tag:blogger.com,1999:blog-67056389371461056752024-03-16T19:20:59.103+01:00Michael LorenzMusicological Trifles and Biographical ParalipomenaMichael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.comBlogger102125tag:blogger.com,1999:blog-6705638937146105675.post-31074656124774381582024-02-12T18:11:00.000+01:002024-02-12T18:11:21.935+01:00To whom it may concernIn the course of almost twelve years I published 100 "posts" on this blog. The time and work I invested into these publications, which are based on top quality original research, equal an investment of about 120,000 Euros (129,600 USD). Because I lack the time and means to further pursue this rather expensive hobby, I invite everybody who is interested in the continuation of this enterprise – which is not a blog, but a scholarly journal – to make a donation to keep this blog alive. Any amount, be it ever so small, will be gratefully accepted.<br />
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<i>"Meine Geduld setzt den Hut auf, und ich seh's' völlig nach'n Stock greifen, mir scheint, sie geht aus." Johann Nestroy: Der Unbedeutende</i><br />
<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-18090221243166067262023-12-30T09:20:00.235+01:002024-03-10T19:24:35.780+01:00The Origin of Mozart's Serenade K. 375<b>A name day serenade</b>
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In 1781, Mozart spent most of his name day, Wednesday, October 31, in the house of Baroness Waldstätten in the Leopoldstadt. He got there just after noon, and was probably still with the Baroness, when, at 11 p.m., he was surprised by a group of six musicians who began playing his <a href="https://youtu.be/yIs7N2EgdpI?list=OLAK5uy_kGCjuJF2Eg28ffi2OINofAMgyf7QsXvjY" target="_blank">Serenade K. 375</a> in the courtyard of the house. On the following Saturday, November 3, 1781, Mozart described the events of that day in a letter to his father.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOybeXHQa7zwdbxTgoeJ8JrQ2cbff0DqFWqpvEyUMQCgyb4RGI_k2Pza8UWhLY2YVNyP6oQ-WPCGeh410nEgHyckIDc-9hgmNb0SqirBBmiubKQiLy38kCwzeNBHwlQeNdCM_9CQfLTsVBOUtR-7Mg0EoWSW0SzDc3tNzbjr8Yqf7CErvPB2Bt2QS3/s861/Mozart%20638.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="861" data-original-width="726" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOybeXHQa7zwdbxTgoeJ8JrQ2cbff0DqFWqpvEyUMQCgyb4RGI_k2Pza8UWhLY2YVNyP6oQ-WPCGeh410nEgHyckIDc-9hgmNb0SqirBBmiubKQiLy38kCwzeNBHwlQeNdCM_9CQfLTsVBOUtR-7Mg0EoWSW0SzDc3tNzbjr8Yqf7CErvPB2Bt2QS3/s320/Mozart%20638.jpg" width="270" /></a></div>
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<span style="font-size: x-small;">The first page of Mozart's letter of 3 November 1781 to his father (<a href="https://resolver.obvsg.at/urn:nbn:at:at-moz:x2-29721" target="_blank">A-Sm, BD 638</a>)<br /></span></div>
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<blockquote>
Mon trés cher Pére!<span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><u>Vienne</u> ce 3 de 9b<span style="font-size: xx-small; vertical-align: super;">bre</span> <u>1781</u><br />
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Forgive me for not having acknowledged at last post day the receipt of the cadenzas, for which I thank you most sincerely now.—It happened to be my Name Day — so in the morning I did my Prayers and then, just as I was about to write to you, a whole bunch of well-wishers invaded my room — then at 12 noon I took a carriage out to Leopoldstadt to visit Baroness Waldstädten — where I spent the rest of my Name Day. At night, at 11 o’clock, I was treated to a serenade of 2 clarinets, 2 horns, and 2 bassoons — which as it so happens was my own composition. — I had composed it for St. Theresia’s Day — for the sister of Frau von Hickl, or the sister-in-law of the court painter Herr von Hickel, at whose house it was actually performed for the first time. — The 6 gentlemen who performed it are poor devils who, however, played quite well together, particularly the first clarinetist and the two horn players. — The main reason why I had written the serenade was to give Herr von Strack, who visits there daily, a chance to hear something that I had composed; for that very reason I had put a little extra care into the composition; — and indeed, it was very much applauded. — During St. Theresia’s night it was performed at three different locations — they had no sooner finished playing in one place than they were asked to play it somewhere else — and for money, too. At any rate, these night musicians had asked for the doors to be opened and, after positioning themselves in the courtyard, they surprised me, just as I was getting undressed, most agreeably with the opening chord of E-flat.
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It is possible that Mozart spent the night at the Waldstätten house and that this surprise serenade took place in the Leopoldstadt.
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<b>Mozart's room at Stadt 1175</b><u><b>
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From late August 1781 until July 1782, Mozart's city residence was a single room on the fourth floor of the house Stadt 1175 (today <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=9sBpRuWuLUY-aMtRDXjRCQxwpAtZGVBFvuBteonQ1N1C4dSRsFhqE5FA-b&bmadr=10052684" target="_blank">Graben 17</a>) where he was a tenant of Theresia Contrini and her brother-in-law Jacob Joseph Kesenberg. After an earlier owner, Contrini's father, the <i>Stadttändler</i> Mathias Jagschy (1689–1761), the building at that time was called "Jaggisches Haus". Here Mozart wrote "Die Entführung aus dem Serail". This house was demolished in 1905.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYt1nKg6TQlG7C7WD_DC7NoWJ5bJU9b55VtmHRm5LtnfrWkewSmNWpt6Wvpdmfo59O5GVuujcS2ywUTgjeq-chVMUsEZPz3nIvP0bEx_gSLtMcpjKX2DiiOmePOB5t4ij7lOa7GW3MG2sWoOeSGGGovcrbtlnRWEQRufwZzarl81ni7CtDqRQl-VyX/s2433/WM%2024119.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2433" data-original-width="1945" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYt1nKg6TQlG7C7WD_DC7NoWJ5bJU9b55VtmHRm5LtnfrWkewSmNWpt6Wvpdmfo59O5GVuujcS2ywUTgjeq-chVMUsEZPz3nIvP0bEx_gSLtMcpjKX2DiiOmePOB5t4ij7lOa7GW3MG2sWoOeSGGGovcrbtlnRWEQRufwZzarl81ni7CtDqRQl-VyX/s320/WM%2024119.jpg" width="256" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The house Graben 17 (former conscription Nos. 1175/1213/1145), where Mozart lived from August 1781 until July 1782 (photograph by August Stauda from before 1904, Wien Museum I.N. 24119).</span><br /></div>
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Mozart's room was located on the fourth floor behind the courtyard. The fifth floor, where Rupert Pokorny's photo studio (visible above) was to be located, was added in July 1888. For the purpose of this addition, which was commissioned by the house owner Bernhard Hirsch, a plan of the fourth floor was drawn up. On this plan Mozart's room is very easy to identify: it is the only single room beside a chimney, with a window to the courtyard, and its own access from the stairs.
The dimensions of this room were 3.6 x 4.3 x 3.4 x 4.3 meters, with the floor area being about 14.9 square meters. The door to the left of the room, visible on the plan, was obviously a later structural change, as the small individual room turned out to be unrentable at a certain point.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxyql-ze5jGL4qH1q1Ec0uSV3wC4ZDLSs6awpBeIAuDjOpSTyjFtQp3BLuSxyohRonFg5wiA_N5S4RH3rWVFvhEhGScpMSke2VUuZcQFxYEtJSN5G6QFzO-y1wvM7y2aj6y1A-FGhOYfk9ktEA0YPbuwyn8PSAAjZY88tUCmzeUMqVpbel-RxQkmRU15Y/s1421/EZ%20394,%201888m.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1421" data-original-width="992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxyql-ze5jGL4qH1q1Ec0uSV3wC4ZDLSs6awpBeIAuDjOpSTyjFtQp3BLuSxyohRonFg5wiA_N5S4RH3rWVFvhEhGScpMSke2VUuZcQFxYEtJSN5G6QFzO-y1wvM7y2aj6y1A-FGhOYfk9ktEA0YPbuwyn8PSAAjZY88tUCmzeUMqVpbel-RxQkmRU15Y/s320/EZ%20394,%201888m.jpg" width="223" /></a></div><span style="font-size: x-small;">A plan of the fourth floor of Graben 17 from 1888, with Mozart's single room marked with a red M. The design of the window of the projected photo studio on top of the house is visible at the top right (A-Wsa, M.Abt. 236, A16 - EZ-Reihe: Altbestand: 1. Bezirk EZ 394).</span><br /></div>
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Walther Brauneis's claim that at this address Mozart was a tenant of Adam Isaac Arnsteiner, is not supported by any source (Brauneis 1991, 325). The mistaken concept that Mozart had close relations with the Arnsteiner family is based on Volkmar Braunbehrens's imagination (Braunbehrens 1988, 76f.) which seems to have been inspired by Hilde Spiel's biography of Fanny Arnstein (Spiel 1978, 119f.). The relevant entry in the 1788 <i>Josephinische Steuerfassion</i> shows that Mozart's room was let by the house owners. Rent for Mozart's room was a modest 100 gulden a year.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFOCEtdWUS5oEaughmLHhBb2vL-nv_uQ197Kaxv_EjJQtxhakeBan-fHSNL42OSV7eulzYTeRyzJ-tTQi5jO4ze1J-XZZzhACn1gy-jFfuyIvhvnsAo_s3B9ekEQ9OHH_nOrLjY6YSpmkLvuP74SXaHjLkIcfeWRHgISOg4VlvaToV_j7IubNXfOaA/s862/B34_5,%20216.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="862" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFOCEtdWUS5oEaughmLHhBb2vL-nv_uQ197Kaxv_EjJQtxhakeBan-fHSNL42OSV7eulzYTeRyzJ-tTQi5jO4ze1J-XZZzhACn1gy-jFfuyIvhvnsAo_s3B9ekEQ9OHH_nOrLjY6YSpmkLvuP74SXaHjLkIcfeWRHgISOg4VlvaToV_j7IubNXfOaA/s320/B34_5,%20216.jpg" width="320" /></a></div><span style="font-size: x-small;">Mozart's room ("<u>10</u> Ein Zimmer u Keller Eigenthümer 100 [gulden]") on the fourth floor of Stadt 1175 listed in the 1788 tax register (A-Wsa, Steueramt B34.5, fol. 216).</span><br /></div>
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Braunbehrens thought that Contrini lived in the single room No. 10 which was actually Mozart's (Braunbehrens 1988, 76). Theresia Contrini does not appear in the 1788 <i>Steuerfassion</i>, because she died on 21 October 1787 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17871027&seite=19&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 27 Oct 1787, 2615</a>). In 1781, Contrini had lived in the five-room apartment No. 8 on the fourth floor, which in 1788 was rented by the Italian valet Johann Biglietti. This is documented by an announcement in the <i>Wiener Zeitung</i> concerning the auction of Contrini's belongings on the fourth floor of Stadt 1175 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17871124&seite=28&size=33" target="_blank"><i>WZ</i>, 27 Nov 1787, 2864</a>)
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrU8W3reEocxbiMbXmagebDI8iyipIrhVOmzpDMoT0dK3G5kYXByeuopb9RZu8b1B3LSbimp5uYX46yS3cnAf0GXv_PSAWo4GKdpDQAF30R7T--IE3VrbikyUWokbRXzUAPorTZVhgOAah5eesN1yb4oMU80AbrWw9uK9_7eyGRTpxA9fnOkvfh1SsQU/s1028/SP%2075_1787.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="909" data-original-width="1028" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrU8W3reEocxbiMbXmagebDI8iyipIrhVOmzpDMoT0dK3G5kYXByeuopb9RZu8b1B3LSbimp5uYX46yS3cnAf0GXv_PSAWo4GKdpDQAF30R7T--IE3VrbikyUWokbRXzUAPorTZVhgOAah5eesN1yb4oMU80AbrWw9uK9_7eyGRTpxA9fnOkvfh1SsQU/s320/SP%2075_1787.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">A certificate of employment, written on 18 September 1787, by Nathan Arnsteiner's brother-in-law Salomon Lefmann Hertz (1743–1825) for the chambermaid Antonia Moringer. </span><span style="font-size: x-small;">This document was also signed by Mozart's former landlady Theresia Contrini as "Haus Frau von Nomer 1175" (A-Wstm, St. Peter, VKA 75/1787).</span><br /></div>
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A description of the old building survives in a 1787 appraisal of Stadt 1175. The passage concerning the yard in this evaluation reads as follows:
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Ebener Erde Von dem Graben eine Gewölbte Einfahrt, ein kleiner Hof, der Bumpenbrunn unter dem Gebäude, die S[ub] v[oce] Priveter auf dem Canal, von disem Hof durch eine Gewölbte Wagenschopfen ein Außgang in ein kleines Lichthöfl. Am Gebäude Befindet sich 3 Gewölbte Stallungen, wovon einer auf 6, einer auf 4, einer auf 2 Perth, 3 kleine Heügewölber, 2 Handgewölber, 2 Gewölber jedes mit dopelten Außgang.
<br /></blockquote><i>[translation:] </i><br /><blockquote>
On the ground floor from the Graben a vaulted entrance, a small courtyard, the pump well under the building, the so-called Priveter above the canal, from this courtyard through a vaulted wagon shed is an exit into a small atrium. The building has 3 vaulted stables, one for 6, one for 4, one for 2 horses, 3 small hay vaults, 2 hand vaults, 2 vaults, each with a double exit.
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFqXoL5kl_4S_sDau4mNr_eZpCw9C7KNKCaB81L9OxYYhoEAiXdGed0dlSXe4CkQ4h-CsL5wmygC7oLL0D2HHn8wKyQ-lFb0b7xP16OJLa-nNhcYJX2XxYPmi8Die32gYsWNV1peeyQdmjlCCeaRwDLncTtY27Kl19DT8aMuImhEqAQWjiDkA6KUKD/s1296/A2,%202583_1787.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1014" data-original-width="1296" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFqXoL5kl_4S_sDau4mNr_eZpCw9C7KNKCaB81L9OxYYhoEAiXdGed0dlSXe4CkQ4h-CsL5wmygC7oLL0D2HHn8wKyQ-lFb0b7xP16OJLa-nNhcYJX2XxYPmi8Die32gYsWNV1peeyQdmjlCCeaRwDLncTtY27Kl19DT8aMuImhEqAQWjiDkA6KUKD/s320/A2,%202583_1787.jpg" width="320" /></a></div><span style="font-size: x-small;">The <i>Inventur</i></span><i><span style="font-size: xx-small;">=</span></i><span style="font-size: x-small;"><i>Schätzung</i> of Stadt 1175 from 30 November 1787, signed by a builder, a carpenter, and a stonemason, which contains a description of the structural condition of the building (A-Wsa, Mag. ZG, A2, 2583/1787).</span><br /></div>
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In my opinion, it is rather unlikely that at 11 p.m., in an October night, a janitor would have allowed six players of wind instruments into a courtyard in the city where their performance would have woken up the entire neighborhood.<br />
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<b>The Waldstätten house</b>
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<br />Baron Hugo Joseph von Waldstätten's house Leopoldstadt No. 360 was located on the Prater Straße (last numbering 518, today <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=xKh2RiSqNEauJR9ERqeRQxwpAtZGVBFvuBteonQ1N1C4dSRsFho0FIk-b&bmadr=10055170" target="_blank">Praterstraße 15</a>). On 10 April 1777, Baron Waldstätten had bought this house from the merchant Joseph Wurmscher, together with a garden of approximately 1963 square fathoms (7685 m2). On 30 March 1778, Waldstätten received the <i>Gewähr</i> (guaranty of ownership) for this property (A-Wsa, Grundbuch 106.19, fol. 149v).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsIVy8Kbh5Ju6jcxRLGtQR6evqOea28nmhlr6VjH3c7b2xfaQ8EmHvWCJmXzEnVRHhPNeKmtPGLhnWVZW6NTp7sU68Bim4Xob8I88I_mbGX6UUqILWjRWPhxt64zvBWnk27pB2m61Cz8NPjolQQk8rl-Q-5G_jS5phxsD2lRgV1Y-RbZYU0og7Kxke/s1125/GB%20106.19,%20149r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="754" data-original-width="1125" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsIVy8Kbh5Ju6jcxRLGtQR6evqOea28nmhlr6VjH3c7b2xfaQ8EmHvWCJmXzEnVRHhPNeKmtPGLhnWVZW6NTp7sU68Bim4Xob8I88I_mbGX6UUqILWjRWPhxt64zvBWnk27pB2m61Cz8NPjolQQk8rl-Q-5G_jS5phxsD2lRgV1Y-RbZYU0og7Kxke/s320/GB%20106.19,%20149r.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry in the land register concerning the guaranty of ownership of the
house Leopoldstadt 360 for Baron Hugo Joseph von Waldstätten (A-Wsa, Grundbuch 106.19, fol. 149r)</span><br /></div>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGI9IjniZewJHXnXV8Me9mNSX7VAITJRL0woey_sNINCU3KhJDOea1LRlK-r1fFBDqDmVRhG5LZaZzuYoRadOUteQL5mCVXzqepX_Ga0LJRVHL02zlA720c19sLxO1856oSlNTPfec5C9eILEycqNEGoTYLW2zeXrTUbyWWt6A0Nurmf4yI7mhCfJJ/s1418/LPS%20360m.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="932" data-original-width="1418" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGI9IjniZewJHXnXV8Me9mNSX7VAITJRL0woey_sNINCU3KhJDOea1LRlK-r1fFBDqDmVRhG5LZaZzuYoRadOUteQL5mCVXzqepX_Ga0LJRVHL02zlA720c19sLxO1856oSlNTPfec5C9eILEycqNEGoTYLW2zeXrTUbyWWt6A0Nurmf4yI7mhCfJJ/s320/LPS%20360m.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">Baron Hugo Joseph von Waldstätten's house Leopoldstadt No. 360 on Huber's 1778 <i>Vogelschauplan</i> of Vienna (W-Waw, Sammlung Woldan). Until 1785, the adjacent house No. 359 belonged to Giacomo Tramontini, the widower of Vittoria Tesi Tramontini.</span><br /></div>
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A register from 1786 shows the houses Leopoldstadt 359-361 and their owners Jakob Tramontini, Hugo Joseph Baron von Waldstätten, and Johann Frischherz. Waldstätten is described as "former civil merchant" (Fischer 1786, 146). Contrary to what the Mozarteum states in the <a href="https://dme.mozarteum.at/DME/objs/raradocs/transcr/pdf_eng/0638_WAM_LM_1781.pdf" target="_blank">English translation</a> of Mozart's letter, Baron Waldstätten was never an administrative official. His titles <i>Truchseß</i> and "der N. Ö. Land Rechten Beÿsitzer", which are documented in the entry concerning his wedding on 3 August 1762, at the Schottenkirche (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-31/?pg=295" target="_blank">Schotten 31, fol. 146v</a>), were related to honorary functions connected with his status of nobility and his membership in the Lower Austrian <i>Landstände</i>.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCYZq5TzWJY7nOUDd5q6t1nYrMx99MxMs6xHsHA2Zqk_042v-uEPOvvaZWDEf328CD8hQgEgvLrhHuG0zW1YFeGJcvpDInUcThP6QKzRzZz6HbDZD7ymPQ8KrrFaD-0lvqpxyrxYjF3mdjVBqp21p28Dz_jB2mMnadI9irMf63cdrOJilGv0mLh18/s899/Fischer%20146.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="603" data-original-width="899" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCYZq5TzWJY7nOUDd5q6t1nYrMx99MxMs6xHsHA2Zqk_042v-uEPOvvaZWDEf328CD8hQgEgvLrhHuG0zW1YFeGJcvpDInUcThP6QKzRzZz6HbDZD7ymPQ8KrrFaD-0lvqpxyrxYjF3mdjVBqp21p28Dz_jB2mMnadI9irMf63cdrOJilGv0mLh18/s320/Fischer%20146.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The houses Leopoldstadt 359-361 and their owners in a register from 1786 (Fischer 1786, 146).</span><br /></div><div>
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In 1778, the house Leopoldstadt 360 consisted of two floors with two side wings and was open toward the garden. Between 1778 and 1786, Waldstätten had the building's courtyard closed by adding a rear wing to the house. In June 1786, Waldstätten applied to the municipal <i><a href="https://www.geschichtewiki.wien.gv.at/Unterkammeramt" target="_blank">Unterkammeramt</a></i> for permission to add a partial third floor to his house on the street side.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXN_EUFdw9W9qtWtZfTfSD_RMt1X3H8F2HPBrWfi_br4jA-s8R-i_k5bveTOp6bD0l_pMYvV0HGkCzPwFqZCHByQCdJzDFCzHTesayfuNSHnrC3reCgNzxo4GBF1PmxNWNjHAaX_dhZcmNd7Oa5YGZVNdayxltNEvQICmSQQkX_F8LEHI7vaoLw83O/s1204/3126_1786.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="901" data-original-width="1204" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXN_EUFdw9W9qtWtZfTfSD_RMt1X3H8F2HPBrWfi_br4jA-s8R-i_k5bveTOp6bD0l_pMYvV0HGkCzPwFqZCHByQCdJzDFCzHTesayfuNSHnrC3reCgNzxo4GBF1PmxNWNjHAaX_dhZcmNd7Oa5YGZVNdayxltNEvQICmSQQkX_F8LEHI7vaoLw83O/s320/3126_1786.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">A plan of the second floor of Waldstätten's house from June 1786 (A-Wsa, Unterkammeramt A33, Alte Baukonsense 3126/1786)</span><br /></div>
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In the summer of 1788, the addition of a third floor to the house was still not finished, because the <i>Josephinische Steuerfassion</i> (municipal tax register) states "Der 2te Stock. stund in Bau" (the 2nd floor was under construction). The <i>Steuerfassion</i> also lists the 18 rooms, chambers, and cabinets on the second floor that can be seen on the plan above.<br />
<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUpoCj6EH7nDXKCP80vPJjWFdwJo3cRUCWxyb5IaFPWF3en6BOTm9gOC6LNcG3RMDZPXYTUYrjerNQFY8VXbJpgc9GEYIfXaw2PQnnQ0W_gASf1Nlh95YHRWsMnH9cL_QtvvCmAo5v0gPj8-BGAsYJj1An7pDstnx_PTKXznY-iayztbqvG7RckQRb/s796/B34_7,%2079.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="647" data-original-width="796" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUpoCj6EH7nDXKCP80vPJjWFdwJo3cRUCWxyb5IaFPWF3en6BOTm9gOC6LNcG3RMDZPXYTUYrjerNQFY8VXbJpgc9GEYIfXaw2PQnnQ0W_gASf1Nlh95YHRWsMnH9cL_QtvvCmAo5v0gPj8-BGAsYJj1An7pDstnx_PTKXznY-iayztbqvG7RckQRb/s320/B34_7,%2079.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the house Leopoldstadt 360 in the 1788 <i>Steuerfassion</i> (A-Wsa, Steueramt, B34.7, fol. 79).</span><br /></div><div>
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On 30 November 1792, the house Leopoldstadt 360 was put up for auction and sold to Countess Josepha Theresia von Harrach, née Baum von Appelshofen, wife of <a href="https://de.wikisource.org/wiki/BLK%C3%96:Harrach,_Ferdinand_Johann_Nepomuk_Graf" target="_blank">Ferdinand Johann Nepomuk von Harrach</a> (A-Wsa, Grundbuch 106.20, fol. 184v). The rear part of the third floor was added in 1793 on behalf of Countess Harrach.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv9OPmQ02j4QsYp7ZcYkmpZBIehEXMK6viBVA1sD2MibH0Yo71oSjpjlrBYD8qAicTAroTBgHTRuwfsElNDESIPPzrjTFMoV4-YzUZzOTXF_kJ-WY712Rkr0ol7hpQ2DTYMQix4NTM1puuUOFe_9v6yGrcNzPbPH0lVgK0s99mc06sxqsvU_nYOxPe/s911/4146_1793.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="907" data-original-width="911" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv9OPmQ02j4QsYp7ZcYkmpZBIehEXMK6viBVA1sD2MibH0Yo71oSjpjlrBYD8qAicTAroTBgHTRuwfsElNDESIPPzrjTFMoV4-YzUZzOTXF_kJ-WY712Rkr0ol7hpQ2DTYMQix4NTM1puuUOFe_9v6yGrcNzPbPH0lVgK0s99mc06sxqsvU_nYOxPe/s320/4146_1793.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The plan for the completion of the rear part of the second floor of Leopoldstadt 360 in 1793 (A-Wsa, Unterkammeramt A33, Alte Baukonsense 4146/1793)</span><br /></div>
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In 1797 the house was bought by Count Karl von Esterházy (A-Wsa, Grundbuch 106.21, fol. 36r).<br />
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<b>The Strack-Hickel-connection</b>
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Mozart's main reason for writing the serenade K. 375 was to try to improve his reputation as a composer with the emperor through the imperial valet Kilian Strack. As Karl Maria Pisarowitz put it: Mozart wanted to use Strack as an "anti-chambre springboard into the musical corner of the monarch's heart" (Pisarowitz 1960, 5).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT54uQLRtWkfL3hE7U_sSDF8wZUnHlWG4ozs-cPere0doCCB2d0NV9etzXTVWr5OrGZ2lT8vR1OIJ8lDJ_6ib7mpdZa1bkDIbYQVrvJngRH_iUL3V2Z2JqiZVsEJPhahm6f0OV4Dq63I2KgIghpLVHHJtqOXPa2Dz_4ssml7fXeD3RMnCGu432Xlp3/s1458/K.%20375.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1063" data-original-width="1458" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT54uQLRtWkfL3hE7U_sSDF8wZUnHlWG4ozs-cPere0doCCB2d0NV9etzXTVWr5OrGZ2lT8vR1OIJ8lDJ_6ib7mpdZa1bkDIbYQVrvJngRH_iUL3V2Z2JqiZVsEJPhahm6f0OV4Dq63I2KgIghpLVHHJtqOXPa2Dz_4ssml7fXeD3RMnCGu432Xlp3/s320/K.%20375.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The first page of Mozart's wind serenade K. 375 with the E-flat major chord at the beginning that gave Mozart a pleasant nightly surprise (D-B, Mus. ms. W. A. Mozart 375).</span><br /></div></div><br /><div>
Since Strack was close friends with the family of the court painter <a href="https://de.wikipedia.org/wiki/Joseph_Hickel" target="_blank">Joseph Hickel</a> and was a regular guest at Hickel's home, Mozart took St. Teresa's Day (October 15) as an opportunity to write a six-part wind serenade for Hickel's sister-in-law. It seems that the original scoring of K. 375 for only six instruments was caused by the fact that Mozart had no amateur oboists available for the strolling performances of the piece.<br />
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<b>Johann Kilian Strack</b><br />
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Johann Kilian Strack was baptized on 30 March 1724, in the Church of St. Emmeram in Mainz, son of the barber and surgeon Johann Strack (Pisarowitz 1960, 5). In 1960, Karl Maria Pisarowitz published a short article on Strack, which he called a "study", but which – as was usually the case with Pisarowitz – was a somewhat oddly phrased summary of his correspondence with various parish priests and archivists. While Pisarowitz did not have much to say about Strack's early years and described Strack's first wedding as "inscrutable", some newly found sources shed more light on Strack's biography. When Strack entered imperial service in 1758, he had already been employed in Vienna for several years as valet to <a href="https://de.wikipedia.org/wiki/Karl_Maximilian_von_Dietrichstein" target="_blank">Prince Karl Johann von Dietrichstein</a>. Strack owed his career in aristocratic service in Vienna to <a href="https://en.wikipedia.org/wiki/Johann_Anton_von_Pergen" target="_blank">Count Johann Anton von Pergen</a>, who, while serving as imperial envoy in Mainz, had recommended Strack to Prince Dietrichstein. In late 1757, Princess Dietrichstein recommended Strack to Empress Maria Theresia, who in 1758, hired Strack as valet to "the 4th Most Serene Prince", <a href="https://de.wikipedia.org/wiki/Ferdinand_Karl_von_%C3%96sterreich-Este_(1754%E2%80%931806)" target="_blank">Archduke Ferdinand</a>. Strack's employment in the imperial household began on 15 January 1758. The course of events is documented in the following letter which Strack wrote to Count Pergen on 18 January 1758.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxPuViLXTf4xedFzorOK2DyLY2M6yhnmejzbQZkhC9hNKTjJ6zaZHy6nvpn9QOuUL7Q4MdeAdNVYSTdCHArhuyi6IhJZtaW0oga9y8RMIWO4b9t7Q2B1SuLMIjfZdYfGPxF-nJhtrgU-9VZM8Of_8scLaoDIo7-tpwCTuBC9Cqgp_1jQ6zUs0_2XB-/s1189/RK%2089-1-14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1189" data-original-width="743" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxPuViLXTf4xedFzorOK2DyLY2M6yhnmejzbQZkhC9hNKTjJ6zaZHy6nvpn9QOuUL7Q4MdeAdNVYSTdCHArhuyi6IhJZtaW0oga9y8RMIWO4b9t7Q2B1SuLMIjfZdYfGPxF-nJhtrgU-9VZM8Of_8scLaoDIo7-tpwCTuBC9Cqgp_1jQ6zUs0_2XB-/s320/RK%2089-1-14.jpg" width="200" /></a></div><span style="font-size: x-small;">The second page of Johann Kilian Strack's letter to Count Johann Anton von Pergen (A-Whh, RK Ministerialkorrespondenz 89-1-14).</span><br /></div></div>
<div><blockquote> Monseigneur!<br /><br />
Je prens la liberté, demander a votre Excellence que dimanche passé j'eu le bonheur d'entrer a la Court en qualité de valet de Chambre de S[on] A[ltesse] R[oyale] L'Archiduc Ferdinand. c'est a votre Excellence, que je dois ce bonheur, puisqu' Elle m'a fait la grace de me placer dans une Si grande et bonne Maison, que celle du Prince de Dietrichstein. l'Envie, que j'avois toujours, de bien servir, et non pas mes merites ont engagé Madame la Princesse, deme recommender a S[a] M[ajesté] L:' Imperatrice avec tant d'emphase que j'ai en le bonheur, d'etre preferé, a un foule de Competiteurs. Maintenant je n'ai plus rien a desirer. Monseigneur! que de pouvoir persuader votre Excellence a croir, que je sens la plus vive reconnoisseur des bontés, qu' Elle a en pur moy, et que je n'oublierai jamais les graces qu' Elle a bien voulu me faire; Si j'ai tardé jusqu'ici a en faire de remereiments a votre Excellence c'etoit a cause du profond respect, avec le quel je suis<br /> Monseigneur!<br /> de Votre Excellence
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à Vienne ce 18 janvier 1758.
<br /><br /> le trés humble et trés<br /> obeissant Serviteur JK: Strack
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On 21 February 1758, the court informed the cameral directorate that Strack had been employed with an annual salary of 1000 gulden.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-x8xpCvi_g3KLbe23qFHUsArjw5cf0-uXo517I8f9xNLuiOvVIEotiX_HhZ7x8IzAftu3v04O8Lxhq4KbOBybhodnNyp1h0mnuaw8iFRuYOngb0WcL8i3xkloF-CJ8FuYpZJ1ajJoBCTKojcFelrqHvX7w2q_67aRqKH4IXDvnsbQCqeRDtZqXjoM/s1148/OMeA,%20Prot.%2024.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="561" data-original-width="1148" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-x8xpCvi_g3KLbe23qFHUsArjw5cf0-uXo517I8f9xNLuiOvVIEotiX_HhZ7x8IzAftu3v04O8Lxhq4KbOBybhodnNyp1h0mnuaw8iFRuYOngb0WcL8i3xkloF-CJ8FuYpZJ1ajJoBCTKojcFelrqHvX7w2q_67aRqKH4IXDvnsbQCqeRDtZqXjoM/s320/OMeA,%20Prot.%2024.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry in the <i>Protokoll für Hofparteiensachen</i> from February 1758 concerning the employment of Kilian Strack as valet to Archduke Ferdinand (A-Whh, HA OMeA Protokolle 24).</span><br /></div></div><br />In 1763, Strack was transferred into the service of the future Emperor <a href="https://de.wikipedia.org/wiki/Joseph_II." target="_blank">Archduke Joseph</a>. As a valet, who also played the cello, Strack regularly played chamber music with the Emperor and, according to an unverified report in the <i>Musikalische Korrespondenz der Teutschen Filarmonischen Gesellschaft</i> (<a href="https://www.digitale-sammlungen.de/de/view/bsb10527111?page=28,29" target="_blank">No. 4, 28 July 1790, 27-30</a>), kept music by better composers, such as Haydn, Mozart, Kozeluch, and Pleyel, away from the Emperor.
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Strack appears in Mozart's letters for the first time on 16 May 1781, when Mozart, in a postscript, refers his father to Strack as witness for his reasons for staying in Vienna. Mozart calls Strack "my very good friend" which may have been a bit of an exaggeration.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBplFSMShIz6CFr5DzM7G65RE7aGv81HzpsijFa9W3mgmvJyMmLkO-NoDQU6LTTMcLnOcapT2rrzzN52UGCONxmTF2JD6sfFsEXmNdKpAblvNVLuzl9CFyVy7-J7yKp3roDrMc1_KIzq9UdsdaafTwT8bIjcL1g3I5mTiGIRwqTj6tA9An9BVEBbFL/s1942/Mozart%20596.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="848" data-original-width="1942" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBplFSMShIz6CFr5DzM7G65RE7aGv81HzpsijFa9W3mgmvJyMmLkO-NoDQU6LTTMcLnOcapT2rrzzN52UGCONxmTF2JD6sfFsEXmNdKpAblvNVLuzl9CFyVy7-J7yKp3roDrMc1_KIzq9UdsdaafTwT8bIjcL1g3I5mTiGIRwqTj6tA9An9BVEBbFL/s320/Mozart%20596.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Mozart's postscript in his letter of 16 May 1781 (<a href="https://resolver.obvsg.at/urn:nbn:at:at-moz:x2-29196" target="_blank">A-Sm, BD 596</a>). Strack's name is spelled "otrmck" which was Mozart's secret code (s is o, and a is m).</span><br /></div></div><div><br /><blockquote>P.S: If you perhaps <u>could</u> believe that I am here only out of hate for Salzburg and out of <u>irrational</u> love for Vienna, – then make enquiries – Herr von <u>otrmck</u> – who is my very good friend, will as an honest man certainly write you the truth. –<br /></blockquote>
Deutsch's claim that Mozart made Strack's acquaintance at Hickel's (<i>MBA</i> VI, 66, and <i>Dokumente</i>, 325) is not tenable due to lack of evidence and a skewed chronology. It is true that Hickel made a portrait of Joseph Lange as <i>Hamlet</i>, but this did not happen until 1786, when Joseph II commissioned Hickel to paint portraits of court actors. It seems more likely that it was Strack who introduced Mozart to Hickel. </div><br /><div>
Based on information from Pisarowitz, in their commentary to Mozart's letter of 16 May 1781, Bauer and Deutsch state that Strack entered imperial service as "widowed soldier", and was married four times (<i>MBA</i> VI, 66). This information cannot be fully corroborated. So far, only three marriages can be documented for Strack, and the evidence for a fourth one is very circumstantial. At he time of his first wedding in 1760, Strack was not widowed, but was expressly described as "L[edigen] St[ands]" (unmarried). Strack's three documented marriages were the following:
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1) On 7 June 1760, Strack married Anna Maria Schierl (b. 12 Jan 1719 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-17/?pg=44" target="_blank">St. Ulrich 17, fol. 20v</a>]), daughter of the carpenter Norbert Samuel Schierl (b. 1680, <a href="https://en.wikipedia.org/wiki/Holede%C4%8D" target="_blank">Holedeč</a>, d. 31 Mar 1735, Vienna [<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-17/?pg=193" target="_blank">St. Ulrich 17, fol. 189r</a>]) and Anna Maria, née Wiltinger. Witnesses: Joseph Carl, majordomo, and Carl Roncke, tutor of young gentlemen (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-31/?pg=99" target="_blank">Schotten 31, fol. 49v</a> [this is the wedding Pisarowitz was unable to find]). Maria Anna Strack died of "Innerlicher Brand (internal gangrene) on 2 February 1762, at 8.15 a.m., at the "Satlerisches Haus" near the Kärntnertor. This was the same building at the southern end of the Kärntnerstraße where in 1741, Antonio Vivaldi had died.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4AfURQ7oaPBgge_PNcVUJd4WyTauk9T0HSpSAd-Gtr851Z9Br4hA8EqJi-nDB29WeknF_ESPqEfkd2zN9XoV9Txbcyt8c3VbQaC4IyZ8A-iGa18IUYZJEBIRoonWVWm-zfAjiORKskHNH7Dbzs-UGPI5frTdedzHvpNmU1gMIalLIusfQb5SJysK/s1614/Maria%20Anna%20Strack%202.2.1762.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="507" data-original-width="1614" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4AfURQ7oaPBgge_PNcVUJd4WyTauk9T0HSpSAd-Gtr851Z9Br4hA8EqJi-nDB29WeknF_ESPqEfkd2zN9XoV9Txbcyt8c3VbQaC4IyZ8A-iGa18IUYZJEBIRoonWVWm-zfAjiORKskHNH7Dbzs-UGPI5frTdedzHvpNmU1gMIalLIusfQb5SJysK/s320/Maria%20Anna%20Strack%202.2.1762.jpg" width="320" /></a></div><span style="font-size: x-small;">The entry in the municipal death register concerning the death of Maria Anna Strack on 2 February 1762 (A-Wsa, Totenbeschreibamt 56, S, fol. 6v) </span><br /></div></div>
<div><blockquote> den 2<span style="font-size: x-small; vertical-align: super;">t</span><br />
Strack (tit[ulo]) Hr: Johann Kilian Kaÿ[serlich] König[licher] / Ca<span style="text-decoration: overline;">m</span>er diener, sein Frau Maria Anna / ist beÿn Cärntner thor in Satlerisch[en] / Hauß an Innerl[ichem] Brand besch[aut] word[en] alt 41 J[ahr] früh um 3/4 auf 9 uhr / verschie[den] (M: R:)
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Maria Anna Strack, wife of the I. & R. valet Johann Kilian Strack, 41 years of age, was inspected as having died of internal gangrene at the saddler's house near the Carinthian Gate on February 2nd [1762], at 8.15 a.m. Matthäus Rauscher [coroner]
</blockquote>
Maria Anna Strack was buried in the evening of 4 February 1762, in the cemetery around the Cathedral (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03a-086/?pg=87" target="_blank">A-Wd, Bahrleihbuch 1762, fol. 25v, 26r</a>).<br />
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An entry concerning Strack's possible second marriage could not be found. The presumption that between 1762 and 1767, Strack could have married again is probably based on a single document. On 16 January 1767, a Philipp Johann Kilian Strack was baptized in the Cathedral's succursal church in Erdberg, son of "Jo[ann]es Kilianus Strack, ein Ca<span style="text-decoration: overline;">m</span>er<span style="font-size: xx-small;">=</span>diener", and his wife Catharina, with Carl Philipp Peringer, a civil master carpenter, officiating as godfather (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-086/?pg=588" target="_blank">A-Wd, Tom. 86, fol. 291v</a>). Since the death of a Catharina Strack does not appear in the municipal <i>Totenbeschauprotokoll</i> between January 1767 and May 1768, this appears to have been an illegitimate child whose baptism Strack hid in Erdberg.<br />
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2) On 20 May 1768, Strack married Maria Franziska Aloysia Schandl (1731–1771), chambermaid of <a href="https://www.geni.com/people/Maria-Walburgis-von-Trauttmansdorff/6000000021674222445" target="_blank">Countess Maria Walpurga von Lerchenfeld</a>, née Countess von Trauttmannsdorff, tutor of <a href="https://en.wikipedia.org/wiki/Marie_Antoinette" target="_blank">Archduchess Antonia</a>. The wedding's witnesses were Joseph Carl, majordomo with Prince Dietrichstein, and Johann Thomas Bauer, valet to <a href="https://en.wikipedia.org/wiki/Archduke_Maximilian_Francis_of_Austria" target="_blank">Archduke Maximilian</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-hofburgpfarre/02-04/?pg=43" target="_blank">Burgpfarre 4, 79</a>).<br /></div><br />
<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZXytkPnk5D1kd93sqWoPHd-xgL-CnbfbndlgCxEkJsdw8RPS7xbbwcF4pv-eOxDyV5px1XFN5ValrxMBtXCAQylSUgFBuYxltIOVpHOMmSFQWWalIg_eZ_8mjQVo3FnXeNLGEZ2JleriAqmDBnbm7z0tXOkA_Dvpl38RTmxSZjDmtmYTrYXmqdD7/s1189/OMaA%20803-419.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="1189" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrZXytkPnk5D1kd93sqWoPHd-xgL-CnbfbndlgCxEkJsdw8RPS7xbbwcF4pv-eOxDyV5px1XFN5ValrxMBtXCAQylSUgFBuYxltIOVpHOMmSFQWWalIg_eZ_8mjQVo3FnXeNLGEZ2JleriAqmDBnbm7z0tXOkA_Dvpl38RTmxSZjDmtmYTrYXmqdD7/s320/OMaA%20803-419.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Johann Kilian Strack's and Maria Francisca Schandl's marriage contract which was signed on 20 May 1768 (A-Whh, HA OMaA 803-419). Contrary to Pisarowitz's assumption, Franziska Schandl was not related to Johann Baptist Gänsbacher's wife Juliana Schandl.</span><br /></div></div><br /><div>
Franziska Strack died on 27 November 1771, at 11 a.m., of "hitziges Gallfieber" (hot gall fever) at the <i>Fernerisches Haus</i> on the Graben.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvNfKLdo3i8M-x7Yg0ZPqJbu4DfPoIgJ5aqNBiak8oKSe3pEg0NeobaJzOcASiWhfrJhr-W0CULwTI6OSCkl7nYL1daU_du2X_8E6DNXFGMeCioyjD4YoyAEt4ChW30jTkAT1OgHScndk0ZgshLflV-kfrLDTjk4KXK2XTAYPHbkLoWErn7R8hKgJz/s1608/Franziska%20Strack%2027.11.1771.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="1608" height="84" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvNfKLdo3i8M-x7Yg0ZPqJbu4DfPoIgJ5aqNBiak8oKSe3pEg0NeobaJzOcASiWhfrJhr-W0CULwTI6OSCkl7nYL1daU_du2X_8E6DNXFGMeCioyjD4YoyAEt4ChW30jTkAT1OgHScndk0ZgshLflV-kfrLDTjk4KXK2XTAYPHbkLoWErn7R8hKgJz/s320/Franziska%20Strack%2027.11.1771.jpg" width="320" /></a></div><span style="font-size: x-small;">The entry in the <i>Totenbeschauprotokoll</i> concerning the death of Franziska Strack on 27 November 1771 (A-Wsa, Totenbeschreibamt 65, S, fol. 72r) </span></div></div><br /><div>
Because Franziska Strack had been an employee of Countess von Lerchenfeld, her estate was settled by the <i>K.K. Obersthofmarschallamt</i> (the I. & R. supreme Court Marshal's office). Her estate closed with a deficit of 67 gulden 6 kreuzer. The probate file shows that the couple had no children.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZaRH6KhEAVqgP1zhZ8YGEEq-SeQPJpsLopFFxFK6u5rgEDDr7DQB6yMmLm_W1AFwaVXX0FgIMLo-3VsvbTc2K4g2j0bMSqBneSgNlW6nishROmiawdJzPtSBuGLVL5jaxmg9d91Z6R9nSADxGp3GA_71UQcDq2Jqy43K6xP6kSnGZywCRq9XAjYye/s1221/OMaA%20803-419%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1221" data-original-width="795" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZaRH6KhEAVqgP1zhZ8YGEEq-SeQPJpsLopFFxFK6u5rgEDDr7DQB6yMmLm_W1AFwaVXX0FgIMLo-3VsvbTc2K4g2j0bMSqBneSgNlW6nishROmiawdJzPtSBuGLVL5jaxmg9d91Z6R9nSADxGp3GA_71UQcDq2Jqy43K6xP6kSnGZywCRq9XAjYye/s320/OMaA%20803-419%20(2).jpg" width="208" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Johann Kilian Strack's final calculation concerning the negative net value of his second wife's estate (A-Whh, HA OMaA 803-419)</span></div></div><div><br />
Franziska Strack was buried on 29 November 1771, in the new crypt under the Cathedral (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03a-095/?pg=685" target="_blank">A-Wd, Bahrleihbuch 1771, fol. 323v</a> and 324r).<br />
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3) On 22 June 1775, Strack married Katharina Popp (b. 29 Jun 1746 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-076/?pg=564" target="_blank">A-Wd, Tom. 76, fol. 280v</a>]), daughter of the tailor and servant Benedikt Popp (b. 9. Mar 1708, Greillenstein [<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/roehrenbach/01%252F03/?pg=65" target="_blank">Röhrenbach 3, fol. 32v</a>]) and Barbara, widowed Litzgy (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-051/?pg=647" target="_blank">A-Wd, Tom. 51, fol. 515r</a>).
The bride resided with her mother on the Wieden, Strack's best man was Joseph Konrad Mesmer (1735–1804), head of the school of St. Stephen's (cousin of <a href="https://en.wikipedia.org/wiki/Franz_Mesmer" target="_blank">Franz Anton Mesmer</a>).<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRFfU4k00S6eKxjSo09SKyvjyvKtqKQKxCeVnHjLmgHPV38yMNbZGl2vRV4i6RfhJaE_srSP1OrZNBah7qwEPQjagcFaQYbuY6LiF3l9fERdfslIICHehQjXqPPzVV9cov8B0hqbrnj5Gn90UDWmgnkXAR751h7nQQMAGZdzFeEFzJGDezM4Lkh69/s1613/Strack%2022.6.1775.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1045" data-original-width="1613" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRFfU4k00S6eKxjSo09SKyvjyvKtqKQKxCeVnHjLmgHPV38yMNbZGl2vRV4i6RfhJaE_srSP1OrZNBah7qwEPQjagcFaQYbuY6LiF3l9fERdfslIICHehQjXqPPzVV9cov8B0hqbrnj5Gn90UDWmgnkXAR751h7nQQMAGZdzFeEFzJGDezM4Lkh69/s320/Strack%2022.6.1775.jpg" width="320" /></a></div><span style="font-size: x-small;">The entry concerning Johann Kilian Strack's and Katharina Popp's wedding in 1775 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-069/?pg=358" target="_blank">A-Wd, Tom. 76, fol. 280v</a>)</span></div></div><div><br />
With his third wife, Strack had the following eight children of whom five survived their father (in honor of the Emperor, all sons bore the attributive name Joseph).<br /><ol style="text-align: left;"><li>Joseph Carl, b. 28 Jan 1776, godfather: Joseph Raidegg (1729–1806), I. & R. chamber jeweler (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-092/?pg=528" target="_blank">A-Wd, Tom. 92, fol. 263v</a>), d. 12 May 1852 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/03-19/?pg=181" target="_blank">Schotten 19, fol. 179</a>)</li><li>Joseph, b. 26 May 1777, godfather: <a href="https://de.wikipedia.org/wiki/Joseph_von_Quarin" target="_blank">Joseph Quarin</a>, doctor of medicine (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-093/?pg=532" target="_blank">A-Wd, Tom. 93, fol. 266r</a>), d. after 1865<br /></li><li>Joseph Kilian Ferdinand, b. 6 Sep 1778, godfather: Joseph Quarin (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-095/?pg=9" target="_blank">A-Wd, Tom. 95, fol. 2v</a>), d. between 1793 and 1823<br /></li><li>Joseph Jacob, b. 24 Jul 1780, godfather: Joseph Raidegg (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-096/?pg=304" target="_blank">A-Wd, Tom.96, fol. 152r</a>), d. before 1793</li><li>Joseph Albin, b. 1 Mar 1782, godfather: Joseph Quarin (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-097/?pg=533" target="_blank">A-Wd, Tom. 97, fol. 270r</a>), d. 27 Jul 1782 (A-Wsa, Totenbeschreibamt 81, S, fol. 66v)</li><li>Maria Anna Catharina, b. 8 Apr 1783, godmother: Maria Anna Weiß (1749–1811), singer at the Imperial Burgtheater (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-098/?pg=335" target="_blank">A-Wd, Tom. 98, fol. 175v</a>), d. 19 Jan 1851 (A-Wsa, Totenbeschreibamt 209, S, fol. 5r)<br /></li><li>Catharina Josepha, b. 14 May 1785, godmother: Katharina Pfaller instead of Joseph Quarin (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-peter/01-01/?pg=205" target="_blank">St. Peter, Tom. 1, 91</a>), on 4 Sep 1806 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-10/?pg=36" target="_blank">A-Wstm, Tom. 10, fol. 34</a>) married Dr. Joseph Horniker (b. 1771 in Lemberg, baptized 3 Aug 1805 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-peter/01-02/?pg=131" target="_blank">St. Peter, Tom. 2, fol. 49</a>], d. 4 Feb 1863), d. 5 Aug 1859 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18590809&seite=11" target="_blank"><i>Wiener Zeitung</i>, 9 Aug 1859, 3383</a>)<br /></li><li>Joseph Franz, b. 3 Oct 1786, godfather: Joseph Quarin (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-peter/01-01/?pg=240" target="_blank">St. Peter, Tom 1, 126</a>), d. 25 May 1790 (A-Wsa, Totenbeschreibamt 94, S, fol. 73r)<br /></li></ol>
From 1777 until his death, Strack lived at Stadt 585, the <i>Fernerisches Haus</i> in the Paternostergassel (today the northern part of <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=EbxmRsb1LEY-aMlREXjTCQxwpAtZGVBFvuBteonQ1N1C4dSRsFhqEJA-b-b&bmadr=10193233" target="_blank">Graben 21</a>), which in 1780, was bequeathed by Christoph Ferner von Fernau to his nephew Ferdinand Scander and his sisters. The priest Ferdinand Scander (1731–1791), son of the <i>k.k. Hofballmeister</i> ("pillae magister", i.e. tennis coach) Ferdinand Scander, was the godfather of <a href="https://de.wikipedia.org/wiki/Ferdinand_Raimund" target="_blank">Ferdinand Raimund</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-01/?pg=472" target="_blank">Mariahilf 1, fol. 471</a>).<br />
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<div style="text-align: center;"><div style="text-align: center;"><span style="font-size: x-small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_guIEmqvJFYhfL67fWt4TafDOaLwmrnLb9yNvYNIQYcnmLCnD_L6cMjXkD3MgpAvR6XyuzxEeQ6k4ooSY8kNK-lVdcAo4qVb98tFUp8dN1TeG42NCFQLRa934T7_qaTDCEYejCQ8HeT3bBsicw_zzVEA_RIkwgR73r5DEMEeZPnMNXTwURq0V-SZwio/s1286/B34_3,%20453.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1286" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF_guIEmqvJFYhfL67fWt4TafDOaLwmrnLb9yNvYNIQYcnmLCnD_L6cMjXkD3MgpAvR6XyuzxEeQ6k4ooSY8kNK-lVdcAo4qVb98tFUp8dN1TeG42NCFQLRa934T7_qaTDCEYejCQ8HeT3bBsicw_zzVEA_RIkwgR73r5DEMEeZPnMNXTwURq0V-SZwio/s320/B34_3,%20453.jpg" width="320" /></a></div>Johann Kilian Strack listed as tenant on the third floor of Stadt 585 in the 1788 <i>Josephinische Steuerfassion</i> (A-Wsa, Steueramt B34.3, fol. 453). On the fifth floor of this house lived the violinist and copyist Jakob Nurscher.</span><br /></div>
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The fact that Strack's residence was located directly opposite of Mozart's room on the Graben, makes it again very likely that Mozart made Hickel's acquaintance at Strack's and not the other way around. The <i>Wien Museum</i> owns a couple portrait of Strack and his third wife Katharina by an anonymous painter from around 1780. There is no question that these two portraits were painted by Joseph Hickel.
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje8pBoeCT9OEZHxj-_RG7eIoDaWI42wFmutW0J6z9R19mOuD6IrfpIzzrIooOwpYOPqOKOhZAPvN3YB6jrFOT9SNSP_q-Wvs0wNKEZOLBX-d2zQ_5Tg7CEz7zu40WEwQ1-dixhpKszQ6azdGYK9ThNBp2s8Ibx8AQUr-i0PdcGjjyBJWwHE-z508xy/s6775/Stracks.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4258" data-original-width="6775" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje8pBoeCT9OEZHxj-_RG7eIoDaWI42wFmutW0J6z9R19mOuD6IrfpIzzrIooOwpYOPqOKOhZAPvN3YB6jrFOT9SNSP_q-Wvs0wNKEZOLBX-d2zQ_5Tg7CEz7zu40WEwQ1-dixhpKszQ6azdGYK9ThNBp2s8Ibx8AQUr-i0PdcGjjyBJWwHE-z508xy/s320/Stracks.jpg" width="320" /></a></div><span style="font-size: x-small;">Joseph Hickel's portraits of Johann Kilian Strack and his third wife Katharina (Wien Museum, I.N. 104422 and 104423)</span><br /></div></div>
<br />Strack's close relationship with imperial musicians is also documented by his role as best man at Johann Nepomuk Stadler's wedding on 1 June 1783.<br /><div>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGc3ZAj5dyY4NgoW3pNGFB-1Slzo9HIYV8sD1Dssch8RDUkjVd7fybwQ3EV9B1cFV-9PmPUE62mG7lGXIhxI8NAkSfvtDmA8nQChQBY7hhGvO-ZG3bkpOJa3Uq-vXBoGDw-Iuv_vMHUb0z4n_BQCp7uaQWxgXNfXMJf5WJ5MJPwuexCvzVSElRplnu/s1140/Stadler%201.6.1783.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="881" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGc3ZAj5dyY4NgoW3pNGFB-1Slzo9HIYV8sD1Dssch8RDUkjVd7fybwQ3EV9B1cFV-9PmPUE62mG7lGXIhxI8NAkSfvtDmA8nQChQBY7hhGvO-ZG3bkpOJa3Uq-vXBoGDw-Iuv_vMHUb0z4n_BQCp7uaQWxgXNfXMJf5WJ5MJPwuexCvzVSElRplnu/s320/Stadler%201.6.1783.jpg" width="247" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry concerning Johann Stadler's wedding in the earliest marriage register of St. Josef ob der Laimgrube. Strack's name is at the bottom (<i>Einschreibbuch der Brautleute von der Pfarrei zum H. Joseph ob der Laimgrube für das Jahr 1783 vom 20ten April bis zum letzten Xber 783</i>, 18).</span><br /></div></div>
<br />In 1790, after the death of Joseph II, Strack was retired with an annual pension of 1050 gulden. As was usual with every retirement of a court official, a possible successor immediately applied for his position. On 2 December 1791, the <i>Obersthofmeisteramt</i> had to deal with an application from the cellist <a href="https://de.wikipedia.org/wiki/Joseph_Franz_Weigl" target="_blank">Joseph Weigl</a> for (among other favors) "Strack's position as chamber violoncellist which has already been vacant for several years."
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSG7i8Ag7QwRYMiar9y2ibbBxl1ozHxazhyphenhyphengtqZumel6x5iVuo4_-aX7dB_CWk5SQRicQSE4rmvZF8kKp1x3D5I0_h4wXL-4qs1j8Fx1gkD7lPuQhhQS1d6eegoxYKf5BL17uZTO48Cwzy31C60Y7aO26xnauqGiklj7-fu6r3l5xb2X2a0H3PyywZ2nQ/s1027/Weigl%20357_1792.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1027" data-original-width="707" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSG7i8Ag7QwRYMiar9y2ibbBxl1ozHxazhyphenhyphengtqZumel6x5iVuo4_-aX7dB_CWk5SQRicQSE4rmvZF8kKp1x3D5I0_h4wXL-4qs1j8Fx1gkD7lPuQhhQS1d6eegoxYKf5BL17uZTO48Cwzy31C60Y7aO26xnauqGiklj7-fu6r3l5xb2X2a0H3PyywZ2nQ/s320/Weigl%20357_1792.jpg" width="220" /></a></div><span style="font-size: x-small;">The <i>Rubrum</i> of Joseph Weigl's autograph application for a regular position in the Hofkapelle, Strack's position, and a salary increase (A-Whh, OMeA 357/1792)</span><br /></div></div><br />
The <i>Obersthofmeisteramt</i> commented as follows: "As far as his further application for the chamber violoncellist position is concerned, I am not aware that Strack has died, and even less that he received a special salary for this supposed position. If it really did exist, it no longer seems necessary to fill it at this time." (A-Whh, OMeA 357/1792). All Weigl received was a small raise.
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On 23 March 1791, Strack signed his will. He bequeathed all the furnishings and household appliances to his wife, and he left his modest assets in equal shares to his wife and five children. The final paragraph of Strack's will reads as follows.<br />
<blockquote>
Finally, I recommend my remaining underage children to the well-known tender care of their mother, and to the grace of all her patrons, but especially to the highest protection of His Majesty the Most Gracious Emperor, with the most urgent request of a dying father, to bestow on these helpless orphans, out of ancestral gentleness, at least a small part of the numerous graces and favors that I have always strived to make myself worthy through the 32 years I spent as a valet with Archduke Ferdinand, His Royal Highness, and the late Most Blessed Emperor Joseph, His Majesty, and that I had the inestimable luck to enjoy to the fullest until the end of my life.
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdcLA1fQdC598_BF3pXNiyjCgjFvZyW8jMe2B2BeFKTAYFWvvD578GHFMP3yE_Pw63yyiEUHw9oLNzVHb40v9qvAjbBlzvWEkrQXSApalpFXdVLwJs2tpXgEJwlYzhZthcpCDnKf3M2_XTvCQStl69ImcjVvRkVkCfS0pQTTevQA8Zn25km14z7hNT67U/s1132/A2,%20831_1793%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="1132" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdcLA1fQdC598_BF3pXNiyjCgjFvZyW8jMe2B2BeFKTAYFWvvD578GHFMP3yE_Pw63yyiEUHw9oLNzVHb40v9qvAjbBlzvWEkrQXSApalpFXdVLwJs2tpXgEJwlYzhZthcpCDnKf3M2_XTvCQStl69ImcjVvRkVkCfS0pQTTevQA8Zn25km14z7hNT67U/s320/A2,%20831_1793%20(1).jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The second page of Strack's will with its opened envelope laid over the following empty page (A-Wsa, Mag. ZG, A2, 831/1793). The first witness was privy councilor Konrad Baron von Nefzern (1739–1814), the second witness was <a href="https://de.wikisource.org/wiki/BLK%C3%96:Sonnenfels,_Franz_Anton_Freiherr" target="_blank">Franz Anton von Sonnenfels</a>, younger brother of the more famous <a href="https://de.wikipedia.org/wiki/Joseph_von_Sonnenfels" target="_blank">Joseph von Sonnenfels</a>. Baron Nefzern's wife Eleonora von Hay was Joseph von Sonnenfels's sister-in-law.</span><br /></div></div><br />
On 16 January 1793, Johann Kilian Strack died of a stroke. He was survived by his third wife and his children Joseph Karl, Joseph, Kilian Joseph, Catharina, and Catharina Josepha.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRi92nR4rxIWYt5CjvC0nKV_vYi52N-ZsG_Anx5g_ho5PwrC_--B2GueIA0ce2zQDi9I8DWHYz55ep9CTDpAcokZMqszFW53XLRvjI-__tnQB18Ki_BUat_mBmkUUkGOyY00fVUQrZIDUibR3V0pj2H3m5i2k7TWyxrL7KeE4-KfdMRkexXiJqwfwgUjw/s1487/Johann%20Strack,%20TBP%2099,%20S,%20fol.%205r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="491" data-original-width="1487" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRi92nR4rxIWYt5CjvC0nKV_vYi52N-ZsG_Anx5g_ho5PwrC_--B2GueIA0ce2zQDi9I8DWHYz55ep9CTDpAcokZMqszFW53XLRvjI-__tnQB18Ki_BUat_mBmkUUkGOyY00fVUQrZIDUibR3V0pj2H3m5i2k7TWyxrL7KeE4-KfdMRkexXiJqwfwgUjw/s320/Johann%20Strack,%20TBP%2099,%20S,%20fol.%205r.jpg" width="320" /></a></div><span style="font-size: x-small;">The entry concerning the inspection of Johann Strack's body by the municipal coroner on 16 January 1793 (A-Wsa, Totenbeschreibamt 99, S, fol. 5r)</span><br /></div>
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[den 16<span style="font-size: x-small; vertical-align: super;">ten</span>]<br /></div><div>
v[on] Strack Tit[ulo] H[err] Johann, K:K: Kamerdiener, gebürtig von Mainz in Reich, ist im Fernerischen H[aus] N° 585 im Peternostelgaßl[<i>sic</i>] an widerholten Schlagfluß besch[aut] word[en] alt 68 Jr. <u>Reitter</u>
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Mr. Johann von Strack, I. & R. valet, born in Mainz in the German Reich, was inspected at Ferner's house Nr. 585 in the Paternostergassel as having died of repeated strokes, aged 68 years. Reitter [coroner]
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Strack was buried on 17 January 1793, in the Matzleinsdorf cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03a-117/?pg=69" target="_blank">A-Wd, Bahrleihbuch 117, fol. 30v</a>). His probate file shows that his estate was valued at only 388 gulden 42 1/5 kreuzer of which 227 f 26 x were pension arrears (A-Wsa, Mag. ZG, A2, 831/1793). But that was the gross amount, of which only 354 gulden 28 kreuzer remained after all outstanding bills had been paid. Johann Thorwart was appointed guardian of Strack's children.
Johann Kilian Strack's widow Catharina was granted an annual pension of 400 gulden. She died on 31 January 1823 (A-Wsa, Totenbeschreibamt 153, S, fol. 9r).
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZPUdlbfWyGlEX7Oqx140ODDkE8sQIdWYPulUYvWgNpRnvM9jIL45okZYn87uwGpkYz2O6SOKNDk4A0nGPGZnqdfkbvIm-5UIKYTi3suJ_ttqeN4fN4AX-elhA5RGAhNuxnJMQaioSLBcUu2DVzhO86adp02bh6M8CvIpVgpx4z6IdXXv9-izdFI7l9Vs/s1148/A2,%20831_1793%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1148" data-original-width="749" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZPUdlbfWyGlEX7Oqx140ODDkE8sQIdWYPulUYvWgNpRnvM9jIL45okZYn87uwGpkYz2O6SOKNDk4A0nGPGZnqdfkbvIm-5UIKYTi3suJ_ttqeN4fN4AX-elhA5RGAhNuxnJMQaioSLBcUu2DVzhO86adp02bh6M8CvIpVgpx4z6IdXXv9-izdFI7l9Vs/s320/A2,%20831_1793%20(2).jpg" width="209" /></a></div><span style="font-size: x-small;">The declaration of inheritance by Strack's widow (A-Wsa, Mag. ZG, A2, 831/1793)</span><br /></div><div>
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On 3 November 1800 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/02-st-johann-nepomuk/02-01/?pg=70" target="_blank">St. Johann Nepomuk 1, fol. 68</a>), Strack's eldest son Joseph Karl married <a href="https://de.wikipedia.org/wiki/Karl_von_Marinelli" target="_blank">Karl von Marinelli</a>'s daughter Josepha (1783–1846) with whom he had four children (and from whom he separated after 1807).
Their first son Karl Joseph Franz (b. 31 Mar 1801) <span class="HwtZe" lang="en"><span class="jCAhz ChMk0b"><span class="ryNqvb">became a priest and, as <a href="https://de.wikisource.org/wiki/Die_Cistercienser_von_Heiligenkreuz#833._Eugen_Strack," target="_blank">Father Eugen Strack</a>, a Cistercian in <a href="https://en.wikipedia.org/wiki/Heiligenkreuz_Abbey" target="_blank">Heiligenkreuz Abbey</a> where on 30 March 1864 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/heiligenkreuz/03-07/?pg=20" target="_blank">Heiligenkreuz 7, 18</a>), he died as the abbey's librarian.</span></span></span><br />
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Strack's second son <a href="https://de.wikisource.org/wiki/BLK%C3%96:Strack,_Joseph?fbclid=IwAR0nbVsO7zOkPfHDD9MCw9bOu0Lg98YDVI-jEajgJd5SgaeZQeg256lkaRI" target="_blank">Joseph Strack</a> became one of the most important military historians of the Austrian monarchy. Among other historical studies, he published the standard work <a href="https://mdz-nbn-resolving.de/details:bsb10071023" target="_blank"><i>Die Generale der österreichischen Armee. Nach k. k. Feldacten und andern gedruckten Quellen</i></a> (Vienna 1850).<br />
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In 1884, Strack's grandson, the retired lawyer and house owner Moritz Horniker (1807–1884), made headlines when he committed suicide. His wife Caroline, née Popelarz (1841–1884), had poisoned herself, and Horniker was so shaken that he shot himself three hours after her death (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=nwg&datum=18841030&seite=4" target="_blank"><i>Neues Wiener Tagblatt</i>, 20 Oct 1884, 4f</a>.). Horniker owned the house Stadt 919 (today <a href="https://maps.app.goo.gl/414fZgmhdHhs3DoB8" target="_blank">Weihburggasse 14</a>). Since the Horniker couple had no children, Horniker's sister-in-law Marquise Ruiz des Roxas and his nephew Moritz Volke were the main heirs.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Y0UpFcxaM-jziYUD2n8Byy_RiFL-xb5Pwyv3d-B3NSXXW4D3Dugs44VqsyM9nGd5xGMvMQfO94siVqmfXf_bkk6OG-akxj5z8OgO1UpFGan2CazD7linxTm6JdaGEIIzuyHf5EdiJAV0N6E7et5ubAOAjlMdi8LvlSEe5qpEOtk772I5A_eg9n2b7fk/s773/NWT%201.11.1884,%2026.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="746" data-original-width="773" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Y0UpFcxaM-jziYUD2n8Byy_RiFL-xb5Pwyv3d-B3NSXXW4D3Dugs44VqsyM9nGd5xGMvMQfO94siVqmfXf_bkk6OG-akxj5z8OgO1UpFGan2CazD7linxTm6JdaGEIIzuyHf5EdiJAV0N6E7et5ubAOAjlMdi8LvlSEe5qpEOtk772I5A_eg9n2b7fk/s320/NWT%201.11.1884,%2026.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The death notice of Strack's grandson Moritz Horniker and his wife Caroline (<i>Neues Wiener Tagblatt</i>, 1 November 1884, 26). Horniker's paternal grandfather was Esdras Horniker, a Jewish tailor from Lviv.</span><br /></div></div><div>
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Johann Kilian Strack's great-grandson Moritz Volke (b. 21 Sep 1839 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-st-josef-ob-der-laimgrube/01-22/?pg=274" target="_blank">St. Josef ob der Laimgrube 22, fol. 272</a>], grandson of the publisher <a href="https://museum.evang.at/persoenlichkeiten/friedrich-volke/" target="_blank">Friedrich Volke</a>) was curator and librarian at the <i><a href="https://de.wikipedia.org/wiki/Technologisches_Gewerbemuseum#/media/Datei:Wien_-_WUK,_ehemaliges_TGM.JPG" target="_blank">Technologisches Gewerbemuseum</a></i> in Vienna. He died on 25 January 1925, in Waidhofen an der Ybbs (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/waidhofen-ybbs/03%252F16/?pg=33" target="_blank">Waidhofen, Tom 16, fol. 32</a>). His daughter Margarethe Pauline Adolfine Volke (born 1876) – Strack's last known great-great-granddaughter – died on 16 July 1957, in Waidhofen an der Ybbs. This Lower Austrian town became the residence of the Volke family, because Moritz Volke's father's second wife was Pauline Winkler von Forazest, whose family ran a scythe forge in Waidhofen.<br />
<br /><b>Joseph Hickel</b><br />
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Joseph Hickel was born on 19 March 1736, in Böhmisch-Leipa (<a href="https://de.wikipedia.org/wiki/%C4%8Cesk%C3%A1_L%C3%ADpa" target="_blank">Česká Lípa</a>) (Schöny 1970, 91), son of the painter Johann Hickel (1705–1778) and his wife Anna Eleonora, née Melzer. Joseph learned from his father. In 1756, he entered the Vienna Academy, where he said he worked for ten years. In 1768, he went to Italy on behalf of Empress Maria Theresa to paint numerous portraits of prominent personalities in Milan, Parma and Florence. In 1770, he was back in Vienna. In 1772, he was appointed adjunct to the imperial picture gallery with an annual salary of 700 gulden, and in 1776, appointed I. & R. chamber painter. In the same year, the Vienna Academy accepted him among its members and also exhibited several of his works.
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IijGz-w0DH-mK0FKlbQcxkJzdz01_2B47UrwuLbdTd5PwDWm_2k2XaJxSSma-wcrrIqU_8cd2nIZ1EcXauZp9y3Nq6QupZU8VCOoBD1QuIHjTkXOPrcZWnolvE80ef4fTTFCJJPzUAo_d9imNhLUJObBIJU7n-x97D3Y61wUp6CviAlBUQ-0ZqZe-zg/s480/Uffizi%202062.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="381" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IijGz-w0DH-mK0FKlbQcxkJzdz01_2B47UrwuLbdTd5PwDWm_2k2XaJxSSma-wcrrIqU_8cd2nIZ1EcXauZp9y3Nq6QupZU8VCOoBD1QuIHjTkXOPrcZWnolvE80ef4fTTFCJJPzUAo_d9imNhLUJObBIJU7n-x97D3Y61wUp6CviAlBUQ-0ZqZe-zg/s320/Uffizi%202062.jpg" width="254" /></a></div><span style="font-size: x-small;">Joseph Hickel's 1769 self-portrait (Firenze, Galleria degli Uffizi, Inventari 2062/1890). There exists also a clumsy engraving of this portrait (<a href="https://onb.wg.picturemaxx.com/thumb.php/00312823.jpg?eJwljLEOwjAMRP_l5g6pk6bFG8pSJAoSRQImFNpkYgI6If6dIwz207uz_EZYQ3O8P1OF0EMB8gytiUvBdgO1xI7lnJYrhzcDzRhbSyf2p8dyO0KFO0AdMfwzVq_Hwv-nsQQHaGtMhT0VzeTbm8vNKndpiinPYiV6T402NU7w-QJc4SeW" target="_blank">A-Wn, PORT_00027154_01</a>).</span> <br /></div></div></div><br /><div><div style="text-align: left;">It cannot be denied that Hickel's work was limited to rather monotonous portraiture and that he can be accused of having strived for mass production. It is said that he made around 3000 portraits in his lifetime. Because of this limitation to one subject, his artistic significance must be considered minor. The <i>Allgemeine Deutsche Biographie</i> (Leipzig: Verlag von Duncker & Humblot, 1880) described his work as follows: "Given his rapid productivity, not all his paintings are of significant artistic value. But some of them show impeccable understanding, great intellectual expression, and eloquent resemblance of the people portrayed." It must be noted (and the above portraits of the Strack couple show this exemplarily) that the quality of Hickel's work also depended on the social status of the person portrayed. Because of his portraits of members of the imperial family and the nobility, Hickel became Joseph II's favorite portrait painter.
The emperor's preference may have had to do with the fact that Hickel's style was rather conservative and was based heavily on painters of the previous generation, such as <a href="https://en.wikipedia.org/wiki/Martin_van_Meytens" target="_blank">Martin van Meytens</a>.<br /></div><div style="text-align: left;"></div><div style="text-align: left;"><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGy-XXvb6zG0ufY-Av_TvHJQ6S5wi4cydPMqskADRRWETA7LOxq1D0UVawL13DnZhU5kqD3wrby0TCUj9fIszRMWJ8iG21fQgoHbA2W87UyZkszIimvSz0Enlmty4tCksdErjwMZsnX6brtYWtuB7iH_Y9iHhBoQuJDbiJWOYgpaUNGtf1AG2GpFogIw/s4299/WM%20104680.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4299" data-original-width="3336" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGy-XXvb6zG0ufY-Av_TvHJQ6S5wi4cydPMqskADRRWETA7LOxq1D0UVawL13DnZhU5kqD3wrby0TCUj9fIszRMWJ8iG21fQgoHbA2W87UyZkszIimvSz0Enlmty4tCksdErjwMZsnX6brtYWtuB7iH_Y9iHhBoQuJDbiJWOYgpaUNGtf1AG2GpFogIw/s320/WM%20104680.jpg" width="248" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Joseph Hickel's portrait of Joseph II from 1771 (Wien Museum I.N. 104680)</span><br /></div></div><div style="text-align: left;"></div><div style="text-align: left;"><br />
<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKy3px96PvkUrWynAthDazw9GIwcqEu3tvoIMB9UfTWcHVeH2DfFAkraiDWFpKbGThmRZKRq5j7gOwf3Pjzq9Ci9rM5T1dNy8HyunUyWyt7_AMNIHAd-qOOdGY_0VvZ0jGoK1iT0BL2DYSy2tzXIIVQthEahj5z5uHYl4rw8b6uDHoGKrJgnJoFaTWsXU/s1418/Franz%20II.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1418" data-original-width="1088" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKy3px96PvkUrWynAthDazw9GIwcqEu3tvoIMB9UfTWcHVeH2DfFAkraiDWFpKbGThmRZKRq5j7gOwf3Pjzq9Ci9rM5T1dNy8HyunUyWyt7_AMNIHAd-qOOdGY_0VvZ0jGoK1iT0BL2DYSy2tzXIIVQthEahj5z5uHYl4rw8b6uDHoGKrJgnJoFaTWsXU/s320/Franz%20II.jpg" width="246" /></a></div><span style="font-size: x-small;">Hickel's 1785 portrait of Archduke Franz with a bust of his uncle Joseph II (A-Wkm)</span><br /></div></div><br /><div style="text-align: left;">
When in 1782 Hickel tried to succeed the incapacitated <a href="https://de.wikipedia.org/wiki/Caspar_Franz_Sambach" target="_blank">Caspar Sambach</a> as director of the I. & R. painting academy, and presented an extensive, but slightly illusory reform program to the Emperor, he encountered determined resistance from the academy's protector Prince <a href="https://de.wikipedia.org/wiki/Wenzel_Anton_von_Kaunitz-Rietberg" target="_blank">Wenzel Anton von Kaunitz-Rietberg</a>, who, on 21 December 1782, in a letter to Baron <a href="https://de.wikipedia.org/wiki/Joseph_von_Sperges" target="_blank">Joseph von Sperges</a>, wrote the following about Hickel's application:
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Daily experience alone can show how much self-love can blind people. This wretched man [Hickel], who cannot draw and is only able to paint a head very mediocrely at most, thinks he is a worthy director of the painting academy and, through his guidance alone, can educate artists from the large crowd of scribblers who will be able to exhibit for sale so much good stuff every six months that from this a rich fund will be drawn for their and the sustenance of others, without thinking of all the other absurd ideas with which his presentation to the Emperor is filled. In order to prevent all adverse impressions that such a person may make, regardless of this, your Honor may wish to draft a lecture on such matters, in which every <i>absurdum</i> must be cited and refuted point by point. And as far as the requested appointment as director-adjunct is concerned, the Emperor will have to be informed that this good man is the weakest person who could be chosen for this purpose. (Raab 1879, 1)<br /></blockquote>In his report to the Emperor, Baron Sperges added the following: "Not only ingenuity, correct drawing, good color, understanding in composing, and what makes a good painter, but also a thorough insight into art in general, the ability to judge, knowledge of mythology and history, no less of older and more recent art history, foreign languages, modesty and good manners in teaching are necessary for a director of the painting school, if he is to have the confidence of his students, gain respect from art connoisseurs and preside over the office with honor – all qualities that Hickel lacks." The post of director of the Vienna academy was eventually given to <a href="https://de.wikipedia.org/wiki/Heinrich_Friedrich_F%C3%BCger" target="_blank">Heinrich Füger</a>.<br />
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On 14 May 1770, in Vienna, Joseph Hickel married Margaritha Wutka, born on 14 January 1753, in Vienna (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-34/?pg=114" target="_blank">A-Ws, 34, fol. 11v</a>), daughter of Engelbert Wutka (b. 5 Nov 1714, in Hodonín [<a href="https://www.mza.cz/actapublica/matrika/detail/4983?image=216000010-000253-003372-000000-005303-000000-00-B06955-02000.jp2" target="_blank">Moravském zemském archivu v Brně, Hodonín 5303, 397</a>]), secretary of <a href="https://de.wikipedia.org/wiki/Emanuel_von_Liechtenstein">Prince Emanuel von Liechtenstein</a>, controller of the I. & R. gunpowder and saltpeter administration, and administrator of the <a href="https://www.geschichtewiki.wien.gv.at/Kaiserliches_Zeughaus_(Oberes_Arsenal)" target="_blank">I. & R. armory</a>. When Engelbert Wutka had married for the first time on 10 August 1750, in Valtice (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-06/?pg=275" target="_blank">A-Wstm, 6, 538</a>), his best man had been Philipp Schäffer, counselor of Prince Liechtenstein and none other than Baroness Waldstätten's father. At the time of her wedding in 1770, Margaritha Wutka was already an orphan. Her mother had died on 2 June 1760 (A-Wsa, Totenbeschreibamt 54, W, fol. 13r), her father (who had married again in 1761 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-060/?pg=330" target="_blank">A-Wd, 60, fol. 162v</a>]) had died on 16 June 1769 (A-Wsa, Totenbeschreibamt 63, W, fol. 16v).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXlRx_-_zcOHQXkhaydzf_v5o_8kuUSUdHD3n4QBTF_6ogpIpZvaMKM9UoJlhqQbd_5lChotmXFdUcfT_6Td41SzZQcRtuvs7z8mQyDDgsocsuxUz9r09SlNRI2mfuFFQPC3TBUzBf8dM7wYmN0GCuj4FVU1cjTbjOcV2VP6gRgmX6rCwt96F_RbemQ8/s1635/Joseph%20Hickel%2014.5.1770.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="766" data-original-width="1635" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXlRx_-_zcOHQXkhaydzf_v5o_8kuUSUdHD3n4QBTF_6ogpIpZvaMKM9UoJlhqQbd_5lChotmXFdUcfT_6Td41SzZQcRtuvs7z8mQyDDgsocsuxUz9r09SlNRI2mfuFFQPC3TBUzBf8dM7wYmN0GCuj4FVU1cjTbjOcV2VP6gRgmX6rCwt96F_RbemQ8/s320/Joseph%20Hickel%2014.5.1770.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry concerning Joseph Hickel's wedding on 14 May 1770 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-065/?pg=380" target="_blank">A-Wd, Tom. 65, fol. 186v</a>). The banns for Hickl's wedding were published on 1 May 1770 at the Schotten parish, because Hickel lived at the armory on the Renngasse, Engelbert Wutka's former workplace (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-33/?pg=63" target="_blank">Schotten, Tom. 33, fol. 31r</a>).</span><br /></div><br />
Joseph Hickel's best man was Leopold Pölt, registrar with the I. & R. Bohemian and Austrian court chancellery, the bride's witness was her guardian, the artillery expeditor Joseph Ziegler. The couple's marriage contract was signed on 9 May 1770. The bride brought a dowry of 500 gulden into the marriage to which the groom responded with 1000 gulden.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT3prxUjTS87V2Y9unAWpO9ScyvJGIkZZ3MI3gPcbtDwZEijr1ShKGbU2yzQXzpHlB109SZyQ1BSEVi_gePGVCZqxRWn_-BMOmJk9CVuGVHK2ulUwAM3GqYakjT3kGlN-uyqkp0tTaT4vhp4UPk7ZzpagZj47EW5UrtqFFtfSSxGN_2BFTkEKPDGSkQeA/s1260/A2,%202441_1807%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1260" data-original-width="914" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT3prxUjTS87V2Y9unAWpO9ScyvJGIkZZ3MI3gPcbtDwZEijr1ShKGbU2yzQXzpHlB109SZyQ1BSEVi_gePGVCZqxRWn_-BMOmJk9CVuGVHK2ulUwAM3GqYakjT3kGlN-uyqkp0tTaT4vhp4UPk7ZzpagZj47EW5UrtqFFtfSSxGN_2BFTkEKPDGSkQeA/s320/A2,%202441_1807%20(1).jpg" width="232" /></a></div><span style="font-size: x-small;">The third page of Joseph Hickel's and Margaritha Wutka's marriage contract (A-Wsa, Mag. ZG, A2, 2441/1807). The groom's witness was the registrant at the I. & R. Bohemian and Austrian court chancellery <a href="https://sammlung.belvedere.at/objects/795/leopold-polt-von-poltenberg" target="_blank">Leopold Pölt</a> (1736–1814), who in 1800 was appointed court secretary, and in 1810 was ennobled with the predicate Pölt von Pöltenberg. He was the grandfather of the revolutionary general <a href="https://de.wikipedia.org/wiki/Ernst_P%C3%B6lt_von_P%C3%B6ltenberg" target="_blank">Ernst Pölt von Pöltenberg</a> who was executed in 1849. The bride's witness was the I. & R. General Artillery Weapons Office Chancellor Carl Joseph Ziegler, a colleague of the bride's father.</span> <br /></div><br />
The couple had no children, but Margaritha Hickel adopted a five-year-old girl named Karoline Lambert (born 1 Oct 1802 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-mariatreu/01-007/?pg=418" target="_blank">Maria Treu 7, 398</a>]), who in 1831 was a chambermaid to <a href="https://en.wikipedia.org/wiki/Archduke_Charles,_Duke_of_Teschen" target="_blank">Archduke Charles</a> (A-Wsa, Mag. ZG, A2, 1195/1831) and was still alive in 1858 (<a href="https://anno.onb.ac.at/cgi-content/anno-plus?aid=bad&datum=1858&page=151&size=45" target="_blank"><i>Liste der Badner-Curgäste</i>, Nr. 57, 1858</a>). Between 1782 and 1805, Joseph and Margharita Hickel are documented to have lived at Stadt No. 343, a house between the Salzgries and the armory. Since Theresia Wutka lived in her brother-in-law's household, this was the house where the serenade K. 375, written for Theresia, was premiered on 15 October 1781.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhimbyqp8Unf0OrKwQ52DsRzzB6HLgweJCkToypAHDxHAZA8oWFLBCaJuTr2f7GKRdQZN0SU7uPJ3jjQ43HbCX3mLl8JwrfIulbPu1IrsoF5owX_uW2HbsgjkoNFjEOdafwZy60i3jZXDaxqGd5LA459iADtvVbIVHy6XwsIOWu9DTPMaQ9mtA-XjFfF04/s1258/Stadt%20343.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="932" data-original-width="1258" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhimbyqp8Unf0OrKwQ52DsRzzB6HLgweJCkToypAHDxHAZA8oWFLBCaJuTr2f7GKRdQZN0SU7uPJ3jjQ43HbCX3mLl8JwrfIulbPu1IrsoF5owX_uW2HbsgjkoNFjEOdafwZy60i3jZXDaxqGd5LA459iADtvVbIVHy6XwsIOWu9DTPMaQ9mtA-XjFfF04/s320/Stadt%20343.jpg" width="320" /></a></div><span style="font-size: x-small;">The house Stadt 343 between the Salzgries and the armory on Huber's 1778 map of Vienna (W-Waw, Sammlung Woldan). At this house (last number 186) the writer <a href="https://de.wikipedia.org/wiki/Joseph_Schreyvogel" target="_blank">Joseph Schreyvogel</a> and his son-in-law Joseph Beckers died on 28 and 29 July 1832. The tenant after Schreyvogel in apartment number 7 of this house was <a href="https://de.wikipedia.org/wiki/Leopold_Kupelwieser" target="_blank">Leopold Kupelwieser</a> (A-Wsa, Konskriptionsamt, Stadt 186/23r).</span><br /></div></div><br /><div style="text-align: left;">
In 1788, Hickel was registered in the <i>Steuerfassion</i> as tenant of "six rooms, kitchen, a firewood vault, and attic" on the fourth floor of this house for an annual rent of 360 gulden.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDoXRPE2GlV7rKmLlmw0maXue5kkK1WIWeNZsyXbG_6Ned--svTaELhoBdQgxOMsJIyk76Vp3t5GVtUlBJZEVPmrEZ1Xmb3yJDxA2v4uiBGs8_PFVzwjuvK-PRLh4wQrxR675cau-mC5uATVOEOKQrs95fCLiTsu6QXKbumRcrpXgkamDzMpMWdnGiSUQ/s1194/Hickel,%20Stadt%20343,%207.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="896" data-original-width="1194" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDoXRPE2GlV7rKmLlmw0maXue5kkK1WIWeNZsyXbG_6Ned--svTaELhoBdQgxOMsJIyk76Vp3t5GVtUlBJZEVPmrEZ1Xmb3yJDxA2v4uiBGs8_PFVzwjuvK-PRLh4wQrxR675cau-mC5uATVOEOKQrs95fCLiTsu6QXKbumRcrpXgkamDzMpMWdnGiSUQ/s320/Hickel,%20Stadt%20343,%207.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Joseph Hickel registered in 1788 as tenant at the house Stadt 343 (A-Wsa, Steueramt B34/2, fol. 7)</span><br /></div></div><div style="text-align: left;">
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Hickel's address "sur le Salzgries N° 343 au troisieme etage" is also documented on Johann Jacobe's engraving of Hickel's portrait of Pope Pius VI (<a href="https://sammlung.wienmuseum.at/objekt/474535-pius-vi-pontifex-maximus/" target="_blank">Wien Museum, I.N. W 5236</a>). The original portrait of the Pope has been lost (Thomasberger 1989, 44).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBnsEA-kKorGrvAAQBH2P8puRpg787OztUDkiKGWJ13z2p7naNRfWibUI_MDngC-7QlcpY8DGARVpAl5vvc4AfqaxgiklKpx_etLbi_u5Rde5bMDLt0J3RbEZ19QvIH_ZYu8oNkj8nhyBym4ozriooyh-yIT9Fd5TRfP3oLJ5ItBx0cCNGKl2cN33iyJ8/s1159/Wien%20Museum%20W%205236%201-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="816" data-original-width="1159" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBnsEA-kKorGrvAAQBH2P8puRpg787OztUDkiKGWJ13z2p7naNRfWibUI_MDngC-7QlcpY8DGARVpAl5vvc4AfqaxgiklKpx_etLbi_u5Rde5bMDLt0J3RbEZ19QvIH_ZYu8oNkj8nhyBym4ozriooyh-yIT9Fd5TRfP3oLJ5ItBx0cCNGKl2cN33iyJ8/s320/Wien%20Museum%20W%205236%201-2.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Hickel's address on Jacobe's engraving of his portrait of Pope Pius VI (Wien Museum I.N. W 5236)</span><br /></div></div><div style="text-align: left;">
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In 1786, Joseph II commissioned Joseph Hickel to paint a series of portraits of court actors that were to be hung in the corridor from the Hofburg to the Burgtheater. This <i>Ehrengallerie</i> of famous actors was one of the first of its kind in Europe. The work on this gallery must have taken a few years, because Hickel's brother Anton, who was called in to help, was only in Vienna between 1789 and around 1791, when he came from Paris and had a trip to England in mind. Two of these portraits of actors were painted posthumously, such as those of Gottfried Prehauser (<a href="http://www.theatermuseum.at/de/object/1126859/" target="_blank">A-Wkm, Theatermuseum GS_GPS565</a>) and Conrad Steigentesch (<a href="http://www.theatermuseum.at/de/object/1128300/" target="_blank">A-Wkm, Theatermuseum GS_GPS599</a>). Some of the paintings were enlarged at the bottom in 1888, when the Burgtheater moved into the new venue (Thomasberger 1989, 52-54).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrTB_uwSEH-KZksFiHtJoy0Ys5yC6xCHiW4x2S2Yur6g799-1S4dUsKVdyT5u2pd-EWKheCphkXQuccmefp3VGnz1Kee5Tfik5wM_2WG0d0yAHxSkQWBkKgnUDHTXgQsrV9UKbYMJZ3TKS7hnXXsRMcweJH-KC0h4TQZBra46Q-kfrKDQAgewQfzd/s1385/Lange.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1385" data-original-width="1155" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrTB_uwSEH-KZksFiHtJoy0Ys5yC6xCHiW4x2S2Yur6g799-1S4dUsKVdyT5u2pd-EWKheCphkXQuccmefp3VGnz1Kee5Tfik5wM_2WG0d0yAHxSkQWBkKgnUDHTXgQsrV9UKbYMJZ3TKS7hnXXsRMcweJH-KC0h4TQZBra46Q-kfrKDQAgewQfzd/s320/Lange.jpg" width="267" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Joseph Hickel's portrait of Joseph Lange as <i>Hamlet</i> (in the moment he sees his father's ghost) in its original size (Wien Museum 2012)</span><br /></div></div><div style="text-align: left;">
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO5v4qDisUEYd2b_d5T3kd7RRK37GwigQnrSIVJ1JAinEvP6F1iLxo-RHcPO9GCtYRbc_v-02yb2wrlSnvrDkhIZj01XzMo0xAbGN5pNMnYHd18g6FMqOB-vczaBFL-YdAhQQte1zqGRr8DIv12GTHIwYFfLtEnfZ9wWa8MoV2Ttr8Zk4V9vX2ooKS6hg/s1361/Hickel,%20Weidmann.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1361" data-original-width="973" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO5v4qDisUEYd2b_d5T3kd7RRK37GwigQnrSIVJ1JAinEvP6F1iLxo-RHcPO9GCtYRbc_v-02yb2wrlSnvrDkhIZj01XzMo0xAbGN5pNMnYHd18g6FMqOB-vczaBFL-YdAhQQte1zqGRr8DIv12GTHIwYFfLtEnfZ9wWa8MoV2Ttr8Zk4V9vX2ooKS6hg/s320/Hickel,%20Weidmann.jpg" width="229" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Joseph Hickel's portrait of Joseph Weidmann in the role of Johann in <a href="https://de.wikipedia.org/wiki/Friedrich_Wilhelm_Gotter" target="_blank">Friedrich Wilhelm Gotter</a>'s comedy <i><a href="https://books.google.at/books?id=3ZhSnRVmbXoC&hl=de&pg=PA1#v=onepage&q&f=false" target="_blank">Der Kobold</a></i> (Wien Museum 2012)</span><br /></div></div><div style="text-align: left;">
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<div style="text-align: center;"><span style="font-size: x-small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwn_kHYaLpnLohmPbAYVgR1Nvg8VS6gq8ZpkB2eu55dszxISKSaF6AtuDCetddmyvpMhREGjqQ-RArb2yCvpxyXsju4lyj-tLooKG7P9uQkiZ3NPULgDblGxE4__2bjRBfIWc-msxrkTbafYNXjtEAWQvJBj6tv-yYlsxfGGO8SnRGyWg9XvjmLXY7jVk/s2126/Joseph_Hickel_Johanna_Sacco_als_Medea_1786.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2126" data-original-width="1360" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwn_kHYaLpnLohmPbAYVgR1Nvg8VS6gq8ZpkB2eu55dszxISKSaF6AtuDCetddmyvpMhREGjqQ-RArb2yCvpxyXsju4lyj-tLooKG7P9uQkiZ3NPULgDblGxE4__2bjRBfIWc-msxrkTbafYNXjtEAWQvJBj6tv-yYlsxfGGO8SnRGyWg9XvjmLXY7jVk/s320/Joseph_Hickel_Johanna_Sacco_als_Medea_1786.jpg" width="205" /></a></div>Joseph Hickel's portrait of Johanna Sacco in the title role of Gotter's melodrama <i><a href="https://nbn-resolving.org/urn:nbn:de:gbv:9-g-4884658" target="_blank">Medea</a></i>. According to Meusel, this portrait was already painted in 1784 by Anton Hickel (<a href="https://doi.org/10.11588/diglit.19857#0320" target="_blank">Meusel 1785, 316</a>).</span><br /></div></div><br /><div style="text-align: left;">
On 16 October 1784, for 1800 gulden, Hickel bought the house Erdberg No. 290, "Zur Weintraube", in the Rittergasse (today <a href="https://maps.app.goo.gl/oASLrRoeLkzodMLy8" target="_blank">Erdbergstraße 33</a>), from the innkeeper Johann Georg Pischinger and his wife. When in 1785 it turned out that the house's "Greißlergerechtigkeit" (grocer's license) had not been fully registered, Hickel went to court and had the purchase reversed. (A-Wsa, Patrimonialherrschaften, 102.A3.3, 3429). When Pischinger was unable to repay the purchase price, Hickel asked the court to put the house up for sale at an inflated price and was able to finally purchase it far below this price in January 1786 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17860118&seite=22" target="_blank"><i>Wiener Zeitung</i>, 18 January 1786, 134</a>). In 1807, this house was valued at 5500 gulden.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdTHxSqUHMSVp4-9_tv8J86fdYmz8lOBlO8SPhpNsTU5RG-BVgDdviTIY66Veiq2X9ZQeoCxIvZoynyjVe_30xCKC44kbbUk2m3Coa-WL_CmQW3vnL5xlD9x6vw4z8u-ZfknNyHkHgW6CEOVjh1_JonBIyeDmLkeXrrPZbaf-acKo4UtouqsrAeMquBY8/s3140/WM%2027018_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3140" data-original-width="2529" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdTHxSqUHMSVp4-9_tv8J86fdYmz8lOBlO8SPhpNsTU5RG-BVgDdviTIY66Veiq2X9ZQeoCxIvZoynyjVe_30xCKC44kbbUk2m3Coa-WL_CmQW3vnL5xlD9x6vw4z8u-ZfknNyHkHgW6CEOVjh1_JonBIyeDmLkeXrrPZbaf-acKo4UtouqsrAeMquBY8/s320/WM%2027018_1.jpg" width="258" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The house Erdberg 290 that Hickel bought in 1784 (Wien Museum I.N. 27018/1). This building was torn down in the early 20th century.</span><br /></div></div><br />In 1803, Hickel also bought the much smaller, neighboring single-story house (then Erdberg No. 341, today Erdbergstraße 31). In 1807, this house was valued at 1200 gulden. <div style="text-align: left;">
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2rSbBPz14HJOa2CafKE1LFOWQvncJq56XuEaXwOofUVLDnHSBxZNWh9FxAM1GT-bTxoCjVaUSFoTZiyPrbbAmVe8BENLHaKPLUPi8xXepQXze6j6pVGNcnQ2CZa2L8AdyZtUzMkHQQm4ogYdl2U_HE_TfGTHUQHW1B5YkSGsLuY7WKuqt2clzGjWhVpY/s1178/B34_8,%20312.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1178" data-original-width="824" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2rSbBPz14HJOa2CafKE1LFOWQvncJq56XuEaXwOofUVLDnHSBxZNWh9FxAM1GT-bTxoCjVaUSFoTZiyPrbbAmVe8BENLHaKPLUPi8xXepQXze6j6pVGNcnQ2CZa2L8AdyZtUzMkHQQm4ogYdl2U_HE_TfGTHUQHW1B5YkSGsLuY7WKuqt2clzGjWhVpY/s320/B34_8,%20312.jpg" width="224" /></a></div><span style="font-size: x-small;">The first page of the entry concerning Joseph
Hickel's house Erdberg 290 in the 1788 <i>Steuerfassion</i> (A-Wsa, Steueramt, B34.8, fol. 312). The annual total rental yield of this house in 1788 was 500 gulden.</span><br /></div>
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Hickel lived in the house at Stadt 186 until shortly before 1807, when he moved to Hoher Markt No. 480 (last number 446, today in front of <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=kpxmRrHCLkYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052991" target="_blank">Marc-Aurel-Straße 1</a>), where he eventually died. Since the conscription sheets of Stadt 446 are only preserved as of 1821, there is no sheet for this house on which Hickel is listed.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPjNXl9qU0NTRXVpdOgTBH9t81yBkuYYSgK4kM2unWTXEA8PcWPXtAeFRPi42WSEbuSpFOkhfLub29uJD4v5aO3NKcFMA2gSrrYbq_frgYMBGCmsVbx0YLt6xWD2LypNpH0i1KJZkZvlJVCqyVkhjyb8JFiauTrn6REP4hytM_XyFlQghsw8qCHKYfkUg/s1368/Stadt%20186_1r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1368" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPjNXl9qU0NTRXVpdOgTBH9t81yBkuYYSgK4kM2unWTXEA8PcWPXtAeFRPi42WSEbuSpFOkhfLub29uJD4v5aO3NKcFMA2gSrrYbq_frgYMBGCmsVbx0YLt6xWD2LypNpH0i1KJZkZvlJVCqyVkhjyb8JFiauTrn6REP4hytM_XyFlQghsw8qCHKYfkUg/s320/Stadt%20186_1r.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Joseph
Hickel and his wife registered in 1805 on the earliest conscription sheet of Stadt 186 (A-Wsa, Konskriptionsamt, Stadt 186/1r)</span><br /></div>
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On 25 November 1800, Hickel wrote his will. He left the two children of his deceased sister Eleonora Hucker 1000 gulden, his brother Karl 1000 gulden, his brother Johann 3000 gulden, and his sister Franziska 1000 gulden, which were to be invested for her children and from which she was only to draw the interest rates. His nephew Joseph Meltzer was to receive 500 gulden. He confirmed his marriage contract from 1770 in all paragraphs, appointed his wife universal heir, and allowed her to give each of his three siblings "one or the other painting from his collection" as a souvenir.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQDcb-ZAFAvLnvyyk5z2QXZ4fAh_4mnDtBd_nndmm2aaJYfo4QTLmFhGD9FlmQJpKw9DG1Q0-NKX5zpAEPHwDgXflSQh28qy2WA5qB9cNV7O_pVH9nn1fKqhmECS9NJlEcjH-lBPSzGnyJFFbUd-NzLc9mYgsTzLlfrQ4CDV3rw6J7Z2NJFfkhNrp20rU/s1231/A10,%20209_1807.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="1231" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQDcb-ZAFAvLnvyyk5z2QXZ4fAh_4mnDtBd_nndmm2aaJYfo4QTLmFhGD9FlmQJpKw9DG1Q0-NKX5zpAEPHwDgXflSQh28qy2WA5qB9cNV7O_pVH9nn1fKqhmECS9NJlEcjH-lBPSzGnyJFFbUd-NzLc9mYgsTzLlfrQ4CDV3rw6J7Z2NJFfkhNrp20rU/s320/A10,%20209_1807.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The last two pages of Joseph Hickel's autograph will written on 25 November 1800 (A-Wsa, Mag. ZG, A10, 209/1807)</span><br /></div></div><br />
<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfCks30ze-AB7e1L1TBB9aHnYJuroc53RV8F2XmzyCNInvUkW4Ie_W8lBBG7yx9Yv6XusvqCqnev49qRv-BxpemcR7cZStHtj3g-UE-b0aW1tUdHdmP1cSf51B0dV3EgQsrMSoIJpgc0cr2yLQyHtuK3LJAJpddx-YcbK3Q3EtWNWkhT-1FY9LadEGxwU/s985/A10,%20209_1807%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="823" data-original-width="985" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfCks30ze-AB7e1L1TBB9aHnYJuroc53RV8F2XmzyCNInvUkW4Ie_W8lBBG7yx9Yv6XusvqCqnev49qRv-BxpemcR7cZStHtj3g-UE-b0aW1tUdHdmP1cSf51B0dV3EgQsrMSoIJpgc0cr2yLQyHtuK3LJAJpddx-YcbK3Q3EtWNWkhT-1FY9LadEGxwU/s320/A10,%20209_1807%20(2).jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The seal on the envelope of Joseph Hickel's will (A-Wsa, Mag. ZG, A10, 209/1807)</span><br /></div> </div><br />
Joseph Hickel died on 28 March 1807, of "Gedärmbrand" (intestinal gangrene)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJy1oPmxhPtNVT0mWJRv9BVzCjHYe98MhQ7PnDpjUcozHDShIyHJKkAtWLiopG0oHAsNSnknoElB-_TCuINCMo4O-YJip1v_OhP1pAhjolfuRJDDI6_bh3uSJJW3396KVvr4JrVJHSX57RMgSx5LOltrVUVbsLteUUex5PpuDe4Uk-3GDNpFJiokq7vI/s1628/Joseph%20Hickel%2028.3.1807,%20TBP%20122,%2024r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="703" data-original-width="1628" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJy1oPmxhPtNVT0mWJRv9BVzCjHYe98MhQ7PnDpjUcozHDShIyHJKkAtWLiopG0oHAsNSnknoElB-_TCuINCMo4O-YJip1v_OhP1pAhjolfuRJDDI6_bh3uSJJW3396KVvr4JrVJHSX57RMgSx5LOltrVUVbsLteUUex5PpuDe4Uk-3GDNpFJiokq7vI/s320/Joseph%20Hickel%2028.3.1807,%20TBP%20122,%2024r.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry in the death register concerning the inspection of Joseph Hickel's body by the municipal coroner on 28 March 1807 (A-Wsa, Totenbeschreibamt 122, H, fol. 24r)</span> <br /></div></div><div><div style="text-align: left;">
<blockquote><div style="text-align: center;">
<u>Den 28ten</u><br /></div><div>
Hickel Herr Joseph k.k. Cabinets-Mahler, verheurath, von Laipa aus Deutschböhmen gebürtig, ist im Riederischenhaus N° 480 am Hohenmarkte am Gedärmbrand beschaut worden, alt 72 Jr. <u>Pierner</u>
</div></blockquote>
Hickel died a wealthy man. It was not the two houses that made up his fortune, but rather the bank bonds worth over 13,000 gulden in which he had invested the profits from his artistic work. In addition, there was half the value of his two houses and his garden in Erdberg, which was estimated at 4,209 gulden. Together with his jewelry (650 fl), clothing and household appliances (457 fl), and the collection of paintings (335 fl), his net assets totaled 19,522 gulden and 27,5 kreuzer.<br />
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On 13 April 1807, Hickel's widow declared herself universal heir to the Vienna Magistrate. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju3eSLpH0L8KHd3YdaOgoB4mrhDKjQnQx6L8ZnwvZo_kwQYGQkTt3adwuPcRu7maluhWrFcbqh9cb7B7VmTh_K-8OlsNIijn8QgE7_aMmZmpLw5HzmhKw8WIhNhmJvqDI6lVAQU5eFscVFBSx21NkslzbgTc0Ug3VPFLvOPoxlphHuvE6UOPdti0AKbQM/s1251/A2,%202441_1807%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1251" data-original-width="837" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju3eSLpH0L8KHd3YdaOgoB4mrhDKjQnQx6L8ZnwvZo_kwQYGQkTt3adwuPcRu7maluhWrFcbqh9cb7B7VmTh_K-8OlsNIijn8QgE7_aMmZmpLw5HzmhKw8WIhNhmJvqDI6lVAQU5eFscVFBSx21NkslzbgTc0Ug3VPFLvOPoxlphHuvE6UOPdti0AKbQM/s320/A2,%202441_1807%20(2).jpg" width="214" /></a></div><div style="text-align: left;"><div style="text-align: center;"><span style="font-size: x-small;">Margaritha Hickel's declaration as universal heir (A-Wsa, Mag. ZG, A10, 209/1807)</span></div></div>
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In 1811, she signed a declaration that, in accordance with her husband's wishes, in the event of her death, she would leave half of his estate to his three siblings and his sister's son Gottfried Hucker, in four equal parts. And in the event that one of these relatives should die before her, she promised to pass on the share to the others or their descendants.
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<div style="text-align: left;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGsx3V86OpEpVJQABcvX6uWLCE2UxTxVeXoxkVj6qltqtVDuPTaMdGrIWroDv6JPPwwcKa3iuAnY05-5OdTLAjijZZ750aBR4V6-eR-13zuKgM8OOZ9mFBMcP0KUFkLEUGxxJGaGi8_H86VSIomyoqIcogc4LXJUUUFpcYzudWTFg5bSxc9IKo1xWhQuA/s1493/Depositenamt%201972.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1493" data-original-width="964" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGsx3V86OpEpVJQABcvX6uWLCE2UxTxVeXoxkVj6qltqtVDuPTaMdGrIWroDv6JPPwwcKa3iuAnY05-5OdTLAjijZZ750aBR4V6-eR-13zuKgM8OOZ9mFBMcP0KUFkLEUGxxJGaGi8_H86VSIomyoqIcogc4LXJUUUFpcYzudWTFg5bSxc9IKo1xWhQuA/s320/Depositenamt%201972.jpg" width="207" /></a></div><span style="font-size: x-small;">Margaritha Hickel's <i>Revers </i> concerning the distribution of her husband's estate which she signed on 15 January 1811 (A-Wsa, Depositenamt A1, 1972)</span></div></div>
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In his article about Joseph Hickel (<a href="http://www.literature.at/viewer.alo?objid=11812&viewmode=fullscreen&scale=3.33&rotate=&page=12" target="_blank"><i>BLKÖ</i> 9, 4</a>), Constant von Wurzbach quotes an anonymous obituary which described Hickel's character as follows: "As a person, Hickel was a real artist, cheerful in his dealings, kind to the poor, honest in his way of thinking, open and unreserved in his judgments."<br />
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<b>Theresia Wutka</b><br />
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Maria Theresia Josepha Catharina Cajetana Wutka, the dedicatee of Mozart's K. 375, was born on 29 August 1756, in Vienna, daughter of Engelbert Franz Wutka and his wife Catharina (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-34/?pg=307" target="_blank">Schotten, Tom.34 fol. 304r</a>). Her godmother was Margaretha Kempf de Angret who was represented by Theresia von Lauch, née Pentzeneder von Pentzenstein. <br />
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<div style="text-align: left;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqC-VPXwnzaWTIFxZoNZCF-DovjUmrvlTkED1JxXuhVCJw4iWUPmO0ltbnu2_bNg0Y17MpvCEb0Y7yvwcgUw7otURSPimJxGwLxZqUyNy4yyYW4lw2WkvW_SRLOS0-9dq8PPAjKgQtnF3t4TX_MeiOkSugKENGIiUSPDgvZ9GaO3He5wj2daH-RKt4Zu4/s1857/Therese%20Wutka%2029.8.1756.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="657" data-original-width="1857" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqC-VPXwnzaWTIFxZoNZCF-DovjUmrvlTkED1JxXuhVCJw4iWUPmO0ltbnu2_bNg0Y17MpvCEb0Y7yvwcgUw7otURSPimJxGwLxZqUyNy4yyYW4lw2WkvW_SRLOS0-9dq8PPAjKgQtnF3t4TX_MeiOkSugKENGIiUSPDgvZ9GaO3He5wj2daH-RKt4Zu4/s320/Therese%20Wutka%2029.8.1756.jpg" width="320" /></a></div><span style="font-size: x-small;">The entry concerning Theresia Wutka's baptism on 29 August 1756 at Vienna's Schottenkirche (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-34/?pg=307" target="_blank">A-Ws, Tom.34 fol. 304r)</a>. The research into the genealogy of Theresia and Margherita Wutka's godmother Margaritha Kempf de Angret leads into interesting cultural areas and, in an interesting way, leads back to the Mozart circle. Margeritha von Serdagna (also Sardagna) was born in 1710, daughter of the court physician Nicolaus von Serdagna and Elisabeth, née de Battaille. The Serdagna family came from <a href="https://es.wikipedia.org/wiki/Cass%C3%A1_de_la_Selva" target="_blank">Cassá de la Selva</a> in the province of Gerona and probably moved to Vienna in 1712, with Emperor Charles VI. The presence of Nicolaus von Serdagna (1672–1757) in Vienna is documented for the first time in 1717, on the occasion of a purchase of land for the construction of the new <a href="https://de.wikipedia.org/wiki/Spanisches_Spital" target="_blank">Spanish Hospital</a>. Margeritha von Serdagna's brother, Nicolaus Salvator von Serdagna (1702–1758) was also a physician in Vienna. On 27 April 1740, Margherita von Serdagna married the Imperial <i>Obrist-Land- und Hauß-Zeugamts-Secretarius</i> Bernhard Dismas Kempf de Angreth (1696</span><span style="font-size: x-small;">–</span><span style="font-size: x-small;">1765) (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-hofburgpfarre/01%252C2-01/?pg=599" target="_blank">Hofburg 1, 640</a>), who came from Alsatian nobility and in 1759, was elevated to the <a href="https://de.wikipedia.org/wiki/Datei:Freiherrendiplom_-_Kempf_von_Angret_1759_-_Wappen.jpg" target="_blank">status of baron</a> together with his brother (<a href="https://www.archivinformationssystem.at/detail.aspx?ID=247499">AT-OeStA/AVA Adel HAA AR 435.2</a>). Margherita Kempf de Angret died childless on 25 March 1787 (A-Wsa, Totenbeschreibamt 88, CK, fol. 22v). She bequeathed the dominion of <a href="https://de.wikipedia.org/wiki/Leopoldsdorf_im_Marchfeld" target="_blank">Leopoldsdorf im Marchfeld</a>, which she had inherited from her husband, to her nephew (son of Nicolaus von Serdagna the Younger) Raymund von Sardagna (1749</span><span style="font-size: x-small;">–</span><span style="font-size: x-small;">1819). And here we return to Mozart's environment: on 28 February 1779 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-095/?pg=249" target="_blank">A-Wd, 95, fol. 122v</a>), Raymund von Serdagna acted as godfather to Raymund Wetzlar von Plankenstern, Mozart's friend and godfather to Mozart's first son Raymund Leopold. On 26 March 1777, </span><span style="font-size: x-small;">Margaritha Kempf de Angret officiated as godmother of Margaritha Mitscha (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-093/?pg=447" target="_blank">A-Wd, Tom. 93, fol. 223r</a>), daughter of the state official and composer Adam Mitscha, and niece of Mozart's future pupil Josepha Auernhammer. And finally, in 1799, Raymund von Serdagna's son Joseph married Franziska von Thorwart, only daughter of Constanze Weber's guardian Johann von Thorwart. On 31 October 1798, Raymund von Sardagna was also best man at the wedding of Franz Karl Neilreich and Josepha von Kurzböck, the future parents of the botanist August Neilreich (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-079/?pg=239" target="_blank">A-Wd, 79, fol. 228</a>).<br /></span></div>
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Some authors have associated Theresia Wutka with Joseph Hickel's younger brother Anton who was baptized on 31 March 1745, in Böhmisch Leipa.<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNnsDDgKsxFEglXDTTdQP-rMT24YAifcrZPm77EmfoZwSJPKjA2Y0e4NaHsXx_4YCZQ9v_bu3gl8644Waw6t8MG3gQLiEC293LfpThmMoE_ArRuIz_ESTS5Nbgkdi_efI0uQ0qrjUatWafJsEQWAjhepaVREbpH_UAygg7JN1odTlGMsV1cd5s4gIk18o/s1517/Anton%20Hickel%2031.3.1745.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="497" data-original-width="1517" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNnsDDgKsxFEglXDTTdQP-rMT24YAifcrZPm77EmfoZwSJPKjA2Y0e4NaHsXx_4YCZQ9v_bu3gl8644Waw6t8MG3gQLiEC293LfpThmMoE_ArRuIz_ESTS5Nbgkdi_efI0uQ0qrjUatWafJsEQWAjhepaVREbpH_UAygg7JN1odTlGMsV1cd5s4gIk18o/s320/Anton%20Hickel%2031.3.1745.jpg" width="320" /></a></div><span style="font-size: x-small;">The entry concerning the baptism of Johann Anton Hickel on 31 March 1745, in Böhmisch Leipa (Státní oblastní archiv v Litoměřicích, Böhmisch Leipa, Taufen 1743-1757, 68). In 1885, after Emperor Franz Joseph I had presented a <a href="https://www.npg.org.uk/collections/search/portrait/mw00119/The-House-of-Commons-1793-94?LinkID=mp07103&search=sas&sText=Hickel&role=art&rNo=0" target="_blank">painting</a> by Anton Hickel to the <a href="https://www.npg.org.uk/" target="_blank">National Portrait Gallery</a> in London, British authors came up with the name "Karl Anton Hickel" (<i>The Antiquary</i> 1885, 130), which immediately began to soak into the literature. This false name now appears in various art encyclopedias. </span> <br /></div><br />
In his genealogical study <i>Wiener Künstler-Ahnen</i>, Heinz Schöny in 1970, presented the idea that Theresia Wutka may have been married to her brother-in-law Anton Hickel. This information is presented as fact in the commentary of <i>MBA</i> with Pisarowitz being given as source (<i>MBA</i> VI, 91).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAxsG1suebZ9DMkmDf__HBz8gD95OQVSHOBqNQep30HAhHHF4Vb-LYNj5QzILUTMhS_p5DQj49omksy4zibv6UK-HCn-WYEX-J3qUtAWax03nyyw8IFuR13R6OCfnRsz-lRZxO__gNO5ohTeB8lQUox1MNaimGlp2WyLtBVDXGEZEpmzl_2QS_3hM-Gs4/s1401/Sch%C3%B6ny%2091.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="1401" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAxsG1suebZ9DMkmDf__HBz8gD95OQVSHOBqNQep30HAhHHF4Vb-LYNj5QzILUTMhS_p5DQj49omksy4zibv6UK-HCn-WYEX-J3qUtAWax03nyyw8IFuR13R6OCfnRsz-lRZxO__gNO5ohTeB8lQUox1MNaimGlp2WyLtBVDXGEZEpmzl_2QS_3hM-Gs4/s320/Sch%C3%B6ny%2091.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">Heinz Schöny's assumed marriage of Anton Hickel and Theresia Wutka in his genealogy of the Hickel brothers (Schöny 1970, 91). It is no longer possible to determine if Schöny or Pisarowitz published this information first.</span><br /></div></div>
<br />Schöny's presumption is false. Theresia Wutka was not married to Anton Hickel. As a matter of fact, she never married at all. With the help of conscription sheets and extensive genealogical research, Theresia Wutka's activities and her social environment during the second half of her life can be explored. Three Viennese families formed Wutka's social framework during this time: the <a href="https://de.wikipedia.org/wiki/Eberl_%28Adelsgeschlecht%29" target="_blank">von Eberl</a> family, the Marx family, and the Sicard family.<div style="text-align: left;">
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Between 1805 and 1810, we find Theresia Wutka as governess of the sisters Theresia, Rosalia, and Antonia von Eberl. They were three orphaned daughters who in 1804 had moved from Stockerau to Vienna after the death of their father, the postmaster Johann Michael von Eberl (1759–1804) (<a href="https://data.matricula-online.eu/de/oesterreich/wien/stockerau/03-11/?pg=17" target="_blank">Stockerau 11, fol. 15</a>). Wutka appears together with the three girls on a conscription sheet of Stadt 635 ("Zur Silbernen Kugel", today <a href="https://maps.app.goo.gl/TufeZEWecVKSXWhf9" target="_blank">Rotenturmstraße 7</a>). She was employed there by the <i>Hofkammer-Ratsprotokollist</i> Leopold Strasser (b. 16 Nov 1763) who was the second husband of Carolina von Eberl, née Marx (1750–1825), widow of the three girls' uncle, Carl Joseph Anton von Eberl (1752–1797).<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJijRWn3m3SWuxUVRHuVYhy1ybyY6D9eR-0lXhrGyCszkwlRmTSwxbYtTG6NuRR79fG4J0RqnMR00XtkUaapVTk2szjP0ywFZuD1uW8BHHjY45zh1kqdLcytl1yDoW1eLdvCsEqj_9lOdfGcnya0Xss0cyf7R1KRvoVvNGQEldU-wSAxOE1OAPWMdeaFU/s1417/Stadt%20635_2v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1051" data-original-width="1417" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJijRWn3m3SWuxUVRHuVYhy1ybyY6D9eR-0lXhrGyCszkwlRmTSwxbYtTG6NuRR79fG4J0RqnMR00XtkUaapVTk2szjP0ywFZuD1uW8BHHjY45zh1kqdLcytl1yDoW1eLdvCsEqj_9lOdfGcnya0Xss0cyf7R1KRvoVvNGQEldU-wSAxOE1OAPWMdeaFU/s320/Stadt%20635_2v.jpg" width="320" /></a></div><span style="font-size: x-small;">Theresia Wutka, given as "Guvern[ante ] led[ig]" of Theresia, Rosalia, and Antonia von Eberl (A-Wsa, Konskriptionsamt, Stadt 635/2v). All three of these girls were born in Stockerau.</span><br /></div></div><br />
Around 1815, Theresia Wutka lived at Stadt 668, the so-called <i>Dominikaner-Zinshaus</i> (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=7sBuRiKQKkYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10053179" target="_blank">Predigergasse 1</a>), where she was registered as "Pensionistin" (retiree). At that time, she was living in the household of the <i>k.k. Kassaofficier</i> Franz Grebeschütz
(1783–1834), who, on 10 October 1810 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-082b/?pg=32" target="_blank">A-Wd, Tom. 82b, fol. 293</a>), had married Theresia von Eberl (1790–1815), the eldest of Wutka's abovementioned three fosterlings. Rosalia and Antonia von Eberl also lived in this apartment.<br />
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</div><div style="text-align: left;"><span style="font-size: x-small;"></span><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDhnAn9_us3foiBMzqEEi9Kaml_Raf4yoAaujT8Krg1ynGh3xBGcc9JBwnFKsNU_jrJWz2A5GDoWCGvDvpGA1R-vKoyJlyQIzMMVJ8yjhzDHc42LU-xri3ehq88XdEElqrcaw7R_GaqXkWCsfXw9w78jG4mgCdePuQOR0_N9SUYGjgHnTp_WzjUDn6P8/s1357/Stadt%20668_1r..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1033" data-original-width="1357" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDhnAn9_us3foiBMzqEEi9Kaml_Raf4yoAaujT8Krg1ynGh3xBGcc9JBwnFKsNU_jrJWz2A5GDoWCGvDvpGA1R-vKoyJlyQIzMMVJ8yjhzDHc42LU-xri3ehq88XdEElqrcaw7R_GaqXkWCsfXw9w78jG4mgCdePuQOR0_N9SUYGjgHnTp_WzjUDn6P8/s320/Stadt%20668_1r..jpg" width="320" /></a></div><span style="font-size: x-small;">Theresia Wutka registered together with Franz Grebeschütz's family on a conscription sheet of Stadt 668 (A-Wsa, Konskriptionsamt, Stadt 668/1r). Theresia Grebeschütz, née von Eberl died on 3 December 1815 (A-Wsa, Mag. ZG, A2, 3060/1816). Franz Grebeschütz's second wedding took place on 11 January 1819 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-42/?pg=189" target="_blank">Schotten, Tom. 42, fol. 188</a>).</span><br /></div></div><div style="text-align: left;">
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Shortly after 1818, Theresia Wutka was registered by the municipal conscription office as living at Stadt 719 ("Zu den zwei goldenen Schlüsseln", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=QBFtRu9-aLkYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10053112" target="_blank">Franz-Josefs-Kai 15</a>).<br />
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<div style="text-align: left;"><span style="font-size: x-small;"></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMkkNchEoDfZywk8WjgO_k8U2pkIvucejuJxrlIU6OilMnLT1atWHujRY04vRU1UH_Wdi-6286jBJLo4LKPLmbfzwUog97m-2J4CqWZyDFIAyUhJeXSqmUCVSiCm6BMkPYvuOqX7VXoiw-_1ZKUMbTfa2YteJnXfyGW-x8J2gCPW71OzAU07wqYc9RDoE/s1424/Stadt%20719_9r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="987" data-original-width="1424" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMkkNchEoDfZywk8WjgO_k8U2pkIvucejuJxrlIU6OilMnLT1atWHujRY04vRU1UH_Wdi-6286jBJLo4LKPLmbfzwUog97m-2J4CqWZyDFIAyUhJeXSqmUCVSiCm6BMkPYvuOqX7VXoiw-_1ZKUMbTfa2YteJnXfyGW-x8J2gCPW71OzAU07wqYc9RDoE/s320/Stadt%20719_9r.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Theresia Wutka registered after 1818, on a conscription sheet of Stadt 719 (A-Wsa, Konskriptionsamt, Stadt 719/9r). </span><br /></div></div>
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Theresia Wutka spent the last years of her life in the company of the court secretary's widow Anna Baumgartner on the third floor of Stadt 583 ("Zum Blauen Herrgott", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=2qJnRktDLEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052300" target="_blank">Bauernmarkt 14</a>) This address is first documented in the probate file of Margeritha Hickel (who died on on 11 February 1831) where her sister is given as "eine leibl: Schwester Theresia Wutka ledig in der Stadt am Bauernmarkt zum blauen Herrgott".<br />
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<div style="text-align: left;"><span style="font-size: x-small;"></span><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmsXlYOQgdkDLwOOdWu40cR81x6tkWKdY-Y66iXucOBNQSk95OZ69aQV2XoQ4OC1guWEkgaCKF59KKteftqOojyNzA6cjotsJ96jp-0DltSxqkpT1EMDpYwIFVVklbn7jr0mkuMtrr7TMTRDGeQFsCOSmQCI8rC9Xo-Zl0wZPkzV2Hqwo2B3jfBht8SRE/s1059/A2,%201195_1831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1059" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmsXlYOQgdkDLwOOdWu40cR81x6tkWKdY-Y66iXucOBNQSk95OZ69aQV2XoQ4OC1guWEkgaCKF59KKteftqOojyNzA6cjotsJ96jp-0DltSxqkpT1EMDpYwIFVVklbn7jr0mkuMtrr7TMTRDGeQFsCOSmQCI8rC9Xo-Zl0wZPkzV2Hqwo2B3jfBht8SRE/w320-h181/A2,%201195_1831.jpg" width="320" /></a></div><span style="font-size: x-small;">Theresia Wutka's address given as Stadt 583 in Margeritha Hickel's <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2. 1195/1831). The first entry refers to Margeritha Hickel's will and her adopted daughter Karoline Lambert.</span><br /></div></div>
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Theresia Wutka and Anna Baumgartner's shared apartment is noted in Wutka's probate file which states: "Wohnung Stadt Nr. 538(<i>sic!</i>) Taschnergasse bey Frau Anna Baumgartner K.K. Hofsekretärs Witwe." Accordingly, Wutka and Baumgartner appear together on a conscription sheet of Stadt 583.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJBLUEEgbMXU6vhSwr8KreYhKMcof7hSEO3R-2b_X5JA00rbhm3u8bqWORQDV8n0marjrq6hkYIXPhnZAujj6w4jUbDzBCUAh045W9c3vT9Ck0trcONE0dXDTR6jIoR6-6KHWsKhIY_olb3cfDqt-ahSKVt5QuCIw1uMh8wDliuofFCtcrSrHyccaCuZM/s1195/Stadt%20538_18r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="928" data-original-width="1195" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJBLUEEgbMXU6vhSwr8KreYhKMcof7hSEO3R-2b_X5JA00rbhm3u8bqWORQDV8n0marjrq6hkYIXPhnZAujj6w4jUbDzBCUAh045W9c3vT9Ck0trcONE0dXDTR6jIoR6-6KHWsKhIY_olb3cfDqt-ahSKVt5QuCIw1uMh8wDliuofFCtcrSrHyccaCuZM/s320/Stadt%20538_18r.jpg" width="320" /></a></div></div><div style="text-align: left;"><span style="font-size: x-small;"></span><div style="text-align: center;"><span style="font-size: x-small;">Theresia Wutka and Anna Baumgartner (misspelled "Baumgarten") registered in the 1830s, on a conscription sheet of the house Stadt 583 (A-Wsa, Konskriptionsamt, Stadt 583/18r)</span><br /></div></div><div style="text-align: left;">
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Theresia Wutka died on 29 December 1841, at the <a href="https://www.geschichtewiki.wien.gv.at/Barmherzige_Schwestern_Krankenhaus" target="_blank">hospital</a> of the Sisters of Mercy at Gumpendorf 195 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=3iRJRqE4C0YU1JREEugKRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070023" target="_blank">Gumpendorfer Straße 108</a>) where Anna Baumgartner had placed her for care. Two days later, she was buried in the <a href="https://www.geschichtewiki.wien.gv.at/Hundsturmer_Friedhof_(12,_Haydnpark)" target="_blank">Hundsturm cemetery</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-18/?pg=109" target="_blank">Gumpendorf, Tom. 18, fol. 69</a>).<br />
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<span style="font-size: x-small;"></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjD30L5f_AiG8c0lQR1sMlw35oAAHU8R3uboCaQH0YdavUEPCMF4LSjjqjk4Ls1JwURxnYZtBUSWDRxopY7RCZ7iDsTIVOaYGDY8lpUQgJmKpOq9nHCf9EehM8VOOP23UzdI21aI22g02UbB4K6Jx08dYHH_-mBQYonc_gf6lapfUKCuRQtcscwJj5qQ/s1586/Theresia%20Wutka%2029.12.1841.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="1586" height="54" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOjD30L5f_AiG8c0lQR1sMlw35oAAHU8R3uboCaQH0YdavUEPCMF4LSjjqjk4Ls1JwURxnYZtBUSWDRxopY7RCZ7iDsTIVOaYGDY8lpUQgJmKpOq9nHCf9EehM8VOOP23UzdI21aI22g02UbB4K6Jx08dYHH_-mBQYonc_gf6lapfUKCuRQtcscwJj5qQ/s320/Theresia%20Wutka%2029.12.1841.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry in the death register concerning the inspection of Theresia
Wutka's body on 29 December 1841 (A-Wsa, Totenbeschreibamt 189, W, fol. 50r)</span><br /></div></div><div style="text-align: left;">
<blockquote>
Wutka Theresia, K:K: Pulver<span style="font-size: xx-small;">=</span> u Salpeter<span style="font-size: xx-small;">=</span>Cassa<span style="font-size: xx-small;">=</span>Liquidators <span style="font-size: xx-small;">=</span> hinterlassene Tochter, kath: 85 J: a: von N<span style="font-size: xx-small; vertical-align: super;">ro</span> an Altersschwäche<br /> <u>dt: dt:</u> [bei den barmherzigen Schwestern]
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Wutka Theresia, left behind daughter of an I. & R. powder and saltpeter cashier administrator, catholic, 85 years of age, from Nro, [died] of old age<br /> same same [at the Sisters of Mercy]
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The information in Theresia Wutka's four-page probate file, drawn up by the <i>Sperrskommissär</i> Laurenz Kromar, can be summarized as follows. Since Wutka had died at the hospital of the Sisters of Mercy in Gumpendorf (an <a href="https://www.bhswien.at/" target="_blank">institution</a> that still exists today), and the nuns had only been given Wutka's essential personal data, her home address was unknown. Therefore, the following information was first entered into the file: "Stadt 538, Taschnergasse at a certain Baumgartner's, but further details are unknown and there is no document available."
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIPhMV2ppfjHNEpeUGBTVjE_qWgtjHNkVH8HhbZB77xO-2-AxUthV1oYkoF-vDJFdJWamxq9umVpvlz_HoCNXZrZ8SZT8BIMSaQj34IqEW8MvJmQJQLz4wVk48xpe5DBEG_0S4umZVokG0lCz1hdTOwrYAHKN5YvxdPyHtCsC8oLDfFEw0naWMHucpaw/s1222/A2,%201033_1842%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="969" data-original-width="1222" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIPhMV2ppfjHNEpeUGBTVjE_qWgtjHNkVH8HhbZB77xO-2-AxUthV1oYkoF-vDJFdJWamxq9umVpvlz_HoCNXZrZ8SZT8BIMSaQj34IqEW8MvJmQJQLz4wVk48xpe5DBEG_0S4umZVokG0lCz1hdTOwrYAHKN5YvxdPyHtCsC8oLDfFEw0naWMHucpaw/s320/A2,%201033_1842%20(1).jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The outside of the cover sheet of Theresia Wutka's <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 1033/1842)</span><br /></div>
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Concerning Wutka's personal belongings, the following was noted: "In the Hospital of the Sisters of Mercy: Nothing, and there is no claim outstanding there either. Incidentally, the exact location of the place of residence of the deceased is also unknown there." The local authorities had to request the assistance the I. & R. police headquarters to find out the home address of the deceased, and her landlady Anna Baumgartner. It took the civil court until February 1842 to add the following note: "About the information received from the police department that Mrs. Anna Baumgartner lives in the city No. 338 on the 3nd floor and Theresia Wutka had been staying with her".<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi3uyjMd57FA9yHhTVlmC3OPJnQk7Tww289NigmMdLNjjoPq4H2KoK8fHq5yxzxDxv2Yadgw19rEfq48_VDZmflKrzzTPYBiXc4VppjOnk78Oj7ZfSlLEGJc8m-blqZsnYfrkE-vMf2wZK-GhuY73TXxHzts5fVGzYldU6d8B8ZIg8wcuueFZrFsJo1rg/s1215/A2,%201033_1842%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="958" data-original-width="1215" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi3uyjMd57FA9yHhTVlmC3OPJnQk7Tww289NigmMdLNjjoPq4H2KoK8fHq5yxzxDxv2Yadgw19rEfq48_VDZmflKrzzTPYBiXc4VppjOnk78Oj7ZfSlLEGJc8m-blqZsnYfrkE-vMf2wZK-GhuY73TXxHzts5fVGzYldU6d8B8ZIg8wcuueFZrFsJo1rg/s320/A2,%201033_1842%20(2).jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The inside of the cover sheet of the same document (A-Wsa, Mag. ZG, A2, 1033/1842)</span><br /></div>
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Only in March 1842, Anna Baumgartner came forward and presented a deed of gift, dated 4 December 1838, in which Theresia Wutka had "assigned and handed over all of her possessions to Anna Baumgartner as an <i>inter vivos</i> gift as her full irrevocable property." Since Wutkas's deed of gift, which Anna Baumgartner had to personally submit to the civil court in April 1842, was not officially registered as a will, it is not preserved.<br />
<br /><u>Theresia Wutka's last friend Anna Baumgartner</u>
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Anna Baumgartner was born Anna Lautter, on 18 November 1770 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-089/?pg=176" target="_blank">A-Wd, Tom. 89, fol. 89r</a>), daughter of Johann Michael Lautter (1733–1784) and his second wife
Theresia, née Jahn (1749–1829). Anna's father Michael Lautter (born 29 Sep 1733 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-31/?pg=128" target="_blank">Schotten, Tom. 31, fol. 63v</a>]) had started out as a tailor, but he was so successful in his profession that in 1784, he died a municipal <i>Mobilien-Schätzmeister</i> (appraiser of movables) and owner of the house Stadt 274 (last number 344, <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=F3pjRpOIL0YVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052878" target="_blank">Judenplatz 9</a>) (A-Wsa, Mag. ZG, A2, 3839/1784). On 22 April 1785, Lautter's widow married the <i>Hofkriegs-Cancellist</i> Dominik Sicard (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-am-hof/02-01a/?pg=27" target="_blank">Am Hof 1, fol. 25</a>), whereby Anna Lautter became the half-sister of Dominik Sicard (the architect <a href="https://de.wikipedia.org/wiki/August_Sicard_von_Sicardsburg" target="_blank">August Sicard von Sicardsburg</a>'s future father). Through this marriage, the <a href="https://www.geschichtewiki.wien.gv.at/Judenplatz_9" target="_blank">house on the Judenplatz</a> came into the possession of the Sicard family and became the basis of this family's real estate assets. Subsequently – after the marriage of Dominik Sicard and Barbara Janschky – it developed into the headquarter of <a href="https://www.geschichtewiki.wien.gv.at/Joseph_Janschky" target="_blank">Joseph Janschky's</a> carriage and transport business. Dominik Sicard and Barbara Janschky married on 26 September 1811 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-am-hof/02-03/?pg=141" target="_blank">Am Hof, Tom. 3, fol. 139</a>).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSiWuN_ydfN0XjyBZFMnF4gNMVwsASZ1ydvm31ch5DeP3XE5cavvlDnam63F5c8TcuAGBXWT95ihKDVoM1h4EEyLTYz9mQCabciS8-H5oEjJX_QpNeXl0MoJYipRUUZuVuH8omZES5aBN6hp0dmDuXW9HeNP_k_bT3X6CRCSuTHIttS2nZ-_YUh297TAs/s1311/Sicard,%20A10,%2041_1820.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1311" data-original-width="844" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSiWuN_ydfN0XjyBZFMnF4gNMVwsASZ1ydvm31ch5DeP3XE5cavvlDnam63F5c8TcuAGBXWT95ihKDVoM1h4EEyLTYz9mQCabciS8-H5oEjJX_QpNeXl0MoJYipRUUZuVuH8omZES5aBN6hp0dmDuXW9HeNP_k_bT3X6CRCSuTHIttS2nZ-_YUh297TAs/s320/Sicard,%20A10,%2041_1820.jpg" width="206" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The last page of the marriage contract of Dominik Sicard and Joseph Janschky's daughter Barbara, with the signatures of Anna Baumgartner's first husband Franz Marx, her mother Theresia Sicard, and Joseph Janschky senior (A-Wsa, Mag. ZG, A10, 41/1820). In 1844, there was a second family connection between the Sicard and Janschky families when the architect August Sicard von Sicardsburg married his cousin Aloysia Janschky (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-am-hof/02-05/?pg=132" target="_blank">Am Hof, Tom. 5, fol. 130</a>).</span><br /></div>
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The various families and social groups intertwined on the occasion of the marriage of Anna Lautter to Franz Marx on 15 October 1792 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-am-hof/02-01/?pg=125" target="_blank">Am Hof, Tom. 1, fol. 122</a>). Franz Marx (b. 19 Dec 1751 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-079/?pg=392" target="_blank">A-Wd, Tom. 79, fol. 196r</a>]), who was a "k.k. Feld- und Garnisons-Artillerie-Zeugamtskanzlist" and thus probably an acquaintance of Theresia Wutka's father, was the social link between the Sicard and the von Eberl families. He was the brother of Carolina von Eberl, née Marx, stepmother of the abovementioned von Eberl sisters whose governess was Theresia Wutka. Anna Lautter's witness at this wedding was Leopold Sicard, cousin of her stepfather and guardian Dominik Sicard.
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCsxA4f4MCU2qodCSCGXTUbwHzCtklehKUX7Mtc3_XNuwponecqeqkQQlYlFIPT0h0JrhB6m8OUO3haC-8DYjvQKYShbHjbS4BU6XaJ9mLFSyPYLDc0myVmZLm5S3S4vB7liRjR2nciOJ1A84Mxmi6gbJi2KOXdQdLYSvJcnKmCKZeeHnqY-Gpd_KGxgE/s1188/A3,%20488_1792.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="949" data-original-width="1188" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCsxA4f4MCU2qodCSCGXTUbwHzCtklehKUX7Mtc3_XNuwponecqeqkQQlYlFIPT0h0JrhB6m8OUO3haC-8DYjvQKYShbHjbS4BU6XaJ9mLFSyPYLDc0myVmZLm5S3S4vB7liRjR2nciOJ1A84Mxmi6gbJi2KOXdQdLYSvJcnKmCKZeeHnqY-Gpd_KGxgE/s320/A3,%20488_1792.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The last two pages of the marriage contract of Franz Marx and Anna Maria Lautter dated 26 July 1792. The bride brought an inheritance of 17,000 gulden into the marriage, the groom only 576 gulden (A-Wsa, Mag. ZG, A3, 488/1792).</span><br /></div>
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Franz Marx died on 26 July 1819 (A-Wsa, Totenbeschreibamt, 145, M, fol. 25v). On 20 August 1821 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-mariarotunda/02-04/?pg=10" target="_blank">Maria Rotunda, Tom. 4, fol. 8</a>), the 51-year-old widow Anna Marx, née Lautter, married the 61-year-old <i>k.k. Hofkriegssekretär</i> Johann Michael Baumgartner (b. 11 Jul 1760 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-084/?pg=211" target="_blank">A-Wd, 84, fol. 106v</a>]). At that time, Theresia Wutka was probably already living in the Baumgartner household. Michael Baumgartner died of consumption on 19 October 1828, aged 68 (A-Wsa, Totenbeschreibamt 162, B, fol. 90v).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzI877kqvrE12FCdIoQ5SyuoXVfGUF9tJEahzQrL-9V4d6EbclmczHR6bq3iU4yXkBKb0Tq_1cswtfa__cdExDEwkPmSXLgb_DFRuhrzMb9jax_JppyxW3_bzve_Kn3BkkxNlp6aGQ4eVs_MPotp8MtBruYoHlIPL-FoLKOIgUrGldu0Uq2OT4KhT04_o/s1319/A2,%205663_1828.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="1319" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzI877kqvrE12FCdIoQ5SyuoXVfGUF9tJEahzQrL-9V4d6EbclmczHR6bq3iU4yXkBKb0Tq_1cswtfa__cdExDEwkPmSXLgb_DFRuhrzMb9jax_JppyxW3_bzve_Kn3BkkxNlp6aGQ4eVs_MPotp8MtBruYoHlIPL-FoLKOIgUrGldu0Uq2OT4KhT04_o/s320/A2,%205663_1828.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Anna Baumgartner's signature in the Sperrs-Relation of her second husband Michael Baumgartner. The seal is that of the deceased husband (A-Wsa, Mag. ZG, A2, 5663/1828). For Michael Baumgartner's will see: A-Wsa, Mag. ZG, A10, 515/1828.</span><br /></div></div><div style="text-align: left;">
<br />
Anna Baumgartner died of old age on 22 April 1848 (A-Wsa,Totenbeschreibamt 202, BP, fol. 16v). Her probate file lists her closest relatives as follows: "Two half-brothers from the 2nd marriage of the mother of the deceased, namely Mr. Dominik Sicard von Sicardsburg, adjunct at the National Bank, at Stadt 344, and Mr. Johann Sicard von Sicardsburg, captain in the Hartschier life guard, in the guard's house, both of them of age". Anna Baumgartner's universal heir was Johann Sicard von Sicardsburg.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4kV0BiK1lNgMJDYuYjdD7xgiteUGz7nZnEH7AHpSjv_69BNjAzOAEdKcqsFg4uGYvC35pQ5_jGtTWA-CXQ5acFTptQC4qkia4Sl_fhNjcOLv5ckodHEiydl3SRGAeC9xOV-YrQGGFeQhYJpyF39AustO2boDTFZ4UgHm2_qedaq1ZE644WIbKzQdrbpc/s1221/A2,%20617_1848.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="1221" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4kV0BiK1lNgMJDYuYjdD7xgiteUGz7nZnEH7AHpSjv_69BNjAzOAEdKcqsFg4uGYvC35pQ5_jGtTWA-CXQ5acFTptQC4qkia4Sl_fhNjcOLv5ckodHEiydl3SRGAeC9xOV-YrQGGFeQhYJpyF39AustO2boDTFZ4UgHm2_qedaq1ZE644WIbKzQdrbpc/s320/A2,%20617_1848.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The inside of the cover sheet of Anna
Baumgartner's probate file (A-Wsa, Mag.
ZG, A2, 617/1848). The handwriting is that of the <i>Sperrskommissär</i> Anton Slabe (1787–1860).</span><br /></div></div><div style="text-align: left;">
<br />
<b> Epilogue</b>
<br />
<br />
Mozart's Serenade K. 375 is a special case in his early chamber music. Its origin connects several social spheres that are not combined again in this way in the case of other pieces. It can be considered certain that Mozart's plan to get to the Emperor through Hickel and Strack never succeeded. One is tempted to assume that he invented the whole plan for his father to fake sophisticated networking and his integration in influential circles.<br />
<br />
The above essay is based on decades of archival research. Such a combination of topographical and biographical research, taking into account all existing historical sources, was not possible in the past, when Karl Maria Pisarowitz never went to Vienna and Joseph Heinz Eibl integrated Pisarowitz's incomplete information like a gospel into the published commentary of Mozart's letters. Mozart's Viennese apartments have also never been researched in the way that the existing sources would allow. A fundamental scholarly study about Mozart's apartments will probably never be written, because there is no funding available for such a project in Vienna. Thus, the only option left is to shallowly delve into the research that has so far been neglected in individual meticulous studies like the above, and to hope that some day, similarly detail-loving minds will complete this Herculean task.<br />
<br />
<br />
<hr />
<br />
<b>Bibliography</b><br /><blockquote>
<br />
<a href="https://books.google.at/books?id=2un69_kYd0gC&newbks=1&newbks_redir=0&hl=de&pg=PP7#v=onepage" target="_blank">Anonymous. 1885</a>. "The Antiquary's Note<span style="font-size: x-small;">=</span>Book", in: <i>The Antiquary A Magazine Devoted to the Study of the Past</i>, vol. XII, July–December, London: Elliot Stock.
<br />
<br />
Bauer, Wilhelm A, Otto Erich Deutsch, and Joseph Heinz Eibl, eds. 1962–1975. <i>Mozart. Briefe und Aufzeichnungen</i>. Gestamtausgabe, 7 vols. Kassel: Bärenreiter.<br />
<br />
Braunbehrens, Volkmar. 1988. <i>Mozart in Wien</i>, Serie Musik, Band 8233, München/Mainz: Piper-Schott.
<br />
<br />
Brauneis, Walther. 1991. "Mozart in Wien". In: <i>Mozart. Bilder und Klänge</i>, 6. Salzburger Landesausstellung, Schloß Kleßheim, Salzburg. 23. März bis 3. November 1991. Salzburg: Salzburger Landesausstellungen, 324ff.
<br />
<br />
Deutsch, Otto Erich. 1961. <i>Mozart. Die Dokumente seines Lebens</i>. Wolfgang Amadeus Mozart. Neue Ausgabe sämtlicher Werke, Serie X, Werkgruppe 34. Kassel: Bärenreiter.
<br />
<br />
<a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/412993" target="_blank"> Fischer, Joseph Maximilian. 1786</a>. <i>Verzeichniß der in der Kaiserl. Königl. Haupt- und Residenzstadt Wien, sammt dazu gehörigen Vorstädten und Gründen, befindlichen numerirten Häusern, derselben wahrhafte Eigenthümer, und deren Konditionen, nebst Schildern und Plätzen</i>. Vienna: Joseph Gerold. <br />
<br />
<a href="https://doi.org/10.11588/diglit.19857" target="_blank">Meusel, Johann Georg. 1785</a>. <i>Miscellaneen artistischen Innhalts</i>, vol. 5, Erfurt: Keyser.
<br /><br />
<a href="https://digibib.mozarteum.at/download/pdf/1934063.pdf" target="_blank">Pisarowitz, Karl Maria. 1960</a>. "Der k. k. Kammerdiener Strack", in: <i>Mitteilungen der Internationalen Stiftung Mozarteum</i>, Jg. 9, vol. 1-2, 5f.
<br /><br />
<a href="https://anno.onb.ac.at/cgi-content/anno?aid=nfp&datum=18790228&seite=1" target="_blank">Raab, Fritz. 1879</a>. "Fürst Kaunitz und Füger", <i>Neue Freie Presse</i>, 28 February 1879, 1f.
<br /><br />
Schöny, Heinz. 1970. <i>Wiener Künstler-Ahnen. Genealogische Daten und Ahnenlisten Wiener Maler, 1. Mittelalter bis Romantik</i>, Vienna: Selbstverlag d. Heraldisch-Genealogische Gesellschaft "Adler".
<br /><br />
Spiel, Hilde. 1978. <i>Fanny von Arnstein oder Die Emanzipation</i>, Frankfurt am Main: Fischer Taschenbuch Verlag.
<br /><br />
Thomasberger, Edith. 1989. <i>Joseph und Anton Hickel. Zwei josephinische Hofmaler</i>, PhD, University of Vienna.
<br /><br />
Wien Museum Hermesvilla. 2012. <i>Burg Stars 200 Jahre Theaterkult</i>, Vienna: Christian Brandstätter Verlag.
<br /><br />
</blockquote>
<hr />
</div><br /><br /><div style="text-align: left;">
For expert help concerning the holdings of the MA 236, I extend my thanks to Hannes Tauber. I am also grateful to Anne-Louise Luccarini and David J. Buch for financial support.<br />
<br />
© Dr. Michael Lorenz 2023. All rights reserved.
<br />
<br /></div><br /></div>Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com4tag:blogger.com,1999:blog-6705638937146105675.post-25743785234805842292023-08-15T13:01:00.004+02:002024-03-16T19:20:25.379+01:00Upcoming Posts<br />
<ul>
<li>A Strauss Miscellany </li><li>Johann Heinrich Schmelzer's Coat of Arms</li><li>Unknown Documents concerning Paul Kammerer<br /></li>
<li>Unknown Documents concerning Oskar Kokoschka's 1912 Marriage Attempts </li>
<li>The Chess Master Karl Hamppe: A Short Biography</li>
<li>At the Grave of Adolf Schwarz</li>
<li>A Concert Report in the Diary of Carl Ludwig Costenoble</li>
<li>The Death of Chess Master Julius Perlis</li>
<li>The Will of Carl Ferdinand Pohl</li>
<li>A Donizetti Discovery</li>
<li>The Rediscovery of Carl Czerny's original Will</li>
<li>Two Seals of Joseph Haydn</li>
<li>A Seal of Franz Schubert?</li>
<li>A Rediscovered Lanner Autograph</li>
</ul>
<br />
This list is not complete. For obvious reasons some topics of research cannot be revealed in advance.<br />
<br />
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<br /></form><i>I call attention to the fact that all digital copies of historical documents on this blog (unless otherwise indicated) are first publications. Hence, the unauthorized use of these files, whose creation is based on a great amount of personal work and financial effort, is a violation of copyright. While most archival documents are in public domain, their digital copies are not. If the threshold of originality is so low – as some freeloaders have repeatedly claimed – it is reasonable enough to have readers themselves order scans of documents directly from the archives. I also want to point out that all posts on this blog are being regularly updated.</i><br />
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Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com5tag:blogger.com,1999:blog-6705638937146105675.post-33515397740612991222022-03-29T18:14:00.042+02:002024-02-25T14:16:06.371+01:00Eleven More Godchildren of Joseph HaydnThree articles on this blog so far have dealt with the topic of Joseph Haydn's role as godfather.<br /><br /><a href="https://michaelorenz.blogspot.com/2014/09/three-unknown-godchildren-of-joseph.html" target="_blank">Three Unknown Godchildren of Joseph Haydn</a> (September 2014)<br /><a href="https://michaelorenz.blogspot.com/2015/03/six-more-unknown-godchildren-of-joseph.html" target="_blank">Six More Unknown Godchildren of Joseph Haydn</a> (March 2015)<br /><a href="https://michaelorenz.blogspot.com/2018/02/josepha-disenni-haydns-last-surviving.html" target="_blank">Josepha Disenni: Haydn's Last Surviving Godchild</a> (February 2018)<br /><br />In these articles, in which I was able to increase the known number of Haydn's godchildren from 40 to 49, I examined two groups from the composer's social environment: the relatives of his wife and his musician friends. Further research, which I was practically forced to carry out during the lockdown in spring of 2021, has shown that there was a third group in Haydn's surroundings that was able to secure the composer's services as godfather: Haydn's personal physician and his immediate neighbors in the Viennese suburbs of Windmühle, Gumpendorf, and Mariahilf. By scrutinizing the relatives of Haydn's wife more closely, who represented Haydn at these christenings, I found five more grandnephews of Haydn's wife whose godfather was the composer. My recent research in local Viennese sources also had to do with the discovery of the date of death of Haydn's housekeeper Anna Kremnitzer who is already known to have represented her employer at the baptisms of three of <a href="https://en.wikipedia.org/wiki/Anton_Weidinger" target="_blank">Anton Weidinger</a>'s children. <br />
<br />
In chronological order of their birth, the newly discovered eleven godchildren of Joseph Haydn are the following.<br />
<br />
<b>1) Joseph Weisgram</b>
<br />
<br />
Joseph Weisgram was born on 10 November 1793 in the house Windmühle 72 (next door to Haydn) and baptized on the same day in the <a href="https://de.wikipedia.org/wiki/Gumpendorfer_Pfarrkirche" target="_blank">Gumpendorf parish church</a>. Haydn was present at the ceremony and officiated as godfather.
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4P9tq7ITP-0a4FIBBP5EktLcio5XGWPqxcDGLysKCEVgVIFmIur_uSVCP2z1b1pIFH83ESmzz01qj7YoB58S4P8bsYHmx60xWFS0eAXNj_uc10AImMQR1899EcuPRgKh7oilz5gO1YI/s3523/Joseph+Weisgram+10+November+1793.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="289" data-original-width="3523" height="32" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4P9tq7ITP-0a4FIBBP5EktLcio5XGWPqxcDGLysKCEVgVIFmIur_uSVCP2z1b1pIFH83ESmzz01qj7YoB58S4P8bsYHmx60xWFS0eAXNj_uc10AImMQR1899EcuPRgKh7oilz5gO1YI/w400-h32/Joseph+Weisgram+10+November+1793.jpg" width="400" /></a></div><div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the baptism of Joseph Weisgram on 10 November 1793 in Gumpendorf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-012/?pg=229" target="_blank">Gumpendorf 12, fol. 22</a>)</span><br /></div><div>
<br />Joseph Weisgram was a son of the civil weaver Ignaz Weisgram from whom, in August 1793, Haydn bought a house in the Windmühle district. The boy died of tracheal inflammation on 27 August 1797 in his father's house on Windmühle 74 (formerly 72, the house beside Haydn's, today <a href="https://goo.gl/maps/AtCq53StXB2gHhup9" target="_blank">Haydngasse 21</a>, new building from 1816) (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-10/?pg=116" target="_blank">Gumpendorf 10, fol. 112</a>).<br />
<br />
</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTkQEbu0CHjnZmBv3gqXXL6qgCOVfl_FKYE1gCWbdfqbeNSaA3pWUpIUqtCTfNy-B7QJEpp7vYD1EzOr39W5f0smAVe83V5tGUDQ7oM2ne3ZuuZsMjbs39_uWOgmddf0tKewYzAqfHapo/s1580/Joseph+Weisgram+27.8.1797.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="1580" height="80" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTkQEbu0CHjnZmBv3gqXXL6qgCOVfl_FKYE1gCWbdfqbeNSaA3pWUpIUqtCTfNy-B7QJEpp7vYD1EzOr39W5f0smAVe83V5tGUDQ7oM2ne3ZuuZsMjbs39_uWOgmddf0tKewYzAqfHapo/s320/Joseph+Weisgram+27.8.1797.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the municipal death register concerning the death of Haydn's godson Joseph Weisgram on 27 August 1797 (A-Wsa, Totenbeschreibamt 107, W, fol. 54r)</span><br /></div><div>
<blockquote>
Weißgraber Herr Ignatz bürgl: Webermeister, s[ein] K[ind] Joseph ist beim römischen Kaiser N° 74. zu Gumpendorf früh 5 Uhr an der Luftröhrenentzündung verschied[en] alt 3 3/4 Jr. <u>Daubert</u> [coroner]<br /></blockquote>
<br />
<u>Haydn's house on the Windmühle</u>
<br />
<br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuDLzpsx4RI97dJACf4bfBHxvH31IepBreQMhS0gqlvS2lb4_jkCohLh6aBzUwwRjk4-9Kp38-9IdTTP1TY4yzETgkXi3jcmmCeKJsweSyzS8bfSUCpD2ZOG5uURsdEYMuxpISSGgzgYI/s2043/WM+24480.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1643" data-original-width="2043" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuDLzpsx4RI97dJACf4bfBHxvH31IepBreQMhS0gqlvS2lb4_jkCohLh6aBzUwwRjk4-9Kp38-9IdTTP1TY4yzETgkXi3jcmmCeKJsweSyzS8bfSUCpD2ZOG5uURsdEYMuxpISSGgzgYI/s320/WM+24480.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Haydn's house Windmühle 84 (fourth numbering) in 1900, photograph by August Stauda (Wien Museum, I.N. 24480)</span><br /></div><div>
<br />
The <i>Dienstbuch</i> of the Vienna archbishopric, the authority which was in charge of a part of the Windmühle district, shows the history of the property on which Haydn's house was eventually built. In 1731, this piece of land was a vineyard that had been turned into a field the size of a quarter yoke. At that time it belonged to the Carmelite monastery on the Laimgrube. In 1781, the lot was bought by the Vienna city council and reassigned as building ground. In 1786, the tailor Johann Leyrer (1731–1789) had a one-story house built on a quarter of the property, which, as can be seen from the <i>Dienstbuch</i>, had the very early (previously unacknowledged) number 47 (<a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/413248" target="_blank">Fischer 1786, 246</a>). In 1788, Leyrer sold the house to the gardener Franz Joseph Molitor. An entry in the probate file of Molitor's first wife Maria Anna, who died on 22 March 1788, at Windmühle 49 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17880329&seite=11&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 29 Mar 1788, 767</a>), shows that the previously unknown original name of what became the ground-floor of Haydn's house was "Zum grünen Kreuz" (The Green Cross). Shortly after his wife's death, Franz Molitor had already moved to Windmühle 47 and could not be contacted by the <i>Sperrskommissär</i> Johann Baptist Schreiber. This caused Schreiber to refer to this house with its name.
<br />
<br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXk22sSfVD2Tq7_Mvn8XdpDPF1s0-kaUBnQj_0-ZFf3ohAJj_8g0bo8ve7-MkLUtXTUsBu-GdZL_JOy-5txaRsy_Aqcs3KGj02S-p9LiQ7T_clcfy3lj6RwDhb9_Rt88MnCenrRho_-rA/s1447/A2%252C+887_1788.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1447" data-original-width="983" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXk22sSfVD2Tq7_Mvn8XdpDPF1s0-kaUBnQj_0-ZFf3ohAJj_8g0bo8ve7-MkLUtXTUsBu-GdZL_JOy-5txaRsy_Aqcs3KGj02S-p9LiQ7T_clcfy3lj6RwDhb9_Rt88MnCenrRho_-rA/s320/A2%252C+887_1788.jpg" width="217" /></a></div><div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in Maria Anna Molitor's <i>Sperrs-Relation</i> that refers to the widower's new address at Windmühle 47 (A-Wsa, Mag. ZG, A2, 887/1788)</span><br /></div><div>
<blockquote>
<div style="text-align: center;">Löblicher Magistrat!</div><br />
Unterzeichneter hat laut löbl[icher] Verordnung in A: die Verlassenschaft der zu Gumpendorf [Windmühle] <strike>N</strike>° 49. den 22<span style="font-size: x-small; vertical-align: super;">t</span> Maÿ [<i>sic!</i>] d[ieses] J[ahres] Ma[ri]a Anna Molitorin herrschaftl: Gärtnersgattin inventiren sollen, da aber der Wittwer, so derzeit zu Gumpendorf in der Steingasse <strike>N</strike>° 47 beÿ d[em] grünen Kreuz wohnet mehrmalen nicht zu betretten ware, der <u>m</u> Sohn aber gemeldet: daß an Baaren nach dem Tode der Mutter nichts vorhanden gewesen, [...]
</blockquote>
<i>[translation:] </i>
<br />
<blockquote>
According to the laudable ordinance A, the undersigned has made an inventory of the estate of Maria Anna Molitor, a lordly gardener's widow, who died on May 22nd of this year in Gumpendorf [i.e. Windmühle] No. 49. But since the widower, who is currently staying in Gumpendorf in the Steingasse No. 47 at the Green Cross, could not be found there several times, and the full-aged son reported that there was no cash after the mother's death, [...]
</blockquote>
<br />
In a directory from 1789 the house Windmühle 47 is listed as "newly built" and given as belonging to Molitor (<a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/413466" target="_blank">Hofer 1789, 200</a>) who had moved into the house in May 1788, and died there on 12 September 1788, one day after his second wedding which was performed at his sickbed (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-37/?pg=47" target="_blank">Schotten 37, fol. 46</a>). In 1788, in the <i>Dienstbuch</i>, Molitor's minor son Karl Joseph appears as owner.<br />
<br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-enCO2uYik4UXfCwL4VEe2QWtFok8rymWC-OwBPU8HWANV8KRmV9JyyipW0F-z1eEhgHMEdk5FbTi7M2fk4faS3o-dNGPdNbGe04zh9AXrzZQszx9fG0GHflgsVSihlwIAyINybIHVco/s1360/B.123.3%252C+fol.+245.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1360" data-original-width="1034" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-enCO2uYik4UXfCwL4VEe2QWtFok8rymWC-OwBPU8HWANV8KRmV9JyyipW0F-z1eEhgHMEdk5FbTi7M2fk4faS3o-dNGPdNbGe04zh9AXrzZQszx9fG0GHflgsVSihlwIAyINybIHVco/s320/B.123.3%252C+fol.+245.jpg" width="243" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The sequence of guaranteed owners of the vineyard and eventually house Windmühle 47 (71, 73, 84) from 1731 until 1793 in the <i>Dienstbuch</i> of the archbishopric (A-Wsa, Patrimonialherrschaften B123.3, fol. 245r). This document reveals that the house's earliest number was different from its previously supposed first number. A <i>Dienstbuch</i> does not list all the house owners, but only the owners who actually received the <i>Gewähr</i>, i.e. the guaranty of ownership.</span><br /></div></div><div>
<br />
On 29 October 1793, Haydn's purchase was approved by the Vienna magistrate, and on 2 November 1793, the <i>Gewähr</i> of Haydn and his wife was written into the archbishopric's land register. This entry reads as follows.<br />
<br />
</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR5h9R7lNEshgtaSC6Bl79lg0i-Elu9sKyz69fluEubpsiUzlvd-PWP8DUg53Kl_M3-BZJMFUqdDj2Wi4BhaUeOC_-Z2fQYKVvfnvRpUsDONIlXd52lMECzFIGh7twKl7H11H2D7wsgIE/s1208/B123.8%252C+fol.+105.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1208" data-original-width="1038" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR5h9R7lNEshgtaSC6Bl79lg0i-Elu9sKyz69fluEubpsiUzlvd-PWP8DUg53Kl_M3-BZJMFUqdDj2Wi4BhaUeOC_-Z2fQYKVvfnvRpUsDONIlXd52lMECzFIGh7twKl7H11H2D7wsgIE/w275-h320/B123.8%252C+fol.+105.jpg" width="275" /></a><br /></div><div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the guaranty of ownership of the house Windmühle 71 to Haydn and his wife (</span><span style="font-size: x-small;"><span style="font-size: x-small;">A-Wsa, Patrimonialherrschaften, B123.8, fol. 105</span>). The note before the entry refers to a mortgage of 6,000 gulden that was related to the purchase of the house by <a href="https://www.geschichtewiki.wien.gv.at/Ludwig_Maisch" target="_blank">Ludwig Maisch</a> and his wife in 1810. Pohl erroneously calls Haydn's neighbor Johann Georg Bossenius (1723–1797), a court agent of <a href="https://en.wikipedia.org/wiki/George_I,_Prince_of_Waldeck_and_Pyrmont" target="_blank">Prince Waldeck and Pyrmont</a>, "Bossewius" (Pohl 1927, 72). </span><br /></div><div>
<br />
<blockquote> N° 463.<br />
Der Joseph Haydn, fürstlich Esterhazi[scher] Capellmeister, und dessen Frau Ehewirthi<span style="text-decoration: overline;">n</span> Anna empfangen mit magistrat[ischer] Bewilligung vom 29<span style="font-size: x-small; vertical-align: super;">ten</span> October dieses Jahrs zugleich die Gewähr um ein Haus und Grund N° 71. in der unteren Steingassen bey Gumpendorf, zwischen des Paul Habsperger, und Herrn Georg Bossenius Häusern gele<span style="font-size: xx-small;">=</span> [fol. 105v] gen; so in der Breite vorwärts in der Gassen sowohl als rückwärts an der Wasserrunse zehn Klafter, in der Länge neben dem Habsperger achtzehn Klafter drey Schuh, und neben dem Herrn Bossenius achtzehn Klafter fünf Schuh sechs Zoll enthält. Davon dient man der Stadt Wien jährlich zehn Kreutzer zum Grunddienst. Darum vorhin in diesem Buche Fol: 103 Ignaz Weißgram allein vergewähret gewesen, welcher dieses Haus nun dem Herrn Haydn und seiner Frau Ehewirthi<span style="text-decoration: overline;">n</span> vermöge des den 14<span style="font-size: x-small; vertical-align: super;">ten</span> August dieses Jahrs errichteten Kaufkontraktes käuflich überlassen, und mittelst schriftlicher Aufsandung eigenthümlich übergeben hat. Mag demnach hiemit Nutzen geschaffet werden, wie Grundbuchsrecht ist; jedoch der Grundobrigkeit an ihren Rechten und Gerechtigkeiten nichts beno<span style="text-decoration: overline;">m</span>en. Wien den 2<span style="font-size: x-small; vertical-align: super;">ten</span> November 1793.
</blockquote>
<i>[translation:]</i><br />
<blockquote>
Joseph Haydn, princely Esterhazian capellmeister, and his wife Anna, with the approval of the magistrate of October 29th of this year, both receive the guaranty of ownership of a house and property No. 71 in the Untere Steingasse near Gumpendorf, situated between the houses of Paul Habsperger, and Mr. Georg Bossenius; so in breadth forwards to the street as well as backwards along the water channel ten fathoms, in length next to Habsperger eighteen fathoms, three feet, and next to Mr. Bossenius eighteen fathoms, five feet, six inches. The annual property tax to be paid to the City of Vienna is ten kreutzers. According to fol. 103 in this book, sole ownership of this house had been granted to Ignaz Weißgram who has now given this house to Mr. Haydn and his wife on the basis of the purchase contract drawn up on August 14th of this year, and has handed it over into their property by means of a written assent of conveyance. Accordingly, benefits may be created with this, as is the land register law; however, the authority of the land is not deprived of its rights and justice. Vienna, November 2nd, 1793.
</blockquote>
<br />
On the day of the purchase, Haydn initiated the addition and enlargement of his house by having the master builder <a href="https://de.wikipedia.org/wiki/Johann_Michael_Adelpodinger" target="_blank">Johann Michael Adelpodinger</a> submit a request to the magistrate. In 1793, in Haydn's Vienna, every house owner who wanted to renew or alter his property, had to have a professional builder submit an application to the <a href="https://www.geschichtewiki.wien.gv.at/Unterkammeramt_(Beh%C3%B6rde)" target="_blank"><i>Unterkammeramt</i></a> (the municipal building authority) to be granted an official building permit. These applications always constisted of two documents: 1) the written request which specified the intended structural modification, and 2) the plan of these alterations which had to marked in red and drawn along a scale of Viennese <a href="https://www.geschichtewiki.wien.gv.at/Klafter" target="_blank"><i>Klafter</i></a> (fathoms). Today these documents (which suffered massive obliteration) are held by the Municipal Archives as <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000051ma8Invent#Ser_____00000051ma8Invent" target="_blank">Serie 1.1.2.A33/A - Alte Baukonsense: Akten</a>, and <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000054ma8Invent#Ser_____00000054ma8Invent" target="_blank">Serie 1.1.2.A33/P - Alte Baukonsense: Pläne</a>. This material is completed by a stock of addenda filed as <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000052ma8Invent#Ser_____00000052ma8Invent" target="_blank">Serie 1.1.2.A33N/A - Alte Baukonsense: Akten: Nachträge</a>, and <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000053ma8Invent#Ser_____00000053ma8Invent" target="_blank">Serie 1.1.2.A33N/P - Alte Baukonsense: Pläne: Nachträge</a>. Today Haydn's application, whose original shelfmark was A-Wsa, Unterkammeramt, A33, alte Baukonsense 4234/1793, is missing from these holdings. When in 1932 this document was on display at the Haydn memorial exhibition in Vienna, it was still held by Vienna's municipal planning and building control office (<i>Katalog</i> 1932, 10). When it was displayed at the 1982 Haydn exhibition, it had already become property of the <i>Wiener Stadt- und Landesbibliothek</i> (Mraz 1982, 546). Today it is in the manuscript collection of this library (<a href="https://permalink.obvsg.at/wbr/AC16037727" target="_blank">I.N. 99475</a>) as part of a set of documents entitled "Joseph Haydn" of which not a single one was written by the composer. Among these documents is the estimate (<i>Hausschätzung</i>) of Haydn's house from 1809 (<a href="https://permalink.obvsg.at/wbr/AC15825316" target="_blank">I.N. 131749</a>) which was stolen from Haydn's probate file in the court archive and came to the library from the estate of <a href="https://de.wikipedia.org/wiki/Fritz_Brukner" target="_blank">Fritz Brukner</a>.<br />
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<div style="text-align: center;"><span style="font-size: x-small;">Haydn's application for a building permit to the Vienna magistrate written by one of the builder's employees (A-Wst, H.I.N. 99475). This document has repeatedly been mistaken for an autograph. In the catalog of the 1982 Haydn exhibition, Michael Ladenburger writes: "[Haydn's] application to the Vienna magistrate bears the proud[<i>sic!</i>] signature: 'Franz Heiden, fürstl. Esterhaz. Capellmeister und Hausinhaber in der Klein Stoingasse No. 71'." (Mraz 1982, 545). The facsimile of this document, which (according to Bartha) was once on display at the <a href="https://www.wienmuseum.at/en/locations/haydnhaus" target="_blank">Haydnhaus Museum</a>, has by now been replaced by a facsimile of the ground plan.</span><br /></div></div><br />
<div><blockquote>
[3 Kreuzer Gebührenstempel]<br /><br />
Löbl[icher] Magistrat der k.k. Haupt Stadt Wienn<br />
<br />
Unterzeichneter gedenket seine in der zum Grund Windmihl folglich zu dero löbl[ichem] Grundbuch gehörigen kleinen Stein Gasse nächst Gumpendorf sub <strike>N</strike>° 71 besitzende Behausung nach Ausweiß anliegenden Grundriß A in etwas zu vergrössern und ein Stockwerk auf das alte Gebäu setzen zu lassen, da aber hierzu dero hohe Konsens vor allen erforderlich ist, also Bittet der Unterzeichnete ihme solchen zu ertheillen, zu Unterstützung seiner Bitte führet er an, daß er<br /> 1<span style="font-size: x-small; vertical-align: super;">mo</span> dieses aufführende Gebäu von guten Materialien, überhaupt aber nach der bestehenden Bau Ordnung, und zu Verschönerung der dasigen Gasse werde herstellen lassen, er hofte also, dß in dise seine Bitte auch um so ehender werde gewilliget werde, als <br />
2<span style="font-size: x-small; vertical-align: super;">do</span> durch Vergrösserung des Gebäudes dem allerhöchsten <i>ærario</i> ein grösserer Nutzen zuflüssete, Wien den 14<span style="font-size: x-small; vertical-align: super;">t</span> August <span style="text-decoration: overline;">793</span><br /><br /> Franz Heiden Fürstl[ich] Esterhazi[scher]<br /> <i>Capell</i>meister und Haußinhaber<br /> in der kleinstoin Gasse <strike>N</strike>° 71
</blockquote>
<br />
Haydn's application was first published in an English translation in 1959 (Robbins Landon 1959, 141). The source reference "Copy in an unknown hand in the Vienna City Files", given by Robbins Landon, shows that he never saw the original. Because his edition is flawed – Robbins Landon misread a few words and had no knowledge of the document's context – a better translation is presented here.
<br />
<blockquote>
[3. kreuzer revenue stamp]<br />
<br /> Laudable Magistrate of the I. & R. capital City of Vienna<br />
<br />
According to the attached construction plan A, the undersigned intends to slightly enlarge his house and to have a floor added to the old building in the Kleine Steingasse No. 71 near Gumpendorf which is part of the Windmühle district, and therefore belongs to your laudable land register. Because your high permission is required for all this, the undersigned requests to give it to him; in support of his request he states that he 1) will have this building be made of good material, but in general, according to the existing building regulations, and to beautify the local street he hopes that this request will be approved all the sooner, as 2) the highest treasury will receive increased benefit from the enlargement of the building, Vienna, August 14th, 1793<br /><br /> Franz Heiden princely Esterhazian<br /> capellmeister and house owner<br /> in the Kleinstoin Gasse No. 71
</blockquote>
<br />
The German text of the application was first published by Dénes Bartha (Bartha 1965, 296). The flawed source reference in this edition: "O[riginal] verschollen. Quelle: alte Archivkopie im Haydn-Museum der Stadt Wien" (Bartha 1965, 297) is based on ignorance of the filing situation in the holdings of the municipal <i>Unterkammeramt</i>. An original application written by Haydn never existed, because such requests were always written by the office of the builder in charge. The word "Gebäu" (building), which appears twice in this document, reveals baroque master builder vocabulary which was used into the late 19th century. The backside of Haydn's application has so far never been published. The big Roman numeral and the stamp "Einl N<u>ro</u>."are not original and come from Brukner's collection or the library. The number "4234" is the original shelfmark from the <i>Unterkammeramt</i> holdings. On the lower right quarter is the rubrum of the application, the rest of the page deals with the approval of Haydn's request.<br /></div><div style="text-align: left;">
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<span style="font-size: x-small;">The backside of Haydn's 1793 application (A-Wst, H.I.N. 99475).</span><br /></div><div>
<br />
<blockquote> ps 20<span style="font-size: x-small; vertical-align: super;">t</span> Aug: <span style="text-decoration: overline;">793</span><br />
Stadt Magistrat<br />
N°. 4234.<br />
Franz Heiden fürstl Esterhazi[scher] Kapelmeister und Haußinhaber in der klein Stein Gasse <strike>N</strike><span style="font-size: x-small; vertical-align: super;">o.</span> 71<br /> <span style="color: #cc0000;">84 Windmühl Zl</span><br /><br />
Bittet zu Aufführung inberührten Gebäudes um den erforderlichen Consens<br /><br />
14. Aug. <span style="text-decoration: overline;">793.</span> W.
<br /><br />
Der Magistrat der K:K: Haupt<span style="font-size: xx-small;">=</span> und Residenzstadt Wien, will dem Bittsteller den angesuchten Konsens gegen dem hiemit ertheilet haben: daß er das Dach mit Ziegeln einzudeken, den Boden darunter mit einem Ziegelpflaster zu belegen, die Rauchfänge 18 Zoll weit zu verfertigen, die Stiegen, wie auch den Ko<span style="text-decoration: overline;">m</span>unikationsgang von Stein herzustellen. Letzteren aber falls er von Holz würde, mit eisernen Stützen zu unterfangen <strike>O</strike> 698<br />
<strike>O</strike> alle Ausschallungen Riegel<span style="font-size: xx-small;">=</span> und Pfostenwände sorgsamst zu vermeiden die Stallung zu gewölben, die Holzlagen zu ebener Erde von Gemäuerwerk und mit Ziegel eingedekt zu verschaffen, einen Wasserbrunn zu graben, sich nach dem eingelegten Riße zu benehmen, zu diesem Bau nicht nur ein gutes Materiale, sondern auch unter einer Geldstraffe von 12 R[eichs]th[alern] befugte Arbeitsleute zu gebrauchen, alles dieses unter seiner eigenen, und des Baumeisters Dafürhaftung in Vollzug zu setzen, und übrigens vor aller Unternehmung noch vorläufig die Erlaubniß bey der hohen Landesstelle zu bewirken schuldig seyn solle. Dessen das Steuer<span style="font-size: xx-small;">=</span> und Unterka<span style="text-decoration: overline;">m</span>eramt durch Rathschl[ag] ex offo zu verständigen, die Akten hingegen dem Oberka<span style="text-decoration: overline;">m</span>eramte zur Aufbewahrung zuzustellen sind.<br /> Ex Cons[ilio] Mag[istrati] Vien[nensis]<br /> den 20<span style="font-size: x-small; vertical-align: super;">t</span> August <span style="text-decoration: overline;">793</span>.<br /> z[ur] R[egistratur] exp[ediert] d[en] 23<span style="font-size: x-small; vertical-align: super;">t</span> August <span style="text-decoration: overline;">793.</span> L. Pöltingermp
</blockquote>
<i>[translation:]</i><br />
<blockquote>
City Magistrate<br />
No. 4234.<br />
Franz Heiden princely Esterhazian capellmeister and house owner in the Kleine Steingasse No. 71<br />
[last numbering] Windmühle 84<br />
<br />
Asks for the required consensus for the construction of the building mentioned here<br />
<br />
August 14th, 1793.<br />
<br />
The magistrate of the I. & R. capital and residential city of Vienna wants to have given the petitioner the requested consensus with the following conditions: that he should cover the roof with tiles, cover the floor below it with brick paving, make the chimneys 18 inches wide, and make the stairs as well as the connecting corridor of stone. To underpin the latter, if it were made of wood, with iron supports, carefully avoiding all formwork, transom and post walls, to vault the stables, build the wood storage room on the ground floor from masonry and with a brick ceiling, to dig a water well, to follow the attached ground plan, not only to use good material for this building, but also, under a fine of 12 Reichstalers, to use authorized workers, to carry out all this under his own and the builder's liability, and incidentally, prior to any undertaking, to be obliged to provisionally request permission from the high federal authority. The tax and lower chamber office are to be informed ex officio, the files, however, are to be sent to the superior chamber office for safekeeping.<br />
<br />
August 20th, 1793.<br />
sent to the registry on August 23rd 1793. [Franz] Pöltinger mp
</blockquote>
<br />
Haydn's application was accompanied by the following plan that shows the ground floor (with the existing structure in black and the projected one in red) on the left, and the projected additional floor on the right. Owing to the plan's long exposure to daylight, the red color of the newly planned sections has strongly faded. An example of a typical Viennese 18th-century plan in its original colors can be seen <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX4uYG85i0sQ-Rcg7CaGMat3gv6-6eyLw47kr83IgxEVp0cCcFWXzaUr4xjfMbYn97xjJI8SiQiKLWk4DLUxOcxVXXAs37_Yif_44SAqgbTs2pjIHVOKy-j2ykWPRzJ-KIBM7vtXh4L0s/s919/UKA%252C+5618_1802.jpg" target="_blank">here</a>. The ground floor is underwritten "Zu Ebner Ert" by Adelpodinger, the projected additional floor is underwritten "der Stock darauf". At the bottom left is the mandatory scale in <i>Wiener Klafter</i> (1,896484 m).<br />
<br />
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<div style="text-align: center;"><span style="font-size: x-small;">The plan of the modification of Haydn's house drawn and signed by Johann Michael Adelpodinger<i> </i>(A-Wst, H.I.N. 99475). The circles are ovens. the black and white squares are chimneys.<br /></span></div>
<br />As can be seen from the <a href="https://upload.wikimedia.org/wikipedia/commons/5/5d/Haydnhaus_Haydngasse_19.jpg" target="_blank">current condition</a> of the house, this plan was not exactly implemented. The windows on the first floor are evenly spaced which is not the case on the 1793 ground plan. The following entry in the <i>Repertorium</i> of the municipal building authority concerning the decision about Haydn's application is not yet known.<br />
<br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJzob_mr9XNUWf7wLrji7kYexC_FZgbzk1I1PM66PL0LbVIp8XCukLWX0KqZd0LtZBP_EIWYlyjPPWknUpTqQpZwI60pDjsNZVcnIUosVvFFXtwc2jYX7KI5Clc8cgooe9IVysHZKf28/s1596/UKA+B2_9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="229" data-original-width="1596" height="46" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJzob_mr9XNUWf7wLrji7kYexC_FZgbzk1I1PM66PL0LbVIp8XCukLWX0KqZd0LtZBP_EIWYlyjPPWknUpTqQpZwI60pDjsNZVcnIUosVvFFXtwc2jYX7KI5Clc8cgooe9IVysHZKf28/w320-h46/UKA+B2_9.jpg" width="320" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry in the repertory of the municipal <i>Unterkammeramt</i> that refers to Haydn's application (A-Wsa, Unterkammeramt; Bauamt, B2/9).</span></div>
<blockquote>
4829 Rathschlag dd° 23<span style="font-size: x-small; vertical-align: super;">tn</span> August <span style="text-decoration: overline;">793.</span> über das Gesuch des H[errn] Franz Haiden <br /> Haußinhaber N<span style="font-size: x-small; vertical-align: super;">ro</span> 71 zu Gumpendorf angesuchten Baukonsens.
</blockquote>Although, according to the building consensus, Haydn had a floor added to the old building, the entry in the register of building permits related to the house Windmühle 84 refers to this modification as "Neuerbauung" (new building). The <i>Baukonsensbuch</i> in question lists all modifications from 1793 until <a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/422813" target="_blank">1826</a>, when the building belonged to the weaver Johann Urner (1784–<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18301231&seite=4&zoom=33" target="_blank">27 Dec 1830</a>). The first one is Haydn's ("Franz Heiden Neuerbauung"). The plan from the second one (A-Wsa, Unterkammeramt, A33, alte Baukonsense 9097/1820), related to an addition and modification ("Zubau und Abänderung") commissioned in 1820 by Anton Justus Brauer (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-42/?pg=115" target="_blank">5 May 1787</a>– <a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18390702&seite=9" target="_blank">12 Apr 1839</a>), was on display at the 1932 Haydn exhibition in Vienna (<i>Katalog</i> 1932, 10). Today this plan is missing from the holdings of the <i>Unterkammeramt</i>.<br />
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmct3ET5zti6O0e8BmaFVeaM5pL1uPUDelHCIhN1EcC15fZaeGRkYO3MdaB0cO-uEPtp4Qq8vxfEzKBf64V-PYdYhVQJzhrA4veEOqYCus2EIAOzZYnr8CcG8XMdqfb0KpO_teobPP7A/s1575/UKA+B11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="341" data-original-width="1575" height="69" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwmct3ET5zti6O0e8BmaFVeaM5pL1uPUDelHCIhN1EcC15fZaeGRkYO3MdaB0cO-uEPtp4Qq8vxfEzKBf64V-PYdYhVQJzhrA4veEOqYCus2EIAOzZYnr8CcG8XMdqfb0KpO_teobPP7A/s320/UKA+B11.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The list of early building permits in the <i>Baukonsensbuch</i> of the <i>Unterkammeramt</i> related to the house Windmühle 84 (A-Wsa, Unterkammeramt; Bauamt, B11).</span></div><br />
On 13 December 1809, Haydn's house was officially valued at 5100 gulden.<br />
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2zTtRWskhtE4GWm0NF-AkNLVAjOWlIdr-pP-R60OK9EDuh8u5EIE8nnSuZ5C-2YC4BtWl3VOGOPvTbDn-KNFNN5mrGtIxD8zf3lRsYymaOQ-jk_iDrokGVWz7WGv5hGOho9pnLMikmdg/s1424/H.I.N.+131749.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1424" data-original-width="962" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2zTtRWskhtE4GWm0NF-AkNLVAjOWlIdr-pP-R60OK9EDuh8u5EIE8nnSuZ5C-2YC4BtWl3VOGOPvTbDn-KNFNN5mrGtIxD8zf3lRsYymaOQ-jk_iDrokGVWz7WGv5hGOho9pnLMikmdg/s320/H.I.N.+131749.jpg" width="216" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The second page of the appraisal of Haydn's house which was done on 13 December 1809 (A-Wst, H.I.N. 131749). This document was stolen from Haydn's probate file and is now held by the <i>Wienbibliothek</i>.<br /></span></div><br />
On 30 April 1810, Haydn's house was put up to auction and bought by the art dealer Ludwig Maisch and his wife from Haydn's universal heir Mathias Fröhlich (A-Wsa, Hauptarchiv, <span style="display: inline-block; vertial-align: middle;">A1.H9.2.)</span>. Maisch did not pay the full price of 17,100 gulden, but only 11,100. The remaining amount was paid with a promissory note for 6000 gulden in banco bills (<i>Bancozettel), </i>with 5 percent annual interest. Until 1813 the 5% interests from this mortgage were used to finance the annual pension of 300 gulden that Haydn had left to Luigia Polzelli.
This is proved by the relevant entry in the <i>Satzbuch</i> (mortgage register) of the <i>Seidlhuber</i> land register (A-Wsa, Patrimonialherrschaften B137.7, fol. 294), and by paragraph 39 in Mathias Fröhlich's "Ausweis über das Testament des Herrn Joseph Haydn", which on 1 June 1811,
he submitted to the municipal court.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcBL6Vi3PiD5KP9ImdoeYGNipx_CbmuAUhXyZvUYlOMZUiQFnqzBdBR5G3UWHSEtgot4erGb8VzEUPb9FTsMNnjY5sNTDCWB8xZDaZHRTV9UVIpZt7bI-tyzfxvP77rvoK1V7a4Pvn-NE/s1561/3.1.4.A1.H9.2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="1561" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcBL6Vi3PiD5KP9ImdoeYGNipx_CbmuAUhXyZvUYlOMZUiQFnqzBdBR5G3UWHSEtgot4erGb8VzEUPb9FTsMNnjY5sNTDCWB8xZDaZHRTV9UVIpZt7bI-tyzfxvP77rvoK1V7a4Pvn-NE/s320/3.1.4.A1.H9.2.jpg" width="320" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">The paragraph in Mathias Fröhlich's statement concerning the payment of Luigia Polzelli's pension with the interests of Ludwig Maisch's debt of 6000 gulden (A-Wsa, Hauptarchiv, Persönlichkeiten H9.2).<br /></span></div><br />
Maisch's debt of 6000 gulden was fully repaid only on 11 May 1813 (A-Wsa, Patrimonialherrschaften B137.7, fol. 294v), after Maisch and his wife had already sold the house to the factory associate Anton Justus Brauer (A-Wsa, Patrimonialherrschaften B137.7, fol. 38r). The surprising increase of the house's value was probably caused by the galloping inflation which heralded the monarchy's imminent sovereign default in 1811. The issuance of the <i>Finanzpatent</i> on 15 March 1811 reduced the value of the gulden in banco bills to a fifth. <br />
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<u>Ignaz Weisgram </u><br />
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Ignaz Weisgram, who in 1793 sold Joseph Haydn a house, was born around 1765 in the Lower Austrian village of Reinberg
(today <a href="https://de.wikipedia.org/wiki/Reinberg-Heidenreichstein" target="_blank">Reinberg-Heidenreichstein</a>), and baptized in the parish church of <a href="https://de.wikipedia.org/wiki/Heidenreichstein" target="_blank">Heidenreichstein</a> (owing to incomplete church records, his exact date of birth cannot be determined). Ignaz Weisgram's parents, the weaver Mathias Weisgram from <a href="https://goo.gl/maps/q8AeWm7asir356Qr6" target="_blank">Eggern</a> and Rosalia Flicker from <a href="https://goo.gl/maps/J5LakJXer88qVveMA" target="_blank">Pengers</a> had married on 22 November 1763 in Heidenreichstein (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/heidenreichstein/02%252F03/?pg=410" target="_blank">Heidenreichstein 3, 404</a>). On 14 January 1788, in Gumpendorf, Ignaz Weisgram married Katharina Kaltenböck, the daughter of the weaver Johann Michael Kaltenböck (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/02-12/?pg=277" target="_blank">Gumpendorf 12, 429f</a>.).
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjPez2_rdFrgk2J01t8Z4RLHdt0pnZfbVhGNTdQxbaaicqKtgjASELiO80ZRw1LJIpdD4m1N4zjF6HRCn5oFzKZRLk4w-WP5vlevs6q7ICWy5-mSmSX5OAoMFd1RPYWbMBsu6szdhdJVDZa6BMDc-6xj-UjLJXLpEzesOkuZey20F8Vjq5jpGfANvI8=s1450" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="917" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPez2_rdFrgk2J01t8Z4RLHdt0pnZfbVhGNTdQxbaaicqKtgjASELiO80ZRw1LJIpdD4m1N4zjF6HRCn5oFzKZRLk4w-WP5vlevs6q7ICWy5-mSmSX5OAoMFd1RPYWbMBsu6szdhdJVDZa6BMDc-6xj-UjLJXLpEzesOkuZey20F8Vjq5jpGfANvI8=s320" width="202" /></a></div><div style="text-align: left;">
<div style="text-align: center;"><span style="font-size: x-small;">The second page of Ignaz Weisgram's and Katharina Kaltenböck's marriage contract wich was signed on 20 January 1788 (A-Wsa, Klosterneuburg, A1, Neustift 140/1839)</span><br /></div>
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In 1789, Ignaz Weisgram, a soon-to-be master weaver, already owned the house No. 52 (last number 91) in the Kleine Steingasse (in <a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/413466" target="_blank">Hofer 1789, 200</a> his name is misspelled "Weiskron"). On 10 May 1793, Weisgram bought the house Windmühle 71 from Karl Joseph Molitor (see above).<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidKZeKNUYKTT2uz4H8BM1ktNsrZT9tj5siW5l4yCTiNchCjO4uxrJD9xJRRZi8JdFzCQSJzwNkPSOPyHS2E7SupXCyUlLm8JmpOQN1U343fYCnCOSFpbYWg8Fa3EFba8RmtAHLSk6op0o/s1093/B123.8%252C+fol.+103r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1093" data-original-width="1032" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidKZeKNUYKTT2uz4H8BM1ktNsrZT9tj5siW5l4yCTiNchCjO4uxrJD9xJRRZi8JdFzCQSJzwNkPSOPyHS2E7SupXCyUlLm8JmpOQN1U343fYCnCOSFpbYWg8Fa3EFba8RmtAHLSk6op0o/s320/B123.8%252C+fol.+103r.jpg" width="302" /></a></div><div style="text-align: left;">
<div style="text-align: center;"><span style="font-size: x-small;">The entry in the land register concerning Ignaz Weisgram's purchase of the house Windmühle 71 on 10 May 1793 (A-Wsa, Patrimonialherrschaften, B123.8, fol. 103r)</span><br /></div>
<br />As described above, on 14 August 1793, Weisgram sold this house to Haydn for 1370 gulden (170 fl earnest money and 1200 fl purchase price) (Pohl 1927, 72). Weisgram immediately invested the proceeds of this purchase in the purchase of another house. On 19 August 1793, he bought the building next to Haydn's house, Windmühle No. 72, "Zum römischen Kaiser", (last number 85). Because Weisgram's <i>Gewähr</i> of this house was never officially entered into the land register, his ownership is only documented in the entry concerning the guaranty of ownership which on 10 September 1802 was given to the next owners, the master weaver Anton Meilinger (1767–1831) and his wife Anna, née Stutz (1766–1825). Anton Meilinger was Haydn's neighbor who was present when Haydn died, and on 7 February 1809 signed <a href="https://www.wien.gv.at/presse/bilder/2009/04/02/wiener-stadt-und-landesarchiv-zeigt-haydn-ausstelllung" target="_blank">Haydn's last will</a> as witness.
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<div style="text-align: center;"><span style="font-size: x-small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdmdWyliRNw3K8oaQ1rk5Ih86stpctlbMvIb0aET2kTfPVhwEbS-hWdIVEJzyJKmmwzmhE64-kab6vy6kgwefIPxCRg8HkS01BitQ-K_IaqWjH0CKx796QMcp9KEBIiJtskaWAPUZCljNMUBZxL8YP9ukl_Eh9lyINqq-kR-QL9XIc2u9iBxsLj2t/s839/Anton%20Meilinger%201825.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="809" data-original-width="839" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdmdWyliRNw3K8oaQ1rk5Ih86stpctlbMvIb0aET2kTfPVhwEbS-hWdIVEJzyJKmmwzmhE64-kab6vy6kgwefIPxCRg8HkS01BitQ-K_IaqWjH0CKx796QMcp9KEBIiJtskaWAPUZCljNMUBZxL8YP9ukl_Eh9lyINqq-kR-QL9XIc2u9iBxsLj2t/w200-h193/Anton%20Meilinger%201825.jpg" width="200" /></a></div>The seal of Haydn's neighbor Anton Meilinger (A-Wsa, Mag. ZG, A2, 615/1825)</span><br /></div>
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The passage in Meilinger's <i>Gewähranschreibung</i> concerning Weisgram's temporary ownership of Windmühle 72 reads as follows.<br />
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<div style="text-align: center;"><span style="font-size: x-small;">The entry in the land register which documents Ignaz Weisgram's ownership of the house Windmühle (as of 1795) 74 (formerly 48 and 72, last number 85) from 19 August 1793, until 27 June 1801 (A-Wsa, Patrimonialherrschaften, B123.8, fol. 285v). This source is yet more proof that a sequence of ownership of a house can never be deduced from a <i>Dienstbuch</i> alone. In 1830, the house Windmühle 85 was still owned by Anton Meilinger's son Peter Meilinger. </span><br /></div>
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<blockquote>
Um dieses Haus waren vorhin in diesem Gewährbuche Fol 36. Paul Habsperger, und Anna seine Ehewirthin vergewähret. Nachdem das selbe im Wege der Execution gerichtlich feilgebothen worden ist, so ist solches zufolge der Lizitazionsrelation vom 2<span style="font-size: x-small; vertical-align: super;">ten</span> April 1793. an den Angelo Antonio Bettini als Meistbiethenden geko<span style="text-decoration: overline;">m</span>en, von welchem das selbe vermöge eines unterm 19<span style="font-size: x-small; vertical-align: super;">t[en]</span> August 1793. gefertigten Kaufbriefes dem Ignatz Weißgram bürgerl: Webermeister, von diesem aber sodann mittels einem unterm 27<span style="font-size: x-small; vertical-align: super;">ten</span> Juny 1801. geschlossenen Kontraktes den anfangs gedachten Meilinger[ischen] Eheleuten käuflich überlassen und durch schriftliche Aufsandung eigenthümlich übergeben worden ist.
</blockquote>With his first wife Katharina, Ignaz Weisgram had the following six children.
<br /><ol style="text-align: left;"><li>
Maria Anna, b. 23 Oct 1788 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-012/?pg=61" target="_blank">Gumpendorf 12, fol. 58</a>), d. before 1826<br /></li><li>Josepha, b. 5 Mar 1790 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-012/?pg=115" target="_blank">Gumpendorf 12, fol. 112</a>), d. 11 Sep 1790 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-09/?pg=134" target="_blank">Gumpendorf 9, fol. 131</a>)<br /></li><li>Josepha, b. 18 Mar 1792 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-012/?pg=178" target="_blank">Gumpendorf 12, fol. 174</a>), d. 17 Nov 1792 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-09/?pg=187" target="_blank">Gumpendorf 9, fol. 184</a>)</li><li>Joseph (godson of Haydn), b. 10 Nov 1793 (see above), d. 27 Aug 1797 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-10/?pg=116" target="_blank">Gumpendorf 10, fol. 112</a>)</li><li>Catharina, b. 26 Jul 1796 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-013/?pg=85" target="_blank">Gumpendorf 13, fol. 81</a>), d. 23 Aug 1796 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-10/?pg=86" target="_blank">Gumpendorf 10, fol. 82</a>) </li><li>Ignaz Franz, b. 9 Jul 1806 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-03/?pg=291" target="_blank">Mariahilf 3, fol. 275</a>), d. 4 April 1892 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-alservorstadtpfarre/03-026/?pg=53" target="_blank">Alservorstadt 26, fol. 50</a>)<br /></li></ol>
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The first child, Maria Anna, was the "Tochter Nannerl des Herrn Weißgerb meinen Nachbar" to whom Haydn in 1801, in his first will, bequeathed 50 gulden (<a href="https://books.google.at/books?id=c0FcAAAAcAAJ&pg=PA163" target="_blank">Nohl 1866, 163</a>).
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<br />As of 1805, Weisgram, now already a manufacturer of high-quality "English" cotton cloth, member of the <a href="https://www.geschichtewiki.wien.gv.at/%C3%84u%C3%9Ferer_Rat" target="_blank"><i>Äußerer Rat</i></a>, and honorable <i>k.k. Armenvater</i> (patron of the poor), owned the house Mariahilf 28, "Zur Weintraube", (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=DUpRRgMlGEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069078" target="_blank">Barnabitengasse 5</a>) (<a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/350479" target="_blank">Ziegler & Vasquez, 1830, 209</a>). In this house, on 20 December 1826, Weisgram's first wife Katharina died of induration of the viscera (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18261228&seite=3&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 28 Dec 1826, 1291</a>). In his late years Weisgram moved to <a href="https://en.wikipedia.org/wiki/Neustift_am_Walde" target="_blank">Neustift am Walde</a> near Vienna where he bought the houses Neustift No. 6, and <a href="https://en.wikipedia.org/wiki/Salmannsdorf" target="_blank">Salmannsdorf</a> No. 16. In Neustift am Walde, on 2 March 1829, he married the 25-year-old Maria Wimmer from Salmannsdorf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/19-neustift-am-walde/01%2C2%2C3-01a/?pg=132" target="_blank">Neustift am Walde 01a, fol. 16</a>). Ignaz Weisgram died on 2 December 1839, in Neustift and was buried in the local cemetery (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18391217&seite=5&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 17 Dec 1839, 1827</a>). He was survived by his second wife, two minor children from his second marriage, and his son Ignaz Weisgram, a municipal chancellery practitioner, who on 22 November 1830 had married Anna Flaschge, daughter of the noted Viennese clockmaker Tobias Flaschge (1767–1842) (<a href="https://data.matricula-online.eu/de/oesterreich/wien/19-neustift-am-walde/01%2C2%2C3-01a/?pg=133" target="_blank">Neustift am Walde 1a, fol. 17</a>).
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<span style="font-size: x-small;">The cover sheet of Ignaz Weisgram's probate file (A-Wsa, Mag. ZG, A2, 6667/1839). A <i>Sperrs-Relation</i> for Weisgram was also drawn up by the Klosterneuburg dominion in Neustift am Walde. Weisgram's ownership of real estate in Vienna caused the involvement of the municipal court. </span><br /></div><br />
</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOb6lKoq6iPG4kvOitZYxGRe47j5ES9OZxhplpoJpxEHq8Vy_OQQn5qZZgAv5Cn56dGb_v5Hhx_RzdXSj53DFAnoTLGaAR6d7nqEea3papjajJV_m987rsWlYxcs03T-XK8vWusGEPV3s/s1089/IW+seal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="918" data-original-width="1089" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOb6lKoq6iPG4kvOitZYxGRe47j5ES9OZxhplpoJpxEHq8Vy_OQQn5qZZgAv5Cn56dGb_v5Hhx_RzdXSj53DFAnoTLGaAR6d7nqEea3papjajJV_m987rsWlYxcs03T-XK8vWusGEPV3s/w200-h169/IW+seal.jpg" width="200" /></a><br /></div><div style="text-align: center;">
<span style="font-size: x-small;">The seal of Ignaz Weisgram (A-Wsa, Mag. ZG, A10, 697/1826)</span><br /></div><div style="text-align: left;">
<br />
<b>2) Joseph Scheiger</b>
<br />
<br />
Joseph Scheiger was born on 16 October 1795, in the house Mariahilf 62 ("Weißer Schwan", last number 64, today <a href="https://goo.gl/maps/ggoDuhmNBhutDGbW6" target="_blank">Mariahilfer Straße 46</a>) and baptized by the Barnabite vicar Jakob Forchtner (1730–1799) in the <a href="https://en.wikipedia.org/wiki/Church_of_Mariahilf" target="_blank">Church of Mariahilf</a>. Haydn was present at the ceremony. In the register he is given as "Joseph Heÿden fürstl Kappelmeister".<br /><br />
</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyZ-XTBGErbREKHf893aZsI8dYdSKF12jcuh5aajE2G4FF-ESZxxqCVzahiV0k3ED7IMK9-MEubAGKtTBegPmHPVg_PQCxC9VKocsJYXvtirf63TNbw9Dj8GiSb21qw5l82qxMvbD4LU/s3553/Joseph+Scheiger+16.10.1795.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="343" data-original-width="3553" height="39" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyZ-XTBGErbREKHf893aZsI8dYdSKF12jcuh5aajE2G4FF-ESZxxqCVzahiV0k3ED7IMK9-MEubAGKtTBegPmHPVg_PQCxC9VKocsJYXvtirf63TNbw9Dj8GiSb21qw5l82qxMvbD4LU/w400-h39/Joseph+Scheiger+16.10.1795.jpg" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Haydn's godson Joseph Scheiger on 16 October 1795 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-02/?pg=254 " target="_blank">Mariahilf 2, fol. 245</a>)</span><br /></div></div><br /><div style="text-align: left;">
Joseph Scheiger was the second child of the silversmith Carl Scheiger and his wife Theresia, née Pinzner. This Carl Scheiger was a nephew of Haydn's wife (Lorenz 2014). He was born on 13 August 1755 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-081/?pg=493" target="_blank">A-Wd, Tom. 81, fol. 246v</a>), son of the wigmaker Carl Scheiger (1715–1803) and Barbara, née Keller (Haydn's sister-in-law). His parents had married in February 1752 in Vienna (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-055/?pg=188" target="_blank">A-Wd, Tom. 55, fol. 91v</a>). Carl Scheiger's wife Theresia was born on 13 November 1769 in the suburb of Spittelberg (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-32/?pg=918" target="_blank">St. Ulrich 32, fol. 457v</a>), daughter of the "Lizenztandler" (licensed dealer) Paul Pinzner from <a href="https://de.wikipedia.org/wiki/Pressath" target="_blank">Pressath</a> in Oberpfalz and his first wife Maria Anna, née Werkmeister who had married on 15 May 1763 in Vienna (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-061/?pg=139" target="_blank">A-Wd, 61, fol. 69r</a>). Carl Scheiger and Theresia Pinzner got married on 25 May 1794 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-31/?pg=175" target="_blank">St. Ulrich 31, fol. 174</a>). Their first child Barbara was born on 1 November 1794 at Spittelberg 41 and baptized at St. Ulrich with its grandmother Barbara Scheiger (Haydn's sister-in-law) officiating as godmother (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-38/?pg=192" target="_blank">St. Ulrich 38, fol. 189</a>). Carl Scheiger and his wife were always in close contact with Haydn and his copyist Johann Elßler. On 10 February 1800, Carl Scheiger served as best man at the wedding of Johann Elßler and Theresia Prinster (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/02-13/?pg=165">Gumpendorf 13, 323f.</a>). Haydn's godson Joseph Scheiger died on 20 October 1797 of smallpox at Mariahilf 75 ("Weißer Schwan", last number 64, see above). He was buried on the following day in the Hundsturm cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-02/?pg=33" target="_blank">Mariahilf 2, 29</a>).<br />
<br />
</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1CuifjUl3bGZpuRrWj-J0tqa3ezdHgJJgWw2BHI9q822d6Vdpw5Y4gsxekDzem0XIpb5v_AGjF0Pcny4u2f6DgH9s27YcCvSL_JW8BaDhb43WHjhjiz0Z6ifQ99aFSj1KkmVevanf3w/s1738/Joseph+Scheiger+20.10.1797.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="471" data-original-width="1738" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju1CuifjUl3bGZpuRrWj-J0tqa3ezdHgJJgWw2BHI9q822d6Vdpw5Y4gsxekDzem0XIpb5v_AGjF0Pcny4u2f6DgH9s27YcCvSL_JW8BaDhb43WHjhjiz0Z6ifQ99aFSj1KkmVevanf3w/w400-h109/Joseph+Scheiger+20.10.1797.jpg" width="400" /></a><br /><span style="font-size: x-small;">The entry in the municipal death register concerning the death of Joseph Scheiger on 20 October 1797 (A-Wsa, Totenbeschreibamt 67)</span><br /></div>
</div></div>
<blockquote> Scheiger Carl, Silberarbeiterges[elle] sein K[ind] Joseph<strike>a</strike>, ist bei der weissen Schwanne <strike>N</strike>° 75. zu Mariahilf, nachmittag 2 Uhr an bösart[igen] Blatt[ern] verschied[en] alt 2 Jr. <u>Pibitz.</u></blockquote>
The boy Joseph Scheiger had apparently infected his older sister Barbara with smallpox, because on 11 November 1797, she also died of this disease (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-02/?pg=36" target="_blank">Mariahilf 2, fol. 32</a>).
<br />
<br />
<b>3) Joseph Rammler</b>
<br />
<br />
Joseph Rammler was born on 28 December 1797, in Haydn's house at Windmühle 73 and baptized on the same day at the Gumpendorf parish church with Haydn being present as godfather.
The baptismal register refers to him as "Joseph v: Haydn / Fürst Esterhaz[ischer] Capellmeister".<br />
</div><br /><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFNkSuqdIXMwiUL7cEDADIrtpkduLHI-KboLRE2U1kk4wIKx27KQ0pKmqPNzYyLXM7J_jcXCdVrsh3ZJ2R1HSJrOtvpC5gCjGvOW6BD3a12D4okvbfsf99gkzwhwhJBG5RppCDHsFT2bw/s3536/Joseph+Rammler+28+September+1797.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="364" data-original-width="3536" height="41" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFNkSuqdIXMwiUL7cEDADIrtpkduLHI-KboLRE2U1kk4wIKx27KQ0pKmqPNzYyLXM7J_jcXCdVrsh3ZJ2R1HSJrOtvpC5gCjGvOW6BD3a12D4okvbfsf99gkzwhwhJBG5RppCDHsFT2bw/w400-h41/Joseph+Rammler+28+September+1797.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the baptism of Haydn's godson Joseph Rammler on 28 December 1797 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-013/?pg=132" target="_blank">Gumpendorf 13, fol. </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-013/?pg=132" target="_blank">128</a>)</span><br /></div><div>
<br />
Since this child's father Anton Rammler is referred to as a "Kammerlaquey" in the above entry and he lived in Haydn's house, it can be assumed that at that time he was employed as Haydn's valet. <br />
<br />
Anton Rammler was born on 7 May 1744, in the Lower Austrian village of <a href="https://goo.gl/maps/kvvzFXcLmn4CCcFg8" target="_blank">Wantendorf</a>, son of the mason Peter Rammler and his wife Katharina. He was baptized in the parish church in <a href="https://de.wikipedia.org/wiki/Ober-Grafendorf" target="_blank">Ober-Grafendorf</a> (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/obergrafendorf/01%252F04/?pg=393" target="_blank">Obergrafendorf 4, 391</a>). Rammler's presence in Vienna is first documented on the occasion of his wedding in 1780 in the parish of <a href="https://de.wikipedia.org/wiki/Piaristenkirche_Maria_Treu_(Wien)" target="_blank">Maria Treu</a>. At that time, Rammler was already a chamberlain of <a href="https://de.wikipedia.org/wiki/Johann_Adam_von_Auersperg" target="_blank">Prince Johann Adam von Auersperg</a>. On 9 January 1780, Rammler married Antonia Friedl, daughter of Wenzel Friedl, house administrator of Prince Auersperg. The bride had been born in <a href="https://www.zamek-zleby.cz/cs" target="_blank">Prince Auersperg's castle</a> in the Bohemian community of <a href="https://de.wikipedia.org/wiki/%C5%BDleby" target="_blank">Žleby</a>. The couple lived at the <a href="https://en.wikipedia.org/wiki/Palais_Auersperg" target="_blank">Palais Auersperg</a>. Their witnesses were Rammler's colleagues, the princely chamberlains Claude Lesage and Lean Louis Sorbée.<br />
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</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ_xpyRDhAPP7eVbyx4oxjQUi2FSoJ4zvKTRIbqdcwHV67n4W5Lx051bM_GqCqt68pftsQwLD1hcwQMW9tfi54EL5Tlsn7mU0_R8xUgtagExMVpH_6es3JZ0lQ3qmlaPy1XIoOhenTw3g/s1716/Rammler+1780.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="1716" height="90" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ_xpyRDhAPP7eVbyx4oxjQUi2FSoJ4zvKTRIbqdcwHV67n4W5Lx051bM_GqCqt68pftsQwLD1hcwQMW9tfi54EL5Tlsn7mU0_R8xUgtagExMVpH_6es3JZ0lQ3qmlaPy1XIoOhenTw3g/s320/Rammler+1780.jpg" width="320" /></a></div><div>
<div style="text-align: center;">
<span style="font-size: x-small;">The left half of the entry concerning the wedding of Anton Rammler and Antonia Friedl on 9 January 1780 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/02-03/?pg=75" target="_blank">Maria Treu 3, fol. 70</a>).</span><br /></div><div>
<br /> During the next 13 years, the Rammlers had ten children whose baptisms in the church of Maria Treu document their father's employment with Prince Auersperg and the family's residential addresses near the princely palace.
These children – of whom none survived their parents – and their dates and birth addresses were the following.<br /><ol style="text-align: left;"><li>
Andreas Franz, b. 3 Oct 1781 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-005/?pg=34" target="_blank">Maria Treu 5, fol. 28</a>), Josephstadt 2, "Goldene Birn" (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=A25SRqd3KEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072121" target="_blank">Trautsongasse 2</a>), d. 18 Feb 1782 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/03-03/?pg=126" target="_blank">MT 3, fol. 119</a>)<br /></li><li>
Joseph Andreas, b. 3 Mar 1783 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-005/?pg=73" target="_blank">Maria Treu 5, fol. 76</a>), Josephstadt 2, d. 16 Mar 1787 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/03-04/?pg=32" target="_blank">MT 4, fol. 30</a>)<br /></li><li>
Eleonora Rosa, b. 30 Aug 1784 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-005/?pg=146" target="_blank">Maria Treu 5, fol. 146</a>), Josephstadt 2</li><li>Andreas, b. 18 Jul 1787 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-005/?pg=362" target="_blank">Maria Treu 5, fol. 360</a>), Josephstadt 75, "Zwei Löwen" (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=cwNQRl-abJ0YVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072172" target="_blank">Lange Gasse 11</a>), d. 22 Jul 1787 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/03-04/?pg=41" target="_blank">MT 4, fol. 39</a>)<br /></li><li>Jakob, b. 18 Jul 1787 (see above), d. before 1824<br /></li><li>
Theresia Eleonora, b. 16 Aug 1788 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-006/?pg=65" target="_blank">Maria Treu 6, fol. 62</a>), Josephstadt 63, "Blaues Schiff" (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=aUdRRrE0KEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072127" target="_blank">Trautsongasse 6</a>), d. before 1824<br /></li><li>Wenzel Andreas, b. 18 Aug 1789 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-006/?pg=123" target="_blank">Maria Treu 6, fol. 120</a>), Josephstadt 63, d. 17 Nov 1789 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/03-04/?pg=110" target="_blank">MT 4, fol.108</a>)<br /></li><li>
Adam (godson of Prince Auersperg), b. 4 October 1790 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-006/?pg=186" target="_blank">Maria Treu 6, fol. 179</a>), Josephstadt 63. d. 16 Jan 1791 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/03-04/?pg=147" target="_blank">MT 4, fol. 145</a>)<br /></li><li>
Marianna, b.14 Jul 1792 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-006/?pg=281" target="_blank">Maria Treu 6, fol. 270</a>), Josephstadt 60, "Goldene Kanne" (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=nC1QRkFlKEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072115" target="_blank">Lange Gasse 14</a>), d. 25 Nov. 1792 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/03-04/?pg=203" target="_blank">MT 4, fol. 201</a>), d. before 1824</li><li>
Josepha, b. 3 Nov 1793 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/01-006/?pg=356" target="_blank">Maria Treu 6, fol. 341</a>), Josephstadt 60, d. 6 May 1794 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/08-maria-treu/03-05/?pg=11" target="_blank">MT 5, fol. 9</a>), d. before 1824<br /></li></ol>Although the musical patronage of Prince Auersperg has been well researched, our knowledge so far mainly extends to the performance of Mozart's <i>Idomeneo</i> in 1786 in the prince's private theater (Edge 2018). Considering the fact that Anton Rammler entered the service of Haydn after the prince's death in 1795, it seems possible that Haydn had already made Rammler's acquaintance while attending an opera performance at Auersperg's palace theater. <br />
<br />
Among his siblings the child Joseph Rammler was a relative latecomer. There could be other children of the Rammler family, e.g. Antonia Rammler's date of birth still has to be determined, but no further baptisms of Anton Rammler's children could be found in the books of the Gumpendorf parish. <br />
<br />
Haydn's godson Joseph Rammler died on 25 March 1798 in Haydn's house (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-10/?pg=134" target="_blank">Gumpendorf 10, fol. 130</a>). The entry in the municipal death register concerning the child's death is interesting, because it shows that in 1798 Haydn's house apparently was already named "Zum Haydn". The coroner did not know what to do with this name (and only knew a <a href="https://www.geschichtewiki.wien.gv.at/Heidenschu%C3%9F" target="_blank">house of this name</a> in the city) which is why he called the house "Haidenschus". <br />
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdr7AP-1X3Ewu1nIBIWMTzQ-FoYix8gB4Y5sgkp9M5pMPZzhS9tQkF4kfCZ5P6GCxIypkuj0XBewjwRK3z0GWM3QLKGVHYZW1QQ9y5RsjjUV_aKsx60kc883Vu0thfZY8AriAw9lZnhA4/s1603/Joseph+Rammler+25.3.1798.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="459" data-original-width="1603" height="92" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdr7AP-1X3Ewu1nIBIWMTzQ-FoYix8gB4Y5sgkp9M5pMPZzhS9tQkF4kfCZ5P6GCxIypkuj0XBewjwRK3z0GWM3QLKGVHYZW1QQ9y5RsjjUV_aKsx60kc883Vu0thfZY8AriAw9lZnhA4/s320/Joseph+Rammler+25.3.1798.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the municipal death register concerning the death of Haydn's godson Joseph Rammler on 25 March 1798 (A-Wsa, Totenbeschreibamt 108, R, fol. 14v)</span><br /></div>
<blockquote>
Ramler Anton Bedienter, s[ein] K[ind] Joseph, ist beim Haidenschus <strike>N</strike>° 73 auf der Windmühl, an Durchfall abends 6 Uhr gestorben, alt 3 Monat. <u>Daubert</u><br /></blockquote>
Rammler seems to have left Haydn's household before 1800, because he is not considered in Haydn's first will. In his later years Anton Rammler entered the service of Count Anton Joseph von Batthyány as an office clerk. He died a retiree on 1 June 1824 in Count Batthyány's house Leopoldstadt 367 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=fd1xRkucPkYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10055717" target="_blank">Taborstraße 52</a>) and was buried on the following day in the St. Marx cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/02-st-leopold/03-08/?pg=90" target="_blank">St. Leopold 8, fol. 87</a>).<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNeMWhAgqU15uHrw106ewwFDjuckEIwFWd-uY0y1b6II0ua8uizDaQ5JkBshZOX085n-GIqaOoX8iK_yoKtW0X69yGvART0HrZPaGfkqwp62_Zj0-m-AXlW_p8PYnpAnKkO_1p5t9YYc8/s1595/Anton+Rammler+1.6.1824.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="1595" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNeMWhAgqU15uHrw106ewwFDjuckEIwFWd-uY0y1b6II0ua8uizDaQ5JkBshZOX085n-GIqaOoX8iK_yoKtW0X69yGvART0HrZPaGfkqwp62_Zj0-m-AXlW_p8PYnpAnKkO_1p5t9YYc8/s320/Anton+Rammler+1.6.1824.jpg" width="320" /></a></div><div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the municipal death register concerning the death of Anton Rammler on 1 June 1824 (A-Wsa, Totenbeschreibamt 155, R, fol. 18r)</span><br /></div>
<blockquote>
Ramler Anton, pens[ionierter] herrschaftl[icher] Kanzleÿdiener, verheurath von St. Pölten gebürtig, im Gräfl. Badÿanisch <span style="font-size: xx-small;">=</span> H[aus] <strike>N</strike>. 367 in d. Leopoldstadt, an der Wassersucht, alt 80. Jr. Kerndl.<br /></blockquote>
Anton Rammler's probate file shows that he was survived by his wife Antonia and a daughter Antonia Friedrich, widow of a lottery official.
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsE06NzwPUQs8Gyaxl0f2NZTDmTKvLNKKRoswL94hwTAq-ouVb3n8svE8JUBUimCIKyWNAJuLkb5h2gGSIUnAaW0Y7FBD2Bwb-N7AXWoEG0weMwxNgxa368_6NlYx_5g_Km_AR2N7A1xc/s1104/A2%252C+2341_1824.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1104" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsE06NzwPUQs8Gyaxl0f2NZTDmTKvLNKKRoswL94hwTAq-ouVb3n8svE8JUBUimCIKyWNAJuLkb5h2gGSIUnAaW0Y7FBD2Bwb-N7AXWoEG0weMwxNgxa368_6NlYx_5g_Km_AR2N7A1xc/s320/A2%252C+2341_1824.jpg" width="217" /></a></div><div>
<div style="text-align: center;">
<span style="font-size: x-small;">The cover sheet of Anton Rammler's <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 2341/1824)</span><br /></div>
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Rammler's widow Antonia died five months after her husband on 30 October 1824 in Count Batthyány's house in the Leopoldstadt (A-Wsa, Totenbeschreibamt 155, R, fol. 44v, and Mag. ZG, A2, 2341/1824).<br />
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<b>4) Joseph Scheiger</b>
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<br /> Joseph Scheiger was born on 29 March 1799, at Mariahilf 75, third child of Carl and Theresia Scheiger. He was baptized by the priest Johann Lochi in the Mariahilf parish church with Haydn officiating as godfather.
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg11Ecj9Jx_W8Kp9QcgOOnsY5QyTr-FrdLXtywQUhBVL-WPc1r0QrUkTy3l8zzonFIg18cISYUZmGYLgM5DHswqDVYveSRqNsgAfWIGQsz0A3Fp9Ah31QC87_jhOniRoL-eOQNGb70aQWg/s3501/Joseph+Scheiger+29.3.1797.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="363" data-original-width="3501" height="41" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg11Ecj9Jx_W8Kp9QcgOOnsY5QyTr-FrdLXtywQUhBVL-WPc1r0QrUkTy3l8zzonFIg18cISYUZmGYLgM5DHswqDVYveSRqNsgAfWIGQsz0A3Fp9Ah31QC87_jhOniRoL-eOQNGb70aQWg/w400-h41/Joseph+Scheiger+29.3.1797.jpg" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Haydn's godson Joseph Scheiger on 29 March 1799 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-02/?pg=429" target="_blank">Mariahilf 2, fol. 415</a>). The mother is mistakenly referred to as "Schneiderstochter".</span><br /></div></div><br /><div>
The fact that Joseph Scheiger was given the same name as his deceased older brother shows the attitude at the time not to see the death of children as a bad omen and to relentlessly give subsequent children the same first name. This is reminiscent of Ludwig van Beethoven, Franz Jakob Freystädtler, and Jakob Dont who received the first names of brothers who had died before them. The choice of names was reduced anyway, as long as there was such a prominent godfather available. Joseph Scheiger died of "bösartige Blattern" (malignant smallpox) on 24 July 1802 in his parents' apartment at Marialhilf 75. He was buried on the following day in the Hundsturm cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-02/?pg=174" target="_blank">Mariahilf 2, fol. 170</a>).<br />
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF87AZ7Etu-iQKZlP2mdNWl5nR2XwJVuR2fm-amajGibtRCGIEvHJOAAidhPfV4ePBfJoX06-aCFNITMKwwovs7igVo4JSkHaAcsxDzN1vdjxdSXDLtLKZsNrAVtPlFv84KNt4qKxscGw/s2043/Joseph+Scheiger+24.7.1802.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="2043" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF87AZ7Etu-iQKZlP2mdNWl5nR2XwJVuR2fm-amajGibtRCGIEvHJOAAidhPfV4ePBfJoX06-aCFNITMKwwovs7igVo4JSkHaAcsxDzN1vdjxdSXDLtLKZsNrAVtPlFv84KNt4qKxscGw/s320/Joseph+Scheiger+24.7.1802.jpg" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the death of Haydn's godson Joseph Scheiger on 24 July 1802 (A-Wsa, Totenbeschreibamt 114, S, fol. 88r).</span><br /></div></div>
<blockquote> Scheiger Karl, Silberarbeitergesell, sein Kind Joseph, ist bey der weißen Schwanen N° 75. zu Maria Hilf, an bösart[igen] Blattern besch[au]t. word[en]. alt 3. Jr: <u>Pibitz</u>.</blockquote>
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<b>5) Carl Scheiger</b>
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<br /> Carl Scheiger was born on 26 March 1801, at Mariahilf 75, fourth child of Carl and Theresia Scheiger and baptized in the Mariahilf parish church. Haydn officiated as godfather and was present at the ceremony.<br />
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCnm9vqsHI2kM_5H7VotJeRTEeuncZ0H1XJS8WLaB0J5KkibcxZEq1rx5Wp6a-aafR2YPEFY3ufjbciqf0bOMkSd0GeATc3GrB76cr2ACa_3a02kibcGSY_ZLiNFSR_E8VAWkD8ci8CK0/s3450/Carl+Scheiger+26.3.1801.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="3450" height="36" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCnm9vqsHI2kM_5H7VotJeRTEeuncZ0H1XJS8WLaB0J5KkibcxZEq1rx5Wp6a-aafR2YPEFY3ufjbciqf0bOMkSd0GeATc3GrB76cr2ACa_3a02kibcGSY_ZLiNFSR_E8VAWkD8ci8CK0/w400-h36/Carl+Scheiger+26.3.1801.jpg" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Haydn's godson Carl Scheiger on 26 March 1801 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-03/?pg=14" target="_blank">Mariahilf 3, fol. 11</a>). </span><br /></div></div><br /><div>
Carl Scheiger became a goldsmith's apprentice. At the time of his father's death in 1820, he was still living with his parents at Neubau 224 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=u-cZLRnT0H0YVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070657" target="_blank">Neubaugasse 58</a>). The entry in Karl Scheiger's <i>Sperrs-Relation</i> concerning his two surviving children reads as follows: "Karl Scheicher 17 J: Goldarbeiterlehrjung im Sterborte Joseph Scheicher 14 J: Gürtlerlehrjung bei H: Fels am Schottenfeld.".<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjYJApOMpWkWsoWvz-r-7Vy2mZPsA3kNN_qFV725cp-DRyl9tSSukzeD6hIczVbjxumRjLgHyYZFVH1FDk7nu7NBE4MH2qcRSMG8n1Eawhu7PNG7HWN6r4hUHIshr00p6X_OKhuNCs_Bw/s1819/A2%252C+550_1820+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="1819" height="86" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjYJApOMpWkWsoWvz-r-7Vy2mZPsA3kNN_qFV725cp-DRyl9tSSukzeD6hIczVbjxumRjLgHyYZFVH1FDk7nu7NBE4MH2qcRSMG8n1Eawhu7PNG7HWN6r4hUHIshr00p6X_OKhuNCs_Bw/w400-h86/A2%252C+550_1820+%25281%2529.jpg" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry in Karl Scheiger's probate file concerning his two minor sons (A-Wsa, Mag. ZG, A2, 550/1820)</span><br /></div></div><div><br />
Since Carl Scheiger is not listed anymore in his mother's 1836 probate file, he must have died between 1820 and 1836.<br />
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<b>6) Josepha Strasser</b>
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Josepha Strasser was born on 29 October 1802, in the house Mariahilf 74 ("Goldener Adler", last number 63, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=rdZRRoryGkbgDJJEVNP6Q-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070231" target="_blank">Mariahilfer Straße 48</a>) and baptized by her uncle, the Barnabite friar Severin Strasser (1757–1824) in the Mariahilf parish church. Haydn was present at the ceremony. In the register he is given as "Joseph Heyden Docktor der Tonkunst und Fürst Esterhasischen[<i>sic</i>] Kappelmeister".</div><div style="text-align: center;">
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<span style="font-size: x-small;"><span style="font-size: x-small;">The entry concerning the baptism of Haydn's goddaughter Josepha Strasser on 29 December 1802 </span> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-03/?pg=96" target="_blank">Mariahilf 3, fol. 90</a>).</span><br /></div><div>
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Josepha Strasser was the fifth child of Karl Strasser, the <i>Regenschori</i> of the Mariahilf parish and his wife Rosina, née Wendl. The musician Karl Strasser has not appeared
in Haydn's biography so far. It was not previously known that Haydn had a personal relationship with the choirmaster of Mariahilf.<br />
<br />
<u>Karl Strasser</u>
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Karl Strasser was the last and most important representative of a family of church musicians that consisted of three generations. The first documented musician of this family was Johann Georg Strasser (born around 1700), who was a choir musician in the parish of St. Ulrich and died on 2 April 1770 (A-Wsa, Totenbeschreibamt 64, S, fol. 15v) at the
house "Zum Goldenen Pelikan" in St. Ulrich (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=ZVBSRgVrIkbgDJJEVNP6Q-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070327" target="_blank">Burggasse 25</a>). His probate file and interesting will survive in the court files of the Patrimonialherrschaft Schotten (A-Wsa, Serie 2.1.1.16.A1/2.18882).
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Johann Georg Strasser's son Johann Georg, who was born on 26 April 1736 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-22/?pg=439" target="_blank">St. Ulrich, 22, fol. 219r</a>), at the house "Zum großen wilden Mann" on the Spittelberg (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=zKNVRji3IUbgDJJEVNP6Q-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10190162" target="_blank">Breite Gasse 9</a>),
also became a church musician. When on 24 August 1756, he married Usula Buchhof from Klosterneuburg, he was referred to as "Chor<span style="font-size: xx-small;">=</span>Regens in d Kaÿl: Königl: Kriegs<span style="font-size: xx-small;">=</span>Schull<span style="font-size: xx-small;">=</span>Kirchen" (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-23/?pg=517" target="_blank">St. Ulrich 23, fol. 255r</a>). This so-called "Kriegs-Schull" was the <i>K.K. Ingenieursakademie</i> (also referred to as "K.K. Emanuelisches Stüft", today's <a href="https://de.wikipedia.org/wiki/Stiftskaserne" target="_blank">Stiftskaserne</a>), and the church of this institution was the <a href="https://de.wikipedia.org/wiki/Stiftskirche_(Wien)" target="_blank">Stiftskirche</a>. Strasser's activity as choirmaster at this church is also documented on the occasion of the baptisms of his 16 children. The entry concerning the baptism of his son Georg Philipp (the future above mentioned Barnabite friar) on 24 November 1757, also describes Johann Georg Strasser as choirmaster at the "Kriegs<span style="font-size: xx-small;">=</span>Schull<span style="font-size: xx-small;">=</span>Kirchen"<i> </i>(<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-29/?pg=273" target="_blank">St. Ulrich 29, fol. 135r</a>). Johann Georg Strasser the Younger died on 4 May 1792, at the "Goldener Adler" in Mariahilf (A-Wsa, Totenbeschreibamt 97, S, fol. 38v). He was survived by three children: Georg, Karl, and Anna (A-Wsa, Domkapitel A1b, A11/471). His widow Ursula died on 28 August 1802, in Mariahilf (A-Wsa, Domkapitel A1b, A13/814). In the death records she is referred to as "eines Regens<span style="font-size: xx-small;">=</span>Chori hinterl. Wittwe" (A-Wsa, Totenbeschreibamt 114, S, fol. 104r).<br />
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Karl Strasser was born his parents' fifth child on 2 November 1763, at the "Goldener Pelikan" in St. Ulrich (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-31/?pg=221" target="_blank">St. Ulrich, 31, fol. 109r</a>). His godfather was the lawyer and court official Johann August Romani (1691–1774). Karl Strasser was not only choirmaster at the Mariahilf parish, like his father, and grandfather, he also taught music at the <i>Ingenieursakademie</i>. At the time of his wedding on 18 May 1795, to Rosina Wendl, daughter of a manservant from <a href="https://de.wikipedia.org/wiki/Parsberg" target="_blank">Parsberg</a>, his profession was given as "Vorstadt Regenschori" (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-31/?pg=222" target="_blank">St. Ulrich 31, fol. 221</a>).
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<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiGC4MaZ5qj5rvhiMzn-pozd5_XbCwrE3mbK5i-CJYWHwlvWnrAybrQiq2AjFTT9BEZ3J_Dak_vZsvepYMaqX9F2t4qbN3Bqg-_5gqysL6FNsRja-c_mQBFBjMgaktWhxFmM7jcn183Sfyhws9kRY_BMQURsH-heozKQeHoBOVJ6wh5Y-9zLlIyhYsp=s1493" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1493" data-original-width="1017" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiGC4MaZ5qj5rvhiMzn-pozd5_XbCwrE3mbK5i-CJYWHwlvWnrAybrQiq2AjFTT9BEZ3J_Dak_vZsvepYMaqX9F2t4qbN3Bqg-_5gqysL6FNsRja-c_mQBFBjMgaktWhxFmM7jcn183Sfyhws9kRY_BMQURsH-heozKQeHoBOVJ6wh5Y-9zLlIyhYsp=s320" width="218" /></a></div><div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-size: x-small;">The seals and signatures on the second page of Karl Strasser's and Rosina Wendl's marriage contract dated 5 May 1795 </span>(A-Wsa, Domkapitel A1b, A13/865)</span><br /></div><div>
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Similar to his father, Strasser's professional activity is also documented in the baptismal books of the Mariahilf parish. Once he is described as "Regens Chori und Musickmeister im K:K: Theresiano" (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-02/?pg=329" target="_blank">Mariahilf 2, fol. 319</a>), another time he is referred to as "Regens Chori und Musick Meister in der K.K. Inschenieur Academie" (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-02/?pg=508" target="_blank">Mariahilf 2, fol. 488</a>). The fact that the godfather of Karl Strasser's first son Franz Sales (b. 10 Jun 1798) was a Count Khevenhüller-Metsch (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-02/?pg=384" target="_blank">Mariahilf 2, fol. 373</a>) certainly had something to do with Strassers work at one of these institutions. The birth of Josepha Strasser in December 1802, combined with medical malpractice, led to her mother's death from childbed fever three weeks later. At the time of her death on 20 January 1803, Rosina Strasser was 27 years old. The death register gives her cause of death as "nervöses Kindbettfieber" (A-Wsa, Totenbeschreibamt 116, S, fol. 7v). She was survived by her husband and two daughters: "Antonia, aged 5 years" and "Josepha, aged 3 weeks" (A-Wsa, Domkapitel A1b, A13/865). Haydn's goddaughter Josepha Strasser died at the age of three on 19 September 1805, of "Auszehrung" (consumption).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgNTjbfilpialO1kSCmNZCKCr7ihO69rIm9Z_V7-jp15N_CFN2z2D_emkrMxzbtwWKN3J4Zsb8LYmchqptvF4Lptte0lPXx5OdFjeZTZV91k081wfwUDd_98k8URPTbB41gC-KUbl8qeVPvoWh9y4x1vDBGzUz53HWCFiEE70dH61VjVN0JSVcCLmaT=s1688" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="352" data-original-width="1688" height="67" src="https://blogger.googleusercontent.com/img/a/AVvXsEgNTjbfilpialO1kSCmNZCKCr7ihO69rIm9Z_V7-jp15N_CFN2z2D_emkrMxzbtwWKN3J4Zsb8LYmchqptvF4Lptte0lPXx5OdFjeZTZV91k081wfwUDd_98k8URPTbB41gC-KUbl8qeVPvoWh9y4x1vDBGzUz53HWCFiEE70dH61VjVN0JSVcCLmaT=s320" width="320" /></a></div><div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-size: x-small;">The entry in the municipal death register concerning the death of Haydn's goddaughter Josepha Strasser on 19 September 1805 </span> (A-Wsa, Totenbeschreibamt 119, S, fol. 96r).</span><br /></div></div>
<blockquote> Straßer H[err] Karl, Regenschori, sein Kind Josepha, ist beim golden Adler <strike>N</strike>° 74. zu Mariahilf, an der Auszehr[ung] versch[iedenj] alt: 3. Jr. <u>Pierner</u></blockquote>
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During his later life, Karl Strasser took over choirmaster duties at other churches as well. He became <i>Regenschori</i> at St. Michael's and also worked at the <i><a href="https://de.wikipedia.org/wiki/Deutschordenskirche_(Wien)" target="_blank">Deutschordenskirche</a></i> and the <i><a href="https://de.wikipedia.org/wiki/Kapuzinerkirche_(Wien)" target="_blank">Kapuzinerkirche</a></i>. At the same time, he continued teaching at the <i>Ingenieursakademie</i>. Karl Strasser died of tuberculosis on 26 April 1823, at the house Mariahilf 88 ("Zwey Linden", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=jv5TRtFeHUbgDJJEVNP6Q-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10220436" target="_blank">Stiftgasse 7</a>). The entry concerning his death in the <i>Totenbeschauprotokoll</i> reads as follows: "Strasser H. Kaspar[<i>sic!</i>], Regens Chorÿ in d. K.K. Hofpfa<span style="text-decoration: overline;">r</span>, zu St. Michael u. zu Mariahilf, Profeßor der Musick, in d. K.K. Ingenieur<span style="font-size: xx-small;">=</span>Academie, und Hausinhaber, zu Reindorf, Witwer, in 2. Linden, <strike>N</strike>. 88. zu Mariahilf, an d. Schwindsucht, alt 59. Jr. früh 9. Uhr." (A-Wsa, Totenbeschreibamt 153, S, fol. 34v). Karl Strasser was survived by his daughter Antonia and his brother Severin. Although he owned a small country house (Fünfhaus 89, today <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=CHs8RmGVCUZ5eI9EVNP6QxwpAtZGVBFvuBteonQ1N1C4dSRsFho0FA-b-b&bmadr=10231405" target="_blank">Fünfhausgasse 7</a>) and a piece of land, the value of his estate was totally offset by debts. On 28 April 1823, Strasser was buried in the <a href="https://www.geschichtewiki.wien.gv.at/Schmelzer_Friedhof" target="_blank">Schmelz cemetery</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-03/?pg=216" target="_blank">Mariahilf 3, fol. 257</a>).<br />
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<div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-size: x-small;">The cover sheet of Karl Strasser's <i>Sperrs-Relation</i> </span> (A-Wsa, Domkapitel A1b, A17/73).</span><br /></div><div>
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiHjkq8dn85WE6D3T465z0phThDjL1-pF5D5DaKOfbEJg_QE6ODIwfYT212eK_E1-Jj6cT7_YqTM4ZQBpW4WAuVhhYHPGlkhjLqJPjQ7CjTk0BVjGTRt6eTzRtWxWuw2IPdWGEXx2QCSGyvmK1fIQnFWiIPRcMtEomLUP-XfunDrYQVHkjLbWQRk7qY=s672" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="672" height="182" src="https://blogger.googleusercontent.com/img/a/AVvXsEiHjkq8dn85WE6D3T465z0phThDjL1-pF5D5DaKOfbEJg_QE6ODIwfYT212eK_E1-Jj6cT7_YqTM4ZQBpW4WAuVhhYHPGlkhjLqJPjQ7CjTk0BVjGTRt6eTzRtWxWuw2IPdWGEXx2QCSGyvmK1fIQnFWiIPRcMtEomLUP-XfunDrYQVHkjLbWQRk7qY=w200-h182" width="200" /></a></div><div>
<div style="text-align: center;">
<span style="font-size: x-small;">The seal of Karl Strasser (A-Wsa, Domkapitel A1b, A13/865)</span></div><div>
<br />
<b>7) Franz Xaver Anton
Türkshofer</b><br />
<br />
Franz Xaver Anton Türkshofer was baptized on 28 February 1803, in the Gumpendorf parish church. Haydn was unable to attend the ceremony and was represented as godfather by the city official Franz Xaver Disenni. The entry in the register concerning the godfather reads as follows: "H: Joseph Haydn, Doktor der Tonkunst, u: Fürst Esterhazzischer Kapellmeister e[ius] l[oco] Franz Xav: Dissenni, Kanzellist." Franz Disenni (ca. 1760–1827) was a son in law of Haydn's sister-in-law Barbara Scheiger (b. 1726). On 13 January 1801, in the <a href="https://de.wikipedia.org/wiki/Paulanerkirche_(Wien)" target="_blank">Paulanerkirche</a>, Disenni had married Barbara Scheiger junior, when Haydn officiated as the bride's witness. Two of Disenni's own children, born in 1801 and 1803, were also godchildren of Haydn (Lorenz 2014). <br />
<br /></div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9QEvPND7fkww1J_-u7vfgSJcv1z4IKqbmUTdWZGSHq98b_OjBJWdEW9Y_UbjL6r3ejR9o7nA_Q8hlofw94wg8s1sC_0gcp8TRNpqnqgG5jypPzE7liaLp0eaMAXzIp_y-CNi7h2ZYvwA/s3365/Franz+Xaver+T%25C3%25BCrkshofer+28+February+1803.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="3365" height="60" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9QEvPND7fkww1J_-u7vfgSJcv1z4IKqbmUTdWZGSHq98b_OjBJWdEW9Y_UbjL6r3ejR9o7nA_Q8hlofw94wg8s1sC_0gcp8TRNpqnqgG5jypPzE7liaLp0eaMAXzIp_y-CNi7h2ZYvwA/w400-h60/Franz+Xaver+T%25C3%25BCrkshofer+28+February+1803.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the baptism of Franz Xaver Türkshofer on 28 February 1803 in Gumpendorf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=105" target="_blank">Gumpendorf 14, fol. </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=105" target="_blank">103</a>)</span><br /></div>
<br />
Franz Xaver Türkshofer was a son of Jakob Türkshofer, former administrator of a dominion in north-eastern Lower Austria, who since 1801, together with his wife Anna, owned the house Windmühle 72, left (south) of Haydn's house. Biographically Jakob Türkshofer is still a little difficult to grasp. He was born around 1750, presumably in Lower Austria. On 14 May 1799, in <a href="https://de.wikipedia.org/wiki/Hauskirchen" target="_blank">Hauskirchen</a>, he married Anna Maria Dietrich (b. 30 Oct 1776, <a href="https://data.matricula-online.eu/de/oesterreich/wien/hauskirchen/01%252C2%252C3-02/?pg=169" target="_blank">Hauskirchen 2, 163</a>), daughter of Johann Paul Dietrich from Hauskirchen (<a href="https://data.matricula-online.eu/de/oesterreich/wien/hauskirchen/02-04/?pg=11" target="_blank">Hauskirchen 4, fol. 9</a>). At that time, Türkshofer lived in the village of Zistersdorf and was described as "Gewester Kanzley Beamter" (former office clerk). Around 1800, he moved to Vienna where in March 1801 he bought the house Windmühle 72.<br /><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRS5OXEx9CSH0MuPI-3DAeHP2ikRlGKE1jQgcYPxskBxYqGzHX9tig5yvNwp5692sp1yhdW506KNhUWBnuZ8sRt5nccFqf_24pJC-8R_gJzrwO2BcTL23qgVnHgcYGISCJ8Gu_njXkVLs/s1100/B123.8%252C+fol.+343r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1034" data-original-width="1100" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRS5OXEx9CSH0MuPI-3DAeHP2ikRlGKE1jQgcYPxskBxYqGzHX9tig5yvNwp5692sp1yhdW506KNhUWBnuZ8sRt5nccFqf_24pJC-8R_gJzrwO2BcTL23qgVnHgcYGISCJ8Gu_njXkVLs/s320/B123.8%252C+fol.+343r.jpg" width="320" /></a></div><div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the guaranty of ownership of the house Windmühle 72 decreed on 10 December 1802 for Jakob Türkshofer and his wife (A-Wsa, Patrimonialherrschaften B123.8, fol. 343r)</span><br /></div><div><br />
<blockquote>
Herr Jakob Türkshofer, und Anna seine Frau Ehegattin empfangen zufolge Magistratsverordnung vom 10 Dezember 1802. die Gewähr um das Haus <strike>N</strike>° 72 auf der Windmühle in der unteren Steingasse bei Gumpendorf, zwischen des Johann Ertl, und Herrn Joseph Heydn Hausern gelegen, welches vermöge des inliegenden Rüsses in jeder Breite vorwärts an der Strasse sowohl, als auch rückwärts an der Wasserunze zehn Klafter, in der Länge neben H: Heydn achtzehen Klafter fünf Schuhe sechs Zolle, und neben den Ertl neunzehen Klaftern fünf Schuhe hält. Davon dienet man der Stadt Wien jährlich zehen Kreuzer zum Grunddienste. Um dieses Haus waren vorhin in diesem Gewährbuche Fol: 341 Frau Helena Bossenius, und ihr minderjähriger Sohn Adolph vergewähret, von welchen das selbe die Anfangs besagten Türkshofer[ischen] Eheleute mit obervormundschaftlicher Begnehmigung vermöge eines unterm 6<span style="font-size: x-small; vertical-align: super;">ten</span> März 1801. geschlossenen Kontraktes erkauft, und durch schriftliche Aufsandung eigentümlich überkommen haben. Mag demnach damit Nutzen geschafet werden, wie Grundbuchsrecht ist; jedoch der Grundobrigkeit an ihren Rechten nichts benommen, und daß zur Erhaltung der Strasse jederzeit verhältnißmässig beigetragen werde.<br /> Wien den 13<span style="font-size: x-small; vertical-align: super;">ten</span> September 1804.
</blockquote>
<i>[translation:] </i>
<br />
<blockquote>
According to the municipal decree of 10 December 1802, Mr. Jakob Türkshofer and his wife Anna receive the guaranty of ownership for the house No. 72 on the Windmühle in the Untere Steingasse near Gumpendorf, between the houses of Johann Ertl and Mr. Joseph Haydn which, according to the attached ground plan, in breadth forwards to the street as well as backwards along the
water channel has ten fathoms, in length next to Mr. Haydn eighteen
fathoms, five feet, and six inch, and next to Mr. Ertl measures nineteen fathoms, and five
feet. The annual property tax to be paid to the City of Vienna is ten kreutzers. According to fol. 341 of this land register, ownership of this house had been granted to Ms. Helena Bossenius and her underage son Adolph from whom the said Türkshofer couple, with the guardian's permission, purchased the same by means of a contract concluded on March 6th, 1801, and acquired it by means of a written transfer of ownership. Thus, benefit may be created, as is the land register law; however, the dominion should not be deprived of its rights, and a proportionate contribution should be made for the maintenance of the road at all times.<br /> Vienna, September 13th, 1804.
</blockquote>
<br />
The entry concerning the house Windmühle 72 (last number 83, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=z3JHRry4EEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10068741" target="_blank">Haydngasse 17</a>) in the <i>Dienstbuch</i> of the archbishopric shows the sequence of owners from 1784 until 1806. After the death of Johann Georg Bossenius (one of Haydn's neighbors in 1793) on 20 December 1797 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17971230&seite=9&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 30 Dec 1797, 3877</a>), the house Windmühle 72 went to Helena Bossenius and her son Adolph (A-Wsa, Patrimonialherrschaften B123.8, fol. 341). On 6 March 1801, with the approval of Adolph Bossenius's guardian, these two sold the house to the Türkshofer couple.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtBbN6Dv8tCzlatZ6MeLT1x0TRvDSe5iCq1esAvBHXTEKvjo4y4fPA6ZVvOMUGG7cQRcXS-1zOS6OB6TzrLoea27c_lgAVMKAidMM9sMhqOC1sNEjBD2zmc1uRcAgUzEHfx5U0JXNsWWo/s1269/B123.3%252C+fol.+245v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="928" data-original-width="1269" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtBbN6Dv8tCzlatZ6MeLT1x0TRvDSe5iCq1esAvBHXTEKvjo4y4fPA6ZVvOMUGG7cQRcXS-1zOS6OB6TzrLoea27c_lgAVMKAidMM9sMhqOC1sNEjBD2zmc1uRcAgUzEHfx5U0JXNsWWo/s320/B123.3%252C+fol.+245v.jpg" width="320" /></a></div><div style="text-align: center;">
<span style="font-size: x-small;">The sequence of guaranteed owners of the house Windmühle 72 (83) between 1784 and 1806 in the <i>Dienstbuch</i> of the archbishopric (A-Wsa, Patrimonialherrschaften B123.3, fol. 245v)</span><br /></div><div><br />
In a directory from 1803 Jakob Türkshofer is listed as <i>Armenvater</i> and described as "gew. herrschaftlicher Wirthschaftsbeamter auf dem Lande, Hausinhaber auf der Windmühle in der kleinen Steingasse bey Gumpendorf Nro. 72, wohnt daselbst" (<a href="https://books.google.at/books?id=2X1iAAAAcAAJ&pg=PA58" target="_blank"><i>Verzeichniß</i> 1803, 58</a>). In a house register from 1805 Türkshofer appears right before Haydn as owner of the house Windmühle 72 (<a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/343632" target="_blank">Grosbauer 1805, 134</a>).<br />
<br />
<b>8) Joseph Karl Scheiger</b>
<br />
<br />
Joseph Karl Scheiger was born on 12 November 1804, at Mariahilf 75 (see above), and baptized in the Mariahilf parish church. Haydn could not attend the ceremony and was represented by the parish's choirmaster Karl Strasser. The entry concerning the godfather reads as follows: "Joseph Haiden Dr: der Tonkunst statt seiner Karl Strasser Regens Chori".<br />
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJNJrH2lTwl7nkEJmWdyjmuBiExt29s5RVsnP8eX552wGqXa9J9_irJV-abZC-kGNmEm2sgOIE2V-DrmcTcV2euOhutogmOrFyjkxdO0EV39dlXWuL3D6VIvYcDimDsylmOA_VsnT3-k/s3562/Joseph+Karl+Scheiger+12.11.1804.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="3562" height="38" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJNJrH2lTwl7nkEJmWdyjmuBiExt29s5RVsnP8eX552wGqXa9J9_irJV-abZC-kGNmEm2sgOIE2V-DrmcTcV2euOhutogmOrFyjkxdO0EV39dlXWuL3D6VIvYcDimDsylmOA_VsnT3-k/w400-h38/Joseph+Karl+Scheiger+12.11.1804.jpg" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Haydn's godson Joseph Karl Scheiger on 12 November 1804 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-03/?pg=194" target="_blank">Mariahilf 3, fol. 183</a>). </span><br /></div></div><br /><div>As mentioned above, at the time of his father's death in 1820, Joseph Scheiger was described as "Gürtlerlehrjung bei H: Fels am Schottenfeld." (belt maker's apprentice with Mr. Fels in <a href="https://www.geschichtewiki.wien.gv.at/Schottenfeld_(Vorstadt)" target="_blank">Schottenfeld</a>). Joseph Scheiger's master Ferdinand Fels was a very interesting personality. Born on 24 September 1766 in Matzleinsdorf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-086/?pg=485" target="_blank">St. Stephan 86, fol. 240r</a>), son of Friedrich Carl Fels, a perspective maker of Jewish origin (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-060/?pg=368" target="_blank">St. Stephan 60, 182</a>), he first trained as an optician, and in 1795, established a brass and metal goods factory in his house at Schottenfeld 163 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=KJdDRopyHkbgDJJEVNP6Q-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10071074" target="_blank">Westbahnstraße 35</a>), which he had aptly named "Zum Felsen". In October 1800, Fels took the oath as Viennese citizen. In 1795 he married his second wife Elisabeth Sandler (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-schottenfeld/02-002/?pg=246" target="_blank">Schottenfeld 2, fol. 244</a>) whom he divorced in 1807. His first extramarital son Ferdinand Andreas Fels (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-03/?pg=196" target="_blank">25 Nov 1804</a>) was a musician in the orchestra of Johann Strauss I in 1835 (A-Wsa, Mag. ZG, A2, 461/1835) and also worked as music journalist (<i>Wiener allgemeine Musik-Zeitung</i>, <a href="https://anno.onb.ac.at/cgi-content/anno?aid=awm&datum=18461008&seite=3" target="_blank">8 Oct 1846, 487</a>). Ferdinand Fels seems to have had some influence on his apprentice, because Joseph Scheiger also became a manufacturer of metal goods. In 1831, Scheiger fathered a daughter with a certain Maria Hofmeister. This child was born on 28 December 1831, at a midwife's apartment in Mariahilf and was christened Maria (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-08/?pg=419" target="_blank">Mariahilf 8, fol. 370</a>). Scheiger later took this child into his household and also appointed her universal heir. On 1 July 1844, Joseph Scheiger married Rosalia Dengler (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-07/?pg=178" target="_blank">26 Apr 1823</a>), an innkeeper's daughter from Mariahilf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/02-07/?pg=300" target="_blank">Mariahilf 7, fol. 367</a>). Scheiger's best man was the painter Franz Ritter (1791–1851) with whom Scheiger was acquainted, because Ritter's wife had also lived at Mariahilf 105. The bride was already eight months pregnant and on 24 July 1844, gave birth to a daughter who was christened Theresia on the following day (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-11/?pg=466" target="_blank">Mariahilf 11, fol. 411</a>). Because of the child's premarital conception, Scheiger had to swear an oath of paternity in the presence of two witnesses. This child already died of consumption at the age of 18 days (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-06/?pg=165" target="_blank">Mariahilf 6, fol. 182</a>). In the church records Joseph Scheiger is referred to as "Metallwaren-Arbeiter" and "Metallwarenfabrikant", residing at Mariahilf 105 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=KDNQRnWDHEbgDJJEVNP6Q-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070764" target="_blank">Lindengasse 20</a>). In 1850, Scheiger's family was registered on a conscription sheet of this address. In this document Joseph Scheiger is given as "Metallwaren Erzeuger".<br />
<br />
</div><div style="text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjAAMm2YU2IiQFh3bThuB6Rr7BtbV4q_l7xS8slnzJkDZ1GNyEsHeukEJChGcYljY3k2eZeYSZHLLiVg5zqJjCRvsrbcps3R_0aupZVGw_ZmDp3H0OEetUxC2Siu5DFHKMZNKpIKJDwPG3yF70TPFlP1HmqWZ_XJ3GkItl-d3vZLHnIHZfWRMSuROWl=s1274" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1004" data-original-width="1274" height="252" src="https://blogger.googleusercontent.com/img/a/AVvXsEjAAMm2YU2IiQFh3bThuB6Rr7BtbV4q_l7xS8slnzJkDZ1GNyEsHeukEJChGcYljY3k2eZeYSZHLLiVg5zqJjCRvsrbcps3R_0aupZVGw_ZmDp3H0OEetUxC2Siu5DFHKMZNKpIKJDwPG3yF70TPFlP1HmqWZ_XJ3GkItl-d3vZLHnIHZfWRMSuROWl=s320" width="320" /></a> </span></div><div style="text-align: center;"><span style="font-size: x-small;">Joseph Scheiger's family registered on a conscription sheet of Mariahilf 105 in 1850 and 1856 (A-Wsa, Konskriptionsamt, Mariahilf 105/15v) . The daughter's year of birth was changed into 1847 which makes no sense, considering the following note "verheur[at]".</span><br /></div><div>
<br />
On 13 August 1855, Scheiger's illegitimate daughter Maria Hofmeister married Nikolaus Schwimmer (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/07-schottenfeld/01-023/?pg=210" target="_blank">15 Sep 1827</a>), a goldsmith apprentice from Schottenfeld (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/02-09/?pg=113" target="_blank">Mariahilf 9, fol. 110</a>). On 20 January 1856, Joseph Scheiger's wife Rosalia died of typhus at the age of 32 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-07/?pg=305" target="_blank">Mariahilf 7, fol. 299</a>). At that time, the Scheiger couple's joint assets consisted of a promissory note for 1000 gulden on the house Hernals 360.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEii63jLisIQKzhVRNfYc1olDmBmkTnpZ2lVZGeFjK25CPbFWWtWg4oECZj4dHlpqPXwsk1zGGlTxEqdU5KG7pglCOnLe2beDlV3YSHQ-AQ2av50y9xs_zdlmtG2BOL263VIurAeM3lo6h3Z8mYHVVUWT3Is1TrU-XKg0wzhXW8QZnHAkEIRtlCPL9KH=s1242" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1242" height="258" src="https://blogger.googleusercontent.com/img/a/AVvXsEii63jLisIQKzhVRNfYc1olDmBmkTnpZ2lVZGeFjK25CPbFWWtWg4oECZj4dHlpqPXwsk1zGGlTxEqdU5KG7pglCOnLe2beDlV3YSHQ-AQ2av50y9xs_zdlmtG2BOL263VIurAeM3lo6h3Z8mYHVVUWT3Is1TrU-XKg0wzhXW8QZnHAkEIRtlCPL9KH=s320" width="320" /></a></div><div style="text-align: center;">
<span style="font-size: x-small;">The cover sheet of Josef Scheiger's declaration of inheritance in his wife's probate file (A-Wsa, BG VII, A4, 129/1856)</span><br /></div><div style="text-align: left;"><br />
Thus, when in 1856 the conscription officer revised the entry on the above conscription sheet, he added the notes "gestorben" to Rosalia Scheiger's name and "verheu[rat]" to the daughter's. The death of his wife and the wedding of his daughter made Joseph Scheiger have the following will drawn up which he signed on 11 November 1856.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhO1XBOsTMHeW01hxQ1Hw_h5RO3OEcohBEqsr7ZCwZOhw1RCDGZqnOn9SRKpwqz20dN5jaCo9ThiijOzKd2iLgaAl_ymC_wqgxE3mI77DQB32-leZXm6oE1Bt8_sl-yNsN0LsJ6rTnh9b99J4e4DsTdZnNete_hzAb8HxVQXpndWM-SDRbzPv8tuyn5=s1351" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1013" data-original-width="1351" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhO1XBOsTMHeW01hxQ1Hw_h5RO3OEcohBEqsr7ZCwZOhw1RCDGZqnOn9SRKpwqz20dN5jaCo9ThiijOzKd2iLgaAl_ymC_wqgxE3mI77DQB32-leZXm6oE1Bt8_sl-yNsN0LsJ6rTnh9b99J4e4DsTdZnNete_hzAb8HxVQXpndWM-SDRbzPv8tuyn5=s320" width="320" /></a></div><div style="text-align: center;">
<span style="font-size: x-small;">Joseph Scheiger's will which was written and signed on 11 November 1856 (A-Wsa, BG VII, A9, 20/1871)</span><br /></div><div style="text-align: left;"><br />
<blockquote> Mein letzter Wille.<br />
Im Namen Gottes habe ich bei vollem gesunden Verstande, reiner Vernunft und reichlicher Überlegung diesen meinen letzten Willen dahin festgesetzt und zu Papier bringen lassen.<br />
1. Überlasse ich die Art und Weise meines Begräbnisses, so wie das Lesen heiliger Messen ganz der Bestimmung und Anordnung meiner Universalerbinn.<br />
2. Da die Einsetzung eines Universalerbens die Grundfeste eines Testamentes ist, so ernenne ich hiemit meine im ledigen Stande mit der Maria Hofmeister erzeugte Tochter, Namens Maria Hofmeister verhelichte Schwimmer Goldarbeiters Gattin zur einzigen und alleinigen Haupt<span style="font-size: xx-small;">=</span> und Universalerbi<span style="text-decoration: overline;">n</span> meines sämtlichen, wie i<span style="text-decoration: overline;">m</span>er Namen habenden Vermögens und soll daher auch Niemand auf diesen meinen Nachlass einen Anspruch zu machen berechtiget sein.<br />
Zum Abhandlungspfleger meiner Verlassenschaft ernenne ich ausdrücklich meinen Jugendfreund Josef Gerhardt, Magistrats Offizialen, Mariahilf <strike>N</strike>° 22<br />
Urkund dessen habe ich diesen meinen letzten Willen in Gegenwart dreier zu gleicher Zeit anwesend gewesenen Herrn Testamentszeugen mit ihnen eigenhändig unterschrieben.<br /> Wien am 11. November 1856.<br /> schreibe Eilften November 1856<br />
<br />
Josef Gerhardtmp Josef Scheigermp<br />
als gleichzeitig mit den<br />
beiden übrigen Zeugen anwesend<br />gewesener Testamentzeug Joha<span style="text-decoration: overline;">n</span> Hajek
als ersuchter Zeigner<br /> Franz Jura.<br /> als ersuchter Zeugner
</blockquote>
<br />
<i>[translation:]</i>
<br />
<br />
<blockquote> My last will.<br />
In the name of God, with full sanity, pure reason and ample consideration, I have made this my last will and had it put down on paper.<br />
1. I leave the manner of my burial, as well as the reading of Holy Masses, entirely to the decision and disposition of my universal heir.<br />
2. Since the appointment of a universal heir is the foundation of a will, I hereby appoint my daughter, whom I illegitimately fathered with Maria Hofmeister, named Maria Hofmeister, married Schwimmer, goldsmith's wife, to be the only and sole main and universal heir of all my assets, whatever name they may have, and therefore no one should be entitled to make any claim to my estate.<br />
I explicitly appoint my childhood friend Josef Gerhardt, Magistrate Official, living at Mariahilf N° 22, custodian of my estate.<br />
As a testament to this, I personally signed this will of mine in the presence of three witnesses who were present at the same time.<br /> Vienna, on November 11th, 1856.<br /> written eleventh of November, 1856
</blockquote>
<br />
On 16 May 1856, Josef Scheiger's first grandchild Adolf Josef Schwimmer was born in the house Altlerchenfeld 118 (today <a href="https://goo.gl/maps/a4VPHn99A5w2WMrM8" target="_blank">Tigergasse 20</a>) and baptized two days later in the Altlerchenfeld parish church. The child's godfather was its grandfather Josef Scheiger (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-altlerchenfeld/01-23/?pg=42" target="_blank">Altlerchenfeld 23, fol. 39</a>). In 1856 the Schwimmer family was also registered by a municipal conscription officer as living at Altlerchenfeld 118.<br />
<br />
<div style="text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSYHYmYFlsvKNpZCOkfIoCX-hNPrRIvR7yalVjb_bN9XtKCMqd_NFjfpfCYM3xyLw4Hyvt8QSrWKzDWeA2Om0i3nbnJexq_IE3wLHcVufvnNMqCgrmh-ntdH368oyQXttaEia0XJq-hzZLc68YND8nnhbXY2F-7RLHxLzx-h50Af7lPUt6jWOEY3Lq=s1305" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1013" data-original-width="1305" height="248" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSYHYmYFlsvKNpZCOkfIoCX-hNPrRIvR7yalVjb_bN9XtKCMqd_NFjfpfCYM3xyLw4Hyvt8QSrWKzDWeA2Om0i3nbnJexq_IE3wLHcVufvnNMqCgrmh-ntdH368oyQXttaEia0XJq-hzZLc68YND8nnhbXY2F-7RLHxLzx-h50Af7lPUt6jWOEY3Lq=s320" width="320" /></a> </span></div></div><div style="text-align: center;"><span style="font-size: x-small;">Nikolaus Schwimmer's family registered in 1856 on a conscription sheet of the house Altlerchenfeld 118 (</span><span style="font-size: x-small;"><span style="font-size: x-small;">A-Wsa, Konskriptionsamt, Altlerchenfeld 118</span>). Schwimmer's profession and place of birth are given as "Goldarbeiter Neubau".</span><br /></div><div> <br />
Josef Scheiger's second grandchild Otto Schwimmer was born on 9 October 1857, in Altlerchenfeld (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-altlerchenfeld/01-24/?pg=102" target="_blank">Altlerchenfeld 24, fol. 99</a>). The third grandchild Hedwig Schwimmer was born on 10 October 1858, at the house Schottenfeld 353 (today <a href="https://goo.gl/maps/ZuBPVnPrZHCHwgiJ7" target="_blank">Zieglergasse 35</a>). Josef Scheiger again officiated as the child's godfather (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-schottenfeld/01-054/?pg=295" target="_blank">Schottenfeld 54, fol. 267</a>).<br /> <br />
<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiODGj3t6SA7NeFVQl_wz-uIVQkExOrsgQfLVlFf368KOLWl6d5I0GhTjRsTRZyXbJouNSZXLNj47-J4urKZtJ_67FWFizjk-gEHDFX_G-r2CHC5E43yftq1gZ95_GPqljLFxZOkqA5fo-3VVXNUF3MVrPmDddvqBplmJZopCpByZ_NDqhiediDnQ6W=s852" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="852" height="223" src="https://blogger.googleusercontent.com/img/a/AVvXsEiODGj3t6SA7NeFVQl_wz-uIVQkExOrsgQfLVlFf368KOLWl6d5I0GhTjRsTRZyXbJouNSZXLNj47-J4urKZtJ_67FWFizjk-gEHDFX_G-r2CHC5E43yftq1gZ95_GPqljLFxZOkqA5fo-3VVXNUF3MVrPmDddvqBplmJZopCpByZ_NDqhiediDnQ6W=s320" width="320" /></a></div></div><div style="text-align: center;"><span style="font-size: x-small;">Josef Scheiger's signature in the baptismal entry of his granddaughter Hedwig Schwimmer (Schottenfeld 54, fol. 267)</span><br /></div> <br /> </div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhvRFzvze696dg0J_STrI3_9ucBOxe3oNsRRk-o7TYo8STyAMdHR6MctE0jJ_2q0ts3GmeR-0pA6sFaQssgDxcmrEG1kIc3WdROvzm9H57ZI7vm2EaTQhyq_NHnh7FUWShlG3vyP4SwN8HyFDk-6Xd0VJ_jpdUonUKvX29CicsJA-V11fhGWIiIRK6q=s1381" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="945" data-original-width="1381" height="219" src="https://blogger.googleusercontent.com/img/a/AVvXsEhvRFzvze696dg0J_STrI3_9ucBOxe3oNsRRk-o7TYo8STyAMdHR6MctE0jJ_2q0ts3GmeR-0pA6sFaQssgDxcmrEG1kIc3WdROvzm9H57ZI7vm2EaTQhyq_NHnh7FUWShlG3vyP4SwN8HyFDk-6Xd0VJ_jpdUonUKvX29CicsJA-V11fhGWIiIRK6q=s320" width="320" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The house Lindengasse 20, "Zum goldenen Hirsch", where Josef Scheiger's metal goods factory was located (A-Wsa, Fotoarchiv Gerlach, FC1.7529M)</span><br /></div></div><br /><div>
As of 1870, Josef Scheiger is documented to have opposite his former workshop lived at Lindengasse 21.<br />
<br />
</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjaaWK9FBfXCuuDdBe7xmFHvdzWv7xGyfJez2-ZovyKZiqGbupydNb64Eznuim-QUG5D9Bc3A46Vq8COmy6VOiH9UyAyGgltaVmDvW8uuDmpyKBDHrq_yizU_5B8GVVcXdMMPvtvvF_r30gELh65MdlsHAYIQ4Q5zgjRp6ESi0oHWfMaOyOHue1_RNU=s1096" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1096" data-original-width="925" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjaaWK9FBfXCuuDdBe7xmFHvdzWv7xGyfJez2-ZovyKZiqGbupydNb64Eznuim-QUG5D9Bc3A46Vq8COmy6VOiH9UyAyGgltaVmDvW8uuDmpyKBDHrq_yizU_5B8GVVcXdMMPvtvvF_r30gELh65MdlsHAYIQ4Q5zgjRp6ESi0oHWfMaOyOHue1_RNU=s320" width="270" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The widower Josef Scheiger in the <i>Kartei der Ausgeschiedenen</i> of the Magistratsabteilung 116 (A-Wsa, 1.3.2.116.K1/KA - Heimatrolle: Kartei der Ausgeschiedenen, Scheiger, Josef)</span><br /></div><br /><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: DE-AT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: DE-AT;">Josef
Scheiger died of tuberculosis on 3 March 1871, in the house Lindengasse 21 </span>(<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-09/?pg=192" target="_blank">Mariahilf 9, fol. 189</a>). Two days later, he was buried in the Schmelz cemetery. His probate file does not survive in the holdings of the Neubau district court.<br />
<br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-09/?pg=192"></a><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi9f6giIP0-qjti2h2OCER1JRCet6uhLRQi-bo075CFhNfDnQeVhoiGDDhLKlSE5yZpHJ8hPdcl1rscjflEfI3lac98Noew45PiWpP9HKBARkiSSkCP9353GnDkQcCSTQLEL0oGGiU-7O3x6ME2lIrJqxcXaiYYHHA9WQqOV-x3NCUqnvhNGt_ro2YP=s1875" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="191" data-original-width="1875" height="41" src="https://blogger.googleusercontent.com/img/a/AVvXsEi9f6giIP0-qjti2h2OCER1JRCet6uhLRQi-bo075CFhNfDnQeVhoiGDDhLKlSE5yZpHJ8hPdcl1rscjflEfI3lac98Noew45PiWpP9HKBARkiSSkCP9353GnDkQcCSTQLEL0oGGiU-7O3x6ME2lIrJqxcXaiYYHHA9WQqOV-x3NCUqnvhNGt_ro2YP=w400-h41" width="400" /></a></div><div style="text-align: center;"><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/03-09/?pg=192"></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry in the municipal death register concerning Josef Scheiger's death on 3 March 1871 (A-Wsa, Totenbeschreibamt 311a, fol. 32). The cause of Scheiger's death is only documented in the parish register.</span><br />
</div>
<br />
<u>The Schwimmer descendants</u><br />
<br />
Although the genealogy of Josef Scheiger's descendants is not the subject of this study, it is interesting to take a short look at the following generations of the family of Scheiger's son-in-law Nikolaus Schwimmer. Schwimmer's father, the carpenter Kaspar Schwimmer (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/korneuburg/01-06/?pg=111" target="_blank">4 Jan 1800</a> in Korneuburg), died on 6 February 1866 in Mariahilf (A-Wsa, Totenbeschreibamt 291a, fol. 18).
Owing to poverty, no probate file was drawn up for him. In 1870, Nikolaus Schwimmer's family is documented as living in the house <a href="https://goo.gl/maps/4hAuf4otZKYqdeHs5" target="_blank">Bandgasse 11</a> in the Neubau district. On the relevant catalog card of the <i>Kartei der Ausgeschiedenen</i>, the son Adolf Schwimmer (Josef Scheiger's grandson) is listed as "Goldarbeiter" (goldsmith) and as having received a passport abroad in 1874. The daughter Hedwig Schwimmer is given with the note "Schule" (attending school).<br />
<br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgTDPmPaIkeCiUGwKY8lTJzsio5KErmSrQn5y8yBzdTdJ7oPt471L2BW2Vmf8_PgTr0yMCgJ55oa45LrUET-DkQLoIurfenDnuXIUVaaNZ2qQDWiIRcfN1gcwjWt4fa51RTb9ZlakNPYH4-4SlJtHHkBbT00dDTeUI_hBVNC7agcMUMzbpEndmf8C0T=s1184" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1184" data-original-width="1007" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgTDPmPaIkeCiUGwKY8lTJzsio5KErmSrQn5y8yBzdTdJ7oPt471L2BW2Vmf8_PgTr0yMCgJ55oa45LrUET-DkQLoIurfenDnuXIUVaaNZ2qQDWiIRcfN1gcwjWt4fa51RTb9ZlakNPYH4-4SlJtHHkBbT00dDTeUI_hBVNC7agcMUMzbpEndmf8C0T=s320" width="272" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">Nikolaus Schwimmer's family in the <i>Kartei der Ausgeschiedenen</i> (A-Wsa, 1.3.2.116.K1/KA - Heimatrolle: Kartei der Ausgeschiedenen, Schwimmer, Nikolaus). The family's two previous addresses were Mariahilf 18 and Altlerchenfeld 118 (see above).</span><br /></div></div><br /><div>
In 1890, Nikolaus Schwimmer was registered as "Pfründner" (recipient of an alimony) in the municipal poorhouse on Spitalgasse 23.<br />
<br />
<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgr84txRHgwPlGQH8Tj1-aC3-TXhv2zvpEkdSpCx-YUQ-Gquu7R09t9dVYrQLqtyffcLwUhd6fWgiUVjp6qmvckdbcWzUj_MLu712DR6jbBhcS0gw9My9ZmvUYTaaR3b9BGgUcv4NI4SkQr13fsxXz3b0fS_vlmp4zb3wBrlfm5-DuABZD0HeoadJJB=s2235" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2235" data-original-width="1887" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgr84txRHgwPlGQH8Tj1-aC3-TXhv2zvpEkdSpCx-YUQ-Gquu7R09t9dVYrQLqtyffcLwUhd6fWgiUVjp6qmvckdbcWzUj_MLu712DR6jbBhcS0gw9My9ZmvUYTaaR3b9BGgUcv4NI4SkQr13fsxXz3b0fS_vlmp4zb3wBrlfm5-DuABZD0HeoadJJB=s320" width="270" /></a></div></div><div style="text-align: center;"><span style="font-size: x-small;">Nikolaus Schwimmer listed as "Pfründner" in the <i>Kartei der Ausgeschiedenen</i> (A-Wsa, 1.3.2.116.K1/KA - Heimatrolle: Kartei der Ausgeschiedenen, Schwimmer, Nikolaus)</span><br /></div></div><div>
<br />
Nikolaus Schwimmer, whose last regular address had been <a href="https://goo.gl/maps/pVXdcwRbGNPhLCgU6" target="_blank">Windmühlgasse 25</a>, died in this poorhouse on 22 July 1891 of "Gehirnerweichung" (softening of the brain) (A-Wsa, Totenbeschreibamt 429). On 3 February 1883, Nikolaus Schwimmer's son Adolf Schwimmer married Emma Kellner (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/wienerneustadt-neukloster/01-06/?pg=7" target="_blank">1 Feb 1854</a> in Wiener Neustadt) (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-st-josef-ob-der-laimgrube/02-18/?pg=194" target="_blank">St. Josef ob der Laimgrube 18, fol. 190</a>). With his wife Emma, Adolf Schwimmer had a son Franz who was born on 25 January 1886 at Windmühle 25 and baptized at St. Josef ob der Laimgrube (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-st-josef-ob-der-laimgrube/01-42/?pg=173" target="_blank">St. Josef 42, fol. 171</a>). In 1890 Adolf Schwimmer's family lived in Neulerchenfeld at <a href="https://goo.gl/maps/pABa4o4jE9mfH8gT8" target="_blank">Fröbelgasse 45</a>.<br />
<br />
</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjeiAcQXLNQoYydeJIooH4KoOmY9YyVaIwQIU0gri_tPGf2j3HP2yLLx2cmOumhIMPbXhZS7M_prjYlF63nudv2wPcqou4qAiVVSlSVb-R_8hzyOqXo3HTBLYYGIgB-EX-rijybP7vvP5nQVMMGN1odcmJpopAEBf8kA2_lNBOm-u4u22D4gi7LWYCG=s1150" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1150" data-original-width="943" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjeiAcQXLNQoYydeJIooH4KoOmY9YyVaIwQIU0gri_tPGf2j3HP2yLLx2cmOumhIMPbXhZS7M_prjYlF63nudv2wPcqou4qAiVVSlSVb-R_8hzyOqXo3HTBLYYGIgB-EX-rijybP7vvP5nQVMMGN1odcmJpopAEBf8kA2_lNBOm-u4u22D4gi7LWYCG=s320" width="262" /></a><br /></div><div style="text-align: center;">
<span style="font-size: x-small;">Adolf Schwimmer and his family in the <i>Kartei der Ausgeschiedenen</i> (A-Wsa, 1.3.2.116.K1/KA - Heimatrolle: Kartei der Ausgeschiedenen, Schwimmer, Adolf)</span><br /></div><div>
<br />
Adolf Schwimmer's wife Emma died on 21 March 1914 of breast cancer in the <a href="https://de.wikipedia.org/wiki/Klinik_Hietzing" target="_blank">Hietzing hospital</a> (A-Wsa, Totenbeschreibamt 955). Adolf Schwimmer's son Franz learned the trade of a bookbinder. On 19 December 1920, in the <a href="https://de.wikipedia.org/wiki/Rudolfsheimer_Pfarrkirche" target="_blank">Rudolfsheim parish church</a>, Franz Schwimmer married Rosa Johanna Putzendopler (<a href="https://data.matricula-online.eu/de/oesterreich/wien/15-rudolfsheim/02-20/?pg=370" target="_blank">Rudolfsheim 20, fol. 367</a>), a civil servant who had been born in Fünfhaus on 22 June 1892 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/15-fuenfhaus/01-17/?pg=145" target="_blank">Fünfhaus 17, fol. 143</a>), daughter of Johann Putzendopler from <a href="https://goo.gl/maps/HDLD5hgB9yqxbuSP6" target="_blank">Rablern</a> near Andorf (<a href="https://data.matricula-online.eu/de/oesterreich/oberoesterreich/andorf/101%252F08/?pg=277" target="_blank">Andorf 101/8, 256</a>). The couple had a son named Fritz, who was born on 23 January 1922 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/15-rudolfsheim/01-24/?pg=15" target="_blank">Rudolfsheim 24, fol. 11</a>). Franz Schwimmer died of liver cancer on 26 February 1930, in his apartment at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=QCI0RmxUHEYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10119800" target="_blank">Alliogasse 2</a> (A-Wsa, Totenbeschreibamt, 1.1.10.A1, 5056/1930). At the time of his death his profession was given as "Privatbeamter". From two notes in the press we know that at that time he was a district functionary of the Socialist Party (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=aze&datum=19300302&query=%22Franz+Schwimmer%22&ref=anno-search&seite=5" target="_blank"><i>Arbeiter-Zeitung</i>, 2 Mar 1930, 5</a>) and a member of the Austrian society <i>Die Naturfreunde</i> (<a href="https://anno.onb.ac.at/cgi-content/anno-plus?aid=dna&datum=1930&qid=8QTN82WW01DZZGGJFDPF4WYGHABCW8&size=45&page=99" target="_blank"><i>Der Naturfreund</i>, 1930, 77</a>).<br />
<br />
On 9 August 1930, the newspaper <i>Der Wiener Tag</i> reported the suicide of an old man in the district of Fünfhaus.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiy1QBPYzq-p9frGEn-86LfI_5IrpgKqQM15tV2uqY8TxpE25CRM2uPTXzneQPzGM1eYa_2eziXljelrTib01kwyhX0Jg6XxxtGAX3ZJao86FqAYM86mg-InBmnyDgi9fOnATqs-ZpIA_25sPu7UH9Xw5X2zBQU_ZABXKzBD3tBoxNMHtlxem7Y7pTF=s822" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="677" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiy1QBPYzq-p9frGEn-86LfI_5IrpgKqQM15tV2uqY8TxpE25CRM2uPTXzneQPzGM1eYa_2eziXljelrTib01kwyhX0Jg6XxxtGAX3ZJao86FqAYM86mg-InBmnyDgi9fOnATqs-ZpIA_25sPu7UH9Xw5X2zBQU_ZABXKzBD3tBoxNMHtlxem7Y7pTF=s320" width="264" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The report about Adolf Schwimmer's suicide (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=tag&datum=19300809&seite=3" target="_blank"><i>Der Wiener Tag</i>, 9 August 1930, 4</a>) </span><br /></div>
<blockquote>
Suicide of an old man. Because his retirement pension was discontinued. Yesterday afternoon, the 73-year-old goldsmith Adolf Schwimmer hung himself with a belt on a door hinge in his apartment at <a href="https://goo.gl/maps/uyBygJqSM59YALX5A" target="_blank">Kranzgasse 29</a>, and was found dead when the rescue crew arrived. On the table lay a farewell letter in which he announced that he was ending his life, because he could not bear the suspicion that weighed on him. Schwimmer had been employed by a goldsmith in Mariahilf and the firm had granted him an old-age pension of around 18 Schillings a month. Now he had been accused of stealing a few grams of gold. For this reason, his pension was discontinued. The man took this to heart so much that he committed suicide.
</blockquote>
This newspaper report cannot be confirmed by the sources. First, Schwimmer was 74 years of age, second his monthly pension was not 18 Schillings, but 58 Schillings (A-Wsa, BG Fünfhaus, 1A, 687/30). And third, either the suicide note never existed, or it was removed in time. The whole background story about Schwimmer's motive appears to be based on unofficial police information. Adolf Schwimmer's official will, which was filed by the Fünfhaus district court, has nothing to do with the reasons for Schwimmer's suicide. It had already been written in 1922, appointed his friend (and probably housekeeper) Anna Mader sole heir and excluded his son Franz from the inheritance. <br />
<br />
</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjHUG3EnQ9gQ0Z5hFnHeE9PujUqYNY9sh_qdmu-gC8b7fE4Fj2qxyZIa0lYGUDBabEbdptxsCVCT40saWBErR5Qao7Y0-MUNsDVuu6DGioEtsmwOe15Ye941MRTqHIsygDs-FgHrpMkeQ-jyZYdDRayaJ7MDHMk0aSKupiU2sXPUCpj7JknoXMJQ2TA=s1482" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="904" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjHUG3EnQ9gQ0Z5hFnHeE9PujUqYNY9sh_qdmu-gC8b7fE4Fj2qxyZIa0lYGUDBabEbdptxsCVCT40saWBErR5Qao7Y0-MUNsDVuu6DGioEtsmwOe15Ye941MRTqHIsygDs-FgHrpMkeQ-jyZYdDRayaJ7MDHMk0aSKupiU2sXPUCpj7JknoXMJQ2TA=s320" width="195" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">Adolf Schwimmer's will (A-Wsa, BG Fünfhaus, A9, 135/30). In 1942, Anna Mader was still living in Schwimmer's former apartment (<a href="https://www.digital.wienbibliothek.at/wbrobv/periodical/pageview/267251" target="_blank"><i>Lehmann</i> 1942, 483</a>).</span><br /></div> <br />
According to a note in his probate file, Adolf Schwimmer was survived by his eight-year-old grandson Fritz Schwimmer (i.e. Josef Scheiger's great-great-grandson) who was living with his mother, and whose legal guardian was his uncle, Franz Putzendopler, a <i>Zentralinspektor</i> with the Municipality of Vienna, who lived in a service apartment at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=d5ADRuh7FkYU1JREEugKRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10113866" target="_blank">Hütteldorfer Straße 188</a> in what was then the Baumgarten nursing home.<br />
<br />
</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhiFfBaYocposXS8K9wwhks4d03s4opvIusQkHVan69oGjsy0qxZeNrI2naljucXyF4IZS_nnNsNbJXPQLNE6P5ZykthkH-08VzKcWC5_2zCoYbEjTBofSMQn-9EOX32YWokVOIrkNZIBaTWKn3k0kyowxlNTuU3vZ65rJakzOKveOtj3QHOdVcyZd2=s849" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="849" data-original-width="833" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhiFfBaYocposXS8K9wwhks4d03s4opvIusQkHVan69oGjsy0qxZeNrI2naljucXyF4IZS_nnNsNbJXPQLNE6P5ZykthkH-08VzKcWC5_2zCoYbEjTBofSMQn-9EOX32YWokVOIrkNZIBaTWKn3k0kyowxlNTuU3vZ65rJakzOKveOtj3QHOdVcyZd2=s320" width="314" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">The notes concerning his surviving relatives, his parents and his heir in Adolf Schwimmer's <i>Todfallsaufnahme</i> (A-Wsa, BG Fünfhaus, 1A, 687/30).</span><br /></div></div><div>
<br />
<a href="https://onb.digital//result/11198B9B" target="_blank">Franz Putzendopler</a> (1890–1959) was the man who in 1946 was elected president of the Vienna Football Association, and in 1948, for a few months, was the coach of the Austrian national football team. Rosa Schwimmer, née Putzendopler died of uterine cancer on 4 January 1949 in the Baumgarten nursing home (A-Wsa, M.Abt. 212, A12, 59/49). Her death records from 1949 show that her son Fritz Schwimmer had died in the war in 1944. Before that he had married a certain Marie Büchl with whom he had a son named Fritz who was born in 1944 (A-Wsa, BG Fünfhaus, 2A, 48/49). In 1949, this Marie Schwimmer, née Büchl was living with her five-year-old son (Josef Scheiger's great-great-great-grandson) at Burgstraße 8 in <a href="https://de.wikipedia.org/wiki/Lendersdorf" target="_blank">Lendersdorf</a> near Düren.<br />
<br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh_sX9kpPNAQk87Aujf1JCftr7MvRdxxySgSp-hG9HgGVL_78-0dM6M2xpokY3eMSz23Ee-U-q2UiicMwMCCcPgOCXNSMOu45zsEqOamcAe4RaGPbdCeFOAz02lr88WOO3XEFNRZx8KfteJ3w_5WUf4oiXbZG7AnHww2ry7mE4V-QuXhwAoRmlkRJRW=s1315" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1315" data-original-width="901" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh_sX9kpPNAQk87Aujf1JCftr7MvRdxxySgSp-hG9HgGVL_78-0dM6M2xpokY3eMSz23Ee-U-q2UiicMwMCCcPgOCXNSMOu45zsEqOamcAe4RaGPbdCeFOAz02lr88WOO3XEFNRZx8KfteJ3w_5WUf4oiXbZG7AnHww2ry7mE4V-QuXhwAoRmlkRJRW=s320" width="219" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">The entries concerning Rosa Schwimmer's relatives in her <i>Todfallsaufnahme</i> from 1949 (A-Wsa, BG Fünfhaus, 2A, 48/49).</span><br /></div></div><div>
<br />Further research is forstalled by the Civil Status Act. Fritz Schwimmer junior could still be alive today at the age of 78, or he could have been the <a href="https://www.aachen-gedenkt.de/traueranzeige/fritz-schwimmer" target="_blank">Fritz Schwimmer</a> who died on 3 March 2021, in Winden near Düren. But finding that out is not within the purview of Haydn research. We should never forget that exploring the genealogy of peripheral descendants of Haydn's sister-in-law is, for the most part, just a side exercise, a mere genealogical etude.<br />
<br />
<b>9) Anna Theresia Türkshofer</b> <br />
<br />
Anna Theresia Türkshofer was a child of Haydn's neighbor Jakob Türkshofer. She was born 6 February 1805, at 4 a.m. in the house Windmühle 72, and baptized in the Gumpendorf parish church. This time Joseph Haydn was represented by Theresia Scheiger, the daughter-in-law of Haydn's sister-in-law Barbara Scheiger (see above). In the baptismal entry Jakob Türkshofer's profession is given as "Hausinhaber und Rechnungsführer des Armeninstituts" (house owner and accountant of the institute for the poor). The entry concerning the godparent reads as follows: "Theresia Scheicher bürgl: Silberarbeiterin <u>anstatt</u> H: Joseph Haydn, Dokter der Tonkunst und Fürst Esterhazzischer Kapelmeister".<br /></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbth7kf3PA_l22fpm12onqyu3A8pH4wjR-10exxAUS70_B_1YFJKmvOHbUjxPkmos2NUU2gj3untU5SHFM_Eaj2v15ajZAymiiiJ8DNobuRASQCoCocAmXNf4McbcLCUzBa9hAgMjRxMs/s3430/Anna+Theresia+T%25C3%25BCrkshofer+6+February+1805.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="3430" height="41" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbth7kf3PA_l22fpm12onqyu3A8pH4wjR-10exxAUS70_B_1YFJKmvOHbUjxPkmos2NUU2gj3untU5SHFM_Eaj2v15ajZAymiiiJ8DNobuRASQCoCocAmXNf4McbcLCUzBa9hAgMjRxMs/w400-h41/Anna+Theresia+T%25C3%25BCrkshofer+6+February+1805.jpg" width="400" /></a><br /></div><div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the baptism of Anna Theresia Türkshofer on 6 February 1805 in Gumpendorf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=177" target="_blank">Gumpendorf 14, fol. </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=177" target="_blank">1</a><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=177" target="_blank">75</a>)</span><br /></div><div>
<br />
After the death of the owner of the Hauskirchen dominion Moritz Count Kavanagh von Ballyane on 6 April 1801 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18050323&seite=54" target="_blank"><i>Wiener Zeitung</i>, 23 Mar 1805, 1298</a>), the <i>Herrschaft</i> Hauskirchen was sold to Baron Johann Rochus von Dorfleuth in 1803 (<a href="https://books.google.at/books?id=ws1YAAAAcAAJ&pg=PA296" target="_blank">Schweickhardt, 1834, 296</a>). Dorfleuth, a former court chamber official, had established a so-called <i>Navigationsentreprise</i>, and on 1 November 1785, had received the commisson and a 20-year-long privilege from Joseph II to make the March river navigable (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=3967248" target="_blank">AT-OeStA/FHKA SUS Patente 306.15</a>). Because Dorfleuth hired Jakob Türkshofer as <i>Rentmeister</i> (commercial steward) for the Hauskirchen dominion, Türkshofer in 1805 sold his house in Vienna and moved back to the country. On 3 October 1805, Türkshofer and his wife sold the house Windmühle 72 to the master weaver Johann Kunert and his wife Barbara.<br />
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</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid6fVDWgLC0p68jjGdt2shFd-GvCj2EzIgzI3aD_MpzZpPQg77PUlPhfdXpFIfv2pplqyQM9q6N_WLWCnggjJU4zhWY3oxqOZZB9ET2g0GJfVyhQZek0nbWgo-5vIm_8CKVj1xveTYVxo/s1259/B123.9%252C+fol.+33r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1259" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid6fVDWgLC0p68jjGdt2shFd-GvCj2EzIgzI3aD_MpzZpPQg77PUlPhfdXpFIfv2pplqyQM9q6N_WLWCnggjJU4zhWY3oxqOZZB9ET2g0GJfVyhQZek0nbWgo-5vIm_8CKVj1xveTYVxo/s320/B123.9%252C+fol.+33r.jpg" width="320" /></a><br /></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">The second half of the entry concerning the sale of Jakob Türkshofer's house Windmühle 72 (83) on 3 October 1805 to Johann and Barbara Kunert (A-Wsa, Patrimonialherrschaften B123.9, fol. 33r)</span><br /></div></div><br />
<div><blockquote>
[...] Um dieses Haus waren vorhin im erzbischöflichen Gewährbuche N: 4. fol: 343 Herr Jakob Türkshofer, und Anna dessen Ehewirthin vergewährt, welche dasselbe vermögen Kontraktes vom 3<span style="font-size: x-small; vertical-align: super;">ten</span> Oktober 1805 den anfangs benannten Kunertischen Eheleuten verkauft, und durch schriftliche Aufsandung eigenthümlich übergeben haben.[...]
</blockquote>
<i>[translation:]</i>
<br />
<blockquote>
Ownership of this house was previously granted in the archiepiscopal land register No. 4, fol. 343, to Mr. Jakob Türkshofer and his wife Anna who sold it according to the contract of October 3rd, 1805 to the above-named Kunert couple, and handed it over by a written deed.
</blockquote>
Jakob Türkshofer's renewed presence in Hauskirchen is first documented by the birth of his daughter Eleonora there on 29 March 1806 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/hauskirchen/01-04/?pg=50" target="_blank">Hauskirchen 4, fol. 47</a>). In the baptismal register this child's father is described as "Renntmeister bey hiesiger Herrschaft Baron v: Dorfleut". On 20 April 1806, Haydn's goddaughter Anna Theresia Türkshofer died in Hauskirchen of <i>Stöckkathar</i> (suffocating catarrh) at the age of 14 months (<a href="https://data.matricula-online.eu/de/oesterreich/wien/hauskirchen/03-04/?pg=36" target="_blank">Hauskirchen 4, fol. 34</a>). Jakob Türkshofer's last child, which was also christened Anna, was born in Hauskirchen on 9 May 1807 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/hauskirchen/01-04/?pg=52" target="_blank">Hauskirchen 4, fol. 49</a>). This girl already died on 14 September 1807 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/hauskirchen/03-04/?pg=38" target="_blank">Hauskirchen 4, fol. 36</a>). Owing to health problem's, Jakob Türkshofer retired from his position as <i>Rentmeister</i> in 1808. He died on 1 December 1808 of "Nervenschwäche" (nervous debility) at the age of 58 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/hauskirchen/03-04/?pg=40" target="_blank">Hauskirchen 4, fol. 38</a>) and was survived by his wife and four minor children. In the entry concerning his burial and in the convocation, which was published in January 1809, Türkshofer is already given as "gewester Rentmeister". <br />
<br />
</div><div style="text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgcZIDRCup_oNA9HFLVp9R-_Q1B5Br-OwlYOKNjb0Aa9K_e3UFwuBVnfUAjY2ziPMFcpQOcbd3L2czF_0wtLvSdvZujxseLJDINdKvGc2MVTbOXBYDF7WhI4sBADta-OgcQsOAq6vjthC5GlDwHUCluaRcvozOVHnOmzaTdaTSC1Lx-W1AUfi38Ewxw=s687" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="687" height="273" src="https://blogger.googleusercontent.com/img/a/AVvXsEgcZIDRCup_oNA9HFLVp9R-_Q1B5Br-OwlYOKNjb0Aa9K_e3UFwuBVnfUAjY2ziPMFcpQOcbd3L2czF_0wtLvSdvZujxseLJDINdKvGc2MVTbOXBYDF7WhI4sBADta-OgcQsOAq6vjthC5GlDwHUCluaRcvozOVHnOmzaTdaTSC1Lx-W1AUfi38Ewxw=s320" width="320" /></a> </span></div><div style="text-align: center;"><span style="font-size: x-small;">The ad in the <i>Wiener Zeitung</i> concerning the convocation of Jakob Türkshofer's heirs and creditors (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18090114&seite=30&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 14 Jan 1809, 194</a>). The Vienna office of the <i>Herrschaft</i> Hauskirchen was located at Baron Dorfleuth's house Stadt 978 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=q0BGRXMYwEXVu8JGjTcnRu5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052124" target="_blank">Weihburggasse 10-12</a>).</span><br /></div><div>
<br />
Jakob Türkshofer's former employer baron Johann Rochus von Dorfleuth had already died on 13 November 1806, in Vienna (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03-38/?pg=239" target="_blank">A-Wd, 38, fol. 234</a>).
He is buried in the crypt of the <a href="https://de.wikipedia.org/wiki/Pfarrkirche_Hauskirchen" target="_blank">Hauskirchen parish church</a>.<br />
<br />
<b>10) Mathilde von Hohenholz</b> <br />
<br />
Mathilde von Hohenholz was born on 12 July 1805, in the house Gumpendorf 179 (last numbering 279, where today the <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=5k5JRi-avFkZ5eA9EVNN6QxwpAtZGVBFvuBteonQ1N1C4dSRsFhoUMQ-b-b" target="_blank">Millergasse crosses the Mariahilfer Straße</a>). The child was baptized on the following day in the Gumpendorf parish church where Haydn was represented by his housekeeper Anna Kremnitzer (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=194" target="_blank">Gumpendorf 14, fol. 192</a>). The entry concerning the godfather reads as follows: "Anna Kremnitzer Wirthschafterin <u>anstatt</u> H: Joseph Haydn, der Tonkunst Doktor und Fürst Esterhazzischer Kapelmeister".<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_YOTFYW5dca1GdhSvbPZscj2NgqribkfiMSwRIK4RNLL4hwgfohq8JLk57t-ML5uoXjXuY32oGbTKAgdQ0KQREWg83PJWh-SCa-IIirNybIPVaRpcBmidV0UiD6tcZt85SCtfnP0jb7M/s2842/Mathilde+von+Hohenholz+3+July+1805.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="2842" height="49" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_YOTFYW5dca1GdhSvbPZscj2NgqribkfiMSwRIK4RNLL4hwgfohq8JLk57t-ML5uoXjXuY32oGbTKAgdQ0KQREWg83PJWh-SCa-IIirNybIPVaRpcBmidV0UiD6tcZt85SCtfnP0jb7M/w400-h49/Mathilde+von+Hohenholz+3+July+1805.jpg" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Mathilde von Hohenholz on 13 July 1805 in Gumpendorf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=194" target="_blank">Gumpendorf 14, fol. </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=194" target="_blank">1</a><a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=194">92</a>). The date of birth "12. VII. 1808" given by Haan is a reading error (Haan 1957, 70).</span><br /></div>
<br />
Mathilde von Hohenholz was the last of at least ten children of Haydn's physician Franz von Hohenholz and his wife Amalia, née Fischer. Dr. Hohenholz's involvement in Haydn's treatment during the final months of his life is documented by a bill for 234 gulden and 45 kreuzer for medication and Hohenholz's visits between 1 January and end of March 1808, which was presented on 8 April 1808, and approved for payment by Prince Esterházy on 6 June 1808, in Pest (Pohl 1927, 273). About this document Pohl writes: "From this we learn the name of Doctor Hohenholz who treated our master in his last days. This settlement of the medical and pharmacy bills from the princely treasury must have taken place throughout the year." (Pohl 1927, 273). In a letter, which on 22 December 1808 Haydn wrote to the Prince, he expressed his deepest gratitude for paying the medical expenses, and wrote: "Through this new benefaction, Your Princely Highness has relieved me of an carking care and put me in a position to face the end of my earthly career cheerfully and calmly." (Pohl 1927, 273f.). On 30 June 1809, Johann Elßler wrote a letter to Georg August von Griesinger in which he described the exact circumstances of Haydn's death. This letter also mentions the presence of Dr. Hohenholz.<br />
<blockquote>
Den 29<span style="font-size: xx-small; vertical-align: super;">ten</span> May verlangten wir ein Consilium halten zu lassen mit den willen des H. v. Hohenholz. Da wurde der Medikus Doctor Böhm dazu bestimmt den unser guter Papa dazu verlangte, welcher auch ein sehr geschickter ma<span style="text-decoration: overline;">n</span> ist, so worde den 30<span style="font-size: xx-small; vertical-align: super;">ten</span> früh Morgens das Consillium gehalten, aber bey allen möglichen angestrengten Mitteln war alles vergebens, und unser guter Papa wurde immer schwächer und ruhiger. </blockquote>
<i> [translation:]</i>
<br />
<blockquote>
On May 29th, we demanded that a consilium be held with the edorsement of Mr. von Hohenholz. The physician doctor Böhm, who is also a very skilful man and whom our good papa wanted to be present, was also called. Thus the consilium was held early in the morning of the 30th, but in spite of all possible efforts everything was in vain and our good papa became weaker and weaker and calmer.
</blockquote>
<br /><u>Franz von Hohenholz</u><br />
<br />Franz de Paula von Hohenholz was born on 10 October 1763 in his father's house "Zum roten Rössl" (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=bMVpRn-atKEbVu8JErikdRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052510" target="_blank">Wollzeile 22</a>), fifth child of Franz Ignaz von Hohenholz, a secretery with the Lower Austrian government, and his wife Josepha, née Cheret. (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-085/?pg=203" target="_blank">A-Wd, 85, fol. 101r</a>). Hohenholz's mother (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-31/?pg=361" target="_blank">19 Mar 1735</a>) was a daughter of the Savoy-born tradesman Claude Cheret and his second wife Josepha, née Schwanner (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-047/?pg=308" target="_blank">A-Wd, 47, 295</a>).<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjJZP58XGAbxs1PZ6dFPCdOG5IKoLXWulWaMWiMygQjKYKG2wlAv8Y_qQkm__SI8SKZrglFYntvhgUxTkOI-pzUyTxs5TxH0paJgTw-T01n97NlhrgCFTrXXuThVbK5HIM4QZDDu0ghMlhEgYIXEY5TYzD-F2adqfg-kgekOZZ5MVrVKKzet02hL4BS=s1885" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="363" data-original-width="1885" height="78" src="https://blogger.googleusercontent.com/img/a/AVvXsEjJZP58XGAbxs1PZ6dFPCdOG5IKoLXWulWaMWiMygQjKYKG2wlAv8Y_qQkm__SI8SKZrglFYntvhgUxTkOI-pzUyTxs5TxH0paJgTw-T01n97NlhrgCFTrXXuThVbK5HIM4QZDDu0ghMlhEgYIXEY5TYzD-F2adqfg-kgekOZZ5MVrVKKzet02hL4BS=w400-h78" width="400" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Franz von Hohenholz on 10 October 1763 at St. Stephen's Cathedral (A-Wd, </span><span style="font-size: x-small;">85, fol. 101r)</span><br /></div>
<br />
Franz von Hohenholz's father Franz Ignaz (1731–1810) and Josepha Cheret had married on 3 June 1754 in Vienna (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-056/?pg=575" target="_blank">A-Wd, 56, fol. 283v</a>). Franz Ignaz von Hohenholz (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-066/?pg=323" target="_blank">17 Feb 1731</a>) was a son of Johann Michael Holzer, a member of Vienna's "äußerer Rat" (outer council), who on 19 July 1746
was to be ennobled with the predicate "Edler von Hohenholz" by Emperor <a href="https://en.wikipedia.org/wiki/Francis_I,_Holy_Roman_Emperor" target="_blank">Franz I</a>. In his application for nobilitation Johann Michael Holzer referred to his 30 years of service in the Lower Austrian government where he had been responsible for the sustenance of all regiments. He also pointed out the fact that he was the stepfather of the Austrian ambassador to the Russian court Nikolaus Sebastian von Hohenholz who had already been ennobled in 1727 (AT-OeStA/AVA Adel RAA 189.29) and knighted in 1734 (AT-OeStA/AVA Adel RAA 194.32). The most effective instrument Holzer used in favor of his nobilitation (apart from the fee he had to pay) was a letter of recommendation from his stepson to the Imperial Vice-Chancellor, Count <a href="https://de.wikipedia.org/wiki/Rudolph_Joseph_von_Colloredo" target="_blank">Rudolph Joseph von Colloredo</a>. In this letter, Nikolaus von Hohenholz pointed out that he had no children, but that his stepfather was not only the owner of the house, but also had several children <i>utriusque sexus</i> from his second marriage of whom he intended to raise the sons to become faithful servants of the Imperial dynasty.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxj3EKkRV-xrXQ6tuFy9DLZZ8LKB3AjCT_vEDGtXvtXhIaSb37RQ68qncjRXVU_NFCMNHswPcWxI1wmno7VYXHxCw2eNtNUyncD5HgXyiFypoEmNPMxxF3j0eHTWZTjJbebj07h1Ojd0xZwASzYofTIB-ilhlARlMxCAt-Kp_p5iBN8N332nQKhGNt=s1416" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1028" data-original-width="1416" height="232" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxj3EKkRV-xrXQ6tuFy9DLZZ8LKB3AjCT_vEDGtXvtXhIaSb37RQ68qncjRXVU_NFCMNHswPcWxI1wmno7VYXHxCw2eNtNUyncD5HgXyiFypoEmNPMxxF3j0eHTWZTjJbebj07h1Ojd0xZwASzYofTIB-ilhlARlMxCAt-Kp_p5iBN8N332nQKhGNt=s320" width="320" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">Two pages from Nikolaus Sebastian von Hohenholz's letter of recommendation for his stepfather written on 7 June 1746 (AT-OeStA, AVA, Adel RAA 197.17). Nikolaus von Hohenholz died in April 1748 in St. Petersburg. In the 1759 marriage entry of his daughter Anna Maria, Johann Michael Holzer von Hohenholz is referred to as "K:K: Liefferant" (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-059/?pg=389" target="_blank">A-Wd, 59, fol. 191v</a>).</span><br /></div>
<br />For the design of his coat of arms, Johann Michael Holzer copied that of his stepson Nikolaus Sebastian von Hohenholz which also showed a distinctive "pine tree standing upright on a green hill in the second and third quarter". <br />
</div><br /><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO9iVCQrFUSgsGdJ_i-_FRhm4VPNDbSXTohew021u8rtUGf1gVmO2jvAmfnKmXI0MNIDs6lpyoFZiC1jZeaK4p_q7Zf68Q67AocOZbRYMB9x23GkL5L-hn52QjUHwMW7wDktdx0tJNgR8/s1127/Johann+Michael+Holtzer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1127" data-original-width="739" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO9iVCQrFUSgsGdJ_i-_FRhm4VPNDbSXTohew021u8rtUGf1gVmO2jvAmfnKmXI0MNIDs6lpyoFZiC1jZeaK4p_q7Zf68Q67AocOZbRYMB9x23GkL5L-hn52QjUHwMW7wDktdx0tJNgR8/w262-h400/Johann+Michael+Holtzer.jpg" width="262" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The coat of arms of Johann Michael Holzer Edler von Hohenholz as proposed to the <i>Obersthofmeisteramt</i> in 1746 (AT-OeStA, AVA, Adel RAA 197.17)</span><br /></div>
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In 1776, Franz de Paula von Hohenholz entered the University of Vienna as <i>philosophus</i> (Mühlberger 2014, 351). On 21 November 1787, at St. Stephen's, he married Amalia Fischer, daughter of a Viennese innkeeper (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-076/?pg=198" target="_blank">A-Wd, 76, fol. 193v</a>). At that time, he was still living at Stadt 827, the house owned by his father where he had been born. Because Amalia Fischer was only 19 years of age and her father was already deceased, she needed a marriage consent from her superior guardian which was the Vienna magistrate. On 17 October 1787, Franz von Hohenholz submitted the following application to the municipal authorities.<br /><br />
</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgNqe0Th7qDJC1Pv_joeobOFLfLaQwuQwt7cNLFxLpB2rxPjeI1M5V_gsXRE_gk3Gc9zIe3LEAa99l5Jt2FnfOOP1jCAcVutiOtEyIQlcnC05pSZmlmcF9FM4h4YM16BT8akJJfKCxNgPjHeORcXfgVXhVnFXqeu9SwpEd4KbEYLYa5-343X1vpXNRC=s1302" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1302" data-original-width="836" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgNqe0Th7qDJC1Pv_joeobOFLfLaQwuQwt7cNLFxLpB2rxPjeI1M5V_gsXRE_gk3Gc9zIe3LEAa99l5Jt2FnfOOP1jCAcVutiOtEyIQlcnC05pSZmlmcF9FM4h4YM16BT8akJJfKCxNgPjHeORcXfgVXhVnFXqeu9SwpEd4KbEYLYa5-343X1vpXNRC=s320" width="205" /></a><br /></div><div style="text-align: center;">
<span style="font-size: x-small;">Franz von Hohenholz's autograph application to the municipal civil court (A-Wsa, Mag. ZG, A3, 923/1787)</span> <br /></div><div><br />
<blockquote> Löblicher Magistrat der K:K: Residenzstadt Wien. <br />
Endes Unterzeichneter ist Willens sich mit der vaterlosen noch minderjährigen Amalia Fischer bürgerlichen Wirthstochter, über welche der Peter Hofmeister bürg[erlicher] Schuhmacher Meister, wohnhaft in der Leopoldstadt in der Herrn Gaße <strike>N</strike>° 185 als Vormund bestellet ist, sich zu verehlichen und bittet daher, da er dieselbe von seinen Vermögen zu erhalten im Stande ist, um den obergerhablichen Konsens.<br />
</blockquote>
<i>[translation:]</i>
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<blockquote> Laudable magistrate of the I. & R. residential City of Vienna. <br /> The undersigned is willing to marry the fatherless and still underage Amalia Fischer, a civil innkeeper's daughter, over whom Peter Hofmeister, civil master shoemaker, residing in the Leopoldstadt at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=SpptRqroOUYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10054801" target="_blank">Herrengasse No. 185</a>, has been appointed guardian, and therefore, because he is able to support her from his assets, he asks for the superior guardian's consensus.
</blockquote>
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The couple's first child, Joseph Maria Gotthard, was born on 5 May 1788 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-099/?pg=281" target="_blank">A-Wd, 99, fol. 135v</a>). Hohenholz's studies and the beginning of his medical career were marked by problems and delays. During this time, Hohenholz had no income and apparently lived only on his father's fortune. After his son Joseph had died on 12 March 1790, the parish priest of St. Stephen's expressly described the child's father as "ohne Bedienstung" (unemployed) (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03-36/?pg=74" target="_blank">A-Wd, 36, fol. 72</a>). In April 1795 Hohenholz was publicly declared a prodigal and placed under his father's guardianship (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17950513&seite=13&size=45" target="_blank"><i>Wiener Zeitung</i>, 13 May 1795, 1381</a>). On 6 March 1797, Franz von Hohenholz finished his medical studies with a doctorate (Vienna, Universitätsarchiv, <a href="https://scopeq.cc.univie.ac.at/Query/detail.aspx?id=414814" target="_blank">Rigorosenprotokoll der Mediziner</a>, Med 9,5, 256). During the following years, Franz von Hohenholz lived in the suburbs of Schottenfeld, Alsergrund (where he obviously worked at the general hospital), and eventually in Gumpendorf where he made Haydn's acquaintance. When on 14 September 1815, his wife Amalia died at Gumpendorf 230 ("Auge Gottes", <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=aa1HRtNrFUYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10068842" target="_blank">Mariahilfer Straße 103</a>) (A-Wsa, Totenbeschreibamt 138, H, fol. 42v), eight of her children were still alive (Haan 1957, 69).
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<span style="font-size: x-small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDhqOdddolavM62euuQSCpSVZXzd9j4p2mhIcZzMF6wpvOkQAcBovTUB2wTEewzXUginaNeTBu13tLEtVx8FDssfWEB2ERPmU0NjbcVytBNZyc67CN_g06MM0-fZ-vWW8vcZ7q7RZCIaeHa0Nx4JFWX5I_4P2g2RLD6rxtLAPJsW1CDdM0CrK6X3QQlBk/s1447/Hohenholz%2012.4.1816.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1447" data-original-width="878" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDhqOdddolavM62euuQSCpSVZXzd9j4p2mhIcZzMF6wpvOkQAcBovTUB2wTEewzXUginaNeTBu13tLEtVx8FDssfWEB2ERPmU0NjbcVytBNZyc67CN_g06MM0-fZ-vWW8vcZ7q7RZCIaeHa0Nx4JFWX5I_4P2g2RLD6rxtLAPJsW1CDdM0CrK6X3QQlBk/s320/Hohenholz%2012.4.1816.jpg" width="194" /></a></div>A medical certificate by Franz von Hohenholz for the three daughters of the deceased court musician Leopold Klemp (1750–1816) from 12 April 1816 (A-Whh, HA HMK, Schachtel 10, fol. 84r)</span> <br /></div><div><br />
Franz de Paula von Hohenholz died of "Lungenlähmung" (respiratory arrest) on 11 July 1822 in Mariahilf (A-Wsa, Totenbeschreibamt 150, H, fol. 38v) and was buried in the Hundsturm cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-13/?pg=277" target="_blank">Gumpendorf 13, fol. 274</a>). He was survived by eight children (Haan 1957, 70).<br />
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<u>Mathilde von Hohenholz's children</u><br />
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Haydn's third to last godchild Mathilde von Hohenholz never married, but she had two illegitimate daughters. The first one, Amalia, was born on 28 March 1824 at Landstraße 269 (today <a href="https://goo.gl/maps/LJbeF5oQ96yxqdht8" target="_blank">Rochusgasse 6</a>), when her mother was not yet 19 years old. The address was probably not the mother's, but that of a midwife, as was the custom in such cases. The girl was baptized in the parish church of <a href="https://de.wikipedia.org/wiki/Rochuskirche_(Wien)" target="_blank">St. Rochus and Sebastian</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/03-landstrasse-st-rochus/01-07/?pg=394" target="_blank">St. Rochus 7, fol. 390</a>). Mathilde von Hohenholz's second daughter Mathilde was born on 27 December 1826 in the house Schottenfeld 449 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=xTlKRshFHkYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070720" target="_blank">Westbahnstraße 8</a>) and baptized in the <a href="https://de.wikipedia.org/wiki/Schottenfelder_Kirche" target="_blank">Schottenfeld parish church</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-schottenfeld/01-021/?pg=487" target="_blank">Schottenfeld 21, fol. 381</a>). In the late 1830s, Mathilde von Hohenolz and her daughter Mathilde were registered by the municipal conscription office as residents of the house Landstraße 556 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=c-ct6Rk57EEYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10211245" target="_blank">Rennweg 55</a>). To hide her status as a single mother Mathilde von Hohenholz passed herself off as "Med. Dor. Wittwe" (doctor's widow), thereby basically impersonating her own mother. At that time, the first daughter Amalia von Hohenholz was already deceased.<br />
</div><br /></div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3GBKe6Lp-qgXyMwChp5acAGYL2ZGuUMq6RSuBgusEWK2MCnUZci9S7MJHM93D8rjdhpTdaLlOUqJtr2V3voJkalule2KGalhn-e8qsdxmlxYc1gr0BnChOSX1GseDQsJEE-lr4CWBdxMZskEZWb3_jIlF3jgHIITRNPcBi6wG7Xbw72_yQP_q3uRQ/s1379/%20LAN%20556_23r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="831" data-original-width="1379" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3GBKe6Lp-qgXyMwChp5acAGYL2ZGuUMq6RSuBgusEWK2MCnUZci9S7MJHM93D8rjdhpTdaLlOUqJtr2V3voJkalule2KGalhn-e8qsdxmlxYc1gr0BnChOSX1GseDQsJEE-lr4CWBdxMZskEZWb3_jIlF3jgHIITRNPcBi6wG7Xbw72_yQP_q3uRQ/s320/%20LAN%20556_23r.jpg" width="320" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">Mathilde von Hohenholz and her daughter Mathilde registered by the conscription office in the late 1830s (A-Wsa, Konskriptionsamt, Landstraße 556/23r)</span><br /></div>
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Mathilde von Hohenholz died on 22 June 1837 of "Zehrfieber" (consumption fever) at Landstraße 556 (A-Wsa, Totenbeschreibamt 180, H, fol. 25r). Since her probate file burned in 1927, we do not know for sure whether her daughter Mathilde was still alive at that time. In his summary of the file, Friedrich von Haan does not mention any children (Haan 1957, 70), but Haan's <i>Regesten</i> have not always proved entirely reliable. Further research is also impeded by the lack of indexes in the death registers of the Schottenfeld parish.<br />
<br /></div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyD_sgT6Xvj0fGuh3DUpPXcZUjri7YgW_of62N7p_pX4gRC2YYP0To4YZK7RG_ci9e5v77ZFrWZsVsMEXN3ijC_gtELKCVgnAPtLxEhyjnm8GFxQYgQLnAp7-Q5yvS3SUYOKOoT-HDI_faCJkvIP6No6aJn_UbikwzHo44aAF70zMBAUd2jWA63RJV/s1651/Mathilde%20von%20Hohenholz%2022.6.1837.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="314" data-original-width="1651" height="76" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyD_sgT6Xvj0fGuh3DUpPXcZUjri7YgW_of62N7p_pX4gRC2YYP0To4YZK7RG_ci9e5v77ZFrWZsVsMEXN3ijC_gtELKCVgnAPtLxEhyjnm8GFxQYgQLnAp7-Q5yvS3SUYOKOoT-HDI_faCJkvIP6No6aJn_UbikwzHo44aAF70zMBAUd2jWA63RJV/w400-h76/Mathilde%20von%20Hohenholz%2022.6.1837.jpg" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry in the municipal death register concerning Mathilde
von Hohenholz's death on 22 June 1837 (A-Wsa, Totenbeschreibamt 180, H, fol. 25r)</span><br /></div>
<blockquote>
Hohenholz Mathilde Edle v. Med. Dr<span style="font-size: x-small; vertical-align: super;">s</span> Tochter, hier geb[ürtig] Landst[raße] <strike>N</strike>° 556 am Zehrfieber a[lt] 31 J. Lauttn[er]
</blockquote>
According to Haan, Mathilde von Hohenholz was survived by her siblings Joseph, Friedrich, and Marie (Haan 1957, 70).<br />
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<b>11) Maria Anna Scheiger</b><br />
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Maria Anna Scheiger was born on 11 September 1806, at Mariahilf 75 (see above), sixth child of Carl and Theresia Scheiger, and baptized in the Mariahilf parish church. Haydn was unable to attend the ceremony and – like on many other such occasions – was represented by his housekeeper Anna Kremnitzer. The entry concerning the godfather reads as follows: "Joseph Heyden fürstl Kapellnmeister <u>stat ihm</u> Anna Kremnitzer Wirthschafterin".<br />
<br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj7nnvHB2X09hpah9cCosgBhwv2xh9lYiiPVJnVTYT9hRLShwezcJJIxlIBVRADB_WQd_Q21dqg28AuRzkywybQvXzFEAObhA1-RGApepnGnVt80SA3XNtIoznidjFYdhIHRCuFM3woNgx4U_SC_F_vrOXoD4U0OAtrZYBcsk_9QUnMgrVdSM0TmvKX=s3543" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="470" data-original-width="3543" height="53" src="https://blogger.googleusercontent.com/img/a/AVvXsEj7nnvHB2X09hpah9cCosgBhwv2xh9lYiiPVJnVTYT9hRLShwezcJJIxlIBVRADB_WQd_Q21dqg28AuRzkywybQvXzFEAObhA1-RGApepnGnVt80SA3XNtIoznidjFYdhIHRCuFM3woNgx4U_SC_F_vrOXoD4U0OAtrZYBcsk_9QUnMgrVdSM0TmvKX=w400-h53" width="400" /></a></div>
<div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Maria Anna Scheiger on 11 September 1806 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-mariahilf/01-03/?pg=300" target="_blank">Mariahilf 3, fol. 283</a>)</span><br /></div>
<div style="text-align: left;">
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As far as we know today, Mara Anna Scheiger was Haydn's last godchild. This girl already died on 22 July 1807 of "Zahnfraisen" (toothing cramps).<br /> <br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEji9KKZmUBsDw_-LZQeW2a70BbZPuYzDi-cjNWDPLI29I0qzesiy79_wgJCnuCN7Z0iu3GFdry22HR_hlYZ_UqEiN-hK8CHTZXIhRPebFYo6RpZXFm9W8El6KmlNDIhn0L1IUG3WrQUq0Rs5jh89unA1umjuasNbbz2mdZkJ7XeTQSrrT48HXYNIKO3=s1779" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="568" data-original-width="1779" height="102" src="https://blogger.googleusercontent.com/img/a/AVvXsEji9KKZmUBsDw_-LZQeW2a70BbZPuYzDi-cjNWDPLI29I0qzesiy79_wgJCnuCN7Z0iu3GFdry22HR_hlYZ_UqEiN-hK8CHTZXIhRPebFYo6RpZXFm9W8El6KmlNDIhn0L1IUG3WrQUq0Rs5jh89unA1umjuasNbbz2mdZkJ7XeTQSrrT48HXYNIKO3=s320" width="320" /></a><br /><span style="font-size: x-small;">The entry in the municipal death register concerning the death of Maria Anna Scheiger on 22 July 1807 (A-Wsa, Totenbeschreibamt 23, S, fol. 87r)</span><br /></div>
</div></div>
<blockquote> Scheiger Herr Karl bürg[erlicher] Goldarbeiter, sein Kind Maria, ist bey der weissen Schwanne <strike>N</strike>° 75. zu Mariahilf an Zahnfraisen besch[au]t word[en] alt, 10. Monat. <u>Wolf.</u></blockquote>
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<b>New facts about Anna Kremnitzer</b>
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Anna Kremnitzer, whom Haydn in his will calls his "treue und rechtschaffene Köchin" (faithful and righteous cook), was the maidservant whom Haydn repeatedly sent to Gumpendorf and Mariahilf to represent him as godfather. One could say that she even represented Haydn posthumously, when in 1810 she was chosen as Fanny Elßler's godmother (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-015/?pg=168" target="_blank">Gumpendorf 15, fol. 160</a>). It was Anna Kremnitzer who held Haydn's hand at the moment of his death (Pohl 1927, 387). In his account of Haydn's death for Griesinger, Johann Elßler refers to Kremnitzer as "Nannerl".<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4lD_onfR35u1jTcufn4ccXSK4FCCF5rQNo9Iv5nDQq191vOhBqIcDyzMxxCNw723SLqdmVNK3gMHQa5gfEwY_XWBsyGe-93nYhmvcxjRcGXwqF_yjcGUkErpOUV8nvElS1wDuaZz3eI/s1331/WIM+84.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="836" data-original-width="1331" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4lD_onfR35u1jTcufn4ccXSK4FCCF5rQNo9Iv5nDQq191vOhBqIcDyzMxxCNw723SLqdmVNK3gMHQa5gfEwY_XWBsyGe-93nYhmvcxjRcGXwqF_yjcGUkErpOUV8nvElS1wDuaZz3eI/w320-h201/WIM+84.jpg" width="320" /></a></div><div style="text-align: left;">
<div style="text-align: center;"><span style="font-size: x-small;">Haydn and Anna Kremnitzer registered in 1805 on a conscription sheet of Haydn's house (A-Wsa, Hauptarchiv, Persönlichkeiten, A1.H9). The attribute "widow" is a mistake. </span><br /></div>
<br />
More detailed research concerning Anna Kremnitzer, based on knowledge of the sources, finally brings to light her place of birth and her family background. Anna Kremnitzer was born on 31 October 1759, in the town of <i>Königlich Neustadt</i> in Prussian <a href="https://en.wikipedia.org/wiki/Upper_Silesia" target="_blank">Upper Silesia</a> (today <a href="https://en.wikipedia.org/wiki/Prudnik" target="_blank">Prudnik</a> in Poland), last child of the local citizen Egidius Christoph Kremnitzer and his wife Josepha Agnieta. Two baptismal registers of the parish church of <a href="https://en.wikipedia.org/wiki/St._Michael%27s_Church,_Prudnik" target="_blank">St. Michael's</a> in Prudnik survive from the first half of the 18th century and are accessible via <a href="https://familysearch.org">familysearch.org</a>: 1) Register No. <a href="https://www.familysearch.org/records/images/search-results?imageGroupNumbers=008245345" target="_blank">008245345</a> (1736–65), and 2) register No. <a href="https://www.familysearch.org/records/images/search-results?imageGroupNumbers=008245346" target="_blank">008245346</a> (1736–65). The sequential numbering of baptisms in these registers shows that these films from 1948 are incomplete, because at the beginning of some years some baptisms are missing. Between 1743 and 1759, the following eight children of the Kremnitzer couple could be found in these records (this list may be incomplete).<br /><ol><li>
Maria Theresia Josepha, b. 11 Dec 1743 (Prudnik, Powiat Prudnicki, Województwo opolskie, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8P6J" target="_blank">Katholische Kirche Neustadt, 92</a>)</li><li>Maria Renata, b. 24 Mar 1745 (Prudnik, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-83J3-K" target="_blank">Katholische Kirche Neustadt, 108</a>)</li><li>Johann Christoph, b. 9 Oct 1746 (Prudnik, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8PZY" target="_blank">Katholische Kirche Neustadt, 1</a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8PZY" target="_blank">25</a>)</li><li>Georg Joseph, b. 18 Mar 1748 (Prudnik, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8P76" target="_blank">Katholische Kirche Neustadt, 1</a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8P76" target="_blank">41</a>)</li><li>Franz Augustin Joseph, b 27 Aug 1752 (Prudnik, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8PCH" target="_blank">Katholische Kirche Neustadt, 1</a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8PCH" target="_blank">92</a>)</li><li>Egidius Anton Paul, b. 3 Sep 1754 (Prudnik, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8PQ6" target="_blank">Katholische Kirche Neustadt, </a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8PQ6" target="_blank">216</a>)</li><li>Johann Nepomuk Franz de Paula, b. 13 Jul 1757 (Prudnik, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8G1F" target="_blank">Katholische Kirche Neustadt, </a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8G1F" target="_blank">2</a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8G1F" target="_blank">49</a>)</li><li>Maria Elisabeth Anna Barbara (Haydn's housekeeper), b. 31 Oct 1759 (Prudnik, <a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-83NP-K" target="_blank">Katholische Kirche Neustadt, </a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-83NP-K" target="_blank">2</a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-83NP-K" target="_blank">74</a>)
</li></ol>
The godparents of most of these children were the local merchant Paul Ernst Weidinger and his wife Maria Elisabeth. The curious spelling "Crembßer" of her father's name in Anna Kremnitzer's baptismal entry corresponds with the same spelling in the baptismal entry of her brother Johann Nepomuk Franz on 13 July 1757 (<a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8G1F" target="_blank">Katholische Kirche Neustadt, </a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8G1F" target="_blank">2</a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-8G1F" target="_blank">49</a>)<br />
<div style="text-align: left;"><br /></div><div style="text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC32M2EjZMRwgjp1ivbxphLur-Jbk_ZmNOlTdnCgsCC_RbKkuDSql8mKOmG8VdVVIecu4CBGxwGl0jBkFfYaj6-hfQqSzOLWT6JqRrL5WoNIXgLT8QWVlcAMNouia6npSfTM4QxgQdTvnCH__DUEqy2PbreW5PPZSKfjS7LY_I0RajBQ7htyX6Aq5i/s1386/Anna%20Kremnitzer%2031.10.1759.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="1386" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC32M2EjZMRwgjp1ivbxphLur-Jbk_ZmNOlTdnCgsCC_RbKkuDSql8mKOmG8VdVVIecu4CBGxwGl0jBkFfYaj6-hfQqSzOLWT6JqRrL5WoNIXgLT8QWVlcAMNouia6npSfTM4QxgQdTvnCH__DUEqy2PbreW5PPZSKfjS7LY_I0RajBQ7htyX6Aq5i/s320/Anna%20Kremnitzer%2031.10.1759.jpg" width="320" /></a> </span></div>
</div><div style="text-align: center;"><span style="font-size: x-small;">The entry in the records of St. Michael's in Neustadt concerning Anna Kremnitzer's baptism on 31 October 1759 (</span><span style="font-size: x-small;"><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-83NP-K" target="_blank">Katholische Kirche Neustadt, </a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-83NP-K" target="_blank">2</a><a href="https://www.familysearch.org/ark:/61903/3:1:3Q9M-CSPN-83NP-K" target="_blank">74</a>) </span></div><div style="text-align: left;">
<br />
Kremnitzer's elder brother Joseph, a girdle maker, also moved to Vienna where on 11 June 1772, in the parish of St. Ulrich (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-27/?pg=377" target="_blank">St. Ulrich 27, fol. 191r</a>), he married a certain Barbara Grabler. He was the father of the bronze worker Johann Kremnitzer who in the 1790s lived in Mariahilf and at that time may still have had contact with his cousin Anna. In 1818, Johann Kremnitzer received permission to run his business in his house at Neubau 250 (last number 164, today <a href="https://goo.gl/maps/B3UJusTnStJWpuTFA" target="_blank">Mondscheingasse 4</a>) under the name "Kremnitzer Grabler" (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18180228&seite=5" target="_blank"><i>Wiener Zeitung</i>, 28 Feb 1818, 417</a>). This double name was passed on to his descendants who still lived in Vienna in the 20th century as "Kremnitzer-Grabler". Maria Mertz, née Kremnitzer-Grabler (b. 30 Oct 1876 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/12-hetzendorf/01-03/?pg=92" target="_blank">Hetzendorf 3, fol. 89</a>], one of several children of Alexander Kremnitzer-Grabler [<a href="https://data.matricula-online.eu/de/oesterreich/wien/12-hetzendorf/02-02/?pg=4" target="_blank">Hetzendorf 2, fol. 1</a>]), who died on 3 July 1965 in Vienna, was a great-great-grandniece of Haydn's housekeeper.<br />
<br />
Haydn seems to have hired Anna Kremnitzer in 1801, after the death of his wife. Most Viennese sources give Kremnitzer's age ten years too high, but it makes a lot more sense that Kremnitzer was only 40 years of age when Haydn hired her. Anna Kremnitzer also had godchildren of her own who were baptized in Gumpendorf. The parents of these children were neighbors in Gumpendorf, as well as Johann Elßler and his wife Theresia, née Prinster. These godchildren were the following.<br /><ol style="text-align: left;"><li>
Josepha Macho, b. 31 Oct 1802 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=94" target="_blank">Gumpendorf 14, fol. 92</a>)</li><li>Antonia Hirschmüller, b. 8 May 1805 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=187" target="_blank">Gumpendorf 14, fol. 185</a>), d. 20 Aug 1805 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-11/?pg=165" target="_blank">Gumpendorf 11, fol. 162</a>)</li><li>Antonia Macho, b. 23 Jun 1805 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=191" target="_blank">Gumpendorf 14, fol. 189</a>)</li><li>Joseph Schott, b. 20 Oct 1805 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=206" target="_blank">Gumpendorf 14, fol. 203</a>)</li><li>Anton Elßler, b. 17 Nov 1806 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-014/?pg=251" target="_blank">Gumpendorf 14, fol. 247</a>)<br /></li><li>Theresia Elßler, b. 6 Apr 1808 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-015/?pg=34" target="_blank">Gumpendorf 15, fol. 30</a>) <br /></li><li>Maria Anna Hirschmüller, b. 14 Mar 1809 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-015/?pg=92" target="_blank">Gumpendorf 15, fol. 85</a>), d. 16 Mar 1809 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-11/?pg=281" target="_blank">Gumpendorf 11, fol. 278</a>)</li><li>Michael Elßler, b. 9 Jul 1809 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-015/?pg=113" target="_blank">Gumpendorf 15, fol. 106</a>)<br /></li><li>Franziska Elßler (the famous dancer), b. 23 Jun 1810 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-015/?pg=168" target="_blank">Gumpendorf 15, fol. 160</a>)<br />
</li></ol>
The popular claim in the Haydn literature that, as of 1797, Johann Elßler lived in Haydn's house as valet and copyist is not supported by the sources. At the time of his wedding on 10 February 1800, Johann Elßler lived at Gumpendorf 117 (last number 121, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=nKxIRksTCkYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069846" target="_blank">Dominikanergasse 3</a>), and in his marriage entry he is given as having lived there since 1798 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/02-13/?pg=165" target="_blank">Gumpendorf 13, 323</a>). His first four children Joseph, Johann, Anna, and Anton (born 1800, 1802, 1804, and 1806) were all born in this house. Elßler's other children – Theresia, Michael, Franziska, and Ferdinand – were born at Gumpendorf 38 ("Münzwardein", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=DR1PRrFxEEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069614" target="_blank">Münzwardeingasse 2</a>) and 42 ("Heiland auf der Wiese", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=QJFORnRAEEYVuqFERqcRRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10464278" target="_blank">Hofmühlgasse 17</a>). The text on a poster about Anna Kremnitzer in the museum at Vienna's <a href="https://www.wienmuseum.at/de/standorte/haydnhaus" target="_blank">Haydnhaus</a> faithfully repeats the mistake in Haydn's will that I corrected in 2014 (Lorenz 2014). Kremnitzer never lent Haydn 200 gulden. It was Haydn who lent Kremnitzer this amount.<br />
</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_gyaoLM5uqRM4v1E_5jxu6ZPmR-pEwGCk0MDqTa-_BOVXpES0mF_XR0gH1EBzJ-PezioQmY8bHypoh-FYpxpOREgsiEVyckN3Gsdzj_n96S3gPFXa9mCcXO-Na_-zDHoDj98zSNhngw/s998/Kremnitzer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="998" data-original-width="747" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_gyaoLM5uqRM4v1E_5jxu6ZPmR-pEwGCk0MDqTa-_BOVXpES0mF_XR0gH1EBzJ-PezioQmY8bHypoh-FYpxpOREgsiEVyckN3Gsdzj_n96S3gPFXa9mCcXO-Na_-zDHoDj98zSNhngw/s320/Kremnitzer.jpg" width="240" /></a></div><div>
<div style="text-align: center;"><span style="font-size: x-small;">A poster about Anna Kremnitzer in the Vienna Haydnhaus museum. The exhibition at the Haydnhaus presents a true cornucopia of misinformation, because the people in charge of this site lack the necessary expertise and are completely resistant to advice.</span><br /></div>
<br />
</div>After Haydn's death, Anna Kremnitzer's moved to Gumpendorf 38, where Johann Elßler lived, and where she stayed as a subtenant of the family of the harness maker Anton Banschur. An entry in a conscription sheet of this house gives Kremnitzer's year of birth as 1754. Her status was first given as "Wittwe" which was crossed out and replaced with the note "<u>ledig</u>" (unmarried). Her profession is given as "Weisnäderin" (seamstress).<br />
<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJU1OC1xyh3CcQ3W-gUUuB50OxehFSo6u5GqBprnOJ-8Ip0d2AK5rb8mbmEBoeoSSYkdmpb8ocZDcINKUAPVwwt8xEdn-DZYGvuGZ28vD4PM_BlUWsh16D3zB8NY04xctVln6gg5Gyvj4/s1553/GPD+38_5r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="891" data-original-width="1553" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJU1OC1xyh3CcQ3W-gUUuB50OxehFSo6u5GqBprnOJ-8Ip0d2AK5rb8mbmEBoeoSSYkdmpb8ocZDcINKUAPVwwt8xEdn-DZYGvuGZ28vD4PM_BlUWsh16D3zB8NY04xctVln6gg5Gyvj4/s320/GPD+38_5r.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Anna Kremnitzer registered soon after 1809 as tenant of the harness maker Anton Banschur at Gumpendorf 38 (A-Wsa, Konskriptionsamt, Gumpendorf 38/5r)</span><br /></div><div>
<br />
Anna Kremnitzer died of Schleimschlag" (mucoid impaction) on 1 January 1830 in the house Windmühle 82 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=nNlGRmydEUYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10068747" target="_blank">Schmalzhofgasse 19</a>), not far from Haydn's former house, where out of pity she had enjoyed food and shelter with the master weaver Johann Dobrodinsky. The address "Gumpendorf 82" in the <i>Totenbeschauprotokoll</i> and in the parish death register is incorrect. Only the <i>Sperrs-Relation</i> has the important note "potius Windmühl". <br />
<br /></div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjBoNAVo_Tpk-N7BTMY1BEQ5AaYAHtAqNnJPJTg74xO9gsxQ-7ZYt-fcFHPzK0NdNo5YkmpXaf8t_PIja0pTfAuNmQqbn4RpSdHaw-GSBGQ9OggR-fyCufRm931xRRMzusVyzdKRmahXBLJoVrD6Sl1X3WfTUXyEw1vF5SozolbZ1qq3XbwjA0lLL8F=s1646" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="327" data-original-width="1646" height="80" src="https://blogger.googleusercontent.com/img/a/AVvXsEjBoNAVo_Tpk-N7BTMY1BEQ5AaYAHtAqNnJPJTg74xO9gsxQ-7ZYt-fcFHPzK0NdNo5YkmpXaf8t_PIja0pTfAuNmQqbn4RpSdHaw-GSBGQ9OggR-fyCufRm931xRRMzusVyzdKRmahXBLJoVrD6Sl1X3WfTUXyEw1vF5SozolbZ1qq3XbwjA0lLL8F=w400-h80" width="400" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry in the municipal death register concerning Anna
Kremnitzer's death on 1 January 1830 (A-Wsa, Totenbeschreibamt 166, CGK, fol. 1r).</span><br /></div>
<blockquote>
1830. Jænner <u>Den 1.</u><br />
Kremitzer Anna, led[ig] gewes[ene] Dienstmagd v. Neustadt in Preuß[isch] Schlesien geb[ürtig] Gump[en]d[or]f <strike>N</strike> 82 an Schleimschlag 81 J[a]hr[e]. <u>Ullreich</u>
</blockquote>
<i>[translation:] </i>
<blockquote>
January 1st, 1830.<br />
Kremnitzer Anna, former maidservant, born in Neustadt in Prussian Silesia, died of mucoid impaction in Gumpendorf No. 82, aged 81 years. Ullreich [coroner]<br /></blockquote>Anna Kremnitzer was buried on 3 January 1830, in the Hundsturm cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-15/?pg=196" target="_blank">Gumpendorf 15, fol. 192</a>). Kremnitzer's <i>Sperrs-Relation</i> provides additional information regarding the accommodation in her final days. The <i>Rubrum</i> on the left contains the note "gew[esene] Dienstmagd <strike>N</strike>° 82 zu Gumpendorf, Kirchengassen potius Windmühl".<br />
</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvy6mYiXl3ydmqnri42AJQvenBhErEZ5q1tZaiBoHRaU2ml9tNMtVx1umKE8fjpD7Q1QZn2wXGabcgr3ZCJP_neEe_43uOnXspJfeZQAS4GjHkA6Qsdref6vnmnIaZSse9sdRO5CoqYF4/s1179/A2%252C+3533_1830.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1179" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvy6mYiXl3ydmqnri42AJQvenBhErEZ5q1tZaiBoHRaU2ml9tNMtVx1umKE8fjpD7Q1QZn2wXGabcgr3ZCJP_neEe_43uOnXspJfeZQAS4GjHkA6Qsdref6vnmnIaZSse9sdRO5CoqYF4/w320-h244/A2%252C+3533_1830.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The cover sheet of Anna Kremnitzer's <i>Sperrs-Relation</i>. The note concerning her last address reads as follows: "<strike>N</strike>° 82. bei den Johann Dobrodinsky bürgl Webermeister aus Mitleid in Aufenthalt und Verpflegung gewesen" (A-Wsa, Mag. ZG, A2, 3533/1830).</span><br /></div><div>
<br />Most of the capital that Kremnitzer had inherited from Haydn had obviously been massively reduced by the 1811 sovereign default. A note from the <i>Sperrskommissär</i> in the probate file concerning Kremnitzer's assets reads as follows: "Nothing, and the deceased had been completely supported by the landlord while she was alive, and was buried at the expense of a funeral insurance society after she had passed away. Therefore, no further precautions could be taken. Vienna, January 9th, 1830". It may not be a coincidence that the weaver Franz Raimann, a grandson of Andreas Raimann, a friend of Egidius Kremnitzer in Neustadt, also lived in the house Windmühle 82 (A-Wsa, Konskriptionsamt, Windmühle 82/20r). <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPcEoQuavQjC9VlJiqKbIt0LkXqB7JtEsy5VEBv4yMOSwSfq2AD3Z2nTYrKQCgiXNfXEu6YlFp39X3yx3qRmeX0ikZJS-1ftLcqUofXp-KWJyJHO2WRbEJ8MeRnGBbplGule0yoH8hc5eAjDz_93HvNYcWQv9_6hhG7EMstMNG53IQwdfccQ3EC7Hq/s1294/GPD%2082.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="908" data-original-width="1294" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPcEoQuavQjC9VlJiqKbIt0LkXqB7JtEsy5VEBv4yMOSwSfq2AD3Z2nTYrKQCgiXNfXEu6YlFp39X3yx3qRmeX0ikZJS-1ftLcqUofXp-KWJyJHO2WRbEJ8MeRnGBbplGule0yoH8hc5eAjDz_93HvNYcWQv9_6hhG7EMstMNG53IQwdfccQ3EC7Hq/s320/GPD%2082.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Johann
Dobrodinsky registered by the conscription office at Windmühle 82 (A-Wsa, Konskriptionsamt, Windmühle 82/1v). Dobrodinsky was born on 15 June 1785 in Schrems (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/schrems/01%252F04/?pg=18" target="_blank">Schrems 4, 21</a>). Anna Kremnitzer is not registered in the conscription records of Windmühle 82. Johann Dobrodinsky died on 6 May 1841 (A-Wsa, Mag. ZG, A2, 500/1841).</span><br /></div></div><div>
<br />Johann Dobrodinsky may have been commissioned by Johann Elßler to take care of Anna Kremnitzer, who was, after all, the godmother of four of Elßler's children.<br />
<br />The large number of Haydn's godchildren may seem astonishing. On the one hand, Haydn was easily persuaded to take on this task due to his friendly nature and having no children of his own. On the other hand, we must always keep in mind that about 95% of these godchildren died at a very young age. Of course, research concerning Haydn's godchildren is far from over. First, the fragmentary publication of the data of the first 40 godchildren must be updated, because it is rather scattered and does not meet scientific standards. Second, further research in the Burgenland church records, which are not yet fully digitized, is necessary. More discoveries are to be expected.<br />
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<hr />
<br />
<b>Bibliography</b><br />
<blockquote><a href="https://archive.org/details/JosephHaydnGesammelteBriefeUndAufzeichnungen" target="_blank">Bartha, Dénes. 1965</a>. <i>Joseph Haydn. Gesammelte Briefe und Aufzeichnungen. Unter Benützung der Quellensammlung von H. C. Robbins Landon hrsg. und erläutert von Dénes Bartha</i>. Kassel, etc.: Bärenreiter.<br /><br /><a href="https://www.mozartdocuments.org/documents/march-1786/" target="_blank">Edge, Dexter. 2018</a>. "Idomeneo at Prince Auersperg’s (March 1786)." In: <i>Mozart: New Documents</i>, edited by Dexter Edge and David Black. First published 29 Jul 2018, updated 10 Aug 2018.<br /><br /><a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/412993" target="_blank"> Fischer, Joseph Maximilian. 1786</a>. <i>Verzeichniß der in der Kaiserl. Königl. Haupt- und Residenzstadt Wien, sammt dazu gehörigen Vorstädten und Gründen, befindlichen numerirten Häusern, derselben wahrhafte Eigenthümer, und deren Konditionen, nebst Schildern und Plätzen</i>. Vienna: Joseph Gerold. <br /><a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/343493" target="_blank"><br />Grosbauer, Joseph Johann. 1805</a>. <i>Vollständiges Verzeichniß aller in der kaiserlichen auch k. k. Haupt- und Residenz-Stadt Wien inner denen Linien befindlichen numerirten Häuser deren Eigenthümer, Strassen, Gässen, Plätze und Schilder</i>. Vienna: Gerold.<br /><br />Haan, Friedrich Freiherr von. 1957. "Auszüge aus den Sperr-Relationen des n.-ö. und k. k. n.-ö. Landrechts", in: <i>Senftenegger Monatsblatt für Genealogie und Heraldik</i>, Bd. IV, 3. Heft.<br /><br /><a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/413256" target="_blank">Hofer, Karl. 1789</a>. <i>Verzeichniß der in der k. k. Haupt- und Residenzstadt Wien samt den dazu gehörigen Vorstädten und Gründen befindlichen numerirten Häuser, derselben wahrhaften Eigenthümer, deren Konditionen und Schilder.</i> Vienna: Joseph Gerold.<br /><br /><i>Katalog der Haydn-Gedächtnisausstellung</i>. 1932. Vienna: Verlag: "Österreichische Kunst".<br /><br /><a href="https://michaelorenz.blogspot.com/2014/09/three-unknown-godchildren-of-joseph.html" target="_blank">Lorenz, Michael. 2014</a>. "Three Unknown Godchildren of Joseph Haydn". Vienna: Internet publication, September 7th, 2014.<br /><br />Mraz, Gerda (ed.). 1982. <i>Joseph Haydn in seiner Zeit. Ausstellung Eisenstadt, 20. Mai - 26. Oktober 1982</i>. Eisenstadt: Amt der Burgenländischen Landesregierung.<br /><br />Mühlberger, Kurt. 2014. <i>Die Matrikel der Universität Wien VIII. Band 1746/47–1777/78</i>. Wien Köln Weimar: Böhlau.<br /><br /><a href="https://books.google.at/books?id=c0FcAAAAcAAJ&pg=cover" target="_blank">Nohl, Ludwig. 1866</a>. <i>Musiker-Briefe</i>. Leipzig: Duncker und Humblot.<br /><br /><a href="http://www.zeno.org/Musik/M/Pohl,+Carl+Ferdinand/Joseph+Haydn/3.+Band" target="_blank">Pohl, Carl Ferdinand. 1927</a>. <i>Joseph Haydn. Vol. 3. Unter Benutzung der von C. F. Pohl hinterlassenen Materialien weitergeführt von Hugo Botstiber</i>. Leipzig: Breitkopf & Härtel.<br /><br /><a href="https://anno.onb.ac.at/cgi-content/anno-plus?aid=oku&datum=1932&page=100&size=45" target="_blank">Reuther, Hermann. 1932</a>. "Haydn als Hausbesitzer", in: <i>Österreichische Kunst</i>, Heft 3/4, März–April 1932, Vienna: vorm. Zentralverband bildender Künstler Österreichs, 10-12.<br /><br />Robbins Landon, Howard Chandler. 1959. <i>The Collected Correspondence and London Notebooks of Joseph Haydn</i>. London: Barrie and Rockliff.<br /><br /><a href="https://books.google.at/books?id=ws1YAAAAcAAJ&pg=PA1" target="_blank">Schweickhardt, Franz Xaver. 1834</a>. <i>Darstellung des Erzherzogthums Oesterreich unter der Ens, Zweiter Band. Viertel unterm Manhartsberg</i>. Vienna: PP. Mechitaristen.<br /><br /><a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/350269" target="_blank">Ziegler, Anton, Vasquez, Carl. 1830</a>. <i>Die kaiserl. königl. Haupt- und Residenzstadt Wien mit ihren Vorstädten und nächsten Umgebungen</i>. Vienna: Christian Friedrich Schade.<br /><br /><i><a href="https://books.google.at/books?id=2X1iAAAAcAAJ&printsec=frontcover" target="_blank">Verzeichniß aller Armen-Väter</a>, Bezirks-Directoren, Haupt-Bezirks-Vorsteher, Ärzte und Wundärzte, welche von seiner k.k. Apostolischen Majestät zur allgemeinen Untersuchung aller Armen in dem ganzen Umfange des Wiener-Armen-Institutes allergnädigst benennet worden sind</i>. Vienna: Anton Pichler, 1803.</blockquote>
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© Dr. Michael Lorenz 2022. All rights reserved.
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Updated: 25 February 2024</div><br /></div></div>Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-21286819097753282962021-04-10T20:04:00.044+02:002023-05-29T14:32:48.875+02:00The Cellist Wenzel Himmelbauer and his Genealogical BackgroundWenzel Himmelbauer was one of the most prominent cellists of the second half of the 18th century. I first came across Himmelbauer during my work on a review of Marion Fürst's book about the blind pianist Maria Theresia Paradis in whose album Himmelbauer, on Sunday, February 29th, 1784, perpetuated his name with the following entry, addressed to Paradis's mother.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaqDY6KnD50FJkUdTcOy0TY6eqW0opj16w7yp37-baWQXCO7JyfN65FD_-dsNfAg5ZN173hN9XYKNcwTiJpPLN8_gDtbMDQfbfPOPej4VvAbZOt681y-LLlZGxzXxJwAshB4Y2ourePio/s985/Image4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="985" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaqDY6KnD50FJkUdTcOy0TY6eqW0opj16w7yp37-baWQXCO7JyfN65FD_-dsNfAg5ZN173hN9XYKNcwTiJpPLN8_gDtbMDQfbfPOPej4VvAbZOt681y-LLlZGxzXxJwAshB4Y2ourePio/s320/Image4.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Wenzel Himmelbauer's entry in the album of Maria Theresia Paradis (A-Wst, Ia 109704, 190). In his article about Paradis's stay in Switzerland, Hermann Ullrich does not even mention Wenzel Himmelbauer (Ullrich 1963).<br /></span></div>
<blockquote>
Liebste Frau von Paradis<br />
Zeit lebens ich sie nicht vergiß<br />
sambt unser lieben Freüle Therese<br />
mit ihrem Englischen Clavier geteße<br />
ich bin ihr Freünd ohne zweifel<br />
sonst holl mich der teüfe[l]<br />
als ein aufrichtiger Wienner<br />
ihr Gehorsambster Unt[erthänigster] Diener<br />
<br />
Wenceslaus <br />
Himmelpaur<br />
Violloncellist<br />
Bern den 29<span style="font-size: x-small; vertical-align: super;">t</span> Februario 1784</blockquote>
<i>[translation:]</i><br />
<blockquote>
Dearest Madam von Paradis<br />
for the rest of my life I shall not forget you,<br />
together with our dear Miss Therese<br />
with the noise of her English piano.<br />
I am your friend without a doubt<br />
or else I should be damned<br />
as a sincere Viennese<br />
your most obedient servant [...] </blockquote>
In 2010 I published this entry in the <a href="https://michaelorenz.at/fuerst_paradis/" target="_blank">online edition</a> of my review of Marion Fürst's book about Paradis, a book which unfortunately was used as basis of a very flawed <a href="https://de.wikipedia.org/wiki/Maria_Theresia_von_Paradis" target="_blank">Wikipedia article</a> (mostly concocted by Susanne Wosnitzka) where, in connection with Paradis's 1784 visit to Bern, Himmelbauer is disregarded. For unknown reasons, my transcription of the above entry was disimproved in <a href="http://www.musikland-ob-der-enns.at/bio.htm#himmelbauer" target="_blank">Himmelbauer 2017</a>.<br />
<br />
<b>Wenzel Himmelbauer in the literature</b><br />
<br />
Himmelbauer's posthumous musical reputation is based on the testimonies of several authors, such as <a href="https://en.wikipedia.org/wiki/Johann_Adam_Hiller" target="_blank">Hiller</a>, <a href="https://en.wikipedia.org/wiki/Christian_Friedrich_Daniel_Schubart" target="_blank">Schubart</a>, <a href="https://de.wikisource.org/wiki/BLK%C3%96:Dlabacz,_Gottfried_Johann" target="_blank">Dlabacz</a>, <a href="https://en.wikipedia.org/wiki/Ernst_Ludwig_Gerber" target="_blank">Gerber</a>, and <a href="https://de.wikipedia.org/wiki/Gustav_Schilling" target="_blank">Schilling</a> which, at a later point of time, were summarized and extended by encyclopedists such as <a href="https://books.google.at/books?id=JC6RwIWeg3AC&pg=PA435" target="_blank">Gaßner</a>, <a href="https://de.wikisource.org/wiki/BLK%C3%96:Himmelbauer,_Wenzel" target="_blank">Wurzbach</a>, Wasielewski, and <a href="https://archive.org/details/BSG_8VSUP5673/page/n201/mode/2up" target="_blank">Liégeois</a>. Wenzel Himmelbauer's name was first mentioned in print in 1766. On 23 September 1766, in his weekly <a href="https://de.wikisource.org/wiki/W%C3%B6chentliche_Nachrichten_und_Anmerkungen_die_Musik_betreffend" target="_blank"><i>Wöchentliche Nachrichten und Anmerkungen die Musik betreffend</i></a>, Johann Adam Hiller published a short survey about significant musicians in Vienna which included members of the court orchestra as well as freelance virtuosos and amateurs. Hiller's list was titled as follows.<br />
<blockquote class="tr_bq">
Wien. Von dem dermaligen Etat der kaiserl. königl. Hof<span style="font-size: xx-small;">=</span> und Kammermusik, wie auch einigen andern Virtuosen und Liebhabern einen kurzen, wiewohl zur Zeit noch unvollkommenen Abriß mitzutheilen, hat ein Freund der Musik auf Verlangen folgendes niederschreiben wollen. </blockquote><i>[translation:]</i> <br />
<blockquote class="tr_bq">
Vienna. About the current staff of the I. & R. Court and chamber music, as well as a number of other virtuosos and amateurs, a friend of music, on request, agreed to write down the following brief, although at the moment still incomplete, outline. </blockquote>
On p. 99 Himmelbauer is listed among the important <i>Bassonisten</i> (cellists).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0y2_9Z9qh3cUvud-TUFTH1zRbEghb0uVoyFCz9_vSweZQpIO5Ig44XyibeGwTfeRYp8xGelzpMarP2ZMEskzh8uw51YwQqJHU1aFqFWh-kLbZpK4eaJYYOunEBcxWF6iLIXiyvJVntmYkoq1jn1iODajHFj6wBwMrde8q1Ra5aPVICbJJZYHN3kRX/s856/Hiller,%2099.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="856" data-original-width="683" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0y2_9Z9qh3cUvud-TUFTH1zRbEghb0uVoyFCz9_vSweZQpIO5Ig44XyibeGwTfeRYp8xGelzpMarP2ZMEskzh8uw51YwQqJHU1aFqFWh-kLbZpK4eaJYYOunEBcxWF6iLIXiyvJVntmYkoq1jn1iODajHFj6wBwMrde8q1Ra5aPVICbJJZYHN3kRX/s320/Hiller,%2099.jpg" width="255" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Wenzel Himmelbauer's name among prominent cellists in Hiller's 1766 <i>Wöchentliche Nachrichten</i>. This source contains a number of significant musicians whose early mentions in this periodical have received little attention, for instance the singers Maria Theresia Bettmann, née Hainisch (1733–1767), Countess von Hatzfeld, née von Zierotin, and Mozart's future friend Baroness von Waldstätten, née Schäffer. The name <i>Franciscello</i>, that appears among the cellists (on the following page), proves that this nickname did not refer to the cellist <a href="https://en.wikipedia.org/wiki/Francesco_Alborea" target="_blank">Francesco Alborea</a>, but to his son Emanuele Alborea.</span></div>
<br />
The ambiguous structure of Hiller's list of musicians – in the middle of his survey he inserted the title "Von der Hof<span style="font-size: xx-small;">=</span>Kapelle sind dermalen zu bemerken." – only to continue the mixture of professional musicians, freelancers, and amateurs, must have led Schilling to mistakenly assume that Himmelbauer was a member of the I. & R. court chapel (<a href="https://books.google.de/books?id=lmtLAAAAcAAJ&hl=de&pg=PA590" target="_blank">Schilling 1836, III, 590</a>). The documents related to this orchestra show, however, that Himmelbauer was never employed by the Viennese court. Himmelbauer's only known professional employment was his membership in the 1765 orchestra of Baron <a href="https://de.wikipedia.org/wiki/Adam_Patachich" target="_blank">Adam Patachich de Zajezda</a>, bishop of <a href="https://en.wikipedia.org/wiki/Oradea" target="_blank">Großwardein</a>, which is documented in Ditters von Dittersdorf's memoirs (<a href="https://books.google.at/books?id=9gNVAAAAcAAJ&pg=PA135" target="_blank">Dittersdorf 1801, 135</a>). <br />
<br />
During the late 18th century, the musician and author <a href="https://www.deutsche-biographie.de/sfz076_00180_1.html" target="_blank">Carl Ludwig Junker</a> lived in Switzerland and seems to have known Wenzel Himmelbauer personally. In the <i>Musikalischer Almanach auf das Jahr 1782</i>, which is widely attributed to Junker, Himmelbauer's musical skills are described as follows.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4VHlKWnCy34YK_UYgNAFlSlVKU6NzJk2OnB1vDS_6WLlW-YsRI9PixrJLUaxvjegbtYsmvNCeT7smP_U14H156DfBEietaV6_75kNIuzubHHT6dK2Z_OQ9NrXzUsA4IP4orRAika7Zw4/s1600/Almanach+18f.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1182" data-original-width="1439" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4VHlKWnCy34YK_UYgNAFlSlVKU6NzJk2OnB1vDS_6WLlW-YsRI9PixrJLUaxvjegbtYsmvNCeT7smP_U14H156DfBEietaV6_75kNIuzubHHT6dK2Z_OQ9NrXzUsA4IP4orRAika7Zw4/w320-h263/Almanach+18f.jpg" width="320" /></a></div>
<blockquote class="tr_bq">
Himmelbauer (from Vienna). A very good guy, free from all pride of the ordinary virtuoso coward, but, like almost every genius, a bad housekeeper. Due to his outward appearance, if you have never heard him play, or if you do not know him more closely, he does not raise great expectations. But as soon as you listen to him play, this surprise will reconcile you all the more with him.<br />
He plays his cello, which is not one of the best, and also has a size that is not fit for solo playing, with astonishing skill and with a lightness that almost gives the eye half of the pleasure it gives the ear.<br />
This skill not only covers the high passages that require the thumb position (where they are easy because they all lie in the hand), but also great leaps in sixteenths in the lower region of the bass voice.<br />
His bowing is pithy and he is a very good sight-reader; and just as he surpasses [Johann] Jäger in difficult passages, so perhaps Jäger surpasses him in the application of mezzotint tones.</blockquote>
In his treatise <i>Ideen zu einer Ästhetik der Tonkunst</i>, which was probably written around 1780 (and published posthumously in 1806), <a href="https://en.wikipedia.org/wiki/Christian_Friedrich_Daniel_Schubart" target="_blank">Christian Friedrich Daniel Schubart</a> writes the following about Himmelbauer.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG-tR4xMGXGCRvZx8EopCFe4rJ-GsFZMy7D0oy_m7ZcAkpLS2xEv1EtgTLRLj_Oe4iVqFb1T3MjUCC9IKhSrU_EzDwpjzSeBdkAmGEelmNGGgNJWpfqj95ARjSA0cU0nkHcRmkTi3Bslo/s1600/Schubart%252C+227.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1293" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG-tR4xMGXGCRvZx8EopCFe4rJ-GsFZMy7D0oy_m7ZcAkpLS2xEv1EtgTLRLj_Oe4iVqFb1T3MjUCC9IKhSrU_EzDwpjzSeBdkAmGEelmNGGgNJWpfqj95ARjSA0cU0nkHcRmkTi3Bslo/s320/Schubart%252C+227.jpg" width="320" /></a></div>
<blockquote class="tr_bq">
<i>Himmelbauer</i>. A solid and extremely pleasant cellist, without any artistic pride; a man with the straightest and most lovable heart. Nobody is as calm and relaxed in his bowing as this master. He executes the most difficult passages with extreme ease, and he especially pours out his heart in the <i>cantabile</i>. His sweet expression, his lovely fermatas, and especially his great strength in mediate colors – have been admired by all connoisseurs and listeners. He composed little for his instrument, but this little has all the more inner value. He is from Vienna and now resides in Bern.</blockquote>
In 1776 Wenzel Himmelbauer is documented to have been a member of the Masonic lodge "Zum heiligen Joseph" in Vienna. In a list of members of this lodge which, according to <a href="https://en.wikipedia.org/wiki/Lajos_Abafi" target="_blank">Lajos Abafi</a> is held by the archive of the lodge "<a href="https://de.wikipedia.org/wiki/Archimedes_zu_den_drei_Rei%C3%9Fbrettern" target="_blank">Archimedes zu den drei Reißbrettern</a>" in Altenburg, Himmelbauer, at this time, is given among the absent members as "travelling musician" (Abafi 1893, 322).<br />
<br />
Although all previous authors (including Himmelbauer himself in his above album entry) explicitly refer to Himmelbauer as born in Vienna, Dlabacz, in his biographical dictionary, suddenly presents him as an artist of Bohemian origin who "in 1764 was living in Bohemia" (<a href="https://archive.org/stream/allgemeineshisto01dlabuoft#page/n329/mode/2up" target="_blank">Dlabacz 1815, col. 632</a>). Based on this mixture of incomplete and incorrect information, a fictional biography of Himmelbauer was created during the 19th century, until in 1889 <a href="https://de.wikipedia.org/wiki/Wilhelm_Joseph_von_Wasielewski" target="_blank">Wilhelm Joseph von Wasielewski</a> capped the whole narrative by claiming that Himmelbauer was born in 1725 (<a href="https://archive.org/stream/violoncellseine00wasi#page/76/mode/2up" target="_blank">Wasielewski 1889, 76</a>). Wasielewski's source for this alleged year of birth is unknown. Likewise undocumented is Wasielewski's claim that Himmelbauer was the teacher of the cellist Philipp Schindlöcker (1753–1827). The most recent state of knowledge concerning Himmelbauer is summarized in compressed form in Johannes Sturm's dissertation about <a href="https://en.wikipedia.org/wiki/Johann_Rudolf_Zumsteeg" target="_blank">Zumsteeg</a> as follows: "Wenzel Himmelbauer (1725–?) Is the only one of the Viennese composers whose works are also mentioned by Junker and Schubart. He was employed by the Imperial court chapel, however, particularly as a virtuoso, he must have travelled to several performance venues." (<a href="https://books.google.at/books?id=L_eADwAAQBAJ&pg=PA29" target="_blank">Sturm 2017, 29</a>).<br />
<br />
Although in my 2011 book review I had published the information that Wenzel Himmelbauer was a son of Leopold Himmelbauer and died in Bern in 1793 (Lorenz 2011, 192), Sofie Himmelbauer (or her father Markus Himmelbauer) did not believe me, but, curiously enough, put more trust in Wasiliewski's data than in my research. In her 2017 <i>Vorwissenschaftliche Arbeit</i> Himmelbauer put forward the following arguments [my translation].<br />
<blockquote class="tr_bq">
Michael Lorenz states that Wenzel Himmelbauer died in 1793 in Bern. Unfortunately, this author was not willing to share the results of his research on Himmelbauer for this study. I am unable to follow his presumption that Wenzel Himmelbauer was the “son of the regens chori of Vienna's Karlskirche Leopold Himmelbauer”. Leopold Himmelbauer died on February 1st, 1781, at the age of 76 "in his house No. 79 in Lerchenfeld." Thus, he was born in 1705. If Wenzel Himmelbauer's year of birth "around 1725" is correct, Leopold Himmelbauer would have become a father at the age of 20, which for a musician would have been very unusual at this time. Illegitimate children were always named after the mother, so this possibility can also be ruled out. There are two entries in the baptismal registers of the Schotten parish concerning children of Leopold Himmelbauer: on March 13th, 1738, he is referred to as <i>Musicus</i>, on October 15th, 1739, his profession is given as <i>Regens Chori</i>. Between 1721 and 1745 there is no further entry related to Leopold Himmelbauer, neither in the Schotten parish nor in the parish of St. Stephen's. According to Dlabacz, however, Wenzel Himmelbauer was in Bohemia until 1764. None of his contemporaries referred to Wenzel as son of Leopold. (<a href="http://www.musikland-ob-der-enns.at/bio.htm#himmelbauer" target="_blank">Himmelbauer 2017</a>)</blockquote>
Apart from the erroneous claim that "illegitimate children were always named after the mother" (they were not, if the father professed to the paternity), Sofie Himmelbauer did not realize that the entire chronological confusion was only caused by Wasielewski's fictitious data. How any of Wenzel Himmelbauer's contemporaries should have known the identity of Himmelbauer's father remains a mystery. None of the authors cited above even addressed Leopold Himmelbauer's existence.<br />
<br />
<b>Wenzel Himmelbauer's ancestors</b><br />
<br />
Wenzel Himmelbauer's immediate ancestors – his father and his grandfather – all came from the Lower Austrian municipality of <a href="https://de.wikipedia.org/wiki/Raabs_an_der_Thaya" target="_blank">Raabs an der Thaya</a>. Wenzel Himmelbauer's grandfather Johann Heinrich Himmelbauer (ca. 1665–1729) is documented to have lived from 1700 until 1729 in Raabs where he was a member of the town council and a barber surgeon (<a href="https://de.wikipedia.org/wiki/Bader" target="_blank">Bader</a>) by profession. Since the Raabs church records only begin in 1689, Johann Heinrich Himmelbauer's birth in Raabs cannot be documented. The fact that after 1689 his parents did not die there, suggests that he had moved to Raabs shortly before his wedding which possibly took place around 1699 in the hometown of his wife Susanna (1679–1757).<br />
<br />
During their stay in Raabs, Johann Heinrich Himmelbauer and his wife Susanna had the following thirteen children (without claim of completeness).<br />
<ol>
<li>Johann Jakob Himmelbauer, b. 21 Feb 1700 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=50" target="_blank">Raabs 1, 97</a>), d. 31 Mar 1753, Vienna (A-Wsa, Totenbeschreibamt 49, H, fol. 27v) (see below)</li>
<li>Johann Michael Himmelbauer, b. 28 Sep 1701 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=56" target="_blank">Raabs 1, 109</a>), d. 1 Feb 1736, Horn (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/horn/04-01a/?pg=169" target="_blank">Horn 1a, 165</a>) (see below)</li>
<li>Maria Juliana Himmelbauer, b. 6 Aug 1703 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=68" target="_blank">Raabs 1, 132</a>)</li>
<li>Johann Leopold Himmelbauer, b. 9 Nov 1704 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=77" target="_blank">Raabs 1, 151</a>), d. 1 Feb 1781, Vienna (A-Wsa, Totenbeschreibamt 78, H, fol. 5r.) (see below)</li>
<li>Johann Christoph Himmelbauer, b. 23 Nov 1706 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=88" target="_blank">Raabs 1, 173</a>)</li>
<li>Anna Maria Magdalena, b. 14 Jul 1708 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=96" target="_blank">Raabs 1, 189</a>)</li>
<li>Ignaz Himmelbauer, b. 19 Jul 1710 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=107" target="_blank">Raabs 1, 209</a>)</li>
<li>Anna Clara Himmelbauer, b. 31 Jul 1711 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=112" target="_blank">Raabs 1, 221</a>)</li>
<li>Eva Regina Himmelbauer, b. 3 Sep 1713 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=124" target="_blank">Raabs 1, 245</a>), buried 5 Nov 1713 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=276" target="_blank">Raabs 1, 118</a>)</li>
<li>Matthäus Himmelbauer, b. 3 Sep 1713 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=124" target="_blank">Raabs 1, 245</a>), buried 25 Apr 1714 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=277" target="_blank">Raabs 1, 120</a>)</li>
<li>Maria Anna Himmelbauer, b. 20 May 1715 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=133" target="_blank">Raabs 1, 263</a>)</li>
<li>Eva Maria Himmelbauer, b. 25 Dec 1717 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=145" target="_blank">Raabs 1, 287</a>)</li>
<li>Joseph Himmelbauer, b. 10 Feb 1721 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=161" target="_blank">Raabs 1, 318</a>)</li>
</ol>
Godparents of these children were local millers from Raabs and <a href="https://goo.gl/maps/GQM7DQjhmCo9n3hR9" target="_blank">Kollmitzgraben</a>, and their wives. In the 1711 baptismal entry of Anna Clara Himmelbauer (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=112" target="_blank">Raabs 1, 221</a>), her father is referred to as "Burgermaister in Roobß" (mayor of Raabs), but this seems to be a mistake for "Badermeister". The surgeon Johann Heinrich Himmelbauer died at the age of 64 and was buried on 5 April 1729 in Raabs.<br /><br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the burial of <i>Chyrurgus loci</i> Johann Heinrich Himmelbauer on 5 April 1729 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/01%252C2%252C3%252F01/?pg=319" target="_blank">Raabs 1, 204</a>)</span></div>
<br />
Johann Heinrich's widow Susanna Himmelbauer died at the age of 78 at the <a href="https://goo.gl/maps/PgtUL7w21QEkptYn6" target="_blank">Reismühle</a> (a mill on the Thaya west of Raabs) and was buried on 2 March 1757 in Raabs. <br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning Susanna Himmelbauer's burial on 2 March 1757 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/raabs-thaya/03%252F02/?pg=111" target="_blank">Raabs 2, 164</a>)</span></div>
<br />
It must be noted that, apart from the parents and two of their children, no members of the Himmelbauer family are listed in the death records of the Raabs parish. Also, in the 18th century, no member of the family married in Raabs (the Raabs marriage indexes also contain the names of brides). The surviving Himmelbauer children all moved away from their hometown. Three sons of Johann Heinrich Himmelbauer gained historical significance: Johann Jakob, Johann Leopold, and Johann Heinrich Himmelbauer<br />
<br />
<b>Johann Jakob Himmelbauer</b><br />
<br />
Johann Jakob Himmelbauer's activity as musician in Vienna is first documented in 1731. The entry concerning his wedding in the church records of <a href="https://de.wikipedia.org/wiki/Sankt_Ulrich_(Wien)" target="_blank">St. Ulrich</a>, where he is referred to as teacher and <i>regens chori</i> of this parish, marks the first appearance of the town of Raabs as the birthplace of an important musician in the Imperial City. On 16 January 1731 Johann Jakob Himmelbauer married Anna Katharina Palleutner, born on 24 November 1703 in Traiskirchen (<a href="https://data.matricula-online.eu/de/oesterreich/wien/traiskirchen/01%252C2%252C3-02/?pg=151" target="_blank">Traiskirchen 2, 145</a>), daughter of the local market judge Johann Adam Palleutner and his wife Maria. The exact date of this wedding is missing in the St. Ulrich register, but it can be dated with the entry in the marriage register of St. Stephen's (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-046/?pg=370" target="_blank">A-Wd, Tom. 46, 356</a>). <br />
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<span style="font-size: x-small;">The entry concerning the publication of the banns fo Johann Jakob Himmelbauer's wedding on 16 January 1731 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-17/?pg=94" target="_blank">St. Ulrich 17, fol. 45v</a>)</span></div>
<br />
This entry reads as follows.<br />
<blockquote class="tr_bq">
Eodem [6 January 1731]<br />
Der Wohl Edl und Kunstreiche Herr<br />
Johann Jacob Hi<span style="text-decoration: overline;">m</span>elpaur, schuell- und regens<br />
Chori allhier, Ledigenstandts, Wohnhaft allhier,<br />
gebürtig zu Raabs in öesterreich, Weÿl[and] deß<br />
Wohl Edl und Kunstreichen Herrn Johann<br />
Heinrich Hi<span style="text-decoration: overline;">m</span>elpaur, gewesten Baader und<br />
Wundartzte[n] alda seel:, und dessen Frau<br />
Ehe Consortin Susanna, so noch in leben, beede[r]<br />
Eheleiblich erzeugter Herr Sohn. Nimbt zur<br />
Ehe die Wohl Edle und tugendreich[e] Jungfrau,<br />
Catharina Palleüthnerin, Wohnhaft in St: Stephans<br />
Pfarr, gebürtig von dem Kaÿl: Markhttröß<span style="font-size: xx-small;">=</span><br />
Kürchen in öesterreich, Weÿl: deß wohl Edlen]<br />
H: Johann Adam Palleüthner gewester Burger<br />
und Markhtrichter alda, und desen Frau Ehe<span style="font-size: xx-small;">=</span><br />
gemahlin Maria Magdalena, beede seel: er<span style="font-size: xx-small;">=</span><br />
zeugte <strike>Jungfr</strike> Jungfrau Tochter, Zum <strike>1</strike> Mahl<br />
<strike>2</strike> <strike>3</strike><br />
Test: |:Titl:| Ihro Gnaden H: Ferdinant<br />
Edler v: Quarient, N: Ö: Regie<span style="font-size: xx-small;">=</span><br />
rungs Rath.<br />
Test: |:Titl:| ihro gnaden H: H: v: Tollberg,<br />
Ihro König: Kaÿl: Maÿt: Geheimer<br />
Hofrath und <i>Reverendarius</i>:</blockquote>
Johann Jakob Himmelbauer and his wife had the following two children.<br />
<ol>
<li>Barbara Catharina Himmelbauer, b. 4 January 1732 (St. Ulrich [henceforth SU] <a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-21/?pg=190" target="_blank">21, fol. 93v</a>, godmother: Barbara Petrossi [the child's future mother in law]), d. 10 May 1786, in her own house <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=Zj1lRifdL0bC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10202875" target="_blank">Stadt 455</a> [378] (A-Wsa, Totenbeschreibamt 87, BP, fol. 34r, and Mag. ZG, A2, 995/1786)</li>
<li>Gaudenz Johann Baptist, b. 14 April 1736 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-22/?pg=431" target="_blank">SU 22, fol. 215r</a>, godfather: Gaudenz Petrossi), d. 14 November 1739 (A-Wsa, Totenbeschreibamt 41, fol. 256v)</li>
</ol>
<blockquote>
<blockquote>
On 6 October 1750, Barbara Catharina Himmelbauer married Karl Joseph Petrossi, I. & R. government secretary (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-22/?pg=175" target="_blank">SU 22, fol. 86r</a>) (1710–1782), son of the leather manufacturer and owner of the houses Stadt 455, and St. Ulrich 40, Gaudenz Petrossi (1680–1740) and his wife Barbara (1685–1734) (Haupt 2007, 235). The couple had the following children of which in 1786 six were still alive (the members of the next generation of the Petrossi family are outside the focus of this study).</blockquote>
</blockquote>
<blockquote>
<blockquote>
<ol>
<li>Ignaz Michael Jacob Petrossi, b. 16 Jul 1751 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-27/?pg=225" target="_blank">SU 27, fol. 111r</a>), doctor of law, (on 3 Jun 1782 married Maria Anna Zeiff [<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-074/?pg=239" target="_blank">A-Wd, 74, fol. 231v</a>) declared legally insane in 1814 (A-Wsa, Mag. ZG, A3, 363/1814), d. 17 Jun 1819 (A-Wsa, Mag. ZG, A2 1402/1819)</li>
<li>Michael Lorenz Cajetan Petrossi, b. 10 Aug 1752 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-27/?pg=473" target="_blank">SU 27, fol. 235r</a>), d. 31 Mar 1753 (A-Wsa, Totenbeschreibamt 49, BP, fol. 44r, and <a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-19/?pg=432" target="_blank">SU 19, 428</a>) </li>
<li>Michael Andreas Franz Xaver Petrossi, b. 29 Sep 1753 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-28/?pg=31%20%20%20(A-Wsa,%20Totenbeschreibamt%20142,%20BP,%20fol.%2056r)" target="_blank">SU 28, fol. 28v</a>), <i>scriptor</i> with the I. & R. court library, d. 4 Jun 1818 (A-Wsa, Totenbeschreibamt 142, BP, fol. 56r, Mag. ZG, A2, 1486/1818, and A10, 277/1818)</li>
<li>Franz Xaver Andreas Petrossi, b. 6 Mar 1755 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-28/?pg=207" target="_blank">SU 28, fol. 204v</a>), I. & R. privy cabinet official, declared legally insane in 1798 (Mag. ZG, A3, 537/1798), d 28. Apr 1802 (A-Wsa, Totenbeschreibamt 113, BP, fol. 49v, and Mag. ZG, A2, 1890/1802)</li>
<li>Constanzia (Barbara) Petrossi, b. 1757, nun at the convent of <a href="https://www.geschichtewiki.wien.gv.at/St._Jakob_auf_der_H%C3%BClben_(1)" target="_blank">St. Jakob auf der Hülben</a> in Vienna until 1783 (Wiedemann 1896, 83), d. 20 Jul 1845, Gaudenzdorf (A-Wsa, Serie 2.1.1.13.A1, Klosterneuburg über Gaudenzdorf, 712, and <a href="https://data.matricula-online.eu/de/oesterreich/wien/12-meidling/03-03/?pg=353" target="_blank">Meidling 3, fol. 351</a>)</li>
<li>Franz (Seraph) Anton Joseph Petrossi, b. 19 Aug 1761 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-30/?pg=411" target="_blank">SU 30, fol. 205r</a>), secretary and <i>orientalischer Dollmetsch</i> at the Bucharest consulate, d. 31 Jan 1803, Bucharest (<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18030319&seite=24&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 19 Mar 1803, 996</a>) (grandfather of <a href="https://de.wikisource.org/wiki/BLK%C3%96:Petrossi,_Ferdinand" target="_blank">Ferdinand Petrossi</a> [1834–1867], and <a href="http://anno.onb.ac.at/cgi-content/anno?apm=0&aid=nfp&datum=19000409&seite=9&zoom=44" target="_blank">Adolf Petrossi</a> [1836–1900])</li>
<li>Carl Franz Aloys Petrossi, b. 15 Oct 1762 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-30/?pg=705" target="_blank">SU 30, fol. 352r</a>), <i>Handlungsdiener</i> in a trading firm, d. 9 Jan 1794 (A-Wsa, Totenbeschreibamt 100, BP, fol. 3r, and Mag. ZG, A2, 28/1794)</li>
<li>Joseph Carl Franz Petrossi, b. 4 Oct 1765 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-31/?pg=737" target="_blank">SU 31, fol. 367r</a>), d. before 1786</li>
<li>Jacob Ignaz Stephan Petrossi, b. 3 Aug 1767 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-32/?pg=333" target="_blank">SU 32, fol. 165r</a>), d. before 1786</li>
</ol>
</blockquote>
</blockquote>
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<span style="font-size: x-small;">A receipt written by Barbara Petrossi, née Himmelbauer, from the <i>Sperrs-Relation</i> of her sister-in-law Barbara Theresia Petrossi (1710–1767) (A-Wsa, Patrimoniale Herrschaften, Schotten, II. Reihe, 4362)</span></div>
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<span style="font-size: x-small;">The names of the six surviving children of Barbara Petrossi, née Himmelbauer in her 1786 <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 995/1786). Research concerning the exact genealogy of the Petrossi family is strongly impeded by the fact that the 1782 probate file of Karl Joseph Petrossi (the father of these children) is not extant.</span></div>
<br />
The choir master and sexton Johann Jakob Himmelbauer died on 31 March 1753 at his home, the <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=zFpPRloLI0bC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070470" target="_blank">rectory of St. Ulrich</a> (A-Wsa, Totenbeschreibamt 49, H, fol. 27v). He was buried on the next day, together with his baby grandson Michael Petrossi who had died of toothing cramps on the same day as his grandfather. This double burial in one crypt led to the very rare case that, in the St. Ulrich burial records, the expenses for Jakob Himmelbauer's burial were listed in the preceding entry concerning the burial of his grandson.<br />
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<span style="font-size: x-small;">The two entries concerning the double burial of Michael Petrossi and his grandfather Johann Jakob Himmelbauer on 1 April 1753. The extra expenses for Himmelbauer's burial, which are missing on the right, are listed in the entry of his grandson on the left (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-19/?pg=432" target="_blank">SU 19, 428</a>).</span></div>
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<br />
Two days before his death, Jakob Himmelbauer had signed the following will in which he bequeathed 1000 gulden to his daughter Barbara Petrossi and appointed his wife universal heir.<br /><br />
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<div style="text-align: center;"><span style="font-size: x-small;">The last two pages of Jacob Himmelbauer's will signed on 29 March and published on 5 April 1753 (A-Wsa, Patrimoniale Herrschaften, Schotten, II. Reihe, 2234)</span></div>
<br />
<blockquote>
<div style="text-align: center;">
Im Nahmen der Allerheiligsten Dreÿ<span style="font-size: xx-small;">=</span><br />
faltigkeit Gott des Vatters, Sohns, und<br />
heiligen Geistes, Amen. <br /><div style="text-align: left;">
Habe Ich Jacob Hi<span style="text-decoration: overline;">m</span>elpaur Regens Chori beÿ Pfarr zu St: Ulrich die Zergänglichkeit diser Welt mir zu Herzen und Gemüeth geführet, und betrachtet, daß dermahl ein nichts Gewissers alß der tod, die stund desselben aber in der männiglich verborgen seÿe dahero ich über mein wenige habschaft beÿ noch gut und vollkomener Vernunft, diesen meinen Lezten Willen folgender massen zu Papier bringen lassen. Alß nehmblichen<br />
Erstens befehle ich mein arme Sindige Seel in die unergründliche Barmherzigkeit Gott des Vatters, Sohns<span style="font-size: xx-small;">=</span> und heiligen Geistes, dan in die Fürbit der allerseeligsten Jungfrauen Maria, und aller lieben Heiligen: Meinen todten Leichnamb verschafe ich der Erden, und solle solcher den Christ<span style="font-size: xx-small;">=</span>Catholischen gebrauch mit einen gantzen Conduct in alhiesigen Gottes<span style="font-size: xx-small;">=</span>Acker beÿ St: Ulrich zum Grab begleidet werden: Folglichen zum<br />
Anderten ist mein willen, daß gleich nach meinen Hinscheiden zu Hilf<span style="font-size: xx-small;">=</span> und Trost meiner armen Seelen Acht Hundert heilige Messen, nehmlichen in der Pfarr<span style="font-size: xx-small;">=</span>Kirchen beÿ St. Ulrich 500 : und beÿ denen P:P: Capucinern alda 300: sollen gelesen, und vor alle zusam :400f: bezahlt werden.<br />
Drittens verschafe ich vor die Armen in langen Keller, wie auch vor die Armen beÿ St: Ulrich untern grunds an ieden Orth zwaÿ Ducaten, welche denen aufgestelten verwaltern behändiget werden sollen, und von beeden Armen Häusern 24 Persohnen mit meiner Leÿche gehen sollen. Und weilen man zum<br />
Vierdten eines Jeglichen Testament die Einsezung der Erben die grundt Veste ist, alß will ich meiner Frauen tochter Barbara Catharina Pedrossin ein gebohrne Hi<span style="text-decoration: overline;">m</span>elpäurin zum ein Vätterlichen Erbtheill 1000 f legirt haben: Was demnach<br />
Fünften und Schlüsslichen über obige legata annoch übrig bleibet, Es bestehe in waß nun seÿe nichts davon ausgenommen, will ich über alles dasselbe, mein liebe Ehe Consortin Catharina Hi<span style="text-decoration: overline;">m</span>elpäurin wegen mir iederzeit erzeügten Conlichen liebe<span style="font-size: xx-small;">=</span> und treu zu meiner wahren universal Erbin eingesetzet haben: Womit ich diesen meinen lezten Willen in Nahmen Gottes gleich wie ich solchen angefangen, beschlüsse.<br />
Zu wahrer urkundt dessen, habe ich diesen meinen Lezten Willen nicht allein selbst unterschriben, und gerfertiget, sondern zu mehrer bekräftigung von denen selbst mündlich erbettenen H[er]rn gezeugen mit fertigen lassen, So beschehen Wienn beÿ St: Ulrich den 29<span style="font-size: xx-small; vertical-align: super;">t</span> tag Martij a{nn]o 1753<br />
[L.S.] Jacob Hi<span style="text-decoration: overline;">m</span>elpaur<br />
[L.S.] Johann Ferd HofReiter<span style="font-size: x-small;">mp</span><br />
als mündlich erbettener<br />
Nahmensunterschreiber und Fertiger . /.<br />
[L.S.] Mathias Widtmannm<span style="font-size: x-small;">pia</span><br />
erbener[<i>sic</i>] zeig.<br />
[L.S.] Josephus Fr: Schocher<span style="font-size: x-small;">mp</span><br />
alß Erbethener Zeig<br /></div></div></blockquote>
Johann Jakob Himmelbauer's widow Catharina wrote her will on 5 August 1753.<div style="text-align: left;"><br />
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<div style="text-align: center;"><span style="font-size: x-small;">Two pages of Catharina Himmelbauer's autograph will which shows exceptional style and penmanship. The seal is black because Frau Himmelbauer was still in her year of mourning (A-Wsa, Patrimoniale Herrschaften, Schotten, II. Reihe, 2961).</span></div>
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<blockquote>
<div style="text-align: center;">
In Namen der allerheilligsten Dreÿfaltigkeit <br />
Gott deß Vatterß, Sohnß, und Heiligen <br /></div><div style="text-align: left;">
<div>
Geisteß Amen ps: 9<span style="font-size: xx-small; vertical-align: super;">t</span>: Xbr: <span style="text-decoration: overline;">759</span></div>
</div>
<div style="text-align: left;">
Habe ich Catharina Himmelbaurin wittib die Zergenglichkeit diser welt mier zu Herzen und Gemieth gefiehret und betrachtet daß dermahl einß nichtß gewisserß alß der Dott diem stund deselben aber Jedermeniglich verborgen seÿe dahero ich über mein wenige Habschaft beÿ noch gueter gesundheit und vollkomen vernunft disen meinen lezten willen folgender Massen zu babier gesözt alß nemlichen<br />
Erstenß befehle Ich mein arme Sindige Seel in die unergründliche barmherzigkeit Gott deß Vatterß Sohn und Heiligen Geisteß dann in die Fürbitt der allerselligsten Jungfrauen Maria und aller lieben Heiligen Meinen doden leichnamb verschafe Ich der Erden und solle solcher Christ Catholischer Gebrauch mit einen ganzen Conduct in alhiesigen Gotteß Hauß beÿ St Ullrich in die gruften zu meinen lieben Eheconsorden begleidet werden folglichen zum<br />
Anderten ist Mein willen daß gleich nach meinen Hinscheiden zu hilf und drost meiner armen seellen acht hundert heilige Messen nehmelichen in der Pfarr Kirchen beÿ St Ullrich 500 und beÿ denen bäter Cabuzinern allda 300 sollen gelösen und alle zusam 400 f: bezalt werden.<br />
Drittenß sollen von beden armen Hausern 24 bersohnen mit meiner leÿhe gehen und weillen nun zum:<br />
Vierden und schliesslichen iber obige lagata anoch iberig bleiben eß bestehe in waß nun seÿe nichtß daruon außgenommen will ich über alleß daß selbe meiner lieben Frauen dochter barbara Catharine bedrossin ein gebohrne Himmelbaurin zu meiner wahren universäll Erbin eingesözt haben wormit ich disen meinen lezten willen in nahmenß Gotteß gleich wich solchen angefangen<br />
beschliesse:<br />
Zu wahrer urkhund dessen habe ich disen meinen lezten willen selbst geschriben und geferttiget: beschehen wienn beÿ St Ullrich den 5 August 1753<br />
[L.S.] Catharina Himelbaurin<br />
wittib</div></blockquote>
Catharina Himmelbauer died on 8 November 1759 of <i>Hectica</i> in the house "<a href="https://commons.wikimedia.org/wiki/File:Barockbau_zu_den_zw%C3%B6lf_Himmelszeichen.JPG" target="_blank">Zu den 12 Himmelszeichen</a>" ("The 12 Zodiac Signs", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=o01PRh3VIkbC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070469" target="_blank">St.-Ulrichs-Platz 2</a>) (A-Wsa, Totenbeschreibamt 53, H, fol. 40v, and A-Wsa, Herrschaft Schotten, 16.29(154), fol. 132v), and was buried on 11 November 1759 in the crypt of her husband in the <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIicwC5AcDPCxVkvfbPqEw4w3Jj7eEXhET1Hi7UUNdBsef6T0uhGAafidbAQ89nM6ZbqK_tHu4Kr-H0hDwejADqvNBlA1011rh33f7DhUQh4_vxNq3s5AikgFBVMYc-lMMIenocCG-sm4/s1600/cemetery_1773.jpg" target="_blank">St. Ulrich cemetery</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-20/?pg=412" target="_blank">SU 20, 406</a>).<div style="text-align: left;">
<br />
<b>Johann Leopold Himmelbauer</b>
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Leopold Himmelbauer's activity as professional musician in Vienna is first documented on the occasion of his wedding on 12 May 1737 where he is referred to as "des Löbl Stüfts und Closters zum Schotten Musicus". In the entries concerning the baptisms of his first two children in the church of the <a href="https://en.wikipedia.org/wiki/Schottenstift" target="_blank">Schotten Abbey</a> he is referred to in 1738 as <i>Musicus</i>, and in 1739 as "<i>Regens Chori</i> in der <i>Caroli Borromæi</i> Kürchen" (choir master at Vienna's <a href="https://en.wikipedia.org/wiki/Karlskirche" target="_blank">Karlskirche</a>). The entry concerning Leopold Himmelbauer's wedding to Anna Christina Tservrancx in the parish church of St. Ulrich reads as follows.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf51RpS_1BfxBIgeN2ZlZCtbBFzRVO4NbfKUxtQsCsJioThg5Y0t1CDRDCQdTWXpBz5hgl0NLONbBsOzxW-J1avKqasPr3_OnfyCauEEJikzDdWbf_2qiKRz4yNKcmCgH4urSWb0kEFi0/s1600/Leopold+Himmelbauer+12.5.1737.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="1230" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf51RpS_1BfxBIgeN2ZlZCtbBFzRVO4NbfKUxtQsCsJioThg5Y0t1CDRDCQdTWXpBz5hgl0NLONbBsOzxW-J1avKqasPr3_OnfyCauEEJikzDdWbf_2qiKRz4yNKcmCgH4urSWb0kEFi0/w320-h200/Leopold+Himmelbauer+12.5.1737.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the wedding of Leopold Himmelbauer and Anna Maria Tservrancx on 12 May 1737 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-18/?pg=679" target="_blank">SU 18, fol. 337r</a>). The banns for this wedding were also published in the groom's home parish (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-25/?pg=548" target="_blank">Schotten 25, fol. 273r</a>).</span></div>
<blockquote>
Den 12<span style="font-size: x-small; vertical-align: super;">ten</span> May A<span style="font-size: x-small; vertical-align: super;">o</span>: <span style="text-decoration: overline;">737</span>: Ist mit Consens Ihro Hochwürde[n] Herrn Pfarrern zum Schotten Copulirt worden d[er] Wohl Edle und Kunstreiche Herr Leopoldus Hi<span style="text-decoration: overline;">m</span>elbaur, Ledig[en]st[ands] des Löbl. Stüfts und Closter zum Schotten Musicus wohnhaft in St: Stephans Pfarr gebürtig in Öesterreich, mit d[er] wohl Edlen Ehr und Tugentsamen Jungfrauen Anna Maria Tservranexin[<i>sic</i>], wohnhaft in Käpplerischen Hauß beÿ Maria stiegen, deß wohl Edlen Herrn Guilielmi Tservranex, und Evæ Barbaræ dessen Ehefrauen, Beeder noch im Leben Eheleiblich Erzeügten Jungfrauen Tochter.<br />
Test: |:Tit[ulo]:| H: Fran: Ignatius Keÿßer d[er] R.K.M.[ajestät] Rath und würthschafts Administrator im Königreich Böheimb,<br />
Test: |:Tit:| H: Joa:[nnes] Adamus von Heintz R.K.M. Buchhalter.</blockquote>
Leopold Himmelbauer's wife Anna Christina Tservrancx (the name Maria in the above entry is an error), who was to become Wenzel Himmelbauer's mother, is part of an interesting genealogical branch that deserves a short digression entitled:<br /><div style="text-align: left;"><br />
<u>The Tservrancx ancestry</u>
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<br />
It was no coincidence that Leopold Himmelbauer's first two children were born in the Schotten parish, in the so-called "Käplerisches Hauß beÿ Maria Stiegen" (today <a href="https://upload.wikimedia.org/wikipedia/commons/a/ab/Am_Gestade_1.JPG" target="_blank">Am Gestade 1</a>) where Leopold Himmelbauer lived until at least December 1739. From 1705 until 1731, this house belonged to the <i>kaiserlicher Kammeruhrmacher</i> (Imperial chamber clockmaker) Jacob Käpler (1662–1731) and his wife (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-03/?pg=561" target="_blank">A-Wstm</a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-04/?pg=25" target="_blank"> </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-03/?pg=561" target="_blank">3, 201</a>) Christina Barbara, née Widtmann (A-Wsa, Grundbuch B1/17, fol. 344). In her first marriage (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-03/?pg=561">A-Wstm 3, 248</a>), Christina Käpler had been married to the civil watchmaker Georg Hainz (1636–1684) with whom she had two children. One of them was Leopold Himmelbauer's future mother-in-law Eva Barbara (see above) who was born on 25 January 1678 in the <a href="https://de.wikipedia.org/wiki/Palais_Liechtenstein_(Herrengasse)" target="_blank">Liechtenstein Palace</a> ("Klein Lichtensteinisches Hauß") in the Herrengasse (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/01-04/?pg=229" target="_blank">A-Wstm</a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-04/?pg=25" target="_blank"> </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/01-04/?pg=229" target="_blank">4, 225</a>) (like Käpler, Hainz worked for Prince Liechtenstein). In his will, which he signed on 17 September 1731, Käpler left his house in Altlerchenfeld to his natural children from his two marriages (and their children), 1600 gulden to his "dear stepchildren Johann Adam Hainz and Eva Barbara Serfrankin[<i>sic</i>]", and his half of the house <i>Am Gestade</i> to his wife Christina Barbara (A-Wsa, AZJ, 5372/18. Jhdt.). Christina Barbara Käpler already died on 17 February 1732 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/03-05/?pg=256" target="_blank">A-Wstm</a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-04/?pg=25" target="_blank"> </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/03-05/?pg=256" target="_blank">5, 249</a>). In her will, signed on 26 January 1732, she bequeathed the whole "Käplerisches Haus" to the following children and grandchildren: Johann Adam Hainz, Eva Barbara Tservrankin[<i>sic</i>], Katharina Widmaister, Josepha Käpler, and the six children of her deceased daughter Elisabeth Pauer (A-Whh, OMaA, 689-3570). For the first two years of his marriage, Leopold Himmelbauer lived at the "Käplerisches Haus", because his mother-in-law Eva Barbara Tservrancx owned a fifth of this building.<br /><br />
Back to the ancestry of Leopold Himmelbauer's wife. The wedding of Leopold Himmelbauer's parents-in-law Guillaume Tservrancx and Eva Barbara Hainz took place on 17 May 1706 in the <a href="https://en.wikipedia.org/wiki/Church_of_Mariahilf" target="_blank">Church of Mariahilf</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-04/?pg=25" target="_blank">A-Wstm</a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-04/?pg=25" target="_blank">, </a><a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-04/?pg=25" target="_blank">Tom. 4, 29</a>) which, until 1783, was a succursal church of St. Michael's. At that time, the groom lived "bey der weißen Tauben" ("The White Dove" Stadt 584, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=NmdnRk8JLEYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052277" target="_blank">Bauernmarkt 12</a>).
</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03JMOWMcC0NokrVLm5BenDN1IIwSnvFgMXfjr4f1mDRf6HJHJ6JZnNx_ijDqT-Z5fdqFgGOMki8qx7HiHQ0T0ez2oVlwes3USHiUr2tObDXMB7OAOTqiojGf8kHE5II8w2XMUOLmJ6a4/s906/Guilielmus+Tservranex+SM+VK+5.5.1706.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="906" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03JMOWMcC0NokrVLm5BenDN1IIwSnvFgMXfjr4f1mDRf6HJHJ6JZnNx_ijDqT-Z5fdqFgGOMki8qx7HiHQ0T0ez2oVlwes3USHiUr2tObDXMB7OAOTqiojGf8kHE5II8w2XMUOLmJ6a4/s320/Guilielmus+Tservranex+SM+VK+5.5.1706.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">The entry concerning the publications of three banns in May 1706 for the wedding of Guillaume Gislain Tservrancx and Eva Barbara Hainz (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/05-11/?pg=113" target="_blank">A-Wstm, Verkündbuch 11, 109</a>). This wedding was also announced at. St. Stephen's (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-036/?pg=597" target="_blank">A-Wd, Tom. 36, 585</a>). Tservrancx's surname proved too confusing for the Viennese clergy to be entered correctly in the indexes of St. Stephen's and St. Michael's. Therefore this wedding does not appear in any digital database.</span></div><br /><blockquote><div style="text-align: left;">5 Maÿ <span style="text-decoration: overline;">1706</span> Copulati sunt 17 Maÿ 1706.<br /> Ad B.[eatam] V[irginem] Auxiliatri<br />d[er] <strike>Ehrsambe</strike> Wohledle H: Guilielmus Gislenius Tservrancx, <strike>ein mahler</strike> von Brisßl in Brabandt gebührtig, des H: Guilielmi Tservrancx Seel:, und Frau Joanna beed[er] Ehelicher H: Sohn; beÿ d weisßen Tauben auf den alte[n] Bauernmarckht wohnhaft; Nimbt zur Ehe die WohlEdle Ehr<span style="font-size: xx-small;">=</span> und Tugentsame Jungfrau Eva Barbara <strike>Eup</strike> Hainzin, des H: Georg Hains Seel: und Frau Christina Barbara beed[er] Eheliche Jungfrau Tochter in d[er] <strike>H</strike>: Herrn Gasßen in kleinlichtenstainischen Haus wohnhaft.<br /> <strike>1</strike> <strike>2</strike> <strike>3</strike> . Sponsus extra [parochiam]<br />T.[estes] H. Jacob Mändl in obbenannten Haus beÿ d weisßen Tauben wohnhaft, Kaÿl: Camermahler, H: Adam Fallnberg, Stallmaister beÿm Jungen Grafen v Traunn, <strike>Herr v Fischern</strike> Ihro G[na]d[en] H: v Füschern Landtmann H: Joseph Schefler, Uhrmacher beÿm Schöne[n] Brunn.</div></blockquote>
So far nothing is known about the artistic work of Himmelbauer's father-in-law, the Brussels-born painter Guillaume Ghislain Tservrancx. In the Viennese sources he is once addressed as "Virtuos", but, oddly enough, in the above marriage entry his profession "ein mahler" (a painter) is crossed out. His best man Jacob Mändl (Männl) was Imperial chamber engraver and adjunct of the I. & R. gallery inspector (Haupt 2007, 568). Guillaume Tservrancx seems not to have died in Vienna and the time of his death can only be narrowed down by the entries in the land registers concerning his real estate in Altlerchenfeld. As of 1735, Tservrancx and his wife owned two houses in the suburb of Altlerchenfeld: the house "Zum schwarzen Adler" (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=z0xHRrZ3J0YVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072724" target="_blank">Lerchenfelder Straße 88</a>), a relatively large building with a size of 1432m<span style="font-size: xx-small; vertical-align: super;">2</span>, and the smaller house "Zum roten Kreuz" (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=2o9KRtV-aJkYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10465681" target="_blank">Lerchenfelder Straße 52</a>). The first one had once belonged to Jacob Käpler, and in 1735 was bought by the Tservrancx couple from Käpler's heirs (A-Wsa, Grundbuch 146/5, fol. 9r–10v). The second one (Wenzel Himmelbauer's future place of birth) was bought in 1727, together with two small vineyards (A-Wsa, Grundbuch 146/4, fol. 144).<br />
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</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5TltxlWc-Q_jqqvyQBEYsYSFNrMy1FOcZDgOmytx3oiZa7qj4JElOS_y5fCQcBHdEgKJjoRdl5tljPLjumVbESbkXOwNZRMW4-UfJ4R37h54MX08RRw-CV7TrYean-A7TM2e-teYJq4E/s977/GB+146_2%252C+fol.+3r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="813" data-original-width="977" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5TltxlWc-Q_jqqvyQBEYsYSFNrMy1FOcZDgOmytx3oiZa7qj4JElOS_y5fCQcBHdEgKJjoRdl5tljPLjumVbESbkXOwNZRMW4-UfJ4R37h54MX08RRw-CV7TrYean-A7TM2e-teYJq4E/s320/GB+146_2%252C+fol.+3r.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entries concerning the early sequence of owners of the house Altlerchenfeld 179, "Zum rothen Creuz", in the <i>Dienstbuch</i> of Vienna's <a href="https://www.geschichtewiki.wien.gv.at/Vizedom" target="_blank">Vizedom</a> dominion (A-Wsa, Grundbuch 146/2, fol. 3r). As can be seen, in 1745 Eva Barbara Tservrancx inherited the house from her husband, and in 1750 Anna Christina Himmelbauer inherited the house from her mother.<br /></span></div>
<br />
From two entries in the Vizedom land registers concerning the transfer of Tservrancx's property to his widow, the year of his death can be assumed to have been 1744. Here is one of these entries, dated 18 June 1745, which refers to Guillaume Tservrancx's state as "Nachdem er dieses Zeitl[iche] verlassen [...]" ("Since he has departed his life ...").
No trace of Tservrancx's passing could be found in the Totenbeschauprotokoll and the death records of St. Ulrich.<br />
<br />
</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jU7w6BbzfQLxc5KKu5fZzIsFQyafK4_FO4o9xciAlXPawrOOoZMLIoKvxiXy3aPsX8HxnZZ81gqYCE-IvcJaTIExCHjZ-yK3Vd8IidA9Wt3-FzsWDN60wHl5Sw4OX1cr7RWm3UuMUYU/s1284/GB146_5%252C+fol.+85f.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="927" data-original-width="1284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jU7w6BbzfQLxc5KKu5fZzIsFQyafK4_FO4o9xciAlXPawrOOoZMLIoKvxiXy3aPsX8HxnZZ81gqYCE-IvcJaTIExCHjZ-yK3Vd8IidA9Wt3-FzsWDN60wHl5Sw4OX1cr7RWm3UuMUYU/s320/GB146_5%252C+fol.+85f.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the transfer of ownership of half of the house "Zum roten Kreuz" from the deceased Guillaume Tservrancx to his widow (A-Wsa, Grundbuch 146/5, fol. 85v and 86r). Note that the following owner of the house is given as "Fr: Anna Christina Himmelbergerin[<i>sic</i>]".<br /></span></div>
<br />Eva Barbara Tservrancx died on 15 May 1750 in her house "Zum schwarzen Adler" in Altlerchenfeld (A-Wsa, Totenbeschreibamt 48, fol. 123r, for her burial see <a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-19/?pg=248" target="_blank">SU 19, 244</a>). Her will, which she wrote on 23 February 1750, reads as follows.<br />
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</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheJFGoHjSvndcTCeAmKodVdiCv0pHwTnbunnKmWwFgwMuJ11P8BKC3cUPTqO-CkdrXRok28p1NlkWO3ZdHw5nF6DTe76G2fpw5ESM2GUxO3cGw_patEMl6qqU8_hun7fRmhjUqv6ewqJM/s1160/+AZJ+9486_18.+Jhdt.+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1160" data-original-width="710" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheJFGoHjSvndcTCeAmKodVdiCv0pHwTnbunnKmWwFgwMuJ11P8BKC3cUPTqO-CkdrXRok28p1NlkWO3ZdHw5nF6DTe76G2fpw5ESM2GUxO3cGw_patEMl6qqU8_hun7fRmhjUqv6ewqJM/s320/+AZJ+9486_18.+Jhdt.+%25282%2529.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The will of Eva Barbara Tsevrancx (A-Wsa, AZJ 9486/18. Jhdt.)<br /></span></div>
<br />
<blockquote>
<div style="text-align: center;">In Namen Gottes<br /></div>
Vatters und deß Sohns, und des H: Geistes Amen<br />
Mein testament soll sein am Endt in Namen der H: treÿfaltigkeiht<br />
Meine Sehl verschaffe ich Gott dem Allmächtigen von dem sie gekomen ist –<br />
den leib der Ertten damit sie Mächte Christlich begraben werdten<br />
Mein weniges Vermägen verschafe ich meiner Dochter, otter denen nachkömligen so sie daß leben nicht solte haben ––<br />
Waß anblangt die schulten Misßen bezalt werdten ~<br />
50 H: Mesßen Misßen Gelesßen werden<br />
Ano 1750 [L.S.] Eva Barbara<br />
den 23 februarius tservrancx<br /> gebohrne Heinzin</blockquote>
Although Eva Barbara Tservrancx owned two houses in Altlerchenfeld and a part of the house <a href="https://sammlung.wienmuseum.at/images/objects/99088/505079_full.jpg" target="_blank">Am Gestade 5</a> in the city, owing to her debts, the value of her net estate only amounted to 2360 gulden 14 kreuzer (A-Wsa, AZJ 117/36). In June 1750 her daughter and universal heir Anna Christina Himmelbauer submitted a declaration of inheritance ("simpliciter et absolute") to the municipal court.<br />
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</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYMaYMKZtmK1IGTaY01AkKzrv9w8SXeBXeVm8QxaFlfiPNCwV4_FT8VP1Tzom6ap-iln00UQGaZGLjf5zJiKfmXWwTnHwLZGmD4Kt1l4PyiNp8Rzbxg5lPRvb0K67AV1jZyFJXEdM56U/s1146/+AZJ+9486_18.+Jhdt.+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYMaYMKZtmK1IGTaY01AkKzrv9w8SXeBXeVm8QxaFlfiPNCwV4_FT8VP1Tzom6ap-iln00UQGaZGLjf5zJiKfmXWwTnHwLZGmD4Kt1l4PyiNp8Rzbxg5lPRvb0K67AV1jZyFJXEdM56U/w214-h320/+AZJ+9486_18.+Jhdt.+%25281%2529.jpg" width="214" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Anna Christina Himmelbauer's declaration of inheritance (A-Wsa, AZJ 9486/18. Jhdt.)<br /></span></div>
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In summer of 1750, at the time of his grandmother's death, Wenzel Himmelbauer was seven years old. He was born on 31 January 1743, his parents' fifth child, in his grandmother's house "Zum roten Kreuz" in Altlerchenfeld. His baptism took place in the church of St. Ulrich with Wenzel von Franzenau, who then was still a law student, officiating as godparent for whom the chancery clerk Sebastian Vogl stood proxy. Wenzel Himmelbauer's baptismal entry reads as follows (the notes on the right margin refer to issuances of birth certificates on 27 February 1771 and 29 August 1780).<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4U-ECUtrIRP8-9stJJsJlhKrTktgj8ClqS9LxPNMiRizA6Zn4Csd3LufA19i8YQkB3p-Fwmwx5i25QIq3YstmDtQNau4J7xcahkIyq0PPUQb8Jmn9tR7jAoJFKEKE8K-pPHxDCXUuOU/s1600/Wenzel++Himmelbauer+31.1.1743.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="766" data-original-width="688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4U-ECUtrIRP8-9stJJsJlhKrTktgj8ClqS9LxPNMiRizA6Zn4Csd3LufA19i8YQkB3p-Fwmwx5i25QIq3YstmDtQNau4J7xcahkIyq0PPUQb8Jmn9tR7jAoJFKEKE8K-pPHxDCXUuOU/s320/Wenzel++Himmelbauer+31.1.1743.jpg" width="287" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning Wenzel Himmelbauer's baptism on 31 January 1743 in the parish church of St. Ulrich in Vienna (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-24/?pg=562" target="_blank">SU, Tom. 24, fol. 280v</a>). The first note of issuance of a baptismal certificate refers to a family event, because all baptismal entries of the Himnmelbauer siblings bear this note. The second certificate of 1780 could have been needed for an employment. <br /></span></div>
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<blockquote> <u>Eodem</u> [Januarius den 31:<span style="font-size: x-small; vertical-align: super;">ten</span>]<br />
P[ater] H: Leopoldus Himmelbaur,<br />
Chor<span style="font-size: xx-small;">=</span>Regens beÿ denen Creütz<span style="font-size: xx-small;">=</span><br />
herrn ad S. Carolum Borro<span style="font-size: xx-small;">=</span><br />
meum, in Rothen Creutz im<br />
L[erchen] F[eld]<br />
M[ater] Fr: Christina Ux[or]<br />
Inf[ans] Franciscus Wenceslaus Sebastianus.<br />
P[atrinus] |:Tit[ulo]:| H: Wenceslaus v[on] Franzenau, ein Jurista.<br />
l[oco] e[ius] H: Sebastian Vogl, ein Cancelist, l[edigen] st[ands]<br />
Obst[etrix] Lanzettin.<br />
[side notes]<br />
Extractu[s] e[st] die 27t Feb[ruarii] <span style="text-decoration: overline;">771</span><br />
2<span style="font-size: x-small; vertical-align: super;">da</span> vice die 29t Aug[usti] <span style="text-decoration: overline;">780</span>.
<br />
</blockquote>
Wenzel Himmelbauer's godfather Wenzel Augustin von Franzenau was born around 1723. After the completion of his legal education, he became a civil servant. With the help of the <i>Staatsschematismen</i> his career can easily be traced: <i>Post-Amts-Officier</i> (<a href="https://books.google.at/books?id=sY9kAAAAcAAJ&pg=PA16&lpg=PA16" target="_blank"><i>Schematismus</i> 1752, 16</a>), <i>Hofsecretär</i> in the Court chamber (<a href="https://books.google.at/books?id=vcJdAAAAcAAJ&pg=PA21" target="_blank"><i>Schematismus</i> 1775, 21</a>), <i>K.K. Rath, wirkl. Hofkammersekretarius u. Postreferent</i> (<a href="https://books.google.at/books?id=gpaJgUxVkIgC&pg=PA24" target="_blank"><i>Schematismus</i> 1781, 24</a>), and <i>Hofsekretär, Dirigent der mit dem K.K. obersten Hof-Postamte vereinigten kleinen Post</i> (<a href="https://books.google.at/books?id=eayxDJ4KOtMC&pg=PA7" target="_blank"><i>Schematismus</i> 1785, 7</a>). Franzenau died on 23 May 1786 of dropsy in the house Stadt 891 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=VCJrRnjCJ0YVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052475" target="_blank">Kumpfgasse 5</a>) and was buried on 25 May 1786 in the St. Marx cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03a-110/?pg=314" target="_blank">A-Wd, Bahrleihbuch 1786, fol. 137r</a>).
The inscription on Franzenau's headstone is documented in the book <i>Sammlung der auf den Gottesäckern der kais. auch kais. königl. Haupt<span style="font-size: xx-small;">=</span> und Residenz<span style="font-size: xx-small;">=</span>Stadt Wien befindlichen Grabschriften und Denkmähler</i> (Vienna 1807).<br />
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</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR76YPKZ-k50h4EjaD2VMO_voU46r-QsIxaHqA830HyE5HYjxVVs6QCXVDauY0W6DUiiJc8hZyQgInbejR9hdFFWKkQJQQk4sypPnlWhPHWrD_fpVHlkBfyc6e8NmEgAPiT9nCcmM8Qsw/s696/Franzenau.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="313" data-original-width="696" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR76YPKZ-k50h4EjaD2VMO_voU46r-QsIxaHqA830HyE5HYjxVVs6QCXVDauY0W6DUiiJc8hZyQgInbejR9hdFFWKkQJQQk4sypPnlWhPHWrD_fpVHlkBfyc6e8NmEgAPiT9nCcmM8Qsw/s320/Franzenau.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The inscription on Wenzel von Franzenau's headstone in the St. Marx cemetery (S<i>ammlung der auf den Gottesäckern der kais. auch kais. königl. Haupt<span style="font-size: xx-small;">=</span> und Residenz<span style="font-size: xx-small;">=</span>Stadt Wien befindlichen Grabschriften und Denkmähler</i>, Vienna 1807, 60)<br /></span></div>
<br />The discovery of 1743 as the year of Wenzel Himmelbauer's birth puts an end to the previous confusion and resolves all problems of chronology in the literature. Leopold Himmelbauer and his wife Anna Christina, née Tservrancx had the following fifteen children.<br /><ol>
<li>Maria Theresia Himmelbauer, b. 13 Mar 1738 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-32/?pg=137" target="_blank">Schotten 32, fol. 136r</a>), d. 23 Jun 1738 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/03-07/?pg=110" target="_blank">Schotten 7, fol. 52v</a>)</li>
<li>Maria Theresia Himmelbauer, b. 15 Dec 1739 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-32/?pg=252" target="_blank">Schotten 32, fol. 253r</a>), d. 13 Mar 1740 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-18/?pg=161" target="_blank">SU 18, 157</a>) </li>
<li>Anna Barbara Himmelbauer, b. 2 Nov 1740 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-24/?pg=105" target="_blank">SU 24, fol. 52r</a>), d. 23 Jun 1786, Wieden 368 (A-Wsa, Totenbeschreibamt 87, H, fol. 35r, and Mag. ZG, A2, 1380/1786)</li>
<li>Franz Wenzel Sebastian Himmelbauer, b. 1 Jan 1742 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-24/?pg=343" target="_blank">SU 24, fol. 171r</a>), d. 9 May 1742 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-18/?pg=299" target="_blank">SU 18, 295</a>, and A-Wsa, Totenbeschreibamt 43, fol. 228v) </li>
<li>Franz <b>Wenzel</b> Sebastian <b>Himmelbauer</b>, b. 31 Jan 1743 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-24/?pg=562" target="_blank">SU 24, fol. 280v</a>) (see above), cellist and composer, d. Mar 1793, Bern</li>
<li>Franz Johann Himmelbauer, b. 21 Jan 1745 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-25/?pg=246" target="_blank">SU 25, fol. 121v</a>), dancing pupil of Thomas Cajetan Levassori della Motta (1709–1757), in 1763 dancer at the Vienna court theater (<a href="https://books.google.at/books?id=-U1ZAAAAcAAJ&pg=PP24" target="_blank">Weiskern 1763</a>), in 1786 and 1790 <i>Landschaftstanzmeister</i> [dancing teacher with the provincial government] in Klagenfurt (A-Wsa, Mag. ZG, A2, 1380/1786, and 1398/1790), in 1791 theater inspector with the Berndtische Gesellschaft in Klagenfurt (<a href="https://digital.onb.ac.at/OnbViewer/viewer.faces?doc=ABO_%2BZ153931909" target="_blank"><i>Theater-Kalender 1792</i>, 254</a>) </li>
<li>Catharina Josepha Himmelbauer, b. 28 Feb 1747 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-25/?pg=737" target="_blank">SU 25, fol. 368r</a>), (on 10 Nov 1773 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-27/?pg=645" target="_blank">SU 27, fol. 324r</a>] married Lorenz Mathias Wagenhofer [5 Jan 1742–15 Jul 1801], musician and <i>Musikmeister</i> at the Theresianum) with whom she had a son and a daughter), d. 16 Jan 1784, Wieden 21 (A-Wsa, Totenbeschreibamt 84, W, fol. 4r, and Mag. ZG, A2, 937/1784)</li>
<li>Josepha Himmelbauer, b. Sep 1748, d. 21 Apr 1749 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03a-073/?pg=158" target="_blank">A-Wd, Bahrleihbuch 1749, fol. 64v</a>, and A-Wsa, Totenbeschreibamt 47, fol. 440v)</li>
<li>Carolina Theresia Himmelbauer, b. 8 Aug 1750 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-27/?pg=9" target="_blank">SU 27, fol. 3r</a>) (on 5 Aug 1771 [<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/02-27/?pg=209" target="_blank">SU 27, fol. 107r</a>] married Karl Kriechbaum [1738–1790], luthier, with whom she had two children), d. 2 Aug 1798 (A-Wsa, Mag. ZG, A2, 3623/1798, and Totenbeschreibamt 108, CGK, fol. 76v)</li>
<li>Johann Georg Himmelbauer, b. 16 Aug 1751 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-27/?pg=248" target="_blank">SU 27, fol. 122v)</a>, cellist, 1786 in Preßburg, as of 1790 "Violonzellist b H Feldzeugmeister Grafen v Harsch", d. 1 Dec 1798, Vienna General Hospital (A-Wsa, Totenbeschreibamt 108, H, fol. 71r, and Mag. ZG, A2, 524/1799)</li>
<li>Franz Ludwig Himmelbauer, b. 14 Feb 1753 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-27/?pg=596" target="_blank">SU 27, fol. 296v</a>), d. before 1786</li>
<li>Joseph Peter Himmelbauer, b. 24 Mar 1754 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-28/?pg=91" target="_blank">SU 28, fol. 88v</a>), d. 15 Jul 1754 (A-Wsa, Totenbeschreibamt 50, H, fol. 15v, and <a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-19/?pg=548" target="_blank">SU 19, 544</a>)</li>
<li>Anna Josepha Himmelbauer, b. 5 Mar 1755 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-28/?pg=206" target="_blank">SU 28, fol. 204r</a>), d. 1 Jun 1755 (A-Wsa, Totenbeschreibamt 50, H, fol. 42v)</li>
<li>Maria Anna Josepha Himmelbauer, b. 30 Mar 1756 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-28/?pg=341" target="_blank">SU 28, fol. 339r</a>), d. 5 Nov 1756 (A-Wsa, Totenbeschreibamt 51, H, fol. 27r)</li><li>Juliana Barbara Himmelbauer, b. 16 Sep 1758 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-29/?pg=465" target="_blank">SU 29, fol. 231r</a>), in 1804 singer in Preßburg, d. after 1804 <br /></li>
</ol>
Leopold Himmelbauer died of tuberculosis on 1 February 1781 in his wife's house "Zum schwarzen Adler" in Altlerchenfeld. He was buried two days later in the St. Ulrich cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/03-23/?pg=15" target="_blank">SU 23, 11</a>).<br />
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<span style="font-size: x-small;">The entry in the municipal <i>Totenbeschauprotokoll</i> concerning Leopold Himmelbauer's death (A-Wsa, Totenbeschreibamt 78, H, fol. 5)</span></div><br />Himmelbauer's estate turned out to be of modest value. His belongings were estimated at a total of 106 gulden 56 kreuzer. The inventory, drawn up by the judge and the court scribe of the Herrschaft Altlerchenfeld, bears the following note: "To be noted: the house No. 79 is the sole property of the deceased's bereaved widow."<br />
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<span style="font-size: x-small;">The second page of the inventory of Leopold Himmelbauer's estate (A-Wsa, Herrschaft Altlerchenfeld und Erdberg, 102.A1, 215)</span></div><br />
Only small remains of Leopold Himmelbauer's compositions have survived. There are three <i>Regina caeli</i> from his pen which today are held by Hungarian libraries: two in the archive of the cathedral in Győr (H-Gk, AMC, H. 111/1-2) and one in the library of Pannonhalma abbey (H-PH, Mus.Jes. 130).
The Litanies in B major in the library of Ottobeuren abbey (D-OB, MO 523) have been misattributed to Wenzel Himmelbauer by Gertraut Haberkamp (Haberkamp 1986). They are also works of Leopold Himmelbauer.<br />
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Leopold Himmelbauer's widow Anna Christina is recorded as owner of the houses Stadt 400 and Altlerchenfeld 79 in the 1787/88 <i>Steuerfassion</i> (municipal tax register). The house in the city yielded an annual rental income of 923 gulden 24 kreuzer, the house in Altlerchenfeld 322 gulden 39 kreuzer.<br />
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<span style="font-size: x-small;">The first page of the entry concerning Anna Christina Himmelbauer's house Stadt 400 in the 1787/88 Steuerfassion (A-Wsa, Steueramt B34/2, fol. 106)</span></div>
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<span style="font-size: x-small;">The first page of the entry concerning Anna Christina Himmelbauer's house Altlerchenfeld 79 in the 1787/88 Steuerfassion (A-Wsa, Steueramt B34/20, fol. 106)</span></div>
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Christina Himmelbauer died on 23 February 1790 in her house in Altlerchenfeld. The entry in the Totenbeschauprotokoll concerning her death reads as follows.<br />
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<span style="font-size: x-small;">The entry in the municipal death register concerning Anna Christina Himmelbauer's death on 23 April 1790 (A-Wsa, Totenbeschreibamt 93, H, fol. 34r)</span></div></div></div>
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Himmelbauer Frau Kristina Regens Chori Witt.[we] gebohrne<br /> Tserfranx ist in ihrem H: beim schwarzen Adler<br /> N° 79 im Altlerchenfeld an Brand<br /> versch[ieden] alt 73 Jr <u>F[ranz] S[chmid]</u></blockquote>Christina Himmelbauer's <i>Sperrs-Relation</i> contains a list of her relatives which is a crucial source for the documentation of her family at that time. Only five of her fifteen children were still alive in 1790.<br />
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<span style="font-size: x-small;">The list of Christina Himmelbauer's relatives in her <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 1398/1790)</span></div>
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<i>Nachgelassene Kinder</i>. 5. dann 1 Enkel<br />
<i>Großjährige, und wo selbe sich befinden</i>. H. Wenzl in der Schweiz zu Bern, Franz Landschaftstanzmeister in Klagenfurth, Georg Violonzellist beÿ Tit[ulo] Herrn Feldzeugmeister Grafen von Harsch in der Alstergassen in Herrschaft Karolina verehligte Krichbaum auf der neuen Wieden beÿ der Fortuna N° 352. Juliana leedig im Sterborte.<br />
<i>Münderjährige, und wo dieselbe sich befinden</i>.<br />
dann von der verstorbenen Katharina verehligt gewesten Wagenhofin rückgelassene Tochter und respective Enklin Susanna 14 Jahr beÿ ihrem Vater am Spittlberg in der Johannesgasse beÿm grünen Baum
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Christina Himmelbauer died a relatively wealthy woman. Not only did she own the house Altlerchenfeld 79, which in 1750 had been estimated at a value of 2000 gulden, as of 1766, she had also acquired the remaining shares of the house <a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/413279" target="_blank">Stadt 400</a> from Jacob Käpler's other heirs. In 1790 the value of this building was estimated at 9700 gulden.<br />
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<span style="font-size: x-small;">The official appraisal of the house Stadt 400 by the builders Joseph Millinger and <a href="https://www.geschichtewiki.wien.gv.at/Liborius_Thadd%C3%A4us_Gerl" target="_blank">Liborius Thaddäus Gerl</a>, and the carpenter Joseph Knötzl from 21 June 1790 (A-Wsa, Mag. ZG, A2, 1398/1790)</span></div>
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Christina Himmelbauer's estate was severely reduced by debt and mortgages. The exact amount of her net assets cannot be determined, because all documents from the period between 1790 and 1793 are missing from her probate file. This loss includes a written power of attorney that in 1790 Wenzel Himmelbauer sent to his legal representative Dr. Valentin Klemenschitz in Vienna. The house Stadt 400 was only sold on 4 January 1793 (A-Wsa, Grundbuch 1/24, fol. 143). Because the settlement of Christina Himmelbauer's estate took until late 1794, Wenzel Himmelbauer did not live to see the final distribution of his mother's assets.<br />
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<b>Johann Michael Himmelbauer</b>
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<br />Unlike his two brothers, Michael Himmelbauer (1701–1736) did not enter a musical career. He took up his father's profession and became a surgeon. His presence in Vienna is first documented on the occasion of his marriage on 25 June 1724 in the church of the <a href="https://www.geschichtewiki.wien.gv.at/Spital_zu_St._Marx" target="_blank">St. Marx hospital</a> where he was obviously receiving an education as barber surgeon.<br />
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<span style="font-size: x-small;">The entry concerning Johann Michael Himmelbauer's wedding on 25 June 1724 in St. Marx (St. Marx, Tom. 2, 1)</span></div>
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<div style="text-align: center;">Anno 1724.<br /></div>
Den 25 Junij <u>alhier</u> copuliert worde[n]: der Ehrbahre Junge Gesell Johann Michael <u>Hi<span style="text-decoration: overline;">m</span>elpaur</u>,
Bader |:Bind-:| Gsell alhier zu St: Marx, von Rabs in Öster[reich]
gebürtig; mit der Ehr und tugendsame[n] Jungfraun Maria Barbara
Catharina Weberin, alhier zu St. Marx gebürthig, deß H: Johan Fridrich
Weber Artzte[ns] alhier, und Barbara desse[n] Ehewürthin seel: Ehlich
erzeügte Tochter.<br />
Testes sponsi: H: Philipp Kro<span style="text-decoration: overline;">m</span>er, burgl: Eißler in Wienn<br /> H: Simon Lorenz Hendl, Obervatter alhier.<br />
Testes sponsæ: H: Joh: Georg Joseph Heÿman, Haußpfleger alhier:<br /> H: Adam Weltischhofer Prunmaister alhir.
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The bride Barbara Weber had been born on 9 September 1701 in St. Marx (<a href="https://data.matricula-online.eu/de/oesterreich/wien/03-spital-st-marx-rennweg-maria-geburt/01%252C2%252C3-01/?pg=328" target="_blank">St. Marx 1, 162</a>), daughter of Friedrich Weber, physician at the St. Marx hospital. Soon after his wedding, Johann Michael Himmelbauer moved to the Lower Austrian town of <a href="https://de.wikipedia.org/wiki/Horn_(Nieder%C3%B6sterreich)" target="_blank">Horn</a> where he took up the position of local Bader. In Horn Johann Michael and Barbara Himmelbauer had the following two children.<br /><ol style="text-align: left;"><li>
Johann Friedrich Himmelbauer, b. 2 May 1725 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/horn/01-02/?pg=270" target="_blank">Horn 2, 268</a>), buried 25 May 1725 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/horn/04-01a/?pg=120" target="_blank">Horn 1a, 116</a>)<br /></li><li>Johann Heinrich Himmelbauer, b. 7 May 1726 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/horn/01-02/?pg=278" target="_blank">Horn 2, 276</a>), d. 19 Apr 1809, Brussels<br /></li></ol><p>
The surgeon Johann Michael Himmelbauer already died at the age of 35 in Horn where he was buried on 2 February 1736. In the burial register he is described as "man of good and excellent skills" (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/horn/04-01a/?pg=169" target="_blank">Horn 1a, 165</a>). His widow does not appear in the indexes of the Horn death registers. She seems to have remarried.<br />
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<u>The bequest of Dr. Johann Heinrich Himmelbauer</u><br />
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Johann Michael Himmelbauer's younger son Johann Heinrich turned out to be by far the most successful representative of his family. He studied medicine at the University of Vienna and became a major health care reformist in the Austrian military. In 1768 he was appointed second lecturer at the "Militär-Accademie der Wundarzney" in Brussels (Moerchel 1984, 154). After a long and successful medical career he died in Brussels on 19 April 1809. In his will, dated 27. Vendemiare XIII (19 October 1804), he bequeathed a total sum of 42,000 gulden in Viennese <i>Stadt-Banco</i> bonds to his Austrian relatives. The decades-long attempts by the judicial authorities to locate Heinrich Himmelbauer's heirs provide an interesting picture of the Himmelbauer family in the first half of the 19th century. The earliest public request to Heinrich Himmelbauer's aunt Maria Anna Himmelbauer and her children to report to the responsible legal representative Karl von Adlersburg was published on 8 December 1812 in the <i>Wiener Zeitung</i>.
If Maria Anna Himmelbauer would not contact the lawyer in the foreseeable future, her share of the inheritance and that of her children would be distributed among the other relatives named in the will.<br />
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<span style="font-size: x-small;">The call to Maria Anna Himmelbauer and her descendants to report to the legal representative of the executors of Johann Heinrich Himmelbauer's will (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18121208&seite=15&size=45" target="_blank"><i>Wiener Zeitung</i>, 8 Dec 1812, 855</a>)</span></div>
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The main problem with Dr. Himmelbauer's testamentary dispositions was the fact that his state of knowledge about his relatives was limited. Not only was he unaware of their whereabouts, he also appointed some of them as heirs who in 1809 were not alive anymore. Among these deceased persons were his aunt Christina and his cousin Wenzel Himmelbauer. Concerning the claims of his heirs, Dr. Himmelbauer established the following condition:
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In order to avoid all objections with regard to the name Himmelbauer, which is also spelled Himelbauer, I request and order that, without dwelling on this difference, all controversy should be settled by the fact that the relatives or descendants must be from Raabs, a small town in Lower Austria, whose dominion is owned by Baron Bartenstein.
</blockquote>
Because in 1844 the heirs had still not been located, the <i>Preßburger Zeitung</i> published Himmelbauer's detailed testamentary provisions.<br />
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<span style="font-size: x-small;">The publication of Johann Heinrich Himmelbauer's bequest to his relatives (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=pre&datum=18441030&seite=4&size=45" target="_blank"><i>Preßburger Zeitung</i>, 30 Oct 1844, 696</a>). In August 1844 his text had already been published three time in Vienna (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18440805&seite=16" target="_blank"><i>Wiener Zeitung</i>, 5 August 1844</a>).<br /></span></div>
<br />According to this list of heirs, eight of these 24 individuals were named Wachtel. They were children of Magdalena Himmelbauer (b. 1708) who allegedly in Raabs had married a man named Wachtel. This wedding cannot be found in the Raabs church records. It is unclear whether this inheritance, whose value had certainly been massively reduced since 1809, was ever distributed. It is unlikely, however, that the Himmelbauer heirs ever received their money.<br />
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<b>Wenzel Himmelbauer's death</b>
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<br />
Because Wenzel Himmelbauer was a Catholic, the exact date of his death is not documented in Bern's Protestant church registers. His obsequies probably took place in a neighboring Catholic parish near Bern. The earliest mentioning of Himmelbauer's passing in documents of the Bernese authorities occurs on 11 March 1793 in vol. 1 of the <i><a href="https://archiv.bern.ch/home/?tab=dateien#/content/4d9aadd9477c43fbb818c6de53b9b555" target="_blank">Manual des Waisengerichts</a></i> (CH-BEsa, A_7_44).
Because the preceding entry in this register dates from March 4th, Wenzel Himmelbauer must have died between March 4th and March 11th, 1793. The Bernese <i>Waisenrichter</i> (orphan judges) did not believe that Wenzel Himmelbauer had left no money and saw reasons to suspect the maidservant of theft. After all, shortly before his death, Himmelbauer had collected subscription money for a concert. <br />
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<span style="font-size: x-small;">Wenzel Himmelbauer's death being referred to on 11 March 1793 in the <i>Manual des Waisengerichts</i> in Bern (CH-BEsa [Stadtarchiv Bern], A_7_44, 10f.)</span></div>
<blockquote>
[Den 11<span style="font-size: x-small; vertical-align: super;">t</span> Merz 1793.]<br />
Hi<span style="text-decoration: overline;">m</span>elbaur Von H: Quartier Aufseher Grÿf wurde des Musicanten Himelbaur Absterben von Wien gebürtig, angezeigt, mit dem vernemen, daß bei der Besieglung kein Geld vorhanden gewesen, da doch, da doch Er ohnlängst die Souscriptions<span style="font-size: xx-small;">=</span>Gelder bezogen habe; habe aber einen zimlich begründten Verdacht wo solches möchte hingeko<span style="text-decoration: overline;">m</span>en seÿe.<br />
Darauf wurde dem Secret: befohlen mit H: Grÿf noch heüte eine nähere Untersuchung in des Verstorbenen Gehälter, wie auch in der Magd <strike>Magd</strike> aus Vorsorg unter Siegel gelegten Schaft aufzustellen; Und da<span style="text-decoration: overline;">n</span> wa<span style="text-decoration: overline;">n</span> die vermeinte Baarschaft sich nicht erfinden sollte, solle H: Grÿf gewiesen seÿn M[einem hochgeehrten Herrn] Grosweibel davon die Anzeig zu thun, um die erforderl: Handbietung zur Entdekung zu erhalten.
</blockquote>
One week later the judge considered it appropriate to tell Himmelbauer's creditors to take the necessary steps to keep assets to be taken away from Bern and that the maid should only be given her clothes, in case she would find employment elsewhere.<br /><blockquote>
[Den 18 Merz 1793.]<br />
Himmelbauers Verlaßenschaft Auf die von H. Quartier Aufseher Grÿf gethane Anzeig, daß verschiedene Personen so mit erstem die Stadt verlaßen därften, so in des Himelbauers Massa Effecten hinter sich haben und auch schuldig seÿen, wurde ihnen die Wegweisung geben es den bekanten Creditoren anzuzeigen, damit Sie von Ihnen aus das gutfindeende zu ihrer Sicherheit vorkehren könen. Indeßen aber durch eine publ: die Debitoren zu Zustellung der Effecten und Abführung des schuldigen aufzuforderen. Der Magd sollen nur auf den Fall ihre Kleider herausgegeben werden, wen sie anderwärtig einen Plaz finden solte, sonsten dableiben, worfür sie nach Billichkeit entschädnet werden soll.(CH-BEsa, A_7_44, 17f.)</blockquote>
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Fa5AuMQjAVaEuGSj1T-01BKkhItYox7Sn4ujS0BnYRZzuKrbkn8RDtBEkKozMpexPrbPyOAxzoAdVQD3VJhmaniZJgOTBbz2bKosrc01SPbqHrr7KEeRiNfeXkdoetx0L9UGXlGweqs/s1382/Bern_A+V+52%252C+fol.+97v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1022" data-original-width="1382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Fa5AuMQjAVaEuGSj1T-01BKkhItYox7Sn4ujS0BnYRZzuKrbkn8RDtBEkKozMpexPrbPyOAxzoAdVQD3VJhmaniZJgOTBbz2bKosrc01SPbqHrr7KEeRiNfeXkdoetx0L9UGXlGweqs/s320/Bern_A+V+52%252C+fol.+97v.jpg" width="320" /></a><br /></div><div style="text-align: center;">
<span style="font-size: x-small;">The
cover sheet of a letter from the Vienna magistrate to the Bernese authorities concerning Wenzel Himmelbauer's estate (CH-BEa, A V 52, fol. 97v)</span></div><br />
Because Wenzel Himmelbauer was a Viennese citizen and had possible heirs in Vienna, his death in 1793 in Bern was followed by a correspondence between the Swiss and the Austrian authorities. On 18 July 1793 the Vienna magistrate, represented by Vienna's mayor <a href="https://en.wikipedia.org/wiki/Josef_Georg_H%C3%B6rl" target="_blank">Joseph Georg Hörl</a>, inquired about Wenzel Himmelbauer's estate on behalf of the heirs of his mother Christina who had died in 1790 (see above). This letter survives in the State Archive of the Canton of Bern (CH-BEa, A V 52, fol. 96f.).
It should be noted that one of these heirs' legal representatives was their cousin, the lawyer Ignaz Petrossi.<br />
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<span style="font-size: x-small;">The first page of mayor Joseph Georg Hörl's letter to the magistrate of Bern (CH-BEa, A V 52, fol. 96r)</span></div>
<blockquote> Löblicher Magistrat!<br />
Es ist die Kristina Hi<span style="text-decoration: overline;">m</span>elbauerin eine Wittwe N° 79 im Altlerchenfeld allhier den 23<span style="font-size: x-small; vertical-align: super;">ten</span> April 1790 ohne Testament gestorben, und hat als großjährige Kinder den Wenzl Hi<span style="text-decoration: overline;">m</span>elbauer in der Schweitz zu Bern, den Franz Hi<span style="text-decoration: overline;">m</span>elbauer Tanzmeister in Klagenfurth, den Georg Hi<span style="text-decoration: overline;">m</span>elbauer Violonzellisten beim H. Feldzeugmeister Grafen v Harsch, Karolina verehel. Kriechbaum allhier, und die Juliana Himmelbauerin ledigen Standes, dann eine von der verstorbenen Katharina verehel. gew: Wagenhofin rückgelassene Tochter, und resp[ecti]ve Enklin Susa<span style="text-decoration: overline;">n</span>a alt 14 Jahr, welche sich in väterlicher Obsorge allhier befindet, hinterlassen.<br />
Die großjährigen Kristina Hi<span style="text-decoration: overline;">m</span>elbauerischen Erben haben zu ihrem Bewollmächtigten den H: Valentin Klementschitz I. U. D<span style="font-size: x-small; vertical-align: super;">or</span>, auch Hof, und Gerichtsadvokaten ernennet, und für die <u>m</u> Susana Wagen<span style="font-size: xx-small;">=</span> [fol. 96v] hof wurde H: Ignaz Pedrossy U: I: D<span style="font-size: x-small; vertical-align: super;">or</span> auch Hof, und Gerichtsadvokat von diesem Magistrate als Curator ad actum aufgestellet, diese beiden H: Rechtsfreunde zeigten nunmehr diesem Gerichte gemeinschaftlich an, daß der Wenzl Hi<span style="text-decoration: overline;">m</span>elbauer zu Bern in der Schweitz mit Tod abgegangen sey, und machten das Ansuchen, womit bei dieser Lage, da eine <u>m</u>. Miterbin einschreitet, das rückgelassene Wenzl Hi<span style="text-decoration: overline;">m</span>elbaueri[sche] Verlassenschafts-Vermögen ausgewiesen, und nach Abzug der Unkösten hieher als Obervormundschafts<span style="font-size: xx-small;">=</span>Instanz übermachet werden möchte. Da nun der Magistrat der K:K: Haupt- und Residenzstadt Wien diesem Gesuche zu willfahren keinen Anstand nehmen kann, als wird andurch ein löbl: Magistrat der Stadt in Bern ersuchet, eine vollständige Auskunft über den Stand der gesamten Wenzl Hi<span style="text-decoration: overline;">m</span>elbauerischen Verlassenschaft hieher mitzutheilen, und den auf die fallenden Betrag nach Abzug der Gebühren, so bald möglich, einzuschicken, für welchen Amtsdienst sich dieser Magistrat in ähnlichen Fällen auch beständig bereitwillig finden lassen wird.<br /> Wien den 18<span style="font-size: x-small; vertical-align: super;">ten</span> July <span style="text-decoration: overline;">793</span>.<br /> Joseph Georg Hörlmpia wirkl: K:K:<br /> Rath, und Bürgermeister
</blockquote>
The Bernese court now initiated investigations (CH-BEa, A II 1013, 165; 22 August 1793) and on 31 August 1793, wrote to Vienna that according to an inventory of goods, the debts left by Wenzel Himmelbauer clearly exceeded the assets (CH-BEa, A III 154, 55). The estate closed with a deficit of more than 706 Kronen which, as the Bernese authorities put it, "will not be of great consolation to the registered heirs".<br />
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<span style="font-size: x-small;">The letter from the chancellery of the City and Republic of Bern to the Vienna magistrate concerning Wenzel Himmelbauer's estate (CH-BEa, A V 52, 55). The deficit of Himmelbauer's estate is also documented in a statement of the Bernese Waisengericht dated 31 December 1793 (CH-BEas, A_7_44, 130).<br /></span></div>
<blockquote> An<br />
den Lobl. Magistrat der K.K. Haupt und Residenzstadt Wien.<br /> Wegen des Musicus Wenzel Hi<span style="text-decoration: overline;">m</span>elbaur Verlaßenschaft<br /> Löblicher Magistrat!<br />
Dem von Einem Löbl. Magistrat der K.K. Haupt<span style="font-size: xx-small;">=</span> und Residenzstadt Wien gethanen Ansuchen vom 18 July lezthin gemäß, hat die unterschriebene von Hoher Behörde den Befehl erhalten, das zu diesem End dem Waÿsengerichts Sekretariat abgeforderte Inventarium der Verlaßenschaft des allhier verstorbenen Musicus Wenzel Hi<span style="text-decoration: overline;">m</span>elbaur sel. anmit zu übersenden.<br />
Die sich angemeldeten Erben werden daraus zu ihrem nicht großen Troste ersehen, daß das Vermögen sich nur auf K[ronen] 414. [Batzen] 22. [Kreuzer] 2. Die Schulden aber auf K 1121. 3. –. sich ansteigen, folglich ein defficient von K 706. 5. 2. sich ergibet. Die Unterschriebene wird sich jederzeit ein wahres Vergnügen daraus machen einem Lobl. Magistrat der K.K. Haupt und Residenzstadt in fernerem angenehme Dienste zu erweisen.<br />
Geben d[en] 31. Aug. 1793.<br /> Canzleÿ der Republik Bern.
</blockquote>
The file concerning the settlement of Wenzel Himmelbauer's estate (Mag. ZG, A2, 2356/1793) in the holdings of the Vienna municipal court does not survive, because most of the files that contained only correspondence and not an actual <i>Sperrs-Relation</i> (probate file) were discarded long before this material in came to the city archives in 1924. The correspondence between the Bernese and Viennese municipal court is documented in the entries relating to this file in the protocols of the fascicles two and three, the co-called <i>Officiosa</i> (today A-Wsa, <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000624ma8Invent#Ser_____00000624ma8Invent" target="_blank">Serie 1.2.3.2.B1</a>). The earliest entry related to Wenzel Himmelbauer's death refers to the Viennese court's aforementioned request for information concerning Himmelbauer's estate, and the above response from Bern that the debts of this estate exceed the assets.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the 1793 <i>Officiosa</i> concerning the correspondence about Wenzel Himmelbauer's estate (A-Wsa, Mag. ZG, B1/36, lit. H, 150)</span></div>
<blockquote>
Himelbauer Wenzel, Schreiben nach Bern in der Schweiz wodurch [Fasc.] 2 [Numerus] 2356.<br />
das Ansuchen gemacht wird den Stand des dort verstorbenen Wenzl Himelbauerschen Verlassenschaft hieher mitzutheilen. de exped[ito] 30<span style="font-size: x-small; vertical-align: super;">t</span> July <span style="text-decoration: overline;">793</span><br />
Remißschreiben von Bern dd° 12<span style="font-size: x-small; vertical-align: super;">ten</span> 7<span style="font-size: x-small; vertical-align: super;">mbr</span> <span style="text-decoration: overline;">793</span>; womit berichtet wird, daß die Schulden das Vermögen übersteigen nebst Uebermachung des Inventariums<br />
<u>Vide Repertor[ium] de anno <span style="text-decoration: overline;">794</span></u><br />
<u>pag. 32.</u>
</blockquote>In 1793 the Bernese authorities heard nothing more from Vienna. On 23 December 1793, the Waisengericht decided that the organizers of the concert planned by Himmelbauer should be lent two stoves for cheap rent until the inheritance would be liquidated. The Bernese court also pointed out that the silence of the heirs is doing harm to the interest of the creditors, because, if the liquidation would not take place soon, the rent for Himmelbauer's chamber would have to be paid, and eventually the musical instruments could be damaged.<br />
<blockquote>
[Montag d: 23<span style="font-size: x-small; vertical-align: super;">ten</span> Christmonat 1793.]<br />
Hi<span style="text-decoration: overline;">m</span>elbauer
Es haben Me[ine hochgeehrten Herrn] die Waÿsenrichter eingewilliget,
daß den Entrepreneurs des Concert im Hotel de Musique des H<span style="font-size: x-small; vertical-align: super;">ren</span> Hi<span style="text-decoration: overline;">m</span>elbauer
sel. kleine Orgestre samt 2 Glutsteinen 2 Öfelein von Stuck etc. gegen
einen billigen Zins geliehen werde, bis daß die Erbschaft liquidiert
werde.<br /> ––––––––––––––––––––––––––––––––––<br /> Schreiben an H: Wÿtenbach Staatschreiber.<br />
Schon verwichenen Augstmonat, haben Me[ine] G[eehrten Herren] des
täglichen Raths geruhet, ein Doppel des Inventarii über des Musicanten
Hi<span style="text-decoration: overline;">m</span>elbauer
sel: Verlaßenschaft dem titl: Magistrat zu Wien für seine Erben
absenden zu laßen, ohne daß, soviel hierstats bekannt ist, eine Antwort
eingelanget seye. Da nun dieses Stillschweigen den Creditoren zum
Schaden gereichet, inde<span style="text-decoration: overline;">m</span>e der Miethzins für die Ca<span style="text-decoration: overline;">m</span>er gemiethet werden muß, we<span style="text-decoration: overline;">n</span> nicht bald eine Liquidation erfolget, und endlich die Musicalischen Instrument etc. schadhaft werden kö<span style="text-decoration: overline;">n</span>ten.<br />
So wollen Me[ine hochgeehrten Her]<span style="font-size: x-small; vertical-align: super;">ren</span> die Waÿsenrichter, Euer Wohlgebohren höflich ersuchen, von Ihnen aus, Me[ine hochgeehrten Her]<span style="font-size: x-small; vertical-align: super;">ren</span>
höflich ersuchen diese in Mora liegende Verlaßenschaft anzuzeigen, und
beÿ Hochdenselben die Einfrage zu thun, ob eine Recharge nach Wien, oder
gleich die richterliche Liquidation anbefohlen werden könte. CH-BEsa,
A_7_44, 127f.)
</blockquote>
On 3 January 1794, the Bernese court turned to the Austrian ambassador in Switzerland, Baron Johann von Buol-Schauenstein and openly set an ultimatum: if Bern would not hear back from Vienna within six weeks, the estate would be declared bankrupt. This letter also provides information about Wenzel Himmelbauer's date of death, because it contains the statement: "In March of last year Wenzeslaus Himmelbauer, an unmarried musician from Vienna died here." The ultimatum is also documented in a statement of the Bernese Waisengericht from 25 February 1794(CH-BEsa A_7_44, 182).<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The
letter from the Bernese court to the Austrian ambassador Buol-Schauenstein concerning the settlement of Wenzel Himmelbauer's estate (CH-BEa, A III 154, 239)</span></div> <blockquote> An
<br />
den Frh. von Buol Schauenstein K.K. Bevollmächtigte[r] Minister in der Eÿdtgenoßschaft.<br />
die Verlaßenschaft des Musikant Hi<span style="text-decoration: overline;">m</span>elbaur betrefend<br />
Tit[ulo]<br />
Im Merz ferndrigens Jahrs verstarb allhier Wenzeslaus Hi<span style="text-decoration: overline;">m</span>elbaur gebürtig von Wien, ein unverheÿratheter Musikant, über deßen Verlaßenschaft durch Richterliche Veranstaltung ein Inventarium verfaßt worden, aus welchem sich ergeben, daß derselbe ein in Hausgeräth und musikalischen Instrumenten bestehendes Vermögen hinterlaßen, so nach eÿdtlicher Würdigung auf K 414. 22. 2. ansteigt, hingegen mit K 1121. 3. – Schulden beladen seÿe, also daß dieselben das Vermög[en] um K 706. 5. übersteigen.<br />
Da Wir nun bereits d[en] 31. Aug. ferndrigen Jahrs dem Lobl. Magistrat der K.K. Residenz Stadt Wien, auf das von demselben gethane Ansuchen, das Inventarium dieser Verlaßenschaft übersendt, und biß dato keine weitere Nachricht erhalten haben, ob um das denen Erben des verstorbenen dißorts obgelegen, indeßen aber beÿ fernerem Aufschub der Liquidation zu besorgen stühnde, daß die musikalische[n] Instrument sich verderben, und von ihrem wirklichen Werth verlieren möchten. So geben Wir Uns die Ehre mit gegenwärtiger Zuschrift Uns an Eüer tit[ulo] zu wenden, um derenselben die Lage der Sachen vorzulegen, mit dem beÿläufigen Ersuchen, daß dieselbe[n] das gütige Belieben tragen möchten, denen Hi<span style="text-decoration: overline;">m</span>elbaurischen Erben geneigtest beka<span style="text-decoration: overline;">n</span>t machen zu laßen, daß wa<span style="text-decoration: overline;">n</span> in Zeit sechs Wochen von dato angerechnet sich niemand anmelden würde, man mit der Liquidation alsda<span style="text-decoration: overline;">n</span> fortfahren werde. Eine Gefälligkeit die Wir zu erwiedern stets so willig als bereit seÿn werden.<br /> Inmittelst & Geben d[en] 3<span style="font-size: x-small; vertical-align: super;">t</span> Je<span style="text-decoration: overline;">n</span>er 1794.<br /> Sch u. Rath p<br /> p p
</blockquote>
On 14 February 1794 the Viennese municipal court informed the Bernese authorities that Himmelbauer's heirs had declared to have no intention to make a claim to the estate in any way or form.<br />
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<span style="font-size: x-small;">The entry in the 1794 <i>Officiosa</i> concerning Wenzel Himmelbauer's relatives renouncing their inheritance (A-Wsa, Mag. ZG, B1/39, lit. H, 32)</span></div>
<blockquote>
Hi<span style="text-decoration: overline;">m</span>elbauer Wenzel: –– 2 2356/793<br />
<u>Vide Repertor[ium] de anno <span style="text-decoration: overline;">793</span>. pag. 150.</u><br />
––" Schreiben an den Mag[istrat] zu Bern in der Schweitz, de exped: 14<span style="font-size: x-small; vertical-align: super;">ten</span> Februar <span style="text-decoration: overline;">794</span>; womit erinnert wird; daß sich die dießfälligen hierorts befindlichen Erben co<span style="text-decoration: overline;">m</span>iss[arisch] dahin erkläret haben, daß sie auf keine Art an den Rücklaß jemals einen Anspruch zu machen gedenken, mithin zu dieser Verl[assenschaft] das beliebige fürgekehret werden könne.<br />
––" Berichtskonzept an die Regierung de exped: 15<span style="font-size: x-small; vertical-align: super;">ten</span> Febr. <span style="text-decoration: overline;">794</span>. wegen der bisher unterlassenen Abhand[lungs]pflege.<br />
––" Regierungsdekret, de exped. 22<span style="font-size: x-small; vertical-align: super;">ten</span> Maÿ <span style="text-decoration: overline;">794</span>; womit dieser obige Bericht zur Nachricht geno<span style="text-decoration: overline;">m</span>en wurde.<br />
<u>Vide ulterius pag 109.</u>
</blockquote>
Because the Lower Austrian government saw the municipal court in danger of missing the six-week deadline, it reprimanded this court to finally write to Bern and explain the previous dawdling. This warning coincided with the dispatch of the court's letter to Bern.<br />
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</div><div style="text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkLeUiBmhQO7zb4GmtEnzS-1ChzF0rsyLXuoAupZOeh1foW7abaWkGJOeoHKUh2vWnbKjwElZ2RmiJMMzSpoD0gLy_u6wQDAguycqvubrdS4hQRuNfOpL7sunPjT_nrSEUsDEEmLenaJQ/s1038/B1_39%252C+109.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="717" data-original-width="1038" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkLeUiBmhQO7zb4GmtEnzS-1ChzF0rsyLXuoAupZOeh1foW7abaWkGJOeoHKUh2vWnbKjwElZ2RmiJMMzSpoD0gLy_u6wQDAguycqvubrdS4hQRuNfOpL7sunPjT_nrSEUsDEEmLenaJQ/s320/B1_39%252C+109.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the 1794 <i>Officiosa</i> concerning the government's warning to the Vienna magistrate (A-Wsa, Mag. ZG, B1/39, lit. H, 109)</span></div>
<blockquote>
Hi<span style="text-decoration: overline;">m</span>elbauer Wenzel 2 2356/793<br />
<u>Vide retro pag. 32</u><br />
––" Regierungsdekret dd° 14<span style="font-size: x-small; vertical-align: super;">ten</span> Februar <span style="text-decoration: overline;">794</span>; wodurch dem Magistrat aufgetragen wird, unverzüglich nach Bern zu schreiben und daß es [zu] geschehen seye, unter Rückanschliessung des Ko<span style="text-decoration: overline;">m</span>unikats binnen 3 Tagen, damit der gesetzte Termin von 6 Wochen nicht verstreiche, anher sich auszuweisen, auch über den bisherigen Saumsal sich zu verantworten.
</blockquote>
On 19 February 1794, Wenzel Himmelbauer's estate was declared bankrupt. Moreover there are two almost identical inventories that neatly list and evaluate all objects and valuables in this estate (CH-BEa, B IX 1460, No. 21 [with the signatures of the compensated creditors and other additions, like a note that certifies that in 1793 the heirs of Wenzel Himmelbauer paid the house rent from Candlemas to Jacobi]; and CH-BEa, B IX 1493; both copies consist of 70 pages each).
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There was yet another document concerning Wenzel Himmelbauer's death which was destroyed during the <a href="https://en.wikipedia.org/wiki/July_Revolt_of_1927" target="_blank">July Revolt of 1927</a>. Before this disastrous event, the historian Gustav Gugitz routinely went through various kinds of protocols and registers which at that time were still held by what was then called <i>Staatsarchiv des Innern und der Justiz</i> in Vienna's Palace of Justice. Gugitz's work was the basis for a card catalog of people containing their names and short accompanying notes. Today this card catalog, which is a valuable primary source for mostly destroyed material, is held by the Municipal and Provincial Archives of Vienna (A-Wsa, <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000522ma8Invent#Ser_____00000522ma8Invent" target="_blank">Serie 1.1.14.2.2.K57</a>, Hofkanzlei: Personen). But not all of these cards are written by Gugitz who seems to have abandoned this project. Three series of cards were written by the archivist Hanns Jäger-Sunstenau who copied Gugitz's notes from before 1927. The archival holdings covered by this catalog can be divided into the following eight groups.<br /><ol style="text-align: left;"><li>
Staatsratsakten. 1550 of 2000 fascicels were destroyed in 1945, only the files from between 1833 and 1848 (today 495 boxes) and the protocols survive in the Haus-, Hof- und Staatsarchiv (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=982" rel="nofollow">AT-OeStA/HHSTA KA StR</a>). Catalog cards written by Gugitz.<br /></li><li>
Protokolle der Kabinettskanzlei. 565 volumes which today are held by the Haus-, Hof- und Staatsarchiv (<a href="http://www.archivinformationssystem.at/detail.aspx?id=2924126" target="_blank">A-Whh, KA Prot und Ind der KK</a>). Cards written by Gugitz. The volume and page numbers on these cards are unfortunately fraught with errors.<br /></li><li> "Archiv der Stadt Wien. Hof- und Regierungsdekrete, Repertorien". Today <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000541ma8Invent#Ser_____00000541ma8Invent" target="_blank">A-Wsa, 1.2.1.27(19-23)B - Repertorium: Hofdekrete</a> and <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000542ma8Invent#Ser_____00000542ma8Invent" target="_blank">A-Wsa, 1.2.1.27(24-28)B - Repertorium: Intimationsdekrete</a>, held by the Municipal and Provincial Archives of Vienna. Cards written by Gugitz.<br /></li><li>"Polizei-Indizes im Statthalterei-Archiv". Today the volumes NÖ Reg, HS 20/1-71, G-Indizes in Polizeisachen, held by the Lower Austrian Provincial Archives in St. Pölten. Cards written by Jäger-Sunstenau.</li><li> "Präsidialprotokolle im Statthalterei Archiv". Today the volumes NÖ Reg, HS 5/001-148, Präsidial-Indizes u. -Protokolle, held by the Lower Austrian Provincial Archives in St. Pölten. Cards written by Gugitz.</li><li>"Pergenakten". The police files of the ministry of the interior, dating from between 1774 and 1793 (named after the Head of Police Count <a href="https://en.wikipedia.org/wiki/Johann_Anton_von_Pergen" target="_blank">Johann Anton von Pergen</a>), held by the Austrian State Archives (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=3645528" target="_blank">AT-OeStA/AVA Inneres Pol. Pergen A.</a>). These files were massively reduced by the 1927 fire. Cards written by Gugitz. </li><li>"Polizei Archiv im Archiv des Ministeriums des Inneren". Today the files of the Polizeihofstelle in the ministry of the interior, dating from between 1793 and 1848 (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=1548" target="_blank">AT-OeStA/AVA Inneres Polizei PHSt</a>). These holdings were heavily decimated by the 1927 fire. Most of the files listed by Gugitz were destroyed. The surviving "Brandakten" can now be searched with an (incomplete and unreliable) card catalog, but many files cannot be used due to bad state of conservation. Cards written by Jäger-Sunstenau.<br /></li><li>"Protokolle für Niederösterreich im Archiv des Ministeriums des Inneren". Today the "Protokolle Niederösterreich" in the <i>Allgemeine Reihe</i> of the Hofkanzlei, volumes 314-340, held by the Austrian State Archives (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=40067" target="_blank">AT-OeSta/AVA Inneres HK Allgemein</a> B314-340). Only a third of these protocols survived the year 1927. They have been restored, but, owing to fire damage, are sometimes in a very fragmentary state. Cards written by Jäger-Sunstenau.<br /></li></ol><div class="separator" style="clear: both;">
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Wenzel Himmelbauer's name appears on a catalog card of the eighth category: in 1794 the I. & R. Court Chancellery took notice of the cellist's death in Bern which was documented by three entries in the protocol for Lower Austrian affairs. Since this 1794 protocol and the related files were destroyed in the 1927 fire, the catalog card is the only surviving source concerning the court chancellery acknowledging Wenzel Himmelbauer's passing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7q022ErzZPmDf-nkOcD4G9eH-v_Y_PASDdXKjLrEdAl7SP6osYpHgHLVNXQF5WgHX15lQwxmiaOJH4xmPHQbTdK1iXvMqTjdBr6bIbOuF-YHViXzPF-zWr8LM1OpvTmGqF_O-MXphCUs/s1600/Serie+1.1.14.2.2.K57.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="871" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7q022ErzZPmDf-nkOcD4G9eH-v_Y_PASDdXKjLrEdAl7SP6osYpHgHLVNXQF5WgHX15lQwxmiaOJH4xmPHQbTdK1iXvMqTjdBr6bIbOuF-YHViXzPF-zWr8LM1OpvTmGqF_O-MXphCUs/s320/Serie+1.1.14.2.2.K57.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Hanns Jäger-Sunstenau's catalog card concerning the entries about Wenzel Himmelbauer in what before 1927 was the "Protokoll für Niederösterreich" (A-Wsa, Serie 1.1.14.2.2.K57, Hofkanzlei: Personen)</span></div>
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<b>Wenzel Himmelbauer's musical legacy</b>
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The number of compositions left by Wenzel Himmelbauer is quite modest. His work consists several string duets and trios (<a href="https://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN845043048" target="_blank">D-B Mus.ms. 10691</a>). Six duets were published in print in Lyon in 1777 (RISM A/I H 5605). Two further string trios in G major and C major, which are missing in the RISM catalog, are held by the music archive of Lambach Abbey and in 2017 were <a href="http://www.musikland-ob-der-enns.at/werke/himmelbauer.htm" target="_blank">published online</a> by Sofie Himmelbauer.
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<br />In April 2006 in Vienna, at the symposium <i>Wolfgang Amadeus Mozart – Quellenstudien und Aufführungspraxis</i>, in a paper entitled "Zu W.A. Mozarts Fragment einer Violoncellosonate", Birgit Lodes presented the hypothesis that Mozart's fragment in B flat for Piano and Cello K. 374g (Anh. 46) may have been written for Wenzel Himmelbauer. But since Schubart already in 1780 refers to Himmelbauer as living in Bern, it seems unlikely that Mozart ever met Himmelbauer in Vienna.<br />
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<br />
<b>Bibliography</b>
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<blockquote>
<a href="https://de.wikisource.org/wiki/BLK%C3%96:Himmelbauer,_Wenzel" target="_blank">Wurzbach</a>
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Abafi, Lajos. 1893. <i>Geschichte der Freimaurerei in Österreich-Ungarn</i>, vol. 3, Budapest: Martin Bagó & Sohn.
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Ditters von Dittersdorf, Karl. 1801. <a href="https://books.google.at/books?id=kecRAAAAYAAJ&printsec=frontcover" target="_blank"><i>Karl von Dittersdorfs Lebensbeschreibung. Seinem Sohne in die Feder diktirt</i></a>, Leipzig: Breitkopf und Härtel.
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Dlabacz, Gottfried Johann. 1815. <a href="https://archive.org/details/allgemeineshisto01dlabuoft" target="_blank"><i>Künstler-Lexikon für Böhmen und zum Theil auch für Mähren und Schlesien</i></a>, Prag: Gottlieb Hanse. <br />
<br />
Gaßner, Ferdinand Simon. 1849. <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10527204_00001.html" target="_blank"><i>Universal-Lexikon der Tonkunst. Neue Hand-Ausgabe in einem Bande</i></a>, Stuttgart: Verlag von Franz Köhler.
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Haberkamp, Gertraut. 1986. <i>Die Musikhandschriften der Benediktiner-Abtei Ottobeuren. Thematischer Katalog</i>. München: Henle.
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Haupt, Herbert. 2007. <i>Das Hof- und hofbefreite Handwerk im barocken Wien. 1620 bis 1770</i>. Vienna: Studienverlag.
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Hiller, Johann Adam. 1766. <a href="https://books.google.at/books?id=qTY9AAAAcAAJ&printsec=frontcover" target="_blank"><i>Wöchentliche Nachrichten und Anmerkungen die Musik betreffend</i>. <i>Dreyzehntes Stück</i></a>, 23<span style="font-size: x-small; vertical-align: super;">ten</span> September 1766, Leipzig: Im Verlag der Zeitungsexpedition.
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<br />
Himmelbauer, Sofie. 2017. <i><a href="http://www.musikland-ob-der-enns.at/bio.htm#himmelbauer" target="_blank">Wenzel HIMMELBAUER</a></i>, Teil einer vorwissenschaftlichen Arbeit am ORG der Franziskanerinnen Vöcklabruck, published on Markus Himmelbauer's website <a href="http://www.musikland-ob-der-enns.at/" target="_blank"><i>Musikland ob der Enns</i></a>, E-Bibliothek für Barockmusik aus Oberösterreich.
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Liégeois, Cornélis and Nogué, Edouard. 1913. <a href="https://archive.org/details/BSG_8VSUP5673" target="_blank"><i>Le violoncelle Son histoire, ses virtuoses</i></a>, Paris et Bordeaux.
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Lorenz, Michael. 2011. <a href="https://homepage.univie.ac.at/michael.lorenz/fuerst_paradis/" target="_blank">Review of: Marion Fürst, <i>Maria Theresia Paradis</i></a> (=<i>Europäische Komponistinnen</i>, herausgegeben von Annette Kreutziger Herr und Melanie Unseld, Bd. 4), Köln: Böhlau 2005. In: <i>Mozart-Jahrbuch 2007/08</i>, Bärenreiter, Kassel etc., 189-193. <br />
<br />
Moerchel, Joachim. 1984. <i>Das österreichische Militärsanitätswesen im Zeitalter des aufgeklärten Absolutismus</i>. Frankfurt am Main, New York: Peter Lang. (Europäische Hochschulschriften., Reihe III,, Geschichte und ihre Hilfswissenschaften, Bd. 233) <br />
<br />
<a href="http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb10598776-2" target="_blank"><i>Musikalischer Almanach auf das Jahr 1782</i></a>. "Alethinopel" (attributed to Carl Ludwig Junker, possibly published in Winterthur).
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Reichard, Heinrich August Ottokar. 1792. <a href="http://data.onb.ac.at/rep/1026DB72" target="_blank"><i>Theater-Kalender auf das Jahr 1792</i></a>, Gotha: Carl Wilhelm Ettinger. <br />
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Schubart, Christian Friedrich Daniel. 1806. <a href="http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb10599461-7" target="_blank"><i>Ideen zu einer Ästhetik der Tonkunst</i></a>, Vienna: Johann Vinzenz von Degen. <br />
<br />
Sturm, Johannes. 2017. <a href="https://books.ub.uni-heidelberg.de/heibooks/reader/download/313/313-3-79371-2-10-20171219.pdf" target="_blank"><i>Der Violoncellist Johann Rudolph Zumsteeg und sein Werk</i></a>, Heidelberg: Universitätsbibliothek. <br />
<br />
Ullrich, Hermann. 1963. "Maria Theresia Paradis' große Kunstreise. Durch das Elsaß und die Schweiz nach Paris". In: <i>Österreichische Musikzeitschrift</i>, 18. Jahrgang, Heft 10, 475-483. <br />
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Wasielewski, Wilhelm Josef von. 1889. <a href="https://archive.org/details/violoncellseine00wasi" target="_blank"><i>Das Violoncell und seine Geschichte</i></a>. Leipzig: Breitkopf und Härtel. <br />
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Weiskern, Friedrich Wilhelm. 1763. <a href="https://books.google.at/books?id=-U1ZAAAAcAAJ&pg=PP5" target="_blank"><i>Die Herstellung der deutschen Schaubühne zu Wien</i></a>, Vienna: Ghelen. <br />
<br />
Wiedemann, Theodor. 1896. "Zur Geschichte des Frauenklosters St. Jakob in Wien", in: <i>Berichte und Mittheilungen des Alterthums-Vereins zu Wien</i>, vol. 32, Vienna: Alterthums-Verein zu Wien.
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© Dr. Michael Lorenz 2021. All rights reserved.
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Updated: 29 May 2023
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<i>For his help and advice concerning the archival holdings of the Bern State Archives I am grateful to Vinzenz Bartlome.
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<br />
For their support during my work on this article, I express my gratitude to Martin Lorenz, Anne-Louise Luccarini, </i><i>Pablo Aguilera, David Buch, Janet Page, Luc Vaes, Giuseppe Mariotti, Craig Hill, and Lisa de Alwis.</i>
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<br /></div>Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-32483424994396620772021-02-28T22:52:00.012+01:002023-11-11T20:23:53.160+01:00Unknown Stadler Documents (Part 2)<div><b>Joseph Stadler's unknown probate file</b><br />
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On 17 March 1771, the shoemaker Joseph Stadler died of tuberculosis in the house Mariahilf 73, "Zum goldenen Greifen" (today <a href="https://goo.gl/maps/JrQvEFWyZF1m84LA7" target="_blank">Stiftgasse 3</a>).<br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvpmfkXaRtM6pve-IgQ5XMolHkIuThO142tRRHg8WTygFs7vAvTFwt-LdHQJM0PexS8VSZCgsNZP1wuYUJ_-pz-kx7U7fzc2xCVkoXDOkfhyphenhyphenDT3RlcNZ9yuDyHRQIxL01G05JtTev9Zw/s2393/Joseph+Stadler+TBP+65%252C+S%252C+fol.+19v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="497" data-original-width="2393" height="66" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCvpmfkXaRtM6pve-IgQ5XMolHkIuThO142tRRHg8WTygFs7vAvTFwt-LdHQJM0PexS8VSZCgsNZP1wuYUJ_-pz-kx7U7fzc2xCVkoXDOkfhyphenhyphenDT3RlcNZ9yuDyHRQIxL01G05JtTev9Zw/w320-h66/Joseph+Stadler+TBP+65%252C+S%252C+fol.+19v.jpg" width="320" /></a></div><span style="font-size: x-small;">The entry in the municipal death register concerning Joseph Stadler's death on 17 March 1771 (A-Wsa, Totenbeschreibamt 65, S, fol. 19v). Harald Strebel managed to even mistranscribe this simple entry. </span><span style="font-size: x-small;"><span style="font-size: x-small;">In unmerciful incompetence, Strebel also mistranscribed the entry concerning Joseph Stadler's obsequies (Strebel 2016/2, 39).<br /></span></span></div>
<blockquote> [Martÿ <span style="text-decoration: overline;">771</span> den 17<span style="font-size: x-small; vertical-align: super;">t</span>]<br />
Stadler Joseph Schuster ist beÿn gold[enen] Kreifen zu<br />
M: Hülf an der Lunglsucht b[e]sch[au]t worde[n] alt<br />
52 J[ahr] Abents um 5 Uhr v[er]sch[ieden] AH:<br />
<br />
Stadler Joseph, shoemaker at the Golden Griffin in<br />
Mariahilf was inspected to have died of tuberculosis at the age<br />
of 52 years, passed away at 5 p.m. Anton Hochmayr [coroner]<br />
</blockquote>
Joseph Stadler and Sophie Altmann, the parents of the clarinetist brothers Anton and Johann Stadler, had married on 21 October 1743, in <a href="https://en.wikipedia.org/wiki/Church_of_Saint_Michael,_Vienna" target="_blank">St. Michael's Church</a> in Vienna. The reason for choosing this church was the fact that the bride lived in the Windmühle suburb which was then located in the parish of St. Michael's. The following entry in the parish's <i>Verkündbuch</i> concerning the publication of the banns for this wedding has never been published correctly. Strebel's transcription of this entry (based on a photograph I sent him in 2010) contains a number of stunning mistakes, such as a "Volekonisches<i> </i>Haus auf dem Stockmarkt[<i>sic</i>]", and the nonsensical "ultra quodam decem anni" (Strebel 2016/2, 38). Strebel's musings about Michael Altmann's possible ancestors (Strebel 2016/1, 24f.) are completely erroneous.<br />
<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbt3jWDkNAnmzA2o-n6qXjZCT9N5LfZep2YwaD3P0orqznjZDZxO1550VkRmRUvaKWoiNpuJyu_NxF4f-Jh0W0LP8EDXEO3bgZUr6ghsho7u8B8N1FnRNgTFfujqEvxgl0Ra5la3W1xRs/s2048/Joseph+Stadler+28.9.1743.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1442" data-original-width="2048" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbt3jWDkNAnmzA2o-n6qXjZCT9N5LfZep2YwaD3P0orqznjZDZxO1550VkRmRUvaKWoiNpuJyu_NxF4f-Jh0W0LP8EDXEO3bgZUr6ghsho7u8B8N1FnRNgTFfujqEvxgl0Ra5la3W1xRs/w320-h225/Joseph+Stadler+28.9.1743.JPG" width="320" /></a> <br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">The entry concerning the three publications of the banns, beginning on 28 September 1743, for the wedding of Joseph Stadler and Sophie Altmann (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/05-22/?pg=85" target="_blank">A-Wstm, Verkündbuch 22, 82</a>).</span></div><br />
<blockquote>28 7bris 1743. copulati sunt 21 8bris<br />Joseph Stadler ein Schuchmacher von Tellershaimb <br />in Öestreich gebürthig des Andres Stadler und<br />Susannæ beeder Ehl[icher] Sohn Nimbt zur Ehe die<br />tugendsame Jungfr[au] Sophia Altmanin alhier<br />gebürthig des H. Michaël <strike>H</strike> Altman und Fraue[n]<br />Barbaræ beeder Ehl[iche] Tochter beÿ d[em] grüne[n]<br />Thor auf der windmühl beede wonhaft.<br />Test[es] H. Ignatius Flackl bürg[erlicher]<br />Goldarbeiter in Volckerische[n] Haus<br />auf d[em] Kollmarckt. H: Martin<br />Horn ein schreiber beÿ d[em] Schwartze[n]<br />Rössel in der Rossau.<br /><br />Ambo in Parochia <br />Sponsus ultra quadrantem<br />anni et<br />Sponsa semp[er] ibidem.<br /><br /><strike>1</strike>. <strike>2</strike>. <strike> 3</strike>. adsunt.<br /></blockquote>
<i>[translation:]</i>
<blockquote>
On 28 September 1743. They were united on 21 October [1743] <br />Joseph Stadler, a shoemaker born in <a href="https://de.wikipedia.org/wiki/D%C3%B6llersheim" target="_blank">Döllersheim</a> in Austria, legitimate son of Andreas and Susanna Stadler, takes as wife the virtuous maiden Sophia Altmann, born here, legitimate daughter of Michael Altmann and his wife Barbara, both living at the Green Door [<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=z6dVRjFAGkYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069115" target="_blank">Windmühlgasse 7</a>] in the Windmühle [district].<br />Witnesses: Mr. Ignatius Flackl, civil goldsmith at Count Volkra's house [<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=aZ1hRhwBKkYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10365326" target="_blank">Kohlmarkt 7</a>] on the Kohlmarkt, and Mr. Martin Horn, scribe at the Black Horse [<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=xRxZRk-avPkYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10074597" target="_blank">Bauernfeldplatz 4</a>] in the Rossau.<br />Both are living in the parish<br />The groom for more than a quarter of a year, and the bride has always been living at the same place.<br />1st 2nd 3rd [publication of the banns] The couple is present.</blockquote>
<br />
Joseph Stadler's probate file (the so-called <i>Sperrs-Relation</i>) has previously been considered lost, and the reason for this presumption is quite curious. As a resident of the suburb of Mariahilf, Joseph Stadler was under the jurisdiction of the Vienna <a href="https://www.geschichtewiki.wien.gv.at/Wiener_Domkapitel" target="_blank"><i>Domkapitel</i></a> (Cathedral Chapter). Thus, the probate files of the Mariahilf residents form a separate archival holding (<a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00006040ma8Invent#Ser_____00006040" target="_blank">A-Wsa, Patrimonialherrschaften, Serie 2.1.1.10.A1b</a>) which is very small compared to that of the municipal civil court and, similar to the <i>Sperrs-Relationen</i> of the <i>Alte Ziviljustiz</i> (<a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00000623ma8Invent#Ser_____00000623ma8Invent" target="_blank">A-Wsa, Städtische Justizbehörden, Serie 1.2.3.1.A2</a>), is not subdivided into years and numbers, but initials, fascicles and numbers. In 1771, two people named Joseph Stadler died in the suburb of Mariahilf: the <i>Sperrs-Relation</i> of first one is filed under "S, Fasz. 4–115". Because this file is not extant, the entry "<u>Stadler</u> Joseph seel: Abhdl." in the register (A-Wsa, Patrimonialherrschaften, B10/1) became a misleading bogus find which made researchers stop looking for another person named Joseph Stadler. About the first document Harald Strebel writes the following: "Die Verlassenschaftsabhandlungen[<i>sic!</i>] nach Joseph Stadler (Patrimonialherrschaften, Domkapitel, Abhandlungen lit. S. Fasz. 4–115) haben sich nicht erhalten." (Strebel, 2016/1, 34, fn 93). The second Joseph Stadler, who is the right one, appears two pages later in the register in the entry "<u>Stadler</u> Joseph v. Maria Hilf seel:[ig] Verlass:[enschaft]", with the <i>Sperrs-Relation</i> bearing the shelfmark "S. Fasz. 5–206". Back in 2011, when I did research for my article about Mozart's godson Wolfgang Amadé Nebe (Lorenz 2011), I also thought that the file in question is lost. But I soon repeated the search and found the document. The discovery of Joseph Stadler's probate file resolves a number of questions concerning the genealogy of the Stadler family, because it shows which of Joseph and Sophia Stadler's children were still alive at the time of their father's death. Owing to Joseph Stadler's modest assets, his <i>Sperrs-Relation</i> consists of only two folded sheets in folio format: 1) the report (<i>Relation</i>) by the judge Johann Andreas Weigl to the court of the <i>Domkapitel </i>about Joseph Stadler's death and its legal procedural consequences, and 2) a bill, dated 10 May 1771, submitted to the court by the glover Johann Götz, concerning a number of garments that Götz had made, and requested to be paid. The text on fol. 1r of the document has different dates of origin and must be read and edited accordingly. Chronologically, the rubrum, written on a quarter of the first page, is the introduction of the judge's statement on fol. 2v. Then the document must be turned again to read the response of the court.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgktKIk5oEId-jcTzhKMApj7WNPI-w3QZ0R0sLR4-Wz4CKTnf6n_EaeZKbAdgu_XbgyxtDA7spfXX1t0thTIu2fw2OEnSlbOOBefwfvpTjfMq8y7Rmn5vu4zLhgKB6UImZyAn9tRyU8gf0/s1152/5_206+%25283%2529.jpg"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgktKIk5oEId-jcTzhKMApj7WNPI-w3QZ0R0sLR4-Wz4CKTnf6n_EaeZKbAdgu_XbgyxtDA7spfXX1t0thTIu2fw2OEnSlbOOBefwfvpTjfMq8y7Rmn5vu4zLhgKB6UImZyAn9tRyU8gf0/w214-h320/5_206+%25283%2529.jpg" width="214" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">
Fol. 1r of Joseph Stadler's <i>Sperrs-Relation</i> with the judge's rubrum in the lower right quarter (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.10.A1b, lit. S, Fasz. 5–206). The court's response is written on the remaining space of the page.</span><br /></div>
<blockquote>[fol. 1r]<br />
Stadler Joseph<br />
ps. 10 April 1771<br />Metropolitan Dom Capitl<br />Ex offo erstattende Relation<br />Johann Andre Weigl p:t: Richters zu Maria Hilf<br /><br />Den beÿ dem goldenen Greifen ab intestato verstorbenen Inwohner Joseph Stadler und beÿ inberührten weiteren beliebigen Erkanntnus betref[end]<br />
</blockquote><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPNna0j5FUpxxdpob9PmkbpqK76DPx3KSStj7PsiBOfH905b7R13mui6ts-mU_urcyJIwHL3hvYIP4IzxKQbBFn_0tmw0c0HZi3SLyl8FjDHhNZspdDvbDbtHNB10n-s89trUopySX6Jc/s1192/5_206+%25284%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1192" data-original-width="767" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPNna0j5FUpxxdpob9PmkbpqK76DPx3KSStj7PsiBOfH905b7R13mui6ts-mU_urcyJIwHL3hvYIP4IzxKQbBFn_0tmw0c0HZi3SLyl8FjDHhNZspdDvbDbtHNB10n-s89trUopySX6Jc/w206-h320/5_206+%25284%2529.jpg" width="206" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Fol. 1v of Johann Andreas Weigl's report to the Domkapitel court (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.10.A1b, lit. S, Fasz. 5–206).</span><br /><br /></div><blockquote>
[fol. 2v]<br /> Hochwürdiges Metropol[itan] Dom Capitl<br />Gnädige Herren demnach der Joseph Stadler gewester Inwohner beÿ den goldenen Greifen zu Maria Hilf ab intestato verstorben, und 3 Söhne benanntl:[ich] Johann Georg 24 Jahre Anton 18 und Johannes 15 hinterlassen, habe ich die gewöhnliche Juris dictions Spörr angeleget, beÿ untersuchung des Vermögens aber von der Wittib vernommen, wie daß dieser ihr Ehemann wegen seiner angehaltenen langwirrigen Krankheit nicht einen Kreützer verdienen können, und dahero nebst ihrem alltägl[ichen] Verdienst annoch in einer Schulden Last pr 208 fr verflochten wäre, allermassen sie nebst beÿ dem grösseren Sohn von dem Soldaten Leben loß gekaufet, und dieser wie auch die andern 2 mit erlehrnung der Music sehr vieles gekostet hätten;<br />Welche umstände ich hiemit ex offo einberichten, und des weiters beliebige gnädigen Erkanntnus anheimstellend mich zu beharrliche[n] Hulden und Gnaden empfehlen sollen<br /> Euer Hochwürden und Gnaden<br /> Gehorsa<span style="text-decoration: overline;">m</span>er<br /> Johann Andre Weiglmpia
<br /> p[leno] t[itulo] Richter alda<br />
<br />
[fol. 1r continued]<br />
Diese Relation beÿ der Canzleÿ aufzubehalten, und solle invermelte Wittib Beÿ Nächster session ex offo fürgeforderet werd[en].<br /> Per Cap[itulum] Metrop[olitanum] Vienn[ens]e<br /> den 10 April <span style="text-decoration: overline;">771</span><br /> <strike>0</strike><br />
Beÿ der anheunt über des abintestato ohne Hinterlassung einiger Mittel verstorbenen Joseph Stadler, gewesten Innwohner beÿ dem goldenen Greifen zu Maria Hilf vorgenommenen Abhandlungs Co<span style="text-decoration: overline;">m</span>ission ist in Eines Reverend[issi]mi Cap[ituli] Metrop[olitani] Sÿndicats<span style="font-size: xx-small;">=</span>Canzleÿ persöhnl[ich] erschienen die Sophia Stadlerin Wittib mit ihrem Majorennen Sohn Johann<br /> <strike>0</strike><br />
Georg Stadler, und nachdeme Sie Stadlerische Wittib vorgestellet hat, wie daß ihr Ehemann wegen seiner angehalten[en] langwehrig[en] Krankheit nicht eines Kreützers werth verdie<span style="text-decoration: overline;">n</span>e[n] können, folgsam auch nichtes verlass[en], sondern Sie Wittib selbsten sich um ihre Kinder in Verdienst zubring[en], und etwas erlehrne[n] zulass[en] annoch 208 f:, gemäß den eingelegten attestatione[n] schuldig seÿe, folgsam also ihren hinterlassenen dreÿe[n] Kindern von ihren väterl[ichen] Erbs<span style="font-size: xx-small;">=</span>Antheil nichtes auswerfen könnte, sondern Sie selbste[n] von dem als Hebam alltäglichen Verdienst leben müste. Welches auch der gegenwärtig geweste majore<span style="text-decoration: overline;">n</span>e Sohn Johann Georg Stadler co<span style="text-decoration: overline;">m</span>issionaliter contestiret, als will Ein Reverend[issi]mum Cap[itulum] Metrop[olitanum] veranlasset haben:<br />
Daß beÿ diesen sich ausserenden Schuld[en] Umständ[en] d[er] Sophia Stadlerin Wittib ihres Ehewirths Joseph Stadler seel[igen] Verlassenschaft gratis eingeantwortet, und die Jurisdictions Spörr hinwiderum auf weiteres Anlangen angenommen <span style="font-size: x-small;">=</span> die eingelegte Attestata aber beÿ diesen Abhandlungs <span style="font-size: x-small;">=</span> Acten aufbehalten werd[en] sollen.<br /> Per Cap[itulum] Metrop[olitanum] Vienn[ens]e<br /> den 10<span style="font-size: x-small; vertical-align: super;">ten</span> Maÿ 1771.</blockquote>
<i>[translation:]</i>
<blockquote> Revered Metropolitan Cathedral Chapter<br />
Gentlemen, after Joseph Stadler, former resident at the Golden Griffin in Mariahilf has died without leaving a will, and has left 3 sons named Johann Georg, 24, Anton 18, and Johannes 15 years old, I applied the usual jurisdictional restraint. While investigating the estate, however, I learned from the widow that her husband, because of his prolonged and protracted illness, could not earn a single kreuzer and therefore, in addition to her everyday earnings, she is entangled in a debt of 208 gulden, because, in addition to all this, she bought out her elder son from the military, and this son, like the other two, with their musical education cost her a lot of money.<br />
I hereby want to report these circumstances ex officio, and furthermore, by leaving them to the gracious verdict, I commend myself to your persistent favors and graces<br /> Your Reverence's and Grace's<br /> obedient<br /> Johann Andre Weiglmpia<br /> p:t: local judge<br />
<br />
This report should be kept at the office, and the widow mentioned therein should be summoned ex officio to the next session.<br /> From the Viennese Metropolitan Chapter<br /> April 10th, 1771<br />
<br />
At today's settlement commission concerning Joseph Stadler, former resident at the Golden Griffin in Mariahilf, who died without leaving a will or any funds, the widow Sophia Stadler appeared in person at the most venerable Metropolitan Chapter's syndicate office, together with her full-aged son Johann Georg Stadler. And after the widow Stadler had shown that her husband, owing to his prolonged protracted illness, was unable to earn anything worth one kreuzer, and therefore left nothing behind, but the widow, to bring her children into a job, and have them learn something, (according to the submitted certificates) is now 208 gulden in debt herself, and therefore could not give her three children any share of their paternal inheritance, but has to live from the daily income as a midwife. Which the present full-aged son Johann Georg Stadler also testifies to the commission, therefore a most venerable Metropolitan Chapter requests to have arranged the following:<br />
That in these indebted circumstances the widow Sophia Stadler should be given her deceased husband Joseph Stadler's estate free of charge, and the jurisdictional restraint, on the other hand, should be accepted. The submitted certificates, however, should be kept with these probate files.<br /> From the Viennese Metropolitan Chapter<br /> May 10th, 1771.<br />
<br />
</blockquote>
The second leaf in Joseph Stadler's Sperrs-Relation is a bill submitted by the glover Johann Götz who had manufactured a number of garments for the Stadler couple which had not yet been paid.
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJMYZSmiedmxvlbbQApGHe7RPdM_sfE8S6HPIrl0phzsUTpry613blo2hVsF5USt6SY3NWLQypeaymqzQ_ulESFpc8H0rkL291Uco-3mmCSFXJTsSK9cxlMxT0My4cPz2vTUQjFpWqtJ0/s1191/5_206+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1191" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJMYZSmiedmxvlbbQApGHe7RPdM_sfE8S6HPIrl0phzsUTpry613blo2hVsF5USt6SY3NWLQypeaymqzQ_ulESFpc8H0rkL291Uco-3mmCSFXJTsSK9cxlMxT0My4cPz2vTUQjFpWqtJ0/s320/5_206+%25282%2529.jpg" /></a> <br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">The front of the glover Johann Götz's bill in Joseph Stadler's <i>Sperrs-Relation</i> (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.10.A1b, lit. S, Fasz. 5–206)</span></div>
<br />
<blockquote>
[3. K. Stempel] Conto<br />
<br />
Was ich endes bemeldter vor die Frau<br />
Stadlern an Hosen und Handschuh<br />
arbeit verferttiget Habe als<br /> f. Xr.<br />
3 Baar Handschuh à 51 X das Baar – 2 – 33<br />
1 Baar Zacklinn Hosen – 2 30<br />
1 Baar Schwarze BockHauttene – 4 30<br />
2 baar Hirsch Hauttene Hosen das baar à. 5 f – 10 – <br /> mehr 2 baar Handschuh a 51 Xr – <u> 1 42. </u><br /> 21 f 15 X.<br />
<br />
Wie<span style="text-decoration: overline;">n</span> d[en] 10<span style="font-size: x-small; vertical-align: super;">ten</span> Maÿ <span style="text-decoration: overline;">771</span><br />
<br /> Joha<span style="text-decoration: overline;">n</span> Götz Hand<span style="font-size: xx-small;">=</span><br /> Schuhmacher
</blockquote>
<i>[translation:]</i>
<blockquote>
[3. kreuzer revenue stamp] Bill<br /><br />
The trouser and glover work that I, the undersigned, have made for Mrs. Stadler, is the following<br />
3 pairs of gloves, 51 kreuzer a pair 2 gulden 33 kreuzer<br />
One pair of trousers made of sack linen 2 gulden 30 kreuzer<br />
One pair of black buckskin trousers 4 gulden 30 kreuzer<br />
Two pairs of deerskin trousers, 5 gulden a pair 10 gulden<br /><br />
Vienna, May 10th, 1771<br /> Johann Götz glover
<br />
</blockquote>
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj07HLYs7NRf0-3bJF5YNptOFRvlvbndtqoFtp-8fiwwQ0BeaSPMsnWZhwoCO2GVHdyxnhUlwKeWm3e_LaGHr6rH9zCD3J9lQDxHRz2Vu2lT2wbRMMdLWob392oMKblFxfHbnBm8KlfOaw/s1174/5_206+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1174" data-original-width="756" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj07HLYs7NRf0-3bJF5YNptOFRvlvbndtqoFtp-8fiwwQ0BeaSPMsnWZhwoCO2GVHdyxnhUlwKeWm3e_LaGHr6rH9zCD3J9lQDxHRz2Vu2lT2wbRMMdLWob392oMKblFxfHbnBm8KlfOaw/w206-h320/5_206+%25281%2529.jpg" width="206" /></a> </div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">The back of Johann Götz's bill showing the probate file's shelfmark "Fascic: 5tens S. N° 206" (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.10.A1b, lit. S, Fasz. 5–206)</span></div>
<br />
<br />
<b>The biographical implications of the document</b>
<br />
<br />
Joseph Stadler's probate file allows the following three conclusions to be drawn:
<br />
<br />
1) Between 1743 and 1763, the Stadler couple did not have ten children, as previously claimed (Strebel 2016/2, 41-44), but twelve. The apparent twins Joseph and Johann Georg Stadler (of whom the latter is mentioned in the above <i>Sperrs-Relation</i>), were
born in 1747, in a still unknown place where their parents lived between 1745 and 1749. The first one, Joseph Stadler, died in Bruck an der Leitha on 14 March 1752, at the age of five (<a href="http://data.matricula-online.eu/de/oesterreich/wien/bruck-an-der-leitha/01%252C2%252C3-06/?pg=409" target="_blank">Bruck an der Leitha 6, fol. 189r</a>). The second one, Johann Georg, in 1771 had just turned 24, and thus, had reached the legal age necessary to accompany his mother to the court chancellery. He had been drafted into the army and eventually had needed his mother's financial support to buy himself out of the military. At the time of his mother's death in 1790, Johann Georg Stadler was already deceased.<br />
<br />
2) At the time of her husband's death in 1771, Sophia Stadler had a fourth son whose existence she chose to conceal from the authorities. Her eldest son Leopold Lorenz Stadler had been born on 15 November 1745, in Vienna. The entry concerning Leopold's baptism is of minor relevance, but since Strebel was unable to correctly transcribe it, it is included here.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPSRRkTyUakTI5iMYndh6VJUabYK26skg1aNxgjoStZZP1-ZxOUWvO4UazoT87mo2zbiiyAy-T3PxRAVG5OD5d39NsaaOgjRjE2CANHfuwKrcX_7Rbngs1hir_vuoshdhzoLrSsqN8dw/s1872/Leopold+Stadler%252C+15.11.1745.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="456" data-original-width="1872" height="78" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPSRRkTyUakTI5iMYndh6VJUabYK26skg1aNxgjoStZZP1-ZxOUWvO4UazoT87mo2zbiiyAy-T3PxRAVG5OD5d39NsaaOgjRjE2CANHfuwKrcX_7Rbngs1hir_vuoshdhzoLrSsqN8dw/w320-h78/Leopold+Stadler%252C+15.11.1745.jpg" width="320" /></a> <br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">The entry concerning the baptism of Leopold Lorenz Stadler on 15 November 1745 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/01-12/?pg=609" target="_blank">A-Wstm, Tom. 12, 603</a>). The godfather Reinhard Zeiner (1712–1751) was a coffee maker who hailed from Frankfurt. His son Lorenz Zeiner (1739–1790) was to become the municipal coroner who in 1783, inspected the body of Mozart's first child Raimund Leopold (<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS7JaG2CEEWy4PzK2JVBug7yDy916Ae4Dyi3Lyg32id3JP1INxIsqEVmFNfoibOnCR9JQT6RB4IezAxWuOBF1vUUJYmLGvByE3hPOyqduCS1UJucO-AY1TkavIH7zfWUQifMUzWUwezvI/s1600/TBP+82.jpg" target="_blank">A-Wsa, Totenbeschreibamt 82, M, fol. 30r</a>).<br /></span></div>
<blockquote>
Stadler. Leopoldus, Laurentius, ex P[at]re Josepho Stadler, et /
Sophia ejus Cons[orte] |: Schrurmacher[<i>sic</i>] beÿn gold[enen] Ochsen ad /
M[ariam] Aux[iliatricem] :| Patr[inus] Reinardus Zeiner, ejus Loco Filius /
ejus Laurentius et Rosalia Trostin, obst[etrix] Bezeneggin /
a d[omino] Constantino.<br />
<br />
Stadler. Leopold Lorenz, son of Joseph Stadler and his wife Sophia, shoemaker at the Golden Ox in Mariahilf. Godfather: Reinhard Zeiner, in his stead his son Lorenz and Rosalia Trost. Midwife: Frau Bezenegg, [the child was baptized] by Father Constantin.<br /></blockquote>
In 1771, at the time of his father's death, Leopold Stadler worked as servant. On 13 November 1771, he married
Maria Anna Peer, daughter of a deceased tailor from Baden (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-07/?pg=232" target="_blank">A-Wstm, Tom. 7, 452</a>). Leopold Stadler eventually became a barber and, as of 1777, worked as an army surgeon in a quarantine station in <a href="https://en.wikipedia.org/wiki/Zemun" target="_blank">Zemun</a>. He seems to have died there before 1785 (Strebel 2016/1, 565f). The reasons why Sophia Stadler concealed her eldest son from the authorities are unknown. Maybe she considered it unfavorable for her situation, if the existence of her eldest son, who was already earning money, would become known.<br />
<br />
3) Sophia Stadler's statement that "her two younger sons' musical education had cost her a lot of money" is the first and only documented reference to the actual costs of the musical training of Anton and Johann Stadler. This points to several years of taking lessons with a clarinet master and consigns all considerations regarding a possible autodidactic training of these two legendary virtuosos to the realms of fantasy. <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqW1VsH-pt8ypV-NE680LYMouchC5x_dqofVPphSpYMR_bV-PJEpyrDOorwya3WmxDUfs8VehyphenhyphenGVPHJA3E2QJQPH-AMV4vgIbyD7rI-QsPsRaDXft86ef-AuXBeLGRWEyiq6mLeubkyZM/s2048/Huber_Mariahilf_m.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1614" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqW1VsH-pt8ypV-NE680LYMouchC5x_dqofVPphSpYMR_bV-PJEpyrDOorwya3WmxDUfs8VehyphenhyphenGVPHJA3E2QJQPH-AMV4vgIbyD7rI-QsPsRaDXft86ef-AuXBeLGRWEyiq6mLeubkyZM/s320/Huber_Mariahilf_m.jpg" width="320" /></a> <br /></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">A part of the suburb of Mariahilf on Joseph Daniel von Huber's 1778 <i>Vogelschauplan</i> of Vienna. The encircled building is the <i>Goldener Greif</i>, Mariahilf 73, where Joseph Stadler died. On the upper left behind the <a href="https://www.geschichtewiki.wien.gv.at/Mariahilfer_Kirche" target="_blank">Church of Mariahilf</a> is the old cemetery where he was buried (W-Waw, Sammlung Woldan).</span></div>
<br />
The next installment of this series will deal with important Stadler documents that Harald Strebel declared "lost", because he never had the time to do the necessary work in Vienna's archives.
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<br />
<hr />
<br />
<b>Bibliography</b><br />
<blockquote>
Lorenz, Michael. 2011. "<a href="https://www.academia.edu/8733141/Mozarts_Patenkind" target="_blank">Mozarts Patenkind</a>". <i>Acta Mozartiana</i>, 58, vol. 1, (June 2011), 57–70.<br />
<br />
Strebel, Harald. 2016. <i>Anton Stadler: Wirken und Lebensumfeld des "Mozart-Klarinettisten". Fakten, Daten und Hypothesen zu seiner Biographie</i>. Vienna: Hollitzer Wissenschaftsverlag.</blockquote>
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<hr />
<br />
© Dr. Michael Lorenz 2021. All rights reserved.
<br />
<br />
Updated: 11 November 2023
<br />
<br /></div>Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-17694454673907529132021-01-04T16:33:00.096+01:002024-03-10T13:09:03.166+01:00The Late Years of Caroline KrähmerAlthough quite a lot has been written about the life and the musical career of the legendary clarinettist Caroline Krähmer, née Schleicher (1794–1873), the time and place of her death are so far unknown.<br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0oUvbAQgXyQTZKm2e9ytnRzMyKBuiWzDujWSUPTpKf_qjozCzfvSDSEk98txKo0P148hqrH9vYUINEi80jAK5mfOge9wpL4tunTRt30T1TYnIhvIpAN1xpqETRYiAtTfKbWJ6sARySL8/s1130/Caroline+Schleicher%252C+Zurich+1+Pp+A4co.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" data-original-height="1130" data-original-width="835" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0oUvbAQgXyQTZKm2e9ytnRzMyKBuiWzDujWSUPTpKf_qjozCzfvSDSEk98txKo0P148hqrH9vYUINEi80jAK5mfOge9wpL4tunTRt30T1TYnIhvIpAN1xpqETRYiAtTfKbWJ6sARySL8/s320/Caroline+Schleicher%252C+Zurich+1+Pp+A4co.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Portrait of Caroline Schleicher from around 1809, attributed to Diethelm Heinrich Lavater (Zentralbibliothek Zürich, Schleicher, Karoline I, 1 Pp A4). </span></div>
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While the level of knowledge of various authors differs slightly, they all agree on their ignorance concerning an exact date of Krähmer's death. And yet, with small steps during the last ten years it was still possible to narrow down the long-sought period to year and month. From the statement "nach 1839 ist sie nicht mehr feststellbar" (Antonicek 1967), to "als Solistin war sie nachweislich bis 1856 tätig" (Kornberger 2019), the state of knowledge eventually proceded to Theodore Albrecht's statement: "Dokumente des Haus- Hof- und Staatsarchivs legen nahe, dass sie [Krähmer] im April 1873 starb." (Albrecht 2013, 10). The path to this vital information (which was based on research by the late musicologist Bernhard Paul) is littered with guesswork and curiosities of which only Nicola Färber's ambitious 2008 dissertation about Caroline Krähmer shall be named. Concerning Krähmer's date of death, Färber (whose married name is now Buckenmaier) writes: "bisher[<i>sic</i>] war unbekannt, wann Karoline Krähmer starb", only to show herself unable to provide this very information. Buckenmaier's work was gravely hampered by the fact that she never received expert guidance from her <a href="https://de.wikipedia.org/wiki/Elena_Ostleitner" target="_blank">dissertation supervisor</a> whose field was not historical musicology, but sociomusicology. Buckenmaier's dissertation presents a veritable cornucopia of transcription errors, nonsensical footnotes, wrong or missing shelfmarks, and all kinds of amusing concoctions concerning the description of archival sources. It is one of the many problems of today's historical musicology that well-meaning gender researchers are being led to historical topics after never having received the necessary training. The various authors’ searches for the circumstances of Krähmer’s death all failed by reason of their non-pursuit of archival research in depth, the necessity of which skill not being sufficiently impressed on their students by Vienna’s academic institutions. <br /><div>
<br />
<div><b>Krähmer's application for a pension</b>
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<br />
After the death of her husband, the oboist <a href="https://de.wikipedia.org/wiki/Ernest_Kr%C3%A4hmer" target="_blank">Ernest Krähmer</a>, on 16 January 1837, Caroline Krähmer found herself in a difficult financial situation. She had lost her husband's significant annual income of 980 gulden (500 at the Court chapel, 320 as member of the theater orchestra, plus 160 gulden <i>Personalzulage</i>), and now had to care for her five children, aged 4 to 13, on a 120 gulden annual gift of grace that she was entitled to draw as a widow. Since the issue of her right to receive a pension was not immediately settled, Krähmer, on 25 April 1837, submitted an application to the theater director Friedrich Egon <a href="https://musiklexikon.ac.at/ml/musik_F/Fuerstenberg_Friedrich.xml" target="_blank">Landgrave zu Fürstenberg</a> who, together with a commentary, forwarded this appeal to his superior, the Oberstkämmerer <a href="https://de.wikisource.org/wiki/BLK%C3%96:Czernin_von_Chudenitz,_Johann_Rudolph_Graf" target="_blank">Count Johann Rudolf Czernin</a>. Fürstenberg's report reads as follows.<br />
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</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkX_JOfGHnBPlVoh9YabfYQ2t_GCiY47C3r9REV6r6aw1DvAfCHwP64KwlGX1vfKW0-OvCIfZ0Yd5YdGcqs-p-uFfFrB-LII4qR32GhUkZeB2U0au3CUveMw60nVf7XqpCiMswybMKyEs/s1351/A-Whh%252C+GIdHTh+28%252C+fol.+199r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1351" data-original-width="838" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkX_JOfGHnBPlVoh9YabfYQ2t_GCiY47C3r9REV6r6aw1DvAfCHwP64KwlGX1vfKW0-OvCIfZ0Yd5YdGcqs-p-uFfFrB-LII4qR32GhUkZeB2U0au3CUveMw60nVf7XqpCiMswybMKyEs/s320/A-Whh%252C+GIdHTh+28%252C+fol.+199r.jpg" /></a><br /></div><div style="text-align: center;">
<span style="font-size: x-small;">The first page of Friedrich Egon zu Fürstenberg's report to the Oberstkämmerer concerning Caroline
Krähmer's application for a pension in April 1837 (A-Whh, GIdHTh 28, fol. 199r). Krähmer's request itself does not survive in the holdings of the <i>Generalintendanz der Hoftheater</i>.</span><br /></div><div>
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<blockquote><div style="text-align: center;">Hochgeborner Graf!</div><br />
In der Anlage bittet die Wittwe des am 16. Jänner d. J. verstorbenen KK. Hofburgtheater<span style="font-size: xx-small;">=</span>Orchester<span style="font-size: xx-small;">=</span>Mitgliedes, Ernst Krähmer, um allergnädigste Verleihung einer Pension für sich und eines Erziehungsbeÿtrages für ihre fünf unmündigen Kinder.<br />
Die in der Bittschrift enthaltenen und mit Beilagen documentirten Angaben sind hierorts richtig befunden worden. Ernst Krähmer diente als Oboist vom 1. Februar 1815 bis zu seinem Tode ununterbrochen und sowohl in seiner Kunst, wie in seiner Thätigkeit mit besonderer Auszeichnung. Der Zustand, in dem er seine Angehörigen hinterließ, ist wahrhaft beklagenswerth. Seine Gattinn kann kaum eine Stunde des Tages auf musikalische Lectionen verwenden, die Sorge für so viele Kinder, von denen dreÿ fast immer krank sind, ni<span style="text-decoration: overline;">m</span>t ihre Zeit in vollen Anspruch. Vermögen ist keines vorhanden, und der wenige frühere Besitz durch Krankheit und Todesfall vielmehr in eine drückende Schuldenlast verwandelt worden. Ernst Krähmer bezog decretmässig 320f C.M. und 160f ad personam.<br />
Ob nun gleich die Orchester<span style="font-size: xx-small;">=</span>Mitglieder des K.K. Hofburgtheaters nicht pensionsfähig erklärt wurden, so hat die Allerhöchste Gnade jederzeit, bis jetzt, den Wittwen und Waisen jährliche Unterstützungen verliehen. Den Erziehungsbeytrag der Kinder betreffend, so erhielten die sechs Kinder des Orchester<span style="font-size: xx-small;">=</span>Mitgliedes Schiman[e]k zusammen 200f WW. und ein jedes der neun Kinder des pensionirt gewesenen Hofschauspielers Fux, 40f W.W. mit Einschluß des 100.% Theuerungsbeÿtrages.<br />
Die zu leistende Zahlung würde dem currenten K.K. Hofburgtheater<span style="font-size: xx-small;">=</span>Pensionsfond zur Last fallen.<br />
<div style="text-align: center;"> Wien den 25 April 1837.<br /> Landgraf zu Fürstenberg<span style="font-size: x-small;">mp</span><br /> Director<br />
<br />
An Seine, des KK Oberstkämmerers und Obersten Hoftheaterdirectors Herrn Grafen von Czernin, Excellenz.</div></blockquote>
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<blockquote><div style="text-align: center;">Highborn Count!</div><br />
In the enclosure, the widow of the member of the Court theater orchestra, Ernst Krähmer, who died on January 16 of this year, asks for the most gracious granting of a pension for herself and a contribution for the education for her five under-age children. The information contained in the petition, which is documented by enclosures, has been found correct here. Ernst Krähmer served as oboist from February 1, 1815, until his death, without interruption, and with special distinction both in his art and in his work. The condition in which he left his loved ones is truly deplorable. His wife can hardly spend an hour of the day on musical lessons; caring for so many children, three of whom are almost always sick, takes up all of her time. There are no assets at hand, and the small earlier possessions have turned into a heavy burden of debt, owing to illness and bereavement. Ernst Krähmer drew a salary of 320f C.M. plus 160f ad personam. Although the members of the I. & R. Court theater orchestra were not declared pensionable, the Most High Grace, until now, has always awarded the widows and orphans annual grants. Concerning the children's educational contribution, the six children of the orchestra member Schimanek together received 200f in Viennese currency, and each of the nine children of the retired Court actor Fux, received 40f W.W. which included the 100% inflation rate. The necessary payment would burden the I. & R. Court theater's current pension fund.<br />
<br />
<div style="text-align: center;">Vienna, April 25, 1837.<br /> Landgrave zu Fürstenberg<span style="font-size: x-small;">mp</span><br /> Director<br />
<br />
To His Excellency, the I. & R. chief treasurer and head of the Court theaters, Count von Czernin.</div></blockquote>
Caroline Krähmer not only asked for a pension and an educational contributien, by act of grace, she also wanted to be paid her husband's lodging allowance for the time from April until September 1837, and the so-called <i>Konduktquartal</i> (a full quarter of a year's income which was paid to a pensionable widow to cover the burial costs). The Austrian state authorities were in no hurry to make a decision about Krähmer's pension. In March 1837, the Obersthofmeister Rudolph Count Colloredo-Mansfeld had received a legal opinion from the Court chamber which specified the possible legal problems related to Krähmer's financial claims. Since no decision was reached, on 21 June 1837, Krähmer submitted the following letter of appeal to Emperor <a href="https://en.wikipedia.org/wiki/Ferdinand_I_of_Austria" target="_blank">Ferdinand I</a>.
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<br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMMSSvagqEseuW5ODhccIc-kTaySX-jyuibX391JgsVNswpx9hUzUAY1ai_tW4IkHsS2ZQQacsVhcbAafJ-M9UV0y35FrMJcroSOWzt9LQUA5Ft2MxpiBDtSDHMbWJSPcAA7ZQ_Xczq54/s1266/A-Whh%252C+GIdHTh+28%252C+fol.+195.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1018" data-original-width="1266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMMSSvagqEseuW5ODhccIc-kTaySX-jyuibX391JgsVNswpx9hUzUAY1ai_tW4IkHsS2ZQQacsVhcbAafJ-M9UV0y35FrMJcroSOWzt9LQUA5Ft2MxpiBDtSDHMbWJSPcAA7ZQ_Xczq54/s320/A-Whh%252C+GIdHTh+28%252C+fol.+195.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Caroline Krähmer's application from 21 June 1837 for a pension and financial support for the education of her children (A-Whh, GIdHTh 28, fol. 295).<br /></span></div><br />
<blockquote><div style="text-align: center;">Euer Majestät</div><br />
Die unterthänigst unterzeichnete Wittwe des verstorbenen Hautboisten des KK: Hofburgtheater Orchesters Ernst Krähmer wagt es Euer Majestät in tiefster Demuth um allergnädigste Verleihung einer Pension für sich und eines Erziehungsbeitrages für ihre 5 Kinder zu bitten, indem:<br /><br />
1tens Ihr verstorb[ener] Gatte seit dem Jahre 1814 im Hofburgtheater Orchester angestellt war.<br />
2tens Er seiner Wittwen[<i>sic</i>] und seinen zurückgelassenen 5 Waisen nicht das geringfügigste Vermögen hinterließ.<br />
3t Derselbe stetts zur vollen Zufriedenheit seiner hohen vorgesetzten diente.<br />
4t Die gehorsamst Unterzeichnete selbst kein Vermögen besitzt, u somit samt ihren 5 Kindern dem größten Elende Preiß gegeben ist.<br /><br />
Da nun bisher jede Wittwe der Hofburgtheater Orchester Mitglieder eine Pension erhielt, so wagt es die demüthigst Unterzeichnete in ihrer großen Noth die allergnädigste Huld Euer Majestät anzuflehen, damit durch die huldvolle Ertheilung einer Pension u: eines Erziehungsbeitrages für ihre 5 Waisen, das Leben von 6 Unterthanen Euer Majestät von dem unausbleiblichen Untergange gerettet werde, ein Leben welches sie nur dazu verwenden werden um allen Segen vom Himmel für Euer Majestät und Höchstdero Erlauchte Familie zu erflehen.
<br />
<div style="text-align: center;">Unterthänigste dankbarste<br />
Caroline Krähmer.<br /> gb: Schleicher Hof Musikus Witwe.</div><br />
Wien den 21t Juny <span style="text-decoration: overline;">837</span>.</blockquote>
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<blockquote><div style="text-align: center;">Your Majesty</div><br />
The undersigned widow of the late oboist of the orchestra of the I. & R. Court theater Ernst Krähmer dares to ask Your Majesty in the deepest humility for the most gracious granting of a pension for herself and a contribution for the education of her 5 children, because:<br />
1st Her deceased husband had been employed in the Court theater's orchestra since 1814.<br />
2nd He did not leave the least fortune to his widow and his 5 orphans who were left behind.<br />
3rd The same always served to the full satisfaction of his high superiors.<br />
4th The dutifully undersigned has no fortune herself, and, together with her 5 children, is therefore exposed to the greatest misery.<br />
Since up to now every widow of members of the orchestra of the Court theater has received a pension, the most humble undersigned, in her great distress, dares to implore Your Majesty's most gracious benevolence so that, by graciously granting a pension and a contribution for the education for her 5 orphans, the life of 6 subjects of Your Majesty will be saved from inevitable ruin, a life which they will only use to implore all the blessings from Heaven on Your Majesty and His Most Illustrious Family.<br />
<br />
<div style="text-align: center;">Most submissive and most grateful<br />
Caroline Krähmer.<br /> née Schleicher Court musician's widow.</div><br />
Vienna, June 21, 1837.</blockquote>
Krähmer's claim that every widow of the court theater musicians had been granted a pension was not fully correct. On 11 February 1806, after a submission from the Obersthofmeister, an Imperial decree had been issued which contained the following provision: "The pensionability for the individuals of the court orchestra still has to be avoided, but I permit that this rule may be reconsidered, if one or the other individual has served long, well, and faithfully, and has distinguished himself in morality." (A-Whh, OMeA, r69/1807). An Imperial decree, issued on 24 April 1813, reiterated this legal situation and stated that "the right to be granted a pension is not extended to the members of the orchestra". According to a cabinet resolution of 21 February 1837, needy relatives of deceased court theater musicians were allowed to apply for a gift of grace case-by-case ("von Fall zu Fall"), if they were told to do so by the Emperor. Furthermore, each request had to be approved by the Court chamber.<br />
<br />
On 5 July 1837, Count Czernin again presented the request to the Emperor, expressing his hope that "His Majesty would surely recognize the extremely needy situation of this poor family and have the most gracious intention to alleviate it" (A-Whh, GIdHTh 28, fol. 431). Furthermore, Czernin referred to three other widows of Court theater musicians (Anna Millechner, Katharina Pösinger, and Katharina Schindlöcker) who had previously been granted a pension (A-Whh, GIdHTh 28, fol. 427v). Czernin argued that Krähmer was entitled to receive a third of her husband's annual net income of 820 gulden, i.e., a pension amounting to 273 gulden 20 kreuzer, which meant that, after the deduction of her gift of grace of 120 gulden, her pension should amount to 153 gulden 20 kreuzer (A-Whh, GIdHTh 28, fol. 428r). Czernin did not dare to address the issue of the educational support for Krähmer's children, because "he was worried that a separate request in favor of Krähmer's children would be too much of a burden on His Majesty's grace."<br />
<br />
The summer of 1837 passed without result. The approaching payment date for the rent on Michaelmas prompted Krähmer to submit yet another petition.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9UqTAbhFsFguoi48j6lV9iKMlHxovHc05-RbH3s5dTdPmdUtO3vISIQJ8IyJPgbl38g4lL7QKLZMcXndUKqcuozodPAgSwQgj_wcbc2MMupuQHwTEFQl1dGFQM7MhvX3c8nb49MWQOc4/s1176/A-Whh%252C+GIdHTh+28%252C+fol.+353.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1176" data-original-width="736" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9UqTAbhFsFguoi48j6lV9iKMlHxovHc05-RbH3s5dTdPmdUtO3vISIQJ8IyJPgbl38g4lL7QKLZMcXndUKqcuozodPAgSwQgj_wcbc2MMupuQHwTEFQl1dGFQM7MhvX3c8nb49MWQOc4/s320/A-Whh%252C+GIdHTh+28%252C+fol.+353.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Caroline Krähmer's urgency from 28 September 1837 for a pension and financial support for the education of her children (A-Whh, GIdHTh 28, fol. 353r).</span></div><br />
<blockquote><div style="text-align: center;">Euer Majestät!</div><br />
Die unterthänigst Unterzeichnete wagt es in tiefster Erfurcht Euer Majestät unterthänigst um allergnädigste Erledigung ihres gehorsamsten Ansuchens vom April <span style="text-decoration: overline;">837</span> um gnädigste Pensions Verleihung als Gattinn des verstorbenen Hautboisten des K:K: Hofburgtheaters Ernst Krähmer, zu bitten.<br />
Sie würde sich nicht unterfangen Euer Majestät abermahls zu belästigen, wenn nicht die Michaeli Zinszahlung so nahe wäre, und das neue Schuljahr anfinge, sie aber leider weder den einen zahlen, noch ihre 5 Kinder unterrichten lassen, u vor der strengen Kälte durch warme Kleidung schützen kann, wenn nicht Euer Majestät a[ller]h[öchste] Gnade ihre höchst betrübte u: kümmerliche Lage mitleidigst erwägend, ihr huldvollst eine Pension verleihet.
<br />
<div style="text-align: center;">Unterthänigste dankbarste<br />
Caroline Krähmer.<br />
gb: Schleicher.<br /> Hof und Ka<span style="text-decoration: overline;">m</span>er Musikers Witwe,</div><br />
Wien den 28t September <span style="text-decoration: overline;">837</span>.</blockquote>
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<blockquote><div style="text-align: center;">Your Majesty!</div><br />
The most humble undersigned in deepest respect dares to ask your Majesty for the most gracious settlement of her most obedient request of April 1837 for the most gracious granting of a pension as the wife of the deceased oboist of the I. & R. Court theater Ernst Krähmer.<br />
She would not dare to bother Your Majesty again, if the Michaelmas rent payment were not so close and the new school year would no be about to begin, but unfortunately she can neither pay the first nor let her 5 children be taught and protect them against the severe cold with warm clothes, unless Your Majesty's Most High grace, by pityfully considering her most sorrowful and miserable situation, grants her a pension.<br />
<br />
<div style="text-align: center;">Most submissive and most grateful<br />
Caroline Krähmer.<br /> née Schleicher.<br /> Court and chamber musician's widow.</div><br />
Vienna, September 28, 1837.</blockquote>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrjBBq1d58BHHKt4Mg93dkFj7ORbURt9gInJ5d21wli5RfR1ueVbsl43TmHVXYCszbXOmyWFka8-GVcIkIEW0186rKELrBco1yxYZ10z3TNG53bH90BdaBOwcMdxsusVVz7DmCXeahPBXGVd2SsVJrbNkCLTbYnYNagWprIZJMtwTvZ7KVuQ7qLM8YYw/s1623/Kr%C3%A4hmer%2028.9.1837.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="804" data-original-width="1623" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrjBBq1d58BHHKt4Mg93dkFj7ORbURt9gInJ5d21wli5RfR1ueVbsl43TmHVXYCszbXOmyWFka8-GVcIkIEW0186rKELrBco1yxYZ10z3TNG53bH90BdaBOwcMdxsusVVz7DmCXeahPBXGVd2SsVJrbNkCLTbYnYNagWprIZJMtwTvZ7KVuQ7qLM8YYw/s320/Kr%C3%A4hmer%2028.9.1837.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Caroline Krähmer's autograph signature on the above petition (A-Whh, GIdHTh 28, fol. 353r)<br /></span></div><br />
On 10 October 1837, this petition was answered as follows: "Since the submission regarding this case is still in the very Highest Hands, we can only wait for it to be settled." Finally, on 21 November 1837, Emperor Ferdinand found the time to read Count Czernin's address from July 1837, and he gracefully approved the payment of an annual pension of 153 gulden 20 kreuzer (plus the gift of grace) to Caroline Krähmer. He also allowed his Oberstkämmerer to approach him on a case-by-case basis to ask him to grant pensions to widows of Court theater musicians.<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDLYHaR7u2yDmzj6lyTUGtEYXT4ZXRzIkXtk3kknlU9j9B7mFalYzNT1T-BIfCKoj6S97c378-KpqZXqnRTf9Ndp-AWl7YGUnrNUk5KAbKc-vbyli3XeWiLDTjs7_eYuPTpmFC3M262rI/s1451/A-Whh%252C+GIdHTh+28%252C+fol.+428v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1451" data-original-width="896" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDLYHaR7u2yDmzj6lyTUGtEYXT4ZXRzIkXtk3kknlU9j9B7mFalYzNT1T-BIfCKoj6S97c378-KpqZXqnRTf9Ndp-AWl7YGUnrNUk5KAbKc-vbyli3XeWiLDTjs7_eYuPTpmFC3M262rI/s320/A-Whh%252C+GIdHTh+28%252C+fol.+428v.jpg" /></a></div>
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<span style="font-size: x-small;">The Emperor's final approval of Caroline Krähmer's pension which was signed on 21 November 1837 (A-Whh, GIdHTh 28, fol. 428v). The Emperor's signature is on the left, Count Czernin's is at the bottom right.<br /></span></div>
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The register of the number of employees and salaries of the Burgtheater in the administrative year 1838, where Krähmer's <i>Gnadengabe</i> is listed for the first time, shows that this support was paid "vom 20. Nov<span style="font-size: x-small; vertical-align: super;"><u>b</u></span> <span style="text-decoration: overline;">837</span>. an" (as of 20 November 1837).
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<span style="font-size: x-small;">The list of gifts of grace and provisions for widows of Burgtheater employees in the <i>Personal und Besoldungs-Stand des K.K. Hofburgtheaters im Verwaltungs-Jahr 1838</i> (A-Whh, GIdHTh 30, fol. 37r).<br /></span></div>
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<b>Caroline Krähmer's late concerts</b><br />
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Because she owed her friend, the bassoonist August Mittag, 400 gulden, Caroline Krähmer, after the death of her husband, had no time to remain idle. Already on 23 April 1837, Caroline Krähmer entered the concert stage again (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18370413&seite=4&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 13 April 1837, 4</a>), together with her son Karl (1823–1839). On 10 March 1839, she appeared again in a concert at the Gesellschaft der Musikfreunde (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18390305&seite=4&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 5 March 1839, 322</a>), together with her pianist son Karl who, on 14 April 1839, was to die of a sinus infection (A-Wsa, Totenbeschreibamt 184, CGK, fol. 25r). <br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdL2e9WZcz4hBTead7jgw31JrUTTjAL6dT2p8I2BZy8jEQcyiGtNP9JB_CtM8Vq6aNjYcodwqC8ZFXn31AhRw0rN7g6EYyjNyZZ-gb6lr_O3jJi1t2l6rv_nesuTqDxNzHFR6sYkzS17M/s1350/Stadt+881_10r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1060" data-original-width="1350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdL2e9WZcz4hBTead7jgw31JrUTTjAL6dT2p8I2BZy8jEQcyiGtNP9JB_CtM8Vq6aNjYcodwqC8ZFXn31AhRw0rN7g6EYyjNyZZ-gb6lr_O3jJi1t2l6rv_nesuTqDxNzHFR6sYkzS17M/s320/Stadt+881_10r.jpg" width="320" /></a></div><div>
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<span style="font-size: x-small;">Caroline Krähmer and her four children registered around 1840, after the death of Karl Krähmer, on a conscription sheet of the house Stadt 881 (A-Wsa, Konskriptionsamt, Stadt 881/10r).<br /></span></div>
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The death of her eldest son reduced Krähmer's concert activities. She had to wait until her cellist son Ernest (1826–1903) was ready to face the Viennese audience.
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDRwWhiraHpwfNQ0I5HxhsPw6uAlAl-zhFkE0Phdy77dvFCXuV6jIF5qnu3nytET2Z0JB-UwZPeZd-jy6bBaRvm7FNb5sFlw0hyY3xONrhQ0xZBPB3p0kXfBEySLPO8ocK9qPlsH5U98S7Ak4A3Hgn-AxK5XNR_aGCuYrAuQ5oPA4P3jurQ0wYxoh-F4o/s1347/OMeA%20472,%2059_15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1347" data-original-width="868" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDRwWhiraHpwfNQ0I5HxhsPw6uAlAl-zhFkE0Phdy77dvFCXuV6jIF5qnu3nytET2Z0JB-UwZPeZd-jy6bBaRvm7FNb5sFlw0hyY3xONrhQ0xZBPB3p0kXfBEySLPO8ocK9qPlsH5U98S7Ak4A3Hgn-AxK5XNR_aGCuYrAuQ5oPA4P3jurQ0wYxoh-F4o/s320/OMeA%20472,%2059_15.jpg" width="206" /></a></div><div>
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<span style="font-size: x-small;">The response of the <i>Obersthofmeisteramt</i> to Caroline Krähmer's request of 4 August 1840 for a two to three months tour, together with her children, to München, Stuttgart, and Karlsruhe (A-Whh, OMeA 472, 59/15).<br /></span></div>
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In October 1840, together with this son, she gave a concert at the theater in Augsburg (<a href="https://api.digitale-sammlungen.de/iiif/image/v2/bsb10503764_00514/full/full/0/default.jpg" target="_blank"><i>Augsburger Tagblatt</i>, 19 Ocober 1840, 1282</a>). In September and October of 1841, in the course of a short tour, she visited Linz and Graz where, again together with her son, she performed concert pieces by <a href="https://de.wikipedia.org/wiki/Leopold_Jansa" target="_blank">Leopold Jansa</a> and Ernest Krähmer's cello teacher <a href="https://de.wikipedia.org/wiki/Joseph_Merk_(Komponist)" target="_blank">Joseph Merk</a> (<i>Grazer Zeitung</i>, <a href="https://anno.onb.ac.at/cgi-content/anno?aid=gra&datum=18400917&seite=16&size=33" target="_blank">17 September 1841</a>, and <a href="https://anno.onb.ac.at/cgi-content/anno?aid=gra&datum=18411004&seite=3&zoom=33" target="_blank">4 October 1841</a>). These concerts seem to have served as rehearsal for the big debut in Vienna which, on 10 April 1842, took place at a lunchtime concert in the hall of the Gesellschaft der Musikfreunde in Vienna (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18420407&seite=6&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 7 April 1842, 720</a>).
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<span style="font-size: x-small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKgsdlE9NwzZFdZFccVtf-iQoEV56hFwDHyz0fT8QM74_cA__GJ_0na06BIzPQ7DLuc6nt52dSucjo41cavHAPpcjQgoAvoROE6JWm3uR3PxA6TSVjE0PUysEaBZRxy0ZA67M4vMl5nzEwMnn1uVGuYmZlt3fyz-KsheNROscEd2fggOONdxJ-atDUn8/s1405/Concert%2010.4.1842.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1405" data-original-width="854" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKgsdlE9NwzZFdZFccVtf-iQoEV56hFwDHyz0fT8QM74_cA__GJ_0na06BIzPQ7DLuc6nt52dSucjo41cavHAPpcjQgoAvoROE6JWm3uR3PxA6TSVjE0PUysEaBZRxy0ZA67M4vMl5nzEwMnn1uVGuYmZlt3fyz-KsheNROscEd2fggOONdxJ-atDUn8/s320/Concert%2010.4.1842.jpg" width="195" /></a></div>The original poster of Caroline and Ernst Krähmer's lunchtime concert on 10 April 1842 (privately owned, kindly provided by a descendant of Caroline Krähmer)<br /></span></div>
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Caroline Krähmer's last three documented public concerts had more the character of family events than of regular concert appearances. Since her son Ernest had moved to Graz, where he had been hired as Kapellmeister at the local theater, Krähmer now used her family visits to Graz as an opportunity to join her son in concerts at this venue. On 6 August 1846, during the entr'actes of Nestroy's farce <i>Liebesgeschichten und Heiratssachen</i>, they performed several concert pieces (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=gra&datum=18460806&seite=3&size=33" target="_blank"><i>Grazer Zeitung</i>, 6 August 1846, 375</a>). In September 1847, Krähmer again peformed in Graz with great success (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=awm&datum=18470921&seite=4&size=33" target="_blank"><i>Wiener allgemeine Musik-Zeitung</i>, 21 September 1847, 456</a>). Krähmer's last documented public concert was the result of a family visit to Augsburg where her son, the cellist Ernest Krähmer, as of 1854, held the post of Kapellmeister at the local theater. On 26 April 1856, Caroline Krähmer applied for a passport to "Linz, the Austrian crown territories, and Germany" for a time of six weeks.<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWV1N9IterixKeMxFCq8N2J7LNNw6APWg8Egh6cOeArsfGgu_FlDm7VmxqZoHUB8UEFiSMS47eKVredwuYZf1n0ytHYRQ9QtdgEG-Oa54alel2hvs6b5ylM0Tri_gEuyz5yVIEU1wZ1Cc/s1877/+PP+B4_61%252C+fol.+243.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="308" data-original-width="1877" height="66" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWV1N9IterixKeMxFCq8N2J7LNNw6APWg8Egh6cOeArsfGgu_FlDm7VmxqZoHUB8UEFiSMS47eKVredwuYZf1n0ytHYRQ9QtdgEG-Oa54alel2hvs6b5ylM0Tri_gEuyz5yVIEU1wZ1Cc/w400-h66/+PP+B4_61%252C+fol.+243.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the issuance of a passport to Caroline Krähmer to Linz, the <i>Kronländer</i>, and Germany on 26 April 1856, in the protocol of Vienna's municipal conscription office (A-Wsa, Konskriptionsamt, B4/61, fol. 243).</span></div><br />
In this entry, Krähmer's address is given as "Landstraße 630, currently staying at Wieden 381". Her physical appearance is described as having "medium stature, oval face, brown eyes, proportioned mouth, and no special features". Her <i>Cavent</i> (guarantor) was the municipal concept official Johann Staud who, at that time, was living at his parents' house <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=7IKARtXGD0auJZ9EE9YTRBwpAtZGVBFvuBteonQ1N1C4dSRsFhoE&bmadr=10061771" target="_blank">Klimschgasse 198</a> in the Landstraße suburb (<a href="http://opacplus.bsb-muenchen.de/title/4179556/ft/bsb10009837?page=20" target="_blank"><i>Hof- und Staats-Handbuch des Kaiserthumes Österreich</i>, 1856, 8</a>). Staud's relationship with Krähmer appears interesting, but must remain unclear for the time being.<br />
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Since Krähmer was not entitled to receive her monthly pension of 10 gulden (which legally was a <i>Gnadengabe</i>) while traveling abroad, she had to inform the paying authority, the <i>K.K. Hofzahlamt</i>, of her trip. As a result, on 25 April 1856, this authority issued the following notification.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCnUaSWTRtCB06Xp6mEwIt7UWjXilLIFIOnrgyCmMfks1Js_omCgkni_ydYIDBxBm1tde_JohjwWek3hmWs-GylKrVWQS3AMsPvbl0760FRTxpeHy0e8H1D3OrqCiR3Lzg35yUbLHrY7A/s1548/OMeA%252C+679%252C+30_8%252C+1856.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1548" data-original-width="989" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCnUaSWTRtCB06Xp6mEwIt7UWjXilLIFIOnrgyCmMfks1Js_omCgkni_ydYIDBxBm1tde_JohjwWek3hmWs-GylKrVWQS3AMsPvbl0760FRTxpeHy0e8H1D3OrqCiR3Lzg35yUbLHrY7A/s320/OMeA%252C+679%252C+30_8%252C+1856.jpg" /></a></div>
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<span style="font-size: x-small;">The notification of the <i>Hofzahlamt</i> concerning the suspension of Caroline Krähmer's gift of grace during her trip to Germany (A-Whh, OMeA, 679, 30/8)</span></div><br /><blockquote>Caroline Krähmer Oboisten Witwe bittet um ämtl[iche] Bestätigung der verfügten Einstellung ihrer Gnadengabe jährl[icher] 120f, für die Dauer ihrer beabsichtigten Reise in das Ausland<br /><br />Bescheid<br />(ad copiam rubri)<br /><strike>dd</strike>° 25. April 1856<br />Der <strike>Pensions</strike> Gnadenbezug der Bittstellerin wird unter Einem für die Dauer ihrer Abwesenheit im Auslande bei dem K.K. Hofzahlamte eingestellt und unterliegt demnach die Ertheilung eines Reisepaßes <strike>auf die Dauer</strike> an dieselbe von hier aus keinem Anstand.<br />Videat Hofstaatsbuchhalt[ung]<br />Intimat an das K.K. Hofzahlamt<br />Das K.K. &[Hofzahlamt] erhält den Auftrag, die Gnadengabe jährl[icher] 120f der K.K. Oboistenwitwe Caroline Kraehmer aus Anlaß <strike>der</strike> einer Reise derselben in das Ausland bis auf weitere Weisung zu sistiren.</blockquote><p><br /></p><blockquote>Caroline Krähmer, oboist widow, asks for official confirmation of the decreed suspension of her annual gift of grace for the duration of her intended trip abroad.<br /><br />Notification<br />(for the copy of the summary)<br />dated April 25, 1856<br />The petitioner's gift of grace is being suspended by the I. & R. treasury for the duration of her absence abroad, and accordingly, there is no objection from this authority to the issuance of a passport for the time being to the aforesaid person.<br />To be noted by the Court accountancy<br />Decree to the I. & R. treasury<br />The K.K. treasury receives the order to suspend the payment of the annual gift of grace to the I. & R. oboist widow Caroline Kraehmer on the occasion of a trip abroad pending further instructions.<br /></blockquote><br />
In March 1856, the following note had been published in the <i>Wiener Theater-Zeitung</i>:<blockquote>At the musical soirees of Mr. Joachim Hoffmann, Mrs. Krähmer, the famous virtuoso on the clarinet, could be heard on various occasions and she earned the most universal admiration and recognition for her enchanting gracefulness in the treatment of this difficult instrument. On the advice of musical friends, she will soon embark on an artistic journey via Linz to Germany, and notwithstanding the advanced age of this notability, she is likely to receive a similar applause everywhere which in earlier years she shared with her husband Mr. Krähmer during their artistic travels. (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18560302&seite=4&zoom=33" target="_blank"><i>Wiener Theater-Zeitung</i>, 2 March 1856, 208</a> [my translation])<br /><div></div></blockquote><p>Although the announcement of a long "artistic journey" seems to have been a slight exaggeration, this information was widely circulated in the German press (for instance in the <a href="https://anno.onb.ac.at/cgi-content/anno?aid=bmz&datum=18560305&seite=6&zoom=33" target="_blank"><i>Neue Berliner Musikzeitung</i>, 1856, 78</a>, and the <a href="https://api.digitale-sammlungen.de/iiif/image/v2/bsb10503794_00620/full/full/0/default.jpg" target="_blank"><i>Augsburger Tagblatt</i>, 1 April 1856, 614</a>). On 6 May 1856, Krähmer gave a concert at the <i>Landständisches Theater</i> in Linz as a kind of entre'acte between the performance of two one-act comedies.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDdTeJ2JzMe2ZQKqODp8elhW3DRXThrlgi86iVr1JoxeltJvO56lGLTgC0kiJltkYyFhAytUrtIOPKl30eFXx4xrfnElGR0iUCJIaPOyxGosOaDfZ2dhhsF-ITwnqA86RGH9ijOvrdxaQ/s1209/Linzer+Abendbote+6.5.1856.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="461" data-original-width="1209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDdTeJ2JzMe2ZQKqODp8elhW3DRXThrlgi86iVr1JoxeltJvO56lGLTgC0kiJltkYyFhAytUrtIOPKl30eFXx4xrfnElGR0iUCJIaPOyxGosOaDfZ2dhhsF-ITwnqA86RGH9ijOvrdxaQ/s320/Linzer+Abendbote+6.5.1856.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The announcement of Caroline Krähmer's concert in Linz on 6 May 1856 (<i>Linzer Abend-Bote</i>, 6 May 1856, 432). A short report about the concert was published two days later (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=vhg&datum=18560508&seite=4&zoom=33" target="_blank"><i>Oesterreichisches Bürger-Blatt</i>, 8 May 1856, 436</a>).</span></div><br />On 10 May 1856, Caroline Krähmer arrived in Salzburg and took up quarters at the hotel <i>Zu den 3 Alliirten</i> (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=nsr&datum=18560510&seite=2&size=33" target="_blank"><i>Neue Salzburger Zeitung</i>, 10 May 1856</a>). Her concert in Augsburg was first advertised on 16 May 1856, in the Augsburg newspapers.<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgur5_y0wLarGDFUo70c2sUGJvmNnYH5RDy7zExtTQqs0M2svHWQaB2CG6OU74PugJai28kp_s_JzrqlGTvexBsOkV07x46D79RTDRhwIRxxnnLVaUCnhEAzzER1kS0cq60_GJZvXmXKS8/s1500/Augsburger+Tagblatt%252C+16.5.1856%252C+942.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="1500" height="85" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgur5_y0wLarGDFUo70c2sUGJvmNnYH5RDy7zExtTQqs0M2svHWQaB2CG6OU74PugJai28kp_s_JzrqlGTvexBsOkV07x46D79RTDRhwIRxxnnLVaUCnhEAzzER1kS0cq60_GJZvXmXKS8/w400-h85/Augsburger+Tagblatt%252C+16.5.1856%252C+942.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The earliest announcement of Caroline Krähmer's concert in Augsburg (<i>Augsburger </i></span><span style="font-size: x-small;"><i>Tagblatt</i>, 16 May 1856, 942). <br /></span></div><br />
No other public concerts during Krähmer's stay in Germany are documented so far.<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVPoo355uBvFF7XiFeDYERQJIMYjV42uEHDKfRYJHnqQckteID9L-yuPIEVJnPNIejjM0XAt20HplN1f_qf8TC6Zgf5HCdsIIuRsSXnA0nl1ttMVKPB5qrMAwYXP85_rGvwdM2oVBW2_8/s1498/Augsburger+Tagblatt+20.05.1856.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1056" data-original-width="1498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVPoo355uBvFF7XiFeDYERQJIMYjV42uEHDKfRYJHnqQckteID9L-yuPIEVJnPNIejjM0XAt20HplN1f_qf8TC6Zgf5HCdsIIuRsSXnA0nl1ttMVKPB5qrMAwYXP85_rGvwdM2oVBW2_8/s320/Augsburger+Tagblatt+20.05.1856.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The main announcement of Caroline Krähmer's concert on 20 May 1856 in Augsburg (<i>Augsburger </i></span><span style="font-size: x-small;"><i>Tagblatt</i>, 20 May 1856, 975). In January 1862, Ernest Krähmer left Augsburg after having accepted a professorship at the Munich Conservatory. <br /></span></div><br />Krähmer's concert in Augsburg took place at the <i>Pompejanischer Saal</i> in the hotel "Drei Mohren" which had been created in 1844 by merging a big hall with adjoining dining rooms. This venue was destroyed in February 1944.<br />
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By 14 June 1856, Caroline Krähmer was back in Vienna and personally called on the <i>Obersthofmeisteramt</i> to have the payment of her pension resumed.<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVE1q_145iFsdxk8ZinguFV_6O-VgqlXMNeeOfzW87nMudbKTK5at8Zmi2I7VJIc4pfkkR7IN8_pP8bAby4gWxheXoLx7h0FKhzQXoUv3euQ0tfsAEYHhq3J3U6KjScUzMN6e1WL3Zttw/s1434/OMeA%252C+679%252C+30_8%252C+1856+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1434" data-original-width="928" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVE1q_145iFsdxk8ZinguFV_6O-VgqlXMNeeOfzW87nMudbKTK5at8Zmi2I7VJIc4pfkkR7IN8_pP8bAby4gWxheXoLx7h0FKhzQXoUv3euQ0tfsAEYHhq3J3U6KjScUzMN6e1WL3Zttw/s320/OMeA%252C+679%252C+30_8%252C+1856+%25282%2529.jpg" /></a>
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<div style="text-align: center;">
<span style="font-size: x-small;">The order of the <i>Obersthofmeisteramt</i> to the <i>Hofzahlamt</i> concerning the resumption of payment of Caroline Krähmer's gift of grace after her return to Vienna (A-Whh, OMeA, 679, 30/8)</span></div><br />
<blockquote>Intimat an das K.K. Hofzahlamt<br /><strike>dd</strike>°: 14. Juni 1856<br />Nachdem die K.K. Oboistenwitwe Caroline Kraehmer von ihrer Reise in das Ausland wieder zurückgekehrt ist, erhält das K.K. Hofzahlamt mit Beziehung auf das Intimat 25. April d.J. Z. 2633 den Auftrag, derselben die Gnadengabe jährl[icher] 120f vom Tage der Sistirung angefangen vorschriftmäßig wieder zu erfolgen.<br />Videat Hofstaatsbuchhaltg<br /><br />pro notitia.<br />Die Witwe Kraehmer hat sich persönlich vorgestellt und um die Wiederanweisung ihrer Gnadengabe gebeten.</blockquote><p><br /></p><blockquote>Decree to the I. & R. Court treasury<br />dated June 14, 1856<br />After the widow of an I. & R. oboist Caroline Kraehmer has returned from her trip abroad, the I. & R. Court treasury, with reference to the decree No. 2633 of April 25th of this year, receives the order to continue to pay to the aforesaid the annual gift of grace of 120f as of the day of the suspension in accordance with the regulations.<br />To be noted by the Court accountancy.<br /><br />To be noted.<br />The widow Kraehmer appeared in person and asked for the continuation of her gift of grace. <br /></blockquote>
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<b>Krähmer's late addresses – and the birth of her illegitimate son</b><br />
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Apart from her 1856 trip to Germany, Caroline Krähmer's family life during the last decades of her life has never been the subject of serious research. What has made research difficult so far is the simple fact that the archival sources which offer more detailed information can only be found through systematic and time-consuming searches. So far, three of Krähmer's late residential addresses from the time after 1850 have been identified. In 1850, Caroline Krähmer and her four children are documented to have lived at Landstraße 630 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=ptR2RjtVEEYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10062241" target="_blank">Mechelgasse 9</a>).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-AfkGwI3quDArw7H6az7EHrdI_VwSlvksd6J4bg43QsFGxw6GGH-ILr9vhDI81RNCz2rSPGTniGYFA7ioRSEDw90g2qO6IevIbaUYrVFSR0U8qOX6zuSsvkbJ_aZx2PgZ7bEBxsWC26o/s1379/LAN+630_11v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1055" data-original-width="1379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-AfkGwI3quDArw7H6az7EHrdI_VwSlvksd6J4bg43QsFGxw6GGH-ILr9vhDI81RNCz2rSPGTniGYFA7ioRSEDw90g2qO6IevIbaUYrVFSR0U8qOX6zuSsvkbJ_aZx2PgZ7bEBxsWC26o/s320/LAN+630_11v.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The Krähmer family in 1850, listed on a conscription sheet of the house Landstraße 630 (A-Wsa, Konskriptionsamt, Landstraße 630/11v). The name of Ernest Krähmer's wife Katharina, née Seligmann, was added in 1855.</span></div>
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Since the municipal conscription office was very much interested in the three Krähmer sons, this document from the period between 1850 and 1855, contains an astonishing amount of information which can be summarized as follows: Caroline Krähmer is erroneously described as " KK Hofmusik Directors Wittwe" which is followed by a note referring to her 1856 passport reading "26/4 <span style="text-decoration: overline;">856</span> 6 W[ochen] Ausl[and]". Then follows the "Tonkünstler" Ernest Krähmer, born "on <a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-110/?pg=43" target="_blank">27/4/826</a> in St[adt] Wien", who "on 1 October 1846, in Graz" was examined by the military which led to the diagnosis of "goiter, a left-sided varicocele, varices, and a crippled small toe on the right". This is followed by a list of four passports abroad which, between 1852 and 1855, were issued for Ernest Krähmer (the last one included his wife ["d° sammt Frau"]. The number "16" in the far right column refers to a category of military usability. The next Krähmer son in the list is Konrad, born "on <a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-49/?pg=138" target="_blank">7/7/829</a> in Stadt Wien", who – to the possible disappointment of his parents – did not become a musician. On 10 October 1848, he voluntarily joined the military and, as of 1850, served in an artillery regiment ("freiwillig zum 4t Artill[erie] Rgt. assentirt bereits gutgeschrieben"). Emil Krähmer, also a "Tonkünstler" (he was a cellist like his brother), born "on <a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-111/?pg=335" target="_blank">19/7/832</a> in Stadt Wien", was of no interest to the military, because in 1853 he had been classified as a weakling ("<span style="text-decoration: overline;">853</span> Schwächling"). Beside this note in red ink is a reference to two passports concerning "1 J[ahr] Kronl[änder]" that were issued for Emil Krähmer in 1853 and 1854. The next sibling in the list, Ernestine Krähmer, does not have an exact date of birth (she was born on <a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-49/?pg=191" target="_blank">23 September 1830</a>), because the conscription office basically registered women only for reasons of completeness. After Ernest Krähmer's wedding, which took place in Augsburg on 23 July 1855 (<a href="https://data.matricula-online.eu/de/deutschland/augsburg/augsburg-st-moritz/11-H/?pg=17" target="_blank">Augsburg, St. Moritz 11-H, fol. 16</a>), Katharina Krähmer's name was added at the bottom of the list of household members. The date of the wedding appears on the bottom right of the conscription form.
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As was shown above, at the time of her application for a passport in April 1856, Caroline Krähmer lived in the house Wieden 381 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=nNReRoNPB0YVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=25730247" target="_blank">Wiedner Hauptstraße 73</a>). This residence, although referred to as "zur Zeit [currently] Wieden <strike>N</strike>° 381" in the passport protocol, does not appear to have been temporary, because Krähmer's remaining children are also listed on a concription sheet of Wieden 381 which dates from 1856/57. (This was the latest point of time at which these conscription records were created, since the first census was carried out in 1857).<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiavwwf0AMAwDPO_WV8PLjhdEvW6tYTecFIgEn-Exvu6OzYJt890TxXg-aTttljqdLkTvnIP3Y27CxPzIE26hEcqo2VuklZDxAkAa7B3Xkm7LcaMNa77n3oYq4cGCspvbw0ClRXyaBmYPc/s1419/WDN+381_116r+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1063" data-original-width="1419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiavwwf0AMAwDPO_WV8PLjhdEvW6tYTecFIgEn-Exvu6OzYJt890TxXg-aTttljqdLkTvnIP3Y27CxPzIE26hEcqo2VuklZDxAkAa7B3Xkm7LcaMNa77n3oYq4cGCspvbw0ClRXyaBmYPc/s320/WDN+381_116r+%25281%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Caroline Krähmer's family in 1856/57, registered on a conscription sheet of the house Wieden 381 (A-Wsa, Konskriptionsamt, Wieden 381/116r).</span></div>
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Two significant details in the list of family members have changed compared to 1850: first, the son Ernest Krähmer is gone, because he has moved to Augsburg, and second, a mysterious 13-year-old foster son appears whose "mother is unknown". The above entry reads as follows.
<blockquote>Karoline Krähmer <span style="text-decoration: overline;">794</span> Stockach G[roß] H[erzogtum] Baden k[atholisch] KK pens[ionierte] Hof u Kamer Musikantwitwe<br /> S[ohn] Konrad <span style="text-decoration: overline;">829</span> Stadt Wien k[atholisch]/l[edig] Feuerwerker beim 3 Arttil[erie] Reg[iment]<br />
Emil <span style="text-decoration: overline;">832 </span> d[ett]<span style="font-size: x-small;">o</span> [Stadt Wien] Tonkünstler 1853 Loß No 843<br />
Ernestine 830 d<span style="font-size: x-small;">o</span><br />
Z[ieh] S[ohn] Karl Franz Schleicher 2/3 843 Landstrasse [im Alter von 13-16 Jahren] [Anmerkung] Mutter unbekant</blockquote>
Who was Caroline Krähmer's foster son "Karl Franz Schleicher"? Before we try to answer this question, we need to consider the legal situation at that time concerning the birth and baptism of an illegitimate child.<ol style="text-align: left;"><li>A child born to a Catholic mother needed to be baptized Catholic as soon as possible. </li><li>Since the mother, for reasons of quarantine, was not allowed to get out of bed for nine days after the birth, she was not present at the baptism. The child was brought to church by the midwife or the godparent who also informed the priest of the mother's identity. This is the reason why in such cases priests often used to adorn the mother's name with the cynical epithet "angeblich" (allegedly).</li><li>If a widow gave birth to a child out of wedlock, the child could not be given the widow's surname, since her deceased husband was not the father of the child. The mother was entered into the register with her maiden name and the child was given this surname.</li></ol>
A nice example of the third point are the four illegitimate children of the actress <a href="https://de.wikipedia.org/wiki/Sophie_Schr%C3%B6der" target="_blank">Sophie Schröder</a>, who were born between 1817 and 1821 in Vienna, and whose father was the painter <a href="https://de.wikipedia.org/wiki/Moritz_Daffinger" target="_blank">Moritz Daffinger</a>. The first of these children was already named Moritz Bürger, although Schröder's husband Friedrich Schröder was still alive (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-107/?pg=189" target="_blank">A-Wd, Tom. 107, fol. 145</a>). When in 1835, Ottilie von Goethe had her illegitimate daughter Anna Georgina baptized in Vienna, she of course, gave her own name as "Ottilie de Pogwisch". One look at Carl Johann Franz Schleicher's baptismal entry shows that – apart from the mother's age – there's every indication that this child's mother was Caroline Krähmer.<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGtHKi8KlXFviJXTWEKlieIALfuEWWlQAdD4ux23RvdEVAw1q1Ps3Z0mXrRl3qdSAXe0yQP8ZgLr3lbiIJADZ95GiGjhPFeVvFrewmbCaGUVwZgOxAYrpF5kw7cyT0hDgrnzmBc7_fduU/s1880/Carl+Franz+Schleicher%252C+2.3.1843.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="465" data-original-width="1880" height="99" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGtHKi8KlXFviJXTWEKlieIALfuEWWlQAdD4ux23RvdEVAw1q1Ps3Z0mXrRl3qdSAXe0yQP8ZgLr3lbiIJADZ95GiGjhPFeVvFrewmbCaGUVwZgOxAYrpF5kw7cyT0hDgrnzmBc7_fduU/w400-h99/Carl+Franz+Schleicher%252C+2.3.1843.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Carl Johann Franz Schleicher on 4 March 1843, in the church "Maria Geburt" on the Rennweg (<a href="https://data.matricula-online.eu/de/oesterreich/wien/03-rennweg-maria-geburt/01-06/?pg=277" target="_blank">Rennweg, Tom. 6, fol. 236</a>).</span></div>
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All requirements for attributing this child's birth to the widow Krähmer are being met in this document. The mother's name is (as required by law) "Angeblich: Karoline Schleicher, ledig" whose profession is given as "Handarbeiterin" (manual worker – which ironically also applies to a musician). The child was born at Landstraße 557 (now <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=c-ct6RmQ9EEYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10211245" target="_blank">Rennweg 55</a>), the home of the midwife Anna Pogatschnigg who brought the child to the church and also officiated as godmother. And finally, at least as of 1856, the child lived in Krähmer's household. One could argue that at the age of 48 Krähmer was too old to bear a child, but as long as the mother "Karoline Schleicher" cannot be identified to have been somebody else, Carl Johann Franz Schleicher must be considered to have been a son of Caroline Krähmer. As was often the case at the time, the newborn child was given into the care of a a foster mother and, in order to avoid a public scandal, was only taken into the mother's home at an age at which an adoption could appear plausible. The sheet concerning Caroline Krähmer's family in the so-called <i>Heimatrolle-Kartei der Ausgeschiedenen</i> (card catalog of discarded persons) of the <i>Magistratsabteilung</i> 116 again shows Krähmer's son Karl Schleicher, who in 1861, is described as musician and volunteer soldier in the 79th infantry regiment. In this document Karl Schleicher is explicitly referred to as "u. e. S." ("unehelicher Sohn", i.e. illegitimate son).<br />
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</div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZr74tuVpxWO7U_anhiYXP-IcY8mJSvwRAUvAaRJmKZte9rT_zkFyZXSFy0VkqFlNFmj9wnVXcoQI_zWb95iiJ8fZiDUNIKU11LtauWzttOFUGOGOz3B1hRfqqwAP7E9oiklp757-DuJg/s1228/1.3.2.116.K1_KA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1228" data-original-width="1023" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZr74tuVpxWO7U_anhiYXP-IcY8mJSvwRAUvAaRJmKZte9rT_zkFyZXSFy0VkqFlNFmj9wnVXcoQI_zWb95iiJ8fZiDUNIKU11LtauWzttOFUGOGOz3B1hRfqqwAP7E9oiklp757-DuJg/s320/1.3.2.116.K1_KA.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Caroline Krähmer and three of her children listed in the <i>Kartei der Ausgeschiedenen</i> of the <i>Magistratsabteilung</i> 116 (A-Wsa, 1.3.2.116.K1/KA - Heimatrolle: Kartei der Ausgeschiedenen, Krähmer, Karoline)</span></div>
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Krähmer's third late Viennese address is documented in two volumes of <i><a href="https://www.digital.wienbibliothek.at/wbrobv/periodical/titleinfo/5311" target="_blank">Adolph Lehmann's allgemeiner Wohnungs-Anzeiger</a></i>.
In the 1867 edition of this address book Krähmer's address is given as <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=cpuARjtIEEYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10061793" target="_blank">Steingasse 15</a> (CNo. 196) in Vienna's third district. <br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7AglYBR52w8fcSW30lhIoxPN_AkbGLFAEpuTGXibrttnb4Ppc7tiRnZPKGzOHy_XniL1l0sitURgapHAYYebRBBjHxCH24ga8wB86TiqvzpQwTqk2C5n89fifLtxD6mEsncuL7Fpov5Q/s445/Lehmann+1867%252C+168.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="159" data-original-width="445" height="114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7AglYBR52w8fcSW30lhIoxPN_AkbGLFAEpuTGXibrttnb4Ppc7tiRnZPKGzOHy_XniL1l0sitURgapHAYYebRBBjHxCH24ga8wB86TiqvzpQwTqk2C5n89fifLtxD6mEsncuL7Fpov5Q/w320-h114/Lehmann+1867%252C+168.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Caroline Krähmer listed in the 1867 edition of Lehmann's address book as residing at Steingasse 15 in the Landstraße district (<i>Lehmann's allgemeiner Wohnungs-Anzeiger</i> 1867, 168).</span></div>
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In 1868, Krähmer appears again in Lehmann's address book at the same address (<i>Lehmann's allgemeiner Wohnungs-Anzeiger</i> 1868, 470). And yet, one should not attribute too much documentary significance to Krähmer's two-time appearance in <i>Lehmann's allgemeiner Wohnungs-Anzeiger</i>. Contrary to the assumption of many genealogists, owing to its sporadic updating process, Lehmann's address book is notoriously flawed and is vastly overrated as an exact source. <br />
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<b>The pension ledgers of the <i>Obersthofmeisteramt</i></b>
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Since her husband's death in 1837, Caroline Krähmer drew a <i>Gnadengabe</i> (gift of grace) from the court. She received a very modest pension, because according to an 1806 Imperial decree, members of the Burgtheater orchestra were not eligible for a regular pension. That Ernest Krähmer had never joined the <i>Tonkünstler-Sozietät</i> may have been related to the fact that his wife had her own income by giving concerts and music lessons. In 1873, Krähmer's gift of grace amounted to 126 gulden per year, and the reception of this financial support is recorded in the pension ledgers of the <i>Obersthofmeisteramt</i> (Lord Chamberlain's Department). A review of these registers leads exactly to Krähmer's date of death and this is the source which Nicola Färber used to narrow down the time of Krähmer's death to April 1873. In February 1873, Krähmer received her monthly gift of grace of 10 gulden 50 kreuzer (as of 1858, the Austrian gulden consisted of 100 kreuzer).<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYwbijN3WuFbjP2MJ5gAQcJGhXGDR6Fdak3keP9ni3oFvuq1U6WMglsxgebt9JuI8c2RlVgsxHFtq-Wlw7Po2IqUdDftCd0ruPPgQDEAjDE-8-IvOxFXwtgnSuyP0pm3Onx8LSJcQ_g_w/s1285/OMeA%252C+923%252C+r118%252C+1873+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="943" data-original-width="1285" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYwbijN3WuFbjP2MJ5gAQcJGhXGDR6Fdak3keP9ni3oFvuq1U6WMglsxgebt9JuI8c2RlVgsxHFtq-Wlw7Po2IqUdDftCd0ruPPgQDEAjDE-8-IvOxFXwtgnSuyP0pm3Onx8LSJcQ_g_w/w320-h235/OMeA%252C+923%252C+r118%252C+1873+%25281%2529.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the payment of Caroline Krähmer's <i>Gnadengabe</i> of 10,50 gulden for February 1873 in the <i>Sub-Journal des k.k. Hofzahlamtes</i> (A-Whh, OMeA, 923, 118/1873). "Gdg" means Gnadengabe, "Ps" means Pension.<br /></span></div>
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In April 1873, Caroline Krähmer's name is suddenly missing from the payment list of the <i>Hofzahlamt</i>. In May 1873, Krähmer's name reappears, but she only receives a payment of 6,65 gulden and there is the following note beside her name in the<i> Sub-Journal</i>: "Gdg. Ausst. lt Erbslegit.". This means that the payment for April consisted of an "outstanding sum according to a
legitimation of inheritance". The reduced sum of 6,65 gulden was paid to bereaved parties which proves that Krähmer died in April 1873. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTBN9ziTa7sN3cKmjcOwAeoAV30fDd9YjtaNjZdlw386R-TQP8uUsM2MTROcn2Rv_kPSVackpK27dCn-G18Ajr3-fRQXMc4zR8jX8xgT2bCP2foVwxPi4J6xoEMj3CRT3Pq4qyIQmKcXw/s1140/OMeA%252C+923%252C+r118%252C+1873+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="831" data-original-width="1140" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTBN9ziTa7sN3cKmjcOwAeoAV30fDd9YjtaNjZdlw386R-TQP8uUsM2MTROcn2Rv_kPSVackpK27dCn-G18Ajr3-fRQXMc4zR8jX8xgT2bCP2foVwxPi4J6xoEMj3CRT3Pq4qyIQmKcXw/w320-h233/OMeA%252C+923%252C+r118%252C+1873+%25282%2529.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the records of the <i>Hofzahlamt</i> concerning the remaining amount of 6,65 gulden for April 1873 which was paid to Krähmer's heirs in May 1873 (A-Whh, OMeA, 923, 118/1873). This source was already published by Färber (Buckenmaier), albeit with transcriptions errors and without any shelfmark (Färber 2008, 254).<br /></span></div>
<br />Based on the 6,65 gulden arrearage, it is possible to determine
Krähmer's exact date of death. In April 1873, she received 1050:30 (<span style="font-size: x-small;">=</span>35)
kreuzer per day which means that in this month she lived for a time of 665:35 (<span style="font-size: x-small;">=</span>19) days. Thus, she must have died on 19 April 1873. Accordingly, after May 1873, Krähmer disappears from the payment lists of the <i>Hofzahlamt</i>.<br />
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<b>Caroline Krähmer in Fünfhaus</b><br />
<br />
Krähmer's earliest sojourn in <a href="https://www.geschichtewiki.wien.gv.at/F%C3%BCnfhaus_(Vorort)" target="_blank">Fünfhaus</a> – which then was a municipality located in Lower Austria west of Vienna – is documented by her application for a passport on 19 December 1857, for a time of four years. No address is given in the records, only a reference to Krähmer's listing in the 1857 census book (<i>Volkszählungsbuch</i>).<br /><br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8vSyHXLQdW1RLI-46KS8IO4S2efhtoqIsayT7B8pF-98qLbqC4y78pDcO8WDx3n0M8Yfc4uudEYEumrNj7LXRy6E9dKT26DKNuDtt0jVmHycJPfzjSvfa0fqTM4J2WuFCx4xpmQvBi1E/s1920/19.12.1857%252C+B4_64%252C+fol.+821.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="1920" height="41" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8vSyHXLQdW1RLI-46KS8IO4S2efhtoqIsayT7B8pF-98qLbqC4y78pDcO8WDx3n0M8Yfc4uudEYEumrNj7LXRy6E9dKT26DKNuDtt0jVmHycJPfzjSvfa0fqTM4J2WuFCx4xpmQvBi1E/w400-h41/19.12.1857%252C+B4_64%252C+fol.+821.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning Caroline Krähmer's application for a passport to Fünfhaus on 19 December1857 in the passport protocol of the municipal conscription office (A-Wsa, Konskriptionsamt, B4/64, fol. 821).</span></div>
<br />
On 11 February 1862, Krähmer again applied for a passport to Fünfhaus for a time of six weeks. <br />
<br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKBKd6jlfOSGNtZggLdz3rmSWHIj0T9rQFBRLRcDVaO1FMG1df-jJEPa-NsNs317rxkg5J0t-2CANg_HpYhcIT7qx1ONi5rhcxsneVA2tJPfbaKfX-Zq-ekukSwkSEykHNs79gRRXW_8/s1898/Pass+11.2.1862%252C+PP+B4_70%252C+fol.+34+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="1898" height="50" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKBKd6jlfOSGNtZggLdz3rmSWHIj0T9rQFBRLRcDVaO1FMG1df-jJEPa-NsNs317rxkg5J0t-2CANg_HpYhcIT7qx1ONi5rhcxsneVA2tJPfbaKfX-Zq-ekukSwkSEykHNs79gRRXW_8/w400-h50/Pass+11.2.1862%252C+PP+B4_70%252C+fol.+34+%25282%2529.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning Caroline Krähmer's application for a passport to Fünfhaus on 11 February 1862 in the passport protocol (A-Wsa, Konskriptionsamt, B4/70, fol. 34).</span></div>
<br />
It is not known why Krähmer went to Fünfhaus, if she visited a family member there, or if she only wanted to live in the country, far from people who would indulge in gossip about her illegitimate son. And yet, her sojourns in Fünfhaus provide a vital clue to finally find out where Caroline Krähmer died. Based on the information gathered in the court records and the passport protocol, the time and place of Caroline Krähmer's passing can be determined. Fol. 88 of the 1873 death register of the <a href="https://de.wikipedia.org/wiki/Pfarrkirche_Reindorf" target="_blank">Church of The Holy Trinity</a> in Reindorf, in whose parish Fünfhaus was located at the time, contains the following entry.
<blockquote><i>Zeit des Sterbens</i><br />
den 19. April<br />
<i>Wohnung und Nr. des Hauses</i><br />
Fünfhaus Kranzgasse 30<br />
<i>Namen der Gestorbenen und deren Condition oder Charakter, allenfalls Charakter des Ehegatten oder Vaters</i><br />
Karoline Krämer, geb. Schleicher KK. Hofmusikus Witwe geb. von Stockau[<i>sic</i>] in Baden<br />
<i>Weiblich</i><br /> /<br />
<i>Römisch-katholisch</i><br /> /<br />
<i>Alters-Jahre</i><br />
79 Jahr<br />
<i>Todesarten</i><br />
Altersschwäche<br />
<i>Ort, wohin und Tag, an welchem das Begräbniß geschehen</i><br />
den 21. April<br />
<i>Anmerkungen</i><br />
<i>Laut Beschauzettel N<strike>°</strike></i> 873</blockquote><br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKelBqOefg9eXtuE1t56LjzAqz6PiWSHTE9Etp-ve0PgUcETW3HIYQWJo77DzdzZNeC-dNuJQRwUFpOhyphenhyphenytaj8U7zaNlFcQYJdCJcwvqi4GSxeA9CSpEtlLy0ULEs5SR9lzKrNj8AX-dE/s3086/KK+19.4.1873.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="3086" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKelBqOefg9eXtuE1t56LjzAqz6PiWSHTE9Etp-ve0PgUcETW3HIYQWJo77DzdzZNeC-dNuJQRwUFpOhyphenhyphenytaj8U7zaNlFcQYJdCJcwvqi4GSxeA9CSpEtlLy0ULEs5SR9lzKrNj8AX-dE/w400-h106/KK+19.4.1873.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the death register of the Reindorf parish concerning Caroline Krähmer's obsequies on 21 April 1873 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/15-reindorf/03-19/?pg=90" target="_blank">Reindorf, Tom. 19, fol. 88</a>).</span></div>
<br />
Krähmer died in the house <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=X4Q4Rt9VDEYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10120807" target="_blank">Kranzgasse 30</a> (formerly No. 287) which, according to the cadastre, consisted of two stories and 18 apartments (<a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/342968" target="_blank"><i>Kataster der Vororte Wiens</i>. Lechner 1888, 40</a>). In 1897, this building was replaced with a new six-storied one and today's address <a href="https://goo.gl/maps/E1WrvPJZ5AmkqrD77" target="_blank">Kranzgasse 30</a> merely marks the entrance of the house <a href="https://goo.gl/maps/X4HBMHEM4R9kgtDr8" target="_blank">Mariahilfer Straße 181</a>. <br />
<br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFOCH5LPo62qtt1D-Xzspx3ppAXrwnG3gtJACL1TPq6UJ_JuZ7nXo7KTcW9N_GyoiBOhmUDNjVrReHTxvzZDSziCfSinBmpNV8SNpdQVAnG2SR39A2mFNrrUMwmeuPXFhQaOa6SRVBbnc/s2048/WM+234724.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1307" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFOCH5LPo62qtt1D-Xzspx3ppAXrwnG3gtJACL1TPq6UJ_JuZ7nXo7KTcW9N_GyoiBOhmUDNjVrReHTxvzZDSziCfSinBmpNV8SNpdQVAnG2SR39A2mFNrrUMwmeuPXFhQaOa6SRVBbnc/s320/WM+234724.jpg" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The Reindorf parish church, where, on 21 April 1873, Caroline Krähmer's body was blessed (Wien Museum, I.N. 234724).</span></div>
</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvLvv8FJpcSVLhnD4EbXXX8YrSAPvUgQOpiif_-KXUlDwq2iCuHAfmSp9TOUOz-PEZEKBrCsQFJ7w3AFuS6v3vBf1eVeMuhPbada7GM5kgCiUKhpF54h0fkMe3tpt0J5bDXtO4m5ZSPbM/s1317/19+alt.+II-F-22%252C+fol.+23v+.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1011" data-original-width="1317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvLvv8FJpcSVLhnD4EbXXX8YrSAPvUgQOpiif_-KXUlDwq2iCuHAfmSp9TOUOz-PEZEKBrCsQFJ7w3AFuS6v3vBf1eVeMuhPbada7GM5kgCiUKhpF54h0fkMe3tpt0J5bDXtO4m5ZSPbM/s320/19+alt.+II-F-22%252C+fol.+23v+.jpg" width="320" /></a></div><div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the register of shaft graves concerning Caroline Krähmer's burial in the Schmelz cemetery on 21 April 1873 (A-Wsa, Schmelzer Kommunalfriedhof, B4 - Schachtgräber: 19 alt: II-F-22, fol. 23v ).</span></div><br />
On 21 April 1873, Caroline Krähmer was buried in the <a href="https://de.wikipedia.org/wiki/Schmelzer_Friedhof" target="_blank">Schmelz cemetery</a> in the shaft grave No. 1002 in row 27 which, according to the grave register, was closed in the evening of 23 April 1873. Already as of 1874, the Schmelz cemetery was not used for burials anymore and was eventually closed in 1920. The details of Caroline Krähmer's estate, will be the object of future research.<br />
<br />
<hr />
<br />
<b>Bibliography</b><br />
<blockquote class="tr_bq">
</blockquote>
<blockquote><p><a href="https://docplayer.org/75286580-Wiener-oboen-journal.html" target="_blank">Albrecht, Theodore. 2013</a>. "Ernest Krähmer und seine Frau Caroline (geb. Schleicher) – musikalische Pioniere in der Wiener Biedermeierzeit", <i>Wiener Oboen-Journal</i>, vol. 57, March 2013, 3-10. <br /></p></blockquote><blockquote><a href="https://www.biographien.ac.at/oebl/oebl_K/Kraehmer_Caroline_1794_1839.xml" target="_blank">Antonicek, Theophil. 1967</a>. Krähmer, Caroline; geb. Schleicher, <i>Österreichisches Biographisches Lexikon</i>, Bd. 4, 184. <br /></blockquote><blockquote class="tr_bq"><a href="https://clarinet.org/2019/09/02/caroline-schleicher-krahmer-first-female-clarinet-soloist/." target="_blank">Buckenmaier, Nicola. 2019</a>. "Caroline Schleicher-Krähmer: The First Female Clarinet Soloist", <i>The Clarinet</i> 46/4, September 2019.<br /></blockquote><blockquote>Färber [Buckenmaier], Nicola. 2008. <i>Caroline Schleicher-Krähmer: "Le comble du ridicule"</i>, Vienna, Univ. für Musik u. darst. Kunst, Diss., 2008.</blockquote><blockquote><a href="https://www.sophie-drinker-institut.de/kraehmer-caroline" target="_blank">Herold, Anja. 2015</a>. "Krähmer, (Maria) Caroline, Karoline, Carolina, geb. Schleicher", in: <i>Europäische Instrumentalistinnen des 18. und 19. Jahrhunderts</i>, Sophie Drinker Institut, Bremen.</blockquote><p></p><blockquote><a href="https://www.musiklexikon.ac.at/ml/musik_K/Kraehmer_Familie.xml" target="_blank">Kornberger, Monika. 2019</a>. "Krähmer, Familie", in: <i>Oesterreichisches Musiklexikon online</i>, accessed: 27.12.2020.<br /></blockquote>
<br />
<hr />
<br />This post is dedicated to Lisa Hirsch in gratitude for her financial support.
<br />
<br />
© Dr. Michael Lorenz 2021. All rights reserved.<br />
<br />
Updated: 16 February 2024<br />
<br />
<i>Because this post was written inside nine days, some areas of research could not be fully covered owing to the lockdown of Vienna's archives. A number of sources could only be checked after the reopening of these institutions on February 8, 2021.</i>
<br />
<br /></div></div>Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com1tag:blogger.com,1999:blog-6705638937146105675.post-962879637783676332020-11-29T20:40:00.014+01:002023-11-11T20:25:01.495+01:00Concepción Gómez de Jacoby: Tárrega’s Enigmatic Patron and Recuerdos de la Alhambra <br />
<i>The following is a guest post by David J. Buch, an internationally known musicologist who currently lives in Chicago (<a href="https://en.wikipedia.org/wiki/David_J._Buch" target="_blank">https://en.wikipedia.org/wiki/David_J._Buch</a>). He can be contacted at <a href="mailto:buch@uni.edu" target="_blank">buch@uni.edu</a>.</i><br />
<br />
<p class="MsoNormal"><span lang="EN-US">The most influential and foundational
modern Spanish guitarist-composer is Francisco de Asís Tárrega y Eixea (1852-1909).
Both in regard to technique and repertory, Tárrega extended the Spanish guitar
tradition and established an international one, alloyed with the "romantic"
style, repertory and transcription from other media. His devoted students
Miguel Llobet, Emilio Pujol, Josefina Robledo and Daniel Fortea transmitted his
music and teachings, which reached Andrés Segovia and virtually all of his
followers. Tárrega's compositions and transcriptions are in the repertory of
almost every 'classical' guitarist, and his most renown pieces have transcended
the instrument and entered broad popular culture as no other
guitarist-composer's works.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">One of Tárrega's
most admired and performed compositions, <a href="https://en.wikipedia.org/wiki/Recuerdos_de_la_Alhambra" target="_blank"><i style="mso-bidi-font-style: normal;">Recuerdos
de la Alhambra</i></a>, has been known through an early 20th-century
publication edited by Tárrega and dedicated as an homage to the French
guitarist Alfred Cottin.<a href="#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span></span></span></a>
But in 1991 an autograph manuscript came to light that provided a more precise
context for the origin of this rhapsodic tremolo study.<a href="#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span></span></span></a>
The manuscript bears the date December 8, 1899 and has a different title: <i style="mso-bidi-font-style: normal;">Improvisación !A Granada¡</i> <i style="mso-bidi-font-style: normal;">Cantiga Árabe</i>. An inscription at the end
indicates that the work was composed as a name-day gift to a woman who was
Tárrega's student, maecenas and possible muse. The dedication reads "To my eximious disciple Sra. Dª Conchita G.
De Jacoby / [from] your teacher and friend / Fran<sup>co</sup> Tárrega. /
Màlaga 8 Diciembre 1889" (A mi eximia
discípula Sra. D<sup>a</sup>. Conchita G. de Jacoby / su Maestro y Amigo / Fran<sup>co</sup>
Tárrega / Málaga 8 Di[ciem]bre 1899</span>; see Figure 1).
</p><p class="MsoNormal"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7GM3HtNUgZpEByo0qHopi_w-txIXq2VVvtFUgYHqZPfI4u7jSbZeCzeSil5HN3K8mgJ4K6rvmoq1hTVTCNbYSxv9a1Nn5sxSclGOwFs97TVqDpZTVbhjC4OqdcHnUTbpFpNxwY3dT4w/s1500/Figure1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="471" data-original-width="1500" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7GM3HtNUgZpEByo0qHopi_w-txIXq2VVvtFUgYHqZPfI4u7jSbZeCzeSil5HN3K8mgJ4K6rvmoq1hTVTCNbYSxv9a1Nn5sxSclGOwFs97TVqDpZTVbhjC4OqdcHnUTbpFpNxwY3dT4w/w400-h125/Figure1.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 1: Title and Dedication of <i style="mso-bidi-font-style: normal;">Improvisación !A Granada¡</i> <i style="mso-bidi-font-style: normal;">Cantiga Árabe</i></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">We learn of the
origin and purpose of this fine example of Spanish-'Moorish' romanticism from
the intimate inscription that Tárrega added at the end of piece "Since I can't
offer you a gift of more value on your saint's day, accept this little poetic
impression felt by my soul before the grand marvel of the Alhambra of Granada
that we admired together. Fran<sup>co</sup> Tárrega (<i style="mso-bidi-font-style: normal;">Ya que no puedo ofrecer a V[uestra]. ofrenda de mas valia en el dia de
su santo, acete esta mi pobre nota poética impresion que sintió mi alma ante la
grandiosa maravilla de la Alhambra de Granada que juntos admiramos. Fran<sup>co</sup>
Tarrega</i>; see Figure 2</span><span lang="EN-US" style="font-size: 11pt;">).</span><a href="#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span></span></span></span></a><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"> </span></span></span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></p>
<p class="MsoNormal"><sub><span lang="EN-US"><o:p></o:p></span></sub></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbDf3Uh-7pfgQ6ApS8AIrxCPi7E6wDPK0q0SecJdOYh8uB7k2OUEz-aDZh-zB-ElcGip8b0oUlUCnFNfR3sVmwBUCUSRJ5G_daanblKBupOl6dzKzU9IV3WRxHIrTmE73lr7W-hi58zNw/s2274/Figure2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="271" data-original-width="2274" height="48" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbDf3Uh-7pfgQ6ApS8AIrxCPi7E6wDPK0q0SecJdOYh8uB7k2OUEz-aDZh-zB-ElcGip8b0oUlUCnFNfR3sVmwBUCUSRJ5G_daanblKBupOl6dzKzU9IV3WRxHIrTmE73lr7W-hi58zNw/w400-h48/Figure2.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 2: Inscribed Ending of <i>Improvisación !A Granada¡</i> <i>CantigaÁrabe</i></span><span lang="EN-US" style="font-size: x-small;"><o:p></o:p></span><span lang="EN-US" style="font-size: x-small;"><o:p> </o:p></span></div><p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Hence <i>Recuerdos</i>, or more precisely, <i>!A Granada¡</i>, was a gift for a specific woman's name-day, commemorating their time together at the great Alhambra palace. Tárrega dated it on December 8, the Feast of the Immaculate Conception.
Many Catholics will know this date because it is often when a child will take
the first communion for its symbolic value. In any event, the purpose of <i style="mso-bidi-font-style: normal;">!A Granada¡</i> is closely connected to this
woman and the solemn feast day for which she was named. </span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">This study will
examine archival documentation concerning "Sra. D<sup>a</sup>. Conchita G. de
Jacoby," revealing more about her and about her relationship to Tárrega. It
will then re-examine Tárrega's music that was connected to her in the light of
new information. While a number of questions must remain unanswered, the
surviving evidence and biographical details will provide a fuller picture of
the woman and the context of the music dedicated to her.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Doña
Concha Martínez?<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Aside from a brief mention in a standard dictionary article from 1934,<a href="#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span></span></span></a>
what we know of Concepción Jacoby comes mostly from a biography of Tárrega
written by his student, Emilio Pujol (1886-1980) during the 1950s,<a href="#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span></span></span></a>
and a very brief article that was published in 1952.<a href="#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span></span></span></a>
Both accounts present hagiographic discussions of Tárrega and contain
inaccuracies and lacunae. For example, Pujol uses the erroneous name "Doña
Concha Martínez" in both publications. He claims that she was about 35 years
old at that time she met Tárrega in 1896. She was actually 48 years old that
year.<a href="#_edn7" name="_ednref7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span></span></span></a>
Pujol was also unaware that Tárrega composed <i style="mso-bidi-font-style: normal;">Recuerdos de la Alhambra </i>for her. In fact, he was apparently aware
of only one of the three pieces he composed for her, the waltz <i style="mso-bidi-font-style: normal;">!Sola¡</i>, which Pujol claims was written
in the suburbs of Barcelona. The autograph manuscript reveals it was actually
composed in Valencia.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol was not a
firsthand witness to much of what he describes. He met Tárrega in 1902 when he
was 16, two years after Concepción and Tárrega suspended their relationship. He
may have met Concepción around November, 1907, when she apparently returned to
help the ailing musician in his last two years of life. But there are good
reasons to believe that he had little or no direct knowledge of her or her
family. Moreover, his adulatory approach reflects the worshipful attitude of
his years as a teenage acolyte and later, as a faithful apostle of Tárrega's
teaching.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">While Pujol
presents a saintly portrayal of his teacher, his description of "Doña Concha's"
character is complex and intriguing. He writes that Concepción </span><span lang="EN" style="mso-ansi-language: EN;">possessed "a lively spirit, strong
temperament and exalted fantasy, her extreme sentiments ranged from the most
humble tenderness to the most imperious energy. There was a strange mixture of
commoner and patrician in her bearing. An unrestrained contrast that gave way
to a very original and interesting personality, nevertheless shrouded in a
nebulous and indescribable enigma.<a href="#_edn8" name="_ednref8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span></span></span></a>
</span><span lang="EN-US">In Pujol's biography, she is by far, the most beguiling
and fascinating character in the entire text.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol states
that Tárrega, with his wife and two children, moved into Concepción's villa in
the San Gervasio suburb of Barcelona, occupying quarters in the tower. But ". .
. in 1899, the Tarrega family was installed again in his apartment on [274]
Calle de Valencia [in Barcelona], and the master could not hear the name of
Doña Concha pronounced without the uncontrollable reflection of a bitter
disenchantment on his face." Now Pujol's depiction of Concepción has acquired a
decidedly dark aspect, a "dominant and fickle character of said lady, the origin
of so many compromising situations."<a href="#_edn9" name="_ednref9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">But it is clear
from his writing, that when Pujol deprecates Concepción's character, he
traffics in hearsay. Much of his account is based on second hand speculation
and unverified assumptions. Treating Tárrega almost as a religious figure, he
entirely blames that "dominant and fickle" woman, for the rupture in their
relationship. But Pujol was 13 or 14 years old when the break occurred and had
not yet met Tárrega or Concepción. Because Pujol does not relate a single
firsthand encounter, one suspects that he never actually met her.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol's conclusions
about Concepción do not fit his set of facts, and the situation he describes
can be interpreted differently. The autograph manuscript of <i style="mso-bidi-font-style: normal;">¡A Granada!</i>, dated December 8, 1899,
with its affectionate and intimate inscription and dedication, undermines
Pujol's account of a painful break in 1899. One might now think that the break
might have occurred in the days immediately following December 8, in the last
weeks of 1899. But from November 1899 to May 1900, Tárrega was not in Barcelona
but traveling with Dr. Walter Leckie, as the dated manuscripts in Dr. Leckie's
two books reveal.<a href="#_edn10" name="_ednref10" style="mso-endnote-id: edn10;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span></span></span></a>
The men started their tour together in Castellón in November, then on to Malaga
(where he composed <i style="mso-bidi-font-style: normal;">!A Granada¡</i>), then
Algiers, then Naples, and finally Marseilles. He was not back in Barcelona at
the end of May 1900.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol's account
of the break is problematic in other ways. Pujol begins with a contradiction
when he writes that "Those who, having known Tárrega intimately, knew from
experience of the delicate, loyal, affective and respectful tact with which he
treated his friends." Pujol continues that that "his friends, surprised at
their breakup, did not fail to attribute it to the dominant and fickle
character of said lady, the origin of so many compromising situations." If Tárrega
treated his friends with respectful tact, how could they know that a
"compromising situation" caused the break? And if Tárrega's friends found her
character to be so obviously flawed the way Pujol suggests, why did the break
surprise them? It is clear that Pujol did not know the actual reason for the
break, and the idealization of Tárrega may have influenced him and the
individuals he consulted, leading them to entirely blame Concepción. His
statements about Concepción spreading stories about Tárrega cannot be assessed
as to its veracity either. He never cites any specific examples and his wording
again suggests he was repeating hearsay and rumor. Since we only have Pujol's
second- or thirdhand accounts to assess Concepción's character, perhaps we will
learn something of this woman from investigating the surviving archival
documentation and publications that concern her and her family, some of which
also had role in Tárrega's life.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Concepción
Gómez y Bataller de Jacoby<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Pujol provides little precise information
on Concepción, some of it inaccurate. He mentions that Concepción Gómez had
been a singer and actress in zarzuelas. He states that in Mexico "Concha met
the German Jew Jacoby and married him. After a year of marriage, they had a
son." He notes that after the death of her sister, she took over the upbringing
of her niece Clara. But there is much more to this history, which in some
aspects does not conform to the account Pujol presents. A review of documentary
sources will help to clarify these aspects.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">According to the
civil register of 1845-1854 in the Ajuntament de València, Concepción seems to
have been given the name Luisa when she was born on April 27, 1848 (see Figure
3).<a href="#_edn11" name="_ednref11" style="mso-endnote-id: edn11;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[11]</span></span></span></span></a>
Perhaps this was an error or perhaps the full name was Luisa Concepción. In any
event, the civil register of 1851 lists the 3-year-old Concepción as the child
of these parents living in this household at the time, three years after the
birth of "Luisa." Her father, Juan Bautista Gomez y Molines, was from the small
Valencian coastal town, Santa Pola; he was blind. Her mother, Ana Bataller y
Fort was from an equally small Valencian inland town, Benifairó. Concepción
most likely grew up in poverty.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">In 1867, when
she was 19 years old, Concepción and her older sister Amalia were both
performing at the Teatro Real in Madrid. They are praised in the journal <i style="mso-bidi-font-style: normal;">El Artista</i>, where the two sisters are
described as "Prima contraltos of the very first rank. A perfect fraternity:
doña Amalia Gómez y doña Concepción Gómez."<a href="#_edn12" name="_ednref12" style="mso-endnote-id: edn12;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[12]</span></span></span></span></a>
The sisters traveled to the Americas in 1868 as part of the Spanish zarzuela
troupe of impresario Joaquín Gaztambide. They eventually found great success in
Mexico City, where they first performed with the Eduard Gonzalez Company in
late February 1871.<a href="#_edn13" name="_ednref13" style="mso-endnote-id: edn13;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[13]</span></span></span></span></a>
At that time Concepción was described as "</span><span lang="EN" style="mso-ansi-language: EN;">a highly sympathetic, beautiful Spanish woman with
great grace"</span><span lang="EN-US"> (<i style="mso-bidi-font-style: normal;">guapa
española de mucha gracia y altamente simpática</i>).<a href="#_edn14" name="_ednref14" style="mso-endnote-id: edn14;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[14]</span></span></span></span></a>Pujol wrote that "Concha had secondary roles in the same company" as her sister. Surveying Concepción's reviews in contemporary periodicals demonstrates
that she had some primary roles in zarzuelas and operettas. In November 1871
she sang the lead role of Catalina, the disguised queen of Portugal in
Francisco Asenjo Barbieri's<i style="mso-bidi-font-style: normal;"> Los diamante
de la corona</i>. She also sang Wanda in Offenbach's <i style="mso-bidi-font-style: normal;">La Gran Duquesa de Gerolstein</i>, a major role.</span><a href="#_edn15" name="_ednref15" style="mso-endnote-id: edn15;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[15]</span></span></span></span></span></a><span lang="EN-US">
The reviewers speak of her grace, clarity, and skill. There are also
indications of a fiery temperament and a strong will. She caused a major
scandal that ended in a small riot at the Teatro Principal when she refused to
perform after a discussion with another singer named [possible Rosa] Flores.
The affair ended in court, where a judge fined both Concepción and the rioters.
The threat to expel her from Mexico was acknowledged as empty, given her
"intelligence" and "charms."</span><a href="#_edn16" name="_ednref16" style="mso-endnote-id: edn16;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[16]</span></span></span></span></span></a></p>
<p class="MsoNormal"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiObugr6n26JarA7_Ij9l_Rg62DOw_-Ym9uWjNv2C6oDPVP0a1gWc7v2Tj9ZXuNMJh6xIUnoVjCxJNoZ7x-CB6SrGrtVE_vKwMvHUnMARIMdu7LLy5MOoETeeKctpZbqwRquyeVWFVLxAk/s933/
3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="803" data-original-width="933" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiObugr6n26JarA7_Ij9l_Rg62DOw_-Ym9uWjNv2C6oDPVP0a1gWc7v2Tj9ZXuNMJh6xIUnoVjCxJNoZ7x-CB6SrGrtVE_vKwMvHUnMARIMdu7LLy5MOoETeeKctpZbqwRquyeVWFVLxAk/w400-h344/Figure3.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 3: Birth Registration of Luisa [Concepción?] Gomez</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">A short time
later Amalia would become a great star in Mexico, initially with her
performances in the title role in Jacques Offenbach's <a href="https://en.wikipedia.org/wiki/La_Grande-Duchesse_de_G%C3%A9rolstein" target="_blank"><i style="mso-bidi-font-style: normal;">La Gran Duquesa de Gerolstein</i></a>, and later by introducing the
scandalous French can-can to South American audiences.<a href="#_edn17" name="_ednref17" style="mso-endnote-id: edn17;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[17]</span></span></span></span></a>
But her sister's career on the stage would be short. Her name disappeared from
the theatrical reviews by 1874. By that time Concepción had met and married
Luis Jacoby. According to the civil petition and the registration of her
marriage in Mexico City, as well as the church record (April 6, 1873),<a href="#_edn18" name="_ednref18" style="mso-endnote-id: edn18;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[18]</span></span></span></span></a>
Concepción Gómez y Bataller was born in Valencia, the legitimate daughter of
Juan Bautista Gomez y Molina [sic, Molines] and Anna Maria Bataller y Fort. She
is listed as 23 years old (she was actually 25) at the time of her marriage to
Luis Jacoby, the son of Simon Jacoby and Guillermina Goldstein. Luis is given
as a 32-year-old native of Berlin, and a naturalized Mexican citizen.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">It was probably
around 1867 when Luis purchased the <i style="mso-bidi-font-style: normal;">Hacienda
Obrajuelo</i>, near the city of Apaseo el Grande, in the state of Guanajuato,
Mexico (the Jacoby family would lose the <i style="mso-bidi-font-style: normal;">Hacienda
Obrajuelo</i> during the Revolution of 1914). He also acquired the plantation <i style="mso-bidi-font-style: normal;">El Horizonte</i> in Tumbador, Guatamala on
the line of the central railroad near the southern border of Mexico<a href="#_edn19" name="_ednref19" style="mso-endnote-id: edn19;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[19]</span></span></span></span></a>
(see Figure 4). Along with his brother Martin Jacoby, Luis turned these
properties into modern and highly profitable farming, cattle and mining
concerns. In 1894 Luis and Werner Hagnauer purchased land in the Sierra Madres
to create the Argovia coffee plantation in the state of Chiapas, north of
Tapachula, Mexico.<a href="#_edn20" name="_ednref20" style="mso-endnote-id: edn20;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[20]</span></span></span></span></a>
The surviving tokens used as payment in the Jacoby plantations are collectibles
today (see Figure 5). All of these properties are still operating.</span></p>
<p class="MsoNormal"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE4mJhQL-ldA7G90XyHmShMNZri_qt518wFWW6_KweBegyDZBAe9bYjLUXIpFer7G5gImtmdTizAY9OkO17IXEdzbDRfc2UUGXrQwu4vMd7Qbq0N-xaetjW3LBJ_pQvQaJ50Ha9ViHERI/s1131/Figure4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1131" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE4mJhQL-ldA7G90XyHmShMNZri_qt518wFWW6_KweBegyDZBAe9bYjLUXIpFer7G5gImtmdTizAY9OkO17IXEdzbDRfc2UUGXrQwu4vMd7Qbq0N-xaetjW3LBJ_pQvQaJ50Ha9ViHERI/w265-h400/Figure4.jpg" width="265" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 4: The plantation of
Luis Jacoby [<i style="mso-bidi-font-style: normal;">El Horizonte</i>] in
Guatamala</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p align="center" class="MsoNormal" style="text-align: center;"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpiCDziRlhuRh8tb_K9OifBFBfaPB52rD66vsG8EH288M9uf-hBod5Y0jsPbjxNQg52gDRZ6RiCsbj1Dqw19H6TGM_yl0tj6_6XVmp3pf3JUinBK85USudRQQfdFuWb5GOzxI-cZiBPKc/s949/Figure5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="949" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpiCDziRlhuRh8tb_K9OifBFBfaPB52rD66vsG8EH288M9uf-hBod5Y0jsPbjxNQg52gDRZ6RiCsbj1Dqw19H6TGM_yl0tj6_6XVmp3pf3JUinBK85USudRQQfdFuWb5GOzxI-cZiBPKc/w400-h178/Figure5.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 5: Tokens from <i style="mso-bidi-font-style: normal;">El Horizonte </i>and <i style="mso-bidi-font-style: normal;">Argovia</i> plantations</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Concepción's
marriage did not go unnoticed in the Spanish capital. <span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">One satiric periodical reported that:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span lang="EN-US">"</span><span lang="EN" style="mso-ansi-language: EN;">La Concha Gomez, that exemplary actress
(in terms of</span><span lang="EN-US"> chorus girls</span><span lang="EN" style="mso-ansi-language: EN;">), has married a capitalist from Mexico, in
Mexico. After this success, Arderius appears to have noticed the obvious desire
in his female masses to emigrate overseas." (</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US">La Concha Gomez aquella actriz ejemplar
(suripánticamente hablando), se ha casado con un capitalista de Méjico, en
Méjico. Despues de este suceso, parece que Arderius ha notado evidentes ánsias
de emigración ultramarine en sus masas femeniles</span></i><span lang="EN-US">.)</span><a href="#_edn21" name="_ednref21" style="mso-endnote-id: edn21;" title=""><span class="MsoEndnoteReference"><span lang="EN" style="mso-ansi-language: EN;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[21]</span></span></span></span></span></a><span lang="EN" style="mso-ansi-language: EN;"><o:p></o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">A
Son<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Pujol was inaccurate when stating that
after a year of marriage Concepción gave birth to her son. She was married in
1873. On November 15, 1877 the son of Luis and Concepción, named Luis
Maximiliano Jacoby, was born at their residence on the Calle de Presiados in
Madrid, Spain. We learn this from a birth certification registered in Mexico
City on February 25, 1895.<a href="#_edn22" name="_ednref22" style="mso-endnote-id: edn22;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[22]</span></span></span></span></a>
The registration and the Spanish documentation was provided by Martin Jacoby,
the brother of Luis and uncle of Luis Maximiliano. The reason for this late
registration was perhaps to establish the Mexican citizenship of Luis
Maximiliano, facilitating the inheritance of his family's estate in case of his
father's death. The only known photograph of Concepción is from early 1878, at
the front of the <i style="mso-bidi-font-style: normal;">Hacienda Obrajuelo</i>
with her husband Luis, her baby, and her brother-in-law Martin (see Figure 6).</span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzC4mIHHHv153zZjgyPnZR3GxMxV8EHXcZNMZCeZddW5ahyphenhypheneGQqOrvP75ZEhz1UTcYdij4Iu6vF7tZKGf-tT8eXGO9Sw2whXs5KXOV1dDREj-9LvY3vWWbfQHiFF8kbZn3L0xVFL0mTYM/s853/Figure6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="853" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzC4mIHHHv153zZjgyPnZR3GxMxV8EHXcZNMZCeZddW5ahyphenhypheneGQqOrvP75ZEhz1UTcYdij4Iu6vF7tZKGf-tT8eXGO9Sw2whXs5KXOV1dDREj-9LvY3vWWbfQHiFF8kbZn3L0xVFL0mTYM/w400-h345/Figure6.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 6: Photo of the
Jacobys at <i style="mso-bidi-font-style: normal;">Hacienda Obrejuelo</i> in
early 1878<o:p></o:p></span><span style="font-size: x-small;"><span lang="EN-US"><o:p>. </o:p></span></span><span lang="EN-US" style="font-size: 11pt;"><span style="font-size: x-small;">Front four from the left: Luis Jacoby, Concepción with
her baby son Luis, unknown man, Martin Jacoby (with white coat and cigarette).
Reproduced with kind permission of Concepción's great grandsons, Jean-Eric
Schoettl and Christian Schoettl, who provided this photo.</span><o:p></o:p></span>
</div>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Separation
and Divorce<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">We have no details of the relationship
before, during or after the wedding, but the marriage eventually ended. Around
1898 </span><span lang="EN" style="mso-ansi-language: EN;">Concepción empowered </span><span lang="EN-US">the influential businessman Iñigo Noriega Laso (1853-1953) to be her
representative </span><span lang="EN" style="mso-ansi-language: EN;">in the trial
separation of assets, part of the process of obtaining a divorce from Luis
Jacoby.<a href="#_edn23" name="_ednref23" style="mso-endnote-id: edn23;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[23]</span></span></span></span></a>
Luis had become one of the most successful businessmen in Mexico by that time.
As </span><span lang="EN-US">Jacoby & Company expanded their financial
holdings, Luis became more influential in the economic and political life of
Mexico. The company would not be free of controversy and some financial
failures in 1908, reportedly due to misappropriation of funds by Martin Jacoby
in the cotton market. In any event, Luis was closely connected to President
Profio Diaz and his finance minister José Ives Limentour, hence Jacoby &
Company was protected.<a href="#_edn24" name="_ednref24" style="mso-endnote-id: edn24;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[24]</span></span></span></span></a>
</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">On November 4,
1871 Concepción stood as godmother to Amalia's first child, Maria Adriana
Padilla, born September 9 of that year. The baby died a few weeks later. In
1875 she was godmother to Amalia's first son, Raphael Carlos Padilla, born on
July 24, 1872 (she now adds the name Jacoby). A second son named Conrado
Francisco de Paula Padilla was born in 1873 (the church record is not available
at this time, but it is likely that Concepción was godmother). It seems that
Concepción served as godmother for her sister's only surviving daughter
Francisca De Paula Clara Padilla, since after the death of her sister in 1890,
Concepción brought Clara to live with her in Spain. On July 10, 1885 Concepción
stood as godmother to Amalia's last child, José Joaquin<b style="mso-bidi-font-weight: normal;"> </b>Padilla, born August 28, 1884.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Return
to Spain<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">It is clear from the fact that her son was
born in Madrid, and the subsequent photo at the <i style="mso-bidi-font-style: normal;">Obrajuelo,</i> that Concepción traveled back to Spain and maintained
her ties to her native country. She would eventually move back there, probably
in the period of separation and divorce from Luis Jacoby. As late as May 1887
Mexico City newspapers commented on her presence at significant social events
such as the grand ball at the Casino Español.<a href="#_edn25" name="_ednref25" style="mso-endnote-id: edn25;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[25]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol names four
residences in Spain owned by Concepción. In Valencia she lived on the opulent,
fashionable Paseo de la Alameda. She also had a rustic house in the Cabañal
area of Valencia, close to the beach and the new spa. She had a splendid farm
in the surroundings of Alicante that she called <i style="mso-bidi-font-style: normal;">La Cachupina</i>. (A <i style="mso-bidi-font-style: normal;">gapuchina </i>is
a Mexican phrase for Spanish woman living in Mexico.) Finally, she had an
impressive villa in the Barcelona suburb of San Gervasio, on the calle de
Ballester at the foot of Puxtet hill.<a href="#_edn26" name="_ednref26" style="mso-endnote-id: edn26;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[26]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol states
that Concepción's "five-year-old son Luisito lived with her, along with a
beautiful 16-year-old niece, called Clarita, only daughter of her sister; she
took her in when she became an orphan after the suicide of her sister." Again
the account is inaccurate. Her son Luis was born in 1877, while her niece Clara
was born in 1878.<a href="#_edn27" name="_ednref27" style="mso-endnote-id: edn27;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[27]</span></span></span></span></a>
The eleven year error in age differential given by Pujol reinforces the
impression that he had little or no first-hand knowledge; he almost certainly
never met this family.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">In Spain she
associated with (and patronized) writers and musicians. Pujol mentions her
friendship with Francisco Monleón (the son-in-law of the poet Teodoro Llorente)
and Maria Carbonell Sánchez (1857-1926), the Valencian author, professor,
feminist. The latter association is verified by contemporary publication.<a href="#_edn28" name="_ednref28" style="mso-endnote-id: edn28;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[28]</span></span></span></span></a>
</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amalia
Gómez<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Concepción's sister Amalia Gómez (see
Figure 7) continued her career in Mexico City in the 1870s and 1880s,
performing with the Eduard Gonzalez Company and eventually forming her own
company, apparently with diminished success.<a href="#_edn29" name="_ednref29" style="mso-endnote-id: edn29;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[29]</span></span></span></span></a>
She married a merchant named Epigmenio (also given sometimes as Epigenario)
Padilla (1821-1895) and had five children: Maria Adriana (b. 1871, died the
same year), Raphael Carlos (b. 1872), Conrado Francisco de Paula (b. 1873),
Clara (b. 1878), and José Joachim (b. 1884). </span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Amalia committed
suicide on October 28, 1890. The death register records a "death by tragic
gesture of Señora Amalia Gomez y Padilla of Valencia in España, 49 years old,
married to Epigmenio Padilla de Zamosa" (. . . <i style="mso-bidi-font-style: normal;">falleció de gesto tragico la Senora Amalia Gomez y Padilla de Valencia
a España, de 49 cuarento y nueve años, casada con Epigmenio Padilla de Zamosa</i>
. . ).<a href="#_edn30" name="_ednref30" style="mso-endnote-id: edn30;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[30]</span></span></span></span></a>
The local newspapers provided more detail, for example:</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 31.5pt; margin-top: 0cm; margin: 0cm 31.5pt 0.0001pt 36pt;"><span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Suicide</span></b><span lang="EN-US">:</span><span lang="EN-US"> </span><span lang="EN-US">Under this epigraph, several of our
colleagues have brought to light the news that on Calle de Ortega number four,
a woman ended her life, dropping from the third-floor corridor. Better
informed, we assure to our readers that Mrs. Amalia Gomez (who is the alleged
suicide), lived in house number 34 on Ortega Street, and according to the
opinion of reliable sources (people of recognized standing), her ability to
reason was highly impaired.<o:p></o:p></span></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 31.5pt; margin-top: 0cm; margin: 0cm 31.5pt 0.0001pt 36pt; text-indent: 36pt;"><span lang="EN-US" style="font-size: small;">On Wednesday night, when she was in an
attack of madness, she left his house and went to number 4 on the same street;
He entered the interior, and asked by the concierge where she was going, Mrs.
Gomez told him to a shop on an upper floor.<o:p></o:p></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 31.5pt; margin-top: 0cm; margin: 0cm 31.5pt 0.0001pt 36pt; text-indent: 36pt;"><span lang="EN-US" style="font-size: small;">Mrs. Amalia Gomez ascended the first and
second stairs, and when already on the third floor she threw herself over the
railing into the patio of the aforementioned house, falling into a fountain of
water, from where a wall painter took her and moved her to her domicile.<o:p></o:p></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 31.5pt; margin-top: 0cm; margin: 0cm 31.5pt 0.0001pt 36pt; text-indent: 36pt;"><span lang="EN-US" style="font-size: small;">The police were notified by the housekeeper
of number 4, and the inspector, Mr. Francisco Arrieta, accompanied by the
physician assigned to said office, attended to the situation.<o:p></o:p></span></p><span style="font-size: small;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 31.5pt; margin-top: 0cm; margin: 0cm 31.5pt 0.0001pt 36pt; text-indent: 36pt;"><span lang="EN-US" style="font-size: small;">Mrs. Gomez was already in her room, and
under her bed covers; Recognized by the attending physician, the latter stated
that Mrs. Gomez had no injury on the outside, and that therefore he expected
her to develop some symptoms from internal injuries that she did not show at
that time, except for her mental disturbance . . . Despite the fact that Mrs.
Gomez had no external injury, she died last night and it is inferred that it
was from the blow she received; because the fountain is too small and has a
division in the center, on which the aforementioned and unfortunate Amalia
fell.<a href="#_edn31" name="_ednref31" style="mso-endnote-id: edn31;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[31]</span></span></span></span></a><o:p></o:p></span><span lang="EN-US" style="font-size: small;"><o:p> </o:p></span></p><p class="MsoNormal"><span lang="EN-US">Hence Amalia's daughter Clara was 12 years
old when her mother died. Concepción brought her to Spain, to live in her
household. Pujol offers vignettes in which Tárrega becomes a part of Clara's
life, and the young woman and her husband Ramón Planiol look after the guitar
master in the difficult years before his death (see below).</span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCuQPtXcAKaF6keT021VxHv6OGAPXRisbv8NKkM8f4jmPVL9ZU8nvuMKMNxfx_qVOxfLrJvNEsHnuXZrKVqCIB0AGcRd2-zY9Ly0X9GXKR2AGG4kG28xg4NuOPCJkftej2vgI9hC1R8mo/s1446/FIgure7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1446" data-original-width="1008" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCuQPtXcAKaF6keT021VxHv6OGAPXRisbv8NKkM8f4jmPVL9ZU8nvuMKMNxfx_qVOxfLrJvNEsHnuXZrKVqCIB0AGcRd2-zY9Ly0X9GXKR2AGG4kG28xg4NuOPCJkftej2vgI9hC1R8mo/w279-h400/FIgure7.jpg" width="279" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 7: Lithograph of
Amalia Gómez</span><span style="font-size: x-small;"><a href="#_edn32" name="_ednref32" style="mso-endnote-id: edn32;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[32]</span></span></span></span></span></a></span><span lang="EN-US"><o:p> <br /></o:p></span></div><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Fellow
Travelers<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Pujol tells that in 1896 Concepción was a
student of Tárrega's close friend, the guitarist and artist Manuel Loscos<a href="#_edn33" name="_ednref33" style="mso-endnote-id: edn33;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[33]</span></span></span></span></a>
in Valencia; she invited Tárrega (see Figure 8) to perform at her home on Paseo
de la Alameda, along with some prominent individuals including the writer María
Carbonell. That "she was like a sleep-walker and she fainted," and that doctors
had to revive her seems like more exaggeration on Pujol's part. (At the time
women wore corsets that could contribute to fainting.) In any event, her
relationship with the guitarist became a close one, and she became devoted to
Tárrega and to the guitar. He called her "Conchita," the affectionate
diminutive he wrote on two of the three pieces he dedicated to her. According
to Pujol, they were so close that Tárrega and his family moved into the tower
in Concepción's San Gervasio villa in 1897 and stayed there some two years,
while still maintaining their apartment on Valencia street. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Miguel Llobet
was studying with Tárrega in this period, making copies of a number of his
pieces that survive today in the archive of the Music Museum of Barcelona.<a href="#_edn34" name="_ednref34" style="mso-endnote-id: edn34;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[34]</span></span></span></span></a>
Llobet almost certainly met Concepción at that time, likely visiting his
teacher at her villa.</span></p><p class="MsoNormal"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQv9LfnqiI-jfKNozqLzQKXM1Ve2VI_8pNKm7z4sfIikDJHmdBfqmVvgCfm2ZgcxjF8jGAMoxL6gpXzY0qhnzzHXmAWr0fytskmex-GvzTI6k4ptJ006p3ZWuFZh5UHv-o05whI6bqHg/s630/Figure8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="359" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQv9LfnqiI-jfKNozqLzQKXM1Ve2VI_8pNKm7z4sfIikDJHmdBfqmVvgCfm2ZgcxjF8jGAMoxL6gpXzY0qhnzzHXmAWr0fytskmex-GvzTI6k4ptJ006p3ZWuFZh5UHv-o05whI6bqHg/w228-h400/Figure8.jpg" width="228" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 8: Tárrega in 1896</span><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">In his entry on
Tárrega, Prat (1934), who studied with the guitarist in the period 1900-1904,
mentioned that Concepción toured with the guitarist in Spain and elsewhere.
Pujol states that not long after meeting Tárrega she and her niece Clara
accompanied Tárrega on a concert tour of Andalusia, visiting the Alhambra in
Granada, where one evening the composer was inspired to write the initial idea
for <i style="mso-bidi-font-style: normal;">Recuerdos de la Alhambra</i>. Since
our earliest source for this piece is the still rough "improvisation," dated
December 8, 1899, this account seems like speculation on Pujol's part. The
dedication and title "<i style="mso-bidi-font-style: normal;">Improvisación</i>"
indicate that the piece was a later memorialization of the visit, written
extemporaneously</span><span face=""Arial","sans-serif"" lang="EN-US" style="background: white none repeat scroll 0% 0%; color: #222222;"> </span><span lang="EN-US">without being
pre-planned.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">In his article,
"Tárrega as Teacher," Pujol states that in 1896 the Vicar of Picaña, don
Francisco Corell, musician, painter and a fine orator, one of Tárrega's best disciples
and friends, invited doña Concha Martinez [sic] de Jacobi, her brother [sic]
and sister [sic] Clarita, Ramon Planiol, don Antonio Tello and other friends of
the Maestro to a supper at Picaña. After the meal the good priest said grace.
Doña Concha could not repress a sob and a few tears. "why are you crying,
Conchita?" asked Tárrega. "Because," she said, "it is many years since I
prayed." Tárrega replied: "I am often praying, for he who works, and he who
studies, prays." This is apparently an inaccurate reading of a letter from
Corell that Pujol would transcribe accurately in his later biography of Tarrega
(p, 222). This transcription of the letter correctly states that Clarita was
Concepción's niece. Ramón (Clara's husband) is not mentioned, merely Tello and
"other friends" (<i style="mso-bidi-font-style: normal;">otros amigos</i>). Doña
Concha does not say "it is many years since I prayed," but that it has been
many years since she said the Pater Noster prayer (<i style="mso-bidi-font-style: normal;">Padrenuestro</i>). Picaña is a municipality on the outskirts of
Valencia. It seems plausible that Tárrega was staying at Concepción's residence
in Valencia at that time.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Our secure
information on Tárrega's travels comes mainly from his dated manuscripts and
those of his students. On June 16 he dedicates a Prelude in A minor (later
published as <i style="mso-bidi-font-style: normal;">Preludio</i> No. 2) to
Miguel Llobet in Barcelona. As for 1897, Tárrega composed his <i style="mso-bidi-font-style: normal;">Mazurka</i> in G in Barcelona on March 16,
1897, and his <i style="mso-bidi-font-style: normal;">Vals !Sola¡</i> and <i style="mso-bidi-font-style: normal;">Mazurka Conchita</i> for Concepción were
written in Valencia on July 29, 1897. Again it is plausible that he was staying
at Concepción's residence in that city, and perhaps giving recitals there as
Pujol recounts.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol states
that "in the Fall of 1897 Tárrega, Dona Concha, her son Luis and Don Martín
Jacoby, brother of the deceased husband of the señora, found themselves in
Paris, at the Grand Hôtel du Périgord [today the Lyric Hotel, 2 Rue de
Gramont]. On 25 November a concert was announced at the Nouveau Salle Pleyel on
the Rue Rochechouart, with the brothers Alfred and Jules Cottin with the
students <i style="mso-bidi-font-style: normal;">La Lombarde y Fernandez.</i>"
Again Pujol is in error. Luis Jacoby was not dead in 1897, he was living in
Paris at No. 1 Avenue du Bois de Boulogne (now Avenue Foch).<a href="#_edn35" name="_ednref35" style="mso-endnote-id: edn35;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[35]</span></span></span></span></a>
Three photos of Luis Jacoby at the <i style="mso-bidi-font-style: normal;">Argovia
</i>plantation have survived from the early 20th century (see Figure 9).</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Tárrega was back
in Barcelona on August 15 1897, where he made a transcription of the popular
march from the opera<i style="mso-bidi-font-style: normal;"> Cádíz</i> by Joaquín
Valverde Durán (1846-1910). According to a February 3, 1898 letter from Tárrega
to Alfred Cottin in Paris (reproduced in Pujol's biography) the guitarist is
still in Barcelona. In 1898 <span style="background: white none repeat scroll 0% 0%; color: #212121;">Daniel
Fortea became his student, and he probably visited his teacher at Concepción's
villa, like Llobet.</span></span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWG4qFns32zanuKbE13ei2LJlITEHcu7dFsB_7sj4xWXmPl7bWxhEfagIdMXz4JELOSaaFSuSLyHplRGDN-C_M9_ezBq8ShRgDt9wk63sHnJ-daqb_18N9iNJiLqo1bhWtiPOj26q_gc/s738/Figure9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="504" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWG4qFns32zanuKbE13ei2LJlITEHcu7dFsB_7sj4xWXmPl7bWxhEfagIdMXz4JELOSaaFSuSLyHplRGDN-C_M9_ezBq8ShRgDt9wk63sHnJ-daqb_18N9iNJiLqo1bhWtiPOj26q_gc/w274-h400/Figure9.jpg" width="274" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 9</span><span lang="EN-US" style="font-size: 11pt;"><span style="font-size: x-small;">: Luis
Jacoby at the <i style="mso-bidi-font-style: normal;">Argovia</i> coffee
plantation, ca. 1900-1908. Reproduced with kind permission of the Hagnauer
family, who provided this photo.</span><o:p></o:p></span></div>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Clarita<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">According to Pujol (p.131), "Among the
friends that Tárrega had in Barcelona society was Don Ramón Planiol, a young
man from a great fortune who owned a magnificent estate in Sampol de Mar and
very valuable properties in Cuba. Introducing Clarita on one occasion, he was
captivated by her beauty and attractiveness, and asked after her at home to
Doña Concha. Although the girl initially resisted, Tárrega's reflections and
advice contributed to making her change her mind; The marriage was celebrated
in short order, and the master was named the best man at the wedding."
Tárrega's role in the life of Clara further reinforces an impression of an
intimate involvement in Concepción's family circle. Clara, who would come into
considerable wealth through her marriage to Rámon (Jose Joaquin) Planiol
Claramunt (1859-1935),<a href="#_edn36" name="_ednref36" style="mso-endnote-id: edn36;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[36]</span></span></span></span></a>
was also a deeply religious Catholic, who committed her time and energy to
charitable activities.<a href="#_edn37" name="_ednref37" style="mso-endnote-id: edn37;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[37]</span></span></span></span></a> Pujol (p. 201) tells that Rámon and Clara would continue to support Tárrega in
the years when Concepción no longer was his patron, actually supervising his
family's budget until Concepción would return to help support Tárrega in 1907,
when she accompanied the guitarist on a final tour.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Ramón and Clara
had interest in new modernist architecture that was captivating Barcelona at
that time, and they commissioned Ignasi Mas Morell to design two remarkable
modernist houses in Havana and in Ramón's birthplace, San Pol de Mar, Spain
(1910). They also commissioned the architect to design the main school in San
Pol de Mar, although they lived much of their lives in the modernist house in
Havana on the elegant Malecón esplanade. On October 27, 1920 they arrived with
their son Valentine in New York from Cherbourg on HMS <i style="mso-bidi-font-style: normal;">Olympic</i>. Clara listed her closest living relative as "Aunt Conchata
Jacobi, Alicante, Spain." Valentine and his daughter Isabel lived much of their
lives in the United States, eventually settling in Miami, Florida, where the
family line ended in 2011.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Paris<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Concepción lived in a palatial mansion at
the corner of Avenues de Rapp and Bosquet in the Gros Caillou quartier of the 7<sup>th</sup>
Arrondissment (see figure 10). A visit to her house in the early 20th
century was recounted in print by </span><span lang="EN" style="mso-ansi-language: EN;">Eusebio Blasco: </span><span lang="EN-US">"</span><span lang="EN" style="mso-ansi-language: EN;">Of the artists that premiered or figured in the
company<span style="mso-spacerun: yes;"> </span>. . . Concha Gomez, one of those
two beautiful Valencian sisters who replaced <i style="mso-bidi-font-style: normal;">la Checa</i> [the Czech] and <i style="mso-bidi-font-style: normal;">La
Hueto</i> creators of <i style="mso-bidi-font-style: normal;">Calypso</i> and <i style="mso-bidi-font-style: normal;">Venus</i>, went to Mexico and there she
married the wealthy German banker, Jacoby, coming to settle and establish
herself in Paris ten years ago, where she invited me to dine with at her
magnificent house on the Avenue de Bosque [sic, Bosquet] number 1, where I found
her living like a grand rich lady."<a href="#_edn38" name="_ednref38" style="mso-endnote-id: edn38;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[38]</span></span></span></span></a>
</span><span lang="EN-US">Today this mansion is the Bulgarian Embassy, with the
address <span style="background: white none repeat scroll 0% 0%; color: #222222;">1 Avenue Rapp, at the
Place de Résistance.<o:p></o:p></span></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglRbHhL2lV12-iDJtohvld-z96qIh8QhyphenhyphenlDC__a06AEXvXDS6Q-_u2EbBJ4fj4-DX4vAl_W6X7OBETq6emvkpuuMMwNoDcNrjWtqlUzI4glyCfUMlj5bmaT8wRqAdN5AD8f-1igSXvIaQ/s885/Figure10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="885" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglRbHhL2lV12-iDJtohvld-z96qIh8QhyphenhyphenlDC__a06AEXvXDS6Q-_u2EbBJ4fj4-DX4vAl_W6X7OBETq6emvkpuuMMwNoDcNrjWtqlUzI4glyCfUMlj5bmaT8wRqAdN5AD8f-1igSXvIaQ/w400-h260/Figure10.jpg" width="400" /></a> <br /></span></b></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 10: Avenue de Bosquet,
No. 1, c. 1900</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol tells that
Concepción inherited two magnificent buildings on la Rue de Théodore de
Banville in Paris after the death of her husband. But these large Beaux Artes
style apartment buildings (Nos. 11, 13, 15, and 17) were projects of her son,
designed by the architect Franck Henry, and constructed in 1911, well after the
death of her ex-husband. At that time the Rue Théodore de Banville in the 17<sup>th</sup>
Arrondissement was a relatively new area of the city. Luis's descendants still
possess the family apartment in one of these buildings.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">The
Break</span></b></p>
<p class="MsoNormal"><span lang="EN-US">Since Pujol only provides vague second- and
third-hand opinions on the reason for the break, concentrating on Concepción's
"dominant and fickle character" (<i style="mso-bidi-font-style: normal;">carácter
dominante y voluble</i>), we are left with only speculative explanations. The
more recent suggestion, that her romantic overtures to Tárrega were rejected,
cannot be dismissed out of hand. But other explanations are equally plausible,
perhaps even more so. An alternative explanation is that Pujol was accurate in
saying she was disloyal, but this was specifically referring to her patronage of
Tárrega, not her romantic intentions. By 1899 she apparently had launched the
career of the much younger and attractive Catalan guitarist-composer Miguel
Llobet, who was also more inclined to concertize than Tárrega, and to do so
internationally. Prat, (1934, p. 184-5) recounts that after meeting Llobet, Concepción took him to Malaga, and in 1900 to Paris, bringing him out of the Barcelona area for the first time and allowing him to begin an international concert career. Tárrega had referred to Concepción as his "</span><span lang="EN-US" style="font-size: 11pt;">eximious </span><span lang="EN-US">disciple."
Pujol presents her patronage of Llobet as an act of disloyalty, and Tárrega may
have seen it the same way. The mark of a true disciple is consistent loyalty,
and no disciple is more disappointing than a disloyal one.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Later
years<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Pujol tells that Concepción reconciled with
Tárrega in 1907, after the guitarist's health had been steadily declining. She
went with him again on a final tour, as Pujol writes: "Should Tárrega give some
concerts in Alicante and Alcoy, Doña Concha decided to accompany him to the
first of these cities, where she owned, as already said, a beautiful country
estate called <i style="mso-bidi-font-style: normal;">La Cachupina</i>." The
short tour was delayed but eventually occurred.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Besides Pujol's
account of Concepcíón's rapprochement with Tárrega in 1907, and her subsequent
participation in his last concert tour, we have very little information of her
activities and interests after Tárrega's death in 1909, mainly a few requests
to restore and improve her properties in Barcelona. One of these petitions,
from 1906, bears her signature (see Figure 11) and does not yet refer to her as
widow (see note 27). The death of her ex-husband most likely occurred in June
1909. There is a record of the June 22, 1909 burial of one Louis Jacoby at Père
Lachaise cemetery in Paris.<a href="#_edn39" name="_ednref39" style="mso-endnote-id: edn39;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[39]</span></span></span></span></a>
This coincides with a June 26, 1909 death notice in <i style="mso-bidi-font-style: normal;">Le Nouveau Monde</i> stating that Monsieur Jacoby died as a result of
an accident on his return to Paris from Chantilly.<a href="#_edn40" name="_ednref40" style="mso-endnote-id: edn40;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[40]</span></span></span></span></a>
The last known signed letter from Luis Jacoby is dated May 9, 1907.<a href="#_edn41" name="_ednref41" style="mso-endnote-id: edn41;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[41]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">The newspaper <i style="mso-bidi-font-style: normal;">Diario de Alicante</i> 6/1448 (January 2,
1912) [p. 1], reports in its "Notas de Sociedad" that Concepción was returning
to Barcelona. The "Noticias" in the journal <i style="mso-bidi-font-style: normal;">El
primitivo Alicante obrero: diario de la tarde: defensor de las Sociedades
Obreras de Alicante</i> 1/ 9 (July 7, 1916) [p. 2], reports the birth of
Concepción's first granddaughter, Maria Luisa, Concepción y Soledad.<a href="#_edn42" name="_ednref42" style="mso-endnote-id: edn42;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[42]</span></span></span></span></a>
The <i style="mso-bidi-font-style: normal;">Diario de Alicante</i> 16/4007 (March
9, 1925) [p. 1], reports the death of<span style="mso-spacerun: yes;">
</span>Concepción among the "Gente conocida" (prominent people). She is the
"distinguished Señora Concepción Gomis Bataller, widow Jacoby; </span><span lang="EN" style="mso-ansi-language: EN;">we join his son Luis and other family
members in their just grief."</span><span lang="EN-US"> (<i style="mso-bidi-font-style: normal;">Ha fallecido en esta capital la distinguida señora Concepción Gomis
Bataller, viuda de Jacoby. A su hijo don Luis y demás familia, acompañamos, en
su justo dolor</i>.) She was 76 years old at the time of her death.</span></p>
<p class="MsoNormal"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJ-OK5QltKglatz2pF26UmzMnrNzQe6Z84W1xETp4nkQ-oFeZp-torfuUTF0XXhyqrs7rjU8kiER7GkT9PyzA96hWLBnkVFd8O_azU5zRk9h_lXrKYRKKi9V07QR7_iQxTwm2w4BiKhY/s553/Figure11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="167" data-original-width="553" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJ-OK5QltKglatz2pF26UmzMnrNzQe6Z84W1xETp4nkQ-oFeZp-torfuUTF0XXhyqrs7rjU8kiER7GkT9PyzA96hWLBnkVFd8O_azU5zRk9h_lXrKYRKKi9V07QR7_iQxTwm2w4BiKhY/w400-h121/Figure11.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 11: The Signature of
Concepción Gómez de Jacoby</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Information on
her son's activities were made public in various periodicals. These include the
exhibition of his paintings at the Grand Palais of the Exhibition Universelle
of 1900,<a href="#_edn43" name="_ednref43" style="mso-endnote-id: edn43;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[43]</span></span></span></span></a>
his work as an engineer and competitive driver for Hispano Suiza automotive
company,<a href="#_edn44" name="_ednref44" style="mso-endnote-id: edn44;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[44]</span></span></span></span></a>
and his business transactions in Mexico.</span><span lang="EN-US"><o:p> </o:p></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">The
Patronage Continues</span></b></p>
<p class="MsoNormal"><span lang="EN-US">Concepción's son and daughter-in-law, María
Suelves de Jacoby (another beautiful actress, born in Zaragoza, c. 1888, see
Figure 12), continued patronizing artists and musicians. Their spacious
apartment in Paris served as a kind of salon, where painters such as the
married couple Louis-Théodore Dubé (Canadian, 1861-1943) and Martha Jane <span style="mso-bidi-font-weight: bold;">Thweatt (American, 1854-1944), </span>and the
Catalonian Josep Mompou (1888-1968) would visit and even reside for extended
stays. Josep's brother, the composer Federico Mompou (1893-1987) lived with the
Jacoby family for long periods in Paris, and he even gave piano lessons to the
children.<a href="#_edn45" name="_ednref45" style="mso-endnote-id: edn45;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[45]</span></span></span></span></a>
Mompou would dedicate his <i style="mso-bidi-font-style: normal;">Dialogues</i>
for piano to María Suelves de Jacoby in 1923.<a href="#_edn46" name="_ednref46" style="mso-endnote-id: edn46;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[46]</span></span></span></span></a>
We don't know how the Catalonian composer met Luis and María, but it very well
might have been through Concepción in her villa on the outskirts of Barcelona.</span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnc8zzp1HFj_sYY5krMZJc3CBiiAvABN28jbLsvD1EwZPDZqwo1JXjzYEP_Sk3ErxcexlJ5DQmBp4TZoAUOUGAxuvLsNyhaTB0gvHvbtl5ffMzEkh0VSOCjTD4lXeorqDvEraTLk_MP78/s576/Figure12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="432" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnc8zzp1HFj_sYY5krMZJc3CBiiAvABN28jbLsvD1EwZPDZqwo1JXjzYEP_Sk3ErxcexlJ5DQmBp4TZoAUOUGAxuvLsNyhaTB0gvHvbtl5ffMzEkh0VSOCjTD4lXeorqDvEraTLk_MP78/w300-h400/Figure12.jpg" width="300" /></a> <br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 12: Maria Suelves y
Solans de Jacoby</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b><span lang="EN-US" style="font-size: 11pt;"><span style="font-size: x-small;">. Reproduced with
kind permission of Jean-Eric Schoettl and Christian Schoettl, who provided this
photo.</span><o:p></o:p></span>
</div>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">The
Music Dedicated to Concepción<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">Tárrega dedicated at least three works to
Concepción. The earliest known pieces dedicated are <a href="https://youtu.be/IKRIx0TwMbs" target="_blank"><i style="mso-bidi-font-style: normal;">!Sueño¡, Mazurka Conchita</i></a> and <i style="mso-bidi-font-style: normal;">Improvisación
!Sola¡</i>, both dated June 29, 1897 in Valencia, Concepción's native city where
the she resided much of the year. These two pieces appear like many other
Tárrega autograph manuscripts, that is to say, each is a first (and probably
final) draft with a few corrections written into the score. They are written
clearly enough so as to be legible to the recipient, who was intended to play
them. Both pieces were part of the Miquel Llobet's music collection that was
dispersed after the death of his daughter Miguelina Llobet Aguilar in 1987. The
collection was later reassembled in part by Fernando Alonso Mercader (1945-).
It seems reasonable to assume that Concepción owned these two pieces and gave
them to Llobet when she helped to launch his career around 1900. Both pieces
are part of the large Fons Llobet, which was acquired by the Archive of the
Museu de la Música de Barcelona</span><a href="#_edn47" name="_ednref47" style="mso-endnote-id: edn47;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[47]</span></span></span></span></span></a><span lang="EN-US">
in 2015 from Alonso. The Archive gave the two pieces a common shelfmark (ES
AMDMB 4-469-7-1-FA123), having been a single unit with two works.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">The use of the
term "<i style="mso-bidi-font-style: normal;">Improvisación</i>" in the title of
two of these three pieces written for Concepción (based on present knowledge
these seem to be the only two pieces by Tárrega with this word attached)
suggests a work that was written extemporaneously</span><span face=""Arial","sans-serif"" lang="EN-US" style="background: white none repeat scroll 0% 0%; color: #222222;"> </span><span lang="EN-US">without being carefully planned, organized, or edited. Sometimes the
genre for this type of piece is called an <i style="mso-bidi-font-style: normal;">impromptu</i>,
a term also used for poems written on the spur of the moment. In comparing <i style="mso-bidi-font-style: normal;">!A Granada¡</i> with <i style="mso-bidi-font-style: normal;">Recuerdos de la Alhambra</i> (see below for details) one has the impression
that the earlier version is based on a moment of compositional inspiration; it
is less refined at certain points, particularly in the harmonic dimension and
the ending. However, the manuscript itself seems the most carefully prepared
and inscribed that Tárrega ever produced.</span></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Improvisación
!Sola¡</span></i><span lang="EN-US"> </span></p>
<p class="MsoNormal"><span lang="EN-US">This languishing, sentimental waltz has the
title <i style="mso-bidi-font-style: normal;">!Sola¡</i>, meaning "alone."
Perhaps this is a reference to Concepción's state, as her divorce was probably
underway or completed at the time. A halting, rhapsodic character is created by
having the opening phrase in a simple waltz rhythm answered by a short
ascending motive marked <i style="mso-bidi-font-style: normal;">ritenuto</i>.
This limping quality is also indicated in the third sections of <i style="mso-bidi-font-style: normal;">!Sola¡</i> with its tempo fluctuations.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">This piece bears
the dedication "A mi ideal amiga di Sra. Da. C. Gomez." The locution "ideal
friend" here is of interest. She was also Tárrega's student at the time (on the
1899 manuscript <i style="mso-bidi-font-style: normal;">!A Granada¡</i> the
dedicatee is an "eximious disciple"). On the one hand the locution "ideal
friend" may simply mean "exemplary friend," but on the other hand the word
"ideal" might suggest that Tárrega was referring to a platonic relationship. It
seems doubtful that the composer would be taking such an occasion to send a
message to the dedicatee that their relationship was platonic; if such a
meaning was intended it might reflect the acknowledgement of mutual feelings
about their relationship that had been discussed or observed. In any event we
cannot know if this was the intended meaning.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Pujol
specifically cites <i style="mso-bidi-font-style: normal;">!Sola¡</i> as the
unique piece dedicated to Concepción. As is the case with all three pieces
originally dedicated to her, the association with her would be hidden in the
published versions. <i style="mso-bidi-font-style: normal;">!Sola¡</i> would be
re-edited and published some 47 years after Tárrega's death with the title <i style="mso-bidi-font-style: normal;">Paquito</i>, the familiar diminutive name of
Tárrega's son Francisco, who is also credited as the "arranger" of the piece.</span><a href="#_edn48" name="_ednref48" style="mso-endnote-id: edn48;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[48]</span></span></span></span></span></a><span lang="EN-US">
Later publications of <i style="mso-bidi-font-style: normal;">Paquito </i>have
even more variants from the 1897 autograph manuscript <i style="mso-bidi-font-style: normal;">!Sola¡.</i> There is no evidence that any later version was a product
of Tárrega's doing.</span></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">!Sueño¡,
Mazurka Conchita</span></i></p>
<p class="MsoNormal" style="text-indent: 36pt;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">!Sueño¡ </span></i><span lang="EN-US">[meaning "Dream"] <a href="https://youtu.be/9vIM3sc-U0g" target="_blank"><i style="mso-bidi-font-style: normal;">Mazurka Conchita</i></a> bears no dedication on
the manuscript. Instead Concepción's diminutive familiar name is embedded in
the title, suggesting this is a musical portrait of the lady. If so, this
portrait certainly reflects the contradictory enigmatic woman described by
Pujol. The opening is a direct quote from another Mazurka, namely Op. 7, No. 1
by Frederic Chopin. Perhaps this was a favorite piece of Concepción or the
composer, who was a skilled pianist as well as a guitarist. This first section
(in a bright C major) has Chopin's triumphant ascending melodic sweep and
complimentary descent (with flourishes that is all Tárrega). One can easily
imagine that "</span><span lang="EN" style="mso-ansi-language: EN;">lively spirit,
strong temperament and exalted fantasy" that Pujol described. Likewise, Pujol's
description of an "unrestrained contrast" is perhaps found in the</span><span lang="EN-US"> second, harmonically unstable section, seeming almost like a different
piece. Starting in the relative minor, the key alternates with the modal median
minor. It leads to a final segment marked "misterioso," recalling Pujol's words
to describe</span><span lang="EN" style="mso-ansi-language: EN;"> Concepción's
personality:</span><span lang="EN-US"> "a </span><span lang="EN" style="mso-ansi-language: EN;">nebulous and indescribable enigma" The title "Dream" also contributes to
the impression that this piece is a kind of brief vision or reverie, with
seemingly incongruent elements in close proximity.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">!Sueño¡</span></i><span lang="EN-US"> was published by
Ildefonso Alier as No. 10 in the series <i style="mso-bidi-font-style: normal;">Obras
póstumas escogidas para guitarra</i>, plate No. 5393. This first print includes
two minor modifications involving bass notes with harmonic implications: one
finds an F natural instead of the original F sharp on the final beat of bar 7
and a low E on the first beat of bar 8 instead of the original tonic C. Both
seem to be errors, as a missing sharp is not a rare in music printing and the
low E is impossible to play at the same time as the G a third higher. The
reason for the omission of name "Conchita" from the title remains a mystery.
Perhaps it is a vestige of the break, or if the family was involved in the
posthumous publication project by Ildefonso Alier, perhaps there remained some
resentment over perceived wrongs.</span></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Improvisación
!A Granada¡ Cantiga Árabe,</span></i><span lang="EN-US"> </span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Two and a half
years later, Tárrega composed another piece for Concepción while in Malaga. He
gave it the title <i style="mso-bidi-font-style: normal;">Improvisación !A
Granada¡ Cantiga Árabe,</i> but it was published as <i style="mso-bidi-font-style: normal;">Recuerdos de la Alhambra</i> a few years later. Spanish nationalist
composers at the time, particularly Isaac Albeniz, but also others, wrote
pieces about memorable Spanish places. But <i style="mso-bidi-font-style: normal;">!A
Granada¡ </i>is the only piece Tárrega ever composed about a place.</span><a href="#_edn49" name="_ednref49" style="mso-endnote-id: edn49;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[49]</span></span></span></span></span></a><span lang="EN-US"><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">This autograph
manuscript is a rarity in that it is a completely pristine fair copy that
Tárrega meticulously wrote, including a with a personal dedication and an
intimate inscription at the end. The manuscript is unique as it was a gift
presented to Concepción, commemorating the time they spent together in Granada,
admiring the Alhambra</span><span face=""Arial","sans-serif"" lang="EN-US" style="background: white none repeat scroll 0% 0%; color: #202122; font-size: 10.5pt;"> </span><span lang="EN-US">palace and fortress complex, hence its original title <i style="mso-bidi-font-style: normal;">!A Granada¡. </i>Based on our present
knowledge, there seems to be no other autograph score by Tárrega quite like
this one.</span><a href="#_edn50" name="_ednref50" style="mso-endnote-id: edn50;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[50]</span></span></span></span></span></a></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">No longer the
"ideal friend," in 1899 manuscript<i style="mso-bidi-font-style: normal;"> </i>the
dedicatee is an "eximious disciple," and Tárrega is now the friend when he
writes "Maestro y Amigo" in the dedication. She is a "distinguished" or
"eminent" follower and student. The inscription at the end seems the most
personal and intimate Tárrega ever wrote on a piece of music. The piece is a
"little poetic impression felt by my soul before the grand marvel of the
Alhambra of Granada that we both admired together." Moreover, the piece is a
gift for Concepción's name-day, the Feast of the Immaculate Conception. The
religious significance of the day is yet another indication of the special
nature of this gift, and perhaps a reminder of the religious aspect the appears
in the only direct account of their conversation, held in the home of the vicar
of Picaña, Francisco Corell.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Like the other
two pieces connected to this lady, the provenance of the manuscript almost
certainly begins in Concepción's household. It remained in the Jacoby family in
Paris, and was given to their close friend, the composer Federico Mompou, who
lived with them in their spacious residence on the Rue Théodore de Banville
during much of his time in Paris.</span><a href="#_edn51" name="_ednref51" style="mso-endnote-id: edn51;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[51]</span></span></span></span></span></a><span lang="EN-US">
The composer's wife, the pianist Carmen Bravo Mompou (c. 1923-2007) exchanged
the manuscript with Fernando Alonso Mercader<b style="mso-bidi-font-weight: normal;"> </b>for Mompou's autograph score of the piano suite <i style="mso-bidi-font-style: normal;">Impresiones íntimas</i> (1914).</span><a href="#_edn52" name="_ednref52" style="mso-endnote-id: edn52;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[52]</span></span></span></span></span></a><span lang="EN-US"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span lang="EN-US">* *
*</span><span lang="EN-US"><o:p> </o:p></span></p><p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">This piece is
not without precedents. Isaac Albéniz composed a set of seven pieces devoted to
memories of Spanish places, <i style="mso-bidi-font-style: normal;">Recuerdos de
Viaje</i>, Op. 71 (1886-87). No. 4 is entitled "En la Alhambra," and is also in
A minor. Furthermore, there exists an earlier tremolo study on the memory of a
beautiful Spanish locale. José Viñas (1823-1888) composed a capricho, <i style="mso-bidi-font-style: normal;">Recuerdos de Palma</i>, also in A minor with
an large A major conclusion using tremolo technique. Like the Alhambra in
Granada, Palma, the capital city of the island of Mallorca, has clear remnants
of its Moorish past.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">The subtitle of <i style="mso-bidi-font-style: normal;">!A Granada¡</i>, <i style="mso-bidi-font-style: normal;">Cantiga Árabe</i>, indicates something of the vocal quality of this
"Arabian song," with its sustained cantilena created through tremolo technique.
But what exactly is "arabian" about the piece? The Spanish nationalist
composers also used words such as árabe, arabesca, moresca and similar terms to
suggest this particular form of exoticism.</span><a href="#_edn53" name="_ednref53" style="mso-endnote-id: edn53;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[53]</span></span></span></span></span></a><span lang="EN-US">
Tárrega hints at Moorish culture by inflecting the quivering, lyrical line with
rapid triplet ornaments at several key cadences, suggesting the "arabesque"
quality of "oriental" melody. Equally important is the use of the so-called
"dominant phrygian mode," associated with Arabic, Hebrew, flamenco and Indian
musical genres, among others. Here it is given in subtle hints during the minor
key segments, as when the E, F natural, G sharp and A are heard in close
proximity. These elements are even more pronounced in the two other original
"Moorish" compositions by Tárrega, the <i style="mso-bidi-font-style: normal;">Capricho
Árabe</i> and the <i style="mso-bidi-font-style: normal;">Danza Mora</i>.</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">The Romantic era
fascination with Andalusian 'flamenco' dance and guitar techniques should not
be dismissed when considering the rhythmic aspect of this style. The
repetitive, rapid-fire execution of tremolo technique creates not only a
sustained melodic line but an unmistakable rhythmic character reminiscent of
the feet, clapping, finger snaps and castanets of dancers.<a href="#_edn54" name="_ednref54" style="mso-endnote-id: edn54;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[54]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">In regard to the
melody, just as the <i style="mso-bidi-font-style: normal;">Mazurka Conchita</i> starts
with a direct quotation from Chopin's Mazurka Op.7/1, <i style="mso-bidi-font-style: normal;">!A Granada¡</i> may also begin quoting the work of another composer.
Wolf Moser seems to have been the first commentator to notice that the initial
phrase resembles the opening vocal line of Nadir's aria "Je crois entendre
encore" from George Bizet's <i>Les pêcheurs de perles.</i> Is this
more than a coincidence? Another similarity noticed by Moser: Both pieces are about remembering something or someone that touched the soul.</span></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Variants<o:p></o:p></span></i></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">One aspect of
the transformation of <i style="mso-bidi-font-style: normal;">!A Granada¡</i>
into <i style="mso-bidi-font-style: normal;">Recuerdos de la Alhambra</i><span style="mso-spacerun: yes;"> </span>recalls the break in the relationship of
Tárrega and Concepción: the change of dedication to the Parisian guitarist
Alfred Cottin. It might be meaningful that the new dedicatee would be a person
whose acquaintance with Tárrega was facilitated by Concepción. Tárrega met
Cottin in Paris, on a visit in 1897 that Concepción sponsored. Pujol recounts
that she, along with her niece Clara and her brother-in-law Martin Jacoby
accompanied Tárrega on the trip where he performed in a concert on November 28
(the program is reproduced in Pujol 1960, p. 133 and Rius, p. 108).</span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">There are number
of variants between the 1899 <i style="mso-bidi-font-style: normal;">!A Granada¡</i>
and the reading in the later <i style="mso-bidi-font-style: normal;">Recuerdos de
la Alhambra</i> published by Vidal Llimona y Boceta, almost certainly prepared
under the supervision of the composer. The autograph has the indication Andante
rather than Andantino found in the print. There are no dynamics in the
autograph at all until the last 6 bars (<i style="mso-bidi-font-style: normal;">p,
pp, ppp y</i> <i style="mso-bidi-font-style: normal;">pendiendo</i>). There are
only two indications of fingering and one indication of a left hand position.
In bar 4 the last note in lower line is E, not G (perhaps an error). In bars
9-10 the harmony is in D minor chord rather than F major. In bar 11 there is an
E dominant 7<sup>th</sup> chord rather than E major. In bar 14 the first note
is an open A in the bass, not C sharp. There are slightly different voicings in
the lower line, for example, in bar 17 the first note in lower line is F, not
D. The repeat of the initial minor section after the major section is not found
in the autograph, nor the additional major section that follows this repeat.
This shortened structure is the way most modern performers have played the
piece. The manuscript reading ends with a simple A major arpeggiated chord
rather than the broader arpeggio that leads to the final high-voiced chord in
the print.</span></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">An
Ex-Prisoner of The Devil's Tower</span></i><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"> </span></b><span lang="EN-US">(<i style="mso-bidi-font-style: normal;">Un
ex-presidiario de la Torre del Diablo</i>)<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></p>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">One more piece
by Tárrega may have a connection to Concepción. In Dr. Walter Leckie's "Red"
music book, Tárrega inscribed a <i style="mso-bidi-font-style: normal;">Preludio</i>
with the arcane subtitle "Una vision en la Torre del Diablo" (A Vision in the
Devil's Tower, see Figure 13), and dedicated it to Leckie in Algiers on March
9, 1900.</span><a href="#_edn55" name="_ednref55" style="mso-endnote-id: edn55;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[55]</span></span></span></span></span></a><span lang="EN-US">This strange and uniquely puzzling title has never been explained.</span></p><p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHWsNe1MxpTPc0NxwL6wtUWFpsG4700bD5c02GVKFTzunYjSfIEWcZCMpdmbi6z9K506UD2E3V2yReVMkRQCgCukL_X8JvO98ZrNA5EG6v35qWFfWLbTRZgqK8n1lCvH6LmNsLyz2urnU/s1728/Figure13.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="234" data-original-width="1728" height="54" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHWsNe1MxpTPc0NxwL6wtUWFpsG4700bD5c02GVKFTzunYjSfIEWcZCMpdmbi6z9K506UD2E3V2yReVMkRQCgCukL_X8JvO98ZrNA5EG6v35qWFfWLbTRZgqK8n1lCvH6LmNsLyz2urnU/w400-h54/Figure13.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 13: Title of <i style="mso-bidi-font-style: normal;">Preludio:</i> <i style="mso-bidi-font-style: normal;">Una vision en la Torre del Diablo</i></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">Tárrega wrote
yet another piece with a related inscription in that same book, the <i style="mso-bidi-font-style: normal;">Estudio sobre un Motivo de Wagner</i>: "A mi
predilecto amigo el Sr. D. Vivianno de Zannoni / Un ex-presidiario de la Torre
del Diablo." Algiers, 14 April 1900.</span><a href="#_edn56" name="_ednref56" style="mso-endnote-id: edn56;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[56]</span></span></span></span></span></a><span lang="EN-US">
Zannoni is almost certainly a pseudonym for Leckie, his "best friend." "An
ex-prisoner of the Devil's Tower" appears below the dedicatory inscription,
where the name of Tárrega should have appeared (see Figure 14). What does he
mean by calling himself that? And why these strange code names shared by the
two friends?</span></p><p class="MsoNormal"><span lang="EN-US"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaQljPN6pq_hOAd6rdR3SlvgB2cIwIIRANQblMPVDM8b2Ol98jMKf-8lqYIwb-0hX0Wh7mxS23FWXl6fXKnDCCVqwsz-pGJkGMd33EloKcmqpM4si0i_naE_FpQl8_ObrykWDl9I_x1Eo/s1008/Figure14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="1008" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaQljPN6pq_hOAd6rdR3SlvgB2cIwIIRANQblMPVDM8b2Ol98jMKf-8lqYIwb-0hX0Wh7mxS23FWXl6fXKnDCCVqwsz-pGJkGMd33EloKcmqpM4si0i_naE_FpQl8_ObrykWDl9I_x1Eo/w400-h134/Figure14.jpg" width="400" /></a> <br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Figure 14: Dedication of <i style="mso-bidi-font-style: normal;">Estudio sobre un Motivo de Wagner</i></span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 11pt;"><o:p></o:p></span></b></div>
<p class="MsoNormal" style="text-indent: 36pt;"><span lang="EN-US">In his
biography, Pujol refers to a period before 1900, when Tárrega and his family
lived in the tower of Concepción's villa in San Gervasio, a wealthy and at the
time bucolic suburb of Barcelona. Pujol recounts stories of Tárrega's life at
that villa, situated at the base of Puxtet hill, and the admirers who came to
hear him play. Pujol also states that Tárrega had moved his family out of that
tower and back to their apartment in Barcelona in 1899, assuming this was
because of the break in relations between the guitarist and his patron. We have
already observed that the manuscript <i style="mso-bidi-font-style: normal;">!A
Granada¡</i>, dated December 8, 1899, contradicts Pujol's account of the break.
Yet Tárrega's reference to himself as an "ex-prisoner in the devil's tower"
suggests that he felt himself a prisoner in Concepción's villa, and that he
discussed that experience with Leckie. In fact, the English word "prisoner" is
written in pencil above the Spanish "ex-presidiario." </span></p>
<p class="MsoNormal"><span lang="EN-US"><span style="mso-tab-count: 1;"> </span>The
reasons for Tárrega's characterization cannot be discerned at this time, any
more than the reason for the rupture in their friendship. Perhaps it was
Concepción's romantic intentions that Tárrega rejected (or visa-versa). Or
perhaps it was Concepción who no longer wanted to have Tárrega and his family
in her home. Perhaps she had demanded direction over the guitarist's career,
and he rejected such a controlling patron. Perhaps Tárrega's wife had enough of
her husband's close relationship and travels with another woman. As for why
Tárrega felt a prisoner in the tower, perhaps he regarded Concepción as the
negative presence in early 1900. But this seems inconsistent or hypocritical
when viewed in the context of December 8, 1899, when he dedicated his precious
gift of <i style="mso-bidi-font-style: normal;">!A Granada¡</i> to the patron who
had done so much for him and for his family at the very time Pujol claims that
the abrupt and unpleasant break occurred. Until he began to get transient
ischematic attacks with paralysis (followed by bouts of depression) Tárrega had
been traveling and performing in Spain and abroad. He was never accompanied by
his family; as early as 1893 Walter Leckie was a companion on the tours, and
after 1896, Concepción would travel with him. Living with his family into the
San Gervasio villa might well have felt like being trapped, being pulled in two
different directions by his family on the one hand and his patron on the other.
What is telling is that after leaving the villa, he did not return to live with
his family but spent the next six months with Leckie in Spain, Africa, and
Italy. This seems like the decision of a man who wants his freedom from the
demands of family and patron. And the subsequent erasure of any trace of
Concepción from Tárrega's posthumous legacy seems to suggest that the Tárrega
family wanted her presence in his life to be erased from memory.</span></p>
<p class="MsoNormal"><span lang="EN-US"><span style="mso-tab-count: 1;"> </span>Tárrega
edited his "Vision from the Devil's Tower" for publication as a "Preludio"
without the subtitle and it appeared in print some two years later. The
revisions seem telling: Instead of the original languid <i style="mso-bidi-font-style: normal;">mui lento</i> tempo, the revised version moves at more of a walking
pace, indicated by an <i style="mso-bidi-font-style: normal;">andante sostenuto</i>
tempo. There are some minor changes and the ending is substantially different.
The original ends with an ascending six-note subdominant minor chord, marked <i style="mso-bidi-font-style: normal;">perdendosi</i>, then resolving into a
sensual three octave tonic chord. The new version has a much grander ending, a
big crescendo over a tonic arpeggio, followed by a three-chord cadence with
final tonic note. The original seems a more sensual, heart-rending expression
of romantic loss, of hurt, and longing. Not the relief of a man freed from
imprisonment in a hellish tower. But any conclusion based on these revisions is
speculation. We can no longer know the reasons for the changes, for the broken
relationship or for the use of the term "prisoner," any more than we can know
the thoughts of the composer regarding these pieces. And although Pujol yielded
to rumors and assumptions of bad faith on Concepción's part, until there
appears substantial evidence, the mystery will remain, another enigma of this
most enigmatic woman.</span></p><p class="MsoNormal"><span lang="EN-US"> </span></p>
<div style="mso-element: endnote-list;"><hr align="left" size="1" width="33%" /><div id="edn1" style="mso-element: endnote;"><p class="MsoNormal"><span lang="EN-US" style="font-size: small;">I wish to thank Lucia Nieto Schuger for her
help with the Spanish texts. Luis Briso de Montiano, Jean-Eric Schoettl,
Christian Schoettl, and the Hagnauer family, generously provided information
and materials.</span></p>
<div id="edn1" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[1]</span></span></span></span></span></a><span lang="EN-US"> Published in Barcelona by Vidal Llimona y
Boceta, No 13, plate #1102.<o:p></o:p></span></span></p></div></div></div><span style="font-size: small;">
</span><div id="edn2" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[2]</span></span></span></span></span></a><span lang="EN-US"> In his biographical study of Tárrega's
music Wolf Moser first revealed the existence of the 1899 manuscript with the
dedication to <i style="mso-bidi-font-style: normal;">la sra. Jacoby</i>. See
Wolf Moser, <i style="mso-bidi-font-style: normal;">Francisco Tarrega y la
Guitarra en Espana entre 1830 y 1960</i>. Valencia, España : Piles
Editorial de Música (2009), p. 137-8. The first edition of this book was <i style="mso-bidi-font-style: normal;">Francisco Tárrega: Werden und Wirken:
die Gitarre in Spanien zwischen 1830 und 1960 </i>(s.l.: Saint-Georges, c1996).
The first Spanish translation was published as <i style="mso-bidi-font-style: normal;">Francisco Tárrega: devenir y repercusión: la guitarra en
España entre 1830 y 1960</i> (Castellón de la Plana: Consejo
Municipal de Cultura, 2007). The manuscript is now in the archive of the Museu
de la Música de Barcelona, shelfmark <span style="background: white none repeat scroll 0% 0%; color: #333333;">ES AMDMB 4-469-7-1-FA124. The provenance will be discussed later in this
study.</span><o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn3" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span></span></span></span></a><span lang="EN-US"> Tárrega refers to December 8 as Concha's
"saint's day,' but the Feast of the Immaculate Conception is not, strictly
speaking, a day in the <i style="mso-bidi-font-style: normal;">sanctorale</i>
(the annual cycle of feasts of various saints in the Liturgical calendar), but
in the <i style="mso-bidi-font-style: normal;">temporale</i> cycle, i.e., days
that celebrate events in the life of Jesus Christ.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn4" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[4]</span></span></span></span></span></a><span lang="EN-US"> Domingo Prat, <i style="mso-bidi-font-style: normal;">Diccionario biográfico–bibliográfico—histórico: crítico de guitarras
(instrumentos afines), guitarristas
(profesores–compositores–concertistas–lahudistas–amateurs), guitarreros
(luthiers). Danzas y cantos—terminología</i> (Buenos Aires: Romero y
Fernández [1934]), p. 319, briefly mentions Concepción: "Neither will we
forget the great guitar enthusiast and protector of other guitarists, the
wealthy Valencian doña Concepción Jacoby, with whom he also made excursions to
the peninsula and other European countries" (<i style="mso-bidi-font-style: normal;">Ne se olvidará tampoco a la gran enthusiasta de la guitarra y
protectora luego de otros guitarristas, la acaudalada valenciana doña
Concepción Jacoby, con quien también hizo excursiones por la peninsula y otros
paises de Europa</i>.)<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn5" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[5]</span></span></span></span></span></a><span lang="EN-US"> Emilio Pujol, <i style="mso-bidi-font-style: normal;">Tárrega. Ensayo biográfico</i> (Lisboa: Talleres Gráficos de Ramos,
Afonso & Moita, L.D.A., 1960/ Valencia: Artes Gráficas Soler. S.A., 1978).<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn6" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[6]</span></span></span></span></span></a></span><span lang="EN-US" style="font-size: small;"><span> Emilio Pujol, "Tárrega as Teacher," <i style="mso-bidi-font-style: normal;">Guitar News</i> 9 (1952), 2-3. This account
appears to be based on a letter from Francisco Corell, recounting an incident
with Tárrega, Doña Concha, and the lady's "sister and brother." She had no
sister or brother at the time, and the putative sister, Clarita, was actually
her niece. See below for more details. The letter is also discussed in
Adrián <span style="mso-bidi-font-weight: bold;">Rius</span> [Espinós],<i style="mso-bidi-font-style: normal;"> Francisco Tárrega 1852-1909 Biography</i>
(Valencia: Piles Editorial de Música S.A, 2006), p. 108.</span><o:p></o:p></span></p>
</div><span style="font-size: small;">
</span><div id="edn7" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref7" name="_edn7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[7]</span></span></span></span></span></a><span lang="EN-US"> Inaccuracies concerning Dr. Walter Leckie in Pujol's Tárrega
biography are discussed in Louis de Swart's introduction to <i style="mso-bidi-font-style: normal;">A Tárrega Collection</i> (London: Ariel
Publications, 1980), 5-7.</span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn8" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref8" name="_edn8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[8]</span></span></span></span></span></a><span lang="EN-US"> Pujol, <i style="mso-bidi-font-style: normal;">Tárrega. </i>127: De
genio vivo, fuerte temperament y exaltada fantasia, extremaba sus sentimientos
desde de la más humilde ternura hasta la más imperiosa energía. Había en su
porte una extraña mexcla de plebeyez y señorío. Un distinción desembarazada
daba paso a una personalidad muy original e interesante, envuelta sin embargo,
en nebuloso e indescrirable enigma.)</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn9" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref9" name="_edn9" style="mso-endnote-id: edn9;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[9]</span></span></span></span></span></a><span lang="EN-US"> "al carácter dominante y voluble de dich
señora, orígen de tantas situationes comprometidas," Pujol, 1960, p. 140-1).
Rius (2006), p. 110, suggests that the break followed a rejection of Concha's
romantic advances, but cites no source for this claim.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn10" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref10" name="_edn10" style="mso-endnote-id: edn10;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[10]</span></span></span></span></span></a><span lang="EN-US"> <i style="mso-bidi-font-style: normal;">The Tárrega Leckie Guitar
Manuscripts; Lessons with the Maestro</i>, edited by Brian Whitehouse
(Halesowen: ASG Music Limited, [2015]). </span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn11" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref11" name="_edn11" style="mso-endnote-id: edn11;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[11]</span></span></span></span></span></a><span lang="EN-US"> Ajuntament de València, Servici de Patrimoni Històric i Artístic,
Arxiu Històric, Tècnics d´arxiu, Nacimientos 1848, April, No. So67. I wish to
thank Alicia Martínez Alonso for providing these sources. The baptismal records
of the San Martín church for this period were destroyed in political violence
of July 1936.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn12" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref12" name="_edn12" style="mso-endnote-id: edn12;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[12]</span></span></span></span></span></a><span lang="EN-US"> <i style="mso-bidi-font-style: normal;">El
Artista</i> ii/13 (September 7, 1867), p. 991: "Primeras contraltos<i style="mso-bidi-font-style: normal;"> </i>de<i style="mso-bidi-font-style: normal;">
primissimo</i> <i style="mso-bidi-font-style: normal;">cartello. A perfecta
fraternidad</i>, doña Amalia Gómez y doña Concepción Gómez." The same sentence
appears in <i style="mso-bidi-font-style: normal;">Revista y Gaceta Musical</i>
i/37 (September 13, 1867), p. 200.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn13" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref13" name="_edn13" style="mso-endnote-id: edn13;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[13]</span></span></span></span></span></a><span lang="EN-US"> <i style="mso-bidi-font-style: normal;">La Iberia</i><b style="mso-bidi-font-weight: normal;"> </b>v/1197 (2/26/71) p. 3.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn14" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref14" name="_edn14" style="mso-endnote-id: edn14;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[14]</span></span></span></span></span></a><span lang="EN-US"> Enrique Olavarria y Ferrari, <i style="mso-bidi-font-style: normal;">Reseña Histórica del Teatro en México,
1538–1911,</i> vol. 2 (Mexico City: Edición Porrúa, 1961), p. 826. A number of
performances and reviews of Amalia are given in this source. Although Amalia would surpass her sister on the stage, it was Concepción that struck the critics of El Federalista and La Iberia as "an arrogant girl, but nicely turned out, lovely; in short, a beautiful theatrical figure, as only Spain or the Spanish Americas can produce. The zarzuela, already known and known by heart, had the novelty of being sung perfectly by Amalia Gomez and her young sister. Fresh and sweet voices, graceful statures, elegant clothing, and also, the attractions of the spring of life, giving birth to the sympathies of the spectators who applauded with sincere enthusiasm." El Federalista Periódico Político y Literario i/48 (2/24/71), p. 3: "una muchacha arrogante, hecha á torno, guapa; en fin, una bella figura teatral, como solo la puede producir España ó las Américas españolas. La zarzuela ya conocida y sabida de memoria, tuvo la novedad de ser cantada perfectamente por Amalia Gomez y su jóvan hermana. Una voz fresca y dulce, una estatura gallarda, un trage elegante, y además, los atractivos de la primavera de la vida, hicieron nacer las simpatias de los espectadores que aplaudieron con un sincere entusiasmo." La Iberia. Periódico de literatura, ciencias, artes, agricultura, comercio, industria y mejoras materiales v/1197 (2/26/71), p. 3, quotes El Federalista in its review.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn15" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref15" name="_edn15" style="mso-endnote-id: edn15;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[15]</span></span></span></span></span></a><span lang="EN-US"> </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US">El
Siglo diez e Nueve</span></i><b style="mso-bidi-font-weight: normal;"><span lang="EN-US">, </span></b><span lang="EN-US">Sétima épocha. Año xxxi 11/26/71 Tomo 53 Numero 9819,
p. 1.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn16" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref16" name="_edn16" style="mso-endnote-id: edn16;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[16]</span></span></span></span></span></a><span lang="EN-US"> <i style="mso-bidi-font-style: normal;">El Federalista Periódico Político y
Literario</i> i/169 (7/19/1871), p. 2; <i style="mso-bidi-font-style: normal;">El
Ferrocarril</i><b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>iv/70 (3/24/71) p. [2-] 3; <i style="mso-bidi-font-style: normal;">El Ferrocarril</i><b style="mso-bidi-font-weight: normal;"> </b>iv/165 (7/18/71), p. 3 iv/169 (7/22/71), p. 3.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn17" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref17" name="_edn17" style="mso-endnote-id: edn17;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[17]</span></span></span></span></span></a><span lang="EN-US"> For details on Amalia's career see Anna
Agranoff Ochs, <span style="mso-bidi-font-weight: bold;">"Opera in Contention</span>: <span style="mso-bidi-font-weight: bold;">Social Conflict</span> in Late
Nineteenth-Century Mexico City," Ph.D. dissertation, the University of North
Carolina, 2011.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn18" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref18" name="_edn18" style="mso-endnote-id: edn18;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[18]</span></span></span></span></span></a><span lang="EN-US"> Archivo de Registro Civil de Distrito Federal, <i style="mso-bidi-font-style: normal;">Año de 1873 / Libro de copias de matrionios /juzgado del Estado Civil
de la Capital</i>, 122v-123v, numero 158: Presentación del C.<sup>o</sup>
[Ciudadono] Luis Jacoby y Concepcion Gomez; 125v-126: numero 161: "Matrimono
del C.<sup>o</sup> Luis Jacoby con Concepcion Gomez." <i style="mso-bidi-font-style: normal;">Asunción Sagrario Metropolitano,</i> <i style="mso-bidi-font-style: normal;">Matrimonios</i> <i style="mso-bidi-font-style: normal;">1868-1891</i>,
1873, Abril, 54v-55r. The marriage occurred at the </span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-style: italic;">Catedral Metropolitana
de la Asunción de la Santísima Virgen María a los cielos</span><span lang="EN-US">.</span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn19" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref19" name="_edn19" style="mso-endnote-id: edn19;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[19]</span></span></span></span></span></a><span lang="EN-US"> This photograph of Luis Jacoby's estate on the Guatemala Central
American Railroad is found in <i style="mso-bidi-font-style: normal;">Pan
American Magazine</i> 7 (1898), p. 96.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn20" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref20" name="_edn20" style="mso-endnote-id: edn20;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[20]</span></span></span></span></span></a><span lang="EN-US"> See <i style="mso-bidi-font-style: normal;">Pan American magazine </i>vi/6
(October 1908), p. 613-16.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn21" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref21" name="_edn21" style="mso-endnote-id: edn21;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[21]</span></span></span></span></span></a><span lang="EN-US"> <i style="mso-bidi-font-style: normal;">Gil
Blas - Periodico Satirico</i> ix/6 (11 February, 1872), p 4: <span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">Francisco </span></span><span lang="EN" style="mso-ansi-language: EN;">Arderius (1835-1886) was
an actor, musician and impresario who published the satirical weekly newspaper </span><i><span lang="EN-US" style="mso-bidi-font-weight: bold;">La
Correspondencia de los Bufos</span></i><span lang="EN-US" style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"> for several months in
1871. I wish to thank </span><span lang="EN-US">Luis
Briso de Montiano for supplying this reference.<span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"><o:p></o:p></span></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn22" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref22" name="_edn22" style="mso-endnote-id: edn22;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[22]</span></span></span></span></span></a><span lang="EN-US"> México, Distrito Federal, Registro Civil, Nacimientos, 1861–1934,
1895, No, 72, 28v-29r. Archivo Estatal de Distrito Federal Archivo Estatal de
Distrito Federal. Courtesy of the Academia Mexicana de Genealogia y Heraldica. </span></span></p>
</div><span style="font-size: small;">
</span><div id="edn23" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref23" name="_edn23" style="mso-endnote-id: edn23;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[23]</span></span></span></span></span></a><span lang="EN-US"> "In the year of 1898 his [Iñigo Noriega
Laso] house in Mexico City was on Calle de Capuchinas Number 12, his offices
were on Calle de La Cadena number 16, at that time he was on the cusp, his
successes allowed him enormous influence and recognition among the richest in
society, he participated as attorney-in-fact for Doña Concepción Gómez de
Jacoby in the divorce trial of this woman, wife of Don Luis Jacoby, one of the
largest businessmen in Mexico, power obtained due to a trial separation of
property due to divorce, between the Jacoby spouses." (<i style="mso-bidi-font-style: normal;">En el año de 1898 su [Iñigo Noriega Laso] casa en la ciudad de México
estaba en la calle de Capuchinas Número 12, sus oficinas se encontraban en la
calle de La Cadena número 16, en ese momento se encontraba en la cúspide, sus
éxitos le permitieron una enorme influencia y reconocimiento entre los más
ricos de la sociedad, participó como apoderado de Doña Concepción Gómez de
Jacoby en el juicio de divorcio de esta mujer, esposa de don Luis Jacoby, uno
de los mayores empresarios de México, el poder lo obtuvo debido a un juicio de
separación de bienes por causa de divorcio, entre los esposos Jacoby</i>.) See
"Un indiano de leyenda. La Increíble Historia de Don Iñigo Noriega Laso" on the
blog:
<a href="https://elblogdeacebedo.blogspot.com/2012/12/inigo-noriega-laso-un-indiano-de-leyenda.html" target="_blank">https://elblogdeacebedo.blogspot.com/2012/12/inigo-noriega-laso-un-indiano-de-leyenda.html</a><o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn24" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref24" name="_edn24" style="mso-endnote-id: edn24;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[24]</span></span></span></span></span></a><span lang="EN-US"> For a highly critical contemporary report on the scandal, see Carlo
de Fornaro, <i style="mso-bidi-font-style: normal;">Diaz Czar of Mexico</i>
(S.l., International Publishing Co., 1909), p. 107.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn25" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref25" name="_edn25" style="mso-endnote-id: edn25;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[25]</span></span></span></span></span></a><span lang="EN-US"> </span></span><span style="font-size: small;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">El Diario del Hogar: Periodico de las Familias</span></i><span lang="EN-US"> vi/ 197 (5/5/87), pp. 1-2 ("Ecos de la
semana"), notes the presence of "La Sra. Gómez de Jacoby was wrapped in salmon
brocade and plaid blue, and displayed magnificent diamonds. (La Sra. Gómez de
Jacoby staba envuelta en brocade salmon y azul plaido, y lució magníficos
brillantes)<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn26" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref26" name="_edn26" style="mso-endnote-id: edn26;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[26]</span></span></span></span></span></a><span lang="EN-US"> The Arxiu Municipal Contemporani de Barcelona has files for three
separate building and restoration requests for Concepción's property from 1906
(shelfmark Q127 FO 1779), 1913 (Q127 FO 743), and 1915 (Q127 FO 63). The villa
on Calle de Ballester (previously the Calle de Riego) consisted of two
buildings, Nos. 17 and 19 and a large garden. These buildings no longer exist. </span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn27" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref27" name="_edn27" style="mso-endnote-id: edn27;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[27]</span></span></span></span></span></a><span lang="EN-US"> Francisca De Paula Clara Padilla Gomez was born 28 June 1878, and
baptized 3 January 1879 in Asunción Sagrario Metropolitano, Mexico, Distrito
Federal, Film 35215, <i>Mexico, Select Baptisms, 1560-1950</i> [database
on-line].</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn28" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref28" name="_edn28" style="mso-endnote-id: edn28;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[28]</span></span></span></span></span></a><span lang="EN-US"> "D.<sup>a</sup> Concha Jacoby" is listed
among Carbonell's "profesores y admiradores" in the <i style="mso-bidi-font-style: normal;">Homenaje á María Carbonell, Obras publicadas con motivo del homenaje
que le ofrecen sus admiradores</i> (Valencia: Imprenta Hijo de Francisco Vives
Morr, 1915), p. 578.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn29" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref29" name="_edn29" style="mso-endnote-id: edn29;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[29]</span></span></span></span></span></a><span lang="EN-US"> See Enrique Olavarria y Ferrari, <i style="mso-bidi-font-style: normal;">Reseña Histórica del Teatro en México, 1538–1911,</i> vol. 2 (Mexico
City: Edición Porrúa, 1961), p. 780, 784, 786, 794, 796, 811, 815-17, 819-20,
823, 826, 939, 947-8, </span></span></p>
</div><span style="font-size: small;">
</span><div id="edn30" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref30" name="_edn30" style="mso-endnote-id: edn30;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[30]</span></span></span></span></span></a><span lang="EN-US"> The death was recorded on October 29, 1890
in the Registro Civil del Estado de Distrito Federal, México. 1889-1890, f.
225r.</span><span lang="EN-US" style="background: white none repeat scroll 0% 0%; color: #181a1c; font-family: "Helvetica Neue";"> </span><span lang="EN-US">Courtesy
of the Academia Mexicana de Genealogia y Heraldica.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn31" style="mso-element: endnote;"><span style="font-size: small;"><a href="#_ednref31" name="_edn31" style="mso-endnote-id: edn31;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[31]</span></span></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US"><i style="mso-bidi-font-style: normal;">Diario
del hogar</i> x/41 (November 2, 1890), p. 3: <b>Suicidio</b>: Bajo este epigrafe, varios de nuestros colegas has dado a
luz la noticia de que en la calle de Ortega numero cuatro, una senora puso
termino a su vida, dejandose caer desde el corredor de tercer piso. Mejor
informados aseguiamos a nuestros lectores que la Sra. Amalia Gomez (que es la
presunta suicida), habitaba la casa numero treinta y cuarto de la calle de
Ortega, y segun opinion de personas de reconocido criterio, se hallaba
perturbada en alto grado su razon.<br /></span><span lang="EN-US">
<span> </span><span> </span><span> </span>La noche del miercoles encontrandose en un acceso de
locura, salio de su casa y se dirigio a la casa numero cuarto de la misma
calle; penetro en el interior, y preguntada por la portera a donde iba, le dijo
la Sra. Gomez que a un negocio a los altos.<br />
<span> </span><span> </span><span> </span>Effectivamente, la Sra. Amalia Gomez subió la escalora
primera y la secunda, y ya en e tercer piso se arrojó del barandal al patio de
la referida casa, cayendo en una fuente de agua, de donde la sacó un maestro
pintor y la trasladó a su domicilio.<br />
Avisada la policia por la portera de casa numero
cuatro, si dió parte a la quinta demarcacion, y en el acto concurrió el
secretario de esa Inspeccion Sr. Franciso Arrieta accompañado del Medico
adscrito a dicha oficina.<br />
<span> </span><span> </span><span> </span>La Sra. Gomez ya se hallaba en su habitacion, y bajo
las ropas de su lecho; reconocida por el medico que concurriera, declaró este
ultimo, que ninguna lesion tenía la Sra. Gomez esteriormente, y que por lo
tanto se esperase a que tuviera algunos sintomas de enfermedad que en esos
momentos no teniá, salvo su extravío mental . . . A pesar de no tenor la Sra. Gomez
ninguna lesion exterior, murió anoche y so infiere que del golpe que recibió;
pues la fuente es demasiado pequeña y tiene una division en el centro, sobre la
que cayó la referida y desgracia Amalia.<br />
<br />
<span lang="EN-US">Other accounts include: <i>La Patria illustrada</i> viii/45 (November 10, 1890), 536-7. "Well, who
knows what dark storms agitated Amalia's soul, who knows what strange thoughts
crossed her imagination, silent as pain and cruel as misfortune!" (Pues bien,
quien sabe qué sombrias tempestades agítaban el alma de Amalia, quién sabe qué
extraños pensamientos cruzaban por su imaginacion, silenciosos como el dolor y
crueles como el infortunio!) And <i>La patria</i> xiv/4135 (November 10, 1890), p. 2: Amalia "ended her days, throwing
herself resolutely from the top of a house from Ortega street, to the patio of
the house, falling into the fountain, which was emptied, pouring out the water
to throw her back on the ground. It seems that in her last days, according to
our information, she did not have the very sane judgment as is said, and having
become ill and having been prescribed a scrubbing and a few tablespoons, but
she swallowed the entire quantity, causing her terrible pain, that made her
decide to end her life." (… puse fin á sus días, arrojándose resueltamente
desde lo alto de una vivienda del calle Ortega, al patio de la casa, cayendo en
la fuente, la cual se vació, airviéndole el agua para arrojarla de nuevo al
suelo. Parece que ella en sus últimos dias, según nuestras informaciones, no
tenía el juicio muy cabal que digamos, y habiendo enfermado y teniedo recetadas
una friega y unas cucharadas, ella lo tamó todo junto, ocasionándoole esto
terribles dolores, que la decidieron á poner fin á sus días.)</span></span></span>
</div><span style="font-size: small;">
</span><div id="edn32" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref32" name="_edn32" style="mso-endnote-id: edn32;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[32]</span></span></span></span></span></a><span lang="EN-US"> A photo of the lithograph is shown on
<a href="https://mediateca.inah.gob.mx/repositorio/islandora/object/fotografia:414530" target="_blank">https://mediateca.inah.gob.mx/repositorio/islandora/object/fotografia:414530</a></span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn33" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref33" name="_edn33" style="mso-endnote-id: edn33;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[33]</span></span></span></span></span></a><span lang="EN-US"> Tárrega dedicated his study <i style="mso-bidi-font-style: normal;">La
Mariposa</i> to Loscos.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn34" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref34" name="_edn34" style="mso-endnote-id: edn34;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[34]</span></span></span></span></span></a><span lang="EN-US"> These are: <i style="mso-bidi-font-style: normal;">La</i> <i style="mso-bidi-font-style: normal;">mort d'Ase' de Grieg
arranjat per Francesc Tàrrega</i> (shelfmark FA168), 'Copiado por M. Llobet,
Barcelona 1898;' <i style="mso-bidi-font-style: normal;">Zarzuela. La Marcha de
Cádiz. Gavota de los Patos' arranjada per Francesc Tàrrega</i> (FA 169),
'Copiado por M. Llobet, Barcelona 1898;' and four Tárrega <i style="mso-bidi-font-style: normal;">Preludios</i> (FA 177, 178, 180, and 181), all marked 'Copiado por M.
Llobet, Barcelona 1899.' There are two pieces copied in 1897: <i style="mso-bidi-font-style: normal;">Romanza' de Schumann arranjada per a
guitarra per Francesc Tàrrega</i> (FA 182), 'Copiado por M. Llobet Barcelona
1897, and <i style="mso-bidi-font-style: normal;">Air de Ballet' de Massenet
arranjada per a guitarra per Francesc Tàrrega</i> (FA 183), 'Copiado por M.
Llobet Marzo 1897.'<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn35" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="https://youtu.be/fwjX-m4LkYk" name="_edn35" style="mso-endnote-id: edn35;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[35]</span></span></span></span></span></a><span lang="EN-US"> A handwritten letter from Luis to finance minister José Ives
Limantour dated April 22, 1897, is preserved in the Centro de Estudios de
Historia de México Carso, Fondo CDLIV<b style="mso-bidi-font-weight: normal;">: </b>Colección
José Y. Limantour 1880-1934, shelfmark 1a. 1883.27.7194.</span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn36" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref36" name="_edn36" style="mso-endnote-id: edn36;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[36]</span></span></span></span></span></a><span lang="EN-US"> </span><span lang="EN" style="mso-ansi-language: EN;">Established in
Havana at a very young age, Ramón was president of the company Asociación
Nacional y Unión Industrial y Comercial, a business of importing and exporting
construction materials and carpentry, with the "Fábrica de Mosaicos La Cubana."
This business expanded throughout the island during the early years of the
twentieth century. For his charitable work Ramón was awarded the Grand Cross of
Alfonso XII.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn37" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref37" name="_edn37" style="mso-endnote-id: edn37;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[37]</span></span></span></span></span></a><span lang="EN-US"> Mrs. Clara Padilla de Planiol is mentioned
as one of the three women who guard the complements of Virgin (<i style="mso-bidi-font-style: normal;">que tomaron possession del cargo de
Camaristas de la Virgen</i>) during the procession in Gerona. See <i style="mso-bidi-font-style: normal;">La Hormiga de ora. Ilastración Católica</i>
34 (September 25, 1920), p. 516. The article also includes a blurred photograph
of Clara.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn38" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref38" name="_edn38" style="mso-endnote-id: edn38;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[38]</span></span></span></span></span></a><span lang="EN-US"> </span><span lang="EN" style="mso-ansi-language: EN;">Eusebio Blasco, "Recuerdos, Cambios, Fortuna
<<El Jovan Telémaco>>," in <i style="mso-bidi-font-style: normal;">Alrededor
del Mundo</i> ii/41 (March 15, 1900), p. 246: "De los artistas que la estrenaron
ó figuraban en la compañia . . . Concha Gómez, una de aquellas dos hermanas
valencianas tan hermosas que reemplazaron á la Checa y la Hueto creadoras de
Calipso y Ve. nus, se fué á Méjico y allí se casó con el rico banquero, alemán
Jacoby, viniendo á establecerse á Paris hará unos diez años, domde me invité á
comer en su magnifica casa de la Avenida del Bosque numeró 1, en la que la
encontré viviendo á lo gran señora rica." <o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn39" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref39" name="_edn39" style="mso-endnote-id: edn39;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[39]</span></span></span></span></span></a><span lang="EN-US"> Père Lachaise cemetery, Nos. du register d' inhumations 3342. Dates
des inhumations: 22 Juin 1909, Louis Jacoby. See
<a href="http://archives.paris.fr/s/24/cimetieres-ra/resultats/" target="_blank">http://archives.paris.fr/s/24/cimetieres-ra/resultats/</a>.</span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn40" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref40" name="_edn40" style="mso-endnote-id: edn40;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[40]</span></span></span></span></span></a><span lang="EN-US"> <i style="mso-bidi-font-style: normal;">Nouveau monde et l'echo des
deux mondes réunis. Journal hebdomadaire. Politique et littéraire, industriel
et commercial</i> 1078 (June 26, 1909), p. 2: "Échos et Nouvelles . . . Nous
apprenons avec le plus vive peine le décès de M. Jacoby, mort des suites d'un
accident survenus il y a quelques jours au retour de Chantilly. M. Jacoby avait
reside pendant de longues années au Mexique, où il s'et acquis de nombreuses
amitiés. Nous adressons à sa veuve et à toute sa famille l'expression de notre
douloureuse sympathie." The following month the Mexico City newspaper <i style="mso-bidi-font-style: normal;">El Tiempo. Diaro Catolico</i> xxvii/8613
(July 18, 1909), p. 2, also reported the death of M. Jacoby, although the
writer wonders if this might be Martin Jacoby.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn41" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref41" name="_edn41" style="mso-endnote-id: edn41;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[41]</span></span></span></span></span></a><span lang="EN-US"> Two addresses appear on this handwritten,
signed letter from Paris: 7 rue Théodule-Ribot, which is cancelled, and 108,
Boulevard de Courcelles. The letter is addressed to the Mexican finance
minister José Ives Limantour, Jacoby congratulations him on his recent
admission to the French Academy of Political and Social Sciences. This letter
is part of the correspondence of Luis and Martin Jacoby with Limantour,
preserved in the Centro de Estudios de Historia de México Carso, Fondo CDLIV<b style="mso-bidi-font-weight: normal;">: </b>Colección José Y. Limantour
1880-1934, shelfmark 2a. 1907.22.130.<b style="mso-bidi-font-weight: normal;"> </b>The
correspondence also includes typed but unsigned letters from 1908.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn42" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref42" name="_edn42" style="mso-endnote-id: edn42;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[42]</span></span></span></span></span></a><span lang="EN-US"> Luis and Maria Suelves had a second daughter, Marguerite, born in
Barcelona, on November 25, 1918.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn43" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref43" name="_edn43" style="mso-endnote-id: edn43;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[43]</span></span></span></span></span></a><span lang="EN-US"> See William Walton, <i style="mso-bidi-font-style: normal;">Exhibition Universelle 1900.</i> <i style="mso-bidi-font-style: normal;">The
Chefs-d'oeuvre: Applied Art</i> 6 (Philadelphia: G. Barrie & Son, 1900), p.
79. These three painting apparently were donated to the collection at the
Academia de San Carlos in Mexico City. See Eduardo Baez Macias, <i style="mso-bidi-font-style: normal;">Guía del archivo de la antigua Academia de
San Carlos, 1867-1907</i>, Vol. 1<i style="mso-bidi-font-style: normal;"> </i>(Mexico
City: National Autonomous University of Mexico, 1993), p. 580: 1.<i style="mso-bidi-font-style: normal;"> Soledad. Alrededores de Barcelona</i>. 2. <i style="mso-bidi-font-style: normal;">Fondeadero de Veleros en el Puerto de
Valencia</i> (efecto de Marina) 3) <i style="mso-bidi-font-style: normal;">Vista
de Vinaroz </i>(Cataluna) Paris 14 de Octubre de [1898].<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn44" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref44" name="_edn44" style="mso-endnote-id: edn44;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[44]</span></span></span></span></span></a><span lang="EN-US"> In the <i style="mso-bidi-font-style: normal;">Diario de Alicante</i>
xvii/5297 (July 23, 1928 [p. 2]), Luis is described as an engineer living in
Palma de Mallorca, and staying at Reina Victoria Hotel in Alicante.</span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn45" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref45" name="_edn45" style="mso-endnote-id: edn45;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[45]</span></span></span></span></span></a><span lang="EN-US"> In both the 1931 and 1936 Paris census, Federico Mompou is listed
as "ami et compositeur" residing in the Jacoby household. The 1931 census also
indicates that Dubé and <span style="mso-bidi-font-weight: bold;">Thweatt also
lived with the Jacoby family.</span></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn46" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref46" name="_edn46" style="mso-endnote-id: edn46;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[46]</span></span></span></span></span></a><span lang="EN-US"> The premiere of the <i style="mso-bidi-font-style: normal;">Dialogues</i> was given at the salon of Baron Robert de Rothschild in
Paris and published by Max Eschig in Paris in 1926. Mompou had achieved a great
deal of recognition in the French capital, and spent much of his life there.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn47" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref47" name="_edn47" style="mso-endnote-id: edn47;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[47]</span></span></span></span></span></a><span lang="EN-US">
See: <a href="https://arxiu.museumusica.bcn.cat/fons-miquel-llobet" target="_blank">https://arxiu.museumusica.bcn.cat/fons-miquel-llobet</a></span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn48" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref48" name="_edn48" style="mso-endnote-id: edn48;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[48]</span></span></span></span></span></a><span lang="EN-US">
"Arreglo de Francesco Tárrega (hijo)." This version is found in <i style="mso-bidi-font-style: normal;">Francisco Tarrega Album No. 4. Cinco Obras
Originales para Guitarra</i> (Madrid: Ediciones Musicales Madrid, 1956), p.
6-7. "Paquito Vals in Do" is the third piece in this collection, and it it is
the only one with the date of 1956 (the other pieces have earlier dates, 1929
and 1930). There are a number of variants, mostly in the expressive
indications, giving an impression of a more conventional danced waltz rather
than a dreamy <i style="mso-bidi-font-style: normal;">vals lento</i>.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn49" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref49" name="_edn49" style="mso-endnote-id: edn49;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[49]</span></span></span></span></span></a><span lang="EN-US">
For example, Isaac Albeniz wrote pieces such as <i style="mso-bidi-font-style: normal;">Cadíz, Granada, Seville, Iberia,</i> <i style="mso-bidi-font-style: normal;">Cataluña, Mallorca, Aragón, Castilla, Cuba, Rumores de la Caleta,
Puerta de Tierra</i>, <i style="mso-bidi-font-style: normal;">Torre Bermeja</i>
(the vermillion tower at the Alhambra palace), and <i style="mso-bidi-font-style: normal;">Zaragoza.</i> Enrique Granados wrote <i style="mso-bidi-font-style: normal;">Andalucía</i> and <i style="mso-bidi-font-style: normal;">Rapsodía
aragonesa</i>.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn50" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref50" name="_edn50" style="mso-endnote-id: edn50;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[50]</span></span></span></span></span></a><span lang="EN-US">
The many pieces that Tárrega dedicated to Walter Leckie and inscribed in the
Englishman's music books clearly show a close friendship, a familiar comradery,
and even "inside jokes (see below for an example). But these inscriptions are
less formal and personal than those in the pieces he composed for Concepción.
He never prepared a manuscript as a gift to Leckie, nor did he compose a
musical portrait of the man by adding his name to the title.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn51" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref51" name="_edn51" style="mso-endnote-id: edn51;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[51]</span></span></span></span></span></a><span lang="EN-US"> See Víctor Fernández, «Recuerdos de la Alhambra» en
venta por 80000 euros. Subastan en Barcelona la partitura original de la
conocida obra de Francisco Tárrega" in <i style="mso-bidi-font-style: normal;">La
Razón</i>, June 25, 2011.
<a href="https://www.larazon.es/historico/9353-recuerdos-de-la-alhambra-en-venta-por-80-000-euros-HLLA_RAZON_383764/" target="_blank">https://www.larazon.es/historico/9353-recuerdos-de-la-alhambra-en-venta-por-80-000-euros-HLLA_RAZON_383764/</a>.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn52" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref52" name="_edn52" style="mso-endnote-id: edn52;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[52]</span></span></span></span></span></a><span lang="EN-US"> Moser, op. cit., 137-8: "The manuscript was in the
possession of the family of the Spanish composer Federico Mompou and only since
the beginning of 1991 has it become accessible again." (<i style="mso-bidi-font-style: normal;">El manuscrito se encontraba en posesión de la familia el compositor
Español Federico Mompou y sólo desde principios de 1991 ha vuelto a sea
accessible</i>.)<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn53" style="mso-element: endnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ednref53" name="_edn53" style="mso-endnote-id: edn53;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[53]</span></span></span></span></span></a><span lang="EN-US"> For example, Granados composed such pieces as <i style="mso-bidi-font-style: normal;">Suite oriental</i> (<i style="mso-bidi-font-style: normal;">árabe</i>) for orchestra, <i style="mso-bidi-font-style: normal;">Arabesca</i>
(1890), <i style="mso-bidi-font-style: normal;">Canción arabe, </i>and <i style="mso-bidi-font-style: normal;">Moresque.</i> There are many other pieces by
Spanish composers with these terms.<o:p></o:p></span></span></p>
</div><span style="font-size: small;">
</span><div id="edn54" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref54" name="_edn54" style="mso-endnote-id: edn54;" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[54]</span></span></span></span></span></a><span lang="EN-US"> For example,<span style="mso-spacerun: yes;"> </span>great Carmen
Amaya (1913-1963), who was filmed in the 1930s.</span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="edn55" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref55" name="_edn55" style="mso-endnote-id: edn55;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[55]</span></span></span></span></span></a><span lang="EN-US"> <i style="mso-bidi-font-style: normal;">The Tárrega Leckie Guitar Manuscripts;
Lessons with the Maestro</i>, edited by Brian Whitehouse. (Halesowen: ASG Music
Limited, [2015], p. 223. This piece, with some emendations, would become the
fifth prelude published in under the composer's supervision by Antich y Tena in
Valencia, Spain (plate number 392) in 1902.</span></span></p>
</div><span style="font-size: small;">
</span><div id="edn56" style="mso-element: endnote;"><span style="font-size: small;">
</span><p class="MsoEndnoteText"><span style="font-size: small;"><a href="#_ednref56" name="_edn56" style="mso-endnote-id: edn56;" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-fareast-theme-font: major-fareast;">[56]</span></span></span></span></span></a><span lang="EN-US">
Ibid., p. 1.</span></span></p>
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© Dr. David J. Buch 2020. All rights reserved.<br />
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Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com1tag:blogger.com,1999:blog-6705638937146105675.post-16861022030952323432020-09-08T12:56:00.004+02:002023-05-08T20:13:44.239+02:00 The Mozarts' Viennese Lodgings in 1762 and the House Zum rothen Säbel<p>The article with the above title, which I co-authored with Dexter Edge, has just been published online in the journal <i>Eighteenth-Century Music</i>.</p><p><i>Abstract</i></p><p><i>It is generally believed that when the Mozart family arrived in Vienna on 6 October 1762 they initially may have spent a night or two in the inn 'Zum weißen Ochsen' on Fleischmarkt, then moved for the remainder of their stay to lodgings on Tiefer Graben, either in a house belonging to Johann Heinrich Ditscher (Otto Erich Deutsch, 1961) or one belonging to Gottlieb Friedrich Fischer (Walther Brauneis, 1991). All modern Mozart biographies transmit either Deutsch's claim or Brauneis's, and many continue to state that the Mozarts stayed at 'Zum weißen Ochsen'. We have been able to show that none of these claims has any merit, and no primary evidence supports them. The notion that the Mozarts stayed at 'Zum weißen Ochsen' can be traced back to an article published in 1860, where it is asserted without evidence; the idea was then popularized in a children’s story about Wolfgang. The claim that the Mozarts lodged on Tiefer Graben is based on a fanciful interpretation of a mistranscribed street name in Schiedermair's 1914 edition of Leopold Mozart's letter of 19 October 1762. Leopold actually wrote that the family lodged in 'Fierberggaßl'. We argue that this refers to the still-existing Färbergasse, and that the Mozarts may have stayed in a house on that street (today the site of Färbergasse 3), with a long narrow wing fitting Leopold's description of their cramped quarters. We present other new details about this episode in Wolfgang's early life, including the identity of a customs official to whom he played a minuet on the violin, and the literary source of Leopold’s remark that their lodgings were '1000 Schritt lang und 1. Schritt breit'. We also discuss the history of the house name ‘Zum rothen Säbel’, which is used incorrectly in the Mozart literature; at the time of the Mozarts' visit in 1762, it referred to the house on Färbergasse in which – we argue – they actually stayed.</i></p><p>The article can be accessed on the <a href="https://www.cambridge.org/core/journals/eighteenth-century-music/article/mozarts-viennese-lodgings-in-1762-and-the-house-zum-rothen-sabel/B6E26E66B6EA23F774ED3E94A99D7513/share/6adde7f9f9de617207e7c8d7e5883fbf85476977" target="_blank">journal's website</a>.
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX4uYG85i0sQ-Rcg7CaGMat3gv6-6eyLw47kr83IgxEVp0cCcFWXzaUr4xjfMbYn97xjJI8SiQiKLWk4DLUxOcxVXXAs37_Yif_44SAqgbTs2pjIHVOKy-j2ykWPRzJ-KIBM7vtXh4L0s/s919/UKA%252C+5618_1802.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="744" data-original-width="919" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX4uYG85i0sQ-Rcg7CaGMat3gv6-6eyLw47kr83IgxEVp0cCcFWXzaUr4xjfMbYn97xjJI8SiQiKLWk4DLUxOcxVXXAs37_Yif_44SAqgbTs2pjIHVOKy-j2ykWPRzJ-KIBM7vtXh4L0s/w320-h259/UKA%252C+5618_1802.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">A plan of the house <i>Zum Rothen Säbel</i> from 1802 showing its long wing that is (as Leopold Mozart put it) "one thousand paces long and one pace wide" (A-Wsa, Unterkammeramt, A33, alte Baukonsense 5618/1802).</span></div>
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© Dr. Michael Lorenz 2020. All rights reserved.<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-54146613091379226842020-05-17T23:16:00.025+02:002023-12-30T09:14:52.649+01:00Unknown Stadler Documents (Part 1)Harald Strebel's <a href="http://www.hollitzer.at/wissenschaft/programm/produktdetail/produkt/anton-stadler-wirken-und-lebensumfeld-des-mozart-klarinettisten-fakten-daten-und-hypothesen.html" target="_blank">book</a> about the legendary clarinetist brothers Anton and Johann Stadler, which, after a very long delay, was published in 2016 by the Hollitzer Wissenschaftsverlag, is one of those works that defy any useful review. Because of its total volume of about 1400 pages, its merciless redundancy, and its numerous and extensive thematic digressions (the author obviously wanted to include every bit of his life's Mozart research), the number of mistakes in this book that any serious review would have to address, would amount to a seperate small book. This kind of procedure – albeit beneficial for interested readers – would yield no reviewer any merit. The damage that the shortcomings of Strebel's book may cause is lessened, however, by the fact that its readership will be very small indeed. And even if somebody should be willing to dive into two bulky tomes, owing to their completely unsystematic and repetitive contentual structure, he will surely have a hard time finding the information he is looking for.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5eabxgRLSdWl_07r0rrAMc8pgi3v7ANOSARTBaKpx-8Q2bzkGhAol2YFPozOWydMePrga0yNZY67PTCVUjiNSmX5HIi5E1UZyWF42knn984XiXKVuT-0UKNoiuXxeH1cq5IgfXqfMBU/s1600/Strebel_Stadler.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="603" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5eabxgRLSdWl_07r0rrAMc8pgi3v7ANOSARTBaKpx-8Q2bzkGhAol2YFPozOWydMePrga0yNZY67PTCVUjiNSmX5HIi5E1UZyWF42knn984XiXKVuT-0UKNoiuXxeH1cq5IgfXqfMBU/s320/Strebel_Stadler.jpg" width="217" /></a></div>
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<span style="font-size: x-small;">Volume 1 of Harald Strebel's book about Anton Stadler. The silhouette on the cover is a well-known forgery by Josef Kuderna (1886–1952) whose authorship is proved by the inscription below the silhouette in Kuderna's typical fake-historicizing handwriting. Time and again, the Hollitzer Wissenschaftsverlag has shown itself to be so short of material that it will publish almost anything and without any serious proofreading process.</span></div>
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Unfortunately, Strebel lacks all necessary expertise related to eighteenth-century handwritten sources, a skill that can only be acquired through decades of archival research. This lack of experience causes a gross ignorance of the historical vocabulary which is indispensible for the understanding and transcription of archival sources. Unhelpful in dealing with these documents, is Strebel's mercilessly Swiss renunciation of the German letter ß, and his complete ignorance of Latin which leads to a huge number of grammatically wrong transcriptions, such as "quodam decem anni", "a Dominus", "et suae Barbara legitima filiae", "auliae", "ejus loci" (instead of "ejus loco"), "pro tempore" (instead of "pleno titulo"), "ad Mariae auxilium" (instead of "ad Mariam Auxiliatricem"), and "Expeditium" (instead of "expeditum") (Strebel 2016/2, 38, 41, 264, 754). Many of Strebel's flawed transcriptions are extremely entertaining, but there is no use in listing them at this point. This is the author, who in 2010, wrote the following in an e-mail: "It is downright depressing how carelessly certain authors deal with the sources". While going through Strebel's hundreds of transcriptions of Stadler documents, I have not yet found a single one that is free from errors. It is not the first time that one is wondering why an author was unable to at least seek the assistance of an expert who would have guided him to unknown sources and cleared his book from a plethora of errors and mistranscriptions. Countless Stadler documents are given as "lost" by Strebel which in fact do survive. Already in 2006, and again in August 2010, I offered Strebel my help with his research. But after I had given him a lot of genealogical data and sent him 23 pictures of unknown Stadler sources, at some point, his jealous secretiveness and unfounded fear of being exploited got the better of him and he cut off our correspondence. This, of course, could not keep him from shamelessly using some of my photographs in his book – for example the one of Maria Anna Stadler's 1743 baptismal entry, (<a href="https://books.google.at/books?id=soF4DwAAQBAJ&pg=PT1097" target="_blank">Strebel 2016/2, 41</a>) – without giving me credit. Not surprisingly, he also mistranscribed the content of the pictures that he used without permission.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxbxXMtzKpj0xzrCIB33eaYOT2QoD1DUDrCOTZxPyFDN4eYzNTYYO2rJl__yJyILpfKWiltBNW9lbgYM3ea26RDxpw8GJilOmWwKQuQ6O2wsbGSI1XJHWgOoZ2Xn1D2dTl3Kkc5mYrME/s1600/Maria+Anna+Stadler%252C+Taufe+17.8.1743%252C+Burgpfarre+Tom.+BB%252C+pag.+156.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="1187" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxbxXMtzKpj0xzrCIB33eaYOT2QoD1DUDrCOTZxPyFDN4eYzNTYYO2rJl__yJyILpfKWiltBNW9lbgYM3ea26RDxpw8GJilOmWwKQuQ6O2wsbGSI1XJHWgOoZ2Xn1D2dTl3Kkc5mYrME/s320/Maria+Anna+Stadler%252C+Taufe+17.8.1743%252C+Burgpfarre+Tom.+BB%252C+pag.+156.JPG" width="320" /> </a></div>
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<span style="font-size: x-small;">The photograph, taken on 9 September 2010, of the entry concerning the previously unknown baptism of Anton Stadler's sister Maria Anna Stadler on 17 August 1743, in the Vienna court chapel (Hofburg, Tom. BB, 156) which, on 10 September 2010, I sent to Harald Strebel.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwleCqtcgiotkNYDWGnMFGG-M5c5kWKySvIVrmyTzgLD8ECobFZxPybFSF2N2Ve8_UVRlQzmQsMLADq2GndRnvM9C0mw0MTt_hj6qHIAAmS614Vb_MBZTkc54uMun_VEMTe4d72Izp8jI/s1600/Strebel+2%252C+41.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="1268" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwleCqtcgiotkNYDWGnMFGG-M5c5kWKySvIVrmyTzgLD8ECobFZxPybFSF2N2Ve8_UVRlQzmQsMLADq2GndRnvM9C0mw0MTt_hj6qHIAAmS614Vb_MBZTkc54uMun_VEMTe4d72Izp8jI/s320/Strebel+2%252C+41.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The same photograph as it appears in Strebel's book (Strebel 2016/2, 41), published without my permisson and without giving me credit. The theft of the picture is proved by the identical increase of blurring of the script at the very left. The date of this child's death given in the caption is false, because it already died before 1771. Not only had Strebel the impertinence to present this as a "first publication", he also gravely botched the <a href="https://books.google.at/books?id=soF4DwAAQBAJ&pg=PT1097" target="_blank">transcription and translation</a> of this Latin entry.</span></div>
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To avoid a possible misunderstanding: I do not think that every Stadler document is worth publishing. Many of the documents are redundant and
of minor relevance. But since Harald Strebel considered every stroke of a
pen related to the Stadler families earth-shatteringly relevant, I decided to take this approach <i>ad absurdum</i> in order to show that even the most ambitious claim to completeness in a collection of sources is bound to fail.<br />
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<b>Johann Stadler's birth in Bruck an der Leitha</b><br />
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In 1971, in the <i>Mitteilungen der Internationalen Stiftung Mozarteum</i>, the German Kapellmeister Karl Maria Pisarowitz (1901–1979) published a pioneering article about the Stadler brothers. Applying his custom method of research by mail (which is pretty much also Strebel's favorite way of doing research), Pisarowitz was able to examine the entry in the records of Vienna's <a href="https://en.wikipedia.org/wiki/Piarist_Church,_Vienna" target="_blank">Piarist Church</a> concerning Anton Stadler's wedding on 12 October 1780. This source, which gives the groom's place of birth as "Pruck an d Leyta", allowed Pisarowitz to locate Anton Stadler's 1753 baptismal entry in the church records of <a href="https://en.wikipedia.org/wiki/Bruck_an_der_Leitha" target="_blank">Bruck an der Leitha</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTGBZ7uxx1HKLhcvYp5FIEwwIfA595tcGBs-iR5COgWSoluLQNexYcMI5G_KHgSv6g9deV7qFRFiKrhVowZp6cuW6_X0xpgUUXaKZAO9NJBP9RBl-Mh5yz4IDgRaSKq75Ntzri4qEyxro/s1600/AS%252C+MT+3%252C+fol.+82+.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="655" data-original-width="1356" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTGBZ7uxx1HKLhcvYp5FIEwwIfA595tcGBs-iR5COgWSoluLQNexYcMI5G_KHgSv6g9deV7qFRFiKrhVowZp6cuW6_X0xpgUUXaKZAO9NJBP9RBl-Mh5yz4IDgRaSKq75Ntzri4qEyxro/s320/AS%252C+MT+3%252C+fol.+82+.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The left half of the entry concerning Anton Stadler's wedding on 12 October 1780 (Maria Treu, Tom. 3, fol. 82). Strebel's transcription of this entry (Strebel 2016/2, 44) contains several mistakes of which only the funniest shall be named. The letters "d. E. W.", which appear twice after the names of the groom's and the bride's mothers, mean "dessen Ehe Wirthin". Strebel nonsensically resolves them as "des Erblichenen Witwe". In his book, Strebel plagiarized countless pieces of information from my 2011 article in <i>Acta Mozartiana</i>, including the sources related to Sophia Stadler's midwife exams and her walk-in maternity clinic in Mariahilf.</span></div>
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In his 1971 article, Pisarowitz stated that "after 1745, for unknown reasons, the Stadler family moved to Bruck an der Leitha where on 28 June 1753, Anton Paul Stadler was born" (Pisarowitz 1971, 30). In 2011, in my article "Mozart's Patenkind", I was able to show that the Stadlers must have moved to Bruck already in 1749, because another son, Anton Joseph, was born there on <a href="https://data.matricula-online.eu/de/oesterreich/wien/bruck-an-der-leitha/01%252C2%252C3-06/?pg=130" target="_blank">14 December 1749</a>. This child already died on <a href="https://data.matricula-online.eu/de/oesterreich/wien/bruck-an-der-leitha/01%252C2%252C3-06/?pg=402" target="_blank">23 December 1749</a> (Lorenz 2011, 62). Concerning Joseph Stadler's possible motives for relocating his family to the country before December 1749, I described the situation as quite obvious: Joseph Stadler certainly could not expect to make a better living as a shoemaker in the province. Instead, it is obvious that he changed his profession and entered the service of Count Ernst Guido von Harrach as a musician (Lorenz 2011, 62).<br />
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That for decades it was thought that Johann Stadler was born in Vienna, had three reasons: 1) Pisarowitz mistook the entry concerning the publications of the banns in May 1783 in the records of the groom's home parish (<a href="http://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-35/?pg=382" target="_blank">Schotten 35, fol. 191r</a>) for Johann Stadler's actual marriage entry. Not only is Johann Stadler erroneously addressed in this entry as "Franz Stadler" (which made Pisarowitz claim that Johann "was just called Franz"), his place of birth is also not given. 2) The entry in the minutes of the <i>Tonkünstler-Sozietät</i> concerning Johann Stadler's acceptance into the society on 16 May 1783 only gives his date, but not his place of birth.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgObePmkX9qfVVtKc0P3YnSOI45R5TiXQreqUVxy4FyNycbqPlsHmAg7R7Im4kCxD9Jy23TnVrX09b3l5BeSp3NIuZ6YOU8f0MC2I7EV7SB2Gzsc-J6MNHRRzxZFUC3aK48hNbkUVPD1mc/s1600/TKS+16.5.1783.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1195" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgObePmkX9qfVVtKc0P3YnSOI45R5TiXQreqUVxy4FyNycbqPlsHmAg7R7Im4kCxD9Jy23TnVrX09b3l5BeSp3NIuZ6YOU8f0MC2I7EV7SB2Gzsc-J6MNHRRzxZFUC3aK48hNbkUVPD1mc/s320/TKS+16.5.1783.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the minutes of the Tonkünstler-Sozietät concerning Johann Stadler's request, presented on 7 May 1783, to join the society (A-Wsa, Private Institutionen, Haydn-Verein, 2.9.1.2. A2/1). This document was written by <a href="https://de.wikipedia.org/wiki/Karl_Frieberth" target="_blank">Karl Friberth</a>. On 30 November 1798, Johann Stadler was expelled from the society for not paying his membership fees.</span></div>
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3) The entry concerning Johann Stadler's death on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18040509&seite=13&zoom=33" target="_blank">2 May 1804</a> in the municipal death register gives the deceased as "von Wienn gebürtig" ("born in Vienna"), an error that was obviously caused by the fact that Johann Stadler died in <a href="https://www.geschichtewiki.wien.gv.at/Allgemeines_Krankenhaus" target="_blank">Vienna's General Hospital</a> where nobody knew anything about his origin and background.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH17bSPs4aVdfYBMJEykhRbz8azO8vENHP1h5hm9BoowSnymdDIttulG7RinnjbC3CZXwJZpnQvPD0cBMHkBZMVRdqF8di14CPOl-hrjihSL5bpaoLS78vflo-Kda1pryyjbxtAGeeTVA/s1600/Johann+Stadler+TBP+117_II%252C+fol.+39v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="514" data-original-width="1600" height="102" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH17bSPs4aVdfYBMJEykhRbz8azO8vENHP1h5hm9BoowSnymdDIttulG7RinnjbC3CZXwJZpnQvPD0cBMHkBZMVRdqF8di14CPOl-hrjihSL5bpaoLS78vflo-Kda1pryyjbxtAGeeTVA/s320/Johann+Stadler+TBP+117_II%252C+fol.+39v.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry in the municipal Totenbeschauprotokoll concerning Johann Stadler's death on 2 May 1804 (A-Wsa, Totenbeschreibamt 117/II, S, fol. 39v)</span> </div>
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In 2011, I was the first to publish the fact that Johann Nepomuk Stadler was not born in Vienna, but, like his more prominent brother Anton, in the town of Bruck an der Leitha (Lorenz 2011, 62). Since the quality of the picture of Johann Stadler's baptismal entry in Strebel's book – like many other of his illustrations – is very poor, I take the opportunity to publish a high-quality picture of this document.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RwEyKveCBTmZKPN89NvnEW56RgVKhMZlwx95QFaZMBxR0pWpdGeTigmxqTV2gbTvr7ZBai8YjdSE2-yv2olEyJV0O2VT2zVPsEBMb5nc8GK5MtmRZpM0AuOORlLHRild6yNQQn7lEfo/s1600/Johann%252C+F+101%252C+6.5.1755.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1197" data-original-width="1600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RwEyKveCBTmZKPN89NvnEW56RgVKhMZlwx95QFaZMBxR0pWpdGeTigmxqTV2gbTvr7ZBai8YjdSE2-yv2olEyJV0O2VT2zVPsEBMb5nc8GK5MtmRZpM0AuOORlLHRild6yNQQn7lEfo/s320/Johann%252C+F+101%252C+6.5.1755.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning Johann Nepomuk Stadler's baptism (son of "Josephus Städler Incola") on 6 May 1755 in the parish church of Bruck an der Leitha (Bruck an der Leitha, Tom. F, Taufen fol. 101r). The next baptism was Anna Christina Platzer's on 17 May 1755 ("Erste Pfing[s]ttauf"), a daughter of Johann Stadler's godfather Anton Platzer. </span></div>
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In his book, Strebel ignores the fact that I published Johann Stadler's place of birth five years before he did, and, to bolster his fictitious priority, he claims in a footnote that "he already found Johann Stadler's baptismal entry in 2008" (Strebel 2016/1, 31). This unproven anecdotal detail, however, is utterly irrelevant, because it took Strebel another eight years to publish this information.<br />
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The godparents of five (or more) of Joseph Stadler's children, who were born in Bruck an der Leitha, were the local merchant Anton Platzer and his wife Barbara. Strebel completely disregards these two individuals of whom the first, after all, became Anton Stadler's name giver. Anton Platzer and Barbara Gruber got married on 29 February 1740, in Bruck an der Leitha. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimiHS3RnnZBBKITe6vDAAqiuY3Lrcm0yMxitNzQfDDCuuOf0ZTxPLM8ynAo20XD0gMI6gyjV_kPinYp77wWAdcItk5yDhpN2uCY1Qdaop-KGAIv3vG-vy-8mdrIIVkQcVovNBTGI61YHw/s1600/Anton+Platzer+29.2.1740.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="688" data-original-width="1600" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimiHS3RnnZBBKITe6vDAAqiuY3Lrcm0yMxitNzQfDDCuuOf0ZTxPLM8ynAo20XD0gMI6gyjV_kPinYp77wWAdcItk5yDhpN2uCY1Qdaop-KGAIv3vG-vy-8mdrIIVkQcVovNBTGI61YHw/s320/Anton+Platzer+29.2.1740.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Anton Platzer's and Barbara Gruber's wedding on 29 February 1740 (Bruck an der Leitha, Tom. 6, fol. 110v)</span></div>
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In 1773, Anton Platzer's business was declared bankrupt which on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17730724&seite=11&zoom=33" target="_blank">24 July 1773</a> was announced in the <i>Wiener Zeitung</i>. The legal procedures concerning this bankruptcy lasted until September 1774 (<i>Wiener Zeitung</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17740907&seite=13&zoom=33" target="_blank">7 September 1774</a>). Anton Platzer died on 18 April 1783, at the age of seventy, in Bruck an der Leitha.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuizPlNN-AsA51eAJc6ud74o6V9nH6P8-C9FhFXgAhxw7OBtCTWcHSoqSA7tQZybgXTI09Vc3ZUC4WNulPD9lzirQAYPkYfykaJHbfyaY0ja3etUDqcJebCgk-GO6NiW36U39nSlzOG-M/s1600/Anton+Platzer+18.4.1783.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="496" data-original-width="1195" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuizPlNN-AsA51eAJc6ud74o6V9nH6P8-C9FhFXgAhxw7OBtCTWcHSoqSA7tQZybgXTI09Vc3ZUC4WNulPD9lzirQAYPkYfykaJHbfyaY0ja3etUDqcJebCgk-GO6NiW36U39nSlzOG-M/s320/Anton+Platzer+18.4.1783.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Anton Platzer's death on 18 April 1783 (Bruck an der Leitha, Tom. 9, fol. 28)</span></div>
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In the genealogical chapter of his book, Strebel claims that between 1743 and 1763, Joseph and Sophia Stadler had ten children (Strebel 2016/2, 41-44). This number is false. Because Strebel was unable to locate Joseph Stadler's 1771 probate file, and only conducted very cursory research in the Bruck an der Leitha church records, he overlooked the existence of two more Stadler children, namely Joseph and Johann Georg Stadler, who appear to have been twins, and were born in 1747 in a still unknown place where their parents must have lived between 1745 and 1749. The first of these two children, Joseph Stadler, died in Bruck an der Leitha on 14 March 1752, at the age of five (<a href="http://data.matricula-online.eu/de/oesterreich/wien/bruck-an-der-leitha/01%252C2%252C3-06/?pg=409" target="_blank">Bruck an der Leitha 6, fol. 189r</a>). The second one, Johann Georg Stadler, joined the military which, eventually, he was only able to quit with the financial support of his mother. He was one of Joseph Stadler's four sons (Leopold, Johann Georg, Anton, and Johann) who were still alive at the time of their father's death in 1771. The still unknown <i>Sperrs-Relation</i> of Joseph Stadler will be published in a future installment of this Stadler Documents series.<br />
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<b>Johann Stadler's unknown first marriage entry</b><br />
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There are two known sources related to Johann Stadler's wedding in 1783: first, the entry concerning the three publications of the banns on May 11th, 18th, and 25th, 1783, in which the groom is falsely addressed as "Franz Stadler" (<a href="http://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-35/?pg=382" target="_blank">Schotten, Tom. 35, fol. 191r</a>), and second, the entry concerning the actual wedding which took place on June 1st, 1783, in the <a href="http://www.bildarchivaustria.at/Preview/1896980.jpg" target="_blank">old church</a> of St. Josef ob der Laimgrube (<a href="http://data.matricula-online.eu/de/oesterreich/wien/06-st-josef-ob-der-laimgrube/02-01/?pg=5" target="_blank">St. Josef ob der Laimgrube, Tom. 1, 5</a>). These two documents – albeit with flawed transcriptions, such as "bevormundt" instead of "befreundt" – are published in Strebel's book (Strebel 2016/2, 55f.). There is, however, a third source related to this wedding which so far has remained unknown. It is the entry in the earliest marriage register of the Laimgrube parish, the so-called <i>Einschreibbuch der Brautleute von der Pfarrei zum H. Joseph ob der Laimgrube für das Jahr 1783 vom 20ten April bis zum letzten Xber <span style="text-decoration: overline;">783</span></i>. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiWrRxLQKF27UnY_fgGeSRTiXul9GOoOkTdAh2h1oSmX8sDf4v1XDaQ2xrYs8kEtCl-8n6kEopi73zNUNLsNwqECdwOH0aMfxYN2rxC-mqHpH3pTAzScB-_-9EtEB07GJa-OroMbtaBeI/s1600/Laimgrube+Einschreibbuch+I.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="940" data-original-width="748" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiWrRxLQKF27UnY_fgGeSRTiXul9GOoOkTdAh2h1oSmX8sDf4v1XDaQ2xrYs8kEtCl-8n6kEopi73zNUNLsNwqECdwOH0aMfxYN2rxC-mqHpH3pTAzScB-_-9EtEB07GJa-OroMbtaBeI/s320/Laimgrube+Einschreibbuch+I.jpg" width="254" /></a></div>
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An unknown source like this, which has never been digitized, cannot be discovered by corresponding with Viennese parishes via e-mail. The text in this register is the very first version of Johann Stadler's marriage entry in the records of this parish. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuq3AE9VOllMf7BAA-01FeC-na-cLpU8kSyWqtZp0oVYwKLWeR6DkCA3BoDVdv32dHiazaL_UrTod1nGc0635DVtiywdS2G-drGL8sXBVVlYvWpPf2G4ggIbLiAWW7Gaz4lEp3EeuA_R5FruWtiusQWZC-Hsaqw8b6pwKSs8q3o8e2jbJzkp5GP53/s1140/Stadler%201.6.1783.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="881" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuq3AE9VOllMf7BAA-01FeC-na-cLpU8kSyWqtZp0oVYwKLWeR6DkCA3BoDVdv32dHiazaL_UrTod1nGc0635DVtiywdS2G-drGL8sXBVVlYvWpPf2G4ggIbLiAWW7Gaz4lEp3EeuA_R5FruWtiusQWZC-Hsaqw8b6pwKSs8q3o8e2jbJzkp5GP53/s320/Stadler%201.6.1783.jpg" width="247" /></a></div>
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<span style="font-size: x-small;">The entry in the earliest marriage register of St. Josef ob der Laimgrube concerning Johann Stadler's wedding (<i>Einschreibbuch der Brautleute von der Pfarrei zum H. Joseph ob der Laimgrube für das Jahr 1783 vom 20ten April bis zum letzten Xber <span style="text-decoration: overline;">783</span></i>, 18).</span><span style="font-size: x-small;"><br /></span></div>
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<blockquote class="tr_bq">
<u>18.</u><br />
Der <strike>Ehr</strike> Wohl edle H. Joha<span style="text-decoration: overline;">n</span> Stadler K.K. Ka<span style="text-decoration: overline;">m</span>er<span style="font-size: x-small;">=</span><br />
musikus, leedig, gebürtig von Bruck an der<br />
Leutha, des Joseph Stadler eines Schuma<span style="font-size: x-small;">=</span><br />
chers <strike>lebend</strike> sel[ig] und der Sophia ux. einer gebor<span style="font-size: x-small;">=</span><br />
nen Altma<span style="text-decoration: overline;">n</span>in conditio non constat,<br />
Tochter[<i>sic</i>], ehliger Sohn.<br />
<br />
| | |<br />
11. Maÿ 18 Maÿ 25 Maÿ<br />
Test[imonium] denunc[iationis]<br />
a Scottis in urbe<br />
tulit.<br />
<br />
Großjährig♀ <strike>Testim[onium] bapt[ismi] ferat</strike> kath.<br />
kein Soldat, wohnhaft in der Stadt<br />
N 1248. über 2 Jahre. <strike>laut Zeugniß</strike><br />
<br />
♀ 6ta Maji An[no]<br />
1755 baptisatus<br />
est.<br />
<br />
Mit der tug[endsamen] Jungf[er] Elisabeth Grittneri<span style="text-decoration: overline;">n</span>,<br />
gebürtig hier, des Franz Grittner bürgl: Weißger<span style="font-size: x-small;">=</span><br />
bers und der Maria A<span style="text-decoration: overline;">n</span>a ux[oris] einer ge<span style="font-size: x-small;">=</span><br />
bornen Schecksi<span style="text-decoration: overline;">n</span> einer Schmidstochter, seligg.<br />
ehlige Tochter. Minore<span style="text-decoration: overline;">n</span>. Sed con<span style="font-size: x-small;">=</span><br />
sensit præs[ens] pater, kathol. nicht befreündt.<br />
wohnhaft an der Wien N<span style="font-size: x-small; vertical-align: super;">ro</span> 42.<br />
<br />
<u>Testis. Sponsæ</u> Johann Trost Stadt<span style="font-size: x-small;">=</span><br />
richter in der Neustadt.<br />
<u>Sponsi</u> Joh. Kilian Strack K. Ka<span style="text-decoration: overline;">m</span>er<span style="font-size: x-small;">=</span><br />
diener wohnhaft im der+ +Stadt N<span style="font-size: x-small; vertical-align: super;">ro</span> 585.<br />
<br />
Copulati sunt<br />
1<span style="font-size: x-small; vertical-align: super;">ma</span> Junij a me<br />
parocho vespere <br />
obteata[<i>sic</i>] dispens[ati]one Rev[erendissimi] Con<span style="font-size: x-small;">=</span><br />
sistor[ii]</blockquote>
<i>[translation:]</i><br />
<blockquote class="tr_bq">
[Page No.] 18<br />
The well noble Mr. Johann Stadler, I. & R. chamber musician, unmarried, a native of Bruck an der Leitha, legitimate son of Joseph Stadler, a deceased shoemaker, and his wife Sophia, née Altmann whose condition is unknown, daughter[<i>sic</i>]. <br />
<br />
[The three publications of the banns took place on]<br />
May 11th, 18 May 18th, and May 25th<br />
[The groom] produced a certificate of proclamation from the Schotten parish in the City.<br />
<br />
[The groom is] of legal age.♀ <strike>He brought a birth certificate</strike>, Catholic<br />
not a soldier, he has been living in the City at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=ClpdRstVM0bC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10201618" target="_blank">No. 1248</a> for more than 2 years, <strike>according to the certificate</strike><br />
<br />
♀He was baptised on May 6th, 1755.<br />
<br />
With the virtuous maiden Elisabeth Grittner, born here, legitimate daughter of Franz Grittner, a civil tawer, and his wife Maria Anna, née Schecks, already deceased. Underage, but the father is present and consents, Catholic, not related to the groom by blood or marriage. Residing at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=R1NbRh3yGEbC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069317" target="_blank">Laimgrube No. 42</a>.<br />
<br />
Witness of the bride: Johann Trost, municipal judge in Wiener Neustadt.<br />
Witness of the groom: Johann Kilian Strack, Imperial chamberlain residing in the City at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=ZvBhRulNK0bC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10193233" target="_blank">No. 585</a>.<br />
<br />
They were united on June 1st, by me, the parish priest, in the evening after producing a dispense from the most venerable consistory.</blockquote>
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The next installment of this Stadler Documents series will deal with Johann Stadler's grandchildren and great-grandchildren whose existence – you guessed it – remained completely unknown to Mr. Strebel.<br />
<br />
<hr />
<br />
<b>Bibliography</b><br />
<blockquote>
<a href="https://www.academia.edu/8733141/Mozarts_Patenkind_Acta_Mozartiana_58_vol_1_June_2011_57_70_" target="_blank">Lorenz, Michael. 2011</a>. "Mozarts Patenkind". <i>Acta Mozartiana</i>, 58, vol. 1, (June 2011), 57-70.
<br />
<br />
<a href="https://digibib.mozarteum.at/download/pdf/1945367.pdf" target="_blank">Pisarowitz, Karl Maria. 1971</a>. „»Müaßt ma nix in übel aufnehma …« Beitragsversuche zu einer Gebrüder-Stadler-Biographie“. <i>Mitteilungen der Internationalen Stiftung Mozarteum</i> 29 (1971), Heft 1-2, 29-33. <br />
<br />
Strebel, Harald. 2016. <i>Anton Stadler: Wirken und Lebensumfeld des "Mozart-Klarinettisten". Fakten, Daten und Hypothesen zu seiner Biographie</i>. Vienna: Hollitzer Wissenschaftsverlag.</blockquote>
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<hr />
<br />
<b>Addendum</b>
<br />
<br />
In 2021, Harald Strebel published a thin volume with <a href="https://www.yumpu.com/de/document/read/63954995/leseprobe-addenda" target="_blank">addenda</a> to his book about the Stadler brothers. These addenda contain several pieces of information previously published above, all of which are of course presented as Strebel's own findings and corrections. In order to conceal the blatant plagiarism, the publisher pre-dated the book's publication by one year to 2020.
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<br />
<br />
<hr />
<br />
© Dr. Michael Lorenz 5/17/2020. All rights reserved.<br />
<br />
Updated: 3 November 2023<br />
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Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com4tag:blogger.com,1999:blog-6705638937146105675.post-72388487220320885832020-04-30T20:52:00.015+02:002023-12-07T13:52:46.946+01:00An Unknown Photograph of Franz GrillparzerThe file "Fotografien, Dokumente und Schriftstücke aus dem Nachlass von Guido Peters bzw. Paula Artner" in the music collection of the Austrian National Library, which came from the family of the Austrian composer <a href="https://de.wikipedia.org/wiki/Guido_Peters" target="_blank">Guido Peters</a>, contains the following, previously unknown photograph of Franz Grillparzer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcEYzf0yM_6Lvga-wuotD1g10rZtH7TkDpvSfrl_GTd-Q2uJ2bZqe2eONEsoTrfAaWEYoVBFI9YkvQXngigRp9h3ngwiSfjJVN9mGQasKnJQ_c6MhnaGlhg9YRMxyi5Box45V_U_mlmM/s1600/Grillparzer+%25283%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1249" data-original-width="727" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcEYzf0yM_6Lvga-wuotD1g10rZtH7TkDpvSfrl_GTd-Q2uJ2bZqe2eONEsoTrfAaWEYoVBFI9YkvQXngigRp9h3ngwiSfjJVN9mGQasKnJQ_c6MhnaGlhg9YRMxyi5Box45V_U_mlmM/s320/Grillparzer+%25283%2529.jpg" width="186" /></a></div>
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<span style="font-size: x-small;">Samuel Volkmann, portrait of Franz Grillparzer (A-Wn, Musiksammlung, <a href="http://data.onb.ac.at/rec/AC14410003" target="_blank">Misc.31/IV</a>). For esthetic reasons the ugly ball pen note on the photograph was removed.</span></div>
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This photograph in the <a href="https://en.wikipedia.org/wiki/Carte_de_visite" target="_blank"><i>carte de visite</i></a> format, which was made during the 1860s, either in Graz or in Marburg, by the Austrian photographer Samuel Volkmann, is the only existing close-up bust portrait of Franz Grillparzer. The back of the photograph shows the <i>ARTIS AMICA NOSTRAE</i> logo of Samuel Volkmann who, at that time, ran <i>Photographie parisienne</i> studios in Graz and Marburg.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEcFHpEwpHW102PCZA3QEt1JRT8mTojqYr98AYNUATjD5KYUJjniFIEhXaCmSLxebiHy20jlblgcmFqr_ubrPGf6LorWIflLbZ-DMGXpg4VxYArGP5JPGZL8NLzNzK-bx0cE9dl_0Eus/s1600/Image2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1011" data-original-width="595" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEcFHpEwpHW102PCZA3QEt1JRT8mTojqYr98AYNUATjD5KYUJjniFIEhXaCmSLxebiHy20jlblgcmFqr_ubrPGf6LorWIflLbZ-DMGXpg4VxYArGP5JPGZL8NLzNzK-bx0cE9dl_0Eus/s320/Image2.jpg" width="188" /></a></div>
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<span style="font-size: x-small;">The back side of the above photograph with Samuel Volkmann's business stamp. The handwriting is that of Friederike Artner, the last private owner of the photograph.</span></div>
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None of the known photographs of Grillparzer from the same era, taken by Johann Bauer and <a href="https://en.wikipedia.org/wiki/Ludwig_Angerer" target="_blank">Ludwig Angerer</a> in Vienna, can compare in detail and true-to-life effect with Volkmann's slightly angled high-resolution portrait. The Viennese studio photographers, whose customers mostly belonged to the social upper class, used to put their models into a discreet distance.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFHVlZ-DrNFbKtE2xFRSqguAevXSYeBrdlWvZwF85xql7c7N8aWRuFiyDphnkRLkzlqD1xNAM18tRfh3FBScfdc8B__3pP8E_g2zOtwaez2TqjAyrfq7VTYRKv9G3GvU6kNsfteGLnkRE/s1600/Johann+Bauer%252C+ONB+Pf+429+E2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="580" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFHVlZ-DrNFbKtE2xFRSqguAevXSYeBrdlWvZwF85xql7c7N8aWRuFiyDphnkRLkzlqD1xNAM18tRfh3FBScfdc8B__3pP8E_g2zOtwaez2TqjAyrfq7VTYRKv9G3GvU6kNsfteGLnkRE/s320/Johann+Bauer%252C+ONB+Pf+429+E2.jpg" width="249" /></a></div>
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<span style="font-size: x-small;">Johann Bauer, portrait of Grillparzer from 1861 (A-Wn, Pf 429 E2). Johann Bauer, an Austrian pioneer of photography of eminent significance, has until now not been the object of biographical research. Bauer was born on 24 November 1810, in Mondsee, son of a local watchmaker. After having worked as a schoolteacher, in 1838 he went to Vienna where he attended the Academy of Fine Arts. In 1857, he established a studio on the Mölkerbastei. His second wife Amalia (1823</span><span style="font-size: x-small;">–1870) was a sister of Ludwig Angerer. In 1868, Bauer moved to Mondsee and later to Gmunden where he lived in the home of his daughter Louise Eberstaller. Bauer died on 3 December 1901, in Gmunden.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpqX5oV8fJb5P5EIiBs4qf7f2o4ktcqn8f0Zwg1mSK8NqIj7TnisuAjivyYKwWnG9QS0Hf_PmXlniVoeY9henreeIfnNOm6T3bsOVDyYUZKi9q2S4HJNOhyphenhyphenOV5COQanu8XecyCI77ARs/s1600/Wienmuseum+G+36.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="723" data-original-width="540" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpqX5oV8fJb5P5EIiBs4qf7f2o4ktcqn8f0Zwg1mSK8NqIj7TnisuAjivyYKwWnG9QS0Hf_PmXlniVoeY9henreeIfnNOm6T3bsOVDyYUZKi9q2S4HJNOhyphenhyphenOV5COQanu8XecyCI77ARs/s320/Wienmuseum+G+36.jpg" width="238" /></a><span style="font-size: x-small;"> </span></div>
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<span style="font-size: x-small;">Ludwig Angerer, portrait of Grillparzer from 1861 (Albertina, FotoGLV2000/4815). A similar photograph from this session (A-Wn, Bildarchiv <a href="http://www.bildarchivaustria.at/Preview/19405913.jpg" target="_blank">Pf 429 B10</a>) could be the one which, on <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000240&zoom=3" target="_blank">25 August 1862</a>, Grillparzer referred to in a letter to <a href="https://de.wikipedia.org/wiki/Wilhelm_Schaefer_(Schriftsteller)" target="_blank">Wilhelm Schaefer</a>: "You sent me your photograph and asked for mine. I didn't have a good one, or rather none at that time. Since then, one has been made. It isn't t good either, since it doesn't show the eyes, and the face only expresses the displeasure about sitting and being photographed. Nevertheless I enclose it here." The Vienna Theatermuseum holds a third photograph from this session (A-Wtm, <a href="https://www.theatermuseum.at/onlinesammlung/detail/601183/" target="_blank">FS_PV262434alt</a>) which shows Grillparzer on a different chair on the right side of the table.</span></div>
<br />
Only the Viennese photographer Franz Schultz (1813–1865), whose studio was located at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=ptlVRrQ2LEbphFVEfE6kQ-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072075" target="_blank">Auerspergstraße 19</a>, dared to portray Grillparzer from a slightly closer distance.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gZD8YJ0YMzJ6kRBgAbjhmoCHk9L6NRMhS8EMA_o7PJ2D444FNSidDp0ntUvY9ZGIAcUP1W8M1Xp6402sMDWuXp6-GcCqSp58g4nwNqLERDGleBCRN8ydFssA-JfADVCMY5TmSTyA_sI/s2048/WM+132670_3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1248" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gZD8YJ0YMzJ6kRBgAbjhmoCHk9L6NRMhS8EMA_o7PJ2D444FNSidDp0ntUvY9ZGIAcUP1W8M1Xp6402sMDWuXp6-GcCqSp58g4nwNqLERDGleBCRN8ydFssA-JfADVCMY5TmSTyA_sI/s320/WM+132670_3.jpg" /></a></div>
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<span style="font-size: x-small;">Portrait of Grillparzer by Franz Schultz from around 1860 (Wien Museum, I.N. 132670/3)</span></div>
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Schultz's photograph is inspired by Friedrich von Amerling's oil painting from 1856.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">Friedrich von Amerling, Franz Grillparzer (Wien Museum, Inv. Nr. 27496). Similar to Amerling's painting, is the portrait, presumably a work of <a href="https://de.wikipedia.org/wiki/Daniel_Penther" target="_blank">Daniel Penther</a>, of which the gallerists <a href="https://de.wikipedia.org/wiki/Galerie_Miethke" target="_blank">Miethke & Wawra</a> produced a postcard (A-Wtm, <a href="http://www.theatermuseum.at/de/object/ee9f4d46a7/" target="_blank">FS_PV262435alt</a>).</span></div>
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<b>The history of the photograph</b><br />
<br />
Research concerning the history of this photograph must deal with the following three questions. <br />
<ol>
<li>When was this photograph taken?</li>
<li>To whom was it given by Grillparzer?</li>
<li>How did the photograph end up in the Austrian National Library among material related to Guido Peters? </li>
</ol>
<br />
<b>The dating of the photograph</b><br />
<br />
The photograph was presumably taken in spring of 1864, in Graz, when Grillparzer was on his way to his annual spa sojourn in Römerbad in lower Styria (today <a href="https://de.wikipedia.org/wiki/Rimske_Toplice" target="_blank">Rimske Toplice</a> in Slovenia). Although Grillparzer's regular visits to Graz already began many years earlier – Grillparzer's friend Karl von Holtei lived in Graz from 1850 to 1860 – the timespan in which the photograph was taken can be limited to 1864, because the recipient of the photograph Carl Peters was appointed professor in Graz only on 28 February 1864. Grillparzer's previous stays in Graz can be ruled out, because from 1856 to 1864, Peters was living in Pest. Grillparzer had already stayed in Römerbad in the summer of 1863, where on 16 June 1863, he had suffered a fall which resulted in a concussion that impaired his hearing for the rest of his life. The photograph in question shows the stare of a man whose senses appear to be already impaired. On <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000246&zoom=3" target="_blank">30 December 1863</a>, Grillparzer, in a letter to <a href="https://de.wikipedia.org/wiki/Luise_Neumann" target="_blank">Luise Schönfeld-Neumann</a>, described his state as follows: "Deaf on one ear, I can hardly hear half with the other, my head is confused and stupid."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZ9y5XwoSP8yr-Cb2n7iKtfZm6KZsGA6tvul70AdJXFRoCtezSLEKe2nWvtmN4u-fAt0YSi-Sc_r3nboh3I7PByf-7RUtEAFyCph8irP3NSO_kcbILopVgos1wOmb11TTQnyrIMZywbk/s1600/T%25C3%25BCffer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="732" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZ9y5XwoSP8yr-Cb2n7iKtfZm6KZsGA6tvul70AdJXFRoCtezSLEKe2nWvtmN4u-fAt0YSi-Sc_r3nboh3I7PByf-7RUtEAFyCph8irP3NSO_kcbILopVgos1wOmb11TTQnyrIMZywbk/s320/T%25C3%25BCffer.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A pre-war view of the kurhaus of the Römerbad spa in Rimske Toplice in Slovenia. Visible in the foreground are the stairs which, on 16 June 1863, Franz Grillparzer accidentally fell down. Grillparzer suffered a cerebral concussion together with a hearing loss from which he never recovered. These stairs can be identified with the help of Grillparzer's <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000250&zoom=3" target="_blank">letter of 2 June 1864</a>. Today this area is a <a href="https://goo.gl/maps/cFevKu8zAtMCSiZWA" target="_blank">parking lot</a>.</span></div>
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In 1864, Grillparzer for the last time took the waters in southern Styria. In 1865, he went to Teplitz, in 1866 he stayed in Hall, and in 1867 and 1869 in Baden bei Wien. On his way home in June 1864, Grillparzer had no time to make a stop in Graz. In his letter to <a href="https://de.wikipedia.org/wiki/Katharina_Fr%C3%B6hlich" target="_blank">Katharina Fröhlich</a> of <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000250&zoom=2" target="_blank">20 June 1864</a>, Grillparzer announced his departure from Römerbad on 25 June and his arrival in Vienna on 26 June 1864, a schedule that left no time for a stopover in Graz. Therefore the most likely scenario is that Grillparzer had the photograph already made on his way to Römerbad. Of course, any later, previously unknown stay in Graz after 1864 could have been an occasion to have the photo taken.<br />
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The sideburns that Grillparzer wears on the photograph are new to modern eyes. There is no other photo of the poet that documents this particular beard fashion which is obviously the result of a summery fashion whimsy. Grillparzer's somewhat perplexed gaze, his stare into space ("das Narrenkastel" as he would have put it), is the most moving quality of the photo. This stare is intensified by the pupils that were enhanced by the photographer's retouching. It is interesting to compare Grillparzer's facial features to those of his two uncles <a href="http://www.bildarchivaustria.at/Preview/9100155.jpg" target="_blank">Ignaz</a> and <a href="http://www.bildarchivaustria.at/Preview/13169221.jpg" target="_blank">Leopold Sonnleithner</a>.<br />
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To put Grillparzer's somehow desperate gaze into the right perspective, we must consider that, concerning his summerly health trips, he made the following written statements: "I go about my stay in the country almost like a business that you should try to shake off as soon as possible." (to Katharina Fröhlich, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000215&zoom=3" target="_blank">15 July 1857</a>). "To hell with all the cures, they are as bad as the diseases." (to K. F., <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000219&zoom=3" target="_blank">12 June 1858</a>). "Otherwise everything is the same here; the food bad, the coffee I just drank, disgusting." (to K. F. from Römerbad, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000234&zoom=3" target="_blank">11 June 1861</a>). "How unbearable the stay here was, can hardly be described. Constant rain, cold as in wintertime." (to K. F. from Römerbad, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000239&zoom=3" target="_blank">30 June 1862</a>). "The hour of redemption has finally come." (to K. F., before his departure from Teplitz, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000260&zoom=3" target="_blank">3 July 1864</a>)."I will remember this spa trip with shivers for the next 29 years." (to K. F., after a 29-day stay in Teplitz, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000260&zoom=3" target="_blank">3 July 1864</a>). "Finally the end of the most horrible time I have ever experienced is approaching." (to K. F. from Hall, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&teil=0403&seite=00000272&zoom=3" target="_blank">9 July 1866</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlSFKQHRZlQ4Ll7oK3sUOuWeNTOout13l5P9l7kHfU53BGerrCVVDJHGjLNRZ4UxmwdaPcfmnr8fw84-AsFFPKdTvfs8oYlxFh5GsLVJ5fUiQxAiwn1SVBgb447xqJeRRyv0s2D-O0jA/s1600/face.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="1053" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlSFKQHRZlQ4Ll7oK3sUOuWeNTOout13l5P9l7kHfU53BGerrCVVDJHGjLNRZ4UxmwdaPcfmnr8fw84-AsFFPKdTvfs8oYlxFh5GsLVJ5fUiQxAiwn1SVBgb447xqJeRRyv0s2D-O0jA/s320/face.jpg" width="320" /></a></div>
</div>
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The photograph shows Grillparzer dressed in a rustic vacation attire
which can be described as "noble Styrian". The vest, which is obviously
green, has rustic ornaments and the jacket is made of the kind of rough
material that a k.k. Hofrat would only wear during a summer vacation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp_t5lkF1Q9NGvc36AV7OPL-ByWRiBikxq_WAS88CmIMAuRArTAZQeJYNePZU68Ri8Y8-BUJYTrugtLEFIQB9xTDYKnQQXtpNUCmxksLd4BFNK1QQ7XlLGx1pOBN7_ygMurcTw3z_G43o/s1600/jacket+%2526+vest.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="627" data-original-width="959" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp_t5lkF1Q9NGvc36AV7OPL-ByWRiBikxq_WAS88CmIMAuRArTAZQeJYNePZU68Ri8Y8-BUJYTrugtLEFIQB9xTDYKnQQXtpNUCmxksLd4BFNK1QQ7XlLGx1pOBN7_ygMurcTw3z_G43o/s320/jacket+%2526+vest.jpg" width="320" /></a></div>
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<div style="text-align: center;">
<span style="font-size: x-small;">A close-up view of Grillparzer's rustic attire</span></div>
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<b>The original recipient</b> <br />
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Grillparzer presumably had the photograph made as a keepsake for his friend <a href="https://de.wikipedia.org/wiki/Carl_Ferdinand_Peters" target="_blank">Carl Ferdinand Peters</a> who, as of February 1864, held a chair for mineralogy and geology at the University of Graz. The fact that the photograph of Grillparzer's came to the ONB from the estate of Guido Peters's half-sister Selma Artner, née Peters (1847–1913), suggests that Grillparzer had the photo taken in Graz to present it to Guido Peters's father. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXrq0Pt3P0nAhBv8an4JczabEqDMMBkfXleae-V7ZlvHoH4wBT2_HzbhDZCqO6g8RecPXoYylSDRy5-J17NSZvMy8y-_Fk41CP2YtSTDPNR6Bg3rQXKDY3XbNbUbwN4HcPUdhVYiPAn7k/s1600/Karl+Ferdinand+Peters+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="644" data-original-width="439" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXrq0Pt3P0nAhBv8an4JczabEqDMMBkfXleae-V7ZlvHoH4wBT2_HzbhDZCqO6g8RecPXoYylSDRy5-J17NSZvMy8y-_Fk41CP2YtSTDPNR6Bg3rQXKDY3XbNbUbwN4HcPUdhVYiPAn7k/s320/Karl+Ferdinand+Peters+%25282%2529.jpg" width="218" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The physician, geologist, and mineralogist Dr. Carl Ferdinand Peters (1825</span><span style="font-size: x-small;">–1881), father of the composer Guido Peters (photograph from 1856, published in Hubmann, 2001). Peters was a grandnephew of Beethoven's
friend Karl Peters 1782</span><span style="font-size: x-small;">–1849) and a nephew of the mineralogist <a href="https://en.wikipedia.org/wiki/August_Emanuel_von_Reuss" target="_blank">August Emanuel von Reuss</a>. For a later photograph of Carl Ferdinand Peters see the <a href="https://scopeq.cc.univie.ac.at/Query/detail.aspx?ID=55801" target="_blank">Peters entry</a> in the catalog of the Vienna University Archive.</span></div>
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Grillparzer had been acquainted with Carl Ferdinand Peters since 1848, when they first met in Vienna. At that time, Carl Peters was in love with Maria Anna Kurzrock (b. 28 April 1828) whose mother Anna Kurzrock, née Schlauka (1801–1877), on 15 April 1834, appears in Grillparzer's diary under the pseudonym "Jessika". During the 1820s, Johann Baptist Kurzrock (1792–1862) and his wife were members of the closer circle of friends around Franz Schubert. Kurzrock, who at that time was employed with the I. & R. court chamber, had made Schubert's acquaintance through his close friends Franz and Fritz von Hartmann whom he had known since his employment in the early 1820s in Salzburg. The godparents of Kurzrock's children were three of Schubert's best friends: Karl Enderes, Anton Ottenwalt, and Franz Derffel (Lorenz 2001, 53). In 1850, Carl Peters's former flame Marie Kurzrock, the "gentle Marie with her forget-me-not blue eyes" (as Eduard von Bauernfeld described her), married Peters's uncle, the military officer Hermann Peters von Pitersen (1812–1897).<br />
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<b>The provenance of the photograph</b><br />
<br />
To find out more about the history of photograph and how it came into the Austrian National Library, we need to look more closely at the genealogy of the Peters and Artner families. Grillparzer's friend Carl Ferdinand
Peters, the first owner of the photograph, was married twice. On 15 May 1856, in the <a href="https://en.wikipedia.org/wiki/Graz_Cathedral" target="_blank">Graz Cathedral</a>, he married Marianna von Blumfeld (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1058/?pg=145" target="_blank">Graz, Dom 1058, fol. 753</a>). At the time of his wedding, Peters was professor of mineralogy at the University of Budapest, a position that he held until 1861, when he joined the faculty of the University of Vienna. With his first wife, Carl Ferdinand Peters had the following five children: Selma (b. 1 Jun 1857, d. <a href="http://data.matricula-online.eu/de/oesterreich/wien/04-st-elisabeth/03-26/?pg=42" target="_blank">20 Mar 1913</a>), Otto (b. 5 Jul 1858, d. <a href="http://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/03-48/?pg=266" target="_blank">11 Nov 1908</a>), Hubert (b. 23 Sep 1859, d. <a href="http://anno.onb.ac.at/cgi-content/anno-plus?aid=wmw&datum=1934&page=1294" target="_blank">24 Oct 1934</a>), Martha (b. 7 Nov 1860, d. after 1913), and Theodor (b. <a href="http://data.matricula-online.eu/de/oesterreich/wien/03-landstrasse-st-rochus/01-46/?pg=86" target="_blank">18 Jun 1863</a>, d. <a href="http://anno.onb.ac.at/cgi-content/anno?aid=dvb&datum=19091127&seite=10&zoom=33" target="_blank">26 Nov 1909</a>). Marianna Peters, née von Blumfeld died on <a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-hl-blut/329/?pg=63" target="_blank">21 November 1864</a>, in Graz at the age of 32. On 5 November 1865, in Graz, Carl Ferdinand Peters married his first wife's younger sister Leopoldine von Blumfeld (1839–1892) (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1073/?pg=85" target="_blank">Graz, Dom 1073, fol. 84</a>). With her he had two more children: Guido (b. <a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-st-andrae-stadt/6470/?pg=233" target="_blank">29 Nov 1866</a>, d. <a href="http://data.matricula-online.eu/de/oesterreich/wien/06-st-josef-ob-der-laimgrube/03-23/?pg=80" target="_blank">11 Jan 1937</a>), and Erwin (b. 16 Jul 1868, d. 23 Jul 1868).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIh8DIgDY7OJesAancc_MegWP2LafIskpQq_rzOVEhWCZRxxaWoIkg0V6IXegcZ71-OrMDmwq6TOV7CnyMcjs2KyKcZ1V0ZVVrngOBitIoDwdrIi7warYQXx56eYEyIkbCu6SgXpQAbTc/s1600/Otto+%2526+Guido+1907.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="757" data-original-width="833" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIh8DIgDY7OJesAancc_MegWP2LafIskpQq_rzOVEhWCZRxxaWoIkg0V6IXegcZ71-OrMDmwq6TOV7CnyMcjs2KyKcZ1V0ZVVrngOBitIoDwdrIi7warYQXx56eYEyIkbCu6SgXpQAbTc/s320/Otto+%2526+Guido+1907.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A picture of the painter <a href="https://de.wikipedia.org/wiki/Otto_Seraphim_Peters" target="_blank">Otto Peters</a> and his half-brother Guido taken in June 1907 in the <i>Atelier Veritas</i> in Munich (A-Wn, Musiksammlung, Misc.31/IV). Otto Peters's last main residence was <a href="https://en.wikipedia.org/wiki/Glonn" target="_blank">Glonn</a> near Munich. In November 1908, during a stay in Vienna, he committed suicide by hanging in the apartment of his brother, the gynecologist <a href="https://scopeq.cc.univie.ac.at/Query/detail.aspx?ID=204075" target="_blank">Dr. Hubert Peters</a>. </span></div>
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Carl Ferdinand Peters died on 7 November 1881, in Graz. The fact that the collection named "Dokumente aus dem Nachlass von Guido Peters" contains three different pictures of his daughter Selma Peters and her husband, proves that it was her who in 1881 inherited the Grillparzer photograph. Selma Peters is the key person for further tracking the provenance of the photo.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7gQHBe6m6hbtLSstqhhey4Ctv1DxEbWEWeRjSnSqomRiSOEQwgt7jTphagiZV24bgkwlga4_OuSTSwpA3hdQN9THwErOCkGoPZkwZ5-oCqrNyIfBG6VhfuLb95hmNVbCFg19H_gtVeLs/s1600/Selma+Artner+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1126" data-original-width="732" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7gQHBe6m6hbtLSstqhhey4Ctv1DxEbWEWeRjSnSqomRiSOEQwgt7jTphagiZV24bgkwlga4_OuSTSwpA3hdQN9THwErOCkGoPZkwZ5-oCqrNyIfBG6VhfuLb95hmNVbCFg19H_gtVeLs/s320/Selma+Artner+%25282%2529.jpg" width="208" /></a></div>
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<span style="font-size: x-small;">A photograph of Selma Peters taken in 1898 by <a href="https://commons.wikimedia.org/wiki/Category:James_Russell_and_Sons" target="_blank">James Russell and Sons</a> in London (A-Wn, Musiksammlung, Misc.31/IV)</span></div>
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On 28 October 1908, at St. Stephen's in Vienna, Selma Peters married <a href="https://scopeq.cc.univie.ac.at/Query/detail.aspx?ID=209292" target="_blank">Dr. Franz Xaver Artner</a> (b. <a href="http://data.matricula-online.eu/de/oesterreich/wien/wiener-neustadt-hauptpfarre/01-20/?pg=239" target="_blank">10 Oct 1880</a>), professor of Latin and history at Vienna's <a href="https://en.wikipedia.org/wiki/Theresianum" target="_blank">Theresian Academy</a>, who was 23 years her junior (<a href="http://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-096/?pg=397" target="_blank">A-Wd, Tom. 96, fol. 393</a>). In the marriage records Selma Peters is described as "lady companion of Countess von Stubenberg" (most likely <a href="https://www.biographien.ac.at/oebl/oebl_B/Berger-Stubenberg_Mathilde_1863_1927.xml" target="_blank">Mathilde von Stubenberg</a>, nèe Baroness Tinti).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTH2bpYSisrhwvtB7apM10NL999wmIHaw9FHLg3bZW5iAB6w35FDV2YUebndhsRt0gnjwnMnXjjCf-2PPQJxl6aNrV0x5rjLcOtGJbNqbyRqpOPVVKH3ClkKz4yh5Yg8gKm1tLu8qFGkE/s1600/Franz+Artner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1165" data-original-width="701" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTH2bpYSisrhwvtB7apM10NL999wmIHaw9FHLg3bZW5iAB6w35FDV2YUebndhsRt0gnjwnMnXjjCf-2PPQJxl6aNrV0x5rjLcOtGJbNqbyRqpOPVVKH3ClkKz4yh5Yg8gKm1tLu8qFGkE/s320/Franz+Artner.jpg" width="192" /></a></div>
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<span style="font-size: x-small;">Franz Xaver Artner (1880</span><span style="font-size: x-small;">–1948), Selma Peters's husband and Guido Peters's brother-in-law (A-Wn, Musiksammlung, Misc.31/IV). The note "Schw[a]ger des Guido Peters u.s.w." was written by Franz Artner's granddaughter Friederike Artner. </span></div>
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Selma Artner, who had obviously inherited her mother's heart condition, died on 20 March 1913, in Vienna (<a href="http://data.matricula-online.eu/de/oesterreich/wien/04-st-elisabeth/03-26/?pg=42" target="_blank">St. Elisabeth 26, fol. 40</a>). With the exception of her mother's wedding jewelry (which she bequeathed to her niece Elisabeth Peters), her husband Franz Artner inherited all her belongings.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjPoeqkvvbfCMr4X7vVB-WBj4l_sjeeSpDWtwWVy_zvBjC5jeld4XI8ZLECdO4D5Oc6iMPPhO7J4QxfZ_j8mzMvQr8NyY7RvL-lrmapOMy8tgDLxw3-4i9NLriSYi2De2J87U1KpFOjvQ/s1600/Selma+Artner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1139" data-original-width="697" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjPoeqkvvbfCMr4X7vVB-WBj4l_sjeeSpDWtwWVy_zvBjC5jeld4XI8ZLECdO4D5Oc6iMPPhO7J4QxfZ_j8mzMvQr8NyY7RvL-lrmapOMy8tgDLxw3-4i9NLriSYi2De2J87U1KpFOjvQ/s320/Selma+Artner.jpg" width="195" /></a></div>
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<span style="font-size: x-small;">Selma Artner, née Peters (A-Wn, Musiksammlung, Misc.31/IV)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicnHvZMpdZnucv0hTeegDxX8-ghyjW5zsC3g0mKwZ35fdS4APltUjM4g6So1AkVU55gt0wi_2jo48TkK14W6NWFpjtVmrHl5-BXwlY9OsjTWWdoo1l3NLzxpLczeAo3Vct_bHx-AIKZn4/s1600/Selma+Artner%252C+BG+V%252C+1A+121_13+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="936" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicnHvZMpdZnucv0hTeegDxX8-ghyjW5zsC3g0mKwZ35fdS4APltUjM4g6So1AkVU55gt0wi_2jo48TkK14W6NWFpjtVmrHl5-BXwlY9OsjTWWdoo1l3NLzxpLczeAo3Vct_bHx-AIKZn4/s320/Selma+Artner%252C+BG+V%252C+1A+121_13+%25282%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Two pages from Selma Artner's 1908 marriage contract which was valid as her will (A-Wsa, BG V, 1A, 121/13)</span></div>
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Franz Artner's second wife was Wilhelmine von Dabrowska (b. 17 Nov 1890, d. 2 Nov 1972) whom he married on 25 June 1916, in <a href="https://de.wikipedia.org/wiki/Raach_am_Hochgebirge" target="_blank">Raach am Hochgebirge</a>, in Lower Austria (<a href="http://data.matricula-online.eu/de/oesterreich/wien/raach-am-hochgebirge/02-04/?pg=30" target="_blank">Raach, Tom 4, fol. 27</a>). At the time of his wedding, Artner was a volunteer cadet with the I. & R. artillery regiment No. 7, and his bride was working as a voluntary Red Cross nurse in Vienna. Interestingly enough, during the Nazi era, Wilhelmine Artner was to become one of Austria's more prominent resistance fighters. From 1938 until 1943, she was <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Stueck++493822d0-9faa-4e0b-9c9f-c32f6c773232VERA#Stueck__493822d0-9faa-4e0b-9c9f-c32f6c773232VERA" target="_blank">incarcerated in Ravensbrück</a>, and in 1944, was arrested a second time (<a href="https://books.google.at/books?id=O5pVDAAAQBAJ&pg=PA140" target="_blank">Korotin 2016, 140</a>). In 1946 and 1949, she played a major role as witness in the first trial against <a href="https://en.wikipedia.org/wiki/Hermine_Braunsteiner" target="_blank">Hermine Braunsteiner</a> (Mailänder Koslov 2005, 145ff.).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQghlRBiqSncsd1_fq_SGJCXkiWwazeN9x2GTFPFOSoQN9R3jmcMF8CUMcQymtLe2IlSSMKjsYtoCID-h3-dly956ARhtvw3Y6xj4BtmIbY4GuYGqbk3wWPiwTshrdkx_baRZPwtSvJg/s1600/Wilhelmine+Artner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="214" data-original-width="492" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHQghlRBiqSncsd1_fq_SGJCXkiWwazeN9x2GTFPFOSoQN9R3jmcMF8CUMcQymtLe2IlSSMKjsYtoCID-h3-dly956ARhtvw3Y6xj4BtmIbY4GuYGqbk3wWPiwTshrdkx_baRZPwtSvJg/s320/Wilhelmine+Artner.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The photos from Wilhelmine Artner's Gestapo file (DÖW, <a href="https://www.doew.at/erinnern/personendatenbanken/gestapo-opfer" target="_blank">database of Gestapo victims</a>)</span></div>
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Franz and Wilhelmine Artner had a son, Friedrich, who was born on <a href="http://data.matricula-online.eu/de/oesterreich/wien/04-st-elisabeth/01-31/?pg=73" target="_blank">23 September 1917</a>, in Vienna. Their other two children, Elisabeth and Dolores, died in early infancy in 1919 and 1921 (St. Elisabeth <a href="http://data.matricula-online.eu/de/oesterreich/wien/04-st-elisabeth/03-32/?pg=53" target="_blank">32, fol. 50</a>, and <a href="http://data.matricula-online.eu/de/oesterreich/wien/04-st-elisabeth/03-34/?pg=31" target="_blank">34, fol. 29</a>). Wilhelmine Artner's years of imprisonment seem to have led to an
estrangement of the couple, because at the time of Franz Artner's death on 30
January 1948 (A-Wsa, BG I, 12A, 92/48), Artner shared his apartment at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=MyNoRoO4B0bC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10369572" target="_blank">Viktorgasse 20</a> with his housekeeper Magdalena Krainer,
while his wife was living with their son at
Reichsbrückenstraße 14 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=V6CBRghSQEbC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10056852" target="_blank">Lassallestraße 14</a>). Because Franz Artner had left no will, three quarters of his estate went to his son Dr. Friedrich Artner, and one quarter to his widow. The legal procedures only came to a close after the Artner family had reached a settlement with the housekeeper who had made all sorts of claims to her deceased employer's movables.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprveRYpMhMgfIISRFhmB71cMBCuj69I2sZFAW_bbV_2G9k7_7CW4owEajkp3IIXxwd_Q9z5iavd33tpMsGS1QNu9WVa7EnZQYcpjEkQFbzYf3sJTRx9_y9q9HG-EnBRtwcDDfA8FFFmY/s1600/Franz+Artner%252C+BG+I%252C+12A+92_48.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1056" data-original-width="753" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprveRYpMhMgfIISRFhmB71cMBCuj69I2sZFAW_bbV_2G9k7_7CW4owEajkp3IIXxwd_Q9z5iavd33tpMsGS1QNu9WVa7EnZQYcpjEkQFbzYf3sJTRx9_y9q9HG-EnBRtwcDDfA8FFFmY/s320/Franz+Artner%252C+BG+I%252C+12A+92_48.jpg" width="228" /></a></div>
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<span style="font-size: x-small;">A page from Franz Artner's probate file concerning the distribution of his estate (A-Wsa, BG I, 12A, 92/48)</span></div>
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On 2 February 1945 (<a href="http://data.matricula-online.eu/de/oesterreich/wien/04-st-elisabeth/01-31/?pg=73" target="_blank">St. Elisabeth, Tom. 31, fol. 70</a>), Dr. Friedrich Artner, a physician, had
married the lawyer Dr. Paula Karner (1920–2013). The couple had one child, Friederike Artner, born 2 November 1945, who is now living in a retirement home in Lower Austria. It was Friederike Artner who, probably after the death of her mother in 2013, gave the documents related to the Peters and Artner families to the Austrian National Library. The current civil status law and the data protection makes further research into the Artner family impossible. Fortunately, the headstone of the Artner family grave in Vienna's Central Cemetery provides several genealogical data that are missing in the online database of the <a href="https://www.friedhoefewien.at/eportal3/" target="_blank">Friedhöfe Wien GmbH</a>. The inscription not only provides the previously unknown date of death of Wilhelmine Artner (who according to the database seems to have been exhumed from another cemetery in 2008), but also the date of birth of the last member of the family, Friedrich Artner's daughter Friederike. It is notable that at the bottom of the stone the family members are commemorated who were buried in now lost graves, with Selma Peters among them. The von Fürstenrecht family members were relatives of Wilhelmine Artner whose mother had been a Baroness von Fürstenrecht. Louise Steciuk was Wilhelmine Artner's aunt.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0y1jy5Aze4fyREzU-b5jygWohgAv0j3yc13yd-__18XFLDJ48ogRa9sp5oq0Hb3sVWt1X2PiGR55-PQd9KkTpzVNgxdCuHdpjtqJ7nO82geMdpDOFGZAXZvGXH-B2LNM8XY79m8novqw/s1600/Artner+grave+84-2-11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1036" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0y1jy5Aze4fyREzU-b5jygWohgAv0j3yc13yd-__18XFLDJ48ogRa9sp5oq0Hb3sVWt1X2PiGR55-PQd9KkTpzVNgxdCuHdpjtqJ7nO82geMdpDOFGZAXZvGXH-B2LNM8XY79m8novqw/s320/Artner+grave+84-2-11.jpg" width="237" /></a></div>
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<span style="font-size: x-small;">The headstone of the Artner family grave in Vienna's Zentralfriedhof (84/2/11) which is a source for several previously unknown biographical dates.</span></div>
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Beside the photo of Grillparzer, the Peters collection in the ONB contains two more interesting photographic items: 1) An unknown portrait of the writer <a href="https://en.wikipedia.org/wiki/Ellen_Key" target="_blank">Ellen Key</a> taken in Stefanie Ludwig's <i>Atelier Veritas</i> in Munich (mislabelled as Marie von Ebner Eschenbach by Friederike Artner), and 2) a postcard of what must be the earliest surviving photograph of the Austrian poet <a href="https://de.wikipedia.org/wiki/Robert_Hamerling" target="_blank">Robert Hamerling</a>. This is the portrait that served as model for the engraving which in 1878 was distributed by the German publisher <a href="https://de.wikipedia.org/wiki/Otto_Spamer" target="_blank">Spamer</a>.<br />
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<b>The photographer Samuel Volkmann</b><br />
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Very little is known about Samuel Volkmann so far. A quick Google search leads to the following biographical note (based on Starl 2005, 493) on a <a href="https://comartgraz.wordpress.com/2013/12/12/mag-ingrid-moschik-samuel-volkmann-alt-graz-1860-1880/" target="_blank">blog</a> about photography history:<br />
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Around 1860 Samuel Volkmann arrives in Graz to open a photographic studio. It operates under the name »<i>Photographie Parisienne</i>«, and photographers such as Louis Fragney, Charles Corand and Anna Volkmann work for S. Volkmann. The first address is Graz, Mur-Quai 444, or Strassoldo Quai 444, or Neuthorgasse 444, then Graz, Fischmarkt 3, finally Graz, Hafnerplatz 4. Branches are kept in Marburg and Leoben. </blockquote>
It is time to shed some light on the life of a still underrated pioneer of Austrian photography. Samuel Ignaz Volkmann was born on 8 May 1828, in the Viennese suburb of <a href="https://de.wikipedia.org/wiki/Gumpendorf" target="_blank">Gumpendorf</a>, son of the master weaver Ignaz Volkmann and his wife Anna, née Bauer (<a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-019/?pg=323" target="_blank">Gumpendorf 19, fol. 289</a>). Ignaz Volkmann (1798–1854), who had married on 8 May 1825 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/05-st-josef-zu-margareten/02-07/?pg=20" target="_blank">St. Josef zu Margareten, Tom. 7, fol. 18</a>), was the eldest of three brothers, Ignaz, Franz and Peter Volkmann, who, between 1824 and 1837, came to Vienna from the village of Mährisch Rothwasser (today <a href="https://en.wikipedia.org/wiki/%C4%8Cerven%C3%A1_Voda_(%C3%9Ast%C3%AD_nad_Orlic%C3%AD_District)" target="_blank">Červená Voda</a>). Samuel Volkmann was the first of his parents' twelve children who were born between 1828 and 1846. His place of birth was the house Hirschengasse 305 (last No. 382, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=j1lIRlC9EkbC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10194522" target="_blank">Hirschengasse 24</a>). Volkmann did not follow the artisanal path that was prevalent in his family, but became a bookkeeper in the trading firm Höslin & Tischler. On 14 May 1854, in the Gumpendorf parish church (<a href="http://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/02-23/?pg=62" target="_blank">Gumpendorf, Tom. 23, fol. 86</a>), he married his cousin Anna Bauer (b. <a href="https://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/01-022/?pg=265" target="_blank">23 Jul 1835</a>), daughter of a weaver from Gumpendorf.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpDPCVGIUDQgzQazquQnMWe8ys85HqYlWTi2KhNMzyhbcywl86_KBguGPN_fQQ_GyeQq066thC2nF6cAlAmY71pIwi8ARN8SOc9D4KtxR9CKJEZWJqSI2_792YrK-bXBYSpM8Q-UXdNAA/s1600/2.6.1.2.A1%252C+95_1854+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1234" data-original-width="757" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpDPCVGIUDQgzQazquQnMWe8ys85HqYlWTi2KhNMzyhbcywl86_KBguGPN_fQQ_GyeQq066thC2nF6cAlAmY71pIwi8ARN8SOc9D4KtxR9CKJEZWJqSI2_792YrK-bXBYSpM8Q-UXdNAA/s320/2.6.1.2.A1%252C+95_1854+%25281%2529.jpg" width="196" /></a></div>
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<span style="font-size: x-small;">Samuel Volkmann's and Anna Bauer's application to the archepiscopal ordinariate to be permitted to have their wedding take place in the evening of 14 May 1854 (A-Wsa, Serie 2.6.1.2.A1, 95/1854)</span></div>
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Because the couple had a common grandfather (the master weaver Paul Bauer), Volkmann needed an archepiscopal dispensation to be able to get married. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglPV_zfrb5Q9aoDpzVLf8X4Pa31rceJhLDha65Gt3WAjWrRYwZ4DeEn8Xxr_w8g2upNtzP-8WggkZk3AWm8Wwen1mP4XDNVvsuJqvVuSM-U3SIK1GD_yzITgDJgxYYeHVCUHAzsmIhwvg/s1600/2.6.1.2.A1%252C+95_1854+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="1011" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglPV_zfrb5Q9aoDpzVLf8X4Pa31rceJhLDha65Gt3WAjWrRYwZ4DeEn8Xxr_w8g2upNtzP-8WggkZk3AWm8Wwen1mP4XDNVvsuJqvVuSM-U3SIK1GD_yzITgDJgxYYeHVCUHAzsmIhwvg/s320/2.6.1.2.A1%252C+95_1854+%25282%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Samuel Volkmann's and Anna Bauer's marriage permit issued by Vienna's archbishop <a href="https://de.wikipedia.org/wiki/Joseph_Othmar_von_Rauscher" target="_blank">Joseph Otmar Rauscher</a> (A-Wsa, Serie 2.6.1.2.A1, 95/1854)</span></div>
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Volkmann seems to have been very successful in his job, because he was able to spend his honeymoon in Bad Ischl (<i>Ischler Fremden-Blatt</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=cur&datum=18540601&seite=4&zoom=33">1 June 1854</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWq-hxma3n3NeIPxJC5_CivLhh056W_lcRwtWt-xy05-tQjSg338_sBy7_FwEus4MG6Oobtcw0jXbUHPqy39xHVi64A3ZkGTIDSUXn3khweUYzy_WevS0g5yKVipuwu8Ow60K8cAvF8zY/s1600/Samuel+Ignaz+Volkmann+14.5.1854.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="398" data-original-width="1600" height="79" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWq-hxma3n3NeIPxJC5_CivLhh056W_lcRwtWt-xy05-tQjSg338_sBy7_FwEus4MG6Oobtcw0jXbUHPqy39xHVi64A3ZkGTIDSUXn3khweUYzy_WevS0g5yKVipuwu8Ow60K8cAvF8zY/s320/Samuel+Ignaz+Volkmann+14.5.1854.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Samuel Volkmann's wedding on 14 May 1854, in the Gumpendorf parish church (Gumpendorf, Tom 23, fol. 36). On the far right is the note concerning the "Dispens v. päpstlichen Stuhle wegen der Verwandschaft".</span></div>
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After his wedding, Volkmann moved from his father's house Gumpendorf 67 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=etpLRm-cHDEbC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069739" target="_blank">Marchettigasse 5</a>) to Laimgrube 77 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=wgVWRghGFkbC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069367" target="_blank">Linke Wienzeile 44</a>) which is documented by the entry concerning the baptism of their first child Franz August on 14 March 1855 (<a href="http://data.matricula-online.eu/de/oesterreich/wien/06-st-josef-ob-der-laimgrube/01-28/?pg=181" target="_blank">St. Josef ob der Laimgrube 28, fol. 179</a>), and Samuel Volkmann's signature as witness to the wedding of his brother Ignaz on 12 April 1856 (<a href="http://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/02-25/?pg=73" target="_blank">Gumpendorf 25, fol. 46</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCkVVCl-GEsFT-wBzm8Iw0WFSuNDegMDCTy0zvbAzoHEX4wvrqMjwPNWPHAcoHkL4UGgx33uK2CqNmwoYb1cgbkKY7dTscSXipWhODHR6COTk9qqElsXxPSXC7z89DteIrs4uqePF3Sgg/s1600/Volkmann+12.4.1856.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="1020" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCkVVCl-GEsFT-wBzm8Iw0WFSuNDegMDCTy0zvbAzoHEX4wvrqMjwPNWPHAcoHkL4UGgx33uK2CqNmwoYb1cgbkKY7dTscSXipWhODHR6COTk9qqElsXxPSXC7z89DteIrs4uqePF3Sgg/s320/Volkmann+12.4.1856.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Samuel Volkmann's signature in the 1856 marriage entry of his brother Ignaz Volkmann (Gumpendorf, Tom 25, fol. 46)</span></div>
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In May 1857, Volkmann moved to Graz (<i>Grazer Tagespost</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=gpt&datum=18570530&query=%22Volkmann%22&ref=anno-search&seite=4" target="_blank">30 May 1857</a>), where, together with the bookseller Karl Tendler (1825–1904) he acquired the so-called <i>Ferstl'sche Buchhandlung</i> (Ferstl's bookshop) at Herrengasse 223. Tendler and Volkmann not only established a book and art dealer's shop, but also a sheet music rental that was to become the largest institution of this kind in Styria. The business opened on 12 September 1858, which two days later was reported in the local press (<i>Tagespost</i> [Graz], <a href="http://anno.onb.ac.at/cgi-content/anno?aid=gpt&datum=18580914&seite=2&zoom=33" target="_blank">14 September 1858</a>). <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IVuGZLa8M0tuQS7bW5NoAxKuIDfqq-a-JWgWBr4_QUOMynw2mURBmOFkps-DCeJfFsqQgCdsiwUHex69srLjj8NsdKT4p3KigF2zOUZuvqEHAT9ddETT2mqYJCfVFj9k9wgYyLGxeLk/s1600/Grazer+Zeitung+3.11.1858%252C+S.+1898.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="748" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7IVuGZLa8M0tuQS7bW5NoAxKuIDfqq-a-JWgWBr4_QUOMynw2mURBmOFkps-DCeJfFsqQgCdsiwUHex69srLjj8NsdKT4p3KigF2zOUZuvqEHAT9ddETT2mqYJCfVFj9k9wgYyLGxeLk/s320/Grazer+Zeitung+3.11.1858%252C+S.+1898.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A newspaper ad for Karl Tendler's and Samuel Volkmann's sheet music rental in Graz (<i>Grazer Zeitung</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=gra&datum=18581103&seite=6&zoom=33" target="_blank">3 November 1858</a>, 1898)</span></div>
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How Volkmann was able to finance this business enterprise is not clear. Apart from investments of silent partners, he seems to have also used his share of the inheritance of his father Ignaz Volkmann who, on 6 November 1854 (<a href="http://data.matricula-online.eu/de/oesterreich/wien/06-gumpendorf/03-22/?pg=140" target="_blank">Gumpendorf 22, fol. 112</a>), had died a very successful owner of a <a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/336939" target="_blank">house</a> and a linen factory. Samuel Volkmann's addresses in Graz can be traced on the basis of his children's baptismal entries in the Graz parish records. During their stay in Graz (in addition to their first two Vienna-born children Franz and August), Samuel and Anna Volkmann had the following six children.<br />
<ol>
<li>Aloisia, b. 10 May 1858, Salzamtsgasse 26 (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1031/?pg=3" target="_blank">Dom 6, 1373</a>)</li>
<li>Carolina Maria, b. 3 Sep 1859, Salzamtsgasse 31 (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1031/?pg=24" target="_blank">Dom 6, 1394</a>)</li>
<li>Maria Anna, b. 8 Sep 1861, Salzamtsgasse 31 (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1031/?pg=61" target="_blank">Dom 6, 1431</a>), d. 7 Oct 1861 (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1099/?pg=225" target="_blank">Dom 3, 537</a>)</li>
<li>Maria Anna, b. 11 Dec 1863, Salzamtsgasse 31 (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1031/?pg=112" target="_blank">Dom 6, 1482</a>), d. 1 Jan 1864 (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-dom/1099/?pg=4" target="_blank">Dom 3, 6</a>)</li>
<li>Anna Maria, b. 20 Feb 1866, Neuthorgasse 444, (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-mariae-himmelfahrt/1522/?pg=110" target="_blank">Mariae Himmelfahrt 7, fol. 106</a>) </li>
<li>Heinrich b. 5 Sep 1869, Neuthorgasse 444, (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-mariae-himmelfahrt/1522/?pg=161" target="_blank">Mariae Himmelfahrt 7, fol. 157</a>)</li>
</ol>
On 24 March 1862 (<i>Grazer Zeitung</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=gra&datum=18620508&seite=6&zoom=43" target="_blank">8 May 1862, 102</a> [the date "12. Jänner 1850" is a typo for 1858]), Karl Tendler applied for the termination of the business relationship with Volkmann and the joint business was ended. While Tendler continued to run the book and art store (which he eventually <a href="https://books.google.at/books?id=yOcEVx1o8yMC&pg=PA218" target="_blank">sold in May 1873</a>), Volkmann founded a <i>Photographie Parisienne </i>studio which proved to be very successful. Soon Volkmann was able to open branches in Marburg and Leoben. The many photos that Volkmann took in Gleichenberg and Rohitsch Sauerbrunn were taken during his spa stays which he needed to relieve increasing symptoms of tuberculosis. During one of these spa sojourns, on 27 June 1874, at 1 p.m., he collapsed and died in the bathhouse in Gleichenberg (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/trautmannsdorf/5263/?pg=147" target="_blank">Trautmannsdorf 7, 290</a>). He was transferred to Graz to his apartment at Fischplatz 3 (today <a href="https://goo.gl/maps/F5Xicyy8bpf1Y9D87" target="_blank">Andreas-Hofer-Platz 3</a>) and on 30 June 1874, at 3 p.m., was buried in the St. Peter's cemetery (<a href="https://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-mariae-himmelfahrt/1758/?pg=133" target="_blank">Mariae Himmelfahrt 5, fol. 131</a>). Volkmann's death notice, which was published on 28 June 1874, in the <i>Tagespost</i>, shows that he was survived by five of his eight children.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioRDkh7zdvdMbHmkd9cVSzYy52onSGC0uda0FPqgcLTgWbwFPLm1KlmVKnEdUDc35VvYx-Whu-pTxXXA5s1l4WuJjgQ5jaBzV2kBScmHQtKVqH2facKM90deqY7DWhZh6DPj6axlvidoE/s1600/Tagespost+Graz+28.6.1874.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="384" data-original-width="764" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioRDkh7zdvdMbHmkd9cVSzYy52onSGC0uda0FPqgcLTgWbwFPLm1KlmVKnEdUDc35VvYx-Whu-pTxXXA5s1l4WuJjgQ5jaBzV2kBScmHQtKVqH2facKM90deqY7DWhZh6DPj6axlvidoE/s320/Tagespost+Graz+28.6.1874.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Samuel Volkmann's death notice (<i>Tagespost Graz</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=gpt&datum=18740628&seite=14" target="_blank">28 June 1874</a>)</span></div>
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Anna Volkmann continued to run her husband's photo studio until her death on 27 June 1879 (<a href="http://data.matricula-online.eu/de/oesterreich/graz-seckau/graz-mariae-himmelfahrt/1758/?pg=187" target="_blank">Mariae Himmelfahrt 5, fol. 185</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBD6nmxkIATBbgigBKFR_Ro3GF8QVKU9z1TmPGkzsDB62WfN5F0tyAN_vFyaBQZ7fjWoWJ5YLgZshKFbt-xrJUr1YwCa3tcdBs_NFBiOlMbyl9X-Tat5f7EuhYx2POu3oM1Fmi2t9F8eQ/s1600/Anna+Volkmann+1877..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1447" data-original-width="903" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBD6nmxkIATBbgigBKFR_Ro3GF8QVKU9z1TmPGkzsDB62WfN5F0tyAN_vFyaBQZ7fjWoWJ5YLgZshKFbt-xrJUr1YwCa3tcdBs_NFBiOlMbyl9X-Tat5f7EuhYx2POu3oM1Fmi2t9F8eQ/s320/Anna+Volkmann+1877..jpg" width="199" /></a></div>
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<span style="font-size: x-small;">The studio insignia of Anna Volkmann in 1877. The profiles of Niepce, Daguerre, and Talbot had already graced the backside of her husband's photographs (© Bildarchiv SAGEN.at)</span></div>
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<br />
<b>Bibliography</b><br />
<blockquote class="tr_bq">
</blockquote>
<blockquote class="tr_bq">
Bianchi, Johanna. 1980. "Vier unveröffentlichte Briefe von Leopold von Sonnleithner", in: <i>Studien zur Musikwissenschaft</i> 31, 49-66, Tutzing: Schneider.</blockquote>
<blockquote class="tr_bq">
Glossy, Carl. 1891. "Aus dem Grillparzer-Archiv. Briefe von und an Grillparzer", in: <i>Jahrbuch der Grillparzer-Gesellschaft. Erster Jahrgang 1890</i>. Wien: Verlag von Carl Konegen.</blockquote>
<blockquote class="tr_bq">
Grillparzer, Franz. (no year). <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=254&bd=0000001&zoom=2" target="_blank"><i>Briefe und Tagebücher. Eine Ergänzung zu seinen Werken</i></a>. Gesammelt und mit Anmerkungen herausgegeben von Carl Glossy und August Sauer. Erster Band: Briefe.</blockquote>
<blockquote class="tr_bq">
Hubmann, Bernhard. 2000. "<a href="https://opac.geologie.ac.at/ais312/dokumente/Ber_Inst_Geol_Pal_Univ_Graz_01_004_017.pdf" target="_blank">Eine glückliche Vereinigung von scharfsinniger Beobachtungsgabe mit schwungvoller Phantasie: Eine biographische Skizze zum 175. Geburtstag von Carl Ferdinand Peters </a>", in: <i>Berichte des Institutes für Geologie und Paläontologie der Karl-Franzens-Universität Graz</i>, 1, 2000, 4-17.</blockquote>
<blockquote class="tr_bq">
–––––. 2001. "<a href="https://www.zobodat.at/biografien/Peters_Carl_Ferdinand_BerichteGeolBundesanstalt_53_0031-0048.pdf" target="_blank">Carl Ferdinand Peters (1825-1881). Beitrag zu seiner Biographie</a>". in: <i>Berichte der Geologischen Bundesanstalt</i>, Band 53, Vienna.</blockquote>
<blockquote class="tr_bq">
Korotin, Ilse. 2016. <a href="https://books.google.at/books?id=O5pVDAAAQBAJ&pg=PA0" target="_blank"><i>biografiA. Lexikon österreichischer Frauen</i></a>, Volume 1, Wien Köln Weimar: Böhlau Verlag </blockquote>
<blockquote class="tr_bq">
Lorenz, Michael. 2001. <i>Studien zum Schubert-Kreis</i>, Ph. Diss., University of Vienna.</blockquote>
<blockquote class="tr_bq">
Mailänder Koslov, Elissa. 2005. "Weil es einer Wienerin gar nicht liegt, so brutal zu sein ..." Frauenbilder im Wiener Volksgerichtsverfahren gegen eine österreichische KZ-Aufseherin (1946-1949). <i>Zeitgeschichte</i> 3, Innsbruck: Studienverlag, 128-150. </blockquote>
<blockquote class="tr_bq">
Starl, Timm. 2005. <i>Lexikon zur Fotografie in Österreich 1839 bis 1945</i>. Vienna: Album Verlag. </blockquote>
<blockquote class="tr_bq">
Wurzbach, Constant von. 1870. "<a href="https://de.wikisource.org/wiki/BLK%C3%96:Peters,_Karl_Ferdinand" target="_blank">Peters, Karl Ferdinand</a>", <i>Biographisches Lexikon des Kaiserthums Oesterreich</i>, 22. Theil, 78-89, Wien: k.k. Hof- und Staatsdruckerei.</blockquote>
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© Dr. Michael Lorenz 2020. All rights reserved.<br />
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Updated: 4 December 2021<br />
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<b>Postscript</b><br />
<b></b><br />
On the occasion of a <a href="https://www.derstandard.at/story/2000117910599/musikwissenschafter-entdeckte-unbekannte-grillparzer-fotografie" target="_blank">newspaper report</a> about the above discovery, which on 8 June 2020, was published by the Austrian newspaper <i>Der Standard</i>, some uninformed and downright hateful onlookers claimed that the above discovery "cannot have been a discovery, because the photograph was found in a library and therefore must have been catalogued already". This presumption is false. The above photograph (as of 2020) did not appear in the online catalog of the <a href="https://www.onb.ac.at/" target="_blank">Austrian National Library</a>, and was not listed there as part of the collection "Fotografien, Dokumente und Schriftstücke aus dem Nachlass von Guido Peters bzw. Paula Artner" (<a href="https://search.onb.ac.at/primo-explore/fulldisplay?docid=ONB_alma21312642010003338&context=L&vid=ONB&lang=de_DE" target="_blank">A-Wn, Musiksammlung, Misc.31/IV</a>). Even the ONB's staff themselves would not have been able to find it if they tried. The photograph could only be discovered by chance and from inside the library.
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<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-12466024156794070332020-02-16T14:04:00.013+01:002023-07-29T10:02:43.363+02:00A Mozart ForgeryIn the April 1956 issue of the <i>Österreichische Musikzeitschrift</i> (11. Jahrgang, Heft 4, 146f.), Erich Hermann Mueller von Asow published a short article, entitled "Mozart als Zeuge" ('Mozart as witness'). The article presented a document from 1789, held by the <a href="https://musikverket.se/musikochteaterbiblioteket/" target="_blank">Musik- och teaterbiblioteket</a> in Stockholm. It is a receipt, signed by a certain Elisabeth Rothmann, which allegedly bears Mozart's signature. Mueller von Asow's article begins with the following short introduction.<br />
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In its collection of autographs, the Royal Swedish Academy of Music in Stockholm holds a document signed by Wolfgang Amadeus Mozart as a witness, concerning a payment made by Martin Rothmann to his sister-in-law Elisabeth Rothmann, widowed Born. The document, of which the librarian Ph. Lic. <a href="https://sv.wikipedia.org/wiki/G%C3%B6sta_Morin" target="_blank">Gösta Morin</a> has kindly given us a photocopy, reads as follows. </blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEHiGoWKKicMo-Q5SBxHS6VTsZOOCCF16pYZdlgIb93Q7qEl_WNlKfN68X4ImGlYI9P5Kn0mrPSfy5e8sdgAd3gfL_wnf3At3PaIVXbLxXC8IaPH75EOXab6TkFUnCOmRPcyFIF3IihAc/s1600/%25C3%2596MZ+1956+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1358" data-original-width="1600" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEHiGoWKKicMo-Q5SBxHS6VTsZOOCCF16pYZdlgIb93Q7qEl_WNlKfN68X4ImGlYI9P5Kn0mrPSfy5e8sdgAd3gfL_wnf3At3PaIVXbLxXC8IaPH75EOXab6TkFUnCOmRPcyFIF3IihAc/s320/%25C3%2596MZ+1956+%25281%2529.jpg" width="320" /></a></div>
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Mueller von Asow sent a research request to the Vienna Municipal Archives (whose original could not be found in the holdings of the Magistratsabteilung 438). His commentary (<i>Österreichische Musikzeitschrift</i> 1956, 147) reads as follows.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSuFpwzHOBaJtbM6RSg7DCveqeiOjTpOoEbPxqzeSUXdLPDKa6YSLpa29r81wlBglORtADzCZe0iYqnln3lSILvHNApzdN-BkfU6EtemXpRMybDwLGAjIPG7dnNVXMNDnn4VKlQo2j6K0/s1600/%25C3%2596MZ+1956+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1041" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSuFpwzHOBaJtbM6RSg7DCveqeiOjTpOoEbPxqzeSUXdLPDKa6YSLpa29r81wlBglORtADzCZe0iYqnln3lSILvHNApzdN-BkfU6EtemXpRMybDwLGAjIPG7dnNVXMNDnn4VKlQo2j6K0/s400/%25C3%2596MZ+1956+%25282%2529.jpg" width="260" /></a></div>
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<i> </i></div><div class="separator" style="clear: both; text-align: left;"><i>[translation:]</i></div>
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Nothing can be found about Elisabeth Rothmann (Rottmann?) in the Municipal Archives of Vienna, despite reviewing the probate files of the Schotten and the Vienna magistrate from between 1791 and 1820 (For the arduous search, the author gives thanks to the head of the archive <a href="https://www.geschichtewiki.wien.gv.at/Rudolf_Geyer_(Historiker)" target="_blank">Dr. Geyer</a>, and <a href="https://www.geschichtewiki.wien.gv.at/Max_Kratochwill" target="_blank">Dr. Kratochwill</a>).<br />
According to the <i>Hof- und Staats-Schematismus der Residenzstadt Wien</i> from 1791, the following people can be documented: Philipp Rottman, living at Rauhensteingasse 1352 (a new building designed by the civil master mason Franz Jäger), who was an accessist at the department of clerical foundations which was a part of the Royal Hungarian and Transylvanian accounting department, and the council protocolist Ignaz von Rottmann who resided at Preßgasse 464, a house which belonged to a certain Joseph von Weinbrenner. He was born around 1768 in Pilsen, later became privy councilor and president of the Landrechte Court in Lemberg, and died on 26 April 1815 in Venice, leaving behind a daughter Therese who had been born around 1811 (<i>Monatsblatt Adler</i>, vol. XII, 1935, p. 108). It couldn't be cleared up yet if these aforementioned persons had any family relations to Elisabeth Rothmann. The address in Rauhensteingasse could point to a relation to Mozart. On the other hand, that Elisabeth Rothmann signed as "widowed J. A. Born", might suggest that the witnesses von Kunnersdorff and von Spaugk were members of the same Masonic Lodge as Mozart and the well-known geologist and mineralogist Ignaz von Born (1742-1791).<br />
It is to be hoped that the local Viennese historians will be able to uncover more details about the persons that appear in the document and to clarify the reasons for the payment.</blockquote>
Because this receipt was included in the <i>Dokumente</i> (Deutsch 1961, 304f.), a translation of the document was published in the English edition of Mozart documents (Deutsch 1965, 348).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFYLsqW1f_agNzrS66Ws0XPDvY2oiQ8AMeFAGyExy34aErFY3Ubvmf4-XHGfXPOr-9xd15Pi2ECozklT9KSuckkLXendU9d8qOj7Kt6nzEz-JR7BNdk6PeEfONGKLPC-R8LIN0WkA1x3U/s1600/Deutsch+p.+348.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="535" data-original-width="745" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFYLsqW1f_agNzrS66Ws0XPDvY2oiQ8AMeFAGyExy34aErFY3Ubvmf4-XHGfXPOr-9xd15Pi2ECozklT9KSuckkLXendU9d8qOj7Kt6nzEz-JR7BNdk6PeEfONGKLPC-R8LIN0WkA1x3U/s320/Deutsch+p.+348.jpg" width="320" /></a></div>
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Like those of many other documents in Deutsch's <i>Documentary Biography</i>, the above translation is flawed. For unknown reasons Mozart's name is turned into "Mozard", "Spaugk" became "Spaug", and the abbreviation "K." (meaning "Imperial") is mistranslated as "R." ("Royal"). Furthermore, the "mp." (<i>manu propria</i>) after Mozart's name is missing.<br />
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When about 20 years ago, I first became aware of Mueller von Asow's article and read the ominous receipt, it made a strange impression on me right away. What particularly aroused my suspicion back then, were the names "von Kunnersdorff" and "von Spaugk". Noble families by these names never existed. Apart from the lack of clarity in the text of this supposedly significant receipt, several inaccuracies in Mueller von Asow's commentary also caught my attention. First, his research request to the Vienna City Archives had been incomplete. He should have asked the archivists to find documentary traces of the demise of Elisabeth Rothmann's "much-loved" brother-in-law Martin Rothmann who – according to the receipt – must have died in 1789. Mueller von Asow seems not to have realized this crucial circumstance. Second, it is not clear why Geyer and Kratochwill limited their search for Elisabeth Rothmann in the indexes of the registers<i> </i>to 1791–1820. Such a search must always start with the date of the last known trace of life which, in this case, is the date of the receipt. Mueller von Asow's guesses about Mrs. Rothmann's possible family relation to Philipp Rottmann and Ignaz von Rottmann added no relevant information at all. <br />
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When in September 2019, at a flea market, I bought the original issue of the 1956 <i>Österreichische Musikzeitschrift</i> (which contains the first publication of the 1789 receipt), my interest was awakened again. I asked the library of the <i>Musik- och teaterbiblioteket</i> in Stockholm to send me a scan of the original document. What I received from Sweden exceeded my wildest expectations.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Mif59GLfk7957OB1D25k631PvTtfWYIO8EZc6gWJp5hul15lxVi1RIRHyZKHRLPKEFR3RkI4R-hsK1mPqLcqCzdErLsg_slRJZ3uihQpS6ik8C9dMwp2wah7jv1vLtuZfsTi6hSThvM/s1600/Brev+B8_14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="883" data-original-width="749" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Mif59GLfk7957OB1D25k631PvTtfWYIO8EZc6gWJp5hul15lxVi1RIRHyZKHRLPKEFR3RkI4R-hsK1mPqLcqCzdErLsg_slRJZ3uihQpS6ik8C9dMwp2wah7jv1vLtuZfsTi6hSThvM/s320/Brev+B8_14.jpg" width="271" /></a></div>
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<span style="font-size: x-small;">Elisabeth Rothmann's receipt, allegedly signed by Mozart (S-Skma, Brev B8:14)</span></div>
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<span class="tlid-translation translation" lang="en"><span title="">Almost nothing about this document makes any sense. </span></span>The issue at hand is not whether this receipt is a forgery. It is the question who in God's name would have the audacity to produce such a clumsy piece of work, and how it was ever possible to make anybody believe that this is a genuine Mozart document. The written text – in character as well as in content – is rife with ahistorical (or rather pseudohistorical) details that have no place in a handwritten document from Mozart's time. Some details are reminiscent of the legendary forger Josef Kuderna (1886–1952) whose written forgeries were so clumsy that at one of his trials the prosecutor expressed pity with the defendant. With the exception of Mozart, none of the persons appearing in this
document ever existed. With the help of archival registers and
catalogs, as well as today's vast digital databases, such as <a href="https://genteam.at/" target="_blank">genteam</a>, <a href="http://anno.onb.ac.at/" target="_blank">anno</a>, and <a href="http://data.matricula-online.eu/" target="_blank">matricula</a>,
it is actually possible to determine if a person lived in 18th-century Vienna. "Kunnersdorf" and "Cunersdorf" are names of several European towns and villages, but not of a noble family. The same goes for the name "von Spaugk" (or, according to a later transcription, "Spaugh") which is completely fictitious. The two Rottmanns, whom Mueller von
Asow introduced in his commentary, had no provable relation to any Elisabeth Rothmann. The first one, the state official Philipp Rottmann, was born in 1758 in Wiener Neustadt, son of the merchant Philipp Rottmann. On <a href="http://data.matricula-online.eu/de/oesterreich/wien/01-franziskaner/02-01/?pg=75" target="_blank">8 May 1787</a> at the Franziskanerpfarre, he married Maria Anna Melzer (1768–1819) with whom he had three children (of whom only one was still alive in 1819). The couple separated in 1796, when Maria Rottmann began a lifelong relationship with the writer <a href="https://en.wikipedia.org/wiki/Joseph_Schreyvogel" target="_blank">Joseph Schreyvogel</a> with whom she had an illegitimate daughter named Carolina Wölf (1797–1866). Maria Rottmann could afford to leave her husband, because she had inherited a share of the house Stadt 186 from her wealthy father. Her daughter from her marriage, Theresia Rottmann (1788–1855), on <a href="http://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/02-41/?pg=76" target="_blank">23 September 1810</a> became the wife of the publisher and art dealer <a href="https://de.wikipedia.org/wiki/Pietro_Mechetti" target="_blank">Pietro Mechetti</a>. As witness to the wedding officiated Joseph Schreyvogel whose signature appears in Mechetti's marriage contract (A-Wsa, Serie 2.3.2.A3, Fasz. 3, 1. Reihe, M 104). At the time of his estranged wife's death, Philipp Rottmann was living in St. Pölten (A-Wsa, Mag. ZG, A2, 2781/1819). A Magdalena Rottmann living in St. Pölten is listed as heir of a 50 fl annuity in the 1853 will of Theresia Mechetti, née Rottmann (A-Wsa, Handelsgericht, A51, 36/1856). The second Rottmann, brought up by Mueller von Asow, the president of the <a href="https://en.wikipedia.org/wiki/Lviv" target="_blank">Lemberg</a> Landrechte court, Ignaz von Rottmann also had no provable relation to an Elisabeth Rothmann. His first wife, whom he married in Kraków, was Barbara Haller (1767–1805). On 21 July 1810, in Vienna (<a href="http://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-082a/?pg=281" target="_blank">A-Wd, Tom 82a, fol. 260</a>), Rottmann married again. His second wife was Theresia von Rainer (b. 18 June 1786, in Vienna) who on 5 September 1812, in Lemberg (Slezak, 67), gave birth to a daughter Therese (whom Mueller von Asow mentions in his commentary). Therese von Rottmann married a Count Bobrowski von Bobrówka and died in 1888. Ignaz von Rottmann's probate file (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=1740622" target="_blank">AT-OeStA/AVA Inneres NÖLR Allgemein A 54.5</a>) is currently not accessible due to damage from the 1927 fire at the Vienna palace of justice. Ignaz's brother Vinzenz von Rottmann had died a bachelor on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17920602&seite=11&zoom=33" target="_blank">29 May 1792</a> in Vienna. The name of their only sister was Josepha (A-Wsa, Akt 3.3.10.FA.791, Haansche Regesten).<br />
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Let us consider the legal scenario that is presented in the receipt. A certain Mr. Martin Rothmann has died and (as will be shown below) has left his sister-in-law Elisabeth Rothmann 6,000 gulden which are being paid out by the executors of his will in three installments of 2,000 gulden. Since Mrs. Rothmann must be the wife of Martin Rothmann's brother, it is not clear why she signs as "widowed J. A Born". After all, since she is the widow of a Mr. J. A Born (not "von" Born!), she cannot legally sign as Elisabeth Rothmann. Equally unclear is why her husband – Martin Rothmann's brother – who should be his brother's main heir, does not take over the inherited money from the civil court. Or has he died as well? No Martin Rothmann is documented to have died in Vienna between 1785 and 1789. That the alleged executors of Martin Rothmann's will paid out the money to his sister-in-law, is highly unusual. The law demanded that such high amounts of money should remain in the safekeeping of the court. It was far too risky to leave such assets in the hands of private individuals. The use of three witnesses is also at odds with the customary legal practice at the time. Mrs. Rothmann was the legal heir of her brother-in-law's bequest. The simple process of receiving this bequest did not require three witnesses. Multiple witnesses were only needed for contracts that contained important legal agreements, such as business, purchase of real estate, and wedding contracts.<br />
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It comes as no surprise that there is also no member of the Born family that could serve as a candidate of Elisabeth Rothmann's allegedly deceased husband. Ignaz von Born, the famous mineralogist, died but in 1791. His widow, whose maiden name had been Magdalena von Montag, died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18180407&seite=3&zoom=33" target="_blank">3 April 1818</a>. Ignaz's younger brother Franz Xaver von Born died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18210406&seite=3&zoom=33" target="_blank">2 April 1821</a> at the age of 77. The name of his wife, whom he had married in 1768, was Josepha von Bolza. She died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18251214&seite=3&zoom=33" target="_blank">9 December 1825</a>. The third Born sibling, a captain in the infantry regiment No. 56 of the I. & R. Austrian Army, on <a href="http://data.matricula-online.eu/de/oesterreich/wien/brunn-am-gebirge/02-01/?pg=154" target="_blank">22 August 1767</a>, in Brunn am Gebirge, married Antonia von Rieger, daughter of an I. & R. court councilor. No relation can be established between the von Born family and a person named Elisabeth Rothmann. It is quite obvious that the name "Born" was only put on the receipt to add a touch of Mozart's social environment.<br />
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Several passages in the document show a gross ignorance of basic historical and genealogical facts. The use of a single "K." before the names, instead of the usual "K.K." (meaning "Kaiserlich Königlich") is highly unusual. The amount of money in a receipt was always written in numbers, and, if necessary, in additional words. Never in words alone. The term "Floriner harten Geldes" ("Florins in hard cash") did not exist in Mozart's Vienna, because at that time there was no gulden coin. In 1789 Vienna hard cash consisted of Spezies- and Konventionstaler, various types of ducats, and kreuzer whose silver twenty coin was the most frequently used piece of currency. A sum of two thousand gulden would most likely have been paid out in ducats. The word "gegeben" before the date of a document was not used in Vienna; at least I have never seen it being used this way in any of the thousands of historical documents that I have scrutinized.<br />
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The constant inclination of the letters, together with the very characteristic and desperately made to look old-fashioned letter "g" are telltale signs that the whole document was written by one single person. The descriptive line "Madame Rothmannins quittierung [...]" at the top, with the ludicrously fake-historical word "fyr" (which actually reads "fgr") already shows the hand of the person that signed as Mrs. Rothmann, and also produced all the signatures of the alleged three witnesses. The letter "g" in "Ignatz" gives away the scribe. The "Mozart" signature was done with a stronger effort of disguise, but to no avail. Not only had the forger obviously never seen a genuine Mozart signature, he also had no idea what the "mp" (<i>manu propria</i>) sign after a signature was supposed to look like. Hence he produced the following curiosity, with an "mp" that looks like a capital "A" enclosed in a "C". The hook of the "z" and the inclination of the letters again give away the same hand.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFgf7AtLy7qXmZhvGVGjMH8dHo0sZn_gZvDTpkG-xdF-7d7fTIw3vcS0G1YbThMCz4qcwkM9hD71z6QKhFdVnQ1_ctcTWygTbGRS486TWuz8-SF6PACMn_4gqGvgxmOyWLAXgbbsW5XE/s1600/Brev+B8_14clip.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="485" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFgf7AtLy7qXmZhvGVGjMH8dHo0sZn_gZvDTpkG-xdF-7d7fTIw3vcS0G1YbThMCz4qcwkM9hD71z6QKhFdVnQ1_ctcTWygTbGRS486TWuz8-SF6PACMn_4gqGvgxmOyWLAXgbbsW5XE/s320/Brev+B8_14clip.jpg" width="320" /></a></div>
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To illustrate the absurdity of the above forgery, let us look at a genuine Mozart signature from Mozart's letter to Sebastian Winter from 30 September 1786: the "mp" is only a zigzag line below the name, the "ca" at the end of the signature is Mozart's characteristic shortening of the attribute <i>Cavaliere</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX9j4pg8Wz6hVO-dCEnhD8WfawmLr3FUwq0NVcL8kpaOowStENcmLLekFieTfNGrIt9evQpd5xmBEjC-FJYpW0es_VA8C7fOvI3zSXddoVp1_Fe7c-CywEnkTfXp2aTnY4sEgFjX991ng/s1600/D-KA%252C+Don+Mus.+Autogr.+45.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="508" data-original-width="842" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX9j4pg8Wz6hVO-dCEnhD8WfawmLr3FUwq0NVcL8kpaOowStENcmLLekFieTfNGrIt9evQpd5xmBEjC-FJYpW0es_VA8C7fOvI3zSXddoVp1_Fe7c-CywEnkTfXp2aTnY4sEgFjX991ng/s320/D-KA%252C+Don+Mus.+Autogr.+45.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Mozart's closing formula in his letter to Sebastian Winter (D-KA, Don Mus. Autogr. 45)</span></div>
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During the 1770s, Mozart's typical "Ca" token was much more distinct. Here is another example, at the end of his signature in the letter of 3 July 1778 to Abbé Bullinger.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9-x4cNVrFBsUiW3yO2ECPx5zIWr3u2bgGw_u-cOhTzQL_CGnqH-OiD-jdRHz62SbbioemgibNE0Z6r_uiN4vJbW3wxGpznhXMfYYIbkfFJwi0NFOdKfo3NyMi407BdQ37CYt_X3yJig/s1600/Mozart+3.7.1778.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="703" data-original-width="1246" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9-x4cNVrFBsUiW3yO2ECPx5zIWr3u2bgGw_u-cOhTzQL_CGnqH-OiD-jdRHz62SbbioemgibNE0Z6r_uiN4vJbW3wxGpznhXMfYYIbkfFJwi0NFOdKfo3NyMi407BdQ37CYt_X3yJig/s320/Mozart+3.7.1778.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Mozart's return address and closing formula in his letter of 3 July 1778 from Paris to <a href="https://de.wikipedia.org/wiki/Joseph_Bullinger" target="_blank">Abbé Bullinger</a> in Salzburg (current owner unknown)</span></div>
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The signatures of the witnesses Johann Carl Cetto von Kronstorff, Franz Gilowsky De Urazowa, and Johann Thorwart on Mozart's 1782 marriage contract nicely show how genuine "mp" signs were supposed to look like.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVL6Te7qSWriGZCg7ZPg4dHFbysrbrOfh99db0En998fq_6UQLwuazfAlk5V8m2xSaVwtfWaI2X7Ay7x9B0HGjylfP54usrhsSELhtbNsaoyF17GZpFo32RqxCI5Sxf5W-JylBnKaYEWg/s1600/Zweig+MS+69+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="715" data-original-width="1117" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVL6Te7qSWriGZCg7ZPg4dHFbysrbrOfh99db0En998fq_6UQLwuazfAlk5V8m2xSaVwtfWaI2X7Ay7x9B0HGjylfP54usrhsSELhtbNsaoyF17GZpFo32RqxCI5Sxf5W-JylBnKaYEWg/s320/Zweig+MS+69+%25281%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The seals and signatures on Mozart's marriage contract (GB-Lbl, <a href="https://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Zweig_MS_69" target="_blank">Zweig MS 69</a>). This document once was an integral part of Mozart's <i>Sperrs-Relation</i> (probate file) where it had the legal function of Mozart's will (<i>vis testamenti</i>). At some time between 1856, when the Landesgerichts-Directionsadjunkt Joseph Laimegger (1814-1895) made a copy for Otto Jahn, and the death of its first private owner <a href="https://en.wikipedia.org/wiki/Franz_Hauser" target="_blank">Franz Hauser</a> in 1870, this contract must have been stolen from the archive of the Vienna Landesgericht. That the text and the storage place of the contract on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=apr&datum=18571219&seite=3&zoom=33" target="_blank">19 December 1857</a> were published in the newspaper <i>Die Presse</i>, certainly did not increase the safety of the document. To disguise the origin of the contract, already in the catalog of the 1905 auction, the sellers created a false narrative of "two different versions of the contract, one for Mozart and one for the bride" (Boerner, 1905, 17). Such discrepancies, however, would have been against the law. The two contracts had to be identical. The note in Mozart's <i>Sperrs-Relation</i> proves that there was only one copy of the contract. The dissimilarities between Jahn's edition and the original were caused by Laimegger's transcription errors. In 1905 the contract was bought by Edward Speyer from whose collection, in 1935, it went to Stefan Zweig.</span></div>
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When in 1991 Cliff Eisen's collection <a href="https://books.google.at/books?id=2qqoPVQFjhoC&printsec=frontcover" target="_blank"><i>New Mozart Documents: A Supplement to O.E. Deutsch's Documentary Biography</i></a> was published, it became known that there is another copy of Elisabeth Rothmann's receipt. Sven Hansson, a Swedish collector, to whom Eisen gave thanks in his preface (Eisen 1991, XVI), owns the receipt for payment No. 3 to Elisabeth Rothmann, dated 10 August 1789. Eisen's edition of this receipt shows two differences from Müller von Asow's transcription: "Spaugk" is now spelled "Spaugh" and the "mp" after Mozart's name is again missing. The fact that one month later Frau Rothmann had exactly the same three witnesses at hand is yet another quite suspicious circumstance.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6iFbweLheP0ZUXCRW5btQZbpNBSHdU1POpBeVmGXNaq0mj-ReMuAFwFIRVPuD8HLajByJQdLiEcMHuzpYmb9DJJxroc9BS0vZHtkib3JT868mKuKr4B_2nNP_-Hno8GSfpiBUsW02o0/s1600/Eisen%252C+p.+62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="727" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6iFbweLheP0ZUXCRW5btQZbpNBSHdU1POpBeVmGXNaq0mj-ReMuAFwFIRVPuD8HLajByJQdLiEcMHuzpYmb9DJJxroc9BS0vZHtkib3JT868mKuKr4B_2nNP_-Hno8GSfpiBUsW02o0/s320/Eisen%252C+p.+62.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The first publication of Sven Hansson's copy of Mrs. Rothmann's receipt (Eisen 1991, 62)</span></div>
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Curiously enough, the German edition of the privately held receipt, which was published in 1997, shows even more discrepancies from Eisen's English edition and the previously published earlier copy of the receipt. "Kunnersdorf" is now again "Kunnersdorff", the name Ignatz is abbreviated to "Ign.", the names Mozart and Spaugh have an "mp" again, and the "J. A." before the name Born is missing. The most significant difference appears in the phrase "a sum of two thousand florins hard cash" which is now "eine summe von zweÿtausend florinern baares[<i>sic</i>] geld", a wording that is also at odds with the text of the receipt published in 1956. Given that meticulous accuracy can be expected from a scholarly edition of primary sources, these discrepancies are astonishing.<br />
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<span style="font-size: x-small;">The first publication of the original text of Sven Hansson's copy of the receipt (Eisen 1997, 63)</span></div>
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Since this receipt is marked "N° 3", and the one from July 1789 bears
the number 2, it can be presumed that there must be a third copy which confirms the first payment of 2,000 gulden in June 1789. This copy, if it exists, has
yet to surface.<br />
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Since Mueller von Asow had a photocopy of the original receipt and undoubtedly knew what real Mozart signatures look like, he bears the main responsibility for the erroneous attribution of these two documents. The whole matter, as curious as it appears today, should serve as a reminder that we must always remain suspicious. Who knows how many Mozart documents, that have been published in print, also have nothing to do with Mozart?<br />
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<b>Bibliography</b><blockquote>
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Boerner, C.G. (ed.). 1905. <i>Katalog der Bibliothek Hauser Karlsruhe</i>, Leipzig. <br />
<br />
Deutsch, Otto Erich. 1961. <i>Mozart Die Dokumente seines Lebens. Mozart. Neue Ausgabe sämtlicher Werke</i>, Serie X: Supplement, Werkgruppe 34. Kassel. Bärenreiter. <br />
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Deutsch, Otto Erich. 1965. <i>Mozart: A Documentary Biography</i>. Stanford: Stanford University Press. <br />
<br />
Eisen, Cliff. 1991. <i>New Mozart Documents: A Supplement to O.E. Deutsch's Documentary Biography. </i>Stanford: Stanford University Press.<br />
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–––––––. 1997. <i>Mozart. Die Dokumente seines Lebens. Addenda, Neue Folge. </i>Wolfgang Amadeus Mozart, Neue Ausgabe sämtlicher Werke, Serie X, Werkgruppe 31, vol. 2. Kassel: Bärenreiter.<br />
<br />
Mueller von Asow, Erich Hermann. 1956. "Mozart als Zeuge", <i>Österreichische Musikzeitschrift</i>, 11. Jahrgang, Heft 4.<br />
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Slezak, Friedrich. 1987. <i>Beethovens Wiener Originalverleger</i>, Forschungen und Beiträge zur Wiener Stadtgeschichte 17, Vienna: Deuticke.</blockquote>
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© Dr. Michael Lorenz 2020. All rights reserved.<br />
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Updated: 15 June 2022
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<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-73324356241333676592019-12-22T18:15:00.004+01:002024-02-20T22:02:46.466+01:00The Death of Chopin's Godson Alexander SteinkellerIn the article "<a href="https://michaelorenz.blogspot.com/2015/09/a-godson-of-frederic-chopin.html" target="_blank">A Godson of Frédéric Chopin</a>", which, on 5 September 2015, I published on this blog, I reported the discovery of a godparenthood of Chopin, who took over this duty during his second stay in Vienna, in 1831. In this article I was able to shed new light on the events during Chopin's second Vienna sojourn, a period of the composer's life which previously had been considered completely covered by Chopin scholars. Chopin's godson was Alexander Steinkeller, who was born on 4 March 1831, son of the Polish industrialist Peter Steinkeller and his wife Anielą, née Anthonin, and was baptized three days later in the parish church of St. Johann Nepomuk in the Viennese suburb of Leopoldstadt. On 6 March 1831, the Sunday following Alexander Steinkeller's birth, Frédéric Chopin was scheduled to give a concert at the Vienna Redoutensaal and did not have time to visit the Leopoldstadt before that event. The Sunday concert was eventually postponed, and on the following Monday, the christening could take place with the parish priest Joseph Gorbach officiating. <br />
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<span style="font-size: x-small;">The entry concerning the baptism of Peter Alexander Steinkeller on 7 March 1831 (St. Johann Nepomuk, Tom. 5, fol. 64)</span></div>
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<span style="font-size: x-small;">Anna Bittmann's and Chopin's signatures in the baptismal entry of Alexander Steinkeller. After Chopin had written down his address, but not his profession, the priest Joseph Gorbach crossed out the address and added the words "Privatier alldort, wohnhaft dermalen in Wien, in der Stadt Nro 1151" (St. Johann Nepomuk, Tom. 5, fol. 64).</span></div>
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Alexander Steinkeller's second godparent Anna Bittmann (1803–1854) was chosen, because she was a cousin of the child's father Peter Steinkeller.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFy8oMngRD0BWEDRfg43EGWVa7iuzB5-hllrQ5pshbGwd37CK-G0RXEy2fo_XKCGf7RTIShxlRCGMD8VT8PPOWiFwu9410bOtWL5y54nlyg4NXOR43gxTlrO4LLDyS62b3UKw1_qsqgo/s1600/Image2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="985" data-original-width="627" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFy8oMngRD0BWEDRfg43EGWVa7iuzB5-hllrQ5pshbGwd37CK-G0RXEy2fo_XKCGf7RTIShxlRCGMD8VT8PPOWiFwu9410bOtWL5y54nlyg4NXOR43gxTlrO4LLDyS62b3UKw1_qsqgo/s320/Image2.jpg" width="203" /></a></div>
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<span style="font-size: x-small;">Alexander Steinkeller's father Piotr Antoni Steinkeller. Portrait from Henryk Radziszewski's and Jan Kinderski's book <a href="https://www.sbc.org.pl/dlibra/publication/60919/edition/57870/content" target="_blank"><i>Piotr Steinkeller. Dwie Monografie</i></a> (Warsaw 1905)</span><br />
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After the discovery of Chopin's godparenthood in December 2013, Alexander Steinkeller's life was not a topic of my research. My work was focused on the publication of previously unknown information related to Chopin's circle of friends in Vienna. Only a systematic examination of all wills submitted to the Vienna district courts in the period from 1850 until 1938 <span class="tlid-translation translation" lang="en"><span title="">brought about the astonishing discovery that Alexander Steinkeller</span></span><span class="tlid-translation translation" lang="en"><span title=""><span class="tlid-translation translation" lang="en"><span title="">, as if driven by an ominous force of homesickness, </span></span> returned to Vienna, where in 1906, he put an end to his life by jumping out of a window of his apartment. </span></span><br />
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The earliest source for Alexander Steinkeller's presence in Vienna is a <i>Meldzettel</i> (certificate of registration), signed by Steinkeller's landlady Marie Münster and dated 27 February 1906, which documents Steinkeller's new address at that time as <a href="https://goo.gl/maps/kxSbCZx7gV72eivGA" target="_blank">Dresdner Straße 53</a>, and his previous residence as <a href="https://goo.gl/maps/djF2UPLnpLSot5Vi7" target="_blank">Volkertplatz 7</a> in Vienna's second district. Curiously, Steinkeller's notice of departure from this abode is given as 13 April 1906 in this document. A telling note on the right margin of the <i>Meldzettel</i>, however, reveals the circumstances of Steinkeller's exodus: "Mit Selbstmord geendet am 15./4 1906" ("Ended with suicide on 15 April 1906"). The word "geendet" was crossed out and replaced with "gestorben".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwBtpQAzD2KO9RHlffhz1P8GwxgtuMXxXyeN9lorQQJZ8kBdDLwczU4uQvl_nL2xv9j6wtdX2rWkWNDKZySwYJQqGQMlO32qxWccSMoTRXDu90Lk2dc5O9meMlIb7CH2_sd-3enUsJr0/s1600/Alexander+Steinkeller+27.2.1906.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1205" data-original-width="1600" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwBtpQAzD2KO9RHlffhz1P8GwxgtuMXxXyeN9lorQQJZ8kBdDLwczU4uQvl_nL2xv9j6wtdX2rWkWNDKZySwYJQqGQMlO32qxWccSMoTRXDu90Lk2dc5O9meMlIb7CH2_sd-3enUsJr0/s320/Alexander+Steinkeller+27.2.1906.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Alexander Steinkeller's last certificate of registration which documents his move on 28 February 1906, from Volkertplatz 7 to his last residence Dresdner Straße 53, and his demise by suicide (A-Wsa, BPD Wien: Historische Meldeunterlagen, Serie 2.5.1.4.K1 - B-Antiquariat)</span><br />
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On 27 February 1906, Steinkeller moved from Volkertplatz 7 in the Leopoldstadt to Dresdner Straße 53 in the district of Brigittenau.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIE68GLAbLu5omrGiITeJhMR-o-qZsASp1okDkc4yXyItXgXfO8XynIlgg4TZ9W8OQiuHq5huqamawDOSosetECMLDwqnT4VDjKaus9Sd-7TuTpv-v4-3yzdcgm0huD-OqW6WQcx2OAJ4/s1600/Volkertplatz+7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1127" data-original-width="764" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIE68GLAbLu5omrGiITeJhMR-o-qZsASp1okDkc4yXyItXgXfO8XynIlgg4TZ9W8OQiuHq5huqamawDOSosetECMLDwqnT4VDjKaus9Sd-7TuTpv-v4-3yzdcgm0huD-OqW6WQcx2OAJ4/s320/Volkertplatz+7.jpg" width="216" /></a></div>
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<span style="font-size: x-small;">Alexander Steinkeller's next-to-last residence, the house Volkertplatz 7 in Vienna's second district</span></div>
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Steinkeller moved into apartment no. 19 on the first floor (second floor American scheme) of the house Dresdner Straße 53 which is located in the right southeastern part of the building facing the Kampstraße.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghMeFbfnEWyrb5j-6DQ4xKeiSRlhd5S7zUWxt6Upg6OXoUCuflELORAnjn51sbwAFOgGl5S5f0cIAe1oW3J6EOLILWxCB3JqqKEAu-23RN4rTCEo_xTyEwdLyzPXfN_HI0Y-sy4tDfxLA/s1600/Dresdner+Stra%25C3%259Fe+53.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1121" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghMeFbfnEWyrb5j-6DQ4xKeiSRlhd5S7zUWxt6Upg6OXoUCuflELORAnjn51sbwAFOgGl5S5f0cIAe1oW3J6EOLILWxCB3JqqKEAu-23RN4rTCEo_xTyEwdLyzPXfN_HI0Y-sy4tDfxLA/s320/Dresdner+Stra%25C3%259Fe+53.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Alexander Steinkeller's last residence, the house <a href="https://goo.gl/maps/JtrPeFkcnsHaJEfq7" target="_blank">Dresdner Straße 53</a>. The left part of the facade faces the Dresdner Straße, the right one faces the Kampstraße.</span></div>
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Because of a complete renovation of the apartments on the first floor in 2019, which included the merging of two apartments into one, the original door of Steinkeller's last apartment does not exist anymore.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDwma9rwGxUZnZqjz8Ie56I3heTMkMdSUayQkSRApbKBQUZjUEXjMpYptqLJfsM9iOrR3Y4RPa_Jz_xyn6Wv6DqdE8Mfx-NOWigdDHTUTzNK6NP85CsChcw6DsgpUnIjWAG5WYevSATEU/s1600/Dresdner+Stra%25C3%259Fe+53+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="988" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDwma9rwGxUZnZqjz8Ie56I3heTMkMdSUayQkSRApbKBQUZjUEXjMpYptqLJfsM9iOrR3Y4RPa_Jz_xyn6Wv6DqdE8Mfx-NOWigdDHTUTzNK6NP85CsChcw6DsgpUnIjWAG5WYevSATEU/s320/Dresdner+Stra%25C3%259Fe+53+%25282%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The situation in June 2019 on the first floor of the house Dresdner Straße 53 where the door of Alexander Steinkeller's apartment was previously located. Two apartments have been merged into one and a new wall has been built with a new apartment door.</span></div>
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On 10 April 1906, Alexander Steinkeller wrote a will in which he bequeathed all of his property to his housekeeper Karoline Vetschy. This will was written on the official letter paper of Steinkeller's employer, the Moscow Fire Insurance Company.<br />
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<span style="font-size: x-small;">The will of Alexander Steinkeller (A-Wsa, BG II, A9, 19/6). The reference number A IX 241/6 refers to Steinkeller's not extant probate file.</span></div>
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The transcription of this document reads as follows.<br />
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Administration of the Moscow Fire Insurance Company Moscow, on .... 189 ... </blockquote>
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Published on April 18th, 1906, at the Leopoldstadt district court, section I<br />
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I declare in full consciousness that after my death I bequeath <u>all objects</u>, without <u>distinction</u>, which are in the apartment no. 19 on the first floor in the house Dresdnerstrasse no. 53, to <u>my maid Karoline Vetschy</u> who took care of me until the end of my life. Nobody else has the right to appropriate something from the apartment after my passing.<br />
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Given on April 10th, 1906 Al[exander] Steinkeller<br />
David Münster, janitor, as witness<br />
Aloisie Ognar as witness<br />
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<u>I accept this gift</u><br />
<u>Karoline Vetschy</u></blockquote>
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Karoline Vetschy, Steinkeller's universal heir, was born on 3 February 1881, at Vienna's General Hospital (<a href="http://data.matricula-online.eu/de/oesterreich/wien/08-alservorstadtkrankenhaus/01-121/?pg=176" target="_blank">Alservorstadtkrankenhaus, Tom. 121, fol. 152</a>), illegitimate daughter of Agnes Vetchy. The child's godmother was the midwife Josefine Schemel. Nothing is known about Karoline Vetschy's later fate.<br />
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Because probate records from the <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Ser+++++00007687ma8Invent#Ser_____00007687ma8Invent" target="_blank">A9 series of the Leopoldstadt district court</a> are only preserved from the years 1899 to 1905, Alexander Steinkeller's probate file BG II, A9 241/6, which certainly would have provided vital biographical information, is not extant. On 15 April 1906, Alexander Steinkeller committed suicide by jumping from a window of his apartment onto the sidewalk of the Kampstraße. The cause of this act remains unknown. It seems likely, however, that Steinkeller was confronted with severe health issues.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7KPWGkBw528IZ8xpAt-vJqvXzWvo84s1P9ElrJU0URJPPjS9mWDRxS5Yi58yg3TZSHVwWHB-lLCvIpwY_3V8q4i53fYnvsyIJsEqZUsh2U0dVXAyqgMYHLFr404G99UlQlIZSgzAOiIo/s1600/Kampstra%25C3%259Fe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="1055" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7KPWGkBw528IZ8xpAt-vJqvXzWvo84s1P9ElrJU0URJPPjS9mWDRxS5Yi58yg3TZSHVwWHB-lLCvIpwY_3V8q4i53fYnvsyIJsEqZUsh2U0dVXAyqgMYHLFr404G99UlQlIZSgzAOiIo/s320/Kampstra%25C3%259Fe.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The southeastern side of the house Dresdner Straße 53 towards the Kampstraße. From one of the four windows in the right-hand part of the first floor, Steinkeller jumped to his death.</span></div>
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The entry concerning Alexander Steinkeller's death in the <i>Totenbeschauprotokoll</i> (municipal death register) contains the note "Selbstmord d. Sturz v. I. Stockwerke" ("Suicide by falling from the first floor").<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcW4geu0YhaR2Afwx6iEeec1m_Z_saJHeZ2p7uWcwIBTMIMBmBRWM-xPYuFRhmxW8Bb6lki8zLiciuC7UBRkNmTIGoTa6_hWQ0eS-_Y4P9xQDchhFLoJu5o-4nDOIOiErW0sK2RNL7UA/s1600/TBP+775.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="246" data-original-width="1600" height="49" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcW4geu0YhaR2Afwx6iEeec1m_Z_saJHeZ2p7uWcwIBTMIMBmBRWM-xPYuFRhmxW8Bb6lki8zLiciuC7UBRkNmTIGoTa6_hWQ0eS-_Y4P9xQDchhFLoJu5o-4nDOIOiErW0sK2RNL7UA/s320/TBP+775.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Alexander Steinkeller's death in the municipal death register (A-Wsa, Totenbeschreibamt 775)</span></div>
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On 17 April 1906, Steinkeller's burial was entered in the records of the <a href="https://de.wikipedia.org/wiki/Allerheiligenkirche_(Wien)" target="_blank">Zwischenbrücken</a> parish. Since the note in the death register is somewhat contradictory, it is not clear which spiritual ceremony was conducted by the parish priest, and if the deceased received a catholic burial at all. The most significant parts of the entry read as follows: "Steinkellner[<i>sic</i>] Alexander, katholisch, Privat, wohnh. Wien, XX. Dresdnerstrasse 53. Witwer, geboren am Dat[um] unbekannt in Wien, ? zuständig unbekannt. [Gestorben] an Selbstmord durch Sturz vom Stockwerke. Im Zentral Friedhofe. Nicht eingesegnet."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_nyzuObrY8SI5oC838bikNPD4LQlCwbJAE_LtC2HvNhi8lPcmWX4cFSo5ikXCpl6BDUoMn_d5JC_eYWBH-lj_JnCSLFb-qUN4zo5z19p7e8VfmXEA6-nN0wdj1eaJhLWF3ZQYWJXMYc/s1600/15.4.1906%252C+ZB+1_16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="297" data-original-width="1600" height="58" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5_nyzuObrY8SI5oC838bikNPD4LQlCwbJAE_LtC2HvNhi8lPcmWX4cFSo5ikXCpl6BDUoMn_d5JC_eYWBH-lj_JnCSLFb-qUN4zo5z19p7e8VfmXEA6-nN0wdj1eaJhLWF3ZQYWJXMYc/s320/15.4.1906%252C+ZB+1_16.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Alexander Steinkeller's obsequies on 17 April 1906. On the far right is the note "nicht eingesegnet" (not consecrated) (<a href="http://data.matricula-online.eu/de/oesterreich/wien/20-zwischenbruecken/03-01/?pg=19" target="_blank">Pfarre Zwischenbrücken, Tom. 1, fol. 16</a>).</span></div>
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Alexander Steinkeller was buried in the Zentralfriedhof, in a shaft grave in group 36, row 5, no. 213. These collective graves were provided for a time of 15 years, after which they were abandoned and leveled. In the years thereafter, group 36 was redesigned several times. Today, this group consists of several areas for decedents of different faiths.<br />
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That Steinkeller was a Russian citizen – and thus of Polish origin – is proven by the notice of convocation of possible heirs and creditors, issued on 7 May 1906, by the district court, which on 7, 9, and 12 June 1906, was published in the <i>Wiener Zeitung</i>.<br />
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<span style="font-size: x-small;">The notice in the <i>Wiener Zeitung</i> concerning the convocation of Alexander Steinkeller's possible heirs and creditors (<i>Wiener Zeitung</i> 7 June 1906, 696)</span></div>
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<b>Alexander Steinkeller</b>.<br />
On 15 April 1906 the Russian citizen Mr. Alexander Steinkeller, agent in Vienna, XX., Dresdnerstraße 53, door 19, where he had his regular abode, died with the provision of a last will.<br />
According to § 137 and 138 of the Imperial decree of 9 August 1854, Imperial Law Gazette No. 208, all heirs, recipients of a bequeathment, and creditors who are Austrian citizens or foreigners currently staying in the country, are being requested to file their claims to the estate with the undersigned court until 20 June 1906 the latest, in default whereof the estate, in disregard of these claims, can be released to the foreign authority or individuals legitimized by this authority.<br />
I. & R. Leopoldstadt district court I, section IX, Vienna, on 7 May 1906. [5541-1]</blockquote>
As far as research about Alexander Steinkeller's life is concerned, much work remains to be done. Several announcements in the newspaper <i>Kurjer Warszawski</i>, published during the late 1850s (for example on p. 751 of <a href="https://crispa.uw.edu.pl/object/files/375588/display/Default" target="_blank">no. 144/1859</a>), show that at that time Alexander Steinkeller was a business partner of his uncle Rudolf Steinkeller. According to the useful, but very often unreliable and fragmentary genealogical site <a href="http://www.geni.com/">www.geni.com</a>, Alexander Steinkeller was married to <a href="https://www.geni.com/people/Karolina-Steinkeller-h-Trzy-Szpady/6000000077758696912" target="_blank">Karolina Michalina Wojciechowska</a>, daughter of <a href="https://www.geni.com/people/Jan-Wojciechowski/6000000077758827876" target="_blank">Jan Nepomucen Wojciechowski</a>. This name, of course, suggests a direct family relationship of Alexander Steinkeller's wife with Chopin's friend <a href="https://en.wikipedia.org/wiki/Tytus_Woyciechowski" target="_blank">Tytus Wojciechowsky</a>, a presumption that is also supported by the fact that Alexander Steinkeller had a cousin named <a href="https://www.geni.com/people/Tytus-Steinkeller-h-Trzy-Szpady/6000000077756706822" target="_blank">Tytus Steinkeller</a> who could well have been a godson of Chopin's friend. A <a href="https://polona.pl/item/portret-tytusa-steinkellera,NTA5NDU0NA/0/#info:metadata" target="_blank">photograph</a> of Tytus Steinkeller, taken in the 1860s by <a href="https://de.wikipedia.org/wiki/Karol_Beyer" target="_blank">Karol Beyer</a>, is held by the photographic collection of the <a href="https://www.bn.org.pl/" target="_blank">National Library of Poland</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR5MjykBbO_NdTFeGrqAKROsTf7xQrnn-PCJB7r-0l6iq3MsKVarT_GszPZyMS4scJv4Kn_5USZriWYU5jN32u086_xGpo7Qh1r4pypQomzSg3PqJs6cLdSyZPY2enC089sWFeCHKDqd8/s1600/Tytus+Steinkeller.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1154" data-original-width="710" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR5MjykBbO_NdTFeGrqAKROsTf7xQrnn-PCJB7r-0l6iq3MsKVarT_GszPZyMS4scJv4Kn_5USZriWYU5jN32u086_xGpo7Qh1r4pypQomzSg3PqJs6cLdSyZPY2enC089sWFeCHKDqd8/s320/Tytus+Steinkeller.jpg" width="196" /></a></div>
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<span style="font-size: x-small;">Alexander Steinkeller's cousin Tytus Steinkeller (photograph by Karol Beyer, Pl-Wn, Ikonografii F.81274/W)</span></div>
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It is to be hoped that Polish researchers will take a closer look at Alexander Steinkeller's life. The reaction to the discovery of Chopin's godchild so far, however, does not suggest that Chopin scholars will soon address this matter.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-r2FrsMyEbFMloEzocUGacB4-8qOWqbXIUubwPD2NS9HxEFwsj4wxByio-ue72Mp4pWp8qIDI1bwfMKpM9QXlm2GCrkcXs21vbzUoWrZT7ki6IWGEj-gVUf8fRSaDh2qwxQ5GTdlyvSc/s1600/steinkeller_large.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="480" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-r2FrsMyEbFMloEzocUGacB4-8qOWqbXIUubwPD2NS9HxEFwsj4wxByio-ue72Mp4pWp8qIDI1bwfMKpM9QXlm2GCrkcXs21vbzUoWrZT7ki6IWGEj-gVUf8fRSaDh2qwxQ5GTdlyvSc/s200/steinkeller_large.jpg" width="200" /></a></div>
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<span style="font-size: x-small;">The coat of arms of the Steinkeller family</span></div>
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<b>Bibliography</b><br />
<blockquote class="tr_bq">
</blockquote>
<blockquote class="tr_bq">
Lorenz, Michael. 2015. <a href="https://michaelorenz.blogspot.com/2015/09/a-godson-of-frederic-chopin.html" target="_blank">A Godson of Frédéric Chopin</a>. Internet publication, 6 September 2015.</blockquote>
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© Dr. Michael Lorenz 2019. All rights reserved.<br />
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Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-91675773168216338212018-02-17T21:47:00.006+01:002021-10-24T09:49:37.840+02:00Josepha Disenni: Haydn's Last Surviving GodchildIn a blog post titled "<a href="https://michaelorenz.blogspot.co.at/2014/09/three-unknown-godchildren-of-joseph.html" target="_blank">Three Unknown Godchildren of Joseph Haydn</a>", which in September 2014 was published on this site, I dealt with three of Haydn's godchildren that had remained unknown to Haydn scholars. The third of these children was Josepha Barbara Disenni, a granddaughter of Haydn's sister-in-law Barbara Keller (1726 – ca.1803-08). The parents of this child were Franz Disenni (1760–1827) and Barbara Scheiger, a niece of Haydn's wife. At their wedding, which took place on 13 January 1801, Haydn offciated as witness of the bride.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRqLfCY0tYwTvwdSNW_wMtTslcwoD01_2V_mkyAAM2UXEKBIdKzjwRvzt3EyZYVzGqosvAMr3L-3ov0tgxYCGr5aoP3Uv9H1v2qhaGx83TLPvAG_6jdcVglJXBjIGLr8YsjqWl4D4rEek/s1600/13.1.1801%252C+Wieden+2%252C+293.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="735" data-original-width="1199" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRqLfCY0tYwTvwdSNW_wMtTslcwoD01_2V_mkyAAM2UXEKBIdKzjwRvzt3EyZYVzGqosvAMr3L-3ov0tgxYCGr5aoP3Uv9H1v2qhaGx83TLPvAG_6jdcVglJXBjIGLr8YsjqWl4D4rEek/s320/13.1.1801%252C+Wieden+2%252C+293.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Paul Johann Sirbeck's and Joseph Haydn's signatures as witnesses of Franz Disenni's and Barbara Scheiger's wedding on 13 January 1801 (Wieden, Tom. 2, fol. 293).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMn9c_Uok9rSXn8it7XEt6N_z2C_YUUN0MwYQtg2a0Wm7L7oUmzxSkGjC3Yi5eqf2qVqA5A94dBaAJQLFqY8n9kiNe6zihRW5lWxn_eu3asVLPVPymO7kwIBzpTYGRes1VZWrR0Wx3w-A/s1600/Franz+Disenni+1800.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="940" data-original-width="688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMn9c_Uok9rSXn8it7XEt6N_z2C_YUUN0MwYQtg2a0Wm7L7oUmzxSkGjC3Yi5eqf2qVqA5A94dBaAJQLFqY8n9kiNe6zihRW5lWxn_eu3asVLPVPymO7kwIBzpTYGRes1VZWrR0Wx3w-A/s320/Franz+Disenni+1800.jpg" width="234" /></a></div>
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<span style="font-size: x-small;">Franz Disenni's handwriting in a divorce file of the Vienna municipal civil court where Disenni was employed as bailiff (A-Wsa, Mag. ZG, A6, 2/1800).</span></div>
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Josepha Disenni was born on 1 January 1803 and baptized in Vienna's <a href="https://de.wikipedia.org/wiki/Paulanerkirche_%28Wien%29" target="_blank">Paulanerkirche</a> with the composer ("Joseph Haydn Doktor der Tonkunst") standing godfather.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1bi5EiCwbix1mwEsKpmslpVN_yyi2TF_NUKQX1Z2SmlFmzq97jugOo6xNN9UntX6Hxe_guxYlZdoqA2jYq2ZkSTrlHIX-u3AF2mb591eZ6monkBcn6ugKpfp6EKTkwo3DQtyS23OHYjg/s1600/Josepha+Barbara+1.1.1803a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1bi5EiCwbix1mwEsKpmslpVN_yyi2TF_NUKQX1Z2SmlFmzq97jugOo6xNN9UntX6Hxe_guxYlZdoqA2jYq2ZkSTrlHIX-u3AF2mb591eZ6monkBcn6ugKpfp6EKTkwo3DQtyS23OHYjg/s320/Josepha+Barbara+1.1.1803a.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The baptismal entry of Josepha Barbara Disenni (Wieden, Tom. 4, fol. 51) </span></div>
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At the time of her father's death, on 10 July 1827, Josepha Disenni was referred to as "Marchand des Modes" (fashion saleswoman) living at the "Kleines Königsklosterhaus" on the Windmühle (Windmühle 69, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=9ZBYRszhGkbC7rFEE-aAORO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069216" target="_blank">Gumpendorfer Straße 14</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLf9g1tia_pOQ6z4VUEcd7heTyo7oYHKqqcXeZTVtaFBF7BlJBMTeYRWqLF6a9qE7m65ylnMKA243Sm_ZunGJbrd3yZjWxNGtAeofjEvaPOunVpOLBwILi1vY9Z73JHIJwf4wtgpK9aSg/s1600/2620_1827.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="462" data-original-width="1365" height="108" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLf9g1tia_pOQ6z4VUEcd7heTyo7oYHKqqcXeZTVtaFBF7BlJBMTeYRWqLF6a9qE7m65ylnMKA243Sm_ZunGJbrd3yZjWxNGtAeofjEvaPOunVpOLBwILi1vY9Z73JHIJwf4wtgpK9aSg/s320/2620_1827.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Josepha Disenni being referred to in her father's probate file as "l[edigen] St[ands] <i>Marchand des Modes</i> an der Wien im kleinen Königsklosterhause" (A-Wsa, Mag. ZG, A2, 2820/1827)</span> </div>
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Regarding Josepha Disenni's fate after 1827, in 2014 I wrote the following:<br />
<blockquote class="tr_bq">
I have not yet been able to shed light on Josepha Disenni's life after her father's death and to determine her date of death. The fact that she inherited 1,900 gulden in 1827 makes it very likely that she got married at a later time which – owing to the change of her name – makes it difficult to pick up her trace again. She turns up in the sources in 1830 as living with her stepsister and her stepmother Theresia Disenni at Wieden No. 473. In August 1830, the Vienna Magistrate, which had been unable to determine Josepha Disenni's whereabouts, published a <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18300823&seite=12&zoom=33" target="_blank">citation</a> in the <i>Wiener Zeitung</i> in which Disenni was requested to come forward on the occasion of the upcoming auction of the house Landstraße 159 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=x06ERsIXEEbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10060759" target="_blank">Schimmelgasse 2-8/2</a>).
That Disenni was listed as "Satzgläubiger" (hypothecary creditor) of this house shows how she had invested her inheritance. It is not yet known if Disenni showed up at the auction, but future research in the Landstraße land registers will probably yield more information on what became of her after 1830.</blockquote>
Although the sources covering Viennese citizens become scarce between the end of the <a href="https://www.geschichtewiki.wien.gv.at/Konskriptionsamt" target="_blank"><i>Konskriptionsbögen</i></a> in 1856 and the beginning of the surviving <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml?id=Best++++00001070ma8Invent#Best____00001070ma8Invent" target="_blank"><i>Meldezettel</i></a> in 1910, historic persons of even the slightest interest rarely escape the scope of modern-day researchers. The so-called "Kartei der Ausgeschiedenen" (catalog of discarded persons) in the holdings of the Vienna conscriptiion office provides information about Josepha Disenni's status – she was registered as "Beamtenswaise" – and her addresses. In 1856 she was living at Landstraße 665 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=aaJyRvywF0YS6olE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10062189" target="_blank">Salesianergasse 23</a>), as of 1857 she resided at Wieden 331 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=Sr9jRsg4EkYS6olE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10064627" target="_blank">Neumanngasse 7</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKldi9YVBOWZg8oG0s8t-R2wMghx31snJXSoLqpi-yQjubKOGXQtWtgeyMCqORTtlR3049fOnmWsbQidM0R-Lm2xfVZj-HoKcxcn-4IrVHkEYGs9Rs1uneHRVLNXnuqfyrlR_oJk62cBE/s1600/Kartei+19.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="835" data-original-width="679" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKldi9YVBOWZg8oG0s8t-R2wMghx31snJXSoLqpi-yQjubKOGXQtWtgeyMCqORTtlR3049fOnmWsbQidM0R-Lm2xfVZj-HoKcxcn-4IrVHkEYGs9Rs1uneHRVLNXnuqfyrlR_oJk62cBE/s320/Kartei+19.jpg" width="260" /></a></div>
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<span style="font-size: x-small;">Josepha Disenni's card in the catalog of discarded persons of the municipal conscription office (A-Wsa, 1.3.2.116.K1/KA - Heimatrolle: Kartei der Ausgeschiedenen, 19)</span></div>
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At Landstraße 665 Josepha Disenni lived as subtenant in the apartment of the mason (and janitor) Johann Burgstaller and his wife Maria.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglpsuswqlpHmjA7HEhAHlEKpD-ScubKbaimcx4CRLebShUixh2g2k1PlOwsITUvgLWOPkhUXowuKP2qySt_msVuqEOr3SMmqQSDqqNGo_690uDFEsxI9NwY-NX9XYPghkgAJDLLrv1Tko/s1600/LAN+665_1r%252C+1843%252C+P.+1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1237" data-original-width="1600" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglpsuswqlpHmjA7HEhAHlEKpD-ScubKbaimcx4CRLebShUixh2g2k1PlOwsITUvgLWOPkhUXowuKP2qySt_msVuqEOr3SMmqQSDqqNGo_690uDFEsxI9NwY-NX9XYPghkgAJDLLrv1Tko/s320/LAN+665_1r%252C+1843%252C+P.+1.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">Josepha Disenni registered in 1843 as subtenant at Landstraße 665 (A-Wsa, Konskriptionsamt, Landstraße 665/1r)</span></div>
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Disenni is not registered in the conscription sheets of Wieden 331. On 24 October 1886 Josepha Disenni signed a will in the form of a written donation. She bequeathed all her movable assets to her attendant and friend Maria Spitalmüllner "for her devoted sympathy, her faithfulness, attendance, and care during a time of more than seven years".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW-m5UND71ZaDRncDgdGxHceqQFw1DilwHkB6VBRfAWwyqJXkcxzKvpf9HLuLmUt68VSnjJWWVsdhiKmInQtz4uACYBtpGCs3KnS3PRNClv0mhdJp_ihPNpj8llEqGAHa_RR4iPZN6-tQ/s1600/23_1888.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="994" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW-m5UND71ZaDRncDgdGxHceqQFw1DilwHkB6VBRfAWwyqJXkcxzKvpf9HLuLmUt68VSnjJWWVsdhiKmInQtz4uACYBtpGCs3KnS3PRNClv0mhdJp_ihPNpj8llEqGAHa_RR4iPZN6-tQ/s320/23_1888.JPG" width="198" /></a></div>
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<span style="font-size: x-small;">Josepha Disenni's will signed on 24 October 1886 (A-Wsa, BG Wieden, A9, 23/1888)</span></div>
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This document reads as follows:<br />
<blockquote class="tr_bq">
Kundgemacht am 7. März 1888.<br />
D[oktor] K[arl] Kropatschek<br />
KK Notar<br />
als Ger.[ichts} Kommissär. </blockquote>
<blockquote class="tr_bq">
Schenkung.<br />
[50 Kreuzer Stempelmarke]<br />
Die viele freundliche und aufopfernde Theilname, die Treue, Pflege und Wartung, welche mir die Frau Marie Spitalmüllner durch mehr als sieben Jahre bereits erwiesen hat, haben mich bewogen, derselben meine, wie immer Namen führende Küchen<span style="font-size: xx-small;">=</span> und Zimmer<span style="font-size: xx-small;">=</span>Einrichtung, als: Tische, Stühle, Betten und Kästen u.s.w. dergestalt zu schenken, daß sie dieselben aus meinem Nachlasse als Eigenthümerin beheben kann.<br />
Zur vollkommenen Sicherung ihres Eigenthumes begebe ich mich hiermit des Rechtes, diese Schenkung zu widerrufen und händige ihr diese Schenkungsurkunde ein, welche sie vor den drei anwesenden Zeugen zum Beweise, daß sie die Schenkung wirklich angenommen hat, unterschreibt.<br />
Wien am 24. Oktober 1886. </blockquote>
<blockquote class="tr_bq">
Bernard Forster XXX i.e.<br />
als Zeuge Josefa Disseni<br />
als Geschenkgeberin.<br />
Dr Josef Neubauer Maria Spittalmüllner<br />
als Zeuge. als Geschenknehmerin.<br />
Jos Katzele<br />
Als Zeuge.</blockquote><p><i>[translation:]</i></p><blockquote class="tr_bq">
Published on March 7<span style="font-size: x-small; vertical-align: super;">th</span>, 1888.<br />
Dr. Karl Kropatschek<br />
I. & R. notary<br />
as court commissioner. </blockquote>
<blockquote class="tr_bq">
Donation.<br />
[50 Kreuzer revenue stamp]<br />
The many friendly and self-sacrificing acts of sympathy, the faithfulness, attendance, and care, that Ms. Marie Spitalmüllner has already rendered me for more than seven years, have induced me to donate to her all the furnishings my kitchen and my room, whatever name they may have, such as: tables, chairs, beds and cabinets, etc. in such a manner so that she can take them from my estate as owner.<br />
In order to fully secure her property, I hereby waive the right to withdraw this donation and hand this deed of donation over to her which she signs in the presence of three witnesses to prove that she has really accepted the donation.<br />
Vienna, October 24<span style="font-size: x-small; vertical-align: super;">th</span>, 1886. </blockquote>
<blockquote class="tr_bq">
Bernard Forster XXX i.e.<br />
as witness Josefa Disseni<br />
as gift giver.<br />
Dr Josef Neubauer Maria Spittalmüllner<br />
as witness. as gift recipient.<br />
Jos Katzele<br />
As witness.</blockquote>
Haydn's last surviving godchild never married. She died on 26
February 1888, at the age of 85, in her Wieden apartment at the house
"Zum Blauen Anker" (today a <a href="https://goo.gl/maps/mCynxS18g342" target="_blank">garden area</a>) at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-c6ddRnfiEEbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10197033" target="_blank">Kleinschmidgasse 3</a>. In 1888, at this address, she is even registered as main tenant in <a href="https://www.digital.wienbibliothek.at/wbrobv/periodical/pageview/55087" target="_blank"><i>Lehmann's allgemeiner Wohnungs-Anzeiger</i></a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvTJWIqe4bYKdq62NvgOmPMsjgctiEvHdtbvfu80SRtMRpkAjuB1OvXJmU9Rod8H54cF4QGH5VXjM7vYAUUKD6PqynqgNb3wAt3I_D7iboEE7fBaIqdvnGRnQCW2H-xXkuQjXsN1o3SEM/s1600/26.2.1888.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="138" data-original-width="1600" height="27" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvTJWIqe4bYKdq62NvgOmPMsjgctiEvHdtbvfu80SRtMRpkAjuB1OvXJmU9Rod8H54cF4QGH5VXjM7vYAUUKD6PqynqgNb3wAt3I_D7iboEE7fBaIqdvnGRnQCW2H-xXkuQjXsN1o3SEM/s320/26.2.1888.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the Wieden parish records concerning Josefa Disseni's death on 26 February 1888 (Wieden, Tom. 26, fol. 10)</span></div>
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Josefa Disenni's estate was modest. As an orphaned daughter of an I. & R. civil servant she was entitled to draw an annual benefit of 60 gulden CM from the treasury of the Lower Austrian government. In addition to that she received 150 gulden per year from the <a href="https://www.wien.gv.at/recht/gemeinderecht-wien/fonds-stiftungen/stiftungen/schaeffer.html" target="_blank"><i>Michael Schäffer'sche Stiftung</i></a> (the Michael Schäffer charity foundation) and 50 gulden per year from the charitable Johannes-Spital-Stiftung. Disenni's assets were exceeded by the funeral costs and Marie Spitalmüllner's outstanding salary for her last three years of service.<br />
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<span style="font-size: x-small;">The cover sheet of Josepha Disenni's probate file (A-Wsa, BG Wieden, A4 – A, 380/1888)</span><br />
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Disenni's probate file bears the following note:</div>
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According to the servant Katharina Zach, living at IV, Kettenbrückengasse No. 6, who showed up instead of the sick Marie Spitalmüllner, the estate of the deceased consists of only a few heavily time-worn pieces of furniture and bed clothes, of which all items have almost no value at all, and of the due charitable earnings. The amount recorded in two account books of the funeral insurance society was used to cover the burial costs.<br />
The abovementioned items are in the safekeeping of Miss Marie Spitalmüllner who lives at the address of the deceased. Vienna, March 7th, 1888. </div>
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On 28 February 1888 Josefa Disenni was buried in Vienna's Central Cemetery.</div>
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<span style="font-size: x-small;">The bill for Josefa Disenni's funeral written by the "Konduktansager" and sexton of the Wieden parish Laurenz Fuchs (A-Wsa, BG Wieden, A4 - A, 380/1888)</span></div>
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Disenni's relatively expensive funeral, which included a requiem, the "rich" pall, six
candles, a two-horse carriage, and six pallbearers in uniform, cost 58
gulden 10 neukreuzer. The deposit with the local "Leichenverein" (burial insurance) covered
40 gulden 60 neukreuzer of the expenses, the rest was paid for by Marie
Spitalmüllner.</div>
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Josefa Disenni's existence as Haydn's last surviving godchild can surely be counted among the less important trivia of Haydn research. But just like mountains (according to George Mallory) need to be climbed "because they're there", these side issues need to be pursued as soon as the scientific opportunity arises.</div>
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© Dr. Michael Lorenz 2018.</div>
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Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com3tag:blogger.com,1999:blog-6705638937146105675.post-84092273588461842512018-01-04T12:33:00.030+01:002023-12-22T13:13:51.656+01:00The Godchildren of Emanuel and Eleonore SchikanederOn 1 December 2006, at the symposium <i>Wolfgang Amadeus Mozart: Die Zauberflöte: sources – interprétations</i> at the <i><a href="http://www.ulb.ac.be/" target="_blank">Université libre de Bruxelles</a></i>, I presented a paper titled "New Archival Documentation on the Theater auf der Wieden and Emanuel Schikaneder". Two years later, I published an extended translation of this paper, titled "<a href="https://books.google.at/books?id=_JvC_3IA2SEC&pg=PA15" target="_blank">Neue Forschungsergebnisse zum Theater auf der Wieden und Emanuel Schikaneder</a>" in: <i>Wiener Geschichtsblätter</i>, 4/2008, (Vienna: Verein für Geschichte der Stadt Wien, 2008, 15-36). Since a major part of my essay consisted of delving into the social environment of Schikaneder and his wife, I came across a surprisingly large number of godchildren of the Schikaneder couple. These children came from different backgrounds, not only from families whose contact with Schikaneder was known, but also from families that had previously not been associated with the theater entrepreneur. When I did research for my paper for the 2006 conference in Brussels, I found twelve godchildren of the Schikaneders. By the time I published the German article in 2008, this number had increased to fourteen. On the occasion of the belatedly projected publication of the <a href="https://www.peterlang.com/view/product/81338?tab=aboutauthor" target="_blank">2006 conference report</a> by the publisher Peter Lang, I decided to revisit this topic. I undertook another search to update my work and extended my research concerning the parents of these children. It is to be noted, however, that certain limits had to be observed regarding this research. If every lead were followed and every source published, this project could easily result in a book which is of course not the objective of this blog.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdi63_zaFNbZu2ud48bmCviSmAXMEtLhfK5Iefsp3YVkExqGoF_cnT4H8oWPgdgIae9p8ezToOYu-UacftRrHLQwYF0lLyhBwOZEIn2frKpdFHYMvDGaxIqUhIL7CaLLPN8P8G-hRPj98/s1600/Gesellschafter+1831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="434" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdi63_zaFNbZu2ud48bmCviSmAXMEtLhfK5Iefsp3YVkExqGoF_cnT4H8oWPgdgIae9p8ezToOYu-UacftRrHLQwYF0lLyhBwOZEIn2frKpdFHYMvDGaxIqUhIL7CaLLPN8P8G-hRPj98/s320/Gesellschafter+1831.jpg" width="243" /></a></div>
<span style="font-size: x-small;">A little known caricature of Emanuel Schikaneder from 1831 (<i>Der Gesellschafter oder Blätter für Geist und Herz. Ein Volksblatt</i>, 6/1831, 30)</span> </div>
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As of July 2017, the number of known godchildren of Emanuel and/or Eleonore Schikaneder is twenty: one joint godchild, eight godchildren of Emanuel, and eleven of Eleonore Schikaneder. The exploration of the family backgrounds of these children also includes several members of Schikaneder's and Mozart's circle of friends on which no detailed research has ever been done. Presented in chronogical order, according to their date of birth, these twenty children are the following.<br />
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<b>1) Emanuel Jakob Neukäufler</b><br />
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In 1779 Schikaneder fathered a son with the actress Juliana Moll who was born on 15 March 1780, in <a href="https://en.wikipedia.org/wiki/Ljubljana" target="_blank">Laibach</a>. To spare himself any possible embarrassment Schikaneder asked Jacob Neukäufler, another member of his company, to confess to the paternity. This scheme did not keep Schikaneder and his wife from standing joint godparents at the child's baptism. At the ceremony, which took place at <a href="https://en.wikipedia.org/wiki/St._Peter's_Parish_Church_(Ljubljana)" target="_blank">St. Peter's Church</a> in Laibach, they had themselves substituted ("per procuratorem") by the actor Johann Michael Michl (born 1754 in <a href="https://en.wikipedia.org/wiki/Neumarkt_in_der_Oberpfalz" target="_blank">Neumarkt</a>) who had joined Schikaneder's company in 1778 in Nürnberg.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCPp9Oy-eMqZeX5twGRG8HCdaIuT9ozFzdWKqoKryJDVv4TjH8tyXePZxmtUa0YaYsvXwU94LbXO1Mu-JLLLxjLAfp5rvFwqeAZ9OxiWdqH6qTgAzocsrtCEJJqbbzJQKu1pXTspkkzI/s1600/Emanuel+Jacob+15.3.1780.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="276" data-original-width="804" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCPp9Oy-eMqZeX5twGRG8HCdaIuT9ozFzdWKqoKryJDVv4TjH8tyXePZxmtUa0YaYsvXwU94LbXO1Mu-JLLLxjLAfp5rvFwqeAZ9OxiWdqH6qTgAzocsrtCEJJqbbzJQKu1pXTspkkzI/s320/Emanuel+Jacob+15.3.1780.jpg" width="320" /></a></div>
<span style="font-size: x-small;">The entry concerning the baptism of Schikaneder's son Emanuel Jacob Neukäufler on 15 March 1780 in Laibach (Ljubljana, Nadškofijski Arhiv, Liber Baptizatorum 23, 1775-8, 195, St. Peter. See also: <a href="https://data.matricula-online.eu/de/slovenia/ljubljana/ljubljana-sv-peter/01255/?pg=101" target="_blank">Nadškofijski arhiv Ljubljana Ljubljana - Sv. Peter Krstna knjiga / Taufbuch 0125</a>). The actor Michael Michl's name is misspelled "Mihel". Baur 2012 states that the note "fil: leg:" (legitimate son) in this entry is written by a different hand in a different ink, but this claim is based on a misunderstanding.</span></div>
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In September 1780, Schikaneder's company arrived in Salzburg where his illegitimate son Emanuel Jacob died on 10 January 1781. Schikaneder's ruse would never have become known, had not Neukäufler, in a phase of bad conscience, confessed to the parish priest of St. Andrä that he was not the child's father. The priest wrote a note on a piece of paper which he put into the death register and added the following reference to the entry concerning the child's burial: "sed si necesse, vide Secretum ad hunc Librum" (but if necessary, see the secret note in this book). <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjz61HqgnksBoinpNPeecOo7wx09tuSL3Bj02U7PwUzf16c1bGXUM52vLHIR4sAuqRmrdr9YqoszUrCEBZhKBj-SZCsAHnmDz2De8AIxngu5OOCh3XM57p1g6iC4GCTbZUKlW_m8KKfLw/s1600/Jakob+Neuk%25C3%25A4ufler+10.1.1781.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="166" data-original-width="902" height="58" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjz61HqgnksBoinpNPeecOo7wx09tuSL3Bj02U7PwUzf16c1bGXUM52vLHIR4sAuqRmrdr9YqoszUrCEBZhKBj-SZCsAHnmDz2De8AIxngu5OOCh3XM57p1g6iC4GCTbZUKlW_m8KKfLw/s320/Jakob+Neuk%25C3%25A4ufler+10.1.1781.jpg" width="320" /></a></div>
<span style="font-size: x-small;">The entry concerning Jakob Neukäufler's death on 10 January 1781 (Salzburg, St. Andrä, Tom. 3, 281)</span></div>
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In 1935, the Salzburg historian Friedrich Breitinger (1887–1966) found the loose piece of paper (<i>Secretum pro Libro mortuorum</i>) in the parish register and on 31 August 1935, published the whole story under the title “<a href="http://anno.onb.ac.at/cgi-content/anno?aid=svb&datum=19350831&seite=6&zoom=30" target="_blank">Emanuel Schikaneders Kuckucksei</a>" (Schikaneder's Cuckoo's Egg) in the <i>Salzburger Volksblatt</i>. The secret note has gone missing since then. In his article "<a href="https://works.bepress.com/henry_price/1/" target="_blank">Emanuel Schikaneder and Jakob Neukäufler: Family Affairs</a>", <i>Mozart Studien</i> 17 (Tutzing: Schneider, 2008), the American singer <a href="https://en.wikipedia.org/wiki/Henry_Price_(tenor)" target="_blank">Henry Price</a> presented a highly interesting account of this affair.<br />
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<b>2) Joseph Hofer </b><br />
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Joseph Hofer, a previously unknown nephew of Constanze Mozart, was born on 17 May 1789, at the house Stadt 587 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=uLhiRjV5KkbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052238" target="_blank">Graben 26</a>) and baptized at <a href="https://en.wikipedia.org/wiki/Peterskirche,_Vienna" target="_blank">St. Peter's Church</a> with Eleonore Schikaneder standing godmother to the child. Joseph Hofer was the first child of the court violinist Franz Hofer (1755–1796) and his wife Josepha, née Weber (Mozart's first <i>Königin der Nacht</i>). Constanze Mozart's favorite midwife Maria Anna Kaudelka, who lived at Stadt 882 (the <a href="https://commons.wikimedia.org/wiki/Category:Trienter_Hof,_Vienna#/media/File:Domgasse_07.JPG" target="_blank">Trienterhof</a>, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=o9VoRhfNKEbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052031" target="_blank">Domgasse 4</a>), served as midwife. The child's father Franz Hofer is given as "Hofmusikus" in the baptismal records, the mother is referred to as "Kurpfälzischen Kammervirtuosens Tochter", and the godmother Eleonore Schikaneder as "Aktrice[!] von der Schauspielergesellschaft auf der Wieden".<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Joseph Hofer on 17 May 1789, at St. Peter's Church (A-Wstm, St. Peter, Tom. 1, 191) </span></div>
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That I was able to discover Joseph Hofer's existence only in February 2017, was mainly caused by the fact that this child's baptism does not appear in the old, original baptismal register of St. Peter's. The last to delve into Franz Hofer's family was <a href="https://www.wien.gv.at/wiki/index.php?title=Emil_Karl_Bl%C3%BCmml" target="_blank">Emil Karl Blümml</a> who published the following two articles about Hofer and his wife in the 1919 <i>Mozarteums-Mitteilungen</i>: 1) "Josefa Weber-Hofer. Die erste 'Königin der Nacht'", and 2) "Der Violinist Franz de Paula Hofer. Freund und Schwager Mozarts". In 1923, Blümml republished these articles in his book <i>Aus Mozarts Freundes und Familienkreis</i>, a collection that is still one of the most frequently cited sources related to Mozart's circle. Some of the false stereotypes coined by Blümml, such as the "wicked mother-in-law Maria Cäcilia Weber", the "uneconomical housekeeping of the long-sleeping Weber sisters", and the "grinding poor Franz Hofer", will probably live on forever in the Mozart literature. Because Blümml convincingly stated that Franz and Josepha Hofer had only one child – the daughter Josepha who was born on 29 August 1790, in the <a href="https://www.wien.gv.at/wiki/index.php/Freihaus_auf_der_Wieden" target="_blank">Freihaus</a> – it occurred to nobody that there could have been another child.</div>
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Franz Hofer and Mozart's sister-in-law Josepha Weber got married on 21 July 1788, in the <a href="https://www.wien.gv.at/wiki/index.php/Eligiuskapelle" target="_blank">Eligius Chapel</a> of St. Stephen's Cathedral. The following entry in the Cathedral's original <i>Rapular</i> concerning this wedding has never been digitized or published. Unlike the one that Blümml referred to, it bears the autograph signatures of the two witnesses: Johann Thorwart (who in 1782, at her wedding, had been Constanze Mozart's witness) and the lawyer (and future convict) Dr. Jakob Ignatz Jutz (1755–<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17961026&seite=16&zoom=33" target="_blank">1796</a>). </div>
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<span style="font-size: x-small;">One of the two entries concerning Franz Hofer's and Josepha Weber's wedding on 21 July 1788 (A-Wd, Rapular 1784-89, fol. 333)</span></div>
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When Deutsch claimed that Hofer became a court musician only in 1789 (<i>Dokumente</i>, 282), he had obviously forgotten that Blümml had already confirmed Hofer's employment as having begun in 1788 (Blümml 1923, 28). The fact that Franz Hofer was already a member of the court orchestra in 1782 was published in 1992 by Dexter Edge (Edge 1992, 72). In 1784, Hofer earned an annual side income of 19 fl 12 x as twelfth violinist of the Domkapelle.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhjinNfvF_UPOlIUJ6RQAJ8VHDahpZV30RfYetK44AL0Sj6gHSKiSdyYi2cQ1qbBB_MC-jfde6agHG3aqix-0gBuOTw9GZcplQsFPAttOsPmmypDSR_ZRpAS2rarMCUnoUea2eXeKugc/s1600/Status+Salariorum+1784.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="759" data-original-width="975" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhjinNfvF_UPOlIUJ6RQAJ8VHDahpZV30RfYetK44AL0Sj6gHSKiSdyYi2cQ1qbBB_MC-jfde6agHG3aqix-0gBuOTw9GZcplQsFPAttOsPmmypDSR_ZRpAS2rarMCUnoUea2eXeKugc/s320/Status+Salariorum+1784.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Eight violinists of the Domkapelle on a salary roster (<i>Status Salariorum</i>) from 1784. Franz Hofer is listed as 12th violinist with an ordinary salary (A-Wsa, Hauptregistratur, Fasz. 19 - 49/1784).</span></div>
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At the time of her wedding in 1788, Josepha Weber was living together with her mother and her sister Sophie at the house Stadt 1084, "Zur Goldenen Schlange" (The Golden Snake, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-c85kRpzlJkbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052147" target="_blank">Kärntnerstraße 12</a>) as subtenants of the physician <a href="https://en.wikipedia.org/wiki/Johann_Lucas_Bo%C3%ABr" target="_blank">Lukas Johann Boër</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIl6yLQYwIEHGPNvfIJesyDRtI5EhpkaQdihuHCWwxZtCEID8gsEFSdi803BTpCo-BzOuqmkD4xO0YWJnE7r4kqWAh4mqwX-ByhkGgwZMgOZqUtkJqw-MhkZvNrajQJmygVGD4WPomZ0c/s1600/Boer+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1007" data-original-width="742" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIl6yLQYwIEHGPNvfIJesyDRtI5EhpkaQdihuHCWwxZtCEID8gsEFSdi803BTpCo-BzOuqmkD4xO0YWJnE7r4kqWAh4mqwX-ByhkGgwZMgOZqUtkJqw-MhkZvNrajQJmygVGD4WPomZ0c/s320/Boer+%25282%2529.jpg" width="235" /></a></div>
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<span style="font-size: x-small;">Josepha Weber's landlord in 1788: Lukas Johann Boër (A-Wn, PORT_00076359_01)</span></div>
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Dr. Boër (1751–1835) was a gifted amateur musician (he owned a quartet of string instruments) who in 1793 married Valentin Adamberger's sister-in-law Eleonora Jacquet (St. Augustin 4, fol. 68). Blümml paints an idyllic picture of how "right after the wedding the newlyweds [the Hofers] moved to the Starhembergisches Freihaus auf der Wieden" (Blümml 1923, 126), but the sources reveal a different course of events. First, Josepha Hofer moved in with her husband at Stadt 587, into an apartment on the fifth floor that consisted of three small rooms and two chambers. This abode had to be shared with Franz Hofer's older sisters Josepha and Ludwiga and their father Markus Hofer whose annual salary of 225 gulden as violinist at the Cathedral did not cover the total rent of 250 gulden.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKINyaV3Ksqz-GDk6O01D7mq8VODu9vSy_CRbFaxgZDgtcmuNOazBXfz6Qf0_v13QKdQwyQGHiFWLIuSC1fLP5nowhiY8o6sGLmqnOr-ocE7CjItoIcSir7G_JsHKQ-M1XYexvO94aEqg/s1600/Markus+Hofer+B34_3%252C+456.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="133" data-original-width="738" height="57" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKINyaV3Ksqz-GDk6O01D7mq8VODu9vSy_CRbFaxgZDgtcmuNOazBXfz6Qf0_v13QKdQwyQGHiFWLIuSC1fLP5nowhiY8o6sGLmqnOr-ocE7CjItoIcSir7G_JsHKQ-M1XYexvO94aEqg/s320/Markus+Hofer+B34_3%252C+456.jpg" width="320" /></a></div>
<span style="font-size: x-small;">Franz Hofer's father Markus Hofer listed as main tenant at the "Petonisches Haus", Stadt 587, in the 1788 municipal tax register (A-Wsa, Steueramt, B34/3, fol. 456)</span></div>
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Second, Josepha Hofer's move to the Freihaus auf der Wieden took place only after May 1789. After having been hired by Johann Friedel in 1788, she appeared on the Wieden stage until 21 February 1789, when she performed as the daughter-in-law in the singspiel <i>Die schlaue Nanette, oder: die Katze läßt das Mausen nicht</i> for which she received a positive review in the <a href="https://books.google.at/books?id=ngxOAAAAcAAJ&pg=RA1-PA85" target="_blank"><i>Kritisches Theater-Journal von Wien</i></a>. Because in 1789 Lent began on 25 February and theaters had to take a break until Easter (which fell on April 12th), this may well have been Hofer's last appearance before the birth of her first child on 17 May 1789. It can be ruled out that Josepha Hofer took part in the performances of <i>Die Entführung aus dem Serail</i> at the Freihaus that were announced on 30 April 1789 in the journal <i>Der Wienerbothe</i>. At that time Eleonore Schikaneder had already taken over the administration of the theater from her colleague Johann Friedel who had died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17890408&seite=10&zoom=33" target="_blank">31 March 1789</a>, of tuberculosis at the age of 38.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTYa6B4p3kZMka4hOGKOyLQZwmvW1dYgROYDzBjiGnVE7Lo2R9uATMVTV6zTVwGU_EvuzALvGKfBPQglv6rznsEpVXqRHR-dgWTn92wP6A6AhdDQhq4O9_bIDKvv2AbdstvsTmgS98W0/s1600/Hofer+WM+38.102.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="731" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTYa6B4p3kZMka4hOGKOyLQZwmvW1dYgROYDzBjiGnVE7Lo2R9uATMVTV6zTVwGU_EvuzALvGKfBPQglv6rznsEpVXqRHR-dgWTn92wP6A6AhdDQhq4O9_bIDKvv2AbdstvsTmgS98W0/s320/Hofer+WM+38.102.jpg" width="267" /></a></div>
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<span style="font-size: x-small;">Josepha Hofer, miniature on ivory (Wienmuseum. H.I.N. 38.102)</span></div>
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In summer 1789, Franz and Josepha Hofer must have moved from Markus Hofer's apartment on the Graben to the Wieden. It can not be determined if they moved to Wieden 362 (today about <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=KBFeRkZRFkbC7rFEvTQPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063489" target="_blank">Operngasse 36</a>), or if they moved to the Freihaus immediately and put their newborn son into foster care at Wieden 362, a house that was located very close to the theater.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLnVhM2RI8WzNN19WDdA9Ctl1PZUCVcx4YPA8-bsZdlMHl-PfWfUMzojZcTdfNrD28NjRT9Tp8yyAnbJDPf5aNh88BdEmsOTVLnY0KEaMbWzT3iI9dte1vJA8aeRfCm-ZtbuHE-sGzKvI/s1600/Wieden+778.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="371" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLnVhM2RI8WzNN19WDdA9Ctl1PZUCVcx4YPA8-bsZdlMHl-PfWfUMzojZcTdfNrD28NjRT9Tp8yyAnbJDPf5aNh88BdEmsOTVLnY0KEaMbWzT3iI9dte1vJA8aeRfCm-ZtbuHE-sGzKvI/s320/Wieden+778.JPG" width="320" /></a></div>
<span style="font-size: x-small;">The southern part of the Freihaus on the Wieden with its theater wing. The house Wieden 362 (bearing its last number 778 on this map) is in the Adlergasse at the lower center (Robert Messner, <i>Die Wieden im Vormärz</i>, Vienna: Verb. d. wiss. Ges. Österreichs, 1975). On 27 October 1789 the violinist <a href="https://en.wikipedia.org/wiki/Joseph_Mayseder" target="_blank">Joseph Mayseder</a> was born in this house. The number "363" in Mayseder's baptismal entry is, in my opinion, an error (St. Karl, Tom. 2, fol. 180).</span></div>
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Eleonore Schikaneder's godson Joseph Hofer died on 23 August 1789, of "Fraißen" (fever cramps) at the house Wieden 362.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj0MpHTkjF-pTqFfBp_sYwbzWE_Cq82sQu760NgoLrXP1PYEwx7JHLNONtutrpsWfHagfTsKy1V0bZkhFAoX_mjKap9mimXgwRLbVligHB9Rv-ukFjdAd8TvKku1BKYtKQIOq5y2ttmuM/s1600/JH+23.8.1789%252C+TBP+91%252C+40r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="163" data-original-width="773" height="67" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj0MpHTkjF-pTqFfBp_sYwbzWE_Cq82sQu760NgoLrXP1PYEwx7JHLNONtutrpsWfHagfTsKy1V0bZkhFAoX_mjKap9mimXgwRLbVligHB9Rv-ukFjdAd8TvKku1BKYtKQIOq5y2ttmuM/s320/JH+23.8.1789%252C+TBP+91%252C+40r.jpg" width="320" /></a></div>
<span style="font-size: x-small;">The entry in the municipal death register concerning Joseph Hofer's death on 23 August 1789 (A-Wsa, Totenbeschreibamt 91, H, fol. 40r)</span></div>
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Hofer H: Franz, K:K: Hof Musicus s: K: Josephus, ist im / Sertlischen haus <strike>N</strike>° 362 auf der Wieden an / Fraißen versch[ie]d[en] alt 15 Wochen F: S:</blockquote>
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Franz Hofer, I. & R. Court musician, his child Joseph died of fever cramps at [Johann Peter] Sertl's house No. 362 on the Wieden, aged 15 weeks. Franz Schmidt [coroner]</blockquote>
On the following day, the child was buried in the <a href="https://www.wien.gv.at/wiki/index.php?title=Matzleinsdorfer_Katholischer_Friedhof" target="_blank">Matzleinsdorf Cemetery</a>. The ceremony, which cost 90 kreuzer, is documented in the <i>Bahrleihbuch</i> of St. Stephen's Cathedral. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYox0f2fH_bvLZA1Ss5WttNibpBTI-kEZRtgPqk2CfXnVa0c40pStO9NMtR1Em2XKuZ08p0OErorxcgBblvLyXYTxxhu0E2OXnHUZMj3z4xFL5OI9pCTe67Md07HisUKNB6bfXWS67as/s1600/BLB+1789%252C+fol.+287v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="643" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYox0f2fH_bvLZA1Ss5WttNibpBTI-kEZRtgPqk2CfXnVa0c40pStO9NMtR1Em2XKuZ08p0OErorxcgBblvLyXYTxxhu0E2OXnHUZMj3z4xFL5OI9pCTe67Md07HisUKNB6bfXWS67as/s320/BLB+1789%252C+fol.+287v.jpg" width="320" /></a></div>
<span style="font-size: x-small;">The entry concerning Joseph Hofer's obsequies on 24 August 1789 (A-Wd, Bahrleihbuch 1789, fol. 287v)</span></div>
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Franz and Josepha Hofer's second child Josepha, whose godfather was Schikaneder's business partner Joseph von Bauernfeld, was born on 29 August 1790, at the Freihaus. She became a piano prodigy and opera singer. On 7 January 1813, she married the "k.k. Hofkammer-Buchhalterey-Accessist" Karl Hönig (1789–1832). The information (concocted by Karl Maria Pisarowitz) that Josepha Hofer's husband was the exchange commissioner Karl Hönig von Henikstein (<i>MBA</i> VI, 331) is false. Franz Hofer died on 14 June 1796, of "Brand" (gangrene) in the house Penzing 19 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=M6UcRruWCEbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10109837" target="_blank">Penzinger Straße 35</a>). He was buried two days later in the old Penzing cemetery which was located around the church of <a href="https://de.wikipedia.org/wiki/Pfarrkirche_Penzing" target="_blank">St. Jakob</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIZ30j5vHTmEWFu-_F5NqilF_i7bIzzYe8pWfOWjLfo4W4gpIc3_Q5mJrlflwLagskqYyh5cLM45skLSzoY9X6maSnHegpmZ830gkLly0ykOx0YDsD2wi8P30BUYCQuYGNC6e9TwGQ_ns/s1600/Franz+Hofer+1791.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="308" data-original-width="631" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIZ30j5vHTmEWFu-_F5NqilF_i7bIzzYe8pWfOWjLfo4W4gpIc3_Q5mJrlflwLagskqYyh5cLM45skLSzoY9X6maSnHegpmZ830gkLly0ykOx0YDsD2wi8P30BUYCQuYGNC6e9TwGQ_ns/s320/Franz+Hofer+1791.jpg" width="320" /></a></div>
<span style="font-size: x-small;">The seal and signature of the court musician Franz Hofer on the marriage contract of his sister Josepha (A-Wsa, Mag. ZG, A2, 50/1794)</span></div>
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Only a small number of sources related to the Hofer
family can be presented here, because they are part of a different and much more detailed
research project that cannot be covered in a blog post.<br />
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<b>3) Eleonora Haibel</b><br />
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<a href="https://en.wikipedia.org/wiki/Jakob_Haibel" target="_blank">Jakob Haibel</a>'s daughter Eleonora was born on 26 June 1789, at Wieden 260 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=HsBcRjUsFEbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063584" target="_blank">Margaretenstraße 30</a>) and baptized by <a href="https://books.google.at/books?id=J_VVAAAAcAAJ&pg=PA10" target="_blank">Franz Cantes</a> in the <a href="https://de.wikipedia.org/wiki/Paulanerkirche_(Wien)" target="_blank">Paulanerkirche</a>, the Wieden parish church, with Eleonore Schikaneder officiating as godmother. There are two entries in the Wieden church records concerning this event. In the earlier one the father is referred to as "Jakob Heübel ein SchausPieler" and the godmother as "ma[tri]na Eleonora Schikanederin". <br />
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<span style="font-size: x-small;">The earlier of two entries concerning the baptism of Eleonora Haibel on 26 June 1789 (Wieden, Tom. 1, 426)</span></div>
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Eleonora Haibel died on 1 October 1789, of “Gedärmbrand” (intestinal inflammation). She had been living in foster care at "The Golden Lamb", at Neustift 55 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=uEpJRodHJEbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070556" target="_blank">Neustiftgasse 77</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPcJcId3iv6ajKsGCQnXQEWmAVSRyUrnu1ImY4WGdjYHnFa5u9gNfT-oonaWZ7ZmN52k1U09euz39K95l80jVPBNJmvNaRTDKM6KvVTic_uox8SDvFKtGSrrNpuAyRL-coRvdRCFJY2gc/s1600/EH+1.10.1789.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="63" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPcJcId3iv6ajKsGCQnXQEWmAVSRyUrnu1ImY4WGdjYHnFa5u9gNfT-oonaWZ7ZmN52k1U09euz39K95l80jVPBNJmvNaRTDKM6KvVTic_uox8SDvFKtGSrrNpuAyRL-coRvdRCFJY2gc/s320/EH+1.10.1789.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the municipal death register concerning the death of Eleonora Haibel on 1 October 1789. Jakob Haibel is referred to as "Sänger am Friedlischen Theater" (A-Wsa, Totenbeschreibamt 91, H, fol. 47r).</span></div>
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At a cost of 30 kreuzer Eleonora Haibel was buried in the old <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIicwC5AcDPCxVkvfbPqEw4w3Jj7eEXhET1Hi7UUNdBsef6T0uhGAafidbAQ89nM6ZbqK_tHu4Kr-H0hDwejADqvNBlA1011rh33f7DhUQh4_vxNq3s5AikgFBVMYc-lMMIenocCG-sm4/s1600/cemetery_1773.jpg" target="_blank">St. Ulrich cemetery</a>.<br />
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<span style="font-size: x-small;">The entry concerning Eleonora Haibel's burial (St. Ulrich, Tom. 25, fol. 77r)</span></div>
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There's a small problem in connection with Eleonora Haibel's first name, because the sources show that she had an older sister who was born in 1785, and died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17931006&seite=16&zoom=33" target="_blank">30 September 1793</a>, at the "Goldener Kapaun", at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=FMhgRvj6F0bC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10369988" target="_blank">Wieden 6</a>. According to the records related to her death and burial, this girl's first name also was Eleonora which appears to reveal a mistake in the sources. Haibel certainly did not have two daughters of the same name at the same time.<br />
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<span style="font-size: x-small;">The entry concerning the obsequies on 1 October 1793, of Haibel's (first?) daughter whose name was allegedly also Eleonora (A-Wd, BLB 1793, fol. 242r)</span></div>
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It is not known when and where Jakob and Katharina Haibel got married. One of their children, Antonia, who may have come to Vienna with her parents, died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17890912&seite=11&zoom=33" target="_blank">5 September 1789</a>, at Wieden 260, at the age of 15 months. As of 1789, Haibel worked for Schikaneder as a comedian, actor and singer of tenor roles, among them the role of Monostatos in the 1798 production of <i><a href="https://en.wikipedia.org/wiki/Das_Labyrinth" target="_blank">Das Labyrinth</a></i>, the sequel of <i>Die Zauberflöte</i>. Haibel supplied the theater with singspiele and incidental music. His most successful work was <i><a href="http://imslp.org/wiki/Der_Tiroler_Wastel_(Haibel,_Jakob)" target="_blank">Der Tyroler Wastl</a></i> (with its still popular song "<a href="http://www.doria.fi/handle/10024/72299" target="_blank">Die Tiroler sind lustig</a>"), based on a libretto by Schikaneder, which was performed 118 times at the Wiedner Theater. This number was only surpassed by the 223 performances of <i>Die Zauberflöte</i>.<br />
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The fact that in January 1807, Haibel married Mozart’s sister-in-law Sophie Weber has totally diverted attention from his first wife Katharina and the still unanswered question as to how and when Haibel actually made the acquaintance of Constanze Mozart’s youngest sister. The false notion that Haibel "left Vienna in 1806 after the death of his first wife" is based on an unsubstantiated claim by Hellmut Federhofer in his article about Haibel in the old <i>MGG</i> (vol. 5, col. 1322). When Katharina Haibel died of tuberculosis on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18060219&seite=14&zoom=33" target="_blank">14 February 1806</a>, at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=mVFxRjUXMkbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10056412" target="_blank">Leopoldstadt 466</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/02-st-josef/03-01/?pg=142" target="_blank">St. Josef 1, 277</a>), her husband had already left Vienna for an unknown location, together with his eleven-year-old daughter Rosalia. A note in Katharina Haibel's probate file reads as follows:<br />
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<blockquote class="tr_bq">
Nachgelassene Ehegatt Jakob Heibel, welcher sich noch
vor Absterben seiner Ehewirthin mit nachbenannt seinem leibl:[ichen]
Kinde auf das Land, dessen Ort aber namentlich nicht angegeben werden
könnte, begeben hätte. </blockquote>
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<blockquote class="tr_bq">
Husband
Jakob Haibel who already, before the death of his wife, has left for the
country with the undermentioned legitimate child, the name of which
location can not be determined.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTtYQgA8-q_xMAQr-qwDWd_4BMERvCaV-miuCS7MAW07zJCjwMuA5WCuF-CZGuv9QWw40rb0Fsy4GXWWvasgZKMqlqP6Sg6REw80adMOkALtDA-5OXi1UefY2HN3zdglwBf6Wgab9zqOA/s1600/2312_1806.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="226" data-original-width="801" height="90" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTtYQgA8-q_xMAQr-qwDWd_4BMERvCaV-miuCS7MAW07zJCjwMuA5WCuF-CZGuv9QWw40rb0Fsy4GXWWvasgZKMqlqP6Sg6REw80adMOkALtDA-5OXi1UefY2HN3zdglwBf6Wgab9zqOA/s320/2312_1806.jpg" width="320" /></a></div>
<span style="font-size: x-small;">The note concerning the absence of Katherina Haibel's widower in her <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 2312/1806). Haibel and his first wife had a least six children of which in 1806 only Rosalia, born 16 February 1794 (St. Karl, Tom. 3, fol. 100), was alive.</span></div>
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Haibel’s alleged disappearance before the death of his first wife, which (based on <a href="https://de.wikipedia.org/wiki/Anton_Schmid_(Musikwissenschaftler)" target="_blank">Anton Schmid</a>'s notes in A-Wgm) is also addressed in Wurzbach's <i>Lexikon</i> (<a href="http://www.literature.at/viewer.alo?objid=11810&viewmode=fullscreen&scale=3.33&rotate=&page=208" target="_blank">vol. 7, 203</a>), suggests that he started his relationship with Sophie Weber while his first wife was still alive. New archival discoveries shed more light on the course of events. In 1798, Haibel bought a small house and two pieces of land in Obermeidling from the theater entrepreneur <a href="http://www.biographien.ac.at/oebl/oebl_S/Scherzer_Franz-Jakob_1743_1818.xml" target="_blank">Franz Scherzer</a> who in that year left Vienna to take over the theater in Znojmo. Haibel had become acquainted with Scherzer, because in 1797, at the time of his second wedding, Scherzer had worked for Schikaneder as stage manager at the Wiednertheater ("Franz Scherzer ein Inspektor beym Wiedner Theater", <a href="https://data.matricula-online.eu/de/oesterreich/wien/04-st-karl-borromaeus/02-03/?pg=48" target="_blank">St. Karl 3, fol. 46</a>). This important detail in Scherzer's biography completely escaped Gustav Gugitz's attention (Blümml & Gugitz 1925, 271-307). Haibel's house was "An der Schönbrunner Gartenmauer. Das vormahlige K.K. Militair Wacht Häusl ober der Eisgrube", i.e. the former military guardhouse above the ice pit, at the wall of the gardens of <a href="https://en.wikipedia.org/wiki/Sch%C3%B6nbrunn_Palace" target="_blank">Schönbrunn Palace</a> (today <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=UjMlRikx7UVsTa1EE94PRBwpAtZGVBFvuBteoqQZ&bmadr=10100955" target="_blank">Grünbergstraße 18</a>, now replaced by a building from 1966). Together with the house, Haibel also purchased two pieces of land beside the house: a garden of 100,5 square Klafter (361,3 m<span style="font-size: xx-small; vertical-align: super;">2</span>) and a bigger piece of land (Meidling No. 52) "for the building of lodgings for the janitor and the enlargement of the aforesaid house and garden" (A-Wsa, Patrimonialherrschaften, B.20.96a, 123).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOnMpNWiifHrEOczASOYN61BD1vv34zV0Ta6RFPalUK4pbOdWRJ9LwXFhmdo6XbQ1lDdLUxC8oyRIvif6R8V7WTg_n123Q7bropYTta0EbU_66_qV1XYP4v7MLE0CSUPfIRH_5C78TJLE/s1600/GB+20_96a%252C+121.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOnMpNWiifHrEOczASOYN61BD1vv34zV0Ta6RFPalUK4pbOdWRJ9LwXFhmdo6XbQ1lDdLUxC8oyRIvif6R8V7WTg_n123Q7bropYTta0EbU_66_qV1XYP4v7MLE0CSUPfIRH_5C78TJLE/s320/GB+20_96a%252C+121.jpg" width="295" /></a></div>
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<span style="font-size: x-small;">The entry concerning the owners of the house Obermeidling 31 between 1796 and 1849, in a Klosterneuburg land register (A-Wsa, Patrimonialherrschaften, B.20.96a, 121). The list of owners begins with Scherzer, followed by Haibel. In 1849, the "Villa Metternich" (as the new building was called then) was bought by the steamship entrepreneur <a href="https://de.wikipedia.org/wiki/Joseph_John_Ruston" target="_blank">Joseph John Ruston</a>, the great-grandfather of <a href="https://en.wikipedia.org/wiki/Audrey_Hepburn" target="_blank">Audrey Hepburn</a>. Ruston's name appears in this document above the entry in red ink. </span></div>
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In 1801, Haibel rented out several apartments in his country house (which he called "Zur schönen Aussicht") while he again lived on the Wieden (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18010325&seite=26" target="_blank"><i>Wiener Zeitung</i>, 25 Mar 1801, 1018</a>). In 1805, Haibel sold his house and gardens to Princess Maria Beatrix <a href="https://de.wikipedia.org/wiki/Metternich_%28Adelsgeschlecht%29" target="_blank">von Metternich-Winneburg</a>, née <a href="https://de.wikipedia.org/wiki/Kageneck_%28Adelsgeschlecht%29" target="_blank">von Kageneck</a> (1755–1828) who had the house rebuilt into a villa.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghW4iVtSdWQz3HJTXwpQHwLX-aGft2hyc1RAkx4FqCkvZfIWOCHSWK6g7i4j7sg9lSHcs9n27N6NVmiDMoRSCVloFAtRp2p3CVlB1qTq5sJvzQp6d-oAq2YPd-dOPKA5c5wznPp5IP3cQ/s1600/Messner_Meidling_m.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghW4iVtSdWQz3HJTXwpQHwLX-aGft2hyc1RAkx4FqCkvZfIWOCHSWK6g7i4j7sg9lSHcs9n27N6NVmiDMoRSCVloFAtRp2p3CVlB1qTq5sJvzQp6d-oAq2YPd-dOPKA5c5wznPp5IP3cQ/s320/Messner_Meidling_m.jpg" width="283" /></a></div>
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<span style="font-size: x-small;">The location of Jakob Haibel's house Meidling 31 between the wall of the gardens of Schönbrunn Palace (visible at the top) and the Grünbergstraße. This map from 1845 already shows No. 31 as a later, much enlarged building (map from Messner 1975)</span></div>
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On <a href="http://goo.gl/aeADll" target="_blank">5 March 1806</a>, Constanze Mozart already knew of her sister's marriage plans, when she wrote to her son Karl: "Sophie, who at Easter is going to marry Mr. Haibel, unites her wishes with mine" (Schurig 1922, 30). It is very telling that Haibel married Sophie Weber not in her home parish (as it was customary), but in his new hometown <a href="https://en.wikipedia.org/wiki/%C4%90akovo" target="_blank">Đakovo</a>. Haibel's early departure from Vienna may also have been caused by a lawsuit that he was facing, after he had taken a mortgage on a house in Klosterneuburg which he was unable to pay back. In January 1807, the lumber trader Mathias Schauenstein, a real estate owner who lived on the Alsergrund, published an ad in the <i>Wiener Zeitung</i>, titled "<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18070107&seite=35&zoom=33" target="_blank">Erinnerung an Jakob Haibel</a>", in which he informed Haibel of the pending lawsuit and requested him to come forward and pay a debt of 1000 gulden. Haibel was obviously planning his move to Croatia at a relatively early point of time. As of 1799 (under pressure from his creditor Martin Kollmann whom he owed 1,224 gulden), Haibel was suing several people at the Vienna civil court to scrape together money that they owed him. Among these debtors were the dancer Franz Kees, the actor Heinrich Herbst, the prompter at the Burgtheater Franz Schrensner (who in 1794 had already been second prompter at the Wiednertheater), the playwright <a href="https://de.wikipedia.org/wiki/Joachim_Perinet" target="_blank">Joachim Perinet</a>, the Kapellmeister <a href="https://de.wikipedia.org/wiki/Franz_Teyber" target="_blank">Franz Teyber</a>, and the clarinetist <a href="https://en.wikipedia.org/wiki/Johann_Stadler" target="_blank">Johann Stadler</a>. A lot of research remains to be done concerning Haibel's financial situation, the circumstances of the purchase of his two houses, and his departure from Vienna. A more detailed exploration of the sources in the archive of the <a href="https://en.wikipedia.org/wiki/Klosterneuburg_Monastery" target="_blank">Klosterneuburg Monastery</a> is part of a different, more extensive research project.<br />
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<b>4) Eleonora Gerl</b><br />
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<a href="https://en.wikipedia.org/wiki/Franz_Xaver_Gerl" target="_blank">Franz Xaver Gerl</a>'s first child Eleonora was born in the house Wieden 102 and baptized on 1 January 1790, in the <a href="https://en.wikipedia.org/wiki/Karlskirche" target="_blank">Karlskirche</a> with Eleonore Schikaneder officiating as godmother.<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Eleonora Gerl on 1 January 1790 in the Karlskirche (St. Karl, Tom. 3, fol. 1). The godmother is given as "Ehegattin des H: Schikaneder Directeurs vom Theater im Freÿhauße". Because he never saw the original source, Orel (1957, 221) gives a wrong date of birth and a wrong name of the officiating priest. Orel's claim that the house number 102 "is a mistake and should read 103" is unfounded. There is no reason to doubt the sources.</span></div>
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That in 1790 Gerl lived at Wieden 102 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=XNRcRiFlF0bC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063456" target="_blank">Schleifmühlgasse 18</a>) can hardly have been a coincidence. A newly discovered source shows that this house was also the residence of the actor and librettist <a href="https://en.wikipedia.org/wiki/Karl_Ludwig_Giesecke" target="_blank">Karl Ludwig Gieseke</a> who was a member of Schikaneder's theater company. The municipal tax register lists Gieseke as tenant of apartment No. 6 of this building which at that time belonged to the tobacco dealer Anton Krieghammer. In 1791, the house Wieden 102 was bought by Gieseke's friend and colleague mineralogist, the mineral dealer Johann Weiß (1749–<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18120219&seite=7&zoom=33" target="_blank">1812</a>) (Hofbauer 1864, <a href="https://books.google.at/books?id=HBMyAQAAMAAJ&pg=PA307" target="_blank">307</a>). In 1796, the actor Kaspar Weiß lived in this house (see below) and from 1798 until 1800, Gerl's and Gieseke's colleague <a href="https://de.wikipedia.org/wiki/Matth%C3%A4us_Stegmayer#cite_note-1" target="_blank">Matthäus Stegmayer</a> also lived there.<br />
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<span style="font-size: x-small;">Karl Ludwig Gieseke appearing as "Johann Gießecker", tenant at Wieden 102, in the 1788 municipal tax register (A-Wsa, Steueramt, B34/11, fol. 173). This document proves that Gieseke was already living in Vienna in 1788. Gieseke is one of several members of Schikaneder's circle who has been ignored by modern-day research while everybody keeps rehashing the old literature going back to Blümml 1923. Not a single author, for instance, has so far acknowledged the fact that during his stay in Vienna, Gieseke (as he always signed his name) had a wife and children.</span></div>
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Eleonora Gerl died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17910330&seite=9&zoom=33" target="_blank">22 March 1791</a>, in the "Geroldisches Haus", <a href="https://books.google.at/books?id=HBMyAQAAMAAJ&pg=PA233" target="_blank">Wieden 103</a> (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=KABdRs9FF0bC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063457" target="_blank">Kühnplatz 5</a>), and was buried two days later in the Matzleinsdorf cemetery.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vMVBvCpLJBg09loy2ZfIBGy1UpeVplE1mrr3fFO_r2kOg8cjrxz1oDa0OzJJafGkxQ5c26WwUYbGuFv2K1l8o_eUUl9itcsn8-3XQMiTjnu2vxWvLw3yOPEah9FOXQjUvW-dchJm1Fs/s1600/EG+22.3.1791%252C+SK+2%252C+113.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="163" data-original-width="993" height="52" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vMVBvCpLJBg09loy2ZfIBGy1UpeVplE1mrr3fFO_r2kOg8cjrxz1oDa0OzJJafGkxQ5c26WwUYbGuFv2K1l8o_eUUl9itcsn8-3XQMiTjnu2vxWvLw3yOPEah9FOXQjUvW-dchJm1Fs/s320/EG+22.3.1791%252C+SK+2%252C+113.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the death and burial of Eleanora Gerl (St. Karl, Tom. 2, fol. 113). The cause of death was "Zahnfraisen" (toothing cramps).</span></div>
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The entry in the municipal death register reads as follows:<br />
<blockquote class="tr_bq">
Gerl Franz, Schauspieler s. K. Eleonora, ist im / Gerholdischen hauß <strike>N</strike>° 103. auf der Wieden/ an Zahnfraßen v[er]sch[ieden], alt 14 Monat / C: R:</blockquote>
<blockquote class="tr_bq">
Gerl Franz, actor, his child Eleonora died of toothing cramps in Mr. Gerold's house No. 103 on the Wieden, aged 14 months. Christoph Reitter [coroner] </blockquote>
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<span style="font-size: x-small;">The entry in the Totenbeschauprotokoll concerning Eleonora Gerl's death (A-Wsa, Totenbeschreibamt 95, CGK, 33r)</span></div>
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Franz Xaver Gerl, Mozart's first Sarastro and a vastly underrated composer, is so famous in his hometown, the Upper Austrian village of <a href="https://de.wikipedia.org/wiki/Andorf" target="_blank">Andorf</a>, that he has his own <a href="http://www.bergfex.at/sommer/andorf/highlights/8011-franz-xaver-gerl-denkmal/" target="_blank">memorial</a>. Thanks to the research of Komorzynski and Orel, we are well-informed about Franz Xaver Gerl's life. His biography, which has been dealt with
extensively by several authors during the last 60 years, is outside the scope of this blogpost.<br />
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<span style="font-size: x-small;">The entry concerning Franz Xaver Gerl's baptism on 30 November 1764 in <a href="https://de.wikipedia.org/wiki/Pfarrkirche_Andorf" target="_blank">St. Stephen's</a> in Andorf (Andorf, Tom. 101/03, 226)</span></div>
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On 2 September 1789, at Vienna's Paulanerkirche, Gerl married the actress Barbara Reisinger. Emanuel Schikaneder and his associate Joseph von Bauernfeld served as witnesses to this wedding. The entry concerning this event at the Paulanerkirche was squeezed between two others and thus the signatures of two witnesses on the far right of the following picture belong to the entry of the previous wedding.<br />
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<span style="font-size: x-small;">The entry concerning the wedding of Franz Xaver Gerl and Barbara Reisinger on 2 September 1789 (Wieden, Tom. 1, fol. 158)</span></div>
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The ballpen correction of the wrong year "1798" and the addition of the final
syllable "-in" in the bride's profession were probably done by Orel whose transcription of this source (like Komorzynski's) is flawed. The couple's address was "auf der Wied[en]
417", a detail that was to lead to some confusion in the course of later
research. Also notable is the fact that – although in 1789 Barbara Reisinger was demonstrably underage – in the marriage entry her age is
incorrectly given as twenty-five.<br />
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The place and the date of birth of Gerl's wife Barbara Reisinger are still a mystery. <i>New Grove</i> and <i>MGG</i> give "Vienna or ?Pressburg 1770", as of 2018, the <a href="http://www.musiklexikon.ac.at/ml/musik_G/Gerl_Familie.xml" target="_blank"><i>Österreichisches Musiklexikon</i></a> – bold and unreliable as always – gives "11. Dezember 1770 Pressburg" as Reisinger's date and place of birth. This information is false and not supported by any sources. The claim that Barbara Reisinger was born on 11 December 1770, in Bratislava is the result of a series of errors and bouts of autosuggestion by several authors. In 1955, Orel refers to several of <a href="https://de.wikisource.org/wiki/ADB:Reichard,_Heinrich_August_Ottokar" target="_blank">Reichard</a>'s <a href="https://de.wikisource.org/wiki/Zeitschriften_(Theater)" target="_blank"><i>Theater-Kalender</i></a> which – according to Orel – repeatedly give 1770 as Reisinger's year of birth and "Pressburg" as her hometown (Orel 1955, 73). The fact that these almanachs do not give Pressburg, but "Petersburg" as Reisinger's place of birth (1787, <a href="https://books.google.at/books?id=2UI7AAAAcAAJ&pg=PA161" target="_blank">161</a>) could not distract Orel who declared this to be a simple error for "Pressburg".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf44o6kiAmouwGLlzUpcDUf9NNu_Hn8Eng7L0BIh-VXgib0LPZa3sY5Lkhh7t7mGFGB60N03s3MspQVOePqx-HbXe5403w5R3aczVurzSZECKMg7DpLx8EqCz50tJziGyn9nZy3e3se_Q/s1600/TA+1787%252C+161.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf44o6kiAmouwGLlzUpcDUf9NNu_Hn8Eng7L0BIh-VXgib0LPZa3sY5Lkhh7t7mGFGB60N03s3MspQVOePqx-HbXe5403w5R3aczVurzSZECKMg7DpLx8EqCz50tJziGyn9nZy3e3se_Q/s320/TA+1787%252C+161.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Barbara Reisinger's place of birth given as "Petersburg" and her debut as having taken place in 1779 (<i>Theater-Kalender auf das Jahr 1787</i>, Gotha 1787, 161)</span></div>
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A closer examination of several issues of the <i>Theater-Kalender</i>, however, suggests that "Petersburg" means St. Petersburg. The 1787 <i>Kalender</i> (to give only one example from the series) lists a "Friedrich Maximilian Klinger, Lieutenant bey der Marine [the navy] in Petersburg" (<a href="https://books.google.at/books?id=2UI7AAAAcAAJ&pg=PA124" target="_blank">124</a>), and in the description of theater companies the theater in Pressburg has its own paragraph (<a href="https://books.google.at/books?id=2UI7AAAAcAAJ&pg=PA201" target="_blank">201</a>) titled "Presburg".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jTPMatxeseJt6l5dQUF-Z6KqDMOnw_dd_3dLrLo-g8z0aSiUoXwzZDagL57AZdXPJqya3Dv8Hah2j1m_VhGNrCdvHC6EcRDbiovqa28JNPnqNnOWksTdCxm3-6_O1coQPE-w8jvqhew/s1600/TA+1787%252C+201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jTPMatxeseJt6l5dQUF-Z6KqDMOnw_dd_3dLrLo-g8z0aSiUoXwzZDagL57AZdXPJqya3Dv8Hah2j1m_VhGNrCdvHC6EcRDbiovqa28JNPnqNnOWksTdCxm3-6_O1coQPE-w8jvqhew/s320/TA+1787%252C+201.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The beginning of the paragraph about the theater in Pressburg in a <i>Theater-Kalender</i> which, according to Orel, refers to this town as "Petersburg" (<i>Theater-Kalender auf das Jahr 1787</i>, Gotha 1787, 201)</span></div>
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That "Petersburg" in the <i>Theater-Kalender </i>does indeed mean "St. Petersburg" becomes obvious in the 1780 issue of this almanach where the chapter about the Russian theater begins with the paragraph "I. Hoftheater in Petersburg".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmFHFn7IUqW0veLgLsPCNko4UKBExjuxiDyWu0UJqydIfJd4zgVSL8BJrQrXbEke4J4ANWpnQRDUi_v8Uh0cvIy_tQtyPn5vXNv5xJ9a7kdQqz4pyH-VAzy19oHT_Cmlys0avqv2rQ5Ao/s1600/TK+1780%252C+280.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="393" data-original-width="523" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmFHFn7IUqW0veLgLsPCNko4UKBExjuxiDyWu0UJqydIfJd4zgVSL8BJrQrXbEke4J4ANWpnQRDUi_v8Uh0cvIy_tQtyPn5vXNv5xJ9a7kdQqz4pyH-VAzy19oHT_Cmlys0avqv2rQ5Ao/s320/TK+1780%252C+280.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The "Hoftheater in Petersburg" at the beginning of a paragraph about the Russian theater (<i>Theater-Kalender auf das Jahr 1780</i>, Gotha 1780, 280)</span></div>
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In 1960, the genealogist Herbert A. Mansfeld tried to shed light on Barbara Reisinger's immediate Viennese relatives and her possible Viennese origin. He was able to locate a copy of Gerl's and Reisinger's marriage documents in the archive of the Paulanerpfarre of which the original copies (A-Wsa, Mag. ZG, A3, 493/1789) do not survive in the holdings of Vienna's Municipal Archives. Because baptismal certificates were too valuable to be left with the authorities, Gerl's marriage documents do not contain the bride's baptismal certificate (Orel's claim that Reisinger did not have to produce such a document before her wedding, because she was pregnant, is not tenable for legal reasons). Mansfeld checked the entry concerning the house Wieden 417 in the 1788 <i>Steuerfassion</i> and fell victim to a hallucination. In the list of tenants of this house, in apartment 6, he found a name of a woman whom he declared to have been "Anna Reisinger, the widow of the chicken monger Franz Reisinger who had died on 19 April 1789" (Mansfeld 1960, 111). This is false on two counts: First, the name in the tax register does not read "Anna Reisinger". It reads "Anna Reisin" [i.e. "Reis"] <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsKpw55y3uPVNIqGq_9vV2ZH21_ISGi_WIj0bQOKc_WyzEjDei83Lk6rmtKoQbwfIAlzZkpDdCe9q3CFqwLIyWSp70Omfi57FH0u1uJvaOutu1kVO-mcuWZ7fTSyUyxlpSK3A68o8tSv8/s1600/B34_11%252C+551.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="595" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsKpw55y3uPVNIqGq_9vV2ZH21_ISGi_WIj0bQOKc_WyzEjDei83Lk6rmtKoQbwfIAlzZkpDdCe9q3CFqwLIyWSp70Omfi57FH0u1uJvaOutu1kVO-mcuWZ7fTSyUyxlpSK3A68o8tSv8/s320/B34_11%252C+551.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A certain Anna Reis listed in the 1788 tax register as tenant of apartment 6 in the house Wieden 417 (A-Wsa, Steueramt, B34/11, fol. 551)</span></div>
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Second, because the <i>Steuerfassion</i> was drawn up in 1788 (see my 2009 article "<a href="https://michaelorenz.at/alsergrund/" target="_blank">Mozart's Apartment on the Alsergrund</a>"), at a time when the chicken monger Franz Reisinger was still alive, his name should appear in the register. Although Reisinger <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17890429&seite=10&zoom=33" target="_blank">died at Wieden 417</a> (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=R8BVRgynD0bC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10065341" target="_blank">Schönbrunnerstraße 22</a>), there is no proven connection between him and Gerl's wife Barbara Reisinger. Mansfeld's research in the Vienna church records did not produce any usable results either. He found the baptism of a Barbara Reisinger on 4 February 1770, in <a href="https://de.wikipedia.org/wiki/Leopoldskirche_(Leopoldstadt)" target="_blank">St. Leopold</a>'s, daughter of a <i>Schiffknecht</i> (ship laborer) Franz Reissinger from Linz. Neither an identity nor a family relation of these people to the actress Reisinger could be established, and Mansfeld's musings were essentially fruitless. His claim that there is no other candidate for Gerl's wife, i.e. no other Barbara Reisinger born around 1770, in Vienna, was also false. On 5 December 1770, a Barbara Reisinger was born in "der goldenen Saag" (The Golden Saw, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=uPRFRkDPHEbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10071021" target="_blank">Zieglergasse 33</a>) in Oberneustift and baptized in St. Ulrich's, daughter of the servant Adam Reisinger and his wife Theresia (<a href="https://data.matricula-online.eu/de/oesterreich/wien/07-st-ulrich/01-33/?pg=290" target="_blank">St. Ulrich, 33, fol. 143v</a>). But this piece of information is a dead end, just like the data presented in 1960 by Mansfeld. It is very unlikely that Barbara Reisinger was born in Vienna. In 1963, the German Kapellmeister and researcher Karl Maria Pisarowitz (1901–1979) decided to solve the Reisinger riddle and turned his attention to the Bratislava church records. Following his custom method of research by mail, he wrote a letter to the <a href="http://www.minv.sk/?statny-archiv-v-bratislave" target="_blank">Bratislava regional archives</a>, asking them to find the baptism of a Barbara Reisinger in the records of <a href="https://en.wikipedia.org/wiki/St._Martin%27s_Cathedral,_Bratislava" target="_blank">St. Martin's Cathedral</a>. But no baptism of a Barbara Reisinger between 1760 and 1775 could be found in the Bratislava records, because there is none. This is proved by the <a href="https://familysearch.org/search/collection/1554443" target="_blank">familysearch.org database</a> which, since then, has been set up by <i>The Church of Jesus Christ of Latter-day Saints</i>. Pisarowitz was sent the only baptismal entry of a Reisinger girl that took place in 1770, which is that of a <a href="https://familysearch.org/ark:/61903/1:1:KZTH-K6P" target="_blank">Maria Anna Reisinger</a> on 11 December 1770.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyWICqnsNPyBb-REa0-WZBsZB_cl0t90Usaks10Dsz_7qBQiMreUctFEBfyH_usvyWRPdPtICmjPdVCzKQkAM6BSRopY9w9FToMRYK_isNqgzTMXkKsEz2cBhonG19CGQC9AuQUNjPwhw/s1600/MA+Reisinger+11.12.1770.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="135" data-original-width="1023" height="51" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyWICqnsNPyBb-REa0-WZBsZB_cl0t90Usaks10Dsz_7qBQiMreUctFEBfyH_usvyWRPdPtICmjPdVCzKQkAM6BSRopY9w9FToMRYK_isNqgzTMXkKsEz2cBhonG19CGQC9AuQUNjPwhw/s400/MA+Reisinger+11.12.1770.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Maria Anna Reisinger on 11 December 1770, at St. Martin's Cathedral in Bratislava (Sv. Martina [Part II], Bratislava, Slovakia, line 854, reference ID 90,
state regional archives, Slovakia; FHL microfilm 2,437,379). Another daughter of Joseph Reisinger was <a href="https://familysearch.org/ark:/61903/1:1:KZTH-DBF" target="_blank">Anastasia Josepha</a> who was born on 6 December 1768.</span></div>
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This Maria Anna Reisinger was a child of the <i>frameator magister</i> (master swordsmith) Joseph Reisinger and his wife Magdalena. Her godparents were the <i>fusor magister</i> (master founder) Johannes Trageni and his wife Anastasia. The fact that Barbara Reisinger debuted on the stage at the age of nine strongly suggests that her parents were professional actors. Thus, neither Maria Anna Reisinger from Pressburg, nor the daughter of the Schiffknecht from Vienna had anything to do with the first Papagena. This could not keep Pisarowitz from boldly using the above source in his article. He "solved" the problem by declaring the girl's first name irrelevant and – without providing any details or documentation – by inserting the information into his text as follows:<br />
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Endlich wissen wir, daß diese Barbara den 11. Dezember 1770 in Preßburg als Töchterchen "Maria Anna" eines Joseph Reisinger zur zwielichtigen (Bühnen-)Welt gekommen ist. (Pisarowitz 1963, 39) </blockquote>
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Finally, we know that this Barbara entered the shady world of the stage on 11 December 1770, in Bratislava as daughter "Maria Anna" of a Joseph Reisinger.</blockquote>
Pisarowitz's curious make-believe method of producing biographical data of members of Mozart's friends out of thin air resulted in countless bits of misinformation that still mar the commentaries in <a href="https://www.baerenreiter.com/shop/produkt/details/BVK1749/" target="_blank"><i>MBA</i></a>, because the editor Joseph Heinz Eibl treated Pisarowitz's privately communicated data as gospel. In 1991, Heinz Schuler could not provide any new information on Reisinger's origin. He only muddied the waters by erroneously transferring her alleged place of birth (combined with Mansfeld's wrong date) from Vienna to Linz (Schuler 1991, 100). The source situation can be summarized as follows: Barbara Reisinger, Mozart's first "Papagena", was neither born in Vienna nor in Pressburg. Although the <i>Theater-Kalender</i> are known for their notorious unreliability, it is very likely that Reisinger was born in St. Petersburg, daughter of members of the local German theater company.
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<b>5) Emanuel Haibel</b><br />
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Jakob Haibel's son Emanuel was born on 30 September 1790, at Wieden 270 (the <a href="https://www.wien.gv.at/wiki/index.php/Schleifm%C3%BChle" target="_blank">Schleifmühle</a>, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=M6RcRkobF0bC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063659" target="_blank">Schleifmühlgasse 19</a>) and baptized in the Karlskirche by the priest Adalbert Dvořák. Emanuel Schikaneder officiated as godfather.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcaEbJxZlHFVFDzX3caIAKwYviddHlUVLS79jUO_DLF8rYUyYUpwrnsUuQwTQGO22snzI4xgSZ3ySbpDs2Xlm4d8VruDHn7nQE4ogAmMS4V75IhgPh5ZFj_5WUaVSisNwY3ssavFbFx-g/s1600/Emanuel+Haibel+30.9.1790.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="148" data-original-width="1119" height="42" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcaEbJxZlHFVFDzX3caIAKwYviddHlUVLS79jUO_DLF8rYUyYUpwrnsUuQwTQGO22snzI4xgSZ3ySbpDs2Xlm4d8VruDHn7nQE4ogAmMS4V75IhgPh5ZFj_5WUaVSisNwY3ssavFbFx-g/s320/Emanuel+Haibel+30.9.1790.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Emanuel Haibel on 30 September 1790 (St. Karl, Tom. 3, fol. 16). Jakob Haibel is given as "Opernsänger".</span></div>
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The baptismal entry of Emanuel Haibel – written exactly one year before the premiere of <i>Die Zauberflöte</i> – shows a special feature. Schikaneder personally signed his name and it is his only known signature where he wrote out both his first names: "Johann Emanuel".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdFwpZTbZ1dWmhlJceyyvcovOIvflruSG1Ecqxa6fq1qqNXe8ap2ox5xDDrx4Sg1ux-FEqlw-UuWLmEP4vJ5g_7qfEVt8yZCZFTYANAeUzGrpCaQkykFEebyZHkQgPI9OHGjJlZxiwOw/s1600/ES+30.9.1790.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="456" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdFwpZTbZ1dWmhlJceyyvcovOIvflruSG1Ecqxa6fq1qqNXe8ap2ox5xDDrx4Sg1ux-FEqlw-UuWLmEP4vJ5g_7qfEVt8yZCZFTYANAeUzGrpCaQkykFEebyZHkQgPI9OHGjJlZxiwOw/s320/ES+30.9.1790.jpg" width="320" /></a></div>
<span style="font-size: x-small;">Johann Emanuel Schikaneder's autograph signature ("K: privilegirter Schauspiel unternehmer auf der Wieden") in the baptismal entry of Emanuel Haibel (St. Karl, Tom. 3, fol. 16). This picture was first published in Lorenz, 2008.</span></div>
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The child Emanuel Haibel died on 9 May 1791, of "Gedärmentzündung" (intestinal inflammation).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykPx8u7IiV_3X97_Ux9TFdwPAkRakGpBQ-q4MaWLmqBrtvuTlx8WYYIVNsnk6Bmt6YFcmYI0Rm43qyBvhgPlAZ_KdwIy7Qv_ByN8lAet1BCo-Q8n8r49Eh-mNHejKnIL5BbffygMapfo/s1600/EH+9.5.1791%252C+95%252C+36v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="232" data-original-width="978" height="75" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykPx8u7IiV_3X97_Ux9TFdwPAkRakGpBQ-q4MaWLmqBrtvuTlx8WYYIVNsnk6Bmt6YFcmYI0Rm43qyBvhgPlAZ_KdwIy7Qv_ByN8lAet1BCo-Q8n8r49Eh-mNHejKnIL5BbffygMapfo/s320/EH+9.5.1791%252C+95%252C+36v.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the death of Emanuel Haibel on 9 May 1791: "Häÿbel H: Jakob, Schauspieler s: K: Emanuel ist in der Schleifmühl N° 270 auf der Wieden an der Gedärmentzünd: vsch alt 6 Monat" (A-Wsa, Totenbeschreibamt 95, H, fol. 36v)</span></div>
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Haibel's last two children had other godparents. The godfather of Ignaz Haibel (b. 20 May 1792, d. 16 Sep 1792, St. Karl, Tom. 3, fol. 55) was the soap maker Ignaz Schwindler who lived in the same house as Haibel (at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=FMhgRvj6F0bC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10369988" target="_blank">Wieden 6</a>) and was the brother of Haibel's landlady. The godmother of Rosalia Haibel (b. 16 Feb 1794, St. Karl, Tom. 3, fol. 100) was Rosalia Haller who also lived in this house. Rosalia Haibel was the child whom her father eventually was to take with him to Croatia.<br />
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<b>6) Emanuel Suche</b> <br />
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Emanuel Suche was a son of Schikaneder's "Musikdirektor" Joseph Suche and his wife-to-be Susanna, née Richter. The child was born on 17 November 1790, in the house <a href="http://www.bildarchivaustria.at/Pages/ImageDetail.aspx?p_iBildID=2890609" target="_blank">Wieden 106</a> (very close to the theater, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=wq9dRuNoFkbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063493" target="_blank">Schleifmühlgasse 14</a>), and baptized by Adalbert Dvořák in the Karlskirche with Eleonore Schikaneder officiating as godmother.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHyMX8isn72xzkIYVPGuQii6HBp6zaneP7EcTA53B-d8RYEjeoumYzklrpJmi63VJxGk1iLAhtxuSbM2R_8pdwl5Eg6PGFs7N5CtGPZMCZc2V1P9LDGsodg2nosbxpTdIa57rchkOA1p0/s1600/ES+17.11.1790.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="113" data-original-width="1356" height="33" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHyMX8isn72xzkIYVPGuQii6HBp6zaneP7EcTA53B-d8RYEjeoumYzklrpJmi63VJxGk1iLAhtxuSbM2R_8pdwl5Eg6PGFs7N5CtGPZMCZc2V1P9LDGsodg2nosbxpTdIa57rchkOA1p0/s400/ES+17.11.1790.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Emanuel Suche on 17 November 1790 (St. Karl, Tom. 3, fol. 20). The three crosses below Schikaneder's name do not mean that she was illiterate.</span></div>
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The so-called "Störckmacherhaus", Wieden 106, where Suche lived in 1790 and 1791, belonged to the civil starch and hair-powder maker Lorenz Penzenauer. The Bremen-born actor Johann Nikolaus Starke (1756–1805) – third slave in the premiere of <i>Die Zauberflöte</i> – also lived in this house from 1793 until 1805, probably in Suche's former apartment. Kaspar Biedermann (1750–<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17950909&seite=13&zoom=33" target="_blank">3 Sep 1795</a>), prompter of the Wiedner Theater, was Starke's subtenant in this house (A-Wsa, Mag. ZG, A2, 3228/1795). Between 1793 and 1805, five of Starke's seven children were born at Wieden 106 (436), but none of them were godchildren of the Schikaneder couple (St. Karl 3, fol. 73, 106, 139, 169, 202). As godparents Starke preferred members of the starch maker families Penzenauer and Pettenkofer who lived in the same house.<br />
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<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY0L2yauF9zFCn4ByTphRlciSbo9tfdM9ZJrcexrxgORqMLFbYIsI71gtlUSjzp4pic9BaelGIwQ5nzEF1Io9a3Vg1WsMgmEfYIXnlOibnOvaL2hsg7oybbwzjkkUTyLuTemuQ0NrDhwg/s2048/WM+41947_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1522" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY0L2yauF9zFCn4ByTphRlciSbo9tfdM9ZJrcexrxgORqMLFbYIsI71gtlUSjzp4pic9BaelGIwQ5nzEF1Io9a3Vg1WsMgmEfYIXnlOibnOvaL2hsg7oybbwzjkkUTyLuTemuQ0NrDhwg/s320/WM+41947_1.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A photograph from 1910 of the front section of the house Schleifmühlgasse 14 (Wieden 106) by August Stauda (Wien Museum, I.N. 41947/1)</span></div>
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In this house, Joseph Suche's son Emanuel Suche died on 14 June 1791 of "Kopffrais" (feverish head cramps). <br />
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<span style="font-size: x-small;">The entry in the Bahrleihbuch of St. Stephen's concerning Emanuel Suche's obsequies on 15 June 1791, at the Karlskirche (A-Wd, Bahrleihbuch 1791, fol. 181v)</span></div>
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Suche / Rub: 8<span style="font-size: x-small; vertical-align: super;">va</span> Pfarr St: Carl / Dem Herrn Joseph Suche Music Di<span style="font-size: xx-small;">=</span> / rector im Neuwiedner Theater, sein / Kind Emanuel, auf der Wieden in / Störckmacherhaus <strike>N</strike>° 106. an Kopf<span style="font-size: xx-small;">=</span> / fraisen beschaut, alt 7. Monat. <br />
Im Freydhof A:[ußer] Mazlstorf<br />
p: 1 f 30 x Bezahlt 1. – – 30.</blockquote>
Schikaneder's concert master Joseph Suche has so far not received much attention from music historians. Although his career as violinist and orchestra leader spanned several decades, he has no articles in the major music encyclopedias, such as <i>The New Grove</i>, <i>MGG</i>, or the <i>Österreichisches Musiklexikon</i>. The reasons for this seem to be twofold: first, Suche's early activity before 1783 is very poorly documented; and second, after Suche had left Schikaneder's orchestra, he mainly worked as violinist in Vienna's church orchestras which kept him away from public attention. Joseph Anton Suchey (as was his original Czech name) was born on 1 July 1751, in Saaz (today <a href="https://en.wikipedia.org/wiki/%C5%BDatec" target="_blank">Žatec</a>) and baptized the following day in the local <a href="https://de.wikipedia.org/wiki/Dekanatskirche_Mari%C3%A4_Himmelfahrt_(%C5%BDatec)" target="_blank">parish church</a>. His parents were Joseph Suchey and Franziska, née Mayer who had married on 29 July 1747, in Saaz (Strední oblasní archiv v Litomericích, sig. 189/27, 182). <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKYASMaLTvC3fvwXQ3TRjorBe_hzjexOpPKPA_LfUQ6XpqCAsTjz_YabOtHcIs0bPHsPJCdk7ZMRkxFavbrAbLjiRAGkLtOk8h3gb2pW6DGcAr7RwZWrqyEIk7FFXRH96k5Nr-YzVyVU/s1600/JS+1.7.1751+Zatec.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="353" data-original-width="788" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKYASMaLTvC3fvwXQ3TRjorBe_hzjexOpPKPA_LfUQ6XpqCAsTjz_YabOtHcIs0bPHsPJCdk7ZMRkxFavbrAbLjiRAGkLtOk8h3gb2pW6DGcAr7RwZWrqyEIk7FFXRH96k5Nr-YzVyVU/s320/JS+1.7.1751+Zatec.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Joseph Suche(y) on 2 July 1751 in Saaz. The child's godfather was Anton Franz Grundt. Franz Karl Bauer and Barbara Elisabeth Keller served as witnesses (Strední oblasní archiv v Litomericích, sig. 189/9, 64).</span></div>
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Suche's presence in Vienna is first documented in the 1784 edition of the <i>Theater-Kalender</i> where he is listed as "Direktor" of the orchestra at the <a href="https://en.wikipedia.org/wiki/Theater_am_K%C3%A4rntnertor" target="_blank">Kärntnerthortheater</a> which in 1783 was managed by David Friedrich Gensike (<i>Theater-Kalender</i> 1784, 221f.). Suche's acquaintance with Schikaneder probably began in 1783, when the latter, who at that time led the Pressburg theater, made a guest appearance in Vienna in the title role of <a href="https://en.wikipedia.org/wiki/Joseph_Marius_Babo" target="_blank">Babo</a>'s play <i>Otto von Wittelsbach</i>. The <i>Theater-Kalender</i> is, however, contradicted by the 1783 theater account book which gives Michael Hofer (Franz de Paula's brother) as orchestra leader at the German theater (<a href="http://www.archivinformationssystem.at/detail.aspx?id=968241" target="_blank">A-Whh, HA GIdHTh SR 20</a>). Suche first appears in the roster of the Kärntnertortheater in the season 1785/ 86, as first violinist with a monthly salary of 12 fl 30 x, right after the orchestra leader <a href="https://en.wikipedia.org/wiki/Paul_Wranitzky" target="_blank">Paul Wranitzky</a> (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=968243" target="_blank">A-Whh, HA GIdHTh SR 22</a>). Suche was employed at the Kärntnertortheater until 29 February 1788, when the theater was closed due to the cutting measures that resulted from the <a href="https://en.wikipedia.org/wiki/Austro-Turkish_War_(1788%E2%80%9391)" target="_blank">Turkish War</a>. Together with several other musicians, such as Karl Menzl, Franz Deabis, Felix Stadler and Anton Dreyssig, who all lost their jobs at the court theater, Suche switched to the orchestra of the Theater auf der Wieden.<br />
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The child Emanuel Suche was was born almost ten months before his parents' wedding, and yet, he was not even their first child. On 9 October 1789, Suche's girlfriend Susanna Richter gave birth to a son who was christened Andreas and who was passed off as legitimate by his parents with the help of the midwife Marianna Meyer at whose apartment at <a href="https://www.geschichtewiki.wien.gv.at/Krebsgasse_(1)" target="_blank">Krebsgasse</a> 459 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=1i9mRkehL0bC7rFEE-aAORO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052959" target="_blank">Marc-Aurel-Straße 3</a>) the child had been born. By claiming that the child was too weak to be baptized in the parish church of St. Peter's, the midwife had the priest Joseph Petz perform a home christening, presenting the child as born in wedlock and making use of the fact that the priest was not acquainted with the parents. Even earlier children of Suche and Richter may yet be discovered.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRBJEA3qRoI3l67jGYwHXlQ1znq_F7mv7pAKlUqqoJ6m83foeg2FdlDrGS0W4UQn2zHuHj0xtbWFONYW0Vu9mB-EOEN9doejquLwonlnKoFm9XPEdyIdnfhVlWjACNYkguMgwRlOml4A/s1600/Andreas+Suche+9.10.1789.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="1343" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRBJEA3qRoI3l67jGYwHXlQ1znq_F7mv7pAKlUqqoJ6m83foeg2FdlDrGS0W4UQn2zHuHj0xtbWFONYW0Vu9mB-EOEN9doejquLwonlnKoFm9XPEdyIdnfhVlWjACNYkguMgwRlOml4A/s320/Andreas+Suche+9.10.1789.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The original entry concerning Andreas Suche's baptism on 9 October 1789, in the house Stadt 459 (A-Wstm, St. Peter [original copy], Tom. 1788-93). The second slash in the last column of the entry's left half marks the child's marital birth. The godfather was Andreas Reiner, a civil locksmith. The note on the far right reads: "Im Hause getauft wegen angeblicher Schwäche des Kindes". This excuse also appears in the <a href="https://michaelorenz.at/alsergrund/TM.jpg" target="_blank">original entry</a> concerning the home baptism of Mozart's daughter Theresia on 27 December 1787 (Lorenz, 2009 and 2010).</span></div>
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It is obvious that for a certain time Suche and his future wife lived together near the Freihaus and passed themselves off as married couple. How to get married in such a situation without alerting friends and neighbors to the previous "sinful" lifestyle, was a wide-spread problem in eighteenth-century Vienna. Most couples, who wanted to keep their earlier unmarried status secret, applied for a dispensation from the public proclamation of the banns and were allowed to be married in secrecy. The actor Johann Nikolaus Starke (who appeared as third slave in the premiere of <i>Die Zauberflöte</i>) had the exact same problem: in 1788 he fathered a daughter with his then girlfriend Katharina Pretzky and passed this child off as legitimate to the priest. When he finally got married in July 1793, he was kindly dispensed from all three proclamations (<a href="https://data.matricula-online.eu/de/oesterreich/wien/04-st-karl-borromaeus/02-03/?pg=9" target="_blank">St. Karl 3, fol. 7</a>). To save their reputation, Suche and his girlfriend went for a different method: they used a summer stay in the country as an opportunity to get married outside of Vienna, far away from their colleagues at the theater. On 7 September 1791, Joseph Suche and Susanna Strauss, née Richter, got married in the parish church in <a href="https://en.wikipedia.org/wiki/Meidling" target="_blank">Meidling</a> with a local locksmith and a taylor officiating as witnesses. In the marriage entry the priest explained the circumstances: "The bridal couple has been living in Meidling in the summer, they received a dispensation from two publications of the banns and an oral permission from the priest of St. Karl parish where they had been living earlier". The couple gave <a href="https://sammlung.wienmuseum.at/images/objects/351400/506167_full.jpg" target="_blank">Meidling 35</a> (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=9cM0RmFh-akXC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10099672" target="_blank">Meidlinger Hauptstraße 3</a>) as their address.<br />
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<span style="font-size: x-small;">The entry concerning Joseph Suche's and Susanna Richter's wedding on 7 September 1791, in Meidling. The groom is described as "Musik Direktor im K.K. Privilegirten Theater in Wien auf der Wieden" (Meidling, Tom. 1, fol. 21). Susanna Richter had been born on 3 August 1761 (A-Wd, Tom. 84, fol. 216r), daughter of the footman Johannes Richter. On 29 October 1781, she had married her first husband, the hairdresser Johann Martin Strauss (A-Wd, Tom.74, fol. 106r) with whom she had two children.</span></div>
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Suche's wife brought a son into her second marriage named Joseph Strauss (b. 24 September 1783) who died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17921031&seite=13&zoom=33" target="_blank">24 October 1792</a> of convulsive cough and was buried under his stepfather's name (A-Wd, Bahrleihbuch 1792, 297r). Joseph and Susanna Suche had four more children: Andreas (see above), Eleonora (see below), Wilhelmine, and Karl of whom only the last one reached adulthood. On the occasion of the baptism of his son Karl on 18 December 1798, Suche is referred to as "Musik Direktor von Widner Theater" for the last time (<a href="https://data.matricula-online.eu/de/oesterreich/wien/04-wieden/01-03/?pg=39" target="_blank">Wieden 3, fol. 276</a>). His and Schikaneder's ways seem to have parted shortly before the theater moved to the new building north of the <a href="https://www.wien.gv.at/wiki/index.php?title=Wienfluss" target="_blank">Wienfluss</a>. Suche never moved to the neighborhood of the <a href="https://en.wikipedia.org/wiki/Theater_an_der_Wien" target="_blank">Theater an der Wien</a> on the <a href="https://de.wikipedia.org/wiki/Laimgrube" target="_blank">Laimgrube</a>. Susanna Suche died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18020130&seite=11&zoom=33" target="_blank">25 January 1802</a> of consumption in the house Wieden 290 ("Zum Goldenen Gewicht", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=649cRl55EkbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10203870" target="_blank">Waaggasse 15</a>). In her <i>Sperrs-Relation</i> her husband is addressed as simple "Musikus". <br />
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<span style="font-size: x-small;">Joseph Suche's seal and signature in the will of the stockbroker (and proficient musician) Franz Brabée (1759–1831) which was written on 13 August 1811 (A-Wsa, Mag. ZG, A10, 654/1831)</span></div>
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The fact that Suche reached the high age of 89 may also be related to the fact that he was lucky enough to live in the household of his son Karl and to be cared for by his family. Karl Suche (who had started out as "Protocollist" at the council of war) in 1826 had married the daughter of a "Branntweiner" (<a href="https://data.matricula-online.eu/de/oesterreich/wien/04-st-karl-borromaeus/02-07/?pg=98" target="_blank">St. Karl 7, fol. 96</a>) and was working as "Solizitator" (paralegal). In the records of the municipal conscription office Joseph Suche first appears as roommate of his son's family in 1827 at Wieden 480 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=hSFdRq3SE0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063538" target="_blank">Margaretenstraße 23</a>). On a conscription sheet he is described as "gew k Hofth[ea]t. Musikus v Satz Bohm".<br />
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<span style="font-size: x-small;">Joseph Suche listed on a conscription sheet of the house Wieden 480 as housemate of his son Karl and his daughter-in-law Magdalena Suche (A-Wsa, Konskriptionsamt, Wieden 480/8r). </span></div>
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After the death of his daughter-in-law, Joseph Suche, with his son and his two grandchildren Joseph and Franziska, moved to St. Ulrich 5 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=eoVQRn0FJEbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070444" target="_blank">Neustiftgasse 17</a>) where he was registered at some time during the 1830s, together with his relatives, as "Joseph Suchy Vater des Obigen [father of the above ] v. Stz in Böhm".<br />
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<span style="font-size: x-small;">Karl Suche, his two children and his father Joseph on a conscription sheet of St. Ulrich 5 (A-Wsa, Konskriptionsamt, St. Ulrich 5/5r and 5v)</span></div>
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In this house, St. Ulrich 5, Joseph Suche died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18400808&seite=5&zoom=33" target="_blank">5 August 1840</a>, of "Lungenlähmung" (lung failure) and was buried in the Schmelz cemetery. The date of his death given in the <i>Totenbeschauprotokoll</i> (187, S, fol. 61) is contradicted by the parish register which gives 4 August 1840. In all records his age is erroneously given as 95. Suche's probate file (Schotten, A10, 43408) is unfortunately not extant. Reminiscent of <a href="https://de.wikipedia.org/wiki/Franz_Jakob_Freyst%C3%A4dtler" target="_blank">Freystädtler</a> and Gebauer, Suche was one of Mozart's long-lived close colleagues of whose possible service as first-hand witnesses local music historians remained completely unaware.<br />
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<b>7) Emanuel Kistler </b><br />
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Emanuel Kistler, son of the actor at the Wiedner Theater Michael Kistler and his wife Viktoria, née Bollinger, was born in the Freihaus and baptized on 13 December 1791, in the Karlskirche, with Emanuel Schikaneder officiating as godfather. The child's additional Christian names "Michael Urban" came from his father and Schikaneder's brother Urban.<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Emanuel Kistler on 13 December 1791. The godfather is referred to as "Schauspielunternehmer auf der Wieden" (St. Karl, Tom. 3, fol. 44). </span></div>
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Because he was not born in Vienna, did not get married in Vienna, and obviously also died somewhere else, biographical information concerning Michael Kistler is difficult to gather. His presence in Vienna is first documented on the occasion of the death of his six-month-old daughter Maria Antonia on 25 May 1790 in the "Seilerisches Haus" on the Landstraße (today <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=9ol9RhcNHEZsTa1EaIcQRBwpAtZGVBFvuBteogQ-b&bmadr=10061271" target="_blank">Landstraßer Hauptstraße 78</a>) where she had been living in foster care (A-Wsa, TBP 93, CGK, fol. 64v). On 21 November 1790, Kistler's wife already bore a daughter (St. Karl 3, fol. 20) named Anna (d. 9 Oct 1791). This child's godmother was Anna von Bauernfeld (1767–1806), wife of Schikaneder’s business partner Joseph von Bauernfeld and younger sister of Baron Peter von Braun (1758–1819) who a decade later was to become Schikaneder’s most determined rival in the theater business. Kistler was hired by Schikaneder in 1790. As of 11 September 1790, he appeared as Nadir in <a href="https://en.wikipedia.org/wiki/Der_Stein_der_Weisen" target="_blank"><i>Der Stein der Weisen</i></a>. In the premiere of the <i>Die Zauberflöte</i> Kistler got his share of immortality by playing the second priest. Kistler's son Emanuel already died on 18 February 1792 (Wieden 3, fol. 438) of "Gedärmfrais" (intestinal cramps) in the house Wieden 381 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=wtZbRgkXEkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063738" target="_blank">Preßgasse 13</a>) and was buried the following day in the <a href="https://www.wien.gv.at/wiki/index.php?title=Matzleinsdorfer_Katholischer_Friedhof" target="_blank">Matzleindorf cemetery</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIF01NYYpOviI3L2ILngn4LaZx543Bu2SxNA8e0y5t8se6Lu6JkGRg7O-Csky6wy73hXCJgJhQz0u5kwofpU-U75nKX1CRrpPqSI6Hst93_5qYHfzouYpfDSZaDgMVN-RFVAKRds_xEDA/s1600/Emanuel+Kistler+19.2.1792.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="725" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIF01NYYpOviI3L2ILngn4LaZx543Bu2SxNA8e0y5t8se6Lu6JkGRg7O-Csky6wy73hXCJgJhQz0u5kwofpU-U75nKX1CRrpPqSI6Hst93_5qYHfzouYpfDSZaDgMVN-RFVAKRds_xEDA/s320/Emanuel+Kistler+19.2.1792.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the obsequies and burial of Emanuel Kistler on 19 February 1792 (A-Wd, Bahrleihbuch 1792, fol. 51v)</span></div>
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By 1798 Kistler had already left Schikaneder's company. According to the <i>Allgemeine deutsche Theater-Zeitung</i> from that year he was in Preßburg in 1798 from where, at Easter 1798, he went to Linz. Nothing is known about his life hereafter.<br />
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<b>8) Eleonora Suche</b><br />
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Joseph Suche's daughter Eleonora Franziska was born on 16 July 1792, in the house Wieden 263 ("Adam und Eva", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=9cM0RmFh-akXC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10099672" target="_blank">Margaretenstraße 24</a>) and baptized in the Paulanerkirche. Her godmother was "Eleonora v: Schickaneder Gemahlin des Herrn Unternehmers obbesagten Theaters" – the word "obbesagt" referring to Suche's description as "Music Director vom K:K: privil: Wiedner Theater".<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Eleonora Franziska Suche on 16 July 1792 (Wieden, Tom. 2, fol. 8)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgarUwnSJx7punxdTjRtipAo8xPFkJHzWEpeWBRWVOvT0ZeQv2ytJKNSUj7PycGWUAG9gqhoAibZtC48JRzlklKAADnTkXthqKCBjrMYxczz7tzbSulxESGevzgV54kQ2VAiYJSoKTzzoM/s1600/Wieden+263+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="633" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgarUwnSJx7punxdTjRtipAo8xPFkJHzWEpeWBRWVOvT0ZeQv2ytJKNSUj7PycGWUAG9gqhoAibZtC48JRzlklKAADnTkXthqKCBjrMYxczz7tzbSulxESGevzgV54kQ2VAiYJSoKTzzoM/s320/Wieden+263+%25282%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The house Wieden 263, "Adam und Eva" (last concription number 769), where Joseph Suche lived in 1792-93. Photograph by August Stauda from 1903 (A-Wn, ST 1527F) </span></div>
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Eleonora Suche died of smallpox on 4 October 1793 (Wieden 3, fol. 512) in the house Wieden 263 and was buried the following day in the Matzleindorf cemetery.<br />
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<span style="font-size: x-small;">The entry concerning the obsequies and burial of Eleonora Suche on 5 October 1793 (A-Wd, Bahrleihbuch 1793, fol. 246r). The child's wrong age "11 Monat", which also appears in the parish register, is based on an error in the Totenbeschauprotokoll.</span></div>
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<b>9) Johann Emanuel Henneberg </b> <br />
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<a href="https://de.wikipedia.org/wiki/Johann_Baptist_Henneberg" target="_blank">Johann Baptist Henneberg</a> was born on 5 December 1768, son of the organist Andreas Henneberger (1727–1791), and baptized the following day in the Schottenkirche. Henneberg's wrong dates of birth, published by Orel (<i>MGG </i>6, 151) and Komorzynski (1955, 243), were caused by an oversight by both authors who misinterpreted the word "eodem" and disregarded the note "heri hora 10<span style="font-size: x-small; vertical-align: super;">ma</span> noctis" ("[born] yesterday at the 10th hour of the night") in Henneberg's baptismal entry. <br />
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<span style="font-size: x-small;">The entry concerning the baptism of Johann Baptist Andreas Nikolaus Lambert Henneberger on 6 December 1768 (A-Ws, Tom. 37, fol. 71v). Henneberg's father, Andreas Henneberger, was born on 22 November 1727, in the Lower Austrian village of <a href="https://goo.gl/maps/fMNfW9LwM9p" target="_blank">Rassing</a> (<a href="http://data.matricula-online.eu/de/oesterreich/st-poelten/kapelln/01%252C2%252C3%252F06/?pg=113" target="_blank">Kapelln, Tom. 6, 220</a>). The fact that on 18 July 1771, Maria Anna Kayser (the future <a href="https://en.wikipedia.org/wiki/Maria_Anna_von_Genzinger" target="_blank">Maria Anna von Genzinger</a>) officiated as godmother of Andreas Henneberger's daughter Maria Anna Henneberger (1771–1795), suggests that Andreas Henneberger was von Genzinger's piano teacher (A-Ws, Tom. 37, fol. 229v).</span></div>
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In late 1789, Henneberg was hired by Schikaneder as Kapellmeister for the Wiedner Theater. Despite his young age, Henneberg proved to be a first rate composer and orchestral leader who raised the artistic level of the musical forces and contributed significant works to the repertory. In 1791, while Mozart was in Prague, he supervised the rehearsals of <i>Die Zauberflöte</i> and conducted the opera as of its third performance. Apart from his own works he also arranged the piano scores of Süßmayr’s <i>Der Spiegel von Arkadien</i>, <a href="https://de.wikipedia.org/wiki/Peter_von_Winter" target="_blank">von Winter</a>’s and <a href="https://de.wikipedia.org/wiki/Johann_Mederitsch" target="_blank">Gallus-Mederitsch</a>’s <i>Babylons Pyramiden</i> and <i>Das Labyrinth</i>. A number of sources show that Henneberg kept his post as organist at the <a href="https://en.wikipedia.org/wiki/Schottenstift" target="_blank">Schottenstift</a> during his activity as theater musician. Because he was a fatherless minor, before he could marry, Henneberg in September 1792 had to apply to the municipal civil court for a marriage permit. <br />
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<span style="font-size: x-small;"> Henneberg's application for a marriage permit written on 20 September 1792. This document is not autograph (A-Wsa, Mag. ZG, A3, 109/1792).</span> </div>
<blockquote class="tr_bq">
Löbl: Magistrat!<br />
Unterzeichneter Johann Henneberg, dessen Vater Andreas Henneberg erst im Junius <span style="text-decoration: overline;">791</span>. unter dieses löbl: Magistrats Gerichtsbarkeit verstorben ist, ist gesonnen sich mit der Maria Henriette Petit zu vereheligen, und bittet daher, da er noch minderjährig ist, um die obervormundschaftliche Bewilligung zu dieser seiner Verbindung, aus folgenden Gründen:<br />
1.<span style="font-size: x-small; vertical-align: super;">tens</span> Hat er zeuge Taufscheins A. (A. wird zur Tagsatzung gebracht.) bereits 23. Jahre zurückgeleget, und es mangelt ihm nur noch kurze Zeit zur Erlangung seiner Großjährigkeit;<br />
2.<span style="font-size: x-small; vertical-align: super;">tens</span> Hat er als Theatralkapellmeister und Organist ein solches Einkommen, daß er im Stande ist, davon sich, und eine Familie anständig zu ernähren;<br />
3.<span style="font-size: x-small; vertical-align: super;">tens</span> Wird niemand weder der Braut noch dem unterzeichneten in Ansehen ihres sittlichen Betragens und ihres Lebenswandels die mindeste gegründete Ausstellung machen können.<br />
4.<span style="font-size: x-small; vertical-align: super;">tens</span> Sind mit dieser Verbindung sowohl des unterzeichneten Mutter Marianna Henneberg, als auch dessen Vormund H. Augustin[<i>sic</i>] v: Baumberg einverstanden und finden sie vortheilhaft.<br />
Wien den 20<span style="font-size: x-small; vertical-align: super;">ten</span> 7b[er] <span style="text-decoration: overline;">792</span>.<br />
Johann Henneberg<br />
Kapellmeister.</blockquote><p><i>[translation:] </i><br /></p>
<blockquote class="tr_bq">
Honorable Magistrate!<br />
The undersigned Johann Henneberg, whose father Andreas Henneberg only passed away in June 1791 under this honorable magistrate's jurisdiction, intends to marry Maria Henriette Petit, and therefore, because he is still a minor, requests to be granted the superior custodian's permission to this marriage for the following reasons: 1) He is already 23 years of age and has only a short time to reach majority; 2) As a Kapellmeister at the theater and organist, his income enables him to decently support himself and a family; 3) Nobody will be able to make the least justified objection in regards of the moral conduct and life of the bride and the undersigned. 4) Both, the signatory's mother, Marianna Henneberg, and his guardian, Mr. Augustin von Baumberg, agree to this marriage, and find it advantageous.<br />
Vienna, September 20th, 1792.<br />
Johann Henneberg<br />
Kapellmeister.</blockquote>
The name "Augustin von Baumberg" in the above document is an error. Henneberg's guardian was Johann Florian Baumberg (1729–1801), head of the Court Chamber archive and father of the poet <a href="https://en.wikipedia.org/wiki/Gabriele_von_Baumberg" target="_blank">Gabriele Baumberg</a> (1766–1838) whose poem <a href="https://en.wikipedia.org/wiki/Als_Luise_die_Briefe_ihres_ungetreuen_Liebhabers_verbrannte" target="_blank"><i>Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte</i></a> was set to music in 1787 by Mozart.<br />
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<span style="font-size: x-small;">The seals and signatures of Johann Baptist Henneberg, his bride Maria Henriette Petit, and his guardian Johann Florian Baumberg on a list of the couple's joint property which on 9 October 1792, they submitted to the municipal civil court (A-Wsa, Mag. ZG, A3, 109/1792)</span></div>
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Henneberg got married on 29 October 1792, in the <a href="https://en.wikipedia.org/wiki/Schottenkirche,_Vienna" target="_blank">Schottenkirche</a> (A-Ws, 38, 65). His bride was Marie Henriette Petit, daughter of Alphonse Petit, a Netherlands-born chamberlain with <a href="https://en.wikipedia.org/wiki/K%C3%A1roly_J%C3%B3zsef_Batthy%C3%A1ny" target="_blank">Count Karl Joseph Batthiány</a>.<br />
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<span style="font-size: x-small;">The first page of Johann Henneberg's and Marie Petit's marriage contract which is misdated "18<span style="font-size: xx-small; vertical-align: super;">t</span> Oktober <span style="text-decoration: overline;">797</span>". The witness of the bride was the physician <a href="https://de.wikipedia.org/wiki/Dominik_von_Vivenot" target="_blank">Dominik Vivenot</a> (A-Ws, Mag. ZG, A10, 487/1814).</span></div>
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Henneberg had obviously made the acquaintance of his wife through his mother who in May 1792 (A-Ws, 38, 42), had married Martin Hagedorn (1733–1814), the father-in-law of Marie Petit's brother Karl.<br />
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<span style="font-size: x-small;">The Hagedorn and Henneberg families listed on a conscription sheet of the Schottenhof from between 1805 and 1820 (A-Wsa, Konskriptionsamt, Stadt 136/10r)</span></div>
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Johann Baptist Henneberg and his first wife had the following nine children. <br />
<ol>
<li>Johann Emanuel, b. 14 Aug 1793 in Vienna (see below)</li>
<li>Maria Magdalena, b. 24 Aug 1795 in Vienna (see below)</li>
<li>Elisabeth, b. 19 Nov 1796 in Vienna (see below)</li>
<li>Emanuel Karl, b. 5 Jul 1798 in Vienna (see below)</li>
<li>Anna, b. 2 Sep 1799 in Vienna, goddaughter of <a href="https://en.wikipedia.org/wiki/Ignaz_von_Seyfried" target="_blank">Ignaz von Seyfried</a>, on 19 Aug 1822, married Johann Kraus (A-Ws, Tom. 43, 94), employee of the I. & R. Nationalbank (1799–1851), acquaintance of Joseph Carl Rosenbaum, d. after 6 May 1851</li>
<li>Josepha, b. 16 Aug 1802 in Vienna, goddaughter of Ignaz von Seyfried, d. before 15 Mar 1805 </li>
<li>Josepha, b 15 Mar 1805 in <a href="https://de.wikipedia.org/wiki/Hof_am_Leithaberge" target="_blank">Hof am Leithaberge</a> (Hof 4, 89), d. 23 Oct 1806 in Hof am Leithaberge (Hof 4, 79)</li>
<li>Theresia, b. 19 Jan 1808 in Hof am Leithaberge (Hof 4, 101), d. after 27 Nov 1822</li>
<li>Walburga, b. 24 May 1809 in the woods (where her parents were hiding from the French troops), near Hof am Leithaberge (Hof 4, 107), d. after 27 Feb 1824</li>
</ol>
Henneberg's first child Johann Emanuel was baptized on Wednesday, 14 August 1793, in the Schottenkirche, with Emanuel Schikaneder standing godfather. The child again received both of Schikaneder's Christian names, Johann and Emanuel. The baptismal entry shows Schikaneder's two forenames, but this time he did not sign personally. The father is given as "Organist beim Stift Schotten und Kapellmeister des KK privilegirten Theater auf der Wieden".<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Johann Emanuel Henneberg on 14 August 1793 in the Schottenkirche (A-Ws, Tom. 44, fol. 26).</span></div>
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Johann Emanuel Henneberg already died on 24 August 1793, at 7 a.m., of "Fraißen" in the house <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=R29dRv-ckMkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10201617" target="_blank">Stadt 1342</a> on the <a href="https://www.wien.gv.at/wiki/index.php?title=Elendbastei_(1)" target="_blank">Elendbastei</a> where he seems to have been in the care of a nurse (A-Wsa, Totenbeschreibamt 98, H, fol. 47v). The child was buried on the following day in the <a href="https://www.wien.gv.at/wiki/index.php?title=W%C3%A4hringer_Allgemeiner_Friedhof" target="_blank">Währinger Allgemeiner Friedhof</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh20XVWw56XorSqbpW4ewktII9HQ0CMcaJ35Ko4MYUjrfQjXQ4i4CmsDnScQq5cdXwct2ieOTW75vQBpsC3GYnK5rD4X4XSL7YFAfTuk8zYN-oCIdeL61FlcIa2Yl0-ZgEprk7B9P522as/s1600/JE+Henneberger+24.8.1793.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="109" data-original-width="1366" height="31" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh20XVWw56XorSqbpW4ewktII9HQ0CMcaJ35Ko4MYUjrfQjXQ4i4CmsDnScQq5cdXwct2ieOTW75vQBpsC3GYnK5rD4X4XSL7YFAfTuk8zYN-oCIdeL61FlcIa2Yl0-ZgEprk7B9P522as/s400/JE+Henneberger+24.8.1793.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the burial of Johann Emanuel Henneberg (A-Ws, Tom. 15, fol. 14)</span></div>
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<b>10) Theresia Hirsch</b><br />
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Theresia Hirsch was born on 9 March 1794, in the Freihaus and baptized at the Karlskirche, with a certain Theresia Eid serving as proxy for the godfather Emanuel Schikaneder. The child's parents were Joseph Hirsch and his wife Katharina, née Lederer. Hirsch worked as Hausknecht (manservant) at the Freihaus and it could well be that he was the "Joseph Hirschel" that is listed as Schikaneder's "Instrumentdiener" in Schönfeld's <i>Jahrbuch</i> (<a href="https://books.google.at/books?id=mCZDAAAAcAAJ&vq=sch%C3%B6nfeld%201796&pg=PA96" target="_blank">Schönfeld 1796, 96</a>). Theresia Eid may have been the woman who on 17 January 1796 bore an illegitimate daughter at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=HrZdRjJJFUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063476" target="_blank">Wieden 424</a> (Wieden, 2, 167).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBe18oNWcxMOjvfUWhIV_PTWU9cnwoS2-6AOzH_GjGqkK0bJGRqBVwFxh7XvNf-S-0q6FZBzftrB3D68Ji451N5PwSIzyLJseRdNMeochnoAsypWCL2FFjL1klw8BUHZnU4sJ1bXRD3WQ/s1600/T+Hirsch+9.3.1794.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="248" data-original-width="996" height="78" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBe18oNWcxMOjvfUWhIV_PTWU9cnwoS2-6AOzH_GjGqkK0bJGRqBVwFxh7XvNf-S-0q6FZBzftrB3D68Ji451N5PwSIzyLJseRdNMeochnoAsypWCL2FFjL1klw8BUHZnU4sJ1bXRD3WQ/s320/T+Hirsch+9.3.1794.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Theresia Hirsch on 9 March 1794 (St. Karl, Tom. 3, fol. 102)</span></div>
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Theresia Hirsch already died on 25 June 1794 of "Dörrsucht" (diarrhea), probably in foster care, at Wieden 103 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=9RNdRpllF0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063460" target="_blank">Mühlgasse 14</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaOfC5PAF3ZnEHDjcGE6pNF_Fjbn4p_PnEPAdm6jPu3rauvw8QUVio5pNbIIvH4gF-s6aB0XTBWVIti4AEyhp5n8vIUBNbuBPAjIoLTJbaEjyGfTaP3ETRhEf2cmwkln1TH8WDnGu2euU/s1600/T+Hirsch+25.6.1794.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="158" data-original-width="1096" height="45" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaOfC5PAF3ZnEHDjcGE6pNF_Fjbn4p_PnEPAdm6jPu3rauvw8QUVio5pNbIIvH4gF-s6aB0XTBWVIti4AEyhp5n8vIUBNbuBPAjIoLTJbaEjyGfTaP3ETRhEf2cmwkln1TH8WDnGu2euU/s320/T+Hirsch+25.6.1794.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Theresia Hirsch's death on 25 June 1794 and her burial on the following day (St. Karl, Tom. 2, fol. 178)</span></div>
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Relatively little is known about Theresia Hirsch's father Joseph Hirsch. His presence in Vienna is documented for the first time on the occasion of his wedding on 1 June 1783, in the <a href="https://en.wikipedia.org/wiki/Augustinian_Church,_Vienna" target="_blank">Augustinerkirche</a>. At that time he was a groom in the service of Count Franz Anton Nowohradzky-Kolowrat ("k.k. wirklicher geh. Rath und Kämmerer, ehmaliger Präsident der Hofkammer in Münz und Bergwesen"). According to the marriage entry in the records of St. Augustin, Joseph Hirsch was born on 2 February 1752, in Vollbach and baptized in Moltendorf in Lower Austria. Because there was neither a village Vollbach, nor a parish Moltendorf in Unterösterreich, the place of Joseph Hirsch's birth is yet to be determined. Hirsch's wife Katharina Lederer was born on 31 August 1756 in <a href="https://goo.gl/maps/if8RRrbsspM2" target="_blank">Stranzendorf</a> (Stranzendorf 1, 94).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqtxJMuyDhxNO0dbmpCzRxzmhQbBmqbH_tppD_0GwVHaUP9s1-Lq39tr7Uh1l_jlVCvLVSD4vOV3RSrm_DnvnJVLRZ6JHs-cSWJr2gVaKERvKGOCOxufaiiHLNRkpoBwYw7PkwSDoNYU/s1600/Joseph+Hirsch%252C+1.6.1783.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="674" data-original-width="678" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqtxJMuyDhxNO0dbmpCzRxzmhQbBmqbH_tppD_0GwVHaUP9s1-Lq39tr7Uh1l_jlVCvLVSD4vOV3RSrm_DnvnJVLRZ6JHs-cSWJr2gVaKERvKGOCOxufaiiHLNRkpoBwYw7PkwSDoNYU/s320/Joseph+Hirsch%252C+1.6.1783.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the wedding of Joseph Hirsch and Katharina Lederer on 1 June 1783 (St. Augustin, Tom. 1, 7). The groom lived at the <a href="https://www.wien.gv.at/wiki/index.php?title=Johanneshof" target="_blank">Johanneshof</a> No. 1008, the bride was in service "am Karnerthor Mittelwachtstube N. 1313" (St. Augustin, Verkündbuch 1, 25f.).</span></div>
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Nothing more is currently known about Joseph Hirsch and his family – which should not be counted among the major lacunae of Schikaneder research.<br />
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<b>11) Karl Emanuel Weiß</b><br />
<br />
From 1790 until his death, Kaspar Weiß (1759–1807) was active as actor, first at the Wiedner Theater in Schikaneder's company, then at the Theater an der Wien. He was typecast as “Könige, Geister, gemeine Spitzbuben and komische
Ehemänner” (Kings, ghosts, nasty scoundrels and comical husbands). Until 1801, he also ran a business as music copyist in the Freihaus (at "Stiege 16 Nro. 139 im ersten Stock" and "<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17980131&seite=20&zoom=33" target="_blank">Stiege 27 im ersten Stock</a>"). His
work as a professional copyist gained him posthumous
fame, when the American musicologist David Buch examined a score of the
opera <i>Der Stein der Weisen</i> that had returned from Russia in 1991 to
the <a href="http://www.sub.uni-hamburg.de/en/service/english.html" target="_blank">Staats- und Universitätsbibliothek Hamburg</a> and found entries by
Kaspar Weiß, indicating the authorship of two unknown pieces by Mozart.
Weiß’s close acquaintance with all important members of Schikaneder’s
company is supported by several pieces of archival evidence of which Schikaneder's
godparenthood is only a small facet. When on 13 February 1791, the widower Weiß married (the already pregnant) Anna
Schenk, Franz Xaver Gerl (the
first Sarastro) and Benedikt Schak (the first Tamino) served as witnesses at the wedding.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyb2bGs9EjNEpWMZU-sO9FfMg0YphK3sTOTl9pMfitBEyOV2kgFPN2O1z9wVFYzICgq2SzycUOo1p7gxIHiRonaTEqXuK9RPCsUNJuxVa4XJp8fvbufVZ8KH_OZi9NTVa5j9s09ApB3IM/s1600/Wei%25C3%259F+13.2.1791.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="1500" height="77" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyb2bGs9EjNEpWMZU-sO9FfMg0YphK3sTOTl9pMfitBEyOV2kgFPN2O1z9wVFYzICgq2SzycUOo1p7gxIHiRonaTEqXuK9RPCsUNJuxVa4XJp8fvbufVZ8KH_OZi9NTVa5j9s09ApB3IM/s320/Wei%25C3%259F+13.2.1791.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the wedding of Kaspar Weiß and Anna Schenk on 13 February 1791, in the Karlskirche (St. Karl, Tom. 2, fol. 107). At the time of his wedding Weiß lived at Wieden 99 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=4aJcRh5vGEbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10367686" target="_blank">Rechte Wienzeile 13</a>), his bride lived at the Freihaus. That Weiß's first wife Josepha, née Aingner, died outside of Vienna is proved by the fact that in October 1794 the Vienna Magistrate, on behalf of the municipal court of Frankfurt am Main, published <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17941001&seite=33&zoom=33" target="_blank">three ads in the <i>Wiener Zeitung</i></a> inquiring if Josepha Weiß was still alive.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRyLeY2dHsjQUmw8Tb-EbWqyqig_Olv-PkfRpB4_eL89Os8FlzZEswPnR4DlL-Gh5FgB4NZkKAKTgndyd7t1MfjCdrCCtVZbgW_73Ldb1oRokfwWwHtFrabeBFiQxMjS7dUzFA1ichVY/s1600/Schak+%2526+Gerl.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="660" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZRyLeY2dHsjQUmw8Tb-EbWqyqig_Olv-PkfRpB4_eL89Os8FlzZEswPnR4DlL-Gh5FgB4NZkKAKTgndyd7t1MfjCdrCCtVZbgW_73Ldb1oRokfwWwHtFrabeBFiQxMjS7dUzFA1ichVY/s320/Schak+%2526+Gerl.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Benedikt Schak's and Franz Xaver Gerl's autograph signatures in Kaspar Weiß's marriage entry. The note on the right reads: "The banns were published three times, the groom produced the death certificate of his first wife" (St. Karl, Tom. 2, fol. 107). </span> </div>
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When on 1 February 1798, Constanze Mozart’s niece Maria Antonia Meier was baptized, Weiß stood in as godfather for the leathermaker Anton Senft (1771–1810).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Z2DKJ2wREwqfm_oFlEF1Gpek1dAXQPxv_P6J06wSa3JNWZbTcp4x5f6GAfD-39b9jl6Cu4FkeWRYE6bnW1ibFEh1x3rphGu2m2Ya4UR51zDo3xevP618hlN6HHA6g2CMeq799mtzrvU/s1600/MA+Meier+1.2.1798.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="114" data-original-width="1200" height="37" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Z2DKJ2wREwqfm_oFlEF1Gpek1dAXQPxv_P6J06wSa3JNWZbTcp4x5f6GAfD-39b9jl6Cu4FkeWRYE6bnW1ibFEh1x3rphGu2m2Ya4UR51zDo3xevP618hlN6HHA6g2CMeq799mtzrvU/s400/MA+Meier+1.2.1798.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of <a href="https://en.wikipedia.org/wiki/Sebastian_Mayer" target="_blank">Friedrich Sebastian Meier</a>'s daughter Maria Antonia on 1 February 1798. On the far right is the note "Statt dessen Kaspar Weiß." (St. Karl, Tom. 3, fol. 195).</span></div>
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A similar thing happened, when on 27 June 1794, Weiß’s son was baptized in the Karlskirche: the official godfather Schikaneder could not attend the ceremony and sent his friend Karl Ludwig Gieseke as substitute who duly augmented the child’s Christian name from "Emanuel" to "Karl Emanuel".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgZsxH1u3nYwvS4vJ1EZlXkz1VDIUCpKuE4ayhfiCGnM_wXQk8ud3wLpwQrNh9o-Dk-ahCftHgFgI0v8_NKJ5tqY57vljjAZgR6K0pqHNBEyt3B7eARpzDUyk2cSrC76jGb8HdTvNnCU/s1600/KE+Wei%25C3%259F+27.6.1794%252C.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="120" data-original-width="1200" height="40" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgZsxH1u3nYwvS4vJ1EZlXkz1VDIUCpKuE4ayhfiCGnM_wXQk8ud3wLpwQrNh9o-Dk-ahCftHgFgI0v8_NKJ5tqY57vljjAZgR6K0pqHNBEyt3B7eARpzDUyk2cSrC76jGb8HdTvNnCU/s400/KE+Wei%25C3%259F+27.6.1794%252C.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Karl Emanuel Weiß on 27 June 1794 (St. Karl, Tom. 3, fol. 109). The child was born at Wieden 268 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-c15dRj0sFkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063494" target="_blank">Schleifmühlgasse 13</a>).</span></div>
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A note in the baptismal entry reads: <br />
<blockquote class="tr_bq">
[Pathe] Emanuel Schikaneder Schauspieler und <i>Directeur</i> an dessen Statt hob das Kind aus der Taufe Karl Ludwig Gieseke Schauspieler.</blockquote>
<blockquote class="tr_bq">
[Godfather] Emanuel Schikaneder actor and director in whose stead the actor Karl Ludwig Gieseke officiated as the child's godfather.</blockquote>
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The boy Karl Emanuel Weiß died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17950829&seite=10&zoom=33" target="_blank">23 August 1795</a>, of diarrhea and was buried the following day in the Matzleinsdorf cemetery. The entries in the Totenbeschauprotokoll and the church register suggest that the child was called just Emanuel.</div>
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<span style="font-size: x-small;">The entry concerning the death and burial of Emanuel Weiß in the records of the Karlskirche (St. Karl, Tom. 3, fol. 12)</span></div>
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With his second wife, Kaspar Weiß had four more children:<br />
<ol>
<li> Andreas, born 4 Aug 1791, at Wieden 136 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=4c9XRo8EEUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10065269" target="_blank">Schönbrunner Straße 15</a>), godson of the Tafeldecker Andreas Unger and his wife Rosina, died of Nervenfieber on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18011223&seite=12&zoom=33" target="_blank">19 Dec 1801</a> at Wieden 470 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=R0NcRuvuFUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063595" target="_blank">Schikanedergasse 8</a>) (St. Karl 3, fol. 111)</li>
<li>Franziska Romana Maria Anna, born 9 Sep 1796, goddaughter of Franziska Werbacher (St. Karl 3, fol. 163), died of Zahnfraisen on 6 Feb 1798, at the Freihaus (St. Karl 3, fol. 52)</li>
<li>Franz Xaver, born 21 Mar 1799, in the Freihaus, godson of Franz Weiß, a bookkeeper who may have been the child's uncle (St. Karl 3, fol. 225), died between 1807 and 1829</li>
<li>Maria Magdalena, born 18 Jul 1800, at Wieden 428 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=9SpdRv9sFkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063495" target="_blank">Schleifmühlgasse 15</a>), goddaughter of Magdalena Hüller, wife of Sigismund Hüller, tenor at the Wiedner Theater (St. Karl 4, fol. 32). At the time of her mother's death in 1829, Magdalena Weiß is given as "unmarried cook, living at Wieden N° 16" (A-Wsa, Mag. ZG, A2, 2550/1829)</li>
</ol>
The actress Josepha Weiß, a daughter from Kaspar Weiß's first marriage, died of a stroke on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17980214&seite=10&zoom=33" target="_blank">3 February 1798</a>, aged 17, in the Freihaus (St. Karl, Tom. 3, fol. 51). When the Theater auf der Wieden moved across the Wienfluss to the Theater an der Wien, Weiß remained a member of the company. Except for short stands at the <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18061001&seite=7&zoom=33" target="_blank">Theater in der Josephstadt</a> and the <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18070201&seite=9&zoom=33" target="_blank">Theater in der Leopoldstadt</a> in 1806, he appeared on the stage an der Wien until <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18070720&seite=14&zoom=33" target="_blank">shortly before his death</a>. For most the last six years of his life Weiß lived at Laimgrube 27 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=CjBcRkCYGUbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=25704565" target="_blank">Linke Wienzeile 8</a>), the so-called "Fokonetisches Haus", beside the Theater an der Wien. In this building's conscription records Weiß is registered together with a number of other employees of the Theater an der Wien, such as <a href="https://de.wikipedia.org/wiki/Joseph_August_R%C3%B6ckel" target="_blank">Joseph August Röckel</a>, <a href="https://de.wikipedia.org/wiki/Friedrich_Demmer_(S%C3%A4nger,_1786)" target="_blank">Friedrich Demmer</a>, <a href="https://en.wikipedia.org/wiki/Franz_Clement" target="_blank">Franz Clement</a>, <a href="https://de.wikipedia.org/wiki/Karl_Friedrich_Kr%C3%BCger" target="_blank">Karl Friedrich Krüger</a> (who was Eleonore Schikaneder's universal heir) and <a href="https://de.wikipedia.org/wiki/Philipp_Jakob_Riotte" target="_blank">Philipp Jakob Riotte</a>.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The names of Kaspar
Weiß, his wife Anna and their children Franz and Magdalena on a conscription sheet from
1805 of Laimgrube 27. Other theater people registered on this document are the actor and stage manager Friedrich August
Grohmann (b. 26 Sep 1772 in <a href="https://de.wikipedia.org/wiki/B%C3%B6rnichen_(Oederan)" target="_blank">Börnichen</a>) and his first wife, Felix Milder (<a href="https://en.wikipedia.org/wiki/Anna_Milder-Hauptmann" target="_blank">Anna Milder</a>'s father), and Franz Clement. Note that, because sometimes the names of later tenants were written into remaining free spaces, the name of Magdalena Weiß appears below the Grohmann couple (A-Wsa, Konskriptionsamt, Laimgrube 27/10r).</span></div>
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Shortly before the end of his life, Weiß had to move to Laimgrube 8 which was a small, hut-sized building in the court of the theater's painting workshop. Weiß died of "Abzehrung" (consumption) on 29 June1807, in Vienna's <a href="https://www.wien.gv.at/wiki/index.php?title=Allgemeines_Krankenhaus" target="_blank">Allgemeines Krankenhaus</a>. The entry in the musicipal death register mistakenly gives his place of birth as "von Grätz aus Steuermark" (Weiß hailed from Pettau, today <a href="https://en.wikipedia.org/wiki/Ptuj" target="_blank">Ptuj</a> in Slovenia).<br />
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<span style="font-size: x-small;">The entry in the Totenbeschauprotokoll concerning Weiß's death on 29 June 1807 (A-Wsa, Totenbeschreibamt 123, W, fol. 44r)</span><br />
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<br /></div>
<div style="text-align: left;">
That Weiß died in the hospital indicates that he had no money to pay for the treatment by a private physician. Weiß's <i>Sperrs-Relation</i> (probate file), in which Franz and Magdalena are given as his surviving children, provides a grim picture of utter poverty. Half of Weiß's salary was already under attachment by his creditors. A note on the file's cover sheet reads as follows:<br />
<blockquote class="tr_bq">
An Vermögen. nichts und wäre die wenige
Leibskleidung des Verlebten im allg: Krankenhause verblieben. Es wurde
daher keine Sperr angelegt.<br />
Nach neuerlicher Auskunft der Wittwe
ist auch kein Besoldungsrückstand vorhanden, und hätte Verlebter selbe
nur zur Hälfte, die andere Hälfte aber die Gläubiger bezohen, mithin
nichts als wahres Elend vorhanden seÿe. Auch hatte derselbe nicht einmal
ein Dekret.</blockquote>
<blockquote class="tr_bq">
Of assets. Nothing and the few clothes of the deceased remained in the general hospital. No ban was therefore applied.<br />
According
to the widow's recent report, there are no arrears of salary, and the
deceased received only half of it anyway, the other half went to the
creditors. Therefore there is nothing but true misery. Neither did the
aforesaid even have a decree of employment. </blockquote>
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<span style="font-size: x-small;">The note regarding Kaspar Weiß's assets on fol. 2r of his probate file (A-Wsa, Mag. ZG, A2, 1399/1807) </span></div>
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The widow proposed her brother, the Imperial footman Mathias Schenk, as guardian of her children. For more details on Weiß's biography and his significance as music copyist, see Buch 2000 and 2004, as well as Edge 2001.<br />
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<b>12) Franz Emanuel Kellner </b><br />
<br />
Franz Emanuel Kellner was born on 8 February 1795, in the "Bittermannisches Haus", Wieden 260 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=HsBcRusmFEbC7rFEvjARRO5RphlRnKnmkev2pn4Mpr4C&bmadr=10063584" target="_blank">Margaretenstraße 30</a>), and baptized in the Paulanerkirche with "Eleonora Schickanederin Widner Theater Unternehmers Frau" standing godmother. The child's parents were Jakob Kellner, cashier of the Wiedner Theater, and his (second?) wife Elisabeth, née Klement.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcb0PjPMpHgjLF8xa32DteKMm735ScdRW16q-XryD5sqH7jEKdHXFPeiDy2-jJ189JSwB646fn2wgWCmqkAMp3KNkeyRnxtFGYA-4h9FILt2mETVN0JKOdMA2KrAejocv6bVE7K21gXw/s1600/EKelllner+8.2.1795+Wieden+2%252C+fol.+125.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="1200" height="50" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcb0PjPMpHgjLF8xa32DteKMm735ScdRW16q-XryD5sqH7jEKdHXFPeiDy2-jJ189JSwB646fn2wgWCmqkAMp3KNkeyRnxtFGYA-4h9FILt2mETVN0JKOdMA2KrAejocv6bVE7K21gXw/s400/EKelllner+8.2.1795+Wieden+2%252C+fol.+125.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The baptismal entry of Franz Emanuel Kellner. The father is described as "Cassier v: Widner Theater" (Wieden, Tom. 2, fol. 125)</span></div>
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Very little is known about Jakob Kellner's origin. He was born around 1747, and could be identical with the servant Jakob Kellner, son of a baker in Neugedein (<a href="https://de.wikipedia.org/wiki/Kdyn%C4%9B" target="_blank">Kdyně</a>) in Bohemia, who on 16 January 1769, in the Schottenkirche, married Christina Wogritsch.<br />
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<span style="font-size: x-small;">The entry concerning the wedding of Jakob Kellner and Christina Wogritsch in 1769. The groom lived at the "Ullfeldisches Haus" (today the area in front of <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-c39aRkcFK0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10053605" target="_blank">Löwelstraße 8</a>) (A-Ws, Tom. 32, fol. 209v).</span></div>
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In case this Jakob Kellner from Bohemia was really the later theater cashier, his second wedding should have taken place before 1788. That this wedding to Elisabeth Klement does not appear in the Vienna church records, speaks against the identity of the above servant with Schikaneder's employee. The child Franz Emanuel Kellner died of consumption on 22 May 1795. The entries in the Totenbeschauprotokoll and the church register show that the child was simply called Emanuel.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;"> The entry concerning the death of Emanuel Kellner on 22 May 1795 (A-Wsa, Totenbeschreibamt 102, CGK, fol. 42v) </span></div>
<blockquote class="tr_bq">
Kelner H Jakob Kassier im Widnertheater s: Kind Emanuel so im / Bittermannischen H: <strike>N</strike>° 260 auf der Wieden an der Abzehr<span style="font-size: xx-small;">=</span> / rung besch[au]t worden, alt 15 Wochen. <u>Pibitz</u><br />
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The cashier of the Wiedner Theater Mr. Jakob Kellner's child Emanuel was inspected as having died of consumption in Bittermann's house No. 260 on the Wieden, aged 15 weeks. Pibitz [coroner]</blockquote>
Four more children of Jakob and Elisabeth Kellner are documented so far:<br />
<ol>
<li>Elisabeth, b. 1788, d. <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17961130&seite=15&zoom=33" target="_blank">16 Nov 1796</a> (St. Karl 3, fol. 32)</li>
<li>Susanna, b. 1789, d. after 5 Dec 1797</li>
<li>Josepha, b. 1794, d. after 5 Dec 1797</li>
<li>Gregor, b. 3 Feb 1796, godson of Gregor Murschhauser, Tölz-born tenor and member of Schikaneder's company (St. Karl 3, fol. 147), d. 25 Mar 1796 (St. Karl 3, fol. 21)</li>
</ol>
Schikaneder's cashier Jakob Kellner died of "Faulfieber" (gangrenous fever) on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17971213&seite=12&zoom=33" target="_blank">5 December 1797</a>, in his room in the Freihaus, at "Stiege No 29, Zimer No 229". He was survived by his wife and two children for whom their mother proposed the "Anhalt-Zerbstischer Legationssekretär" Remigius Schäfer as guardian.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">A section of the cover sheet of Jakob Kellner's <i>Sperrs-Relation</i>. Anton Wißmann, the judge of the <a href="https://www.wien.gv.at/wiki/index.php?title=Konradsw%C3%B6rth" target="_blank">Herrschaft Konradswörth</a>, under whose jurisdiction the Freihaus fell, crossed out the printed title of the Vienna Magistrate and replaced it with the note: "der Herschaft Konratswerth fürstl. stahremb. freÿhauß an[<i>sic</i>] der wieden No. 454" (A-Wsa, Patrimonialherrschaften, A103, 9/1797).</span></div>
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Jakob Kellner died a pauper. His probate file closes with the note: "Vermögen. Keines" (assets: none).<br />
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<b>13) Maria Henneberg </b> <br />
<br />
Johann Baptist Henneberg's second child Maria Magdalena was born on 24 August 1795, in the <a href="https://www.geschichtewiki.wien.gv.at/Schottenhof_(1,_Freyung_6)" target="_blank">Schottenhof</a> and baptized on the same day in the Schottenkirche. Emanuel Schikaneder, who served as godfather, is referred to in the records as: "Direktor der KK privilegirten Schaubühne auf der Wieden".<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Maria Magdalena Henneberg on 24 August 1795 (A-Ws, Tom. 44, fol. 109)</span></div>
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On 23 July 1820, in the Schottenkirche, Maria Henneberg married Johann Baptist Hampel von Waffenthal, a captain of the I. & R. Infantry Regiment Prince Esterházy No. 32. The groom (born around 1778 in <a href="https://en.wikipedia.org/wiki/Lipnica_Murowana" target="_blank">Lipnica Murowana</a>) was a son of the I. & R. Army major Anton Hampel von Waffenthal (1726–1797) who had been ennobled in 1780 by Joseph II. Maria Henneberg's acquaintance with her future husband had probably been established during her father's service for Prince Esterházy. In 1820, the groom lived at the <a href="https://de.wikipedia.org/wiki/Palais_Esterh%C3%A1zy_(Wallnerstra%C3%9Fe)" target="_blank">Esterházy'sches Majoratshaus</a> in the Wallnerstraße, the bride at Stadt 163 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=o8deRgnOL0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10296640" target="_blank">Renngasse 2</a>). Wittnesses to the wedding were the physician Dr. <a href="http://www.bildarchivaustria.at/Preview/7391839.jpg" target="_blank">Dominik Vivenot</a> (1764–1833) and Peter von Heydendorff, cavalry captain and first <i>Second-Wachtmeister</i> of the Royal Hungarian guard (a son of the historian <a href="https://de.wikipedia.org/wiki/Michael_Conrad_von_Heydendorff_der_%C3%84ltere" target="_blank">Michael Conrad von Heydendorff</a>).<br />
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<span style="font-size: x-small;">The entry concerning Johann Hampel von Waffenthal's and Maria Henneberg's wedding on 23 July 1820 (A-Ws, Tom. 43, fol. 12)</span></div>
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The couple had the following four children (the dates of birth from the <i>Genealogisches Handbuch des Adels</i> are still unverified).<br />
<ol>
<li> Maria, b. 27 Jan 1823, d. 26 Mar 1874 (Alservorstadt 20, fol. 30)</li>
<li>Anton, b. 30 Mar 1824, d. 15 Sep 1831 (Am Hof 3, fol. 135)</li>
<li>Carl, b. 22 Jul 1827, d. 5 Jun 1883 in Agram, captain of the Infantry Regiment "Erzherzog Friedrich" No. 52</li>
<li>Nikolaus, b. 21 Apr 1827 (presumably a godson of <a href="https://en.wikipedia.org/wiki/Nikolaus_II,_Prince_Esterh%C3%A1zy" target="_blank">Nikolaus II, Prince Esterházy</a>), d. 15 Aug 1831 (Am Hof 3, fol. 134) </li>
</ol>
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<span style="font-size: x-small;">The Hampel von Waffenthal family with to of their children on a conscription sheet of Stadt 403 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=4VdjRii0LkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10138191" target="_blank">Judenplatz 1</a>) where they lived between 1824 and 1830. The name "Anna" is a mistake (A-Wsa, Konskriptionsamt, Stadt 403/12r).</span></div>
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On 13 February 1824, Maria Hampel von Waffenthal submitted a request to the court to grant stipends to her two minor sisters Theresia and Walburga, "orphans of the court organist Henneberg". The Obersthofmeisteramt referred the application to the court chamber which declined the request due to the absence of several crucial documents. On 27 February 1824, Prince Ferdinand von Trauttmannsdorff informed the I. & R. Hofmusikgraf Moritz von Dietrichstein that the applicant also had to hand in her father's decree of employment, all her siblings' baptismal certificates to prove that Henneberg had left behind at least four children, and, finally, her mother's death certificate.<br />
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<span style="font-size: x-small;">The first page of the Oberhofmeister's notice of missing documents related to Maria Hampel von Waffenthal's application (A-Whh, HMK 13, 37)</span></div>
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On 7 April 1824, the Emperor granted both orphans 100 gulden each (A-Whh, HMK 13, 69f.). Johann Baptist Hampel von Waffenthal, who on 29 May 1822, had served as best man at Johann Baptist Henneberg's second wedding (St. Karl 7l, fol. 2), died of exhaustion on 26 February 1837, and was buried on 1 March 1837, in the <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=FJwtRjKAWkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10137583" target="_blank">Gersthof cemetery</a> (St. Michael 12, fol. 152).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_xDyGcaND3N1QAyXjn-Btj19l16AZghB_OPMld9rd761ZA7WQLlbqP-0GaAaVYwT-VZ_zsmdx9wFLjapbvLaPZQEy2f7mkOR13_7Nmr-A4NDVYXPwTO5mLBdWeGkVSTqhmixOCcIXLs/s1600/Hampel+von+Waffenthal+14.11.1822.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="632" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih_xDyGcaND3N1QAyXjn-Btj19l16AZghB_OPMld9rd761ZA7WQLlbqP-0GaAaVYwT-VZ_zsmdx9wFLjapbvLaPZQEy2f7mkOR13_7Nmr-A4NDVYXPwTO5mLBdWeGkVSTqhmixOCcIXLs/s320/Hampel+von+Waffenthal+14.11.1822.jpg" width="189" /></a></div>
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<span style="font-size: x-small;"> The second page of the will of Johann Hampel von Waffenthal which was written on 22 November 1822 (OeStA, KA Terr GenKdo Wien JudDel, Testament 390)</span></div>
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Schikaneder's last surviving godchild Maria Hampel von Waffenthal died of cardiac arrest on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18640602&seite=10&zoom=33&query=%22Hampel%2Bvon%2BWaffenthal%22&ref=anno-search" target="_blank">28 May 1864</a>, at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-c6VjRq1sIkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052648" target="_blank">Kärntnerstraße 34</a>. She was not buried in her husband's grave in Gersthof, but in the Matzleinsdorf cemetery.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscdJfr2AW6izaCqHDjzJy1NZmj9jQo9DsnGhMXdV1JEbxcTKUgNN7Xw8gtF61W7G_KEexz-2aHErwjF1jxk7N2RIgybo5qihbwB86iXbSG_NSpIpAiJ9_N-xAyeDtHLv8GoIbU5C046I/s1600/Maria+HvW+28.5.1864.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="128" data-original-width="1200" height="42" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscdJfr2AW6izaCqHDjzJy1NZmj9jQo9DsnGhMXdV1JEbxcTKUgNN7Xw8gtF61W7G_KEexz-2aHErwjF1jxk7N2RIgybo5qihbwB86iXbSG_NSpIpAiJ9_N-xAyeDtHLv8GoIbU5C046I/s400/Maria+HvW+28.5.1864.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning Maria Hampel von Waffenthal death and burial in May 1864 (St. Augustin, Tom. 9, fol. 8)</span></div>
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Relatives of Johann Hampel von Waffenthal are still alive today, but because they descend from Johann's younger brother Maximilian (1779–1841), they are not blood-related to Henneberg's daughter.<br />
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<b>14) Elisabeth Henneberg</b><br />
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Johann Henneberg's third child Elisabeth was born on 19 November 1796, in
the Schottenhof and baptized on the same day in the Schottenkirche with
Emanuel Schikaneder again officiating as godfather. In the records Schikaneder is described as "Schauspielunternehmer auf der Wieden".<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Elisabeth Henneberg on 19 November 1796 (A-Ws, Tom. 44, fol. 161)</span></div>
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Elisabeth Henneberg died of <a href="https://en.wikipedia.org/wiki/Tracheitis" target="_blank">tracheitis</a> on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18131224&seite=4&zoom=33" target="_blank">18 December 1813</a>, at Alsergrund 29 (today <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=ANFPRowgMEZsTa1EEugKRBwpAtZGVBFvuBteomQQ&bmadr=10071995" target="_blank">Florianigasse 10</a>) where she had been livingwith her parents after Johann Henneberg's return from his service as deputy <span style="font-size: small;">Kap</span>ellmeister in Eisenstadt.<br />
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<span style="font-size: x-small;">The first page of Elisabeth Henneberg's probate file. Note that her father is described as "gew:[esener] Fürst Esterhazischer Vize<span style="font-size: xx-small;">=</span>Kapellmeister" (A-Wsa, Mag. ZG, A2, 4213/1814).</span></div>
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<b>15) Emanuel Karl Henneberg </b><br />
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Johann Henneberg's third child, Emanuel Karl Johann Baptist Othmar, was born on 5 July 1798, at 8 a.m., in
the Schottenhof and baptized in the Schottenkirche with
Emanuel Schikaneder serving as godfather. The child received the additional names after his father and the officiating Benedictine priest <a href="https://books.google.at/books?id=I5wAAAAAcAAJ&pg=PA218" target="_blank">Othmar Koffler</a>. In the baptismal register the godfather is referred to as "Entrepreneur des K.K. priv[ilegirten] Wiedner Theaters".<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Emanuel Henneberg on 5 July 1798 (A-Ws, Tom. 44, fol. 220).</span></div>
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Emanuel Karl Henneberg died of scarlet fever on 31 October 1804 in Hof am Leithaberge No. 5 where his parents had moved in the same year.<br />
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<span style="font-size: x-small;">The entry concerning the death of Karl Henneberg on 31 October 1804 (Hof am Leithaberge, Tom. 4, fol. 72)</span></div>
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At this point it is time to take a closer look at Henneberg's financial circumstances which in 1804 enabled him to temporarily quit his job as a Kapellmeister and move to the country.<br />
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In 1767, Johann Henneberg's father, the organist Andreas Henneberger, had already bought a small house on the <a href="https://www.wien.gv.at/wiki/index.php?title=Schottenbastei" target="_blank">Schottenbastei</a>. In 1771, he bought the adjacent building, Stadt 1278, from his parents-in-law, Andreas and Theresia Spatz and had the two houses converted into a single one (the file related to this conversion, A-Wsa, Unterkammeramt, Baukonsens 1554/1771, does not survive). In 1791, Andreas Henneberger died a wealthy man. Together with his house, which in 1791 was estimated ed at 8,050 gulden, his huge stock of wine, and his movables, the value of his estate was estimated at 9,917 gulden 26,5 kreuzer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhf8pjaUaylI54t8zypG34o2mPKus0tDRh8JXcKwefDh4RriG-8bPciN36nmTE0YSf6E2PMlXvIMQGU49ZYZZNt_Ck7caG4_o2XI7SHImq7bDZGVLloNdBtbNPk0g7XxhY_QG57TuKs4/s1600/1278.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="362" data-original-width="756" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhf8pjaUaylI54t8zypG34o2mPKus0tDRh8JXcKwefDh4RriG-8bPciN36nmTE0YSf6E2PMlXvIMQGU49ZYZZNt_Ck7caG4_o2XI7SHImq7bDZGVLloNdBtbNPk0g7XxhY_QG57TuKs4/s320/1278.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Andreas Henneberger's house Stadt 1278 on the Schottenbastei on <a href="https://www.geschichtewiki.wien.gv.at/Vogelschauplan,_Joseph_Daniel_Huber_(1778)" target="_blank">Huber's Vogelschauplan</a> (W-Waw, Sammlung Woldan). One of Henneberger's tenants in this house in 1788 was the court cellist <a href="https://de.wikisource.org/wiki/BLK%C3%96:Orschler_(Orsler),_Joseph" target="_blank">Joseph Orsler</a>.</span></div>
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The appraisal of the house from 1791 shows that it consisted of a cellar and four storeys, each of which comprised four rooms and four chambers. It had two entrances from the Bastei (originating from the earlier two houses), its own draw well, and two small atriums. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGoOnOA1y5uKBo6-UClvvOFqscRMZlHvIOy4A60DEGarhzxgLQLff_I14fzQTPHLSV-9M6x_ud7BmN25Ug3kPIesI_Ex-l9uoNoWQeewc0Gbu0nUVgxIsoAA6cmadKr6BulXaVF1GPPlI/s1600/1752_1791.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="974" data-original-width="621" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGoOnOA1y5uKBo6-UClvvOFqscRMZlHvIOy4A60DEGarhzxgLQLff_I14fzQTPHLSV-9M6x_ud7BmN25Ug3kPIesI_Ex-l9uoNoWQeewc0Gbu0nUVgxIsoAA6cmadKr6BulXaVF1GPPlI/s320/1752_1791.jpg" width="204" /></a></div>
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<span style="font-size: x-small;">The "Haus-Schätzung" of Andreas Henneberg's house Stadt 1278 which was drawn up on 6 July 1791, by three municipal appraisers (A-Wsa, Mag. ZG, A2, 1752/1791)</span></div>
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In 1791, one half of the house Stadt 1278 was inherited by Henneberger's widow and the other half by his three children Johann Baptist, Kajetan and Maria Anna. Maria Anna died in 1795, Kajetan before 1803.<br />
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In 1804, Henneberg resigned his function at the Wiedner Theater to Ignaz von Seyfried and moved to <a href="https://de.wikipedia.org/wiki/Hof_am_Leithaberge" target="_blank">Hof am Leithaberge</a>, a village in Lower Austria, at what was then the Hungarian border. Henneberg became deputy Kapellmeister in the service of <a href="https://en.wikipedia.org/wiki/Nikolaus_II,_Prince_Esterh%C3%A1zy" target="_blank">Nikolaus II, Prince Esterházy</a>. In 1813, he was back in Vienna, and at the time of the death of his daughter Elisabeth in 1813, he was living next door to the house where one year earlier his former employer Emanuel Schikaneder had died. A mere coincidence?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFAI_vk9ors_3_9dhQ8i-nLyK-sht-odebSe2O-ajiFvJpWn5H0TvkIvHx8oZua-2vA9bw4f4ZOF1AiYMeBYiNUurE5AwD8Zvtogkpyy3bjC7iOidWngh6_rWec0Lq71bvCAAgaZS7nhI/s1600/2008_1822.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1017" data-original-width="756" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFAI_vk9ors_3_9dhQ8i-nLyK-sht-odebSe2O-ajiFvJpWn5H0TvkIvHx8oZua-2vA9bw4f4ZOF1AiYMeBYiNUurE5AwD8Zvtogkpyy3bjC7iOidWngh6_rWec0Lq71bvCAAgaZS7nhI/s320/2008_1822.jpg" width="237" /></a></div>
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<span style="font-size: x-small;">The title page of Johann Baptist Henneberg's Sperrs-Relation (A-Wsa, Mag. ZG, A2, 2008/1822)</span></div>
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Johann Baptist Henneberg died on 27 November 1822, on which day he signed his will, with the oboist Joseph Elßler junior among the witnesses (A-Wsa, Mag. ZG, A 10, 565/1822, for a detailed description of Henneberg's estate see <a href="https://michaelorenz.at/mozarts_umfeld/" target="_blank">Lorenz 2013</a>). <br />
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<span style="font-size: x-small;">Johann Baptist Henneberg's coat of arms: a hen on a mountain (A-Wsa, Mag. ZG, A2, 943/1795)</span></div>
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<b>16) Eleonora Vamy </b><br />
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Eleonora Vamy was born on 4 August 1801, in the house Wieden 432 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=XNRcRiFlF0bC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063456" target="_blank">Schleifmühlgasse 18</a>) and baptized in St. Karl with Eleonora Schikaneder standing godmother. The child's mother is given as "Victoria Wamy ledige Person" (unmarried person). The place of birth can hardly have been a concidence: this was the house where Franz Xaver Gerl and Karl Ludwig Gieseke are documented to have lived at some earlier point of time (see above).<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Eleonora Wamy on 4 August 1801 (St. Karl, Tom. 4, fol. 58)</span></div>
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The mother of this illegitimate child was Victoire Vamy who had been born in Paris in 1781, daughter of the steel manufacturer Jacques Vamy. It is not known when she came to Vienna. She began her acting career in Vienna by appearing under the stage name "Fräulein Sommer" in various roles at the Theater an der Wien. On 17 May 1803, she became the second wife of the comedian and playwright <a href="https://de.wikipedia.org/wiki/Joachim_Perinet" target="_blank">Joachim Perinet</a> whose first wife had died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17980929&seite=9&zoom=33" target="_blank">20 September 1798</a>. At the time of their wedding, Perinet and his bride were living together at Wieden 437 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=wq9dRpljFkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063493" target="_blank">Schleifmühlgasse 12</a>). Since Vamy had been born on 7 September 1781, and was still a minor, she needed the approval of her guardian Dr. Anton Kolbe whose appointment her mother Johann Vamy requested on 2 May 1803.<br />
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<span style="font-size: x-small;">Two pages from Johanna Vamy's application to the Vienna Magistrate to have Dr. Kolbe appointed guardian of her daughter and allow her to marry Joachim Perinet (A-Wsa, Mag. ZG, A3, 722/1803)</span></div>
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It is notable that in the marriage records of the Karlskirche Victoire Vamy is mistakenly given as widow.<br />
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<span style="font-size: x-small;">The entry concerning the wedding of Joachim Perinet and Victoire Vamy on 17 May 1803, in the Karlskirche (St. Karl, Tom. 3, fol. 127)</span></div>
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That Joachim Perinet was indeed Eleonory Vamy's father, is proved by the entry concerning the child's death in the records of the parish of <a href="https://de.wikipedia.org/wiki/Johann-Nepomuk-Kirche_(Leopoldstadt)" target="_blank">St. Johann Nepomuk</a> in the suburb of Leopoldstadt. There the girl is registered as "dem H: Joachim Perinet Schauspieler s: K: Eleonora" and as having died of <i>Fraisen</i> on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18050109&seite=12&zoom=33" target="_blank">3 January 1805</a> in the house Leopoldstadt 353 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=6x56Rj3KOUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10055391" target="_blank">Praterstraße 65</a>). The Perinet family had moved there when in October 1803, both parents were engaged at the <a href="https://en.wikipedia.org/wiki/Theater_in_der_Leopoldstadt" target="_blank">Leopoldstädter Theater</a> by <a href="https://de.wikipedia.org/wiki/Karl_Friedrich_Hensler" target="_blank">Karl Friedrich Hensler</a>.<br />
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<span style="font-size: x-small;">The entry concerning the death and burial of Eleonora Perinet (St. Johann Nepomuk, Tom. 2, fol. 83)</span></div>
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Neither Perinet nor Vamy were lucky with the choice of their spouse. Like her husband, Vamy was a somewhat restless and fickle personality and she created quite a stir among Viennese theater lovers when she became the mistress of the Russian General <a href="https://en.wikipedia.org/wiki/Aleksey_Petrovich_Yermolov" target="_blank">Aleksey Petrovich Yermolov</a>. (see <a href="https://books.google.com/books?id=mBuyAAAAIAAJ&pg=PA201" target="_blank">Gugitz 1904, 201</a>). While her husband was still alive, she is documented to have lived alone at all kind of scattered Viennese addresses. There is no conscription document from after 1805 in which the Perinets actually appear together as married couple. Between 1805 and 1808, Frau Perinet resided in the Freihaus auf der Wieden, together with her younger sister Caroline Vamy.<br />
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<span style="font-size: x-small;">Victoire Perinet and her sister Caroline registered in a conscription sheet of the Freihaus in the former apartment of the musician and composer Andreas Träg. The names of two of Träg's daughters appear at the bottom: Barbara Träg (1787–1864) was to become the mother of <a href="https://de.wikipedia.org/wiki/Leopoldine_Blahetka" target="_blank">Leopoldine Blahetka</a>, Theresia Träg died on 29 April 1808, shortly after her father, in Guntramsdorf (Pfarre Guntramsdorf, Tom. 4, fol. 11).</span></div>
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Soon after 1816, Victoire Perinet appears as "Schauspielerin Wittwe" in the conscription records of Laimgrube 19 (today<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=MwVdRltXG0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069271" target="_blank"> Papagenogasse 2</a>).<br />
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<span style="font-size: x-small;">(A-Wsa, Konskriptionsamt, Laimgrube 19/2v)</span></div>
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For a short time, after her husband's death, Victoire Perinet also lived in the so-called "<a href="https://www.wien.gv.at/wiki/index.php?title=Spaliermacherhaus" target="_blank">Spaliermacherhaus</a>", Spittelberg 134, at the Glacis (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=hRdTRjIAJEbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070434" target="_blank">Museumstraße 5</a>). In the conscription records she is again described as "Schauspielerswittw[e]".<br />
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<span style="font-size: x-small;">Victoire Perinet registered as "actor's widow" at Spittelberg 134 (A-Wsa, Konskriptionsamt, Spittelberg 134/43v)</span></div>
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When Joachim Perinet died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18160209&seite=4&zoom=33" target="_blank">4 February 1816</a>, his wife had already left him. Curiously, a note in Perinet's <i>Sperrs-Relation</i> refers to her with a wrong first name: "The bereaved wife Eleonora[!] did not live with the deceased and is said to be currently staying in Paris".<br />
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<span style="font-size: x-small;">The note on Perinet's probate file referring to his wife: "Nachgelassene Ehegatt Eleonora lebte nicht mit dem Verstorbenen, und soll sich derzeit in Paris befinden" (A-Wsa, Mag. ZG, A2, 3457/1816)</span></div>
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This statement appears to have been based on hearsay, given that Madame Perinet applied for a passport to Karlsbad and Paris only on 6 May 1817. She was not registered at the addresses Leopoldstadt 460 and 540 that appear in the following entry in the municipal passport protocol.<br />
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<span style="font-size: x-small;">The entry in the 1817 municipal protocol concerning the issuance of Victoire Perinet's, her maid's, and her coachman's passports to Paris (A-Wsa, Konskriptionsamt, B4/3, fol. 39).</span></div>
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Victoire Perinet overstayed her one-year passport which in December 1818, caused the Lower Austrian government to issue an official summons that was first published on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18190120&seite=14&zoom=33&query=%22Viktoria%2BPerinet%22&ref=anno-search" target="_blank">20 January 1819</a> in the <i>Wiener Zeitung</i>. Frau Perinet was ordered to return within one year and justify her absence, in default whereof she would face legal action for breaking § 27 of the 1784 emigration law.<br />
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<span style="font-size: x-small;">The summons issued by the Lower Austrian government which in January 1819 was published three times in the <i>Wiener Zeitung</i></span></div>
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When Perinet returned to Vienna, she brought her demented mother Jeanne Vamy with her which is documented in her will and her probate file. Victoire Perinet's will, which she signed on 15 November 1821, reads as follows:<br />
<blockquote class="tr_bq">
<br />
<div style="text-align: center;">
Testament.</div>
Ich habe unter Göttlichem Beystande bey gutem Bewußtseyn und Verstande meine letztwillige Anordnung getroffen und zwar:<br />
I. Empfehle ich Gott dem Allmächtigen meine Seele; mein Leichnam soll nach der zweyten Classe, ohne allen Kostenaufwand von meiner Wohnung zur Kirche geführt, allda im Stillen eingesegnet und dann ebenfalls mit dem Todtenwagen zu seiner Besti<span style="text-decoration: overline;">m</span>ung abgeführet. und dann zur Erde bestattet [werden].<br />
II. Sollen 3 heilige Messen, jede zu 5 fl: W:W: gelesen werden.<br />
III. Da meine wenigen Habseligkeiten kaum hinreichen werden, die Schulden von Herrn J. C. Hofbauer, dann die Leichkosten und die übrigen Auslagen zu bestreiten, so ist kein Universalerbe einzusetzen nothwendig; soll aber<br />
IV. etwas erübriget werden, so ist meine leibliche Mutter ohnehin die natürliche Erbin; da diese aber wegen ihrem schwachen Kopfe kein Vermögen verwalten kann, so ernenne ich Herrn J. C. Hofbauer zu ihrem Vormund, Curator, und Testaments<span style="font-size: xx-small;">=</span>Executor, mit der Bitte an Ihn, sich meiner Mutter anzunehmen, und sie nicht zu verlassen.<br />
V. Muß ich bekennen, daß das in meiner Wohnung stehende Piano-Forte das Eigenthum des Herrn J. C. Hofbauer ist, und er es mir nur geliehen hat.<br />
Zur Urkund dieses meiner[<i>sic</i>] ernstlichen und wohlbedachten letzten Willens, habe ich meinen Nahmen unterfertiget, und durch drey hiezu erbethenen Zeügen mit unterfertigen lassen.<br />
[L.S.]<br />
Wien am 15. November 1821. Victoire Perint[<i>sic</i>]mp<br />
gebohrne Vamy.<br />
[L.S.] Anton Oellermp<br />
burgl. Handelsmann <br />
als erbettener Zeug.<br />
[L.S.] Math Jos Hochleitnermp<br />
jub: Magist: Regist:<br />
Direktor als<br />
erbettener Zeug.<br />
[L.S.] Ig Ritter von Seyfriedmp<br />
Operndirektor bey dem<br />
K:K: pr: Theater a. d.<br />
Wien,<br />
als erbettener Zeuge.</blockquote>
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<blockquote class="tr_bq">
<div style="text-align: center;">
Will.</div>
With divine assistance, with good conscience and understanding, I have made my testamentary disposition, namely:<br />
I. I commend my soul to God Almighty, my body is to be brought according to the second class from my apartment to the church, without any cost, to be consecrated there in quietness and be taken with a carriage to its destiny and be buried in the ground.<br />
II. Three Holy Masses should be read at 5 fl Viennese Currency apiece.<br />
III. Since my few belongings will hardly suffice to cover the debts to J. C. Hofbauer, the burial costs and the other expenses, no universal heir has to be appointed; should, however,<br />
IV. something be spared, my own mother is the natural heir anyway; but, because of her weak mind, she is unable to manage her assets, I appoint Mr. J. C. Hofbauer her guardian, curator and executor of the will, with the request to take care of my mother and not to forsake her.<br />
V. I must confess that the piano that stands in my apartment is the property of Mr. J. C. Hofbauer and that he has only lent it to me.
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In witness of of this my serious and well-considered last will I signed my name and also had it signed by three requested witnesses.<br />
[L.S.]<br />
Vienna, November 15<span style="font-size: x-small; vertical-align: super;">th</span>, 1821. Victoire Perint[<i>sic</i>]mp<br />
née Vamy.<br />
[L.S.] Anton Oellermp<br />
civil merchant<br />
as requested witness.<br />
[L.S.] Math Jos Hochleitnermp<br />
retired head of the municipal registry<br />
as requested witness.<br />
[L.S.] Ig Ritter von Seyfriedmp<br />
director of the opera at the<br />
I. & R. privileged Theater an der Wien<br />
as requested witness.</blockquote>
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<span style="font-size: x-small;">The second page of Victoire Perinet's will written on 15 November 1821 (A-Wsa, Mag. ZG, A10, 15/1822)</span></div>
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Perinet's creditor Johann Kaspar Hofbauer (1771–1839), whom she requested to take care of her mother, was a wealthy I. & R. stucco and bell maker. In 1822, he lived in the "Glockengießerhaus", <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=eq1XRjDfGUbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10193502" target="_blank">Laimgrube 164</a>. Hofbauer, whose acquaintance Perinet had made, because he was Ignaz von Seyfried's landlord (A-Wsa, Konskriptionsamt, Laimgrube 164F/4r), was a highly educated man and owned one of the Austrian Monarchy's most famous collections of seventeenth-century Dutch paintings (<a href="https://www.digital.wienbibliothek.at/wbrobv/content/pageview/337472" target="_blank">Böckh 1822, 315</a>) (the best-known painting in his collection was <a href="https://de.wikipedia.org/wiki/Heinrich_Friedrich_F%C3%BCger" target="_blank">Füger</a>'s <a href="https://sammlung.wienmuseum.at/objekt/129161-die-ermordung-julius-caesars/" target="_blank"><i>Die Ermordung Julius Cäsars</i></a>). Victoire Perinet died of consumption on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18220115&seite=4&zoom=33" target="_blank">11 January 1822</a>, at the age of 39. Her last residence Laimgrube 34, near the Theater an der Wien, suggests that she was still pursuing her theater career, but she was unable to overcome her severe health problems. In her <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 1315/1822) she is referred to as "former theater actress". In the house Laimgrube 34 (torn down in 1969, today a part of the <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=GwRhRm21GkbphNVDfT4sQ-a5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10010368" target="_blank">Alfred-Grünwald-Park</a>), where Perinet died in 1822, the guitar builder Christian Frederick Martin Jr. was born on 2 October 1825 (St. Josef ob der Laimgrube 17, fol. 59).<br />
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<span style="font-size: x-small;">The house Laimgrube 34 (Linke Wienzeile 26) where Victoire Perinet died in 1822 and Christian Friedrich Martin Jr. was born in 1825 (© Vintage Vienna, Katharina Meixner Privatarchiv). The <a href="https://www.martinguitar.com/about/martin-story/" target="_blank">website</a> of <i>Martin Guitar</i> erroneously claims that C. F. Martin Jr. (1825–1888) was born in Germany.</span></div>
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At the time of her death, Victoire Perinet owned jewelry of surprisingly high value – obviously tokens from her many generous admirers – but her debts to Johann Hofbauer far exceeded these assets.<br />
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<span style="font-size: x-small;">Victoire Perinet's seal on the outside of her will bearing the initials "VV" (A-Wsa, Mag. ZG, A10, 15/1822)</span></div>
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<b>17) Franz Seraph Günschl </b><br />
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The year 1801 saw Schikaneder at the peak of his career. With the help of the merchant <a href="https://www.geschichtewiki.wien.gv.at/Bartholom%C3%A4us_Zitterbarth" target="_blank">Bartholomäus Zitterbarth</a>, who had lent him 130,000 gulden, he was now director of the new Theater an der Wien and his financial situation was splendid. He also was in love again. The lucky object of his affection was his maidservant Franziska Günschl who had come to Vienna from the small village of <a href="https://goo.gl/maps/xCAxPTFdnNR2" target="_blank">Gösing am Wagram</a> where she had been born on 28 February 1777, daughter of the vintner Mathias Günschl and his wife Clara, née Sauerstain.<br />
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<img border="0" data-original-height="213" data-original-width="973" height="69" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7XEWwNdcT5XUAcoYfT3ZI-6g3BlMJaD6c86Sj975pG2J6QeXPMILy5s261tEyPw_Ppgdr9xT-_1UAEl0QbnaQYHoA47ayqhwRw2D5jZILgmNPG3_BjmL5VkXSVU7WyacGX8azlBkloCI/s320/FG+G%25C3%25B6sing+1_2%252C+130.jpg" width="320" /></div>
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<span style="font-size: x-small;">The entry concerning Franziska Günschl baptism on 28 February 1777, in the <a href="https://de.wikipedia.org/wiki/Pfarrkirche_G%C3%B6sing_am_Wagram" target="_blank">Gösing parish church</a> (Gösing am Wagram, Tom. 2, 130)</span></div>
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On 6 January 1802, Franziska Günschl gave birth to Schikaneder's illegitimate son Franz Seraph Günschl. Following a family tradition, Schikaneder chose his wife as godmother, but, quite understandably, Eleonore Schikaneder had herself be substituted by two young ladies: Josepha Kaiser, daughter of a watchmaker, and Anna Berthold, daughter of the "Sackelträger" (sack-bearer) Anton Berthold.<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Schikaneder's illegitimate son Franz Günschl on 6 January 1802, in the parish church of St. Joseph ob der Laimgrube (St. Josef ob der Laimgrube, Tom. 4, fol. 2). Another, still unpublished source related to this ceremony, shows that the child's place of birth, Laimgrube 46 (<a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=cZFYRtl3F0ZsTa1EaIcQRBwpAtZGVBFvuBteohQx&bmadr=10069332" target="_blank">Laimgrubengasse 4</a>), was the apartment of the midwife Rosalia Sailer.</span></div>
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One might assume that Schikaneder's continued extra-marital love life should have led to an alienation between him and his wife. But quite the contrary: Eleanore Schikaneder's own love affairs had apparently strengthened her tolerance and (certainly for business reasons as well) she continued to live together with her husband and his mistress. This close relationship is particularly evident in Schikaneder's will which he drew up on 17 December 1803. At that time he was financially very well off and had just bought a <a href="https://de.wikipedia.org/wiki/Leh%C3%A1r-Schikaneder-Schl%C3%B6ssl" target="_blank">country house in Nußdorf</a> which he had chosen as a place to retire. After having decreed his burial to be modest and quiet and the selebration of twelve masses for the salvation of his soul, he wrote the following:<br />
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<span style="font-size: x-small;">Paragraph 6 of Emanuel Schikaneder's will. The deletions on the backside of this page were made by Schikaneder in 1804, when he had to cancel his bequests to Ferdinand Neukäufler and several other people (A-Wsa, Hauptarchiv, Persönlichkeiten S 8, Testament, fol. 1r).</span></div>
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6<span style="font-size: x-small; vertical-align: super;">tens</span> legire ich der Franziska Ginschlin ihrem Kinde Franz Schickaneder dreÿ tausend Gulden; dieses Kapital aber soll in öffentlichen Fonds Obligationen depositirt dem Franz Schickaneder als dem Kinde der oberwehnten Franziska Ginschlin erst nach erlangter Großjährigkeit, und Ausweise der richtigen Benutzung als sein freÿes Eigenthum übergeben werden; von denen abfallenden Interessen aber solle das Kind Franz Schickaneder gehörig unterhalten, und erzogen werden, wie auch den nöthigen Unterricht erhalten. [...] Sollte dieses Kind Franz Schickaneder aber vor erlangter Majorennität mit Todt abgehen, gehören diese dreÿ tausend Gulden dessen Mutter Franziska Gischlin.</blockquote>
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6th, I bequeath to Franziska Ginschl's child Franz Schickaneder three thousand florins; but this capital is to be invested in public bonds, to be given to Franz Schickaneder, as the child of the above-mentioned Franziska Ginschl, as his free property, only after he has reached legal age and has produced ample proof of the correct use; from the accrued interests the child Franz Schickaneder should be properly supported and educated, as well as receive the necessary tuition. [...] If, however, this child Franz Schickaneder should die before reaching majority, these three thousand florins belong to his mother Franziska Ginschl.</blockquote>
After Schikaneder's death in 1812, of course, none of his many bequests turned out to be collectible. Franziska Günschl was not only Schikaneder's lover. In the recollections of Andreas Przawerczek, which in 1831 were published in the journal <i>Der Gesellschafter</i>, Günschl is also described as "Schikaneder's cashier, director ["General<span style="font-size: xx-small;">=</span>Intendantin"] and factotum". Although Przawerczek claimed to have worked for 16 years as bassonist in Schikaneder's orchestra, his name appears in no contemporaneous almanach among Schikaneder's musicians. Therefore his account should be.treated with appropriate skepticism. The third installment of Przawerczek' recollections contains the following passage:<br />
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<span style="font-size: x-small;">A clip from Andreas Przawerczek's "Herr Emanuel Schikaneder (Aus den Papieren eines verstorbenen Fagotisten)" (<i>Der Gesellschafter oder Blätter für Geist und Herz</i>, 8tes Blatt, 1831, 39). Baur quotes this source, but the fact that she does not even know its correct title suggests that she has never seen the original.</span></div>
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To live and let live was his favorite motto and when somebody was in need and turned to him, he certainly helped if he could, sometimes he couldn't. When there were bills to pay, or somebody asked him for money, he called his "General-Intendantin", the pretty parlour maid, and asked: "Franzerl, do we have any money?" If she answered in the affirmative, she had to bring the required amount; if she complained and affirmed that there was nothing in store, he got into a very bad mood and said: "I tell you, these are bad times, you have to come another time, because this is a shabby and piggish administration that never has any money!"<br />
He had the funny habit of always scolding himself when he was angry. If mistakes occurred in the orchestra or on the stage, he yelled: "This is a pig-administration, a true lumpen-administration!" He did the same when he had hired a singer or actor who did not please the audience. In that case he ran back and forth on the stage and kept shouting: "This is a lumpen-administration!"</blockquote>
Schikaneder, who in the last few weeks of his life could no longer leave his bed and continuously had to be taken care of, died of "Nervenschwäche" in the house <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=hbhPRuAnMEbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10071996" target="_blank">Alsergrund 30</a>, in the apartment of the blacksmith Kaspar Nerpaß and his wife Maria. The reason why Schikaneder lived with this family, of all people, is quite simple: Maria Nerpaß was the sister of Schikaneder's mistress Franziska Günschl.<br />
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<span style="font-size: x-small;">Half of he entry concerning the wedding of Kaspar Nerpaß and Anna Maria Günschl on 7 October 1804 (Maria Treu, Tom. 5, fol. 119). The entry "10. März 1939 1365" at the lower left refers to the issuance of a wedding certificate in 1939 for an <a href="https://en.wikipedia.org/wiki/Ahnenpass" target="_blank">Ahnenpass</a> which proves that at that time descendants of Nerpaß's son Anton were still alive. On 26 January 1845, Kaspar's son Anton Nerpaß, who was a blacksmith in <a href="https://de.wikipedia.org/wiki/Dornbach_(Wien)" target="_blank">Dornbach</a>, married Theresia Nimmerrichter with whom he had several children. (Dornbach 3, fol. 11). Maria Nerpaß, née Günschl died on 14 January 1845, in Dornbach (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.127.A1a, 814).</span></div>
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In a report by the Vienna police administration, which in 1812 – following an anonymous complaint – was submitted to the <i>Polizeihofstelle</i> (<a href="http://www.archivinformationssystem.at/detail.aspx?ID=8" target="_blank">AVA</a>, Polizeihofstelle, H 40/1812), two of Nerpaß's children were described as "natural children" of Schikaneder. This claim, which fits with the tendency of the then police to believe even the most curious rumors, is not supported by any sources. Four children of Kaspar Nerpaß are known so far:<br />
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<li>Sebastian, b. 10 Aug 1805 (Alservorstadt [AV] 7, fol. 121), d. 29 Jan 1806 (AV 4, fol. 261)</li>
<li>Friedrich, b. 25 Jan 1807 (AV 8, fol. 7), d. 14 Dec 1808 (AV 5, fol. 104)</li>
<li>Anton, b. 12 Apr 1809 (AV 8, fol. 181), d. 11 Oct 1881 (Dornbach 7, fol. 49)</li>
<li>Barbara, b. 3 Dec 1816 (Dornbach Trauungsbuch 4, fol. 132), on 10 Sep 1849 married the widower of her aunt, Moritz Elsässer (1795–1865) (Dornbach 3, fol. 54) with whom in 1847 and 1849 she already had had two illegitimate children (Dornbach 6, fol. 52 and fol. 93), on 25 Feb 1868 married Karl Gebhard (Dornbach 4, fol. 132), d. 26 Jun 1884 (Dornbach 7, fol. 68)</li>
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After Emanuel Schikaneder's death, Franziska Günschl moved to Dornbach, together with her sister Maria Nerpaß. On 8 July 1813, in Dornbach, Schikaneder's former mistress and factotum married the Hessian blacksmith Jakob Hauck whose acquaintance she had certainly made via her brother-in-law. Similar to Kaspar Nerpaß, who had been born in <a href="https://en.wikipedia.org/wiki/Partenheim" target="_blank">Partenhaim</a>, Hauck was also a Protestant who hailed from Füllbrunn, a village in the <a href="https://en.wikipedia.org/wiki/Odenwald" target="_blank">Odenwald</a> area.<br />
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<span style="font-size: x-small;">The entry concerning the wedding of Franziska Günschl and Jakob Hauck on 8 July 1813 (Dornbach, Tom. 2, fol. 45)</span></div>
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Jakob and Franziska Hauck had a son, Anton, who was born on 10 May 1815 (Dornbach 2a, fol. 116), and already died of hydrocephalus on 25 May 1815 (Dornbach 2a, fol. 96). Jakob Hauck, who owned the house Dornbach 9 (today <a href="https://www.wien.gv.at/kulturportal/public/grafik.aspx?bookmark=zW8IRgLSU0ZsTa1EaIcQRBwpAtZGVBFvuBteomSQ6g-b-b&bmadr=10133378" target="_blank">Dornbacher Straße 115</a>), died of <i>Nervenfieber</i> on 4 January 1816, at the age of 28 (Dornbach 2a, fol. 97). According to his marriage contract, which was attested to posthumously by two witnesses, his wife was his universal heir. But Hauck's estate was deeply in debt and was declared bankrupt by the court of the Herrschaft Dornbach (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.127.A1a, 203). Franziska Günschl's second husband was even younger than her first one: on 4 November 1817, in the <a href="http://www.bildarchivaustria.at/Preview/7970309.jpg" target="_blank">Dornbach parish church</a>, she married Moritz Elsässer, a 24-year-old blacksmith from <a href="https://de.wikipedia.org/wiki/Hirrlingen" target="_blank">Hirrlingen</a> in Baden-Württemberg who at that time, held the post of "Unterschmied" at the <a href="https://www.wien.gv.at/wiki/index.php?title=Veterin%C3%A4rmedizinische_Universit%C3%A4t" target="_blank">I. & R. Academy of Veterinary Medicine</a>.</div>
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<span style="font-size: x-small;">The entry concerning the wedding of Franziska Hauck, née Günschl and Moritz Elsässer on 4 November 1817, in Dornbach (Dornbach, Tom. 2, fol. 51)</span></div>
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In a marriage contract, which was signed on 5 October 1816, the bride transferred half of her house Dornbach 9 and the license to run a blacksmith's shop ("Schmiedgerechtigkeit") to her future husband. He was to receive half of the house (amounting to 2,000 fl) as dowry which he was to reciprocate "with his person, since he owns no personal assets". The groom committed himself "to put all his abilities and best diligence into the business, to keep the blacksmith's shop in good standing and to increase the family assets".<br />
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<span style="font-size: x-small;">The second page of Franziska Hauck's ("geborene Günschl") and Moritz Elsässer's marriage contract. The dating "1816" could be a mistake (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.127.A1a, 573). A copy of this contract, which was issued as "<a href="https://www.geschichtewiki.wien.gv.at/Aufsandung" target="_blank">Aufsandung</a>", survives in A-Wsa, Patrimonialherrschaften, Serie 2.1.1.127.A3(6).</span></div>
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Franziska Elsässer, Schikaneder's former mistress and mother of his son Franz, died on 6 September 1839, in the house Dornbach 9. In the parish register she is described as "Schmidt<span style="font-size: xx-small;">=</span>Meisterin und Hausbesitzerin", the cause of her death is given as "gänzliche Auflösung der Säfte" (total dissolution of the fluids). She was buried on 8 September, at 3 p.m., in the old <a href="https://goo.gl/maps/vJwVgD8xVDP2" target="_blank">Dornbach cemetery</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwzWPyhfHVLpg3vnhM5EOdBM2G2v0r5eLPTArHEaPrNFDYL_TbaSxrzZfjSqOOo6UZY9MwRvYl0vZXOKv2oGYLONF7YJLORzBcDvHZS2gF_tr_RqLnO9jb2UFEERIVoZUC3kWBcXhpfjE/s1600/Franziska+Elsa%25C3%259Fer+6.9.1839.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="236" data-original-width="1353" height="55" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwzWPyhfHVLpg3vnhM5EOdBM2G2v0r5eLPTArHEaPrNFDYL_TbaSxrzZfjSqOOo6UZY9MwRvYl0vZXOKv2oGYLONF7YJLORzBcDvHZS2gF_tr_RqLnO9jb2UFEERIVoZUC3kWBcXhpfjE/s320/Franziska+Elsa%25C3%259Fer+6.9.1839.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the death of Franziska Elsaßer, née Günschl (widowed Hauck) on 6 September 1839 (Dornbach, Tom. 4, fol. 9) </span></div>
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Franziska Elsässer's <i>Sperrs-Relation</i>, drawn up by the court of the Herrschaft Dornbach, shows that her husband's blacksmith's shop had not been successful. The value of the house, which ín 1839 was estimated at only 3,000 fl, was greatly reduced by a mortgage of 2,200 fl and a number of certificates of debt to various people in Dornbach. Franziska Elsässer's estate only amounted to 54 fl 7,5 x which were reduced to net 13 fl 3,5 x by burial costs, taxes and fees.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHISVpXXzuwCB1pmtKzYgHQridssPl2753iUDpRSmJYDwcfB7h298YjJxE2ozvZlcKrg5pBJeOQx5XckjiW9fjvvZrrLkCWS5z5H7VFDV0fE4gBo-WSMsJ6L77C10DU7-gr99CQzrm24E/s1600/Elsasser+Dornbach+573.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="824" data-original-width="517" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHISVpXXzuwCB1pmtKzYgHQridssPl2753iUDpRSmJYDwcfB7h298YjJxE2ozvZlcKrg5pBJeOQx5XckjiW9fjvvZrrLkCWS5z5H7VFDV0fE4gBo-WSMsJ6L77C10DU7-gr99CQzrm24E/s320/Elsasser+Dornbach+573.jpg" width="200" /></a></div>
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<span style="font-size: x-small;">The first page of the probate file of Schikaneder's former mistress Franziska Elsässer (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.127.A1a, 573)</span></div>
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As far as Frau Elsässer's son Franz Schikaneder was concerned, he was simply treated as if he had come from a previous marriage. The entry in question in the probate file reads as follows:<br />
<blockquote class="tr_bq">
Nachgelassene Kinder. Großjährige, und wo selbe sich befinden. – Sohn aus erster Ehe Nahmens Franz Schikaneder, derzeit K.K. Churschmied und in Pohlen befindlich </blockquote>
<blockquote class="tr_bq">
Surviving children. Of legal age and their whereabouts. – A son from the first marriage by the name of Franz Schikaneder, currently I. & R. farrier and staying in Poland</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFjN9rU-jXh59BQE8GOGZFuy208-C75HGiQ5GCwykd95xPzesquZedpnbpblXjQArNgOO33Oc3iCuiGuqGXkCuInWmICIeSUatwTFRvzgQB4njHVth7TSaEEp8MhM9HgPeLH7017IiBm8/s1600/Elsasser+Dornbach+573+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="720" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFjN9rU-jXh59BQE8GOGZFuy208-C75HGiQ5GCwykd95xPzesquZedpnbpblXjQArNgOO33Oc3iCuiGuqGXkCuInWmICIeSUatwTFRvzgQB4njHVth7TSaEEp8MhM9HgPeLH7017IiBm8/s320/Elsasser+Dornbach+573+%25282%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in Franziska Elssser's probate file concerning her son Franz Schikaneder (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.127.A1a, 573)</span></div>
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On 10 September 1849, Franziska Elsässer's second husband Moritz Elsässer married his wife's niece Barbara Nerpaß (1816–1884). For this marriage he received a papal dispense "from the impediment of 1st and 2nd affinity of marriage" (Dornbach 3, fol. 54).<br />
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Relatives of Franziska Günschl (married Hauck and Elsässer) still live today in Gösing am Wagram where <a href="http://www.guentschl.at/" target="_blank">members of the Günschl family</a> have been growing wine since ancient times.<br />
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The situation of Schikaneder's illegitimate son Franz Günschl, whom his father had left no inheritance at all, was certainly not enviable. Franz Schikaneder (as he soon called himself) completed a blacksmith's apprenticeship, probably in the workshop of his stepfather Moritz Elsässer. On 5 February 1834 (probably with the help of influential admirers of his father), he was lucky enough to secure a position as "certified farrier" in the service of the Vienna Court (A-Whh, OStA, Bd. 22, Nr. 355).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg60EJBYp-4LaAoStX_Pzn5LyFDceXF0WH4Gl5HpWF_wdS0loZkKLP71R9Fk_fdaJniamQMhrXCKt86OAEwc137gY89uGj1beOfl9Yy63SB9fEB4uttwzTId0aYEgiHuzHQG-lCHsuqR5s/s1600/Elsasser+Dornbach+573+%25283%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="794" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg60EJBYp-4LaAoStX_Pzn5LyFDceXF0WH4Gl5HpWF_wdS0loZkKLP71R9Fk_fdaJniamQMhrXCKt86OAEwc137gY89uGj1beOfl9Yy63SB9fEB4uttwzTId0aYEgiHuzHQG-lCHsuqR5s/s320/Elsasser+Dornbach+573+%25283%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The only signature of Franz Schikaneder that is known so far, in his mother's probate file, below the signature of his mother's second husband Moritz Elsässer (A-Wsa, Patrimonialherrschaften, Serie 2.1.1.127.A1a, 573)</span></div>
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Franz Schikaneder's greatest problem, however, was the fact that he could not marry, because he did not have a valid baptismal certificate bearing his chosen name. Since his father had never professed to the paternity, Franz Schikaneder's legal name was Franz Günschl. In 1837, he applied to the Vienna Magistrate, requesting the
correction of his baptismal entry and the permission to keep the surname Schikaneder. The entry in question in the protocol (the file does not survive) begins as follows:<br />
<blockquote class="tr_bq">
Schikaneder Franz |: eigentlich Franz Günschl :| über dessen Gesuch, um Bewilligung zur Beybehaltung seines bisherigen Namens Schikaneder, und
um Abänderung des Taufprotokolls wird derselbe hirmit abgewiesen.</blockquote>
<blockquote class="tr_bq">
Schikaneder Franz (actually Franz Günschl), regarding his application for permission to keep his present name Schikaneder and to have the baptismal protocol amended, the same is herewith rejected.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjne2832WhGNQn3aqHyhyLzAyDnymjnPC5IZMatA42lirycg8MRPFviCMIxe2Ax-ljG2HB3wIbbvVyc1Pb9dc-R27E_zFnrmUC9QshGJSHOeC1pIOZb5d2IeMLAKcN0ly5DTZqwTi9_f8Y/s1600/HReg.+B1_459.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="485" data-original-width="749" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjne2832WhGNQn3aqHyhyLzAyDnymjnPC5IZMatA42lirycg8MRPFviCMIxe2Ax-ljG2HB3wIbbvVyc1Pb9dc-R27E_zFnrmUC9QshGJSHOeC1pIOZb5d2IeMLAKcN0ly5DTZqwTi9_f8Y/s320/HReg.+B1_459.jpg" width="320" /></a></div>
<span style="font-size: x-small;">The entry in the protocol of the municipal <i>Hauptregistratur</i> concerning Franz Günschl's request to be allowed to keep the name Schikaneder (A-Wsa, Hauptregistratur B1/459, fol. 69v)</span></div>
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Although the authorities turned down his request, Schikaneder was not to be deterred and unlawfully kept his chosen name. He seems to have enjoyed the protection of an influential patron. While he was waiting for an opportunity to get married in secret, he already started a family. Four illegitimate children of Franz Schikaneder (Günschl) are documented so far. The mother of these four daughters was Katharina Kromes, born around 1805 in Auspitz (<a href="https://en.wikipedia.org/wiki/Hustope%C4%8De" target="_blank">Hustopeče</a>), a daughter of the shoemaker Wenzl Kromes and his wife Katharina, née Pilan.<br />
<ol>
<li>Franziska, b. 1828, d. <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18310418&seite=5&zoom=44" target="_blank">13 Apr 1831</a> (Maria Treu 9, fol. 184)</li>
<li>Carolina, b. 28 Jan 1833 (Maria Treu 13, fol. 127), d. 28 Nov 1914 (see below)</li>
<li>Franziska, b. 21 Jan 1840 (St. Ulrich 51b, fol. 12), d. 26 Jul 1840 (St. Ulrich 35, fol. 69)</li>
<li>Maria, b. 19 Aug 1841 (baptized Maria Kromes) (St. Ulrich 52, fol. 127), d. 31 Aug 1841 (St. Ulrich 35, fol. 178)</li>
</ol>
On a conscription sheet of the house Josephstadt 69 (now <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=jxpPRsK0KEbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072116" target="_blank">Lange Gasse 16</a>) from 1831, Franz Schikaneder's name is conspicuously absent. His domestic partner Katharina Kromes is registered as living together with her widowed mother and two of her daughters who are described as "Kath:[arina][<i>sic</i>] Krones <span style="text-decoration: overline;">833</span> Kind der Tocht[er]" and "Franziska Schikaneder <span style="text-decoration: overline;">827</span> Pflegkind [foster child]".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvolVRFhhjqHKRVL9-wFr5LTaoN_jMyenOfgBKVjGyVGVeAbxCL0xOBiUEUhTz1YxhbfE5l7kf5zcgjDUyF_NFkto7VWHlkYpIPJV0gsjaj9W2IiVVCyBYcSisUUeo917hE5Tky5KMpxo/s1600/JOS+69_17r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="409" data-original-width="690" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvolVRFhhjqHKRVL9-wFr5LTaoN_jMyenOfgBKVjGyVGVeAbxCL0xOBiUEUhTz1YxhbfE5l7kf5zcgjDUyF_NFkto7VWHlkYpIPJV0gsjaj9W2IiVVCyBYcSisUUeo917hE5Tky5KMpxo/s320/JOS+69_17r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The Kromes family registered at Josephstadt 69 in 1831. Franz Schikaneder's future mother-in-law is given as "shoemaker's widow from Auspitz in Moravia". The names of the daughter Katharina (i.e. Karolina) and Wenzl Kromes ("<span style="text-decoration: overline;">799</span> son of the above shoemaker from Auspitz in Moravia") were added in 1833 (A-Wsa, Konskriptionsamt, Josephstadt 69/17r)</span></div>
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Franz Schikaneder, his future wife, and his daughters Carolina and Franziska appear on a conscription sheet from 1840 related to the house St. Ulrich 76 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=jy5PRv-chJUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10070502" target="_blank">Lerchenfelder Straße 15</a>, the birthplace of <a href="https://en.wikipedia.org/wiki/Johann_Strauss_II" target="_blank">Johann Strauss II</a>). Quite understandably, fifteen years before the couple's marriage, Katharina Kromes passed herself off as Schikaneder's wife. Her husband is described as "kk Curschmied v Wien".<br />
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<span style="font-size: x-small;">Franz Schikaneder's family registered on a conscription sheet of the house St. Ulrich 76 (A-Wsa, Konskriptionsamt, St. Ulrich 76/34v)</span></div>
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Franz Schikaneder, who in a baptismal register is given as "Sohn des Emanuel - eines Schauspielers" (Maria Treu 13, fol. 127) and who, on the occasion of her baptism, also professed to the paternity of his third daughter Franziska, married the mother of his children but on 16 September 1855, in Reichstadt (today <a href="https://en.wikipedia.org/wiki/Z%C3%A1kupy" target="_blank">Zákupy</a>). It is obvious that by having this ceremony performed in the remote Bohemian province he wanted to avoid unpleasant questions regarding the legitimacy of his birth.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrL_EVgckMPYCkILgv19k7-UGascpFf8RvVzalvhc5M_ebaNWeoVD5FQwgbrd_8g-cAAUI12LndTpd1_-1inEbu5FZWAcwXTyTWRpUOJeiuxd4ejwfePY60aah20bse5clojz0-Xn7_w/s1600/Carolina+Schikaneder+28.1.1833.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="558" data-original-width="564" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrL_EVgckMPYCkILgv19k7-UGascpFf8RvVzalvhc5M_ebaNWeoVD5FQwgbrd_8g-cAAUI12LndTpd1_-1inEbu5FZWAcwXTyTWRpUOJeiuxd4ejwfePY60aah20bse5clojz0-Xn7_w/s320/Carolina+Schikaneder+28.1.1833.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">The note from 20 December 1900 in Carolina Schikaneder's 1833 baptismal entry concerning her legitimization by means of her parents' wedding in 1855 in Reichstadt (Maria Treu, Tom. 13, fol. 127)</span></div>
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In 1852, Franz Schikaneder was transferred to the staff of the former Emperor <a href="https://en.wikipedia.org/wiki/Ferdinand_I_of_Austria" target="_blank">Ferdinand I</a> in Prague. After the dissolution of Emperor Ferdinand's staff in November 1875, he retired with an annual pension of 1,000 gulden. He died of old age on 30 June 1877, in the house <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=rUZMRqNNLkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10072236" target="_blank">Piaristengasse 58</a> and was buried the following day in Vienna's <a href="https://en.wikipedia.org/wiki/Vienna_Central_Cemetery" target="_blank">Zentralfriedhof</a>.<br />
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<span style="font-size: x-small;">The entry in the Maria Treu parish records concerning Franz Schikaneder's death and burial (Maria Treu, Tom. 17, fol. 145)</span></div>
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On 5 July 1877, his widow Katharina submitted a pension request to the Obersthofmeisteramt (A-Whh, OMeA, Karton 981, r. 130/12.3593). With her daughter Caroline she moved to Penzing, <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=MwMYRmZmCUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10367239" target="_blank">Hauptstraße 70</a>, where she died on 2 November 1886.<br />
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<span style="font-size: x-small;">The first page of Katharina Schikaneder's probate file drawn up by the Hietzing district court (A-Wsa, BG Hietzing, 4A, 489/1887)</span></div>
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Caroline Schikaneder – the granddaughter of the librettist of the <i>Die Zauberflöte</i> – spent the last decades of her life in great material hardship. Owing to bad eyesight, she was unable to continue her profession as seamstress. In 1886, she asked Emperor <a href="https://en.wikipedia.org/wiki/Franz_Joseph_I_of_Austria" target="_blank">Franz Joseph I</a> for a gift of grace and was granted an annual pension of 60 gulden by <a href="https://en.wikipedia.org/wiki/Archduke_Karl_Ludwig_of_Austria" target="_blank">Archduke Karl Ludwig</a>.<br />
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<span style="font-size: x-small;">The final paragraph of Caroline Schikaneder's autograph application to the Emperor (A-Whh, OMeA, Karton 1129, r. 30/2.341)</span></div>
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Caroline Schikaneder died of cancer on 28 November 1914, in the <a href="https://www.geschichtewiki.wien.gv.at/Pflegeheim_Lainz" target="_blank">Lainz nursing home</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe2yGmTdR2OpHQQ-XABE3AqqS1l9J7Rh2wuf4wdW5de9h00kki1Stq8fONmQ3McmsFtUHC901AdKq9Q44bTnjWV8QVmjY4cDlyFiELBlWgaTA51IoTB4O-_nVzuT3zHVgCLFZLWU7lGQo/s1600/KSchikaneder+28.11.1914.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="181" data-original-width="1345" height="42" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe2yGmTdR2OpHQQ-XABE3AqqS1l9J7Rh2wuf4wdW5de9h00kki1Stq8fONmQ3McmsFtUHC901AdKq9Q44bTnjWV8QVmjY4cDlyFiELBlWgaTA51IoTB4O-_nVzuT3zHVgCLFZLWU7lGQo/s320/KSchikaneder+28.11.1914.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Caroline Schikaneder's death on 28 November 1914 (Penzing, Tom. 27, fol. 76) </span></div>
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<b>18) Johann Emanuel Rundschek </b> <br />
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Johann Emanuel Rundschek was born on 12 January 1802, in an apartment that was part of the living quarters of the Theater an der Wien. The child was baptized on the same day in the church of St. Joseph ob der Laimgrube with Eleonore Schikaneder ("des Emanuel Sch. Schauspieldirektors Gattin") standing godmother.<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Johann Emanuel Rundschek on 12 January 1802 (St. Josef ob der Laimgrube, Tom. 8, fol. 3)</span></div>
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Emanuel Rundschek's parents were the box office controller of the Theater an der Wien Heinrich Rundschek and his wife Elisabeth, née Wipfel (widowed Wolf). The child already died of "Fraisen" on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18030216&seite=11&zoom=33" target="_blank">9 February 1803</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTxrEGtoqOdYlE1y-IlwaTfnrZqmOAaOktxdV_DaQKOSceKP35my_KiJYpq0QEyoNlbald3NQv0vAgUa1-2OhXLe64EDjIRI6ItiAMr0lbe4dm6pg-GsH_KlGXrROZUouiSu2Y0uBQim8/s1600/Emanuel+Rundschek+9.2.1803.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="87" data-original-width="1394" height="23" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTxrEGtoqOdYlE1y-IlwaTfnrZqmOAaOktxdV_DaQKOSceKP35my_KiJYpq0QEyoNlbald3NQv0vAgUa1-2OhXLe64EDjIRI6ItiAMr0lbe4dm6pg-GsH_KlGXrROZUouiSu2Y0uBQim8/s400/Emanuel+Rundschek+9.2.1803.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the death of Emanuel Rundschek (St. Josef ob der Laimgrube, Tom. 4, fol. 85)</span></div>
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This child's father, Martin Heinrich Rundschek, has previously not been the object of Schikaneder research. He was born on 9 October 1778, in the house Wieden 77, "Zur Weißen Rose" (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=zJdfRuDZE0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063508" target="_blank">Wiedner Hauptstraße 26</a>), son of Johann Rundschek, a servant with Count Franz Heinrich von Heussenstamm zu Heißenstein und Gräfenhausen.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv3PrQ5k_L9rFClpEN3bruJCb-iYyEXFE37GyBK6MmYtg9r52FnpOpj8Ho4YGr5sL70xwiG0U_x7XfxrjllsrwuroX4lMSDiPlol-iBtVN4OpXJj9VZ2RU5TVw5HQIJmWYCImx39ynPQM/s1600/Rundschek+9.10.1778.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="311" data-original-width="728" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv3PrQ5k_L9rFClpEN3bruJCb-iYyEXFE37GyBK6MmYtg9r52FnpOpj8Ho4YGr5sL70xwiG0U_x7XfxrjllsrwuroX4lMSDiPlol-iBtVN4OpXJj9VZ2RU5TVw5HQIJmWYCImx39ynPQM/s320/Rundschek+9.10.1778.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Maria Catharina Anna Theresia Rundschek and her twin-brother Martin Heinrich on 9 October 1778 (A-Wd, Tom. 95, fol. 27r.). Count Heussenstamm and his first wife Theresia, who stood godparents to the children, were substituted by two members of the comital household staff.</span></div>
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When in September 1801, Rundschek wanted to marry Elisabeth Wolf – who was already five months pregnant – he needed his guardian, the carpenter (and owner of the house <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=mQFcRnpnE0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10366225" target="_blank">Wieden 415</a>) Johann Preiß, to apply to the Vienna municipal court to be granted a marriage permit. Essential for receiving such a permit was a certificate of regular income. This document was written on 21 September 1801, by Rundschek's friend <a href="https://de.wikisource.org/wiki/BLK%C3%96:Meier,_Friedrich_Sebastian" target="_blank">Friedrich Sebastian Meier</a> and signed by his principal Emanuel Schikaneder.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW_ej_Bvg-YeMxTtO12_C4MEUBWaTZ85pLiyMwARdotO7mE0O_cWufcP03w56knVd-eLZfE5bFKJ0CSIzbZeCTG2pWTr34kS8A84eJuD2JAuZddvYOO2iwWhyMyVYW0_CRkyGD3FedCuU/s1600/Zeugniss+362_1801.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="635" data-original-width="491" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW_ej_Bvg-YeMxTtO12_C4MEUBWaTZ85pLiyMwARdotO7mE0O_cWufcP03w56knVd-eLZfE5bFKJ0CSIzbZeCTG2pWTr34kS8A84eJuD2JAuZddvYOO2iwWhyMyVYW0_CRkyGD3FedCuU/s320/Zeugniss+362_1801.jpg" width="246" /></a></div>
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<span style="font-size: x-small;">Heinrich Rundschek's certificate of employment, written by Friedrich Sebastian Meier and signed by Schikaneder on 21 September 1801 (A-Wsa, Mag.ZG, A3, 362/1801). Meier is mainly remembered today as first <i>Pizarro</i> in all versions of Beethoven's <i>Fidelio</i>. But since he regularly adapted all kinds of new French operas for the Vienna stage, his influence on the musical taste of the local audience cannot be overrated. </span><br />
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<div style="text-align: center;">
<u>Zeugniß.</u></div>
Daß Vorzeiger dessen Herr Heinrich Rundschek von Wien gebürtig 23 Jahre alt, Katolischer Religion, bei meinem K.K. priv. Theater an der Wien als Cassa<span style="font-size: xx-small;">=</span>Controleur mit 300 f jährlicher Besoldung wirklich angestellt seÿ, und <strike>seinem</strike> mit allem Eifer, und Rechtschaffenheit zu meiner grösten Zufriedenheit seinem Dienste vorsteht, wird auf sein bittliches Ansuchen, indem er sich zu verehlichen gedenkt, zur Steuer der Wahrheit von mir Endesgefertigtem bestättiget.<br />
Emanuel Schickaneder<br />
K:K: priv: Schauspielunternehmer<br />
[L.S.]<br />
Wien<br />
den 21<span style="font-size: x-small; vertical-align: super;">ten</span> September 1801. </div>
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<u>Testimony.</u></div>
That the producer of this document, Herr Heinrich Rundschek, was born in Vienna, is 23 years of age, Catholic, and really employed as box office controller at my I. & R. privileged Theater an der Wien with an annual salary of 300 gulden, and is carrying out his duty with diligence, integrity and to my greatest satisfaction, is being certified truthfully by me, the undersigned, upon his request, since he's intending to get married.<br />
Emanuel Schickaneder<br />
I. & R. privileged theater entrepreneur [L.S.]<br />
Vienna, September 21st, 1801</blockquote>
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Heinrich Rundschek and Elisabeth Wolf got married on 26 October 1801, in the church of St. Joseph ob der Laimgrube. Elisabeth Wolf had been born Elisabeth Wipfel on 13 September 1764, in <a href="https://de.wikipedia.org/wiki/Wanzenau_(Gemeinde_Gars_am_Kamp)" target="_blank">Wanzenau</a> (Gars am Kamp 14, 121). Her first husband had been Nikolaus Wolf, a gunner with the I. & R. 2nd field artillery regiment Count Kolowrat- Krakowski. Rundschek's best man was the singer Friedrich Sebastian Meier, the bride's witness was Johann Hornik (b. 1769 in <a href="https://en.wikipedia.org/wiki/%C5%A0kvorec" target="_blank">Škvorec</a>, d. after 1828), a clarinetist in Schikaneder's orchestra.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQuu2JcwyuGzXDUur05oCyaI7QXKQEotuLWbDaozsNnd-5i5iQxZip76GwYOjl5FkBnUCLEP9cYAWG6Tj_gW_bK0_DOUzVo8vVMyoTxjgC6qhCIwsV9itgFVWHcIQGYnUp_S7KEjMZx9A/s1600/Martin+Heinrich+Rundscheck+26.10.1801.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="1300" height="55" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQuu2JcwyuGzXDUur05oCyaI7QXKQEotuLWbDaozsNnd-5i5iQxZip76GwYOjl5FkBnUCLEP9cYAWG6Tj_gW_bK0_DOUzVo8vVMyoTxjgC6qhCIwsV9itgFVWHcIQGYnUp_S7KEjMZx9A/s320/Martin+Heinrich+Rundscheck+26.10.1801.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the wedding of Martin Heinrich Rundschek and Elisabeth Wolf on 26 October 1801 (St. Josef ob der Laimgrube, Tom. 5, fol. 27)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSXC1ibsMKD7f11z57u7uWzNiSSS_2ohnSNLQZpGzTZE_zpyGchBvc651Rtwtv8rnKTbcI0m5UghJri-mZtEwDelNmmdFgNzJm6ezVglOnYfYnJBex0gQOtBMpt0NfXff48Pb7hVpG1Js/s1600/Meier+%2526+Hornik+1801.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="641" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSXC1ibsMKD7f11z57u7uWzNiSSS_2ohnSNLQZpGzTZE_zpyGchBvc651Rtwtv8rnKTbcI0m5UghJri-mZtEwDelNmmdFgNzJm6ezVglOnYfYnJBex0gQOtBMpt0NfXff48Pb7hVpG1Js/s320/Meier+%2526+Hornik+1801.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">The signatures of Friedrich Sebastian Meier and Johann Hornik in the above marriage entry (St. Josef ob der Laimgrube, Tom. 5, fol. 27)</span></div>
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Aside from Emanuel the Rundschek couple had no other children. In 1805, Rundschek was registered as "Logenmeister Gehilf" by the conscription officer During the <a href="https://de.wikipedia.org/wiki/Ferdinand_P%C3%A1lffy" target="_blank">Count Ferdinand von Palffy</a>'s tenure at the Theater an der Wien, Rundschek was promoted to the position of "Logenmeister und Billets-Revisor". During his last years he lived near the theater at Laimgrube 15 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=rTZcRo-aUG0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10388035" target="_blank">Lehargasse 3</a>).<br />
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<span style="font-size: x-small;">Heinrich Rundschek ("Logenm[ei]st[er] G[e]hilf"), his wife and their foster-son Eduard Emerl registered on an 1805-17 conscription form of Laimgrube 15 (A-Wsa, Konskriptionsamt, Laimgrube 15/1r). Eduard Emerl, born 23 July 1815 (Wieden 7, 32), was a child of Rundschek's sister Aloisia with her second husband, the painter Johann Nepomuk Emerl (1777–1817).</span></div>
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Heinrich Rundschek died of Nervenfieber on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18200627&seite=4&zoom=33" target="_blank">23 June 1820</a>. His wife Elisabeth survived him only by four months. She died of uterine cancer on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18201031&seite=4&zoom=33" target="_blank">26 October 1820</a>, at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=ZhNaRuAKGkbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069283" target="_blank">Laimgrube 11</a> where, after her husband's death, she had moved in with Katharina Herburger, a daughter from her first marriage (see A-Wsa, Mag. ZG, A2, 2410/1820 and 2627/1820).<br />
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That Heinrich Rundschek's name appears in two sources related to the Theater an der Wien and Schikaneder, suggests that he was closely connected to Schikaneder's circle. When on 15 October 1804, Michael Schütterer, "Feldwäbl beym KK. priv. Theater an der Wien" (the theater's police officer), married Veronika Gröger, Friedrich Sebastian Meier and Heinrich Rundschek signed their names a witnesses to the wedding.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11PFlzoIDkltSAfJu7KVzoNLrJXyafLoZuofBNh7kkzi-OIoiMLBMdj-aaV4diKnZ7vFROgMPR6SVxgdY9Wrfx1T1fQKWpqrWzT29J1gfpfRdBzlrtBtslbsg8i6P2He5phw7tb11bFo/s1600/Sch%25C3%25BCtterer+15.10.1804.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="385" data-original-width="598" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11PFlzoIDkltSAfJu7KVzoNLrJXyafLoZuofBNh7kkzi-OIoiMLBMdj-aaV4diKnZ7vFROgMPR6SVxgdY9Wrfx1T1fQKWpqrWzT29J1gfpfRdBzlrtBtslbsg8i6P2He5phw7tb11bFo/s320/Sch%25C3%25BCtterer+15.10.1804.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Meier's and Rundschek's signatures in Michael Schütterer's marriage entry in the records of St. Karl (St. Karl, Tom. 4, fol. 2). Schutterer hailed from Uffhausen in the Breisgau (today a part of <a href="https://de.wikipedia.org/wiki/Sankt_Georgen_(Freiburg_im_Breisgau)" target="_blank">St. Georgen</a>), his bride was a furrier's daughter from Auspitz in Moravia. The godparents of this couple's four children had no connection to Schikaneder's circle.</span></div>
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On 19 January 1804, Ferdinand Rumpel, a glassmaker from <a href="https://de.wikipedia.org/wiki/Reinhausen" target="_blank">Reinhausen</a> (today a part of Regensburg), married Anna Günschl, an older sister of Schikaneder's mistress Franziska Günschl. As witness of the bride officiated Heinrich Rundschek, "Controlor im theater an der Wien".<br />
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<span style="font-size: x-small;">The signatures of the house owner Andreas Prager and Heinrich Rundschek in Ferdinand Rumpel's and Anna Günschl's marriage entry (Alservorstadt, Tom. 4, fol. 124) </span></div>
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The godmother of Ferdinand Rumpel's first two children, Franziska and Anna, was their aunt (Schikaneder's mistress) Franziska Günschl (St. Josef 3, fol. 142 and 177).<br />
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<b>19) Eleonora Fischer</b><br />
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Eleonora Maria Anna Fischer was born on 31 January 1803, in the house Wieden 279 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=rdddRoR-aDUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10363528" target="_blank">Große Neugasse 10</a>), illegitimate daughter of Anton Fischer, composer and Kapellmeister at the Theater an der Wien, and his girlfriend Josepha Steiger. The child was baptized in the Wieden parish church with Eleonora Schikaneder, "Theaterdirektors Ehegattin" standing godmother.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8xUdTmiXiQDJJF9rrPxmZPLmT0SwG3KlG9dDefIiF81v0zOGyr_UX0tMmes67u5iSziBYHViIgz4BB70zrDi6zqaDuIaenilxSAAQ4Mfp9FwXbJILebDMl7jTXzruaFbbougjSkeTYE/s1600/Eleonora+Fischer+31.1.1803.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="1400" height="64" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8xUdTmiXiQDJJF9rrPxmZPLmT0SwG3KlG9dDefIiF81v0zOGyr_UX0tMmes67u5iSziBYHViIgz4BB70zrDi6zqaDuIaenilxSAAQ4Mfp9FwXbJILebDMl7jTXzruaFbbougjSkeTYE/s320/Eleonora+Fischer+31.1.1803.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Eleonora Fischer on 31 January 1803 (Wieden, Tom. 4, fol. 56). Since in the Wieden parish the years 1802-1808 are recorded in two different baptismal registers, there is a second copy of this entry in Tom. 4a, fol. 30. </span></div>
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Given that Eleonora was born illegitimately, it is very likely that the child's place of birth, Wieden 279, was not the address of the mother, but that of the midwife Elisabeth Stummer.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt3Udc2k8GyR2nqc75H2vrihzU67FNvXjz-ulJW7vXYpqgn1eujbfpfYJPjvAMZcnpIyN28C8OZPjXyWy5WfGwhEU82TBquvgd5c6E5dBToncou-ib2A2qc3Hl-IxYKdzF3u-ls5amFnc6ia9GUP9doxect3rkRrlRCZKr8QYYxtE-7Oz-51C3w8C3/s1979/Wien%20Museum%2024178.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1606" data-original-width="1979" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt3Udc2k8GyR2nqc75H2vrihzU67FNvXjz-ulJW7vXYpqgn1eujbfpfYJPjvAMZcnpIyN28C8OZPjXyWy5WfGwhEU82TBquvgd5c6E5dBToncou-ib2A2qc3Hl-IxYKdzF3u-ls5amFnc6ia9GUP9doxect3rkRrlRCZKr8QYYxtE-7Oz-51C3w8C3/s320/Wien%20Museum%2024178.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Eleonora Fischer's place of birth, the house Große Neugasse 10, "Zum kleinen Jordan", on an 1898 photograph by August Stauda (Wien Museum, I.N. 24178)</span></div>
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After a short engagement with the chorus of the <a href="https://en.wikipedia.org/wiki/Theater_in_der_Josefstadt" target="_blank">Theater in der Josefstadt</a>, Anton Fischer joined Schikaneder's company at the Wiednertheater. He appeared in small roles, composed several singspiele and after the move into the new building an der Wien he rose to the position of <a href="https://en.wikipedia.org/wiki/Ignaz_von_Seyfried" target="_blank">Ignaz von Seyfried</a>'s deputy Kapellmeister. His stage works (written together with Schikaneder, Castelli and Treitschke), such as <i>Swetards Zaubertal</i> (1805), <i>Das Hausgesinde</i> (1808), <i>Die Festung an der Elbe</i> (1806), and <i>Das Singspiel auf dem Dache</i> (1807) all fell into oblivion. His most significant musical works seem to have been his arrangements of operas by <a href="https://en.wikipedia.org/wiki/Nicolas_Dalayrac" target="_blank">Dalayrac</a> and <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Gr%C3%A9try" target="_blank">Grétry</a> which helped to popularize the genre of the <i>Opéra comique</i> in Vienna.<br />
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Anton Fischer and Josepha Steiger got married on 31 May 1803, in the Wieden parish church. The couple's witnesses were Anton Teichmann, lieutenant in the infantry regiment Prince Auersperg, and the official at the K:K: Hof- und Landjägermeister-Amt Anton Fürich (later <a href="http://www.vonfuerich.de/stammbaum.html" target="_blank">Fürich von Fürichshain</a>). The groom lived at Laimgrube 23 (now <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=XJddRnAfG0bC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069267" target="_blank">Getreidemarkt 1</a>), the bride's address was Wieden 140 (the Wieden community hall, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=4TNiRuCsEUbC7rFEvjARRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10064549" target="_blank">Floragasse 1</a>). The entry concerning this wedding in the records of the bride's home parish does not follow the regulations and is incomplete (a common problem at the Wieden parish which – as shown above – also veils the origin of Barbara Reisinger).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ-0HLaM_yIVzaIZdjkLOh6gIaciFZqeTWGov1Ra7CSZvUtsFd4qFdh2_qxXC1dzNXGwntbyfrMcjBt2b_VWyGdufKgujI6LVHuSs51WaGj4n2qNE3S6qJkzjSxgZCPMmkfMUGhfvkZBs/s1600/Anton+Fischer+31.5.1803+Wieden.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="409" data-original-width="1300" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ-0HLaM_yIVzaIZdjkLOh6gIaciFZqeTWGov1Ra7CSZvUtsFd4qFdh2_qxXC1dzNXGwntbyfrMcjBt2b_VWyGdufKgujI6LVHuSs51WaGj4n2qNE3S6qJkzjSxgZCPMmkfMUGhfvkZBs/s320/Anton+Fischer+31.5.1803+Wieden.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning Anton Fischer's and Josepha Steiger's wedding in the Wieden parish church (Wieden, Tom. 3, fol. 57). On 15 November 1804, Anton Joseph Fürich was to be best man at <a href="https://de.wikisource.org/wiki/BLK%C3%96:Seyfried,_Joseph_Ritter" target="_blank">Joseph von Seyfried</a>'s wedding at the Karlskirche (St. Karl, Tom. 4, fol. 4).</span></div>
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The previously unknown entry concerning the publication of the banns in the records of Fischer's home parish St. Joseph ob der Laimgrube is far more informative. Among other important data, it gives the names of the couple's parents and the groom's date of birth. The bride had been born in Prague.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxTj_SP733NhRfTgwsSaExBbWoy_bxh4xUKpurpIB-33flv1oKOIGCeARfMZkvQ_QGD6Lp3QWhvfa43EhzdZbRdxNmyvRVae37Xe92k5vgS08ymwg1I8-nIoND19vTNC20vZ3uLMtoOUA/s1600/Anton+Fischer+31.5.1803.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="1400" height="70" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxTj_SP733NhRfTgwsSaExBbWoy_bxh4xUKpurpIB-33flv1oKOIGCeARfMZkvQ_QGD6Lp3QWhvfa43EhzdZbRdxNmyvRVae37Xe92k5vgS08ymwg1I8-nIoND19vTNC20vZ3uLMtoOUA/s320/Anton+Fischer+31.5.1803.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the publication of the banns in the groom's home parish for the wedding of Anton Fischer and Josepha Steiger (St. Josef ob der Laimgrube, Rapular 1802-04, fol. 77). This source was never digitized.</span></div>
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Fischer and his family lived at Laimgrube 23 which at <a href="http://www.digital.wienbibliothek.at/wbrobv/content/pageview/355052" target="_blank">that time</a> was already owned by the architect <a href="http://www.architektenlexikon.at/de/1124.htm" target="_blank">Franz Jäger senior</a>, the alleged builder of the "<a href="https://commons.wikimedia.org/wiki/File:Wien_Theater_Papagenotor.jpg" target="_blank">Papagenotor</a>".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDgIcZCNoCrHP0ggE9enBnEwyVHcN-RBk3uKluWKOYohinrXlF5U5Xg1tW2IRoheVEcNtQXudgXq4vH6Hx2hLtrZLFwj02-OkdOBbVotJSYWxv4piLQJaSvKK1xM3MzHvSeynUpKC_QFk/s1600/Laimgrube+23%252C+A-Wn+ST+2019F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="800" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDgIcZCNoCrHP0ggE9enBnEwyVHcN-RBk3uKluWKOYohinrXlF5U5Xg1tW2IRoheVEcNtQXudgXq4vH6Hx2hLtrZLFwj02-OkdOBbVotJSYWxv4piLQJaSvKK1xM3MzHvSeynUpKC_QFk/s320/Laimgrube+23%252C+A-Wn+ST+2019F.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The house Laimgrube 23, at the corner of Getreidemarkt and Wienzeile, where Anton Fischer lived from 1805 until 1808 (A-Wn, ST 2019F). Other tenants of this house of musical relevance included Benjamin Gebauer, Zeno Menzel, <a href="https://de.wikipedia.org/wiki/Georg_Friedrich_Treitschke" target="_blank">Friedrich Treitschke</a>, and <a href="https://de.wikipedia.org/wiki/Joseph_Linke" target="_blank">Joseph Linke</a>. This building, which housed the legendary <a href="https://www.geschichtewiki.wien.gv.at/Caf%C3%A9_Dobner" target="_blank">Café Dobner</a>, was torn down in 1910. In 1840 the value of this building was estimated at 50,800 gulden (A-Wsa, Mag. ZG, A2, 6561/1839).</span></div>
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In the earliest series of municipal conscription sheets, Fischer in 1805 is registered as tenant of apartment No. 6 in this building. He appears on this document together with his family, his mother-in-law Josepha Steiger ("Hauptmanns Wittwe mit Pension"), and his sister-in-law Anna.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH8Wn6ZL8UO-uskzZ5PyGjnO-H6eteMN8nFrnKhkMFGb5cKCtvj-82vjU11butI8n_Nl8mdbglhsDqRoRBM_n4ruXUybbpH_Vso5gV72LpKasgnoWnrxizyM8XL822mnZFq8Ugei9MFls/s1600/Fischer+LMG+23_6r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="1024" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH8Wn6ZL8UO-uskzZ5PyGjnO-H6eteMN8nFrnKhkMFGb5cKCtvj-82vjU11butI8n_Nl8mdbglhsDqRoRBM_n4ruXUybbpH_Vso5gV72LpKasgnoWnrxizyM8XL822mnZFq8Ugei9MFls/s320/Fischer+LMG+23_6r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Anton Fischer's family registered in 1805, in the house Laimgrube 23 (A-Wsa, Konskriptionsamt, Laimgrube 23/6r). The note "Wittwe" beside Josepha Fischer's name was added between 1809 and 1810.</span></div>
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Anton Fischer suffered from an insidious desease that was to kill him before his 31st birthday and was to be vaguely described as "Abzehrung" (consumption). On 26 November 1808, Fischer had his will drawn up wherein he made the following dispositions.<br />
<ol>
</ol>
<blockquote class="tr_bq">
First, I commend my soul to the Lord Most High, my body however to the earth whereof it was made and which should be buried according to the Christian rite.<br />
Second, for the benefit of my soul I order the reading of four Holy Masses which should be celebrated at the church of <a href="https://de.wikipedia.org/wiki/Mariahilfer_Kirche" target="_blank">Maria Hilf</a>.<br />
Third, I bequeath to the institute of the poor one gulden and the same amount to the school fund, and finally<br />
Fourth, I appoint my surviving wife universal heir of everything, movables and all that I leave behind after my death, whatever name it may have, namely for the fair reason that all this came from her alone anyway; and therefore nobody else should have the right to make any demand on the aforesaid estate.</blockquote>
On 1 December 1808, in accordance with the codicil mentioned below, Fischer had the following note added on the left margin of the page: "<u>NB</u>. Finally I request and choose as guardian of my minor child Eleonora the Princely Court councilor Mr. Franz v: Haÿmerle". As witnesses to his will Fischer chose his colleagues Philipp Teimer (1761–1817), singer, actor (and former oboist), Benjamin Gebauer (1758–1846), also a former oboist, who in 1808 was employed as violinist, and Ignaz von Seyfried, first Kapellmeister of the Theater an der Wien.<br />
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<span style="font-size: x-small;">Anton Fischer's will, written and signed on 26 November 1808 (A-Wsa, Mag. ZG, A10, 648/1808). It should seem possible that the three witnesses, who were all members of Schikaneder's orchestra, also had children that were godchildren of the Schikaneders. But this is not the case. Von Seyfried (who married in 1804) chose members of his noble family as godparents. Philipp Teimer did not need Schikaneder as godfather of his children, because his wife Barbara Holzmann (whom he married in 1793) was a cousin of Barbara Schmidt, inkeeper's daughter and mistress of the Swiss banker <a href="https://de.wikipedia.org/wiki/Johann_Heinrich_Geym%C3%BCller" target="_blank">Johann Heinrich Geymüller</a> whom she bore five children before she married him in 1808. Therefore, the godparents of most of Teimer's children were Barbara Schmidt and Geymüller. The opera singer Henriette Teimer (1797–1818), who married and divorced <a href="https://de.wikipedia.org/wiki/Anton_Forti" target="_blank">Anton Forti</a>, was named after her godfather Johann Heinrich Geymüller. Via her sister Helene, Barbara Geymüller was also distantly related by marriage to the Gebauer family. The baptismal entries of Teimer's children show that in 1808, Teimer also lived at Laimgrube 23 (St. Josef ob der Laimgrube 9, fol. 228). Gebauer's second wife Katharina (whom he married in 1804) had no children. Similar to Joseph Suche, Gebauer was one of the last surviving witnesses of the Wiednertheater's golden age. His ignorant contemporaries never bothered to document his recollections.</span></div>
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On 1 December 1808, the last day of his life, Fischer added a codicil to his will in which he appointed the I. & R. privy councilor Franz Wenzel von Haymerle guardian of his daughter. Haymerle (1745–1825) was a brother-in-law of Fischer's abovementioned best man Anton Teichmann. The codicil was again signed by Fischer's colleagues von Seyfried, Gebauer, and Teimer.<br />
<blockquote class="tr_bq">
Als Vormund meiner hinterlassenen Tochter Eleonora, benenne ich den K. K. Hofagenten und Fürst Lichtensteinischen Hofrath Herrn Franz Ritter v Haÿmerle, dessen Einwilligung ich bereits hinzu erhalten habe. Wienn den 1<span style="font-size: x-small; vertical-align: super;">ten</span> Dec: <span style="text-decoration: overline;">808</span>.</blockquote>
<blockquote class="tr_bq">
Ig Rvon Seyfriedmp Anton Fischer<br />
Capellmeister. [L.S.] Kapellmeister [L.S.]</blockquote>
<blockquote class="tr_bq">
Benjamin Gebauer Philipp Teimer<br />
Mitglied des Orchesters Sänger und Schauspieller [L.S.]<br />
beym Theater an der Wien [L.S.]</blockquote>
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<span style="font-size: x-small;">Anton Fischer's codicil to his will, written on 1 December 1808, the last day of Fischer's life (A-Wsa, Mag. ZG, A10, 648/1808)</span></div>
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Anton Fischer died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18081207&seite=13&zoom=33" target="_blank">1 December 1808</a>, and was buried on 4 December 1808, in the <a href="https://www.geschichtewiki.wien.gv.at/Hundsturmer_Friedhof_(12,_Haydnpark)" target="_blank">Hundsturm cemetery</a>. <a href="https://www.wien.gv.at/wiki/index.php?title=Matthias_Franz_Perth" target="_blank">Mathias Franz Perth</a> attended the funeral and in his diary preserved a copy of the leaflet with a memorial poem by <a href="https://en.wikipedia.org/wiki/Ignaz_Franz_Castelli" target="_blank">Castelli</a> that was handed out at the cemetery. <br />
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<span style="font-size: x-small;">Castelli's poem "Auf den Tod unseres lieben Anton Fischer" (A-Wst, Perth, Tage-Buch, C H.I.N. 226988/16). </span></div>
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Fischer's death certificate, issued in 1810 for Fischer's widow, reads as follows.<br />
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<span style="font-size: x-small;">Anton Fischer's death certificate written by the parish priest of St. Joseph ob der Laimgrube <a href="https://books.google.at/books?id=cmzgvR1jEXcC&pg=PA21" target="_blank">Prosper Pichler</a></span></div>
<blockquote class="tr_bq">
Ich Joseph Prosper Pichler Pfarrer zu Wien in der Vorstadt Laimgrube bezeuge hirmit, daß Herr Anton Fischer Kapelmeister im K.K. Theater an der Wien katholischer Religion, wohnhaft auf dem Grunde Laimgrube N° 23. alt 31 Jahre, den ersten Dezember des Eintausend <strike>siebenhun</strike> achthundert und achten Jahrs verstorben, und den vierten darauf zur Erde bestattet worden seÿ.<br />
Zur Urkund dessen habe ich diesen Todtenschein eigenhändig unterschrieben und das Pfarrsiegel beÿgedrückt.<br />
Wien den 9<span style="font-size: x-small; vertical-align: super;">t</span> April 1810.<br />
[L.S.] Pichler<span style="font-size: x-small;">mp</span> Pfarrer<br />
bey St. Joseph wie oben. </blockquote><p> </p>
<blockquote class="tr_bq">
I, Joseph Prosper Pichler, parish priest in Vienna, in the Laimgrube suburb, herewith certify that Mr. Anton Fischer, Kapellmeister at the I. & R. Theater an der Wien, Catholic and living at Laimgrube No. 23, 31 years of age, died on December 1st of the one thousand eight hundred eighth year and was buried on the following 4th.<br />
In witness whereof I have signed this death certificate with my own hand and printed the parish seal on it.<br />
Vienna, April 9th, 1810.<br />
[L.S.] Pichler mp<br />
parish priest at St. Joseph<br />
as mentioned above.</blockquote>
Fischer's widow was left in dire financial circumstances and it is very
likely that Schikaneder organized a charitable collection
in her favor (for a detailed description of Fischer's estate see <a href="https://michaelorenz/mozarts_umfeld/" target="_blank">Lorenz 2013</a>). On his deathbed Fischer had finished his last work, the romantic opera <a href="https://books.google.at/books?id=ZapIAAAAcAAJ" target="_blank"><i>Theseus und Ariadne</i></a> based on a libretto by Stegmayr.<br />
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Josepha Fischer's situation was soon to take a turn for the better. At Laimgrube 23 she had befriended her landlord's son, the master mason <a href="http://www.bildarchivaustria.at/Preview/3475160.jpg" target="_blank">Franz Seraph Jäger</a> (1781–1839), whom she married on 10 June 1811 (St. Josef ob der Laimgrube 6, fol. 23). Jäger's best man was <a href="https://de.wikipedia.org/wiki/Josef_Reymund" target="_blank">Joseph Reymund</a>, one of the architects of the Theater an der Wien. The bride's witness was her daughter's guardian, the abovementioned Hofrat Franz von Haymerle.<br />
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<span style="font-size: x-small;">The entry concerning the three publications of the banns for Franz Seraph Jäger and Josepha Fischer in June 1811 in the parish of St. Joseph ob der Laimgrube (St. Josef ob der Laimgrube, Rapular 1808-13 [undigitized], fol. 121)</span></div>
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<span style="font-size: x-small;">The families of Franz Jäger senior and Franz Jäger junior registered on a conscription sheet of the "Jägersches Haus", Laimgrube 23 (A-Wsa, Konskriptionsamt, Laimgrube 23/1r). This document shows five chronological phases: 1) In 1805, the names of Franz Jäger senior ("Steinmetzm[eister] Wittwer") and four of his sons were entered as residents of apartment No. 1. The son Anton Jäger is missing, because he lived in another apartment. 2) After Franz Jäger's death in January 1809, his name was crossed out and the name of Anton Jäger, one of the new house owners, was added (the name "Andreas" is a mistake). At the very top are the names of the new house owners, Anton and Franz Jäger junior. The names of Jäger's sons were crossed out, except for Franz whose name was overwritten with a bolder script. 3) In 1810, Franz Jäger junior's name was
entered for a second time, this time with the note "Mithausinhaber seit 15<span style="font-size: xx-small; vertical-align: super;">t</span> Febr <span style="text-decoration: overline;">810</span>." 4) After Jäger's wedding the note "ledig" was crossed out and the names of his wife and his stepdaughter ("St Tocht Eleon Fischer <span style="text-decoration: overline;">803</span>") were added. 5) After 1821 the note "veh" (married) was added to Eleonora Fischer's name. </span></div>
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The marriage of Eleonore Fischer and <a href="https://de.wikipedia.org/wiki/Joseph_Kornh%C3%A4usel" target="_blank">Joseph Kornhäusel</a> was facilitated by several inner-family circumstances. Franz Jäger the Elder had been a kind of second father to Kornhäusel, while Eleonore's mother had every reason to feel obliged to her husband who had saved her and her daughter from economical hardship. These circumstances may have contributed to the fact that Kornhäusel, at some point, faced a situation where he agreed to this marriage without being sure of his feelings. Furthermore, in the fall of 1821, Kornhäusel had financial problems and he could be sure that a marriage with Franz Jäger's stepdaughter would ease these problems. Concerning these circumstances, Joseph Carl Rosenbaum, on 6 October 1821, writes in his diary:<br />
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Mit Rohrweck in den Wilden Mann, sprachen über Kornhäusels Undank – er ist ihm 10.500 fl. schuldig – von seiner Vermählung am Donnerstag, den 4. mit der Fischer, Stieftochter des Jäger; Nobile war Beistand. [A-Wn, Cod. Ser. n. 203 Han, Bd. 10, 14r]</blockquote>
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With Rohrweck to the Wilder Mann, we talked about Kornhäusel's ingratitude – he ows him 10,500 fl. – and of his wedding on Thursday the 4th with Miss Fischer, Jäger's stepdaughter. Nobile was best man.</blockquote>
Joseph Rohrweck (1766–1830) was a wealthy I. & R. glass dealer who owned a shop on the Graben. In 1818, he had accompanied Kornhäusel on a journey to Italy and it seems that Kornhäusel's debts had been contracted during this adventure.<br />
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Because Eleonore Fischer in 1821 was a half-orphan and a minor, her guardian and her mother had to apply for a marriage permit to the "Ober-Gerhab", i.e. the Vienna Magistrate. This application is included here, because it is a significant and previously unknown document related to the biography of Joseph Kornhäusel who was one of the most important Austrian architects.<br />
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<span style="font-size: x-small;">The first page of Franz von Haymerle's and Josepha Jäger's application for a marriage permit for Eleonore Fischer (A-Wsa, Mag. ZG, A3, 459/1821)</span></div>
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Wohllöblicher Magistrat der K:K: Haupt und Residenzstadt Wien! </div>
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Die unterzeichnete Mutter, und Vormünderin ihrer, in erster Ehe mit dem, im Jahre <span style="text-decoration: overline;">808</span>. verstorbenen Kapellmeister ob dem K:K: privilegirten Theater an der Wien Anton Fischer erzeugten, und laut Taufschein A. achtzehen Jahre alten Tochter Eleonora Fischer bittet um die obervormundschaftliche Bewilligung: dieselbe mit dem Herrn Joseph Kornhäusel, Architekten, und Kunstmitglied der hiesigen K:K: Akademie verehlichen zu dürfen, und um Begenehmigung des hier sub B. anliegenden Heurathsbriefes.<br />
Bekanntermaßen hat ihre Tochter nach dem Ableben ihres Vaters nicht das mindeste Vermögen ererbt, und es war für Mutter und Tochter ein wahres Glük, daß Unterzeichnete mit dem K:K: Hof- und bürgerlichen Steinmetzmeister Franz Jäger zur zweÿten Ehe geschritten ist, welcher sich nicht als ein Stief- sondern [fol. 1v] wahrer Vater, und Wohlthäter gegen ihre Tochter bewiesen hat, da er derselben nebst allen nothwendigen weiblichen Arbeiten, auch Musik und die französische Sprache lehren ließ, und sich mit der Unterzeichneten bestrebte, ihr eine christliche und sittliche Erziehung zu geben.<br />
Diese Wohlthaten setzet derselbe noch fort, da derselbe auch ihre nothwendige Ausstattung und Haußeinrichtung übernommen hat.<br />
Was nun ihren künftigen Ehegatten Herrn Kornhäusel betrift, so ist derselbe als einer der rechtschaffensten Männer, und geschiktesten Architecten bekannt, der nicht nur ein hinlängliches Vermögen, um seine Ehegattin gut und anständig zu ernähren, sondern auch einen ansehnlichen jährlichen Verdienst besitzet, übrigens, in Hinsicht seines moralischen und guten Characters dem Ehegatten der Unterzeichneten von seiner ersten Jugend an, vollkommen bekannt ist.<br />
Mit diesem Ansuchen vereinigt auch der unterzeichnete Vormund seiner Mündel Elonora Fischer das [fol. 2v] Seinige, welcher nicht nur alles, von der Mutter hier angeführte sowohl in Hinsicht des vortreflichen Stiefvaters, als des Bräutigams, der reinen Wahrheit gemäß bestättiget, sondern auch, als vollkommen mit den dießfälligen Personen, und Familienverhältnißen bekannt, mit voller Überzeugung versichern kann, daß seine wohlerzogene, und ausgebildete Mündel in dieser Ehe nebst ihrer guten Versorgung ihr Glük finden, aber auch jenes, ihres künftigen Ehegatten sicher machen wird.<br />
Wien am 1<span style="font-size: x-small; vertical-align: super;">t</span> August <span style="text-decoration: overline;">821</span>.<br />
Franz Ritter v Haÿmerlemp als Vormund.<br />
Josepha Jäger</blockquote>
<i>[translation:]</i><br />
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Most honorable Magistrate of the I. & R. Capital and Residential City of Vienna!</div>
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The undersigned mother and guardian of her daughter Eleonora Fischer, from her first marriage with the Kapellmeister of the I. & R. privileged Theater an der Wien, Anton Fischer who died in 1808, and, according to the baptismal certificate A. is eighteen years of age, requests the superior guardian's permission to be allowed to marry her with Mr. Joseph Kornhausel, architect, and artistic member of the local I. & R. Academy, and to approve the marriage contract hat is attached as B.<br />
As is known, her daughter, after her father's death, did not inherit the slightest fortune and for mother and daughter it was a true godsend that the undersigned entered into her second marriage with the I. & R. court and civil master mason Franz Jäger, who not only proved himself as stepfather, but as true father and benefactor to her daughter, since, together with all necessary feminine skills, he also had her tought in music and the French language, and, together with the undersigned, endeavored to provide her with a Christian and moral education.<br />
The aforesaid is still continuing these good deeds, since he also bears the costs of her necessary endowment and furniture.<br />
As far as to her future husband Herr Kornhäusel is concerned, he is known as one of the most righteous men and most skillful architects, who not only has a sufficient fortune to support his wife well and decently, but also has a considerable annual income, and, by the way, in regards of his moral and good character is well known from his earliest youth on to the husband of the undersigned.<br />
With this request, the undersigned guardian of his ward Elonora Fischer also unites his own, who not only, in accordance with the absolute truth, confirms all the statements made here by the mother, both in regards of the virtuous stepfather and the bridegroom, but, as someone who is fully acquainted with the persons and the circumstances of the family, can also assure with full conviction that his well-behaved and educated ward will find happiness together with good care in this marriage, and will also secure that of her future husband.<br />
Vienna, August 1st 1821.<br />
Franz Ritter von Haÿmerle as guardian.<br />
Josepha Jäger</blockquote>
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<span style="font-size: x-small;">The marriage contract of Joseph Kornhäusel and Eleonore Fischer written and signed on 13 August 1821 (A-Wsa, Mag. ZG, A3, 459/1821)</span></div>
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<span style="font-size: x-small;">The signatures and seals in the same contract (A-Wsa, Mag. ZG, A3, 459/1821). The witness Anton Jäger did not sign this document.</span></div>
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Joseph Kornhäusel's and Eleonore Fischer's wedding took place on 4 October 1821, in the church of St. Joseph ob der Laimgrube. The witnesses of the bride were the architect Anton Jäger and her guardian von Haymerle, the groom's witnesses were Franz Jäger, the architect <a href="https://en.wikipedia.org/wiki/Pietro_Nobile" target="_blank">Peter Nobile</a>, and Baron Ignaz von Doblhoff.<br />
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<span style="font-size: x-small;">The entry concerning Joseph Kornhäusel's and Eleonore Fischer's wedding on 4 October 1821 (St. Josef ob der Laimgrube, Tom. 8, fol. 17)</span></div>
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The newlyweds continued to live in Franz Jäger's house, Laimgrube 23.<br />
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<span style="font-size: x-small;">Joseph Kornhäusel and his wife registered in 1822 in apartment No. 9 at Laimgrube 23 (A-Wsa, Konskriptionsamt, Laimgrube 23/31r)</span></div>
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Kornhäusel's marriage to Jäger's stepdaughter soon began to pay off financially. In January 1824, he managed to secure the contract for the construction of the new <a href="https://de.wikipedia.org/wiki/Stadttempel" target="_blank"><i>Stadttempel</i></a> of the Jewish community and on 21 August 1824, together with his wife and his parents-in-law, he bought the house Stadt 495 (today <a href="https://www.wien.gv.at/wiki/index.php?title=Judengasse_14" target="_blank">Judengasse 14</a>) (A-Wsa, Grundbuch B1.28, fol. 244). Beginning in 1825, the synagogue in the Seitenstettengasse and the neighboring building were rebuilt at the same time. To the house Stadt 495 Kornhäusel added a 35-meter-high tower – the so-called <i><a href="https://de.wikipedia.org/wiki/Kornh%C3%A4uselturm" target="_blank">Kornhäuselturm</a></i> – whose immediate purpose is varyingly described in the literature. The popular information that Kornhäusel built <a href="https://goo.gl/maps/6eQvefGWEY42" target="_blank">this tower</a> "as his office", or designed it "to be able to escape from his nagging wife" cannot be corroborated by archival sources. In 1830, Kornhäusel and his wife are documented to have still resided at his father-in-law's house Laimgrube 23. At that time they took care of a foster-daughter named Louise Heider (of whom nothing more specific is known). Already during his first marriage, Kornhäusel had provided home for a foster-daughter whose name was Josepha Prischel (or Beschel) (A-Wsa, Konskriptionsamt Wieden 29/10r, and Stadt 74/7r).<br />
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<span style="font-size: x-small;">Joseph ("KK Architekt v. St Wien") and Eleonora Kornhäusel with their foster daughter Louise Heider ("Ziehtochter v St[adt] Wien") registered in 1830 as tenants of apartment No. 9 at Laimgrube 23 (A-Wsa, Konskriptionsamt, Laimgrube 23/44r)</span></div>
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Kornhäusel's father-in-law Franz Jäger died in 1839. Since he owned a share of Stadt 495 (in addition to shares of four other houses in the Stadt, on the Wieden and the Laimgrube), his probate file contains a detailed description and evaluation of Stadt 495 and the Kornhäuselturm. This document does not describe the biggest and domed room in the tower as office, but as "Musikzimmer" (music room). This suggests that there was a piano in the room at that time.<br />
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<span style="font-size: x-small;">The description of the tower in Franz Jäger's <i>Sperrs-Relation</i> referring to a "gewölbtes Musikzimmer" inside the Kornhäuselturm below the tower's upmost floors (A-Wsa, Mag. ZG, A2, 6561/1839). The original construction plans of the Kornhäuselturm in the holdings of the municipal Unterkammeramt (A-Wsa, Unterkammeramt, Serie 1.1.2.A33, alte Baukonsense 11435/1825 and 12062/1826) have been targetedly removed.</span><br />
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Von einem gemauerten Vorzimmer führt eine eiserne Stiege zu einen gewölbten Musikzimmer und zu einen stokadorten Vorhaus. Von da aus führen die eisernen Stiegen weiter zu einer stokadorten Kammer sammt Stiegenplatz, dann zu einen Stiegenvorhaus mit einer Thür versehen sammt Gang zu einer stokadorten Aussicht, ausser welcher 3 hölzerne Gänge mit eisernen Stützen und derley Geländer angebracht sind.</div>
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<span style="font-size: x-small;">A section of Stadt 495 with the Kornhäuselturm seen from the south-west. This side of the tower only became <a href="http://www.bildarchivaustria.at/Pages/ImageDetail.aspx?p_iBildID=1940283" target="_blank">visible in 1910</a> when the adjacent <a href="https://www.geschichtewiki.wien.gv.at/Dreifaltigkeitshof_(1)" target="_blank">Dreifaltigkeitshof</a> was torn down. In 1840, the value of the house Stadt 495 was estimated at 35,000 gulden. Kornhäusel's father-in-law, Franz Jäger, left an estate of about 104,100 gulden (A-Wsa, Mag. ZG, A2, 6561/1839).</span></div>
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In 1841, Kornhäusel is documented for the first time as residing at Stadt 495, albeit not definitely. On 29 July 1841, he applied for a one-year passport to Milan and the Austrian states (A-Wsa, Konskriptionsamt, B4/30, fol. 363) in which he gave Laimgrube 23 as his main address and Stadt 495 as his "current" residence. In 1842 the passport was extended for one more year. Only in 1846, Kornhäusel and his wife finally moved into their house in the city.<br />
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<span style="font-size: x-small;">Joseph Kornhäusel ("KK Architekt u Mitglied der Akad: Stdt Wien") and his wife ("Gattin Eleon.") registered in 1846-57 in apartment No. 5 at Stadt 495 (A-Wsa, Konskriptionsamt, Stadt 495/20r)</span></div>
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At some point during the 1850s, Joseph and Eleonore Kornhäusel got divorced. The exact date cannot be determined, because the file related to this case either burned in 1927, or, if it survived, is damaged and therefore not accessible in the holdings of the <i>Landesgericht für Zivilrechtssachen</i>. The fact that in 1856, Kornhäusel sold his country estate in <a href="https://en.wikipedia.org/wiki/Hinterbr%C3%BChl" target="_blank">Hinterbrühl</a>, suggests that in that year he had to pay off his wife. Kornhäusel must have been the guilty party in his divorce case, because already on 1 February 1849, he assigned his share of Stadt 495 to his wife (A-Wsa, Grundbuch B1/2a, fol. 191v). Kornhäusel, who, given his many lucrative commissions, should have died a wealthy man, left assets of only 2,041 gulden 36 1/4 kreuzer which in his will – written on 10 October 1860 – he bequeathed to his housekeeper Barbara Trimmel. The fact that in 1860, at the time of his death, Kornhäusel owned no real estate is the reason why his probate file survived in the holdings of the <i>Bezirksgericht Innere Stadt</i> (as of 1850, the estates of house owners were settled by the <i>Landesgericht für Zivilrechtssachen</i> and mostly burned in 1927, like, for instance, the 1863 probate file of Kornhäusel's mother-in-law).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio5xbHPgolvbRV7v45n3GPfepc4-eZoaoNttuZ3XasChKI8_T8BYCFeV1-0MqE0HHyEeWf6jkbTWgzwN9PWO8yuFqTKKurAeAI_mmhZI9stNJiFwfltZnXAj39fG8ayongx10CQ15lze4/s1600/Kornh%25C3%25A4usel+ZRS+3485_1860.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="929" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio5xbHPgolvbRV7v45n3GPfepc4-eZoaoNttuZ3XasChKI8_T8BYCFeV1-0MqE0HHyEeWf6jkbTWgzwN9PWO8yuFqTKKurAeAI_mmhZI9stNJiFwfltZnXAj39fG8ayongx10CQ15lze4/s320/Kornh%25C3%25A4usel+ZRS+3485_1860.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">One of two original copies of Joseph Kornhäusel's will (A-Wsa, Landesgericht f. ZRS, 3485/1860). This document was damaged in 1927 in the <a href="https://en.wikipedia.org/wiki/July_Revolt_of_1927" target="_blank">Palace of Justice fire</a> and is therefore not regularly accessible. I was able to scan it with the generous permission from the archive's restaurator.</span></div>
<blockquote class="tr_bq">
Beÿ meinem vollen Bewußtsein und aus freÿem willen erne<span style="text-decoration: overline;">n</span>e ich meine treue Dienerin Barbara Tri<span style="text-decoration: overline;">m</span>el zur Universal Erbin meines beweglichen und meines ganzen Unbeweglichen Vermögens, und zur Bestättigung unterschreibe ich es eigenhändig<br />
Wien den 10<span style="font-size: x-small; vertical-align: super;">ten</span> october 1860<br />
[L.S.] Joseph Kornhäuselmp<br />
K:K: Architect</blockquote>
In 1863, after the death of her mother Josepha Jäger, Eleonore Kornhäusel became the sole owner of the house Stadt 495 (A-Wsa, Grundbuch B1/2a, fol. 191v [the Gewährbuch from that time burned in 1927]). In her will, which she wrote on 20 March 1855, Josepha Jäger decreed the following:<br />
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To my beloved daughter, who for her whole life was so childlike and gratefully devoted to me, and who, with me, not only loses her mother, but also her true friend, this, my daughter Eleonore Kornhäusel née Fischer I appoint universal heir of all my assets, while, out of maternal care, to secure her future, I have considered it necessary to make the following provisions:<br />
A) Half of my fortune should go to her as a free statutory share, from the other half she should only draw the lifelong interests.<br />
B) Of the common capital or common property of this second share she can dispose only in her will, but with the exception of a capital of 20,000 f, that is twenty thousand gulden Assimilated Coinage. This capital of 20,000 f, after her childless death, should go to the children of my brother-in-law Karl Jäger, namely Emma Jäger, the aforesaid Mr. Jäger, Josef Jäger and Antonia Jager, married Lochauser, in three equal shares, but with the explicit condition that they may receive the above-mentioned capital of 20,000 f CMz only after the death of my daughter.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4vSuxGSTEdTUFdD5o3t0NiyXWQghP0Z4bVJHs-UBUpeI_Tm5q0q13ClaffCBU5noRSAMdaEkhWH-a4SgpFyIVfmCj5SbTgcBsCJGqYQSKq8I_DZJGADtA9shhSkL4X6HFtLqeHl5QdB0/s1600/Josepha+J%25C3%25A4ger%252C+A9%252C+41_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="973" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4vSuxGSTEdTUFdD5o3t0NiyXWQghP0Z4bVJHs-UBUpeI_Tm5q0q13ClaffCBU5noRSAMdaEkhWH-a4SgpFyIVfmCj5SbTgcBsCJGqYQSKq8I_DZJGADtA9shhSkL4X6HFtLqeHl5QdB0/s320/Josepha+J%25C3%25A4ger%252C+A9%252C+41_01.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Two pages of Josepha Jäger's will written on 20 March 1855. This document, which had previously been considered destroyed, survived by pure coincidence (A-Wsa, Serie 2.3.1.1b.A9, 41/1).</span></div>
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On 21 November 1864, Eleonora Kornhäusel married Victor Ignaz Wickerhauser, a widowed cash controler with the Austrian National Bank, who was almost 17 years younger than her. In the records of St. Stephen's the bride is referred to as "Frau Eleonora Maria Anna Kornhäusel, Wittwe des Herrn Joseph Kornhäusel, K.K. Architektens und Mitglieds der K.K. Akademie der bildenden Künste, von Wien, Pfarre zu den Hl. Schutzengeln gebürtig des H. Anton Fischer Musik-Kompositeurs und der Josepha Steiger, beide verstorben und kath. Relig. ehl. Tochter".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7BgBg8nFhwLxh1e-gOEwjiVioacZ37G8p1xH0E6l31poxlb66gC9zuayZapsiH5vIxjqYr7_cM-DWCOPGLi9rK0-E-2YOVdl747APqRFGCNeVcA6LDQg1JfbGNX7L-qTjmvqGvQovbo/s1600/Wickerhauser+21.11.1864.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="466" data-original-width="1600" height="92" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7BgBg8nFhwLxh1e-gOEwjiVioacZ37G8p1xH0E6l31poxlb66gC9zuayZapsiH5vIxjqYr7_cM-DWCOPGLi9rK0-E-2YOVdl747APqRFGCNeVcA6LDQg1JfbGNX7L-qTjmvqGvQovbo/s320/Wickerhauser+21.11.1864.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the wedding of Victor Ignaz Wickerhauser and Eleonora Kornhäusel (A-Wd, Tom. 90, fol. 90)</span></div>
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Eleonora Wickerhauser, Eleonore Schikaneder's last surviving goddaughter, died of pneumonia on 8 January 1870, at 5:30 p.m., at Stadt 495.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJlKLUAU7wK55vN_ITQORAJrEeop7dWuWjZbGca5gBdFWIbc72XJ7VMkDykUqIudFFQGjoWoMFSqh-5LjFXWR1D__6e3cPH4fEtzuRl_RfuG1gH_cLZRpsgbX4l1cBCNp1TBfCtdGSAcI/s1600/Wickerhauser+8.1.1870.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="214" data-original-width="1600" height="53" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJlKLUAU7wK55vN_ITQORAJrEeop7dWuWjZbGca5gBdFWIbc72XJ7VMkDykUqIudFFQGjoWoMFSqh-5LjFXWR1D__6e3cPH4fEtzuRl_RfuG1gH_cLZRpsgbX4l1cBCNp1TBfCtdGSAcI/s400/Wickerhauser+8.1.1870.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry in the records of St. Stephen's concerning Eleonora Wickerhauser's death on 8 January 1870 (A-Wd, Tom. 46, fol. 32)</span></div>
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In her will (which was either destroyed in 1927, or is still inaccessible due to fire damage) she must have expressed the wish to be buried in the Jäger family crypt in the Hundsturm cemetery where her mother and her stepfather were buried. Her burial in this crypt took place on 11 January 1870.<br />
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<span style="font-size: x-small;">The entry concerning the double crypt of the Jäger family and Eleonora Wickerhauser in the Hundsturm register of crypts (A-Wsa, Kommunalfriedhöfe, 1.2.4.3.2.B1.1 alt: II-B-1 - Protokoll der Grüfte, fol. 120r)</span></div>
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When the Hundsturm cemetery was closed in 1923, the members of the Jäger family were not exhumed. Their grave is lost. Ironically, the unfaithful husband Joseph Kornhäusel, who had been buried in <a href="https://www.wien.gv.at/wiki/index.php?title=St._Marxer_Friedhof" target="_blank">St. Marx</a>, was exhumed in 1934, and transferred to an <a href="https://de.wikipedia.org/wiki/Datei:Kornhaeusel_grab.jpg" target="_blank">honorary grave</a> in the Vienna Zentralfriedhof.<br />
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<b>20) Eleonora Winter </b><br />
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Cosmas Damian Winter was born in 1761, in Mainz in Germany. From 1784 until 1786, he appeared in performances of Walter's company in Regensburg (Mettenleitner 1866, 265). When in 1787 Schikaneder's company came to Regensburg, Winter joined Schikaneder's troupe, together with his colleague Karl Ludwig Gieseke. In 1790, in Vienna, in the performance of <i>Der Stein der Weisen</i>, Winter played the role of <i>Astur</i>, and in 1791 he took his stake of immortality by appearing as <i>Sprecher</i> in the premiere of <i>Die Zauberflöte</i>. On 30 July 1792 Cosmas Damian Winter married Eleonora Forchtner. The family background of the bride is veiled by the same inexactitude in the Wieden parish records that also hides the origin of Barbara Reisinger (see above). </div>
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<span style="font-size: x-small;">The entry concerning Kosmas Damian Winter's wedding on 30 July 1792 (Wieden, Tom. 1, fol. 214)</span></div>
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The groom's best man was his old fellow actor Karl Ludwig Gieseke.<br />
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<span style="font-size: x-small;">The signatures of Joseph von Hirschfeldt and Karl Ludwig Gieseke as witnesses of Kosmas Damian Winter's wedding (Wieden, Tom. 1, fol. 214)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZkbfZfIntceY3OYLQqWK4mCEUCo-S6Vor74aawunxkgio-mJk5F_5OdU9j1OyeKXKoAZ0uRuATqqkR-OFRBvGgY4lGRfhyphenhyphenbJ83Cz2Lhz-nkqP6CpebfydgkUslXpLbFNwZ3myxNlnM0/s1600/Gieseke.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="329" data-original-width="679" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZkbfZfIntceY3OYLQqWK4mCEUCo-S6Vor74aawunxkgio-mJk5F_5OdU9j1OyeKXKoAZ0uRuATqqkR-OFRBvGgY4lGRfhyphenhyphenbJ83Cz2Lhz-nkqP6CpebfydgkUslXpLbFNwZ3myxNlnM0/s320/Gieseke.jpg" width="320" /></a> </div>
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<span style="font-size: x-small;">Karl Ludwig Gieseke's signature from 30 June 1800, in one of <a href="http://www.musiklexikon.ac.at/ml/musik_H/Hatwig_Otto.xml" target="_blank">Otto Hatwig</a>'s abums (A-Wst, H.I.N. 2607). Already in 1800, Gieseke was an "I. & R. privileged" mineral dealer.</span> </div>
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At the time of their wedding, Winter and his bride lived at Wieden 119 (now <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=FFFdRhESFEbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10366222" target="_blank">Margaretenstraße 21</a>). Like in the case of Franz Xaver Gerl (see above), Winter's address was no coincidence: from 1789 until 1804, the house Wieden 119 (last number 479) was owned by Gieseke's friend, the mineral dealer Johann Weiß (Hofbauer 1864, <a href="https://books.google.at/books?id=HBMyAQAAMAAJ&pg=PA204" target="_blank">204</a>). A signature of Winter survives in the 1789 marriage records of the Wieden parish. When on 26 October 1789, the scribe Joseph Dimler (possibly an employee of Schikaneder) got married to Magdalena Vormund, Schikaneder's prompter Caspar Biedermann and Cosmas Damian Winter signed as witnesses.<br />
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<span style="font-size: x-small;">The entry concerning Joseph Dimler's wedding on 26 October 1789, bearing the signatures of Biedermann and Winter (Wieden, Tom. 1, fol. 160)</span></div>
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Cosmas Damian Winter's daughter Eleonora Winter was born on 19 December 1803, in the building of the Theater an der Wien, Laimgrube 26, and baptized in St. Joseph ob der Laimgrube. Eleonore Schikaneder officiated as godmother. <br />
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<span style="font-size: x-small;">The entry concerning the baptism of Eleonora Winter on 19 December 1803 (St. Josef ob der Laimgrube, Tom. 8, fol. 104)</span></div>
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In 1805, the Winter family was registered by the conscription office as living at apartment No. 2 in the building of the Theater an der Wien. Eleonore Schikaneder's goddaughter appears at the bottom of the list.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZERd7ryhNtmUy9gRjMiKqvy6wPiAc0jaFLgTGDX2oNKaX2jxNmSjiZkByfVdW3mfmvMr5TfyAGF24e_4v8XsrJaTQzy8v4nxrUAXPcLTIfjKW3jx8uRmKhQ67ZEbq1r0To8DzOq7yJZk/s1600/Winter+LGR+26_2r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="784" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZERd7ryhNtmUy9gRjMiKqvy6wPiAc0jaFLgTGDX2oNKaX2jxNmSjiZkByfVdW3mfmvMr5TfyAGF24e_4v8XsrJaTQzy8v4nxrUAXPcLTIfjKW3jx8uRmKhQ67ZEbq1r0To8DzOq7yJZk/s320/Winter+LGR+26_2r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Cosmas Damian Winter, his wife and his three children registered in 1805 as tenants at the Theater an der Wien (A-Wsa, Konskriptionsamt, Laimgrube 26/2r).</span></div>
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Winter's younger son Joseph, born on 21 December 1807, also had an interesting godmother: Josepha Hofer, opera singer, and daughter of Franz and Josepha Hofer (at that time already Josepha Meier). This boy's full name "Joseph Friedrich Sebastian" shows that he was also named after his godmother's stepfather Friedrich Sebastian Meier. The godmother is referred to as "des sel. Franz Hofer K. Hofmusikus Tochter".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAWh1_6Jll8-uO5dlu5X6G2lSvR3N7lvNkXu2aT5tBk-2b6IADLVRkORAg8tAN6hM4vvaFm1O0K60dvmJYwjyP9GdwF-fwNMKoYHdCY8eCw60EqleKX5d8GK_sszeN6kSVAeAZU1INnXw/s1600/Joseph+Friedrich+Sebastian+Winter+21.12.1807.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="1366" height="44" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAWh1_6Jll8-uO5dlu5X6G2lSvR3N7lvNkXu2aT5tBk-2b6IADLVRkORAg8tAN6hM4vvaFm1O0K60dvmJYwjyP9GdwF-fwNMKoYHdCY8eCw60EqleKX5d8GK_sszeN6kSVAeAZU1INnXw/s320/Joseph+Friedrich+Sebastian+Winter+21.12.1807.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Joseph Friedrich Sebastian Winter on 21 December 1807 (St. Josef ob der Laimgrube, Tom. 9, fol. 209)</span></div>
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Cosmas Damian Winter died of tuberculosis on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18131122&seite=4&zoom=33" target="_blank">18 November 1813</a>. The following entry in the municipal death register is the only source known so far that documents his place of birth.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzl2Yeqbu73vB1VG4k-HrFur80iTPnaJykZBcEik9OVb9BxIYWXVlYEn-2h8FztZDF7YfzQU4owQmNC_OBRuI-FKf8VfTui-hqL6LRTIhVhmkR_aTRFA5VSi0HbqN92Mn1b5OP5s51O0/s1600/Winter+18.11.1813.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="1041" height="88" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzl2Yeqbu73vB1VG4k-HrFur80iTPnaJykZBcEik9OVb9BxIYWXVlYEn-2h8FztZDF7YfzQU4owQmNC_OBRuI-FKf8VfTui-hqL6LRTIhVhmkR_aTRFA5VSi0HbqN92Mn1b5OP5s51O0/s320/Winter+18.11.1813.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the municipal death register concerning the death of Cosmas Damian Winter on 18 November 1813 (A-Wsa, Totenbeschreibamt 135, W, fol. 40r)</span></div>
<blockquote class="tr_bq">
Winter Herr Cosmas Damian, Inpizient[<i>sic</i>] / von Theater an der Wien, verheurath / von Mainz in Reich gebürt[ig]. In The- / aterhause <strike>N</strike>° 26 auf der Laimgrube / an der Lungensucht alt 52 Jr</blockquote>
<blockquote class="tr_bq">
Winter Mr. Cosmas Damian, stage manager at the Theater an der Wien, married, born in Mainz in the Reich. Inspected to have died of tuberculosis in the theater building No. 26 on the Laimgrube, aged 52 years.</blockquote>
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Winter died a pauper. A note in his <i>Sperrs-Relation</i> reads: "Assets: none. The deceased has been buried with borrowed money". Winter left three children, aged 13, 10 and 5 years for whom the widow proposed the actor <a href="https://de.wikipedia.org/wiki/Matth%C3%A4us_Stegmayer" target="_blank">Matthäus Stegmayr</a> as guardian. Stegmayr's own probate file, however, proves that he had rejected this appointment (A-Wsa, Mag. ZG, A2, 795/1820).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirBs-5lh4Ll3x1KaqfvjVwTWa3fPoG0Uqo2vaepzn18o5TDBlAQqBfqCVpF2Ztg5m6lGF2xxj-tQfm3EqRHjipGQaiERPtzsmH3cmKIqWu5h3Gb6iwJ6-xgs7lo-dWd7u5PDArTrC-MZ0/s1600/A2%252C+4492_1813.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1150" data-original-width="733" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirBs-5lh4Ll3x1KaqfvjVwTWa3fPoG0Uqo2vaepzn18o5TDBlAQqBfqCVpF2Ztg5m6lGF2xxj-tQfm3EqRHjipGQaiERPtzsmH3cmKIqWu5h3Gb6iwJ6-xgs7lo-dWd7u5PDArTrC-MZ0/s320/A2%252C+4492_1813.jpg" width="203" /></a></div>
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<span style="font-size: x-small;">The title page of Cosmas Damian Winter's <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 4492/1813)</span> </div>
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After her husband's death, Eleonora Winter had to leave the apartment in the theater building. She moved to Leopoldstadt 376 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=61N0Rk6dOEbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10367962" target="_blank">Rotensterngasse 27</a>). Like her husband she suffered from tuberculosis to which she succumbed on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18151228&seite=4&zoom=33" target="_blank">22 December 1815</a> in the Allgemeines Krankenhaus. Eleonora Winter's <i>Sperrs-Relation</i> provides more information about her three children. They are listed as follows:<br />
<blockquote class="tr_bq">
3 minor children <u>Ignatz</u> 16 years of age, adopted by the Kapellmeister Philipp Göttinger in Mantua<br />
<u>Eleonora</u> 12 years of age, <u>Joseph</u> 8 years of age, both staying with Jacob Ebenländer, janitor at Leopoldstadt No. 212 at the leather manufacturer Mr. Grünsteidl's house</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cn0LvAWLxtlC6tJDarqrtb8RrPzRciY8xHJSCKkvKyKkkDCs196qv_mx0z0CzluyAuoS9i8c7r2X6ccag1vpoGFMK7S7ko95AkcrRhGroELcaXhXe395KwOKPSk0KGzkYBb7rrZXHMI/s1600/Eleonora+Winter%252C+A2%252C+2013_1816.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="401" data-original-width="1146" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9cn0LvAWLxtlC6tJDarqrtb8RrPzRciY8xHJSCKkvKyKkkDCs196qv_mx0z0CzluyAuoS9i8c7r2X6ccag1vpoGFMK7S7ko95AkcrRhGroELcaXhXe395KwOKPSk0KGzkYBb7rrZXHMI/s320/Eleonora+Winter%252C+A2%252C+2013_1816.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The list of Eleonora Winter's children in her <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 2013/1816)</span></div>
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Johann Philipp Göttinger, in whose care Winter's eldest son Ignaz Winter had been entrusted, was employed as Kapellmeister and schoolteacher at Baron von Braun's cotton spinning mill in <a href="https://de.wikipedia.org/wiki/Sch%C3%B6nau_an_der_Triesting" target="_blank">Schönau</a>. In December 1815, probably right after Eleonore Winter's death, Göttinger hurriedly fled to Italy from his creditors. On 29 December 1815, Göttinger's estate was legally declared bankrupt by the dominion of Schönau and the verdict was published as "Konkurs der Gläubiger" (convocation of creditors) on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18160111&seite=9&zoom=33" target="_blank">11 January 1816</a> in the <i>Wiener Zeitung</i>. It is not known if Göttinger ever returned to Vienna. At the time of their mother's death, Eleonora Winter and her brother Joseph were staying at Leopold Grünsteidl's house Leopoldstadt 212 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=PfdsRkm3N0bC7rFEEuoJRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10054976" target="_blank">Karmelitergasse 2</a>). Nothing is known so far about the later fate of Eleonora Schikaneder's last goddaughter. But in the course of my research on Haydn's godchildren, experience has shown that, at some point of time, she will surely cross my path again in some archival document.<br />
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<b>Epilogue</b><br />
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The above list of godchildren does not claim to be exhaustive. After all, with one exception, it only covers Schikaneder's Vienna years. Schikaneder's services as godfather may also have been requested by members of his company while he was on tour, or during his stays in Salzburg, Bratislava, and Brno. Much more research is waiting to be done. If anyone should think that the author of this strangely extensive essay is not aware of the digressiveness by which he explores these particular Schikaneder trifles, he is mistaken. And yet, these biographical details and social relations need to be explored because, contrary to the opinion of many Mozart scholars, they are explorable. Relatively little is known about Emanuel Schikaneder, and for this he himself bears the main share of the blame. He was too busy (and possibly too lazy) to write the autobiography whose publication he so grandly announced in 1802. In the announcement of this three-volume book project, in his typical pompous, basically untranslatable prose, he wrote the following.<br />
<blockquote class="tr_bq">
Mein stärkerer Wille mag daher das schwächere Vermögen ersetzen, und ich weiß Ihnen keinen besseren Beweis meines innigsten Gefühles vorzulegen, als meine reine Absicht, und die Vorsorge, durch die eigene Herausgabe meines unverfälschten Lebenslaufes dem Betruge vorzubeugen, und dadurch zu verhindern, daß nicht dereinst Stümper und Speculations<span style="font-size: xx-small;">=</span>Genies einige aufgeraffte Anecdoten, oder wohl gar selbst erfundene Histörchen auf meine Rechnung zusammen tragen, und unter dem fälschlichen Gemählde meiner seyn sollenden Biographie die Welt hintergehen und meine Freunde sowohl, als auch alle diejenigen, denen ich als Schauspiel<span style="font-size: xx-small;">=</span>Director nicht ganz gleichgültig war, durch diesen Kunstgriff zu prellen suchen. </blockquote>
<blockquote class="tr_bq">
My stronger will, therefore, may replace the weaker capability, and I know of no stronger proof of offering my innermost sentiment, than my pure intention to forestall deception with the publication of my undistorted biography, and thereby prevent it from ever occurring that, some day, bunglers and geniuses of speculation collect some anecdotes, or perhaps even invented stories on my account, and deceive the world under the fake pretense of my alleged biography, and, by this stratagem, try to dupe my friends, as well as all those who were not indifferent to my work as theater director.</blockquote>
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<span style="font-size: x-small;">Emanuel and Eleonore Schikaneder (anonymous silhouettes, D-Mbs)</span></div>
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<br />
<b>Bibliography</b><br />
<blockquote class="tr_bq">
Baur, Eva Gesine. 2012. <i>Emanuel Schikaneder. Der Mann für Mozart</i>. Munich: C. H. Beck. <br />
<br />
Blümml, Emil Karl. 1923. <i>Aus Mozarts Familien und Freundeskreis</i>. Wien Prag Leipzig: Ed. Strache.<br />
<br />
Blümml & Gugitz. 1925. <i>Alt-Wiener Thespiskarren</i>. Vienna: A. Schroll & Co.<br /></blockquote><blockquote><p>Böckh, Franz Heinrich. 1822. <a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/337142" target="_blank"><i>Wiens lebende Schriftsteller, Künstler und Dilettanten im Kunstfache</i></a>, Wien: bey Ph. Bauer. <br /></p></blockquote><blockquote class="tr_bq">
Boisits, Barbara. Art. "<a href="http://www.musiklexikon.ac.at/ml/musik_G/Gerl_Familie.xml" target="_blank">Gerl, Familie</a>", in: <i>Oesterreichisches Musiklexikon</i> online, Zugriff: 21.5.2017.<br />
<br />
Buch, David J.. 1997. "<a href="https://www.academia.edu/7011302/Mozart_and_the_Theater_auf_der_Wieden_New_attributions_and_perspectives" target="_blank">Mozart and the Theater auf der Wieden: New Attributions and Perspectives</a>". <i>Cambridge Opera Journal</i>, Vol. 9, No. 3 (Nov., 1997), 195-232.<br />
<br />
–––––––. 2000. "<a href="https://www.academia.edu/8956614/Eighteenth-century_Performing_Materials_from_the_Archive_of_the_Theater_an_der_Wien_and_Mozarts_Die_Zauberfl%C3%B6te" target="_blank">Eighteenth-Century Performing Materials from the Archive of the Theater an der Wien and Mozart's 'Die Zauberflöte'</a>". <i>The Musical Quarterly</i>, Vol. 84, No. 2 (Summer, 2000), 287-322.<br />
<br />
–––––––. 2004. "<a href="https://www.academia.edu/8965097/A_Newly_Discovered_Source_for_Mozart_s_Die_Zauberfl%C3%B6te_from_the_Copy_Shop_of_Emanuel_Schikaneder_s_Theater_auf_der_Wieden_1796_" target="_blank">A Newly-Discovered Manuscript of Mozart's Die Zauberflöte from the Copy Shop of Emanuel Schikaneder's Theater auf der Wieden</a>". <i>Studia Musicologica Academiae Scientiarum Hungaricae</i>, T. 45, Fasc. 3/4 (2004), 269-279.<br />
<br />
–––––––. 2006. "<a href="https://www.biu.ac.il/HU/mu/min-ad/06-2/2_House_Comp14-18.pdf" target="_blank">The House Composers of the Theater auf der Wieden in the Time of Mozart (1789-91)</a>". <i>Min-Ad Israeli Studies in Musicology Online</i> 2006/2.<br />
<br />
Edge, Dexter. 1992. "<a href="https://www.academia.edu/5646539/Mozarts_Viennese_orchestras" target="_blank">Mozart's Viennese Orchestras</a>". <i>Early Music</i>, Vol. 20, No. 1, Performing Mozart's Music II. (Feb., 1992), 64-88.<br />
<br />
–––––––. 2001. <a href="https://www.academia.edu/7004248/Mozarts_Viennese_Copyists" target="_blank"><i>Mozart’s Viennese Copyists</i></a>. PhD diss., University of Southern California.<br />
<br />
–––––––. 2016. <i><a href="https://sites.google.com/site/mozartdocuments/documents/1787-perinet" target="_blank">Joachim Perinet and "Mozarts Fortepiano"</a></i>, in: Mozart: New Documents, edited by Dexter Edge and David Black, first published 28 Sep 2016, accessed 28 Sep 2016.<br />
<br />
<i>Genealogisches Handbuch des Adels</i>. Band 12, Adelige Häuser B Band II, C. A. Starke Verlag, Glücksburg/Ostsee, 1956, 118-20.<br />
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Gugitz, Gustav. 1904. "Joachim Perinet." In: <i>Jahrbuch der Grillparzer-Gesellschaft</i>, vol. 14, 170–223. <br />
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Harrandt, Andrea. "<a href="http://www.musiklexikon.ac.at/ml/musik_H/Henneberg_Johann.xml" target="_blank">Henneberg (Henneberger), Johann Baptist</a>‟, in: Oesterreichisches Musiklexikon online, Zugriff: 2.7.2017. <br />
<br />
Hofbauer, Karl. 1864. <a href="https://books.google.at/books?id=HBMyAQAAMAAJ" target="_blank"><i>Die Wieden mit den Edelsitzen Conradswerd, Mühlfeld, Schaumburgerhof und dem Freigrunde Hungerbrunn: historisch-topographische Skizzen aur Schilderung der Vorstädte Wiens</i></a>. Vienna: Karl Gorischek. <br />
<br />
Komorzynski, Egon von. 1949. "Wer war der erste Sarastro?". <i>Österreichische Musikzeitschrift</i>, Vienna 1949, 201-202. <br />
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––––––––. 1955. "Johann Baptist Henneberg, Schikaneders Kapellmeister (1768–1822). <i>Mozart-Jahrbuch</i>, 243-45.<br />
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Lorenz, Michael. 2008. "<a href="https://michaelorenz.at/schikaneder/Lorenz_Schikaneder.pdf" target="_blank">Neue Forschungsergebnisse zum Theater auf der Wieden und Emanuel Schikaneder</a>", <i>Wiener Geschichtsblätter</i> 4/2008, Verein für Geschichte der Stadt Wien, 15-36. </blockquote>
<blockquote class="tr_bq">
––––––––. 2009 and 2010. "<a href="https://michaelorenz.at/alsergrund/" target="_blank">Mozart's Apartment on the Alsergrund</a>". Published on the Internet on 8 Jun 2009, and in print in: <a href="http://mozartsocietyofamerica.org/publications/newsletter/archive/MSA-AUG-10.pd" target="_blank"><i>Newsletter of the Mozart Society of America</i>, Vol. XIV, No. 2</a>, (27 August 2010)..</blockquote>
<blockquote class="tr_bq">
––––––––. 2013. <a href="https://michaelorenz.at/mozarts_umfeld/" target="_blank"><i>Das Forschungsprojekt "W. A. Mozart und sein Wiener Umfeld": Mozartforschung in Wien am Beginn des 21. Jahrhunderts</i></a>. Internet publication, 20 Oct 2013.<br />
<br />
Mansfeld, Herbert A. 1960. "<a href="https://anno.onb.ac.at/cgi-content/anno-plus?aid=maw&datum=1960&page=16&size=45" target="_blank">Mozarts erste Papagena war …..? (Ein Beitrag zur Wiener Theatergeschichte)</a>“. <i>Wiener Geschichtsblätter</i> 15, Verein für Geschichte der Stadt Wien, Vienna, 110-14.<br />
<br />
Messner, Robert. 1975. <i>Die Wieden im Vormärz: historisch-topographische Darstellung d. südwestl. Vorstädte u. Vororte Wiens auf Grund d. Katastralvermessung</i>. Vienna: Verb. d. Wissenschaftl. Gesellschaften Österreichs.<br />
<br />
Mettenleiter, Dominicus. 1866. <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10271136_00005.html" target="_blank"><i>Musikgeschichte der Stadt Regensburg</i></a>. Regensburg: Bössenecker.<br />
<br />
Orel, Alfred. 1955. "Sarastro, Hr. Gerl - Ein altes Weib, Mad. Gerl".<i> Mozart-Jahrbuch</i> 1955, 66-89<br />
<br />
––––––––. 1957. "Neue Gerliana". <i>Mozart-Jahrbuch</i> 1957, 212-22.<br />
<br />
Pisarowitz, Karl Maria. 1963."Ein Brief 'Sarastros' : und sonstige neueste Gerl-Miszellen".<i> Acta Mozartiana</i>. Augsburg, 1963, 38-42.<br />
<br />
Przawerczek, Andreas. 1831. "Herr Emanuel Schikaneder. (Aus den Papieren eines verstorbenen Fagotisten.)". In: <i>Der Gesellschafter oder Blätter für Geist und Herz</i>, 5tes bis 8tes Blatt, Januar 1831. <br />
<br />
Schurig, Arthur. 1922. <i>Constanze Mozart. Briefe - Aufzeichnungen - Dokumente, 1782-1842</i>. Dresden: Opal.</blockquote>
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<hr />
<br />
Updated: 22 December 2023<br />
<br />
For providing important information during my research I'm grateful to Ian Allan, Peter Prokop, Ted Albrecht, and Heinz Hampel-Waffenthal.<br />
<br />
© Dr. Michael Lorenz 2018.<br />
<br /><br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com3tag:blogger.com,1999:blog-6705638937146105675.post-18550517357893515862017-12-26T18:16:00.028+01:002023-04-25T16:44:45.943+02:00The Exhumation of Josephine Countess von DeymIn the quest for the identification of Beethoven's mysterious <a href="https://en.wikipedia.org/wiki/Immortal_Beloved" target="_blank"><i>Immortal Beloved</i></a>, which, since the composer's death, has kept a lot of researches busy, a number of candidates has emerged of which <a href="https://en.wikipedia.org/wiki/Josephine_Brunsvik" target="_blank">Josephine Baroness von Stackelberg, née Countess von Brunsvik, widowed Countess von Deym</a>, in recent years was able to secure a leading position. Since I have never entered the hotly contested field of "Immortal Beloved Research", I have been able to observe the dispute concerning the identity of this mysterious woman with wonder and amusement. The significance of this woman's identity, in my opinion, tends to be vastly overrated and the scholarly discourse has only too often been driven by personal antipathies and the urge to settle old scores. From my point of view, the advocates of the most popular identification models have continuously been damaging their own agenda by presenting circumstantial evidence as *facts*, and mere hypotheses as *solutions*.<br />
<br />
This blog post is not an article about the identity of the <i>Immortal Beloved</i>. An unexpected discovery of a document in the <a href="https://www.wien.gv.at/english/history/archives/" target="_blank">Municipal and Provincial Archives of Vienna</a> in August 2017, suddenly pointed my attention to the previously unknown location of Baroness von Stackelberg's grave and the posthumous fate of her mortal remains. Considering the stunning misinformation that can be found in the Beethoven literature in general – as well as in the latest publications dealing only with the <i>Immortal Beloved</i> – this side issue has suddenly moved from the fringe of <i>IB</i> research to the center of attention.<br />
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<span style="font-size: x-small;">Beethoven's supposed <i>Immortal Beloved</i>, Josephine von Brunsvik</span></div>
<br />
<b>The Death and Burial of Baroness von Stackelberg</b><br />
<br />
Josephine (or "Josepha" as she is called in all official documents) Baroness von Stackelberg died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18210404&seite=3&zoom=33" target="_blank">31 March 1821</a> in the so-called <a href="https://www.geschichtewiki.wien.gv.at/M%C3%BCllersches_Geb%C3%A4ude" target="_blank">Müllersches Gebäude</a> that had been built by her first husband, the <i>Hofstatuarius</i> <a href="https://de.wikipedia.org/wiki/Joseph_von_Deym" target="_blank">Joseph Count Deym Baron von Střítež</a> (alias Müller). The entry in the Totenbeschauprotokoll reads as follows.<br />
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<span style="font-size: x-small;">The entry in the municipal Totenbeschauprotokoll concerning the death of Baroness von Stackelberg (A-Wsa, Totenbeschreibamt 148, S, fol. 26r)</span></div>
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<br /></div>
<blockquote>
<div style="text-align: left;">
März <span style="text-decoration: overline;">821</span> am 31<span style="font-size: x-small; vertical-align: super;">ten</span><br />
v. Stackelberg Wohlgebohrener Herr Christoph Freÿ- / herr von ––––, seine Frau Gemahlin Josep- / pha, gebohrne Gräfin Brunswik, von Ofen [<i>sic</i>] / gebürtig, im eigenen H: N. 648. in d. <strike>Adl</strike> / Adlergas. an d. Auszehrung, alt 40. Jr. / Nachmittag 5 <span style="font-size: x-small;">1/2</span>. Uhr. Kerndl. </div></blockquote><p><i>[translation:] </i><br /></p>
<blockquote class="tr_bq">
March 1821 on the 31st<br />
v. Stackelberg, the well-born Sir Christoph Baron von ––––, his wife Josepha, née Countess Brunswik, born in Ofen, died in her own house <strike>N</strike>. 648. in the Adlergasse of consumption, aged 40 years, in the afternoon at 5.30 p.m. Kerndl.[coroner]</blockquote>
The Countess's wrong place of birth is not the only inaccuracy in the above entry. Since Joseph von Deym in his will had decreed that – in the case of her marrying again – his widow should waive the ownership of her half of the building to her two sons Friedrich and Karl, at the time of Josephine's death in 1821, the Müllersches Gebäude was owned by her four children: each of the sons owned 3/8, each of the daughters held 1/8 of the building. When in 1810 Josephine von Deym married Baron von Stackelberg, all she was entitled to keep from her first husband's inheritance was her dowry of 20,000 gulden and her share of the movables in Prague which in 1804, had been estimated at 6,027 fl 47 <span style="font-size: x-small;">1/3</span> kr (A-Wsa, Patrimonialherrschaften B1.26, fol. 46r). As of 1810, the Countess did not draw any independent rental income and was dependent on her children's assets, and the cooperation of her children's guardian Franz Count von Sauer. This information concerning Josephine von Deym's financial situation during the time of her second marriage has previously not been addressed in the literature. When Josephine in 1813 wrote in a draft of a letter to her husband: "Wenn du das Haus, die Gallerie, mein Vermögen wieder herstellst aufrichtest, so darf dich das nicht hochmüthig machen, weil du nur ein Gebrechen verminderst [...]" (Goldschmidt 1977, 164), this statement was based on the false premise that Josephine still owned the Müllersches Gebäude. When John Klapproth wrote: "Mother Anna declared that she would withdraw any further support unless Josephine sold the Deym villa", he was unaware of the fact that at that time Josephine did not own any part of this "Deym villa".<br />
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<span style="font-size: x-small;">The Müllersches Gebäude in 1860 with the wooden <a href="https://de.wikipedia.org/wiki/Theater_am_Franz-Josefs-Kai" target="_blank">Treumanntheater</a> (which burned in 1863) under construction in the background (A-Wn, 111.987C). In 1820 Beethoven's friend <a href="https://de.wikipedia.org/wiki/Marie_von_Erd%C5%91dy" target="_blank">Marie von Erdődy</a> also lived in this building (A-Wsa, Konskriptionsamt, Stadt 648/5r).</span></div>
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The popular myth that "Josephine died in loneliness and oblivion and received neither a proper burial nor a gravestone" is obviously rooted in the well-known unconscious urge of biographers to increase their own accomplishment of rediscovery and vindication by presenting their heroine as having died completely unappreciated and shunned by her own kin. In her pioneering biography of Josephine von Brunsvik, Marie-Elisabeth Tellenbach set the tone that was to be echoed by many authors to come. Tellenbach described Josephine's death and burial as follows.<br />
<blockquote class="tr_bq">
"Am 31. März 1821 abends um 5 Uhr starb Josephine – endete ihr irdisches grosses Leben um ein grösseres zu begi<span style="text-decoration: overline;">n</span>en." So schrieb Therese in ihr Tagebuch. Josephine wurde auf dem Währinger Friedhof zur letzten Ruhe gebracht. Kein Gedenkstein bezeichnet ihr Grab, keine Inschrift sollte der Nachwelt auch nur schlichte und knappe Kunde von ihrer Existenz überliefern! Auch hier hat die Familie Brunswick ihre damnatio memoriae in aller Strenge bestätigt.</blockquote><p><i>[translation:]</i> <br /></p>
<blockquote class="tr_bq">
"On March 31st, 1821, at 5 o'clock in the evening, Josephine died – ended her earthly great life to begin a greater one." Thus Therese wrote into her diary. Josephine was laid to rest in the Währing cemetery. No memorial stone marks her grave, no inscription was supposed to convey to posterity even a modest and concise knowledge of her existence! Here, too, the Brunswick family, in all severity, confirmed their <i>damnatio memoriae</i>. (Tellenbach 1983, 197f., my translation)</blockquote>
The astonishing ignorance in matters of cultural and local Viennese history that is revealed in this paragraph is the root of most of the later misunderstandings. It is absolutely fascinating to see Tellenbach's flawed scenario develop into a solid narrative in the course of the next three decades. In his 2011 book <i>Beethoven’s Only Beloved: Josephine!</i> (which unfortunately weakened its own case by stepping into a number of journalistic traps), John Klapproth repeated Tellenbach's assertion of the Brunsvik family's <i>damnatio memoriae</i>. In the introduction of his book, in a loose translation of a quote from Ernst Pichler, who had stated "Josephine wurde in aller Stille verscharrt" (Pichler 1994, 10), Klapproth doubled down on the scenario of an "unappreciated Josephine destined for oblivion":<br />
<blockquote class="tr_bq">
Almost exactly six years before Beethoven, Josephine von Brunsvik had been quietly interred at the Währing cemetery" (Klapproth 2011, 6). </blockquote>
Klapproth then followed this up with the following claim:<br />
<blockquote class="tr_bq">
Josephine Countess von Brunsvik, who was buried without ceremony, without obituary, even without any mourners. No tombstone on her grave. (Klapproth 2011, 6). </blockquote>
In the main text of his book, Klapproth quoted Tellenbach and added to the sad narrative by again denying Josephine a burial ceremony:<br />
<blockquote class="tr_bq">
Josephine von Brunsvik died on 31 March 1821 in her own home, only accompanied by Viky, her oldest daughter. She was buried without any ceremony at Währing cemetery.</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
No memorial stone marks her grave ... Once again the Brunsvik family has applied the damnatio memoriae with full severity. Exactly six years later, Breuning and Schindler would choose there "where he always liked to stay", a burial place for Beethoven.</blockquote>
She was to be forgotten almost like she never existed. Except by one man, who "always liked to stay" at her grave. (Klapproth 2011, 137) </blockquote>
In lack of additional information, Jan Caeyers, in his biography of Beethoven, repeated the dire scenario presented by Tellenbach and Klapproth:<br />
<blockquote>
Josephine
died completely lonely and impoverished on March 31st, 1821. Only Therese
and the eldest daughter Vicky were with her. The Brunsvik family did
not even bother to provide a worthy final resting place in the Währing
cemetery. (Caeyers 2012, 577f., my translation)</blockquote>
Not surprisingly, the narrative of the deceased "being denied a ceremony and a decent gravesite" has by now soaked deep into the popular literature. In his book <i>Duett zu Dritt</i>, the historian[<i>sic!</i>] Joachim Reiber concocted the following breathtaking nonsense about Josephine's late years:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzIctO_n_yOFpQMLrMEG7HktokguqkB0zmcY5QE6tNa_Ftc_w0ZlirpgjtiTE30WNHEzHugQLpW8mq4Z-DQPsPLdDZHHZh8I5nddV6wGS9K14fzAht5LzKume3yWzsnn86c8-SV-nrnQc/s1076/Reiber%252C+S.+72.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="1076" height="107" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzIctO_n_yOFpQMLrMEG7HktokguqkB0zmcY5QE6tNa_Ftc_w0ZlirpgjtiTE30WNHEzHugQLpW8mq4Z-DQPsPLdDZHHZh8I5nddV6wGS9K14fzAht5LzKume3yWzsnn86c8-SV-nrnQc/w320-h107/Reiber%252C+S.+72.jpg" width="320" /></a></div><blockquote>
The great emphasis of ideality, the great phrase of overcoming – with Josephine it collapses. She lived her last years under a false name. She died in Vienna in 1821 at the age of 42. She is buried in the Währing cemetery without a memorial stone. The noble comital family, whose beaming child she once was, no longer wants to do anything for her memory. (Reiber 2014, 72, my translation) </blockquote>
Another case in point is the Austrian author Georg Markus – a notorious laughing stock even among journalists of his ilk who try to pass themselves off as serious historians – who in his latest book fantasizes about how the Brunsvik family "punished Josephine for her lifestyle":<br />
<blockquote class="tr_bq">
Josephine Stackelberg geborene Brunsvik verwitwete Deym fand am Währinger Friedhof ihre letzte Ruhe, wobei ihr von ihrer Familie wegen ihres "lasterhaften Lebens" sowohl eine Begräbniszeremonie als auch ein Grabstein verweigert wurden. Sechs Jahre später wurde das Musikgenie, nur wenige Meter von der Geliebten entfernt, beerdigt. 20000 Menschen kamen, um von ihm Abschied zu nehmen.</blockquote><i>[translation:] </i><br />
<blockquote class="tr_bq">
Josephine Stackelberg, née Brunsvik, widowed Deym was laid to rest in the Währing cemetery. Because of her "immoral lifestyle", she was denied a funeral ceremony and a tombstone by her family. Six years later the musical genius was buried a few yards[<i>sic!</i>] from his beloved. 20,000 people came to bid him farewell. (Markus 2017, 262, my translation)</blockquote>
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<span style="font-size: x-small;">"Denied a funeral because of her 'immoral lifestyle'" (Markus 2017, 262). This is the current level of information concerning Josephine von Brunsvik's burial. Georg Markus is so clueless that he actually claims that "using Prague and Budapest archives, John E. Klapproth was able to prove that only Josephine could have been the Immortal Beloved." Having never set foot into any Prague or Budapest archive, Klapproth proved absolutely nothing.<br /></span></div>
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The foundation for this kind of gross misinformation was laid by Tellenbach who fell victim to an autosuggestion and failed to gather additional information concerning Catholic burial rites in Biedermeier Vienna. In addition to that, Tellenbach did not know that until 1923, there were two cemeteries in Währing (which in 1821 was located in Lower Austria): 1) the Allgemeiner Währinger Friedhof (today's <a href="https://goo.gl/maps/mNQCxbtoiMz" target="_blank">Währingerpark</a>), outside the
<a href="https://www.geschichtewiki.wien.gv.at/Wien_9,_Nu%C3%9Fdorfer_Linie_(1837)" target="_blank">Nussdorfer Linie</a>, and 2) the smaller Währinger Ortsfriedhof (today's <a href="https://goo.gl/maps/QBRDwX9HNdv" target="_blank">Schubertpark</a>) which was located south of the Währinger Straße, about 400 meters west of the <a href="https://de.wikipedia.org/wiki/W%C3%A4hringer_Pfarrkirche" target="_blank">Währing parish church</a>. <br />
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<span style="font-size: x-small;">The small Währinger Ortsfriedhof and the big Währinger Allgemeiner Friedhof (with its Jewish section) on an 1854 map of Vienna (A-Wsa, Kartographische Sammlung, 3.2.1.1.P5.6238) </span></div>
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There are three main reasons as to why the narrative of Josephine's remains "having been quietly interred [verscharrt] in Währing" is completely untenable.<br />
<ol>
<li>The alleged lack of a memorial stone or any other kind of marker at the grave has no basis in any document related to Josephine von Stackelberg's burial. Because the Ortsfriedhof in Währing was so small, prior to 1841, unmarked anonymous graves were not allowed there. To have an adult buried in this cemetery, one needed to buy an own grave and order a 1st or 2nd-class burial. These requirements gave this cemetery a reputation of slight elitism.</li>
<li>The Brunsvik family – who according to Tellenbach put a <i>damnatio memoriae</i> on a family member – had no say in the proceedings related to Josephine's burial. The decisions lay with her children and their guardian Franz von Sauer. Therese von Brunsvik was in no position to put a possible grudge into practice.</li>
<li>The religious regulations made it impossible to deny a Catholic person (a Baroness to boot) an official burial ceremony. Such ceremonies were not even denied in cases of suicide, because members of the upper class always were able to secure a medical certificate that declared the deceased "mentally incompetent" at the time of death.</li>
</ol>
The sources related to the events right after Baroness Stackelberg's death clearly document the course of events. On Saturday, March 31st, 1821, Josephine von Stackelberg received the last rites and died at 5.30 p.m. The following Sunday delayed the organisation of the solemn obsequies which could take place but in the morning of Tuesday, 3 April 1821, at the <a href="https://en.wikipedia.org/wiki/Dominican_Church,_Vienna" target="_blank">Church of St. Maria Rotunda</a> in whose parish the Müllersches Gebäude was located. At that time the parish priest Hyazinth Christen was not yet informed of Währing being the chosen burial place and wrote "S. Marx" into the register (a similar error happened in 1828, on the occasion of Franz Schubert's obsequies at <a href="https://de.wikipedia.org/wiki/Pfarrkirche_St._Josef_zu_Margareten" target="_blank">St. Josef zu Margareten</a> whose records give the <a href="https://www.geschichtewiki.wien.gv.at/Matzleinsdorfer_Katholischer_Friedhof" target="_blank">Matzleinsdorf cemetery</a> as the composer's intended burial place). Josephine received a "II. Classe, 1. Rubrik" burial and the appropriate obsequies which, in the case of a lady of noble birth, were an indispensable act of public observance of piety in accordance with the social reputation of the deceased. A modest or inconspicuous burial would have gravely damaged the family's credit in the eyes of the public.<br />
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<span style="font-size: x-small;">The entry concerning the obsequies of Josepha Baroness von Stackelberg on 3 April 1821 (Maria Rotunda, Tom. 1, fol. 112)</span></div>
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Since Josephine von Stackelberg's probate records were destroyed in 1927, we are not informed about the exact costs of her obsequies. But a number of surviving receipts, drawn up by "Leichen- und Conduct-Ansager" (masters of ceremonies of funeral corteges) from other Viennese parishes, provide detailed information concerning the performance of Catholic consecration ceremonies in Vienna at that time. As an example of a ceremony, I chose the obsequies of Antonia Forti, daughter of the opera singer <a href="https://de.wikipedia.org/wiki/Anton_Forti" target="_blank">Anton Forti</a> and Henriette, nee Teiber, who died on 18 March 1831 at the age of 16 and, two days later, was consecrated in the Karlskirche (St. Karl 7, fol. 175). The funeral ceremonies of the Biedermeier era show that, as far as religious customs were concerned, the times of Josephinism were definitely gone. Antonia Forti's obsequies and funeral cost 138 gulden 43 kreuzer, which, high as this amount may seem, must be rated as medium and cheaper than most ceremonies. The list of items that had to be paid for Antonia Forti's funeral reads as follows (the amounts are gulden and kreuzer):<br />
<blockquote class="tr_bq">
the coroner 40 Xr<br />
the coroner's office 9 Xr<br />
the oaken coffin including a black cross and gilded rosettes 8 f<br />
the gilded cross of wax 24 Xr<br />
the imprinted wrap 1 f 48 Xr<br />
the priest 1 f<br />
the cloth on the main altar 3 f<br />
the 6 mourning chairs in the church 3 f<br />
the catafalque in the church 5 f<br />
the poor in the church 4 f<br />
the Libera including the German song 3 f<br />
the 4 red coats 30 X apiece for the leaders of the cortege [Conductansager] 2 f<br />
the cleaning and dressing of the body 2 f<br />
3 lbs of wax on the main altar 1 f 12 x apound 3 f 36 Xr<br />
2 lbs. wax on the two side altars 2 f 24 Xr<br />
2 lbs. wax for the priests 2 f 24 Xr<br />
3 lbs. wax for the catafalque in the church 3 f 36 Xr<br />
1,5 lbs. wax for the Conductansager and sextons 1 f 48 Xr<br />
the 3 Conductansager for the announcements in the whole Freihaus in the whole neighborhood 1 f 30 X each, according to the I. & R. scale of charges 4 f 30 Xr<br />
the services of the 4 Conductansager at the funeral, according to the I. & R. scale of charges, 1 f 30 each, 6 f<br />
the thanksgiving prayer in the church, according to the I. & R. scale of charges, 1 f 30 Xr<br />
the beautiful crown on the bier 5 f<br />
the beautiful head garland for the body 2 f 30 Xr<br />
the beautiful garland in the coffin 2 f 30 Xr<br />
the beautiful parcel in the body's hands 30 Xr<br />
3 beautiful parcels for the priests and the commander, 1 f each, 3 f<br />
the 14 bouquets for the bachelors 36 Xr apiece 8 f 24 Xr<br />
the 14 small bouquets for the lamps of the parish carriage 2 f<br />
the 3 garlands on the 3 crosses 40 Xr<br />
20 ells of bond for the parcels 2 f 40 Xr<br />
3 ells of bond for the 3 priests on the candles 24 Xr<br />
the wooden cross for the own grave 10 Xr<br />
tips for 28 people from two parishes 7 fr 30 Xr<br />
parish fee for St. Stephen's 38 f 33 Xr<br />
fee for the trombonists 4 f 33 Xr<br />
all of the Conductansager's errands for the burial 5 f<br />
Id est 138 f 43 Xr</blockquote>
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<span style="font-size: x-small;">The exemplary list of expenses for the obsequies and the cortege of Antonia Forti on 20 March 1831, written by Adam Bayer, municipal master of burial ceremonies and funeral corteges at the Karlskirche (A-Wsa, Patrimonialherrschaften, A103, 348). In 1923, together with her father's, Antonia Forti's remains were transferred from the grave No. 301 in Matzleinsdorf to the "Gräberhain". For a more expensive funeral at the Karlskirche, see that of Heinrich Weiße, professor of political science at the Theresianum, which took place on 14 March 1834 and cost 243 gulden 2 kreuzer (A-Wsa, Patrimonialherrschaften, A103, 389). </span></div>
<br />
The charitable payments to poor people, who regurlarly took part in obsequies and the following corteges to graveyards, were an essential part of the welfare system in Biedermeier Vienna. Some of the items given in the above list, such as the crown and the 14 bachelors, were applied because the deceased was an unmarried minor. Like in the days before the Josephinian reforms in 1781, there was a great selection of possible costly improvements to the ceremony: the use of a castrum doloris needed additional 13,5 lbs. of wax (at a cost 6 f 12 x) and the service of seven additional "Conductansager" which – according to the "KK Stolle" (the scale of charges) – cost 1 f 30 x each. The performance of a Requiem involved the payment of a "Regenschoribeylage" of up to 40 gulden. The Deym family certainly commissioned the printing of "Partezettel" (death notices) of which 100 copies cost 2 f 24 x. There are countless examples in probate files of people who were consecrated at the Dominican Church that show how high the costs of burial expenses could be. On 15 February 1821, the obsequies of the former merchant Jakob Calliano took place at this church. His obsequies at St. Maria Rotunda cost 547 gulden 40 kreuzer. He then was transferred to Mödling, where he had owned a house, to be buried in the local cemetery – a ceremony which cost an additional 233 gulden and 28 kreuzer (A-Wsa, Mag. ZG, A2, 69/1821). Some Viennese parishes, such as the parish "<a href="https://de.wikipedia.org/wiki/Paulanerkirche_(Wien)" target="_blank">Zu den heiligen Schutzengeln</a>" on the Wieden, handed out printed standardized receipts for funeral expenses titled "Leichen<span style="font-size: xx-small;">=</span>Specification". These forms also document the obligatory fees that were only waived in case of certified poverty.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The printed account ("Leichen<span style="font-size: xx-small;">=</span>Specification") for the obsequies and funeral ceremony of the merchant Johann Röhrich on 5 April 1840 in the Paulanerkirche (A-Wsa, Mag. ZG, A2, 1394/1840)</span></div>
<br />
The entry in the Bahrleihbuch (the register of burial fees of the Bahrleihamt) shows that, after the solemn obsequies at the Dominican Church, Baroness von Stackelberg's coffin was transported to Währing in a carriage drawn by four horses (the wrong cemetery "St. Marx" was copied from the false entry in the parish register).<br />
<blockquote class="tr_bq">
Stakelberg<br />
Josepha<br />
Es ist dem Wohlgeb. H. Christoph Freÿh: von Stakelberg seine Frau Josepha geb. Gräfin von Brunswik alt 40 Jahr in der Adler gassen N° 648. <u>Pfarre Dominicaner</u> den 31. abends um 6 uhr gestorben und an Auszehrung Beschauet worden<br />
In Freÿdhof St Marx<br />
Bezahlt 2 Klaß – – – – – – 37. 6<br />
Wagen mit 4 Pferd Nach Wahring 12 f – kr.</blockquote>
<i>[translation:] </i>
<blockquote class="tr_bq">
</blockquote>
<blockquote class="tr_bq">
Stackelberg<br />
Josepha<br />
Christoph Baron von Stackelberg's wife Josepha née Countess von Brunswik, 40 years of age, died on the 31st in the evening at 6 p.m. and was inspected to have died of consumption.<br />
to the St. Marx cemetery<br />
paid for the 2nd class – – – – – – 37 gulden 6 kreuzer<br />
carriage with 4 horses to Währing 12 gulden</blockquote>
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<span style="font-size: x-small;">The entry in the Bahrleihbuch of the Cathedral concerning the burial of Josepha von Stackelberg and the transport of her coffin to Währing (A-Wd, Bahrleihbuch, 1 Nov 1820 – 31 Oct 1821, fol. 57v). This source has never been digitized.<br /></span></div>
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As far as the costs of the ceremony and the burial in Währing are concerned, we can rely on documents from Beethoven's probate file (A-Wsa, Hauptarchiv, Persönlichkeiten B16, fol. 92). Like Beethoven, Baroness Stackelberg was buried according to the 2nd class (between 1821 and 1827 the regulated standard prices did not change). <br />
<blockquote class="tr_bq">
<div style="text-align: center;">
<blockquote class="tr_bq">
Quittung </blockquote>
</div>
Uiber Fünfzig Gulden CMz. welche für die nach der II. Klaße gehaltenen Leiche des verstorbenen H[errn] Ludwig von Bethoven als sämtliche Auslagen an die Kirche, Pfarre, Armeninstitut, für Totengräber, Träger, Ansager, und Vorbether, Meßner, Ministranten, Ausläuter, für mitgehende Instituts-Arme und Schulkinder sammt Aufsicht tragenden Schulgehülfen, für das Miserere, und Motteten, für Libera und Assistenz &c sind gezahlt worden.<br />
Währing d 28<span style="font-size: x-small; vertical-align: super;">tn</span> März <span style="text-decoration: overline;">827</span><br />
Id est 50 fr Cm Johann Hayek mpia<br />
Pfarrer</blockquote>
<i>[translation:] </i>
<blockquote class="tr_bq">
<div style="text-align: center;">
<blockquote class="tr_bq">
Receipt</blockquote>
</div>
For fifty gulden Conventionsmünze [assimilated coinage] which were paid for the 2nd<span style="font-size: x-small;">-</span>class burial of the deceased Mr. van Beethoven as overall expenses to the church, parish, almshouse, for the gravedigger, bearer, director of the ceremony and litanist, sexton, altar boys, bell ringers, for the accompanying poor from the almshouse and school children, together with the supervising school assistants, for the Miserere, the motets, the libera and the assistance, etc.<br />
Währing, March 28th, 1827<br />
Id est 50 fr Cm Johann Hayek mpia<br />
parish priest</blockquote>
<br />
The costs of Baroness Stackelberg's own grave in Währing are also well documented. A grave in Währing cost 30 gulden which was more expensive than a grave in the so-called "Kommunalfriedhöfe" (communal cemeteries) which in 1819 cost 20 fl 42 x. Beethoven's probate file (A-Wsa, Hauptarchiv, Persönlichkeiten B16, fol. 99) contains the following receipt.<br />
<div style="text-align: center;">
<blockquote class="tr_bq">
Quittung </blockquote>
</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
Über Dreyssig Gulden CMz welche für einen einfachen Platz auf dem hiesigen Pfarrfreydhofe zur Ruhestätte des verstorbenen Herrn Ludwig von Beethoven an die Pfarrkirche zu Währing sind gezahlt worden.<br />
Währing den 27<span style="font-size: x-small; vertical-align: super;">ten</span> März 1827.<br />
Id est 30 fr Cm Johann Hayek mpia<br />
Pfarrer</blockquote>
</div>
<i>[translation:] </i>
<blockquote class="tr_bq">
<div style="text-align: center;">
<blockquote class="tr_bq">
Receipt</blockquote>
</div>
<div style="text-align: left;">
For thirty gulden Conventionsmünze [assimilated coinage] which were paid to the parish church in Währing for a simple spot as resting place of the deceased Mr. Ludwig van Beethoven.</div>
<div style="text-align: left;">
Währing, March 27th, 1827.</div>
<div style="text-align: left;">
Id est 30 fr Cm Johann Hayek mpia</div>
<div style="text-align: left;">
parish priest</div>
</blockquote>
<br />
In Währing, Baroness von Stackelberg's coffin was taken from the carriage, put in front of the altar of the parish church and consecrated again. The entry in the Währing burial register concerning this ceremony, repeats the information from the parish of St. Maria Rotunda: "Dem Wohledlgeborenen H. Christoph Freÿherr v Stakelberg seine Frau Gemahlin Josepha Gräfinn Brunswik".<br />
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<span style="font-size: x-small;">The entry concerning the consecration of Josepha Baroness von Stackelberg on 3 April 1821 in the Währing parish church and her burial in the Währinger Ortsfriedhof (Währing, Tom. 4, fol. 171)</span></div>
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The cortege then continued its way to the Ortsfriedhof where Josephine von Stackelberg was buried in an own grave "in the fourth row" – which, so far, is the only information we have as to the gravesite's exact location (see below). One thing is certain: Josephine von Stackelberg's burial site was not located "in close proximity" to what in 1827 was to be Beethoven's.<br />
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<b>The Death and Burial of Victoire von Deym</b> <br />
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<div style="text-align: center;">
<span style="font-size: x-small;">Victoria Countess Deym (La Mara,1909, 112b) </span></div>
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Josephine's eldest child Victoire (born <a href="http://data.matricula-online.eu/de/oesterreich/wien/01-maria-rotunda/01-02/?pg=12" target="_blank">6 May 1800</a>) died of scarlet fever on 2 February 1823, at 2:30 p.m., in the house Leopoldstadt 9 (the so-called <a href="https://de.wikipedia.org/wiki/Dianabad_(Wien)#Erstes_Dianabad_.28Obere_Donaustra.C3.9Fe_93.E2.88.9295.29" target="_blank">Altes Dianabad</a> which had been built by <a href="https://de.wikipedia.org/wiki/Charles_de_Moreau" target="_blank">Charles de Moreau</a>). <br />
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<span style="font-size: x-small;">The entry concerning the death and obsequies of Victoire Deym Countess von Střítež on 2 and 4 February 1823 (St. Joseph, Tom. 2, fol. 67)</span></div>
<br />
Victoire Deym's death and burial is connected with a rather gruesome family legend that was told by Therese von Deym's grandniece Dr. Ilka Melichar to the music historian La Mara (<a href="https://en.wikipedia.org/wiki/Ida_Marie_Lipsius" target="_blank">Ida Marie Lipsius</a>) who in 1909 published it in her book <i>Beethovens Unsterbliche Geliebte. Das Geheimnis der Gräfin Brunsvik und ihre Memoiren</i>. According to this oral tradition, Victoire von Deym was buried alive:<br />
<blockquote class="tr_bq">
One after the other, Josephine took four of her gentle daughters in the prime of life and in the most beautiful hopes for their earthly future. Victoire, the shining star, was the first at the age of 23 years; she was declared of legal age and was supposed to help educate her orphaned brothers. Together with me she would have established and directed a great educational institution in the beloved fatherland! Weißkirchen near Tyrnau was chosen as its location. We wanted to call it Antonaeum, in honor of my precious father! In 1823, on February 2nd, after a short illness of five days, – scarlet fever that had affected the brain – after she had escorted her mother and her aunt to the grave, and in sickness and death had taken care of them like an angel, she died, and, as the legend has it, was seen again after her first death inside the crypt of St. Stephen's! <span style="font-size: x-small;">1</span>) .</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="font-size: x-small;">1</span>) [footnote] She died a gruesome death. As victim of a scarlet epidemic that raged in Vienna, like all victims of the disease, she had to be buried immediately. Apparently dead, she was put into the crypt, and when after a while it was opened, the unfortunate was found with the coffin lid open, lying on the steps in front of the door with an arm gnawed off. Dr. Ilka Melichar, née Countess Deym, in Prague told me this. Elsewhere [in her memoirs] Therese Countess Brunsvik writes: "When I learned of the brilliant daughter's death, I could not be consoled and for three years remained an errant in mind and body." (La Mara 1909, 111f., my translation)</blockquote>
</blockquote>
How this story could ever gain credibility is completely inexplicable. First, all the primary sources show that Victoire von Deym was not buried immediately, but – in accordance with the law of that time – two days after her passing. Second, she was not buried in the crypt of St. Stephen's. After the reforms of Joseph II, burials in the crypt of the Cathedral were limited to members of the high clergy (such as, for example, Bishop <a href="https://en.wikipedia.org/wiki/Count_Hieronymus_von_Colloredo" target="_blank">Hieronymus von Colloredo</a> in 1812). Third, Victoire was buried in her mother's grave in Währing which renders the whole tale of her trying to open a "front door" of a crypt fictitious. That the tale of Victoire von Deym's "<a href="https://en.wikipedia.org/wiki/Suspended_animation" target="_blank">Scheintod</a>" was ever taken serious is even stranger, given the fact that her death notice clearly gives her obsequies as having taken place two days after her death, on 4 February 1823. This death notice gives the church of <a href="https://de.wikipedia.org/wiki/Leopoldskirche_(Leopoldstadt)" target="_blank">St. Leopold</a> as venue of her consecration, but this is an error. Since the Dianabad was located in the parish of the <a href="https://de.wikipedia.org/wiki/Karmeliterkirche_(Leopoldstadt)" target="_blank">Carmelite church of St. Joseph</a>, Victoire's obsequies were held in this church. This document also states that "the body will be consecrated at 2 p.m. and then transported to Währing".<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The death notice of Viktoria Countess von Deym preserved in the Deym estate in Jindřichův Hradec (published in: Steblin 2002, 25)</span></div>
<br />
Victoire von Deym's cortege proceeded similar to he mother's two years earlier. Her brother Fritz and her aunt Therese may have been the only relatives that accompanied the coffin. Her brother Karl was with his grandmother in Ofen and her three half-sisters, Marie, Theophile and Minona, were staying with their father in Estonia.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the burial of Victoire von Deym Countess von Střítež on 4 February 1823 in the Währinger Ortsfriedhof (Währing, Tom. 4, fol. 200)</span></div>
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<b>The Death and Burial of Friedrich von Deym</b><br />
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Josephine von Deym's son <a href="https://de.wikipedia.org/wiki/Friedrich_von_Deym" target="_blank">Friedrich</a> (a godson of Count Friedrich von Nostitz-Rieneck and <a href="https://en.wikipedia.org/wiki/Franziska_von_Hohenheim" target="_blank">Franziska Duchess of Württemberg</a>) was one of the more prominent members of the Deym family. After a career in the Austrian military and as official at the Viennese court, in 1848 he became a member of the <a href="https://en.wikipedia.org/wiki/Frankfurt_Parliament" target="_blank">Frankfurt Parliament</a>.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">Friedrich Deym Count von Střítež, lithography from 1849 by Philipp Winterwerl (A-Wn, PORT_00010316_01)</span></div>
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Friedrich Deym Count von Střítež died suddenly of "Lungenlähmung" (lung failure) on 23 January 1853.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv5MgBRjd7GuML1pp8gP2Dg64xDX2w910pVSk0LqL_FDiSAtuAjd9mvCc3Z8a2NKDB8ygyc1NANYjPRqA8Vhfy-0L72_LqfnTJjeTsdBSy55xFAu4BRoSdfzAxEwNWqU_Xc765_EcCT6s/s1600/Friedrich+von+Deym+MR+2%252C+fol.+82.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="222" data-original-width="1600" height="55" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv5MgBRjd7GuML1pp8gP2Dg64xDX2w910pVSk0LqL_FDiSAtuAjd9mvCc3Z8a2NKDB8ygyc1NANYjPRqA8Vhfy-0L72_LqfnTJjeTsdBSy55xFAu4BRoSdfzAxEwNWqU_Xc765_EcCT6s/s400/Friedrich+von+Deym+MR+2%252C+fol.+82.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning Friedrich von Deym's death on 23 January 1853 in the records of his parish St. Maria Rotunda (Maria Rotunda, Tom. 2, fol. 82)</span></div>
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Regarding Friedrich von Deym's death and burial, La Mara quotes the following sentence from Therese von Brunsvik's memoirs: "Fritz suddenly died in Vienna, universally mourned. His eleven children surrounded his coffin, the youngest a boy, two years of age, named Franz."(La Mara 1909, 128). The number of Fritz's children given by La Mara has yet to be corroborated.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiidsdcVk84DajNbiJQaFp2X6Sw7ugwwVCVhd8EJLei1IwTG1HqzKVFbwATWi3-elkuFITPcci6szQZYRjPCs1mqAjTcRxE1t8r1qivm4FhIGeAGII_J8EZeciqo9ptJ2UZLkJP3F-1Bxc/s1600/Friedrich+von+Deym+26.1.1853.jpg"><img border="0" data-original-height="203" data-original-width="1600" height="50" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiidsdcVk84DajNbiJQaFp2X6Sw7ugwwVCVhd8EJLei1IwTG1HqzKVFbwATWi3-elkuFITPcci6szQZYRjPCs1mqAjTcRxE1t8r1qivm4FhIGeAGII_J8EZeciqo9ptJ2UZLkJP3F-1Bxc/s400/Friedrich+von+Deym+26.1.1853.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the burial of Friedrich Deym Count von Střítež on 26 January 1853 in the Währinger Ortsfriedhof (Währing, Tom. 5, fol. 294)</span></div>
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That Friedrich von Deym was buried "II Classe" in an "eigenes Grab zwischen Bellmann u. Widtmann alt" ("second class burial in an old[!] own grave between Bellmann and Widtmann") is documented in the 1846-1869 register of graves of the Währinger Ortsfriedhof. This "old grave" was his mother's.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO76f5rGJn-hlaN4C7vJ2TOic7aFnIFj8eV24m1q41VvRRQtD8koGKZ99EEMkFxbWo38Y2LM6FI90Cg2L9dA3L4HP6vyJyItiLUBhgS25ewbfnEK7kUJZ7CYek123bhzlWE26ciu7CY6E/s1600/Gr%25C3%25A4ber+W%25C3%25A4hring+2.1.1853%252C+25r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="1139" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO76f5rGJn-hlaN4C7vJ2TOic7aFnIFj8eV24m1q41VvRRQtD8koGKZ99EEMkFxbWo38Y2LM6FI90Cg2L9dA3L4HP6vyJyItiLUBhgS25ewbfnEK7kUJZ7CYek123bhzlWE26ciu7CY6E/s400/Gr%25C3%25A4ber+W%25C3%25A4hring+2.1.1853%252C+25r.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry in the register of graves in the Ortsfriedhof Währing concerning Friedrich von Deym's burial on 26 January 1853 in an "old own grave". Unlike the grave registers of the communal cemeteries, the register of the Ortsfriedhof gives no grave numbers. The numbers beside the dates refer to houses in Währing (A-Wsa, Serie 1.2.4.3.1802, Währing Ortsfriedhof, B1-Gräber: alt: XVIII-B-1, fol. 25r). This register only covers the time from 1846 until 1888. No earlier records survive.</span></div>
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On 23 February 1877, the Vienna Magistrate decided to have all the graves of historically significant or otherwise extraordinary individuals in Vienna’s cemeteries documented, and commissioned <a href="https://www.geschichtewiki.wien.gv.at/Karl_Wei%C3%9F" target="_blank">Karl Weiß</a>, head of the City Archive, with this project. During the summers of 1877 and 1878, Weiß made lists of all the important graves in most of Vienna's cemeteries (including the inscriptions on their stones) and then transferred the task to his intern Franz Fiala who finished the project in 1880. Weiß's register also contains the grave of the Deym family, but only Friedrich von Deym's name is given, because – as the still existing Puthon grave shows – Weiß only recorded the names of the last person buried in each grave. Only this entry yields the information that the Deym family grave was located in the fourth row of the cemetery's old section. The entry reads: "4. row Deym Friedrich Count, Baron v. Střítež. 23. Jänn. 1853".</div>
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<span style="font-size: x-small;">The entry concerning the Deym family<span style="color: #0000ee;"> <span style="color: black;">grave</span></span> in Karl Weiß's Gräberbuch (A-Wsa, 3.4.A.111.1, Gräberbuch über die Friedhöfe Wiens 1877-1884, 35)</span></div>
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Since Weiß's register and the Gräberbuch do not provide grave numbers, it is not possible to determine the exact location of the Deym family grave. Furthermore, Weiß's data concerning the exact location of the fourth row are at odds with the map of the cemetery from 1914. The following plan from 1913 shows the entrance section of the old cemetery. On top ist the Währingerstraße, to the left of the entrance are the "Leichenkammer" (which was torn down before 1923) and the chapel (which today houses a public restroom). To the right is the warden's house. The grave with a cross above the supposed fourth row is that of the Schwab family (and of the parish priest Josef Maynollo) with its big crucifix by Balthasar Permoser that, until 1784, stood in the old <a href="https://www.geschichtewiki.wien.gv.at/Nikolaifriedhof" target="_blank">Nikolaifriedhof</a> on the Landstraße.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8EkbBgvSgWU7m2GJQdOjr7q70k4ChyphenhyphenCv-KElngzaWOLgWxQxX3nBIRFS2HUS65Yl54P48NDZ_URW01xK2mokguu92kSb-UpaCraM1EzR7lgpO3Pi5OChXO-OjiojiMRQFk2sJ2v-4znE/s1600/entrance+section+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="1169" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8EkbBgvSgWU7m2GJQdOjr7q70k4ChyphenhyphenCv-KElngzaWOLgWxQxX3nBIRFS2HUS65Yl54P48NDZ_URW01xK2mokguu92kSb-UpaCraM1EzR7lgpO3Pi5OChXO-OjiojiMRQFk2sJ2v-4znE/s320/entrance+section+%25281%2529.jpg" width="257" /></a></div>
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<span style="font-size: x-small;">The entrance section of the Währinger Ortsfriedhof (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel 5, Währinger Ortsfriedhof)</span></div>
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Among the prominent people buried in the cemetery's fourth row – according to Weiß's 1877/78 register – were the following individuals.<br />
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<li>Constance Spencer Smith, née Herbert Baroness Rathkeal (1785–<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18291024&seite=4&zoom=33" target="_blank">1829</a>), <a href="https://books.google.at/books?id=xABjAAAAcAAJ" target="_blank">poetess</a> and the object of one of <a href="https://en.wikipedia.org/wiki/Lord_Byron" target="_blank">Lord Byron</a>'s most famous <a href="https://books.google.at/books?id=qqdFAQAAMAAJ&pg=PA268" target="_blank">love poems</a>. She was the model of Florence in <i>Childe Harold's Pilgrimage</i>. According to <a href="https://books.google.at/books?id=Fi0pAAAAYAAJ&pg=PA51" target="_blank">Hampeis</a> and an <a href="http://anno.onb.ac.at/cgi-content/anno?aid=nwj&datum=19230728&seite=3&zoom=33" target="_blank">essay</a> by <a href="https://de.wikipedia.org/wiki/Adolf_Kronfeld" target="_blank">Adolf Kronfeld</a> in the <i>Neues Wiener Journal</i> from 1923, the front of her tombstone bore the last stanza of Byron's poem <a href="https://books.google.at/books?id=V8hEAAAAYAAJ&pg=PA527" target="_blank"><i>Euthanasia</i></a>, and the back side the first 12 lines of Byron's aforesaid poem from 1809. On 15 April 1896, Smith's remains were transferred to her nephew's grave in the Zentralfriedhof. Still, on 24 September 1919, the "Städtische Sammlungen" (the predecessor of today's Wien Museum) asked the Magistratsabteilung X to look for the monument during the clearing of the cemetery, but it could not be found. In 1980 Spencer Smith's grave in the Zentralfriedhof was sold to new owners.</li>
<li><a href="https://de.wikipedia.org/wiki/Charles_de_Moreau" target="_blank">Charles de Moreau</a> whose headstone bore the inscription "Architecte, Chevalier de la legion d'honneur". This grave was located beside the Puthon grave. According to a list, drawn up in 1895 by <a href="https://de.wikipedia.org/wiki/Karl_Glossy" target="_blank">Karl Glossy</a>, Moreau's grave was meant to be preserved but it is now lost. The grave of <a href="https://de.wikipedia.org/wiki/Peter_Mollner" target="_blank">Peter Mollner</a>, whose location could not by identified by <a href="https://www.wien.gv.at/wiki/index.php?title=Hans_Pemmer" target="_blank">Hans Pemmer</a> in 1970, is located at the foot of the pillar between the gravedigger's house and the entrance. </li>
<li><a href="https://de.wikipedia.org/wiki/Franz_Seraph_von_Sommaruga" target="_blank">Franz von Sommaruga</a> (and several of his relatives, exhumed and transferred to the Meidling cemetery in August 1896)</li>
<li><a href="https://de.wikipedia.org/wiki/Franz_Xaver_von_Aichen" target="_blank">Franz Xaver von Aichen</a></li>
<li><a href="http://www.biographien.ac.at/oebl/oebl_S/Sollinger_Johann-Paul_1795_1849.xml" target="_blank">Johann Paul Sollinger</a></li>
<li>Vinzenz Pittrich (1791–1848), privy councilor and knight of the <a href="https://en.wikipedia.org/wiki/Order_of_Leopold_(Austria)" target="_blank">Order of St. Leopold</a> </li>
<li>Elisabeth Ernst (1780–1860), benefactor and saver of Vienna's <a href="https://en.wikipedia.org/wiki/St._Rupert%27s_Church,_Vienna" target="_blank">Ruprechtskirche</a> </li>
<li><a href="http://www.hls-dhs-dss.ch/textes/d/D29345.php" target="_blank">Johann Conrad Hippenmayer</a>, co-founder of the <a href="https://en.wikipedia.org/wiki/Oesterreichische_Nationalbank" target="_blank">Austrian National Bank</a></li>
<li>Alexander Armand Gaston Count von Mottet (1800–1873)</li>
<li><a href="https://de.wikisource.org/wiki/BLK%C3%96:Mitis,_Ferdinand_Ritter_von_(1791%E2%80%931856)" target="_blank">Ferdinand von Mitis</a> (1791–1856), engineer and co-constructor of the <a href="https://www.geschichtewiki.wien.gv.at/Karlskettensteg" target="_blank"><i>Carls-Brücke</i></a> across the Donaukanal</li>
<li>Friedrich Baron von Lilien (1744–1831), retired lieutenant field marshal and father-in-law of </li>
<li>Johann Baptist Baron von Puthon, the younger (1773–1839) (grandson of the Savoyan emigrant Louis Pouthon), merchant, head of the Austrian National Bank and the I. & R. privileged <a href="https://de.wikipedia.org/wiki/Erste_Donau-Dampfschiffahrts-Gesellschaft#Gr.C3.BCndung_der_Ersten_Donau-Dampfschiffahrts-Gesellschaft" target="_blank">Donau-Dampfschiffahrts-Gesellschaft</a>. Also buried in this grave are Puthon's wife, the pianist Antonia, née von Lilien (1781–1824) and her son Eduard (1803–1830). Antonia von Lilien was a piano pupil of Johann Jakob Heckel and a friend of Beethoven. Alexandrine Baronne de Montet, in her <a href="https://archive.org/details/souvenirsdelaba00boutgoog" target="_blank">memoirs</a>, writes about Antonia von Puthon's death: "Notre chère Antoinette est morte jeune encore; son mari l'entoura dans sa dernière maladie des soins les plus tendres, les plus touchants. «Il m'aime donc, disait-elle à ma belle-mère en levant ses beaux yeux au ciel avant de mourir: je meurs consolée.» Elle mourut comme une sainte. Je la vis exposée sur un haut catafalque, dans un de ses magnifiques salons, belle comme un ange encore et paraissant endormie dans une douce pensée." The Puthon family grave is the only one in the cemetery's row four of which remains still survive.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVhpHGLSMkzwAoO6zX-bDrcXQH3Tf7dgUPLckyUrnnltwBUAQfsIzYkriKPcBQGE6Go8ttHS1O9kTZNTGTn8FpMq_u4QYIwBCYaevOQz4nF_FmpyaRk_HxH1J49UUAM1CITrjug7uN90/s1600/Puthon.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1186" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAVhpHGLSMkzwAoO6zX-bDrcXQH3Tf7dgUPLckyUrnnltwBUAQfsIzYkriKPcBQGE6Go8ttHS1O9kTZNTGTn8FpMq_u4QYIwBCYaevOQz4nF_FmpyaRk_HxH1J49UUAM1CITrjug7uN90/s400/Puthon.JPG" width="400" /></a></div>
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<span style="font-size: x-small;">The remains of the monument of the Puthon family grave in the Währinger Ortsfriedhof (photographed in July 2017). In 1924, this monument was moved about 60 meters to the north. Only very few graves in today's Gräberhain are still in their original places. Among them are those of <a href="https://de.wikipedia.org/wiki/Vinzenz_Neuling" target="_blank">Neuling</a>, Mollner, Fischer, Vering, Schlierholz, <a href="https://en.wikipedia.org/wiki/House_of_Sanguszko" target="_blank">Sanguszko</a>, <a href="https://de.wikipedia.org/wiki/Fabrice_(Adelsgeschlecht)" target="_blank">Fabrice</a>, and Rosenbaum.</span>
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<span style="font-size: x-small;">The Puthon grave in its original state in 1904, still crowned by an urn entangled by a snake (Wien Museum, I.N. 29573/1)</span></div>
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<span style="font-size: small;">The following three photographs, taken before WWI, show how these rows of graves looked, several decades after the closing of the cemetery.</span></div>
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<span style="font-size: x-small;">(Wien Museum, I.N. 27342/1)</span></div>
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<span style="font-size: x-small;">(Wien Museum, I.N. 27342/2)</span></div>
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<span style="font-size: x-small;">A view from behind the crucifix towards the warden's house in 1913 (A-Wn, 102.604 - C)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhemo79_rkbfviiaWl_tk-i4SDjqkwWWFa9i1Md3mji4HtMdll-hZkdyEzYgyjmCeOv8m-a77EHzp9B_3tPKyfm-7L4GoMRTzY3BdC7iNUOPBMU5EPJm5u08NGSTg0D2dXdCp8z6Fz9JTs/s1600/IMG_20171024.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhemo79_rkbfviiaWl_tk-i4SDjqkwWWFa9i1Md3mji4HtMdll-hZkdyEzYgyjmCeOv8m-a77EHzp9B_3tPKyfm-7L4GoMRTzY3BdC7iNUOPBMU5EPJm5u08NGSTg0D2dXdCp8z6Fz9JTs/s320/IMG_20171024.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Today's view from the entrance towards the Schwab family grave with the eighteenth-century crucifix. To the left of the Schwab grave is that of the Heurteur family whose stone bears a copper plaque paid for by the City of Vienna, although the grave is empty. On 16 October 1895, the family of the actor <a href="http://www.biographien.ac.at/oebl/oebl_H/Heurteur_Nikolaus_1781_1844.xml" target="_blank">Nikolaus Heurteur</a> was transferred to Waidhofen an der Ybbs. Their grave in Waidhofen has long been reassigned to other owners.</span></div>
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<b>The Währinger Ortsfriedhof between 1821 and 1925</b><br />
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In 1821 the Währing village cemetery covered only about a half of today's <a href="https://de.wikipedia.org/wiki/W%C3%A4hringer_Schubertpark" target="_blank">Schubertpark</a>. It consisted of today's separated Gräberhain and the southward area that reached to the <a href="https://www.geschichtewiki.wien.gv.at/Schulgasse_(18)" target="_blank">Schulgasse</a>. The width of the former cemetery area in relation to its final size can be seen on a view of the new entrance which in 1833 was published as frontispiece in Hampeis's book <i>Chronologische Epigraphik der Friedhöfe Wien’s</i>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXnGVi7iGkcQVIVUtQ73_XRGJaTp3I01By_8q7Mmg9Gg-KtFbEBmtpQkTqJ2loXmAjo8J3mmP4AhdgUWDgUjVTL4EeKz5QirI4Faz2eVerdguv2BnKYOtn0ildL5lATZMHFVmXOSg2wKI/s1600/Hampeis.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="972" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXnGVi7iGkcQVIVUtQ73_XRGJaTp3I01By_8q7Mmg9Gg-KtFbEBmtpQkTqJ2loXmAjo8J3mmP4AhdgUWDgUjVTL4EeKz5QirI4Faz2eVerdguv2BnKYOtn0ildL5lATZMHFVmXOSg2wKI/s400/Hampeis.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The gravedigger's house and the chapel beside the cemetery's entrance which were built in 1827 (Hampeis 1833). Hampeis's book was dedicated to Johann Nepomuk Peter (1768–1838), administrator of the Leopoldstadt jailhouse, who was one of Joseph Karl Rosenbaum's accomplices in the thefts of the heads of <a href="https://de.wikipedia.org/wiki/Betty_Roose" target="_blank">Betty Roose</a> in 1808, and Joseph Haydn in 1809. The grave of Peter and his first wife is preserved in the Gräberhain.</span></div>
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The gravedigger's house and the chapel at the entrance of the cemetery were built but in 1827 by <a href="https://www.geschichtewiki.wien.gv.at/Adolph_Korompay" target="_blank">Adolph Korompay</a>, the ramp was constructed in 1832. In 1841 the area of the cemetery was about doubled by the addition of a field, west of the cemetery, which had been purchased and donated by the wax monger Christoph Wishofer.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4zGR4N7katFMU3tUI0YugOjvSZIWS9kuanMk7cGWoHWncD0gN3Qx0W2Z5I-n3Bu3t8N_LnqvzYBGhVAmLIMRly8LXOE6im8Gk_xQbIrLMpZDlhmU43erB7IXM-d0S22RZkMmXL-4ZTzs/s1600/33.571B_C.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="561" data-original-width="800" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4zGR4N7katFMU3tUI0YugOjvSZIWS9kuanMk7cGWoHWncD0gN3Qx0W2Z5I-n3Bu3t8N_LnqvzYBGhVAmLIMRly8LXOE6im8Gk_xQbIrLMpZDlhmU43erB7IXM-d0S22RZkMmXL-4ZTzs/s320/33.571B_C.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The ramp, entrance and chapel of the old Währing village cemetery in 1900, before its modification into a public park (A-Wn, 33.571B/C)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFvOC4DKG_yjVa7KALcNGDOOXVjsqw4av6tNbfl6xMqQYoV5vp5ao2myvnj6Mjen2-pJfq_qul-yiVr2S1spcdOhxKxAs8xZ7BJsCb9qSo-5-sBBs6vyqkRVfw2rtc1Wda_KGnVVMlfQ/s1600/IMG_20171024_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFvOC4DKG_yjVa7KALcNGDOOXVjsqw4av6tNbfl6xMqQYoV5vp5ao2myvnj6Mjen2-pJfq_qul-yiVr2S1spcdOhxKxAs8xZ7BJsCb9qSo-5-sBBs6vyqkRVfw2rtc1Wda_KGnVVMlfQ/s320/IMG_20171024_1.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The same area today, seen across the Währingerstraße: on the left is the old entrance area, on the right is the underground garage beneath the western part of the Schubertpark which in 2003 could only be built after the remains of thousands of bodies had been disinterred and transferred to Vienna's Zentralfriedhof. For a photograph that shows this ramp shortly before the opening of the park, see <a href="http://anno.onb.ac.at/cgi-content/anno?aid=dib&datum=19250604&seite=5&zoom=33" target="_blank"><i>Das interessante Blatt</i></a> of 4 June 1825.</span></div>
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In the second half of the nineteenth century, the cemetery simply proved too small and too close to the city's densely developed area to be used for burials any longer. On 2 May 1873, the Vienna City Captaincy issued a decree prohibiting all further burials as of 1 May in crypts and own graves and in all shaft graves as of 20 May 1873. Mathias Zehrnpfennig, the gravedigger of the Ortsfriedhof at that time, entered the following note into the grave register:<br />
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On May 4th, 1873 (Sunday) I received a written order from the honorable parish office to fill up the open shaft graves and not to open any of the local graves again without assignment from the parish. Decree from the City Captaincy of May 2nd 1873 <strike>N</strike>° 1646</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMP0ezk_xPX0wFnSLVY91l-xSWzkWOgGLNv6rBx2WLJ7ZrN442kJyC8qYQkn5k6EesMBRffjbeVA_bu-1RFdCnNsxZPqFmnGAoqPQOIndAu5sZCPONVDVSKQ4mj5k5gX7NyTpsV-3vCh8/s1600/Zehrnpfennig+1873.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="1237" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMP0ezk_xPX0wFnSLVY91l-xSWzkWOgGLNv6rBx2WLJ7ZrN442kJyC8qYQkn5k6EesMBRffjbeVA_bu-1RFdCnNsxZPqFmnGAoqPQOIndAu5sZCPONVDVSKQ4mj5k5gX7NyTpsV-3vCh8/s320/Zehrnpfennig+1873.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Mathias Zehrnpfennig's entry in his <i>Gräberbuch</i> concerning the closing of the cemetery (A-Wsa, Serie 1.2.4.3.1802, Währing Ortsfriedhof, B1-Gräber: alt: XVIII-B-2, fol. 2r)</span></div>
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The owners of crypts and graves <a href="http://anno.onb.ac.at/cgi-content/anno?aid=nfp&datum=18730910&seite=5&zoom=33" target="_blank">filed an appeal</a> against this decree which was overruled by the City Captaincy. The last burial in the Währinger Ortsfriedhof took place on 11 August 1873 (A-Wsa, Serie 1.2.4.3.1802, Währing Ortsfriedhof, B1-Gräber: alt: XVIII-B-2, fol. 69v). As of this date, the register of graves only documents the hundreds of exhumations that were performed until the cemetery's final disbandment in 1919.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi8-3Sgtjy1aWz8Lr3l5GE6NK9GKcA0NucWbzAyUFn6Ur80VJ46_veMHqWxzGyq3WAj89Gq700x95UU3yljWtpQCbeE-m7x299WV9jExj7lV1QsmsdYaWLt7Ya8_WcEFOwARu7q0r48ik/s1600/Register+1876_77.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="987" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi8-3Sgtjy1aWz8Lr3l5GE6NK9GKcA0NucWbzAyUFn6Ur80VJ46_veMHqWxzGyq3WAj89Gq700x95UU3yljWtpQCbeE-m7x299WV9jExj7lV1QsmsdYaWLt7Ya8_WcEFOwARu7q0r48ik/s320/Register+1876_77.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Two pages from the Gräberbuch of the Ortsfriedhof covering exhumations in 1876 and 1877. The first entry refers to the transfer of the remains of <a href="https://de.wikipedia.org/wiki/Joseph_B%C3%B6hm_(Violinist)" target="_blank">Joseph Böhm</a>'s wife to the grave of her husband in the Zentralfriedhof who had died a week earlier (A-Wsa, Serie 1.2.4.3.1802, Währing Ortsfriedhof, B1-Gräber: alt: XVIII-B-2, fol. 70v and 71r).</span></div>
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From all over the Monarchy requests were submitted to the Magistrate to have relatives exhumed and transferred to other Viennese cemeteries. The Magistrate itself took care of the transfer of the most prominent persons, such as Beethoven, Schubert, Nestroy, Grillparzer, <a href="https://de.wikipedia.org/wiki/Eduard_van_der_N%C3%BCll" target="_blank">van der Nüll</a>, <a href="https://en.wikipedia.org/wiki/Johann_Peter_Frank" target="_blank">Frank</a>, <a href="https://de.wikipedia.org/wiki/Johann_Baptist_Lampi_der_%C3%84ltere" target="_blank">Lampi</a><a href="https://de.wikipedia.org/wiki/Johann_Baptist_Lampi_der_%C3%84ltere" target="_blank"> the Elder</a> and [possibly] <a href="https://de.wikipedia.org/wiki/Johann_Baptist_Lampi_der_J%C3%BCngere" target="_blank">the Younger</a>, <a href="https://en.wikipedia.org/wiki/Antonie_Adamberger" target="_blank">Antonie von Arneth</a>, <a href="https://de.wikipedia.org/wiki/Heinrich_von_He%C3%9F" target="_blank">von Heß</a>, and <a href="https://de.wikipedia.org/wiki/Eugen_Megerle_von_M%C3%BChlfeld" target="_blank">Megerle von Mühlfeld</a>. Whole families were exhumed to Hietzing, Meidling, or the Zentralfriedhof, many of whose graves were still to be forgotten and lost in the course of the following decades. The many exhumations made it necessary to extend the deadline of the closing several times. These extensions also applied to the Allgemeiner Währinger and the <a href="https://www.geschichtewiki.wien.gv.at/Schmelzer_Friedhof" target="_blank">Schmelzer Friedhof</a> which were scheduled to be disbanded at the same time. In August 1896, the deadline of the complete clearing of the cemetery was extended to 31 December 1897.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7pQ5_-MydTPQRxrzttSAwRk8_Iwal1p0I_5-O_zMKEGIKbxFQ66Ukte0WGvOEfljPZ5Jkp7cxtwrGzKnfLuXU1DiTPPLbnWf-N8Yx7SBFXrqd4MjgThEPWhshNz6yzfX9_ILwhPylOX0/s1600/Kundmachung+1896.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1106" data-original-width="757" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7pQ5_-MydTPQRxrzttSAwRk8_Iwal1p0I_5-O_zMKEGIKbxFQ66Ukte0WGvOEfljPZ5Jkp7cxtwrGzKnfLuXU1DiTPPLbnWf-N8Yx7SBFXrqd4MjgThEPWhshNz6yzfX9_ILwhPylOX0/s320/Kundmachung+1896.jpg" width="219" /></a></div>
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<span style="font-size: x-small;">The announcement by the Vienna Magistrate that the deadline of the projected vacation of the Währinger Ortsfried, allgemeiner Währinger Friedhof and the Schmelzer Friedhof has been extended from 1 July 1897 to 31 December 1897 (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel 5, Währinger Ortsfriedhof)</span></div>
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On 2 September 1912, the Währing parish and the City of Vienna signed a contract whereby the cemetery was sold to the City for 640,000 kronen. The two parties agreed that the money had to be invested in the construction of a new parish church and that the amount had to be paid in two installments in 1913 and 1914. Owing to objections from the Central Commission for the Preservation of Historical Monuments and the ministry of cultural affairs, the City of Vienna, however, was unable to get the purchase contract approved. In 1913 the transaction was suspended and after the beginning of the war the Magistrate postponed the closing of the cemetery for an indefinite period of time. The exact circumstances of the final change of ownership are difficult to ascertain. In May 1919, the City of Vienna claimed her right of ownership according to the 1912 contract and seems to have paid several billions of kronen for the cemetery. The legal dispute between the parish and the Magistrate continued until 1924. In May 1919, the final date of the closing of the cemetery was set at 1 August 1919.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWFcFuuVL4saI6WaZPlE0975k0rUndi_qKlnLSBdftjNPtwEFQrKOicY4xjJ_5wce4Ac0ONlJLccbD4QjLQbKVwZok2TSethaQla7n2YLE4aURZcAMpbed8se2dg5ADB60H-RNFILOSY/s1600/MA+X+1679_1919.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="980" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWFcFuuVL4saI6WaZPlE0975k0rUndi_qKlnLSBdftjNPtwEFQrKOicY4xjJ_5wce4Ac0ONlJLccbD4QjLQbKVwZok2TSethaQla7n2YLE4aURZcAMpbed8se2dg5ADB60H-RNFILOSY/s320/MA+X+1679_1919.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The announcement by the municipal department X concerning the final closing of the Ortsfriedhof on 1 August 1919 (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel 5, Währinger Ortsfriedhof)</span></div>
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The municipal administration now began to realize the cemetery's transformation into a public park, a project that dated back to 1913. The following two plans, drawn by the <i>Wiener Stadtbauaumt</i> in May and October 1913, show the two states of the cemetery, before and after its projected transformation into a public park. The left design shows many crypts in their original location. At the right margin, circled in red, are the graves of Beethoven and Schubert, with the crypt of Count John O'Donnell (1762–1828) still between them, because it was a "Stiftungsgrab" which was meant to be preserved. The design on the right shows the first park project with many graves still in their original places and a rondeau in the center. For reasons of piety this project was never realized. As one official put it: "To have children's playgrounds beside graves is not acceptable".</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1vhQcYFh-6XG-YCJBomxc6wim57OLZOyt9sIjI4xs54K8kQM8OVoFzK7lRvutgOR1Yweei-yDyNxNGjghY9G-XLGvXN62jeP_8-VBeEDhYphCaMolNPIvyJ4nBCPTBRIyHKUAkUtw4qA/s1600/Stadtbauaumt+1913+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1426" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1vhQcYFh-6XG-YCJBomxc6wim57OLZOyt9sIjI4xs54K8kQM8OVoFzK7lRvutgOR1Yweei-yDyNxNGjghY9G-XLGvXN62jeP_8-VBeEDhYphCaMolNPIvyJ4nBCPTBRIyHKUAkUtw4qA/s320/Stadtbauaumt+1913+%25282%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Two plans of the area of the Währinger Ortsfriedhof drawn by the <i>Wiener Stadtbauamt</i> in May and October 1913 with Beethoven's and Schubert's graves circled in red (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel 5, Währinger Ortsfriedhof). The Schulgasse is at the bottom,the then Karl-Beck-Gasse at the left (west of the cemetery) is today's <a href="https://www.geschichtewiki.wien.gv.at/Teschnergasse" target="_blank">Teschnergasse</a>. For a comparison with today's situation, see a current <a href="https://goo.gl/maps/DTnniEJwiyB2" target="_blank">satellite photo</a> of the park.</span></div>
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A previously unpublished map of the cemetery from 1914 shows all the remaining graves with their numbers which, with the help of a handwritten list, can be attributed to the buried individuals. Since the Deym family grave was disbanded in 1909, it does not appear on this map.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48qK6d7YFOm8aA7r4vg20hV5xB8IF1vAhgnNnQq8GJc70Px-6VE8UJSbiUqetdmtzp6ZUVHVJitXc0r9eMKA-FQ_c2RnP32QpGBA6y0MD16ENORAoQrG3rL60xTvHb7Cvxg4YR3UbRiI/s1600/Cemetery+1914.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="645" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48qK6d7YFOm8aA7r4vg20hV5xB8IF1vAhgnNnQq8GJc70Px-6VE8UJSbiUqetdmtzp6ZUVHVJitXc0r9eMKA-FQ_c2RnP32QpGBA6y0MD16ENORAoQrG3rL60xTvHb7Cvxg4YR3UbRiI/s400/Cemetery+1914.jpg" width="161" /></a></div>
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<span style="font-size: x-small;">A map of the Währinger Ortsfriedhof from 1914 showing all crypts and graves that still existed at that time (A-Wsa, 1.1.10. Totenbeschreibamt, A5, Friedhofsabräumungen). The path along the left (west) side was called the "Inzaghigang".</span></div>
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It is particularly interesting to see who was buried in the vicinity of Schubert's and Beethoven's first graves. The crypt of the Hardmuth family and Baroness Marie Schlechta von Wschehrd (1869–1872), between O'Donnell and Beethoven, was vacated in 1895 (for August Stauda's 1903 photograph of the memorials see <a href="https://sammlung.wienmuseum.at/images/objects/371214/506247_full.jpg" target="_blank">Wien Museum, I.N. 29573/6</a>). Opposite O'Donnell's crypt was that of Comte Andreas Florian de Mercy (1772-1840) and his wife Marianne, née von Stadion (1777–1833). Buried in grave No. 64, to the left (south) of Schubert, was Joseph Pompe (1787–1831), a privy councilor who was employed at the I. & R. lotto office. The location of Pompe's grave was certainly not a coincidence, because Pompe was a music aficionado and a close friend of <a href="https://de.wikipedia.org/wiki/Joseph_von_Spaun" target="_blank">Joseph von Spaun</a>. On the other side of Pompe's grave, until its transfer to the Zentralfriedhof in 1887, the crypt of the Metaxa family had been located (hence it is missing in the below map). Grave No. 60, right (on the below plan) of Beethoven's, was the <a href="http://www.bildarchivaustria.at/Preview/10583715.jpg" target="_blank">crypt</a> of the Oettingen-Wallerstein family. Buried in grave No. 263, opposite Beethoven, was the composer <a href="https://en.wikipedia.org/wiki/Ignaz_von_Seyfried" target="_blank">Ignaz von Seyfried</a>. Right beside Seyfried's grave was that of <a href="https://de.wikipedia.org/wiki/Franz_Clement" target="_blank">Franz Clement</a> (No. 262). A colored newspaper clip in one of Karl Blaschke's albums in the Wienbibliothek shows these two graves still in their original location.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBG0A4jE6Tc41FitO6wb-oB6b3QFWKo4OsxVHKmR64yMxX2RxBqZc47bgplJoMIE26mIVBrweU4727qwoA6uVc5TFg8I-WAaKDWjTbtDHJK4HIScNn8yqA_hdglVfOrK4JukFWrW4-cL4/s1600/Blaschke.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="485" data-original-width="915" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBG0A4jE6Tc41FitO6wb-oB6b3QFWKo4OsxVHKmR64yMxX2RxBqZc47bgplJoMIE26mIVBrweU4727qwoA6uVc5TFg8I-WAaKDWjTbtDHJK4HIScNn8yqA_hdglVfOrK4JukFWrW4-cL4/s320/Blaschke.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Seyfried's and Clement's graves on the upper right (No. 5) of one of Blaschke's colored newspaper clips (Karl Blaschke, <i>Alt-Wiener Ansichten</i>, A-Wst, d-172820/3, 17)</span></div>
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In 1924 Seyfried's and Clement's headstones were moved north into the Gräberhain where they now stand five meters apart facing opposite directions.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCSb5W3kD3eLH6hiNLzNXx1haA8sICulvKnbjVabo-TTFrRBfA6GxMRT7mXWPJ8Zuma5JGW7q-eLsPkj9FVhmBiabbujiNMQILp_At9IZfKqJpdFjBRcR1o0y0MQfztC6FTsTZpT86I4w/s1600/1914.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="998" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCSb5W3kD3eLH6hiNLzNXx1haA8sICulvKnbjVabo-TTFrRBfA6GxMRT7mXWPJ8Zuma5JGW7q-eLsPkj9FVhmBiabbujiNMQILp_At9IZfKqJpdFjBRcR1o0y0MQfztC6FTsTZpT86I4w/s320/1914.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The previously unknown situation around the empty graves of Schubert and Beethoven in 1914 (A-Wsa, 1.1.10. Totenbeschreibamt, A5, Friedhofsabräumungen)</span></div>
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The question of what to do with artistically important graves, of which twenty-five were so-called "Stiftungsgräber" (foundation graves), led to years-long discussions between the municipal instances and the parish which was a contracting party of most of these foundations. Some of these graves were preserved (Inzaghi, Peter, Rosenbaum), the remains of the other owners of foundation graves (such as Nestroy's sister Franziska and her daughter, Johanna Princess Bretzenheim von Régecz) were (allegedly) transferred into a newly installed crypt in the Währing parish church. The City's efforts to preserve the graves of historically significant people were hampered by the circumstance that the exhumation entries in the <i>Gräberbuch</i> end in 1888 and the department X had not archived a full set of records concerning the exhumations that had already taken place.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9HBTTxtgxWPWaooREQjXu6GqB6QkUyvXj37drv55Y37W7GG8ZIju4YQTLTjxZeMKJmNIUHYv06CG-ipdnsoFGhXd0D5UuTAmGZx7sILNWSJlG4WXk2Z5tA9Zcm5pyCf8xdyu6H9QQKPs/s1600/Gr%25C3%25A4berbuch+1888+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1021" data-original-width="711" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9HBTTxtgxWPWaooREQjXu6GqB6QkUyvXj37drv55Y37W7GG8ZIju4YQTLTjxZeMKJmNIUHYv06CG-ipdnsoFGhXd0D5UuTAmGZx7sILNWSJlG4WXk2Z5tA9Zcm5pyCf8xdyu6H9QQKPs/s320/Gr%25C3%25A4berbuch+1888+%25282%2529.jpg" width="222" /></a></div>
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<span style="font-size: x-small;">Mathias Zehrnpfennig's last entries in the <i>Gräberbuch</i> of the Ortsfriedhof covering the exhumations between 5 April and 25 June 1888. The next to last entry reads: "Den 21 Juni 1888 ist der Dondichter Ludwig von Beethoven in Zentralfridhof. überführt worden. Dt Witlscha [Doktor Witlaschil] Beethoven." (A-Wsa, Serie 1.2.4.3.1802, Währing Ortsfriedhof, B1-Gräber: alt: XVIII-B-2, fol. 75v).</span></div>
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In 1920 the City of Vienna tendered a competition among architects concerning the design of the park and the preservation of some of the memorials. From the nineteen designs that were submitted the jury discarded ten, awarded the 2nd prize (3,000 kronen) to seven of them, and proposed two for purchase. No 1st prize was awarded. The official report from the Magistratsabteilung 22 closes with the statement: "With regard to the current financial situation of the City of Vienna none of these designs will be realized for the time being."<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeiu4VIbHzn3cAnJHm_hhNR5R_X_ehdJPWRiSXKmHgX6-0YmeuvhKGitOhpqOkc9TNsSrkMflplkEx9sMocnqyDerGqkzPs54zIfHHY5q1dhHcBZRvYknP04vdSTRv4j6z0C92aau4VqI/s1600/Competition+1920.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1185" data-original-width="737" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeiu4VIbHzn3cAnJHm_hhNR5R_X_ehdJPWRiSXKmHgX6-0YmeuvhKGitOhpqOkc9TNsSrkMflplkEx9sMocnqyDerGqkzPs54zIfHHY5q1dhHcBZRvYknP04vdSTRv4j6z0C92aau4VqI/s320/Competition+1920.jpg" width="198" /></a></div>
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<span style="font-size: x-small;">The letter of the municipal department 22 to the department 13 concerning the result of the competition regarding the redesign of the cemetery into a park (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel 5, Währinger Ortsfriedhof)</span></div>
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In 1924, eventually, <a href="https://de.wikipedia.org/wiki/Karl_Dirnhuber" target="_blank">Karl Dirnhuber</a>'s design "Denkmalpflege" was <a href="http://anno.onb.ac.at/cgi-content/anno?aid=aze&datum=19240729&seite=4&zoom=33" target="_blank">realized</a>. The overall cost of the project amounted to <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=19240726&seite=7&zoom=33" target="_blank">2,17 billion kronen</a>. Dirnhuber also designed the residential building <a href="https://commons.wikimedia.org/wiki/Category:Karl_Dirnhuber#/media/File:Gemeindebau_Weimarer_Stra%C3%9Fe_Nr_1.JPG" target="_blank">Weimarer Straße 1</a> which is located east of the park, behind the empty graves of Beethoven and Schubert. The reburial of of countless remains and the relocation of some of the graves was accompanied by a number of gruesome incidents that were caused by lack of sufficient closure of the cemetery grounds. On <a href="http://anno.onb.ac.at/cgi-content/anno?aid=nfp&datum=19250608&seite=5&zoom=33" target="_blank">7 June 1925</a> the Viennese mayor Karl Seitz opened the Schubertpark to the public. On this occasion he planted an oak tree.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_EX-tRkt85Nk4MR6NYokd_EkdKm2WX6QL4PbmCn4WGiN73wyPPllWYgp0XnBn28qkFqtmSlkqC1cvwH_TLOD31kSJ4Rwz6wNX9UJkuIWf8eAFLvO-DBVBbQQUXsSy2ORKUKxgoS9Igx4/s1600/map.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="890" data-original-width="1056" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_EX-tRkt85Nk4MR6NYokd_EkdKm2WX6QL4PbmCn4WGiN73wyPPllWYgp0XnBn28qkFqtmSlkqC1cvwH_TLOD31kSJ4Rwz6wNX9UJkuIWf8eAFLvO-DBVBbQQUXsSy2ORKUKxgoS9Igx4/s320/map.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A map of the Schubertpark today: the dark green area is the walled Gräberhain, the round area with the shrub symbols at the bottom marks a dog park.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbuqG-yizZj-Wba-gvfVH1GvHjUf6B5ylBZHJiPxCz7S1cpgXoEDFQ3-ACQkHwZCx-BUPoMy5TvTuLNY1Cusk6B_BbqP69pKNniS41VM3-g47qhsMUXr5yFGZgBUnyxZzVQ4bk_dKVM3Q/s1600/IMG_20171128_153540.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbuqG-yizZj-Wba-gvfVH1GvHjUf6B5ylBZHJiPxCz7S1cpgXoEDFQ3-ACQkHwZCx-BUPoMy5TvTuLNY1Cusk6B_BbqP69pKNniS41VM3-g47qhsMUXr5yFGZgBUnyxZzVQ4bk_dKVM3Q/s320/IMG_20171128_153540.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A view across the Schubertpark towards north-east in November 2017: on the left, behind the wall is the Gräberhain with the top of the <a href="http://www.bildarchivaustria.at/Preview/9964606.jpg" target="_blank">Inzaghi monument</a> (which once was located at the cemetery's western wall) visible behind the wall. On the far right, at the former cemetery's eastern wall, are the kenotaphs of Beethoven and Schubert. Visible in the foreground is a part of the dog park.</span></div>
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<b>The Exhumation of the Deym Family in 1909</b><br />
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In October 1909, the Deym descendants of Josephine von Deym – probably her great-grandson Ottokar von Deym – commissioned the mortuary of Josef Klammerth to disinter their grandmother and her two children Victoire and Friedrich, and transport their remains to the <a href="https://de.mapy.cz/s/2eJUX" target="_blank">Deym family estate</a> in the Bohemian village of <a href="https://cs.wikipedia.org/wiki/Nemy%C5%A1l" target="_blank">Nemyšl</a>. The procedure had to follow strict regulations: the exhumation had to be performed in the presence of the district physician (in this case Dr. Moritz Breuer [1848–1918]), the metal coffin, wherein the remains of the three exhumed individuals were to be transported, had to be soldered airtight, put into a wooden coffin, and had to be accompanied on the train to Bohemia by an attendant. Furthermore, the transport had to leave Vienna early enough to allow the reburial on the very same day. The costs of such an exhumation are documented in the papers related to the disinterment of members of the Schlechta/Hardmuth family in 1895. The attending physician cost 5 gulden in addition to which an aptly-named "Beilagengebühr" of 50 gulden was charged.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik046PGf69pdgLn2vBf_Jo2EjZdrtUyi5zn_mC2CxQOb0SNajemmqq6CQ5X-SXAGYCoWfPMdMQar3A2WIjiw-CzgmuSRa3ClrArtzT34LwqYXJmeZaq8F-8j2JkxQrQVwOJ-xx9MlP75E/s1600/Schlechta.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="1130" height="103" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik046PGf69pdgLn2vBf_Jo2EjZdrtUyi5zn_mC2CxQOb0SNajemmqq6CQ5X-SXAGYCoWfPMdMQar3A2WIjiw-CzgmuSRa3ClrArtzT34LwqYXJmeZaq8F-8j2JkxQrQVwOJ-xx9MlP75E/s320/Schlechta.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The note in the exhumation documents of the Schlechta family from 1895 concerning the costs of the procedure (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel 5, Währinger Ortsfriedhof)</span></div>
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On 7 October 1909, the permission to have the Deym family exhumed from the grave in Währing was granted by the Vienna Magistrate.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8YO3OeetL9d5m01gdBE4CGl1Cpyc2ypszm-yy-CWj6-wAuQJPDMYjwwMS-GTZ3YKShku6rKEd793bijTcRzQSXfSimWlsuiz7X6K02HuYuWMBgyXrgVzVnNPcbFajOYIaLdw0SjUfxUo/s1600/Image1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1247" data-original-width="762" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8YO3OeetL9d5m01gdBE4CGl1Cpyc2ypszm-yy-CWj6-wAuQJPDMYjwwMS-GTZ3YKShku6rKEd793bijTcRzQSXfSimWlsuiz7X6K02HuYuWMBgyXrgVzVnNPcbFajOYIaLdw0SjUfxUo/s320/Image1.jpg" width="195" /></a></div>
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<span style="font-size: x-small;">The permit for the exhumation of three members of the Deym family issued on 7 October 1909 by the department X of the Vienna Magistrate (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel 5, Währinger Ortsfriedhof)</span></div>
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<span style="font-size: small;">The translation of this document reads as follows.</span> <br />
<blockquote class="tr_bq">
Magistrate of Vienna, department X<br />
as political authority of the 1st instance.<br />
<br />
<u>M.-Dep. X, 7743 /09.</u><br />
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The undertaker firm Josef KLAMMERTH, IV. Favoritenstr. 42, [applies] for the exhumation of the bodies: 1.) of Countess Josefine DEYM, deceased in February 1821, 2.) of Countess Viktoria DEYM, deceased in February 1823 and of Fiedrich Count DEYM, deceased on 23 January 1853, from the crypt in the Währing village cemetery and the transport to Nemysl–Sudomeric, district of Tabor in Bohemia for the purpose of a reburial in the local cemetery.<br />
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Vienna, October 7th, 1909.<br />
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The exhumation of these bodies from the Währing village cemetery and the transfer to Nemysl–Sudomeric in Bohemia is being permitted, based on the decree of the I. & R. Ministry of Interior of 3 May 1874, Reichs-Gesetz-Blatt No. 56, under the following conditions: the exhumation is to be performed under the supervision and according to the orders of Dr. M. BREUER, municipal district physician, XVIII. Währingerstraße 71, who has to be consulted in this case.<br />
After the exhumation, the remains of all three bodies are to be kept in a simple coffin that has to be soldered airtight and are to be transferred to Bohemia by rail.<br />
The transport must be accompanied by a reliable individual as attendant whose name, profession and address has to disclosed to the public health department and the public health officer. Regarding the credentials of this attendant the I. & R. police authorities have to be contacted.<br />
Furthermore, the regulation in § 42 and 43 of the decree, issued by the I. & R. Ministry of trade of 10 December 1892, Reichs-Gesetz-Blatt No. 207, must be observed.<br />
The transport has to be scheduled at an early enough hour so that the body will arrive at the location of the burial on the same day before nightfall. The time of the body's arrival at the burial location has to be communicated in time to the I. & R. district physician, eventually by telegraph.<br />
All fees related to this exhumation must be paid before the procedure at the municipal coroner's office.<br />
This permit expires, if it is not put into use inside one year's time from today, or on the day of the clearing, if the Währing village cemetery should be cleared earlier.<br />
The honorable Währing parish office has attached the permit for the exhumation to the condition that the party will bear all the costs, that the cemetery warden will be reimbursed, and that after the exhumation the area around the crypt will be put in order again.<br />
For that purpose, compliance with these conditions has to be documented at the Währing parish office.<br />
For the head of the department:<br />
Bermann </blockquote>
On 14 October 1909, an exhumation assignment was issued by the department of funerary affairs of the municipal conscription office.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVCyDpuS6-aeq9D_7MuB9rFZfC71tEq8PR46sBa9ecYRxh8i7-c4Q4nqnXcHG7XhNYaQwPULyUTWX0kp6wIy3W4xo0bsO1rkIk8__bLtS2QlJqLOmm5NYTpIe2Z2ZDOtCfHfs4tdZZQAM/s1600/Image3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="960" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVCyDpuS6-aeq9D_7MuB9rFZfC71tEq8PR46sBa9ecYRxh8i7-c4Q4nqnXcHG7XhNYaQwPULyUTWX0kp6wIy3W4xo0bsO1rkIk8__bLtS2QlJqLOmm5NYTpIe2Z2ZDOtCfHfs4tdZZQAM/s320/Image3.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The order of exhumation by the municipal conscription office's department for burial affairs for the remains of Countess Deym and her two children Viktoria and Friedrich (A-Wsa, Serie 1.3.2.213.A3, Sonderfaszikel.5, Währinger Ortsfriedhof)</span></div>
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<blockquote class="tr_bq">
<u>Journ. A 16133</u> <u>M.<span style="font-size: xx-small;">=</span>Z. 7743/1909.</u> / Abt. X.</blockquote>
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Assignment of exhumation</div>
of the bodies of Countess Josefine Deym, deceased in 1821, Countess Viktoria Deym deceased in 1823 and Friedrich Count Deym deceased on 23 January 1853 from the crypt in the Währing village cemetery, and their transfer in a simple metal coffin to Nemysl–Sudomeric, Bohemia.<br />
The exhumation will take place on Saturday, October 16th, 1909 at 8 a.m.<br />
Conscription office (department for funerary affairs).<br />
Vienna, October 14th, 1909. [Johann] Gradwohl management assistant at the conscription office </blockquote>
In the morning of 16 October 1909, the remains of Josephine, Victoire, and Friedrich von Deym were taken to the <a href="https://en.wikipedia.org/wiki/Wien_Franz-Josefs-Bahnhof" target="_blank">Franz-Josefs-Bahnhof</a> from where they were transported with the <a href="https://en.wikipedia.org/wiki/Emperor_Franz_Joseph_Railway" target="_blank">Franz-Josefs-Bahn</a> to <a href="https://cs.wikipedia.org/wiki/Sudom%C4%9B%C5%99ice_u_T%C3%A1bora" target="_blank">Sudoměřice u Tábora</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTL24h3TZ2-86mcwFRxk5hld7LY0oA98Vqgy7CFpOPllK-DqBE9K0hmVd6Gi2hSyEoMAgLuanh0geeGKwP_RumH35PekMbUaD5DFwigrv3brQUaMvtrgGVHeTNqXS69NhqMLexjSOPqY4/s1600/A-Wn%252C+116.721B_C.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="535" data-original-width="800" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTL24h3TZ2-86mcwFRxk5hld7LY0oA98Vqgy7CFpOPllK-DqBE9K0hmVd6Gi2hSyEoMAgLuanh0geeGKwP_RumH35PekMbUaD5DFwigrv3brQUaMvtrgGVHeTNqXS69NhqMLexjSOPqY4/s320/A-Wn%252C+116.721B_C.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The old Franz-Josefs-Bahnhof in Vienna from where Josepine von Deym's remains departed to <a href="https://www.blogger.com/null" target="_blank">Nemyšl</a> (A-Wn, 116.721B_C)</span></div>
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Concerning Josephine von Deym's and her two children's final resting place in Bohemia there are two possibilities: since Nemyšl has no own cemetery, the coffin was either transported to the parish village <a href="https://cs.wikipedia.org/wiki/Chotoviny" target="_blank">Chotoviny</a> where it was buried in the <a href="https://goo.gl/maps/ZuRFfoJe3Mo" target="_blank">local cemetery</a>, or – more likely – taken to Nemyšl and put into a private family crypt. Further research will be necessary concerning the exact location of Josephine von Deym's final resting place. The 1909 burial records of the <a href="https://digi.ceskearchivy.cz/DA?menu=0&doctree=1nric&id=4066" target="_blank">Chotoviny parish</a> have not yet been transferred to the <a href="http://www.ceskearchivy.cz/" target="_blank">Třeboň Regional Archives</a>, but, since reburials did not demand a religious ceremony, it is unlikely that these records will offer any new information.<br />
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<b>The Exhumations of three other Piano Pupils of Beethoven</b><br />
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Josephine von Deym was not the only one of Beethoven's piano pupils whose remains were to be exhumed in the twentieth century. On 22 March 1856, at 2.45 p.m., Julie Countess von Gallenberg née von Guicciardi – Josephine von Deym's cousin and the dedicatee of <a href="https://en.wikipedia.org/wiki/Piano_Sonata_No._14_(Beethoven)" target="_blank">Beethoven's Piano Sonata No. 14</a> – died of old age in the house Stadt 322 ("<a href="https://www.geschichtewiki.wien.gv.at/Zum_Hahnenbei%C3%9F" target="_blank">Zum Hahnenbeiß</a>", today Am Hof 5). On 25 March 1856 she was consecrated in the <a href="https://de.wikipedia.org/wiki/Kirche_am_Hof_(Wien)" target="_blank">Kirche Am Hof</a> (Am Hof 5, fol. 26) and transported across the <a href="https://www.geschichtewiki.wien.gv.at/Wien_9,_Nu%C3%9Fdorfer_Linie_(1837)" target="_blank"><i></i></a><i><a href="https://www.blogger.com/null" target="_blank">Nussdorfer Linie</a></i> where she was buried in the <a href="https://www.geschichtewiki.wien.gv.at/W%C3%A4hringer_Allgemeiner_Friedhof" target="_blank">Währinger Allgemeiner Friedhof</a>, in an own grave in row 23. The costs of this procedure are documented in Countess Gallenberg's probate records: her burial cost 265 gulden, the tombstone 95 gulden and 40 kreuzer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOIGL8O4uVv7t3ALxwYg2FCI81MaUa_B-HhECq5T03SrxS81o0_W89nXmjXxDPVvIukKUgnG3ICZyM7egVOr1ToY3Vg5nE5F3dTFsxjozR8LEVM0-7235ahRkSSQzZsRsj82EyR_xOzbA/s1600/Gallenberg%252C+A+1173_1856.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="993" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOIGL8O4uVv7t3ALxwYg2FCI81MaUa_B-HhECq5T03SrxS81o0_W89nXmjXxDPVvIukKUgnG3ICZyM7egVOr1ToY3Vg5nE5F3dTFsxjozR8LEVM0-7235ahRkSSQzZsRsj82EyR_xOzbA/s320/Gallenberg%252C+A+1173_1856.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The costs of Julie von Gallenberg's burial and her tombstone listed in her 1856 <i>Sperrs-Relation</i> (A-Wsa, BG Innere Stadt [I], A4, A 1173/1856). It is to be noted that at the time of her death Julie von Gallenberg did not own a piano.</span></div>
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In 1858 and 1864 Julie's sons Joseph and Hector von Gallenberg were also buried in this grave. Her four other children (Hugo, Marie, Friedrich, and Alexander) died outside of Vienna. When in 1923 the Währinger Allgemeiner Friedhof was converted into a public park (today's <a href="https://goo.gl/maps/mNQCxbtoiMz" target="_blank">Währingerpark</a>), the 280cm-tall granite monument was transferred to a separate area which (like in the Schubertpark) is today's Gräberhain. The note "Siehe wie bei Grab N° 1322" in the following entry in the register of graves refers to the grave of the general of the branch Joseph Baron von Lauer whose remains, on 24 August 1923, were exhumed and reburied in what was then called "Gedächtnishain" (memorial grove).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF-osSy1XnLF3JExtJFzlZglJTXDjGgotRAYbPNPdaa_OzIlwyX77t6-h6mUAKkr_zUHIzY-z8UJMg7ptsoya6Z6bmv_1VYcTpBZ2IKzb1nd-UCtP1LOk32nd7nhKjQDeDBFCvkSp-q0g/s1600/Gallenberg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="335" data-original-width="1366" height="98" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF-osSy1XnLF3JExtJFzlZglJTXDjGgotRAYbPNPdaa_OzIlwyX77t6-h6mUAKkr_zUHIzY-z8UJMg7ptsoya6Z6bmv_1VYcTpBZ2IKzb1nd-UCtP1LOk32nd7nhKjQDeDBFCvkSp-q0g/s400/Gallenberg.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry in the Währing grave register concerning the von Gallenberg family grave, the 280 cm granite stone, and the reburial of the three family members "in front of the memorial" in August of 1923 (A-Wsa,
Serie 1.2.4.3.7.B2.1 alt: II-G-3, Eigene Gräber, fol. 130r)</span></div>
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Julie von Gallenberg's date of birth, 23 November 1784, which also appears on her tombstone, has recently been described as being two years too late (Steblin 2009). However, since all Viennese sources, such as Guicciardi's marriage entries, her probate file and her tombstone (which Steblin failed to address) give 1784 as her year of birth, for the year 1782 to be correct, Julie Guicciardi's birth certicifate must have been a falsification.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJHP_nx0cFu4klFJbQBVpnPhWPghg_BMssTKd36dZd241cXi9KUtD6yNhl_1u3rN_MEj13zrveN7iRn04dA1-h1xbiL9pA0VftwUdiFMpyvyAXi1-m21md1BuwK4VVe6lXu2FA1aqM3zg/s1600/Julie+von+Gallenberg.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="553" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJHP_nx0cFu4klFJbQBVpnPhWPghg_BMssTKd36dZd241cXi9KUtD6yNhl_1u3rN_MEj13zrveN7iRn04dA1-h1xbiL9pA0VftwUdiFMpyvyAXi1-m21md1BuwK4VVe6lXu2FA1aqM3zg/s320/Julie+von+Gallenberg.JPG" width="236" /></a></div>
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<span style="font-size: x-small;">Julie Countess von Gallenberg's grave in the Gräberhain of Vienna's Währingerpark</span></div>
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Dorothea von Ertmann, arguably Beethoven's best piano pupil and dedicatee of his <a href="https://en.wikipedia.org/wiki/Piano_Sonata_No._28_(Beethoven)" target="_blank">Piano Sonata No. 28</a>, died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18490322&seite=8&zoom=33" target="_blank">16 March 1849</a> in the house Stadt 243 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=erJeRiXULUbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052805" target="_blank">Strauchgasse 1</a>).<br />
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<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lDoaMYCmyJZyNLWdEWdigydHTiflQ1KcbJjwo2koF8kR2Y9_u_UeAXJ4O3X9sQ8Up79TG7s3iwfYbS9jRmtHXp_MmWEaRwZPNhS8JX_Wy9VfLj1C9r93sTUAB6-98aYB9fuPdA49DGc/s1360/Ertmann%252C+Stadt+243_11v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="740" data-original-width="1360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lDoaMYCmyJZyNLWdEWdigydHTiflQ1KcbJjwo2koF8kR2Y9_u_UeAXJ4O3X9sQ8Up79TG7s3iwfYbS9jRmtHXp_MmWEaRwZPNhS8JX_Wy9VfLj1C9r93sTUAB6-98aYB9fuPdA49DGc/s320/Ertmann%252C+Stadt+243_11v.jpg" width="320" /> </a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Baroness Dorothea von Ertmann listed in 1846 as "kk Feldmarschalleutnantswitwe von Frankfurt a. M." on a conscription sheet of her last residence Stadt 243 (A-Wsa, Konskriptionsamt, Stadt 243/11v)</span><br /></div><br />
As the cause of Ertmann's death the records give "Übersetzung des Krankheitsstoffes auf das Gehirn" (transfer of the contagious matter to the brain). On 18 March 1849, Ertmann was consecrated in the Schottenkirche and transported to the Währinger Allgemeiner Friedhof where she was buried in the cemetery's twelfth row. The register of graves of this cemetery describes her headstone as "1'20 M. S." (1,20 meters tall, sandstone). In August 1923 the remains of Baroness Ertmann were disinterred, her monument was transferred into the "Gedächtnishain" and she was reburied under the monument (whose plaque is now lost).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiXc34ZaR2oRwxpBXaVG_WM2JyK8zqa5-TjmhegqNq6cm41cavvjOnIgCOK41f1SrNslF1sBSKPob5h0OzhTBfAfqcC0RnqSH-mCkgIO4Womp-7gHZiN4bxGp2Zp9O0R6mkQbCKeU6OE/s1600/Ertmann.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="1347" height="86" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiXc34ZaR2oRwxpBXaVG_WM2JyK8zqa5-TjmhegqNq6cm41cavvjOnIgCOK41f1SrNslF1sBSKPob5h0OzhTBfAfqcC0RnqSH-mCkgIO4Womp-7gHZiN4bxGp2Zp9O0R6mkQbCKeU6OE/s400/Ertmann.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry in the grave register of the Währinger Kommunalfriedhof concerning Dorothea von Ertmann's grave and her reburial in August 1923 "under the monument" (A-Wsa, Serie 1.2.4.3.7.B2.1 alt: II-G-3, Eigene Gräber, fol. 87r)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqNEvM5awowNHrClloPJfy4hyVJ81q5XHEPAycU3Z2wQbmBEmgdzFhSDt2YLL6xBrfK3umzy7LU4_8arM9mF9rkSkn_6MtKnvUHbsQHJ9QW7DTrLkzmORvnb2p9BEg0D7GNUwvjTbgG8/s1600/Dorothea+von+Ertmann.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="539" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqNEvM5awowNHrClloPJfy4hyVJ81q5XHEPAycU3Z2wQbmBEmgdzFhSDt2YLL6xBrfK3umzy7LU4_8arM9mF9rkSkn_6MtKnvUHbsQHJ9QW7DTrLkzmORvnb2p9BEg0D7GNUwvjTbgG8/s320/Dorothea+von+Ertmann.JPG" width="239" /></a></div>
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<span style="font-size: x-small;">Dorothea Baroness von Ertmann's grave in the Gräberhain of the Währingerpark. Ertmann's husband is not buried in Vienna, he died in 1835 in Milan.</span></div>
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<a href="https://en.wikipedia.org/wiki/Therese_Malfatti" target="_blank">Therese Baroness von Droßdik</a>, née Malfatti, ennobled von Rohrenbach zu Dezza, was one of the most colorful members of of Beethoven's circle of friends. The fact that Beethoven, at some time, allegedly planned to propose to her, or that she has been presented as possible dedicatee of the bagatelle WoO 59, <a href="https://en.wikipedia.org/wiki/F%C3%BCr_Elise" target="_blank"><i>Für Elise</i></a>, cannot be addressed in this blog post. Regarding this topic, I refer to three of my publications (Lorenz 2001, 2011, and 2013). Like the aforementioned Josephine von Deym, Julie von Gallenberg, and Dorothea von Ertmann, Therese von Droßdik, too, was not allowed to remain in her first grave.<br />
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Therese von Droßdik died of dropsy on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18510504&seite=8&zoom=33" target="_blank">27 April 1851</a> in the house Stadt 1038 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=M2djRvKxIUbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052661" target="_blank">Kärntner Straße 38</a>, Vivaldi's last residence). Two days later, she was buried close to her parents in the Matzleinsdorf cemetery. This was carried out in accordance with her will of 1844 where she had written the following:<br />
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<span style="font-size: x-small;">A clip from Therese von Droßdik's will where she refers to her burial (A-Wsa, Landesgericht f. ZRS, Testament 1121/1844). This document was first published in Lorenz 2001, 80.</span></div>
<blockquote>
[...] ferners ersuche ich mein Leichenbegängniß so wie bereits gesagt so einfach wie möglich nehmlich 3<span style="font-size: x-small; vertical-align: super;">ter</span> Claße eine fromme Seelenmeße, u. ein eigenes Grab zur Beerdigung, wo möglich an der Seite meiner entschlafenen Eltern.</blockquote><i>[translation:]</i><br />
<blockquote>
[...] furthermore I request my burial ceremony to be as simple as possible, as stated above, in the 3rd class, a pious requiem mass, and an own grave for the burial, if possible beside my departed parents. </blockquote>
Right beside each other, in the graves 461–465 in row two of the Matzleinsdorf cemetery, five members of the Malfatti and Gleichenstein families lay buried in the following order.<br />
<ol>
<li>Therese's father Jacob Friedrich Malfatti von Rohrenbach (1769–1829)</li>
<li>
Therese's nephew Arthur Baron von Gleichenstein (1817–1828)</li>
<li>Therese's brother-in-law Ignaz Baron von Gleichenstein (1778–1828), the dedicatee of Beethoven's <a href="https://en.wikipedia.org/wiki/Cello_Sonata_No._3_(Beethoven)" target="_blank">Cello Sonata op. 69</a> (the widely held opinion that Gleichenstein therefore was an amateur cellist, is corroborated by no source at all)</li>
<li>Therese von Droßdik (1792–1851) herself (whose husband Wilhelm Baron von Droßdik died on 9 June 1852 in <a href="https://en.wikipedia.org/wiki/Buda" target="_blank">Buda</a>)</li>
<li>Therese's mother Theresia Malfatti von Rohrenbach, née von Velsern (1769–1829) (she was obviously buried in a separate grave, because she died only seven months after her husband)</li>
</ol>
The note "Ex 1909" in the entries concerning these five graves in the Matzleinsdorf grave register shows that all the above people were exhumed in 1909. It is not known where the remains of these prominent individuals were reburied, neither is it known who commissioned the disinterment. It would seem likely that the Gleichenstein family initiated the procedure. My inquiry with <a href="http://www.gleichenstein.de/" target="_blank">this family</a> in Vogtsburg-Oberrotweil, however, was met with great surprise. The Gleichensteins were completely unaware of the exhumation of Ignaz von Gleichenstein, the most prominent member of their family.<br />
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<span style="font-size: x-small;">The entry concerning the graves of five members of the Malfatti von Rohrenbach, von Gleichenstein, and von Droßdik family in Matzleinsdorf and their exhumation in 1909 (A-Wsa, Serie 1.2.4.3.4.B2.1 alt: II-D-2, Eigene Gräber, fol. 30v and 31r). The Antonia Binner, née Lanner, who appears at the top left as having been buried in 1828 in grave No. 460, was an aunt of the composer <a href="https://en.wikipedia.org/wiki/Joseph_Lanner" target="_blank">Joseph Lanner</a>.</span></div>
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The grave registers pertaining to reburials in 1909 in the Zentralfriedhof, held by the Vienna City Archive, are currently inaccessible due to severe mold damage. The records in the archive of the <i>Friedhöfe Wien GmbH</i>, which I have not been able to check, will certainly provide more information. The results of this research will be of small relevance however, because, since the five Gleichenstein/Malfatti graves do not appear in Vienna's <a href="https://www.friedhoefewien.at/grabsuche_de" target="_blank">database of graves</a>, they must have been vacated at some point in the twentieth century anyway.<br />
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<b>Back to Baroness von Stackelberg (and yet another Grave)</b><br />
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In 1954 <a href="https://de.wikipedia.org/wiki/Siegmund_Kaznelson" target="_blank">Siegmund Kaznelson</a> presented the hypothesis that Josephine von Stackelberg's daughter Minona could have been an illegitimate child of Beethoven. This theory was not entirely unsubstantiated. After all, Christoph von Stackelberg had supposedly left his family in June 1812, and Minona was born on 8 April 1813, nine months after that supposed night of love on 3 July 1812 in Prague which, a few days later, triggered Beethoven's epistolary outburst. While the French historians <a href="https://fr.wikipedia.org/wiki/Jean_Massin" target="_blank">Jean</a> and <a href="https://fr.wikipedia.org/wiki/Brigitte_Massin" target="_blank">Brigitte Massin</a> considered Kaznelson's idea quite sensible, to some established Beethoven scholars the actual existence of a child of Beethoven appeared much too sensational and adventurous to be accepted as a tenable scenario. Most of the current Josephine advocates are now convinced that Minona von Stackelberg was Beethoven's daughter and they have expressed this belief in several publications.<br />
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In an uncanny way, research on exhumations in the Währinger Ortsfriedhof during the late nineteenth century leads back to Beethoven and the eternal issue of the <i>Immortal Beloved</i>, albeit along a totally different trail. Several paths in the old Währing village cemetery were named after prominent crypts that were located along them. The "Inzaghigang" went along the last row of graves on the western side and the "Grillparzergang" marked the way on the south side towards the poet's crypt. The exact location of the "Banffygang" could not been determined yet. It probably went straight across the cemetery, because from 1870 until 1901, when her remains were transferred to St. Florian, <a href="https://en.wikipedia.org/wiki/Anton_Bruckner" target="_blank">Anton Bruckner</a>'s sister Anna lay buried in an "own grave, 4 Schuh wide, beside Aloisia Steinböck, in the 5th<span style="font-size: x-small;"> </span>group on the right, along the Banffy-Gang" (A-Wsa, Serie 1.2.4.3.1802, Währing Ortsfriedhof, B1-Gräber: alt: XVIII-B-2, fol. 12r). This path was named after the crypt of Dionys Count Bánffy de Losoncz and his wife Johanna, née Baroness Schilling von Cannstatt. <a href="https://hu.wikipedia.org/wiki/B%C3%A1nffy_D%C3%A9nes_(kamar%C3%A1s)" target="_blank">Count Dionys von Bánffy</a> was born on 21 May 1780 in Hermannstadt (today <a href="https://en.wikipedia.org/wiki/Sibiu" target="_blank">Sibiu</a>), member of one of Hungary's oldest noble families. His father was Georg von Bánffy de Losoncz (1748–1822), freemason, friend of Joseph II, and subscriber of Mozart's three concerts in the <a href="http://michaelorenz.blogspot.co.at/2013/09/mozart-in-trattnerhof.html" target="_blank">Trattnerhof</a> in March 1784. Like his father, Dionys Count Bánffy, who <a href="https://books.google.at/books?id=D5XT7ZwWcD8C&pg=PA46" target="_blank">in 1804</a> was appointed to the honorary post of I. & R. chamberlain, was a great lover of music. The fact that in 1807 the <a href="https://it.wikipedia.org/wiki/Trapani" target="_blank">Trapani</a>-born guitarist and composer Matteo Bevilacqua (1768–1821) dedicated his sonata for guitar and piano op. 50 to Bánffy, shows that Bánffy must have been an amateur musician. On 30 April 1813, in St. Stephen's Cathedral (A-Wd, Tom. 83a, fol. 81), Count Bánffy married Johanna Baroness Schilling von Cannstatt who had been born on 13 August 1789 in Reval (today <a href="https://en.wikipedia.org/wiki/Tallinn" target="_blank">Tallinn</a>), member of the Thalheim branch of the family and younger sister of the noted pioneer of telegraphy <a href="https://de.wikipedia.org/wiki/Paul_Ludwig_Schilling_von_Cannstatt" target="_blank">Paul Ludwig Schilling von Cannstatt</a>. The Bánffys became important patrons of music who in their apartment at Stadt 281 (now <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=UTFhRvxCK0bC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052769" target="_blank">Graben 19</a>) entertained a musical salon which was well-attended by Vienna's nobility. The Bánffys took great interest in the talent of the piano prodigy <a href="https://en.wikipedia.org/wiki/Carl_Filtsch" target="_blank">Carl Filtsch</a> whose career they strongly supported (Short 2003, 361). On 26 April 1840, Ottilie von Goethe also listened to Filtsch perform at the Banffy home: "Der kleine [Filtsch] den die Gräfin unter ihrer Leitung bilden lässt hat ein ganz ausgezeichnetes Talent." (Goethe 1961, 88). Liszt and <a href="https://en.wikipedia.org/wiki/Carl_Tausig" target="_blank">Tausig</a> were among the performers at these soirées that even continued after Count Bánffy's death in 1854. On 16 January 1856, Franz Liszt arrived in Vienna to attend the centennial festivities for Mozart and to meet old friends and patrons. On 19 January 1856 Liszt wrote to <a href="https://en.wikipedia.org/wiki/Carolyne_zu_Sayn-Wittgenstein" target="_blank">Princess Carolyne zu Sayn-Wittgenstein</a>:<br />
<blockquote class="tr_bq">
Tout va passablement bien et quasi à souhait pour moi ici – seulement il faut que je sois dur pied, depuis 9 heures du matin jusqu'à minuit, pour ne pas faire de besogne au fond! J'ai à peine vu la moitié du monde que je dois voir. Dans une heure, je dînerai chez le P<span style="font-size: x-small; vertical-align: super;">ce</span> Esterhazy, demain j'attends réponse de M<span style="font-size: x-small; vertical-align: super;">r</span> de Metternich, auquel je viens d'écrire; M<span style="font-size: x-small; vertical-align: super;">me</span> Bánffy m'a accueilli les bras ouverts. (La Mara 1900, 299)</blockquote>
To <a href="https://en.wikipedia.org/wiki/Agnes_Street-Klindworth" target="_blank">Agnes Street-Klindworth</a> Liszt wrote on 3 February 1856:<br />
<blockquote class="tr_bq">
As far as old acquaintances go, I met again Prince and Princess Paul Esterházy (at whose home I dined a week ago), Prince Fritz Schwarzenberg, who still remains a rare specimen of knightly honor and grandseigneurial spirit, Count Schlick who has been dubbed rightly the Austrian army's "Bayard", Countess Bánffy (née Baroness de Schilling – a Russian) whom I saw again last year in Weimar and at whose home I met again Baron Jósika, Countess d'Acerenza, and Princess Khevenhüller [...]. (Pocknell 2000, 84)</blockquote>
In March 1858, on his way to Pest, Liszt was in Vienna where he again met Countess Bánffy (La Mara 1900, 418). On 14 April 1858, a big soirée took place at Countess Bánffy's about which Liszt reported to Princess Sayn-Wittgenstein as follows: "Avant-hier, il y a eu aussi grande soirée chez M<span style="font-size: x-small; vertical-align: super;">me</span> la C<span style="font-size: x-small; vertical-align: super;">sse</span> Bánffy. Tausig et <a href="https://en.wikipedia.org/wiki/Ferdinand_Laub" target="_blank">Laub</a> y ont joué. Le C<span style="font-size: x-small; vertical-align: super;">te</span> Lanckoronsky ayant refusé aux chanteurs italiens la permission d'y chanter, j'ai pris sur moi de dédommager M<span style="font-size: x-small; vertical-align: super;">me</span> Bánffy de ce désappointement." (La Mara 1900, 432f.)<br />
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What do Countess Bánffy's soirées have to do with Josephine von Stackelberg and Beethoven's <i>Immortal Beloved</i>? Closer research on Dionys and Johanna Bánffy de Losoncz reveals that Minona von Stackelberg, Beethoven's alleged daughter, lived in the Bánffys' home. She actually made Franz Liszt's acquaintance, because she was present at the aforesaid soirées.<br />
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After Christoph von Stackelberg's death in 1841, his daughters Maria Laura and Minona moved to Hosszufalu (today <a href="https://en.wikipedia.org/wiki/Satulung" target="_blank">Satulung</a> in Romania) where their aunt Charlotte Teleki von Szék lived on <a href="https://ro.wikipedia.org/wiki/Satulung,_Maramure%C8%99#/media/File:K%C5%91v%C3%A1rhossz%C3%BAfalu_-_Teleki-kast%C3%A9ly.jpg" target="_blank">her estate</a>. Maria Laura died there in 1843, followed shortly by her aunt (Josephine's sister) Countess Teleki. Minona now went to Vienna where she moved in with the Bánffy couple at Stadt 281.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQHX_16Kj2rICcLTbSNW6JTKVXPfM0LfE-3mIEBsXP9eAQOlXaO4h-sEyLCzSk8Am8W6mMDZmRUWqUwr-SyLGhdiz7uQw9MWCW_ChoxXigKzBO8qDMq-CEa20sH1keG9IGDww4JqGU5xU/s1600/Graben+19.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="698" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQHX_16Kj2rICcLTbSNW6JTKVXPfM0LfE-3mIEBsXP9eAQOlXaO4h-sEyLCzSk8Am8W6mMDZmRUWqUwr-SyLGhdiz7uQw9MWCW_ChoxXigKzBO8qDMq-CEa20sH1keG9IGDww4JqGU5xU/s320/Graben+19.jpg" width="212" /></a></div>
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<span style="font-size: x-small;">Stadt 281 (Graben 19), the venue of the soirées of Countess Bánffy, where in 1856 and 1858 Minona von Stackelberg met Franz Liszt. This house was built in 1799.</span></div>
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It is possible that there had been some family relationship between the Stackelberg and the Schilling von Cannstatt families (after all, Johanna von Bánffy was born in Reval). Minona von Stackelberg became Countess Bánffy's lady companion. That she shared the apartment with the Bánffys is proved by two entries in two conscription sheets of Stadt 281. First, in 1857, Countess von Bánffy is registered as tenant of apartment No. 6 and "KK. Sternkreuzordensdame & Gutsbesitzerin [from] Rewall in Rußland". A note on the far right of the sheet reads: "Gemahl Graf Zionis[<i>sic</i>] Banffy <span style="text-decoration: overline;">854</span> in Wien gestorben. die Familie wohnt seit 40 Jahren in Wien." (The husband Count Dionys Banffy died in 1854 in Vienna. The family has been living in Vienna for 40 years).<br />
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<span style="font-size: x-small;">Countess Johanna von Bánffy registered in 1857 as living in apartment No. 6 of Stadt 281 (A-Wsa, Konskriptionsamt, Stadt 281/18v)</span></div>
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Minona von Stackelberg's name appears in the <i>Fremdentabelle</i> (table of foreigners) as resident of apartment No. 6, because she erroneously was considered a relative from Russia. The entry reads: "[apartment] 6 Minona Freiin von Stachelberg <span style="text-decoration: overline;">820</span> Anverwandte Rußland [Religion: Evangelisch Augsburger Confession] [Ist im Besitze eines Reise<span style="font-size: xx-small;">=</span>Dokuments] Ausl[änderin]". The other nine cohabitants of apartment No. 6 were the family physician Carl Erberg and other domestic staff.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd9Mt28-018M_thwNhdGgdaAWTiNrUYRI6F0SDvITSKMFmcs3Hj7FTHCw_uFaIj33WsnbKcT8_2nhDXJQL3usaIhUSQ2hrWNerKUDLyOsWA0M3JQqHpwGiaAlBCo0NQGpNTxhE8FfCxUg/s1600/Stadt+281_29v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="401" data-original-width="1292" height="99" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd9Mt28-018M_thwNhdGgdaAWTiNrUYRI6F0SDvITSKMFmcs3Hj7FTHCw_uFaIj33WsnbKcT8_2nhDXJQL3usaIhUSQ2hrWNerKUDLyOsWA0M3JQqHpwGiaAlBCo0NQGpNTxhE8FfCxUg/s320/Stadt+281_29v.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Minona von Stackelberg registered in 1857 as Countess Bánffy's Russian relative and housemate (A-Wsa, Konskriptionsamt, Stadt 281/29v) </span></div>
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Count Dionys von Bánffy de Losoncz died of old age on 3 July 1854, at 9:15 p.m. (St. Michael 13, fol. 89) and was buried first class on 6 July in an own crypt in the Währinger Ortsfriedhof along what was to become known as the "Bánffygang".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdD98AcON5SsjwFvfkd6m27jPgT6j4WdqCHtGhQrJ_psCc-LcGXSemys2a94_f4m-LY3jWqODLE1atCPgggKFbL_3Ym4GsMfDgs_BjhrhpFWSSZGr_FDi7iKj7D0IuyiCfSUOz1FeH_ek/s1600/Banffy+6.7.1854.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="974" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdD98AcON5SsjwFvfkd6m27jPgT6j4WdqCHtGhQrJ_psCc-LcGXSemys2a94_f4m-LY3jWqODLE1atCPgggKFbL_3Ym4GsMfDgs_BjhrhpFWSSZGr_FDi7iKj7D0IuyiCfSUOz1FeH_ek/s320/Banffy+6.7.1854.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the grave register concerning Count Bánffy's new crypt in the Währinger Ortsfriedhof "neben Direktor Prinz neu" (A-Wsa, Serie 1.2.4.3.1802, Währing Ortsfriedhof, B1-Gräber: alt: XVIII-B-1, fol. 32v)</span></div>
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At some time between 1861 (<a href="https://www.digital.wienbibliothek.at/periodical/pageview/298171" target="_blank">Lehmann 1861, 9</a>) and 1864 (<a href="https://www.digital.wienbibliothek.at/periodical/pageview/283890" target="_blank">Lehmann 1864, 99</a>), Countess Bánffy downsized her household and, together with Minona von Stackelberg, moved to <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=FJFjRvIAKUbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052177" target="_blank">Graben 10</a>. There, on 22 October 1865, at 5 p.m.(St. Michael 13, fol. 174), the Countess died of old age and on 25 October was buried in the family crypt in Währing (Währing 6, fol. 312). Countess Bánffy's main assets consisted of real estate near Klausenburg (today <a href="https://en.wikipedia.org/wiki/Cluj-Napoca" target="_blank">Cluj-Napoca</a>).<br />
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<span style="font-size: x-small;">The cover sheet of Countess von Bánffy's probate file (A-Wsa, BG Innere Stadt [I], A4, A 1002/65)</span></div>
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On 25 July 1896 (according to the municipal database), Dionys and Johanna von Bánffy were exhumed from their crypt in Währing and transferred to a new crypt in group 48A in the Zentralfriedhof. This transfer was certainly initiated by one of their many Hungarian relatives. It is not known if the original headstone was also moved to the Zentralfriedhof.<br />
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After Countess's Bánffy's death, Minona moved to <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=KFlhRoIUKUbC7rFEaIkPRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052691" target="_blank">Habsburgergasse 5</a> (the <a href="https://www.geschichtewiki.wien.gv.at/Cavrianisches_Haus" target="_blank">Cavrianisches Haus</a>) where on 21 February 1897 she died of "hypostatic pneumonia" (A-Wsa, Totenbeschreibamt 557, 1024f.).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiesJQVctCyNilmBpcuGRyLFF6WTvgx1cl3x35Ww-KJSEgS4GH1fhac2yq4tk-At-eRyQKa_CVJVDCbZain3ZjhR-Rm-T3lYUl3PbvJ1j-KDxXRrFrKwV8nmcQAARFjVa-50kFNJVquqGM/s1600/Habsburgergasse.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiesJQVctCyNilmBpcuGRyLFF6WTvgx1cl3x35Ww-KJSEgS4GH1fhac2yq4tk-At-eRyQKa_CVJVDCbZain3ZjhR-Rm-T3lYUl3PbvJ1j-KDxXRrFrKwV8nmcQAARFjVa-50kFNJVquqGM/s320/Habsburgergasse.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Minona von Stackelberg's last residence, Habsburgergasse 5. This is not an address of somebody who is in dire financial circumstances. Today this building houses the 4-star <a href="http://www.pertschy.com/en/" target="_blank">Pertschy Palais Hotel</a>.</span></div>
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Her <i>Sperrs-Relation</i> and the entry concerning her consecration in the records of the protestant Stadtpfarre show that Minona, in spite of having been baptized Catholic, had been raised in her father's confession of faith (Lutherische Stadtkirche 17, 29/1897). Minona von Stackelberg's probate file sheds light on her late years and her financial situation. On 14 March 1896 the district court had put her into guardianship of the lawyer Dr. Hugo Friedmann, due to a mental incapacition which is already addressed in the literature (La Mara 1920, 80). Unfortunately the file pertaining to this court decision – which contained a detailed genealogical chart – is not preserved (the <i>Kuratelsakten</i> of the BG Innere Stadt only survive as of 1898). Minona's main heir was her niece Countess Blanca von Deym (1832–<a href="http://anno.onb.ac.at/cgi-content/anno?aid=wsb&datum=19061110&seite=15&zoom=44" target="_blank">1906</a>), a daughter of Minona's half-brother Karl von Deym (1802–1840). The other heirs were Minona's grandnieces and grandnephews, the following grandchildren of Friedrich Deym Count von Střítež: Countess Josephine von Deym in Merano, Baroness Elise von Korb-Weidenheim in Prague, Count Ottokar von Deym in Vienna, Princess Cantacuzino in Merano, the children of deceased Baroness von Blittersdorf, and "Hungarian relatives of a born Countess Brunsvik after a Count Emerich Teleky". Minona's alleged "depressing economic situation", described in 1920 by La Mara, was obviously based on flawed information that La Mara had received from Countess Constanze Cappy (La Mara 1920, 8). At the time of her death, Minona von Stackelberg enjoyed an annual income of 1,470 gulden which consisted of two lifetime annuities: First, from Countess Bánffy Minona drew a lifetime annual pension of 1,050 gulden that the Countess had bequeathed to her friend Minona in her will dated 18 April 1865. 50 fl of this pension were regularly put into an account of the Klausenburger Sparkasse. Second, based on a right of lien on real estate in Transylvania that had belonged to her uncle Ladislaus von Teleki, Minona drew a second pension of 420 gulden per annum. This annuity, which had to be paid by Minona's cousin Max von Teleki, had been bequeathed by Ladislaus von Teleki in his will of 22 June 1872. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjcn8uhx6UmZDiM5oEXq9Mk0Onv8lTwb9JebhI7uxvRW1HcyIjGoqaqY63qIcJ3cTT1L6Yj0DvKdzN0xdOF9W-r0_jzY6cWHL8x5wsef-TGt_mDu8jZFIBH6plJBKZNxxsn5RoORd-Qck/s1600/Stackelberg+97_99.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="947" data-original-width="1142" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjcn8uhx6UmZDiM5oEXq9Mk0Onv8lTwb9JebhI7uxvRW1HcyIjGoqaqY63qIcJ3cTT1L6Yj0DvKdzN0xdOF9W-r0_jzY6cWHL8x5wsef-TGt_mDu8jZFIBH6plJBKZNxxsn5RoORd-Qck/s320/Stackelberg+97_99.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The cover sheet of Minona von Stackelberg's probate file (A-Wsa, BG Innere Stadt [I], A4, A 99/97). The note concerning Minona's 1896 guardianship is at the upper right. Minona left no will.</span></div>
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The value of Minona von Stackelberg's estate, which consisted of old furniture and clothing, was estimated at 1,550 gulden 30 neukreuzer. Because these assets were exceeded by the liabilities (consisting of medical expenses, arrears of rent, burial costs, and a loan from Blanca Deym), Minona's estate was settled with a loss of 311 fl 59 x that was covered by Blanca Deym. On 23 February 1897, Minona von Stackelberg was put to rest in the Bánffy crypt in the Zentralfriedhof. Her burial cost 373 fl 80 x. The dates given in the following protocol are dubious: "20./VII." for the reburial of the Bánffy couple is at odds with the information in the <a href="https://www.friedhoefewien.at" target="_blank">digital database</a>, and "18./II. 97" for Minona's burial cannot be correct.<br />
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<span style="font-size: x-small;">The entry in the Zentralfriedhof protocol of graves concerning the reburials of Dionys von Bánffy and his wife in 1896, and the burial of Minona von Stackelberg in 1897 in the same crypt (A-Wsa, 1.2.4.3.8, Zentralfriedhof, B4 - Protokolle Eigene Gräber und Grüfte, Index 6 alt: II-H-6, fol. 48v)</span></div>
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The crypt of the Bánffy de Losoncz couple and their companion Minona von Stackelberg in group 48A of the Zentralfriedhof still exists. The headstone is gone and all that remains of the crypt is its lid on the ground. The eerily anonymous state of this burial site seems to indicate that "Anonim" (the ananym of Minona's name) had to become reality at some point of time. The crypt left of the Bánffy/Stackelberg site belongs to the von Gapp family and is still in use (its status is "auf Friedhofsdauer"). The last person buried there was Peter Anton (von) Gapp in 2010.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnDEPex_AyoJDbYOz4BvEllJDR2Pi5KnZTGG6IOpc4trDWjybw-5lrrQiknYkcMicPw6f4YdkToHi9XaCv5EqPWe83n6fy-GaNOL7xjYjzxqf1jWiMWU65BYTWGZVx_GYRQwA994tvWjI/s1600/Image2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="999" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnDEPex_AyoJDbYOz4BvEllJDR2Pi5KnZTGG6IOpc4trDWjybw-5lrrQiknYkcMicPw6f4YdkToHi9XaCv5EqPWe83n6fy-GaNOL7xjYjzxqf1jWiMWU65BYTWGZVx_GYRQwA994tvWjI/s320/Image2.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">On the left is the crypt of the von Gapp family, on the right the crypt of Count Bánffy de Losoncz, his wife, and Minona Baroness von Stackelberg (Zentralfriedhof 48A/G1/1)</span></div>
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Although the crypt's right of usage expired in 1986 (the last fee seems to have been paid in 1926), it is not in immediate danger of being vacated. It is located in a loosely occupied area of the cemetery where there will never be a shortage of space. <br />
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<span style="font-size: x-small;">A view along the first row of group 48A with Minona von Stackelberg's grave in the foreground</span></div>
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<span style="font-size: x-small;">The view from behind Minona's crypt across the base of the vanished headstone</span></div>
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It should be an easy task to open this crypt, identify Minona's remains (they must be resting on top of the Bánffy couple's metal coffins), and take bone samples to conduct a DNA analysis. Bones of a human being that died 120 years ago only contain mitochondrial DNA. In this case, however, the DNA in Minona's remains cannot be Beethoven's, because the father's mitochondrial DNA never reaches the offspring's genome. Therefore the chances of identifying Minona's father are nil. Apart from the doubtful scientific meaningfulness of such an enterprise, if this research were performed with the appropriate seriousness and would result in a high-quality TV documentary, a huge financial profit – albeit of dubious moral merit – is waiting to be made here. But since this procedure will certainly not prove that Beethoven was Minona von Stackelberg's father – what will happen then?<br />
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<b>Bibliography</b><br />
<blockquote>
Caeyers, Jan. 2012. <a href="https://books.google.at/books?id=pUkCc7MrovEC&printsec=frontcover" target="_blank"><i>Beethoven Der einsame Revolutionär Eine Biographie</i></a>. Munich: C.H. Beck.<br />
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Du Montet, Alexandrine Prévost de la Boutetière de Saint-Mars. 1904.
<i>Souvenirs de la baronne du Montet 1785-1866</i>. Paris: Plon-Nourrit et
C<span style="font-size: x-small; vertical-align: super;">ie</span>.<br />
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Goethe, Ottilie von. 1961. <i>Tagebuch 1840 (Wien)</i>. Herausgegeben von Heinz Bluhm, Bergland Verlag Vienna.
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<br />
Goldschmidt, Harry. 1977. <i>Um die Unsterbliche Geliebte. Eine Bestandsaufnahme</i>. Leipzig: Deutscher Verlag für Musik. <br />
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Hampeis, E. M. 1833. <i>Chronologische Epigraphik der Friedhöfe Wien’s</i>. Erster Band. Vienna: Carl Gerold.<br />
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Kaznelson, Siegmund. 1954. <i>Beethovens Ferne und Unsterbliche Geliebte</i>. Zürich: Standard. <br />
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Klapproth, John E. 2011. <i>Beethoven’s Only Beloved: Josephine!. </i>1<span style="font-size: x-small; vertical-align: super;">st</span> ed., Charleston, SC: CreateSpace.<br />
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La Mara (ed.). 1900. <i>Franz Liszt's Briefe an die Fürstin Carolyne Sayn-Wittgenstein</i>. Leipzig: Breitkopf & Härtel.<br />
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––––––. 1909. <i>Beethovens Unsterbliche Geliebte. Das Geheimnis der Gräfin Brunsvik und ihre Memoiren</i>. Leipzig: Breitkopf & Härtel. <br />
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––––––. 1920. <i>Beethoven und die Brunsviks. Nach Familienpapieren aus Therese Brunsviks Nachlaß</i>. Leipzig: C.F.W. Siegel's Musikalienhandlung.<br />
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Lorenz, Michael. 2001. "»Baronin Droßdik und die verschneyten Nachtigallen«. Biographische Anmerkungen zu einem Schubert-Dokument". <i>Schubert durch die Brille</i> 26. Tutzing: Schneider, 47-88. <br />
<br />
––––––. 2011. "'<a href="http://michaelorenz.at/beethovens_elise/" target="_blank">Die enttarnte Elise'. Die kurze Karriere der Elisabeth Röckel als Beethovens 'Elise</a>'". <i>Bonner Beethoven-Studien</i>, Vol. 9. Bonn: Beethoven-Haus, 169-90. <br />
<br />
––––––. 2013. "<a href="http://michaelorenz.blogspot.co.at/2013/07/maria-eva-hummel-postscript.html" target="_blank">Maria Eva Hummel. A Postscript</a>". Vienna: Internet publication. <br />
<br />
Markus, Georg. 2017. <i>Fundstücke Meine Entdeckungsreisen in die Geschichte</i>. Vienna: Amalthea.<br />
<br />
Pemmer, Hans. 1970. "Der Gräberhain im Schubertpark und der ehemalige Währinger Ortsfriedhof". In: <i>Bezirksmuseum Währing</i>. <i>Unser Währing</i> 5, vol. 1, 2-10. <br />
<br />
Pichler, Ernst. 1994. <i>Beethoven Mythos und Wirklichkeit</i>. Vienna: Amalthea.<br />
<br />
Pocknell, Pauline (ed.). 2000. <i>Franz Liszt and Agnes Street-Klindworth A Correspondence, 1854-1886</i>. Franz Liszt Studies Series No. 8. Hillsdale NY: Pendragon Press. <br />
<br />Reiber, Joachim. 2014. <i>Duett zu Dritt</i>, Vienna: Kremayr und Scheriau. <br />
<br />
Short, Michael (ed.). 2003. <i>Liszt Letters in the Library of Congress</i>. Franz Liszt Studies Series No. 10. Hillsdale NY: Pendragon Press. <br />
<br />
Steblin, Rita. 2002. "Josephine Gräfin Brunswick-Deyms Geheimnis enthüllt Neue Ergebnisse zu ihrer Beziehung zu Beethoven". In: <i>Österreichische Musikzeitschrift</i>, 6/2002, 23-31. <br />
<br />
––––––. 2009. "'A dear, enchanting girl who loves me and whom I love' New Facts about Beethoven’s Beloved Piano Pupil Julie Guicciardi". In: <i>Bonner Beethoven-Studien</i> 8, 89-152. <br />
<br />
Tellenbach, Marie-Elisabeth. 1983. <i>Beethoven und seine “Unsterbliche Geliebte” Josephine Brunswick. Ihr Schicksal und der Einfluß auf Beethovens Werk</i>. Zürich: Atlantis.</blockquote>
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<hr />
<br />
© Dr. Michael Lorenz 2017.<br />
<br />
Updated: 25 April 2023<br />
<br />
<i>I express my gratitude to Anna Forster-Petrova, Lucia Schuger, David Buch, Catherine Sprague, Giuseppe Mariotti, Stefano Frega, Anne-Louise Luccarini, Wolfgang Oehmicke, Noemí Cabello, Janet Page, and Luk Vaes for their support during my research for this article.</i><br />
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<hr />
<br />
Update (23 June 2022)<br />
<br />
In the meantime I have learned that the right to use Minona von Stackelberg's grave was acquired by alleged relatives. This takeover was not, of course, realized for the purpose of a funeral, but for its opposite. It is planned to exhume Minona to prove a relationship with Beethoven (there is "skullduggery" afoot in the original sense of the word). For the plain genetic reasons mentioned above, it will never be possible to furnish this proof. The whole dubious enterprise does not serve Beethoven research, but has the sole purpose of making a lot of money with a corpse.
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<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com14tag:blogger.com,1999:blog-6705638937146105675.post-28021734028066881122017-10-11T10:06:00.002+02:002022-06-07T10:10:31.505+02:00The Financial Circumstances of Franz Schubert's Parents: New DocumentsIn response to a 2004 article by Maynard Solomon about Franz Schubert's family, my recent article "The Financial Circumstances of Franz Schubert's Parents: New Documents" sheds new light on the finances of Franz Schubert's parents. The main source on which new insights on this topic are based is the probate file of Franz Schubert's mother which had previously been considered lost. Together with several entries from early nineteenth-century Viennese land registers, the publication of this important document closes a major gap in the body of sources related to Schubert's family. A side issue of this article is Bishop Joseph Spendou's supposed role as benefactor of Schubert's father. This article, whose earliest version was written in January 2005, cannot be
published on this blog, because footnotes are not
supported by the blog format. The discovery of Elisabeth Schubert's probate file took place on 19 November 2004, on the 176th anniversary of Schubert's death.<br />
<br />
A pdf of this article can be downloaded from <a href="https://www.academia.edu/34736478/The_Financial_Circumstances_of_Franz_Schuberts_Parents_New_Documents" target="_blank">academia.edu</a>.<br />
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<span style="font-size: x-small;">The first page of Elisabeth Schubert's probate file which was previously considered lost (A-Wsa, Patrimonialherrschaften, B16/40, fol. 55r)</span></div>
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© Dr. Michael Lorenz 2017.<br />
<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-67704045094179928302017-05-22T20:58:00.009+02:002023-08-30T11:59:57.611+02:00An Unknown Incident in Mozart’s Life in 1791<i>Mozart: New Documents is pleased to announce the posting of two documents that bring to light a previously unknown incident in Mozart’s life in 1791, and to welcome Michael Lorenz as a guest contributor. </i><br />
<br />
At some point during that year, the playwright <a href="https://de.wikipedia.org/wiki/Johann_Friedrich_J%C3%BCnger" target="_blank">Johann Friedrich Jünger</a> (Hoftheaterdichter to the Viennese court theaters) and actor <a href="https://de.wikipedia.org/wiki/Johann_Franz_Brockmann" target="_blank">Johann Franz Hieronymus Brockmann</a> (the director of the theaters) asked Mozart to write a piano piece for Jünger's new comedy <a href="http://digital.onb.ac.at/OnbViewer/viewer.faces?doc=ABO_%2BZ177817202" target="_blank"><i>Er mengt sich in Alles</i></a>, which would be premiered in the Burgtheater on 23 August 1791. It remains uncertain whether Mozart eventually composed anything for them, but all early sources for Jünger’s play (including the original prompter's copy and the earliest editions) retain <a href="https://books.google.at/books?id=Vu5VAAAAcAAJ&pg=PA124#v=onepage&q=Mozart&f=false" target="_blank">a reference to Mozart</a>. In Act 5, scene 2, one of the characters asks his daughter to play his "favorite sonata." When she feigns not to remember which one he means, he responds: "The one by Mozart that I like so much. You’ve played it for me a hundred times." This is followed by a stage direction indicating that she should play something on the piano at that point (although exactly what is left unspecified).<br />
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<i>Er mengt sich in Alles</i> was performed six times in all in the Burgtheater before the end of the season 1791/92, and it was performed twice in Prague during the festivities surrounding the coronation of Leopold II in late summer 1791. The play was quickly taken into the repertories of German language theater companies elsewhere, and it went on to become one of Jünger’s most popular and frequently performed plays. <i>Er mengt sich in Alles</i> remained in the repertory of the Burgtheater until 1853, and performances elsewhere are documented as late as 1875.<br />
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The reference to Mozart in <i>Er mengt sich in Alles</i> was discovered
by Dexter Edge, and the reference to Mozart in Jünger's letter was
discovered by Michael Lorenz. Edge and Lorenz are coauthors of the commentaries, which
are written by Edge, incorporating additional archival research by Lorenz. The commentaries are accessible on the website <a href="https://www.mozartdocuments.org"><i>Mozart: New Documents</i></a>.<br />
<br />
<b><a href="https://www.mozartdocuments.org/documents/1791-juenger-to-brockmann/" target="_blank">1791 (between 12 March and 23 August)</a> Johann Friedrich Jünger asks Mozart for a keyboard piece</b><br />
<br />
In an undated letter to Brockmann, Jünger writes that he has been to see Mozart repeatedly with a request that he write a short new piano piece for the planned production of <i>Er mengt sich in Alles</i>. Our <a href="https://www.mozartdocuments.org/documents/1791-juenger-to-brockmann/" target="_blank">commentary</a> discusses in detail the dating of the letter, and shows how contextual clues suggest that it may have been written as early as the middle of March 1791, several months before the play’s premiere. We then consider whether any of the four known piano pieces by Mozart that certainly date from 1791 (K. 613 and the fragment K. 357) or may possibly date from that year (the fragment K. 312 and the minuet K. 355) could have anything to do with Jünger and Brockmann’s request.<br />
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<span style="font-size: x-small;">Folios 1v and 2r of Jünger's undated letter to Brockmann from 1791 in which Jünger refers to his request that Mozart write a short piano movement for the play <i>Er mengt sich in Alles</i>. The passage quoted below begins with the new paragraph on the left page (A-Wst, H.I.N. 1207).</span></div>
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Johann Friedrich Jünger to Johann Franz Hieronymus Brockmann, undated letter (1791), Vienna, <a href="hhttps://www.digital.wienbibliothek.at/wbrobv02/content/titleinfo/4421986" target="_blank">Wienbibliothek, H. I. N. 1207</a><br />
<blockquote class="tr_bq">
[1v]<br />
<br />
[...]<br />
<br />
Der Vorwurf den du mir machst, ich habe die Aufführung von<br />
<u>"Er mengt sich in Alles</u>" selbst durch meine Nachlässigkeit verzögert,<br />
ist ungegründet. Dein Gedächtniß hat dir da vermuthlich einen<br />
Streich gespielt, und du hast vergessen, daß ich das Stück von<br />
dir gehohlt, selbst zu Mozart getragen, <strike>und</strike> es ihn lesen lassen, und<br />
ihn um Composition eines kleinen Sazzes gebethen habe: So<br />
wie auch, daß ich dir einmahl geklagt habe, ich seÿ zu ver<span style="font-size: x-small;">=</span><br />
schiedenen Mahlen ohne Erfolg beÿ M. geweßen, mit der aus<span style="font-size: x-small;">=</span><br />
drücklichen Bitte, du möchtest selbst an ihn schicken, und das<br />
qua <u>Theaterdirektor</u> von ihm verlangen, was ich als <u>Autor</u><br />
nicht erlangen konnte. Diese Bitte habe ich absichtlich nicht wieder<span style="font-size: x-small;">=</span><br />
hohlt, weil ich auch den allergeringsten Schein vermeide, als woll<span style="font-size: x-small;">=</span><br />
te ich die Aufführung meiner Stücke durch mein Zuthun be<span style="font-size: x-small;">=</span><br />
fördern. Uebrigens glaube ich nach näherer Prüfung, daß diese<br />
Composition gar füglich wegbleiben, und an ihrer Statt das<br />
erste beste liedchen gespielt werden kann, weil mir eine Mu<span style="font-size: x-small;">=</span><br />
sik in welcher sich die Schauspielerin als Flügelspielerin zeigt,<br />
da nicht recht an ihrer Stelle zu seÿn scheint, da die Aufmerk<span style="font-size: x-small;">=</span><br />
samkeit der Zuschauer auf den Ausgang des Stücks gespannt ist. <br />
<br />
[2r]<br />
<br />
Uebrigens bitte ich dich recht herzlich, künftig nichts von allem dem zu glau<span style="font-size: x-small;">=</span><br />
ben, was dir von mir und über mich gesagt wird. Ich wenigstens habe<br />
mir fest vorgenommen, mich gegen keine einzige Klätschereÿ mehr<br />
zu vertheidigen, weil ich das unter der Würde des Mannes finde. [...]<br />
<br />
<i>[translation:]</i><br />
<br />
[...]<br />
<br />
Your charge against me, that I myself have delayed the<br />
performance of <i>Er mengt sich in Alles</i> through my neglect, is<br />
unfounded. Your memory has probably played a trick on you<br />
here, and you’ve forgotten that I fetched the play from you to take<br />
to Mozart myself, <strike>and</strike> to have him read it, and asked him to<br />
compose a short movement: how I also once complained to you<br />
that I had been to M[ozart] several times without success,<br />
with the express request that you yourself might send a note<br />
to him, and as <i>Director of the Theater</i> demand from him what<br />
I as <i>Author</i> could not obtain. I intentionally did not repeat this<br />
request, because I also avoid the very least appearance that<br />
I would want to promote the performance of my play through my<br />
own action. Besides, I think on closer examination that this<br />
composition can even be omitted with justification, and in its<br />
stead any little song can be played; because it seems to me that<br />
a musical piece in which the actress shows herself off as<br />
a keyboard player is not right for this scene, as the attention<br />
of the spectator is in suspense over the outcome of the play.<br />
<br />
[2r]<br />
<br />
In addition, I ask you quite sincerely in the future not to believe<br />
everything that is said of me and about me. I at least have<br />
firmly resolved to myself not to defend myself against any<br />
gossip at all, because I find that beneath a man’s dignity [...]<br />
<br /></blockquote>
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<span style="font-size: x-small;">The actor Johann Franz Hieronymus Brockmann with his dog (probably "Petiterl"). Portrait by <a href="https://en.wikipedia.org/wiki/Joseph_Lange" target="_blank">Joseph Lange</a> (Wien Museum, I.N. 33075)</span></div>
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<b><a href="https://www.mozartdocuments.org/documents/23-august-1791/" target="_blank">23 August 1791</a> A piano sonata by Mozart in Jünger's <i>Er mengt sich in Alles</i></b><br />
<br />
Jünger's <i>Er mengt sich in Alles</i> is a thoroughly reworked adaptation of <a href="https://en.wikipedia.org/wiki/Susanna_Centlivre" target="_blank">Susanna Centlivre</a>’s 1709 play <a href="https://books.google.at/books?id=_wgJAAAAQAAJ&pg=PA3" target="_blank"><i>The Busie Body</i></a>, with the action transplanted to Vienna. Our commentary summarizes the plot of Jünger’s play, and places in context the scene referring to Mozart. We then discuss the cast of the premiere and the play’s reception, and we consider what music might have been played on stage in the early performances. We also explore whether Mozart might have attended any of the performances that took place while he was still alive. The main commentary is followed by a new biographical sketch of Jünger, incorporating many newly discovered sources on his life.<br />
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<span style="font-size: x-small;">Johann Friedrich Jünger, mezzotint by A. O. Lállée from 1795 after a painting by <a href="https://en.wikipedia.org/wiki/Johann_Heinrich_Ramberg" target="_blank">Johann Heinrich Ramberg</a> (A-Wn, PORT_00091591_01)</span></div>
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<span style="font-size: x-small;">Jünger's seal and signature on his will dated 5 December 1792 (A-Wsa, Mag. ZG, A10, 118/1797)</span></div>
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© Dexter Edge.& Michael Lorenz 2017. All rights reserved.<br />
<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com1tag:blogger.com,1999:blog-6705638937146105675.post-55981011619985116092017-04-19T18:54:00.001+02:002022-06-07T10:08:59.653+02:00The Beethoven Family Graves in ViennaUnknown to the general public, there exist several graves in Vienna of descendants of Beethoven's brother <a href="https://en.wikipedia.org/wiki/Kaspar_Anton_Karl_van_Beethoven">Karl van Beethoven</a>. My article "The Beethoven Family Graves in Vienna" has recently been published in <i>The Beethoven Journal</i> (Winter 2016, Vol. 31, No. 2). It deals with these neglected sites and also adds important genealogical information that is missing in Joseph <a href="https://de.wikipedia.org/wiki/Joseph_Schmidt-G%C3%B6rg" target="_blank">Schmidt-Görg</a>'s 1964 book <i>Beethoven: die Geschichte seiner Familie</i>, such as the place and date of death of Beethoven's grand-nephew <a href="http://www.therestisnoise.com/2014/05/beethovens-grand-nephew.html" target="_blank">Louis von Hoven</a>. A pdf of this article can be downloaded from <a href="https://www.academia.edu/31817152/The_Beethoven_Family_Graves_in_Vienna_The_Beethoven_Journal_Winter_2016_Vol._31_No._2_">academia.edu</a>.<br />
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© Dr. Michael Lorenz 2017.<br />
<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com0tag:blogger.com,1999:blog-6705638937146105675.post-65091344264677302192016-12-12T08:32:00.011+01:002023-08-17T13:48:09.908+02:00Mauro Giuliani's Viennese Residence at Stadt 1083In the article "<a href="http://michaelorenz.blogspot.co.at/2015/04/new-light-on-mauro-giulianis-vienna.html" target="_blank">New Light on Mauro Giuliani's Vienna Years</a>", which in April 2015, I published on this blog, I uncovered the secret second family that Mauro Giuliani founded during his stay in Vienna. In late 1806, Giuliani left his wife in Italy and went to Vienna where, between 1808 and 1817, he fathered four daughters with his Viennese mistress Anna Wiesenberger (1784–1817). In 2015, I was unable to locate a joint residence of Giuliani and Wiesenberger, or at least find Giuliani's name on one of the conscription sheets that the municipal conscription office drew up to keep track of the men who were fit for military service.<br />
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In June 2016, by pure chance, while doing research on the painter <a href="https://de.wikipedia.org/wiki/Thomas_Ender" target="_blank">Thomas Ender</a>, who at a later point of time also lived at this address, I was able to identify the house where Giuliani and Anna Wiesenberger shared an apartment. Some time around 1815, they are documented to have lived together in apartment no. 4 at Stadt 1083 (today <a href="http://goo.gl/sVgTeM" target="_blank">Seilergasse 3</a>). <br />
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<span style="font-size: x-small;">Anna Wiesenberger and her lover Mauro Giuliani on a conscription sheet of Stadt 1083 from around 1814 (A-Wsa, Konskriptionsamt, Stadt 1083/4r) </span></div>
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In 1811, the quarters in question were inhabited by Germain Trotter (1768–1836), a tradesman from <a href="https://it.wikipedia.org/wiki/Fiera_di_Primiero" target="_blank">Fiera di Primiero</a> in Tirol. Trotter had a close relation to other Italians and musicians in Vienna, such as his business partner and sole heir, the widowed merchant <a href="https://www.digital.wienbibliothek.at/wbrparte/content/pageview/3177877" target="_blank">Rosa Motta</a>, née Dischendorfer (a sister-in-law of the wife of the composer <a href="https://en.wikipedia.org/wiki/Paul_Wranitzky" target="_blank">Paul Wranitzky</a>), and Antonio Salieri with whom in 1816, he served as witness to the wedding of the I. & R. cabinet courier Anton Kemperle. </div>
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<span style="font-size: x-small;">Germain Trotter ("Burg Handelsmann") and Antonio Salieri ("primo maestro di Cappella della Corte Imp: e Reale Cavaliere della Legion d'Onore") signing as witnesses to the wedding of Anton Kemperle on 12 June 1816 (A-Wstm, Am Hof, Tom 3, fol. 193) </span></div>
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It is possible that in April 1814, before he moved to his sister Josepha in the Trattnerhof, Trotter recommended his apartment to Giuliani. But the reason why Giuliani chose to live in this particular house lies in the family relations of Anna Wiesenberger which will be dealt with below. This apartment seems to have been the quarter where Giuliani attracted the attention of the Vienna police, which in 1815, suspected him of "providing procuration for persons of higher social status". Two details in connection with the entry in the conscription sheet are intriguing: first, that none of the couples illegitimate daughters are listed in the record. The first one, Maria Willmuth, had been born on 20 April 1808, the third, Emilia, on 23 April 1813. Like their deceased sister Aloysia (1810–12) they were obviously living in foster care. And second, that Michele, Giuliani's son from his marriage, lived together with his father and Anna Wiesenberger. This suggests that at some point, Giuliani's wife may have become fully aware of her husband's extramarital love life. The entry in the conscription sheet reads as follows:</div>
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Germain Trotter 768 ofentl[icher] / Handl[un]gs associe / ledig</div>
Anna Wisenberger <span style="text-decoration: overline;">786</span> Großhändlerstochter<br />
Anna Lanzenmeier <span style="text-decoration: overline;">781</span> Anv[erwandte]
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Mario[<i>sic</i>] Güliany Künstler <strike>von</strike> aus Italien
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S.[ohn] Mich: <span style="text-decoration: overline;">802</span></blockquote>
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<span style="font-size: x-small;">(A-Wsa, Konskriptionsamt, Stadt 1083/4r) </span></div>
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It was not possible to identify Wiesenberger's alleged relative Anna Lanzenmeier whose name I tend to consider a pseudonym. People by the names of "Lanzenmeier" and "Lanzmeier" (in all possible different spellings) cannot be documented to have lived in Vienna at that time. This name appears in Viennese records only after 1850. The different handwriting in the note "Künstler aus Italien" after Giuliani's name shows that it was added at some later time. It is not known when Giuliani moved out of Stadt 1083, and if he immediately moved to Stadt 939 (last numbering 885, <a href="https://goo.gl/maps/zOEk5" target="_blank">Singerstraße 13</a>) where he is documented to have lived at the time of Anna Wiesenberger's death in 1817. Giuliani's successors as tenants of this apartment were the licensed jeweler Johann August Veith (b. 1787) and his wife Rosalia, née Herzog (b. 1792). Soon after, on 1 August 1811, Veith had received his official license as "privilegirter Goldarbeiter", he married on 3 November 1811, at the parish church of <a href="https://en.wikipedia.org/wiki/St._Ulrich,_Vienna" target="_blank">St. Ulrich</a> (St. Ulrich, Tom. 34, fol. 27).<br />
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<b>The House Stadt 1083</b><br />
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From 1951 until 1958, the Austrian amateur historian <a href="https://www.geschichtewiki.wien.gv.at/Paul_Harrer-Lucienfeld" target="_blank">Paul Harrer-Lucienfeld</a> worked on the second (expanded) edition of his magisterial eight-volume work <a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/2278312" target="_blank"><i>Wien - seine Häuser, Geschichte und Kultur</i></a><a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/2278312" target="_blank"> </a>which comprises the history of all buildings in Vienna's Inner City from the Middle Ages into the twentieth century. Fundamental as Harrer's work is, its main deficiency is the fact that Harrer mainly based his research on the land registers in the Vienna Municipal Archives and a selection of out-dated secondary sources on local history. This resulted in Harrer's work being a history of sequences of ownership. The real, much more extensive history of the houses, which would cover their architectural design, based on the surviving evaluations and exact descriptions of the buildings, remains yet to be written. What follows is not only meant to serve as a model for a more ambitious level of research on the history of Viennese houses, it also answers the question as to why Mauro Giuliani chose to live at the house Stadt 1083.<br />
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Although the house in question was torn down in 1895, and replaced in the following year with a five-story building, it is possible to get an impression of the appearance of the original building using various archival sources. These materials comprise:<br />
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<li>The building consent, issued by the municipal <i>Unterkammeramt</i> </li>
<li><a href="https://www.geschichtewiki.wien.gv.at/Werner_Arnold_von_Steinhausen" target="_blank">Werner Arnold von Steinhausen</a>'s <a href="https://www.geschichtewiki.wien.gv.at/Stadtplan,_Steinhausen_(1710)" target="_blank">1710 map</a> of Vienna </li>
<li><a href="https://www.geschichtewiki.wien.gv.at/Joseph_Daniel_von_Huber" target="_blank">Joseph Daniel von Huber</a>'s 1778 and 1785 maps of Vienna (the so-called <a href="https://www.geschichtewiki.wien.gv.at/Vogelschauplan,_Joseph_Daniel_Huber_(1778)" target="_blank"><i>Vogelschaupläne</i></a>) </li>
<li>The <a href="http://goo.gl/wmzXNC" target="_blank"><i>Josephinische Steuerfassion</i></a><i> Formular II</i> (the municipal tax register) of 1787/88, and (most importantly)</li>
<li>The descriptions and evaluations of the building by master builders which are preserved in the probate files and commercial court records of the house's various owners</li>
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Since the fifteenth century, the building that was to become Stadt 1083 had always consisted of two separate units which can be seen on Steinhausen's map from 1710.<br />
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<span style="font-size: x-small;">The future house Stadt 1083 (above the word "Rosen"), still consisting of two units, on Steinhausen's 1710 map (A-Wsa, Kartographische Sammlung, Akt 3.2.1.1.P1.234). At that time, the broad section of the Seilergasse was still named "Rosen<span style="font-size: xx-small;">=</span>Gassen". </span></div>
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On 21 June 1723, the house on the left of the above map was bought by Bartolomeo Patuzzi (1674–1736), a spice trader from <a href="https://en.wikipedia.org/wiki/Limone_sul_Garda" target="_blank">Limone sul Garda</a>. On 24 November 1733, Patuzzi also purchased the other house, and on 21 June 1734, he applied for the permission to completely tear down his own and the desolate "Schinaglisches Haus", which had once belonged to Johann Baptist Schinagl (1673–1727), and replace them with a single new building. One of the ground plans of the houses is marked "dermahlige Patuzische Behaußung" and "Erkaufte schinaglische Behaußung". The area of the yard bears the note: "This is now only one house, only the yard was built differently".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrJeBiHaGtFvAVgVOgxXpXXdScUUN5CilbgiojliZc6Ts-gM8UdMgktgalj9SRH6W5ltr_ks5qzmYXTdCMKqka_eRkXoHwKy6DG1R1uP4wKADwlZVwzKaKlVDVRnzC4T3qbDJ2Gdwb5qo/s1600/UKA+388_1734+%25283%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrJeBiHaGtFvAVgVOgxXpXXdScUUN5CilbgiojliZc6Ts-gM8UdMgktgalj9SRH6W5ltr_ks5qzmYXTdCMKqka_eRkXoHwKy6DG1R1uP4wKADwlZVwzKaKlVDVRnzC4T3qbDJ2Gdwb5qo/s320/UKA+388_1734+%25283%2529.jpg" width="320" /></a> </div>
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<span style="font-size: x-small;">The ground plan of Bartolomeo Patuzzi's house on the left and the house, newly purchased from Johann Schinagl, on the right
(A-Wsa, Unterkammeramt, A33, Alte Baukonsense 388/1734)</span></div>
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One of Patuzzi's arguments for the new edifice was the smooth facade line of the new structure that would "increase the street area" (which it actually did not). The plan he submitted to the municipal <i>Unterkammeramt</i> bears the following notes, referring to the projected new (A) and the old exterior wall (B):<br />
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Demolition of both of the Patuzi houses<br />
A: Newly projected line of the two houses providing regularity.<br />
B: Old corner of both houses by which the City street gains a very useful section.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgndk79TWyfT3zH5o4IES_2i4ULa9t4VuyHhLvRxJb9ntHp4bcMo-PwHh7huiccbRQplKNXctyQ9EwX6PHm6DR_VgsK37VackmOVY1xEhQwO0jsN0oBVGPpwF_YndYS4Vc6AMRDpkanrXA/s1600/UKA+388_1734.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgndk79TWyfT3zH5o4IES_2i4ULa9t4VuyHhLvRxJb9ntHp4bcMo-PwHh7huiccbRQplKNXctyQ9EwX6PHm6DR_VgsK37VackmOVY1xEhQwO0jsN0oBVGPpwF_YndYS4Vc6AMRDpkanrXA/s320/UKA+388_1734.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The 1734 ground plan of Bartolomeo Patuzzi's new house in the Seilergasse (A-Wsa, Unterkammeramt, A33, Alte Baukonsense 388/1734)</span></div>
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Bartolomeo Patuzzi died on 27 May 1736, and his three sons inherited the house. The official evaluation of this building in Patuzzi's probate file does not survive. Because his file was later filled with documents related to the estate of his widow (1743) and the transfer of the spice business to his son Joseph (1750), the material from 1736 was discarded (A-Wsa, Alte Ziviljustiz 140/5). In 1776, the total balance of Patuzzi's business amounted to 172,064 fl 57 x (A-Wsa, Alte Ziviljustiz 240/10). The 1785 edition of Huber's map shows the building in the Seilergasse with its yard.<br />
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<span style="font-size: x-small;">The house Stadt 1083 (then 1094) on Joseph Daniel von Huber's 1785 map <i>Die Kays. Königl. Haupt und Residenz Stadt Wien. Wie sie im Jahr 1785 unter der Regirung Josephs des Zweyten stehet</i> (W-Waw, Sammlung Woldan).</span> </div>
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The yard of Stadt 1083 was a little smaller which can be seen on the map of <a href="https://www.geschichtewiki.wien.gv.at/Robert_Messner" target="_blank">Robert Messner</a>'s standard work <i>Die Innere Stadt Wien im Vormärz</i>. All red colored buildings on this map date from before 1846.<br />
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<span style="font-size: x-small;">The area around "<a href="https://en.wikipedia.org/wiki/Stock_im_Eisen" target="_blank">Stock im Eisen</a>" on Messner's map (Robert Messner, <i>Die Innere Stadt Wien im Vormärz. Historisch-topografische Darstellung auf Grund der Katastralvermessung Wien 1996-1998</i>,. Band 1)</span><br />
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The earliest estimate of the house can be found in the probate file of Bartolomeo Patuzzi's son Joseph who died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17761012&seite=7&zoom=55" target="_blank">4 October 1776,</a> at the age of 54. The estate of Joseph von Patuzzi (who had been <a href="http://www.archivinformationssystem.at/detail.aspx?ID=2717814" target="_blank">ennobled in 1763</a>) was evaluated at 26,341 fl 45 x. The value of the house was estimated at 24,000 gulden and, because Joseph von Patuzzi owned it together with his brother Karl, his half is given as follows in his list of assets.</div>
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Concerning the house in the City</div>
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I likewise have to refer to the original estimate of 24,000 f:, deposited with the honorable municipal account chamber of wards, whereof, because according to the certificate B Karl Patuzzi owns an equal half, the following amount must be listed here ― "12,000" ―</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lNDRkjX0Nem3E0LE9_Xhv3edCgh773rVJi5fd_Te5VSXGyyEluQbT7XwerV2QmAb30pzdBE4aRVKtSjUtj60f4QBTcseGt6xI2WSAMI1oL5v92FKY2tYPA2x-sYxynMgqFj9u1-xed0/s1600/AZJ+240_10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lNDRkjX0Nem3E0LE9_Xhv3edCgh773rVJi5fd_Te5VSXGyyEluQbT7XwerV2QmAb30pzdBE4aRVKtSjUtj60f4QBTcseGt6xI2WSAMI1oL5v92FKY2tYPA2x-sYxynMgqFj9u1-xed0/s320/AZJ+240_10.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The value of the Patuzzi brothers' house in the Seilergasse given as 24,000 fl in Joseph von Patuzzi's probate file (A-Wsa, Alte Ziviljustiz 240/10)</span></div>
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The earliest detailed description of the house Stadt 1083 (then 1094) survives in volume five of the 1787/88 municipal tax register (the <i>Josephinische Steuerfassion</i>). At that time, the building belonged to Karl Patuzzi who, together with his son Franz, ran a spice shop at Graben 1150 named "<a href="http://www.digital.wienbibliothek.at/wbrobv/content/pageview/346071" target="_blank">Zur Weißen Rose</a>" (The White Rose). At that time, spice dealers also sold wine and Patuzzi's shop was known to offer the best French and Italian vintages. The tax register shows the following thirteen-unit layout of the five floors (with annual rents in gulden).<br />
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Ground floor: seven shops and one "Handgewölb" (salesroom) which was not used between 23 April 1787 and 23 April 1788 [one shop at 50 fl and the others at 65 fl each]</div>
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First floor [second floor, American counting]: one apartment with 5 rooms, 2 chambers, kitchen; one attic room and a chamber on the 4th floor 450 fl. One apartment with 3 rooms, 2 chambers, kitchen, cellar and an attic 350 fl</div>
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Second floor: one apartment consisting of 5 rooms, 2 chambers, kitchen, cellar, attic; one chamber on the ground floor 450 fl. One apartment with 3 rooms, 2 chambers, kitchen, cellar and an attic 325 fl</div>
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Third floor: one apartment with 8 rooms, 4 chambers, kitchen, cellar and attic; one attic room and 2 chambers on the 4th floor, and [on the ground floor] a very damp salesroom [see above] 280 fl [corrected to 480 fl]</div>
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Fourth floor: one apartment with 3 rooms, 4 chambers, an extra chamber, kitchen, a firewood vault and an attic 200 fl</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcbsouDrST4e8gyQ-qJgKBXH5a5dKQb7DQ6QMiOXBYgzJxo3CcvVCuRU2l0Sp0trvxGEBdmE4eRllRDrLO991kh10DoyzjGSZM3LsrEyBZXovRqT15suIWOphiYRCI10hjuzDnQCs0xU/s1600/B34_5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcbsouDrST4e8gyQ-qJgKBXH5a5dKQb7DQ6QMiOXBYgzJxo3CcvVCuRU2l0Sp0trvxGEBdmE4eRllRDrLO991kh10DoyzjGSZM3LsrEyBZXovRqT15suIWOphiYRCI10hjuzDnQCs0xU/s320/B34_5.jpg" width="248" /></a></div>
<span style="font-size: x-small;">The house Stadt 1083 (then 1094) in the <i>Josephinische Steuerfassion</i> (A-Wsa, Steueramt B34/5, fol. 77)</span></div>
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In 1788, the taxable rental revenue of Stadt 1083 was 2247 gulden. The house owner Karl Patuzzi lived in the eight-room apartment on the third floor, a fact that is also documented in his will of 1 June 1791 (A-Wsa, Mag. ZG, A2, 3391/1793). The two five-room apartments on the first and second floor were the most expensive ones, but their relatively low rent of 450 fl suggests that the rooms were rather small and the apartments did not have much daylight. The number of Giuliani's apartment on the conscription sheet points to the smaller, three-room apartment on the second floor as Giuliani's quarters in 1814.<br />
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On <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17931214&seite=14&zoom=55" target="_blank">7 December 1793</a>, the house owner Karl Patuzzi died of tuberculosis. His house was bequeathed as "a grandfatherly token" to his three grandsons Joseph, Karl and Franz Patuzzi, while his son Franz was granted the life-long benefit of half of the rental revenue. Because on 4 May 1794, a fire had partially destroyed the fourth floor (which had been fully built of wood), Franz Patuzzi on 19 May 1794 (in the name of his sons), applied for the permission to restore this floor with a less flammable brick-built structure (A-Wsa, Mag. ZG, A2, 3391/1793). After in March 1798 Franz Patuzzis son Joseph had bought the spice business of his colleague Johann Philipp Weiß to establish his own shop, "<a href="http://www.digital.wienbibliothek.at/wbrobv/content/pageview/419047" target="_blank">Zur goldenen Gans</a>" at Haarmarkt 776, he had to prove that he owned the financial assets that were required for registering his own business. He did this by presenting a description and evaluation of the house Stadt 1083 (then 1150) of which he owned a third (A-Wsa, Patrimoniale Herrschaften, B1.24, fol. 106). The estimate, signed on 28 June 1798 by the master builders and sworn appraisers Joseph Millinger and Liborius Gerl, and the carpenter Joseph Knötzl, is the earliest surviving document of this category related to Stadt 1083. This description does not distinguish between apartments, but simply lists all rooms on each floor. <br />
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<div style="text-align: center;">
<u>Appraisal</u></div>
which we, the undersigned sworn master-workmen, conducted in the Patuzzi house located in the City in the Seilergasse N° 1150 and where we assessed the following.<br />
<div style="text-align: center;">
<u>Below the ground.</u></div>
41 wooden steps deep three midsize and five small cellars, 18 steps above them eleven vaults for wood and two smal cellars, from the above depth a stone stairway leading to the ground floor.<br />
<div style="text-align: center;">
<u>On the ground floor.</u></div>
A vaulted driveway from the Seilergasse with a draw well in it; the toilets have a seperate connection to the sewer, seven shops, each with a display window toward the street, two storerooms, then five vaulted chambers. One vaulted room with a chamber.<br />
<div style="text-align: center;">
<u>On the first floor.</u></div>
Three hallways of which two are stuccoed and one is vaulted, one vaulted and one stuccoed kitchen, two vaulted and six stuccoed rooms, one storeroom and three stuccoed chambers.<br />
<div style="text-align: center;">
<u>On the second floor.</u></div>
One vaulted and one stuccoed hallway, two kitchens, eight rooms, one of which has an alcove, three chambers, everything stuccoed.<br />
<div style="text-align: center;">
<u>On the third floor.</u></div>
Three hallways, two kitchens, eight rooms one of which with an alcove, three chambers, everything stuccoed.<br />
<div style="text-align: center;">
<u>On the fourth floor.</u></div>
A hallway, three kitchens, nine rooms, one of which with an alcove, five chambers, two panties, everything stuccoed.<br />
There is a stone staircase from the ground floor to the attic, in the yard there are three connecting corridors arched on each other, four consecutive wooden walkways with iron railings, the attics are paved with bricks, the roof is tiled. This house is five stories high, is in good building condition and is evaluated at sixty-thousand eight-hundred gulden.<br />
To strongly confirm this the three appraisers have personally signed<br />
<div style="text-align: center;">
Joseph Millingermp civil master builder and sworn appraiser<br />
Liborius Thade Gerlmp civil master builder and sworn appraiser<br />
Jos: Knötzl civil appraiser of carpentry </div>
</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguUzDXvHeRTiwRJ7cuq-j0R2wB4N0vOBryOQkOOZkX5mGUmFc-a6f4CYIHdNKHUVzD82KO3cH-QlQwOqyymmWvMkM674-tGrCbXonHNnyrU35xaaOPBuvzX7Fnh5hEui-N7V8gwlkrdug/s1600/MG+BP+132+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguUzDXvHeRTiwRJ7cuq-j0R2wB4N0vOBryOQkOOZkX5mGUmFc-a6f4CYIHdNKHUVzD82KO3cH-QlQwOqyymmWvMkM674-tGrCbXonHNnyrU35xaaOPBuvzX7Fnh5hEui-N7V8gwlkrdug/s320/MG+BP+132+%25281%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The appraisers' description and evaluation of Stadt 1083 (then 1150) from 28 June 1798 (A-Wsa, Merkantil- und Wechselgericht, A3, Firmenakten 1. Reihe, BP 132)</span></div>
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On 11 April 1801 (A-Wsa, Patrimoniale Herrschaften B1.25, fol. 36r), Joseph Patuzzi and his brother Franz
sold the house in the Seilergasse to the silk manufacturer Sebastian
Rosenkart (1756–1809) and his wife Barbara who, already on 27 November
1801, sold it to a certain Katharina Himpel (A-Wsa, Patrimoniale Herrschaften, B1.25, fol. 81v). It was Katharina Himpel who in 1814 was to be Mauro Giuliani's landlady. On 2 April 1822, the house Stadt 1083 was bought by Lorenz Aumüller and his wife Barbara (A-Wsa, Patrimoniale Herrschaften, B1.28, fol. 103). Lorenz Aumüller, who had been born in 1752 in Obergänserndorf (Pfarre Niederhollabrunn, Tom. 4, 167) and had come to Vienna before 1774 (St. Ulrich, Tom. 27, fol. 359v), started out as a modest ribbon weaver and during the following fifty years established one of Vienna's most sucessful productions of silk ribbons. When Aumüller died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18291231&seite=4&zoom=33" target="_blank">27 December 1827</a> at his house <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=YIFHRpyVHEbfFI5EHjDmQ-c-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10382180" target="_blank">Schottenfeld 349</a> (which he had appropriately named "Zur Aumühl"), he owned five houses and a garden which were estimated at a total value of 262,192 fl 24 x. This was only half of his overall assets. Among the three houses, that Aumüller owned in the Inner City, was Stadt 1083 which in January 1830, was evaluated at 93,200 gulden by the municipal appraisers. Aumüller's probate file contains a detailed description of the house. Compared to the assessment from 1798 the building was basically unchanged. The only alteration on the second floor (Giuliani's presumable quarters) was a "Communicationsgang" (connecting corridor) that had been added. The third floor now had two more rooms.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxqXDxIJOvPJ0X-fnKL0MJ4amZZocTmPKH0t9CRrRKpCsjC8O6yc3z_luDQESE3ugCzFEJUAgfR_sbG13uem7FkPLsvMI9Ea0H0GNxhGCjc0CV61ddW-boS2wAPwOgTUWsIakYuHdJYc/s1600/A2%252C+881_1829.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxqXDxIJOvPJ0X-fnKL0MJ4amZZocTmPKH0t9CRrRKpCsjC8O6yc3z_luDQESE3ugCzFEJUAgfR_sbG13uem7FkPLsvMI9Ea0H0GNxhGCjc0CV61ddW-boS2wAPwOgTUWsIakYuHdJYc/s320/A2%252C+881_1829.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The second and third page of the 1830 appraisal of Stadt 1083 in the probate file of Lorenz Aumüller (A-Wsa, Mag. ZG, A2, 881/1829). This document was signed by the master builders Joseph Adelpodinger, <a href="https://www.geschichtewiki.wien.gv.at/Wenzel_Deimmel" target="_blank">Wenzel Deimmel</a>, Georg Rueff, and the master carpenter Joseph Fellner.</span></div>
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After the death of Lorenz Aumüller's widow Barbara on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18311010&seite=5&zoom=33" target="_blank">5 October 1831</a>, the house Stadt 1083 was described and evaluated again. The appraisal, drawn up on 26 November 1831, evaluated the house at 97,200 gulden, an increase of 4,3% within two years, which sheds light on the inflation rate at that time. In 1833, the house went to Aumüller's five grandchildren. One of them, Barbara Aumüller in 1830 had married Joseph Bujatti (an elder brother of the industrialist <a href="https://de.wikipedia.org/wiki/Franz_Bujatti" target="_blank">Franz Bujatti</a>) and thus, had become a family member of one of the most prominent dynasties of Austrian silk manufacturers. When her brother Karl Grienauer (1808–1883) was ennobled in 1876, he chose the predicate "Edler von Auenegg" in memory of his grandfather Lorenz Aumüller. In 1896, the house Stadt 1083 was replaced with a new building. As far as I could determine, no photograph of the old house exists.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZKHIJ0l2wFC84FLn8B6AFy-cyogFfFQjXrGLRLmgBZkPrbN6rfY629AGfYNQJCuN_TbVHkDwEwcpXhLXmB-8bk1HMNxi2MeUa2AtSzoesp9jvkqEKXIrOYAKZZg36bwcN_3DHuxbsNjA/s1600/Seilergasse+3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZKHIJ0l2wFC84FLn8B6AFy-cyogFfFQjXrGLRLmgBZkPrbN6rfY629AGfYNQJCuN_TbVHkDwEwcpXhLXmB-8bk1HMNxi2MeUa2AtSzoesp9jvkqEKXIrOYAKZZg36bwcN_3DHuxbsNjA/s320/Seilergasse+3.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The house Seilergasse 3 today</span></div>
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<b>The Wiesenberger-Hauptmann-Patuzzi Family Connection</b> <br />
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Giuliani's choice of residence was based on the relations between the Wiesenberger and the Patuzzi families. In spring of 1798, Joseph Patuzzi, who at that time still owned a third of the house where he had been born in 1773 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-091/?pg=65" target="_blank">A-Wd, Tom. 91, fol. 31v</a>), realized the marriage plans which were to become the basis of his family relationship with Mauro Giuliani's extramarital family. On 12 April 1798, he applied to the Lower Austrian Government for a permission to marry Theresia Hauptmann, the daughter of the goldsmith and appraiser Johann Kaspar Hauptmann. "Since I am about to open a trading business", Patuzzi wrote, "a wife is absolutely indispensable for the management of my household".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvz17JaY4ASLWTyOhthH59UVNiODv87SQByNFL5QWWrdp0mauDCQph2Zz_o0CI409YSw5fn3bF9i1ML00WaDD3p_Zp4fEQ4dJUvfarhB_KbdOhP7GDi2bU_zHZl33iOBY1cjDKVM75LU/s1600/VKA+35_1798.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvz17JaY4ASLWTyOhthH59UVNiODv87SQByNFL5QWWrdp0mauDCQph2Zz_o0CI409YSw5fn3bF9i1ML00WaDD3p_Zp4fEQ4dJUvfarhB_KbdOhP7GDi2bU_zHZl33iOBY1cjDKVM75LU/s320/VKA+35_1798.jpg" width="208" /></a></div>
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<span style="font-size: x-small;">The first page of Joseph Patuzzi's 1798 marriage application to the I. & R. Lower Austrian Government (A-Wstm, St. Peter, Verkündakt 35/1798)</span></div>
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On 13 May 1798, at <a href="https://en.wikipedia.org/wiki/Peterskirche,_Vienna" target="_blank">St. Peter's Church</a>, Joseph Patuzzi married Theresia Hauptmann who was the sister-in-law of Johann Georg Wiesenberger, the father of Giuliani's mistress Anna Wiesenberger. Accordingly, in 1798, Johann Georg Wiesenberger served as Patuzzi's best man. The witness of the bride was her uncle, the I. & R. Aulic Councillor and protonotary Franz Xaver von Bergauer.<br />
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<span style="font-size: x-small;">The entry concerning Joseph Patuzzi's and Theresia Hauptmann's wedding on 13 May 1798. Johann Georg Wiesenberger's name appears at the upper right. The original copy of the marriage register with the witnesses' original signatures does not survive (A-Wstm, St. Peter, Tom. 1, 442). </span></div>
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In 1792, seven months after the death of his first wife, Johann Georg Wiesenberger had married nineteen-year-old Maria Anna Hauptmann (A-Wstm, St. Peter, Tom. 1, 294) who had lived in the Trattnerhof on the same floor as Wiesenberger.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqgUNaxClsnp_WrBYW_V-BNg6unfeN_tjfVbnlgd7-pG4R_nOcXdgHaDBU4wAg0u4iJ8FQv4O6ydvD4edk9RgxkVmOHyS3MGc_sQiFj55Lv7hR_rlRttBR15FKFFXAryY3dO-pXmv5v38/s1600/Trattnerhof+B34_3%252C+464.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqgUNaxClsnp_WrBYW_V-BNg6unfeN_tjfVbnlgd7-pG4R_nOcXdgHaDBU4wAg0u4iJ8FQv4O6ydvD4edk9RgxkVmOHyS3MGc_sQiFj55Lv7hR_rlRttBR15FKFFXAryY3dO-pXmv5v38/s320/Trattnerhof+B34_3%252C+464.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The apartments of Johann Georg Wiesenberger, Andreas Annes, and Johann Kaspar Hauptmann on the fourth floor of the Trattnerhof, listed in the 1788 tax register (A-Wsa, Steueramt, B34/3, fol. 464)</span></div>
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<span style="font-size: x-small;">The last page of Johann Georg Wiesenberger's and Maria Hauptmann's marriage contract which was drawn up on 30 August 1792. This document was signed by the bridal couple, the bride's parents Johann Kaspar, and Rosalia Hauptmann, the bride's uncle Franz von Bergauer, and Wiesenberger's best man, the merchant Andreas Annes (1735–1814) (A-Wsa, Mag. ZG, A2, 3545/1802).</span></div>
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Only one document from Georg Wiesenberger's marriage file survives: on 1 September 1792, Anton Leopold Haßlehner, the inspector of the Trattnerhof, attested to the bride's long-time residence at this building.<br />
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<span style="font-size: x-small;">The certificate of residence, issued on 1 September 1792, for Maria Anna Hauptmann (A-Wst, St. Peter, VKA 65/1792). I extend my gratitude to the incomparable Constanze Gröger for making the publication of this document possible.</span></div>
<blockquote class="tr_bq">
It is herewith certified that the very noble Johann Kaspar Hauptmann, civil goldsmith, I. & R. sworn jeweller and jewelry appraiser, has been residing continuously at the Trattnerhof N° 591-596 in the City on the Graben into the 20th year, beginning on 23 April 1773, and that his legitimate daughter Anna Maria was born there and until now has really been living there with him. Vienna, September 1st, 1792<br />
[L.S.] Ant: Leop: Haßlehnermpia Inspector </blockquote>
That Joseph Patuzzi and Johann Georg Wiesenberger became brothers-in-law was to have long-term consequences. After the death of Karl Patuzzi (the youngest of the three brothers), who died in February 1799 during his apprenticeship in Rovereto, Karl's third of the house Stadt 1083 (then 1150) went to Joseph and Franz Patuzzi (A-Wsa, Patrimoniale Herrschaften, B1.24, fol. 320v). The death of their father Franz Patuzzi senior on 10 February 1799 sounded the economic decline of the family business. At the time of his wedding, Joseph Patuzzi still declared himself a "bürgerlicher Handelsmann", but he soon followed the career of many other Viennese tradesmen, whose business suffered under the unfavorable political circumstances, and became a commodity broker. Since Joseph Patuzzi, between 1799 and 1814, fathered eleven children, it is easy to trace his steps in the following years, steps that – not surprisingly – lead back to Stadt 1083, the house of his ancestors. In 1798, Patuzzi lived at Stadt 585 (the birthplace of <a href="http://michaelorenz.blogspot.co.at/2014/09/joseph-haydns-real-wife_11.html" target="_blank">Haydn's wife</a>) at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=nrlrRnOdL0YZgD5EFNCWQ-c-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10052290" target="_blank">Hoher Markt 4</a>. 1801 saw him residing at Stadt 685 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=D9JrRpJZL0YhAH5EcBXJQ-c-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10054245" target="_blank">Rotenturmstraße 21</a>), and 1802 at Stadt 799 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=wchvRvtILUYZgD5EFNCWQ-c-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10052417" target="_blank">Bäckerstraße 5</a>). On 14 October 1803, his daughter Anna Theresia Patuzzi was born at Stadt 518 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=D0xvRjhkMUYZgD5EFNCWQ-c-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10053001" target="_blank">Rabensteig 8</a>). Her godmother was her aunt Maria Anna Wiesenberger, Johann Georg Wiesenberger's widow.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXl81l3Ls2_Q144GYTPh-p4NwOeXIQD-M_Vsser7rcMluXdjAUr4tMPEOIz6VF2RJ98O5lyhiclLU7SOdK6Tn-03RTJ0wyngye_mN46wvfjo72K3JXM-ZhIIQqE6R-wUhgDf3xeyYj6Hk/s1600/Anna+Theresia+Patuzzi+14.10.1803%252C+103_248.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="37" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXl81l3Ls2_Q144GYTPh-p4NwOeXIQD-M_Vsser7rcMluXdjAUr4tMPEOIz6VF2RJ98O5lyhiclLU7SOdK6Tn-03RTJ0wyngye_mN46wvfjo72K3JXM-ZhIIQqE6R-wUhgDf3xeyYj6Hk/s400/Anna+Theresia+Patuzzi+14.10.1803%252C+103_248.jpg" width="400" /></a> </div>
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<span style="font-size: x-small;">The entry concerning the baptism of Anna Theresia Patuzzi at St. Stephen's (A-Wd, Tom. 103, fol. 248)</span></div>
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From 1806 until early 1810, Patuzzi lived at Stadt 1017 (<a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=o6xtRj9zJUYZgD5EFNCWQ-c-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10052593" target="_blank">Seilerstätte 18</a>), but as of February 1810, he is documented to have moved back to his place of birth, Stadt 1083 (then 1150), where on 4 February 1810, his son Moritz was born (A-Wd, Tom 105, fol. 213). Patuzzi's return to the house in the Seilergasse eventually led to Anna Wiesenberger and Mauro Giuliani move there as well. Joseph Patuzzi, his wife Theresia and their second child Joseph show up in a conscription sheet of Stadt 1083 where they lived until 1815.<br />
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<span style="font-size: x-small;">The family of Joseph Patuzzi ("k.k. Waarensensal") registered at Stadt 1083 (A-Wsa, Konskriptionsamt, Stadt 1083/1r). Of Patuzzi's eleven children only five were still alive in 1830 (A-Wsa, Konskriptionsamt, Landstraße 14/37r).</span></div>
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On 6 May 1810, Joseph Patuzzi's brother-in-law Peter Hauptmann, a goldsmith and jewelry appraiser like his father, married the renowned opera singer <a href="https://en.wikipedia.org/wiki/Anna_Milder-Hauptmann" target="_blank">Paulina Anna Milder</a> (St. Josef ob der Laimgrube, Tom. 5, fol. 273).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZnfolDvV-0WGfadY6bVwUYrdO3gn2elT9FqqlvAvoqFNESMMiLq2xW-PJav_gk6ZkV70E0rdDsfVhEnfKp98aQYrwsHCgNkiRGexDvQhVOWIRnzdqbDLzFpUzqVTOfx9RWIKVjjplEZ0/s1600/VKS+Hauptmann.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZnfolDvV-0WGfadY6bVwUYrdO3gn2elT9FqqlvAvoqFNESMMiLq2xW-PJav_gk6ZkV70E0rdDsfVhEnfKp98aQYrwsHCgNkiRGexDvQhVOWIRnzdqbDLzFpUzqVTOfx9RWIKVjjplEZ0/s320/VKS+Hauptmann.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Peter Hauptmann's and <a href="https://de.wikisource.org/wiki/BLK%C3%96:Milder-Hauptmann,_Anna" target="_blank">Anna Milder</a>'s "Verkündigungs Schein", written on 2 May 1810, by the curate of St. Peter's Thomas Huber. This document certifies that the banns for the wedding were published once at St. Peter's, that the couple was exempt from the two other publications, and that there was no legal obstacle to the marriage (A-Wstm, St. Peter, VKA 49/1810). At the time of their marriage, Hauptmann lived in the <a href="https://www.geschichtewiki.wien.gv.at/Trattnerhof" target="_blank">Trattnerhof</a> (No. 8, 2nd floor, 4th stairway, A-Wsa, Handschrift A 325/1, 959f.), and Milder at the <a href="https://en.wikipedia.org/wiki/Theater_an_der_Wien" target="_blank">Theater an der Wien</a> (A-Wsa, Konskriptionsamt, Laimgrube 26/7r). Peter Hauptmann had been born on 6 February 1779 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-095/?pg=228" target="_blank">A-Wd, Tom. 95, fol. 112r</a>) in the Trattnerhof (the number "691" in the baptismal entry is an error), son of the goldsmith Johann Kaspar Hauptmann (1740–1826) and his first wife Rosalia, née Bergauer.</span></div>
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Anna Milder-Hauptmann (who had been Beethoven's first Leonore in all versions of <a href="https://en.wikipedia.org/wiki/Fidelio" target="_blank">Fidelio</a>) served as godmother of one of Joseph Patuzzi's children. Her godson Sigmund Paul Patuzzi was born on 19 February 1814, at Stadt 1083 (then 1150) and baptized at the Cathedral on the following day. The state official and diarist <a href="https://www.geschichtewiki.wien.gv.at/Matthias_Franz_Perth" target="_blank">Mathias Perth</a>, who was the tutor of Patuzzi's children, was present at the ceremony and testified to the child's legitimacy (A-Wst, Perth, Tage-Buch, C H.I.N. 226988/26, 131).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtjZyhg0T4ZxfCw40Hh0e9HDUG2HrrATAqHKjZWrQZpEDv1JFSSfLo_Bl9qmsR-zTkmfW_TZWqTGQ35zEVCv1FEdXYGwK3azReUKFBJEYPU90ss7XpjPAy6zC9aZ18IJbyvasgSQAhOQo/s1600/Sigmund+Patuzzi+20.2.1814.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtjZyhg0T4ZxfCw40Hh0e9HDUG2HrrATAqHKjZWrQZpEDv1JFSSfLo_Bl9qmsR-zTkmfW_TZWqTGQ35zEVCv1FEdXYGwK3azReUKFBJEYPU90ss7XpjPAy6zC9aZ18IJbyvasgSQAhOQo/s320/Sigmund+Patuzzi+20.2.1814.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Anna Milder-Hauptmann's godson Sigmund Paul Patuzzi on 20 February 1814. Mathias Perth's signature is at the bottom right (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/01-106/?pg=131" target="_blank">A-Wd, Tom. 106, fol. 113</a>). This child died of measles on 23 September 1815 (A-Wd, Tom. 40a, fol. 209). </span></div>
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It is interesting to trace the further fate of the Hauptmann siblings, Peter Hauptmann, Maria Wiesenberger, and Theresia Patuzzi. In 1815, Anna Milder-Hauptmann was granted an emigration permit and went to Berlin. Her emigrant status was revoked in 1819 by the Emperor and converted into a five-year passport (A-Wsa, Konskriptionsamt, Stadt 618/41v). Peter Hauptmann seems not to have accompanied his wife to Berlin, because at the time of his father's death in 1826, he was still living in Vienna (A-Wsa, Mag. ZG, A2, 1340/1826). Milder-Hauptmann visited Vienna one last time in January 1836, on which occasion she <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18360108&seite=3&zoom=33" target="_blank">gave a concert</a> at the hall of the Gesellschaft der Musikfreunde. Peter Hauptmann paid rent for his apartment in the Trattnerhof until 29 September 1834 (A-Wsa, Handschrift A 325/3, 97f.). A unique source regarding the last decades of Hauptmann's life survives as an anonymous
report titled "Juwelier Hauptmann, der Gemahl der Sängerin Milder" in
Vienna's Haus-, Hof-, und Staatsarchiv (A-Whh, StK, Adelsakten 7, fol.
390-402). In 1845, heavy financial problems, which allegedly were caused by his being liable for debts of too many of his friends, caused Hauptmann to leave Vienna. He spent the following two years in Gloggnitz and <a href="https://en.wikipedia.org/wiki/Sopron" target="_blank">Ödenburg</a>, and in 1847 – on the advice of Vienna's mayor <a href="https://de.wikipedia.org/wiki/Ignaz_Czapka" target="_blank">Ignaz Czapka</a> – moved into the <a href="https://www.geschichtewiki.wien.gv.at/Versorgungsanstalt_der_Stadt_Wien_in_Ybbs_(1865)" target="_blank"><i>Versorgungsanstalt</i></a> in <a href="https://de.wikipedia.org/wiki/Ybbs_an_der_Donau" target="_blank">Ybbs an der Donau</a>. There he died of old age on 8 February 1858 (<a href="https://data.matricula-online.eu/de/oesterreich/st-poelten/ybbs-donau/05%252F04/?pg=44" target="_blank">Pfarre Ybbs, Sterbebuch der Versorgungsanstalt, Tom. 4, fol. 32</a>).<br />
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Eleven months after the death of Johann Georg Wiesenberger in 1802, from whom she had inherited 23,500 gulden, his widow Maria Anna bore an illegitimate daughter who on 6 May 1803 was christened Theresia Anna Karolina after her godmother Theresia Patuzzi (Maria Rotunda, Tom. 2, 51f.). The name of the child's father is not given in the records, but later documents show that the father was Joseph Rantsch (b. 4 June 1774, St. Ulrich, Tom. 34, fol. 100r), head accountant with the bank and trading firm of Baron Andreas von Fellner (1751–1819). Rantsch and Maria Wiesenberger got married on 6 May 1806 at Vienna's <a href="https://en.wikipedia.org/wiki/Dominican_Church,_Vienna" target="_blank">Dominican Church</a> (Maria Rotunda, Tom. 2, 214f., and A-Wsa, Mag. ZG, A10, 156/1827), and eventually had seven more children. The godmother of one of them was their mother's stepdaughter (and Mauro Giuliani's mistress) Anna Wiesenberger.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBs-npfg_j4Q_0cPj-yPuY68AeSVGJrr15xAx29KPTZc1ig_e0giFh9w1v0A5ChKo24H9OJnca3O9bUoMtM62_jeag8MWnbZd69FKDtaht2a4PRwfmM3R6obcxoEpIdY04veFKiR_AY_g/s1600/Adolph+Alois+Rantsch+1.3.1811.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="84" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBs-npfg_j4Q_0cPj-yPuY68AeSVGJrr15xAx29KPTZc1ig_e0giFh9w1v0A5ChKo24H9OJnca3O9bUoMtM62_jeag8MWnbZd69FKDtaht2a4PRwfmM3R6obcxoEpIdY04veFKiR_AY_g/s320/Adolph+Alois+Rantsch+1.3.1811.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the baptism of Adolph Alois Rantsch on 1 March 1811 (St. Augustin, Tom. 5, fol. 100). The midwife was Theresia Bernegger who in 1808 had already helped deliver Mauro Giuliani's daughter Maria Willmuth. </span></div>
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Although in 1810 Joseph Rantsch had become a business associate of Baron von Fellner, his business activities seem to have been unsuccessful. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVv6xOsJPpxnzXMaiE-pwe0MV0C_SEu2YYqqs7azNv13DWASRUcbfeq1F_bgpUiAJWADfpaOzenLlU53gUqSnZLLJ5MoPqNa2t_u_dOhUIO5UUAUYwf-nHPcveDIXsBIiN46HtSCDU6qo/s1600/MG+F+80+1.1.1810.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="785" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVv6xOsJPpxnzXMaiE-pwe0MV0C_SEu2YYqqs7azNv13DWASRUcbfeq1F_bgpUiAJWADfpaOzenLlU53gUqSnZLLJ5MoPqNa2t_u_dOhUIO5UUAUYwf-nHPcveDIXsBIiN46HtSCDU6qo/s320/MG+F+80+1.1.1810.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The seals and signatures of the Barons Alexander and Karl von Fellner and Joseph Rantsch on their joint associate contract which was signed on 1 January 1810 (A-Wsa, Merkantil- und Wechselgericht, A3, 1. Reihe, F 80, fol. 69r)</span></div>
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At the time of Joseph Rantsch's death on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18270316&seite=3&zoom=33" target="_blank">13 March 1827</a>, his meager assets were completely compensated by the financial claims of his widow. Maria Rantsch proposed her brother Peter Hauptmann as guardian of her eight children, but Hauptmann refused to accept this appointment (A-Wsa, Mag. ZG, A10, 156/1827). </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmyY3FUptg_Net8cPi3Zm84NxNNKcMvVfJcFXcWyfkLDaONQblkCJskdH9meV-NBVrza2HcvH7AS7nCEmwFIMcyytPDckrklpzCtmv3u09rIqtc3utzoTE0Kz8WpxXzeIl6_PpxwufOBE/s1600/Ransch%252C+476_9r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmyY3FUptg_Net8cPi3Zm84NxNNKcMvVfJcFXcWyfkLDaONQblkCJskdH9meV-NBVrza2HcvH7AS7nCEmwFIMcyytPDckrklpzCtmv3u09rIqtc3utzoTE0Kz8WpxXzeIl6_PpxwufOBE/s320/Ransch%252C+476_9r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The "Großhändlerswittwe" Maria Rantsch and five of her children registered on a conscription sheet from around 1834 (A-Wsa, Konskriptionsamt, Stadt 476/9r)</span></div>
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Maria Rantsch died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18490725&seite=9&zoom=33" target="_blank">18 July 1849</a> completely destitute. At that time, only four of her children were still alive (A-Wsa, Mag. ZG, A2, 7815/1849). In her will, written on 13 May 1845, she left all her belongings to her unmarried daughter Maria.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg35TImLj8MqG1AEkkK-gmRDmesn0K2LPILTeCPHOLbHphQoKjYt_9cIy0G-TSOVVRKvbbwSxYEdqwtrNusm8sRKr1QB_qrlUVwQWw60shXnnmhZIAOIecnOL44NryFtjSYcy7X4-SSJmI/s1600/511_1849+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg35TImLj8MqG1AEkkK-gmRDmesn0K2LPILTeCPHOLbHphQoKjYt_9cIy0G-TSOVVRKvbbwSxYEdqwtrNusm8sRKr1QB_qrlUVwQWw60shXnnmhZIAOIecnOL44NryFtjSYcy7X4-SSJmI/s320/511_1849+%25281%2529.jpg" width="249" /></a></div>
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<span style="font-size: x-small;">The will of Maria Anna Rantsch, née Hauptmann, widowed Wiesenberger (A-Wsa, Mag. ZG, A10, 511/1849)</span></div>
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Maria Anna Rantsch's will was closed with the seal of her first husband Johann Georg Wiesenberger.</div>
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<span style="font-size: x-small;">The seal of Johann Georg Wiesenberger on the outside of Maria Rantsch's will (A-Wsa, Mag. ZG, A10, 511/1849)</span></div>
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Between 1815 and 1820, Joseph Patuzzi and his wife Theresia, née Hauptmann moved from Stadt 1083 to the Landstraße. At that time, Patuzzi began to pull off a rare feat of imposture: he used the sixty-year-old predicate of nobility of his uncle Joseph von Patuzzi and successfully passed himself off as nobleman. All documents from after 1820 show him as "von Patuzzi, according to the produced diploma" (A-Wsa, Konskriptionsamt, Landstraße 14/4v). </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMDdVFhEXMeoDD3l-BVYH6dDHZbArjrXuYAMeMPVALzOFE1d-LDxxWZL1fqUv00Mf4wyjN1XWsdB7nrMvjSqvBhl4QuJO-WxkQnQj_PmP-dwbDpLW9pFlLrk4WrnqJmYSaIgwIaz-8ZSg/s1600/Patuzzi+1763.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMDdVFhEXMeoDD3l-BVYH6dDHZbArjrXuYAMeMPVALzOFE1d-LDxxWZL1fqUv00Mf4wyjN1XWsdB7nrMvjSqvBhl4QuJO-WxkQnQj_PmP-dwbDpLW9pFlLrk4WrnqJmYSaIgwIaz-8ZSg/s320/Patuzzi+1763.jpg" width="198" /></a></div>
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<span style="font-size: x-small;">Joseph von Patuzzi's coat of arms issued by the Court in 1763 (in private ownership)</span></div>
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Patuzzi's ruse was so convincing that his and his wife's estates were settled by the court of the Lower Austrian Landrechte which was responsible for members of the nobility. The two probate files of the Patuzzi couple were destroyed in 1927.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYU-_a82tpZ8ix9l2O_lqE9dP_4VeCZVARmT9smDctQjyurlchm2KpSGP2MlIqncmuTGmNePUsWAynYy26X3xtN34fYLGUIOIKVbqUGh3JHa6TEn9pLSJsTaAECZ-TDhh2L69Jlojv6FE/s1600/Patuzzi%252C+LSR+14_37r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYU-_a82tpZ8ix9l2O_lqE9dP_4VeCZVARmT9smDctQjyurlchm2KpSGP2MlIqncmuTGmNePUsWAynYy26X3xtN34fYLGUIOIKVbqUGh3JHa6TEn9pLSJsTaAECZ-TDhh2L69Jlojv6FE/s320/Patuzzi%252C+LSR+14_37r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Joseph "von" Patuzzi and his family, registered on a conscription sheet of Landstraße 14 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-aA93RtIsJ0YXmrFEE94PRP-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10058701" target="_blank">Marxergasse 8</a>), dating from around 1835, which was later transferred to Landstraße 43 and 311 (A-Wsa, Konskriptionsamt, Landstraße 14/37r). As can be seen, the son Joseph was a municipal market judge, Ludwig a public servant in Amstetten, and Moritz an office scribe in St. Leonhardt (today's <a href="https://de.wikipedia.org/wiki/St._Leonhard_am_Forst" target="_blank">St. Leonhard am Forst</a>).</span></div>
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Theresia Patuzzi, née Hauptmann died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=adl&datum=18400810&seite=8&zoom=33" target="_blank">4 August 1840</a> at Landstraße 43 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=phF5RleWJkYXmrFEE94PRP-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10058726" target="_blank">Marxergasse 16</a>), her husband Joseph on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18470205&seite=5&zoom=33" target="_blank">31 January 1847</a> at Landstraße 311 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-aIl6RqmRHUYXmrFEE94PRP-a5R5lmnKnmkev2pn4Mpr4C&bmadr=10061118" target="_blank">Rochusgasse 6</a>).</div>
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To address marginal issues like the above in a detailed manner may seem hyperbolic. But the knowledge of the historical sources and the broad archival overview, which makes it possible to bring them into an informative context, holds the obligation to address such questions with the greatest possible meticulousness. All my research – may it lead ever so far into peripheral areas – has always two main purposes: to be a model for future efforts and to serve as guidance for my successors. <span id="result_box" lang="en"><span></span></span></div>
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© Dr. Michael Lorenz 2016. All rights reserved.<br />
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Updated: 17 August 2023 <br />
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<i>For their support during my research for this blogpost my thanks go to Anna Forster-Petrova, Otmar Seemann, David Buch, and Lucia Schuger.</i><br />
<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com5tag:blogger.com,1999:blog-6705638937146105675.post-19918327602032488542016-09-08T20:00:00.044+02:002024-03-15T11:51:44.675+01:00Fux DocumentsIn 2015, the Styrian publishing house <a href="http://www.leykamverlag.at/" target="_blank">Leykam</a> published a book about Austria's most prominent baroque composer, titled <i><a href="http://www.leykamverlag.at/shop/Sachbuch/Johann-Joseph-Fux_pr_838.html" target="_blank">Johann Joseph Fux. Leben - musikalische Wirkung - Dokumente</a></i>, edited by <a href="https://de.wikipedia.org/wiki/Rudolf_Flotzinger" target="_blank">Rudolf Flotzinger</a>, professor emeritus of musicology at the <a href="http://www.uni-graz.at/en/" target="_blank">University of Graz</a>. This book, which is a collection of articles by several musicologists on the composer's life and work, is structured in three main sections: 1) Life and work, 2) Compositions and writings and 3) Documentation und interpretation. The chapters dealing with the composer's biography and work ("Leben und Wirken") and the documents related to Fux's life were written by Flotzinger, the chapter dealing with Fux's compositions and writings by a number of other Austrian Fux specialists. The cover of this book is special already, because it bears a different title than the <a href="http://www.bibliotecamusica.it/cmbm/biblio/w2015_flotr.pdf" target="_blank">title page</a> inside the book ("Dokumentation" versus "Dokumente").<br />
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According to the blurb on the back cover, this book "contains extensive appendices concerning original documents". In a
twelve-page chapter in the book's appendix, titled "Dokumente zur Biographie" (biographical documents), Flotzinger presents transcriptions of Fux documents dating from between 1680 and 1741. Of course, this collection of documents only leaves an apparent impression of completeness. There are too many Fux documents to present all of them, most of which have been published in 1872 in <a href="https://en.wikipedia.org/wiki/Ludwig_Ritter_von_K%C3%B6chel" target="_blank">Ludwig von Köchel</a>'s book <a href="https://books.google.at/books?id=M9ZSAAAAcAAJ" target="_blank"><i>Johann Josef Fux, Hofcompositor und Hofkapellmeister der Kaiser Leopold I., Josef I. und Karl VI. von 1698 bis 1740</i></a> (Vienna: Alfred Hölder, 1872). But this basic fact, and the fact that Köchel's edition is not complete, is never addressed in this book, and the editor's arbitrary choice of documents is essentially problematic.<br />
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When I began to do research on Fux documents, I planned to write a short piece about the costs of Fux's obsequies. But as I delved deeper into the body of known Fux documents, I realized that I had come across a plethora of unreliable pieces of documentation and flawed transcriptions. Owing to some authors' limited paleographic expertise, the available transcriptions of Fux documents contain hundreds of mistakes of which only the most serious can be addressed here. What follows is not a review of the above book. I do not claim to be a Fux expert and I do not intend to delve into Fux's musical oeuvre, or to draw up a list of all the transcription mishaps in the above book's documentary chapter. However, if eighteenth-century sources, on which I profess to have a modest expertise, are mistranscribed or misinterpreted, I dare to take issue. The objective of this blogpost is to present a number of unknown Fux documents, to address the worst mistakes in the edition of already published material, and to point out directions for future research.<br />
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<b>Fux's Obsequies </b><br />
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On 13 February 1741, the retired Court Kapellmeister Johann Joseph Fux died of "hectica Fieber" (tremorous fever) in the house "Zum goldenen Bären" on the Fleischmarkt (today <a href="https://goo.gl/maps/sNAnR4Swd732" target="_blank">Fleischmarkt 14</a>). The house was named after an inn which at that time was run by the house's owner Mathias Müllner. The <i>Wienerisches Diarium</i> of <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17410218&seite=7&zoom=33" target="_blank">18 February 1741</a> and several other sources give 14 February as Fux's date of death, but the fact that Fux's will was already opened on February 13, proves that he died one day earlier. Fux's obsequies and burial took place in the evening of Wednesday, 15 February 1741, at St. Stephen's Cathedral. Since the source concerning this ceremony is the entry in the so-called <i>Bahrleihbuch</i> (protocol of funeral fees) of St. Stephen's, Flotzinger presents a transcription of this entry. Not only is this transcription flawed and incomplete, it is also interpreted in a way that does not meet scholarly standards. I have spent years studying the <i>Bahrleihbücher</i> of St. Stephen's and eighteenth-century funeral ceremonies at this Cathedral. In 2014, my research led to the publication of the article <a href="http://goo.gl/lF87QJ" target="_blank"><i>Haydn Singing at Vivaldi's Exequies: An Ineradicable Myth</i></a> where the four different classes of peal of bells are described, and the expenses for various types of funeral procedures at St. Stephen's Cathedral are explained in detail. As far as funeral rites at St. Stephen's in 1741 are concerned, I consider my work pioneering and indispensable for musicologists who want to delve into this special topic. If Flotzinger actually checked the 1741 <i>Bahrleihbuch</i> himself (which I have reasons to doubt), he certainly did not read any other entries similar to the one related to Fux's obsequies. He apparently took notice of only one entry which is the kind of narrow perspective that often leads to a source being misinterpreted. The situation is reminiscent of Mozart scholars who write about Mozart's <i>Sperrs-Relation</i> (probate file), while the only <i>Sperrs-Relation</i> they actually know (meaning whose flawed transcription they have read) is Mozart's. Time and again, it can be seen that the ability to read eighteenth-century Viennese <a href="https://en.wikipedia.org/wiki/Kurrent" target="_blank"><i>Kurrentschrift</i></a> is not enough to transcribe and understand historical documents. Equally important is the knowledge of the vocabulary, large archival holdings, and the general context of sources. Lacking sufficient insight into eighteenth-century Viennese burial procedures and their costs, Flotzinger, who was obviously impressed by the cost of 180 florins 52 kreutzer of Fux's obsequies, mistakenly considers this amount "extraordinarily high". In his book, he describes Fux's burial as having been conducted "with great efforts" with costs of "almost 190 fl,–" and claims that these efforts and the burial in the crypt of the Cathedral "were requested by the Court" (Flotzinger, 76). On 1 February 2016, Flotzinger appeared as guest on the Austrian classical music radio program <i><a href="http://oe1.orf.at/programm/425109" target="_blank">Apropos Musik</a></i> where he talked about his new book. He elaborated his personal point of view concerning Fux's burial and – unsupported by any research – presented the following assertions.<br />
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</ol>
<ul>
<li>Fux's obsequies were carried out with a "wahnsinniger Aufwand" (insane effort).</li>
<li>"The Emperor[<i>sic!</i>]" paid for the ceremony.</li>
<li>"The Emperor" was present at Fux's obsequies.</li>
<li>The Court chapel took part in the obsequies.</li>
<li>The boy Joseph Haydn took part in the ceremony. </li>
<li>The whole chapter of the cathedral attended the ceremony. </li>
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Apart from the fact that by February 1741, Fux's former employer, Emperor <a href="https://en.wikipedia.org/wiki/Charles_VI,_Holy_Roman_Emperor" target="_blank">Charles VI</a> had been dead for four months, none of the above claims is tenable. Fux's obsequies were carried out according to the rate of a regular half-price <i>Großgleuth</i> with an additional Requiem, an effort that in 1741 everybody could receive at the Cathedral whose relatives were willing to pay for it. Given that Fux was able to bequeath 10,000 florins to his nephew Matthäus, his relatives certainly did not need the financial support of <a href="https://en.wikipedia.org/wiki/Maria_Theresa" target="_blank">Maria Theresia</a> to pay for the ceremony. In the evening of 15 February 1741, Maria Theresia was not present at Fux's obsequies, because at exactly that time she was receiving <a href="https://en.wikipedia.org/wiki/Joseph_Wenzel_I,_Prince_of_Liechtenstein" target="_blank">Joseph Wenzel I, Prince of Liechtenstein</a> in audience, who had just returned from Paris. This information was published in the <i>Wiener Diarium</i>, on the same page as Johann Joseph Fux's death notice. Flotzinger's claim is also refuted by the entry in the 1741 Zeremonialprotokoll (OESTA/HHStA <a href="https://www.archivinformationssystem.at/bild.aspx?VEID=21976&DEID=10&SQNZNR=23" target="_blank">OMeA ZA-Prot. 18, fol. 21v</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisdHrYKJbQURHrnYbNA7sZpGfaFSnsHrNxYk4Feb0CXg_N4mfC1kgbkdNIt8ROihrakvcAu_K31Sl7uhm_WAlEs4Btc4YZeQ6G8xd9Rx6kC2a7-e4nw0zSZRYOTuFteLL_wgaBuVhCIjA/s1600/WZ+18.2.1741+p.149.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisdHrYKJbQURHrnYbNA7sZpGfaFSnsHrNxYk4Feb0CXg_N4mfC1kgbkdNIt8ROihrakvcAu_K31Sl7uhm_WAlEs4Btc4YZeQ6G8xd9Rx6kC2a7-e4nw0zSZRYOTuFteLL_wgaBuVhCIjA/s200/WZ+18.2.1741+p.149.jpg" width="190" /></a></div>
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<span style="font-size: x-small;">The <i>Wiener Diarium</i> reporting the return of Prince von Liechtenstein in the evening of 15 February 1741, and his following reception in audience by "Her Majesty the Queen" (<i>Wiener Diarium</i> 1741, 149)</span></div>
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The Court chapel did not take part in Fux's funeral ceremony, because its collaboration would only have been allowed in the Cathedral (a premise that was subject to municipal administration), if the Court musicians had performed without pay. The entry concerning the obsequies of <a href="https://en.wikipedia.org/wiki/Antonio_Caldara" target="_blank">Antonio Caldara</a> in 1736, shows that such a <i>gratis</i> performance was explicitly registered in the <i>Bahrleihbuch</i> (see below). The six <i>Kapellknaben</i> (one of whom at that time was Haydn) never took part in funeral ceremonies that were performed according to the valid <i>Stol-Ordnung</i> (regulation of ceremony fees). They took part in activities of the <i>Domkapelle</i>, such as High Masses on Sundays and feast days.<br />
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Let me begin with the most important source concerning Fux's obsequies: the entry in the 1741 <i>Bahrleihbuch</i> of the parish of St. Stephen's. The transcription of this entry, which Flotzinger presents in the chapter
"Dokumente zur Biographie" (biographical documents), shows that he did not fully understand this source. His transcription is flawed and incomplete.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzhPSU7mi9mLAZLA0ERvDrgxNSjpo2sk5gg810pGBAneoKfTCLwlj0y4Dt1VYkg01qogtGRNx6Hr7PQS-eg-P0AvHw_lK29zhnHEiOShBKUDk3LXFvJs0HtR5fO-qzcvS8DhcxhoG6z4/s1600/Flotzinger+p.+369a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAzhPSU7mi9mLAZLA0ERvDrgxNSjpo2sk5gg810pGBAneoKfTCLwlj0y4Dt1VYkg01qogtGRNx6Hr7PQS-eg-P0AvHw_lK29zhnHEiOShBKUDk3LXFvJs0HtR5fO-qzcvS8DhcxhoG6z4/s400/Flotzinger+p.+369a.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Flotzinger's transcription of the entry concerning Fux's obsequies (Flotzinger, 2015, 369)<i></i></span></div>
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The author of this transcription obviously never saw even one other entry in an eighteenth-century <i>Bahrleihbuch</i> [henceforth BLB]. These entries always begin with the date of the burial (if it was the first on that day) and not with the word referring to the time of day. The word "Nachtbestattung" did not exist at that time. The term which was used was "Nachtbegräbnis" (which actually means "funeral after dark" and not "during the night" as claimed by Flotzinger).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_DU45FCyJV19DAV0PPOUEh_GCPRk7FSVLTrVSW5cpAyhF1XydiXiy6TiYIDXNR4A3fhbYEXZoOppRls9i0atdLxA8YkbHak-naRos9_MwG3o3ESh_-EV0j3PNZx9yC_EpzBnwvrd3nHo/s1600/Nachtbegr%25C3%25B6b+1683%252C+fol.+62v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_DU45FCyJV19DAV0PPOUEh_GCPRk7FSVLTrVSW5cpAyhF1XydiXiy6TiYIDXNR4A3fhbYEXZoOppRls9i0atdLxA8YkbHak-naRos9_MwG3o3ESh_-EV0j3PNZx9yC_EpzBnwvrd3nHo/s200/Nachtbegr%25C3%25B6b+1683%252C+fol.+62v.jpg" width="200" /></a></div>
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<span style="font-size: x-small;">An example of the word "Nachtbegröb[nis]" from 1683, before the abbreviation became shorter (A-Wd, BLB 1683, fol. 62v)</span></div>
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"Krufften" is a well-known misreading of the downward-bent upper horizontal stroke of the "f" as a second letter f. Decades of work with eighteenth-century handwritten documents made me realize that this is only one single letter and that the "double-f-appearance" is actually a phenomenon of an illusion, caused by a learned visual pattern. The second vertical stroke causes an almost irresistible visual "double f" impression. For more examples, related to this particular issue, see my article <a href="http://goo.gl/XjnNlR" target="_blank"><i>A Little Leitgeb Research</i></a>. A special phenomenon connected with this misreading is the fact that it soaked into contemporary printed sources which are now taken as "proof" that this is a double f.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7qU50DdKsF6_p_gkVwQ-IdoIsxWc_SbeoRKBC-9DLwK7CEkVfNzYW7r4sEHSDmhov7DiWEpeMkgUPQcFdA5xNqKk2M-2K38Ef715mtq06bEEwNfOZxg6MJMUHRSWFwwz90RhORF0ejY/s1600/Kruften.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="81" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7qU50DdKsF6_p_gkVwQ-IdoIsxWc_SbeoRKBC-9DLwK7CEkVfNzYW7r4sEHSDmhov7DiWEpeMkgUPQcFdA5xNqKk2M-2K38Ef715mtq06bEEwNfOZxg6MJMUHRSWFwwz90RhORF0ejY/s320/Kruften.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The word "Kruften" in Fux's <i>Bahrleihbuch</i> entry. This is a single f with the upper horizontal stroke drawn downwards to avoid lifting the pen and to have backswing space for the following t.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi66LJ2aDSbxfSta6NYVUR1N8Hsv1cInrDU9pPjSmGfb96MyOd5i5qjp1Vl-38VbhKJN8BeE6SgiCKdN135dpdEScbsFzXa-sRjcpMVJHjr0BXI_ugptUel9rwZH1IvSjSbPdRqoKh27jQ/s1600/Clafter+B106_17%252C+174r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi66LJ2aDSbxfSta6NYVUR1N8Hsv1cInrDU9pPjSmGfb96MyOd5i5qjp1Vl-38VbhKJN8BeE6SgiCKdN135dpdEScbsFzXa-sRjcpMVJHjr0BXI_ugptUel9rwZH1IvSjSbPdRqoKh27jQ/s320/Clafter+B106_17%252C+174r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The word "Clafter" in a 1744 property register (A-Wsa, Patrimoniale Herrschaften, B106.17, fol. 174r). Every example of eighteenth-century handwriting I present in this blogpost stands for thousands of similar examples. Flotzinger always mistranscribes this combination of letters as "fft".</span> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mk53jFrTdHdoRkNq-ByjhJzTy3gqCYFJxjIBju2-oDUQRGSWEv8nm0DepH9CfsTi-YgWYh1xJSm0KDzFWoagYljJLEb4SoufZVeoTkMc7s2McdxjKBFi3y3uiQ4JyldUHpfr0o2OZ50/s1600/Hof-Maisterin+21.1.1741.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mk53jFrTdHdoRkNq-ByjhJzTy3gqCYFJxjIBju2-oDUQRGSWEv8nm0DepH9CfsTi-YgWYh1xJSm0KDzFWoagYljJLEb4SoufZVeoTkMc7s2McdxjKBFi3y3uiQ4JyldUHpfr0o2OZ50/s320/Hof-Maisterin+21.1.1741.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The word "Hofmaisterin" in the entry concerning the death of Princess Maria Theresia von Auersperg in 20 January 1741. Again the horizontal line of the f is curved downward to avoid having to make a horizontal line to the left (A-Wsa, Totenbeschreibamt [henceforth TBP] 42, fol. 184v).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAPV9TfWjuc39Ppa_81fRUSxWvIR0sDK-zNhj5imndqZSQg5CfxV9IdZhGoXUPVpVQR4S0-f0BSLOjdGwAFk84dXPmCZp8_Gq1iXVfV_YMUIHAMCL6DQZ-8MOoFxgTTacLZhHhMySor8s/s1600/Apfel_Tauf_1741.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAPV9TfWjuc39Ppa_81fRUSxWvIR0sDK-zNhj5imndqZSQg5CfxV9IdZhGoXUPVpVQR4S0-f0BSLOjdGwAFk84dXPmCZp8_Gq1iXVfV_YMUIHAMCL6DQZ-8MOoFxgTTacLZhHhMySor8s/s320/Apfel_Tauf_1741.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Two more words from the 1741 municipal death records with the kind of single f that is usually mistranscribed: "Apfel" and "Tauf" (A-Wsa, Totenbeschreibamt 42)</span></div>
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<span style="font-size: x-small;">The signature of <a href="https://en.wikipedia.org/wiki/Gottlieb_Muffat" target="_blank">Gottlieb Muffat</a> on the will of his friend Heinrich Holzhauser, father of the singer Theresia Reutter. Technically this is a single f and the signature reads "Mufat". I located this signature (A-Wsa, AZJ, Test. 3945/18. Jhdt.) in 2012 for the cover of Alison Dunlop's book <a href="http://goo.gl/oIStoq" target="_blank"><i>The Life and Works of Gottlieb Muffat</i></a>.</span></div>
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<span style="font-size: x-small;">The word "Hofcamerath" in an endowment deed of 1737 (A-Wsa, Stiftungen, A2/5254). The misreading of this single f lead to the origin of the family name "Hoffmann", a profession that does not exist.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHudlOgqBZLaVTSHjNF0ioX01g9vw5ZWZ_RcAvgecMINY3I4zlgFLjOxKK51WxFiEkNaZxzEaP-jb8yJ7hhQ1sL7rDkX2rrCxBXS4fh_P64c5vRNme4pM70nCEqVrzRt3d_tPx6vurmCU/s1600/Hof-Decreten+1715.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="701" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHudlOgqBZLaVTSHjNF0ioX01g9vw5ZWZ_RcAvgecMINY3I4zlgFLjOxKK51WxFiEkNaZxzEaP-jb8yJ7hhQ1sL7rDkX2rrCxBXS4fh_P64c5vRNme4pM70nCEqVrzRt3d_tPx6vurmCU/s320/Hof-Decreten+1715.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The word "Hof=Decreten" in a document from 1715 that shows nicely why the horizontal stroke in the letter f was bent downward to facilitate the upward continuation (A-Whh, OMeA, Alte Akten, Karton 15)</span>
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The most prominent misreading of this single f occurred in the transcription of Johann Sebastian Bach's "Kurtzer, iedoch höchstnöthiger Entwurf einer wohlbestallten Kirchen Music" from 1730 which was first published on 10 November 1837, in the <i>Neue Zeitschrift für Musik</i> (<a href="https://books.google.at/books?id=dApDAAAAcAAJ&pg=PA149" target="_blank">Siebenter Band, No. 38</a>). The reading "Entwurff" is simply wrong. Further mistranscriptions of the single letter f in Bach's text appear in the words "nothdörfftig", "Wißenschafften", "Beÿhülffe", "begreiffen", and "Guffer".<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivU_KxVm9YQ9xVtBjWjlgAxOkmyUnA3yBVBrQ3cFTW9anr-8N1pGb8L58AvS33qAxRlOueal8p7XOMx9U9Ls1efn9fqdHZ7k1f3GIabbfUCnSKQxRbodnH4Y9WQEQHGvvnjlR5E5R2lOE/s1304/Bach%252C+Kurtzer+Entwurf.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="1304" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivU_KxVm9YQ9xVtBjWjlgAxOkmyUnA3yBVBrQ3cFTW9anr-8N1pGb8L58AvS33qAxRlOueal8p7XOMx9U9Ls1efn9fqdHZ7k1f3GIabbfUCnSKQxRbodnH4Y9WQEQHGvvnjlR5E5R2lOE/w320-h186/Bach%252C+Kurtzer+Entwurf.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The title of Bach's "Entwurf" which, on 23 August 1730, he wrote to the Leipzig city council (Bach-Archiv Leipzig, Rara I, 5)</span></div>
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The misreading of a single f as a double f is the cause of countless transcription mishaps in Flotzinger's book. Many of these mistakes are copied from <a href="https://de.wikipedia.org/wiki/Herwig_Knaus" target="_blank">Herwig Knaus</a>'s three-volume book <i>Die Musiker im Archivbestand des kaiserlichen Obersthofmeisteramtes</i> (Vienna: <a href="http://verlag.oeaw.ac.at/" target="_blank">VÖAW</a>, 1967-69).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkC9in0kjisOgvA4rmk1Q8lDooxRyMRONkW02IFEz3HAEDBIWS-TZ4gxdte18c2LhJO8x23Mvijroo2bf7DzFPp2ss3KwTkj18RSLfF4fagM65wjVHxbhQZ3VFMpkN6rA0NX3ibEPMwjw/s1600/TBP+42%252C+207r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkC9in0kjisOgvA4rmk1Q8lDooxRyMRONkW02IFEz3HAEDBIWS-TZ4gxdte18c2LhJO8x23Mvijroo2bf7DzFPp2ss3KwTkj18RSLfF4fagM65wjVHxbhQZ3VFMpkN6rA0NX3ibEPMwjw/s320/TBP+42%252C+207r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the municipal death records concerning the inspection of Fux's body by the coroner on 14 February 1741 (A-Wsa, TBP 42, fol. 207r)</span></div>
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The above entry of course reads "Hof-Capellmaister" and "Hectica-fieber" (the latter of which was correctly published by Köchel [Köchel, 288]). The note "Motteten mit Sart" in Fux's <i>Bahrleihbuch</i> entry completely mystified Flotzinger. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJOp8Z1Cd8vx8RQ2lsOcruT0vFyplAlqhDF8tgCSc2OYyTwaP9AtBlZsJrixFljjWKpyRmkekaezNPzH1_qEUA1-eCRrHb1aeMVbMUMvP720MeZoaOA3wUd9PWU6wiifNpcfacp5YmyDU/s1600/Motteten_mit_Sart.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="40" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJOp8Z1Cd8vx8RQ2lsOcruT0vFyplAlqhDF8tgCSc2OYyTwaP9AtBlZsJrixFljjWKpyRmkekaezNPzH1_qEUA1-eCRrHb1aeMVbMUMvP720MeZoaOA3wUd9PWU6wiifNpcfacp5YmyDU/s400/Motteten_mit_Sart.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The note "Motteten mit Sart" in Fux's <i>Bahrleihbuch</i> entry (A-Wd, BLB 1741, fol. 36v) </span></div>
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Flotzinger's transcription of the above words as "Moteten[<i>sic</i>] mit Sait[eninstrumenten]" – albeit amusingly creative – is wrong. In 1741 Vienna the technical term "Saiteninstrumente" (string instruments) was not yet in use. The modern meaning of this collective term was coined but in the 19th century. The word in the <i>Bahrleihbuch</i> is not "Sait", but "Sart" which is the abbreviation of "Sartin". This item is explained in my aforementioned <a href="http://goo.gl/lF87QJ" target="_blank">article</a> about Vivaldi's burial. A Google search quickly leads to the solution of this mystery. The question at hand is of course: is an author of a biography of Fux, which is published in 2015, under the obligation to do a Google search? The issue of the "Sartin" will be dealt with below. The real blunder in Flotzinger's transcription of the <i>Bahrleihbuch</i> entry comes at the end, as it becomes apparent that the last two lines of the original entry are missing. Entries related to burials of the four main classes ("Großgleuth", "Fürstengleuth", "Bürgergleuth" and "Kleingleuth") never end with the total sum of the expenses. They always end with a note concerning the picture on the bier, the peals at various chapels in the city, and the possible cortege, consisting of "Steuerdiener" (tax payers), "Spitaller" (poor people) or children. Even the modest "Kleingleuth" ceremonies (unless they were obsequies of children) featured at least the picture of the <i>Pelican</i> (symbolizing the Passion of Christ) which is listed at the end of the entry. The entry concerning Fux's obsequies (merged into one picture) looks as follows:<br />
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<span style="font-size: x-small;">The entry concerning Johann Joseph Fux's obsequies on 15 February 1741 at St. Stephen's (A-Wd, BLB 1741, fol. 36) </span></div>
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The correct transcription of this document reads as follows (the amounts are florins and kreutzer):<br />
<blockquote class="tr_bq">
den. 15. Febr.[uarii] / Nachtb[egräbnis] / Fux. /<br />
<div style="text-align: justify;">
Der |:tit[u]l[o]:| herr Johann / Joseph Fux, Weÿl:[and] der / R.[ömischen] K.[ayserlichen] M.[ajestät] Hof Capelmai<span style="font-size: xx-small;">=</span>
/ ster, ist beÿm gold[enen] bärn / am alten fleischmarkh / an hectica
fieber b[e]schaut / worden, alt. 81. Jahr, zu / St. Ste:[phan] in die
kruften. /</div>
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grossgleüth
" 9"41" / herrn Canonici " 24"―" / herrn Curaten " 6"―" / bahrtuch "
8"30"/ Pfarrbild " 1"12" / grabstell " 50"―"/ Musici " 10"―"/ Motteten
mit Sart[in] " 15"―"/ bahrleicher und Mesner " 3"―"/ Kirchendiener "
–"30 / 8. bahrsteller mit mantl " 6"―" / 14. Kuttenbuben " 2" 6" / bahr "―"45"/ baumeister und todten<span style="font-size: xx-small;">=</span>
/ graber " 4"―" / 3. altar " 2"15" / 12 stüll " 3"―" / fürstengleüth
zum / Requiem vorgeleüth " 4"20" / herrn Curaten " 6"―" / 2. accolidi "
1"―" / Lat:[us] "157"19" / [fol. 36v] f. xr. / Latus herüber "157"19"/ Musici "
15"―" / bahrleicher und Mesner " 2"―" / Kirchendiener "―"30" / 2.
Kuttenbuben "―"18"/ 3. altar " 2"15"/ 12. stüll " 3"―"/ grabtuch und
leichter " ―"30" / S[umma] "180"52" / gleüth: Magd.[alena]
Lorenzerin.[nen] / Pelican. 12. Steü[e]rd.[iener] (A-Wd, Bahrleihbuch 1741, fol. 36)</div></blockquote><p><i>[translation:] </i><br /></p>
<blockquote class="tr_bq">
<div style="text-align: justify;">
On 15 February [1741]. Evening burial. The honorable Sir Johann Joseph Fux, Court Kapellmeister of his late Majesty, the Roman Emperor, was inspected at the Golden Bear on the Old Fleischmarkt as having died of tremorous fever, 81 years of age, [buried] in the crypt of St. Stephen's.</div>
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Peal of the great bell " 9"41" / canons " 24"―" / curates " 6"―" / shroud "
8"30"/ parish picture " 1"12" / gravesite " 50"―"/ musicians " 10"―"/ motets with muted brass "15"―"/ bier renter and sexton " 3"―"/ sacristan "
–"30 / 8 bier setters in coats" 6"―" / 14 cowlboys " 2" 6" / bier "―"45"/ builder and gravedigger " 4"―" / 3 altars " 2"15" / 12 chairs " 3"―" / Peal of the Fürsten bell as peal preceding the Requiem " 4"20" / the Curates " 6"―" / 2 acolytes "
1"―" / subtotal "157"19" / [fol. 36v] florins. kreutzer. / overleaf subtotal "157"19"/ musicians "
15"―" / bier renter and sexton " 2"―" / sacristan "―"30" / 2 cowlboys "―"18"/ 3 altars " 2"15"/ 12 chairs " 3"―"/ shroud and lampstands " ―"30" / total "180"52" / peals at St. Magdalene's and the convent of St. Laurenz / [picture] Pelican. 12 citizens [as cortege].</div>
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This entry describes an ordinary "grossgleüth" ceremony with an additional Requiem, preceded by a separate "fürstengleüth". The "peals at St. Magdalene's and the convent of St. Laurenz" (missing in Flotzinger's transcription) refer to <a href="https://www.geschichtewiki.wien.gv.at/Maria-Magdalena-Kapelle" target="_blank">St. Magdalene's Chapel</a> south of the Cathedral and the chapel of the convent of <a href="https://www.geschichtewiki.wien.gv.at/Laurenzergeb%C3%A4ude" target="_blank">St. Laurenz</a> on the Fleischmarkt, close to Fux's last residence. This ceremony was expensive, but it was not "incredibly" expensive. As a matter of fact, there were several items that could have raised the price even higher which in Fux's case were not employed, such as a higher count of clergymen, altars (on several consecutive days), more cowlboys and acolytes (at one florin apiece). It was always possible to have a number of altars set up for several days in different apses (with chairs that had to be paid extra), a luxury that could cost more than 80 florins extra. Fux's status as non-noble citizen precluded him from receiving a peal of the "Josephinische Glocke" (the old <a href="https://en.wikipedia.org/wiki/Pummerin" target="_blank">Pummerin</a>) and the fact that his body was not transferred to the Cathedral in a carriage with six horses – an effort which, on 29 June 1742 was applied at the funeral of the architect <a href="http://en.wikipedia.org/wiki/Joseph_Emanuel_Fischer_von_Erlach" target="_blank">Joseph Emanuel Fischer von Erlach</a> (A-Wd, BLB 1742, fol. 174r) – exposes Flotzinger's claim of "ein wahnsinniger Aufwand" as gross misrepresentation. There were several obsequies in the Cathedral in 1741 whose efforts exceeded Fux's burial. The most expensive funeral of 1741 was that of Johann Caspar Joseph Kolb von Kollenburg, "Weÿl[and] der K.K. M[ajestät] Unter Stabelmaister" (deputy staff holder of His late I. & R. Majesty), which cost 195 florins and 16 kreutzer. It included a Großgleuth, a tomb in the crypt, a Requiem with a <i>Fürstengleuth</i>, 30 cowlboys, and five altars. What makes his funeral significant in regard of the alleged "incredible effort" at Fux's is the fact that the musicians that were employed for Kolb's Requiem cost nine florins more than those that performed in the Requiem of the deceased Court Kapellmeister.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz8OGq3gZwfDstqmnyIhLUuuo8RO15p2eFoenkrD2L9ugL4zWO6qLFG4HAbSVIH0LM0LOVLd2ZvXyOsl3Ph2qGrnzSjBug_quvhPYpsc6vYrw3qlyjelmyZPJwvkmMAfiS4MFufLKCnjE/s1600/Kolb+von+Kollenburg+13.1.1741%252C10f.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz8OGq3gZwfDstqmnyIhLUuuo8RO15p2eFoenkrD2L9ugL4zWO6qLFG4HAbSVIH0LM0LOVLd2ZvXyOsl3Ph2qGrnzSjBug_quvhPYpsc6vYrw3qlyjelmyZPJwvkmMAfiS4MFufLKCnjE/s400/Kolb+von+Kollenburg+13.1.1741%252C10f.jpg" width="181" /></a></div>
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<span style="font-size: x-small;">The entry concerning the obsequies of Johann Caspar Joseph Kolb von Kollenburg on 13 January 1741 (A-Wd, BLB 1741, fol. 10v and 11r). The expense of 24 florins for the Requiem was extraordinary. This was basically the highest possible cost for exequies in 1741, except for a possible additional peal of the Pummerin and additional altars. </span> </div>
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The only way to get a factual perspective on the relative costs of Fux's funeral and the effort that it implied, is to compare it to similar ceremonies that took place at that time at the Cathedral. One of the most suitable sources for such a comparison is the entry concerning the obsequies of Fux's wife Clara Juliana on 9 June 1731. Unfortunately this document is not included in Flotzinger's collection of Fux documents.<br />
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Clara Juliana Fux, née Schnitzenbaum died on 8 June 1731, of internal gangrene, at an approximate age of 60 (as will be shown below, she was not born in 1671). Her death was reported on the following day (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17310609&seite=8&zoom=33" target="_blank"><i>Wiener Diarium</i>, 9 June 1731</a>). This note was already published in 1872 (Köchel, 1872, 295). <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMyzrnnc5sT7q6_4b9OgPlE4ntn0ENjXbsuizdkVDgsGdlP_27jQg3xyEvMepzSHoh2WEvV0DT06fhIqYsjgrChfCvvkw0Z4xubWo67coRDNtGcapp_AvIEbhU5QSmQ4vK5hFGvk4N8A/s1600/Wr.+Diarium+9.6.1731.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAMyzrnnc5sT7q6_4b9OgPlE4ntn0ENjXbsuizdkVDgsGdlP_27jQg3xyEvMepzSHoh2WEvV0DT06fhIqYsjgrChfCvvkw0Z4xubWo67coRDNtGcapp_AvIEbhU5QSmQ4vK5hFGvk4N8A/s320/Wr.+Diarium+9.6.1731.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The announcement of Clara Juliana Fux's death in the <i>Wiener Diarium</i> of 9 June 1731</span></div>
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Neither Köchel nor Flotzinger published the entry in the municipal death records (the <i>Totenbeschauprotokoll</i>) concerning the death of Fux's wife.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMLb5hxJVHOVSykusHrHiQbp30iqwAPZ_5BTXLFoHy-FuQWdvE966uds4ldkJBB5JLSdByNEYbbVjITHy6GxcCAnEtV5Btc38hSESRBYVSOtDirJ2S4IKrNcHRO5jvXxlmnAbivdjB8Vk/s1600/Clara+Juliana+Fux+8.6.1731%252C+34%252C+244r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMLb5hxJVHOVSykusHrHiQbp30iqwAPZ_5BTXLFoHy-FuQWdvE966uds4ldkJBB5JLSdByNEYbbVjITHy6GxcCAnEtV5Btc38hSESRBYVSOtDirJ2S4IKrNcHRO5jvXxlmnAbivdjB8Vk/s320/Clara+Juliana+Fux+8.6.1731%252C+34%252C+244r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The previously unpublished entry in the <i>Totenbeschauprotokoll</i> concerning the death of Clara Juliana Fux (A-Wsa, Totenbeschreibamt 34, fol. 244r) </span></div>
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<blockquote class="tr_bq">
Den. 8. Junÿ. <span style="text-decoration: overline;">731</span>. / Dem Wohl Edl gestrengen Herrn Joh. Joseph Fux, Kaÿ[serlichen] / Hof-Capell-Maistern, sein Frau Clara Juliana, gebohrne / Schnizenbaumin, ist beÿm gold[en] Bärn am alten Fleisch<span style="font-size: xx-small;">=</span> / marckt an innerlichen-Brand und Seiten-stech[en] b[e]sch[au]t, / alt. 60. Jahr.</blockquote><p><i>[translation:] </i><br /></p>
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<div style="text-align: justify;">
<blockquote class="tr_bq">
June 8<span style="font-size: x-small; vertical-align: super;">th</span>, 1731. The honorable and stern Imperial Kapellmeister Johann Joseph Fux's wife Clara Juliana, née Schnitzenbaum was inspected at the Golden Bear as having died of internal gangrene and side stitch, 60 years of age.</blockquote>
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Also missing in Flotzinger's book is the entry in the regular death records of St. Stephen's concerning Juliana Fux's burial.<br />
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<span style="font-size: x-small;">The entry concerning the burial of Juliana Fux in the regular <i>Sterbebuch</i> of St. Stephen's (A-Wd, Tom. 20c, p. 756). Note the single f in "Hof Capelmaister".</span></div>
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<blockquote class="tr_bq">
d.[en] 9. dito. [Junii] des Wohl Edl gestr:[engen] herr Joseph / Fux, Kaÿ[serlichen] Hof Capelmaisters / seine Frau Julia[n]a, zu St: Ste[phan] / grossgleüth " 6"―" / Requiem " 6"―"</blockquote>
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The costs of Juliana Fux's obsequies on 9 June 1731 immediately relativize those of her husband's ten years later. Her funeral ceremony cost 130 florins 10 kreutzer, but, apart from a much cheaper grave, the ceremony included the exact same effort as her husband's. Why did a simple wife of a Kapellmeister receive a <i>grossgleüth</i> with a Requiem? Because her husband was willing to pay for it. The difference of over 50 florins between the costs in 1731 and the costs of Fux's burial in 1741 was mainly caused by the fact that Juliana Fux did not get a grave in the crypt for 50 florins, but only an ordinary one in the cemetery around the Cathedral which only cost a tenth of that amount. Her burial also saw fewer biersetters and cowlboys. No builder for a crypt had to be paid. On the other hand, the music for her Requiem cost even three florins more than the one of the Court Kapellmeister in 1741 (which was probably caused by special musical efforts requested by Fux). The relation of these amounts – which are starkly at odds with Flotzinger's claim of a unique and "incredible" effort at Fux's obsequies – prove that Fux and his wife were not buried according to their social, but according to their <u>financial</u> status. Compared to most of his colleague musicians, who were holding higher positions (such as Caldara or Reutter), Fux was a very wealthy man. His wealth was based on his annual income of 3100 fl as of 1715, a one-time gift of 8000 fl from the Court in 1723, and the fact that beginning in August of 1733 – owing to the extraordinary merits of his uncle – Fux's nephew Matthäus was granted an annual "Scholarengehalt" (court scholarship) of 360 florins (A-Whh, OMeA, Prot. 14, fol. 203v). This important detail is not mentioned in Flotzinger's book.<br />
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<span style="font-size: x-small;">The entry concerning the obsequies of Clara Juliana Fux on 9 June 1731 at St. Stephen's (A-Wd, BLB 1731, fol. 155) </span></div>
<blockquote class="tr_bq">
den. 9. Junij. [1731] / Nachtb[egräbnis] / Fuxin. / <br />
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Des Wohl Edl gebohrnen / herrn Johann Joseph Fux, / Kaÿl: Hof Capelmaisters, / sein frau Clara Julia[n]a, / gebohrne Schnizenbaumin, / ist beÿm golden Bärn am / alten fleischmarckh / an Innerl:[ichem] Brand und sei<span style="font-size: xx-small;">=</span> / tenstechen b[e]schaut / wor<span style="font-size: xx-small;">=</span> / den. alt. 60. Jahr, zu / St. / Stephan. /</div>
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grossgleüth " 9"41" / herrn Canonici " 24"―" / herrn Curaten " 6"―" / Pahrtuch " 8"30"/ Pfarrbild " 1"12" / Lat:[us] "49"23" / [fol. 155v] F. xr. / Latus herüber "49"23"/ grabstell am fürstenbichl" 5"―"/ Musici " 10"―"/ Motteten mit Sart:[in] " 15"―"/ Pahrleicher und Mesner " 3"―"/ Kirchendiener " ―"30 / 6. Pahrsteller mit mäntl " 4"30" / 12. Kuttenbuben " 1"48" / Pahr "―"45"/ todtengraber "―"36" / 3. altar " 3"―" / 8. stüell " 2"―" / den 2t[en]. tag d[a]s fürsten<span style="font-size: xx-small;">=</span> / gleüth zum / Requiem vor / geleith worden " 4"20" / herrn Curaten " 6"―" / Musici " 18"―" / Pahrleicher und Mesner / " 2"―" / Kirchendiener "―"30" / 2. Kuttenbuben "―"18"/ 3. altar " 3"―" / 8. stüell " 2"―" / S[umma] "130"10" / gleith. Magd.[alena] Lorenzerin.[nen] / Pelican. Joh.[ann] Nep:[omuk] / 12. Steü[e]rdiener. (A-Wd, Bahrleihbuch 1731, fol. 155)</div></blockquote><p><i>[translation:] </i><br /></p>
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On 9 June [1731]. Evening burial. The well and noble-born Sir Johann Joseph Fux, Court Kapellmeister's wife Clara Juliana, née Schnizenbaum was inspected at the Golden Bear on the Old Fleischmarkt as having died of internal gangrene and side stitch, 60 years of age, [buried] at St. Stephen's. </div>
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Peal
of the great bell " 9"41" / canons " 24"―" / curates " 6"―" / shroud "
8"30"/ parish picture " 1"12" / subtotal "49"23" / [fol. 155v] florins. kreutzer. / overleaf
subtotal "49"23"/ gravesite at the Fürstenbühel ("Counts' Hill") " 5"―"/ musicians " 10"―"/
motets with muted brass " 15"―"/ bier renter and sexton "
3"―"/ sacristan "
–"30 / 6 biersetters with coats" 4"30" / 12 cowlboys " 1" 48" / bier
"―"45"/ gravedigger "―"36" / 3 altars " 3"―" / 8 chairs " 2"―" / on the 2<span style="font-size: x-small; vertical-align: super;">nd</span> day the peal of the Fürsten bell was pealed before the Requiem " 4"20" /
the Curates " 6"―" / musicians "
18"―" / bier renter and sexton " 2"―" / sacristan "―"30" / 2 cowlboys
"―"18"/ 3 altars " 3"―" / 8 chairs " 2"―" / total "130"10" / peals at St. Magdalene's and the
convent of St. Laurenz / [pictures] Pelican and St. John of Nepomuk. 12 citizens [as cortege].</div>
</blockquote>
Another document that puts Fux's funeral expenses into a much more realistic perspective (and which is also missing in Flotzinger's book) is the entry concerning the obsequies on 20 May 1749, of the composer's sister-in-law Maria Theresia Schnitzenbaum. Again we are faced with the intention to show off by consecrating an unmarried woman of basically no exceptional social status, but surprisingly large financial means, with a <i>grossgleüth</i> and providing her with a tomb in the crypt of the Cathedral. Maria Theresia Schnitzenbaum's ceremony cost 141 florins 16 kreutzer and again included expenses of 30 florins for the clergy, 50 florins for the tomb, and 25 florins for the music (again with "Moteten mit Sardin"). The difference of about 40 florins to the cost of Fux's burial was caused by Fräule von Schnitzenbaum not receiving an extra Requiem.<br />
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<span style="font-size: x-small;">The entry concerning the obsequies on 20 May 1749, of Fux's sister-in-law Maria Theresia Schnitzenbaum (A-Wd, BLB 1749, fol. 80). Again the bells of the churches in the vicinity of the last residence were pealed: at <a href="https://de.wikipedia.org/wiki/Sankt_Salvator_%28Wien%29" target="_blank">St. Salvator's</a> and <a href="https://en.wikipedia.org/wiki/Maria_am_Gestade" target="_blank"><i>Maria Stiegen</i></a>.</span></div>
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Countless entries in the <i>Bahrleihbuch</i> prove that the presumption of Fux having been buried with "incredible effort" has no basis. The sources related to Fux's family alone provide enough documentation to reveal the facts. The burial of Fux's brother-in-law Paul Anton Schnitzenbaum took place on 17 March 1740, in the Cathedral. Although he had only been a <i>k.k. Cammer-Concipist</i>, his relatives again had his burial ceremony performed in style: he received a <i>grossgleüth</i>, 30 florins were paid for the presence of clergymen, 50 florins for a tomb in the crypt, and 25 florins for the music which of course included "Motteten mit Sardindl". <br />
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<span style="font-size: x-small;">The entry concerning Paul Anton Schnitzenbaum's obsequies on 17 March 1740 (A-Wd, BLB 1740, fol. 70v-71r). Note again the peal of bells at St. Magdalene's and the chapel of St. Laurenz on the <a href="https://www.geschichtewiki.wien.gv.at/Fleischmarkt" target="_blank">Fleischmarkt</a>.</span></div>
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Here are two more entries in the <i>Bahrleihbuch</i> which are of relevance to the assessment of the supposed "extraordinary effort" at Fux's obsequies and Flotzinger's claim that the court requested and paid Fux's funeral expenses. The court organist <a href="https://en.wikipedia.org/wiki/Georg_Reutter" target="_blank">Georg Reutter</a><a href="https://en.wikipedia.org/wiki/Georg_Reutter" target="_blank"> the Elder</a> (father of the more prominent composer <a href="https://en.wikipedia.org/wiki/Johann_Georg_Reutter" target="_blank">Johann Georg Reutter</a>) died on 28 April 1738. He received a <i>Fürstengleüth</i> for 4 fl 20 x including a Requiem. The total price of his burial amounted to 65 fl 23 x, a relatively modest effort which was caused by the fact that Reutter had died without leaving any savings. Following a resolution by the City Council, the price of Reutter's grave in the crypt of the Cathedral was reduced by 80% to ten florins. The significant detail is that this discount was recorded in the <i>Bahrleihbuch</i> (and it is recorded in the 1738 <i>Oberkammeramtsrechnung</i>): "Grabstell von Statt Rath placitirt worden" ("the grave was approved by the City Council").<br />
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<span style="font-size: x-small;">The entry concerning the obsequies of the Court organist Johann Georg Reutter on 30 August 1738 (A-Wd, BLB 1738, fol. 224f.)</span></div>
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The burial of Antonio Caldara, who for twenty-two years had served as Imperial deputy Kapellmeister, is an interesting case as well. Caldara's obsequies took place on 29 December 1736, in the Cathedral. Although Caldara had drawn an annual salary of 3,900 florins and had received a one-time payment of 12,000 florins (4,000 more than Fux), at the time of his death, all the money had been spent and Caldara's widow, his daughter, and his mother-in-law were left in debt. This, and Caldara's artistic merits, were the obvious reasons why the musicians of the Cathedral chapel performed free of charge ("Musici gratis") at his obsequies. Of course, this gratis collaboration was <b>recorded</b> in the <i>Bahrleihbuch</i>. This would also have been the case, if any members of the Court orchestra had taken part in Fux's obsequies, because these musicians were not permitted to receive payment for activities at the Cathedral within the jurisdiction and financial administration of the Vienna Magistrate. That Caldara received an expensive burial in the crypt was based on the fact that Fux was able to persuade the Emperor (against an earlier agreement) to grant Caldara's widow an annual <i>Gnadenpension</i> (pension of grace) of 400 fl. Although Caldara had drawn a much higher salary than Fux, his burial cost about 100 florins less, which is yet another proof that burial efforts were not determined by "requests and payments from the court", but by the financial means of the bereaved. <br />
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<span style="font-size: x-small;">The entry concerning the obsequies of Antonio Caldara on 29 December 1736 (A-Wd, BLB 1736, fol. 288f.)</span></div>
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<u>A Digression: The Sartin</u><br />
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The <i>Sartin</i> (or <i>Sardin</i>) was the particular Viennese term for what in northern Germany was called <i>Sordun</i>: a <a href="http://www.samgoble.com/the-maker/baroque-trumpet-mutes.html" target="_blank">wooden mute</a> for brass instruments which in Vienna was used <i>pars pro toto</i> to refer to the use of muted trumpets or trombones in burial ceremonies. The use of muted brass had to be paid extra. While a regular performance of the song "<a href="http://ingeb.org/Lieder/dergrimm.html" target="_blank">Der grimmig Todt</a>" cost six florins, the note "mit Sardin" refers to the additional use of muted brass instruments which raised the price to ten florins (suggesting the use of four instruments). In his treatise <a href="https://books.google.at/books?id=in4vAAAAYAAJ&printsec=frontcover#v=onepage&q&f=false" target="_blank"><i>Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauker-Kunst</i></a> (Halle, 1795) <a href="https://en.wikipedia.org/wiki/Johann_Ernst_Altenburg" target="_blank">Johann Ernst Altenburg</a> writes the following [my translation]:<br />
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<blockquote class="tr_bq">
The Surdun (or Sordin) has its name from Surdus, which means weak or muted. It is basically a turned tool made of hard and firm wood which does not produce a sound itself; if it is put into the trumpet, it not only provides the instrument with a totally different, almost oboe-like sound, it also, if it is turned well, raises the pitch by a whole tone. [...] The essential use of the Surdun consists of the following: 1) If an army is to decamp in silence so that the enemy does not become aware of it. 2) At funerals and burials. [...] (Altenburg, 86f.)<br /></blockquote>
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The Toccata at the beginning of <a href="https://en.wikipedia.org/wiki/Claudio_Monteverdi" target="_blank">Monteverdi</a>'s <a href="https://en.wikipedia.org/wiki/L'Orfeo" target="_blank"><i>L'Orfeo</i></a> is preceded by the following (rarely observed) instruction: "Toccata che si suona avanti il levar de la tela tre volte con tutti li strumenti, & si fa un Tuono più alto volendo sonar le trombe con le sordine."<br />
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In early 2012, the late musicologist <a href="https://www.musicologyireland.com/sites/default/files/uploads/pics/ADunlop.jpg" target="_blank">Alison Jayne Dunlop</a> entered into a little fun competition with me as to who would be the first to find a Viennese eighteenth-century source that documents the use of the word <i>Sartin</i> as a local term for <i>Surdun</i>. I was eventually able to locate such a handwritten document: on the second page of his will, written on 18 September 1726, the Court trumpeter Tobias Andreas Pernebmer (b. 17 August 1666 in Mauthausen [<a href="https://data.matricula-online.eu/de/oesterreich/oberoesterreich/mauthausen/407%252F01/?pg=22" target="_blank">Mauthausen, 407/01, p. 51</a>], d. 17 June 1727 in Vienna) addressed the distribution of his instruments and referred to the accessories of his two small brass trumpets.<br />
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<span style="font-size: x-small;">A clip from the autograph will of Tobias Andreas Pernebmer (A-Wsa, AZJ 4940/18. Jhdt.) </span></div>
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Die Silberne Trompetten gehört der Frau Wittib Catharinæ, welche in dem Kaÿßerl: Hof futter<span style="font-size: xx-small;">=</span>Ambt kan außgelöst werden, doch ohne Mundstükh, wonit, so kan sie es verkaufen nach ihrem Belieben. Von denen zweÿ kleinen Mesßingen Trompetten, soll ein ieder Sohn eine haben, sambt Mundstükh und Sartin.</div></blockquote><p><i>[translation:] </i><br /></p>
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<blockquote class="tr_bq">
The silver trumpet belongs to the widow Catharina and can be redeemed at the Imperial Court fodder-office, but without mouthpiece, if not, she can sell it at her convenience. Each son should get one of the small brass trumpets, including mouthpiece and mute. </blockquote>
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<div class="separator" style="clear: both; text-align: left;">A printed source containing the word <i>Sardin</i> has recently become accessible on the Internet: Augustin Auracher's eulogy for the Bavarian field marshal <a href="https://de.wikipedia.org/wiki/Ignaz_von_T%C3%B6rring" target="_blank">Count Ignaz von Törring</a>, entitled<i> <a href="https://books.google.at/books?id=r89DAAAAcAAJ" target="_blank">Der Gute Freund des Kaisers; Das ist: Ehren- und Trauer-Rede Weyland Ihro Excellenz des Hochgebohrnen Herrn, Herrn Ignatz Felix Joseph, Des Heil. Röm Reichs Grafen v. Törring und Tengling, auf Jettenbach</a></i> (Salzburg 1763).<i> </i>Auracher's description of Count von Törring's funeral procession contains the following passages:</div>
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17. After these there marched a trumpeter on horseback with Sardin, dressed in black, a cavalry captain, a lieutenant, a cornet, holding an ancient, richly embroidered with gold and silver, draped with a black crape, together with a company of riders, constituted by the Brotherhood of the Poor Souls from <a href="https://de.wikipedia.org/wiki/Aschau_im_Chiemgau" target="_blank">Aschau</a>, consisting of four men that followed. [...]<br />
19. A timpanist with timpani covered with black cloth, with flags and four trumpeters on foot blowing with Sardin.</blockquote>
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The meaning of the word <i>Sart</i>[in] reveals itself quite easily, as soon as one is willing to read complete volumes of the Cathedral's <i>Bahrleihbücher</i>.<br />
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<b>Fux's Marriage Entry</b><br />
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It is fascinating to see that some of Flotzinger's transcription errors date all the way back to Ludwig von Köchel's biography of Fux. Not only did Köchel lack the necessary expertise on eighteenth-century handwritten sources, he probably delegated some research and transcription work to an assistant who was not really up to the task. A case in point is Köchel's edition of the entry in the records of St. Stephen's concerning Fux's wedding. Köchel avoided some of Flotzinger's errors, but he also committed transcription mistakes that Flotzinger was to copy obediently 143 years later. The reasons for these errors were lack of experience and limited knowledge of a greater body of sources. On 5 June 1696, Fux married Clara Juliana Schnitzenbaum, daughter of the deceased secretary with the Lower Austrian government Johann Joseph Schnitzenbaum and his second wife Maria Ursula, née Crän. Fux's marriage entry in the records of the Cathedral looks as follows.<br />
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<span style="font-size: x-small;">The entry concerning Johann Joseph Fux's wedding on 5 June 1696 at St. Stephen's Cathedral (A-Wd, Tom. 33, p. 85). </span></div>
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Köchel transcribed this document as follows.<br />
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Flotzinger
manages to improve on Köchel's flawed edition, but he repeats some of Köchel's mistakes, or replaces them with new ones.<br />
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<span style="font-size: x-small;">Flotzinger's transcription of Fux's marriage entry (Flotzinger 2015, 359)</span></div>
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Since
the three vertical dashes at the beginning of the entry refer to the three publications of the banns,
they must be transcribed. Flotzinger's transcription "copulaty à" is
wrong. The apparent letter y in "copulaty" is a common form of the Latin final syllable "-us". The transcription "à" is meaningless. The note on the left reads "copulatus e[st]" (which is proved by thousands of similar entries). The correct spelling of the month is "Junij". The missing genitive case "Mariæ Ursulæ" is essential and the fact that the mistranscription of the final note "Tax. a Scotensibus" already appears in Köchel's edition and is disimproved by Flotzinger into "Test[es] tax[ati] à Scotensib[u]s" ("the witnesses were taxed by the Schotten parish"), does not make it less nonsensical.<br />
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<span style="font-size: x-small;">The note at the end of Fux's marriage entry that neither Köchel nor Flotzinger could unriddle (A-Wd, Tom. 33, p. 85)</span></div>
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The dash above the "a" is not a kind of grave accent (in Latin?), but a common abbreviation sign. The g-like letter at the end of "Scotensibus" is not an abbreviation, but literally means "us". Witnesses of a wedding were not taxed by a parish. The note at the end of the entry actually reads: "Test[imonium] den[untiationis] a Scotensibus" (i.e. "certificate of proclamation from the Schotten [parish]").<br />
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There is yet another, earlier entry concerning the publication of the banns of Fux's wedding in the records of Fux's home parish (Pfarre Schotten,
Tom. 16, fol. 37r) which has also never been published correctly. In
his smaller monograph about Fux (which was published in 2015 by the
Akademische Druck- u. Verlagsanstalt Graz) Flotzinger gives a wrong
folio number of this document and again misdates it as having been written "on 4 June 1696", not
realizing that this date refers to the wedding date of the preceding entry and thus cannot pertain to that of Fux whose banns had to be
published on three consecutive Sundays before 5 June 1696. This basic circumstance dates Fux's
entry at the Schotten parish to around 20 May 1696 which is also corroborated by the fact that the couple, which was entered into the records right after Fux, got married earlier than the composer, namely on 31 May 1696. Flotzinger also mistakenly claims that the bride's witness Paul Schmuderer "owned a house in the Singerstraße". In April 1702, Schmuderer bought two houses from his brother-in-law: the "<a href="https://www.geschichtewiki.wien.gv.at/Eisgr%C3%BCbel" target="_blank">Eisgrübel</a>" near St. Peter's and a "Soldatenhäusl" in the <a href="https://www.geschichtewiki.wien.gv.at/Krugerstra%C3%9Fe" target="_blank">Krugerstraße</a>. He did not own a house in the <a href="https://www.geschichtewiki.wien.gv.at/Singerstra%C3%9Fe" target="_blank">Singerstraße</a>.<br />
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<b>Fux's Will</b><br />
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Fux's will, which the composer wrote and signed on 5 January 1732, was first published in 1872 by Ludwig von Köchel.<br />
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<span style="font-size: x-small;">The last two pages of Fux's will (A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 3v and 4r)</span></div>
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As of today, there are three different editions of the text of this document: 1) Köchel's transcription (Köchel, 287), 2) a transcription by Michael Hochedlinger in the book <i>"Mein letzter Wille". Kulturhistorisch bedeutende Testamente und
Verlassenschaftsabhandlungen in Wiener Archiven (16.-18. Jahrhundert)</i> (70f.), and 3) the transcription in Flotzinger's recent book (Flotzinger 2015, 366f.). None of these transcriptions is complete and fully correct. Köchel's effort cannot be judged by modern scholarly standards, because he was under no obligation to completely transcribe every document, let alone provide exact shelfmarks of his sources. Hochedlinger's transcription (of which Flotzinger is unaware) is astonishingly flawed which is even more surprising given the fact that Hochedlinger has held university courses in paleography and in 2009, published a text book titled <a href="https://geschichtsforschung.univie.ac.at/ressourcen/aktenkunde/" target="_blank"><i>Aktenkunde. Urkunden- und Aktenlehre der Neuzeit</i></a> (Vienna: Böhlau). Because Hochedlinger observes a totally arbitrary policy of transcription – disregarding the capitalization of letters and the compounding of separate words – his edition of Fux's will contains more than 60 mistakes. In addition to that, there are silently resolved abbreviations and classic transcription errors that are caused by ignorance of historical orthography. Again, only a few examples can be addressed here (and these also relate to Flotzinger's transcription problems). The first paragraph of Fux's will looks as follows (fol. 2r).<br />
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<span style="font-size: x-small;">The beginning of Fux's will (A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 2r)</span></div>
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Köchel, Hochedlinger, and Flotzinger (being unable to disengage their minds from modern spelling rules) mistranscribe the headline as "Letzter Wille" (it reads "Lezter"). That the important note ("præs 13 Febr 1741"), written right after the headline by the clerk of the Obersthofmarschallamt, is missing in Köchel, can be tolerated. But it is also missing in Hochedlinger (70) and silently resolved in Flotzinger (366). Hochedlinger (to name only a few of his many mistakes) turns all capital Ms into small ones, colons into commas, transcribes "Matthæus" as "Matthaeum", compounds the words "zehen tausend", and silently resolves all abbreviations of words and final syllables. On folio 3v of the document, all three editors of Fux's will were unable to pass what I call "the litmus test of eighteenth-century paleography": the correct transcription of the so called "Fahnen-h" which looks like a regular Kurrent "h", but doubles the following consonant. The following phrase reads "In fall aber".<br />
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<span style="font-size: x-small;">The "Fahnen-h" in the word "fall" in Fux's will (A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 3v)</span></div>
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It is obvious that Köchel was unaware of this orthographic intricacy which in the second half of the 19th century had already been forgotten. The disappearance of this practice from the public memory led to countless mistranscriptions of German family names, such as "Reihsner", "Bihler" and "Muhm". This particular use of a doubling-h is repeatedly mistranscribed by Hochedlinger and Pangerl in their edition of wills of prominent historical figures in the aforesaid book. It appears in the wills of <a href="https://en.wikipedia.org/wiki/Paul_Strudel" target="_blank">Paul Strudel</a> ("genohmen"), <a href="https://de.wikipedia.org/wiki/Johann_Michael_Rottmayr" target="_blank">Johann Michael Rottmayr</a> ("Fahl", "Todtsfahl"), <a href="https://en.wikipedia.org/wiki/Johann_Georg_Reutter" target="_blank">Georg Reutter the Elder</a> ("einfahlen", "gleichfahls"), and Joseph Emanuel Fischer von Erlach ("genohmen"). Since I have already dealt with the issue of the Fahnen-h in an <a href="http://michaelorenz.blogspot.co.at/2012/09/mozart-documents-transcribed-follow-up.html" target="_blank">earlier blogpost</a>, I shall only present three examples here: two double-ls from the 1740s and one of the very rare cases where the "Fahnen-h"actually doubles a following r.<br />
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<span style="font-size: x-small;">The word "Todenfall", written on 14 July 1744, with a doubling "Fahnen-h" before the l (A-Wsa, Patrimoniale Herrschaften, B106.17, fol. 172r)</span></div>
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<span style="font-size: x-small;">The words "vier Zoll" (A-Wsa, Patrimoniale Herrschaften, B106.17, fol.178v)</span></div>
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The only word I have found so far, where the "Fahnen-h" doubles an r, is the word "Pfarr" (parish). This way of spelling "Pfarr" and "Pfarrer" appears in the also probate file of Johann Anton Chumar, the parish priest of St. Marein, which is published in appendix II (other sources) of Flotzinger's book. But Flotzinger did not understand this spelling.<br />
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<span style="font-size: x-small;">The word "Pfarr", written with a capital "Fahnen-h", on the title page of a marriage register of the Viennese parish of <a href="https://de.wikipedia.org/wiki/Leopoldskirche_%28Leopoldstadt%29" target="_blank">St. Leopold</a> (St. Leopold, Trauungsbuch Tom. 6, 1716-21)</span></div>
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Probably influenced by Herwig Knaus, Flotzinger continuously misunderstands the eighteenth-century practice of shortening the German final syllable "-en". Because he thinks that this common <i>Kürzel</i> is an n without an e, he transcribes the following words (and many others in Fux's will) with an "n" at the end, for example: "zu theilln" and "nach Christlichn".<br />
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<span style="font-size: x-small;">(A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 2v)</span></div>
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And yet, this <i>Kürzel</i> is actually an e without an n, and in the above cases it should be transcribed "theille[n]" and "Christliche[n]". In all three published editions of Fux's will a mysterious comma appears right after the composer's signature. This comma does not exist in the autograph. It is the result of a collective illusion that originated with Köchel: all three authors misread the upward hook of the letter "x" in Fux's name as a comma.<br />
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<span style="font-size: x-small;">(A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 4r)</span></div>
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Flotzinger, who, influenced by Köchel, also turns the "ma" at the end of Fux' signature into an "mp", includes the following note after Fux's signature as "angehängter Amtsvermerk". After marring the text with the usual rate of mistakes (wrong are: "Haint", "Matthei", "H. Obrl:", "publiciert", "hievon", "abschrifften", and "ertheilln"), he forgets to include the signature of the Obersthofmarschall, Prince <a href="https://de.wikipedia.org/wiki/Heinrich_Josef_von_Auersperg" target="_blank">Heinrich Joseph von Auersperg</a>. Like Hochedlinger, he also fails to include Fux's inscription on the outside of the will: "Lezter Wille / mein / Johann Joseph [Fux] / Kaÿl. HofCapelM[aister ma]" (this signature was garbled by paper loss when the will was opened).<br />
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Fux's will consists of four leaves and it is the type of document where the envelope was an integral part of the will and bears handwriting on both sides. Unusual about Fux last disposition is that it bears no signature of a witness. A close-up examination of the original shows that the early paper losses, caused by the opening, were replaced sometime in the 20th century and (with the exception of the seal) the will was fully laminated with 1 g/m² gossamer tissue. This high-quality restoration measure protects the paper and (more importantly) forestalls expectable ink corrosion. Spaced holes in the fold of the paper also show that at some time the document was part of a bound bundle of papers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDf1P-5FOHSnLimhMzC0-XUdv4aUWjvubXqk4bDwTMLbGocW1XgrRwM2ubrXEjnALp5WNuSkRSOeWI-6WBAeC5zLvlfSy14EWzwuKCvjE06FInieBW_J69CxVW9fuQ3Qyl78wJs1RzK0k/s1600/F14+%25284%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDf1P-5FOHSnLimhMzC0-XUdv4aUWjvubXqk4bDwTMLbGocW1XgrRwM2ubrXEjnALp5WNuSkRSOeWI-6WBAeC5zLvlfSy14EWzwuKCvjE06FInieBW_J69CxVW9fuQ3Qyl78wJs1RzK0k/s320/F14+%25284%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Gossamer tissue, covering the partly torn fold of the inner leaf of Fux's will (A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 2v and 3r)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiow46-CI1moNyH3B4npB_SM1Y2eaLhR-3zwsP2ZIAcDne7uAXbUaFccagonvggNWMt2_XMHXqTOYyQTchvfTr-6ExyHpTLpRIyRwDMYdFbfYLCd8ELYeRYnFtPywA8zL1hQgQqgI5gzdU/s1600/F14+%25286%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiow46-CI1moNyH3B4npB_SM1Y2eaLhR-3zwsP2ZIAcDne7uAXbUaFccagonvggNWMt2_XMHXqTOYyQTchvfTr-6ExyHpTLpRIyRwDMYdFbfYLCd8ELYeRYnFtPywA8zL1hQgQqgI5gzdU/s320/F14+%25286%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The area around the seal on Fux's will which shows the section that is not covered by tissue. The beginning of the laminated area is clearly visible above the seal and in the flattening of the ink in the letter K. The area left of the seal is an older paper replacement. Note the tail of a horse in Fux's seal which will appear again below (A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 4r).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTJFlg4AFOzyvcyFnTP9u-mx-Oz1rlr-7RsPk6Av3C7YhIwjK32FC5HwDDXAzeUwB39vXZ_Fw5gLede6cBUGsTNcZmUq2LuAzbRjVdiqBPPctp2jgguVgp0OOYkiVSiiywSWZi-CabM-c/s1600/F14+%25287%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTJFlg4AFOzyvcyFnTP9u-mx-Oz1rlr-7RsPk6Av3C7YhIwjK32FC5HwDDXAzeUwB39vXZ_Fw5gLede6cBUGsTNcZmUq2LuAzbRjVdiqBPPctp2jgguVgp0OOYkiVSiiywSWZi-CabM-c/s320/F14+%25287%2529.jpg" width="252" /></a></div>
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<span style="font-size: x-small;">A backlight shot of the outside inscription on Fux's will which shows the old replacement of the paper loss and the gossamer tissue circumventing the seal (A-Wsa, Hauptarchiv, Persönlichkeiten A1. F14, fol. 4v).</span></div>
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<b>Fux Documents in the City's <i>Alte Registratur</i></b><br />
<br />
Three documents in the so-called "Zusammengelegte Akten" (merged files, A-Wsa, Alte Registratur, Serie 1.2.1.A1) of the municipal administration from between 1700 and 1759 refer to Fux's employment at St. Stephen's. Two of these files are decrees, issued in 1706 and 1707 by the City Council to the <i>Kirchenmeister</i> (the financial administrator of the Cathedral), regarding the distribution and the boarding of the choirboys. One is a complaint from 1714 by the Council that some of the church musicians (and their substitutes) fail to fulfill their duties in the services at the miraculous image of <a href="https://de.wikipedia.org/wiki/Madonna_von_P%C3%B6tsch_%28Wien%29" target="_blank">Our Lady of Pötsch</a>. Excerpts of these three documents were already published (without complete shelfmarks) by Köchel. Flotzinger's new edition of these sources claims to be complete, but it is not, and furthermore it is fraught with errors of which some were demonstrably copied from Köchel. Out of many mistakes only the most serious shall be addressed. The following passage in the file A-Wsa, AReg. A1, 153/1706, referring to the replacement of inept choirboys of the Cathedral with six more able ones from the <a href="https://www.geschichtewiki.wien.gv.at/B%C3%BCrgerspitalkirche" target="_blank">church of the Bürgerspital</a>, was <a href="https://books.google.at/books?id=M9ZSAAAAcAAJ&pg=PA324#v=onepage&q&f=false" target="_blank">transcribed by Köchel</a> as follows: "Von denen Sachsen[<i>sic</i>], welche in dem Burgerspital instruirt werden, heraussgenomben[<i>sic</i>] [...]". <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGLFRBy234SrKPN9FMC3LtXsdGbSz_2duqcN6aTz9ER131OG_izEYtdrLI9a1ZcK2rjcMG4ZjlOtSp_uiN5QrRFiHyBzbkTjQSmsuzRu_X9f_2bWntk1OUf_kUIRDRoCr_nVxwd4WNOw/s1600/153_1706.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGLFRBy234SrKPN9FMC3LtXsdGbSz_2duqcN6aTz9ER131OG_izEYtdrLI9a1ZcK2rjcMG4ZjlOtSp_uiN5QrRFiHyBzbkTjQSmsuzRu_X9f_2bWntk1OUf_kUIRDRoCr_nVxwd4WNOw/s320/153_1706.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A clip from a decree of 1 July 1706 from the City Council to the <i>Kirchenmeister</i> concerning the replacement of choirboys (A-Wsa, Alte Registratur, 1.2.1.A1, 153/1706)</span></div>
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Since it changes the meaning of the sentence, the mistranscription "Sachsen" (Saxons) – instead of the correct and quite obvious "Sechsen" (the six) – is not a minor flaw. How does Flotzinger treat this text and how does he improve on Köchel's version? On p. 58 and 361 of his book he writes: "Von denen Sachsen, welche in dem burgerSpittal instruirt werden, Heraußgenomben [...]". In his transcription of the file A-Wsa, AReg. A1, 92/1707 Flotzinger twice misreads the name of the Cathedral's <i>Kirchenmeister</i> Leopold Friedrich Pfeifer as "Pfeister" and at the end of the decree from 1706 the transcription ends with the note "[außen ...]" (outside), but apart from the note "Expedirt den 3<span style="font-size: x-small; vertical-align: super;">ten</span> Jan <span style="text-decoration: overline;">707</span>", the text on the file's cover was not considered worthy of publication. The same applies to the file from 1707 whose <i>rubrum</i> also remained unpublished.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjngNWEu-yQRDFJI5YYHRA0D4j5zs42eO7woj7yn6-v0XYRkVijWag_bFeq0prf-xtVaUhXmqxfV4nseNg3PVCcBwpQ5Z2Tcxfkdro1BKJ1ud0AjkPuWh28LYoM7V8BzMznW4zyc7nMyx4/s1600/AReg.+92_1707.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjngNWEu-yQRDFJI5YYHRA0D4j5zs42eO7woj7yn6-v0XYRkVijWag_bFeq0prf-xtVaUhXmqxfV4nseNg3PVCcBwpQ5Z2Tcxfkdro1BKJ1ud0AjkPuWh28LYoM7V8BzMznW4zyc7nMyx4/s320/AReg.+92_1707.jpg" width="212" /></a></div>
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<span style="font-size: x-small;">The cover of the decree from 1707 which so far has escaped publication. Note the <i>Kirchenmeister</i>'s correct name being "Leopold Friderich Pfeifer" (A-Wsa, AReg. A1, 92/1707).</span></div>
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<b>Fux Documents in the <i>Kirchenmeisteramtsrechungen</i></b><br />
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The so-called <i>Kirchenmeister</i> was the municipal accountant in charge of the Cathedral's budget. Since between 1712 and 1715 Fux served as <i>Essentialkapellmeister</i> at St. Stephen's, the costs of Fux's employment are recorded in the account books of the <a href="https://www.geschichtewiki.wien.gv.at/Kirchenmeisteramt" target="_blank"><i>Kirchenmeisteramt</i></a>. The series of these records is not complete and furthermore these records represent a special situation, because they have never been united and today are held by three different Viennese archives, namely: 1) the Vienna City Archive, 2) the Domarchiv (the archive of the Cathedral) and 3) the <a href="https://www.erzdioezese-wien.at/dioezesanarchiv" target="_blank">Diözesanarchiv</a> (the archive of the Diocese of Vienna). The years 1712 and 1714 only survive in a preliminary draft versions at the Domarchiv and the year 1715 seems to be lost. The entries related to Fux always appear in two different sections of the books: first, under "Außgab auf gestüffte Heilige Messen, Litaney, Angst und Jahrtäg" (expenses for endowed Holy Masses, litanies, days of anxiety and anniversaries), and second, under "Außgab auf die Cantorey beÿ S. Stephan" (expenses for the music at St. Stephen's). For six litanies at the Madonna's miraculous image, on six Marian feast days, Fux was paid 36 florins. For each of the four endowed Requiems in 1712, which were celebrated on Ember days, he received 6 florins 30 kreutzer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlxFnohxpzxU20T3MwJz5QpViyrk1nydt0iNQeTl3CfcTCpv0T7l5lbl_J2Cm_T4NBEtxmnM2tedEBDyOM9QfNK12ZCXyrdSaw0Z3-NzIxsZ-qmWeBPp0ac5IyQmxF-3YZxwkxGsTiLns/s1600/A-Wd%252C+KMR+1712%252C+fol.+47r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlxFnohxpzxU20T3MwJz5QpViyrk1nydt0iNQeTl3CfcTCpv0T7l5lbl_J2Cm_T4NBEtxmnM2tedEBDyOM9QfNK12ZCXyrdSaw0Z3-NzIxsZ-qmWeBPp0ac5IyQmxF-3YZxwkxGsTiLns/s320/A-Wd%252C+KMR+1712%252C+fol.+47r.jpg" width="204" /></a></div>
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<span style="font-size: x-small;">The first appearance of Fux's name in the 1712 Kirchenmeisteramtsrechnung (A-Wd, Kirchenmeisteramtsrechnung 1712, fol. 47r). The sloppy handwriting marks the draft character of this copy.</span></div>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
Außgab<br />
Auf gestüffte H.[eilige] Mesßen, Litaneÿ,<br />
Angst, und Jahrtäg ./.<br />
<br />
Erstl:[ich] bezalte Ich dem H<span style="font-size: x-small; vertical-align: super;">n</span> Capell<span style="font-size: xx-small;">=</span><br />
<strike>N</strike>° 99. Maister Fux lauth <strike>N</strike>° 99. umb<br />
Will[en] d Anno <span style="text-decoration: overline;">1712</span>. An den[en] 6.<br />
Frauen täg gehaltene[n] litaneÿe[n],<br />
beÿm alte[n] Marianisch[en] G[na]d[en] bildt.<br />
In d[er] Kürch[en] die Gebühr mit // 36. f. ―<br />
[…]<br />
Mehr dem Capellmait: Fux<br />
<strike>N</strike>° 101. Craft Qitt[ung] <strike>N</strike>° 101. weg[en] der<br />
Fraue[n] Salome Siglpaurin, Elisabeth<br />
Müllnerin, Veronica Kertenkalchin,<br />
und Caspar Franckh seel: qua<span style="font-size: xx-small;">=</span><br />
temberliche 4. Requ[i]em pro Anno<br />
<span style="text-decoration: overline;">1712</span>. // 26. f. ―</blockquote>
</blockquote>
In the section "Außgab auf die Cantorey" the expenses for the musicians are listed. Fux's annual salary at the Cathedral was 300 florins with an additional "Kleydgeldt" (clothing allowance) of 24 florins. For the six choir boys, whom he had to teach and sustain, Fux in 1712 received 1200 florins per year. As can be seen in my <a href="http://goo.gl/lF87QJ" target="_blank">article</a> about Vivaldi's obsequies, these amounts were to remain unchanged for the next 30 years. In 1713, Fux seems to have had his duties at the Madonna's image reduced. Three of the choristers were transferred into the care of Georg Reutter who for these three boys received an additional "Zimmerbeyhilf" (housing allowance) of 60 florins. The distribution of the six boys between Fux and Reutter and the payments of 600 fl to each of them is documented on the following page of the 1713 account book.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4MKps6THG0ZHmHWMRpom5i53CyaN4fBvQGKBJK3h0Zi751SWLFNqwIlOytcF_-CVKL6ZXsr7fZW2yJwyD5SU5n4ZWWoWASf2it_lr38GQyn6foNeanww4zqMaJxNra6aqUnSGrpxHuXc/s1600/A-Wsa%252C+KMR+1713%252C+fol.+63r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4MKps6THG0ZHmHWMRpom5i53CyaN4fBvQGKBJK3h0Zi751SWLFNqwIlOytcF_-CVKL6ZXsr7fZW2yJwyD5SU5n4ZWWoWASf2it_lr38GQyn6foNeanww4zqMaJxNra6aqUnSGrpxHuXc/s320/A-Wsa%252C+KMR+1713%252C+fol.+63r.jpg" width="239" /></a></div>
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<span style="font-size: x-small;">Fux's and Reuter's salaries and compensation fees in the 1713 Kirchenmeisteramtsrechnung (A-Wsa, Handschriften A41/21, fol. 63r). This is a representative final copy.</span></div>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
Außgab<br />
Auf die Cantoreÿ beÿ St. Stephan.<br />
<br />
Erstl: erichte ich dem H. Johann Joseph<br />
Fux Capell<span style="font-size: xx-small;">=</span>Maister sein ordinari Be<span style="font-size: xx-small;">=</span><br />
soldung und Kleider gelt pro Anno <span style="text-decoration: overline;">1713</span><br />
<strike>N</strike>° 230. undter <strike>N</strike>° 230. mit // 324. f. ―<br />
Mehr weg[en] der 3. Capell<span style="font-size: xx-small;">=</span>Knaben Ihr Ver<span style="font-size: xx-small;">=</span><br />
pflegungs gelt auf solch gantzes Jahr ut<br />
<strike>N</strike>° 231. <strike>N</strike>° 231. // 600. f. ―<br />
<strike>N</strike>° 232. Item nach Weißung <strike>N</strike>° 232. dem H. Georg<br />
Reiter Capell Maister zum Gnaden Bildt<br />
daß Verpflegungs<span style="font-size: xx-small;">=</span>gelt von seinen dreÿ<br />
Capell<span style="font-size: xx-small;">=</span>Knaben vor daß angezeigte gantze<br />
Jahr // 600. f. ―<br />
Verrers dem H. Reiter sein Zimmer<br />
beÿhilf auf bemelte dreÿ Knaben,<span style="font-size: xx-small;"> </span><br />
<strike> N</strike>° 233. und solches gantzes jahr nach zeugnuß<br />
seiner Quittung <strike>N</strike>° 233. // 60. f. ―</blockquote>
</blockquote>
In 1713, Fux is also referred to as having examined the work of the Cathedral's music copyist Lambert Graf. A transcription of all entries related to Fux in the <i>Kircheneisteramtsrechnungen</i> from 1712-14 can be downloaded <a href="http://michaelorenz.at/fux/Kirchenmeisteramtsrechnungen.pdf" target="_blank">here</a>. The account books of St. Stephen's Cathedral belong to the many historical records that have been sadly ignored by Austrian musicologists.<br />
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<b>Fux Documents in the Account Books of the Municipal <i>Oberkammeramt</i></b><br />
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Vienna's municipal <a href="https://www.geschichtewiki.wien.gv.at/Oberkammeramt" target="_blank">Oberkammeramt</a> (superior chamber office) was responsible for the entire City's finances. Although its a<i>c</i>count books, the so-called <a href="https://www.wien.gv.at/wiki/index.php?title=Oberkammeramtsrechnung" target="_blank"><i>Oberkammeramtsrechnungen</i></a> (the earliest of which fragmentarily survive from the 14th century) are a priceless source regarding the City's finances and payroll expenses, they have hitherto been steadfastly ignored by Fux scholarship. Of course this was caused by the fact that Köchel did not become aware of these sources. But Köchel's work should really not be the defining benchmark of modern Fux research. In 1705, Fux was appointed deputy Kapellmeister at St. Stephen's where he took over <a href="https://en.wikipedia.org/wiki/Johann_Michael_Z%C3%A4cher" target="_blank">Johann Michael Zächer</a>'s musical duties at the miraculous image of Our Lady of Pötsch (which at that time was still located on the Cathedral's main altar). In 1712, Fux succeeded Zächer (the spelling "Zacher" is wrong) as <i>Essentialkapellmeister</i> at the Cathedral, an office he kept until the end of 1714. Between 1712 and 1715 (the time Fux held the Kapellmeister post at the
Cathedral), the following types of entries related to the composer can be found in the <i>Oberkammeramtsrechnungen</i>:<br />
<ul>
<li>An extraordinary payment in April 1712 for Fux's musical scores (A-Wsa, OKA Rechn B1/228, fol. 105v)</li>
<li>Five biannual payments of 215 florins (in May and November) for Fux's supervision of the
"Litaneÿ am Hof" (the litany on Saturdays at the <a href="https://de.wikipedia.org/wiki/Mariens%C3%A4ule_(Wien)" target="_blank">Marian column</a> <a href="https://de.wikipedia.org/wiki/Am_Hof" target="_blank">Am Hof</a>) (A-Wsa, OKA Rechn B1/229, fol. 66v and 67r. B1/230, fol. 70v. B1/230, fol. 130r. B1/231. fol. 61v. B1/231. fol. 115v)</li>
<li>Two payments of ten florins each for ordinary musical services that are not specified in more detail (A-Wsa, OKA Rechn B1/230, fol. 250r. B1/231. fol. 228r)</li>
<li>Payments for Fux's musical services "beÿ Unsern Herrn", a term that refers to the <a href="https://books.google.at/books?id=p1RlAAAAcAAJ&pg=PA247#v=onepage&q&f=false" target="_blank">Passion altar</a> in the Cathedral's <a href="https://de.wikipedia.org/wiki/Grabmal_Kaiser_Friedrichs_III.#/media/File:Stephansdom_Friedrichsgrab_2.JPG" target="_blank">Apostle Choir</a> behind the <a href="https://de.wikipedia.org/wiki/Grabmal_Kaiser_Friedrichs_III." target="_blank">tomb</a> of <a href="https://en.wikipedia.org/wiki/Frederick_III,_Holy_Roman_Emperor" target="_blank">Emperor Frederick III</a>. These services included music for a Mass (A-Wsa, OKA Rechn B1/230. fol. 135v), the celebration of an unspecified anniversary, possibly the Our Lady of Pötsch festivity on 6 November 1712 (B1/229, fol. 142r), <i><a href="https://en.wikipedia.org/wiki/Rorate_Coeli" target="_blank">Rorate coeli</a></i>
services (B1/229, fol. 143r. B1/231. fol. 229r), and Masses and Requiems which were paid for by the City and were held at this altar for deceased members of the City Council (B1/230, fol. 244r. B1/230, fol. 247v. B1/232, fol. 229v and 230r.)</li>
</ul>
Since it is not possible to publish all fifteen Fux entries in the five account books in question (A-Wsa, OKA Rechn B1/228-232) in a blog post, I shall only provide the shelfmarks and limit the presentation of these sources to a few examples. Between 1705 and 1712, Fux's name does not appear in these records and his service at the Madonna's miraculous image is never mentioned. The earliest reference to Fux in the <i>Oberkammeramtsrechnungen</i> can be found in the first account book of 1712 which was the very last ledger that the<i> Ober-Kämmerer</i> Johann Sebastian Höpffner von Brendt (b. 1657, d. <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17120713&seite=7&zoom=33" target="_blank">13 July 1712</a>) drew up. On 11 April 1712, the municipal treasurer paid 300 florins to Fux as compensation for the compositions that Fux had given to the Cathedral when he had resigned from his post as deputy Kapellmeister.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtuesqd-pF46mKuIFlAGU4ben1EbIu2My_bwIo_tloBXU05qGmuH_jmvfss3OlxK8kgYLgzJGcrbKYtiGzESP8J_hyzZole2GtfbOsPN17EH-pcySt53o04l07427sBii9a33I9TZyJ7c/s1600/OKAR%252C+B1_228%252C+fol.+105v.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtuesqd-pF46mKuIFlAGU4ben1EbIu2My_bwIo_tloBXU05qGmuH_jmvfss3OlxK8kgYLgzJGcrbKYtiGzESP8J_hyzZole2GtfbOsPN17EH-pcySt53o04l07427sBii9a33I9TZyJ7c/s320/OKAR%252C+B1_228%252C+fol.+105v.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the municipal <i>Oberkammeramtsrechnung</i>
concerning the City's payment of 300 florins on 11 April 1712 for Fux's musical scores (A-Wsa, OKA Rechn. B1/228, fol.
105v)</span></div>
<blockquote class="tr_bq">
Am 11<span style="font-size: x-small; vertical-align: super;">t</span> dito [April 1712] zalte Ich Herrn Johann / Joseph Fux, alßwelcher die Cap<span style="font-size: xx-small;">=</span> / pelmaister Stöll beÿ dem Gna<span style="font-size: xx-small;">=</span> / den Bildt zu St: Stephan resignirt, / anbeÿ seine Compositiones der Kirchen Hinterlasßen hat, die / Ihme desßentweg[en] angeschafte[n] / Dreÿ Hundert Gulden, vermög / berathschlagten Anbring[ens] (13.), undt Quittung (14.) Hiebeÿ Id e[st] 300 f " –: –:</blockquote><p><i>[translation:] </i><br /></p>
<blockquote class="tr_bq">
On April 11th, I paid Johann Joseph Fux, who resigned from his post as Kapellmeister at the Miraculous Image at St. Stephen's and left the scores of his compositions to the church, 300 florins which were put aside for this according to the assessed application no. 13 and the attached receipt no. 14. That is 300 f " – : –:</blockquote>
On 30 November 1712 the City treasurer paid Fux a half year's fee of 215 florins for the litanies at the Marian column Am Hof.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUJQl2zZ3HFCzkG-eHBva7QNOeolOo9krDWFsXDJYYwZqlPhRTfFVC19-7yqIHWDGvgqV6g6LqyTWbzt9SvyxkF5mF1HL0dJVfNMMhgXjfPQHUrZnEWb4P-M9ubpe7Jztk6mS7TjiZDkQ/s1600/OKA+B1_229%252C+fol.+66v%252B67r.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUJQl2zZ3HFCzkG-eHBva7QNOeolOo9krDWFsXDJYYwZqlPhRTfFVC19-7yqIHWDGvgqV6g6LqyTWbzt9SvyxkF5mF1HL0dJVfNMMhgXjfPQHUrZnEWb4P-M9ubpe7Jztk6mS7TjiZDkQ/s320/OKA+B1_229%252C+fol.+66v%252B67r.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">Two pages from the 1712 <i>Oberkammeramtsrechnung</i>. The entry concerning Fux's fee for the 1712 litanies Am Hof is at the lower left and upper right (A-Wsa, OKA Rechn, B1/229, fol. 66v and 67r).</span></div>
<br />
<blockquote class="tr_bq">
Ingleichen zalte Ich Herrn Johann / Joseph Fux Capellmaistern / beÿ St: Stephan, die wegen der / Litaneÿ am Hof den Lezten / 9bris auf ain halbes Jahr / verfallene Zweÿ Hundert [fol. 67r] und Fünfzehen Gulden, Laut / Quittung (18.) Hiebeÿ Id e[st] 215 f " –: –: </blockquote><p><i>[translation:] </i><br /></p>
<blockquote class="tr_bq">
Likewise on the last of November [1712] I paid to Johann Joseph Fux, Kapellmeister at St. Stephen's 215 florins for the litany Am Hof for half a year according to the attached receipt no. 18. That is 215 f " – : –:</blockquote>
On 24 December 1712, the City paid Fux 33 florins for the music at the Rorate service at the Passion altar.<br />
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<span style="font-size: x-small;">The entry concerning the payment of 33 fl. for the <i>Rorate</i> service in December 1712 at the Cathedral's Passion altar (A-Wsa, OKA Rechn, B1/229, fol. 143r)</span></div>
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<blockquote class="tr_bq">
Den 24<span style="font-size: x-small; vertical-align: super;">t</span>: dito [Decembris] zalte ich Herrn Joseph / Fux Capellmaistern beÿ St: Ste<span style="font-size: xx-small;">=</span> / phan, wegen d[em] Rorate dienst / beÿ Unsern Herrn, die der ge<span style="font-size: xx-small;">=</span> / sambten Music gebührendte / Dreÿ und dreÿßig Gulden. In<span style="font-size: xx-small;">=</span> / halt Quittung (3.) Hiebeÿ Id e[st] 33 f " –: –:</blockquote><p><i>[translation:] </i><br /></p>
<blockquote class="tr_bq">
On December 24th [1712] I paid to Joseph Fux, Kapellmeister at St. Stephen's, because of the Rorate service at Our Lord's [altar], the 33 florins that were due for the whole music ensemble. According to the attached receipt no. 3. That is 33 f " – : –:</blockquote>
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On 19 August 1713, the <i>Oberkämmerer</i> paid Fux 20 florins for the Mass and the Requiem that were held in connection with the obsequies of the councilman Johann Nicola Ruckebaum.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3iFkpjOM4szX5nu9uLJv1qf3m46CWlJofHnquhGnyJcbj0vGHi0P2cmRf_j6wz8Giz_aBfZDL3Q6ydQjPzgnNwAYeeJtpOW5mI0ZxnwLjy1Da4Qjf24blmL2HC04r4k3WduxppWuguUk/s1600/OKA+B1_230%252C+fol.+244r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3iFkpjOM4szX5nu9uLJv1qf3m46CWlJofHnquhGnyJcbj0vGHi0P2cmRf_j6wz8Giz_aBfZDL3Q6ydQjPzgnNwAYeeJtpOW5mI0ZxnwLjy1Da4Qjf24blmL2HC04r4k3WduxppWuguUk/s320/OKA+B1_230%252C+fol.+244r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">(A-Wsa, OKA Rech, B1/230, fol. 244r)</span></div>
<blockquote class="tr_bq">
Den 19<span style="font-size: x-small; vertical-align: super;">t</span>: dito [Augusti 1713] zalte Ich Herrn / Johann Joseph Fux Capell<span style="font-size: xx-small;">=</span> / maistern beÿ St: Stephan / wegen d[er] Beÿ Unßern Herrn / für Weÿl: Herrn Johann / Nicola Ruckhebaumb deß / Inneren Statt Raths seniore / seel:[ig] gehaltene Lob: und / Seel Ämbter, die d[er] Music / gebührendte Zwainzig / Gulden, Laut Quittung (5.) / Hiebeÿ Id e[st] 20 f " –: –: </blockquote><p><i>[translation:] </i><br /></p>
<blockquote class="tr_bq">
On August 19th I paid to Johann Joseph Fux, Kapellmeister at St. Stephen's, for the sung Mass and the Requiem performed at the Passion altar for the deceased Herr Johann Nicola Ruckhebaum, senior member of the Inner City Council 20 florins, due for the musicians, according to the attached receipt no. 5. That is 20 f " –: –: </blockquote>
The burial of the councilman and superintendent of the <a href="https://www.geschichtewiki.wien.gv.at/B%C3%BCrgerspital" target="_blank">Bürgerspital</a> Johann Nicola Ruckenbaum (1639–1713) had taken place on 5 August 1713, at the Cathedral. The information that the City paid Fux 20 florins for the music is an interesting addition to the entry in the <i>Bahrleihbuch</i> concerning Ruckenbaum's obsequies. The City not only paid for the music, but also for the grave in the crypt. The musical items that cost twenty gulden cannot be exactly identified. They could have been the "Musici" for 10 fl. and the performance of "der grimige Todt mit Sartinln" for 10 fl., but the note "für gehaltene Lob: und Seel Ämbter" in the account book suggests that the 20 florins either covered the 18 fl. for "Musicis vor d[a]s Requiem mit Sartinln" (with the remaining amount unaccounted for), or the free musical service is nor recorded in the <i>Bahrleihbuch</i>.<br />
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<span style="font-size: x-small;">The entry concerning the obsequies of Johann Nicola Ruckebaum on 5 August 1713 at the Cathedral (A-Wd, BLB 1713, fol. 141v and 142 r)</span></div>
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The four other obsequies that are referred to in the 1712-15 account books and for which Fux each time was paid 20 florins were that of the following members of the Vienna City Council (all of whom were also house owners):<br />
<ul>
<li>Augustin von Hirneis, I. & R. councilor, senior member of the City Council and superintendent of the Bürgerspital, buried on 30 August 1713 (A-Wd, BLB 1713, fol. 155)</li>
<li>Johann Fürth, member of the citizen council and municipal <i>Ober<span style="font-size: xx-small;">=</span>Raith<span style="font-size: xx-small;">=</span>Handler</i> (superior accountant), buried on 22 November 1713 (A-Wd, BLB 1713, fol. 166v and 167r)</li>
<li>Ferdinand Philipp von Raidegg, member of the citizen council, buried on 14 March 1715 (A-Wd, BLB 1715, fol. 35v and 36r)</li>
<li>Adam Schreyer, 22 March 1715, (A-Wd, BLB 1715, fol. 40v and 41r)</li>
</ul>
The burial services of the two last councilmen are especially interesting, because Fux was obviously still involved in the musical services at the Cathedral in March of 1715, at a time when he had already resigned from his post as Kapellmeister.<br />
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<span style="font-size: x-small;">The entry concerning the payment of 40 fl to Fux for the music at the obsequies of the councilors von Raidegg and Schreyer (A-Wsa, OKA Rech, B1/232, fol. 229v and 230r)</span></div>
<blockquote class="tr_bq">
Den 30<span style="font-size: x-small; vertical-align: super;">t</span>: dito [Martij 1715] zalte Ich Herrn Johann / Joseph Fux Capellmaistern / [fol. 230r] wegen gehaltenen Requiem für / Weÿl:[and] Herrn V: Raidegg, und / Herrn Schreÿer seel: die der / Music gebührendte vierzig / Gulden, ut Quitt: (85.) Hiebeÿ Id e[st] 40 f " –: –: </blockquote><p><i>[translation:]</i><br /></p>
<blockquote class="tr_bq">
On the 30th of the same month, I paid Kapellmeister Johann Joseph Fux for the Requiem held for the late Herr von Raidegg and the late Herr Schreyer 40 florins which were due for the music ensemble, according to the attached receipt. That is 40 f " –: –: </blockquote>
My research in the account books of the <i>Oberkammeramt</i> is still ongoing. Other references to Fux in these records may yet be found.<br />
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<b>Fux Documents in the Court Archives</b><br />
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<u>Documents of the Obersthofmarschallamt</u><br />
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The two important Fux documents in the holdings of the Imperial Court's judicial authority, the Obersthofmarschallamt (OMaA) are the probate files of Fux's wife from 1731 and that of Fux himself from 1741. Flotzinger's edition of these documents is a strange mixture of an original update and a simple copy of Köchel's age-old, heavily shortened transcriptions (Köchel, 286f. and 289f.). Flotzinger seems to have checked the original sources, but he does not completely transcribe them and repeats some of Köchel's mistakes. Since he is not familiar with regular non-noble <i>Sperrs-Relationen</i> in the Obersthofmarschallamt, he also fails to realize that both files are far from complete and have been heavily reduced by removal of material. A <i>Sperrs-Relation</i> was supposed to essentially deal with the assets of a deceased person, but such documents are missing from both, Fux's and his wife's files. A good example of a typical probate file is that of the (relatively poor) sculptor <a href="https://en.wikipedia.org/wiki/Georg_Rafael_Donner" target="_blank">Georg Raphael Donner</a> (A-Whh, OMaA, 5008/1741) which contains the usual lists of belongings and expenses and a marriage contract which originally may also have been a part of Fux's probate file. Only two examples will suffice to demonstrate Flotzinger's way of mingling Köchel's old mistakes with new superficiality. On 29 August 1731, Fux's declaration of inheritance was presented at the Obersthofmarschallamt. The following document was published in 1872 by Köchel in a flawed and incomplete edition (Köchel, 286). Köchel mistranscribed the "p[erge]" as "etc." (I shall not address all the wrong double fs, or the transcription "Auffleg" instead of "auflag") and he chose to ignore the whole <i>rubrum</i> (summary) of Fux's application. The only notes from the <i>rubrum</i> (on the right half of the left part of the following picture) that Köchel transcribed are the number "2048" and the words "praes. 19. August 1731". The rest is missing and it is also missing in Flotzinger's edition where a lot of Köchel's mistakes reappear, including the unresolved abbreviation "abstè" (meaning <i>absolute</i>) and the mistranscription "K.<i> </i>Martinitz" as the signature of Obersthofmarschall Count Adolf Bernhard <a href="https://de.wikipedia.org/wiki/Martinic" target="_blank">von Martinitz</a> (Flotzinger, 365f.). In his transcription of the accompanying letter, Flotzinger mistranscribes the abbreviation "p[erge]" as an ampersand. The previously unpublished part of this document reads as follows:<br />
<blockquote class="tr_bq">
O:[berst] H:[of] M:[arschall] / gehor[samst] erstate Erbs<span style="font-size: xx-small;">= </span>/ Erklärung sine beneficio / legis et Inventarij / Von mir Jos[e]ph Fux: Kaÿl: Hof<span style="font-size: xx-small;">=</span>CapellMeister alß / ab intestato Erklärt[en] Erben / über Weÿl: Clara Juliana / Meiner Ehewührtin seel: hin<span style="font-size: xx-small;">=</span> / terlassene Verlassenschaft / Pr[o] ingebettene acceptier[ung] / invermelter Erbs<span style="font-size: xx-small;">=</span>Er<span style="font-size: xx-small;">=</span> / clärung und weitere / verfügung betr[effend] [vertatur]</blockquote>
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<span style="font-size: x-small;">Fux's <i>Erbserklärung</i> in the probate file of his wife Clara Juliana (A-Whh, OMaA, Karton 687, 3454/1731). There is no information in Flotzinger's edition concerning the appearance of Fux's seal and that the signature is autograph.</span></div>
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The edition of the composer's probate file from 1741, the second document in the OMaA, is rife with similar problems. Flotzinger publishes the report of the <i>Amtstrabant</i> Paul Anton Bernhard (with the usual mistranscriptions, such as "Hoff" and "vorgenohmen"), but he fails to include the text on the second leaf of the document, i.e. the <i>rubrum</i> and the final note which is signed by the Obersthofmarschall Prince von Auersperg. We are presented with the transcription of the <i>Erbserklärung</i> of Fux's niece Eva Maria (with one telling mistake that is copied from Köchel), but the note "[seitlich Vermerk]" (side note) beside the heiress's signature proves that – contrary to the claim on p. 357 of Flotzinger's book – the text is not a transcription of the original document, but a mere copy of Köchel's edition. This alleged "side note" only appears in Köchel (Köchel, 290), but it cannot be found on the second page (fol. 4v) of Eva Maria Fux's original <i>Erbserklärung</i>. In the original file, this note is part of a longer entry on a different page of the document (fol. 5v), and it comes as no surprise that the text on this page is missing in Flotzinger's edition. Of course, one could claim that these notes contain no important information. But such a negligent approach should never be the rule of a scholarly edition of documents. With the exception of the note "præs 21 Febr 1741" (which, as can be seen, is really not a "seitlicher Vermerk" beside a signature) the text on the left half of the following picture has never been published.<br />
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<span style="font-size: x-small;">The pages 5v and 4r of the <i>Erbserklärung</i> of Fux's niece Eva Maria Fux. The supposed "note beside her signature" is underlined in red, the signature is not visible, because it is located on the other side of this document (A-Whh, OMaA, 5006/1741).</span></div>
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<u>Documents of the Obersthofmeisteramt</u><br />
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The Court's Obersthofmeisteramt (OMeA) was responsible for the employment and remuneration of court officials. Since Fux had to evaluate all employments of musicians and raises of their salary, the largest stock of Fux documents is located in the holdings of this court authority in Vienna's <a href="http://www.oesta.gv.at/site/6150/default.aspx" target="_blank">Haus-, Hof- und Staatsarchiv</a>. In appendix VI (376-453) of his book, Köchel published 260 of Fux's autograph assessments from between 1715 and 1740 which can be found on the back side of the original applications that were submitted to the Emperor. <a href="https://en.wikipedia.org/wiki/Gottlieb_Muffat" target="_blank">Gottlieb Muffat</a>'s application for a Court scholarship for his son Joseph, which was submitted on 16 October 1732, to the Emperor, is a nice example for such an assessment by the Court Kapellmeister:<br />
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<span style="font-size: x-small;">The cover page of Gottlieb Muffat's 1732 application: on the lower right are the address and the <i>rubrum</i>, the rest of the page contains Fux's autograph assessment (A-Whh, OMeA, Alte Akten, Karton 29). For a transcription see Köchel, p. 437. The exact dates that Köchel provides for Fux's statements are mostly arbitrary. Neither the applications nor the assessments bear exact dates.</span></div>
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Fux's comments in the files of the Obersthofmeisteramt can be considered the most interesting documents related to the composer's personality. In these written statements, which show great sympathy and are mostly in favor of the musicians' requests, Fux's character comes to life in an uncanny way. That Flotzinger does not include a single one of Fux's assessments in his collection of "documents related to Fux's biography", is surprising. Totally inexplicable however is the fact that he does not even mention the existence of these documents or their earlier publication by Köchel. From hundreds of Fux documents in the archive of the Obersthofmeisteramt Flotzinger presents three documents from between 1698 and 1702 that <a href="https://de.wikipedia.org/wiki/Herwig_Knaus" target="_blank">Herwig Knaus</a> already published in 1969. It turns out, however, that Flotzinger also has problems copying printed material, because he adds a lot of curious mistakes to Knaus's texts. The misspellings "Virtzuoso" and "allerdgnädigst" are plain typos, the word "weder" instead of "wegen" (in the protocol of 19 August 1702) is the result of mere sloppiness. Knaus's term "seitlicher Vermerk" (side note) for the text on the left side of a two-column document is already problematic. Flotzinger's changing of Knaus's term into the even less applicable "Rand-Vermerk" (marginal note) is just bizarre. It looks as if Flotzinger has never actually seen the original documents.<br />
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<span style="font-size: x-small;">A page of the Obersthofmeisteramt protocol of 19 August 1702, concerning Fux's transfer into full court service (A-Whh, OMeA, Karton 12, fol. 160r). The address to the Emperor and his handwritten decision on the left half of the page are described as "side note" by Knaus and "marginal note" by Flotzinger.</span></div>
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The other three files in Flotzinger's presentation of OMeA files are Fux's applications to the Emperor for gifts of grace from 6 March 1727 (Köchel, 301), 3 January 1727 (Köchel, 304), and 9 April 1733 (Köchel, 307). Flotzinger's edition of these documents – which he mislabels as belonging to the Obersthofmarschallamt (instead of the Obersthofmeisteramt) – are again a mixture of Köchel's old errors with new mistakes and omissions. One is hard pressed not to bore the reader with a list of mistakes that suggest that Flotzinger's texts were not copied from the original sources, but from Köchel's 143-year-old book. The main problem with the presentation of Fux's applications is, that for them to make sense, they have to be published within their context, i.e. together with the detailed legal arguments on which the final resolutions were based. A case in point is the concert commission's long argument in the report of 29 April 1727, concerning the historical precedents of granting pensions to the widows of <a href="https://en.wikipedia.org/wiki/Johann_Heinrich_Schmelzer" target="_blank">Schmelzer</a>, <a href="https://en.wikipedia.org/wiki/Antonio_Draghi" target="_blank">Draghi</a> and <a href="https://en.wikipedia.org/wiki/Marc%27Antonio_Ziani" target="_blank">Ziani</a> (A-Whh, OMeA, Alte Akten, Karton 23). Lack of space cannot be a reason for not including these important documents in Flotzinger's book, given the fact that in the chapter "Sonstige Quellen" there is enough room for a quote from the 1943 article "Das Weihnachtsgeschenk 1940 des Reichsgaues Steiermark an den Führer" (Flotzinger, 387). In March 1733, Fux wrote a relatively long letter to Count Johann Ferdinand von Lamberg concerning the abilities of the singer Maria Sophia Navetschan and the organ builder Giovanni Moysè. This document, which, apart from Fux's will, is the longest document in the composer's handwriting, does not appear in Flotzinger's book. There is no conceivable reason as to why this letter should not be published in a chapter titled "Documents concerning Fux's biography". <br />
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<span style="font-size: x-small;">Pages 3 and 4 of Fux's autograph letter to Count von Lamberg which on 6 March 1733, was presented to the Obersthofmeisteramt (A-Whh, OMeA, Alte Akten, Karton 29). For a transcription of this document see Köchel, p. 314f.</span></div>
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As far as the documents of the Obersthofmeisteramt are concerned, a lot of work still remains to be done. A closer scrutiny of the Obersthofmeisteramt's so-called "Alte Akten" (dating from between 1650 and 1780) shows that the collection of Fux's assessments that Köchel published is <u>not complete</u>. Köchel, in probable anticipation of being criticized for publishing too many sources, only published about two thirds of the handwritten Fux documents from boxes 15-34 of the Obersthofmeisteramt's <i>Ältere Reihe</i>. Since the missing documents have never been published after Köchel, and Flotzinger does not address this bizarre situation, it is obvious that between 1872 and 2016, no Fux scholar ever laid eyes on the archival sources in question. Two examples of unpublished Fux documents from the Obersthofmeisteramt shall be published here. <br />
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On 27 November 1720, the Obersthofmeister had to deal with a request from the cellist Pietro Adò (b. 1683 in Barcelona, d. 6 August 1762 in Vienna) who asked to be allowed to keep the monthly salary of 50 thaler that he had already received during his service in Milan. Fux wrote the following favorable assessment:<br />
<blockquote class="tr_bq">
Pietro Adò Violoncellista / kombt allerundterth.[änigst] ein, / daß Ihme seine bißhero / zu Maÿlandt angewise- / ne, und genossene Besol<span style="font-size: x-small;">=</span> / dung dere[n] 50 Thaller / Manatlich, möchten allhir / in dem Universal Banca<span style="font-size: x-small;">=</span> / litets Zahl Ambt, gleich / andere[n] Kaÿl Musicis / angewisen werd[en]. / Weillen ich sein allerundterth. / Bitt gar billich finde, weille[n] er, von der Zeit / an, daß Ihro Kaÿl. Maÿl: / von Barcellona anhero / ko<span style="text-decoration: overline;">m</span>e[n] würkhlich gedient / Hat, und noch dienet. / Alß meine allerundth / meinung er Supplicant / möchte in seine[m] anbrin<span style="font-size: x-small;">=</span> / ge[n] allerg[nädig]st consolirt werd[en]. / JohannJosephFux / CapelMaister </blockquote>
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<span style="font-size: x-small;">Fux's statement in favor of Pietro Ado's request (A-Whh, OMeA, Alte Akten, Karton 17)</span></div>
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On 4 January 1721, the presentation of petitions to Emperor Charles VI included one from the cellist Franz Carl Drenger (1702–1745) whom, in 1718, the court had sent to Naples to study cello at the <a href="https://it.wikipedia.org/wiki/Conservatorio_della_Piet%C3%A0_dei_Turchini" target="_blank">Conservatorio della Pietà dei Turchini</a>
(Köchel, 382). Drenger received an annual scholarship of 250 fl and
wanted it raised to the amount of the regular "Scolarenprovision" of 350
fl. Fux expressed his opinion as follows:<br />
<blockquote class="tr_bq">
Franz Carl Drenger Kaÿl. / Scolar in Violoncello zu Neapel, so bißhero nit mehr / alß 250 f iarlich genü<span style="font-size: x-small;">=</span> / set, kombt allundterth.[änigst] / ein umb die gantze sonst ge<span style="font-size: x-small;">=</span> / wändliche Scolarn provisi<span style="font-size: x-small;">=</span> / on deren 360 f. iährlich. / Wan nun diser Supplicant, / vermöge beÿligend[er] Au<span style="font-size: x-small;">=</span>
/ thentisirte[n] Attestatione[n] / von seine[n] Obren, sich /
dergestalten wohl verhalte, / daß zu Hoffen ist, er werde / mit der Zeit
gar gutte / Dienst leiste[n] könne[n] beÿ / der Kaÿl. Music: Aber / mit
dermahle[n] genüsende[n] / 250 f unmöglich sub- / sistire[n] kan, umb
so vill / weniger, weille[n] er nebe[n] / dem Violoncello, auch in dem
Contrapunct sich / üben solle, welches zum / Accompagnire[n] notwen /
dig ist; worzu ein neuer / LehrMaister, mit Hin neue / Spesen erfordert
werd[en]. / alß ist meine wenigste mai / nung er Drenger möchte / möchte
mit der völlige[n] Scola / ren Provision allerg[nädig]st consolirt /
werd[en]. Fux CapelMaister</blockquote>
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<span style="font-size: x-small;">Fux's statement in support of Franz Carl Drenger's request (A-Whh, OMeA, Alte Akten, Karton 17)</span></div>
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On 4 December 1738, the Obersthofmeister and Fux had to deal with an application from the violinist Tommaso Piani who asked to have his eldest son Carlo Lodovico be granted a court scholarship to receive singing lessons. To support his request, Piani referred to his 20 years of service, his seven children and the continuing health issues of his wife and children. Tommaso Piani – who was a younger brother of the violinist <a href="https://de.wikipedia.org/wiki/Giovanni_Antonio_Piani" target="_blank">Giovanni Antonio Piani</a> (1678–1761) (and not a cousin, as claimed by <a href="http://www.centre-rick-odums.com/en/teams/martial-leroux/" target="_blank">Martial Leroux</a> in <a href="https://www.mgg-online.com/" target="_blank">MGG</a>2) – was born around 1685, in Naples, and in 1717, was hired as violinist by the court (Köchel, 367). Fux obviously had a close relationship with Tommaso Piani, because on the occasion of Piani's wedding to Francesca Borrini – a daughter of the court singer Rainiero Borrini (1659–1724) – on 15 May 1725, Fux served as Piani's best man. The other witnesses of this wedding were the groom's brother Giovanni Antonio Piani, the Modena-born court chamber accountant Gaetano Virgilio Carrara (1699–1778), and Carrara's brother-in-law Giacomo Fumée, personal surgeon of <a href="https://en.wikipedia.org/wiki/Prince_Eugene_of_Savoy" target="_blank">Prince Eugene of Savoy</a>. Curiously enough, in 1757, Tommaso Piani was to become the first father-in-law of <a href="https://en.wikipedia.org/wiki/Wolfgang_von_Kempelen" target="_blank">Wolfgang von Kempelen</a>, inventor of the chess-playing machine <a href="https://en.wikipedia.org/wiki/The_Turk" target="_blank">The Turk</a> (<a href="http://data.matricula-online.eu/de/oesterreich/wien/01-hofburgpfarre/02-04/?pg=9" target="_blank">Hofburgpfarre 4, 10f.</a>).<br />
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<span style="font-size: x-small;">The entry concerning the wedding of Tommaso Piani and Francesca Borrini on 15 May 1725, at St. Stephen's (A-Wd, Tom. 44, 701). Giovanni Antonio Piani's date of death is still unknown. My research concerning this unsolved issue is almost finished. After her husband's death in 1767, Francesca Piani was employed by the Court as an I. & R. lady-in-waiting. She died on 3 January 1782 in the Hofburg (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17820109&seite=8&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 9 January 1782</a>).</span></div>
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Piani's eldest son Carl Ludwig (b. 1728, d. after 1767), whom his father wanted to become a singer, was a godson of Emperor Charles VI. Fux's assessment concerning Tommaso Piani's 1738 application reads as follows.<br />
<blockquote class="tr_bq">
Tomaso Piani der Jüngere, in / die 20 Jahr Kaÿl: Musicus Violi<span style="font-size: x-small;">=</span> / nista, und Vater von 7 unmün<span style="font-size: x-small;">=</span> / digen Kindern, ko<span style="text-decoration: overline;">m</span>t allerunterth[äni]gst / supplicando ein, um die Allerhöchste / Gnade, daß sein ältester Sohn Carl / Ludwig, als Kaÿl: Hof<span style="font-size: x-small;">=</span>Scolar, in / der Music, und sonderbahr in der / Sing<span style="font-size: x-small;">=</span>Kunst, möchte allergnädigst / an<span style="font-size: x-small;">=</span> und aufgeno<span style="text-decoration: overline;">m</span>en werden. / Wann nun er Piani, durch 20. Jahr / embsig, und fleÿßig gedient hat, / und wegen so zahlreicher familia, / sowohl, als auch fast unaussezlicher / Krankheit seines Weibs, und Kinder / in grossem nothstand sich befindet; / alß würden Ihro Kaÿl: Maÿl: nicht / allein ein grosses Werkh der / Barmherzigkeit thun, wann Aller<span style="font-size: x-small;">=</span> / <span style="font-size: x-small;">=</span>höchst dieselbe den Supplicanten mit / der, für ernant<span style="font-size: x-small;">=</span> seinen Sohn, aller<span style="font-size: x-small;">=</span> / <span style="font-size: x-small;">=</span>unterthgst ansuchenden Hof<span style="font-size: x-small;">=</span> Scolarn<span style="font-size: x-small;">=</span> / stelle, und der gewöhnlichen Scolarn<span style="font-size: x-small;">=</span> / Provision, deren jährlichen. 360 f: / allermildest zu begnaden geruheten; / sondern es würde auch Ihro Maÿl: / mitler zeit |:weilen der Knab von / einem treflichen talento ist, und / die beste Hofnung von sich giebet :| / ein guter Virtuos zuerwachsen. Johann Joseph Fux, / CapelMaister. </blockquote>
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<span style="font-size: x-small;">Fux's statement in support of Tommaso Piani's request (A-Whh, OMeA, Alte Akten, Karton 32)</span></div>
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The many unpublished Fux documents among the files of the Obersthofmeisteramt are not the only problem that is apparent in connection with Flotzinger's collection and its totally fictitious completeness. In theory, the entries in the protocols of the OMeA are mere copies of the presentations (<i>Referate</i>) in the files that cover the sessions. But a scrutiny of the presentations shows that this is not the case, and these sources contain additional information that is also waiting to be published. <br />
<br />
<b>The Schnitzenbaum Family</b><br />
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The maiden name of Fux's wife was Clara Juliana Schnitzenbaum. What does the Fux literature tell us about her? Flotzinger writes: "The bride Juliana Clara was the supposedly eldest daughter of Johann Joseph Schnitzenbaum (d. 5 October 1683), a secretary with the Lower Austrian government, and his wife Maria Ursula. She was about ten years younger [than Fux], born around 1671, because at the time of her death on 6 June 1731, she was 60 years of age. Important dates concerning the family were determined by Köchel." (Flotzinger, 38). After this, Flotzinger immediately proceeds to present information regarding Fux's sisters-in-law all of which can already be found in Köchel. In the modern Fux literature the central missing piece of information concerning the Schnitzenbaum family is never addressed: when exactly was Fux's wife born and why is her exact date of birth still unknown? In 1872, Köchel outlined the "important dates" of the Schnitzenbaum family in the following family tree (with Fux's wife appearing at the bottom left):<br />
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<span style="font-size: x-small;">The Schnitzenbaum family tree according to Köchel (Köchel 1872, 294)</span></div>
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Several details in this fragmentary genealogical outline immediately draw attention: the unspecific dates of birth of the family members prove that Köchel never checked any baptismal records of Viennese parishes. What was Köchel's source for the identity of the grandfather of Fux's wife Josef Schnitzenbaum and his two marriages? What was the source for "19 September 1664" as Josef Schnitzenbaum's date of death? How did he know about the existence of Josef Schnitzenbaum's two other children, Johann Georg and Anna Maria? Of course, Köchel did not give his sources and in 1872, he was not obliged to do so. But it is rather surprising that in the following 143 years, no Fux scholar ever tried to answer these questions. Many authors simply chose not to address these issues at all, and, instead of trying to find answers, simply ignored this topic of research.<br />
<br />
Biographical research concerning people who lived in Vienna in the seventeenth century is aggravated by the scarcity of sources. There are only fragmentary series of probate files in the archives of governances, and because at some point, 33 earlier volumes were destroyed, the municipal death records only survive from 1648 on (with a 26-month gap between 1656 and 1659). The church records (especially the death records) are not complete and have unreliable indexes which sometimes are sorted according to first names. Biographical information from the early seventeenth century can basically only be obtained from four types of archival material: 1) church records, 2) wills in the holdings of the old municipal civil court and various other dominions, such as the Obersthofmarschallamt, the Schotten, the <i>Bürgerspital</i> or the <i>Domkapitel</i> (these wills are very scarce, but probate files are even rarer), 3) records of the municipal financial administration, such as the accounts of the <i>Oberkammeramt</i> (beginning in 1424) or the <i>Steueramt</i> (as of 1500), and 4) municipal property registers of which the earliest date from around 1300 (but these sources are of course are limited to owners of real estate). Because of this difficult source situation, several missing biographical dates of members of the Schnitzenbaum family are unlikely to ever be determined. <br />
<br />
<u>Hanns and Sophia Schnitzenbaum</u><br />
<br />
The earliest appearance of the family name Schnitzenbaum (Schnizenpaumb, Schnitzenpämer) in a Viennese source occurs in 1616. On June 5 of that year, Hans Schnitzenbaum, a fellow (Geselle) from <a href="https://en.wikipedia.org/wiki/Hall_in_Tirol" target="_blank">Hall in Tirol</a>, married Sophia Eisang. Sophia (born around 1575), daughter of the furrier Anton Kurz, was the widow of the stone accountant ("Stainschreiber") and former trumpeter Elias Eysang, whom she had married on 15 July 1598, in Vienna (A-Wd, Tom. 8, fol. 87r).<br />
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<span style="font-size: x-small;">The entry concerning the wedding of the Tyrolese Hans "SchnitzenPämer" on 5 June 1616, at St. Stephen's (A-Wd,Tom. 11, fol. 15v)</span></div>
<blockquote class="tr_bq">
1.2.3. / Cop:[ulatus] 5 Junij / Der Erbar und fürnemb Hanß Schnitze[n]<span style="font-size: xx-small;">=</span> / Pämer, von Hall auß Tirol ein ledige[r] / gesell, nimbt fraue Sophia, weilland / Herrn Eliaß Eÿsanngge[ns] Khaÿl: / Stainschreibers hind[er]lass:[ene] Wittib.</blockquote>
Hans and Sophia Schnitzenbaum turn up in the sources again in August of 1625, when they bought the house Stadt No. 215 (on today's area of the <a href="https://goo.gl/maps/ZbvW91vqpsw" target="_blank">Concordiaplatz</a>) at the corner of <a href="https://www.geschichtewiki.wien.gv.at/Tiefer_Graben" target="_blank">Tiefer Graben</a> and <a href="https://www.geschichtewiki.wien.gv.at/Salzgries" target="_blank">Salzgries</a>, which at that time, of course, bore no number, and in the land register was described as "ein Hauß alhier Innerhalb deß Werther Thor, mit ainem thaill zunechst Balthasar Puchhauser Stainmezen seel: Erbns Hauß gelegen". By 1625, Hans Schnitzenbaum was a "Haringer" (herring vendor) by profession and "out of conjugal love and faithfulness" he shared the ownership of the house with his wife ("Welcher alßdann sein Hausfrau Sophia, auß Conlicher Lieb und Threu, neben ihme an Nuz und Gewör schreiben lassen").<br />
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<span style="font-size: x-small;">The beginning of the entry in the municipal land register concerning the granting of ownership ("Gewähranschreibung") of the house Stadt 215 on 29 August 1625, to Hans and Sophia Schnitzenbaum (A-Wsa, Patrimoniale Herrschaften, B1.14, fol. 28v)</span></div>
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Because the municipal death records only survive as of August 1648, and the death records of the Schotten parish only as of 1649, Sophia and Hans Schnitzenbaum's dates of death can only be conjectured from other sources. Sophia Schnitzenbaum died in 1630, because her will – written on 22 August 1626 – was submitted to the court on 25 June 1630. At that time, the Schnitzenbaum couple seems to have still been in good financial standing. In her will, Sophia Schnitzenbaum decreed various charitable bequests, she refers to a house in <a href="https://en.wikipedia.org/wiki/Penzing_%28Vienna%29" target="_blank">Penzing</a> and vineyards that she owned, and bequeathed 600 florins, silverware, and linen to Maria Jacobina Schmitmaier, a daughter from her first marriage. Each of the five witnesses of her will received a gold ducat for their service. Especially touching in Sophia Schnitzenbaum's will is the passage where she writes "I wish to be buried in the cemetery of St. Stephen's, beside the morgue where the large linden tree is, and where all my friends are buried".<br />
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<span style="font-size: x-small;">The envelope of Sophia Schnitzenbaum's will from 1626 (A-Wsa, AZJ 3143/17. Jhdt.)</span></div>
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The following events are only documented in a copy of a report of a municipal <i>Raithandler</i> (administrative accountant), which only on 22 June 1660, was copied into the land register, on the occasion of a later sale of the house. Hans Schnitzenbaum died before 1633. Because his estate was insolvent, it was put under sequestration. The house remained unsold which led to tax debt, loss of rental revenues and the desolation of Schnitzenbaum's vineyards: "in deme nicht allein, die Weingarten ungepauter gelegen, undt in merckhliche aböedtung gerathen, sondern auch engestangezogenes Hauß, durchgehendt Lähr verbliben, undt kheinen Zinns ertragen, hingegen, von dem darauf gehaften Saz: deßgleichen, über dreÿhundert Gulden, im ausstandt sich befundtenen Steuern, die Interesse täglicher fortgelofen, undt also disorths, denen sambentlichen interessierten ein mehrerer schaaden zuegewachsen" (A-Wsa, Patrimoniale Herrschaften, B1.15, fol. 602). To avoid more damage to the interested parties, on 1 October 1633, the house was sold <i>ex officio</i> by the City Council to a butcher from St. Ulrich. Owing to the lack of a will and a probate file, Hans Schnitzenbaum's family relation to Joseph Schnitzenbaum (the grandfather of Fux's wife) cannot be determined. Another likely relative of Clara Juliana Fux could have been the Veith Schnitzenbaum who in August 1650 – according to an entry in the municipal <i>Oberkammeramtsrechnung</i> – paid an acceptance fee of two florins in the course of being appointed a Viennese <i>Bürger</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mKWkKGXJtiWc-8HurdyMI00Wv0IUZO2PEtzM9R48Z4Xht1AfrV96knMCoDaVJ11onJOvgef-Qb4839JuJqXaaWMQVqyVjd6pelDF0Hyg5Q-CFAWeOmnIkHC0xQlO3wDtZvyhPgy7dD8/s1600/OKA+Rechn+B1_172%252C+fol.+34r+.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mKWkKGXJtiWc-8HurdyMI00Wv0IUZO2PEtzM9R48Z4Xht1AfrV96knMCoDaVJ11onJOvgef-Qb4839JuJqXaaWMQVqyVjd6pelDF0Hyg5Q-CFAWeOmnIkHC0xQlO3wDtZvyhPgy7dD8/s320/OKA+Rechn+B1_172%252C+fol.+34r+.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the <i>Oberkammeramtsrechnung</i> concerning Veith Schnitzenbaum paying a fee for being appointed Viennese citizen. His name is the second in the list of August 1650, after the <i>Khranzlbinder</i> Veith Pfanzeldter (A-Wsa, OKA Rechn. B1/172, fol. 34r) </span></div>
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<u>Joseph Schnitzenbaum </u><br />
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Because of missing sources, biographical information concerning the grandfather of Fux's wife, Joseph Schnitzenbaum, is difficult to ascertain. The dates and location of his birth and two weddings have yet to be located. The pivotal source related to his life is his will which he signed on 31 May 1662. The date "19 7bris
664", written on the envelope of this document, was Köchel's source for the supposed
date of Joseph Schnitzenbaum's death (Köchel, 294).<br />
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<span style="font-size: x-small;">The envelope of Joseph Schnitzenbaum's will bearing his and his four witnesses seals and signatures. The date "19 September 1664" appears twice: left of the seals and at the end of the note on the right margin (A-Wsa, AZJ 7609/17. Jhdt.).</span></div>
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Joseph Schnitzenbaum's will can be summarized as follows: After eighteen years of government service, Schnitzenbaum's annual salary as "N:Ö: Regierungs Canzleÿ Verwandter" (Lower Austrian Government official) was 278 florins. For his burial at <a href="https://en.wikipedia.org/wiki/St._Rupert's_Church,_Vienna" target="_blank">St. Rupert's Church</a> he bequeathed fifteen florins. With his second wife Anna Maria he had a small son, named Johann Richard, to both of whom he bequeathed his <i>Gnadengeld</i> of 300 florins in equal shares, his small amount of silverware, and all his "Vahrnuß" (movables). From his first marriage with Susanna, three children were still alive (a son Johann Leonhard, born on 18 March 1640, had already died in May 1641): Johann Joseph (Fux's future father-in-law), Johann Georg and Anna Maria (b. 28 July 1635), to whom he still owed their mother's inheritance of 100 thaler. This debt was to be covered with the 1026 florins that Schnitzenbaum had deposited with the Lower Austrian government. He appointed the three children from his first marriage universal heirs of his remaining assets, but since these three children had already received a major inheritance from their mother, and their nourishment, sustenance, education, and other expenses had cost him a lot ("sie mich mit ernehr. und nothwendiger underhaltung, studire[n], und andere[n] aufwendtunge[n] nit wenig gecostet"), he requested them to cover all immediate expenses and observe his bequest to his wife and his youngest son.
A very special feature of Joseph Schnitzenbaum the elder's will is the fact that it contains handwritten personal requests to the four witnesses who were the following individuals: the government official Philipp Ludwig Rinkhensatl, the surgeon barber Michael Planckh, the salt accountant and member of the Citizen Council Johann Georg Reißner, and the mayor of <a href="https://en.wikipedia.org/wiki/Bruck_an_der_Leitha" target="_blank">Bruck an der Leitha</a>, Johann Fronhofer.<br />
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Köchel (or his assistant) did not understand the meaning of the date on the envelope of Schnitzenbaum's will. It does not refer to the date of death, but to the date the will was presented to the civil court. Joseph Schnitzenbaum already died on 28 July 1664, at the "Marinisches Hauß auf der Fischerstieg[en]". The cause of death was a stroke, his age is given as 58.<br />
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<span style="font-size: x-small;">The entry in the municipal death records concerning the death of Joseph Schnitzenbaum on 28 July 1664 (A-Wsa, Totenbeschreibamt 7, fol. 54r)</span></div>
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As he had requested in his will, Joseph Schnitzenbaum, in the evening of 28 July 1664, was buried in St. Rupert's Church. His <i>Kleingleuth</i> cost 11 florins 42 kreutzer. The summation in the <i>Bahrleihbuch</i> concerning his burial is not correct, because two "Pueben mit Kutten" did not cost 54, but 18 kreutzer. For the calculation in the records to be correct, there must have been four cowlboys, costing 36 kreutzer.<br />
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<span style="font-size: x-small;">The entry in the Cathedral's <i>Bahrleihbuch</i> concerning Joseph Schnitzenbaum's burial at St. Rupert's Church: "Der Joseph Schnizenbaumb im Marinischen Hauß auf der Fischerstiegen ist am schlaag bsch. alt 55 Jahr / Nachtbegröbnus. In der Kirchen St. Rueprecht". The text at the lower left refers to the next burial (A-Wd, BLB 1664, fol. 83v).</span></div>
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<span style="font-size: x-small;">Joseph Schnitzenbaum's seal, showing a tree in the coat of arms (A-Wsa, AZJ 7609/17. Jhdt.)</span></div>
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<span style="font-size: x-small;">The signature of Joseph Schnitzenbaum the elder (A-Wsa, AZJ 7609/17. Jhdt.)</span></div>
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On 25 November 1664, Joseph Schnitzenbaum's widow Anna Maria married Wilhelm Franz Hirsch von Hirschfeld, an army lieutenant stationed at the Castle of <a href="https://en.wikipedia.org/wiki/Gy%C5%91r" target="_blank">Raab</a> (A-Wd, Tom. 23, fol. 52r).<br />
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<u>The "Adelsburgisches Haus"</u><br />
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Joseph Schnitzenbaum died at the "Marinisches Hauß" which in 1770 was to be numbered Stadt 455. In the second half of the seventeenth century, this building was named after the lawyer Marini de Thomasis who had bought it in 1652. In 1689, the house was sold to Maria Elisabeth Koch von Adlersperg which led to its being misnamed "Adelsburgisches Haus". In some sources this house is also referred to as "Bei Unsern Herrn" (A-Wd, BLB 1703, fol. 161r).<br />
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<span style="font-size: x-small;">The "Marinisches (later Adelsburgisches) Haus", Stadt No 455 (last No. 378) at the corner of the Salvatorgassel and the Fischerstiege, on Joseph Daniel von Huber's 1778 map of Vienna (W-Waw, Sammlung Woldan). On the upper right is the church of <a href="https://en.wikipedia.org/wiki/Maria_am_Gestade" target="_blank">Maria am Gestade</a>.</span></div>
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In this house members of the Fux and the Schnitzenbaum families are documented to have lived<span style="font-size: x-small;"> </span>between 1664 and 1773. In 1749, Fux's sister-in-law Maria Theresia Schnitzenbaum died there (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17490521&seite=7&zoom=44" target="_blank"><i>Wiener Zeitung</i>, 21 May 1749</a>) and so did Fux's niece Maria Fux in 1773.<br />
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<span style="font-size: x-small;">A view into the Salvatorgasse towards Maria am Gestade in 1907: visible on the far left is the portal of the <a href="https://de.wikipedia.org/wiki/Sankt_Salvator_(Wien)" target="_blank">St. Salvator</a>, the building in the foreground is the "Adelsburgisches Haus", Salvatorgasse 8 (Wien Museum, I.N. 33655/2).</span></div>
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The special, previously unknown, significance of the "Adelsburgisches Haus" for the history of music is based on the fact that on 3 March 1766, <a href="https://en.wikipedia.org/wiki/Joseph_Sonnleithner" target="_blank">Joseph Sonnleithner</a>, the co-founder of the "<a href="https://en.wikipedia.org/wiki/Gesellschaft_der_Musikfreunde" target="_blank">Gesellschaft der Musikfreunde</a>" and librettist of Beethoven's <a href="https://en.wikipedia.org/wiki/Fidelio" target="_blank"><i>Fidelio</i></a>, was born in this house.<br />
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<u>Johann Joseph Schnitzenbaum </u><br />
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Johann Joseph Fux's father-in-law Johann Joseph Schnitzenbaum was born around 1631. Like several other sources concerning the Schnitzenbaum family his baptismal entry turned out to be untraceable. Only four of his siblings could be located in the records of the Cathedral: Anna Maria, b 28 July 1635 (A-Wd, Tom. 11, fol. 243v), Johann Leonhard, b. 18 March 1640 (A-Wd, Tom 13, fol. 289r), Joseph, d. May 1641 (A-Wd, Tom. 9, p. 13). An elder brother named Adam officiated as best man at his brother's first wedding. Johann Joseph Schnitzenbaum was married twice. On 4 November 1653, at St. Stephen's Cathedral, he married Anna Maria Hirsch who may have been a relative of the second husband of Schnitzenbaum's stepmother.<br />
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<span style="font-size: x-small;">The entry concerning the first wedding of Joseph Schnitzenbaum on 4 November 1653 (A-Wd, Tom. 20, fol. 110r)</span></div>
<blockquote class="tr_bq">
1.2.3. / copulatus e[st] / Der Edl und Gestrenge Herr Joseph / SchnitzenPäumb. der Ro: Kaÿ: Maÿl: und / N. O. Regierungs Canzlei Verwanter p. / nimbt die Edl Ehrntugentreiche Junkhfrau / Annam Mariam Hirschin. weilent des / Edl und Gestrengen Herr[n] Jacobi Ernreich / Hirsch. der R: Kaÿl: Maÿl: geweste[r] Haubtman / und Annæ Dorotheæ seiner Ehelichen / Hausfraun, beeder Seelig Eheliche hinterlasen[e] d[o]chte[r] / Testes. H Joan. Wagner. d N.O: L[andtschaft] p. Expeditor / H Adam SchnitzenPaumb. Frater sponsi. / H. Hanß Jacob Weinzierl. I. Ehw. Contralor. / H. Ferdinandus Jurcko. Camerdiener J. Ehw: / ad S. Rupert[um] / 4. Novb. [1653]</blockquote>
With his first wife, Johann Joseph Schnitzenbaum is documented to have had two sons: 1) Johann Ferdinand, born on 9 June 1655 (A-Wd, Tom. 22, fol. 154v) and Johann Richard, born on 21 June 1657 (A-Wd, Tom. 23, fol. 9r). Baptisms of other children from this marriage have yet to be found in the records. Schnitzenbaum's second wedding took place on 3 May 1665, at Vienna's <a href="https://en.wikipedia.org/wiki/St._Michael%27s_Church,_Vienna" target="_blank">St. Michael's Church</a>. The entry in the church records concerning the publication of the banns for this wedding contains previously unknown information about Johann Joseph Fux's mother-in-law Maria Ursula Crän. Together with the entry concerning the marriage of her sister Maria Catharina Crän to the Lower Austrian <i>Landschafts-Expeditor</i> Adolph Cremer on 11 February 1665 (A-Wd, Tom. 23, fol. 69v), this entry in the <i>Verkündbuch</i> of St. Michael's is the most important source regarding the maternal ancestors of Fux's wife. Fux's mother-in-law Maria Ursula Crän was born in <a href="https://en.wikipedia.org/wiki/Regensburg" target="_blank">Regensburg</a>, daughter of Heinrich Khräne (Crän, <a href="http://www.worldcat.org/identities/viaf-52492744/" target="_blank">Krane</a>), Doctor of Canon and Civil Law, councilor and resident of the Electorate of Cologne at the Vienna Imperial Court, and his wife Maria Clara, née Sinich. At the time of Maria Ursula Crän's wedding in 1665, both her parents were already deceased.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the publication of the banns in April 1665 for the wedding of Fux's parents-in-law (A-Wstm, Verkündbuch 4, 219). These entries were crossed out after the wedding had taken place. </span></div>
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<blockquote class="tr_bq">
Der Edl <strike>und wohlgelehrte</strike> Herr Hannß Joseph / Schnizebaumb, gebirtig v[o]n Wien in Oësteraich / des Herrn Joseph Schnizenbaumb und fraun Susannæ hinderlaßener Ehelicher Sohn, nimbdt / zu der Ehe die Wollehrn dugentraiche Jungfrau / Maria Ursula Cränin, <strike>geborne Sinichin</strike> gebirtig vo[n] Regenschburg / des Herrn Heinrich Cränn und frau Mariæ / Claræ geborner Sinnichi[n] beede[r] hinderlaßener Eheliche Tochter <strike>1</strike> <strike>2</strike> <strike>3</strike> / die tertia Maij 1665 / testes sunt Joannes Conradus Albrecht ed D[ominus] Geor / gius Reisner ed Joannes Georgius Sinich ed D[ominus] / Joannes de Grane</blockquote><p><i>[translation:]</i><br /></p>
<blockquote class="tr_bq">
The noble Mr. Hans Joseph Schnitzenbaum, born in Vienna in Austria, son of Joseph Schnitzenbaum and his wife Susanna, takes as wife the honorable and virtuous maiden Maria Ursula Crän, born in Ratisbon, legitimate daughter of Heinrich Crän and Maria Clara, née Sinich. The banns published on May 3rd, 1665. The witnesses are Johann Conrad Albrecht, Georg Reisner, Johann Georg Sinich and Johann de Grane.</blockquote>
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The actual entry concerning this wedding in the regular marriage records of St. Michael's contains only a fraction of the above information.<br />
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<span style="font-size: x-small;">The entry concerning the wedding of Johann Joseph Schnitzenbaum and Maria Ursula Crän on 3 May 1665 (A-Wstm, Tom. 33, 149)</span></div>
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The wedding of Heinrich Khräne and Maria Clara Sinich, the maternal grandparents of Johann Joseph Fux's wife, had taken place on 31 August 1637, at St. Stephen's Cathedral.</div>
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<span style="font-size: x-small;">The entry concerning the wedding of Heinrich Khräne on 31 August 1637, at St. Stephen's (A-Wd, Tom. 15, fol. 203r) </span></div>
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Not all entries concerning the baptisms of Johann Joseph Schnitzenbaum's children can be located in the church records which is the reason why the exact date of birth of Fux's wife will probably never be known. Instead of openly addressing the inaccessibility of this important source, the Fux literature has so far treated this issue as if it did not really matter. That several sources concerning births and weddings of members of the Schnitzenbaum family are untracable (especially telling is the missing baptismal entry of Paul Anton Schnitzenbaum from around 1675), suggests that this family had several religious ceremonies performed in a quasi private setting at St. Rupert's Church. Another explanation would be flawed indexes in several of the Cathedral's baptismal registers (Tom. 29 and 31-34), but such a scenario is extremely unlikely. From Johann Joseph Schnitzenbaum's second marriage the following nine children can be documented.</div>
<ol>
<li>Anna Maria, b. 26 June 1666 (A-Wd, Tom. 27, 185)</li>
<li>Maria Anna, b. 14 November 1667 (A-Wd, Tom. 28, fol. 182r), d. 16 February 1736 (according to Köchel, 295, but this date is obviously wrong, because her death is neither listed in a parish register nor in the municipal death records)</li>
<li>Joseph Adam, b. 4 June 1670 (A-Wd, Tom. 30, 203)</li>
<li>Jacob Ignaz, b. 25 July 1671 (A-Wstm, Tom. 3, 349), d. 9 March 1683 "an Blattern [of smallpox], beim Schmäkherten wurmb in d[er] Pekherstr[aßen]" [<a href="https://goo.gl/maps/MSNhKwCxQNL2" target="_blank">Wollzeile 5</a>] (A-Wsa, TBP 15, fol. 158r; A-Wd, Tom. 14, 266)</li>
<li>Clara Juliana (Fux's future wife), b. ca. 1672, d. 8 June 1731</li>
<li>Paul Anton, b. ca. 1681, d.<a href="https://www.blogger.com/">16 March 1740</a> "beÿm Golden[en] Bärn am alten Fleischmarckht [Fux's last apartment] an Inner[em] Brand" [of internal gangrene]</li>
<li>Maria Maximiliana, b. 15 January 1676 (A-Ws, Tom. 16, fol. 286v)</li>
<li>Franz, b. 23 January1678 (A-Ws, Tom. 17, fol. 84v)</li>
<li>Maria Theresia, b. 5 August 1679 (A-Wd, Tom. 35, fol. 49r), d. 19 May 1749 (A-Wsa, TBP 47, fol. 464v; <i>Wiener Diarium</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17490521&seite=7&zoom=44" target="_blank">21 May 1749</a>)</li>
</ol>
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The births of Joseph Adam Schnitzenbaum in June 1670 and that of Jacob Ignaz in July 1671 prove that their sister Clara Juliana (Fux's wife) cannot have been born in 1670 or 1671 (the latter of which is generally given as her year of birth in the Fux literature). The godparents of the seventh child, Maria Maximiliana Schnitzenbaum, were Countess Maria Maximiliana von Collalto, née Countess von Althann and her second husband Count Anton Franz von Collalto (1630–1696). The godparents of the six other children (and most likely also of Clara Juliana and Paul Anton) were Adam Dores and his first wife Anna Maria. Because Dores was employed as accountant of the Moravian county administration in Brno (A-Wd, Tom 28, 335), he was sometimes substituted as godfather by the Salzburg-born barber Johann Michael Kreitzthaller and his wife Regina, or assisted by Georg Reisner and his wife Ursula Rosina. Adam Dores left a mark in the history of Moravian geology when in the 1660s, he was the <a href="https://books.google.at/books?id=UsA8AAAAcAAJ&pg=PT192#v=onepage&q&f=false" target="_blank">first to describe</a> the <a href="https://en.wikipedia.org/wiki/Macocha_Gorge" target="_blank">Macocha Gorge</a> north of Brno. Johann Michael Kreitzthaller was a brother-in-law of the ironmonger Paul Schluderer who in 1698, was to serve as witness at Fux's wedding. In 1658 and 1676, the ironmonger Georg Reisner officiated as best man at both of Paul Schluderer two weddings (A-Ws, Tom. 8, fol. 190r. A-Wd, Tom. 25, 112). As of 20 February 1650 (A-Wd, Tom. 19, fol. 130r), Reisner was married to Ursula Rosina Schnitzenbaum, a cousin of Johann Joseph Schnitzenbaum (her parents had been Joseph Schnitzenbaum's brother Adam and his wife Lucia).</div>
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Johann Joseph Schnitzenbaum died on 5 October 1683, in the house of Martin Tattenrieder (1618–1683) which was the abovementioned house "<a href="https://www.geschichtewiki.wien.gv.at/Zum_schmeckenden_Wurm" target="_blank">Zum schmeckenden Wurm</a>" ("The Tasting Reptile") between Wollzeile and Lugeck, where in 1671, one of Schnitzenbaum's children had died. </div>
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<span style="font-size: x-small;">The entry in the municipal death register concerning Johann Joseph Schnitzenbaum's death (A-Wsa, TBP 15, fol. 245v)</span></div>
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<blockquote class="tr_bq">
der wohlEdlgest:[renge] H Johan Joseph Schnitzebaumb N:O: / Regier[ung] Secretarius im H Martin Tadtenrieder haus, / in der wollzeill, ist an Rother Ruhr be[sc]h[aut] alt 53 J[ahr]</blockquote>
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That Schnitzenbaum lived in one of Martin Tattenrieder's two houses was not a coincidence. Tattenrieder's father-in-law Johann Pistorius was Schnitzenbaum's colleague at the Lower Austrian Government, and in 1665, Schnitzenbaum's friend Johann Michael Kreitzthaller, the aforementioned barber from Salzburg, had served as witness at Tattenrieder's wedding (A-Wd, Tom. 23, fol. 97v). Johann Joseph Schnitzenbaum's obsequies took place at the Cathedral. He was buried in the crypt of the <a href="https://en.wikipedia.org/wiki/Augustinian_Church,_Vienna" target="_blank">Augustinian Church</a>.</div>
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<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning Johann Joseph Schnitzenbaum's obsequies on 5 October 1683 at St. Stephen's. Note the spelling of the word "wollzeile" with the h-like letter that doubles the following "l" (A-Wd, BLB 1683a, fol. 165r).</span></div>
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<blockquote class="tr_bq">
Conduct. der H: Johann Joseph
Schnüzenbaumb N:Ö:, / Rg: Secret: in H: Martin Dattenried[erischen] haus
/ in d[er] wollzeile ist Lauth H: dr: Stumpf : / Zeug:[nis] an d[er]
roth[en] ruhr b[e]sch:[aut] alt 53 J: / Zu den[en] P: August:[inern]</blockquote><p><i>[translation:]</i><br /></p>
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<blockquote class="tr_bq">
Obsequies. Mr. Johann Joseph Schnitzenbaum, secretary with the Lower Austrian government, according to Dr. Stumpf's certificate was inspected to have died of bloody dysentery in Martin Dattenrieder's house in the Wollzeile, 53 years of age, and was buried in the Church of the Augustinian Friars. </blockquote>
<div style="text-align: left;">
Johann Joseph Schnitzenbaum's probate file is not extant in the holdings of the <i>Obersthofmarschallamt</i>.</div>
<br />
<b>Addenda and Corrigenda</b><br />
<br />
<u>Maria Fux's Probate File and Will</u><br />
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<div style="text-align: left;">
Johann Joseph Fux's niece Maria Fux died on 6 April 1773, at 7 a.m., at the "Adelsburgisches Hauß N. 455. beÿ St. Salvator" (A-Wsa, TBP 67/II, FVU, fol. 13r). At that time she had been living "von eigenen Mitteln" (on her own resources) which means that her livelihood was based on bank shares that had come from Fux's and Maria Theresia Schnitzenbaum's estates. Köchel published no further details from Maria Fux's probate file, except the following numbers that he considered to describe the final amount of money that the universal heiress received ("demnach blieben der Erbin", Köchel, 292).</div>
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The amount, that Köchel considered the net inheritance of Maria Fux's foster daughter Josepha Perger, is wrong. Köchel disregarded the fact that the supposedly final amount of 10,149 fl 8 x was still subject to a 10% inheritance tax of 1,014 fl 54 x which reduced Perger's net inheritance to 9,134 fl 14 x. Maria Fux's probate file consists of 43 pages of which Köchel only published two and a half, namely the acknowledgement of receipt, which was drawn up on 20 May 1774, in Graz, and signed by ten of Maria Fux's Styrian relatives who had inherited 800 florins from the composer's niece. Not only is Köchel's transcription rife with mistakes (Köchel, 292), it is also incomplete, because it disregards the seals and signatures of the eight witnesses who were needed, because all of Maria Fux's Styrian heirs were illiterate and only signed with nine crosses and one circle. It comes as no surprise that, apart from Josepha Perger's declaration of inheritance, Flotzinger limits the material he publishes to Köchel's material and also copies several of Köchel's mistakes. There is no village named "Oberfläding" ("Oberflädling" according to Köchel). The name of the village written in the document is <a href="https://goo.gl/maps/PJ3FYRofyB72" target="_blank">Oberfladnitz</a>. Flotzinger not only claims that the inheritance of the universal heir Josepha Perger amounted to "11776,41 fl" (incorrectly decimalizing the sexagesimal of florins and kreutzer), he also mistakenly describes this amount as being gross and net at the same time: "After the deduction of legacies, expenses and fees the universal heir is left with 11776,41 fl which includes[<i>sic</i>] obligations to pay for Mass endowments, legacies and other things" (Flotzinger, 382). I shall not present a detailed list of mistakes here. Flotzinger's method is yet further proof that publishing a heavily abridged version of an eighteenth-century <i>Sperrs-Relation</i> is always problematic, because it leads to a gross distortion of a historical source. The second page of the receipt, which Maria Fux's heirs signed in 1774, <span id="result_box" lang="en">provides a glimpse on <span>the</span> <span>strangeness</span> of the editorial <span>process at hand: none of the witnesses was considered important enough to be included in Köchel's and Flotzinger's edition of this document.</span></span></div>
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<span style="font-size: x-small;">The second page of the receipt of the "Fuxische Freundschaft" in Graz (A-Wsa, Alte Ziviljustiz, 217/82). All the signatures of the witnesses beside the seals are missing from Köchel's and Flotzinger's transcription. </span></div>
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The eight witnesses were the following administration officials from Graz:<br />
<ul>
<li>Franz Xavier Adrinegg, chancery clerk with the <a href="https://books.google.at/books?id=tjBZAAAAcAAJ&pg=PA89#v=onepage&q&f=false" target="_blank">Styrian "k.k. Landrecht</a>" (he wrote the receipt)</li>
<li>Johann Dominicus Lovironi, "Hochgräfl: Kienburg: Gülten Administrator" (rent administrator of Count <a href="https://de.wikipedia.org/wiki/Kuenburg" target="_blank">von Kuenburg</a>)</li>
<li>Franz Anton Reitter, "grundobrigkeitlicher Administrator"</li>
<li>Johann Dobida</li>
<li>Marcus Hermann, lessee of the dominion <a href="https://de.wikipedia.org/wiki/Schloss_Stadl_an_der_Raab" target="_blank">Stadl</a> in Mitterdorf an der Raab</li>
<li>Franz Joseph Wagner, administrator of the dominion Oberfladnitz</li>
<li>Ferdinand Joseph Bezler, administrator of the dominion and the castle of <a href="https://en.wikipedia.org/wiki/Riegersburg_Castle" target="_blank">Riegersburg</a></li>
<li>Johann Baptist Mossmiller, administrator of the dominion of Mössendorf (today's <a href="https://de.wikipedia.org/wiki/Messendorf_(Gemeinden_Graz,_Hart_bei_Graz)" target="_blank">Messendorf</a>)</li>
</ul>
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Flotzinger's edition of Maria Eva Fux's will is plagued by additional problems. Like Köchel's edition it is fragmentary and marred by a number of mistranscriptions and typos that show the carelessness that this supposedly "minor source" was treated with. The worst mishaps are: "Freundschafft", "Taßend", "numehro", "Bak-Obligationen" and "Landstaffts". Flotzinger's "Frau v. Vittelbach", who appears in paragraph nine of the will, is actually Frau [Maria Anna] von Dittelbach (the surname "Vittelbach" does not exist). The supposed name of the first witness "Stöckl von Gerburger" is a mistake that was copied from Köchel. This privy coucilor's name was Ignaz Xaver Stöckl von Gerburg (b. 6 April 1717 in Passau, d. 17 July 1779 in Vienna). The second witness of Maria Fux's will was her physician Franz Pachner (b. <a href="http://bildsuche.digitale-sammlungen.de/index.html?c=viewer&bandnummer=bsb00074244&pimage=120&v=150" target="_blank">28 January 1718</a> in <a href="https://de.wikipedia.org/wiki/Bad_Leonfelden" target="_blank">Bad Leonfelden</a>, d. 14 January 1777 in Vienna), a member of the Pachner von Eggenstorf family, whose <a href="https://s-media-cache-ak0.pinimg.com/736x/df/02/84/df028433fd879f7b62b183df53f57d53.jpg" target="_blank">nephew</a> in 1790, was granted knighthoood and in 1793, founded the <a href="https://de.wikipedia.org/wiki/Klein-Neusiedl" target="_blank">Neusiedler</a> paper factory. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnKuhOO0qmOUkXQnbWApP3JjGKWl2WUwde_HFI2gKRpVzvRk0Io2lY5BT792SnFMJwQtWdFMB8NHw811XfuNB1-gjPIgBBeWYnFW8THpso8eeW9K21KzLzPRhwPugnhecj9Cvm5ubn9M/s1600/MF+signatures.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRnKuhOO0qmOUkXQnbWApP3JjGKWl2WUwde_HFI2gKRpVzvRk0Io2lY5BT792SnFMJwQtWdFMB8NHw811XfuNB1-gjPIgBBeWYnFW8THpso8eeW9K21KzLzPRhwPugnhecj9Cvm5ubn9M/s320/MF+signatures.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The seals and signatures on Maria Fux's will (A-Wsa, AZJ, Test. 14129/18. Jhdt.)</span></div>
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For the sake of historical significance alone, Maria Eva Fux's probate file and will should be published in their entirety. 144 years after Köchel, we should be able to raise our scholarly aspirations to more than excerpts and summaries of Fux documents. The fact that in her will Maria Fux still used her uncle's seal matrix, has previously been overlooked by Fux scholars. One of the most beautiful impressions of Fux's seal was created thirty years after the composer's death.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzpD0UDKaB-ptX5qB7dxd7iZZGG_aM3VqGyn7amjFPuXckGz2RfsKagWnZyO2I5RB5P2laGPlbGvDWsrP1zUEBKi4wxwxitXGHmVfHD5U1KQh55_kzpDvDpeLcAnSCOi8OaO4NarQ5uM/s1600/Seal+Fux.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzpD0UDKaB-ptX5qB7dxd7iZZGG_aM3VqGyn7amjFPuXckGz2RfsKagWnZyO2I5RB5P2laGPlbGvDWsrP1zUEBKi4wxwxitXGHmVfHD5U1KQh55_kzpDvDpeLcAnSCOi8OaO4NarQ5uM/w200-h200/Seal+Fux.jpg" width="200" /></a></div>
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<span style="font-size: x-small;">Johann Joseph Fux's seal which in 1771 was still used by his niece Maria Fux to close the envelope of her will (A-Wsa, AZJ, Test. 14129/18. Jhdt.)</span></div>
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A much earlier imprint of Fux's seal from 17 December 1730 on the marriage contract of Johann Michael Edelbauer reveals that the seal shows a fox with a chicken in its mouth. Note the initials "I F".<br /></div></div><div style="text-align: justify;">
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgxSUyCdDlWYI-zrbwYQq9st8_zcdOBrjYoyFRxfS08sgZnqIYPZg8oTCqGDHC9zUP4Lw56v7rptFlWuP48DeWSUF39Ca12j6q1KZn8kwBaoYVdnWY2Hd3CmVZZ8keGCOfkm9VRKUlKa_ltITmCZQpFP98yng06hsEvSUTZhqcgW4k54w4li1Jpv03X=s795" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="795" height="181" src="https://blogger.googleusercontent.com/img/a/AVvXsEgxSUyCdDlWYI-zrbwYQq9st8_zcdOBrjYoyFRxfS08sgZnqIYPZg8oTCqGDHC9zUP4Lw56v7rptFlWuP48DeWSUF39Ca12j6q1KZn8kwBaoYVdnWY2Hd3CmVZZ8keGCOfkm9VRKUlKa_ltITmCZQpFP98yng06hsEvSUTZhqcgW4k54w4li1Jpv03X=w200-h181" width="200" /></a></div>
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<span style="font-size: x-small;">Johann Joseph Fux's seal, imprinted on 17 December 1730, on the court musician Johann Michael Edelbauer's marriage contract (A-Wsa, Herrschaft Stift Schotten, 2.1.1.16.A1/2.17170). Edelbauer's wedding took place on 7 January 1731, at St. Stephen's (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-stephan/02-046/?pg=370" target="_blank">A-Wd, Tom. 46, 356</a>).<br /></span></div>
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<u>Maria Fux's Mass Endowments</u> <br />
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In her will, Johann Joseph Fux's niece Maria established two mass endowments. The deed of the first one, which comprised the establishment of a fund of 1300 florins for the reading of a weekly Mass on every Monday at the <a href="https://de.wikipedia.org/wiki/Pfarrkirche_hl._Maria_(St._Marein_bei_Graz)" target="_blank">parish church of St. Marein</a> near Graz, was partly published by Köchel (Köchel, 292f.). Because in Köchel's book the excerpts of Maria Fux's probate file are followed by this Mass endowment deed, Flotzinger assumed that this document was part of Maria Fux's <i>Sperrs-Relation</i>,and he refers to the fact that he could not find it in the probate file with the note "da nicht aufgefunden" (could not be found there) (Flotzinger, 382). It could not be found there, because endowment deeds are part of a different archival holding, namely the <a href="https://goo.gl/HoKaoA" target="_blank"><i>Bestand 1.2.4.7.1 - Stiftungen allgemein | 1525-21.Jh</i></a>. in the Vienna City Archive's <i>Sonderregistraturen</i> (special registries). The original of Maria Fux's Mass endowment deed shows that Köchel published a heavily cut version of the document. Köchel may already have foreseen <a href="https://en.wikipedia.org/wiki/Eduard_Hanslick" target="_blank">Eduard Hanslik</a>'s point of criticism that in his book most of these documents, although of very little interest to nineteenth-century music historians, are quoted much too extensively: "But where diligence and accuracy go so far that almost whole archives are being printed verbatim, admiration easily changes into horror." (Hanslik in the <i>Neue Freie Presse</i> of <a href="http://anno.onb.ac.at/cgi-content/anno?aid=nfp&datum=18711031&seite=2&zoom=33" target="_blank">31 October 1871</a>). Because Köchel not only cut the second paragraph of the endowment deed, but also committed several transcription mistakes and modernized the spelling, I present a complete transcription of the document's original text.</div>
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<span style="font-size: x-small;">The deed of Maria Fux's Mass endowment to the Church of St. Marein in Styria (A-Wsa, Sonderregistraturen, Stiftungen, A4/7372)</span></div>
<blockquote>
<div style="text-align: center;">
Wir Joseph Georg Hörl Burgermeister, wie auch</div>
der gesamte Rath der Kaÿl: Königl: Haupt<span style="font-size: xx-small;">=</span> und Residentz<span style="font-size: xx-small;">=</span>Stadt Wienn geben hiemit jedermänniglich zu vernehmen, was mass[en] weÿl: Ma[ri]a Fuxin seel: in ihrem den 6: April <span style="text-decoration: overline;">773</span>: beÿ uns, alß derselben rechtmässigen Abhandlungs Instanz eröfneten Testament im 5<span style="font-size: x-small; vertical-align: super;">ten</span> Abschnit der Pfarrkirch St: Marein in Steuermarkt beÿlaufig zweÿ Stund ausser Gratz zu einer wochentl[ichen] heÿl:[igen] Meeß auf einem privilegirten Altar alle Montag für die sammentl:[iche] Fuchsische verstorbene Freÿndschaft zu lesen 1000: f mit dem Beÿsatz verma[c]het habe, daß Wann diese Stiftmeeß nicht angenommen, und für solches quantum gar nicht gelesen werden könnte, deroselben Uni[iver]sal Erb den Abgang, und nöthigen Betrag daraufzuzahlen schuldig seÿn solle.<br />
<br />
Wann nun der Erblasserin Testaments Executor H: Frantz Xavier Pach N:Ö: Landschafts Syndicus das Stift Capital mit zuschlag 300: f: folgsam mittels einer den 1<span style="font-size: x-small; vertical-align: super;">te[n]</span> <span style="text-decoration: overline;">Xbr</span>: <span style="text-decoration: overline;">773</span>: mit N° 10614: auf unseres, und g[e]m[eine]r Stadt Grundbuchs Kammer zu 4: pcnto ausgestellter K.K. Kupferamts Oblig[ation] pr aintausend dreÿhundert Gulden berichtiget, auch den innerösterreicher[sch]en Ordinariats Consens <strike>dd</strike>° Gratz 20<span style="font-size: x-small; vertical-align: super;">te[n]</span> Julÿ dieß Jahrs <span style="font-family: "times new roman";">|</span>: kraft welchem von dem von erdeutten 1300: f: abfallend jährl: Inte[ress]e pr fünfzig zweÿ Gulden für einen jeweiligen H: Pfarrer zu ersagten St. Marein für die jährl[ich] zu persolvirenden fünfzig zweÿ montägige heÿl: Meeßen a: 45: x. dreÿssig neun Gulden, dann dem dortigen Schullmeister a: 6: x. fünf Gulden 12: Kr: und der Pfarrkirch a: 9: Kr: die übrige[n] sieben Gulden 48: Kr: pro paramentis et reliquis requisitis abgereichet werden sollen :<span style="font-family: "times new roman";">|</span> beÿgebracht hat, auch von dem Herrn Pfarrer [....] und deren Kirchen<span style="font-size: xx-small;">=</span>Vättern zu ermeldten St: Marein wegen getreu und beständiger Ausrichtung der Stifterin obgehört frommen Willensmeÿnung in Folge des den 10: Junÿ h:[uius]a:[nni] berathschlagten Grundbuchsberichts, jedoch gegen richtigen Empfang deren erstausgewiesenen Stipendien die den 3: Augusti a:[nni] c:[urrentis] datirte Reversales behörig eingeleget worden sind, alß haben Wir es beÿ sothaner Stiftung allerdings belass[en] und darüberhin gewöhnliche Stiftbriefe zu errichten verordnet.<br />
<br />
Solchemnach sind zu ewiger Gedächtnüß, und Vesthaltung dieser Gottgefälligen Stiftung dreÿ gleichlauttende Exemplarien errichtet, mit unserem grösseren Grundinsigl bestättiget, sodann eines davon der K:K: milden Stiftungs Commission, das zweÿte dem ernannten Gotteshauß hinausgegeben, und das dritte beÿ obbesagten Grundbuch zu den Stift Akten hinterleget worden. Geschehen Wienn den 28<span style="font-size: x-small; vertical-align: super;">ten</span> Aug: <span style="text-decoration: overline;">774</span>:<br />
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<div style="text-align: center;">
L:S: (Gemeiner Stadt Wienn Grund Buchs Insigl)</div>
</blockquote>
Because Maria Fux's second Mass endowment, the one to the <a href="https://www.geschichtewiki.wien.gv.at/Theatinerkloster" target="_blank">Theatines' Convent</a> in Vienna, was not published by Köchel, it remained unknown to Fux researchers. This is incidental proof that since Köchel, no intensive research has ever been done by Fux scholars in Vienna's archives. Maria Fux's second Mass endowment was based on a copper share worth 1300 florins and was supposed to fund a weekly mass on the weekday on which the foundress of the endowment was to die. This day (6 April 1773) turned out to be an "Erchtag" (Tuesday).<br />
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<span style="font-size: x-small;">The previously unknown deed concerning Maria Fux's Mass endowment to the Theatines' Convent in Vienna (A-Wsa, Sonderregistraturen, Stiftungen, A4/7373)</span></div>
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<blockquote class="tr_bq">
<div style="text-align: center;">
Wir Joseph Georg Hörl Burgermeister, wie</div>
auch der gesamte Rath der Kaÿl: Königl: Haupt<span style="font-size: xx-small;">=</span> und Residentz<span style="font-size: xx-small;">=</span> Stadt Wienn geben hiemit jedermänniglich zu vernehmen, was mass[en] weÿl:[and] Maria Fuxin seel: in ihrem den 6: April <span style="text-decoration: overline;">773</span>: beÿ uns, Als derselben rechtmassigen Abhandlungs Instanz eröfneten Testament im 4<span style="font-size: x-small; vertical-align: super;">tn</span> Abschnied den wohlehrwürdigen P:P: Theatinern allhier beÿ dem heÿl: Kajetan an der hohen Bruken zu dem Ende aintausend dreÿhundert Gulden vermachet habe, auf daß eine wöchentl: heÿl: Meeß für sie auf einem privilegirten Altar jedesmahl an dem Tag ihres Hinscheidens gelesen werde solle.<br />
<br />
Wann nun von der Erblasserin Testaments Executore H: Frantz Xaverio Pach N:Ö: Landschafts Syndicus das Stift Kapital mit zuschlag 300: f: folgsam mittels einer den 1: <span style="text-decoration: overline;">Xbr</span>: <span style="text-decoration: overline;">773</span>: auf unseres, und g[e]m[eine]r Stadt Grundbuchs Kammer zu 4: pcnto mit <strike>N</strike> 10615 ausgestellt, und dorthin erlegten K.K. Kupferamts Obl.[igation] pr 1300: f: berichtiget, und von wohlernannten P:P: Theatinern nach von hochlöbl[icher] N:Ö: Reg: den 24: März dieß Jahrs erfolgten Bestätigung die hochfürstl: Geistl:[ichen] Bewilligung den 8<span style="font-size: x-small; vertical-align: super;">tn</span> April darauf bewürkhet, auch in Folge des von uns den 10<span style="font-size: x-small; vertical-align: super;">ten</span> Junÿ a:[nni] c:[urrentis] berathschlagte[n] Grundbuchs Berichts die den 1<span style="font-size: x-small; vertical-align: super;">te[n]</span> dieß gefertigte Reversales <span style="font-family: "times new roman";">|</span>: kraft welcher die Wochentl: Heÿl:[ige] Meeß jedesmahl an einem Erchtag auf einem privilegirten Altar zu der Stifterin frommen Intention gelesen werden sole :<span style="font-family: "times new roman";">|</span> eingelegt worden sind; Alß haben Wir es Inhalt erstangezogenen Grundbuchs Berichts beÿ sothaner Stiftung allerdings belassen, und darüberhin gewöhnl:[ich]e Stiftbriefe zu errichten verordnet.<br />
<br />
Solchemnach sind zu ewiger Gedächtnüß, und Vesthaltung dieser Gottgefalligen Stiftung dreÿ gleichlauttende Exemplarien errichtete mit unserem grösseren Grund<span style="font-size: xx-small;">=</span>Insigl bestättiget, sodann eines davon der Kaÿserl. Königl: milden Stiftungs Commission, das zweÿte den wohlernannten P:P: hinausgegeben, und das dritte beÿ ged:[achtem] unserem Grundbuch zu den Stift<span style="font-size: xx-small;">=</span>Akten hinterleget worden. Geschehen Wienn den 4: J[ulÿ] <span style="text-decoration: overline;">774</span><br />
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<div style="text-align: center;">
L:S: (Gemeiner Stadt Wienn Grund Buchs Insigl)</div>
</blockquote>
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<span style="font-size: x-small;">The Theatines' Convent at the <a href="https://www.geschichtewiki.wien.gv.at/Hohe_Br%C3%BCcke" target="_blank">Hohe Brücke</a> in Vienna (colored engraving after <a href="https://de.wikipedia.org/wiki/Salomon_Kleiner" target="_blank">Salomon Kleiner</a>). In the chapel of this convent Mozart and his bride, on 2 August 1982, went to their prenuptial confession.</span></div>
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It is not known when the Mass endowment for St. Marein was discontinued. The endowment for the Theatine Friars probably ended when in 1782, the convent was closed by Joseph II.<br />
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<u>Josepha Perger</u><br />
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Maria Fux's universal heir (and thus, the eventual sole heir of Johann Joseph Fux's estate) Josepha Perger was born on 8 November 1744, in the Lower Austrian village of <a href="https://de.wikipedia.org/wiki/Guntersdorf" target="_blank">Guntersdorf</a>, daughter of the "Herrschafts-Regent" Joseph Perger and his wife Eva Theresia. It is not known why at that time her parents were staying in the country, but her mother seems to have had relatives in Guntersdorf. Joseph Perger's two other children Anton Wenzel (b. 1750) and Maria Elisabeth (b. 1752) were born in Vienna. Perger obviously became an orphan at a very young age which lead to her adoption by Maria Fux.<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Maria Josepha Perger on 8 November 1744, in Guntersdorf. Her father Joseph Perger is given as "dermahliger Landtgerichtsverwalter", the godmother was Eva Theresia Wurtz, "Verwalterin in dem Johannes Hof zu Wienn" (Pfarre Guntersdorf, Tom. 3, p. 76).</span></div>
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Köchel gives a short list of successors to Fux's estate ("Vererbung des Vermögens des Joh. Jos. Fux", Köchel, 293), but not only are several of Köchel's dates wrong, he also failed to observe the decrease of Fux's assets in the course of their transfer to subsequent heirs. After having signed a marriage contract on 28 August 1774, which included a mutual appointment as one's heir, Josepha Perger, on 16 October 1774, married Johann Elias Linck, a head cook in the service of Count Kolowrat-Liebsteinský (Köchel's claim that this wedding took place in September 1774 is again wrong).<br />
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<span style="font-size: x-small;">The signatures and seals of the marriage contract of Johann Elias Link and Josepha Perger (A-Wsa, Mag. ZG, A2, 3084/1789)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieBYiL1loTMeN1H2-mXfoPgir3XZKWtc8PU9vwNM5kVSPEbZ6SEiLvdAOPNT9PGipZTnMNGczJ7GfTqTFFUDUc8gt-0WJ37qMELrIRHLBIwNsm3Vmi9MQCGFF8Hs3g5cxrH4ija6uN9ig/s1600/Elias+Link+16.10.1774.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieBYiL1loTMeN1H2-mXfoPgir3XZKWtc8PU9vwNM5kVSPEbZ6SEiLvdAOPNT9PGipZTnMNGczJ7GfTqTFFUDUc8gt-0WJ37qMELrIRHLBIwNsm3Vmi9MQCGFF8Hs3g5cxrH4ija6uN9ig/s320/Elias+Link+16.10.1774.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the wedding of Johann Elias Link and Joseph Perger on 16 October 1774, in the Schottenkirche. Note the dates of the three publications of the banns: September 25</span><span style="font-size: x-small;">th, October 2</span><span style="font-size: x-small;">nd, and October 9</span><span style="font-size: x-small;">th. The groom hailed from Arnau (today's <a href="https://cs.wikipedia.org/wiki/Hostinn%C3%A9" target="_blank">Hostinné</a>) in Bohemia and lived at the "K.K. Bancohaus" (today <a href="https://goo.gl/maps/TzVaA9H3dY42" target="_blank">Singerstraße 17-19</a>) (A-Ws, Tom. 34, fol. 51r).</span></div>
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On <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17891024&seite=9&zoom=56" target="_blank">16 October 1789</a>, Josepha Link died of a stroke (the date given by Köchel is wrong) and was buried three days later in <a href="https://en.wikipedia.org/wiki/St._Marx_Cemetery" target="_blank">St. Marx Cemetery</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06SVA7aX9ztzVNRerVWc1gX3e2eKUg3L7aeBzETpoTzXrtW4_UPucCbaSJHDmN_7LvsbcKjWvg3_PERnjqcyWYhakD8AygFq0DAXzDZ2Ou3HwAxBIXACq1OSnRl27qduLhExcO3D2JRY/s1600/Josepha+Link+18.10.1789.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh06SVA7aX9ztzVNRerVWc1gX3e2eKUg3L7aeBzETpoTzXrtW4_UPucCbaSJHDmN_7LvsbcKjWvg3_PERnjqcyWYhakD8AygFq0DAXzDZ2Ou3HwAxBIXACq1OSnRl27qduLhExcO3D2JRY/s320/Josepha+Link+18.10.1789.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning Josepha Link's obsequies on 18 October 1789, at St. Stephen's (A-Wd, BLB 1789, fol. 347v)</span></div>
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The list of Josepha Link's assets in her probate file shows that in 1789 a bigger part of her inheritance was already gone. What was left were a 1000 fl. bond of the "Stadt-Banco" and a 500 fl. "Kupferamts-Obligation".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjADHfvp7E-kaioF9x5Y0Zzbl3rtjNSo_am9MWufFPHQIIeBeBFwnHvTgdQn8-y555NNobdAe4D4IEqCgH-QA9l4SenaxWQyxEBYpyExICvXe-LrxESLBUGKPHfxG2trw-x3PlQ5MUVFZ0/s1600/Link%252C+A2%252C+3084_1789.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjADHfvp7E-kaioF9x5Y0Zzbl3rtjNSo_am9MWufFPHQIIeBeBFwnHvTgdQn8-y555NNobdAe4D4IEqCgH-QA9l4SenaxWQyxEBYpyExICvXe-LrxESLBUGKPHfxG2trw-x3PlQ5MUVFZ0/s320/Link%252C+A2%252C+3084_1789.jpg" width="218" /></a></div>
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<span style="font-size: x-small;">The list of financial assets in Josepha Link's <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 3084/1789)</span></div>
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On 1 July 1790, Johann Elias Link married again (the date of this wedding given by Köchel is wrong). His second wife was Maria Theresia Nimpfling, born 12 April 1761 (Graz, St. Peter Tom. 4, p. 377), daughter of a "Tabak-Amts-Officier" in Graz. By the time of Johann Elias Link's death on 24 March 1792 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17920331&seite=9&zoom=44" target="_blank"><i>Wiener Zeitung</i>, 31 March 1792, 849</a>), the assets from Maria Fux's estate were depleted. In Link's probate file a copper bond of 250 fl. is listed as deposit of the Schnitzenbaum endowment.<br />
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<span style="font-size: x-small;">The entry in Johann Elias Link's probate file referring to the Schnitzenbaum endowment (A-Wsa, Mag. ZG, A2, 1258/1792)</span></div>
<blockquote class="tr_bq">
Ein Schnitzenbaumisches Stiftungs Depositum in einer / Kupferamts Obligation sub nro [...] ddt<span style="font-size: x-small; vertical-align: super;">o</span> 1<span style="font-size: x-small; vertical-align: super;">t</span> octobris / 793 auf Josepha Bergerin lautt[end] per 250 f</blockquote><p><i>[translation:]</i><br /></p>
<blockquote class="tr_bq">
A deposit of the Schnitzenbaum endowment in form of a copper bond with the number [...] dated October 1st, 1793 issued under the name Josepha Berger at 250 florins</blockquote>
Some items in Johann Elias Link's estate nourish the fascinating conjecture that they could still have come from the personal property of Johann Joseph Fux: two old silver shoe buckles, an old golden pocket watch with double glass and varnished casing, and an old sword with a silver hilt. On 18 August 1793 (Köchel's date is again wrong), Johann Elias Link's widow married the merchant Michael Anton Constantin (b. 2 February 1767). This chronological sequence of inheritance is of little relevance to Fux research. Its only significance lies in the previously unknown fact that Michael Constantin was an older brother and (as of 1796) guardian of Magdalena Constantin, who was <a href="https://en.wikipedia.org/wiki/Johann_Nestroy" target="_blank">Johann Nestroy</a>'s mother. Josepha Perger's long-time heirs had no financial profit from the inheritance. They only kept the right to appoint the beneficiary of Maria Theresia Schnitzenbaum's charitable endowment of four florins and 30 kreutzer per month to a resident of Vienna's <i>St. Johannes Nepomuceni Spital</i>. This endowment will be dealt with below.<br />
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<u>Maria Theresia Schnitzenbaum's Will</u><br />
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On 16 September 1743, Fux's sister-in-law Maria Theresia Schnitzenbaum drew up and signed her will. Parts of this document were published in 1872 by Köchel (Köchel, 295). Flotzinger also presents a fragmentary edition of this document (Flotzinger, 379), and, not surprisingly, manages to botch it in several different ways. First, he falsely describes it as being held by the <a href="http://www.noe.gv.at/Bildung/Landesarchiv-.html" target="_blank"><i>Niederösterreichisches Landesarchiv</i></a> in St. Pölten, while it is actually a part of the remains of the files of the Lower Austrian <i>Landrecht</i> in the <a href="http://www.oesta.gv.at/desktopdefault.aspx" target="_blank">Austrian State Archives</a> which were heavily decimated in the 1927 fire of the Palace of Justice.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNc54GxvMDjtrlFiKSdaoufgpijD0_0J6pR7_kZh7GwjtXljLzcDMQGrkGSan1NQtmr2c7L7sAC1LZoSbohtER5xQsmzhnuify8UrLVItwmfFSRjV7vpj8_CPPHu0Tdp84yjMh2dEg75I/s1600/AVA+Inneres+N%25C3%2596LR+Test+186.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="760" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNc54GxvMDjtrlFiKSdaoufgpijD0_0J6pR7_kZh7GwjtXljLzcDMQGrkGSan1NQtmr2c7L7sAC1LZoSbohtER5xQsmzhnuify8UrLVItwmfFSRjV7vpj8_CPPHu0Tdp84yjMh2dEg75I/s320/AVA+Inneres+N%25C3%2596LR+Test+186.jpg" width="212" /></a></div>
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<span style="font-size: x-small;">The
first page of Maria Theresia Schnitzenbaum's will which she signed on 16
September 1743 (OeStA, AVA Inneres NÖLR Test 186). Because this
document in 1927 suffered heavy water damage, in the course of
restoration it was completely covered with Japanese paper.</span></div>
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Because (possibly owing to her extraordinary wealth) Maria Theresia Schnitzenbaum was erroneously considered a noblewoman, her probate file and will ended up in the holdings of the Lower Austrian <i>Landrechte</i> Court. The correct shelfmark of Schnitzenbaum's will is <a href="http://www.archivinformationssystem.at/detail.aspx?ID=1563449" target="_blank">A-OeStA/AVA Inneres NÖLR Test 186</a> (Karton 4, fol. 160-67). Second, Flotzinger, showing unwillingness to go any further than Köchel, only presents three paragraphs of the will which actually consists of nineteen paragraphs. There is no obvious reason to suppress a large part of Maria Theresia Schnitzenbaum's various legacies which are of significant historical interest, such as her Mass endowments to the <a href="https://www.geschichtewiki.wien.gv.at/Nikolaikloster" target="_blank">Convent of St. Nikolai</a>, to the <i>Wiener Herberg</i> and her other pious bequeathments to various clerical institutions. Not surprisingly, Flotzinger's supposedly updated transcription of the document is flawed: "derfe" was misread as "diesse", "köne" as "sölle" and "in" as "sie" (to name only the gravest errors).<br />
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Matthäus Theophil Fux's 1749 "Erbseklärung[<i>sic</i>]" (declaration of inheritance) to the estate of Maria Theresia Schnitzenbaum, which Flotzinger describes as "dzt. unauffindbar" ("currently untraceable", Flotzinger, 379), was part of Maria Theresia Schnitzenbaum's probate file at the <i>Landrechte</i> Court. It cannot be located, because it was destroyed in the 1927 Palace of Justice fire. If Flotzinger had looked for this document at the right place, he would have realized this.<br />
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<u>Maria Theresia Schnitzenbaum's Charity Endowment Deed</u><br />
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In paragraph twelve of her will Maria Theresia Schnitzenbaum established a charity endowment of 1500 florins to the <i>St. Johannes </i><a href="https://www.geschichtewiki.wien.gv.at/Invalidenhaus_(3)" target="_blank"><i>Nepomucenispital</i></a>, an almshouse in the Viennese suburb of Landstraße. The interests of the endowment were to be used to secure the livelihood of a poor woman who was to be chosen by the foundress's heirs and to be supported with a daily payment of nine kreutzer. The recipient of this charitable endowment received the regulatory free clothing on which she was obliged to carry Maria Theresia Schnitzenbaum's coat of arms. Furthermore, the chosen poor woman was obliged to say a daily prayer and to go to confession and attend Communion on every May 19th, the anniversary of the benefactress's death. Köchel quotes one paragraph from Schnitzenbaum's endowment deed which he located "among the files of the k. k. Statthalterei in Wien" (Köchel, 296). This copy seems to be the one that today is held by the <a href="http://www.noe.gv.at/Bildung/Landesarchiv-.html" target="_blank">Lower Austrian Provincial Archives</a> in St. Pölten (Allgemeine Pergament-Stiftbriefsammlung Nr. 242 [Karton 9]) from which Flotzinger published a very short passage (Flotzinger, 380). But Flotzinger's text, although it is presented as if it were an original quote, is just a short extract. There is yet another, previously unknown copy of this endowment deed. In March 1841, a copy of the original was made for the municipal administration which survives in the Vienna City Archive's collection of endowment deeds (A-Wsa, Sonderregistraturen, Stiftungen, A2/5341). The complete text of this document is herewith published for the first time.<br />
<blockquote class="tr_bq">
Regierungs Stiftungsbriefsa<span style="text-decoration: overline;">m</span>lung<br />
<strike>N</strike>° 242.</blockquote>
<blockquote class="tr_bq">
<div style="text-align: center;">
Wir Maria Theresia von Gottes<br />
Gnaden Römische Kayserinn etc.</div>
Bekennen hirmit für Unß, unsere Erben und Nachkommen, welchermassen Weyl: Maria Theresia v. Schnitzenbaum seel. in ihrem unterm Sechzehenten Septembris Ain Tausend Sieben Hundert drey und vierzig verfast und den neunzehenten May Ain Tausend Sieben Hundert Neun und Vierzig bei der N. Ö: Regierung in justiz Sachen publicirten Testament §<span style="font-size: x-small; vertical-align: super;">vo</span>: 17<span style="font-size: x-small; vertical-align: super;">tmo</span> [<i>sic</i>] zur größeren Ehre Gottes zum Trost ihrer Seelen und zum Behuff der verlassenen Armuth eine Ewige Stiftung auf eine erarmte Weibs Person mit Ain Tausend Fünff Hundert Gulden Capital in das St. Johannes Nepomuceni Spital auf der Landstraße allhier dergestalten errichtet habe; daß<br />
Erstens: sowohl die dermalige als zukünftige praesentation oder ersetzung dieses Stiftungsplatzes ihrer instituirten Universal-Erbin Eva Maria Fuxinn und nach derselben zeitlichen [fol. 1v] Hintritt ihren Nächsten anverwandten und befreundten zu allen Zeiten verbleibe, mithin derselben oder ihren besagten Anverwandten und befreunden die jedesmahlige apertur zeitlich erindert und jene Persohn welche praesentiret wird wann solche anderst nach der verfaffung[<i>sic</i>] des Spittals hier erarmt, und sonsten würdig befunden wurde, von der zu Besorgung mehrgemelten Spittals versamleten Congregation ohne aller wider Red angenommen. Dann<br />
Andertens diser Stüfftungs<span style="font-size: xx-small;">=</span>Persohn zur Portion Tägl. Neun Kreutzer nebst institut mässiger Kleydung gereichet auch sonst sie allenthalben denen übrigen Armen gleichgehalten werde. Daentgegen<br />
Drittens solle dieselbe zur immerwehrenden Gedachtnuß der genießenden Wohlthatt, daß Wappen diser milden Stiffterinn an denen Kleydern führen und nach der Verfassung widerholten Spittels nicht nur ihr tägliches Gebett und übrige Andachtsübungen, sondern anbey alljährlichen an dem Tag der Stifterinn ableibens als den Neunzehenten May eine Heilige Beicht und Communion für sie Stiffterinn zu verrichten schuldig seyn Allermassen auch<br />
Viertens: das hievor angeregte Stifftungs Capital pr: Ain Tausend fünff Hundert Gulden von vorgangs benannter Universal Erbinn Eva Maria Fuxinn vermittels einer Statt Banco Obligation untern Dreÿzehenten Februarij dises zu endstehenden Jahrs an das Spittal St: Joannis Nepomuceni mit der Verordnung richtig abgeführet worden, daß selbes alljährlich bey dasiger [fol. 2r] Spittals<span style="font-size: xx-small;">=</span>Haubt<span style="font-size: xx-small;">=</span>Rechnung besonders in Empfang und Ausweisung gebracht, auch auf das aller vorsichtigste, wie es immer die menschliche Kluegheit zulasset administriret und genossen werden solle.<br />
Wann nun dise Stifftungs-Sach von unserer N.Ö. Repraesentation und Cammer nach Verrechnung der zur Besorgung dieses Spittals Versammleten Congregation behörig untersuchet und befunden worden, daß sothane fromme Stifftung zu Vermehrung Christlicher Barmherzigkeit und höchst erwünschlicher Versorgung deren allhiesig Statt<span style="font-size: xx-small;">=</span>Armen gereiche das hirzu gewidmete Capital auch zur unterhalt eines Armen allerdings zuelänglich sey, mithin wir in ausfertigung des gebettenen Stüfft<span style="font-size: xx-small;">=</span>Brieffs gnädigst gewilliget, und die beregte Stüfftung in unseren allerhöchsten Schutz genommen haben.<br />
Solchemnach Befehlen wir hiemit gnädigst, und wollen, daß über angezogene Stüftungspuncta festiglich gehalten, zu dem Ende dises Stiftbriefs drey gleichlauthende Exemplaria aufgerichtet hirvon eines bey unserer Closter<span style="font-size: xx-small;">=</span>Raths<span style="font-size: xx-small;">=</span>Registratur verwahrlich aufbehalten, das andere widerhohlten St. Joannes Nepomuceni Spittal extradiret auch daselbst in dem Stifftungs-Protocollo ordentlich eingetragen das dritte aber der Stifterinn Universal<span style="font-size: xx-small;">=</span>Erbinn zu ihrer guten Versicherung ausgehändiget werden solle. Thuen dieses hirmit auch wissentlich mit Urkund dises Brieffs der mit unseren Landesfürstlichen Insigl [fol. 2v] Bekräfftiget und gegeben ist.<br />
Wienn den Sechs und Zwanzigsten Juny des Sibenzehen Hundert Fünfzigsten Jahrs.<br />
P.T. G.[raf] Rosenberg </blockquote>
<blockquote class="tr_bq">
L.S. Per Commissionem Sacrae Caes Regiae Majestatis in Consilio Repraesentationis et Camerae Inferioris Austriae<br />
<blockquote class="tr_bq">
Jos. Fr. Edl v Reichmann m/p<br />
Johann Friedrich Edler von Schmidt m/p</blockquote>
</blockquote>
<blockquote class="tr_bq">
Collationirt ex offo: und ist diese Abschrift dem in der Regierungs Stiftungsbrief-Sa<span style="text-decoration: overline;">m</span>lung sub N° 242 aufbewahrten original Stiftungsbrief wörtlich gleichlautend. Wien den 23<span style="font-size: x-small; vertical-align: super;">ten</span> März <span style="text-decoration: overline;">841</span>.<br />
[L: S:] Ignaz Hirsch mp Regierungs Sekretär und Registraturs Direktor</blockquote>
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</xml><![endif]-->Maria Theresia Schnitzenbaum's charitable endowment existed way into the late 19th century. The last reference to its bestowal, that I could find in an <i>Amtsblatt</i>, appeared on 6 September 1878 in the newspaper <i>Die Presse</i>.<br />
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<div style="text-align: center;">
<span style="font-size: x-small;">The announcement of an opening funded by the Schnitzenbaum endowment at the beginning of the <i>Amtsblatt</i> of 5 September 1878 (<i>Die Presse</i> [<i>Abendblatt</i>] <a href="http://anno.onb.ac.at/cgi-content/anno?aid=apr&datum=18780906&seite=15&zoom=33" target="_blank">6 September 1878</a>, p. 3)</span></div>
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According to the 1898 <i>Kataster der in Niederösterreich verwalteten weltlichen Stiftungen nach dem Stande des Jahres 1893</i>, in that year, the Schnitzenbaum endowment had financial assets of 1,915 florins and an annual profit of 78 fl.<br />
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<b>Further Mistakes</b> <br />
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<div style="text-align: left;">
Flotzinger's article about Fux's life is fraught with more small, not easily noticeable mistakes of which only a few can be addressed here.<br />
<ul>
<li> To identify houses in late seventeenth-century Vienna, Flotzinger relies on <a href="https://www.wien.gv.at/wiki/index.php/Johann_Jordan" target="_blank">Johann Jordan</a>'s book <a href="http://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/433504" target="_blank"><i>Schatz, Schutz und Schantz deß Ertz<span style="font-size: xx-small;">=</span>Hertzogtumbs Oesterreich</i></a> (Vienna: van Ghelen, 1701). But since this book merely consists of a listing of houses and their owners according to a virtual walk through the city, it is unreliable and cannot be used to exactly determine the modern location of individual buildings. Thus, Flotzinger is unable to locate the "Winklerisches Haus" where Fux's bride lived in 1698 (Flotzinger, 38). Flotzinger's statement "<i>Winklerisches Haus</i>" offenbar irrig statt <i>Winkherisch, gegenüber dem Lorentzer Gäßl</i>" is false, because not only is Jordan's name "Winkherisch" wrong, <a href="https://de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_Objekte_in_Wien/Innere_Stadt/E%E2%80%93He#/media/File:Fleischmarkt_9.jpg" target="_blank">this house</a> is also not located opposite the Laurenzergasse. It is the house "<a href="https://www.geschichtewiki.wien.gv.at/Zur_Mariahilf_(1)" target="_blank">Zur Mariahilf</a>" (today <a href="https://goo.gl/maps/q1MHG5CB3oq" target="_blank">Fleischmarkt 9</a>, last conscription number 704) which, as of 1693, was owned by the merchant Johann Niklas Winkhler and his wife Maria Apollonia, née Weigl, widowed Wendtenzweig.</li>
<li><a href="https://en.wikipedia.org/wiki/Wilhelmine_Amalia_of_Brunswick-L%C3%BCneburg" target="_blank">Empress Amalia</a>'s Kapellmeister Heinrich Holzhauser was not born "c.1685" (Flotzinger, 60), as (as of 2016) given in the notoriously flawed <a href="http://www.musiklexikon.ac.at/" target="_blank"><i>Österreichisches Musiklexikon</i></a>. Holzhauser was born on 10 July 1675 in the Lower Austrian village of <a href="https://de.wikipedia.org/wiki/Wilfersdorf_%28Nieder%C3%B6sterreich%29" target="_blank">Wilfersdorf</a> (Pfarre Wilfersdorf, Tom. 1, 75). He died on 8 March 1726, in his house Stadt 1061 in Vienna. </li>
<li>Otto Heinrich Ponhaimer's first name was not "Johann" (Flotzinger, 60).</li>
<li>Flotzinger's transcription of the entry in the 1773 records concerning the death of Maria Fux is flawed (Flotzinger, 381). The word "wo[n]ach" makes no sense and actually reads "word[en]". The mysterious initials "AH" in this entry, that Flotzinger adorns
with a question mark, refer to the municipal coroner Anton Hochmayr.</li>
<li>The merchant Johann Baptist Muffat did not get married in September 1691 in the Schottenkirche. Flotzinger mistook the entry concerning the publication of the banns in the records of the Schotten parish for Muffat's marriage entry. Muffat's wedding actually took place on 19 August 1691, at <a href="https://de.wikipedia.org/wiki/Leopoldskirche_%28Leopoldstadt%29" target="_blank">St. Leopold's Church</a> (St. Leopold, Tom. 1, 484).</li>
<li>A number of curious oversights suggest that Flotzinger's text never underwent a thorough proofreading process. Botched wordings such as "eine Gedenktafel wurde an Fux angebracht" (12) and "Fuxens zweites Ansuchen von Fux" (364) are not supposed to pass a meticulous editing process. This also applies to the misplaced Latin name "Joannes Fux Styrus Hirtenfeldensis" (368), the repeated misspelling of Köchel's name as "Koechel" (363f., 367), and the curious use of an ampersand in italic Garamond (<i style="mso-bidi-font-style: normal;"><span lang="DE-AT" style="font-family: "garamond" , serif; font-size: 12pt; line-height: 107%;">&) </span></i>in the title of the journal <i>Music & Letters</i> (412).<!--[if gte mso 9]><xml>
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<li>Flotzinger repeatedly refers to Joseph Sonnleithner as "Joseph von Sonnleithner". Unlike his brother <a href="https://en.wikipedia.org/wiki/Ignaz_von_Sonnleithner" target="_blank">Ignaz</a> and his nephew <a href="https://en.wikipedia.org/wiki/Leopold_von_Sonnleithner" target="_blank">Leopold</a>, Joseph Sonnleithner was not ennobled. </li>
</ul>
The authors could not agree on the German genitive for Fux's name – Flotzinger prefers "Fuxens", while his colleagues use the word "Fux'". This can be considered an amiable variety.<br />
<br />
<b>Conclusions</b></div>
<br />
As far as the edition of documents from Fux's life is concerned, the somewhat unsatisfactory state of Fux research needs no further comment. The situation is reminiscent of O. E. Deutsch's flawed and completely out-of date edition of Mozart documents which will not be replaced by better work in the near future, because the people in charge (and the ones holding the purse strings) are unable to realize the seriousness of the situation. I have <a href="http://michaelorenz.blogspot.co.at/2012/08/mozart-documents-transcribed.html" target="_blank">repeatedly addressed</a> this particular problem on this blog, a problem that of course is not limited to historical musicology. An annoying phenomenon in the field of humanities is the fact that there is no reliable authority which is qualified to do a vetting process of palaeographic work on a general academic level. Only too often, the scientific institutions, which are supposed to teach transcription skills and expertise on archival sources, show themselves to be unable to even assess the skills of their own graduates. Scientific projects, that are funded by major institutions like the <a href="https://www.fwf.ac.at/en/" target="_blank"><i>Austrian Science Fund</i></a> and are based on the transcription and study of historical sources, never even once face a thorough vetting process, because this kind of quality management would not only overburden the sponsor's resources, the funding institution would also at some point have to rely on outside experts (and possible applicants) whose lack of competence is the cause of most problems in the first place. Concerning this kind of projects, I have come up with a rule of thumb which describes the problem at hand: to be safe from any quality control (by the sponsor or your peers), try to base your historical research on the transcription of at least of 5000 files. No evaluation management will then be able to ever check the quality of your work and what you did with your sources. And the same rule – involving much fewer documents – applies to the publication of books.<br />
<br />
Fux scholars should detach themselves from the influence of Köchel (like Mozart scholars from that of Deutsch), go back to square one and implement the demands of modern editorial practice into their work. A complete edition of all Fux documents should be the first and most important task. For this project the funding that the University of Graz and the State of Styria have already invested in Flotzinger's book will not be available again. A Viennese publishing house, which recently released a new edition of Köchel's Fux <i>Werkverzeichnis</i>, has begun with the edition of <a href="https://www.hollitzer.at/werke/johann-joseph-fux-werke/" target="_blank">works</a> by Fux (for which the demand must be considered rather marginal). Considering the astonishing fact that a great number of Fux documents are still unpublished, this publisher would be well advised to also initiate the publication of an up-to-date collection of these sources. This project, however, could be facing problems, because <a href="https://de.wikipedia.org/wiki/Hans_Ernst_Weidinger" target="_blank">Ernst Weidinger</a>, the owner of this publishing firm, has not only shown himself unable to work with competent and independent-minded researchers. He is also known for paying academically qualified freelancers an hourly fee of only 15 Euros. A member of the staff of this publishing firm tried to explain this stunning stinginess with "the bad economic situation of the construction industry". <br />
<br />
<hr />
<br />
<div style="text-align: left;">
<b>Bibliography</b><br />
<blockquote>
Altenburg, Johann Ernst. 1795. <a href="https://books.google.at/books?id=in4vAAAAYAAJ&printsec=frontcover" target="_blank"><i>Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauker-Kunst</i></a>. Halle.<br />
<br />
Auracher, Augustin. 1763. <a href="https://books.google.at/books?id=R_5DAAAAcAAJ&printsec=frontcover" target="_blank"><i>Der Gute Freund des Kaisers; Das ist: Ehren- und Trauer-Rede Weyland Ihro Excellenz des Hochgebohrnen Herrn, Herrn Ignatz Felix Joseph, Des Heil. Röm Reichs Grafen v. Törring und Tengling, auf Jettenbach</i></a>. Salzburg.<br />
<br />
d'Elvert, Christian. 1850. <i>Historische Literaturgeschichte von Mähren und Österreichisch-Schlesien</i>. Brünn: Rohrer's sel Witwe.<br />
<br />
Hochedlinger, Michael. Pangerl, Irmgard. 2004. <i>"Mein letzter Wille". Kulturhistorisch bedeutende Testamente und Verlassenschaftsabhandlungen in Wiener Archiven (16.-18. Jahrhundert)</i>. Vienna: Veröffentlichungen des Wiener Stadt- und Landesarchivs, Reihe C, Bd. 10. <br />
<br />
Flotzinger, Rudolf. 1996. "Der Stand der biographischen Fux-Forschung 1991. Fragen - Antworten - Möglichkeiten". In: Edler, Arnfried. Riedel, Friedrich W. <i>Johann Joseph Fux und seine Zeit</i>. (Publ. d. Hochschule für Musik und Theater Hannover 7). Laaber, 93-110.<br />
<br />
–––––––. 2015. <i>Johann Joseph Fux. Zu Leben und Werk des österreichischen Barockkomponisten</i>. Graz: Akademische Druck- und Verlags-Anstalt.<br />
<br />
–––––––. 2015. <i>Johann Joseph Fux. Leben - musikalische Wirkung - Dokumente</i>. Graz: Leykam Buchverlagsgesellschaft mbH. <br />
<br />
k.k. statische Central-Commission. 1898. <i>Kataster der in Niederösterreich verwalteten weltlichen Stiftungen nach dem Stande des Jahres 1893. Auf Grund der von der k.k.n.ö. Statthalterei
gelieferten Nachweisungen</i>. Vienna: Selbstverlag.<br />
<br />
Knaus, Herwig. 1967-69. <i>Die Musiker im Archivbestand des kaiserlichen Obersthofmeisteramtes</i>, I-III. Wien-Köln-Graz: Kommission für Musikforschung, 7, 8. 10.<br />
<br />
Köchel, Ludwig von. 1872. <a href="https://books.google.at/books?id=M9ZSAAAAcAAJ&printsec=frontcover" target="_blank"><i>Johann Josef Fux, Hofcompositor und Hofkapellmeister der Kaiser Leopold I., Josef I. und Karl VI. von 1698 bis 1740</i></a>. Vienna: Alfred Hölder.<br />
<br />
Lorenz, Michael. 2014. <a href="http://goo.gl/lF87QJ" target="_blank"><i>Haydn Singing at Vivaldi's Exequies: An Ineradicable Myth</i></a>. Vienna: Internet publication.<br />
<br />
Till, Rudolf. 1957. <i>Geschichte der Wiener Stadtverwaltung in den letzten zweihundert Jahren</i>. Vienna: Verlag für Jugend und Volk.
</blockquote>
<br />
<hr />
<br />
© Dr. Michael Lorenz 2016. All rights reserved.<br />
<br />
Updated: 21 September 2023 <br />
<br />
<i>My thanks go to Cristina Iordache, Janet Page, Maurizio Tomasi. Francesco Centola, </i><i><i>Christine Babelon, </i></i><i><i>Nigel Boon, </i></i><i><i>Kris Steyaert, Wolfgang Oehmicke, Joachim Tepperberg, Georg Gaugusch, Reinhard Gruber and </i>Susanne Claudine Pils </i><i>for their support during my research for this article.</i><br />
<br />
<hr />
<br />
<b>Postscript (March 2020)</b><br />
<br />
Given the fact that the above study, which massively increased the corpus of known Fux documents, was produced without any financial support from any scholarly institution, some people have asked me what the Fux researchers are doing who actually are getting paid for their work. I cannot speak for all of them, but, to give an example of what is being done at public expense, I want to point readers to a page of the <i><a href="https://fux-online.at/cms_seite.php?lang=E" target="_blank">Fux online</a></i> website which is funded by the Austrian Academy of Sciences, the City of Vienna, and the <i>Katholischer Medien Verein Privatstiftung</i> in Graz. Under the header "<a href="https://fux-online.at/cms_seite.php?content=5&menu=1" target="_blank">Fux-Dokumente und -Erwähnungen</a>" this page presents what some people consider serious Fux research: a list of "Mentions of Fux in the Wien(n)erisches Diarium" which was collected in the digitized volumes of the <i>Wienerisches Diarium</i> by entering Fux's name into the search mask on the <a href="http://anno.onb.ac.at/" target="_blank">ANNO page</a> of the <a href="https://www.onb.ac.at/" target="_blank">Austrian National Library</a>. These feeble research methods which – as is the iron rule in this part of the world – avoid the visit of an actual archive like the plague, are a phenomenon that thoroughly defines the current situation of historical musicology in Austria.<br />
<br /></div>
Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com2tag:blogger.com,1999:blog-6705638937146105675.post-77283719835793827522016-04-27T22:47:00.003+02:002023-02-25T15:26:20.649+01:00A Tesi Tramontini Addendum: Tesi's Mass Endowment DeedIn her will, which I recently <a href="http://michaelorenz.blogspot.co.at/2016/03/the-will-of-vittoria-tesi-tramontini.html" target="_blank">published on this blog</a>, the singer <a href="https://en.wikipedia.org/wiki/Vittoria_Tesi" target="_blank">Vittoria Tesi Tramontini</a> (1700–1775) bequeathed an eternal Mass endowment of 1,000 florins to the <a href="https://en.wikipedia.org/wiki/Capuchin_Church,_Vienna" target="_blank">Capuchin Convent</a> in Vienna. The fourth paragraph of Tesi's will, drawn up and signed on 10 April 1773, reads as follows:<br />
<blockquote>
Quarto, lego fiorini mille alla Chiesa, o al Convento dei Capuccini nella Città di Vienna, acciochè dagli interessi di quella somma eretta in fondo perpetuo si ritraggono annualmente le limosine corrispondenti a tante messe per l'anima mia, quante ne potranno ottenere dagli PP. Capuccini gli Sig<span style="font-size: x-small; text-decoration: underline; vertical-align: super;">ri</span> Esecutori miei Testamentari, che saranno nominati da me qui appresso.</blockquote>
<blockquote>
Fourth, I bequeath one thousand florins to the Church, or to the Capuchin Convent in the City of Vienna to establish a basically perpetual fund from whose annual interest the amount should be deducted to pay for the number of masses for my soul that the executors of my will (who will be appointed by me below) will agree upon with the Capuchin Friars.</blockquote>
Tesi Tramontini died on 9 May 1775. On 13 November 1776, the auditor of the court submitted a report to the City Council which consisted of a list of Tesi's assets and a summary of her testamentary dispositions. Tesi's Mass endowment led to the drawing up of three copies of a so-called "Stiftbrief" (endowment deed) which was basically an official announcement, issued by the Mayor of the City of Vienna <a href="https://en.wikipedia.org/wiki/Josef_Georg_H%C3%B6rl" target="_blank">Joseph Georg Hörl</a> and the Vienna City Council. I recently was able to locate one of the three copies of this document in the holdings of Vienna's <a href="https://www.wien.gv.at/english/history/archives/" target="_blank">Municipal and Provincial Archives</a>, and herewith publish it as an addendum to my Tesi article.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDDWUyOS68ZDUPgqKsX29lw9kc39T6Oev-NYip5ZM82O8maKEeUd_NoWK45j-LJSx1cBOPFGGyYla_b9f62y8S2RoLPyWOtCGNlZtkbmE-Np99b5jc6VeNjQwgDHY_8_zlK88kezacYecOdBXu4dROFGItu18VD0J9G7ZVsgxrIyXFwXcI_uPSkjAw/s1521/Deed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1032" data-original-width="1521" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDDWUyOS68ZDUPgqKsX29lw9kc39T6Oev-NYip5ZM82O8maKEeUd_NoWK45j-LJSx1cBOPFGGyYla_b9f62y8S2RoLPyWOtCGNlZtkbmE-Np99b5jc6VeNjQwgDHY_8_zlK88kezacYecOdBXu4dROFGItu18VD0J9G7ZVsgxrIyXFwXcI_uPSkjAw/s320/Deed.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The deed concerning Tesi Tramontini's Mass endowment (A-Wsa, Sonderregistraturen, Stiftungen, A4/7423). This is the copy which was deposited among the files of the municipal cadastral registry.</span></div>
<blockquote class="tr_bq">
Wir Joseph Georg Hörl, Bürgermeister, wie auch der gesamte Rath der K.K. Haupt, und Residenz-Stadt Wienn geben hiemit jedermannigl[ich] zu vernehmen, wasmassen weil:[and] Fr. Victoria Thesi Tramontini seel.[ig] in ihrem den 11<span style="font-size: x-small; vertical-align: super;">ten</span> 8ber. <span style="text-decoration: overline;">775</span> beÿ Uns, alß derselben rechtmässigen Abhandlungs Instanz eröfneten Testament im Vierten Abschnit den wohlehrwürdigen P:P: Kapuzinern auf dem neuen Markt allhier Eintausend Gulden als ein StiftCapital dergestalten vermachet habe, aufdaß von dem jährl[ich]en Interesse pr Vierzig Gulden so viell heil[ig]e Messen gelesen werden sollen, als ihre der Frau Erblasserin Testaments Executores von ernannten Kloster erhalten können.<br />
<br />
Wann nun von der Frau Erblasserin Ehe Konsort, und eingesezten Haupt-Erben Herrn Jakob Tramontini nicht nur allein das Stift Capital mittels einer den 1<span style="font-size: x-small; vertical-align: super;">ten</span> 8ber <span style="text-decoration: overline;">775</span> - auf dessen Namen mit N:<span style="font-size: x-small; text-decoration: underline; vertical-align: super;">o</span> 5162: ausgestellt - und samt gewöhnl:[ich]er Cession zu Unserem, und Ge[mein]er Stadt Grundbuch hinterlegten K:K: Kupfer <strike>Amts</strike> und Bergwerks Cassa Obliga[ti]on pr 1000. f: berichtiget, sondern auch die hoch fürstl[ich] Geistl[iche] Bewilligung hierzu unterm 13: dieß folgendermassen, daß von dem derzeit abfallenden Inte[ress]e pr 40 f: für jede Meeß 40: Xr <span style="font-family: "times new roman";">|</span>: deren für anj[e]tzo alle Jahr Sechzig zu lesen sind :<span style="font-family: "times new roman";">|</span> als ein Allmosen bezahlet, auch im Fall derenselber Erhöh- oder Herabsezung allezeit soviell Messen, als d[a]s Inte[ress]e eine Meeß zu 40: Xr gerechnet, hinreichen wird, gelesen werden sollen, bewürkhet, annebst aber von wohlbesagten P:P: Kapuzinern, wegen zu der Fr: Stifterin frommen Intention getreü, und beständig zu persolvirenden Messen, bündige Reversales den 20<span style="font-size: x-small; vertical-align: super;">ten</span> h[ui]us eingeleget word[en] sind; Alß haben Wir es über einen unter[m] 22: mox dicti erstatteten Gr[un]dbuchsbericht beÿ sothaner Stiftung allerdings belassen, und darüberhin gewöhn[lich]e Stiftbriefe zu errichten verordnet.</blockquote>
<blockquote>
Solchemnach sind zu ewiger Gedächtnüß, und Festhaltung dieser Gottgefälligen Stiftung dreÿ gleichlauttende Exemplari[en] errichtet, mit unserem grösseren Grundinsigl bestättiget, sodann eines der K.K: milden Stiftungs Commisssion, das zweÿte dem ernannten Kloster hinausgegeben, und das dritte beÿ Unserem Grundbuch zu den Stift-Akten hinterleget word[en]. So gescheh[en] Wienn den 25<span style="font-size: x-small; vertical-align: super;">ten</span> November 1776.<br />
<blockquote>
[L.S.] (Gemeiner Stadt Wienn Grund Buchs Insigl)</blockquote>
</blockquote>
<br />
<blockquote>
We, the Mayor Joseph Georg Hörl, as well as the whole City Council of the I. & R. Capital of Vienna, herewith inform everybody that the late Ms. Victoria Tesi Tramontini, in the fourth paragraph of her will, which on October 11th, 1775 was published in our presence, as her legitimate probate court, bequeathed an endowment of one thousend florins to the honorable Capuchin Convent here on the <a href="https://de.wikipedia.org/wiki/Neuer_Markt_%28Wien%29" target="_blank">Neuer Markt</a>, so that the annual interest of forty florins will be used to have the number of Masses read which the executors of the bequeather can receive from the aforesaid convent. </blockquote>
<blockquote>
As soon as the bequeather's husband and appointed universal heir Mr. Jakob Tramontini not only deposits the endowment fund in form of a copper office and mining share – numbered 5162 and issued on October 1st, 1775 under his name – together with a regular cession to our municipal land register, but also on the 13th of this month received the prince-archbishop's permission in such a way that from the current annual interest of 40 florins, with each Mass costing 40 kreuzer (of which sixty have to be read every year for the time being), alms will be paid, and also in case of an increase or a decrease of the price there will always be the number of Masses read which is covered by the annual interest of 40 florins, counting 40 kreuzer for each Mass. Furthermore, on the 20th of this month, a binding commitment was submitted by the Capuchin Convent concerning the Masses that have to be read faithfully and perennially according to the intention of the benefactress. Thus, by means of a report from the cadastral registry, dated the 22nd of the below-mentioned month, we have indeed kept this endowment unchanged and we have ordered three ordinary endowment deeds to be drawn up. </blockquote>
<blockquote >
Hence, to the eternal memory and to the establishment of this godly endowment, three identical copies were drawn up and certified with our bigger cadastral seal, of which one was given to the I. & R. Commission for Charitable Endowments, the second to the aforesaid convent and the third was deposited among the endowment files in our cadastral registry. Thusly come to pass, Vienna, November 25<span style="font-size: x-small;">th</span>, 1776. </blockquote>
<blockquote>
<blockquote>
[Seal] (Common cadastral seal of the City of Vienna)</blockquote>
</blockquote>
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Tesi Tramontini's Mass endowment remained valid until 1811, when the <a href="https://de.wikipedia.org/wiki/%C3%96sterreichischer_Staatsbankrott_von_1811" target="_blank">sovereign default</a> of the Austrian Monarchy reduced the value of the mining share, which secured Tesi's endowment, to about 200 florins. According to information I received from the Capuchin Convent, after the state bankruptcy, the reading of Masses for Tesi Tramontini was discontinued. Tesi's burial site, the old Capuchin crypt, which is located right below the church, was continually sized down as the <a href="https://en.wikipedia.org/wiki/Imperial_Crypt" target="_blank">Imperial Crypt</a> needed to be enlarged. In 2003, on the occasion of the beatification of <a href="https://en.wikipedia.org/wiki/Marco_d'Aviano" target="_blank">Marco d'Aviano</a> (one of the most prominent Capuchin friars) the old crypt was opened and it was discovered that the skelettal remains of the people buried there before 1784 have already been piled up into a large rectangular base on which d'Aviano's coffin is resting.<br />
<br />
© Dr. Michael Lorenz 2016. All rights reserved.<br />
<br />
Updated: 25 February 2023<br />
<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com1tag:blogger.com,1999:blog-6705638937146105675.post-50528802016171721652016-03-31T23:20:00.023+02:002023-10-26T18:16:19.331+02:00The Will of Vittoria Tesi Tramontini<i>The following post is based on research concerning a gender-oriented topic that I addressed during the course "Archival science and sources related to Vienna's musical history" which I held in 2014/15 at the <a href="https://www.univie.ac.at/en/" target="_blank">University of Vienna</a>. In spite of Tesi Tramontini's significance as one of the eighteenth century's leading opera singers, easily accessible archival sources related to her life have so far remained unpublished. As I explained to my students, one of the reasons for this may be that – instead of visiting these archives yourself – it is much easier to create <a href="https://mugi.hfmt-hamburg.de/artikel/Vittoria_Tesi.html" target="_blank">online encyclopedias</a> where you can tell the public that "research concerning Tesi ought to be done in the archives of Italian opera houses".</i> <br />
<br />
<b>Vittoria Tesi</b><br />
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The alto <a href="https://en.wikipedia.org/wiki/Vittoria_Tesi" target="_blank">Vittoria Tesi Tramontini</a> was one of the eighteenth century's great opera singers. Born on 13 February 1700 in Florence, she studied singing in her hometown with the renowned singer Francesco Redi and in Bologna with Francesco Campeggi. As early as 1716, she appeared at Parma's <a href="https://it.wikipedia.org/wiki/Palazzo_di_Riserva" target="_blank">Teatro Ducale</a> as Fileno in <a href="https://en.wikipedia.org/wiki/Emanuele_d'Astorga" target="_blank">d'Astorga</a>'s <i>Dafni</i>, together with <a href="http://www.lacasadellamusica.it/Vetro/Pages/Dizionario.aspx?ini=A&tipologia=1&idoggetto=1592&idcontenuto=99" target="_blank">Angiola Algieri</a> and the young <a href="https://en.wikipedia.org/wiki/Francesca_Cuzzoni" target="_blank">Cuzzoni</a> (who sang Galatea in that production). In 1719 she sang in <a href="https://en.wikipedia.org/wiki/Antonio_Lotti" target="_blank">Lotti</a>'s <i>Melodramma pastorale</i> <a href="http://imslp.org/wiki/Giove_in_Argo_%28Lotti,_Antonio%29" target="_blank"><i>Giove in Argo</i></a> at the newly opened <a href="https://de.wikipedia.org/wiki/Opernhaus_am_Zwinger" target="_blank">Dresden Opera</a> where she often appeared under <a href="https://en.wikipedia.org/wiki/Johann_Adolph_Hasse" target="_blank">Hasse</a> and much contributed to the rapid flowering of the Dresden opera culture. In 1725 in Naples, together with <a href="https://en.wikipedia.org/wiki/Farinelli" target="_blank">Farinelli</a>, she premiered Hasse's serenata <i>Marc'Antonio e Cleopatra</i>. She made guest appearances in Spain (also with Farinelli) and Italy – for example in the title role of <a href="https://en.wikipedia.org/wiki/Domenico_Sarro" target="_blank">Sarro</a>'s <a href="https://goo.gl/U0QLr9" target="_blank"><i>Achille in Sciro</i></a> at the opening of the <a href="https://en.wikipedia.org/wiki/Teatro_di_San_Carlo" target="_blank">Teatro San Carlo</a> in 1737 – and from 1741 until 1745, sang at the <a href="https://en.wikipedia.org/wiki/Teatro_Malibran" target="_blank">Teatro San Giovanni Grisostomo</a> in Venice where on 21 November 1744, she created the title role in <a href="https://en.wikipedia.org/wiki/Christoph_Willibald_Gluck" target="_blank">Gluck</a>'s second Venetian opera <a href="https://de.wikipedia.org/wiki/Ipermestra_%28Metastasio%29" target="_blank"><i>Ipermestra</i></a>. In 1747, she moved to Vienna where on 14 May 1748, appearing in the title role, she greatly contributed to the success of the opera <a href="https://de.wikipedia.org/wiki/Semiramide_riconosciuta" target="_blank"><i>Semiramide riconosciuta</i></a> which Gluck had written for the opening of the rebuilt <a href="https://de.wikipedia.org/wiki/Burgtheater" target="_blank">Burgtheater</a>. In Vienna Tesi also performed in Hasse's <a href="http://imslp.org/wiki/Leucippo_%28Hasse,_Johann_Adolph%29" target="_blank"><i>Leucippo</i></a>, <a href="https://en.wikipedia.org/wiki/Niccol%C3%B2_Jommelli" target="_blank">Jommelli</a>'s <i>Achille in Sciro</i>, and <i>Didone abbandonata</i>. Her last appearances at the Burgtheater took place in 1750. In 1754, at the festivities at <a href="https://en.wikipedia.org/wiki/Prince_Joseph_of_Saxe-Hildburghausen" target="_blank">Prince Joseph of Saxe-Hildburghausen</a>'s palace <a href="https://de.wikipedia.org/wiki/Schloss_Hof" target="_blank">Schloss Hof</a>, she sang the role of Lisinga in a private performance of Gluck's <a href="https://en.wikipedia.org/wiki/Le_cinesi" target="_blank"><i>Le cinesi</i></a> and also performed in Bonno's <a href="https://de.wikipedia.org/wiki/Il_vero_omaggio#/media/File:Giuseppe_Bonno_-_Il_vero_omaggio_-_titlepage_of_the_libretto_-_Vienna_1754.png" target="_blank"><i>Il vero omaggio</i></a>.<br />
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<span style="font-size: x-small;">Vittoria Tesi-Tramontini. Portrait of unknown origin from Moriz Bermann's book <i>Maria Theresia und Kaiser Josef II. in ihrem Leben und Wirken</i> (Vienna: A. Hartleben's Verlag, 1881)</span></div>
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After the end of her active career, Tesi became a highly esteemed singing teacher. Among her pupils were <a href="https://en.wikipedia.org/wiki/Caterina_Gabrielli" target="_blank">Caterina Gabrielli</a>, <a href="https://en.wikipedia.org/wiki/Anna_de_Amicis" target="_blank">Anna-Lucia de Amicis</a> and Elisabeth Teyber. Tesi was one of the great singers of the eighteenth century. In his classic book<i> Pensieri, e riflessioni pratiche sopra il canto figurato</i> (Vienna: von Ghelen, 1774) the castrato and voice teacher <a href="https://de.wikipedia.org/wiki/Giovanni_Battista_Mancini" target="_blank">Giovanni Battista Mancini</a> describes her as the leading female singer of her era, even putting her above <a href="https://en.wikipedia.org/wiki/Faustina_Bordoni" target="_blank">Faustina Bordoni</a> and <a href="https://en.wikipedia.org/wiki/Francesca_Cuzzoni" target="_blank">Francesca Cuzzoni</a>. According to Mancini, Tesi possessed "An excellent and fine complexion, accompanied by a noble and graceful posture, clear and exquisit pronunciation, a vibrato of the words according to their true meaning, the skill to distinguish one role from the other and all different characters with a change of face and the appropriate gesture. Mastery of the stage, and finally, perfect intonation."<br />
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<span style="font-size: x-small;">The paragraph in Mancini's <i>Pensieri</i>, dealing with Tesi Tramontini's life and singing voice. Pietro Buzzi's 1912 translation of this paragraph can be accessed <a href="https://archive.org/stream/practicalreflec00buzzgoog#page/n45/mode/2up" target="_blank">here</a>). </span></div>
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In his treatise <a href="https://books.google.de/books?id=vu45AAAAIAAJ" target="_blank"><i>Anweisung zum musikalisch<span style="font-size: xx-small;">=</span>zierlichen Gesange</i></a> (Leipzig: Johann Friedrich Junius, 1780), <a href="https://en.wikipedia.org/wiki/Johann_Adam_Hiller" target="_blank">Johann Adam Hiller</a> quotes the paragraph from Mancini and ads the following information concerning Tesi's singing voice: <br />
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Tesi was endowed by nature with a strong, masculine contralto voice. Several times in Dresden in the year 1719, she sang arias which are generally set for basses. Now, however, in the year 1725, while she was singing in the opera house in Naples, she acquired a pleasing and flattering style in addition to her splendid and serious singing. The range of her voice was extraordinarily large. Singing either high or low caused her no trouble. It was not her habit to make use of many passaggi. She seemed to be born to captivate her audience by acting especially in male roles, which she performed to her own advantage in a most natural manner. (translation from Suzanne J. Beicken: <i>Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller</i>. Cambridge University Press 2004, 44f.)</blockquote>
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Tesi was greatly admired by <a href="https://en.wikipedia.org/wiki/Pietro_Metastasio" target="_blank">Metastasio</a> and Hasse. She enjoyed the protection of <a href="https://en.wikipedia.org/wiki/Maria_Theresa" target="_blank">Empress Maria Theresia</a> and Prince Joseph of Saxe-Hildburghausen in whose residence (today's <a href="https://en.wikipedia.org/wiki/Palais_Auersperg" target="_blank">Auersperg Palace</a>) she lived. There she regularly took part in private concerts under the direction of the Prince's capellmeister <a href="https://en.wikipedia.org/wiki/Giuseppe_Bonno" target="_blank">Joseph Bonno</a>. The Prince had offered Tesi a salary for staying in his household, but she refused to be paid and declined every present the Prince wished to give her.<br />
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<span style="font-size: x-small;">Tesi's protector Prince Joseph Friedrich of Saxe-Hildburghausen. Engraving by Johann Christoph Sysang (A-Wn, NB 520130-B)</span></div>
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<span style="font-size: x-small;">The Auersperg Palace which from 1760 until 1777 was rented by Prince Saxe-Hildburghausen. Colored etching from 1780 by Johann Ziegler (A-Wn Pb 207586-F.Por., Tafel 18)</span></div>
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<span style="font-size: x-small;">"Prospect deß Gebäues Ihro Excell. Tit: Herrn Herrn Marquis de Rofrano, Printz von Copece". From Salomon Kleiner's <i>Wahrhaffte und genaue Abbildung Sowohl der Keyßerl: Burg und Lust-Häußer, als anderer Fürstl. Und Gräffl. oder sonst anmuthig und merckwürdiger Palläste</i> (Augsburg 1725)</span></div>
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<span style="font-size: x-small;">The Auersperg Palace around 1883, before the <a href="https://en.wikipedia.org/wiki/Palais_Auersperg#/media/File:Wien_-_Palais_Auersperg_%282%29.jpg" target="_blank">stylistic defacement</a> of its middle section by <a href="https://en.wikipedia.org/wiki/Carl_Gangolf_Kayser" target="_blank">Carl Gangolf Kayser</a> (Wien Museum I.N. 29321)</span></div>
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In his memoirs <a href="https://books.google.at/books?id=4LkHAQAAMAAJ" target="_blank"><i>Lebensbeschreibung. Seinem Sohne in die Feder diktiert</i></a> (Leipzig: Breitkopf und Härtel, 1801), the composer <a href="https://en.wikipedia.org/wiki/Carl_Ditters_von_Dittersdorf" target="_blank">Carl Ditters von Dittersdorf</a>, who was to become one of Tesi's greatest admirers, recounts his very first meeting with the singer in 1751, at Prince Saxe-Hildburghausen's palace. The following quotes from Dittersdorf's memoirs are taken from <a href="https://en.wikipedia.org/wiki/Arthur_Coleridge" target="_blank">Arthur Coleridge</a>'s translation <i>The Autobiography of Karl von Dittersdorf, dictated to his son</i> (London: Richard Bentley and Son, 1896). <br />
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On the morning of March 1, 1751, my father took me to the palace of the Prince, in whose service I was, to start me on my new career. The Prince was not at home, and we were referred to the steward, Johann Ebert, a very dignified and respectable person, who had had orders to receive us. He was specially commissioned to look after me, and Bremer, Clerk of the Chancery, was to assist him; so, after some words of advice, given in a very fatherly tone, he took me off to Bremer's room. [...] I felt not a little pleased with myself, when the Court steward placed me in front of a large mirror, and I could get a full view of my new turn-out. Fine feathers make fine birds. 'It is close on eleven o'clock,' said he. 'Go into the music-room; the rehearsal is about to begin.' I went in, and found most of the orchestra already assembled. One and all overwhelmed me with congratulations on my promotion to the office of Kammerknabe. I was now one of themselves. I was the happiest of mortals.<br />
The symphony was only just over, when Madame Tesi appeared. Bonno had recently composed two airs for her, and she wanted to try them. Though now over fifty years of age, she was still good-looking and pleasant. Bonno, after placing the music on the desk, sat down at the clavicembalo, and Madame Tesi stood behind him. She had a full, clear contralto voice, and her fine singing completely carried me away. When the song was ended, she sat down in front of the orchestra and talked to the Kapellmeister. 'Madame Tesi would like to hear you play,' he called out to me.' Have you any music with you?' Yes, I answered, and fetched a sonata of Zügler's, in which Hubaczek accompanied me. Tesi soon began to call out 'Bravo!' at every successful passage, and afterwards 'Bravissimo!' Then she asked to be introduced to my father, and talked French to him for a little time. After a few instrumental pieces, she went up to the clavicembalo, and sang the second air an adagio. I had been charmed by her brilliant execution in the first instance, and I was now so moved by the tenderness and sweetness of her expression, that I thought music could go no further. </blockquote>
The steward Johann Ebert, who looked after Ditters, we shall encounter again later in this blogpost. The "clerk of the chancery Bremer" was Johann Georg Bremer, "Cassier bei Seiner Hochfürstlichen Durchlaucht", son of Christoph Bremer, a chamberlain of the Prince's father <a href="https://en.wikipedia.org/wiki/Ernest,_Duke_of_Saxe-Hildburghausen" target="_blank">Ernest, Duke of Saxe-Hildburghausen</a>. The musician Hubaczek, who accompanied Ditters in his recital, was the Prague born horn virtuoso Wenzel Hubaczek who had brought Ditters into Saxe-Hildburghausen's orchestra and whose brother Johann (1731–1765) was also a horn player in the Prince's service. Wenzel Hubaczek lived at the Prince's palace and had a close friendship with Vittoria Tesi who in 1763, served as godmother at the christening of the second child of Hubaczek and his wife Catharina, née Nagerl. <br />
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<span style="font-size: x-small;">The entry concerning the baptism of Maria Victoria Hubaczek on 18 March 1763 at Vienna's <a href="https://en.wikipedia.org/wiki/Piarist_Church,_Vienna" target="_blank">Piarist Church</a> (Maria Treu, Tom. 3, p. 303).</span></div>
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d[en] 18 Ist von P. Conradus g.[etauft] w.[orden] Ma[ri]a Victoria Josepha / <u>Vat</u>.[er] Wenceslaus Hubatzek ein Waldhornist bey / den Prinzen Hildburgsh:[ausen] im louvaranischen [Rofranischen] Garten / <u>Mutt</u>.[er] Catharina <u>Ehw</u>.[eib] <u>Gev</u>.[atterin] die Hoch und Wohl<span style="font-size: xx-small;">=</span> / geborne F[rau] F.[rau] Ma[ri]a Victoria Tesy anstatt der[e]n / Anna Ma[ri]a Zickin ledigen Standes. <u>Heb</u>.[amme] Kricklin
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On the 18th, baptized by father Conradus. Maria Victoria Josepha. Father Wenceslaus Hubatzeck, a hornist with Prince Hildburghausen in the Louvaranischer garden. Mother Catharina his wife. Godmother the high and well-born lady Mrs. Maria Victoria Tesy, substituted by Anna Maria Zick, an unmarried woman. The midwife was Mrs. Krickl.</blockquote>
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Anna Maria Zick was probably one of Tesi's maidservants, a daughter of the tailor and button-maker Lorenz Zick from <a href="https://de.wikipedia.org/wiki/Dietenheim" target="_blank">Dietenheim</a> in Swabia. Tesi's godchild Maria Victoria already died on 19 February 1764, of "Kopffraiß" (fever cramps) (Maria Treu 2, p. 307). The godfather of Wenzel Hubaczek's next child Carolina Friederika Catharina, was Prince Saxe-Hildburghausen's grand-nephew <a href="https://en.wikipedia.org/wiki/Charles_II,_Grand_Duke_of_Mecklenburg-Strelitz" target="_blank">Charles II, Grand Duke of Mecklenburg-Strelitz</a> (Maria Treu 3, p. 397), but this child also died at the age of eleven months (Maria Treu 2, p. 356).<br />
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<b>Tesi's Josephite Marriage</b><br />
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Apart from a few second-hand accounts of somewhat fairy-tale nature, there is not much reliable information concerning Tesi's private life. The pivotal part of her biography, the story that no writer was ever able to ignore, is the popular tale of how, in order to fend off the advances of an undesired nobleman, Tesi married a simple Italian. The story appeared in print for the first time while Tesi was still alive: in his book about his second European tour <i>The present state of music in Germany, the Netherlands, and United provinces</i> (London: T. Becket and Co. 1773), <a href="https://en.wikipedia.org/wiki/Charles_Burney" target="_blank">Charles Burney</a> included it in the account of his stay in Vienna, claiming that "he had obtained the particulars from a person of high rank, who has resided at Vienna so long, that he is perfectly acquainted with the history of musical people". In Burney's version the nobleman's identity is not revealed, and Tesi's future husband is described as "poor journeyman baker" who was picked off the street and paid fifty ducats for marrying the singer, "not with a view to their cohabiting together".<br />
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<span style="font-size: x-small;">Charles Burney's account of Tesi's emergency marriage (Burney 1773, 318f.)</span></div>
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Chapter IV of Dittersdorf's memoirs is entirely dedicated to Vittoria Tesi. After dealing with Tesi's career and the experiences of her trained parrot in 1738, with the Spanish Inquisition, Dittersdorf, in a paragraph, titled "Ein Herzog wird vom Theaterfriseur ausgestochen" ("A Duke outdone by a theater coiffeur"), addresses Tesi's moral qualities and her married life (the following quote is again taken from Coleridge's translation).<br />
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Tesi's character was above reproach. She was utterly unlike the ordinary run of operatic singers. I could tell many things that redound to her honour, but will content myself with the story of her marriage, which, at any rate, will show her in no common light.<br />
Wherever she sang, she was accustomed to receive all sorts of visitors, but she knew how to make it very difficult for anyone to speak of love. She had plenty of admirers, and the most ardent amongst them was the Duca di N. He happened to find her alone one evening, and used his opportunity to make a formal declaration. Tesi gracefully and courteously refused to have anything to do with him. The Duke, however, believing the refusal a mere feint, became all the more importunate, and promised more and more. Tesi answered him with such dignity, and was so conscious of commanding respect, that the Duke was abashed, and withdrew, never venturing again to renew the attack. His passion continued it increased every day and the oftener he saw and heard the charming creature at the theatre, the more he loved. He made a confidant of one of his courtiers, who tried to negotiate in his master's favour, but was so sternly rejected that he, as well as the Duke, was forced to realize the hopelessness of getting at the lady by such means. 'I am determined to win,' said the Duke, 'even if I have to marry her before all the world! Tomorrow evening I will surprise her with a formal offer of marriage; but take care she knows nothing about it.' –– Of course the supple courtier promised the strictest silence; but, thinking to curry favour with his future Duchess, he went off there and then to Tesi, and imparted to her, in the most sacred confidence, the great secret which was weighing upon his mind.<br />
But what did Tesi do? To be quit of the Duke's importunities once and for all, without coming to loggerheads, she summoned to her aid, that same evening, the stage barber, a good-looking man, and formally offered to become his wife. 'If you will have me' said she to the delighted and astonished Tramontini, 'here is my hand! We will be married straight off, early to-morrow morning. I will give you a good round sum of ready money. Deal with it as you please; it shall be yours absolutely, together with all the interest. I will do the housekeeping, and look after your clothes and your furniture. Besides that, one-third part of my present fortune, and anything I may add to it in the future, in money or the worth of money, shall be legally assured to you; but I stipulate once and for all (and I shall not change my mind) that we live apart, though man and wife in law. [Here Coleridge cuts the following passage from his translation: "A bodily failing, not incurred through loose living but brought into the world with me, renders me quite incapable of entering into such a relation."] If, after this stipulation, you will give me your hand, we will be married to-morrow. You shall have till to-morrow morning early for reflection.'<br />
It may easily be supposed that the delighted barber gave her both hands instead of one. The very next day, at nine o'clock, the two drove off to the Bishop, to obtain his sanction; the wedding was to be celebrated in the nearest parish church they could find. The license was obtained without difficulty, on explanation, and they were married at eleven, after which the lawyer, who was waiting for them at home, drew up a contract for them to sign and seal. The wedding breakfast over, Tramontini's goods and chattels were transferred to Tesi's quarters, and she counted out to her enraptured husband two thousand zecchini in hard cash. <br />
The surprise and embarrassment of the Duke may well be imagined, when he came back in the evening, to see the transformed Tramontini, in his Sunday best, sitting familiarly beside his adored Tesi, and to hear from her own lips the solution of the fatal riddle. She did her task delicately, and he put a strong restraint on himself, so as to try and appear politely indifferent; but it was impossible to conceal the feelings of wounded pride. He bade her a haughty good-bye soon afterwards, and never came back again. <br />
Tesi and her husband lived quite happily together. For many years they were in the Prince's palace, until His Highness returned to Hildburghausen and assumed the guardianship of the young Duke, who was still a minor. Age and infirmity prevented her from undertaking so long a journey; so she parted with her illustrious friend and remained in Vienna, where she died a few years afterwards. The property she left behind her amounted to nearly three hundred thousand gulden, of which her husband inherited one-third, by virtue of the contract. Who got the rest, I cannot say; but whoever it was, he had to pay her servants double wages as long as they lived, and to give them her wardrobe, to be divided in equal shares. <br />
Sleep softly, glorious woman! Let me honour thy memory to my last breath! </blockquote>
In Dittersdorf's account the baker has become "the stage barber Tramontini", but it is to be noted that, like Burney, Dittersdorf does not specify the time and place of Tesi's wedding. That the nobleman's name is given as "Duca di N." points to Italy as the location of the events. A strong Viennese flavor was added to the story of Tesi's marriage, when in 1858, the writer Moriz Bermann used it for a short article, titled <a href="http://anno.onb.ac.at/cgi-content/anno?aid=mtk&datum=18580330&seite=2&zoom=33" target="_blank"><i>Eine Opernsängerin der "alten Zeit."</i></a>, which on 30 March 1858, he published in the journal <i>Blätter für Musik, Theater und Kunst</i>. With great persuasion, Bermann changed Tesi's year of birth to 1690 and relocated Tesi's wedding to Vienna in the year 1720, a time when Tesi was probably still engaged in Dresden. Since the unwanted nobleman had to be a local, Bermann declared him to have been Count Johann Ferdinand von Lamberg (1689–1764), managing director of the court orchester, the so-called "Musikgraf". Bermann even went so far as to describe how Tesi – in search of a future husband – went to the <a href="https://de.wikipedia.org/wiki/Wiener_Glacis" target="_blank">Glacis</a> in front of the <a href="http://www.bildarchivaustria.at/Preview/13075797.jpg" target="_blank">old Burgtor</a> and asked a group of laborers, "if there was an Italian among them". In 1881, Bermann pubished the story again in his book <a href="https://archive.org/details/mariatheresiaund00berm" target="_blank"><i>Maria Theresia und Kaiser Josef II. in ihrem Leben und Wirken</i></a>. For his <a href="http://www.literature.at/viewer.alo?objid=11646&viewmode=fullscreen&scale=3.33&rotate=&page=27" target="_blank">article about Tesi</a> which was published in 1882, in vol. 44 of his <a href="http://www.literature.at/collection.alo?objid=11104" target="_blank"><i>Lexikon</i></a>, <a href="https://www.wien.gv.at/wiki/index.php/Constant_von_Wurzbach" target="_blank">Constant von Wurzbach</a> gladly copied Bermann's "Viennese version" of Tesi's marriage and from Wurzbach's <a href="https://en.wikipedia.org/wiki/Biographisches_Lexikon_des_Kaiserthums_Oesterreich" target="_blank"><i>Lexikon</i></a> the story found its way into the <a href="http://anno.onb.ac.at/cgi-content/anno?aid=ybs&datum=19290209&seite=19&zoom=22" target="_blank">popular literature</a>. That something must be amiss in Bermann's scenario, was first pointed out by <a href="https://de.wikipedia.org/wiki/Gustav_Gugitz_%28Heimatforscher%29" target="_blank">Gustav Gugitz</a> in his book <i>Giacomo Casanova und sein Lebensroman</i> (Vienna: Verlag Ed. Strache, 1921). Since Count Lamberg, in 1721, married Baroness Maria Franziska von Gilleis (widowed von Schallenberg and von Grundemann, 1691–1760), Tesi's wedding must have taken place before 1721. But this date is at odds with the year of birth of her husband Giacomo Tramontini, who, according to his age given in the records at the time of his death, was born around 1705. The evidence that can be drawn from Viennese archival sources concerning Tesi's marriage is conclusive: because Tesi's wedding did not take place in Vienna, the story about Count Lamberg's courtship must be a piece of fiction. It is very likely that Tesi married Giacomo Tramontini in Italy around 1730, and the sources suggest that this wedding probably took place in Padua where Tramontini owned a house. Giacomo Tramontini and the financial provision he allegedly received from his wife will be dealt with below.<br />
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<b>Vittoria Tesi Tramontini's Will</b><br />
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On 10 April 1773, Tesi Tramontini summoned her personal notary, the protonotary and auditor at the Papal nunciature in Vienna, Giuseppe Antonio Taruffi, together with a scribe (although certain features of Taruffi's handwriting suggest that he himself wrote Tesi's will), and had a will drawn up that consists of fifteen paragraphs on six and a half pages. As far as legal matters were concerned, Tesi Tramontini seems to have had very good advisors. Shortly before her death, she submitted a petition to the I. & R. State Council (A-Whh, Staatsrat, 1581/1775, 2232/1775 – these files were destroyed in 1945 in a depository in Obritzberg), requesting that the distribution of her inheritance should not be taken care of by the Court of the Landrechte, but by the City of Vienna's civil court which was responsible for non-noble citizens. By doing this, she precluded her husband, who is addressed as "von Tramontini" in many sources, from passing himself off as nobleman. She also saved taxes and facilitated the legal procedure in the interest of her heirs. On 9 May 1775, at 4.30 p.m., Tesi Tramontini died at Josephstadt 1. The official death records give pneumonia as cause of death. That the deceased had been "65 years of age" (as given in the <i>Totenbeschauprotokoll</i> and the burial register) is obviously false.<br />
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<span style="font-size: x-small;">The entry concerning Tesi Tramontini's death in the municipal death records (A-Wsa, Totenbeschreibamt 69/1, DT, fol. 15r)</span></div>
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<u>Den 9t</u> / <u>Maÿ 775</u> / Tesi Tramontini, Wohledlgebohrne Frau / Victoria, ist im Roforanischen / Garten N: 1. in d[er] Josephstadt, an / d[er] Lunglentzündung besch[aut] word[en] / alt 65 J[ahr] Abends um 1/2 5 Uhr versch[ieden] / F:[ranz Anton] S:[chmid] </blockquote>
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Tesi Tramontini was buried in the city, in the crypt of the <a href="https://en.wikipedia.org/wiki/Capuchin_Church,_Vienna" target="_blank">Capuchin Church</a> on the <a href="https://de.wikipedia.org/wiki/Neuer_Markt_%28Wien%29" target="_blank">Neuer Markt</a>. This privilege was made possible by a Mass endowment of 1000 florins to the Capuchin Convent which established a perpetual fund to finance regular readings of masses for the intercession of Tesi's soul. </div>
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<span style="font-size: x-small;">The entry concerning Vittoria Tesi Tramontini's death and her burial in the crypt of the Capuchin Convent in the records of the Piarist Church (Maria Treu, Tom. 2, fol. 654). The Capuchin crypt was a popular burial site among wealthy Italians, such as, for example, the architect <a href="https://de.wikipedia.org/wiki/Donato_Felice_d%E2%80%99Allio" target="_blank">Donato Felice d'Allio</a>. Metastasio was buried in the crypt of <a href="https://en.wikipedia.org/wiki/St._Michael's_Church,_Vienna" target="_blank">St. Michael's</a>, because he was a tenant of the Barnabites.</span></div>
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On 10 May 1775, Tesi Tramontini's will was submitted to the <i>Judicium Delegatum Militare Mixtum</i> (the I. & R. Military Court) and published in the presence of the Court agent Johann Matolai von Zsolna (1692–1777). After its transfer to the municipal authorities on 11 October 1775, the will was published a second time at the civil court with the advocate Dr. Johann Baptist Prati (1736–1789) as witness. Apart from the obligatory pious legacies and the bequests to her relatives and her husband – whom she appointed universal heir – the central objective of Tesi Tramontini's will was to secure the subsistence of her brother Giovanni who needed permanent care, because he was deaf, mute, and mentally handicapped. Tesi Tramontini was deeply worried that, after the possible death of his close relatives, her brother Giovanni would be left alone without anybody being able to take care of him. Thus, Tesi appointed her patron Prince Saxe-Hildburghausen, Count Cristoph von Cavriani and Count Maria Carl von Saurau executors of her will and gave them exact directions concerning the care for her brother and the safeguarding of his livelihood. To support her handicapped brother, Tesi ordered a sum of eight thousand florins from her heritage to be deposited in the Vienna Treasury and the annual interest of three hundred and twenty florins to be used for the subsistence of her brother Giovanni. <br />
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<span style="font-size: x-small;">The first page of Vittoria Tesi Tramontini's will (A-Wsa, AZJ, A1, 14694/18. Jhdt.). The last line is Tesi Tramontini's autograph signature which appears at the bottom of every page. A free German translation of this document, which in 1777 was made for the civil court, survives in the holdings of the old registry (A-Wsa, Alte Registratur, 188/1777). </span><br />
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The translation of Tesi Tramontini's will (whose original text can be downloaded <a href="https://michaelorenz.at/Tesi/Tesi_will.pdf" target="_blank">here</a>) reads as follows (for better readability the fifteen paragraphs have been divided by space lines).</div>
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In the Name of the Holy Trinity,<br />
The Father, the Son, and the Holy Ghost! </div>
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<blockquote class="tr_bq">
published on 10 May 1775<br />
Considering that nothing is more certain than death and nothing more uncertain than its time and hour, I, Vittoria Tesi, wife of Giacomo Tramontini, currently (by the grace of the Most High) in good physical and mental health, take advantage of this favorable state of mind, and in full power to reflect and resolve, I came to the deliberate and spontaneous decision to take advantage of my good health that God, in His divine mercy gives me, and without any suggestion or persuasion, I am determined, to make my will of the below content, revoking, retracting, and cancelling all my previous testamentary dispositions, be they written by my own hand, or by the hand of others. Thus I decree and without any exception want to put my last will into effect, as follows: </blockquote>
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First, I commend my soul to God, my Creator and Redeemer that, by the intercession of the Blessed Virgin Mary, He may receive it in His peace and glory. </blockquote>
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Second, I want my body to be buried at the Capuchins', according to the rites of the Holy Catholic Church, without pomp, at the expense of my universal heir which I will name below, and that </blockquote>
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Third, at my obsequies hundred holy masses should be read as intercession for my soul. </blockquote>
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Fourth, I bequeath one thousand florins to the Church, or to the Capuchin Convent in the City of Vienna to establish a basically perpetual fund from whose annual interest the amount should be deducted to pay for the number of masses for my soul that the executors of my will (who will be appointed by me below) will agree upon with the Capuchin Friars. </blockquote>
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Fifth, I bequeath to each of the five Viennese poorhouses two Viennese florins. And likewise I declare that, because all [fol. 1v] my possessions and goods, namely consisting of cash, bonds, jewelry, silver, clothes, lace, linens, furniture, and other belongings, are completely free from any liability and entirely under my absolute disposal, I decree, </blockquote>
<blockquote class="tr_bq">
Sixth, that according to the direction and the most appropriate judgement of the executors of my last will, from my heritage a sum of three thousand Viennese florins should be set aside to constitute a decent legacy for my nephew Alessandro, my brother Cosimo's son, under the explicit condition that, during his lifetime, every week, my nephew Alessandro must read a mass for my soul. And in the case of him being indisposed, or otherwise impeded, I put him under the obligation to have another priest read the same weekly mass for the salvation of my soul. At the end of his life, I grant him the freedom to bequeath the said sum of three thousand florins as he wishes. And in case he should die without a will, the said asset should go to my universal heir, or his heirs to infinity. </blockquote>
<blockquote class="tr_bq">
Seventh, I establish, order, and want, that the sum of eight thousand Viennese florins should be put aside from my heritage and this sum should remain, or be redeposited in the Vienna Treasury at an interest rate of four percent, from which, at the discretion of my executors, the annual interest of three hundred and twenty florins should be used for the subsistence of my poor brother Giovanni, who, because of having the misfortune to be deaf-dumb and mentally handicapped, needs the most special care, a matter that will forever be close to my heart; and since my dear husband, Giacomo Tramontini, took every care of my aforesaid poor brother and gave him free accomodation in his house in Padua, I hope, he will also provide the same care in the future, however with intelligence [fol. 2r] and under the direction of my executors, and will always provide free lodging in his said house in Padua. In case my brother Giovanni should die before my universal heir, I want the latter to remain in absolute disposition of the aforementioned sum of eight thousand Viennese florins and he can dispose of it as he pleases. And finally, if my brother Giovanni survives my universal heir, I want the heirs of my heir to remain the absolute owners of the respective sum of eight thousand florins, whenever God calls said Giovanni to eternity, with the obligation however, to always let him (as it is now) stay for free in their said house in Padua, and, during his lifetime, they can touch neither the capital nor the interest of the said sum, that the capital must always remain in the bank and the interest is to be used for his subsistence in the aforesaid way. </blockquote>
<blockquote class="tr_bq">
Eighth, to my married brother Cosimo I bequeath a sum of two thousand Viennese florins. </blockquote>
<blockquote class="tr_bq">
Ninth, to my niece Vittoria, daughter of my aforementioned brother Cosimo, who was held by me at the sacred baptismal fountain, I bequeath the sum of two thousand Viennese florins to be invested in the Bank of Vienna. She alone, as long as she remains unmarried, will be entitled to receive and enjoy the interest of this capital. I determine and want that, if she contracts an appropriate marriage, the same capital of two thousand Viennese florins passes entirely into her possession. And to rule out any legal dispute or problem in this matter for my beloved niece and goddaughter, I expressedly exclude her father and her stepmother from any abitrariness or right to touch even a kreutzer of this sum of two thousand florins, be it the capital or the interest [fol. 2v], my firm will being that Vittoria herself alone should enjoy the capital and the interest in the respective manner that has been described above. Should the said Vittoria die unmarried, I mean and I want that she keeps full freedom to dispose of the sum of two thousand florins, in such a way that nobody can presume or impede her right. Furthermore, I leave to my same niece two lace bonnets, one from Venice, one from England, and a third one, made of lace from Mechelen. </blockquote>
<blockquote class="tr_bq">
Tenth, to my moor Maria, whom I have raised since she was a girl, and who has faithfully served me for so many years, as reward for her long service and her sincere affection for my person, I bequeath my whole wardrobe, consisting of clothes, dressing gowns, small coats, caps, blouses, handkerchiefs, stockings, made of of silk and wool, undergarments, shoes, sheets, and towels, except the pieces of clothing of which I dispose otherwise in the context of my will. Then I declare again that the bed on which this black maid sleeps, with all the accessories, all the furniture and paintings which are in her room, as well as the sacred pictures and crucifixes in my room are all things that I bequeath to her. Furthermore<i> </i>I attest that the said moor owns a small capital of forty sequins which is held by my husband. Finally I leave to the said moor Maria the sum of two thousand Viennese florins in full ownership and freedom of disposition. Of course, this sum of two thousand florins does not include her aforementioned small capital of forty sequins. </blockquote>
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Eleventh, to my servant Giovanni I bequeath the sum of one hundred Viennese florins. </blockquote>
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Twelfth, another sum of one hundred Viennese florins I bequeath to my servant Josefa, commonly named Sepperl, to whom I also leave two ordinary dresses, twelve blouses, twelve pairs of thread stockings and twelve linen handkerchiefs. [fol. 3r] Then I decree and want
</blockquote>
<blockquote class="tr_bq">
Thirteenth, for the fulfillment of all the above mentioned and the paragraphs 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. and the stipulated provisions, or legacies, preferably the cash at hand should be used and my capital in the Bank of Vienna, up to the amount which can suffice; and in case this is not enough, the silverware should be sold and then the jewels, to use the money of this sale for the fulfillment of my aforesaid legacies, given what I want, and I want that these should be fulfilled before everything else. These explicit legacies should be deduced without exception from my hereditary assets. I determine</blockquote>
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Fourteenth, I appoint, and declare as my universal heir of all the rest of my possessions and goods, my most beloved husband, Giacomo Tramontini; he truly, will remain the master and owner ever after my death, under the explicit and positive condition however, that my said husband has to continue:</blockquote>
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<blockquote class="tr_bq">1st, to take care of my poor dumb brother under the guidance of my executors, with the use of the three hundred and twenty florins annual interest, designated for his substistence, to be willing to keep it up with the same care and charity that he has so far shown to him and to always provide him with free accommodation in his house in Padua; moreover he has to</blockquote>
</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq">2nd, pay from his share of the heritage all fees imposed by the government, all costs arising for my funeral and all the necessary expenses without exception, while I do not want that my other dispositions and legacies should be put under any burden. And although I am convinced that nothing will be needed to be said about the <a href="https://it.wikipedia.org/wiki/Lex_Falcidia" target="_blank">quarta falcidia</a>, I still </blockquote>
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<blockquote class="tr_bq">
<blockquote class="tr_bq">3rd, want to renounce the law of quarta falcidia for my heir, even if, against my expectation, after all deductions have been subtracted, his share of the inheritance should not amount to this quarter. And although I know the good heart of my [fol. 3v] most beloved husband well enough to be sure that he will agree to everything which has been expressed so far, I do, however, declare and positively establish that, if ever, against all odds, he would let himself be induced by some bad advice, under any conceivable pretext, to want to oppose and contradict in toto, or in parte, the provisions made by me in this my will, as well as countervene even the smallest paragraph in it, with that same will I declare him excluded from all the inheritance, and in his stead I appoint the son and daughters of my brother Cosimo heirs in equal shares.</blockquote>
</blockquote>
<blockquote class="tr_bq">
Fifteenth, finally, to have this my last will executed on time and unaltered in all its parts and according my true intention: I appoint and name as my testamentary commissioner and executor of the my above will, in the first place, the most serene Duke Joseph Friedrich of Saxe-Hildburghausen, my most gracious master, humbly begging His Highness to deign to take on this charitable and kind task and give me the last proof of His kindness towards me, by procuring to effectively fulfill all my provisions. His serene Highness will similarly appoint in accordance with His consummate prudence, one or more prominent individuals to replace him and to secure the unfailing execution of my abovementioned intentions. Similarly, after my most gracious master, I institute as executors of my wills His Excellency, Count Cristofero[<i>sic</i>] Gabriani[<i>sic</i>] and His Excellency, Count Carl Maria Saurau, as both of these Excellencies have graciously granted their permission and given their promise. These my respected executors were requested by me to graciously and kindly concur in the fulfillment [fol. 4r] of all these my dispositions, above all, the one which concerns my poor deaf and dumb brother Giovanni, who is in need of everything and all other assistance, so that he will not suffer from the smallest fraud or abuse from human malice, but will always be supported, guarded and assisted with every punctuality and lovingness, until it pleases God to call him to the other life, and therefore, I leave them the full right to make appropriate changes during his life, that after the death of my husband, the care for my said brother, entrusted to him and then to his heirs, will be given in the hand of somebody qualified, in case that this poor creature should not be assisted with the care and attention that I want.</blockquote>
<blockquote class="tr_bq">
All this I corroborate, establish, ratify and respectively recommend, I, the undersigned. Vienna 10 April 1773</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<blockquote class="tr_bq">
[L.S.] Vittoria Tesi Tramontini</blockquote>
</blockquote>
<blockquote class="tr_bq">
[L.S.] Federigo Baron of Bülow<br />
requested witness<br />
[L.S.] I Giacomo d'Aquino Duke of Casarano requested witness<br />
[L.S.] I Giuseppe Antonio Taruffi apostolic protonotary and auditor at the nunciature in Vienna, requested witness mp</blockquote>
</blockquote>
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<div style="text-align: center;">
<span style="font-size: x-small;">The seals and signatures on the last page of Tesi Tramontini's will (A-Wsa, AZJ, A1, 14694/18. Jhdt.)</span></div>
<br />
The fact that Giovanni Tesi lived in Giacomo Tramontini's house in Padua, suggests that Tramontini was originally from Padua and Tesi Tramontini had her brother move there from Florence. <br />
<br />
<u>The witnesses of the will</u><br />
<br />
The identity of the witnesses of Tesi Tramontini's will sheds more light on the singer's social environment about which previously we knew very little.<br />
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<span style="font-size: x-small;">The closed envelope of Tesi Tramontini's will with the seals and signatures of the testatrix and her three witnesses</span></div>
<br />
The three witnesses were the following:<br />
<ul>
<li>Ferdinand Friedrich Baron von Bülow was a member of the Ugahlen line of the Zibühl branch of the large <a href="https://en.wikipedia.org/wiki/B%C3%BClow_family" target="_blank">Bülow family</a>. He was born on 12 August 1711, in <a href="https://en.wikipedia.org/wiki/Duchy_of_Courland_and_Semigallia" target="_blank">Courland</a>, probably in Ugahlen (today <a href="https://lv.wikipedia.org/wiki/Ug%C4%81le" target="_blank">Ugāle</a> in Latvia), eldest son of <a href="http://www.bbl-digital.de/eintrag/B%C3%BClow-Friedrich-Gotthard-1688-1768/" target="_blank">Friedrich Gotthard von Bülow</a> and Anna Katharina, widowed von Behr, née von Firks auf Lehsten und <a href="https://en.wikipedia.org/wiki/Auce" target="_blank">Alt-Autz</a>. In 1731, he joined the Austrian military as officer of the <a href="http://www.kronoskaf.com/syw/index.php?title=Hildburghausen_Infantry" target="_blank">Hildburghausen Infantry</a> and showed extraordinary bravery against the Turks in the <a href="https://en.wikipedia.org/wiki/Battle_of_Grocka" target="_blank">Battle of Grocka</a>. In the <a href="https://en.wikipedia.org/wiki/War_of_the_Austrian_Succession" target="_blank">War of the Austrian Succession</a>, in the <a href="https://en.wikipedia.org/wiki/Battle_of_Pfaffenhofen" target="_blank">Battle of Pfaffenhofen</a>, he distinguished himself with such excellence that, skipping the rank of major, he was promoted to lieutenant colonel. In 1746, he took part in the Austrian invasion of the Provence and in 1747 in the <a href="https://en.wikipedia.org/wiki/Siege_of_Genoa_%281747%29" target="_blank">Siege of Genoa</a>. After the <a href="https://en.wikipedia.org/wiki/Treaty_of_Aix-la-Chapelle_%281748%29" target="_blank">Treaty of Aix-la-Chapelle</a> Bülow returned to Courland and in 1751, after having been promoted to colonel, became commander of a regiment. The <a href="https://en.wikipedia.org/wiki/Seven_Years'_War" target="_blank">Seven Years' War</a> earned Bülow great fame. His meritorious service in the battlesof <a href="https://en.wikipedia.org/wiki/Battle_of_Lobositz" target="_blank">Lobositz</a> , <a href="https://en.wikipedia.org/wiki/Battle_of_Prague_%281757%29" target="_blank">Prague</a> and <a href="https://en.wikipedia.org/wiki/Battle_of_Breslau_%281757%29" target="_blank">Breslau</a> led to his appointment as commander of Liegnitz. After the Prussian army had retaken Breslau, Bülow was requested personally by the <a href="https://en.wikipedia.org/wiki/Frederick_the_Great" target="_blank">Prussian king</a> to surrender, but refused and threatened to defend Liegnitz to the last man, unless he was granted unhindered withdrawal together with his artillery, munition, and baggage. The king, who admired such sturdiness and realized that he would risk unneccessary losses and the destruction of the town, on 28 December 1757, agreed to all of Bülow's conditions and even had the Austrian garrison escorted to the Bohemian border via <a href="https://en.wikipedia.org/wiki/Jawor" target="_blank">Jauer</a> and <a href="https://en.wikipedia.org/wiki/Lubawka" target="_blank">Liebau</a>. In 1758, Bülow was promoted to general major and awarded the <a href="https://en.wikipedia.org/wiki/Military_Order_of_Maria_Theresa" target="_blank">Military Order of Maria Theresa</a>. In 1758, during the <a href="https://en.wikipedia.org/wiki/Siege_of_Olomouc" target="_blank">Siege of Olomouc</a>, he was able to sucessfully reinforce the town's defence forces with 2000 men which led to his promotion to field marshall lieutenant. In 1773, he was appointed general of the branch. Friedrich Bülow never married. On 19 June 1776, he died commanding general in Brussels. Bülow's presence at the Rofrano palace may have been related to his having been colonel-commander of Prince Saxe-Hildburghausen's infantry regiment from 1752 until 1758. </li>
</ul>
<ul>
<li>Giacomo d’Aquino, il quinto Duca di Casarano was born on 7 June 1716, in Naples, fourth child of Giacinto d'Aquino, 4° Duca di Casarano (d. 13 March
1740) and Raimondina, née Belli. The d'Aquinos were a Neapolitan family that originally came from Taranto, and in 1637, received the predicate "Duca di Casarano". In 1723, d'Aquino's father sold the duchy, but kept the title. The reason of d'Aquino's stay in Vienna is yet to be revealed. That he had connections to Vienna already in 1762, is documented by his wedding on 2 February of that year at <a href="https://en.wikipedia.org/wiki/St._Stephen's_Cathedral,_Vienna" target="_blank">St. Stephen's Cathedral</a>. The most important Viennese source related to d'Aquino's biography is the entry concerning his marriage to Countess Josepha von Althann. The Countess was a born Mitrowsky von Mittrowitz und Nemischl, second wife and widow of the <i>k.k. Obrist-Silberkämmerer</i> Count Johann Albert Anton von Althann (1700–1761). Giacomo d'Aquino was not present at his wedding. He was married by proxy, being substituted by the Spanish ambassador to the Imperial Court Count Demetrius O'Mahony (1702 – 25 December 1777). The officiating priest was the then archbishop and Papal nuncio <a href="https://it.wikipedia.org/wiki/Vitaliano_Borromeo_%28cardinale%29" target="_blank">Vitaliano Borromeo</a>. </li>
</ul>
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<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the wedding on 2 February 1762, of Giacomo d'Aquino Duca di Casarano and
Countess Josepha von Althann, née Mitrowsky von Mittrowitz und Nemischl (A-Wd, Tom. 60, fol. 205v)</span></div>
<blockquote class="tr_bq">
Giacomo d'Aquino seems to have returned to Naples where in 1780, he is said to have married a second time. He died on 26 October 1788, in Italy.</blockquote>
<ul>
<li>Giuseppe Antonio Taruffi was born in 1722, to a Bolognese family that originally came from Bagni della Porretta (today <a href="https://it.wikipedia.org/wiki/Porretta_Terme" target="_blank">Porretta Terme</a>). His parents were Giovanni Niccolò Taruffi and Anna, née Bartoli. Taruffi attended the Jesuit school in Bologna where he demonstrated extraordinary talent and excelled in his studies of Latin and ancient Greek. In his youth he felt an inclination towards priesthood, but abandoned the idea for the time being. More out of obedience than inclination he followed the wish of his father, who had studied law under Metastasio's adoptive father <a href="https://en.wikipedia.org/wiki/Giovanni_Vincenzo_Gravina" target="_blank">Giovanni Vincenzo Gravina</a>, he went to Rome where on 7 April 1739, he acquired a docorate in law. He did not become a full-time lawer, however, but spent most of his time studying languages, such as French, English, and Spanish. Three years later, after the death of his father, Taruffi returned to Bologna to fully dedicate himself to literary studies, the writing of poetry, and the publication of <i>Lettere</i> in the tradition of <a href="https://en.wikipedia.org/wiki/Pietro_Aretino" target="_blank">Pietro Aretino</a>. In 1765, the papal nuncio in Poland (and future cardinal), Monsignor <a href="https://it.wikipedia.org/wiki/Antonio_Eugenio_Visconti" target="_blank">Antonio Eugenio Visconti</a>, whose acquaintance Taruffi had made during his stay in Rome, offered him a position as secretary. Taruffi accepted the offer and moved to Warsaw where, apart from his administrative work at the nunciature, he dedicated himself to studying the Polish and German languages. In November 1766, when Visconti was appointed papal nuncio in Vienna, Taruffi followed his superior to Vienna where he was promoted to the rank of authenticating officer and auditor at the nunciature. Taruffi was an avid chess player and in 1770, he left a mark in chess history by describing <a href="https://en.wikipedia.org/wiki/Wolfgang_von_Kempelen" target="_blank">von Kempelen</a>'s chess automaton "<a href="https://en.wikipedia.org/wiki/The_Turk" target="_blank">The </a><a href="https://www.blogger.com/null" target="_blank">Turk</a>" which he had witnessed in action in Vienna. After the death of <a href="https://en.wikipedia.org/wiki/Pope_Clement_XIV" target="_blank">Pope Clement XIV</a>, nuncio Visconti had to leave Vienna to take part in the conclave that convened to elect the new pope. Because Visconti had been appointed cardinal at the titular church <a href="https://en.wikipedia.org/wiki/Santa_Croce_in_Gerusalemme" target="_blank">Santa Croce in Gerusalemme</a> and became prefect of the <a href="https://en.wikipedia.org/wiki/Congregation_for_the_Evangelization_of_Peoples" target="_blank">Congregazione della Propaganda Fide</a>, he resigned as nuncio and did not return to his post in Vienna. For a time of twenty months, from <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17741026&seite=7&zoom=44" target="_blank">24 October 1774</a>, until the installation of the new nuncio Bishop <a href="https://it.wikipedia.org/wiki/Giuseppe_Garampi" target="_blank">Giuseppe Garampi</a> in 1776, Taruffi was in charge of the Vienna nunciature and bore the title "Internunzio of the reigning Pontifex". In 1776, he returned to Rome and dedicated his remaining years to literary studies and poetry. In 1782, he published an <a href="https://goo.gl/m8cpBx" target="_blank"><i>Elogio Accademico</i></a> on the death of Metastasio (which he dedicated to cardinal Visconti) and in 1784, <a href="https://books.google.at/books?id=tXBEAAAAcAAJ" target="_blank"><i>Montgolferii Machina Volans</i></a>, an elegy about the <a href="https://en.wikipedia.org/wiki/Montgolfier_brothers" target="_blank">Montgolfier brothers</a>' balloon. Taruffi died on 20 April 1786,
in Rome.</li>
</ul>
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<blockquote class="tr_bq">
Taruffi was no stranger to musical life in Vienna. It was Taruffi, who in 1772, told Charles Burney about <a href="https://en.wikipedia.org/wiki/Marianna_Martines" target="_blank">Marianna Martines</a>'s exceptional musical abilities and accomplishments, and made him visit the composer in Metastasio's apartment. Taruffi was a close friend of his fellow Bolognese <a href="https://en.wikipedia.org/wiki/Giovanni_Battista_Martini" target="_blank">Padre Martini</a> with whom he was acquainted since his early youth. In 1773, following Metastasio's preparatory correspondence, Taruffi established the personal connection between Marianna Martines and Padre Martini which led to her becoming a member of the <a href="https://en.wikipedia.org/wiki/Accademia_Filarmonica_di_Bologna" target="_blank">Accademia Filarmonica di Bologna</a>. On 19 April 1773, Martines wrote the following to Padre Martini:</blockquote>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<div style="text-align: left;">
It needs no less than the magisterial authority of Your Most Illustrious Reverence in order that I may believe myself permitted the boldness to desire a place for my name among those of the illustrious Philharmonic Academicians. The most worthy Signore Auditor Taruffi assures me that you, in an excess of partiality, are procuring for me that enviable honor. Wherefore, in consequence of his hints I am sending you a psalm for four voices written by me with whatever careful precision I am capable. (Godt 2010, 135)</div>
</blockquote>
</blockquote>
<br />
<u>The executors of the will</u><br />
<br />
Count Christoph Franz Theodor von Cavriani (the spelling "Gabriani" in Tesi's will is a corruption), Baron of Unterwaltersdorf, was born on 1 April 1715, in Vienna, son of Leopold Karl <a href="https://de.wikipedia.org/wiki/Cavriani" target="_blank">von Cavriani</a> and his wife Susanna, née Baroness <a href="https://de.wikipedia.org/wiki/Gilleis" target="_blank">von Gilleis</a>. Christoph von Cavriani, who belonged to the Bohemian line of the Cavrianis, had a family relation to the abovementioned Giacomo d'Aquino: his cousin, the Imperial lady-in-waiting Rosalia von Cavriani (1718–1744) was the first wife of Count Johann Albert Anton von Althann, the first husband of d'Aquino's wife. At the time of his appointment as executor of Tesi Tramontini's will, Cavriani held the office of "<a href="https://books.google.at/books?id=-ZsAAAAAcAAJ&pg=PA189#v=onepage&q&f=false" target="_blank">Obristlandrichter in Niederösterreich</a>" (superior judge of the Lower Austrian Landrechte court), a post that he had been appointed to on 26 September 1764 (A-Whh, OMeA ÄZA 63-13-2). According to the <a href="https://de.wikipedia.org/wiki/Max_von_Portheim" target="_blank">Portheim</a> catalog, Cavriani died on 5 September 1783, in
<a href="https://de.wikipedia.org/wiki/Senftenberg_%28Nieder%C3%B6sterreich%29" target="_blank">Senftenberg</a>, but the church records of this village do not corroborate this information.<br />
<br />
Count Maria Karl von Saurau was born on 6 August 1718, in Graz (Hl. Blut, Tom. 12, p. 621, the date in <a href="http://www.literature.at/viewer.alo?objid=11777&viewmode=fullscreen&scale=3.33&rotate=&page=291" target="_blank">Wurzbach vol. 28</a> is wrong), son of Maria Karl von Saurau and Maria Katharina, née Countess von Breuner. In 1775, Saurau was Court Councilor, Chamberlain, and "Obristhofmarschall-Amtsverweser" (substitute Obersthofmarschall). He died of inflammatory fever on 2 November 1778, in Vienna. Saurau and his wife Maria Antonia, née Countess von Daun, were the parents of <a href="https://de.wikipedia.org/wiki/Franz_Josef_Graf_Saurau" target="_blank">Count Franz Joseph von Saurau</a> who in 1797 commissioned <a href="https://en.wikipedia.org/wiki/Lorenz_Leopold_Haschka" target="_blank">Haschka</a> and Haydn to write the <a href="https://en.wikipedia.org/wiki/Gott_erhalte_Franz_den_Kaiser" target="_blank"><i>Kaiserhymne</i></a>.<br />
<br />
Cavriani and Saurau were probably friends of Prince von Saxe-Hildburghausen. Since the <a href="http://www.deutsche-biographie.de/pnd10107333X.html" target="_blank">literature</a> on Saxe-Hildburghausen, the main executor of Tesi Tramontini's will, is quite extensive, his biography will not be dealt with in this blog post. <br />
<br />
<u>Tesi Tramontini's estate</u><br />
<br />
Tesi Tramontini's <i>Sperrs-Relation</i> (probate file) is structured according to the administrative rules of the <i>k.k. Stadt- und Landgericht</i> (old municipal court of justice) that were valid until the Josephinian reform of the justice system in 1783. The file consists of the cover sheet, the so-called <i>Mantelbogen</i>, a thirty-two-page "Raithandler-Bericht" (auditor's report) to the City Council, submitted on 13 November 1776, that consistsof a list of Tesi's assets and a summary of her testamentary dispositions (including the details of their fulfillment). Part of this file is "attachment E.", a four-page final <i>Beeÿdigungsmässige Bekandtnuß</i> (solemn declaration) concerning the assets of the deceased, dated 1 March 1776, and signed by the universal heir Giacomo Tramontini. Four other attachments F-I (bills and receipts concerning the bequests), that are referred to in the report, do not survive. "Attachment K" was the abovementioned German translation of the will that survives in the <i>Hauptregistratur</i>. The cover sheet of the <i>Sperrs-Relation</i>, which was drawn up and submitted on 13 May 1775 by the City Council's <i>Supernumerarius</i> Dominicus Crammer (the office of <i>Sperrs-Commissär</i> did not exist yet), begins with Tesi Tramontini's name and the following notes concerning her profession and marital status:<br />
<blockquote class="tr_bq">
<i>Profession</i> according to the death records without any, but it was found out that she is said to she have been employed as singer for 24 years with His Serene Highness Prince von Saxe-Hildburghausen.<br />
<i>Marital status</i> married, the widower is Mr. Jacob Tramontini, who lives of private means in the Leopoldstadt in his own house, having neither an employment nor a patent of nobility.</blockquote>
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<div style="text-align: center;">
<span style="font-size: x-small;">The front page of the cover of Tesi Tramontini's <i>Sperrs-Relation</i> (A-Wsa, Alte Ziviljustiz, A2, 300/47)</span></div>
<br />
The date of hearing concerning Tesi Tramontini's estate took place in late 1776. The City of Vienna was represented by the counselor Johann Heinrich Schubert, Giacomo Tramontini (who at that time was in Italy) by his lawyer Dr. Johann Baptist Prati, and the three executors of the will by the lawyer Dr. Philipp von Fabert. Carl Ditters von Dittersdorf must have had trustworthy inside information, when he stated in his memoirs that Tesi Tramontini "left behind nearly three hundred thousand gulden". Although Tesi Tramontini's estate only shows about a tenth of this amount, Dittersdorf's claim still appears to be realistic. Giacomo Tramontini's estate records suggest that already before her death – if Dittersdorf's information concerning her wealth is correct – Tesi Tramontini had transferred most of her assets into the property of her husband. The singer's estate and its value (in gulden and kreutzer) can be summarized as follows:<br />
<blockquote class="tr_bq">
Cash: 631 fl 30 x <br />
Securities and bonds (including interest): 17,114 fl 30 x<br />
Jewelry and valuables 12,227 fl 36 x<br />
Clothes, linen, furniture and movables: 1,146 fl 47 x<br />
<br />
<u>Total: 31,120 fl 23 x</u></blockquote>
The taxable amount of the inheritance was 29,973 fl 36 x from which the following taxes were subtracted:<br />
<blockquote class="tr_bq">
Death tax: 155 fl 3 x<br />
Office fee: 3 fl<br />
10% inheritance tax: 262 fl (after deduction of fees and bequests)<br />
<i>Einfaches Abfahrths-Geld</i> (simple departure tax, the universal heir being <i>nullius conditionis</i>): 609 fl 57 x<br />
<i>Doppeltes Abfahrts-Geld</i> (double departure tax) of the maiden Vittoria Tesi: 200 fl<br />
Inheritance tax of Vittoria Tesi: 90 fl<br />
Inheritance tax and departure tax of the black maid: 290 fl<br />
Taxes of the servants Giovanni and Josepha: 10 fl<br />
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<u>Taxes in total: 1,620 fl</u><br />
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(plus 32 fl annual inheritance tax that the universal heir had to pay for the life-long annual 320 fl interest from the deposited 8,000 fl for which he was requested to deposit a security of 800 fl)</blockquote>
After the payment of taxes, the fulfillment of the bequests, and the covering of all additional expenses (for the burial, the masses and the evaluation of the jewelry), Giacomo Tramontini was left with a net inheritance of 2,620 florins 6 <span style="font-size: x-small;">2/3</span> kreutzer. This amount was actually higher than expected, because in 1776, it turned out that Tesi Tramontini's brother Cosimo had already died and his inheritance of 2,000 fl fell back to his brother-in-law. The municipal auditor's summary of the will provides information regarding the identity of Tesi Tramontini's servants. The legal full name of Tesi's black maid was Maria Labita. The servant "Giovanni" was a certain Johann Baptist Straner who was born in <a href="https://en.wikipedia.org/wiki/Gm%C3%BCnd,_Carinthia" target="_blank">Gmünd</a> in Carinthia. On 12 November 1765, he married Anna Maria Nepot from Vienna (Maria Treu 2, p. 478). In 1772, in honor of his employer, he named one of his daughters "Maria Anna Victoria".<br />
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<span style="font-size: x-small;">The entry concerning the baptism of the servant Johann Straner's daughter Maria Anna Victoria on 29 November 1772 (Maria Treu, Tom. 4, fol. 25) </span></div>
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The name of Tesi's servant "Josefa, commonly named Sepperl", was Josepha Luschinsky. She was probably a relative of Elisabeth Luschinsky, girlfriend of the actor and singer (and Mozart's first Pedrillo) <a href="https://de.wikipedia.org/wiki/Johann_Ernst_Dauer" target="_blank">Johann Ernst Dauer</a>. From Tesi's probate file we also learn that her nephew Alessandro was a priest and was meant to personally read the weekly masses for his aunt.<br />
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<b>Giacomo Tramontini</b><br />
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Giacomo Tramontini was born around 1705, in a still unidentified location. It is also still unknown whether he was wealthy and whether the story of Tesi's quasi random emergency wedding with the theater hairdresser is a historical fact. Dittersdorf's description of their marriage as "happy" should be doubted as well. The earliest known source, where Tramontini is referred to as Tesi's husband, are the Neapolitan Erasmo Ulloa Severino's notes of January 1738 that <a href="https://en.wikipedia.org/wiki/Benedetto_Croce" target="_blank">Benedetto Croce</a> quoted in his book <i>I teatri Napoletani</i>. Ulloa delves into Tesi's married life, describes her husband as "soggetto pessimo" (a scoundrel) and reports about an affair that Tramontini entertained with a Florentine lady, and that – with the help of a Bolognese servant and a stable boy – he intended to leave his wife and take all his jewels with him. When Tesi fired both employees, it turned out that not only had the servant her husband's support, he also spoke to her in a bold and very inappropriate way and threatened to scar her face. Tesi informed the general auditor Ulloa of this incident who had this servant arrested and expelled from the kingdom (Croce 1891, 339). This raises the following questions: who in this marriage was financially dependent on whom? Why did Tesi not get rid of her husband? Was the narrative of Tesi's "Josephite marriage" just a tale that she had made up to camouflage the fact that she and her adulterius husband had separated? The image of Tramontini, the poor stage barber, who was raised to a higher social status by a wealthy and famous opera singer begins to unravel as well, when we consider the events after the couple's move to Vienna.
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<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAbW8nyQtOdqhIE1o6yxj0hIG7TnhL2VTH-eQeAUHrW1oAGoSGM5SRc8o-RIPnGlCCU9fIdGIg66thKmvcSrWHI5rrEMmk4tqsb8Wz8OJ-g3ufUzG-Ohyphenhyphen9Dkt99hkeEoiJQQJM1jxUcMq6hRtF4mF51BHdYQ4zAQJ1-1fSzVhz0UR5pcP0i6UzRQV8No/s1343/AZJ%20249_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1343" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAbW8nyQtOdqhIE1o6yxj0hIG7TnhL2VTH-eQeAUHrW1oAGoSGM5SRc8o-RIPnGlCCU9fIdGIg66thKmvcSrWHI5rrEMmk4tqsb8Wz8OJ-g3ufUzG-Ohyphenhyphen9Dkt99hkeEoiJQQJM1jxUcMq6hRtF4mF51BHdYQ4zAQJ1-1fSzVhz0UR5pcP0i6UzRQV8No/s320/AZJ%20249_5.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Two pages of a composition of creditors after the death of the Savoyard merchant Franz Goutro in 1766. In the middle on the left is Tramontini's signature, on the right (among others) there are the signatures of Gluck's wife Maria Anna and her sister Elisabeth Balbi. (A-Wsa, AZJ 2549/5)<br /></span></div>
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On 25 April 1766, Tramontini bought a house with a large garden in the Leopoldstadt (it must be kept in mind that he already owned a house in Padua), had the old house torn down and replaced with two bigger ones. It may well be that his wife financed the purchase, but why – if she really owned the fortune described by Dittersdorf – did she not buy the property herself, move in and let her husband live in the rear wing of the building? The property Leopoldstadt 359 (today <a href="https://goo.gl/maps/rumdRwyppnQ2" target="_blank">Praterstraße 17</a>) was big enough for a married couple not to run into each other everyday.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqIaR3hz61yUGHfBeEpzjo0L4OBv3a8X69zx7mYgVpd0eUHs1e0h40hkGlJXSaNQMflbnFr31f0J3cuqJ5-O80kfD4Rd1PaTsymAHC0MVU8xY0YtD35WBzmLMxVsWQFEbpiQKo_U7ucM/s1600/LPS+359m.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqIaR3hz61yUGHfBeEpzjo0L4OBv3a8X69zx7mYgVpd0eUHs1e0h40hkGlJXSaNQMflbnFr31f0J3cuqJ5-O80kfD4Rd1PaTsymAHC0MVU8xY0YtD35WBzmLMxVsWQFEbpiQKo_U7ucM/s320/LPS+359m.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Giacomo Tramontini's house and garden Leopoldstadt No. 359 on <a href="https://www.wien.gv.at/wiki/index.php/Joseph_Daniel_von_Huber" target="_blank">Joseph Daniel von Huber</a>'s 1778 map of Vienna (W-Waw, Sammlung Woldan)<br /></span></div>
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>Tesi's <i>Sperrs-Relation</i> states that she had been employed as singer by Prince von Saxe-Hildburghausen since 1751. Where did the couple live between 1751 and 1766, when Tramontini bought his house?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYaebsLgzHlAQeF0xCItYlMwZQWqVlluACFkokjh4GhNQ9VjF6zo57pI7I5nr0FcKo80K91xtcOEl47fXoGFcBgJxHyD8YQEo8Tx7t98r74rRg1ZNrapr7XVoTUm_BM_OfuF6jh9Ei67Y/s1600/B106_18%252C+240r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYaebsLgzHlAQeF0xCItYlMwZQWqVlluACFkokjh4GhNQ9VjF6zo57pI7I5nr0FcKo80K91xtcOEl47fXoGFcBgJxHyD8YQEo8Tx7t98r74rRg1ZNrapr7XVoTUm_BM_OfuF6jh9Ei67Y/s320/B106_18%252C+240r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The beginning of the entry concerning the registration of ownership on 7 August 1766 of the house Leopoldstadt 359 by Giacomo Tramontini (A-Wsa, Patrimoniale Herrschaften, B106.18, fol. 240v)</span></div>
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The plot of this house was a quarter of a large garden where in the sixteenth-century galleys were built for the Turkish war. The garden was later owned by <a href="https://en.wikipedia.org/wiki/Maximilian_II,_Holy_Roman_Emperor" target="_blank">Maximilian II</a> who gave it to Count Nádasdy. In 1635, the property was divided into four parts. Johann Wilhelm Lueger of Wasenhoven built a house here which later came to the pharmacist Günther von Sternegg. Today's eighteenth-century building with its late baroque facade was built in 1766 by Giacomo Tramontini. In 1845, buildings were added and in 1846, the property was bought by Count August von Bellegarde, and expanded by the architect Amédé Demarteau into what today is known as the <a href="https://de.wikipedia.org/wiki/Palais_Bellegarde" target="_blank">Palais Bellegarde</a>.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggnxw695xyfbsNIgfkiq26_cL1LgRdpbkyApUk6xWwvaafZiPaXGiqu0x550LfeXi_W-TI8XVCRjz8eHM0pm6-0EoUJyCI4YJUkOP5Jnu47n_sS2odDqtGflRxlrFWJTdSthhS2Rwv7Cs/s1600/Verzeichni%25C3%259F+1778.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggnxw695xyfbsNIgfkiq26_cL1LgRdpbkyApUk6xWwvaafZiPaXGiqu0x550LfeXi_W-TI8XVCRjz8eHM0pm6-0EoUJyCI4YJUkOP5Jnu47n_sS2odDqtGflRxlrFWJTdSthhS2Rwv7Cs/s320/Verzeichni%25C3%259F+1778.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Tramontini as owner of Leopoldstadt 359 in the <i>Verzeichniß der um die k. k. Haupt- und Residenzstadt Wien befindlichen Vorstädten, Gründen, Gassen, numerirten Häuser, Innhaber und ihrer Schilder</i> (Wien bey Joseph Anton Edlen von Trattnern, 1778, p. 103). Note that Tramontini is given as "von". The adjacent house Leopoldstadt 360, which in 1778 was bought by Baron Hugo von Waldstätten, became Countess Waldstätten's abode where Mozart frequently visited.<br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKpn-7F3KYQVWGG4DfOspAZ5b9za6xHEQMq266tekI-Y5tskeMbjXCibah1PEiU0flk637fUR8A0CSQgEhKUoq58SZhgIpQ4h6OkgMeSEgH_SX2b8wzEMG67JvMOy9Rf9iO9d-2Qd_RBc/s1600/Bellegarde.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKpn-7F3KYQVWGG4DfOspAZ5b9za6xHEQMq266tekI-Y5tskeMbjXCibah1PEiU0flk637fUR8A0CSQgEhKUoq58SZhgIpQ4h6OkgMeSEgH_SX2b8wzEMG67JvMOy9Rf9iO9d-2Qd_RBc/s320/Bellegarde.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">The south front of the <i>Palais Bellegarde</i> today. On the right is <a href="https://de.wikipedia.org/wiki/Oskar_Thiede" target="_blank">Oskar Thiede</a>'s Nestroy monument.</span></div>
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Before Tramontini even claimed his heritage <i>simpliciter absque beneficio legis et inventarii</i> at the municipal court, he got married again. On 31 August 1775, he signed a <i>Donations-Instrument</i> (deed of donation) in which he presented his future wife with all his jewelry, "all valuables and silverware in his house", 30,000 gulden in cash, and the house Leopoldstadt 359, including all furniture. His bride, who seems to have been in a waiting position for some time, was Baroness Johanna Nepomuzena von Huldenburg, born around 1735, in Kaschau (<a href="https://en.wikipedia.org/wiki/Ko%C5%A1ice" target="_blank">Košice</a>), daughter of Theodor Friedrich von Huldenburg, a retired captain of a Brunswick-Wolfenbüttel infantry regiment. The wedding took place on 3 September 1775, at St. Stephen's Cathedral. Tramontini's best man was his lawyer Dr. Prati.<br />
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<span style="font-size: x-small;">The entry concerning of Giacomo Tramontini's marriage to Baroness Johanna von Huldenburg on 3 September 1775: "Der Wohl Edle H Jacob Tramontini wittiber cujus uxor Victoria Tesi Tramontini 10 Maij 775 in Parochia Josephina sepulta est." (A-Wd, Tom. 69, fol. 236v)</span></div>
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Although Tramontini was a wealthy man, in December 1776, he filed an appeal in the municipal court against the amount of his inheritance tax which he wanted reduced from 262 fl to 71 fl 20 x. This objection had no legal basis and was dismissed (A-Wsa, Alte Registratur, 74/1777). Tramontini did not pay the taxes for some of his first wife's bequests in cash, but had them registered as mortgages on his house. </div>
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<span style="font-size: x-small;">The departure fees of the heritage shares of Maria Labita, Johann Straner, Josepha Luschinsky and Tramontini himself, registered on 27 February 1778, as mortgages in the land register of the <i>Herrschaft Bürgerspital</i> in the Leopoldstadt (A-Wsa, Patrimoniale Herrschaften, B106.18, fol. 240v) </span></div>
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Some of Tramontini's various business activities left traces (of somewhat shady character) in the <i>Wiener Zeitung</i>: on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17800913&seite=14&zoom=33" target="_blank">13 September 1780</a>, as an associate and guarantor of the so-called<i> Handgrafenamtspachtungskompagnie</i> (an investment trust associated with the Austrian customs administration), he announced the loss of two original shares of this trust. On <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17841215&seite=28&zoom=33" target="_blank">15 December 1784</a>, he reported the loss of six <i>Carten Bianchen</i> (blank checks).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RH4ITyM80421vS6D5uKF5b9FiD-X4u9rExb4NhYy2fBB4udOJDEZNQXGXkTmGsb2RwIuWdYaaMZMzggIpmLr1ivLdkLrbCSsjxljcj0ICKaZ0XZjuf2tQh4tjl9-WQo_g6O-5Ffw1xE/s1600/Tramontini+1784.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RH4ITyM80421vS6D5uKF5b9FiD-X4u9rExb4NhYy2fBB4udOJDEZNQXGXkTmGsb2RwIuWdYaaMZMzggIpmLr1ivLdkLrbCSsjxljcj0ICKaZ0XZjuf2tQh4tjl9-WQo_g6O-5Ffw1xE/s320/Tramontini+1784.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The original poster, issued on 19 November 1784 by the Vienna Magistracy, announcing Tramontini's loss of six blank checks (A-Wsa, Mag. ZG, A7, 12/1784). This poster was on display from 27 November 1784 until 7 March 1786.</span></div>
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In late 1784, Tramontini informed the public that goods, given to his servants "auf Borg oder Kredit" (on loan or credit), will not be paid, because "he always provides them with cash for their purchases".</div>
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<span style="font-size: x-small;">Tramontini's note in the <i>Wiener Zeitung</i> of 27 November 1784 concerning his domestic staff</span></div>
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In his will, which he signed on 1 October 1778, Tramontini appointed his wife universal heir.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0ucvqrpc1imEHUHYBfsOPv20c-5PVRG98TsNe_IRgRdyZwqEkGttv_lcUGjx1nDEUlUmpxuG0RT2yrj3EDie_JaQY-lRuwrhWlkem0ACRI0qoeBvhhcNFl5d8Wh4woGmzY3KwVqBXBAw/s1600/Tramontini+A2%252C+1798_1785+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0ucvqrpc1imEHUHYBfsOPv20c-5PVRG98TsNe_IRgRdyZwqEkGttv_lcUGjx1nDEUlUmpxuG0RT2yrj3EDie_JaQY-lRuwrhWlkem0ACRI0qoeBvhhcNFl5d8Wh4woGmzY3KwVqBXBAw/s320/Tramontini+A2%252C+1798_1785+%25282%2529.jpg" width="320" /></a> </div>
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<span style="font-size: x-small;">The final paragraphs of Giacomo Tramontini's will in his own handwriting (A-Wsa, Mag. ZG, A2, 1798/1785) </span></div>
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Tramontini's most valuable property, his house in the Leopoldstadt, is not addressed in the will, because he had already donated it to his wife. At that time Tramontini's house in Padua had obviously been sold already. Tramontini's will was witnessed by his physicians <a href="https://en.wikipedia.org/wiki/Leopold_Auenbrugger" target="_blank">Leopold Auenbrugger</a> and Bartolomeo de Battisti di San Giorgio.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs42Hd3pCz_c0in5Q-TON3216Odl4HuyhWyfxyacejcFi85QWWXZXm7aNc-yJ3JgnPdD284qSKlP94hyphenhyphenFLdNPsBCtHAAdOjtL5qYoNpAkkfPkwWABV7Xdpk6JT8IQD2kU2bJCcpRseBUA/s1600/Tramontini+A2%252C+1798_1785+%25283%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs42Hd3pCz_c0in5Q-TON3216Odl4HuyhWyfxyacejcFi85QWWXZXm7aNc-yJ3JgnPdD284qSKlP94hyphenhyphenFLdNPsBCtHAAdOjtL5qYoNpAkkfPkwWABV7Xdpk6JT8IQD2kU2bJCcpRseBUA/s320/Tramontini+A2%252C+1798_1785+%25283%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The signatures of Tramontini's physicians and "requested witnesses", Dr. Leopold Auenbrugger "nobile di Auenbrugg" (a predicate which in 1778, he did not yet own) and Dr. Bartolomeo de Battisti di San Georgio (b. 1755 in Rovereto), on the envelope of Tramontini's will (A-Wsa, Mag. ZG, A2, 1798/1785) </span></div>
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Giacomo Tramontini died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17850806&seite=10&zoom=33" target="_blank">29 July 1785</a>, at 3 a.m. of <i>Schleimschlag</i> (mucoid impaction) and was buried on 31 July 1785, in the <a href="https://en.wikipedia.org/wiki/St._Marx_Cemetery" target="_blank">St. Marx Cemetery</a> (St. Josef, Tom. 1, p. 27). During the last years of his life, Tramontini had been a neighbor of Mozart's friend Baroness von Waldstätten who lived at Leopoldstadt 360. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC30FyCGeJ8Hh-rLI4SBVO-M7d6xYBhOcVanEJaOkZFBkM1akW9gSLF2EGU6y9uwkoHa8nsOrE_JJmSDKMP2rlqEnrJzqRPUaznWnTsTnQbF51p7GEzJn0gtw3x8COKDqokE6o1tWrVw8/s1600/Verzeichnis+1786.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC30FyCGeJ8Hh-rLI4SBVO-M7d6xYBhOcVanEJaOkZFBkM1akW9gSLF2EGU6y9uwkoHa8nsOrE_JJmSDKMP2rlqEnrJzqRPUaznWnTsTnQbF51p7GEzJn0gtw3x8COKDqokE6o1tWrVw8/s320/Verzeichnis+1786.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Tramontini as neighbor of Baron Hugo Joseph von Waldstätten in Joseph Maximilian Fischer's <i>Verzeichniß der in der Kaiserl. Königl. Haupt- und Residenzstadt Wien, sammt dazu gehörigen Vorstädten und Gründen, befindlichen numerirten Häusern</i> (Wien bey Joseph Gerold, 1786, p. 146).</span></div>
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The most important source concerning Tramontini's business activities and financial status during his late years is, of course, his probate file which – similarly to that of his first wife – contains a detailed list of his assets. From this document we learn that Tramontini was a shareholder of the Austrian state lottery. Tramontini's estate can be summarized as follows:</div>
<blockquote class="tr_bq">
Cash: 1,333 fl 19 x <br />
Due interest from the lottery administration: 166 fl 40 x<br />
Securities, bills of exchange and bonds (including interest): 96,146 fl 8 <span style="font-size: x-small;">1/2</span> x<br />
Jewelry and valuables: 718 fl <br />
Clothes, linen, tableware, horses and carriages: 1,795 fl <br />
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<u>Total: 100,159 fl 7 <span style="font-size: x-small;">1/2</span> x</u></blockquote>
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Two of Tramontini's bank bonds, at values of 8000 and 2000 gulden, and dated 13 November 1775, can be identified as shares of his first wife's heritage. The first one was used to support Giovanni Tesi in Padua and the second one was the share of the deceased Cosimo Tesi that had gone to Tramontini. If Dittersdorf's estimate is correct, and the value of Tramontini's house can be estimated at about 100,000 gulden, about 70,000 gulden of Tesi Tramontini's fortune are not accounted for. But of course, there is absolutely no evidence as to how much money of his own Tramontini had brought into the marriage. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8D3wiZqOghdzJlIoIN8b53w0_nP45X20ur3Wf1M7hH5TdnHVzjaGO_Ky41I80DiO0Q7BjPprvwuJW1Hn7YEWH-UbTFJpQ1DfKt8PuVcTRDBxLEj4Bngkxs5vzecYnngRdFD40OFbqE3M/s1600/Tramontini+A2%252C+1798_1785+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8D3wiZqOghdzJlIoIN8b53w0_nP45X20ur3Wf1M7hH5TdnHVzjaGO_Ky41I80DiO0Q7BjPprvwuJW1Hn7YEWH-UbTFJpQ1DfKt8PuVcTRDBxLEj4Bngkxs5vzecYnngRdFD40OFbqE3M/s320/Tramontini+A2%252C+1798_1785+%25281%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Seal and signature of Johanna Nepomucena Tramontini on her late husband's list of assets (A-Wsa, Mag. ZG, A2, 1798/1785)</span></div>
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It is interesting to find out what became of Giacomo Tramontini's fortune. On 6 February 1786, Johanna Tramontini, who was now a desirably rich widow, married Baron Maria Ferdinand Gundacker von und zu Aichelburg (b. 1754 in <a href="https://en.wikipedia.org/wiki/V%C3%B6lkermarkt" target="_blank">Völkermarkt</a>). The wedding, which took place at the parish church of <a href="https://de.wikipedia.org/wiki/Karmeliterkirche_%28Leopoldstadt%29" target="_blank">St. Joseph</a>, saw a number of prominent attendants: <a href="https://en.wikipedia.org/wiki/Christoph_Anton_Migazzi" target="_blank">Cardinal Migazzi</a> officiated, and two of the witnesses were <a href="https://de.wikipedia.org/wiki/Franz_Xaver_Wolfgang_von_Orsini-Rosenberg" target="_blank">Count Franz Xaver von Orsini-Rosenberg</a> and <a href="https://de.wikipedia.org/wiki/Karl_von_Zinzendorf" target="_blank">Count Karl von Zinzendorf</a> (<a href="https://data.matricula-online.eu/de/oesterreich/wien/02-st-josef/02-01/?pg=87" target="_blank">St. Josef, Tom. 1, fol. 47</a>). (The <i>Mozart Dokumente</i> misidentify Maria Ferdinand von Aichelburg as husband of Regine, née Wetzlar von Plankenstern, a subscriber of Mozart's Trattnerhof concerts, but her husband was actually the Croatia-born military officer Baron Joseph Leopold von Aichelburg). In 1788, the house Leopoldstadt 359 was transferred to Baron von Aichelburg, who in 1793, sold it to the tailor Leonhard Mathes and his wife Barbara.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNsPQSM1Ppy0V4DpwAXeqnG4JDXJsPtO8jCsUc2UaxsAnk-mC_8YjxYLrXwkqbqgaAa4yWOBM130w_3iRFWCvnbdg_pOYVnb-zGBrkjh53Bg8MyJSgw-Ycv6m95xLU6SSENHbzts7PARc/s1600/B106_9%252C+fol.+78r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNsPQSM1Ppy0V4DpwAXeqnG4JDXJsPtO8jCsUc2UaxsAnk-mC_8YjxYLrXwkqbqgaAa4yWOBM130w_3iRFWCvnbdg_pOYVnb-zGBrkjh53Bg8MyJSgw-Ycv6m95xLU6SSENHbzts7PARc/s320/B106_9%252C+fol.+78r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">A list of the owners of the house Leopoldstadt 359 between 1762 and 1794 in the <i>Dienstbuch</i> of the <i>Herrschaft Bürgerspital</i> (A-Wsa, Patrimoniale Herrschaften, B 106.9, fol. 78r)</span></div>
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The fact that on 1 November 1797, Baron von Aichelburg died of consumption at <a href="https://en.wikipedia.org/wiki/Vienna_General_Hospital" target="_blank">Vienna's General Hospital</a> (Alservorstadt, AKH Tom. 5, fol. 271) suggests that his livelihood had suffered a grave economic downturn. His <i>Sperrs-Relation</i>, issued by the Landrechte court, refers to his widow as "Wife: née Tramontini[<i>sic</i>], whereabouts unknown". Giacomo Tramontini's second wife, Baroness Johanna Nepomuzena von und zu Aichelburg, died of <i>Lungenbrand</i> (tuberculosis) on 2 December 1800, at Leopoldstadt 291 (today <a href="https://goo.gl/maps/MzfA2hb2FY42" target="_blank">Taborstraße 26</a>).<br />
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<b>Maria Victoria Tramontini (Maria Labita)</b><br />
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After the death of her patron, Tesi Tramontini's black maid Maria Labita simply changed her name into "Maria Victoria Tramontini". All sources dating from after 1776 refer to her under this name. She moved to the house Josephstadt No. 55, "Zum grünen Rössel" (At the green Horse, today <a href="https://goo.gl/maps/HRy8g1s4iFQ2" target="_blank">Josefsgasse 5</a>), a move that seems to have been caused by the fact that her former colleague, Tesi Tramontini's aforesaid servant Johann Straner, lived there with his family. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZsL2mfacuMwTkH-NTkc4fl_3lqWI613H_Td0j81TxrGNRsB5__miSpkpk1c_96VZqb758YzRr0p1tysrnKoPFd-7xKyjw-ZNF3qkQm2l9DthDO0bgwd0CHLxhyphenhyphenF-PzeYnZTUQli0lVm0/s1600/JS+1m.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZsL2mfacuMwTkH-NTkc4fl_3lqWI613H_Td0j81TxrGNRsB5__miSpkpk1c_96VZqb758YzRr0p1tysrnKoPFd-7xKyjw-ZNF3qkQm2l9DthDO0bgwd0CHLxhyphenhyphenF-PzeYnZTUQli0lVm0/s320/JS+1m.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Maria Tramontini's last residence, the house Josephstadt 55 (later numberings 10 and 11) on Huber's map. The Auersperg Palace is on the left (W-Waw, Sammlung Woldan).</span></div>
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At this house, Josephstadt 55, Maria Tramontini is listed as "Maria Tramontinier" in the 1788 municipal tax register. She lived in a small apartment on the first floor towards the street.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj893kdV5B8K-0fOdelb_DQjlqdgzRQKruwTJ075vrVMs6PjQt9ZwfUX113hpX0oSmYcB_Dxp9kSmibzlskaqvVY7nHXFoGQujrAAjhcqvneCsDhruOqt5j-W36PbQh2RrfN49QrJKXHY/s1600/JST+55.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="88" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj893kdV5B8K-0fOdelb_DQjlqdgzRQKruwTJ075vrVMs6PjQt9ZwfUX113hpX0oSmYcB_Dxp9kSmibzlskaqvVY7nHXFoGQujrAAjhcqvneCsDhruOqt5j-W36PbQh2RrfN49QrJKXHY/s320/JST+55.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Maria Tramontini given as tenant at Josephstadt 55 in the <i>Josephinische Steuerfassion</i> (A-Wsa, Steueramt B34/25, fol. 123)</span></div>
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In her late years, the former maid Maria Tramontini, whom a net inheritance of 1710 florins had provided with sufficient means, lived the life of a well-supplied pensioner. On 18 August 1799, with the help of the paralegal Joseph Caspar Feldzug, she had her will drawn up. She was able to bequeath 500 florins to her servant "for 13 years of faithful service". In her will, Johann Caspar Ebert turns up again, the princely steward who in 1751, had taken care of the young Carl Ditters. Maria Tramontini bequeathed 100 fl to each of Ebert's three grandsons Anton, Stephan, and Joseph. She also bequeathed 150 florins in cash "to the truly poor and needy for the support and the better operation of their trade, profession or other enterprise", and commissioned her "trustworthy friend", the shoemaker Joseph Biedermann "to distribute the money as he may see fit". As her universal heir she appointed Biedermann's wife Regina (née Keinz) "for her thirty-eight years of service and for everything she had done for her in times of need and sickness". Since Maria Tramontini was illiterate, she signed her will with three crosses and had Joseph Feldzug write her name.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzojwslMcv62x9-_aGXUlWI9UZSC3BLL7KCh3lEVQitZOgQa6dnQU1fv_aOzoKz_G5KKRtnSW4ojxnriYqfLjOGSil1zZXMWbJNTDuxI5g6pT1eXjJpVUQvjULdb-uQIoDWgBo7t9hyphenhyphenY/s1600/Maria+Tramontini+605_1801.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzojwslMcv62x9-_aGXUlWI9UZSC3BLL7KCh3lEVQitZOgQa6dnQU1fv_aOzoKz_G5KKRtnSW4ojxnriYqfLjOGSil1zZXMWbJNTDuxI5g6pT1eXjJpVUQvjULdb-uQIoDWgBo7t9hyphenhyphenY/s320/Maria+Tramontini+605_1801.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">The seals and signatures on the will of Maria Victoria Tramontini (A-Wsa, Mag. ZG, A10, 605/1801)</span></div>
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Maria Victoria Tramontini, the African-born maid, died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18011121&seite=9&zoom=33" target="_blank">15 November 1801</a> (the official protocol gives November 16th), at the house Josephstadt 10 (formerly numered 55) and was buried in the old Neulerchenfeld cemetery. The entry in the municipal death register is the only source that reveals her approximate age. She had been born around 1723.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSbCFkbt69zbQQDG97C92L2dUW2uWFpCteWUFn6pwmnVM6t6sfiJes6NlfM5WcIByf8QHdtNmWLu2p_f9rTEibtAyr6VGoj32DWXnnqJtzCut_Ka7k2gJc1IdOmM9qwAkd4xKJV3ptztw/s1600/Maria+Tramontini+TBP+112a%252C+DT%252C+fol.+45r.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSbCFkbt69zbQQDG97C92L2dUW2uWFpCteWUFn6pwmnVM6t6sfiJes6NlfM5WcIByf8QHdtNmWLu2p_f9rTEibtAyr6VGoj32DWXnnqJtzCut_Ka7k2gJc1IdOmM9qwAkd4xKJV3ptztw/s320/Maria+Tramontini+TBP+112a%252C+DT%252C+fol.+45r.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the municipal death records concerning Maria Viktoria Tramontini's (Maria Labita's) death on 16 November 1801 (A-Wsa, Totenbeschreibamt 112a, DT, fol. 45r)</span></div>
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<u>Novembris 8</u>01 <u>den 16ten</u><br />
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Tramontini M: Viktoria, led: Mohrin ohne Condition, Ge<span style="font-size: xx-small;">=</span> / burtsort und Vaterland unbewußt, ist bein grünen Rößl, / <strike>N</strike>° 10 in der Josephstadt an Gedärmbrand beschaut / word[en] alt 77 Jr: <u>Pirner</u></div>
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Tramontini Maria Viktoria, unmarried moor without profession, place of birth and home country unknown, was inspected at the Green Horse No. 10 in the Josephstadt as having died of intestinal gangrene, aged 77 years [Franz] Pirner [coroner]</div>
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In her <i>Sperrs-Relation</i> Maria Tramontini's profession is given as "gewesene Kammerjungfrau" (former chambermaid).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXigx4ERKIVrFxyJMmU2cI9E25uX1QBfM8CiAGDv9KECkcT46K2ISGIGPR_o3c9OT7V73Bn7JOOvuN4eWLhWBJV4rpGEza_pHxPLkiogfk5f0T-O_NGR_LsOV_xGG73I3rrapmkRxwJfY/s1600/3719_1801.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXigx4ERKIVrFxyJMmU2cI9E25uX1QBfM8CiAGDv9KECkcT46K2ISGIGPR_o3c9OT7V73Bn7JOOvuN4eWLhWBJV4rpGEza_pHxPLkiogfk5f0T-O_NGR_LsOV_xGG73I3rrapmkRxwJfY/s320/3719_1801.jpg" width="225" /></a></div>
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<span style="font-size: x-small;">The front page of Maria Viktoria Tramontini's probate file (A-Wsa, Mag. ZG, A2, 3719/1802)</span></div>
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The detailed study of the fate of Tesi Tramontini's African maid may seem excessive, but it has a reason. Maria Labita – renamed Maria Tramontini – was the only African woman who is documented to have been kissed by Mozart. In February 1778, during his stay in Mannheim, Mozart had surprised his father with his plans to take Aloisia Weber on a tour to Italy and make her a famous singer. Leopold Mozart was furious, and on 12 February 1778, wrote his son a letter, telling him what he thought of this "insane" plan. He referred his son to the careers of other prominent singers, what education they had received, and reminded him of his visit at Prince Saxe-Hildburghausen's palace and his meeting with Signora Tesi and her black maid. This visit had taken place on 13 October 1762 (<i>Dokumente</i>, 18).<br />
<blockquote class="tr_bq">
Du gedenkest sie als Prima Donna nach Italien zu bringen. Sage mir, ob Du eine Prima Donna kennst, die als Prima Donna, ohne vormals schon in Deutschland öfters recitirt zu haben, das Theater in Italien betreten. Wie viele Opern hat nicht die Sgra. Bernasconi in Wien recitirt und zwar Opern in den größten Affecten und unter der genauesten Kritik und Unterweisung des Gluck und Calsabigi! Wie viele Opern sang die Mlle. Deiber in Wien unter der Unterweisung des Hasse und unter dem Unterricht der alten Sängerin und berühmtesten Actrice der Sgra. Tesi, die Du beim Prinzen Hildburghausen gesehen und als ein Kind ihre Mohrin küßtest! (Mozart, <i>Briefe und Aufzeichnungen</i> II, 275)</blockquote>
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Your plan is to take her to Italy as a prima donna. Tell me, if you know of any prima donna who has ever ventured to tread the Italian stage as prima donna, without having first been before the public in Germany? How many operas did Signora Bernasconi appear in at Vienna, under the judicious superintendence and instruction of Gluck and Calzabigi? How many operas did Mdlle. Deiber sing in at Vienna, under the instruction of Hasse, and the tuition of the old singer and most famous actress, Signora Tesi, whom you saw, at the Prince Hildburghausen's, and, when you were a child, whose Moorish maid you kissed? ("Addenda to the Life of Mozart", <i>The Musical Times and Singing-Class Circular</i>, No. 178, 1857, 153) </blockquote>
There is, of course, a lot of research still to be done on Tesi Tramontini's singing career and especially on her eventful married life. This small effort is only meant to serve as impetus and incentive. <br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/0G74rE0J6nY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/0G74rE0J6nY?feature=player_embedded" width="320"></iframe></div>
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<span style="font-size: x-small;">The aria "Pur ch'io possa a te, ben mio" from Hasse's <a href="https://it.wikipedia.org/wiki/Marc'Antonio_e_Cleopatra" target="_blank"><i>Marc'Antonio e Cleopatra</i></a>, written in 1725, for Vittoria Tesi </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgds5e42FagivC4rKFUBqzwwrvSqdzp6IL7Bjpj7hVxBhaGlxJQjh1V0UHHOS1idjDvzmtRy3il5ZekDoiNpqNph352M_SxE29GvQMZYU4OtRCSPtIqKkEVHTdA2WEl2Axk1I08xjNmQmE/s1600/Maria+Tramontini+605_1801+%25282%2529.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgds5e42FagivC4rKFUBqzwwrvSqdzp6IL7Bjpj7hVxBhaGlxJQjh1V0UHHOS1idjDvzmtRy3il5ZekDoiNpqNph352M_SxE29GvQMZYU4OtRCSPtIqKkEVHTdA2WEl2Axk1I08xjNmQmE/s200/Maria+Tramontini+605_1801+%25282%2529.JPG" width="200" /></a></div>
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<span style="font-size: x-small;">Vittoria Tesi Tramontini's personal seal</span></div>
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<b>Bibliography</b><br />
<blockquote class="tr_bq">
Beicken, Suzanne J. 2004. <i>Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller</i>. Cambridge University Press.<br />
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Bermann, Moriz. 'Eine Opernsängerin der "alten Zeit."'. <i>Blätter für Musik, Theater und Kunst</i>. 30 March 1858, 102.<br />
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–––––––. 1881. <i>Maria Theresia und Kaiser Josef II. in ihrem Leben und Wirken</i>. Vienna: A. Hartleben's Verlag.<br />
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Burney, Charles. 1773. <a href="https://books.google.at/books?id=8DTKZm85YfsC&printsec=frontcover" target="_blank"><i>The present state of music in Germany, the Netherlands, and United provinces</i></a>. London: T. Becket and Co.<br />
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Bülow, Jakob Friedrich Joachim von. 1780. <i>Historische, Genealogische und Critische Beschreibung des Edlen, Freyherr<span style="font-size: xx-small;">=</span> und Gräflichen Geschlechts von Bülow</i>. Neubrandenburg: Christian Gottlob Kord.<br />
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Bülow, Jakob Friedrich Joachim von. Bülow, Paul von. 1858. <i>Familienbuch der von Bülow</i>. Berlin: Königliche Oberhofdruckerei.<br />
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Coleridge, Arthur. 1896. <i>The Autobiography of Karl von Dittersdorf, dictated to his son</i>. London: Richard Bentley and Son.<br />
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Croce, Benedetto. 1891. <i>I teatri di Napoli, secolo XV-XVIII</i>. Napoli: Presso Luigi Pierro.</blockquote>
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de Rossi, Giovanni Gherardo. 1786. <i>Elogio dell'abate Giuseppe Antonio Taruffi cittadino bolognese recitato nella pubblica adunanza di Arcadia del dì 13. luglio 1786</i>. Roma: Presso Antonio Fulgoni.<br />
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Ditters von Dittersdorf, Carl. 1801. <a href="https://books.google.at/books?id=Qfw2AQAAMAAJ&printsec=frontcover" target="_blank"><i>Lebensbeschreibung. Seinem Sohne in die Feder diktiert</i></a>. Leipzig: Breitkopf und Härtel.<br />
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Fantuzzi, Giovanni. 1790. <a href="https://books.google.at/books?id=3cN6Zib42jgC&printsec=frontcover" target="_blank"><i>Notizie degli scrittori Bolognesi. Tomo ottavo</i></a>. Bologna: Stamperia di Tommaso d'Aquino.<br />
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Godt, Irving. 2010. <i>Marianna Martines</i>. Rochester: University of Rochester Press.<br />
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Gugitz, Gustav. 1921. <i>Giacomo Casanova und sein Lebensroman</i>. Vienna: Verlag Ed. Strache.<br />
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Haan, Friedrich Freiherr von. 1906. "Auszüge aus den Sperr-Relationen des n.-ö. und k. k. n.-ö. Landrechts 1762-1852". <i>Jahrbuch der Gesellschaft Adler</i> Bd. 16. Vienna: Selbstverlag der Gesellschaft Adler, 146-201.<br />
<br />
<i>Helden<span style="font-size: xx-small;">=</span> Staats<span style="font-size: xx-small;">=</span> und LebensGeschichte Des Allerdurchlauchtigsten, und Grosmächtigsten Fürsten und Herrn, Herrn Friedrichs des Andern Jetzt glorwürdigst regierenden Königs in Preussen</i>, etc.. Vierter Theil. Frankfurt und Leipzig, 1759.<br />
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Hiller, Johann Adam. 1780. <a href="https://mdz-nbn-resolving.de/details:bsb10527270" target="_blank"><i>Anweisung zum musikalisch<span style="font-size: xx-small;">=</span>zierlichen Gesange</i></a>. Leipzig: Johann Friedrich Junius.<br />
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Hirtenfeld, Jaromir. 1857. <a href="https://books.google.at/books?id=XJxdXCPw190C&printsec=frontcover" target="_blank"><i>Der Militär-Maria-Theresien-Orden und seine Mitglieder. Nach authentischen Quellen bearbeitet</i></a>. Vienna: Staatsdruckerei. <br />
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Khevenhüller-Metsch, Johann Josef, Fürst zu. 1907.<i> Aus der Zeit Maria Theresias. Tagebuch des Fürsten Johann Joseph Khevenhüller-Metsch. Kaiserlichen Oberhofmeisters</i>. (Rudolf Khevenhüller-Metsch, Hanns Schlitter, eds.), 1742-1776. Leipzig/Vienna: Adolf Holzhausen.<br />
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<a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/461563" target="_blank"><i>Verzeichniß der um die k. k. Haupt- und Residenzstadt Wien befindlichen Vorstädten, Gründen, Gassen, numerirten Häuser, Innhaber und ihrer Schilder</i></a>. Wien bey Joseph Anton Edlen von Trattnern. Vienna 1778.<br />
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Wißgrill, Franz Karl. 1794-95. <a href="https://books.google.at/books?id=fD0TAAAAYAAJ&printsec=frontcover" target="_blank"><i>Schauplatz des landsässigen Nieder-Oesterreichischen Adels vom Herren<span style="font-size: xx-small;">=</span> und Ritterstande von dem XI. Jahrhundert an, bis auf jetzige Zeiten</i></a>. Vol. 1 and 2. Vienna: Franz Seizer.<br />
<br />
Wurzbach, Constant von. 1856-91. <i>Biographisches Lexikon des Kaiserthums Oesterreich</i>. Vienna: Verlag der k.k. Hof- und Staatsdruckerei.</blockquote>
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© Dr. Michael Lorenz 2016. All rights reserved.<br />
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Updated: 26 October 2023<br />
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See also: <a href="http://michaelorenz.blogspot.co.at/2016/04/a-tesi-tramontini-addendum-tesis-mass.html" target="_blank"><i>A Tesi Tramontini Addendum: Tesi's Mass Endowment Deed</i></a><br />
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Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com1tag:blogger.com,1999:blog-6705638937146105675.post-62232296809943772442015-12-31T22:33:00.022+01:002023-12-29T14:48:45.149+01:00An Unknown Child of Johann NestroyThe significance of the Austrian playwright and actor <a href="https://en.wikipedia.org/wiki/Johann_Nestroy" target="_blank">Johann Nestroy</a> as poet and philosopher cannot be overrated. <a href="https://en.wikipedia.org/wiki/Egon_Friedell" target="_blank">Egon Friedell</a>, in his classic work <i>Cultural History of the Modern Age</i>, describes Nestroy as follows: "He was a Socratic dialectician and Kantian analyst, a Shakespearianly struggling soul, who, with truly cosmic imagination, distorted the measuring system of all human things, only to illuminate thereby their true dimensions. The greatest, indeed the only philosopher that Vienna has ever produced". In 1912, in his classic essay <i>Nestroy und die Nachwelt</i>, <a href="https://en.wikipedia.org/wiki/Karl_Kraus_%28writer%29" target="_blank">Karl Kraus</a> wrote the following:<br />
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Und dennoch sei jenen, die sich zur Kunst herablassen und ihr den Spielraum zwischen den Horizonten gönnen, so von der individuellen Nullität bis zur sozialen Quantität, mit ziemlicher Gewißheit gesagt: Wenn Kunst nicht das ist, was sie glauben und erlauben, sondern die Wegweite ist zwischen einem Geschauten und einem Gedachten, von einem Rinnsal zur Milchstraße die kürzeste Verbindung, so hat es nie unter deutschem Himmel einen Läufer gegeben wie Nestroy. Versteht sich, nie unter denen, die mit lachendem Gesicht zu melden hatten, daß es im Leben häßlich eingerichtet sei.<br />
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And yet, to those who condescend to art and give it room between the horizons, from the individual nullity to the social quantity, it shall be said with considerable certainty: If art is not what they believe and allow, but the distance between the sight and the thought, the shortest connection between a gutter and the Milky Way, then never under the German sky has there been a runner like Nestroy. Of course, never among those, who, with a smiling face, had to report that life is ugly.</blockquote>
One of the many scholarly projects that I have put on my virtual shelf to be published in the future – as soon as somebody is willing to pay for it – is a huge collection of unknown documents related to the life of this incomparable satirist whom one critic aptly called "Hogarth of the stage". In the course of my fifteen-year-long search for Nestroy documents, I unearthed a lot of material whose discovery is surprising given that all *available* Nestroy documents have supposedly been published in <a href="https://de.wikipedia.org/wiki/Walter_Obermaier" target="_blank">Walter Obermaier</a>'s and Hermann Böhm's book <a href="http://www.hanser-literaturverlage.de/buch/saemtliche-werke/978-3-552-06061-6/" target="_blank"><i>Johann Nestroy Dokumente</i></a>. But this edition, which was funded by (who else?) the <a href="https://www.wien.gv.at/kultur/abteilung/" target="_blank"><i>Kulturabteilung der Stadt Wien</i></a> and published in 2009, is marred by glaring ommissions and astonishing mistakes. This blog post – which is meant as a mere appetizer – is supposed to point out the current unsatisfactory state of Nestroy research. As the eminent Nestroy scholar <a href="https://de.wikipedia.org/wiki/J%C3%BCrgen_Hein" target="_blank">Jürgen Hein</a> put it: "Some chapters of Nestroy's biography should be written anew, others should be opened in the first place". Many sources concerning Nestroy's biography are still waiting to be published and, in my opinion, this cannot be better demonstrated than by presenting one of the poet's previously unknown children. Imagine a scenario where we realize that Mozart fathered a child that we know nothing about. This is the kind of situation we are dealing with in the case of Nestroy's unknown son.<br />
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<span style="font-size: x-small;">Johann Nestroy on 14 March 1861. This photograph by <a href="https://en.wikipedia.org/wiki/Ludwig_Angerer" target="_blank">Ludwig Angerer</a> is not included in the 1977 book <i>Johann Nestroy im Bild</i>.</span></div>
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In 1928, Bruno Hampel (1888–1953), amateur genealogist and employee of the Austrian Postal Savings Bank, published an article titled "Die Familie Nestroy und die Sippe der Gattin des Dichters" (<i>Monatsblatt Adler</i> 10). This article, which deals with Johann Nestroy's and his wife's genealogy, has become the basis of most publications about Nestroy's family. But Hampel's research does not meet modern standards. He lacked the necessary expertise concerning archival sources, misidentified a number of Nestroy's relatives and failed to include important biographical data in his article. In many instances he could not access the primary sources and had to resort to provisory and undocumented presumptions. Once again, we are being reminded of the situation in Mozart scholarship where <a href="https://en.wikipedia.org/wiki/Otto_Erich_Deutsch" target="_blank">Otto Erich Deutsch</a> never bothered to check the reliability of <a href="https://de.wikipedia.org/wiki/Emil_Karl_Bl%C3%BCmml" target="_blank">Emil Karl Blümml</a>'s research on Mozart's children, and in his edition of the <i>Mozart Dokumente</i> chose to uncritically refer to Blümml's forty-year-old publication. Also reminiscent of Mozart research is the fact that some of the transcriptions in the <i>Nestroy Dokumente</i> are so flawed that they should basically be published anew.<br />
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<b>Marie Weiler</b><br />
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In 1822, shortly before his debut as opera singer, Nestroy declared his intention to marry Wilhelmine Nespiesni, one of three illegitimate daughters of Katharina Zwettlinger (née Nespiesni, widowed von Sonnenstein) and Count Franz de Paula Zichy de Zich et Vasonkeö. On 23 August 1822, <a href="https://www.wien.gv.at/wiki/index.php/Joseph_Karl_Rosenbaum" target="_blank">Joseph Carl Rosenbaum</a>, a friend of Wilhelmine's mother, wrote the following in his diary:<br />
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Nach Mittag in den Garten. Dorthin kamen die Pisling, dann er mit 3 Kindern, die Zwettling mit der Mali und Liesi, unterhielten sich recht gut. Sie erzählte mir, dass Nestroy ihre Mina heiraten will, wenn er beim Hoftheater engagiert wird. Er singt morgen den Sarastro und bat mich um meine Protektion. Ich stimme für diese Heirat nicht. Dann ins Kärntnertor-Theater. Mosevius missfiel abermals, plauderte mit Michel, Kupelwieser; er zeigte mir den Nestroy; er soll eine hübsche Stimme, aber keine Tiefe haben.
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In the afternoon to the garden. Mrs. Pisling came there, then her husband with 3 children, Mrs. Zwettling[<i>sic</i>], Mali and Liesi [Amalia Nespiesni and her half-sister Elisabeth Zwettlinger] enjoyed themselves quite well. She [Mrs. Zwettlinger] told me that Nestroy wants to marry her Minna, in case he will be hired by the court theater. Tomorrow he will sing Sarastro and asked me to support him. I disapprove of this marriage. Then to the Kärntnertor-Theater. <a href="https://de.wikipedia.org/wiki/Johann_Theodor_Mosewius" target="_blank">Mosevius</a> displeased again, I chatted with [Ignaz] Michel, and [Joseph] Kupelwieser; he pointed out Nestroy to me; he is said to have a nice voice, but no gravity. [A-Wn, Cod. Ser. n. 203 Han, Bd. 10, p. 57r. My thanks go to DI Peter Prokop for providing this source, part of which was first published by <a href="https://de.wikipedia.org/wiki/Karl_Glossy" target="_blank">Karl Glossy</a> on 24 April 1927 in an <a href="https://anno.onb.ac.at/cgi-content/anno?aid=nfp&datum=19270424&seite=28&zoom=33" target="_blank">article</a> in the <i>Neue Freie Presse</i>]</blockquote>
Soon after Nestroy had expressed his intention to marry Mrs. Zwettlinger's daughter Wilhelmine, a series of events occurred that changed the bride's situation and may have influenced the realization of the couple's marriage plans. Nestroy was employed by the K.K. Hof-Theater. On 26 May 1823 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18230602&seite=3&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 2 June 1823, 503</a>), Wilhelmine Nespiesni's guardian, the court physician Dr. Andreas Pißling, died. Pißling had been a close friend of Wilhelmine's father and he had also been the curator of her patrimony (according to §166 ABGB a father could not be the guardian of his own illegitimate children). On 20 June 1823 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18230625&seite=3&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 25 June 1823, 585</a>) Wilhelmine's illegitimate father, the I. & R. Captain Count Franz de Paula Zichy de Zich et Vasonkeö, died of "Auflösung der Säfte" (dissolution of the fluids) at the age of 54 (his year of birth given by <a href="http://www.literature.at/viewer.alo?objid=12544&viewmode=fullscreen&rotate=&scale=3.33&page=1" target="_blank">Wurzbach</a> is wrong). Wilhelmine's new guardian, her step-father Franz Wilhelm Zwettlinger, possibly had different views concerning her choice of partner. In August of 1823, Nestroy was hired by the <a href="https://nl.wikipedia.org/wiki/Hoogduitse_Schouwburg" target="_blank">German Theater in Amsterdam</a> which put him under time pressure, because his fiancé was already pregnant. On 7 September 1823, in Vienna's <a href="https://en.wikipedia.org/wiki/Augustinian_Church,_Vienna" target="_blank">Augustinian Church</a>, Nestroy married Wilhelmine Nespiesni, and on 9 September the newly-weds left Vienna for Amsterdam where they arrived twelve days later. The fact that Nestroy's nineteen-year-old wife owned a paternal heritage of 12,000 gulden in Viennese Currency, from which she was drawing an annual pension of 222 gulden, not only made her a more desirable match, it also provided her with the kind of financial independence that may not have strengthened her marital fidelity. These assets had been bequeathed to Wilhelmine in 1813 by her illegitimate father, and she was to receive the full amount of her inheritance in 1828. In 1827, during his engagement in Graz, Nestroy's marriage came to an
end. His wife began an extramarital
affair with Count Adelbert Batthyány von Német-Ujvar and she left her
husband. In 1845, Nestroy legally divorced her, but the legal situation at that time defined a divorce as "Scheidung von Tisch und Bett" (divorce from table and bed) and precluded both spouses from marrying again. In 1827, while still being engaged as singer at the Graz opera, Nestroy began a thirty-five-year relationship with his colleague, the actress and singer Maria Cäcilia Laucher who appeared on the stage under the name Marie Weiler, a surname that she seems to have taken from a relative. It was not her grandmother's maiden name which was Kunigunde Metzger. Another explanation of the name's origin could well be that, at some point of time, Marie's mother Cäcilie Laucher (as she was to claim in 1825 and 1840) really was married to a merchant named Weiler, and for legal reasons, was obliged to give birth under her maiden name, because her deceased husband was not the father of her child.<br />
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<span style="font-size: x-small;">The sisters Antonia Laucher and Cäcilie Weiler and their three children, registered in 1825 in a conscription sheet of the house Stadt 322 ("<a href="https://www.wien.gv.at/wiki/index.php?title=Zum_Hahnenbei%C3%9F" target="_blank">Zum Hahnenbeiß</a>", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=ZoxfRofDLUbC7rFEaIcQRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052765" target="_blank">Am Hof 5</a>). This previously unknown source sheds more light on a still slightly mysterious family constellation: Cäcilie Weiler is described as Antonia Laucher's younger sister and "Handelmannswittwe v: Dilligen in bayern". Antonia Laucher's illegitimate son Alexander Woina was living "im Erziehungshaus zu Korneuburg" and Maria Laucher (born 1812 and "Nichte der obigen") is obviously a previously unknown illegitimate daughter of Antonia Laucher (that this Maria was Marie Weiler's sister makes no sense). It must be noted that Antonia Laucher's alleged stepson Adolf Wagner (Obermaier 2009, 54) does not appear in this document (A-Wsa, Konskriptionsamt, Stadt 322/12r).</span></div>
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After her death in 1861, Marie Weiler's mother is referred to as "ledige Privatiere" in the death records, but her name is still given as "Cäcilia Weiler" (St. Johann Nepomuk, Tom. 6, fol. 159).<br />
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<span style="font-size: x-small;">Marie Weiler in 1861, photograph by Ludwig Angerer (A-Wst, H.I.N. 229.599 Fa)</span></div>
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Although the birth of Marie Weiler has been dealt with in the literature, I shall still address this topic, because a) based on an error in the literature (<a href="https://de.wikipedia.org/wiki/Otto_Rommel" target="_blank">Rommel</a> 1930, 36), her date of birth sometimes is still wrongly given as "13. September 1809" (for example in Schöny 1977 and, as of December 2015, on <a href="https://de.wikipedia.org/wiki/Marie_Weiler" target="_blank">German Wikipedia</a>), b) the <i>Nestroy Dokumente</i> manage to misidentify Weiler's place of birth, and c) the identity of her father is still not clear in the literature. Maria Antonia Cäcilia Laucher (the future Marie Weiler) was born on 13 November 1809, illegitimate daughter of Cäcilia Weiler, née Laucher (born 15 November 1787 in Dillingen, daughter of the <i>regens chori</i> Joseph Anton Laucher [<a href="https://data.matricula-online.eu/de/deutschland/augsburg/dillingen/4-T/?pg=26" target="_blank">Dillingen 4-T, pag. 42</a>]) and Count Ferdinand von Stockhammer who professed to his paternity by signing his name in the baptismal register. That the name of the father reads "Stochtamerer" is caused by the fact that this document is a copy of an original baptismal register that may still be preserved (which the <i>Dokumente</i> fail to mention). Maria Laucher's, her mother's and her aunt's surname is given as "Lager" in the baptismal entry. This is a typical off-hand attempt to blur the identity of the mother, a method that was frequently applied on the occasion of the baptism of illegitimate children. The later incorrect spelling "Lacher" is nothing else but the long-time result of the flawed baptismal certificate, copied from an incorrect entry that had served the purpose to anonymize an unmarried mother. In printed sources Marie's godmother, her aunt, the opera singer Antonia Laucher (20 Jun 1786 – 22 Aug 1871), always appear under the name <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18071212&seite=4&zoom=33" target="_blank">Laucher</a>. The literature concerning the Laucher sisters is generally weak. As of December 2015, the German <a href="https://de.wikipedia.org/wiki/Antonia_Laucher" target="_blank">Wikipedia article</a> on Antonia Laucher, for instance, presented the singer as having been married to her own father-in-law.<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Marie Weiler (with her name Laucher anonymized as "Lager") on 13 November 1809. The note on the far right reads: "He [Stockhammer] himself has signed as father" (St. Rochus und Sebastian, Tom. 5, fol. 200).</span></div>
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In the <i>Nestroy Dokumente</i>, Walter Obermaier claims that Marie Weiler was born "at Landstraße 268, in the still extant house 'Zum Kometstern', <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=Or2ARt1-cFkYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10465192" target="_blank">Landstraßer Hauptstraße 112</a>". This is false. Being unaware of the two later renumberings of the Landstraße suburb in 1821 and 1830, the co-author of the <i>Dokumente</i> did not realize that the number 268 in Weiler's baptismal entry refers to the house's number in 1809 and not to the last one from 1830. Marie Weiler was born in the house Landstraße 340, "Zum Grünen Kranz" (The Green Wreath, today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=X8d5Rqr9IUYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=25712723" target="_blank">Landstraßer Hauptstraße 26</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxra1iKZxm6Em7GNkHjVdvuGNgjOGWblDzFOf1iS-Ry8xpltxps86uihn2EYKfvK6xPdjF3bDo20-quSTeIhhbHrqaHw9YR3JM5-9z1i1SPmXTmvrLGhFsXO2W0Xrt00gKpVPp94s5KBg/s1600/Landstra%25C3%259Fer+Hauptstra%25C3%259Fe+26%252C+A-Wn+L+20.904-C.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="569" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxra1iKZxm6Em7GNkHjVdvuGNgjOGWblDzFOf1iS-Ry8xpltxps86uihn2EYKfvK6xPdjF3bDo20-quSTeIhhbHrqaHw9YR3JM5-9z1i1SPmXTmvrLGhFsXO2W0Xrt00gKpVPp94s5KBg/s320/Landstra%25C3%259Fer+Hauptstra%25C3%259Fe+26%252C+A-Wn+L+20.904-C.jpg" width="227" /></a></div>
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<span style="font-size: x-small;">Marie Weiler's place of birth, Landstraße 340 (A-Wn, L 20.904-C)</span></div>
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In this house (built in 1800 and ruthlessly torn down in 1972) Beethoven intermittently lived between 1817 and 1819. Here he wrote the <a href="https://en.wikipedia.org/wiki/Piano_Sonata_No._29_%28Beethoven%29" target="_blank">Piano Sonata op. 106</a>. In 1951, a small memorial plaque was mounted above the entrance.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-i-oeNe5m8xC2Wjp4EOyGgNrjvaDRfuVPpywXVlh1L-TcS-B8mKcZUvYsSDcu1jPr-FTVuaShmiJ5RIiJ5Y-svK65Fw1CrrG50h-LpFumEtt3yrPXex3jGEqmNI-XaE97jAsCzWAVLBY/s1600/LH+26%252C+C7017_672.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-i-oeNe5m8xC2Wjp4EOyGgNrjvaDRfuVPpywXVlh1L-TcS-B8mKcZUvYsSDcu1jPr-FTVuaShmiJ5RIiJ5Y-svK65Fw1CrrG50h-LpFumEtt3yrPXex3jGEqmNI-XaE97jAsCzWAVLBY/s320/LH+26%252C+C7017_672.jpg" width="245" /></a></div>
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<span style="font-size: x-small;">The Beethoven plaque above the entrance of Landstraßer Hauptstraße 26 on a photograph from the 1960s (A-Wsa, Fotosammlung, C7017/672)</span></div>
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Together with a second, explanatory one, the old plaque in 1973 was remounted beside the entrance of the new (unspeakably ugly) building.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiikkT0zxG6fVMwo0q6w6sOW9tJ6LLglYLEa8GUaANCk_4HkFKcSTHcOZt1GSDrJQ4bms6y-wq_WsV-PCep_FZqK0PrSHBmvpO9R7-wtkkTaToZ_VDmlrGW1NqE7fdDN4u6892aY3a8Rd4/s1600/Beethoven.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiikkT0zxG6fVMwo0q6w6sOW9tJ6LLglYLEa8GUaANCk_4HkFKcSTHcOZt1GSDrJQ4bms6y-wq_WsV-PCep_FZqK0PrSHBmvpO9R7-wtkkTaToZ_VDmlrGW1NqE7fdDN4u6892aY3a8Rd4/s320/Beethoven.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">"At this spot the house was situated where the above plaque had originally been mounted."</span></div>
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<span style="font-size: x-small;">The building which in 1972 replaced the old Beethoven site. This monstrosity stands as a symbol for Vienna's misguided urban planning during the 1970s (see: Klein 1973).</span></div>
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Most of the information in the literature about Marie Weiler's father Count Ferdinand von Stockhammer is still fragmentary or wrong. Stockhammer was born on 6 July 1787 in the "Stockhammerisches Haus", Stadt 626 (today <a href="https://goo.gl/maps/Hx2pwVUfpWK2" target="_blank">Rotenturmstraße 4</a>), only child of Count Ignaz von Stockhammer (b. 9 October 1756) and his wife Maria Anna, née Bernrieder (b. 24 September 1759).<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Ferdinand von Stockhammer. His godfather was Mathias Huld, an inmate of a poorhouse. This old practice of charity was strictly observed in the Stockhammer family (A-Wd, Tom. 99, fol. 95v).</span></div>
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The early death of his parents – his mother died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17890221&seite=12&zoom=33" target="_blank">14 February 1789</a>, his father on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=17950401&seite=10&zoom=33" target="_blank">24 March 1795</a> – might well have had an effect on young Ferdinand's easygoing life and his love for the musical theater which brought him into contact with Cäcilia Laucher, who, like her sister, for some time was employed as singer at the court theater. On 31 March 1806, for instance, the two Laucher sisters took part in a <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18060409&seite=2&zoom=33" target="_blank">benefit concert of the <i>Tonkünstler-Sozietät</i></a> and on 22 March 1807, at <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18070331&seite=9&zoom=33" target="_blank">another concert</a> of the <i>Sozietät</i>, they sang the soprano parts in Hummel's cantata <i>Eudimione e Diana</i>. At the time of his affair with Cäcilia Laucher, Ferdinand Stockhammer lived at Stadt 1150 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=aZ1hRgY-cKkYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10365326" target="_blank">Kohlmarkt 7</a>).<br />
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<span style="font-size: x-small;">Count Ferdinand von Stockhammer ("Studiosus Landwehr Officier 3 Bat[taillon] 3 Compag[nie]") on a conscription sheet of Stadt 1150 from around 1810 (A-Wsa, Konskriptionsamt, Stadt 1148/11r)</span></div>
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Stockhammer kept a close relation to Vienna's musical life. He was a member of the board of representatives of the Gesellschaft der Musikfreunde and regularly housed concerts at his home (in 1819, Ignaz Moscheles gave the Viennese premiere of <a href="https://www.youtube.com/watch?v=tTjtrWh5Q8I" target="_blank">Hummel's op. 81</a> at Stockhammer's). In 1835, the composer <a href="https://de.wikipedia.org/wiki/Franz_Lachner" target="_blank">Franz Lachner</a> dedicated his first symphony to Stockhammer. Most interesting of all, in the early 1840s, Stockhammer was a very active protector of the "Wiedner Kirchenmusik-Verein" (sacred music society of Wieden) at the <a href="https://en.wikipedia.org/wiki/Karlskirche" target="_blank">Karlskirche</a>, at a time when Nestroy lived in that parish. In November 1837, after the death of Johann Nepomuk Hummel, Stockhammer organized a musical
memorial ceremony in the Karlskirche which was conducted by <a href="https://en.wikipedia.org/wiki/Conradin_Kreutzer" target="_blank">Conradin Kreutzer</a>. It is not known if Stockhammer ever had any contact with his daughter Marie Weiler, but he certainly knew about the existence of his grandchildren.On 16 September 1813, in the parish church of Hütteldorf (<a href="https://data.matricula-online.eu/de/oesterreich/wien/14-huetteldorf/01%252C2%252C3-04/?pg=29" target="_blank">Hütteldorf, Tom. 4, fol. 14v</a>), Stockhammer married his cousin Countess Johanna Nepomucena von Stockhammer (b. 16 September 1796). This marriage, which seems to have been arranged by the family to curb Stockhammer's passion for female opera singers, between 1815 and 1817 produced three children who all died very young.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafEzt0rR70voGMLBsS-VdcZHOslq6zZhh4Cn5XLQnv6cI1iBj4gHjiQ9gQa8bTmYTGCluevGcRDpuDfmUyygxMFWqsKD_Z9YRjaFQPof9y7_E9LAE5T6leZZSKVj_gUM-G8nDm2SgQ4Y/s1600/Stockhammer+1817+SM+10%252C+174.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafEzt0rR70voGMLBsS-VdcZHOslq6zZhh4Cn5XLQnv6cI1iBj4gHjiQ9gQa8bTmYTGCluevGcRDpuDfmUyygxMFWqsKD_Z9YRjaFQPof9y7_E9LAE5T6leZZSKVj_gUM-G8nDm2SgQ4Y/s320/Stockhammer+1817+SM+10%252C+174.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Ferdinand von Stockhammer's signature as witness of his sister-in-law Sophia von Stockhammer, on the occasion of her wedding on 29 May 1817 to Count Johann Heinrich von Auersperg (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/02-10/?pg=179" target="_blank">A-Wstm, Tom. 10, fol. 174</a>)</span></div>
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During the last years of their lives, the Stockhammers resided in the house Stadt 411, "Zum Englischen Gruß" ("The Angelic Salutation", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=5KhjRmzaLkYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10052890" target="_blank">Judenplatz 5</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMcVsA7xl5RLT6fJix7RznA75elu2-iArx1BVENl1c7GjABIayjnygWarvKwIMo0lezoNvLswGP4Q3tuIhN2YIQuVy2aRFRr8ii3jEOsz6S21uophA_GRIBOtLMvlYUsIGnJAhZ20QMfM/s1600/KB+411_7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="103" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMcVsA7xl5RLT6fJix7RznA75elu2-iArx1BVENl1c7GjABIayjnygWarvKwIMo0lezoNvLswGP4Q3tuIhN2YIQuVy2aRFRr8ii3jEOsz6S21uophA_GRIBOtLMvlYUsIGnJAhZ20QMfM/s400/KB+411_7.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Ferdinand and Johanna von Stockhammer, registered on a conscription sheet of Stadt 411 from about 1840. The notes "Stw" (Stadt Wien) and "gestorben" (deceased) were added after 1842 (A-Wsa, Konskriptionsamt, Stadt 411/7r). </span></div>
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Ferdinand von Stockhammer died of a stroke on 8 August 1845, during a summer stay in Baden bei Wien (Baden, St. Stephan, Tom 10, fol. 256), and was buried three days later in the Stockhammer family crypt in Purkersdorf (Purkersdorf, Tom. 6, fol. 100). His wife had already died on 20 June 1842 (Maria Hietzing, Tom. 3, fol. 32). On 22 August 1845 (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=wan&datum=18450821&seite=3&zoom=33" target="_blank"><i>Wiener Zeitung</i>, 21 August 1845, 799</a>), the "Wiedner Kirchenmusik-Verein" took part in the celebration of a Requiem for Stockhammer in the Karlskirche.<br />
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<b>Nestroy's Three Known Children</b><br />
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Apart from the miscarriage that his wife suffered on 22 December 1824, Nestroy until now was known to have fathered three children. A son with his wife and another son and a girl with his partner in life ("the faithful friend of my days", as he put it) Marie Weiler. These three children (whose lives have been covered in the literature) are the following:<br />
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<li><b>Gustav</b> Johann Wilhelm Nestroy was born on 21 April 1824 at <a href="https://goo.gl/maps/8uaHMEBnHe22" target="_blank">Heiligeweg 15</a> in Amsterdam (<a href="https://de.wikipedia.org/wiki/J%C3%BCrgen_Hein" target="_blank">Jürgen Hein</a> neither gives an exact shelfmark for the baptismal entry nor does he specify the church where the child was baptized). Gustav Nestroy became an employee of the "K.K. privilegierte Kaiser Ferdinands-Nordbahn" (<a href="https://en.wikipedia.org/wiki/Emperor_Ferdinand_Northern_Railway" target="_blank">I. & R. Emperor Ferdinand Northern Railway</a>) and in 1860 married Antonia Schöppesdorfer. On 29 April 1869 at 9 a.m. he died at Hietzing 247 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=xbcIRthC-a0UVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10196600" target="_blank">Lainzer Straße 30</a>) of "Lungenlähmung in Folge Hypertrophie des Herzens" (pulmonal arrest, caused by cardiac hypertrophy). The inheritance of his mother, who – seven years after the death of her divorced husband – was still under guardianship, amounted to 1952 gulden 8 kreuzer. Gustav Nestroy had no children. </li>
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<span style="font-size: x-small;">Gustav Nestroy's widow Antonia, listed as owner of the house Hietzing No. 247 in the 1880 <a href="https://www.digital.wienbibliothek.at/wbrobv/content/titleinfo/343761" target="_blank"><i>Orientirungs-Schema der Gemeinde Hietzing bei Wien</i></a> (Vienna: Verlag d. Gemeinde Hietzing) </span>
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<li><b>Karl </b>Johann Anton Nestroy was born on 3 October 1831, illegitimate son of Nestroy and Marie Weiler and baptized "Karl Laucher" (this is the name that appears in the index) on the same day in the Augustinian Church. On the occasion of his christening, the parish priest and Nestroy's colleagues Ignaz Frech von Ehrimfeld (<a href="https://de.wikipedia.org/wiki/Ignaz_Stahl_%28Schauspieler%29" target="_blank">Ignaz Stahl</a>) and <a href="https://de.wikipedia.org/wiki/Alois_Grois" target="_blank">Louis Grois</a> signed as witnesses to Nestroy's acknowledgement of paternity.</li>
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<span style="font-size: x-small;">The left half of Karl Nestroy's baptismal entry with a note at the bottom, added in 1858 by the parish priest Johann Georg Etz, referring to the child's legalization. The wrong name "Lacher" (which also appears in the Imperial decree) still originates from Weiler's false baptismal certificate. The transcription of this document in the <i>Dokumente</i> contains several astonishing mistakes (St. Augustin, Tom. 7, fol. 136).</span></div>
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On 3 February 1858, Karl Nestroy was officially legalized by Emperor <a href="https://en.wikipedia.org/wiki/Franz_Joseph_I_of_Austria" target="_blank">Franz Joseph I</a> as Johann Nestroy's legitimate son (at that time illegitimate children could only be legalized by an Imperial decree). Following a family tradition (his uncle Ferdinand had joined the military, because he was "groß und stark gewachsen"), Karl Nestroy became a soldier. On 18 August 1852, after his graduation from the <i><a href="https://de.wikipedia.org/wiki/K.u.k._Technische_Milit%C3%A4rakademie" target="_blank">k.k. Genie-Akademie</a></i>, he was appointed first-class lieutenant. After having reached the rank of captain in 1859, he retired early (obviously for reasons of health problems) in 1863. On 15 July 1880 – while already being very sick – he married Stefanie Maria Franziska von Bene. This wedding took place at Karl Nestroy's sickbed at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=kiBbRsiTHEYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10069202" target="_blank">Gumpendorfer Straße 3</a> (St. Josef ob der Laimgrube, Tom. 18, fol. 65) and not in the church of <a href="https://de.wikipedia.org/wiki/Laimgrubenkirche" target="_blank">St. Josef ob der Laimgrube</a> (as given in Obermaier 1996/97, 319). Karl Nestroy died on 30 July 1880 at Altmannsdorf 64 (Altmannsdorf, Tom. 2, fol. 11) of "organischer Herzfehler" (organic cardiac defect). </div>
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<li> <b>Maria</b> Cäcilia Nestroy was born on 2 April 1840 at Wieden 794 and baptized two days later in the <a href="https://en.wikipedia.org/wiki/Karlskirche" target="_blank">Karlskirche</a>. Her godmother was her grandmother "Cecile[!] Weiler" who on this occasion again described herself as "Kaufmanns<span style="font-size: x-small;">=</span>Witwe" (widow of a merchant). Nestroy professed to his paternity by signing the baptismal register. His friends, the actors Louis Grois and <a href="https://de.wikipedia.org/wiki/Franz_G%C3%A4mmerler" target="_blank">Franz Gämmerler</a> signed as witnesses. Like her elder brother, Maria Nestroy was also legalized in 1858 by the Emperor. On 12 October 1857, Maria Nestroy married the I. & R. cavalry captain Karl Sluka (1827–1891) with whom in 1861 (according to Hampel 1928) she had one daughter, Maria Karolina, who only lived for two weeks. Maria Sluka died on 18 April 1873, at <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=poxiRrTpHkYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10424957" target="_blank">Opernring 3</a> of cardiac arrest (St. Augustin, Tom. 9, fol. 105 [this date is missing in Hampel 1928]).</li>
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<b>Nestroy's Fourth Child: Adolph Johann Nestroy</b><br />
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Johann Nestroy and Marie Weiler had a previously unknown third child. A son, who was born on 25 March 1842, and baptized Adolph Johann on 28 March 1842 in the Karlskirche. <br />
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<span style="font-size: x-small;">The entry concerning the baptism of Adolph Johann Nestroy on 28 March 1842 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/04-st-karl-borromaeus/01-12/?pg=78" target="_blank">St. Karl, Tom. 12, fol. 75</a>). The editors of the <i>Dokumente</i> do not address the fact that Maria Nestroy's baptismal entry in the records of the Karlskirche is a fair copy of an original that still exists.</span></div>
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<i>Nahme des Taufenden</i>. Joh: Jestrźabek, / Cooperator.<br />
<i>Jahr, Monath, Tag.</i> 1842. den 25<span style="font-size: x-small;"><u>ten</u></span> / März geboren, / den 28<span style="font-size: x-small;"><u>ten</u></span> ge<span style="font-size: xx-small;">=</span> / tauft.<br />
<i>Wohnung und Nro. des Hauses</i>. Wieden / N° 794<br />
<i>Nahmen des Getauften</i>. Adolph Jo<span style="font-size: xx-small;">=</span> / hann<br />
<i>Geschlecht. Unehelich. Männlich. </i>1<br />
<i>Religion. Katholisch.</i> 1<br />
<i>Aeltern.</i><br />
<i>Vaters Nahme und Condition oder Charakter</i>. Johann Nep: Nestroy, / Schriftsteller und Schau<span style="font-size: xx-small;">=</span> / spieler, gebürtig aus / Wien, kath: Rel: ehe<span style="font-size: xx-small;">=</span> / licher Sohn des Johann / Nestroy, Doctors bei<span style="font-size: xx-small;">=</span> / der Rechte, Hof<span style="font-size: xx-small;">=</span> und Ge<span style="font-size: xx-small;">=</span> / richtsadvokaten, und / der Magdalena, gebor<span style="font-size: xx-small;">=</span> / nen Constantin.<br />
<i>Mutters Tauf<span style="font-size: xx-small;">=</span> und Zunahmen</i>. Maria Laucher, ge<span style="font-size: x-small;">=</span> / bürtig aus Wien, kath: / Rel: Tochter der Cä<span style="font-size: xx-small;">=</span> / cilia Laucher, und des / des Grafen Ferdinand / Stockhammer, der / laut Taufschein sich als / Vater erklärt hat.<br />
<i>Todtgeburten</i>. / <br />
<i>Pathen</i>. Cecile Laucher / ehemalige k.k. / Hofoperistin.<br />
<i>Anmerkungen</i>. Hebamme: Barbara / Gruber, Stadt N° 223.<br />
[additional note] Daß der bei der Taufe anwesende H. Johann Nestroy sich frewillig / als Vater dieses Kindes erklärt und verlangt habe als solcher eingetragen / zu werden, bestättigt nebst zwey Zeugen, seine eigenhändigen Unterschrift:<br />
Joh: Nestroy Schrift<span style="font-size: xx-small;">=</span> / steller und Schauspieler / m.p.<br />
Ignaz Frech Edler von / Ehrimfeld, als Zeuge / m.p.<br />
Louis Grois / als Zeuge / m.p.</blockquote>
Adolph Nestroy's place of birth was the house Wieden No. 794, "Zum Luftschützen" ("The Airgunner", today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=nDZeRv3NGEYVuqFEE9YTRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10063446" target="_blank">Rechte Wienzeile 9</a>). Nestroy lived there, because this building was located south of the <a href="https://en.wikipedia.org/wiki/Wien_%28river%29" target="_blank">Wien river</a>, exactly opposite the <a href="https://en.wikipedia.org/wiki/Theater_an_der_Wien" target="_blank">Theater an der Wien</a> which – crossing the river on the so-called "<a href="https://www.geschichtewiki.wien.gv.at/Fokanedisteg_(4,_6)" target="_blank">Theatersteg</a>" – was only a five-minute walk away from Nestroy's home. Wieden 794 was a two-storeyed house which had a large yard and on its south side was divided from the <a href="https://de.wikipedia.org/wiki/Freihaus_auf_der_Wieden" target="_blank">Freihaus</a> by the Mühlbach.<br />
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<span style="font-size: x-small;">The house Wieden 794 (in the center) on the map of Robert Messner's <i>Die Wieden im Vormärz</i> (Vienna: Verb. d. Wissenschaftl. Gesellschaften Österreichs, 1975). The red color marks the preserved houses dating from before 1845. The houses of the Laimgrube, north of the river, are not visible, because this map only covers the Wieden.</span></div>
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<span style="font-size: x-small;">A photograph of the front of the house Wieden 794 taken in 1902 by <a href="https://de.wikipedia.org/wiki/August_Stauda" target="_blank">August Stauda</a> (Wien Museum, I.N. 24266). Nestroy's play <i>Einen Jux will er sich machen</i> was written in this building. Nestroy's landlord was the flax dealer Leopold Rainharter. In 1903 the studio of the painter <a href="https://en.wikipedia.org/wiki/Olga_Wisinger-Florian" target="_blank">Olga Wisinger-Florian</a> was located in this house.<br /></span></div><div style="text-align: center;"><span style="font-size: x-small;"> </span></div>
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<span style="font-size: x-small;">A photograph of the northeastern part of Wieden 794 taken in 1902 by August Stauda (Wien Museum, I.N. 41948/2).<br /></span></div>
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<span style="font-size: x-small;">A photograph of the north wing of Wieden 794 from the same series (Wien Museum, I.N. 41948/1)</span></div>
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<span style="font-size: x-small;">A photograph of the northwestern corner of the yard of the house Rechte Wienzeile 9 in a much more desolate state during the 1930s (A-Khm, Theatermuseum, FS_PA85184alt)</span></div>
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<span style="font-size: x-small;">Johann Nestroy's family with Marie Weiler being described as "mother of the below children" in an 1840 entry on a conscription sheet of Wieden 794. Weiler's mother is listed as "Afterp[artei] (subtenant) Cezilia Weiler[!] 792 Kaufmannswitwe[!] Tillingen Bay[ern]" (A-Wsa, Konskriptionsamt, Wieden 794/27r). For unknown reasons, this document is not included in the <i>Nestroy Dokumente</i>.</span></div>
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At this point a few comments regarding Adolph Nestroy's baptismal entry are necessary. Although the text of this document very much resembles Maria Nestroy's (already published) baptismal entry from 1840, a number of small differences are of interest. Because the officiating priest seems to have been better acquainted with the parents, certain details, that were considered important two years earlier, are missing. Particularly interesting is the fact that the child's godmother (and grandmother), who in 1840 appeared as "Cecile Laucher Kaufmanns<span style="font-size: xx-small;">=</span>Witwe", now calls herself "ehemalige k.k. Hofoperistin" (a mix-up with her sister is impossible, because at that time Antonia Laucher was already the widowed Antonia von Nespern whose husband had died in 1839). The midwife Barbara Gruber is of interest, because in the 1850s she advanced to the position of court midwife and in 1858 assisted the <a href="https://en.wikipedia.org/wiki/Empress_Elisabeth_of_Austria" target="_blank">Empress</a> with the birth of <a href="https://en.wikipedia.org/wiki/Rudolf,_Crown_Prince_of_Austria" target="_blank">Crown Prince Rudolf</a>. Gruber was born Barbara Hofmann on 22 September 1800 (A-Ws, Tom. 45, fol. 18). In 1822 she married the municipal tax official Joseph Gruber from whom she later lived separated (A-Ws, Tom. 43, fol. 101). On 17 August 1880, she died a house owner in <a href="https://en.wikipedia.org/wiki/Baden_bei_Wien" target="_blank">Baden bei Wien</a> (Baden, St. Stephan, Tom. 19, fol. 94). Like in 1831, Nestroy's two witnesses were his friends, the actors Louis Grois and Ignaz Frech von Ehrimfeld (Ignaz Stahl), the latter of whom caused theater historians to spill a lot of ink, without ever determining his correct date of birth. Ignaz Stahl was not born on 20 October 1790 (a wrong date that authors have copied from <a href="http://www.literature.at/viewer.alo?objid=11785&viewmode=fullscreen&scale=3.33&rotate=&page=92" target="_blank">Wurzbach's article</a> for more than 100 years). He was born on 20 October 1788 in the "Frech'sches Haus", Stadt 395 (<a href="https://goo.gl/maps/9J7KqM7QwqH2" target="_blank">Tiefer Graben 28</a>) and baptized Ignaz Amand Johann Nepomuk Felizian, only child of Ignaz Nicolaus Georg Amand Frech von Ehrimfeld (1759–1827), <a href="https://books.google.at/books?id=Wh5fAAAAcAAJ&pg=PA6#v=onepage&q&f=false" target="_blank"><i>Hofkonzipist</i> with the United Bohemian and Austrian Court Chancery</a>, and his wife Barbara, née Haas von Grünberg (1766–1847).<br />
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<span style="font-size: x-small;">The entry concerning the baptism of Ignaz Frech von Ehrimfeld (Ignaz Stahl) on 20 October 1788 (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-unsere-liebe-frau-zu-den-schotten/01-43/?pg=80" target="_blank">A-Ws, Tom. 43, fol. 77</a>). Stahl's biographical sketch (A-Wst, H.I.N. 174.762), which he wrote in 1860 for <a href="https://de.wikisource.org/wiki/Moritz_Bermann" target="_blank">Moritz Bermann</a>, proves that Stahl himself was unaware of his correct date of birth. The wrong year of birth also appears on <a href="https://www.austriasites.com/vienna/assets/img/sehenswuerdigkeiten/bezirk03/wien03_friedhof_st_marx_grab_2141_ignaz_stahl.jpg" target="_blank">Stahl's tombstone</a> in St. Marx.<br /></span></div>
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Ignaz Frech von Ehrimfeld adopted the stage name <a href="http://www.bildarchivaustria.at/Pages/ImageDetail.aspx?p_iBildID=3788826" target="_blank">Ignaz Stahl</a>, because he obviously did not want to embarrass his noble relatives with his acting career. By doing this, he caused a lot of posthumous confusion. Some amusingly ignorant theater historians of the <i>Don Juan Archiv</i> actually believe that Frech's pseudonym "Ignaz Stahl" was a real name of a person whose pseudonym[!] was "Tobias Frech von Ehrimfeld" – who actually was a real person, namely the actor's cousin, the writer Tobias Frech von Ehrimfeld (1785–1809).<br />
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<span style="font-size: x-small;">The seal of the Frech von Ehrimfeld family (A-Whh, OMaA 640-32)</span></div>
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Why did Nestroy name his third son Adolph? Who was the child's spiritual namesake? It was probably the composer <a href="https://de.wikipedia.org/wiki/Adolf_M%C3%BCller_senior" target="_blank">Adolph Müller senior</a> who worked together with Nestroy as Kapellmeister at the Theater an der Wien and also wrote the music for Nestroy's new play. The birth of Adolph Nestroy should also be put into a broader biographical perspective. During Maria Weiler's third pregnancy, Nestroy wrote one of his most successful plays: <a href="https://en.wikipedia.org/wiki/Einen_Jux_will_er_sich_machen" target="_blank"><i>Einen Jux will er sich machen</i></a> which premiered on 10 March 1842, at the Theater an der Wien. Weiler's pregnancy was the reason why Nestroy did not put a role for her in this play. <br />
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Johann Nestroy's fourth child Adolph already died on 14 April 1842, of "Kopffraisen" (<i>Eclampsia infantum</i>, i.e. infantile convulsions).<br />
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<span style="font-size: x-small;">The entry concerning Adolph Nestroy's death in the municipal death register (A-Wsa, Totenbeschreibamt 191, N, fol. 5v)</span><br />
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[<u>den 14<span style="font-size: x-small;">ten</span></u> April] <br />
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Nestroy Johann, Schauspieler an Theater an d. Wien, s.[sein] K.[ind] Adolf; kath. 3 Woch: v: Wieden N 794. am Kopffraisen <u>dto</u> [Johann Lauttner]</div>
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Nestroy Johann, actor at the Theater an der Wien, his child Adolf, aged 3 weeks from Wieden 794 was inspected by coroner Lauttner to have died of convulsions.</blockquote>
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On 16 April 1842, Adolph Nestroy was consecrated in the Karlskirche according to the "8. Rubrik" (8th category) of the<i> Stollordnung</i> (regulation of burial fees) and buried on 17 April 1842 in the cemetery <a href="https://de.wikipedia.org/wiki/Waldm%C3%BCllerpark" target="_blank"><i>Außer Matzleinsdorf</i></a>.</div>
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<span style="font-size: x-small;">The entry concerning Adolph Nestroy's obsequies in the parish records of the Karlskirche (St. Karl, Tom. 8, fol. 295)</span></div>
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<i>Zeit des Sterbens</i>. [1842] 14 April<br />
<i>Wohnung und Nro. des Hauses</i> Wieden / N° 794.<br />
<i>Nahmen des Gestorbenen, und des Condition oder Charakter, allenfalls Charakter des Ehegattens oder Vaters.</i> Nestroy Adolph, / Kind des Johann Nestroy, Schauspie<span style="font-size: xx-small;">=</span> / lers, an Kopffraisen<br />
<i>Geschlecht. Männlich. </i>/<br />
<i>Religion. Katholisch. </i>/<br />
<i>Alters Jahre</i> 3 / Wochen<br />
<i>Todesarten Krankheit Gewöhnliche</i> /<br />
<i>Ort, wohin, und Tag, an welchem die Begräbniß geschehen.</i> Matzleinsdorf / den 16 April 1842.<br />
<i>Anmerkungen.</i>. 8 Rubr.</blockquote>
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How important this short-lived infant was to his parents is signified by the fact that Adolph Nestroy was given an own grave in the Matzleinsdorf cemetery (9th row, No. 1368). For a child of this young age such an expense was quite extraordinary. One is reminded of Nestroy's orders in his letter of 2 August 1842 to Ignaz Stahl, concerning a possible burial of the actress Louise Rusa (who was planning to undergo surgery): "An attractive grave, surely not in an ordinary one, among every Tom, Dick and Harry ["Creti und pleti"]." It is possible that Nestroy and Weiler originally had planned to be eventually buried in the Matzleinsdorf cemetery, together with their last child.</div>
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<span style="font-size: x-small;">The entry concerning Adolph Nestroy's grave ("1368 Nestroy <u>Adolf</u>, Schauspielers Kind, Wieden N° 794, beerd.[igt] 17. April 1842") in the old register of own graves in the Matzleinsdorf cemetery (A-Wsa, Matzleinsdorfer Kommunalfriedhof, B2-1, alt: II-D-2, Eigene Gräber, fol. 88v)</span></div>
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How could the existence of Adolph Nestroy for such a long time escape the attention of Nestroy scholars? The most important source for the existence of Nestroy's two other illegitimate children was the Emperor's decree of legalization from 1858. Of course, Adolph Nestroy never needed to be legalized, because he died too young. In 1928, Bruno Hampel was aware of Marie Nestroy's date of birth and he also knew that she had been baptized in the Karlskirche. He could not check the entry however, because the <a href="https://en.wikipedia.org/wiki/Knights_of_the_Cross_with_the_Red_Star" target="_blank"><i>Knights of the Cross with the Red Star</i></a> – who are administrating this parish – did not grant him permission to access the church records. All later Nestroy scholars (except for Heinz Schöny who just copied everything from Hampel) fell victim to a beginner's mistake: while checking the church records, they looked for something they already knew, instead of maintaining a broad-minded approach in a search for something they possibly did not know. The routine procedure of checking the baptismal index (which in the Karlskirche parish consists of a separate book) occurred to no one.<br /></div>
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<span style="font-size: x-small;">Daguerrotype of Nestroy from around 1850 (Wien Museum, I.N. 57459))</span></div>
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Similar to the case of the identification of <a href="http://michaelorenz.blogspot.co.at/2014/09/joseph-haydns-real-wife_11.html" target="_blank">Haydn's real wife</a>, the discovery of Adolph Nestroy's short existence changes very little in Nestroy's biography. But it should change our perspective on current Nestroy research and make us more skeptical concerning what we read in the cutting-edge literature. <br />
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<b>Bibliography</b><br />
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<blockquote class="tr_bq">
Bartsch-Salgast-Dyhrn, Rudolf. 1954. "Das Wiener Geschlecht Nesper (von Nespern)".<i> Adler. Zeitschrift für Genealogie und Heraldik</i>. 3. (XVII.) Band, 11. Heft, 154-158.</blockquote>
<blockquote>
Hampel, Bruno. 1928. "Die Familie Nestroy und die Sippe der Gattin des Dichters". <i>Monatsblatt Adler</i> 10, 369-87.<br />
<br />
Hein, Jürgen. 1988. "Nestroy in Amsterdam". <i>Nestroyana</i> 8, 53-69.<br />
<br />
Klein, Rudolf. 1973. "Requiem für ein Wiener Beethovenhaus (3, Landstraßer
Hauptstraße 26)". <i>Wiener Geschichtsblätter</i> 28, 26-28.<br />
<br />
Obermaier, Walter. 1996/97. "Aus Johann Nepomuk Nestroys Familie". <i>Jahrbuch des Vereins für Geschichte der Stadt Wien</i>, 307-319.<br />
<br />
–––––––. 2007. <i>Johann Nestroy. Sämtliche Briefe.</i> Vienna: Deuticke.<br />
<br />
–––––––. Böhm, Hermann. 2009. <i>Johann Nestroy Dokumente</i>. Vienna: Deuticke.<br />
<br />
Orel, Alfred. 1958. "Opernsänger Johann Nestroy". <i>Jahrbuch des Vereins für Geschichte der Stadt Wien</i>, 94-113.<br />
<br />
Rommel, Otto. 1930. <i>Johann Nestroy</i>. Vienna: Anton Schroll & Co.<br />
<br />
Schöny, Heinz. 1964. "Neues zur Stammtafel Nestroy". <i>Adler. Zeitschrift für Genealogie und Heraldik</i> 6. Bd., 15./16. Heft.<br />
<br />
–––––––. 1977. "Die Vorfahren des Dichters Johann Nestroy". <i>Adler. Zeitschrift für Genealogie und Heraldik</i> 11. Bd., Heft 1.</blockquote>
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© Dr. Michael Lorenz 2015. All rights reserved.<br />
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Updated: 14 March 2023</div>
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<b>Postscript (November 2017)</b><br />
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In <i>Nestroyana</i> 3/4 (2016), the journal of the <i>Internationale Nestroy-Gesellschaft</i>, Walter Obermaier, the editor of the <i>Nestroy Dokumente</i>, republished the above information related to Nestroy's previously unknown son. He gave credit to my publication, graciously praised my research, and tried to explain this belated discovery and the negligence of Nestroy scholars as follows: "This musicologist [Dr. Lorenz] is a proven researcher of sources, in particular meticulous research concerning persons in which he relies not least on archival material and the online portal <i><a href="http://data.matricula-online.eu/de/" target="_blank">Matricula</a></i> where for several years the records of many parishes can be retrieved." Obermaier's statement is based on a misunderstanding. My discovery had nothing to do with <i>Matricula</i>. I discovered the existence of Nestroy's son Adolph already in 2011, at a time when the Viennese parish records had not yet been digitized. I have been conducting research in Vienna's parish archives for more than 20 years and, owing to my good relations to several parish secretaries, I was able to scrutinize material that no other present-day researcher has ever seen. During my long work in the parishes, I never met a Nestroy scholar. The records of the St. Karl parish may have been inaccessible to Bruno Hampel before WWII, but since then, thanks to the friendliness of the parish priest and his secretary Josef Machaček, for several decades, the records of this parish have been easily accessible to researchers. And yet, no Nestroy scholar ever bothered to visit the beautiful Vienna headquarter of the <a href="https://en.wikipedia.org/wiki/Knights_of_the_Cross_with_the_Red_Star" target="_blank">Knights of the Cross with the Red Star</a>. It was always so much easier to copy Hampel's flawed article from 1928. Symptomatic of Obermaier's flawed perspective is the fact that – like countless of his colleagues – he is obviously holding the belief that the Vienna church records have been completely digitized. This is a misconception. The digitization of these records was done by people who had no previous knowledge of the actual holdings of the parish archives. These people came to the parishes like managers of a foreign corporation and often decided on a whim which series of books should be digitized. No experts on Viennese parish archives were ever consulted by <i>Matricula</i> which resulted in important sources being completely ignored. The supposed completeness of digitization of the Vienna church records, which is currently being presented to the public, is pure fiction. <br />
<br />Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com2tag:blogger.com,1999:blog-6705638937146105675.post-3203628906616259722015-09-06T22:32:00.040+02:002024-02-21T16:09:52.415+01:00A Godson of Frédéric ChopinAlthough Chopin's second stay in Vienna lasted more than ten times longer than his first one in 1829, it is only marginally covered by the literature. Chopin made the acquaintance of many Viennese fellow musicians, but was obviously so distracted by the events in his homeland and his unrequited love for <a href="https://en.wikipedia.org/wiki/Konstancja_G%C5%82adkowska" target="_blank">Konstancja Gładkowska</a> that he became stuck in a kind of lethargy and for a surprisingly long time appeared as a pianist only in private circles. Eventually, he gave one public concert and left Vienna in July 1831. Our knowledge concerning Chopin's second sojourn in Vienna is reduced by the fragmentary source material: from a period of eight months only twelve of Chopin's letters, two album entries (and one lost letter, summarized by <a href="https://pl.wikipedia.org/wiki/Maurycy_Karasowski" target="_blank">Maurycy Karasowski</a>) survive. And this is not the only problem. The fact that there is still no correct and fully reliable English translation of Chopin's early Polish letters, and all kinds of strange errors are being dragged along in the literature, casts a revealing light on the current state of Chopin research. Many Mozart scholars could feel very much at home in this kind of situation. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMUqGz3Fl1mpC19qrXpWAg0MSeuG2slWLz2aeFiHv8B-F8axjOlSjWRSiiU9ut1VKoopmInuMlLJdg0oHCYIGfazkA8FHPgVt925y5HFGNin3HXtTOwUAxSFwFN4i_5i1WcUshGkCHEc/s1600/Image5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKMUqGz3Fl1mpC19qrXpWAg0MSeuG2slWLz2aeFiHv8B-F8axjOlSjWRSiiU9ut1VKoopmInuMlLJdg0oHCYIGfazkA8FHPgVt925y5HFGNin3HXtTOwUAxSFwFN4i_5i1WcUshGkCHEc/s320/Image5.jpg" width="267" /></a></div>
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<span style="font-size: x-small;">Chopin in 1831. Unknown artist, mixed technique: coloured pencils, pastel, opaque paints, 365 x 295mm. Muzeum Fryderyka Chopina, Warsaw (M/1457).</span></div>
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In this article, which can only be a first step towards future research, I will not present a detailed account of the eight months which in 1830/31 Chopin spent in Vienna. This task should be done by much better qualified Chopin scholars whose job it is to do this kind of work. I shall deal with the previously unknown fact that in March 1831 Chopin officiated as godfather. I shall present a number of unknown sources related to this event, and I shall address a few unresolved issues that still exist in connection with Chopin's second Vienna sojourn.<br />
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<b>Chopin's Residence: The House Stadt 1151</b><br />
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On 23 November 1830, at 9 a.m., Chopin and his friend <a href="https://en.wikipedia.org/wiki/Tytus_Woyciechowski" target="_blank">Tytus Woyciechowski</a> arrived in Vienna. First, they took accomodation in the hotel "<a href="https://www.geschichtewiki.wien.gv.at/Zur_Stadt_London" target="_blank">Zur Stadt London</a>" at <a href="https://goo.gl/M1X6Ll" target="_blank">Stadt 684</a>, then they moved to the "<a href="https://www.geschichtewiki.wien.gv.at/Zum_goldenen_Lamm_(2)" target="_blank">Goldenes Lamm</a>" at <a href="https://goo.gl/0Kg5eF" target="_blank">Leopoldstadt 581</a>. Together with the hotels "Zur Stadt Frankfurt" and "Zum Wilden Mann", these quarters were the most expensive hotels in Vienna.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJUPwXou1D9lwBep2iMPrn2Z2zWu5nK-mz3IUnQftCHNPlIY9wdllbNq2uWeUErpBBwVOpn3VypPLTC6ayBU8H7LR2CfgWgmGSFLjj9263llXL-f94QdCU4HUkRQzPTBXBm7kBATZtog/s1600/Stadt+London.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJUPwXou1D9lwBep2iMPrn2Z2zWu5nK-mz3IUnQftCHNPlIY9wdllbNq2uWeUErpBBwVOpn3VypPLTC6ayBU8H7LR2CfgWgmGSFLjj9263llXL-f94QdCU4HUkRQzPTBXBm7kBATZtog/s320/Stadt+London.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The hotel "Stadt London", Stadt 684 on the Fleischmarkt. On its left is the old university library building which today houses the Vienna University Archive. </span></div>
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<span style="font-size: x-small;">The hotel "Zum Goldenen Lamm" in the Leopoldstadt. Lithography by Franz Josef Sandmann after Rudolf von Alt (A-Wn, 197.898 - B)</span></div>
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Before the end of November, Chopin and Woyciechowski rented three rooms on the third floor of the house "Zum Englischen Gruß", Stadt 1151 ("<a href="https://www.geschichtewiki.wien.gv.at/Zum_englischen_Gru%C3%9F" target="_blank">The Angelic Salutation</a>", today <a href="https://goo.gl/ucc8kf" target="_blank">Kohlmarkt 9</a>) from the apartment's main tenant Auguste von Lachmanovich, a Berlin-born widow, who, for a long time, had lived in Poland and had a polish sister-in-law. This tenancy may have been arranged with the help of Lachmanovich herself, her tenant Dr. Konrad Stube, a lawyer from Warsaw, or Dominik Artaria who owned the biggest share of the house. In a <a href="http://en.chopin.nifc.pl/chopin/letters/detail/page/4/id/684" target="_blank">letter to his family</a> of 1 December 1830 Chopin describes his successful search for a long-term residence:<br />
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We have rented three rooms at the Kohlmarkt, in the main street. It's true they are on the third floor but they are beautifully, most handsomely and elegantly furnished, and the monthly rent is quite low. My share costs me 25 florins. They are occupied at the moment by a kind of general-admiral, an Englishman, but he is moving out today or tomorrow. If he is an admiral I shall attract all the admiration so the house will lose nothing by the change. (Don't read out this letter to everybody or they will think I am becoming conceited!) Moreover the housekeeper, or rather the landlady of the apartment, is something of a baroness, a pretty widow, quite young, who, as she told us, had lived in Poland and had already heard about me in Warsaw. She knows the
Skarzynskis and used to frequent high society; she asked Tytus whether he knows that pretty Mme Rembielinska and so on. Such a noble lady is worth 25 florins, if not more; besides she loves Poles, has no use for Austrians, is a Prussian and a very sensible woman. [...] We moved from the "Stadt London", where the food was extraordinarily salty, to the "Golden Lamb" in the Leopoldstadt and we shall hang
on here in the meantime until that bewhiskered, lank, dried-up,
green-purple-yellow-faced Englishman clears out from the baroness's
place. In that "lavishly appointed" apartment, the expression comes from
Tytus, who is resolved to make a smart fellow out of me, I shall at
length be able to play and think of giving a concert, but not without a
fee. Well, we shall see. </blockquote>
After Woyciechowski's sudden departure, Chopin did not stay on the third floor of Stadt 1151 for long. Because it saved him a lot of money, he let some English people rent his rooms and moved to the fourth floor where he also felt very comfortable. On 22 December 1830 he writes to his family:<br />
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I must tell you that I am now living on the fourth floor. Some English people heard from my predecessor [i.e. the admiral] about my beautiful apartment and wanted to rent one room. But when they arrived they used the pretext of looking over one to inspect all three, and they liked them so much that they offered me on the spot 80 florins if I would let them take over the rooms, which I was only too delighted to do. Baroness Lachmanowicz, my good and kind landlady, who is Mme Uszakow's sister-in-law, had a suite of rooms just like mine on the fourth floor: I was shown them, I took them, and now I am lodged as well for 10 florins a month as I was for 70. Of course you think your poor boy is living under the attic. Not at all there's still a fifth floor above me before you come to the roof, and I am a clear 60 florins in the pocket by the deal. People still come to see me and even His Excellency Count Hussarzewski has to climb up all my stairs. But the street is marvellous, right in the centre of the town, close to everything. When I go downstairs I have the most lovely walks Artaria's music-shop to my left, Mechetti's and Haslinger's to my right, behind me the theatre. What more can one want? [...] How comfortable I am in this room! Facing me are housetops, down below pygmies. I am right above them.</blockquote>
In a letter to <a href="https://en.wikipedia.org/wiki/Jan_Matuszy%C5%84ski" target="_blank">Jan Matuszyński</a> of 26 December 1830, Chopin describes his apartment on the fourth floor of Stadt 1151 and his daily life in these quarters:<br />
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Never mind, allow me to use what is left of the paper to describe my life here. I am lodged on the fourth floor in what is really the most beautiful street, so high up that I must lean right out of the window to see what's going on down below. Young Hummel has drawn a picture of my room (you will see it in my new album when I return to the bosom of my family), it is large, neat, with three windows. My bed is placed opposite the windows; on the right is my marvellous piano and to the left a sofa. There are mirrors between the windows and in the centre a fine, large, mahogany round table; polished parquet floor. It's quiet. The gentleman is not at home to visitors after dinner and so I can fly towards you all in my thoughts. In the morning my unbearably stupid servant wakes me, I get up, my coffee is served, I sit down to play and often have to drink my coffee cold. Then at about nine my German-teacher comes; after the lesson I usually play and then Hummel draws my portrait and Nidecki practises my concerto at least that is what has happened lately.</blockquote>
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<span style="font-size: x-small;">The only known photograph of Chopin's residence, the house Stadt 1151, taken in 1900 by <a href="https://de.wikipedia.org/wiki/August_Stauda" target="_blank">August Stauda</a> shortly before the building's destruction (Wien Museum, I.N. 24501). At the lower right is the pharmacy "<a href="https://de.wikipedia.org/wiki/Zum_goldenen_Hirschen_%28Apotheke%29" target="_blank">Zum goldenen Hirschen</a>" at <a href="https://commons.wikimedia.org/wiki/Category:Kohlmarkt,_Vienna?uselang=de#/media/File:Kohlmarkt_11.jpg" target="_blank">Stadt 1152</a>.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu9ftozzvaaBaBg3c0Ehlr8YIx5RCw3rfhbhmn2M4Z4vQT_ABmMphjaeut9jDNxUBQ8EkO91tm4s5IWKIUXhdibnMRPvTgiDgQazYoZpAd9-vFThYy5RB4psc4dnHbNkDZ_WDooIM9MfE/s1600/Wilhelm+Burger+1874%252C+A-Wn+WB+76B%2528C%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="771" data-original-width="800" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu9ftozzvaaBaBg3c0Ehlr8YIx5RCw3rfhbhmn2M4Z4vQT_ABmMphjaeut9jDNxUBQ8EkO91tm4s5IWKIUXhdibnMRPvTgiDgQazYoZpAd9-vFThYy5RB4psc4dnHbNkDZ_WDooIM9MfE/s320/Wilhelm+Burger+1874%252C+A-Wn+WB+76B%2528C%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The earliest existing photograph of the Kohlmarkt, seen from the Graben towards the <a href="https://de.wikipedia.org/wiki/Michaelerplatz" target="_blank">Michaelerplatz</a>, taken in 1874 by <a href="https://en.wikipedia.org/wiki/Wilhelm_J._Burger" target="_blank">Wilhelm Burger</a> (A-Wn, WB 76B(C)). Chopin's residence was the fifth house on the left.</span></div>
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The rough layout of the apartments on the third and fourth floor of Stadt 1151 is documented in the 1788 <i>Steuerfassion</i> (municipal tax register). Chopin's first abode on the third floor consisted of six rooms, three chambers, a kitchen, an attic, a storage space for wood, and a cellar.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_bwFk1KEs4kYjy6R9nwsuPL-JLW0IG2Vbj-NnrEEATcKHFO2HDyJUo4BzGXiYBsQoHN6qvfEWVZPU6f8ByUKGB7LyYMEwTS4GmQOjCynrG8PrSl5WLOdKSS4HlbZNCOm-f76SCrTtW0/s1600/B34_4%252C+227.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="245" data-original-width="576" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_bwFk1KEs4kYjy6R9nwsuPL-JLW0IG2Vbj-NnrEEATcKHFO2HDyJUo4BzGXiYBsQoHN6qvfEWVZPU6f8ByUKGB7LyYMEwTS4GmQOjCynrG8PrSl5WLOdKSS4HlbZNCOm-f76SCrTtW0/s320/B34_4%252C+227.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The apartment on the third floor of Stadt 1151 in the 1788 tax register (A-Wsa, Steueramt B34/4, fol. 227). The tenant in 1788 was the merchant Aaron Leiderstorfer.</span></div>
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On the fourth floor there were two smaller apartments which of course were also cheaper. One consisted of four rooms, two chambers, a kitchen, attic, storage room, and cellar, and the other had one room, one chamber, an antechamber, attic, storage room, and a cellar. The same layout applied to the fifth floor whose existence right under the roof (in accordance with Chopin's description) is documented by this source.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZs3JqrSYGMYshyphenhyphenUBXPLc0xwajC-mpctBaFqBiVXpSlgPfkpT2lkX1oE0ByruwehOWGSjGS5bbfdQwzyQ3L717a0BSGYX-2YfANfwDICNw5X4eQMxdQrwNTanWLztq6kMDNWVzGsa2e8M/s1600/B34_4%252C+228.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="456" data-original-width="576" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZs3JqrSYGMYshyphenhyphenUBXPLc0xwajC-mpctBaFqBiVXpSlgPfkpT2lkX1oE0ByruwehOWGSjGS5bbfdQwzyQ3L717a0BSGYX-2YfANfwDICNw5X4eQMxdQrwNTanWLztq6kMDNWVzGsa2e8M/s320/B34_4%252C+228.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The layout of the apartments on the fourth floor of Stadt 1151 (A-Wsa, Steueramt B34/4, fol. 228). The tenant of the bigger apartment in 1788 was the salesman Joseph Ruckhart.</span></div>
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In the conscription records of Stadt 1151, which were drawn up in late 1830 by the municipal conscription officer, Chopin's name appears twice. The first document, the <i>Fremden-Tabelle</i> (table of foreigners) was (according to <a href="https://www.geschichtewiki.wien.gv.at/Franz_Zagiba" target="_blank">Franz Zagiba</a>) "found by coincidence" and in October 1949 was on display at the Chopin exhibition at Vienna's <i>Agathon</i> gallery. It was published in 1951 under the misnomer "Meldezettel" in Zagiba's book <i>Chopin und Wien</i>. On this sheet Chopin is listed as "Friedrich Schopine [born] <span style="text-decoration: overline;">810</span> Partikulier Warschau Pohlen", together with his fellow countryman Konrad Stube ("<span style="text-decoration: overline;">801</span> Dor Rechte Warschau Pohlen"), Chopin's landlady Auguste von Lachmanovich ("<span style="text-decoration: overline;">797</span> Gutsbesitzer Wittwe Berlin Preußen"), her son Paul ("<span style="text-decoration: overline;">820</span> Berlin"), and the servant Karl Stelly ("<span style="text-decoration: overline;">812</span> Bedienter Wetzdorf NOe"). Stelly, born on 30 April 1811 in <a href="https://de.wikipedia.org/wiki/Schloss_Wetzdorf" target="_blank">Schloss Wetzdorf</a>
(Großwetzdorf, Tom. 1, fol. 61), was probably the servant who made Chopin's breakfast coffee and whom, in a letter, Chopin refers to as being "unbearably stupid". It is interesting to note that, although Chopin lived above Baroness Lachmanovich, she is registered in apartment five and Chopin in apartment four.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5mwBObVfy-qse88yZ-s0M-Cye8p46DEN7_NWN0N0PiI6a-QwxG4HrvcB1yxonWeN-RKbHBOb7MzfqpTyGuSjgOLMyPiAhswNlNywLeoX0QUYfV4tNrvvio9kgUcVsp3FR4F3fhscwnnI/s1600/Chopin%252C+KB+Stadt+1151_22.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="715" data-original-width="741" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5mwBObVfy-qse88yZ-s0M-Cye8p46DEN7_NWN0N0PiI6a-QwxG4HrvcB1yxonWeN-RKbHBOb7MzfqpTyGuSjgOLMyPiAhswNlNywLeoX0QUYfV4tNrvvio9kgUcVsp3FR4F3fhscwnnI/s320/Chopin%252C+KB+Stadt+1151_22.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">Chopin and his housemates on the 1830 <i>Fremden-Tabelle</i> of Stadt 1151 (A-Wsa, Hauptarchiv, Pers. C5). The mark on the upper right shows that some people always have a ballpen ready.</span></div>
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The second appearance of Chopin's name in the records of Stadt 1151 has so far remained unknown. This could have been caused by the note "<u>Chopin</u>, Frederic, Komponist", written on the document with a ballpen by <a href="https://de.wikipedia.org/wiki/Gustav_Gugitz_%28Heimatforscher%29" target="_blank">Gustav Gugitz</a>, who obviously thought that without his note posterity would not recognize Chopin's name. In 1949 this may have caused the archivist in charge, <a href="https://www.geschichtewiki.wien.gv.at/Hanns_J%C3%A4ger-Sunstenau" target="_blank">Hanns Jäger-Sunstenau</a> (although he himself blemished many documents), to withhold this sheet from the Chopin exhibition. In this document the composer is given as "Fried. Schopine fremd". The crossing out of his name means that he moved out and the note "<u>leer</u>" (empty) refers to a later state of the apartment.<br />
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<span style="font-size: x-small;">Chopin's name on an 1830 conscription sheet of the house Stadt 1151, preceded by Gustav Gugitz's "explanatory" annotation (A-Wsa, Konskriptionsamt, Stadt 1151/11r). Gugitz, who was not even an employee of the City archive, left hundreds of ballpen entries in valuable archival documents, a phenomenon that will be dealt with in a future blogpost.</span></div>
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Chopin's landlady Baroness Lachmanovich appears two more times in the conscription records of Stadt 1151. First, together with Auguste Steinhart, her lady companion from Kassel, in a regular sheet where – like Chopin – she is described as "fremd" (which means that she is listed again in the table of foreigners).</div>
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<span style="font-size: x-small;">Auguste Steinhart and Auguste von Lachmanovich on a conscription sheet from 1830 (A-Wsa, Konskriptionsamt, Stadt 1151/12r)</span><br />
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Second, Lachmanovich is still registered as living at Stadt 1151 in a <i>Fremden-Tabelle</i> from 1834.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHurAy6isKP1VWbwyAnYdYcXMPQeJCeRV455Ja3lTI_XcN5LMd3jlUUzMuaI_VFrbbFl9prKf3KAQQv9nqqP8Ob07QNWxf2CDytYzX2HPorhzg2k8eE7u9VGY50lZQ3oJatfLfxnBNjcY/s1600/Lachmanovich+1151_23r%252C+FT1834.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="326" data-original-width="614" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHurAy6isKP1VWbwyAnYdYcXMPQeJCeRV455Ja3lTI_XcN5LMd3jlUUzMuaI_VFrbbFl9prKf3KAQQv9nqqP8Ob07QNWxf2CDytYzX2HPorhzg2k8eE7u9VGY50lZQ3oJatfLfxnBNjcY/s320/Lachmanovich+1151_23r%252C+FT1834.JPG" width="320" /></a></div>
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<span style="font-size: x-small;">Auguste von Lachmanovich in a list of foreigners from 1834 (A-Wsa, Konskriptionsamt, Stadt 1151/23r)</span></div>
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In 1900 the house Stadt 1151 was torn down and replaced with the so-called "<a href="https://upload.wikimedia.org/wikipedia/commons/a/a9/Artariahaus.jpg" target="_blank">Artaria-Haus</a>", an <i>Art Nouveau</i> building, designed by <a href="https://en.wikipedia.org/wiki/Max_Fabiani" target="_blank">Max Fabiani</a>. On the occasion of the 100<span style="font-size: x-small; vertical-align: super;">th</span> anniversary of Chopin's death, the Austrian Chopin Society, then headed by Franz Zagiba, planned to establish a small Chopin museum in the "Artaria-Haus", but no rooms were available in the building to realize this project. Therefore, the society commissioned a memorial plaque (inspired by Chopin's profile portrait of 1830) which was unveiled on <a href="http://www.wien.gv.at/rk/historisch/1950/oktober.html" target="_blank">17 October 1950</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsA6uvFZ869QsS60SpXeX_mlVppgvGmFs8i1RoCNdx1x0XoymEEyqnM4tGO-jsYHfsuTg18BKTH1yoRkE6_tLo4AOUAjWeH923Se4uBATjGWV5-7vEF0VGB_xgb8e4Ztl54fLshwzfCXc/s1600/Plaque.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsA6uvFZ869QsS60SpXeX_mlVppgvGmFs8i1RoCNdx1x0XoymEEyqnM4tGO-jsYHfsuTg18BKTH1yoRkE6_tLo4AOUAjWeH923Se4uBATjGWV5-7vEF0VGB_xgb8e4Ztl54fLshwzfCXc/s320/Plaque.JPG" width="240" /></a><b> </b></div>
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<span style="font-size: x-small;">The Chopin memorial, presumably a work by <a href="https://www.geschichtewiki.wien.gv.at/Robert_Ullmann" target="_blank">Robert Ullmann</a>, on a front pillar of the house Kohlmarkt 9</span></div>
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<b>Polish Friends</b></div>
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Apart from Viennese musicians and <a href="https://en.wikipedia.org/wiki/Johann_Baptist_Malfatti_von_Monteregio" target="_blank">Johann Baptist Malfatti</a> (who spoke Polish fluently), during the time of his second stay in Vienna, Chopin mostly socialized with Poles. Constanze Beyer was Polish, Madame Elkan had been born Eleonora Milkuschitz von Milieski in Kraków. Rozalia Aleksandra Rzewuska was a daughter of Princess <a href="https://en.wikipedia.org/wiki/Rozalia_Lubomirska" target="_blank">Rozalia Lubomirska</a> and on 17 August 1805 – at the age of sixteen – had married Count <a href="https://en.wikipedia.org/wiki/Wac%C5%82aw_Seweryn_Rzewuski" target="_blank">Wacław Seweryn Rzewuski</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR7l__Ni-0Te0EVgifL1vRHdzHI6h1RPXhxBC6wd0YvbxymOJaSLyLM4Gt5JqYWDmi9bMEUhFIzIh2xnCjdJPGWqfgOHBJWZTY0Xxrx73LidwbHKwTBIubfGocE5HUxiwFu5gdWxqqINs/s1600/Rozalia_Rzewuska.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR7l__Ni-0Te0EVgifL1vRHdzHI6h1RPXhxBC6wd0YvbxymOJaSLyLM4Gt5JqYWDmi9bMEUhFIzIh2xnCjdJPGWqfgOHBJWZTY0Xxrx73LidwbHKwTBIubfGocE5HUxiwFu5gdWxqqINs/s320/Rozalia_Rzewuska.jpg" width="212" /></a></div>
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<span style="font-size: x-small;">Countess Rozalia Aleksandra Rzewuska. Drawing by <a href="https://en.wikipedia.org/wiki/Thomas_Lawrence" target="_blank">Thomas Lawrence</a> (GB-Lbm 1900,0717.5)</span></div>
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Countess Rzewuska, at whose home (as Chopin puts it) "the whole world sometimes meets" and where the composer also made the acquaintance of <a href="https://en.wikipedia.org/wiki/Catherina_Cibbini-Kozeluch" target="_blank">Catherina Cibbini-Kozeluch</a>, lived on the Wieden, "next door to Hussarzewski" who lived at Wieden 308 (<a href="https://goo.gl/OXnRKk" target="_blank">Favoritenstraße 20</a>). After his marriage to Countess Helena Sierakowska, the I. & R. chamberlain Count Adolph Husarzewski (1790–1855) would buy this house from Joseph Blöchlinger in 1835.<br />
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<span style="font-size: x-small;">The families of Joseph Blöchlinger (Karl van Beethoven's teacher) and Adolph von Husarzwewski on a conscription sheet of Wieden 308 (A-Wsa, Konskriptionsamt, Wieden 308/46r)</span></div>
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<span style="font-size: x-small;">Signature and seal of Count Adolph von Husarzewski from 1837 (A-Wsa, Konskriptionsamt, Stadt 512/27r)</span></div>
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That Chopin made regular excursions to the suburb of <a href="https://en.wikipedia.org/wiki/Wieden" target="_blank">Wieden</a> has previously not been noticed by Chopin scholars. Another fellow countryman, with whom Chopin had regular contact, was his former classmate, the composer <a href="https://en.wikipedia.org/wiki/Tomasz_Napoleon_Nidecki" target="_blank">Tomasz Napoleon Nidecki</a> who in December 1830 visited Chopin every day to practice Chopin's concerto. At that time Nidecki lived not far away from Chopin, at Stadt 571 (<a href="https://goo.gl/mON1vq" target="_blank">Graben 22</a>), where he obviously had not enough space for a piano.<br />
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<span style="font-size: x-small;">Tomasz Napoleon Nidecki ("Thomas Nidetzky <span style="text-decoration: overline;">807</span> Tonkünstler Warschau Pohlen m.[it] Auf.[enthalts] Karte") on a list of foreigners at Stadt 571 (A-Wsa, Konskriptionsamt, Stadt 571/27r). At the time Nidecki worked at the <i>Theater in der Leopoldstadt</i>, he lived at Leopoldstadt 261 (today <a href="https://goo.gl/9RhKw3" target="_blank">Tandelmarktgasse 8</a>).</span></div>
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In spring of 1831, with the help of his fellow countryman Peter Anton Steinkeller, Nidecki was able to secure a commission from the <i>Leopoldstädter Theater</i>. In 1833 he was appointed musical director of the theater, a post he also owed to his Polish origin.<br />
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<b>The Baptism of Peter Alexander Steinkeller</b> <br />
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The name <b>Steinkeller</b>, a person with whom Chopin interacted socially in Vienna, is rarely ever being commented in the standard Chopin literature. During the time of his second stay in Vienna this name appears four times in Chopin's letters.<br />
<ol>
<li>26 December 1830 (to Jan Matuszyński): "Next
morning I was awakened by an invitation to dinner at Mme Elkan's, the
Polish wife of a banker. I got up, played a little in a gloomy mood.
Then Nidecki came with Leidenfrost and Steinkeller and when we separated
I went off to dine with Malfatti."</li>
<li>1 January 1831 (to Matuszyński): "I'm going to lunch [to] Malfatti. Tomorrow I am at Steinkeller's."</li>
<li>29 January 1831 (to Josef Elsner): "Just as today every barrel organ can play Strauss, maybe in a few months Nidecki will also be played; but in another sense. I was with him yesterday at Steinkeller, who has given him an opera to write. He counts a lot on it; Schuster, that famous comedian, will perform in it, and Nidecki can make a name for himself."</li>
<li>20 July 1831 (according to Karasowski's summary of a lost letter) "Chopin tells his parents that he is leaving with Kumelski en route for Munich via Linz and Salzburg. He is in good health, and Steinkeller has supplied him with money." </li>
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It is important to note that the first two appearances of the name Steinkeller could refer to two different persons: the Polish banker and industrial magnate Peter Anton Steinkeller and his younger brother Rudolph, who, at that time, was the owner of the <i>Leopoldstädter Theater</i>. The third and the fourth quotes definitely refer to Peter Steinkeller, because owing to his bankruptcy, Rudolph on 17 January 1831, had fled from Vienna on (see below) and Peter was busy clearing up his brother's economic mess at the <i>Leopoldstädter Theater</i>. Both Steinkeller brothers were very well-acquainted with the city of Vienna, because in their youth they had both spent time there, attending the <a href="https://de.wikipedia.org/wiki/K.k._Polytechnisches_Institut" target="_blank"><i>k.k. Polytechnisches Institut</i></a>. The opera that Peter Steinkeller "had given <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310222&seite=4&zoom=33" target="_blank">Nidecki to write</a>", was <i>Die Kathi von Hollabrunn</i>, <a href="https://de.wikipedia.org/wiki/Carl_Meisl" target="_blank">Meisl</a>'s parody of Kleist's <a href="https://en.wikipedia.org/wiki/Das_K%C3%A4thchen_von_Heilbronn" target="_blank">famous play</a>, that was to premiere with mixed success on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wzz&datum=18310319&seite=7&zoom=44" target="_blank">11 March 1831</a>. Rudolph Steinkeller had originally planned to have <a href="https://en.wikipedia.org/wiki/Johann_Strauss_I" target="_blank">Johann Strauss</a> write the music for this play (<i>Wiener Theater-Zeitung</i>, <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310129&seite=4&zoom=33" target="_blank">29 Jan 1831, p. 52</a>), but not only did Strauss not need the money, he obviously was also clever enough not to get engaged with a theater of dwindling artistic reputation. Chopin seems to have known Peter Steinkeller from Warsaw, because Steinkeller's father-in-law was the Warsaw merchant Jan Anthonin who had been one of the organizers of Chopin's concert on 24 February 1818, at the <a href="https://en.wikipedia.org/wiki/Presidential_Palace,_Warsaw" target="_blank">Radziwiłł Palace</a>. Peter Steinkeller and his family are documented in the <i>Wiener Zeitung</i> to have arrived in Vienna from Warsaw on 14 June 1830. Steinkeller moved into an apartment at Leopoldstadt 510, because this house was located right beside his brother Rudolph's residence, the <i>Leopoldstädter Theater</i>. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirUi08LVupH8_eVWXsFG7mLqUptmp7Zu0QHla_a37ROX3YbAaCbb1XTAxBXOqcxbjFWZDucv7szAQdLxcvbg7MwpbElOgoGnMR3NumcTeuQeppyngOBkP9VXHS2l_UD651X2UwBhuH4Rk/s1600/WZ+16.6.1830.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirUi08LVupH8_eVWXsFG7mLqUptmp7Zu0QHla_a37ROX3YbAaCbb1XTAxBXOqcxbjFWZDucv7szAQdLxcvbg7MwpbElOgoGnMR3NumcTeuQeppyngOBkP9VXHS2l_UD651X2UwBhuH4Rk/s320/WZ+16.6.1830.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The note concerning the arrival of Peter Steinkeller in the <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18300616&seite=4&zoom=33" target="_blank"><i>Wiener Zeitung</i> of 16 June 1830</a> (p. 674)</span></div>
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The next announcement of Peter Steinkeller's arrival in Vienna on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18301210&seite=4&zoom=44" target="_blank">7 December 1830</a> ("Herr Steinkeller mit Familie von Rom"), suggests that he and his family had spent some time in Rome, maybe returned to Warsaw and then went to Vienna again to evade the <a href="https://en.wikipedia.org/wiki/November_Uprising" target="_blank">November Uprising</a>. Other notable tenants of the house Leopoldstadt 510 at that time included the playwright <a href="https://de.wikipedia.org/wiki/Adolf_B%C3%A4uerle" target="_blank">Adolph Bäuerle</a> , the ballet dancer Pauline Hasenhut (see below), the composer <a href="https://de.wikipedia.org/wiki/Johann_Horzalka" target="_blank">Johann Horzalka</a>, and the luthier <a href="https://en.wikipedia.org/wiki/Johann_Georg_Stauffer" target="_blank">Johann Georg Stauffer</a>. <a href="https://en.wikipedia.org/wiki/Johann_Nestroy" target="_blank">Johann Nestroy</a> was to reside in this building only 26 years later, when he was director of the <a href="https://de.wikipedia.org/wiki/Carltheater" target="_blank">Carltheater</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVhuMP7iwmaAtDzlGJNCbNNEQhtH3VBYQ89X5LXVGJmzwzVdi_3zwK8_R3V_fEsSh_YtlaFubOo2RqmG0gEhIcpbpyFB5tFQ7pl11nd0KQAWg3wfsx4ATy_tH53e_bzeB2BGixLgTjp1U/s1600/Weintraubengasse+1%252C+ST+879F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="659" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVhuMP7iwmaAtDzlGJNCbNNEQhtH3VBYQ89X5LXVGJmzwzVdi_3zwK8_R3V_fEsSh_YtlaFubOo2RqmG0gEhIcpbpyFB5tFQ7pl11nd0KQAWg3wfsx4ATy_tH53e_bzeB2BGixLgTjp1U/s320/Weintraubengasse+1%252C+ST+879F.jpg" width="263" /></a></div>
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<span style="font-size: x-small;">The house Leopoldstadt 510, "<a href="https://www.geschichtewiki.wien.gv.at/Zum_guten_Hirten_(2)" target="_blank">Zum guten Hirten</a>" (also "Zum großen Tiger"), ("The Good Sheperd", today <a href="https://goo.gl/maps/AtTmM" target="_blank">Weintraubengasse 1</a>) in 1902 (A-Wn, ST 879F). This house was built in 1812 and torn down after 1966. Visible on the far left of this photograph is the clock that stood in front of the Carltheater. </span></div>
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<span style="font-size: x-small;">The same view today: the houses 510 and 509 are gone and have been replaced by the "<a href="https://goo.gl/maps/LwSPQ" target="_blank">Therese-Krones-Park</a>" which is not a park, but a couple of shrubs hiding the access to an underground garage. </span></div>
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The house No. 510, "Zum guten Hirten", was situated to the right of the <i>Leopoldstädter Theater</i>, opposite the house Leopoldstadt 503, "<a href="https://www.geschichtewiki.wien.gv.at/Zur_Weintraube" target="_blank">Zur Weintraube</a>", where in 1830 <a href="https://de.wikipedia.org/wiki/Ferdinand_Raimund" target="_blank">Ferdinand Raimund</a> and <a href="https://de.wikipedia.org/wiki/Therese_Krones" target="_blank">Therese Krones</a> lived. Krones died at Leopoldstadt 503 on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18310103&seite=4&zoom=33" target="_blank">28 December 1830</a>.<br />
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<span style="font-size: x-small;">The old <i>Leopoldstädter Theater. </i>Postcard by <a href="https://de.wikipedia.org/wiki/Michael_Frankenstein" target="_blank">Michael Frankenstein</a>, misnamed "Carl-Theater" (A-Wn, PK 3275, 28). The house "Zur Weintraube" is on the right. This postcard is based on Paul Cohn's <a href="http://www.bildarchivaustria.at/Preview/10828145.jpg" target="_blank">1820 engraving</a>.</span></div>
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In 1847, the old theater was replaced with the Carltheater, and after the demolition of the Carltheater in 1951, the silhouette of the old theater building became visible again on the wall of the house Leopoldstadt 510.<br />
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<span style="font-size: x-small;">A view from the Praterstraße into the Weintraubengasse in 1960. Visible on the left, on the house No. 510, is the silhouette of the old <i>Leopoldstädter Theater</i> (A-Wn, 177.674A[B]). The building on the right is the so-called "<a href="https://www.geschichtewiki.wien.gv.at/Alliiertenhof" target="_blank">Alliiertenhof</a>" which in 1897 replaced the house "Zur Weintraube".</span></div>
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Peter Steinkeller's name appears twice in the conscription records of Leopoldstadt 510. First, (like in Chopin's case) on a regular sheet as "Peter Steinkeler <span style="text-decoration: overline;">799</span> Bancier in Warschau" with the reference "Fb" (Fremdenbogen).<br />
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<span style="font-size: x-small;">Peter Steinkeller on a conscription sheet of Leopoldstadt 510 (A-Wsa, Konskriptionsamt, Leopoldstadt 510/22r)</span></div>
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Second, in the list of foreigners, together with his wife, three children and two maidservants.<br />
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[Haus] 510 [Wohnpartey] 7 Peter Steinkellner <span style="text-decoration: overline;">799</span> Bancier in Warschau Eh[gattin] Angelika <span style="text-decoration: overline;">803</span> Sohn Peter <span style="text-decoration: overline;">825</span> [Sohn] Alexander <span style="text-decoration: overline;">831</span> Tochter Pauline <span style="text-decoration: overline;">827</span> [Wohnpartey] Anna Elsner <span style="text-decoration: overline;">798</span> M[a]gd Königgrätz Elis:[abeth] Umogd [Aumayr] v. Enns OÖ</blockquote>
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<span style="font-size: x-small;">Peter Steinkeller and his family in an 1831 list of foreigners at Leopoldstadt 510 (A-Wsa, Konskriptionsamt, Leopoldstadt 510/54v)</span></div>
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On Friday, 4 March 1831, in the house Leopoldstadt 510, Anielą Steinkeller gave birth to a son who on 7 March 1831, was baptized "Peter Alexander" at the nearby <a href="https://de.wikipedia.org/wiki/Johann-Nepomuk-Kirche_%28Leopoldstadt%29" target="_blank">Church of St. John of Nepomuk</a>. The waiting time of three days was probably caused by the fact that on the Sunday, which followed the birth, the intended godparent Frédéric Chopin was scheduled to give a concert at the <a href="https://sammlung.wienmuseum.at/objekt/60462-maskenball-im-kk-redoutensaal-der-wiener-hofburg/" target="_blank">Redoutensaal</a> and did not have time to visit the Leopoldstadt before that event. The Sunday concert was eventually postponed (see below), and on the following Monday the christening could take place with the parish priest Joseph Gorbach officiating. </div>
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<span style="font-size: x-small;">The entry concerning the baptism of Peter Alexander Steinkeller on 7 March 1831 (St. Johann Nepomuk, Tom. 5, fol. 64)</span></div>
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<i>Namen des Taufenden</i>. Joseph Gorbachmp Pfarrer.<br />
<i>Jahr, Monath, Tag.</i> geboren den 4t[en], getaufet den 7t[en] März <span style="text-decoration: overline;">831</span>.<br />
<i>Wohnung und Nro. des Hauses</i>. Leopoldstadt, Nro 510.<br />
<i>Nahmen des Getauften</i>. Petrus, Alexander.<br />
<i>Religion. Katholisch.</i> 1.<br />
<i>Geschlecht. Ehelich. Männlich. </i>1.<br />
<i>Aeltern</i>.<br />
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<i>Vaters Nahme und Condition oder Charakter</i>. H.[err] Peter Steinkeller / <i>Banquier</i> zu Warschau / im Königreich Pohlen, des / H.[errn] Peter Steinkeller / Kaufmanns alldort, und / seiner Frau Gemahlin / Josepha geborn[en] Trey / Sohn.</div>
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<i>Mutters Tauf<span style="font-size: xx-small;">=</span> und Zunahmen</i>. Angelika Anthonin /des H.[errn] Joha<span style="text-decoration: overline;">n</span> Antho- / nin ein[es] Kaufmanns in / Warschau, und seiner / Frau Gemahlin / Alexandra gebor- / nen <i>Charlemont</i> / Tochter</div>
<i>Pathen</i>. Anna Bittmann / Tochter des Herr[n] / Alois Bittmann / fürstl.[icher] Hausoffizier / Stadt No 251, <i>und</i> / <i>Fréderic Chopin</i> / <i>aus Warschau</i>. / <i><strike>Stadt 1151</strike></i> <i>Privatier</i> / alldort, wohnhaft derma- / len in Wien, in der / Stadt Nro 1151.<br />
<i>Anmerkungen</i>. Hebamme: <i>Anna Cacheè</i> / wohnhaft Leopoldstadt Nro 510. / <i>Copulirt <u>nach Angabe</u></i>, in <u>Warschau</u>, den 25ten Jäner <span style="text-decoration: overline;">824</span>.</blockquote>
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Chopin's entry in the godparents rubric is autograph. Because he only wrote down his name and address, but not his profession, the priest Joseph Gorbach crossed out the address and added the words "und" before Chopin's name, and "Privatier alldort, wohnhaft dermalen in Wien, in der Stadt Nro 1151" ("a man of private means, living there [in Warsaw], currently living in Vienna at Stadt No. 1151").</div>
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<span style="font-size: x-small;">The names of the godparents in the above entry with Chopin's autograph signature</span></div>
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The church where this baptism took place was the old church of St. Johann Nepomuk that had been built in 1780 by <a href="https://www.geschichtewiki.wien.gv.at/Franz_Duschinger" target="_blank">Franz Duschinger</a> and was situated at what today is <a href="https://goo.gl/maps/VJ5Xu" target="_blank">Praterstraße 41</a>, about 330 ft closer to the theater than today's church. In 1841, the old church was replaced with a <a href="https://goo.gl/hTbxoG" target="_blank">new one</a> by <a href="https://de.wikipedia.org/wiki/Carl_Roesner" target="_blank">Carl Roesner</a> in the style of early <a href="https://en.wikipedia.org/wiki/Historicism_%28art%29" target="_blank">historicism</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUv-0Svxe6bFsKJd7s0xvU9RmniNc7XGLz6L_L4YD41383OsTNj08yRLaWVdBdYAbOo1L-KtoBa5tCz78SRV1QdhjWAa6KksAeL-YQ-kq8qpbirP4oEXedDjIyFk8_aNpk7-1BcuwR1M/s1600/Johann+Wilhelm+Frey.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUv-0Svxe6bFsKJd7s0xvU9RmniNc7XGLz6L_L4YD41383OsTNj08yRLaWVdBdYAbOo1L-KtoBa5tCz78SRV1QdhjWAa6KksAeL-YQ-kq8qpbirP4oEXedDjIyFk8_aNpk7-1BcuwR1M/s320/Johann+Wilhelm+Frey.jpg" width="240" /></a></div>
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<span style="font-size: x-small;">The groundplan of old church of St. Johann Nepomuk in the Leopoldstadt. Watercolor after an older drawing by Johann Wilhelm Frey</span><br />
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<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq6wAP77g0P6e2nVP6Tpl2HBxNDYW-h5Jsk_p-GCAniLeJCAOtbsSG-o__jWoxi1WLwdjstOnVMYhlB_IFBnWZdsRKYyIaddBdXgPrxxwHrUZUy42AXSnl_pppjsQG9h77qkpJLWJxVIpYrmf2yKrefYNBT-1_NYO5CZBLFdF5sh6kB3Sqc7KOm2rUmZI/s2405/A-Wsa,%203.2.1.1.P1.238G.38.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2405" data-original-width="1804" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq6wAP77g0P6e2nVP6Tpl2HBxNDYW-h5Jsk_p-GCAniLeJCAOtbsSG-o__jWoxi1WLwdjstOnVMYhlB_IFBnWZdsRKYyIaddBdXgPrxxwHrUZUy42AXSnl_pppjsQG9h77qkpJLWJxVIpYrmf2yKrefYNBT-1_NYO5CZBLFdF5sh6kB3Sqc7KOm2rUmZI/s320/A-Wsa,%203.2.1.1.P1.238G.38.jpg" width="240" /></a></div>
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<span style="font-size: x-small;">The groundplan of the old church of St. Johann Nepomuk in the Leopoldstadt (A-Wsa, 3.2.1.1.P1.238G.38)</span></div>
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<span style="font-size: x-small;">A view of the Jägerzeile (today's <a href="https://de.wikipedia.org/wiki/Praterstra%C3%9Fe" target="_blank">Praterstraße</a>), showing the <i>Leopoldstädter Theater</i>, the house "Zur Weintraube" and the old church of St. Johann Nepomuk. Oil painting by <a href="http://www.biographien.ac.at/oebl/oebl_S/Scheyerer_Franz_1762_1839.xml" target="_blank">Franz Scheyerer</a>, around 1825 (Wien Museum, I.N. 53258)</span></div>
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<span style="font-size: x-small;">The same area of the Jägerzeile (at today's <a href="https://commons.wikimedia.org/wiki/File:Wien_02_Nestroyplatz_01.jpg" target="_blank">Nestroyplatz</a>) during the flood of 1 March 1830. Illustration from Franz Sartori's book <i>Wien's Tage der Gefahr und die Retter aus der Noth</i> (Vienna 1830).</span></div>
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I have not yet been able to figure out the date of death of Chopin's godson Alexander Steinkeller. Several notes in the <a href="https://pl.wikipedia.org/wiki/Kurier_Warszawski_(dziennik)" target="_blank"><i>Kurjer Warszawski</i></a> (for instance on <a href="https://crispa.uw.edu.pl/object/files/375588/display/Default" target="_blank">19 May 1859</a>, p. 751) prove that he was still alive in 1858. </div>
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<b>Peter Anton Steinkeller</b><br />
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Since there are several excellent articles by Polish historians about the life of Peter Anton Steinkeller, a detailed account of this man's life and his many merits is outside the scope of this blogpost.<br />
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<span style="font-size: x-small;">Piotr Antoni Steinkeller. Portrait from Henryk Radziszewski's and Jan Kinderski's book <i>Piotr Steinkeller. Dwie Monografie</i> (Warsaw 1905)</span></div>
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Peter Anton Steinkeller was born on 15 February 1799, in Kraków, son of the Kraków businessman Piotr Steinkeller and Josephine, née Trey. His ancestors originally hailed from <a href="https://en.wikipedia.org/wiki/Pomerania" target="_blank">Pomerania</a>, from where, during the Reformation, they had emigrated to Austria and moved to Kraków in the eighteenth century. After an internship in his father's business, Steinkeller continued his education in the field of commerce and banking in Vienna. After his father's death in 1813, he became the principal heir of the Steinkeller company. On 25 January 1824, in Warsaw, he married Anielą Elżbieta Anthonin (1806–1834), the daughter of Jan Anthonin, one of the richest merchants in Warsaw. From the beginning of his business career Steinkeller showed extraordinaary verve and entrepreneurial acumen. With <a href="http://www.polacyzwyboru.pl/bohaterowie/rody/scholtze" target="_blank">Karol Scholtze</a>, a producer of soap and stearin, he ran the trading firm Peter Steinkeller & Cie which became on of the largest companies in Poland. Together with <a href="https://pl.wikipedia.org/wiki/Konstanty_Wolicki_%28przemys%C5%82owiec%29" target="_blank">Konstanty Wolicki</a> he leased the salt trade in <a href="https://en.wikipedia.org/wiki/Kingdom_of_Galicia_and_Lodomeria" target="_blank">Galicia</a> and in 1822 he bought a zinc mine in <a href="https://en.wikipedia.org/wiki/Jaworzno" target="_blank">Jaworzno</a> and erected another one near <a href="https://en.wikipedia.org/wiki/B%C4%99dzin" target="_blank">Będzin</a>. In the 1830s, he bought the estate <a href="https://en.wikipedia.org/wiki/%C5%BBarki" target="_blank">Żarki</a> which he turned into a modern agricultural plant. Among other things he ended socage, introduced the use of artificial fertilizers and built sugar and machine factories which supplied the nearby industrial areas. Steinkeller bought zinc from the City of Kraków and soon dominated the Russian zinc market. He built zinc rolling mills in Paris and London, thus becoming the main supplier of zinc on the European market. Between 1836 and 1852, he leased the production of Poland's zinc mines and foundries, but did not succeed in establishing an international zinc consortium. Beginning in 1837, he erected various industrial plants in <a href="https://pl.wikipedia.org/wiki/Solec_%28Warszawa%29" target="_blank">Solec</a>, including a factory for carriages (which was managed by his brother Rudolph) and a tile and stove factory. Steinkeller's innovative visions also were a profound impetus for Poland's mail and passenger transport. The coaches from the Steinkeller factory ran between Warsaw and Kraków, a service that was later expanded to other routes. From 1845 on, he supplied the mail service with carriages that were still in use at the turn of the century. In 1838, Steinkeller was among the founders and major shareholders of the "<a href="https://en.wikipedia.org/wiki/Warsaw%E2%80%93Vienna_railway" target="_blank">Warsaw-Vienna Rail Road Company Ltd</a>" (<i>Towarzystwo Akcyjne Drogi Żelaznej Warszawsko-Wiedeńskiej</i>), fervently advocating the use of modern steam engines instead of the initial plan to use horse traction. Owing to lack of private funding, this enterprise went bankrupt and was eventually taken over by the state. Due to technical problems, not all of Steinkeller's business initiatives were successful. Not even the experts he brought in from abroad could solve the problem of dewatering the lead mines in <a href="https://en.wikipedia.org/wiki/Olkusz" target="_blank">Olkusz</a>, or keep the production of agricultural machinery running. In the late 1840s, Steinkeller's financial situation declined. Rising debt with the <a href="https://pl.wikipedia.org/wiki/Bank_Polski_%28Kr%C3%B3lestwo_Polskie%29" target="_blank">Bank of Poland</a> and a fire that destroyed a factory complex in Solec in 1852 forced Steinkeller to declare bankruptcy. All his assets were taken over by the Bank of Poland and he returned to Kraków where in <a href="https://pl.wikipedia.org/wiki/Podg%C3%B3rze_%28Krak%C3%B3w%29" target="_blank">Podgórze</a> he still owned a brick factory. On 11 February 1854, he died of a heart attack. Steinkeller was married twice: first to Anielą Anthonin (the mother of Chopin's godson Alexander) with whom he had five children; and second, to <span class="notranslate">Mari</span><span class="notranslate">ą Lemańska whom he married on </span><span class="notranslate"><span class="notranslate">15 </span>September 1835, in </span><span class="notranslate"><a href="https://en.wikipedia.org/wiki/K%C5%82obuck" target="_blank">Kłobuck</a>. Today Peter Anton Steinkeller is</span> considered one of Poland's most important industrial pioneers whose ideas and visions were far ahead of his time.</div>
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The main objective of Peter Steinkeller's stay in Vienna in 1830 and 1831, was to extract his incompetent brother Rudolph from his troubles as bankrupt owner of the <i>Leopoldstädter Theater</i>, to buy the theater, and to sell it again with the least possible loss. Eventually, the difference between the buying and selling prices amounted to about 45,000 gulden. When Chopin left Vienna in July 1831, Peter Steinkeller generously provided him with money for the journey.<br />
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<b>Rudolph Steinkeller</b><br />
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Rudolph Steinkeller's short career as theater owner in Vienna did not only take place in the immediate physical proximity of the legendary actor and playwright Ferdinand Raimund, it is also uncannily reminiscent of the fate of some protagonists in Raimund's magic plays. We owe a great deal of our knowledge about Rudolph Steinkeller's acquisition of the <i>Leopoldstädter Theater</i> to the fact that the theater historian <a href="https://de.wikipedia.org/wiki/Karl_Glossy" target="_blank">Karl Glossy</a> still had access to the files of the <i>Polizeihofstelle</i> that were to perish in the 1927 fire of the palace of justice. The lost files 1498, 2230, 2798, 3134, 3179 and 7082 from 1827 all covered the police investigations and reports concerning Steinkeller's early business activities in Vienna. According to the reports of the Vienna police, Rudolph Steinkeller "was born in 1805" in Kraków, fourth child of the merchant Peter Steinkeller who, after his death in May 1813, left each of his five children a patrimony of 15,000 gulden CM. In 1825, each of the Steinkeller children (Peter, Caroline, Anton, Rudolph and Joseph) inherited another share of 55,000 gulden from their mother. Between 1816 and 1820, Rudolph Steinkeller attended the Latin school in Kraków and, because in 1820 he had taken part in the students' turmoil at the house of the police indentant Kostecki and feared to be expelled, he left school and practiced commerce in his mother's wholesale firm. In 1824, together with his mother, he moved to Vienna where he successfully attended classes at the department of commerce of the<i> Polytechnisches Institut</i>. He then traded bills of exchange, together with his eldest brother, and also leased a mill stone pit. The police chief of <a href="https://en.wikipedia.org/wiki/Podg%C3%B3rze" target="_blank">Podgórze</a> could report nothing unfavorable concerning Steinkeller's political views, but stated that Steinkeller "had always revealed himself as a man full of arrogance with an unbearable, impetuous and selfish character".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzkZ0s4TqSkVHGemNJpFQDfK80FgnpZ-Y8-R5ECZUkD7zQXg0-YVspSa-L7usbPzN2sYUa28iD2H_QqaY8IS7TcP2BHt9pbN235j4X-xzUaoaSUhJS70qRbWasQjvDnoV8q_fs0CXYOI/s1600/Josepha+Steinkeller+1826.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="702" height="102" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzkZ0s4TqSkVHGemNJpFQDfK80FgnpZ-Y8-R5ECZUkD7zQXg0-YVspSa-L7usbPzN2sYUa28iD2H_QqaY8IS7TcP2BHt9pbN235j4X-xzUaoaSUhJS70qRbWasQjvDnoV8q_fs0CXYOI/s320/Josepha+Steinkeller+1826.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Josepha Steinkeller ("</span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="text-decoration: overline;">771</span></span> Großhändlerswittwe von Krakau") and her daughter Carolina registered as foreigners in the house <a href="https://goo.gl/maps/hiS8AULCrnF2" target="_blank">Stadt 3</a> in 1826 (A-Wsa, Konskriptionsamt, Stadt 3/12r).</span></div>
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On the occasion of a stay in Vienna in 1826, when Rudolph Steinkeller requested to establish a business there, he was offered to buy the two theater buildings in the Leopoldstadt, No. 511 (the theater), and No. 508 (the so-called "Stadel" which housed a workshop and storage room for scenery and costumes). The proposed purchase price of 185,000 gulden was (not surprsingly) vastly inflated. On 3 November 1826, he returned to Kraków, discussed the deal with his brother Peter, realized the assets and, after his return to Vienna on 3 January 1827, signed the purchase contract <i>salva ratificatione</i> (under the condition of approval). Because he could identify himself as being of age (which proves that he must have been born at least in 1802), and presented affidavits from Viennese banks that he was a well-known and well-accredited gentleman, on 30 January 1827, the draft of the contract was affirmed by the <i>Landrechte</i> under the condition that he had to present the political consent. The Vienna police administration certified that, as far as political or moral issues were concerned, nothing unfavorable could be found against Steinkeller. He was described as living quietly, seclusively and economically. For his apartment at Leopoldstadt 402 (today <a href="https://www.wien.gv.at/stadtplan/grafik.aspx?lang=de-AT&bookmark=-aGR6RuddOUYVuqFE3xgMRO5Rphlnqnnkur2pH4Oprw-b-b&bmadr=10055351" target="_blank">Prater Straße 61</a>) he paid an annual rent of 400 gulden, usually had lunch at the inn "<a href="https://www.geschichtewiki.wien.gv.at/Zum_F%C3%BCchsel" target="_blank">Zum Füchsel</a>", never attended any social gatherings and in the evening regularly visited the theater.<br />
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<span style="font-size: x-small;">Rudolph Steinkeller on a list of "Elternlose Ledige" (parentless bachelors), living at Leopoldstadt 402 in 1827 (A-Wsa, Konskriptionsamt, Leopoldstadt 402/15r). Steinkeller's name is accompanied by the note "seit <span style="text-decoration: overline;">826</span>" ("in Vienna since 1826").</span></div>
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The police administration admitted that Steinkeller lacked the education and experience to manage a theater, but, since he would receive the actual privilege only in January 1834 (after the end of <a href="https://www.geschichtewiki.wien.gv.at/Leopold_Huber" target="_blank">Leopold Huber</a>'s lease), he would have enough time to learn the trade and until then he could leave the administrative tasks to a person qualified enough to meet the demands of the authorities. On 21 August 1827, the Court Chancellery bestowed the theater privilege to Steinkeller, but he was not allowed to exercise it before 1834. A copy of the purchase contract, whereby the <i>Leopoldstädter Theater</i> passed from Karl von Marinelli's bankrupt estate to Steinkeller, survives in one of the land registers of the <a href="https://www.geschichtewiki.wien.gv.at/B%C3%BCrgerspital_(Grundherrschaft)" target="_blank">Bürgerspital dominion</a>. It is to be noted that at the time of the purchase Steinkeller pretended to be of noble birth and he never was able to meet one of the clauses in the contract, namely to present his predicate of nobility to the court of the <i>Landrechte</i>. The original of this important unpublished document (whose original German text can be downloaded <a href="http://michaelorenz.at/Chopin/Contract_theater.pdf" target="_blank">here</a>) bore the signature of Ferdinand Raimund, the Viennese playwright, who in 1844 was described by <a href="https://books.google.at/books?id=v0cwAQAAMAAJ&" target="_blank">T<i>he Foreign Quarterly Review</i></a> as "one of the most original and poetical figures that Germany ever possessed."<br />
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<span style="font-size: x-small;">The first page of the copy of the purchase contract of the <i>Leopoldstädter Theater </i> and its "Stadel" (barn) between Karl von Marinelli's liquidator Dr. Karl Krziwanek and Rudolph Steinkeller dated 31 August 1827 (A-Wsa, Patrimonialherrschaften, B106.26, fol. 212v)</span></div>
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<span style="font-size: x-small;">The signatures on the aforesaid copy of the purchase contract. The signatories were: Karl and Franziska von Marinelli and Dr. Karl Krziwanek (as sellers), Joseph von Catharin and Ferdinand Raimund (as witnesses), and Rudolph Steinkeller (as buyer) (A-Wsa, Patrimonialherrschaften, B106.26, fol. 217v).</span></div>
<br />
On 17 April 1828, Steinkeller presented Ferdinand Raimund as the theater's new principal, and the newly apponted director expressed his gratitude in a short speech to his colleagues (<a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18280429&seite=4&zoom=44" target="_blank"><i>Wiener Theater-Zeitung</i>, 29 April 1828, p. 208</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgufEoSuk1q0YNxPlghLiMRtlhi20AF9fUHz5x8XPSBnnyExOXMw5o0HQa8Ym4nz9HIgJUOT1ivJH_TTPAEFkACM6YaMsVSzSMW3_nmoOiUKhMuJgJlUDKLr_6XhmKmUXnocfbFATXVhMM/s1600/RS+LPS+511_18r%252C+1830%252C+P.1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="527" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgufEoSuk1q0YNxPlghLiMRtlhi20AF9fUHz5x8XPSBnnyExOXMw5o0HQa8Ym4nz9HIgJUOT1ivJH_TTPAEFkACM6YaMsVSzSMW3_nmoOiUKhMuJgJlUDKLr_6XhmKmUXnocfbFATXVhMM/s320/RS+LPS+511_18r%252C+1830%252C+P.1.JPG" width="241" /></a></div>
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<span style="font-size: x-small;">About five years of the history of the <i>Leopoldstädter Theater</i> on a conscription sheet of the theater building: "Rudolph von[<i>sic</i>] Steinkellner <span style="text-decoration: overline;">805</span> Theater Inhaber" ("spektor" and the predicate of nobility crossed out); on the left, filed as owner: "Peter Steinkeller Inhaber des Theaters wohnt 510", followed by "Herr <strike>Karl</strike> Franz edler von Marinely" who, together with his family, is also listed as tenant and "Theater Privilegiums Inhaber v Leopoldstadt" (A-Wsa, Konskriptionsamt, Leopoldstadt 511/18r). Rudolph Steinkeller's Polish manservant Peter Gabrinecki appears on the theater building's list of foreigners (A-Wsa, Konskriptionsamt, Leopoldstadt 511/38r).</span></div>
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What now followed was the negligent destruction of the most successful ensemble that the Viennese <i>Volkstheater</i> had ever possessed. Rudolph Steinkeller turned out to be an ignorant bully, who, being obsessed with cutting costs, managed to lay off (or chase away) his theater's best and most beloved forces. Raimund's administration was mostly make-believe, because Steinkeller made his decisions arbitrarily and without consulting with anybody. He massively reduced salaries and benefices and laid off long-time popular members of the ensemble: Louise Haas, <a href="http://www.biographien.ac.at/oebl/oebl_S/Sartory_Johann_1759_1840.xml" target="_blank">Johann Sartory</a>, <a href="http://www.biographien.ac.at/oebl/oebl_S/Schuster_Josef-Anton_1770_1852.xml" target="_blank">Anton</a>, and <a href="https://de.wikipedia.org/wiki/Ignaz_Schuster" target="_blank">Ignaz Schuster</a>, Elise Gärber, <a href="https://de.wikipedia.org/wiki/Katharina_Enn%C3%B6ckl" target="_blank">Katharina Ennöckl</a>, <a href="https://de.wikipedia.org/wiki/Friedrich_Josef_Korntheuer" target="_blank">Friedrich Joseph Korntheuer</a>, and Therese Krones all were dismissed. Steinkeller was known to always carry a whip and to appear among his employees in the company of two enormous dogs. On 8 August 1830, the actor <a href="https://de.wikipedia.org/wiki/Karl_Ludwig_Costenoble" target="_blank">Carl Ludwig Costenoble</a> wrote the following into his diary.<br />
<blockquote class="tr_bq">
Ignaz Schuster hat das Leopoldstädter Theater verlassen, was Raimund auch thun wird, weil der jetzige Unternehmer, der Pohle Steinköller ein ganz unvernünftiger Mensch – ja, oft mehr Vieh als Mensch seyn soll. Die schöne Lokalkunstanstalt geht also zu Grund durch diesen Barbaren!! </blockquote>
<blockquote class="tr_bq">
Ignaz Schuster has left the Leopoldstadt Theater which Raimund will do as well, because the current entrepreneur, the Pole Steinkeller, is said to be a completely unreasonable person – yes, often more a brute than a human being. Thus the beautiful institution of local art is perishing because of this barbarian!!</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA6NuGB-5c9YhMcBSkMAmNLXF5P8gHf4BFkhbK0UgPpyzR9D4_ISMD0oE-E8RihBUtzTRClbuefMTXTiVBZ8xRh33cDiDD9Nu8hDek5BxMVplECiY3LV7knDwywOiB5_u2cE3o50RShoM/s1600/Costenoble+8.8.1830.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="963" height="114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA6NuGB-5c9YhMcBSkMAmNLXF5P8gHf4BFkhbK0UgPpyzR9D4_ISMD0oE-E8RihBUtzTRClbuefMTXTiVBZ8xRh33cDiDD9Nu8hDek5BxMVplECiY3LV7knDwywOiB5_u2cE3o50RShoM/s320/Costenoble+8.8.1830.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Carl Costenoble's entry in his diary on 8 August 1830, concerning Steinkeller's behavior (A-Wst, H.I.N. 17337, vol. 2)</span></div>
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As a result of Steinkeller's stupid actions and his chaotic administration, which the Viennese soon called "polnische Wirtschaft" ("Polish mess"), the
theater's revenue plummeted. In July 1830, Ignaz Schuster resigned, and in <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18300814&seite=3&zoom=33" target="_blank">August 1830</a>, Raimund also had enough and resigned from his post. The economic situation was worsened by <a href="https://de.wikipedia.org/wiki/Carl_Carl" target="_blank">Carl Carl</a>'s successful repertoire at the <i>Theater an der Wien</i>, as well as by the recession that followed the <a href="https://en.wikipedia.org/wiki/July_Revolution" target="_blank">July Revolution</a>, and the growing fear of another Cholera outbreak. On 17 January 1831, Rudolph Steinkeller fled from Vienna as bankrupt. On <a href="https://books.google.at/books?id=DQgVAAAAQAAJ&pg=PA405&lpg=PA405" target="_blank">22 June 1831</a>, the <i>Allgemeine musikalische Zeitung</i> described this escape as: "Der Eigenthümer hat sich in aller Stille entfernt" ("The owner has absented himself in secret"), and the Viennese press circulated the following quip: "Which English town describes the owner of the <i>Leopoldstädter Theater</i>? Oxfort!" (i.e. "der Ochs ist fort", "the ox is gone").<br />
<br />
Now Peter Steinkeller, the elder, more reasonable and more moneyed brother, stepped in to clear up the chaos that his brother had left behind. The sources suggest that the brothers Steinkeller had coordinated their actions in advance and that Peter himself, after buying the theater on 15 January 1831, had advised Rudolph to quickly leave Vienna. On 21 January 1831, Peter Steinkeller received the official ownership of the theater and on 25 January, he installed Franz von Marinelli as partner and new theater administrator. On 23 March 1831, Marinelli bought the theater with a loan from Baron Friedrich von Dietrich and Baron Karl von Schloißnigg. The following entries in the land registers of the Vienna <a href="https://www.geschichtewiki.wien.gv.at/B%C3%BCrgerspital" target="_blank"><i>Bürgerspital</i></a> document Peter Steinkeller's activities in 1831 as short-time owner of the <i>Leopoldstädter Theater</i>.<br />
<ul>
<li>The
registration of the purchase contract between Rudolph and
Peter Steinkeller, dated 15 January 1831 (A-Wsa, Patrimonialherrschaften, B106.27, Sätze, fol.
186v)</li>
<li>The "Einverleibung" (incorporation) of Rudolph
Steinkeller's contract of 24 January 1831 to Peter Steinkeller (Ibid., fol. 187v)</li>
<li>The belated
registration of Rudolph Steinkeller's ownership ("Gewähranschreibung")
on 24 January 1831, which on the same day was registered as having been transferred to his brother Peter
(A-Wsa, Patrimonialherrschaften, B106.27, Gewähren, fol. 81r-83r)</li>
<li>The registration of the sale of a third of the theater buildings to Franz von Marinelli (Ibid., fol. 188r)</li>
<li>A copy of seven paragraphs from the will of Peter Steinkeller's mother Josepha dated 26 June 1825, documenting the distribution of Josepha Steinkeller's estate among her children (Ibid., fol. 214v-215v)</li>
<li>The registration of Karl von Marinelli's ownership according to the purchase contract with Peter Steinkeller of 23 March 1831 (A-Wsa, Patrimonialherrschaften, B106/29, fol. 8v-9r)</li>
<li>The "Einverleibung" of the above contract on 28 March 1831, cashed in on 21 January 1839 (A-Wsa, Patrimonialherrschaften, B106.27, Gewähren, fol. 203r)</li>
<li>The registration of Marinelli's payment of 28,000 gulden to Peter Steinkeller in six installments between 23 September 1832 and 23 September 1834 (A-Wsa, Patrimonialherrschaften, B106.28, fol. 209v-210r) </li>
</ul>
The so-called "Dienstbücher" (registers of owners who paid real estate taxes) of the series <a href="https://www.wien.gv.at/actaproweb2/benutzung/archive.xhtml;jsessionid=844CF01CED0EA94A9B129C901CBD0366#" target="_blank">B106</a> from between 1816 and 1868 were destroyed in 1927. <br />
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In February 1831, Peter Steinkeller rehired Johann Sartory as artistic director. One of the first things Peter Steinkeller did to raise the theater's profit was to tender an award of 100 ducats for a new play (<a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310201&seite=1&zoom=33" target="_blank"><i>Wiener Theater-Zeitung</i>, 1 February 1831, p. 53</a>). The legal aftermath of Rudolph Steinkeller's bankruptcy lasted for several years, as several of Rudolph Steinkeller's creditors tried to get their money back from his brother Peter. <br />
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<span style="font-size: x-small;">A look behind the scenes of Rudolph Steinkeller's way of running his theater: a list of promissory notes, issued by Steinkeller to the tailor Ignaz Zeillinger in a file pertaining to Zeillinger's lawsuit against the Steinkeller brothers (A-Wsa, Mag. ZG, A5, 1109/1831). Another lawsuit against Steinkeller is addressed <a href="https://www.blogger.com/null" target="_blank">in the <i>Wiener Zeitung</i> of </a><a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18341009&seite=10&zoom=33" target="_blank">9 October 1834</a>.</span></div>
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From the many files of the Vienna Municipal Court covering these lawsuits only three survive from this court's series A5 (formerly Faszikel
7): 1109/1831, 802/1831 and 1847/1831. By always being
absent from Vienna at the right time, Peter Steinkeller managed to dodge
most of the court's summonses and distress warrants.<br />
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<span style="font-size: x-small;">A public summons ("Edikt") by the Vienna Magistrate, addressed to Peter Steinkeller, requesting his appearance at the Vienna Civil Court on 17 August 1832, at 10 a.m. (A-Wsa, Mag. ZG, A5, 1109/1831).</span></div>
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The Vienna police was still interested in Peter Steinkeller's activities as late as 1848. The only surviving file concerning Peter Steinkeller in the holdings of the <i>Polizeihofstelle</i> of the <a href="http://www.oesta.gv.at/desktopdefault.aspx?alias=oestaen&init" target="_blank">Austrian State Archives</a> is a report, dating from 7 March 1848, concerning Steinkeller's arrival in Vienna on 1 March of that year and his departure three days later, after having conferred with the merchant Hugo zu Salm-Reifferscheidt, "providing no occasion for any alarming perception" (AVA, PHSt 3479/1848). Debts and mismanagement were not the only things that Rudolph Steinkeller left behind in Vienna. In 1829 two sisters were members of the Leopoldstadt ensemble: Therese Lenz ("the Elder") and Friederike Lenz ("the Younger"). Both of them were hired as "Pantomiminnen und Charaktere" which meant they mostly took part in pantomimes and ballets. In the 1830s Therese Lenz was to achieve some local fame as a dancer in "magic parodies", such as <a href="http://www.bildarchivaustria.at/Preview/3996019.jpg" target="_blank">Karl Schadetzky</a>'s <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wan&datum=18330831&seite=4&zoom=33" target="_blank"><i>Harlekins Geburt, oder das Zauberhorn</i></a>. On 1 December 1829 Joseph Lenz, the father of the Lenz sisters, wrote the following letter to the Vienna Magistrate.<br />
<div style="text-align: center;">
<blockquote class="tr_bq">
Honorable Magistrate!</blockquote>
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<blockquote class="tr_bq">
<div style="text-align: justify;">
My daughter Therese has been put into the unfortunate situation by the theater owner in the Leopoldstadt Mr. Rudolph Steinkeller, by whom she had been engaged, to have been impregnated in February of this year und she has given birth to a girl on November 14th of this year. Since my daughter is only 19 years of age and therefore a minor, the child is in her care in my house and because it needs a guardian in the interest of its future care, the undersigned requests that the honorable Magistrate may deign to assign the child's guardianship to him to be able to take care of the fate of this unfortunate creature according to his duty and conscience.</div>
<div style="text-align: left;">
Vienna, 1 December 1829</div>
<div style="text-align: center;">
Joseph Lentz<span style="font-size: x-small;">mp</span></div>
<div style="text-align: center;">
I. & R. government official</div>
</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwsXzCnbf3D433oERfV0ygpPQAXIgvIPbFMD6acbQyPayNEi4vAom_z8xGbY0j2lKDkon2JddvxdpYrgtVedhPL0Fd9AbUyAi6N0HoyPx9d7CLPGv_ZVi5zp6Wu6lBQMMaTYsvAYeFJxQ/s1600/Lentz%252C+A3%252C+328_1829.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="643" data-original-width="413" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwsXzCnbf3D433oERfV0ygpPQAXIgvIPbFMD6acbQyPayNEi4vAom_z8xGbY0j2lKDkon2JddvxdpYrgtVedhPL0Fd9AbUyAi6N0HoyPx9d7CLPGv_ZVi5zp6Wu6lBQMMaTYsvAYeFJxQ/s320/Lentz%252C+A3%252C+328_1829.jpg" width="205" /></a></div>
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<span style="font-size: x-small;">Joseph Lenz's letter to the Vienna Magistrate concerning Rudolph Steinkeller's illegitimate daughter Leopoldine (A-Wsa, Mag. ZG, A3, 328/1829). Leopoldine Lenz's godmother was her aunt Friederike (St. Johann Nepomuk, Tom. 4, fol. 141). Contrary to a widely held belief, such a document cannot be found in some register under the name "Steinkeller". It can only be found by spending fourteen months going through 374 boxes of orphan files of the </span><span style="font-size: x-small;"><span style="font-size: x-small;">Vienna Municipal Court</span>. </span></div>
<br />
For obvious reasons, Rudolph Steinkeller never returned to Vienna. He
settled in Kraków and later, for some time, managed his brother's carriage
factory in Solec where the legendary <a href="https://www.muzeumgalowice.pl/galopedia/pojazdy-konne/steinkellerka-kurierka-wieloosobowy-pojazd-komunikacji-pocztowej-w-polsce-w" target="_blank"><i>Steinkellerka</i></a> was produced. He died on 14 April 1862, in Kraków. <br />
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<span style="font-size: x-small;">The signatures of the actress <a href="https://de.wikipedia.org/wiki/Katharina_Enn%C3%B6ckl" target="_blank">Katharina Ennöckl</a> and Rudolph Steinkeller on a contract concerning the clearance of Ennöckl's apartment (A-Wst, H.I.N. 144.111)</span></div>
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<div style="text-align: left;">
<b>The Other Godparent: Anna Bittmann</b><br />
<br />
Why was Anna Bittmann, "daughter of a princely house officer", chosen as godmother of Alexander Steinkeller? Because her mother had been a sister of Steinkeller's mother Josepha, Anna Bittmann was Peter Steinkeller's cousin. That Polish historians such as <a href="https://pl.wikipedia.org/wiki/J%C3%B3zef_Wawel-Louis" target="_blank">Józef Wawel-Louis</a> (and the <a href="https://pl.wikipedia.org/wiki/Piotr_Steinkeller" target="_blank">Polish Wikipedia</a>) give the maiden name of Peter Steinkeller's mother as "Josepha Frey", is obviously based on a mistranscription that is revealed by the information "seiner Frau Gemahlin Josepha geborn[en] Trey" in Alexander Steinkeller's baptismal entry. Not surprisingly, Anna Bittmann was deeply rooted in the Polish social environment that thrived in Biedermeier Vienna. Anna Bittmann was born on 26 November 1803, second child of Alois Bittmann and his wife Franziska, née Trey. Her place of birth was the house Alsergrund 106, "Zum goldenen Hirschen" (last number 125, today <a href="https://goo.gl/maps/58sul" target="_blank">Alser Straße 33</a>). Close to this building, Prince Liechtenstein owned a palace (<a href="https://goo.gl/maps/Wz2AC" target="_blank">Alsergrund 98</a>) and a large garden (<a href="https://goo.gl/maps/2SkRU" target="_blank">Alsergrund 126</a>). Anna's father Alois Bittmann hailed from Alt Rothwasser in Moravia (today <a href="https://en.wikipedia.org/wiki/%C4%8Cerven%C3%A1_Voda_%28%C3%9Ast%C3%AD_nad_Orlic%C3%AD_District%29" target="_blank">Červená Voda</a>) where he had been born around 1767. His marriage in 1801 under the authority of the "Feldsuperioriat" proves that at that time he was already a member of <a href="https://en.wikipedia.org/wiki/Johann_I_Joseph,_Prince_of_Liechtenstein" target="_blank">Johann I Joseph </a><a href="https://en.wikipedia.org/wiki/Johann_I_Joseph,_Prince_of_Liechtenstein" target="_blank">Prince of Liechtenstein</a>'s military unit where he worked as "Kucheltrager" (kitchen waiter). When in 1805 his principal became head of the family and moved to the <a href="https://de.wikipedia.org/wiki/Palais_Liechtenstein_%28Herrengasse%29" target="_blank">Liechtenstein Palace</a> in the Herrengasse (Stadt 252), Bittmann was promoted to the rank of "princely cook". <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvAGNg9xMm-R5arHiUn0XFeaQIIYkpS0Nufu_zXnFahYFgjXXcVjXADSEbeC1u1-XUrb2yGyDEqPschw0fiJIL9A8Ahx_fxHnLV0Xr1e0AVhp_bWM3vIHdDtoHS3nXIfrAZm7B9taxIk/s1600/Anna+Bittmann+26.11.1803.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="57" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvAGNg9xMm-R5arHiUn0XFeaQIIYkpS0Nufu_zXnFahYFgjXXcVjXADSEbeC1u1-XUrb2yGyDEqPschw0fiJIL9A8Ahx_fxHnLV0Xr1e0AVhp_bWM3vIHdDtoHS3nXIfrAZm7B9taxIk/s400/Anna+Bittmann+26.11.1803.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">The entry concerning the baptism of Anna Bittmann on 26 November 1803 in the <a href="https://de.wikipedia.org/wiki/Alserkirche" target="_blank">Alserkirche</a> (Alservorstadt, Tom. 6, fol. 269). Her father is given as "Aloys Bittmann hersch[aftlicher] Kucheltrager bey T.[itulo] H[errn] Fürsten Johann von Liechtenstein".</span></div>
<br />
Alois Bittmann's sons also joined the prince's staff: Jakob became a servant and Alois became a professional scribe who worked as actuary at the Liechtenstein estate of Eisgrub (<a href="https://en.wikipedia.org/wiki/Lednice" target="_blank">Lednice</a>). In 1830, in a conscription sheet of Stadt 252, Anna Bittmann is referred to as "in Dienst" (in service).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS9KitIdVxe51ZiqoNt1kOePFWgfeulcBp1qRf5mwBB2fCPKQJXt9H_OJkKlz8FE6Gv9ovnQ0h8uOHjKCQcQPJBoNFmIsOz_e_SjptuY3qxM3uD9CFek1A6YDzwdd6Pak5ErUOIUKXXw0/s1600/Bittmann+Stadt+252_17r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="703" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS9KitIdVxe51ZiqoNt1kOePFWgfeulcBp1qRf5mwBB2fCPKQJXt9H_OJkKlz8FE6Gv9ovnQ0h8uOHjKCQcQPJBoNFmIsOz_e_SjptuY3qxM3uD9CFek1A6YDzwdd6Pak5ErUOIUKXXw0/s320/Bittmann+Stadt+252_17r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Alois Bittmann's family on a conscription sheet of the Liechtenstein palace in 1830 (updated in 1840): Franziska Bittmann and her last son Carl were already dead, the son Jakob is a "Fürst Lichtensteinischer Hausoffizier" and Alois had earlier been a "Burggraf. Schreiber zu <a href="https://en.wikipedia.org/wiki/Valtice" target="_blank">Feldsberg</a>". His entry is accompanied by a list of passports that were issued for his travels to Moravia; the entry "Tocht. Anna <span style="text-decoration: overline;">804</span> in Dienst" is at the bottom (A-Wsa, Konskriptionsamt, Stadt 252/17r).</span></div>
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Alois Bittmann died on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18420707&seite=5&zoom=33" target="_blank">3 July 1842</a>. His <a href="https://www.geschichtewiki.wien.gv.at/Verlassenschaftsabhandlung" target="_blank"><i>Sperrs-Relation</i></a> lists the following children.<br />
<blockquote class="tr_bq">
<i>Children</i> 3<br />
3 <i>Of legal age and their whereabouts</i><br />
Mr. Jakob Bittmann, cook with His Excellency Prince Aloys Lichtenstein, <a href="https://www.palaisliechtenstein.com/en/home.html" target="_blank"><strike>N</strike> 130 in the Rossau</a>, 41 years of age,<br />
Anna Bittmann, unmarried, 38 years of age, lady's companion with Countess Mniszek, N: 266 in the City,<br />
Mr. Aloys Bittmann, court actuary of the dominion of Eisgrub in Moravia, 36 years of age.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilE7rcdAj8k00dv0NtjG_Gm2WmyjOiijoDaOhwyIv20GKIAvYibLL_o2pYUD35IJHkEq5qtxUBr6nFjGxh8bEzm3L43Q9N7gjVL38JS2z2EHRWk9a1LRanBU1QaICRWtbrXf4NytW_wOo/s1600/A2%252C+5367_1842+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="294" data-original-width="637" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilE7rcdAj8k00dv0NtjG_Gm2WmyjOiijoDaOhwyIv20GKIAvYibLL_o2pYUD35IJHkEq5qtxUBr6nFjGxh8bEzm3L43Q9N7gjVL38JS2z2EHRWk9a1LRanBU1QaICRWtbrXf4NytW_wOo/s320/A2%252C+5367_1842+%25282%2529.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The three Bittmann children listed in their father's <i>Sperrs-Relation</i> (A-Wsa, Mag. ZG, A2, 5367/1842)</span></div>
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At this point, for reasons of visual enjoyment, I insert a document written in 1842 by Anna Bittmann's younger brother Alois. It nicely documents the skills that were needed to work as scribe for the Princes of Liechtenstein.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2XPxLmpkhngCV8va9icpzpjZXg_D3tmSeV5hmBno7XS2iY7gBZInPDINhIA9pArz2Elq0yPlHzYCA6Lib47CpLEG4T-Y4rMbYtAS22pXZaaVibG4YYGgfXIAC9DgVI4f03ET4AAK8SL0/s1600/A2%252C+5367_1842.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="459" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2XPxLmpkhngCV8va9icpzpjZXg_D3tmSeV5hmBno7XS2iY7gBZInPDINhIA9pArz2Elq0yPlHzYCA6Lib47CpLEG4T-Y4rMbYtAS22pXZaaVibG4YYGgfXIAC9DgVI4f03ET4AAK8SL0/s320/A2%252C+5367_1842.jpg" width="200" /></a></div>
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<span style="font-size: x-small;">The exquisite handwriting of Alois Bittmann, court actuary in Eisgrub (A-Wsa, Mag. ZG, A2, 5367/1842)</span></div>
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With the help of her father's (and certainly the Prince's social connections),
Anna Bittmann was able to secure a job as lady's companion in the
service of Countess Helena Mniszek, the wife of Count Stanisław Adam Mniszek who
resided in his own house beside the Liechtenstein Palace at Stadt 266 (today <a href="https://goo.gl/maps/DQs4i" target="_blank">Wallnerstraße 7</a>).<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghKlNyWc40QjNmLIkRV_LyJSL69W64Ej6Lp37Fzx3hZPYTpjEbuX2zo8PfDLkzBWK2_zNtTTUQMAhn0TnHM0a50h2nOPLt0zs3-6XaZMu_vd25NlIKA_f7qEO2E17s9Pq00U2D29kSjvU/s2048/WM+42000_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1484" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghKlNyWc40QjNmLIkRV_LyJSL69W64Ej6Lp37Fzx3hZPYTpjEbuX2zo8PfDLkzBWK2_zNtTTUQMAhn0TnHM0a50h2nOPLt0zs3-6XaZMu_vd25NlIKA_f7qEO2E17s9Pq00U2D29kSjvU/s320/WM+42000_1.jpg" /></a></div>
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<span style="font-size: x-small;">Count Mniszek's house Stadt 266 on a photograph from 1911 protruding on the left side of the Wallnerstraße (Wien Museum, I.N. 42000/1). This building, which until 1911 belonged to Mniszek's daughter Luitgarde Stadnicka, was torn down in 1913.</span></div>
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Countess Mniszek was born <a href="https://pl.wikipedia.org/wiki/Helena_Lubomirska" target="_blank">Princess Helena Lubomirska</a> in 1783, daughter of <a href="https://pl.wikipedia.org/wiki/J%C3%B3zef_Lubomirski_%281751-1817%29" target="_blank">Prince Józef Lubomirski</a>. Thus, she not only was a relative of Chopin's friend Countess Rzewuska. Her husband Count Mniszek, whom she had married in 1807, was probably a business partner of Peter Anton Steinkeller. Count Stanisław Adam Mniszek (1774–1846), whose mother had been a Countess Ossolinska, was one of the most interesting Polish noblemen living in Vienna. In 1799, he had bought the castle and dominion of Frain (today <a href="https://en.wikipedia.org/wiki/Vranov_nad_Dyj%C3%AD" target="_blank">Vranov nad Dyjí</a>) where, from 1816 on, he produced earthenware in the local manufactory. In 1829, he invented <a href="https://books.google.at/books?id=u45fAAAAcAAJ&pg=PA386" target="_blank">a method</a> of manufacturing a new kind of light blue, light brown, and light green <a href="https://en.wikipedia.org/wiki/Wedgwood" target="_blank">Wedgwood</a>, by means of a special treatment of clay and glaze, the patent of which he had <a href="https://books.google.at/books?id=845fAAAAcAAJ&pg=PA542" target="_blank">extended in 1834</a>. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3WVSB6Ro-SEpATPKfpoHFNHrgIvMR6JPWgqE4pVDWw7Sw54eKE4aIqb7X3axcmgSWiJWCZqvFNRnxCDsqVsfdQ_-cNVsiUh3xZiXcONAbg-d-cFNhAf7MeoguB0dTEAimZ07-HKDRLA/s1600/Mniszek.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3WVSB6Ro-SEpATPKfpoHFNHrgIvMR6JPWgqE4pVDWw7Sw54eKE4aIqb7X3axcmgSWiJWCZqvFNRnxCDsqVsfdQ_-cNVsiUh3xZiXcONAbg-d-cFNhAf7MeoguB0dTEAimZ07-HKDRLA/s320/Mniszek.jpg" width="240" /></a></div>
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<span style="font-size: x-small;">Count Stanisław Adam Mniszek</span></div>
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Count Mniszek was a professed lover of music. In June 1822, Felix Hippolyt Doré, a son of Count Mniszek's tutor and administrator Joseph Doré, married Therese Derffel, cousin of Franz Schubert's friends <a href="https://en.wikipedia.org/wiki/Franz_von_Schober" target="_blank">Franz von Schober</a> and Franz Derffel. Thus, Hippolyt Doré not only established the connection between his and Schober's family, he als brought Count Mniszek into contact with Franz Schubert and his friends. In 1829, Mniszek was among the subscribers of Schubert's posthumously published song cycle <a href="https://en.wikipedia.org/wiki/Schwanengesang" target="_blank"><i>Schwanengesang</i></a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTzXBSaYPf1OgBX0bH5rJivhGYSrSGrmkQTAVOz4VhYUtLJaoIlsXmlQMKB6SMa95YZ8Ll_GJlM8bB-HpmHrTD1jCChFuhsi-BNx31sW78l4HGIxAYNcXYaWVsBxIjVIDSZxEWpVLAN4o/s1600/Dore.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTzXBSaYPf1OgBX0bH5rJivhGYSrSGrmkQTAVOz4VhYUtLJaoIlsXmlQMKB6SMa95YZ8Ll_GJlM8bB-HpmHrTD1jCChFuhsi-BNx31sW78l4HGIxAYNcXYaWVsBxIjVIDSZxEWpVLAN4o/s320/Dore.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The view from <a href="http://www.vranov-nad-dyji.eu/krasy-prirody/vyhlidka-tanecnice.html" target="_blank">Vyhlídka Tanečnice</a> towards <a href="https://upload.wikimedia.org/wikipedia/commons/a/a5/Vranov_nad_Dyji03%28js%29.jpg" target="_blank">Vranov Castle</a>. Lithography by Joseph Doré (1806–1872), a cousin of Franz von Schober, who in 1833 was the head of the "chemical earthenware printing company" in Vranov. This Vienna-born Doré drew many views of Vranov and its surroundings that today grace the walls of the castle and are now falsely attributed to the French painter Joseph Doré. </span></div>
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Anna Bittmann remained in Countess Mniszek's employment for the rest of her life. On an 1850 conscription sheet of Stadt 266 she is listed as "Gesellschafterin" (lady companion).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOITSroLDp7alOCP8sWl07-TOw8-4K6M5rx7dpRhO_2FVTCJQPjuZIJWrWnTS5E8fPLoWnEbNc4VD7KoPSUOcbN27hKuFr7ZkRDp6CNIF8zYfhh8HsKNOthHxbs-6jwn7sy9E6ZyIMQVc/s1600/Bittmann+Stadt+266_14r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="708" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOITSroLDp7alOCP8sWl07-TOw8-4K6M5rx7dpRhO_2FVTCJQPjuZIJWrWnTS5E8fPLoWnEbNc4VD7KoPSUOcbN27hKuFr7ZkRDp6CNIF8zYfhh8HsKNOthHxbs-6jwn7sy9E6ZyIMQVc/s320/Bittmann+Stadt+266_14r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Anna Bittmann's name in a group of domestic servants at Stadt 266 (A-Wsa, Konskriptionsamt, Stadt 266/14r)</span></div>
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Anna Bittmann died of a stroke on 24 May 1854, at Countess Mniczek's house Stadt 266 and was buried on 27 May in an own crypt in the cemetery outside Matzleinsdorf.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigu1xqpORjmmNXRqSxthiDWDbDE89HaO2XKIMZVsR4IAM4xcx1WkeWGJC80vMUxordcpCTmuwSbhWSngqvh3VUhFEi0bNJqSJyPZoKz8S-4vL-G2yY1gtsFIJIuS25PsY7d-V_c7q-HzM/s1600/Bittmann+24.5.1854.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="103" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigu1xqpORjmmNXRqSxthiDWDbDE89HaO2XKIMZVsR4IAM4xcx1WkeWGJC80vMUxordcpCTmuwSbhWSngqvh3VUhFEi0bNJqSJyPZoKz8S-4vL-G2yY1gtsFIJIuS25PsY7d-V_c7q-HzM/s320/Bittmann+24.5.1854.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry concerning the death of Anna Bittmann on 24 May 1854 (A-Wstm, Tom. 13, fol. 89)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMFr4-yIKyFuUiTt0sSma8Z2xCrC9VSXc5d4Z5zz-YkC3LTtNh1RgBvk-Kyna7mkGX-FwGflDkObjp-bZt1iJnynGl4KdA8LoTnae2ClUXirchzjP7gVmR-1Ht5eexHitVctp7tbXT4IQ/s1600/Bittmann+Matzleinsdorf+76.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="448" data-original-width="917" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMFr4-yIKyFuUiTt0sSma8Z2xCrC9VSXc5d4Z5zz-YkC3LTtNh1RgBvk-Kyna7mkGX-FwGflDkObjp-bZt1iJnynGl4KdA8LoTnae2ClUXirchzjP7gVmR-1Ht5eexHitVctp7tbXT4IQ/s320/Bittmann+Matzleinsdorf+76.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The entry in the register of crypts concerning the Bittmann family crypt in the Matzleinsdorf cemetery (A-Wsa, Kommunalfriedhöfe, 1.2.4.3.2.B1.1 alt: II-B-1 - Protokoll der Grüfte, fol. 76r)</span></div>
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Anna Bittmann's mistress Countess Helena Mniszek died on 14 August 1876, in Vranov.<br />
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<b>The Caché-Mattis Connection</b><br />
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On 11 June 1831, Chopin performed his <a href="https://en.wikipedia.org/wiki/Piano_Concerto_No._1_%28Chopin%29" target="_blank">Concerto in E minor</a> at the <a href="https://en.wikipedia.org/wiki/Theater_am_K%C3%A4rntnertor" target="_blank">Kärntnertortheater</a>. His appearance was part of a concert that served as opening act of <a href="http://digital.onb.ac.at/OnbViewer/viewer.faces?doc=ABO_%2BZ178940706" target="_blank"><i>Theodosia</i></a>, a ballet by <a href="https://it.wikipedia.org/wiki/Paolo_Samengo" target="_blank">Paolo Samengo</a> with music composed by <a href="https://de.wikipedia.org/wiki/Wenzel_Robert_von_Gallenberg" target="_blank">Wenzel Robert von Gallenberg</a>.<br />
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<span style="font-size: x-small;">The <i>Zettel</i> of the court theaters, announcing Chopin's concert at the
Kärntnertortheater on 11 June 1831 (A-Wkm, Theatermuseum, Hoftheater
1831)</span></div>
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This was not just any performance. It was a premiere of a new work with new scenery and costumes, featuring some of the best ballet dancers of their age: Pietro Campilli, Dominik Mattis, Federico Massini, François Crombé, and the legendary <a href="https://en.wikipedia.org/wiki/Fanny_Elssler" target="_blank">Fanny Elßler</a> with her sister <a href="https://en.wikipedia.org/wiki/Therese_Elssler" target="_blank">Therese</a>, and her cousin <a href="https://www.geschichtewiki.wien.gv.at/Hermine_El%C3%9Fler" target="_blank">Hermine</a>. The Elßler sisters had a close relation to the composer Count Gallenberg who was the godfather of Fanny's illegitimate son Robert Franz (b. 4 June 1827) and Therese's illegitimate daughter Robertine Marie (b. 22 November 1829). It is interesting to note that <a href="https://en.wikipedia.org/wiki/Friedrich_August_Kanne" target="_blank">Kanne</a>'s favorable review of Chopin's performance appeared in the <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310618&seite=3&zoom=33" target="_blank"><i>Theaterzeitung</i> on 18 June 1831</a>, five days earlier than the <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310623&seite=2&zoom=33" target="_blank">review of the ballet</a>, where the reviewer praised the dancing and the music, but criticised the the odd storyline and the staging. The combination of Chopin's concert with a ballet that was performed for the benefit of the dancer Dominik Mattis (whom the Fryderyk Chopin Institute <a href="http://en.chopin.nifc.pl/chopin/life/calendar/year/1831" target="_blank">mistakes for a conductor</a>) has always been considered a coincidence and the result of <a href="https://en.wikipedia.org/wiki/Louis_Duport" target="_blank">Duport</a>'s more or less arbitrary performance schedule. I do not think that it was a concidence. I surmise that Chopin knew Mattis personally, because he had met him and Mattis's fiancé Pauline Hasenhut at Peter Steinkeller's home in the Leopoldstadt. <br />
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In late 1830 and early 1831, the dancer Dominik Mattis (born 1803 in Torino) and his fiancé, the ballerina Pauline Martina Hasenhut (born 1809 in Vienna, daughter of the ballet master Philipp Karl Hasenhut), were the darling couple of Viennese and Italian audiences. On <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18301218&seite=4&zoom=31" target="_blank">12 December 1830</a>, they left Vienna to begin a three-month engagement at the <a href="https://en.wikipedia.org/wiki/La_Scala" target="_blank">Teatro della Scala</a> in Milano.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMvAt3F8NUuUSkTN4159bpyIaYQAeAvTzMNsPsEVv7BORxlWGFGbm2o8o6nAwEDzLc4R3V-r_0R2pdDuDKP6oikgyuQgGdGJakKFWPPDCaTN6JQBf7CyIFgdd4LxOXjZDNwlUskzM3Qoo/s1600/Dominik+Mattis%252C+A-Wn+PORT_00022915_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="764" data-original-width="538" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMvAt3F8NUuUSkTN4159bpyIaYQAeAvTzMNsPsEVv7BORxlWGFGbm2o8o6nAwEDzLc4R3V-r_0R2pdDuDKP6oikgyuQgGdGJakKFWPPDCaTN6JQBf7CyIFgdd4LxOXjZDNwlUskzM3Qoo/s320/Dominik+Mattis%252C+A-Wn+PORT_00022915_01.jpg" width="225" /></a></div>
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<span style="font-size: x-small;">Dominik Mattis. Engraving by Joseph Kriehuber (A-Wn, PORT_00022915_01)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4SZBdTsMq9K3TdksPU0SS1iSzVnR-5xeroLPgk7F-ma7HGkHldGg0XR97S4dvmNu6fDWql0bCcVIWUZ2xdwAyCfqzvj0VZtgTm46J2yRFTKGlH7E-Fcf3YES0zcI4xd_YcyYXeIWqtg/s1600/Pauline+Hasenhut%252C+A-Wn+PORT_00148615_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="1070" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4SZBdTsMq9K3TdksPU0SS1iSzVnR-5xeroLPgk7F-ma7HGkHldGg0XR97S4dvmNu6fDWql0bCcVIWUZ2xdwAyCfqzvj0VZtgTm46J2yRFTKGlH7E-Fcf3YES0zcI4xd_YcyYXeIWqtg/s320/Pauline+Hasenhut%252C+A-Wn+PORT_00148615_01.jpg" width="236" /></a></div>
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<span style="font-size: x-small;">Pauline Hasenhut. Engraving by Joseph Kriehuber 1829 (A-Wn, PORT_00148615_01). Pauline Hasenhut and her younger sister Leopoldine had been among the hundreds of victims of the serial child abuser <a href="https://de.wikipedia.org/wiki/Aloys_von_Kaunitz-Rietberg" target="_blank">Prince Alois von Kaunitz-Rietberg</a>.</span></div>
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According to a report, published in the <i>Theaterzeitung</i> on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310127&seite=4&zoom=33" target="_blank">27 January 1831</a>, Mattis and Hasenhut performed at the <a href="https://it.wikipedia.org/wiki/Teatro_Carcano" target="_blank">Teatro Carcano</a> to enthusiastic audiences: "They only need to appear to be greeted with a storm of applause and curtain calls. Mattis and Hasenhut performed a new <i>Pas des deux</i> in the ballet <i>Kaokom</i> and the applause was enthusiastic. These accolades are all the more remarkable, as the Milanese are said to be not too generous expressing their acclaim." On <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310409&seite=4&zoom=33" target="_blank">31 March 1831</a>, Mattis and Hasenhut returned to Vienna. Since Pauline Hasenhut's father had died in 1825, and she was still under age, her legal guardian was the actor Anton Caché who lived at the same address as the Hasenhut family, at Leopoldstadt 510, the residence of Peter Steinkeller.<br />
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<span style="font-size: x-small;">Theresia Hasenhut and her children Ignatz, Leonhard, Leopoldine, Pauline and Eva on a conscription sheet of Leopoldstadt 510 dating from 1830. After the family's move to the city, this sheet was transferred to the records of Stadt 969. The entry in red refers to an arrest of Leonhard Hasenhut (A-Wsa, Konskriptionsamt, Stadt 969/16r)</span></div>
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Caché's second wife Anna, née Bartelmann was originally an actress by profession, but later seem<span style="font-size: x-small;">s</span> to have taken up a sideline, working as midwife. In this versatility she resembled her husband who in 1820 earned an additional income by performing <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18200120&seite=4&zoom=33" target="_blank">mechanical artistic fireworks</a> in his apartment for an entrance fee of one gulden Viennese currency (<a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18200120&seite=4&zoom=33" target="_blank"><i>Wiener Theater-Zeitung</i>, 20 January 1820, p. 36</a>).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhby_Zi6ZmG5j5Z36At0Yxn-vrp6o4WM_N5PjqORo0HydmsHKdUz_b4Zw8P9juKCr8hZ5ZPd6imDy50qpprGPdVnF6RLCoZ0MK_oWxPXYyJHZsKfjOAVwP3C7hqPJkAmi30WxpQy0b23SM/s1600/Cache%252C+LPS+510_38r%252C.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="581" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhby_Zi6ZmG5j5Z36At0Yxn-vrp6o4WM_N5PjqORo0HydmsHKdUz_b4Zw8P9juKCr8hZ5ZPd6imDy50qpprGPdVnF6RLCoZ0MK_oWxPXYyJHZsKfjOAVwP3C7hqPJkAmi30WxpQy0b23SM/s320/Cache%252C+LPS+510_38r%252C.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Anton Caché and his second wife Anna on an 1830 conscription sheet of Leopoldstadt 510 (A-Ws, Konskriptionsamt, Leopoldstadt 510/38r)</span></div>
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<span style="font-size: x-small;">Anton and Anna Caché ("Heb:[amme]") registered as godfather and midwife on the occasion of the baptism of Theresia Kihnel's son Christian on 3 June 1832 (St. Johann Nepomuk, Tom. 5, fol. 134). Anton Caché's signature is autograph.</span></div>
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Since she was living in the same house as the Steinkeller family, it was quite logical that Anna Caché served as midwife at the birth of Chopin's godson Alexander Steinkeller. On 13 May 1831, Anton Caché applied to the Vienna Magistrate to grant full legal age to his ward Paulina Hasenhut who at that time was 21 years and seven months of age.<br />
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<span style="font-size: x-small;">The first page of Anton Caché's application to grant legal age to his ward Pauline Martina Hasenhut (A-Wsa, Mag. ZG, A3, 164/1831)</span></div>
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Caché argued that his ward had always behaved well and economically and "is living only for her art and her domestic duties". He explained that "she has prospects of a very advantageous marriage to Mr. Mattis, one of the most famous ballet dancers, an impeccable gentleman, as far as his art and his morality are concerned, who is able to provide his future wife with a splendid livelihood". And finally Caché stated that, "because Mattis has to travel from one engagement to the other and his wife will have to accompany her husband to Italy and France and close contracts with many theater managements", Pauline Hasenhut needs to be granted legal age. The request was granted on 31 May 1831.<br />
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<span style="font-size: x-small;">The signatures of Anton Caché and his ward Pauline Hasenhut on the above application (A-Wsa, Mag. ZG, A3, 164/1831)</span></div>
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Dominik Mattis and Paulina Hasenhut got married on 11 July 1831, at Vienna's <a href="https://en.wikipedia.org/wiki/Augustinian_Church,_Vienna" target="_blank">Augustinian Church</a>. The bride's witness was her guardian Anton Caché. Chopin probably attended the wedding.</div>
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<span style="font-size: x-small;">The entry concerning the wedding of Dominik Mattis and Pauline Hasenhut on 11 July 1831 (St. Augustin, Tom. 10, fol. 131)</span></div>
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For a number of years, Dominik and Pauline Pauline Mattis successfully toured Europe, but in the late 1830s, their marriage seems to have fallen on hard times which was probably caused by Pauline's health problems. The couple eventually separated. In June 1838, Mattis was already <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18380702&seite=4&zoom=33" target="_blank">performing in Stuttgart</a> with <a href="http://www.bildarchivaustria.at/Preview/9149269.jpg" target="_blank">Hermine Elßler</a>. When Pauline Mattis died of abdominal cancer on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18441012&seite=5&zoom=33" target="_blank">9 October 1844</a>, in Vienna, her husband was on tour in Italy. Concerning her husband a note in Pauline's <i>Sperrs-Relation</i> states: "<i>Husband</i> N. Mattis in Italy, details unknown.".<br />
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<span style="font-size: x-small;">The Sperrskommissär Anton Slabe's note "Ehegatte N. Mattis in Italien, Näheres unbeka<span style="text-decoration: overline;">n</span>t" in Pauline Mattis's probate file (A-Wsa, Mag. ZG, A2, 6150/1844)</span></div>
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Following a popular stereotype of the "utilized genius", Chopin is always depicted as having been taken advantage of by Mattis and Duport, because "he did not get paid for his performance". There is absolutely no proof to support this claim. On the contrary, it seems likely that Mattis gave a share of his revenue to Chopin, or even more probable, that Peter Steinkeller provided the godfather of his son with an honorarium.<br />
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<b>A Few Unresolved Issues</b><br />
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Concerning Chopin's second stay in Vienna, a number of open questions and errors are still marring the literature. These unresolved issues, which have been caused by lack of archival research and by many authors' tendency to simply copy the work of their predecessors, are the following.<br />
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<u>Chopin's visits in Hietzing</u> <br />
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Countless biographies of Chopin describe the composer as being a guest in December 1830 at Dr. Malfatti's villa on the <a href="https://de.wikipedia.org/wiki/K%C3%BCniglberg" target="_blank">Küniglberg</a>
in Hietzing. This country estate (Hietzing No. 159), which included a
large piece of land, had been purchased by Malfatti in June 1830.<br />
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<span style="font-size: x-small;">Dr. Malfatti's villa on the Küniglberg. Drawing by Milan Sunko after an oil painting by <a href="https://www.geschichtewiki.wien.gv.at/Alois_von_Saar" target="_blank">Alois von Saar</a>. In his garden in Hietzing Dr. Malfatti conducted experiments concerning <a href="https://www.deutsche-digitale-bibliothek.de/item/MGLY7QGCGH3ITEBROJHGKO4MEGIIAKU2" target="_blank">the prevention of <i>Phytophthora infestans</i></a>.</span></div>
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As a matter of fact, Chopin did not stay in Hietzing at Christmas of 1830. On Sunday, 26 December 1830, he writes to Jan Matuszyński.<br />
<blockquote class="tr_bq">
Next morning I was awakened by an invitation to dinner at Mme Elkan's, the Polish wife of a banker. I got up, played a little in a gloomy mood. Then Nidecki came with Leidenfrost and Steinkeller and when we separated I went off to dine with Malfatti. Szaniasio (a Pole who has since been killed) ate as much zrazy and cabbage as, I guarantee, any Carmelite priest; and I was quite a match for him. I must tell you that that rare man (a man in the full sense of the word), Dr. Malfatti, is so thoughtful in every way that when we go to dinner with him he takes care that we have Polish dishes. Wild, the famous and indeed the leading German tenor of the day, came after dinner, I accompanied him from memory in an aria from Otello which he sang in masterly fashion. </blockquote>
It is clear from his account that Chopin had dinner at <a href="https://goo.gl/MY2v2K" target="_blank">Stadt 863</a>
at Mrs. Elkan's and, after leaving his friends Nidecki, Leidenfrost, and Steinkeller, immediately went to Malfatti's apartment at Stadt 65. It is obvious that the singer <a href="https://de.wikipedia.org/wiki/Franz_Wild_%28S%C3%A4nger%29" target="_blank">Franz Wild</a> also came from somewhere nearby. During the winter time, Malfatti lived in a
ten-room apartment in the city where, since 1824, he owned the houses Stadt 65 and 66 (today <a href="https://goo.gl/GDpNbJ" target="_blank">Teinfaltstraße 5</a> and <a href="https://goo.gl/Zp9gvl" target="_blank">Rosengasse 8</a>). In 1826, the value of these two houses was estimated at 69,000 gulden (A-Wsa, Mag. ZG, A2, 469/1826).<br />
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<span style="font-size: x-small;">A page from Johann Malfatti von Monteregio's 1859 probate file showing the estimated value of his two city houses still at 67,830 gulden. Owing to <a href="https://en.wikipedia.org/wiki/July_Revolt_of_1927" target="_blank">fire damage</a> this document is not accessible to ordinary researchers (A-Wsa, Landesgericht für Zivilrechtssachen, A4, E 233/1859).</span></div>
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Only in spring 1831, Malfatti and his two daughters moved to Hietzing where on Saturday, 7 May 1831, he was visited by Chopin and (allegedly) <a href="https://en.wikipedia.org/wiki/Johann_Nepomuk_Hummel" target="_blank">Hummel</a>. In his letter of 14 May 1831 Chopin refers to Malfatti's move to the country and his visit in Hietzing as follows.<br />
<blockquote class="tr_bq">
Perhaps Malfatti's soups have instilled into me some soothing medicine which has eliminated any tendency towards illness. If so, I am sorry that our regular banquets came to an end last Saturday, for Malfatti has gone off to the country with his children. You can't imagine what a pretty place he lives in; a week ago today I went to see him with Hummel. He showed us over his property, pointing out all its beauties as we went along, so that when we reached the top of the hill we had no desire to come down again. The Court honours him with a yearly visit, for Princess Anhalt is his neighbour and I am sure she envies him his garden. From one side you can see all Vienna stretched out at your feet so that the town seems joined to Schönbrunn; on the other side are high hills over which are scattered villages and monasteries, making one forget the splendour, tumult and bustle of the town.</blockquote>
Chopin's claim that Hummel accompanied him to Hietzing "a week ago", i.e. on 7 May 1831, cannot be correct, because at that time Hummel was not in Vienna anymore. According to a note<i>,</i> published in the <i>Wiener Zeitschrift</i> on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wzz&datum=18310412&seite=11&zoom=52" target="_blank">12 April 1831</a>, Hummel had "recently left Vienna to spend the next four months in France and England". On 14 May 1831, the day on which Chopin wrote the above letter, the<i> Theaterzeitung</i> reported: "Capellmeister Hummel has arrived in London on 24 April and has announced that he will give a concert before Paganini's arrival." (<a href="https://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310514&seite=3&zoom=33" target="_blank"><i>Wiener Theaterzeitung</i>, 14 May 1831, p. 235</a>). On 8 May 1831 Hummel gave a concert in London (<a href="https://www.digitale-sammlungen.de/view/bsb10598765?page=92,93" target="_blank"><i>Iris im Gebiete der Tonkunst</i>, 20 May 1831, p. 80</a>). After March 1831, Chopin and Hummel never saw each other again in Vienna, because Hummel stayed in London, where on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18300710&seite=4&zoom=33" target="_blank">22 June 1831</a> he gave his last concert. Chopin did not misremember the date of his visit. It must have been Hummel's son <a href="https://de.wikipedia.org/wiki/Eduard_Hummel" target="_blank">Eduard Hummel</a>, who on 7 May 1831, accompanied Chopin to Malfatti's country estate.<br />
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<u>The tale of Mrs. Malfatti serving Polish dishes</u><br />
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It is generally known among Chopin biographers that Dr. Malfatti's wife was a Polish countess. This fact – which is basically the only thing these authors know about Malfatti's married life – has led to the repeated presentation of cozy family lunches with Malfatti's Polish wife serving Polish dishes to Chopin that she prepared especially for her fellow countryman. Even Kornel Michałowski and Jim Samson in their Chopin entry on <a href="http://www.oxfordmusiconline.com/public/book/omo_gmo" target="_blank">Grove Music Online</a>
refer to a "Malfatti family" which suggests that Malfatti's wife was
still alive and made Chopin's personal acquaintance. Samson (1996) writes: "He made the acquaintance of the imperial physician Dr. Malfatti. The Malfattis befriended Chopin and kept an affectionate eye on him throughout the eight months in Vienna. He spent some happy hours with them eating bigos prepared by Dr Malfattis Polish wife." Likewise, Eva Gesine Baur,
whose hasty way of writing makes her books reliable dragnets for all
kinds of misinformation, in her Chopin biography muses about Mrs.
Malfatti serving Chopin "Fleischküchlein mit Kohl".</div>
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<span style="font-size: x-small;">A clip from Eva Gesine Baur's book <i>Chopin: Oder Die Sehnsucht</i> (p. 104) where Baur fantasizes about Malfatti's wife Helena serving Chopin Polish dishes. Chopin was not served <a href="https://pl.wikipedia.org/wiki/Pierogi" target="_blank">pierogi</a> at Malfatti's, but <a href="https://pl.wikipedia.org/wiki/Zrazy" target="_blank">zrazy</a>. The false information that Szaniawski was present at this dinner and was "ein versessener Pole" (an obsessed Pole) is based on an often copied mistranslation by <a href="http://en.chopin.nifc.pl/chopin/persons/text/id/1024" target="_blank">Bronisław Edward Sydow</a>. </span></div>
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The fictitious notion of Malfatti's wife preparing Polish specialties is essentially false. Chopin never made Helena Malfatti's acquaintance, because when he arrived in Vienna in 1830, she had already been dead for more than four years.</div>
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<span style="font-size: x-small;">Johann Baptist Malfatti von Monteregio. Lithography by Joseph Kriehuber from 1839 (Wienmuseum, I.N. 11046). Malfatti, who, contrary to repeated claims in the Chopin literature, was never "the Emperor's court physician", was one of the greatest hypnotists of his time, but could not openly practice this healing method, because with a personal memorandum of 3 March 1815, for religious causes, the Emperor had strictly banned hypnotism.</span></div>
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Johann Baptist Malfatti and Countess Helena Ostrowska got married on 30 December 1821, in Vienna's <a href="https://en.wikipedia.org/wiki/St._Michael%27s_Church,_Vienna" target="_blank">St. Michael's Church</a>. The previously unknown entry in the <i>Eheverkündbuch</i> concerning their banns, which were published on the previous day, documents the couple's parentage and dates of birth.</div>
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<span style="font-size: x-small;">The entry concerning the publication of the banns for the wedding of Johann Malfatti and Helena Countess Ostrowska (<a href="https://data.matricula-online.eu/de/oesterreich/wien/01-st-michael/05-29/?pg=28" target="_blank">A-Wstm, Verkündbuch 29, p. 26</a>)</span></div>
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N 53 / den 29 Dez / <span style="text-decoration: overline;">821</span> / cop. den 30 / Dezembr. / 1,2,3. / sub 28 Dez / GZ 60846 / von 2 Aufg.[eboten] / disp.[ensiert]<br />
Herr Johann Baptist Malfatti, der Arzneykunde Doctor, zu Lucca / in Italien gebürtig (des Herrn Alexander Malfatti Kauf- / manns zu Luca, und dessen Gattin A.[anna] M.[aria] geb. Fornagieri / beider seel. Sohn) am Graben <strike>N</strike> 1121<br />
kath. l. St. / [born] 15 Juli <span style="text-decoration: overline;">775</span> / 46. [years of age]<br />
Mit dem Hochgb.[orenen] Fräulein Helena, Gräfin Ostrowska, zu / Warschau geb. d[es] Hochg. Herrn Thomas Grafen Ostrowski, / Kön. Pohl Groß-Schatzmeister, u. Senator, Ritter ds weiß. Adler<span style="font-size: xx-small;">=</span> / u Stanislai Ordens, u dessen Hoch. F. Gemahlin Apollonia, gb. / Gräfin Ledochowekie[<i>sic</i>], beide seel. ehl. Tochter, <strike>N</strike> 1137 / Ob. Breunerstrasse.<br />
kath. l. St. / 4 März <span style="text-decoration: overline;">794</span> / 27 J.</blockquote>
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Malfatti's best man (not given in the above entry) was the merchant <a href="http://bibliolore.org/tag/giuseppe-antonio-bridi/" target="_blank">Giuseppe Antonio Bridi</a> (1763–1836), a noted amateur singer and close friend of Mozart. Helena Malfatti was a daughter of <a href="https://en.wikipedia.org/wiki/Tomasz_Adam_Ostrowski" target="_blank">Count Tomasz Adam Ostrowski</a> and his second wife Apolonia Ledóchowska.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNG5ohN56enDSUwJ4S1dBlNO99XBJwP-4MPPmcCFm4xC9dhuVQQpxvNQXILhVPSwWrLxqGEVgA9JWYfGAddwRslaOkK1hJjcheSwVHFS5Pj58O5terELsScOwKJCK2gZB1lT4zo3EWjqE/s1600/Ostrowski.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNG5ohN56enDSUwJ4S1dBlNO99XBJwP-4MPPmcCFm4xC9dhuVQQpxvNQXILhVPSwWrLxqGEVgA9JWYfGAddwRslaOkK1hJjcheSwVHFS5Pj58O5terELsScOwKJCK2gZB1lT4zo3EWjqE/s320/Ostrowski.jpg" width="238" /></a></div>
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<span style="font-size: x-small;">Johann Malfatti's father-in-law, Count Tomasz Adam Ostrowski</span></div>
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The fact that Malfatti was a son-in-law of Count Ostrowski, explains the fact that Malfatti had already been informed of Chopin's arrival by his brother-in-law <a href="https://en.wikipedia.org/wiki/W%C5%82adys%C5%82aw_Ostrowski" target="_blank">Władysław Ostrowski</a>. Another one of Malfatti's brothers-in-law was Count <a href="https://en.wikipedia.org/wiki/W%C5%82adys%C5%82aw_Ostrowski" target="_blank">Antoni Jan Ostrowski</a>, general and commander of the Polish National Guards and a major figure in the <a href="https://en.wikipedia.org/wiki/November_Uprising" target="_blank">November Uprising</a> of 1830. In his letter of 1 December 1830, Chopin refers to Malfatti's Polish family relations.</div>
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<blockquote class="tr_bq">
Dr. Malfatti welcomed me as if I had been his cousin, most warmly and
cordially. As soon as he read my name he embraced me and said that Mr
Wladyslaw Ostrowski had already written to him about my coming, and that
he would do all he could to help me. He added that he will bring me to
the notice of Mme Tatiszczew, the ambassador's wife, and will procure
for me all necessary acquaintances, even at Court. He doubts, however,
whether it will be possible to do anything there, since the Court is in
mourning for the King of Naples; but he will try to be helpful. He has
also promised to introduce me to Baron Dunoi, president of the local
music society who will, it seems, be a most desirable acquaintance.</blockquote>
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The mysterious "Baron Dunoi", whom Chopin mentions in this letter, was of course <a href="https://de.wikipedia.org/wiki/Heinrich_Eduard_Josef_von_Lannoy" target="_blank">Eduard von Lannoy</a>, a representative of the <a href="https://en.wikipedia.org/wiki/Gesellschaft_der_Musikfreunde" target="_blank">Gesellschaft der Musikfreunde</a>. Dr. Malfatti and his wife had the following two daughters:</div>
<ol>
<li style="text-align: left;"><a href="http://www.bildarchivaustria.at/Preview/5328123.jpg" target="_blank">Maria Beatrix Apollonia</a>, b. 22 December 1822 (A-Wstm, St. Peter 2, p. 478), a goddaughter of her father's employer <a href="https://en.wikipedia.org/wiki/Maria_Beatrice_d%27Este,_Duchess_of_Massa" target="_blank">Archduchess Maria Beatrice d'Este</a>. On 5 April 1853 (A-Ws, 47, fol. 94), Beatrix married Count Constantin Michael Plater-Broel (b. 18 February 1828 in <a href="https://en.wikipedia.org/wiki/Belmontas" target="_blank">Belmont</a>, d. 18 December 1886, Hietzing Küniglberg 1), with whom she had two sons a) Constantin, b. 26 January 1856, Linz) and b) Johann Baptist Ignaz Anton (b. 19 May 1858, Vienna, d. 2 January 1935, Graz). Maria Beatrix Plater-Broel died on 10 July 1887 at her father's villa in Hietzing. </li>
<li style="text-align: left;">Hedwig Ludovica Maria, b. 17 October 1825 (A-Ws, 49, fol. 3), d. unmarried on 27 May 1889 in Hietzing.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgNw5U_RpwYm9o_NNjOK45DcBLACHhrQQTyFDX_ushzfJgzHXydo2LTTYz7p9bP-_KNy4U7nsXkow_eZkhYMdcno6FPW9IDSioY9rE-U1IGmYw_65C9GxstBfdCD6UoOS2T9X7_fna1dE/s1600/KB+65_3r.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="447" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgNw5U_RpwYm9o_NNjOK45DcBLACHhrQQTyFDX_ushzfJgzHXydo2LTTYz7p9bP-_KNy4U7nsXkow_eZkhYMdcno6FPW9IDSioY9rE-U1IGmYw_65C9GxstBfdCD6UoOS2T9X7_fna1dE/s320/KB+65_3r.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Johann Malfatti, his wife and his daughters listed on a conscription sheet of Stadt 65 dating from between 1822 and 1826 (A-Wsa, Konskriptionsamt, Stadt 65/3r)</span></div>
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In June 1826, Helena Malfatti suddenly fell sick with a malignant fever that not even her husband and his renowned colleague Dr. <a href="https://de.wikipedia.org/wiki/Franz_Wirer_von_Rettenbach" target="_blank">Franz Wirer</a> were able to cure. When on 24 June 1826, Helena Malfatti signed her will, which had been drawn up by her husband's lawyer Dr. Johann Baptist Engert, she was already unable to write and signed only with three Xs. In this will Helena Malfatti appointed "her beloved husband" universal heir and bequeathed legal shares to her daughters.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Pf6lkjvL6mpT9yOQ5j-QMfHWtYoO5EoJ-FnnaX1M8Lvhft7Kls7aoRR6c6cXwdWmCkj9itxrHgzUGQa7LW_9OghBN6JVYX4HAn1-FUfRDkWp0NDjHVS1warhhIMqgyI4WHx-4iZkfKY/s1600/Will+1826.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="396" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Pf6lkjvL6mpT9yOQ5j-QMfHWtYoO5EoJ-FnnaX1M8Lvhft7Kls7aoRR6c6cXwdWmCkj9itxrHgzUGQa7LW_9OghBN6JVYX4HAn1-FUfRDkWp0NDjHVS1warhhIMqgyI4WHx-4iZkfKY/s320/Will+1826.jpg" width="199" /></a></div>
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<span style="font-size: x-small;">Helena Malfatti's will signed by her husband's friends Wilhelm von Droßdik (<a href="https://en.wikipedia.org/wiki/Therese_Malfatti" target="_blank">Therese Malfatti</a>'s husband) and Franz Wirer (A-Wsa, Mag. ZG, A10, 624/1826)</span></div>
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Helena Malfatti died on 23 July 1826, of what the parish records describe as "Zehrfieber" (consumptive fever). Soon after her burial, her husband left Vienna for Karlsbad.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaNlscGVNUuPQwiEGrVDzEI0y1VmrSustBxTNYHgKpQA0XKCTRZAmHiem9Ow1aB566At_znk_NAvPGBL3wsC9RwaDpbLoNwRYksJIqDhP8uNZhYRzeerFh3pO2ArrQcAEKtNsfni83V3g/s1600/Helena+Malfatti+23.7.1826.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="41" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaNlscGVNUuPQwiEGrVDzEI0y1VmrSustBxTNYHgKpQA0XKCTRZAmHiem9Ow1aB566At_znk_NAvPGBL3wsC9RwaDpbLoNwRYksJIqDhP8uNZhYRzeerFh3pO2ArrQcAEKtNsfni83V3g/s400/Helena+Malfatti+23.7.1826.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The entry concerning the death of Helena Malfatti ("geborne Gräfin Ostrowska, Arzneÿkunde Doktors Gemahlin") on 23 July 1826 (Maria Hietzing, Tom. 2, fol. 51)</span></div>
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The estate of Helena Malfatti, which mainly consisted of certificates of debt from <a href="https://en.wikipedia.org/wiki/J%C3%B3zef_Maksymilian_Ossoli%C5%84ski" target="_blank">Count Ossoliński</a> and her brothers and shares of her husband's real estate, amounted to 90,648 gulden of which her husband gave 50,000 gulden to his daughters. The coat of arms of the Ostrowski family was the so-called "<a href="https://en.wikipedia.org/wiki/Rawa_coat_of_arms" target="_blank">Rawa coat of arms</a>" which was borne by several noble families that traced their families to the Rawici clan. It shows a crowned woman dressed in red, sitting on a bear.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHz_F-zAXzL00HclajwhyphenhyphenuOcd0HfalfvXp0KqFuvY9M-if5A9Jec0PcCC6IhHJmZ4eA55GcTIJhPEgLABGDE-Nfgnu-dqvrD9RNl55u0jbM-Crw1h9vtWoWFx-AH0Y-qXi_I89Q0OvN9E/s1600/Ostrowskijpg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHz_F-zAXzL00HclajwhyphenhyphenuOcd0HfalfvXp0KqFuvY9M-if5A9Jec0PcCC6IhHJmZ4eA55GcTIJhPEgLABGDE-Nfgnu-dqvrD9RNl55u0jbM-Crw1h9vtWoWFx-AH0Y-qXi_I89Q0OvN9E/s200/Ostrowskijpg.jpg" width="150" /></a></div>
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This coat of arms also appears on the seal that was used to close the envelope of Helena Malfatti's will. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3haeit1aVE1roHwgxSK62UjPw5oLwn4OZRprFYrkjXfBZfTj3fkqGh4RV2xri6ih9agB2dm6l5O1b062ymFanOFdbY1n4WxWlKjQdzIO8aCk-ap1cSUYVNPBkC8pXy2NcrOuHQd9wi8/s1600/Ostrowska+1826.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3haeit1aVE1roHwgxSK62UjPw5oLwn4OZRprFYrkjXfBZfTj3fkqGh4RV2xri6ih9agB2dm6l5O1b062ymFanOFdbY1n4WxWlKjQdzIO8aCk-ap1cSUYVNPBkC8pXy2NcrOuHQd9wi8/s200/Ostrowska+1826.jpg" width="200" /></a></div>
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<span style="font-size: x-small;">Helena Malfatti's seal on the envelope of her will</span></div>
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<u>The Chopin portrait of December 1830</u></div>
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On 22 December 1830, Chopin writes to his family as follows:</div>
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<blockquote class="tr_bq">
I met there also the nephew of Mr. Lampi whom Papa knows; a handsome,
friendly boy who paints superbly. Speaking of painting, Hummel came to
see me yesterday morning with his son who has done a portrait of me, so
lifelike that it could not be bettered. I am seated in my dressing-gown
on a piano-stool with an inspired look on my face where that comes from I
don't know. It is a pencil or rather crayon drawing in quarto and it looks like an engraving. </blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsO0Faw0CufBCFUAPkWhN35Vph_s-3pci8V_9hZ2BihppdNMaGw0k-m4h5xFhTgo-HfqM_OMuKI71IHzzSpG2v6o1MZX5qmTFfVRM_6MmzAVIPPenDuKFOD5ujaVwxyaSSEjipZ8ZFEUU/s1600/1831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsO0Faw0CufBCFUAPkWhN35Vph_s-3pci8V_9hZ2BihppdNMaGw0k-m4h5xFhTgo-HfqM_OMuKI71IHzzSpG2v6o1MZX5qmTFfVRM_6MmzAVIPPenDuKFOD5ujaVwxyaSSEjipZ8ZFEUU/s320/1831.jpg" width="290" /></a></div>
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<span style="font-size: x-small;">Frédéric Chopin in late December 1830. Coloured pencil drawing, oval, approx. 278 x 220 mm. Collection Jan and Tomasz de Tusch-Lec, Warsaw; deposit: Muzeum Fryderyka Chopina, Warsaw (D/73)</span></div>
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This portrait is universally attributed to Hummel's younger son <a href="https://en.wikipedia.org/wiki/Carl_Hummel" target="_blank">Carl Hummel</a> who was to become a renowned landscape painter. I do not think that this drawing is a work of Carl Hummel. In my opinion, this drawing was done by Carl's elder brother <a href="https://de.wikipedia.org/wiki/Eduard_Hummel" target="_blank">Eduard Hummel</a>, and my reasons for this attribution are the following: In 1830, Carl Hummel was only nine years old. His father had absolutely no reason to take this child to Vienna where he planned to conduct business negotiations with his publisher <a href="https://de.wikipedia.org/wiki/Tobias_Haslinger" target="_blank">Tobias Haslinger</a>. Therefore, in my opinion, in 1830, Carl remained with his mother in Weimar. On the other hand, Hummel had very good reasons to take his older son Eduard to Vienna, who, having been born on <a href="https://michaelorenz.at/beethovens_elise/eduard_hummel_rapular.jpg" target="_blank">9 May 1814</a>, was almost seventeen years of age. It seems that Hummel had Eduard accompany him to Vienna to show him the musical life of the city and to make him acquainted with the music trade, a business that Eduard in 1832 would begin to <a href="http://goo.gl/cYOwj6" target="_blank">dedicate himself</a> in Haslinger's publishing firm. Eduard Hummel was obviously not only a musician, but also a very talented draughtsman. His somewhat restless character, which made it difficult for him to really channel his talents, made him become the "wayward son" of the family. Carl, on the other hand, was not the child prodigy that Chopin biographers always want to see in him. When he was not yet fourteen, Carl Hummel drew a portrait of his father on whose backside in 1889 he wrote the following: "Das Porträt ist von mir in meinem vierzehnten Lebensjahr gezeichnet. Demnach[!] ganz schlecht gezeichnet, aber jedenfalls ähnlich." ("The portrait was drawn by me in my fourteenth year. Hence[!] it is drawn very badly, but at least resemblant."). This is not how a painter, whose drawing skills were extraordinarily advanced when he was nine years old, describes one of his childhood works.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Cc5U4W3UER9XqtonFdfFPBHBEQCEjkFJqxWgWtqg3TWBFHYHsjdy6WIiA7f-WgBXAWv4Ds-ho70H45VQgTcoVhwNM3v3GQ6P4n2FkT_Dfq814VXBkkWnQTLU7ezX0Fxuj3787YB6wIg/s1600/Carl+Hummel+1836.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Cc5U4W3UER9XqtonFdfFPBHBEQCEjkFJqxWgWtqg3TWBFHYHsjdy6WIiA7f-WgBXAWv4Ds-ho70H45VQgTcoVhwNM3v3GQ6P4n2FkT_Dfq814VXBkkWnQTLU7ezX0Fxuj3787YB6wIg/s320/Carl+Hummel+1836.jpg" width="313" /></a></div>
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<span style="font-size: x-small;">Carl Hummel. Portrait of his father (1835), black chalk on paper, 136 x 163mm (Goethe-Museum Düsseldorf, Katalog der Musikalien 2892). Hummel's note on the back of this drawing was gravely mistranslated by Kroll (Kroll 2007).</span></div>
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This rather clumsy drawing was certainly not done by the same person who five years earlier in Vienna had drawn the portrait of Chopin. Mieczysław Tomaszewski (unintentionally?) got it right, when in 1990 he attributed the portrait of December 1830 to "E. Hummel".</div>
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<u>Chopin's alleged concert on 4 April 1831</u>
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Biographies of Chopin still do not agree on how many public concerts Chopin in 1831 gave in Vienna. The most commonly held view is that Chopin <a href="http://en.chopin.nifc.pl/chopin/life/calendar/year/1831" target="_blank">appeared twice</a> in public: on 4 April, at the great Redoutensaal and on 11 June 1831, at the Kärntnertortheater. This chronology dates all the way back to Hanslick's <a href="https://archive.org/details/geschichtedesco01unkngoog" target="_blank"><i>Geschichte des Concertwesens</i></a> (p. 329). Szalsza (1986) already made a very good case for the presumption that the concert in April never took place. What follows is a summary of the printed sources, the presentation of a number of original announcements, and the publication of a previously unknown document that proves that Chopin's concert in the Redoutensaal was cancelled. More than two months after his arrival in Vienna, Chopin was desperate to finally give a concert. On 29 January 1831, he wrote to Elsner.<br />
<blockquote class="tr_bq">
Nevertheless I hope that somehow all will turn out for the best and that before the Carnival is over I shall produce my first concerto, <a href="https://en.wikipedia.org/wiki/Wilhelm_W%C3%BCrfel" target="_blank">Würfel</a>'s favourite.</blockquote>
In late 1830, the famous opera singer <a href="https://en.wikipedia.org/wiki/Lucia_Elizabeth_Vestris" target="_blank">Lucia Elizabeth Vestris</a> (continuously misnamed "Garcia-Vestris" in the press) left Paris and began a tour that was to take her to Germany and Austria. In December 1830, she gave a concert at the <a href="http://digital.wlb-stuttgart.de/purl/bsz345420810" target="_blank">court theater</a> in Stuttgart (<i>AmZ</i>, 31 March 1831, col. 192) where she performed a cavatina (probably "<a href="https://www.youtube.com/watch?v=WEEgC01PbDw" target="_blank">Ferma, costante</a>") from <a href="https://en.wikipedia.org/wiki/Torvaldo_e_Dorliska" target="_blank"><i>Torvaldo e Dorliska</i></a>, a duet from <i><a href="https://en.wikipedia.org/wiki/Mos%C3%A8_in_Egitto" target="_blank">Mosè</a></i> with the tenor August Karl Hambuch, "<a href="https://www.youtube.com/watch?v=OJMH4ZnGIWs" target="_blank">Una voce poco fa</a>" from <i><a href="https://en.wikipedia.org/wiki/The_Barber_of_Seville" target="_blank">Il barbiere di Siviglia</a></i>, and variations on "<a href="https://en.wikipedia.org/wiki/Nel_cor_pi%C3%B9_non_mi_sento" target="_blank">Nel cor più non mi sento</a>".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8QYRVZwjZR_xomWgXPBDh5tlCPUT5Epl4gxiy6ShPk0mxs6cUC0nTwGC1J9L9-JPwrNdFsPBxipJi8SzJHyQFlvVhlelWOUI0yktVggRyxLs97MaBAXg1uhkpmGJ8I9Qlo2Ktf2kr4Ss/s1600/Vestris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8QYRVZwjZR_xomWgXPBDh5tlCPUT5Epl4gxiy6ShPk0mxs6cUC0nTwGC1J9L9-JPwrNdFsPBxipJi8SzJHyQFlvVhlelWOUI0yktVggRyxLs97MaBAXg1uhkpmGJ8I9Qlo2Ktf2kr4Ss/s320/Vestris.jpg" width="245" /></a></div>
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<span style="font-size: x-small;">Lucia Elizabeth Bartolozzi Vestris (US-NYp, Joseph Muller Collection 1947230)</span></div>
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In January 1831, Vestris was in Munich where on 6 January she gave her first performance as Rosina in <i>Il barbiere</i>, together with <a href="https://de.wikipedia.org/wiki/Julius_Pellegrini" target="_blank">Giulio Pellegrini</a> as Figaro (the other male roles were sung by Aloys Bayer, Georg Mittermayr and Joseph Staudacher). The <i>Münchner Politische Zeitung</i> of <a href="https://books.google.at/books?id=jSREAAAAcAAJ&pg=PA244" target="_blank">7 February 1831</a> praised Vestris's personality, her singing method, and acting skills, but described her as having been "not in fine voice". During her stay in Munich, Vestris soon faced bigger vocal problems. According to a note in the <i>Bayerischer Volksfreund</i> of <a href="https://books.google.at/books?id=obVDAAAAcAAJ&pg=PA69" target="_blank">29 January 1831</a>, she had to cancel a performance of <i>Il barbiere</i> because of "sudden hoarseness". This cancellation was reported in Vienna on 15 February 1831.<br />
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<blockquote class="tr_bq">
The theater life in Munich is currently a little quiet. Especially the opera has been stagnating since Madame <a href="https://de.wikipedia.org/wiki/Katharina_Vespermann" target="_blank">Sigl-Vespermann</a> departed for Paris and Demoiselle <a href="https://de.wikipedia.org/wiki/Nanette_Schechner" target="_blank">Schechner</a> has declared herself to be continuously unwell, so that even the recent performance of <a href="https://en.wikipedia.org/wiki/La_vestale" target="_blank"><i>La vestale</i></a> had to be interrupted. Mad. Garcia-Vestris, who is present there, was supposed to appear in "Barber of Seville", but this opera was also cancelled due to a sudden hoarseness of hers.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpAOHI8_T1PAghgWMJpsxK3HNJN-LrSWfAhTRNTPvvsy8rfwuRHXqapKZ9EbvmY2NV-KUeYvL0-ru2H0lgW4LeLFKH3xEJRU9VaHw7qCDzUh0ev9BGj8ByQ8FMYeRZIWdGDI-pRXx8Dw/s1600/Wiener+Z+15.2.1831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpAOHI8_T1PAghgWMJpsxK3HNJN-LrSWfAhTRNTPvvsy8rfwuRHXqapKZ9EbvmY2NV-KUeYvL0-ru2H0lgW4LeLFKH3xEJRU9VaHw7qCDzUh0ev9BGj8ByQ8FMYeRZIWdGDI-pRXx8Dw/s320/Wiener+Z+15.2.1831.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The report in the <i>Wiener Zeitschrift</i> on 15 February 1831 concerning the cancellation of "Barber of Seville" in Munich. The journal <i>L'Eco</i> described Vestris's problem as "<a href="http://anno.onb.ac.at/cgi-content/anno?aid=eco&datum=18310221&seite=4&zoom=33" target="_blank">un fortissimo raffreddore</a>".</span></div>
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It seems that Vestris could not overcome her increasing voice problems. On 3 March 1831, the<i> Theaterzeitung</i> reported the singer's arrival in Vienna.<br />
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Madame Garcia-Vestris, one of the best singers of Italian opera in Paris, has arrived in Vienna and will let herself be heard at a concert. This concert will take place on 6 March around noon in the I. & R. great Redouten-Saal.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3K-o0FrvXjwhx7Kz2CHVaqTTb5MJqfV-w1ZzaL1WyTl31Kf0MjJ_TvDM0xGRi2RGQ7gQ4F_fBclxElpf-IXz7hq3VR3CigXxfxt9U7FYqrQFn9EPHGCwXgmCBXA5vi-kzw1JFaFe8i78/s1600/TZ+3.3.1831%252C+p.107.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="75" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3K-o0FrvXjwhx7Kz2CHVaqTTb5MJqfV-w1ZzaL1WyTl31Kf0MjJ_TvDM0xGRi2RGQ7gQ4F_fBclxElpf-IXz7hq3VR3CigXxfxt9U7FYqrQFn9EPHGCwXgmCBXA5vi-kzw1JFaFe8i78/s320/TZ+3.3.1831%252C+p.107.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The announcement in the <i>Theaterzeitung</i> of 3 March 1831 (p. 107) concerning Madame Vestris's arrival in Vienna and her upcoming concert </span></div>
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On the same day the journal <i>Der Sammler</i> published a more detailed announcement which included Chopin's name. The very high ticket prices and the announcements on the posters of the court theaters show that Vestris's concert was counted among the most prestigious musical events of early 1831.<br />
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<blockquote class="tr_bq">
On Sunday, March 6th, around noon, Signora Garcia-Vestris, first singer of the Italian opera in Paris and Milano and Kammersängerin of His Majesty the King of Spain will give a concert at the I. & R. great Redouten-Saal in which she will perform an aria from <i>La gazza ladra</i>, variations on a theme from <i>La Molinara</i> and variations from the opera <i>La Cenerentola</i>. The other pieces consist of the first movement, the scherzo and the <i>Marcia funebre</i> from Beethoven's <i>Sinfonia eroica</i>, Mr. Friedrich Chopin will play a fortepiano concerto of his own composition. Tickets for the gallery are 1 fl. 36 kr., those for the orchestra 1 fl. 12 kr. CM. Tickets can be bought at the box office of the I. R. Court Theater at the Kärntnertor and on the day of the concert at the entrance of the great Redoutensaal.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1K34Vl0Fp0XuONmG9K1_LRE8xQE_e1JMvoLEkLWCrAtRyb-qj0akP8c7xtDefMMAYGzl_vfezZGTvVWGFFXt4kjxnypA7uNZ80UHH3p6ULW-VT0FY6Zs1Cl7V58lLaZxTwRCw-EmCRl8/s1600/
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On 5 March 1831, the poster of the Kärntnertortheater contained the first part of this announcement. Chopin's participation was not mentioned.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgC1YkcVirgZ0TMPqp92YpV3uj2wKcauDCsN4RlqlJqZdq87Yh8V_MYbxMzKILPpnCj5C9aZyIDPP6aVVO9PCsQKu8E6x1AyriU8Rb5GhWDQFmshkXcOn6xCbhRo0Lqsjmqlw5N58kYpY/s1600/Zettel+5.3.1831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="97" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgC1YkcVirgZ0TMPqp92YpV3uj2wKcauDCsN4RlqlJqZdq87Yh8V_MYbxMzKILPpnCj5C9aZyIDPP6aVVO9PCsQKu8E6x1AyriU8Rb5GhWDQFmshkXcOn6xCbhRo0Lqsjmqlw5N58kYpY/s320/Zettel+5.3.1831.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The announcement of Vestris's concert at the Redoutensaal on the poster of the Kärntnertortheater of 5 March 1831</span><br />
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On Sunday, March 6<span style="font-size: x-small; vertical-align: super;">th</span>, the day it was supposed to take place, Vestris's concert was cancelled "owing to arisen obstacles". This was again announced on the poster of the court theaters.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwj-HrhNm_bp2aplSZuDMeRxI9x3IyMv24XWBHJ3TNzvosg1pR3NdmFJEzOjxIUlOiC1ufnzF2G0Jt_FfcY7wKA5IE72o2atabgu1JW5swC0uXeiVNDinjNwjn0h1BbrkIxngq6rUmSx4/s1600/Zettel+6.3.1831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="77" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwj-HrhNm_bp2aplSZuDMeRxI9x3IyMv24XWBHJ3TNzvosg1pR3NdmFJEzOjxIUlOiC1ufnzF2G0Jt_FfcY7wKA5IE72o2atabgu1JW5swC0uXeiVNDinjNwjn0h1BbrkIxngq6rUmSx4/s320/Zettel+6.3.1831.jpg" width="320" /></a> </div>
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<span style="font-size: x-small;">The announcement of the cancellation Vestris's concert on the poster of the Kärntnertortheater of 6 March 1831</span></div>
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On <a href="http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum=18310402&seite=4&zoom=33" target="_blank">2 April 1831</a>, the <i>Allgemeine Theaterzeitung</i> and <i>Der Sammler</i> published the alternate date of the postponed concert. It was to take place on Easter Monday, April 4th, and the ticket prices had been reduced, although the number of performers had been increased with some prominent local musicians that had not been a part of the original program. Since the program of 6 March 1831 (published by Szalsza as "Anschlag" without any bibliographic information) only consisted of three movements of Beethoven's <i>Eroica</i>, three arias sung by Vestris, and Chopin's piano concerto in e minor, the additional performers could suggest that Vestris had already decided to sing only one aria. It is not known what the additional musicians intended to perform. In any case, it was an absolute privilege for Chopin to appear together with four singers of international fame and some of Vienna's best musicians, such as Leopold and <a href="https://de.wikipedia.org/wiki/Joseph_B%C3%B6hm_%28Violinist%29" target="_blank">Joseph Böhm</a>, <a href="https://de.wikipedia.org/wiki/Georg_Hellmesberger_senior" target="_blank">Hellmesberger</a>, <a href="https://de.wikipedia.org/wiki/Joseph_Merk" target="_blank">Merk</a> and the <a href="https://de.wikipedia.org/wiki/Josef_Rudolf_Lewy" target="_blank">brothers Lewy</a>. His involvement in this projected concert shows that his colleagues held his artistic significance in very high esteem. The announcement in <i>Der Sammler</i> addressed the participation of these musicians as follows.<br />
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<blockquote class="tr_bq">
To lovers of music this concert should offer even more interesting pleasures, since, aside from the main performer, the estimated talents of the Misses Sabine and Klara Heinefetter, Mr. Wild, the fortepiano player Mr. Chopin, the Messrs. Böhm, Helmesberger, Merk and the brothers Lewy will take part as well.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwuvETPSvZ7LQa6f7SvTfbWBYPJ50YCKovxxHXbYcWv-ZsLaHCZQ5mqz3Bs-qIJvSP2FL-2nMlY3ZP-1jCiYZu7KS5HI4yL3jPk99QM7of-Oq5CyP4lIDEHU_b6vR1n7nlt6CY-QCuPbg/s1600/Sammler+2.4.1831+p.160.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwuvETPSvZ7LQa6f7SvTfbWBYPJ50YCKovxxHXbYcWv-ZsLaHCZQ5mqz3Bs-qIJvSP2FL-2nMlY3ZP-1jCiYZu7KS5HI4yL3jPk99QM7of-Oq5CyP4lIDEHU_b6vR1n7nlt6CY-QCuPbg/s320/Sammler+2.4.1831+p.160.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">The announcement in <i>Der Sammler</i> on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=sam&datum=18310402&seite=4&zoom=33" target="_blank">2 April 1831</a> concerning the new date of the postponed concert</span></div>
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The announcement in the <i>Wiener Zeitschrift</i>, which has never been published, is interesting, because it contains the typo "Chopie".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfCDdLADpFwvELnVEr5HwzHwnJVSxctvnyBzangYDAWA6TCa_gUMhKKMYt_Vo7TfSczHQPqfg5kk-16uBx6yfqX4f0zelY9DgJnnQi3tFhljinvKV2DJVkr1NoUDcmWClnGD8eAjSWcTo/s1600/WZ+2.4.1831%252C+p.320.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="107" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfCDdLADpFwvELnVEr5HwzHwnJVSxctvnyBzangYDAWA6TCa_gUMhKKMYt_Vo7TfSczHQPqfg5kk-16uBx6yfqX4f0zelY9DgJnnQi3tFhljinvKV2DJVkr1NoUDcmWClnGD8eAjSWcTo/s400/WZ+2.4.1831%252C+p.320.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">The announcement in the <i>Wiener Zeitschrift</i> on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wzz&datum=18310402&seite=8&zoom=33" target="_blank">2 April 1831, p. 320</a> concerning the new date of the concert at the Redoutensaal and the participation of the pianist "H. Chopie"</span><br />
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On 4 April 1831, the day of the concert, Vestris cancelled for a second time. Her voice problems were clearly the cause for the repeated postponement. She was the main attraction of the concert, and without her the whole enterprise economically would have made no sense. Owing to the short time notice, the cancellation again had to be announced on the daily poster of the court theaters.</div>
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<blockquote class="tr_bq">
Owing to arisen obstacles the concert, that was announced to take place today at the great Redoutensaal, has been postponed to April 17th. The honorable owners of tickets will at request be refunded the paid amount at the box office.</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXAPlHPQLq6QCX5cWr1wqlywUhnwXALsBbNleTxk9j8j_OjaWCufXeEwNsOs-tmr_idiwZ1cE0xwcGbo-NH4_k3zdi93H5oLvGR4_gSh_6Alj_yy5Me6_BrFUhAD0EJ8xuRK4lFncMaRQ/s1600/Zettel+4.4.1831.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXAPlHPQLq6QCX5cWr1wqlywUhnwXALsBbNleTxk9j8j_OjaWCufXeEwNsOs-tmr_idiwZ1cE0xwcGbo-NH4_k3zdi93H5oLvGR4_gSh_6Alj_yy5Me6_BrFUhAD0EJ8xuRK4lFncMaRQ/s320/Zettel+4.4.1831.jpg" width="308" /></a></div>
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<span style="font-size: x-small;">The announcement concerning the postponement of the concert on 4 April 1831 at the bottom of the poster of the Kärntnertortheater</span></div>
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Szalsza (1986) made the point that, because she is not listed among the "arrived persons" in the <i>Wiener Zeitung</i>, Vestris never actually came to Vienna. This hypothesis is not tenable. The two postponements of her concert prove that Vestris was in Vienna, and, for some time, hoped to overcome her voice problems. It seems likely that after her cancellation in Munich, she never fully regained her vocal powers which is also corroborated by the fact that she did not do what touring prima donnas usually did in Vienna: appear as guest in an opera performance at the Kärntnertortheater. The guest singers in March 1831 were Sabine Heinefetter and the retired <a href="https://de.wikipedia.org/wiki/Anton_Forti" target="_blank">Anton Forti</a> who, in April, were joined by Wilhelmine Piehl-Flache from the theater in Breslau. The failure of Vestri's voice in spring of 1831 marked the beginning of a significant hiatus in her 1831 tour. One of Vestris's appearances in Milan, which was reviewed by the Italian newspaper <i>L'Eco</i>, took place but on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=eco&datum=18311209&seite=4&zoom=33" target="_blank">9 December 1831</a>. Vestris soon returned to London where she had leased the <a href="https://en.wikipedia.org/wiki/Olympic_Theatre" target="_blank">Olympic Theatre</a>, and began her successful career as the first female actor-manager in the history of the London theater.<br />
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There is one archival document that conclusively proves that Vestris's and Chopin's joint concert never took place. Anybody who in Vienna staged something for which he charged admission, regardless of whether it was a concert, a crib exhibition, fireworks, or the exposition of a girl from Lapland, had to pay a fee to the so-called "Strafhausfonds" (jailhouse fund). Because these payments were recorded in the books of the municipal administration's "Hauptregistratur" (main registry), the names of most performing artists show up in these records. Here is an exemplary page from 1814, containing the names of Beethoven, <a href="https://de.wikipedia.org/wiki/Ignaz_Schuppanzigh" target="_blank">Ignaz Schuppanzigh</a>, <a href="https://de.wikipedia.org/wiki/Johann_Simon_Hermstedt" target="_blank">Johann Simon Hermstedt</a> and <a href="https://en.wikipedia.org/wiki/Louis_Spohr" target="_blank">Louis Spohr</a>, all of whom had to pay the jail fee in connection with one of their concerts.<br />
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<span style="font-size: x-small;">Beethoven, Ignaz Schuppanzigh, Johann Simon Hermstedt, and Louis Spohr as taxable performers in an 1814 register of the <i>Hauptregistratur</i>. The first entry refers to the use of the "Sparherd", an <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18080914&seite=7&zoom=33" target="_blank">invention</a> of Paul Sirbeck, who is dealt with in <a href="http://michaelorenz.blogspot.co.at/2014/09/three-unknown-godchildren-of-joseph.html" target="_blank">another post</a> on this blog (A-Wsa, Historische Registraturen, HReg. B1/142, fol. 182r). </span></div>
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There is also such an entry in the municipal records concerning Madame Vestri's cancelled concert of 1831. This entry shows that Vestris paid a fee of eight gulden in advance for her concert on March 6th, but then, after her cancellation, requested a refund and was paid back the money by the municipal "Oberkammeramt" (superior chamber office).</div>
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<span style="font-size: x-small;">The entry concerning the refund of Vestris's payment of 8 gulden to the municipal jail fund (A-Wsa, Historische Registraturen, HReg. B1/404, p. 121)</span> </div>
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Gegenstand. 1831</div>
Zuchthaus.<br />
Strafhausfondszahlungen: [Nummer der Registratur.] R 5<br />
Vestris Garcia für ihr Concert am 4. April [Nummer des Einreichungs<span style="font-size: xx-small;">=</span>Protocolls.] 11796<br />
– Intimat:[ion] ans O.[ber] K.[ammer] A.[mt] u an Vestris p<u>ct</u> 8 fm Rückzahl:[ung]<br />
– Ref[erats] Bogen über das Rückvergütungsgesuch 18748</blockquote>
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None of the files concerning this payment and the refund is extant. Because such files were of minor importance after the payments were receipted, most of them were destroyed (recycled) already in the<span style="font-size: x-small;"> </span>nineteenth century. From the time between 1826 and 1831 only one file related to a concert survives: HReg. R5, 46141/1831 which, on the occasion of the opening concert of its new hall on 6 November 1831, deals with the fact that the Gesellschaft der Musikfreunde was exempt from the fees to the jail and poorhouse funds.</div>
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<b>Conclusion</b>
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Regarding Chopin's second stay in Vienna two things can be noted: Chopin was not ignored or underestimated in Vienna. On the contrary, he was granted opportunities that other touring musicians were not given. The violinist <a href="https://pl.wikipedia.org/wiki/Stanis%C5%82aw_Serwaczy%C5%84ski" target="_blank">Stanisław Serwaczyński</a>, who on <a href="http://anno.onb.ac.at/cgi-content/anno?aid=wtz&datum=18310419&seite=1&zoom=53" target="_blank">19 April 1831</a> gave a concert at the Kärntnertortheater, performed as a support act to <a href="https://en.wikipedia.org/wiki/Adalbert_Gyrowetz" target="_blank">Gyrowetz</a>'s old ballet <a href="http://daten.digitale-sammlungen.de/~db/0005/bsb00058347/images/" target="_blank"><i>Das Schweitzer<span style="font-size: xx-small;">=</span>Milchmädchen</i></a>, while Chopin appeared before a premiere of a new ballet. Chopin did not go to Paris, "because the Viennese did not appreciate him". He went to Paris for the same reason as Liszt, Hummel, and Blahetka left their home country: during the Biedermeier era, Vienna was the center of European piano culture where hundreds of piano virtuosi vied for the favor of a cosseted audience and therefore none of them could make a living by only giving concerts.</div>
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<b>Bibliography</b><br />
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Chopin, Fryderyk. 1962. <a href="https://archive.org/details/selectedcorrespo002644mbp" target="_blank"><i>Selected Correspondence of Fryderyk Chopin</i></a>. coll. B. Sydow, tr. Arthur Hedley. London: Heinemann. <br />
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Costenoble, Carl Ludwig. 1889. <i>Aus dem Burgtheater. 1818–1837</i>. Vienna: Carl Konegen.<br />
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Durka, Jarosław. 2009. "<a href="https://depot.ceon.pl/xmlui/bitstream/handle/123456789/6698/Durka_PZH13.pdf" target="_blank">Kariera i upadek Piotra Antoniego Steinkellera (1799–1854)</a>". <i>Poznańskie Zeszyty Humanistyczne</i> XIII. Poznań: Wydawnictwo "Rys".<br />
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Glossy, Karl. 1920. "Zur Geschichte der Theater Wiens. II. (1821 bis 1830)". <i>Jahrbuch der Grillparzer-Gesellschaft</i> 26. Zürich Leipzig Wien: Amalthea-Verlag.<br />
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Hadamowsky, Franz. 1925. <i>Ferdinand Raimund als Schauspieler</i>. Vienna: Anton Schroll.<br />
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Karasowski, Moritz. 1877. <i>Friedrich Chopin. Sein Leben, seine Werke und Briefe</i>. Dresden: Ries.<br />
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Kroll, Mark. 2007. <i>Johann Nepomuk Hummel : a Musician's Life and World</i>. Scarecrow Press.<br />
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Lorenz, Michael. 2003. "Die Familie Schober und ihr genealogisches Umfeld", <i>Schubert durch die Brille</i> 30. Tutzing: Schneider. 129-92.<br />
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Radziszewski, Henryk. Kinderski. Henryk. 1905. <a href="https://archive.org/details/piotrsteinkelle00kindgoog" target="_blank"><i>Piotr Steinkeller. Dwie Monografie</i></a>. Warsaw.<br />
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Rommel, Otto. 1952. <i>Die Alt-Wiener Volkskomödie Ihre Geschichte vom barocken Welt-Theater bis zum Tode Nestroys</i>. Vienna: Schroll & Co.<br />
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Samson. Jim. 1996. <i>Chopin</i>. Oxford: Oxford University Press.<br />
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Szalsza, Piotr. 1986. "Über die Wiener Konzerte von Frédéric Chopin". <i>Studien zur Musikwissenschaft</i> 37. Tutzing: Schneider. 27-35.<br />
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Tomaszewski, Mieczysław. 1990. <i>Fryderyk Chopin. A diary in Images</i>. Warsaw: Arkady.<br />
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Wawel-Louis, Józef. 1883. <i>Kupcy krakowscy w epoce przejściowej (1773–1846)</i>. Kraków.<br />
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Zagiba, Franz. 1949. "Chopin und Wien". <i>Österreichische Musikzeitschrift</i> 4/10. Vienna. 273–278.<br />
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–––––––. 1951. <i>Chopin und Wien</i>. Vienna: Bauer.<br />
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–––––––. 1970. "Zur Errichtung einer Chopin-Gedächtnisstätte in Wien". <i>Chopin Jahrbuch</i>. Vienna: Verlag Notring d. Wissenschaftlichen Verbände Österreichs. 147-179.</blockquote>
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<i>This post is dedicated to the friends of this blog whose donations made it possible to finish this long deferred Chopin project. The <a href="http://members.aon.at/chopin.at/" target="_blank">Internationale Chopin-Gesellschaft in Wien</a>, the <a href="http://www.chopin-society.org.uk/" target="_blank">Chopin Society UK</a>, </i><i>the <a href="http://www.chopin.org/" target="_blank">Chopin Foundation of the United States</a> and <a href="http://chopinsociety.org/" target="_blank">The Vancouver Chopin Society</a> ignored the invitation </i><i>to support my research. </i><i>The </i><i><a href="http://www.chopin-gesellschaft.de/" target="_blank"><i>Chopin-Gesellschaft </i>in der Bundesrepublik Deutschland</a> replied, but claimed it had no money.</i></div>
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© Dr. Michael Lorenz 2015. All rights reserved.<br />
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Updated: 3 August 2023<br />
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See also: <a href="http://michaelorenz.blogspot.com/2019/12/the-death-of-chopins-godson-alexander.html" target="_blank">The Death of Chopin's Godson Alexander Steinkeller</a><br />
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Michael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.com1