MusiLLection

  A 19th-century illustration depicting the " Hunters’ Chorus" that introduces Act Three of Carl Maria von Weber’s opera " Der Freischütz" . In 1817, Carl Maria von Weber assumed the position of composer and director of the Dresden Opera and began working on his new opera Der Freischütz . The premiere took place in Berlin on June 18, 1821, and brought Weber immediate fame. The work was soon performed widely throughout Germany and abroad, establishing his reputation as a leading figure of German Romantic opera. Der Freischütz is widely regarded as the first true German Romantic opera. It combines elements of folklore and rural life with the supernatural world of demons and dark forces, creating a powerful contrast between nature and the unknown. Although Weber composed more sophisticated music in his later operas, he never again achieved the overwhelming success and lasting international impact of Der Freischütz . The opera tells the story of Max, a young forester...

Carl Maria von Weber composed the opera Euryanthe between 1822 and 1823, with its premiere in Vienna on October 25, 1823. The work was based on a 13th-century French medieval tale. The year of its debut saw Vienna enthralled with Italian operas, particularly those of Rossini . Although the initial reception was enthusiastic, Euryanthe ran for only twenty performances, with criticism directed at the libretto’s verbosity and the opera’s length. The poet Helmina von Chézy’s wordy libretto was largely blamed, and even Franz Schubert reportedly remarked, “This is not music.” Nevertheless, the overture stands as an outstanding example of orchestral writing and remains one of Weber’s most admired compositions. The overture opens with an energetic and cheerful phrase. Oboe and clarinet, supported by horns and trombones, introduce a theme of three emphatic notes, followed by a shorter ascending group of notes with a pronounced rhythm. The violins soon return vigorously, presenting a new mel...

The graceful and lyrical atmosphere of the countryside, so vividly evoked in many orchestral works by Carl Maria von Weber , reflects the composer’s poetic sensitivity throughout his short life.   Just as Wolfgang Amadeus Mozart and Johannes Brahms wrote landmark works for the clarinet inspired by exceptional performers, Carl Maria von Weber found his own muse in the artistry of Heinrich Joseph Baermann , principal clarinetist of the Munich Court Orchestra. In 1811, Maximilian I of Bavaria commissioned Weber to compose two clarinet concertos specifically for Baermann, who would premiere them in Munich. Following the first performances, Weber recorded in his diary the “tumultuous applause” provoked by Baermann’s divine playing—testimony to the immediate impact of both the music and its interpreter. The Clarinet Concerto No. 2 adheres broadly to the Classical concerto form, though Weber introduces distinctive Romantic traits. Notably, the work contains no extended written cad...

Carl Maria von Weber Operas: Das Waldmädchen (The Girl of the Forest) Peter Schmoll und seine Nachbarn (Peter Schmoll and his Neighbours) Abu Hassan Der Freischütz (The Freeshooter) Die drei Pintos (The Three Pintos) Euryanthe Oberon Orchestral: Symphony No. 1 in C major Symphony No. 2 in C major Piano Concerto No. 1 in C major, Op. 11 Clarinet Concerto No. 1 in F minor Clarinet Concerto No. 2 in E flat major, Op. 74 Bassoon Concerto in F major Konzertstück in F minor for Piano and Orchestra Chamber music: Clarinet Quintet in B flat major, Op. 34 Piano Quartet in B flat major, Op. 18 Grand duo concertant in E flat major, Op. 48 (Clarinet, Piano) Trio in G minor for flute, violoncello and piano, Op. 63 Songs: Die Kerze Umsonst ensagt ich Entfliehet schnell von mir Wiedersehen Other: Missa sancta No. 1 in E flat major, Op. 75a Missa sancta No. 2 in G, "Jubelmesse", Op. 76

  Costume design for a character from Oberon by Carl Maria von Weber. The opera was a great success at its London premiere in 1826, despite being rarely performed today. Oberon (or The Elf King’s Oath ) is a three-act romantic opera and the final operatic work of  Carl Maria von Weber . It was composed for London’s Covent Garden Theatre —not the present-day building—and premiered on April 12, 1826, under the composer’s own direction. The opera was met with enthusiastic acclaim from the audience. Tragically, Weber was already gravely ill, and the intense demands of the production are believed to have hastened his death in London on June 5, 1826. The libretto, written by James Robinson Planché , was based on the German poem Oberon by Christoph Martin Wieland , itself inspired by the medieval French epic romance Huon de Bordeaux . Despite its imaginative subject matter, Oberon , like Euryanthe , has never secured a stable place in the operatic repertoire, even though its over...

Carl Maria von Weber, a central figure of early German Romanticism, whose music laid the foundations of national opera and orchestral color. Carl Maria von Weber   deserves a far more independent and just characterization than that of merely being “the composer who heralded Wagner.” Although his output is neither as extensive nor as monumental as that of some of his contemporaries, his contribution is fundamental to the formation of early Romantic music. Weber was, in essence, the first truly national German composer . He was the first to liberate German music from Italian dominance and to draw inspiration directly from the musical soil of his homeland. Folk melodies, rhythmic idioms, and a distinctly German sense of atmosphere permeate his works. A defining feature of Weber’s musical language is the fantastic and supernatural element , which appears with striking immediacy and imaginative freedom. Yet his originality does not rest solely on thematic invention. He was equally inno...

Carl Maria von Weber, a central figure in the emergence of German Romantic opera. Carl Maria von Weber was born on November 18, 1786, in Eutin, near Lübeck in northern Germany. A restless childhood, shaped by travel and theatre life, would profoundly influence both his artistic identity and his pioneering role in German Romantic opera. 1786 – Born in Eutin, near Lübeck. 1787–1796 – Receives his first musical instruction from his brother; his father forms the Weber Troupe , and the family begins touring. 1796 – Apprentices with Johann Peter Heuschkel; his mother falls ill in Hildburghausen. 1797 – Settles in Salzburg and studies with Michael Haydn. 1798 – Publishes his first compositions, Six Fughettas ; his mother dies of tuberculosis. 1804 – Appointed Music Director of the Breslau Theatre. 1806–1807 – Serves as private secretary, first to Duke Eugen of Württemberg and later to Duke Ludwig of Stuttgart. 1810 – Expelled from Württemberg due to scandals i...