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

Robert Schumann - Introduction


In the case of Robert Schumann, the proximity of genius to madness is confirmed. From his father he had inherited a troubled psyche, which was extended by various unpleasant episodes of his life, culminating in his reckless act, after which he realized that he would never become the great virtuoso pianist he dreamed of. So he easily crossed the dividing line and dived into worlds where logic oscillated from existence to non-existence.

His youthful love for the piano filtered by his inspiration, came to fruition with some pianist masterpieces. By the time he was 30, only the piano enjoyed the favor of his fertile imagination.

When his love found a human bright object of desire, Clara Wieck wanted to sing his love for her. He composed beautiful song cycles, enriching with precious mosaics the art that Franz Schubert had brought out.

With the encouragement and support of his life partner, he tested his creative skills in other aspects of music, such as symphonic and chamber music. He completed works exquisitely in every kind of music he dealt with. His imagination, sometimes beseed by the calmness of Eusebius, sometimes by the romantic passion of Florestan, lured him into quests between dream and reality.

In music these quests yielded works full of lyricism, kindness, sensitivity but also passion, dynamism, vitality. In life they attributed the early passage to the infinity of eternity.

(George Monemvasitis)

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