Name Heinrich Marschner Role Composer | Education Leipzig University | |
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Died December 16, 1861, Hanover, Germany Librettists Eduard Devrient, Wilhelm August Wohlbruck Compositions Der Vampyr, Der Vampyr, Hans Heiling, Hans Heiling, Der Templer und die Judin, Der Templer und die Judin, Der Verlust, Der Verlust, O kuhler Wald, O kuhler Wald, Der betrogene Teufel, Der betrogene Teufel, Blumengruss, Blumengruss, Bauernregel, Bauernregel, Kaferlied, Kaferlied, Drei Gesange fur zwei Tenor- und Basstimmen, Drei Gesange fur zwei Tenor- und Basstimmen, Racheruf, Racheruf, In die Ferne, In die Ferne, Der fahrende Schuler, Der fahrende Schuler, Der Morgenthau, Der Morgenthau, Serenade, Serenade, Der Sanger, Der Sanger, Der Himmel hat eine Trane geweint, Der Himmel hat eine Trane geweint, Des Baches Wiegenlied, Des Baches Wiegenlied, Arie, Arie, Er liebt und reitet fort, Er liebt und reitet fort, Finale, Finale, Warnung, Warnung, Liebesvertrauen, Liebesvertrauen, Ha! noch einen ganzen Tag! - Ha! ha! welche Lust!, Ha! noch einen ganzen Tag! - Ha! ha! welche Lust!, Duettino, Duettino, Sechs Liebeslieder, Sechs Liebeslieder, Er ist fort, Er ist fort, Der Kiffhauser Berg - romantische Oper, Der Kiffhauser Berg - romantische Oper, Nachts in der Herberge, Nachts in der Herberge, 6 Gesange fur zwei Tenor- & zwei Basstimmen, 6 Gesange fur zwei Tenor- & zwei Basstimmen, Nachtlied, Nachtlied, Liebster - deine Worte stehlen, Liebster - deine Worte stehlen, Kunde aus dem Feenlande, Kunde aus dem Feenlande, Die verwunschte Schlieserin, Die verwunschte Schlieserin, Trinklied mit Chor, Trinklied mit Chor, Die Stimme der Liebe, Die Stimme der Liebe, Du meine Seele, Du meine Seele, Das Wirtstochterlein singt, Das Wirtstochterlein singt, Tanzlied, Tanzlied, Die Monduhr, Die Monduhr, Abschied, Abschied, Zaunstudien, Zaunstudien, Der Tag ist hin, Der Tag ist hin, Ernst und Scherz - drei Gesange, Ernst und Scherz - drei Gesange, Weisst - mein Liebchen - du wohl noch, Weisst - mein Liebchen - du wohl noch, Waldestraume, Waldestraume, Sechs Lieder, Sechs Lieder, Terzettino, Terzettino, Auf die Berge mus ich gehen, Auf die Berge mus ich gehen, Beseligt sein, Beseligt sein, Cavatine, Cavatine Similar People Eduard Devrient, Helmuth Froschauer, Anna Tomowa‑Sintow, Friedrich Ruckert, Arleen Auger | ||
Heinrich Marschner: Piano Trio No. 4 in D Major, Op. 135
Heinrich August Marschner (16 August 1795 – 14 December 1861) was the most important composer of German opera between Weber and Wagner.
Contents
- Heinrich Marschner Piano Trio No 4 in D Major Op 135
- Biography
- Legacy
- Incidental music Music to plays
- Chamber music
- Solo music
- References
Biography
Marschner was born in Zittau and was originally intended for a legal career. After a meeting with Beethoven around 1815–16, he decided to devote himself to music and became a private music teacher in Bratislava. From 1821 he worked as a stage composer and conductor at the municipal theatres in Dresden (from 1821), Leipzig (from 1827), and the Court Theatre at Hanover (from 1830), where the opera Hans Heiling (1832) established his name among the leading German opera composers of the time. He died in Hanover.
Legacy
Marschner was widely regarded as one of the most important composers in Europe from about 1830 until the end of the 19th century. He was a rival of Weber and friend of Beethoven and Mendelssohn. His operas often contain thematic material based on folksong, and this folk-influenced genre had begun with Weber's Der Freischütz (1821). The last of his operas, Austin, was first staged in 1852. It was not very well received, and later the increasingly renowned Wagner overshadowed him.
Schumann praised Marschner's piano trios lavishly. Marschner did not just toss off these works as an afterthought, but clearly devoted considerable time and effort to writing them. He gave the title "Grand Trio" to each of his works for piano, violin and cello, indicative of the importance he attached to them. In these pieces, one finds all of the emotions prevalent in the Romantic movement during the mid-19th century.
To the extent that Marschner is still remembered, it is largely for his operas Hans Heiling (1833), Der Vampyr (1828) and Der Templer und die Jüdin (1829), extremely popular in his lifetime. Marschner's ability to depict supernatural horror by musical means is especially evident in the first two operas as well as in some of his ballads, such as "Die Monduhr" (c. 1839).
Next to his operas, Marschner's most significant musical contribution is to the Lied. The best of his works in this form are comparable with those by Carl Loewe. He also wrote a considerable amount of chamber music, including seven piano trios, as well as unaccompanied male choruses that were very popular in the nineteenth century. While Marschner's operas strongly influenced Wagner, his chamber music, songs, and his cantata Klänge aus Osten (1842) were admired by Schumann, whose cantata Paradise and the Peri (1843) shows the older composer's influence. Marschner's Bagatelles for guitar (1814) have been taken up lately by some guitarists, and some of his chamber music is still very occasionally played. Among his operas, Hans Heiling and especially Der Vampyr have been adapted and revived in recent years with considerable success.