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 spouse of the director of film Ann Carver'S Profession?

The following are given passages.
Context 1: Passage 1:
Ann Carver's Profession
Ann Carver's Profession is an American pre-Code 1933 film directed by Edward Buzzell  It focuses on the relationship of a female lawyer and her husband, and on the strain that her financial success places on their marriage  The film stars actress Fay Wray and this film was made during the year she cemented her fame in King Kong  Although the writing credits differ, the film bears a striking resemblance in plot to Columbia's 1938 production The Lady Objects starring Lanny Ross and Gloria Stuart 

Plot
Ann Carver (Fay Wray) and Bill Graham (Gene Raymond) are college sweethearts who graduate, marry, and go to work  There are major differences in their career success  Ann has a law degree, and goes to work at the law firm of retired Judge Bingham  On the other hand, Bill, who in college was a campus football star and voted "Most Popular Man on Campus", lands a low-level job in an architectural firm  She scores a sensational success with her first case (see below) and receives a check for $5000 from her rich client, Harrison  This sets the stage for marital problems, because the very same day that she gets the check for $5000, her husband receives notice of a big raise at work — $10 
Ann quickly becomes a famous and wealthy lawyer, while her husband Bill continues to slog along as a low-level wage slave  The two realize, and discuss, the strain that the disparity in their incomes is placing on the marriage  They resolve to work harder at their marriage, but it immediately becomes clear that the demands of her job will make it difficult for Ann to tear herself from work  There is also a scene in which Ann resents the fact that Bill will not accompany her to a dinner party because he has to go to work  Eventually, disgusted with the paltriness of his income as compared to his wife's success, Bill quits his job as an architect and—in hopes of hitting the big time as a singer—becomes a "crooner" at the Mirador, a friend's nightclub 
While working at the club, Bill begins to drink heavily and becomes involved with alcoholic female singer Carole Rodgers (Claire Dodd)  In a scene at the Mirador, Ann and a group of friends observe Carole giving Bill a kiss  In fury, Ann throws a handful of change at Bill and stalks out  That seals the rupture in their marriage  Ann misses Bill deeply, and becomes distracted and starts to perform badly at work, but when she tries to contact Bill, Bill refuses to talk to her 
Carole loses her job as a result of her drinking and apparently begins spending a lot of time with Bill in his apartment  One evening, while alone in Bill's apartment, Carole gets drunk, passes out, and falls and hits her head on the arm of a couch, which renders her even more unconscious  Her necklace (designed to look like a snake) gets caught on the arm of the couch and she strangles as she is slumped over the side of the couch  Eventually, the necklace slips loose and Carole's body falls to the floor  Much later, Bill comes in, drunk, after work  He sees Carole on the floor, thinks that she is merely drunk and passed-out on the floor, and himself falls into bed 
In the next scene we discover that Bill is on trial, accused of killing Carole  Ann knows that Bill must be innocent, and wants desperately to defend him  Judge Bingham warns Bill that his case looks very bad, but if he will allow Ann to defend him he will at least have the advantage of a passionately motivated defense attorney  Bingham persuades Bill to allow Ann to act as his defense attorney 
The prosecuting attorney's case is built on circumstantial evidence and his depiction of Bill's character  Key to the prosecution's case is its portrayal of Ann as a saintly (beautiful, talented, loving) and wronged wife, and of Bill as a playboy, drunk, and loafer who left his loving wife for a floozie, quit his job to live off of his wife's money, and gave up hard work to live a life of ease as a nightclub crooner 
In her speech to the jury, Ann first points out that it is highly unlikely that Bill killed Carole—he had no motive for killing her  Then, from personal knowledge, she contests the prosecution's depictions of her as the saintly wronged party  Instead, she says, Bill was the wronged party  She had been obsessed over money and fame and drove him away  She deeply regrets it, she says, and hopes that in this—the last trial of her career—she can convince the jury of Bill's innocence  In the last scene of the movie, we see Ann and Bill at home together, a happily married couple living in a nice house  We see that Bill has been acquitted, Ann has given up her career, and Bill has become a successful architect with projects showcased in Vanity Fair and House and Garden 

Cast
Fay Wray as Ann Carver Graham
Gene Raymond as William "Lightning Bill" Graham
Claire Dodd as Carole Rodgers
Arthur Pierson as Ken Bingham
Claude Gillingwater as Judge Bingham
Frank Albertson as Jim Thompson
Frank Conroy as Baker
Jessie Ralph as Terry (Graham's maid)
Robert Barrat as Attorney Andrew Simmons
Passage 2:
Mehdi Abrishamchi
Mehdi Abrishamchi (Persian: مهدی ابریشم‌چی born in 1947 in Tehran) is a high-ranking member of the People's Mujahedin of Iran (MEK) 

Early life
Abrishamchi came from a well-known anti-Shah bazaari family in Tehran, and participated in June 5, 1963, demonstrations in Iran  He became a member of Hojjatieh, and left it to join the People's Mujahedin of Iran (MEK) in 1969  In 1972 he was imprisoned for being a MEK member, and spent time in jail until 1979 

Career
Shortly after Iranian Revolution, he became one of the senior members of the MEK  He is now an official in the National Council of Resistance of Iran 

Electoral history
Personal life
Abrishamchi was married to Maryam Rajavi from 1980 to 1985  Shortly after, he married Mousa Khiabani's younger sister Azar 

Legacy
Abrishamchi credited Massoud Rajavi for saving the People's Mojahedin Organization of Iran after the "great schism" 
Passage 3:
Edward Buzzell
Edward Buzzell (November 13, 1895 – January 11, 1985) was an American film actor and director whose credits include Child of Manhattan (1933); Honolulu (1939); the Marx Brothers films At the Circus (1939) and Go West (1940); the musicals Best Foot Forward (1943), Song of the Thin Man (1947), and Neptune's Daughter (1949); and Easy to Wed (1946) 
Born in Brooklyn, Buzzell appeared in vaudeville and on Broadway, and he was hired to star in the 1929 film version of George M  Cohan's Little Johnny Jones with Alice Day  Buzzell appeared in a few Vitaphone shorts and the two-strip Technicolor short The Devil's Cabaret (1930) as Satan's assistant  He wrote screenplays in the early 1930s and later produced the popular The Milton Berle Show, which premiered on television in 1948 
In 1926, Buzzell married actress Ona Munson, who later played Belle Watling in Gone with the Wind  They divorced in 1931  He married socialite Sara Clark on August 11, 1934, but the marriage only lasted five weeks  He married actress Lorraine Miller on December 10, 1949  He died in Los Angeles in 1985 at the age of 89  Buzzell's brother, Samuel Jesse Buzzell, was a music patent attorney in New York City; his daughter (Edward's niece) Gloria Joyce Buzzell was married to Academy Award-winning film producer Harold Hecht, and his son (Edward's nephew) Loring Buzzell was a music publisher and partner in the firm Hecht-Lancaster & Buzzell Music, and was married to singer Lu Ann Simms 

Filmography
As Actor

Midnight Life (1928)
Little Johnny Jones (1929)
Hello Thar (short, 1930)
The Royal Four-Flusher (short, 1930)
The Devil's Cabaret (short, 1930)
The Lone Star Stranger (short, 1931)
Check and Rubber Check (short, 1931)
She Served Him Right (short, 1931)
The Youngest Profession (1943)
Passage 4:
Heather D  Gibson
Heather Denise Gibson (Greek: Χέδερ Ντενίζ Γκίμπσον) is a Scottish economist currently serving as Director-Advisor to the Bank of Greece (since 2011)  She was the spouse of Euclid Tsakalotos, former Greek Minister of Finance 

Academic career
Before assuming her duties at the Bank of Greece and alternating child-rearing duties with her husband, Gibson worked at the University of Kent, where she published two volumes on international exchange rate mechanisms and wrote numerous articles on this and other topics, sometimes in cooperation with her husband, who was teaching at Kent at the time 

Personal life
Gibson first came to Greece in 1993, with her husband, with whom she took turns away from their respective economic studies to raise their three children while the other worked The couple maintain two homes in Kifisia, along with an office in Athens and a vacation home in Preveza  In 2013, this proved detrimental to Tsakalotos and his party when his critics began calling him «αριστερός αριστοκράτης» (aristeros aristokratis, "aristocrat of the left"), while newspapers opposed to the Syriza party seized on his property holdings as a chance to accuse the couple of hypocrisy for enjoying a generous lifestyle in private while criticizing the "ethic of austerity" in public  One opposition newspaper published on the front page criticism reasoning that Tsakalotos own family wealth came from the same sort of investments in companies as made by financial institutions JP Morgan and BlackRock 

Works
Editor
Economic Bulletin, Bank of Greece

Books
The Eurocurrency Markets, Domestic Financial Policy and International Instability (London, etc , Longman: 1989) ISBN 0312028261
International Finance: Exchange Rates and Financial Flows in the International Financial System (London, etc , Longman: 1996) ISBN 0582218136
Economic Transformation, Democratization and Integration into the European Union (London: Palgrave Macmillan: 2001) ISBN 9780333801222

Articles and papers
"Fundamentally Wrong: Market Pricing of Sovereigns and the Greek Financial Crisis," Journal of Macroeconomics, Elsevier, vol  39(PB), pp  405–419 (with Stephen G  & Tavlas, George S , 2014)
"Capital flows and speculative attacks in prospective EU member states" (with Euclid Tsakalotos, Economics of Transition Volume 12, Issue 3, pages 559–586, September 2004)
"A Unifying Framework for Analysing Offsetting Capital Flows and Sterilisation: Germany and the ERM" (with Sophocles Brissimis & Euclid Tsakalotos, International Journal of Finance & Economics, 2002, vol  7, issue 1, pp  63–78)
"Internal vs External Financing of Acquisitions: Do Managers Squander Retained Profits" (with Andrew Dickerson and Euclid Tsakalotos, Studies in Economics, 1996; Oxford Bulletin of Economics and Statistics, 2000)
"Are Aggregate Consumption Relationships Similar Across the European Union" (with Alan Carruth & Euclid Tsakalotos, Regional Studies, Volume 33, Issue 1, 1999)
Takeover Risk and the Market for Corporate Control: The Experience of British Firms in the 1970s and 1980 (with Andrew Dickerson and Euclid Tsakalotos, 1998) PDF
"The Impact of Acquisitions on Company Performance: Evidence from a Large Panel of UK Firms" (with Andrew Dickerson and Euclid Tsakalotos, Oxford Economic Papers New Series, Vol  49, No  3 (Jul , 1997), pp  344–361)
"Short-Termism and Underinvestment: The Influence of Financial Systems" (with Andrew Dickerson and Euclid Tsakalotos, The Manchester School of Economic & Social Studies, 1995, vol  63, issue 4, pp  351–67)
"Testing a Flow Model of Capital Flight in Five European Countries" (with Euclid Tsakalotos, The Manchester School of Economic and Social Studies, Volume 61, Issue 2, pp  144–166, June 1993)
Full list of articles by Heather D Gibson  researchgate net  Recovered 7 July 2015
Passage 5:
Marie-Louise Coidavid
Queen Marie Louise Coidavid (1778 – 11 March 1851) was the Queen of the Kingdom of Haiti 1811–20 as the spouse of Henri Christophe 

Early life
Marie-Louise was born into a free black family; her father was the owner of Hotel de la Couronne, Cap-Haïtien  Henri Christophe was a slave purchased by her father  Supposedly, he earned enough money in tips from his duties at the hotel that he was able to purchase his freedom before the Haitian Revolution  They married in Cap-Haïtien in 1793, having had a relationship with him from the year prior  They had four children: François Ferdinand (born 1794), Françoise-Améthyste (d  1831), Athénaïs (d  1839) and Victor-Henri 
At her spouse's new position in 1798, she moved to the Sans-Souci Palace  During the French invasion, she and her children lived underground until 1803 

Queen
In 1811, Marie-Louise was given the title of queen upon the creation of the Kingdom of Haiti  Her new status gave her ceremonial tasks to perform, ladies-in-waiting, a secretary and her own court  She took her position seriously, and stated that the title "given to her by the nation" also gave her responsibilities and duties to perform  She served as the hostess of the ceremonial royal court life performed at the Sans-Souci Palace  She did not involve herself in the affairs of state  She was given the position of Regent should her son succeed her spouse while still being a minor   However, as her son became of age before the death of his father, this was never to materialize After the death of the king in 1820, she remained with her daughters Améthyste and Athénaïs at the palace until they were escorted from it by his followers together with his corpse; after their departure, the palace was attacked and plundered  Marie-Louise and her daughters were given the property Lambert outside Cap  She was visited by president Jean Pierre Boyer, who offered her his protection; he denied the spurs of gold she gave him, stating that he was the leader of poor people  They were allowed to settle in Port-au-Prince  Marie-Louise was described as calm and resigned, but her daughters, especially Athénaïs, were described as vengeful 

Exile
The Queen was in exile for 30 years  In August 1821, the former queen left Haiti with her daughters under the protection of the British admiral Sir Home Popham, and travelled to London  There were rumours that she was searching for the money, three million, deposited by her spouse in Europe  Whatever the case, she did live the rest of her life without economic difficulties  The English climate and pollution during the Industrial Revolution was determintal to Améthyste's health, and eventually they decided to leave In 1824, Marie-Louise and her daughters moved in Pisa in Italy, where they lived for the rest of their lives, Améthyste dying shortly after their arrival and Athénaïs in 1839  They lived discreetly for the most part, but were occasionally bothered by fortune hunters and throne claimers who wanted their fortune  Shortly before her death, she wrote to Haiti for permission to return  She never did, however, before she died in Italy  She is buried in the church of San Donnino  A historical marker was installed in front of the church on April 23, 2023 to commemorate the Queen, her daughter and her sister 

See also
Marie-Claire Heureuse Félicité
Adélina Lévêque
Passage 6:
The Lady Objects
The Lady Objects is a 1938 American drama film written by Gladys Lehman and Charles Kenyon and directed by Erle C  Kenton  It was nominated for the Oscar for Best Song at the 11th Academy Awards with the song A Mist Over the Moon, with music by Ben Oakland and lyric by Oscar Hammerstein II  Although the writing credits differ, this film bears a striking resemblance to Columbia's 1933 film, Ann Carver's Profession 

Plot
Bill Hayward's years as a college athlete and singer are behind him, and while he struggles financially, his attorney wife Ann is prospering, promoted to junior partner in her law firm 
While she's in Washington, D C , on business, Bill accompanies friends June and George to a New York City nightclub where they have been hired to entertain  He is persuaded to get on stage and sing himself, but resists the temptation to get into a romantic situation with June, a former girlfriend from their school days 
June gets inebriated and a stumble results in her accidental death  Bill, however, is charged with her murder  Ann offers to defend him in court, but Bill can't bear that thought  When the case goes badly against him, however, Ann volunteers information that results in Bill's acquittal and their reconciliation 

Cast
Lanny Ross as William Hayward
Gloria Stuart as Ann Adams Hayward
Joan Marsh as June Lane
Roy Benson as George Martin
Pierre Watkin as Mr  Harper
Robert Paige as Ken Harper
Arthur Loft as Charles Clarke
Stanley Andrews as Baker
Jane Buckingham as Mrs  Harper (Jan Buckingham)
Bess Flowers as Miriam Harper
Ann Doran as Miss Hollins
Vesey O'Davoren as Langham
Passage 7:
Sophia Magdalena of Denmark
Sophia Magdalena of Denmark (Danish: Sophie Magdalene; Swedish: Sofia Magdalena; 3 July 1746 – 21 August 1813) was Queen of Sweden from 1771 to 1792 as the wife of King Gustav III  
Born into the House of Oldenburg, the royal family of Denmark-Norway, Sophia Magdalena was the first daughter of King Frederick V of Denmark and Norway and his first consort, Princess Louise of Great Britain  Already at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, as part of an attempt to improve the traditionally tense relationship between the two Scandinavian realms  She was subsequently brought up to be the Queen of Sweden, and they married in 1766  In 1771, Sophia's husband ascended to the throne and became King of Sweden, making Sophia Queen of Sweden  Their coronation was on 29 May 1772 
The politically arranged marriage was unsuccessful  The desired political consequences for the mutual relations between the two countries did not materialize, and on a personal level the union also proved to be unhappy  Sophia Magdalena was of a quiet and serious nature, and found it difficult to adjust to her husband's pleasure seeking court  She dutifully performed her ceremonial duties but did not care for social life and was most comfortable in quiet surroundings with a few friends  However, she was liked by many in the Caps party, believing she was a symbol of virtue and religion  The relationship between the spouses improved somewhat in the years from 1775 to 1783, but subsequently deteriorated again 
After her husband was assassinated in 1792, Sophia Magdalena withdrew from public life, and led a quiet life as dowager queen until her death in 1813 

Early life
Princess Sophie Magdalene was born on 3 July 1746 at her parents' residence Charlottenborg Palace, located at the large square, Kongens Nytorv, in central Copenhagen  She was the second child and first daughter of Crown Prince Frederick of Denmark and his first consort, the former Princess Louise of Great Britain, and was named for her grandmother, Queen Sophie Magdalene  She received her own royal household at birth 
Just one month after her birth, her grandfather King Christian VI died, and Princess Sophie Magdalene's father ascended the throne as King Frederick V  She was the heir presumptive to the throne of Denmark from the death of her elder brother in 1747 until the birth of her second brother in 1749, and retained her status as next in line to the Danish throne after her brother until her marriage  She was therefore often referred to as Crown Princess of Denmark In the spring of 1751, at the age of five, she was betrothed to Gustav, the heir apparent to the throne of Sweden, and she was brought up to be the Queen of Sweden  The marriage was arranged by the Riksdag of the Estates, not by the Swedish royal family  The marriage was arranged as a way of creating peace between Sweden and Denmark, which had a long history of war and which had strained relations following the election of an heir to the Swedish throne in 1743, where the Danish candidate had lost  The engagement was met with some worry from Queen Louise, who feared that her daughter would be mistreated by the Queen of Sweden, Louisa Ulrika of Prussia  The match was known to be disliked by the Queen of Sweden, who was in constant conflict with the Parliament; and who was known in Denmark for her pride, dominant personality and hatred of anything Danish, which she demonstrated in her treatment of the Danish ambassadors in Stockholm After the death of her mother early in her life, Sophia Magdalena was given a very strict and religious upbringing by her grandmother and her stepmother, who considered her father and brother to be morally degenerate  She is noted to have had good relationships with her siblings, her grandmother and her stepmother; her father, however, often frightened her when he came before her drunk, and was reportedly known to set his dogs upon her, causing in her a lifelong phobia 
In 1760, the betrothal was again brought up by Denmark, which regarded it as a matter of prestige  The negotiations were made between Denmark and the Swedish Queen, as King Adolf Frederick of Sweden was never considered to be of any more than purely formal importance  Louisa Ulrika favored a match between Gustav and her niece Philippine of Brandenburg-Schwedt instead, and claimed that she regarded the engagement to be void and forced upon her by Carl Gustaf Tessin  She negotiated with Catherine the Great and her brother Frederick the Great to create some political benefit for Denmark in exchange for a broken engagement  However, the Swedish public was very favorable to the match due to expectations Sophia Magdalena would be like the last Danish-born Queen of Sweden, Ulrika Eleonora of Denmark, who was very loved for her kindness and charity  This view was supported by the Caps political party, which expected Sophia Magdalena to be an example of a virtuous and religious representative of the monarchy in contrast to the haughty Louisa Ulrika  Fredrick V of Denmark was also eager to complete the match: "His Danish Majesty could not have the interests of his daughter sacrificed because of the prejudices and whims of the Swedish Queen"  In 1764 Crown Prince Gustav, who was at this point eager to free himself from his mother and form his own household, used the public opinion to state to his mother that he wished to honor the engagement, and on 3 April 1766, the engagement was officially celebrated 
When a portrait of Sophia Magdalena was displayed in Stockholm, Louisa Ulrika commented: "why Gustav, you seem to be already in love with her! She looks stupid", after which she turned to Prince Charles and added: "She would suit you better!"

Crown Princess
On 1 October 1766, Sophia Magdalena was married to Gustav by proxy at Christiansborg Palace in Copenhagen with her brother Frederick, Hereditary Prince of Denmark, as representative of her groom  She traveled in the royal golden sloop from Kronborg in Denmark over Öresund to Hälsingborg in Sweden; when she was halfway, the Danish cannon salute ended, and the Swedish started to fire  In Helsingborg, she was welcomed by her brother-in-law Prince Charles of Hesse, who had crossed the sea shortly before her, the Danish envoy in Stockholm, Baron Schack, as well as Crown Prince Gustav himself  As she was about to set foot on ground, Gustav was afraid that she would fall, and he therefore reached her his hand with the words: "Watch out, Madame!", a reply which quickly became a topic of gossip at the Swedish court 
The couple then traveled by land toward Stockholm, being celebrated on the way  She met her father-in-law the King and her brothers-in-law at Stäket Manor on 27 October, and she continued to be well-treated and liked by them all during her life in Sweden  Thereafter, she met her mother-in-law the Queen and her sister-in-law at Säby Manor, and on the 28th, she was formally presented for the Swedish royal court at Drottningholm Palace  At this occasion, Countess Ebba Bonde noted that the impression about her was: "By God, how beautiful she is!", but that her appearance was affected by the fact that she had a: "terrible fear of the Queen"  On 4 November 1766, she was officially welcomed to the capital of Stockholm, where she was married to Gustav in person in the Royal Chapel at Stockholm Royal Palace Sophia Magdalena initially made a good impression upon the Swedish nobility with her beauty, elegance and skillful dance; but her shy, silent, and reserved nature soon made her a disappointment in the society life  Being of a reserved nature, she was considered cold and arrogant  Her mother-in-law Queen Louisa Ulrika, who once stated that she could comprehend nothing more humiliating than the position of a Queen Dowager, harassed her in many ways: a typical example was when she invited Gustav to her birthday celebrations, but asked him to make Sophia Magdalena excuse herself by pretending to be too ill to attend  Louisa Ulrika encouraged a distance between the couple in various ways, and Gustav largely ignored her so as not to make his mother jealous 
Sophia Magdalena was known to be popular with the Caps, who were supported by Denmark, while Louisa Ulrika and Gustav sided with the Hats  The Caps regarded Sophia Magdalena to be a symbol of virtue and religion in a degenerated royal court, and officially demonstrated their support  Sophia Magdalena was advised by the Danish ambassador not to involve herself in politics, and when the spies of Louisa Ulrika reported that Sophia Magdalena received letters from the Danish ambassador through her Danish entourage, the Queen regarded her to be a sympathizer of the Danish-supported Caps: she was isolated from any contact with the Danish embassy, and the Queen encouraged Gustav to force her to send her Danish servants home  This she did not do until 1770, and his demand contributed to their tense and distant relationship  In 1768, Charlotta Sparre tried to reconcile the couple at their summer residence Ekolsund Castle, but the marriage remained unconsummated After King Adolf Frederick of Sweden died in 1771, Gustav III became King of Sweden  The following year, on 29 May, Sophia Magdalena was crowned Queen 

Early reign as Queen
The coronation of Gustav III and Sophia Magdalena took place on 29 May 1772  She was not informed about the coup of Gustav III, which reinstated absolute monarchy and ended the parliamentary rule of the Estates in the revolution of 1772  At the time she was deemed as suspicious and politically untrustworthy in the eyes of the King, primarily by her mother-in-law, who painted her as pro-Danish  Denmark was presumed to oppose the coup; there were also plans to conquer Norway from Denmark 
Sophia Magdalena was informed about politics nonetheless: she expressed herself pleased with the 1772 parliament because Count Fredrik Ribbing, for whom she had taken an interest, had regained his seat  The conflict between her and her mother-in-law was publicly known and disliked, and the sympathies were on her side  In the contemporary paper Dagligt Allehanda, a fable was presented about Rävinnan och Turturduvan ("The She Fox and the Turtle Dove")  The fable was about the innocent turtle dove (Sophia Magdalena) who was slandered by the wicked she fox (Louisa Ulrika), who was supported by the second she fox (Anna Maria Hjärne) and the other foxes (the nobility)  The fable was believed to have been sent from the Caps party Queen Sophia Magdalena was of a shy and reserved character, and was never a member of the King's inner circle  At the famous amateur court theater of Gustav III, Sophia Magdalena is occasionally named as participator in the documents  In 1777, for example, she dressed as an Italian sailor and participated in a battle between Italian and Spanish sailors  Usually it was rather her role to act as the passive lady of games and tournaments, and to decorate the winner with the award  She did her ceremonial duties, but disliked the vivid lifestyle of the court around her outgoing spouse As queen, she was expected to do a great deal of representation – more than what had been expected from previous queens due to her husband's adoration of representation  On formal occasions, she was at her best: she performed beautifully according to royal court etiquette, and was seen as dignified and impressive  For instance, on 17 September 1784, she cut the cord to let off the first air balloons from the Stockholm observatory  During the King's Italian journey in 1783–84, she hosted a grand formal public dinner every two weeks  During that time, she appeared at the Royal Swedish Opera and at the French Theater, but otherwise preferred her solitude  This attracted attention as during the absence of the King she had been expected to represent the royal couple all the more 
Sophia appeared to have enjoyed nature trips in the country side with only one lady-in-waiting and two footmen, however, her country side visitations were stopped because it was deemed 'unsuitable'  Several of her ladies-in-waiting were well known Swedish women of the era, among them The Three Graces: Augusta von Fersen, Ulla von Höpken and Lovisa Meijerfelt, as well as Marianne Ehrenström and Charlotta Cedercreutz, who were known artists 
Sophia Magdalena was a popular Queen: on 22 July 1788, for example, during the absence of her spouse in Finland, several members of the Royal Dramatic Theater and the musical society Augustibröder, among them Bellman, took a spontaneous trip by boat from the capital to Ulriksdal Palace, where she was, and performed a poem by Bellman to her honor at the occasion of her name day 
In the famous diary of her sister-in-law, Princess Hedwig Elizabeth Charlotte, Sophia Magdalena is described as beautiful, cold, silent and haughty, very polite and formal, reserved and unsociable  When she performed her duties as Queen, her sister-in-law, Hedwig Elizabeth Charlotte of Holstein-Gottorp, described her as "Forced to meet people" Sophia Magdalena preferred to spend her days in solitude whenever she could  She had two very intimate friends, Maria Aurora Uggla and Baroness Virginia Charlotta Manderström, but otherwise rarely participated in any social life outside of what was absolutely necessary to perform her representational  duties  She frequently visited the theater, and she also had a great interest for fashion  As a result of this, she was somewhat criticized for being too vain: even when she had no representational duties to dress up for and spend her days alone in her rooms, she is said to have changed costumes several times daily, and according her chamberlain Adolf Ludvig Hamilton, she never passed a mirror without studying herself in it  She was also interested in literature, and educated herself in various subjects: her library contained works about geography, genealogy and history  She educated herself in Swedish, English, German and Italian, and regularly read French magazines  According to Augusta von Fersen, Sophia Magdalena was quite educated, but she was not perceived as such because she rarely engaged in conversation In 1784, after the King had returned from his trip to Italy and France, the relationship between the King and Queen soured  At this time, Gustav III spent more and more time with male favorites  In 1786, this came to an open conflict  The King had taken to spend more time at intimate evenings with his favorite Gustaf Mauritz Armfelt, from which he excluded her company  When he gave some of her rooms at the Royal Palace to Armfelt, Sophia Magdalena refused to participate in any representation until the rooms were given back to her, and she also banned her ladies-in-waiting from accepting his invitations without her permission 
In 1787, she threatened him with asking for the support of the parliament against him if he took their son with him to Finland, which she opposed, and the year after, she successfully prevented him from doing so  She also reprimanded him from allowing his male favorites to slander her before him 
Queen Sophia Magdalena was never involved in politics, except for one on one occasion  In August 1788, during the Russo-Swedish War (1788–1790), the King gave her the task to enter in negotiations with Denmark to prevent a declaration of war from Denmark during the ongoing war against Russia  He asked her to call upon the Danish ambassador Reventlow and give him a letter to be read in the Danish royal council before her brother, the Danish King  He gave her the freedom to write as she wished, but to use the argument that she spoke as a sister and mother to a son with the right to the Danish throne and upon her own initiative 
Sophia Magdalena called upon the Danish ambassador, held a speech to him followed by a long conversation and then handed him a letter written as a "warm appeal" to her brother  A copy was sent to Gustav III, and her letter was read in the royal Danish council, where it reportedly made a good impression  However, her mission was still unsuccessful, as the Russo-Danish alliance made it unavoidable for Denmark to declare war shortly afterward  At the time, there was a note that she met two Russian prisoners of war in the park of the Haga Palace, and gave them 100 kronor each 

At the parliament of 1789 Gustav III united the other estates against the nobility and to gain support for the war and for his constitutional reform  Coming into conflict with the nobility, he had many of its representatives imprisoned  This act led to a social boycott of the monarch by the female members of the aristocracy, who followed the example of Jeanna von Lantingshausen as well as the King's sister and sister-in-law, Sophie Albertine of Sweden and Hedvig Elisabeth Charlotte  The Queen did not participate in this political demonstration and refused to allow any talk of politics in her presence  She was nevertheless involved in the conflict  When the King informed his son about the event, he discovered the child to be already informed in other ways than what he had intended  He suspected Sophia Magdalena to be responsible, and asked the governor of the prince, Count Nils Gyldenstolpe, to speak to her  Gyldenstolpe, however, sent one of the king's favorites, Baron Erik Boye  The Queen, who despised the favorites of the King, furiously told Boye that she spoke to her son how she wished and that only her contempt for him prevented her from having him thrown out of the window  She was known to dislike the reforms of 1789, and she did let it be known to its representatives  At the celebrations of the Victory at Fredrikshamn in 1790, she refused to be escorted by riksråd Count Joakim Beck-Friis, who was in favor of the reform, and demanded to be escorted by Count Axel von Fersen the Elder, who was in opposition to it 
In the autumn of 1790, the King chose to remain in the summer residence of Drottningholm Palace well in to the autumn because of the social boycott  Finally, the Queen returned to the capital without his consent  He accused her of having been manipulated by the female courtiers into participating in the political demonstration, and refusing him the company of her ladies-in-waiting by leaving  This applied especially to Hedvig Ulrika De la Gardie and Augusta von Fersen, who did not participate in the boycott: he suspected Hedvig Eleonora von Fersen to have persuaded the Queen to participate in the boycott  This is however is not considered to have been true: though the Queen did oppose to the act of 1789, she is reported never to have allowed any one to speak of politics in her presence  The reason to why she wished to leave was reportedly due to her health, as Drottningholm was quite cold by that time of the year and she had been afflicted by an ear infection  The King did in any case suspect her of being in political opposition to him, and before his trip to Aachen in 1791, he ordered that his son was to be separated from her during his absence abroad  When she was made aware of this, Sophia Magdalena caused a public scene when she visited him in his box at the opera and demanded to be given access to her son  This led to a heated argument and she left the box with the words: "I will have my vengeance, monsieur! I give you my sacred vow on that!"

Succession issues
Sophia Magdalena is mostly known in Swedish history for the scandal created around the consummation of her marriage and the questioned legitimacy of her son  Her marriage was a then normal arranged royal match for political convenience, in which Sophia Magdalena at first was described by her spouse as "cold as ice"  Sophia Magdalena's religious upbringing and introverted character made her avoid the lively and spontaneous Gustavian court life, which made her even less attractive in the eyes of her outgoing spouse Their marriage was not consummated until 1775, nine years after the wedding  The status quo between Gustav III and his consort was nurtured by the Queen Dowager, Louisa Ulrika, who did not want competition in her influence over her son  There were rumors that the King was a homosexual or sexually underdeveloped  His sexuality, which had much effect on Sophia Magdalena's life, as a royal marriage was designed to produce offspring, has been much debated  His sexual inexperience has been blamed on immaturity or him also being asexual 
As a teenager, Gustav had a crush on Axel von Fersen's mother, Hedvig Catharina De la Gardie, though this affection was never physical  In 1768, he had another infatuation with the noble Charlotte Du Rietz, but this is not believed to have been sexually consummated either  Various documents written during his lifetime alleged that he was bisexual or homosexual 
His sister-in-law, Princess Charlotte, claims that the King did participate in homosexual activity after his trip to Italy in 1784 and that there were several rumors about this: she claims that she herself had witnessed that the park at Drottningholm Palace had become a place where male courtiers searched for homosexual partners, and in a letter to Sophie von Fersen, she writes in code: 

"It is said that the King recently attacked a young man in the park at night and offered him the post of chamberlain to the Queen if he agreed to his lusts, but the young man preferred to leave  Agree that this is to take things too far  It is said that the trips to Svartsjö Palace are made to be provide privacy, it is unbelievable, but it is what it is said  I could tell you a million things about this "
In 1791, Sophia Magdalena herself paid a surprise visit to the King during his stay at the Gustav III's Pavilion, where the King had spent more time since he came in conflict with the nobility after the 1789 parliament; and where he was reputed to indulge in orgies  She found the King in bed, and he asked one of his favorites, Count Fabian Wrede, to show her around  In the King's private chamber, however, the Queen found the actor and page of the King, Lars Hjortsberg, sleeping, naked  The Queen reacted by interrupting the tour by saying to Wrede that he apparently did not know his way around Haga, as he had obviously showed her the chamber of the staff rather than the King by mistake Some sources explain that both the Queen and the King had serious anatomical problems resulting in erotic complications  Erik Lönnroth has concluded that there is no factual proof for the rumors that Gustav III was inclined toward homosexuality or bisexuality, nor that Gustav Adolf was illegitimate 
During the Coup of Gustav III on 19 August 1772, Sophia Magdalena was at Ekolsund Castle  After having been told of the successful coup where her consort had reinstated absolute monarchy, she confided to her Mistress of the Robes, Countess Anna Maria Hjärne, that she was afraid that she would now be divorced by Gustav, because she knew she was not liked by him, because she had not given birth, and because she knew she was being slandered before him  Gustav III was told of this and her words led to a conflict  At a following ball at Ekolsund, the King told Count Axel von Fersen the Elder, that he did plan to divorce her on the grounds of pro-Danish plots and adultery with riksråd Count Fredrik Sparre and Marcus Gerhard Rosencrone of the Danish legation in Stockholm  Von Fersen, however, convinced him not to by saying that she should not be regarded to participate in pro-Danish plots just for her love of her Danish chamber-maids, and that as a neglected wife, she should not be blamed for enjoying the compliments of Count Ribbing, which were not grounds for suspicions of adultery  During this period, it had been noted that Count Ribbing was often seen in the company of the Queen and had paid her compliments and made her laugh, among other things by caricaturing her Mistress of the Robes Countess Anna Maria Hjärne  Countess Hjärne had informed the King that the Queen was pregnant, "And the riksråd Ribbing is her favorite "The King had given Countess Ulrica Catharina Stromberg the task to investigate this, and she was told by the chamber madame of Sophia Magdalena, Charlotta Hellman, that: "information, which where dubious, especially since the clearest evidence could be gathered from the linen of the Queen"  Her contact with Rosencrone is said to have been restricted to the fact that he handled her correspondence with Denmark  After the reconciliation of Sophia Magdalena and Gustav III, he apologized to her for having believed these rumors 
In 1774, the King arranged the marriage between his brother, the future Charles XIII of Sweden, and Hedwig Elizabeth Charlotte of Holstein-Gottorp, to solve, for the time being, the immediate question of an heir to the throne  The Duchess had false pregnancies and miscarriages only, which may have hastened the King to expedite the consummation of his own marriage and produce a son of his own 
In 1778, Sophia Magdalena gave birth to Gustav Adolf, successor to the throne, and in 1782, she gave birth to a second son, Charles Gustav, who only lived for one year  It was suggested in some circles that King Gustav's first son was sired by someone else  When the heir was born, the father was believed, by the Queen Dowager among others, to be Count Adolf Fredrik Munck af Fulkila, then Riksstallmästare  This rumor was believed by elements of the public and the royal court, and her acquiescence to it led to a year-long break between the Queen Dowager and her son 

Succession scandal
The King, claiming to be sexually inexperienced, called upon Munck to help him with a reconciliation with his spouse, instruct the couple in the ways of sexual intercourse, and physically show them how to consummate their marriage  Munck, a Finnish nobleman and, at the time, a stable master was, at that point, the lover of Anna Sofia Ramström, the Queen's chamber maid  Through Anna Sofia Ramström, Munck contacted Ingrid Maria Wenner, who was assigned to inform the queen of the king's wish, because she was married and the confidant of the queen  Munck and Ramström were to be present in a room close to the bedchamber, ready to be of assistance when needed, and he was, at some points, called into the bedchamber  Munck himself writes in his written account, which is preserved at the National Archives of Sweden, that to succeed, he was obliged to touch them both physically When it became known that Munck participated in the reconciliation between the royal couple, there were rumours that he was the father of Sophia Magdalena's firstborn These became the subject of accusations from the political opposition, as late as in 1786 and 1789,: 132  where it was claimed that the whole nation was aware of the rumour that the King had asked Munck to make the Queen pregnant : 118  Pamphlets to that end were posted on street corners all over Stockholm : 143 This was also caricatured by Carl August Ehrensvärd in private letters discovered later – his drawing was published in 1987 —, where he passed on a number of rumors and jokes about Gustav III, Sophia Magdalena and Munck without inferring that he believed they were true  There was also a rumour that the King and Queen had divorced in secret and that the Queen had married Munck There is no proof that Munck was the father of the crown prince  Erik Lönnroth has suggested that the anatomical problems mentioned in Munck's account, known only to a few initiated persons, were the primary factor in their delay in producing an heir  At the time, the rumors became more persistent, however, when the royal couple presented Munck with gifts: the King promoted him, and the Queen gave Munck a pension, a diamond ring, and a watch with her image A few socialites took the Queen Mother's side in supporting and spreading the rumors, such as Anna Charlotta Schröderheim and Eva Helena Löwen The circle around the King's brother, Duke Charles, the future Charles XIII of Sweden, who desired the throne, also encouraged these rumors  Their mother was quoted as saying, during the pregnancy of Sophia Magdalena, that there were rumors among the public that the future child was illegitimate, and that she herself believed that the King had hired Munck to impregnate the Queen, and that she would never accept that the throne would come into the hands of "a common nobleman's illegitimate offspring" : 103–4 The Queen Mother ordered Duke Charles to interrogate Munck, and word spread to the King, who was shocked  Sophia Magdalena was equally shocked by the accusations  She swore she would never speak to the Queen Dowager again, and indeed she never did 
The King arranged for his mother to make a public apology for her accusation in the presence of the rest of the Royal Family the 12 May 1778  The scene gained a lot of attention and broke the bonds between Gustav III and his mother  The scandal disturbed celebrations, as did an accident with the public banquet  The public was invited to a great feast to celebrate the birth of the heir, but too many people were let in, and the crowd panicked  Between sixty and one hundred people were trampled to death in the crowd 
Sven Anders Hedin, a medical doctor at the royal court, and married to one of the Queen's chambermaids, Charlotta Hellman, contributed two statements which have been quoted in connection with the scandal  In the summer of 1780, during the King's absence abroad, he passed through the private apartments of the Queen, which were expected to be empty at that hour  There, he claimed to have seen the Queen and Baron Munck embracing each other through the not-quite closed door to her bedroom   To warn them that they were not alone, he hummed a tune and pretended to speak to himself, saying that he would be in trouble if the Queen discovered him there, and then left the room  He claimed to have found three expensive court costumes in his room a few days after this event  In October 1781, Hedin met the King in the corridor on his way to the Queen's bedchamber  Gustav III asked Hedin what time it was, and Hedin claims to have added to his reply: "In nine months, I will be able to answer exactly!" in which Hedin insinuated that the King had expected him to remember the time should the fatherhood of the next child be questioned 
In 1782, Sophia Magdalena had a second son  After the death of her younger son in 1783, her marriage deteriorated  In May 1784, Sophia Magdalena is believed to have had a miscarriage, and after this, there are no further notes of any pregnancies  A brief reconciliation in 1787 was deemed by Duchess Hedwig Elizabeth Charlotte in her diaries as temporary, with no hope of being complete and lasting,: 191  as the King was not "receptive to female charm": another insinuation that he was homosexual 
In 1787, Sophia Magdalena deposited a sum of 50 000 riksdaler in an account for Munck, which was generally rumoured to be a "farewell gift" : 156–7   At this point, Munck had started an affair with the ballerina Giovanna Bassi, to whom Sophia Magdalena showed great dislike : 157   The King was terrified when he heard that the Queen had made that deposit, and he tried to prevent the transaction from becoming public knowledge, which, however, did not succeed : 157  Munck was, however, continued to be used as a go-between and a messenger between the King and the Queen, especially during conflicts 
A child of Giovanna Bassi's, rumored to be the child of Munck, bore a strong likeness to the Crown Prince 

Queen Dowager
On 16 March 1792 Gustav III was attacked and mortally wounded  Sophia Magdalena was reportedly shocked and horrified by the attack  The conspirators intended to make her the regent of her son during his minority : 443  As a Guardian government had been necessary by putting a minor monarch on the throne, their plan was to offer this role to Sophia Magdalena by taking military control and offering the Queen dowager the role of presiding over the guardian council instead of her brother-in-law Duke Charles  Directly after she was told of the attack, Sophia Magdalena sent for the king's favorite, Gustav Mauritz Armfelt, and was taken by him to the sick bed of the King  There, she took the hands of the King between hers and cried out to Armfelt: "How horrifying! Such a cruel atrocity!" She was kept informed of his state by Armfelt, but she was prevented from further visits because Gustav did not wish to receive visits from women because of the smell from his wounds  At the death of Gustav III 29 March 1792, she attempted to visit him, but she was blocked by her brother-in-law Duke Charles, who fell on his knees before her to stop her from entering the bed room 
Sophia Magdalena caused a scandal as it was noted that she did not dress in mourning except when she was forced to do so at visits and on formal occasions : 442   This criticism was likely worsened because she was exposed to some suspicions, as it was known that the conspirators had planned to make her regent 
As Queen Dowager, it was a relief to Sophia Magdalena to withdraw from public life  Her brother-in-law, Duke Charles, became regent, and she eschewed a political role  As a widow, Sophia Magdalena lived a withdrawn life  She did not wish to take part in any representational duties, and she gave up her quarters at Drottningholm Palace to be relieved of them  She lived in the Royal Palace in Stockholm during the winter, and at Ulriksdal Palace during the summer  She lived in a circle of her own court, and seldom entertained any guests other than her lifelong friends Maria Aurora Uggla and Virginia Manderström  It is noted that, although she had hated the male favorites of her spouse during his lifetime, she gave several of them positions in her court as a widow  Sophia Magdalena had a close relationship with her son, King Gustav IV Adolf, who visited her regularly and with whom she shared an interest in religion 

In 1797, she insisted on skipping the protocol at the reception of her daughter-in-law, Frederica of Baden  The etiquette demanded that as Queen Dowager, she should not greet her daughter-in-law at the stair of the royal palace with the rest of the royal family, but wait for her in her own salon, but she refused: "I know myself how I suffered, when I arrived to Sweden, and how painfully I reacted to the cold reception I was given by Queen Louisa Ulrika  As for my daughter-in-law, I have decided to spare her from having to experience such bitter emotions!" During the reign of her son, she seldom showed herself at court except on Sundays and at court presentations, and preferred to stay at her estate  She regularly met her son and his family on family visits, but she did not participate in court life 
In 1809 she witnessed the coup and following abdication of her son, King Gustav IV Adolf of Sweden, after Sweden lost Finland to Russia  She was deeply affected by his deposition  On the day of the coup, she was informed by her friend Maria Aurora Uggla, and in her company she immediately rushed to the quarters of her son  She was prevented from seeing him by guards, and burst into tears in the arms of Uggla  Shortly after, she was visited in her quarters by Duke Charles in the company of guards, who officially told her what had happened and made her burst into tears again by officially banning her from seeing her son  When she, during the captivity of her son, formally applied for permission to see him, and was told by Charles that she could not unless given permission by the government, she publicly commented: "The government was not asked for permission for the murder of my husband, neither any permission was sought to depose and imprison my son, but I must have their permission, to speak to my child " She was never to see her son again, but she corresponded with him for the rest of her life  He was sent into exile and replaced by his paternal uncle Charles XIII, but she remained in Sweden until her death  She did, however, say goodbye to her daughter-in-law and her grandchildren when they left Stockholm to join Gustav Adolf 
In January 1810, she was presented to the elected heir to the throne, Charles August, Crown Prince of Sweden  During his visit, he stopped before the portrait of her grandson Gustav, and informed her that he wished to adopt him for his successor  Later that year (2 November 1810), she was presented to the next elected heir to the throne, Jean Baptiste Bernadotte  He regarded her with suspicion and believed that she did not wish to see him, but she commented: "I am grateful for the sensitivity of the Crown prince, but he is mistaken, if he believes that I do not wish to see him! It would be unfair if I were to hold the least bit of dislike toward him, for it is not he who has deposed my son!" At the meeting, her face was said to have turned white, but at the end, she is said to have been delighted by his charm  In 1811, she was one of the few in the Swedish Court who were nice to Désirée Clary 
In September 1812, Germaine de Staël was presented to her, and gave her the impression of her: "Her Majesty analyzed my books as an educated woman, whose judgement showed as much thoroughness as well as delicate feeling  Never has any one impressed me such as your Queen! I almost dared not reply to her, so taken was I by the royal glory around her – it gave me such respect, that I shivered!" When the Crown Prince banned any contact between Swedes and the former royal family, Germaine de Staël asked that an exception was to be made for Sophia Magdalena, and it was: her letters were however read by foreign minister Lars von Engeström 

Later life and death
Sophia Magdalena lived more isolated towards the end of her life and was affected by worsened health  From 1812, she devoted much of her time to her friendship with the young amateur botanic Baron Anton Fredrik Wrangel  She never fully recovered after having suffered a stroke in May 1813 

Children
In popular culture
The affair of the consummation of her marriage and the succession scandal was portrayed in SVT's period drama production of "Gustav III:s äktenskap" (The Marriage of Gustav III) in 2001, where Sophia Magdalena was portrayed by Danish actress Iben Hjejle 
It was also used to inspire the novel Drottningens juvelsmycke, famous in Sweden, where the character of Tintomara is portrayed as a half sibling of Gustav IV Adolf through Count Munck 

Ancestry
Inline references
Bibliographic references
Alm, Mikael (2003–2006)  Sophia Magdalena  Svenskt biografiskt lexikon (in Swedish)  Vol  32  Retrieved 28 April 2022 
Bech, Claus (1983)  Sophie Magdalene  Dansk Biografisk Leksikon (in Danish)  Vol  13 (3 ed )  Copenhagen: Gyldendals Forlag  ISBN 8700055514 
Jørgensen, Harald (1942)  Sophie Magdalene (PDF)  Dansk Biografisk Leksikon (in Danish)  Vol  22 (2 ed )  Copenhagen: J H  Schultz Forlag  pp  314–315 
Laursen, Laurs (1902)  "Sophie Magdalene af Danmark"  Dansk biografisk Lexikon, tillige omfattende Norge for tidsrummet 1537-1814 (in Danish) (1st ed )  Copenhagen: Gyldendalske Boghandels Forlag  XVI: 179–180 
Svenskt biografiskt handlexikon [Swedish biographical dictionary] (in Swedish), Runeberg, 1906
Stålberg, Wilhelmina (1864), Anteckningar om svenska qvinnor [Notes on Swedish women] (in Swedish), Runeberg 
Munk (in Swedish), SE: Passagen, archived from the original on 9 January 2001
Personakt för Gustav III av >> Holstein-Gottorp, Född 1746-01-24 (in Swedish), NU: Historiska Personer, archived from the original on 9 November 2007, retrieved 9 November 2007
Starbäck, Carl Georg; Bäckström, Per Olof (1885–1986), "Nionde bandet  Gustaf III  Gustaf IV Adolf", Berättelser ur svenska historien [Tales from the history of Sweden] (in Swedish)
Svenskt biografiskt handlexikon [Swedish biographical hand-dictionary] (in Swedish), Runeber, 1906
Andersson, Ingvar (1979)  Gustavianskt [The Gustavian age] (in Swedish)  Fletcher & Son  ISBN 91-46-13373-9 
Ribbing, Gerd, Gustav III:s hustru Sofia Magdalena [Sophia Madalena, wife of Gustav III]
Hartmann, Godfred (1993)  "Gode Dronning" – Om den svenske konge Gustaf III's dronning Sophie Magdalene (1746–1813) og hendes ulykkelige skæbne ["Good Queen" – About the Swedish king Gustaf III's queen Sophie Magdalene (1746–1813) and her unfortunate fate] (in Danish)  København: Gyldendal  ISBN 87-00-15758-9 

Primary sources
af Klercker, Cecilia, ed  (1942)  Hedvig Elisabeth Charlottas Dagbok [The diaries of Hedvig Elizabeth Charlotte] (in Swedish)  Vol  IX  PA Norstedt & Söners förlag  Unknown ID 412070  on WorldCat

Further reading
Sophia Magdalena of Denmark at Svenskt kvinnobiografiskt lexikon
Passage 8:
Princess Auguste of Bavaria (1875–1964)
Princess Auguste of Bavaria (German: Auguste Maria Luise Prinzessin von Bayern; 28 April 1875 – 25 June 1964) was a member of the Bavarian Royal House of Wittelsbach and the spouse of Archduke Joseph August of Austria 

Birth and family
Auguste was born in Munich, Bavaria, the second child of Prince Leopold of Bavaria and his wife, Archduchess Gisela of Austria  She had one older sister, Princess Elisabeth Marie of Bavaria and two younger brothers, Prince Georg of Bavaria and Prince Konrad of Bavaria 

Marriage and issue
She married Joseph August, Archduke of Austria, on 15 November 1893 in Munich  The couple had six children;

Archduke Joseph Francis of Austria, born on 28 March 1895; died on 25 September 1957(1957-09-25) (aged 62)
Archduchess Gisela Auguste Anna Maria, born on 5 July 1897; died on 30 March 1901(1901-03-30) (aged 3)
Archduchess Sophie Klementine Elisabeth Klothilde Maria, born on 11 March 1899; died on 19 April 1978(1978-04-19) (aged 79)
Archduke Ladislaus Luitpold, born on 3 January 1901; died on 29 August 1946(1946-08-29) (aged 44)
Archduke Matthias Joseph Albrecht Anton Ignatius, born on 26 June 1904; died on 7 October 1905(1905-10-07) (aged 1)
Archduchess Magdalena Maria Raineria, born on 6 September 1909; died on 11 May 2000(2000-05-11) (aged 90)

Ancestry
World War I
On the outbreak of war with Italy in 1915, Augusta Maria Louise, though in her 40s and the mother of a son serving as an officer, went to the front with the cavalry regiment of which her husband, the Archduke Josef August, a corps commander, was honorary colonel, and served a common soldier, wearing a saber and riding astride, until the end of the war 
Passage 9:
Maria Teresa, Grand Duchess of Luxembourg
Maria Teresa (born María Teresa Mestre y Batista; 22 March 1956) is the Grand Duchess of Luxembourg as the wife of Grand Duke Henri, who acceded to the throne in 2000 

Early life and education
Maria Teresa was born on 22 March 1956 in Marianao, Havana, Cuba, to José Antonio Mestre y Álvarez (1926–1993) and wife  María Teresa Batista y Falla de Mestre (1928–1988), both from bourgeois families of Spanish descent  She is also the granddaughter of Agustín Batista y González de Mendoza, who was the founder of the Trust Company of Cuba, the most powerful Cuban bank prior to the Cuban Revolution In October 1959, at the time of the Cuban Revolution, Maria Teresa Mestre’s parents left Cuba with their children, because the new government headed by Fidel Castro confiscated their properties  The family settled in New York City,  where as a young girl she was a pupil at Marymount School  From 1961 she carried on her studies at the Lycée Français de New York  In her childhood, Maria Teresa Mestre took ballet and singing courses  She practices skiing, ice-skating and water sports  She later lived in Santander, Spain, and in Geneva, Switzerland, where she became a Swiss citizen In 1980, Maria Teresa graduated from the Graduate Institute of International and Development Studies in Geneva with a degree in political sciences  While studying there, she met her future husband Henri of Luxembourg 

Social and humanitarian interests
Soon after her marriage, Maria Teresa and the then Hereditary Grand Duke Henri established The Prince Henri and Princess Maria Teresa Foundation to help those with special needs integrate fully into society  In 2001, she and her husband created The Grand Duke and Grand Duchess Foundation, launched upon the accession of the couple as the new Grand Duke and Duchess of Luxembourg  In 2004, the Grand Duke Henri and the Grand Duchess Maria Teresa Foundation was created after the merging of the two previous foundations 
In 1997, Maria Teresa was made a special ambassador for UNESCO, working to expand education for young girls and women and help to fight poverty Since 2005, Maria Teresa has been the chairwoman of the international jury of the European Microfinance Award, which annually awards holders of microfinance and inclusive finance initiatives in developing countries  Also, since 2006, Maria Teresa has been honorary president of the LuxFLAG (Luxembourg Fund Labeling Agency), the first agency to label responsible microfinance investment funds around the world On 19 April 2007, the Grand Duchess was appointed UNICEF Eminent Advocate for Children, in which role she has visited Brazil (2007), China (2008), and Burundi (2009) She is a member of the Honorary Board of the International Paralympic Committee and a patron of the Ligue Luxembourgeoise de Prévention et d’Action medico-sociales and SOS Villages d’Enfants Monde  The Grand Duchess and her husband Grand Duke Henri are the members of the Mentor Foundation (London), created under the patronage of the World Health Organization  She is also the president of the Luxembourg Red Cross and the Cancer Foundation  In 2016, she organized the first international forum on learning disabilities in Luxembourg The Grand Duchess supports the UNESCO “Breaking the Poverty Cycle of Women” project in Bangladesh, India, Nepal and Pakistan  The purpose of this project is to improve the living conditions of girls, women and their families  As honorary president of her own foundation, Grand Duchess Maria Teresa set up a project called Projet de la Main Tendue after visiting the Bujumbura prison in 2009 in Burundi  The purpose of this project is to liberate minor people from prison and to give them new opportunities for their future 
In October 2016, Maria Teresa accepted an invitation to join the eminent international Council of Patrons of the Asian University for Women (AUW) in Chittagong, Bangladesh  The university, which is the product of east-west foundational partnerships (Bill and Melinda Gates Foundation, Open Society Foundation, IKEA Foundation, etc ) and regional cooperation, serves extraordinarily talented women from 15 countries across Asia and the Middle East In 2019, Maria Teresa presented her initiative "Stand Speak Rise Up!" to end sexual violence in fragile environments, launched in cooperation with the Women’s Forum and with the support of the Luxembourg government  The conference is in partnership with the Dr  Denis Mukwege Foundation and We Are Not Weapons of War In 2020 the Prime Minister of Luxembourg commissioned a report into the Cour le Grand Ducal following concerns over its working  The report found that up to 1/3 of employees had left since 2015 and that "The most important decisions in the field of personnel management, whether at the level of recruitment, assignment to the various departments or even at the dismissal level are taken by HRH the Grand Duchess ” Several newspaper reports at the time highlighted a 'culture of fear' around the Grand Duchess and "that no-one bar the Prime Minister dared confront her"  The report also raised concerns about the use of public funds to pay for the Grand Duchess' personal website and that this had been prioritised over the Cour's own official website  There were also allegations that staff at the Court has been subject to physical abuse and these reports were investigated by the Luxembourg judicial police 
In February 2023 it was reported by several Luxembourg based media that the Grand Duchess had once again been accused of treating staff poorly during an outfit fitting in October 22  The incident even involved the Prime Minister of Luxembourg having to speak to the Grand Duke and Grand Duchess about the treatment of the staff and commissioning a report into it 

Family
Maria Teresa married Prince Henri of Luxembourg in a civil ceremony on 4 February 1981 and a religious ceremony on 14 February 1981, since Valentine's Day was their favourite holiday  The consent of the Grand Duke had been previously given on 7 November 1980  She received a bouquet of red roses and a sugarcane as a wedding gift from Cuban leader, Fidel Castro  The couple has five children: Guillaume, Hereditary Grand Duke of Luxembourg, Prince Félix of Luxembourg, Prince Louis of Luxembourg, Princess Alexandra of Luxembourg, and Prince Sébastien of Luxembourg, They were born at Maternity Hospital in Luxembourg City 

Honours
National
Luxembourg:
 Knight of the Order of the Gold Lion of the House of Nassau
 Grand Cross of the Order of Adolphe of Nassau

Foreign
Austria: Grand Star  of the Decoration of Honour for Services to the Republic of Austria
 Belgium: Grand Cordon of the Order of Leopold I
 Brazil: Grand Cross of the Order of the Southern Cross
 Denmark: Knight of the Order of the Elephant
 Finland: Grand Cross of the Order of the White Rose of Finland
 France: Grand Cross of the Order of National Merit
 Greece: Grand Cross of the Order of Beneficence
 Italy: Knight Grand Cross of the Order of Merit of the Italian Republic
 Japan: Grand Cordon (Paulownia) of the Order of the Precious Crown
 Latvia: Commander Grand Cross of the Order of the Three Stars
 Netherlands:
Knight Grand Cross of the Order of the Netherlands Lion
Grand Cross of the Order of the Crown
 Norway: Grand Cross of the Order of Saint Olav
Portugal-
 Portuguese Royal Family:
Dame Grand Cross of the Royal Order of Saint Isabel
 Portugal:
Grand Cross of the Order of Christ
Grand Cross of the Order of Saint James of the Sword
Grand Cross of the Order of Infante Henry
Grand Cross of the Order of Camões
 Romania: Grand Cross of the Order of the Star of Romania
 Spain: Dame Grand Cross of the Order of Charles III
 Sweden:
Member of the Royal Order of the Seraphim
Commander Grand Cross of the Royal Order of the Polar Star
Recipient of the 50th Birthday Badge Medal of King Carl XVI Gustaf

Footnotes
External links
 Media related to Maria Teresa, Grand Duchess of Luxembourg at Wikimedia Commons
Official website
The Mentor Foundation charity website
Passage 10:
Gertrude of Bavaria
Gertrude of Bavaria (Danish and German: Gertrud; 1152/55–1197) was Duchess of Swabia as the spouse of Duke Frederick IV, and Queen of Denmark as the spouse of King Canute VI 
Gertrude was born to Henry the Lion of Bavaria and Saxony and Clementia of Zähringen in either 1152 or 1155  She was married to Frederick IV, Duke of Swabia, in 1166, and became a widow in 1167  In 1171 she was engaged and in February 1177 married to Canute of Denmark in Lund  The couple lived the first years in Skåne  On 12 May 1182, they became king and queen  She did not have any children  During her second marriage, she chose to live in chastity and celibacy with her husband  Arnold of Lübeck remarked of their marriage, that her spouse was: "The most chaste one, living thus his days with his chaste spouse" in eternal chastity 
Context 3: Passage 1:
Sir Hew Dalrymple-Hamilton, 4th Baronet
Sir Hew Dalrymple-Hamilton, 4th Baronet (1774 – 23 February 1834) was a British politician 
He was the eldest son of Sir Hew Dalrymple, 3rd Baronet  He succeeded his father in February, 1800 and took the additional surname of Hamilton 

He matriculated at Christ Church, Oxford on 24 October 1791  On 16 June 1814, he was made a DCL He served in the British Army as an Ensign in the 1st Foot Guards from 1792, as a lieutenant and captain from 1794 and as a major in the 28th Light Dragoons from 1799 to c 1800 
He was the Member of Parliament (MP) for Haddingtonshire 1795–1800, Ayrshire 1803-1807 and 1811–1818 and Haddington Burghs 1820–1826 He died at Bargany in 1834  He had married the Hon  Jane Duncan, daughter of Adam Duncan, 1st Viscount Duncan and had one daughter  He was succeeded in the baronetcy by his brother Sir John Hamilton-Dalrymple, 5th Baronet 
Passage 2:
Sir John Gage (15th-century landowner)
Sir John Gage was a major landowner and grandfather of the Tudor courtier Sir John Gage KG 

Background
He was a son of John Gage and his wife Joan, heiress of John Sudgrove of Sudgrove, Gloucestershire  The marriage of his parents appears in a pedigree that was compiled in 1627 from family deeds by Richard Hoskins of the Inner Temple  In 1416-17, John Sudgrove settled his lands at Miserden and Sudgrove on John and Joan Gage and Alice, his other daughter, with her husband John Bovey  Joan survived her husband and, on 10 August 1438, she and her son John conveyed their lands in Cirencester, Nether Siddington, Miserden and Brimsfield to trustees  That transaction may have taken place in connection with the marriage of John the son 

Marriage and family
John married Eleanor, a daughter of Thomas St Clere and his wife, Margaret Hoo   As Sir Thomas had no son, his three daughters were co-heirs to the extensive properties that he held at the time of his death in 1435 Sir John and Eleanor were the parents of:

William Gage
John GageIn December 1445, the properties formerly held by Thomas St Clere were released from the King's hands into which they had been taken, despite Sir Thomas' attempts to deprive the King of his rights over the property and control of the marriages of its heiresses  By that stage, all three of Sir Thomas' daughters were married A deed dated 8 July 1446 set out the agreed partition of Sir Thomas' lands between his three daughters and their husbands  The agreement involved John and Eleanor Gage receiving the following share:

In Sussex: The manors of Heighton St Clere, Hoathly & Tarring St Clere, with the advowson of Tarring 
In Surrey: The manors of Burstow, Hedgecourt and Marden 
In Kent: The manor of Wodeland  “Woodland alias Week” was a manor in the parish of West Kingsdown 
In Buckinghamshire: The manor of Aston Chiverey in the parish of Aston Clinton 
In Northamptonshire: The manor of Old (alias Wold) 

Career
John Gage was appointed Escheator of Northamptonshire and Rutland in 1446 and described as "late escheator" of Rutland in 1448  In November 1454, "John Gauge" was one of six men appointed to enquire into various details of the manor of Geddington  In July 1461, he was granted the post of Receiver of the Duchy of Lancaster lands in Northamptonshire, Bedfordshire and Huntingdonshire "during good behaviour" Evidence of how Hedgecourt Manor was managed by Sir John and his family has been extensively analysed by the Felbridge & District History Group 

Death and legacy
Inquisitions post mortem that were held after Sir John's death, which took place on 3 September 1475, established the contemporary extent of his landholdings  
On 28 November 1475, orders were issued to the escheators for Buckinghamshire, Surrey and Sussex stating that William Gage was the son and heir of Eleanor (late the wife of John Gage and one of the daughters and heirs of Thomas St Clere) and that William was now to have full seisin of those lands  The orders confirmed that Sir John had survived his wife and after her death held her lands for his own lifetime by courtesy of England Various accounts, in Burke's Peerage and elsewhere, report the year of Sir John's death as 1486  They appear to be based on a reference in the Visitation of Gloucestershire 1623 to a statement taken from "Howard 17, Herald's College" to the effect that his inquisition post mortem was held on 30 September 26 Edward IV (i e  1486)  However, 1486 cannot be the correct year because the records of his inquisitions post mortem are dated 1475  Moreover, "26 Edward IV" is not a valid Regnal year, as Edward IV died on 9 April 1483 
Passage 3:
Thomas Gladstones
Thomas Gladstones (3 June 1732 – 12 May 1809) was a Scottish flour merchant and philanthropist  He was the father of Sir John Gladstone and the grandfather of the British prime minister William Ewart Gladstone 

Early life
Born at the farm of Mid Toftcombs in the parish of Biggar, Lanarkshire, Thomas Gladstones was the fourth son of John Gladstones (c 1696–1757), a miller and farmer at Mid Toftcombs  John Gladstones also served as an elder of Biggar Kirk  Thomas's elder brother, James, was a Church of Scotland minister and rector of Leith Academy 
In 1746, when he was aged 14, Thomas's father arranged for him to be apprenticed to Alexander Somerville, a wine merchant in Leith  When Thomas completed his apprenticeship he decided that the corn trade offered better prospects than did wine, and he established himself in Leith as a provision merchant and corn dealer, eventually trading at both wholesale and retail 
He died in 1809 at his home on Coalhill in Leith 

Marriage and family
On 21 April 1762, Gladstones married Nelly Neilson (1738–1806), the daughter of Walter Neilson, a merchant from Springfield near Edinburgh  They had sixteen children together, the second-born, and eldest son, being Sir John Gladstones 

Career
Thomas Gladstones' corn business prospered during the 1760s



ground_truth: Ona Munson

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 2: 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  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  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
Context 3:  His business operated from a shop at the front of his house on Coalhill in Leith  Thomas became the lessee of the Dalry paper mill, where he appointed his brother-in-law, James Murray, as superintendent  He also bought and sold grain from the Baltic ports, was an investor in a Leith whaling syndicate, owned a number of trading ships, and had an interest in the sulfuric acid plants at Barrowmuirhead, near Leith  His provisions business focused on provisioning ships with butter, oranges, wine, vinegar and other goods 
Thomas Gladstones was a Whig and an elder in the Church of Scotland  He died at his home in Leith in May 1809, aged 86  He was buried in the churchyard of North Leith Parish Church 

See also
Gladstone baronets
Passage 4:
John Dalrymple, 10th Earl of Stair
John Hamilton Dalrymple, 10th Earl of Stair, KT (1 April 1819 – 3 December 1903), styled Viscount Dalrymple from 1853 until 1864, was a Scottish peer and politician, who served as Governor of the Bank of Scotland for thirty-three years 

Biography
He was the eldest son of North Dalrymple, 9th Earl of Stair, and married Louisa-Jane-Henrietta-Emily, eldest daughter of the 3rd Duc de Coigny, in 1846  They had 6 children:

John Dalrymple, 11th Earl of Stair (1848–1914)
Lady Jane Georgina Dalrymple (1850 − 8 June 1914; twin), married Sir Arthur Vivian and had issue
Lady Anne Henrietta Dalrymple (1850 – 18 Feb 1899; twin), married Major-Gen  William Vesey Brownlow and had no issue
Hon  North de Coigny Dalrymple-Hamilton (31 October 1853 – 9 November 1906), married Marcia Liddell and had issue, including Frederick Dalrymple-Hamilton
Hon  Sir Hew Hamilton Dalrymple KCVO (27 September 1857 – 11 July 1945), unmarried and had no issue
Rev  the Hon  Robert McGill Dalrymple (b  1862), Vicar of St  Stephen's Church, Sneinton, NottinghamHe represented Wigtownshire in Parliament from 1841 to 1856  He became Earl of Stair on the death of his father in 1864, and served as Lord Lieutenant of Ayrshire from 1870 to 1897  From 1870 to 1903 he was the Governor of the Bank of Scotland  After it was proposed in 1877, he successfully opposed the southward extension to Drummore of the Portpatrick and Wigtownshire Joint Railway  He also served as Lord High Commissioner to the Church of Scotland from 1869 to 1871  Between 1896 and 1902 he served as President of the Edinburgh conservation body the Cockburn Association 
Passage 5:
Sir Hew Dalrymple, 3rd Baronet
Sir Hew Dalrymple, 3rd Baronet (26 October 1746 – 13 February 1800) was the Member of Parliament (MP) for Haddingtonshire 1780–1786 

Early life
He was the son of Sir Hew Dalrymple, 2nd Baronet  He succeeded his father to the baronetcy in 1790 

Career
He was an army officer, serving as an ensign in the 31st Foot from 1763, a captain in the 1st Foot from 1768, and the 92nd Foot from 1779 He stepped down as MP in 1786, when he was appointed Auditor of the Excise in Scotland 1786, holding this post until his death  He changed his name to Hamilton-Dalrymple in 1796 when he inherited the estate of Bargany from his uncle, John Hamilton (formerly Dalrymple) 

Personal life
He married in 1770 his cousin Janet, the daughter of William Duff of Crombie, sheriff depute of Ayrshire, and had eight sons and four daughters, including Janet Dalrymple (wife of Robert Haldane-Duncan, 1st Earl of Camperdown)  He was succeeded by his eldest surviving son, Sir Hew Dalrymple-Hamilton, 4th Baronet 
Passage 6:
John Dalrymple, 5th Earl of Stair
John Dalrymple, 5th Earl of Stair (1720–1789) was a Scottish soldier and politician 

Life
He was eldest son of George Dalrymple of Dalmahoy, fifth son of John Dalrymple, 1st Earl of Stair, and a baron of the court of exchequer of Scotland, by his wife Euphame, eldest daughter of Sir Andrew Myrton of Gogar  He passed advocate of the Scottish bar in 1741, but he entered the army and attained the rank of captain  He was a favourite with his uncle John Dalrymple, 2nd Earl of Stair, who having in 1707 obtained a new charter containing, in default of male issue, a reversionary clause in favour of any one of the male descendants of the first Viscount Stair whom he should nominate, selected him to succeed him in the states and honours on his own death  He therefore, in 1745, assumed the title, and voted as Earl of Stair in 1747, but by a decision of the House of Lords in 1748 the titles were assigned to his cousin James Dalrymple, who became 3rd Earl of Stair John Dalrymple succeeded to the title as fifth earl on the death of his cousin William, William Dalrymple-Crichton, 5th Earl of Dumfries, 4th Earl of Stair, on 27 July 1768  He was chosen a representative peer in 1771, and in the House of Lords opposed the measures which led to the American War of Independence  He presenting a petition on behalf of Massachusetts in 1774  In the general election of 1774 he was not returned to parliament Stair died on 13 October 1789 

Works
Stair wrote pamphlets, mainly on national finance  Their gloomy character and their predictions, earned for him, according to Horace Walpole, the nickname "Cassandra of the State"  They included:
The State of the National Debt, Income, and Expenditure, 1776 
Considerations preliminary to the fixing the Supplies, the Ways and Means, and the Taxes for the year 1781, 1781 
Facts and their Consequences submitted to the Consideration of the Public at large, 1782 
An Attempt to balance the Income and Expenditure of the State, 1783 
An Argument to prove that it is the indispensable Duty of the Public to insist that Government do forthwith bring forward the consideration of the State of the Nation, 1783 
State of the Public Debts, 1783 
On the Proper Limits of Government's Interference with the Affairs of the East India Company, 1784 
Address to, and Expostulation with, the Public, 1784 
Comparative State of the Public Revenue for the years ending on 10 October 1783 and 10 Oct  1784, 1785 

Family
By his wife, a daughter of George Middleton, banker, London, Dalrymple had one son John, who succeeded him as sixth earl 

Notes
Attribution This article incorporates text from a publication now in the public domain: Stephen, Leslie, ed



ground_truth: Vienna

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 paternal grandfather of Sir John Hamilton-Dalrymple, 5Th Baronet?

The following are given passages.
Context 3:  (1888)  "Dalrymple, John (1720-1789)"  Dictionary of National Biography  Vol  13  London: Smith, Elder & Co 

External links
Works by John Dalrymple at Project Gutenberg
Works by or about John Dalrymple, 5th Earl of Stair at Internet Archive
Passage 7:
Sir John Hamilton-Dalrymple, 5th Baronet
Sir John Hamilton-Dalrymple, 5th Baronet (2 December 1780 – 26 May 1835) was a Scottish politician and the MP for Haddington Burghs between 1805 and 1806  He was the second son of Sir Hew Dalrymple, 3rd Baronet, and the younger brother of Sir Hew Dalrymple-Hamilton, 4th Baronet An army officer, he served as a cornet in the 28th Light Dragoons in 1795, rising through the ranks of lieutenant in 1797, captain in 1800 and then going on to half-pay in 1802 during the Peace of Amiens  He became captain-commandant of the North Berwick Volunteers in 1803, and then a captain in the 73rd Regiment of Foot on the resumption of the war with France  He changed regiments, joining the 42nd Regiment of Foot as a captain in 1803, and by 1805 was a major in the 64th Regiment of Foot  He became a lieutenant-colonel in the 10th Regiment of Foot later that year, and served with the 22 Regiment of Foot in 1806  He became a brevet colonel in 1813 and a major-general in 1819  He served for a time at Madras and inherited his brother's baronetcy on 23 February 1834  He had married Charlotte Warrender, the daughter of Sir Patrick Warrender, on 30 July 1806  They had two sons and five daughters  He was succeeded in the baronetcy by his son, Hew 

Citations
Passage 8:
John Fletcher (American football)
John Hamilton Fletcher, Sr  (March 31, 1901 - June 4, 1977) was a college football player 

College Football
Fletcher was a prominent fullback for the Georgia Bulldogs of the University of Georgia, selected All-Southern in 1922   Walter Camp gave him honorable mention on his All-America team  In the game against Tennessee in 1923, one account reads "he rammed the ball almost the entire length of the field on two occasions " He was elected captain of the 1924 team, but went down with injury and had his place at captain filled by tackle Jim Taylor  At Georgia he was a member of Alpha Tau Omega 
Passage 9:
John Dalrymple, 8th Earl of Stair
General John Hamilton Dalrymple, 8th Earl of Stair, KT (14 June 1771 – 10 January 1853), known as Sir John Dalrymple, 5th Baronet, between 1810 and 1840, was a British soldier and politician 

Background
Stair was the son of Sir John Dalrymple, 4th Baronet, and Elizabeth, daughter of Thomas Hamilton-Makgill and heiress and representative of the Viscounts of Oxfuird (or Oxenfoord)  In 1810 he succeeded in the baronetcy, and inherited Oxenfoord Castle, on the death of his father   In March 1840 following the death of his 2nd cousin John Dalrymple, 7th Earl of Stair, who died without issue, he inherited the title of Earl of Stair 

Military and political career
Stair was a general in the British Army  In 1832 he was returned to Parliament for Midlothian, as seat he held until 1835  He succeeded a distant relative as eighth Earl of Stair in 1840  As this was a Scottish peerage it did not entitle him to an automatic seat in the House of Lords  However, in 1841 he was created Baron Oxenfoord, of Cousland in the County of Edinburgh, in the Peerage of the United Kingdom, which gave him a seat in the upper chamber of parliament  The peerage was created with special remainder to his younger brother  The choice of title was in honour of the title held by his mother's family, Viscount of Oxfuird of Oxenfoord  In 1847 he was further honoured when he was appointed a Knight of the Thistle 

Family
Lord Stair was twice married  He married firstly Harriet, daughter of Reverend Robert Augustus Johnson, in 1795  After her death in 1823 he married secondly the Hon  Adamina, daughter of Admiral Adam Duncan, 1st Viscount Duncan, in 1825  Both marriages were childless  Lord Stair died in January 1853, aged 81, and was succeeded in his titles (in the barony of Oxenfoord according to the special remainder) by his younger brother, North Dalrymple  The Countess of Stair died in August 1857 
Passage 10:
Sir Armine Wodehouse, 5th Baronet
Sir Armine Wodehouse, 5th Baronet (c  1714 – 21 May 1777), was a British Tory Member of Parliament 
Wodehouse was the son of Sir John Wodehouse, 4th Baronet, and Mary Fermor  His unusual first name reflects his connection with the Armine Baronets through his grandmother Anne Armine  He was elected to the House of Commons for Norfolk in 1737, a seat he held until 1768  In 1754 he succeeded his father in the baronetcy and to the family seat of Kimberley Hall in Norfolk 
Wodehouse married Letitia Bacon, daughter of Sir Edmund Bacon, 6th Baronet, in 1738  He died in 1777 and was succeeded in the baronetcy by his eldest son John, who was created Baron Wodehouse in 1797 and who was the great-grandfather of statesman John Wodehouse, 1st Earl of Kimberley  Wodehouse's second son Reverend Philip Wodehouse (1745–1811) was the great-grandfather of the author P  G  Wodehouse while his third son Thomas Wodehouse was the grandfather of the colonial administrator Sir Philip Wodehouse 



ground_truth: Sir Hew Dalrymple, 2nd Baronet