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

Telemann - Don Quixote

Telemann's talent of composing beautiful religious cantatas coexisted with his ability to write simple, folk melodies, of which Don Quixote is an excellent example.


Telemann infuriated many people with compositions, including the Don Quixote orchestral suite. In his days it was a rule tat composers of religious music did not engage in profitable complementary works, such as the composition of "light" music. The followers of tradition believed that anyone who was able to commit such frivolity could not be serious about his religion.

But Telemann was definitely serious. His cosmic works were humorous, but Don Quixote conveys his message as convincingly as any of his religious works. Don Quixote was completed in 1761 proving that the composer's talent for creating beautiful melodies, did not dry up over the years.

Fighting the windmills

This suite has seven parts. Inspired by the Spanish writer Cervantes' famous novel Don Quixote, it recounts a day of the life of the legendary Spanish knight who was jostled with windmills.

The first part, Overture, recreates musical images of characters of the story. First we meet Don Quixote himself (Quixote's Reveille - Bugle Call), with music that seems to be looking forward to it. A change in a more lively rhythm shows the hero starting his daily work, attacking the windmills. After that, in the fourth part, we witness his prolonged love sighs about the inaccessible Princess Dulcinea.

The next two parts feature the servant Sancho Panza and the horse Rocinante. Tellemann mocks every ridiculous situation, clumsy heroics and flirtatious sighs. On the contrary, the earthly elements of Sancho Panza's donkey, which is out of control, approach but never fall into a low standard farce/

A solo violin sets milder rhythms that end up hypnotically, as Don Quixote goes to his bed exhausted by jousts and sighs.

Tellemann precedes his time composing a play that tells a story. This was basically a feature of the classical style, a hundred years later.







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