Arrangements of Insertions in Stage Works and of Scottish Airs

Weber was quite critical of the practice of arranging that had widely spread in the early 19th century. In his novel 'Tonkünstlers Leben' he mocked at far too overzealous contemporaries with fictitious works like 'The Creation - for 1 flute' or 'The finale of the 1st act from the opera Don Juan, with proper fingering, arranged for one voice'. However, even Weber modified works by other composers, be it to make concessions to singers or to comply with the wishes of a customer. As a result, this volume focuses on a fairly marginal section of Weber's oeuvre and takes an exemplary look at the multi-layered use of music sources in the first quarter of the 19th century.