Opera at the Gänsemarkt

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Opera am Gänsemarkt, detail from Paul Heinecken's view of the city in 1726

The Oper am Gänsemarkt in Hamburg was the first and most important bourgeois-urban theater in the German-speaking area from 1678 to 1738 . The inauguration of the house took place on January 2, 1678 . With two thousand seats, it surpassed any contemporary theater space. It then served as a stage for mobile opera troupes until 1763 . The house was demolished around 1764 .

Location and shape

alternative description
Inner Alster (1690) with the Opera (No. 75)

The opera house was on the northwest side of the Inner Alster , roughly in the triangle between the current properties of the Hotel Vier Jahreszeiten , the Berenberg Bank and the Colonnaden . The area was still little built on around 1670, the Kalkhof was located nearby .

The Venice architect Girolamo Sartorio was commissioned in the summer of 1677 to build an opera house on the Alster, based on the model of the Teatro San Cassiano in his hometown. The house was completed only six months later. From the outside it looked like an unadorned barn in a wooden half-timbered building. From the inside, however, the magnificient opera house on Gansemarckt , as it was described in 1722, boasts state-of-the- art technology. A three-part, extraordinarily deep stage with 15 pairs of backdrops allowed for quick transformations. The local librettist Barthold Feind praised in 1708:

" The Hamburg Theatrum can probably show the most numerous representations in that the side scenes can be changed there ... "

- Barthold enemy

The audience was impressed with a large macchina and airframes, and fireworks were lit on special occasions. The auditorium was quite large, 4 loggias are over each other , the architect Nicodemus Tessin told us .

The house is said to have had 2000 seats, the playing time was usually 3 times a week.

According to Johann Mattheson's list for the years 1695 and 1705, an average of 380 spectators came per performance - so the house only had an occupancy rate of 20%.

In March 1710, Zacharias Conrad von Uffenbach visited the opera house several times and noticed:

“In the evening we went to the Opera, from which the house on the other side of the Elbe is very far away. It seemed almost exactly like the Brunswick, but a little bigger, but a good little one, and much lower than the Leipzig one, which also surpasses both in delicacy, but the theater in both places may be much bigger than the Leipzig one ... That Theatrum is very deep, but low, and the machines are also old and almost very bad. "

- Zacharias Conrad von Uffenbach


Foundation, first performances and theater dispute

Portrait of the Hamburg councilor Gerhard Schott (1641–1702)

The free imperial city of Hamburg had around 70,000 inhabitants around 1700 and was the second largest city in the empire after Vienna . As the city became more prosperous, so did the need for culture. The Hamburg lawyer and councilor Gerhard Schott therefore initiated the establishment of the house, and he was also impressed by Italy's opera. Duke Christian Albrecht von Schleswig-Gottdorf , who went into exile in Hamburg in 1675 and wanted to continue the opera tradition he had begun at Gottorf Castle , was a founding member of the opera house alongside Schott, the lawyer and later Hamburg mayor Peter Lütkens and the organist Johann Adam Reinken .

The opening of the house took place on January 2, 1678 with the sacred opera The created, fallen and erect man or Adam and Eve by Johann Theile (libretto: Christian Richter ). In the same year von Theile did the opera Orontes (libretto: Hinrich Elmenhorst ). At that time, Theile held the position of court conductor with Duke Christian Albrecht.

The third opera performed in 1678 was called: The happily rising Sejanus presented in a Singspiel , after which The unhappy falling Sejanus was performed. Christian Richter had both made based on the Italian original Nicolò Minato . Nicolaus Adam Strungk made his debut in Hamburg with the music for these two operas .

The composer Johann Wolfgang Franck made his debut in 1679 with the opera Die Wol and constant-loving Michal or Der Siegende und flehende David (Libretto: Hinrich Elmenhorst) and in 1680 Johann Philipp Förtsch first came to the Gänsemarkt as a singer, but later also composed his own operas .

In 1690 Johann Georg Conradi accepted the call as Kapellmeister at the Opera on Gänsemarkt. Under Conradi's direction, Italian and French operas from the Renaissance and Baroque periods were staged at the Opera am Gänsemarkt, along with his own and contemporary works by other composers.

Around 1693, the composer Johann Sigismund Kusser had disagreements with the librettist Friedrich Christian Bressand to move from the opera house on Hagenmarkt in Braunschweig to the Hamburg opera.

Draft for a stage set for the opera Der geliebte Adonis (music: Reinhard Keizer, libretto: Christian Heinrich Postel) 1697 by Johann Oswald Harms

Between 1693 and 1695 Jakob Kremberg directed the opera together with Kusser and wrote the libretto for Georg Bronner's opera Venus or the victory in love there in 1694 .

A model of the Temple of Solomon was also created from 1680 to 1692 by artisans whose name was unknown on behalf of Councilor Gerhard Schott . It was made of oak and fir wood, pear tree, birch bark, lead and silver wire and was used as a show piece for the opera at Gänsemarkt when the opera The Destruction of Jerusalem (music: Johann Georg Conradi, libretto: Christian Heinrich Postel ) was performed in 1692 and was placed behind the opera house. The model itself has been preserved and is now in the Museum of Hamburg History .

Even before the opening of the Hamburg Opera, there was a heated argument. The performance of the opening play from the biblical story aroused anger among the Hamburg clergy because they took offense at the theatrical performance of the play, especially the appearance of God on the stage. The dispute was so intense that the opera was closed from the summer of 1686 to the end of 1687. In 1694 the dispute escalated again, so that there was a real battle in the town hall with the wounded and dead. In 1703 there was another brawl and Barthold Feind mocked the situation in his play The Confused House Jacob (first performance in 1703 at the Naumburg Opera House in front of the Salztor ), which was banned in Hamburg. The ensuing dispute and financial difficulties led to the opera being closed again for several weeks in the spring of 1704.

Time under Keizer

Title page of the text book of the Keizer opera Die Magnanimous Tomyris (Libretto: Johann Joachim Hoë (von Hoenegg)) from 1717

After Kusser had left the opera house in 1695, Reinhard Keizer, one of the most productive composers of the Gänsemarktoper, who also moved from Braunschweig to Hamburg, took over the position of Kapellmeister until 1717. His fame in Hamburg began in 1698 with the opera Der bey dem Allgemeine Welt-Frieden / Temple of Janus closed by the great Augustus. (Libretto: Christian Heinrich Postel), for which Georg Philipp Telemann composed new arias in 1729 . Keizer created over 70 operas for Hamburg. From 1703 to 1707 he was also director. They played two to three days a week and thus came up to 90 performances a year, which could last four to six hours due to the long scene changes and began in the early afternoon. The opera house was not used during Easter, Christmas and Lent. Keizer also wrote operas with a drastic local flavor. For his opera Störtebeker (Libretto: Hotter), which was premiered in 1701, pig bladders filled with pig's blood were used as a special effect, the opera The Pleasant Fraud or the Carneval of Venice from 1707 (libretto: Johann August Meister and Mauritz Cuno ) with Low German texts became a blockbuster at the Gänsemarkt .

Most of the stage sets for the operas in Hamburg came from 1696 to 1701 by Johann Oswald Harms , who had worked at the Wolfenbütteler Hof of the art-loving Duke Anton Ulrich from 1686 , where he was responsible for the duchy as a machine master, cameraman and painter , but during his time in Hamburg Active kept the Braunschweig residence.

Reinhard Keizer brought Johann Christian Schieferdecker, also from Teuchern , to the Hamburg Opera House on Gänsemarkt as a harpsichordist in 1702, where he revised his opera Der Königliche Printz Regnerus in 1702 , which had already been performed at the Hofoper in Weißenfels in 1701 .

In the meantime, in 1699, the composer Georg Bronner and a Dr. M. Cordes took over the directorate at Gänsemarkt, but gave it back to them in the same year. Johann Mattheson also appeared in 1699 with his first opera Die Plejades, or the Seven Stars (libretto: Friedrich Christian Bressand). Mattheson was previously an organist and member of the Hamburg Opera Choir. Afterwards he appeared there as a soloist, conducted rehearsals, conducted his own opera performances and often sang the leading role in them.

As young musicians, the later opera greats Georg Friedrich Händel , Johann Adolf Hasse and Christoph Graupner were able to lay the foundation for their own careers in Hamburg.

The well-known soprano Christiane Pauline Kellner (1664–1745) sang the opera Nebucadnezar by Reinhard Keizer (libretto: Christian Friedrich Hunold (Menantes)) performed at Gänsemarkt in January 1704 . The famous singer Margaretha Susanna Kayser , wife of the Hamburg city musician Johann Kayser, was also engaged, who later worked for eight (after Seedorf only four, 1729–1737/34) years as the leaseholder and director of this opera stage, at the time of Telemann (1729– 1737).

Title page of the libretto of the opera Flavius ​​Bertaridus, King of the Lombards (Libretto: Christoph Gottlieb Wend) by Telemann (1729)

On December 5, 1704, at Mattheson's opera Die unfortunate Cleopatra (libretto: Friedrich Christian Feustking ), in which Mattheson sang Marcus Antonius , there were disputes between Mattheson and Handel. Handel did not leave Mattheson back to the harpsichord and conductor's desk after his performance, Mattheson then challenged him to a duel at the goose market with a slap in the face. There were no winners in this duel because a large metal button on Handel's skirt broke off the opponent's blade and Handel was unharmed.

Also, operas that were ready to be performed were not performed for political reasons, such as the opera Boris Goudenow (music and libretto: Johann Mattheson) from 1710, which had its premiere in 2005.

On December 4, 1716, his name day was celebrated here in the presence of Tsar Peter the Great with the Keizer opera The Destroyed Troy .

A few months after the premiere at the Braunschweiger Hof in February 1719, Georg Caspar Schürmann brought out The Faithful Alceste at the Gänsemarkt-Theater in Hamburg, whereby - in line with the public's taste - some German arias were replaced by arias by other Italian composers.

In addition to those already mentioned, the composers Johann Gottfried Vogler , Gottfried Grünewald and the librettists Joachim Beccau , Heinrich Hinsch , Lukas von Bostel , Johann Ulrich König , Johann Samuel Müller , Johann Georg Glauche and Aurora von Königsmarck also worked at the Gänsemarkt .

Time under Telemann

In 1722 Georg Philipp Telemann took over the management of the opera house, which he held until the end of the last season in 1738 , with the Hamburg singer Susanna Kayser being the tenant and director from 1729. Telemann had already gained experience in the musical direction of an opera house at the Leipzig Opera . The music of the composer was already known to the Hamburg concert audience, because his operas The patient Sokrates and Germanicus had already been performed at the Gänsemarkt. Telemann created around 24 operas for the Gänsemarktoper , for example, with the opera Pimpinone (libretto: Johann Philipp Praetorius ) in 1725, he continued the cheerful tradition of the Gänsemarktoper, but also serious subjects, such as in his most important historical opera, The Load Carrying Love, written for Hamburg or Emma and Eginhard (libretto: Christoph Gottlieb Wend (Selimantes)) from 1728.

Festival decoration in the Hamburg Opera on the occasion of the birthday of George I of Great Britain in 1727

At the end of the 1720s a crisis set in at the opera house, so that a board of directors made up of several envoys from the major powers representing Hamburg and neighboring principalities saved the situation and shared the necessary donations. They had a special interest in the continued existence of the opera, as they were able to celebrate the coronation and memorial days of their rulers and empires in an appropriate and splendid manner through brilliant festive performances. So experienced Hamburg a. a. allegorical ballet performances on the occasion of the coronations of the Prussian, the French king and the Russian tsarina (1730) or the birthday of the English king (1727).

Decline and demolition

Due to financial mismanagement and a change in musical taste, the house recently had to struggle with falling audiences. The last performance in 1738 is said to have had only eight paying spectators.

From April 1738 onwards it was only rented to traveling theater troupes, such as those of Pietro Mingotti from 1743 to 1748 or that of Johann Friedrich Schönemann (1741 to 1751). In 1740, Friederike Caroline Neuber gave her last Hamburg performance here. In September 1751 Mingotti wanted to rent the opera house again and the city council commissioned employees from the municipal building yard to inspect the opera house. They came to the conclusion on October 5, 1751:

"... In view of all of this, our / opinion is that with a large / crowd of spectators something / break easily, and thus harm or misfortune could arise, which / we / we herewith / attest to the truth ..."

The opera house was then immediately closed by the council, and Schönemann had to cancel his planned performances.

After a makeshift repair, the Koch Theater Society last performed here from 1758 to 1763 . Around 1764 the dilapidated house was finally demolished and the German National Theater was built in its place , where Gotthold Ephraim Lessing worked as a dramaturge for three years in 1767.

Composers of the Gänsemarktoper (selection)

Preserved operas that premiered at the Gänsemarktoper (selection)

title composer Librettist Date of first performance comment
The beautiful and faithful Ariadne Johann Georg Conradi Christian Heinrich Postel 1691 only surviving opera by Conradi
The beloved Adonis Reinhard Keizer Christian Heinrich Postel 1697
The temple of Janus, closed by the great Augustus, before the universal world peace Reinhard Keizer Christian Heinrich Postel June 9, 1698
Victory of the fertile Pomona Reinhard Keizer Christian Heinrich Postel Oct. 19, 1702
The noble Porsenna Johann Mattheson Friedrich Christian Bressand 1702
The damned state addiction or The seduced Claudius Reinhard Keizer Heinrich Hinsch 1703
The unfortunate Cleopatra, Queen of Egypt or the betrayed state love Johann Mattheson Friedrich Christian Feustking 1704
The change of luck obtained in kroner, or: Almira, Queen of Castile georg Friedrich Handel Friedrich Christian Feustking, after Giulio Pancieri Jan. 8, 1705 only surviving opera by Handel from Hamburg
The Roman Unrest or The Noble Octavia Reinhard Keizer Barthold enemy Aug 5, 1705
The Neapolitan fishermen's indignation or Masaniello furioso Reinhard Keizer Barthold enemy June 1706
Dido, Queen of Carthage Christoph Graupner Heinrich Hinsch 1707
L'Amore Ammalato. The sick love, or: Antiochus and Stratonica Christoph Graupner Barthold Feind after Luca Assarini , Thomas Corneille and Talander 1708
La Grandezza D'Animo or Arsinoe Reinhard Keizer Breymann 1710
The secret events of Henrico IV, King of Castile and Leon, or The divided love Johann Mattheson Johann Joachim Hoë 1711
The haughty, overthrown and once again exalted Croesus Reinhard Keizer Lucas von Bostel after Il Creso by Nicolò Minato 1711
The Disguised Disguise or The Secret Love of Diana Reinhard Keizer Johann Ulrich König April 1712
Fredegunda Reinhard Keizer Johann Ulrich König after La Fredegonda by Francesco Silvani March 1715
Magnanimous Tomyris Reinhard Keizer Johann Joachim Hoë July 1717
The Newfangled Lover Damon (The Satyrs in Arcadia) Georg Philipp Telemann Georg Philipp Telemann after Pietro Pariati 1719
The patient Socrates Georg Philipp Telemann Johann Ulrich von König after Nicolò Minato Jan. 28, 1721
Genserich or The Victory of Beauty Georg Philipp Telemann Christian Heinrich Postel July 13, 1723
The avenging Cupid Reinhard Keizer Johann Ulrich König 1724
Pimpinone or The unequal marriage or The haunted chamber girl Georg Philipp Telemann Johann Philipp Praetorius Sept. 27, 1725
The ridiculous Prince Jodelet Reinhard Keizer Johann Philipp Praetorius based on French models 1726
Orpheus or The Wonderful Persistence of Love Georg Philipp Telemann Georg Philipp Telemann after Friedrich Christian Bressand March 9, 1726
Otto Georg Philipp Telemann Johann Georg Glauche based on the opera Ottone, re di Germania by Georg Friedrich Händel 1726
Miriways Georg Philipp Telemann Johann Samuel Müller May 26, 1728
Emma and Eginhard or The Load Carrying Love Georg Philipp Telemann Christoph Gottlieb Wend Nov 22, 1728
Flavius ​​Bertaridus, King of the Longobards Georg Philipp Telemann Christoph Gottlieb Wend, Georg Philipp Telemann after Stefano Ghigi Nov 23, 1729

Cultural and historical significance

The theater scholar Jens Malte Fischer said of the Gänsemarktoper:

"Hamburg could claim to have opened the first public opera house in the world after Venice"

The Gänsemarktoper was by no means a short one, but rather a singular institution at the time of Italian opera fashion, which brought together German intellectuals over many decades. Without a doubt, its founding in 1678 created an important social institution that was unique and pioneering in Germany: the number of opera composers and writers working at this house is unique within the opera landscape of Europe. Although the clergy complained against operas and the seduction of the senses into lust, the opera house developed into a meeting place for the fashionable public.

The catalog of textbooks shows between 1678 and 1751 (beyond the “closure” of the house in 1738) 306 different operas with the year of performance and, for the most part, the exact date, of which only about 30 are completely preserved; also their libretti with details of their libraries and additional reprints and reprints. This includes 11 operas, of which only the title is known. In total, there are well over two thousand preserved text prints in a large number of libraries. Hamburg's German-oriented opera history of the Baroque period was made accessible on the basis of the calendar of Hamburg opera performances from 1678–1748 and a bibliography included in this book .

See also


  • Walter Schulze: The sources of the Hamburg Opera (1678–1738). A bibliographic-statistical study of the history of the first standing German opera. (Messages from the library of the Hanseatic City of Hamburg (Ed. Gustav Wahl), New Series, Volume 4.) Stalling, Hamburg and Oldenburg 1938.
  • Renate Brockpähler : Handbook on the history of baroque opera in Germany. Lechte, Emsdetten 1964.
  • Joachim E. Wenzel: History of the Hamburg Opera 1678-1978 , edited by the board of the Hamburg State Opera, Hamburg 1978.
  • Werner Braun : From Remter to Gänsemarkt: from the early history of the old Hamburg opera (1677–1697) (Saarbrücker Studien zur Musikwissenschaft, nF 1). Saarbrücken: Saarbrücker Druckerei und Verlag, 1987. ISBN 3-925036-17-2
  • Hans Joachim Marx and Dorothea Schröder : The Hamburg Gänsemarkt Opera: Catalog of the text books (1678-1748). Laaber, Laaber 1995, ISBN 3-89007-268-2 .
  • Birgit Kiupel: “'Ick segg dat Lohn is man een Quarck. Maid and female servitude. On gender politics at the Hamburg Gänsemarkt Opera (1678–1748). ”In: Gabriele Busch-Salmen u. Eva Rieger (ed.), Women's voices, women's roles in operas and women's self-testimonies Centaurus, Herbolzheim 2000. ISBN 3-8255-0279-1
  • Olaf Simons: Marteau's Europe or the novel before it became literature: an investigation of the German and English book offerings from 1710–1720. Rodopi, Amsterdam 2001 (therein the opera scenes from the cited novels in full, pp. 333–338). ISBN 90-420-1226-9
  • Michael Maul: The Uffenbach brothers visit the Gänsemarkt Opera - comments on a well-known travelogue. in Göttingen Handel Articles, Volume 12 Vandenhoeck & Ruprecht, Göttingen 2008, pp. 183ff.
  • Annerose Koch: The Hamburg Gänsemarkt Opera (1678–1738) as a venue in the context of domestic and foreign influences

Web links

Commons : Opernhaus am Gänsemarkt (Hamburg)  - Collection of images, videos and audio files

Individual evidence

  1. ^ Michael Walter: Opera. History of an Institution , Metzler, Stuttgart 2016, page 113. [1]
  2. Constantin Floros, Hans Joachim Marx, Peter Petersen: Hamburger Jahrbuch Für Musikwissenschaft 3 Wagner, Hamburg 1978, p. 14.
  3. Gustav Schwab / Friedrich Förster: Psyche. From Franz Horn's estate, second volume. Teubner, Leipzig 1841, p. 82.
  4. Gerd Hamann: George Frederick, the Handel from Halle: His successes, his singing stars, his time - a frivolous epoch Hamann, 2019, p. 34.
  5. ^ Hellmuth Christian Wolff: The Baroque Opera in Hamburg (1678-1738). Volume 1, Möseler, Wolfenbüttel 1957, p. 351 ff.
  6. Kerstin Schüssler-Bach: "... that where the best banks are also the best operas. Civil realities on the stage of the Hamburg Gänsemarkt opera. " Under https://www.uibk.ac.at/musikwissenschaft/forschung/publikationen/barockoper/schuessler-bach.pdf
  7. ^ Zacharias Konrad von Uffenbach, Johann Georg Schelhorn: Mr. Zacharias Conrad von Uffenbach Merck-worthy journey through Lower Saxony, Holland and Engelland. Second part. Gaums, Ulm 1753, pp. 78 and 115.
  8. Article Hamburgers lend their temple model at shz.de.
  9. Ruth Florack, Rüdiger Singer (ed.): The art of gallantry: facets of a behavior model in the literature of the early modern period. De Gruyter, Berlin and Boston 2012, p. 308.
  10. Irmgard Scheitler: German-language oratorio libretti: from the beginnings to 1730 Schöningh, Paderborn, Munich, Vienna, Zurich, 2005, p. 167ff.
  11. ^ Karl Heinrich Wörner: History of Music: a study and reference book (8th edition) Vandenhoeck & Ruprecht, Göttingen 1993, ISBN 978-3-525-27811-6 , p. 206.
  12. Keiser's curriculum vitae on reinhard-keiser-verein.de
  13. ^ Article in the Hamburger Abendblatt about the Gänsemarktoper
  14. Keiser's curriculum vitae on reinhard-keiser-verein.de
  15. ^ Horst Richter: Johann Oswald Harms. A German Baroque theater decorator. Lechte, Emsdetten 1963, p. 128.
  16. ^ Klaus Zelm: The singers of the Hamburg Gänsemarkt Opera . In: Hamburger Jb. For Musicology Vol. 3, Hamburg 1978, p. 54.
  17. [2]
  18. ^ Article by Thomas Seedorf in MGG 2 (2008). ( Compare Birgit Kiupel: “Ick segg dat Lohn is man een Quarck”. Maid and female servitude - on gender politics at the Hamburg Gänsemarkt Opera (1678–1748). In: Gabriele Busch-Salmen, Eva Rieger (ed. ): Women's voices, women's roles in the opera and women's self-testimonies Centaurus Verlag, Herbolzheim 2000, ISBN 3-8255-0279-1 , p. 246.)
  19. Description of the duel between Handel and Mattheson on bachtrack.com
  20. ^ Hans Joachim Marx, Dorothea Schröder: Die Hamburger Gänsemarkt-Oper Laaber, Lilienthal 1995, p. 427.
  21. K. Zelm, The Singers of the Hamburg Gänsemarkt-Oper , in: Hamburger Jb. For Mw. 3 , 1978, pp. 35-73.
  22. Joachim E. Wenzel: History of the Hamburg Opera 1678–1978 , edited by the board of the Hamburg State Opera, Hamburg 1978, p. 82.
  23. ^ Jörgen Bracker: 60 Years of German Opera in Hamburg Portrait (Issue 8/78). Museum of Hamburg History 1978.
  24. ^ Michael Walter: Opera. History of an institution. Metzler, Stuttgart 2016, p. 113.
  25. Erich Hermann Mueller von Asow: The Mingottische Opernunternehmungen, 1732-1756. Hille, Hamburg 1915, p. 97.
  26. Blog of the University of Hamburg on the Hamburg Theater Spring 2015
  27. ^ Johann Friedrich Schütze: Hamburg Theater History. Treder, Hamburg 1794, pp. 302ff.
  28. ^ Hermann Heckmann: Baroque and Rococo in Hamburg: Baukunst des Bürgerertums Deutsche Verlags-Anstalt, Stuttgart 1990, p. 289.
  29. ^ Michael Walter: Opera. History of an institution. Metzler, Stuttgart 2016, p. 113.
  30. Jens Malte Fischer: Gustav Mahler. The strange confidante. Vienna 2003, 3rd edition, Bärenreiter dtv 2012, p. 264. In it, Fischer dedicates a short introductory section to the Gänsemarktoper on Mahler's Hamburg conductor and opera conductor time from 1891 to 1897.
  31. ^ Hans Joachim Marx, Dorothea Schröder: Die Hamburger Gänsemarkt-Oper, catalog of the text books Laaber, Lilienthal 1995.
  32. ^ Hans Joachim Marx, Dorothea Schröder: Die Hamburger Gänsemarkt-Oper, catalog of text books , 1995, pp. 496 to 507.
  33. Hans Joachim Marx, Dorothea Schröder: Die Hamburger Gänsemarkt-Oper, catalog of text books , 1995, pp. 541 to 557.
  34. Example: Annemarie Clostermann: The Opera of the Teutschübenden Gesellschaft zu Hamburg. New libretti of the early 18th century and their effects . In: Musical theatrical forms in small residences , ed. by Friedhelm Brusniak (= Arolser Contributions to Music Research I), Cologne 1993, pp. 122-133.

Coordinates: 53 ° 33 '24.4 "  N , 9 ° 59' 31"  E