Reiner Bredemeyer

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Reiner Bredemeyer (1987)

Reiner Bredemeyer (born February 2, 1929 in Vélez , Colombia ; † December 5, 1995 in Berlin ) was a German composer with an oeuvre of more than 600 compositions. He was musical director of the Deutsches Theater Berlin for thirty years and became one of the most important theater composers in the GDR . From 1988 to 1991 he was professor and head of a master class for composition at the Academy of the Arts in Berlin.

He gained fame in German-speaking countries through the orchestral work Bagatellen for B. (1970) and his operas. He composed the music for award-winning films such as the feature film Die Frau und der Fremde (1985), which received the Golden Bear at the Berlin International Film Festival . For his services he was u. a. awarded the art prize , the national prize and the badge of honor of the Association of Composers and Musicologists of the GDR .

Life

Reiner Bredemeyer was born on February 2, 1929 to a German family in Vélez, Colombia. His father was a civil engineer and worked for a German construction company. In 1931 the family returned to Germany. Bredemeyer attended elementary and secondary school in Breslau . In the Lower Silesian capital he was trained on the piano and the violin for the first time . Bredemeyer was drafted into the Wehrmacht as a soldier in 1944 and was taken prisoner by the Americans in Bavaria in 1945.

In 1946 he met the composer Karl Amadeus Hartmann and attended the concert series for new music musica viva in Munich, which he organized for the first time . Hartmann introduced him to the works of Igor Stravinsky , Béla Bartók , Anton Webern , Edgar Varèse , Charles Ives and Erik Satie . Bredemeyer later described it as the most important point of reference in Munich. Bredemeyer attended a school in Fürth and passed his Abitur in 1948 at the Maria-Theresia-Gymnasium in Munich- Giesing . From 1949 to 1953 he studied composition with Karl Höller at the Munich Academy of Music . He also attended the international summer courses for new music in Darmstadt.

In 1954 he made the acquaintance of Paul Dessau , who moved him to postgraduate studies in the GDR . This made him one of the few FRG artists who made a conscious decision to take the socialist path. Disappointed by the Adenauer government, he moved to East Berlin and from then on was looked after by Dessau. Both worked partly together and maintained a friendly relationship. With the help of Dessau, he was the first master class student with Rudolf Wagner-Régeny at the German Academy of the Arts from 1954 to 1957 . His master teacher, however, had an ambivalent relationship with him all his life. He stated:

“Talent and craftsmanship are undoubtedly there. But in his musical expression as well as in the general mental attitude there was a certain confusion, which unfortunately cannot yet be foreseen with certainty whether he will achieve clear, positive performances in a further development. "

Bredemeyer's musical role model Hanns Eisler initially judged not exactly optimistic in an internal letter:

"Unfortunately, Bredemeyer's work is also particularly boring."

In the first place, Bredemeyer's serial compositions met with little understanding. Bredemeyer's difficulties with the established East German composers remained. In 1979 he complained that the composers' association dismissed him as a “young composer” at the age of 50. An example of this is the lack of sound carriers with concert music. Rather, he had to be content with radio plays, film and drama music.

In addition to his postgraduate studies, he taught at the State Drama School in Berlin until 1956 . From 1957 to 1960 he was musical director at the Theater der 800 , the first children's and youth theater in the GDR, and from 1961 to 1994 at the Deutsches Theater Berlin . During this time he worked with the directors Benno Besson , Wolfgang Heinz , Adolf Dresen and Friedo Solter and Horst Sördert .

From 1977 to 1989 he was elected to the central board of the Association of Composers and Musicologists of the GDR . In 1978 he was accepted as a full member of the Akademie der Künste, where he led a master class. In 1988 he was appointed associate professor for composition (until 1991). In addition, he regularly took part as a lecturer in the Gera summer courses for contemporary music .

Since the political change , his work has been forgotten. Most recently he lived in Berlin-Müggelheim . Reiner Bredemeyer died at the age of 66 after a serious illness in Berlin. He was buried in the Pankow III cemetery.

family

Reiner Bredemeyer was married to the musicologist Ute Bredemeyer-Wollny . She is the managing director of the Prussian Sea Trade Foundation and was chairwoman of the International Wilhelm Müller Society.

His son Bert Bredemeyer (* 1955) works as a director.

meaning

Reiner Bredemeyer composed over 600 works of all genres. Thanks to his extensive work for the German Theater, he became the most important theater composer in the GDR after Hanns Eisler and Paul Dessau . He composed four works for the stage, one of them the opera Candide . The world premiere took place in 1986 at the Landestheater Halle under Christian Kluttig (conductor) and Andreas Baumann (director). The following performances took place at the Dresden State Theater and on the occasion of the GDR Music Workshop Days. The opera is to be seen as a work that is critical of society. Another of his operas is Der Neinsager (1990) based on Bertolt Brecht .

His predilection for text-based pieces and the intensive engagement with the poet Wilhelm Müller led to the highly acclaimed song cycles Die Winterreise (1984) and Die Schöne Müllerin (1986).

Bredemeyer achieved notoriety above all through his Bagatelles for B. (1970) for piano and orchestra. Since the 1970s he has been working with the Neue Musik Hanns Eisler group around Burkhard Glaetzner and Friedrich Schenker . Many of his instrumental works have been performed by chamber ensembles specializing in contemporary music, including a. the Ensemble intercontemporain , the Ensemble Modern , the Kammerensemble Neue Musik Berlin and the Ensemble Sortisatio .

As a film composer, he created the music for a number of feature and documentary films such as the award-winning films War of the Mummies (1973/74), Busch singt - Six films about the first half of the 20th century (1981/82), The Woman and the Stranger ( 1984) and meeting in Travers (1990). He also composed over 100 music for radio plays .

Audio language

Together with Friedrich Goldmann , Georg Katzer and Friedrich Schenker , Bredemeyer belongs to the generation of composers who, breaking away from socialist realism , oriented themselves towards the western avant-garde . He looked up to internationally pioneering composers such as John Cage and Morton Feldman .

Bredemeyer was influenced early on by the music of Anton Webern and Igor Stravinsky . The musicologist Frank Schneider characterized his compositions as "without big notes" and "unpretentious".

Bredemeyer's only symphony was written in 1974 with a chamber music ensemble as a counterpart to Goldmann's 1st Symphony for the group Neue Musik Hanns Eisler . For Ludwig van Beethoven's 200th birthday , he composed the postmodern work Bagatelles for B.

The Swiss musicologist Jürg Stenzl summed up in a FAZ comment:

“The composer Reiner Bredemeyer interfered with his music everywhere with sharpness and whistle, completely un-German, funny and cheerful, cheeky and just like Villon and Heine, whom he loved like Arno Schmidt , and raised an objection precisely when nothing was for himself was to be fetched. "

Two of his students are Juro Mětšk (1980–1983) and Wolf-Günter Leidel (1983–1985).

Awards and memberships

estate

A partial estate of Reiner Bredemeyer - containing 59 composition autographs - is kept in the music department of the Saxon State Library - Dresden State and University Library (call number: Mus.14443-…).

Works

Compositions

Discography (selection)

Fonts

  • Is Schoenberg dead? In: Mathias Hansen, Christa Müller (eds.): Arnold Schönberg 1874–1951. On the 25th anniversary of the composer's death . Academy of the Arts of the GDR, Berlin 1976, p. 121. (= workbooks of the Academy of the Arts of the GDR , Volume 24)
  • Help! Help! Mozart's setting of Schikaneder's text on “The Magic Flute” . In: Musik und Gesellschaft 1978, Issue 28, 325–328.
  • Reiner Bredemeyer, [obituary for Paul Dessau] . In: Sinn und Form 1979, No. 6, pp. 1151–1152.
  • “Are you laughing at the dreamer who saw flowers in winter?” Wilhelm Muller's “Winterreise” and its reinterpretation by Reiner Bredemeyer. In: Musik und Gesellschaft 1985, Issue 35, pp. 486–490.
  • Source of inspiration rehearsal stage . In: Musik und Gesellschaft 2 (1986), pp. 71-72. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 4: Documents from the 1980s . Henschel, Berlin 1999, ISBN 3-89487-316-7 , pp. 239–241)
  • The Morton Feldman in my life . In: Positions 1 (1988), pp. 11-12. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 4: Documents from the 1980s . Henschel, Berlin 1999, ISBN 3-89487-316-7 , pp. 418-419)
  • Reiner Bredemeyer, music and reality. Laying on the desk: open, over, under, right . In: Positions 4 (1989), pp. 3-5.
  • Attempt a trend analysis . In: Positions 6/7 (1991), p. 7. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 3: Documents from the 1970s . Henschel, Berlin 1997, ISBN 3-89487-248- 9 , p. 209)
  • "I did not turn around". Some personal thoughts and considerations about my "winter trip". In: MusikTexte 64 (1996), pp. 33-36.
  • “I came here to sing” - remarks and texts on the occasion of the composer's 75th birthday . In: Positions 59 (2004), pp. 37–40.

literature

monograph

  • Kristina Wille: Reiner Bredemeyer's Der Neinsager - A late reference to Brecht / Weil's Der Yesager . Weidler, Berlin 2005, ISBN 3-89693-433-3 . (= also master's thesis, University of Hamburg, 2001)

Anthologies

Essays and individual studies

  • Ingeborg Allihn: First performance of Bredemeyer in the museum . In: Musik und Gesellschaft 1977, issue 7, pp. 439–440. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 3: Documents from the Seventies . Henschel, Berlin 1997, ISBN 3-89487-248-9 , pp. 420–421)
  • Stefan Amzoll: Political Poetry and Music. On vocal compositions by Friedrich Schenker, Kurt Schwaen and Reiner Bredemeyer. In: Music and Society 27 (1977), 453 ff.
  • Stefan Amzoll: Review. Reiner Bredemeyer's attitude towards history and the present . In: MusikTexte 101 (2004), pp. 27–30.
  • Claudia Bullerjahn: On the reception of Franz Schubert's “Winterreise” in the 20th century, demonstrated using works by Hans Zender , Reiner Bredemeyer and Friedhelm Döhl . In: Contributions to musicology and music education (1997), pp. 180–212.
  • Karl Heinz Friebel: Sonatina for orchestra by Reiner Bredemeyer . In: Musik und Gesellschaft 1964, Issue 14, p. 400. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 2: Documents from the 1960s . Henschel, Berlin 1995, ISBN 3-89487-224- 1 , pp. 199–200)
  • Margarete Führ: First experiences with the acquisition and development of new orchestral works by R. Bredemeyer, Mrs. Goldmann and G. Katzer in class 10 / STE 7 . In: Musik in der Schule 33 (1982), pp. 403-407.
  • Friedrich Goldmann : Reiner Brede Meyers Bagatelles for B . In: Mathias Hansen (Ed.): Musical analysis in discussion. Conversations, analyzes, documentation . Academy of Arts of the German Democratic Republic, Berlin 1982. pp. 96–103. (= Workbooks of the Academy of Arts of the German Democratic Republic , 35)
  • Friedrich Goldmann: Never quite at home . In: MusikTexte 62/63 (1996), p. 25.
  • Mathias Henke: "Find me hidden bridges". Annotations to “Die Post” and “Deception”, the poems of the “Winterreise” not previously published by Wilhelm Müller, in the settings by Franz Schubert and Reiner Bredemeyer . In: University of Music Würzburg (ed.): Franz Schubert and Gustav Mahler in contemporary music . (= Writings of the University of Music Würzburg , vol. 5) Schott, Mainz [u. a.] 1997, ISBN 3-7957-0338-7 , pp. 63-72.
  • Antje Kaiser: "Schöne Müllerin" by Reiner Bredemeyer . In: Musik und Gesellschaft 1987, Issue 5, p. 240. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 4: Documents from the 1980s . Henschel, Berlin 1999, ISBN 3-89487-316- 7 , pp. 160–161)
  • Udo Klement : "start - stop" . In: Musik und Gesellschaft 28 (1978), p. 343.
  • Udo Klement: Memorial music by Reiner Bredemeyer, Helge Jung , Ernst Hermann Meyer and Günter Neubert . In: Positions 2 (1988), pp. 13-14.
  • Eberhard Kneipel: Concerto for oboe and orchestra by Reiner Bredemeyer . In: Musik und Gesellschaft 29 (1979), pp. 286-290.
  • Liesel Markowski : Works by Bredemeyer, Katzer and Schenker premiered . In: Musik und Gesellschaft 1977, issue 5, pp. 272–273. (= Ulrich Dibelius (Hrsg.): New Music in Divided Germany . Volume 3: Documents from the 1970s . Henschel, Berlin 1997, ISBN 3-89487-248-9 , pp. 276-277)
  • Gerhard Müller: Aesthetics of the Impossible . In: Weimar Contributions 26 (1980) 10, pp. 168-183.
  • Gerhard Müller: Dramatic or staged music - the theater composer Reiner Bredemeyer . In: Michael Kuschnia (Ed.): 100 Years of the Deutsches Theater Berlin. 1883-1983 . Henschel-Verlag, Berlin 1983, p. 352 ff.
  • Gerhard Müller: Reports of the illusion. Reiner Bredemeyer “Final Report” for mezzo-soprano, baritone and orchestra . In: Motiv 1 (1991), p. 36 ff.
  • Gerhard Müller: He could do anything except cheat on grades. On the death of the composer Reiner Bredemeyer . In: Positions 26 (1996), pp. 46-52.
  • Nina Noeske: Brecht, postmodernism and the GDR. Bredemeyer's "Candide" . In: Arnfried Edler , Sabine Meine (Ed.): Music, science and their mediation. Report on the International Musicological Conference of the Hanover University of Music and Theater 26. – 29. September 2001 , Wißner, Augsburg 2002, ISBN 3-89639-342-1 , pp. 342-346.
  • Nina Noeske: The best of all possible worlds. Bredemeyer's "Candide" (1981/82) . In: Michael Berg, Albrecht von Massow, Nina Noeske (eds.): Between power and freedom. New music in the GDR . Böhlau, Cologne [a. a.] 2004, ISBN 3-412-10804-9 , pp. 141-155.
  • Reiner Bredemeyer . In: Nina Noeske: Musical deconstruction. New instrumental music in the GDR. Böhlau Verlag, Cologne 2007, ISBN 3-412-20045-X , p. 44 ff.
  • Rainer Nonnenmann: Winter Journey . Part 2: New compositions by Reiner Bredemeyer, Friedhelm Döhl , Oskar Pastior , Gerhard Rühm , Reinhard Febel , Heinz Winbeck and others . (= Pocket books on musicology , 151) Wilhelmshaven 2006, ISBN 978-3-7959-0869-0 .
  • Reinhard Oehlschlegel: “We have to order our garden” - On Reiner Bredemeyer's and Gerhard Müller's “Candide”. In: MusikTexte 13 (1986), p. 61. (= Ulrich Dibelius (Hrsg.): New music in divided Germany . Volume 4: Documents from the eighties . Henschel, Berlin 1999, ISBN 3-89487-316-7 , Pp. 204–205)
  • Daniela Reinhold: Opera comedy from a distance. Candide by Gerhard Müller and Reinhard Bredemeyer in Halle . In: Musik und Gesellschaft 1986, No. 3, pp. 146–147. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 4: Documents from the 1980s . Henschel, Berlin 1999, ISBN 3-89487-316-7 , pp. 241–243)
  • Gerd Rienäcker: First considerations. To the opera “Candide” by Gerhard Müller and Reiner Bredemeyer. In: Theater der Zeit 11/1983, p. 58 f.
  • Frank Schneider: Serenade 3. In: Music and Society 1974, Issue 4, pp. 226–228. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 3: Documents from the Seventies . Henschel, Berlin 1997, ISBN 3-89487-248-9 , pp. 143–145)
  • Frank Schneider: Counterpoints between picture tube and symphony orchestra. To the music of Reiner Bredemeyer . In: Musik und Gesellschaft 27 (1977), pp. 8-13.
  • Frank Schneider: Discourses of cheerful reason. Newer chamber music by Reiner Bredemeyer . In: MusikTexte 33/34 (1990), pp. 89-92.
  • Frank Schneider: Flashing. To Reiner Bredemeyer . In: MusikTexte 62/63 (1996), p. 26.
  • Frank Schneider: “Don't forget forward!” In memoriam Reiner Bredemeyer . In: MusikTexte 64 (1996), pp. 29-33.
  • Wolfgang Schreiber: Music as a daily necessity. On the death of the composer Reiner Bredemeyer . In: MusikTexte 62/63 (1996), p. 24 f.
  • Lothar Schubert: The “Bagatelles for B” by Reiner Bredemeyer. Instructions for the indexing in class 10 / STE 7. In: Musik in der Schule 33 (1982), pp. 92–98.
  • Lothar Schubert: Observed. Written down. Bredemeyer and Beethoven. Considerations on the position of the "bagatelles for B." in class 10 / STE 7 . In: Musik in der Schule 34 (1983), pp. 381–385.
  • Hartmut Sievert: On the treatment of the “Bagatelles for B.” by R. Bredemeyer in class 10 / STE 7. Planning and design proposal based on initial teaching experience . In: Musik in der Schule 34 (1983), pp. 385–388.
  • Wolfgang Thiel: Reiner Bredemeyer's film and television music . In: Musik und Gesellschaft 23 (1973) 11, pp. 648-653.
  • Wolfgang Thiel: Film music in the past and present . Henschelverlag, Berlin 1981, pp. 63, 226, 229, 372, 411.
  • Kristina Wille: Reiner Bredemeyer's school opera “Life of Andrea” . In: Archives for Musicology . 67 (2010) 4, pp. 318-335.
  • Kristina Wille: Reiner Bredemeyer's school opera “Life of Andrea” (continuation) . In: Archiv für Musikwissenschaft 68 (2011) 1, pp. 61–86.
  • Ute Wollny: "Seven songs for high voice, piano and percussion after Iwan Goll" by Reiner Bredemeyer . In: Musik und Gesellschaft 1983, Issue 3, pp. 171–172. (= Ulrich Dibelius (Ed.): New Music in Divided Germany . Volume 4: Documents from the 1980s . Henschel, Berlin 1999, ISBN 3-89487-316-7 , pp. 147–148)
  • Ute Wollny: Reiner Bredemeyer's vocal works, an investigation into the relationship between words and sounds . Dissertation, Halle / Saale 1984.
  • Ute Wollny: "I came here to sing". On the choral works of Reiner Bredemeyer . In: MusikForum 2 (1986), p. 7 ff.
  • Ute Wollny: 87 bars for Morton Feldman. On the chamber music “Morton Feldman in my life” by Reiner Bredemeyer . In: Positions 1 (1988), pp. 12-13.
  • Ute Wollny: The efforts of musical new land. Reiner Bredemeyer's first decade in the GDR . In: Positions 6/7 (1991), pp. 7-10.
  • Ute Wollny: "To read in winter". About Reiner Bredemeyer's song cycles “Die Schöne Müllerin” and “Die Winterreise” based on poems by Wilhelm Müller. In: Musik und Studium 11 (1991), pp. 54 ff.

Interviews and discussions

  • Relegated to the background. Werner Danneberg in conversation with Reiner Bredemeyer . In: Musik in der Schule 1995, issue 1, p. 41 f.
  • “I want to talk to music, speak clearly, but not persuade…” Gerald Felber in conversation with Reiner Bredemeyer . In: Musik in der Schule 1987, Issue 5, pp. 144–148.
  • Reiner Bredemeyer, Georg Katzer, Frank Schneider: Unlimited sovereignty? A conversation about changing borders in the structure of musical genres between the composers Reiner Bredemeyer, Georg Katzer and the musicologist Frank Schneider . In: Bulletin 16 (1979), pp. 34-42.
  • Reiner Bredemeyer. Conversation with Joachim Lucchesi and Ute Wollny . In: Mathias Hansen (Ed.): Composing at the time. Conversations with composers from the GDR . Deutscher Verlag für Musik, Leipzig 1988, ISBN 3-370-00258-2 , pp. 9–39. (= Publication by the Academy of Arts of the GDR)
  • What does Hanns Eisler's legacy mean to us today (statements by Bredemeyer, Matthus and Schenker) . In: Musik und Gesellschaft 1982, Issue 9, pp. 533-539.
  • Every sound was to be defended. About applied music, special cases, against “listening to pictures”, references to reality in music, SERENADE 2, conversation with Christa Müller . In: Christa Müller (ed.): Composers' Workshop , Academy of the Arts of the GDR, Berlin 1973, p. 30 ff. (= Workbooks of the Academy of the Arts of the GDR, 13)
  • Gerhard Müller, interview with Reiner Bredemeyer . In: Weimar Contributions 1980, Issue 10, pp. 158–167.
  • Compose right- and left-handed. Reiner Bredemeyer in conversation [with Reinhard Oehlschlegel] . In: MusikTexte 64 (1996), pp. 37-48.
  • Ursula Stürzbecher, Reiner Bredemeyer . In: Ursula Stürzbecher: Composers in the GDR. 17 conversations . Gerstenberg Verlag, Hildesheim 1979, ISBN 3-8067-0803-7 , pp. 269-285.
  • "Nice to laugh at, isn't it?" Reiner Bredemeyer in conversation with Ute Wollny . In: Gert Belkius, Ulrike Liedtke (eds.): Music for the opera? In conversation with composers . Henschel-Verlag, Berlin 1990, ISBN 3-362-00479-2 , pp. 11-24.
  • Ulrich Dibelius in conversation with the composers Reiner Bredemeyer and Friedrich Schenker . In: Yearbook of the Bavarian Academy of Fine Arts (1991), pp. 225–233.

Web links

Commons : Reiner Bredemeyer  - Collection of images, videos and audio files

Individual evidence

  1. ^ Gerhard Müller: A Diogenes. In: Neues Deutschland , February 2, 2009.
  2. ↑ a b c Jürg Stenzl : Steadfast and cheeky objection raised. In: FAZ , December 7, 1995.
  3. ^ Fred K. Prieberg: Music in Another Germany. Verlag Wissenschaft und Politik, Cologne 1968, p. 305.
  4. ↑ In 1953 the songwriter Wolf Biermann moved to the GDR.
  5. ↑ Eleonore Buening: Servus, Franzl! In: Die Zeit , No. 2/1997.
  6. ↑ See Noeske 2007, p. 45.
  7. ↑ See Noeske 2007, p. 46.
  8. ^ Matthias Tischer: Music in the GDR. Contributions to the musical conditions of a disappeared state. Ernst Kuhn, Berlin 2005, ISBN 3-936637-05-9 , p. 191.
  9. ↑ See Noeske 2007, p. 47.
  10. ^ Hanns-Werner Heister : In a GDR niche - 10 years of holiday courses for contemporary music in Gera . In: Ulrich Dibelius (ed.): New music in divided Germany . Volume 4: Documents from the 1980s . Henschel, Berlin 1999, ISBN 3-89487-316-7 , p. 21.
  11. ↑ He lived in the immediate vicinity of flautist Werner Tast and graphic artist Ingo Arnold .
  12. ↑ Gerhard Müller: He could cheat on everything except for notes. In: Neues Deutschland , December 8, 1995.
  13. ^ Gerhard Müller: Interview with Reiner Bredemeyer. In: Weimar Contributions , 26, 1980, issue. 10, pp. 158-167.
  14. ↑ Nina Noeske: The best of all possible worlds. Bredemeyer's "Candide" (1981/82). In: Michael Berg, Albrecht von Massow, Nina Noeske (eds.): Between power and freedom. New music in the GDR. Böhlau Verlag, Weimar 2004, ISBN 3-412-10804-9 , pp. 141–155, on p. 142 ff.
  15. ↑ so close - so far . Deutschlandradio ; Retrieved January 10, 2010.
  16. ↑ Dietrich Brennecke, Hannelore Gerlach, Mathias Hansen (eds.): Musicians in our time. Members of the music section of the GDR Academy of the Arts . Leipzig 1979, p. 272.
  17. ↑ Noeske 2007, p. 263 ff.
  18. ↑ Michael Berg: Restrictive Aesthetics as a Creative Opportunity. In: Michael Berg, Knut Holtsträter, Albrecht von Massow (eds.): The unbearable lightness of art. Aesthetic and political action in the GDR. Böhlau Verlag, Cologne 2007, ISBN 3-412-00906-7 , pp. 177–191, on p. 190.
  19. ↑ The War of the Mummies ( Memento from September 7, 2012 in the web archive archive.today ) at: Progress Film-Verleih
  20. ^ Dietrich Herfurth: The National Prize of the GDR . Berlin 2006, p. 83.
  21. ^ Price of Criticism . In: Neue Zeit , March 6, 1990, vol. 46, issue 55, p. 4.
  22. ↑ a b Meeting in Travers ( Memento from February 11, 2013 in the web archive archive.today ) at: Progress Film-Verleih
personal data
SURNAME Bredemeyer, Reiner
ALTERNATIVE NAMES Bredemeyer, Rainer
BRIEF DESCRIPTION German composer
DATE OF BIRTH February 2, 1929
PLACE OF BIRTH Vélez , Colombia
DATE OF DEATH 5th December 1995
Place of death Berlin