his literary powers ; his nature was too restless, and his life too unsettled. It is a pity that his musical novel, 'Tonkiinstler's Leben,' remained unfinished, for as he himself was the musician whose ' life ' he described, we should have gained an artistically drawn autobiography of inestimable value. What a storehouse of details we should have had on the state of music in Germany at the beginning of the century, on the sort of con- certs then given, on the doings of amateurs, the social position of musicians, etc.! Who better fitted to give us a correct picture of all this than the versatile, keenly observant Weber? What remains of the novel is interesting, and tantalizing, on account of its many acute and pro- found observations on art. Not that Weber could philosophise and systematise like Wagner ; he touches lightly on subjects, sometimes in- deed superficially, but in every word you see the man of intellectual cultivation capable of forming his own judgment. His literary affinity is closer to Schumann than to Wagner. The imagination, the humour, the kindness and cordiality towards his juniors, the absence of jealousy towards equals, are as characteristic of Weber as of Schumann. He helped mate- rially to launch Meyerbeer and Marschner, exerted himself heartily to extend the know- ledge of Spohr's music (a service Spohr did not return in kind), and though as a youth he passed a hasty judgment on Beethoven, he amply repaired the oversight in maturer years. When 'Fidelio' was being performed in Dresden, he wrote to Beethoven (Jan. 28, 1823), 'Each re- presentation will be a festival to me, giving me the opportunity of offering to your noble spirit a homage springing from my inmost heart, which is filled with mingled admiration and affec- tion for you.' And Weber was no man to pay empty compliments. Like as he was to Schu- mann in many respects, they were very different in others. Besides the sense of humour charac- teristic of both, Weber had a strong satirical vein, a caustic wit, and a love of fun, which he shared with Mozart. He was, also, more mer- curial and brilliant than Schumann, who by his side seems almost slow. He took wider views of life, was more a man of the world, often with a kind of chivalrous gallantry ; but far more fickle than his younger comrade in art. He wrote on all sorts of subjects, critical, polemi- cal, historical, theoretical; most often perhaps to introduce new works, and prepare the public mind for their reception. The mechanical con- struction of instruments was always an interest- ing subject to him, and he wrote newspaper articles on Capeller's improved flutes, on Kauf- mann's 1 trumpets, chiming-clocks, and Har- monichord, and on Buschmann's 'Terpodion.' He even went so far as to compose a Concert- stuck (Adagio and Allegretto in F) for Kauf- mann's harmonichord, a piece which shows very clearly his wonderful feeling for beauty of sound.
i Father and sou of Dresden.
Summary of Weber's Compositions.
1. Das WaldmSdchen ; S fragments only remaining:. Unprinted. 1800*
2. Peter Schmoll und seine Nachbarn. Unprinted. 1801.
3. Bflbezahl ; only 3 numbers In existence, the last a Quintet pub- lished by Schlesinger. 1804, 1805.
4. Silvana ; PF. score. Schlesinger. 1810.
6. Abu Hassan ; PF. score. Simrock, Bonn. 1811.
6. Der Freischtttz. 1820.
7. Die drei Plntos. Sketch only, unfinished. 1821,
8. Euryanthe. 1823.
9. Oberon. 1826.
H. OTHBB DBAMATIO WOKKS.
1. Music to Schiller's Turandot; overture and 6 short instru- mental pieces. 1809.
2. Music to Manner's ' KOnig Yngurd '; 10 instrumental and 1 vocal piece. 1817.
3. Music to Gehe's 'Heinrich IV, KOnig von Frankreich'; 8 In- strumental pieces. 1818.
4. Music to Bublack's play 'Lieb' urn Liebe'; 4 vocal pieces. 1 march, and 1 melodrama. 1818.
B. Music toHouwald's tragedy Der Leuchtthurm'; 2 melodrama* and 2 interludes for harp, all short. 1820.
6. Music to Wolffs ' Preciosa '; overture, 4 choruses, 1 song, 3 melo- dramas, and dances. 1820.
7. Music to a Festspiel by Ludwig Bobert ; instrumental move- ment, and 5 choruses. 1822.
8. Bondo allaPolacca for tenor voice, for Haydn's opera 'Freibrief. 1809.
9. 4 Lleder for single voice and guitar, Ueber die Berge mit Unge- stttm ; Base, Sturmwind, blase ; Lass mich schlummern, Herzlein, schwelge ; Umringt vom mutherf iillten Heere : from Kotzebue's ' Der arme Minnesinger.' 1811.
10. 2 Lleder, Mein Weib ist capores, and Frau Llesere guhe ; from Anton Fischer's ' Travestirte Aeneas.' 1815.
11. 2Lieder, Wer stets hinte' Ofen kroch, and Wie wir voll Glu nns hier zusammenfinden ; from Gubitz's 'Lieb und VersOhnen.' 1815.
12. Ballad for single voice and harp, Was starmt die Haide herauf? from Beinback's tragedy ' Gordon und Montrose.' 1815.
13. Arietta to Uuber's ' Sternenmadchen im Maldlinger Waldo." 1816.
14. Bomance for single voice and guitar, Ein KOnlg einst gefangea sass ; from Castelll's ' Diana von Poitiers.- 1816.
15. Lied, Hold ist der Cyanenkranz; from Kind's 'Weinberg an derElbe.' 1817.
16. Chorus with wind Instruments, Hell dir Sappho j from Grill- parzer's tragedy ' Sappho.' 1818.
17. Lied for single voice and guitar, Ein MSdchen ging die Wies' entlang ; from Kind's ' Der Abend am Waldbrunnen.' 1818.
18. Chorus with wind instruments, Agnus Dei ; from Graf voa Blankensee's tragedy ' Carlo.' 1820.
19. Lied for 3 women's voices and guitar, Sagt woher stammJ Liebesluste (Tell me where is fancy bred) ; from Shakspere's ' Mer- chant of Venice.' 1821.
20. Music and recitative, Doch welche TOne steigen jetzthernieder ; for Sponttni's ' Olympia.' 1825,
21. Becitative and Bondo for soprano and orchestra, II momento s'avvicina. 1810.
22. Scena ed aria for soprano and orchestra, Misera me ; from Atalia.' 1811.
23. Scena ed aria for tenor, men's chorus, and orchestra, Qual altro attendl. 1811.
I. Scena ed aria, for tenor, 2 choruses, and orchestra, Signor sa padre sei ; from ' Ines de Castro.' 1812.
25. Scena ed aria for soprano and orchestra, Ah, se Edmondo fosse 1'uccisor ; for M^nul's ' Helene.' 1815.
26. Scena ed aria for soprano and orchestra, Xcm paventar, mia vita ; for ' Ines de Castro.' 1815.
27. Scena ed aria for soprano and orchestra, Was sag' ich ? Schau- dern macht mich der Gedanke ! for Cherubini's ' Lodoiska.' 1818.
28. Three duets for 2 soprani and PF., Se 11 mio ben ; Mills volte mio tesoro ; Va, ti consola. 1811.
1. Der erst e Ton: by Kochlitz: orchestral music for declamation and final chorus. 1808.
2. Hymn, In seiner Ordnung schafft der Herr ; by Bochlitz : soli. chorus, and orchestra. 1812.
3. Kampf und Sieg ; by Wohlbrdck, in commemoration of June 1% 1815 : soli, chorus, and orchestra. 1815.
4. L'Accoglianza; for the wedding of the Hereditary Grand-Duka Leopold of Tuscany, and Princess Maria Anna Carolina of Saxony, words by Celanl : 6 solo-voices, chorus and orchestra. Oct. 29, 1817.
5. Natur und Llebe ; by Kind ; for the name-day of King Friedrich August of Saxony : 2 sopranos, 2 tenors, 2 basses, and PF. 1818.
6. Jubel-Cantata, Erhebt den Lobgesang : by Kind ; for the 50th anniversary of King Friedrich August's accession: soli, chorus, and orchestra. 1818.
7. Du, bekrSnzend unsre Laren ; by Kind, for Duchess Amalia von Zwelbrucken's birthday : solo and chorus, with PF. and flute. 1821.
8. Wo nehm' ich Blumen her ; by Hell, for Princess Therese of Saxony's birthday : 3 solo-voices and PF. 1823.