This opera was "Henry IV. and d'Aubigné" which he sent to Weber at Dresden in 1818. A year earlier he had set Kotzebue's "The Kyffhaus Mountain." The title of this, his first opera, indicates that his mind was from the beginning turned toward the legendary materials which afterward became the inspiration of the Neo-Romantic school. It is possible, too, that this predisposition toward the supernatural was strengthened by an incident which has been related by Louis Köhler in connection with the first representation of "Henry IV. and d'Aubigné." This story is to the effect that one night in 1819 Marschner, living far from Dresden (the year must have been 1820, the place Pressburg) dreamed that he was witnessing a performance of his opera. The applause so excited him that he awoke and sprang from his bed. Ten days later he received a letter from Weber enclosing ten ducats honorarium and conveying the intelligence that on the night of the dream "Henry IV. and d'Aubigné" had been produced at Dresden with great success. As has already been indicated in one respect the credibility of the story suffers somewhat from analysis of its details. The fact that he dreamed of a performance of his opera and the possibility of the influence of the dream upon his mind need not be disputed. It is extremely improbable, however, that he was ignorant of the date set for the performance as is implied in the story, for on July 7, 1820, twelve days before the first representation, Weber, in continuance of the friendly policy which he adopted five years before in order to introduce Meyerbeer to Prague, published a description of the opera in the _Abendzeitung_ of Dresden. It seems to be beyond question, however, that Weber produced the opera chiefly to encourage the young composer. After spending over five years in Pressburg, Marschner visited Saxony to look after some family affairs. The kindness with which Councillor von Könneritz, Theatrical Intendant, and Weber received him, determined him to remove to Dresden. His wife had died soon after marriage. He now took up a residence in the Saxon Capital, and after he had composed incidental music for Kleist's drama, "Prince Frederick of Homburg," he was by royal rescript, dated September 4, 1824, appointed Royal Music Director of the German and Italian Opera, becoming thus an associate of Weber, whose friendship manifested itself daily in the most helpful manner.