Georg Pittrich

George Washington Pittrich (22 February 1870 – 17 March 1934) was a German composer and Kapellmeister.

Life

Born in Dresden, Pittrich attended the Hochschule für Musik Carl Maria von Weber from 1884 to 1890, whose curriculum included theoretical subjects and keyboard, string and wind instruments. In addition, the students were taught oratory and singing. The curriculum also included stage training.[1] The conservatory was founded in 1856 as a private teaching institution and on its 25th anniversary in 1881 the King of Saxony awarded it the title of "Royal Conservatory". His teachers at the Conservatoire[2] were Ferdinand Braunroht (1856–1913)[3] for harmony, counterpoint and piano; Felix Draeseke (1835 - 1913) for theory of form and higher composition; Adolf Hagen (1851–1926), for orchestral, compositional and directorial theory and practice in direction; Emil Robert Höpner, Kreuzorganist (1846–1903)[4] from 1885 (retired in 1902) and teacher at the Conservatory[5] for piano since 1874 and since 1 November 1885 for organ,[6] Theodor Kirchner (1823 - 1903) for score-playing, Emil Naumann (1827–1888) for music history, and Bertrand Roth (1855–1938) for piano as a special subject.[7] Pittrich received an organ prize donated by the Dresden City Council in 1888 after six months of organ lessons with Emil Höpner.[8]

On the occasion of the 40th anniversary of the assumption of patronage of the Dresden Conservatory by the Crown Prince of Saxony, in 1898, in the presence of the now King Albert of Saxony, two songs composed by Pittrich were performed at the festive event, among others: Hoffnung and Du allein.[9]

At a concert given by the Conservatoire in the autumn of 1888, Pittrich played the Prelude and Fugue for Organ in B minor by Johann Sebastian Bach and the Sonata for Organ, for Four Hands, in D minor by Gustav Merkel[10] together with his fellow pupil Paul Claußnitzer from Niederschöna, who had also attended Höpner's organ lessons and also received the school-leaving certificate as an organist.[11]

In July 1890, Pittrich took part in a song recital in Schandau. He played at the grand concert the Sonata in A flat major, Op. 110, 1st movemen by Beethoven and an Etude in C minor by Chopin, as well as a work composed by himself, a Nocturne in F sharp major.[12]

After his musical training, which he completed with distinction, Pittrich obtained a position as répétiteur at the Semper Opera in Dresden in 1890. At theatre rehearsals, he had to accompany the actors by playing the piano instead of the orchestra. Outside of his full-time occupation, the young pianist was temporarily active in 1892 as director or conductor of the Dresden male choral society "Liedergruß"[13] in "Meinholds Säle" with practice hours once a week.[14]

He also filled the position of music teacher at the Saxon Court from 1895 to 1898.[15] In this capacity, George Washington Pittrich was temporarily the teacher of the then Crown Princess at the Saxon Royal Court, Archduchess Louise of Austria.[16]

Collaboration in the Tonkünstler-Verein

Pittrich joined the Tonkünstler-Verein zu Dresden, founded in 1854, as a pianist and composer after completing his studies at the Hochschule für Musik Carl Maria von Weber in 1890,[17] which also had members from outside.[18] He became acquainted with musical works there that had not been rehearsed before, educated himself by making music together and presented his own compositions. The Fantasy for Pianoforte and String Orchestra, composed by him and at that time only available as a manuscript, was performed by Pittrich for the first time in 1893 at a practice session of the association.[19] Songs composed by him were performed in 1898 with his participation at the piano. As a singer, Ernst Wachter (1872–1931) from the Semperoper in Dresden made himself available to the Tonkünstler-Verein as a singer.[20] As Kapellmeister in Hamburg[21] and Frankfurt,[22] Pittrich is named in the reports on the Tonkünstler-Verein as a foreign member, after he was still listed as répétiteur and composer in the membership directory among the Dresden artists in the reporting year 1897/98.[23]

Awards

Pittrich was awarded the certificate of maturity as a pianist, composer and conductor by decision of the teaching staff of the Conservatory on 16 March 1890,[24] having already received the certificate as organist the year before.[25] As a composition student from the class of the Conservatoire's teacher Felix Draeseke, he received an award from the Frederick Pudor Foundation in the 1989/90 school year for the sheets music of the Mass in B minor by Johann Sebastian Bach and the music A Midsummer Night's Dream by Felix Mendelssohn Bartholdy to William Shakespeare's eponymous play.[26] He received a prize certificate for excellent performance as a piano player from the piano class of Bertrand Roth.[27]

In 1894, the composer and répétiteur at the Court Theatre was awarded the Royal Saxon Order of Merit, the Albert Order.[28] It was the year in which the opera Marga,[29] composed by Pittrich, was performed in Dresden at the beginning of February and "achieved a complete success".[30]

Accident

Pittrich was bitten by a poisonous snake on the Baltic Sea near Lohmen on Rügen in August 1894. This caused his hand and arm to swell dangerously up to the armpit. He had to travel to Greifswald, "where a university professor was able to counteract the blood poisoning with effective remedies", the German-language American newspaper the Indiana Tribune reported promptly from Saxony on 23 August about the "Correpetitor der Königl. Hofoper Georg Pittrich" in Dresden.[31] "It would not have taken much for the young artist to meet an untimely end," wrote the Dresden writer and editor Roeder on the accident of Pittrich, then a member of the "Königliche musikalische Kapelle" and a young composer. Philipp Ernst Roeder (1862–1897) also mentioned in the biographical sketch that it was the bite of a viper on the island of Rügen, which the Greifswald University Hospital successfully treated.[32]

A year earlier, Pittrich was introduced to the newspaper readers of the Indiana Tribune as a "young composer" in connection with the announcement of his one-act opera "Mara"[33] presented as the "first new production at the Dresden Court Opera". In doing so, the news from Dresden highlighted the first-class cast, e.g. with the Kammersängerin Therese Müller (1850 - 1930), called Malten.[34]

At the piano, Pittrich accompanied Dresden singers at out-of-town performances, such as the Royal Saxon Court opera singer Maria Bossenberger (1872–1919) on 29 March 1898 when she performed Lieder in Leipzig as part of the Liszt-Vereinskonzerte.[35]

Kapellmeister at several German theatres

Following his musical activity as a répétiteur at the Dresden Court Theatre, Pittrich became a conductor at various German theatres, including Hamburg (from 1898), Frankfurt (from 1901)[36] in Dresden at the Central-Theater (from 1904). Pittrich first stood at the conductor's podium in Berlin in 1911, when the operetta Der verbotene Kuss was performed in the ancient Alte Komische Oper Berlin, reported the Berlin journalist Leo Heller (1876–1941).[37] In the spring of 1912, the "Central-Theater" in Dresden hosted the "farewell benefit" in favour of the "long-time popular Kapellmeister", who went "as conductor to Berlin's Wintergarten".[38]

During his time as 1st Kapellmeister at the Berlin Wintergarten theatre[39] and composer, Pittrich lived in the then rural community of Zehlendorf just outside the capital.[40]

From 1914, Pittrich worked in Nuremberg. There, he was Kapellmeister at the Stadttheater from 1922. He also worked as a teacher of role studies at the Nuremberg Conservatory.[41] In Nuremberg, Pittrich called himself by his first names George Washington, as the official address book in Dresden already recorded him by name.[42]

With his Christian name "George Washington", Pittrich became known as a composer in the US as well as in England.[43] The Einwohnerbuch Nürnberg 1928 identifies "G. Pittrich" as a Kapellmeister as well as a conductor, in particular he was active at that time as a "choral director" at the local Alten Stadttheater.[44] Pittrich's birthday coincided with that of the first American President George Washington on 22 February and so it happened that his father Carl Gottlob, later Gottlieb, Pittrich (1831–1908),[45] who at that time was "employed by the American Club",[46] gave him the president's name as his first name.[47]

Creations

The composer earned his first fee with the commission to create music for Schiller's The Maid of Orleans. The 21-year-old rehearsed his composition with the court orchestra and conducted the orchestra himself when the drama was first performed in Dresden in 1891.[48] The composer dedicated two of his songs, the "Wiegendlied" and the song Mägdlein, nimm dich in Acht to the Royal Saxon Chamber Singer Clementine von Schuch-Proska (1850–1932)[49] which appeared in autumn 1891 and became "immediately popular".[50]

Pittrich wrote music for operas and plays. For example, under the name Georg Pittrich, he composed the music belonging to the plot for the play Das Märchen vom Glück,[51] whereby the right to perform and the sheet music could be obtained from the author, Adele Osterloh through the mediation of E. Pierson's Verlagsbuchhandlung in Dresden and Leipzig.[52] The music critic and writer Friedrich Adolf Geißler (1868–1931) judged Pittrich to be a "highly gifted and energetic Kapellmeister"[53] and referred to his "musically excellent" preparation of the performance of Franz Lehar's operetta Der Mann mit den drei Frauen at the Central-Theater Dresden.

Previously, the music critic Geißler attested to Kapellmeister Pittrich that he had "proved himself as a finely sensitive, secure and spirited conductor in the best possible way", referring to the first performances of Die Dollarprinzessin by Leo Fall and Heinrich Berté's operetta Der kleine Chevalier in Dresden in 1907 by the Zentraltheater.[54] Among the successful compositions of Pittrich's Dresden period was the music for the Christmas fairy tale Die Mäusekönigin or Wie der Wald in die Stadt kam,[55] for which F. A. Geißler wrote the text. The play saw its 25th performance at the Dresden Central Theatre on 4 January 1906.[56] The music critic Ludwig Hartmann (1836–1910) praised Pittrich as a "talented conductor" who "worked discipline and delicacy out of the original vaudeville orchestra" of the Dresden Central Theatre, and he referred to the quality of the conducting of Leo Fall's (1873–1925) operetta The Merry Farmer in 1909.[57]

Portrait

A portrait of the composer Georg Pittrich was published in the official journal of the Deutscher Bühnenverein Bühne und Welt in 1899/1900.... He is characterised there by Goby Eberhardt[58] as "a talented young musician whose opera Marga met with great acclaim in Dresden."[59] As a young musician, Pittrich – dressed in tailcoat and white dress shirt with black bow tie, resting his left hand on a dresser and touching his waistcoat with his right hand on the pocket watch chain – was portrayed by the Royal Saxon and Royal Prussian court photographer Wilhelm Höffert. A bust portrait of this motif was published in 1896 in the biographical-critical sketches of the Dresden Court Theatre.[60]

Court supplier Höffert advertised with the coats of arms of the Saxon and Prussian ruling houses as well as that of the Prince of Wales on the cabinet photo.[61]

A hip picture of Pittrich,[62] photographed in 1902 by the court photographer Arthur Marx[63] in Frankfurt, has been in the collection of the Stadt- und Universitäts-Bibliothek there since 2003.[64] At that time, Pittrich worked as 2nd Kapellmeister of the united municipal theatres in Frankfurt, especially from 1901 at the opera house. The contemporary Theatre Memorial printed a portrait photo of him and it called the Kapellmeister by his first and family name "Georg Pittrich"[65] while in the address book for 1902 he was entered with the name "Pittrich George W."[66] The portrait in the "Theatre Memorial" shows Pittrich with a moustache in a dark suit, standing in front of a round table while leaning with his right hand on a book lying there.[67] In May 1901, when Pittrich was still working in Hamburg as Kapellmeister,[68] he had a print of the original of the soprano Bianca Bianchi, actually widowed Pollini († 1897), née Bertha Schwarz, (1855–1947) on the occasion of her farewell from the stage with a handwritten dedication on the back.

Legacy

Pittrich died in Nuremberg at the age of 64. As early as 1931, he was listed in his last function as "head of the drama music" and no longer as "choral director" as still in 1930[69] at the "Vereinigte Städtische Theatern Nürnberg-Fürth". His flat was at Campestraße 4 in the Nuremberg district of Sankt Johannis.[70]

The Nuremberg musicologist Wilhelm Dupont (1905–1992) compiled an index of the composer Pittrich's works between 1890 and 1908.[71]

In an obituary of the Genossenschaft Deutscher BühnenAngehöriger[72] for the dead from the month of March 1934, the editor emphasised with Pittrich that he had made "many friends".[73]

The eldest son of George Washington Pittrich and his wife Else, née König, the actor Fritz Pittrich (born 1904), worked at the Städtische Bühnen Nuremberg as stage manager and actor[74] when G. Pittrich ceased to be chief conductor and Kapellmeister there.[75]

Concert timpani with hand-hammered copper kettles in kettle sizes according to the Pittrich-Dresdner tradition go back to an invention[76] of his father Carl (also Karl) Pittrich, when he was orchestra servant of the court orchestra in Dresden in 1881.[77] Since 1872, Pittrich developed a construction with which the skin tension of the timpani is regulated by pedal steps and not by a crank.[78]

The association STRASSE DER MUSIK, founded in 2009 in Halle (Saale), included Georg Pittrich in the List of Central German Composers' Jubilees ... for the year 2020 on the occasion of his 150th birthday.[79]

The surname Pittrich is the Upper German form of the name Bittrich, Middle High German: büterich and means something like "a bulbous drinking vessel", but was also used as a derisive name for the "well-off"..[80]

Work
  • Was ihr wollt. Three songs for voice and piano; Opus 4[81]
  • Music for the plot of Die blonde Kathrein. Ein Märchenspiel nach Andersen von Richard Voß[82]
  • Song Hoffnung, for one singing voice with pianoforte; Opus 18[83]
  • Coronation March from The Maid of Orleans[84]
  • Schlafe, mein Söhnchen, schlaf bald. Lullaby for Voice and Piano[85]
  • Kegelbrüder-Marsch[86]
  • Serenade for small orchestra, Opus 21, date of composition around 1899.
  • Music for Das Märchen vom Glück, play in four acts, poetry: Adele Osterloh
  • Music for Marga, opera in one act, performed in Dresden in 1894 under Ernst von Schuch[87]
  • Three Songs for Male Choir, Opus 35: Always stirring, always moving; Mir ist, als ob der Frühling; Du lieber goldner Sonnenschein.[88]
  • Trompeterständchen for B-flat trumpet (cornett with piano, Opus. 37.[89]
  • Ich hab auf meiner Wanderung. Wanderlied for male voice and piano; Opus 38.[90]
  • Barcarole, Opus 41, work for violin with piano accompaniment, first published 1901,[91].
  • Abendlied, Opus 42, Deutsche Lokal-Nachricht publication c. 1902[92]
  • Pechvogel und Lachtaube. Tanzmärchen nach Texten von Karl Scheidemantel.[93]
  • Abendlied for string orchestra. Opus 42[94]
  • Alexander March for piano. Opus 60[95]
  • Central-Theater-Marsch for piano; date of composition 1905[96]
  • Music for the Christmas fairy tale The Mouse Queen c. 1905/06.
  • Music for: The Star of Bethlehem. Ein deutsches Weihnachts- und Krippenspiel in vier Bildern by F. A. Geißler c. 1908[97]
  • Hussarenfieber, march for orchestra or piano, date of composition 1908[98]
  • Beethoven: I invite you to a serious celebration[99]
  • Music for Princess Turandot. Subtitled Schaurette nach Carlo Gozzi by Waldfried Burggraf, who composed it in 1923 under the pseudonym Friedrich Forster.[100]
  • Music for the ballet Pechvogel und Lachtaube: pantomimisches Tanzmärchen by Karl Scheidemantel (1859-1923)[101]

References
  1. Lexis, W.: Die Hochschulen für besondere Fachgebiete im Deutschen Reich, Berlin 1904, p. 219, section: "Königliches Konservatorium für Musik und Theater in Dresden", p. 219, DNB-IDN 580947998.
  2. Reports of the Royal Conservatoire of Music in Dresden. Studienjahre 1884/85 bis 1989/90. Dresden 1885–1890; Numbered SLUB Dresden
  3. Hugo Riemanns Musik-Lexikon, 8th completely revised edition, Berlin/Leipzig 1916, p. 116, keyword: Braunroth, Ferdinand; DNB-IDN 974801100
  4. inscription of the grave cross at the Alter Annenfriedhof in Dresden; grave Höpner
  5. Report of the Königl. Konservatorium für Musik zu Dresden, Schuljahr 1879/80, p. 4
  6. Report of the Königl. Konservatorium für Musik zu Dresden, Schuljahr 1885/86, p. 4
  7. keyword: Pittrich, George Washington in Grande Musica – A Digital Library for Music Lovers (English), net/musical-biographies-p-3/pittrich-george-washington Short biography: Pittrich, George Washington
  8. "Georg Pittrich" in Roeder, Ernst: Das Dresdner Hoftheater der Gegenwart. Biographical-critical sketches of the members. E. Person's Verlag, Dresden/Leipzig, 1896, p. (271–280) 272
  9. Der Klavier-Lehrer. Musikpädagogische Zeitschrift. Organ of the German Music Teachers' Associations and the Tonkünstler Associations of Berlin, Cologne, Dresden, Hamburg and Stuttgart. Published by Prof. Emil Breslaur, No. 6, 15 March 1898, XXI volume, p. 78 column 1
  10. Neue Zeitschrift für Musik, 1 October 1888; at/cgi-content/anno?aid=nzm&datum=18881017&seite=8&zoom=33&query=%22Pittrich%22&ref=anno-search No. 42 p. 458
  11. Bericht des Königl. Conservatoriums für Musik zu Dresden, 1888/89, p. 11 (Clausnitzer) and p. 12 (Pittrich) as well as p. 32 (both organists).
  12. Neue Zeitschrift für Musik, Organ des Allgemeinen Deutschen Musikvereins, 57th year (vol. 86), Leipzig 1890, p. 413
  13. "Georg Pittrich" in Roeder, Ernst: Das Dresdner Hoftheater der Gegenwart. Biographical-critical sketches of the members. E. Person's Verlag, Dresden/Leipzig, 1896, pp. (271–280) 279
  14. Address Book Dresden 1892, 2nd Part, V. Section, p. 148 Column 2; Numerized SLUB Dresden
  15. Hugo Riemann's Musik-Lexikon. 11th ed. vol. M–Z, edited by Alfred Einstein, Max Hesses Verlag, Berlin 1929, pp. 1398 f. Keyword: "Pittrich, George Washington"
  16. Deutsches Bühnen-Jahrbuch, vol. 46, [Theatergeschichtliches Jahr- und Adressenbuch]. Editor: Genossenschaft der deutschen Bühnen-Angehörigen, Berlin 1935: Nachruf für Georg Pittrich, Choral director, composer p. 57
  17. Record of G. Pittrich according to "Bericht über den Tonkünstler-Verein zu Dresden", vol. [37] 1890/91, p. 8
  18. Reports on the Tonkünstler-Verein zu Dresden; Numeriized of the SLUB Dresden
  19. Pittrich at the practice session of 27 February 1893 according to the "Bericht über den Tonkünstler-Verein zu Dresden", vol. [43] 1896/97, p. 25
  20. "Bericht über den Tonkünstler-Verein zu Dresden", vol. [44], 1897/98, p. 23; Numbered SLUB Dresden
  21. "Bericht über den Tonkünstler-Verein zu Dresden", vol. [46], p. 45
  22. "Bericht über den Tonkünstler-Verein zu Dresden", vol. 47] 1900/01, p. 49
  23. "Bericht über den Tonkünstler-Verein zu Dresden", vol. [44], p. 48
  24. 19th Report of the Royal Conservatory of Music in Dresden, 34. Studienjahr 1889/90, Dresden 1890, p. 36
  25. 18. Bericht des Königl. Conservatoriums für Musik in Dresden, 33rd Academic year 1889/90, Dresden 1889, p. 32
  26. 19th Report of the Royal Conservatory of Music in Dresden, 34th academic year 1889/90, Dresden 1890, p. 40
  27. 19. Bericht des Königl. Conservatoriums für Musik in Dresden, 34th academic year 1889/90, Dresden 1890, p. 37
  28. Address Book. Wohnungs- und Geschäftshandbuch der Königlichen Haupt- und Residenzstadt Dresden für das Jahr 1895. Bearbeitet mit Unterstützung der Königlichen Polizei-Direction, vol. 41, Dresden [1994], (printing started 5 November 1894, finished 24 December 1894); slub-dresden.de/werkansicht/dlf/75669/616/ 1 Part II. section p. 566 under Pittrich, Gg. Washington
  29. Marga : Oper in einem Aufzuge on Library of COngress
  30. "Georg Pittrich" in Roeder, Ernst: Das Dresdner Hoftheater der Gegenwart. Biographisch-kritische Skizzen der Mitglieder. E. Person’s Verlag, Dresden/Leipzig, 1896, pp. (271–280) 275
  31. Indiana Tribune, Published in Indianapolis, 17th volume of 23. August 1894, p. 2; Deutsche Lokal-Nachricht aus Dresden
  32. "Georg Pittrich" in Roeder, Ernst: Das Dresdner Hoftheater der Gegenwart. Biographisch-kritische Skizzen der Mitglieder. E. Person’s Verlag, Dresden/Leipzig, 1896, pp. (271–280) 280; Reprint 2010: ISBN 978-1-160-35945-0
  33. Memorised is the one-act opera Marga: Title page: Marga. Opera in one performance. Music by Georg Pittrich
  34. Indiana Tribune, 17th volume, No. 38, 26 October 1893, p. 2 News headline: From Dresden one writes
  35. Signale für die musikalische Welt, 1898; p. 386
  36. According to Der Humorist. Zeitschrift für die Theater- und Kunstwelt, Vienna 1901, (p. 6) Pittrich conducted for the first time the newly rehearsed William Tell by Rossini on Easter Monday 1901 in Frankfurt, onb.ac.at/cgi-content/anno?aid=hu1&date=19010420&query=%22Georg%22+%22Pittrich%22&ref=anno-search&page=6 Frankfurter Theaterbrief of 15 May 1901
  37. Der Humorist. Zeitschrift für die Theater- und Kunstwelt, Vienna, No. 20, 10 July 1911, p. 4; report from Berlin
  38. Der Humorist, XXXII. Jahrgang, Vienna, 1 April 1912, No. 10, p. 7; Zeitschrift für die Theater- und Kunstwelt
  39. Hugo Riemann's Musik-Lexikon, Eighth completely revised edition, Berlin/Leipzig 1916, p. 855, keyword: "Pittrich"; DNB-IDN 974801100
  40. Berliner Adressbuch, 1913 edition, Part I, p. 2347 column 4; Burgrafenstr. 15 and after a change of residence at Charlottenburger Str. 2
  41. Grieb, Manfred H. (ed.): Nürnberger Künstlerlexikon: visual artists, craftsmen, scholars, collectors, cultural workers and patrons from the 12th to the mid-20th century, vol. 2, Biographical Articles H–Pe, p. 1153, keyword: Pittrich, George Washington; ISBN 978-3-11-091296-8
  42. For example, in the 1905 volume Numerized of the SLUB Dresden
  43. Elson, Arthur (1873–1940): The Book of Musical Knowledge, Boston/New York 1915, p. 245; [Gardners Books 2007; Reprint: Nabu Press 2010], org/title/book-of-musical-knowledge/oclc/1041608800 WorldCat
  44. Einwohnerbuch Nürnberg 1928. Verlag des Fränkischen Kuriers (O.E. Rauhenzahner); W. Tümmels (Druck), Nürnberg
  45. The former ("departed") military musician lived with his family at 22 Victoriastrasse, Dresden, around 1870; Adress- und Geschäftshandbuch der königlichen Haupt- und Residenzstadt Dresden, 1871, p. 234 column 2
  46. It probably means the "American Emigrants Compagnie"
  47. "Georg Pittrich" in Roeder, Ernst: Das Dresdner Hoftheater der Gegenwart. Biographisch-kritische Skizzen der Mitglieder. E. Person’s Verlag, Dresden/Leipzig, 1896, pp. (271–280) 271
  48. "Georg Pittrich" in Roeder, Ernst: Das Dresdner Hoftheater der Gegenwart. Biographical-critical sketches of the members. E. Person's Verlag, Dresden/Leipzig, 1896, pp. 271–280 273f.
  49. Title collection by Hofmeister, Friedrich: Musikalisch-literarischer Monatsbericht, volume 1891, p. 378; apm=0&aid=1000001&bd=0001891&part=0203&page=00000378&zoom=2 Numerized: Österreichische Nationalbibliothek (ÖNB) ANNO-Buch
  50. "Georg Pittrich" in Roeder, Ernst: "Das Dresdner Hoftheater der Gegenwart. Biographical-critical sketches of the members. E. Person's Verlag, Dresden/Leipzig, 1896, pp. (271–280) 274;
  51. Das Märchen vom Glück von Erich Kästner
  52. Contemporary advertisement from 1900 [p. 120]; reprint, printed in Wrocław: The Merry Farmer, published by Adamant Media Corporation, Elibron Classics; ISBN 0-543-77124-5
  53. in Die Musik. Publisher: Bernhard Schuster, vol. XXVII (1907/08); published by Schuster und Loeffler, Berlin/Leipzig 1907/1908, p. 244
  54. Die Musik. Published by Schuster & Loeffler, Berlin, VII. year, 1907/1908, issue 10, Second February issue, p. 234
  55. Die Mäusekönigin oder Wie der Wald in die Stadt kam: on Google Books
  56. Dresdner Journal, 1906, No. 1, 2 January (nocturnal edition), p. 6 Wikisource
  57. Dresdner Neueste Nachrichten, 23 March 1909, p. 1 Kleines Feuilleton
  58. This is Johann Jakob Eberhardt (1853–1926) musician and author
  59. Elsner, E. u. G. Elsner (eds.): Bühne und Welt, II. volume I. Half-year October 1899 to March 1900, Berlin 1900, p. 396 bzw. 400
  60. Image "Georg Pittrich", in Roeder, Ernst: Das Dresdner Hoftheater der Gegenwart. Biographical-critical sketches of the members. E. Person's Verlag, Dresden/Leipzig, 1896; portrait plate between pages 272 and 273
  61. Sammlungen der Stadt- und Universitäts-Bibliothek Frankfurt am Main; "Kniestück", Signature of the Original: S 36/F09534
  62. Collections of the University Library (UB) Frankfurt; postcard format
  63. Mahlau's Frankfurter Adressbuch, 34th volume (1902); query=Addressbook%201902 p. 264 Sp. 2; Numerized: Collections of the UB Frankfurt
  64. Signature of the original: S 36/F05762
  65. Hartwig, Georg: Theater-Memorial der vereinigten Stadttheater zu Frankfurt, Leipzig 1902, p. 23 "Personalverzeichnis Oper",
  66. Mahlau's Frankfurter Adressbuch, 34. Jahrgang (1902); p. 312 sp. 2; Numerized: Collections of the UB Frankfurt
  67. Note under the picture: "Original by W. Höffert, Hofphotograph. Hamburg."
  68. Hamburger Adress-Buch 1901; Numerized dof the SUB Hamburg
  69. Deutsches Bühnen-Jahrbuch, vol. 41, publisher: "Genossenschaft Deutscher Bühnen-Angehöriger" for 1930
  70. Pittrich, George Washington on BMLO
  71. Dupont, Wilhelm: Werkausgaben Nürnberger Komponisten in Vergangenheit und Gegenwart, Nuremberg 1971; pp. 247–251; DNB-IDN 730452980
  72. Deutsches Bühnen-Jahrbuch, vol. 46, 1935, Register p. 48, column 2 [Theatre History Yearbook and Address Book]. Publisher: Genossenschaft der deutschen Bühnen-Angehörigen
  73. Deutsches Bühnen-Jahrbuch, vol. 46, publisher: "Genossenschaft Deutscher Bühnen-Angehöriger", 1935, p. 57
  74. Ulrich, Paul S.: Biographisches Verzeichnis für Theater, Tanz und Musik, Vol. 2, Berlin 1997, keywords: Pittrich, Fritz and Pittrich, George Washington; DNB-IDN 951318594
  75. For a time, the Pittrichs lived together in Nuremberg's Campestraße; Deutsches Bühnen-Jahrbuch, vol. 45, publisher: Genossenschaft Deutscher Bühnen-Angehöriger 1934, p. 32, Fritz Pittrich Campestr. 4 in Nuremberg.
  76. German Imperial Patent (DRP) No. 15199 from 1881
  77. Adress- und Geschäfts-Handbuch, Dresden 1881; slub-dresden.de/werkansicht/dlf/76172/357/ Numerized of the SLUB Dresden
  78. Sachs, Curt: Real-Lexikon der Musikinstrumente, zugleich ein Polyglossar für das gesamte Instrumentengebiet. [Reprographic reprint of the edition Berlin 1913] Hildesheim 1962, p. 294 keyword: "Pedalpauke"; DNB-IDN 454248660
  79. STRASSE DER MUSIK E.V., Hegelstr. 73, 06114 Halle (Saale); PDF
  80. Bahlow, Hans: Deutsches Namenlexikon, p. 67 Spalte 2; ISBN 3-8112-0294-4
  81. W. Bock's Verlag, Dresden [1892]
  82. Theaterzettel, Weimar, Hoftheater, from 06.12.1901-06, with persons involved in the plot; Deutsche digitale Bibliothek
  83. W. Bocks Verlag [1896]
  84. Published by J. G. Seeling, Dresden [1896]
  85. Published by J. G. Seeling, Dresden [1897]
  86. Published by J. G. Seeling, Dresden [1898]
  87. Opera poetry: Arno Spies; Print: Königliche Hofbuchdruckerei von C.C. Meinhold & Söhne, Dresden
  88. Published by Fritz Schuberth jr, Leipzig [1900]
  89. Verlag Schott, Mainz 1900; new edition for orchestra, Mainz 1904
  90. (Musik-)Verlag Benjamin, Hamburg 1901
  91. Title page: The piece is also suitable for flute or oboe with piano accompaniment
  92. Musikverlag Fr. Kistner & C. F. W. Siegel, Brühl
  93. Verlag Schott, Mainz [1902]
  94. Publisher Fr. Kistner, Leipzig [1903]
  95. Published by Max Franz Aichwalder, Vienna [1904]
  96. Opus 66 according to Dupont, Wilhelm: Werkausgaben Nürnberger Komponisten in Vergangenheit und Gegenwart, Nuremberg 1971; p. 250
  97. Geißler, Friedrich Adolf (1868-1931), [libretto] Berlin: Felix Bloch Erben publishing house; Hanover: Musikverlag Oertel; GVK title record
  98. Opus 82 according to Dupont, Wilhelm: Werkausgaben Nürnberger Komponisten in Vergangenheit und Gegenwart, Nuremberg 1971; p. 251
  99. Sixth Supplement to the Special Handbook. An alphabetically arranged index of all mixed potpourris (fantasies and quodlibets) of melodramatic works (with pianoforte accompaniment), works for the left hand as well as works for the accompaniment of children's instruments cover the period from August 1901 to February 1910, compiled and edited by Ernst Challier, Giessen 1910, melodramas p. 121 Numbered
  100. Published by Oesterheld & Co., Berlin 1925 [1924 edition]
  101. Towards the Stages Manuscript; Pantomimic Dance Tale. GVK title record
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