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Overture Study Score

June 17th, 2003 admin


What else are characteristics of French Overture form?

I am supposed to be researching as prep. the French Overture form before our next music lesson, when we will be studying it in depth alongside the Ouverture of Bach’s Orchestral Suite No. 3.
Unfortunately, I have found the internet to be utterly useless, giving me only a couple of bits of information I didn’t already know.

So far, I have researched the form, i.e. the slower grave section, followed by the fugal section, and then an imitation of the grave.
I know that the grave is often characterised by over-dotted rhythms and suspensions.
I know that the trumpets and timpani and put in to ‘aim at grandeur’ when writing for a whole orchestra.

But that is all I can find, and I have no idea what else there is!

Can anybody please help me?
If you need to make references I actually have a copy of the score of Bach’s Ouverture so I can see what you’re referring to….

Thanks all!

:)

Well, you’ve done very well so far, already.

The form’s ‘father’, Jean-Baptiste Lully (1632-1687), shaped it into a three-part form: the slow ‘Grave’ with the characteristics you mentioned, the usually fugal Allegro, again as you mentioned, and then finally a dance section, usually a minuet, to close things out.

When the form gets adopted by others, for instance Handel, it gets moulded to fit their purposes, though you can see Lully’s shade hovering in the background. If you look at the French Overture that prefaces Handel’s ‘Messiah’, you can see this in operation perfectly. The opening ‘Grave’ with all the characteristics you mentioned (minus trumpets & drums) [check], the subsequent fugal Allegro [check], and then it ends. Lully’s third & final section is missing!

That’s the moment when you step back, play the overture again and now let it run on into the first number, ‘Comfort Ye’. And look, the gear change and character change of the orchestral introduction to the ‘Accompagnato’ ‘Comfort Ye’, serves perfectly to raise the spectre of that missing third section of Lully’s blueprint just enough to give us a sense of the form being completed, and Handel, crafty fellow that he was, sets the Accompagnato in E-major to lay the link to the overture (in e-minor) just enough to give us that sense of completion, while still moving things on into the oratorio proper.

(It also demonstrates why there should never be a huge gap in performance between the Overture and the Accompagnato, nor should it be too slow, or the whole intended allusion evaporates at a stroke…)

That’s about all there is to it with the French Overture. You’ve already covered most of the salient points as to the form — just the third section was misisng — and all I would suggest is to listen to a few of Lully’s essays in the form to give yourself an idea of what that original actually amounted to. Beyond that, you should have everything covered already with what you’ve gathered so far.

All the best, and good luck!

Jan AP Kaczmarek – The Visitor OST – The Visitor Overture


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