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
Overture as his "Tragic Overture", Op. 81. An example clearly influenced by the symphonic poem is Tchaikovsky's "1812 Overture". His equally well-known "Romeo and Juliet" is also labelled a 'fantasy-overture'. In European music after 1900, an example of an overture displaying a connection with the traditional form is Dmitri Shostakovich's "Festive Overture", Op. 96 (1954), which is in two linked sections, "Allegretto" and "Presto" (Temperely 2001). Malcolm Arnold's "A Grand, Grand Overture", Op. 57 (1956), is a 20th-century parody of the late 19th century concert overture, scored for an enormous orchestra with organ, additional brass instruments, and obbligato parts for four