KM Weber conducting activities. Weber Karl Maria von - Biography

Biography

Weber was born into the family of a musician and theatrical entrepreneur, always immersed in various projects. Childhood and youth were spent wandering around the cities of Germany together with a small theater troupe of his father, which is why it cannot be said that in his youth he went through a systematic and strict music school. Almost the first piano teacher, with whom Weber studied for more or less a long time, was Johann Peter Heushkel, then, according to theory, Michael Haydn, lessons were also taken from G. Vogler. - the first works of Weber appeared - small fugues. Weber was then a student of the organist Kalcher in Munich. More thoroughly the theory of composition Weber subsequently went through with Abbot Vogler, having fellow students Meyerbeer and Gottfried Weber; at the same time he studied piano with Franz Lauska. Weber's first stage experience was the opera Die Macht der Liebe und des Weins. Although he wrote a lot in his early youth, his first success came with his opera Das Waldmädchen (1800). The 14-year-old composer's opera was given on many stages in Europe and even in St. Petersburg. Subsequently, Weber reworked this opera, which, under the name "Sylvanas", held on for a long time on many German opera stages.

Having written the opera "Peter Schmoll und seine Nachbarn" (1802), symphonies, piano sonatas, the cantata "Der erste Ton", the opera "Abu Hassan" (1811), he conducted the orchestra in different cities and gave concerts.

Max Weber, his son wrote a biography of his famous father.

Compositions

• Hinterlassene Schriften, ed. Hellem (Dresden, 1828);
• Karl Maria von W. Ein Lebensbild", Max Maria von W. (1864);
• Webergedenkbuch by Kohut (1887);
• "Reisebriefe von Karl Maria von W. an seine Gattin" (Leipzig, 1886);
• Chronol. thematischer Katalog der Werke von Karl Maria von W." (Berlin, 1871).

Of the works of Weber, in addition to those mentioned above, we point out the concertos for piano and orchestra, op. 11, op. 32; "Concert-stuck", op. 79; string Quartet, string trio, six sonatas for piano and violin, op. 10; grand concert duet for clarinet and piano, op. 48; sonatas op. 24, 49, 70; polonaises, rondos, variations for piano, 2 concertos for clarinet and orchestra, Variations for clarinet and piano, Concertino for clarinet and orchestra; andante and rondo for bassoon and orchestra, concerto for bassoon, "Aufforderung zum Tanz" ("Invitation à la danse"), etc.

operas

• "Forest Girl" (German) Das Waldmadchen), 1800 - isolated fragments survive
• "Peter Schmol and his Neighbors" (German) Peter Schmoll and Seine Nachbarn ), 1802
• "Rubetzal" (German) Rubezahl), 1805 - isolated fragments survive
• "Sylvanas" (German) Silvana), 1810
• "Abu Hasan" (German) Abu Hassan), 1811
• "Free Shooter" (German) Der Freischutz), 1821
• "Three Pintos" (German) Die drei Pintos) - not finished; completed by Mahler in 1888.
• Evryanta (German) Euryanthe), 1823
• "Oberon" (German) Oberon), 1826

In astronomy

• The asteroid (527) Evryanta is named after the protagonist of Carl Weber's opera "Evryanta" (English)
• The asteroid 528 Rezia is named after the heroine of Karl Weber's Oberon. (English) Russian , opened in 1904
• The asteroid (529) Preciosa is named after the heroine of Karl Weber's opera Preciosa. (English) Russian opened in 1904.
• Asteroids named after heroines of Carl Weber's opera Abu Hasan (865) Zubaid (English) Russian and (866) Fatma (English) Russian opened in 1917.

Bibliography

Dresden. Grave of Carl Maria von Weber and his family

• Ferman V., Opera Theatre, M., 1961;
• Khokhlovkina A., Western European Opera, M., 1962:
• Koenigsberg A., Carl-Maria Weber, M. - L., 1965;
• Bialik M. G. Opera creativity Weber in Russia // F. Mendelssohn-Bartholdy and Traditions of Musical Professionalism: Collection scientific papers/ Comp. G. I. Ganzburg. - Kharkov, 1995. - C. 90 - 103.
• Laux K., S. M. von Weber, Lpz., 1966;
• Moser H. J.. C. M. von Weber. Leben und Werk, 2 Aufl., Lpz., 1955.

Notes

Links

• Weber's artwork at Classical Connect Free library classical music on Classical Connect
• Summary (synopsis) of the opera "Free Shooter" on the site "100 operas"
• Carl Maria Weber: sheet music of works at the International Music Score Library Project

Categories:

• Personalities in alphabetical order
• Born in Oitina
• Deceased in London
• Composers of Germany
• opera composers
• Romantic composers
• Composers alphabetically
• Born in 1786
• Deceased in 1826
• who died of tuberculosis
• Founders of national opera art
• Musicians alphabetically

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See what "Weber, Carl Maria von" is in other dictionaries:

- (Weber, Carl Maria von) CARL MARIA VON WEBER (1786 1826), the founder of German romantic opera. Karl Maria Friedrich Ernst von Weber was born in Eutin (Oldenburg, now the land of Schleswig Holstein), November 18 or 19, 1786. His father, Baron Franz ... ... Collier Encyclopedia

- (Weber) (1786 1826), German composer and conductor, music critic. Founder of German romantic opera. 10 operas (The Free Shooter, 1821; Evryant, 1823; Oberon, 1826), virtuoso concert pieces for piano. ("Invitation to ... ... encyclopedic Dictionary

Weber Karl Maria von (18 or 11/19/1786, Eitin, ‒ 5/6/1826, London), German composer, conductor, pianist, music writer. Founder of the German romantic opera. Born into the family of a musician and theatrical entrepreneur. Childhood and ... ... Great Soviet Encyclopedia

In the history of Western Europe musical culture Weber's name is associated primarily with the creation of a romantic German opera. The premiere of his magic shooter”, held in Berlin on June 18, 1821 under the direction of the author, became an event historical significance. She put an end to the long domination of foreign, primarily Italian, opera music on the stages of German theaters.

Weber's childhood passed in the atmosphere of a nomadic provincial theater. His mother was a singer, and his father was a violinist and leader of a small theater troupe. The excellent knowledge of the stage acquired in childhood was later very useful to Weber, as opera composer. Although constant traveling interfered with the systematic study of music, at the age of 11 he became an outstanding virtuoso pianist of his time.

From the age of 18, Weber's independent activity as an opera conductor begins. For more than 10 years, he has been moving from place to place, without a permanent home and experiencing enormous financial difficulties. It was not until 1817 that he finally settled in Dresden, taking over the direction of the German musical theatre. The Dresden period was the pinnacle of his creative activity when they appeared the best operas composer: "Magic Shooter", "Euryant", "Oberon". At the same time with " magic shooter» two famous program pieces by Weber were created - piano "Invitation to Dance" And "Concert piece" for piano and orchestra. Both works demonstrate the composer's characteristic brilliant concert style.

In search of ways to create a folk-national opera, Weber turned to the latest German literature. The composer communicated personally with many German romantic writers.

Opera "Magic Shooter"

The Magic Shooter is Weber's most popular composition. Its Berlin premiere was a sensational success. Soon after, the opera toured theaters all over the world. There are several reasons for such a brilliant success:

1 -I, the most important, is a reliance on the traditions of the original German culture. Pictures of German folk life with its customs, the favorite motifs of German fairy tales, the image of the forest (as common in German folklore as the image of the open steppe in Russian folk art, or the image of the sea in English). The music of the opera is filled with melodies in the spirit of peasant German songs and dances, the sounds of a hunting horn (the most a prime example- temperamental choir of hunters from 3 days, which received world fame). All this touched the innermost strings of the German soul, everything was associated with national ideals.

“For the Germans ... here, at every step, they have their own, native, both on stage and in music, as familiar from childhood as we, for example, singing “Luchinushka” or “Kamarinsky” ... "- wrote A.N. Serov.

2 . The opera appeared in an atmosphere of patriotic upsurge caused by the liberation from Napoleonic despotism.

3 . The most important feature"Magic Shooter" is that Weber approached the outline in a completely new way. folk life. Unlike the operas of the 18th century, the characters from the people are shown not in a comedic, emphatically everyday way, but deeply poetic. everyday scenes folk life (peasant holiday, hunting competition) were discharged from amazing love, sincerity. It is no coincidence that the best choral numbers - the choir of hunters, the choir of bridesmaids - have become popular. Some radically changed the traditional circle of intonations opera arias and choirs.

Plot for his opera, the composer found in the short story German writer August Apel from "The Book of Ghosts". Weber read this short story as early as 1810, but did not immediately take up composing music. The libretto was composed by the Dresden actor and writer I. Kind, using the composer's instructions. The action takes place in a Czech village in the 17th century.

In terms of genre, The Magic Shooter is a folk fairy tale opera with features of a singspiel. Her dramaturgy is based on the interweaving of three lines, each of which is associated with its own range of musical and expressive means:

• fantastic;
• folk-genre, characterizing the images of hunting life and forest nature;
• lyrical and psychological, revealing the images of the main characters - Max and Agatha.

The fantastic line of the opera is the most innovative. She had a huge impact on the whole music of the 19th century, in particular, on the fiction of Mendelssohn, Berlioz, Wagner. Its climax is in the finale of Act II (in "Wolf Gorge").

Scene in Wolf's Gorge has a through (free) structure, it consists of a number of episodes independent of the material.

In the 1st, introductory, a mysterious, sinister atmosphere reigns, a choir of invisible spirits sounds. Its creepy, "infernal" (hellish) character is created by extremely laconic expressive means: this is the alternation of two sounds - "fis" and "a" in a monotonous rhythm, harmonized by t and VII in the key of fis-moll.

2nd section - an excited dialogue between Kaspar and Samiel. Samiel is not a singing person, he only speaks, and only in his kingdom - the Wolf's Gorge, although during the opera he quite often appears on stage (passes, disappears). It is always accompanied by a short and very bright leitmotif - an ominous colorful spot (a chord and several abrupt fading sounds in the dull sound of low timbres. These are clarinets in a low register, bassoons and timpani);

Episode 3 (allegro) is dedicated to the characterization of Kaspar, who is anxiously waiting for Max;

The music of the 4th section characterizes the appearance of Max, his fear and mental struggle;

5th, final section - the episode of casting bullets - the culmination of the entire finale. It is solved almost exclusively by orchestral means. Every picturesque stage detail (the appearance of creepy ghosts, a thunderstorm, wild Hunt", a flame erupting from the earth) receives its original musical characteristic with the help of timbre and harmonic colors. Bizarre dissonances predominate, especially reduced seventh chords, tritone combinations, chromatisms, and unusual tonal comparisons. The tonal plan is built on a reduced seventh chord: Fis - a - C - Es.

Weber opens up new visual possibilities for instruments, especially wind instruments: staccato horns, sustained low sounds of clarinets, unusual timbre combinations. The innovative discoveries of Weber's Wolf Valley had a tremendous impact on all the music of the 19th century, in particular, on the fantasy of Mendelssohn, Berlioz, Wagner.

The images of gloomy fantasy are contrasted with cheerful folk scenes. Their music - somewhat naive, ingenuous, sincere - is permeated folklore elements, characteristic melodic turns of everyday songwriting, as well as fair music of Thuringia.

The folk-genre line is embodied in crowd scenes 1st and 3rd acts of the opera. This is a picture of a peasant holiday in a choral introduction, a scene of a competition between hunters. The march sounds like it is being performed by rural musicians. The rustic waltz is distinguished by its underlined unpretentiousness.

The main image of the opera - Max, the first typical romantic hero in music. He is endowed with the features of a psychological split: the influence of Caspar, behind whom are the forces of hell, is opposed by the purity of the loving Agatha. Full disclosure of the image of Max, as well as Agatha, is given in the scene and aria of the first act. This is a great aria-monologue, where a deep spiritual conflict is revealed.

wonderful overture"Magic Shooter" is written in sonata form with a slow start. It is built on musical themes operas (this is the sinister leitmotif of Samiel in the introduction, the theme of "hellish forces" (the main and connecting parts of the sonata Allegro), the themes of Max and Agatha ( side party). Colliding the themes of "infernal forces" with the themes of Max and Agatha, the composer logically leads the development to the solemnly jubilant theme of Agatha, which sounds like a hymn to happiness and love.

With E.T.A. Hoffmann, Wieland, Tiek, Brentano, Arnim, Jean Paul, W. Müller.

Musical numbers alternate with spoken dialogues. Samiel is a non-singing face. In the spirit of the singspiel interpreted secondary image cheerful, frisky Ankhen.

As a true romantic, Weber is versatile: although the center of attraction for him was the opera, he also wrote an excellent instrumental music and achieved success as a concert pianist. In addition, Weber proved to be gifted music critic.

WEBER, CARL MARIA VON (Weber, Carl Maria von) (1786–1826), founder of German romantic opera. Carl Maria Friedrich Ernst von Weber was born in Eutin (Oldenburg, now Schleswig-Holstein), on November 18 or 19, 1786. His father, Baron Franz Anton von Weber (uncle of Mozart's wife Constanza, née Weber), was an accomplished violinist and director of a traveling theater troupes. Karl Maria grew up in the atmosphere of the theater and took his first steps in music under the guidance of stepbrother, an excellent musician, who in turn studied with J. Haydn. Later, Weber studied composition with M. Haydn and G. Vogler. WITH young years Weber was attracted to opera; in 1813 he became director opera house in Prague (where he was one of the first to stage Fidelio Beethoven, an opera that until then had been performed only in Vienna). In 1816 he was invited to head the newly founded German opera in Dresden. European fame came to him after the Berlin premiere of his opera The Free Gunner (Der Freischtz) in 1821. In the spring of 1826, Weber went to London to direct the production of his new opera Oberon, written for the Covent Garden Theatre. However, the composer did not endure the hardships of the journey and died of tuberculosis in London on June 5, 1826.

As a true romantic, Weber is versatile: although opera was his center of attraction, he also wrote excellent instrumental music and achieved success as a concert pianist. In addition, Weber proved to be a gifted music critic. At the age of 14, he mastered the lithographic printing method invented by A. Zenefelder (1771-1834), and even improved it. As Weber wrote to the Viennese publisher Artaria, this improvement made it possible "to engrave sheet music on stone with a result equal to that of the best English copper engravings."

Weber's Free Rifleman - the first real romantic opera. Evryanta (Euryanthe, 1823) was an attempt to create a musical drama, and this work had a significant impact on Wagner's Lohengrin. However, the composer, who was seriously ill by this time, did not fully cope with the difficulties of the task he had set, and Evryant had only a short success (only the overture to the opera became popular). The same applies to Oberon (Oberon, 1826), created based on Shakespeare's comedies The Tempest and Dream in midsummer night. Although this opera has delightful elven music, lovely scenes of nature, and a captivating song of mermaids in the second act, in our time only the inspirational overture to Oberon is performed. Among Weber's writings in other genres, two can be noted piano concertos and the frequently performed concert piece for piano and orchestra; four sonatas; several cycles of variations and the famous Invitation to the Dance for piano solo (later instrumented by Hector Berlioz).

One of the first romantic composers, the creator of the German romantic. opera, organizer of the national musical theater. Musical ability Weber inherited from his father an opera bandmaster and entrepreneur who played many instruments. ((Source: Music Encyclopedia. Moscow. 1873 ( Chief Editor Yu. V. Keldysh). ). Childhood and youth were spent wandering around the cities of Germany. It cannot be said that he went through a systematic and strict musical school in his youth.

Almost the first piano teacher with whom Weber studied for more or less a long time was Johann Peter Heushkel, then, according to theory, Michael Haydn, lessons were also taken from G. Vogler.

Max Weber, his son, wrote a biography of his famous father.

Compositions

• Hinterlassene Schriften, ed. Hellem (Dresden, 1828);
• "Karl Maria von Weber Ein Lebensbild", by Max Maria von W. (1864);
• Webergedenkbuch by Kohut (1887);
• "Reisebriefe von Karl Maria von Weber an seine Gattin" (Leipzig, 1886);
• Chronol. thematischer Katalog der Werke von Karl Maria von Weber" (Berlin, 1871).

Of the works of Weber, in addition to those mentioned above, we point out the concertos for piano and orchestra, op. 11, op. 32; "Concert-stuck", op. 79; string quartet, string trio, six sonatas for piano and violin, op. 10; grand concert duet for clarinet and piano, op. 48; sonatas op. 24, 49, 70; polonaises, rondos, variations for piano, 2 concertos for clarinet and orchestra, Variations for clarinet and piano, Concertino for clarinet and orchestra; andante and rondo for bassoon and orchestra, concerto for bassoon, "Aufforderung zum Tanz" ("Invitation à la danse"), etc.

Piano works

• Variations of "Schione Minka" (German. Schone Minka), op. 40 J. 179 (1815) on the Ukrainian folk song"Have a Cossack across the Danube"

operas

• "Forest Girl" (German) Das Waldmadchen), 1800 - isolated fragments survive
• "Peter Schmol and his Neighbors" (German) Peter Schmoll and Seine Nachbarn ), 1802
• "Rubetzal" (German) Rubezahl), 1805 - isolated fragments survive
• "Sylvanas" (German) Silvana), 1810
• "Abu Hasan" (German) Abu Hassan), 1811
• "Free shooter" (German. Der Freischutz), 1821
• "Three Pintos" (German) Die drei Pintos) - not finished; completed by Gustav Mahler in 1888.
• Evryanta (German) Euryanthe), 1823
• Oberon (German) Oberon), 1826

In astronomy

• In honor of main character Karl Weber's opera Euryanta is named asteroid (527) Evryant, discovered in 1904.
• The asteroid (528) Rezia, discovered in 1904, is named after the heroine of Karl Weber's opera Oberon.
• The asteroid (529) Preciosa, discovered in 1904, is named after the heroine of Karl Weber's opera Preciosa.
• Asteroids named after heroines of Carl Weber's opera Abu Hasan (865) Zubaid (English)Russian and (866) Fatma (English)Russian opened in 1917.

Bibliography

• Ferman W. Opera theatre. - M., 1961.
• Khokhlovkina A. Western European opera. - M., 1962.
• Koenigsberg A. Carl Maria Weber. - M.; L., 1965.
• Bialik M. G. Weber's Opera in Russia // F. Mendelssohn-Bartholdy and Traditions of Musical Professionalism: Collection of Scientific Papers / Comp. G. I. Ganzburg. - Kharkov, 1995. - C. 90 - 103.
• Laux K. S. M. von Weber. - Leipzig, 1966.
• Moser H.J. S. M. von Weber: Leben und Werk. - 2. Aufl. - Leipzig, 1955.

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Notes

Links

• Free classical music library on Classical Connect
• Carl Maria Weber: sheet music of works at the International Music Score Library Project

An excerpt characterizing Weber, Carl Maria von

In the abandoned tavern, in front of which stood the doctor's wagon, there were already about five officers. Marya Genrikhovna, a plump blond German woman in a blouse and nightcap, was sitting in the front corner on a wide bench. Her husband, the doctor, slept behind her. Rostov and Ilyin, met with cheerful exclamations and laughter, entered the room.
- AND! what fun you have, ”said Rostov, laughing.
- And what are you yawning?
- Good! So it flows from them! Don't wet our living room.
“Don’t get Marya Genrikhovna’s dress dirty,” the voices answered.
Rostov and Ilyin hurried to find a corner where, without violating the modesty of Marya Genrikhovna, they could change their wet clothes. They went behind the partition to change their clothes; but in a small closet, filling it all up, with one candle on an empty box, three officers were sitting, playing cards, and would not give up their place for anything. Marya Genrikhovna gave up her skirt for a while in order to use it instead of a curtain, and behind this curtain, Rostov and Ilyin, with the help of Lavrushka, who brought packs, took off their wet and put on a dry dress.
A fire was kindled in the broken stove. They took out a board and, having fixed it on two saddles, covered it with a blanket, took out a samovar, a cellar and half a bottle of rum, and, asking Marya Genrikhovna to be the hostess, everyone crowded around her. Who offered her a clean handkerchief to wipe her lovely hands, who put a Hungarian coat under her legs so that it would not be damp, who curtained the window with a raincoat so that it would not blow, who fanned the flies from her husband’s face so that he would not wake up.
“Leave him alone,” said Marya Genrikhovna, smiling timidly and happily, “he sleeps well after a sleepless night.
“It’s impossible, Marya Genrikhovna,” answered the officer, “we must serve the doctor.” Everything, maybe, and he will take pity on me when he cuts his leg or arm.
There were only three glasses; the water was so dirty that it was impossible to decide when the tea was strong or weak, and there was only six glasses of water in the samovar, but it was all the more pleasant, in turn and seniority, to receive your glass from Marya Genrikhovna’s plump hands with short, not quite clean nails . All the officers really seemed to be in love with Marya Genrikhovna that evening. Even those officers who were playing cards behind the partition soon abandoned the game and went over to the samovar, obeying general mood courtship of Marya Genrikhovna. Marya Genrikhovna, seeing herself surrounded by such brilliant and courteous youth, beamed with happiness, no matter how hard she tried to hide it and no matter how obviously shy at every sleepy movement of her husband sleeping behind her.
There was only one spoon, there was most of the sugar, but they did not have time to stir it, and therefore it was decided that she would stir the sugar in turn for everyone. Rostov, having received his glass and poured rum into it, asked Marya Genrikhovna to stir it.
- Are you without sugar? she said, smiling all the time, as if everything she said, and everything others said, was very funny and had another meaning.
- Yes, I don’t need sugar, I just want you to stir with your pen.
Marya Genrikhovna agreed and began to look for the spoon, which someone had already seized.
- You're a finger, Marya Genrikhovna, - said Rostov, - it will be even more pleasant.
- Hot! said Marya Genrikhovna, blushing with pleasure.
Ilyin took a bucket of water and, dropping rum into it, came to Marya Genrikhovna, asking her to stir it with her finger.
“This is my cup,” he said. - Just put your finger in, I'll drink it all.
When the samovar was all drunk, Rostov took the cards and offered to play kings with Marya Genrikhovna. A lot was cast as to who should form the party of Marya Genrikhovna. The rules of the game, at the suggestion of Rostov, were that the one who would be the king had the right to kiss the hand of Marya Genrikhovna, and that the one who remained a scoundrel would go to put a new samovar for the doctor when he wakes up.
“Well, what if Marya Genrikhovna becomes king?” Ilyin asked.
- She's a queen! And her orders are the law.
The game had just begun, when the doctor's confused head suddenly rose from behind Marya Genrikhovna. He had not slept for a long time and listened to what was said, and apparently did not find anything cheerful, funny or amusing in everything that was said and done. His face was sad and dejected. He did not greet the officers, scratched himself and asked for permission to leave, as he was blocked from the road. As soon as he left, all the officers burst into loud laughter, and Marya Genrikhovna blushed to tears, and thus became even more attractive to the eyes of all the officers. Returning from the yard, the doctor told his wife (who had already ceased to smile so happily and, fearfully awaiting the verdict, looked at him) that the rain had passed and that we had to go to spend the night in a wagon, otherwise they would all be dragged away.
- Yes, I'll send a messenger ... two! Rostov said. - Come on, doctor.
"I'll be on my own!" Ilyin said.
“No, gentlemen, you slept well, but I haven’t slept for two nights,” said the doctor, and sat down gloomily beside his wife, waiting for the game to be over.
Looking at the gloomy face of the doctor, looking askance at his wife, the officers became even more cheerful, and many could not help laughing, for which they hastily tried to find plausible pretexts. When the doctor left, taking his wife away, and got into the wagon with her, the officers lay down in the tavern, covering themselves with wet overcoats; but they didn’t sleep for a long time, now talking, remembering the doctor’s fright and the doctor’s merriment, now running out onto the porch and reporting what was happening in the wagon. Several times Rostov, wrapping himself up, wanted to fall asleep; but again someone's remark amused him, again the conversation began, and again there was heard the causeless, cheerful, childish laughter.

At three o'clock, no one had yet fallen asleep, when the sergeant-major appeared with the order to march to the town of Ostrovna.
All with the same accent and laughter, the officers hurriedly began to gather; again put the samovar on dirty water. But Rostov, without waiting for tea, went to the squadron. It was already light; The rain stopped, the clouds dispersed. It was damp and cold, especially in a damp dress. Leaving the tavern, Rostov and Ilyin both looked in the twilight of dawn into the doctor's leather tent, glossy from the rain, from under the apron of which the doctor's legs stuck out and in the middle of which the doctor's bonnet was visible on the pillow and sleepy breathing was heard.
"Really, she's very nice!" Rostov said to Ilyin, who was leaving with him.
- What a lovely woman! Ilyin replied with sixteen-year-old seriousness.
Half an hour later, the lined up squadron stood on the road. The command was heard: “Sit down! The soldiers crossed themselves and began to sit down. Rostov, riding forward, commanded: “March! - and, stretching out in four people, the hussars, sounding with the slapping of hooves on the wet road, the strumming of sabers and in a low voice, set off along the large road lined with birches, following the infantry and the battery walking ahead.
Broken blue-lilac clouds, reddening at sunrise, were quickly driven by the wind. It got brighter and brighter. One could clearly see that curly grass that always sits along country roads, still wet from yesterday's rain; the hanging branches of the birch trees, also wet, swayed in the wind and dropped light drops to the side. The faces of the soldiers became clearer and clearer. Rostov rode with Ilyin, who did not lag behind him, along the side of the road, between double row birches
Rostov in the campaign allowed himself the freedom to ride not on a front-line horse, but on a Cossack. Both a connoisseur and a hunter, he recently got himself a dashing Don, large and kind playful horse, on which no one jumped him. Riding this horse was a pleasure for Rostov. He thought of the horse, of the morning, of the doctor's wife, and never once thought of the impending danger.
Before, Rostov, going into business, was afraid; now he did not feel the least sense of fear. Not because he was not afraid that he was accustomed to fire (one cannot get used to danger), but because he had learned to control his soul in the face of danger. He was accustomed, going into business, to think about everything, except for what seemed to be more interesting than anything else - about the impending danger. No matter how hard he tried, or reproached himself for cowardice during the first time of his service, he could not achieve this; but over the years it has now become self-evident. He was now riding beside Ilyin between the birches, occasionally tearing leaves from the branches that came to hand, sometimes touching the horse's groin with his foot, sometimes giving, without turning, his smoked pipe to the hussar who was riding behind, with such a calm and carefree look, as if he were riding ride. It was a pity for him to look at the agitated face of Ilyin, who spoke a lot and uneasily; he knew from experience that agonizing state of expectation of fear and death in which the cornet was, and he knew that nothing but time would help him.
As soon as the sun appeared on a clear strip from under the clouds, the wind died down, as if he did not dare to spoil this lovely after a thunderstorm summer morning; the drops were still falling, but already sheer, and everything was quiet. The sun came out completely, appeared on the horizon and disappeared in a narrow and long cloud that stood above it. A few minutes later the sun appeared even brighter on the upper edge of the cloud, tearing its edges. Everything lit up and sparkled. And along with this light, as if answering it, shots of guns were heard ahead.

WEBER, CARL MARIA VON(Weber, Carl Maria von) (1786–1826), founder of the German romantic opera. Carl Maria Friedrich Ernst von Weber was born in Eutin (Oldenburg, now Schleswig-Holstein), on November 18 or 19, 1786. His father, Baron Franz Anton von Weber (uncle of Mozart's wife Constanza, née Weber), was an accomplished violinist and director of a traveling theater troupes. Karl Maria grew up in the atmosphere of the theater and took his first steps in music under the guidance of his half-brother, an excellent musician, who in turn studied with J. Haydn. Later, Weber studied composition with M. Haydn and G. Vogler. From a young age, Weber was attracted to opera; in 1813 he became director of the opera house in Prague (where he was one of the first to stage Fidelio Beethoven - an opera that until then had been performed only in Vienna). In 1816 he was invited to head the newly founded Deutsche Oper in Dresden. European fame came to him after the Berlin premiere of his opera free shooter (Der Freischutz) in 1821. In the spring of 1826, Weber traveled to London to direct a production of his new opera Oberon (Oberon), written for the Covent Garden Theatre. However, the composer did not endure the hardships of the journey and died of tuberculosis in London on June 5, 1826.

As a true romantic, Weber is versatile: although opera was his center of attraction, he also wrote excellent instrumental music and achieved success as a concert pianist. In addition, Weber proved to be a gifted music critic. At the age of 14, he mastered the lithographic printing method invented by A. Zenefelder (1771-1834), and even improved it. As Weber wrote to the Viennese publisher Artaria, this improvement made it possible "to engrave sheet music on stone with a result equal to that of the best English copper engravings."

Weberovsky free shooter- the first true romantic opera. Evryant (euryanthe, 1823) was an attempt to create a musical drama, and this work had a significant influence on Wagnerian Lohengrin. However, the composer, who was seriously ill by this time, did not fully cope with the difficulties of the task he had set, and Evryant had only a short success (only the overture to the opera became popular). The same applies to Oberon (oberon, 1826), based on Shakespeare's comedies Storm And A dream in a summer night. Although this opera has delightful elf music, lovely scenes of nature, and a captivating mermaid song in the second act, in our time only the inspirational overture to Oberon. Among Weber's compositions in other genres, two piano concertos and a frequently performed concert piece for piano and orchestra can be noted; four sonatas; several cycles of variations and the famous An invitation to dance for piano solo (later instrumented by Hector Berlioz).