Online-Bibliothek

[587] Der Gedanke, daß er ein liebliches, kleines Töchterchen vielleicht bald auf den Knieen wiegen sollte, vermochte fast allein den tiefen Schatten zu bannen, der sich immer unwandelbarer auf Weber's sonst so heitere Psyche legte. Als ihm am 6. Januar die Geburt eines derben Knaben gemeldet wurde, rief er daher halb glücklich, halb enttäuscht, aus: »Gott sei Dank! Aber ach! eine Dublette!«

Die Niederlage, welche die deutsche Oper wieder erlitt, indem Morlacchi sein reizendes und jedenfalls bestes Werk: »Tebaldo und Isolina«, das italienische, etwas nach Rossini schmeckende Melodienfülle und Grazie mit manchem trefflichen, deutschem Sinne und deutschem Geiste entnommenen Zuge durchwob, und daher fast allen Parteien gerecht wurde, gegen Cherubini's »Faniska«, die mehr eine herrliche Symphonie mit Gesang, als ein dramatisch-musikalisches Werk ist, in's Feld führte, regte Weber unangenehm an. Er erblickte darin ein Verschwendetsein der von ihm auf Heranbildung des Publikums gewendeten Mühen. In dieser gereizten Stimmung schlug er dem Grafen Brühl dessen Bitte, die Musik zu der Hexenscene in »Macbeth«, der nach der neuen Spiker'schen Uebersetzung in Berlin in Scene gehen sollte, zu componiren, fast barsch ab, da er, wie er am 13. Jan. an Lichtenstein schreibt, »weder Zeit noch Lust dazu habe; ist immer ein undankbares Geschäft und scheint es mir der jetzigen Stellung der Dinge in Berlin gemäß, fast unschicklich für mich, es zu thun.«

Unter dem Einflusse dieser geschäftlichen Mißhelligkeiten und der Störung, welche durch der geistig und körperlich fortkränkelnden Caroline Zustand in der Behaglichkeit seines Hauses herbeigeführt worden war, schreibt er auch an diesen Freund, der ihn zu energischer Aufraffung und kräftigem Angriffe seines neuen, großen Werkes treibt:

»etc. Du hast wohl Recht, lieber Bruder, daß man gehörig angeregt, auch in kurzer Zeit was Tüchtiges und Umfangreiches liefern kann; aber – da muß man weder an einen Herrn noch an eine Frau gebunden sein. Wer kann die tausend nichtswürdigen Kleinigkeiten verhindern oder so stark sein, sich nicht von ihnen irren oder verstimmen zu lassen, die in diesen beiden Diensten vorkommen. Also[587] besser Zeit genommen und so wenigstens das Gewissen salvirt, daß man sich nicht übereilt habe! etc.«

Am 18. Jan. erhielt er von Planché den zweiten und dritten Akt des »Oberon« und schreibt an ihn den nachfolgenden Brief, den wir, mit dem an den Dichter am 6. Januar über den Empfang des ersten Aktes gesendeten, hier folgen lassen, da sie auf die Form seiner Ideenbildung einiges Licht werfen. Wir geben sein von seinem Lehrer Mr. Carrey revidirtes Englisch in seiner ganzen Eigenthümlichkeit:

»Sir, I am most obliged to you for all the kind things you are pleased to honour me with. I can only congratulate myself to share in toils of an author who displays so much feeling and genius in his fluent verses. The cut of an English Opera is certainly very different from a German one – the English is more a Drama with songs. But in the first act of Oberon there is nothing that I could wish to see changed, except the finale. The chorus is conducted to its place, I think rather forcibly, and cannot excite the interesse of the public which is linked to the sentiment of Rezia. I would wish consequently for some more verses – full of the greatest joy and hope for Rezia which I might unite with the horus, and treat the latter as subordinate to Rezia's sentiments. Pardon my making use of your condescending permission.

I thank you obligingly for your goodness of having translated the verses in french but it was not so necessary, because I am tho yet a weak however a diligent student of the English language.

I am with esteem

Sir

Your most obedient servant

C. M. B. de WEBER

Dresden the 6th January 1825.

P. S. Being ignorant if the rest of your Opera has been sent already before the arrival of those letter I cannot but repeating you that it is vastly (interesting) to get the sight of the whole as soon as possible.«[588]

»My dear Sir!

I have received the second act of Oberon the 18th January, and the third act and your very amiable letter in one and the same day, the 1st February.

These two acts are also filled with the greatest beauties. I embrace the whole in love, and will endeavour not to remain behind you. To this acknowledgment of your work you can give credit the more, as I must repeat that the cut of the whole is very foreign to all my ideas and maxims. The intermixing of so many principal actors who do not sing, the omission of the music in the most important moments – all these things deprive our Oberon the title of an Opera, and will make him unfit for all other Theatres in Europe; which is a very bad thing for me, but – passons la dessus.

You have so well construed my first prayers that I continue proposals in confidence to your kindness.

The scene between Sherasmin and Fatima, in the 2d act; and the (vere pretty), Arietta of the latter, must necessarily be omitted, and the quartetto follow immediately. Also the chorus of the Pirates. But the time which we gain thereby we must spare for a duetto between Huon and Rezia. The absence of this piece of music would be very much regreted, and the scene upon the desert shore seems the most convenient place for it, though my musical heart sighs that the first moment when the loving pair find each other passes without music, but the opera appears too long already.

Now wish I yet a mad Aria for Sherasmin (when he discovers the horn) in which Fatima's lamentations unite and close the scene with a beautiful contrast. Oh! dear Sir! what would not we produce, if we were living in the same town.

Still I beg leave to observe that the composer looks more for the expression of feelings than the figurative; the former he may repeat and develope in all their graduations; but verses like[589]

›Like the spot the tulip weareth

Deep within its dewy urn;‹

Or, in Huon's song

›Like hopes that deceive us

Or false friends who leave us

Soon as descendeth Prosperity's sun,‹

must be said only once.

You see, that, I speak to you as to an old acquaintance, and I hope at least that you will consider it so.

Mr. Kemble has not honoured me till now with an answer to my letter of the 6th January. I conclude from this that he is convinced of the necessity to retard the Opera, and that, consequently, have time to regulate our affairs. The same reason has also withheld me from replying to his letter of the 14th January, which has crossed mine of the 6th January, Yet I must own the wish, to see the affair decided at last because all sort of uncertainty puzzles me, and disturbs me in working,

To speak sincerely I do not unterstand why my honoured friend Mr. Kemble hesitates to name the sum which he can offer me. He knows what length he can go, to the credit of his country and establishment. I can demand but I would neither appear indiscreet nor suffer injury, the latter of which I have too frequently experienced. Russia, Sweden, Poland, France, Scotland and England, have brought on the boards my performances without their being entitled to it, for my works have not been printed. And though I do not value money, to take notice of it, the world forces me at last.

Pardon, dear Sir, that I am molesting you with things you cannot be interested in – but Poets and Composers live together in a sort of Angels-marriage which demands reciprocal trust. And now it is truly time to end my very checkered Epistle.

I am with the greatest esteem and regard

Your most obedient Servant

C.M. von WEBER.

Dresden Februar the 19th 1825.«