Title: Overture in G major (Cherubini)
Content:  Cherubini composed the Overture in G major on commission from the Royal Philharmonic Society in London, which had engaged him to conduct a series of concerts in the spring of 1815 and asked him to provide three new works for the programs: an overture, a symphony and a cantata. Cherubini began the composition of the overture in Paris in February and finished the score in London the following month. He conducted the premiere on April 3, and the work enjoyed a warm reception. By contrast, Cherubini’s new Symphony in D major, unveiled some weeks later, proved a decisive failure. The irony is that today the Symphony is heard with some frequency (several recordings have long been available) while 
Title: Overture (Bruckner)
Content:  Anton Bruckner composed the Overture in G minor, WAB 98 in 1862–63, during his tuition by Otto Kitzler.
Title: Overture in G major (Cherubini)
Content:  The Overture in G major by Luigi Cherubini (1760-1842) is an orchestral work written for concert use in early 1815. It is unusual among Cherubini's overtures in that his other, better known overtures (such as those to Anacreon, Médée, Les deux journées and Ali Baba), were intended to introduce stage works. Although born in Italy Cherubini had been living in France since 1784, and had earned world fame through a series of operas composed for the Paris stage. In the first decade of the nineteenth century the vogue for his dramatic works began to wane, and he turned increasingly to sacred music.
Title: Overture in G major (Cherubini)
Content:  overture remains formidably obscure. The Overture in G major has, however, a full measure of the dramatic atmosphere that characterizes his opera overtures. Indeed, after the stately opening gestures of its Larghetto introduction, an undercurrent of unease becomes apparent, conveyed by chromatic twists in the bass, and by an early turn from G into E-flat, which mixes G-minor vocabulary into the major-mode context. Strings are muted throughout the introduction. As foreshadowed, a fiery G minor Allegro spiritoso soon appears, bristling with energy, although the main theme is somewhat formulaic. The formidable quality of Cherubini’s mind, however, may be savored in an elegant contrapuntal woodwind interplay that prepares the theme’s counterstatement:  Following a dramatic climax, a transition passage promises 
Title: Overture to an Italian Comedy
Content:  The Overture to an Italian Comedy for orchestra was composed in 1936 by Australian composer Arthur Benjamin; it was first performed in London on 2 March 1937, under the direction of Gordon Jacob. The piece opens fortissimo, presenting its first main subject in the woodwinds against pizzicato strings and creating a lively mood. The second theme is much softer, and is presented by a solo horn. Following this is a gayer melody for two flutes playing in thirds; this is soon taken up by the trumpets, who are instructed in the score to play in a "vulgar" manner. The opening subject returns, followed again by the "vulgar" theme, and the work ends in spirited fashion. The overture does not appear to have been inspired by any one piece. The published score is subtitled, "Sorry you've been troubled".
Title: Overture (Bruckner)
Content:  The orchestral setting is the same as that of the earlier March in D minor, except that the second flute is replaced by a piccolo. The first (1862) version of the Overture in G minor, which is 301-bar long, had a different coda on bars 233–288. This was replaced—and approved by Kitzler—with a new coda in the final version of 1863. The final version is 8 bars shorter (293 bars). The "coda of the coda" (bars 289–301 of the 1862 version / bars 281–293 of the 1863 version) is the same in both versions. After an introduction in Adagio (bars 1-22), the work in Allegro non troppo is further in sonata form, with the use in its development of theme inversion. In contrast with the earlier Four Orchestral Pieces and the next Symphony in F minor, the Overture appears a much more mature work. Bruckner's characteristics are already present: the opening subject with his octave leap in unison, the full orchestral chords followed by semiquaver runs, and the second slower (Un poco meno mosso) subject with its large interval leaps.
Title: Overture (Bruckner)
Content:  In the fall of 1862, when studying with Otto Kitzler in Linz, Bruckner composed his first orchestral compositions: the Four Orchestral Pieces (the March in D minor and the Three Pieces for orchestra). His next orchestral composition was an Overture in G minor, WAB 98. A sketch of the Overture, which was started in November 1862, is found in the Kizler-Studienbuch pp. 287–301. A first version of the Overture was completed on 24 December 1862. On 6 January 1863 Bruckner started with the composition of a new coda, which he finished on 22 January 1863. The original manuscript of the Overture contains both the 1863 version and, on pp. 44–50, its 1862 coda. The manuscript, 
Title: Russian Overture
Content:  Russian Overture, Op. 72, is an overture composed in 1936 by Sergei Prokofiev. In 1936 Prokofiev returned permanently to the USSR. He showed sketches of the overture to Eugen Szenkar, who accepted it for his orchestra. Prokofiev used a large orchestra, as he had previously in the Scythian Suite and Seven, They are Seven. The overture was completed on 25 September 1936 and premiered on 29 October in the Great Hall of the Moscow Conservatory by Moscow State Philharmonic Orchestra under the direction of Szenkar, who subsequently performed it in Paris and elsewhere in Europe. After the premiere, Prokofiev reorchestrated the piece on the advice of Szenkar, reducing the number of brass, woodwind and percussion players. On 15 October 1937, it was given its American premiere by the Boston Symphony Orchestra under Serge Koussevitzky. According to Prokofiev's biographer, Simon Morrison, the overture "includes motives derived from Russian folkdance, salon song and liturgical chant."
Title: Overture
Content:  Bernstein: Candide ; Georges Bizet: Carmen ; Alexander Borodin: Prince Igor ; Johannes Brahms: ; Academic Festival Overture ; Tragic Overture ; Anton Bruckner: Overture in G minor (WAB 98) ; Aaron Copland: An Outdoor Overture ; Antonín Dvořák: Carnival Overture ; Edward Elgar: ; In the South (Alassio) ; Cockaigne ; Froissart ; George Gershwin: ; Cuban Overture ; Overture to Strike Up the Band ; Philip Glass: ; Overture 2012 ; King Lear Overture ; Mikhail Glinka: Ruslan and Lyudmila ; Antônio Carlos Gomes: Il Guarany ; Edvard Grieg: In Autumn ; George Frideric Handel ; Overture to 
Title: Overture
Content:  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 rifles, three Hoover vacuum cleaners (two uprights in B, one horizontal with detachable sucker in C), and an electric floor polisher in E; it is dedicated "to President Hoover"  Anon. 1957 mistakenly says just three rifles, but publisher's website confirms four, as stated also in Maycock 2009).

Question: Who was the composer of Overture in G major?
Answer: Luigi Cherubini.
Luigi Maria Cherubini.
Louis-Charles-Zenobi-Salvador-Marie Cherubini.
Marie Louis Charles Zanobi Salvador Cherubini.