Download hot ebooks from Carina Press
WITH A PASSION FOR HISTORY
SONG OF SEDUCTION: Extras
Salzburg: A History

Archaeologists believe the location of modern-day Salzburg, high in the Kitzbühler Alps, once contained Neolithic human settlements. In 45 CE, Romans incorporated the community into a province called Noricum and established the municipium of Iuvavum. Facing a barbarian invasion, Iuvavum's citizens fled the site.

Early Christians dug into Mönchsberg (Monk's Mountain), worshiping in secret, carving chapels into tunnels, and burying the dead in catacombs. Bishop Rupert of Worms, later dubbed the patron saint of Salzburg, came to the region in 696. By establishing the Benedictine Monastery of St. Peter, Rupert founded a bishopric--an independent church state.

Click image for full-size slideshow:


From 798, as an archbishopric, or ecclesiastical state of the Holy Roman Empire, Salzburg maintained its independence for nearly a millennium. In 1213, to better represent their secular power and influence, successive monarchs assumed the title of prince-archbishop. The most powerful of these rulers included Wolf Dietrich von Raitenau, who ordered the construction of much of Salzburg's breath-taking landmarks, and Leopold Anton von Firmian, whose 1731 Edict of Expulsion forced 21,000 Protestants out of the province.

The city was initially divided into the Festival, Archbishop's, St. Peter's, and Old Market Quarters. Today, nestled between Mönchsberg and the Salzach (Salt River), the quarters comprise the Altstadt (Old Town). Increases in population expanded the city's borders across the Salzach to Kapuzinerberg (Capuchin Mountain), where Dietrich's marvelous Hellbrunn and Mirabel Palaces are located. Beyond the city, administrative districts called Pflegen provided wealth through rich salt, silver and copper mines.

In December of 1800, Napoleon Bonaparte's troops marched on Salzburg and overwhelmed its modest defenses in four days. Three months later, Bonaparte agreed to the Peace of Lunéville and withdrew, but his aggression provoked vast political and social changes. Although the French army never seized Festung Hohensalzburg (High Fortress of Salzburg), Hieronymus von Colloredo, the last and vastly unpopular prince archbishop, fled anyway. He held a lavish mock-court in Vienna until February of 1803, when he renounced claims to power.

The accords of Lunéville secularized Salzburg and designated it a Fürstentum, or principality, for Grand Duke Ferdinand III, a younger brother of Holy Roman Emperor Franz II. Salzburghers celebrated the withdrawal of Napoleonic forces and the permanent ouster of Colloredo and his clergy. Ferdinand and a semi-democratic federal system called the Council of State decentralized the authority that had been the domain of ecclesiastical princes. Aspirants, entrepreneurs, and intellectuals filled political vacancies.

Salzburg's historic independence ended on October 5, 1805, when French troops reoccupied the city. The Peace of Pressburg, signed in December, awarded the Fürstentum to Austria. Duke Ferdinand and his three children fled to Vienna, then back to Florence. The 1809, Peace of Schönbrunn ceded Salzburg to Bavaria. The territory finally became part of Austria in 1815 at the Congress of Vienna.

German troops occupied Salzburg in 1938, at which time Nazi officials ordered the arrest of political dissenters and Jews, as well as the establishment of POW camps in the outlying countryside. Allied bombers destroyed over 7,000 houses and part of the Dom (the central cathedral), but most of the historic architecture survived the conflict. American troops entered the city on May 5, 1945. Post-war treaties returned Salzburg to Austria, where it remains a popular tourist destination.

Although Salzburg has been synonymous with Wolfgang Amadeus Mozart for more than 150 years, music aficionados during the Age of Napoleon--except for those who had known and worked with Mozart personally--would not have been familiar with his work. Only years later, through the efforts of Mozart's widow, Constanze, did his genius receive the recognition we associate with his name and his birthplace. The 1965 Rogers & Hammerstein film The Sound of Music, starring Julie Andrews as governess to the singing Von Trapp family, increased Salzburg's renown in the 20th century.


***


Be sure to check out the Glossary Page for more history and pictures!

Main Page

Excerpt

Extras

Glossary

News & Reviews

Go to Bookshelf





June 7, 2010
Carina Press
978-14268-9002-4
$5.99 / $6.89 CA

Amazon | B&N | Books On Board | Reader Store

Or direct from Carina Press with this special offer (through September 1):


Writing Journal for
Song of Seduction


17 June
About two years ago, after writing roughly 100 pages, I decided to do actual research into its setting, Salzburg. A mistake, or maybe an inevitable hazard! Research helped me see that what I'd created was utter bollocks.

But this is the end of my beginnings. I will not quit this project, no matter how impossible. Abandoned ideas make me sad. As Johnny Reznik of the Goo Goo Dolls once said about the writing block he conquered by composing "Iris," just finish the thought.

27 June
I just had a really scary idea for my book. What if Arie, this great and fantastic composer, does have someone in his past? Not a dark, tumultuous love affair, but another composer. Someone who died--and Arie took the unpublished music to perform as his own! That's why he's so awkward in social settings: he's afraid of being discovered. He's a brilliant musician, but he has yet to compose anything to the same success as his original debut, the stolen one. He's mad with the need to prove himself to himself, like a race against time before his secret is revealed. That debut is what made Mathilda fall in love with him and his music, but it wasn't his. So of course her hero worship makes him sick to his stomach.

10 July
Apparently, lots of famous types were around in Salzburg in 1804. Hello, little brother Haydn! Beethoven might make a cameo as well, but since I'm cribbing his accomplishments for Arie, I don't want to compare them too much. But Beethoven may just be too much fun to ignore...

11 July
Crap, but this story is getting so full that I might have to drop the secondary romance altogether, which is probably not a bad thing. I've always seen (hypocritically, considering my initial idea for this novel) secondaries as a distraction from the main love story because, with less face time and subsequently less potential for stupid stuff, they generally come across as the more sensible and sympathetic pair.

So, new stuff: What's worse than knowing that you mother is a fallen aristocrat who married to a commoner? I already knew Mathilda's dad would be artistic, but I've thought to make him a former flute (or something) master, someone who would've been popular during Mozart's time. Her mom would've been unable to keep from falling in love with the guy, giving Mathilda all the more reason to avoid naughty musician types.

And...who other than aristocrats commonly became musically proficient? Jews. So Mathilda is doubly outcast, which adds to her need to appear as conformist as possible. She took a nice respectable doctor for her husband and learned to avoid all associations with her parents' past--despite how she still loves the violin.

Ideas rock. Secondary love stories...not so much. Better I realize now before I put too much into that aspect of the plot. But many Christoph and Ingrid can just be happy now, as opposed to showing their "fall in love" moment too.

13 August
Writing their first sex scene was trickier than I thought, especially considering how much importance I place on a hot, quality romance read. It took me two days to complete, trying to get it just right. I listened to Kylie's "Chocolate" and, for a bit of the rough, PJ's "Meet Ze Monsta."

17 August
I'm little concerned about what I wrote for this chapter. I can't get a sense of whether the scenes work. The chapter contains the emotional crux of Mathilda's shift from resisting Arie to wanting him, and I don't know if it is emotional enough

This is the most frustrating part about writing: the inability to see, immediately, if something is working. I really do have to wait until the final page before I can step back and see the entirety of the project. Only then will I be able to make these smaller assessments.

3 September
Now, with all the twists and curiosities about this book solved already, I'm feeling like a dictation taker. I'm just typing out the rest of the words. Creativity is lacking in this final stage, but my interest is buoyed by the happy ending.

10 September
At 11:30pm, I finished my first draft--86 days after beginning in June. The finale is super twee and lovefool, but what could I do? These menaces to my sanity deserved to escape with some mushy love. And yes, I found a place for Beethoven too!