boris did not seem to notice the embarrassment that had occurred from the new face and, with the same pleasant calm and cloudiness in the eyes with which he met Rostov, tried to enliven the conversation. One of the French turned with ordinary French courtesy to the stubbornly silent Rostov and told him that he had probably come to Tilsit in order to see the emperor.
“No, I have business,” Rostov answered briefly.
Rostov became out of sorts immediately after he noticed the displeasure on Boris’s face, and, as always happens with people who are out of sorts, it seemed to him that everyone was looking at him with hostility and that he was disturbing everyone. And indeed he interfered with everyone and alone remained outside the newly started general conversation. “And why is he sitting here?” said the looks that the guests cast at him. He stood up and approached Boris.
“However, I’m embarrassing you,” he told him quietly, “let’s go, talk about business, and I’ll leave.”
“No, not at all,” said Boris. And if you are tired, let’s go to my room and lie down and rest.
- Indeed...
They entered the small room where Boris was sleeping. Rostov, without sitting down, immediately with irritation - as if Boris was guilty of something in front of him - began to tell him Denisov’s case, asking if he wanted and could ask about Denisov through his general from the sovereign and through him deliver a letter. When they were left alone, Rostov became convinced for the first time that he was embarrassed to look Boris in the eyes. Boris crossing his legs and stroking with his left hand thin fingers right hand, listened to Rostov, as a general listens to the report of a subordinate, now looking to the side, now with the same clouded gaze, looking directly into Rostov’s eyes. Each time Rostov felt awkward and lowered his eyes.
“I have heard about this kind of thing and I know that the Emperor is very strict in these cases. I think we should not bring it to His Majesty. In my opinion, it would be better to directly ask the corps commander... But in general I think...
- So you don’t want to do anything, just say so! - Rostov almost shouted, without looking into Boris’s eyes.
Boris smiled: “On the contrary, I’ll do what I can, but I thought...
At this time, Zhilinsky’s voice was heard at the door, calling Boris.
“Well, go, go, go...” said Rostov, refusing dinner, and being left alone in a small room, he walked back and forth in it for a long time, and listened to the cheerful French conversation from the next room.

Rostov arrived in Tilsit on a day least convenient for interceding for Denisov. He himself could not go to the general on duty, since he was in a tailcoat and arrived in Tilsit without the permission of his superiors, and Boris, even if he wanted, could not do this the next day after Rostov’s arrival. On this day, June 27, the first peace terms were signed. The emperors exchanged orders: Alexander received the Legion of Honor, and Napoleon Andrei 1st degree, and on this day a lunch was assigned to the Preobrazhensky battalion, which was given to him by the battalion of the French Guard. The sovereigns were supposed to attend this banquet.
Rostov felt so awkward and unpleasant with Boris that when Boris looked at him after dinner, he pretended to be asleep and early the next morning, trying not to see him, he left the house. In a tailcoat and a round hat, Nikolai wandered around the city, looking at the French and their uniforms, looking at the streets and houses where the Russian and french emperors. In the square he saw tables being set up and preparations for dinner; on the streets he saw hanging draperies with banners of Russian and French colors and huge monograms of A. and N. There were also banners and monograms in the windows of the houses.
“Boris doesn’t want to help me, and I don’t want to turn to him. This matter is decided - Nikolai thought - everything is over between us, but I will not leave here without doing everything I can for Denisov and, most importantly, without delivering the letter to the sovereign. Emperor?!... He’s here!” thought Rostov, involuntarily approaching again the house occupied by Alexander.
At this house there were riding horses and a retinue had gathered, apparently preparing for the departure of the sovereign.
“I can see him any minute,” thought Rostov. If only I could directly hand him the letter and tell him everything, would I really be arrested for wearing a tailcoat? Can't be! He would understand on whose side justice is. He understands everything, knows everything. Who could be fairer and more generous than him? Well, even if they arrested me for being here, what’s the harm?” he thought, looking at the officer entering the house occupied by the sovereign. “After all, they are sprouting. - Eh! It's all nonsense. I’ll go and submit the letter to the sovereign myself: so much the worse it will be for Drubetskoy, who brought me to this.” And suddenly, with a determination that he himself did not expect from himself, Rostov, feeling the letter in his pocket, went straight to the house occupied by the sovereign.
“No, now I won’t miss the opportunity, like after Austerlitz,” he thought, expecting every second to meet the sovereign and feeling a rush of blood to his heart at this thought. I will fall at my feet and ask him. He will raise me, listen and thank me.” “I am happy when I can do good, but correcting injustice is the greatest happiness,” Rostov imagined the words that the sovereign would say to him. And he walked past those who were looking at him curiously, onto the porch of the house occupied by the sovereign.
From the porch a wide staircase led straight upstairs; to the right a closed door was visible. At the bottom of the stairs there was a door to the lower floor.
-Who do you want? - someone asked.
“Submit a letter, a request to His Majesty,” said Nikolai with a trembling voice.
- Please contact the duty officer, please come here (he was shown the door below). They just won't accept it.
Hearing this indifferent voice, Rostov was afraid of what he was doing; the thought of meeting the sovereign at any moment was so tempting and therefore so terrible for him that he was ready to flee, but the chamberlain Fourier, who met him, opened the door to the duty room for him and Rostov entered.
Low fat man about 30 years old, in white trousers, over the knee boots and one cambric shirt, apparently just put on, stood in this room; the valet was fastening a beautiful new silk-embroidered belt on his back, which for some reason Rostov noticed. This man was talking to someone who was in another room.
“Bien faite et la beaute du diable, [Well-built and the beauty of youth," this man said, and when he saw Rostov he stopped talking and frowned.
-What do you want? Request?…
– Qu"est ce que c"est? [What is this?] - someone asked from another room.
“Encore un petitionnaire, [Another petitioner,”] answered the man with the help.
- Tell him what's next. It's coming out now, we have to go.

Overture

This article is about a musical term. For the Northerner’s poem, see the article Pineapples in Champagne (poem)

In the history of opera, overtures were first written to give the audience time to take their seats in the hall. During Mozart's time, the tradition changed, and the overture became a full-fledged part of the composition. Many composers used in the overture melodies from the opera for which the overture was written. Richard Wagner and Johann Strauss Jr. made their overtures programmatic, that is, they conveyed in them, in brief, the plot of the subsequent dramatic action.

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overture- y, w. ouverture f., German Overture. 1. unit, military Space unoccupied by the enemy; gap, passage. The cavalry of the right wing should be posted from Flamguden to Schwartenberg and Kronshagen, so that it will reach Quarnbeck through the overture... ... Historical Dictionary of Gallicisms of the Russian Language

- (French ouverture, from ouvrir to open). A symphony that serves as the beginning or, as it were, an introduction to opera or ballet. Dictionary foreign words, included in the Russian language. Chudinov A.N., 1910. OVERTURE introductory part some kind of musical... Dictionary of foreign words of the Russian language

Cm … Synonym dictionary

OVERTURE, overtures, female. (French ouverture, lit. discovery) (music). 1. Musical introduction to opera, operetta, ballet. 2. A short piece of music for orchestra. Concert overture. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

overture- OVERTURE, s, w. Overtime work. Spin the overture work overtime. Poss. from common use “overture” is an orchestral introduction to an opera, ballet, etc., a one-movement musical work; Poss. also occasional overlay of English. overtime... ... Dictionary of Russian argot

- (French ouverture, from Latin apertura opening, beginning), orchestral introduction to opera, ballet (see Introduction), operetta, dramatic performance, oratorio. In the 19th and 20th centuries. also orchestral piece, close symphonic poem … Modern encyclopedia

- (French ouverture from Latin apertura opening, beginning), an orchestral introduction to an opera, ballet, dramatic performance, etc. (often in sonata form), as well as an independent orchestral piece, usually of a programmatic nature... Big Encyclopedic Dictionary

- (foreign) beginning (a hint at the overture introduction, the beginning of the opera). Wed. Well, tell me this whole overture (of your life): what kind of family and tribe you are and what you suffered in vain. Leskov. Midnighters. 3. Wed. In the overture there is a noticeable pretension to paint... ... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)

OVERTURE, s, female. 1. Orchestral introduction to an opera, ballet, dramatic performance, film. Opera house 2. A one-movement piece of music (usually related to program music). | adj. Overture, oh, oh. Ozhegov's explanatory dictionary. S.I... Ozhegov's Explanatory Dictionary

Female, French music for orchestra before the opening of the spectacle. Dahl's Explanatory Dictionary. IN AND. Dahl. 1863 1866 … Dahl's Explanatory Dictionary

- “OVERTURE”, Ukraine, AEROSYSTEM / AUGUST, 1994, color, 45 min. Film ballet. Ballet extravaganza on the theme of the origin of the elements at the beginning of time. Cast: Sofya Steinbak, Yulia Steinbak, Yana Steinbak, Zinovy Gerdt (see GERDT Zinovy Efimovich), Makhmud Esambaev... ... Encyclopedia of Cinema

Books

Overture No. 2, Op. 6, A. Glazunov. Reprint sheet music edition Glazunov, Aleksandr`Overture No. 2, Op. 6`. Genres: Overtures; For orchestra; Scores featuring the orchestra. We created especially for you, using our own...

Meaning of the word OVERTURE in the Dictionary musical terms

OVERTURE

(French ouverture, from ouvrir - to open) - an orchestral piece that is an introduction to an opera, ballet, oratorio, drama, etc.; also an independent concert work in sonata form. The overture prepares the listener for the upcoming action, concentrates his attention, and introduces him to the emotional sphere of the performance. as a rule, the overture conveys in a generalized form ideological plan, dramatic collision, the most important images or general character, coloring of the work.

Dictionary of musical terms. 2012

Can an overture be an independent work? The meaning of the word overture in the dictionary of musical terms

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

New explanatory dictionary of the Russian language, T. F. Efremova.

Encyclopedic Dictionary, 1998

Wikipedia

Examples of the use of the word overture in literature.

History of the Opera Overture

Gluck reform

Opera overture in the 19th century

Concert Overture

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Meaning of the word OVERTURE in the Dictionary musical terms

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