Sing-Akademie zu Berlin

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Sing-Akademie zu Berlin
Seat: Berlin / Germany
Founding: May 24, 1791
Genus: mixed choir
Founder: Carl Friedrich Christian Fasch
Head : Kai-Uwe Jirka
Website :

The Sing-Akademie zu Berlin is the oldest still existing mixed choir association in the world. The institution, which has continued uninterrupted to this day, currently includes a large main choir for adults, a chamber choir, a girls' choir and the archive, which returned from Kiev in 2001 and is one of the most important sheet music collections of the 18th and 19th centuries. The musical director of the main choir of the Sing-Akademie has been Kai-Uwe Jirka , professor at the Berlin University of the Arts , since 2006 ; the girls' choir is directed by Friederike Stahmer, professor at the Hanover Art Academy . Christian Filips is responsible for program management and dramaturgy .



Carl Friedrich Christian Fasch, founder of the Sing-Akademie zu Berlin, marble bust after Fasch's death mask by Johann Gottfried Schadow

The founding of the Sing-Akademie zu Berlin is dated May 24, 1791, when its founder and first director Carl Friedrich Christian Fasch , court harpsichordist of Frederick the Great , began to keep a rehearsal diary for the first time. Fasch noted in this 1791: "May 24th at Mad. Voitus for the first time". The choir had 28 members at that time and the occasional practice and rehearsals had become a regular get-together.

The choir first became known for its mixed a cappella choir sound, which met the taste of the time.

Private rehearsal rooms were soon no longer sufficient due to the constant increase in the number of members, which is why Fasch asked the responsible minister to provide the hall of the Royal Academy of Arts . On November 5, 1793, the choir was able to rehearse for the first time in the academy hall. "Accordingly, the academy was opened on November 5th and the heads of society were introduced," Fasch wrote in his rehearsal diary. Since that day the choir has been called Singe-Accademie . From 1794 onwards, Fasch regularly studied works by Johann Sebastian Bach in addition to his own . The Sing-Akademie quickly became known beyond Berlin. Composers like Joseph Haydn and Ludwig van Beethoven , who attended the Sing-Akademie in 1796, wrote for them.

When Fasch died on August 3, 1800, the choir already had 137 members.

Structure and historical significance

The Sing-Akademie with director Georg Schumann in the house on the fortress ditch behind the Neue Wache (1940)

Fasch's successor and second director, Carl Friedrich Zelter , obtained corporation rights to the Sing-Akademie in 1817 on the basis of the First Basic Constitution from the Prussian Ministry of the Interior and firmly anchored them in a system of Prussian music care. In 1807 he incorporated an orchestral school into it and in 1808 had a song table emerge from it , the first male choir in German history. Under his direction, the construction of his own concert building on the fortress moat near the street Unter den Linden was completed in 1827 .

In the 19th century the importance of the Sing-Akademie consisted in the maintenance of the musical work of Johann Sebastian Bach and in making sacred music accessible to a bourgeois audience outside the church, cultivating "serious music" and thus a transition from court music culture to To have made civil music care possible. In the Sing-Akademie, on March 11, 1829, the legendary renaissance of Johann Sebastian Bach's St. Matthew Passion took place for the first time after his death under the 20-year-old Felix Mendelssohn Bartholdy , which initiated a Bach renaissance on a very broad scale. The harpsichord by the Berlin instrument maker Johann Christoph Oesterlein , which belonged to Carl Friedrich Zelter and from whom Felix Mendelssohn Bartholdy presumably directed the famous performance of the St. Matthew Passion, is on permanent loan from the Sing-Akademie in the Musikinstrumenten-Museum Berlin . However, a certain stagnation in the repertoire was evident in the second half of the 19th century. It was only under the direction of the composer and pianist Georg Schumann that the choir opened up to modern music at the beginning of the 20th century.

International reputation

Schumann developed the Sing-Akademie into a top choir , which up to the beginning of the Second World War, apart from subscription concert series in its own house, regularly undertook concert tours within Germany and Europe and, alongside the Berlin Philharmonic Orchestra , with which the choir played regularly, it became one of the most important musicals Ambassador of Berlin abroad.

Concert tours in other European countries up to the Second World War (selection)

Concert tour to Italy with the Berlin Philharmonic, 1913: sheet from the 44-page program booklet.

The choir in the war and a new beginning

The Sing-Akademie was overthrown from this high level of artistic activity by the Second World War and its consequences - destruction of the own house and with it the economic basis, division of Berlin and Germany . Nonetheless, Georg Schumann succeeded in removing the Sing-Akademie from the Goebbels Propaganda Ministry's access during the war by making it a part of the Akademie der Künste while preserving its legal independence . This prevented a ban after the end of the war, a fate to which almost all clubs and associations in Germany fell victim, and ensured her survival under Allied occupation . The Sing-Akademie has therefore had a complete list of names and legal rights since it was founded. Rehearsals and concerts were always maintained during and after the war. On April 14, 1945, shortly before the Red Army marched in , when music or even concerts in ruined Berlin was hard to think of, the choir and the Berliner Philharmoniker gave the last concert before the end of the war in the still undamaged Beethoven Hall German Requiem by Johannes Brahms. On November 21 and 24, 1945, the first post-war concert followed with the State Opera Orchestra under Georg Schumann with J. S. Bach's B minor Mass.

Continued work from 1950

In 1950 Mathieu Lange took over the management of the Sing-Akademie, which he headed for almost 25 years. He continued the Bach maintenance of the choir. For the renewal in the sense of a modern, more transparent Bach sound and "... because as the new director ... under difficult conditions he made the Sing-Akademie choir into the full-fledged instrument that he was in Berlin ... "Mathieu Lange received the music prize of the Association of German Critics in Berlin in 1951/52. The Federal Cross of Merit in September 1967, the Zelter Plaque in March 1970 and the Georg-Friedrich-Handel-Ring in May 1971 also honored the outstanding services Mathieu Lange had earned by maintaining valuable choral music with the Sing-Akademie. He continued the tradition of the Sing-Akademie with the annual performances of Bach's B minor Mass, St. Matthew Passion and Christmas Oratorio. Since the house of the Sing-Akademie Unter den Linden opposite the State Opera had been confiscated, the choir rehearsals first took place in the lecture halls of the Charité and later in the school auditorium of a vocational school on Halleschen Ufer. With the construction of the Philharmonie in 1963, Mathieu Lange, supported by the Berlin Senate, finally managed to use a suitable rehearsal room as a domicile. In addition to choral works by Georg Friedrich Händel, Joseph Haydn , Wolfgang Amadeus Mozart, Johannes Brahms, Anton Bruckner and Robert Schumann, he repeatedly surprised international audiences with performances of sunken and in some cases forgotten works by great composers. So he promoted z. B. a mass by 18-year-old Giacomo Puccini and a Te Deum by 20-year-old Georges Bizet to light, as well as largely unknown works by Claudio Monteverdi , Alessandro Scarlatti , Carl Philipp Emanuel Bach, Antonio Caldara , Carl Maria von Weber, Otto Nicolai and other. Modernism was also not missing in the Sing-Academy's repertoire under his leadership: Igor Stravinsky , Max Baumann, Hans Werner Henze ("Muses of Sicily", commissioned for the 175th anniversary of the choir in 1966). Concert tours took the Sing-Akademie under Mathieu Lange at home and abroad, z. B. to Sweden, France and Poland.

After the construction of the Berlin Wall in 1961, East Berliners were denied access to the Sing-Akademie choir, although there were hardly any active members from the eastern section remaining due to the years of rehearsal in West Berlin . In 1963, the conductor Helmut Koch founded a Berlin Singing Academy in East Berlin at the Schauspielhaus in Berlin-Mitte under protest from the western part of the city with almost the same name , while the Sing-Akademie zu Berlin continued to exist in West Berlin. To this day, both ensembles exist separately from each other and enrich the city's cultural life.


Special postage stamp of the Deutsche Bundespost for the 200th anniversary of the Sing-Akademie

In 1973 the conductor and composer Hans Hilsdorf was elected to succeed Lange . He expanded the repertoire in all directions and presented Stabat mater compositions by Francis Poulenc , Gioachino Rossini and Antonín Dvořák . Eastern Europe came into focus with Zoltán Kodály (Psalmus Hungaricus) . The confrontation with modernity - Bernd Alois Zimmermann , Hans Gál , Nikolai Badinski , Helge Jörns and others - reached in 1983 up to the cantata Das Augenlicht by Anton Webern ("Through our open eyes", Op. 26, 1935), usually closed to amateur choirs. Under Hilsdorf's direction, the Sing-Akademie celebrated its 200th anniversary in 1991 with a concert at the Deutsche Oper Berlin and in front of its headquarters behind the Neue Wache .

The Sing-Akademie zu Berlin is still dedicated to the connection between historical and contemporary music practice. When Hilsdorf died in 1999, he left her in a difficult situation. There were disputes over the direction within the choir association and quarrels about a new way of dealing with the Berlin Singakademie in the reunited city and the direction of the artistic work. For a long time the Sing-Akademie was unable to agree on a successor in the director's office. The burden and responsibility for their history became a burden, interim leaders continued the rehearsal and concert work.

In September 2002 Joshard Daus took over the artistic direction and established a close cooperation with the EuropaChorAkademie . During this time the first performances from the returned music archive and recordings of the Passion works by Carl Philipp Emanuel Bach take place . Daus formed a chamber choir especially for the performance of archive works. In December 2005, however, the joint cooperation was ended by mutual agreement.

Recent past and present

In the summer of 2006, a three-person management team took over the artistic work of the Sing-Akademie zu Berlin. The conductor Kai-Uwe Jirka , professor of choral conducting at the University of the Arts, assumed overall musical responsibility . The choir was reorganized and soon grew back to an oratorical line-up. The program management was carried out by the writer and music dramaturge Christian Filips . In addition, a girls' choir was founded under the direction of Prof. Friederike Stahmer, which quickly grew into a large ensemble with several groups. Since then, the Sing-Akademie has been working closely with the University of the Arts, in particular with the State and Cathedral Choir and the Institute for Church Music , by including young choir directors in the rehearsals and concerts. With the establishment of singalongs and open concert formats for children and adults (in the "Oratorio" and "Familiar" series), the Sing-Akademie once again became a meeting point for the Berlin public. The city's contemporary music and literature scene also met in experimental formats such as the "Choir Laboratory" and the "Liedertafel" (guests included Ann Cotten , Elke Erb , Mara Genschel , Johannes Kreidler , Harald Muenz , Martin Schüttler , Monika Rinck ) and developed new formats for vocal ensembles.

The program, which has also received a great deal of national attention, has since concentrated primarily on the rediscovery of unknown, unjustifiably forgotten works, especially in the genre of the oratorio ( Adolph Bernhard Marx , Allan Pettersson , Luigi Dallapiccola and others), and premieres by contemporary composers ( Jörg Birkenkötter , Luke Bedford, Katia Tchemberdji , Jennifer Walshe), on pieces from the history of the Sing-Akademie from the field of early music ( e.g. by Carl Fasch , Johann Friedrich Reichardt , Carl Friedrich Zelter ) and on cross-over projects, etc. a. with the Lautten Compagney Berlin, at the invitation of the Maxim-Gorki-Theater , the Haus der Berliner Festspiele and the Volksbühne am Rosa-Luxemburg-Platz . Prominent actors such as Jens Harzer , Hanna Schygulla , Sophie Rois , Volker Spengler and internationally successful singers such as Nikolay Borchev , Benedikt Kristjánsson , Anna Prohaska and Matthias Goerne have also been involved in Sing-Academy's productions time and again.

In April 2008 the Wall Street Journal ran the headline: "A Growing Chorus: Sing-Akademie Blooms Anew in Berlin". On November 26, 2011, Jan Brachmann wrote in the Frankfurter Allgemeine Zeitung: "Now art has opened the door for her: Christian Filips and Kai-Uwe Jirka's great talent for tracing those parts of Berlin's music history under the ashes of oblivion, where still Embers wait, the flames strikes when the right breath hits them. "

Particular attention was paid to a. In 2009 the modern revival of the oratorio "Mose" by Adolph Bernhard Marx , the roaratorio " Tristram Shandy 2013 in the Haus der Berliner Festspiele , in 2019 the world premiere of Christfried Schmidt's St. Mark Passion in the Gethsemane Church , which was forty years later, and the German premiere of the" Cantata Criolla "by Antonio Estévez in August 2019 in the Berlin Cathedral.

Since 2017 the Sing-Akademie zu Berlin has been cooperating with the refugee initiative "New Neighborhood Moabit", regularly organizing open singing for children and adults with a migration background and creating and a. Concerts with musicians etc. a. from Syria , Iran and Chechnya .

The Sing-Akademie girls' choir has developed its own profile and has performed in numerous opera houses and theaters in the city. In 2017 the choir won a silver medal in the Grand Prix of Nations in the Berlin Philharmonic. In May 2018 he took part in the German Choir Competition with outstanding success and received the 2nd prize. Concert tours have taken him to Iceland, Spain, Denmark, Switzerland and 2019 to China.

In March 2020, all ensembles of the Sing-Akademie had to move their choir operations to the digital space due to the corona pandemic and for several months without choir rehearsals.

The house of the Sing-Akademie

Schinkel design

Sing-Akademie, painting by Eduard Gaertner (1843)

In 1821, the architect , builder and friend of Zelters, Karl Friedrich Schinkel presented a design for the Sing-Akademie building on the property behind the Neue Wache that was given to her by the king . Schinkel decided on a two-story building. The concert hall should only be a few steps above ground level and not have a basement. A lyre with fish volutes and a swan crown was emblematized on the ridge of the building and Greek in the gable triangle .

Schinkel's unrealized first draft of the Sing-Akademie, 1821

The hall was designed as a two-story design. A plinth construction comprised the ground floor of the hall, in the narrow entrance of which the doors from the entrance room are located, with the rising amphitheater of the choir on the scene side .

The interior architecture of the upper floor is dominated by the free-standing Doric columns arranged around the hall . Behind the pillars on each side there are narrow side galleries for only one row of seats. The rear gallery above the entrance room offers five rising rows of seats behind an intermediate gallery as a double staggered column. In contrast, behind the podium of the singers, there is the small hall with variable room allocation, i.e. behind the four free-standing Doric columns. The resulting five openings to the hall for winter and for smaller exercises are derived from the idea of room variability:

“Doors that can be made to disappear downwards, thereby uniting these two halls” , as Schinkel notes on the drawing. A hall, therefore, committed to a highly concentrated and strictly disciplined will to architecture, which owes most to the service of musical life.

Ottmer design and construction

The Brunswick architect Carl Theodor Ottmer left the space, including the small (winter) hall, using the Schinkel design and added the entire entrée ground floor as an actual prize offer, so that the hall is placed on the upper floor.

The design brought the desired own concert hall structure, whereby the arrangement of only one side gallery gave the hall a moment of dynamism, which was often perceived as disturbing, instead of architectural clarity.

Construction began in May 1825 next to the moat. The high groundwater level hindered the excavation work, so that an entire basement had to be dug deep into the earth and the cellar had to be built, as Zelter complained to Goethe. At the topping-out ceremony with the shell on November 25, 1826, Schinkel's total costs had already been used up. On April 8, 1827, after two years of construction, the house was inaugurated, which from then on served the institution as a home and lecture venue.

Constituent meeting of the Prussian National Assembly in the Sing-Akademie zu Berlin 1848, wood engraving

In terms of architecture, the transverse seating against the windows on the long side (west side) of the hall is of interest for the meetings of the Prussian National Assembly held in 1848 . From the perspective of the speaker, the seating is in a classic symmetrical arrangement. In the back of the transverse rows with a view of the side windows is the side gallery. The columns of the small hall and the entrance gallery are in the back of the longitudinal seating. This selected seating arrangement allows the speaker and the open debate to be much more at the center of the action than if the usual “frontal concert seating” had been left.

In 1865, the access areas of the hall were reorganized according to plans by the architect Martin Gropius , in order to gain additional audience seats under the rear gallery. Later the Singakademie received an organ .

In 1875 an additional stairwell extension was built on the southwest corner - more impairment in terms of architecture, a flexible measure in terms of the use of the concert hall.

In 1888 a second staircase was added to the northwest corner, the small hall (called Cäciliensaal) was abandoned and the podium was enlarged. The house had shown what career advancement the Sing-Akademie could support.

Importance of the house

Director Zelter and the Sing-Akademie had to cope with all sorts of problems with finances and difficult building sites. Schinkel's draft had previously been discarded for reasons of cost. As early as 1812, Schinkel had presented a hall design for the Sing-Akademie at the Akademie der Künste, which the academy somewhat rudely rejected because of its own lack of space.

The oldest and largest concert hall in Berlin was famous for its excellent acoustics right from the start . The greatest artists of their time, such as Niccolò Paganini , Franz Liszt , Clara and Robert Schumann , Anton Grigorjewitsch Rubinstein , Johannes Brahms and Richard Strauss performed here .

“I'm set to love from head to toe” on Electrola, recorded at the Singakademie 1930,
shellac record

A whole series of recordings were made here from 1926 to 1943 : Electrola made numerous recordings from autumn 1926 , for example with the Staatskapelle Berlin under conductors such as Leo Blech , Erich Kleiber and Otto Klemperer , but also the world-famous Ufa film song Ich bin von Kopf bis Foot on love by Marlene Dietrich was accepted into the Sing-Akademie (music and text: Friedrich Hollaender and his Jazz-Symphoniker. Electrola EG 1770 (mat .: BLR 6033-1), February 6, 1930). In 1932 the Telefunken record signed an exclusive contract with the Sing-Akademie and now had the sole right to record records in its hall; the technical reception facilities were located in the basement of the building. Several hundred recordings were made every year, for example with the Berliner Philharmoniker under Wilhelm Furtwängler or Willem Mengelberg , with artists such as Peter Igelhoff or Peter Kreuder .

The Sing-Akademie also rented the large hall for mostly scientific events to the great and important of their time: Alexander von Humboldt gave his “Kosmos Lectures” here from December 1827 to March 1828, Rudolf Virchow a lecture Goethe as a natural scientist , Ferdinand Graf von Zeppelin Die Eroberung der Luft , Ernst Haeckel lectures, including The Struggle for Development Thought and About Our Current Knowledge of the Origin of Man , Berthold Auerbach Goethe and the art of narration or - held for the Scientific Association in the Sing-Akademie - Heinrich Schliemann's friend , Friedrich Adler , a lecture The world cities in architecture , Heinrich Adolf von Bardeleben on the theory of wounds and the newer methods of wound treatment , Alexander Braun The Ice Age of the Earth , Ernst Curtius The Acropolis of Athens and many more.

Sing-Akademie building in 1941 with the side extension (left) by Martin Gropius

From May 22nd to September 1848 the Prussian National Assembly met in the building of the Sing-Akademie zu Berlin.

On November 23, 1943, the house was badly damaged by an air raid. The invaluable music library had previously been relocated at the instigation of the then Sing-Akademie director Georg Schumann and thus saved from destruction. The Sing-Akademie, with members from all over the city of Berlin, relocated its work to Steglitz ( Titania Palace ) due to the damage to the house .

(1827–1943 Sing-Akademie zu Berlin)

Property issue

The main building at Kastanienwäldchen was confiscated by the Soviet occupying forces after the end of the Second World War , placed under Soviet administration and rebuilt in 1947 as the theater of the neighboring House of Cultures of the Soviet Peoples . In 1952, the Maxim Gorki Theater moved into the building.

In the mid-1960s, the Sing-Akademie zu Berlin was unlawfully deleted from the land register by the GDR administration as the owner of the parent company at Kastanienwäldchen and instead registered as “ property of the people ”. Since 1991 the Sing-Akademie has been trying to correct the land registers and return their property. In 2004 there was a legally binding judgment of the Berlin Administrative Court that was favorable to Sing-Akademie (judgment of the 25th Chamber of December 3, 2004 – VG, AZ: 25 A 240.99), according to which the Sing-Akademie has always remained the owner of its house . The only aim is to change the land register through civil law or through negotiations with the Senate administration . In a judgment of December 7, 2012, the Federal Court of Justice ruled that the property and building were not effectively expropriated and are therefore still owned by the Sing-Akademie, so that the defendant State of Berlin must participate in the correction of the land register and agree that Sing -Akademie zu Berlin is re-entered in the land register as the owner. Since then, the Sing-Akademie has received an annual lease payment from the Berlin Senate. The house is leased by the Sing-Akademie zu Berlin foundation, which was newly established in 2017, to the State of Berlin under a long-term contract and is used by the Maxim-Gorki-Theater. The choirs of the Sing-Akademie zu Berlin are currently rehearsing mainly in the St. Elisabeth Church and Villa on Invalidenstrasse and occasionally in the Berlin University of the Arts. Since 2016, the Sing-Akademie zu Berlin foundation has been looking for its own house or land to be built on in the inner city area.

In the neighborhood

The bust memorial for Fasch, a work by the Berlin sculptor Fritz Schaper (1841–1919), erected on the square in front of the house in 1891 to mark the institution's centenary , was dismantled in the 1930s. The bronze bust was given to the Märkisches Museum as a deposit by the director of the Sing-Akademie in 1947 (today: Stiftung Stadtmuseum Berlin). The monument to the choir founder Carl Friedrich Christian Fasch was re-erected in January 2011 with the granite base reconstructed from historical photographs and the bronze bust of Fritz Schaper.

The Sing-Akademie archive

Carl Friedrich Zelter, director of the Sing-Akademie zu Berlin 1800–1832, initiator of the archive collection

Carl Friedrich Zelter (1756–1832), friend of Johann Wolfgang von Goethe and Fasch's successor in the director's office, had set up the Sing-Academy's archive for choir and orchestral performances and, above all, expanded it considerably. Or their heirs - - formative while the fact that under Zelter's auspices numerous individual collections of Berlin Kapellmusikern and music lovers, many of whom were were members of the Sing-Akademie, came to the archive and competent individuals with extensive connections, such as the collector Georg Poelchau to responsible position. As of 2004, the archive contained 5,170 compositions. Around 80 percent of these are manuscripts and autographs , including singular sources on the compositional work of Johann Sebastian Bach's two eldest sons , Carl Philipp Emanuel Bach and Wilhelm Friedemann Bach . The most important documents include the oratorio vocal works of Carl Philipp Emanuel Bach, which were incomplete until the archive was found in musicology, as well as other compositions by the Bach family, including the Old Bach Archive , a collection of compositions by Johann Sebastian Bach's forefathers. The archive also includes essential holdings of the music of the Royal Court Orchestra and the Court Opera from the time of Frederick the Great with compositions by Carl Heinrich Graun , Johann Joachim Quantz , Christoph Schaffrath , Johann Friedrich Agricola and a large inventory of sacred works by Georg Philipp Telemann .

In 1943, at the instigation of its director Georg Schumann, the Sing-Academy's sheet music collection was relocated to Ullersdorf Castle in what was then Lower Silesia and thus saved from certain destruction, as the Sing-Academy's house was badly damaged by fire bombs a short time later . The archive, which all the directors of the institution had always observed, preserved and further developed with eagle eyes , had been considered lost since 1945. From the relocation site, the valuable boxes apparently disappeared without a trace in the turmoil of the post-war period. Decades later, research by a board member of the Sing Academy revealed that the only clue was that a Ukrainian Red Army regiment was the last unit to fight in this area of ​​Silesia before the stocks were lost.

In 1999 Christoph Wolff discovered the collection after a long search in Kiev . It had been kept in the Archive Museum of Literature and Art of Ukraine as Fund 441 for half a century. Due to the care of the archive museum, it is in excellent condition. Despite the same notions of the indivisibility of archives, the Sing-Akademie zu Berlin gave the Ukraine 33 compositions from its valuable archive as a gift and as thanks for the careful care of its sheet music. These are manuscripts and prints of Slavic provenance.

The return of the Sing-Academy's sheet music archive marks a major success in the question of the restitution of cultural property brought in during the war. It is the most valuable German cultural asset that returned to Germany from a country in the former Soviet Union after the fall of the Berlin Wall . In 2001 the Ukrainian President Leonid Kutschma symbolically handed over a composition by Johann Sebastian Bach from the archive to Chancellor Gerhard Schröder . This means that it is again in the possession of the Sing-Akademie and is now kept in the Berlin State Library.

On May 15, 2002, a ceremony took place in the Berlin Philharmonic to mark the return of the Sing-Akademie archive with Federal Foreign Minister Joschka Fischer and the Ukrainian ambassador , Anatolij Ponomarenko . In cooperation with the renowned early music ensemble of Lautten Compagney , numerous works from the archive have been brought to modern premieres since 2006 (including in the Konzerthaus Berlin , at the Rheingau Music Festival , at the days of early music in Herne ), saved and edited (including pieces the Bach family , von Telemann , Heinichen , Johann Theile and many others) Ortus-Verlag publishes a series of source editions from the Sing-Akademie archive. The catalog can be viewed via RISM (Sigel: B-SA), some parts of the collection have been digitized, the sheet music is accessible to the public in the reading room and the catalogs of the music department of the Berlin State Library .


Personalities from art, politics and science as members and supporters

Singing members (excerpt)

Supporting members


  • Wolfram Enßlin (adaptation): The Bach sources of the Sing-Akademie zu Berlin. Catalog. With a foreword by Christoph Wolff , the contribution "The Bach sources of the Sing-Akademie zu Berlin" by Ulrich Leisinger , 90 illustrations, concordances, registers and music samples. 2 volumes. Olms, Hildesheim / Zurich / New York 2006. (Leipzig contributions to Bach research. Volume 8.)
  • Sender Free Berlin, public law institution, broadcast on December 4, 1992. Mathieu Lange, a broadcast in memory of the long-time Berlin conductor and choir director of Hans-Jörg von Jena.
  • Sing-Akademie zu Berlin: The collection of the Sing-Akademie zu Berlin. Part I: oratorios, masses, cantatas and other sacred works. Microfiche - Edition . Edited by Axel Fischer and Matthias Kornemann. Saur, Munich 2004, ISBN 3-598-34446-5 . (Music manuscripts from the Berlin State Library - Prussian Cultural Heritage. Part 6/1.)
  • Sing-Akademie zu Berlin: The Georg Philipp Telemann Collection, Supplement II: The Georg Philipp Telemann Collection from the archive of the Sing-Akademie zu Berlin. Deposit at the State Library in Berlin. Edited by Axel Fischer and Matthias Kornemann. 122 fiches. Incl. Catalog. Fiches T S2 001 - T S2 122.Saur, Munich 2003, ISBN 978-3-598-34441-1 .
  • Sing-Akademie zu Berlin: Supplement II: The Bach collection from the archive of the Sing-Akademie zu Berlin. Deposit at the State Library in Berlin. Edited by Axel Fischer and Matthias Kornemann. With an introduction by Ulrich Leisinger. Saur, Munich 2003, ISBN 3-598-34438-4 .
  • The manuscript collection of the Sing-Akademie zu Berlin in the “Archive Museum for Literature and Art of the Ukraine” in Kiev and its significance for future research projects (round table). In: Ulrich Leisinger, Hans-Joachim Schulze , Christoph Wolff, Peter Wollny : Bach in Leipzig - Bach and Leipzig, Conference Report Leipzig 2000. Olms, Hildesheim, Zurich, New York, 2002.
  • Gottfried Eberle and Michael Rautenberg: The Sing-Akademie zu Berlin and its directors. State Institute for Music Research . Berlin 1998, ISBN 3-922378-16-1 .
  • Horst Redlich, Chr. Redlich: The House of Choral Music. The Sing-Akademie zu Berlin. Building-related, historical and current issues on the occasion of the exhibition "The Singakademie zu Berlin and its directors" in 1998 in the Musikinstrumenten-Museum Berlin. Self-published, Berlin 1998.
  • Gottfried Eberle: 200 years of Sing-Akademie zu Berlin. An art association for sacred music. Nicolai, Berlin 1991, ISBN 3-87584-380-0 .
  • Werner Bollert: Sing-Akademie zu Berlin. Festschrift for the 175th anniversary. Rembrandt Verlag, Berlin 1966.
  • Georg Schünemann : The Singing Academy in Berlin. 1791-1941. Bosse, Regensburg 1941.
  • New Bach Society : Joh. Seb. Bach's St. Matthew Passion in the Singakademie zu Berlin 1829–1929. Reprint from the Bach yearbook. 25th year. Breitkopf & Härtel, Leipzig 1928.
  • Program of the Sing-Akademie zu Berlin (1973): Mathieu Lange, farewell to the Sing-Akademie zu Berlin (Klaus Schütz, Governing Mayor of Berlin, Gerhard Heimann, Senate Director at the Senator for Science and Art, HH Stuckenschmidt)
  • Press reviews: Basler Nachrichten 1952, Berliner Festwochen, Monteverdi: Vespero della Beata Virgini (1610), January issue 1958
  • La Scala, January 1958, Vinceno Gibelli, Allessandro Scarlatti: Messa di Santa Cecilia
  • Tagesanzeiger Zürich 1959, Giacomo Puccini: Messa di Gloria
  • Werner Bollert (ed.) Sing-Akademie zu Berlin, Rembrandt Verlag Berlin 1966.
  • Festival performances to celebrate the 125th year. The Sing-Akademie zu Berlin was founded on May 27 and 28, 1916. Reinhold Raasch, Berlin, 1916.
  • Martin Hinrich Lichtenstein : On the history of the Sing-Akademie in Berlin. In addition to a message about the feast on the fiftieth anniversary of your foundation and an alphabetical list of all the people who were members of it . Trautwein, Berlin 1843 ( full text in the Google book search).
  • Martin Blumner : History of the Sing-Akademie zu Berlin. A ceremony for the Säcularfeier on May 24th, 1891. Horn & Raasch, Berlin 1891. With a photo engraving by the founder of the Sing-Akademie, Carl Friedrich Christian Fasch after an etching by Johann Gottfried Schadow .
  • Hermann Kawerau : The secular celebration of the Sing-Akademie zu Berlin. As an addendum to Martin Blumner's history of the Sing-Akademie . Horn & Raasch, Berlin 1891.
  • Knut Brehm, Bernd Ernsting, Wolfgang Gottschalk, Jörg Kuhn: Catalog of the pictorial works 1780-1920 of the City Museum Berlin Foundation (LETTER Schriften, Vol. 14). Cologne 2003 (on Schaper's Fasch bust, with older literature on it)

Web links

Commons : Sing-Akademie zu Berlin  - album with pictures, videos and audio files

Individual evidence

  1. ^ Georg Schünemann : The Singakademie zu Berlin. 1791–1941 , Regensburg 1941, p. 14.
  2. ^ Hinrich Lichtenstein: On the history of the Sing-Akademie in Berlin , Berlin 1843, VI.
  3. Hinrich Lichtenstein: On the history of the Sing-Akademie in Berlin , Berlin 1843, VIII.
  4. ^ Hinrich Lichtenstein: On the history of the Sing-Akademie in Berlin , Berlin 1843, XIV.
  5. ^ Georg Schünemann: The Singakademie zu Berlin. 1791–1941 , Regensburg 1941, 178 ff
  6. ^ Gottfried Eberle: 200 years Sing-Akademie zu Berlin . Berlin 1991, p. 196.
  7. ^ Ian Johnson: A Growing Chorus. Retrieved June 20, 2020 .
  8. Horst u. Chr. Redlich: The House of Choral Music . Berlin 1998, p. 6 ff.
  9. Horst u. Chr. Redlich: The House of Choral Music . Berlin 1998, p. 8 ff.
  10. Hansfried Sieben: Herbert Grenzebach: a life for the Telefunken record , Düsseldorf 1991, pp. 37–39.
  11. Jürgen Hamel, Klaus-Harro Tiemann (Ed.): Alexander von Humboldt. About the universe. The cosmos lectures 1827/28 in the Berlin Singakademie . Insel, Frankfurt am Main 1993 ISBN 3-458-33240-5 .
  12. Sing-Akademie has remained the owner of their property . Press release Berlin, December 3, 2004
  13. Press release of the BGH No. 201/2012 from December 7, 2012
  14. Answer of the Federal Government to Question 24 on the status of negotiations on the repatriation of German cultural goods from Ukraine (small question) . (PDF) German Bundestag, printed matter 15/3183 of May 25, 2004, p. 10
  15. Compare the information in the catalog of the German National Library
  16. Sheet music archive of the Sing-Akademie zu Berlin returned from Kiev . ( Memento of June 9, 2007 in the Internet Archive ) Press release of the Berlin State Library, last change October 5, 2001
  17. ^ Return of the archive of the Berlin Sing-Akademie . Information from the Federal Foreign Office, May 2002
  18. Hinrich Lichtenstein: On the history of the Sing-Akademie in Berlin , Berlin 1843, XLVIII ff (list of members)

Coordinates: 52 ° 31 '7.8 "  N , 13 ° 23" 42.2 "  E