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presented here are those of their creditors, the documents nonetheless reveal how contemporaries viewed the business practices of "malicious bankrupts" and how these practices assumed particularly baleful shapes in their minds. The creditorsâ lawyers laid out the background to the case in considerable detail. MĂŒller and Seyler were new men; Edwin MĂŒller had come from
Hanover several years before and Abel Seyler had been born in one of the Swiss cantons. Both had, however, "learned their business" and married in Hamburg. "If one could trust their books," their actual starting capital amounted to no more than thirty-eight thousand Mk. Bco., "of which, however, well over half had been frittered away through the acquisition of furniture for two households, clothes, jewels, silver plate, and other needs for themselves, their wives, and their children, carriages, horses, and so on." Their business was undercapitalized from the beginning. In the 1750s, this seemed a minor problem because credit was easy to obtain. When the cash flow failed, they tried to acquire money quickly through bill-jobbing. Because their ready funds could not cover their expenses and debts, theirs became "the most audacious
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and coin on commission. MĂŒller, by now separated from the firm, was up to his ears in this âwindy-businessâ (âhe had strewn into the world some one-and-a-half million Mk. Bco. in billsâ). He was brought to such âdespairâ that Seyler & Tillemann, as well as several other local and foreign banks and businesses (principally in
Braunschweig and Amsterdam), all of which were mutually involved in bill-jobbing and bill-discounting, had to come to his rescue. For their own preservation, they simply could not afford to let him fall. Still, by late 1762 they, too, were âcompletely insolvent.â
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1164:, who later became Seyler's second wife, was the theatre's lead actress. She was regarded as "a very fine actress, as Lessing admitted, but she was a troublesome and tempestuous character," always at the centre of intrigue. It was largely Seyler's admiration for Friederike Sophie Hensel, by then 29, that led him to devote himself to theatre; as a result of Hensel's rivalry with Karoline Schulze, she was at the centre of an intrigue that led her admirer Seyler to "establish a theatre for her, where she could reign undisputed without fearing any rivalry."
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1567:âto establish a new theatre in Mannheim. At first Dalberg contracted Abel Seyler's theatre company with performing in Mannheim on an occasional basis from 1778 to 1779. In the autumn of 1779 Seyler moved permanently to Mannheim with the remaining members of his theatre company. Several actors who had been affiliated with the Gotha Court Theatre under Konrad Ekhof's direction in the past few yearsâessentially an offshoot of the Seyler Theatre Companyâalso joined him; Ekhof himself had died the previous year. The
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1519:. On 17 June 1777 Seyler became director of the electoral Komödienhaus at GroĂe Bleiche in Mainz; his ensemble then consisted of around 200 members, including his wife Sophie. Frankfurt became the Seyler Companyâs final stop. Reinhard Frost writes that the Seyler Company, with its literarily ambitious program, did not reach the broad audience in Frankfurt, which was accustomed to more popular entertainment. Seyler is nevertheless regarded as the founder of a serious theater tradition in Frankfurt.
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because they always lacked adequate funds.â Bill-jobbing was a dangerous game âin which even the most careful usually loses about 10% and sometimes even 12â14%.â The partners then conjured up a fictive company under Erwin MĂŒllerâs signature âand informed the world that he had thus established his own firm.â Certainly, commented the lawyer drily, âthat was a fine business that honored its inventor, which, however, no one who values truth and honesty could condone!â
1317:, the composer and noted patron of the arts, and Seyler again became the company's principal. They were warmly welcomed by Anna Amalia and her court in October 1771, and were generously paid; the company performed three times a week for select guests at the Weimar ducal court. In 1771 Anna Amalia was a 32-year old widow who reigned as regent on behalf of her young son. The Seyler Company's arrival in Weimar marked the infancy of the cultural era known as the
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1627:, the usually level-headed Seyler lost his temper and gave her a slap in the face in response to repeated insolent remarks during theatre rehearsals. A report commissioned by Dalberg noted that Toscani belonged to "the weaker sex" and that Seyler was the director of a theatre company and should be held to a higher standard. In order to "restore the peace" of the theatre Dalberg decided to retire Seyler with a pension.
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357:, considered "the first serious German opera." Seyler mostly focused on the artistic, economic and administrative management of his theatrical company; his own lack of a background as an actor and his former profession as a merchant banker, made him stand out among the theatre principals of his era in a profession that was just starting to gain respectability. His wife's 1789
1085:." Despite suffering "a sensational bankruptcy for an enormous sum neither of them had lost his good humour or his taste for light living." Although they were wealthy bankers, Seyler and Tillemann were "in no way representatives of the Hamburg bourgeoisie, but were rather seen with suspicion for different reasons" by the local Hamburg elite. In strictly Lutheran Hamburg,
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andâparticularlyâin the criminal ââwindy tradeâ that Seyler & Tillemann had engaged in.â The âwind tradeâ of these yearsâand the bankruptcies that resultedâshook the major commercial centers to the core, âand many a capitalist who sought to profit from the high discount rate and who changed his money into paper, was plucked bare.â
1231:, together with Konrad Ekhof, Sophie Hensel and some other actors. The Seyler Company became one of the most famous theatre companies of Europe during the period 1769â79 and was regarded as "the best theatre company in Germany at that time." While the National Theatre had avoided musical theatre, Seyler appointed
210:, who was regarded as one of the great theatre principals of 18th century Europe. He played a pivotal role in the development of German theatre and was considered "the leading patron of German theatre" in his lifetime. He supported the development of new works and experimental productions, helping to establish
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Von
Director Seyler sagt Iffland in seiner thetralischen Laufbahn: Seine Erfahrung, seine Kentnisse berichtigten und bildeten manchen bedeutenden KĂŒnstler. Seiner Zurechtweisung, seiner feinen, grĂŒndlichen, nicht schonenden, aber nie bittern Kritik lernten wir vieles verdanken. Unverwandt beobachtend
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productions, and left a lasting legacy. His "repertoire in the early
Mannheim years still shows the influence of his Hamburg period as well as the legacy of the Weimar/Gotha years." In cooperation with Dalberg he developed the theatre's characteristic style, based on a belief in the need to achieve a
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Although his parents belonged to families that were highly respected in Basel, Abel Seyler grew up in rather modest material circumstances. His father's congregation was small, and the parish church and rectory were in poor condition. His father also failed in his attempt to have the church restored.
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The success of Abel Seyler's company in the post-war years was rooted in his business acumen, coupled with a flair for attracting talent, but he would not have flourished without the greater respect beginning to be accorded the travelling theatre companies in the new climate of interest in drama and
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Seyler mostly focused on the artistic, economic and administrative management of his theatrical company; his own lack of a background as an actor, his patrician family and his former profession as a merchant banker, made him stand out among the theatre principals of his era, in a profession that was
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between
September 1769 and October 1771. Initially the new company struggled and Seyler failed to replicate the old success of the Hamburg National Theatre. The lack of public interest in Hanover led to financial problems and when Ekhof in May 1770 also became seriously ill and unable to perform for
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and gave it its name. The idea of a journal with
Lessing as a dramatic critic was conceived by Löwen, and Seyler, "the power behind the throne," at first reluctantly agreed, but was eventually won over by the journal's success. The theatre had to close after two years after Seyler had spent the rest
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After the death of his first wife in 1764, their children were raised in
Hanover by their maternal uncle. By several accounts J.G.R. Andreae was a highly erudite, generous and kind man who became a loving father figure to his sister's children; he had no children of his own. The children since had
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Abel Seyler was married in his first marriage from 1754 to Sophie
Elisabeth Andreae (1730â1764), the daughter of the wealthy Hanoverian court pharmacist Leopold Andreae (1686â1730) and Katharina Elisabeth Rosenhagen (died 1752). Her parents were already deceased and her only close relative was her
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as a playwright and secretary, and he remained with the company for two years. Klinger had followed Goethe to Weimar earlier in the same year, and at the time he joined the Seyler
Company he had just broken with Goethe under unclear circumstances. He brought with him the manuscript of his recently
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When the
Amsterdam house of De Neufville collapsed, so, too, tumbled Seyler & Tillemann. The common cause of the bankruptcies, from the giant De Neufville to less-famed partnerships like Seyler & Tillemann, lay, it was argued, in âan exaggerated trade in bills of exchange, in bill-jobbing,
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They were effectively bankrupt by August 1762, long before the âgreat crashâ of 1763. Yet they did not stop, but plunged forward (as Parish wrote), cooking more deals as the kitchen got hotter. Seyler & Tillemann continued their trade in worthless paper and bought up large quantities of silver
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For most of its existence, the Seyler Company comprised around 60 members, and included an orchestra, a ballet, house dramatists and set designers. The company was one of the first theatre companies to maintain a permanent orchestra. Over the next ten years the company travelled extensively, and
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Seyler's admiration for the fine actress was easily transferred to the theatre in general, the theatre, that is, which formed a frame round his favourite. Thus a coalition of commerce, letters, and art was formed in which each party had his own personal interests, but which outwardly was working
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important case against several business partners reached the Imperial Cameral Tribunal (Reichskammergericht) in 1765. It offers an excellent perspective on "deceitful schemes" and especially on the bill-jobbing of two companies: MĂŒller & Seyler and Seyler & Tillemann. Although the voices
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clergyman, Dr.theol. Abel Seyler (Seiler) (the elder) (1684â1767), who was parish priest of Frenkendorf-Munzach in Liestal from 1714 to 1763, and Anna Katharina Burckhardt (1694â1773). He grew up in a learned and pious Reformed family and was descended from or closely related to all of the most
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In 1757, they acquired a new partner, named Tillemann, who, however, contributed "not one Creutzer" to their capital, but that did not stop them from vigorously extending their business. Although their enterprises seemed to prosper in the late 1750s, they did so only "at the expense of others
1419:'s arrival at the Weimar court a year later. The Seyler Company remained for one year at the ducal court in Gotha, where Seyler and other of the troupe's members also involved themselves in the broader cultural and social life, and in freemasonry. In Gotha Seyler met the Bohemian composer
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such as Seyler were viewed with as much suspicion as Catholics at the time. Seyler and his friends were also self-made men, immigrants to Hamburg and showed little regard for the values and conventions of the conservative Hamburg bourgeoisie; they symbolized a new form of capitalism.
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until 1766. At the time Hamburg was emerging as one of the world's foremost centres of trade and finance, a position it would retain until the end of the 18th century. With his business partners Johann Martin Tillemann and Edwin MĂŒller, he founded the related companies
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As a parish priest, his father did not have a fixed income but presumably lived off payments for church services, gifts and occasional government contributions. It was only when he retired in 1763 that his father received a fixed income, a pension of 600 pounds.
303:, which became one of the most famous theatre companies of Europe during the period 1769â79 and regarded as "the best theatre company in Germany at that time." The company was to a large degree centered around his would-be wife and his close collaborator
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as a center of theatrical innovation and to establish a publicly funded theater system in Germany. Working with some of Germany's foremost actors and playwrights of his era, he is credited with pioneering a new more realist style of acting, introducing
1136:. The theatre was owned by "a consortium of twelve businessmen of the city, with a triumvirate of Seyler, Bubbers and Johann Martin Tillemann, Seyler's business partner. But in practice, it was a one man affair, as Seyler dominated all." It leased the
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tradition. Already in his lifetime, he was described as "one of German art's most meritorious men." Ludwig Wollrabe called him "a man who made an immortal contribution to Germany's theater and its improvement." He was lauded by contemporaries such as
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from Hanover, who also raised Seyler's children from his first marriage, saved the Seyler Company by the assumption of all debts before the impending ruin; Andreae however demanded that Ekhof replaced his brother-in-law as head of the company.
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Abel Seyler was forced to leave his position as director of the Mannheim National Theatre in 1781, "after his wife's jealousy had provoked an unfortunate incident;" during a quarrel with his wife's "scheming" student, the 20-year old actress
1059:." As their business increasedâas they took on ever more commissions in goods for import and export, invested in a sugar refinery, and lent money to several peopleâthey simultaneously pursued their bill-jobbing and expanded it markedly.
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received enthusiastic reviews in Germany and afterwards, in the whole of Europe, with music critics calling attention to its originality, sweetness, and ingenious execution. It is widely considered Benda's best work, and inspired
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war sein Platz zwischen dem Proscenium und der 1. Coulisse. Es war Lob, Anfeuerung, Belohnung, wenn man ihn da ausdauern sah, ein warnender Tadel, wenn er seine Lorgnette einsteckte, eine Bestrafung, wenn er seinen Platz verlieĂ.
1264:, appointing him as "Director of the Royal and Electoral German Court Actors," a privilege he held until relinquishing it in 1772. During the Hanover years the company performed in Hanover itself and in
1807:
Seyler is widely regarded as one of the great theatre principals of 18th century Europe and has been described as "the leading patron of German theatre" in his lifetime. He is credited with introducing
278:, who later became his second wife, led him to devote himself entirely to theatre from 1767 onwards. He used his remaining funds to become the main shareholder, benefactor and effective leader of the
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His experience, his knowledge guided and shaped many artists. We learned much from his directing, his fine, conscientious, honest but never bitter criticism. Unwavering was his place between the
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joined shortly after its establishment, as did many members of the nobility and local elite of Gotha. The lodge became a centre of the spiritual and cultural life of Gotha, and a stronghold of
307:, Germany's most famous actress and actor at the time, respectively. He initially held the Hanoverian privilege as theatre director and his company later stayed for three years at the court of
1736:, became a success in Hamburg; Hanke had been recruited by Abel Seyler as music director at the Comödienhaus in Hamburg in 1783. A lightly adapted version of Seyler's opera with new music by
267:, resulting in a decade of expansive litigation. Although they were wealthy bankers, Seyler and his business partner were "in no way representatives of the Hamburg bourgeoisie." A flamboyant
1187:) took all managerial decisions while Ekhof in practice assumed the artistic leadership. The new Seyler regime suited Ekhof well, and he became a lifelong friend and collaborator of Seyler.
233:, becoming the "primary agent for change in the German opera scene" in the late 18th century. Already in his lifetime, he was described as "one of German art's most meritorious men."
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I may be able to earn 40 louis d'or here, though I'd have to remain here for 6 weeks, or 2 months at the most. The Seyler company is hereâI expect you already know them by reputation
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opened in October 1779 with Seyler as its first artistic director and Dalberg as its general administrator. Some of the actors who worked under Seyler's direction at Mannheim were
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in Amsterdam, and has been considered one of the most speculative and immoral banks of the era. In 1761 Seyler & Tillemann, acting as agents for their close business associate
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near Hamburg. From 1 September 1783 to Easter 1784 he was again director of the Comödienhaus theatre in Hamburg; he continued to live in Hamburg until 1787 and was at times a
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After the palace fire in Weimar in May 1774, Anna Amalia was forced to dismiss the Seyler Company, and they left with a quarter year's wages and a letter of recommendation to
1787:, the royal governor of the twin duchies of Schleswig-Holstein. From 1798 he lived as a guest on the estate of the actor, his long-time friend and fellow prominent freemason
2194:, "The Anxious Merchant, the Bold Speculator, and the Malicious Bankrupt: Doing Business in Eighteenth-Century Hamburg," in Margaret C. Jacob and Catherine Secretan (eds.),
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to the spoken repertory, and the Seyler Company came to play a major role both in the development of a German opera tradition and in the promotion and popularisation of the
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limited or no contact with their father, and all lived more conventional lives than him. They inherited the Andreae pharmacy from their uncle on his death in 1793.
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In 1777 Seyler relinquished the Electoral Saxon privilege and his company took to the road again. Over the next two years the Seyler Company was primarily based in
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stayed for longer periods at several courts of Europe. Theatre companies of the era, especially travelling ones, thought of themselves as extended "families."
1892:. He joined freemasonry in London in 1753, became a member of the Absalom lodge in Hamburg in May 1755, and was involved with freemasonry until his death.
423:, that was considered the most powerful family in the canton of Basel during the 17th and early 18th century. He was a paternal grandson of the theologian
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highlighted the fact that while he had never been an actor himself, he demonstrated a great enthusiasm for and refined knowledge of the arts. The actor
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in debts, an enormous sum. Expansive civil litigation relating to the bankruptcy was initiated in 1763 and went on until 1773, and the case reached the
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WeiblichkeitsentwĂŒrfe und Frauen im Werk Lessings: AufklĂ€rung und GegenaufklĂ€rung bis 1800 : 35. und 36. Kamenzer Lessing-Tage 1996 und 1997
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in honour of the ducal family shortly after. Its members included several members of the Seyler Company, such as Seyler, Ekhof and the composer
1876:. It was praise, encouragement, reward seeing him there, a warning censure when he pocketed his lorgnette, a punishment when he left his place.
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served as theatre director, but he had little influence, as Seyler as main shareholder and head of a three-member "administrative committee" (
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After the bankruptcy of his bank, Seyler devoted himself to theatre and became the main shareholder, benefactor and effective leader of the
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431:, a member of an Italian-origined noble family, and he was named for his great-grandfather, the Basel judge and envoy to the French court
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While in Weimar, the Seyler troupe established a reputation as one of the most formidable companies in Germany, thanks to its composer,
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Theater in der empfindsamen Zeit: Leben und Reisen des Knud Lyne Rahbek; ein Beitrag zur Schauspielkunst des 18. Jahrhunderts
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2212:"Nur zwei Jahre Theater, und alles ist zerrĂŒttet": Bremer Theatergeschichte von den AnfĂ€ngen bis zum Ende des 18. Jahrhunderts
1835:, who described him as a "man of perception and insight." After his death his daughter Sophie Leisewitz, the wife of the poet
1477:, which was first performed by the Seyler Company on 1 April 1777 in Leipzig; the play gave its name to the artistic movement
455:. He had a sister, Elisabeth Seiler (1715â1798), married to parish priest Daniel Merian. He was distantly related to Cardinal
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Kurzgefasste Geschichte der deutschen Schauspielkunst: von den AnfÀngen bis 1850 nach den Ergebnissen der heutigen Forschung
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1748:, and established a tradition within Schikaneder's company of fairy-tale operas that was to culminate two years later in
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Allgemeines Theater-Lexikon, oder, EncyklopĂ€die alles Wissenswerthen fĂŒr BĂŒhnenkĂŒnstler, Dilettanten und Theater-Freunde
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Seyler had in fact married in Hanover, although he either already lived in Hamburg or settled there shortly afterwards
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His theatrical legacy eventually overshadowed the dubious reputation he had earned as a banker in his younger years.
1466:, and in 1776 he opened a newly built summer theatre in Dresden. In 1776 Seyler also employed Goethe's close friend
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2032:(born 1763), known as the first Jewish stage actor in Germany, when the latter converted to Christianity in 1796.
1196:, a collection of essays that reflected on the Hamburg National Theatre's efforts, and which defined the field of
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Frankfurter Theater von der Wandertruppe zum Komödienhaus: ein Beitrag zur Theatergeschichte des 18. Jahrhunderts
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Frankfurter Theater von der Wandertruppe zum Komödienhaus: ein Beitrag zur Theatergeschichte des 18. Jahrhunderts
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as "an important impulse for the creation of a generation of popular spectacles trading in magic and the exotic.
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natural scientist. The wedding took place in Hanover and Abel and Sophie Elisabeth had two sons and a daughter:
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Epilog bey Eröfnung des Herrschaftlichen Theaters in Mainz, gesprochen von Madame Seyler, den 17ten Junius 1777
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1839:, wrote: "It was my happy fortune, out of childish duty, to worship the man whom thousands can only admire."
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to Weimar to educate her two sons. Wieland had just published his modern and ironic mirror-for-princes work,
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who was regarded with suspicion in Hamburg, Seyler symbolized a new and more aggressive form of capitalism.
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coins in the final years of the Seven Years' War. Seyler & Tillemann went bankrupt in the wake of the
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to a German language audience, and with promoting the concept of a national theatre in the tradition of
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notes, quoting from the 1765â1773 Imperial Cameral Tribunal proceedings and the memoirs of John Parish:
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to a German language audience, and with promoting the concept of a national theatre in the tradition of
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From 1781 to 1783 Seyler was artistic director of the Schleswig Court Theatre, which also performed in
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Shakespeare und die deutsche Schweiz bis zum Beginn des 19. Jahrhunderts: eine Bibliographie raisonnée
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Briefe die Seylerische Schauspielergesellschaft und Ihre Vorstellungen zu Frankfurt am Mayn betreffend
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towards the sublime goal of abolishing the business-like leadership that was detrimental to true art.
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A History of Theatrical Art in Ancient and Modern Times: The great actors of the eighteenth century
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A History of Theatrical Art in Ancient and Modern Times: The great actors of the eighteenth century
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prominent patrician families of Basel on both his parents' sides. His mother belonged to the noted
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In 1772 he reunited with his love interest Friederike Sophie Hensel, who had stayed at the Vienna
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in the 1750s and early 1760s. Seyler & Tillemann had close ties to the bank of the brothers
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1943:. Many members of Seyler's lodge, notably the Duke and his brother, also became members of the
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some time, the situation worsened dramatically. Seyler's brother-in-law, the court pharmacist
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Magic flutes & enchanted forests: the supernatural in eighteenth-century musical theater
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Ein Blick hinter die Kulissen: Deutschsprachige Dramatikerinnen im 18. und 19. Jahrhundert
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and MĂŒller & Seyler, which engaged in an ever-increasing and complex speculation with
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His wife Sophie Seyler died in 1789. Earlier in that year she had published the romantic
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balance between a more natural style of playing and a certain nobility and idealisation.
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463:'s uncle; they were both descended from the Basel silk merchant, politician and diplomat
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1341:. Wieland became an important friend and collaborator of both Seyler, and later Goethe.
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as a young adult, and established himself as a merchant banker in the 1750s. During the
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1899:, along with other members of the Seyler Company, founded the first masonic lodge in
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that defined the field and gave it its name. In 1769, Seyler founded the travelling
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2941:"All About Jewish Theatre - European Jewish Theatre: From 1600 to the 20th Century"
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1705:. From 1787 to 1792 he was again artistic director of the Schleswig Court Theatre.
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Theatermaschinen â Maschinentheater: Von Mechaniken, Machinationen und Spektakeln
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1996:, a prominent Hamburg banker and politician; and Sophie Seyler, who married the
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2856:. Vol. 5. Altenburg and Leipzig: H.A. Pierer and C. Heymann. p. 215.
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in particular shares many features with Oberon, musical as well as textual."
1767:
1725:
1260:
contracted Seyler in 1769 with performing at Hanover and other cities of the
1167:
886:
859:
448:
436:
397:
3160:(1967). "Abel Seyler und seine Verdienste um das Frankfurter Theaterleben".
3113:. Nendeln/Liechtenstein: Kraus, 1978. Originally published in Hamburg, 1895.
3090:
Music and Drama in Germany: A Traveling Company and Its Repertory, 1767â1781
2550:(1967). "Abel Seyler und seine Verdienste um das Frankfurter Theaterleben".
1190:
The Hamburg National Theatre was immortalized by Lessing's influential book
3067:
Hannoversches Biographisches Lexikon: Von den AnfÀngen bis in die Gegenwart
3038:, eds. Walther Killy and Rudolf Vierhaus, Vol. 9, Walter de Gruyter, 2005,
2807:
2723:
Friedrich Ludwig Schröder: Beitrag zur Kunde des Menschen und des KĂŒnstlers
1940:
1896:
1844:
1762:
is regarded as one of the primary influences on the plot and characters of
1214:
1153:
1109:
1037:
456:
304:
95:
1273:
2359:
The History of World Theater: From the English Restoration to the Present
2276:
2226:"Herzogin Anna Amalie von Weimar und ihr Theater," in Robert Keil (ed.),
1636:
1587:
1375:
1333:. The year after Seyler's company arrived in Weimar, the Duchess invited
1118:
411:
1265:
259:
engaged in an ever-increasing and complex, "malicious" speculation with
186:
1989:
1944:
1869:
1512:
1277:
1227:
In 1769 Seyler founded the National Theatre's effective successor, the
1197:
1029:
822:
766:
739:
618:
432:
263:
and went spectacularly bankrupt with enormous debts in the wake of the
2978:(ADB). Vol. 34, Duncker & Humblot, Leipzig 1892, pp. 778â782.
2798:(ADB). Vol. 34, Duncker & Humblot, Leipzig 1892, pp. 778â782.
2654:
Iffland und Dalberg: Geschichte der classischen Theaterzeit Mannheims
2499:, pp. 15â33, PhD dissertation in Musicology, University of Cincinnati
2241:
E. T. A. Hoffmann, Cosmopolitanism, and the Struggle for German Opera
1889:
1792:
1710:
1682:
1492:
1149:
1117:, Germany's most famous actress of the late 18th century, painted by
1086:
290:
203:
76:
2495:
Shoaff, Adam (2016), "Opera in Leipzig: From Strungk to Seyler," in
1602:
for the Seyler company. Mozart wrote enthusiastically to his father
1028:, a member of a cadet branch of the Danish royal family, to produce
1873:
1599:
1548:
1508:
1423:
and commissioned him to write several successful operas, including
460:
279:
1366:(1733â1813), marked a significant moment in German opera history:
1293:
1209:
2930:(ADB). Band 34, Duncker & Humblot, Leipzig 1892, pp. 778â782.
1598:
visited the Mannheim theatre, where Dalberg asked him to write a
1500:
1463:
1459:
1281:
996:
403:
389:
323:. From 1779 to 1781 he was the founding artistic director of the
248:
211:
199:
54:
2028:, was an adopted son of his grandson. Seyler was a godfather of
1701:
at the theatre, where his wife performed under the direction of
1378:
for the past year, and they finally married in November 1772 in
2896:
Hoppe-Seyler, Georg (2022). "Ein verwandter Theaterintendant".
2497:
The Aesthetic Foundations of German Opera in Leipzig, 1766â1775
1967:; in contrast to his father he became a highly respected banker
1552:
1443:
1416:
1310:
992:
919:
440:
312:
244:
115:
2969:
2921:
2789:
2308:"Zum Geldhandel in Hamburg wÀhrend des SiebenjÀhrigen Krieges"
623:
Basel law lord and grand councillor, envoy to the French court
384:
3074:, "New directions: the Seyler Company" (pp. 91â131), in
2596:
A National Repertoire: Schiller, Iffland and the German Stage
2024:
The principal founder of biochemistry and molecular biology,
1985:
1900:
1686:
1504:
1496:
1412:
1309:
In 1771 the Seyler Company was invited to the ducal court in
1269:
1236:
1026:
Frederick Charles, Duke of Schleswig-Holstein-Sonderburg-Plön
1024:, leased the mint factory in Rethwisch from the impoverished
647:
428:
407:
316:
2748:
Bircher, Martin; Straumann, Heinrich (1971). "Abel Seyler".
2465:
Gotthold Ephraim Lessing : his life, works, and thought
2292:
Mine tippoldeforeldre Henriethe og Benjamin Wegner forteller
2884:
Freimaurer in Deutschland: Bilanz eines Vierteljahrtausends
1690:
1516:
987:, Seyler's business associate who became a Danish statesman
2764:
Ludwig Wollrabe's Chronologie sĂ€mmtlicher Hamburger BĂŒhnen
1160:; Germany's most famous actress of the late 18th century
2847:
2736:
Mitteilungen der Gesellschaft fĂŒr Kieler Stadtgeschichte
1522:
1217:, regarded as Germany's finest actor of the 18th century
1098:
447:
descendant of Justina Froben, daughter of the humanist
503:
Magister, parish priest, rector of the Basel Gymnasium
1972:
older brother and only sibling, the court pharmacist
1672:), a primary influence on the plot and characters of
1204:
2991:(NDB). Vol. 24, Duncker & Humblot, Berlin 2010,
2898:
Physiologische Chemie: Das Leben Felix Hoppe-Seylers
2848:
Blum, R; Herlofssohn, K; Marggraff, H, eds. (1841).
2635:
Alfried Wieczorek, Hansjörg Probst, Wieland Koenig,
1947:, and the Duke later offered that society's founder
1140:
building and was largely a successor institution of
2312:
Zeitschrift des Vereins fĂŒr Hamburgische Geschichte
3111:Vom Hamburger Nationaltheater zur Gothaer HofbĂŒhne
2155:Mapping Medea: Revolutions and Transfers 1750-1800
1449:
1370:was the first full-length serious opera in German.
1144:'s theatre company. The National Theatre employed
2021:(formerly married Hensel). They had no children.
1693:. In 1783 he established his own troupe based in
1535:, Seyler's collaborator during the Mannheim years
1385:
1339:Der goldne Spiegel oder die Könige von Scheschian
3196:
2747:
1783:In 1792 Abel Seyler retired with a pension from
1486:
1093:
3056:The New Grove Dictionary of Music and Musicians
2708:The New Grove Dictionary of Music and Musicians
2582:Jahrbuch der deutschen Shakespeare-Gesellschaft
2404:The New Grove Dictionary of Music and Musicians
2288:
2196:The Self-Perception of Early Modern Capitalists
1458:privilege as theatre director and performed in
1294:At the court of Duchess Anna Amalia (1771â1774)
206:) was a Swiss-born theatre director and former
1822:playwrights, and the development of a serious
1563:âthe brother of Prince-Elector and Grand Duke
969:
3104:Magazin zur Geschichte des deutschen Theaters
2738:, Issues 33â34, Die Gesellschaft, 1926, p. 78
1888:Like many of his collaborators, Seyler was a
1559:with him. In 1778 he instructed the courtier
3164:. Frankfurt am Main: Kramer. pp. 66â81.
2895:
2554:. Frankfurt am Main: Kramer. pp. 66â81.
2170:Reichard, Heinrich Aug. Ottok., ed. (1794).
1258:George III of Hanover and the United Kingdom
1252:
991:As a young man, Seyler left Basel first for
451:; he thus belonged to the same matriline as
435:(1632â1695). He was also descended from the
2812:German Opera: From the Beginnings to Wagner
2393:
2391:
2187:
2185:
2183:
1213:Seyler's long-time collaborator, the actor
379:
274:Seyler's admiration for the tragic actress
2726:, vol. 2, p. 215, Hoffmann und Campe, 1819
2228:Goethe's Tagebuch aus den Jahren 1776â1782
1864:who worked under Seyler's direction said:
1653:
29:
2672:, Cambridge University Press, 1991, p. 28
2305:
3135:Frost, Reinhard (1996). "Seyler, Abel".
2626:, p. 529. Translated by Stewart Spencer.
2530:Frost, Reinhard (1996). "Seyler, Abel".
2388:
2363:Continuum International Publishing Group
2206:
2204:
2180:
2169:
2017:In 1772 Abel Seyler married the actress
1958:
1657:
1526:
1389:
1297:
1208:
1108:
979:
383:
3076:North German Opera in the Age of Goethe
3018:Historical Dictionary of German Theater
2685:(p. 293). University of Chicago Press.
2639:, p. 407, Verlag Friedrich Pustet, 1999
2136:Bettine Menke, Wolfgang Struck (2022),
2094:
2092:
1235:as music director, charged with adding
1152:, and attracted eminent actors such as
1128:, an idealistic attempt to establish a
16:Swiss-born theatre director (1730â1800)
3197:
2462:
2222:
2220:
2165:
2163:
1929:Duke Ernest II of Saxe-Gotha-Altenburg
1843:just starting to gain respectability.
839:
719:
715:
705:
599:
492:
488:
3134:
2752:. Bern, MĂŒnchen: Kramer. p. 162.
2650:Der Seyler-Toscani'sche Streit (1781)
2529:
2201:
1933:Prince August of Saxe-Gotha-Altenburg
1523:Mannheim National Theatre (1779â1781)
917:
907:
903:
891:
884:
874:
857:
847:
843:
827:
820:
810:
797:
787:
783:
771:
764:
754:
737:
727:
723:
700:
690:
677:
667:
663:
651:
645:
635:
617:
607:
603:
587:
582:
572:
559:
549:
545:
533:
525:
515:
500:
496:
315:and for a year at the ducal court in
255:and its immediate aftermath his bank
3156:
2546:
2277:Auszug Stamm Seiler in / aus Liestal
2089:
1740:became the first opera performed by
1586:At Mannheim Seyler directed several
1099:Hamburg National Theatre (1767â1769)
1081:Seyler was described as "a handsome
3176:Literature by and about Abel Seyler
2467:. Oxford: Oxford University Press.
2217:
2160:
1732:. The play, with original music by
1555:and brought the theatre company of
13:
3230:18th-century German businesspeople
3098:University of California, Berkeley
3034:Wilhelm Kosch, "Seyler, Abel", in
2705:. "Oberon, König der Elfen."
2463:Nisbet, H. B. (Hugh Barr) (2013).
2173:Theater-Calender auf das Jahr 1794
1352:(1735â87); their leading soprano,
1205:Seyler Theatre Company (1769â1779)
337:(which gave its name to the era),
14:
3286:
3225:18th-century Swiss businesspeople
3169:
2449:George Freedley, John A. Reeves,
2424:(p. 312ff). Springer-Verlag, 2016
2381:George Freedley, John A. Reeves,
2061:, but he was also referred to as
1984:, who became court pharmacist in
1915:. The lodge was originally named
1728:by their friend and collaborator
1162:Friederike Sophie Hensel (Seyler)
2720:Friedrich Ludwig Wilhelm Meyer,
2608:Schiller: A Birmingham Symposium
2453:, Crown Publishers, 1968, p. 243
2385:, p. 243, Crown Publishers, 1968
2157:(p. 27), Oxford University Press
1954:
1034:Amsterdam banking crisis of 1763
402:Abel Seyler was born in 1730 in
327:. He commissioned works such as
265:Amsterdam banking crisis of 1763
185:
3260:Swiss people of Italian descent
3116:Adrian Kuhl: "Abel Seyler." In
2933:
2914:
2889:
2876:
2864:
2841:
2838:(p. 35), Christian-Verlag, 1958
2828:
2801:
2782:
2770:
2756:
2741:
2729:
2714:
2696:
2675:
2659:
2642:
2629:
2613:
2601:
2588:
2574:
2558:
2540:
2523:
2502:
2489:
2456:
2443:
2427:
2410:
2375:
2348:
2335:
2322:
2299:
2282:
2270:
2067:
2051:
2042:
1905:Nativity of St John the Baptist
1662:His wife Sophie Seyler's opera
1450:Leipzig and Dresden (1775â1777)
3036:Dictionary of German Biography
2975:Allgemeine Deutsche Biographie
2927:Allgemeine Deutsche Biographie
2795:Allgemeine Deutsche Biographie
2257:
2233:
2143:
2140:(pp. 96â97), transcript Verlag
2130:
2104:Dictionary of German Biography
1883:
1785:Prince Charles of Hesse-Kassel
1386:At the Gotha court (1774â1775)
1022:Heinrich Carl von Schimmelmann
985:Heinrich Carl von Schimmelmann
1:
2962:
2670:W. A. Mozart: Die Zauberflöte
2082:
1907:, and Ekhof became the first
1640:âitself inspired by the play
1561:Wolfgang Heribert von Dalberg
1533:Wolfgang Heribert von Dalberg
1499:and travelled extensively to
1487:On the road again (1777â1779)
1094:Seyler as a theatre principal
501:Friedrich Seyler (1603â1676),
3059:, vol. 17, p. 209, 1980
2585:, vol. 9 (1874), pp. 296â297
2509:Friedrich Maximilian Klinger
2332:, p. 194, F. A. Berger, 1900
2265:Geschichte der Stadt Liestal
1988:and who was a member of the
1543:, the Prince-Elector of the
1468:Friedrich Maximilian Klinger
1454:In 1775 Seyler received the
798:Katharina Parcus (1624â1685)
531:theologian and parish priest
7:
3138:Frankfurter Personenlexikon
3106:, 1773, VI, p. 264â276
2598:, p. 50ff, Peter Lang, 2007
2533:Frankfurter Personenlexikon
1752:'s and Schikaneder's opera
1362:(1773), with a libretto by
999:, where he was active as a
970:Seyler as a merchant banker
560:Rosina Stöcklin (1612â1681)
370:) was a major influence on
35:A silhouette of Abel Seyler
10:
3291:
3092:, PhD dissertation on the
3080:Cambridge University Press
2816:Cambridge University Press
2711:. Oxford University Press.
2637:Lebenslust und Frömmigkeit
2306:Schneider, Konrad (1983).
2198:, Palgrave Macmillan, 2009
1220:
1102:
973:
833:
717:
593:
490:
395:
293:, culminating in the work
3255:Seyler theatrical company
2214:, p. 127, C. Winter, 1996
1982:Abel Seyler (the Younger)
1802:
1789:Friedrich Ludwig Schröder
1703:Friedrich Ludwig Schröder
1630:The first performance of
1569:Mannheim National Theatre
1253:Hanover years (1769â1771)
1158:Friedrich Ludwig Schröder
1042:Imperial Cameral Tribunal
905:
897:
868:
845:
841:
804:
785:
777:
748:
725:
721:
684:
665:
657:
629:
605:
601:
566:
547:
539:
509:
494:
325:Mannheim National Theatre
229:playwrights, and serious
184:
179:
153:
134:
122:) and theatre principal (
111:
101:
91:
65:
40:
28:
21:
3210:German theatre directors
2988:Neue Deutsche Biographie
2886:, p. 582, C. Wolff, 1964
2451:A history of the theatre
2440:, p. 112, P. Smith, 1970
2418:Friederike Sophie Seyler
2383:A history of the theatre
2345:, P. Smith, 1970, p. 112
2289:Wegner, Rolf B. (2013).
2035:
2019:Friederike Sophie Seyler
1931:and the Duke's brother,
1852:hence in dramatic music.
1833:Christoph Martin Wieland
1829:Gotthold Ephraim Lessing
1730:Christoph Martin Wieland
1565:Karl Theodor von Dalberg
1437:. At its debut in 1775,
1396:Esther Charlotte Brandes
1364:Christoph Martin Wieland
1335:Christoph Martin Wieland
1146:Gotthold Ephraim Lessing
1126:Hamburg National Theatre
1115:Friederike Sophie Seyler
1105:Hamburg National Theatre
678:Maria Hummel (1635â1681)
583:Abel Seyler (1684â1767),
478:Ancestors of Abel Seyler
414:. He was the son of the
380:Background and childhood
283:Hamburg National Theatre
243:priest, Seyler moved to
145:Friederike Sophie Seyler
141:Sophie Elisabeth Andreae
124:Hamburg National Theatre
3205:Swiss theatre directors
3180:German National Library
2565:Heinrich Leopold Wagner
2407:, vol. 17, p. 209, 1980
2355:Felicia Hardison Londré
2263:Johann Jakob Brodbeck,
1654:Final years (1781â1800)
1646:by Seyler's son-in-law
1616:Wolfgang Amadeus Mozart
1596:Wolfgang Amadeus Mozart
1394:Seyler Company actress
585:Dr.theol, parish priest
453:Anna Catharina Bischoff
161:Abel Seyler the Younger
3149:Brockhaus EnzyklopÀdie
3124:, J.B. Metzler, 2017,
3094:Seyler Theatre Company
2873:, Lessing-Museum, 1997
2834:Klaus Ulrich Ebmeyer,
2656:, p. 538ff, Weber 1865
2002:Johann Anton Leisewitz
1968:
1862:August Wilhelm Iffland
1837:Johann Anton Leisewitz
1746:Theater auf der Wieden
1678:
1648:Johann Anton Leisewitz
1620:
1573:August Wilhelm Iffland
1536:
1404:
1306:
1229:Seyler Theatre Company
1223:Seyler Theatre Company
1218:
1201:of his fortune on it.
1181:Johann Friedrich Löwen
1142:Konrad Ernst Ackermann
1132:based on the ideas of
1121:
1006:Seyler & Tillemann
988:
976:Seyler & Tillemann
393:
301:Seyler Theatre Company
276:Sophie Hensel (Seyler)
257:Seyler & Tillemann
128:Seyler Theatre Company
120:Seyler & Tillemann
2176:. Gotha. p. 241.
2101:, "Seyler, Abel", in
2057:His formal title was
1976:, who became a noted
1962:
1661:
1608:
1530:
1415:. Seyler thus missed
1393:
1382:just outside Weimar.
1301:
1262:Electorate of Hanover
1212:
1148:as the world's first
1112:
1010:financial instruments
983:
392:in Switzerland (1780)
387:
289:as the world's first
261:financial instruments
3158:Mohr, Albert Richard
2548:Mohr, Albert Richard
1963:His son, the banker
1545:Electoral Palatinate
465:Johann Rudolf Faesch
106:Age of Enlightenment
3240:People from Liestal
3190:Weber Gesamtausgabe
2777:Der Teutsche Merkur
2681:Buch, David (2008)
2267:, A. Brodbeck, 1865
2230:, Veit, 1875, p. 69
1742:Emanuel Schikaneder
1344:Adam Shoaff notes,
1315:Duchess Anna Amalia
1303:Duchess Anna Amalia
1185:VerwaltungsausschuĂ
443:families. He was a
309:Duchess Anna Amalia
3109:Rudolf Schlösser:
3049:"Abel Seyler," in
3012:2015-10-06 at the
2968:Paul Schlenther: "
2882:Manfred Steffens,
2788:Paul Schlenther: "
2779:, 1773, I, p. 269.
2397:"Abel Seyler," in
2026:Felix Hoppe-Seyler
1969:
1919:, but was renamed
1856:The Danish critic
1758:; Sophie Seyler's
1679:
1632:Friedrich Schiller
1537:
1405:
1307:
1219:
1193:Hamburg Dramaturgy
1122:
989:
394:
296:Hamburg Dramaturgy
3235:German Freemasons
3130:978-3-476-02394-0
2997:978-3-428-11205-0
2920:Paul Schlenther:
2907:978-3-662-62001-4
2648:Wilhelm Koffka, "
2149:Anna Albrektson,
2117:Walter de Gruyter
2007:Julius of Taranto
1951:asylum in Gotha.
1925:Georg Anton Benda
1909:Worshipful Master
1797:Duchy of Holstein
1744:'s troupe at the
1643:Julius of Taranto
1625:Elisabeth Toscani
1577:Johann David Beil
1557:Theobald Marchand
1439:Ariadne auf Naxos
1426:Ariadne auf Naxos
1421:Georg Anton Benda
1401:Ariadne auf Naxos
1319:Weimar Classicism
1036:with 3â4 million
966:
965:
962:
961:
421:Burckhardt family
340:Ariadne auf Naxos
321:Weimar Classicism
202:â 25 April 1800,
198:(23 August 1730,
193:
192:
85:Holy Roman Empire
81:Duchy of Holstein
3282:
3250:Opera in Germany
3220:Merchant bankers
3165:
3153:
3142:
2956:
2955:
2953:
2952:
2943:. Archived from
2937:
2931:
2918:
2912:
2911:
2893:
2887:
2880:
2874:
2868:
2862:
2861:
2845:
2839:
2832:
2826:
2805:
2799:
2786:
2780:
2774:
2768:
2760:
2754:
2753:
2745:
2739:
2733:
2727:
2718:
2712:
2700:
2694:
2679:
2673:
2666:Peter Branscombe
2663:
2657:
2646:
2640:
2633:
2627:
2617:
2611:
2605:
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2447:
2441:
2431:
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2414:
2408:
2395:
2386:
2379:
2373:
2365:, 1999, p. 146,
2352:
2346:
2339:
2333:
2326:
2320:
2319:
2303:
2297:
2296:
2286:
2280:
2274:
2268:
2261:
2255:
2239:Francien Markx,
2237:
2231:
2224:
2215:
2210:Michael RĂŒppel,
2208:
2199:
2189:
2178:
2177:
2167:
2158:
2147:
2141:
2134:
2128:
2096:
2076:
2071:
2065:
2055:
2049:
2046:
2004:, the author of
1895:Abel Seyler and
1858:Knud Lyne Rahbek
1618:
1541:Charles Theodore
1350:Anton Schweitzer
1233:Anton Schweitzer
1130:national theatre
1113:His second wife
1014:Seven Years' War
527:Friedrich Seyler
484:
483:
475:
474:
425:Friedrich Seyler
253:Seven Years' War
189:
171:Sophie Leisewitz
72:
50:
48:
33:
19:
18:
3290:
3289:
3285:
3284:
3283:
3281:
3280:
3279:
3245:Sturm und Drang
3195:
3194:
3172:
3146:"Abel Seyler".
3145:
3022:Scarecrow Press
3014:Wayback Machine
2981:Andrea Heinz: "
2965:
2960:
2959:
2950:
2948:
2939:
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2416:Susanne Kord: "
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1998:Sturm und Drang
1957:
1927:; the reigning
1921:Zum Rautenkranz
1911:and Seyler the
1886:
1819:Sturm und Drang
1805:
1777:Die Zauberflöte
1766:. Musicologist
1764:The Magic Flute
1755:The Magic Flute
1724:), inspired by
1717:Huon and Amanda
1675:The Magic Flute
1665:Huon and Amanda
1656:
1619:
1614:
1525:
1489:
1480:Sturm und Drang
1474:Sturm und Drang
1456:Electoral Saxon
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1242:Sturm und Drang
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1001:merchant banker
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821:Anna Katharina
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388:His birthplace
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363:Huon and Amanda
330:Sturm und Drang
226:Sturm und Drang
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3170:External links
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3141:. Vol. 2.
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2536:. Vol. 2.
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2295:. R.B. Wegner.
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1974:J.G.R. Andreae
1956:
1953:
1949:Adam Weishaupt
1885:
1882:
1878:
1877:
1872:and the first
1854:
1853:
1814:Ludvig Holberg
1804:
1801:
1738:Paul Wranitzky
1655:
1652:
1612:
1604:Leopold Mozart
1524:
1521:
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1471:finished play
1451:
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1409:Duke Ernest II
1398:as Ariadne in
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1354:Franziska Koch
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1287:J.G.R. Andreae
1254:
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1134:Ludvig Holberg
1103:Main article:
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51:23 August 1730
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3070:
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3063:Dirk Böttcher
3061:
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3052:
3051:Stanley Sadie
3048:
3046:, p. 308
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2620:Hermann Abert
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2610:, p. 37, 2006
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3122:Lexikon Oper
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3007:Seyler, Abel
2986:
2983:Seyler, Abel
2973:
2949:. Retrieved
2945:the original
2935:
2925:
2916:
2900:. Springer.
2897:
2891:
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2811:
2808:John Warrack
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2132:
2102:
2073:
2069:
2062:
2058:
2053:
2044:
2023:
2016:
2012:
2005:
1997:
1970:
1941:philanthropy
1920:
1916:
1913:First Warden
1897:Konrad Ekhof
1894:
1887:
1879:
1855:
1847:noted that:
1845:John Warrack
1841:
1824:German opera
1817:
1806:
1782:
1775:
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1215:Konrad Ekhof
1191:
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1154:Konrad Ekhof
1138:Comödienhaus
1123:
1082:
1080:
1056:
1046:
1018:De Neufville
990:
701:
621:(1632â1695),
529:(1642â1708),
469:
457:Joseph Fesch
401:
371:
367:
361:
358:
348:
338:
328:
305:Konrad Ekhof
294:
273:
268:
247:and then to
235:
231:German opera
224:
195:
194:
71:(1800-04-25)
3270:1800 deaths
3265:1730 births
3186:Abel Seyler
2970:Abel Seyler
2922:Abel Seyler
2790:Abel Seyler
2624:W.A. Mozart
1994:L.E. Seyler
1965:L.E. Seyler
1884:Freemasonry
1810:Shakespeare
1637:The Robbers
1588:Shakespeare
1380:OĂmannstedt
1376:Burgtheater
1119:Anton Graff
1012:during the
922:(1651â1682)
889:(1671â1698)
885:Anna Maria
862:(1648â1724)
825:(1694â1773)
769:(1671â1698)
742:(1623â1685)
702:Abel Seyler
445:matrilineal
412:Switzerland
217:Shakespeare
196:Abel Seyler
166:L.E. Seyler
92:Nationality
59:Switzerland
23:Abel Seyler
3199:Categories
3044:3110966298
3030:0810853159
2963:Literature
2951:2014-01-03
2850:"Mannheim"
2824:0521235324
2371:0826411673
2253:9004309578
2125:3110966298
2115:, Vol. 9,
2083:References
1990:Illuminati
1945:Illuminati
1917:Cosmopolit
1870:proscenium
1770:describes
1734:Carl Hanke
1513:Heidelberg
1278:Hildesheim
1198:dramaturgy
1179:Nominally
1087:Calvinists
1083:bon vivant
1057:Windhandel
1038:Mark Banco
823:Burckhardt
767:Burckhardt
740:Burckhardt
646:Elisabeth
619:Abel Socin
433:Abel Socin
355:Schweitzer
280:idealistic
269:bon vivant
47:1730-08-23
3182:catalogue
2814:(p. 93),
2483:833404656
2243:, p. 32,
2074:Intendant
2063:Regisseur
1890:freemason
1793:Rellingen
1714:or opera
1711:Singspiel
1683:Flensburg
1493:Frankfurt
1435:Pygmalion
1274:OsnabrĂŒck
1150:dramaturg
359:Singspiel
291:dramaturg
204:Rellingen
180:Signature
77:Rellingen
3024:, 2006,
3010:Archived
2818:, 2001,
2318:: 61â82.
2247:, 2015,
2153:(2023),
2127:, p. 308
2119:, 2005,
2059:Direktor
1874:coulisse
1699:prompter
1613:â
1600:duodrama
1594:In 1778
1549:Mannheim
1509:Mannheim
1331:Schiller
1266:LĂŒneburg
1245:dramas.
918:Susanna
461:Napoleon
416:Reformed
406:outside
241:Reformed
154:Children
3188:in the
3178:in the
3152:. 2022.
3120:(ed.),
3053:(ed.),
2985:." In:
2972:." In:
2792:." In:
2767:(p. 58)
2401:(ed.),
2107:, eds.
1795:in the
1501:Cologne
1464:Dresden
1460:Leipzig
1368:Alceste
1359:Alceste
1282:Wetzlar
1170:noted:
1030:debased
997:Hamburg
738:Samuel
404:Liestal
390:Liestal
350:Alceste
335:Klinger
287:Lessing
249:Hamburg
212:Hamburg
200:Liestal
135:Spouses
55:Liestal
3128:
3100:, 1977
3082:, 1985
3042:
3028:
2995:
2924:. In:
2904:
2822:
2689:
2652:," in
2571:, 1777
2481:
2471:
2369:
2279:, 2014
2251:
2123:
1816:, the
1803:Legacy
1772:Oberon
1760:Oberon
1750:Mozart
1726:a poem
1722:Oberon
1695:Altona
1670:Oberon
1553:Munich
1444:Mozart
1417:Goethe
1327:Goethe
1323:Herder
1311:Weimar
993:London
920:Faesch
887:Merian
860:Merian
441:Faesch
437:Merian
368:Oberon
313:Weimar
245:London
223:, the
116:Banker
2420:. In
2245:BRILL
2036:Notes
2000:poet
1986:Celle
1901:Gotha
1687:Husum
1539:When
1505:Hanau
1497:Mainz
1431:Medea
1413:Gotha
1270:Celle
1237:opera
648:Socin
429:Socin
408:Basel
345:Benda
317:Gotha
238:Basel
96:Swiss
3126:ISBN
3040:ISBN
3026:ISBN
2993:ISBN
2902:ISBN
2820:ISBN
2687:ISBN
2479:OCLC
2469:ISBN
2367:ISBN
2249:ISBN
2121:ISBN
2111:and
1939:and
1831:and
1720:(or
1691:Kiel
1689:and
1668:(or
1579:and
1517:Bonn
1515:and
1495:and
1462:and
1433:and
1329:and
1280:und
1156:and
439:and
366:(or
347:and
126:and
66:Died
41:Born
3016:,"
3005:, "
1791:in
1634:'s
1551:to
1411:in
1313:by
410:in
353:by
343:by
333:by
311:in
102:Era
3201::
3096:,
3088:,
3078:,
3065:,
3020:,
2852:.
2810:,
2668:,
2622:,
2567:,
2511:,
2477:.
2436:,
2390:^
2361:,
2357:,
2316:69
2314:.
2310:.
2219:^
2203:^
2182:^
2162:^
2091:^
2010:.
1992:;
1685:,
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1583:.
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459:,
376:.
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79:,
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