OCR Text |
Show CONCLUSION. 523 is best sustained by instrumental music. A n overture to an opera or a Ballet is most essential; it should be an introduction ; in it should be sketched the principal subjects of the piece for which it is composed ; and when it is ably executed, it may even serve as a sort of programme to the audience, putting them into that state of mind best calculated to feel and understand the succeeding representation. " A n overture," says F. A. Blasis, " should be the subject of an extensive musical picture, composed, by gradations or transitions, of the principal incidents that form the picture, and which ought to emanate from the action of the poem." One of the best overtures which I have heard, and which perhaps gives the most perfect idea of what is requisite to this species of composition, is that of the Jeune Henri, by Mehul. This admirable piece is characterized by the exactest truth of expression, the most brilliant effect, and the truest local description. From the first bar to the last note, the composer is occupied in giving a masterly sketch of the approaching opera. Ill describing the chase, nothing is omitted, from the moment the hunters assemble and set out, to that in which they seize their prey ; nothing can be clearer or more energetic than the manner in which every thing is expressed; W h e n I a m listening to the music of Mehul, I can fancy I am beholding the pictures of Giulio Romano; the style is learned and correct; the colouring somewhat gloomy, but full of energy. His manner is noble and majestic, and better adapted to express subjects of a severe character than those of a light and elegant nature. I have seen a Ballet, founded upon his overture to the Jeune Henri, and which produced an excellent effect. It served as a programme to the Ballet-master; he followed it strictly, and the success attending his production proved that he perfectly understood the language of harmony. |