Aufforderung zum Tanz [antikvár]

c. M. von Weber, Invitation to the DanceOrchestrated by Hector BerliozIt is the aim of this collection, only to reproduce the classical masterworks in their oriffinal form free from additions and alterations, unless made by the composers themselves. Exceptions however prove the rule, and arrangements are to be acccp-ted, where the arranger as f. i. Bach in his arrangements of the Vivaldi Concert! belongs to the pioneering personalities of musical history, or where a special historical value is inherent in the individual arrangement. Both points of view apply to the present arrangement of Weber's "hivitation to the l?ance" by Berlioz, the work being originally written for piano solo There is no need to stress the important part played by Berlioz in developing the modern symphony orchestra, and therefore it is no accident, that by this present orchestral arrangement a piano work, which in its original form might not have become so popular, has succeeded in enjoying outstanding popularity.Less known however is the history attached to this arrangement. Berlioz had attended in 1826 the Paris premiere of the "Freischütz", which although performed in Weber's presence was in no way worthy of the sublimity of the work. Berlioz in his memoirs describes this performance as "non point dans sa beauté originale, mais mutilée, vulgarisée torturée et insultée de mille façons par un arrangeur", and names as responsible for this artistic profanation a musician almost unknown to-day : F. H. J. Castii-Blaze, whom he describes as a "musicien vétérinaire". Being then still too young and unknown, he was not in a position to describe such tasteiessness or to approach Weber, and he did not get an opportunity before 15 years later, when the director of the "Grande Opéra" was eager to produce the work anew, but with some alterations, chiefly the addition of a ballet which was indispensable for a French production. He asked Berlioz who had just returned from a foreign concert trip, and who, meanwhile had achieved international reputation to undertake the adaptation of the work in this regard. Berlioz agreed, only after assuring him.self that Weber's music and the existing libretto would not be altered or cut. Apart from the composition of recitatives instead of spoken dialogue his task consisted chiefly in writing the ballet music, for which, in order to flatter him, it was suggested that he made use of some of his own works the "Bal" out of the "Phantastic Symphony", and "Fete" out of "Roméo and Juliette". It is to his credit, that he declined to do so. Giving priority to his artistic .sense he declared, that if a ballet was required, it must not be taken from any other source but Weber's own works. He therefore undertook the work and used dance tunes from "Preciosa", "Oberon" and the work under consideration which he orchestrated forthis purpose. In this form the "Freischütz" was performed on .lune 7th ]841 in Paris and seems to have had a better success than the first production. In later productions the ballet was curtailed and contained only the "Invitation to the Dance".The first concert performance of this orchestral piece seems to have taken place at Hanover in 1842 at a concert promoted by Berlioz himself. Shortly before this the orchestral parts had been issued in print, but the full score was not published until 1890.Max Albert i.