Composer, conductor, virtuoso, novelist, and essayist, Carl Maria von Weber is among the great statistics of German Romanticism. Known for his opera Der Freischütz, a function which expresses the nature and dreams of German Romanticism, Weber was the quintessential Intimate artist, embracing poetry, background, folklore, and common myths for motivation and striving to make a convincing synthesis of brilliant books and music. Resembling the Faust tale, Der Freischütz (the word suggests the thought of an marksman counting on magic) is certainly a tale of two fans whose ultimate destiny is set by supernatural makes, a tale which Weber brings alive by masterfully translating into music the otherworldly, especially sinister, areas of the narrative. Weber’s extra claim to popularity are his functions for woodwind musical instruments, such as two concertos and a concertino for clarinet, a concerto for bassoon, and an excellent quintet for clarinet and string quartet. Delivered in 1786, Weber researched with Michael Haydn and Abbé Vogler. Appointed Kappelmeister at Breslau in 1804, he obtained popularity as an opera composer using the creation, in 1811, of Abu Hassan. In 1813, he became movie director from the Prague Opera. In Prague, where he continued to be until 1816, Weber created a mainly French repertoire, acquiring a dynamic, and highly innovative, component in the useful areas of opera creation. Underlying his frequently controversial attempts to reform opera creation was his ardent desire to make a German operatic custom. Although there have been, indeed, able composers in the German-speaking lands, the thought of a German opera provoked very much opposition, as the general public, qualified to perceive opera as an specifically Italian talent, regarded the idea of German opera like a contradiction in conditions, despite the presence of the singspiel custom, brilliantly exemplified from the Magic Flute by Mozart. While Weber’s visit as Royal Kappelmeister at Dresden, not forgetting the triumphant creation of Der Freischütz (1821), certainly strengthened his placement as champ of German opera, his competitors continued to be unconvinced. Weber’s following opera, Euryanthe (1823), didn’t repeat the achievement of Der Freischütz. In Euryanthe, his just opera without spoken dialogue, Weber presented these devices of recurrent designs throughout the whole opera, hence anticipating Wagner. Although Weber brilliantly modified a number of harmonic designs and textures towards the dramatic narrative, the entire effect was significantly hampered with a rambling libretto, an inept version of the medieval romance currently utilized by Shakespeare in Cymbeline. In 1825, Weber was asked to London. Among the functions he was likely to carry out was Oberon, another opera using a Shakespearean theme. The librettist, who had taken the storyplot from Shakespeare’s Midsummer Night’s Wish, created, within a misguided work to please the general public, an unbelievable hodgepodge, a lot more convoluted than Euryanthe, that not Weber’s genius could salvage. Even so, Oberon, that your English open public received with admiration, consists of much beautiful music, including types of lush orchestration and beautiful tone painting. Frequently performed in concert, the overture is usually a true Passionate gem. Currently in illness before his London tour, Weber passed away in the British capital in 1826, soon after the premiere of Oberon at Covent Backyard.