Reinhard Keizer
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
- 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
- ↑ Quoted from: Werner Rackwitz (Ed.): Georg Philipp Telemann, Singing is the foundation for music in all things , Leipzig 1981.
- ↑ Reinhard-Keizer-Gedenkstätte Teuchern on musikermuseen.de, accessed on November 13, 2017.
- ↑ The chronicle of our friends' association. on the website of the “Reinhard-Keizer-Gedenkstätte” e. V., accessed on November 20, 2017.
- ↑ Andreas Richter: Texts and sheet music are moving. Press release from January 20, 2012 in the Mitteldeutsche Zeitung (PDF), accessed on November 20, 2017.
- ^ Daniel R. Melamed / Reginald L. Sanders: On the text and context of the 'Keizer'-Markus Passion. In: Bach-Jahrbuch 85 (1999), p. 36.
personal data | |
---|---|
SURNAME | Keizer, Reinhard |
BRIEF DESCRIPTION | German composer |
DATE OF BIRTH | baptized January 22, 1674 |
PLACE OF BIRTH | Teuchern |
DATE OF DEATH | September 12, 1739 |
Place of death | Hamburg |