The Mirror of Literature, Amusement, and Instruction. Volume 17, No. 477, February 19, 1831

"The whole day," he writes to his wife, "is mine till five—then dinner, the theatre, or society. My solitude in England is not painful to me. The English way of living suits mine exactly; and my little stock of English, in which I make tolerable progress, is of incalculable use to me.

"Give yourself no uneasiness about the opera (Oberon), I shall have leisure and repose here, for they respect my time. Besides, the Oberon is not fixed for Easter Monday, but some time later; I shall tell you afterwards when. The people are really too kind to me. No king ever had more done for him out of love; I may almost say they carry me in their arms. I take great care of myself, and you may be quite at ease on my account. My cough is really a very odd one; for eight days it disappeared entirely; then, upon the 3rd (of March) a vile spasmodic attack returned before I reached Calais. Since that time it is quiet again. I cannot, with all the consideration I have given it, understand it at all. I sometimes deny myself every indulgence, and yet it comes. I eat and drink every thing, and it does not come. But be it as God will.

"At seven o'clock in the evening we went to Covent Garden, where Rob Roy, an opera after Sir Walter Scott's novel, was played. The house is handsomely decorated, and not too large. When I came forward to the front of the stage-box, that I might have a better look of it, some one called out, Weber! Weber is here!—and although I drew back immediately, there followed a clamour of applause which I thought would never have ended. Then the overture to the Freyschütz was called for, and every time I showed myself the storm broke loose again. Fortunately, soon after the overture, Rob Roy began, and gradually things became quiet.—Could a man wish for more enthusiasm, or more love? I must confess that I was completely overpowered by it, though I am of a calm nature, and somewhat accustomed to such scenes. I know not what I would have given to have had you by my side, that you might have seen me in my foreign garb of honour. And now, my dear love, I can assure you that you may be quite at ease, both as to the singers and the orchestra. Miss Paton is a singer of the first rank, and will play Reiza divinely; Braham not less so, though in a totally different style. There are also several good tenors; and I really cannot see why the English singing should be so much abused. The singers have a perfectly good Italian education, fine voices, and expression. The orchestra is not remarkable, but still very good, and the choruses particularly so. In short, I feel quite at ease as to the fate of Oberon."

The final production of the drama, however, was attended with more difficulty than he had anticipated. He had the usual prejudices to overcome, particular singers to conciliate, alterations to make, and repeated rehearsals to superintend, before he could inspire the performers with the proper spirit of the piece.

"Braham," says he, "in another of his confidential letters to his wife," (29th March, 1826) "begs for a grand scena instead of his first air, which, in fact, was not written for him, and is rather high. The thought of it was at first quite horrible; I could not hear of it. At last I promised, when the opera was completed, if I had time enough, it should be done; and now this grand scena, a confounded battle piece and what not, is lying before me, and I am about to set to work, yet with the greatest reluctance. What can I do? Braham knows his public, and is idolized by them. But for Germany I shall keep the opera as it is. I hate the air I am going to compose (to-day I hope) by anticipation. Adieu, and now for the battle. * * * * So, the battle is over, that is to say, half the scene. To-morrow shall the Turks roar, the French shout for joy, the warriors cry out victory!"

The battle was, indeed, nearly over with Weber. The tired forces of life, though they bore up gallantly against the enemy, had long been wavering at their post, and now in fact only one brilliant movement remained to be executed before they finally retreated from the field of existence. This was the representation of Oberon, which for a time rewarded him for all his toils and vexations. He records his triumph with a mixture of humility, gratitude, affection, and piety.

"12th April, 1826.

"My best beloved Caroline! Through God's grace and assistance, I have this evening met with the most complete success. The brilliancy and affecting nature of the triumph is indescribable. God alone be thanked for it! When I entered the orchestra, the whole of the house, which was filled to overflowing, rose up, and I was saluted with huzzas, waving of hats and handkerchiefs, which I thought would never have done. They insisted on encoring the overture. Every air was interrupted twice or thrice by bursts of applause. * * * So much for this night, dear life. From your heartily tired husband, who, however, could not sleep in peace until he had communicated to you this new blessing of heaven. Good-night."

But his joy was interrupted by the gradual decline of his health. The climate of London brought back all those symptoms which his travelling had for a time alleviated or dissipated. After directing twelve performances of his Oberon in crowded houses, he felt himself completely exhausted and dispirited.—His melancholy was not abated by the ill success of his concert, which, from causes which we cannot pretend to explain, was no benefit to the poor invalid. His next letters are in a desponding tone.

"17th April, 1826.

"To-day is enough to be the death of any one. A thick, dark, yellow fog overhangs the sky, so that one can hardly see in the house without candles. The sun stands powerless, like a ruddy point, in the clouds. No: there is no living in this climate. The longing I feel for Hosterwitz, and the clear air, is indescribable. But patience,—patience,—one day rolls on after another; two months are already over. I have formed an acquaintance with Dr. Kind, a nephew of our own Kind. He is determined to make me well. God help me, that will never happen to me in this life. I have lost all hope in physicians and their art. Repose is my best doctor, and henceforth it shall be my sole

"To-morrow is the first representation of my (so called) rival's opera, 'Aladdin.' I am very curious to see it. Bishop is a man of talent, though of no peculiar invention. I wish him every success. There is room enough for all of us in the world."

"30th May.

"Dearest Lina, excuse the shortness and hurry of this. I have so many things on hand, writing is painful to me—my hands tremble so. Already too impatience begins to awaken in me. You will not receive many more letters from me. Address your answer not to London, but to Frankfort—poste restante. You are surprised? Yes, I don't go by Paris. What should I do there—I cannot move—I cannot speak–all business I must give up for years. Then better, better, the straight way to my home—by Calais, Brussels, Cologne, and Coblentz, up the Rhine to Frankfort—a delightful journey. Though I must travel slowly, rest sometimes half a day, I think in a fortnight, by the end of June, I shall be in your arms.

"If God will, we shall leave this on 12th June, if heaven will vouchsafe me a little strength. Well, all will go better if we are once on the way—once out of this wretched climate. I embrace you from my heart, my dear ones—ever your loving father Charles."

This letter, the last but one he ever wrote, shows the rapid decline of his strength, though he endeavours to keep up the spirits of his family by a gleam of cheerfulness. His longing for home now began to increase till it became a pang. On the 6th of June he was to be present at the Freyschütz, which was to be performed for his benefit, and then to leave London for ever. His last letter, the thirty-third he had written from England, was dated the second of June. Even here, though he could scarcely guide the pen, anxious to keep up the drooping spirits of his wife, he endeavours to speak cheerfully, and to inspire a hope of his return.

"As this letter will need no answer, it will be short enough. Need no answer! Think of that! Furstenau has given up the idea of his concert, so perhaps we shall be with you in two days sooner—huzza! God bless you all and keep you well! O were I only among you! I kiss you in thought, dear mother. Love me also, and think always of your Charles, who loves you above all."

On Friday the 3rd of June, he felt so ill, that the idea of his attending at the representation of "Der Freyschütz" was abandoned, and he was obliged to keep his room. On Sunday evening, the 5th, he was left at eleven o'clock in good spirits, and at seven next morning was found dead upon his pillow, his head resting upon his hand, as though he had passed from life without a struggle. The peaceful slumber of the preceding evening seemed to have gradually deepened into the sleep of death.

He was interred on the 21st, with the accustomed solemnities of the Catholic Church, in the chapel at Moorfields, the Requiem of Mozart being introduced into the service. In person, Weber is described as having been of the middle height, extremely thin, and of dark complexion. His countenance was strikingly intelligent, his face long and pale, his forehead remarkably high, his features prominent, his eyes dark and full. His usual look was one of calm placid thought, an expression which was increased in some degree by spectacles, which he wore on account of his shortness of sight. The force and acuteness of his mind were indicated in the occasional brilliancy of the expression of his countenance; the habitual patience and mildness of his disposition, in its permanent look of placidity and repose.—From an interesting paper in No. XIII. of the Foreign Quarterly Review.