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Heinrich Marschner Author(S): J Heinrich Marschner Author(s): J. S. Shedlock Source: The Musical Times and Singing Class Circular, Vol. 25, No. 500 (Oct. 1, 1884), pp. 573- 575 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3357569 . Accessed: 01/01/2015 13:22 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Thu, 1 Jan 2015 13:22:33 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-OCTOBER I, 1884. 573 much trouble." Watching his opportunity,Gluck chance that Schumannfound the greatSymphony in whisperedin Piccinni's ear: " You are wrongto say C in 1838; and it was aftermuch trouble and research that,my dear friend." Of course Berton's supper that other treasureswere discovered about thirty did not end the war. It broughttogether men who yearslater by Sir GeorgeGrove. And there is still had no quarrelthemselves, and were onlya cause of another name we would mention,that of Hector strifeto others. The otherswere not there. Berlioz. The revival of his music is, however,an be event of such recent occurrencethat we need not (To continued.) enter into detail about it. When one hears how masterpieceshave thuslain formany a longyear un- HEINRICH MARSCHNER. noticedand unknown,one is disposedto imaginethat S. SHEDLOCK, B.A. perhaps hostile time has subdued other geniuses BY J. whoseworks be discovered some other ON the wondrousrock of ice on which the may yet by lay wandereramongst the tombs, or bysome enthusiastic Temple of Fame the poet viewed inscriptionsof searcherafter hidden treasures. It is not difficult variousnames: to how Bach, Schubertand Berlioz came to The explain greaterpart by hostiletime subdued. sufferneglect. Their aim in writingwas not merely Sixty-sixyears ago a young composer sent the to gratifythe tastes and fancies of their contem- score of an opera to Weber, then Capellmeisterat poraries; and so, whenthey died, they were mourned Dresden. The workso pleased himthat he decided by the few who appreciatedthem, and forgottenor to produceit, and, afterlong delay, Marschner(for ignoredby the manywho failedto understandthem. this was the name of the young musician)received The performanceof the " Passion " music by a com- in 1820 a letterfrom Weber informinghim that his parativelysmall choral society,and the accidental opera "Heinrich IV und d'Aubign6" had been visit of Schumannto Ferdinand Schubertwere of successfullygiven at Dresden,and accompanyingthe coursethe immediate causes ofthe Bach and Schubert letterwas an honorariumof io ducats. Three years revivals-and forthis the names of Mendelssohnand laterwe findMarschner appointed joint Capellmeister Schumann must ever be heldin honour-yetwe believe withWeber and Morlacchiof the German and Italian thatwith the spread of musical knowledgeand the opera at Dresden. On Weber's death in 1826 he increased interestin the lives and labours of the resignedhis post and wentto Leipzig. Here in 1828 greatmusicians resulting therefrom, the losttreasures he producedthe "Vampyr." Greatwas the success would anyhowhave been recoveredand the com- of the work: it went the round of the principal posers have had fit,though tardy honourspaid to German theatres,was performedat the Lyceum them. Theatre,London, in 1829,and but forsome hitchin But whatabout authorsand theirworks being for- the arrangements,would have been givenat Paris in gottenfor ever? To say of any writerwho once the followingyear. Then we have the productionof acquired fame-for of such onlyare we speaking- "Hans Heiling" at Berlin and at Leipzig, a work thathis reputationhas vanishednever more to return generallyregarded as his best. But " hostiletime " is, no doubt,a seriousmatter; but surelyworks which has subdued that name which once was so full of have no depthof thought cannot take root; theygrow promise: seldom is it to be foundon any Concert quicklyinto favour,but as quicklyfade and wither programme. At Hanover, for so many years the away. We could point to operas, oratorios,sym- scene of his labours(he was appointedCourt Capell- phonies,and sonatas writtenwithin the last twenty meisterthere in 1831 and retainedthis post till his yearswhich flourished for a timeand yet,to all appear- death, December14, i861), three of his operas, the ances,are dead forevermore; but it will be moredis- " Vampyr,"the "Templer," and " Hans Heiling,"are creet,and, at thesame time,more profitable, to speak still given,and also in otherparts of Germany; but of eventswhich happened, as theysay in storybooks, in England and France his name is all but ignored. " a longtime ago." Look at thepopularity of Hasse's At one of the RichterConcerts last season the over- operas in the I8th century,and at the brilliantrecep- ture to "Hans Heiling" was performed,and then tion of his "Artaserse" in London. Look at the surprisewas expressedby Mr. C. A. Barry in the successes of Dittersdorfand Salieri at Vienna,and analytical programme-bookthat so little should be thinkof Gluck, who leftthe city in disgustat the knownor heard of a composerwho had writtenso receptiongiven to his "Orf6o" and "Alceste," and much and whose reputationat one time was so of Mozart,who foundin the author of "Tarare " a considerable. We do not knowthe exact numberof formidablerival. These men owed success to the his publishedworks, but a set of six songsbears the fact that they wroteon a level with the epoch in Opus number191. Some of his part-songsfor male whichthey lived; theirobject was to please andamuse. voices (and ofthese he wrotea greatquantity) are to Their operas certainlyshowed talent, tact, and taste, be heardoccasionally in Germany, but his instrumental but possessed no lastingmerit; and theyhave passed music may be describedas completelyoverlooked. away like the men and womenwho listenedto, and There are two ways in which a writerand his applauded them. Does anyone believe in theirre- worksmay be forgotten:for a timeor forever. For vival? The verysuccess whichthey obtained speaks manyyears most of Bach's manuscriptslay untouched against them. As theirauthors sowed, so did they and unheeded; more especially was this the case reap; they wrotefor their day and generation,and with the vocal ones. When Mendelssohnrevived posteritytakes no noticeof works not addressed to it. the Passion musicin 1829,it had not been heardfor Marschnerappears to us a composerwhose aims well-nigha century.The " WohltemperirteClavier," and aspirationswere not of the highest. F6tis tells now as much known and, in its way, admired as us thatthe successes of Rossinimade himresolve to Beethoven'ssonatas, was not published till half a give a freecourse to melody,and to attachless value centuryafter the composer'sdeath. We are soon to harmonicand contrapuntalcomplications. And about to celebratethe 2oothanniversary of the birth again, thatin his opera entitled" Der Holzdieb" he of the mightymaster, and yetof the treasureswhich aimed " at a styleof music less severe than that of he bequeathedto posterity many are stillunpublished. the dramas of the Germanstage thenin vogue,but Then passingon to the nineteenthcentury we call to more vigorousthan that of simple oFerettas." If mind the great contemporaryof Beethoven-viz., those statementsbe true-and we mustconfess that Franz Schubert. For yearssome of his finestworks a studyof his best knownworks leads us to believe were hidden away in a cupboard. It was quite by them-then, perhaps, we shall not be wrong in This content downloaded from 128.235.251.160 on Thu, 1 Jan 2015 13:22:33 PM All use subject to JSTOR Terms and Conditions 574 THE MUSICAL TIMES.-OcToBER I, 1884. classing Marschner among the composers whose in his projects of vengeance. A terrible catastrophe reputation will not increase as years advance. But however is averted by the queen of the earth spirits let us at once say that, as he is one of the moderns, persuading her son, Hans Heiling, to cease from we must form no hasty judgment; and, indeed, we strife,and return quietly to his kingdom. The story think that if Mr. Carl Rosa or Herr Richter were is a sensational one, and the opera, as a spectacle,if to produce "Hans Heiling," musicians would be well put upon the stage, might very probably prove grateful for the opportunityof hearing a work which, a draw. But not one of the characters in the piece at any rate, formsa prominentfeature in the period really attracts our interest or excites our sympathy; between the death of Weber and the commencement and we can well understand that Mendelssohn, to use of Wagner's public career at Dresden. Devrient's words, " could not warm to the subject." Not having heard Marschner's operas, and knowing The king is neither substance nor shadow, while only the principal ones from vocal scores, we are, of the other dramatis Jersonceare very ordinary folk: course, unable to say what effectthey produce when they make love, they dance, they sing hymns, and given on the stage, and equally difficultwould it be for play at blind man's buff. The music is far more us to say what impression they would now make upon interesting than that of the " Templer "; of its kind, the public. But thoughorchestration, acting and scenic indeed, it is very successful. Great we cannot call it, effectsare wanting, we may perhaps venture one or but its cleverness, charm, and general effectiveness, two words about the librettiof the "Templer" and must be acknowledged.
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