Top 15. Best Tourist Attractions in Weimar - Travel Germany
Top 15. Best Tourist Attractions and Beautiful Places in Weimar - Travel Germany: Park an der Ilm, Goethe National Museum, Herzogin Anna Amalia Bibliothek, Markt, Chateau of Belvedere, Schillerhaus on Schillerstrasse, Schlossmuseum, Goethes Gartenhaus, Church of St. Peter and St. Paul, Bauhaus Museum, Liszt House, Jakobskirchhof, Theaterplatz, Bauhaus-Universitat, Russian Orthodox Chapel
Two Kingdoms in the Third Reich - Professor Alec Ryrie
Nazism was not a Christian movement in any meaningful sense
German Protestants of the 1920s and 1930s shared many Nazi assumptions and voted disproportionately for the Nazi party, partly in the hope that they might use it for their own ends. One result was the German Christian movement, which tried to create a dejudaised Christianity which the Nazi state would accept with a place in the coming Aryan utopia. Many moderate, sensible Christians in Germany, even in the supposedly anti-Nazi 'Confessing Church', collaborated with the regime in other ways. This lecture will explore how so many Christians came to support Nazism, and how some managed to oppose it.
The transcript and downloadable versions of the lecture are available from the Gresham College website:
Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.
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Weimar Germany: Stabilisation & Depression, 1923-1932 pt1 Dr.Moritz Foellmer
The History Faculty - University lectures for secondary schools
威瑪-德國(8) Weimar-Germany.1919年世界歷史上第1部民主憲法的誕生地.Full HD 1080p
,威瑪 德國 Weimar Germany
威瑪（Weimar）位於德國中部的聯邦州圖林根，埃特斯山的山腳，伊爾姆河的河畔。德國歷史上第一個統一共和國——威瑪共和國和歷史上第一部民主憲法正是在這裡誕生。這裡是現代設計——包豪斯的發源地，對世界藝術與設計的發展有着巨大的貢獻。雖然它僅有6萬人口，但卻是一座風景優美、古色古香充滿着文化氣息的都市。這裡有着各種各樣的博物館，在宮殿博物館和市立博物館裡有很多國家收藏的藝術品。在德國的國家大劇院前面有著名雕刻家恩斯特·里徹爾所創作的歌德和席勒紀念雕像。1998年，「古典威瑪」（Classical Weimar）被列為世界文化遺產。
威瑪的地理位置位於圖林根盆地的南沿和圖林根森林的北端，離州府愛爾福特有20公里，東邊不遠便是聞名的大學城耶拿。最高點是海拔486.2米的布痕瓦爾德（Buchenwald）的鐘樓。(資料摘自維基百科).
Russia - Gotha Collection Discovered
T/I: 10:43:03
Amid a growing public debate over the ownership of priceless
paintings taken from Germany during World War II, another
collection of German cultural treasures has been discovered in
Moscow. Books from the world-famous Gotha collection were uncovered
in the dark, damp storerooms of Moscow's Yasenevo Russian Orthodox
Church, which is used as the book repository of the Russian
Academy of Sciences. Among the books are literary treasures from
France, Germany, England and Holland dating from the 14th century
to the 19th century.
SHOWS:
MOSCOW, RUSSIA, RECENT
main entrance to Yasenevo church
church windows
cu of books pile up
sot Irina Tsikol, expert from institue of literature speaking in
Russian saying we cannot save and properly protect these
masterpieces. they are dying and we need state support to care
for them
pile of books
cu books
cu of pidgeon droppings on bookshelves
open book
cu of official stamp on book
stack of books
books opened for display
cu of damage to spine
ws stack of books
2.03
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Weimar's Grand Ducal Palace, Weimar (Germany) - Travel Guide
Take a tour of Weimar's Grand Ducal Palace in Weimar, Germany -- part of the World's Greatest Attractions travel video series by GeoBeats.
Weimar is a city in central Germany that was once the capital of the Duchy of Saxe-Weimar.
While this duchy existed, the home of the duke and, later, the Grand Duke was Weimar's Grand Ducal Palace.
Construction on the palace, which was on the site of an older structure, was started in 1789 and was completed by 1803.
The most distinctive piece of the palace building is the beautiful clocktower that branches from its side.
This tower is built using part of the castle that had previously stood here for several centuries.
Though the Weimar Grand Ducal Palace is not as large as some palaces, it is a wonderfully elegant dwelling place.
Saphire & weimaR - Ave Maria (Desert Church Mix)
Saphire & weimaR - AVE MARIA (Desert Church Mix) [SAW 20 Records]
ARTISTS: DJ Saphire and Werner Weimar – Music producers from Germany
DJ Saphire:
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weimaR:
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Album: Saphire & weimaR - AVE MARIA
Format: MP3
Genre: Electronic / Trance; 140 BPM
Release Date: 16 Mar 2009
Download this music track here:
→
ORIGINAL AUTHOR: Franz Schubert (1797-1828) – Austrian composer from Himmelpfortgrund (Vienna), Austria
»
»
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'AVE MARIA' (1825) by Schubert:
»
LYRICS (latin):
Ave Maria
Gratia plena
Maria, gratia plena
Maria, gratia plena
Ave, ave dominus
Dominus tecum
Benedicta tu in mulieribus
Et benedictus
Et benedictus fructus ventris
Ventris tuae, Jesus
Ave Maria
Ave Maria
Mater Dei
Ora pro nobis peccatoribus
Ora pro nobis,
Ora, ora pro nobis peccatoribus
Nunc et in hora mortis
Et in hora mortis nostrae
Et in hora mortis nostrae
Et in hora mortis nostrae
Ave Maria
(Franz Schubert original song - full version)
PICTURE: 'The Blessed Virgin Mary, mother of Jesus'
God's Loving Touch by Dona Gelsinger
»
German (Lutheran) church at St. Petersburg
German church (Evangelic-Lutheran church at St. Petersburg, Russia.
During the Soviet times this building was used as a swimming pool.
What neo-Nazis have inherited from original Nazism | DW Documentary (neo-Nazi documentary)
What resemblance do today’s ethnonationalistic ideologies bear to those which surged during the rise of the Nazis in the Weimar-era? Quite a lot, this documentary shows. Germany’s far-right neo-nazi scene is now bigger than at any time since National Socialism.
History may not repeat itself, but one can still learn from it. The years of the Weimar Republic were scarred by post-war trauma, political extremism, street fighting, hyper-inflation and widespread poverty. But they also saw economic boom, the establishment of a liberal democratic order and a parliamentary party system. Nobody could really imagine that the Nazis would brush aside the achievements of this young democracy just a few years later. But there were signs, warnings even that all was not well.
So how does that resonate today? How do today’s right-wing populist movements and parties achieve their political aims? Which slogans, images and stereotypes played a role then, and which ones are playing a role now?
The film also looks beyond Germany’s borders. How has Europe changed in the last few years and how have far-right movements been able to gain such influence? In the interwar period, democracies across the continent collapsed one after the other like a house of cards. What about today? Riding on the coat-tails of the political party the Alternative for Germany (AfD) the far-right has become a factor in both national and state parliaments, united by nationalist and often racist ideologies directly linked to those of the 1930s. At that time, global economic crisis and mass unemployment drove people straight into the fascists’ arms. So what will happen if crisis strikes now? Are our democracies and their achievements today any more stable than they were in the years before the Second World War?
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Weimar klingt/Weimar resounds: a city wide sound installation by Alan Bern
On the 75th anniversary of the pogrom in Germany on November 9, 1938 (Kristallnacht), the citizens of Weimar came out to participate in a city-wide sound installation, ringing bells at former places of persecution, opening windows and playing music of composers forbidden by the Nazis, and swimming the sound of all of the city's church bells, followed by a concert of forbidden music with Alan Bern, Milena Kartowski, Matthias Wollong, Diana Matut, students from the Humboldt Gymnasium, the Gotha Handbell Choir and a theater project by the Stellwerk Theater.
HOW ARTISTS SEE - Kandinsky (Lecture 4 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 4 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page:
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
#DailyDrone: St. Michael's Church, Erfurt | DW English
Where Martin Luther attended mass in Erfurt: A bird's-eye view of St. Michael's Church.
#DailyDrone is our daily bird's-eye view of Germany. Every day a different exciting location in the viewfinder of our drone camera.
Famous sights in Berlin, Cologne, Hamburg or Munich, castles and fortresses from across the country, loading containers in a major port, bringing in the harvest, a day at the regatta. #DailyDrone takes you on unique journeys to destinations all over Germany, in all weathers and seasons, 365 days a year.
A mini chapel in your home???
Hello my beloved ones:
Here I have a beautiful project for your home... the perfect place for Our Lady or your Sacred heart....
Is beautiful and believe me, you will love it!!
One Fine Day by Audionautix is licensed under a Creative Commons Attribution license (
Artist:
HOW ARTISTS SEE - Dali (Lecture 3 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 3 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page:
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
Germany 1934 ▶ Funeral of Paul von Hindenburg (Tannenberg East Prussia Ostpreußen)
Germany 1934 ▶ Funeral of Paul von Hindenburg (Tannenberg East Prussia Ostpreußen)
Paul Ludwig Hans Anton von Beneckendorff und von Hindenburg, known generally as Paul von Hindenburg (2 October 1847 – 2 August 1934) was a German field marshal (Generalfeldmarschall) and statesman who commanded the Imperial German Army during World War I and later became President of Germany in the period of the Weimar Republic. He played a key role in the Nazi Seizure of Power in January 1933 when, under pressure from advisers, he appointed Adolf Hitler chancellor of a Government of National Concentration, even though the Nazis were a minority in both the cabinet and the Reichstag.Born to a family of minor Prussian nobility, Paul von Hindenburg joined the Prussian army in 1866 where he thereafter saw combat during the Austro-Prussian War and the Franco-Prussian conflict. He retired with the rank of General of the Infantry in 1911, but was recalled to military service at the age of 66 following the outbreak of World War I in July 1914. On August 1914, he received nationwide attention as the victor of the Battle of Tannenberg. Upon later being named Chief of the General Staff in 1916, his popularity among the German public exponentially increased to the point of giving rise to an enormous personality cult. Hindenburg retired again in 1919, but returned to public life in 1925 to be elected the second President of Germany. In 1932, he was persuaded to run for re-election even though he was 84 years old and in poor health, because he was considered the only candidate who could defeat Hitler. Hindenburg was re-elected in a runoff. He was opposed to Hitler and was a major player in the increasing political instability in the Weimar Republic that ended with Hitler's rise to power. He dissolved the Reichstag twice in 1932 and finally agreed to appoint Hitler Chancellor of Germany in January 1933. Hindenburg did this to satisfy Hitler's demands that he should play a part in the Weimar government, for Hitler was the leader of the Nazi party, which had won a plurality in the November 1932 elections (no party achieved a majority). In February he approved the Reichstag Fire Decree, which suspended various civil liberties, and in March he signed the Enabling Act of 1933, which gave Hitler's regime arbitrary powers. Hindenburg died the following year, after which Hitler declared himself Führer und Reichskanzler, or Supreme Leader and Chancellor, which superseded both the President and Chancellor.
Hindenburg remained in office until his death at the age of 86 from lung cancer at his home in Neudeck, East Prussia, on 2 August 1934. On August 1, Hitler had received word that Hindenburg was on his deathbed. He then had the cabinet pass the Law Concerning the Highest State Office of the Reich, which stipulated that upon Hindenburg's death, the offices of president and chancellor would be merged under the title of Leader and chancellor (Führer und Reichskanzler).
Two hours after Hindenburg's death, it was announced that as a result of this law, Hitler was now both Germany's head of state and head of government, thereby eliminating the last remedy by which he could be legally dismissed and cementing his status as the absolute dictator of Germany. Publicly, Hitler announced that the presidency was inseparably united with Hindenburg, and it would not be appropriate for the title to ever be used again.
In truth, Hitler had known as early as April 1934 that Hindenburg would likely not survive the year. He worked feverishly to get the armed forces—the only group in Germany that would be nearly powerful enough to remove him with Hindenburg gone—to support his bid to become head of state after Hindenburg's death. In a meeting aboard the Deutschland on April 11 with Blomberg, army commander Werner von Fritsch and naval commander Erich Raeder, Hitler publicly proposed that he himself succeed Hindenburg. In return for the armed forces' support, he agreed to suppress the SA and promised that the armed forces would be the only bearers of arms in Germany under his watch. Raeder agreed right away, but Fritsch withheld his support until May 18, when the senior generals unanimously agreed to back Hitler as Hindenburg's successor.
Hitler had a plebiscite held on 19 August 1934, in which the German people were asked if they approved of Hitler merging the two offices. The Ja (Yes) vote amounted to 90% of the vote.
Contrary to Hindenburg's will, he was interred with his wife in a magnificent ceremony at the Tannenberg Memorial. In 1944, as the Russians approached, Generalleutnant Oskar von Hindenburg moved his parents' remains to western Germany. After World War II the Poles razed the Tannenberg Memorial to the ground.
The remains of Hindenburg and his wife currently lie buried in St. Elizabeth's Church, Marburg.
Tannenberg Reichskanzler military Germany Paul von Hindenburg chancellor line memorial Denkmal Wehrmacht Adolf Hitler death burial funeral
HOW ARTISTS SEE - Grosz & Dix (Lecture 5 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 5 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page:
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
Bavarian Soviet Republic - 1919 Economy and Reconstruction I BEYOND THE GREAT WAR
» SUPPORT THE CHANNEL
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Jesse Alexander takes a look at the short lived but historically important Bavarian Soviet Republic that existed for 3 weeks in April 1919. He also takes a look at the post armistice economy and reconstruction in the west.
» SOURCES
Deperchin, Annie. “Des destructions aux reconstructions,” in Stéphane Audoin-Rouzeau and Jean-Jacques Becker, eds. Encyclopédie de la Grande guerre 1914-1918 (Paris : Bayard, 2013): 1063-1074.
Gerwarth, Robert. The Vanquished. Why the First World War Failed to End, 1917-1923 (Penguin, 2017).
Jones, Mark. Am Anfang war Gewalt. Die Deutsche Revolution 1918/19 und der Beginn der Weimarer Republik (Berlin: Propyläen, 2017). English edition: Founding Weimar. Violence and the German Revolution of 1918-19 (Cambridge University Press, 2016).
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»CREDITS
Presented by: Jesse Alexander
Written by: Jesse Alexander
Director: Toni Steller & Florian Wittig
Director of Photography: Toni Steller
Sound: Toni Steller
Editing: Toni Steller
Mixing, Mastering & Sound Design:
Motion Design: Christian Graef - GRAEFX
Maps: Daniel Kogosov (
Research by: Jesse Alexander
Fact checking: Florian Wittig
Channel Design: Alexander Clark
Original Logo: David van Stephold
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All rights reserved - Real Time History GmbH 2019
Life in Nazi Germany | Animated History
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***WHY WERE COMMENTS DISABLED?***
I was forced to disable comments after realizing that no matter what I did, the top comments said things like, You're spreading Jewish propaganda, You're a disgusting jew, etc.
There were some comments pointing out that the video didn't cover enough aspects of life in Nazi Germany. For that reason, we will be making a Part 2 to focus more on the individual person living in Germany.
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Sources:
Unemployment in Interwar Germany: An Analysis of the Labor Market, 1927-1936 by
Nicholas H. Dimsdale, Nicholas Horsewood and Arthur van Riel
The Journal of Economic History, Vol. 66, No. 3 (Sep., 2006), pp. 778-808
Music:
Echoes of Time by Kevin MacLeod is licensed under a Creative Commons Attribution license (
Source:
Artist:
Avec Soin - Romance by Kevin MacLeod is licensed under a Creative Commons Attribution license (
Source:
Artist:
Evening Fall Harp by Kevin MacLeod is licensed under a Creative Commons Attribution license (
Source:
Artist:
Twenty six variations on La Folia de Spagna, London Mozart Players
Matthias Bamert, conductor
HOW ARTISTS SEE - Picasso (Lecture 2 of 5) Prof Ian Aaronson
HOW ARTISTS SEE (Lecture 2 of 5)
Distinguished Emeritus Professor Ian Aaronson, Medical University of South Carolina, Charleston, USA
LECTURE TITLES
1. Claude Monet and the world of the Impressionists
2. Pablo Picasso and the Cubist experiment
3. The surreal world of Salvador Dali
4. Wassily Kandinsky and the road to abstraction
5. George Grosz, Otto Dix and the chaos of Weimar Germany
The last decades of the nineteenth century saw the liberation of Western art from the constraints of classical painting. With the birth of the new century, an explosion of art movements reflected the differing ways in which artists viewed the world. This course will explore the inner forces which compelled these artists to paint the way they did.
The towering figure among the Impressionists was Claude Monet. Evidence will be presented to suggest he was endowed with hypersensitive visual pathways which made him uniquely capable of capturing the ripple of water, a gathering mist and the subtle tonal effects of the passing day.
Pablo Picasso’s restless, inventive mind enabled him to see objects in a fractured, multifaceted way which freed the representation of the human body from its tethers to ancient Greece. The theories of Sigmund Freud resonated within the mind of Salvador Dali, allowing him to create the surreal images which have become icons of twentieth century painting.
The intellectual Wassily Kandinsky also looked inwards: he saw no need to represent the objective world. While the imagery of Kandinsky’s early abstract paintings recalls the interior of a Russian Orthodox church, Mark Rothko’s art reflects the simpler aesthetic of an Orthodox Jewish upbringing. The horrors of World War One compelled George Grosz and Otto Dix to reflect a society reeling from defeat during the early years of the Weimar Republic.
Each lecture will place an artistic movement within the narrative of Western art, as well as providing insights into the lives and personalities of the artists.
Course page:
DISCLAIMER: The opinions expressed in the lecture are those of the lecturer and do not necessarily reflect those of the Summer School organisers. These recordings are unedited.
UCT Summer School 2016
Twitter: @UCTSummerSchool
Facebook: UCT Summer School
Decompsing Composers
From Monty Python's Contractual Obligation Album, graves of composers orignally found at Findagrave.com, look them up! Listen to their music and learn about their lives, too, it would really be worth it.
Here is a list of the graves featured in the video:
*Ludwig van Beethoven: Zentralfriedhof, Vienna
*Wolfgang Amadeus Mozart: Not shown, disputed
*Franz Liszt: Alter Fredhof, Bayreuth, Germany (there's also a great movie about him called LisztoMania, which you must see!)
*Johannes Brahms: Zentralfriedhof
*Edward Elgar: Memorial at Westminster Abbey shown, actually buried in Saint Wulstans Roman Catholic Churchyard in Little Malvern, England
*Franz Schubert-Zentralfriedhof
*Frederic Chopin-Père Lachaise Cemetery, Paris (which is also where another more recent American musical icon is buried, can you guess who it is?)
*George Fredric Handel- Westminster Abbey
*Joseph Haydn- Bergkirche, Austria
*Sergei Rachmaninoff-Kensico Cemetery, Valhalla, New York
*Giuseppe Verdi- Casa di Reposo per Musicisti, Milan
*Richard Wagner-Villa Wahnfried, Bayreuth
*Claude Debussy-Cimetiere de Passy, Paris
*Christoph Willibald Gluck-Zentralfriedhof
*Carl Maria von Weber- Old Catholic Cemetary, Dresden, Germany
*Giacomo Meyerbeer-Jüdischer Friedhof Prenzlauer Berg, Germany
*Modest Mussorgsky-Alexander Nevsky Monastery, St. Petersberg, Russia
*Johann Nepomuk Hummel-Historic Cemetery, Weimar, Germany