Waart, Edo de. 56 Wachmann, Eduard 56


(5) Fridolin (Stephan Johann Nepomuk Andreas Maria) [Fritz] Weber (ii)



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(5) Fridolin (Stephan Johann Nepomuk Andreas Maria) [Fritz] Weber (ii)


(b Hildesheim, 29 Nov 1761; d Hamburg, 11 March 1833). Composer and violinist, son of (2) Franz Anton Weber. Like his brother (8) Edmund he was a pupil of Joseph Haydn, and held a post in the Esterházy orchestra for a brief period in 1788. He was then a member of various theatre companies in south and central Germany, and was a musical director in Wiesbaden around 1812. From 1819 until his death he played the viola in the orchestra of the Hamburg Stadt-Theater. Franz Anton and Edmund Weber probably also had a hand in the pasticcios ascribed to Fridolin, Der Freybrief (1789, Meiningen) and Der Aepfeldieb (1791, Hamburg), which were largely based on music by Haydn.

Weber

(6) (Maria) Constanze [Constantia] (Caecilia Josepha Johanna Aloisia) Weber


(b Zell, 5 Jan 1762; d Salzburg, 6 March 1842). Soprano, daughter of (1) Fridolin Weber (i) and wife of Wolfgang Amadeus Mozart. See Mozart family, (4).

Weber

(7) (Maria) Sophie Weber [Haibel]


(b Zell, Oct 1763; d Salzburg, 26 Oct 1846). Daughter of (1) Fridolin Weber (i). She married the composer and singer Jakob Haibel on 7 January 1807. Mozart described her (15 December 1781) as ‘good-natured but feather-brained’. She was present during his last hours, of which she wrote (34 years later) a moving account for Georg Nikolaus Nissen, her brother-in-law and Mozart’s biographer. During her widowhood she lived with (6) Constanze in Salzburg.

Weber

(8) (Franz) Edmund (Kaspar Johann Nepomuk Joseph Maria) Weber


(b Hildesheim, 19 June 1766; d ? after 1831). Composer, son of (2) Franz Anton Weber. He studied with Joseph Haydn in 1787–8 and led an unsettled existence in the theatre all his life (in the capacity of instrumentalist, singer, stage manager and director), with his father Franz Anton’s troupe and with other theatre companies. It was for these that he wrote his operas Der Transport im Koffer (1792, Nuremberg), Martin Fex, oder Ich habe der Brüder mehr (1795, Salzburg) and Die Zwillinge (?1797, Salzburg). After spending some time in Würzburg (1804–5), Bamberg (1809) and Wuppertal (1810–11), he became a musical director in Berne (1812–19) and was briefly a singing teacher in Lübeck (1819); he subsequently held further posts as musical director in Königsberg (1823–4) and Cologne and Aachen (1824–6). By now active only as a double bass player, he accompanied his daughter, the singer Therese Weber, to her engagements in Detmold (1827–9) and Würzburg (1830). The documentary records lose his track in 1832, somewhere in the Cologne area.

BIBLIOGRAPHY


MGG1 (K.M. Pisarowitz)

R.M. Werner: Aus dem Josephinischen Wien: Geblers und Nicolais Briefwechsel während der Jahre 1771–1786 (Berlin, 1888)

C. Groag-Belmonte: Die Frauen im Leben Mozarts (Augsburg, 1905, 2/1924)

R.P. von Thurn: Joseph II. als Theaterdirektor (Vienna and Leipzig, 1920)

E.K. Blümml: Aus Mozarts Freundes- und Familienkreis (Vienna, 1923), 119–39

K.M. Pisarowitz: ‘Genoveva von Weber-Brenner’, Lebensbilder aus dem bayerischen Schwaben, vi (1958), 422–45

J.H. Eibl: ‘Wer hat das Engagement Aloisia Webers an die Wiener Oper vermittelt?’, MJb 1962–3, 111–14

F. Hadamowsky: Die Wiener Hoftheater (Staatstheater) 1776–1966 (Vienna, 1966)

O. Michtner: Das alte Burgtheater als Opernbühne (Vienna, 1970)

M.S. Viertel: ‘Weber, Franz Anton’, Biographisches Lexikon für Schleswig-Holstein und Lübeck, viii, ed. H.F. Rothert (Neumünster, 1987)

H. Schlotter: ‘Franz Anton von Weber und das Adelsprädikat’, Genealogie, xxxvii (1988), 21–2

P. Lewy Gidwitz: Vocal Profiles of Four Mozart Sopranos (diss., U. of California, Berkeley, 1991)

M.S. Viertel: Die Musik am Eutiner Hof: von der Reformation zur Revolution (Eutin, 1991)

H. Schuler: ‘Franz Anton Weber als Freimaurer’, Acta mozartiana, xl/1 (1993), 17–23

J. Neubacher: ‘Die Webers, Haydn und Der Aepfeldieb: eine Untersuchung der Musikhandschrift ND VII 168 der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky’, Festschrift Christoph-Hellmut Mahling, ed. A. Beer, K. Pfarr and W. Ruf (Tutzing, 1997), 989–1008

J. Veit: ‘Bausteine zu einer Biographie Fridolin und Edmund von Webers’, Weberiana (forthcoming)

For further bibliography see (9) Carl Maria von Weber; see also Mozart family, esp. (4) Constanze.



Weber

(9) Carl Maria (Friedrich Ernst) von Weber


(b Eutin, ?19 Nov 1786; d London, 5 June 1826). Composer, conductor, pianist and critic, son of (2) Franz Anton Weber. A prototypical 19th-century musician-critic, he sought through his works, words and efforts as performer and conductor to promote art and shape emerging middle-class audiences to its appreciation. His contributions to song, choral music and piano music were highly esteemed by his contemporaries, his opera overtures influenced the development of the concert overture and symphonic poem, and his explorations of novel timbres and orchestrations enriched the palette of musical sonorities. With the overwhelming success of his opera Der Freischütz in 1821 he became the leading exponent of German opera in the 1820s and an international celebrity. A seminal figure of the 19th century, he influenced composers as diverse as Marschner, Mendelssohn, Wagner, Meyerbeer, Berlioz and Liszt.

1. Childhood and adolescence: up to 1804.

2. Breslau, Carlsruhe and Stuttgart, 1804–10.

3. Years of travel, 1810–12.

4. Prague, 1813–16.

5. Dresden, 1817–21.

6. Between ‘Der Freischütz’ and ‘Euryanthe’, 1821–3.

7. Last years, 1824–6.

8. Writings and thought.

9. The pianist and conductor.

10. The composer.

11. Instrumental works.

12. Vocal and incidental music.

13. Operas.

14. Assessment.

WORKS

WRITINGS

BIBLIOGRAPHY

Weber: (9) Carl Maria von Weber


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