Gustav Holst – The Planets, Op.32

Conductor: Herbert von Karajan

Performance: Berlin Philharmonic Orchestra

Year of recording: 1961

 

I. Mars, the Bringer of War (00:01)

II. Venus, the Bringer of Peace (07:00)

III. Mercury, the Winged Messenger (15:19)

IV. Jupiter, the Bringer of Jollity (19:16)

V. Saturn, the Bringer of Old Age (26:51)

VI. Uranus, the Magician (35:22)

VII. Neptune, the Mystic (41:08)

Paracelsus (1943)

Directed by: G. W. Pabst

Written by: Kurt Heuser

Based on: “Der König der Ärzte“ by Pert Peternel

Produced by: Fred Lyssa for Bavaria Filmkunst GmbH

Cinematography: Bruno Stephan

Edited by: Lena Neumann

Music by: Herbert Windt

Production company: Bavaria Film

Distributed by: Deutsche Filmvertriebe

Release date: 12 March 1943

Running time: 104 minutes

Country: Germany

Language: German

 

Starring:

 

Werner Krauss: Paracelsus

Annelies Reinhold: Renata Pfefferkorn

Harry Langewisch: Pfefferkorn

Mathias Wieman: Ulrich von Hutten

Fritz Rasp: Magister

Peter Martin Urtel: Johannes (as Martin Urtel)

Herbert Hübner: Count von Hohenreid

Josef Sieber: Bilse, Paracelsus’ servant

Rudolf Blümner: Froben

Harald Kreutzberg: Fliegenbein

Hilde Sessak: Waitress

Franz Schafheitlin: Erasmus von Rotterdam

Victor Janson: Mayor

Karl Skraup: Surgeon

Erich Dunskus: Innkeeper

 

Paracelsus is a 1943 German drama film directed by G. W. Pabst, based on the life of the 16th-century physician Paracelsus.

 

Plot

 

Central Europe at the beginning of the 16th century. The Basel physician Theophrastus Bombastus von Hohenheim, known as Paracelsus, who was traveling through the country, stopped in a free imperial city. His healing methods, precursors of holistic medicine, were viewed with suspicion by his medical colleagues and were a thorn in their side. Unlike them, for whom the medical teachings of the faculties are sacred and irrefutable law, he develops his own theories in medicine based on practical experience, research, and findings. For him, the human being as a whole is at the forefront of his observations and analyses, and with his resulting treatment methods, Paracelsus has achieved remarkable success in the late Middle Ages.

 

When he succeeds in healing the bookseller Froben, who had been given up by all doctors, his teachings are on everyone’s lips. The people respect and appreciate him, and accordingly, the number of his enemies among conventionally practicing physicians rises rapidly. Among them is the merchant Pfefferkorn: he resents Paracelsus for closing the city gates to prevent the impending arrival of the plague. Envy and resentment towards Paracelsus grow stronger and stronger, and his powerful opponents accuse him of charlatanism. Above all, the previously leading physician of the imperial city, the Magister, who had just wanted to amputate poor Froben’s leg before Paracelsus intervened and saved him from the backward quack, matures into his worst enemy. For after this success, Paracelsus has replaced the Magister in his position.

 

It is therefore very convenient for his opponents that Paracelsus’ closest colleague, the ambitious famulus Johannes, uses one of his teacher’s untested elixirs in an unauthorized attempt to cure a patient without Paracelsus’ knowledge. Froben, who is treated with the elixir, falls ill again and dies as a result. Paracelsus’ opponents now see their chance to get rid of their hated colleague once and for all. They have the innocent doctor imprisoned, even though Paracelsus has long been regarded as a savior by the common people, the townspeople. With the help of the juggler Fliegenbein, one of Paracelsus’ successfully treated patients, the misunderstood doctor is able to escape from prison. Paracelsus goes back on his travels and, living in complete modesty, continues to heal the sick people he encounters on his journeys. Paracelsus even turns down an offer from the emperor to become his personal physician at court. From now on, he wants to serve only the common people.

 

Franz Schubert - The Symphony No. 1 in D major, D 82

Conductor: Herbert von Karajan

Performance: Berlin Philharmonic Orchestra

Year of recording: IX. 1977

 

I. Adagio – Allegro vivace

II. Andante in G major

III. Menuetto. Allegro

IV. Allegro vivace

 

Friedrich Schiller - Der Triumph eines Genies (1940)

Friedrich Schiller – The Triumph of a Genius

 

Directed: Herbert Maisch

Screenplay: Lotte Neumann (under the pseudonym C. H. Diller) and Walter Wassermann

Based on: “Passion” by Norbert Jacques

Music: Herbert Windt

Release date: 17 December 1940

Running time: 98 minutes

Country: National Socialist Germany

Language: German

Budget: 1,935,000 Reichsmarks

Box office: 2.6 million Reichsmarks

 

Starring:

 

Horst Caspar: Friedrich Schiller

Hannelore Schroth: Laura Rieger

Heinrich George: Duke Charles Eugene

Lil Dagover: Countess Franziska von Hohenheim

Eugen Klöpfer: Christian Friedrich Daniel Schubart

Paul Dahlke: Sergeant Riess

Paul Henckels: Hofmarschall von Silberkalb

Herbert Hübner: General Rieger

Dagny Servaes: Frau Rieger

Hildegard Grethe: Elizabeth Schiller, Schillers Mutter

Friedrich Kayßler: Johannes Kaspar Schiller, Schillers Vater

Walter Franck: Fremder

Hans Quest: Eleve Hoven

Hans Nielsen: Georg Friedrich Scharffenstein

Fritz Genschow: Eleve Karpff

Franz Nicklisch: Eleve Petersen

Ernst Schröder: Eleve Zumsteg

Wolfgang Lukschy: Eleve Boigeol

Just Scheu: Hauptmann der Militärakademie

Günther Hadank: General Augé

Hans Leibelt: Prof. Abel

Ferdinand Terpe: Grand Duke’s Court Chamberlain

Heinz Welzel: Andreas Streicher

Bernhard Minetti: Franz Moor

Albert Florath: Pastor Moser

Loriot: Page am Hof des Herzogs

Edmund Lorenz: Schorsch Rieß

 

Friedrich Schiller – The Triumph of a Genius (German: Friedrich Schiller – Der Triumph eines Genies) is a 1940 German film, based on the novel Passion by Norbert Jacques. The film focuses on the early career of the German poet Friedrich Schiller.

 

Plot

 

 

In the 18th century, Württemberg suffers under the harsh rule of Duke Karl Eugen of Württemberg. The poet Schubart dares to openly criticise him, but is soon arrested under false pretences and imprisoned in Hohenasperg Fortress.

 

At the same time, the young Friedrich Schiller’s inner resistance to the military drill of the military academy, where he is studying medicine on the Duke’s orders, grows.

 

During the parade march on the birthday of Karl Eugen’s wife, Countess Franziska von Hohenheim, Schiller causes a stir when he sends a love poem to his sweetheart Laura Rieger. Her mother intercedes with the countess to spare Schiller.

 

At the graduation ceremony, Schiller explains to Karl Eugen that he takes a philosophical tone in his medical work because every science, including medicine, has its limits, and that he follows his heart when writing his works. An angry Karl Eugen orders Schiller to spend another year at the academy. The efforts of Schiller’s father, who works as a gardener for Karl Eugen, are unsuccessful. When Laura intercedes on Schiller’s behalf with the countess, she promises to help, but this is equally fruitless.

 

Meanwhile, Schiller secretly begins writing his protest play Die Räuber (The Robbers). Even the extra year at the academy does not break Schiller’s will, and he emerges victorious from a dispute with Karl Eugen over whether geniuses are made or born.

 

When Schiller proudly tells Laura that his play is finished, she tells him, to his dismay, that Schubart has been arrested.

 

During an appeal, the Duke, who has heard about the resistance of Schiller and his fellow students and announces that he will not tolerate rebellion, suggests that Schiller take a trip to Asperg. There, to his horror, Schiller encounters a broken Schubart. Believing that Karl Eugen wants to have Schiller imprisoned, General Rieger has Schiller detained in Asperg, but the Duke immediately revokes this order.

 

In the meantime, Laura has forwarded the manuscript of Die Räuber to Court Marshal Silberkalb. Schiller is initially disappointed by this betrayal, but learns from Laura that she still has the manuscript. Schiller immediately has it printed anonymously. In order not to attract attention, Schiller now devotes himself entirely to medicine so that he can take his exams and finally leave the academy. After his exams, Schiller enters the service of General Augé’s regiment, who tells the delighted Schiller that he considers the author of Die Räuber to be a genius.

 

At the inn, Schiller and his friends, who are celebrating the publication of The Robbers, receive a letter from theatre director Dalberg in Mannheim and are delighted to learn that the play is to be performed.

 

The performance is a success. Duke Karl Eugen flies into a rage and summons Schiller to his presence. When Schiller stands by his views, he has no choice but to leave Württemberg to avoid imprisonment on the Asperg.

 

Deutschland erwacht – Ein Dokument von der Wiedergeburt Deutschlands (1933)

Germany Awakens – A Document of the Rebirth of Germany (1933)

100 Best of Baroque Classical Music

 

Vivaldi - Chamber Concerto in D Major, RV 93 (Arr. for Guitar and Orchestra):

 

0:00:00 I. No tempo indication

0:01:56 II. Largo

0:04:37 III. Allegro

Metamorphose String Orchestra, Pavel Lyubomudrov, Yuri Nehai

 

Vivaldi - The Four Seasons, Concerto No. 1 in E major, RV 269 "Spring":

 

0:05:50 I. Allegro

0:09:05 II. Largo e pianissimo sempre

0:11:27 III. Allegro pastorale 

Metamorphose String Orchestra, Pavel Lyubomudrov, Yuliya Lebedenko

 

0:15:14 Bach - Cantata, BWV 147: Jesu, Joy of Man's Desiring

0:19:31 Bach-Gounod - Ave Maria, CG 89a

0:24:15 Bach - Orchestral Suite No. 3 in D Major, BWV 1068: II. Air on the G String

0:30:04 Pachelbel - Canon and Gigue in D major, P. 37: I. Canon 

Metamorphose String Orchestra, Pavel Lyubomudrov

 

Corelli - Concerto Grosso No. 1 in D Major, Op. 6:

0:34:39 I. Largo

0:37:36 II. Allegro

0:41:13 IV. Allegro

0:43:03 V. Allegro

 

Corelli - Concerto Grosso No. 9 in F Major, Op. 6:

0:45:23 I. Preludio. Largo

0:47:30 II. Allemanda. Allegro

0:50:25 III. Corrente. Vivace

0:52:19 IV. Gavotta. Allegro

0:53:24 VI. Minuetto

 

Corelli - Concerto Grosso No. 10 in C Major, Op. 6:

0:55:23 I. Preludio. Largo

0:58:05 II. Allemanda. Allegro

1:01:13 IV. Corrente

1:03:49 V. Allegro

1:06:50 VI. Minuetto 

Kiev Chamber Orchestra, Liviu Buiuc

 

Telemann - Viola Concerto in G Major, TWV 51:G9:

1:08:36 I. Largo

1:12:13 II. Allegro

1:15:25 III. Andante

1:20:10 IV. Presto 

Warmia Symphony Orchestra, Giovanni Antonioni, Silvano Frontalini

 

Bach - Brandenburg Concerto No. 3 in G Major, BWV 1048:

1:23:23 I. —

1:29:21 II. Adagio

1:29:47 III. Allegro

 

Bach - Brandenburg Concerto No. 4 in G Major, BWV 1049:

1:34:34 I. Allegro *

1:41:46 II. Andante

1:45:26 III. Presto

 

Bach - Brandenburg Concerto No. 5 in D Major, BWV 1050:

1:50:30 I. Allegro

2:01:11 II. Affettuoso

2:06:49 III. Allegro 

Orchestra da Camera Fiorentina, Giuseppe Lanzetta

* Marco Lorenzini, Stefano Margheri

 

Händel - Organ Concerto in in B-Flat Major, HWV 294 (Arr. for Harp):

2:12:19 I. Andante - Allegro

2:16:25 II. Larghetto

2:20:59 III. Allegro moderato

Maria Chiossi

 

Telemann - Ouverture-Suite "Les Nations, anciens et modernes", TWV 55:G4 (Live):

2:23:31 I. Ouverture

2:27:07 II. Menuet I & II

2:29:53 III. Les allemands anciens & Les allemands modernes

2:33:24 IV. Les Suédois

2:36:22 V. Les Danois

2:39:06 VI. Les vieilles femmes

Orchestra da Camera Fiorentina, Giuseppe Lanzetta

 

Bach - Orchestral Suite No. 2 in B Minor, BWV 1067:

2:40:58 I. Overture. Lentamente

2:48:40 II. Rondeau

2:50:09 III. Sarbande

2:53:07 IV. Bourrée

2:55:06 V. Double

2:58:31 VI. Minuetto

2:59:46 VII. Badinerie 

Orchestra da Camera Fiorentina, Giuseppe Lanzetta, Andreas Blau

 

Vivaldi - The Four Seasons, Concerto No. 3 in F major, RV 293 "Autumn":

3:01:06 I. Allegro

3:05:57 II. Adagio molto

3:08:17 III. Allegro

 

Vivaldi - The Four Seasons, Concerto No. 4 in F minor, RV 297 "Winter":

3:11:32 I. Allegro non molto

3:14:48 II. Largo

3:16:47 III. Allegro

3:19:52 Vivaldi - The Four Seasons, Concerto No. 2 in G minor, RV 315 "Summer": III. Presto  

Metamorphose String Orchestra, Pavel Lyubomudrov, Yuliya Lebedenko

 

3:22:32 Händel - Suite No. 7 in G Minor: VI. Passacaglia

3:30:16 Händel - Suite No. 11 in D Minor, HWV 437: III. Sarabande 

Metamorphose String Orchestra, Pavel Lyubomudrov

 

3:33:05 Vivaldi - Concerto for 2 Cellos in G Minor, RV 531: II. Largo (Arr. for Cello and Contrabass)

Metamorphose String Orchestra, Pavel Lyubomudrov, Nike Hutchisson, Andrey Shinkevich

 

3:37:47 Bach - Cantata BWV 156: Arioso (Arr. for Two Cellos)

Mr & Mrs Cello

 

Bach - Cello Suite No. 1 in G Major, BWV 1007:

3:43:48 I. Prélude

3:46:49 II. Allemande

3:51:04 III. Courante

3:53:39 IV. Sarabande

3:56:39 V. Menuett I - Menuett II

3:59:42 VI. Gigue

 

Bach - Cello Suite No. 2 in D Minor, BWV 1008:

4:01:26 I. Prélude

4:05:30 II. Allemande

4:08:31 III. Courante

4:10:23 IV. Sarabande

4:15:05 V. Menuett I - Menuett II

4:18:16 VI. Gigue

 

Bach - Cello Suite No. 3 in C Major, BWV 1009:

4:20:56 I. Prélude

4:25:38 II. Allemande

4:29:47 III. Courante

4:33:04 IV. Sarabande

4:37:59 V. Bourrée I - Bourrée II

4:42:00 VI. Gigue

 

Bach - Cello Suite No. 4 in E-Flat Major, BWV 1010:

4:45:13 I. Prélude

4:49:22 II. Allemande

4:53:21 III. Courante

4:57:08 IV. Sarabande

5:02:00 V. Bourrée I - Bourrée II

5:07:25 VI. Gigue

 

Bach - Cello Suite No. 5 in C Minor, BWV 1011:

5:10:10 I. Prélude

5:16:50 II. Allemande

5:23:11 III. Courante

5:25:33 IV. Sarabande

5:29:42 V. Gavotte I - Gavotte II

5:36:02 VI. Gigue

 

Bach - Cello Suite No. 6 in D Major, BWV 1012:

5:39:09 I. Prélude

5:45:11 II. Allemande

5:55:55 III. Courante

6:00:21 IV. Sarabande

6:06:44 V. Gavotte I - Gavotte II

6:12:09 VI. Gigue 

Massimiliano Martinelli

Die Reise nach Tilsit (1939)

The Journey to Tilsit

 

Directed by: Veit Harlan

Written by: Hermann Sudermann (novella), Wolfgang Schleif and Veit Harlan

Produced by: Helmut Eweler and Franz Tappers

Cinematography: Bruno Mondi

Edited by: Marianne Behr

Music by: Hans-Otto Borgmann

Production company: Majestic-Film

Distributed by: Tobis Film

Release date: 2 November 1939

Running time: 90 minutes

Country: National Socialist Germany

Language: German

Budget: 1.012 million ℛℳ

Box office: 2.537 million ℛℳ

 

Starring:

 

Kristina Söderbaum: Elske Settegast

Philip Dorn: Endrik Settegast

Anna Dammann: Madlyn Sapierska

Albert Florath: Teacher

Ernst Legal: Mr Wittkuhn

Manny Ziener: Mrs Papendieck

Charlotte Schultz: Mrs Wittkuhn

Eduard von Winterstein: Erwin Bohrmann

Clemens Hasse: Young Man from the Tram

Jakob Tiedtke: Innkeeper

Paul Westermeier: Town Crier

Wolfgang Kieling: Little Franz

Joachim Pfaff: Little Jons

Heinz Dugall: Little Wittkuhn

Babsi Schultz-Reckewell: Mariechen

Lotte Spira: Woman in the café

Eduard Wenck: Villager

Alfred Karen: Owner of the fur shop

Heinz Müller: Fat man at the fair

Ferdinand Robert: Guest in the café in Tilsit

Betty Waid: Old woman from the village

Max Wilmsen: Companion of the woman in the café

Bruno Ziener: Waiter in the café

 

The Journey to Tilsit (German: Die Reise nach Tilsit) is a 1939 German drama film directed by Veit Harlan and starring Kristina Söderbaum, Philip Dorn and Anna Dammann.

 

Plot

 

Elske faithfully loves her fisherman husband Endrik as he is seduced by a foreign schemer, Madlyn. Madlyn persuades him to murder Elske and run off with her. He lures Elske into the boat as a prelude to drowning her. Though he is unable to carry it out, she realizes his intent. When they reach the shore, she flees to the city of Tilsit, and he follows to plead for forgiveness. They return, and a storm blows up while they are in the boat. Endrik gets ashore, believing Elske to have drowned. He reacts with anger to Madlyn, but learns that Elske did survive.

 

Artworks by Arno Breker – Part IV

Part IV

 

 

 

Anmut (1938-39)

Grace (1938-39)

 

 

 

Eos (1941-42)

 

Flora (1943)

 

 

Psyche (1941)

 

Demut (1944)

Humility (1944)

Johann Strauß II - Waltzes, Polkas, Czárdás, Marches

Conductor: Clemens Krauss

Orchestra: Vienna Philharmonic Orchestra

 

1. Dopfschwalben aus Österreich, Op. 164, Walzer (Josef Strauß (1827-1870)) 00:00

2. Moulinet, Op. 57, Polka (Josef Strauß) 07:45

3. Ohne Sorgen, Op. 271, Polka schnell (Josef Strauß) 10:55

4. Stadt und Land, Op. 322, Polka-Mazurka (Johann Strauß II) 12:43

5. Auf der Jadg, Op. 373, Polka schnell (Johann Strauß II) 17:01

6. Morgenblätter, Op. 279, Walzer (Johann Strauß II) 19:21

7. Feuerfest, Op. 269, Polka schnell (Josef Strauß) 28:13

8. Ritter Pazman, Op. 441, Czárdás (Johann Strauß II) 31:34

9. Perpetuum Mobile, Op. 257, Scherzo (Johann Strauß II) 36:08

10. An der Schönen Blauen Donau, Op. 314, Walzer (Johann Strauß II) 38:55

11. Auf Ferienreisen, Op. 133, Polka schnell (Josef Strauß) 48:59

12. Bei uns Z’Haus, Op. 361, Walzer (Johann Strauß II) 51:22

13. Sphärenklänge, Op. 235, Walzer (Josef Strauß) 59:45

14. Annen-Polka, Op. 117, Polka (Johann Strauß II) 1:08:28

15. Die Fledermaus, Overture (Johann Strauß II) 1:12:51

16. Annen-Polka, Op. 117, Polka (Johann Strauß II) 1:21:10

17. Künstlerleben, Op. 316, Walzer (Johann Strauß II) 1:25:32

18. Egyptischer Marsch, Op. 335, Marsch (Johann Strauß II) 1:34:06

19. Éljen a Magyar!, Op. 332, Polka (Johann Strauß II) 1:38:32

20. Ritter Pazman, Op. 441, Czárdás (Johann Strauß II) 1:41:45

21. Plappermäulchen, Op. 245, Polka schnell (Josef Strauß) 1:46:23

22. Radetzky Marsch, Op. 228, Marsch (Johann Strauß I) 1:49:24

23. Egyptischer Marsch, Op. 335, Marsch (Johann Strauß II) 1:52:26

24. Perpetuum Mobile, Op. 257, Scherzo (Johann Strauß II) 1:56:21

25. Annen-Polka, Op. 117, Polka (Johann Strauß II) 1:59:35

26. Liebeslieder, Op. 114, Walzer (Johann Strauß II) 2:03:05

27. 1001 Nacht, Op. 346, Walzer (johann Strauß II) 2:10:56

28. Morgenblätter, Op. 279, Walzer (Johann Strauß II) 2:18:53

29. Frühlingsstimmen, Op. 410, Walzer (Johann Strauß II) 2:27:38

30. Rosen aus dem Süden, Op. 388, Walzer (Johann Strauß II) 2:34:30

31. Viennese Maiden Waltz, Op. 388, Walzer (Carl Michael Ziehrer) 2:42:51

32. Sphärenklänge, Op. 235, Walzer (Josef Strauß) 2:47:24

33. Feuerfest, Op. 269, Polka schnell (Josef Strauß) 2:52:04

34. An der Schönen Blauen Donau, Op. 314, Walzer (Johann Strauß II) 2:55:34

Der Biberpelz (1937)

The Beaver Coat (1937)

 

Directed by: Jürgen von Alten

Written by: Georg C. Klaren

Based on: “The Beaver Coat” by Gerhart Hauptmann

Produced by: Hans von Wolzogen

Cinematography: Georg Krause

Edited by: Erich Palme

Music by: Leo Leux

Production company: Fabrikation Deutscher Filme

Distributed by: Panorama-Film

Release date: 3 December 1937

Running time: 98 minutes

Country: Germany

Language: German

 

Starring:

 

Heinrich George: Amtsvorsteher Baron von Wehrhahn

Ida Wüst: Auguste Wolff

Rotraut Richter: Adelheid Wolff

Sabine Peters: Leontine Wolff

Heinz von Cleve: Konstrukteur Dr. Fleischer

Ernst Waldow: Forstadjtant a.D. Motes

Ewald Wenck: Julius Wolff

Eduard Wenck: Rentier Krüger

Blandine Ebinger: Mrs. Krüger

Albert Florath: Agust Wulkow, skipper

Renée Stobrawa: Almine Wulkow

Fritz Odemar: Prince August Sigismund

Arthur Schröder: Theerbrügge's adjutant

Walter Bluhm: Schreiber Glasenapp

Carl Heinz Charrell: Amtsdiener Mitteldorf

Hilde Seipp: singer

S. O. Schoening: table neighbor of the office head

Walter Werner: office head

Günther Vogdt: Heines, hunting assistant

Walter Bechmann: Herr von den Daimler-Werken

Ernst Stimmel: general manager

Oskar Höcker: policeman

Charles Willy Kayser: Fürsten's second adjutant

Gustav Mahncke: concierge

Anita Düwell: Mr. Motes' lady

Gerti Kammerzell: Dame mit Herrn Motes

Jac Diehl: waiter at “Ochsen”

Dorothea Thiess: Hebamme

Willi Sande-Meyer: attendee of the inauguration of the Baron von Wehrhahn

Renée Carstennsen: Elschen Krüger

Wolfgang Dohnberg: Herr von den Daimler-Werken

 

The Beaver Coat (German: Der Biberpelz) is a 1937 German comedy film directed by Jürgen von Alten and starring Heinrich George, Ida Wüst, and Rotraut Richter. It is an adaptation of Gerhart Hauptmann's play The Beaver Coat. The German premiere took place on 3 December 1937.

 

Plot

 

In the late 19th century, in a German principality: Baron von Wehrhahn takes up his post as head of the Köckeritz district office. He eagerly pursues alleged enemies of the state and therefore has Dr Fleischer spied on, whom he suspects of organising secret political meetings. In doing so, Wehrhahn overlooks the crimes that are actually being committed: the laundress Auguste Wolff repeatedly commits petty theft and also sells the animals that her husband Julius has illegally shot in the forest. Her daughters Leontine and Adelheid are maids in the homes of wealthy citizens. Adelheid is employed by Krüger, with whom Dr Fleischer also lives as a lodger. When she is asked to bring wood into the house late at night in the rain and cold, she refuses and quits her job. This leads Auguste to discover the firewood lying unattended by the road and steal it. Adelheid also tells her that Mr Krüger has bought a beaver fur jacket. Auguste steals this too and sells it to the boatman Wulkow.

 

Krüger reports the thefts to Wehrhahn. However, Wehrhahn dismisses Krüger and does not believe him, as he considers him to be a friend of his lodger Dr Fleischer and therefore also politically unreliable. Auguste and Adelheid fake the discovery of a fur hat on the railway line so that Wehrhahn believes the thief has left the city by train. And so Auguste, who is considered by everyone to be a righteous and kind woman, remains unmolested for the time being.

 

Meanwhile, Leontine and Dr Fleischer grow closer. She is torn: on the one hand, she disapproves of her mother's thefts, but on the other, she does not want to betray her and send her to prison. She wants to be honest with Fleischer, but still has to conceal her complicity. This inner conflict drives her to attempt suicide by drowning herself in the river, but she is rescued by Fleischer and Wulkow. Shaken by this event, Auguste decides to lead an honest life from now on. She returns the fur coat to Krüger, who decides not to press charges.

 

Wehrhahn believes that Dr Fleischer is secretly building a weapon and planning an assassination attempt on the prince. However, when the prince travels to Köckeritz despite Wehrhahn's warnings, the misunderstanding is cleared up: the engineer Dr Fleischer was not building a weapon, but a new type of carburettor, and his alleged accomplices are in fact employees of Daimler-Motoren-Gesellschaft, to whom he wanted to sell his patent. And so, the story ends on a conciliatory note with the wedding of Leontine and Dr Fleischer.