Carl Maria Friedrich August von Weber (born 18 or 19 November 1786, Eitin - died 5 June 1826, London), baron, German composer, conductor, pianist, music writer, founder of the German romantic opera.

Weber was born into the family of a musician and theater entrepreneur, always immersed in various projects. His childhood and youth were spent wandering around the cities of Germany together with his father’s small theater troupe, due to which it cannot be said that he went through a systematic and strict training in his youth. music school. Almost the first piano teacher with whom Weber studied more or less long time, there was Heschkel, then in theory - Mikhail Haydn, lessons were also taken from G. Vogler.

1798 - Weber's first works appeared - small fugues. Weber was then a student of the organist Kalcher in Munich. Weber subsequently studied the theory of composition more thoroughly with Abbot Vogler, having Meyerbeer and Gottfried Weber as his classmates. Weber's first stage experience was the opera Die Macht der Liebe und des Weins. Although he wrote a lot in his early youth, his first success came with his opera “Das Waldmädchen” (1800). The opera by the 14-year-old composer was performed on many stages in Europe and even in St. Petersburg. Subsequently, Weber reworked this opera, which, under the name “Silvana,” lasted for a long time on many German opera stages.

Having written the opera “Peter Schmoll und seine Nachbarn” (1802), symphonies, piano sonatas, cantata “Der erste Ton”, opera “Abu Hassan” (1811), he conducted the orchestra in different cities and gave a concert.

1804 - worked as a conductor of opera houses (Breslau, Bad Karlsruhe, Stuttgart, Mannheim, Darmstadt, Frankfurt, Munich, Berlin).

1805 - wrote the opera “Rübetzal” based on the fairy tale by I. Muzeus.

1810 - opera "Silvana".

1811 - opera "Abu Hassan".

1813 - headed the opera house in Prague.

1814 - becomes popular after composing war songs based on poems by Theodor Kerner: “Lützows wilde Jagd”, “Schwertlied” and the cantata “Kampf und Sieg” (“Battle and Victory”) (1815) based on text by Wohlbruck on the occasion of the Battle of Waterloo. The jubilee overture, masses in es and g, and cantatas written later in Dresden had much less success.

1817 - headed and until the end of his life led the German musical theater in Dresden.

1819 - back in 1810, Weber drew attention to the plot of “Freischütz” (“Free Shooter”); but only this year he began to write an opera on this plot, processed by Johann Friedrich Kind. Freischütz, staged in 1821 in Berlin under the direction of the author, caused a positive sensation, and Weber's fame reached its apogee. “Our shooter hit the target,” Weber wrote to librettist Kind. Beethoven, surprised by Weber's work, said that he did not expect this from such a gentle person and that Weber should write one opera after another.

Before Freischütz, Wolf's Preciosa was staged in the same year, with music by Weber.

1822 - by suggestion Vienna Opera the composer wrote "Euryanthe" (at 18 months). But the success of the opera was no longer as brilliant as Freischütz. Weber's last work was the opera Oberon, after which he died soon after its production in London in 1826.

Weber is rightly considered a purely German composer, who deeply understood the structure of national music and brought German melody to high artistic perfection. Throughout his entire career, he remained faithful to the national direction, and his operas contain the foundation on which Wagner built Tannhäuser and Lohengrin. Especially in "Euryanthe" the listener is embraced by exactly the musical atmosphere that he feels in the works of Wagner of the middle period. Weber is a brilliant representative of the romantic operatic movement, which in the twenties XIX century was in such force and which in later times found a follower in Wagner.

Weber's talent overflows into his the last three operas: “The Magic Arrow”, “Euryanthe” and “Oberon”. It is extremely diverse. Dramatic moments, love, subtle features of musical expression, a fantastic element - everything was accessible to the composer’s wide talent. The most diverse images are outlined by this musical poet with great sensitivity, rare expression, and great melody. A patriot at heart, he not only developed folk melodies, but also created his own in a purely folk spirit. Occasionally, his vocal melody at a fast tempo suffers from some instrumentality: it seems as if it was written not for the voice, but for an instrument for which technical difficulties are more accessible. As a symphonist, Weber mastered the orchestral palette to perfection. His orchestral painting is full of imagination and has a unique coloring. Weber is primarily an opera composer; the symphonic works he wrote for the concert stage are far inferior to his operatic overtures. In the field of song and instrumental chamber music, namely piano works, this composer left wonderful examples.

Carl Maria Friedrich August (Ernst) von Weber (German: Carl Maria von Weber; November 18 or 19, 1786, Eutin - June 5, 1826, London) - German composer, conductor, pianist, music writer, founder of German romantic opera. Baron.Weber was born into the family of a musician and theater entrepreneur, always immersed in various projects. His childhood and youth were spent wandering around the cities of Germany with his father’s small theater troupe, due to which it cannot be said that he went through a systematic and strict music school in his youth. Almost the first piano teacher with whom Weber studied for a more or less long time was Johann Peter Heuschkel, then, according to theory, Michael Haydn, and he also took lessons from G. Vogler. 1798 - Weber's first works appeared - small fugues. Weber was then a student of the organist Kalcher in Munich. Weber subsequently studied the theory of composition more thoroughly with Abbot Vogler, having Meyerbeer and Gottfried Weber as his classmates; At the same time, he studied piano with Franz Lauski. Weber's first stage experience was the opera Die Macht der Liebe und des Weins. Although he wrote a lot in his early youth, his first success came with his opera “Das Waldmädchen” (1800). The opera by the 14-year-old composer was performed on many stages in Europe and even in St. Petersburg. Subsequently, Weber reworked this opera, which, under the name “Silvana,” lasted for a long time on many German opera stages.

Having written the opera “Peter Schmoll und seine Nachbarn” (1802), symphonies, piano sonatas, the cantata “Der erste Ton”, the opera “Abu Hassan” (1811), he conducted orchestras in different cities and gave concerts.

1804 - worked as a conductor of opera houses (Breslau, Bad Karlsruhe, Stuttgart, Mannheim, Darmstadt, Frankfurt, Munich, Berlin).

1805 - wrote the opera “Rübetzal” based on the fairy tale by I. Muzeus.

1810 - opera "Silvana".

1811 - opera "Abu Hassan".

1813 - headed the opera house in Prague.

1814 - becomes popular after composing war songs based on poems by Theodor Kerner: “Lützows wilde Jagd”, “Schwertlied” and the cantata “Kampf und Sieg” (“Battle and Victory”) (1815) based on text by Wohlbruck on the occasion of the Battle of Waterloo. The jubilee overture, masses in es and g, and cantatas written later in Dresden had much less success.

1817 - headed and until the end of his life directed the German musical theater in Dresden.

1819 - back in 1810, Weber drew attention to the plot of “Freischütz” (“Free Shooter”); but only this year he began to write an opera on this plot, processed by Johann Friedrich Kind. Freischütz, staged in 1821 in Berlin under the direction of the author, caused a positive sensation, and Weber's fame reached its apogee. “Our shooter hit the target,” Weber wrote to librettist Kind. Beethoven, surprised by Weber's work, said that he did not expect this from such a gentle person and that Weber should write one opera after another.

Before Freischütz, Wolf's Preciosa was staged in the same year, with music by Weber.

In 1821, he gave lessons in the theory of composition to Julius Benedict, who was later granted a noble title by Queen Victoria for his talent.

1822 - at the suggestion of the Vienna Opera, the composer wrote “Euryanthe” (at 18 months). But the success of the opera was no longer as brilliant as Freischütz.

Weber's last work was the opera Oberon, for which he traveled to London and died at the home of conductor George Smart shortly after the premiere.

Weber is rightly considered a purely German composer, who deeply understood the structure of national music and brought German melody to high artistic perfection. Throughout his entire career, he remained faithful to the national direction, and his operas contain the foundation on which Wagner built Tannhäuser and Lohengrin. Especially in "Euryanthe" the listener is embraced by exactly the musical atmosphere that he feels in the works of Wagner of the middle period. Weber is a brilliant representative of the romantic operatic movement, which was so strong in the twenties of the 19th century and which later found a follower in Wagner.

Weber's talent is in full swing in his last three operas: "The Magic Arrow", "Euryanthe" and "Oberon". It is extremely diverse. Dramatic moments, love, subtle features of musical expression, a fantastic element - everything was accessible to the composer’s wide talent. The most diverse images are outlined by this musical poet with great sensitivity, rare expression, and great melody. A patriot at heart, he not only developed folk melodies, but also created his own in a purely folk spirit. Occasionally, his vocal melody at a fast tempo suffers from some instrumentality: it seems as if it was written not for the voice, but for an instrument for which technical difficulties are more accessible. As a symphonist, Weber mastered the orchestral palette to perfection. His orchestral painting is full of imagination and has a unique coloring. Weber is primarily an opera composer; the symphonic works he wrote for the concert stage are far inferior to his operatic overtures. In the field of song and instrumental chamber music, namely piano works, this composer left wonderful examples.

Weber also owns the unfinished opera “Three Pintos” (1821, completed by G. Mahler in 1888).

1861 - A monument to Weber was erected in Dresden, by Ernst Rietschel.

Max Weber, his son, wrote a biography of his famous father.

Carl Maria von Weber was a famous German composer and musician of the 18th century, who was the cousin of Mozart's wife. He made a great contribution to the development of music and theater. One of the founders of romanticism in Germany. The most famous works the composer became his operas.

Carl Maria von Weber: biography. Childhood

Karl was born in the small German town of Eitin (Holstein). This event happened on December 18, 1786. His father was Franz Weber, who was distinguished by his great love of music. He served as an entrepreneur in a traveling dramatic troupe.

The future musician's childhood years were spent among nomads theater actors. This peculiar atmosphere greatly influenced the boy and determined his future. Thus, it was the theater troupe that instilled in him an interest in dramatic and musical genres, and also gave him knowledge about the laws of the stage and the musical specifics of dramatic art.

At a young age, Weber was also actively interested in painting. However, his father and older brother tried to introduce him more to music. Franz, despite constant travel, managed to give his son a good musical education.

First compositions

In 1796, Carl Maria von Weber studied piano in Hildburghausen, then in Salzburg he studied the basics of counterpoint in 1707, then in Munich from 1798 to 1800 he studied composition with the court organist Kalcher. During these same years, he took singing lessons.

Karl became seriously interested in music. And in 1798, under the direction of J.M. Haydn, he even created several fuguettes for the clavier. These were the composer's first works. Surprisingly, Carl Maria von Weber also began writing operas very early. Literally after the fugues, two of his major creations appeared, which we will discuss below, as well as a large mass, allemandes, ecosaises, and comic canons. But the most successful was the singspiel “Peter Schmoll and His Neighbors,” created in 1801. It was this work that won the approval of Johann Michael Haydn himself.

High post

In 1803, there was a significant development in the work of the future creator of German romantic opera. This year Weber arrives in Vienna, after a long journey throughout Germany. Here he meets the then very famous music teacher Abbot Vogler. This man quickly noted the gaps that existed in Karl’s musical theoretical knowledge and set about filling them. The composer worked hard and was highly awarded. In 1804, he, a seventeen-year-old young man, was accepted as a kopellmeister, that is, a leader, at the Breslau Opera House, thanks to the patronage of Vogler. This event marked a new period of Weber's work and life, which includes the following time frame - from 1804 to 1816.

The beginning of the most important period of creativity

The musical works of Carl Maria von Weber underwent a serious evolution at this time. In general, starting from 1804, the composer’s entire work changed. At this time, Weber's aesthetic views and worldview took shape, and his musical talent manifested itself most clearly.

In addition, Karl shows real talent as an organizer in the musical and theatrical field. And traveling with the troupe to Prague and Breslau revealed his abilities as a conductor. But it was not enough for Weber to master the classical tradition; he strives to transform and correct everything. Thus, he, as a conductor, changed the arrangement of musicians in the opera orchestra. Now they were grouped depending on the type of instrument. With this, the composer anticipated the principle of orchestral placement that would become popular in the 19th and 20th centuries.

Eighteen-year-old Weber defended his bold changes with all the fervor of his youth, despite the resistance of musicians and singers seeking to preserve the tradition historically established in German theaters.

Major works of this period

In 1807-1810, musical-critical and literary activity Carl Maria von Weber. He begins to write reviews and articles about performances and musical works, begins a novel called “The Life of a Musician,” and writes annotations for his works.

The works written during the entire first period of the composer’s work make it possible to see how the features of the author’s future, more mature and serious style are gradually emerging more and more clearly. At this time the highest value in artistically acquire musical and dramatic works by Weber, including:

• Singspiel "Abu Hasan".
• Opera "Silvana".
• Two symphonies and two untitled cantatas.

Also during this period, many overtures, songs, choir arias, etc. appeared.

Dresden period

At the very beginning of 1817, Carl Maria von Weber became conductor of the Dresden Deutsche Oper. In the same year, he married Caroline Brandt, an opera singer.

From this moment begins the most important and last period the composer's work, which ended in 1826 with his death. At this time, Weber's conducting and organizational activities took on a very intense character. At the same time, he had to face many difficulties as a conductor and leader. The innovations of Karl Maria were actively opposed by the theatrical traditions that ruled for almost a century and a half, as well as by F. Morlacchi, the conductor of the Italian opera troupe in Dresden. Despite all this, Weber managed to assemble a new German opera company. Moreover, he managed to stage several excellent performances, despite the underprepared team.

However, one should not think that Weber the composer gave way to Weber the bandmaster. He managed to combine both of these roles and cope with them brilliantly. It was at this time that the master’s best creations were born, including his most famous opera.

"Free Shooter"

The story told in this opera originates from the folklore story of how a man sold his soul to the devil for magic dust that helped him win a shooting competition. And the reward was marriage to beautiful lady, with whom the hero was in love. For the first time, the opera embodied what was close and familiar to the German heart. Weber depicted a simple village life with sentimental naivety and crude humor. The forest, hiding otherworldly horror under a gentle smile, and the heroes, ranging from village girls and cheerful hunters to valiant and fair princes, were mesmerizing.

This whimsical plot merged with beautiful music, and the whole thing became a mirror reflecting every German. In this work, Weber not only freed German opera from Italian and French influence, but also managed to lay the foundations for the leading operatic form of the entire 19th century.

The premiere took place on June 18, 1821 and was a dizzying success with the audience, and Weber became a real national hero.

The opera was later recognized greatest creation National German Romantic Theater The composer, taking the singspiel genre as a basis, used broad musical forms that made it possible to saturate the work with drama and psychologism. Great place The opera is occupied by detailed musical portraits of heroes and everyday scenes associated with German folk song. They were very clearly expressed musical landscapes and fantastic episodes thanks to the richness of the orchestra created by Weber.

The structure of the opera and its musical features

“Free Shooter” begins with an overture, dominated by smooth melodies from the horns. A mysterious romantic picture of the forest is drawn before the viewer, and the poetry of ancient hunting legends is heard. The main part of the overture describes the struggle of opposites. The introduction ends with a solemn and majestic coda.

The action of the first act unfolds against the background of mass cheerful scenes. We see pictures of peasant holidays, beautifully recreated thanks to choral introductions and folk musical motifs. The melody sounds as if it was actually played by village musicians, and the village simple waltz is simple and naive.

The aria of the huntsman Max, which is full of anxiety and confusion, contrasts sharply with the holiday. And in the drinking song of the second huntsman Kaspar, a sharp rhythm is clearly heard, encouraging rapid action.

The second act is divided into two scenes that contrast with each other. In the first part, we first hear the carefree Arietta Angel, who serves to highlight the spiritual purity and depth of feelings of her friend Agatha. The picture is filled with alternating song melodies and expressive recitatives, which help to better understand the girl’s experiences. The final part is filled with joy, light and sparkle.

However, already in the second picture the dramatic tension begins to increase. And the main role here is given to the orchestra. The chords sound unusual, dull and gloomy, terrifying, and the part of the choir hidden from the audience enhances the mystery. Weber managed to achieve a stunningly believable musical depiction of the rampant evil spirits and demonic forces.

The third act is also divided into two scenes. The first immerses the viewer in a calm, idyllic atmosphere. Agatha’s part is permeated with poetic, bright melancholy, and the chorus of girlfriends is painted in soft tones, in which national motifs are felt.

The second part opens with a chorus of hunters, accompanied by the sound of hunting horns. In this choir you can hear German folk tunes, which later gained worldwide popularity.

The opera ends with an extended ensemble scene with a choir, accompanied by a joyful melody, the leitmotif running through the entire work.

The creation of Oberon and the last days of his life

The fairy-tale opera Oberon was written in 1926; it completed a wonderful series of operatic works by the composer. Weber wrote it in order to provide for his family. The composer knew that he would soon die, and there would be no one else to take care of his loved ones.

"Oberon" in its form was completely different from Weber's usual style. For a composer who always advocated the fusion of opera with theatrical art, the structure of the work was ponderous. However, it was for this opera that Weber managed to create the most exquisite music. By the time he finished writing Oberon, the composer’s health had deteriorated greatly, and he could barely walk, nevertheless, Karl Maria did not miss the premiere. The opera received recognition, and once again critics and audiences praised Weber's talent.

Unfortunately, the composer did not have long to live. A few days after the premiere, he was found dead. It happened on June 5, 1826 in London. It was on this day that Weber was going to return to his homeland in Germany.

In 1861, a monument to Weber was erected.

First youth opera

“The Dumb Forest Girl,” the composer’s first major work, deserves special mention. The opera premiered in 1800 in Freiburg. Despite the youth and inexperience of the author, it was a success and gained recognition. It can be said that this production of this work marked the beginning of Weber's composing career.

As for the opera, it was not forgotten and for a long time continued to appear in theater programs Prague, Vienna, St. Petersburg and other cities of the world.

Other works

Weber left behind a rich creative heritage, which is almost impossible to list in full. But let's highlight his most significant works:

• 9 operas, including “Three Pintos”, “Rubezal”, “Silvana”, “Euryanthe”.
• Musical accompaniment for seven dramatic plays.
• Solo and choral vocal works include 5 masses, more than 90 songs, more than 30 ensembles, 9 cantatas, and about 10 arrangements of folk songs.
• Piano works: 4 sonatas, 5 pieces, 40 duets and dances, 8 variation cycles.
• About 16 concertos for piano, clarinet, horn and bassoon.
• 10 works for orchestra and 12 for chamber ensemble.

The composer Weber was a very extraordinary person with his own characteristics, advantages and disadvantages.

For example, he hated other people's fame. He was especially intolerant of Rossini. Weber constantly told friends and acquaintances that Rossini's music was mediocre, that it was just a fashion that would be forgotten in a few years.

A tragic accident led to Weber losing his beautiful voice. Once in Breslavl, the composer was waiting for a friend for dinner, and in order not to waste time, he sat down to work. Weber quickly froze and decided to warm up with a sip of wine. But due to the evening twilight, he confused the flask with the drink with the one in which his father kept sulfuric acid. The composer took a sip and fell lifeless. When his friend arrived, no one answered his knock, but there was light in the windows. He called for help, the door was opened, and Weber was quickly taken to the hospital. Doctors saved the composer's life, but his mouth, throat and vocal cords were so burned that he was forced to speak only in a whisper until the end of his days.

Weber loved animals very much. In his house lived a dog, a cat, many different birds and even a capuchin monkey. Most of all, the composer loved the Indian crow, who could say: “Good evening.”

Weber was egocentric. He loved himself so much that he even wrote laudatory articles about himself under a pseudonym, which were published from time to time in newspapers. But the matter did not stop there. The composer loved himself so much that he named three of his four children by their own names: Maria Carolina, Karl Maria, Carolina Maria.

Without a doubt, Weber was a very talented musician and composer who made an invaluable contribution to the development of German art. Yes, this man was not without flaws and was distinguished by vanity, but every genius has his own quirks.

“A talented person is talented in everything” - this expression can quite rightly be attributed to Carl Weber. He was not only a famous composer, performer and conductor, but also showed outstanding organizational skills and leadership talent. If it were not for Weber the musician, we would probably know Weber the writer or Weber the painter today, since he also turned out to be very successful in these areas of art. But the love of music, inherited from his parents, determined the life path of Karl Maria.

A short biography of Carl Maria von Weber and many interesting facts Read about the composer on our page.

Brief biography of Weber

The head of the family into which Carl Maria Friedrich von Weber was born, Franz Anton Weber, was married a second time and had a total of ten children. He served in the infantry, but became so interested in music that he left the service for the position of bandmaster and entrepreneur of a theater troupe, which involved constant tours and travel. Karl was born on December 18, 1786 in the German city of Eitin, and in his childhood he traveled with his parents to a significant part of the cities of Germany. His father, who played many instruments, and his mother, a singer, devoted Special attention development of his musical abilities, and in each new, albeit temporary, place of residence they found the best teachers for him.

From Weber's biography we learn that after the death of his mother, Karl and his father, who entrusted musical abilities The son had great hopes and moved to Franz Anton's sister in Munich. The efforts of his family and Karl’s unique abilities soon bore fruit: at the age of ten he tried his hand at composition, and in 1798 he created his first full-fledged works. Weber's mentors at that time were I. Wallishautz and I. Kalcher. Unfortunately, the debut work entitled “The Power of Love and Wine” was lost.

In 1799, the opera “Forest Glade” was created, and the following year Karl stopped in Salzburg where he again took lessons from Michael Haydn, the brother of the famous composer. His positive assessments of Karl’s first experiments gave the young man faith in own strength, and soon several more works were born, including the opera “Peter Schmoll and His Neighbors”. Without waiting for its production, Weber and his father go on a concert tour, during which Karl amazes the audience with his virtuoso playing, the result of long studies.

In 1803, Karl Weber moved to Vienna. Music classes continued under the leadership of Abbot Vogler, who paid special attention to the study of music theory, bringing the young Weber’s musical skills to perfection. After a year of painstaking work, Vogler gave the 17-year-old musician a ticket to adult life: on his recommendation, Karl was accepted as conductor at the opera house in Breslau.

Theater in the composer's life

Working in the opera houses of first Breslau and then Prague, Weber discovered new facets of his talent. He was an excellent conductor, but, in addition, he also showed himself as a reformer of musical and theatrical traditions. From the first days, Weber began to implement his own ideas about how musicians should be positioned in an orchestra. He arranged them by type of instrument, which at that time was quite bold, but already in the 19th century it became commonplace for all opera houses. In addition, Weber actively intervened in the rehearsal process, demanding separate sessions for learning new parts and general runs. The innovations of the young conductor met with misunderstanding on the part of experienced musicians, but Weber had enough confidence and strength to defend his point of view.

Life and work in Breslav forced him to get into big debts, from which the composer ran away on another tour. Thanks to a lucky chance, he receives the position of music director at Karslruhe Castle in the Duchy of Württemberg. During this short period, the composer created symphonies and concertinos for trumpet. The new place of service - as the Duke's personal secretary - turned out to be not the best decision - Weber only worsened his financial situation with new debts, and was soon expelled from Württemberg. Weber's wanderings continued; he visited Mannheim, Heidelberg, and Darmstadt. The opera Silvana was staged in Frankfurt. It was a fairly successful period - universal recognition awaited Karl in every city, and he continued to tour for several more years until he received an offer to become the head of a theater in Prague. However, Weber was unable to fully enjoy the freedom given to him in the productions: in January 1812 he was overtaken by lung disease, and since then his condition has only worsened.

The period of life that Weber associated with the theater largely determined the main features of his future creative activity, shaped the taste and style of the composer. It was a very fruitful time, giving the world art many significant works.

Last period of life

According to Weber's biography, in 1817 Karl held the position of bandmaster opera house in Dresden. Here his reformist sentiments encountered more serious resistance, since at that time Italian traditions occupied a dominant place in opera. Weber came to promote German opera with the help of talented German artists. Having overcome the discontent of even court circles, Weber nevertheless assembled a new troupe and successfully staged several brilliant performances.

During the Dresden period, Weber created his best works who made him famous. These are operas Free shooter ", "Three Pintos", "Euryanthe". The first of them marked the beginning of a new period in the development of German opera as a whole, and its premiere, on June 18, 1821, made Weber a national hero.

"Euryanthe", written and staged in 1823, was not highly appreciated by the public, although it was an equally striking point in Weber's work.

In 1826, Weber created the opera Oberon. But it was the fruit not so much of a creative impulse as of cold calculation: the composer foresaw his imminent death, and wrote it to leave his family a means of subsistence. Weber attended the premiere of Oberon while already seriously ill. He died on June 5, 1826.

Interesting Facts

• Carl Weber was a relative of himself Mozart: his cousin, his father's niece, married a great composer. It was Mozart's example that gave Franz Weber the idea of ​​raising one of his children to be an outstanding musician, to which he devoted his entire life.

• If Weber had not studied music, it is likely that the world would still have heard of him as an artist: in his youth, Karl demonstrated outstanding painting abilities.
• The opera “The Power of Love and Wine,” created by a 12-year-old composer, was lost forever: by a strange coincidence, the very closet in which Karl kept his composition burned down in the Weber’s house. Desperate, the young man took this as some kind of message from above that he should not study music. However, subsequent successful productions of his operas convinced Karl of the opposite, and he stopped believing in any “celestial signs” forever.
• The composer's father, who considered the main task of his life to help his son, almost became the culprit of the musician's untimely death. In order to somehow pay off his numerous debts, Franz took up engraving. One day, Karl, without checking the contents of the bottle, took a decent sip of acid. Fortunately, a close friend of the musician was nearby and called a doctor. The acid managed to burn his throat, and Weber lost his beautiful voice, speaking only in a whisper.

• Weber had a tense relationship with the composer Rossini, whose fame was also gaining momentum at that time. Karl did not miss the opportunity to make a barb at Rossini, and even ordered to write on his own portrait in an engraving: “Weber expresses the will of God, Beethoven- the will of Beethoven, and Rossini - the will of the Viennese"
• Carl Weber always loved animals, and in his own home there were always several favorite pets: a cat, a dog, a monkey and many birds, including ravens. For one of the composer’s birthdays, Caroline Brandt prepared a surprise for her husband: all the animals were dressed in funny carnival costumes, and early in the morning they were launched into the musician’s room. Weber rejoiced like a child, temporarily forgetting about all the troubles and even about the disease, which was at that moment in the acute stage.
• The composer was distinguished by narcissism, to the point that he himself wrote critical notes about his works and sent them to Parisian magazines anonymously or under pseudonyms. Articles were published, people talked about Weber, but no one had any idea that it was the musician himself who was creating fame for himself.

Personal life

From his youth, Karl Weber easily conquered women's hearts: his succession whirlwind romances originates from the Breslau Opera. But only one woman became his true love for life. While preparing for the premiere of the opera Silvana, the musician met Caroline Brandt, the performer of the main role. The feelings that flared up inspired the composer to create new works, and Caroline began to accompany her lover on all his tours. Their romance was not without loud quarrels - Karl was still popular with theater divas, and could not always resist passion.

The final reunion with Caroline was facilitated by not the most pleasant circumstances: after another complication, Weber went for spa treatment. Separation and frequent correspondence renewed feelings. In November 1816, Karl proposed to Caroline, and high society learned of their engagement. New round in personal relationships also gives rise to a new creative breakthrough - Weber for a short time writes some great musical compositions for various instruments.

Weber's biography says that the wedding with Caroline Brandt took place a year after the engagement, when Karl found his place in Dresden. Caroline's pregnancy was not resolved in the best possible way: a newborn girl died before she even lived a year. At this time, Karl himself almost fell ill. Difficult events drove the composer into deep depression; he barely had time to complete royal orders, and his wife’s health left much to be desired. A miscarriage that occurred in 1820 again shook the composer’s already fragile health and the well-being of his family. Subsequently, Caroline nevertheless recovered and gave birth to Weber four children, three of whom Weber, without false modesty, gave names consonant with his own and his wife’s name.

• “45 Years” (2015);
• "Mr. Robot" (2015);
• “1+1” (2011);
• "Boardwalk Empire" (2010);
• "Raymond's Export" (2010);
• "Skins" (2008);
• "The Game Plan" (2007);
• “The Diaries of Vaslav Nijinsky” (2001);
• "Star Status" (2000);
• Cartoon "SpongeBob SquarePants" (1999);
• "Receptionist" (1997);
• "Poison Ivy 2" (1996);
• "The Magic Shooter" (1994);
• "Second Screen" (1993);
• "Red Squirrel" (1993);
• "Final" (1990);
• "White Palace" (1990);
• "Happy Times" (1952).

The significance of Weber's work in world history classical music quite large. In addition to remarkable talent and diligence, this man also had strong character, because he managed to single-handedly carry out a reform of the theater orchestra, abolishing centuries-old traditions, and overcoming the resistance of authoritative figures of art of that time. Weber laid the foundations of romanticism in music, brought German national opera to a new level, and became an example and idol for future composers. His death in at a young age interrupted the series of brilliant works, perhaps depriving music world more than one fine example of romantic opera.

Video: watch a film about Weber

Weber's childhood was spent in the atmosphere of a nomadic provincial theater. His mother was a singer, and his father was a violinist and director of a small theater troupe. The excellent knowledge of the stage, acquired in childhood, was later very useful to Weber, as opera composer. Although constant travel interfered with his music studies, at the age of 11 Karl Maria became an outstanding virtuoso pianist.

At the age of 18, Weber began his independent work as an opera conductor. For more than 10 years he moved from place to place, without a permanent home and experiencing enormous financial difficulties,worked as a pianist and conductor. Only in 1817 Weber settled in Dresden.In 1817 he married the singer Caroline Brand.INDresdenWeber took over the leadership of the German musical theater andorganized the German Opera Theater, as opposed to the Italian Opera Theater under the leadership of Morlacchi.

The Dresden period became the pinnacle of his creative activity, and best operas Weber: “Free Shooter”, “Euryanthe”, “Oberon”.

In the history of Western European musical culture Weber's name is associated primarily with the creation of romantic German opera. The premiere of his "Free Shooter", held in Berlin on June 18, 1821 under the direction of the author, became an event historical significance. It put an end to the long dominance of foreign, primarily Italian, opera music on the stages of German theaters.Simultaneously with "Free Shooter", two famous program pieces by Weber were created - the piano "Invitation to the Dance" and "Concertstück" for piano and orchestra. Both works demonstrate the composer's characteristic brilliant concert style.

In search of ways to create a folk-national opera, Weber turned to the latest German literature. The composer communicated personally with many German romantic writers. Dramatic moments, love, subtle features of musical expression, a fantastic element - everything was accessible to Weber’s wide talent. The most diverse images are outlined by this musical poet with great sensitivity., melody, a rare expression. A patriot at heart, he not only developed folk melodies, but also created his own in a purely folk spirit.

Introducingin 1821 "Free Shooter",Webersignificantly anticipated the romanticism of such composers as Bellini and Donizetti, who appeared ten years later, or Rossini, who staged William Tell in 1829. In general, 1821 was significant for the preparation of romanticism in music: at this time Beethoven composed the Thirty-first Sonata op. 110 for piano, Schubert introduced the song “The Forest King” and began the Eighth Symphony, “Unfinished.” Already in the overture of "Free Shooter" Weber moves towards the future and frees himself from the influence of the theater of the recent past, Spohr's Faust or Hoffmann's Ondine, or the French opera that influenced these predecessors.

Opera "Euryanthe" is a romantic opera. The author of the libretto is Helmina von Chezy.

The story is based on the works of Giovanni Boccaccio, William Shakespeare, as well as the medieval French novel “The History of Gerard de Nevers and the beautiful and virtuous Euryante of Savoy, his dear.”

The beautiful girl Euryante is engaged to Count Adolar de Nevers. Count Liziart is also in love with her - in the presence of the monarch, he announces that he will achieve her love. Moreover, if he can prove that the girl is unfaithful to her fiancé, then Count Adolar will have to give his possessions to the self-confident count. Adolyar is confident in his beloved, and therefore accepts the terms of the dispute without a shadow of a doubt.

Eglantina, the daughter of a rebellious feudal lord, comes to the aid of Count Liziart. At one time, she was saved by Euryanta, but instead of gratitude, she hates the girl: after all, Euryanta turned out to be a more successful rival in love. Having won Evryanta's trust, Eglantina learns a terrible secret: Emma, ​​Adolyar's sister, once lost her fiancé. She could not cope with grief and poisoned herself with poison from her ring. But everyone knows that a suicide cannot find peace until a tear from an innocent victim falls on the coffin. Eglantine takes the fatal ring from the coffin and gives it to Lisiart. Then he presents the ring to the king and declares that Euryanthe has become his mistress. The lands of Adolyar pass to the evil count, and the lost Adolyar wants to kill his former bride. Euryante manages to convince the monarch that she is right: after all, she has been slandered. From the shock she suffered, the girl loses consciousness, and everyone thinks that she died from grief. Meanwhile, Count Lisiart wants to marry Eglantine. But the girl almost lost her mind - she was tormented by remorse. She accidentally reveals the truth to Adolyar, and he challenges Liziart to a duel. But he was not destined to take place: the king arrived. He informs the counts of Euryanthe's death. Eglantina rejoices, but not for long: in a fit of joy, she reveals the terrible secret of her betrayal and Liziart kills her, then goes to execution. Adolyar repents of the disbelief of his beloved, who so untimely departed to another world. But then the living Euryanta, crying with joy, embraces her lover in her arms. Her tears gave Emma eternal peace.

In 1822, the composer received an order to write a new opera from Domenico Barbaia. The head of the Vienna theater wanted to get a work in the folk spirit, with fantastic and colorful everyday scenes. Helmina von Chezy took on writing the libretto. The text was edited 11 times due to the complexity of the plot and disabilities scenes. The musical accompaniment was written in a year and a half.

The opera "Euryanthe" marked a new opera genre. The score is distinguished by a detailed portrayal of characters, choral and orchestral parts give the plot a special brightness.

Many critics consider the opera's plot to be initially confusing and illogical. Carl Maria von Weber directed the first four productions, and the opera was a success. However, it is believed that this was the success of the author of the play rather than the performance itself. And the shortening of “Euryanthe” after the composer’s departure made the work even more difficult to perceive.

- “Euryanthe” was dedicated to Emperor Franz I of Austria.

- The first production of Euryanthe with Henrietta Sontag in the title role was not successful. Then, the opera acquired its well-deserved significance and it began to be considered a prologue to Wagner’s musical dramas. The images of Lysiart and Eglantine, in musical expression, anticipate Ortrud and Telramund in Wagner's Lohengrin.

When Weber approached Euryante, Einstein writes, “his sharpest antipode, Spontini, had in a sense already cleared the way for him; at the same time, Spontini only gave the classical opera seria colossal, monumental proportions thanks to crowd scenes and emotional tension. In “Euryanthe” a new, more romantic tone appears, and if the public did not immediately appreciate this opera, then it was deeply appreciated by the composers of subsequent generations.”

The work of Weber, who laid the foundations of the German national opera (along with Mozart’s The Magic Flute), determined the double meaning of his operatic heritage, as Giulio Confalonieri writes well: “As a true romantic, Weber found in legends and folk tales the source of music devoid of notes, but ready to sound... Along with these elements, he also wanted to freely express his own temperament: Unexpected transitions from one tone to the opposite, a daring convergence of extremes that coexist with each other in accordance with the new laws of romantic Franco-German music, were taken to the limit by the composer , whose mental state, due to consumption, was constantly restless and feverish.” This duality, which seems to contradict stylistic unity and actually violates it, gave rise to a painful desire to escape, by virtue of the very choice of life, from the last meaning of existence: from reality - with it, perhaps, only in the magical “Oberon” is reconciliation supposed, and even then partial and incomplete.Exhausted by extensive organizational work and terminally ill, after a period of treatment in Marienbad (1824), Weber staged the opera Oberon (1826) in London, which was received with enthusiasm.

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Academic Symphony Orchestra Moscow Philharmonic under the direction of Simonov

In the form of a kind of protest against the “gray everyday life” of real life, in search of an imaginary idyll and beauty, romantic poets created a beautiful enchanting world in their works. This world of romantic dreams first received musical embodiment in Weber's Oberon. The composer gave it a playful, scherzo-like light.
The music of the opera seems to be imbued with magical light. Pictures of nature (aerial dances of elves at moonlight, mermaids swimming out of the sparkling ocean, flights of spirits of air, water and earth) are conveyed by the sparkling, subtlest colors of the orchestra. The horn and wooden instruments are used with particular virtuosity and expressiveness. wind instruments(clare-no, flutes).
The richness of the orchestral and harmonic palette is combined in Oberon with extreme simplicity musical forms. The bright melody of folk style and dance rhythms permeate many of the numbers in this opera.

A magnificent overture of Oberon, built entirely on themes from the opera.

In terms of brilliance, subtlety, and richness of colors, this overture stands out among all modern symphonic music. Many Romantic composers followed the path paved by Weber; Mendelssohn in the overture and scherzo from “A Midsummer Night’s Dream”, Berlioz in the scherzo “Fairy Mab”, Schumann in the Ariel scene from “Faust”.

What was new in Oberon was exotic flavor traditionally comedic “oriental” scenes. In their music, Weber used a genuine oriental motif, recorded by one of the travelers in the East.

Interesting Facts

At the age of twelve, Weber composed his first comic opera, The Power of Love and Wine. The opera score was kept in a closet. Soon, inexplicably, the cabinet with its contentsburned down. It should be noted that apart from the cabinet, nothing was damaged. Weber took this as a “sign from above” and decided to give up music, devoting himself to lithography.
However, passion for musicdid not pass and at the age of fourteen Weber wrote new opera"Mute Forest Girl" The opera was first staged in 1800. Then it was staged quite often in Vienna, Prague and even St. Petersburg. After a very successful start musical career Weber stopped believing in omens and “signs from above.”

The motto of Weber’s work was the famous words that the composer asked to place as his own autograph on the published engraving with his portrait: “Weber expresses the will of God, Beethoven the will of Beethoven, and Rossini... the will of the Viennese.”

In Breslau, Weber had a tragic incident that almost cost him his life. He invited a friend to dinner and sat down to work while waiting for him. Freezing while workingWeberdecided to warm up with a sip of wine, but in the semi-darkness he took a sip from the wine flask in which Weber’s father kept sulfuric acid forairing works. The composer fell lifeless. Weber's friend, meanwhile, was lateand came only at nightfall. The composer's window was lit, but no one answered the knock. The friend pushed open the unlocked door and saw Weber's body lying lifeless on the floor. A broken flask lay nearby, giving off a pungent odor. Weber’s father ran out of the next room in response to cries for help, and together they took the composer to the hospital. Weber was brought back to life, but his mouth and throat were terribly burned, and his vocal cords were ineffective. Thus Weber lost his beautiful voice. All later life he was forced to speak in a whisper. He once said in a whisper to one of his friends:

They say that Mozart was ruined by Salieri, but I managed without him...

Weber loved animals very much. His house resembled a zoo: the hunting dog Ali, the gray cat Maune, the capuchin monkey Shnouf and many birds surrounded the musician’s family. The big Indian raven was a favorite - every morning he said solemnly to the composer: “Good evening.”
One day, Caroline gave a truly wonderful gift to her husband. Costumes for the animals were made especially for Weber’s birthday, and the next morning a funny procession went to the birthday boy’s room to congratulate him!.. Ali was turned into an elephant with a long trunk and large ears, his nopon was replaced by silk handkerchiefs. Behind him was a cat dressed as a donkey, with a pair of slippers instead of bags on its back. Next came a monkey in a fluffy dress, a hat with a huge feather bouncing coquettishly on her head...
Weber jumped for joy like a child, and then something unimaginable began: he forgot about his illnesses, failures, and even about his competing composers... The animals and happy Weber rushed around the chairs and tables, and the serious raven said to everyone an infinite number of times:

Good evening!

It's a pity that Rossini didn't see this...

From time to time, enthusiastic praise of the greatest of the greatest maestros of all times, Weber, appeared in Parisian newspapers. Moreover, the laudatory articles of the unknown author were written with knowledge of all the intricacies of the composer’s music. And it is not surprising, since these praises of Weber were sung... by Weber himself.He was so in love with himself that, with the consent of his wife, three of the four children were named after their father: Karl Maria, Maria Carolina and Caroline Maria.