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	Musical Forms - Overture
		Overtures to mid-17th-century Venetian operas typically consisted of a slow section in duple metre followed by a faster one in triple; this served as a model for the French Overture developed by Lully, Purcell, Handel and others.
		The Italian overture, developed at Naples in the late 17th century, was in three short sections (fast-slow-fast), often with a prominent trumpet part.
		The standard operatic overture between 1790 and 1820 consisted of a slow introduction and a fast movement in common time and in sonata form but without repeats and with little or no melodic development.
	w3.rz-berlin.mpg.de /cmp/g_overture.html (240 words)

	Italian overture - Wikipedia, the free encyclopedia
		The Italian overture is a piece of orchestral music with which in the late 17th and early 18th century several operas, oratorios and other large-scale works opened.
		This type of overture was particularly popular among Italian composers such as Alessandro Scarlatti: In the early 18th century such type of overture would usually be called sinfonia, later, to avoid confusion with other types of sinfonia/symphony, the term Italian overture was used more frequently.
		The structure of the Italian overture/sinfonia was the base from which the classical form of the symphony developed around the middle of the 18th century.
	en.wikipedia.org /wiki/Italian_overture (164 words)

	Western Music - Printer-friendly - MSN Encarta
		Italian composers, however, contributed a great deal to the development of new genres, especially to the symphony.
		The Italian opera overture, often called a sinfonia, usually had no musical or dramatic connection with the opera it introduced.
		Italian musicians sometimes played opera overtures in concerts, and composers eventually began to write independent instrumental pieces following the format of the overture.
	encarta.msn.com /text_761551748___7/Western_Music.html (827 words)

	Baroque Artists of Champaign-Urbana
		Carissimi, who wrote both Latin and Italian oratorios, used a narrator in place of stage action to convey a biblical or other religious story, but recitative, aria, and chorus were all employed.
		The 17th-century overture was often in the form of a grave, sometimes pompous common meter section using dotted rhythms, followed by a fast, lively section using imitation or even fugue.
		In the 18th century many Italian operas began with a three-movement introduction (fast—slow—fast), which was always called sinfonia, but is now sometimes called an “Italian overture”.
	www.baroqueartists.org /forms.asp (3622 words)

	French overture - Wikipedia, the free encyclopedia
		It is in two parts: the first is slow, often with double-dotted rhythms (a double-dotted crochet followed by a semiquaver), and the second is quick and fugal.
		When written for orchestra, the French overture is often scored with trumpets and timpani, and aims at grandeur.
		The French overture should not be confused with the Italian overture, a three-part quick-slow-quick structure.
	www.wikipedia.org /wiki/French_overture (198 words)

	Baroque Era - Vocal
		Italian musicians sought to express the emotion and depth of these Greek tragedies and thus integrated them into their own modern form, the opera.
		Two final characteristics of venetian opera were its complex and improbable plots and the prototype of its overture, which was a short instrumental fanfare performed at the beginning of the opera.
		Since Italian operas were typically performed in the city of London, the English did not feel the need to make their own operatic form.
	www.geocities.com /Athens/Marble/9607/BaroqueEra-Vocal.htm (1170 words)

	The term overture is be defined as “a piece of music of moderate length, either introducing a dramatic work or ... (Site not responding. Last check: 2007-11-04)
		The Italian overture, or sinfonia as it was sometimes called, was written in three movements which are fast-slow-fast in order, the finale often written in a dance like character (Peyser, 1986).
		The overture survived longer in the comic opera and operetta with the structure based on themes from the drama which "became a mere medley of tunes, with perhaps a short final sonata form section as a link with the traditional form" (Sadie, 1980).
		The overture found its place in the repertory of the wind band as a result of the many transcriptions that were written for the orchestral overtures of the nineteenth century.
	people.morehead-st.edu /students/kc/ktchri01 (3090 words)

	Learn more about Minuet in the online encyclopedia. (Site not responding. Last check: 2007-11-04)
		The word was adapted, under the influence of the Italian minuetto, from the French menuet, meaning small, pretty, delicate, a diminutive of menu, from the Latin minutus; menuetto is a word that occurs only on musical scores.
		Among Italian composers, the minuet was often considerably quicker and livlier, and was sometimes written in 3/8 or 6/8 time.
		A minuet was often used as the final movement in an Italian overture.
	www.onlineencyclopedia.org /m/mi/minuet.html (382 words)

	Alessandro Scarlatti - Wikipedia, the free encyclopedia
		His last work on a large scale appears to have been the unfinished serenata for the marriage of the prince of Stigliano in 1723.
		Scarlatti's music forms an important link between the early Baroque Italian vocal styles of the 17th century, with their centers in Florence, Venice and Rome, and the classical school of the 18th century, which culminated in Mozart.
		By 1686 he had definitely established the "Italian overture" form (second edition of Dal male il bene), and had abandoned the ground bass and the binary form air in two stanzas in favour of the ternary form or da capo type of air.
	en.wikipedia.org /wiki/Alessandro_Scarlatti (667 words)

	The Beggar's Opera and British Opera (Site not responding. Last check: 2007-11-04)
		Italian opera introduced a set of problems with which the British had to contend in defending their native forms, but it was neither always the instigator nor always the central player of the controversy.
		As 'Italian' (i.e., 'all-sung') operas threatened to take hold in the seasons of 1704–5 and 1705–6, creators of British opera felt the need to defend their native style more forcefully, to adopt the all-sung manner and music of Italian opera, to devise some new kind of native form, or a combination of these.
		Thus while the overture to The Beggar's Opera appears to conform to the Beggar's purported intent to emulate Italian opera, in view of the fact that overtures had been a feature of Italianate British opera Gay's employment of an Italian-opera overture should not necessarily be taken at face value.
	www.utpjournals.com /product/utq/663/663_gilman.html (8368 words)

	Alessandro and Domenico Scarlatti -- Britannica Student Encyclopedia (Site not responding. Last check: 2007-11-04)
		The creator of the Italian overture and a major figure in the development of classical harmony, Alessandro Scarlatti composed 115 operas and more than 600 chamber cantatas, masses, oratorios, concerti grossi, and serenades.
		One of the principal Italian composers of comic operas, Domenico Cimarosa composed nearly 80 operas.
		Italian painter Domenico Ghirlandajo (also spelled Ghirlandaio) is known for incorporating prominent 15th-century citizens and contemporary settings into his biblical scenes.
	www.britannica.com /ebi/article-9276927?tocId=9276927&query=john (570 words)

	Baroque Era - Vocal
		Italian musicians sought to express the emotion and depth of these Greek tragedies and thus integrated them into their own modern form, the opera.
		Two final characteristics of venetian opera were its complex and improbable plots and the prototype of its overture, which was a short instrumental fanfare performed at the beginning of the opera.
		Since Italian operas were typically performed in the city of London, the English did not feel the need to make their own operatic form.
	library.thinkquest.org /15413/history/history-bar-voc.htm (1181 words)

	Robun Orr Vocal and Orchestral Works: Classical CD Reviews- Jan 2001 MusicWeb(UK) (Site not responding. Last check: 2007-11-04)
		Robin Orr's Italian Overture was written in 1952 and is scored for wind, strings and harpsichord.
		The "Italian" in the title refers not to any programmatic element in the score but rather to the structure of the piece itself: in three (fast - slow - fast) sections.
		The severe Italian Overture makes an acerbic opening piece and one can't help thinking that the jovial and attractive Prospect of Whitby Overture would have been a more characteristically entertaining and heart-warming start to the CD than the slightly impersonal, dry neo-classicism of the Italian Overture.
	www.musicweb-international.com /classrev/2001/Jan01/Orr.htm (1061 words)

	baroque
		The forms used in oratorio are overture, recitative, aria, and diverse choral ensembles.
		Overture: The Italian sinfonia and the French Overture became important orchestral forms in the late Baroque era.
		The French overture also had three sections: slow (dotted rhythms), fast (lively and fugal), slow (often the same as the first).
	members.tripod.com /Galonia/music/baroque.html (739 words)

	Giuseppe Verdi - Overture to "The Force of Destiny"
		Many of Verdi’s finest operas have no overture at all, merely a brief prelude setting the mood - and, tellingly, these are amongst the most memorable of his operatic introductions; the haunting prelude to "La Traviata", for example.
		The overture to "The Force of Destiny" is the magnificent exception that proves this rule.
		The strings give out the nervous, insistent, "Destiny" motif, which recurs throughout the overture and the opera at critical moments, re-appearing as an ominous undercurrent under the long, lamenting melody – one of Verdi’s best-known – which forms the bulk of the overture’s introduction.
	www.classicalnotes.co.uk /notes/verdi1.html (725 words)

	Scott Ross performs Bach Keyboard Works
		The downside is that Ross takes quick tempos in the Italian Concerto's Andante and in the opening Grave from the Overture in B minor.
		Overall, the Ross Italian Concerto has much to offer in the outer movements; the Presto is the best I've heard.
		More than offsetting are the terrific fast movements of the Italian Concerto and all of the dance movements from the Overture in B minor.
	www.bach-cantatas.com /NonVocal/Klavier-Italian-Ross.htm (1106 words)

	Italian overture (Site not responding. Last check: 2007-11-04)
		Thestructure was particularly popular among Italian composers such as Alessandro Scarlatti, hence its name.
		This structure was the basis of the symphony form,which developed in the early 18th century.
		The Italian overture can be contrasted with the French overture,which was popular in France.
	www.therfcc.org /italian-overture-50096.html (103 words)

	Evolution of Symphony [M.Tevfik DORAK]
		The earlier genres the suite, sonata, concerto grosso and Italian overture contributed the development of the symphony towards the middle of the eighteenth century.
		If canzona was the model for the development of sonata, the true model for the symphony was the Italian opera overture (sinfonia) developed by the Neapolitan composers in the beginning of the century.
		His overtures were in three sections in a tempo scheme of fast-slow-fast (first occurrence in 1696 in Dal male di bene).
	dorakmt.tripod.com /music/symphony.html (1131 words)

	Program Notes
		During the same trip that inspired the Fingals Cave Overture, Mendelssohn visited the ancient royal palace of Holyrood House in Edinburgh, the seat of Mary, Queen of Scots, and scene of the murder of David Rizzio, her advisor and secretary.
		Overture to “Le Nozze Di Figaro” (“The Marriage of Figaro”), K. The decision by Mozart to write “The Marriage of Figaro” came at the urging of Lorenzo Da Ponte, the court opera-poet whom he had met early in 1783.
		The overture, which was written last (just two days before the premiere), does not quote any material from the opera at all, but its brilliance and non-stop hustle set the emotional tempo for the "crazy day" to follow.
	www.chambersymphony.com /program_notes.htm (12276 words)

	An Introduction to the Symphony David Wright - Nov 2003 MusicWeb(UK) (Site not responding. Last check: 2007-11-04)
		This was used by such composers as the Italian Alessandro Scarlatti (1660- 1725) and this partly explains this ABC form which was often called an Italian overture.
		Often the Italian sinfonias were played separately in concerts and so gained independence which encouraged symphonies to stand on their own as complete orchestral works.
		The next major development of the symphony is attributed to Giovanni-Battista Sammartini (1698- 1775) an Italian composer who introduced the second subject or second theme and probably originated the sonata form often referred to as classical form since it was used by such great composers of the classical period such as Haydn, Mozart and Beethoven.
	www.musicweb-international.com /classrev/2003/Nov03/symphony-wright.htm (1523 words)

	beethsymph1
		Their overtures, in turn, had a strong influence on symphonic development (these overtures were also used and played as concert symphonies) in that their style was explored in symphonic composition.
		Vinci's overture to his opera Artaserse (Rome, 1730) as well as Pergolesi's overture to Olimpiade (Rome, 1735) call for an a 11 orchestra and begin with un-marked, gradually rising crescendo passages which, with their homophonic texture, create a stunning effect in large theaters.
		The first movement of Leo Pergolesi's overture to Lucio Papirio (Naples, 1735) is mentioned by Grove as an early example of a type of form that would be prevalent in the Italian overture for the better part of the 18th century.
	raptusassociation.org /symphoniegeschichte1e.html (9452 words)

	Evolution of Symphony [M.Tevfik DORAK]
		The earlier genres the suite, sonata, concerto grosso and Italian overture contributed the development of the symphony towards the middle of the eighteenth century.
		If canzona was the model for the development of sonata, the true model for the symphony was the Italian opera overture (sinfonia) developed by the Neapolitan composers in the beginning of the century.
		His overtures were in three sections in a tempo scheme of fast-slow-fast (first occurrence in 1696 in Dal male di bene).
	www.dorak.info /music/symphony.html (1131 words)

	Classical Music Site
		Schütz's Symphoniae sacrae), for introductory movements to operas etc (see Overture), for instrumental introductions and sections within arias and ensembles, and for ensemble pieces which might be classified as sonatas or concertos.
		Features of the Classical symphony may be traced to the Italian overture of the late 17th century in three movements (fast-slow-fast).
		G.B. Sammartini was among the first Italians to write concert symphonies; composers of the next generation, including Boccherini and Pugnani, inherited his essentially lyrical approach, but Italian composers were not generally interested in the richer, more developed style favoured in Austria and Germany.
	www.geocities.com /classicalnt/files/Symphony.htm (1225 words)

	Bach: French Overture, Italian Concerto, etc (Site not responding. Last check: 2007-11-04)
		In the opening Italian piece, Hewitt does great justice to Bach's imaginative tribute to the Italian concerto style with a convincing "dialog" between lighter solo episodes (tutti) and the fuller passages imitating orchestral effect (ritornello) - all on one keyboard.
		The main event of this CD must certainly be the monumental "French Overture" (aka: Partita in B minor) - a grand conception lasting some 30 minutes repleat with numerous movements of French courtly dance influence and rich in imaginative and decorative keyboard effects.
		Her Italian Concerto is effervescent, as Hewitt's alert rhythmic sense and precise articulation give this atypical work just the bounce it needs.
	www.freeskills.com /shop/B0000542GU/Bach_French_Overture__Italian_Concerto__etc.html (1533 words)

	Sleeve Notes - Bach: Italian Concerto & French Overture
		By choosing to write both an Italian Concerto and a French Overture, Bach not only demonstrated his skill in translating to the keyboard two of the most popular orchestral genres of the time, but also showed how marvellously he had assimilated the prevalent national styles of composition and performance, yet always sounding unmistakably like himself.
		The opening bars of the Italian Concerto, which could not be more affirmative, are immediately repeated in the dominant key, and separated by rests that are too often cut short by the anxious student.
		The Overture in the French Style, BWV831 (or Partita in B minor as it is often called), exists in an earlier version in the key of C minor, written in the hand of Bach's second wife, Anna Magdalena.
	www.hyperion-records.co.uk /notes/67306.html (2918 words)

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