Page:A Dictionary of Music and Musicians vol 4.djvu/445

WEBER. # Marcia vivace, for 10 trumpets; D. Unprinted; used for Euryanthe. 1822.
 * 1) March, for wind Instruments; C. Subject partly the same as XI. 22. 1826.


 * 1) First PF. concerto; C. Allegro; Adagio; Finale, presto. 1810.
 * 2) Second PF. concerto; E♭. Allegro maestoso; Adagio; Rondo, presto. 1812.
 * 3) Concert-stück for PF.; F minor. Larghetto affettuoso; Allegro passionate; Marcia e Rondo giojoso. 1821.
 * 4) Concertino for clarinet; C minor–E♭. Adagio ma non troppo; Thema (Andante) with variations, and Finale, Allegro. 1811.
 * 5) First concerto for clarinet; F minor. Allegro moderato; Adagio ma non troppo; Rondo allegretto. 1811.
 * 6) Second concerto for clarinet; E♭. Allegro; Romanze; Alla Polacca. 1811.
 * 7) Quintet for clarinet and string-quartet; B♭. Allegro; Fantasia Adagio; Menuetto; Rondo, allegro glojoso. Classed here as being of the nature of a concerto. 1815.
 * 8) Concerto for bassoon; F major. Allegro ma non troppo; Adagio; Rondo, allegro. 1811.
 * 9) Adagio e Rondo Ungarese. for bassoon; C minor. Revision of No. 13. 1813.
 * 10) Concertino for horn; E minor. Adagio; Andante con moto with variations; Polacca. 1815.
 * 11) Romanza Siciliana for flute; G minor. 1805.
 * 12) Six variations for viola on the Volkslied, 'A Schüsserl und a Beind'rl'; C. 1806.
 * 13) Andante and Rondo Ungarese for viola; C minor. See No. 9. 1809.
 * 14)  Potpourri for cello; D. Maestoso; Andante with variations; Adagio; Finale, allegro. 1808.
 * 15) Andante and variations for cello; D minor, F major. 1810.
 * 16) Adagio and Rondo for the Harmonichord; F major. 1811.

A. For two hands. B. For four hands.
 * 1) First Sonata; C, Allegro; Adagio; Menuetto, allegro; Rondo, presto. 1812.
 * 2) Second Sonata; A♭. Allegro moderato con spirito ed assai legato; Andante; Menuetto capriccio; Rondo, moderato e molto grazioso. 1816.
 * 3) Third Sonata; D minor. Allegro feroce; Andante con moto; Rondo, presto. 1816.
 * 4) Fourth Sonata; E minor. Moderato; Menuetto; Andante quasi Allegretto; Finale, La Tarentella. 1822.
 * 5) Six variations on an original theme; C. 1800.
 * 6) Eight variations on a theme from Vogler's 'Castor and Pollux'; F. 1804.
 * 7) Six variations on a theme from Vogler's 'Samori'; B♭. 1804.
 * 8) Seven variations on Bianchi's 'Vien quà Dorina bella'; C. 1807.
 * 9) Seven variations on an original theme; F. 1808.
 * 10) Seven variations on a theme from Méhul's 'Joseph'; C. 1812.
 * 11) Nine variations on a Russian air, 'Schöne Minka'; C minor 1815.
 * 12) Seven variations on a Gipsy air; C. 1817.
 * 13) Memento capriccioso; B♭. 1808.
 * 14) Grande Polonaise; E♭. 1808.
 * 15) Polacca brilliants; E major. 1819.
 * 16) Rondo brilllante; E♭. 1819.
 * 17) Aufforderung zum Tanze, Rondo brilliant; D♭. 1819.
 * 18) Six Fughetti, Op. 1. 1798.
 * 19) Twelve Allemandes (Valses, Nos. 11 and 12, for 4 hands.) 1801.
 * 20) Six Ecossaises. 1802.
 * 21) Eighteen Valses (Valses favorites de l'Imperatrice de France) 1812.


 * 1) Nine variations on a Norwegian air; D minor. PF. and violin. 1808.
 * 2) Six Sonatas for PF. and violin: (1) F, Allegro, Romanze, Rondo amabile; (2) G, Moderato, Adagio, Rondo allegro; (3) D minor, Allegretto moderato, Rondo presto; (4) E♭, Moderato, Rondo vivace; (5) A, Andante con moto with variations, Finale Siciliano; (6) C, Allegro con fuoco, Largo, Polacca. 1810.
 * 3) Seven variations for PF. and clarinetl B♭. 1811.
 * 4) Grand Duo concertant for PF. and clarinet; E♭. Allegro con fuoco, Andante con moto, Rondo allegro. 1816.
 * 5) Divertimento assai facile for PF. and guitar: (1) Andante, C; (2) Valse, A minor; (3) Andante con Variazioni, G; (4) Polacca, A major. 1816.

It is scarcely necessary to mention that the Foregoing summary is drawn up from Jähns's 'Carl Maria von Weber in seinen Werken' (Berlin, Schlesinger, 1871), a first-rate book, on which all future writers about Weber must rely. I have altered Jähns's arrangement. [App. p.815 "The following certificate of Weber's death was among the papers of Sir Julius Benedict: 'On examining the body of Carl M. von Weber we found an ulcer on the left side of the larynx. The lungs almost universally diseased, filled with tubercles, of which many were in a state of suppuration, with two vomicae, one of them about the size of a common egg, the other smaller, which was a quite sufficient cause of death. (Signed) F. Tencken, M.D.; Chas. F. Forbes, M.D.; P. M. Kind, M.D.; Wm. Robinson, Surgeon. 91 Great Portland Street, June 5, 1826, 5 o'clock.'"] [ P. S. ]

WEBER FAMILY, known for their connection with Mozart, who first knew them in Mannheim, and married the third daughter. The father,

, born 1733 at Zell (in Breisgau), studied law at Freiburg, and succeeded his father as bailiff of the Schonau estates. He was a clever violinist, and the Elector Karl Theodor invited him and his brother Franz Anton to Mannheim, where however, according to Mozart, he occupied quite a subordinate position as copyist, prompter, and supernumerary violinist in the band. In 1756 he married Marie Cacilie Stamm of Mannheim. His brother, and junior by a year,, was the father of Carl Maria von Weber, who was thus Mozart's first cousin by marriage. Mozart writing to his father about Fridolin Weber's four daughters, says, 'I have never met before with such a variety of dispositions in one family.' The eldest,

, was a bravura singer, with a high and flexible voice, but a poor musician. Mozart wrote for her the part of the Queen of Night in the 'Zauberflöte' and a bravura air (Köchel, No. 580). She married in 1789 Hofer, violinist at Schikaneder's theatre, and after his death Meyer, a bass-singer, who sang Pizarro in 'Fidelio.' She died in 1820. The second,

, born 1750, was Mozart's first love. Her voice was exceptionally high, and extremely pleasant in tone, though perhaps rather weak for the stage. In 1780 she was engaged for the opera in Vienna, and married an actor at the court theatre, named Lange, who died in 1827. Mme. Lange made several professional tours before her final retirement in 1808. She died at Salzburg in 1839. Mozart wrote for her the part of Constanze in the 'Entführung,' 6 airs (Köchel, Nos. 294, 316, 383, 418, 419, 538), and a rondo (No. 416). The third,

, born 1763 at Zell, became Mozart's wife. When the Archbishop of Salzburg dismissed Mozart from his household in Vienna, the latter took up his abode with Frau Weber (her husband had died of apoplexy), then living with three of her daughters, Aloysia being married, in a house called 'Zum Auge Gottes,' in the Peters-Platz. Here began the love affair which caused Mozart's father so much anxiety. The marriage took place Aug. 4, 1782, and in nine years Constanze was left a widow. For the support of herself and children she made several professional tours. In 1809 she married a Danish official named Nissen, but in 1826 was again left a widow, and died at Salzburg March 6, 1842. The youngest of the four,

, born 1764, also a talented singer, married Haibl, tenor and composer, attached to Schikaneder's theatre. During widowhood she lived with Constanze at Salzburg, and died there in 1843. She was present at Mozart's death, and in 1825 wrote, at Niesen's request, a touching account of the last sad moments. [ C. F. P. ]