Marschner's "Henry IV." was brought out by Weber in the year which gave "Der Freischütz" to the world. It was followed by "Saidar," words by Dr. Hornbostel, composed in 1819, "The Wood Thief," words by Kind, the poet of "Der Freischütz," and "Lucretia," words by Ehschlagen. "Saidar" was performed without success in Strassburg, "The Wood Thief" in January, 1825, in Dresden, and "Lucretia" in 1826 in Dantsic under Marschner's direction. Weber's death in London on June 5, 1826, marked a turning-point in the energetic young composer's career. Failing in the appointment to the post made vacant by Weber's death, he severed his connection with the Dresden Theatre, married a singer named Marianne Wohlbrück on July 3, and a few months later removed to Leipsic. His second marriage was celebrated at Magdeburg. A brother of the bride was Wilhelm A. Wohlbrück, to whom Marschner submitted the subject of "The Vampire" before he returned to Leipsic. Two years afterwards the opera had its first representation. Its immediate success, and possibly his newly attained domestic happiness, were a mighty spur to his industry and fancy. "The Templer and the Jewess," founded on Scott's "Ivanhoe," followed in 1829, and "The Falconer's Bride" in 1830, Wohlbrück being the poet in both cases. The triumph of "The Vampire" was eclipsed by that of "The Templar and the Jewess," whose chivalresque subject was naturally much more amiable than the gruesome story of "The Vampire." Marschner's attention was drawn to Scott's "Ivanhoe" when, having been invited like Weber to compose an opera for London, he imitated Weber's example and prepared himself for the work by learning English. "The Vampire," translated by Planché, the librettist of "Oberon," had been well received in London, though Planché took the liberty of changing the scene from Scotland, where the author of the story had placed it, to Hungary. Nothing came of the London invitation, because of the burning of the Covent Garden Theatre.