Der Vampyr, Op.42 (Marschner, Heinrich)

Contents

Performances

Sheet Music

Full Scores

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Geniusboy98 (2023/11/17)

Editor Hans Pfitzner (1869-1949)
Publisher. Info. Berlin: Adolph Fürstner, 1925. Plate A. 7860/7863 F.
Copyright
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Vocal Scores

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Fynnjamin (2013/7/16)

Publisher. Info. Leipzig: Friedrich Hofmeister, n.d. Plates 1356a, 1356b.
Copyright
Misc. Notes Appears to have been director's copy - heavily marked with annotations, and some manuscript pages tipped in.
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Marschner (2009/3/13)

Editor Hans Pfitzner (1869-1949)
Publisher. Info. Berlin: Adolph Fürstner, 1925. Plate A. 7863 F.
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Arrangements and Transcriptions

Selections

For 2 Violins, Viola and Cello (Praeger)

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Fynnjamin (2014/6/28)

Arranger Heinrich Aloys Praeger (1783-1854)
Publisher. Info. Leipzig: Friederich Hofmeister, n.d. Plate 1419.
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Misc. Notes Some pages are a little jumbled up.
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Overture

For Piano 4 Hands

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LinBoHe (2022/4/1)

Arranger Unknown
Editor Alfred Dörffel (1821-1905)
Publisher. Info. Leipzig: C. F. Peters, n.d. Plate 7636.
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For Piano (Schultze)

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Brescianello (2011/8/22)

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Dandeutsch (2015/12/7)

Arranger Max Schultze (fl.1874-fl.1900)
Publisher. Info. Braunschweig: Henry Litolff, n.d.[1894]. Plate Collection Litolff No.2056.
Copyright
Misc. Notes #402088 This score includes measure numbers.
Part of the research project Romantic Overtures, 1820-1850
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For Piano

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WilliamBunting (2011/12/15)

Arranger Unknown
Publisher. Info. Prague: Marco Berra, n.d. Plate B. 386.
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Librettos

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Enterprise11 (2022/4/14)

Editor Gregor Van den Boom
Publisher. Info. Gregor Van den Boom
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General Information

Work Title Der Vampyr
Alternative. Title Grosse romantische oper
Composer Marschner, Heinrich
I-Catalogue NumberI-Cat. No. IHM 36
Movements/SectionsMov'ts/Sec's 2 acts
Year/Date of CompositionY/D of Comp. 1828
Librettist Wilhelm August Wohlbrück (1795-1848)
Language German
Composer Time PeriodComp. Period Romantic
Piece Style Romantic
Instrumentation voices, mixed chorus (SATB), orchestra
External Links Wikipedia article
Extra Information The instrumentation of the opera as a whole should be close to, if not exactly, that of the overture.