Carl Maria von Weber

For more information on Carl Maria Friedrich Ernst von Weber, visit Britannica.com.

(b Eutin, ?18 Nov 1786; d London, 5 June 1826). German composer. He studied in Salzburg (with Michael Haydn), Munich (J.N. Kalcher) and Vienna (Abbé Vogler), becoming Kapellmeister at Breslau (1804) and working for a time at Württemberg (1806) and Stuttgart (1807). With help from Franz Danzi, intellectual stimulation from his friends Gänsbacher, Meyerbeer, Gottfried Weber and Alexander von Dusch and the encouragement of concert and operatic successes in Munich (especially Abu Hassan), Prague and Berlin, he settled down as opera director in Prague (1813-16). There he systematically reorganized the theatre's operations and built up the nucleus of a German company, concentrating on works, mostly French, that offered an example for the development of a German operatic tradition. But his searching reforms (extending to scenery, lighting, orchestral seating, rehearsal schedules and salaries) led to resentment. Not until his appointment as Royal Saxon Kapellmeister at Dresden (1817) and the unprecedented triumph of Der Freischütz (1821) in Berlin and throughout Germany did his championship of a true German opera win popular support. Official opposition continued, both from the Italian opera establishment in Dresden and from Spontini in Berlin; Weber answered critics with the grand heroic opera Euryanthe (1823, Vienna). His rapidly deteriorating health and his concern to provide for his family induced him to accept the invitation to write an English opera for London; he produced Oberon at Covent Garden in April 1826. Despite an enthusiastic English reception and every care for his health, this last journey hastened his decline; he died from tuberculosis, at 39.

Weber's Romantic leanings can be seen in the novel emotional flavour of his music and its relevance to emergent German nationalism, his delicate receptivity to nature and to literary and pictorial impressions, his parallel activities as critic, virtuoso pianist and Kapellmeister, his dedication to the evolution of a new kind of opera uniting all the arts and above all his wish to communicate feeling. His role as a father-figure of musical Romanticism was acknowledged by those who succeeded him in the movement, from Berlioz and Wagner to Debussy and Mahler. His melodic and harmonic style is rooted in classical principles, but as he matured he experimented with chromaticism (the diminished 7th chord was a particular favourite). He also was among the subtlest of orchestrators, writing for unusual but dramatically apt and vivid instrumental combinations (clarinet and horn, muted and un-muted strings etc). All his most successful music, including the songs and concertos, is to some degree dramatically inspired.

Weber won his widest audience with Freischütz, outwardly a Singspiel celebrating German folklore and country life, using an idiom touched by German folksong. Through his skilful use of motifs and his careful harmonic, visual and instrumental designs notably for the Wolf's Glen scene, the outstanding example in music of the early Romantic treatment of the sinister and the supernatural - he gave this work a new creative status. Euryanthe, despite a weak libretto, makes a further advance in the unity of harmonic and formal structures, moving towards continuous, freely composed opera. In Oberon Weber reverted to separate numbers to suit English taste, yet the work retains his characteristically subtle motivic handling and depiction of both natural and supernatural elements. Of his other works, some of the German songs, the colouristic Konzertstück for piano and orchestra, the dramatic clarinet and bassoon concertos and the virtuoso Grand duo concertant for clarinet and piano deserve special mention.

• Abu Hassan (1811)
• Der Freischütz (1821)
• Die drei Pintos (1821, perf. 1888)
• Euryanthe (1823)
• Oberon (1826)
• incidental music for Turandot (1809), Heinrich IV (1818), Preciosa (1820) and other plays
• scenes, songs, romances, 5 concert arias

• 3 masses, Agnus Dei
• 6 secular cantatas incl. Kampf und Sieg (1815)
• acc choral works
• 24 unacc. canons, male-voice choruses, partsongs

• c 80 songs, incl. gui songs, Italian canzonettas, Scottish folksong arrs.
• Leyer und Schwert collection, i-ii (1814)
• Die temperaments beim Verluste der Geliebten (1816), 6 duets

• 2 syms.
• Pf Conc. no. 1, C(1810), Pf Conc. no. 2, E♭ (1812)
• Konzertstück, f, pf (1821)
• Cl Conc. no. 1, f (1811)
• Cl Conc. no.2, E♭ (1811)
• Cl Concertino, E♭ (1811)
• Bn Conc., F (1811)
• Horn concertino, e (1815)
• ovs., marches

• Pf Qt B♭ (1809)
• Cl Qnt, B♭ (1815)
• Grand duo concertant, Cl pf (1815)
• 4 pf sonatas
• Aufforderung zum Tanze, pf (1819)
• pf duets, variations

• poetry, concert notices, articles on new operas
• Tonkünstlers Leben, novel (1819), incl.

(b Florence, 1697; d Florence, ?1765). Italian medallist. One of the most characteristic exponents of Florentine Baroque medallic art, he was apprenticed to Jacopo Mariani and Giovanni Bottari, then studied sculpture under Giovanni Battista Foggini. In 1720 he became a pupil of Massimiliano Soldani, medallist and die-engraver at the Florentine Mint. Grand Duke Cosimo III de' Medici appointed Weber as Soldani's successor (1722), a position he held until late in life. From 1743 to 1749 he made plaquettes, snuff boxes, medals and similar items for the Doccia porcelain manufactory. According to his autobiography (1753) he engraved over 250 coin dies for the mints of Florence and Lucca but, while no coins with his signature have been recorded, most portraits on these 1722-65 coinages are probably by him. In an inventory (1753; Vannel and Toderi) of his medals he records 23 pieces. Others, originating after 1753, can probably be added, such as Francesco dal Poggio (1725), Accession of Francis III of Lorraine (1739), Gian Gastone de' Medici (1732), Maria Theresa (1743) and Peter Leopold, Grand-Duke of Tuscany (1765). All these pieces are signed, either on obverse or reverse: LMV, occasionally also LAVR.M.VEBERIVS F, or L. M. WEBER. Diameters range up to c. 93 mm.

See the Abbreviations for further details.

The operas of Carl Maria Friedrich Ernst von Weber (1786-1826) are the cornerstone of the German romantic opera, and he is often heralded as the father of musical romanticism.

The son of an itinerant musical family, Carl Maria von Weber was born on Dec. 18, 1786, near Lübeck, where his father was a town musician and his mother a singer. The family was distantly connected with Constanze Weber Mozart's family. There was no justification for the claim of nobility or the use of the "von." Weber spent his early years in nearly constant travel. His father, an unscrupulous eccentric, attempted to turn him into a prodigy, but young Weber was unable to live up to these expectations.

In 1796 the family settled temporarily in Salzburg, where Weber entered the school for choristers directed by Michael Haydn. Two years later Weber's mother died, and his father resumed his itinerant existence, carrying his son first to Vienna and then to Munich, where the boy again formally studied music. In 1800 he composed his first opera, Die Macht von Liebe (The Power of Love), a piano sonata, some variations for piano, and several songs, all highly amateurish.

In 1801 Weber and his father returned to Salzburg, where Weber resumed his study with Michael Haydn. Beginning in 1804 Weber studied off and on over the next few years with Georg Vogler.

During this time the handsome young Weber managed to survive on his wits, charm, and ability to manipulate people and circumstances. He was involved in various court imbroglios and intrigues through his own culpability, to say nothing of his father's notoriously disreputable behavior. The turning point in Weber's career seems to have taken place when he was arrested and eventually banished from Stuttgart as a result of an unsavory scandal concerning a possible charge of bribery in connection with the court. Although proved innocent of this charge, he was shaken enough, it seems, to settle down and become seriously concerned with establishing himself as a performer and composer.

Weber traveled extensively throughout Germany and Austria, playing his own compositions and composing. In 1813 he became an opera conductor in Prague. The following year he fell in love with Caroline Brandt, a singer in his company, whom he married in 1817, a year after he had been appointed conductor of German opera in Dresden. He served in this post and remained active in the city's musical life until his untimely death.

Creation of the German Romantic Opera

Weber's vast and varied theatrical experience in the provincial opera houses of central Europe bore fruit in Der Freischütz (The Freeshooter), produced in Berlin in 1821. Composed to a libretto by Friedrich Kind and heavily indebted to folk superstition and sentimentalized medieval German history, the opera was an enormous success. In this one composition Weber succeeded in creating a prototype for the German romantic opera which he himself was unable to equal.

In 1824 Weber's second major opera, Euryanthe, with a libretto by Helmine von Chézy, was produced in Dresden. Overly complicated and without the instant popular appeal of Freischütz, Euryanthe did not live up to expectations. That year Weber received an offer to go to London to prepare an English opera based on C. M. Wieland's Oberon. Although seriously ill, Weber agreed to undertake this work since he was financially straitened. He left for England in 1825 to supervise the performances of Oberon, which was a great success. He died in London on June 5, 1826, of tuberculosis.

Other Works

Weber was a prolific composer in many forms. In addition to his piano music - several sonatas, variations, two concertos, and the fanciful Konzertstück - his production includes symphonies, chamber music, vocal works, and two clarinet concertos. His major accomplishment, however, was to create the first great popular success for German romantic opera. The folklike quality of much of his vocal writing has ensured his popularity in Germany, but elsewhere he is a composer more honored by name than in performance. The overtures of his three major operas have long been repertoire items in the concert hall, but the operas themselves deserve to be better known. Weber was also a respectable prose writer, especially of music criticism, thus proving himself to be entirely in keeping with 19th-century romantic aspirations.

Further Reading

Good biographies of Weber are William Saunders, Weber (1940), and Lucy and Richard Poate Stebbins, The Enchanted Wanderer: The Life of Carl Maria von Weber (1940). His operas are examined in Donald J. Grout, A Short History of the Opera (1947; rev. ed. 1965).

Additional Sources

Benedict, Julius, Sir, Carl Maria von Weber, New York: AMS Press, 1980.

Friese-Greene, Anthony, Weber, London; New York: Omnibus, 1991.

Warrack, John Hamilton, Carl Maria von Weber, Cambridge, Eng.; New York: Cambridge University Press, 1976.

Warrack, John Hamilton, The New Grove early romantic masters 2: Weber, Berlioz, Mendelssohn, New York: Norton, 1985.

Weber, Carl Maria von (b Eutin, 18 Dec. 1786, d London, 5 June 1826). German composer. He wrote no ballet scores but he composed many polkas, waltzes, and polonaises and some of his concert music has been used for dance, including Invitation to the Dance (orch. Berlioz, chor. Fokine, in Spectre de la rose, 1911) and Konzertstück (chor. van Dyk, 1965, and K. Stowell, 1972).

Weber, Carl Maria Friedrich Ernst von (1786–1826), German composer and pianist. Appointed director of the Opera at Prague in 1813 and at Dresden in 1816, Weber was at the height of his career when he composed the highly popular Der Freischütz (1821). Its plot derives from the common folklore motif of the man who sells the devil his soul; Weber's huntsman protagonist bargains for magic bullets, so that he can win a contest of marksmanship, and with it the hand of the woman he loves. She succeeds in redeeming him with her pure‐hearted love, however, and the two lovers are happily united. The high point of the opera is the casting of the magic bullets at midnight in the ‘Wolf's Glen’, a scene of supernatural horror, expressed musically through imaginative orchestration and unusual harmonies. Weber's serious use of supernatural elements, combined with the wild natural setting, the struggle between forces of good and evil, the theme of redemption, and the source of the story in medieval legend, made Der Freischütz the work which defined and established German romantic opera. His last opera, Oberon, or The Elf King's Oath (1826), has even closer ties to the world of fantasy and fairy tale. The English libretto, by James Robinson Planché, is based on Oberon, a heroic poem by Christoph Martin Wieland, and weaves elements from Shakespeare's Midsummer Night's Dream, the Near East of The Arabian Nights, and the legendary court of Charlemagne into a far from cohesive whole.

— Suzanne Rahn

Weber, Carl Maria, Freiherr von, (Eutin, 1786-1826, London), son of an adventurer, whose patent of nobility was spurious, was a cousin once removed of Mozart's wife Constanze. A composer and conductor, he achieved success through his contributions to the Romantic movement (see Romantik).

Weber's one-act Singspiel Abu Hassan (Komische Oper) was performed in Munich in 1811. The libretto was by his friend F. C. Hiemer (1768-1822), who also supplied the text for Weber's well-known cradle song ‘Schlaf, Herzenssöhnchen, mein Liebling bist du!’. In 1814 he composed a patriotic cantata based on poems from Th. Körner's Leyer und Schwerdt. Weber made his name with the Romantic opera Der Freischütz, which was performed on 18 June 1821 in Berlin; the libretto was by F. Kind. It was followed by two more Romantic operas, Euryanthe (1823), which had an inadequate libretto by Wilhelmine von Chézy, and Oberon, König der Elfen (1826), a work commissioned by Covent Garden; its English libretto by James Robinson Planché (1796-1880) was translated for German performance by Th. Hell. Weber wrote the music for Oberon while suffering from consumption; he was in London for the first performance on 12 April 1826 and died a few weeks later. Oberon fell into complete neglect, but was revised by G. Mahler, whose version was performed with success in 1913, two years after Mahler's death.

Weber's Sämtliche Schriften, ed. G. Kaiser, appeared in 1908. Other editions of his works and correspondence include a Gesamtausgabe, ed. H. J. Moser, 1926 ff.

Carl Maria von Weber

Carl Maria Friedrich Ernst von Weber (18-19 November 1786 – 4-5 June 1826) was a German composer, conductor, pianist, guitarist 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 (Four Temperaments on the Loss of a Lover).

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 Instrumentation 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 Mikhail 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.

Contents 1 Life 2 Legacy 3 Works 3.1 Operas 3.2 Church music 3.3 Symphonies 3.4 Vocal works with orchestra 3.5 Concertos 4 Media 5 References 6 Notes 7 External links

Life

Weber was born in Eutin, Holstein, 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 13 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, and 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.

Carl Maria von Weber

In 1800, the family moved to Freiberg, in Saxony, where Weber, then 14 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 Neighbors) was produced in Augsburg, and gave Weber his first success as a popular composer.

Vogler, impressed by his pupil's 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.

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. On 4 November 1817, he married Caroline Brandt, a singer who created the title role of Silvana.^[1]

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 for Piano and Orchestra in F minor, and he premiered it a week later.

The bust of Weber in Eutin

In 1823, Weber composed the opera Euryanthe to a mediocre libretto, but containing much rich music, the overture of which in particular anticipates Richard Wagner. 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 conduct the premiere on 12 April.

Other famous works by Weber include: Invitation to the Dance (later orchestrated by Hector Berlioz); Polacca Brillante (later orchestrated by Franz Liszt); 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 at the house of Sir George Thomas Smart during the night of 4-5 June 1826.^[1] Weber was 39 years old. He was buried in London, but 18 years later his remains were transferred on an initiative of Richard Wagner and re-buried in Dresden.

His unfinished opera Die drei Pintos ('The Three Pintos') was originally given by Weber's widow to Meyerbeer for completion; it was eventually completed by Gustav Mahler, who conducted the first performance in this form in Leipzig on 20 January 1888.

Weber's grave in Dresden.

Legacy

Weber's mastery of the orchestra was equaled in his time only by Ludwig van Beethoven and Franz Schubert. During the 19th century, his 'Polacca Brillante', 'Invitation to the Dance, Second Piano Sonata and Konzertstück for piano and orchestra were frequently heard. Liszt frequently performed Weber's music and made editions of his piano sonatas. Other 19th-century admirers included Wagner, Meyerbeer and Berlioz.

Weber's piano music all but disappeared from the repertoire, but there has been a revival of interest in these works in recent times. One possible reason for its earlier lack of attention is that Weber had very large hands and delighted in writing music that suited them.^[2] There are several recordings of the major works for the solo piano (including complete recordings of the piano sonatas and the shorter piano pieces, by Garrick Ohlsson, Alexander Paley and others), and there are recordings of the individual sonatas by Claudio Arrau (1st Sonata), Alfred Brendel (2nd Sonata), Sviatoslav Richter (3rd Sonata) and Leon Fleisher (4th Sonata). The Invitation to the Dance, although better known in Berlioz's orchestration (as part of the ballet music for a Paris production of Der Freischütz), has long been played and recorded by pianists (e.g. Benno Moiseiwitsch [in Carl Tausig's arrangement]). Invitation to the Dance also served as the thematic basis for Benny Goodman's swing tune Lets Dance.

His orchestral music, clarinet works, the opera Der Freischütz (his most famous composition), as well as the overtures to Oberon and Euryanthe are still performed. The last two operas have, in fact, been performed more and more often since the 1990s.

Works

For more details on Weber's compositions, including complete lists of his works in order of opus number and Jähns catalogue number, see List of compositions by Carl Maria von Weber.

Operas

See List of operas by Weber.

Church music

• Missa sancta No. 1 in E flat, J. 224 (1818)
• Missa sancta No. 2 in G, Op. 76, J. 251 (1818-19)

Symphonies

• Symphony No. 1 in C (1812)
• Symphony No. 2 in C (1813)

Vocal works with orchestra

• Cantata Der erste Ton for chorus and orchestra, Op. 14, J. 58 (1808 / revised 1810)
• Recitative and rondo Il momento s'avvicina for soprano and orchestra, Op. 16, J. 93 (1810)
• Hymn In seiner Ordnung schafft der Herr for soloists, chorus and orchestra, Op. 36, J. 154 (1812)
• Cantata Kampf und Sieg for soloists, chorus and orchestra, Op. 44, J. 190 (1815)
• Scene and Aria of Atalia Misera me! for soprano and orchestra, Op. 50, J. 121 (1811)
• Jubel-Cantata for the 50th royal jubilee of King Frederick Augustus I of Saxony for soloist, chorus and orchestra, Op. 58, J. 244 (1818)

Concertos

• Piano Concerto No. 1 in C major, Op. 11, J. 98 (1810)
• Piano Concerto No. 2 in E flat major, Op. 32, J. 155 (1812)
• Konzertstück for Piano and Orchestra in F minor, Op. 79, J. 282 (1821)

• Bassoon Concerto in F major, Op. 75, J. 127 (1811 / revised 1822)
• Andante and Rondo Hungarian (Andante e Rondo Ongarese) for Bassoon and Orchestra in C minor, Op. 35, J. 158 (1813),revised as J. 79

• Clarinet Concerto No. 1 in F minor, Op. 73, J. 114 (1811)
• Clarinet Concerto No. 2 in E flat major, Op. 74, J. 118 (1811)
• Concertino for Clarinet and Orchestra in C minor/E flat major, Op. 26, J. 109 (1811)

• Grand pot-pourri for Cello and Orchestra in D major, Op. 20, J. 64 (1808)
• Variations for Cello and Orchestra in D minor, J. 94 (1810)

• Konzertstück for Horn and Orchestra in E minor, Op. 45, J. 188 (1815)

• Romanza Siciliana for Flute and Orchestra, J. 47 (1805)

• Six variations on the theme A Schüsserl und a Reind'rl for Viola and Orchestra, J. 49 (1800 / revised 1806)
• Andante and Rondo Hungarian for die Viola and Orchestra, J. 79 (1809)
• Adagio and Rondo for Harmonichord and Orchestra in F major, J. 115 (1811)

Media

Der Freischutz, J. 277 - Overture Performed by the Skidmore College Orchestra. Courtesy of Musopen Clarinet Concerto No. 2 in E Flat Major, J. 118 - iii. Alla Polacca Performed by the Skidmore College Orchestra. Courtesy of Musopen Grand Duo Concertant for clarinet and piano - 1. Allegro con Fuoco Performed by William McColl (clarinet) and Joeseph Levine (piano) Grand Duo Concertant for clarinet and piano - 2. Andante con Moto Performed by William McColl (clarinet) and Joeseph Levine (piano) Grand Duo Concertant for clarinet and piano - 3. Allegro Performed by William McColl (clarinet) and Joeseph Levine (piano) Concerto for Bassoon in F Major, 1st movement (piano transcription) Performed by Kat Walsh (bassoon) and Amy Crane (piano)

Problems listening to these files? See media help.

References

1. ^ ^{a b} Masters Of Music - Carl Maria Von Weber
2. ^ Andrew Fraser, Limelight magazine, June 2009, p. 60

Notes

• Friese-Greene, A. (1993) Weber, The Illustrated lives of the great composers, New ed., London : Omnibus, ISBN 0-7119-2081-8
• Henderson, D.G. and Henderson, A.H. (1990) Carl Maria von Weber : a guide to research, Garland composer resource manuals 24, New York ; London : Garland, ISBN 0-82404-118-6
• Meyer, S.C. (2003) Carl Maria Von Weber and the Search for a German Opera, Indiana University Press, ISBN 0-253-34185-X
• Reynolds, D. (Ed.) (1976) Weber in London, 1826, London : Wolff, ISBN 0-85496-403-7
• Warrack, J.H. (1976) Carl Maria Von Weber, Cambridge University Press, ISBN 0-241-91321-7
• Warrack, J.H., Macdonald, H. and Köhler, K-.H. (1985) Early romantic masters 2: Weber, Berlioz, Medelssohn, The composer biography series, London : Macmillan, ISBN 0-333-39014-8

External links

Wikimedia Commons has media related to: Carl Maria von Weber

Wikisource has original text related to this article: Karl Maria von Weber

Wikisource has the text of a 1911 Encyclopædia Britannica article about Carl Maria von Weber.

• Information about the new Carl Maria von Weber Edition
• The works of Carl Maria von Weber
• Carl Maria von Weber cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
• Free scores by Carl Maria von Weber in the Werner Icking Music Archive (WIMA)
• Free scores by Carl Maria von Weber in the International Music Score Library Project
• Free scores by Carl Maria von Weber in the Choral Public Domain Library (ChoralWiki)
• Der Freischütz Soprano (free MP3)
•  "Weber, Karl Maria von". The New Student's Reference Work. Chicago: F. E. Compton and Co.. 1914. 

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Persondata
NAME	Weber, Carl Maria von
ALTERNATIVE NAMES	Weber, Carl Maria Friedrich Ernst von
SHORT DESCRIPTION	German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school
DATE OF BIRTH	18 November 1786
PLACE OF BIRTH	Eutin, Holstein
DATE OF DEATH	5 June 1826
PLACE OF DEATH	London

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