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

Joseph Haydn - Trumpet concerto in E flat

Joseph Haydn composed this concerto in 1796 for the Viennese court trumpeter Anton Weidinger. Weidinger had at the time devised a key instrument that favored his interpretive potential, thereby increasing its ton range compared to the traditional "natural" trumpet. Haydn cleverly exploited this feature by creating one of the few popular trumpet concertos.

Μovements:

Ι. Allegro

The first part, Allegro, begins in the usual way, namely with a "tutti" - a section for the entire orchestra that introduces the main material of the part. Then the solo trumpet enters and confidently suggests the themes. Here's a central "development" section where issues expand further. Then, after a return to the opening material, the orchestra stops playing leaving the trumpet to perform a cadenza. Here, the trills are clearly heard, which the new kind of key trumpet could produce much more easily.


ΙΙ. Andante cantabile

The second part, Andante cantabile, is in a calm, singing style, as its characterization states. The expressive melody first introduced by the violins and then interpreted by the soloist, remains one of the most beautiful and expressive parts ever written for trumpet.


ΙΙΙ. Allegro

The third part, Allegro, is the best known part of this concerto. Its melody is presented first by the violins, after by the entire orchestra and finally by the soloist. Haydn was able to bring out with great knowledge the clean but rounded tone of the trumpet in this brilliant, happy work.



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