Carl Maria von Weber’s Overture to Oberon: A History of Recorded Performance

My research examines the recorded performance history of the Overture to Weber’s Oberon in light of these aesthetic goals. I have charted changes in performance practice trends, including in timing, tempo fluctuation, rhythmic accuracy and ensemble, and the use of portamento. The twenty recordings studied that I surveyed span nearly seventy-five years, and include many of the 20th century’s most prominent conductors and orchestras, including groups from Communist Russia, both pre-World War II and post-World War II continental Europe, the British Isles, and the United States.8 Though by no means comprehensive, my selections encompass a diverse sampling of surviving recordings, ensuring a large enough sample size to reflect general trends in the performance of Weber’s masterpiece. My research and analysis confirms the conventional view of a move toward more accurate—but also more cautious, uniform, and inexpressive— performances. Surprisingly, however, this analysis also suggests that we are on the cusp of a new era in orchestra performance practice, one that shares many of the values of the earlier recorded performances. While maintaining today’s high standards of execution, modern performances now look to regain many of the past’s expressive qualities, doing so in sometimes surprising ways.

Haydn's celebrated overture composed for & performed at Mr. Salomon's concert Hanover-Square : adapted for the piano-forte, with an accompaniment for a violin & violoncello ad libitum. N. 2, Sinfonia II [Música notada]

Hay un ejemplar encuadernado con: Deux sonates et La Coquette pour forte piano (XVIII/2815). Firma autógrafa de J.C. Salomon en la port.

Haydn's celebrated overture composed for & performed at Mr. Salomon's concert Hanover-Square : adapted for the piano-forte, with an accompaniment for a violin & violoncello ad libitum. N. 3, Sinfonia III [Música notada]

Hay un ejemplar encuadernado con: Deux sonates et La Coquette pour forte piano (XVIII/2815). Firma autógrafa de J.C. Salomon en la port.

Overture zu der Oper Genoveva : Op. 81 /

"Edition Peters No. 1031."

Suite: the tempter. Overture, berceuse, bacchanalian dance, for orchestra.

Mode of access: Internet.

Euterpe; concert-overture for orchestra.

Pl. no. 18209.

In the South (Alassio) concert-overture for orchestra ... (Op. 50.)

Mode of access: Internet.

Overture, Leonore no. 3. [music] /

Cover title.

Overture, Hans Heiling. [music] : Op. 80 /

Caption title: Ouverture zu Hans Heiling.

Don Giovanni overture. [music] /

Title on cover: Don Juan.

Overture to Tannhäuser. [music] /

Cover title.

Overture to König Stephan, op. 117 /

Mode of access: Internet.

Overture : to S. Viganos ballet The men of Prometheus ; (Gli uomini di Prometeo) /

Mode of access: Internet.

In the south : (Alassio), concert-overture for orchestra, op. 50 /

Mode of access: Internet.