Presents a reinterpretation of the Wolfsschlucht music in Der FREISCHuTZ as a black mass. Cites musical examples throughout the scene, in both vocal and instrumental passages, that closely resemble in melody, rhythm, or harmony a traditional Kyrie Eleison formula. Disputes the idea that the Wolfsschlucht scene lacks musical unity and maintains that it is an example of variation form, based on the Kyrie Eleison theme. Relates Weber's use of this theme to the conditions in the early nineteenth century and rejects the idea that the opera really represented life in the mid-seventeenth century. On the contrary, the post-Thirty Years War setting was only an attempt to deceive the censors, a common practice at that time.