Romeo and Juliet Overture

The Romeo and Juliet Overture is a concert overture (sometimes called overture-fantasy) by Russian composer Pyotr Il’yich Tschaikovsky (1840-1893), written during the Romantic era. It is inspired by the famous Shakespearean tragedy Romeo & Juliet. It premiered for the first time in 1870 and is intended to portray the main characters, conflicts, & themes in the play.

The work is in the key of B minor, in sonata form, and is in common time. The tempo is marked Andante non tanto quasi moderato. The work begins with the dark and ominous “Friar Lawrence” theme in F-sharp minor (dominant minor), the melody of which was inspired by the sacred vocal church music often heard in the Russian Orthodox Church. Friar

Lawrence is a religious character who is a friend to Romeo and also marries the couple in secret. There are a few major chords used in the middle of the phrase the first time the theme is heard to give a feeling of “false hope.” The theme is heard two more times, the second being in F minor with the high woodwinds reiterating the theme with pizzicato string accompaniment; while the third and final time is restated with both strings and high woodwinds above an increasingly agitated and bold string section. The first theme of the Exposition is marked Allegro giusto, and is the first time the music is heard in its home key. An agitated, synocopated melody is played f by cellos and answered by piccolo, whilst cymbals crash against driving strings. This theme reflects the turbulent conflict between the two feuding families: the Montagues and Capulets. The imagery is reinforced with syncopated trade-off of chords and bolder orchestral colours. The bridge theme is suddenly pp, and ushers in a more calm, gentle mood, while woodwinds, double basses, and horns present gentle undulating figures to help support this. Theme 2a is in D flat major, and is stated broadly by English horns and muted violas, and represents the love growing between the two lovers. Theme 2b features a gently pulsating melody (perhaps suggesting a heart beat - love is growing) played pp by muted violins. This theme represents the innocent and youthful Juliet. When theme 2a returns, it is done so as an extended version with played by high woodwinds. In the Codetta, the harp softly accompanies muted strings. These themes are developed extensively throughout the Development, in particular the “Friar Lawrence” theme undergoes extensive treatment, reiterated by the horns. Abrupt changes in dynamics/volume help heighten the agitation. Melodic material is passed down through individual instrument groups. The “Friar Lawrence” theme is interrupted by the feud theme, marked by violent crashing cymbals and more syncopation. The Recap sees many of the themes returning largely unaltered. The first theme is played ff by the full orchestra with descending string figures, while themes 2a and 2b are switched, and theme 2a is not repeated, unlike in the Exposition, and is also in D major. Theme 2b is gently played by oboes with string accompaniment. Theme 2a is played broadly by strings in one sweeping melody, f, which is expanded but interrupted by interjections of the feud theme. A bold timpani roll ushers in the coda. The coda features the love theme (2a) being transformed into a solemn song of mourning resembling a funeral march in B major. Woodwinds and harp follow with a hymn-like passage, and the love theme is expanded once more by the strings. The conclusion features chords played ff by the full orchestra over top of a timpani roll, before coming to a halt with one more B major chord. The concert overture effectively captures the emotional depth and intensity of the tragic play overall, and is a great demonstration of Tchaikovsky’s musical style: vivid orchestration, elegaic lyricism, and pathos.