Carl Maria von Weber

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Carl Maria Friedrich Ernst, Freiherr von Weber (November 18, 1786 in Eutin, Holstein – June 5, 1826 in London, England) was a German composer, conductor, pianist and critic, one of the first significant composers of the Romantic school.

Weber's works, especially his operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. He was also an innovative composer of instrumental music. His compositions for the clarinet, which include two concertos, a concertino, a quintet and a duo concertante, are regularly performed, while his piano music - including four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor - influenced composers such as Frédéric Chopin, Franz Liszt and Felix 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 Igor Stravinsky as the model for his Capriccio for piano and orchestra.

Weber's contribution to vocal and choral music is also significant. His body of Catholic religious music was highly popular in 19th century Germany, and he composed one of the earliest song-cycles, Die Temperamente beim Verluste der Geliebten.

Weber's orchestration has also been highly praised and emulated by later generations of composers - Hector Berlioz referred to him several times in his Treatise on Orchestration while Claude Debussy remarked that the sound of the Weber orchestra was obtained through the scrutiny of the soul of each instrument.

His operas influenced the work of later composers such as Heinrich Marschner, Giacomo Meyerbeer and Richard Wagner, and homage has been paid him by 20th century composers such as Debussy, Stravinsky, Gustav Mahler (who completed Weber's unfinished comic opera Die drei Pintos and made revisions of Euryanthe and Oberon) and Paul Hindemith (composer of the popular Symphonic Metamorphoses of Themes of Weber).

Weber also wrote music journalism and was interested in folksong, and learned lithography to engrave his own works.

Contents 1 Early life 2 Success 3 Assessment 4 Works 4.1 Operas 4.2 Church music 4.3 Vocal works with orchestra 4.4 Concertos 5 External links

Early life

Weber was the eldest of the three children of Franz Anton von Weber (who seems to have had no real claim to a "von" denoting nobility), and his second wife, Genovefa Brenner, an actress. Franz Anton started his career as a military officer in the service of the Duchy of Holstein; later he held a number of musical directorships; and in 1787 he went on to Hamburg, where he founded a theatrical company. Weber's cousin Constanze was the wife of Wolfgang Amadeus Mozart.

Weber's father gave him a comprehensive education, which was however interrupted by the family's constant moves.

In 1796, Weber continued his musical education in Hildburghausen, where he was instructed by the oboist Johann Peter Heuschkel.

On March 13 1798, Weber's mother died of tuberculosis. That same year, Weber went to Salzburg, to study with Michael Haydn; and later to Munich, to study with the singer Johann Evangelist Wallishauser, (known as Valesi), and with the organist J.N. Kalcher.

1798 also saw Weber's first published work, six fughettas for piano, published in Leipzig. Other compositions of that period, amongst them a mass, and his first opera, Die Macht der Liebe und des Weins (The Power of Love and Wine), are lost; but a set of Variations for the Pianoforte was later lithographed by Weber himself, under the guidance of Alois Senefelder, the inventor of the process.

In 1800, the family moved to Freiberg, in Saxony, where Weber, then 14 years old, wrote an opera called Das stumme Waldmädchen (The silent forest maiden), which was produced at the Freiberg theatre. It was later performed in Vienna, Prague, and St. Petersburg.

Weber also began to write articles as a critic, e.g. in the Leipziger Neue Zeitung (1801).

In 1801, the family returned to Salzburg, where Weber resumed his studies with Michael Haydn. He later continued studying in Vienna with Abbé Vogler (Georg Joseph Vogler), founder of three important music schools (in Mannheim, Stockholm, and Darmstadt; another famous pupil of Vogler was Giacomo Meyerbeer, who became a close friend of Weber.

In 1803, Weber's opera, Peter Schmoll und seine Nachbarn (Peter Schmoll and his Neighbors) was produced in Augsburg, and gave Weber his first success as a popular composer.

Success

Vogler, impressed by his pupil's obvious talent, recommended him to the post of Director at the Opera in Breslau (1806), and from 1807 to 1810, Weber held a post at the court of the Duke of Württemberg, in Stuttgart.

His personal life during this time remained irregular: he left his post in Breslau in a fit of frustration, he was on one occasion arrested for debt and fraud and expelled from Württemberg, and was involved in various scandals. However he remained successful as a composer, and also wrote a quantity of religious music, mainly for the Catholic mass. This however earned him the hostility of reformers working for the re-establishment of traditional chant in liturgy.

In 1810, Weber visited several cities throughout Germany; from 1813 to 1816 he was director of the Opera in Prague; from 1816 to 1817 he worked in Berlin, and from 1817 onwards he was director of the prestigious Opera in Dresden, working hard to establish a German Opera, in reaction to the Italian Opera which had dominated the European music scene since the 18th century.

The successful premiere of the opera Der Freischütz (18 June, 1821, Berlin) led to performances all over Europe; it remains the only one of his operas still in the regular repertoire.

Weber's colourful harmonies and orchestration, the use of popular themes from central European folk music, and the gloomy (gothic) libretto, complete with an appearance of the Devil himself in a nocturnal forest, have all helped to ensure its popularity.

In 1823 Weber composed the opera Euryanthe to a mediocre libretto, but containing much rich music. In 1824 Weber received an invitation from Covent Garden, London, to compose and produce Oberon, based on Christoph Martin Wieland's poem of the same name. Weber accepted the invitation, and in 1826 he travelled to England, to finish the work and be present at the performance on the 12 April.

Other famous works by Weber include: Invitation to the Dance (later orchestrated by Berlioz); Polacca Brillante; two symphonies, a concertino and two concertos for clarinet, a quintet for clarinet and strings, and a concertino for horn (during which the performer is asked to simultaneously produce two notes by humming while playing - a technique known in brass playing as "polyphonics").

Weber was already suffering from tuberculosis when he visited London; he died there during the night of 4 to 5 June, 1826. He was buried in London, but 18 years later, his remains were transferred on an initiative of Richard Wagner and re-buried in Dresden.

His unfinished opera Die Drei Pintos ('The Three Pintos') was originally given by Weber's widow to Meyerbeer for completion; it was eventually completed by Gustav Mahler who conducted the first performance in this form in Leipzig on 20 January, 1888.

Assessment

Weber was a great pianist and conductor. He had a greater knowledge of the orchestra than Schubert or Beethoven, even if, overall, he were a lesser composer than either.

His music was more performance-oriented than that of Beethoven and especially that of Schubert, albeit intellectually not on the same level as either. However, in the 19th century works such as the Polacca Brillante, Invitation to the Dance, and the Konzertstück in F minor were regularly performed.

Weber's piano music all but disappeared from the repertoire, but there has been a revival of interest in these works in recent times. There are several recordings of the major works for the solo piano (including complete recordings of the piano sonatas and the shorter piano pieces, by Garrick Ohlsson, Alexander Paley and others), and there are excellent recordings of the individual sonatas by Claudio Arrau (1st Sonata), Alfred Brendel (2nd Sonata), Sviatoslav Richter (3rd Sonata) and Leon Fleischer (4th Sonata). The Invitation to the Dance, although better known in Berlioz's orchestration (as part of the ballet music for a Paris production of Der Freischutz), has long been played and recorded by pianists.

His orchestral music and his opera Der Freischutz, his most famous composition by far, are still performed.

Works

Operas

• Die Macht der Liebe und des Weins, J. Anh. 6, 1798-9, lost;
• Das Waldmädchen, (Das stumme Waldmädchen), J. Anh. 1, 1800, frags; libretto by C. von Steinsberg; rev. as Silvana (1810)
• Peter Schmoll und seine Nachbarn, J. 8, 1802; libretto by Josef Türk
• Rübezahl, J. 44-6, 1804-5; libretto by J.G. Rhode; 3 nos. survive; ov. rev. 1811 as Der Beherrscher der Geister
• Silvana, J. 87, 1810; libretto by Franz Karl Hiemer
• Abu Hassan, 1811; libretto by Franz Karl Hiemer
• Der Freischütz op.77 J.277, 1821; libretto by Johann Friedrich Kind
• Euryanthe op.81 J.291, 1823; libretto by Helmina von Chézy
• Oberon or The Elf Kings Oath J.306, 1826; libretto by James Robinson Planché
• Die drei Pintos J. Anh. 5, 1821, inc; libretto by Theodore Hell; new libretto by Carl von Weber (the composer's grandson) and Gustav Mahler; score completed by Mahler based on surviving sketches and new music based on little-known pieces by Weber.

Church music

• Missa sancta No. 1 in Eb J.224 (1818)
• Missa sancta No. 2 in G op.76 J.251 (1818-19)

Vocal works with orchestra

• Cantata Der erste Ton for chorus and orchestra op.14 J.58 (1808 / revised 1810)
• Recitative and rondo Il momento s'avvicina for soprano and orchestra op.16 J.93 (1810)
• Hymn In seiner Ordnung schafft der Herr for soloists, chorus and orchestra op.36 J.154 (1812)
• Cantata Kampf und Sieg for soloists, chorus and orchestra op.44 J.190 (1815)
• Scene and Aria of Atalia Misera me! for soprano and orchestra op.50 J.121 (1811)
• Jubel-Cantata for the 50th royal jubillee of King Friedrich August I of Saxony for soloist, chorus and orchestra op.58 J.244 (1818)

Concertos

• Piano concerto No. 1 in C major op. 11 J.98 (1810)
• Piano concerto No. 2 in E flat major op. 32 J.155 (1812)
• Bassoon concerto in F major for op. 75 J.127 (1811 / revised 1822)
• Clarinet concerto No. 1 in F minor op. 73 J.114 (1811)
• Clarinet concerto No. 2 in E flat major, Opus 74 J.118 (1811)
• Grand pot-pourri for cello and orchestra in D major op. 20 J.64 (1808)
• Concertino for clarinet and orchestra in C minor/E flat major, op. 26 J.109 (1811)
• Konzertstück for horn and orchestra in E minor op. 45 J.188 (1815)
• Konzertstück for piano and orchestra in F minor op. 79 J.282 (1821)
• Romanza siciliana for flute and orchestra J.47 (1805)
• Six variations on the theme A Schüsserl und a Reind'rl for viola and orchestra J.49 (1800 / revised 1806)
• Andante and rondo Hungarian for die viola and orchestra J.79 (1809)
• Variations for cello and orchestra in D minor J.94 (1810)
• Adagio and rondo for harmonichord and orchestra in F major J.115 (1811)
• Andante and rondo Hungarian for bassoon and orchestra in C minor op. 35 J.158 (1813) revised as J.79

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