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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.
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.
Weber's fame from Der Freischütz led to another important commission, this time from the Royal Opera House, London. [20] For this he composed his final opera and only one in English, Oberon, to a libretto by James Planché, based on Christoph Martin Wieland's epic poem of the same name. [21] The work received much acclaim.
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.
From the very first bars of the overture, it is obvious we are in the primeval forests of Germany. The highlight of the opera is the chilling Wolf's Glen Scene in which the hero Max makes his deal with the Devil. Der Freischütz was immensely popular, not only in Germany, but throughout Europe. Weber never really achieved his full potential as ...
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.