Of Berlioz’s seven overtures, written at different periods in his career, three are concertos inspired by literary works by his favourite English authors, his contemporaries Walter Scott (Waverley, op. 1, 1828) and Byron (Corsair, 1846-1851, op. 21), as well as Shakespeare (King Lear, op. 4, 1831). The rest are operatic. The overture ROME CARNIVAL, op. 9 was composed in 1843 – 1844 and its first performance in early 1844 was very successfull. Berlioz often included it in his tours abroad. On his visit to Vienna in 1845 – 1846 it gained fame as one of his most popular works. The overture was dedicated to the Prince of Hohenzollern-Hechingen and was conducted by Berlioz at the Prince’s castle in Leuvenberg in April 1863. The music is based on material from two scenes from his opera Benvenuto Cellini of 1834-1838, but is completely different from the earlier overture he wrote for the opera. The slow introduction is on the melodic material of the duet between Teresa and Cellini at the beginning of Act II, and the carnival scene in the same act is heard in the Allegro. Characteristically, Berlioz changes the original tonalities in the operatic overture. The work is a brilliant example of Berlioz’s ability to “translate” vocal music into orchestral music while preserving its beauty.

The overture begins with a brief, sweeping introduction, but the carnival theme gives way to a melodic lyrical andante. The melody from Teresa and Cellini’s love scene is ‘sung’ by the English horn to a pizzicato string accompaniment, and then extensively developed. The main imagery of the overture embodies the whirl of the carnival, built on the unceasing rhythm of the saltarello, Berlioz’s favourite Italian  dance. As if a merry crowd is coming from afar (the folk chorus theme from the opera’s final act). Strings and woodwind in fortissimo intone another theme from the folk chorus (“Haste, haste, Romans“), which opens the overture. The voicing of the various groups of the orchestra, the changes in sonority, tonality, dynamics and the steady rhythm of the saltarello depict the ever unfolding folk dance. Suddenly the fun fades and the main love theme reappears, gradually losing its lyrical character. In the joyous finale, the carnival theme is heard.