• Name: Carl Maria von Weber
• Birthday: 11/18/1786
• Birth Place: Eutin, Oldenburg, Germany
• Died: 06/05/1826
• Place of Death: London, England
• Period: Romantic
• Genre: Classical

Title	Release
Musique D' Abord
(324) Der Freischütz, opera, J. 277 (Op. 77)	1973
(87) Invitation to the Dance (Aufforderung zum Tanze), rondo brillant for piano, J. 260 (Op. 65) W	2008
(6) Die drei Pintos, opera, J. Anh. 5 (reconstructed & completed by Mahler)	1970
(2) Gebet während der Schlact ("Vater, ich rufe dich!"), song for voice & piano, J. 174 (Op. 41/1)	2001
(2) A Soldier Am I, song for voice, flute, violin, cello & piano (Scottish National Songs No. 6), J. 300	1961
(2) Abendsegen ("Der Tag hat seinen Schmuck"), song for voice & piano, J. 255 (Op. 64/5)	1989
Abschied ("O Berlin, ich muss dich lassen"), for 2 voices & piano, J. 208 (Op. 54/4)
(11) Abu Hassan, opera, J. 106	1944
(19) Abu Hassan, overture to the opera	1990
(6) Adagio and Rondo for 2 clarinets, 2 french horns & 2 bassoons ("Harmonie"), J. Anh. 31	1995
(14) Adagio and Rondo for cello & piano (arranged by Piatigorsky)
Adagio and Rondo for harmonichord or reed organ & orchestra in F major, J. 115	1989
(2) Adagio for piano, 4 hands, J. 248 (Op. 60/3)
(4) Ah, dove siete, canzonetta for voice & guitar or piano, J. 108 (Op. 29/1)	1976
Allemandes (12) for piano (Nos. 11 & 12 for piano, 4 hands), J. 15-26 (Op. 4)	1994
Alte Weiber (" 's is nichts mit den alten Weibern"), song for voice & piano, J. 211 (Op. 54/5)	1976
(21) Andante and Rondo Ungarese, for bassoon & orchestra in C minor, J. 158 (Op. 35) (revision of J. 79 for viola)	2008
(10) Andante and Rondo Ungarese, for viola & orchestra in C minor, J. 79 (Op. 35)	2003
(3) Andante con Variazioni for piano, 4 hands, J. 12 (Op. 3/4)
Bach, Echo und Kuß ("Ein Mädchen gin' "), song for voice & piano or guitar, J. 243 (Op. 71/2)
(16) Bassoon Concerto in F major, J. 127 (Op. 75)	2008
Bettlerlied ("I und mein junges Weib"), song for voice & guitar (or piano), J. 137 (Op. 25/4)	1976
(3) Bonny Dundee ("True-hearted was he"), song for voice, flute, violin, cello & piano (Scottish National Songs No. 4), J. 298	1976
Canzonettas (3) for voice & piano or guitar, J. 108, 124, 120 (Op. 29)	1995
Ch'io mai vi possa, canzonetta for voice & guitar or piano, J. 120 (Op. 29/3)
(73) Clarinet Concerto No. 1 in F minor, J. 114 (Op. 73)
(51) Clarinet Concerto No. 2 in E flat major, J. 118 (Op. 74)
(59) Concertino for clarinet & orchestra in E flat major, J. 109 (Op. 26)	1989
(15) Concertino for horn & orchestra in E minor, J. 188 (Op. 45)	1995
(5) Concertino for oboe & wind instruments in C major (probably spurious)	1991
(2) Contented wi' Little, and Canty wi' Mair, song for voice, flute, violin, cello & piano (Scottish National Songs), J. 300a	1976
Das Mädchen an das erste Schneeglöckchen ("Was bricht hervor"), song for voice & piano, J. 267 (Op. 71/3)
(5) Das Röschen ("Ich sah ein Röschen"), song for voice & piano, J. 67 (Op. 15/5) W	1991
(3) Das Veilchen im Thale ("Ein Veilchen blüht"), song for voice & piano, J. 217 (Op. 66/1) W	1991
(15) Der Beherrscher der Geister (The Ruler of the Spirits), overture for orchestra, J. 122 (Op. 27) (revision of overture to Rübezahl)	1989
(135) Der Freischütz, overture to the opera
(5) Der kleine Fritz an seine jungen Freunde ("Ach, wenn ich nur"), song for voice & piano, J. 74 (Op. 15/3) W	1991
Deutscher, waltz for orchestra ("Original-Walzer;" arr. from "Frau Lieserl juhe," J. 184), J. 185	1994
(2) Die freien Sänger ("Vöglein hüpfet"), song for voice & piano, J. 198 (Op. 47/2)	1976
Die gefangenen Sänger ("Vöglein, einsam"), song for voice & piano, J. 197 (Op.47/1)	1976
(2) Die Schäferstunde ("Endlich hatte Damon sie gefunden"), song for voice & guitar ("Damon und Chloe"), J. 91 (Op. 13/1)
Die Temperamente beim Verluste der Geliebten, songs (4) for voice & piano, J. 200-203 (Op. 46)	2003
(5) Die Zeit ("Es sitzt die Zeit"), song for voice & guitar, J. 97 (Op. 13/5)	1988
(2) Divertimento assai facile, for guitar & piano, J. 207 (Op. 38)
(7) Divertimento for clarinet & orchestra (spurious)	1986
(3) Donna Diana, incidental music, J. Anh. 97 (doubtful)
Easy Little Pieces (6) for piano, 4 hands, J. 9-14 (Op. 3)	1977
Ecossaises (6) for piano, J. 29-34	1994
(3) Ein König einst gefangen saß, romance for voice & guitar (for Castelli's play "Diana von Poitiers"), J. 195	1976
Elfenlied ("Ich tummle mich"), song for voice & piano, J. 270 (Op. 80/3)	1976

Composer, conductor, virtuoso, novelist, and essayist, Carl Maria von Weber is one of the great figures of German Romanticism. Known for his opera Der Freischütz, a work which expresses the spirit and aspirations of German Romanticism, Weber was the quintessential Romantic artist, turning to poetry, history, folklore, and myths for inspiration and striving to create a convincing synthesis of fantastic literature and music. Resembling the Faust legend, Der Freischütz (the term suggests the idea of an marksman relying on magic) is a story of two lovers whose ultimate fate is decided by supernatural forces, a story which Weber brings to life by masterfully translating into music the otherworldly, particularly sinister, aspects of the narrative. Weber's additional claim to fame are his works for woodwind instruments, which include two concertos and a concertino for clarinet, a concerto for bassoon, and a superb quintet for clarinet and string quartet. Born in 1786, Weber studied with Michael Haydn and Abbé Vogler. Appointed Kappelmeister at Breslau in 1804, he gained fame as an opera composer with the production, in 1811, of Abu Hassan. In 1813, he became director of the Prague Opera. In Prague, where he remained until 1816, Weber developed a mostly French repertoire, taking an active, and highly creative, part in the practical aspects of opera production. Underlying his often controversial efforts to reform opera production was his ardent desire to create a German operatic tradition. Although there were, indeed, capable composers in the German-speaking lands, the idea of a German opera provoked much opposition, as the public, trained to perceive opera as an exclusively Italian art form, regarded the concept of German opera as a contradiction in terms, despite the existence of a singspiel tradition, brilliantly exemplified by the Magic Flute by Mozart. While Weber's appointment as Royal Kappelmeister at Dresden, not to mention the triumphant production of Der Freischütz (1821), certainly strengthened his position as champion of German opera, his opponents remained unconvinced. Weber's next opera, Euryanthe (1823), failed to repeat the success of Der Freischütz. In Euryanthe, his only opera without spoken dialogue, Weber introduced the device of recurrent themes throughout the entire opera, thus anticipating Wagner. Although Weber brilliantly adapted a variety of harmonic styles and textures to the dramatic narrative, the overall effect was seriously hampered by a rambling libretto, an inept adaptation of a medieval romance already used by Shakespeare in Cymbeline. In 1825, Weber was invited to London. Among the works he was expected to conduct was Oberon, another opera with a Shakespearean theme. The librettist, who took the story from Shakespeare's -Midsummer Night's Dream, created, in a misguided effort to please the public, an incredible hodgepodge, even more convoluted than Euryanthe, that not even Weber's genius could salvage. Nevertheless, Oberon, which the English public received with admiration, contains much gorgeous music, including examples of lush orchestration and exquisite tone painting. Often performed in concert, the overture is a true Romantic gem. Already in poor health before his London tour, Weber died in the English capital in 1826, shortly after the premiere of Oberon at Covent Garden. ~ Zoran Minderovic, All Music Guide