Franz von Suppé was born Francesco Suppé-Demelli in Spalato, Yugoslavia,
on April 18, 1819. He played the flute at eleven, at thirteen started
the study of harmony, and at fifteen completed a Mass. Nevertheless, for
a while he entertained the idea of becoming either a physician or a
teacher of Italian. When he finally decided upon music as a profession
he attended the Vienna Conservatory. After serving an apprenticeship as
conductor of operettas in Pressburg and Baden, he was appointed
principal conductor at Theater-an-der-Wien in Vienna. In 1862 he assumed
a similar post with the Karlstheater, and from 1865 until his death at
the Leopoldstadttheater. While absorbing the influence and traditions of
the opéra-bouffe of Offenbach, he began writing operettas of his own in
a style uniquely his, setting and establishing many of the traditions
and clichés which would henceforth identify the Viennese operetta. He
had an unusual gift for light, caressing tunes, a gay and infectious
spirit, and a direct emotional appeal. His first operetta was _Jung
lustig in alter traurig_ in 1841. Success came with his incidental music
to _Poet and Peasant_ (_Dichter und Bauer_), introduced on August 24,
1846; its overture is still his best known composition and a classic in
the musical literature in a lighter vein. A succession of popular
operettas, over twenty-five in number, made him one of Europe’s most
celebrated composers for the stage. His most famous operettas were: _Das
Maedchen vom Lande_ (1847), _Die schoene Galatea_, or _Beautiful
Galathea_ (1865), _Leichte Cavallerie_, or _Light Cavalry_ (1866),
_Fatinitza_ (1876), _Boccaccio_ (1879), and _Donna Juanita_ (1880).
Suppé died in Vienna on May 21, 1895.
The overture to _The Beautiful Galathea_ (_Die schoene Galatea_) opens
with brisk music. Horns and woodwind lead into an extended portrayal of
exaltated character by strings. Once again horns and woodwind appear,
this time providing a transition to a caressing melody that soon
develops into a fulsome song. After a theatrical passage, the overture’s
main melody is heard in the strings, with harmonies filled in by the
woodwind; this is a graceful dance tune which, towards the end of the
overture, is repeated with harmonic and tonal amplitude by the full
orchestra.
The _Light Cavalry_ Overture (_Leichte Cavallerie_) is, as its name
indicates, stirring music of martial character. Horn calls and forceful
chords in full orchestra provide at once the military character of this
music. A vivacious tune for the violins follows this forceful
introduction after which comes the brisk melody for woodwind followed by
the full orchestra that has made this overture so famous; the gallop of
the cavalry is here simulated in a brisk rhythm. The agitation is
dissipated by a sensitive transition in strings and clarinet to a
spacious melody in strings in a sensual Hungarian style. The brisk
military music and the open horning calls then give the overture a
dynamic conclusion.
_Morning, Noon and Night in Vienna_ (_Ein Morgen, ein Mittag, ein Abend
in Wien_) is one of the composer’s famous concert overtures. A dramatic
introduction—with forceful chords in full orchestra—leads to a beautiful
and fully realized song for solo cello against plucked strings, one of
Suppé’s most inspired flights of melody. The song ended, the dramatic
opening is recalled to serve as a transition to two buoyant and graceful
Viennese tunes in the strings, the second repeated vigorously and
amplified by full orchestra. The overture ends in a robust rather than
lyrical vein.
The _Pique Dame_ (_Queen of Spades_) Overture begins with a murmuring
passage for strings that grows in volume and changes character before an
expressive melody unfolds in lower strings against an accompanying
figure borrowed from the opening passage. A vigorous interlude of strong
chords and a vigorous pronouncement by the brass lead into the most
famous theme of the composition, a vivacious and jaunty melody for
strings and woodwind. This subject is developed at some length before a
melodic episode is offered by the lower strings as a preface to a soft,
idyllic interlude for the woodwind. The conclusion of the overture is in
a vigorous manner with an energetic restatement of earlier thematic
material.
Of all the Suppé overtures, whether for the stage or the concert hall,
the most famous undoubtedly is the _Poet and Peasant_ (_Dichter und
Bauer_). After a stately introduction there arrives a gentle song for
the strings. This is succeeded by a more robust theme. The main melody
of the overture is a pulsating melody in ⅜ time. Indicative of the
enormous popularity of this overture in all parts of the world is that
it has been adapted for almost sixty different combinations of
instruments.