Page:Pratt - The history of music (1907).djvu/434

 CHAPTER XXV

THE ROMANTIC OPERA AND THE SONG

171. The Genius of Weber.—Parallel with the latter half of Beethoven's career was that of Weber, who shares with him the honor of unlocking the musical productiveness of Germany. Weber, though also a pianist, stands contrasted in his less thorough discipline as a composer, in his shining gifts for social and practical success, and in the objectivity of his imagination. He was the exponent, not so much of a universal humanity as of the peculiar phase of national awakening through which Germany was passing. He accordingly aroused an instant enthusiasm which had notable fruits.

Weber made his mark as a keyboard virtuoso, ready, original and daring, and made large contributions to piano literature; but his significance lies in his sudden elevation of the German opera into renown, and his expansion of the range of orchestral expression. His general dramatic ideal was like that of Gluck and Mozart, but he had far greater musical facility and intensity than the former, and a more concentrated and serious purpose than the latter. His work was perfectly adapted to the conditions of his time, so that it forthwith started an operatic current which diverged sharply from that of the prevalent Italian school and soon engaged many other powerful geniuses, of whom Wagner became at length chief. Weber's gifts were essentially romantic in quality, especially as regards the exaltation of imaginative warmth and passion over statuesque regularity and elegance. His melodic and structural invention was remarkable and his command of effect, both vocal and instrumental, full of originality. In particular, he was a fascinating colorist in orchestration.

Weber also rendered real service in raising the status of musicianship in the eyes of society. His titled descent and his cultured manners gave him the entrée into exclusive circles and his essential worth inspired respect for his art.