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Heinrich Marschner

Heinrich Marschner

Heinrich August Marschner's life

Heinrich August Marschner was born in 1795 and he was one of the most important composers of German opera between Weber and Wagner.
Next to his operas, Marschner's most significant musical contribution is to the Lied and to chamber music. He was widely regarded as one of the most important composers in Europe from about 1830 until the end of the 19th century. His operas often contain thematic material based on folksong, and this folk-influenced genre had begun with Weber's Der Freischütz (1821). While Marschner’s operas strongly influenced Wagner, his chamber music, songs, and his cantatas were admired by Schumann. Marschner’s ability to depict supernatural horror with his music is especially evident in the first two operas as well as in some of his ballads, such as Die Monduhr, while Hans Heiling and especially Der Vampyr and have been adapted and put on stage in recent years with considerable success. In his works for piano, violin and cello, we find all of the emotions prevalent in the Romantic movement during the mid-19th century. He died in 1861.

Marschner's Operas

La clemenza di Tito (1816), Das stille Volk (1818), Saidar und Zulima, oder Liebe und Grossmut (1818), Heinrich IV und D'Aubigné (1820), Der Kiffhauser Berg (1822), Der Holzdieb (1825), Die Wiener in Berlin (1825), Lucretia Op 67 (1827), Der Vampyr (1828), Der Templer und die Judin (1829), Des Falkners Braut Op 65 (1830), Hans Heiling (1833), Das Schloss am Atna (1836), Der Babu, Op 98 (1838), Kaiser Adolf von Nassau, Op 130 (1845), Austin (1852), Geborgt (1853), Der Sangeskonig Hiarne, oder Das Tyrfingschwert (1863).


Marschner's Hans Heiling

Heinrich Marschner's popularity never made it after the Nineteenth Century, barely surviving the Twentieth. He is the author of half a dozen operas, among which there's his most famous one, Der Vampyr, and again a romantic-gothic work, Hans Heiling, which premiered in Berlin on 24th May 1833. These two works appear to be right halfway through his creative path, a decade before and a decade after, between Il Franco cacciatore by Weber and the Olandese volante by Wagner, the two cornerstones of German romantic opera, with a darker atmosphere. At the same time it couldn't be more distant from both.In fact, it is the perfect fairytale: Hans Heiling is the half human creature, predestined to be king of spirits of the mountains on Earth, who strives for a normal life next to the woman he loves, Anna, who, however, prefers the hunter Konrad. After thinking about revenge, Hans Heiling goes back to his destiny, in his mother's arms, the Queen, and never sees the sun again. This musical sheet includes valuable pieces, among which the beautiful aria of Anna which opens the second act, and the unsettling piece of Gertrude, Anna's mother, and the remarkable aria with the choir of Hans at the beginning of the third act.
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