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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 work is a concert overture - meaning that it is not intended as a prelude to a larger work such as an opera (as 'overture', deriving from the French for 'opening', more often implies). Instead, the piece is performed as an independent piece in a symphonic concert. The term overture here refers to the use of melody and form.
A prelude (German: Präludium or Vorspiel; Latin: praeludium; French: prélude; Italian: preludio) is a short piece of music, the form of which may vary from piece to piece. [1] [2] While, during the Baroque era, for example, it may have served as an introduction to succeeding movements of a work that were usually longer and more complex, it may also have been a stand-alone piece of work ...
An overture is incidental music that is played usually at the beginning of a film, play, opera, etc., before the action begins. It may be a complete work of music in itself or just a simple tune. In some cases it incorporates musical themes that are later repeated in other incidental music used during the performance.
The music was composed between 1845 and 1854, and began as an overture to Liszt's choral cycle Les quatre élémens (The Four Elements), then revised as a stand-alone concert overture, with a new title referring to a poem by Alphonse de Lamartine. Its premiere was on 23 February 1854, conducted by Liszt himself.
The music, though labelled as an overture, is intended to stand as a complete work. Although programme music, it does not tell a specific story and is not "about" anything; instead, the piece depicts a mood and "sets a scene", making it an early example of such musical tone poems . [ 10 ]
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The finale of act 2, lasting 20 minutes, is one of the longest uninterrupted pieces of music Mozart ever wrote. [36] Eight of the opera's 11 characters appear on stage in its more than 900 bars of continuous music. Mozart uses the sound of two horns playing together to represent cuckoldry in the act 4 aria "Aprite un po' quegli occhi ". [36]