Józef Antoni Franciszek Elsner (sometimes Józef Ksawery Elsner; baptismal name, Joseph Anton Franz Elsner; 1 June 1769 – 18 April 1854) was a Polish composer, music teacher, and music theoretician, active mainly in Warsaw.
Born~Died Jun 1, 1769 ~ Apr 18, 1854Last edited Oct 15, 2026, 3:24 PM
Józef Antoni Franciszek Elsner (sometimes Józef Ksawery Elsner; baptismal name, Joseph Anton Franz Elsner; 1 June 1769 – 18 April 1854) was a Polish composer, music teacher, and music theoretician, active mainly in Warsaw.1 He was one of the first composers in Poland to weave elements of folk music into his works.2
Elsner composed many symphonic, chamber, solo, and vocal-instrumental works, and works for the stage, including over 100 religious works (masses, offertories, oratorios, cantatas), eight symphonies, three concertos, three ballets, and thirty-eight operas.2 He is perhaps best known as the principal composition teacher of the young composer Frédéric Chopin.
Life
Józef Elsner was born 1 June 1769 in Grottkau (Grodków), Herzogtum Neisse (Duchy of Nysa), near Breslau (Wrocław), Kingdom of Prussia, to German SilesianCatholic parents Franz Xaver Elsner and Anna Barbara Matzke. His mother was from the famous Matzke family of Glatz, which had intensive contact with Czech culture in Bohemia. Józef Elsner was initially educated for the priesthood at Breslau's Dominican monastery school, St. Matthew's Gymnasium, and a local Jesuit college, but chose the music field. In 1832–37 he would compose nineteen religious pieces for Breslau Cathedral.
After completing his studies at Breslau (Wrocław) and being a violinist at (), in 1792 he became 2nd at the German Opera in Austrian-ruled (Lviv/Lwów). There, in 1796, he married Klara Abt, who died a year later. In 1799, with , he went to (Prussian-ruled Poland) and became the principal conductor, first at the German Theatre, then at the Polish in .
This page is based on “Józef Elsner” from English Wikipedia, (r1372774551) CC BY-SA 4.0 used under the license. The original authors are listed in its page history.
Elsner traveled to Paris, Dresden and Posen (Poznań), where he met E.T.A. Hoffmann. Together they founded the Musikressource in 1805. In 1802 he married a second wife, Karolina Drozdowska. Due to complaints that he preferred Germans, he resigned from theatre work.
During his decades in Warsaw, Elsner's name and family life gradually polonized. Elsner's ethnicity should not be evaluated in terms of 19th- and 20th-century national identity, as he continued to refer to himself primarily as a Silesian.
Elsner taught the composers Ignacy Feliks Dobrzyński and Frédéric Chopin. There are also indications that he privately tutored piano composer and virtuoso Maria Szymanowska. Chopin dedicated to Elsner his Piano Sonata No. 1 in C minor, Op. 4 (1828), composed while he was studying with Elsner. As Chopin's only composition teacher in 1823–29, Elsner taught him music theory and composition; Elsner diaried of Chopin: "Chopin, Fryderyk, third-year student, amazing capabilities, musical genius."
On 18 April 1854, Elsner died at his estate named for himself, Elsnerów, which now lies within the Warsaw city limits.
Missa brevis in F major, Op. 85 on 3-voice male choir and organ (1844)
Festiva Missa in C major, Op. 52 for 4-voice choir, orchestra and organ (c. 1832)
Missa in B, Op. 18 on 3-voice male choir (1823)
Mass in A minor, Op. 24 for 4-voice choir (c. 1823)
Mass in A minor, Op. 81 for 4-voice choir and orchestra (1843)
Mass in B-flat major, Op. 3 to 4-voice choir and orchestra (1799)
Mass in B-flat major, Op. 44 for 2 sopranos, 2 tenors, bass and organ (1829)
Mass in B-flat major, Op. 80 for 4-voice choir and organ (1843)
Mass in C major, Op. 22 for 4-voice male choir, 4 horns, trombone and timpani (c. 1823)
Mass in C major, Op. 26 for 4 solo voices, 4-voice choir and orchestra (1820)
Mass in D minor and D major in Laudem omnium sanctorum slavonorum Polonorum, Op. 66 for 2 solo voices, 4-voice choir and orchestra (1840)
Mass in D minor, Op. 16 for 4-voice choir (1823)
Mass in D minor, Op. 5 for 4-voice choir and orchestra (c. 1806)
Mass in E minor - E-flat major, Op. 62 for 4 solo voices, 4-voice choir and orchestra (c. 1838)
Mass in E minor, Op. 88 for 4-voice choir and organ (1846)
Mass in F major, Op. 20 for 4-voice choir (c. 1823)
Mass in F major, Op. 35 for 4-voice choir and organ (c. 1825)
Mass in F major, Op. 41 for 4-voice choir, orchestra and organ (c. 1826)
Mass in F major, Op. 77 on 3-voice male choir and organ (1843)
Mass in F major, Op. 79 on 3-voice male choir and organ (1843)
Mass in G major, Op. 13 on 3-voice male choir and organ (c. 1820)
Mass in G major, Op. 34 for 4-voice choir and orchestra (c. 1825)
Mass in G major, Op. 75 for 2 sopranos, violin, viola 2, cello and organ (1842)
Mass in G minor, Op. 72 for 4 solo voices, 4-voice choir and orchestra (1842)
Folk Mass in G major, Op. 15 for 2 sopranos and organ (1820)
Pastoral Mass in A minor, Op. 76 for 4-voice choir, cello and organ (1842)
Solemn Mass in B-flat major, Op. 47 for 4 solo voices, 4-voice choir and orchestra (c. 1829)
Solemn Mass in C major (Coronation), Op. 51 for 4 solo voices, 4-voice choir and orchestra (c. 1829). Composed for the coronation of Nicholas I of Russia as King of Poland on 24 March 28295
Midsummer Mass in F major, Op. 9 to 4 solo voices, 4-voice choir, orchestra and organ (c. 1815)
Mass, Gradual and Offertory, Op. 87 for 4-voice choir and orchestra (1844)
Offertories
Offertoria for 4 voices and orchestra (c. 1783–1784)
Offertory in A major, Op. 35 (Cantate Domino canticum novum) for 4-voice choir, orchestra and organ (extracted from Mass in F, Op. 35?)
Offertory in A major, Op. 46 for 4-voice choir and orchestra (c. 1829)
Offertory B-flat major, Op. 30 (Quoniam in me speravit) for 4-voice choir and orchestra (1828)
Offertory B-flat major, Op. 45 for 4-voice choir, orchestra and organ (c. 1829)
Offertory B-flat major, Op. 86 for 4-voice choir and orchestra (1844)
Offertory in C major, Op. 31 (Expectans expectavi Dominum) for 4-voice choir and orchestra (1823)
Offertory in C major, Op. 33 for 4-voice choir, orchestra and organ (c. 1824)
Offertory in C major, Op. 56 (Beatus vir) for 4-voice choir and organ (c. 1835)
Offertory in D major, Op. 32 (Confirma hoc Deus) for 4-voice choir and orchestra (1824)
Offertory E-flat major, Op. 4 (In te Domine speravi) for 4-voice choir and orchestra (c. 1806)
Offertory E major, Op. 83 (Inveni David) for 4-voice choir, solo violin and orchestra (1843)
Offertory in F major, Op. 50 on 3-voice male choir (c. 1829)
Offertory in F major, Op. 70 (Tui sunt caeli) for 4-voice choir, orchestra and organ (1840)
Offertory in F major, Op. 71 for 4-voice choir (1840)
Offertory in G major, Op. 12 for 4-voice choir and orchestra (c. 1819)
Offertory in G major, Op. 38 for 4-voice choir, flute obbligato and orchestra (c. 1825)
Offertory in G major, Op. 48 for 4-voice choir, orchestra and organ (c. 1829)
Offertory, Op. 58 for choir (c. 1836)
Oratorios - Cantatas
Ad festum Corporis Christi 4-voice choir, brass and organ (approx. 1785–1786)
Hallelujah B-flat major, Op. 60 for 4-voice choir (1836–1840)
Ave Maria B-flat major, Op. 68 for 4-voice choir and organ (1840)
Ave Maris Stella in A major, Op. 90 for 4-voice choir, orchestra and organ (1847)
Benedictus for soprano and instrumental ensemble (c. 1783–1784)
Cantate zur Feier ... Jubel-in D major, Op. 53 for 4-voice choir and orchestra (1832)
Canticum Simeonis in E minor, Op. 69 on 5-voice choir (1841)
Completorium for choir, 2 violins, viola, 2 horns and bodies (c. 1785)
Der sterbende Jesus for solo voices and chorus (c. 1788–1789)
Dies irae in F minor, Op. 91 for 4-voice choir and organ (1847)
Graduate in A major, Op. 82 for 4-voice choir and orchestra (1843)
Graduate in D major, Op. 94 for bass, 4-voice choir and orchestra (1848)
Graduate in E-flat major, Op. 57 for soprano, 4-voice choir and orchestra (1835)
Graduate in F major, Op. 29 (Alleluja! Juravit Dominus) for 4-voice choir and orchestra (1828)
Graduate and Offertory in A major, Op. 25 for 4-voice choir (c. 1823)
Graduate and Offertory E-flat major, Op. 19 on 3-voice male choir (1823)
Graduate and Offertory in F major, Op. 23 for 4-voice male choir, 4 horns and trombone (c. 1823)
Graduate and Offertory, Op. 17 for 4-voice choir (1823)
Gradual for 2 sopranos, 2 violins, viola, double bass and 2 horns (c. 1782)
Lob der Buchdruckerkunst cantata, cantata for solo voice, 4-voice choir and piano (1804)
Musik zu einer Cantata Trauerloge, cantata for male choir and orchestra (1811)
Cantata Music to enter the body of Fr. J. Poniatowski in r. 1814 cantata for recitation, choir and orchestra (1814)
Cantata on the aptly Poles land, cantata for choir and orchestra (1807)
Welcome dove cantata, cantata for four male voices, violin, cello and piano (1844)
Cantata us stand with a weapon in his hand, a cantata for recitation, solo voices and chorus (1819)
Kyrie and Gloria in C major for choir, 2 violins, viola, 2 oboes, horn, trumpet, timpani and organ (approx. 1788–1789)
Miserere mei Deus, Op. 96 for solo voices, 3 choirs, male choir (1848)
Motet in C major, Op. 28 2 4-voice choirs
Motet in G major, Op. 59 for 4 solo voices, 4-voice choir and orchestra (1836)
Motet Salvum fac emperor in B-flat major, Op. 6, motet for 4-voice choir and orchestra (1807)
Offertory Motet seu de Sancto Josepho C major, Op. 10 for 4-voice choir and orchestra (c. 1815)
Vespers in C major, Op. 36 for 4-voice choir and orchestra (c. 1825)
Vespers in D major, Op. 89 for 4-voice choir and orchestra (1847)
About gloriosa virginum B-flat major, Op. 92 for 4-voice choir and orchestra (1847)
The sacred convivium, Op. 49, anthem for 4-voice choir and wind instruments (c. 1829)
Passio Domini nostri in D minor, Op. 65 for 14 solo voices, 3 4-voice choir and orchestra (1835–1837)
Our Father, Op. 95 for 4-voice choir and organ (1848)
Post Celebra ... D major, Op. 11 for soprano, bass, 4-voice choir and orchestra (1815)
Psalm 133, Op. 63 for 2 choirs (c. 1838)
Salve Regina in B-flat major, processio funebris in C minor, Psalmus: De Profundis in C minor, Op. 43 for a 3 male voices, 4-voice choir and orchestra (1827)
Requiem in C minor, Op. 42 for a 3 male voices, cello, brass and timpani (1826)
Requiem, Op. 2 to 4-voice choir and wind instruments (1793)
Stabat Mater, Op. 93 for solo voices, chorus and orchestra (1848)
Laudamus Te Deum in D major, Op. 39 for 4-voice choir, trumpet and timpani (c. 1825)
Te Deum laudamus, Op. 74 for 2 male choirs 4-Voice (1842)
Veni Creator in A major, Op. 97 for 4-voice choir and organ (1849)
Veni Creator in B-flat major, Op. 73 for 4-voice male choir (1842)
Veni Creator in C major, Op. 72 4-voice choir (1812)
Veni Creator in G major, Op. 40 for 4-voice choir (c. 1825)
Veni Creator in G major, Op. 54 for a 5-voice choir and organ (1834)
Veni Creator, Op. 78 on 3-voice male choir and organ (1843)
Veni Sancte Spiritus E-flat major, Op. 8 to 4-voice choir and orchestra (1815)
Martina Homma: Nationale Musik und nationale Musikwissenschaft. Der Fall Joseph Elsner. In: Deutsch-polnische Ansichten zur Literatur und Kultur. Wiesbaden 1995, S. 104–116 [1]
Józef Antoni Franciszek Elsner (sometimes Józef Ksawery Elsner; baptismal name, Joseph Anton Franz Elsner; 1 June 1769 – 18 April 1854) was a Polish composer, music teacher, and music theoretician, active mainly in Warsaw.1 He was one of the first composers in Poland to weave elements of folk music into his works.2
Elsner composed many symphonic, chamber, solo, and vocal-instrumental works, and works for the stage, including over 100 religious works (masses, offertories, oratorios, cantatas), eight symphonies, three concertos, three ballets, and thirty-eight operas.2 He is perhaps best known as the principal composition teacher of the young composer Frédéric Chopin.
Life
Józef Elsner was born 1 June 1769 in Grottkau (Grodków), Herzogtum Neisse (Duchy of Nysa), near Breslau (Wrocław), Kingdom of Prussia, to German SilesianCatholic parents Franz Xaver Elsner and Anna Barbara Matzke. His mother was from the famous Matzke family of Glatz, which had intensive contact with Czech culture in Bohemia. Józef Elsner was initially educated for the priesthood at Breslau's Dominican monastery school, St. Matthew's Gymnasium, and a local Jesuit college, but chose the music field. In 1832–37 he would compose nineteen religious pieces for .
After completing his studies at Breslau (Wrocław) and being a violinist at Brünn (Brno), in 1792 he became 2nd Kapellmeister at the German Opera3 in Austrian-ruled Lemberg (Lviv/Lwów). There, in 1796, he married Klara Abt, who died a year later. In 1799, with Wojciech Bogusławski, he went to New East Prussia (Prussian-ruled Poland) and became the principal conductor, first at the German Theatre, then at the Polish National Theatre in Warsaw.2
Elsner traveled to Paris, Dresden and Posen (Poznań), where he met E.T.A. Hoffmann. Together they founded the Musikressource in 1805. In 1802 he married a second wife, Karolina Drozdowska. Due to complaints that he preferred Germans, he resigned from theatre work.
During his decades in Warsaw, Elsner's name and family life gradually polonized. Elsner's ethnicity should not be evaluated in terms of 19th- and 20th-century national identity, as he continued to refer to himself primarily as a Silesian.
Elsner taught the composers Ignacy Feliks Dobrzyński and Frédéric Chopin. There are also indications that he privately tutored piano composer and virtuoso Maria Szymanowska. Chopin dedicated to Elsner his Piano Sonata No. 1 in C minor, Op. 4 (1828), composed while he was studying with Elsner. As Chopin's only composition teacher in 1823–29, Elsner taught him music theory and composition; Elsner diaried of Chopin: "Chopin, Fryderyk, third-year student, amazing capabilities, musical genius."
On 18 April 1854, Elsner died at his estate named for himself, Elsnerów, which now lies within the Warsaw city limits.
Missa brevis in F major, Op. 85 on 3-voice male choir and organ (1844)
Festiva Missa in C major, Op. 52 for 4-voice choir, orchestra and organ (c. 1832)
Missa in B, Op. 18 on 3-voice male choir (1823)
Mass in A minor, Op. 24 for 4-voice choir (c. 1823)
Mass in A minor, Op. 81 for 4-voice choir and orchestra (1843)
Mass in B-flat major, Op. 3 to 4-voice choir and orchestra (1799)
Mass in B-flat major, Op. 44 for 2 sopranos, 2 tenors, bass and organ (1829)
Mass in B-flat major, Op. 80 for 4-voice choir and organ (1843)
Mass in C major, Op. 22 for 4-voice male choir, 4 horns, trombone and timpani (c. 1823)
Mass in C major, Op. 26 for 4 solo voices, 4-voice choir and orchestra (1820)
Mass in D minor and D major in Laudem omnium sanctorum slavonorum Polonorum, Op. 66 for 2 solo voices, 4-voice choir and orchestra (1840)
Mass in D minor, Op. 16 for 4-voice choir (1823)
Mass in D minor, Op. 5 for 4-voice choir and orchestra (c. 1806)
Mass in E minor - E-flat major, Op. 62 for 4 solo voices, 4-voice choir and orchestra (c. 1838)
Mass in E minor, Op. 88 for 4-voice choir and organ (1846)
Mass in F major, Op. 20 for 4-voice choir (c. 1823)
Mass in F major, Op. 35 for 4-voice choir and organ (c. 1825)
Mass in F major, Op. 41 for 4-voice choir, orchestra and organ (c. 1826)
Mass in F major, Op. 77 on 3-voice male choir and organ (1843)
Mass in F major, Op. 79 on 3-voice male choir and organ (1843)
Mass in G major, Op. 13 on 3-voice male choir and organ (c. 1820)
Mass in G major, Op. 34 for 4-voice choir and orchestra (c. 1825)
Mass in G major, Op. 75 for 2 sopranos, violin, viola 2, cello and organ (1842)
Mass in G minor, Op. 72 for 4 solo voices, 4-voice choir and orchestra (1842)
Folk Mass in G major, Op. 15 for 2 sopranos and organ (1820)
Pastoral Mass in A minor, Op. 76 for 4-voice choir, cello and organ (1842)
Solemn Mass in B-flat major, Op. 47 for 4 solo voices, 4-voice choir and orchestra (c. 1829)
Solemn Mass in C major (Coronation), Op. 51 for 4 solo voices, 4-voice choir and orchestra (c. 1829). Composed for the coronation of Nicholas I of Russia as King of Poland on 24 March 28295
Midsummer Mass in F major, Op. 9 to 4 solo voices, 4-voice choir, orchestra and organ (c. 1815)
Mass, Gradual and Offertory, Op. 87 for 4-voice choir and orchestra (1844)
Offertories
Offertoria for 4 voices and orchestra (c. 1783–1784)
Offertory in A major, Op. 35 (Cantate Domino canticum novum) for 4-voice choir, orchestra and organ (extracted from Mass in F, Op. 35?)
Offertory in A major, Op. 46 for 4-voice choir and orchestra (c. 1829)
Offertory B-flat major, Op. 30 (Quoniam in me speravit) for 4-voice choir and orchestra (1828)
Offertory B-flat major, Op. 45 for 4-voice choir, orchestra and organ (c. 1829)
Offertory B-flat major, Op. 86 for 4-voice choir and orchestra (1844)
Offertory in C major, Op. 31 (Expectans expectavi Dominum) for 4-voice choir and orchestra (1823)
Offertory in C major, Op. 33 for 4-voice choir, orchestra and organ (c. 1824)
Offertory in C major, Op. 56 (Beatus vir) for 4-voice choir and organ (c. 1835)
Offertory in D major, Op. 32 (Confirma hoc Deus) for 4-voice choir and orchestra (1824)
Offertory E-flat major, Op. 4 (In te Domine speravi) for 4-voice choir and orchestra (c. 1806)
Offertory E major, Op. 83 (Inveni David) for 4-voice choir, solo violin and orchestra (1843)
Offertory in F major, Op. 50 on 3-voice male choir (c. 1829)
Offertory in F major, Op. 70 (Tui sunt caeli) for 4-voice choir, orchestra and organ (1840)
Offertory in F major, Op. 71 for 4-voice choir (1840)
Offertory in G major, Op. 12 for 4-voice choir and orchestra (c. 1819)
Offertory in G major, Op. 38 for 4-voice choir, flute obbligato and orchestra (c. 1825)
Offertory in G major, Op. 48 for 4-voice choir, orchestra and organ (c. 1829)
Offertory, Op. 58 for choir (c. 1836)
Oratorios - Cantatas
Ad festum Corporis Christi 4-voice choir, brass and organ (approx. 1785–1786)
Hallelujah B-flat major, Op. 60 for 4-voice choir (1836–1840)
Ave Maria B-flat major, Op. 68 for 4-voice choir and organ (1840)
Ave Maris Stella in A major, Op. 90 for 4-voice choir, orchestra and organ (1847)
Benedictus for soprano and instrumental ensemble (c. 1783–1784)
Cantate zur Feier ... Jubel-in D major, Op. 53 for 4-voice choir and orchestra (1832)
Canticum Simeonis in E minor, Op. 69 on 5-voice choir (1841)
Completorium for choir, 2 violins, viola, 2 horns and bodies (c. 1785)
Der sterbende Jesus for solo voices and chorus (c. 1788–1789)
Dies irae in F minor, Op. 91 for 4-voice choir and organ (1847)
Graduate in A major, Op. 82 for 4-voice choir and orchestra (1843)
Graduate in D major, Op. 94 for bass, 4-voice choir and orchestra (1848)
Graduate in E-flat major, Op. 57 for soprano, 4-voice choir and orchestra (1835)
Graduate in F major, Op. 29 (Alleluja! Juravit Dominus) for 4-voice choir and orchestra (1828)
Graduate and Offertory in A major, Op. 25 for 4-voice choir (c. 1823)
Graduate and Offertory E-flat major, Op. 19 on 3-voice male choir (1823)
Graduate and Offertory in F major, Op. 23 for 4-voice male choir, 4 horns and trombone (c. 1823)
Graduate and Offertory, Op. 17 for 4-voice choir (1823)
Gradual for 2 sopranos, 2 violins, viola, double bass and 2 horns (c. 1782)
Lob der Buchdruckerkunst cantata, cantata for solo voice, 4-voice choir and piano (1804)
Musik zu einer Cantata Trauerloge, cantata for male choir and orchestra (1811)
Cantata Music to enter the body of Fr. J. Poniatowski in r. 1814 cantata for recitation, choir and orchestra (1814)
Cantata on the aptly Poles land, cantata for choir and orchestra (1807)
Welcome dove cantata, cantata for four male voices, violin, cello and piano (1844)
Cantata us stand with a weapon in his hand, a cantata for recitation, solo voices and chorus (1819)
Kyrie and Gloria in C major for choir, 2 violins, viola, 2 oboes, horn, trumpet, timpani and organ (approx. 1788–1789)
Miserere mei Deus, Op. 96 for solo voices, 3 choirs, male choir (1848)
Motet in C major, Op. 28 2 4-voice choirs
Motet in G major, Op. 59 for 4 solo voices, 4-voice choir and orchestra (1836)
Motet Salvum fac emperor in B-flat major, Op. 6, motet for 4-voice choir and orchestra (1807)
Offertory Motet seu de Sancto Josepho C major, Op. 10 for 4-voice choir and orchestra (c. 1815)
Vespers in C major, Op. 36 for 4-voice choir and orchestra (c. 1825)
Vespers in D major, Op. 89 for 4-voice choir and orchestra (1847)
About gloriosa virginum B-flat major, Op. 92 for 4-voice choir and orchestra (1847)
The sacred convivium, Op. 49, anthem for 4-voice choir and wind instruments (c. 1829)
Passio Domini nostri in D minor, Op. 65 for 14 solo voices, 3 4-voice choir and orchestra (1835–1837)
Our Father, Op. 95 for 4-voice choir and organ (1848)
Post Celebra ... D major, Op. 11 for soprano, bass, 4-voice choir and orchestra (1815)
Psalm 133, Op. 63 for 2 choirs (c. 1838)
Salve Regina in B-flat major, processio funebris in C minor, Psalmus: De Profundis in C minor, Op. 43 for a 3 male voices, 4-voice choir and orchestra (1827)
Requiem in C minor, Op. 42 for a 3 male voices, cello, brass and timpani (1826)
Requiem, Op. 2 to 4-voice choir and wind instruments (1793)
Stabat Mater, Op. 93 for solo voices, chorus and orchestra (1848)
Laudamus Te Deum in D major, Op. 39 for 4-voice choir, trumpet and timpani (c. 1825)
Te Deum laudamus, Op. 74 for 2 male choirs 4-Voice (1842)
Veni Creator in A major, Op. 97 for 4-voice choir and organ (1849)
Veni Creator in B-flat major, Op. 73 for 4-voice male choir (1842)
Veni Creator in C major, Op. 72 4-voice choir (1812)
Veni Creator in G major, Op. 40 for 4-voice choir (c. 1825)
Veni Creator in G major, Op. 54 for a 5-voice choir and organ (1834)
Veni Creator, Op. 78 on 3-voice male choir and organ (1843)
Veni Sancte Spiritus E-flat major, Op. 8 to 4-voice choir and orchestra (1815)
Martina Homma: Nationale Musik und nationale Musikwissenschaft. Der Fall Joseph Elsner. In: Deutsch-polnische Ansichten zur Literatur und Kultur. Wiesbaden 1995, S. 104–116 [1]