"A treason, a blasphemy, perhaps; but a pretty musical comedy as well."

These were among the denunciations of the Hungarian composer Heinrich/Henri Berté who arranged Schubert's music to a plot and verses by Willmer and Reichert making a musical comedy entitled 'The house of the three young maidens' which had its premiere on the 15th of January 1916 at the Raimundtheater in Vienna. It ran for 650 performances there and had 1000 performances in Berlin by the end of 1918.

Despite the war raging, success was immediate and long lasting as it evoked the comfortable Biedermeier period of Vienna. Translated into French by Hugues Delorme and Léon Alric, this likeable pastiche became 'Chanson d'Amour' or 'Song of Love' which premiered at the Theatre Mogador on the 7 May 1921. From then on, the Parisian public became aware of the charm of this diversion and savoured its musical grace. The provinces and Belgium also rapidly joined the chorus of praise which endures until today.

Other versions followed in English with an American arrangement by Sigmund Romberg (Blossom Time; 592 performances on Broadway), an English version by the Australian composer George Clutsam (Lilac Time, 626 performances in London) and later Clutsam and Richard Tauber combined elements of both (called 'Blossom Time' again). Sound film versions were made in 1936 and 1958; a further revised stage version had a long run in London commencing in 1942. As recently as 2002, it was still being given in yet a new edition. At least 22 versions have been made of the Willmer / Reichert / Berté original work and it is estimated that over 85,000 performances have been given around the world making it probably the most popular musical comedy work of all time.

The broadcast features the French version in a 1962 recording.

The action depicts a scene in the life of Schubert and takes place in the Vienna of 1826.

Act 1

The courtyard of an old middle class house where there is singing to be heard through the windows opening onto the street. Someone throws the singers a few coins. The concierge would like to chase away the singers but the landlady stops her because she says, isn't there already a bohemian musician named Schubert among the lodgers. Three young women come into the courtyard, two looking for their betrotheds. They are Jeanette and Nanette, chaperoned by their older sister Annette. They are the three daughters of M. Muhl, master artistic glass artist to the Court. Already in the courtyard and seated at the base of a large lilac tree are Baron Franz and his friends drinking and feasting. They have invited Schubert to share their banquet and drink to the secret love of the Baron, the beautiful Carlina, prima donna of the Opera and the mistress of the Archduke. The severe M. Muhl comes searching for his daughters. On the recommendation of the shrewd Baron Franz and to look out for her sisters, Annette tells her irritable father that she has come here to take singing lessons from the celebrated Schubert and she presents him to Schubert. Flattered to meet the great musician, M. Muhl becomes more mellow as the young men make him drunk. He agrees to the engagement of the two younger sisters to their suitors; one a postman and the other a master saddler. Schubert is moved by the thanks of Annette for having used his prestige to protect her younger sisters from the anger of their father and by her promise to return for singing lessons.

Act 2

The drawing room of the grand house of M. Muhl. They are celebrating the marriages of Jeanette and Nanette. They dance to the music of Schubert which they say 'makes one dance like an angel'. Everybody thanks the musician for his inspiration. Jeanette is ecstatically happy but very quickly seems to forget herself in the arms of Baron Franz, an incorrigible Don Juan. Carlina arrives and seeing the situation, is volcanically angry with the Baron and makes a terrible scene but he is able to reconcile with her to the tune of a waltz.

To the great amusement of M. Muhl, the policemen Novotny arrives sent incognito by the Archduke to see who is the latest lover of the fickle Carlina. There follows a pretty duet between Mme. and M. Muhl; Annette comes back to flirt with Schubert but as he is very timid, he does not dare to respond to her advances. Annette is a little sad and almost angry. Schubert then asks for his friend the Baron Franz to sing about the place where he had composed a song for her. Mistaken as to whom it is intended for, Annette falls into the arms of the seductive young Baron. Sad and deceived, Schubert tears up his song knowing that only music is his life.

Act 3

A place in front of the park at the Schönbrunn palace. Back again with his friends, Schubert remarks that what had been a dream has not become a beautiful memory. It seems that Annette is going to marry Baron Franz. They are made for one another and she does not think of him at all. It must seem to her, that he is not someone interesting as he is a bohemian, a drinker and a reveller. Annette believes none of this. Carlina has told her that the reveller is certainly a Franz, but not Franz Schubert but the Baron Franz. Thus the question of marriage to one she is being mocked by and who is dissolute and does not care for her is out of the question. Carlina then arrives; M. Muhl stunned by her, makes a serious attempt to court her. The policeman Novotny surprises them and arrests M. Muhl as the new lover of the Archduke. Embarrassed by the pursuing policeman, Baron Franz returns but Annette tells him to leave for Venice as Carlina will be waiting for him there. As for her, the lessons with Franz Schubert will carry on to perfect her music and singing and perhaps to something more.

© Translated by Glen Quick from the Synopsis with the set issued by Accord France.