Fantasy Overture: Romeo & Juliet

Tchaikovsky would probably never have thought of writing a concert overture based on Shakespeare’s Romeo and Juliet if the idea had not been suggested to him by another musician. The idea came from Mily Balakirev, the leading member of the “mighty handful” of Russian nationalist composers. While he wasn’t entirely in sympathy with Balakirev’s principles, Tchaikovsky knew that he had much to learn from him. So he immediately made a start on the project, taking into account Balakirev’s design for the construction - an introduction representing Friar Laurence, an Allegro depicting the street brawls between Montagues and Capulets, a love scene between Romeo and Juliet, a development of the main themes, and a tragic ending.

Although progress on the work was slow and required extensive revisions, the final version - dedicated to Balakirev and first performed in Tiflis in 1886 - retained the shape originally dictated by the older composer. So Tchaikovsky’s first great orchestral work begins with Friar Laurence’s theme, a chorale “with an ancient Catholic character,” just as Balakirev had requested. The first theme of the Allegro giusto is appropriately violent and argumentative, coloured by the clash of Montague and Capulet swords as the first major climax approaches. The second main theme, on the other hand - Romeo’s song to Juliet on cor anglais and violas and Juliet’s whispered reply on violins - is a love scene of exquisite tenderness.

All the main themes are developed in the ensuing dramatic conflict which, inevitably, ends in tragedy. The funeral music, sadly tinged with low drum beats, a new chorale, and a final reminiscence of the love song act as a structural balance to the slow introduction. The last “suddenly thumped chords” did not please Balakirev but Tchaikovsky resisted his colleague on this point, feeling that they were musically and emotionally just right.