Bücher von Carl Maria von Weber

Das 1820 erschienene Trio in g-moll op. 63 für Klavier, Flöte und Violoncello gehört zu den wenigen Kammermusikwerken Carl Maria von Webers. Im Finale findet man einige Anklänge aus Webers wohl berühmtestem Werk, dem "Freischütz". Das verwundert kaum, da Weber das Trio zur selben Zeit schrieb, in der er am "Freischütz" arbeitete. [Zu erwähnen wären hier vor allem das diabolische Trillermotiv aus Caspars Trinklied (Finale Takt 7/8) oder das Doppelschlagmotiv aus dem Chor "Laßt lustig die Hörner erschallen" (Finale Takt 49/50).] Das Autograph war bislang nicht zugänglich und wird in dieser Ausgabe erstmals ausgewertet. Dadurch konnten einige zweifelhafte Textstellen geklärt und korrigiert werden.?

Aus dem Nachwort der Ausgabe.Einen knappen Monat nach der Eröffnung des von Friedrich Schinkel wiedererbauten BerlinerSchauspielhauses am Gendarmenmarkt (26. Mai 1821 mit Goethes Iphigenie) erlebte WebersFreischütz am 18. Juni eine mit Begeisterung aufgenommene Uraufführung.Weber notierte in sein Tagebuch: "Abends als erste Oper im neuen Schauspielhause 'DerFreischütz'. Wurde mit dem unglaublichsten Enthusiasmus aufgenommen. Ouvertüre undVolkslied da capo verlangt, überhaupt von 17 Musikstücken 14 lärmend applaudirt, alles gingaber auch vortrefflich und sang mit Liebe; ich wurde herausgerufen und nahm Mad. Seidler undMlle. Eunicke mit heraus, da ich der andern nicht habhaft werden konnte. Gedichte und Kränzeflogen. Soli deo gloria."Es war unbestritten Webers größter Erfolg.Die Partitur entstand 1817 bis 1821, zu einer Zeit also, als sich Beethoven mit seinerHammerklaviersonate opus 106 und der Missa Solemnis beschäftigte. Einerseits aus derzeitlichen Verbundenheit mit der Klassik, andererseits aus Webers instrumentatorischenNeuerungen resultieren eine Reihe bisher unbeachteter Besonderheiten, die die Neuausgabe derPartitur (EP 9740, Leipzig 1976) und des Klavierauszugs notwendig machten. Bei einem Vergleichzwischen dem Autograph der Partitur sowie dem von Weber angefertigten Klavierauszug für dieErstausgabe (Berlin 1821) mit allen seit 1843 erschienenen Druckausgaben konnten wesentlicheUnterschiede in Dynamik und Artikulation festgestellt werden. Die Erstausgabe der Partiturerschien 1843, also 22 Jahre nach der Uraufführung und 17 Jahre nach Webers Tod mit einerFülle von Angleichungen paralleler oder analoger Stellen, mit verwischten Gegensätzen in derDynamik und ohne die vielen aufführungspraktischen Besonder- heiten des Autographs. Dieneue Partiturund der neue Klavierauszug tragen nun erstmals Webers Intentionen Rechnung (vgl.auch den Revisionsbericht).

First composed in 1809 as a viola showpiece for his for his step-brother Fritz, Weber's Andante et rondo ongarese remained unpublished in the composer's original settng for decades after the composer's death. In the wake of the touring composer's great success with his Clarinet Concertino of 1811 - composed for Heinrich Baermann, virtuoso clarinetist of the Munich Court Orchestra sortly after the composer's arrival there, the orchestra's bassoonist Georg Friedrich Brandt demanded a concerto for bassoon, which was premiered later the same year - again to great acclaim. In 1813 Brandt asked Weber for another bassoon concerto, so the composer reworked his earlier viola showpiece into the one for bassoon and orchestra which is the version ultimately published and generally known today. This newly engraved edition by Richard W. Sargeant, Jr. corrects the numerous mistakes that are in the parts and presents for the first time a published orchestral score using both the manuscript and the original parts as sources. IMSLP page All Music Guide

Written in 1809 for his step-brother Fritz for viola and orchestra, Weber's Andante e rondo ongarese was never published in the composer's lifetime. In 1813 when Georg Friedrich Brandt asked for another Bassoon Concerto, the composer reworked it featuring Bassoon as the solo instrument, which is the version published as Op.35 and the one generally known today. Using the holograph manuscript as the authoritative source, Serenissima's newly engraved edition by Richard W. Sargeant, Jr. allows conductors, students and musicians to appreciate the original version composed with a concertante viola in mind, which contrasts with the well-known Op.35 in a number of significant details. IMSLP page All Music Guide

Weber's final and only opera in English was a rousing success at its London premiere, with performances following throughout Europe and in America. The composer was dissatisfied with the structure of the the work after its first hearing and planed to revise the opera upon his return to Germany. The planned revision was never started due to his premature death less than two months later thanks failing health made worse by a grueling schedule. As with Weber's other opera overtures the music highlights his best music from the opera and showcases his brilliant style. This new edition prepared by Richard W. Sargeant, Jr. has been meticulously researched to bring Weber's final masterpiece for the enjoyment of professionals and amateurs alike.

Weber completed the opera in 1820 which was premiered the following year with international success. Long regarded as the first German nationalist opera and the first German Romantic opera for its patriotism and stark emotion. His musical portrayal of the supernatural is both scary and gruesome which inspired many young composers of the then new Romantic school including Richard Wagner and Hector Berlioz. The overture - which has been a concert favorite since the premiere - is presented here in a newly engraved edition by Richard W. Sargeant. Jr. Based on the composer's manuscript and other authoritative sources, this new score has been meticulously researched and showcases Weber's orchestral brilliance for the enjoyment of professionals and amateurs alike. IMSLP page Wikipedia

Widely considered a grand, heroic, romantic opera and one of Weber's finest, Euryanthe is unfortunately rarely performed because of its weak libretto and plot's implausibilty. Such defects don't apply to instrumental works thankfully, and the overture - which contains some of the best music in the opera - has become a worldwide concert favorite. As with Weber's other opera overtures the themes are closely linked to the opera and perfectly capture the mood and tone of the entire work. This newly engraved edition by Richard W. Sargeant, Jr. has been meticulously researched and shows the orchestrational brilliance of this classic overture in a clean, readable format sure to be appreciated by performers and students alike. IMSLP page Wikipedia