dramatic _arioso_ of German opera during the nineteenth century. Haendel came nearer to this type of musical formation, for example, in the "Messiah," at the recitative describing the appearance of the angels to the shepherds, where, after a phrase of unaccompanied recitative, the appearance of the angels is signified by an accompanied and measured strain, "And lo, the angel of the Lord came upon them." This development of opera in the nineteenth century has been carried forward by the successive efforts of a considerable number of masters, among whom the three most important are Weber, Meyerbeer and Wagner, each of whom created a type of opera peculiar to himself, and left something as an addition to the permanent stock of musical dramatic ideas. [Illustration: Fig. 76. CARL MARIA VON WEBER.] II. Carl Maria von Weber (1786-1826) was the son of a very musical family. He was born at Eutin, and fulfilled his father's desire, which had always been to have a child who should correspond to the youthful promise of Mozart. The father was an actor, and the director of a traveling troupe, largely composed of his own children by a former marriage. This mode of life continued for a number of years, while the future master was quite small. In 1794 Carl Maria's mother was engaged as a singer at the theater at Weimar, under Goethe's direction. Presently, however, the boy became a pupil of Heuschkel, an eminent oboeist, a solid pianist and organist, and a good composer. Under his careful direction Weber developed a technique which very soon passed far beyond anything that had previously been seen. Still later he became a pupil of Michael Haydn, a brother of Joseph. As early as 1800 the boy gave concerts in Leipsic and other towns in central Germany. At this time an opera book was given him, "_Das Wald Maedchen_," and the opera was composed and produced in November. Five years later it was highly appreciated at Vienna, and was performed also at Prague and St. Petersburg. Young Weber was of a most active mind, and interested himself in all questions of art. In 1803 he made the acquaintance of the famous Abbe Vogler, and became his pupil. Vogler commissioned him to prepare the piano score of a new opera of his. He still continued his practice as pianist, but when he lacked some months of being eighteen years of age he was made director of the music of the theater at Breslau. This was his first acquaintance with practical life as a musician. He showed great talent for direction and organization, and here he composed his first serious opera "_Rubezahl_" (1806). His next position was at Stuttgart, where he became musical director in 1807. After composing several short pieces, he led a somewhat irregular life for several years, concerting as a pianist, writing articles for the papers, at which he was very talented, beginning a musical novel, and at length, in 1810, producing his opera "_Abou Hassan_." Then followed about three years of roving life as a concert