Page:Der Freischütz (The Free-Shooter); A Lyric Folk-Drama (1849).djvu/30

 leader the Lord of Rodenstein. Bürger’s Ballad on the “Wild Huntsman” is also generally known.

It may naturally then be supposed that a Romantic Legend like the “Freischütz” so thoroughly imbued with the Folk-lore of the country which gave it birth, afforded the greatest possible scope to, at the same time exerting a severe tax upon, the musical genius and creative faculties of such a Composer as Weber. The apposite remark “that he seems to have taken the voice of Nature expressive of all the various phases of his tale, and modulated it into music,” is perhaps the best, because the most comprehensive criticism on the “Freischütz” that can be offered. Admirable and effective as is the coloring of this great picture, perfect as the design and its outline; still, its wondrous truth to Nature will always remain its greatest charm.

Before concluding these pages, we shall annex, as is our wont, the Original Cast with which this Opera was given in Berlin in 1821, and the subsequent most prominent casts in this country.

The expectation was very great in Berlin for the long promised inaugural Work which was to open the newly-erected Opera House there, and accordingly the Theatre was crammed to suffocation on the 18th of June, the day of its production. The public perceived the true worth of the music from the beginning to the end, and from the Overture to the Final Chorus no piece was suffered to pass over without the most tremendous applause; and, at the fall of the curtain, the Composer was called for, amidst a perfect storm of plaudits. The maestro appeared, modestly leading on to the stages Mesdames Seidler and Eunicke, to divide with him the well-merited approbation bestowed on all sides, bouquets and wreaths being thrown to them in showers.

Want of space must preclude us for the present from entering into details respecting the above several performances, and from doing adequate justice to the admirable singing of Messrs. Braham, Haitzinger, Frazer, Poeck, Staudigl, and Formes, or of Mesdames Stephens, Paton, De Meric, Heinefetter, and Delcy in their several parts; this, however, as their performances are some of them comparatively recent, is not of so much moment.

We now arrive at the completion of an Edition of this fine musical composition, which has been with us, indeed, a labour of love. Whether we have done any real service to the musical public by presenting them the “Freischütz” for the first time in English in its integrity, their appreciation of the result will show; if this Volume passes into the hands of those to whom the Opera has been hitherto unknown,—if to those acquainted previously with it new beauties are revealed by this book, and any gratification result from its perusal, equal to that which we ourselves feel at the hearing one note of its transcendant score,—then will it add to our joy in the Opera, to which we trust many many voices will join us, in extolling as one of the most beautiful, striking, and original productions of Musical Art and Human Genius ever produced! J. W. M.

Rh