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Der Freischütz (J. 277, Op. 77 The Marksman [1] or The Freeshooter [2]) is a German opera with spoken dialogue in three acts by Carl Maria von Weber with a libretto by Friedrich Kind, based on a story by Johann August Apel and Friedrich Laun [3] from their 1810 collection Gespensterbuch.
Carl Maria von Weber in 1821. The following is a complete list of compositions by Carl Maria von Weber in order of both opus number and catalogue number. A complete chronological catalogue of Weber's works was compiled by Friedrich Wilhelm Jähns and published in 1871.
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). [1]
Weber dedicated Invitation to the Dance to his wife Caroline (they had been married only a few months). [1] He labelled the work "rondeau brillante", and he wrote it while also writing his opera Der Freischütz. It was the first concert waltz to be written: that is, the first work in waltz form meant for listening rather than for dancing.
Der Freischütz, his most famous and significant work, remains among the most revered German operas. [6] After his family moved to Munich in 1798, the 13 year old Weber began study with Johann Nepomuk Kalcher, under whose supervision he wrote his first opera, the Singspiel Die Macht der Liebe und des Weins; the work was never performed.
On the morning of the Der Freischütz premiere, Weber played the Konzertstück through to his wife Caroline and his pupil Julius Benedict, and told them the program: [1] (F minor; Larghetto affetuoso): "A châtelaine sits alone on her balcony, gazing off in the distance. Her knight has gone on a Crusade to the Holy Land.
The fluctuations of light and shade are reminiscent of Schubertian scoring, or of Weber (e.g. Der Freischütz overture): but without modulation into remote tonalities, they never really portend a tragic conclusion, but rather the lovers' dilemmas and local color. Though the powerful overture hints at a darker outcome, the opera ends happily.