The Great German Composers 43 – Ferris · Library Across
Literature · Music
The Great German Composers 43Part 8 · Chapter 1
18
Literature · Music
The Great German Composers 43
Part 8 · Chapter 1
FerrisEnglish
The genius which inspired the three great works, "Der Freischutz," "Euryanthe," and "Oberon," has stamped itself as one of the most original and characteristic in German music. Full of bold and surprising strokes of imagination, these operas are marked by the true atmosphere of national life and feeling, and Ave feel in them the fresh, rich color of the popular traditions, and song-music which make the German Lieder such an inexhaustible treasure-trove. As Weber was maturing into that fullness of power which gave to the world his greater works, Germany had been wrought into a passionate patriotism by the Napoleonic wars. The call to arms resounded from one end of the Fatherland to the other. Every hamlet thrilled with fervor, and all the resources of national tradition were evoked to heighten the love of country into a puissance which should save the land. Germany had been humiliated by a series of crushing defeats, and national pride was stung to vindicate the grand old memories. France, in answer to a similar demand for some art-expression of its patriotism, had produced its Rouget de-Lisle; Germany produced the poet Korner and the musician Weber.
It is not easy to appreciate the true quality and significance of Weber's art-life without considering the peculiar state of Germany at the time; for if ever creative imagination was forged and fashioned by its environments into a logical expression of public needs and impulses, it was in the case of the father of German romantic opera. This inspiration permeated the whole soil of national thought, and its embodiment in art and letters has hardly any parallel except in that brilliant morning of English thought which we know as the Elizabethan era. To understand Weber the composer, then, we must think of him not only as the musician, but as the patriot and revivalist of ancient tendencies in art, drawn directly from the warm heart of the people.
Karl Maria von Weber was born at Eutin, in Holstein, December 18, 1786. His father had been a soldier, but, owing to extravagance and folly, had left the career of arms, and, being an educated musician, had become by turns attached to an orchestra, director of a theatre, Kapellmeister, and wandering player--never remaining long in one position, for he was essentially vagrant and desultory in character. Whatever Karl Maria had to suffer from his father's folly and eccentricity, he was indebted to him for an excellent training in the art of which he was to become so brilliant an ornament. He had excellent masters in singing and the piano, as also in drawing and engraving. So he grew up a melancholy, imaginative, recluse, absorbed in his studies, and living in a dream-land of his own, which he peopled with ideal creations. His passionate love of Nature, tinged with old German superstition, planted in his imagination those fruitful germs which bore such rich results in after-years.
In 1797 Weber studied the piano and composition under Ilanschkel, a thoroughly scientific musician, and found in his severe drill a happy counter-balancing influence to the more desultory studies which had preceded. Major Weber's restless tendencies did not permit his family to remain long in one place. In 1798 they moved to Salzburg, where young Weber was placed at the musical institute of which Michael Haydn, brother of the great Joseph, was director. Here a variety of misfortunes assailed the Weber family. Major Franz Anton was unsuccessful in all his theatrical undertakings, and extreme poverty stared them all in the face. The gentle mother, too, whom Karl so dearly loved, sickened and died. This was a terrible blow to the affectionate boy, from which he did not soon recover.
The next resting-place in the pilgrimage of the Weber family was Munich, where Major Weber, who, however flagrant his shortcomings in other ways, was resolved that the musical powers of his son should be thoroughly trained, placed him under the care of the organist Kalcher for studies in composition.
For several years, Karl was obliged to lead the same shifting, nomadic sort of life, never stopping long, but dragged hither and thither in obedience to his father's vagaries and necessities, but always studying under the best masters who could be obtained. While under Kalcher, several masses, sonatas, trios, and an opera, "Die Macht der Liebe und des Weins" ("The Might of Love and Wine"), were written. Another opera, "Das Waldmaed-chen" ("The Forest Maiden"), was composed and produced when he was fourteen; and two years later in Salzburg he composed "Peter Schmoll und seine Nachbarn," an operetta, which exacted warm praise from Michael Haydn.
At the age of seventeen he became the pupil of the great teacher Abbe Vogler, under whose charge also Meyerbeer was then studying. Our young composer worked with great assiduity under the able instruction of Vogier, who was of vast service in bringing the chaos of his previous contradictory teachings into order and light. All these musical Wanderjahre, however trying, had steeled Karl Maria into a stern self-reliance, and he found in his skill as an engraver the means to remedy his father's wastefulness and folly.
