The World's Great Men of Music

ften decided by the father, who determined to form them into wonder children, either for monetary gain or

der children need not be born such, they could be made by the proper care and training. He had been a wealthy man, but at the time of our story

n into an extraordinary musical genius. It is not recorded what his young mother, a delicate girl of seventeen, thought about it; probably her ideas for her baby son did not enter into the father's plan. Mother and child were obliged to follow in the train of the wandering comedians, so

his treatment was not conducive to rosy cheeks and strong, sturdy little legs. Then, before the delicate child was six years old, a violin was put into his hand, and if his progress on it was thought to be too slow by his impatient father, he was treated to raps and blows by way of incentive to work yet harder. His teachers, t

d to write for the lyric stage. Two comic operas appeared, "The Dumb Girl of the Forest,"

rcles. It was a gay life and the inexperienced youth yielded to its allurements. In the meantime he did some serious studying under the famous Abbé Vogler. The following year the Abbé recommended him to the conductorship of the Breslau Opera House. This was a very difficult post for a boy of

r was forced to earn his livelihood in some way, and now became private secretary to Prince Ludwig of Wurtemburg, whose Court was held at Stuttgart. The gay, dissolute life at the Court was full of temptation for our young composer, yet he found considerable time for composition; his opera "Sylvana" was the result, besides several smaller things. During the Stuttgart period, his finances became so

d dollars. The opera was performed on February 6, 1811, and its reception was very gratifying to the composer. The Grand Duke took one hundred and twenty tickets and the performance netted over two hundred florins clear profit. It was after this that Carl Maria went on a tour of

Prague theater, almost as soon as he arrived in

the operas. He kept his promise, and the result was much better than he ever dreamed. For beyond the performance of his operas, he was offered the post of music director of the Prague theater, which post was just then vacant. The salary was two thou

he success he achieved created enemies, and perhaps because of intrigues, envy and ill feeling which had arisen, he resigned his post in 1816. The three years in Prague had been fruitful in new compositions. Several fine piano sonatas, a set of "National Songs," and the Canta

the appointment. He wrote to Caroline: "Long did I look on Count Vitzhum's letter without daring to open it. Did it contain joy or sorrow? At length I took courage and broke the seal. It was joy! I am Capellmeister to his

ut Italian opera, and there were many talented Italian singers to interpret them. Weber was encouraged by a new national spirit, which he felt would favor German opera, and was determined to conquer at all costs. He finally succeeded, for, as he wrote to a friend, "The Italians

were sulky at the strictness they were subjected to, yet they finally saw the justice of it and at last took pride in doing their work well. "Joseph" was brought out January 30, 1817. The King and Court w

director for life. With this bright prospect in view he was able to wed his beloved Caroline. They were married on November 4. A quotation from his diary shows the talented musician had become a

whole work, and only the Overture was given. When the entire work was heard it made a great sensation. Now came a Jubilee Mass and some piano pieces, among them the charming and famous "Invitation to the Dance," with which every one is familiar. While writing all these works, the composer was busy with one of his greatest operas, "Der Freischütz." On May 8, 1820, a hundred years ago, the score of "Der Freischütz," was sent to the director of the Berlin theater, and directly put in rehearsal. The rehearsals had not proceeded very far before Weber, the tireless ceaseless worker, had finished his important opera, "Preciosa," which was also despatched to Berlin. "Preciosa" was brought out before

erformance proceeded, the listeners became more charmed and carried away, and at the close there was a wild scene of excitement. The success had been tremendous, and the frequent repetitions demanded soon filled the treasury of the theater. Everybody was happy, the composer most of all. The melodies were played on every piano in Germany and whistled by every street urchin. Its fam

ork; he wrote to his beloved wife two hours before the first performance: "I rely on God and my 'Euryanthe.'" The opera was produced at the K?rnthnertor Theater, in Vienna, on October 25, 1823. The composer, though weak and ill, made the long journey to the great city, that he might personally introduce his favorite to the

. Strange to say, a short time after its first appearance, "Euryanthe" failed to draw. One reason might have been laid to the poor libretto, another to the r

e, not after the performance. He advised him to do what he himself had done to "Fidelio," cut out nearly

esden in an exhausted state. There was no rest for him here, as official duties were pressing. The malady afflicti

lish capital. Charles Kemble, the director of Covent Garden, desired Weber to write a new opera for production there. "Oberon" was the subject at last decided upon; it was taken from an old French romance. Weber at once set to work on the music of this fai

one of the first makers in London. "No King could be served with greater love and affection in all things," he wrote; "I cannot be sufficiently grateful to heaven f

ct the first twelve performances of "Oberon." He was to have a benefit concert, and hoped through this to have a goodly sum to take back to his little family. Sad to relate, on the evening chosen, May 26, a heavy rain fell and the hall was near

ll him, all was still in his chamber;

as finally fulfilled. Eighteen years after, his remains wer