Carl Maria von Weber - Euryanthe: Overture

Carl Maria von Weber composed the opera Euryanthe  during the period 1822-23 and first presented it in Vienna on October 25, 1823. The work was based on a French medieval history of 13th century.  The year Euryanthe was presented was marked by Vienna's interest in Italian operas, particularly those of Rossini . Although the initail reception was enthusiastic, the opera lasted only twenty performances, with complaints about the libretto and the length of the opera. For the failure of the play, the somewhat wordy libretto of the poet and writer Helmina von Chézy was blamed. Franz Schubert also commented that "This is not music". Nevertheless, the introduction is an excellent example of orchestral writing and remains one of the best. The Overture begins with an extremely lively and cheerful phrase. Oboe and clarinet, supported by horn and trombones, then present a theme of three emphatic notes, followed by a shorter ascending group of notes (with a stressed rhythm). Soon t

Mendelssohn - Wedding March in C Major

Mendelsohn composed the introduction to Shakespear's play"A Midsummer Night's Dream" in 1826, when he was just 17 years old. It was, however, in October 1843 that he added various parts of music for a performance of his work in Potsdam, near Berlin. All 11 parties have had tremendous success. Indeed, it is a sign of Mendelssohn's genius that despite 17 years of mediation, the style of the late compositions of stage music is entirely consistent with that of the introduction.

The "Wedding March" is played after the end of the IV act and celebrates the simultaneous marriage of three couples. Today, the Wedding March is the melody that accompanies almost exclusively every wedding ceremony.

It begins with a fanfare and then sinks majestically into the excellent procession that has accompanied so many marriages.

A lighter, less imposing march continues as if the fairies of Shakespeare's work themselves were crossing the temple. The ritual music is repeated twice more, inters with a kinder, lyrical section.

The last iteration is heard from afar and fades gradually until it becomes completely imperceptible in the flicker of ethereal music emitted by the woodwind.