Concert Overture – Romeo and Juliet

Tchaikovsky began work on the Fantasy-Overture Romeo and Juliet in September 1869. By the end of November he had completed the scoring, and arrangements were made for the work to be premiered in Moscow on March 16, 1870, with Nicholas Rubinstein conducting. During the summer of 1870 Tchaikovsky revised the work, making considerable changes. The score is dedicated to Mily Balakirev (1837-1910), one of the leading figures of “The Mighty Five” (a group of 19th century Russian composers including, in addition to Balakirev, Alexander Borodin, César Cui, Modest Mussorgsky and Nikolai Rimsky-Korsakov, all of whom were united in their aim to create a distinctive nationalist school of music.) It was Balakirev who suggested the idea to Tchaikovsky for the Fantasy-Overture as well as its general outline. It is of interest that at a later date Tchaikovsky contemplated writing an opera on the Romeo and Juliet theme; a duet was sketched but left unfinished.

The Fantasy Overture consists of an introduction followed by a single movement in sonata-allegro form. The introduction begins with the stately and structured “Friar Lawrence” theme. Friar Lawrence is the peacekeeper and voice of reason in this play. His theme begins calm and uplifting, but soon becomes more agitated through the use of altering instrumentation and pitch.

The Friar Lawrence Theme is first heard in the clarinet and bassoon. These instruments have a very warm and comforting timbre, reflecting Friar Lawrence’s character. The section is in F# minor, and starts with a homophonic texture and a hymn like choral quality, further intensifying the similarity to Friar Lawrence’s character. Later in the development and recapitulation sections it combines with the “Feud” theme to show how Friar Lawrence attempted to resolve the conflict, but ultimately failed (Lynch, 2011).

The Feud theme is presented next, and is the theme of the conflict at the heart of Shakespeare’s play. Ultimately, this conflict puts an end to Romeo and Juliet’s lives. This startling four bar theme first appears at the start of what is called the exposition in sonata form (bars 112-115). It is in B minor, homophonic in texture, and generally remains unchanged throughout the piece, showing a similarity to the immovable nature of the two families (Lynch, 2011). It is played first by the flutes and violins, which when played in this style have a sharp timbre and can be likened to the clanging of metal on metal, like swords. These two instruments are then joined by the remaining wind, horns, timpani, and strings. The frantic theme is characterised by sharp articulation such as staccato, and using syncopated rhythms to create tension in the listener and not allowing them to become comfortable in the piece(Lynch, 2011). It is repetitious and quite harsh, making it very difficult to listen to.

Finally, the feud theme quiets and fades into the Love theme. This is probably one of the most well known themes in Tchaikovsky’s works, and is the main theme for Romeo and Juliet’s fleeting, passionate relationship. It is a long, expansive theme, filled with emotion, and altered constantly throughout the theme to show how quickly Romeo and Juliet’s relationship grows against all odds.
It is first presented in D flat major, played by the viola and the English horn. These instruments are joined by the strings to quieten their sound and make them less harsh to further intensify the stark contrast with both the Feud and Friar Lawrence themes (Lynch, 2011). The low strings provide a pizzicato accompaniment, creating a full and rounded texture and warm timbre that finally grows to a rising harp arpeggio at the end of the theme. This creates a complete sound in the listener’s mind and sets them at ease, ready to be barraged by the coda and ending.

The reflective love music is suddenly interrupted by a return of the principal theme, which is highly developed and ingeniously combined with the Friar Lawrence motive of the introduction. In the recapitulation section which follows, the second theme (love motive) appears in D major. All the themes of the piece are mixed together in a frantic finale, and to conclude the work, the principal B minor theme is combined in the full orchestra with the Friar Lawrence theme and, as the music subsides, there are motives from the second theme section. The work concludes in the key of B major.

References

Favourite Classical Composers, (2010). Romeo and Juliet Overture – Tchaikovsky’s Dramatic Interpretation. [online] Favorite-classical-composers.com. Available at: http://www.favorite-classical-composers.com/romeo-and-juliet-overture.html [Accessed 23 Apr. 2014].

Lynch, E. (2011). Tchaikovsky’s romeo and juliet fantasy overture. [online] Slideshare.net. Available at: http://www.slideshare.net/emilynch/tchaikovskys-romeo-and-juliet-fantasy-overture [Accessed 23 Apr. 2014].

Magnum, J. (2012). Romeo and Juliet Fantasy Overture. [online] LA Phil. Available at: http://www.laphil.com/philpedia/music/romeo-and-juliet-fantasy-overture-peter-ilyich-tchaikovsky [Accessed 23 Apr. 2014].

Stevenson, J. (2014). Romeo and Juliet, fantasy-overture for orchestra in B minor (3 versions) – Pyotr Il’yich Tchaikovsky | Details, Parts / Movements and Recordings | AllMusic. [online] AllMusic. Available at: http://www.allmusic.com/composition/romeo-and-juliet-fantasy-overture-for-orchestra-in-b-minor-3-versions-mc0002364083 [Accessed 23 Apr. 2014].