“Carnival” Overture

Overtures were originally orchestral pieces introducing an opera or theater performance. In the 19th century, however, they gradually became independent from the stage. Beethoven was one of the first to write concert overtures (The Consecration of the House), followed by such composers as Mendelssohn (The Hebrides), Brahms (the Academic Festival and Tragic overtures), and Tchaikovsky (1812 Overture). 

Antonín Dvořák had published several of his early opera overtures as separate concert pieces, but it was not until his 50th year that he began work on concert overtures that were planned as such from the start. In 1891, he conceived a cycle of three overtures to be performed together as an orchestral trilogy. He entitled the cycle Nature, Life, and Love; the individual overtures were called In Nature’s Realm, Carnival, and Othello. Dvořák thought very highly of this cycle. In 1893, he wrote to his publisher, Fritz Simrock: “I think they are my best orchestral works,” even though he had already finished his “New World” Symphony by that time. He presented the cycle both at his April 1892 farewell concert in Prague before leaving for the United States and at his first concert in New York later that year. 

The second overture, Carnival, is like a miniature symphony in four “movements,” played without a break. But the last “movement” is nothing but a recapitulation of the first. Therefore, the overture can also be seen as an irregular single movement, with slow and fast sections inserted in the middle. Whichever way we look at it, the work is framed by a happy and exuberant carnival march with cymbals, tambourine, and triangle. Then the brass and the percussion drop out, and the violins play an expressive melody in a distinctly operatic style. 

The third theme is introduced by the violins as the percussion reenters in a hushed pianissimo. This theme grows to a full orchestral fortissimo, only to be suddenly interrupted by the winds, violins, and harp (the only instrument that has been silent so far). This passage serves as a transition to the lyrical slow section featuring solos for the woodwinds and violin. The melody of this section is also identical to the main theme of the overture In Nature’s Realm, providing a strong link between the two works of the cycle. 

Another sudden interruption brings us to the next section, which has the playfulness and vibrancy of a scherzo (the third movement in a typical symphony). Thematically, however, this is not an independent section since it is based on the transformations of some of the material heard at the beginning. Finally, the march returns, and the piece ends in a festive mood with exquisite, joyful abandon. 

— Peter Laki