Josephine Fröhlich Was the One Who Performed Most Often As a Sin- Ger, and Did So Both at Home and Abroad

Fröhlich, Josephine

ra La Donna del Lago. Her voice is strong and pleasant, her performance soulful and trained in the true Italian style. She received universal and vigorous applause.”)

(Wiener Zeitschrift, 23. März 1824)

Profile

As the youngest of the four Fröhlich sisters, Josephine Fröhlich was the one who performed most often as a singer, and did so both at home and abroad. Unlike her sis- Franz Schubert am Klavier und sein Freundeskreis im Jahre ters, she pursued a career as an opera singer and was trai- 1826. Josephine Fröhlich (Mitte), Heliogravur von J. ned professionally. Much admired as a young singer and Blechinger predicted to have a great future in the press, she distinguished herself in Denmark and Italy, but gave up her care- Josephine Fröhlich er a few years later. Clearly, she did not cope well with Birth name: Josepha Caroline Fröhlich the demands of the opera business and returned to Vien- na after years of traveling. She decided to pursue a career * 12 December 1803 in Wien, Österreich as a singing teacher. Through private singing lessons Jo- † 7 May 1878 in Wien, Österreich sephine Fröhlich made her financial contribution to the shared household with her sisters in Vienna, which also The given date of birth may be the date of baptism. included Franz Grillparzer from 1849-1872. As a professional singer and with her contacts to Denmark, Sweden Singer, Singing Teacher, Composer, Correspondent and Italy, she played a key role in the musical culture of the Fröhlich house, not least because of the visitors her „Am 1. Februar [1824] gab die junge Sängerinn Josephi- connections attracted to the home. She also appeared in ne Fröhlich, aus Wien, hier in Siboni's Schule gebildet, various well-known Viennese salons, such as those hos- nachdem sie früher in mehrern Pivatzirkeln, und nament- ted by the families of Raphael Georg Kiesewetter, Ignaz lich in einem großen Concerte bey Sr. königl. Hoheit Sonnleithner and Anton Pettenkoffer. She performed a dem Prinzen Christian sich sehr vortheilhaft hören ließ, range arias and songs in various private and semi-public ein großes Vocal- und Instrumental-Concert im königl. musical events. These included songs by Franz Schubert, Theater. Das Haus war gedrängt voll, schon Tags vorher which were mainly pieces for multiple voices, inspired by war kein Billet, keine Loge mehr zu erhalten. Die Ouver- her sister Anna Fröhlich. ture zu Klingemanns Faust, von Schulz, machte den An- fang. Darauf sang Mlle. Fröhlich eine große Arie aus Ros- Josephine was the only one of her sisters to compose and sini's Oper La Donna del Lago. Ihre Stimme ist kräftig she wrote a number of works, which were presumably in- und angenehm, ihr Vortrag seelenvoll und in wahrhaft, tended for performance at home or at the Sonnleithners’ italienischem Geschmacke ausgebildet. Sie erntete unget- home. heilten, lebhaften Beyfall.“ Cities an countries

(“On February 1st, [1824], the young singer, Josephine Josephine Fröhlich began her career as an opera and con- Fröhlich from Vienna, trained here in Siboni’s school, ha- cert singer in Vienna and continued her training with ving appeared at several private gatherings and, in parti- Giuseppe Siboni in Denmark, where she also had nume- cular, to great acclaim at a large concert for HRH Prince rous opportunities to perform. She appeared in Sweden Christian, gave a large vocal and instrumental concert at and also in Dresden, on her way back to Vienna. She tra- the royal theatre. The house was packed, with no tickets velled to Venice, Milan and Prague to sing various roles and no boxes available even the day before. The overture in opera houses there. Eventually, she returned to Vien- to Klingemann’s Faust by Schulz opened the show, follo- na and made her private and professional home there. wed by Miss Fröhlich with a large aria from Rossini’s ope-

– 1 – Fröhlich, Josephine

237). Several evening occasions for the royal family were Biography to follow. A first public concert at the royal theatre in Co- Josephine Fröhlich was the youngest of the four Fröhlich penhagen was finally made possible on January 20th, sisters (Anna Fröhlich, Barbara Fröhlich, Katharina Fröh- 1824. During this time, Josephine Fröhlich’s voice chan- lich) and was born on December 12th, 1803, in Vien- ged from soprano to alto (occasionally also referred to as na/Wieden. Like her sisters, she was introduced to music mezzo-soprano), a development Josephine shared with at an early age and, as the youngest daughter of Mathias her sisters in a letter on February 17th, 1824, and which Fröhlich (1756-1843) and his wife Barbara (born Mayr, she initially deeply regretted. After further public con- 1764-1841), her singing and music-making older sisters li- certs at the royal theatre in Copenhagen and numerous kely served as role models. She probably learned to play performances for the royal family at court, Josephine the piano as a child, although there is no direct evidence Fröhlich was accompanied back to Vienna by her father. for that. It is known, however, that in 1819 Josephine On her trips to various opera houses in the years that fol- Fröhlich was taught by her ten-year-older sister Anna as lowed, she travelled with her sister Katharina Fröhlich. part of her teaching duties at the ‘Konservatorium der Ge- On June 5th and 8th, 1826 she performed as a concert sellschaft der Musikfreunde’ [Conservatorium of the So- singer in Prague, where she sang between the acts of an ciety of Friends of Music]. It can be assumed that she opera (critique in Allgemeine Theaterzeitung from July had taken singing lessons from Anna previously and 27th, 1826. Clive, 1997, p. 52). that, like her sister, she was also influenced in her early years by the Italian tenor Giuseppe Siboni (1780-1839) In 1827, Siboni suggested to his student, Isaac Albert during his visits to Vienna, e.g. from 1810-14 and Berg (1803-1886), who came from Stockholm, that he 1817-1818. Siboni was not only a celebrated opera singer should stay at the Fröhlich sisters’ home in Vienna. Whi- in Vienna, but a networker within the Schubert circle, to le he was there, he performed a Swedish song for Franz which he himself belonged. He is also said to have encou- Schubert, which would later have a marked influence on raged the founding of a singing school in Vienna as early his composition of the Piano Trio in Eb major D 929 (Hil- as 1815. In the same year, at the age of 12, Josephine was mar/Jestremski, 1997, p. 38). already an active member of the ‘Gesellschaft der Musikf- reunde’ in Vienna (Blaha, 2002, p. 183). Her first perfor- Various contemporaries reported on Josephine Fröhli- mances soon followed as part the society’s events. In a de- ch’s singing abilities. Raphael Georg Kiesewetter noted scription of one of the musical evenings that took place that she sang “aus dem Stegreif” [impromptu] in Conti’s at the Sonnleithners’ home between 1815 and 1824, the cantata ‘Timoteo’ at the Sonnleithners’ house concerts sisters Anna, Josephine and Barbara Fröhlich were na- “inter amicos” [amongst friends] (Kiesewetter, 1847, p. med as participating soprano singers (Böckling, 1862, p. 25). In the same year, the legendary first performance of 374). In his ‘Musikalischen Skizzen’, published in 1862, ‘Ständchen’ D920 (“Zögernd leise”) followed, on the occa- Leopold Sonnleithner, who introduced Franz Schubert to sion of Louise Gosmar’s (1803-1858) birthday on August the Fröhlich sisters, mentioned Josephine and her sister 11th, 1827. Anna Fröhlich had commissioned the text Barbara’s participation in oratorio performances in from Franz Grillparzer and the composition from Franz 1819/20 (Sonnleithner, 1862, p. 179) Schubert for her student Gosmar (see also Anna Fröhli- ch). Following the open air performance in the Gosmar More on Biography family’s garden, the ‘Ständchen’ [serenade] was perfor- Josephine’s first successes as a singer led to a position at med with Josephine Fröhlich as the soloist at Schubert’s the Wiener Kärntertortheater in 1821, which she held un- “Privat-Concert” on March 26th, 1828. til 1822. In 1823, she followed Giuseppe Siboni to Copen- hagen, where he had been working as the director of the Following a stay in Venice in 1829 (accompanied again singing academy at the royal theatre since 1819. Josephi- by her father) and her appearance as Page in Rossini’s ne's arrival in Copenhagen is stated as May 31st, 1823, ‘Le Comte Ory’ at the Teatro San Benedetto, Josephine having accompanied Siboni's daughter Peppina on her Fröhlich travelled to Milan with her sister towards the journey home and then taking up residence with the Sibo- end of 1930, where she began rehearsals at La Scala for nis in Copenhagen. On November 9th, 1823, she sang for the opera ‘Il Romito di Provenza’ by Pietro Generali the royal family for the first time (Schepelern, 1989, p. (1773-1832). There were clearly problems among the sin-

– 2 – Fröhlich, Josephine gers and Josephine felt disadvantaged by a role that was phine] played her waltz”). A little later, on June inappropriate for her. The negative assessment of her vo- 18th,1844, Josephine wrote that a public performance of cal performance on January 15th, 1831 and the impossibi- her waltzes by the Lanner orchestra, in the then popular lity of obtaining a role appropriate for her experience Zögernitz amusement park in Döbling, could be likely. and voice, led her to terminate the contract. Josephine There is no information about actual performances of and Katharina, who reported in letters to Vienna in de- her pieces, but it is possible (see Blaha, 2002, p. 299). tail about what they had experienced in Milan, returned to Vienna – ultimately also on the family’s urgent advice. Josephine Fröhlich remained unmarried and died at the age of 75 on May 7th, 1878 in Vienna. In the 1830s, Josephine Fröhlich continued to appear at Appreciation various musical events in Vienna (see also Repertoire). Along with the somewhat abrupt termination of her ope- Josephine Fröhlich was in her prime as a singer during ratic career, she appears to have made a gradual move to- her time in Copenhagen between 1823 and 1825. Fol- wards teaching singing, evidently even before 1835, so lowing a concert in Vienna in 1826, a critic wrote: „Jose- that she, like her sister Anna, was able to earn a consi- phine Fröhlich zeigte schon vor ihrer Reise nach Kopen- derable income and ultimately fortune from private stu- hagen vorzügliche Anlagen für den Gesang. Eine kräfti- dents (see Reception). (Wiener Theaterzeitung, June ge, klingende Stimme, ein großer Umfang von Tönen, 24th, 1835, p. 500) und Wärme im Ausdruck harrten nur noch der letzten Ausbildung, die jener die nöthige Sicherheit, Rundung Over the course of the 1830s, Josephine Fröhlich’s arti- und Biegsamkeit, dieser hingegen Wahrheit und Gesch- stic obligations as a singer decreased. Perhaps a sad mack verleihen sollte. Siboni’s, dieses […] unvergeßli- event in her private life also played a role in slowing chen, dramatischen Sängers gründliche, musicalische down her professional activities: to what extent the sug- Kenntnisse und bekannte gute Lehr-Methode berechtig- gestion that Moritz Sonnleithner was interested in a pri- ten bey einer Schülerin, für welche die Natur und ihr ers- vate relationship with Josephine – as can be seen from ter Unterricht schon so viel gethan hatten, zu nicht ge- Moritz’s letters to Josephine – can be taken seriously, wöhnlichen Erwartungen, und sie wurden bey diesem cannot be ascertained (see also Sauer, 1894, p. 85). It is Concerte auf glänzende Weise erfüllt“ (“Even before her certain, however, that Moritz Sonnleithner (1805-1836), trip to Copenhagen, Josephine Fröhlich displayed great as private tutor to Wilhelm Bogner (son of Barbara Fröh- singing talent. A strong, resonant voice, a wide range and lich, married named Bogner) was at the Fröhlich house warm expression needed only the final training to provi- on a daily basis and took part in the lives of the sisters. de the necessary security, roundness and flexibility, not When he unexpectedly died in 1836 at the age of 31, his to mention authenticity and taste. The thorough musical cousin, Franz Grillparzer, wrote a tomb inscription for knowledge and proven teaching methods of Siboni, this him that hints at his significance in the Fröhlich house- unforgettable, dramatic singer, exceeded even the most hold: „Wenig bemerkt war sein Leben, still und ruhig unusual expectations, with a student for whom nature sein Tod. Erst aus der Größe unseres Schmerzes erkann- and her initial training had already done so much, and ten wir die Größe unseres Verlustes.“ (“Little noticed was who shone brilliantly in this concert”; Wiener Zeitung his life, still and quiet was his death. Only from the size from February 25th, 1826, p. 191). of our pain did we realize the size of our loss.”) Josephine Fröhlich planned her career herself. Following From the 1840s on, Josephine Fröhlich devoted herself her attempt to work internationally as a singer of Italian to composing. The genre of the waltz, which emerged in opera, particularly in Italy, and a disappointing experien- the Biedermeier era, seems to have interested her particu- ce in Milan, she returned to Vienna, where she was great- larly. Her works are mainly in Leopold Sonnleithner’s ly appreciated as singer in numerous ‘evening entertain- handwriting (Moritz Sonnleithner’s brother), which sug- ments’ and private concerts. In the 1930s, her repertoire gests his support and that private performances within in Vienna included various opera arias as well as art their circle of friends probably took place. Anna Fröhlich song. She took part in performances of works that her sis- reported in a letter to Katharina Fröhlich on May 28th, ter Anna Fröhlich commissioned from Franz Schubert 1844: „Pepi [Josephine] spielt ihre Walzer“ (“Pepi [Jose- and in numerous private events. In the end, like her sis-

– 3 – Fröhlich, Josephine ter Anna, she dedicated herself to teaching. fer die Herzen rühren. Dlle Fröhlich sollte öfter vor dem Publicum erscheinen, und bald würde sie Teutschland Josephine Fröhlich was the only one of her sisters to lea- unter ihre großen Sängerinnen rechnen“ (“What a pity ve behind compositions (from the 1840s). That she was the effect of her singing is impaired by such a striking invited to compose a song for the “Huldigung der Tonset- shyness. If she succeeds in eliminating this, then the zer Wiens an Elisabeth Kaiserin von Österreich” (“Vien- grandeur of her style and the elegance of her technique na Composers Homage to Empress Elizabeth of Aust- will be quite brilliantly effective, and the deep, soulful ria”) in 1854, shows that she was held in high regard, performance stir the heart even more deeply. Miss Fröhli- even after her time as a singer in Vienna’s musical spot- ch should appear before the public more often, and soon light had passed. In March 1829, she became an honora- she will be among Germany’s great singers”; Der Samm- ry member of the Società Apollinea in Venice (see month- ler 26 from February 28th, 1828, p. 104). ly newsletter from 1829). From Venice, Josephine sent an application to the King of Denmark, dated May 16th, 1829, requesting the award of the title ‘Royal Danish Students (Selection) Kammersängerin’, which was granted. What this title me- Betty Bury (1827-1898) ant to her, she explained very clearly when she wrote: Julie and Franziska Goldberg, dates of birth/death unk- “Da es mir von der größten Wichtigkeit bei meiner jetzi- nown gen Carrière sein würde […]” (“since it would be of the ut- Karoline Mayer (1815-1889 most importance to my present career [...]”; quoted from Marie Najmájer (1844-1904) Blaha, 2002, p. 215). Indeed both of these awards beca- Elisabeth Nosé (verh. Dreyschock) (1832-1911) me a kind of trademark and thus decisive for the singer’s Leopoldine Tuczek (1821-1883) career. Hermine Vocati (married name Weiß), dates of birth/death unknown Reception

During her lifetime, Josephine gained recognition not Literary Reception (Selection) just a one of the Fröhlich sisters, but in the truest sense Wickenburg-Almasy, Wilhelmine. 1880 see B Sources of the word, as a distinguished singer: a student at the Najmájer, Marie von. 1904 see B Sources ‘Konservatoriums der Gesellschaft der Musikfreunde in Lux, Joseph August. 1912 see B Sources Wien’, an honorary member of the ‘Società Apollinea in Lux, Joseph August. Die Schwestern Fröhlich (Grillpar- Venice’ and Royal Danish ‘Kammersängerin’. zers ewige Braut) Eine Komödie aus Wiens klassischer As with the Fröhlich sisters in general, Josephine’s Zeit in 3 Akten mit einem Vorspiel und einem Nachspiel. connection with Franz Schubert and Franz Grillparzer, Gmain, Die Weissen Hefte, 1923. who both created works for her, was emphasized by im- Ebner-Eschenbach, Marie. 1915/16 see B Sources mediate posterity. Wilhelm Bogner. Verse an Josephine Fröhlich [vor 25. More on Reception Mai 1848]. Wienbibliothek Hs. Josephine Fröhlich’s performances on the opera stage Leopold Sonnleithner. Namenstaggedicht für Josephine were just as much the subject of discussion in the daily Fröhlich. 9. März 1869. Wienbibliothek Hs. press as her participation in the Gesellschaft der Musikf- Poems and Verses inter alia by Franz Grillparzer. reunde’s musical events or in Vienna’s musical salons, which included those at the house of the Fröhlich sisters’ Piano [Composer unknown] dedicated to Josephine Fröh- as well as those of the Sonnleithner and Kieswetter fami- lich lies’. Josephine’s somewhat reserved nature was repea- 6 norske Fejere: til Erindring om Hundebagene i Norge. tedly noted by critics, as in 1828, when it was said: „Scha- Dedicated to „Mademoiselle [ ] Frö[h]lich“, Anno 1825. de, daß die Wirkung ihres Gesanges durch eine auffallen- Wienbibliothek Hs de Befangenheit beeinträchtigt wird, wenn es ihr gelingt, List of Works dieselbe zu beseitigen, so wird die Großartigkeit ihres Sty- les und die Eleganz ihrer Methode erst recht leuchtend Compositions by Josephine Fröhlich wirksam seyn, und der tiefe, gefühlvolle Vortrag noch tie-

– 4 – Fröhlich, Josephine

Songs with Piano Accompaniment Fröhlich, Josefine: [Blüten und Früchte]. [Walzer, teil- Fröhlich, Josefine. Lebe wohl. Wanderlied. T: Ludwig Uh- weise in As-Dur]. [Franz] Grillparzer gewidmet. Hs. Leo- land. 11. October 1843. Wienbibliothek. Hs pold Sonnleithner , [o.J.]. (Autoren- und Widmungsver- merk von Anna Fröhlich eigh.) Wienbibliothek Hs Fröhlich, Giuseppina. Romanze: Alla Luna. […] Poesia del Signore [ ] Ongaro. Cantante di Camera di S. M. il Re Fröhlich Josefine. Blüten und Früchte. Walzer (in As- di Danimarca , 1843 . Datum: 18. Settembre 1843 Wienbi- Dur für Klavier). Hs 1960 Joseph Laska (1886-1964) Hs bliothek. Hs ÖNB

Repertoire Fröhlich, Giuseppa. Alla luna. [An den Mond]. Poesia del Sig.re Ongaro. Eingerichtet und herausgegeben von An- Josephine Fröhlich sang Mozart roles, but especially Ros- ton Diabelli. Wien: Ant. Diabelli 1845. sini roles, as well as arias from somewhat lesser known composers. She often performed music by Franz Schu- Fröhlich, Josefine. Rückerinnerung. T: Franz Grillpar- bert, but mostly in private settings. Music by Handel, zer. Hs: Joseph Laska (1886-1964) ÖNB Cimarosa and other composers from previous centuries Fröhlich, Josefine. Rückerinnerung. T: Franz Grillpar- was included in the musical evenings at the Kiesewetters’ zer. Hs: Leopold Sonnleithner, [o.J.] (Mit Autorenver- home. merk von Anna Fröhlich eigh.) Wienbibliothek Hs More on Repertoire

Fröhlich, Josepha. Erinnerung. T: Grillparzer (für eine The following list, which is not exhaustive, was prepared Singstimme mit Pianoforte-Begleitung). In: Huldigung according to Blaha, 2002, Chronology pp. 31-46, and is der Tonsetzer Wiens an Elisabeth Kaiserin von Öster- supplemented. It is arranged chronologically and accord- reich (Wien 1854). Autograph ÖNB. Erstdruck in Repro- ing to venue. The so-called ‘Abend Unterhaltungen’ [eve- duktion der Originalhandschriften, veröffentlicht von ning entertainments] took place in Vienna, organized by Günter Brosche. Graz-Austria 1987 (DTÖ 142-144). S. the Gesellschaft der Musikfreunde. The possible partici- 58. pation of Josephine’s sisters or others (when known) is noted in parentheses. Where possible, the performances are supplemented by concert reviews or announcements Orchestra in the daily press.

Fröhlich, Josefine. Blüthen und Früchte: Walzer [A-Dur Vienna für Orchester]. Hs. Leopold Sonnleithner. Partitur. 1844. Wienbibliothek Hs 19.4.1818 Kiesewetter (mit Anna, Barbara und Katharina Fröhlich), Madrigale Fröhlich, Josefine. Blüten und Früchte. Walzer [A-Dur 10.12.1818 Duett von Mozart (Sophie Kreuzer) für Orchester] Instrumentalstimme(n). 17 Orchesterstim- 31.12.1818 Abend-Unterhaltung, Mozart men. Hs unbekannt, „großen Trommel“ Hs von Leopold 21.1.1819 Abend-Unterhaltung (mit Barbara und Katheri- Sonnleithner. Wienbilbiothek Hs na Fröhlich), Terzett von Cimarosa 6. April 1819 (?) und 13. April 1820 (?) „Josefine und Ba- bette Fröhlich“ Soli in Händels „Messias“ und „Alexan- Piano derfest“ (?) Böcklin. 31.12.1819 bei Sonnleithner, Quartett aus Zauberflöte Fröhlich, Josefine. Sechs Walzer. 2te. August 1847. Wien- von Mozart („Bald prangt….“) bibliothek Hs 17. Dezember 1820 Gesellschaftsconcert „Winters Canta- te. Die Macht der Töne“ (Barbara Fröhlich) Fröhlich, Josefine: [Blüten und Früchte]. Walzer As-dur 28. 12. 1820 Abend-Unterhaltung, Quartett aus Zauberf- für Klavier. Unbek. Hs. Schlussteils in Hs. Leopold Sonn- löte leithner. Wienbibliothek Hs 15. und 18. 3. 1821 Redoutensaal „Das Leiden unsers

– 5 – Fröhlich, Josephine

Herrn Jesus Christus“ (Josef Weigl), 1. 6. 1821 Kärntnertortheater, Debut: Constanze in „Ent- führung aus dem Serail“ von Mozart, und weitere Auffüh- Sweden rungen. Conversationsblatt. Zeitschrift für wissenschaftliche Un- (Inter alia) Stockholm terhaltung Wien. 3. Jg. Nr. 46. ). Juni 1821. S. 550. June-September 1825 Morgenblatt der gebildeten Stände Nr. 204. 25. August 1821. 7.12.1821 Kärntnertortheater, Lieschen im Singspiel „Der Vienna kleine Matrose“ von Gaveaux, weitere Aufführungen bis April 1822. 17.2.1826 Wien, Niederösterr. Ständ. Saal: „Großes Kon- 2.1.1822 Kärntnertortheater, Madame Stillfeld, in „Die zert der Josephine Fröhlich“ Arien aus Rossinis „La Cene- Junggesellenwirtschaft“ von Gyrowetz, weitere Auffüh- rentola“ und „La Donna del Lago“, Variationen über The- rungen bis incl. Februar 1822. ma von Caraffa (komponiert von Giuseppe Siboni). Wie- 18.2.1822 Kärntnertortheater, Elvira in „Die Italienerin ner Zeitschrift, 25. Februar 1826, S. 191. in Algier“ von Rossini, weitere Aufführungen. Allgemeine Musikalische Zeitung Nr. 13. 29. März 1826. 26.4.1822 Kärntnertortheater, Amalie in „Die musikali- S. 218-219. sche Akademie“ von Hieronymus Payer, weitere Auffüh- rungen bis Juni 1822. 23.6.1822 Kärntnertortheater, Ritter Vergy in „Raoul, Prague der Blaubart“ von Gretry-Fischer. 18.7.1822 Musikalische Privat-Unterhaltung im Saal des June 1826 Ritters von Henikstein´schen Hauses, Arie aus „Mäd- chentreue“ von Mozart. 23.2.1823 Drittes Gesellschafts-Concert, Christus am Vienna Oehlberge“ von Beethoven (mit Tietze und Schoberlech- ner). September 1826 1827 bei Kieswetter, Händel „Timoteo“. 6.5.1827 im großen Saal der Universität Wien „Musikali- 1823 Copenhagen sche Akademie zum Besten der bedürftigen Witwen und Waisen hiesiger juridischer Facultätsmitglieder“, Arie 20.1.1824 Königl. Theater Kopenhagen, Arie aus „Donna mit Chor aus der Oper „Annibale in Bitinia“ Nicolini. Der del Lago“ (Rossini) Sammler Nr. 77. 28. Juni 1827. S. 308. Allgemeine Musi- 1824-1825 Auftritte am Hof in Kopenhagen im Rahmen kalische Zeitung Nr. 26, Juni 1827, Sp. 453-454. von Veranstaltungen der königl. Familie. 11.8.1827 „Ständchen“ D 920 von Franz Schubert (T: Februar/März 1824 Königl. Theater Kopenhagen, Rezita- Franz Grillparzer) tiv und Arie „La donna del Lago“ Duett und Rezitativ mit 24. 1.1828 Abend-Unterhaltung “Ständchen“ D 920 “ Chor „Aureliano in Palmyra“ beide Rossini, Rezitativ und von Franz Schubert (T: Franz Grillparzer). Arie aus „Die Hochzeit des Figaro“ von Mozart. Allgemeine Musikalische Zeitung Leipzig. 26.3.1828. 17. und 18.3.1824 Konzert, u.a. Arie aus „Barbier von Se- 17.2.1828 Konzert des Herrn Bernhard Romberg im Saal villa“ von Rossini. der Niederösterreichischen Landstände. Rossini. 22.3.1824 Konzert für das Blindeninstitut u.a. Rossini. Der Sammler 26. 28.2.1828.S. 104. 11.5.1825 Königl. Theater Kopenhagen, Vokal- Instru- 20.3.1828 Abend-Unterhaltung Frl. Fröhlich, u.a. Rossi- mentalkonzert Cavatine und Rezitativ von Simon Mayer, ni. Cavatine von Rossini, ein Lied von Siboni (T: Johann 26.3.1828, „Privat-Concert“ von Franz Schubert, Tuch- Ludwig Heiberg) Abschiedskonzert vor Abreise nach Wi- lauben, „Ständchen“ (Franz Schubert T: Franz Grillpar- en. zer) April 1824-Mai 1825 Konzerte, Duette, Arien u.a. Rossini Wiener Zeitschrift am 25.3.1828. (z.T. mit Peppina Siboni). Wiener Allgemeine Theaterzeitung. 25.3.1828.

– 6 – Fröhlich, Josephine

Allgemeine Musikalische Zeitung Leipzig.7.5.1828. 96.

„Aus Wien“ [Bericht über Hauskonzerte bei Raphael Ge- Venice org Kiesewetter]. In: Jahrbücher des Deutschen National- vereins für Musik und die Wissenschaft. 4. 1842. S. March 1829, Teatro San Benedetto, Rossini. 311-312. 19.6.1829, Rossini. Kiesewetter, Raphael Georg. Galerie der alten Contra- punctisten; eine Auswahl aus ihren Werken, nach der Milan Zeitfolge geordnet zu deutlicher Anschauung des Fortsch- reitens der Kunst; von den frühesten Versuchen harmoni- 15.1.1831 as ‘Giuseppina Fröhlich’ Osmino in Il Romito scher Verbindungen bis zum Anfang des 18. Jahrhun- di Provenza by Pietro Generali. derts und dem Aufblühen der neapolitanischen Schule, als der Periode der neueren Musik: Alles in verständli- chen Partituren aus dem Archiv alter Musik des k. k. Hof- Vienna raths R. G. Kiesewetter Edl. von Wiesenbrunn von ihm ei- gens zusammengestellt: eine Zugabe zu seinem Haupt- 6.11.1831 Large concert for the opening of the Gesell- Catalog. Wien: Selbstverlag, 1847. schaft der Musikfreunde’s newly built hall underneath Tuchlauben Nr. 558, Rossini Bernsdorf, Eduard. Neues Universal-Lexikon der Ton- 1.12.1831 Abend-Unterhaltung, Rossini. kunst: für Künstler, Kunstfreunde und alle Gebildeten, 23.2.1831 Abend-Unterhaltungen, Rossini. Band 2. Dresden: Schaefer, 1857. 1.3.1833 Abend-Unterhaltungen, J.P. Pixis, Donizetti. Küstner, Karl Theodor von; Schauer, Gustav. Album des Sources königl. Schauspiels und der Königl. Oper zu Berlin unter Selection der Leitung von August Wilhelm Iffland, Karl Grafen von Brühl, Wilhelm Grafen von Redern und Karl Theodor A Documents from Josephine Fröhlich von Küstner: für die Zeit von 1796 bis 1851. Berlin: Schauer, 1858. [Albumblatt of „Josefa Fröhlich“ Vienna, January 28th, 1860 in] Zur Feyer des 100sten. Quartett-Abend des Sonnleithner, Leopold von. „Musikalische Skizzen aus Herrn Josef Hellmesberger von seinen Verehrern 1860 Alt-Wien IV“. In: Recensionen und Mittheilungen über [Gratulationskassette für Joseph Hellmesberger]. ÖNB Theater, Musik und bildende Kunst. Nr. 12. 23. März 1862. S. 177-180. „Erklärung“. In: Wiener Theaterzeitung 24. Juni 1835. S. 500. Böckling, Wilhelm von. „Musikalische Skizzen aus Alt- Wien“. In: Recensionen und Mittheilungen über Theater, Letters in Vienna Library Musik und bildende Kunst. Nr. 24. 15. Juni 1862. S. 369-375. More on Sources

B Sources (chronological 1824-1964) Breuning, Gerhard v. „Aus Grillparzers Wohnung“. In: Neue Freie Presse Nr. 7266. 19. November 1884. S. 1-3 [Castelli, Ignaz Franz]. „Tagebuch aus Wien (Fortset- und Neue Freie Presse Nr. 7267. 20. November 1884. S. zung)“. In: Dresdner Abend-Zeitung Nr. 33. 7. Februar 1-4. 1824. S. 132. Sauer, August. „Briefe von Katharina Fröhlich an ihre „Ehrenauszeichnung eines Zöglings des hiesigen Conser- Schwestern“. In: Jahrbuch der Grillparzer-Gesellschaft vatoriums“. In: Monatbericht der Gesellschaft der Musik- 4. 1894. S. 83-118. freunde des Österreichischen Kaiserstaates VI. 1829. S.

– 7 – Fröhlich, Josephine

Najmájer, Marie von. „Bei den Schwestern Fröhlich“. In: Jahrbuch der Grillparzergesellschaft 14. Jahrgang. 1904. Clive, Peter. Schubert and His World. A Biographical Dic- S. 141-148. tionary. Oxford: Clarendon Press, 1997. S. 50-54.

Deutsch, Otto Erich. Franz Schubert. Sein Leben in Bil- Hilmar, Ernst und Margret Jestremski (Hg.). Schubert- dern. Zweite Auflage. Die Dokumente seines Lebens und Lexikon. Graz: Akademische Druck- und Verlagsanstalt, Schaffens. Dritter Band. München: Georg Müller, 1913. 1997.

Ebner-Eschenbach, Marie von. Meine Erinnerungen an Elmar Worgull. Ferdinand Georg Waldmüller skizziert Grillparzer. In: Marie von Ebner-Eschenbach: [Gesam- Franz Schubert im Freundeskreis. Ikonographie und melte Werke in drei Bänden. Bd. 3] Erzählungen. Auto- kompositorische Spezifika eines unikaten Bilddoku- biographische Schriften. München 1956–1958. S. ments. In: Schubert durch die Brille. 18. 1997. S. 886-917. Erstdruck: In: Westermanns deutsche Monats- 103-124. hefte. Bd. 119.Braunschweig: Westermann, 1915/16. Lorenz, Michael. „'Viele glaubten und glauben noch, ab- Güttenberger, Heinrich. „Seine kleine Nachtigall. Ein sichtlich.' – Der Tod der Ludovica Siboni“. In: Schubert Blatt zur Grillparzer Tradition (Erinnerungen der Sänge- durch die Brille 23. Tutzing: Schneider, 1999. S. 47-74. rin Hermine Weiß, geb. Vocati, Schülerin von Josephine Fröhlich)“. In: Heimatfahrten von heute und gestern Blaha, Johanna. Die Schwestern Fröhlich. Dissertation […]. Wien: Österreichischer Bundesverlag, 1925, S. Universität Wien. 2002. 278-287. Boisits, Barbara. „Fröhlich, Schwestern“. In: Oesterreichi- Deutsch, Otto Erich. Schubert. Die Erinnerungen seiner sches Musiklexikon. Rudolf Flotzinger (Hg.). Band 1. Wi- Freunde. Leipzig 1957. Unveränderter Nachdruck der en: Verl. der Österr. Akademie der Wissenschaften, Auflage. Wiesbaden: Breitkopf & Härtel, 1983. 2002. S. 498-499.

Deutsch, Otto Erich. Schubert. Die Dokumente seines Le- Waidelich, Till Gerrit. „Fröhlich, Familie“. In: MGG Per- bens gesammelt und erläutert von Otto Erich Deutsch. sonenteil 7. Kassel: Bärenreiter, 2002. Sp. 189-190. Franz Schubert. Neue Ausgabe sämtlicher Werke. Serie VIII: Supplement. Band 5. Kassel: Bärenreiter, 1964. Hilmar, Ernst und Margret Jestremski (Hg.). Schubert- Enzyklopädie. Band 1. Tutzing: Schneider, 2004.

C Secondary Literature (chronological) D Image Hilmar, Ernst. Schubert. Graz: Akademische Druck- und Verlagsanstalt, 1989. Portraits

Schepelern, Gerhard. Giuseppe Siboni: Sangeren synge- Barbara Bogner (geb. Fröhlich). Lithographische Skizze. mesteren […]. Valby: Amadeus, 1989. Deutsch 1913, S. 297.

Kaufmann, Erika (Hg.). 175 Jahre Musikverein für Steier- [Thugut?] Heinrich. Kreidezeichnung. Deutsch 1913, S. mark. Graz, 1815-1990. Graz: Musikverein für Steier- 299. Dort fälschlicherweise als „Katharina“ bezeichnet. mark, 1990. Anonym. Linksportrait. Schattenriss [o.J.] http://www.b Haas, Gerlinde. „Huldigung einer Tonsetzerin“. In: Studi- ildarchivaustria.at/Pages/ImageDetail.aspx?p_iBild- en zur Musikwissenschaft, 41. Bd. (1992). S. 179-196. ID=3917930

Clive, Peter. Schubert and His World. A Biographical Dic- tionary. Oxford: Clarendon Press, 1997. S. 50-54. Group Picture

– 8 – Fröhlich, Josephine

Josephine Fröhlich, like her sisters, is often mentioned Josephine Fröhlich [?] und Schubert am Klavier, weitere in research in connection with Schubert and Grillparzer, vier Freunde Schuberts (For identification of the people especially when studying the role of women in these fa- see Worgull 1997.) mous men’s cultural surroundings. This categorization Ferdinand Georg Waldmüller, Sketches, around 1827. falls short, however, and usually leaves out the singer’s Hilmar, 1989, p. 69. own cultural activities. Josephine Fröhlich was one of the best known and most respected singers in Vienna, and through her networking with famous personalities of Group Pictures with the Sisters (from left to right) her time, she made a contribution to Viennese musical life beyond that of a singer. In addition, she led an inde- Betty, Josephine, Katharina pendent, financially stable life as an unmarried woman. Hans Temple (1857-1931), Eine Schubertiade bei Ritter Need for Research von Spaun - Wood engraving from a photograph by V. A. Heck after a painting by Hans Temple (c. 1890). Original The details of cultural norms in the Biedermeier Period, lost. Reproduced in: A. Bär u. a. (Hg.). Bildersaal deut- including musical friendships from the perspective of scher Geschichte, Stuttgart Berlin Leipzig, 1890 und Büh- gender remains to be studied. ne und Welt 9. 1907. Hilmar 1989, S. 62. Beethoven- It is not yet known in what form Josephine Fröhlich’s les- Haus Bonn. sons with Giuseppe Siboni in Vienna and Copenhagen http://www.beethoven-haus-bonn.de/sixcms/detail.php took place and what effect he had on her own teaching ?id=&template=opac_bibliothek_de&_opac=bild_de.pl methods. The singer’s career trajectory is also under-rese- &_t_maske=x&_dokid=bi:i3976 arched, specifically, that she interrupted her promising the same as „Franz Schubert am Klavier, und sein Freun- career as a singer and dedicated herself more and more deskreis im Jahre 1826“. Heliogravure von J. Blechinger to teaching. To what extent this was connected not just nach einem Gemälde von Hans Temple. to the opera business as such, but also to her stage fright, http://www.bildarchivaustria.at/Pages/ImageDetail.as- as indicated in the sources, and/or the changing vocal px?p_iBildID=13067190 ideals in opera, remains speculation. Little information is available about Josephine Fröhlich’s singing lessons Katharina, Sophie Müller, Anna, Barbara, Josephine and students. The role of her close ties with her sisters in Fröhlich: planning her career and in her private life would also be Julius Schmid. Ein Schubert-Abend in einem Wiener worth investigating. Bürgerhause. Ölgemälde (from 1897 for Schuberts 100th Authority control birthday). Original: Wiener Schubertbund. Foto in Hil- mar p. 193, Preliminary sketch (charcoal) Hilmar 1989, Virtual International Authority File (VIAF): p. 63. http://viaf.org/viaf/80419366 Deutsche Nationalbibliothek (GND): Johann Michael Vogl, Franz Schubert, Josephine und http://d-nb.info/gnd/136000703 Katharina Fröhlich. Author(s)

Julius Schmid. Lünette im Kammermusiksaal, Grazer Ingeborg Harer Congress, in Graz. Kaufmann 1990, S. 168-170. Editing status

Franz Schubert, Josephine and presumably Barbara and Editorial staff: Silke Wenzel Katharina Fröhlich First edit 12/12/2015 Hans Schließmann. Drawing. Vienna Museum. Hilmar Last edit 17/04/2018 1989, S. 56 „Schubert begleitet die Schwestern Fröhlich am Klavier“. mugi.hfmt-hamburg.de Forschungsprojekt an der Research Hochschule für Musik und Theater Hamburg Projektleitung: Prof. Dr. Beatrix Borchard

– 9 – Fröhlich, Josephine

Harvestehuder Weg 12 D – 20148 Hamburg

– 10 –