Almost everything overtures written by Beethoven, are an introduction to dramatic works- plays and operas, and have a close connection with them. Thus, the Egmont overture is an introduction to the tragedy written by Goethe, Corylan is the dramatic work Collina, "Leonora" - the initial part of the opera "Fidelio".

In essence, the composer's works are the final step in a long process of development of classical overtures. The decisive factor that pushed Beethoven to work in this direction were the overtures of his predecessors - Gluck and Mozart, as well as Cherubini. In his work, Beethoven did not use overtures as the beginning of any composition, but used them in order to convey to the listener a general outline the entire plot of the work. Thus, his overtures have risen to a higher musical level and are a kind of symphony.

Music for the Egmont Overture was written by the composer when he was at the peak of his creative powers.

In Goethe's tragedy there was much that attracted Beethoven to this work: images of heroes, tragedy and the final outcome of the plot, extensive scenes with the people. The composer wrote ten works for this work: an overture, four intermissions, two songs main character, the death of the heroine, the monologue of the main character Egmont and the Victory Symphony. But the most famous of all these works is the introduction (overture) to Goethe's tragedy. It shows the main idea of ​​the entire work - the struggle for the right to freedom and the triumph of the achieved goal.

In Goethe's work we're talking about about the confrontation of the Dutch people with the Spanish conquerors for their independence in the 16th century. Main character and the leader of the Flemings, Egmont, was treacherously captured and placed in prison by the viceroy of the Spanish king, the Duke of Alba. In Egmont prison he was sentenced to death penalty. Clerchen, the protagonist's lover, being a girl from common people does not want to come to terms with the sentence passed on her lover and tries in every possible way to save him. She calls on the city's inhabitants to rise up against the rule of the Spaniards and thus save Egmont. However, all her attempts to change something were unsuccessful. Ultimately, Clerchen dies, unable to save his lover.

The night before his execution, Egmont has a dream in which he sees Clerchen in the image of freedom calling the people to fight: “Fight for the Motherland, freedom and freedom!” Egmont takes the last steps towards the place of execution. His entire final journey is accompanied by the Victory Symphony.

The overture itself has a slow beginning, consisting of two themes.

Knowing storyline Goethe's works can immediately determine what images the composer draws - two hostile forces that are opposed in relation to each other - the Spanish conquerors and the simple Dutch people suffering from their oppression. The confrontation between these sides lies at the heart of Goethe's plot, theme song This work is classified as an overture.

When listening to the first and second themes of the introduction, we see that Beethoven shows these two fighting sides.

The main part of the overture reveals the will and heroism of the heroes of this work. Its power is gradually increasing. If at the very beginning main party we hear a quiet melody (piano), then later a short time it grows to a fortissimo level. Thus, the composer shows that the people do not want to come to terms with their forced position and are ready to express their disagreement in the struggle and uprising against the occupiers.

The side part of Beethoven's Egmont Overture is closely intertwined with the musical introduction and bears the character of both of its themes. It also contains the theme of the ruling side, and the side of the people groaning under this yoke is also visible. The fight is intensifying. The intensity of passions boiling around the topic of struggle is growing. And... it suddenly stops. A quiet and sad melody sounds, clearly indicating the execution of Egmont.

In terms of its significance, this coda is equivalent to the final chords of the 5th Symphony. In both cases, solemn music sounds - real song freedom.

It is important to understand that in all the stories about the battle of people for freedom, Beethoven shows all his listeners that the path to freedom and independence passes through struggle. The Pathetique Sonata and the Fifth Symphony, along with the Egmont Overture, reveal this author’s idea to listeners.

Instrumental intro to theater performance with music (opera, ballet, operetta, drama), to a vocal-instrumental work such as a cantata and oratorio or to a series of instrumental pieces such as a suite, in the 20th century. - also for movies. A special variety of U. - conc. a play with certain theater features. prototype. Two main type U. - a play that has an introduction. function, and are independent. prod. with definition figurative and compositional. properties - interact in the process of development of the genre (starting from the 19th century). Common feature is to one degree or another expressed theater. nature U., "the connection is most characteristic features ideas in their most vivid form" (

Egmont-Ouvertüre, Op. 84 Overture to Goethe's tragedy

Orchestra composition: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings.

History of creation

In 1809, Beethoven received an order from the management of the Vienna Court Theater to write music for Goethe’s tragedy “Egmont” and worked on it from the end of 1809 to the spring of 1810, in his own words, “solely out of love for the poet.”

Beethoven highly valued the work of Goethe, whom he met several times. He wrote songs based on his poems both in the early (“Groundhog”) and in the central period of his work (“Song of the Minions”, “Song of the Flea”, etc.). The music for Egmont consists of an overture, composed by the latter, and nine numbers. It was first performed on June 15, 1810, when Goethe's tragedy was performed for the fourth time at the Vienna Court Theater.

Johann Wolfgang Goethe (1749-1832) - the greatest German poet, writer, playwright, lawyer, scientist, theater and political activist - served as First Minister of the Duchy of Weimar from 1775. It was this year that he began work on the tragedy "Egmont", which he completed 12 years later.

Its hero, Egmont, Count Lamoral, Prince of Le Havre (1522-1568) - one of the first nobles of Flanders and Brabant - came from an ancient family, known even in the era of the Crusades. His homeland in the 16th century was under the rule of Spain, from which it sought to free itself, while simultaneously opposing Catholicism. From the age of 16, Egmont was a courtier of the Spanish kings, participated in many campaigns and even accompanied Philip II to England when he wooed Mary Tudor. A favorite of soldiers and people and at the same time a loyal Catholic, Egmont in 1565 was sent to the Spanish king with a demand to destroy the Inquisition. The following year, he again took the oath of allegiance to the Spanish crown, although the Dutch patriots, his comrades in the opposition to Philip II, Prince William of Orange and Count Horn, who refused to swear, warned him against the treachery of the king and even offered to leave his homeland. However, Egmont, trusting and simple-minded, met the new governor of the Netherlands, the bloody Duke of Alba, upon his entry into Brussels, often visited his house, and on September 9, 1567, he was arrested by order of the duke and imprisoned in the Ghent citadel. Egmont spent 9 months there. He was charged with 90 counts, which he brilliantly denied. Despite this, Egmont was sentenced to death and executed in Brussels on July 5, 1568. All his property was confiscated by the king, leaving his widow and 11 children destitute.

In Goethe, Egmont is young, single and in love. His beloved ordinary girl Clerchen dreams of fighting with him. She calls for an uprising to free the hero, and, unable to survive the death of her loved one, commits suicide. Egmont’s final monologue in prison before his execution is filled with a call to fight for freedom and faith in the victory of the people, despite all the suffering and sacrifices.

Like other overtures, "Egmont" quickly took its place on concert stage, where it became one of Beethoven's most popular symphonic works. This overture most fully and concisely embodies the typical ideological and style features the composer's creativity: the heroism of the struggle for freedom, requiring the exertion of all forces and heavy sacrifices; brightness, catchiness of thematic theme and clarity of form, addressed to the to a wide circle listeners.

The slow introduction introduces the main content of the unfolding drama, painting a picture of the oppression and suffering of the enslaved people. Opposite each other are the heavy measured chords of the strings in the rhythm of the Spanish sarabande and the plaintive sighs moving from the oboe to the clarinet, from the bassoons to the violins. Gradually, violins and woodwind instruments are developing new topic. The courageous voice of the cellos affirms her. Sorrowful, with the motive of a sigh, she becomes more and more active, strong-willed, and persistent. But its development is interrupted by the invasion of a triumphant sarabande, again giving rise to complaints and groans. Clashes and intense struggle begin. Its waves are already bringing famous topics. In the roll call of wind and string instruments, the saraband wins. The sound of the violins stops abruptly and silence falls. The hero died. Muted woodwind chords are painted in mournful tones. It seems that everything is over... But suddenly the character of the music changes dramatically. Joyful anticipation grows - as if a festive crowd is gradually approaching from afar. The brilliance of brass instruments and the piccolo flute entering for the first time is associated with the sound of a military orchestra. This is the “Victory Symphony”, which concludes not only the overture, but also the entire tragedy.

Essay

"Ludwig van Beethoven. Egmont Overture"

Irkutsk 2015

Ludwig van Beethoven. 3

Overture to Goethe's tragedy. 4

History of creation. 4

List of sources. 9

Ludwig van Beethoven

early years

Beethoven was presumably born on December 16 (only the date of his baptism is known precisely - December 17) 1770 in the city of Bonn in musical family. From childhood he was taught to play the organ, harpsichord, violin, and flute.

Start creative path

After his mother's death in 1787, he took over the family's financial responsibilities. Ludwig Beethoven began playing in an orchestra and listening to university lectures. Having accidentally encountered Haydn in Bonn, Beethoven decides to take lessons from him. For this he moves to Vienna. Already at this stage, after listening to one of Beethoven’s improvisations, the great Mozart said: “He will make everyone talk about himself!” After some attempts, Haydn sent Beethoven to study with Albrechtsberger. Then Antonio Salieri became Beethoven's teacher and mentor.

Heyday musical career

Haydn briefly noted that Beethoven's music was dark and strange. However, in those years virtuoso game on the piano brings Ludwig his first fame. Beethoven's works differ from classic game harpsichordists. There, in Vienna, the future famous works were written: Moonlight Sonata Beethoven, Sonata Pathétique.

Rude and proud in public, the composer was very open and friendly towards his friends. Beethoven's work in the following years is filled with new works: the First and Second Symphonies, “The Creation of Prometheus”, “Christ on the Mount of Olives”. However future life and Beethoven's work were complicated by the development of an ear disease - tinitis.

The composer retires to the city of Heiligenstadt. There he is working on the Third - Heroic Symphony. Complete deafness separates Ludwig from outside world. However, even this event cannot make him stop composing. According to critics, Beethoven's Third Symphony fully reveals him greatest talent. The opera “Fidelio” is staged in Vienna, Prague, and Berlin.

Last years

In the years 1802-1812, Beethoven wrote sonatas with special desire and zeal. Then entire series of works for piano, cello, the famous Ninth Symphony, and the Solemn Mass were created. On March 26, 1827, Beethoven died of liver disease.

Overture to Goethe's tragedy

Orchestra composition: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings.

History of creation

In 1809, Beethoven received an order from the management of the Vienna Court Theater to write music for Goethe’s tragedy “Egmont” and worked on it from the end of 1809 to the spring of 1810, in his own words, “solely out of love for the poet.”

Beethoven highly valued the work of Goethe, whom he met several times. He wrote songs based on his poems both in the early (“Groundhog”) and in the central period of his work (“Song of the Minions”, “Song of the Flea”, etc.). The music for Egmont consists of an overture, composed by the latter, and nine numbers. It was first performed on June 15, 1810, when Goethe's tragedy was performed for the fourth time at the Vienna Court Theater.

Johann Wolfgang Goethe (1749-1832) - the greatest German poet, writer, playwright, lawyer, scientist, theater and political figure- From 1775 he served as first minister of the Duchy of Weimar. It was this year that he began work on the tragedy "Egmont", which he completed 12 years later.

Its hero, Egmont, Count Lamoral, Prince of Le Havre (1522-1568) - one of the first nobles of Flanders and Brabant - came from an ancient family, known even in the era Crusades. His homeland in the 16th century was under the rule of Spain, from which it sought to free itself, while simultaneously opposing Catholicism. From the age of 16, Egmont was a courtier of the Spanish kings, participated in many campaigns and even accompanied Philip II to England when he wooed Mary Tudor. A favorite of soldiers and people and at the same time a loyal Catholic, Egmont in 1565 was sent to the Spanish king with a demand to destroy the Inquisition. The following year, he again took the oath of allegiance to the Spanish crown, although the Dutch patriots, his comrades in the opposition to Philip II, Prince William of Orange and Count Horn, who refused to swear allegiance, warned him against the treachery of the king and even offered to leave his homeland. However, Egmont, trusting and simple-minded, met the new governor of the Netherlands, the bloody Duke of Alba, upon his entry into Brussels, often visited his house, and on September 9, 1567, he was arrested by order of the Duke and imprisoned in the Ghent citadel. Egmont spent 9 months there. He was charged with 90 counts, which he brilliantly denied. Despite this, Egmont was sentenced to death and executed in Brussels on July 5, 1568. All his property was confiscated by the king, leaving his widow and 11 children destitute.

In Goethe, Egmont is young, single and in love. His beloved, a simple girl named Clerchen, dreams of fighting with him. She calls for an uprising to free the hero, and, unable to survive the death of her loved one, commits suicide. Egmont’s final monologue in prison before his execution is filled with a call to fight for freedom and faith in the victory of the people, despite all the suffering and sacrifices.

Like other overtures, “Egmont” quickly took its place on the concert stage, where it became one of the most popular symphonic works Beethoven. This overture most fully and concisely embodies the typical ideological and stylistic features of the composer’s work: the heroism of the struggle for freedom, which requires the exertion of all forces and heavy sacrifices; brightness, catchiness of thematics and clarity of form, addressed to the widest range of listeners.

Music

Koenigsberg, Alla Konstantinovna(Musicologist, Candidate of Art History) spoke about the overture as follows:

“The slow introduction introduces the main content of the unfolding drama, painting a picture of the oppression and suffering of the enslaved people. Opposite each other are the heavy measured chords of the strings in the rhythm of the Spanish sarabande and the plaintive sighs moving from the oboe to the clarinet, from the bassoons to the violins. Gradually, a new theme emerges among violins and woodwind instruments. The courageous voice of the cellos affirms her. Sorrowful, with the motive of a sigh, she becomes more and more active, strong-willed, and persistent. But its development is interrupted by the invasion of a triumphant sarabande, again giving rise to complaints and groans. Clashes and intense struggle begin. Its waves bring already known themes. In the roll call of wind and string instruments, the saraband wins. The sound of the violins stops abruptly and silence falls. The hero died. Muted woodwind chords are painted in mournful tones. It seems that everything is over... But suddenly the character of the music changes dramatically. Joyful anticipation grows - as if a festive crowd is gradually approaching from afar. Shine brass instruments and for the first time the entering piccolo flute is associated with the sound of a military orchestra. This is the “Victory Symphony,” which concludes not only the overture, but the entire tragedy.”

The overture begins with a slow introduction. There are two sharply contrasting themes here.

Listening to the First Introduction Theme. The first of them, chordal, sounds solemn and imperious. Low register, minor scale give it a dark, ominous coloring. In the orchestra it is performed by string instruments. The slow tempo and characteristic rhythm of the theme are reminiscent of the majestic stride of a sarabande.

Listening to the Second Introduction Theme. The second theme is “sung” by the oboe, joined by other wooden wind instruments, and then strings. The melody is based on a very expressive second intonation, which gives it a mournful character. The topic is perceived as a request, a complaint.

If in the slow introduction the composer seemed to show us opposing forces, in the sonata allegro they clash and struggle. Moreover, the thematic material of the allegro seems to grow from the themes of the introduction.

Hearing of the Main Party. The main party has a strong-willed, heroic character. Its strength and energy gradually increase. At first it sounds in the lower register of cellos and other piano string instruments, then it is picked up by the entire orchestra fortissimo. The move for a second at the beginning of the melody reveals the relationship of the main part with the second theme of the introduction - the theme of the “suffering” of the people. Her heroic character no longer speaks of submission, but of the indignation of the Netherlands and their rebellion against their enslavers.

Listening to the Side Party. The side part is also closely related to the intro music; it combines features of both of its themes. In the first phrase - chordal, ponderous - you can easily recognize the theme of “enslavers”. Set out in a major key, it now sounds not only solemnly, but also victoriously. And here this topic is entrusted string instruments. The quiet sound of woodwind instruments in the second phrase makes the side part similar to the second theme of the introduction.

A courageous and decisive final game completes the exposition.

There is very little development. It seems to continue the comparison of the contrasting themes of the introduction, the “struggle” intensifies. Timid “requests” are met with an inexorable and cruel “answer” every time. The repeated repetition of the melody of the beginning of the main part ends each time with two abrupt and sharp chords.

But the “struggle” does not end there. The theme of the “Spanish enslavers” sounds especially adamant and furious here, and the theme of the people is even more plaintive and pleading. The unequal duel suddenly ends. The reprise ends with a series of sustained, quiet and sad-sounding chords. Beethoven obviously wanted to convey here the last brutal battle of the people with the enemy and the death of the hero, Egmont.

Listening Codes. The overture ends with a large coda, which shows the outcome of the struggle. Its solemn and jubilant character speaks of the victory of the people.

The beginning of the coda resembles the roar of an approaching crowd, which quickly grows and results in the tread of a grandiose mass procession. There are calls of trumpets and horns, and at the end of the overture a piccolo flute.

The meaning of this coda is equivalent to the finale of the Fifth Symphony. It grows into a grandiose, majestic apotheosis, a true hymn to freedom.

Beethoven's interest in the destinies of peoples, the desire in his music to show “struggle” as an inevitable path to achieving the goal and impending victory - the main content heroic works composer, including the Pathetique Sonata, the Fifth Symphony, the Egmont Overture

List of sources

• Kirillina L.V.“Egmont” by Beethoven // Goethe Readings 1999. - M.: Nauka, 1999. - P. 136-150.
• http://vanbethoven.ru/
• http://beethoven.ru/
• http://music-fantasy.ru/

The music for Goethe's tragedy "Egmont" was completed by Beethoven two years after the creation of the fifth symphony, in 1810. The overture is the first of nine numbers of this music. The tragedy attracted Beethoven with its heroic content. The events of "Egmont" refer to XVI century, when the people of the Netherlands rebelled against their enslavers - the Spaniards. The people's struggle was led by Count Egmont, a brave and courageous man. Egmont perishes, but the people complete the work he started. The revolt ended in victory in 1576. And in 1609, a truce was concluded, according to which Spain recognized the independence of part of the Netherlands. The Egmont Overture is a one-movement work. In the overture, Beethoven managed to show the main points of the development of the tragedy in a condensed form.
The overture begins with a slow introduction. There are two sharply contrasting themes here. The first of them, chordal, sounds solemn and imperious. The low register and minor scale give it a dark, ominous tone. In the orchestra it is performed by string instruments. The slow tempo and characteristic rhythm of the theme are reminiscent of the majestic tread of a sarabande:
The second theme is “sung” by the oboe, which is joined by other woodwind instruments, and then by strings. The melody is based on a very expressive second intonation, which gives it a mournful character. The topic is perceived as a request, a complaint:
Knowing the content of Goethe's tragedy, we can speak with certainty about the embodiment here of the images of two hostile forces: the Spanish oppressors and the Dutch people suffering under their rule. The struggle of these forces forms the basis of Goethe’s tragedy, the development of the corresponding musical themes is the content of the overture.
As usual, the overture is written in the form of a sonata allegro. The main party has a strong-willed, heroic character. Its strength and energy gradually increase. At first it sounds in the lower register of cellos and other piano string instruments, then it is picked up by the entire orchestra fortissimo:
The move for a second at the beginning of the melody reveals the relationship of the main part with the second theme of the introduction - the theme of the “suffering” of the people. Her heroic character no longer speaks of submission, but of the indignation of the Netherlands and their rebellion against their enslavers.
The side part is also closely related to the intro music; it combines features of both of its themes. In the first phrase - chordal, ponderous - you can easily recognize the theme of “enslavers”. Set out in a major key, it now sounds not only solemnly, but also victoriously. And here this theme is entrusted to string instruments. The quiet sound of woodwind instruments in the second phrase makes the side part similar to the second theme of the introduction:
A courageous and decisive final game completes the exposition.
There is very little development. It seems to continue the comparison of the contrasting themes of the introduction, the “struggle” intensifies. Timid “requests” are met with an inexorable and cruel “answer” every time. The repeated repetition of the melody of the beginning of the main part ends each time with two abrupt and sharp chords:
But the “struggle” does not end there. The theme of the “Spanish enslavers” sounds especially adamant and furious here, and the theme of the people is even more plaintive and pleading. The unequal duel suddenly ends. The reprise ends with a series of sustained, quiet and sad-sounding chords. Beethoven obviously wanted to convey here the last brutal battle of the people with the enemy and the death of the hero, Egmont.
The overture ends with a large coda, which shows the outcome of the struggle. Its solemn and jubilant character speaks of the victory of the people:
The beginning of the coda resembles the roar of an approaching crowd, which quickly grows and results in the tread of a grandiose mass procession. There are calls of trumpets and horns, and at the end of the overture a piccolo flute.
Beethoven's interest in the destinies of peoples, the desire in his music to show “struggle” as an inevitable path to achieving a goal and impending victory - the main content of the composer’s heroic works, including the Pathetique Sonata, the fifth symphony, and the Egmont Overture.

Overture to Goethe's tragedy

Orchestra composition: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings.

History of creation

Of the ten Beethoven overtures, only a few, most typical of the thinking of Beethoven the symphonist, entered the repertoire symphony orchestras. Overtures such as Coriolanus, Leonora No. 3 and Egmont still remain the best works this genre.

In Goethe's tragedy "Egmont" there was much that attracted Beethoven and was especially close to him.

The central idea of ​​the entire musical and dramatic composition of Egmont - the struggle for freedom and the joy of achieving it - is concentrated in the overture.

Profound in its inner design and dramatic idea, purposeful in its development, superbly polished in all details, this overture represents an exceptional phenomenon even in Beethoven’s work.

The movement of the guiding thought in the overture - from darkness to light, from suffering - to joy is similar to the development of the main idea in the Fifth and Ninth Symphonies.

The monolithic form of the Egmont Overture is combined with a clear sense of individual sections, which can be likened to individual acts of drama.

I - Slow introduction (Sostenuto ma non troppo) - the beginning of the drama.

II - Fast part (Allegro) - active dramatic action ending in a tragic climax.

III - Coda (Allegro con brio) - triumph, celebration of victory.

Two contrasting musical images, set out in a slow introduction, embody irreconcilably hostile forces. They are the source of dramatic development and the thematic basis of the overture.

The first theme expresses the idea of ​​power, oppression, Spanish rule. No wonder this topic has similarities with sarabande (ancient dance Spanish origin, usually of a mournful or gloomily majestic character. The sound of the saraband accompanied, like a funeral march, solemn funeral processions and funeral processions): heavy, gloomy tread of chords in long durations with at a slow pace(size 3/2), characteristic syncopated rhythm, stern and restrained sound:

The second theme, built on the imitative transfer of echo-sounding intonations of a sigh, is the expression people's grief, suffering:

The secondary presentation of the themes further emphasizes their contrast. True, the next episode to some extent obscures the severity of the conflict. The soft lyrical melody seems to float smoothly and freely. But the bass hits are heard dully - these are echoes of the sarabande theme, in them one can hear hidden threat. And the lower the melody descends, the more gloomy the “knocking” rhythm of the saraband becomes.

So, in a slow introduction, the main driving forces, their conflict is revealed, a knot of drama is tied.

The development of the opening themes continues in Allegro. From the second intonations of the second theme the theme of the main part grows. It is carried out widely and energetically by cellos. Passionate and courageous, it conceals a contradiction within itself: the decisiveness of the melodic moves of the bass seems to encounter opposition from the upper melodic voices with their mournful intonations, falling, weak endings:

In the side game both themes of the introduction come into close contact. At a fast pace, in shortened durations, the aggressiveness of the first becomes more obvious, while the second acquires a bright and energetic character:

Overall, the Allegro is engulfed in rapid movement, the continuously increasing dynamics concealing the edges of individual sections of the form. As a result, exposition, development, and reprise are tightly fused. (The tonal plan of the sonata allegro is also important. The tonal instability, which is natural for the development, does not receive the required resolution and approval of the main tonality in the reprise. In the reprise, the side part takes place in Des-dur, which is like for f minor main key is a subdominant (key of the VI degree). The resolution of the tonal conflict, like all others, is shifted in the coda.) The tragic climax, obviously coinciding with the moment of the hero's death, is placed at the end of the reprise.

The climactic sequence juxtaposes both themes three times. With each implementation, the “Spanish” theme sounds more and more harshly, its offensive force becomes more and more confident; the more it grows stronger, the more powerless the mournful intonations of the second theme become. Suddenly everything stops, there is a long silence:

According to Goethe’s optimistic ideological concept, the death of a hero brings freedom to the people. In this sense, the ideological and compositional meaning of the overture coda is similar to the finale of the Fifth Symphony. Indeed, the final tragedy of the coda grows into a grandiose, majestic apotheosis, a true hymn of freedom. The brilliance of the orchestral sound, the dazzling light emitted by the fanfare themes, the powerful affirmation of the major tonic (F-dur) give the final construction of the overture the character of triumphalism, festive splendor:

The ideological significance of the images, amazing concentration and perfection of form raise the overture to Egmont to the level of symphonies, from which it differs only in the novelty of the genre.