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

Beethoven - Für Elise

The beauty moved Beethoven and used to dedicate the music to his beloved. His work Für Elise was believed to have been written for his student Therese Malfatti.


This work belongs to the musical genre "bagatelle" - short work, light, with simple technique, usually for piano. Beethoven is the first to highlight the genre, having composed three series of such works.

Für Elise is the most popular work of the composer in this musical form. Some of Beethoven's biographers believe that the work was not dedicated to Eliza but to Therese and the change of title is due to a copycat error. If so, then Beethoven almost certainly dedicated the work to his student Therese Malfatti. Beethoven was in love with his young student at the time and wrote the play taking into account his student's limited piano skills. The work was written in 1810 but was not published until 1867.

This simple, unpretentious work is one of the composer's most sensitive. The opening theme is unusual because the melody is spread out in both hands - a blend of the resonant low part of the piano and the higher more vocal expanse of the instrument. The original music ends and follows an antithetical part with a more assertive character. The mood becomes more lively with the quick playing of the right hand. But suddenly the music reaches a sudden leap and we are again led to the serenity of the opening part.

At this point, as the music heads to a completion, Beethoven adds a final section with repetitive notes of bass. This section has its own few final meters, the glowing canvas of notes for the right hand that elevates the music to the largest extent of the piano. A descending scale then leads to a repeat of the original melody, which quietly completes the work.



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