Ads
related to: der freischütz overture list of songs sheet music
Search results
Results From The WOW.Com Content Network
Main page; Contents; Current events; Random article; About Wikipedia; Contact us
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.
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.
Der Freischütz (The Freeshooter) [26] Survived Romantische Oper: 3 acts Kind after Apel and Laun: 18 June 1821 Schauspielhaus, Berlin: J. 277 Op. 77 Score: C.7: 1820–21 Die drei Pintos (The Three Pintos) [2] Incomplete Completed by Mahler 1887 Komische Oper: 3 acts Hell after Seidel Revisions by Carl von Weber (text) and Mahler (music) 20 ...
Der Freischütz came to be regarded as the first German opera, [2] 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.
Invitation to the Dance (Aufforderung zum Tanz [a]), Op. 65, J. 260, is a piano piece in rondo form written by Carl Maria von Weber in 1819. It is also well known in the 1841 orchestration by Hector Berlioz.
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.