Posts in Carl Maria von Weber

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[3] 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