for three
years. The success he achieved created enemies, and perhaps because of
intrigues, envy and ill feeling which had arisen, he resigned his
post in 1816. The three years in Prague had been fruitful in new
compositions. Several fine piano sonatas, a set of "National Songs,"
and the Cantata, "Kampf und Sieg," (Struggle and Victory). This last
work soon became known all over Germany and made the gifted young
composer very popular. During this period Weber became engaged to
Caroline Brandt, a charming singer, who created the title role in his
opera of "Sylvana."

Weber had many kind, influential friends in Prague, who admired his
zeal and efficiency as music director. One of them, Count Vitzhum, did
all he could to secure Weber for Dresden. On Christmas morning, 1816,
he received the appointment. He wrote to Caroline: "Long did I look on
Count Vitzhum's letter without daring to open it. Did it contain joy
or sorrow? At length I took courage and broke the seal. It was joy!
I am Capellmeister to his Majesty the King of Saxony. I must now rig
myself out in true Court style. Perhaps I ought to wear a pigtail to
please the Dresdeners. What do you say? I ought at least to have an
extra kiss from you for this good news."

He went to Dresden, and at first looked over the situation. On nearer
view the prospect was not as bright as it had appeared at first. There
was a rival faction, strongly opposed to his plans for the promotion
of German opera. There had never been anything tolerated at Dresden
but Italian opera, and there were many talented Italian singers to
interpret them. Weber was encouraged by a new national spirit, which
he felt would favor German opera, and was determined to conquer at
all costs. He finally succeeded, for, as he wrote to a friend, "The
Italians have moved heaven, earth and hell also, to swallow up the
whole German opera and its promoter. But they have found in me a
precious tough morsel; I am not easily swallowed." It was the same
kind of fight that Handel waged in England, and that Gluck fought
against the Piccinists.

"Joseph and his Brethren," by Mehul, was the first opera to be taken
up by the new conductor. He drilled the orchestra much more carefully
than they had been accustomed, and while, in the beginning, some were
sulky at the strictness they were subjected to, yet they finally saw
the justice of it and at last took pride in doing their work well.
"Joseph" was brought out January 30,