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

Georges Bizet - Carmen Suite No. 2

This suite, Georges Bizet includes some orchestral adaptations from the opera, tells the story of Carmen, as she is torn between her love for Don Jose and the arrogant matador hero. The suite contains two particularly "Spanish" compositions" the seductive, exotic Habanera and the moorish music of Gypsy dance.

Carmen Suite No. 2 was published in 1887.

- March of the Smugglers

The "March of the Smugglers" is eerie, as flutes accompanied by the pizzicato of the strings simply introduce the theme. Soon, the bassoons are heard playing distant, preserving the eerie atmosphere. The music sometimes gets dark and sometimes it lights up, but soom the persistent march returns.

- Habanera

Habanera, the most famous melody in the suite, is based on a Cuban dance song. In Bizet's hands, however, the song transforms into a wavy and extremely appealing melody, which masterfully sums up Carmen's character.

Change of mood

- Nocturne

On the contrary, Nocturne is in a completely different mood, calm and romantic. From the start with the horns, the follow-up to the expressive interpretation of the deep strings, to the aftermath of the horn at the end.

- Chanson du Toreador

The Chanson du Toreador opens with an aggressive mood, the matador is represented by the horn. Finally, the theme that was previously heard in Toreador, comes back and the part ends with the entire orchestra in a thrilling climax.

- Changing of the Guard

The Changing of the Guard is announced by the call of the horns. Then two flutes play a lively little march. They are met with sporadic cries of the cornet and are accompanied here and there by the pizzicato of the strings, until the brass instruments and the triangle are heard. As the march rises, a wonderful conversation is heard between the two flutes and the orchestra, before the march is quietly extinguished away.

- Gypsy dance

At the Gypsy Dance, Bizet uses styles of Spanish gypsy music to make this exotic and vigorous dance. Here, flute and piccolo are highlighted and compete against the background of the string and harp, which gives the illusion of guitar chords. After that, the brass instruments perform the melody and the dance takes a wild, fast and frenzied form before it suddenly stops.