![]() ![]() ![]() ![]() Fulvio’s attempts all fail, and he dies by his own poison while Rosamunde ascends the throne. However, her claim is backed by a deed in her father’s hand, and she enjoys the support of Cypriots and the Cretan Prince Alfonso, her intended husband. Once he is turned down, he attempts to poison Rosamunde. Initially, he spins a sordid tale of intrigue, and when that fails, proposes marriage. The governor Fulvio, who had already murdered Rosamunde’s parents, tries everything to stay in power. The play centers on the attempt of Rosamunde, who was raised anonymously as a shepherdess by the widow Axa, to reclaim her throne. Chézy, who had previously written the libretto for Carl Maria von Weber’s opera Euryanthe, presented Schubert with her new play Rosamunde, Fürstin von Zypern (Rosamunde, Princess of Cyprus). In 1823, Franz Schubert was asked to compose incidental music to a play by the German dramatist and playwright Helmina von Chézy. 589, which is appropriately nicknamed the “Little C.” String Quartet in A minor, No. This symphony received the nickname “Great C.” It is a magnificent symphony for sure, but the title was simply attached to distinguish it from the other Schubert symphony in the key of C Major D. Upon his return to Leipzig, Schumann immediately arranged for the premiere performance of this new Schubert Symphony at the Leipzig Gewandhaus in 1839, with Felix Mendelssohn conducting. The sight of this hoard of riches thrilled me with joy where to begin, where to end! Among other things, he drew my attention to the scores of several symphonies, many of which have never as yet been heard, but were shelved as too heavy and turgid.” Among these unknown treasures was the manuscript of a symphony in C Major dated March 1828. … Finally, he allowed me to see those treasured compositions of Schubert’s, which he still possesses. He writes, “Ferdinand knew of me because of that veneration for his brother which I have so often publicly expressed told me and showed me many things. Schumann also decided to visit Ferdinand Schubert, Franz Schubert’s brother. From a professional point of view, the trip was a failure, but Schumann personally met Johann Vesque von Püttlingen, Mozart’s son Franz Xaver Wolfgang and his girlfriend Julie von Webenau. Just a couple of months earlier, his fiancée Clara Wieck had performed for Viennese audiences to great acclaim, and Schumann was desperately trying to find a Viennese publishing house for his musical journal, the “Neue Zeitschrift für Musik.” Schumann had made good contacts with Metternich and the police chief Sedlnitzky, but his publishing plans were jealously opposed by the local music publisher Haslinger. In October 1838, Robert Schumann first traveled to Vienna. Robert Schumann called Schubert a “natural genius of music,” and this first story of nicknamed compositions by Franz Schubert directly involves Robert Schumann. Almost unbelievably, Schubert died at the age of 31 and on his large tombstone the poet Grillparzer wrote, “Here music has buried a treasure, but even fairer hopes.” Despite his short life, Schubert left behind a vast treasure trove of music, hundreds of lieder, symphonies, sacred music, operas, incidental music, and works for piano and chamber music. Schubert had a difficult time gaining a musical foothold, and during his lifetime, a relatively small circle of friends admired his music. ![]() Let’s not forget, however, that Vienna was home to a number of highly talented composers, foremost among them Franz Schubert. Immigrant composers such as Ludwig van Beethoven and Gioachino Rossini ferociously competed for local audiences in a highly competitive environment. Conductors, performers and composers from all parts of Europe flocked to the city to take advantage of the rapidly expanding employment and business opportunities. During the first decades of the 19th Century, the city of Vienna must have been a real party town. ![]()
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