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

Franz Liszt - Introduction

The recording techniques were unfortunately not invented when Franz Liszt conquered Europe with his fascinating pianistic performances. Thus his juggling interpretations enjoyed only the ephemeral and we are limited to the written testimonies, which describe him as a pianist with unconventional virtuosic gifts. His recitals amounted to a performance that provoked furious excitement and exaggerated manifestations of worship.

His emphasis on virtuosity and the long-term focus of his creative disposition on the pianistic compositions of "demonstration" but also on the transcriptions - for piano of course - of works by other composers, prevented his immediate acceptance as an inspired composer.

However, no careful observer of evolution and researcher of his contribution can question the incisions he caused in the musical expression of his time. His symphonic poems herald new forms of the art of sounds, his instrumentals paving the way for the musical commandments of Wagner, Mahler, Richard Strauss, in the bold harmonys of his mature pianistic works eavesdropping on Debussy's impressionism.

Liszt loved music with passion, just as he loved women. The first was the means to conquer the latter, which could hardly resist its charm. But he was not seduced by all his successes. He remained until the end of his life benevolent and generous, willing to benefit with his knowledge and skills the music, but also his fellow human beings.