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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Carl Maria von Weber Lyrics
We have lyrics for these tracks by Carl Maria von Weber:
Aufforderung Zum Tanz Op. 65 Molo boi do boru batak naro Pinarsitta rohami ale dongan Asa…
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@lordyathre8459
It is interesting to see a discussion about the usage of this song on an anime show and how people are being directed to it from there. I would like to share what brought me here:
Wikipedia: Semperoper / Bombing of Dresden
The Semperoper is the opera house of the Sächsische Staatsoper Dresden.. the building is located near the Elbe River in the historic centre of Dresden, Germany...
In 1945, during the last months of World War II, the building was largely destroyed again, this time by the bombing of Dresden and subsequent firestorm, leaving only the exterior shell standing. Exactly 40 years later, on 13 February 1985, the opera's reconstruction was completed...
The Semperoper reopened with the opera that was performed just before the building's destruction in 1945, Carl Maria von Weber's "Der Freischütz".
@lionrem9656
Der Freischütz Prononciation du titre dans sa version originale Écouter (op. 77) est un opéra allemand en trois actes de Carl Maria von Weber, qui connut un triomphe lors de sa première le 18 juin 1821 au Königliches Schauspielhaus de Berlin.
Considéré aujourd'hui comme l'un des premiers opéras romantiques avec Fidelio de Ludwig van Beethoven (1805), son livret fut écrit par le poète Johann Friedrich Kind d'après un conte populaire germanique (dans la version publiée en 1811 dans Das Gespensterbuch), et une première ébauche de Weber et d'A. de Dusch.
Historique
C'est lors d'un séjour en 1810 au château de Neubourg que Weber, impressionné par la récente création du Fidelio, premier (et unique) opéra de Beethoven, arrête son choix sur le conte Des Jägers Braut comme sujet d'opéra. Mais d'autres engagements l'accaparent et ce n'est qu'en 1816 qu'il demande au poète Johann Friedrich Kind d'en tirer un livret. La composition commence en juillet 1817.
Créée le 18 juin 1821 à Berlin, en raison de tensions politiques à Dresde où Weber est officiellement en poste, l'œuvre rencontre un succès immédiat, qui se propage rapidement dans toute l'Europe et devient le symbole de la naissance de l'opéra romantique allemand. Parmi les nombreux artistes qui ont été influencés par Der Freischütz figure le jeune Richard Wagner, qui sera considéré par beaucoup comme le successeur de Weber.
La création de la version française a lieu au théâtre de l'Odéon le 7 décembre 1824 dans une adaptation de Castil-Blaze et Thomas Sauvage – très éloignée de l'original – intitulée Robin des Bois ou les Trois Balles, et qui sera reprise régulièrement par la suite, notamment à l'Opéra-Comique le 15 janvier 1835 et au Théâtre-Lyrique le 24 janvier 1855.
La création parisienne de la version originale en allemand a lieu, quant à elle, au Théâtre-Italien (salle Favart) le 14 mai 1829 par une troupe allemande qui permet au public parisien de découvrir également les deux autres chefs-d'œuvre de Weber, Euryanthe (1823) et Oberon (1826).
Une deuxième version française, plus fidèle, est réalisée en 1841 par Hector Berlioz et Émilien Pacini pour l'Opéra de Paris sous le titre Le Freyschütz. Pour le ballet du deuxième acte de cette représentation, exigé par la forme « grand opéra » imposée par la « Grande Boutique », Berlioz orchestre l’Invitation à la danse de Weber, refusant d'écrire lui-même la musique de ce ballet et restant fidèle à l'écriture du compositeur du Freischütz, même si l'on y reconnaît les couleurs du « Bal » de la Symphonie fantastique.
....................................................................
Der Freischütz is a three-act German opera by Carl Maria von Weber, which premiered on 18 June 1821 at the Königliches Schauspielhaus in Berlin.
Considered today as one of the first romantic operas with Fidelio by Ludwig van Beethoven (1805), his libretto was written by the poet Johann Friedrich Kind after a Germanic folk tale (published in 1811 in Das Gespensterbuch) , and a first outline of Weber and A. of Dusch.
Historical
It was during a stay in 1810 at the castle of Neubourg that Weber, impressed by the recent creation of Fidelio, the first (and only) opera of Beethoven, decided his choice on the story Des Jägers Braut as an opera subject. But other commitments took over and it was not until 1816 that he asked the poet Johann Friedrich Kind to draw a booklet. The composition begins in July 1817.
Founded on June 18, 1821 in Berlin, due to political tensions in Dresden, where Weber is officially in office, the work was immediately successful, spreading rapidly throughout Europe and becoming the symbol of the birth of the opera romantic German. Among the many artists who were influenced by Der Freischütz is the young Richard Wagner, who will be regarded by many as the successor of Weber.
The creation of the French version takes place at the Théâtre de l'Odéon on December 7, 1824, in an adaptation of Castil-Blaze and Thomas Sauvage, very different from the original, entitled Robin des Bois or Les Trois Balles, in particular at the Opéra-Comique on 15 January 1835 and at the Théâtre-Lyrique on 24 January 1855.
The Parisian creation of the original German version takes place at the Théâtre-Italien (Salle Favart) on 14 May 1829 by a German troupe that allows the Parisian public to discover also the other two masterpieces by Weber , Euryanthe (1823) and Oberon (1826).
A second French version, more faithful, was made in 1841 by Hector Berlioz and Émilien Pacini for the Paris Opera under the title Le Freyschütz. For the ballet of the second act of this performance, required by the "grand opera" form imposed by the "Grande Boutique", Berlioz orchestrates the Weber Invitation to Dance, refusing to write the music of this ballet himself and remaining faithful to the composer's writing of the Freischütz, even if one recognizes the colors of the "Bal" of the Fantastic Symphony.
@ClassicalMusicOnly
Hello classical music lovers! you can now discover unknown masterpieces, create lists, discuss and review works/composers
on our new website https://classicalmusiconly.com
@hermannkloeckers6667
Classical Music Only Mondscheinsonate
@diretoriadiretoria2963
Classical Music Only v
@diretoriadiretoria2963
Tinis nor clássicas. It ia romantic period
@gardensofthegods
@@diretoriadiretoria2963 some would say that Von Weber was the predecessor to that movement whereas some would say he actually was the first in that category .
... you do realize classical music
embraces many forms ... just wondering therefore how you would classify Allen Hovhaness
@alexm137
Cette ouverture est déjà majeure et grandiose, mais le passage Stupeflipant me donne des frissons à chaque écoute! 10 secondes d'une rare intensité!
@dafoin
mon sourire te glace comme un sourir qui grince
@stanislavmoukhtarov591
I'm from former Soviet Union have some music education. And I know he was opera composer and they very long not like regular for example 2 hours and much longer and we were learning just like touch... I'm very interested in libretto or sujet of one of the famous one please
@Maurice_Duplessis
Et tressaillez d'allégresse car votre récompense sera GRANDE dans le ciel.
@mamang7941
Merci