George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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lis diary, 'Hummel improvised — dry but
!ct.' After a concert of Hummel's in 1S16,
ler wrote that 'Hummel seemed to set
nost store on plenty of runs executed with
J clearness. Drawing out and developing
ligherresourcesof the instrument, he perhaps
rvalues too much.'^ In private letters he
e still more openly, saying plainly that
mmel had not made a study of the nature
e pianoforte.' This he himself had done most
)ughly, and in consequence obtained a num-
of effects at once new and thoroughly in
;dance with the nature of the instrument.
was the principal cause of the unexpected-
which was so striking in his playing, besides
brilliancy, fire, and expression. Wide
ches, easy to his long flexible fingers, bold
)S from one part of the keyboard to another,
I passages of thirds for one hand (the Eb
erto), or of thirds, sixths, and octaves for
, runs with accompanying chords for the
! hand (first movement of the sonata in C)
ch are some of his technical resources, all
al value because used to express really new
3. His pianoforte style also shows, within
mable limits, a leaning to the orchestral.
instance, in the finale of the Sonata in D
)r he must certainly have had the cello and
net in mind when he wrote the cantabile, a,nd
itill more beautiful counter-subject. Again,
he first movement of the Sonata in C his
tal ear has evidently been filled with the
d of the orchestra from bar 4.
be four Sonatas (in C, Ab, D minor, and
inor), are pronounced by Marx to excel in
i respects even the sonatas of Beethoven.
' is going too far. In perfection of form
)er i.s always far behind Beethoven, and
igh his ideas may be equally original, they
:ar less solid, and not so varied. His sonatas
efore cannot be considered models of the

I Lebensbild. iii. U7.

type, which Beethoven's are in the highest
degree. They are rather fantasias in sonata-
form, and their very irregularities give them a
kind of air of improvisation, which is their
chief charm. Ambros says, 'They blossom
like an enchanted garden of romance. The
paths of such gardens generally lead into a
wilderness, where a wealth of gorgeous ideas
is crowded together among heterogeneous rou-
lades, like delicious fruits among exotic foliage
and luxuriant creepers.' The same contrast
is discoverable between the sonatas in them-
selves. Each has its distinctive character, con-
sistently maintained throughout. When we say
that no one of Beethoven's sonatas resembles
another, we mean something quite different from
this. The divergence between his various crea-
tions goes far deeper ; with Weber certain
favourite phrases are firequently repeated, and
his sphere of ideas is far less extensive. His
sonatas contrast more in form and colour than
in essence ; in each he gives us his whole self,
but from a different point of view.

Next to the sonatas in importance are his ten
sets of Variations.^ Weber did not attempt — as
Bach did in the ' Goldberg ' variations, or Bee-
thoven in the ' Eroica ' ones, and those on
Diabelli's waltz — to enlarge the bounds of varia-
tion, but clung to the simple old-fashioned form.
This makes it all the more wonderful that he could
cram so much that was new within such narrow
limits. In the invention of new figures and
striking harmonies he is inexhaustible, and — a
main point — each has its own distinctive and
sharply- defined stamp. His dramatic genius
never left him. His variations on ' Vien quk,
Doriua bella,' op. 7 J on ' A peine au sortir de
I'enfance,' op. 28 ; and on ' Schone Minka,'
op. 40, are among the finest specimens of the

His talent shone most conspicuously whenever
he had a poetical idea to interpret musically,
and nowhere do we see this more clearly than
in his two Polonaises, in Eb and E, and above
all in his ' Invitation to the Waltz,' known all
over the world. The ' Rondo brilliant ' op. 62,
and the 'Memento capriccioso,' op. 12, though
not unattractive, scarcely come up to the other
three pieces. Of pianoforte music for four hands
his only examples are op. 3, 10, and 60, con-
taining 6, 6, and 8 pieces respectively. Bee-
thoven scarcely ever wrote for four hands, and
Mozart but seldom. Speaking generally, Schu-
bert ranks as the founder of modern four-hand
pianoforte music, but before his day Weber
had produced his op. 60, a collection of little
pieces which for invention, and fascination of
sound, do not yield to Schubert's best work of
the kind.

19. Finally Weber takes high rank as a com-
poser of Concertos. As a pianist it was of course
an object to him to find scope for his own instru-
ment with an orchestra. Of his three concertos the
one in F minor, op. 79 (Concertstiick) is to this

2 I include the variations for VF. and violin, op. 22, and for PF.
and clarinet, op. 33.



day a stock-piece with virtuosi, and has left
its mark on later composers. Mendelssohn would
probably not have written his G minor con-
certo, but for this predecessor. Not the least
of its many attractions is its form (Larghetto,
Allegro, ]\larch, Finale), diverging so materially
from that of all previous concertos. Then too,
though complete in itself as a piece of music, it is
prompted by a poetical idea, for a whole dramatic
scene was in the composer's mind when he wrote
it. What this was we are told by Benedict,
who on the morning of the first performance
of ' Der Freischiitz ' sat listening with Weber's
wife, while he played them the Concertstiick
then j ust finished.

The Chatelaine sits all alone on her balcony gazing
far awaj' into tlie distance. Her kniglit has gone to the
Holy Land. Years have passed by, battles have been
fought. Is he still alive? will she ever see him again ?
Her excited imagination calls up a vision of her hus-
band lying wounded and forsaken on the battlefield.
Can she not fly to him, and die by his side. Site falls
back unconscious. But hark ! what notes are those in
the distance? Over there in the forest something flashes
in the sunlight — nearer and nearer. Knights and squires
with the cross of the Crusaders, banners waving, ac-
clamations of the I eople ; and there — it is he ! She
sinks into his arms. Love is triumphant. Happiness
without end. The very woods and waves sing the song
of love ; a thousand voices proclaim his victory.' i

The part which the different movements take
in this jirogrammeis obvious enough. The music
is quite independent of the idea which prompted
it, but a knowledge of the programme adds
greatly to the pleasure of listening ; and the fact
of his having composed in this manner is an
interesting point in the study of Weber's idio-

The other two concertos, in C and Eb, have
been unduly neglected for the Concert-stiick.
The former, composed in 1810, is indeed not so
brilliant, but its delightfully original finale would
alone make it a ■valuable work. The other owe.s
its origin apparently to Beethoven's Concerto
in Eb. This came out in February 1811, and
we learn from Weber's diary that he bought
a copy in Leipzig on Jan. I4, 181 2. His own
concerto in Eb was finished in December of
the same year at Gotlia. Tlie choice of the
key, the remote key of B major for the Adagio,
and still closer resemblances between parts
of the movements of the two, show how deep
an impression Beethoven's work had made on
the younger artist. Still it was only suggestion,
and did not affect Weber's ideutitj'. Tlie differ-
ences between the two will be found quite as
decided as the resemblances.

20. When once Mozart had introduced the
clarinet into the higher range of music it rapidly
became a favourite solo-instrument. Germany
had at the beginning of the century two pre-
emi-nent clarinet-players — Hermstedt of Son-
dershausen, and Barmann of Munich. Spohr
composed for the former, Weber for the latter.^

• Benedict's ' Weber."

2 Of Weber's sii works for clarinet solo, five are dedicated to his
friend Barmann ; the sixth, op. 4«. bears no dedication. It seems
probable from JShns (p. 434. No. 57; that this was compuseJ for
Hermstedt at his owji request, but that Weber would not dedicate it
to him out of consideration for Barmann.


Hermstedl was an excellent player as far as tech
nique went, but a man of limited intellect, whili
Barmann, with an equally brilliant technique
was a thorough artist in temperament, aui
a man of refined taste. Spohr's clarinet com
positions are good work, but, perhaps becausi
he was in the habit of composing for Herm
stedt, he never seems to have got at th
heart of the instrument. This Weber did, ant
to such an extent that be is still the classica
composer for the clarinet. It is a remarkabl
instance of his power of penetrating into th
nature of instruments, that though not able t
play the clarinet himself he should have so fa
developed its resources that since his da
no substantial advance has been made by coin
posers in handling the instrument. His thre
clarinet-concertos (ops. 73, 74, and 26, the lae
a concertino) were all written in 1811, whe
he was living in Munich in constant intei
course with Barmann. We have also two work
for PF. and clarinet, Variations on a then
from Silvana, and a fine Duo concertante i
three movements, op. 48. Wind-instruments ai
now out of fashion for concert- playing, and 01
seldom hears anything on such occasions bi
the piano and violin, instead of the pleasin
variety which used to prevail with so uiuc
advantage to art, and this has caused a mostr
gretable neglect of Webers clarinet concerto
But seldom as these are heard, those he wro'
for other wind-instruments are never playe
at all. And yet the concertos for horn, bassooi
and flute, testify very remarkably to his woi
derful gift for penetrating into the nature >
an instrument.

21. Weber's turn for literary composition, d
veloped most strongly between the years i8c
and 1 81 8, has been already mentioned.^ A fe
remarks on the value of his literary compositioi
will fitly close our review of his productive wor
As a rule his pen was naturally employed (
musical matters, only one of his newspaper articl
beingon a general subject — 'UeberBadeu-Badei
Aug, I, iSio. His talent for authorship was u:
doubtedly considerable. His narrative is clear ar
intelligible, his style correct, elegant, and livel
with a certain freedom not at all unbecomin
Now and then, too, he wrote successful verse
Our great composers from Handel to Beethovt
did not meddle with authorship. In this r
spect, as in so many others, Weber was the fir
of a new generation of artists. It pleased hi
to reveal the ideas with which his mind w
crowded in.w-ords as well as iu music. Tfc
is evident from his active correspondence,
large part of this would well bear publicatio
for Weber's letters are more amusing ai
contain more information than those of any oth
German musician. As an author he was t
precursor of Schumann and Wagner, over who
music, too, his own exercised so great an 1
fluence. But unlike them he did not concentra

3 Weber's posthumous writings came out origrinalljr In S Ti
(Arnold. Dresden and Leipzig), and were republished as TOl. Ul.
Max Ton Wei>er's ' Lebeosbild.'




1 literary powers ; his nature was too restless,
d his life too unsettled. It is a pity that his
isical novel, 'Tonkiinstler's Leben,' remained
finished, for as he himself was the ' musician '
tose 'life ' he described, we should have gained
artistically drawn autobiography of inestimable
lue. What a storehouse of details we should
ve had on the state of music in Germany at
} beginning of the century, on the sort of con-
Is then given, on the doings of amateurs, the
:ial position of musicians, etc.! Who better
;ed to give us a correct picture of all this
in the versatile, keenly observant Weber?
liat remains of the novel is interesting, and
italizing, on account of its many acute and pro-
nd observations on art. Not that Weber
lid philosophise and systematise like Wagner ;

touches lightly on subjects, sometimes in-
id superficiiiUy, but in every word you see
1 man of intellectual cultivation capable of
ming his own judgment. His literary affinity
closer to Schumann than to Wagner. The
igination, the humour, the kindness and
(liality towards his juniors, the absence of
lousy towards equals, are as characteristic
Weber as of Schumann. He helped mate-
Uy to launch Meyerbeer and Marschner,
irted himself heartily to extend the know-
ge of Spohr's music (a service Spohr did
; return in kind), and though as a youth he
ised a hasty judgment on Beethoven, he amply
laired the oversight in maturer years. When
idelio ' was being performed in Dresden, he
ate to Beethoven (Jan. 28, 1823), 'Each re-
sentation will be a festival to me, giving me
! opportunity of offering to your noble spirit
omage springing from my inmost heart, which
filled with mingled admiration and affec-
a for you.' And Weber was no man to pay
pty compliments. Like as he was to Schu-
nn in many respects, they were very different
Dthers. Besides the sense of humour charac-
istic of both, Weber had a strong satirical
n, a caustic wit, and a love of fun, which he
kred with Mozart. He was, also, more mer-
•ial and brilliant than Schumann, who by

side seems almost slow. He took wider views
life, was more a man of the world, often with
kind of chivalrous gallantry ; but far more
de than his younger comrade in art. He
ote on all sorts of subjects, critical, polejdi-
, historical, theoretical ; most often pei>haps
introduce new works, and prepare the public
ad for their reception. The mechanical con-
uction of instruments was always an interest-
; subject to him, and he wrote newspaper
.icles on Capeller's improved flutes, on Kauf-
■nn's* trumjjets, chiming-clocks, and Har-
loichord, and on Buschmann's 'Terpodion.'
) even went so far as to compose a Concert-
ick (Adagio and Allegretto in F) for Kauf-
inn's harmonichord, a piece which shows
ry clearly his wonderful feeling for beauty

> Father and sou of Dresden.

Summary of Weber's Compositions.


1. Das WaldmSdchen ; 3 fragments only remainlngr. Unprinted..

2. Teter SchmoU und seine Nachbarn. Unprinted. ISOl.

3. KQbezah) ; only 3 numbers in existence, the last a Quintet pulK
lished by Schlesinger. Ifc04. lt-05.

4. Silvana: FF.score. Schlesinger. 1830.

5. Abu Hassan ; PF. score. Simrock, Bonn. 1811.

6. Der Freischiltz. ItiO.

7. Die drei Pintos. Sketch only, unfinished. 1821.

8. Eurjanthe. 1823.

9. Oberon. 1826.


1. Music to Schiller's Turandot ; overture and 6 short Instm-
zuental pieces. 1^09.

2. Music to Milliner's 'EOnlgYngurd'; 10 instrumental and lTocal<
piece. 1K17.

3. Music to Gehe's 'Heinrich IV, KOnig von Franlu-eich'; 8 in-
strumental pieces. 1838.

4. Music to Rubtack's ptay 'Lleb* um Liebe'; 4 vocal pieces, 1
march, and 1 melodrama. 1S38.

5. Music tu Houwaid's tragedy* Der Leuchtthurm'; 2melodramas
and 2 inter udes fur harp, all sliort. 1820.

6. Music to Wolff's ' Fieciosa'; overture, 4 choruses, 1 song, 3 melo-
dramas, aud dances. Ib'i^O.

7. Music to a Festspiel by Ludvrig Robert ; instrumental move-
ment, and 5 choruses. 1>22.

8. Rondo allaPolacca for tenor voice, for Haydn's opera 'Freibrief.

9. 4 Lieder for single voice and guitar, Ueber die Berge mit tJnge-
stiim ; Rase, Sturrawind, blase; Lass mich schiummern, Herzlein,
schweige ; IJmringt vom muiherfiiUten Heere : from Kutzebue's-
* Der arme Miuues.nger.' 1811.

10. 2 Lieder, Meia Weib ist capores, and Frau Liesere guhe ; from
Anton Fischer's ' Travestirie Aeneas.' 1815.

11. 2 Lieder, Wer stets hinte' Olen krich, and Wie wir vol] Glut
uns hier zusammeulinden ; from Uubitz's 'Lieb und VersShneu.'

12. Ballad for single voice and harp. Was sturmt die Halde heraul ?
from Reiuback's tragedy ' ooidon und Muiitvuse.* 1815.

13. Ariette to llubei's ' Sterneumadchen im Maidlinger Walde.'

14. Romance for single voice and guitar, Ein KSnig einst gefangea.
sass ; from Castelli's ' Diana von I'o. tiers.' lolii.

15. Lied, Hold ist der Cyanenkranz; from KinJ's 'Weinberg an
der Elbe.' 1817.

16. chorus with wind instruments, Heil dir Sappho ; from Grill-
parzer's tragedy ' Sappho.' 1818.

17. Lied fur single voice and guitar, Ein Madchen ging die Wiea"
entlang ; from Kind's 'Der Abend am Waldbrunneu.' 1^18.

18. Chorus with wind instruments, Agnus Lei ; from Graf Ton.
Blankensee's tragedy ' Carlo.' l8'-0.

19. Lied fur 3 women's voices and guitar. Sa;t woher stamnit
Liebesluste (Tell me where is fancy bred) ; from bhakspere's ' Mer-
chant of Venice." 1821.

20. Musicaiid recitative, Doch welche TOne steigen jetzthernieder .
for tpontini's 'Olympia.' 18'25,

21. R-citative and Rundo for soprano and orchestra, II momento-
s'avvicina. 1810.

22. Scena ed aria for soprano and orchestia, Misera me; from
'Atalia.' IMl.

23. Scena ed aria for tenor, men's chorus, and t rchestra, Qual altro
attendl. 1811.

24. Scena ed aria, for tenor, 2 choruses, and orchestra. Signer so
padre sei ; from ' Ines de Castro.' 1.^1'2.

25. Scena ed aria fur soprano and oi chestra. Ah, se Edmondo fosse
I'uccisor; tor -Mehul's ' Helene.' 1815.

2fi. Scena ed aria fur sop ano and orchestra, Non paventar, mia.
vita; for 'Ines de Castro.' 1815.

27. Scena ed aria for soprano and orchestra. Was sac' ich? Scbau-
dem macht mich der Ciedankel tor Cherubim's ' Luduislia.' 1S13.

28. Three duets for 2 soprajil and PF., Se il mio Len ; Milla Tolto
mio tesoro ; Va, ti consola. 1811.


1. DerersteTon; byRochlltz: orchestral music for declamation
and final chorus. l^Oj.

2. Hymn, In seiner Ordnung schafft der Herr; by Bochlitz: soli,
chorus, and orchestra. li-12.

3. Kampf und bieg ; by Wohlbruck, In commemoration of June 18,
1815: soli, ch'Tus, and orches;ra. 1813.

4. L'.\ccogl anza ; for the wedding of the Hereditary Grand-Duke-
Leopold of Tuscany, and Princess Maria .\nna I'aroliua of Saiony,
words by Celani : 6 solo-voices, chorus and orchestra. Oct. 29, 1817.

5. Natur und Liebe ; by Kind ; for the name-i ay ul King Friedrich-
August of Saxony : 2 sopranos. 2 tenors, 2 basses, and PF. 1818.

6. Jubel-Cantata, Erhebt den Lobi-esang : by Kind; for the 50th
anniversary of King Friedrich August s accession : soli, chorus, aud
orchf^stra. 1818.

7. Du, bekranzend unsre Laren ; by Kind, for Duchess Amalia voa
Zweibrucken's birthilay: solo and chorus, with PF. and flute. 182L

8. Wo nehm' ich Blumen her; by Heil, for Frinceas Theresa o^
Saxony's birthday : 3 solo-voices and PF. iSIS.





1. In Eb : 4 solo voices, chorus, and orchestra : for the King of
Saxony's name-day. 1J^18.

1 o. Offeitoire to the same: soprano solo, chorus, and orchestra.

2. In ci : 4 solo-voices, chorus, and orchestra: for the golden
wedding of the King and Queen of Saxony. ISIS— 1819.

2n. offcrtoire to the same; soprano-solo, chorus, and orchestra.
J? 18.


(Alphabetically arranged.)

1. Ach w5r ich doch zu dieser Stund. 1816.

2. Ach wenn ich nur ein Liebchen hfitte. 1809.

3. Ah, dove siete, oh luci belle. Canzonet (guitar). ISll.

4. Alles in mir gluhet zu lieben. 1814.

5. Auf die stiirmsche See hinaus (guitar). 1810.

6. Ch' io mai vi possa. Canzonet (guitar). 1811.

7. Das vrar ein recht abscheuliches Gesicht. 1S20,

8. Der Gaishirt steht am Kelsenrand. 1S22.

9. Der Holdseligen sonder "Wank. 181.S.

10. Der Tag hat seinen SchraucK. Volkslied. 1819.
Lie Temperameule beim Verlust der Geliehlen. 1816.

11. a. Der Leichtmiithige (Lust entfloh, und hln ist hin).

12. b. Der Schwermiithige (Selge Zeiten).

13. c. Der Liebewiithi?e ( Verrathen !).

14. d. Der tileichmiithige (Nun bin ich befreit, wie behSglich !).

15. Die Wunde brennt, die bleichen Lippen beben. Sonnet from
Xeyer und Schwert. Isl4.

16. Diist're Harmonieen hor' ich klingen. Ibid. 1816.

17. Du liebes. holdes. himmelsiisses Wesen. Sonnet. 1812.

18. Ein Echo kenn' ich. 180S.

19. Ein' fromme Magd von gutem Stand. Volkslied. 1818.

20. Ein KOiiig einst gefangen sass (guitar). 1816. See II. 14.

21. Ein Madchen ging die Wies' entlang (guitar). 1818. See II. 17.

22. Ein neues Lied, ein neues Lied ; MS. 1810.

23. Ein steter Kampf ist unser Leben. 1808.

24. Ein Veilchen bloht im Thale. 1817.
23. El. wenn ich doch ein Maler war. 1820.

26. EUe etait simple et gentilette. 1S24.

27. Endlich hatte Damon se gefunden (guitar). 1810.

28. Entflieliet schnell von mir; MS. 1803.

29. Es sitzt d e Zeit im weissen Kleid (guitar). 1810.

30. Es stiirmt auf der Flur. es brauset im Hain. 1S13.

31. Erase mich immer. fragest umsonst. 1813.

32. Frei und froh mit muntern Sinnen. 1812.

33. From Chindara's warbling fount I come ; MS. 1826.

34. Herzchen, mein Schiitzchen. bist tausendmal mein. Volkslied.

35. Herz, lass dlch nicht zerspalten. Leyer und Schwerdt. 1814.
S6. Herz, mein Uerz ermanne dich. 1820.

37. Horch! leise horch. Geliebte, horch! (guitar). 1809.

38. Ich denke dein, wenn durch den Hain. It06.
30. Ich empfinde fast ein Grauen. 1818.

40. Ich hab' rair eins erwahlet. Volkslied. 1817.

41. Ich sail eiu Koschen am Wege stehn. 1809.

42. Ich sah sie hingesunken ; MS. 1804.

43. Ich tummie mich auf der Haide. 1819.

44. In der Berge Riesenschatten (guitar). 1812.

45. Judiia. hochgelubtes Land. 1^19.

46. I und mein junges Weib konnen schOn tanza. Volkslied (guitar).

47. Jungst S1S5 ich am Grabe der Trauten allein. 1S04.

48. Keine Lust ohn* treues Lieben. Triolet. 1819.

49. Lass mich schlummern, Herzlein schweige (guitar). 1811. See

50. Miidel, schau' mir ins Gesicht (guitar). 1807.
61. Maienblumlein so schSn. 1811.

.52. Meine Lieder. meine Siinge. 1809.

53. Mein Schatz. der ist auf der Wanderschaft hin. Volkslied. 1318.

54. Mein Schatzerl ist hubsch. Volkslied. 1818.

55. Ninfe, se liete. Canzonet (guitar). ISll.

56. O Berlin, ich muss dich lassen. Volkslied, 2-part. 1817.

57. Ease, Sturmwind,b!ase (guitar). 1811. MS. See II. 9.

58. Rosen im Haare, den Becher zur Hand. 1818.

59. Sttgt mir an. was 5chmunzelt ihr. 1813.

60. Sanfies Licht. weiche nicht (guitar). 1809.

61. Schlaf. HerzenssOhnchen, mein Liebling bist du (guitar). 1810.

62. Sicche f inganni, o Clori. Canzonet. 1810.

63. Sind es Schmerzen, sind es Freuden. 18J3.

64. Bind wir geschieden, und Ich muss leben ohne dich. Volkslied.

65. 'Sis nichts mit den alten Weibern. Volkslied. 1817.

€6. So geht es im SchnutzeTpntz-Hausel. Volkslied, 2-part. 1817,

67. Ahnung dehnt den Busen. 1809.

63. Trariro. der Sommer der ist do. Volkslied, 2-part 1817.

69. Traurig. einsam welkst du hin. 11-09.

70. ITeber die Ber::e mit Ungestum (guitar). 1811. See II. 9.

71. tim Hettung bietet ein giildnes Geschmeide. 1812.

72. Umringt vom mutherfillltea Heere. Lied with chorus (gtiitar).
1811. See II. 9.

73. Umsonst entsagt Ich der lockenden Liebe. 1802.

74. Ungern fliehi das susse Leben ; MS. 1802.

7.5. Vater ich rufe dich. Leyer und Schwert. 1814.
76 VOglein, einsam in dem Bauer. 1816.

77. VOglein hiipfet in dem Haine. 1816.

78. Was bricht hervor. wie Bliithen weiss. 1819.

79. Was sturmet die Haide herauf (harp). 1815. See 11. 12.
)rO. Was zieht zu dfr-iiiem Zauberkreise. If09.

81. Weile. Kind, ich will nicht rauben. 1816.

82. Weil es Gott also gefiigt ; MS. If09.

83. Weine, weine. weine nur nicht. Volkslied. 1818.

84. Wenn. Bruder, wie wir tfiglich sehn. Lied with chorus. U(

85. Wenn die Maien griln sich kleiden. 1818. ,

86. Wenn ich die Bliimlein schau. 1817.

87. Wenn ich ein VOglein war. Volkslied. 1818.
8S. Wenn Kindlein sQssen Schlummers Kuh, lf-21.

89. Wo ist des Siingers Vaterland ? Leyer und Schwert.

90. Wollt ihr sie keimen, soil ich sie nennea. 1808.


1. Bald heisst es wieder : Gute Nacht. 4-part. 1819.

2. Das Volk steht auf, der Sturm biicht los. Leyer und Schlj
4-part. 1814.

3. Du Schwert an meiner Linken. Leysr und Schwert ; i^

4. El, ei. wie scbeint derMond so hell. Volkslied ; 3-part. Ul

5. Ein Kind ist uns geboren. 4-part. 1819.

6. Fliistert lieblich. Sommerlufte. 4-part, with PF. 1817.

7. Freunde, dass (Jlut liebend uns trage. 4-part. 1814.

8. Frisch auf, frisch auf, mit raschem Flug. Leyer und Schu

9. Fallet die Humpen. muthige Knappen (Turnlerbankett). ]l

10. Hinaus. hinaus. zum blut' gen Strauss. 4-part. 1825.

11. HOinerschall ! Ueberfall ! 4-iart. 1825.

12. HOr' uns, AllmSchtiger! Leyer und Schwert. 4-part. ISU

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