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

Chopin - Waltzes Op. 64, No.3

Chopin was not the first composer to compose waltz for piano, but his approach was particularly unique. Many composers had written similar works, but Chopin's waltzes were not intended for dance.

Chopin composed approximately twenty waltzes, bus only half were issued while he was alive. The rest of his work was published after his death and many even in a highly curated edition.

One minute Waltz, Op. 63, No. 1

The "One Minute Waltz" needs considerable technical boldness. This work was meant to last about a minute, although it is not known whether any pianist - other than Chopin himself - ever achieved that.

Waltz No. 7 in C minor, Op. 64, No. 2

This waltz is unusually expressive, drawing much of its effect from the interaction of different rhythmic patterns. It also includes a melody of exceptional beauty and emotion.

Waltz in A flat Major, Op. 64, No.3

This waltz is simple and short and the thythm is relaxed. Here Chopin has chosen a pure structure. The solf central section presents a short passage with trills, where the music is relocated. The unusual element here is that the melody is interpreted by the low-key part of the instrument.