There were two reasons behind Weber’s hesitation to perform his opus 79, known as “Concert Piece” in public. As he wrote to the music journalist Friedrich Rochlitz, experience had shown that concertos in minor keys were not as well-received by the public. Furthermore he was worried that he would be misjudged as a “musical charlatan” because while composing it he had had visions of a dramatic love story at the time of the crusades, which had influenced the character of the work. His concerns were superfluous; the effective virtuoso piece conquered the concert stages all over the world. It is now available for the fi rst time as an Urtext edition. The world famous pianist Marc-André Hamelin provided the fingering.
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Carl Maria von Weber’s (1786–1826) opus 79, known as the Konzertstück (Concert Piece), is essentially his third piano concerto. Work on it evidently dates back to 1815, for on 14 March of that year he wrote from Prague to the music journalist Friedrich Rochlitz, “I am now working on a piano concerto in f minor. Yet seeing as the concertos in minor keys without a specific … more
About the composer
Carl Maria von Weber
One of the most important German opera composers before Wagner, he advocated for a German opera through his own output and in his writings. His fame is predicated on “Der Freischütz,” which was received emphatically as a German nationalist opera. His instrumental works (orchestral pieces, solo concerti, chamber music, piano works) are largely based on Classical models though already anticipate the Romantic sound.
|1786||Born in Eutin on November 18 or 19. Journeyman years with the “Webersche Schauspielergesellschaft,” a wandering acting troupe. He plays smaller roles for children.|
|1797||The troupe comes to Salzburg, where he studies composition with Michael Haydn from 1798.|
|1800||Premiere in Freiberg of his first Romantic, comic opera, “Das Waldmädchen” (“The Forest Maiden”).|
|beginning 1803||Years of study in Vienna with Georg Josef Vogler.|
|1804–06||First appointment as music director in Breslau (Wrocław).|
|1810||Premiere in Frankfurt am Main of the Romantic opera “Silvana.” Piano Concerto No. 1 in C major, Op. 11.|
|1811||Clarinet Concerti No. 1 in F minor, Op. 73, and No. 2 in E-flat major, Op. 74, commissioned by Maximilian of Bavaria; in 1812, Piano Concerto No. 2 in E-flat major, Op. 32.|
|1813–16||Opera director and music director of the Estates Theater in Prague. From 1817 onward,courtl music director in Dresden.|
|1819||Piano pieces: “Rondo brillante” in E-flat major, Op. 62; “Aufforderung zum Tanze” (“Invitation to the Dance”) in D-flat major, Op. 65; “Polacca brillante” in E-flat major, Op. 72. Trio in G minor for piano, flute, and cello, Op. 63.|
|1821||Premiere in Berlin of his Romantic opera “Der Freischütz,” Op. 77; it is received as an archetypal German opera due to its subject matter and music, although it integrates German, French, and Italian elements. Konzertstück in F minor for Piano and Orchestra, Op. 79, which paves the way for one-movement concerto compositions in the nineteenth century.|
|1823||Premiere in Vienna of “Euryanthe,” Op. 81.|
|1826||Premiere in London of “Oberon.” Death in London on June 5.|
About the authors
Wie oft muss man sich über ungelenke, schlecht klingende Klavierauszüge ärgern ... Umbreit zeigt, dass es auch anders geht: Seine Bearbeitung liest sich leicht vom Blatt und klingt dennoch voll und orchestral. Eine Wohltat!