Posted on 11/05/2015 1:31:07 AM PST by WhiskeyX
Weber: Aufforderung zum Tanze (Invitation to the Dance) Op. 65 Hong Kong Philharmonic Orchestra conducted by Perry So 15 October 2010
(Excerpt) Read more at youtube.com ...
Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück in F minor (concert piece), which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, were later orchestrated by Berlioz, while his Polacca Brillante was later set for piano and orchestra by Liszt.
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[Carl Maria von Weber, Wikipedia] https://en.wikipedia.org/wiki/Carl_Maria_von_Weber
Invitation to the Dance (Weber)
Invitation to the Dance (Aufforderung zum Tanz[1]), Op. 65, J. 260, is a piano piece in rondo form written by Carl Maria von Weber in 1819. It is also well known in the 1841 orchestration by Hector Berlioz. It is sometimes called Invitation to the Waltz, but this is a mistranslation of the original.
Background[edit]
Weber dedicated Invitation to the Dance to his wife Caroline (they had been married only a few months).[2] He labelled the work "rondeau brillante", and he wrote it while also writing his opera Der Freischütz.
It was the first concert waltz to be written: that is, the first work in waltz form meant for listening rather than for dancing.[2][3] John Warrack calls it "the first and still perhaps the most brilliant and poetic example of the Romantic concert waltz, creating within its little programmatic framework a tone poem that is also an apotheosis of the waltz in a manner that was to remain fruitful at least until Ravel's choreographic poem, La valse…".[4]
It was also the first piece that, rather than being a tune for the dancers to dance to or a piece of abstract music, was a programmatic description of the dancers themselves.[5]
Invitation to the Dance was part of the repertoire of Franz Liszt, Frédéric Chopin, and many other pianists. It has been recorded by great artists of the past such as Artur Schnabel, Alfred Cortot, Ignaz Friedman and Yvonne Lefébure, through to those of the present day such as Stephen Hough, Jean-François Heisser, Michael Endres, Hamish Milne, and Balázs Szokolay. The Carl Tausig transcription has been recorded by Benno Moiseiwitsch and Philip Fowke.[6]
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[Invitation to the Dance (Weber), Wikipedia) https://en.wikipedia.org/wiki/Invitation_to_the_Dance_(Weber)
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Beautiful!
I’m letting this play while I read the postings here on FR.
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