Weber

9 Posts
Symphonic Transformations
From Weber to Hindemith to Lawrence
One of the most interesting cross-generational music styles is the theme and variations, particularly when a composer delves into the past to find his inspiration. How a work gets changed and modernized, its style developed, and a new work created
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Carl Maria von Weber: Inspired by Turandot
“Overture and Marches” for Turandot, Op. 37
Carlo Gozzi’s play Turandot was first performed in Venice in 1762. It was a deliberate attempt to counter the new literary trend of bourgeois realism so prevalent in the works of Carlo Goldoni. When Friedrich Schiller fashioned his German translation,
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Weber: Aufforderung zum Tanz
Watching the Dancers In 1819 Carl Maria von Weber wrote a little not-dance piece, Aufforderung zum Tanz, for his bride Caroline. This work was important because it was the first work considered a concert-waltz, i.e., a waltz, but not one
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At the Center of the Musical Universe
Carl Maria von Weber II
Although Carl Maria von Weber’s opera Der Freischütz is frequently portrayed as the liberation of German cultures from foreign influences, we should not forget that a “veritable Freischütz mania flooded all England.” Productions of the opera opened in London in
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At the Center of the Musical Universe
Carl Maria von Weber
When Carl Maria von Weber’s Der Freischütz (The Marksman) was first produced at the Schauspielhaus in Berlin in June 1821, the musical world was stunned. Setting his career as a pianist and critic aside, Weber had created a work that
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Lure of the Siren
Carl Maria von Weber and Gretchen Lang
The soprano Margarethe Bernbrunn, née Lang, who frequently performed under the stage name “Adalbert Prix,” was described in the following terms. “Gretchen possessed a little plump seductive form, was about twenty years of age, and, in addition to her undoubted
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Expressive Virtuosity
Carl Maria von Weber: Clarinet Concerto No. 1 in F minor, Op. 73
Carl Maria von Weber : Clarinet Concerto No. 1 in F Minor, Op. 73, J. 114 The comparatively late addition of the clarinet family to our modern catalogue of musical instruments at the turn of the 18th-century immediately spawned countless
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Approaching the Music Drama
Wagner, Weber and Marschner
Richard Wagner consistently downplayed the significance of his musical education. Undoubtedly, he was very keen to cultivate the notion of the untutored genius, just as Ludwig van Beethoven had done. However, as we saw in our last episode, his first
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