Edgar Degas
Self-portrait (Degas au porte-fusain), 1855
Birth name	Hilaire-Germain-Edgar De Gas
Born	(1834-07-19)19 July 1834 Paris, France
Died	27 September 1917(1917-09-27) (aged 83) Paris, France
Nationality	French
Field	Painting, Sculpture, Drawing
Movement	Impressionism
Works	The Bellelli Family (1858–1867) Woman with Chrysanthemums (1865) Chanteuse de Café (c.1878) At the Milliner's (1882)
Influenced	Mary Cassatt, Jean-Louis Forain, Walter Sickert, Henri de Toulouse-Lautrec

Edgar Degas (US /deɪˈɡɑː/ or UK /ˈdeɪɡɑː/; French: [ilɛʁ ʒɛʁmɛnɛdɡɑʁ dəɡɑ]; born Hilaire-Germain-Edgar De Gas, 1834–1917), was a French artist famous for his work in painting, sculpture, printmaking and drawing. He is regarded as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist.^[1] A superb draftsman, he is especially identified with the subject of the dance, and over half of his works depict dancers. These display his mastery in the depiction of movement, as do his racecourse subjects and female nudes. His portraits are notable for their psychological complexity and depiction of human isolation.^[2]

Early in his career, he wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life.^[3]

Early life[link]

Edgar Degas c. 1850s

Degas was born in Paris, France, the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, and Augustin De Gas, a banker. The family was moderately wealthy. His mother died when Degas was thirteen, after which his father and grandfather were the main influences on his early life. At age eleven, Degas (in adulthood he abandoned the more pretentious spelling of the family name)^[4] began his schooling with enrollment in the Lycée Louis-le-Grand, graduating in 1853 with a baccalauréat in literature.

Degas began to paint early in life. By the age of eighteen, he had turned a room in his home into an artist's studio, and in 1853 he registered as a copyist in the Louvre. His father, however, expected him to go to law school. Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but made little effort at his studies. In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and whose advice he never forgot: "Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist."^[5] In April of that same year, Degas received admission to the École des Beaux-Arts, where he studied drawing with Louis Lamothe, under whose guidance he flourished, following the style of Ingres.^[6] In July 1856, Degas traveled to Italy, where he would remain for the next three years. In 1858, while staying with his aunt's family in Naples, he made the first studies for his early masterpiece, The Bellelli Family. He also drew and painted numerous copies after Michelangelo, Raphael, Titian, and other artists of the Renaissance but, contrary to conventional practice, he usually selected from an altarpiece a detail that had caught his attention—a secondary figure, or a head which he treated as a portrait.^[7]

Artistic career[link]

Upon his return to France in 1859, Degas moved into a Paris studio large enough to permit him to begin painting The Bellelli Family—an imposing canvas he intended for exhibition in the Salon, although it remained unfinished until 1867. He also began work on several history paintings: Alexander and Bucephalus and The Daughter of Jephthah in 1859–60; Sémiramis Building Babylon in 1860; and Young Spartans around 1860.^[8] In 1861, Degas visited his childhood friend Paul Valpinçon in Normandy, and made the earliest of his many studies of horses. He exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention.^[9] Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his Steeplechase—The Fallen Jockey (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard Manet, whom Degas had met in 1864 (while both were copying the same Velázquez portrait in the Louvre, according to a story that may be apocryphal).^[10]

At the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, and for the rest of his life his eye problems were a constant worry to him.^[11]

A Cotton Office in New Orleans, 1873

After the war, in 1872, Degas began an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, ^[12] Degas produced a number of works, many depicting family members. One of Degas's New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, and was his only work purchased by a museum (that of Pau) during his lifetime.

Degas returned to Paris in 1873. The following year his father died, and in the subsequent settling of the estate it was discovered that Degas's brother René had amassed enormous business debts. To preserve the family name, Degas was forced to sell his house and a collection of art he had inherited. Dependent for the first time in his life on sales of his artwork for income, he produced much of his greatest work during the decade beginning in 1874.^[13] By now thoroughly disenchanted with the Salon, Degas joined forces with a group of young artists who were intent upon organizing an independent exhibiting society. The first of their exhibitions, which were quickly dubbed Impressionist Exhibitions, was in 1874. The Impressionists subsequently held seven additional shows, the last in 1886. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought.^[1] He bitterly rejected the label Impressionist that the press had created and popularized, and his insistence on including non-Impressionist artists such as Jean-Louis Forain and Jean-François Raffaëlli in their exhibitions created rancor within the group, contributing to their eventual disbanding in 1886.^[14]

As his financial situation improved through sales of his own work, he was able to indulge his passion for collecting works by artists he admired: old masters such as El Greco and such contemporaries as Manet, Pissarro, Cézanne, Gauguin, and Van Gogh. Three artists he idolized, Ingres, Delacroix, and Daumier, were especially well represented in his collection.^[15]

In the late 1880s, Degas also developed a passion for photography.^[16] He photographed many of his friends, often by lamplight, as in his double portrait of Renoir and Mallarmê. Other photographs, depicting dancers and nudes, were used for reference in some of Degas's drawings and paintings.^[17]

As the years passed, Degas became isolated, due in part to his belief that a painter could have no personal life.^[18] The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends.^[19] His argumentative nature was deplored by Renoir, who said of him: "What a creature he was, that Degas! All his friends had to leave him; I was one of the last to go, but even I couldn't stay till the end."^[20]

Although he is known to have been working in pastel as late as the end of 1907, and is believed to have continued making sculpture as late as 1910, he apparently ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced him to move to quarters on the boulevard de Clichy.^[21] He never married and spent the last years of his life, nearly blind, restlessly wandering the streets of Paris before dying in September 1917.^[22]

Artistic style[link]

The Dance Class (La Classe de Danse),1873–1876, oil on canvas, by Edgar Degas

Degas is often identified as an Impressionist, an understandable but insufficient description. Impressionism originated in the 1860s and 1870s and grew, in part, from the realism of such painters as Courbet and Corot. The Impressionists painted the realities of the world around them using bright, "dazzling" colors, concentrating primarily on the effects of light, and hoping to infuse their scenes with immediacy.

Technically, Degas differs from the Impressionists in that he "never adopted the Impressionist color fleck",^[23] and he continually belittled their practice of painting en plein air.^[24] "He was often as anti-impressionist as the critics who reviewed the shows", according to art historian Carol Armstrong; as Degas himself explained, "no art was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing."^[25] Nonetheless, he is described more accurately as an Impressionist than as a member of any other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and form, and his friendship with several key Impressionist artists—most notably Mary Cassatt and Édouard Manet—all relate him intimately to the Impressionist movement.^[26]

Degas's style reflects his deep respect for the old masters (he was an enthusiastic copyist well into middle age)^[27] and his great admiration for Jean Auguste Dominique Ingres and Eugène Delacroix. He was also a collector of Japanese prints, whose compositional principles influenced his work, as did the vigorous realism of popular illustrators such as Daumier and Gavarni. Although famous for horses and dancers, Degas began with conventional historical paintings such as The Young Spartans, in which his gradual progress toward a less idealized treatment of the figure is already apparent. During his early career, Degas also painted portraits of individuals and groups; an example of the latter is The Bellelli Family (c.1858–67), a brilliantly composed and psychologically poignant portrayal of his aunt, her husband, and their children. In this painting, as in The Young Spartans and many later works, Degas was drawn to the tensions present between men and women. In his early paintings, Degas already evidenced the mature style that he would later develop more fully by cropping subjects awkwardly and by choosing unusual viewpoints.

L'Absinthe, 1876, oil on canvas, by Edgar Degas

By the late 1860s, Degas had shifted from his initial forays into history painting to an original observation of contemporary life. Racecourse scenes provided an opportunity to depict horses and their riders in a modern context. He began to paint women at work, milliners and laundresses. Mlle. Fiocre in the Ballet La Source, exhibited in the Salon of 1868, was his first major work to introduce a subject with which he would become especially identified, dancers.^[28]

In many subsequent paintings dancers were shown backstage or in rehearsal, emphasizing their status as professionals doing a job. From 1870 Degas increasingly painted ballet subjects, partly because they sold well and provided him with needed income after his brother's debts had left the family bankrupt.^[29] Degas began to paint café life as well, in works such as L’Absinthe and Singer with a Glove. His paintings often hinted at narrative content in a way that was highly ambiguous; for example, Interior (which has also been called The Rape) has presented a conundrum to art historians in search of a literary source—Thérèse Raquin has been suggested^[30]—but it may be a depiction of prostitution.^[31]

As his subject matter changed, so, too, did Degas's technique. The dark palette that bore the influence of Dutch painting gave way to the use of vivid colors and bold brushstrokes. Paintings such as Place de la Concorde read as "snapshots," freezing moments of time to portray them accurately, imparting a sense of movement. The lack of color in the 1874 Ballet Rehearsal on Stage and the 1876 The Ballet Instructor can be said to link with his interest in the new technique of photography. The changes to his palette, brushwork, and sense of composition all evidence the influence that both the Impressionist movement and modern photography, with its spontaneous images and off-kilter angles, had on his work.^[26]

Place de la Concorde, 1875, oil on canvas, by Edgar Degas, Hermitage Museum, St. Petersburg

Blurring the distinction between portraiture and genre pieces, he painted his bassoonist friend, Désiré Dihau, in The Orchestra of the Opera (1868–69) as one of fourteen musicians in an orchestra pit, viewed as though by a member of the audience. Above the musicians can be seen only the legs and tutus of the dancers onstage, their figures cropped by the edge of the painting. Art historian Charles Stuckey has compared the viewpoint to that of a distracted spectator at a ballet, and says that "it is Degas' fascination with the depiction of movement, including the movement of a spectator's eyes as during a random glance, that is properly speaking 'Impressionist'."^[32]

Musicians in the Orchestra, 1872, oil on canvas, by Edgar Degas

Degas's mature style is distinguished by conspicuously unfinished passages, even in otherwise tightly rendered paintings. He frequently blamed his eye troubles for his inability to finish, an explanation that met with some skepticism from colleagues and collectors who reasoned, as Stuckey explains, that "his pictures could hardly have been executed by anyone with inadequate vision".^[33] The artist provided another clue when he described his predilection "to begin a hundred things and not finish one of them",^[34] and was in any case notoriously reluctant to consider a painting complete.

His interest in portraiture led Degas to study carefully the ways in which a person's social stature or form of employment may be revealed by their physiognomy, posture, dress, and other attributes. In his 1879 Portraits, At the Stock Exchange, he portrayed a group of Jewish businessmen with a hint of anti-Semitism. In 1881 he exhibited two pastels, Criminal Physiognomies, that depicted juvenile gang members recently convicted of murder in the "Abadie Affair". Degas had attended their trial with sketchbook in hand, and his numerous drawings of the defendants reveal his interest in the atavistic features thought by some 19th-century scientists to be evidence of innate criminality.^[35] In his paintings of dancers and laundresses, he reveals their occupations not only by their dress and activities but also by their body type: his ballerinas exhibit an athletic physicality, while his laundresses are heavy and solid.^[36]

At the Races, 1877–1880, oil on canvas, by Edgar Degas, Musée d'Orsay, Paris.

By the later 1870s Degas had mastered not only the traditional medium of oil on canvas, but pastel as well. The dry medium, which he applied in complex layers and textures, enabled him more easily to reconcile his facility for line with a growing interest in expressive color.

In the mid-1870s he also returned to the medium of etching, which he had neglected for ten years. At first he was guided in this by his old friend Ludovic-Napoléon Lepic, himself an innovator in its use, and began experimenting with lithography and monotype.^[37] He was especially fascinated by the effects produced by monotype and frequently reworked the printed images with pastel.^[37] By 1880, sculpture had become one more strand to Degas's continuing endeavour to explore different media, although the artist displayed only one sculpture publicly during his lifetime.

La Toilette (Woman Combing Her Hair), c. 1884–1886, pastel on paper, by Edgar Degas, Hermitage Museum, St. Petersburg.

These changes in media engendered the paintings that Degas would produce in later life. Degas began to draw and paint women drying themselves with towels, combing their hair, and bathing (see: After the Bath). The strokes that model the form are scribbled more freely than before; backgrounds are simplified.

The meticulous naturalism of his youth gave way to an increasing abstraction of form. Except for his characteristically brilliant draftsmanship and obsession with the figure, the pictures created in this late period of his life bear little superficial resemblance to his early paintings. Ironically, it is these paintings, created late in his life, and after the heyday of the Impressionist movement, that most obviously use the coloristic techniques of Impressionism.^[38]

For all the stylistic evolution, certain features of Degas's work remained the same throughout his life. He always painted indoors, preferring to work in his studio, either from memory, photographs, or live models.^[39] The figure remained his primary subject; his few landscapes were produced from memory or imagination. It was not unusual for him to repeat a subject many times, varying the composition or treatment. He was a deliberative artist whose works, as Andrew Forge has written, "were prepared, calculated, practiced, developed in stages. They were made up of parts. The adjustment of each part to the whole, their linear arrangement, was the occasion for infinite reflection and experiment."^[40] Degas himself explained, "In art, nothing should look like chance, not even movement".^[29]

Sculpture[link]

Degas's only showing of sculpture during his life took place in 1881 when he exhibited The Little Fourteen Year Old Dancer, only shown again in 1920; the rest of the sculptural works remained private until a posthumous exhibition in 1918. Degas scholars have agreed that the sculptures were not created as aids to painting, although the artist habitually explored ways of linking graphic art and oil painting, drawing and pastel, sculpture and photography. Degas assigned the same significance to sculpture as to drawing: "Drawing is a way of thinking, modelling another".^[29]

After Degas's death, his heirs found in his studio 150 wax sculptures, many in disrepair. They consulted foundry owner Adrien Hébrard, who concluded that 74 of the waxes could be cast in bronze. It is assumed that, except for the Little Dancer Aged Fourteen, all Degas bronzes worldwide are cast from surmoulages (i.e., cast from bronze masters). A surmoulage bronze is a bit smaller, and shows less surface detail, than its original bronze mold. The Hébrard Foundry cast the bronzes from 1919–1936, and closed down in 1937, shortly before Hébrard's death.

In 2004, a previously unknown cache of 73 plaster casts created from wax originals sculpted by Degas was discovered. Although not previously catalogued, the casts were consistent with the 73 originals that Degas’s heirs gave to Hébrard Foundry in 1918. Art scholars are not in agreement as to what these casts actually are.^[41] It appears, from their condition and provenance, that no bronzes were ever cast from these 73 plasters.

Personality and politics[link]

Self-portrait (photograph), c. 1895

Degas, who believed that "the artist must live alone, and his private life must remain unknown",^[42] lived an outwardly uneventful life. In company he was known for his wit, which could often be cruel. He was characterized as an "old curmudgeon" by the novelist George Moore,^[42] and he deliberately cultivated his reputation as a misanthropic bachelor.^[20] Profoundly conservative in his political opinions, he opposed all social reforms and found little to admire in such technological advances as the telephone.^[42] He fired a model upon learning she was Protestant.^[42] Although Degas painted a number of Jewish subjects from 1865 to 1870, his anti-Semitism became apparent by the mid 1870s. His 1879 painting At The Bourse is widely regarded as strongly anti-Semitic, with the facial features of the banker taken directly from the anti-Semitic cartoons rampant in Paris at the time.^[43]

The Dreyfus Affair, which divided Paris from the 1890s to the early 1900s, further intensified his anti-Semitism. By the mid 1890s, he had broken off relations with all of his Jewish friends,^[19] publicly disavowed his previous friendships with Jewish artists, and refused to use models who he believed might be Jewish. He remained an outspoken anti-Semite and member of the anti-Semitic "Anti-Dreyfusards" until his death.^[44]

Reputation[link]

During his life, public reception of Degas's work ranged from admiration to contempt. As a promising artist in the conventional mode, Degas had a number of paintings accepted in the Salon between 1865–1870. These works received praise from Pierre Puvis de Chavannes and the critic, Jules-Antoine Castagnary.^[45] He soon joined forces with the Impressionists, however, and rejected the rigid rules, judgements, and elitism of the Salon—just as the Salon and general public initially rejected the experimentalism of the Impressionists.

Degas's work was controversial, but was generally admired for its draftsmanship. His La Petite Danseuse de Quatorze Ans, or Little Dancer of Fourteen Years, which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial piece; some critics decried what they thought its "appalling ugliness" while others saw in it a "blossoming".^[46]

In part Degas' originality consisted in disregarding the smooth, full surfaces and contours of classical sculpture ... [and] in garnishing his little statue with real hair and clothing made to scale like the accoutrements for a doll. These relatively "real" additions heightened the illusion, but they also posed searching questions, such as what can be referred to as "real" when art is concerned.^[47]

The suite of pastels depicting nudes that Degas exhibited in the eighth Impressionist Exhibition in 1886 produced "the most concentrated body of critical writing on the artist during his lifetime ... The overall reaction was positive and laudatory".^[48]

Recognized as an important artist in his lifetime, Degas is now considered "one of the founders of Impressionism".^[49] Though his work crossed many stylistic boundaries, his involvement with the other major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities, and his bold color experiments, served to finally tie him to the Impressionist movement as one of its greatest artists.

His paintings, pastels, drawings, and sculptures are on prominent display in many museums.

Although Degas had no formal pupils, he greatly influenced several important painters, most notably Jean-Louis Forain, Mary Cassatt, and Walter Sickert;^[50] his greatest admirer may have been Henri de Toulouse-Lautrec.^[51]

Gallery[link]

• 

  Portrait of the Bellelli Family, 1858–1867, Musée d'Orsay, Paris

• 

  Young Spartans Exercising, c. 1860, National Gallery, London

• 

  The Amateur, 1866, The Metropolitan Museum of Art, New York City

• 

  Édouard Manet and Mme. Manet, 1868–1869, Kitakyushu Municipal Museum of Art, Japan

• 

  Portrait of Miss Cassatt, Seated, Holding Cards, 1876–1878

• 

  At the Café-Concert: The Song of the Dog, 1875–1877

• 

  Fin d'Arabesque, with ballerina Rosita Mauri, 1877, Musée d’Orsay.

• 

  The Singer with the Glove, 1878, The Fogg Art Museum, Cambridge, Massachusetts

• 

  Miss La La at the Cirque Fernando, 1879, The National Gallery, London

• 

  The Millinery Shop, 1885, The Art Institute of Chicago

• 

  Ballet Rehearsal, 1873, The Fogg Art Museum, Cambridge, Massachusetts

• 

  Waiting, 1880-82.

• 

  Dancer with a Bouquet of Flowers (Star of the Ballet), 1878

• 

  Stage Rehearsal, 1878–1879, The Metropolitan Museum of Art, New York City

• 

  Woman in Street Clothes, Portrait of Ellen Andrée, 1879, pastel on paper

• 

  Dancers at The Bar, 1888, The Phillips Collection, Washington, DC

• 

  Woman in the Bath, 1886, Hill-Stead Museum, Farmington, Connecticut

• 

  The Tub, 1886, Musée d'Orsay, Paris, France

• 

  The Bath: Woman Supporting her Back, c. 1887, pastel on paper, Honolulu Museum of Art

• 

  Kneeling Woman, 1884, Pushkin Museum, Moscow

• 

  Three Dancers in Yellow Skirts, circa 1891, oil on canvas, The Detroit Institute of Arts

• 

  After the Bath, Woman Drying her Nape 1898, Musée d'Orsay, Paris

• 

  The Spanish Dance, c. 1885 (bronze cast 1921), bronze, 46.3 x 14.3 cm, Ackland Art Museum, Chapel Hill, North Carolina

• 

  Edgar Degas - Dance Class- The Metropolitan Museum of Art, New York City

• 

  Edgar Degas - Rehearsal of the Scene - Musee d'Orsay, Paris

• 

  File:Edgar Degas - Rehearsal on Stage- The Metropolitan Museum of Art, New York City

• 

  Little Dancer of Fourteen Years, cast in 1922 from a mixed-media sculpture modeled ca. 1879–80, Bronze, partly tinted, with cotton skirt and satin hair ribbon, on a wooden base, Metropolitan Museum of Art, New York City

References[link]

Notes[link]

Sources[link]

Further reading[link]

• Capriati, Elio; I Segreti di Degas (2009). Milano: Mjm Editore. ISBN 978-88-95682-68-6
• Valery, Paul; "Degas, Manet, Morisot" Princeton University Press, 1989.

External links[link]

Wikimedia Commons has media related to: Edgar Degas

Wikiquote has a collection of quotations related to: Edgar Degas

• Edgar Degas at Hill-Stead Museum, Farmington, Connecticut
• Edgar Degas at Norton Simon Museum, Pasadena, California
• Degas, Sickert & Toulouse Lautrec at Tate
• Edgar Degas Gallery at MuseumSyndicate
• Edgar Degas paintings & interactive timeline
• Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Edgar Degas. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
• Works and literature on Edgar Degas
• The Complete Set of Edgar Degas Bronzes at the M.T. Abraham Foundation

v t e Impressionism Originators Frédéric Bazille Eugène Boudin Gustave Caillebotte Mary Cassatt Paul Cézanne Edgar Degas Armand Guillaumin Édouard Manet Claude Monet Berthe Morisot Camille Pissarro Pierre-Auguste Renoir Jules Ernest Renoux Alfred Sisley Patrons Gustave Caillebotte Henry O. Havemeyer Ernest Hoschedé Dealers Paul Durand-Ruel Georges Petit Ambroise Vollard American Artists William Merritt Chase Frederick Carl Frieseke Childe Hassam Willard Metcalf Lilla Cabot Perry Theodore Robinson John Henry Twachtman J. Alden Weir Other artists Lovis Corinth Max Liebermann Max Slevogt Konstantin Korovin Valentin Serov Francisco Oller Laura Muntz Lyall Władysław Podkowiński Nazmi Ziya Güran Chafik Charobim Ernest Jean-Marie Millard de Bois Durand Other media Music Literature French Impressionist Cinema See also Decorative Impressionism Post-Impressionism

Carl Maria von Weber, by Thomas Lawrence, 1814

Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.

Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.

A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.

Weber compositions for woodwind instruments occupy an important place in the musical repertoire. His compositions for the clarinet, which include two concertos, a concertino, a quintet and a duo concertante, are regularly performed today. His Concertino for Horn and Orchestra requires the performer to simultaneously produce two notes by humming while playing—a technique known as "multiphonics". His bassoon concerto and the Andante e Rondo ungarese (a reworking of a piece originally for viola and orchestra) are also popular with bassoonists.

Weber's contribution to vocal and choral music is also significant. His body of Catholic religious music was highly popular in 19th century Germany, and he composed one of the earliest song cycles, Die Temperamente beim Verluste der Geliebten ([Four] Temperaments on the Loss of a Lover). Weber was also notable as one of the first conductors to conduct without a piano or violin.

Weber's orchestration has also been highly praised and emulated by later generations of composers – Berlioz referred to him several times in his Treatise on Instrumentation while Debussy remarked that the sound of the Weber orchestra was obtained through the scrutiny of the soul of each instrument.

His operas influenced the work of later opera composers, especially in Germany, such as Marschner, Meyerbeer and Wagner, as well as several nationalist 19th-century composers such as Glinka. Homage has been paid to Weber by 20th century composers such as Debussy, Stravinsky, Mahler (who completed Weber's unfinished comic opera Die drei Pintos and made revisions of Euryanthe and Oberon) and Hindemith (composer of the popular Symphonic Metamorphosis of Themes by Carl Maria von Weber).

Weber also wrote music journalism and was interested in folksong, and learned lithography to engrave his own works.

Life[link]

Childhood[link]

Weber was born in Eutin, Holstein, the eldest of the three children of Franz Anton von Weber and his second wife, Genovefa Brenner, a Viennese singer. The "von" was an affectation; Franz Anton von Weber was not actual aristocracy. Franz Anton began his career as a military officer in the service of the Duchy of Holstein, and after being fired, went on to hold a number of musical directorships. In 1787 Franz Anton went on to Hamburg where he founded a theatrical company.

Franz Anton's brother Fridolin, married Cäcilia Weber and had four musical daughters, Josepha, Aloysia, Constanze and Sophie, all of whom became notable singers. Wolfgang Amadeus Mozart attempted to woo Aloysia, composing several pieces for her. But after she rejected his advances, Mozart went on to marry Constanze.

A gifted violinist, Franz Anton had ambitions of turning Carl into a child prodigy like Franz's nephew-by-marriage, Mozart. Carl was born with a congenital hip disease and did not begin to walk until he was four. But by then, he was already a capable singer and pianist.^[1]

Education[link]

Weber's father gave him a comprehensive education, which was however interrupted by the family's constant moves. In 1796, Weber continued his musical education in Hildburghausen, where he was instructed by the oboist Johann Peter Heuschkel.

On 13 March 1798, Weber's mother died of tuberculosis. That same year, Weber went to Salzburg to study with Michael Haydn, the younger brother of Joseph Haydn, who agreed to teach Carl free of charge.^[1] Later that year, Weber traveled to Munich to study with the singer Johann Evangelist Wallishauser and organist Johann Nepomuk Kalcher.

1798 also saw the twelve year old Weber's first published work, six fughettas for piano, published in Leipzig. Other compositions of that period, among them a mass, and his first opera, Die Macht der Liebe und des Weins (The Power of Love and Wine), are lost; but a set of Variations for the Pianoforte was later lithographed by Weber himself, under the guidance of Alois Senefelder, the inventor of the process.

In 1800, the family moved to Freiberg in Saxony, where Weber, then 14 years old, wrote an opera called Das stumme Waldmädchen (The Silent Forest Maiden), which was produced at the Freiberg theatre. It was later performed in Vienna, Prague, and Saint Petersburg. The young Weber also began to publish articles as a music critic, for example in the Leipziger Neue Zeitung in 1801.

In 1801, the family returned to Salzburg, where Weber resumed his studies with Michael Haydn. He later continued studying in Vienna with Georg Joseph Vogler, known as Abbé Vogler, founder of three important music schools (in Mannheim, Stockholm, and Darmstadt); another famous pupil of Vogler was Giacomo Meyerbeer, who became a close friend of Weber.

Early career 1803–1810[link]

In 1803, Weber's opera, Peter Schmoll und seine Nachbarn (Peter Schmoll and his Neighbors) was produced in Augsburg, and gave Weber his first success as a popular composer.

Vogler, impressed by his pupil's talent, recommended him to the post of Director at the Opera in Breslau in 1806. Weber sought to reform the Opera by pensioning off older singers, expanding the orchestra, and tackling a more challenging repertoire. His attempts at reform were met with strong resistance from the musicians and the Breslau public. Weber's time at Breslau was further complicated one night when he accidentally ingested engraver's acid that his father had left stored in a wine bottle. Weber was found unconscious and took two months to recover. The incident permanently ruined his singing voice.^[2]

He left his post in Breslau in a fit of frustration and from 1807 to 1810, Weber served as private secretary to Duke Ludwig, brother of King Frederick I of Württemberg. Weber's time in Württemberg was plagued with troubles. He fell deeply into debt and had an ill-fated affair with Margarethe Lang, a singer at the opera. Furthermore, Weber's father Franz Anton misappropriated a vast quantity of Duke Ludwig's money. Franz Anton and Carl were charged with embezzlement and arrested on 9 February 1810. Carl was in the middle of a rehearsal for his opera Silvana when he was arrested and thrown in prison by order of the king. Though no one doubted Carl's innocence, King Frederick I had grown tired of the composer's pranks. After a summary trial, Carl and his father were banished from Württemberg. Nevertheless, Carl remained prolific as a composer during this period, writing a quantity of religious music, mainly for the Catholic mass. This however earned him the hostility of reformers working for the re-establishment of traditional chant in liturgy.

Later career 1810–1826[link]

In 1810, Weber visited several cities throughout Germany; from 1813 to 1816 he was director of the Opera in Prague; from 1816 to 1817 he worked in Berlin, and from 1817 onwards he was director of the prestigious Opera in Dresden, working hard to establish a German Opera, in reaction to the Italian Opera which had dominated the European music scene since the 18th century. On 4 November 1817, he married Caroline Brandt, a singer who created the title role of Silvana.^[3] In 1819, he wrote perhaps his most famous piano piece, Invitation to the Dance.

The successful premiere of Der Freischütz on 18 June 1821 in Berlin led to performances all over Europe. On the very morning of the premiere, Weber finished his Konzertstück in F minor for Piano and Orchestra, and he premiered it a week later.

In 1823, Weber composed the opera Euryanthe to a mediocre libretto, but containing much rich music, the overture of which in particular anticipates Richard Wagner. In 1824, Weber received an invitation from The Royal Opera, London, to compose and produce Oberon, based on Christoph Martin Wieland's poem of the same name. Weber accepted the invitation, and in 1826 he travelled to England, to finish the work and conduct the premiere on 12 April.

Weber's grave in Dresden

Weber was already suffering from tuberculosis when he visited London; he died at the house of Sir George Smart during the night of 4–5 June 1826.^[3] Weber was 39 years old. He was buried in London, but 18 years later his remains were transferred to the family vault in Dresden. The eulogy at the reburial was performed by Wagner.

His unfinished opera Die drei Pintos (The Three Pintos) was originally given by Weber's widow to Giacomo Meyerbeer for completion; it was eventually completed by Gustav Mahler, who conducted the first performance in this form in Leipzig on 20 January 1888.

Legacy[link]

Weber's piano music all but disappeared from the repertoire. One possible reason for this is that Weber had very large hands and delighted in writing music that suited them.^[4] There are several recordings of the major works for the solo piano (including complete recordings of the piano sonatas and the shorter piano pieces, by Garrick Ohlsson, Alexander Paley and others), and there are recordings of the individual sonatas by Claudio Arrau (1st Sonata), Alfred Brendel (2nd Sonata), Sviatoslav Richter (3rd Sonata) and Leon Fleisher (4th Sonata). The Invitation to the Dance, although better known in Berlioz's orchestration (as part of the ballet music for a Paris production of Der Freischütz), has long been played and recorded by pianists (e.g., Benno Moiseiwitsch [in Carl Tausig's arrangement]). Invitation to the Dance also served as the thematic basis for Benny Goodman's swing theme song for the radio program Let's Dance.

Works[link]

	Der Freischütz - Overture Skidmore College Orchestra; courtesy of Musopen Concerto for Bassoon in F Major, 1st movement (piano transcription) Kat Walsh (bassoon) and Amy Crane (piano)
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Grand Duo Concertant for clarinet and piano 1. Allegro con fuoco 2. Andante con moto 3. Allegro William McColl (clarinet) and Joeseph Levine (piano)