Oberon 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 spirits. The vision is
dispelled by a sudden _ff_ chord for full orchestra which, from its
setting, is one of the loudest effects in music, thoroughly
characteristic of Weber's penchant for dramatic 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 harmony) we cannot be insensible to its abounding
vigor. It is not alone the ponderous things which should move our
imaginations; 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 boldness. 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 exceedingly brilliant
improvisations on the rhythmic figure of the main theme. The following
Development is rather flimsy and we need expend upon it no critical
powder. Weber was a great colorist but not a great architect. These
qualities are united only too seldom. In the Recapitulation, which is
shortened by the omission of the second theme--rather overworked in
the Development--he is once more on his own ground of rhythmic life
and dazzling orchestral color. At the close we are convinced that the
overture has accomplished its purpose of graphically depicting the
revels of Fairy-land.

Although they are seldom[188] played to-day, no account of Weber would
be complete which entirely passed over his compositions for the
Pianoforte, _i.e._, the four Sonatas, the concert piece in F minor and
the originally conceived _Invitation to the Dance_, often played in
the orchestral version of Berlioz which is so much better than the
inflated, bombastic one by Weingartner. Weber is classed as one of the
founders of the "brilliant school" of pianoforte playing which,
chiefly through the genius of Franz Li