Giuseppe Verdi - Messa da Requiem

Although Requiem was a religious work, it was presented more in concert halls than in churches. Giuseppe Verdi wrote the famous Requiem in honour of his close friend, Alessandro Manzoni, the great Italian poet, writer, and humanist, who died in 1873. It is a powerful fusion of intense drama and passion, with moments of reverent simplicity. Verdi conducted the first performance at St. Mark's Church in Milan on May 22, 1874, the first anniversary of Manzoni's death. Revolutionary composition Verdi's Requiem has been revolutionary in two respects: First, because while the traditional requiem is a prayer of the living for the dead, Verdi's work was a function as much for the living as for the dead. As Verdi would expect, it's a dramatic, theatrical play. Written for four solo voices (soprano, mezzo-soprano, tenor and bass) with full choir and orchestra, it follows the typical Roman Catholic Latin mass for the dead. The "libretto" certainly comes from the dram
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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 the violins return vigorously, presenting a new melody, with a much more tender and lyrical mood.

The central part of the introduction includes two new episodes. First, a slow, quiet interlude performed by strings with "sourdina", which is associated with a demonic episode of the opera.

Then follows a more impetuous version of a theme than the previous ones, which Weber now attributes as a fugue. This leads to a repetition of the introduction and to a final rendition of this lovable lyrical melody, performed by the full orchestra. This exquisite music has not been successful in opera houses, but fortunately this excerpt of the work is often performed in concert halls all over the world.


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