Schubert’s operas had no appreciable effect on the Romantic composers,
for the simple reason that they were never heard on account of the
absurdities of their librettos and the weakness of their stage
situations. At about the same period, a slightly older composer was
beginning a series of works destined to place German Opera on a firm
basis, to exercise a decided influence on Wagner, besides contributing
not a little to the development of piano technic.
=Carl Maria Friedrich Ernst von Weber= was born at Eutin, December 18,
1786. His father, a restless man of many talents, was a theatrical
manager during Weber’s early years, when constant traveling was the
rule, and music lessons the exception. His irregular early instruction
under several teachers, of whom Michael Haydn was the most eminent, was
supplemented by two years of solid study under the gifted and eccentric
Abbé Vogler. From 1804 to 1806, Weber was music-director at the Breslau
theatre, and soon made a name for himself as composer and pianist as
well as conductor. After this he remained under the protection of the
Duke of Wurtemburg, earning a living by giving lessons, and acting as
secretary to the Duke’s brother. During this period he composed an
opera “Silvana,” overtures, a cantata, piano music, etc. Three years
of wandering, chiefly on concert tours, ensued after his banishment
from Wurtemburg on account of unjustly suspected complicity in an
intrigue for a position at court. To these years belong a comic opera,
“Abu Hassan,” the piano concertos in C and E-flat, three concertos for
clarinet, the piano sonata in C, etc. In 1814 and 1815, he composed
the choruses, “Lyre and Sword,” and a cantata, “Battle and Victory,”
both the outcome of political events, and widely popular from their
patriotic character. In 1816, he became music-director of the German
opera at Dresden. He revived interest in German opera, stimulated
public support and in the following years began the composition of
“Der Freischütz,” an opera thoroughly German in its character and the
keystone of Weber’s fame. It was not finished until 1820, for in the
meantime he wrote much of his best piano music, songs and incidental
music for a gipsy play “Preciosa.” Just after the completion of his
popular Concert-piece for piano and orchestra, “Der Freischütz” was
given for the first time at Berlin, June 18, 1821, and the result was
one of the greatest triumphs ever bestowed on a German composer. It
was soon given in all the principal theatres in Germany, including
Dresden, and also in Vienna. In 1823, Weber’s most ambitious opera,
“Euryanthe,” was given in Vienna and proved almost a failure. Weber’s
health, which had not been satisfactory for some years, showed signs
of being undermined. “Euryanthe” was performed with greater success
during 1824 and 1825, at Dresden, Leipzig and Berlin, where Weber was
almost too ill to conduct. In spite of his ill-health he agreed to
write an opera for the Covent Garden Theatre, in London, beginning the
music to “Oberon” early in 1825 and finishing the last number in the
spring of 1826. The performances were more than satisfactory, and Weber
was received everywhere with enthusiasm. His strength was now entirely
overtaxed, and he hoped to return to his family, but he died suddenly
from consumption, on June 4, 1826.
=Weber’s personality= was pleasing; of excellent birth, his experience
of the world through his positions as opera-director and his frequent
concert-tours, made him an agreeable companion and a favorite in
society. He was cultivated, well read in philosophy and science; he
possessed considerable literary and critical ability. In consequence
of his intellectual and social gifts, he was a new type of musician,
who did much to improve the social status of the composer. He was a
remarkable pianist, with an immense command of technic, original in
style and eloquent in expression; also a forceful conductor.
=Weber the Composer=.—Weber is, first of all, the composer of the
three operas, “Der Freischütz,” “Euryanthe” and “Oberon,” which are
discussed in Lesson XXXVII. The overtures to his operas are his best
orchestral works; his symphonies and chamber-music are unimportant.
However, his three concertos for clarinet and orchestra are classics
in the literature of that instrument. Weber’s songs are interesting
for the sidelight they throw on the development of the Folk-song
tendency, but in this line he was entirely overshadowed by Schubert
and Schumann. However, Weber’s piano music is exceedingly important.
The concertos for piano are seldom heard, but the “Concert-piece” is
still amply worth study. The piano sonatas (especially those in C and
A-flat) show great technical inventiveness, melodic charm and original
effects, but they are less happy in point of form. Next to the sonatas
in interest comes the delightful Op. 65, “Invitation to the Dance,” so
well-known in Berlioz’ orchestral version. In addition are the “Momento
Capriccioso,” Op. 12, the Rondo in E-flat, Op. 62, the “Polacca
Brillante,” Op. 72, the Polonaise, Op. 21. Weber did much to develop
the technic of the left hand; his piano compositions are thoroughly
pianistic and rank high in the music of the Romantic period.
=Weber’s Influence=.—Weber’s position in the evolution of the Romantic
school is extremely important. In Opera his exploration of the
imaginative field in so many directions not only opened a new vein
in dramatic music, but its influence was felt in every branch of
composition. Thus several of Schumann’s choral works, Mendelssohn’s
“Midsummer Night’s Dream” music, the “Walpurgis Night” cantata, the
concert overtures, and pieces for piano and orchestra are direct
musical descendants of Weber. Mendelssohn’s Concerto in G minor, the
“Serenade” and “Allegro Giojoso,” his scherzos and “Songs Without
Words” are the direct outcome of Weber’s example. In general, the
technical style of Weber’s piano music was thoroughly absorbed by both
Mendelssohn and, to some extent, Liszt, who edited Weber’s sonatas
and solo pieces with tempting additions; he transcribed for piano
the overtures “Jubilee,” “Freischütz” and “Oberon,” and arranged the
“Polacca Brillante,” Op. 72, for piano and orchestra. Liszt was very
fond of Weber’s music, his piano style was sympathetic to him, his
interpretation of the Concert-piece, Op. 79, never failed to produce
an overwhelming effect. Finally, Weber’s influence on Wagner must
be mentioned. Wagner greatly admired Weber’s dramatic insight, his
picturesqueness, and especially the poetry and novel color of his
orchestral style.