Music in Berlin
Throughout its history, Berlin was a musical center in North Germany. First as an important trading city in the Hanseatic League, then as the capital of the electorate of Brandenburg and the Prussian Kingdom, later on as on of the biggest cities in Germany it fostered an influential music culture that remains vital until today.
Many important musical figures have worked in Berlin, among them composers like Johann Joachim Quantz, Carl Philipp Emanuel Bach, the Graun brothers, Wilhelm Friedemann Bach, Carl Friedrich Christian Fasch, Johann Friedrich Reichardt, Carl Friedrich Zelter, Friedrich Heinrich Himmel, Vincenzo Righini, Felix Mendelssohn Bartholdy, Spontini, Meyerbeer, Richard Strauss, Arnold Schoenberg to name just a few. Moreover, Berlin was recognized as the center for music theory and criticism in the 18th century with leading figures like Friedrich Wilhelm Marpurg, Johann Philipp Kirnberger, Quantz, and C. P. E. Bach whose treatises were being read all over Europe. Later on, writers like Reichardt, E. T. A. Hoffmann, Ludwig Rellstab, and A. B. Marx contributed to what can arguably be called the origins of German Music Feuilleton.[1] Furthermore, Berlin can be regarded as the breeding ground for the powerful choir movement that played such an important role in the broad socialization of music in Germany during the 19th century.
Prussia
When in 1701 Frederick III declared himself Frederick I, "King in Prussia", Berlin became a royal residence and subsequently attained more musical prestige. Under his successor Frederick William I (1713-1740), musical life in Berlin lost part of its splendor, due to his focus on the millitary strengthening of Prussia. At that time the court orchestra was abandoned and music events at the court played only a decorative role.
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When in 1740, Frederick II came to power, musical life at the court flourished again. Many 18th-century writers have termed his reign the "Golden Age" for music making in Berlin. Althought statements like this have to be regarded with care for their obvious intention to glorify the person of the ruler, Frederick's reign was indeed a fruitful time for music making in Berlin. Already at Rheinsberg, where Frederick lived when he was still the crown prince, he had assembled a formidable group of musicians who were to form the core of his Kapelle in Berlin. Among these followers were Carl Heinrich and Johann Gottlieb Graun, Franz and Johann Benda, Christoph Schaffrath, and Johann Gottlieb Janitsch. Once installed as the king in Prussia, Frederick's Kapelle became quickly one of the most admired orchestras in Europe. Frederick who was an accomplished flutist and composer not only employed Europe's foremost flutist, Johann Joachim Quantz in 1741. His Kappelle, headed by C. H. Graun, could also boast with C. P. E. Bach, son of Johann Sebastian Bach, who joined the orchestra as harpsichordist in 1740 and Johann Friedrich Agricola as the official court composer. By 1750 around 50 musicians were in Frederick's employ.
Notes
- ↑ Ulrich Tadday: "Diskussionsforen der Musikkritik und ästhetische Manifestationen in Berlin um 1800," paper presented at the conference Urbane Musikkultur in Berlin. Von der spätfriderizianischen Zeit bis ins frühe 19. Jahrhundert, Berlin, March 9, 2007.