Johann Straus II - Vergnügungszug (Pleasure Train), op. 281

Johann Strauss II , known for his waltzes and lively compositions, had a unique approach to his creative process. He consistently sought contemporary and relevant themes to serve as the driving force behind his new musical compositions. This approach ensured that his work remained fresh and connected with the audiences of his time.  One notable instance of this creative approach was the composition of this polka, composed in 1864. This piece of music was specifically crafted for a summer concert held in the picturesque Russian town of Pavlovsk. It's fascinating to note that Strauss drew inspiration for this composition from the world around him. In this case, he found it in the emerging technology of the time, namely, the steam locomotive. The composition itself is a testament to Strauss's ability to capture the essence and energy of the subject matter. The rhythm of this dance piece mirrors the rhythmic chugging and movements of the old-fashioned steam trains that were prevale
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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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