Symphony No. 1 in C, Op. 19/J. 50 Cover Image

Symphony No. 1 in C, Op. 19/J. 50: Full Orchestra, Conductor Score & Parts

$85.00 USD
$85.00 USD
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Symphony No. 1 in C, Op. 19/J. 50 Cover Image
Symphony No. 1 in C, Op. 19/J. 50: Full Orchestra, Conductor Score & Parts

Symphony No. 1 in C, Op. 19/J. 50: Full Orchestra, Conductor Score & Parts

By Carl Maria von Weber, ed./arr. by Fritz Oeser

Item: 36-A225802
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Symphony No. 1 in C, Op. 19/J. 50: Full Orchestra, Conductor Score

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Description
The great composer of DER FREISCHÜTZ, Carl Maria von Weber (1786-1826), wrote two symphonies early in his career that showcase the melody-writing ability that would serve him so well in his later career composing operas. He wrote both symphonies while employed at the court of Duke Eugen Friedrich Heinrich von Württemberg, and excellent oboist who enjoyed playing with his house orchestra. Both symphonies reflect the instrumental resources that were available in the court at that time, which resulted in the exclusion of any clarinets. Written between 1806 and 1807, SYMPHONY No. 1 in C, Op. 19 (J. 50) is very much in the mode of the Classical era as Beethoven's recent groundbreaking THIRD SYMPHONY was not yet a model for other contemporary composers. Instrumentation: 1.2.0.2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set). Reprint of this edition by Fritz Oeser.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 612735662882
SKU: 36-A225802
Instrumentation: 1.2.0.2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Carl Maria von Weber

Carl Maria von Weber (1786–1826) stands as a pivotal figure in early Romantic opera, best known for Der Freischütz, the work that established German opera as a major force in European musical life. Before his operatic triumphs, Weber worked as a court musician and composer in regional German centers, roles that shaped his understanding of orchestral color and instrumental capability. His symphonies, written during his employment at the Württemberg court, represent the bridge between his early instrumental explorations and the dramatic orchestration that would define his later stage works.

Weber's approach to orchestration and melody became the model for generations of German composers who followed. His keen ear for what each instrument could express led him to write idiomatically for every section, a practice evident even in these early symphonies. Understanding Weber's orchestral writing in these works illuminates the roots of the Romantic sound that would dominate the nineteenth century.

Why we love this

Weber's First Symphony offers conductors a chance to program a genuinely important historical work that sits comfortably within the grasp of a capable orchestra. The music breathes naturally in the Classical four-movement form yet contains the melodic invention and orchestral sophistication that made Weber legendary; this is not a juvenile effort but rather a composer fully in command of his craft, working within the constraints and possibilities of a specific court ensemble.

What to expect

Weber's Symphony No. 1 unfolds with the grace and proportion of the Classical world, yet its melodies carry a warmth and expressive depth that hint at Romanticism's approach. The orchestration sparkles with clarity; each instrumental voice contributes distinctly to the texture rather than blending into homogeneous sound, creating an almost chamber-like intimacy within the full orchestra.

Who it's for

This score and parts suit orchestras with solid fundamentals in Mozart and Haydn who are ready to tackle a work that demands more sophisticated solo writing and independence across the woodwind section. Conductors seeking to program early Romantic repertoire that bridges Classical forms with Romantic sensibility will find a secure, rewarding choice here.

How to get the most out of it

  • Observe the Classical proportions carefully; resist the temptation to inflect tempos heavily between sections. Weber's melodic lines flourish best when they maintain their architectural integrity across phrases.
  • The oboe writing reflects the presence of an accomplished oboist at court; give the oboe principal clear autonomy in solo passages and ensure the section balances the flute and bassoon lines without swallowing them.
  • Pay special attention to timpani entrance points, which function as structural markers rather than rhythmic filler. These moments deserve clarity and presence without excessive weight.
  • String section balance becomes critical given the modest instrumentation (9-8-7-6-5); ensure first violins can project their melodies above the violas and cellos, which carry essential harmonic support.

How to use it

This symphony serves well as an opening work on a concert exploring the evolution from Classicism into early Romanticism, especially when paired with a Beethoven symphony or later Weber overture. It also works as a substantial centerpiece for an all-German-music program, offering audiences a less-frequently performed window into the instrumental works of a composer they may know only through opera.

Skills your students will build

  • Balancing transparent orchestral textures with limited instrumentation (no clarinets)
  • Playing idiomatic oboe, flute, and bassoon writing from the early nineteenth century
  • Maintaining Classical phrase architecture while conveying Romantic expression
  • Coordinating entrances and solo passages across woodwind sections without doubling
  • Sustaining ensemble cohesion across four movements in moderate tempos

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