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

Hector Berlioz - introduction

Portrait of Hector Berlioz

Transcending the boundaries of the classical measure, Hector Berlioz was indifferent to the laws that defined in the first half of the 19th century the fine-sounding and musical beauty. It is therefore justified for his work to be challenged by his contemporaries.

The retrospective effort to approach his music, reveals reform proposals fermented with transparent persuasiveness and disarming sincerity.

The passion and the sensitivity that often defined the paths of his life spontaneously gush from his music. In his works we immediately trace the love of color and dramatic contrasts, original sounds and shadows, expressive ingredients that give imposing character and emerge miraculously through the pioneering and exciting orchestrations with wich he benefited his music. However, he so often resorted to exaggerations, which weakened the classical purity of his melodic findings.

Besides of being a fiery romantic composer, Berlioz was also an intellectual. His excellent education and ability to handle the language, exemplary helped him to put his ideas in great writing, even for today's data, musical essays such as "Evening with the Orchestra" (Paris, 1852), "The conductor: theory of his art" (Paris, 1856), "The grotesques of music" (Paris, 1859), "Memoirs" (Paris, 1870).


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