Anthology for the year 1782. Tobolsko [i.e. Stuttgart]: [Metzler, 1782]. Call number: 55/4

Although the anthology for the year 1782 was published anonymously, a preliminary announcement revealed Schiller as the editor. It contains 83 pieces, 48 of which were written by Schiller himself, including all of his previously published poems and the odes to Laura. Several poems are parodic counterparts to corresponding pieces in Gotthold Friedrich Stäudlin's Schwäbischer Musenalmanach (Swabian Muses' Almanac) for the year 1782; the prefaces also satirize this work. In his Musenalmanach, which had already been published in September 1781, Stäudlin had only included an abridged version of one of Schiller's poems and had presumably rejected others. This prompted Schiller to compete with him and begin work on his own anthology.

Historical Calendar for Ladies for the Year 1792. By Friedrich Schiller. Leipzig: Göschen, [1791]. Call number: 792/22

The history of the Thirty Years' War appeared in its first edition by Göschen from 1790 onwards in several parts in the Historical Calendar for Ladies for the years 1791, 1792, and 1793. It enjoyed great public interest from the outset. After the premiere and publication of Schiller's Wallenstein (1800), its success grew even stronger, which is why Schiller began revising the text in 1801 for a new edition, which was published in two volumes in 1802, also by Göschen.

Musen-Almanach für das Jahr 1796 (Muse Almanac for the Year 1796). Published by Schiller. Neustrelitz: Michaelis, [1795]. Sign.: 55/157 o

In December 1795, the first Musenalmanach edited by Schiller was published, containing, among other things, Die Macht des Gesanges (The Power of Song), Der Tanz (The Dance), Die Ideale und Würde der Frauen (The Ideals and Dignity of Women) by Schiller, as well as contributions by Goethe and musical settings of individual poems by Johann Friedrich Reichardt.
Schiller's Musenalmanach was one of the best-known collections of this literary publication form, which had been established in Germany since around 1770.

Poems by Friedrich von Schiller. First and second parts. Reutlingen: Mäcken, [1803-06?]. Sign.: 803/13

This edition of poems is a reprint, the date of which cannot be determined with certainty. The first edition of poems authorized by Schiller was published in two volumes (1800 and 1803) by the Leipzig publisher Crusius. When the second volume appeared, the first was already out of print, and there were several unauthorized reprints on the market. In the preface to the second volume (dated Easter 1803), Schiller protests against one of these editions.

This very preface is printed in Mäcken's edition in the first volume, with the date unchanged – which is why the edition in the city library is also dated 1803. In the second volume, however, the publisher himself addresses "The Readers" and refers to Schiller as "immortalized," meaning that it was published after Schiller's death. In addition, there is mention here of a "third, newly revised edition," which probably refers to the second edition published by Crusius in 1804–1805 – the third edition by Crusius was published in 1807–1808, incidentally.

Friedrich von Schiller's complete works. Twelve volumes. Stuttgart: Cotta, 1812-1815. Call number: 55/157

The first complete edition of Schiller's works, published by Schiller's friend and patron Christian Gottfried Körner, was printed in a total print run of 6,000 copies and with "Royal Saxon and Royal Westphalian most gracious privileges" – this privilege had been granted by Jérôme Bonaparte, Napoleon's brother.

Correspondence between Schiller and Goethe from 1794 to 1805. Six volumes. Stuttgart: Cotta, 1828-1829. Sign.: 29/73 a

First edition of the correspondence between Schiller and Goethe.
Goethe had received his own letters back from Schiller's family and began preparing the correspondence for publication in 1823. After several delays, which were also related to financial claims made by Schiller's heirs against the publisher, the edition was published in six volumes in 1828–29. It comprises 971 letters; Goethe withheld a few.

Schiller's complete works. Complete edition in one volume. Munich: Cotta, 1830. Sign.: 55:4°/9

This edition of Schiller's works comes from the estate of (Konrad) Alexis DuMont (1819–1885), who was mayor of Mainz from 1877 to 1885 (and lord mayor from 1881) and bequeathed his collection of around 2,000 volumes to the city library.
The description "in one volume" is misleading; in fact, there are two sections, each published in one volume.

Schiller and Lotte. 1788. 1789. Edited by Emilie von Gleichen-Rußwurm. Stuttgart: Cotta, 1856. Call number: 17/2108

The first edition of part of the parents' correspondence, compiled by Schiller's youngest daughter. The publication made a significant contribution to the understanding of Schiller.

Schiller's poems with woodcuts [...]. Stuttgart: Cotta, 1869. Call number: 55:4°/10

For the deluxe edition of Schiller's poems on the occasion of his 100th birthday, the publisher Cotta commissioned several representatives of the Munich School to provide illustrations. He experimented with a novel combination of photography and wood engraving, which led to unforeseen delays, so that the edition had to be published in 16 installments until 1862. The production of photographic vignettes proved to be too time-consuming and costly to catch on. The next deluxe edition of Schiller's poems from 1869, shown here, did without photographs. It contains 289 woodcuts of text (including initials and ornaments) and 16 woodcut plates with woodcuts based on drawings by Hans Makart, Karl von Piloty, Ferdinand Piloty, Arthur von Ramberg, Ferdinand Rothbart, Julius Schnorr, Moritz von Schwind, Eduard Schwoiser, and others.

Schilleriana: Life, Character Traits, Events, and Writings of the Late Court Counselor and Professor Friedrich von Schiller. Hamburg: Vollmer, [1809]. Call number: 809/56

One of the earliest biographies of Schiller, whose author is unknown. However, a review in the Allgemeine Literatur-Zeitung from April 1810 finds little good to say about this work: "One searches in vain for apt judgments, a wealth of interesting, as yet unknown biographical traits and anecdotes [...]. [...] However, he [the author] seems to have a particular fondness for literary gossip and feuds of a more notorious than famous nature."

Karoline von Wolzogen: Schiller's Life. Written from the memories of his family, his own letters, and the accounts of his friend Körner. [2nd edition.] Stuttgart: Cotta, 1845. Call number: 29/81 a

Schiller had a close relationship with his sister-in-law Karoline von Wolzogen (1763-1847), which was based not least on their shared literary interests. Karoline von Wolzogen, daughter-in-law of Schiller's patron from his days in Bauerbach, Henriette von Wolzogen (1745-1788), distinguished herself as a writer primarily through two works, the novel Agnes von Lilien, which appeared in Schiller's magazine Die Horen in 1796/97, and the Schiller biography, first published in 1830.

Schiller's relationships with his parents, siblings, and the von Wolzogen family. Taken from the family papers. Edited by Alfred von Wolzogen. Stuttgart: Cotta, 1859. Call number: 29/65 c

Alfred von Wolzogen (1823-1883), grandson of Henriette von Wolzogen, took on the task of publishing the letters of the poet's parents and siblings, as well as those of his grandmother, which were in the possession of Schiller's youngest daughter, Emilie von Gleichen-Rußwurm (1804-1872), at her request. The edition was published in Schiller Year 1859.

Julius Burggraf: Schiller's Female Characters. 2nd edition. Stuttgart: Krabbe, 1900. Call number: 17/275 ec

In this work, Julius Burggraf (1853-1912) deals with both the female characters in Schiller's life and those in his works. The highly decorative cover was designed by the lithographer, painter, and illustrator Fritz Reiss (1857-1916).

J[akob] Wychgram: Schiller. Presented to the German People. 4th edition. Bielefeld: Velhagen und Klasing, 1901. Call number: 17/275 hc

One of the most lavish and elaborately illustrated biographies of Schiller, containing a wealth of images with facsimiles of letters and other manuscripts, title pages, and other documents, written by the educator Jakob Wychgram (1858-1927). The first edition was published in 1895.

Gustav Könnecke: Schiller. A Biography in Pictures. Commemorative publication marking the 100th anniversary of his death on May 9, 1905. [...] Marburg: Elwert, 1905. Call number: 17:4°/108

Literary historian and archivist Gustav Könnecke was one of the first in Germany to introduce modern forms of knowledge transfer in 1878 with special and permanent archival exhibitions, with the aim of reaching a broad public. His publications should also be viewed in this context. Könnecke became particularly well known for his illustrated atlas on the history of German national literature, which was first published in 1887. The Schiller biography in pictures was created according to the same principle. It contains numerous portraits of people from Schiller's circle and of Schiller himself, as well as illustrations of buildings, editions, and facsimiles, each with brief explanations, making it a kind of Schiller exhibition in book form.

Alexander von Gleichen-Rußwurm: Schiller. The Story of His Life. Stuttgart: Hoffmann, 1913. Call number: 17/1566

Alexander von Gleichen-Rußwurm (1845-1947) was raised by his grandmother Emilie von Gleichen-Rußwurm (1804-1872), Schiller's youngest daughter, due to the early death of his mother. The memory of their famous ancestor was always held in high esteem within the family, so it was only natural for the great-grandson, who was a writer, to publish a biography of Schiller.

Schiller. Pictures by Karl Bauer. Mainz: Scholz, [1921] (Patriotic Picture Book / Scholz' Artist Picture Books). Mainz: Scholz, [1921]. Signed: Scholz 137, 3

At the beginning of the 20th century, Scholz Verlag published the artistically sophisticated series Das Deutsche Bilderbuch (later Scholz' Künstler-Bilderbücher). The aim was to produce "genuinely artistic yet childlike illustrations" of good technical quality at affordable prices. Karl Bauer's Schiller was also published as part of the Künstler-Bilderbücher series and belongs to the Vaterländisches Bilderwerk series edited by Wilhelm Kotzde (actually Kottenrodt). "Leading artists" were also commissioned for this series, which was characterized by national consciousness; for the Schiller volume, Karl Bauer (1868-1942), who was known for his portrait lithographs of famous personalities.

Diary of the Mainz Theater. Edited by Aloys Schreiber. Frankfurt/Main, 1788. Call number: Mog 713

The publicist Aloys Schreiber (1761 or 1763–1841), a proponent of the idea of the national stage, published the journal Diary of the Mainz Theater in 1788. The concept of the national stage implied the aspiration for a bourgeois theater culture that would have a social impact, which corresponded exactly to Schiller's ideal as he had formulated it in his speech Die Schaubühne als moralische Anstalt (The Stage as a Moral Institution). In contrast to the court theater, the national theater was to be supported entirely by the bourgeoisie and, in contrast to the traveling theater, firmly anchored in a specific sphere of influence. In addition to reviews and other aesthetic reflections on theater, Schreiber's diary also contains plans for the establishment of a permanent stage in Mainz that follows Schiller's ideal. However, there was a
clear discrepancy between ideal and reality, as was also the case in Mainz. This was mainly due to the fact that a national theater could only be established through compromise: it seemed necessary to rely on a court in order to maintain a permanent theater economically. In Mainz, the compromise was made with Elector Friedrich Karl Joseph von Erthal (1719-1802), who appointed Imperial Baron Friedrich Franz Karl von Dalberg (1751-1811), a cousin of the Mannheim theater director, as artistic director.

Theater program for the performance of Intrigue and Love on March 18, 1807, and The Robbers on May 20, 1807. Sign.: Mog:4°/213, 1807

An important source of information about the repertoire of the Mainz Theater is the theater program collection of the City Library. It is complete from the 1826/27 season onwards, with isolated programs from the years 1792, 1793, 1797, and 1806–1813.
The oldest theater program in the city library's collection announcing the performance of a play by Schiller is dated March 18, 1807 (Intrigue and Love).

T. Donak: Diary of performances given by the local German acting company from June 6 to October 27, 1811. Mainz: Mairie Printing House, 1811. Call number: Mog m 748, 1811

The Mainz theater diaries (or journals) from the first half of the 19th century provide information about the theater staff and which plays were performed on which dates; in some cases, special performances by actors, guest performances, or debuts are also noted. These diaries were compiled by the prompter, who thus also acted as theater chroniclers.
The theater diaries in the city library show that Schiller's dramas had a firm place in the Mainz repertoire. Not a year went by without Schiller being performed at least four or five times. However, some other authors, such as August von Kotzebue, were performed much more frequently.

Theater program for the performance of Maria Stuart on September 1, 1855. Sign.: Mog:2°/43, 1855/56

In 1833, the Mainz theater changed its name to Stadttheater (City Theater), having previously been known as the Kurfürstlich Mainzer Nationaltheater (Electoral Mainz National Theater) since 1791 and the Großherzoglich-Hessische Nationalbühne (Grand Ducal Hessian National Theater) since 1817. In the 50th anniversary year of Schiller's death, the season at the Mainz Stadttheater opened with Maria Stuart.

Proscenium No. 7. Mainz: Scholz, [circa 1880]. Signed: GS 32, [6], 2

The figures and decorations of the paper theater were printed as picture sheets that served as cut-out templates. The sheets contained everything needed to build a stage: stage fronts ("prosceniums"), curtains, backdrops, scenery, soffits, set pieces, and figures. Some elements could be used multiple times, such as certain background decorations and scenery depicting a village, a city, mountains, or a forest.

Large new decorations for Wilhelm Tell: mountainous region, backdrops. Based on designs by C[arl] Beyer. Mainz: Scholz, [around 1880]. Signed: GS 32, [3], 114 A

Contemporary costume albums and stage engravings served as models for the early theater sheets published by Scholz. Numerous sheets from the second half of the 19th century were designed based on stage sets from the Darmstadt Court Theater.

Figure sheet for Wallenstein's Camp. Mainz: Scholz [around 1880]. Signed: GS 32, [5], 285

In contrast to the backdrops and prosceniums, the figure sheets with their characteristic poses and well-known costumes could only be used for the named plays. The figures were colored, cut out, glued onto cardboard or plywood, and fitted with a stand block and a rod so that they could be moved from above or from outside the side wings.

Anna John: Wilhelm Tell. Play in 3 acts adapted for children's theater. Mainz: Scholz, [ca. 1920]. Call number: Scholz 438

The text booklets are in much poorer condition than the accompanying theater programs, presumably because they were less frequently collected as items and also subject to greater wear and tear. It is often impossible to find out anything about the editors of the texts, as very few of them are identified as authors. This also applies to Anna John (i.e. presumably Pauline Scholz, 1841–1914), who adapted a total of 23 plays for Scholz-Verlag, including Schiller's Wilhelm Tell, Wallenstein, and probably also Die Räuber, although the author is not named in the text booklet.

The texts of the paper theater plays were adapted for children, which led to significant abridgements (the plays usually lasted no more than a quarter of an hour) and a simplification of the content.

X** Y*** Z* [i.e. Emanuel Friedrich Wilhelm Ernst Follenius]: Friedrich Schiller's Geisterseher (The Ghost Seer). From the memoirs of Count von O**. Parts Two and Three. Strasbourg: Grünefeld, 1796. Call number: 55/1523

Schiller's novel Der Geisterseher (The Ghost Seer). From the papers of Count von O** appeared in serial form in Thalia from 1787 to 1789. Described by Schiller himself as "scribbling," it was a great success with the public. Although continuing the novel would have been financially lucrative, Schiller abandoned the work. Several writers continued the fragment. The best-known version is that of Emanuel Friedrich Follenius (1773-1809), which, however, only loosely follows the characters and locations of the original.

Philipp von Foltz: William Tell. Drawn after Schiller's play. Bingen, 1825. Signed: 55:4°/8

Philipp von Foltz (1805-1877), born in Bingen, drew his scenes for Wilhelm Tell around 1820. At the beginning of his studies, he was already able to show them to Peter von Cornelius in Munich. The drawing shows the third scene of the third act: "The apple is hit!"

Peter Cornelius: Variations on Schiller. Poem. Autograph. [Spring 1845?] and notebook. Signed: PCA Gedichtmappe, No. 2 and PCA Nb 21

The enriched estate of the Mainz poet and composer Peter Cornelius (1824-1874) has been housed in the city library since 1950 as the "Peter Cornelius Archive." The archive is the largest and most important collection of Cornelius's own writings internationally. Cornelius, a child of his time, also dealt with Schiller, both as a composer and as a poet. A folder of poems contains original variations on "Ich sei, gewährt mir die Bitte, in Eurem Bunde der Dritte" (Let me be, grant me my request, the third in your alliance) from Die Bürgschaft (The Guarantee). And in one of the 58 diaries and notebooks is the poem Mit einem Blumenkranz auf Schillers Gruft (With a wreath of flowers on Schiller's grave), which Cornelius wrote on the 50th anniversary of Schiller's death on May 9, 1855. The cover of this notebook is decorated with a gold embossing depicting Schiller.

Let me be, grant me this, you swine, keep
your union to yourselves.

Let me be, O my love, at your side
In the most beautiful union, the second.

I would gladly be, if it did not embarrass you,
the fourth in this alliance.

Let me be in the most beautiful of guilds.
Grant me this, O friends, the fifth.

I am, varying in the text
according to Schiller, the sixth in the alliance.

I would be, oh grant it, beloved, the seventh
in your alliance.

I would be, if it were convenient, gladly the
eighth in this alliance.

You worthy heads, tanned
and gray—call mine the ninth!

I am, one endowed with dignity
, welcomed here into the alliance as the tenth!

Heinrich Laube: Die Karlsschüler (The Students of Charles). Play in five acts. Leipzig: Weber, 1847. Sign.: 55/2306

In the introduction to his play, Laube (1806-1884) describes it as a "bold idea [...] to choose a poet who died only forty years ago and who is so highly valued by our nation, both personally and professionally, as the hero of a play," but one that he nevertheless pursued. The Karlsschüler deals with "Schiller of Stuttgart, [...] the author of The Robbers and Fiesco," in whose development Laube discovered a certain romanticism. The drama was
written in 1846 and premiered on November 11, 1846 (on Schiller's birthday) simultaneously in Dresden, Mannheim, Munich, and Schwerin. The play was also staged in Mainz shortly thereafter, on January 16, 1847.

O[tto] F[riedrich] Gruppe: Demetrius. Schiller's fragment adapted and continued for the stage [...]. Berlin: Bach, 1861. Call number: 71/1995

Schiller's Demetrius remains the most influential dramatization of this material to date, even though it remained a fragment. On the one hand, inspired by Schiller's fragment, independent Demetrius tragedies were written after his death; on the other hand, several authors completed the fragment (including Otto Friedrich Gruppe in 1861, Heinrich Laube in 1869, and Carl Hardt in 1905).

Schiller Gallery. Based on original cartoons by Wilhelm von Kaulbach [...]. With explanatory text by E[rnst] Förster. Tenth edition. Munich: Bruckmann, [ca. 1900]. Signed: 17:4°/97

This magnificent volume contains 21 of Schiller's dramas and poems, each accompanied by an illustration with explanatory text. The illustrations are mainly by Wilhelm von Kaulbach (1805-1874), a student of Peter von Cornelius in Düsseldorf and Munich, who gained fame through his work as an illustrator of works by Goethe, Schiller, Homer, Klopstock, Shakespeare, Herder, Heine, and Wagner's operas, among others. On display is an illustration from Don Carlos.

The theme of "Schiller in Music" is represented in the City Library not only by individual pieces from the Peter Cornelius Archive, but above all by materials from the Theater Library and the Mainz-based music publisher Schott.
The Theater Library contains performance materials from the former Mainz City Theater (now the State Theater), which have been housed in the City Library since 1985. The collection contains sheet music from the 19th and 20th centuries, some of which is handwritten. Most of the works were performed at the Mainz Theater, which means that the collection provides an insight into the usual performance practice here. Versions created for specific performances are annotated by hand, and conducting scores contain notes on interpretations, abridgements, etc.

Andreas Romberg: Die Glocke (The Bell). Performed at the reopening of the musical academy in Mainz. Mainz: Wirth, 1818. Sign.: Mog m 2176

The song of the bell plays a prominent role in the setting of poetry to music. The setting by Andreas Romberg (1767-1821), now almost forgotten, was extremely popular in the 19th century. It was first published in 1809 and, due to its technical simplicity, offered numerous choral societies a good opportunity for prestigious concerts. No other setting has achieved a comparable level of popularity.

Peter Cornelius: Draft of the musical setting of Schiller's Song of the Bell. Autograph. April 14, 1871. Signed: PCA Mus ms 35

Cornelius (1824–1874) set verses 244–261 of Schiller's Lied von der Glocke to music as No. 5 of his Trauerchöre für Männerstimmen, Op. 9. Several autographs relating to this work can be found in the Peter Cornelius Archive: The composition was originally conceived for solo and four-part choir; this version was written in 1869 and can be found without text in the so-called "Gunlöd-Arbeitsbuch" (Gunlöd Workbook). The exhibition shows the handwritten sketch dated 1871 for the revised and later published version for male choir, which, however, only contains the middle section and the end of the choir.

Ludwig van Beethoven: Ninth Symphony, score. Leipzig: Peters, [ca. 1890]. Call number: 98 Q 210, 9

By far the most frequently set to music was the Ode to Joy, which was of course due to its popularity. Immediately after its publication in the spring of 1786 in the Thalia, it achieved a kind of cult status. The first setting was by Schiller's friend Christian Gottfried Körner (1756-1831).
Beethoven's (1770-1827) use of the poem in the final chorus of his Ninth Symphony expresses his high regard for Schiller. The symphony premiered on May 7, 1824, at the Kärntnertortheater in Vienna. In the Vormärz period, it became a vehicle for political opposition sentiment, not least because of the Ode to Joy it contained. In the first third of the 20th century, it was one of the key works of the workers' music movement, and while the National Socialists sought to interpret the work as a whole in their own terms, the Ode to Joy was understood as a symbol of freedom in the concentration camps. In the post-war period, the "Joy Melody" continued to be received as a symbol of freedom and optimism and served as the national anthem of the all-German Olympic team from 1952 to 1966. In 1972, it was adopted as the anthem of the Council of Europe; since 1985, it has been the official anthem of the European Union.

The copy shown here bears the dedication "To your dear colleague Richard Eckhold, in memory of the first performance of 'Biondella'. Bernhard Sekles. Hans Pfitzner."
The premiere of Biondella took place on January 16, 1895, at the Mainz City Theater. At that time, Bernhard Sekles (1872-1934) was Kapellmeister in Mainz, and Hans Pfitzner (1869-1949) was also in Mainz as a conductor. Little is known about the composer of Biondella, Richard Eckhold (born 1855).

Bernhard Scholz: Nenie by Friedrich Schiller for male choir and soloists […] op. 87. Choral score. Frankfurt/Main: B. Firnberg, [ca. 1898]. Sign.: ThB, concert music

Bernhard Scholz (1835-1916), born in Mainz as the son of Christian Scholz, was actually supposed to take over his father's business, the lithographic printing and publishing company Jos. Scholz. From the outset, however, music also played an important role in his life, and after working for two years in his father's company, he studied with Siegfried Dehn in Berlin and later worked as a music teacher and conductor. From 1883 to 1908, he was director of the Dr. Hoch Conservatory in Frankfurt/Main. He occasionally performed his own compositions, including Nenie, at concerts held by the conservatory.

Gioacchino Rossini: Guillaume Tell. Score. Paris: Troupenas, [ca. 1830]. Call number: ThB 264

Schiller's dramas have found expression in music in various ways; first and foremost, of course, are well-known contributions to musical theater based on Schiller's stage works. Interestingly, in the field of opera in the 19th century, it was primarily Italian composers who used Schiller's works as source material. Between 1813 and 1876, 19 operas based on Schiller's works were published in Italy. Rossini's (1792-1868) last opera, Guillaume Tell, premiered in Paris in 1829. Schiller's play Wilhelm Tell served as one of the sources for the libretto. Due to its length (about four hours), the opera was performed frequently in the 19th century, but mostly in abridged form, as shown by the entries and bound or stapled pages in the score from the Mainz Theater Library.

J[ohann] Hoven [i.e. Johann Vesque von Püttlingen]: Turandot, Princess of Shiraz. Grand opera in two acts. Adapted from Schiller. Libretto. Mainz: Schott, 1843. Sign.: m:4°/8 a

Johann Vesque von Püttlingen's (1803-1883) opera Turandot is completely forgotten today. The statesman, who was born in Oppeln, called himself Johann Hoven as a composer and was particularly successful in the field of opera in his day. In addition to Turandot, which premiered in 1838 at the Kärntnerthortheater in Vienna, he wrote nine other operas, including Jeanne d'Arc (1840). In Vienna, his house was one of the musical centers of the city.

Bernhard Anselm Weber: Music for the tragedy Die Braut von Messina (The Bride of Messina). Handwritten score, [ca. 1870]. Sign.: ThB Concert Music

Another way in which Schiller's dramas were adapted for music was in overtures, interludes, and stage music, which were regularly performed during spoken theater productions in the 19th century. The pieces composed for specific dramas were usually intended for specific performances. Their composers were often the kapellmeisters of the respective theaters. This was also true of Bernhard Anselm Weber (1764-1824), whose stage music for The Bride of Messina premiered on June 14, 1803, at the Royal Theater in Berlin. The work was never published in its entirety, but was repeatedly performed in theater productions throughout the 19th century, even outside Berlin.

Carl Maria von Weber: Overture to Turandot. Handwritten publisher's edition of the score, Leipzig: Breitkopf & Härtel, [ca. 1931]. Sign.: ThB Concert Music

Carl Maria von Weber's (1786-1826) 24 theatrical scores were written in close connection with his official duties. He repeatedly drew on earlier compositions, which he reworked; for example, his Ouvertura Chinesa (composed in 1804/05) later became the overture to Schiller's Turandot, which was performed in Stuttgart on September 20, 1809. Overall, this music was performed only a few times, even independently of the play in the concert hall. The Mainz Theater Library has a score of the overture written by Breitkopf & Härtel on behalf of Paul Breisach (1924–26 general music director at the Mainz City Theater) and purchased by the city administration in 1931/32, but it is accompanied by a note stating that it was not performed.

Franz Willms: Music for Turandot by Schiller. Handwritten violin part, [ca. 1919]. Signed: ThB, concert music

Another stage music for Schiller's Turandot was composed by Franz Willms (1883-1946), a native of Mainz, who, after studying music, worked as a conductor at the Stadttheater in Mainz from 1919 onwards. It was performed in Mainz on May 17, 1919 – five days after its completion.

Various printed materials relating to the Schiller celebrations in Mainz in 1859. Signature: Mog m:4º/729, 1–4

The fact that Friedrich Schiller is commemorated in Mainz and that a Schiller monument was erected in 1862 is not because Schiller had any special connection to Mainz, although there are certainly some points of contact between Schiller and Mainz:
while fleeing Württemberg, Schiller stopped here, among other places. He arrived in Mainz on the afternoon of October 11, 1782, and visited the cathedral and the city. The next morning, he continued his journey.
In addition, from November 1789 onwards, Schiller repeatedly sought a position in Mainz over a period of several years. He placed his hopes in Karl Theodor von Dalberg, governor of the Elector of Mainz in Erfurt and his coadjutor. However, the Mainz Republic put an end to Schiller's efforts in this regard. The prospect of him coming to Mainz under Dalberg as Elector was lost, and Schiller himself was politically skeptical of the Mainz Republic.

However, the Mainz Schiller commemoration has a different basis:
Schiller had already become a classic par excellence 50 years after his death. From 1825 onwards, Schiller celebrations were held in individual places such as Stuttgart and Breslau. In 1859, however, the numerous parallel events made the festival the largest ever held in Germany in honor of a poet. Over three days, Schiller's 100th birthday was celebrated in 440 German and 50 foreign cities with parades, monument unveilings, festive performances, and speeches.

There were certainly many similarities in the way these celebrations were held, but ultimately each city celebrated its own festival with its own special characteristics, shaped by the people and groups involved. In Mainz, too, a large Schiller celebration took place on this date, which is documented by extensive material in the city library. On November 10, a festive performance of Wallenstein's Camp and William Tell was given at the theater. The following evening, there was a grand gala concert.

Theater program from the Mainz City Theater for the gala performance celebrating the 100th birthday of Friedrich von Schiller on November 10, 1859. Signed: Mog:2°/43, 1859/60

The Mainz prompter Andreas Adrian had a habit of adding personal comments about the performances to the corresponding theater programs. He wrote about Wallenstein's Camp: "The play came together and was well received," but the actors were "not much," only Mr. Stotz "was okay."
In Wilhelm Tell, the actors were "all terrible except for Julchen Kramer," the "play was lame and not enjoyable. The last act was below par. The performance was extremely well attended, but no one went home satisfied, especially for a gala performance."

Theater program from the Mainz City Theater for the event organized by the Mainz Carnival Society in support of the Schiller monument on February 22, 1861. Ref.: Mog:2°/43, 1860/61

During the festivities marking the 100th anniversary of Schiller's birth, the idea arose in Mainz to found an association for the erection of a Schiller monument. A provisional committee met for the first time on November 14, 1859. On December 1, the committee published an appeal for the construction of the Schiller monument, asking the people of Mainz for their support. The population responded to the appeal with enthusiasm. In the following period, concerts and theater performances were given in aid of the monument, and the committee received numerous private donations.

Various printed materials relating to the unveiling of the Schiller monument in Mainz in 1862. Signature: Mog m:4°/731, 1-8

The Darmstadt court sculptor Johann Baptist Scholl (1818-1881) was chosen to create the model for the monument. The statue was cast in Nuremberg by the company Burgschmied und Lanz, while the pedestal was created in Mainz by the stonemason Roßbach and the company Lauer. The statue was delivered free of charge to Mainz by the Hessian Ludwig Railway, where it arrived on October 6, 1862. The unveiling took place on Friday, October 18, 1862. The city's balconies were decorated with flags and flowers for the occasion, and shops sold Schiller merchandise. A so-called "Schiller star," a plaque commemorating the inauguration of the monument, was issued.

The celebrations for the unveiling of the monument lasted from October 15 to October 19, 1862. The program was as follows:
On Wednesday, October 15, the Liedertafel and the Damengesangverein, together with the Wiesbaden Cäcilien-Verein, sang Handel's oratorio Judas Maccabäus in honor of the Schiller monument.
On Thursday, October 16, the preliminary celebration for the unveiling of the Schiller monument took place in the theater, featuring a festival play with tableaux depicting scenes from Schiller's life and works by Friedrich Halm, as well as Meyerbeer's Schiller Festmarsch and Schiller's Wallensteins Lager.
On Friday, October 17, the theater presented Schiller's Don Carlos.

Saturday, October 18, was the actual day of celebration with a parade. The parade set off at 10:00 a.m. It proceeded along Große Bleiche, Rheinstraße, Fischtorstraße, Markt, and Ludwigsstraße to Schillerplatz. There, all of the choirs (around 1,000 singers) performed Lux's Germaniamarsch, a four-part song, and a festive cantata by Neukomm. Carl Roeder, as president of the committee, gave a speech, and the statue was unveiled and handed over to the city of Mainz. The audience sang a song written especially for the unveiling. The festive day ended with a banquet in the Fruchthalle.
On Sunday, October 19, a ball in the Schauspielhaus concluded the week of festivities.

Theater program of the Mainz City Theater for the gala performance in aid of the Schiller monument on October 17, 1862. Signed: Mog:2°/43, 1862/63

None of the three performances seem to have been a great success. Adrian describes the performance of guest Bogumil Dawison in Don Carlos as "excellent. Everything else not worth much." The "premiere was extremely well attended, did not please at all, and was very lazy, despite three rehearsals."