Carl Maria von Weber (Nov. 8, 1786 – June 5,1826) is best remembered as minor German composer, reaching his mature style at the beginning of the 19th century in the transitional period between the Classical (1750-1820) and Romantic (1820-1910) eras of Western music. While not to intentionally dismiss von Weber's contributions to the musical Germanic musical lineage, he has been overshadowed by his contemporaries and undisputed "major players of Classical music" Ludwig van Beethoven sixteen years his senior (Dec. ?, 1770 to March 26, 1827) and Franz Schubert (Jan. 31, 1797 to Nov. 19, 1828). While von Weber's music is not performed as much as Beethoven and Schubert may be today, he was celebrated in his lifetime and was central in the development of German Romantische Oper (German Romantic opera) and was abosultely essential in laying the groundwork for the music of the Romantic era. Some musicologists consider Weber to be the first Romantic composer.
Early Life and Education
Carl Maria was raised in a well-known musical family. He was a weak child with a congenital hip issue that resulted in a lifelong limp and did not walk until he was four. His father, Franz Anton, formed a small traveling theatre company. His mother, Genovefa, was a singer. Franz Anton was motivated by status and added the aristoctatic "von" to the family's name and claimed (falsely) to be descended from a southern German noble family that had been known to have no living heirs. Thse ever-ambitious Franz Anton wished to turn young Carl Maria into a celebrated prodigy like Wolfgang Amadeus Mozart and his sister Maria Anna "Nannerl" Mozart. (As it would happen, Mozart's wife, Constanze Weber (Jan. 5, 1762 – March 6, 1842), was Weber's cousin). During times when the family traveled, Carl's half-brother, Fridolin, acted as his music teacher. He also studied in between tours with well-known teachers including Michael Haydn (Sept. 1737 – Aug. 10, 1806), the younger brother of Franz Joseph, who was a highly regarded composed in his own right.
Sturm und Drang
“…it has a completely different character and is much more brilliant and difficult than the first, a really bold piece of Sturm und Drang.”
C.M. von Weber, writing about his second piano concerto in a letter to Gottfried, 1811.
During the mid-eighteenth century, music had evolved into a style that we call "Classical" today. Artists in this period were inspired by a philosophic return to the ideals of Ancient Greece and Rome. They emphasized elegance and simplicity in their art, as well as ever-increasing techincal skill. Classical era music was rooted in structured forms and tension and stress created by harmonic and motivic development. There was a strong emphasis on the dominant (V) to tonic (I or i).
By the end of the century, Germanic artists began focusing on intense emotions in their works by building tension through longer passages musical dissonance and rhythmic effects. Composers of the First Viennese School, which include the Haydns, Beethoven, Mozart, and Schubert, embraced this approach, especially in their work in minor keys. (It was not a actual school, rather composers who were in some way associated with each other and working in Vienna around the same time.) This move to more emotive works is called "Sturm und Drang" ("storm and stress"). Music went beyond the technical sophistication that had been attained during the Baroque (1600 to 1750) and embraced a more expressive and personal approach. Composers sought to evoke passion, rebellion, and longing in their music and emphasized individuality. Nature and the sublime were central themes, with heroic figures challenging societal norms and exploring the unconscious mind through dream imagery such as that in The Nightmare (1781) by Henry Fuseli (see above). Additionally, Sturm und Drang was associated with German nationalism and cultural identity in the late 1700s to the 1800s and inspired Romantic composers across Western music, including Franz Liszt and Frederic Chopin, a period in which national and ethnic identity became increasingly important in a new globally-connected world.
Piano Concerto No. 2 in E flat Major Op. 32, J. 155
Considering the challenges of Weber's early life, it is very likely that his childhood illness and physical challenges drew him to the Sturm und Drang style. Weber commented to associates that he had fully embraced this approach to composition. In one personal correspondence, he described his "Piano Concerto No. 2" as “…it has a completely different character and is much more brilliant and difficult than the first, a really bold piece of Sturm und Drang.” These challenges may have led him to express his emotions and experiences through his music, adding depth and intensity to his compositions. Overcoming physical limitations early in life could have instilled a sense of resilience and determination in Weber, which might be reflected in the bold and innovative aspects of his musical style. The embellishment of his family history and his father's aspirations for social status might have instilled in him a quest for personal identity, which could have manifested in his music through exploration of heroic and folklore-inspired themes. Moreoever, the support and guidance he received from his teachers gave him a strong foundtion in the Viennese ideals of musical composition. Overall, the combination of childhood stress, early exposure to diverse musical influences, and mentorship likely played a significant role in shaping Carl Maria Weber's artistic development and the distinctive style that set him apart as a composer.
Opera
Der Freischütz, Wolf's Glen Scene, Op. 77, J. 277
Throughout Weber’s career, he served as the Music Director of opera houses in the
German city of Breslau (now Wroclaw, Poland), the Czech city of Prague, and the German city of Dresden. Weber enriched the opera in each of these cities by introducing larger orchestras, performing more complex repertoire, as well as adding more singers. Weber sought to raise opinion of German opera to that of Italian opera, which had been considered the epitome of the art form. He composed several operas himself, including "Der Freischütz" ("The Marksman"), "Euryanthe," and "Oberon." Weber's operas, along with his other compositions, are known for their exceptional orchestration, use of Germanic folk lore and folk music idioms, and dramatic Sturm und Drang style. In fact, Weber's operas are often cited as protypical masterworks of Sturm und Drang and are considered some of foundational compositions that lead Western music from the Classical to the Romantic period.
"Oberon" Overture J. 306
Weber frequently integrated elements of German folk melodies, rhythms, and instrumentation into his compositions but especially his operas. These folk influences are particularly noticeable in works like "Der Freischütz" and "Euryanthe". Weber's musical creations played a role in shaping the emerging German national identity during the Romantic period. His music exalted German culture and history, striking a chord with the patriotic feelings of that era and influencing Johannes Brahms, Richard Wagner, and Gustav Mahler. Weber's operas often drew inspiration from Germanic folklore, legends, and literature. For instance, "Der Freischütz" is rooted in a fairy tale plot that explores love, destiny, and the supernatural. While Italian had been the language most associated with the opera, Weber's operas feature the German language, displaying the connection between his music and German cultural identity. He also chose to mirror the distinctive musical traditions of various German regions, especially Bavaria and Saxony, where he resided and worked. He drew inspiration from the folk music and customs of these areas, incorporating them into his musical pieces. He did this by composing in traditional dance forms such as the waltz and Germanic folk dances. He also brought into folk influence by evoking the sounds and textures of folk music and the music of his father's theater group by employing woodwinds, brass, and percussion in vibrant and rhythmic passages.
Weber was undoubtably a pivotal figure in the transition from the Classical to the Romantic era of Western music. Despite being overshadowed by contemporaries like Beethoven and Schubert today, Weber's contributions were significant and his influence on later composers throughout the Romantic era can not be overemphasized. His use of the Sturm und Drang style, with its expressive intensity and emotional depth, set the stage for the Romantic movement and laid the groundwork for the works of Brahms, Wagner, and Mahler. Through his operas and other compositions, Weber integrated German folk traditions and themes, elevating German opera to rival its Italian language contemporaries and contributing to the burgeoning German national identity. His innovative orchestration and dramatic flair continue to influence composers to this day, solidifying his place as one of the foundational figures who shaped the course of Western musical history.
Carl Maria von Weber died in his sleep during the night on June 5, 1826 at the London home of his good friend conductor and organist Sir George Smart (May 10, 1776 – Feb. 23, 1867). Weber had been suffering from tuberculosis, but despite this, he had conducted the premiere and twelve sold-out performances of Oberon in London during April and in May.
Janae J. Almen is a professional music instructor, composer, sound artist, and writer. She has a BA in Music/Education from Judson University and a MM in Computer Music/Composition from the Peabody Institute of the Johns Hopkins University. She is the founder of Perennial Music and Arts and is passionate about sharing her love of music and arts.
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