s about this time, while visiting Mannheim, that the idea of "Der
Freischutz" first entered his mind. His friend the poet Kind was with
him, and they were ransacking an old book, Apel's "Ghost Stories."
One of these dealt with the ancient legend of the hunter Bartusch, a
woodland myth ranking high in German folk-lore. They were both delighted
with the fantastic and striking story, full of the warm coloring of
Nature, and the balmy atmosphere of the forest and mountain. They
immediately arranged the framework of the libretto, afterward written by
Kind, and set to such weird and enchanting music by Weber.

In 1811 Weber began to give concerts, for his reputation was becoming
known far and wide as a brilliant composer and virtuoso. For two years
he played a round of concerts in Munich, Leipsic, Gotha, Weimar, Berlin,
and other places. He was everywhere warmly welcomed. Lichten-stein, in
his "Memoir of Weber," writes of his Berlin reception: "Young artists
fell on their knees before him; others embraced him wherever they could
get at him. All crowded around him, till his head was crowned, not with
a chaplet of flowers, but a circlet of happy faces." The devotion of his
friends, his happy family relations, the success of his published works,
conspired to make Weber cheerful and joyous beyond his wont, for he was
naturally of a melancholy and serious turn, disposed to look at life
from its tragic side.

In 1813 he was called to Prague to direct the music of the German opera
in that Bohemian capital. The Bohemians had always been a highly musical
race, and their chief city is associated in the minds of the students of
music as the place where many of the great operas were first presented
to the public. Mozart loved Prague, for he found in its people the
audiences who appreciated and honored him the most. Its traditions were
honored in their treatment of Weber, for his three years there were
among the happiest of his life.

Our composer wrote his opera of "Der Freischuetz" in Dresden. It was
first produced in the opera-house of that classic city, but it was
not till 1821, when it was performed in Berlin, that its greatness was
recognized. Weber can best tell the story of its reception himself. In
his letter to his co-author, Kind, he writes:

"The free-shooter has hit the mark. The second representation has
succeeded as well as the first; there was the same enthusiasm. All the
places in the house are taken for the third, whi