MUSIC

Classical Period 5 / 7

Carl Maria von Weber

( 1786 - 1826)

A very exquisite period of Music is this one when we find composers giving us a well balanced and inspiring atmosphere of melodies and instrumentation during the late XVIII and beginning of XIX century, We will try to select some of the most significant names and their most relevant masterpieces to help you remember and enjoy their contribution to the world.

We are absolutely sure to make you feel and enjoy it like a marvelous journey to times simple but profound roots of what human beings can reach when listening and travelling along the composer to a land where you may encounter yourself with some musical proposals of finest quality ever thought to be discovered.

Enjoy them as we have found them all suited for you.

ALMO

almoxxi.blogspot.com

Wikipedia, The Free Encylopedia . . .

Carl Maria Friedrich Ernst von Weber (c. 18 November 1786 – 5 June 1826) was a German composer, conductor, virtuoso pianist, guitarist, and critic in the early Romantic period. Best known for his operas, he was a crucial figure in the development of German Romantische Oper (German Romantic opera).

Throughout his youth, his father, Franz Anton [de], relentlessly moved the family between Hamburg, Salzburg, Freiberg, Augsburg and Vienna. Consequently he studied with many teachers—his father, Johann Peter Heuschkel, Michael Haydn, Giovanni Valesi, Johann Nepomuk Kalcher, and Georg Joseph Vogler—under whose supervision he composed four operas, none of which survive complete.^[ He had a modest output of non-operatic music, which includes two symphonies, two concertos and a concertino for clarinet and orchestra, a bassoon concerto, a horn concertino, two concertos and a Konzertstück for piano and orchestra, piano pieces such as Invitation to the Dance; and many pieces that featured the clarinet, usually written for the virtuoso clarinetist Heinrich Baermann.

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 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.

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 many 20th-century composers, such as Debussy and Stravinsky. Mahler completed Weber's unfinished comic opera Die drei Pintos and made revisions of Euryanthe and Oberon while Hindemith composed the popular Symphonic Metamorphosis of Themes by Carl Maria von Weber, based on Weber's lesser-known keyboard works and the incidental music to Turandot.