University of Northern Colorado

MUS647 - Romantic Period Seminar

Bryan Valderrama Vega

Stylistic elements in C. M. von Weber’s music for wind instruments

The introductory paragraph of Carl Maria von Weber’s Grove Music article

highlights “his contributions to song, choral music, and piano music,” his “[influence on]

the development of the concert overture and symphonic poem,” and his reputation as

“leading exponent of German opera in the 1820s;”1 however, the article omits to

appreciate another of Weber’s great contributions: his prolific production of repertoire for

wind instruments.

Just for clarinet alone, Weber composed two concertos and a concertino, a quintet

with strings, and two major works with piano; and though other wind instruments did not

receive the same kind of attention, nonetheless, he left a hefty number of compositions

for them: two works for bassoon and orchestra, a horn concertino, a piece for flute and

orchestra, and a trio for flute, cello and piano.

Heinrich Baermann, a clarinet virtuoso who performed at the court orchestra in

Munich between 1807 and 1834, played a huge role in the genesis of several of these

works, even beyond the ones for clarinet. He met Weber in Darmstadt in January of 1811,

where the composer engaged him to perform Se il mio ben, J.1072 for two contraltos,

1
Michael C. Tusa, “Weber, Carl Maria (Friedrich Ernst) von,” Grove Music Online, 2001 (accessed 20
September 2023), https://doi.org/10.1093/gmo/9781561592630.article.O004022.
2
I will use the “J number” from Friedrich Wilhelm Jähns’ chronological catalog, rather than opus number.
clarinet obbligato, horn, and strings. They met again later that year in Munich, where

Weber wrote his Clarinet Concertino, J.109 to be performed by Baermann before the

court.3

The success of this concert brought three new commissions from the king to

Weber: two clarinet concertos commissioned for Baermann (J.114 and J.118) and another

concerto for bassoonist Georg Friedrich Brandt (J.127).4 All the other clarinet pieces that

Weber subsequently wrote, except the Grand Duo Concertant, J.204, were meant for his

friend Baermann. The composer’s connection with bassoonist Brandt also sprouted

another commission in 1813: the Andante and Rondo Ungarese, J.158, a readaptation of

an older work for viola and orchestra.5

As was a common practice in his time, Weber’s music is full of stylistic influences,

and his concerti and concertante works for wind instruments do not escape this trend.

The most obvious examples of this are the aforementioned Andante and Rondo

Ungarese, the title of which proclaims the influence of the style hongrois, and his

Romanza siciliana, J.47 for flute and orchestra, which also foreshadows a stylistic

influence with its name, in this case the siciliana. However, there are more cases of

stylistic inspiration in this repertoire that show both in obvious and less obvious ways, as

will be analyzed below.

3
David A. Pickthorn, The influence of Heinrich Baermann on the Performance of the Clarinet Works of
Carl Maria von Weber (DMA Dissertation: North Texas State University, 1981), 3–5.
4
William Waterhouse, “Weber’s Bassoon Concerto Op. 75: The Manuscript and Printed Sources
Compared,” The Journal of the International Double Reed Society, no. 14 (1986), 46.
5
Melissa Kritzer, Discovering the “Hungarian” in Andante and Rondo: A Historical Approach to a Standard
Bassoon Solo, DMA Dissertation, Michigan State University, 2011, 56–57.
Romanza siciliana, J.47

Written in 1805 by 19-year-old Weber, this work for flute and orchestra is the

composer’s first piece for a solo instrument and orchestra, earlier than his Piano Concerto

No.1, J.98. It was dedicated to Conrad Jacob Zahn, a Polish merchant who founded a

music society in Breslau (now Wrocław) that focused on promoting quartets and

concertos for flute.6 Weber had been appointed as a conductor at a theatre in Zahn’s city

since 1804.

This short piece is orchestrated for an ensemble that includes pairs of oboes,

clarinets, bassoons and horns, bass trombone, timpani and strings, and as the name

suggests, the work is composed in its entirety in the style of a siciliana.

The siciliana was an Italian form of dance that was popular from the late 16th to

the 18th centuries. It is “normally in a slow 6/8 or 12/8 [and] characterized by clear one-

or two-bar phrases, [an eighth-note] upbeat (…), simple melodies and clear, direct

harmonies,” and it was usually “associated with pastoral scenes and melancholy

emotions.”7 Weber’s Romanza siciliana presents all these stylistic features. Written in the

key of G minor and in 6/8, the work has a very melancholic character with a simple

harmony that briefly goes to C major in the middle just to come back to the home key. It

is almost completely built by two-bar musical ideas and the eighth-note upbeat is constant

in the accompaniment, making also abundant use the characteristic dotted-eight,

sixteenth, eighth note pattern.

6
“Zahn, Jacob Conrad,” Complete Works of Carl Maria von Weber, digital edition (last updated 16
December 2017, accessed 26 October 2023), http://weber-gesamtausgabe.de/A008969.
7
Meredith Ellis Little, “Siciliana,” Grove Music Online, 2001 (accessed 28 October 2023),
https://doi.org/10.1093/gmo/9781561592630.article.25698.
 Romanza siciliana
b 6U œ œ œ. œ‰‰
& b 8 Œ . Œ œj œ œ . # œ œ œ . œ œ # œ . j ‰ j œr
œ œ œ. #œ œ
r
Solo Flute
J J
>
b 6U
& b 8 ˙. ∑ ∑ ∑
Bn.

π ˙.
Orchestral
ƒ j j j j j j j j j j œ œj œj œj œj œj
pizz. j
Str. œ
œœ œœœ œœœ œœœ œœœ œœœ # œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ
reduction
? b 6 ˙. ‰ ‰ œ ‰œ œ ‰œ ‰ ‰ ‰ ‰
b 8 œ œ œ œ J J J J œ œ œ œ œ œ œ œ
u̇. J J J J J J J J J J J J
π
bb œ œ œ œ.
j > . œ n œFigureœ1.œRomanza
œ œ œ J œ . measures 1-5. j ‰ j œr . œ œJ
6

& siciliana, J.47,

œ. œ œ œ #œ œ
bb
Ob./Cl.

& ˙˙ .. n ˙˙˙. .. œœ .. # n œœœ ...˙œ. . n œ . ˙œ .. œ

˙. œ. œ # œ œ J
Andante and Rondo Ungarese, J.158 . . ˙.
j j j j j j j j j j œj œj j j j j œj j j j
œ
œœ œœœ œœœ œœœbefore,
n œœœ œœthe œœœ œœœ œœœand
œ œœœ Andante œœ œœ isœœ unique
# n œœ Rondo # œœ œœ inœœ thatœœ œœit was
œ
?Asb b mentioned
œ ‰ œ œ ‰ œ ‰ ‰ ‰ ‰ œ
œ ‰ œ
œ œœ ‰ œœ ‰ œ œ ‰ œœ first
J J J J œ œ œ œ œJ œJ œJ œJ J J J J œ œ œ œ
composed as a piece forJ viola J J andJ orchestra in 1809 (J.79) and then J Jreworked
J J for
b . œ. œ . œ (J.158). j
& b andœ orchestra in 1813 œ œ . Theœ .viola version
œ ‰ ‰ was dedicated ∑ ∑ Maria’s
11
bassoon to Carl

bb
elder half-brother,
j
the violist Fridolin von Weber,8 though j ‰ ‰ it was ∑never published in this
& œœ .. .
œœ # œ œœ˙ . # œœ .. .
œœ . œœ # œœ .. œœ
˙ . the composer’s . lifetime. œ. œ version was adapted some
ƒ
format during The bassoon time after
j j j j j j j j j j j j r
arco

œ œableœ to œhear œhisœ Bassoon

Weber was œœ finally œ œ Concerto
œ œ œ performed
œ œ. #œ œ œ . Friedrich
œ
? b b n œ ‰ œœ œœ ‰ # œœœ œœœ ‰ œœ # œœœ ‰ œœ œœ ‰ œœ œœ ‰ œ œ œ . # œ œ œœ . œ œ œ . œ
by Georg
J J (twoœJ years œ œJ theœJcomposition)
J after œ J R . œœ œ œ
Brandt whileœJ touring
œ œ Prague
J J J J and after .
the bassoonist’s
ƒ
request for more repertoire.9

Both versions are scored for an ensemble comprised of flutes, oboes, bassoons,

horns and trumpets in pairs, timpani and strings, and the changes from one version to the

other are primarily on the solo part, introducing small changes that make the solo line

8
“Andante und Rondo Ungarese C-Moll (für Altviola),” Complete Works of Carl Maria von Weber, digital
edition (last updated 1 March 2022, accessed 26 October 2023),
http://weber-gesamtausgabe.de/A020288.
9
Wolfgang Rüdiger, notes to Carl Maria von Weber, The Wind Concertos Vol. 3 (1993), CD, Novalis
Label 150 100-2.
more idiomatic for the bassoon, and adding or removing only a few measures to some of

the orchestral passages. The bulk of the alterations are present at the end of both the

Andante and the Rondo sections, with completely different passages for each solo

instrument.

Although the work’s name brings immediate attention to the style hongrois of the

Rondo, there is also a very clear stylistic influence present in the first movement as well.

The Andante is composed in the style of a siciliana (though a more complex one than the

Romanza siciliana) and presents a set of variations on a very melancholic, sixteen-

measures-long theme in C minor, played in the tenor register (the most expressive and

singing-like register) of the bassoon. It is written in a 6/8 meter with a constant eighth-

note upbeat almost throughout the entire movement, with profuse use of the dotted-

eighth, sixteenth, eighth-note pattern as well.

œ œ >œ >
œ œ œ. œ œ œ œ œ >œ œ >œ
Andante

B bbb 6 Œ . Œ J J œ J J
Solo Bassoon 8 J J

b 6 pizz. j j j j j
Str.

& b b 8 œœj ‰ œœj œœj ‰ œœj œœj ‰ œœj œ ‰ œ œœj ‰ œœj œj ‰ œœ œœ ‰ œœ œj ‰ œj

œ œ œ œ œ œ n œœ œœ œ œ n œœ œ nœ
p j j œœ œj œj # œj
Orchestral

? b 6 œj ‰ œj œj ‰ œj œj ‰ œj œj ‰ œj œj ‰ œœ œ ‰ n œœ
reduction

bb 8 œ œ œ œ œ ‰ œ œ ‰ #œ
œ œ œ œ œ œ œ œ œ œ œ J J
œ œ >œ œ >œ œ. nœ œ œ œ œ
B b b b n œ . œ œ œ Figure œ
J 2.JAndanteJand Rondo Ungarese, œ J œ1-4.œ œ. Œ
5
J.158, measures
J

b j j j use j ofjthej Neapolitan

j j j 6th j chord
& b b j ‰ œj œj ‰ œj œj ‰ œj œj ‰ œj n œj ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰
Another common trait in sicilianas is the frequent
n œœ œ œ œ œœ œœ œœ œœ œœ
the top voice, whichj can be observed
j j in many
j j siciliana
j j arias
with the flat second
j j degree
j j in œ œ j j œ œ œ œ œ n œ œ œ œ œ
j
? b œ ‰ œ œ ‰ œ œ ‰ œ œœ ‰ œœ œ ‰ œ œ ‰ œ œ ‰ 10 ‰
b b œ likeœ Scarlatti,
œ œ JHandel œ ‰ œ œ ‰
of composers J œ andœ their contemporaries.
œ œ œ œ œ Inœ Weber’s
œ J J J œ œ œ œ œ œ
œ composition,

B bbb ∑ ∑ ∑ ∑ ∑
10

& b bb ∑ ∑ ∑ ∑ ∑
10
Little, “Siciliana.”

? b ∑ ∑ ∑ ∑ ∑
bb
this trait can be spotted at the end of the theme (measure 15) as a colorful resource to

drive towards the cadence.

() œ œ nœ œ œ œ œ œ. œ bœ œ. œ œ œ œ.
14

? b b 68 J B nœ œ J œ œ
b J

& b b (8) ‰
Solo Bassoon

j j j j j j j j j
b 6 œœ b œœ ‰ œœœ œœ ‰ j j j
Str.

œœ ‰ œœ œœ ‰ œœ œ ‰ œœœ œœœ ‰ œœ j‰ j j‰
pizz.

œ œ œ œ œœ œ bœ œ nœ œœœ œœœ œœœ

? b (6) ‰
j j j j œj œj œj œj j
Orchestral
reduction
j‰ œ œ ‰ œ œ j‰ j j j j
bb 8 œ œ œ œ œ ‰ ‰ œ ‰ œ œ œ œ ‰ œ œ ‰
œ œ œ œ œ œ œ
œ N^ œ œ
B bbb ∑ ∑ and Rondo Ungarese,
∑ J.158, measures
∑ 14-17. ∑
18
Figure 3. Andante

b are a∑ total of four variations

&bb ∑ ∑ ∑ ∑
There of the theme. The second of them presents the

theme in A-flat major with some alterations, and the character is more pastoral-like as

? bb
sicilianas were also described before, mainly after the first eight measures. At this point,
b ∑ ∑ ∑ ∑ ∑
there is a four-measure interlude in which the majority of the orchestra drops out and the

soloist23 is baccompanied only by horns and bassoons playing chords, before returning to
Bb b ∑ ∑ ∑ ∑ ∑
the main theme.

()
b Ÿ
&bb ∑ ∑ œ ∑ > ∑ > ∑
B bbb 6 b œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ nœ œ œ. œ œ bœ
48
œœ
8

& b b ∑(68) ‰
Solo Bassoon
espress.

b ‰ ‰
? bb ∑‰ ‰ ‰
Hn.

b ∑ ∑ b œ. œ. ∑œ
œœ œœ
œœ œœ œœ œ. œ. œ. œ. œ. œ. œ. œ. œ.
. . . . .
π

()
Orchestral
. . œ. œ. œ.
Bn. b œ œ œ. œ. œ. œ. œ. b œœ. œœ. œ. œ. œ. œ.
reduction

? b 6 ‰ œ œ œ œ œ
bb 8 ‰ œ œ œ œ œ ‰ ‰ œ œ ‰ œ œ œœ ‰
π
B bbb ∑ ∑ and Rondo Ungarese,
∑ J.158, measures
∑ 48-51. ∑
52

Figure 4. Andante

b stylistic∑ influence of the

&bb ∑ style hongrois
∑ is clear in the∑ Rondo, as the∑ title implies,
The

however, some traits of this influence can also be observed in the Andante. One example

? bb ∑ ∑ ∑ ∑ ∑
b

B bb
57
of this is the short-long rhythm that predominates throughout the entire movement and

can be appreciated, for example, in measures 2 and 4 (Figure 2) and measures 15 and

16 (Figure 3). This gesture is a common feature of the style hongrois.11 Other elements

that help give a Hungarian character to instrumental pieces are appoggiaturas and

unexpected leaps,12 which can be observed in instances such as measures 14 and 15

(Figure 3).

In terms of form, the Rondo follows the thematic pattern ABACA (with a coda), and

each theme shows different traits of the style hongrois. In the refrain or principal theme,

the bassoon presents various Hungarian traits: it starts with an octave jump and repeated

eighth-notes followed by rhythmic divisions with a grace note turn, all Hungarian

elements,13 as well as a succession of dotted sixteenth-note rhythms towards the end of

the theme, also characteristic of the style hongrois.14 At the same time, the

accompaniment features the alla zoppa, a syncopated rhythmic gesture formed by an

eighth-note followed by a quarter and another eighth, an element very common in the

style hongrois.15

11
Jonathan Bellman, The Style Hongrois in the Music of Western Europe (Boston: Northeastern
University Press, 1993), 114.
12
Csilla Pethő, ““Style Hongrois”. Hungarian Elements in the Works of Haydn, Beethoven, Weber and
Schubert.” Studia Musicologica Academiae Scientiarum Hungaricae 41, 1/3 (2000), 275.
13
Pethő, “Style Hongrois,” 204-205.
14
Bellman, The Style Hongrois, 116.
15
Ibid., 114-115.
 œ œ œ œ œœœœ œ œ œ œ œ œ #œ
Allegretto. Ungarese

œœœœœ œ
j
B2 œ œ œ j #œ
œ œ œ œ œ œ
j
82
œ œ
Solo Bassoon 4 œ

& 42 ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ ‰
Str.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
p j
> j > j ‰ > j ‰ > j > j >
Orchestral

? 42 ‰œ œ œ ‰œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ
reduction

œ œ œ œ
œ ‰ Œ œ ‰ Œ ‰ Œ J ‰ Œ œ ‰ Œ œ ‰ Œ
J J œ J J
p J
. œ œ > œ œ
B œ œ #œ œ œ œ œ.#œ œ. œ œ >
œ . # œ œ . œn œ . œ œ . œ # œ . œ œ œ œ ? œ . œ
j
J‰
88

œ. #œ œ
j
& œœ œœ œœ œœ œœ ‰ Œ ‰ œ œ œ ‰ œœ œœ œœ ‰ œœ œ œ
# œœ œœ œœ œœ .. ‰
œ œ œ œ # œœ œœ œ.
j > j ‰ > j ‰ > j
œ œ # œ œ œ ‰ œ œ œ œ œ œ œ.
?
œ œ œ œ œœ ‰ Œ ‰
œ œ œ œ J œ ‰ Œ œ ‰ Œ
J œ ‰ œ ‰ œ.
J J J

? ∑ ∑
94
Figure 5. Andante and Rondo Ungarese, J.158, measures 82-93.

∑ ∑
The orchestral transition to the second theme of the Rondo (though not the only
&
instance) makes profuse use of another important Hungarian element: the anapest. This
? gesture consists ∑of two short notes followed by a long∑ one, which gives even
rhythmic

more “Hungarian vigor”16 to the composition.

()
? ∑ ∑St./Fl. . . ∑130. . ∑ ∑ . ∑ ∑ ∑>ten. ∑ ∑ ∑ .
96

. œ œ œ> œ œ. œ œ œ œ œ œ œ œ œ. œ. >œ œ œ. œ
2
&4 œ œœœœ œ œœ œœœ œœœ œ œœ œ œœ
œœœ œœœ
œœœ œ œ œ. œ œ. œ. œ œ œ œ œ. œ. >œ œ. œ œ œ. œ.∑ œ œ. œ œ. œ œ œœœ
& ∑ ∑œ. . ∑ ∑. ∑> ∑ .∑> ∑ . ∑ .> ∑
j> j j> j> j >
j œj œ j

()
j> j œœœ œœœ œœœ œœ œœ œj œœœ œœœ œœœ j> œœœ
Orchestral

Winds œœ œ œœ œœ œœ œœ œœ œœ
œ œœ œ œ œœ
reduction
?2 ‰ Œ œ œ œ œ
? 4 œ œ œ œ œ œ œ œ ∑ œ œ‰ œ
∑ ∑ ∑ œ œ‰ œ∑ œ
J ‰ œ ∑‰ œ ‰ ∑ œœ œ‰ œ ∑ ‰
œ
œ ‰ ∑œ ‰
œ ∑œ
œ∑ ‰
Cb. œ
J J J J œ ‰ J ‰ œ
J J
J J J J

∑ ∑ 6. Andante
∑ and Rondo
∑ Ungarese,
∑ ∑ measures
∑ ∑ ∑ ∑
136

& Figure J.158, 130-135.

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
16
Pethő, “Style Hongrois,” 240.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
146

&
 The first phrase of the third theme is another great example of Hungarian music

features, as Weber mixes several of these elements at the same time: a solo line that

presents many unexpected changes of direction and register and makes use of the

bokázó (a rhythmic/melodic gesture consisting of “a turn beginning with the upper

neighbor”17 note) and the anapest, with a simple accompaniment on the strings but very

characteristic of this music.

()
? 42 œ
194

r
œ œ œ
œ œ
œ
œ bœ œ œ œ œ œ œ
r
œ #œ œ œ

&(42) ‰
œ
Solo Bassoon

œœ œœ œœ ‰ œœ œœ œœ ‰ ‰
Str.

œ œœ œœ œ œœ œœ
œ œ œ œ œ œ b œœ œ œ b œœ œ œ
?(42)
Orchestral p
Œ œ Œ Œ Œ
reduction
œ œ
pizz.

œ œ œ œ
œ
f

? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
198
Figure 7. Andante and Rondo Ungarese, J.158, measures 194-197.

∑ ∑
& Concerto No. 2 in E-flat major, J.118 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Clarinet

?As previously
∑ ∑ stated,
∑ both ∑of Weber’s
∑ clarinet
∑ ∑
concertos ∑were composed
∑ ∑ in 1811
for clarinetist Heinrich Baermann after King Maximilian I of Bavaria heard the Concertino,

? ∑ ∑ ∑ ∑ ∑ ∑
J.109208and commissioned more repertoire for the German virtuoso. Out of them, the
∑ ∑ ∑ ∑
second concerto is of particular interest as it suggests a very clear stylistic influence: the

& ∑
third movement ∑
is labeled ∑“Polacca”
∑ by the
∑ composer.
∑ ∑ ∑ ∑ ∑

?
This work is orchestrated for the same kind of ensemble as the Andante and Rondo
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ungarese (flutes, oboes, bassoons, horns and trumpets in pairs, timpani and strings).

About the last movement’s polacca indication (some editions change the indication to alla

17
Bellman, The Style Hongrois, 120.
polacca, but Weber’s manuscript reads polacca), Squire and Brown say that “it is usually

taken as the Italian equivalent of [the French term] Polonaise,” a Polish dance, and it

denotes compositions written in a Polish style (alla polacca) that might be “related

tenuously or not at all to [the dance].”18

The polonaise is a dance written in 3/4 meter with a characteristic rhythm of one

eighth-note, two sixteenths, and four eighth-notes. Polish-alluding pieces started to

appear in the late sixteenth century, and by the eighteenth century, the Polish dance was

praised by its “passionate character.” By Weber’s time, polonaises had a more virtuoso

and brilliant character.19

3
4 œ œ œ œ œ œ œ
Figure 8. Characteristic polonaise rhythm.

∑
The last movement of Weber’s Clarinet Concerto No. 2 is written in a 3/4 meter

and displays a showy and virtuoso character throughout. The first theme of the movement
∑
starts with a syncopated rhythm on the clarinet, which itself contradicts the polonaise

descriptions given by some sources2021 as not having upbeats, though this cannot be hold
∑
against the composition as we have seen that the treats of the dance cannot be assumed

by the polacca indication. By the second measure of the phrase, the clarinet line presents
∑
something somewhat similar to the characteristic polonaise rhythm.

18
William Barclay Squire, and Maurice J. E. Brown, “Polacca,” Grove Music Online, 2001 (accessed 2

∑ (accessed 20 September 2023),

November 2023), https://doi.org/10.1093/gmo/9781561592630.article.21995.
19
Stephen Downes, “Polonaise,” Grove Music Online, 2001
https://doi.org/10.1093/gmo/9781561592630.article.22035.
20
Ibid.
21
Meredith Ellis Little, and Natalie Jenne, “The Polonaise,” in Dance and the Music of J. S. Bach,
Expanded Edition (Indiana: Indiana University Press, 2001), 194.
 Polacca
œœ œ œ œ œ œœ œœ œœ nœ œ. œ
Solo Clarinet 3
&b 4 ∑ ‰ œ n œ œJ œ œ œ œ œ œ œ œ .œ bœ œ .œ ‰ œ n œ œJ
in B b

b
& b b 43 ˙˙!.. ˙˙!.. ˙˙!.. ˙˙!.. ˙˙!.. ˙˙!..
Str.

˙. ˙. ˙. ˙. ˙. œ œ !˙
Orchestral
p
? b 3 ˙. ˙. ˙. ˙!. ˙!. ˙.
reduction

bb 4 ! ! ! !
p

Figure 9. Clarinet Concerto No. 2, J.118, measures 1-6.

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
7

This movement, nonetheless, exhibits other treats that remind us of the style
b
& b blike in
∑ measure
∑ 5 (Figure
∑ 9), ∑where Weber
∑ ∑ ∑ dotted
∑ rhythms.
∑ Then,
7

hongrois, incorporates

in measure 10, Weber moves to a new phrase that presents another gesture that can be
? bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b
associated to the style hongrois: a line in the clarinet that incorporates anapest-like

gestures at the end of each phrase. However, according to Csilla Pethő, elements like the
b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
16

dotted&rhythms are also common in polonaise-like dance transcriptions.”22

()
b œ œ œœ œ œ œ œœ œ
&bb ∑ ∑ ∑ ∑# œ # œ ∑œ >œ n œ∑œ n œ œ b œ œ∑ ∑ ∑# œ # œ ∑œ œ
16

& b 43
10
Solo Clarinet
in B b

& (4) ˙˙ ..
œ. œ.
? bb ∑ b b b 3∑ ! ∑ ∑ ∑ ∑ ∑ ∑ ! ∑ ∑
b ˙˙!..
Str.

œœ œœ ˙˙ ..
˙. ˙. œ œ ˙.

? b (3) œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Orchestral

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
reduction

b b 4 ˙. œ ˙. œ
Œ Œ

Figure 10. Clarinet Concerto No. 2, J.118, measures 10-13.

b ∑ are displayed
∑ ∑ at many
∑ places
∑ throughout
∑ ∑the entire
∑ movement,
∑ ∑however,
14

These&gestures

b
other elements of the style hongrois like the alla zoppa rhythm, drone fifths or other
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
harmonic features are not present.
? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
bb

22
Pethő, “Style Hongrois,” 233.

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
24

b
&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Horn Concertino in E minor, J.188

Weber originally composed this work in 1806 to be performed by his friend, French

horn player C. Dautrevaux, and then completely revised it in 1815 for the Bavarian horn

player S. Rauch, whose playing had won Weber’s liking around that time.23 The

composition is orchestrated for almost the same ensemble as that for the previous

bassoon and clarinet pieces, except he uses only one flute and replaces oboes with

clarinets. In terms of form, it has four clear sections that follow each other with almost no

pause: a slow introduction, a theme and variations, a recitative, and a polacca.

The first stylistic influence present in the Horn Concertino comes during the

introduction. Right after an orchestral unison that plays an isolated E and B, this short

section is in E minor and is written in the style of a siciliana, with a 6/8 meter and a very

somber character. It is made of clear two-bar phrases with a simple melody, and the

eighth-note upbeat is present throughout it, while the dotted eighth, sixteenth, eighth-note

pattern appears a few times.

œ. œ.
Andante

& 68 œ œJ œ œ œ œ œ. œ œ œ. œ ‰ œ œJ œ œJ œ ‰
5

J J
Solo Horn

f œ. f
in E
p p
# 6 j j j j j j j j j j j j
œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Str.

& 8 œœ œœ œœ #œ œ œ œ œ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Orchestral
p f p f p f
? # 68 œ œ œ œ #œ œ œ œ œ œ œj j j œ œ œ œ #œ œ nœ
reduction
œ œ œœ œ œ
J J J J J J J J J
p f p f p f

bœ. œ. œ œ Figure 11. Horn Concertino, J.188, measures 5-10.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
11

&
dolce

#
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
23
W. F. H. Blandford, “Some Observations on ‘Horn Chords: An Acoustical Problem’,” The Musical Times

?#
Vol. 67, No. 996 (February 1, 1926), 129.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ ∑
21
 The other section with clear stylistic influece is the last one, labeled “Polacca” by

Weber. This section is a rondo in E major with a 3/4 meter and a showy and brilliant

character. This combination between rondo and polonaise had been previously used in

the second movement of Mozart’s Piano Sonata in D, K.284 and the last movement of

Beethoven’s Triple Concerto, Op.56. The accompaniment gesture formed by a low

downbeat followed by eighth-notes on a higher register, present throughout most of this

section, is also found with certain frequency in some of Chopin’s polonaises.

>
3 >œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ >. œ œ >. œ œ >. œ œ œ
Polacca

4 œj
177
Solo Horn
in E & œ œ œ œ œ œ
## 34 ‰ œj ˙! j ! ‰ œj ‰ œj ‰ œj ‰ œœj ˙˙!
& ## ‰ œ ˙
Str.

œœ ˙˙ œ
œ ˙˙ œœ œœ œœ
Orchestral
p œ ˙
? #### 34 œ Œ Œ j j j
œ ‰ œ ‰ œ ‰ œ
œ Œ Œ Œ Œ
reduction

p
Figure 12. Horn Concertino, J.188, measures 177-180.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
181

&
Another stylistic influence found in this section is the style hongrois. There are
# # # ∑ that can
& #
some gestures ∑ be ∑already
∑ observed
∑ in∑ the previous
∑ ∑ example,
∑ ∑ the∑anapest
like

rhythms in measure 179 and the sudden register changes in the following measure. The
? #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
anapest appears in abundance during the entire movement. Another section that contains

Hungarian-like elements comes during the orchestral interlude before the last statement

theme. In ∑it, the accompaniment

∑ ∑ line plays
∑ an alla ∑zoppa pattern
∑ under∑ a melodic
192

of the &

##
line with #unexpected
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑
short ornaments. Then, a few measures latter, the upper woodwinds

play fragments of the first theme as “crying thirds,” another characteristic feature of the
?# #
# # 24 ∑ ∑ ∑ ∑ ∑ ∑ ∑
style hongrois.

24
Bellman, The Style Hongrois, 111.
 ()
nœ œ œ œ œ œ œ œ œ œ nœ
Kr Kr
œ n œ
œ œ n œ n œ œ# œ œ œœ œ œ œœ n œ œœ
rK rK
# # # 3 n œrK rK œ œ
œœ œœ
& # 4 n œœ œœ œ œ œœ œ œ œ n œœ œœ
252 Vl./Fl.
œ
œ œ œ œ œ œ
n n œœ œœ œœ œœ nœ œ œ œ nœ œ œ œ
J J J J J J

()
Orchestral
ƒ nœ œ œ nœ
Str./

? # # # # 43 n œ nœ œ œ
reduction Winds

œ œ nœ œ œ n œ œ œ
nœ œ
ƒ
>
jn >œ œ n œ œ
rK rK
nœ œ œ #œ œ œ œ œ œ >
# ## n œ n œ œ œ œ Cl. n œ œ œ œ œ n œ œ n œœ œ œœ œ œ œ n œœ œœ n œœ .. œ œ œœ œœ n n œœ œ œ n œ œ œ >œ œj
œ œ œ œ
Fl.

& # œ j n n œœœ ˙˙˙ n œœ n œœ œ œ œœ œ n œœ œœ n œ œœ œ ‰

255

n œ n œ œ œ œ n œ œœ ˙˙ ‰ ‰ n œ œ œ n œœ
nœ œ œ œ œ ‰ nœ ˙ J ! nœ œ nœ œ œ
p J! J
>
? #### nœ œ Œ Œ Œ Œ Œ
nœ œ œ nœ n œ nœ œ nœ œ nœ
> p

####
Figure 13. Horn Concertino, J.188, measures 252-259.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
260

&
Conclusion
# # # # works
?Seven ∑ ∑ fifteen ∑concerti ∑and concertante
out of ∑ ∑
pieces ∑
composed ∑by Weber

feature a wind268instrument as the soloist. He only composed three works for piano–his
#### ∑ ∑ ∑ ∑ ∑ ∑
instrument–and&orchestra, and he did not write any work for solo violin–the predilect

# # # # was,
soloist. Weber’s?father ∑ among ∑other things,
∑ a band ∑master, and
∑ he was ∑involved in
his son’s musical training since Weber was a child. It can be argued that this context might

have sensitized him towards wind instruments or made him familiar with their capabilities

since young.

The composer’s relationship with Heinrich Baermann certainly played a major role

into this balance. It was him and Weber’s Clarinet Concertino which led Weber to the

king, the bassoonist Brandt, and to receive several wind commissions. One important

aspect to think on regarding this situation is the economic one. In a letter from 1811

addressed to his friend Gottfried Weber, Carl Maria states that after the success with

Baermann, “the entire orchestra has been possessed by the devil and wants concertos
from me.”25 Nevertheless, he deferred them to the king, who at the end funded the

commission of new works for a select group of instrumentalists. As anyone else, Weber

had to make a living, and the king’s commission was an excellent way to fulfill this need

and also to increase his fame as a composer. Baermann and Brandt also toured with

Weber’s compositions, which undoubtedly aided on spreading his notoriety.

Something similar could be argued about the Romanza siciliana. In 1804, a young

and upcoming Weber was appointed as conductor in Breslau, however, his tenure in the

city was not an easy one, as he faced pushback from orchestra members, critics and

management due to the reforms he implemented in the ensemble.26 It was during this

time that he must have gotten in touch with Conrad Jacob Zahn and received the

commission for this flute piece, probably funded by Zahn’s music society. It is worth

mentioning that during the two busy years of tenure in Breslau, besides the Romanza,

Weber only composed two piano pieces, two songs, and worked on his unfinished opera

Rübezahl. It was also the first time he approached the concertante genre and he did it

with an instrument that was not especially familiar to him. It is indeed a minor work, but it

is not a far reach to think that the genesis of this piece could have been fueled by

economic reasons and Weber’s desire to better his standing in the musical scene of the

city. At the end of the day, a piece for soloist and orchestra is meant to be performed at a

larger venue and thus heard by a larger audience.

About the stylistic influences in this repertoire, first and foremost, it is important to

remember that this was a common practice during Weber’s time. He was not the first nor

25
“Carl Maria von Weber to Gottfried Weber in Mannheim. Munich, Tuesday, April 30, 1811,” Complete
Works of Carl Maria von Weber, digital edition (last updated 2 May 2023, accessed 25 November 2023),
http://weber-gesamtausgabe.de/A040393.
26
Tusa, “Weber.”
the last composer displaying exotic traits in his music. Moreover, one of Weber’s most

influential teachers, composer and organist Abbé Vogler, fully embraced the use of

exoticism in his own compositions. He even traveled around Spain, North Africa and

Middle East collecting tunes to use in his music, and his ideas “exerted a lasting influence

on Weber, Meyerbeer, and countless others who flocked to him for instruction.”27

Weber's use of stylistic elements in his repertoire for wind soloist and orchestra

seems strategically done: it either gives a lively and tuneful character to the fast–and

oftentimes virtuosic–last section of the piece, or confers a special affect to slower portions.

Their incorporation in these works might have been one of Weber's resources to appeal

to the public. All these components crowned by the sometimes-pyrotechnical display of

skills from the soloist make of these compositions some of Weber's most memorable

repertoire.

27
A. L. Ringer, “On the Question of “Exoticism” in 19th Century Music,” Studia Musicologica Academiae
Scientiarum Hungaricae T. 7, 1/4 (1965), 120.
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