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On the other hand, immediately after my nomination I had started on the production of Hans Heiling, but merely for the sake of the artistic honour. The insufficient distribution of the parts, however, a difficulty which in those days could not be overcome, made a complete success impossible. In any case, though, the whole spirit of the work seemed to be terribly old- fashioned.
His opera Hans Heiling, which was originally produced in Berlin, I heard for the first time in Wurzburg; it showed vacillation in its tendency, and a decrease in constructive power. After that he produced several other operas, such as Das Schloss am Aetna and Der Babu, which never became popular.
Weber but what do WE care nowadays for "Freischutz" and "Oberon"! Or Marschner's "Hans Heiling" and "Vampyre"! Or even Wagner's "Tannhauser"! That is extinct, although not yet forgotten music.
His works are performed with tolerable frequency in Germany, and still please by reason of their inexhaustible flow of melody and their brilliant and elaborate orchestration. 'Hans Heiling, his masterpiece, is founded upon a sombre old legend of the Erzgebirge.
"I am so glad we came here, aren't you? and I am sure it will do Moravia no end of good. She passed me as I was coming from the Aberg on her way to Hans Heiling, so she will not be in yet. Let us have tea." The Arab called the waiter, who brought it to them. One or two other little groups were having some, too, but Mr.
When Wagner wrote his essay on "The Music of the Future" for the Parisians he remembered his obligations to the Dresden idol of his boyhood by calling attention to "the still very noticeable connection" of his early work, "Tannhäuser," with "the operas of my predecessors, among whom I name especially Weber," He might have mentioned others, Gluck, for instance, who curbed the vanity of the singers, and taught them that they were not "the whole show;" Marschner, whose grewsome "Hans Heiling" Wagner had in mind when he wrote his "Flying Dutchman;" Auber, whose "Masaniello," with its dumb heroine, taught Wagner the importance and expressiveness of pantomimic music, of which there are such eloquent examples in all his operas.
Her resolution to break with Hans is confirmed by an apparition of the queen of the gnomes, Hans Heiling's mother, surrounded by her attendant sprites, who warns her under fearful penalties to forswear the love of an immortal. Hans Heiling is furious at the perfidy of Anna, and vows terrible vengeance upon her and Conrad, which he is about to put into execution with the aid of his gnomes.
There is much in this strange story which suggests the legend of the Flying Dutchman, and, bearing in mind the admiration which in his early days Wagner felt for the works of Marschner, it is interesting to trace in 'Hans Heiling' the source of much that is familiar to us in the score of 'Der Fliegende Holländer. Of Marschner's other operas, the most familiar are 'Templer und Jüdin, founded upon Sir Walter Scott's 'Ivanhoe, a fine work, suffering from a confused and disconnected libretto; and 'Der Vampyr, a tale of unmitigated gloom and horror.
The king of the gnomes has seen and loved a Saxon maiden, Anna by name, and to win her heart he leaves his palace in the bowels of the earth and masquerades as a village schoolmaster under the name of Hans Heiling. Anna is flattered by his attentions, and promises to be his wife; but she soon tires of her gloomy lover, and ends by openly admitting her preference for the hunter Conrad.
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