"Denn
ihm ist alle Herrlichkeit von Ewigkeit zu Ewigkeit"), worked up with
overpowering dramatic force, particularly in the instrumentation. Though
but a small composition compared with the masterpieces for the stage
which followed it, it is peculiarly interesting in its suggestions of the
composer's great dramatic power which was to find its fruition in the
later works from his pen.

WEBER.

Carl Maria von Weber was born Dec. 18, 1786, at Eutin, and may almost be
said to have been born on the stage, as his father was at the head of a
theatrical company, and the young Carl was carried in the train of the
wandering troupe all over Germany. His first lessons were given to him by
Henschkel, conductor of the orchestra of Duke Friedrich of Meiningen. At
the age of fourteen he wrote his first opera, "Das Waldmaedchen," which
was performed several times during the year 1800. In 1801 appeared his
two-act comic opera, "Peter Schmoll and his Neighbors," and during these
two years he also frequently played in concerts with great success. He
then studied with the Abbe Vogler, and in his eighteenth year was engaged
for the conductorship of the Breslau opera. About this time appeared his
first important opera, "Rubezahl." At the conclusion of his studies with
Vogler he was made director of the opera at Prague. In 1816 he went to
Berlin, where he was received with the highest marks of popular esteem,
and thence to Dresden as hofcapellmeister. This was the most brilliant
period in his career. It was during this time that he married Caroline
Brandt, the actress and singer, who had had a marked influence upon his
musical progress, and to whom he dedicated his exquisite "Invitation to
the Dance." The first great work of his life, "Der Freischuetz,"
was written at this period. Three other important operas
followed,--"Preciosa," "Euryanthe," the first performance of which took
place in Vienna in 1823, and "Oberon," which he finished in London and
brought out there. Weber's last days were spent in the latter city, and
it was while making preparations to return to Germany, which he longed to
see again, that he was stricken down with his final illness. On the 4th
of June, 1826, he was visited by Sir George Smart, Moscheles, and other
musicians who were eager to show him attention. He declined to have any
one watch by his bedside, thanked them for their kindness, bade them
good-by, and then turned to hi