prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who is the maternal grandfather of Marie Louise, Duchess Of Parma?

The following are given passages.
Context 1: Passage 1:
Pauline Auzou
Pauline Auzou (24 March 1775 – 15 May 1835) was a French painter and art instructor, who exhibited at the Paris Salon and was commissioned to make paintings of Napoleon and his wife Marie Louise, Duchess of Parma 

Personal life
Jeanne-Marie-Catherine Desmarquets (sometime written Desmarquest) was born in Paris on 24 March 1775  She assumed the surname La Chapelle when she was adopted by a cousin  In December 1793 she married the stationer Charles-Marie Auzou  Starting in 1794, they had at least two sons, two daughters and a child who did not survive infancy Jacques-Augustin-Catherine Pajou bought one house of theirs in Fontenay-aux-Roses in 1820 
She died in Paris on 15 May 1835 

Career
In the early late 18th century women were generally prevented from attaining an education in art academies in France, particularly if they did not have money and connections  Auzou attended Jean-Baptiste Regnault's atelier in 1802 along with Sophie Guillemard, Eugénie Delaporte, Caroline Derigny and Henriette Lorimier  She was influenced by another woman artist, Marguerite Gérard, and by Jean-Auguste-Dominique Ingres 

Early in her studies and career, Auzou made paintings of legendary Greek figures  Very unusual for the time, when it was considered nearly underheard of for women to draw or paint nude people, Auzou made studies of nude women and men  Deemed inappropriate, women artists found greater success in creating paintings of women in homey settings, making music or reading She was a successful artist, first a Neoclassist, who made historic, genre and portrait paintings, including depictions of Napoleon  She received 2,000 to 4,000 francs in stipend payments, for the creation of essentially government mandated paintings of contemporary events, including paintings made of and for Napoleon  Troubadour art, was very much a style made by male artists, but there were several artists like Eugénie Servières, Hortense Haudebourt-Lescot, and Sophie Lemire who added a feminine touch to makes of Caroline, Duchesse de Berry and Empress Josephine and others The Paris Salon opened up the exhibition to women's works in 1791  Her works were exhibited at the Paris Salon  In 1793, A Bacchante and A study of a head  She made a painting of legendary Daphnis and Phyllis, which was exhibited at the 1795 salon  In 1804, The First Sense of Coquetry was exhibited there  She was awarded a first class medal at the salon in 1806 for her painting of Pickard Elder, which in 1807 was represented in the painting Mr  Pickard and his family  In 1808, she was awarded the medaille de première classe for her work  That year she exhibited Mr  Picard and his family at the salon She made a painting of Napoleon and his bride shown at the 1810 salon entitled Archduchess Marie-Louise in Compiègne, depicts the newly married Napoleon who looks on fondly, and secondarily, as Marie-Louise is met by her ladys-in-waiting  Other paintings made of the couple by Auzou included a painting of Marie-Louise with her family, Her Majesty the Empress, before Her Marriage, at the Moment of Taking Leave of Her Family  Shown in 1806, Departure for the Duel depicts the family drama as a man looks at his sleeping wife and child before departing for a duel  Like other women artists of this time, Auzou depicted events as they impacted families  In this case, the wife was "condemned to seduction and the child to poverty," according to art critic Pierre-Jean-Baptiste Chaussard  She exhibited at the Paris Salon until 1817 and generally until 1820 Auzou opened an art school for young women, like other women artists, Lizinka de Mirbel and Marie Guilhelmine Benoist, and men  The studio and school were maintained for 20 years  Her book Têtes d'études (English: Head studies) was published in Paris by Didot Her painting Portrait of a musician is in the collection of the Currier Museum of Art, Manchester, New Hampshire, United States  Two of her works of Empress Marie-Louise are in the collections of The National Museum of Versailles, Palace of Versailles, including Her Majesty the Empress, before Her Marriage, at the Moment of Taking Leave of Her Family  Her works were collected by the Society of Friends to the Arts, Duchess de Berri and the French government  Several of these works were engraved, as well as period genre paintings such as the work engraved by John Norman, Diana of France and Montmorency 

Legacy
Like Constance Mayer, Marguerite Gérard,  Antoinette Haudebourt-Lescot and Marie-Denise Villers, Auzou was one of the successful women artists following the French Revolution:

Despite overt exclusion of women artists from the institutions governing their profession, women artists nevertheless made progress, as a group and as individuals, in the years following the French Revolution 

Works
A Bacchante, exhibited at 1793 Paris Salon
A study of a head, exhibited at 1793 Paris Salon
Agnes de Meranie, 1808
Arrival of Archduchess Marie-Louise in Compiègne (with new husband Napoleon), 1810
Daphnis and Phyllis, exhibited at the 1795 salon
Departure for the Duel, exhibited in 1806
Diana of France and Montgomery, 1814
Her Majesty the Empress, before Her Marriage, at the Moment of Taking Leave of Her Family, Versailles Gallery, 1812
Louis-Benoît Picard and his family, 1807
Archduchess Marie-Louise in Compiègne, exhibited at the 1810 salon
Picard the Elder, 1806, won a medal of honor in 1806 and first prize at the 1808 Paris Salon
Portrait of a girl, bust length, est  1790s, Snite Museum of Art, University of Notre Dame
Portrait of a musician, oil on canvas, 1809
Portraits of Volney, 1795
Regnault, 1800
The First Sense of Coquetry, exhibited at the 1804 salon
The Return of Charles X
Passage 2:
Maria d'Este
Maria d'Este (8 December 1644 – 20 August 1684) was a Modenese princess and Duchess of Parma as the wife of Ranuccio II Farnese, Duke of Parma  She was a daughter of Francesco I d'Este, Duke of Modena and Maria Caterina Farnese 

Family
Maria was the eighth child and fourth daughter of Francesco I d'Este, the reigning Duke of Modena since 1629   Her mother was a daughter of Ranuccio I Farnese, Duke of Parma 

Biography
Maria was born in Modena to Francesco I d'Este, Duke of Modena and his consort Maria Caterina Farnese  A member of the House of Este, she was a princess of Modena by birth 
In order to cement relations between the House of Farnese, Maria's older sister Isabella d'Este had been married to Ranuccio Farnese, Duke of Parma, son of Odoardo Farnese, Duke of Parma and Margherita de' Medici in 1664  Isabella died in 1666 as a result of childbirth  In order to preserve the union between the two ducal houses, the unmarried Maria became Ranuccio's next consort 
A wedding was signed by proxies in October 1667 and formally in Modena on 1 January 1668 she was duly married to the widowed Ranuccio Farnese  The marriage produced seven children; she also had two stillborn children  Out of the seven, three survived infancy, however none of them went on to have further children 
Maria died in Parma at the age of 39  Her husband survived her by ten years  Her two youngest sons, Francesco and Antonio, each became the Duke of Parma  Antonio was the last member of the House of Farnese, the duchy of Parma going to the Spanish House of Bourbon in 1731 
Maria was buried at the Sanctuary of Santa Maria della Steccata in Parma on 21 August 1684  She has no surviving descendants 

Issue
Isabella Francesca Maria Lucia Farnese (14 December 1668 – 9 July 1718)  She was a Benedictine nun in Santa Maria di Campagna Monastery of Piacenza;
Vittoria Maria Francesca Farnese (24 December 1669 – 15 September 1671);
A son (24 June 1671 – 28 June 1671);
Vittoria Farnese (19 November 1672), twin of Caterina;
Caterina Farnese (19 November 1672), twin of Vittoria;
A son (26 December 1674);
Eleonora Farnese (1 September 1675 – 3 November 1675);
Francesco Maria Farnese (19 May 1678 – 26 February 1727) succeeded as Duke of Parma; married Dorothea Sophie of the Palatinate, had issue;
Antonio Francesco Farnese, Duke of Parma (29 November 1679 – 20 January 1731) married Enrichetta d'Este, no issue 

Ancestry
References and notes


== See also ==
Passage 3:
Vernon Richards
Vernon Richards (born Vero Benvenuto Costantino Recchioni, 19 July 1915 – 10 December 2001) was an Anglo-Italian anarchist, editor, author, engineer, photographer, and companion of Marie-Louise Berneri Richards' founding of the paper Spain and the World in 1936 lead to the revival of the British anarchist publisher Freedom Press and the subsequent publishing of the newspaper War Commentary, followed in 1945 by the relaunch of Freedom newspaper 
Richards and Berneri were joined in Freedom Press by a group of regular contributors including John Hewetson, Tony Gibson, Philip Sansom, George Woodcock and Colin Ward  Freedom remained under Richards' editorship until 1968 and he retained a strong influence over Freedom Press until his retirement  He also authored and translated a number of books including Lessons of the Spanish Revolution (1953) and Errico Malatesta: His Life & Ideas (1965) 

Biography
Richards was born in 1915 in Soho, London to the Italian militant anarchist railway worker Emidio Recchioni and his wife Costanza (née Benericetti) where they ran a popular delicatessen, King Bomba  Emidio had fled Italy following a prison escape with Errico Malatesta  Friends speculated that Richards inherited his single-mindedness from his father, though Richards later described his father as a "bourgeois terrorist" Richards was educated at Emanuel School in Wandsworth and studied civil engineering at King's College London  He then worked as a railway engineer In 1931 in Paris Richards met Marie Louise Berneri, daughter of Camillo and Giovanna Berneri, and began a long-distance relationship  Richards and Camillo together edited the bilingual Italian and English anti-Mussolini paper Italia Libera/Free Italy, resulting In Richards' deportation from France in 1935 From December 1936 Richards began work on a new anarchist newspaper in London, Spain and the World, reporting on the Spanish Civil War  In 1937 Marie moved to London to join him, marrying him in October 1937 so she could gain British citizenship  At this time he also anglicised his name from Vero Recchioni to Vernon Richards After the first issue of Spain and the World the paper was taken on by Freedom Press with Richards' as editor, going on to play a leading role in the revival of British anarchism and Freedom Press Following the fascist victory in the Spanish Civil War Spain and the World was briefly relaunched as Revolt! In November 1939 with the onset of war the paper was renamed again as War Commentary On 26 April 1945 as an editor of War Commentary Richards was sentenced to nine months in prison along with two contributors, John Hewetson and Philip Sansom, for conspiring to cause disaffection among members of the armed forces under Defence Regulation 39a  The same charges against Berneri were dropped as legally a wife could not be prosecuted for conspiring with her husband – about which she was reportedly furious  Coming at the end of the war, the four day trial at the Old Bailey saw significant press coverage and public controversy : 186  The arrests led to the formation of the prominent Freedom Defence Committee  The trial also saw an end to Richard's career as an engineer, with Richards' and Berneri deciding to try and earn a living as professional photographers After Richards' release from prison their friend George Orwell, who was extremely averse to being photographed, allowed Richards and Berneri to photograph him to help them start out  The photos feature a relaxed Orwell at home and in the street and remain in widespread use  The complete set was published in the 1998 book George Orwell at Home (and Among the Anarchists): Essays and Photographs At this time a split had formed within Freedom Press between anarcho-syndicalists with ties to the Confederación Nacional del Trabajo (CNT) and anarcho-communists associated with Richards and Berneri who aligned more with Errico Malatesta's critique of revolutionary trade unionism  The split saw the painter and War Commentary contributor Cliff Holden hold Richards at gunpoint to extract money for a new paper  Richards' views on the Spanish Civil War, including critiques of the CNT from Freedom and Spain and the World were later republished in the book Lessons of the Spanish Revolution In December 1948 Berneri gave birth, but the child died shortly afterwards  She then died of a viral infection in April 1949 In the 1950s Richards sold the family store, King Bomba, and in 1968 with his partner Peta Hewetson he moved to Suffolk where he grew and sold vegetables from a smallholding  He also worked as a travel agent, including trips to Francoist Spain and the Soviet Union Richards formally retired from Freedom Press in 1995  A workaholic, he continued to write books into his eighties, though following Peta Hewetson's death in 1997 he became more reclusive  He died on 10 December 2001 in Hadleigh, Suffolk In a Guardian obituary Colin Ward, who had worked with Richards for decades, described him as a "ruthless exploiter of others" and a "manipulator" with a noted tendency to lose friends  Richard's papers are held by the International Institute of Social History in Amsterdam 

Publications
Lessons of the Spanish Revolution (1953)
Errico Malatesta: His Life & Ideas (1965)
The Impossibilities of Social Democracy (1978)
Why Work? Arguments for the Leisure Society (1983)
Violence and Anarchism: A Polemic (1983)
Protest without Illusions (1981)
A Weekend Photographer's Notebook (1996)
A Part-Time Photographers Portrait Gallery (1999)
Beauty Is More Than 'In the Eye of the Beholder': Photographs of Women and Children (1999)
George Orwell at Home (and Among the Anarchists)  Essays and Photographs (1998)
Passage 4:
Enrichetta d'Este
Princess Enrichetta d'Este (Enrichetta Maria; 27 May 1702 – 30 January 1777) was a Duchess of Parma by marriage to her cousin Antonio Farnese, Duke of Parma  She was the Regent of Parma in 1731 during her alleged pregnancy in the interregnum after her husband's death 

Biography
Early life
Princess Enrichetta was the third daughter of Rinaldo d'Este, Duke of Modena and Duchess Charlotte of Brunswick-Lüneburg  She was named after her maternal grandmother, Benedicta Henrietta of the Palatinate 
Her older brother Prince Francesco was the heir to the duchy of Modena  In 1720 Francesco married Charlotte Aglaé d'Orléans, the daughter of Philippe d'Orléans, the Régent of France during the childhood of King Louis XV  While at the Modenese court, Charlotte Aglaé got on well with Enrichetta and her older sisters Benedetta (1697–1777) and Amalia (1699–1778) 
In 1725, Enrichetta was among the princesses seriously considered for marriage to king Louis XV of France, when the list of the original 99 princesses had been reduced to seventeen   However, the French Prime minister, the Duke of Bourbon, regarded her to be of too inferior rank for the position of queen, and the unstable situation in her family a cause of rejection of her candidacy, and in the end she was removed from the list 

Duchess of Parma
Enrichetta was engaged to Antonio Farnese, Duke of Parma, whose mother Princess Maria d'Este was Enrichetta's aunt   They were married with magnificent ceremonies in Modena on 5 February 1728, with her brother Francesco acting as proxy for Antonio 
She travelled to Parma where she made a magnificent entry to the city on 6 July 1728, greeted at the Porta San Michele by crowds of cheerers and onlookers  Celebrations in the local area lasted as late as 1730   Antonio frequently visited the Modenese court and was close to Erichetta's brother 
The marriage had been arranged by Antonio's secretary of state, Count Anvidi, and Bori  coerced an unwilling Antonio to marry Enrichetta, his friend Francesco's sister  The marriage, despite all Antonio's attempts at conception, was childless 

The regency issue
Antonio died on 20 January 1731   The previous day, he had announced that Enrichetta was pregnant; after his death, a Regency council for the potential heir was formed, consisting of Enrichetta, a bishop, the first Secretary of State and two gentlemen of the Court  
It was decided that, should the child be female, the duchy of Parma would revert to the Infante Don Carlos (then aged 12), eldest of the three sons of Elisabeth Farnese, wife of Philip V of Spain, niece of Antonio by his older half-brother Odoardo, who had been heir-apparent to the duchy but predeceased their father  Enrichetta was thus invested as Regent of Parma, supported by Imperial troops Her pregnancy was questioned by the Queen of Spain though her mother, Enrichetta's sister-in-law Countess Palatine Dorothea Sophie of Neuburg, who wished to defend the right of Don Carlos, as well as the Pope, who wished to retract the Duchy to the Papal State   However, she was supported by the Emperor, who opposed Spanish influence in Parma   Of the request of Spain, Enrichetta was examined in May 1731 by doctors confirming her pregnancy   The news was reported around Parma and then around the European courts  Her regency could thus continue, with support by the Emperor  
On 22 July however, the Second Treaty of Vienna officially recognised the right of the young Infante Don Charles as the Duke of Parma and Piacenza, pursuant to the Treaty of London (1718)  When Spain demanded that the delivery of Enrichetta should be a public affair, the Emperor retracted his support to Enrichetta and discontinued the original plan to arranged a simulated birth Queen Elisabeth in Spain convinced her mother to have Enrichetta examined again on 13 September 1731; it was then reported that there was in fact no child, and the House of Farnese was extinct  Charles of Spain was thus recognised as Duke of Parma and Piacenza, deposing the regency of Enrichetta d'Este  
Since Charles was still a minor, his maternal grandmother Dorothea Sophie of the Palatinate, Odoardo's widow, was named regent 
Shunned by her father's court in Modena, the dowager duchess moved into the Ducal Palace of Colorno, where she was under virtual house arrest with an escort of Swiss Guards  In December 1731, she was forced to return to the Ducal Palace in Parma in order to return the crown jewels of Parma to Dorothea, who was formally made head of the regency council on 29 December 1731  
She stayed in Parma, splitting her time between Piacenza, Borgo San Donnino and Cortemaggiore 

Second marriage
On 23 March 1740 in Piacenza, Enrichetta married Prince Leopold of Hesse-Darmstadt (1708-1764), younger son of Landgrave Philip of Hesse-Darmstadt and his wife, Princess Marie Ernestine of Croÿ Havré (1673–1714)  Enrichetta and Leopold had no children 
Leopold died in 1764 leaving Enrichetta a widow for the second time  Enrichetta herself died on 30 January 1777 aged seventy four  She was buried at the Convent of the Capuchins, in Fidenza (now church of San Francesco) 

Ancestry
Passage 5:
Margaret of Parma
Margaret of Parma (Italian: Margherita di Parma; 5 July 1522 – 18 January 1586) was Governor of the Netherlands from 1559 to 1567 and from 1578 to 1582  She was the illegitimate daughter of the then 22-year-old Holy Roman Emperor Charles V and Johanna Maria van der Gheynst  She was a Duchess of Florence and a Duchess of Parma and Piacenza by her two marriages 

Biography
Margaret's mother, Johanna Maria van der Gheynst, a servant of Count Charles de Lalaing, Seigneur de Montigny, was a Fleming  Margaret was brought up in Mechelen, under the supervision of two powerful Spanish and Austrian Habsburg Imperial family relatives, her great-aunt, the Archduchess Margaret of Austria, and her aunt Mary of Austria, who were successive governors of the Netherlands from 1507 to 1530 and from 1530 to 1555, respectively Her early life followed a strict routine set forth by her father, Charles V, who used his daughter as part of his plans to secure his empire In 1527, the year she turned five, she became engaged to the nephew of Pope Clement VII, Alessandro de' Medici, Duke of Florence, to assist her father's ambition in gaining influence in Italy  The marriage negotiations had been initiated in 1526, and in 1529, the agreement was officially signed by her father and the Pope  In 1529, Margaret was acknowledged by her father and allowed to assume the name Margaret of Austria, and in 1533, the 11-year-old girl was brought to live in Italy and educated in the courts of Florence, Rome, and Parma  There, she was taught skills that helped her grow as an independent woman  As Margaret did not spend much time with her husband, she used this time to become exposed to the surrounding Italian culture  Though she was multi-lingual, she preferred the Italian language for the rest of her life 
On 13 June 1536 in Florence, she married Alessandro, who was assassinated on 6 January 1537  On 4 November 1538 in Rome, the 15-year-old widow married Ottavio Farnese, Duke of Parma, the 14-year-old grandson of Pope Paul III  At first she refused to marry him  Although the union proved an unhappy one, it gave her years of experience in Rome, and produced twin sons, one of whom died in infancy  She would continue her studies of the arts and politics while being married to Ottavio  The couple lived separately for much of their lives, and Margaret maintained her own court and chapel  She was in a somewhat difficult position, as the Pope and the Emperor argued about authority over Parma  In 1555, the Farnese family were acknowledged as rulers of Parma by Spain in exchange for the custody of her son 
In 1555, she left Italy for the Netherlands, where she left her son in the care of her half-brother Philip II  Philip appointed her Governor of the Netherlands when he left in 1559 for Spain  As governor, Margaret faced the rising storm of discontent against the Inquisition and Spanish despotism, and Philip had left her but nominal authority  He was determined to pursue his own arbitrary course, and the result was the revolt of the Netherlands   Margaret was forced to adjust herself to the advice of Cardinal Granvelle, Philip's choice for her chief councilor, who would grow to be greatly disliked in the Netherlands  After Granvelle's exile from the Netherlands in 1564, Margaret was forced to rely on the grandees in her Council  In 1565, an opposition party was formed from the Dutch nobility  Margaret received its complaints and, having no army to put down the dissenters, promised to stop religious repression  In 1566, Iconoclastic riots took place all over the Netherlands but she managed to quell them, with the help of her stadtholders Philip of Noircarmes (who subjugated the cities of Tournai and Valenciennes) in Hainaut and William of Orange in Holland   The next year, Philip sent her military help led by the Duke of Alba  Margaret warned Philip that actions by Alba would lead to catastrophe, but instead of trying to stop Alba, she resigned when she learned that Alba's power of attorney, granted by Philip, superseded her own In 1567, Margaret retired to L'Aquila in Italy  She was appointed Governor of Abruzzo and Viceroy of Naples,where she had inherited a domain from her late husband  She acted as the adviser to her son and to her royal bastard half-brother, John of Austria  In 1578, her son Alexander Farnese was appointed to the office of governor-general of the Netherlands; Philip appointed her his co-regent, intending that they would balance each other  However, they were unable to work together, and Margaret retired to Namur in 1582  She was given permission by Philip to return to Italy in 1583  She died in Ortona in 1586 and was buried in the church of S  Sisto in Piacenza 
Charlie R  Steen describes her as "a woman dedicated to compromise and conciliation in public affairs "She personally asked to Pope Paul III to authorize the veneration of the Seven Archangels while Antonio del Duca did the same under the protection of the Colonna family 

Issue
Margaret and her second husband Ottavio had:

Charles Farnese (Italian: Carlo Farnese, Spanish: Carlos Farnese, German: Karl Farnese; 27 August 1545 – September 1545), heir to the Duchy of Parma 
Alexander Farnese (27 August 1545 – 3 December 1592), 3rd Duke of Parma; married Infanta Maria of Portugal and had issue 

Coat of arms
Margaret of Austria, as Duchess of Florence and Parma, chose for her device a pearl shining from its shell, with the motto, Decus allatura coronae ("About to bring glory to the crown") 

Ancestry
See also
Geuzen

Notes
Passage 6:
Henry Krause
Henry J  "Red" Krause, Jr  (August 28, 1913 – February 20, 1987) was an American football offensive lineman in the National Football League for the Brooklyn Dodgers and the Washington Redskins   He played college football at St  Louis University 
Passage 7:
Marie Louise, Duchess of Parma
Marie Louise (12 December 1791 – 17 December 1847) was an Austrian archduchess who reigned as Duchess of Parma from 11 April 1814 until her death  She was Napoleon's second wife and as such Empress of the French and Queen of Italy from their marriage on 1 April 1810 until his abdication on 6 April 1814 
As the eldest child of Francis II, Holy Roman Emperor and Emperor of Austria, and his second wife, Maria Theresa of Naples and Sicily, Marie Louise grew up during a period marked by ongoing and unceasing conflict between Austria and revolutionary France  A series of military defeats at the hands of Napoleon Bonaparte had inflicted a heavy human toll on Austria and led Francis to dissolve the Holy Roman Empire  The end of the War of the Fifth Coalition resulted in the marriage of Napoleon and Marie Louise in 1810, which ushered in a brief period of peace and friendship between Austria and the French Empire  Marie Louise agreed to the marriage despite being raised to despise France  With Napoleon, she bore a son, styled the King of Rome at birth, later Duke of Reichstadt, who briefly succeeded him as Napoleon II 
Napoleon's fortunes changed dramatically in 1812 after his failed invasion of Russia  The European powers, including Austria, resumed hostilities towards France in the War of the Sixth Coalition, which ended with the abdication of Napoleon and his exile to Elba  The 1814 Treaty of Fontainebleau gave the Duchies of Parma, Piacenza and Guastalla to Marie Louise, who ruled the duchies until her death 
Marie Louise married morganatically twice after Napoleon's death in 1821  Her second husband was Count Adam Albert von Neipperg (married 1821), an equerry she met in 1814  She and Neipperg had three children  After Neipperg's death in 1829, she married Count Charles-René de Bombelles, her chamberlain, in 1834  Marie Louise died in Parma in 1847 

Early life
Archduchess Marie Louise of Austria (who was given the Latin baptismal name of Maria Ludovica Leopoldina Francisca Theresa Josepha Lucia) was born at the Hofburg Palace in Vienna on 12 December 1791 to Archduke Francis of Austria and his second wife, Maria Theresa of Naples and Sicily  She was named after her grandmother, Marie Louise, Holy Roman Empress  Her father became Holy Roman Emperor a year later as Francis II  Marie Louise was a great-granddaughter of Empress Maria Theresa through both her parents, as they were double first cousins  She was also a maternal granddaughter of Queen Maria Carolina of Naples, Marie Antoinette's favorite sister 
Marie Louise's formative years were during a period of conflict between France and her family  She was brought up to detest France and French ideas  Her upbringing was supervised by her French imperial governess Victoire de Folliot de Crenneville  Marie Louise was influenced by her grandmother Maria Carolina, who despised the French Revolution which ultimately caused the death of her sister, Marie Antoinette  Maria Carolina's Kingdom of Naples had also come into direct conflict with French forces led by Napoleon Bonaparte  The War of the Third Coalition brought Austria to the brink of ruin, which increased Marie Louise's resentment towards Napoleon  The Imperial family was forced to flee Vienna in 1805  Marie Louise took refuge in Hungary and later Galicia before returning to Vienna in 1806  Her father relinquished the title of Holy Roman Emperor but remained Emperor of Austria 
To make her more marriageable, her parents had her tutored in many languages  In addition to her native German, she became fluent in English, French, Italian, Latin, and Spanish In 1807, when Marie Louise was 15, her mother died after suffering a miscarriage  Less than a year later, Emperor Francis married his first cousin Maria Ludovika Beatrix of Austria-Este, who was four years older than Marie Louise  Nonetheless, Maria Ludovika Beatrix took on a maternal role towards her stepdaughter  She was also bitter towards the French, who had deprived her father of the Duchy of Modena Another war broke out between France and Austria in 1809, which resulted in defeat for the Austrians again  The Imperial family had to flee Vienna again before the city surrendered on 12 May  Their journey was hampered by bad weather, and they arrived in Buda "wet through, and nearly worn out with fatigue" 

Marriage proposal
After escaping an assassination attempt in Vienna, while negotiating the Treaty of Schönbrunn on 12 October 1809, Emperor Napoleon decided that he needed an heir to cement his relatively young Empire  He also sought the validation and legitimization of his Empire by marrying a member of one of the leading royal families of Europe  He began proceedings to divorce Joséphine de Beauharnais, who did not bear him a son, and began searching for a new empress  His wish to marry Grand Duchess Anna Pavlovna of Russia, the youngest sister of Tsar Alexander I of Russia, caused alarm in Austria, who were afraid of being sandwiched between two great powers allied with each other  At the persuasion of Prince Metternich, a marriage between Napoleon and Marie Louise was suggested by Emperor Francis to the Count of Narbonne but no official overture was made by the Austrians  Though officials in Paris and Austria were beginning to accept the possibility of the union, Marie Louise was kept uninformed of developments Frustrated by the Russians delaying the marriage negotiations, Napoleon rescinded his proposal in late January 1810 and began negotiations to marry Marie Louise with the Austrian ambassador, the Prince of Schwarzenberg  Schwarzenberg signed the marriage contract on 7 February  Marie Louise was informed of the marriage by Metternich  When asked for consent, she replied: "I wish only what my duty commands me to wish "

Wedding
Marie Louise was married by proxy to Napoleon on 11 March 1810 at the Augustinian Church, Vienna  Napoleon was represented by Archduke Charles, the bride's uncle  According to the French ambassador, the marriage "was celebrated with a magnificence that it would be hard to surpass, by the side of which even the brilliant festivities that have preceded it are not to be mentioned"  She became Empress of the French and Queen of Italy 
Marie Louise departed Vienna on 13 March, probably expecting never to return  Upon arriving in France she was placed in the custody of Napoleon's sister, who had her put through a symbolic old ritual  Tradition dictated that a royal bride coming to France must keep nothing of her homeland, especially her clothes  Accordingly, Marie Louise was stripped of her dress, corset, stockings, and chemise, leaving her completely naked  Napoleon's sister then made the nude teenager take a bath  She was then redressed in French bridal clothes  Marie Antoinette had been put through a similar ritual when she arrived in France in 1770  She met Napoleon for the first time on 27 March in Compiègne, remarking to him: "You are much better-looking than your portrait "

The civil wedding was held at the Saint Joseph's Church on 1 April 1810  The next day, Napoleon and Marie Louise made the journey to Paris in the coronation coach  The Imperial Guard cavalry led the procession, followed by the herald-at-arms and then the carriages  The Marshals of France rode on each side, near the doors of the carriages  The procession arrived at the Tuileries Palace, and the Imperial couple made their way to the Salon Carré chapel (in the Louvre) for the religious wedding ceremony  The ceremony was conducted by Cardinal Joseph Fesch, Grand Almoner of France and Napoleon's uncle  A Bridal March was composed for the occasion by Ferdinando Paer, and a cantata by Johann Nepomuk Hummel 
Elaborate celebrations continued to be held in May and June 1810  These included a ball, a masque, a sea-battle on the Seine, and a display of fireworks created by Claude-Fortuné Ruggieri, for 4,000 people By this marriage, Napoleon became the great-nephew-in-law of Louis XVI and Marie-Antoinette 

Marriage to Napoleon
Life as Empress
Marie Louise was an obedient wife and settled in quickly in the French court  She developed a close friendship with her Première dame d'honneur, the Duchess of Montebello, while most of the daily affairs were handled by her Dame d'atour Jeanne Charlotte du Luçay  Napoleon initially remarked that he had "married a womb" to an aide, but their relationship soon grew  He "spared no pains" to please her and claimed at one point to prefer Marie Louise to his first wife Joséphine; while he had loved Joséphine, and though he claimed Joséphine remained his greatest friend even after their amicable divorce, he had not respected her, whereas with Marie Louise, there was "Never a lie, never a debt" — presumably a reference to Joséphine's rumoured extramarital affairs and reputation as a spendthrift  Marie Louise wrote to her father: "I assure you, dear papa, that people have done great injustice to the Emperor  The better one knows him, the better one appreciates and loves him " However, the marriage was not without tension; Napoleon sometimes remarked to aides that Marie Louise was too shy and timid, compared to the outgoing and passionate Josephine, with whom he remained in close contact, upsetting Marie Louise 
The excitement surrounding the wedding ushered in a period of peace and friendship between France and Austria, who had been largely at war for the last two decades  The people of Vienna, who hated Napoleon only months before, were suddenly in full praise of the French Emperor  Flattering letters were sent between Napoleon and Emperor Francis, Empress Maria Ludovika Beatrix and Archduke Charles during the wedding festivities During public occasions, Marie Louise spoke little due to reserve and timidity, which some observers mistook for haughtiness  She was regarded as a virtuous woman and never interfered in politics  Privately, she was polite and gentle Napoleon arranged for Marie Louise to participate in some carefully selected charity assignments, most notably the Société de Charité Maternelle, for which he made her Honorary President 

Birth of first child
Marie Louise became pregnant by July 1810 and gave birth to a son on 20 March 1811  The boy, Napoléon François Joseph Charles Bonaparte, was given the title King of Rome, in accordance with the practice where the heir apparent to the Holy Roman Empire was called the King of the Romans  Napoleon was delighted that his wife survived the ordeal and said: "I had rather never have any more children than see her suffer so much again "Marie Louise was devoted to her son; she had him brought to her every morning and visited him in his apartment in the course of the day 

Resumption of war
In May 1812, a month before the French invasion of Russia, Marie Louise accompanied Napoleon to Dresden, where she met her father and stepmother  Emperor Francis told Napoleon he could count on Austria for the "triumph of the common cause", a reference to the impending war  A minor rivalry began to develop between Marie Louise and the Empress of Austria, who was jealous at being upstaged in appearance by her stepdaughter  It was also in Dresden where she met Count Adam Albert von Neipperg for the first time  Napoleon left Dresden on 29 May to take charge of his army Marie Louise then travelled to Prague, where she spent a few weeks with the Austrian Imperial family, before returning to Saint Cloud on 18 July  She kept in touch with Napoleon throughout the war  The invasion of Russia ended disastrously for France  More than half of the Grande Armée was destroyed by the Russian Winter and guerrilla attacks  After the failed Malet coup of October 1812, Napoleon hastened his return to France and reunited with his wife on the night of 18 December 

Collapse of the Empire
The weakened French position triggered the Sixth Coalition  Prussia allied with Russia and declared war on France (the United Kingdom was already at war with France), but Austria stayed out due to relations between the Imperial families  On 30 March, Marie Louise was appointed Regent as Napoleon set off for battle in Germany  The regency was only de jure, as all decisions were still taken by Napoleon and implemented by his most senior officials, including Lebrun, Joseph Bonaparte, Talleyrand and Savary  Marie Louise tried unsuccessfully to get her father to ally with France  Austria too joined the opposition to France  She maintained a correspondence with Napoleon, informing him of increasing demands for peace in Paris and the provinces  Napoleon was decisively defeated in Leipzig on 19 October and returned to Saint Cloud on 9 November On 23 January 1814, Marie Louise was appointed Regent for the second time  On 25 January, at 03:00 in the morning, Napoleon embraced Marie Louise and his son for the last time  He left to lead a hastily formed army to stave off the Allied invasion from the north As the Allies neared Paris, Marie Louise was reluctant to leave  She felt that as the daughter of the sovereign of Austria, one of the allied members, she would be treated with respect by Allied forces, with the possibility of her son succeeding the throne should Napoleon be deposed  She was also afraid that her departure would strengthen the royalist supporters of the Bourbons  Marie Louise was finally persuaded to leave by Henri Clarke, who received the order from Napoleon: "I would prefer to know that they [the Empress and the King of Rome] are both at the bottom of the Seine rather than in the hands of the foreigners " On 29 March, the court left Paris  The Allies entered the city the following day 
Marie Louise and the court moved to Blois, which was safe from the Allies  She did not expect her father to dethrone Napoleon and deprive her son of the crown of France  On 3 April, the Senate, at the instigation of Talleyrand, announced the deposition of the Emperor  Marie Louise was unaware of this until 7 April, and was astonished to discover the turn of events  She wanted to return to Paris, but was dissuaded from doing so by physician Jean-Nicolas Corvisart and the Duchess of Montebello 

Exile of Napoleon
Napoleon abdicated the throne on 11 April 1814 in Fontainebleau  The Treaty of Fontainebleau exiled him to Elba, allowed Marie Louise to retain her imperial rank and style and made her ruler of the duchies of Parma, Piacenza, and Guastalla, with her son as heir  This arrangement was later revised at the Congress of Vienna Marie Louise was strongly dissuaded from rejoining her husband by her advisors, who fed her accounts that Napoleon was distraught with grief over the death of Joséphine  On 16 April, her father arrived at Blois to meet her  At the advice of Emperor Francis, Marie Louise departed Rambouillet with her son for Vienna on 23 April  At Vienna, she stayed at Schönbrunn, where she received frequent visits from her sisters, but rarely from her father and stepmother  She met her grandmother, Maria Carolina, who disapproved of her deserting her husband  Distressed at being seen as a heartless wife and indifferent mother, she wrote on 9 August 1814: "I am in a very unhappy and critical position; I must be very prudent in my conduct  There are moments when that thought so distracts me that I think that the best thing I could do would be to die "

Congress of Vienna and relationship with Neipperg
In the summer of 1814, Emperor Francis sent Count Adam Albert von Neipperg to accompany Marie Louise to the spa town of Aix-les-Bains to prevent her from joining Napoleon on Elba  Neipperg was a confidant of Metternich and an enemy of Napoleon  Marie Louise fell in love with Neipperg  They became lovers  He became her chamberlain, and her advocate at the Congress of Vienna  News of the relationship was not received well by the French and the Austrian public When Napoleon escaped in March 1815 and reinstated his rule, the Allies once again declared war  Marie Louise was asked by her stepmother to join in the processions to pray for the success of the Austrian armies but rejected the insulting invitation  She passed a message to Napoleon's private secretary, Claude François de Méneval, who was about to return to France: "I hope he will understand the misery of my position     I shall never assent to a divorce, but I flatter myself that he will not oppose an amicable separation, and that he will not bear any ill feeling towards me     This separation has become imperative; it will in no way affect the feelings of esteem and gratitude that I preserve " Napoleon was defeated for the last time at the Battle of Waterloo and was exiled to Saint Helena from October 1815  Napoleon made no further attempt to contact her personally 
The Congress of Vienna recognised Marie Louise as ruler of Parma, Piacenza, and Guastalla, but prevented her from bringing her son to Italy  It also made her Duchess of Parma for her life only, as the Allies did not want a descendant of Napoleon to have a hereditary claim over Parma  After her death, the duchy was to revert to the Bourbons 

Duchess of Parma
Marie Louise departed for Parma on 7 March 1816, accompanied by Neipperg  She entered the duchy on 18 April  She wrote to her father: "People welcomed me with such enthusiasm that I had tears in my eyes " She largely left the running of day-to-day affairs to Neipperg, who received instructions from Metternich  In December 1816, Marie Louise removed the incumbent Grand Chamberlain (prime minister) and installed Neipperg She and Neipperg had four children:
Albertine, Countess of Montenuovo (1817–1867), married Luigi Sanvitale, Count of Fontanellato
William Albert, Count of Montenuovo, later created Prince of Montenuovo (1819–1895), married Countess Juliana Batthyány von Németújvár
Mathilde, Countess of Montenuovo (1822–c 1823)Napoleon died on 5 May 1821  On 8 August, Marie Louise married Neipperg morganatically  Neipperg died of heart problems on 22 February 1829, devastating Marie Louise  She was banned by Austria from mourning in public  To replace Neipperg, Austria appointed Josef von Werklein as Grand Chamberlain 
Marie Louise's son by Napoleon, then known as "Franz", was given the title Duke of Reichstadt in 1818  Franz lived at the Austrian court, where he was shown great affection by his grandfather, but was constantly undermined by Austrian ministers and nationalists, who did their best to sideline him to become an irrelevance  There were fears that he might be smuggled over to France to regain the throne, as he could be easily disguised as a girl  
Franz grew resentful at his Austrian relatives and his mother for their lack of support, and began identifying as Napoleon II and surrounding himself with French courtiers  The relationship with his mother broke down when he became aware that his mother had borne two illegitimate children to Neipperg prior to their marriage; this occurred to such an extent that he once remarked "If Josephine had been my mother, my father would not have been buried at Saint Helena, and I should not be at Vienna  My mother is kind but weak; she was not the wife my father deserved; Josephine was " However, before anything could become of Napoleon II, he died at the age of 21 in Vienna in 1832, after suffering from tuberculosis 
1831 saw the outbreak of the Carbonari-led uprisings in Italy  In Parma, protesters gathered in the streets to denounce Grand Chamberlain Werklein  Marie Louise did not know what to do and wanted to leave the city, but was prevented from doing so by the protesters, who saw her as someone who would listen to their demands  She managed to leave Parma between 14 and 15 February, and the rebels formed a provisional government, led by Count Filippo Luigi Linati  At Piacenza, she wrote to her father, asking him to replace Werklein  Francis sent in Austrian troops, which crushed the rebellion  To avoid further turmoil, Marie Louise granted amnesty to the dissidents on 29 September To replace Werklein, in 1833, Metternich sent Charles-René de Bombelles, a French émigré nobleman who had served in the Austrian army against Napoleon  Bombelles was an excellent Grand Chamberlain, who thoroughly reformed the finances of the duchy  A middle-aged widower, he also developed a close personal relationship with Marie Louise  Six months after his arrival, on 17 February 1834, she married him, again morganatically 

Death
Marie Louise fell ill on 9 December 1847  Her condition worsened for the next few days  On 17 December, she passed out after vomiting and never woke up again  She died in the evening  The cause of death was determined to be pleurisy Her body was transferred back to Vienna and buried at the Imperial Crypt 

Arms
Her arms as Duchess of Parma are used as the logo of the perfume company Acqua di Parma  This is in homage to the role she played in helping to develop the perfume and glass industry of Parma 

Gallery
Ancestry
See also
Napoleon Diamond Necklace

Notes
Passage 8:
Gerolama Orsini
Gerolama Orsini (1504–1569) sometimes Girolama Orsini was the Duchess of Parma as the wife of Pier Luigi Farnese, Duke of Parma  She served as Regent (Governor) of the Ducky of Castro in the name of her son Orazio, Duke of Castro between 1550 and 1553 

Biography
Born in Pitigliano, she was the daughter of Lodovico Orsini and Giulia Conti  In 1513, an engagement contract between Orsini and Pier Luigi Farnese was drawn up, and in 1519 the wedding was celebrated at Valentano  Her husband was the illegitimate son of Pope Paul III and Silvia Ruffino  The couple had five children, three of whom would have further progeny  
When Cardinal Alessandro Farnese became Pope Paul III in 1534, he made his son Pier Luigi captain-general of the Church, in 1537, Duke of Castro, and finally in 1545, Duke of Parma and Piacenza  Gerolama remained in Rome and maintained the family presence at the court of the Pope  She was described as a sensible person capable of making important decisions when necessary, close to the Pope and the interests of her sons  She lived a retired life, but was always actively engaged in maintaining the political interest of her sons  
She was widowed in 1547 and remained in Rome  When Pope Paul III died in 1549, Gerolama unsuccessfully attempted to work for the candidacy of a Pope beneficial to the Farnese family  In 1550, Gerolama was appointed the regent-governor of the Duchy of Castro in the absence of her son  Castro was occupied by Papal troops the same year  Gerolama maintained her regency by not resisting, and yet continuing to exert her authority while working for the end of the Papal occupation, and finally managed to achieve the end of the Papal occupation in 1552  Her regency ended when she was informed of the death of her son Orazio in 1553, and she departed for Parma, where she settled for the rest of her life She died at the Palazzo Farnese Piacenza in 1590  She was buried at the Farnese crypt at the Sanctuary of Santa Maria della Steccata, Parma 

Issue
Vittoria Farnese (10 August 1519 – 13 December 1602) married Guidobaldo della Rovere, Duke of Urbino and had issue 
Alessandro Farnese (5 October 1520 – 2 March 1589) never married 
Ottavio Farnese, Duke of Parma (9 October 1524 – 18 September 1586) married Margaret of Parma and had issue 
Ranuccio Farnese (11 August 1530 – 1565) died unmarried 
Orazio Farnese, Duke of Castro (1532 – 18 July 1558) married Diane de France no issue 
Passage 9:
Maria Theresa of Naples and Sicily
Maria Theresa of Naples and Sicily (6 June 1772 – 13 April 1807) was the first Empress of Austria and last Holy Roman Empress as the spouse of Francis II  She was born a Princess of Naples as the eldest daughter of King Ferdinand I of the Two Sicilies and Queen Maria Carolina 

Life
Early life
Born on 6 June 1772 at the Royal Palace of Naples, Maria Theresa Carolina Giuseppina was the eldest child of King Ferdinand I of the Two Sicilies and his wife Queen Maria Carolina  She was her mother’s favorite child from birth, and was henceforth named after her maternal grandmother Empress Maria Theresa  Princess Maria Theresa was taught French, mathematics, geography, theology, music, dancing, and drawing In the February of 1790, Archduke Francis’s wife, Duchess Elisabeth, died in childbirth, and it was announced that he would marry one of the princesses of Naples  Maria Theresa and her sister Luisa were both considered for the match  In the end, though, Luisa was chosen to marry Ferdinand III, Grand Duke of Tuscany, and Maria Theresa was to marry Francis  The marriage was in accordance with the traditional Habsburg marriage policy 

Marriage
On 15 September 1790, at the age of 18, Princess Maria Theresa married her double first cousin Archduke Francis  Francis would, in 1792, become Holy Roman Emperor  Eventually, in 1804, he would become the first Emperor of Austria  The marriage was described as a happy one based on mutual understanding, despite differences in personality  Francis was described as a melancholic character  He was shy and reserved, and was serious with a preference for a spartan lifestyle and duty  Maria Theresa, on the other hand, was described as a gracious blue-eyed blonde with a vivacious personality, a hot temper and a sensual nature  Despite these differences in personality, they were reported to have a good understanding of each other and had a very good relationship Maria Theresa reportedly adapted well to her new home in Vienna and did not suffer from homesickness  She participated with enthusiasm in court life, and it was noted that she enjoyed dancing and partaking in carnival balls—even while pregnant  She particularly enjoyed the Waltz, which had been recently introduced as an innovation and became fashionable during her years in Vienna    

Hedvig Elisabeth Charlotte of Holstein-Gottorp described the view of Maria Theresa and the relationship between the couple in her famous diary during her visit to Vienna in 1798–99: The Empress is reputed to be so jealous that she does not allow him to take part in social life or meet other women  Vicious tongues accuse her of being so passionate that she exhausts her consort and never leaves him alone even for a moment  Although the people of Vienna cannot deny that she is gifted, charitable and carries herself beautifully, she is disliked for her intolerance and for forcing the Emperor to live isolated from everyone  She is also accused of interesting herself in unimportant matters and socializing exclusively with her lady-companions  With them she spends her evenings singing, acting out comedies and being applauded 
On 12 December 1791, the firstborn child of Princess Maria Theresa and Archduke Francis was born: Marie Louise  She was educated specifically in French, English, Spanish, Italian and Latin, with the expectation of her native language German  Marie Louise would soon marry Emperor Napoleon, due to the ongoing wars with France that were effecting her parents and grandparents 

Holy Roman Empress
In 1792, Maria Theresa’s husband Francis ascended the throne as King of Hungary, Croatia and Bohemia, and she became queen consort  In the same year, she would become Holy Roman Empress  The-then Empress Maria Theresa was interested in politics and came to play a certain role in state affairs due to her influence over her spouse, to whom she acted as an adviser  She was a conservative force and belonged to the critics of King Napoleon, and was reported to have encouraged Francis in an anti-French position during the Napoleonic Wars  She has also been pointed out for being partially responsible for the dismissal of Johann Baptist Freiherr von Schloissnigg and Graf Franz Colloredo In February of 1799, her seeming indifference to the revolution against her parents in Naples attracted some disfavour in Vienna  Although she was her mother’s favorite child, she was biased when it came to their exile during the War 
An important patron of Viennese music, she commissioned many compositions for official and private use  Joseph Haydn wrote his Te Deum for chorus and orchestra at her request  Her favourite composers included Paul Wranitzky and Joseph Leopold Eybler, a composer of sacred music 

Death
In the winter of 1806, Empress Maria Theresa (pregnant with her 12th child) contracted tuberculous pleurisy, which the imperial physician, Andreas Joseph von Stifft, treated with bloodletting  However, it did not trigger an improvement in health, but a premature birth  When Empress Maria Theresa died after following complications after her last childbirth (the daughter died a few days before the mother) on 13 April 1807 at the age of 34, the Emperor was inconsolable and had to be removed by force from the corpse of his wife  She was buried in the Imperial Crypt in Vienna  The shattered Emperor stayed away from the funeral, instead traveling to Buda with his two eldest children  The urn containing her heart was placed in the Heart Crypt and the urn with her entrails in the Ducal Crypt  Empress Maria Theresa is one of the 41 people who received a "separate burial" with the body divided between all three traditional Viennese burial sites of the Habsburgs (Imperial Crypt, Heart Crypt, Duke Crypt) 

Issue
Ancestry
Context 2: Passage 1:
Henry Goes Arizona
Henry Goes Arizona is a 1939 American Western film starring Frank Morgan 

Plot
Henry "Hank" Conroy is as an actor, who inherits his dead brother's ranch  While adjusting to the country there, he is threatened by a gang who is after the ranch  The film was directed by Edwin L  Marin 

Cast
Passage 2:
Nigel D'Oyly
Nigel D'Oyly was an 11th- and 12th-century nobleman of England and, in 1120, the Lord of Oxford Castle, and briefly the Lord of Wallingford Castle 

Biography
He was son of Walter D'Oyly and younger brother of Robert D'Oyly, follower of William the Conqueror and founder of Oxford Castle 
At some point between 1086 and 1094, D'Oyly was granted possession of two mills on the west side of Grandpont by Abbot Columbanus of Oxford; however, by 1109 the mills were recorded as having been reconfirmed to the abbey D'Oyly married Agnes, and left two sons, Robert D'Oyly the younger, the eldest son, who succeeded as Lord High Constable and Baron of Hocknorton and Fulk, buried at Eynesham in 1126  In 1120, King Henry I of England caused Edith Forne, his concubine, to marry Robert  As a marriage portion, he gave her the Manor of Cleydon, Buckinghamshire 
Passage 3:
Edwin L  Marin
Edwin L  Marin (February 21, 1899 – May 2, 1951) was an American film director who directed 58 films between 1932 and 1951, working with Randolph Scott, Anna May Wong, John Wayne, Peter Lorre, George Raft, Bela Lugosi, Judy Garland, Eddie Cantor, and Hoagy Carmichael, among many others 

Biography
Marin was born in Jersey City, New Jersey, and died in Los Angeles, California  He studied at the University of Pennsylvania and broke into the industry as an assistant director at Paramount-Famous Players Studio on Long Island  He came to Hollywood in 1926 and worked as an assistant director at First National  He started directing in 1932 for Universal He was under contract to MGM from 1934 to 1941  In December 1940 he married Ann Morriss, an actress under contract to MGM  In November 1944 he signed a contract with RKO to make two films a year for two years starting with Johnny Angel with George Raft  It was a hit 
When he died he was under contract to Warner Bros  He died in Cedars Lebannon after a three week illness, aged 52 years old He was married to actress Ann Morriss  They had three children: Denis Anthony, Reese Andrew and Randi Alexandra  He was survived by his wife and children, his father, two brothers and two sisters 

Selected filmography
Passage 4:
Tex and the Lord of the Deep
Tex and the Lord of the Deep  (Italian: Tex e il signore degli abissi) is a 1985 Western film co-written and directed by Duccio Tessari and starring Giuliano Gemma and William Berger  The film is an adaptation of the Tex comic series that were popular in Italy  Previously attempted to be made into a production in the late 1960s and early 1970s, the film was eventually made by Tessari who adapted the film from the comics originally to be a pilot for a television series 

Production
Tex Willer was created in 1948 in Italy and became one of the country's most popular and long-lived comic book characters  Attempts to adapt the Tex comic series to film appeared as early as the late 1960s  These included Sergio Bonelli working on an adaptation with Charlton Heston (as Tex) and Jack Palance (as Kit) being considered for the roles  Bonelli approached Tonino Valerii and Enzo G  Castellari to approach the character  Valerii recalled being approached by Gian Luigi Bonelli in the early 1970s  Valerii liked the idea but found that Bonelli wanted to make a film where he would personally handle the costumes and changed the original story which never got into production In the early 1980s, Duccio Tessari took on the project that was initially conceived as a pilot for a television series produced by RAI, Italy's national public broadcasting company  Giuliano Gemma was cast as Tex who had worked with Tessari on several films in the past, including A Pistol for Ringo, My Son, the Hero, Kiss Kiss   Bang Bang and The Cats  Tessari and his screenwriters focused on three stories from the Tex comics with fantastic undertones  These included El Morisco, Sierra Encantada and Il signore dell'abisso which were written by Bonelli and drawn by Guglielmo Letteri Filming took place between May and June 1985 in Italy and Spain 

Release and reception
Tex and the Lord of the Deep was released theatrically in Italy in 1985  Italian film historian and critic Roberto Curti wrote that the film was "ravaged" by critics and had disappointing box office returns Giuliano Gemma spoke negatively about the film after its release, stating that the idea of making the film was good and that he was "delighted to accept it, but I think that, first of all, they made a mistake by choosing to adapt that story, Il signore dell'abisso, because there are such better ones in the series and [several] less difficult to turn into a film "The planned television series of the film was never made 

See also
List of films based on comics
List of Italian films of 1985
Passage 5:
John I, Lord of Polanen
John I, Lord of Polanen (c  1285 – 26 September 1342) was Lord of Polanen, Lord of De Lek and Lord of Breda 

Life
John was a son of Philips III van Duivenvoorde (?-c  1308) and Elisabeth van Vianen 

Lord of Polanen
Upon the death of his father, John I became Lord of Polanen Castle  In his early years, John got help from his uncle Diederik van der Wale 

Lord of Heemskerk
In 1327 John bought Oud Haerlem  Castle and the lordships (ambachtsheerlijkheden) of Heemskerk and Castricum  The price was only 100 pounds In 1328 John took part in the Battle of Cassel, and in 1329 he was knighted  In 1339 he became bailiff of Kennemerland

Lord of Breda
In 1322 John married Catharina van Van Brederode (died 1372)  He was the father of John II, Lord of Polanen 
Passage 6:
Sgouros Spata
Sgouros Spata (Albanian: Skurra Bua Shpata; fl  1399–1403) was the Lord of Arta briefly in 1400, and the Lord of Angelokastron from 1401 until his death in 1403, during warfare in a civil war 

Life
Shortly before John Spata died on 29 October (1399, according to Nicol; 1400 according to others), he appointed his brother, Sgouros, ruler of Naupactus, as his successor as the despot of Arta  A few days after Sgouros took over Arta, however, the town was captured by the adventurer Vonko  While Sgouros fled to Angelokastron, a short time after, possibly as early as December 1399 (or by the end of 1401), Maurice Spata, his grandnephew, managed to evict Vonko from Arta and took over the governance of the city himself, while Sgouros thus took over governance of Angelokastron In 1402/3, Maurice came to Sgouros' aid when the latter was besieged at Angelokastron by the forces of Carlo I Tocco  The attack, under Carlo's general Galasso Peccatore, was repulsed, but Sgouros died soon after, from wounds suffered in the war, leaving his possessions to his son Paul Spata 

Aftermath
Sgouros was succeeded by his son Paul, who became an Ottoman vassal and was aided with a contingent that was defeated by Tocco in 1406, after the latter had turned on the offensive, Angelokastron was ceded to the Turks and Paul retired to Naupaktos, however he sold it in 1407 to the Republic of Venice  Because of Paul's withdrawal, Maurice Spata and Tocco divided Aetolia and Acarnania between themselves  In 1408, Tocco holds Angelokastron 

Annotations
Passage 7:
Henry Brandeston
Henry Brandeston (or Henry of Braunstone) was a medieval Bishop of Salisbury 

Life
Brandeston held the offices of archdeacon of Wiltshire, archdeacon of Dorset, and Dean of Salisbury, all in the diocese of Salisbury
Context 3: Passage 1:
Alexandru Cristea
Alexandru Cristea (1890–1942) was the composer of the music for "Limba Noastră", current national anthem of Moldova 

Biography
A choir director, a composer and music teacher  Taught at the  "Vasile Kormilov" music school (1928) with Gavriil Afanasiu and the  "Unirea" Conservatory (1927–1929) in Chişinău with Alexandru Antonovschi (canto), he was the master of vocal music from Chişinău (1920–1940), professor of music and conductor of the choir in the boys gymnasium "Ion Heliade Rădulescu" in București (1940–1941)  Later, between 1941 and 1942, he directed the choir at the "Queen Mother Elena" high school from Chişinău  In 1920, he was ordained as a deacon of the St  George Church in Chişinău, from 1927 to 1941 was a deacon holds the Metropolitan Cathedral of Chişinău 

Creation
His main creation is considered the music for "Limba Noastră", current national anthem of Moldova, composed in the lyrics of the priest-poet Alexei Mateevici  He was awarded the “Răsplata muncii pentru biserică” 
Passage 2:
Alonso Mudarra
Alonso Mudarra (c  1510 – April 1, 1580) was a Spanish composer of the Renaissance, and also played the vihuela, a guitar-shaped string instrument   He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar 

Biography
The place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there   He most likely went to Italy in 1529 with Charles V, in the company of the fourth Duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana   When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life   While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities   Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will 

Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela ("Three books of music in numbers for vihuela"), which he published on December 7, 1546 in Seville   These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument  The second book is noteworthy in that it contains eight multi-movement works, all arranged by "tono", or mode 
Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs  Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years    The songs are in Latin, Spanish and Italian, and include romances, canciones (songs), villancicos, (popular songs) and sonetos (sonnets)   Another innovation was the use of different signs for different tempos:  slow, medium, and fast 

References and further reading
John Griffiths: "Alonso Mudarra", Grove Music Online ed  L  Macy (Accessed March 24, 2005), (subscription access)
Gustave Reese, Music in the Renaissance   New York, W W  Norton & Co , 1954   ISBN 0-393-09530-4
Guitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)
The Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)
Fantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative Hypertext
Jacob Heringman and Catherine King: "Alonso Mudarra songs and solos"  Magnatune com (http://www magnatune com/artists/albums/heringman-mudarra/hifi_play)

External links
Free scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)
Free scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)
Passage 3:
Walter Robinson (composer)
Walter Robinson is an American composer of the late 20th century  He is most notable for his 1977 song Harriet Tubman, which has been recorded by folk musicians such as Holly Near, John McCutcheon, and others   He is also the composer of several operas 
Passage 4:
Peter Dodds McCormick
Peter Dodds McCormick (28 January 1833 – 30 October 1916) was an Australian schoolteacher and songwriter, known for composing the Australian national anthem, "Advance Australia Fair"  He published under the pseudonym Amicus, Latin for "friend" 

Early life
Peter Dodds McCormick was born to Peter McCormick and Janet (née Dodds) at Port Glasgow, Scotland in 1833 

Biography
Peter completed an apprenticeship as a joiner in Scotland before emigrating to Sydney (at that time the principal city of the British colony of New South Wales) on 21 February 1855  He initially worked as a joiner for "some years" McCormick spent most of his work life employed by the NSW Education Department  In 1863 he was appointed teacher-in charge at St Mary's National School  McCormick married Emily Boucher, a sewing teacher, on 16 July 1863, who died on 11 March 1866, aged 22  He remarried, to Emma Elizabeth Dening, on 22 December 1866  He also taught at the Presbyterian Denominational school in the Sydney suburb of Woolloomooloo in 1867  McCormick then moved to Dowling Plunkett Street Public School in 1878 where he remained until 1885 McCormick was heavily involved in the Scottish Presbyterian Church and was active in a number of community and benevolent organisations  He began his involvement with Sydney's St Stephen's Church as a stonemason, working on the now demolished Phillip Street Church (where Martin Place now stands)  The Rev Hugh Darling was so impressed with his singing on the job he asked him to join the choir  McCormick's musical ability led him to becoming the precentor of the Presbyterian Church of NSW, which gave him the opportunity to conduct very large massed choirs  He was also convenor of the Presbyterian Church Assembly's Committee on Psalmody Also a talented composer, he published around 30 patriotic and Scottish songs, some of which became very popular  Included in his collected works was "Advance Australia Fair", which was first performed in public by Andrew Fairfax at the St Andrew's Day concert of the Highland Society on 30 November 1878 "Advance Australia Fair" became quite a popular patriotic song  The Sydney Morning Herald described the music as bold and stirring, and the words "decidedly patriotic" – it was "likely to become a popular favourite"   Later under the pseudonym Amicus (which means 'friend' in Latin), he had the music and four verses published by W  H  Paling & Co  Ltd  The song quickly gained popularity and an amended version was sung by a choir of 10,000 at the inauguration of the Commonwealth of Australia on 1 January 1901  In 1907, the New South Wales Government awarded McCormick £100 for his patriotic composition which he registered for copyright in 1915 In a letter to R  B  Fuller Esq , dated 1 August 1913, McCormick described the circumstances that inspired him to pen the lyrics of his famous song:

One night I attended a great concert in the Exhibition Building, when all the National Anthems of the world were to be sung by a large choir with band accompaniment  This was very nicely done, but I felt very aggravated that there was not one note for Australia  On the way home in a bus, I concocted the first verse of my song & when I got home I set it to music  I first wrote it in the Tonic Sol-fa notation, then transcribed it into the Old Notation, & I tried it over on an instrument next morning, & found it correct  Strange to say there has not been a note of it altered since  Some alteration has been made in the wording, but the sense is the same  It seemed to me to be like an inspiration, & I wrote the words & music with the greatest ease 

Death
McCormick died in 1916, aged 83, at his home, Clydebank, in the Sydney suburb of Waverley and he was buried at Rookwood Cemetery  He had no children; he was survived by his second wife Emma  His obituary in the Sydney Morning Herald stated: "Mr  McCormick established a reputation with the patriotic song, Advance Australia Fair, which     has come to be recognised as something in the nature of an Australian National Anthem" The song was performed by massed bands at the Federal capital celebrations in Canberra in 1927   In 1984 it was formally declared as the Australian national anthem 
Passage 5:
Franz Schubert
Franz Peter Schubert (German: [fʁants ˈpeːtɐ ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras  Despite his short life, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music, and a large body of piano and chamber music  His major works include "Erlkönig" (D  328), the Piano Quintet in A major, D  667 (Trout Quintet), the Symphony No  8 in B minor, D  759 (Unfinished Symphony), the "Great" Symphony No  9 in C major, D  944, the String Quintet (D  956), the three last piano sonatas (D  958–960), the opera Fierrabras (D  796), the incidental music to the play Rosamunde (D  797), and the song cycles Die schöne Müllerin (D  795) and Winterreise (D  911) 
Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age  His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities  In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven  He left the Stadtkonvikt at the end of 1813 and returned home to live with his father, where he began studying to become a schoolteacher  Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically  In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry  He gave a concert of his works to critical acclaim in March 1828, the only time he did so in his career  He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis 
Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death  Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works  Today, Schubert is ranked among the greatest composers in the history of Western classical music and his work continues to be admired and widely performed 

Biography
Early life and education
Franz Peter Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, Archduchy of Austria, on 31 January 1797, and baptized in the Catholic Church the following day  He was the twelfth child of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812)  Schubert's immediate ancestors came originally from the province of Zuckmantel in Austrian Silesia  His father, the son of a Moravian peasant, was a well-known parish schoolmaster, and his school in Lichtental (in Vienna's ninth district) had numerous students in attendance  He came to Vienna from Zukmantel in 1784 and was appointed schoolmaster two years later  His mother was the daughter of a Silesian master locksmith and had been a housemaid for a Viennese family before marriage  Of Franz Theodor and Elisabeth's fourteen children (one of them illegitimate, born in 1783), nine died in infancy 

At the age of five, Schubert began to receive regular lessons from his father, and a year later he was enrolled at his father's school  Although it is not known exactly when he received his first musical instruction, he was given piano lessons by his brother Ignaz, but they lasted for a very short time as Schubert excelled him within a few months  Ignaz later recalled:

I was amazed when Franz told me, a few months after we began, that he had no need of any further instruction from me, and that for the future he would make his own way  And in truth his progress in a short period was so great that I was forced to acknowledge in him a master who had completely distanced and outstripped me, and whom I despaired of overtaking 
His father gave him his first violin lessons when he was eight years old, training him to the point where he could play easy duets proficiently  Soon after, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental  Holzer would often assure Schubert's father, with tears in his eyes, that he had never had such a pupil as Schubert, and the lessons may have largely consisted of conversations and expressions of admiration  Holzer gave the young Schubert instruction in piano and organ as well as in figured bass  According to Holzer, however, he did not give him any real instruction as Schubert would already know anything that he tried to teach him; rather, he looked upon Schubert with "astonishment and silence"  The boy seemed to gain more from an acquaintance with a friendly apprentice joiner who took him to a neighbouring pianoforte warehouse where Schubert could practise on better instruments  He also played viola in the family string quartet, with his brothers Ferdinand and Ignaz on first and second violin and his father on the cello  Schubert wrote his earliest string quartets for this ensemble Young Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized  In November 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship  At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, the symphonies of Joseph Haydn and his younger brother Michael Haydn, and the overtures and symphonies of Beethoven, a composer for whom he developed admiration  His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education  One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important composer of lieder  The precocious young student "wanted to modernize" Zumsteeg's songs, as reported by Joseph von Spaun, Schubert's friend  Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life  In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper In the meantime, Schubert's talent began to show in his compositions; Salieri decided to start training him privately in music theory and composition  According to Ferdinand, the boy's first composition for piano was a Fantasy for four hands; his first song, Klagegesang der Hagar, would be written a year later  Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and it was the first orchestra he wrote for  He devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a "Salve Regina" (D 27), a "Kyrie" (D 31), in addition to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother), the cantata Wer ist groß? for male voices and orchestra (D 110, for his father's birthday in 1813), and his first symphony (D 82) 

Teacher at his father's school
At the end of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule  In 1814, he entered his father's school as the teacher of the youngest pupils  For over two years, young Schubert endured severe drudgery  There were, however, compensatory interests even then: for example, Schubert continued to take private lessons in composition from Salieri, who gave him more actual technical training than any of his other teachers, before they parted ways in 1817 In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a "Salve Regina" and a "Tantum Ergo") for her; she was also a soloist in the premiere of his Mass No  1 (D  105) in September 1814  Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815 requiring an aspiring bridegroom to show he had the means to support a family  In November 1816, after failing to gain a musical post in Laibach (now Ljubljana, Slovenia), Schubert sent Ms  Grob's brother Heinrich a collection of songs retained by the family into the twentieth century One of Schubert's most prolific years was 1815  He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works (despite his being an agnostic), a symphony, and about 140 Lieder  In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends  Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1815 Throughout 1815, Schubert lived at home with his father  He continued to teach at the school and give private musical instruction, earning enough money for his basic needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries  Spaun was well aware that Schubert was discontented with his life at the schoolhouse, and was concerned for Schubert's development intellectually and musically  In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in the Landstraße suburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him  This was probably Schubert's first visit away from home or school  Schubert's unhappiness during his years as a schoolteacher possibly showed early signs of depression, and it is virtually certain that Schubert suffered from cyclothymia throughout his life In 1989 the musicologist Maynard Solomon suggested that Schubert was erotically attracted to men, a thesis that has been heatedly debated  The musicologist and Schubert expert Rita Steblin has said that he was "chasing women"  The theory of Schubert's sexuality or "Schubert as Other" has continued to influence current scholarship  Biographer Lorraine Byrne Bodley is sceptical "   of Solomon’s "outing" of Schubert, saying this misunderstands the passionate "homosocial" friendships of 19th-century Europe "

Support from friends
Significant changes happened in 1816  Schober, a student and of good family and some means, invited Schubert to lodge with him at his mother's house  The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school  By the end of the year, he became a guest in Schober's lodgings  For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition  "I compose every morning, and when one piece is done, I begin another " During this year, he focused on orchestral and choral works, although he also continued to write Lieder  Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers 
In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior  Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles  Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music  These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work  Heinrich Anschütz wrote in his memoirs that Schubert was an active member of the so-called Unsinnsgesellschaft (Nonsenses Society), and various scholars agree with this 
In late 1817, Schubert's father gained a new position at a school in Rossau, not far from Lichtental  Schubert rejoined his father and reluctantly took up teaching duties there  In early 1818, he applied for membership in the prestigious Gesellschaft der Musikfreunde, intending to gain admission as an accompanist, but also so that his music, especially the songs, could be performed in the evening concerts  He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and there were professional musicians already among the society's membership  However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (now Želiezovce, Slovakia)  The pay was relatively good, and his duties teaching piano and singing to the two daughters were relatively light, allowing him to compose happily  Schubert may have written his Marche Militaire in D major (D  733 no  1) for Marie and Caroline, in addition to other piano duets  On his return from Zseliz, he took up residence with his friend Mayrhofer During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as Schubertiads  Many of them took place in Ignaz von Sonnleithner's large apartment in the Gundelhof (Brandstätte 5, Vienna)  The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820



ground_truth: Ferdinand I of the Two Sicilies

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film has the director who died first, Tex And The Lord Of The Deep or Henry Goes Arizona?

The following are given passages.
Context 2: Brandeston was elected bishop on 2 January 1287 and consecrated on 1 June 1287  He was enthroned at Salisbury Cathedral on 19 October 1287 Brandeston died on 11 February 1288 

Citations
Passage 8:
Duccio Tessari
Duccio Tessari (11 October 1926 – 6 September 1994) was an Italian film director, screenwriter and actor, considered one of the fathers of Spaghetti Westerns Born in Genoa, Tessari started in the fifties as documentarist and as screenwriter of peplum films  In 1964 he co-wrote Sergio Leone's A Fistful of Dollars, one year later he gained an impressive commercial success and launched the Giuliano Gemma's career with A Pistol for Ringo and its immediate sequel, The Return of Ringo He later touched different genres and worked in RAI, directing some successful TV-series  He died of cancer in Rome, at 67  He was married to actress Lorella De Luca 

Filmography
Note: The films listed as N/A are not necessarily chronological 
Passage 9:
John II, Lord of Polanen
John III, Lord of Polanen (c  1325 – 3 November 1378 in Breda) was Lord of Polanen, Lord of De Lek and Lord of Breda 

Life
He was a son of John I, Lord of Polanen and Catherine of Brederode  Polanen Castle near Monster was the ancestral seat of the family  In 1327 John I had acquired Oud Haerlem Castle  In 1339, John II purchased the Lordship of Breda and built Breda Castle, together with his father 
John succeeded his father in 1342 and also took over his father's position as councilor of the Count of Holland and Zeeland  In the autumn of 1343, he accompanied Count William IV on a pilgrimage to the Holy Land  He also participated in a crusade against the Prussians  He was not present in the September 1345 campaign against the Frisians, which saw William IV killed during the disastrous Battle of Warns  On 17 November 1345, John II granted Polanen Castle in arrear fief to his younger brother Philip I of Polanen 

First phase of the Hook and Cod Wars
William of Duivenvoorde and his nephew John II were leaders of what would become known as the 'Hook' party during the Hook and Cod wars  In 1350, they travelled to Hainaut to pay homage to Countess Margaret II  Somewhere between 1347 and 1350, John was appointed Burgrave of Geertruidenberg  In 1350, he purchased the Land of Breda for 43000 florins from John III, Duke of Brabant  He also acquired high justice over Breda 
The Hook and Cod wars started in earnest in about March 1351  Polanen Castle was besieged for 2 weeks and then demolished  Oud Haerlem Castle was taken after a siege which lasted more than 6 months, even though John van not present  The Siege of Geertuidenberg Castle lasted from October 1351 to August 1352  Here John's brother Philip commanded as his lieutenant  As a result of the war John lost the Lordship of De Lek 

During the regency of Albert of Bavaria
In 1358, Albert of Bavaria became regent of Holland for his brother  This was good for the members of the old Hook faction  In 1358 John was somewhat compensated for his losses with other fiefs and possessions 

In Brabant
Whatever the later events in Holland, John seems to have concentrated his efforts on extending his holdings in the Breda area  It made him more of a Brabant than a Holland lord 
John II was captured during the 1371 Battle of Baesweiler  He was released several months later, after his relatives had paid a ransom  In 1375, he was appointed stadtholder of the Great Holme 
John II died in 1378 and was buried in the Church of Our Lady in Breda 

Marriages and issue
John II of Polanen married three times 
In 1340, he married Oda of Horne-Altena (1318-1353), daughter of Willem IV of Horne  They had three children:

John III, his heir
Beatrice (c  1344 – 1394); married Henry VIII, the son of Henry VII, Lord of Bautershem, who was also Lord of Bergen op Zoom as Henry I, and his wife, Maria Merxheim, Lady of Wuustwezel and Brecht
Oda (c  1351 – 15th century), married Henry III, Burgrave of MontfoortIn 1353, he married Matilda (c  1324 – 1366), an illegitimate daughter of John III, Duke of Brabant   They had two sons:

Dirck of the Leck (d  1416), married Gilisje of Cralingen   He was outlawed for a while, because he was suspected of having participated in the murder of Aleid van Poelgeest
Henry of the Leck (d  1427), married Jeanne of Ghistelles, and was a councillor of Countess Jacqueline of HollandIn 1370, he married Margaret, a daughter of Otto, Lord of Lippe and Irmgard of the Marck   They had one son:

Otto (d  before 20 October 1428), married before 1396 to Sophia, a daughter of Count Frederick III of Bergh-'s-Heerenberg and Catherine of Buren
Passage 10:
Doug Adams (music journalist)
Doug Adams is a musician, author, lecturer, and educator  He is the author of The Music of the Lord of the Rings Films, a book about the music in The Lord of the Rings films 

Career
Adams previously worked for Film Score Monthly where, among other articles, he wrote extensive analyses of the themes used in John Williams' Star Wars film scores 
After graduate school in 2001, Adams was selected by Howard Shore to observe and document his work on The Lord of the Rings films  Adams spent just under ten years writing the book, The Music of the Lord of the Rings Films  He also wrote the booklets and liner notes packaged with the extended versions of The Lord of the Rings scores  Adams also works at Hickory Creek Middle School in Frankfort, Illinois as a band director 
Adams' association with Howard Shore continued in 2011, during which time he acted as an advisor to Shore's The Lord of the Rings in Concert series  and produced a recording of an orchestrion for the film Hugo In late 2013, he was seen in two documentaries: The Songs of the Hobbit (which was included with the extended edition of The Hobbit: An Unexpected Journey) and The Hobbit: The Desolation of Smaug, Production Video 14  In 2014, he appeared in The Music of the Hobbit, an hour-long documentary that was included on the extended edition of The Hobbit: The Desolation of Smaug  In the video, Adams discussed Howard Shore's music and demonstrated themes at the keyboard  He also authored the liner notes that accompanied the three albums of the Hobbit film scores 
It was announced on The Modern Musician podcast that Adams has written book titled Impossible Silence, which covers silent films and the history of film music 
Adams is listed as a participant in the Star Wars documentary The Prequels Strike Back: A Fan's Journey, in which he "sits down with his piano to highlight some of the masterful ways John Williams makes parallels between the original and prequel trilogy "On November 25, 2016, Howard Shore confirmed that Adams was working on a book that will cover the music of The Hobbit films  It was set to be released in 2017,  but it has not been published as of 2022 

Personal life
Adams and his wife live in Chicago  He is a percussionist 

Bibliography
The Music of The Lord of the Rings Films (2010) 
Context 3:  Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students  One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna  The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language"  While Schubert never saw Senn again, he did set some of his poems, Selige Welt (D  743) and Schwanengesang (D 744), to music  The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time Schubert, who was only a little more than five feet tall, was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom"  "Schwamm" is German (in the Austrian and Bavarian dialects) for mushroom; the ending "-erl" makes it a diminutive  Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert's heavy drinking "    come not only in later accounts, but also in documents dating from his lifetime "

Musical maturity
The compositions of 1819 and 1820 show a marked advance in development and maturity of style  The unfinished oratorio Lazarus (D  689) was begun in February; later followed, among some smaller works, by the hymn "Der 23  Psalm" (D  706), the octet "Gesang der Geister über den Wassern" (D  714), the Quartettsatz in C minor (D  703), and the Wanderer Fantasy in C major for piano (D  760)  In 1820, two of Schubert's operas were staged: Die Zwillingsbrüder (D  647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D  644) appeared at the Theater an der Wien on 21 August  Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof (Brandstätte 5, Vienna), a society which grew out of the quartet-parties at his home  Now he began to assume a more prominent position, addressing a wider public  Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission  The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive parsimonious royalties  The situation improved somewhat in March 1821 when Vogl performed the song "Erlkönig" (D  328) at a concert that was extremely well received  That month, Schubert composed a Variation on a Waltz by Diabelli (D 718), being one of the fifty composers who contributed to the Vaterländischer Künstlerverein publication 

The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful  All in all, he embarked on twenty stage projects, each of them failures that were quickly forgotten  In 1822, Alfonso und Estrella was rejected, partly owing to its libretto (written by Schubert's friend Franz von Schober)  In 1823, Fierrabras (D 796) was rejected: Domenico Barbaia, impresario for the court theatres, largely lost interest in new German opera due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe  Die Verschworenen (The Conspirators, D 787) was prohibited by the censor (apparently because of its title), and Rosamunde, Fürstin von Zypern (D 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music Despite his operatic failures, Schubert's reputation was growing steadily on other fronts  In 1821, the Gesellschaft der Musikfreunde finally accepted him as a performing member, and the number of performances of his music grew remarkably  These performances helped Schubert's reputation grow rapidly among the members of the Gesellschaft and established his name  Some of the members of the Gesellschaft, most notably Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a sizeable influence on the affairs of the society, and as a result of that and of Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821  In April, one of his male-voice quartets was performed, and in November, his Overture in E minor (D  648) received its first public performance; at a different concert on the same day as the premiere of the Overture, his song Der Wanderer (D  489) was performed In 1822, Schubert made the acquaintance of both Weber and Beethoven, but little came of it in either case; however, Beethoven is said to have acknowledged the younger man's gifts on a few occasions  On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed: "Truly, the spark of divine genius resides in this Schubert!" Beethoven also reportedly predicted that Schubert "would make a great sensation in the world," and regretted that he had not been more familiar with him earlier; he wished to see his operas and works for piano, but his severe illness prevented him from doing so 

Last years and masterworks
Despite his preoccupation with the stage, and later with his official duties, Schubert wrote much music during these years  He completed the Mass in A-flat major, (D  678) in 1822, and later that year embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the Symphony in B minor, known as the Unfinished Symphony (D  759)  The reason he left it unfinished – after writing two movements and sketches some way into a third – continues to be discussed and written about, and it is also remarkable that he did not mention it to any of his friends, even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving  In 1823, Schubert wrote his first large-scale song cycle, Die schöne Müllerin (D  795), setting poems by Wilhelm Müller  This series, together with the later cycle Winterreise (D  911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder  He also composed the song Du bist die Ruh' (You are rest and peace, D  776) during this year  Also in that year, symptoms of syphilis first appeared In 1824, he wrote the Variations in E minor for flute and piano; Trockne Blumen, a song from the cycle Die schöne Müllerin; and several string quartets  He also wrote the Sonata in A minor for arpeggione and piano (D  821) at the time when there was a minor craze over that instrument  In the spring of that year, he wrote the Octet in F major (D  803), a sketch for a "Grand Symphony," and in the summer went back to Zseliz  There he became attracted to Hungarian musical idiom and wrote the Divertissement à la hongroise in G minor for piano duet (D  818) and the String Quartet in A minor Rosamunde (D  804)  It has been said that he held a hopeless passion for his pupil, the Countess Caroline Esterházy, but the only work that bears a dedication to her is his Fantasia in F minor for piano duet (D  940)  This dedication, however, can only be found in the first edition and not in Schubert's autograph  His friend Eduard von Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:

The setbacks of previous years were compensated by the prosperity and happiness of 1825  Publication had been moving more rapidly, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday in Upper Austria where he was welcomed with enthusiasm  It was during this tour that he produced the seven-song cycle Fräulein am See, based on Walter Scott's The Lady of the Lake, and including "Ellens Gesang III" ("Hymn to the Virgin") (D  839, Op  52, No  6); the lyrics of Adam Storck's German translation of the Scott poem are now frequently replaced by the full text of the traditional Roman Catholic prayer Hail Mary (Ave Maria in Latin), but for which the Schubert melody is not an original setting  The original only opens with the greeting "Ave Maria", which also recurs only in the refrain  In 1825, Schubert also wrote the Piano Sonata in A minor (D 845, first published as op  42), and began the Symphony in C major (Great C major, D  944), which was completed the following year 

From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz, Austria, in 1827  In 1826, he dedicated a symphony (D  944, that later came to be known as the Great C major) to the Gesellschaft der Musikfreunde and received an honorarium in return  The String Quartet No  14 in D minor (D  810), with the variations on Death and the Maiden, was written during the winter of 1825–1826, and first played on 25 January 1826  Later in the year came the String Quartet No  15 in G major, (D 887, first published as op  161), the Rondo in B minor for violin and piano (D  895), Rondeau brillant, and the Piano Sonata in G major, (D 894, first published as Fantasie in G, op  78)  He also produced in 1826 three Shakespearian songs, of which "Ständchen" (D  889) and "An Sylvia" (D  891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening The works of his last two years reveal a composer entering a new professional and compositional stage  Although parts of Schubert's personality were influenced by his friends, he nurtured an intensely personal dimension in solitude; it was out of this dimension that he wrote his greatest music  The death of Beethoven affected Schubert deeply, and may have motivated Schubert to reach new artistic peaks  In 1827, Schubert wrote the song cycle Winterreise (D  911), the Fantasy in C major for violin and piano (D  934, first published as op  post  159), the Impromptus for piano, and the two piano trios (the first in B-flat major (D  898), and the second in E-flat major, (D  929); in 1828 the cantata Mirjams Siegesgesang (Victory Song of Miriam, D 942) on a text by Franz Grillparzer, the Mass in E-flat major (D  950), the Tantum Ergo (D  962) in the same key, the String Quintet in C major (D  956), the second "Benedictus" to the Mass in C major (D  961), the three final piano sonatas (D  958, D  959, and D  960), and the collection 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano, also known as Schwanengesang (Swan-song, D  957)  (This collection – which includes settings of words by Heinrich Heine, Ludwig Rellstab, and Johann Gabriel Seidl – is not a true song cycle like Die schöne Müllerin or Winterreise ) The Great C major symphony is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825—that work, once considered lost, is now generally seen as an early stage of his C major symphony) and was revised for prospective performance in 1828  The orchestra of the Gesellschaft reportedly read through the symphony at a rehearsal, but never scheduled a public performance of it  The reasons continue to be unknown, although the difficulty of the symphony is the possible explanation  In the last weeks of his life, he began to sketch three movements for a new Symphony in D major (D 936A); In this work, he anticipates Mahler's use of folksong-like harmonics and bare soundscapes  Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter On 26 March 1828, the anniversary of Beethoven's death, Schubert gave, for the only time in his career, a public concert of his own works  The concert was a success popularly and financially, even though it would be overshadowed by Niccolò Paganini's first appearances in Vienna shortly after 

Final illness and death
In the midst of this creative activity, his health deteriorated  By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was near death  In the late summer of 1828, he saw the physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon  Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it)  At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting  He was generally unable to retain solid food and his condition worsened  Five days before Schubert's death, his friend the violinist Karl Holz and his string quartet visited to play for him  The last musical work he had wished to hear was Beethoven's String Quartet No  14 in C-sharp minor, Op  131; Holz commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing" Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand  The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis  Although there are accounts by his friends that indirectly imply that he was syphilitic, the symptoms of his final illness do not correspond with tertiary syphilis  Six weeks before his death, he walked 42 miles in three days, ruling out musculoskeletal syphilis  In the month of his death, he composed his last work, "Der Hirt Auf Den Felsen", making neurosyphilis unlikely  Finally, meningo-vascular syphilis is unlikely because it presents a progressive stroke-like picture, and Schubert had no neurological manifestation until his final delirium, which started only two days before his death  This, and the fact that his final illness was characterized by gastrointestinal symptoms (namely vomiting), led Robert L  Rold to argue that his final illness was a gastrointestinal one, like salmonella or indeed typhus  Eva M  Cybulska goes further and says that Schubert's syphilis is a conjecture  His multi-system signs and symptoms, she says, could point at a number of different illness such as leukaemia, anaemia, or Hashimoto's thyroiditis, and that many tell-tale signs of syphilis — chancre, mucous plaques, rash on the thorax, pupil abnormality, dysgraphia — were absent  She argues that the syphilis diagnosis originated with Schubert's biographer Otto Deutsch in 1907, based on the aforementioned indirect references by his friends, and uncritically repeated ever since It was near the grave of Beethoven, whom he had admired all his life, that Schubert was buried at his own request, in the village cemetery of Währing on the edge of the Vienna Woods  A year earlier he had served as a torchbearer at Beethoven's funeral 
In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark  In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss II and Johannes Brahms  Anton Bruckner was present at both exhumations, and he reached into both coffins and held the revered skulls in his hands  The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust  His epitaph, written by his friend, the poet Franz Grillparzer, reads: Die Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen ("The art of music has here interred a precious treasure, but yet far fairer hopes") 

Music
Schubert was remarkably prolific, writing over 1,500 works in his short career  His compositional style progressed rapidly throughout his short life  The largest number of his compositions are songs for solo voice and piano (roughly 630)  Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas  He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others  While he composed no concertos, he did write three concertante works for violin and orchestra  Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least eleven more in varying states of completion, numerous miscellaneous works and many short dances, in addition to producing a large set of works for piano four hands  He also wrote over fifty chamber works, including some fragmentary works  Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions  He completed only eleven of his twenty stage works 

Style
In July 1947 the Austrian composer Ernst Krenek discussed Schubert's style, abashedly admitting that he had at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes     lacking the dramatic power and searching intelligence which distinguished such 'real' masters as J  S  Bach or Beethoven"  Krenek wrote that he reached a completely different assessment after a close study of Schubert's pieces at the urging of his friend and fellow composer Eduard Erdmann  Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition " Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional moulds; on the contrary he was a thinking artist with a keen appetite for experimentation "

Instrumental music, stage works and church music
That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works  Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the second movement of the String Quintet (D  956), which is in E major, features a central section in the distant key of F minor  It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano (D  821), or the unconventional scoring of the Trout Quintet (D  667) for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and string quartet 

Although Schubert was clearly influenced by the Classical sonata forms of Beethoven and Mozart, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama  This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his Great C Major Symphony was described by Robert Schumann as running to "heavenly lengths" 

Lieder and art songs
It was in the genre of the Lied that Schubert made his most indelible mark  Leon Plantinga remarks that "in his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him " Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism 

Among Schubert's treatments of the poetry of Goethe, his settings of "Gretchen am Spinnrade" (D  118) and "Der Erlkönig" (D  328) are particularly striking for their dramatic content, forward-looking uses of harmony, and use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in "Gretchen" and the furious and ceaseless gallop in "Erlkönig"  He composed music using the poems of myriad poets, with Goethe, Mayrhofer, and Schiller the most frequent, and others, including Heinrich Heine, Friedrich Rückert, and Joseph Freiherr von Eichendorff  Of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative  His last collection of songs, published in 1828 after his death, Schwanengesang, is also an innovative contribution to German Lieder literature, as it features poems by different poets, namely Ludwig Rellstab, Heine, and Johann Gabriel Seidl  The Wiener Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing or hear without being deeply moved" Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated     Schubert created a new epoch with the Lied     All other songwriters have followed in his footsteps "

Publication – catalogue
When Schubert died he had around 100 opus numbers published, mainly songs, chamber music and smaller piano compositions



ground_truth: Henry Goes Arizona

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where was the place of death of the composer of song Gretchen Am Spinnrade?

The following are given passages.
Context 3:  Publication of smaller pieces continued (including opus numbers up to 173 in the 1860s, 50 instalments with songs published by Diabelli and dozens of first publications Peters), but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers  Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the "prince of song", although there was recognition of some of his larger-scale efforts  In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major Symphony (D  944) and took it back to Leipzig where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift  An important step towards the recovery of the neglected works was the journey to Vienna which the music historian George Grove and the composer Arthur Sullivan made in October 1867  The travellers unearthed the manuscripts of six of the symphonies, parts of the incidental music to Rosamunde, the Mass No  1 in F major (D  105), and the operas Des Teufels Lustschloss (D  84), Fernardo (D  220), Der vierjährige Posten (D  190), and Die Freunde von Salamanka (D  326), and several other unnamed works  With these discoveries, Grove and Sullivan were able to inform the public of the existence of these works; in addition, they were able to copy the fourth and sixth symphonies, the Rosamunde incidental music, and the overture to Die Freunde von Salamanka  This led to more widespread public interest in Schubert's work 

Complete editions
From 1884 to 1897, Breitkopf & Härtel published Franz Schubert's Works, a critical edition including a contribution made – among others – by Johannes Brahms, editor of the first series containing eight symphonies  The publication of the Neue Schubert-Ausgabe by Bärenreiter started in the second half of the 20th century 

Deutsch catalogue
Since relatively few of Schubert's works were published in his lifetime, only a small number of them have opus numbers assigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition  Austrian musicologist Otto Erich Deutsch (1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works  This was first published in English in 1951 (Schubert Thematic Catalogue) and subsequently revised for a new edition in German in 1978 (Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge – Franz Schubert: Thematic Catalogue of his Works in Chronological Order) 

Numbering issues
Confusion arose quite early over the numbering of Schubert's late symphonies  Schubert's last completed symphony, the Great C major D 944, was assigned the numbers 7, 8, 9 and 10, depending on publication  Similarly the Unfinished D 759 has been indicated with the numbers 7, 8, and 9 The order usually followed for these late symphonies by English-language sources is:

No  7: E major, D 729
No  8: B minor, D 759 Unfinished
No  9: C major, D 944 Great C major
No  10: D major, D 936AAn even broader confusion arose over the numbering of the piano sonatas, with numbering systems ranging from 15 to 23 sonatas 

Instruments
Among pianos Schubert had access to were a Benignus Seidner piano (now displayed at the Schubert Geburtshaus in Vienna) and an Anton Walter & Sohn piano (today in the collection of the Vienna Kunsthistorisches Museum)  Schubert was also familiar with instruments by Viennese piano builder Conrad Graf 

Recognition
A feeling of regret for the loss of potential masterpieces caused by Schubert's early death at age 31 was expressed in the epitaph on his large tombstone written by Grillparzer: "Here music has buried a treasure, but even fairer hopes " Some prominent musicians share a similar view, including the pianist Radu Lupu, who said: "[Schubert] is the composer for whom I am really most sorry that he died so young      Just before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to learn a little more about counterpoint, and he was perfectly right  We'll never know in what direction he was going or would have gone " However, others have expressed disagreement with this early view  For instance, Robert Schumann said: "It is pointless to guess at what more [Schubert] might have achieved  He did enough; and let them be honoured who have striven and accomplished as he did", and the pianist András Schiff said that: "Schubert lived a very short life, but it was a very concentrated life  In 31 years, he lived more than other people would live in 100 years, and it is needless to speculate what could he have written had he lived another 50 years  It's irrelevant, just like with Mozart; these are the two natural geniuses of music "

The Wiener Schubertbund, one of Vienna's leading choral societies, was founded in 1863, whilst the Gründerzeit was taking place  The Schubertbund quickly became a rallying point for schoolteachers and other members of the Viennese middle class who felt increasingly embattled during the Gründerzeit and the aftermath of the Panic of 1873  In 1872, the dedication of the Schubert Denkmal, a gift to the city from Vienna's leading male chorus, the Wiener Männergesang-Verein, took place; the chorus performed at the event  The Denkmal was designed by Austrian sculptor Carl Kundmann and is located in Vienna's Stadtpark 
Schubert's chamber music continues to be popular  In a survey conducted by the ABC Classic FM radio station in 2008, Schubert's chamber works dominated the field, with the Trout Quintet ranked first, the String Quintet in C major ranked second, and the Notturno in E-flat major for piano trio ranked third  Furthermore, eight more of his chamber works were among the 100 ranked pieces: both piano trios, the String Quartet No  14 (Death and the Maiden), the String Quartet No  15, the Arpeggione Sonata, the Octet, the Fantasie in F minor for piano four-hands, and the Adagio and Rondo Concertante for piano quartet 
The New York Times' chief music critic Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him:You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius  For his hundreds of songs alone – including the haunting cycle Winterreise, which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life    Schubert's first few symphonies may be works in progress  But the Unfinished and especially the Great C major Symphony are astonishing  The latter one paves the way for Bruckner and prefigures Mahler 

Tributes by other musicians
From the 1830s through the 1870s, Franz Liszt transcribed and arranged several of Schubert's works, particularly the songs  Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived " Schubert's symphonies were of particular interest to Antonín Dvořák  Hector Berlioz and Anton Bruckner acknowledged the influence of the Great C Major Symphony  It was Robert Schumann who, having seen the manuscript of the Great C Major Symphony in Vienna in 1838, drew it to the attention of Mendelssohn, who led the first performance of the symphony, in a heavily abridged version, in Leipzig in 1839 In the 20th century, composers such as Richard Strauss, Anton Webern, Benjamin Britten, George Crumb, and Hans Zender championed or paid homage to Schubert in some of their works  Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works  German electronic music group Kraftwerk has a track titled Franz Schubert on their 1977 album Trans-Europe Express 

Commemorations
In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music  In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognising Schubert as the creator of the art song, and one of Austria's favourite sons Karlsruhe saw the first production of his opera Fierrabras In 1928, Schubert Week was held in Europe and the United States to mark the centenary of the composer's death  Works by Schubert were performed in churches, in concert halls, and on radio stations  A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory"  The winning entry was Kurt Atterberg's sixth symphony 

In film and television
Schubert has featured as a character in several films including Schubert's Dream of Spring (1931), Gently My Songs Entreat (1933), Serenade (1940), The Great Awakening (1941), It's Only Love (1947), Franz Schubert (1953), Das Dreimäderlhaus (1958), and Mit meinen heißen Tränen (1986)  Schubert's music has also been featured in numerous post-silent era films, including Walt Disney's Fantasia (1940), which features Ave Maria (D  839); and the biographical film Carrington (1995), which features the second movement of the String Quintet in C major (D  956), as well as the English version of The Adventures of Milo and Otis (1989), which features Serenade and Auf dem Wasser zu singen (D  774) 
Schubert's String Quartet No  15 in G is featured prominently in the Woody Allen film Crimes and Misdemeanors (1989)  The Piano Quintet in A major, D  667 (Trout Quintet) is featured in the 2011 film Sherlock Holmes: A Game of Shadows by Guy Ritchie  The music of the String Quartet No  14 in D minor, "Death and the Maiden", is often used to accompany documentaries or films, notably the 1994 film of that name by Roman Polanski   The second movement from the Piano Trio No  2 in E-Flat Major, Op  100/D 929, was featured in Stanley Kubrick's 1975 film Barry Lyndon 
Schubert's life was covered in the documentary Franz Peter Schubert: The Greatest Love and the Greatest Sorrow by Christopher Nupen (1994), and in the documentary Schubert – The Wanderer by András Schiff and Mischa Scorer (1997), both produced for the BBC  "Great Performances," "Now Hear This: The Schubert Generation Series," hosted by Scott Yoo, explored commentary and performances by contemporary musician admirers 

Footnotes
Passage 6:
Michelangelo Faggioli
Michelangelo Faggioli (1666–1733) was an Italian lawyer and celebrated amateur composer of humorous cantatas in Neapolitan dialect  A founder of a new genre of Neapolitan comedy, he was the composer of the opera buffa La Cilla in 1706 
Passage 7:
Tarcisio Fusco
Tarcisio Fusco was an Italian composer of film scores  He was the brother of the composer Giovanni Fusco and the uncle of operatic soprano Cecilia Fusco 

Selected filmography
Boccaccio (1940)
Free Escape (1951)
Abracadabra (1952)
The Eternal Chain (1952)
Beauties in Capri (1952)
Milanese in Naples (1954)
Conspiracy of the Borgias (1959)
Passage 8:
Alexander Courage
Alexander Mair Courage Jr  (December 10, 1919 – May 15, 2008) familiarly known as "Sandy" Courage, was an American orchestrator, arranger, and composer of music, primarily for television and film  He is best known as the composer of the theme music for the original Star Trek series 

Early life
Courage was born in Philadelphia, Pennsylvania  He received a music degree from the Eastman School of Music in Rochester, New York, in 1941  He served in the United States Army Air Forces in the western United States during the Second World War  During that period, he also found the time to compose music for the radio  His credits in this medium include the programs Adventures of Sam Spade Detective, Broadway Is My Beat, Hollywood Soundstage, and Romance 

Career
Courage began as an orchestrator and arranger at MGM studios, which included work in such films as the 1951 Show Boat ("Life Upon the Wicked Stage" number); Hot Rod Rumble (1957 film); The Band Wagon ("I Guess I'll Have to Change My Plan"); Gigi (the can-can for the entrance of patrons at Maxim's); and the barn raising dance from Seven Brides for Seven Brothers 
He frequently served as an orchestrator on films scored by André Previn (My Fair Lady, "The Circus is a Wacky World", and "You're Gonna Hear from Me" production numbers for Inside Daisy Clover), Adolph Deutsch (Funny Face, Some Like It Hot), John Williams (The Poseidon Adventure, Superman, Jurassic Park, and the Academy Award-nominated musical films Fiddler on the Roof and Tom Sawyer), and Jerry Goldsmith (Rudy, Mulan, The Mummy, et al )   He also arranged the Leslie Bricusse score (along with Lionel Newman) for Doctor Dolittle (1967) Apart from his work as a respected orchestrator, Courage also contributed original dramatic scores to films, including two westerns: Arthur Penn's The Left Handed Gun (1958) and André de Toth's Day of the Outlaw (1959), and the Connie Francis comedy Follow the Boys (1963)  He continued writing music for movies throughout the 1980s and 1990s, including the score for Superman IV: The Quest for Peace (1987), which incorporated three new musical themes by John Williams in addition to Courage's adapted and original cues for the film  Courage's score for Superman IV: The Quest for Peace was released on CD in early 2008 by the Film Music Monthly company as part of its boxed set Superman - The Music, while La-La Land Records released a fully expanded restoration of the score on May 8, 2018, as part of Superman's 80th anniversary 
Courage also worked as a composer on such television shows as Daniel Boone, The Brothers Brannagan, Lost in Space, Eight Is Enough, and Voyage to the Bottom of the Sea  Judd, for the Defense, Young Dr  Kildare and The Brothers Brannagan were the only television series besides Star Trek for which he composed the main theme 
The composer Jerry Goldsmith and Courage teamed on the long-running television show The Waltons in which Goldsmith composed the theme and Courage the Aaron Copland-influenced incidental music  In 1988, Courage won an Emmy Award for his music direction on the special Julie Andrews: The Sound of Christmas   In the 1990s, Courage succeeded Arthur Morton as Goldsmith's primary orchestrator Courage and Goldsmith collaborated again on orchestrations for Goldsmith's score for the 1997 film "The Edge "
Courage frequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra 

Family
At the age of 35, Courage married Mareile Beate Odlum on October 6, 1955 
Mareile, born in Germany, was the daughter of Rudolf Wolff and Elisabeth Loechelt  After Wolff's suicide Elisabeth married Carl Wilhelm Richard Hülsenbeck, renowned for his involvement in the Dada movement in Europe  Hülsenbeck brought his wife (Elisabeth), son (Tom) and step-daughter (Mareile) to the United States in 1938 to avoid the political situation rapidly developing in Europe  After arriving in the US he changed his last name to Hulbeck 
Mareile's marriage to Courage was her third  Her second marriage was to Bruce Odlum (son of financier Floyd Odlum) in 1944  That union produced two sons, Christopher (1947) and Brian (1949)  When Courage married Mareile he accepted the responsibility of acting stepfather to them  The family originally lived together on Erskine Dr  in Pacific Palisades, but later moved to a mountainside home on Beverly Crest Drive in Beverly Hills 
Aside from his musical abilities Courage was also an avid and accomplished photographer  He took many dramatic photos of bullfights and auto racing  He was a racing enthusiast, and his interest in that sport and photography brought him into contact with many racing personalities of the era, notably Phil Hill and Stirling Moss, both of whom he considered friends  Moss paid at least one social visit to the Erskine residence 
Though a dedicated stepfather to Christopher and Brian, Courage's musical career took precedence over his familial responsibilities  He sought to interest his step-children in music, and was responsible for arranging Brian's first musical lessons, on alto saxophone  Later in life Brian became a composer of serious electronic music, though the vocation was not apparent during his childhood, as he was a poor saxophone student 
Alexander and Mareile were divorced April 1, 1963  Courage subsequently married Kristin M  Zethren on July 14, 1967  That marriage also ended in divorce in 1972 

Star Trek theme
Courage is best known for writing the theme music for the original Star Trek series, and other music for that series  Courage was hired by Star Trek creator Gene Roddenberry to score the original series at Jerry Goldsmith's suggestion, after Goldsmith turned down the job   
Courage went on to score incidental music for episodes "The Man Trap" and "The Naked Time" and some cues for "Mudd's Women "
Courage reportedly became alienated from Roddenberry when Roddenberry claimed half of the theme music royalties  Roddenberry wrote words for Courage's theme, not because he expected the lyrics to be sung on television, but so that he (Roddenberry) could receive half of the royalties from the song by claiming credit as the composition's co-writer  Courage was replaced by composer Fred Steiner who was then hired to write the musical scores for the remainder of the first season  
After sound editors had difficulty finding the right effect, Courage himself made the iconic "whoosh" sound heard while the Enterprise flies across the screen He returned to Star Trek to score two more episodes for the show's third and final season, episodes "The Enterprise Incident" and "Plato's Stepchildren," allegedly as a courtesy to Producer Robert Justman 
Notably, after later serving as Goldsmith's orchestrator, when Goldsmith composed the music for Star Trek: The Motion Picture,  Courage orchestrated Goldsmith's adaptation of his original Star Trek theme 
Following Star Trek: The Motion Picture, Courage's iconic opening fanfare to the Star Trek theme became one of the franchise's most famous and memorable musical cues  The fanfare has been used in multiple motion pictures and television series,  notably Star Trek: The Next Generation and the four feature films based upon that series, three of which were scored by Goldsmith 

Death
Courage had been in declining health for several years before he died on May 15, 2008, at the Sunrise assisted-living facility in Pacific Palisades, California  He had suffered a series of strokes prior to his death  His mausoleum is in Westwood Village Memorial Park Cemetery 
Passage 9:
Gretchen am Spinnrade
"Gretchen am Spinnrade" (Gretchen at the Spinning Wheel), Op  2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 15 of Johann Wolfgang von Goethe's Faust  With "Gretchen am Spinnrade" and some 600 other songs for voice and piano, Schubert contributed transformatively to the genre of Lied  "Gretchen am Spinnrade" was composed for soprano voice but has been transposed to accommodate other voice types  Schubert composed "Gretchen am Spinnrade" on 19 October 1814, three months before his eighteenth birthday 

German text
Analysis
The song is in three sections, exactly reflecting the form of Goethe's poem  On the other hand, Schubert contradicts Gretchen's return to composure in the last three stanzas by obsessively repeating her words to create a second climax on the highest note of the song The song opens with Gretchen at her spinning wheel, thinking of Faust and all that he had promised  The accompaniment in the right hand mimics the perpetual movement of the spinning-wheel and the left hand imitates the foot treadle  The initial key of D minor sets a longing tone as Gretchen begins to sing of her heartache ("Meine Ruh' ist hin/Mein herz ist schwer")  The first section progresses from D minor to C major, A minor, E minor, F major, and then returns to D minor  This, plus the crescendo, builds tension which releases only to be brought back to the beginning, much like the ever-circling spinning wheel  The song modulates to F major as Gretchen starts talking of Faust ("Sein hoher Gang/Sein' edle Gestalt")  The left-hand imitation of the treadle disappears and changes to block chords  Additionally, the absence of the rhythmic, consistent treadle allows Gretchen to lose her sense of stability and reality as she swoons over Faust  This section increases tension with a faster tempo, louder dynamics, and higher pitch in the soprano and peaks at Gretchen's remembrance of Faust's kiss ("Und ach, sein Kuß!")  Similar to the previous section, the music returns to the home key of D minor as Gretchen resumes reality and begins her spinning once more  The third part begins again with "Meine Ruh' ist hin/Mein herz ist schwer," but this time Gretchen escalates in intensity much faster than the previous sections  However, the treadle-like left hand is present, keeping her rooted in reality  Gretchen comes down from this fantasy quicker than before, as she realizes she and Faust will never be together  With a heavy heart, Gretchen comes to terms with this hard truth  The song ends as it began: in D minor, alluding to the monotony of the spinning wheel, and how reality is always present 

Notable recordings
Notable recordings include those by

Elly Ameling and Jörg Demus
Elly Ameling and Dalton Baldwin
Barbara Bonney and Geoffrey Parsons
Janet Baker and Gerald Moore 
Anne Sofie von Otter, Schubert Lieder with Orchestra, CD, accompanied by the Chamber Orchestra of Europe led by Claudio Abbado Other notable recordings include those by Kathleen Ferrier, Renée Fleming, Brigitte Fassbaender, Janet Baker, Kiri Te Kanawa, Dawn Upshaw, Christa Ludwig, Gundula Janowitz, Jessye Norman, Irmgard Seefried, Elisabeth Schumann, Lotte Lehmann, Rosette Anday, and Elisabeth Schwarzkopf  Nina Hagen, titled "Gretchen" on her 1991 album Street is an interesting electronic adaptation 
Passage 10:
Petrus de Domarto
Petrus de Domarto (fl  c  1445–1455) was a Franco-Flemish composer of the Renaissance   He was a contemporary and probable acquaintance of Ockeghem, and was the composer of at least one of the first unified mass cycles to be written in continental Europe 

Life
Domarto's life is poorly documented   He was listed as a singer at the Church of Our Lady in Antwerp in 1449, five years after Ockeghem was known to be there, and there is evidence he was in Tournai in 1451   He had a high reputation (which makes the lack of documentation on his life curious), but even so was passed over for a post as master of the choirboys (in favor of Paulus Iuvenis)   No other documentation on his life has yet come to light 

Music and reputation
Domarto's two mass settings, the Missa Spiritus almus and a Missa sine nomine, were famous at the time   The latter of the two may have been one of the earliest cyclic masses composed on the continent, most likely in the 1440s, and imitates some features of contemporary English composers such as Leonel Power   The Missa Spiritus almus, likely dating from the 1450s, is a cantus-firmus mass, with the melody always in the tenor, but with a changing rhythmic profile as it changes mensuration throughout the piece   The procedure was evidently influential on the next generation of composers, for it was still being copied in the 1480s, and Busnois may have based one of his own masses on the same method (the Missa O crux lignum)  The theorist and writer Johannes Tinctoris criticised it for exactly the features that inspired other composers 
The two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School 

Works
Masses
Missa Spiritus almus (four voices)
Missa sine nomine (three voices)

Secular
Rondeaux, each for three voices:

Chelui qui est tant plain de duel
Je vis tous jours en esperance

Notes



ground_truth: Vienna