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Updated: May 7, 2025
Meanwhile, during the composition of "Der Freischütz," which was to mean so much for the happiness of Germany and the betterment of opera generally, Carl, the genius who struck out the magnificent work, was spending almost less time upon the details of composition and scoring than upon the purchase of articles for the home he was making for his bride-to-be.
Rather a whole opera of Der Freischutz daemoniac element and all to judge by those red lips, fierce eyes, wild, hungry voices; and such as should make Reinecke, had he strong aesthetic sympathies, well content to be hunted from his cradle to his grave, that such sweet sounds might by him enrich the air.
Operatic composers are too often dogged by a fate which seems to compel them to wed their noblest inspirations to libretti of incorrigible dulness, and Weber was even more unfortunate in this respect than his brethren of the craft. After 'Der Freischütz, the libretti which he took in hand were of the most unworthy description, and even his genius has not been able to give them immortality.
In the contest between Weber and Rossini which agitated Vienna, Schubert, though deeply imbued with the seriousness of art, and by nature closely allied in sympathies with the composer of "Der Freischütz," took no part. He was too easy-going to become a volunteer partisan, too shy and obscure to make his alliance a thing to be sought after.
Indeed, out of this cut-and-dry, dull, swaggering, obtrusive and infantile art, I seem to have learned the very spirit of my life's enjoyment; met there the shadows of the characters I was to read about and love in a late future; got the romance of Der Freischütz long ere I was to hear of Weber or the mighty Formes; acquired a gallery of scenes and characters with which, in the silent theatre of the brain, I might enact all novels and romances; and took from these rude cuts an enduring and transforming pleasure.
The selection of music comprises Beethoven's overture to "Egmont;" an air from the "Elijah," first time in America, sung by Jenny Lind; "Non piu andrai," from Mozart's "Nozze di Figaro," by Signor Belletti; piano solo, Mendelssohn's "Songs without Words," by Signor Benedict; and, for the first time in America also, "Und ob die Wolke," from "Der Freischutz," by Jenny Lind. This was the first part.
The sinister passages seem but developments of moments in "Der Freischütz"; the grand melodic style, the romantic orchestra with its sighing horns and chivalry and flourishes, seem to come directly out of "Euryanthe"; the orchestral scene-painting from the sunrise and other original effects in "Oberon."
He arranged a full orchestral rehearsal, and Jenny Lind sang in the salon of the Grand Opéra the three great scenes from "Robert le Diable," "Norma," and "Der Freischutz."
"Der Freischutz" is spoken of in all the handbooks as a "national" opera.
The striking originality, the fire, the passion of his music, the ardent national feeling, and the freshness of treatment, gave a genuine shock of delight and surprise to the German world. 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 Freischütz."
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