“Joseph and his Brethren,” by Mehul, was the first opera to be taken up by the new conductor.  He drilled the orchestra much more carefully than they had been accustomed, and while, in the beginning, some were sulky at the strictness they were subjected to, yet they finally saw the justice of it and at last took pride in doing their work well.  “Joseph” was brought out January 30, 1817.  The King and Court were present, and everything passed off well, indeed remarkably well.  His majesty was greatly pleased and did not cough once during the whole performance, as he used to do when things did not go to suit him.

In spite of Italian opposition which still continued, Weber’s efforts to establish German opera kept right on, until at last it became a State institution, and the composer was appointed musical director for life.  With this bright prospect in view he was able to wed his beloved Caroline.  They were married on November 4.  A quotation from his diary shows the talented musician had become a serious, earnest man.  “May God bless our union, and grant me strength and power to make my beloved Lina as happy and contented as my inmost heart would desire.  May His mercy lead me in all things.”

Weber was now entering the most prolific and brilliant period of his life.  His music became richer, more noble and beautiful.  The happy union with Caroline seemed to put new life and energy into him, and as a result his works became quickly known all over Europe.  His mind was literally teeming with original themes, which crowded each other, struggling to be expressed.  First there was the “Mass in E flat,” a beautiful, original work; then a festal Cantata, “Nature and Love,” written to celebrate the Queen of Saxony’s birthday.  After this the “Jubilee Cantata,” composed to celebrate the fiftieth anniversary of the reign of Augustus, of Saxony.  The Italian faction prevented a performance of the whole work, and only the Overture was given.  When the entire work was heard it made a great sensation.  Now came a Jubilee Mass and some piano pieces, among them the charming and famous “Invitation to the Dance,” with which every one is familiar.  While writing all these works, the composer was busy with one of his greatest operas, “Der Freischuetz.”  On May 8, 1820, a hundred years ago, the score of “Der Freischuetz,” was sent to the director of the Berlin theater, and directly put in rehearsal.  The rehearsals had not proceeded very far before Weber, the tireless ceaseless worker, had finished his important opera, “Preciosa,” which was also despatched to Berlin.  “Preciosa” was brought out before “Der Freischuetz,” which was just as it should be, as the public needed to be educated up to the “Freischuetz” music.  “Preciosa” was founded on a Spanish story, “The Gypsy of Madrid,” and Weber has written for it some of his most charming melodies, full of Spanish color, life and vivacity.  Nowadays the opera is neglected, but we often hear the overture.  It is to be noted that the overtures to each of Weber’s operas contain the leading themes and melodies of the operas themselves, showing with what skill the artist wrought.  When Weber’s widow presented the original score of “Der Freischuetz” to the Royal Library in Berlin, it was found there was not a single erasure or correction in the whole work.