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

Maurice Ravel - Boléro

 

This dramatic and vivid work called Ravel's Boléro, by Arnold Shore, was painted to honor Ravel's most beloved and best-known composition.

In 1927, dancer Ida Rubinstein ordered Ravel a ballet. The result was Boléro, which was first composed and presented in 1928. The work consists of a tiered crescendo, where the musical variation is based solely on changes in orchestration.

In the ballet, choreographed by the Russian dancer Vaslav Nijinsky, a young gypsy woman begins a slow, sluggish dance. Ecstatic by her movements, the dancers enter the dance one after the other and finally dance together.
Η χορεύτρια Ίντα Ρούμπινστάϊν 
φωτογραφίζεται το έτος 1922.

Boléro caused a great sensation and within two weeks, the composer became world famous.

Accompanied by the snare drum playing the boléro rhythm and the string's pizzicato, a solo flute appears, entering the first part of the dominant melody of the work.

A clarinet repeats the music and follows a bassoon that enters the second half of the theme, which is sluggish and rather sad, but with a distinct jazz feel. The music is repeated by a clarinet of higher tone.

A similar edit of the theme comes back, this time with the rare oboe d'amore, which is tuned lower than the normal oboe and its sound is sweet. The diffuse sound, which resembles a church organ, is the result of many instruments playing the melody in three different toalities.

The number of organs increases as the orchestral escalation begins. A trombone introduces jazz-like gleisandi (slipping up or down in successive notes), while the music gains volume. 

The flow is interrupted by a sudden change of tonality followed by hard beating (very loudly) on the gong and the cymbals that dramatically complete the task.



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