WEBER, Karl Maria (Friedrich Ernst), BARON vox, German composer: b. Eutin Grand Duchy of Oldenburg, 18 Dec 1786; d. London, 5 June 1826. He was a pupil of J. P. Heuschkel of Hildburghausen, attaining great skill as a pianoforte virtuoso and much proficiency in the technique of composition; and continued his studies with Michael Haydn at Salzburg, and at Munich with Katcher (harmony and compo eition) and Valesi (singing). His opera. 'Das Waldmidchen.' was produced with but mod erate success at Freiberg, though more fortu nate at Chemnitz and (in 1805) at Vienna. A second opera, 'Peter Schmoll und seine Nach barn,' first presented at Augsburg (1803) met with no particular approval. Early In 1833 be to Vienna, and there that curious genius the Abbe Vogler was for a year his instructor. By Vogler's aid, he secured the post of kapell meister of the opera at Breslau (1894). He displayed great ability as an and di rector. but resigned in 1806, and became ntusical director to Prince Eugene of Wfirtemberg at Karlsruhe. Silesia. In 1807 he entered the service of Duke Louis of Wfirtemberg at Stuttgart as private secretary, and in 1808-10 was working on his first large open, 'Silvana,' the libretto of which was to a large extent based on that of his earlier (Waldmidchen.' He was falsely charged with fraud, and despite all lack of evidence against him, was perpetually banished from Wfinemberg 26 Feb 1810. Then be went to Mannheim. where his first symphony was most favorably received, and his piano playing was also very successful; and thence to Mrmstadt, where be once more became a pupil of Volger. His comic operetta, 'Abu Hassan,' was completed in 1810 and given at Munich, and with additions, gained adequate at Berlin in 181Z It was not, however. until 1813 that Weber held an important appointment • in that year he was made meister of the Prague opera, and there proved himself the first of the Great German mu sicians to he conspicuous also as a conductor. His administration of matted success was brought to a close by his giving it up'in 1816.
His chief compositions of this period were set tints of Korner s songs, and the cantata 'Kampf and Sim' founded on the battle of Waterloo. In 1816 he went to D where ly Italian opera had held ,ii,lisputed r ganize the new venture of (,erman opera; id mon he had attained, except among a few 1,.,r titans, an unqualified victory The appointment was confirmed for lift " • • ly summoned to direct the music of the chapel tont He became widely known with the of his opera, Der Freischfitz,' at 18 June 1821, which was quickly echoed elsewhere, being simultaneously given in Lon don in three different places. operatic works, it is said, have equaled it in immediate triumph. 'Eoryanthe' did not meet similar approval at Vienna (1823), though appreciation was duly encountered in Dresden, Leipzig and Berlin. On the commission of Charles Kemble of Covent Garde., London. he wrote 'Oberon' to an F_nglish libretto by J. R. Phuiche, himself learning English to be able to work to better effect. He conducted the first 12 performances. and after a reception which almost surpassed that of the played at numerous concerts. With the 'Freischiitz,' which struck a distinctively national note, Weber became the founder of what is known as the romantic school of German opera. He has been claimed as a predecessor of Wagner in adapting his music to the dramatic requirements, and the use of leading motives. In his operatic works be apparently preferred legendary and super natural elements. which be could make musically elective. Though his operas are the best known of his writings, be did musicianly and even brilliant work in the direction of Lieder and_ pianoforte compositions. Consult Jahns, 'C. M. von Weber: Erne Lebensslciase' (1873); the biographies by Rau (1865); Benedict (1/'81): Reisainann (1882); Gehrmann (1899), and his son Max Maria von \Veber (Leipzig, new ed. 1912) • also Benedict. 'Musiciens du Temps Pasai; (1893), and the article by Spitta Games 'Dictionary' (Vol. IV, 1889).