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Updated: May 8, 2025
I now heard that Marschner had finished another opera called Adolph von Nassau, and in a criticism of this work, of the genuineness of which I was unable to judge, particular stress was laid upon the 'patriotic and noble German atmosphere' of this new creation.
The men fell down as if lifeless, with slack faces and lusterless eyes, as though some one had turned off the current that had fed those dead creatures with strength from some unknown source. Some of them leaned against the trench wall white as cheese, and held their heads over, and vomited from exhaustion. Marschner also felt his gorge rising and groped his way toward the dugout.
A Viennese 'colorature' singer of the latest style Madame Spatser Gentiluomo who came to us from Hanover, and on whose services Marschner greatly relied, was rather taken with her part chiefly because it gave her the chance of showing 'brilliancy. And, indeed, there was a finale in which my 'German master' had actually tried to steal a march on Donizetti.
To the captain it sounded like a reproach. After a short rattling sound of pain he cried out again, foaming at the mouth and with a piercing shriek of rage: "It hurts! It hurts!" He beat about with his hands and feet. Captain Marschner jumped up.
All those who may have died long since, yet the memory of whose work and whose creations still lives, are the true masters of the violin, and its mastery is the record of their accomplishment. As a child I remember the well-known composers of the day were Marschner, Hiller, Nicolai and others yet most of what they have written has been forgotten.
Amongst the more distinguished of these was Heinrich Marschner, who, as a very young man, had been nominated musical director of the Dresden orchestra by Weber. After Weber's death he seemed to have hoped that he would take his place entirely, and it was due less to the fact that his talent was still unknown, than to his repellent manner, that he was disappointed in his expectations.
I did my best to make the Dresden theatre take the initiative, and to urge Luttichau to secure this opera before it was produced elsewhere. Marschner, who did not seem to have been treated with particular consideration by the Hanoverian opera authorities, accepted the invitation with great joy, sent his score, and declared himself willing to come to Dresden for the first performance.
And yet, somehow, the rascal had discovered that this hand floated above him protectingly, that it prayed for him and had softened the heart of his officer. Marschner tramped across the meadow in rage against himself. He was as ashamed as though some one had torn a mask from his face. Was it as easy as that to see through him, then, in spite of all the trouble he took?
During the performance the public behaved very much as the singers had done at the rehearsals. We had brought a still-born child into the world. But Marschner was comforted by the fact that his drinking quartette was encored. After the performance the composer was my guest at a supper party at which, I am sorry to say, the singers, who had had enough of it, would not attend.
This he finished, and the work, performed years later, was found to be imitative of Beethoven, Weber, and Marschner; the music was nevertheless very melodious. Wagner returned to Leipsic in 1834. Soon there came another impetus to this budding genius: he heard for the first time the great singer Wilhelmina Schroeder-Devrient, whose art made a deep impression on him.
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