Who did much to spread a knowledge of his works?
Name some composers who have felt his force.
LESSON XLIII.
Weber. Mendelssohn.
Schubert’s operas had no appreciable effect on the Romantic composers, for the simple reason that they were never heard on account of the absurdities of their librettos and the weakness of their stage situations. At about the same period, a slightly older composer was beginning a series of works destined to place German Opera on a firm basis, to exercise a decided influence on Wagner, besides contributing not a little to the development of piano technic.
Carl Maria Friedrich Ernst von Weber was born at Eutin, December 18, 1786. His father, a restless man of many talents, was a theatrical manager during Weber’s early years, when constant traveling was the rule, and music lessons the exception. His irregular early instruction under several teachers, of whom Michael Haydn was the most eminent, was supplemented by two years of solid study under the gifted and eccentric Abbé Vogler. From 1804 to 1806, Weber was music-director at the Breslau theatre, and soon made a name for himself as composer and pianist as well as conductor. After this he remained under the protection of the Duke of Wurtemburg, earning a living by giving lessons, and acting as secretary to the Duke’s brother. During this period he composed an opera “Silvana,” overtures, a cantata, piano music, etc. Three years of wandering, chiefly on concert tours, ensued after his banishment from Wurtemburg on account of unjustly suspected complicity in an intrigue for a position at court. To these years belong a comic opera, “Abu Hassan,” the piano concertos in C and E-flat, three concertos for clarinet, the piano sonata in C, etc. In 1814 and 1815, he composed the choruses, “Lyre and Sword,” and a cantata, “Battle and Victory,” both the outcome of political events, and widely popular from their patriotic character. In 1816, he became music-director of the German opera at Dresden. He revived interest in German opera, stimulated public support and in the following years began the composition of “Der Freischütz,” an opera thoroughly German in its character and the keystone of Weber’s fame. It was not finished until 1820, for in the meantime he wrote much of his best piano music, songs and incidental music for a gipsy play “Preciosa.” Just after the completion of his popular Concert-piece for piano and orchestra, “Der Freischütz” was given for the first time at Berlin, June 18, 1821, and the result was one of the greatest triumphs ever bestowed on a German composer. It was soon given in all the principal theatres in Germany, including Dresden, and also in Vienna. In 1823, Weber’s most ambitious opera, “Euryanthe,” was given in Vienna and proved almost a failure. Weber’s health, which had not been satisfactory for some years, showed signs of being undermined. “Euryanthe” was performed with greater success during 1824 and 1825, at Dresden, Leipzig and Berlin, where Weber was almost too ill to conduct. In spite of his ill-health he agreed to write an opera for the Covent Garden Theatre, in London, beginning the music to “Oberon” early in 1825 and finishing the last number in the spring of 1826. The performances were more than satisfactory, and Weber was received everywhere with enthusiasm. His strength was now entirely overtaxed, and he hoped to return to his family, but he died suddenly from consumption, on June 4, 1826.
Weber’s personality was pleasing; of excellent birth, his experience of the world through his positions as opera-director and his frequent concert-tours, made him an agreeable companion and a favorite in society. He was cultivated, well read in philosophy and science; he possessed considerable literary and critical ability. In consequence of his intellectual and social gifts, he was a new type of musician, who did much to improve the social status of the composer. He was a remarkable pianist, with an immense command of technic, original in style and eloquent in expression; also a forceful conductor.
Weber the Composer.—Weber is, first of all, the composer of the three operas, “Der Freischütz,” “Euryanthe” and “Oberon,” which are discussed in Lesson XXXVII. The overtures to his operas are his best orchestral works; his symphonies and chamber-music are unimportant. However, his three concertos for clarinet and orchestra are classics in the literature of that instrument. Weber’s songs are interesting for the sidelight they throw on the development of the Folk-song tendency, but in this line he was entirely overshadowed by Schubert and Schumann. However, Weber’s piano music is exceedingly important. The concertos for piano are seldom heard, but the “Concert-piece” is still amply worth study. The piano sonatas (especially those in C and A-flat) show great technical inventiveness, melodic charm and original effects, but they are less happy in point of form. Next to the sonatas in interest comes the delightful Op. 65, “Invitation to the Dance,” so well-known in Berlioz’ orchestral version. In addition are the “Momento Capriccioso,” Op. 12, the Rondo in E-flat, Op. 62, the “Polacca Brillante,” Op. 72, the Polonaise, Op. 21. Weber did much to develop the technic of the left hand; his piano compositions are thoroughly pianistic and rank high in the music of the Romantic period.
Weber’s Influence.—Weber’s position in the evolution of the Romantic school is extremely important. In Opera his exploration of the imaginative field in so many directions not only opened a new vein in dramatic music, but its influence was felt in every branch of composition. Thus several of Schumann’s choral works, Mendelssohn’s “Midsummer Night’s Dream” music, the “Walpurgis Night” cantata, the concert overtures, and pieces for piano and orchestra are direct musical descendants of Weber. Mendelssohn’s Concerto in G minor, the “Serenade” and “Allegro Giojoso,” his scherzos and “Songs Without Words” are the direct outcome of Weber’s example. In general, the technical style of Weber’s piano music was thoroughly absorbed by both Mendelssohn and, to some extent, Liszt, who edited Weber’s sonatas and solo pieces with tempting additions; he transcribed for piano the overtures “Jubilee,” “Freischütz” and “Oberon,” and arranged the “Polacca Brillante,” Op. 72, for piano and orchestra. Liszt was very fond of Weber’s music, his piano style was sympathetic to him, his interpretation of the Concert-piece, Op. 79, never failed to produce an overwhelming effect. Finally, Weber’s influence on Wagner must be mentioned. Wagner greatly admired Weber’s dramatic insight, his picturesqueness, and especially the poetry and novel color of his orchestral style.
Mendelssohn.
The influence which Mendelssohn exercised during two-thirds of the 19th century among the more conservative German musicians and in England was nothing short of extraordinary. He undoubtedly gave great impetus to the study of the classic masters, especially Bach, and his romantic tendencies were so balanced and controlled as to gain a speedy recognition for his music. Today, Mendelssohn the classicist is less admired, and his music will live chiefly for its romantic qualities.