The supernatural terrors of
'Der Freischuetz' must not make us forget the terrific finale to 'Don
Giovanni,' nor can the most glowing picture from 'Euryanthe' erase
memories of Rinaldo and the Crusaders in 'Armide.' The romantic
movement, however, as interpreted by Weber, aimed definitely at certain
things, which had not previously come within the scope of music, though
for many years they had been the common property of art and literature.
The romantic movement was primarily a revolt against the tyranny of man
and his emotions. It claimed a wider stage and an ampler air. Nature was
not henceforth to be merely the background against which man played his
part. The beauty of landscape, the glory of the setting sun, the
splendour of the sea, the mystery of the forest--all these the romantic
movement taught men to regard not merely as the accessories of a scene
in which man was the predominant figure, but as subjects in themselves
worthy of artistic treatment. The genius of Weber (1786-1826) was a
curious compound of two differing types. In essence it was thoroughly
German--sane in inspiration, and drawing its strength from the homely
old Volkslieder, so dear to every true German heart. Yet over this solid
foundation there soared an imagination surely more delicate and ethereal
than has ever been allotted to mortal musician before or since, by the
aid of which Weber was enabled to treat all subjects beneath heaven with
equal success.
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