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Analysis of Tchaikovsky's Fantasy Overture Romeo and Juliet

A Russian composer known for his colorful and romantic music, Peter Ilyich Tchaikovsky was born May 7, 1840. He was a composer of the Romantic Period-- a time when music acquired poetic/philosophical meaning. In accordance with this focus on the arts, Tchaikovsky was an extremely well-read and educated man. Therefore, it was only natural he write a musical interpretation of one of Shakespeare's greatest tragedies, "Romeo and Juliet," which I had the please of seeing performed by the RPO.

The Romeo and Juliet overture is done in sonata-allegro form and contains two major musical themes: the Friar Laurence/Capulet & Montague theme, and the theme representing the love of Romeo and Juliet, respectively.

This first theme is broken up into two parts. The music begins as a solemn chorale, much like the music used in the Russian Orthodox Church, here obviously Tchaikovsky is musically representing Friar Lawrence. This section starts off with a series of woodwind instruments, leading to the strings and horns, and coming full circle back to the woodwinds. Tension begins to build as this part of the theme is repeated; the opening wind chords become much faster over plucked strings. The timpani is then added in, making the tempo s


You can tell you've reached the Recapitulation because the first theme, the Feud theme, is played in full (and loudly) for the first time since the Exposition. The Love theme is played again, but this time not by the violins, but the winds. The lyrical part comes second, and is played with all the emotion, and volume that the composer can summon. After the full statement the mood turns tense as the music goes into the minor mode, and the Feud theme begins to reappear as the music leads into the Coda.

The finale burst forth vigorously then recedes into a lyrical tune. A thunderous climax and darting conclusion bring the concerto to a close.

Here, the Development is easily identifiable because the mood again becomes tense. Of the three themes, the Love theme is not used in the Development. The Feud theme breaks up into a scurrying mutter in the strings, and the Friar Lawrence theme is played in fragments by the winds. The Development ends with the music reaching a climax and cymbal crash, and Friar Lawrence is then blasted out in a broad expansive manner by a trumpet over fragments of the Feud theme.

The closing section of the Coda begins with the funereal timpani beats. The Love theme is played in the minor mode, giving a sense of the final tragedy, and a variant of the Friar Lawrence theme is supposed to represent the peace of Heaven.

Tchaikovsky's Concerto No. 1 incorporates two Ukrainian folk melodies: the skipping theme which opens the first movement and the openi

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Approximate Word count = 1006
Approximate Pages = 4 (250 words per page double spaced)


  

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