Editing Overture (section)

==Concert overture==
===Early 19th century===
Although by the end of the eighteenth century opera overtures were already beginning to be performed as separate items in the concert hall,  the "concert overture", intended specifically as an individual concert piece without reference to stage performance and generally based on some literary theme, began to appear early in the [[Romantic era]]. [[Carl Maria von Weber]] wrote two concert overtures, ''Der Beherrscher der Geister'' ('The Ruler of the Spirits', 1811, a revision of the overture to his unfinished opera ''[[Rübezahl]]'' of 1805), and ''Jubel-Ouvertüre'' ('Jubilee Overture', 1818, incorporating ''[[God Save the King]]'' at its climax).

However, the overture ''[[A Midsummer Night's Dream (Mendelssohn)|A Midsummer Night's Dream]]'' (1826) by [[Felix Mendelssohn]] is generally regarded as the first concert overture.<ref name="auto1"/> Mendelssohn's other contributions to this genre include his ''[[Calm Sea and Prosperous Voyage (Mendelssohn)|Calm Sea and Prosperous Voyage]]'' overture (1828), his overture ''[[The Hebrides (overture)|The Hebrides]]'' (1830; also known as ''Fingal's Cave'') and the overtures ''[[Die schöne Melusine]]'' (''The Fair Melusine'', 1834) and ''Ruy Blas'' (1839).  Other notable early concert overtures were written by [[Hector Berlioz]] (e.g., ''[[Les francs-juges|Les Francs juges]]'' (1826), and ''[[Overtures by Hector Berlioz#Le corsaire|Le corsaire]]'' (1828)).

===Later 19th century===
In the 1850s the concert overture began to be supplanted by the [[symphonic poem]], a form devised by [[Franz Liszt]] in several works that began as dramatic overtures. The distinction between the two genres was the freedom to mould the musical form according to external [[Program music|programmatic]] requirements.<ref name="auto1"/> The symphonic poem became the preferred form for the more "progressive" composers, such as [[César Franck]], [[Camille Saint-Saëns]], [[Richard Strauss]], [[Alexander Scriabin]], and [[Arnold Schoenberg]], while more conservative composers like [[Anton Rubinstein]], [[Pyotr Ilyich Tchaikovsky]], [[Johannes Brahms]], [[Robert Schumann]] and [[Arthur Sullivan]] remained faithful to the overture.<ref name="auto1"/>
[[File:Pyotr_Ilyich_Tchaikovsky_-_1812_overture.ogg|thumb|right|Tchaikovsky's ''1812 Overture'']]
In the age when the symphonic poem had already become popular, Brahms wrote his ''[[Academic Festival Overture]]'', Op. 80, as well as his ''[[Tragic Overture]]'', Op. 81. An example clearly influenced by the symphonic poem is Tchaikovsky's ''[[1812 Overture]]''. His equally well-known ''[[Romeo and Juliet (Tchaikovsky)|Romeo and Juliet]]'' is also labelled a 'fantasy-overture'.

===20th century===
In European music after 1900, an example of an overture displaying a connection with the traditional form is [[Dmitri Shostakovich]]'s ''[[Festive Overture (Shostakovich)|Festive Overture]]'', Op. 96 (1954), which is in two linked sections, "Allegretto" and "Presto" (Temperley 2001). [[Malcolm Arnold]]'s ''A Grand, Grand Overture'', Op. 57 (1956), is a 20th-century parody of the late 19th century concert overture, scored for an enormous orchestra with organ, additional [[brass instrument]]s, and [[obbligato]] parts for four [[rifle]]s, three [[The Hoover Company|Hoover]] [[vacuum cleaner]]s (two uprights in B{{music|flat}}, one horizontal with detachable sucker in C), and an electric [[floor polisher]] in E{{music|flat}}; it is dedicated "to [[Herbert Hoover|President Hoover]]".<ref>{{harvnb|Anon.|1957}}; {{harvnb|Maycock|2009}}; {{harvnb|Burton-Page|n.d.}}</ref>

One song of [[the Who]]'s [[rock opera]] ''Tommy'' is designated as "Underture".<ref>{{Cite web|url=https://www.ratherrarerecords.com/underture/|title=If You Have An Overture, Do You Also Need An Underture?|date=October 3, 2018|website=www.ratherrarerecords.com}}</ref>{{sfn|Atkins|2000|pp=121–122}}