The Great German Composers Part 11

WEBER.

I.

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 pa.s.sionate 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 crus.h.i.+ng 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 fas.h.i.+oned 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 pa.s.sionate love of Nature, tinged with old German superst.i.tion, 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 inst.i.tute of which Michael Haydn, brother of the great Joseph, was director. Here a variety of misfortunes a.s.sailed 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 s.h.i.+fting, 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 ma.s.ses, sonatas, trios, and an opera, "Die Macht der Liebe und des Weins" ("The Might of Love and Wine"), were written. Another opera, "Das Waldmad-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 a.s.siduity 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.

II.

A curious episode in Weber's life was his connection with the royal family of Wurtemberg, where he found a dissolute, poverty-stricken court, and a whimsical, arrogant, half-crazy king. Here he remained four years in a half-official musical position, his nominal duty being that of secretary to the king's brother, Prince Ludwig. This part of his career was almost a sheer waste, full of dreary and irritating experiences, which Weber afterward spoke of with disgust and regret.

His spirit revolted from the capricious tyranny which he was obliged to undergo, but circ.u.mstances seem to have coerced him into a protracted endurance of the place. His letters tell us how bitterly he detested the king and his dull, pompous court, though Prince Ludwig in a way seemed to have been attached to his secretary. One of his biographers says:

"Weber hated the king, of whose wild caprice and vices he witnessed daily scenes, before whose palace-gates he was obliged to slink bareheaded, and who treated him with unmerited ignominy. Sceptre and crown had never been imposing objects in his eyes, unless worn by a worthy man; and consequently he was wont, in the thoughtless levity of youth, to forget the dangers he ran, and to answer the king with a freedom of tone which the autocrat was all unused to hear. In turn he was detested by the monarch. As negotiator for the spendthrift Prince Ludwig, he was already obnoxious enough; and it sometimes happened that, by way of variety to the customary torrent of invective, the king, after keeping the secretary for hours in his antechamber, would receive him only to turn him rudely out of the room, without hearing a word he had to say."

At last Karl Maria's indignation burst over bounds at some unusual indignity; and he played a practical joke on the king. Meeting an old woman in the palace one day near the door of the royal sanctum, she asked him where she could find the court-washerwoman. "There," said the reckless Weber, pointing to the door of the king's cabinet. The king, who hated old women, was in a transport of rage, and, on her terror-stricken explanation of the intrusion, had no difficulty in fixing the mischief in the right quarter. Weber was thrown into prison, and had it not been for Prince Ludwig's intercession he would have remained there for several years. While confined he managed to compose one of his most beautiful songs, "Ein steter Kampf ist unser Leben." He had not long been released when he was again imprisoned on account of some of his father's wretched follies, that arrogant old gentleman being utterly reckless how he involved others, so long as he carried out his own selfish purposes and indulgence. His friend Danzi, director of the royal opera at Stuttgart, proved his good genius in this instance; for he wrangled with the king till his young friend was released.

Weber's only consolations during this dismal life in Stuttgart were the friends.h.i.+p of Danzi, and his love for a beautiful singer named Gretchen.

Danzi was a true mentor and a devoted friend. He was wont to say to Karl: "To be a true artist, you must be a true man." But the lovely Gretchen, however she may have consoled his somewhat arid life, was not a beneficial influence, for she led him into many sad extravagances and an unwholesome taste for playing the cavalier.

In spite of his discouraging surroundings, Weber's creative power was active during this period, and showed how, perhaps unconsciously to himself, he was growing in power and depth of experience. He wrote the cantata "Der erste Ton," a large number of songs, the first of his great piano sonatas, several overtures and symphonies, and the opera "Sylvana"

("Das Waldmadchen" rewritten and enlarged), which, both in its music and libretto, seems to have been the precursor of his great works "Der Freischutz" and "Euryanthe." At the first performance of "Sylvana" in Frankfort, September 16, 1810, he met Miss Caroline Brandt, who sang the princ.i.p.al character. She afterward became his wife, and her love and devotion were the solace of his life.

Weber spent most of the year 1810 in Darmstadt, where he again met Vogler and Meyerbeer. Vogler's severe artistic instructions were of great value to Weber in curbing his extravagance, and impressing on him that restraint was one of the most valuable factors in art. What Vogler thought of Weber we learn from a letter in which he writes: "Had I been forced to leave the world before I found these two, Weber and Meyerbeer, I should have died a miserable man."

III.

It was about this time, while visiting Mannheim, that the idea of "Der Freischutz" first entered his mind. His friend the poet Kind was with him, and they were ransacking an old book, Apel's "Ghost Stories."

One of these dealt with the ancient legend of the hunter Bartusch, a woodland myth ranking high in German folk-lore. They were both delighted with the fantastic and striking story, full of the warm coloring of Nature, and the balmy atmosphere of the forest and mountain. They immediately arranged the framework of the libretto, afterward written by Kind, and set to such weird and enchanting music by Weber.

In 1811 Weber began to give concerts, for his reputation was becoming known far and wide as a brilliant composer and virtuoso. For two years he played a round of concerts in Munich, Leipsic, Gotha, Weimar, Berlin, and other places. He was everywhere warmly welcomed. Lichten-stein, in his "Memoir of Weber," writes of his Berlin reception: "Young artists fell on their knees before him; others embraced him wherever they could get at him. All crowded around him, till his head was crowned, not with a chaplet of flowers, but a circlet of happy faces." The devotion of his friends, his happy family relations, the success of his published works, conspired to make Weber cheerful and joyous beyond his wont, for he was naturally of a melancholy and serious turn, disposed to look at life from its tragic side.

In 1813 he was called to Prague to direct the music of the German opera in that Bohemian capital. The Bohemians had always been a highly musical race, and their chief city is a.s.sociated in the minds of the students of music as the place where many of the great operas were first presented to the public. Mozart loved Prague, for he found in its people the audiences who appreciated and honored him the most. Its traditions were honored in their treatment of Weber, for his three years there were among the happiest of his life.

Our composer wrote his opera of "Der Freischutz" in Dresden. It was first produced in the opera-house of that cla.s.sic city, but it was not till 1821, when it was performed in Berlin, that its greatness was recognized. Weber can best tell the story of its reception himself. In his letter to his co-author, Kind, he writes:

"The free-shooter has. .h.i.t the mark. The second representation has succeeded as well as the first; there was the same enthusiasm. All the places in the house are taken for the third, which comes off to-morrow.

It is the greatest triumph one can have. You cannot imagine what a lively interest your text inspires from beginning to end. How happy I should have been if you had only been present to hear it for yourself!

Some of the scenes produced an effect which I was far from antic.i.p.ating; for example, that of the young girls. If I see you again at Dresden, I will tell you all about it; for I cannot do it justice in writing. How much I am indebted to you for your magnificent poem! I embrace you with the sincerest emotion, returning to your muse the laurels I owe her.

G.o.d grant that you may be happy. Love him who loves you with infinite respect. "Your Weber."

"Der Freischutz" was such a success as to place the composer in the front ranks of the lyric stage. The striking originality, the fire, the pa.s.sion of his music, the ardent national feeling, and the freshness of treatment, gave a genuine shock of delight and surprise to the German world.

IV.

The opera of "Preciosa," also a masterpiece, was given shortly after with great _eclat_, though it failed to inspire the deep enthusiasm which greeted "Der Freischutz." In 1823, "Euryanthe" was produced in Berlin--a work on which Weber exhausted all the treasures of his musical genius. Without the elements of popular success which made his first great opera such an immediate favorite, it shows the most finished and scholarly work which Weber ever attained. Its symmetry and completeness, the elaboration of all the forms, the richness and variety of the orchestration, bear witness to the long and thoughtful labor expended on it. It gradually won its way to popular recognition, and has always remained one of the favorite works of the German stage.

The opera of "Oberon" was Weber's last great production. The celebrated poet Wieland composed the poem underlying the libretto, from the mediaeval romance of Huon of Bordeaux. The scenes are laid in fairy-land, and it may be almost called a German "Midsummer-Night's Dream,"

though the story differs widely from the charming phantasy of our own Shakespeare. The opera of "Oberon" was written for Kemble, of the Covent Garden theatre, in London, and was produced by Weber under circ.u.mstances of failing health and great mental depression. The composer pressed every energy to the utmost to meet his engagement, and it was feared by his friends that he would not live to see it put on the stage. It did, indeed, prove the song of the dying swan, for he only lived four months after reaching London. "Oberon" was performed with immense success under the direction of Sir George Smart, and the fading days of the author were cheered by the acclamations of the English public; but the work cost him his life. He died in London, June 5,1826. His last words were: "G.o.d reward you for all your kindness to me.--Now let me sleep."

Apart from his dramatic compositions, Weber is known for his many beautiful overtures and symphonies for the orchestra, and his various works for the piano, from sonatas to waltzes and minuets. Among his most pleasing piano-works are the "Invitation to the Waltz," the "Perpetual Rondo," and the "Polonaise in E major." Many of his songs rank among the finest German lyrics. He would have been recognized as an able composer had he not produced great operas; but the superior excellence of these cast all his other compositions in the shade.

Weber was fortunate in having gifted poets to write his dramas. As rich as he was in melodic affluence, his creative faculty seems to have had its tap-root in deep personal feelings and enthusiasms. One of the most poetic and picturesque of composers, he needed a powerful exterior suggestion to give his genius wings and fire. The Germany of his time was alive with patriotic ardor, and the existence of the nation gathered from its emergencies new strength and force. The heart of Weber beat strong with the popular life. Romantic and serious in his taste, his imagination fed on old German tradition and song, and drew from them its richest food. The whole life of the Fatherland, with its glow of love for home, its keen sympathies with the influences of Nature, its fantastic play of thought, its tendency to embody the primitive forces in weird myths, found in Weber an eloquent exponent; and we perceive in his music all the color and vividness of these influences.

Weber's love of Nature was singularly keen. The woods, the mountains, the lakes, and the streams, spoke to his soul with voices full of meaning. He excelled in making these voices speak and sing; and he may, therefore, be ent.i.tled the father of the romantic and descriptive school in German operatic music. With more breadth and robustness, he expressed the national feelings of his people, even as Chopin did those of dying Poland. Weber's motives are generally caught from the immemorial airs which resound in every village and hamlet, and the fresh beat of the German heart sends its thrill through almost every bar of his music.

Here is found the ultimate significance of his art-work, apart from the mere musical beauty of his compositions.

MENDELSSOHN.

I.

Few careers could present more startling contrasts than those of Mozart and Mendelssohn, in many respects of similar genius, but utterly opposed in the whole surroundings of their lives. Felix Mendelssohn-Bartholdy was the grandson of the celebrated philosopher Moses Mendelssohn, and the son of a rich Hamburg banker. His uncles were distinguished in literary and social life. His friends from early childhood were eminent scholars, poets, painters, and musicians, and his family moved in the most refined and wealthy circles. He was nursed in the lap of luxury, and never knew the cold and hunger of life. All the good fairies and graces seemed to have smiled benignly on his birth, and to have showered on him their richest gifts. Many successful wooers of the muse have been, fortunately for themselves, the heirs of poverty, and became successful only to yield themselves to fat and slothful ease. But, with every incitement to an idle and contented life, Mendelssohn toiled like a galley-slave, and saw in his wealth only the means of a more exclusive consecration to his art. A pa.s.sionate impulse to labor was the law of his life.

Many will recollect the brilliant novel "Charles Auchester," in which, under the names of Seraphael, Aronach, Charles Auchester, Julia Bennett, and Starwood Burney, are painted the characters of Mendelssohn, Zelter his teacher, Joachim the violinist, Jenny Lind, and Sterndale Bennett the English composer. The brilliant coloring does not disguise nor flatter the lofty Christian purity, the splendid genius, and the great personal charm of the composer, who shares in largest measure the homage which the English public lays at the feet of Handel.

As child and youth Mendelssohn, born at Hamburg, February 3, 1809, displayed the same precocity of talent as was shown by Mozart. Sir Julius Benedict relates his first meeting with him. He was walking in Berlin with Von Weber, and the latter called his attention to a boy about eleven years old, who, perceiving the author of "Der Freischutz,"

gave him a hearty greeting. "'Tis Felix Mendelssohn," said Weber, introducing the marvelous boy. Benedict narrates his amazement to find the extraordinary attainments of this beautiful youth, with curling auburn hair, brilliant clear eyes, and lips smiling with innocence and candor. Five minutes after young Mendelssohn had astonished his English friend by his admirable performance of several of his own compositions, he forgot Weber, quartets, and counterpoint, to leap over the garden hedges and climb the trees like a squirrel. When scarcely twenty years old he had composed his octet, three quartets for the piano and strings, two sonatas, two symphonies, his first violin quartet, various operas, many songs, and the immortal overture of "A Midsummer-Night's Dream."

Mendelssohn received an admirable education, was an excellent cla.s.sicist and linguist, and during a short residence at Dusseldorf showed such talent for painting as to excite much wonder. Before he was twenty he was the friend of Goethe and Herder, who delighted in a genius so rich and symmetrical. Some of Goethe's letters are full of charming expressions of praise and affection, for the aged Jupiter of German literature found in the promise of this young Apollo something of the many-sided power which made himself so remarkable.

II.

The Mendelssohn family had moved to Berlin when Felix was only three years old, and the Berliners always claimed him as their own. Strange to say, the city of his birth did not recognize his talent for many years. At the age of twenty he went to England, and the high breeding, personal beauty, and charming manner of the young musician gave him the _entree_ into the most fastidious and exclusive circles. His first symphony and the "Midsummer-Night's Dream" overture stamped his power with the verdict of a warm enthusiasm; for London, though cold and conservative, is prompt to recognize a superior order of merit.

His travels through Scotland inspired Mendelssohn with sentiments of great admiration. The scenery filled his mind with the highest suggestions of beauty and grandeur. He afterward tells us that "he preferred the cold sky and the pines of the north to charming scenes in the midst of landscapes bathed in the glowing rays of the sun and azure light." The vague Ossianic figures that raised their gigantic heads in the fog-wreaths of clouded mountain-tops and lonely lochs had a peculiar fascination for him, and acted like wine on his imagination. The "Hebrides" overture was the fruit of this tour, one of the most powerful and characteristic of his minor compositions. His sister f.a.n.n.y (Mrs.

Hensel) asked him to describe the gray scenery of the north, and he replied in music by improvising his impressions. This theme was afterward worked out in the elaborate overture.