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 - Valses nobles et sentimentales


Performance of the ballet "Adélaïde, ou le langage des fleurs" in 1912.

The seven "Valses nobles et sentimentales" and the epilogue of this orchestral suite were originally written for piano in 1911. Maurice Ravel chose the title in homage to Franz Schubert, who had released collections of waltzes in 1823 entitled Valses nobles and Valses sentimentales. 

The work was first presented in Paris in a recital of anonymous compositions. Many of Ravel's fans disapproved of the music, not imagining that the deliberate "wrong notes" belonged to one of the most beloved French composers.

In 1912 Ravel orchestrated the suite and presented it as a ballet under the title "Adélaïde, ou le langage des fleurs (Adelaide: The Language of Flowers).

The dynamic start reminds us that this is an unusual waltz. On the contrary, the second part is slow and expressive. For this lanzy subject, Ravel chose the flute, which plays in its lower extension. With a relaxed oboe melody begins the third part that is more reminiscent of waltz. The music continues without interruption in the next more lively part. The clarinet introduces the dreamy fifth part. Here the rythm of the waltz is more disguised. 

In the short sixth part, the traditional rhythms return. Restless shapes of strings and woodwinds create a gentle climax, while drums make a rare appearance. The music calms down and disappears suddenly, as it began.

A slow introduction with syncopating notes of the horn and harp defines the beginning of the seventh waltz before the music returns to the rhythms of the first part. The music evolves to stand in a dissentful chord. A tender middle section leads to a repetition of the first section.

The last part is slow and expressive. The instruments contrast and intertwine different parts of the melody. The strings play with sourdina and are finally separated. The horn, trumpet and tambourine make a final comment reminiscent of a waltz and a solo clarinet, accompanied by a harp, strings and celesta, quietly completes the work.