Most Effective Introductions in Works

[allegroamabile]

I compiled a list below of pieces that contain an introduction in the first movement that I felt were attractive. In your opinion, what makes an effective, slow introduction to a piece of music?

Petite Symphonie by Charles Gounod- The extremely lyrical, Adagio section that proceeds the Allegretto in this work sets up a warm atmosphere to prepare the listener to the playful, faster section.

Symphony No. 1 in C minor by Johannes Brahms

Symphony No. 4 in E-flat major by Alexander Glazunov- Many times I feel that a composer uses a slow introduction to buy time for introducing themes for the faster section so the music will sound more cohesive at that point in time (e.g. many classical works). It is not the case with this symphony, which I believe the Andante section in the first movement provides the audience with one of the most beautiful English Horn solos.

Beethoven- Symphony No. 1 in C major

Tchaikovsky- Symphony No. 3 in D major, "Polish"- I love the anticipation and tension Tchaikovsky builds up to the sonata-allegro section.

Rachmaninov- Symphony No. 2 in E minor

[Huilunsoittaja]

The introduction of the 1st mvmt. of Schubert's Symphony No. 8 has huge meaning. It's a dark statement of the main theme with the cellos/basses to set the black tone of the entire movement. Everything grows out of that one statement, as the higher strings come in softly with a new steady rhythm. It's a very chilling moment.

[NLewis]

I couldn't agree more with the Brahms 1. I also think it's worth mentioning the third symphony. The two first notes at for the first movement form these 2 great pillars which characterize the entire first movement. Then, at the height of tension - which only Brahms can do with a mere F major triad - the energy releases with a swooping melody in the violins for the second bar. In my opinion, it is a supreme example of how one bar can set up an entire piece.

As for the first symphony... Most profound opening of any piece I know. 55 notes make up the very first bar being played by anywhere from 80 to 100 instruments. The entire orchestra plays (with the exception of 3 trombones, which don't come in until the final movement for the big finale. The 2 flutes, 2 oboes, 2 clarinets, and 2 bassoons are all playing the same thing which forms almost a choir sound. Doubling the woodwinds are 2 horns playing part of the descending melody, and the violas playing all of it. Now for the real heart of the matter is the melody, formed in the first and seconds violins, as well as the cello. So now there are two elements moving at once: one climbing and one descending. The pull of these two lines going against each other in opposite directions sets up the atmosphere for the entire first movement, one of tension and conflict. But this is not all. There is also a sustained note in the horns growling out the bass, which is reinforced by the double bases, which repeat the note over and over. Finally the timpani is doing the same thing as the bass, supporting them with it's penetrating percussion. And last, the trumpets are doubling that note up high to help give a brilliant start to the piece. 55 notes - that is all. And - in my opinion - they are the most effective 55 notes ever written.

Some other effective openings I think are the following:

[*] Elgar - Serenade for String Orchestra (second movement). I think it's one of the great moments in all of Elgar when he hits that high F at the beginning.
[*] Beethoven's 5th - OK, of course someone has to say this. But the masculinity of this opening sets itself up for a great development throughout the whole piece. It's interesting because originally Beethoven had scored this piece to have a flute playing in the opening line, but Beethoven omitted it. Imagine how much the timbre would have changed had he kept it in!
[*] Brahms - Symphony No.4. Well, I could go on a huge rant about the brilliant opening of this piece as well. I think Hugo Wolf inadvertently nailed the very nature of Brahms's genius when he criticized him saying that "[he] makes music out of nothing". Well, yes, Brahms does make music out of seemingly nothing. Or, at the very least, he makes music out of very little. And I think theres no better example of this than the opening of the fourth symphony. It's incomplete theme leaves incredible room for development, agitation, and any other emotion that comes to mind.

[sbeckmesser]

Beethoven: Symphonies 4 and 7

Mozart: Symphonies Nos. 38 and 39. Haydn Symphonies 94 (Surprise), 97, 102, 103 (Drum-roll) and 104 (London). Haydn: Creation (Chaos opening)

Opera Preludes and Overtures galore. There were no restrictions on including these, but I'm limiting myself to pieces that more or less lead directly into the opera, with no substantial break in mood. To count as an introduction, the curtain must go up after the introduction and at the start of the opera action itself as is often specifically called for in the original score (assuming, of course, a "traditional," non-Eurotrash, non-regie-oper staging). So that rules out Verdi's Otello, Strauss' Elektra and other pieces where the curtain goes up with the start of the music, even though the opening bars of both these operas serve the purpose of an introduction. Among those pieces fulfilling my criteria are the openings of Mozart's Don Giovanni, and those to Wagner's Tristan, Meistersinger and Parsifal. On a slightly less exalted Wagnerian level are his openings to the Flying Dutchman, Lohengrin and Tannhauser (Paris version, with Venusberg music). Verdi fans have the preludes to La Traviata and Aida.

--Sixtus

[allegroamabile]

Haydn Symphonies 94 (Surprise), 97, 102, 103 (Drum-roll) and 104 (London). Haydn: Creation (Chaos opening)

What about his Military Symphony, No. 100? I think the way he weaves the themes in the introduction is very nicely done.

[sbeckmesser]

What about his Military Symphony, No. 100? I think the way he weaves the themes in the introduction is very nicely done.

Actually, I don't think I know of a Haydn symphony with an introduction that doesn't nicely set up what follows. So we can include all the London symphonies (except 95, the only one without a slow introduction) as well as another of my favorites, No. 92 (the Oxford).

And while were on slow introductions, there are probably hundreds of baroque operas with effective slow-fast "French" overtures (I like the ones I know by Lully and Rameau).

And while were on the topic of French overtures, there are also hundreds of Baroque orchestral suites with such first movements. One need only look at the magnificent examples in the four surviving Bach Orchestral Suites and, my favorite of them all, the first movement of Handel's Royal Fireworks Music, a colossal piece that only gains in power by a performance of all of its repeats (a surprisingly rare occurrence in recordings).

--Sixtus