Georg Austria

This article is not adequately provided with supporting documents (for example individual proofs ). Information without sufficient evidence could be removed soon. Please help Wikipedia by researching the information and including good evidence.

Numerous citations, the exact origin of which is not given. Secondary literature not specified in the text (proof of origin). Too few individual references compared to the scope of the article.

Georg Austria (baptized March 17, 1664 in Magdeburg ; † June 6, 1735 in Wolfenbüttel ) was a German Baroque composer . He is considered to be the founder of the so-called " Bokemeyer Collection ", which is now in the Berlin State Library and is considered to be one of the most important musical collections of the late 17th and early 18th centuries. Around 70 church cantatas and sacred concerts of his compositional oeuvre have survived to this day , which distinguish him as an exceptionally skillful author of figural church music .

Life

Youth (1664–1686)

Georg Austria was baptized on March 17, 1664 in Magdeburg's Johanniskirche.

Georg Austria was born in March 1664 as the son of the citizen and brewer Johann (or Hans) Austria and his wife Elisabeth Austria. Melitzen was born in Magdeburg and baptized on the 17th of the month in the local Johanniskirche . His godparents were

• Georg Austria , citizen from Leipzig (Johann Austria's brother); represented by Andreas Bethge
• Johann Scheffler , cantor in Magdeburg
• Johann Beyendorff , Magdeburg
• Dorothea Sieverds , b. Rosenstock (wife of the Magdeburg pharmacist Heinrich Sieverds)
• Catharina Müller , b. Dielin, Magdeburg

The Austria family originally came from Augsburg and belonged to a very respected patrician family . In 1552, however, she fell out of favor with the emperor as she tried to restore the guild government that existed until 1547, lost her civil rights and had to leave Augsburg. A large part of the family then settled in central Germany.

Georg Austria received his first musical education from his godfather, the Magdeburg cantor Johann Scheffler, who is also the in Naumburg originating Johann Theile taught and was a highly respected musicians of his time. Little is known about Scheffler's life, and evidence of his compositional skills is even completely lacking.

Austria seems to have been musically gifted and applied with a letter of recommendation from his teacher Scheffler in 1678 to the Thomasschule in Leipzig , where his older brother Michael had also found acceptance. The incumbent rector Thomasius notes the following in his diary:

"Michael Oesterreich [...] present mihi fratrem Georgium (going into the 14th year) filium Johannis citizen and brewer of Magdeburg: So far he went to school in Magdeburg and sat there in class II. [...] in musicis the cantor even gave him good praise and testimony "

Georg Austria had undertaken to attend the Thomas School for at least two years and even promised to “stay here for several years longer”. His teacher at this time was the Thomaskantor Johann Schelle , who recognized the extraordinary abilities of his young student and gave him the greatest possible support. For the weekly figural music in the St. Thomas Church, Austria soon became indispensable as an alto.

Johann Gottfried Walther writes about Austria's time in Leipzig:

“In a short time he got such a skill in singing that he became one of Mr. Ringing amazement the part given him to sing turned the bottom up and so sang it away. "

In the summer of 1680 the plague broke out in Leipzig . Despite high security precautions on the part of the rectorate, many of the Thomas alumni fell victim to the epidemic. A general fear spread and led to the fact that the not yet ill students left the city immediately. They also included Georg and his brother Michael, who fled to Magdeburg. “On the orders of his parents”, Georg Austria then turned to Hamburg to become an alumnus at the Johanneum , which at that time was under the direction of Joachim Gerstenbüttel , and to perfect his musical training. Due to his beautiful voice, Austria soon achieved a modest fame in Hamburg and was employed as an alto in the council chapel. In this position he took part in all important ecclesiastical and secular festivities in the Hanseatic city and made the acquaintance of some influential merchants and citizens, from whom, according to Johann Gottfried Walther, he "received the best presents". It is not possible to determine with certainty how long Austria worked in Hamburg. Most likely, however, the beginning of his voice break brought an end to his career in the council band. In the autumn of 1683 he enrolled at the Leipzig University , but only to bridge the period of his change of voice, because from the end of 1684 he was again active as a singer - this time as a tenor - at the Hamburg Gänsemarktoper .

Braunschweig-Wolfenbüttel (1686–1689)

Wolfenbüttel Castle, Austria's place of activity from 1686–1689 and from 1702–1735

The lifelong friendship with Johann Theile was decisive for Austria's musical career. When the art-loving Anton Ulrich was appointed co-regent of the Duchy of Braunschweig-Wolfenbüttel in 1685 and made ample funds available for the fine arts, it was Theile who committed Austria to the Wolfenbüttel court, accepted him into his house and gave him regular composition lessons . At the same time, Austria continued its vocal studies with the Italian castrati Giuliano Giuliani and Vincentino Antonini, who were also at court . The Braunschweig-Wolfenbüttel time was formative for him in every respect and at the same time marked the beginning of his compositional activity. The first works by Georg Austria date from 1687/1688. The three sacred concerts “ Laetatus sum in his”, “Levavi oculos meos” and “I want to praise the Lord always” are far more in line with the contrapuntal tradition of Johann Theile than his later works . His official duties at court were limited to working as a tenor in the ducal chapel and as a "cammer servant". He did not have to fulfill any compositional obligations, even though the works he wrote during this time were almost certainly performed in the context of services in the Wolfenbüttel castle church.

Georg Austria founded a family in Wolfenbüttel and married the brewer's daughter Magdalena Darnedden on October 15, 1689, probably shortly before he moved to Schleswig. His father-in-law, Hans Darnedden, was a respected man and bequeathed a house, a garden and a considerable amount of money to the couple when they died in 1702.

Schleswig (1689–1702)

Appointment as court conductor

Gottorf Castle, Austria's place of activity from 1689–1702

At the end of the 17th century, the Duchy of Holstein-Gottorf was in a politically extremely unstable situation. The Gottorf dukes had to leave their Schleswig residence several times and go into exile in Hamburg. This usually automatically resulted in a strong reduction if not the dissolution of the court orchestra. In 1689, when the Gottorf Duke Christian Albrecht had been in exile in Hamburg for three years, Christian V of Denmark and Norway was forced by the Roman-German emperors to ratify the settlement of Altona (June 20), which gave it to Gottorf The court allowed to return to Schleswig. Johann Philipp Förtsch , who had officially been Kapellmeister Duke Christian Albrechts since 1680, but probably only carried out this office sporadically for years due to his exile, had meanwhile embarked on a medical career and had already worked for his employer as court doctor for some time. He did not intend to resume his activity as court conductor. With the return of the court to Schleswig, however, it became necessary to fill the vacant position as court music director with a capable person. Förtsch, who at the time worked with Johann Theile and Georg Austria at the Hamburg Opera and to whom he was probably also on friendly terms, suggested Austria for this post, which is proven to have led the first performances as Gottorfer Hofkapellmeister in Advent 1689 at the latest. During Georg Austria's tenure, the Gottorfer Hofkapelle became one of the most important in the German-speaking world.

Johann Gottfried Walther writes about this: "and after the hand many fine music successively moved there, mainly from the chapel at Dreßden and Wolffenbüttel, and the chapel gained great renomée as long as the Hertzog lived"

Duke Friedrich IV of Holstein-Gottorf

Stay in Coburg

In fact, the works from the holdings of the Gottorfer Hofkapelle that have survived to this day testify to an above-average musical level of the musical performances. The period of bloom was relatively short, however, because Christian Albrecht died on December 27, 1694, only 53 years old. His son, Friedrich IV , who was born in 1671 and was politically moderately gifted , prompted the dismissal of many members of the band soon after he took office, in order to use the money he saved to realize his pronounced tendency towards military representation. The result was that the courtly music maintenance came to a virtual standstill and Austria assumed a position as court conductor in Coburg for the years 1695 to 1697 . How this employment relationship came about and whether the post was possibly limited from the outset until the Gottorfer Hofkapelle was restored can no longer be determined. However, it seems reasonable to assume that Austria was merely “loaned” to the Coburg court, because the Gottorf accounting books for the years 1695 to 1697 contain further annual salary payments of 80 Rthl. to him. That corresponds to only a fraction of his actual Kapellmeister salary, which averaged 350 Rthl in the period from 1689 to 1694. annually, but it could be interpreted as a kind of "waiting allowance" (Adam Soltys claims that Austria did not receive any payments during this time and that his name cannot be found in the Gottorf account books. This statement is not tenable). Formally, he remained Gottorfer Hofkapellmeister even during his activity at the Coburg court. Walther presents the Coburg employment of Austria somewhat differently. He writes, Duke Albrecht III. von Sachsen-Coburg invited Austria to his residence in Coburg and commissioned a number of works from him that “should be used at the festivities of that time”. The duke was said to be so enthusiastic about him that he asked him to stay as his court conductor in Coburg and to succeed Johann Georg Künstel, who had recently died .

Veste Coburg, former seat of the dukes of Saxe-Coburg

Regardless of whether he originally had a fixed-term contract or an invitation from the Duke to take up service in Coburg, Austria probably toyed with the idea of ​​Albrecht III. To stay, because the working conditions in Coburg seem to have been much more inspiring than in Gottorf due to the relatively stable political situation. Friedrich IV, however, did not want to consent to a permanent move to Coburg and promised that if Austria returned to Schleswig he would undo the reduction of the court orchestra, which prompted the conductor to return to his old position. It is not possible to determine with certainty whether the Duke actually kept his promise. In some documents from the years 1698 to 1702 there is talk of the "HofCapelle" and the works that can be documented also require a considerable number of musicians, but the court's account books only contain receipts for salary payments to the conductor and one Organists. For larger musical performances, foreign singers and instrumentalists were probably used, who did not receive any annual remuneration and were paid project-related.

Decline of the Gottorfer court music

When Frederick IV set out east in 1701 to work as a Swedish generalissimo at the side of his brother-in-law Karl XII. To participate in the Great Northern War of Sweden , the entire court in Schleswig was dissolved again. Only Austria as Kapellmeister remained in his position. He was, however, personally permitted by the Duke “that he might transport his family to his home country and in the meantime attend some operas and musicals in other places, since he would be set up again as soon as our court was here, or we would otherwise graciously order it to wait and see wanted to find subservient to his function ”. Austria had in the meantime inherited a brewery in Braunschweig from his father-in-law Hans Darnedden, who had died shortly before (this was the house "zur Güldenen Rose" on the Kohlmarkt), which he and his family moved into in the summer of 1702. But already in December of the same year he had the sad task of resuming his duties as Hofkapellmeister in Gottorf. Duke Friedrich IV died on July 19 in the Battle of Klissow and was buried on December 19 as part of a large funeral service in Schleswig Cathedral. Georg Austria had the task of taking over the musical arrangement of the service. A very impressive three-part funeral music that has been preserved to this day was performed at that time. The following handwritten note from Austria is on the title page of the second part:

"Beÿ the burial of his in God most blissfully resting weÿland Hochfl. Pass by Hertzog Friederichs. Heirs to Norway, governing high fl. Pass to Schlesewig Hollstein, Gottorp. which Ao: stayed in the battle in Pohlen in 1702. "

Adam Soltys writes somewhat transfigured about this funeral music that Austria began to tackle it as early as the summer of 1702, after he had received news of the Duke's death, because it stands “in its completion and systematic disposition of the text and the music among his ecclesiastical ones Works almost unequaled ”. The central second part of this funeral music was a work whose biblical starting point is the death of Jonathan ( 2 Book Samuel 1, 17-27) and which was entitled Actus Funebr. Suddenly the people have to die . As the autograph score shows, this work was created in at least two versions. In the first, the biblical plot is interrupted by a short recitative in which the bereaved (including the duke's mother, wife and son and Charles XII of Sweden as brother-in-law) mourn the duke's death. This part was omitted for the definitive version, for which Austria instead composed an “Ode to the gracious decreed corpse text”; The Gottorf court preacher Heinrich Muhlius apparently wrote this text later.

Various documents suggest that Georg Austria held the title of Gottorfer Hofkapellmeister until the end of his life, even if he only rarely held this position. For example, the two cantatas “I am the resurrection” and “Lord Jesus Christ, true 'man and God” , which were written in Kiel , have come down to us from 1704 . Adam Soltys assessed this fact as an attempt by Austria to find a new job after his dismissal, but it is much more likely that he was only performing his duties as Kapellmeister, because Kiel has always been an important secondary residence of the Gottorf dukes and from 1713 even their main residence. There is also an entry in the church register of the Wolfenbüttel castle chapel from 1729 that confirms Austria's employment relationship with the Holstein-Gottorf family even 6 years before his death. It is about the marriage of his daughter Sophia Amalie.

“On October 18th, in the evening between 5 and 6, Mr. Friedrich Christoph Oldekop [...] and the maiden Sophia Amalia Austrian Mr. Austria were with the ruling Mr. Duke August Wilhelm Duke of Braunschweig and Lüneburg Hochfürstl. Pass through Cammermusici and Hochfürstl. Schlesvig-Holstein Kapellmeister eheleibl. Daughter in the H. bailiff Deneken house here privately in copuliret; from the Consistorial Council thirty marks . "

The assumption that Austria was never released from the service of the House of Holstein-Gottorf is confirmed by another document. In September 1704 he wrote a letter to the Duke of Gottorf and asked for the payment of his wages that had been in arrears for almost 2 years “because it was needed now” and pointed out that his “few belongings were now almost consumed”. Austria also asks the Duke to dismiss him completely from his service so that he can look for another job. It is no longer possible to understand to what extent an agreement was reached on the points mentioned. However, since the document does not contain any information about the type of settlement, it is likely that Austria was not released. And Walther also speaks out on this topic. He writes that Austria was “as the new sovereign, the Duke Karl Friedrich's Königl. Highness first stepped on German soil, and on the Herzogl. Wolfenbüttelschen Lustschloss Salzthalum gave the visit, again as Dero Capellmeister confirms, as did the famous Hamb. Kindly receive Mr. Mattheson equal dignity. In the meantime, both stay in their previous locations because their royal. Your Highness only repossessed the only Duchy of Holstein for the time being, but living in hope to keep the Duchy of Schleswig again. "

Braunschweig-Wolfenbüttel (1702–1735)

Braunschweig, Opera on Hagenmarkt

It is not possible to exactly reconstruct what kind of occupation Austria pursued immediately after moving to Braunschweig. Initially, he and his family probably lived on the inheritance of Hans Darnedden and the proceeds from the brewery. However, as can be seen in the letter of September 1704 already quoted, the savings have gradually run out and Austria will have looked for a new job even without the final dismissal from Gottorf services. Walther writes that he participated in the "Cammer and Church Music" and took over the cantorat at the castle church. Evidence of his activity as castle cantor can only be found from 1724 onwards, but it cannot be ruled out that he held this position earlier. Walther also mentions that Austria “took over the information of some cantatrices with Hochfl. Command, with a particularly good effect on the majority and conducted the Fürstl in the absence of the Kapellmeister. Church music ”. It remains to be seen whether Georg Caspar Schürmann's absence in the years 1701 to 1707 was meant, or whether it was simply a matter of sporadic substitutions when the court conductor was busy elsewhere. In any case, it is certain that Austria participated in opera performances in the Braunschweiger Theater am Hagenmarkt from 1708 at the latest and until at least 1721 . This opera house was founded by Duke Anton Ulrich in 1690 and staged its own productions twice a year during trade fairs. Austria's participation in the performance of the opera “The delighted ocher shepherd ceased festival” by Georg Caspar Schürmann is mentioned for the first time in 1708, but he probably participated earlier, but the cast lists for this period are very incomplete.

In Braunschweig-Wolfenbüttel, Austria comes into contact with the modern music trends of its time. At the end of the 17th century it was the French style, cultivated by Hofkapellmeister Johann Sigismund Kusser , that was absolutely in vogue, but at the beginning of the 18th century there was a drastic change. Georg Caspar Schürmann, who has been working for the Braunschweig-Wolfenbütteler Hof since 1694, was sent to Italy to study by Duke Anton Ulrich in 1701 in order to adapt to the musical tastes of the time. Austria was not unaffected by these innovations. He also changed his musical language drastically. From the transition period between 1704 and 1719 hardly any works by him have survived, so that the development process can only be traced in fragments.

In addition to his duties as a singer, castle choirmaster and singing teacher, Austria also taught composition and passed on the knowledge he had learned from Johann Theile, especially with regard to counterpoint. The most important of his students was probably Heinrich Bokemeyer , who was cantor of the Princely School in Wolfenbüttel from 1720 and from 1739 belonged to the Mizler Society of Sciences. How long Bokemeyer was taught by Austria is no longer known (there is evidence of a teacher-student relationship for the period "around 1706"), but in any case a close friendly relationship seems to have built up between the two. Probably for this reason, Austria gradually sold its music collection, which had already been established in Gottorf, to Bokemeyer, who then added mostly secular works by contemporary composers. This collection still exists today (at least half of it) and is kept in the Berlin State Library - Prussian Cultural Heritage . It currently comprises 1839 titles, which are mainly available in the form of scores and is known to most musicologists under the name "Bokemeyer Collection". 1702 works, however, go back to the holdings of the Gottorfer Hofkapelle, so the name is a little misleading.

In various places it can be read that Austria held the post of Vice Kapellmeister in Wolfenbüttel, but this information cannot be proven by any of the documents still preserved today, as many archival documents of the time were lost in the two world wars. De facto, however, Austria seems to have held the post of Vice Kapellmeister, even if he may not have been explicitly appointed as such.

At the end of the 1720s, Austria gradually withdrew from the musical scene in Braunschweig-Wolfenbüttel. Probably not least because Italian composers and with them a more modern musical language became more and more fashionable. On May 9, 1735, Georg Caspar Schürmann, who had worked as court conductor for decades, was retired because his way of composing seemed too antiquated to the new Duke Ferdinand Albrecht II (who took office in March 1735). According to the Duke's plans, Austria was to remain in its position as court choirmaster, but he died a little later. The church book of the castle chapel states that Austria died on June 6th, 1735 “in the evening at ten o'clock after a brief illness, and was buried on the 10th.”

Georg Austria and his wife Magdalena geb. Darnedden, who died in November 1728, four children:

• Johann Samuel (May 25, 1691 - May 27, 1712)
• Anton August (December 19, 1692 - 1745)
• Georg Christoph (November 5, 1694 - 1762)
• Sophie Amalie (June 20, 1696 -?)

The high social position that Austria held in its position as Gottorfer Hofkapellmeister is clear from the list of godparents of his children. Among them are such prominent names as Duke Anton Ulrich von Braunschweig-Wolfenbüttel , Hereditary Prince and later Duke August Wilhelm von Braunschweig-Wolfenbüttel , as well as his second wife Sophie Amalie, née Duchess von Holstein-Gottorf, as well as Austria's predecessor and teacher Johann Theile.

The sons of Georg Austria all embarked on a theological career and were active in high church offices in northern Germany. Only his daughter Sophie Amalie devoted herself to music and became a celebrated opera singer at the Braunschweig theater.

Evaluation of the biographical sources

The family tree of the Austria family can still be reconstructed into the 20th century. The last direct descendant of Georg Austria was the wife of Major General Georg Julius Heinrich Reinecke-Austria (1861-1945), who lived with her husband at Rübeländerstraße 1 in Blankenburg / Harz. She died childless in the 1950s. The family owned a few letters from Georg Austria and an autobiography in the composer's own handwriting. When Adam Soltys wrote his dissertation Georg Austria (1664–1735) in 1922 ; His life and his works. When he wrote a contribution to the history of the North German cantata , he had these documents before him and quoted from them in some places in his work. Despite intensive research, the whereabouts of the manuscripts have not yet been clarified. The only reliable sources of information about Georg Austria's life are therefore notes, letters and combing files from the farms where he was employed. The state archive in Schleswig keeps many valuable documents from Austria's Gottorf time, while a large part of the archives in Braunschweig-Wolfenbüttel was lost in the Second World War .

Another important biographical source is the article Austria in Johann Gottfried Walther's Musicalisches Lexicon from 1732. Based on the detailed information, it can be assumed that he received his information from Austria itself. It can even be assumed that Austria wrote the autobiography mentioned at the beginning especially for Walther. Of course, compromises have to be made in the presentation of the motives for his various changes of employment, because it is obvious that a truthful representation of the often adverse circumstances that Austria had to suffer from and which can be unequivocally reconstructed from the Gottorf court files, a resentment with his employer , to which he was in all probability still formally subject to at the time the lexicon was published. As a result, some of Walther's statements should be treated with caution and questioned.

Works

introduction

Georg Austria's copy of the score of Nicolaus Bruhns' cantata The Time of My Farewell is available

Harald Kümmerling, who has made a name for himself as a musicologist by cataloging the Bokemeyer Collection, expresses himself very contemptuously in the music encyclopedia The music in the past and present about Georg Austria's compositional skills:

"Like G. Düben, Austria was a great collector, but a sterile composer."

In fact, the passion for collecting of the conductor Gustav Düben in Stockholm and Georg Austria in Gottorf and Braunschweig-Wolfenbüttel is to be regarded as almost unique in music history. These large music libraries are of extraordinary value, as they provide a unique insight into musical practice in the late 17th and early 18th centuries. Thanks to these collections, the works of such famous composers as B. Dietrich Buxtehude , Nicolaus Bruhns , Johann Rosenmüller , Matthias Weckmann , Vincent Lübeck , Johann Philipp Krieger etc. only survived. But both Gustav Düben and Georg Austria were outstanding composers of their time. When Harald Kümmerling wrote his MGG article, historical performance practice had not yet progressed so far to reproduce the music of the early and high baroque appropriately. Perhaps that is one reason why he took such a firm stance.

Georg Austria was certainly not an innovative composer, but he understood his craft exceptionally well and was highly respected during his lifetime.

Catalog raisonné

All known compositions by Georg Austria are listed in the following catalog raisonné, including the dubious and ascribed compositions. Those works that have been ascribed to Georg Austria since the middle of the 20th century are marked with an asterisk (*), although most of them bear the composer name of his brother Michael. The considerations that led to doubts about Michael Austria's authorship are no longer comprehensible because the university publication in question can no longer be verified. New source studies and local historical research have shown that general doubts about Michael Austria's authorship are not justified.

literature

• Friedhelm Krummacher: The transmission of the chorale arrangements in the early Protestant cantata (= Berlin studies on musicology. Volume 10). Berlin 1978.
• Friedhelm Krummacher: The chorale arrangement in Protestant church music between Praetorius and Bach (= Kieler Schriften zur Musikwissenschaft. Volume XXII). Bärenreiter, Kassel 1978.
• Harald Kümmerling: Gottorfer holdings in the Bokemeyer collection. In: C. Dahlhaus, W. Wiora (HRsg.): North German and North European Music (= Kieler Schriften zur Musikwissenschaft. Volume X). Bärenreiter, Kassel 1956.
• Harald Kümmerling: Catalog of the Bokemeyer Collection (= Kiel writings on musicology. Volume XVIII). Bärenreiter, Kassel 1970.
• Harald Kümmerling: Article Austria. In: Music in the past and present. Bärenreiter, Kassel 1949–1987.
• Adam Soltys: Georg Oesterreich (1664-1735). His life and his works. A contribution to the history of the north German cantata. In: Archives for Musicology . 4th year 1922, p. 169 ff.

Web links

• Sheet music and audio files from Georg Austria in the International Music Score Library Project
• Public domain music editions in the project "Music and Religion between Ribe and Rendsburg" of the Schleswig-Holstein State Museums Schloss Gottorf

Individual evidence

1. ↑ ^{a b c d} Adam Soltys: Georg Oesterreich (1664-1735). His life and his works. A contribution to the history of the north German cantata. In: Archives for Musicology . 4th year 1922, p. 169 ff.
2. ^ Thomasius: Acta Thomana
3. ↑ ^{a b c d} Johann Gottfried Walther: Musical Lexicon or Musical Library. Leipzig 1732
4. ↑ cf. the final comment on the cantata Du Daughter Zion rejoy dich : Compos. Schlesvigae Anno 1689
5. ↑ For the truthfulness of the statements made in the Musicalisches Lexicon by Johann Gottfried Walther see under “Evaluation of the biographical sources”.
6. ↑ Many sources give other dates, but the cantata "Auff jauchtzet lobsinget dem König der Ehren" (Auff jauchtzet lobsinget dem König der Ehren) has been performed on May 30, 1694 in the Salzdahlum Palace Chapel. (cf .: Friedrich Christian Bressand: Salzthalischer Mäyen-Schluß: or description of the on the most joyful birth day of the most brilliant princess and women / women Elisabetha Juliana / Hertzogin zu Braunschweig and Lüneburg / bored Hertzogin zu Schleswig and Holstein / etc. etc. in Salzthal employed merrymaking / in 1694. )
7. ↑ for example in: Fr.zell: J. Ph. Förtsch . In: Wissenschaftl. Ax. z. Annual report d. Fourth city. Realschule in Berlin , Easter 1893
8. ↑ L. Ehlicker: The cantatas in music. ms. autogr. Michael Oesterreich the music department. the DStB . Diploma thesis of the Univ. Hall, 1955
9. ^ Konrad Küster: Johann Philipp Förtsch: Evangeliendialoge . Complete edition, 3 vols., Wilhelmshaven 2014, vol. 1, p. XLIIf.

This article was added to the list of excellent articles on September 17, 2007 in this version .