the precursor of that type of orchestration which has reached
such heights in Wagner and other moderns. From the above
comments it is evident that only the barest idea of the Over-
tures can be gained from a pianoforte version; we have selected
Oberon[186] because it suffers less than either of the others. Ev-
eryone, however, should become familiar with the mysterious,
boding passage in the introduction toDer Freischütz (taken
from the scene in the Wolf’s Glen) and the Intermezzo fromEu-
ryanthefor muted, divided strings,[187] which accompanies the
apparition of the ghost. This isgenuinedescriptive music for it
reallysounds ghostly. (See Supplement No. 51.)
[Footnote 186: Not given in the Supplement since good arrange-
ments for two and four hands are numerous. To gain the real
effect the student is strongly advised to consult the orchestral
score.]
[Footnote 187: The genesis of so many similar effects in modern
music, notably in Wagner.]
TheOberon Overture in D major, begins with the intoning of
the motto of Oberon’s magic horn, and then follows a passage
for muted strings (piano e adagio sostenuto) and for delicate
combinations of the wood-wind instruments, which gives us a
picture of the moonlit glens of fairyland, peopled with airy spir-
its. The vision is dispelled by a suddenff chord for full or-
chestra which, from its setting, is one of the loudest effects in
music, thoroughly characteristic of Weber’s penchant for dra-
matic contrast. The main body of the work (allegro con fuoco)
opens with a dashing theme for the strings of great brilliancy,
most typical of Weber. Though we may feel that it has little
substance (note the tonic and dominant foundation of the har-
mony) we cannot be insensible to its abounding vigor. It is
not alone the ponderous things which should move our imagi-
nations; even a soap-bubble is a wonderful phenomenon. The
theme is expanded to a climax, in measure 28 (counting from
the allegro), of great sonority and considerable harmonic bold-
ness. After some reminiscent appearances of the introductory
horn-call, a long-sustained dominant note introduces the second
theme which seems a bit cloying, to be sure, but is just suited to
the melting tone-color of the clarinet. The closing theme borders
on triviality; the Exposition ends, however, with some exceed-
ingly brilliant improvisations on the rhythmic figure of the main
theme. The following Development is rather flimsy and we need