State Theater Stuttgart

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The Staatstheater Stuttgart are a three-branch theater with the branches Opera Stuttgart , Stuttgart Ballet and Drama Stuttgart in the Baden-Württemberg state capital Stuttgart . The main venues are located in the palace gardens and were built by Max Littmann in 1909–1912 as a double theater with the opera house (formerly known as the Great House ) and a theater. After the destruction of the small house (for the theater) in the Second World War, it was replaced by a new building by Hans Volkart from 1959 to 1962. The large house was modernized in 1956 and returned to its original shape in 1983/84. The name was changed in 2001: The Great House has since been called the Opera House and the Small House is called the Playhouse, not to be confused with the Old Playhouse .

Staatstheater Stuttgart, opera house with its representative entrance front
Opera house, structure seen from the southwest
State Theater Stuttgart, theater

The three-branch theater in Stuttgart describes itself as the largest in the world in terms of the number of employees.

Venues

Today the Stuttgart State Theaters use the following venues:

  • The opera house has 1,404 seats and is the stage for the Stuttgart Opera and the Stuttgart Ballet.
  • The theater with 679 seats is the stage for the Stuttgart Theater and the Stuttgart Ballet.
  • In the chamber theater with 420 seats smaller operas, plays or ballets are listed.
  • The north is a studio stage of the Stuttgart theater with 150 seats in the rehearsal center of the state theater at the Löwentorbogen.

Other venues:

  • Symphony and chamber concerts by the Stuttgart State Orchestra take place in the Liederhalle .
  • The stage in the bar on the ground floor on Theodor-Heuss-Straße is regularly used by the Schauspiel Stuttgart .

Former venues:

  • The theater in the depot was located in a former tram depot in the east of Stuttgart until it was closed in summer 2010 .
  • The Türlenstrasse branch with the arena, workshop, box and club venues served as an alternative location for the Schauspiel Stuttgart during the renovation of the Schauspielhaus 2010–2012.
  • Since the beginning of the 2012/2013 season, another NORD / Large Stage venue has been set up in the rehearsal center of the State Theater as an interim venue during the renewed renovation of the theater. The Stuttgart Opera made its largest rehearsal stage available, which was temporarily set up as a venue for around 400 spectators.

history

Entrance area of ​​the chamber theater

Opera, ballet and drama performances have taken place in Stuttgart in the ballroom of the New Lusthaus since the 17th century . The first opera performance is the Singspiel Der Raub der Proserpina (1660) by the Stuttgart court conductor Samuel Capricornus .

Four years later, fixed stage facilities can be verified (1664). In 1750 the New Lusthaus was converted into an opera house and in 1811 and 1845 into the Royal Court Theater . It burned down in 1902. From 1902 to 1912 it was played in a makeshift interim theater.

From 1909 to 1912, the theater buildings at their current location were built by the architect Max Littmann from Munich as a double theater with a large and small house. After the fall of the monarchy, the Royal Court Theaters were renamed the Württemberg State Theaters . The buildings have been a listed building since 1924 . After the Second World War, only the large house with its pillars remained . The war not only left behind destruction, it also changed the intellectual and moral thinking of Germans. Mental hunger filled theaters, concerts and lecture halls due to the scarcity of food.

1959 to 1962 a new small house was built by the architects Hans Volkart , Kurt Pläcking and Bertam Perlia . In 1983 the Chamber Theater was opened in the New State Gallery by British architect James Stirling . The Great House was extensively renovated by 1984; the design of the auditorium, which was almost completely destroyed by renovations in the 1950s, was brought back to the state of 1912 according to the original plans. In 2001, the theater was the opera house and theater renamed. In 2010, the North Studiobühne was opened in the newly built rehearsal center of the State Theater.

Fire of the old court theater in 1902 and interim theater

Old court theater around 1890

On the night of January 19-20, 1902, the old royal court theater burned down. In essence, this building went back to the New Lusthaus from 1593. As early as October 1902, the Royal Interim Theater was opened as a temporary venue, built by Ludwig Eisenlohr senior . The interim theater served as a venue until the new theater building opened in 1912. Today the state parliament of Baden-Württemberg is located at this location . In addition, there were performances in the Wilhelma Theater as well as numerous guest performances, including a. in the Konzerthaus Ravensburg as well as in other cities of the German Empire.

New construction of the Royal Court Theater

competition

After extensive consultations in the spring of 1908, it was decided that a limited number of experienced theater architects should be invited to participate in the competition. The work of the renowned architect Max Littmann was chosen first by the jury of 23 submitted designs. In the subsequent implementation, however, the exact competition object could not be realized because the architect had to deal with further processing. However, the general idea of ​​the floor plan and the basic idea of ​​the structure were retained.

Location search

Now it became clear that the space next to the old castle in Stuttgart was not enough for the planned theater complex with two houses. The old plan folder from the archives of the House of Württemberg in Altshausen, with large-format site plans and the cardboard floor plan of the planned theater, shows that the topic was intensively looked at when looking for a suitable location. The castle garden with a lake was ultimately chosen as the location . For the planned two-house system, this offered an opportunity to move around the lake and increased the usability of the system.

Construction work

"With the new court theaters in Stuttgart, for the first time two theaters were built at the same time in a close, organic context according to artistic principles, creating a new type."

- Max Littmann

"The theater building in Stuttgart is Littmann's largest, it can even be described as his main work."

In any case, Max Reinhardt described the building as the most beautiful theater in the world.

Construction began in September 1909, completed in the summer of 1912, and the opening ceremony followed on September 14th and 15th. The new opera house was soon seen as the center of classical and modern musical life, where famous singers, conductors and directors worked and worked. The building at that time consisted of the large and the small house. The two buildings were connected by the administration building, whose simple and effortless structural appearance aimed at a good, tactful distribution of the masses.

Max Littmann did not intend to create a copy of the Great House with the Small House; he wanted to identify what was common in the building spirit with similar proportions. Littmann employed renowned Stuttgart artists to design the room ensemble , who helped him with the visual artistic design.

Modernization and reconstruction

Modernization of the big house

The Big House survived the Second World War largely intact, while the Small House was completely destroyed by an aerial bomb in autumn 1944.

According to the Basic Law of 1949 , an initiative began that led to the modernization and redesign of the opera house in 1956. The aim was to demonstrate the intellectual development in Germany through the reconstruction and the changes. And the monument protection , which had lost its orientation after the war, held back for the most part.

At that time there was criticism of the design of the Great House on several points, such as the color tone of the interior design of gray silver, purple and honey-colored chair and wall coverings. With this color scheme, Littmann created a cool distance back then. Furthermore, the stage lighting was no longer in keeping with the times , as it had been attached to a limited extent to the proscenium boxes . The acoustics of the orchestra pit have been perceived as problematic since the removal of the sound cover that was installed in the 1920s. In addition, access to the second and third tiers was made difficult by simple and narrow staircases and posed a problem.

Set designers also criticized the monumental portal frame , which separated the audience from the stage and had an overwhelming effect. The architect Paul Stohrer already made a good name for himself in the competition to rebuild the small house. As he was considered an artistically resourceful architect, he was entrusted with the modernization of the opera house in order to create a balance between old and new.

The concept of redesign should improve five points in the big house: theater technology, function, design, ideology and contemporary history.

Stohrer had a lifting podium installed for the orchestra and the portal frame was clad with patinated plywood to minimize the separation between audience and stage. They also wanted to preserve the character of the house, but give it a lighter, friendlier atmosphere. The gray-silver parapets were lightened with a white-gray and the yellow-gold wall covering was replaced by a silver-gray one. The spokes of the ceiling rosette were covered with white-gray plaster, which should better bring out the ceiling painting by Julius Mössel . The previously golden yellow seats were covered with a blue-violet fabric.

After the renovations, the goals of the redesign were achieved: a festive, lighter interior, functionally improved and freed from stucco . After the stucco and decorations had been removed, positive reviews were initially read in the local press in Stuttgart. From today's perspective, the post-war tastes are responsible for the modernization of interior design. It was also hoped that the removal of the stucco and the decorations would break the sound in all directions and thus improve the acoustics in the opera house. However, this turned out to be a mistake.

Shortly after the renovation, the music critic Otto Erich Schilling claimed that the sound was more sensitive and more clairaudient, which was intended. Nevertheless, the Spiegel announced a year later that the acoustics had deteriorated and that there were even ensembles that wanted to terminate their contract with the opera house. The problem was less in the auditorium than on the stage. The artists perceived their voices and instruments distorted. The reflection of the sound on the stage was reduced by the upholstery. After all the problems with the sound, Keilholz suggested installing a sound cover on the theater ceiling that was unique in this size. After more and more specialists had dealt with the topic, the appearance of the room was rather deteriorated than embellished. Instead of sitting in a festive hall, you found yourself in a kind of dark cave. In retrospect, it now seems as if the functional, technical and game-related reasons for the modernization were only the reason to demonstratively liberate the Great House from its past.

Small house

After the destruction of the small house in 1944, two competitions were made to build a new theater. It was built from 1959 to 1962 by the architects Hans Volkart , Kurt Pläcking and Bert Perlia. Volkart also designed the new scenery building on Konrad-Adenauer-Straße, which was also opened in 1962.

Restoration of the Great House

Technical problems such as defective or overgrown heating pipes, short-circuit and fire-endangered electrical lines, as well as sanitary installations in need of renovation were the starting point for considerations in 1970 to modernize the large house. The necessary measures required considerable interventions in the existing building fabric.

In 1980 the building management of the theater informed the board of directors that the modernization could take up to a year. Therefore it was decided to do this in the 14-month theater vacation 1983/84. So it was decided again to hold a competition, which the Administrative and Theater Advisory Board approved on January 31, 1981.

The renovation should solve some key problems, such as: B. Modernization of lighting systems and improvement of acoustics. But also the historical stock of the house should be restored or preserved. This initially seemed difficult in view of the high financial requirements.

Eight architects were asked to send in designs for the competition to award the construction work. Six drafts were submitted and assessed. Gottfried Böhm won the architectural competition , the concept of which combined the greatest possible recovery of Littmann's design elements with independent additions, for example in the area of ​​the proscenium .

First, the coffered ceiling , which had survived the modernization in 1956 without major damage, was exposed again and the pilasters were restored using Littmann's existing documents. The aim was to give the theater back its festive atmosphere without major interventions in the building fabric and by exposing the covered and disguised original design.

One problem that was not resolved in Littmann's time was the buffet question , which was probably not as relevant at the time of the court theater as it was in the 1980s. The king's foyer was provisionally furnished and did not do justice to its value. Therefore a solution had to be found for the so-called “cold corridor”. The corridor was used as a transition and terrace to the administration building.

The stage frame, which stood like a grid in front of the stage opening and thus continued in the wall fields between the pilasters, was used to brace the stage area and auditorium. This concept was considered fascinating by architects; the portal structure had too much intrinsic value for theater representatives.

The jury of the competition commented on Böhm's design: "As a vision in the connection of a historical space with the changes of our time, the work provides a remarkable and developable contribution to the task at hand."

Böhm also solved the problem with the cold corridor by planning an elaborate two-story, round pavilion and connecting it with the foyer of the first and second tiers by means of bridges. Although Böhm had won the competition, the wishes of the theater management with regard to the proscenium framework were taken into account in the final implementation.

The working group of the building authority had come across Littmann's original plans in the Munich Theater Museum , in which large-format details of the Stuttgart theater buildings were recorded down to the smallest decorations. Before the discovery, only a few photographs from 1912 and descriptive texts were available. In a steel cupboard there were two drawers with around 2,000 drawings and watercolors from the Stuttgart theaters. This fact, which also helped to remove any uncertainties, saved above all time and money. Nevertheless, the renovation for a “better design” cost 16.5 million DM instead of 4.5 million DM after the decision to repatriate and the construction of the buffet pavilion. The additional costs were partly due to the support of the “Alte Oper Stuttgart eV” association others covered by the assumption of the remaining amount by the state of Baden-Württemberg . The construction plan, which was timed down to the smallest detail to prevent delays, was already in place eight weeks before construction began. Up to 250 construction workers were involved in the renovation at the same time. The following work was started immediately:

  • Reconstruction of the stucco
  • Restoration of the stucco walls in the foyers
  • True-to-original replica of all lights in the auditorium and foyer
  • Formation of movable fields of the architrave
  • Reconstruction of the stage portal
  • Relocation of the portal towers on the side of the stage
  • Renewal of the lifting device for the orchestra podium
  • Restoration of the wall covering
  • Production of the stalls based on patterns from the time it was built
  • Refurbishment of toilets and shower rooms
  • Conversion of the chamber theater into a ballet practice hall
  • Enlargement of the choir rehearsal room and furnishing with new chairs

description

location

The opera house, the theater and the administration building are located near the main train station on the Upper Plant Lake (also called "Eckensee") in the palace gardens. The address is: Oberer Schlossgarten 6.

Architecture and construction technology

Opera house

Littmann's basic idea was an oval, semicircular rotunda , which has a wall surface structured with strong pilasters , which support a medium-weight entablature . The building is made of sandstone . The composition of the ancient features in architecture was implemented in a non-academic manner: e.g. B. there is no architrave. The bases of the pilasters are also missing and they have only minimal hints of capitals . The entrance front forms a sweeping unit with its double columns.

Playhouse

The outer facade of the playhouse is made of white marble , which is in contrast to the sandstone opera house. The building opens up to the palace garden in that the facade with surrounding ribbon windows extends over the entire height of the building. The theater has the shape of an octagon .

Interior design and equipment

State Theater, Opera House foyer

Opera house

After the last redesign, a wealth of decorative and colorful elements has opened up again in the Stuttgart Opera House, which is also authentic thanks to Littmann's colored drawings. The opera house is designed with gray, silver and yellow tones in the interior rather cool and solemn. The auditorium offers 1,404 seats, which are spread over the amphitheater parquet and three tiers. Above the parquet, the first tier hovers pillarless with a surrounding parapet, the two side boxes were intended for the majesties and the heir to the throne, today's central box was planned as a royal galaloge.

The second tier, which only has three to four rows of seats, just like the first tier, ends with the space shell. In the last row of seats there are wall pilasters that support the ceiling of the auditorium. The two foremost pilasters in front of the stage make a reference to the wooden wall paneling in the parquet, which in literature is interpreted as a base for the architecture. The fact that the rotunda is framed by slender pilasters and pillars, which was only possible by dispensing with a third circumferential corridor, is Max Littmann's leitmotif , which is shown in the circular cassettes that frame the starry sky painted by the artist J. Moesel. The stage portal is heavily coffered and rather neutrally non-tectonic .

Playhouse

Before the war, the small house had a certain harmony, which was created by its green fabric covers and the brown cherry wood and thus exuded a noble but cozy atmosphere. The theater, newly built in 1962, offered space for 837 spectators, who were spread out on a parquet designed as an amphitheater . The foyer, built as a circumferential tier, is suspended in the outer wall and leaves the auditorium and the lower-lying cloakrooms free in the middle. The stage is equipped with two side stages and a reduced back stage. From 2010 to 2012 the theater was renovated, from August 2012 it was closed for a second renovation phase and was reopened on September 19, 2013. The redesigned auditorium now has a maximum of 670 seats.

Façade plastic

Column portico of the Great House with 10 allegorical figures as a crowning of the attic and 7 theater masks over the entrance portals.

Coronation of the portico

The entrance front of the large house faces the Eckensee in the Upper Palace Garden. A rounded portico is facing the front. The roof of the portico forms a terrace walkway between the attic and a balustrade.

On the attic, behind which the third tier is located, 10 four-meter-high figures are arranged to crown the portico. They were designed in 1912 by nine different sculptors based on movement sketches by Ludwig Habich and executed by the sculptors Richard and Willy Schönfeld. The figures represent allegories of the arts that come into play in the creation of scenic processes.

The captions indicate the number of the figure (from left to right), the sculptor and the allegorical meaning of the figure.

1. Adolf Fremd : Sculpture
2. Emil Kiemlen : architecture
3. Theodor Bausch : Technology
4. Melchior von Hugo : Drama
5. Ludwig Habich : facial expressions
6. Robert Pötzelberger : Singing
7. Karl Donndorf : Poetry
8. Daniel Stocker : Music
9. Karl Gimmi : the art of acting
10. Adolf Fremd : Painting

Portal masks

Portal masks on the entrance front of the Great House. Order from left to right.

The 7 portals in the entrance front of the Great House are framed by Ionic double columns. The portals consist of two wooden wings and a barred skylight. They are embedded between two pillars and are crowned by a lintel with a meander relief. Above it are a stone parapet and a high arched window with a parapet grille.

The stone parapets are decorated with a stylized Greek theater mask in the middle. The masks were created by unknown sculptors in 1912. Framed between two hanging braids of cloth or hair, they express horror, sadness, contempt or scorn. Staring eyeballs or black eye holes underline the gloomy mood that the masks exude. Six of the oval or rectangular mouths are opened wide as if to scream and show the gaping throat.

use

Except for a short time after the war, the buildings were used exclusively for performances of operas, ballets and plays.

After the American troops had settled in Stuttgart, they set up their PX Club in the old opera house, where they played ping pong and spent their free time. In the early evening - before curfew - the Germans, if they brought a log, were allowed into the stalls while the GIs had fun in the foyer. For the people of Stuttgart their big house seemed desecrated. After the currency was changed, it was again possible to buy theater tickets - and the occupying power released the opera house again.

management

General Manager

Since 1992 there has been no general manager at the head of the state theater, but three equal artistic directors of opera, drama and ballet (“Stuttgarter Modell”); Since then, the overall management has been:

Head of the divisions

Stuttgart Opera

General Music Directors

Stuttgart Ballet

Stuttgart theater

Awards

  • The Stuttgart Schauspiel, under the directorship of Claus Peymann , was voted “ Theater of the Year ” three times in a row in the critics' survey conducted by Theater heute magazine from 1976 to 1978 .
  • During the directorship of Klaus Zehelein (1994, 1998, 1999, 2000, 2002 and 2006) and Jossi Wieler (2016), the Stuttgart Opera was named “Opera House of the Year” in the Opernwelt magazine's critics' survey .
  • The Stuttgart State Opera Choir was voted "Choir of the Year" in the 1999, 2000, 2001, 2002, 2003, 2005, 2006, 2011, 2012 and 2017 critics' poll of the opera world .
  • The Schauspiel Stuttgart, under the directorship of Hasko Weber , was voted “Theater of the Year” in the 2006 critics' survey by Theater heute .
  • The Stuttgart Ballet was voted “Company of the Year” in the 2011 review by tanz magazine .
  • In 2013, the Junge Oper received the BKM Prize for Cultural Education for its production smiling doors .

Well-known ensemble members

Trivia

According to the opera house, the best seats in terms of visibility and acoustics are in row 5 in the stalls on seats 131 and 132.

See also

literature

  • Ingrid Bauz, Sigrid Brüggemann, Roland Maier: "You don't need to come any more!" The displacement of artists of Jewish faith and of Jewish descent from the Stuttgart theater and music scene by the National Socialists. Stuttgart 2008.
  • Ute Becker: The Opera in Stuttgart. 75 years of Littmann-Bau . DVA, Stuttgart 1987, ISBN 3-421-06379-6 .
  • Uwe Bogen (text); Thomas Wagner (photos): Stuttgart. A city changes its face. Erfurt 2012, pp. 88–89.
  • Ulrich Drüner: 400 Years of the Stuttgart State Orchestra State Theater Stuttgart, Stuttgart 1994. (Festschrift)
  • Ministry of Finance Baden-Württemberg (Hrsg.): The large house of the Württemberg State Theater Stuttgart. The restoration 1983–1984 (Editor: Staatliches Hochbauamt 1, Stuttgart), 1984
    Cited in the individual records as the Ministry of Finance of Baden-Württemberg
  • Georg Günther: Carmen - last act. The artist tragedy Sutter - Obrist from 1910 and the Stuttgart Opera around 1900. Accompanying volume and exhibition catalog. Ludwigsburg 2001. (Can be obtained from the Ludwigsburg State Archives )
  • Rudolf Krauss: The Stuttgart court theater from the oldest times to the present . Metzler, Stuttgart 1908. ( digitized version )
  • Max Littmann: The royal court theater in Stuttgart . Alexander Koch, Darmstadt 1912. ( digitized version )
  • Martin Laiblin (arrangement): Theater pictures - picture theater. Stage and costume designs for the Stuttgart State Theater in the Ludwigsburg State Archives . Verlag W. Kohlhammer, Stuttgart 2006, ISBN 978-3-17-019752-7 .
  • Albert von Schraishoun: The Royal Court Theater in Stuttgart from 1811 to modern times. Based on the memories of Albert von Schraishoun . Müller, Stuttgart 1878. ( digitized version )
  • Hannelore Schubert: Modern theater construction, international situation - documentation - projects - stage technology , Karl Krämer Verlag Stuttgart, Bern 1971.
  • Anne-Marie Schwinger (Red.): State Theater Stuttgart. Past and present . State Theater, Stuttgart 2005. (Brochure)
  • Jürgen-Dieter Waidelich: From the Stuttgart Court Theater to the Württemberg State Theater. A monographic contribution to German theater history . 2 volumes. Munich, Univ., Diss., 1956.
  • Christine Wawra: Between representation and resignation. Reconstruction and new building plans for the Württemberg court theater in Stuttgart 1750 - 1912 Württ. State Museum, Stuttgart 1994.
  • Wilhelm Wegener: The Reformation of the Schaubühne. A technical and dramaturgical interpretation of the theaters by the Munich architect Max Littmann and their significance for the development of the Deutsche Schaubühne Diss., Munich 1956.
  • Georg Jacob Wolf: Max Littmann 1862-1931. The life's work of a German architect. Knorr & Hirth, Munich 1931.
  • Württembergische Staatstheater Stuttgart, Generalintendanz (Hrsg.): Festschrift of the Württembergische Staatstheater Stuttgart, on the occasion of the opening of the small house October 5, 1962 . Stuttgart, 1962.
  • Klaus Zehelein (ed.): Fifteen seasons at the Stuttgart State Opera 1991–2006. A work report . raumzeit 3, Stuttgart 2006, ISBN 3-9811007-6-X .

Documentary film

  • Vadim Jendreyko and Thiemo Hehl (book), Vadim Jendreyko (director): Die Singende Stadt , 2010, documentary, approx. 92 minutes of film information
  • Karl Ulrich Majer (book), Walter Rüdel (director): Walter Erich Schäfer or the theater deeds of a landlord from Lower Bavaria , approx. 30 min., ZDF

Web links

Commons : Staatstheater Stuttgart  - Collection of images, videos and audio files

Individual evidence

  1. ^ State Theater Stuttgart - Buildings and Architecture - City of Stuttgart. In: www.stuttgart.de. Retrieved July 11, 2016 .
  2. ^ Farewell party on July 22nd . ( Memento from October 4, 2013 in the Internet Archive ) In: Stuttgarter Zeitung from June 11, 2010, accessed on February 13, 2012
  3. ^ Ulrich Drüner: 400 years of the Stuttgart State Orchestra. Staatstheater Stuttgart, Stuttgart 1994, p. 62.
  4. Christine Wawra: Between Representation and Resignation. Reconstruction and new building plans for the Württemberg court theater in Stuttgart 1750-1912 . Württ. Landesmuseum, Stuttgart 1994. p. 11.
  5. Fire of the court theater in 1902
  6. Postcard views of the interim theater
  7. a b c Schubert 1971, p. 138.
  8. ^ Opera house venues , at "Die Staatstheater Stuttgart"
  9. ^ #Littmann 1912 , pp. 22, 77-78.
  10. Reiner Nägele (Ed.): Music and Musicians at the Stuttgart Court Theater (1750-1918) , Württembergische Landesbibliothek, Stuttgart 2000, p. 174
  11. State Gazette No. 15 of April 24, 2009
  12. Gorki director Petras signs in Stuttgart , November 14, 2011, Berliner Morgenpost Digital
  13. Critics' survey by tanz magazine , accessed on January 30, 2012
  14. Laudation at the award ceremony of the BKM Prize , accessed on September 24, 2016
  15. The perfect place. Article in SZ-Magazin , No. 14/2009, p. 40
  1. a b Wolf 1931, page 59.
  2. a b Wolf 1931, page 60.
  3. a b Wolf 1931, page 64.
  4. Wolf 1931, page 70.
  5. Wolf 1931, page 62.
  6. Wolf 1931, pp. 60–62.
  1. ^ Ministry of Finance Baden-Württemberg 1983, p. 42.
  2. ^ Ministry of Finance Baden-Württemberg 1983, p. 35.
  3. a b Ministry of Finance Baden-Württemberg 1983, p. 7.
  4. a b c d Ministry of Finance Baden-Württemberg 1983, page 43.
  5. a b c Ministry of Finance Baden-Württemberg 1983, page 44.
  6. ^ Ministry of Finance Baden-Württemberg 1983, page 45.
  7. ^ Ministry of Finance Baden-Württemberg 1983, page 46.
  8. ^ Ministry of Finance Baden-Württemberg 1983, page 47.
  9. ^ Ministry of Finance Baden-Württemberg 1983, page 28.
  10. ^ Ministry of Finance Baden-Württemberg 1983, page 48.
  11. ^ Ministry of Finance Baden-Württemberg 1983, page 49.
  12. ^ Ministry of Finance Baden-Württemberg 1983, p. 13.
  13. ^ Ministry of Finance Baden-Württemberg 1983, p. 14.
  14. ^ Ministry of Finance Baden-Württemberg 1983, p. 17.
  15. ^ Ministry of Finance Baden-Württemberg 1983, p. 18.
  16. ^ Ministry of Finance Baden-Württemberg 1983, pp. 40–41.
  17. ^ Ministry of Finance Baden-Württemberg 1983, pp. 18-19.
  18. ^ Ministry of Finance Baden-Württemberg 1983, p. 55.
  19. ^ Ministry of Finance Baden-Württemberg 1983, p. 37.
  20. Baden-Württemberg Ministry of Finance 1983, p. 20.
  21. ^ Ministry of Finance Baden-Württemberg 1983, pp. 37–38.

Coordinates: 48 ° 46 ′ 49 ″  N , 9 ° 11 ′ 6 ″  E