Carl Maria Friedrich Ernst, Freiherr von Weber (18th November 1786–5th June… Read Full Bio ↴Carl Maria Friedrich Ernst, Freiherr von Weber (18th November 1786–5th June 1826) 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 opera composers, especially in Germany, such as Heinrich Marschner, Giacomo Meyerbeer, and Richard Wagner, as well as several nationalist 19th-century composers such as Glinka, 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 on Themes of Weber).
Weber also wrote music journalism and was interested in folksong, and learned lithography to engrave his own works.
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 13th March 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 fourteen 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 Neighbours) was produced in Augsburg, and gave Weber his first success as a popular composer.
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.
The bust of Weber in EutinIn 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 multiphonics).
Weber was already suffering from tuberculosis when he visited London; he died there during the night of 4th to 5th June 1826. He was buried in London, but eighteen years later, his remains were transferred on an initiative of Richard Wagner and re-buried in Dresden.
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 opera composers, especially in Germany, such as Heinrich Marschner, Giacomo Meyerbeer, and Richard Wagner, as well as several nationalist 19th-century composers such as Glinka, 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 on Themes of Weber).
Weber also wrote music journalism and was interested in folksong, and learned lithography to engrave his own works.
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 13th March 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 fourteen 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 Neighbours) was produced in Augsburg, and gave Weber his first success as a popular composer.
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.
The bust of Weber in EutinIn 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 multiphonics).
Weber was already suffering from tuberculosis when he visited London; he died there during the night of 4th to 5th June 1826. He was buried in London, but eighteen years later, his remains were transferred on an initiative of Richard Wagner and re-buried in Dresden.
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02Peter Schmoll und seine Nachbarn, J. 8: Act I: Nr. 1 Introduktion - Terzett - Man sollt' es gar nicht glauben2:22Sibrand Basa
04Peter Schmoll und seine Nachbarn, J. 8: Act I: Nr. 2 Arie - Ich bin der Herr im Haus3:29Sibrand Basa
05Peter Schmoll und seine Nachbarn, J. 8: Act I: Dialog - Onkelchen, ich wurde gerne zum Bauer Niklas gehen und einkaufen1:05Sibrand Basa
06Peter Schmoll und seine Nachbarn, J. 8: Act I: Nr. 3 Romanze - Ein Madchenherz, das wahrhaft liebt2:07Sibrand Basa
08Peter Schmoll und seine Nachbarn, J. 8: Act I: Nr. 4 Duett - Ihr seid furwahr mein bester Freund3:14Sibrand Basa
09Peter Schmoll und seine Nachbarn, J. 8: Act I: Dialog - Auf den Ausweg, den Onkel mit einer List hinzuhalten0:50Sibrand Basa
10Peter Schmoll und seine Nachbarn, J. 8: Act I: Nr. 5 Ariette - Ich bin ein armer Hund1:23Sibrand Basa
11Peter Schmoll und seine Nachbarn, J. 8: Act I: Dialog - Guten Tag, Fraulein Minette, ganz im Vertrauen0:10Sibrand Basa
12Peter Schmoll und seine Nachbarn: Act I: Nr. 6 Terzett - Zeigt her, was ihr im Korbe habt2:52Sibrand Basa
13Peter Schmoll und seine Nachbarn, J. 8: Act I: Dialog - Ihr habt gut fur ein vortreffliches Mittagsmahl eingekauft0:31Sibrand Basa
14Peter Schmoll und seine Nachbarn, J. 8: Act I: Nr. 7 Arie - Oh Liebe, beschutz mich in dieser Gefahr3:05Sibrand Basa
15Peter Schmoll und seine Nachbarn, J. 8: Act I: Dialog - Wieviele Jahre war ich im Krieg?0:59Sibrand Basa
17Peter Schmoll und seine Nachbarn: Act I: Dialog - Herr Bast, Herr Bast, ich habe in der Aufregung meinen Korb vergessen1:05Sibrand Basa
18Peter Schmoll und seine Nachbarn, J. 8: Act I: Nr. 9 Terzett - Finaletto I - Ihr schwort mir jetzt Verschwiegenheit1:46Sibrand Basa
19Peter Schmoll und seine Nachbarn, J. 8: Nr. 10 Arie (Minnette) - Wie glucklich schlagt heut' mein liebendes Herz2:22Sibrand Basa
20Peter Schmoll und seine Nachbarn, J. 8: Dailog (Scmoll, Minette, Bast) - Das sehe ich gerne0:34Sibrand Basa
21Peter Schmoll und seine Nachbarn, J. 8: Nr. 11 Terzett (Minett, Scmoll, Bast) - Spiele, alter Esel5:00Sibrand Basa
22Peter Schmoll und seine Nachbarn, J. 8: Dialog (Schmoll, Bast) - Was sich liebt, das neckt sich0:46Sibrand Basa
23Peter Schmoll und seine Nachbarn: nr. 12 Ariette (Bast) - Die Menschen lugen gar zu gern3:37Sibrand Basa
24Peter Schmoll und seine Nachbarn, J. 8: Dailog (Schmoll) - Ja, alter Schmoll, wenn du auch nie ein Herzensbrecher warst0:16Sibrand Basa
25Peter Schmoll und seine Nachbarn, J. 8: Nr. 13 Arie (Schmoll) - Es ist ein herrliches Gefuhl2:01Sibrand Basa
26Peter Schmoll und seine Nachbarn, J. 8: Dialog (Schmoll, Minette, Karl) - da ist sie ja0:43Sibrand Basa
27Peter Schmoll und seine Nachbarn, J. 8: Nr. 14 Duett (Minette, Karl) - Gleiebter Mann, ich ruhe in Deinen liebevollen Armen5:22Sibrand Basa
28Peter Schmoll und seine Nachbarn, J. 8: Dialog (Minette, karl, Niklas, Martin) - Ich wusste, dass du eines Tages kommen wurdest0:59Sibrand Basa
29Peter Schmoll und seine Nachbarn, J. 8: Nr. 15 Arie (Martin Schmoll) - Hier soll ich sie wiederfinden3:53Sibrand Basa
30Peter Schmoll und seine Nachbarn, J. 8: Dialog (Martin, Minette, Karl) - Meine Tochter!0:20Sibrand Basa
31Peter Schmoll und seine Nachbarn, J. 8: Nr. 16 Terzett (Minette, Karl, Martin Schmoll)4:06Sibrand Basa
32Peter Schmoll und seine Nachbarn, J. 8: Dialog (Minette, Karl, Martin) - Liebes Vaterchen, es ware gut0:23Sibrand Basa
33Peter Schmoll und seine Nachbarn, J. 8: Nr. 17 Rezitativ und Arie (Karl) - Ich bin am meiner Wunsche Ziel6:13Sibrand Basa
34Peter Schmoll und seine Nachbarn, J. 8: Dialog (Mineette, Karl) - Mein Vater hat sich ein wenig zur Ruhe begeben0:18Sibrand Basa
35Peter Schmoll und seine Nachbarn, J. 8: Nr. 18 Duett (Karl, Minette) - Welch himmlisches Entzucken ist Deiner Lippen Kuss2:24Sibrand Basa
37Peter Schmoll und seine Nachbarn, J. 8: Nr. 19 Quartett (Minette, Schmoll, karl, Bast)2:35Sibrand Basa
38Peter Schmoll und seine Nachbarn, J. 8: Dialog (Martin, Schmoll, Karl, Minette, Bast) - Deine Stimme ist noch genauso gewaltig wie vor viele1:14Sibrand Basa
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WEBER: Peter Schmoll und seine Nachbarn
Sibrand Basa Lyrics
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