Weber 's additional claim to fame are his works for woodwind instruments, which include two concertos and a concertino for clarinet, a concerto for bassoon, and a superb quintet for clarinet and string quartet.
See Article History Alternative Titles: Weber was born into a musical and theatrical family. His father, Franz Anton, who seems to have wished upon the family the baronial von to which it had in fact no title, was a musician and soldier of fortune who had formed a small traveling theatre company.
His mother, Genovefa, was a singer; his uncles, aunts, and brothers were to some degree involved in music and the stage.
Carl Maria was a sickly child, having been born with a diseased hip that caused him to limp throughout his life. When he began to show signs of musical talent, his ambitious father set him to work under various teachers in towns visited by the family troupe in the hope that he might prove a Mozartean prodigy.
Among these instructors was Michael Haydnthe younger brother of the composer Joseph Haydn. The troupe paused briefly in Munich, where Weber learned the art of lithography under its inventor, Aloys Senefelder. Staged at Freiberg init was a failure.
On a return visit to Salzburg, Weber completed his first wholly surviving opera, Peter Schmoll und seine Nachbarn, which also failed when it was produced in Augsburg in After many difficulties, occasioned by the inexperience of a young director in putting through reforms, and a near-fatal accident in which he permanently impaired his voice when he swallowed some engraving acid, Weber was forced to resign.
They are attractive, inventive works, but the symphony, with its dependence on established forms, was not the natural medium of a composer who sought to bring Romantic music to a freer form derived from literary, poetic, and pictorial ideas. Here he lived so carelessly and ran up so many debts that, after a brief imprisonment, he was banished.
The principal fruits of these years —10 were his Romantic opera Silvanasongs, and piano pieces. From this period came principally the Grand Concerto No. The clarinet remained, with the horn, one of the favourite instruments of a composer whose ear for new sounds and new combinations of instruments was to make him one of the greatest orchestrators in the history of music.
From to Weber also wrote a considerable number of reviews, poems, and uncompromising, stringent music criticisms. All his work, music, and critical writings furthered the ideals of Romanticism as an art in which feeling took precedence over form and heart over head.
Appointed conductor of the opera at Prague inafter a period in Berlin during which he caught the patriotic fervour of the day in some stirring choruses and songs, Weber was at last able to put his theories into full practice.
His choice of works showed his care for Romantic ideals, and his choice of artists showed his concern for a balanced ensemble, rather than a group of virtuosos. Furthermore, by publishing introductory articles to his performances, he saw to it that his audiences were carefully prepared.
His reputation by now, however, was such that he was able to secure an appointment as director of the German opera at Dresdenbeginning in The same year he married one of his former singers, Caroline Brandt.
As the prophet of a German national opera, Weber was faced with even greater difficulties. Happily married, he applied himself energetically to his work, assuming full control over all aspects of the operatic production. No detail escaped him: These tasks left him little time for writing operas himself, however, especially in view of the inexorable advance of his tuberculosis.
The story, deriving from folklore, concerns a man who has sold his soul to the Devil for some magic bullets that will enable him to win a marksmanship contest and with it the hand of the lady he loves.
The opera presented, for the first time, things familiar to every German: Above all, the characters, from the cheerful huntsmen and village girls to the simple, valiant hero and the prince who rules over them, were all—with the tuneful, sensational music—a mirror in which every German could find his reflection.
His next opera, Euryanthe was a more ambitious work and a larger achievement, anticipating Wagner as his piano music does Chopin and Liszt.
It nevertheless foundered on its clumsy, though not intolerable, libretto. His motive was to earn enough money to support his family after his death, which he knew to be not far off. In form, Oberon was little to his taste, having too many spoken scenes and elaborate stage devices for a composer who had always worked for the unification of the theatrical arts in opera.
But into it he poured some of his most exquisite music, and he traveled to London for the premiere in Barely able to walk, he was sustained by the kindness of his host, Sir George Smart, and by the longing to get home again to his family.
Oberon was a success and Weber was feted, but his health was declining fast. Shortly before he was due to start the journey back to Germany, he was found dead in his room.
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Carl Maria von Weber is within the scope of the Composers WikiProject, a group of editors writing and developing biographical articles about composers of all eras and styles.
The project discussion page is the place to talk about technical and editorial issues and exchange ideas. Carl Maria von Weber was a German Pianist, Composer, Conductor and Music Critic. He was one of the first composers to have adopted the romantic school of music.
Carl Maria von Weber was born in Eutin, the district capital of Holstein, Germany on 19 November Carl Maria Friedrich Ernst von Weber (18 or 19 November – 5 Juin ) wis a German componer, conductor, pianist, guitarist an creetic, ane o the first signeeficant componers o the Romantic schuil.
Donald Macleod explores the life and work of Carl Maria von Weber, a German composer, conductor and pianist of the early Romantic period. Carl Maria von Weber Biography by Zoran Minderovic Weber was a German composer, conductor, and writer of the Romantic era who became an indispensible figure in the development of German opera.