Overtures by Hector Berlioz


The French composer Hector Berlioz wrote a number of overtures, many of which have become popular concert items. They include overtures intended to introduce operas as well as independent concert overtures.

''Les francs-juges''

Les francs-juges, Op. 3. Composed 1826. The overture to Berlioz's first attempt at opera, which was never staged. The overture was first performed in the concert hall of the Paris Conservatoire as part of an all Berlioz concert on 26 May 1828. In his study on the composer, Jacques Barzun describes the work as "a genuine tour de force for a young dramatic musician working without knowledge of Beethoven."
The instrumentation is two flutes doubling piccolo, two oboes, two clarinets in C, two bassoons, contrabassoon, four horns, three trumpets, three trombones, two ophicleides, percussion and strings.

''Waverley''

Waverley: grande ouverture, Op. 1. A concert overture composed in 1828. It was first performed at the Paris Conservatoire on 26 May 1828. Berlioz took his inspiration from Sir Walter Scott's Waverley novels.
The instrumentation is two flutes, two oboes, two clarinets, two bassoons, four horns in D, three trumpets, three trombones, ophicleide, timpani and strings.

''Le roi Lear''

Le roi Lear, Op. 4. Composed in Nice in 1831 during Berlioz's journey back to France after his stay in Italy. The overture is based on Shakespeare's King Lear, a recent discovery for the composer whose love of the dramatist is evident in many other of his works. It was first performed at the Paris Conservatoire on 22 December 1833.
The instrumentation is two flutes, two oboes, two clarinets in C, two bassoons, four horns, three trumpets in C, three trombones, ophicleide, timpani and strings. In the publication of the overture by Breitkopf and Härtel, the ophicleide is exchanged for a tuba on the basis that French and German orchestras no longer owned ophicleides. This editorial decision is upheld in many modern performances.

''Rob Roy''

Intrata di Rob Roy Macgregor. Composed in 1831 and first performed at the Paris Conservatoire on 14 April 1833. The overture was inspired by Sir Walter Scott's novel Rob Roy. Berlioz was never happy with the piece, regarding it as "long and diffuse", and withdrew it after the premiere. A plaintive melody for cor anglais would later find prominent use for the solo viola in Harold en Italie.
The instrumentation is two flutes, two oboes, English horn, two clarinets in A, two bassoons, four horns, three trumpets, three trombones, timpani, harp and strings.

''Benvenuto Cellini''

Overture to the opera of the same name, composed in 1838.
The instrumentation is two flutes, two oboes, two clarinets in C, two bassoons, four horns, four trumpets, two cornets in A, three trombones, ophicleide, percussion and strings.

''Le carnaval romain''

Le carnaval romain, ouverture pour orchestre, Op. 9. Composed in 1844 and first performed at the Salle Herz, Paris, on 3 February 1844. A stand-alone overture intended for concert performance, made up of material and themes from Berlioz's opera Benvenuto Cellini, including some music from the opera's carnival scene – hence the overture's title. It is scored for large orchestra, is in the key of A major, and features a prominent and famous solo for the cor anglais.

''Le corsaire''

Le corsaire, Op. 21. Composed while Berlioz was on holiday in Nice in August 1844. It was first performed under the title La tour de Nice on 19 January 1845. It was then renamed Le corsaire rouge and finally Le corsaire.
The instrumentation is two flutes, two oboes, two clarinets in C, four horns, two bassoons, two trumpets in C, two cornets in B-flat, three trombones, ophicleide, timpani and strings.

''La fuite en Égypte''

Overture to La fuite en Égypte. Together with two choral pieces, L'adieu des bergers and Le repos de la sainte famille, this made up a short work depicting Jesus and his family fleeing to Egypt to escape persecution by King Herod. This was published in 1852 but wound up as the core of another, larger work: the oratorio L'enfance du Christ.

''Béatrice et Bénédict''

Béatrice et Bénédict. Overture to the opera of the same name, composed in 1862.

''Les Troyens à Carthage: Prologue''

Les Troyens à Carthage: Prologue Berlioz's epic opera Les Troyens was never performed complete during his lifetime. In an attempt to have the opera staged by the Théâtre Lyrique in 1863, he split it into two parts, with acts 1 and 2 becoming La prise de Troie and acts 3–5 Les Troyens à Carthage. Only the latter was accepted and Berlioz wrote an orchestral prologue to introduce this version evoking the tragic fate of Troy.

Recordings

The individual overtures have been recorded many times. This is a partial list of collections exclusively devoted to Berlioz's overtures: