Fröhlich, Anna

dürften die vier Schwestern Fröhlich für die Kunst, na- mentlich für den Gesang, mehr gewirkt haben als so man- che Europa=berühmte Amazone von der Kehle, und wur- den in dankbarer Anerkennung ihrer regen Theilnahme, ihrer unermüdlichen Bestrebungen für diese classischen Concerte von allen Mitgliedern dieses Kunstvereines als die Stützen desselben betrachtet und bewundert.“

(“The participants [at the Kiesewetters’ house] were, as usual, professional musicians or exceptional amateur mu- sicians from the capital []. The women’s choir – sopranos and altos – was made up of the more senior sin- ging students from the local conservatorium, directed by their teacher, Miss Nanette Fröhlich [Anna Fröhlich]. Re- cently, the solo parts have been entrusted to her private students or to her sister Josephine Fröhlich, who rise sparkling to the occasion every time. Indeed, the four Fröhlich sisters may have done more for art, and especial- ly for the art of song, than many a Europe-famous vocal Amazon, and were thankfully appreciated for their active participation, their tireless efforts for these classical con- Anna Fröhlich, Portrait von Emanuel Peter, 1830 certs, by all the members of this art society, who consider and admire them as the pillars of said society.”) Anna Fröhlich Birth name: Maria Anna Fröhlich („Aus Wien“ [Report on house concerts by Raphael Ge- org Kiesewetter]. In: Jahrbücher des Deutschen National- * 19 September 1793 in Wien, Österreich vereins für Musik und die Wissenschaft 4.1842, pp. † 11 March 1880 in Wien, Österreich 311-312, see also Waidelich 1997)

The date of birth is unclear: both the 19th and the 30th Profile of November, 1793, have been named. It also cannot be established if this date refers to the date of baptism and The singer and pianist Anna Fröhlich features in music if the date of birth is sometime earlier. history mostly as a member of Schubert’s friendship circ- le. However, of equal importance is her formative role in Singer (Soprano), Pianist, Singing Teacher, Piano the history of the ‘Gesellschaft der Musikfreunde’ [Socie- Teacher, Patron, Correspondent ty of Music Friends] in Vienna and in the tradition of pri- vate music making. Together with her sisters, she hosted „Die Mitwirkenden [im Hause Kiesewetter] waren und numerous musical evenings in her home. As the eldest of sind gewöhnlich Künstler vom Fache oder doch ausge- the Fröhlich sisters and an active singing teacher, Anna zeichnete Dilettanten der Hauptstadt [Wien]. Der weibli- contributed significantly to the family’s wellbeing. che Chor – Soprani und Alti – besteht aus den Gesangs- schülerinnen der höhern Classe des hiesigen Conservato- Anna Fröhlich’s musical training began with her mother riums unter der unmittelbaren Leitung ihrer Lehrerin, and continued through personal encounters within va- des Fräuleins Nanette Fröhlich [d.i. Anna Fröhlich]; die rious musical circles, through regular music making in Solostimmen wurden in der letztern Zeit den Privat- different contexts and through the almost daily outings Schülerinnen der Letzern oder ihrer Schwester Josephi- to the and the opera. In this way, she grew into ne Fröhlich anvertraut, und dieses Vertrauen nie ge- the musical life around her. Her active participation as a täuscht, jedesmal glänzend gerechtfertigt. Ueberhaupt pianist and singer in private and semi-public concert eve- nings, and her spontaneous singing and playing of newly

– 1 – Fröhlich, Anna composed music, show a life centred around music. Not As a pianist, Anna Fröhlich’s training was based on the only did she diligently nurture relationships with artisti- Johann Nepomuk Hummel method. At this point, howe- cally and culturally likeminded people, but such contacts ver, it is not clear whether she worked with him personal- formed an integral part of her everyday life. ly or with his ‘Klavierschule’, published in 1828. Accord- Her appearances as a singer show a clear focus on reper- ing to the source: Sie “benützte noch besonders Hum- toire for multiple voices (duets, trios, quartets). Even the mels Schule, wurde dadurch eine ausgezeichnete Pianis- Schubert compositions that were inspired or commissio- tin” (“she used Hummel’s School especially, and thus be- ned by Anna fall into this category. One sees her commit- came an outstanding pianist”; Schilling, 1842, p. 104). ment to the arts not just in her support for Schubert and his works, but in her way of thinking in general. As early as 1814, Anne Fröhlich appeared in the newly formed ‘Gesellschaft der Musikfreunde’ [Society of Fri- Cities an countries ends of Music] as a “practising member” (Blaha, 2002, p. Apart from occasional trips for personal reasons such as 41; see also ‘Monatbericht’ 1829) and was connected to stays at a health spa or visits to the countryside, Anna the society and the conservatorium for decades, not only Fröhlich did not leave Vienna. as a participant in their musical events but, in due cour- se, as a singing teacher. In April 1819, the ‘Konservatori- Biography um der Gesellschaft der Musikfreunde’, as it is known to- Anna Fröhlich was the eldest of the four Fröhlich sisters day, created a third singing class for her, the highest le- (Barbara Fröhlich, married name Bogner, Katharina vel offered at the time. Anna’s sister, Josephine Fröhlich, Fröhlich, Josephine Fröhlich) and was born in Vienna on was one of her students there in 1819/20. Numerous posi- September 19th, 1793. Her parents, Mathias (1765-1843) tive reports about Anna’s students’ performances testify and Barbara, nee Mayr (1764-1841) came from Potten- to her competence as a singing teacher, for example: dorf in Lower and lived in Vienna/Weiden, a sub- “Dieser Erfolg [der Schülerin Francisca Goldberg] ge- urb of Vienna at the time, where they ran business main- reicht der Lehrerinn für die Classe der höheren Ausbil- taining wine barrels. Her father called himself a ‘Wein- dung im Gesang, Dlle. Anna Fröhlich, um so mehr zur schlagmacher’, but was also involved in charity works as Ehre, als die Schwierigkeit sehr groß ist, noch größtent- a so-called ‘Armenvater’. From 1811, the family lived in heils physisch und psychisch unentwickelte Mädchen in inner-city Vienna at Singerstraße 18 (still standing to- einer Kunst zu bilden, bey welcher die Überwindung me- day), although their mother initially lived separately chanischer Schwierigkeiten nicht allein hinreicht, son- from her husband and daughters. From 1826, the family dern wo unmittelbar das Herz zum Herzen sprechen lived at Spiegelgasse 21 (no longer standing today, see muß, und wobey selbst der Unterricht immer durch die Blaha, 2002, p.35-37), where Franz Grillparzer later took nöthige Rücksicht auf den niedrigen Grad der Entwick- a room in 1849, following the deaths of Barbara and Ma- lung gehemmt ist.” (“This success [of the student Francis- thias Fröhlich. Anna, Katharina and Josephine Fröhlich ca Goldberg] is of even greater credit to her teacher, Miss looked after him until his death in 1872 (see especially → Anna Fröhlich, as it is very difficult to train young girls, Katharina Fröhlich). The homes in Singerstraße and Spie- who, for the most part, are still physically and psychologi- gelgasse were two of Vienna’s musical centres, regularly cally undeveloped, in an art where overcoming mechani- frequented by artists, intellectuals and . cal difficulties alone does not suffice, but rather, the he- art must speak directly to other hearts, and where the More on Biography early stage of development must always be taken into ac- According to letters, the children were introduced to mu- count in lessons”; Der Sammler, 97 from August 14th, sic through their mother and received “elementary les- 1834, p. 389). sons” (Schilling, 1840, p. 69) in Vienna from the choir- master at Karlskirche, Michael Hanss (1767-1825). Giu- Anna Fröhlich taught at the conservatorium for around seppe Siboni (1780-1839), who first visited Vienna from 35 years, with a break while the school was closed betwe- 1810-1814 and remained friendly with the family for en 1848 and 1851, until her somewhat involuntary retire- many years, has been named as a singing teacher to the ment in 1854 (Pohl, 1871, p. 38; Hennenberg, 2013, pp. four sisters, although there is no evidence of regular les- 380-382). In conflicts that arose with the running of the sons. society and at the conservatorium, Anne Fröhlich was

– 2 – Fröhlich, Anna supported by friends of the family, Franz Grillparzer and selbst Partituren vom Blatte. Auch singt sie alles Vorge- Leopold Sonnleithner (see below; Sauer, 1924, pp. legte prima vista.” (“The oldest sister plays with great 257-258). Despite this support, she ultimately fought in skill and precision on the pianoforte, and sight-reads bet- vain against the rising pressure for her to focus her tea- ter and more correctly than some Kapellmeister. Also, ching more on opera singing (Blaha, 2002, p. 246; Hen- she sings everything presented to her ‘prima vista’.”; Cas- nenberg, 2013, pp. 380-381). Her successor was the telli, 1824, p. 128) much younger opera singer and belcanto specialist Mat- hilde Marchesi (1821-1913). Parallel to her teaching at On December 1st, 1820, the legendary first performance the conservatorium and in the time following her retire- of Schubert’s “Erlkönig” took place in front of an audien- ment, Anna Fröhlich had numerous private students. ce, sung by August Ritter von Gymnich with Anna Fröhli- ch at the piano. Schubert was a regular guest at the “mu- Between 1818 and 1840, Anna Fröhlich was regularly na- sical exercises” at the Sonnleithners’, where he would oc- med as a singer and pianist in the Gesellschaft der Musik- casionally accompany performances of his own songs on freunde’s so-called ‘Abend-Unterhaltungen’ [Evening En- the piano. Among the musicians and singers who perfor- tertainments] that took place between 1818 and 1856, fea- med there were, in addition to Anna Fröhlich, her sisters turing chamber music and vocal music for solo and multi- Barbara and Josephine (Böcking, 1862, pp. 374-375). ple voices. She also appeared at public and private occasi- ons as a pianist and singer. As the eldest of the four sisters, it was Anna Fröhlich who initiated social events in their home. She arranged The Fröhlich sisters’ friendship with be- for their regular guest, Franz Schubert, to compose vocal gan in around 1820, having met through Leopold von works for her students (a women’s choir, for example) Sonnleithner (1791-1873), a cousin of Grillparzer’s. Sonn- and for her sister Josephine (see below). leithner, who was himself part of a prominent Viennese The story of how Schubert’s “Ständchen” D920 (“Zö- musical family and one Schubert’s first supporters, had gernd leise”) came about goes back to old narratives of brought the sisters some of Schubert’s songs. Soon Schu- an aging Anna Fröhlich and can be found in several va- bert himself was a guest in their home in Singerstraße rious versions (Breuning, 1884; Lux, 1912). In actual and later also in Spiegelgasse (Breuning, 1884, p. 1). Besi- fact, Anna Fröhlich commissioned the text for a ‘Ständ- des Franz Schubert and Franz Grillparzer, various mem- chen’ [serenade] from Franz Grillparzer and the music bers of Vienna’s musical circles could regularly be found from Schubert in July 1827. It was intended as a birthday visiting the Fröhlich’s home, including Leopold Sonn- gift for her student, Louise Gosmar (1803-1858; later leithner and his brother Moritz Sonnleithner Leopold Sonnleithner’s wife), to be performed by Anna’s (1805-1836), Ferdinand Walcher von Uysdael students with Josephine Fröhlich. Schubert initially wro- (1799-1873) and Johann Karl Schoberlechner te a piece for male choir but, on Anna Fröhlich request, (1800-1879); amongst others, Walcher has been named quickly wrote a second version for Gosmar’s colleagues, as Anna’s bridegroom (Sauer, 1894, p. 85; see also Jose- who then performed it outdoors at the Gosmar’s country phine Fröhlich). house in Döbling on August 11th, 1827. The ‘Ständchen’ was performed publicly by Josephine Fröhlich as part of Among the private musical events in Vienna’s high socie- the “Privat Concertes, welches Franz Schubert am 26. ty that Anna Fröhlich attended, either as an artist or a gu- März” (“Private Concert, [given] by Franz Schubert on est, were those at the Kiesewetter and the Sonnleithner March 26th”) 1828 in the Gesellschaft der Musikfreun- homes. While the evenings at Raphael Georg Kiesewet- de’s society hall (at that time with the address Tuchlau- ter’s mostly featured older music, Schubert was often to ben Nr. 558; facsimile of the programme notes in Deut- be heard at the Sonnleithners’. Anna Fröhlich’s students sch, 1913, p. 178). appeared frequently at the Kiesewetters’ and were indis- pensable to the performances that Anna Fröhlich led For decades, Anna Fröhlich championed Franz Schubert from the piano from 1825 to 1827 (Kier, p. 185). Concer- and his work in many ways. In 1829, she appeared as one ning Anna Fröhlich: “Die älteste Schwester besitzt eine of the commissioners of Schubert's “Schwanengesang” D große Fertigkeit und Präzision auf dem Pianoforte, dabei 957 (Deutsch, 1964, p. 577). She arranged for his vocal spielt sie besser und richtiger als mancher Kapellmeister works to be performed and organized charity concerts,

– 3 – Fröhlich, Anna e.g. for the financing of his tombstone. These concerts tential patrons. Franz Schubert and Franz Grillparzer, as took place on January 30th and March 5th, 1829. A con- well as Leopold Sonnleithner and Marie von Ebner- cert programme for “Freytag den 30. Jänner 1829 [Fri- Eschenbach, were among her acquaintances. She repea- day the 30th of January, 1829]”, drawn up by Anna Fröh- tedly inspired Schubert to compose works for multiple lich reads: “Einladung zu einem Privat-Concerte, wel- voices. After Schubert's death, Anna Fröhlich worked to ches die Unterzeichnete […] geben wird, wovon die eine organise and host charity concerts dedicated to the com- Hälfte der Einnahmen zur Errichtung eines Monumen- poser and his work, but also to support active artists. Her tes für den verstorbenen Compositeur Franz Schubert, commitment to charity work can be seen in the founding die andere zu einem wohlthätigen Zweck bestimmt ist of the ‘Schwester-Fröhlich-Stiftung’ (1879) shortly before (“Invitation to a private concert that the undersigned will her death. give, [...] of which half of the proceeds will be used to More on Appreciation erect a monument to the deceased composer Franz Schu- bert and the remaining half for charitable purposes.”) Anna Fröhlich quickly became highly recognised as a vo- Schubert’s “Mirjams Siegegesang” D942 “vorgetragen cal teacher at the conservatorium. In her prime, her ped- von Herrn Titze und dem Chor [performed by Mr Titze agogical skills and singing methods gained her regular and the choir]” is the first item on the concert program- press attention. She was just as committed to the estab- me, accompanied by two pianos, presumably played by lishment and pedagogical vision of the singing school, Anna Fröhlich and Johann Baptist Jenger (1797-1856; even as she was made to fight for her job in the years be- facsimile of the programme notes in Deutsch, 1913, p. fore her involuntary retirement. After 1850 Anna Fröhli- 180). The piece was composed by Schubert to a text by ch’s training of opera singers was heavily criticized, lea- Franz Grillparzer in 1828 for the Fröhlich sisters. The so- ding to her dismissal and retirement in 1854 (Sauer, lo was intended for Josephine Fröhlich, accompanied by 1924, p. 260; Hennenberg, 1913, pp. 382-383). a mixed quartet and was initially not intended for public performance. Schubert's death led to its performance at The fact that she encouraged Schubert to compose songs the concert on January 30th, 1829. A version with orches- for multiple voices (preferably for female voices) might tra was completed in 1830 by Franz Lachner be related to her pedagogical concept, as she apparently (1803-1890), also a friend of the Fröhlich family’s. attached great importance to ensemble singing, as ultima- tely evident from the fact that these works were presen- Anna Fröhlich is said to have provided the main income ted by Anna Fröhlich's students year after year in the for the household, which included her two sisters Jose- “Zöglings und Prüfungskonzerten” (“student and exami- phine and Katharina (Barbara moved out in later years) nation concerts”). and, as mentioned above, Franz Grillparzer. According to contemporary sources, she was the head of the family The following works were composed by Franz Schubert (Wickenburg-Almasy, 1880, p. 1-2). Until the very end, on Anna Fröhlich’s request: she took care of the daily concerns, surviving all three of her sisters as well as Grillparzer. Anna Fröhlich died on “Psalm 23” D 706 (1820); first performance as part of an March 11th, 1880 in Vienna. examination concert at the singing school on August 30th, 1721, and again at the Sonnleithners’ home on Ju- Shortly before her death, with an application dated De- ne 9th, 1822; September 7th, 1826 as part of a student cember 3rd, 1879, she created the “Schwester-Fröhlich- concert for Anna Fröhlich’s students and again on No- Stiftung” (Fröhlich Sisters Foundation; facsimile in Bla- vember 16th of the same year, as well as March 18th, ha, 2002, Appendix p. 128), to support struggling artists 1827 and May 29th, 1828. and academics from her estate. “Gott in der Natur” D 757 (1822); sung by 12 of Anna Appreciation Fröhlich’s students at one of the Gesellschaft der Musikf- As a participant in various musical salons in Vienna, An- reunde in Wien’s “Abend-Unterhaltungen”, it was perfor- na Fröhlich did not only play a key role in shaping con- med in August of the same year as part of an examinati- temporary musical life as a musician and singer, but also on concert, and again on February 28th, 1828, at another as an intermediary between artists, music lovers and po- “Abend-Unterhaltung”.

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More on Reception “Des Tages Weihe” D 763 (1822), composed on Anna Fröhlich’s suggestion for Barbara von Geymüller. Reception as Singing Teacher A comprehensive list of approximately 200 students, in- “Das Ständchen” D 920 “Zögernd leise” (1827); Text by cluding some males singers, was compiled by Johanna Franz Grillparzer for Anna Fröhlich’s student Louise Gos- Blaha (see Blaha, 2002, Appendix pp. 58-83). mar’s birthday. Premiered by Anna Fröhlich’s students with Josephine Fröhlich as soloist on August 11th, 1827. The following sources (incomplete list) relate to Anna Further performances: at a Gesellschaft der Musikfreun- Fröhlich’s reputation as a singing teacher: de in Wien’s “Abend-Unterhaltung” on January 24th, 1828, and on March 26th, 1828, as part of the “Privat- Allgemeine Musikalische Zeitung mit besonderer Rück- Concert” hosted by Schubert. sicht auf den österreichischen Kaiserstaat 56. 14. Juli 1819. Sp. 445. “Mirjams Siegesgesang” D 942 (1828); Text by Franz Grillparzer, performed with Josephine Fröhlich as so- Österreichischer Beobachter. 26. November 1819. S. loist on January 30th, 1829, and on March 5th, 1829, wi- 1620. th Ludwig Titze as soloist and Anna Fröhlich as piano ac- companist. Wiener Zeitschrift. 14. Mai 1825. S. 486.

Reception Der Humorist.19. März 1838. S.179. During her lifetime, Anna Fröhlich’s extensive cultural activities gained her recognition, including in contem- „Aus Wien“ [report on a concert at Raphael Georg Kiese- porary literature and the press. She was praised for her wetter’s home]. In: Jahrbücher des Deutschen National- work as a singing teacher and supporter of Schubert as vereins für Musik und die Wissenschaft. 4. 1842. S. well as for her commitment to the arts in general and 311-312. especially for her charity work. Literary Reception, partly trivial literature: Even in her old age, Anna Fröhlich was as an important Wickenburg-Almasy, Wilhelmine. 1880 see B Sources. source of information for younger generations, suppor- Najmájer, Marie von. 1904 see B Sources. ting the developing Schubert cult as one of the last wit- Lux, Joseph August. 1912 see B Sources. nesses (Breunig, 1884). She featured with her sisters in li- Lux, Joseph August. Die Schwestern Fröhlich (Grillpar- terary works and trivial literature but also as a personali- zers ewige Braut). Eine Komödie aus Wiens klassischer ty in her own right. The legends about the sisters still cir- Zeit in 3 Akten mit einem Vorspiel und einem Nachspiel. culating at the beginning of the 20th century were evi- Die Weissen Hefte. Gmain: 1923. dently also the trigger for a novel and eventually the ope- Ebner-Eschenbach, Marie. 1915/16 siehe „Quellen B“. retta ‘Dreimäderlhaus’, even though the Fröhlich sisters Schimmel-Falkenau, Walter. Melodie in Moll: Roman are not named at all and the plot, in which Schubert um Franz Schubert und Anna Fröhlich. Aschaffenburg: plays the main role, is more than far-fetched. Neverthel- Pattloch, 1957. ess, the novel by Rudolf Hans Bartsch (Schwammerl. Ein Schubert-Roman, Leipzig: Staackmann, 1912) and Poems by various contemporaries, including: the operetta version by Heinrich Berté (Das Dreimäderl- Franz Grillparzer. Zum Namenstag für Anna Fröhlich. haus, premiered in Vienna in 1916) were considered a Entstanden 1821. In: Franz Grillparzer: Sämtliche Wer- highly “erfolgreich vermarktetes Rezeptionsphänomen” ke. Band 1. München [1960–1965]. S. 142-143. [successfully marketed phenomenon] in connection with . Vierfache Sehnsucht an Netti, the myth of the four Fröhlich sisters (Waidelich, 2002, Nelli, Nina, Nanny. O.D. Hs Wienbibliothek. Col. 190). Postcards with scenes from the plot were wide- Ignaz von Sonnleithner. An meine Netti [1817]. Hs Wien- spread, as well as popular film versions (Richard Oswald, bibliothek. 1918; Ernst Marischka, 1958). Repertoire

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There is evidence of Anna Fröhlich’s performances as bo- 1818 and 1824, singing as a part of an ensemble and, for th a singer and as a pianist (see Pohl, 1871 and Blaha, the most part, with her sister Barbara Fröhlich at the 2002, Chronology pp. 31-46). Her repertoire as a singer “Abend-Unterhaltungen” and at Raphael Georg Kiesewet- included arias from contemporary operas, lieder, and ter’s house concerts. Composers include Mozart and Ros- especially songs for multiple voices (duets, trios, quar- sini, but also Johann Nepomuk Hummel, Andreas Rom- tets) by various composers. As a pianist, she performed berg, Valentino Fioravanti, Vincenzo Puccita, Josef May- as a chamber musician and a vocal accompanist. Oppor- seder, Ferdinando Paër, Domenico Cimarosa, Giovanni tunities to perform came from events in private homes in Paisiello and Alexander Ernst Fesca. Vienna and through her involvement with the Gesell- Sources schaft der Musikfreunde, where she appeared in ‘Abend- Unterhaltungen’ regularly between 1818 and 1840. Selection A Anna Fröhlich’s Documents More on Repertoire

As a pianist [Albumblatt from Anna Fröhlich in] Zur Feyer des All information and names of works according to Blaha, 100sten. Quartett-Abendes Herrn Josef Hellmesberger 2002, Chronology pp. 31-46. The performances took pla- von seinen Verehrern. 1860 : [Gratulationskassette für ce in Vienna as part of the “Abend-Unterhaltungen”. The- Joseph Hellmesberger]. Österreichische Nationalbiblio- re are no sources regarding further performances. thek

30.4.1818 Sonate für Klavier und Violoncello von Krufft Briefe an die Schwestern und andere Zeitgenossen. Wien- 8.10.1818 Adagio, Variationen und Rondeau von Hum- bibliothek Hs mel 10.12.1818 Polonaise für Pianoforte und Violine von May- Gesellschaftsakte der Gesellschaft der Musikfreunde in seder Wien, Archiv der Gesellschaft der Musikfreunde in Wien 28.1.1819 Quintett für Pianoforte, Clarinette, Oboe, Horn und Fagott von Mozart Tagebuch, vernichtet von Anna Fröhlich (Breuning, 20. 11.2.1819 „La Sentinelle“ von Hummel Nov. 1884, S. 4) 11.3. 1819 Sonate für Pianoforte und Cello 26.12.1822 Quartett in g-moll für Pianoforte, Violine, Vio- Occasionally, eyewitnesses and contemporaries who had la und Cello von Mozart conversations with her about her relationships with Schu- 30.1.1823 Großes Quintett für Pianoforte, Oboe, Clarinet- bert or Grillparzer quote Anna Fröhlich directly. See: Bre- te, Horn und Fagott von Beethoven unig, 1885; Ebner-Eschenbach, 1915/16; Sauer, 1924 25.11.1824 Notturno von Hummel zu vier Händen mit Be- More on Sources gleitung von zwei Waldhörnern B Sources (chronological 1821-1964) Anna Fröhlich is likely to have accompanied vocal num- bers at numerous examination concerts at the conserva- Allgemeine Musikalische Zeitung mit besonderer Rück- torium. sicht auf den österreichischen Kaiserstaat 78. 29. Septem- ber 1821. Sp. 620. Noteworthy is her appearance as the piano accompanist in the first performance of Schubert's “Erlkönig” at the Boeckh, Franz H. Wiens lebende Schriftsteller, Künstler Sonnleithners’ home on December 1st, 1820, with the ten- und Dilettanten im Kunstfache.[…] Wien: B.Ph. Bauer, or August Ritter von Gymnich. 1822.

As a singer [Castelli, Ignaz Franz]. „Tagebuch aus Wien (Fortset- All information and names of works according to Blaha, zung)“. In: Dresdner Abend-Zeitung Nr. 32, 6. Februar 2002, Chronology pp. 31-46. Anna Fröhlich is unlikely to 1824. S. 128 und Dresdner Abend-Zeitung Nr. 33. 7. Feb- have appeared as a soloist. All of the approximately 50 ve- ruar 1824. Eintrag über Schwestern Fröhlich erfolgt nach rifiable performances took place in the years between Tagebuch-Mitteilung vom 23./24. November 1823.

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„Monatbericht der Gesellschaft der Musikfreunde des Sauer, August. „Grillparzer und Katharina Fröhlich“. In: Oesterreichischen Kaiserstaates“. Wien: Haslinger 1829. Jahrbuch der Grillparzer-Gesellschaft 5. 1895. 219-292. V. S. 70. Najmájer, Marie von. „Bei den Schwestern Fröhlich“. In: Conservatorium der Musikfreunde des österreichischen Jahrbuch der Grillparzer-Gesellschaft 14. Jahrgang. Kaiserstaates. In: Der Sammler 97, 14. August 1834. S. 1904. S. 141-148. 389-390. Lux, Joseph August. Grillparzers Liebesroman. Berlin: Schilling, Gustav. Encyclopädie der gesammten musikali- Bong, 1912. schen Wissenschaften oder Universal-Lexicon der Ton- kunst. 3. Band. Stuttgart: Franz Heinrich Köhler 1836. S. Ebner-Eschenbach Marie von. „Meine Erinnerungen an 69. Grillparzer“. In: Marie von Ebner-Eschenbach: [Gesam- melte Werke in drei Bänden. Bd. 3:] Erzählungen. Auto- „Aus Wien“ [Bericht über Hauskonzerte bei Raphael Ge- biographische Schriften. München 1956-1958. S. org Kiesewetter]. In: Jahrbücher des Deutschen National- 886-917. Erstdruck: In: Westermanns deutsche Monats- vereins für Musik und die Wissenschaft. 4. 1842. S. hefte. Bd. 119. Braunschweig: Westermann, 1915/16. 311-312. Ebner-Eschenbach, Marie von. „Grillparzer und die Schilling, Gustav. Das musikalische Europa oder Samm- Schwestern Fröhlich“. In: Der Lesezirkel. Bd. 4. 1916/17. lung von durchgehends authentischen Lebens-Nachrich- S. 3-7. ten über jetzt in Europa lebende ausgezeichnete Ton- Sauer, August. „Zur Biographie der Schwestern Fröhli- künstler, Musikgelehrte, Componisten, Virtuosen, Sän- ch“. In: Grillparzer-Studien. Oskar Katann (Hg.). Wien: ger etc. Speyer: Neidhard, 1842. S. 104-105. Gerlach & Wiedling, 1924. S. 254–277. Deutsch, Otto Erich. Franz Schubert. Sein Leben in Bil- Bernsdorf, Eduard. Neues Universal-Lexikon der Ton- dern. Zweite Auflage. Die Dokumente seines Lebens und kunst: für Künstler, Kunstfreunde und alle Gebildeten. Schaffens. Dritter Band. München: Georg Müller, 1913. Band 2. Dresden: Schaefer, 1857. Deutsch, Otto Erich. Schubert. Die Erinnerungen seiner Böcking, Wilhelm. „Musikalische Skizzen aus Alt-Wien“. Freunde. Leipzig 1957. Unveränderter Nachdruck der In: Recensionen und Mittheilungen über Theater, Musik Auflage. Wiesbaden: Breitkopf & Härtel, 1983. und bildende Kunst Nr. 24. 15. Juni 1862. S. 369-375. Potschner, Peter, Die Wiederherstellung der Alterswoh- Pohl, Carl Ferdinand. Die Gesellschaft der Musikfreunde nung Grillparzers im Historischen Museum der Stadt Wi- des Österreichischen Kaiserstaates und ihr Conservatori- en. In: Österreichische Zeitschrift für Kunst und Denk- um. Wien: W. Braumüller, 1871. malpflege. Nr. 16. Wien 1962. S. 15-29.

Wickenburg-Almasy, Wilhelmine. „Von Dreien die Letz- Deutsch, Otto Erich. Schubert. Die Dokumente seines Le- te“. In: Neue Freie Presse. Morgenblatt Nr. 5593. 24. bens gesammelt und erläutert von Otto Erich Deutsch. März 1880. Franz Schubert. Neue Ausgabe sämtlicher Werke. Serie VIII: Supplement. Band 5. Kassel: Bärenreiter, 1964. Breuning, Gerhard von. „Aus Grillparzers Wohnung“. In: Neue Freie Presse Nr. 7266. 19. November 1884. S. 1-3 und Neue Freie Presse Nr. 7267. 20. November 1884. S. C Secondary Literature (chronological) 1-4. Kier, Herfrid. Raphael Georg Kiesewetter (1883-1850). Sauer, August. „Briefe von Katharina Fröhlich an ihre Wegbereiter des musikalischen Historismus. Regens- Schwestern“. In: Jahrbuch der Grillparzer-Gesellschaft burg: Bosse, 1968. 4. 1894. S. 83-118.

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Hilmar, Ernst. Schubert. Graz: Akademische Druck- und Wien: Praesens, 2013. Verlagsanstalt, 1989.

Bodendorff, Werner. Franz Schuberts Frauenbild. Augs- D Images burg: Wißner, 1996. Portraits Clive, Peter. Schubert and His World. A Biographical Dic- [Thugut?] Heinrich. Portrait. Kreidezeichnung. Deutsch tionary. Oxford: Clarendon Press, 1997. S. 50-54. 1964, S. 296.

Hilmar, Ernst und Margret Jestremski (Hg.). Schubert- Emanuel Peter. Portrait, 1830 Lexikon. Graz: Akademische Druck- und Verlagsanstalt, Bildarchiv, Österreichische Nationalbibliothek 1997. http://data.onb.ac.at/rec/baa14198149

Waidelich, Till Gerrit. „´er soll’s Maul aufmachen´. Schu- Group pictures with the sisters, from left to right: bert im ´Tagebuch aus Wien´ der Dresdner Abend-Zei- Betty, Katharina, Anna tung von Ignaz Franz Castelli“. In: Schubert durch die Nicht näher bestimmbarer Zeitungsausschnitt, Brille. 18. 1997. S. 25-40. http://www.bildarchivaustria.at/Bildar- chiv//711/B7908813T7908818.jpg Badura-Skoda, Eva. Schubert und seine Freunde. Wien u.a.: Böhlau, 1999. Katharina, Sophie Müller, Anna, Barbara, Josephine Fröhlich: Blaha, Johanna. Die Schwestern Fröhlich. Dissertation Julius Schmid. Ein Schubert-Abend in einem Wiener Universität Wien. 2002. Bürgerhause. Ölgemälde (entstanden 1897, anl. Schu- berts 100. Geburtstag). Original: Wiener Schubertbund. Boisits, Barbara. „Fröhlich, Schwestern“. In: Oesterreichi- Hilmar 1989, S. 193, Vorstudie (Kohlezeichnung) Hilmar sches Musiklexikon. Rudolf Flotzinger (Hg.). Band 1. Wi- 1989, S. 63. en: Verl. der Österr. Akademie der Wissenschaften, Research 2002. S. 498-499. The name Anna Fröhlich appears mostly in Franz Schu- Waidelich, Till Gerrit. „Fröhlich, Familie“. In: MGG Per- bert literature in connection with the works she commis- sonenteil 7. Kassel: Bärenreiter, 2002. Sp. 189-190. sioned or in the context of the ‘Women around Schu- bert’. Similarly, Anna Fröhlich appears in literature on Montgomery, David. Franz Schubert´s Music in Perfor- the history of the Gesellschaft der Musikfreunde in Wien mance. Compositional Ideals, Notational Intent, Histori- and Franz Grillparzer. Anna Frohlich is usually only men- cal Realities, Pedagogical Foundations. (= Monographs tioned in literature about the Fröhlich sisters. Some of in Musicology 11). Hillsdale, NY: Pendragon Press, 2003. the most recent research into the ‘Konservatorium der Musikfreunde in Wien’ (see Hennenberg, 2013) sheds Doppler, Else. „Fallbeispiel Spiegelgasse 21 (Wohn und new light on Fröhlich's teaching work and the circums- Sterbehaus Franz Grillparzers)“. In: Alt-Wien. Die Stadt, tances surrounding her employment as a singing tea- die niemals war. Ausstellungskatalog Wien Museum. cher. Wolfgang Kos und Christian Rapp (Hg.). Wien: Czernin, Need for Research 2004. S. 395-396. Her work as a pianist, singer, piano accompanist, piano Hilmar, Ernst und Margret Jestremski (Hg.). Schubert- teacher and member of the Gesellschaft der Musikfreun- Enzyklopädie. Band 1. Tutzing: Schneider, 2004. de in Wien, apart from her role as a friend of Schubert's and Grillparzer's, has been little studied. The reasons Hennenberg, Beate. Das Konservatorium der Gesell- why Anna Fröhlich's teaching methods were criticized schaft der Musikfreunde in Wien. Beiträge zur musikali- could still be explored in detail. In any case, there is not schen Bildung in der ersten Hälfte des 19. Jahrhunderts. much concrete information about the teaching methods

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she successfully employed over many years. It is not cle- ar from the available sources if Anna Fröhlich differentia- ted between opera and song repertoire in her teaching methods. It would also be worthwhile to investigate the potential challenges that arose from her dual teaching po- sitions – one at the conservatorium and the other giving private lessons. The exact numbers and the careers of the students who were trained by Anna Fröhlich both private- ly and at the conservatorium are still unknown, along wi- th details about her private life, which she clearly tried to keep as secret as possible.

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Virtual International Authority File (VIAF): http://viaf.org/viaf/80419299 Deutsche Nationalbibliothek (GND): http://d-nb.info/gnd/136000614

Author(s)

Ingeborg Harer

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Editorial staff: Silke Wenzel First edit 24/11/2015 Last edit 17/04/2018

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