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Verdi Magdeburg

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Venice is not Italian? After so many victories, what an outcome It is enough to drive one mad" he wrote to Clara Maffei.

On 29 August the couple were married there, with only the coachman who had driven them there and the church bell-ringer as witnesses. I don't even know what colour my last opera is, and I almost don't remember it.

This included major work on a square room that became his workroom, his bedroom, and his office. Having achieved some fame and prosperity, Verdi began in to take an active interest in Italian politics.

His early commitment to the Risorgimento movement is difficult to estimate accurately; in the words of the music historian Philip Gossett "myths intensifying and exaggerating [such] sentiment began circulating" during the nineteenth century.

As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant.

But in fact the piece encored was not "Va, pensiero" but the hymn "Immenso Jehova". The growth of the "identification of Verdi's music with Italian nationalist politics" perhaps began in the s.

In , Verdi was elected as a member of the new provincial council, and was appointed to head a group of five who would meet with King Vittorio Emanuele II in Turin.

They were enthusiastically greeted along the way and in Turin Verdi himself received much of the publicity. On 17 October Verdi met with Cavour , the architect of the initial stages of Italian unification.

Whilst still maintaining nationalist feelings, he declined in the office of provincial council member to which he had been elected in absentia.

In the months following the staging of Ballo , Verdi was approached by several opera companies seeking a new work or making offers to stage one of his existing ones, but refused them all.

Verdi came up with the idea of adapting the Spanish play Don Alvaro o la fuerza del sino by Angel Saavedra , which became La forza del destino , with Piave writing the libretto.

The Verdis arrived in St. Petersburg in December for the premiere, but casting problems meant that it had to be postponed. Verdi had been invited to write a piece of music for the International Exhibition in London, [] and charged Boito with writing a text, which became the Inno delle nazioni.

Boito, as a supporter of the grand opera of Giacomo Meyerbeer and an opera composer in his own right, was later in the s critical of Verdi's "reliance on formula rather than form", incurring the composer's wrath.

Nevertheless, he was to become Verdi's close collaborator in his final operas. Petersburg premiere of La forza finally took place in September , and Verdi received the Order of St.

A revival of Macbeth in Paris in was not a success, but he obtained a commission for a new work, Don Carlos , based on the play Don Carlos by Friedrich Schiller.

He and Giuseppina spent late and much of in Paris, where they heard, and did not warm to, Giacomo Meyerbeer's last opera, L'Africaine , and Richard Wagner 's overture to Tannhäuser.

He is following Wagner. During the s and s, Verdi paid great attention to his estate around Busseto, purchasing additional land, dealing with unsatisfactory in one case, embezzling stewards, installing irrigation , and coping with variable harvests and economic slumps.

Verdi and Giuseppina decided to adopt Carlo's great-niece Filomena Maria Verdi, then seven years old, as their own child.

She was to marry in the son of Verdi's friend and lawyer Angelo Carrara and her family became eventually the heirs of Verdi's estate.

Aida was commissioned by the Egyptian government for the opera house built by the Khedive Isma'il Pasha to celebrate the opening of the Suez Canal in The opera house actually opened with a production of Rigoletto.

In , Verdi had been asked to compose a section for a requiem mass in memory of Gioachino Rossini. He compiled and completed the requiem, but its performance was abandoned and its premiere did not take place until The complete Requiem was first performed at the cathedral in Milan on the anniversary of Manzoni's death on 22 May She became closely associated personally with Verdi exactly how closely remains conjectural , to Giuseppina Verdi's initial disquiet; but the women were reconciled and Stolz remained a companion of Verdi after Giuseppina's death in until his own death.

In the words of his biographer John Rosselli, it "confirmed him as the unique presiding genius of Italian music. No fellow composer Verdi, now in his sixties, initially seemed to withdraw into retirement.

He deliberately shied away from opportunities to publicise himself or to become involved with new productions of his works, [] but secretly he began work on Otello , which Boito to whom the composer had been reconciled by Ricordi had proposed to him privately in The composition was delayed by a revision of Simon Boccanegra which Verdi undertook with Boito, produced in , and a revision of Don Carlos.

Even when Otello was virtually completed, Verdi teased "Shall I finish it? Shall I have it performed?

Hard to tell, even for me. Following the success of Otello Verdi commented, "After having relentlessly massacred so many heroes and heroines, I have at last the right to laugh a little.

The librettist said nothing at the time but secretly began work on a libretto based on The Merry Wives of Windsor with additional material taken from Henry IV, Part 1 and Part 2.

No one could have done better than you", he wrote back to Boito. But he still had doubts: his age, his health which he admits to being good and his ability to complete the project: "If I were not to finish the music?

If the project failed, it would have been a waste of Boito's time, and have distracted him from completing his own new opera.

Finally on 10 July he wrote again: "So be it! So let's do Falstaff! For now, let's not think of obstacles, of age, of illnesses!

The first performance of Falstaff took place at La Scala on 9 February For the first night, official ticket prices were thirty times higher than usual.

Royalty, aristocracy, critics and leading figures from the arts all over Europe were present. The performance was a huge success; numbers were encored, and at the end the applause for Verdi and the cast lasted an hour.

That was followed by a tumultuous welcome when the composer, his wife and Boito arrived at the Grand Hotel de Milan.

In his last years Verdi undertook a number of philanthropic ventures, publishing in a song for the benefit of earthquake victims in Sicily , and from onwards planning, building and endowing a rest-home for retired musicians in Milan, the Casa di Riposo per Musicisti , and building a hospital at Villanova sull'Arda , close to Busseto.

In he was deeply upset at the assassination of King Umberto and sketched a setting of a poem in his memory but was unable to complete it.

Verdi was initially buried in a private ceremony at Milan's Cimitero Monumentale. On this occasion, "Va, pensiero" from Nabucco was conducted by Arturo Toscanini with a chorus of singers.

A huge crowd was in attendance, estimated at , Not all of Verdi's personal qualities were amiable. John Rosselli concluded after writing his biography that "I do not very much like the man Verdi, in particular the autocratic rentier -cum-estate owner, part-time composer, and seemingly full-time grumbler and reactionary critic of the later years", yet admits that like other writers, he must "admire him, warts and all Budden suggests that "With Verdi He regarded journalists and would-be biographers, as well as his neighbors in Busseto and the operatic public at large, as an intrusive lot, against whose prying attentions he needed constantly to defend himself.

Verdi was similarly never explicit about his religious beliefs. Anti-clerical by nature in his early years, [] he nonetheless built a chapel at Sant'Agata, but is rarely recorded as going to church.

Strepponi wrote in "I won't say [Verdi] is an atheist, but he is not much of a believer. See also List of compositions by Giuseppe Verdi and individual articles on the works.

They do not They are able In conversation with a German visitor in he is recorded as saying that, whilst "there was much to be admired in [Wagner's operas] Tannhäuser and Lohengrin For him "philosophical" music was incomprehensible.

The earliest study of Verdi's music, published in by the Italian critic Abraham Basevi, already distinguished four periods in Verdi's music.

The early, 'grandiose' period, ended according to Basevi with La battaglia di Legnano , and a 'personal' style began with the next opera Luisa Miller.

These two operas are generally agreed today by critics to mark the division between Verdi's 'early' and 'middle' periods. The last two operas, Otello and Falstaff , together with the Requiem and the Four Sacred Pieces, then represent a 'final' period.

Verdi was to claim in his Sketch that during his early training with Lavigna "I did nothing but canons and fugues No-one taught me orchestration or how to handle dramatic music.

He may have given instructions before his death to destroy his early works. Verdi uses in his early operas and, in his own stylized versions, throughout his later work the standard elements of Italian opera content of the period, referred to by the opera writer Julian Budden as the 'Code Rossini', after the composer who established through his work and popularity the accepted templates of these forms; they were also used by the composers dominant during Verdi's early career, Bellini, Donizetti and Saverio Mercadante.

Amongst the essential elements are the aria , the duet , the ensemble, and the finale sequence of an act. The duet was similarly formatted.

Finales, covering climactic sequences of action, used the various forces of soloists, ensemble and chorus, usually culminating with an exciting stretto section.

Verdi was to develop these and the other formulae of the generation preceding him with increasing sophistication during his career.

The operas of the early period show Verdi learning by doing and gradually establishing mastery over the different elements of opera. Oberto is poorly structured, and the orchestration of the first operas is generally simple, sometimes even basic.

The success of "Va, pensiero" in Nabucco which Rossini approvingly denoted as "a grand aria sung by sopranos, contraltos, tenors and basses" , was replicated in the similar "O Signor, dal tetto natio" in I lombardi and in in the chorus "Si ridesti il Leon di Castiglia" in Ernani , the battle hymn of the conspirators seeking freedom [] [] In I due Foscari Verdi first uses recurring themes identified with main characters; here and in future operas the accent moves away from the ' oratorio ' characteristics of the first operas towards individual action and intrigue.

From this period onwards Verdi also develops his instinct for "tinta" literally 'colour' , a term which he used for characterising elements of an individual opera score—Parker gives as an example "the rising 6th that begins so many lyric pieces in Ernani ".

In the 'dagger scene' and the duet following the murder of Duncan, the forms transcend the 'Code Rossini' and propel the drama in a compelling fashion.

Tinta was for Verdi this "golden thread", an essential unifying factor in his works. The writer David Kimbell states that in Luisa Miller and Stiffelio the earliest operas of this period there appears to be a "growing freedom in the large scale structure Julian Budden expresses the impact of Rigoletto and its place in Verdi's output as follows: "Just after at the age of 38, Verdi closed the door on a period of Italian opera with Rigoletto.

The so-called ottocento in music is finished. Verdi will continue to draw on certain of its forms for the next few operas, but in a totally new spirit.

To his librettist, Cammarano, Verdi plainly states in a letter of April that if there were no standard forms—"cavatinas, duets, trios, choruses, finales, etc.

Two external factors had their impacts on Verdi's compositions of this period. One is that with increasing reputation and financial security he no longer needed to commit himself to the productive treadmill, had more freedom to choose his own subjects, and had more time to develop them according to his own ideas.

In the years to he wrote eight new operas, compared with fourteen in the previous ten years. Another factor was the changed political situation; the failure of the revolutions led both to some diminution of the Risorgimento ethos at least initially and a significant increase in theatre censorship.

Instead, Verdi experiments with a variety of means, e. Chusid also notes Verdi's increasing tendency to replace full-scale overtures with shorter orchestral introductions.

It gestures towards a level of ' realism ' Taruskin asserts this is "the most famous ensemble Verdi ever composed".

They also reflect a shift towards the French genre of grand opera, notable in more colorful orchestration, counterpointing of serious and comic scenes, and greater spectacle.

Porter notes that Un ballo marks an almost complete synthesis of Verdi's style with the grand opera hallmarks, such that "huge spectacle is not mere decoration but essential to the drama When the composer Ferdinand Hiller asked Verdi whether he preferred Aida or Don Carlos , Verdi replied that Aida had "more bite and if you'll forgive the word , more theatricality ".

Verdi's three last major works continued to show new development in conveying drama and emotion. The first to appear, in was his Requiem, scored for operatic forces but by no means an "opera in ecclesiastical dress" the words in which Hans von Bülow condemned it before even hearing it.

In the [following] Et lux perpetuum the melody spreads it wings Finally, six years later, appeared Falstaff , Verdi's only comedy apart from the early, ill-fated Un giorno di regno.

In this work Roger Parker writes that:. Although Verdi's operas brought him a popular following, not all contemporary critics approved of his work.

The English critic Henry Chorley allowed in that "he is the only modern man Verdi had no pupils apart from Muzio and no school of composers sought to follow his style which, however much it reflected his own musical direction, was rooted in the period of his own youth.

By the time of his death, verismo was the accepted style of young Italian composers. Schnell und einfach in nur wenigen Minuten erledigt.

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No Results If this is your website, sign up and get certified to get direct measurements of your site's traffic. This resulted in litigation and counter-litigation; with the legal issues resolved, Verdi was free to present the libretto and musical outline of Gustave III to the Rome Opera.

There, the censors demanded further changes; at this point, the opera took the title Un ballo in maschera. Arriving in Sant'Agata in March Verdi and Strepponi found the nearby city of Piacenza occupied by about 6, Austrian troops who had made it their base, to combat the rise of Italian interest in unification in the Piedmont region.

In the ensuing Second Italian War of Independence the Austrians abandoned the region and began to leave Lombardy, although they remained in control of the Venice region under the terms of the armistice signed at Villafranca.

Verdi was disgusted at this outcome: "[W]here then is the independence of Italy, so long hoped for and promised? Venice is not Italian?

After so many victories, what an outcome It is enough to drive one mad" he wrote to Clara Maffei.

On 29 August the couple were married there, with only the coachman who had driven them there and the church bell-ringer as witnesses.

I don't even know what colour my last opera is, and I almost don't remember it. This included major work on a square room that became his workroom, his bedroom, and his office.

Having achieved some fame and prosperity, Verdi began in to take an active interest in Italian politics. His early commitment to the Risorgimento movement is difficult to estimate accurately; in the words of the music historian Philip Gossett "myths intensifying and exaggerating [such] sentiment began circulating" during the nineteenth century.

As encores were expressly forbidden by the government at the time, such a gesture would have been extremely significant. But in fact the piece encored was not "Va, pensiero" but the hymn "Immenso Jehova".

The growth of the "identification of Verdi's music with Italian nationalist politics" perhaps began in the s. In , Verdi was elected as a member of the new provincial council, and was appointed to head a group of five who would meet with King Vittorio Emanuele II in Turin.

They were enthusiastically greeted along the way and in Turin Verdi himself received much of the publicity.

On 17 October Verdi met with Cavour , the architect of the initial stages of Italian unification. Whilst still maintaining nationalist feelings, he declined in the office of provincial council member to which he had been elected in absentia.

In the months following the staging of Ballo , Verdi was approached by several opera companies seeking a new work or making offers to stage one of his existing ones, but refused them all.

Verdi came up with the idea of adapting the Spanish play Don Alvaro o la fuerza del sino by Angel Saavedra , which became La forza del destino , with Piave writing the libretto.

The Verdis arrived in St. Petersburg in December for the premiere, but casting problems meant that it had to be postponed.

Verdi had been invited to write a piece of music for the International Exhibition in London, [] and charged Boito with writing a text, which became the Inno delle nazioni.

Boito, as a supporter of the grand opera of Giacomo Meyerbeer and an opera composer in his own right, was later in the s critical of Verdi's "reliance on formula rather than form", incurring the composer's wrath.

Nevertheless, he was to become Verdi's close collaborator in his final operas. Petersburg premiere of La forza finally took place in September , and Verdi received the Order of St.

A revival of Macbeth in Paris in was not a success, but he obtained a commission for a new work, Don Carlos , based on the play Don Carlos by Friedrich Schiller.

He and Giuseppina spent late and much of in Paris, where they heard, and did not warm to, Giacomo Meyerbeer's last opera, L'Africaine , and Richard Wagner 's overture to Tannhäuser.

He is following Wagner. During the s and s, Verdi paid great attention to his estate around Busseto, purchasing additional land, dealing with unsatisfactory in one case, embezzling stewards, installing irrigation , and coping with variable harvests and economic slumps.

Verdi and Giuseppina decided to adopt Carlo's great-niece Filomena Maria Verdi, then seven years old, as their own child.

She was to marry in the son of Verdi's friend and lawyer Angelo Carrara and her family became eventually the heirs of Verdi's estate.

Aida was commissioned by the Egyptian government for the opera house built by the Khedive Isma'il Pasha to celebrate the opening of the Suez Canal in The opera house actually opened with a production of Rigoletto.

In , Verdi had been asked to compose a section for a requiem mass in memory of Gioachino Rossini. He compiled and completed the requiem, but its performance was abandoned and its premiere did not take place until The complete Requiem was first performed at the cathedral in Milan on the anniversary of Manzoni's death on 22 May She became closely associated personally with Verdi exactly how closely remains conjectural , to Giuseppina Verdi's initial disquiet; but the women were reconciled and Stolz remained a companion of Verdi after Giuseppina's death in until his own death.

In the words of his biographer John Rosselli, it "confirmed him as the unique presiding genius of Italian music.

No fellow composer Verdi, now in his sixties, initially seemed to withdraw into retirement. He deliberately shied away from opportunities to publicise himself or to become involved with new productions of his works, [] but secretly he began work on Otello , which Boito to whom the composer had been reconciled by Ricordi had proposed to him privately in The composition was delayed by a revision of Simon Boccanegra which Verdi undertook with Boito, produced in , and a revision of Don Carlos.

Even when Otello was virtually completed, Verdi teased "Shall I finish it? Shall I have it performed? Hard to tell, even for me.

Following the success of Otello Verdi commented, "After having relentlessly massacred so many heroes and heroines, I have at last the right to laugh a little.

The librettist said nothing at the time but secretly began work on a libretto based on The Merry Wives of Windsor with additional material taken from Henry IV, Part 1 and Part 2.

No one could have done better than you", he wrote back to Boito. But he still had doubts: his age, his health which he admits to being good and his ability to complete the project: "If I were not to finish the music?

If the project failed, it would have been a waste of Boito's time, and have distracted him from completing his own new opera.

Finally on 10 July he wrote again: "So be it! So let's do Falstaff! For now, let's not think of obstacles, of age, of illnesses!

The first performance of Falstaff took place at La Scala on 9 February For the first night, official ticket prices were thirty times higher than usual.

Royalty, aristocracy, critics and leading figures from the arts all over Europe were present. The performance was a huge success; numbers were encored, and at the end the applause for Verdi and the cast lasted an hour.

That was followed by a tumultuous welcome when the composer, his wife and Boito arrived at the Grand Hotel de Milan.

In his last years Verdi undertook a number of philanthropic ventures, publishing in a song for the benefit of earthquake victims in Sicily , and from onwards planning, building and endowing a rest-home for retired musicians in Milan, the Casa di Riposo per Musicisti , and building a hospital at Villanova sull'Arda , close to Busseto.

In he was deeply upset at the assassination of King Umberto and sketched a setting of a poem in his memory but was unable to complete it.

Verdi was initially buried in a private ceremony at Milan's Cimitero Monumentale. On this occasion, "Va, pensiero" from Nabucco was conducted by Arturo Toscanini with a chorus of singers.

A huge crowd was in attendance, estimated at , Not all of Verdi's personal qualities were amiable. John Rosselli concluded after writing his biography that "I do not very much like the man Verdi, in particular the autocratic rentier -cum-estate owner, part-time composer, and seemingly full-time grumbler and reactionary critic of the later years", yet admits that like other writers, he must "admire him, warts and all Budden suggests that "With Verdi He regarded journalists and would-be biographers, as well as his neighbors in Busseto and the operatic public at large, as an intrusive lot, against whose prying attentions he needed constantly to defend himself.

Verdi was similarly never explicit about his religious beliefs. Anti-clerical by nature in his early years, [] he nonetheless built a chapel at Sant'Agata, but is rarely recorded as going to church.

Strepponi wrote in "I won't say [Verdi] is an atheist, but he is not much of a believer. See also List of compositions by Giuseppe Verdi and individual articles on the works.

They do not They are able In conversation with a German visitor in he is recorded as saying that, whilst "there was much to be admired in [Wagner's operas] Tannhäuser and Lohengrin For him "philosophical" music was incomprehensible.

The earliest study of Verdi's music, published in by the Italian critic Abraham Basevi, already distinguished four periods in Verdi's music.

The early, 'grandiose' period, ended according to Basevi with La battaglia di Legnano , and a 'personal' style began with the next opera Luisa Miller.

These two operas are generally agreed today by critics to mark the division between Verdi's 'early' and 'middle' periods.

The last two operas, Otello and Falstaff , together with the Requiem and the Four Sacred Pieces, then represent a 'final' period.

Verdi was to claim in his Sketch that during his early training with Lavigna "I did nothing but canons and fugues No-one taught me orchestration or how to handle dramatic music.

He may have given instructions before his death to destroy his early works. Verdi uses in his early operas and, in his own stylized versions, throughout his later work the standard elements of Italian opera content of the period, referred to by the opera writer Julian Budden as the 'Code Rossini', after the composer who established through his work and popularity the accepted templates of these forms; they were also used by the composers dominant during Verdi's early career, Bellini, Donizetti and Saverio Mercadante.

Amongst the essential elements are the aria , the duet , the ensemble, and the finale sequence of an act. The duet was similarly formatted.

Finales, covering climactic sequences of action, used the various forces of soloists, ensemble and chorus, usually culminating with an exciting stretto section.

Verdi was to develop these and the other formulae of the generation preceding him with increasing sophistication during his career.

The operas of the early period show Verdi learning by doing and gradually establishing mastery over the different elements of opera.

Oberto is poorly structured, and the orchestration of the first operas is generally simple, sometimes even basic.

The success of "Va, pensiero" in Nabucco which Rossini approvingly denoted as "a grand aria sung by sopranos, contraltos, tenors and basses" , was replicated in the similar "O Signor, dal tetto natio" in I lombardi and in in the chorus "Si ridesti il Leon di Castiglia" in Ernani , the battle hymn of the conspirators seeking freedom [] [] In I due Foscari Verdi first uses recurring themes identified with main characters; here and in future operas the accent moves away from the ' oratorio ' characteristics of the first operas towards individual action and intrigue.

From this period onwards Verdi also develops his instinct for "tinta" literally 'colour' , a term which he used for characterising elements of an individual opera score—Parker gives as an example "the rising 6th that begins so many lyric pieces in Ernani ".

In the 'dagger scene' and the duet following the murder of Duncan, the forms transcend the 'Code Rossini' and propel the drama in a compelling fashion.

Tinta was for Verdi this "golden thread", an essential unifying factor in his works. The writer David Kimbell states that in Luisa Miller and Stiffelio the earliest operas of this period there appears to be a "growing freedom in the large scale structure Julian Budden expresses the impact of Rigoletto and its place in Verdi's output as follows: "Just after at the age of 38, Verdi closed the door on a period of Italian opera with Rigoletto.

The so-called ottocento in music is finished. Verdi will continue to draw on certain of its forms for the next few operas, but in a totally new spirit.

To his librettist, Cammarano, Verdi plainly states in a letter of April that if there were no standard forms—"cavatinas, duets, trios, choruses, finales, etc.

Two external factors had their impacts on Verdi's compositions of this period. One is that with increasing reputation and financial security he no longer needed to commit himself to the productive treadmill, had more freedom to choose his own subjects, and had more time to develop them according to his own ideas.

In the years to he wrote eight new operas, compared with fourteen in the previous ten years. Another factor was the changed political situation; the failure of the revolutions led both to some diminution of the Risorgimento ethos at least initially and a significant increase in theatre censorship.

Instead, Verdi experiments with a variety of means, e. Chusid also notes Verdi's increasing tendency to replace full-scale overtures with shorter orchestral introductions.

It gestures towards a level of ' realism ' Taruskin asserts this is "the most famous ensemble Verdi ever composed".

They also reflect a shift towards the French genre of grand opera, notable in more colorful orchestration, counterpointing of serious and comic scenes, and greater spectacle.

Porter notes that Un ballo marks an almost complete synthesis of Verdi's style with the grand opera hallmarks, such that "huge spectacle is not mere decoration but essential to the drama When the composer Ferdinand Hiller asked Verdi whether he preferred Aida or Don Carlos , Verdi replied that Aida had "more bite and if you'll forgive the word , more theatricality ".

Verdi's three last major works continued to show new development in conveying drama and emotion.

The first to appear, in was his Requiem, scored for operatic forces but by no means an "opera in ecclesiastical dress" the words in which Hans von Bülow condemned it before even hearing it.

In the [following] Et lux perpetuum the melody spreads it wings Finally, six years later, appeared Falstaff , Verdi's only comedy apart from the early, ill-fated Un giorno di regno.

Retrieved June 9, Dienstleistungssektor im DGB wird neu zugeschnitten". Frankfurter Rundschau in German.

Handelsblatt in German. October 6, Der Tagesspiegel in German. October 9, Spiegel Online in German. November 19, Retrieved December 9, October 13, Stuttgarter Zeitung in German.

October 4, May 28, Der Spiegel in German. June 7, Rhein-Zeitung in German. January 26, General-Anzeiger in German. Berliner Morgenpost in German.

September 12, September 9, Zwei Gewerkschaften stimmen zu — Post mit Traumergebnis". Die Welt in German.

November 21, Hamburger Morgenpost in German. November 7, Retrieved August 22, November 9, November 10, March 16, March 19, Retrieved August 24, Schwäbische Zeitung in German.

March 24, Berliner Zeitung in German. July 4, Retrieved November 28, November 16, September 28, September 19, Leipziger-Volkszeitung in German.

Retrieved October 12, Statista in German. January Neue Württembergische Zeitung in German. November 6, Frankfurt am Main: Campus Verlag.

Darmstädter Echo in German. March 11,

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