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Though there are a dozen different points of view from which Weber's opera "Der Freischutz" is of fascinating interest, it is almost impossible for any one except a German to understand fully what the opera means now to the people from whose loins the composer sprung, and quite impossible to realize what it meant to them at the time of its production.
And as to Professor Weber's opinion of the phenomena, it is well to note that Professor Weber was seventy-four years old at the time, had had no previous experience in investigations of this kind and was quite ignorant of the arts of the juggler.
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 fashioned by its environments into a logical expression of public needs and impulses, it was in the case of the father of German romantic opera.
There was no room for him to struggle within the restricted space of the small car; and he felt the cold iron of a revolver on his temple. "None of your nonsense," growled Weber, "or I'll blow out your brains, my boy! Aha! you didn't expect this! It's Weber's revenge, eh?"
Seymour, played three overtures Weber's Ruler of the Spirits, Beethoven's Prometheus, and Rossini's Barbiere di Siviglia; and that Chopin performed an Andante and Scherzo, and a Nocturne, Etudes, and the Berceuse of his own composition. With regard to Chopin we read in this critique: With the more instrumental portion of the audience, Mons.
My most glorious exploit in connection with this association was the transfer of Weber's ashes, of which I will speak later on, though it occurred at an earlier date. I will only refer now to another commissioned composition which, as royal bandmaster, I was officially commanded to produce.
He saw aeroplanes hovering here and there over the French and German lines, but none coming toward Chastel. He had expected, too, that Weber might return in the morning, but he did not reappear and John felt a distinct disappointment. Many had been killed, but Wharton and Carstairs had reported that no body had resembled Weber's. Then it was certain that he had not fallen.
But Rossini's Muse did not smile to-night upon her who invoked its gay spirit; and ere Lady Madeleine could interfere Violet Fane had found more congenial emotions in one of Weber's prophetic symphonies. O Music! miraculous art, that makes a poet's skill a jest, revealing to the soul inexpressible feelings by the aid of inexplicable sounds!
The question, however, I owed to myself, and all I ask for at present is the honour of a Yes or a No! With full admiration, your most devoted 25, RUE DU HELDER, PARIS, March 24th, 1841. At last you are within safe reach of me, and I take this long- desired opportunity to gain you, as far as is in my power, for our scheme of celebrating Weber's memory by a worthy monument to be erected in Dresden.
His waltz known as "Weber's last thoughts," in Germany and England as "Weber's last waltz" must have been the fruit of a lucky accident or perhaps he did have a moment of inspiration: it would be hard if that had not come once in a lifetime to a man who wrote so much. The little thing is certainly pretty.
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