Page:Pratt - The history of music (1907).djvu/568



1858, and his brother Karl Doppler (d. 1900), conductor there till 1865, each with a few operas (from 1847 and 1852); the violinist Karl Hubay (d. 1885), with Szekler Madchen (1858) and 2 others; and Mosonyi [Michael Brandt] (d. 1870), with Szép Ilonka (1861).

Of the German romanticists already named (see sec. 172), a few continued active after 1830, especially K. Kreutzer of Vienna (d. 1849), with more than a dozen works, including his best, Das Nachtlager von Granada (1834) and Der Verschwender (1836); Lindpaintner of Stuttgart (d. 1856), with about 10, among them Die Genueserin (1838, Vienna) and Lichtenstein (1845, Stuttgart); Marschner of Hanover (d. 1861), with 7, including ''Des Falkners Braut (1832, Leipsic), Hans Heiling (1833, Berlin), and Adolf von Nassau'' (1843, Hanover); and Reissiger of Dresden (d. 1859), with 3 (1835-46).

Gustav Albert Lortzing (d. 1851), born of theatrical parents in 1801, had an unsettled youth somewhat like Weber's, becoming a ready actor and stage-singer, and picking up some musical knowledge. His first works (1824-32) were short and light. From 1833 he was tenor at the Leipsic theatre, where he produced 7 operas, including the popular Die beiden Schützen (1837), ''Czar und Zimmermann (1839), Hans Sachs (1840) and his masterpiece Der Wildschütz'' (1842). His success led to his becoming conductor in 1844 and again in 1848, in each case speedily quarreling with the management. From 1844 he went hither and thither, producing 4 more operas, including Undine (1845, Hamburg) and Der Waffenschmied (1846, Vienna), and some operettas at Berlin, where for a year he conducted small stage-pieces. He died in poverty, leaving 2 further operas, of which Regina has lately (1899) been given with success. His melodic gifts were exceptional, and his works have a singular freshness of humor and style, so that several of them are still popular.

Heinrich Dorn (d. 1892), born in 1804, was thoroughly trained at Königsberg and Berlin. After residence at Frankfort, Königsberg and Leipsic (where he taught Schumann), from 1832 he was cathedral-choirmaster and finally theatre-conductor at Riga, from 1843 town-musician at Cologne, where in 1845 he started the school that later became the conservatory, and in 1849-69 court-opera-conductor at Berlin, thereafter teaching and writing critiques. Of his 13 operas and operettas (1826-65), Die Nibelungen (1854, Weimar) had the best success. He also wrote church music, including a Requiem (1851), orchestral works and many popular songs. He was an able conductor and a solid musician of the old school. In criticism he was strongly anti-Wagner—perhaps because of early contacts with him at Leipsic and Riga. Side by side with him at Berlin was the piano-virtuoso Wilhelm Taubert (d. 1891), from 1831 court-accompanist and in 1842-70 also court-conductor and choirmaster, with 6 operas (from 1832), including Macbeth (1857) and Cesario (1874), incidental music to many plays, symphonies, chamber music, songs, etc., in a style sound, but not vigorous or inspired. (Regarding the whole Berlin circle, see sec. 213.)

Of less significance are many others, like Franz Gläser (d. 1861), from 1817 conductor at Vienna, from 1830 at Berlin and from 1842 at Copenhagen, with 13 operas (from 1824), especially Des Adlers Horst (1833, Berlin); the Frenchman Hippolyte André Chelard (d. 1861), trained in Italy, whose failure