LITMIR.BIZ

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Carl Maria von Weber was a noble-born Saxon German, whose very irregular youth could hardly, one would suppose, have left him leisure to cultivate or exercise his extraordinary musical genius; but though he spent much of his early life in wild dissipation, and died in middle age, he left to the world a mass of compositions of the greatest variety and beauty, and a name which ranks among the most eminent in his pre-eminently musical country. He was a little thin man, lame of one foot, and with a slight tendency to a deformed shoulder. His hollow, sallow, sickly face bore an expression of habitual suffering and ill health, and the long, hooked nose, salient cheek-bones, light, prominent eyes, and spectacles were certainly done no more than justice to in the unattractive representation of my cherished portrait of him.

      He had the air and manner of a well-born and well-bred man of the world, a gentle voice, and a slow utterance in English, which he spoke but indifferently and with a strong accent; he generally conversed with my father and mother in French. One of the first visits he paid to Covent Garden was in my mother's box, to hear Miss Paton and Braham (his prima donna and tenor) in an oratorio. He was enthusiastic in his admiration of Braham's fine performance of one of Handel's magnificent songs ("Deeper and deeper still," I think), but when, in the second part of the concert, which consisted of a selection of secular music, the great singer threw the house into ecstasies, and was tumultuously encored in the pseudo-Scotch ballad of "Blue Bonnets over the Border," he was extremely disgusted, and exclaimed two or three times, "Ah, that is beast!" (Ah, cela est bête!) to our infinite diversion. Much more aggravating proof was poor Weber destined to have of the famous tenor's love of mere popularity in his art, and strange enough, no doubt, to the great German composer was the thirst for ignorant applause which induced Braham to reject the beautiful, tender, and majestic opening air Weber had written for him in the character of Huon, and insist upon the writing of a battle-piece which might split the ears of the groundlings and the gods, and furnish him an opportunity for making some of the startling effects of lyrical declamation which never failed to carry his audience by storm.

      No singer ever delivered with greater purity or nobler breadth Handel's majestic music; the masterly simplicity of his execution of all really fine compositions was worthy of his first-rate powers; but the desire of obtaining by easier and less elevated means the acclamations of his admirers seemed irresistible to him, and "Scots wha hae," with the flourish of his stick in the last verse, was a sure triumph which he never disdained. Weber expressed unbounded astonishment and contempt at this unartistic view of things, and with great reluctance at length consented to suppress, or rather transfer to the overture, the noble and pathetic melody designed for Huon's opening song, for which he submitted the fine warlike cantata beginning—

      "Oh,'tis a glorious sight to see

       The charge of the Christian chivalry!"

      in which, to be sure, Braham charged with the Christians, and routed the Paynims, and mourned for the wounded, and wept for the dead, and returned in triumph to France in the joyous cabaletta, with wonderful dramatic effect, such as, no doubt, the other song would never have enabled him to produce. But the success of the song did not reconcile Weber to what he considered the vulgarity and inappropriateness of its subject, and the circumstance lowered his opinion both of the English singer and of the English public very grievously.

      How well I remember all the discussions of those prolonged, repeated, anxious, careful rehearsals, and the comical despair of which Miss Paton, the heroine of the opera, was the occasion to all concerned, by the curious absence of dramatic congruity of gesture and action which she contrived to combine with the most brilliant and expressive rendering of the music. In the great shipwreck scene, which she sang magnificently, she caught up the short end of a sash tied around her waist, and twirled it about without unfastening it, by way of signaling from the top of a rock for help from a distant vessel, the words she sang being, "Quick, quick, for a signal this scarf shall be waved!" This performance of hers drew from my father the desperate exclamation, "That woman's an inspired idiot!" while Weber limped up and down the room silently wringing his hands, and Sir George Smart went off into ecstatic reminiscences of a certain performance of my mother's, when—in some musical arrangement of "Blue Beard" (by Kelly or Storace, I think), in the part of Sister Anne—she waved and signaled and sang from the castle wall, "I see them galloping! I see them galloping!" after a very different fashion, that drew shouts of sympathetic applause from her hearers.

      Miss Paton married Lord William Lennox, was divorced from her husband and married Mr. Wood, and pursued her career as a public singer for many years successfully after this event; nor was her name in any way again made a subject of public animadversion, though she separated herself from Mr. Wood, and at one time was said to have entertained thoughts of going into a Roman Catholic nunnery. Her singing was very admirable, and her voice one of the finest in quality and compass that I ever heard. The effects she produced on the stage were very remarkable, considering the little intellectual power or cultivation she appeared to possess. My father's expression of "an inspired idiot," though wrung from him by the irritation of momentary annoyance, was really not inapplicable to her. She sang with wonderful power and pathos her native Scotch ballads, she delivered with great purity and grandeur the finest soprano music of Handel, and though she very nearly drove poor Weber mad with her apparent want of intelligence during the rehearsals of his great opera, I have seldom heard any thing finer than her rendering of the difficult music of the part of Reiza, from beginning to end, and especially the scene of the shipwreck, with its magnificent opening recitative, "Ocean, thou mighty monster!"

      "Oberon" was brought out and succeeded; but in a degree so far below the sanguine expectations of all concerned, that failure itself, though more surprising, would hardly have been a greater disappointment than the result achieved at such a vast expenditure of money, time, and labor. The expectations of the public could not have been realized by any work which was to be judged by comparison with their already permanent favorite, "Der Freyschütz." No second effort could have seemed any thing but second-best, tried by the standard of that popular production; and whatever judgment musicians and connoisseurs might pronounce as to the respective merits of the two operas, the homely test of the "proof of the pudding" being "in the eating" was decidedly favorable to the master's earlier work; and my own opinion is, that either his "Euryanthe" or his "Preciosa" would have been more popular with the general English public than the finer and more carefully elaborated music of "Oberon." The story of the piece (always a main consideration in matters of art, with average English men and women) wanted interest, certainly, as compared with that of its predecessor; the chivalric loves and adventures of Huon of Bordeaux and the caliph's daughter were indifferent to the audience, compared with the simple but deep interest of the fortunes of the young German forester and his village bride; and the gay and brilliant fairy element of the "Oberon" was no sort of equivalent for the startling diablerie of Zamiel, and the incantation scene. The music, undoubtedly of a higher order than that of "Der Freyschütz," was incomparably more difficult and less popular. The whole of the part of Reiza was trying in the extreme, even to the powers of the great singer for whom it was written, and quite sure not to be a favorite with prime donne from its excessive strain upon the voice, particularly in what is the weaker part of almost all soprano registers; and Reiza's first great aria, the first song of the fairy king, and Huon's last song in the third act, are all compositions of which the finest possible execution must always be without proportionate effect on any audience, from the extreme difficulty of rendering them and their comparative want of melody. By amateurs, out of Germany, the performance of any part of the music was not likely ever to be successfully attempted; and I do not think that a single piece in the opera found favor with the street organists, though the beautiful opening chorus was made into a church hymn by discarding the exquisite aerial fairy symphonies and accompaniments; and the involuntary dance of the caliph's court and servants at the last blast of the magical horn was for a short time a favorite waltz in Germany.

      Poor Weber's health, which had been wretched before he came to England, and was most unfavorably affected by the climate, sank entirely under the mortification of the comparatively small success of his great work. He had labored and fretted extremely with the rehearsals, and very soon after its production he became dangerously ill, and died—not, as people said, of a broken heart, but of disease of the lungs, already far advanced when he came to London, and doubtless accelerated by these influences. He died in Sir

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