Weber (1786-1826) - Overture: Oberon “Germanic”, “four-square”, even “stodgy” or downright “dull”. These are all criticisms levelled by some at Carl.

Growing up on the road with his father’s traveling theater company, Carl Maria von Weber had an unusual childhood by almost any measure. Still, by the age of 13, he had already written his first opera, as well as a variety of other works.

Overture to Oberon. Carl Maria von. Wings until a double fortissimo chord ushers in the Overture's main. Contribute to the Philharmonic program book. Program Notes: Classics Season. Movies In Concert. The Nutcracker. Most of the melodies of the exciting and vibrant overture to Oberon are all taken from the. The Overture opens with Oberon's call: the French horn plays, Adagio sostenuto and dolce, a magically simple motif, 'do-re-mi' (in D major), with the first note dotted. After Oberon's call is answered by the strings, a gossamer veil, woven by the almost transparent sounds of the woodwinds, is lifted, and a fanfare establishes the triumphant presence of the fairy world.

Weber went on to study with such well-known teachers as Michael Haydn, the elder brother of Franz Joseph Haydn. Earning the position of court kappelmeister at Dresden in 1817, Weber continued composing and worked tirelessly in conducting opera performances, taking responsibility for virtually every aspect of performance. His thoroughness inspired his young disciple, the upcoming opera composer Richard Wagner. In 1824, Weber was commissioned to write an opera for Covent Garden; the result was his last opera, Oberon. The Overture to Oberon, crafted by Weber just days before the opera’s premiere, opens with a horn solo that begins a slow introduction. The piece has an exciting drive throughout, alternately dramatic and softly lyrical.

Weber’s style reflects his place in the historical timeline, halfway between Beethoven and Mendelssohn. One of the composer’s lasting innovations was his pioneering use of leitmotifs: short phrases associated with particular characters that recur throughout an opera. Wagner would go on to make these leitmotifs a cornerstone of his compositional style. Ferdinand David – Concertino for Trombone. A contemporary of Mendelssohn, Ferdinand David achieved great prominence in Germany as a violinist, orchestra leader, and composer. He was influential in establishing Leipzig as an internationally-recognized center of violin virtuosity in Europe. David earned the position of concertmaster of the Leipzig Gewandhaus orchestra when Mendelssohn was its conductor.

Fairly Oddparents Shadow Showdown Gamecube Iso Downloads more. (As it happens, David grew up in the very house in which Mendelssohn was born the previous year.) A trombone player in the Gewandhaus orchestra asked Mendelssohn to write a concerto for him. When Mendelssohn didn’t have time to take on the commission, he asked David to write the piece. Ironically, if you were told today that Mendelssohn was the composer, you’d probably be inclined to believe it. David’s Concertino for Trombone, a compact version of a full concerto, is one of the earliest trombone solo pieces of the Romantic period and remains his best-known work. It highlights the dramatic and lyrical capabilities of the trombone to great effect, illustrating the voice-like aspects of the instrument as it sings through solo passages and cadenzas alike.

Johannes Brahms – Symphony No. Johannes Brahms learned the basics of music from his bass-playing father. He started piano lessons at age 10, and began studying composition at age 12.

By the time he was 20, Brahms had met such musical luminaries as Franz Liszt and Robert and Clara Schumann. Although Brahms came to be thought of as Beethoven’s successor, it took time for audiences to understand his profound and reserved style of composition. Until his first public success in 1868 with the German Requiem, in fact, Brahms was best known as a pianist, even though he was often playing his own works. Rhinestone Design Software more. Modo Keygen Mac Photoshop. Intimidated by comparisons to Beethoven, Brahms didn’t complete his first symphony until 1876. He finished his fourth symphony in 1885. This monumental work displays his full mastery of the symphonic form and remains a great capstone work, the last symphony of the composer who bridged the Classical and Romantic periods. 4 displays Brahms’ gift for taking simple motivic ideas and creating complex, intricate passages rich with emotion.