Beginning with a pop and a burst of bubbles, the overture follows a course familiar to most concertgoers: two main themes, a development, and a restatement of both themes. What's a bit unusual is that the second theme is the same as the first theme, only inside-out, with a different rhythm and meter. This technique, called inversion, is as old as Bach, and was used extensively by Brahms and other late Romantics. But the style of Spumante pays homage to the kind of music that first caught my attention as a child: the neoclassic music of the American 40s and 50s, by composers such as William Schuman, Vincent Persichetti, Samuel Barber, and Walter Piston. This music is the true celebration of Spumante.
The first theme, heard after the introductory fanfare-music, is stated by the solo trumpet in a lively 3/4 meter. It is restated by the orchestra, and then a secondary subject appears in muted trumpets and percussion. The main theme then reappears with the second subject bubbling along beside it. After a brief transition, the second melody is announced in low strings and clarinets, in a changing meter scheme of 3/4 and 2/4. This almost-vocal tune sounds as though it should have words... and indeed it might someday.
The development begins with a slow rumination on the second theme, in the solo oboe. It leads dreamily into a brisk fugue, which also turns out to be the development of the first theme. Set in 4/4, the fugue proceeds in a rather formal four-voice setting in true neoclassic style. As it develops in woodwinds and strings, brass and percussion interjections occur, until at length the main theme, in its original form, returns triumphantly. The singable second tune then reappears with the fugue subject rollicking alongside it. The overture concludes with a backwards presentation of the introductory material, as the revelers lift their glasses in a final toast.
– Notes by Dan Welcher