second volume of his "Music and Musicians," Wagner declared that Weber might be said to have originated a novel form of overture or "dramatic fantasy," of which Wagner considered the "Oberon" overture to be the best example. In turning to the details of Weber's instrumentation it is found that no new instruments were introduced. Beauty and novelty were attained rather by inherent regard for suitable application of tonal color and by the discovery of new combinations. Although Weber, like Spohr, did not venerate Beethoven as he should have done, it was not possible for him to improve upon the great master's string writing. Of course certain novel effects are to be found, such as the subdivision of the violins _soli_ into numerous parts, the viola accompaniment to Annette's ballad,[38] and the use of the same instrument as bass to "Leise, leise"[39] in "Der Freischütz." [Footnote 38: Ex. 47.] [Footnote 39: Ex. 43.] But perhaps no other composer contributed more to the independence of the wood-wind.[40] Weber was exceedingly modern in the use of small combinations. In order to obtain a rare and fairy-like effect in "Oberon," the first flute and first clarinet give out the melody; the second flute plays arpeggios as does likewise the second clarinet, though in contrary motion; a solo horn is employed as bass. The opening bars of Annette's song in "Der Freischütz" may be cited as containing a good example for the oboe as does also the accompaniment to Kilian's song for the bassoon. But it was quite particularly the clarinet for which Weber showed especial predilection. Beautiful phrases for the clarinet are to be found in the Allegro of the overture to "Der Freischütz"[41] as well as in the overture to "Oberon"; and the characteristics of the instrument in its entire range are effectively displayed in the introduction to Adolar's aria in the second act of "Euryanthe." Moreover, he was the first to discover the tragic possibilities of the chalumeau range,[42] as exemplified by the held notes in the lowest part of the instrument accompanying the entries of Zamiel in "Der Freischütz." [Footnote 40: Ex. 39, 41.] [Footnote 41: Ex. 37.] [Footnote 42: Ex. 40, 44, 46.] Next to the clarinet, the horns[43] received especial consideration from Weber, and acquired greater freedom and individuality, being brought into requisition not alone for mellow _cantilene_ and sustained harmonies, but also as the exponents of jubilant outbursts or of gloomy whisperings. Many admirable illustrations will readily be recalled, such as the passages for horns _soli_ in the introduction of the "Freischütz" overture,[44] the trio for horns in the Romance in "Preciosa," and the horn accompaniment to the Mermaid's Song in "Oberon." With Weber, the use of four horns and three trombones became the rule, whereas with Beethoven it had been the exception. [Footnote 43: Ex. 42, 45.] [Footnote 44: Ex. 36.]