#Maximilian III Joseph

[tiny-librarian]

Royal Birthday for today, March 28th: 

Albert Alcibiades, German Prince, 1522

Empress Dowager Zhaosheng,  Empress Dowager of the Qing dynasty, 1613

Maximilian III Joseph, Elector of Bavaria, 1727

Märtha of Sweden, Crown Princess of Norway, 1910

Ingrid of Sweden, Queen of Denmark, 1910

[scrollonso]

Crazy In Love¹

A Strollonso AU where Fernando succeeds the Spanish throne and makes it his goal as king to make the Prince of France his groom. (3.4k words, dark!nando) [@catboysracing] {l could've made nando a lot worse but I didnt want this to be 10k words 😭 this is a very rushed rough draft so if i make this a series it'll be more drawn out,, or maybe not idek its 02:26 im tired ☠️}

masterlist - next part

Lawrence stepped out of his carriage, holding his hand out to his wife as she carefully placed a foot on the ground, using Lawrence's shoulder for support as she planted both of her shoes on the stone pathway below them.

Lance peeked his head out before exiting, following his fathers lead in holding out his hand to help his sister, Chloe, out as well. His other siblings had already been married off and attending this ball in the Royal Palace of Madrid was his parents' way of finding their youngest children suitors.

"Very good, my boy" The king praised before the four of them began their walk into the palace. They were shown to the ballroom where most of the guests were straight away. The room was all white with gold detailing, artwork littered on the ceiling as spirals of gold framed the dozens of doors surrounding them

"Pardon me" The queen spoke softly, lightly touching her husbands arm before disappearing through the crowd to make her way to Maria Theresa the Archduchess of Austria.

"Excuse me, Father, Can I go speak with Marie?" Chloe spoke seconds later, her father simply nodding at the girls request. She smiled and muttered a thank you before finding her way to her friend, similarly to her mother.

Lance hated these things. Being in a closed space full of hundreds of people. He couldn't help the sour expression on his face as he looked around the bright room, eyes settling on his half brother Esteban. Lance was more than aware of his fathers infadelity and how he had three children with other women. Lance wasn't too fond of the younger two but he'd grown up close with Esteban and his mother Pauline de Mailly.

"Stop scowling, Lance." Lawrence spoke sternly, greeting his youngest son with a slap to his back

"Sorry, Father." Lance spoke, quick to fix his face as he turned to the king "May I be excused, Father? Esteban is on the other side of the ballroom."

"Go on."

Lance couldn't help but smile as he reached Estebans side, being quick to give him a nod

"Votre Altesse" Esteban hummed, trying to stop himself smiling as his little brother rolled his eyes at the title, he never called Lance Your Majesty unless he was teasing the younger boy "Brother, How are you?"

"I'm well, how long have you been here?"

"Oh, not long. Me and my mother arrived no more than an hour ago." Esteban spoke, Lance nodding at the response

"Have you had any of the food?" Lance asked, hoping his brother would say no so they could eat together

"I have not, shall we go together?" Lance smiled once more, nodding as he followed the older man to the long table of food and refreshments.

Fernando was speaking with Duke Maximilian III Joseph of Bavaria regarding the state of their allies during the ongoing war when he first spotted the French prince, his justaucorps a warm brown embroidered with intricate and colourful flowers. The boys hair was long and wavy, he was constantly brushing it out of his face as he spoke with the slightly older man next to him.

The new king was unsure of who the man next to him was but he was well aware of who Lance was. Fernando had met with Lawrence the second Ferdinand had died, as the new king it was his duty to keep up alliances between the dynasties. With Spain and France being the largest two dynasties as of then, having a relationship with Lawrence was very important to him.

As the conversation came to an end he excused himself to find the Frenchman again, pleased at how easy it was. He was standing off to the side as the man from before spoke with a woman from Sweden, Fernando taking the opprotunity to finally speak to him.

"Monseigneur Lance, it's a pleasure to meet you." Fernando bowed his head, holding a hand out to the shorter prince who's eyes shot up, they were hazel and seemed to sparkle in the dimly lit room.

"Sire," Lance spoke softly, taking Fernandos hand as the Spaniard placed a kiss on his knuckles, the younger boys face flushing pink at the usually meaningless action "the pleasure is all mine."

"I hope your journey here wasn't too strenous, it's a long ride from Versailles." Fernando spoke, letting go of the boys hand then stepping back slightly

"Of course not, I always prefer the carriage rides to the actual balls, anyway" he stated matter-of-factly, only realizing how rude it sounded seconds later. "Apologies, I'm not sure why I said that."

Fernando smiled, covering his mouth to let out a small laugh "There's no need to apologize, I feel the same."

Lance wasn't sure how to respond, all he could do was flash the king a smile, not expecting to relate to him of all people.

"Is it stuffy in here to you?" The Spaniard asked, cocking his head to the side before continuing "Would you like to ride around with me? Get some fresh air."

"I'd love to." The teenager responded with no hesitation, face lighting up at the idea

"Let's go, then. I'll give you a personal tour of my dynasty as long as you'll return the favour." Fernando said, holding his hand out once more, but this time to steal Lance away

Fernando stood beside the door of the carriage, helping the prince get in before getting in himself. It was nice, Lance thought, being treated how princesses are treated. As the carriage began moving he couldn't get the feeling of the Spanish mans lips on his knuckles out of his mind, it was embarrassing just how much he had replayed it already.

"Will your family be staying the night? Most of my guests are but if you're leaving before dawn I'll be sure to return you in time." The king spoke, Lance's eyes focusing on the mans mouth as his lips moved, hardly registering his words.

"I'm sure we will be, my mother and sister prefer to get a decent amount of rest before returning home after balls."

"Perfect, that gives us plenty of time, then." Fernando nodded to himself, moving to sit on the same side as Lance as he pulled back the curtains, the sunset illuminating the streets perfectly.

The smaller boys eyes found their way outside, practically twinkling as he admired just how gorgeous it looked at this time of day

"It's beautiful" He whispered, not bothering to turn and see the older mans reaction

"It is" The Spanish man said quietly, he knew what Lance meant, the landscape was beautiful. Of course Fernando knew that, he lived here, but he only thing he could see was the Prince next to him, he was truly beautiful.

The two continued down the road for a few more minutes before they reached town, Fernando noticing his guards escorting Jesuits from their home right away. He swiftly closed the curtains and began distracting Lance, not wanting the sweet boy to witness the men in black cassocks being pushed and shoved through the streets of the small town they had entered. The new king had made it his first order to expel every resident of the Spanish Empire that was concerningly loyal to the Pope as soon as he had been crowned. He would never admit it as he was too full of pride but he felt threatened by the men devoting themselves to the pope. He was above the pope. He was king. He had power and he was going to make sure every commoner he ruled over was aware of that.

"Hm?" Lance hummed as he noticed the curtains draw shut, turning his body to face the larger man, having not taken in just how drastic their size difference was. Not only was there a difference in power from Spanish King to French Prince but there was also a difference in aura, the mans eyes on him felt intimidating, Lance gazing hesitently at the man as the carriage fell quiet, Fernandos lidded eyes not leaving Lance's for a second

"We're rebuilding in this area, I'd hate for you to see how much of a mess it is right now." He lied, the words slipping off of his tongue as if they were as true as scripture, reciting it as if it was a verse he'd spent weeks remembering.

The credulous boy just nodded, having way too much trust in the man he'd become acquainted with just minutes prior.

"I'm sure it looks fine, every part of your kingdom I've seen so far has been stunning." The Frenchman reassured, wondering if maybe the new King was insecure about the state of his colonies.

"Why, thank you, Monseigneur Lance." Fernando smiled, partially because of the sweet words coming from the boy at his side but also because of just how easy he was to trick "you're too kind."

"No need to be so formal, Your Majesty." Lance scooted back, eyes following Fernando as his arm moved to open the curtains once more, now far enough away from his men to insure Lance saw nothing. "It's just us"

"If I'm to just call you Lance then please, call me Fernando."

"Well, Fernando." Lance started, looking outside of the carriage before turning back to the man "Can you tell me more? About your dynasty. I've only learned what's in the books"

"You've read books about my kingdom?" Fernando laughed dryly, finding it funny how the Prince of France spent his free time reading about the Spanish Empire.

"I've read about many things." Lance nodded, locking his fingers together in his lap "My Father would rather me learn than fight in the war."

"Ah, yes." Fernando nodded, having forgotten about what was currently happening on his allies land. "I understand where he's coming from. I was hesitant to put my sons in command as well."

"How many sons do you have, Fernando?" Lance asked, not having read much about the new kings family

"Three, they're all around your age" Fernando looked outside, smiling to himself as he watched Lance turn to look as well "Carlos is my eldest, then Lando, then my youngest boy Oscar."

"You have only sons?" Lance asked, still looking outside, watching as their surroundings began to get darker and darker

"Yes, just three boys."

"What about their mother? There isn't a queen, is there?"

Fernando shook his head, leaning on the wall behind him before responding, arms crossed over his chest as he watched "Their mother died a few years ago, Tuberculosis they think."

"Oh." He whispered, only now turning to look at the Spaniard, biting his lip slightly in an effort to hide his newfound discomfort "I'm sorry, I- I didn't know."

"Don't apologize." He spoke, harsher than he had before. "Was nothing I could do, the boys are old enough to deal with it and I had more important things to do than wallow in my own self pity."

Lance just nodded, fidgeting with his fingers as he avoided the Spaniards gaze, feeling embarrassed for even bringing it up, although a part of him was relieved to find out the King didn't have anyone at his side

The man reached out to grab Lance's hand, quickly letting his coachman know they were getting out and to wait for them.

The naive Prince followed blindly, letting the man ahead of him pull him through unfamiliar land as if they'd known one another all their lives. Fernando couldn't help but take note of everything Lance was so quick to let him do to him, he couldn't help but wonder just how far he could push it.

They eventually reached a short stone pathway and at the end was a small pavillion with a bench nestled towards the back where plants were growing up the wood. By then it'd gotten darker, Fernando glad to have matches on him as he lit the lamps around the wooden structure

"Woah" Lance breathed out, admring the garden he'd found himself in as Fernando dusted off the bench, still holding onto the boys hand as he pulled him to take a seat

"I haven't been here in ages. I figured if I was going to go back it'd be fun to not be alone." Fernando hummed, the last time he was here he'd killed his father.

"Gosh, if I lived closer I'd spend all my time here!" Lance laughed, smiling up at the man who had yet to take a seat

"I used to, when I became King the first time I hardly had time" He spoke, looking around as soon as he finished, eyes falling on the steps in front of him, the place he'd met his father before quite literally stabbing him in the back. It was what the old bastard deserved. Without his actions Ferdinand would've never became king and Fernando would still be stuck in Naples.

"The first time?" Lance hummed, unbuttoning his justacourps and sliding it off before folding it neatly in his lap

"Si." Fernando nodded, finally taking a seat next to the Prince "Before my brother died I was the king of Naples and Sicily. My eldest, Carlos, is taking over as soon as he finishes being stubborn about his knightly duties."

The boy laughed, he'd grown so used to just hearing people around him speak that everything about Fernandos accent made his sarcasm even funnier. "You're very experienced, Fernando"

"I am." He confirmed, meaning it in more ways than the innocent boy could imagine. As a ruler? Yes, of course. Killer? He supposes. Husband? To some extent. Sexually? Very.

"How long did you rule over Naples and Sicily?" He asked, eager to learn more about the mysterious man beside him

"Twenty-four years, I took over when I was eleven so my mother helped me rule until I was married off and began having children."

"Wow, I feel like I haven't done anything as prince" Lance laughed, tracing the neatly done sewing on the cloth he had on his lap "My father took over France at five, his mother helped him until he was thirteen as well, but sometimes I wonder if I'll ever be king."

"You could be my king." The Spaniard spoke calmly, not sure why Lance began to react the way he did

"Hm?" He questioned, unsure if he was understanding the mans accent correctly

"Be my king. I have no bride, nor do I have a groom." The man shrugged, watching as Lance's facial expression controrted "It is not the 16th century anymore, is normal to have two kings, Lancito."

Lance was aware that it'd become more normalized to see two men ruling side by side, a part of him had always yearned for the connection between a King and his King Consort but until now he'd figured it'd just been out of pure curiosity and a need to figure out the unknown

"Are you asking me to madry you, Fernando?" Lance asked, knowing it seemed obvious enough but he had to be sure, maybe this was just a Spanish thing.

"Consider it." Fernando spoke, holding Lance's hands in his own "Don't say no straight away, this will give us both what we want."

"I'm not sure my father would say yes-" Lance began, eyebrows furrowing as the Spaniard cut him off

"You're father likes me, I'm sure he'll be delighted to hear his son has been proposed to by none other than his greatest allies king."

"I know, I'm just not sure he'll be comfortable with me being so far from home." Lance's voice got quieter as he spoke, not wanting his words to upset the man before him

"I'll take you to visit every chance we get, it'll be like you never left." His voice softened, realizing that if he was to get the French Kings son to marry him he'd have to play nice.

"Well, then.." He dragged out his words, looking at their hands together before responding. There was such a drastic contrast between them, the Spaniards naturally tan and thicker hands making the boys pale and lanky hands seem even smaller. "I suppose" He finished, figuring he wouldn't find anyone better than the Spaniard. He'd seen his siblings get married to ugly and unjust aristocrats that he was relieved someone so kind was asking for his hand in marriage.

The taller mans lips curled, he quickly stood up and pulled Lance to him, the Frenchman leaving his coat on the bench beside where he'd sat before being greeted by the sudden feeling of lips on his.

It was embarrassing to think about how bad of a kisser he had to be. He just tried to follow Fernandos lead, fingers trailing over the gold detailing of his dresscoat as the kiss began to deepen, the kings hands finding their way to the boys waist to pull them even closer, bodies practically connected as Lance settled on the tips of his toes in order to make this easier.

Once Fernando pulled away Lance felt light headed, lips now puffy and red as he breathed harshly, covering his face from the man out of pure embarrassment.

"Do not hide from me, Lancito." He cooed, leaning over to pull the boys hands from his face, thumb brushing over his lips before he spoke again "te ves guapo" the king whispered, Lance unable to hold back a smile as he registered Fernandos words, face flushing a familiar pink as the man called him beautiful.

"We should get back" Lance said softly, face turning to meet the Spaniards gaze as his hands lingered on his chest

"You're right, I should probably ask for your fathers blessing, eh?" They laughed, the prince nodding as the older man grabbed a lantern, calmly finding the way back to the carriage

Fernando couldn't keep his hands off Lance during the short ride back, hand inching further up the boys thigh as his face got hotter, now hidden in the collar of his casaca. It was painfully obvious how inexperienced the boy was, Fernando wasn't sure what he'd done in his past life to deserve such a reward but he was beyond grateful.

It didn't progress past teasing touches, Fernando curious to see just how worked up he could get the boy before he disappeared back into the ballroom to speak to his father.

The answer was very, as they came to a stop outside the palace Lance couldn't hide the look of pure arousal on his face as he felt the Spaniards hands leave, whining at the feeling of his touch fading

"Fer..." He whispered, grabbing weakly onto the mans sleeves as he begged for just a little more

"Patience, let's see what your father says before continuing this, mi rey" Fernando negotiated, kissing the boys jaw softly before exiting the carriage, disappearing inside before Lance had the chance to follow behind.

"How have you been, Your majesty?" The King asked, earning a short response from his ally. "I've come to ask something of you, if you don't mind."

"Go ahead" Lawrence nodded, watching the Spaniard with curiousity

"I'd like to ask for your blessing, King Lawrence." He stated plainly, looking the man in front of him in the eyes "I'd like to make your son my King Consort."

Lawrence nodded right away, arm moving to pat the tanned mans back, smiling similarly to Lance "I'd love to give you my son, I'm shocked you felt the need to ask, Sire."

They both laughed, Lawrence's practically coming from his stomach as he closed his eyes, Fernando returning a short, knowing, and dry laugh.

Lance wandered back into the ballroom, greeted with a light hug from his mother, it wasn't normal in his family for her to show affection to him like this so he was almost worried something had gone wrong but as soon as he saw Lawrence and Fernando side by side he knew what'd happened, he was now set to marry the King of Spain.

[theroyalsofcorrilea]

The Grand Ducal Family of Bauden

Presiding over the last Germanic Sate is the Hessian Ruler, Maximillian III, the Grand Duke of Bauden. His Serene Highness became Grand Duke in 2009, after the death of his father Henrich II.

The Grand Duke married his wife the Grand Duchess Alexandra, nee Princess of Battenberg in 1997, at the Cathedral of the Holy Mother, in a Catholic ceremony, witnessed by the Pope. Together the royal couple have two children Nicholas, the Hereditary Grand Duke of Bauden (b.1998) and Duchess Catherina (b.2000).

In 2021, Nicholas was wed to HH Princess Marina of Sicily, at the same Cathedral his parents were wed 24 years prior. Together the Hereditary Grand Duke and Duchess have two children, Duke Wilhelm-Joseph (b.2021) and Duchess Josephine (b.2024).

The final member of the Grand Ducal Family is the Grand Duke’s mother, Her Serene and Royal Highness, Amalia, the Dowager Grand Duchess of Bauden, Princess of the Hellenes .

Standing (L-R) Nicholas, Catherina and Maximilian

Seated(L-R) Marina, Amalia and Alexandra

[palecleverdoll]

Women of Imperial Russia: Ages at First Marriage

I have only included women whose birth dates and dates of marriage are known within at least 1-2 years, therefore, this is not a comprehensive list. This data set ends with the Revolution of 1917.

Eudoxia Lopukhina, wife of Peter I; age 20 when she married Peter in 1689 CE

Catherine I of Russia, wife of Peter I; age 18 when she married Johan Cruse in 1702 CE

Anna of Russia, daughter of Ivan V; age 17 when she married Frederick William Duke of Courland and Semigallia in 1710 CE

Anna Petrovna, daughter of Peter I; age 17 when she married Charles Frederick I, Duke of Holstein-Gottorp, in 1725 CE

Catherine II, wife of Peter III; age 16 when she married Peter in 1745 CE

Natalia Alexeievna, wife of Paul I; age 17 when she married Paul in 1773 CE

Maria Feodorovna, wife of Paul I; age 17 when she married Paul in 1776 CE

Elizabeth Alexeivna, wife of Alexander I; age 14 when she married Alexander in 1793 CE

Anna Feodorovna, wife of Konstantin Pavlovich; age 15 when she married Konstantin in 1796 CE

Alexandra Pavlovna, daughter of Paul I; age 16 when she married Archduke Joseph of Austria in 1799 CE

Elena Pavlovna, daughter of Paul I; age 15 when she married Frederick Louis, Duke of Mecklenburg-Schwerin in 1799 CE

Maria Pavlovna, daughter of Paul I; age 18 when she married Charles Frederick, Grand Duke of Saxe-Weimar-Eisenach in 1804 CE

Catherine Pavlovna, daughter of Paul I; age 21 when she married Duke George of Oldenburg in 1809 CE

Anna Pavlovna, daughter of Paul I; age 21 when she married William II of the Netherlands in 1816 CE

Alexandra Feodorovna, wife of Nicholas I; age 19 when she married Nicholas in 1817 CE

Joanna Grudzinska, wife of Konstantin Pavlovich; age 29 when she married Konstantin in 1820 CE

Elena Pavlovna, wife of Mikhail Pavlovich; age 17 when she married Mikhail in 1824 CE

Maria Nikolaevna, daughter of Nicholas I; age 20 when she married Maximilian de Beauharnais, Duke of Leuchtenberg, in 1839 CE

Maria Alexandrovna, wife of Alexander II; age 17 when she married Alexander in 1841 CE

Elizaveta Mikhailovna, daughter of Mikhail Pavlovich; age 17 when she married Adolphe, Grand Duke of Luxembourg, in 1844 CE

Alexandra Nikolaevna, daughter of Nicholas I; age 19 when she married Prince Frederick-William of Hesse-Kassel, in 1844 CE

Olga Nikolaevna, daughter of Nicholas I; age 24 when she married Charles I of Wurttemberg, in 1846 CE

Alexandra Iosifovna, wife of Konstantin Nikolaevich; age 18 when she married Konstantin in 1848 CE

Catherine Mikhailovna, daughter of Mikhail Pavlovich; age 24 when she married Duke Georg August of Mecklenburg-Strelitz, in 1851 CE

Alexandra Petrovna, wife of Nicholas Nikolaevich the Elder; age 18 when she married Nicholas in 1856 CE

Olga Feodorovna, wife of Michael Nikolaevich; age 18 when she married Michael in 1857 CE

Maria Feodorovna, wife of Alexander III; age 19 when she married Alexander III in 1866 CE

Olga Konstantinovna, daughter of Konstantin Nikolaevich; age 16 when she married George I of Greece in 1867 CE

Vera Konstantinovna, daughter of Konstantin Nikolaevich; age 20 when she married Duke Eugen of Wurttemberg in 1874 CE

Maria Pavlovna, wife of Vladimir Alexandrovich; age 20 when she married Vladimir in 1874 CE

Maria Alexandrovna, daughter of Alexander II; age 19 when she married Alfred, Duke of Edinburgh, in 1874 CE

Anastasia Mikhailovna, daughter of Michael Nikolaevich; age 19 when she married Friedrich Franz III, Duke of Mecklenburg-Schwerin in 1879 CE

Nadezhada Alexandrovna Dreyer, wife of Nicholas Konstantinovich; age 21 when she married Nicholas in 1882 CE

Elizabeth Feodorovna, wife of Sergei Alexandrovich; age 20 when she married Sergei in 1884 CE

Olga Valerianovna Paley, wife of Paul Alexandrovich; age 19 when she married Erich von Pistolhkors in 1884 CE

Elizabeth Mavrikievna, wife of Konstantin Konstantinovich; age 19 when she married Konstantin in 1885 CE

Anastasia of Montenegro, wife of Nicholas Nikolaevich the Younger; age 21 when she married George Maximilianovich, Duke of Leuchtenberg in 1889 CE

Milica of Montenegro, wife of Peter Nikolaevich; age 23 when she married Peter in 1889 CE

Alexandra of Greece and Denmark, wife of Paul Alexandrovich; age 19 when she married Paul in 1889 CE

Sophie Nikolaievna, wife of Michael Mikhailovich; age 23 when she married Michael in 1891 CE

Victoria Feodorovna, wife of Kirill Vladimirovich; age 18 when she married Ernest Louis, Grand Duke of Hesse, in 1894 CE

Xenia Alexandrovna, wife of Alexander Mikhailovich; age 19 when she married Alexander in 1894 CE

Alexandra Feodorovna, wife of Nicholas II; age 22 when she married Nicholas in 1894 CE

Olga Alexandrovna, daughter of Alexander II; age 18 when she married Count George-Nicholas von Merenberg in 1985 CE

Maria of Greece and Denmark, wife of George Mikhailovich; age 24 when she married George in 1900 CE

Alexandra von Zarnekau, wife of George Alexandrovich; age 16 when she married George in 1900 CE

Catherine Alexandrovna, daughter of Alexander II; age 23 when she married Alexander Baryatinksy in 1901 CE

Olga Alexandrovna, daughter of Alexander III; age 19 when she married Duke Peter Alexandrovich of Oldenburg

Elena Vladimirovna, daughter of Vladimir Alexandrovich; age 20 when she married Prince Nicholas of Greece and Denmark in 1902 CE

Natalia Brasova, wife of Michael Alexandrovich; age 22 when she married Sergei Mamontov in 1902 CE

Elisabetta di Sasso Ruffo, wife of Andrei Alexandrovich; age 31 when she married Alexander Alexandrovitch Frederici in 1907 CE

Maria Pavlovna, daughter of Paul Alexandrovich; age 18 when she married Prince Wilhelm of Sweden in 1908 CE

Helen of Serbia, wife of Ioann Konstantinovich; age 27 when she married Ioann in 1911 CE

Tatiana Konstantinovna, daughter of Konstantin Konstantinovich; age 21 when she married Konstantine Bagration of Mukhrani, in 1911 CE

Irina Alexandrovna, daughter of Alexander Mikhailovich; age 19 when she married Felix Felixovich Yusupov in 1914 CE

Nadejda Mikhailovna, daughter of Michael Mikhailovna; age 20 when she married George Mountbatten in 1916 CE

Antonina Rafailovna Nesterovkaya, wife of Gabriel Konstantinovich; age 27 when she married Gabriel in 1917 CE

Nadejda Petrovna, wife of Nicholas Orlov; age 19 when she married Nicholas in 1917 CE

Anastasia Mikhailovna, daughter of Michael Mikhailovna; age 25 when she married Sir Harold Wernher in 1917 CE

59 women; average age at first marriage was 20 years old. The oldest bride was 31 at her first marriage; the youngest was 14.

[felipe-v-fanblog]

Hi my friend 👋, Who is your favorite Habsburg King? One for Austria and One for Spain?

Who is your least Favorite king of all time? I wish you the best.

HIIII !! how good is to receive an ask just the moment i was thinking about going to random dms to infodump people about random hyperfixations . specially from you my friend im wishing you the best too .

I really like habsburg story as it is full of girlbosses and malewifes ( a really cool dynasty ) . IIIII i really like the austrian ones , spaniards are always a mystery to me . I lived there for four years and I still dont catch their accent . My favourite habsburg monarch is emperor Franz II im not normal about him . there is an strong need to scream everytime i think about him . People probably must known him more for the napoleonic wars but I think he is very interesting by his own right . But tbh I really like all habsburgs from Austria they are very babygirls . Maximilian I , Charles V , Ferdinand I , Rudolf II , Leopold I , Charles VI , Marie Theresia , Joseph II and Ferdinand I of Austria ( not to confuse him with Ferdinand I of the Holy Roman Empire ) are my favourites but I really like all of them except for Leopold II and Francis I ( i have a love-hate relationship with him bc he is funny but I hate that he wasnt faithful to Marie Theresia bc !! SHE WAS LITERALLY A 10 ?! ) . From Spain I truly only like Felipe I and Carlos II . The other ones are very boring to me but I get that Felipe II was interesting . I am not mentioning Charles I because I already mentioned him as emperor . Well . He should be here because he is a spanish one yeah . so yeah he is also here i really like him i find him too funny and he was very babygirl . I mostly like infantes of Spain like the Cardinal-Infante Fernando de Austria , Don Juan José de Austria , Carlos de Austria ( son of Felipe II - prince of Asturias before Felipe III ) and Carlos de Austria ( brother of Felipe IV , I really like him !! I find him autistic and awkard asf and I really like that in people . Like Franz II ) . Those are my tastes in Habsburgs sadly I will try not to talk about the women too as to not make this too big but I also love their queens . Felipe IV is an enigma to me I find him incomprehensible . Truly a mystery like Spain itself . I liked that moment when Louis XIV and Philippe d'Orléans went to hug him and cry when they met to give Louis XIV his wife that was hilarious .

2.IIII I would say Henry VIII cus he is easy to hate but I do also hate Henry VII because he is the one who made my homecountry a mess ( Wales - if you ever see me talking weird english , is because its not my native language ! I speak welsh hehe ) . I really really hate Charles X of France because he ruined my favourite queer mentally ill dynasty ( bourbons ) and destroyed everything Louis XVIII worked for ( he is my !! favourite historical figure ever ) . I dont really hate many monarchs bc even if they are bad they are amusing to know about . The real hate I have to a historical figure is to Saint-Just but i completely agree with his ideas but he was a real asshole and i dont know how robespierre was friend of that guy . he was literally an edgy teen trying to be a politic is everything i hate about politics but worse because i agree with everything he said . except killing louis xvi that was a mistake . they should have put louis xvi in a box and send it to austria if they didnt wanted him there

[royalty-nobility]

Portrait of Maria Anna Sophia of Saxony 1728-1797

Artist: Münchner Hofmaler, Workshop of Georg Desmarées (1697–1776

Date: 18th Century

Medium: Oil on Canvas

Location: Unidentified Location

Maria Anna Sophia of Saxony

Maria Anna Sophia of Saxony (Maria Anna Sophia Sabina Angela Franciska Xaveria; 29 August 1728 – 17 February 1797) was a daughter of King Augustus III of Poland and his wife Maria Josepha of Austria who became Electress of Bavaria by marriage to Maximilian III Joseph, Elector of Bavaria.

[josefavomjaaga]

Maria Leopoldine of Austria-Este

 @microcosme11​ had asked me about this lady of the Bavarian court:

Her name is Maria Leopoldine von Österreich-Este, and she played a huge role in making sure that Max Joseph, Eugène‘s future father-in-law, inherited the title of Elector of Bavaria. As a matter of fact, it‘s a highly educating tale of how to become elector in Munich in the first place.

Unfortunately, it will need a lot of explanation, as this takes us deeply into the rivalries and century-old feuds between the different German principalities that Napoleon Bonaparte would soon know to exploit so well. Let‘s just say, Habsburg (Austria) and Wittelsbach (Bavaria) had not seen eye to eye for quite some time when the Bavarian branch of House Wittelsbach, the one holding the position of Bavarian elector, was about to go extinct.

Many branches of the family went extinct around that time, in fact, and not only of this family. Be it that centuries of inbreeding finally took their toll, be it a general unwillingness to do more than the bare minimum to ensure the family had an appropriate heir (»No, no, no. We‘ve done our duty, we‘ve had one son. It‘s not our fault he died. We‘re not doing that again!«) or even to marry an appropriate but not necessarily attractive partner with whom you could have children able to inherit – the number of males in those princely families got rather low during the 18th century.

In 1777 – twelve years before the French Revolution, just for context – Maximilian Joseph III, the last elector from the old Bavarian branch of the Wittelsbach family, died without a son. There were of course more branches of the family, most importantly the branch that held the electorate of the Palatinate, and then some less important, not ruling branches, like the Zweibrücken-Birkenfelds. Now, technically, if a German prince died without an heir, things would get all medieval: the liege – the Bavarian electorate, in this case - would fall back to the liege lord. The emperor.

The Habsburg emperor in Vienna! No f-ing way!

... said not only the Bavarians but also the kings of France and Prussia, who had no interest in Austria gaining that much territory. In order to prevent it from happening, the different Wittelsbach branches in a multitude of »house contracts« had declared several years before that the family branches would all inherit from each other if one went extinct. The Austrians might have protested against that arrangement but they had just done something quite similar in order to ensure that the last emperor‘s daughter Maria Theresia could inherit, so they were in a bad position to argue. Which doesn‘t mean they didn‘t. But after some more bad blood, even a »War of the Bavarian Succession« that is a funny story in itself, things settled down, and a guy named Karl Theodor (Charles Theodore) became elector of both Bavaria and the Palatinate.

There was a huge down-side to this advancement, from his perspective: he had to move to Bavaria. Uncivilised, almost medieval, hilly-billy Bavaria. He hated that place, and for good reasons. He was a very cultivated person, and this was a very uncultivated place (according to some, it still is *coughcough*). The Bavarians, as to them, liked this new guy in Munich about as much as he liked them. And another problem was already looming on the horizon: Karl Theodor had plenty of children – but only one son with his wife, and this son happened to die a day after he was born. Apparently this was one of those cases where the spouses thought once had been enough and refused to give it another try. And Karl Theodor could not even marry somebody else because – catholic. No divorce. And his unloved wife was in good health. To sum up: No immediate heir in this family either.

Which brings us to the Zweibrücken family branch. At the time when Karl Theodor moved to Munich, this branch of the Wittelsbach family consisted of two brothers: Karl August and Maximilian Joseph (yes, that‘s our Max, future king of Bavaria). Their father, Friedrich Michael, had died young as a military officer in French service, so they had grown up at the court of their uncle, Friedrich Michael‘s older brother Christian. Christian – just saying – had simply refused to marry a partner of equal birth and instead conducted a morganatic marriage with a French actress. A very happy one, by the way. The burden to ensure the family would continue thus had fallen to Friedrich Michael, who had married a sister of Karl Theodor‘s wife, had made her four kids (two sons, two daughters) and bedded pretty much every willing lady of the French court before accusing his wife of adultery, locking her up in some monastery (Max Joseph probably saw his mother last when he was three years old), and then getting himself killed in some war or other.

By 1778, both Friedrich Michael and Christian were dead, and as Christian‘s many children could not inherit his titles, Karl August had become Count Palatine of Zweibrücken (Deux-Ponts in French). Due to his »uncle« Karl Theodor‘s lack of a legitimate son, he and his younger brother Max Joseph also were the next heirs to the combined Bavarian and Palatine electorate.

(Karl August, older brother to future king Max Joseph)

Meanwhile in Munich, Karl Theodor really got annoyed with this gruesome country he had been forced to move into. However, for the first time in a long while this was a Bavarian elector who had good relations with the Habsburgs. After some negotiations between Munich and Vienna Karl Theodor and emperor Joseph II came up with a plan that would make everybody happy: Karl Theodor would exchange the Bavarian territory (or some portion of it) for the Austrian Netherlands. Austria would finally add Bavaria to its territory, and Karl Theodor could move to a nicer place.

This caused an uproar among the Bavarian population. Becoming Austrians? Never! - The Bavarian estates sent delegation after delegation to the Zweibrücken nephews with desperate pleas for help (they also paid these nephews‘ debts). Karl August and Max Joseph immediately protested against the plan, and it turned out that according to the fineprint in those house contracts mentioned above Karl Theodor could not make the deal with Vienna without his nephews‘ consent. Bummer.

France and Prussia also put a word in, and France did even more: When Karl August‘s only son (yet another only child) died in 1784, with little chance for a legitimate replacement, the French king personally made sure that Max Joseph, the younger brother, a great womanizer and obstinate bachelor, would get married to an appropriate lady who could give birth to many legitimate heirs of the Bavarian electorate (oh, and Louis also paid Max Joseph‘s debts. That‘s a recurring theme in the story). Max Joseph, after lots of wailing and resisting, was finally dragged in front of the altar in 1785 and, to his great surprise, found that he loved marriage life, family and children. Not necessarily enough to give up on his womanizing ways. But this whole family thing, having kids and stuff? That was also kinda fun.

(Max Joseph’s first wife Auguste Wilhelmine and their two oldest children, crown prince Ludwig and - yes, that’s little Auguste)

Let‘s fast forward a little: The French Revolution breaks out. Max Joseph, so far one of the many foreign princes in French service, looses everything and, with a wife and five children, becomes a refugee. For some time, so does his brother. Then over the next years, many people die: Max‘s first wife (he will quickly remarry), one of his daughters - and his brother Karl August. Making Max Joseph the heir apparent to the electorate of the Palatinate and of Bavaria.

Except that, in 1794, one more person died: Elector Karl Theodor‘s wife. The Austrians acted quickly and offered the mourning widower (who had 70 years of age) an archduchess as new bride in order to produce an heir with, just so Bavaria would not fall into the clutches of this former French colonel Max Joseph von Zweibrücken who was very unlikely to make any similar deals with the Habsburgs.

And now we finally can introduce the lady this is all about:

Maria Leopoldine was the daughter of Ferdinand Karl von Österreich-Este, who in turn was one of the many children of Maria Theresia (i.e. a brother to the emperors Joseph and Leopold and queens Marie Antoinette and Maria Carolina of Naples) and ruled in Milan. (A year after Maria Leopoldine had married, her family would be kicked out of their home by one Napoleon Bonaparte and his army of Italy). She was 19 years old when she was ordered to marry 70-year-old elector Karl Theodor, and a young lady with lots of self-esteem. Allegedly, when she first saw the bridegroom‘s portrait, she exclaimed: »Thank god he‘s already that old!« - Obviously, it was love on first sight.

The marriage life of the happy newly-weds turned out to be just as full of harmony and roses as could be expected: Maria Leopoldine locked her bedroom door. Well, at least for her husband. Not so much for anybody else. And to make matters worse, her new »nephew« Max Joseph showed up in Munich, as he did from time to time. Just to remind Karl Theodor who was his heir probably, but this time ostensibly to pay his homage to the new aunt Maria Leopoldine. According to a story crown prince Ludwig was told much later, Max Joseph was quite thorough about this task and, unlike his uncle, did make it into Maria Leopoldine‘s bedroom. Did I mention Max never quite gave up on his womanizing ways?

In any case, Maria Lepoldine had made up her mind: She very much preferred the nephew over her husband, thank you for asking. If there was anything she could do to ensure the Austrians (that is, her own Habsburg family!) would not receive Bavaria, she would do it.

Turns out, she could do a lot.

Fast forward to 1799. Karl Theodor suffers from a stroke while playing cards. It‘s not his first, but this one is serious. The old elector still breathes, but the doctors are agreed there‘s nothing they can do. It‘s just a matter of time now.

Time that the Austrian ambassadors in Munich want to use. Contracts for an exchange or sale of Bavarian territory to Austria have long been drawn up, all they need is the elector‘s signature! Surely now, in his last hours, Karl Theodor will not hesitate any longer? They enter the Munich Residence, talk or bribe their way into the private rooms of the elector’s family, into the elector‘s rooms, to his bedroom - and then there‘s somebody on the doorstep. Maria Leopoldine.

And. She. Will. Not. Move. - Forget Gandalf against the Balrog of Moria. Maria Leopoldine against the Habsburg ambassador was the real thing. In the end, the Austrians, most likely after lots of cursing and footstomping, had to leave. In case they hoped they would be luckier at another occasion, they were disappointed: For the first time during their marriage, Maria Leopoldine focused solely on her husband and gave him all her attention, until he breathed his last.

At which point she had all gates of Munich locked. All Austrian couriers on their way to inform Vienna were turned back. The only dispatch that did go out was one to Max Joseph, in which Maria Leopoldine declared herself Max‘s devoted subject and invited him to come to Munich and take over power as soon as possible.

Which Max did. Not necessarily as quickly and forcefully as Maria Leopoldine had acted. But it sufficed.

There was one more point in which Maria Leopoldine helped Max a lot. After her husband‘s death, state officials in the presence of the Austrian ambassador had an interview with her, inquiring if Maria Leopoldine happened to be pregnant. Because a son by Karl Theodor, even posthumously born, would have inherited before Max Joseph. She answered »No«.

Now, as chance would have it, some months later, she went on a lengthy journey that we are very badly informed about, and only returned a year later, after most likely having given birth to a child somewhere on the way. A child whose father surely had not been Karl Theodor. But the Austrians probably would not have cared.

Maria Leopoldine stayed in Munich, much beloved by Max Joseph, and became the enfant terrible of his court, had lovers in abundance, excelled at investing her money, at some point bought a farm where she, if need be, personally helped with the hay-making, and even married morganatically (possibly so she had an official father for her children). She was a close friend of Eugène but not so much of his wife. Maybe she never quite forgave Auguste that her arranged marriage had turned out so well when her own had been such a disaster.

(Maria Leopoldine in later years, with her two sons)

[best-habsburg-monarch]

Tomorrow's matches:

Maria Leopoldina, Empress of Brazil vs. Joseph I, Holy Roman Emperor

Napoleon II, Duke of Reichstadt vs. Phillip II, King of Spain

Maximilian I, Holy Roman Emperor vs. Leopold III, Grand Duke of Tuscany

Ferdinand I of Austria vs Maria Theresa, Archduchess of Austria, King of Hungary, Bohemia and Croatia

Propaganda is welcome as always.

[galesoflove]

act i, scene i: the alluring chaos, ℒudovika.

The atoms of me and the atoms of you will be ink one day, and paper and pen, and then at last, we will be a poem. A love song; some immortal verse. Love and Space Dust, David Jones.

Before everything: Anmerkung der Autorin.

𝐓𝐇𝐄 𝐆𝐋𝐈𝐌𝐏𝐒𝐄 𝐎𝐅 𝐇𝐄𝐑.

I. GENERAL INFORMATION

FULL NAME. Ludovika Norah Arzen NICKNAME. Vic, Luka, Lulu, Dovie PLACE AND DATE OF BIRTH. Eppendorf, Hamburg. November 8th, 1997 GENDER. Female STATUS. Alive MARITAL STATUS. (rather not to mention) SEXUAL ORIENTATION. Heterosexual BLOOD TYPE. A, rhesus positive ETHNICITY. German, Indonesian, Korean NATIONALITY. German DOMICILE. Eppendorf, Hamburg. OCCUPATION. Entrepreneur, baker, model.

II. APPEARANCE

168 cm and 47 kg. She has a fair skin, long and straight black hair. Oval-shaped face with a well-defined jawline and high cheekbones. She has large, expressive eyes with a slightly almond shape and her eye color is dark brown. Slender build, well-proportioned nose and plumpy full lips. A distinctive feature is the signature mole below her lips and right eye.

III. PERSONALITY

INFJ-A. Ludovika is a dynamic blend of toughness and warmth. She has an unshakable resilience and fearlessness, shaped by her past as a competitive taekwondo athlete. She faces challenges head-on, rarely backing down from a fight—whether it’s physical or in life’s everyday struggles. Her accident and the transition from athlete to baker only strengthened her resolve, proving her adaptability and inner strength.

Beneath her tough, no-nonsense exterior, she has a heart full of warmth and care. She’s the kind of person who’ll lend a hand without hesitation, offering comfort through her baked goods or with her light-hearted humor. Her playful, sweet side emerges in the little moments—when she’s teasing someone close to her or pouring her heart into her creations at the bakery. She’s a protective, loyal figure, standing up fiercely for those she loves while maintaining a tender, nurturing spirit that draws people to her.

IV. LAST EDUCATION

Bachelor of Fine Arts in Painting, Korea National University of Arts.

V. LITTLE THINGS

Ludovika Norah Arzen is the youngest of three siblings, born to a German-Korean father and a Indonesian mother. A former taekwondo athlete, she excelled in her sport until a hit-and-run accident involving a drunk driver left her with a achilles tendon injury. This incident forced her to step away from her athletic career. However, Ludovika bounced back from this setback, showing remarkable resilience. She even modeled for her best friend’s clothing brand before pursuing a new passion, opening her own drawing cafe & bakery. Inheriting her baking talent from her mother, a skilled patissiere, Ludovika combined her culinary expertise with her flair for art, creating a cafe with a sweet and charming concept. Her creations not only taste delicious but also look visually delightful, reflecting her artistic sensibility.

VI. TRIVIA

An ambidextrous, which means she can use both her right and left hands equally well.

People often called her Prinzessin because Ludovika is actually the name of the sixth child of King Maximilian I Joseph of Bavaria, Princess Ludovika of Bavaria.

She has a black belt in taekwondo and received a lot of medals. Currently, she's pursuing kendo.

She's a big fan of movies, k-dramas, anime. Her favorite genre is action, crime, thriller, mystery and horror.

She also loves literature, just like manhwa, manga, novels and poetry.

A sweet tooth, especially soft cookies, red velvet cake and brownie. She doesn't drink coffee and alcohol.

She hates the smell of cigarettes.

She has a beautiful voice. During her college years, she often went busking with her friends.

© All Rights Reserved. 2024, ROAN.

[cmcsmen]

Bishop Joseph Perry: Pentecost

(For those who have not, or need to, read this again)

Our faith is a gift.  We often speak of a good relationship in terms of one whom we love or a friend being a gift to us.  We speak of our children as individual gifts. We consider a good job, having good health, all being singular affirmative donations to the experience of life.  The religious among us might even consider these gifts coming from above and not of our own initiative.

But, our faith is a gift and a task – an unspeakable gift from God to us, a holy task we are called to do, meaning, we are called to live the life of faith and to invite others to share in the life of faith.  Our faith touches the core of who we are and our faith fulfills us deeply.

We trust that along the path of life we have come to understand this entire religious experience as an affirming, positive gift, namely to know God and to live in His embrace and under his direction is a singular gift bar none  – such a relationship with God is called “grace.”

It is often said that in our modern day living the life of faith is more of a challenge than in the past.  Perhaps, we suffer under more distractions, preoccupations and self-determinations in our time.  Nonetheless, I want to encourage our readers to stay the course.

The Christian feast of Pentecost is a wonderful reason why we should stay the course. At the end of his life of faith and service the Lord Jesus was taken up into glory.   That, dear friends, is our future too.  It is our horizon of hope at this time.  Jesus assured his disciples that he would send the Paraclete – the Holy Spirit, to equip us with the strength and courage needed for the ordeal to come and then he would come back for us to take us with him.

II

Being a baby-boomer myself, born not long after the end of World War II, perhaps, like some of you I have read my share of war narratives, listened to my own father’s experience being in the US Army during that war in the European theatre and watched many a documentary about that war.  Those accounts are usually gripping but they are never without aspects of the good and even of the heroic.  If war brings out the worst in some people, it brings out the best in others, like all tragedies of one sort or another.

The late Pope John Paul II brought to our attention the horror of World War II when we read of him having experienced that war himself in his own displacement and the persecution and extermination of his own friends and acquaintances, Jews and fellow Catholic Poles and fellow priests.  Pope John Paul II raised up to the honors of the altar many saints and martyrs of that terrible period 1939-1945, some whose names now mark our church calendars, such as Carmelite Sister Edith Stein, Franciscan Father Maximilian Kolbe, the Polish Sisters of the Holy Family and others.  Even now retired Pope Benedict XVI as a lad was forced to join the Hitler Youth and later escaped only to be taken prisoner by American troops till Germany finally surrendered.

III

I think it is the combination of the good and the heroic set against the background of the graphic and disturbing that has helped me to keep my balance in life and to taste its deeper meaning.  The abject misery of people victims of war and conflict in the Middle East and in Africa today only forces me to count my blessings and give thanks to God for all I have.

Among my greatest blessings I count to be my Catholic faith.  Since my faith and my life are inextricably tied up with the Church I must name the Church among my greatest blessings. The two of them – my faith and my Church – give me my energy, my identity, my horizon of hope at this time and at all times.  These two gifts will carry me under God’s grace to heaven.  They will do the same for you too.

I find myself then, not lacking the horizon of hope at all as I look at our Church in these challenging times. Besides, I realize that the Church is in good hands because it is in Christ’s hands.  But, the Church is not only a gift that the Lord has given you and me it is also a care upon our hearts and a responsibility on our shoulders.

Every Sunday is a graced opportunity to give witness before God and the Church each our own enthusiasm and love for our Catholic traditions as we recite the Creed together, as this faith marks our lives indelibly shaping every thought and action of ours. This faith is the lens through which we view the entire world.  In this sense, our religion is not a hobby that we have time for today but perhaps not next week or next month depending upon our mood.  Our religion is a preoccupation of ours because we love and admire Jesus Christ.

One of the Second World War’s heroes of Christian resistance to the Nazis was the young Lutheran theologian, Dietrich Bonhoeffer.  He was arrested by the Nazis in 1943, imprisoned in Buchenwald Concentration Camp and hanged at Flossenburg Concentration Camp just a few weeks before the war ended.  The Nazis would not let him go even when they knew that Hitler’s regime was finished. They had an old score to settle with Bonhoeffer.  He had been one of the Nazi regime’s harshest critics.

I am always impressed by what a Christian of heroic stature has to say about the Church because I know it doesn’t come out of a book when he or she is condemned to die for the faith, nor do their words come from blind loyalty but from the depths of that person’s soul.

Of the Church, Bonhoeffer had this to say:  “ The Church is not very influential, not a very imposing institution and always in dire need of improvement.”  Nevertheless, he added,  “The Church is an office from God.” [“What is the Church”, found in No Rusty Swords, Nashville, TN, Abingdon Press, 1977].

What Bonhoeffer says is true because the Church is easily dismissed by the popular culture that finds the Church an annoyance and the message we peddle an invasion of  privacy.

The Church, of course, is essentially made up of flawed human beings, baptized, anointed, awaiting redemption in Christ. But these flawed human beings carry a message that’s not of their invention.

The Church is not a very imposing or influential institution and it is in dire need of improvement.  But, we must not stop there forgetting the most important thing that Bonheoffer said about the Church:   “The Church is an office from God.”  By “office” he meant that the church is a care we have from God and a work to be done for the Lord and for the salvation of others. While the Church is not of our making it is of our implementation for which we need the mercy of God in carrying for its mission.

“The Lord worked with the apostles and confirmed the word through them,” says John’s gospel.  Similarly, the Lord works with his Church in our time and in its difficulties and its accomplishments.  And He confirms his message through the Church’s worship and sacraments, through its teachers and preachers, its prophets and saints, and even, praise God, through you and me.

IV

Remember the beginnings of our religion were with a group of impoverished and hesitant individuals who probably would not make it in a typical contemporary job interview. They were largely from the poor and working classes. They felt keenly their oppressed, second-class status under subjugation by a foreign power, a hostile empire that would soon as nail them to a cross than ask questions or say ‘hello.’  They were people without defense, without influence.  They searched for their dignity in their religion as descendants of Abraham, Jacob and Moses and their association with Jesus of Nazareth.

One of them was not sure about Jesus and for reasons of his own internal conflicts decided to betray Jesus to his enemies in exchange for some money.  Another disciple denied that he ever met Jesus at a moment the Lord needed him most.  This one went so far as to curse and swear up and down that he was never in Jesus’ company.  Mysteriously, Jesus chose this one to head up his Church after his own departure.

The rest of the band ran in fear of the authorities and locked themselves in a hidden away upper level room in the city wondering what to do next.  A few women stood by Jesus till the end even watching closely his grave.  So much in pain were they over his brutal execution.

Another disciple could not quite believe the report that Jesus was seen alive again several days later, unable to grasp the pieces of Jesus’ teaching and message and the fulfillment of Jewish prophecy in his behalf.

Amazingly, this band of reticent followers was sent out into the world to win the world for God, in many instances, at the cost of their own lives.

Those first Christians may not have been sure of a lot of things and may have been guilty of their own missteps in life.  You may say they were timid and afraid amidst their own disenfranchisement in a violent world.  But one thing for sure those first Christians soon discovered they were sure about and that was what they were willing to die for. The test of our faith, friends, hinges upon what we are willing to stake our lives upon.  Hopefully our faith is one of those things.

Should we be surprised then at weak Christians, hesitant, reticent Christians, flawed and sinful Christians who worship with us, some who even lead and teach the faith today?  Let us never lose the horizon of hope.  If Jesus worked with that first and original, fledgling group, a collection of timid and flawed human beings.  If he works with us, should we not work with each other to improve this Church for the kingdom Jesus is establishing?

V

Pentecost is a feast of hope for the Church.  Jesus had spent his life showing us how to find meaning and purpose and joy through a life of faith in him and a life of service to others.  He has shown us how to live with the horizon of hope ever before our eyes.  He has told us that glory is the reward of such a faith-filled servant life.

Then, as Jesus lived, so may we live.  And as all ended in glory for him so may all end in glory for us.  This is not a vain hope for a vague future.  It is the actual future of which this feast of the birth day of the Church at Pentecost is a pledge.

God’s gift of the Holy Spirit animates us both as individuals and as Church to do the work God does, to be the people of God, to live the life of the Gospel.  Pentecost celebrates the unseen, immeasurable presence of God in our lives and in our Church.

The Holy Spirit is God’s breath that animates us to do the work of the gospel of the Risen One, the strength to make God’s will our will, the power of God transforming us so that we might infuse his life and love into our broken world.

God breathes his Spirit into our souls so that we may live his life in the here and now; God ignites the fire of his Spirit within our hearts and minds that we may realize the coming of God’s reign in our own time and place.

JNP 2013

[die-greifen]

who: royal degrees of separation

The imperial, royal, princely and noble families of Europe have been intermarrying for thousands of years. This practice continues to this day, though not as frequently as in times past.

Karolina Augusta I of Mecklenburg is related to all current reigning and most non-reigning houses in Europe. Due to continual intermarriage, she is related to several families through various bloodlines. The lineage connecting her to these houses will be documented here. This is not an exhaustive list.

The closest relation is listed first, followed by any other notable shared ancestors.

REIGNING HOUSES OF EUROPE

Belgium

Karolina Augusta I and Philippe of the Belgians are fourth cousins as descendants of King Christian IX of Denmark and his wife Louise of Hesse-Kassel.

Karolina Augusta and Elisabeth, Duchess of Brabant are fourth cousins once removed.

Karolina Augusta and Philippe are also descendants of Maximilian I Joseph of Bavaria and his second wife Caroline of Baden.

Denmark

Karolina Augusta I and Margrethe II are second cousins once removed as descendants of Friedrich Franz III of Mecklenburg-Schwerin and his wife Grand Duchess Anastasia Mikhailovna of Russia.

Karolina Augusta and Crown Prince Frederik are third cousins.

Karolina Augusta and Margrethe are also descendants of Queen Victoria of the United Kingdom, and of  King Christian IX of Denmark.

Liechtenstein

Karolina Augusta I and Hans-Adam II are fourth cousins twice removed as descendants of Maximilian I Joseph of Bavaria and his second wife Caroline of Baden.

Karolina Augusta and Hereditary Prince Alois are fifth cousins once removed.

Luxembourg

Karolina Augusta I and Henri of Luxembourg are fourth cousins as descendants of King Christian IX of Denmark and his wife Louise of Hesse-Kassel.

Karolina Augusta and Hereditary Grand Duke Guillaume are fourth cousins once removed.

Karolina Augusta and Henri are also descendants of Maximilian I Joseph of Bavaria and his wife Caroline of Baden.

Monaco

Karolina Augusta I and Albert II are fifth cousins as descendants of Florestan I of Monaco and his wife Maria Caroline Gibert de Lametz.

Karolina Augusta and Hereditary Prince Jacques are fifth cousins once removed.

The Netherlands

Karolina Augusta I and Willem-Alexander are third cousins once removed as descendants of Friedrich Franz II of Mecklenburg-Schwerin and his third wife Marie of Schwarzburg-Rudolstadt.

Karolina Augusta and Catharina-Amalia, Princess of Orange, are fourth cousins.

Karolina Augusta and Willem-Alexander are also descendants of George Victor, Prince of Waldeck and Pyrmont and his first wife Princess Helene of Nassau.

Norway

Karolina Augusta I and Harald V of Norway are third cousins once removed as descendants of King Christian IX of Denmark and his wife Louise of Hesse-Kassel.

Karolina August and Crown Prince Haakon are fourth cousins.

Karolina Augusta and Harald are also descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

Spain

Karolina Augusta I and Felipe VI of Spain are third cousins as descendants of Ernst August, Crown Prince of Hanover and his wife Thyra of Denmark.

Karolina Augusta and Leonor, Princess of Asturias are third cousins once removed.

Karolina Augusta and Felipe are also descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

Sweden

Karolina Augusta I and Carl XVI Gustaf of Sweden are third cousins twice removed as descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

Karolina Augusta and Crown Princess Victoria are fourth cousins once removed.

Karolina Augusta and Carl XVI Gustaf are also descendants of George Victor, Prince of Waldeck and Pyrmont and his first wife Princess Helene of Nassau.

The United Kingdom

Karolina Augusta I and Elizabeth II of the United Kingdom are third cousins once removed as descendants of King Christian IX of Denmark and his wife Louise of Hesse-Kassel.

Karolina Augusta I and Prince Philip, Duke of Edinburgh are second cousins twice removed as descendants of King Christian IX of Denmark and his wife Louise of Hesse-Kassel.

Karolina Augusta I and Charles, Prince of Wales are third cousins once removed through his father’s descent of King Christian IX of Denmark and his wife Louise of Hesse-Kassel.

Karolina Augusta is fourth cousins to the grandchildren of Prince Philip, Duke of Edinburgh.

Karolina Augusta and Elizabeth, and her husband, are also descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

NON-REIGNING HOUSES OF EUROPE

Austria-Hungary

Karolina Augusta I and Karl von Habsburg are fourth cousins once removed as descendants of King John of Saxony and his wife Amalie Auguste of Bavaria.

Karolina Augusta and Ferdinand Zvonimir are fifth cousins.

Karolina Augusta and Karl are also descendants of Ernst I, Prince of Hohenlohe-Langenburg and his wife Princess Feodora of Leiningen.

Baden (German Empire)

Karolina Augusta I and Max, Margrave of Baden second cousins once removed as descendants of  Ernst August, Crown Prince of Hanover and his wife Thyra of Denmark.

Karolina Augusta I and Hereditary Prince Bernhard are third cousins.

Karolina Augusta I and Max are also descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

Bulgaria

Karolina Augusta I and Simeon II of Bulgaria are fourth cousins once removed as descendants of King John of Saxony and his wife Amalie Auguste of Bavaria.

Karolina Augusta and Boris, Prince of Turnovo are fifth cousins once removed.

Karolina Augusta and Simeon are also descendants of Francis, Duke of Saxe-Coburg-Saalfeld and his second wife Countess Augusta Reuss of Ebersdorf.

Greece

Karolina Augusta I and Constantine II of Greece are second cousins once removed as descendants of Ernst August, Crown Prince of Hanover and his wife Thyra of Denmark.

Karolina Augusta and Crown Prince Pavlos are third cousins.

Karolina Augusta and Constantine are also descendants of King Christian IX of Denmark, and of Queen Victoria of the United Kingdom.

Karolina Augusta and Crown Prince Pavlos are also descendants of Friedrich Franz III of Mecklenburg-Schwerin and his wife Grand Duchess Anastasia Mikhailovna of Russia.

Hannover (German Empire)

Karolina Augusta I and Ernst August V, Prince of Hannover are second cousins once removed as descendants of Ernst August, Crown Prince of Hannover and his wife Princess Thyra of Denmark.

Karolina Augusta and Ernst August, Hereditary Prince of Hannover are third cousins.

Karolina Augusta and Ernst August are also descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

Hesse (German Empire)

Karolina Augusta I and Donatus, Landgrave of Hesse are fourth cousins once removed as descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

Karolina Augusta I and Moritz, Hereditary Prince of Hesse are fifth cousins.

Hohenlohe-Langenburg (German Empire)

Karolina Augusta I and Philipp, Prince of Hohenlohe-Langenburg are third cousins once removed as descendants of Alfred, Duke of Saxe-Coburg and Gotha and his wife Grand Duchess Maria Alexandrovna of Russia.

Karolina Augusta and Hereditary Prince Max Leopold are fourth cousins.

Hohenzollern (German Empire)

Karolina Augusta I and Karl Friedrich, Prince of Hohenzollern are first cousins once removed as descendants of Karl, 6th Prince of Leiningen and his wife Grand Duchess Maria Kirillovna of Russia.

Karolina Augusta and Hereditary Prince Alexander are second cousins.

Leiningen (German Empire)

Karolina Augusta I is a niece of Andreas, 8th Prince of Leiningen.

Karolina Augusta I and Hereditary Prince Ferdinand are first cousins.

Mecklenburg-Strelitz (German Empire)

Karolina Augusta I and Borwin, Duke of Mecklenburg-Strelitz are fourth cousins once removed as descendants of John of Saxony and his wife Princess Amalia of Bavaria.

Karolina Augusta I and Hereditary Duke Alexander are fifth cousins.

Karolina Augusta I and Borwin, Duke of Mecklenburg-Strelitz’s most recent patrilineal ancestor is Adolf Friedrich I, Duke of Mecklenburg, who died in 1658.

Oldenburg (German Empire)

Karolina Augusta I and Christian, Duke of Oldenburg are first cousins once removed as descendants of Nikolaus, Hereditary Duke of Oldenburg and his wife Helen of Waldeck and Pyrmont.

Karolina Augusta I and Hereditary Duke Alexander are second cousins.

Portugal

Karolina Augusta I and Duarte Pio, Duke of Braganza are fourth cousins twice removed as descendants of Karl Ludwig, Prince of Hohenlohe-Langenburg and his wife Countess Amalie Henriette of Solms-Baruth.

Karolina Augusta and Afonso, Prince of Beira are fifth cousins once removed.

Prussia (German Empire)

Karolina Augusta I and Georg Friedrich, Prince of Prussia are second cousins once removed as descendants of Kirill Vladimirovich, Grand Duke of Russia and his wife Princess Victoria Melita of Saxe-Coburg and Gotha.

Karolina Augusta and Prince Carl Friedrich are third cousins.

Karolina Augusta and Georg Friedrich are also descendants of Friedrich Franz III, Grand Duke of Mecklenburg-Schwerin and his wife Grand Duchess Anastasia Mikhailovna of Russia.

Romania

Karolina Augusta I and King Michael I of Romania are second cousins twice removed as descendants of Alfred, Duke of Saxe-Coburg and Gotha and his wife Grand Duchess Maria Alexandrovna of Russia.

Karolina Augusta and Crown Princess Margareta are third cousins once removed.

Karolina Augusta and Michael are also descendants of King Christian IX of Denmark and his wife Louise of Hesse-Kassel.

Russia (Disputed)

Karolina Augusta I and Maria Vladimirovna are first cousins twice removed as descendants of Kirill Vladimirovich, Grand Duke of Russia and his wife Princess Victoria Melita of Saxe-Coburg and Gotha.

Karolina Augusta and Grand Duke George Mikhailovich are second cousins once removed.

Saxe-Coburg and Gotha (German Empire)

Karolina Augusta I and Andreas, Prince of Saxe-Coburg and Gotha are third cousins twice removed descendants of Queen Victoria of the United Kingdom and her husband Albert of Saxe-Coburg and Gotha.

Karolina Augusta and Hubertus, Hereditary Prince of Saxe-Coburg and Gotha are fourth cousins once removed.

Schleswig-Holstein (German Empire)

Karolina Augusta I and Christoph, Prince of Schleswig-Holstein are second cousins once removed as descendants of Friedrich August II, Grand Duke of Oldenburg and his second wife Duchess Elisabeth Alexandrine of Mecklenburg-Schwerin.

Karolina Augusta and Hereditary Prince Friedrich Ferdinand are third cousins.

Karolina Augusta and Christoph are also descendants of Alfred, Duke of Saxe-Coburg and Gotha and his wife Grand Duchess Maria Alexandrovna of Russia.

Waldeck and Pyrmont (German Empire)

Karolina Augusta I and Wittekind, Prince of Waldeck and Pyrmont are first cousins twice removed as descendants of Friedrich August II, Grand Duke of Oldenburg and his second wife Duchess Elisabeth Alexandrine of Mecklenburg-Schwerin.

Karolina Augusta and Hereditary Prince Carl-Anton are second cousins once removed.

Wied (German Empire)

Karolina Augusta I and Maximilian, 9th Prince of Wied are third cousins as descendants of Friedrich August II, Grand Duke of Oldenburg and his second wife Duchess Elisabeth Alexandrine of Mecklenburg-Schwerin.

Yugoslavia/Serbia

Karolina Augusta I and Alexander, Crown Prince of Yugoslavia are third cousins once removed as descendants of Alfred, Duke of Saxe-Coburg and Gotha and his wife Grand Duchess Maria Alexandrovna of Russia.

Karolina August and Hereditary Prince Peter are fourth cousins.

FUN FACTS

Until 2022, John William Friso, Prince of Orange and Landgravine Marie Louise of Hesse-Kassel were the most recent common ancestors of every reigning royal house.

Albert II of Monaco and Karolina Augusta I of Mecklenburg are the only reigning monarchs who descend from the House of Grimaldi.

The monarchs of the Netherlands, Monaco, and Liechtenstein are the only reigning European monarchs who are not descended from King Christian IX of Denmark or Queen Victoria of the United Kingdom.

[sarahtheflutist]

Symphony No. 3 in E-flat, Op. 55 “Eroica” (1804)

The Basics

Composition dates: 1802-04.

Dedication: Prince Joseph Franz Maximilian Lobkowitz.

Instrumentation: Strings, 2 Fl, 2 Ob, 2 Cl, 2 Bsn, 3 Hn, 2 Tr, Timp.

First performances: 9 June 1804, Lobkowitz Palace, Vienna (private); 7 April 1805, Theater-an-der-Wien (public).

Orchestra size for first or early performance: 3+3.2.2.2/single winds (private, based on Beethoven letter); 6+6.3(?).2.4/single winds (public, estimate).

Autograph Score: Not extant.

First published parts: Oct. 1806, Contor delle arti et d’Industrie, Vienna.

First published score: 1820, Simrock (1822 Simrock edition available at Eastman’s Sibley library rare collection).

Movements (Tempos. Key. Form.)

I. Allegro con brio (MM=60). E-flat Major. Sonata-Allegro.

II. Marcia funebre (funeral march). Adagio assai (MM=80). C minor (vi). Ternary Form/Rondo/Sonata-allegro(?).

III. Scherzo. Allegro vivace (MM=116). E-flat Major. Scherzo/Trio (ternary).

IV. Finale. Allegro molto (MM=76). E-flat Major. Theme & Variation hybrid (Double-theme, elements of Sonata-Allegro).

Significance and Structure

Perhaps no piece in the symphonic repertoire has received more attention in writing than Beethoven’s Eroica Symphony No. 3 in E-flat, Op. 55. While contemporary reception of the piece was mixed, critics and theorists in the years since have considered the Eroica one of the most important pieces in the history of Western music. Beethoven initially intended to dedicate the symphony to Napoleon Bonaparte, but famously became disenchanted when Napoleon abandoned the ideals of the French Revolution and became Emperor in 1804, just one year before the symphony’s premiere. The composer tore up the title page in a fit of rage and branded the piece Sinfonia eroica (Heroic symphony) instead. The subtitle of the published score simply said, “composed to celebrate the remembrance of a great man.” Many have speculated about who this “great man” may have been. With no definitive answer, perhaps the most compelling argument is that “Beethoven intended its title and subtitle to refer more broadly not to any single individual but to an ideal, mythic figure, whose heroism is represented by the power and weight of this symphony and whose death is commemorated by its Funeral March as second movement.” (Lockwood, Beethoven’s Symphonies, 55.)

While interesting, the story of the symphony’s dedicatee has little to do with its lasting importance to music history. Part of its significance is that the Eroica was the first piece of the traditional middle or “heroic” period in Beethoven’s biography. Beethoven started to compose the symphony shortly after he wrote the Heiligenstadt Testament, a document in which he reveals deep dismay at his increasing deafness and contemplation of suicide. At about the same time, Beethoven reportedly declared to his friend Krumpholz that he was contemplating a new compositional direction (Downs, “Beethoven’s New Way & ‘Eroica'”). Many have argued that Beethoven’s “heroic” style from the Third Symphony forward was a musical manifestation of his triumph over the personal afflictions laid out in the Testament. As Lewis Lockwood states, “Beethoven’s ‘heroic style,’ [is] a concept that…for many Beethovenians served to intertwine these two dimensions, his life and work” (Lockwood, Beethoven’s Symphonies, 52). While there are certainly music-rhetorical aspects that define the heroic style—expansions of form, stark, surprising harmonies and melodic directions, registral shifts, redefined instrumental use, and pregnant pauses, all calling upon and pushing to the fore the sublime aesthetic—critics have often focused on how the composer’s personal struggles are embodied in the music. Many go so far to say that much of Beethoven’s music, starting with the Eroica, is representative of not only the composer’s life but even of universal human experience.

Despite the many commentaries on the biographical connection, one should not lose focus of the Third Symphony’s musical importance. In the Eroica, Beethoven expanded the symphonic form to an unprecedented scope, altering the expectations of what a four-movement symphony would be in the next two centuries. Consider the symphonic composers before and after Beethoven: Mozart wrote over 40 symphonies, and Haydn over 100; after Beethoven, composers typically wrote no more than nine or ten, leading some to suggest a mythical “Curse of the Ninth.” Scott Burnham stated that the Eroica came to be seen as the “One work [by which] Beethoven is said to liberate music from the stays of eighteenth-century convention, singlehandedly bringing music into a new age by giving it a transcendent voice equal to Western man’s most cherished values.” (Beethoven Hero, xvi.) Burnham goes on to says of the first movement, “The unexampled drama of this movement singlehandedly altered the fate of sonata form, the defining form of the classical style, not to mention that of the symphony.” (Beethoven Hero, 4.)

By labeling his symphony Eroica, Beethoven added his work to the line of the characteristic symphony genre (Haydn’s “Le midi” Symphony, e.g., see above essay The Eighteenth-Century Symphony) while also inspiring critical writings that looked anticipated the more flushed out programmes of the nineteenth-century dramatic symphonies and symphonic poems by Hector Berlioz (1803-1869) and Richard Strauss (1864-1949). Berlioz himself said of Beethoven’s Third, “It is a serious mistake to truncate the title which the composer provided for the [Eroica] symphony. It reads: Heroic symphony to commemorate the memory of a great man. As will be seen, the subject here is not battles or triumphal marches . . . but rather deep and serious thoughts, melancholy memories, ceremonies of imposing grandeur and sadness, in short a funeral oration for a hero. I know few examples in music of a style where sorrow has been so unfailingly conveyed in forms of such purity and such nobility of expression.” (Berlioz, The Art of Music and Other Essays). Contemporary critics such as A. B. Marx searched for a program that connects all four movements, but, as Burnham argues, critics attempting to link all four movements in a single programme face several challenges. Perhaps the biggest hurdle to a complete four movement heroic narrative is that the second movement is a funeral march, followed by two more movements. Therefore more modern interpretations view the symphony as four separate tableaux, as reflected in the following formal analysis.

The foundational idea of the first movement of Beethoven’s Third Symphony is a narrative of struggle, which is a quintessential quality of the heroic archetype. This narrative is reflected in the structure of the piece at the large and small scales, and in how “dissonances” are generated and resolved in many aspects of the music, not just harmony. The opening pensive first theme (0:00-0:50) is an unusual instrumentation and articulation for a traditional heroic first theme; Beethoven here presents a legato theme in the cellos. This theme has two components, the first being the heroic arpeggiated figure which is strongly defined, followed by a shift into a chromatic pensive descent to a dissonant C-sharp, suggesting something dark and tormented is afoot. While Beethoven’s predecessors such as Mozart and Haydn used clearer question-and-answer structures, here the theme resembles a question unanswered, begging the rest of the movement to solve it. Metaphorically, the hero is launched from a state of nothing to something grand. Simultaneous to the arrival of the C-sharp in the cellos, the first violins enter with syncopated repeated pitches (rhythmic dissonance), and soon Beethoven launches into a series of full-orchestra misplaced sforzando accents (metric dissonance). In contrast to the square rhythm and articulation of the first theme, the transitional material is presented in the woodwinds using a descending line with dotted rhythms and short phrasing before reaching the second theme, which symbolizes nature by using the triple meter to create a clear, dance-like pastoral rhythm. The opening theme is stated three times, each one more full than the previous, until the third statement is adamantly made by the horns and even the trumpets, which were not generally used for melody (orchestration dissonance).

The development section presents another kind of dissonance, this time playing with form; here Beethoven gives us a new theme (8:01-8:11) in the remote key of E minor. (This theme is repeated in the tonic E-flat minor, and returns in that key in the coda, thus resolving this key dissonance.) The rhythmic dissonance from earlier returns in a daring series of sforzandos, a very extended and tense section that threatens the loss of the metric sense. While the opening theme was questioning and searching, by the end of the Development section it has evolved (9:00-9:27) and now stays on the top note—a more fulfilled conclusion rather than the uncertain fall to C-sharp on its first hearing—yet this evolution is soft and unsure. This melodic resolution reflects the perfecting of the melody: the fulfillment, as it were, of the heroic persona, yet the idea is as yet incomplete, as it is presented piano. Following a “false return” of the main theme and key of E-flat in the second horn, and a fortissimo chastisement by the rest of the orchestra (9:56-10:07), the recapitulation commences, and the evolved, more fulfilled and heroic version of the first theme is stated by a solo horn in the key of F (10:17-10:26). An appearance of the key of D-flat, the enharmonic equivalent of C-sharp, in the recapitulation, helps resolve the harmonic problem of the C-sharp in the initial melody. The use of a full orchestral texture in contrast to the single-instrument statements earlier in the movement further completes this effect. Finally, the form of the movement as a whole reflects a heroic narrative of overcoming tension or conflict. For example, unlike traditional codas which are to conclude a section, Beethoven’s coda is long and developmental, but returns to the full, heroic form of the initial melody (14:21-end). It is as if the music is reluctant to resolve, such that we are exhausted by the end, which reflects the human dimension.

The second movement is the most programmatic, bearing the title “Marcia Funebre” (funeral march). The imagery of the title is heard from the very first measure (0:00-0:53); the basses begin with a low muffled figure that seems to imitate military drums, and the somber c-minor melody beginning in the strings instantly brings to mind a solemn procession accompanying a fallen hero (Lockwood, Beethoven’s Symphonies, 61). This was not the first time Beethoven had written a movement in the form of a funeral march—the Piano Sonata no. 12 Op. 26, mvt. 3, composed around 1801, bears the title “Marcia Funebre, sulla morte d’un Eroe” or “Funeral March, regarding to the death of a hero”—but it was the first time he brought this form into a symphony, and Lewis Lockwood notes that in this second movement Beethoven “introduces death and commemoration into the genre of the symphony for the first time.”

This idea of commemoration or remembrance seems to permeate the movement, in which Beethoven creates a large-scale ternary form with the opening funereal march theme returning in various forms, acting as a sort of refrain. An optimistic middle section beginning with a rising triadic theme in C major (3:39-4:22) seems to offer some light or hope to the listener, or reflect upon better times; George Grove characterizes this moment as a “sudden ray of sunshine in a dark sky” (Grove, Beethoven and His Nine Symphones, 72). Beethoven then extends the form by giving us a powerful fugue (5:51-7:25) beginning in the second violins; to end the movement with only a repeat of the main theme would be too easy, too simple for the “hero” Beethoven is recalling in the movement. In the fugue we have a sense of remembrance of the hero’s struggles, their trials and tribulations, which is ultimately interrupted and overcome by the return of the processional funeral march. In the coda this theme is recalled yet again, but in sparse fragments, interrupted by moments of silence, as if our hero is gasping for his last breaths, before finally reaching the end (11:47-end). In the words of Berlioz, “When these shreds of the lugubrious melody are bare, alone, broken, and have passed one by one to the tonic, the wind instruments cry out as if it was the last farewell of the warriors to their companions in arms.” Although Napoleon was still alive and well when Beethoven was composing the third symphony, when he learned of Napoleon’s death in 1821 he said “I have already composed the music for that catastrophe”, referring to the second movement of the Eroica.

Rustic woodwind melodies, figures mimicking the prancing of horses, and brilliant horn calls suggest a natural setting in the third movement. One is reminded of David’s famous painting of Napoleon Crossing the Alps. Expansive formal techniques make it twice as long as Beethoven’s two previous symphonies. The opening is pianissimo with strings playing a duple-meter figure spiccato, leading to the oboe’s rustic melody (0:00-0:25). There are characteristics of a scherzo here with the irregular phrase length with the first melody phrase being an eight-bar phrase, followed by a ten-bar phrase, as well as the constant beat displacement and the use of syncopation. Although this movement is in a traditional minuet-trio structure, the sections of the scherzo’s rounded binary form are extended, and Beethoven adds a coda to the end of the movement.

During the Classical period composers commonly used two horns, sometimes four, in symphonies, but this is the first time that three horns are used in a symphonic work. The horns used in Beethoven’s time had no valves, and used a “crook” system to be able to play in the various keys. With the triadic horn calls at the beginning of the trio section, the rest of the orchestra “answers” the calls. He writes one part for a pair of horns and another part for the third horn, allowing for this triadic horn-call style. “In the trio, Beethoven exploits their imperfections in such a way that no stopped notes are required until near the end of the second half…” (Gregory, “The Horn in Beethoven’s Symphonies,” 307). The return of the Scherzo is repeated in a shorter version, and the orchestra plays the descending E-flat figure in duple meter (metric ambiguity) which suddenly leads into the closing material. In the coda (5:20-end), the woodwinds offer a rising chromatic figure which seems to relate back to the first movement.

The fourth movement was perhaps the conception point from which Beethoven originally planned the entire symphony around the heroic idea. The versatility of the Fantasia style enables a journey of completion from humble beginnings to a grand transcendence. The use of a variation set (rather than a conventional sonata or rondo) stretched the symphonic form of the time. The movement contains two fugues and quotes from both the Op. 36 Piano Variations, nicknamed the “Eroica Variations” (written in 1802, a year before the Eroica Symphony) as well as from Beethoven’s only balletThe Creatures of Prometheus, Op. 43, which he wrote in 1801.

The movement begins with a Sturm und Drang effect (0:00-0:12), leading to a quiet pizzicato in the strings with the scant, searching “Basso del thema” (Bass of the theme) rounded binary theme from Prometheus (0:12-0:44) introducing the beginning trials of the hero. To this simple theme Beethoven adds a countermelody, four repeated A-flats descending to a G, the first three notes staccato, and the final two slurred. The contrast between the heroic and wide intervals of fifth and octave and the long note durations in the original theme, versus the semitone, staccato articulation, and eighth notes of the countermelody, create a strong distinction suggesting the main theme is nature or the transcendent while the countermelody suggests the human dimension. Together, the two motives fill out the major triad.

Beethoven develops this basic idea into a full-fledged, folk-like melody in the oboes (1:50-1:59), again evoking a pastoral quality, which doesn’t appear until the third variation. Variations 4-7 (2:33-6:18) can be perceived as pseudo-development; this uses Fantasia techniques such as key changes, fugal style, poignant dissonances, and varied rhythms to navigate the most difficult struggles of the personal journey, which are overcome. In this section military and pastoral topoi are also presented in alternation. These contrasting topoi reflect the inherent contradictions of the human dimension and the metaphorical struggle. Variations 8-10 (6:18-9:44) function as a pseudo-recapitulation, signaled by a slowing in tempo and return to a reposed, pastoral character, but pushing forward with increasing grandeur generated by the melodic intensification and growing instrumentation. A chromatic passage ends this section, leading into a full orchestral explosion that recalls the opening Sturm und Drang material, now at a Presto tempo, signaling the coda (9:50-end).This faster tempo rushes to the victorious ending: all struggles are overcome. Per ardua ad astra.

—Contributors: CH, EH, FJ, SY, YS, MER

Beethoven’s Words

“I am far from satisfied with my past works: from today on I shall take a new way.” (Beethoven to Krumpholz, ca. 1802, as reported by Carl Czerny.)

Beethoven’s words, believed to have been uttered in 1801 or early 1802 to his friend Wenzel Krumpholz (Downs, “Beethoven’s ‘New Way’ and the ‘Eroica,’” 585) and published in a recollection by Beethoven’s student Carl Czerny, demonstrate a personal resolve for reinvention. The opening years of the nineteenth century were a psychologically transformative time for Beethoven: faced with the bleak outlook of his ever-worsening hearing loss, he regained a sense of purpose to serve a greater good, as expressed in the famed Heiligenstadt Testament of 1802. Carried by his innate “love of mankind and the desire to do good,” Beethoven returned from the brink of suicide and became a martyr—an injured hero—who would light the way for others with similar struggles, so that “someone who has had misfortune may console himself to find a similar case to his.”

Beethoven’s stance reflects the cultural philosophy of the Romantic genius. The genius was born with an innate creative gift and “divine instinct” to create maximally-expressive art, often doing so through breaking the rules of convention (Lowinsky, “Musical Genius,” 323–328). The genius’s purpose was to serve humanity, and the burden of an artist was greater than the layman’s: in the Heiligenstadt Testament, Beethoven lamented that his condition was “not easy, and for the artist much more difficult than for anyone else.”

In his desperation, the composer found solace pouring his gifts into his art, and with the mindset of the genius, Beethoven began his “new way” of composition. His new works sought to break tradition in support of a dramatic narrative and tended to be longer in length compared to their predecessors, while still threading their beginnings to their ends through motivic unity. This period of fruitful compositional output is often referred to as his Middle or “Heroic” Period (ca. 1802–1814, Opp. 55-97, 113) due to its many works that portray the heroic ideal, and includes Symphony Nos. 3 through 8. The portrayal of heroism is evident, too, in his music composed for stage works, most of which are on heroic stories. Beethoven used themes from his earlier The Creatures of Prometheus ballet, Op. 43 (1801), based in mythology, as a foundation for his Eroica finale; his opera Leonore (1804; later revised and titled Fidelio), revolves around the protagonist Leonore infiltrating a Spanish prison to rescue her husband Florestan and incorporates themes of rebellion and liberation; the Coriolan Overture, Op. 62 (1807) and incidental music to Egmont, Op. 84 (1809–10) and The Ruins of Athens, Op. 113 (1811) are also set to heroic tales. Meanwhile, non-programmatic but similarly-spirited works of this period include the Waldstein, Op. 53 (1804) and “Appassionata,” Op. 57 (1804–6) piano sonatas, written within a year of the Eroica’s completion.

Beethoven’s “new way” found no better expression than in his Symphony No. 3. Ferdinand Ries famously described the violent erasure of this work’s original dedication, when Beethoven, upon discovering Napoleon Bonaparte’s coronation as Emperor, “flew into a rage and cried out, ‘Is he then, too, nothing more than an ordinary man!’” (Lockwood, Beethoven’s Symphonies, 53). To uphold his newfound vision of the passionately virtuous without compromise, Beethoven published this symphony in 1806 with the full title “Sinfonia Eroica … composed to celebrate the memory of a great man.”

The remarkable length of this piece is accomplished through its daring structural turns, expanded by a density and abundance of musical ideas. Furthermore, in a scoring for three horns, abundant use of brass melodies, fugal writing in all but the scherzo, and an overall expansive treatment of forms, the Eroica reimagined the capabilities of a symphony. Structural details are described in the preceding essay, but the sum of the materials is four distinct, compelling tableaux of the heroic idea. The first movement achieves deep emotional complexity, and through the creation and resolution of musical dissonances—harmonic, melodic, tonal, rhythmic, metric, textural, orchestrational, and formal—along with the shear expansiveness of the form, conveys the heroic per ardua ad astra: through struggle to the stars! The second movement funeral march effectively turns the epic into a tragedy and, compared with the relatively mild emotional undercurrents of Beethoven’s first two symphonies, evokes an unprecedented sincerity in its gravitas and sorrow. Anguish and despair permeate unreservedly and are held together only by the emergence of hope and redemption as the music mourns for the fall of its hero. Juxtaposed against this profundity is the lighthearted nature “in Nature” of the third movement Scherzo. In the final movement, the dramatic cascade of strings followed by a tutti fanfare signals a grand finale of a long expedition but is, instead, met with an almost mockingly humorous and delicate bass tune, which eventually reveals itself as the bass line for a much more graceful and satisfying theme, which continues to change and grow right to the horn-call and victorious ending. As a character from a Romantic heroic novel (Bildungsroman), our hero starts as only an idea, grows into a human, relaxes in nature and love, struggles through trials and tribulations, all leading to a heroic figure greater than the sum of its parts.

By questioning the possibilities of what a symphony could be, Beethoven set the genre free of its emotional and formal constraints and allowed his music to serve as the vehicle for his unrestrained expression. Hector Berlioz wrote of the Eroica, “Where shall we find the truth or where the error? Everywhere, and yet in no particular place. Each one is right,” in justification of any idiosyncrasies that served the moral narrative and heroic spirit (Berlioz, A Critical Study of Beethoven’s Nine Symphonies, 50). This emancipation would forge the path for symphonists to come, including Berlioz, Mendelssohn, Brahms, Tchaikovsky, Bruckner and Wagner, who remarked, “If there had not been a Beethoven, I could not have composed as I have” (Lockwood, Beethoven’s Symphonies, 66).

[tiny-librarian]

Royal Birthday for today, March 28th: 

Albert Alcibiades, German Prince, 1522

Empress Dowager Zhaosheng,  Empress Dowager of the Qing dynasty, 1613

Maximilian III Joseph, Elector of Bavaria, 1727

Märtha of Sweden, Crown Princess of Norway, 1910

Ingrid of Sweden, Queen of Denmark, 1910

[venicepearl]

Portrait of Maximilian III Joseph, Elector of Bavaria (1727-1777) - Georg Desmarées

[princessvictoriamelita]

Wedding of Prince Ernst Heinrich of Saxony and Princess Sophie of Luxembourg  on 12 April 1921 at Schloss Hohenburg in Bavaria, Germany.

Sophie on her way to the Church.

The young bridal couple. At the time of their marriage Ernst Heinrich was 24 while Sophie was 19 years old.

Ernst Heinrich was the third child and youngest born son of King Frederick Augustus III of Saxony and his ex-wife, Archduchess Louise of Austria.

Sophie was the youngest daughter of the late Grand Duke William IV of Luxembourg and his wife Princess Marie Anne of Portugal.

The bride and bridegroom with the wedding guests.

The newlyweds and some wedding guests after the wedding ceremony.

Sophie's elder sister, Princess Antonia had just married Crown Prince Rupprecht of Bavaria five days before Sophie's own wedding also at Schloss Hohenburg.

The two photos where the wedding guests appears are from Miss Mertens Flickr account. I don't own any rights!

[world-of-wales]

CONFIRMED ATTENDEES TO QUEEN ELIZABETH II'S STATE FUNERAL:

Foreign Royalty

King Willem-Alexander and Queen Maxima 🇳🇱

Queen Beatrix 🇳🇱

King Felipe VI and Queen Letizia 🇪🇸

King Juan Carlos I and Queen Sofía 🇪🇸

Emperor Naruhito and Empress Masako 🇯🇵

King Phillipe and Queen Mathilde 🇧🇪

Grand Duke Henri and Grand Duchess Maria Theresa 🇱🇺

King Tupou VI 🇹🇴

King Carl XVI Gustaf and Queen Silvia 🇸🇪

Queen Margrethe II and Crown Prince Frederik 🇩🇰

King Harald V and Queen Sonja 🇳🇴

Prince Albert II and Princess Charlene 🇲🇨

Sheikh Tamim bin Hamad Al Thani (Emir of Qatar)🇶🇦

King Jigme Khesar and Queen Jetsun Pema 🇧🇹

Yang di-Pertuan Agong Abdullah & Raja Permaisuri Agong Tunku of Malaysia 🇲🇾

Hereditary Prince Alois & Hereditary Princess Sophie 🇱🇮

King Tūheitia Potatau Te Wherowhero VII

Sultan Haitham 🇴🇲

Sultan Hassanal 🇧🇳

Crown Prince Moulay Hassan 🇲🇦

Prince Faisal bin Turki Al Saud 🇸🇦

Sheikh Mohamed bin Zayed Al Nahyan 🇦🇪

Crown Prince Mishal Al-Ahmad Al-Jaber Al-Sabah and 🇰🇼

King Letsie III 🇱🇸

King Abdullah II and Queen Rania 🇯🇴

Crown Prince Hussein 🇯🇴

King Hamad bin Isa bin Salman Al Khalifa and Crown Prince Salman bin Hamad Al Khalifa 🇧🇭

Deposed Royalty + Distant Family Relations

Margareta (Custodian of the Crown) and Prince Radu 🇷🇴

Queen Anne-Marie 🇬🇷

Crown Prince Palovs and Crown Princess Marie Chantal 🇬🇷

Crown Prince Alexander 🇷🇸

Prince Emanuele of Savoy

Tsar Simeon II 🇧🇬

Maximilian (Margrave of Baden), Prince Bernhard and Hereditary Princess Stephanie of Baden

Prince Philipp and Princess Saskia of Hohenlohe - Langenburg 

Prince Donatus (Landgrave of Hesse)

Archduke Karl of Austria

Lady Pamela Hicks

Foreign Heads of State and Governments

President Joe Biden & First Lady Jill Biden 🇺🇸

President Michael D Higgins and Taoiseach Micheál Martin 🇮🇪

President Gitanas Nausėda and First Lady Dina Nausėda 🇱🇹

President Egils Levits and First Lady Andra Levite 🇱🇻

President Andrzej Duda and First Lady Agata Kornhauser-Duda 🇵🇱

President Isaac Herzog 🇮🇱

Jair Bolsonaro 🇧🇷

President Sergio Mattarella 🇮🇹

President Marcelo Rebelo de Sousa 🇵🇹

President Yoon Suk-yeol 🇰🇷

President Paula-Mae Weekes 🇹🇹

President Frank-Walter Steinmeier 🇩🇪

President Sauli Niinistö & Mrs Jenni Haukio 🇫🇮

Prime Minister Andrew Holness 🇯🇲

Prime Minister Justin Trudeau 🇨🇦

President Ranil Wickremesinghe 🇱🇰

President Emmanuel Macron 🇫🇷

President Katalin Novák 🇭🇺

President Alexander van der Bellen and First Lady Doris Schmiedauer 🇦🇹

Prime Minister Jacinda Ardern 🇳🇿

Prime Minister Anthony Albanese 🇦🇺

Prime Minister James Marape 🇵🇬

President Cyril Ramaphosa 🇿🇦

President Hage Geingob 🇳🇦

President Zoran Milanović 🇭🇷

President George Vella 🇲🇹

Afioga Tuimalealiʻifano Vaʻaletoʻa Sualauvi II 🇼🇸

President Droupadi Murmu 🇮🇳

Prime Minister Sheikh Hasina 🇧🇩

President Alar Karis 🇪🇪

President Zuzana Čaputová 🇸🇰

Prime Minister Petr Fiala 🇨🇿

President Ignazio Cassis 🇨🇭

Prime Minister Shehbaz Sharif 🇵🇰

Prime Minister Mostafa Madbouly 🇪🇬

President Salome Zourabichvili 🇬🇪

President Ali Bongo Ondimba 🇬🇦

President William Ruto 🇰🇪

First Lady Olena Zelenska 🇺🇦

Prime Minister Luvsannamsrain Oyun-Erdene 🇲🇳

President Guðni Jóhannesson and First Lady Eliza Reid 🇮🇸

President Nicos Anastasiades 🇨🇾

Prime Minister Joseph Ngute 🇨🇲

President Halimah Yacob 🇸🇬

President Dame Sandra Mason 🇧🇧

Prime Minister Pravind Jugnauth 🇲🇺

President Ibrahim Mohamed Solih and First Lady Fazna Ahmed 🇲🇻

President Nana Akufo-Addo 🇬🇭

Prime Minister Frank Bainimarama 🇫🇯

Governmental Representatives

Marcelo Ebrard (Secretary of Foreign Affairs) 🇲🇽

High Commissioner Ralph Goodale 🇨🇦

Ambassador Igor Pokaz 🇭🇷

Vice President Wang Qishan 🇨🇳

Foreign Minister Narayan Khakda 🇳🇵

Former President Dr Joyce Banda 🇲🇼

Captains Regent Oscar Mina and Paolo Rondelli 🇸🇲

Irene Marcos 🇵🇭

Governor Generals

Governor General Sir Patrick Allen 🇯🇲

Governor General Mary Simon 🇨🇦

Governor General Dame Cindy Kiro 🇳🇿

Governor General David Hurley 🇦🇺

Governor General Sir Bob Dadae 🇵🇬

Governor General Dame Froyla Tzalam 🇧🇿

Governor General Dame Cécile La Grenade 🇬🇩

Governor General Tofiga Vaevalu Falani 🇹🇻

Governor General Sir David Vunag 🇸🇧

Governor General Dame Susan Dougan 🇻🇨

Acting Governor-General Errol Charles 🇱🇨

Governor General Sir Cornelius A. Smith 🇧🇸

Governor General Sir Rodney Williams and Lady Williams 🇦🇬

International organisations

Charles Michel (President) 🇪🇺

Ursula von der Leyen (President of European Commission)

Jens Stoltenberg (Secretary General of NATO)

Earle Courtenay Rattray (Chief of Staff to UN Secretary General)

Baroness Scotland (Secretary-General of the Commonwealth)

Sir Don McKinnon (Former Secretary-General of the Commonwealth)

Religious Leaders

Secretary of State Cardinal Pietro Parolin 🇻🇦

Foreign Minster Archbishop Paul Gallagher 🇻🇦

Maybe attending -

President Barack Obama and First Lady Michelle Obama 🇺🇸