Carl Maria von Weber

Carl Maria Friedrich Ernest von Weber (?November 19 1786 – June 5 1826) was a German composer, born in the town of Eutin, near Lübeck. He was a critical figure in the development of musical Romanticism, and influenced many composers of his and of subsequent generations, including Wagner, Liszt and Berlioz. He was best known in the 19th century for his operas, including Der Freischütz, an international sensation at the time, and Euryanthe, Oberon, King of the Fairies, Silvana, and Die drei Pintos. His numerous overtures, with their adventurous use of tone color, influenced the development of the symphonic poem.

German opera

Weber resigned his office at Prague in September 1816, and on December 1, Frederick Augustus, king of Saxony, appointed him Kapellmeister at the German opera in Dresden. The Italian operas performed at the court theatre were superintended by Francesco Morlacchi, whose jealous and tendency toward intrigue resulted in endless trouble. The king, however, placed the two Kapellmeisters on an exact equality both of title and salary, and Weber found ample opportunity for the exercise of his remarkable power of organization and control. He now gave his close attention to the story of Der Freischütz, which he had previously meditated turning into an opera, and, with the assistance of Friedrich Kind, he produced an admirable libretto, under the title of Des Jägers Braut (The Huntsman's Bride). No subject could have been better suited than this to serve as a vehicle for the new art form which, under Weber's skilful management, developed into the genre of "romantic opera".

Related Topics:
December 1 - Frederick Augustus - Dresden - Francesco Morlacchi - Friedrich Kind - Romantic opera

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Weber had dealt with the supernatural in Rübezahl, and in Sylvana with the pomp and circumstance of chivalry; but the shadowy impersonations in Rübezahl are scarcely less human than the heroine who invokes them; and the music of Sylvana might easily have been adapted to a story of the ??th century. But Weber now knew better than to let the fiend in Der Freischütz sing; with three soft strokes of a drum below an unchanging dismal chord Weber brings him straight to us from the nether world. Every note in Euryanthe breathes the spirit of medieval romance; and the fairies in Oberon have an actuality quite distinct from the tinsel of the stage. This uncompromising reality, even in face of the unreal, forms the strongest characteristic of the pure "romantic school," as Weber understood and created it. It treats its wildest subjects in earnest, and without a doubt as to the reality of the scenes it ventures to depict, or the truthfulness of their dramatic interpretation.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Weber wrote the first note of the music of Der Freischütz on July 2, beginning with the duet which opens the second act. But so numerous were the interruptions caused by Morlacchi's intrigues, the insolence of unfriendly courtiers, and the attacks of jealous critics that nearly three years elapsed before the piece was completed. In the meantime, the performances at the opera house were no less successfully remodelled at Dresden than they had already been at Prague, though the work of reformation was far more difficult; for the new Kapellmeister was surrounded by enemies who openly subjected him to every possible annoyance, and even the king himself was at one time strongly prejudiced against him.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

By this time, Weber no longer stood alone in the world. Having, after much difficulty, broken off his liaison with Margarethe Land, he married the singer Carolina Brandt, a noble-minded woman and consummate artist, who was well able to repay him for the part he had long played in her mental development. The new opera was completed on May 13, 1820, on which day Weber wrote the last note of the overture, which it was his custom to postpone until the rest of the music was finished. There is abundant evidence to prove that he was well satisfied with the result of his labours; but he gave himself no rest. He had engaged to compose the music to Pius Alexander Wolff's gypsy drama, Preciosa. Two months later this also was finished, and both pieces ready for the stage.

Related Topics:
Carolina Brandt - 1820 - Pius Alexander Wolff - Gypsy

~ ~ ~ ~ ~ ~ ~ ~ ~ ~