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
char