** J. Vahlen, " Der Rhetor Alkidamas ", Sitzungsberichte der wiener Akademie, Phil .- Hist.

** Der Messias by Friedrich Gottlieb Klopstock ( 1773 )

** not by Telemann: Der Schulmeister (" The Schoolmaster " 1751 ), by Christoph Ludwig Fehre.

** Der jüdische Krieg ( Josephus ), 1932

** Der Tag wird kommen ( The day will come, Josephus and the Emperor ), 1942

** Der Mann, der vom Tode auferstand ( unfinished ; completed by Günter Bialas and Hans Werner Henze )

** T. Lindner, Der angebliche Ursprung der Femgerichte aus der Inquisition ( Paderborn, 1890 ) This source combats T. Linder's theory concerning the origin of the Fehme.

** The German magazine Der Spiegel publishes an article about the Bundeswehr's poor preparedness ; the Spiegel scandal erupts.

** Spiegel scandal: German police end their occupation of Der Spiegels offices.

** Der Krach: The Vienna stock market crash heralds the Long Depression.

** The Bavarian Ludwig Railway opens between Nuremberg and Fürth, with a train hauled by Der Adler (" The Eagle "), the first railway in Germany.

** Der jüdische Krieg ( Josephus ), 1932

** Der Tag wird kommen ( The day will come, Josephus and the Emperor ), 1942

** Der Mond ( 1939 )

** Wotan, Der Ring des Nibelungen by Richard Wagner

** Der Jüngling (" Schweigend sahe der May ") version published in Göttinger Musenalmanach, 1775

** Der Sommernacht (" Wenn der Schimmer von dem Monde ") version in Musenalmanach, ed.

** Der Angriff

** " Der Austritt aus der Gemeinde ," 1876

** Der gefangene Vogel

** Der Wunsch (" The Wish "; translated by Lily Henkel in 1894 )

** Der letzte Besuch (" The Last Visit ")

** Andrew Kazdin ( producer ), Pierre Boulez ( conductor ), Jeannine Altmeyer, Hermann Becht, Peter Hofmann, Siegfried Jerusalem, Gwyneth Jones, Manfred Jung, Donald McIntyre, Matti Salminen, Ortrun Wenkel, Heinz Zednik & the Bayreuth Festival Orchestra for Wagner: Der Ring des Nibelungen

** Vaihinger, H., “ Der Streit zwischen Trendelenburg und Fischer ” ( in Commentar zu Kants “ Kritik der Reinen Vernunft ”, Vol.

** Der Freischütz by Carl Maria von Weber ( October 2008 )

** Ännchen, Der Freischütz ( Carl Maria von Weber )

** Max, Der Freischütz ( Carl Maria von Weber )

** Caspar, Der Freischütz ( Carl Maria von Weber )

His Der Freischütz ( 1821 ) shows his genius for creating a supernatural atmosphere.

The project was based on a German folktale called Der Freischütz, with Wilson responsible for the design and direction, Burroughs for writing the book, and Waits for music and lyrics, which were heavily influenced by the works of Bertolt Brecht and Kurt Weill.

Topelius initially thought of writing a trivial entertainment, but having heard extracts from the opera project at a concert in 1851, he realized that Pacius was writing a grand opera on the theme of salvation, following the early Romantic style of Carl Maria von Weber's Der Freischütz ( 1821 ) and Oberon ( 1826 ).

Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany.

Der Freischütz came to be regarded as the first German " nationalist " opera, Euryanthe developed the Leitmotif technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures.

The successful premiere of Der Freischütz on 18 June 1821 in Berlin led to performances all over Europe.

The Invitation to the Dance, although better known in Berlioz's orchestration ( as part of the ballet music for a Paris production of Der Freischütz ), has long been played and recorded by pianists ( e. g., Benno Moiseiwitsch Carl Tausig's arrangement ).

* Der Freischütz Soprano ( free MP3 )

In 1841, Berlioz wrote recitatives for a production of Weber's Der Freischütz at the Paris Opéra and also orchestrated Weber's Invitation to the Dance to add ballet music to it ( he titled the ballet L ' Invitation à la valse, and the original piano piece has often been mistitled as a result ).

* The echoing calls heard during " The Chase " sequence strongly resemble similar calls heard in Weber's 1821 Romantic opera Der Freischütz, particularly in the famous " Wolf's Glen " scene.

* Max, Der Freischütz ( Weber )

* Kilian, Der Freischütz

* Ottokar, Der Freischütz

* The Wild Hunt is mentioned as one of the seven spectres during the casting of the magic bullets in Karl Maria von Weber's opera Der Freischütz.

He debuted unsuccessfully at Norwich in Carl Maria von Weber's Der Freischütz.

The power of the technique was exploited early in the nineteenth century by composers of Romantic opera, such as Carl Maria von Weber, where recurring themes or ideas were sometimes used in association with specific characters ( e. g. Sammael in Der Freischütz is coupled with the chord of a diminished seventh ).

Other notable recordings include Johannes Brahms ' Symphony No. 4 and Franz Schubert's third and eighth (" Unfinished ") symphonies, also with the Vienna Philharmonic, recordings of Dvořák's Concerto for piano and orchestra with Sviatoslav Richter, Carl Maria von Weber's Der Freischütz, Johann Strauss ' Die Fledermaus, Giuseppe Verdi's La Traviata and Richard Wagner's Tristan und Isolde.

* 1973: Carl Maria von Weber: Der Freischütz, Staatskapelle Dresden, DG.

Overtures: Der Freischütz & Die Fledermaus Stuttgart Radio Symphony Orchestra ( rehearsals )

Der Freischütz, Op.

Among the many artists influenced by Der Freischütz was a young Richard Wagner.

# REDIRECT Der Freischütz

As a director, Loriot staged the operas Martha ( Staatsoper Stuttgart, 1986 ) and Der Freischütz ( Ludwigsburg, 1988 ).

Lind became famous after her performance in Der Freischütz in Sweden in 1838.