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  "text": "Passage 1:\nAlexandru Cristea\nAlexandru Cristea (1890–1942) was the composer of the music for \"Limba Noastră\", current national anthem of Moldova.\n\nBiography\nA 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.\n\nCreation\nHis 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”.\nPassage 2:\nAlonso Mudarra\nAlonso 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.\n\nBiography\nThe 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.\n\nMudarra 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.\nCompositions 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.\n\nReferences and further reading\nJohn Griffiths: \"Alonso Mudarra\", Grove Music Online ed. L. Macy (Accessed March 24, 2005), (subscription access)\nGustave Reese, Music in the Renaissance.  New York, W.W. Norton & Co., 1954.  ISBN 0-393-09530-4\nGuitar Music of the Sixteenth Century, Mel Bay Publications (transcribed by Keith Calmes)\nThe Eight Masterpieces of Alonso Mudarra, Mel Bay Publications (transcribed by Keith Calmes)\nFantasia VI in hypermedia (Shockwave Player required) at the BinAural Collaborative Hypertext\nJacob Heringman and Catherine King: \"Alonso Mudarra songs and solos\". Magnatune.com (http://www.magnatune.com/artists/albums/heringman-mudarra/hifi_play)\n\nExternal links\nFree scores by Alonso Mudarra in the Choral Public Domain Library (ChoralWiki)\nFree scores by Alonso Mudarra at the International Music Score Library Project (IMSLP)\nPassage 3:\nWalter Robinson (composer)\nWalter 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.\nPassage 4:\nPeter Dodds McCormick\nPeter 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\".\n\nEarly life\nPeter Dodds McCormick was born to Peter McCormick and Janet (née Dodds) at Port Glasgow, Scotland in 1833.\n\nBiography\nPeter 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:\n\nOne 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.\n\nDeath\nMcCormick 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.\nPassage 5:\nFranz Schubert\nFranz 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).\nBorn 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.\nAppreciation 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.\n\nBiography\nEarly life and education\nFranz 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.\n\nAt 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:\n\nI 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.\nHis 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).\n\nTeacher at his father's school\nAt 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.\"\n\nSupport from friends\nSignificant 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.\nIn 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.\nIn 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.\"\n\nMusical maturity\nThe 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.\n\nThe 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.\n\nLast years and masterworks\nDespite 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:\n\nThe 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.\n\nFrom 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.\n\nFinal illness and death\nIn 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.\nIn 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\").\n\nMusic\nSchubert 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.\n\nStyle\nIn 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.\"\n\nInstrumental music, stage works and church music\nThat \"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.\n\nAlthough 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\".\n\nLieder and art songs\nIt 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.\n\nAmong 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.\"\n\nPublication – catalogue\nWhen 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.\n\nComplete editions\nFrom 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.\n\nDeutsch catalogue\nSince 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).\n\nNumbering issues\nConfusion 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:\n\nNo. 7: E major, D 729\nNo. 8: B minor, D 759 Unfinished\nNo. 9: C major, D 944 Great C major\nNo. 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.\n\nInstruments\nAmong 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.\n\nRecognition\nA 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.\"\n\nThe 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.\nSchubert'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.\nThe 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.\n\nTributes by other musicians\nFrom 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.\n\nCommemorations\nIn 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.\n\nIn film and television\nSchubert 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).\nSchubert'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.\nSchubert'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.\n\nFootnotes\nPassage 6:\nMichelangelo Faggioli\nMichelangelo 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.\nPassage 7:\nTarcisio Fusco\nTarcisio 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.\n\nSelected filmography\nBoccaccio (1940)\nFree Escape (1951)\nAbracadabra (1952)\nThe Eternal Chain (1952)\nBeauties in Capri (1952)\nMilanese in Naples (1954)\nConspiracy of the Borgias (1959)\nPassage 8:\nAlexander Courage\nAlexander 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.\n\nEarly life\nCourage 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.\n\nCareer\nCourage 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.\nHe 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.\nCourage 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.\nThe 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.\"\nCourage frequently collaborated with John Williams during the latter's tenure with the Boston Pops Orchestra.\n\nFamily\nAt the age of 35, Courage married Mareile Beate Odlum on October 6, 1955.\nMareile, 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.\nMareile'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.\nAside 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.\nThough 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.\nAlexander 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.\n\nStar Trek theme\nCourage 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.  \nCourage went on to score incidental music for episodes \"The Man Trap\" and \"The Naked Time\" and some cues for \"Mudd's Women.\"\nCourage 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. \nAfter 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.\nNotably, 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.\nFollowing 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.\n\nDeath\nCourage 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.\nPassage 9:\nGretchen am Spinnrade\n\"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.\n\nGerman text\nAnalysis\nThe 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.\n\nNotable recordings\nNotable recordings include those by\n\nElly Ameling and Jörg Demus\nElly Ameling and Dalton Baldwin\nBarbara Bonney and Geoffrey Parsons\nJanet Baker and Gerald Moore.\nAnne 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.\nPassage 10:\nPetrus de Domarto\nPetrus 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.\n\nLife\nDomarto'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.\n\nMusic and reputation\nDomarto'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.\nThe two surviving secular compositions by Domarto are both rondeaux, formes fixes of the type popular with the Burgundian School.\n\nWorks\nMasses\nMissa Spiritus almus (four voices)\nMissa sine nomine (three voices)\n\nSecular\nRondeaux, each for three voices:\n\nChelui qui est tant plain de duel\nJe vis tous jours en esperance\n\nNotes",
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      "question": "Where was the place of death of the composer of song Gretchen Am Spinnrade?"
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