Carl Maria von Weber, Brustbild

Signatur des Originals: S 36/G03725

Carl Maria von Weber, Brustbild

Signatur des Originals: S 36/G03727

Carl Maria von Weber, Brustbild

Signatur des Originals: S 36/G03728

Carl Maria von Weber, Brustbild

Signatur des Originals: S 36/G03729

Valère als Anna, Rollenbild, in: Carl Maria von Weber: Der Freischütz

Signatur des Originals: S 36/G04430

Carl Maria von Weber at Covent Garden Theatre leading his celebrated Opera of Der Freischutz.

Signatur des Originals: S 36/G04451

Carl Maria von Weber, Brustbild

Signatur des Originals: S 36/G04452

Carl Maria von Weber, Brustbild

Signatur des Originals: S 36/G04453

Carl Maria von Weber’s Overture to Oberon: A History of Recorded Performance

My research examines the recorded performance history of the Overture to Weber’s Oberon in light of these aesthetic goals. I have charted changes in performance practice trends, including in timing, tempo fluctuation, rhythmic accuracy and ensemble, and the use of portamento. The twenty recordings studied that I surveyed span nearly seventy-five years, and include many of the 20th century’s most prominent conductors and orchestras, including groups from Communist Russia, both pre-World War II and post-World War II continental Europe, the British Isles, and the United States.8 Though by no means comprehensive, my selections encompass a diverse sampling of surviving recordings, ensuring a large enough sample size to reflect general trends in the performance of Weber’s masterpiece. My research and analysis confirms the conventional view of a move toward more accurate—but also more cautious, uniform, and inexpressive— performances. Surprisingly, however, this analysis also suggests that we are on the cusp of a new era in orchestra performance practice, one that shares many of the values of the earlier recorded performances. While maintaining today’s high standards of execution, modern performances now look to regain many of the past’s expressive qualities, doing so in sometimes surprising ways.

Grand duo pour piano e viola

arr. par F. Hermann d'après Le Grand Septuor Oeuvre 20 composé par L. van Beethoven

Mus Hs Opern 607 (4) - Der Freyschütze : romantische Oper in drey Aufzügen

in Musik gesetzt von Carl Maria von Weber. Dichtung von Friedrich Kind

Der Freischutz : romantische Oper in drei Acten

von Freidrich Kind. - Musik von Carl Maria von Weber

Reise durch das Altai-Gibirge und die soongorische Kirgisen=Steppe : Auf Kosten der Kaiserlichen Universität Dorpat unternommen im jahre 1826 in Begleitung der Herren D. Carl Anton Meyer und D. Alexander von Bunge / Carl Friedrich von Ledebour.

Signatures Band I: pi[superscript 4], 1-26[superscript 8] 27[superscript 4] 28[superscript 6], 23 leaves of plates. Signatures Band II: pi[superscript 2]1-31[superscript 8] 32[superscript 6] 33[superscript 4](-334) 34[superscript 4], [superscript 2]1-[superscript 2]14[superscript 8] [superscript 2]15[superscript 2].

Mus Hs 353 - Jubel-Cantate : zur Feÿer des 50jährigen Regierungsantritts Sr Maj: des Königs von Sachsen ; den 20: Sept. 1818 ; oder Erndte-Cantate ; op: 58

Musik von Carl Maria von Weber. Gedicht von Friedrich Kind. Nach Friedrich Kinds Jubel Cantate gedichtet von A. Wendt