Concertino for Clarinet in E Flat Major, Carl Maria von Weber (1786-1826)

German composer Carl Maria von Weber wrote his “Concertino for Clarinet in E Flat Major” over the course of only three days in 1811. The piece is written in a theme and variations format. Von Weber dedicated his work to the talented and virtuosic clarinetist Heinrich Baermann, whose expressive playing is credited with influencing the production of many important pieces for clarinet. The Concertino premiered at the request of the King of Bavaria only days after its composition. A successful performance encouraged the King to commission two further full- length concertos from von Weber: his “Clarinet Concerto No 1 in F Minor” and “Clarinet Concerto No 2 in E Flat Major”. These three works remain popular staples in the clarinet repertoire to this day. His works were instrumental in bringing the possibilities of the clarinet to many other composers of the Romantic Period. Von Weber composed until his death from tuberculosis in 1826. He is most well-known for his operas and works for orchestra.

Merry Wives of Windsor Overture, Carl Otto Ehrenfried Nicolai (1810–1849)

Carl Otto Nocolai received his early training from his father who was also a composer and conductor. In 1831, he became musician to the Prussian embassy in Rome, and he began to gain fame for his Italian operas, for which he was as highly regarded at the time as his now more famous contemporary Giuseppe Verdi. During the 1840s his fame spread to Vienna where his works were frequently performed.

“The Merry Wives of Windsor” is based on the comedy by William Shakespeare. In this opera, an impoverished Falstaff attempts to woo the wives of two rich merchants of Windsor. His plan is quickly exposed, and he is manipulated by the women, their husbands and other characters.

The overture opens slowly and quietly before giving way to faster and more boisterous themes which suggest the humor and antics of the opera. In line with the tradition of the time, the melodies in the overture were taken from the opera itself; all but one, that is. That familiar tune, which begins about half-way through the ten-minute piece, belongs to the overture alone.

Nicolai composed the music from 1845 to 1849. The opera premiered in March 1849. Two months later, Nicolai died from an apparent stroke, just shy of his 39th birthday.

Pelléas and Mélisande, Gabriel Fauré (1845–1924)

French composer Gabriel Fauré’s life spanned an important transition era from late Romantic to the modernism of the 20th century. In his early years Frederick Chopin was still active, and at Fauré’s death in 1924 George Gershwin was writing Rhapsody in Blue. In 1898, Fauré was beginning to break out as a composer when an opportunity arose to compose incidental music for an English language production of Maurice Maeterlinck’s successful play Pelléas and Mélisande. The 1893 French play, set in medieval times, tells of a tragic love triangle between the maiden Mélisande, Golaud who marries her, and his younger brother Pelléas, who falls in love with her.

Claude Debussy was first approached to write the music for the production. But because he was already working on an opera based on this same story, he turned down the request. The leading actress and patron, Mrs. Patrick Campbell, then turned to Fauré, who was visiting London at the time. Fauré accepted the offer, even though he had less than two months to write the score. Drawing on music from some of his unfinished works and handing the orchestration off to his star pupil Charles Koechlin, Fauré finished in time. He conducted the London premiere in May 1893. Following the production, Fauré selected four pieces from the play’s nineteen interludes and re-worked them into a stand-alone concert piece with his own orchestration.

The Prelude (to Act I) sets the tone, reflecting the personality of Mélisande. This is followed by a romantic theme played by a solo cello and woodwinds representing the sighting by Mélisande of her future husband, Golaud. A horn call may indicate when Golaud first sees Mélisande.

Fileuse (spinning song, prelude to Act III) describes Mélisande at her spinning wheel with strings supporting the oboe.

Sicilienne begins with a harp/flute duet. This lilting movement reflects a moment of tender happiness shared by Pelléas and Mélisande.

Mort de Mélisande. The tragic death of Mélisande is reflected with this lamentation which brings in hints of Mélisande’s theme. This music was played at Fauré’s funeral as his coffin was carried from the church.

Romeo and Juliet, Fantasy Overture, Pyotr Ilyich Tchaikovsky (1840–1893)

Tchaikovsky styled "Romeo and Juliet, Fantasy Overture" after Shakespeare's play of the same name. It is a one movement symphonic poem-like work that encapsulates the tragic love story between Romeo and Juliet. He composed it in 1869 with prodding and suggestions from his friend, the Russian composer Mily Balakirev. The first performance was given in Moscow in 1870. Tchaikovsky twice revised the score, reaching the final version in 1880; this final version was first performed in 1886. Tchaikovsky composed the overture in a sonata form with three main sections.

Friar Laurence's Piety. The first section of the overture, based upon the saintly figure of Friar Laurence, embraces a slow introduction led primarily by the clarinets and bassoons. The opening phrase is delicate, stately and wonderfully whimsical. The simple melody is based on a motif reminiscent of a Russian canticle. The beautiful initial wind entry is matched by an equally exquisite string entry and is then developed into a larger orchestrated section which emphasizes the harp and flute parts.

The Montagues and Capulets Battle. Following the slow introductory section, the tempo of the second section is much faster and the vigorous playing from all the instruments creates an extreme contrast. The fiery syncopated rhythm first introduced is to suggest Romeo's defiant temperament. The tumultuous and impassioned figures played by the strings and winds emphasize how important strength is within the piece. Finally, the strings play a theme which is the basis of the very famous theme that has given this work its eternal fame.

Romeo and Juliet's Romance. This final section is the most famous as it has the wondrous and passionate romantic theme. The Romeo theme returns with the orchestra playing at fortissimo and the brass very much being the prominent sound. This theme is played by the orchestra as a unit which gives it an even greater impact and is absolutely the pinnacle climax of the overture. The romantic theme is interrupted occasionally by the fiery Romeo theme, but in the end the romantic theme takes precedence which represents the idea that love conquers all — which, after all, is the whole idea of the tale of Romeo and Juliet.