Although he by no means developed a global following, this innovative leader of Danish Romanticism was greatly appreciated by Liszt, Grieg, Mendelssohn, Schumann, and several famous composers of the time. Hartmann’s dad was a violinist, organist, and choirmaster from whom he discovered theory, piano, body organ, and violin. His mom was a governess to Prince Christian VIII’s home, so Hartmann was raised in a bodily comfy and socially prominent environment. Hartmann’s dad urged him from a profession in music and rather toward rules. He graduated through the College or university of Copenhagen in 1828, which allowed him to aid himself for another 42 years doing work for the federal government while also composing, playing the body organ, performing, and teaching. By this time around, he had constructed many orchestral overtures, three violin sonatas, and a sonata for flute and clarinet; one of is own cantatas was premiered in 1826 on the initial concert specialized in his functions. He kept a long lasting organist placement at Vor Frue Kirke, dedicated time to many music societies, and received many honours and an honorary doctorate through the College or university of Copenhagen. Hartmann had written three operas: Ravnen, eller Broderprøven (The Raven, or The Sibling Test, Op. 12, 1832), Korsarerne (The Cosairs, Op. 16, 1835), and his masterpiece, Liden Kirsten (Small Christine, Op. 44, 1846), using its evocations from the middle ages Danish balladic design; the final of the was staged in Weimar in 1856 because of the support of Franz Liszt. Hartmann’s cantatas also enjoy the Scandinavian nature in works like the early classical-style Weyses minde (In storage of Weyse, 1843), Vølvens spaadom (Vølven’s Prophecy, 1872) for male voices and orchestra, and Hinsides bjergene (Beyond the Hill, 1865). Ancient ethnic styles thought into Hartmann’s incidental music for Adam Oehlenschlaeger’s dramas Olaf den hellige (1838), Hakon Jarl (1844 – 1857), Axel og Valborg (1856), as well as the Carl Nielsen-like Yrsa (1883). These affects may also be evident in Hartmann’s music for August Bournonville’s ballets Et folkesagn (1854), Valkyrien (1861), and Thrymskviden (1868). A lot of Hartmann’s later functions are spiritual choruses and tracks; his Piano Sonata of 1885 provides many forward-looking factors.