Overture incorporating "God Save the King" at its climax). However, the overture "A Midsummer Night's Dream" (1826) by Felix Mendelssohn is generally regarded as the first concert overture (Temperley 2001). Mendelssohn's other contributions to this genre include his "Calm Sea and Prosperous Voyage" overture (1828), his overture "The Hebrides" (1830; also known as "Fingal's Cave") and the overtures "Die schöne Melusine" ("The Fair Melusine", 1834) and "Ruy Blas" (1839). Other notable early concert overtures were written by Hector Berlioz (e.g., "Les Francs juges" (1826), and "Le corsaire" (1828)). In the 1850s the concert overture began to be supplanted by the symphonic
Music of Scotland in the nineteenth century most influential composer of his era and visited Britain ten times, for a total of twenty months, from 1829. Scotland inspired two of his most famous works, the overture "Fingal's Cave" (also known as the "Hebrides Overture") and the "Scottish Symphony" (Symphony No. 3). On his last visit to England in 1847, he conducted his own "Scottish Symphony" with the Philharmonic Orchestra before Queen Victoria and Prince Albert. Max Bruch (1838–1920) composed the "Scottish Fantasy" (1880) for violin and orchestra, which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "Scots Wha