Reinhard Keizer

This article deals with the composer, for the writer see Reinhard Kaiser .

Title page of the libretto of Keiser's opera Crösus from 1711

Reinhard Keizer (baptized on January 12 ^{. Jul} / 22. January  1674 ^greg. In Teuchern ; † 12. September 1739 in Hamburg ) was a German composer and opera producer.

Life

Reinhard Keizer was the son of Gottfried Keizer and his wife Agnes Dorothee Keizer, nee von Etzdorff , daughter of an impoverished Junker . Gottfried Keizer worked as an organist in Teuchern from 1671; between 1674 and 1675 he left his place of work with an unknown destination, so that the son probably grew up alone with his mother. On July 13, 1685 Reinhard Keizer entered the Thomasschule in Leipzig , led by Johann Schelle , where he received a thorough musical education. In 1693 Keizer performed his (presumably) first opera Basilius in Arcadia at the new opera house on Hagenmarkt in Braunschweig and was appointed Cammer composer the following year as the successor to Johann Sigismund Kusser .

In 1697 he moved to Hamburg and presented himself at the local opera house on Gänsemarkt with the operas Mahumet II and The Beloved Adonis . For this house, which he ran from 1703 to 1707 together with the dramaturge Drüsicke, Keizer composed most of his stage works. In the years 1700 and 1701 he was also the conductor of the winter concerts organized by the Imperial Council of Eckgh. He received the title of ducal Kapellmeister from Duke Friedrich Wilhelm zu Mecklenburg.

According to Johann Mattheson , Keizer is said to have acted “more than a cavallier than as a musician” in public. In the 19th century in particular, various musical chroniclers (e.g. the Handel researcher Friedrich Chrysander ) spread all sorts of questionable anecdotes about Keiser's life, possibly because there is little reliable biographical data apart from the premiere dates of his operas. Various rumors about Keiser's extravagant lifestyle and an alleged escape from the looming debt prison in Weißenfels have proven to be unfounded in recent research.

On January 3, 1712 he married the famous singer Barbara Oldenburg, daughter of the council musician Hieronymus Oldenburg. Soon after his successor JH Sauerbrey left the company, Keizer left Hamburg. From summer 1719 to November 1720 he can be traced back to Stuttgart , where he took part in numerous musical events, but could not find a job, as Italian musicians were preferred at the Württemberg court.

Keizer returned to Hamburg in August 1721, but turned to Copenhagen at the end of that year , where he had already sought in vain to be raised to the nobility in 1704. This time he was appointed Royal Danish Kapellmeister and performed the opera Ulysses in Copenhagen . After several visits to Hamburg, he finally settled there in 1723 and continued to write operas for the Haus am Gänsemarkt, whose repertoire he mastered together with the new director Georg Philipp Telemann . In 1728 he finally became cantor at Hamburg Cathedral and devoted himself mainly to church music for the rest of his life.

After his death, the following poetic obituary by Telemann appeared:

Sonnet on the death of the famous Capellmeister Keizer

You, who in Germany
call the art of music children, do not let Keiser's downfall indignantly.
He has done very well for your fame,
and has cut off many a wreath from the Welschen.

Since his youth was still burning in the first glow,
how rich, how new, how beautiful, how completely he thought!
How did he
bring the song to full ornamentation, which at that time the world still knew unformed!

It was only an innate
urge that drew him to this, through which he wrote, without the compulsion of the school laws;
through which we read more of him than a hundred works.

We honor your merit, you pupil of nature,
who, if you did not look for the hidden trace of art, was
nevertheless the greatest spirit in its time.

In his birthplace at Markt 9 in Teuchern, which is no longer in its original state, there was a Reinhard Keizer memorial with a permanent exhibition about the stages in his life. This moved in March 2012 to the “House of Associations” at 30 Straße des Friedens.

meaning

Reinhard Keizer is considered one of the most important German opera composers of the baroque era. During his work, the Hanseatic city became the center of early German opera culture and an attraction for numerous art-loving visitors. In addition to cultivating the local musical tradition, the opera developments in Italy and France were carefully observed in order not to miss out on catching up with current trends. The librettists of the Hamburg Opera, among whom Christian Heinrich Postel , Lukas von Bostel and Johann Ulrich von König stood out , were happy to use successful Italian libretti as a template, and when they were translated and edited, they often left some of the aria verses in the original Italian wording. In the mouths of funny servant figures, there are even Low German songs.

Occasionally, allusions to current events in Hamburg are interspersed in the mythological and historical events. Sometimes the material was also taken from local history, as in the opera Störtebecker and Jödge Michaels , which was performed in two parts in 1701 , the score of which has been lost. In the scenic representation, a sometimes drastic realism was cultivated, which differed significantly from the performance style of Italian and French opera, which was regulated by courtly ceremonies. According to tradition, real blood should have flowed in the execution scene of the Störtebecker : calf blood from pig bladders, which the actors of the Vitalienbrüder wore under their costumes.

Keizer matched his polyglot texts when setting them to music using a musical language that combined foreign influences with local traditions and developed them independently. Italian influences are particularly evident in the design of the vocal parts, in which Keizer demonstrates a flourishing melodic imagination. The palette of forms of expression extends from the vocal-refined street hit to the virtuoso bravura aria with long and complex coloratura, which lay singers, such as those performed in the early days of Hamburg opera, could hardly be mastered. The French inspired the recording of choir and ballet scenes and the refined art of instrumentation with numerous innovative sound inventions, e.g. B. five bassoons in the accompaniment of an aria from Octavia or the newly invented Chalumeau , a forerunner of the clarinet, in conjunction with muted strings in Croesus . In operas such as Croesus , The Magnanimous Tomyris or the particularly successful Fredegunda, there are hardly two consecutive pieces of music with an identical cast.

In his Foundation of a Gate of Honor , a collection of biographies of famous musicians, published in 1740, Johann Mattheson summarized his assessment of Keiser's importance briefly and succinctly: In his opinion Keizer was "the greatest opera composer in the world".

Two oratorios were previously ascribed to Keizer . However, the Markus Passion does not fit into Keiser's work. It cannot be ruled out that Keizer is the composer, but “there is no evidence that he had anything to do with this liturgical type of passion music in the first decade of the 18th century.” The printed libretto of the St. Mark's Passion is with regard to the Authorship is ambiguous and leaves open whether the Hamburg Cathedral Music Director Friedrich Nicolaus Bruhns only directed a performance in 1707 or is named as a composer.

Works (selection)

Operas and scenic homage compositions

Unless otherwise stated, the world premiere took place in the Oper am Gänsemarkt , Hamburg.

title	shape	premiere	libretto	Remarks
Procris and Cephalus	Singspiel in three acts	1694 in Braunschweig , Hägen town hall	Friedrich Christian Bressand
The Royal Shepherd or Basil in Arcadia	Singspiel in three acts	1694	Friedrich Christian Bressand , after Il ré pastore ovvero Basilio in Arcadia by Flaminio Parisetti	In February 1699 revised performance as Arcadia, or Die Königliche Schäferey in Braunschweig, Hägen town hall
The lovers found again	Shepherd's game in three acts	May 24 and June 3, 1695 in Salzthal / Salzdahlum near Braunschweig on the Duchess' birthday	Friedrich Christian Bressand	Re-performance in Hamburg in 1699 as The constant and faithful Ismene
Clelia	Singspiel in five acts	1695 in Braunschweig, Hägen town hall	Friedrich Christian Bressand
Circe or the Ulisses first part	Singspiel in three acts	February 1696 in Braunschweig, Hagen town hall	Friedrich Christian Bressand	Re-performance in Hamburg in 1702
Penelope or Ulysses in another part	Singspiel in three acts	February 1696 in Braunschweig, Hagen town hall	Friedrich Christian Bressand	Re-performance in Hamburg in 1702
Mahumeth II	Tragedy in three acts	February 25, 1696	Heinrich Hinsch
The beloved Adonis	Singspiel in three acts	1697	Christian Heinrich Postel
Irene, reintroduced into Britain by William the Great	Singing and dancing game in one act	January 10, 1698	Christian Heinrich Postel
Orpheus	Singspiel in five acts	1696 in Braunschweig, Hägen town hall	Friedrich Christian Bressand after Aurelio Aureli ?	Revised in 1699 as a two-part opera Die dying Eurydice  / Die gewandelte Leyer des Orpheus ; 1702 as The Dying Eurydice, or Orpheus ; possibly 1709 as the bit in and after death Orpheus' unheard-of loyalty
The dying Eurydice	Opera in three acts	February 1699 in Braunschweig, Hagen town hall	Friedrich Christian Bressand after Aurelio Aureli ?	Revision of the first part of Orpheus from 1696
The transformed Leyer of Orpheus	Opera in three acts	February 1699 in Braunschweig, Hagen town hall	Friedrich Christian Bressand after Aurelio Aureli ?	Revision of the second part of Orpheus from 1696
The golden apple brought from Hyperborea to Cymbria	Opera in three acts	1698; after Mattheson 1699	Christian Heinrich Postel
The temple of Janus, closed by the great Augustus, before the universal world peace	Singspiel in three acts with epilogue	June 9, 1698 "To celebrate the long-desired peace festival"	Christian Heinrich Postel	On the Peace of Rijswijk 1697. The music of the epilogue has not been preserved. Revised in 1729 by Georg Philipp Telemann and provided with new arias
Most submissive obedience, which was presented in a tantz and singing game on the most enjoyable taking day of the great Emperor Leopold	Singspiel in one act	November 15, 1698	Christian Heinrich Postel
The constant and faithful ismene	Shepherd's game in three acts	1699	Friedrich Christian Bressand	Revival of The Lovers Found Again from 1695
Iphigenia marvelously saved	Singspiel in five acts	1699	Christian Heinrich Postel after Euripides
The connection of the great Hercules with the beautiful Hebe	Singspiel in three acts	February 16, 1699 for the marriage of Joseph to Wilhelmine Amalia	Christian Heinrich Postel
The return of golden age	Singspiel in three acts	1699 for the marriage of Joseph to Wilhelmine Amalia	Friedrich Christian Bressand	Since the wedding took place in Lüneburg, the performance may not take place in Hamburg
La Forza della virtù or The Power of Virtue	Singspiel in three acts	Carnival 1700	Friedrich Christian Bressand based on an Italian model by Domenico David	According to Mattheson, Keizer composed this piece while he was away from Hamburg
The humiliated Endymion	Singspiel in three acts	1700	Emergency nail	Repeated in 1702 as The Victory Phaeton
The highest-priced coronation party for your Kgl. Majesty in Prussia	Ballet opera in one act	1701	Hotter; after Friedrich Chrysander the text comes from Nothnagel
Störtebecker and Jödge Michaels (2 parts)	Two operas in 3 acts each	1701	Hotter	only libretto received
The wonderful psyche	Singspiel in three acts	October 26, 1701 for the birthday of Queen Sophie Charlotte of Prussia	Christian Heinrich Postel after Apuleius and Matteo Noris
Victory of the fertile Pomona	Opera in one act	October 19, 1702 on the birthday of Frederick IV of Denmark	Christian Heinrich Postel	Re-performed in 1703 as the quarrel of the four seasons or the victorious autumn
The dying Eurydice or Orpheus (2 parts)	Two operas in three acts each	1702	Friedrich Christian Bressand	Revision of Orpheus from 1696
New Prussian Ballet		1702	Heinrich Hinsch
The damned state addiction or The seduced Claudius	Singspiel in three acts	1703	Heinrich Hinsch	For the first time contains Italian arias (11 pieces); Re-staged in 1726 as Claudius, Römischer Käyser
The birth of Minerva	Singspiel in three acts	1703	Heinrich Hinsch	In the same year under the title The deceived Venus listed
The wisdom triumphing over love / or: Solomon	Singspiel in three acts	1703	Christian Friedrich Hunold after Salomon by Duke Anton Ulrich von Braunschweig or Johann Christian Knorr von Rosenroth	Probably an adaptation of an older work; contains 7 arias by Georg Caspar Schürmann ; Repeated in 1709
Nebuchadnezzar, king of Babylon, who was overthrown and exalted again	Singspiel in three acts	1704, immediately after the New Year	Christian Friedrich Hunold	1728 revised version with arias by Georg Philipp Telemann
Almira, Queen of Castile	Singspiel in three acts	1704 in Hamburg and revised in Weißenfels	Friedrich Christian Feustking , after Giulio Pancieri	Score lost; 1706 revised in Hamburg with the prologue Il Genio d'Holsatia ; 1708 with epilogue The Genius of Europe and with three arias by Carlo Fedeli
The Roman Unrest or The Noble Octavia	Opera in three acts with prologue	August 5, 1705	Barthold enemy	Described as Keiser's 31st opera; contains 2 arias by Pantalon (Hebenstreit?)
The faint-hearted self-murderess Lucretia or the state folly of Brutus	Musical tragedy in five acts	November 29, 1705	Barthold enemy	A parody of this opera, La Lucretia Romana , was performed by Wallerodi in Frankfurt / Main in 1741
La Fedeltà coronata or The Crowned Loyalty	Singspiel in three acts	1706	Heinrich Hinsch	First opera on the Hamburg stage with an Italian title; contains arias by Almira from 1704
The Neapolitan fishermen's indignation or Masaniello furioso	Drama musicale / musical drama in three acts	June 1706	Barthold enemy	1727 revised with arias by Georg Philipp Telemann
La Costanza Sforzata, the Forced Persistence or The Cunning Vengeance of Sueno	Singspiel in three acts	October 11, 1706 on the birthday of Frederick IV of Denmark	Barthold enemy
Il Genio d'Holsatia, Introduzione al Fuoco arteficiale	Prologue to Almira	1706	Barthold enemy
The serene Secretarius, or Almira, Queen of Castile	Singspiel in three acts	1706	Friedrich Christian Feustking	Revised version of Almira from 1704. In 1708 the aria Schürzgen was sung with the falbala in the streets.
The Pleasant Deception or The Venice Carneval	Singspiel in three acts	1707	Johann August Meister and Mauritz Cuno after La Carneval de Venise by Jean-François Regnard	Contains arias by Christoph Graupner and other composers; Revised in 1723 with 21 new arias
La forza dell'amore or Helena abducted from Paris	Singspiel in three acts	1709	Reinhold Keizer based on Helena rapita da Paride by Aurelio Aureli
The bloodthirsty vengeance or Heliates and Olympia	Singspiel in three acts	1709	Reinhold Keizer?	Music partly by Christoph Graupner
Desiderius, King of the Lombards	Musical drama in five acts with prologue and epilogue	July 26, 1709	Barthold enemy
In and after death it bit Orpheus' unheard-of loyalty	Opera	1709	Friedrich Christian Bressand	probably reworking of Orpheus from 1702
La Grandezza D'Animo or Arsinoe	Musical drama in five acts	1710	Breymann based on an Italian template
Le bon Vivant or The Leipzig Fair	Singing and comedy in three acts	1710	Christian Heinrich Weidemann ?
The morning of European happiness or aurora	Shepherd's game in five acts	July 16, 1710 on the birthday of Emperor Joseph	Breymann
Julius Caesar, exalted by the fall of the great Pompey	Singspiel in five acts	November 1710	Barthold enemy	Performed again on April 5, 1731 as The Fall of the Great Pompey
The haughty, overthrown and once again exalted Croesus	Singspiel in three acts	1711 in Hamburg	Lucas von Bostel after Il Creso by Nicolò Minato	New version listed on December 4, 1730
The Austrian generosity or Carolus V.	Musical drama in three acts with an epilogue	January 28, 1712 for the coronation feast of Emperor Charles VI. ; Revised performance on October 1, 1714 with a prologue and epilogue on his birthday	Johann Ulrich König
The Disguised Disguise or The Secret Love of Diana	Shepherd's game in three acts	April 1712	Johann Ulrich König	New version listed on July 19, 1724 as The avenging Cupid
The Restored Peace or The Crowned Valor of Heraclius	Singspiel in five acts with prologue and epilogue	June 1712 for the Hungarian coronation festival	Johann Ulrich König after L'Heraclio by Nicolò Beregan
L'inganno fedele or The Faithful Deception	Heroic shepherd game in three acts	October 1714	Johann Ulrich König	Indicated in print as 62nd opera; Performed again at the coronation festival of George Ludwig of Great Britain on November 15, 1714 as The Crowned Virtue
Triumph of peace	Serenata	1715 to celebrate the imperial peace	Johann Ulrich König
Fredegunda	Musical drama in five acts	March 1715	Johann Ulrich König after La Fredegonda by Francesco Silvani	repeated many times
L'Amore verso la patria or The Dying Cato	Musical drama in three acts	1715	Barthold Feind after Catone uticense by Matteo Noris
Artemisia	Singspiel in three acts	1715	multiple authors	Referred to as the 64th opera
The Roman April Festival	Musical pleasure u. Dance game	June 1716 for the birth of Leopold Johann , Archduke of Austria and Prince of Asturias	Barthold enemy
The immortalized and triumphant Ertz-Hauß Austria	Serenata	1716 for the birthday of Charles VI.	Barthold Feind or Barthold Heinrich Brockes
The destroyed Troy or Achilles reconciled by the death of Helene	Singspiel in five acts	November or December 1716 on the occasion of the victory over the Turks near Timisoara	Johann Joachim Hoë after Achille placato by Urbano Rizzi
Love conquering cruelty through pretense and generosity, or Julia	Singspiel in five acts	February 1717	Johann Joachim Hoë	On January 30, 1722, performance of the revised first two acts as Antonius, Roman Emperor in Copenhagen
Magnanimous Tomyris	Singspiel in three acts	July 1717	Johann Joachim Hoë	1723 re-performance of a revised version including 2 arias by Giovanni Battista Bononcini
The Kayser Trajanus, who conquered the fortress of Transylvania-Weißenburg and triumphed over the Dacians	Singspiel in three acts with epilogue	November 4, 1717 “on the name day of Carl VI. to celebrate the victory of Prince Eugenius over the Turks and the conquest of Belgrade "	Johann Joachim Hoë
That at his rest and due to a printzen Frolockende Lycien under the government of King Jobates and Bellerophon	Singspiel in three acts	December 28, 1717	Johann Joachim Hoë
Cloris and Tirsis	Opera in three acts with epilogue (pasticcio)	December 18, 1721 in Copenhagen	Various librettists	Contains choirs and arias a. a. from Jobates and Bellerophon , Trajanus , Julius Caesar and Heraclius ; Joint work with Francesco Bartolomeo Conti
The incomparable psyche	Musical drama in three acts with a prologue	April 16, 1722 in Copenhagen	Christian Heinrich Postel , edited by Friedrich Maximilian von Lersner
Ulysses	Singspiel in three acts with prologue	November 1722 in Copenhagen on the king's birthday	Friedrich Maximilian von Lersner after Ulysse by Henri Guichard	Contains at least one aria by Giuseppe Maria Orlandini
Augustus triumphing through generosity and grace	Singspiel in three acts with prologue and epilogue	October 11, 1722? in Copenhagen	Johann Joachim Hoë
The Armenian	Singspiel?	1722 in Copenhagen	Friedrich Maximilian von Lersner	Performance not assigned
The deceived and subsequently adored Ariadne	Singspiel in three acts with prologue	November 25, 1722	Christian Heinrich Postel 1691, editor unknown	Probably a revision of the opera of the same name by Johann Georg Conradi , 1691
Sancio or The Victory Generosity		1723	Friedrich Maximilian von Lersner or Johann Ulrich König after Il miglior d'ogni amore per il peggiore d'ogni odio by Francesco Silvani	Presumably unfinished
The Cimbria shouting because of the banishment of the plagues on the day of Friedrich IV's birth at Dennemark, etc.	Serenata	1724	Schwemschuch
Exultant Great Britain	Serenata	June 8, 1724	Schwemschuch
The avenging Cupid	Shepherd game	1724	Johann Ulrich König	Revised Diana from 1712. The title role was changed for Keiser's teenage daughter Sophie, who made her debut with this opera. At least 17 arias were newly composed.
Bretislaus or The Victory Resistance	Singspiel in three acts with prologue and epilogue	February 7, 1725 for the marriage of Duke Carl Friedrich of Schleswig-Holstein to Princess Anna Petrovna	Johann Philipp Praetorius	Contains arias by Giuseppe Maria Orlandini , Giovanni Battista Bononcini and C. von Wich
The Hamburg Fair or The Happy Fraud	Playful Singspiel in five acts	June 20, 1725	Johann Philipp Praetorius
The Hamburg Battle Time or The Unsuccessful Fraud	Singspiel in five acts with a prologue	October 22, 1725	Johann Philipp Praetorius	Referred to as the 107th opera. The opera was banned by the authorities after a single performance
Prologus at the Friderici Ludovici Birth Festival of Hanover	Serenata	January 31, 1726	Johann Philipp Praetorius
Mistevojus King of the Obotrites or Wends	Singspiel in five acts	January or February 1726	Johann Samuel Müller after Antioco by Apostolo Zeno  / Pietro Pariati and Seleuco by Nicolò Minato	Contains Italian arias by Paolo Antonio Rolli and Antonio Caldara
The ridiculous Prince Jodelet	Playful Singspiel in five acts (pasticcio)	1726	Johann Philipp Praetorius based on French models	Contains several arias by other composers such as Antonio Caldara , Francesco Gasparini and Antonio Vivaldi
Buchhöfer. The mute Printz Atis	intermezzo	1726	Johann Philipp Praetorius
Barbacola	intermezzo	1726		Music partly by Jean-Baptiste Lully
Lucius Verus or The Triumphant Loyalty	Singspiel in three acts	October 18, 1728	Unknown librettist after Berenice by Heinrich Hinsch and Lucio Vero by Apostolo Zeno	After Berenice by Georg Bronner , 1702
Circe	Singspiel in 5 acts (pasticcio)	March 1-3, 1734	Johann Philipp Praetorius after Jan Jacob van Mauritius	Contains music by Leonardo Vinci , Geminiano Giacomelli , Johann Adolf Hasse and other composers

Instrumental music

• 2 trio sonatas (in G major and F major)
• Flute concert

Spiritual works

• The bloody and dying Jesus , Oratorium Passionale (1705/29). Libretto: Menantes .
• Jesus tortured and dying for the sin of the world , Passion Oratorio ( Brockes Passion) (1712) ( Score manuscript from the Royal Library of Copenhagen as PDF, approx. 36 MB)
• The victorious David [Innocence triumphing through magnanimity and faith, or Der victorious David] , spiritual song poem (1716)
• Passio secundum Marcum (Mark's Passion) (authenticity doubtful, probably by Friedrich Nicolaus Bruhns or Gottfried Keizer )

literature

• Friedrich Chrysander :  Keizer, Reinhard . In: Allgemeine Deutsche Biographie (ADB). Volume 15, Duncker & Humblot, Leipzig 1882, pp. 540-551.
• Klaus-Peter Koch: Reinhard Keizer (1674–1739) - life and work. 2nd Edition. Support group “Reinhard Keizer Memorial”, Hohenmölsen 2000, ISBN 3-00-005645-9 .
• Arno Lücker : Reinhard Keiser's Orpheus operas - comments on the libretti. In: Frankfurt magazine for musicology. 7, 2004, ISSN  1438-857X , pp. 69-92, online (PDF 121 kB) .
• Piotr Napierała : Reinhard Keizer (1674-1739) a Hamburg - uniwersalny twórca w europejskiej metropolii. In: RD Golianek, P. Urbański: Handel, Haydn i idea uniwersalizmu muzyki. Rhytmos, Poznań 2010, ISBN 978-83-60593-12-7 , pp. 191-203.
• Wilhelm Pfannkuch:  Keizer, Reinhard. In: New German Biography (NDB). Volume 11, Duncker & Humblot, Berlin 1977, ISBN 3-428-00192-3 , p. 411 f. ( Digitized version ).
• Friedrich Albert Voigt: Reinhard Keizer in a quarterly journal for musicology, Breitkopf and Härtel, Leipzig 1890 [1]
• Klaus Zelm: Reinhard Keiser's operas. Studies on chronology, tradition and style development. Katzbichler, Munich et al. 1975, ISBN 3-87397-107-0 , ( musicological writings 8).
• The music past and present : Keizer (family). Music in past and present, p. 40872 (cf.MGG vol. 07, p. 799 ff.) (C) Bärenreiter-Verlag 1986 digital library , volume 60

Web links

Commons : Reinhard Keizer  - Collection of images, videos and audio files

• Works by and about Reinhard Keizer in the catalog of the German National Library
• Score of the opera Octavia (supplement volume of the Handel edition, edited by Friedrich Chrysander and Max Seiffert, Leipzig 1902), accessed on July 15, 2014
• Score of the operas Croesus (complete) and L'inganno fedele (excerpts) , ed. v. Max Schneider in the series Monuments of German Tonkunst , Leipzig 1912, accessed on July 15, 2014
• Sheet music and audio files by Reinhard Keizer in the International Music Score Library Project
• Sheet music in the public domain by Reinhard Keizer in the Choral Public Domain Library - ChoralWiki (English)
• List of the stage works by Reinhard Keizer based on the MGG at Operone
• Reinhard Keizer Verein , accessed on July 15, 2014
• Reinhard Keizer - the largest son of the city of Teuchern ( Memento from March 7, 2012 in the Internet Archive )
• Secondary literature on Keizer , accessed July 15, 2014
• Michael Struck-Schloen: January 12th, 1674 - birthday of the composer Reinhard Keizer WDR ZeitZeichen from January 12th, 2014 (podcast)

Individual evidence

1. ↑ Quoted from: Werner Rackwitz (Ed.): Georg Philipp Telemann, Singing is the foundation for music in all things , Leipzig 1981.
2. ↑ Reinhard-Keizer-Gedenkstätte Teuchern on musikermuseen.de, accessed on November 13, 2017.
3. ↑ The chronicle of our friends' association. on the website of the “Reinhard-Keizer-Gedenkstätte” e. V., accessed on November 20, 2017.
4. ↑ Andreas Richter: Texts and sheet music are moving. Press release from January 20, 2012 in the Mitteldeutsche Zeitung (PDF), accessed on November 20, 2017.
5. ^ Daniel R. Melamed / Reginald L. Sanders: On the text and context of the 'Keizer'-Markus Passion. In: Bach-Jahrbuch 85 (1999), p. 36.