Georg Anton Benda

from Wikipedia, the free encyclopedia
GA Benda, ca.1751, unknown artist
Benda's birthplace, built in 1706/07

Georg Anton Benda (also Jiří Antonín ; baptized June 30, 1722 in Alt-Benatek an der Iser (northeast Prague), Bohemia; † November 6, 1795 in Köstritz ) was a Bohemian conductor and composer.

Life

Bohemia

Georg (Anton) Benda was the fourth son of the linen weaver and musician Hans Georg Benda and his wife Dorothea (1686–1762), née Brixi, daughter of the village cantor Heinrich Brixi in Skalsko. His oldest brother was the violinist and composer Franz Benda , like this one ( since 1733) the brothers Johann Georg (since 1734) and Joseph (since 1742) were violinists in the court orchestra of Frederick the Great . The father had also fed the family through performances (dulcimer, oboe, shawm) at dance events in inns, and sometimes the children also had to accompany him with instruments and singing (Georg Anton played the violin and oboe). After a visit to Potsdam, the parents in Bohemia were repeatedly subjected to interrogations until Frederick II obtained the emigration of the rest of the family from their liege lord. On March 5, 1742, the parents drove with their children Viktor (also Leineweber) and Anna Franziska to Georg Anton's boarding school in Gitschin and took him to Prussia.

The father had the three-year-olds in 1735 to the Piarists - College in Kosmanos at Jung-Bunzlau sent, which included a school theater. From 1739 he was a seminarist in the Jesuit college in Jičín , which was known for its intensive vocal and instrumental music, rhetoric and especially its theater business. The performances of the so-called Jesuit dramas, in which spoken text and sung parts alternated, may have inspired Georg Anton Benda to create his melodramas in Gotha. In Potsdam, Franz Benda introduced his brother Georg Anton to the way of playing the violin preferred by Friedrich II, and in the same year he also got a job as a violinist in the royal orchestra. He also improved himself on the oboe, but was also such a good harpsichord and piano player that he was able to work as a repetitor and soloist for a while.

Potsdam / Berlin

After the strictly counter-Reformation education of the Jesuits , Benda in Potsdam and Berlin came into contact with the Enlightenment musical aesthetics at the court of Frederick II under the influence of the French philosophy of Voltaire and Rousseau and the doctrine of affect . As a member of the court orchestra, he got to know the compositions of Johann Joachim Quantz , the brothers Johann Gottlieb Graun and Carl Heinrich Graun , Johann Adolph Hasse , especially Italian operas (opening of the new Royal Opera on December 7, 1742). 1742–1749 he had the opportunity to experience the Singspiele of Johann Friedrich Schönemann's acting company . With Carl Philipp Emanuel Bach , 1738–1768 also a member of the court orchestra as a harpsichordist, Benda was in contact throughout his life in the form of letters, subscriptions, mutual visits and probably also met his father Johann Sebastian Bach and brother Wilhelm Friedemann Bach when she was in 1747 Visited Berlin and appeared at court. Following the example of the king, Georg Anton Benda became a Protestant and Freemason in Berlin .

Graf Gotter , who was born in Gotha and was the chief court marshal and director of the Berlin court opera, was also a freemason in Berlin ( master of the lodge “To the three globes” ). Just like the Gotha Duchess Luise Dorothea , also a member of a lodge, Gotter promoted the settlement of Bohemian emigrants in the region, and through his mediation Georg Anton Benda was able to introduce himself as the successor to the court orchestra director Stölzel, who died in 1749, at the court of Gotha, where he especially performed his piano playing and his membership as a Freemason were convincing. On May 1, 1750, Duke Friedrich III appointed. von Sachsen-Gotha (1699–1772) Benda as Hofkapellmeister with the main task of organizing the Sunday service at Schloss Friedenstein .

Gotha

Gotha 1738 with (center) Siebleber Gate on the left (No. 25) and Sundhäuser Gate on the right (No. 28)
Gotha Castle Church , royal box west side

In Gotha, Benda's sister Anna Franziska supported him in housekeeping, which also included looking after three band boys, but also at church and court concerts with her particularly pure (trill) voice, which was trained by Franz Benda. At Benda's request at the end of 1750, she was accepted as a court chamber singer. After she had founded her own family with the violinist Hattasch , Benda married the daughter of the Gotha “Cantzley-Advocatus” Leichner at the end of 1751. The household was not only enlarged by having children of his own, but also by the foster daughter and music student Susanne Maria Zinck (1751–1821) and violinist Johann Christoph Reinhardt. They lived in a house on Grosse Siebleber Gasse, and Benda had a garden on the canal in front of the Sundhauser Gate, where he often retired to compose. On September 15, 1757, immediately after the victorious battle near Gotha, Frederick the Great and his brother Heinrich visited the Gotha ducal couple, and Benda had the opportunity to pay his respects to his former king and orchestra leader (Frederick II came again on 3 September 1757 ). December 1762 from his winter quarters in Leipzig to Gotha to spend the night there).

In addition to castle music on various court occasions, e.g. B. table music , funeral music, Benda created almost four years of cantatas for the court church, which according to the church service had to be short, as well as masses and passion music. The organization of the theater business, on the other hand, was not Benda's job, money was tight because of the Silesian Wars and court preacher Ernst Salomon Cyprian was an opponent of theater and opera, but occasional acting companies appeared : Schuch showed simple German and French plays, Koch more demanding singspiels and interludes . In August 1765, Benda himself performed his only opera seria Xindo riconosciuto, composed in the Berlin style, on the occasion of the Duchess' birthday. During the first 15 years Benda stayed outside Gotha only rarely (a few times in Weimar, once in Berlin), and when he complained to the Duke about a lack of artistic suggestions, he approved a kind of scholarship for a multi-month training trip through Italy in the sense of a Grand Tour , which he took on in October 1765.

Italy

After an interruption in Munich , where he worked for the performance of a self-composed Clavierkonzertes on Nymphenburg Palace from the Bavarian Elector Max Joseph had received a gold watch, to Benda closed in northern Italy of the traveling party of Prince Leopold Friedrich Franz of Dessau on to its extensive entourage also Kapellmeister Friedrich Wilhelm Rust (formerly a student of Franz Benda) belonged. In Venice they met Hasse and Anton Schweitzer personally. Here Benda had a relevant encounter with the Italian opera buffa : accustomed to the strict requirements of the opera seria customary in Berlin, he left indignantly and prematurely the performance of a Galuppi opera, but after visiting the opera again a few days later he was of the “manner the Italian “enthusiastically. After Bologna, Benda was impressed by Gluck's Alceste in Florence , and in Rome he heard Christmas oratorios, particularly touched by Allegris Miserere in the Sistine Chapel . At the end of February he experienced Pergolesi's Stabat mater in Naples . Benda returned to Gotha at the beginning of June 1766 via Rome and Florence.

Benda was raised to the rank of court orchestra director, but his impressions of Italy could not be processed in the form of the great opera, but had to be limited to the small but cheaper intermezzo. The Italian singers who were specially hired for this purpose were dismissed immediately after the Duchess' death in 1767. The grieving duke, who also died in March 1772, had already rejected non-church music with the exception of chamber music . Although there had been an attempt at amateur theater under Gotter and Heinrich August Ottokar Reichard (1751–1822) in 1773 , the long musical "dry spell" for Benda did not come to an end until May 1774 with the arrival of the Seyler's Drama Society, which was experienced in Singspiel .

Ekhof Theater
Charlotte Brandes as Ariadne , painted by Graff in 1781 after a copper engraving by Heinrich Sintzenich
Ekhof theater stage
Ekhof theater auditorium

After the Weimar castle theater fire , the culturally open-minded young Duke Ernst II (Saxe-Gotha-Altenburg) contracted the entire troupe, which also included Ekhof , the Brandes couple and the Benda bandmaster Schweitzer, who were well-known from Venice. Brandes had written an Ariadne libretto for his wife in Weimar and now asked Benda to set it to music, since Schweitzer's version had remained unfinished. With Esther Charlotte Brandes in the lead role (in a novel, antique-style costume), the Benda version of Ariadne on Naxos was performed in January 1775. After this sensational success, Benda composed his most famous incidental music for Gotter's libretti within just three years: The (village) fair , Medea , Walder , Romeo and Julie (with a happy ending !) And Der Holzhauer .

In September 1775 Seyler left Gotha prematurely with part of his society including the Brandes and the two oldest Benda sons Friedrich-Ludwig and Heinrich as violinists. Duke Ernst then created the first German court theater with a fixed ensemble, to which the bourgeoisie now had access, according to a clearly defined set of rules. Ekhof was given the artistic and acting direction, Reichard the dramaturgical and economic direction, and new, youthful forces were signed up, including Iffland, who had escaped from his highly educated parents (debut in Gotha in March 1777)

Hamburg, Mannheim, Vienna, Berlin

In the spring of 1778, tensions between himself and Schweitzer became so bad that he announced his temporary resignation. Obviously, both Kapellmeister envied their respective special status (Benda as a successful composer, Schweitzer as theater Kapellmeister), which made Benda feel set back. He believed that he would be able to find a permanent job elsewhere due to his fame and went on a tour that was declared as an educational trip, which initially took him to Hamburg , where he saw his Romeo with Schröder , who was particularly committed to the staging of Shakespeare's tragedies and Julie version (with daughter Justina and son Hermann Christian in the leading roles), but also Holzhauer , Ariadne , Medea , and the fair . It was here that Benda met Carl Philipp Emanuel Bach again, responsible for church music at Hamburg's main churches since 1768 , and was enthusiastic about his double-choir saint, saint in the St. Michaelis Church .

In October 1778, Benda and Hermann Christian traveled to Mannheim , where their older sons Heinrich and Friedrich Ludwig (with his young wife, the singer Felicitas Agnesia Ritz and foster daughter Susanna, Neefe who had just been married ) were involved as members of the Seyler's Society. It cannot be ruled out that Mozart , who was an admirer of Benda, was still in Mannheim at the time on his return from Paris.

Benda and Hermann Christian continued their journey via Gotha and arrived in Vienna in November 1778. His works were performed in the Vienna German National Theater and in the Theater in der Josephstadt . Benda also gave so-called academies in the old Burgtheater and in the Kärntnertor Theater . In the six months of his stay he also found time to compose the music for the melodramas Pygmalion and Philon and Theone . In his efforts to secure the post of Kapellmeister at the Vienna National Theater, he was defeated by Schweitzer and Mozart, who had previously been concerned about Benda's popularity.

In the spring of 1779 Benda visited the families of his brothers Franz and Joseph and old friends like Johann Philipp Kirnberger in Berlin , and at the Döbbelin Theater he directed the performances of some of his melodramas, about which Zelter reported in detail with enthusiasm. In mid-August 1779, Benda traveled back to Gotha via Dessau, where he met his friend and companion in Italy, Rust.

At the end of August 1779, Benda Herzog Ernst officially asked for a lifelong pension, and his brother Prince August also promised him the same amount again, so that he was able to run a household with a valet and cook in a rural area. On September 20, 1779, Benda performed his melodrama Pygmalion, composed in Vienna, for the first time in Gotha; a week later, after the performance of Romeo and Julie, the court theater was closed as a benefit event for the benefit of the last actors at the Duke's instigation. The reasons are presumed: after Ekhof's death in June 1778, the performance and character of many actors declined as well as emigration due to dissatisfaction with the remuneration, and the duke's interests shifted to other scientific and cultural areas. Performances by occasional theatrical companies such as B. the Bellomoschen troop, took place for citizens only in the Gasthof Zum Mohren .

retirement

In 1780 Benda settled in Georgenthal near Gotha. In the following years he arranged the complete works of his compositions and made preparations for subscription and printing. In the summer of 1781 he directed the performance of his Ariadne in Paris ( Théâtre-Italy ) . Benda composed his last Singspiele between 1782 and 1787: The Tartarian Law, which was performed in his presence in Mannheim in 1782/83 and which he himself described as his “farewell to the theater”, as well as The Foundling or Unexpected comes often. In 1783 he moved to Ohrdruf , from where he repeatedly took spa stays in Ronneburg . Benda maintained this when he moved to Köstritz in 1790 . In 1792 he composed (his successful eldest son Friedrich Ludwig died suddenly in Koenigsberg in March of that year) Benda's Klagen, a cantata, accompanied by two violins, two flutes, viola and bass and now consciously said goodbye to composing by the cover sheet with the note "Herewith the author ends his musical career in the 70th year of his age". The text of his " Swan Song ", composed by himself, reads at the beginning:

Bad Köstritz death house, Berggasse, apartment on the 1st floor
Memorial plaque south side of St. Leonhard (Bad Köstritz)
World War II memorial on the site of Benda's former grave site in front of St. Leonhard

“It's gone, the spring of my bloom!
Where, sweetly rewarded with jokes and strings,
I tried to win the favor of the beautiful!
No more wreath of love crowns me at my destination!

Then take it, oh time! Take with righteous kindness
This tender feeling of my breast too,
Which, to my agony, still did not burn out.

Shall I enjoy life's sweetest pleasure
To lack the happiness of being loved?
Should I, a second tantalum,
Only feed hopeless desires?
Should this feeling that love gave me
To be consumed in fearful longing until my grave?

O time! -
All the works of your hand
Fall to your scythe;
Cut this bond too
The memory of better days
Where I found love! "

On November 6, 1795, Georg Anton Benda died after a long sick bed in his apartment in Köstritz (two rooms, two chambers) at Berggasse 5, 1st floor. The funeral took place on November 9th, at his request "as splendid as possible", but in the absence of his distant family members, who could not be informed in time. Benda's grave, covered with a large granite slab, is said to have been in the old part of the cemetery in front of the church and later had to give way to the erection of a hero monument. The content of Benda's will from August 1795 was not treated publicly; Benda's youngest son, Carl Ernst Eberhard, traveled to Berlin on behalf of his siblings to auction the bequest, and most of the auction was accepted so that the majority of the musical legacy remained in the family . It is not known to what extent memorabilia may have been handed over to government agencies afterwards.

In Köstritz's memory there are exhibits (photo material) in the Schütz Museum as well as a memorial plaque on the house where he died, Berggasse 5 and in a niche on the south side of St. Leonhard. According to biographer Lorenz, images from Benda's time in Gotha are to be found in the image archive of the Museum for Regional History there.

family

The violinist and composer Friedrich Ludwig Benda , most recently Königsberg, the Berlin violinist Heinrich Benda , the actress and singer Catharina Justina Benda ( Zimdar / Blanchard), most recently Breslau, the Weimar singer and actor Hermann Christian Benda , and the Berlin court actor and singer Carl Ernst Eberhard Benda were his children. The ducal couple and senior court officials had taken on the sponsorship. The two oldest sons had joined Seyler in 1775. Justina made her debut in Romeo and Julie in 1776 as Laura, Hermann Christian in 1777 in Der Dorfjahrmarkt as Lukas; both accompanied their father to Hamburg in 1778, where Justina started a family. Benda's wife died in 1768 at the age of 42. After the death of his aunt Anna Franziska in 1781, Carl EE came to the brothers in Ludwigslust and Berlin, where he made his debut with Döbbelin in 1785 as Fritz in the comedy Der Hofmeister by Heinrich Gottfried Reichard (after Carlo Goldoni ). Benda, who did not marry a second time, also mourned the early loss of his wife in his last cantata, Bendas Klagen (1792), in which the melody of the aria "O my Julie" ( Romeo and Julie , 3rd act) can be heard.

In 1971, biographer Lorenz regretted the difficult research in divided Germany, realizing that - in contrast to Franz Benda's descendants of Benda - "the traces of grandchildren and a great-grandson of Georg Benda are lost in the dark". Even today, the opera singer Adolph Benda cannot be assigned musically active artists, especially since the number of his children and their possible name changes have not yet been determined in the relevant sources.

personality

Georg Anton Benda, copper engraving by Schröter after Mechau

Johann Friedrich Reichardt , husband of Benda's niece Juliane , Franz Benda's youngest daughter, described Georg Benda in detail as an “association of the highest talents”. Schlichtegroll described him as a “clever thinker”, the conclusion from Benda's letters to his Gotha friend Johann Wilhelm Dumpf. Reichardt also gives examples of Benda's “striking joke”, on the other hand he then sketches many episodes of Benda's peculiar, sometimes strange behavior.

Elsewhere in the literature, too, to "entertain" the readership, a colorful mixture of anecdotes is circulating, which Benda's conspicuous states of confusion in the sense of the phrase absent-minded professor , disclosed by Benda's son Christian and the former housekeeper. Over the decades these appeared in different versions and with additional decorations, and while Schlichtegroll still summarizes the phenomenon as "He lived in his thoughts, not in things", it says about Benda at Hermann Ebert, attempt at a history of the theater in Rostock , 1872, p. 58: "... just as famous for his melodic compositions as for his unprecedented '(!) Absent-mindedness", and Wolff says in Neues most elegant conversation lexicon for educated people from all classes , 1834, p. 188: " ... almost better known for his absent-mindedness ”. Even as a child, Benda is said to have been a "thoughtful companion" who was not suitable for his father's line weaving.

The negative effects of his introversion earned Benda the charge of not being a good householder and educator, but his wife had servants and took his quirks with a heart and humor. He was a loving father to his children, to whom he dedicated the song Sweet girl, sweet boy! : "When your little hands caress me, gently as your eye laughs: Oh, I don't pay attention to the flattering of a whole world, I like to interfere in your games with mild indulgence, O the happiness that I then feel, To be a child again! ”(Excerpt). The literary recurring descriptions of Benda's enjoyment of wine, food and games resulted from his joy in the social gatherings that often surround him, also in the context of his Masonic lodge brothers, for whom he composed a drinking song based on the text by Matthias Claudius , which was popular at the time : Up and drink! : “Up and drink! Brothers drink! Because good wine is for good people, and we want to be fresh and happy today. Push and say next to it: All sick should live. Every brother live, be a good man! Promote, comfort, give, help wherever he can! ”(Extract). In this sense, Benda was benevolent, both large and small. For example, Amynts donated the proceeds of his cantata to a new school for the poor.

In old age, Benda took care of his health and tried to work through the early loss of his wife or his theatrical disgust (“Adieu theater with your ugly daughter Cabale”, “Every little meadow flower now gives me more pleasure than all music”) on daily hikes. He increasingly avoided meeting people, but kept himself informed about world affairs in the latest newspapers every week, especially the events in connection with the French Revolution . He exchanged extensive information on this as well as on philosophical and religious questions in the correspondence with his Gotha friend.

reception

In summary, the status of Georg Benda can be described as a "small b between two big B", between Johann Sebastian Bach ( baroque ) and Ludwig van Beethoven ( classical ). In this epoch of pre-classical or pre-classical, also called the age of sensitivity , Benda created his versatile work out of inner need with a lot of feeling and temperament.

This is shown on a small scale in his cantatas that follow the text with devotion (“As a person, God begins to feel and what he feels is my need”, “Blood billow, double your blows” in: God descends ), full of his songs Delicacy and empathy , in his symphonies with their mostly typically designed three movements: 1st movement = spirited, elegant, striving forward, 2nd movement: deep, yearning, 3rd movement: down-to-earth, lively dance; on the whole in his Singspiele with their soulful arias as well as in the melodramas with their sensitive sound assimilations and sometimes highly dramatic scenes.

With this special form of a musical stage work, the melodrama , Benda had great successes far beyond Gotha and his death. Mozart , Ludwig van Beethoven and Carl Maria von Weber admired Benda's works very much and were inspired by them (Mozart's “ Zaide ” fragment, Beethoven's dungeon scene in “ Fidelio ”, Weber's Wolf Gorge scene in “ Der Freischütz ”), experimentally or even hinted at subsequent composers such as Robert Schumann , Richard Strauss , Arnold Schönberg , Alban Berg , Bertolt Brecht , Kurt Weill , Luigi Nono . This series ends with the sentence: "The principle of empathically combining text declamation with music has still enjoyed popular reverberation in our time - of course, without one of the 'gangsta' rappers still knowing old Benda."

The stylistic affinity in the work of Georg Benda and Beethoven is referred to on various occasions in the literature, and the concluding chorus of Benda's Romeo and Julie reminds one of Beethoven's ode to joy .

In 2002, several pieces of music from Benda's Singspiel Der Dorfjahrmarkt were used as film music for the feature film “Vive la joie! - Barockfest am Gothaer Hof ”, which plays at the time when Benda Hofkapellmeister of Duke Friedrich III. from Saxe-Gotha was.

The Landessinfonieorchester Thuringia-Gotha recorded works by Benda for CD publications.

The family of Sebastian Benda , unrelated to the Bendas , formerly known as The Benda Musicians , took care of the music of Franz Benda and his brothers many years ago. Son Christian Benda , cellist and conductor, played by Georg Benda a. a. the melodramas Ariadne , Medea and Pygmalion , as well as the violin concerto in G major and the music to Benda's lamentations (all in Naxos ). See also Benda (families) .

Works (selection according to MGG)

A. Vocal music

I. Spiritual works

1. Oratorios, masses, etc. a. 2. Cantatas 3. Motets 4. Arias, songs a. a.

II. Secular works

1. Cantatas and odes 2. Songs, arias a. a.

B. stage works

  • Xindo riconosciuto , Opera seria (first performance August 1765)
  • Il buon marito , Intermezzo (December 1766)
  • Il nuove maestro di capella , Intermezzo (December 1766)
  • Ariadne on Naxos , melodrama (January 1775)
  • The (village) fair or Luke and Basia , Singspiel, (February 1775)
  • Medea , melodrama (May 1775)
  • Walder , Singspiel (February 1776)
  • Romeo and Julie , Singspiel (September 1776)
  • Der Holzhauer or Die drey Wünsche , Singspiel (January 1778)
  • Pygmalion , melodrama (September 1779)
  • The Tartar Law , Singspiel (March 1787)

C. Instrumental music

I. Orchestral works

  • 30 symphonies

II. Concerts

III. Chamber music
IV. Harpsichord music a. a.

Audio samples on Google Videos

Rediscovery of the cantata God descends , Berlin State Library
Sheet music found (autograph) Cantata How terrible Lord are your dishes , Saxon Academy of Sciences

The audio samples of ″ Benda's lawsuits ″ and ″ Romeo and Julie ″ are no longer available for copyright reasons.

Late finds

  • In 1999, as part of the “Loot Return” from the Crimea, the Sing-Akademie zu Berlin returned missing sheet music from the estate of Carl Philipp Emanuel Bach, including, edited by him, Benda's Christmas cantata God descends (E flat major for four voices with instruments) , according to the Berlin State Library, year of creation 1768. Afterwards, first performance on Deutschlandradio Kultur on December 15, 2003 with “Zelter-Ensemble” of the Sing-Akademie under Joshard Daus with the indication of 1784 as the year of creation. There are recordings on which this cantata is ascribed to the son Friedrich Ludwig Benda .
  • In spring 2012, the musicologist Wolfram Enßlin found 18 autograph Benda cantatas and 28 copyist scores of his cantatas in the Augustinian monastery in Gotha .

Honors

  • The city of Gotha named a street in the west of Gotha "Bendastraße".

literature

  • Friedrich Schlichtegroll: Nekrolog on the year 1795 , Verlag Justus Perthes, Gotha 1798, pp. 290–336 ( digitized in the Google book search); Reprinted in Friedrich Schlichtegroll: Musician-Necrologist . Newly published by Richard Schaal, Bärenreiter Verlag, Kassel and Basel 1954.
  • Franz Lorenz: The Benda family of musicians . tape 1 : Franz Benda . de Gruyter, Berlin 1967.
  • Anton Hnilicka: From Georg Benda's youth. Prague 1911.
  • Irmgard Leux: Christian Gottlob Neefe (1748–1798). With two portraits and a replica of a manuscript. Verlag F. Kistner and CFW Siegel, Leipzig 1925.

See also

Web links

Commons : Georg Benda  - collection of images, videos and audio files

References and comments

  1. ↑ Lorenz 'Biography Vol. 1, p. 3
  2. ↑ He signed his documents shown in Lorenz 'Biography Vol. 2 with G. Benda
  3. ↑ Her cousin Simon Brixi was the choirmaster of the Prague parish church of St. Martin, whose son was the composer, organist and cathedral music director in Prague, Franz Xaver Brixi
  4. ↑ see youth portrait inside in front of the title page in Lorenz's biography, Volume 2
  5. ↑ Schlichtegroll, Musician-Nekrologe, p. 25
  6. ↑ Matriculation entry: "abiit ad Borussiam", Lorenz-Biografie vol. 2, p. 15
  7. ↑ Lorenz 'Biography Vol. 2, p. 14
  8. ↑ according to Lorenz biography vol. 2, p. 17, presumably member of the lodge Aux trois Globes ("To the three world balls")
  9. ↑ Lorenz 'Biography, Vol. 2, p. 18
  10. ↑ ibid, p. 56.
  11. ↑ according to Lorenz 'biography vol. 2, p. 58: initially a court singer in Gotha, then at the Seylerschen Theatergesellschaft, where she met her future husband Christian Gottlob Neefe , see Leux's biography p. 50f at Google Books
  12. ↑ Lorenz refers in Biography Vol. 2, p. 179, to p. 755 in Cramer's magazine for (the) music on Google Books
  13. ↑ Lorenz 'Biography, Vol. 2, pp. 57–58
  14. ↑ Lorenz 'Biography Vol. 2, p. 21
  15. ↑ Ludger Rémy in the supplement to the CD Cantatas by cpo No. 999650, 1999.
  16. ↑ Schlichtegroll: Nekrolog for the year 1795 , p. 294 at Google Books.
  17. ↑ Schlichtegroll obituary S. 294f, at Google Books
  18. ↑ Lorenz 'Biography Vol. 1, p. 185
  19. ↑ Andrea Klein: Every communication is like art: the language of the garden , p. 32ff, on Google Books
  20. ^ Schlichtegroll, Nekrolog p. 295f, at Google Books
  21. ↑ according to MGG column 1066 composed by Benda and performed at the end of December: Il buon marito and Il nuove maestro di capella
  22. ↑ Georg Friedrich Kühn: Das Ekhof-Theater , 2000 , Christian Ahrens: To Gotha is a good band ... , 2010 (employment of the court musicians)
  23. ↑ at Museum-Digital
  24. ↑ Albrecht: You are allowed to waste the stars - actor memories of the 18th and 19th centuries. Book publisher Der Morgen Berlin, 1980, p. 21
  25. ^ Eduard Devrient: History of German Dramatic Art, Henschelverlag Art and Society (license from Langen Müller publisher), Berlin 1967, Volume 1, p. 410
  26. ↑ Lorenz Biography, pp. 72–77
  27. ↑ Devrient: History of German Drama , Volume 2, p. 497 and Iffland: Meine theatralische Laufbahn , p. 65ff
  28. ↑ Devrient: History of German Drama , Volume 1, pp. 407-423
  29. ↑ Lorenz p. 85
  30. ↑ Lorenz Biography Vol. 2, pp. 88–90
  31. ↑ Lorenz 'Biography Vol. 2, p. 91
  32. ^ Eva Gesine Baur; Emanuel Schikaneder: The man for Mozart , Mozart on Benda on Google Books
  33. ↑ Lorenz 'Biography, pp. 91–94
  34. ↑ see Zelter's autobiography, pp. 96f , Zelter's essay on Ariadne in Lyceum von Reichardt, 1797, pp. 132–144
  35. ↑ Lorenz 'biography, pp. 94–95
  36. ↑ Short biography Bellomo ( Memento of the original from March 13, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at graz.at  @1@ 2Template: Webachiv / IABot / www.graz.at
  37. ↑ Lorenz Biography Vol. 2, p. 96–98, with reference to Richard Hodermann: Geschichte des Gothaischen Hoftheater 1775 to 1779 , Verlag L. Voss Hamburg and Leipzig 1894, p. 114f
  38. ↑ Lorenz 'biography p. 105.
  39. ^ Text of Benda's complaints
  40. ↑ Ledeburs Tonkünstler-Lexicon, p. 45 on Benda's complaints.
  41. ^ Text of Benda's complaints
  42. ↑ Lorenz's biography p. 108
  43. ↑ Lorenz's biography, pp. 106-107.
  44. ↑ Illustrations of Benda's death house and memorial plaques
  45. ↑ Schloss Friedenstein - Museum for Regional History, Gotha ( Memento of the original from October 3, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / plus.google.com
  46. ↑ Audio sample O my Julie
  47. ^ Text and notes O my Julie
  48. ↑ See also: Family tree appendix in volume 1 of Franz Lorenz's biography
  49. ↑ Biography, p. 7
  50. ↑ according to Lorenz's biography vol. 2, p. 109, u. a. in the archive of the Gesellschaft der Musikfreunde in Vienna
  51. ^ Reichardt, Familiar Letters
  52. ^ Friedrich Schlichtegroll, Nekrolog der Teutschen im 19. Century , 1802, Benda-Korrespondenz p. 187
  53. ^ Schlichtegroll, Nekrolog to the year 1798, p. 309f
  54. ↑ Lyceum of Fine Arts, Volume 1, 1797, pp. 147ff
  55. ↑ Marpurg, Legenden einer Musikheiligen, 1786, p. 116F , Schlichtegrolls Nekrolog, 1798, from p. 313 , Allgemeine Musikalische Zeitung, September 17, 1800, p. 875 , Original musical anecdotes and mishaps, delight of the music-loving audience… Collected and edited by CF Müller, Berlin, 1836, pp. 93-96 , Biographisches Lexikon des Kaiserthums Oesterreich, 1856, p. 262.
  56. ↑ Ebert, p. 58 on Benda
  57. ↑ p. 188 to Benda
  58. ↑ MDR on Benda's youth ( memento of the original from July 26, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.mdr.de
  59. ↑ CD Ungaroton Classic, Georg Anton Benda, LIEDER, HCD31779
  60. ↑ Lorenz Biography Vol. 2, p. 114 f.
  61. ↑ Lorenz 'Biography, Vol. 2, p. 97
  62. ↑ Schlichtegroll, Nekrolog on the year 1798, Schlichtegroll Nekrolog p. 309f
  63. ↑ Lorenz Biography, Vol. 2, pp. 109-114 and MGG, columns 1067, 1069, Biograph. Lexikon des Kaiserthums Österreich, p. 262 and Schlichtegroll Nekrolog, p. 321 f. , General Encyclopedia, p. 476 , Christ. Fried. Dan. Schubart's ideas on the aesthetics of music. P. 120 f.
  64. ↑ See MGG, column 1069 and Georg Friedrich Kühn on Benda's melodramas in the Ekhof-Theater Gotha.
  65. ↑ See text contribution by Teresa Pieschacón Raphael from 1996 in the supplements to Ariadne auf Naxos and Medea (CDs from Naxos DDD 8.553345 and 8.553346).
  66. ^ Article by Wolfgang Hirsch in the Thuringian regional newspaper of May 27, 2012.
  67. ↑ Rudolf Pecman: Report on the International Beethoven Congress 1970. S. 453, 454, 462
  68. ↑ Lorenz 'Biography, Vol. 2, p. 114.
  69. ^ The Benda Musicians
  70. ↑ also settings for poems by Matthias Claudius , Gottfried August Bürger , Friedrich Wilhelm Gotter , Heinrich Christian Boie (CD Hungaroton Classic )
  71. ↑ Wolfram Enßlin: The concept of work in CPE Bach in Denkströme Heft 5, Sächs. Academy of Sciences, 2010
  72. ↑ Autographs Benda cantatas identified in Gotha. In the news archive of the Saxon Academy of Sciences in Leipzig , accessed on June 1, 2019.
  73. ↑ New Discoveries, Article of May 18, 2012 , Article of May 27, 2012
personal data
SURNAME Benda, Georg Anton
ALTERNATIVE NAMES Benda, Jiří Antonín
BRIEF DESCRIPTION Bohemian and German composer
DATE OF BIRTH June 30, 1722
PLACE OF BIRTH Alt-Benatek on the Jizera , Bohemia
DATE OF DEATH November 6, 1795
Place of death Köstritz