short of the highest excellence in art, exercised a more stimulating effect than any other artist on Weber, who attached himself to him with all the enthusiasm of youth. 'By Vogler's advice,' he says, 'I gave up—and a great privation it was—working at great subjects, and for nearly two years devoted myself to diligent study of the various works of the great masters, whose method of construction, treatment of ideas, and use of means, we dissected together, while I separately made studies after them, to clear up the different points in my own mind.' Vogler himself put great confidence in his pupil. After Weber's arrival one evening in October 1803, Vogler suddenly ran into the inner room, closed the doors, shut the shutters, and set to work at something with great secrecy. At length he brought out a bundle of music, and after Weber had promised absolute silence, played him the overture, and some other pieces from his new opera. Finally he commissioned him to prepare the PF. score. 'I am now sitting down to it, studying, and enjoying myself like the devil,' Weber writes to Susan.[1] The relations with Joseph Haydn were also renewed. 'He is always cheerful and lively, likes to talk of his experiences, and particularly enjoys having rising young artists about him. He is the very model of a great man.' These words of Weber's perhaps explain the fact that neither in his letters, which often go into great detail on the state of music in Vienna, nor in his biographical sketch, does he mention Beethoven. That he was personally acquainted with him there is no manner of doubt.[2] But Beethoven was difficult of access, and his rough ways may have repelled the delicate, refined and graceful youth. That Vogler used underhand means to keep them asunder is probably an unfounded assumption, but a certain irritation against Beethoven clung to Weber for many a year, till it gave way in manhood to an unreserved admiration and hearty veneration. Among other musicians of note in Vienna Weber mentions Hummel, just made Capellmeister to Prince Esterhazy, whom he calls the 'most elegant pianoforte-player in Vienna.' This opinion he modified on hearing him again in Prague in 1816. His precision and his pearly runs he still admired, but thought 'Hummel had not studied the intrinsic nature of the instrument.' Of Weber's own works during this time in Vienna but few exist, and of these few most are connected with Vogler, e.g. the PF. score of 'Samori'; PF. variations on themes from 'Samori,' and 'Castor and Pollux,' another opera of Vogler's.[3] That he was studying hard is certain, but this was not incompatible with a youthful enjoyment both of life and natural beauty. He became acquainted with a young officer, Johann Baptist Gänsbacher, a musical amateur, also a pupil of Vogler's, and the acquaintance soon ripened into an intimate and life-long friendship. Weber's son and biographer also has something to say of a 'tender connection with a lady of position' in Vienna. Possibly a song, 'Jüngst sass ich am Grab der Trauten allein,' composed immediately after his departure from Vienna, had something to do with this affair. Vogler had recommended him for the post of Capellmeister of the theatre at Breslau, and by May 8, 1804, before he was quite seventeen and a half, the arrangements were concluded. He went first to Salzburg to fetch his old father, and there, in the rooms of his friend Susan, composed the song just mentioned. On June 5 he was in Augsburg, and travelled on the 14th by Karlsbad to Breslau.[4]
If his biographer is correct in stating that Weber did not enter upon his post at Breslau before November 1804, he must either have been living there for more than three months without occupation, or have been touring about as an artist from June to October. But there is no indication of his having taken either of these courses. The Breslau theatre was kept up by a company chiefly consisting of better-class citizens. The head manager in 1804 was J. G. Rhode, Professor at the Kriegsschule. Previous to Weber's appointment, Carl Ebell had acted as director of music, but he, originally a lawyer, had returned to an official career. The orchestra and chorus were sufficient for ordinary demands. Weber, on this his first entrance on practical life, showed great talent for direction and organisation, though from over-zeal and inexperience he made many mistakes. He had from the first to contend with the prejudices of the managing committee, and with strong opposition in the chief musical circles of the town. The leader of this opposition was Joseph Schnabel, formerly first violinist, and deputy-conductor of the theatre, and appointed Cathedral-organist in 1805. Schnabel left the theatre on Weber's arrival, probably from vexation at not being Capellmeister himself, and, as a man of 37, declining to serve under a lad of 18. The two continued on awkward terms, and some rudenesses of which Weber was guilty towards Schnabel, a respectable and much respected man, did not raise him in the estimation of the better part of the public. Among the managing company he had roused opponents, by insisting on several expensive alterations. Rhode, indeed, was well-disposed towards him, and wrote a libretto, 'Rübezahl,' on which Weber set to work at Breslau.
In spite of Rhode, however, a regular breach ensued in the spring of 1806, and Weber's resignation was accepted. With the best intentions he had done little to raise the state of music in Breslau; but the years spent there were of great importance to his own development. Not only was his great gift for conducting first made apparent to himself and others, but it was chiefly at Breslau that the original and gifted pianist and composer,
