Wenzel Heinrich Veit
Concert Overture op. 17
for large orchestra
Wenzel Heinrich Veit
Concert Overture op. 17
for large orchestra
- Instrumentation Orchestra
- Composer Wenzel Heinrich Veit
- Editor Geert Callaert
-
Difficulty Level
- Edition Score
- Publisher Friedrich Hofmeister Musikverlag
- Order no. FH8047
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Description:
The Concert Overture op. 17 presents an instrumentation adapted to the musical requirements of the Romantic period, which gives the wind instruments a new significance.
It begins with an Andante poco maestoso in 4/4 time with various dialogic interjections from the woodwinds, followed by solo interjections and accompanied by melody playing. All this leads to an Allegro molto in 2/4 time with dizzying rhythms, pizzicati in the strings and staccatti in the woodwinds up to fortissimo, with several instruments doubling the main theme of this allegro in addition to a brilliant orchestration. This is followed by a section in which the figurations become longer and the tempo drops into a minor key, but then back into a major key with a melody and more lively rhythms. This continues, alternating melody and livelier rhythms, until a passage in a minor key is heard. Gradually, a section of ostinati is reached in which the tension increases rapidly until it reaches the fortissimo of the main theme of the Allegro. Then the rhythm falls into a melodic zone in piano and half notes, although it gradually increases in tension and intensity until it reaches the poco più moto. This signals the final section, in which accompanied melody, chords and ostinati herald the end of the work.
The Concert Overture op. 17 is inspired by some lines from the poem Oberon by the poet Christoph Martin Wieland (canto VII).
Ring binding.
It begins with an Andante poco maestoso in 4/4 time with various dialogic interjections from the woodwinds, followed by solo interjections and accompanied by melody playing. All this leads to an Allegro molto in 2/4 time with dizzying rhythms, pizzicati in the strings and staccatti in the woodwinds up to fortissimo, with several instruments doubling the main theme of this allegro in addition to a brilliant orchestration. This is followed by a section in which the figurations become longer and the tempo drops into a minor key, but then back into a major key with a melody and more lively rhythms. This continues, alternating melody and livelier rhythms, until a passage in a minor key is heard. Gradually, a section of ostinati is reached in which the tension increases rapidly until it reaches the fortissimo of the main theme of the Allegro. Then the rhythm falls into a melodic zone in piano and half notes, although it gradually increases in tension and intensity until it reaches the poco più moto. This signals the final section, in which accompanied melody, chords and ostinati herald the end of the work.
The Concert Overture op. 17 is inspired by some lines from the poem Oberon by the poet Christoph Martin Wieland (canto VII).
Ring binding.