When it comes to the world of classical music, Carl Maria von Weber's name stands tall as one of the most influential composers of the Romantic era. Born in 1786, Weber's compositions bridged the gap between the Classical and Romantic periods, and his innovative approach to melody and orchestration left an indelible mark on the musical landscape. Today, we delve into the treasure trove of Weber's works to bring you the ten best songs that showcase his brilliance and artistry.
In the realm of classical music, Carl Maria von Weber stands as a towering figure of the Romantic era. His innovative compositions and profound influence on the development of German opera have solidified his place in musical history. Join us as we delve into the life and works of this remarkable composer, exploring his artistic journey, notable achievements, and lasting legacy.
Among Weber's music for the play Preciosa, a drama that Pius Alexander Wolff derived in 1811 from Cervantes's "exemplary novella" La Gitanilla, is an overture and eleven other numbers (J. 279). The story concerns a gypsy girl, whose beauty and performance on the stage attract an increasingly wide following. When an aristocrat sees her, he leaves his home to follow Preciosa wherever she goes. He is prepared to abandon all for her, but learns near the end of the drama that Preciosa is actually of noble birth, and they can marry. Preciosa was successful on the German stage, and various productions occurred from its premiere through the 1820s. The production that included Weber's music was given its premiere in March 1821. For his incidental music, Weber attempted to contribute to the Spanish setting by using some traditional Spanish tunes as the basis for several numbers. The overture begins with a stylized bolero that sets the one for the ensuing drama. He proceeds to themes that occur elsewhere in the incidental music, and in doing so establishes a context for what comes afterward. This overture differs from others by Weber with its slower passages and more cantabile melodies. In the orchestration itself, the work contains elements suggestive of Spanish style, including various bells and other percussive sounds. The overture to Preciosa is a more playful than the more solemn and atmospheric ones for Der Freischütz and Oberon. While the tonal structure follows more closely sonata form, the thematic content suggests more a potpourri of motives that would occur later in the drama. The overture of Preciosa is performed most often apart from the rest of the incidental music, and as such, it is an excellent example of the Romantic concert overture. Weber - Preciosa, Op. 78 #MusicHistory #Preciosa #Weber We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: https://www.melhoresmusicasclassicas.com
Oberon, or The Elf King's Oath is a 3-act romantic opera in English with spoken dialogue and music by Carl Maria von Weber. The libretto by James Robinson Planché was based on a German poem, Oberon, by Christoph Martin Wieland, which itself was based on the epic romance Huon de Bordeaux, a French medieval tale. Against his doctor's advice, Weber undertook the project commissioned by the actor-impresario Charles Kemble for financial reasons. Having been offered the choice of Faust or Oberon as subject matter, he travelled to London to complete the music, learning English to be better able to follow the libretto, before the premiere of the opera. However, the pressure of rehearsals, social engagements and composing extra numbers destroyed his health, and Weber died in London on 5 June 1826. First performed at Covent Garden, London, on 12 April 1826, with Miss Paton as Reiza, Mme. Vestris as Fatima, Braham as Huon, Bland as Oberon and the composer conducting, it was a triumph with many encores, and the production was frequently revived. The libretto was later translated into German by Theodor Hell, and it is in this German translation that the opera is most frequently performed. While it is logical to assume that the German translation would have had the composer's approval - and that it would have been in that language that revisions would have been made - he heard it only in English, and did not work on a translation before his death. The opera was soon mounted elsewhere: Leipzig in 1826, Dublin, Edinburgh and Vienna in 1827, Prague in 1828 and Budapest in 1829, with many other performances in western Europe from the 1830s to the 1860s. Weber was dissatisfied by the structure of the opera as it was produced in London, and intended to revise the work on his return to Germany, but died in London before starting work on the revision. Since then, other composers and librettists have revised the work, notably Franz Wüllner, Gustav Mahler (who, preparing a new performing version, rearranged some of the numbers and composed some linking music based on material from the existing score) and novelist-composer Anthony Burgess, who wrote a new libretto for Oberon and arranged the overture for guitar quartet. Franz Liszt made an arrangement of the overture in 1846 for solo piano (S.574). The first performance of Oberon in America took place in New York at the Park Theatre on 20 September 1826. It was first seen in Paris in 1830 at the Théâtre Italien (in German). A lavish production was mounted in French at the Théâtre Lyrique in Paris on 27 February 1857, conducted by Adolphe Deloffre, and was praised by Berlioz. In the 20th century, the Metropolitan Opera premiere was on 28 December 1918 (accumulating 13 performances up to 1921) with Rosa Ponselle as Reiza, conducted Artur Bodanzky, who also composed recitatives in place of original spoken dialogue. The opera was staged at the Salzburg Festival in 1932 and 1934 under Walter, at the 1950 Holland Festival with Monteux conducting, the Florence Festival in 1952 under Stiedry and at the Paris Opera in 1953 with Cluytens. Although the opera has been staged intermittently in the 20th century, it has been often been performed successfully in concert. Weber - Oberon (or The Elf King's Oath), J. 306 - Overture We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 #MusicHistory #Oberon #Weber 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com
Weber - Clarinet Concerto No. 2 in E flat major, Op. 74 - III. Polacca alois - Music | History Carl Maria von Weber wrote his Clarinet Concerto No. 2 in E♭ major, Op. 74, J. 118 in 1811, and premiered on December 25, 1813. It is composed of three movements: 1. Allegro 2. Romanze: Andante con moto 3. Alla Polacca A typical performance lasts 23 minutes. The 1st movement typically lasts for approximately 8:30 minutes, the 2nd movement for approximately 7 minutes and the 3rd movement for between 6:30 and 7 minutes depending on the tempo. Like all of Weber's clarinet works except for the Grand Duo Concertant, it is dedicated to Heinrich Baermann, who was soloist at the premiere The concerto is scored for a solo clarinet and an orchestra consisting of 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The 1st movement, in E-flat major, begins with an exposition of the main theme by the orchestra. The clarinet soloist enters with a high E flat (E-flat concert pitch) followed by a 3 octave jump before repeating the opening theme. This 3 octave jump, along with other large leaps, is stylistic of this movement. The majority of the first half of the movement sits very comfortably in E-flat major before modulating to D-flat major where much of the previous clarinet melodic material is repeated. The movement finishes with a rather virtuosic clarinet part extending to the near limits of clarinet range. The 2nd movement, by stark contrast in G minor, is reflective of Weber's many operas. With its operatic phrasing, this movement really exhibits the rich tone of the clarinet. The clarinet melody has very expressive dynamics, often going from fortissimo to piano in the space of one bar. After the initial statement of the melody, the work moves into an orchestral section in G major which acts as a sort of extended dominant to C minor when the clarinet enters again. It is in the C minor section when we begin to see short note values which adds to a very operatic style. Once again the orchestra goes into a section in G major, which exactly imitates the previous section, also in G major. Suddenly the clarinet enters in E-flat major with a very virtuosic scale followed by numerous runs. In this E-flat major section there is some very large leaps, one being 3 octaves and a tone at bar 56. The work shifts back to G minor with a recitative, once again in the operatic style. This is taken very freely with the clarinet and orchestra taking turns in playing. After the recitative, the original melody is repeated and followed by a rather short cadenza before the work finishes with a very long concert G from the clarinet. Considered staple clarinet repertoire, by just about any clarinet professor, teacher or professional that has lived in the last one hundred years, the 3rd movement in E-flat major is an exhibition of technique and style on the part of the soloist. The polonaise is a slow ballroom dance, yet some soloists choose to take the movement at a far faster speed than what is traditional or intended for the true polonaise dance; nonetheless, many soloists[ dedicated to the text choose to take the movement at the danceable speed of a traditional polonaise. Once again, Weber regularly uses rather large leaps to embellish the clarinet melody which is usually made up of semiquavers (16th notes). The melody is often dotted and syncopated to give a somewhat cheeky[ feel to the work. Measures 19-20 are regarded as one of the hardest fragments for clarinet repertoire because of the clarinet playing without orchestra with very fast leaps, all slurred. The work sits very comfortably in E-flat major until Weber uses a series of diminished chords to send the work into C major. However, this is short lived as the work comes back to E-flat with the original melody being stated again first in E major, and then the tonic. The work finishes with one of the most glittery, virtuosic passages in the clarinet repertoire marked "brillante", made up of largely arpeggios and scalic runs in sextuplet semiquavers. We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Weber
Weber - Clarinet Concerto No. 1 in F minor Op. 73 - Music | History Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 (J. 114) for the clarinettist Heinrich Bärmann in 1811. The piece is highly regarded in the instrument's repertoire. It is written for clarinet in B♭. The work consists of three movements in the form of fast, slow, fast. 1. Allegro in F minor modulating into A-flat major and later returning to F minor with a meter of 3/4 2. Adagio ma non troppo in C major transforming into C minor and E flat major and afterward reverting to C major with a meter of 4/4 3. Rondo; Allegretto in F major with a meter of 2/4 This movement was very innovative for its time, with some stylistic aspects characteristic of later composers like Felix Mendelssohn. The normal output for this time was material such as Beethoven's Piano Concerto No. 5 from exactly the same year as this composition, 1811. Weber starts with the cellos playing the main theme, followed with an explosion by the whole orchestra. The violins pick up the melody which eventually progresses, subsides, and clears the stage for the solo clarinet. The soloist begins with a painful song marked "con duolo". The clarinetist performs variants on that source, which later results in a determined run played by the solo instrument. After that climax, the music dies off with the clarinet mourning a line marked "morendo". Then there is a grand pause, which provides the transition for the return of the cellos stating the main theme, but this time in the key of D-flat major rather than F minor. The soloist enters shortly afterward with a sweet response. The clarinet keeps playing a delicate melody, then descends towards the lower tones with a marking of "perdendosi," which tells the player to decrease in speed and sound. Then the tutti arrives, singing a sweet, innocent melody. The clarinet reenters shortly after, still playing in a lighter mood than the beginning of the piece. Later, the soloist performs sets of playful triplets. After the triplets, the clarinet begins the Bärmann-Kadenz, which the dedicatee, Heinrich Bärmann wrote. This is a relatively short, lively, virtuosic passage that is played by most performers. Then the clarinetist encounters a brief cadenza which consists of fast thirty-second notes. After the cadenza, the orchestra bursts in and returns to the minor home key. Then the music calms down, and the cellos prepare for the entrance the clarinet will make. When the clarinet enters, it brings back the same emotions as when the soloist entered for the first time. It seems like the clarinet yearns to play the light, innocent theme heard before. It finally gets its wish, bringing back the melody played earlier. Then, the clarinet starts its triplets as it did before, but this time, it flows towards a stream of agitated, virtuosic sixteenth-note runs. After that buildup, the clarinet subsides and gives room for the French horns to play a cheerful melody. The solo instrument responds in the same connotation as the horns did but then sneaks back to the dark theme the soloist first played. It intensifies and then the soloist whirls up and down in sixteenth notes until the tutti arrives with vengeance. The orchestra ends its phrase with dotted chords which give cue for the soloist to perform its next ordeal. This features rising chromatic scale runs which flow into a river of sixteenth notes. The sixteenths are followed by a series of determined trills with the last one ending on a high g. The orchestra returns and eventually fades away. The clarinet ends the movement much like how it did before the arrival of the A-flat major key. The beginning of the second movement is typical of an early romantic operatic aria, but still resembles the second movement of the Mozart Clarinet Concerto in mood and melodic shape. Weber was, after all, Mozart's cousin by marriage. In the middle section, an unusual and rare but effective use of a horn trio without any other orchestral elaboration is put into effect. The clarinet responds and interacts with this horn trio much like an operatic singer would do it in a similar situation. The beginning material resumes after a brief pause. The third movement contrasts with the preceding movements because of the light character. It is a typical rondo that usually ends a three movement concerto. Instances like this in other similar works include the third movement of Weber's Clarinet Concerto No. 2, Mozart's Clarinet Concerto, the third movement of Karl Stamitz's Clarinet Concerto No. 3, the final movements of Franz Krommer's Clarinet Concerto in E-flat major and Concerto for Two Clarinets, and the last movements of Louis Spohr's Clarinet Concerto's Nos. 1, 2, and 4. 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Weber
Weber Biography - Music Collection - Music | History Composer, conductor, virtuoso, novelist, and essayist, Carl Maria von Weber is one of the great figures of German Romanticism. Known for his opera Der Freischütz, a work which expresses the spirit and aspirations of German Romanticism, Weber was the quintessential Romantic artist, turning to poetry, history, folklore, and myths for inspiration and striving to create a convincing synthesis of fantastic literature and music. Resembling the Faust legend, Der Freischütz (the term suggests the idea of an marksman relying on magic) is a story of two lovers whose ultimate fate is decided by supernatural forces, a story which Weber brings to life by masterfully translating into music the otherworldly, particularly sinister, aspects of the narrative. 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. Born in 1786, Weber studied with Michael Haydn and Abbé Vogler. Appointed Kappelmeister at Breslau in 1804, he gained fame as an opera composer with the production, in 1811, of Abu Hassan. In 1813, he became director of the Prague Opera. In Prague, where he remained until 1816, Weber developed a mostly French repertoire, taking an active, and highly creative, part in the practical aspects of opera production. Underlying his often controversial efforts to reform opera production was his ardent desire to create a German operatic tradition. Although there were, indeed, capable composers in the German-speaking lands, the idea of a German opera provoked much opposition, as the public, trained to perceive opera as an exclusively Italian art form, regarded the concept of German opera as a contradiction in terms, despite the existence of a singspiel tradition, brilliantly exemplified by the Magic Flute by Mozart. While Weber's appointment as Royal Kappelmeister at Dresden, not to mention the triumphant production of Der Freischütz (1821), certainly strengthened his position as champion of German opera, his opponents remained unconvinced. Weber's next opera, Euryanthe (1823), failed to repeat the success of Der Freischütz. In Euryanthe, his only opera without spoken dialogue, Weber introduced the device of recurrent themes throughout the entire opera, thus anticipating Wagner. Although Weber brilliantly adapted a variety of harmonic styles and textures to the dramatic narrative, the overall effect was seriously hampered by a rambling libretto, an inept adaptation of a medieval romance already used by Shakespeare in Cymbeline. In 1825, Weber was invited to London. Among the works he was expected to conduct was Oberon, another opera with a Shakespearean theme. The librettist, who took the story from Shakespeare's Midsummer Night's Dream, created, in a misguided effort to please the public, an incredible hodgepodge, even more convoluted than Euryanthe, that not even Weber's genius could salvage. Nevertheless, Oberon, which the English public received with admiration, contains much gorgeous music, including examples of lush orchestration and exquisite tone painting. Often performed in concert, the overture is a true Romantic gem. Already in poor health before his London tour, Weber died in the English capital in 1826, shortly after the premiere of Oberon at Covent Garden. Tracklist: 1 - Weber - Clarinet Concerto no. 2 in E flat major, Op. 74 - III. Polacca alois 2 - Weber - Preciosa, Op. 78 3 - Weber - Oberon (or The Elf King's Oath), J. 306 - Overture We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #WeberBiography
Carl Maria von Weber - Euryanthe, Op. 81 Euryanthe is a German "grand, heroic, romantic" opera by Carl Maria von Weber, first performed at the Theater am Kärntnertor, Vienna on 25 October 1823. Though acknowledged as one of Weber's most important operas, the work is rarely staged because of the weak libretto by Helmina von Chézy (who, incidentally, was also the author of the failed play Rosamunde, for which Franz Schubert wrote music). Euryanthe is based on the 13th-century French romance L'Histoire du très-noble et chevalereux prince Gérard, comte de Nevers et la très-virtueuse et très chaste princesse Euriant de Savoye, sa mye. Only the overture, an outstanding example of the early German Romantic style (heralding Richard Wagner), is regularly played today. Like Schubert's lesser-known Alfonso und Estrella, of the same time and place (Vienna, 1822), Euryanthe parts with the German Singspiel tradition, adopting a musical approach without the interruption of spoken dialogue characteristic of earlier German language operas such as Mozart's Die Zauberflöte, Beethoven's Fidelio, and Weber's own Der Freischütz. For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Weber
Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 5 June 1826) was a German composer, conductor, pianist, guitarist and critic, and was one of the first significant composers of the Romantic school. Vogler recommended his 17-year-old pupil Carl Maria to the post of Director at the Breslau Opera in 1804, who was offered and accepted the mission. Weber sought to reform the Opera by pensioning off older singers, expanding the orchestra, and tackling a more challenging repertoire. His ambitious and dedicated work as director of the orchestra was acknowledged though his tempi were frequently critized as too fast. As the daily routine did not leave sufficient time for own creative work, Weber abandoned the prolongation of his two-year appointment. After an interlude at the court of Duke Eugen (I.) of Württemberg, who resided in Silesia, Weber served from 1807 to 1810 in Stuttgart as private secretary to Duke Ludwig, brother of King Frederick I of Württemberg. Weber's time in Württemberg was plagued with troubles. He fell deeply into debt and became entangled in financial manipulations of his employer, e.g. the sale of confirmations of ducal service which exempted from military service. Carl Maria was arrested and charged with embezzlement and bribery. As he could disprove the allegations one restricted the case to civil law because one did not want to compromise the conjectured manipulator, the brother of the king. Weber accepted to pay his debts (last payment 1816) and was banished from Württemberg together with his father. As sobering side effect Weber started to keep a diary to list his expences, sent and received letters and occasional comments of special events. Nevertheless, Carl remained prolific as a composer during this period, writing 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; 1811 was a pivotal year in his career when he met and worked with the Munich court clarinetist Heinrich Baermann and composed the Concertino in E♭ Major, Op. 26, J. 109, and the two concerti J. 114 and J. 118 for him; from December 1811 through March 1812, Weber went on tour with Baermann playing the clarinet works, and it was some of the final concerts on this tour that changed public, critical and royal opinions of Weber's work, and helped him to mount a successful performance of Silvana in Berlin later that year; 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. On 4 November 1817, he married Caroline Brandt, a singer who created the title role of Silvana. In 1819, he wrote perhaps his most famous piano piece, Invitation to the Dance. The successful premiere of Der Freischütz on 18 June 1821 in Berlin led to performances all over Europe. On the very morning of the premiere, Weber finished his Konzertstück in F minor for Piano and Orchestra, and he premiered it a week later. In 1823, Weber composed his first (and only) full-length, through-written opera Euryanthe to a libretto by Helmina von Chézy, several passages of which (notably the music for the villainous couple Lysiart and Eglantine) anticipate the early, romantic operas of Richard Wagner. In 1824, Weber received an invitation from The Royal Opera, 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 conduct the premiere on 12 April. Weber was already suffering from tuberculosis when he visited London. He conducted the premiere and twelve sold-out performances of Oberon in London during April and in May, and despite his rapidly worsening health, he continued to fulfill commitments for private concerts and benefits. He died in his sleep during the night on 5 June 1826 at the home of his good friend and host Sir George Smart; he was 39 years old. He was buried in London. 18 years later in December 1844 his remains were transferred to the family burial plot in the Old Catholic Cemetery (Alter Katholischer Friedhof) in Dresden at the side of his youngest son Alexander, who at the age of 19 had died of measles seven weeks before. The simple gravestone, designed by Gottfried Semper, lies against the northern boundary wall. The eulogy at the reburial was delivered by Richard Wagner. Weber's unfinished opera Die drei Pintos (The Three Pintos) was originally given by his widow to Giacomo Meyerbeer for completion; it was eventually completed by Gustav Mahler, who conducted the first performance in Leipzig on 20 January 1888. #MusicHistory #ClassicalMusic #Weber
Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 5 June 1826) was a German composer, conductor, pianist, guitarist and critic, and was one of the first significant composers of the Romantic school. Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantische Oper (Romantic opera) in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotif technique to an unprecedented degree, while Oberon may have influenced Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others. A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück in F minor (concert piece), which influenced composers such as Chopin, Liszt and 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 Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, were later orchestrated by Berlioz, while his Polacca Brillante was later set for piano and orchestra by Liszt. Weber's compositions for clarinet, bassoon, and horn occupy an important place in the musical repertoire. His compositions for the clarinet, which include two concertos, a concertino, a quintet, a duo concertante, and variations on a theme from his opera Silvana, are regularly performed today. His Concertino for Horn and Orchestra requires the performer to simultaneously produce two notes by humming while playing—a technique known as "multiphonics". His bassoon concerto and the Andante e Rondo ungarese (a reworking of a piece originally for viola and orchestra) are also popular with bassoonists. 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 ([Four] Temperaments on the Loss of a Lover). Weber was also notable as one of the first conductors to conduct without a piano or violin. Weber's orchestration has also been highly praised and emulated by later generations of composers – Berlioz referred to him several times in his Treatise on Instrumentation while 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 Marschner, Meyerbeer and Wagner, as well as several nationalist 19th-century composers such as Glinka. Homage has been paid to Weber by 20th-century composers such as Debussy, Stravinsky, Mahler (who completed Weber's unfinished comic opera Die drei Pintos and made revisions of Euryanthe and Oberon) and Hindemith (composer of the popular Symphonic Metamorphosis of Themes by Carl Maria von Weber). Weber also wrote music journalism and was interested in folksong, and learned lithography to engrave his own works. Carl Maria von Weber Tracklist: 1. Concerto 1 Opus 73 - Alegro 2. Concerto 1 Opus 73 - Adagio 3. Concerto 1 Opus 73 - Rondo 4. Opus 79 Fá Menor 5. Oberon 6. Der Freischutz 7. Convite a Dança For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Weber