Bach Perspectives, Volume 11

J. S. Bach and His Sons
Author: Edited by Mary Oleskiewicz
The sons who followed in the great composer’s footsteps
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978-0-252-04148-8
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978-0-252-05008-4
Publication Date
Cloth: 12/04/2017
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About the Book

Among his numerous children, Johann Sebastian Bach sired five musically gifted sons. The eleventh volume of Bach Perspectives presents essays that explore these men’s lives and careers via distinctive and, in several cases, alternative and interdisciplinary methodologies.

Robert L. Marshall traces how each of the sons grappled with—and at times suffocated beneath—their illustrious father’s legacy. Mary Oleskiewicz’s essay investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court, while David Schulenberg looks at Carl Philipp Emanuel Bach’s diverse and innovative keyboard works. Evan Cortens digs into everything from performance materials to pay stubs to offer a detailed view of the business of Carl Philipp Emanuel Bach’s liturgical music. Finally, Christine Blanken discusses how the rediscovery of Bach family musical manuscripts in the Breitkopf archive opens up new perspectives on familiar topics.

A supplemental companion website is now available for Bach Perspectives 11. This resource features additional images, captions, and short descriptions to provide an essential supplement to the printed text.

* OA Edition: This book is freely available in an open access edition thanks to a grant from the American Bach Society. For information about the American Bach Society, please see its web site at www.americanbachsociety.org. This title is licensed under the Creative Commons Attribution NonCommercial 4.0 International Public License (CC BY-NC). Read the license at creativecommons.org/licenses/by-nc/4.0/

About the Author

Mary Oleskiewicz is an associate professor of music at the University of Massachusetts Boston.

Reviews

"This book is, as with the earlier volumes in this series, immaculately produced and presented, and at once become an indispensable part of any serious musician's library." --Organ

Supplemental Material

Illustrations for "Keyboards, Music Rooms, and the Bach Family at the Court of Frederick the Great," by Mary Oleskiewicz, pp. 24 to 82 in Bach Perspectives, vol. 11: J. S. Bach and His Sons, ed. Mary Oleskiewicz (University of Illinois Press, 2017). The images, captions, and short descriptions online here provide an essential supplement to the printed text. The Web Companions also include corrections and updated information that became available shortly after the manuscript went to press.

Each web companion corresponds to a heading in the printed volume and designates a group of illustrations numbered sequentially below. Page numbers indicate the location where each illustration is discussed in the printed volume. Please click on an image to zoom to a higher resolution.

In architectural floor plans, colored outlines signify apartments that belonged to various royal residents. Red outline denotes music salons within palace apartments, and less-intimate spaces, including theaters, where musical events at court took place. Room numbers are derived from historic palace inventories and from Friedrich Nicolai, Beschreibung der königlichen Residenzstädte Berlin und Potsdam und aller daselbst befindlicher Merkwürdigkeiten, vols. 1–3 (1786); these sources are more fully cited within the printed volume.

A helpful word about floor plan and inventory terminology is needed. 18th-century sources label the stories (or floor levels) of a building in multiple ways that can be confusing for modern readers. Stories and their equivalencies used in this web companion and in the printed book are as follows:

  • ground floor = erste Etage, Erdgeschoss, or 1. Geschoss;
  • 2nd floor (1 story above the ground floor) = zweite Etage, mittlere Etage, 1. Obergeschoss, 2. Geschoss;
  • 3rd floor (2 stories above the ground floor) = dritte Etage; 2. Obergeschoss, 3. Geschoss.

Many thanks to Angelica Neumann of the SPSG for her assistance providing many of the photos used in this Web Companion.



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Web Companion 1: Royal Prussian Music Rooms, pp. 26–31 and Table 1, p. 75


 
Figure 1

1.1 (pp. 28, 37): The orangerie's central salon (west wing, created by Eosander, 1712), the location of Frederick II's theater at Schloss Charlottenburg. Comic opera was performed here during the summer. Copper engraving, "Prospect des Sallons in der mitten von der Orangerie zu Charlottenburg," from Johann Philipp Abelinus, Theatrum Europaeum, vol. 19, pt. 2 (Frankfurt am Main: C. G. Merians Erben, 1723), pp. 214–15, Tafel 18. The source indicates that the salon was 700 feet long (about 58 English feet today).

 

 
Figure 2

1.2 (p. 28): Neue Kammern (New Chambers) at Sanssouci. Floor plan, Christian Friedrich Gottlieb Schadow (1761–1831), 1802. Room letters in the floor plan follow the 1782 Sanssouci inventory. NB: Contemporary sources, including Nicolai, often refer to the Neue Kammern as "das Kavalierhaus" or "das Cavalier-Haus" (the Cavalier House); in addition, when describing architectural spaces, the primary sources, including Nicolai and palace inventories, favor the spelling "Gallerie," as opposed to modern usage ("Galerie").

     This reconstruction of Knobelsdorff's 1747 orangerie was completed 1775 by Georg Christian Unger. Once a guest palace, the New Chambers contained seven rooms for distinguished lords and ladies (three two-room apartments and one additional bedroom) and three large spaces for entertaining. Concerts took place in the Ovid Gallery (room C; see 1.3), the second largest room.

Room A: 1ste Gallerie / Blaue Gallerie (1st Gallery / Blue Gallery)

Room B: 1ter Saal / Buffetsaal (1st Salon / Buffet Salon)

Room C: 2te Gallerie / Ovidgallerie (2nd Gallery / Ovid Gallery)

Room D: 2ter Saal / Japissaal (2nd Salon / Jasper Room)

Rooms E–K: Wohnzimmer (guest rooms)

 

 
Figure 3

1.3 (p. 28): "Ovidgallerie" (Ovid Gallery), Neue Kammern (New Chambers), at Sanssouci, Potsdam. The gilt plaster bas-reliefs depicting scenes from Ovid's Metamorphoses were created by the artist brothers Johann David Räntz (1729–1783) and Johann Lorenz Wilhelm Räntz (1733–1776). Photo: Mary Oleskiewicz, 2007.

     The five large mirrors, opposing windows (facing the garden), and marble floor all contribute to the room's remarkable resonance. The Ovid Gallery may have been modeled on Frederick's first Spiegelsaal (Hall of Mirrors) at Schloss Rheinsberg. For the room's location, see the floor plan, 1.2.



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Web Companion 2: Schloss Rheinsberg (pp. 31–33; Table 1, p. 75)


 
Figure 1

2.1 (pp. 31–33): Schloss Rheinsberg, 2nd floor. Floor plan, Georg Wenzeslaus von Knobelsdorff, 1737. Crown Prince Frederick's apartments, rooms 1–7 (plus the unnumbered library in the round tower); Elisabeth Christine's apartments, rooms 8–12. Room numbers are labeled according to the 1742 palace inventory. The two round towers (floor plan, top left and right) face Lake Grienerick. (NB: Due to renovations between 1737 and 1742, the floor plan does not completely align with the rooms of the inventory; however, the three music rooms numbered here were unchanged).

Room 4 (left): His Majesty's "Music Kammer" (music salon) in the apartments of Crown Prince Frederick, the future Frederick II, and the location of C. P. E. Bach's first encounter with Frederick in 1738. Note the three identifying windows described in the palace inventory of 1742 (see pp. 31–32).

Room 7 (upper left): Spiegelsaal (Hall of Mirrors), in the apartments of Crown Prince Frederick. A larger concert hall at this corner of the palace was destroyed by the creation of a picture gallery during the 1760s; its details were rediscovered in the course of modern restoration work, when musical emblems were identified on some of the original walls (seepp. 32–33).

Room 16 (upper right): Grosser Marmorsaal / Grosser Saal (Large Marble Hall / Large Hall; see 2.2) (pp. 32–33)

 

 
Figure 2

2.2 (pp. 32–33): Grosser Marmorsaal/ Grosser Saal (Large Marble Hall / Large Hall), room 16, completed 1740 at Schloss Rheinsberg

     This festival hall survives in original condition. Gilt motifs from Ovid's Metamorphoses appear in bas-relief on the entry doors (not shown here), signifying its function as a musical space. For the room's location, seethe floor plan, 2.1.

 

 
Figure 3

2.3 (p. 33): Ceiling painting, detail. Grosser Marmorsaal / Grosser Saal (Large Marble Hall / Large Hall) (room 16): "Apoll vertreibt den Finsternis," Antoine Pesne, 1740.

     The Ovidian theme of the room is crowned with Pesne's "Apollo dispels the darkness." The theme of Apollo as the god of light and of music recurs in other music rooms at Frederick's court. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Roland Handrick. For a view of the room in which this painting appears, see 2.2; for images of another Apollo-themed music room at court, see 8.2 and 8.3a–b.



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Web Companion 3: Schloss Charlottenburg, Berlin (pp. 33�37; Tables 1 and 3, pp. 75, 77)


 
Figure 1

3.1 (pp. 33–36; Table 1, p 75): Schloss Charlottenburg, Berlin, 2nd floor. Diagram (excerpt) of the Old Schloss and the New Wing (east wing) by Knobelsdorff, including the apartments of Princess Amalia and Frederick II.

Rooms 204–206 (Old Schloss, left): Princess Anna Amalia's three-room apartment in the original, central section of the palace; her music salon, room 206 (formerly 111), was furnished with the white Mietke harpsichord (see 3.5 and p. 36)

Rooms 212–213 (Old Schloss, right): Frederick II's initial rooms, 1740–1742 (pp. 33–34)

Rooms 346–356 (New Wing, left): Frederick II's first apartment in the New Wing, completed in 1742. The music salon ("Marmorierte Cammer" or Marbled Chamber), room 351 (formerly 9), no longer extant, featured Ovid motifs on the walls (seep. 34).

Rooms 364–367 (New Wing, right): Frederick II's second apartment, completed in 1747, is located at end of the New Wing. His majesty's music salon ("Concert Kammer") is room 364 (formerly 4) (see 3.3 and p. 35).

 

 
Figure 2

3.2 (p. 34; Table 3, p. 77): Double–manual harpsichord attributed to Michael Mietke, ca. 1700. Black lacquer and gold japanning by Gérard Dagly. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, HM 2728 / Photo: Jörg P. Anders. See also 3.4.

 

 
Figure 3

3.3 (pp. 34–35): Concert Cammer (music salon), room 364 of Frederick II's second apartment, New Wing, Schloss Charlottenburg. View toward the fireplace. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Daniel Lindner.

     The music salon doubled as a picture gallery; its plain paneled walls, for hanging pictures, were an exception to the king's otherwise ornate, rococo music rooms. For the room's location, see the floor plan, 3.1.

 

 
Figure 4

3.4 (p. 35): Portrait of Attilio Ariosti by Anthoni Schoonjans, 1702, which hangs in Schloss Charlottenburg. The composer is seated at what appears to be the court's black-lacquered harpsichord by Mietke (see 3.2). Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, GK I 1352 / Photo: Jörg P. Anders.

 

 
Figure 5

3.5 (p. 36; Table 3, p. 77): Single-manual harpsichord, ca. 1702–4, attributed to Michael Mietke, in room 206, apartments of Princess Amalia, at Schloss Charlottenburg. White lacquer with gold japanning by Gérard Dagly. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, V 104 / Photo: Roland Handrick. For the room's location, see the floor plan, 3.1.



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Web Companion 4: Potsdam Stadtschloss (pp. 38�41; Table 1, p. 75; Table 3, p. 77; Table 9, p. 82)


 
Figure 1

4.1 (pp. 38–41): Potsdam Stadtschloss, 2nd floor. Floor plan, Heinrich Conrad Manger Jr. and Friedrich Ludwig Carl Krüger, before 1800. The room numbers follow Nicolai (1786); they may differ from those cited in palace inventories. As noted in 1.2, the spelling of "Gallerie" follows contemporary sources.

Frederick II's apartments (rooms 19 and 1314):

Room 1 (lower left): Schlosstheater (palace theater) (pp. 38, 41)

Room 2 (upper left): Marschallstafel (Hofmarshall's table) for those not admitted to the king's dining room (room 3)

Room 3 (upper left): Königlicher Speisesaal (royal dining room)

Room 4 (upper left): Concert Cammer (music salon), with two windows facing the Lustgarten (pleasure garden) (room 175 in the inventory of 1780; room 168 in the inventory of 1822). The floor plan records the rounded corners described by Chasôt (see pp. 38–40 and Table 9, p. 82). See alsophotos of the room (4.2) and its Silbermann piano (4.3).

Room 5 (upper left): Kabinett von Cedernholz (cedar chamber)

Room 6 (upper left): Schreibkabinett (writing chamber)

Room 7 (upper left): Königliches Schlafgemach (royal bedroom)

Room 8 (upper left): Königliche Bibliothek (royal library)

Room 9 (upper left): Konfidenztafelzimmer (advising cabinet)

Room 13 (upper right): Grosse königliche Speisesaal (large royal dining hall)

Room 14 (upper right): Vorzimmer / Audienzzimmer (antechamber / audience chamber)

Other rooms on the 2nd floor, including the large concert hall:

Room 10 (top center): The Marmorgallerie (Marble Gallery) united the king's apartments and provide entrance to the Marmorsaal (room 12)

Room 11 (top center): Marmorne Treppe (marble stairs)

Room 12 (top center): Marmorsaal (marble salon)

Rooms 15–17 (upper right): Zimmer für fremde Herrschaften (guest rooms for visiting nobility).

Room 18 (upper right): Concert Cammer "japanisch gemahlet" (concert hall, japanned), with three windows facing Breite Strasse (room 196, 1780). This large music room with Japanese motifs was furnished with a harpsichord by Gottfried Silbermann (pp. 40–41; Table 3b, p. 77).

Addendum to BP 11, p. 42: Two additional pieces of information incontrovertibly support my conclusion that Sanssouci palace—not the Potsdam Stadtschloss—was the location where J. S. Bach encountered Frederick II on May 7, 1747. First, the flow of rooms in the king's apartments in the Stadtschloss, as shown in the floor plan, required visitors to enter the music salon (room 4) by way of the dining room (room 3). The only other point of access to the salon was a tiny chamber (room 5) connecting directly to the king's intimate quarters (rooms 6 and 7).

     Newspaper reports indicate that upon his arrival in Potsdam, J. S. Bach waited in an antechamber for admittance to the king's concert (p. 43). In the enfiladed royal suites of a Baroque palace, an antechamber (or audience room) is the first room or entryway in a palace that connects a common or public space to a more private one. Contemporary reports confirm that foreign visitors to Sanssouci, such as Charles Burney, and even the royal chamber musicians (including Emanuel Bach), routinely waited in an antechamber before the flute concerts began. In Potsdam, only the floor plans of Schloss Sanssouci (see 5.2) and the New Palace (1765; see 8.1) show an antechamber as the point of visitor access to the king's music salon. For photos of the antechamber at Schloss Sanssouci, see 5.3.

     Further, conclusive evidence that Frederick habited Sanssouci before J. S. Bach's visit is found in the Spenerische Zeitung of May 2, 1747, which reported that the king moved into Sanssouci palace on May 1, where he hosted a grand feast and an evening concert. See the quote at the head of Web Companion 5.

 

 
Figure 2

4.2 (pp. 38–40; Table 9, p. 82):Concert Cammer (music salon), room 4, with Silbermann piano (see 4.3) in the apartments of Frederick II. Historical photo (n.d.) facing the northwest corner. The photo shows the room's uniquely rounded corners. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Oberhofmarshallamt, Verwaltung der Staatlichen Schlösser und Gärten, ca. 1927–1945. For the location of the room, see the floor plan, 4.1.

 

 
Figure 3

4.3 (pp. 38–40; Table 9, p. 82): Close-up of fortepiano built by Gottfried Silbermann in the Concert Cammer (music salon; see 4.2). Historical photo (ca. 192745) courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg; photo by Oberhofmarschallamt, Verwaltung der Staatlichen Schlösser und Gärten. For the location of the room, see the floor plan, 4.1.



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Web Companion 5: Schloss Sanssouci (pp. 41�43; Tables 1 and 9, pp. 75, 82)

Yesterday His Majesty the King moved into his exceedingly magnificent Summer Palace, Sanssouci, near Potsdam, entirely newly built, and partook there of a banquet for 200 persons, whereupon a concert was given by the royal orchestra towards evening.

Spenerische Zeitung, May 2, 1747


 
Figure 1

5.1 (pp. 41–43; Table 9, p. 82): Concert-Zimmer (music salon), room 3, in the apartments of Frederick II, with Silbermann piano and the king's music stand (p. 38) by Kambly. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Leo Seidel. For the room's location, see the floor plan, 5.2.

     Displayed in a glass vitrine atop the piano is a flute made for the king by Johann Joachim Quantz (ca. 1750). Visible in the background is Antoine Pesne's Vertumnus and Pomona (depicting a scene from Ovid's Metamorphoses) and (upper right) a supraporte depictingSanssouci palace and its terraced vineyard.

 

 
Figure 2

5.2 (pp. 41–43): Schloss Sanssouci, Potsdam, ground level. Floor plan, Georg Wenzeslaus von Knobelsdorff, 1744. Frederick II's summer apartments (rooms 25), facing the Sanssouci garden, were first habited by him on May 1, 1747. Room numbers follow Nicolai (1786, 3: 1213–17).

Room 1 (center): The Marmoner Saal (marble salon) doubled as a dining space (room A, 1782 inventory)

Room 2 (left): The Vorzimmer, also Vorkammer/Audienzzimmer (antechamber), was a small audience chamber abutting the music salon (see 5.3 and pp. 43, 68)

Room 3 (left): Concert-Zimmer (music salon) (see 5.1 and pp. 41–43)

Room 4 (left): Schlafzimmer (bedroom)

Room 5 (left): Bibliothek (library)

 

 
Figure 3a
5.3a. View toward the entrance to the king's music salon. Photo: Mary Oleskiewicz, 2004.

Figure 3b
5.3b. View toward the fireplace. Photo: Mary Oleskiewicz, 2004.

5.3 (p. 43): Vorzimmer (antechamber), room 2, Schloss Sanssouci, Potsdam. Royal chamber musicians and visitors waited here to be admitted to the king's concerts (pp. 43, 68). For the room's location, seethe floor plan, 5.2.



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Web Companion 6: Berlin Stadtschloss (pp. 43�51; Table 1, p. 75)


 
Figure 1

6.1 (pp. 43–46, 48–50; Table 1, p. 75): Berlin Stadtschloss, 2nd floor (1. Obergeschoss; Nicolai, 2. Geschoss). Floor plan (composite, depicting rooms discussed for the period ca. 1740 to ca. 1786). Comoediensaal and apartments of Frederick II, Crown Prince Frederick William (before and after his coronation in 1786 as Frederick William II), the Crown Princess of Prussia, and Princess Amalia. Room numbers from the floor plan may differ from those given in palace inventories.

Room 559 (upper left): Frederick William II's music salon (after 1786). This room was part of a set of apartments situated between portals II and IV. From the 1740s, these apartments were used by Frederick's sister Princess Luise Ulrike (p. 44).

Rooms 564–567 (upper center and right): Princess Amalia's apartments and her first organ chamber (room 567), the so-called Balkonzimmer (Balcony Room, which Nicolai called a "grosser Vorsaal" (large antechamber), with three windows (see 6.6 and pp. 5051)

Rooms 646–679 passim (lower right): Frederick II's apartments, including his music salon (Konzertzimmer), room 659 (room 7, Nicolai; room XV, 1793 inventory; room 216, 1794 floor plan) (pp. 44–45)

Rooms 682–686; 678–697 passim (lower left): Apartments of the Prince and Princess of Prussia (the future Frederick William II and his wives) before 1786, including their shared music salon, room 683 (room 5, Nicolai) (pp. 4546)

Room 766 (central wing): Comoediensaal / Hoftheater (1741), installed for the premiere C. H. Graun's Rodelinda) (pp. 48–49)

 

 
Figure 2

6.2 (p. 35, 44): Berlin Stadtschloss, ground floor (1. Geschoss, Nicolai). Floor plan reflecting the period before 1740. Apartments of King Frederick William I (upper left, garden side, rooms 1–7); apartments of Margrave Christian Ludwig of Brandenburg-Schwedt (upper left, court side, rooms 1–5). Room numbers for each apartment according to Nicolai (1786).

Nicolai (1786, 3:111) described the Margrave's "former apartments": "in the upper part of the second portal built by King Friedrich Wilhelm [e.g. portal IV], one arrives on the left at the Fouragen and Invalidenkasse . . . which face the Pleasure Garden and are next to the former rooms of the Margrave of Brandenburg-Schwedt. . . , which are on the inner court side" ("Im obern Theile des zweiten von K. Friedrich Wilhelm erbauten Portales [e.g. Portale IV on the floor plan] kommt man links zur Fouragen und Invalidenkasse. . . , welche nach dem Lustgarten heraus und daneben nach den ehemaligen Zimmern des Markgrafen von Brandenburg-Schwedt. . . , welche in den inneren Schlosshof geben"). The Margrave's living quarters were thus located on the ground floor. The king, who did not support the arts, nevertheless permitted the Margrave to retain a Hofkapelle at the palace. Due to the existence of a music salon in King Frederick William II's post-1786 suite of rooms, directly above this suite (see the floor plan, 6.1, room 559), I suggested that room as the possible location of the former music salon of Margrave Christian Ludwig of Brandenburg-Schwedt (d. 1734) (see p. 44).

Nicolai does not label a music salon in either the ground or second floor apartments, which does not preclude one of them serving as a music salon. The Margrave's music salon, if one existed in his ground-floor suite, may have been room 2, located directly below room 559 (compare this floor plan with the first floor plan, 6.1).

 

 
Figure 3

6.3 (pp. 4447): Berlin Stadtschloss, 3rd floor (2. Obergeschoss; Nicolai, 3. Geschoss). Floor plan reflecting the period ca. 1740 to 1786. Rittersaal and apartments of Queen Elisabeth Christine. Room numbers may differ from those given in palace inventories.

Room 792 (upper right): Rittersaal (knight's hall), large reception hall for royal weddings and grand court festivities (p. 44)

Room N.N. (room 7 of her suite in Nicolai) (lower right): Kleines Konzertzimmer (small music salon) of Queen Elisabeth Christine (pp. 46–47n)

Room 844 (room 11 of her suite in Nicolai) (lower right): Large concert hall (Grosse Cour und Konzertsaal) of Queen Elisabeth Christine for grand court concerts, also called "Elisabeth-Saal" (Elisabeth Salon) (pp. 46–47) NB: During summer, her concerts took place at Schloss Schönhausen (see 6.4a–b).

 

 
Figure 4a
6.4a. Gartensaal, ground floor of Schloss Schönhausen

Figure 4b
6.4b. Festsaal, 2nd floor of Schloss Schönhausen (from 1763)

6.4a–b (pp. 27, 46, 46nn71–72): Schloss Schönhausen, Niederschönhausen, ground and 2nd floors, ca. 1824, by anonymous. Queen Elisabeth Christine's summer apartments (ground floor, rooms 1–3 and 14–20). Bedroom of Wilhelmine of Hesse-Kassel ("Princess Heinrich") (2nd floor, room 32). Distribution of rooms based on the palace inventory of 1795.

Spaces for Music

Room 1, ground floor (garden side, lower center): Gartensaal (garden salon), used for the Queen's grand court concerts in summer from ca. 1740 to 1763. This large salon, preceded by an Audienzzimmer (room 3) and a Vorkammer (room 2), like the large concert hall in the Berlin Stadtschloss, was contained within her apartments (see the floor plan 6.3, room 844).

Room 21, 2nd floor (garden side, lower center): Festsaal / Saal (festival salon / salon), for summer concerts after 1763

Originally the ceiling of the Gartensaal extended through both stories. In 1763, following the pillaging of the palace during the Seven Years' War, the architect Johann Michael Boumann Sr. (1706–76) was engaged to renovate and expand the size of the palace. At this time, the large open space over the Gartensaal was sealed off to create a second, splendid Festsaal / Saal (festival salon, room 21). From this point forward, the upper salon—whose decorative, rococo motifs included musical instruments—became the new summer location of the queen's grand court concerts (grosse Hofkonzerte) at Schloss Schönhausen, in which Emanuel Bach, as a member of the royal court orchestra, performed. After 1763, the ceiling height of room 1 was 4.6 meters and room 21 was 3.8 meters; the other dimensions were identical: 13.5 meters long by 7 meters wide (see p. 46n72). See 6.5 for the earlier profile of the palace.

 

 
Figure 5

6.5 (pp. 27, 46–47): Rococo Festsaal (festival hall), 2nd floor of Schloss Schönhausen (room 21). Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Wolfgang Pfauder. For the location of this room, see 6.4b. This is the summer location where Queen Christine's grand court concerts took place after 1763.

 

 
Figure 6

6.6 (pp. 50–51; Tables 3 and 5, pp. 77–78): Depiction of Princess Amalia's first house organ, by Ernst Marx. Installation in the Balcony Room (room 567) of the Berlin Stadtschloss, 1755. Copper engraving by Johann David Schleuen, from Johann Samuel Halle,"Der Orgelbauer," in J. S. Halle, Werkstätte der heutigen Künste (Halle, 1764). For the location of this room, see the floor plan, 6.1, room 567. For a contemporaneous view of her balcony doors from the street, see another engraving by Schleuen, 6.7.

 

 
Figure 7

6.7 (pp. 44, 50): The Berlin Stadtschloss, façade facing the Lustgarten to the north. Detail from the Berlin city map of 1757, by J. D. Schleuen.

The original caption, shown here, reads: "Das Königl. Residenz-Schloss, wie sich solches nach dem Parade-Platz prasentiret" (The royal residence palace as it appears from the parade grounds). Portal IV is center; further left is portal V. The doors to Amalia's second-story Balcony Room (located just above portal V) opened onto this area, which Amalia mentioned in a letter to Wilhelmine of Hesse-Kassel ("Princess Heinrich") (see p. 50). The Rittersaal can be seen one floor directly above it. For the location of the latter, see the floor plan, 6.3, room 792.

 

 
Figure 8

6.8 (pp. 44–46): The Berlin Stadtschloss, façade facing the Schlossplatz and the Breitestrasse to the south. Detail from the Berlin city map of 1757, by J. D. Schleuen.

The original caption, shown here, reads: "Das Königl. Residenz-Schloss, wie sich solches gegen die Breitestrasse prasentiret" (The royal residence palace as it appears towards the Breitestrasse). Portal I is to the right; Portal II is to the left. The three windows of the queen's large, third-floor concert hall are over portal I; her small music salon and the king's second-story music salon are the third and fourth windows farther to the right. Compare the floor plan, 6.1 and 6.3.



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Web Companion 7: The Breslau Schloss and Shudi's Harpsichords (53�56; Table 7, p. 80)


 
Figure 1

7.1 (p. 51): Breslau Schloss, 2nd floor, Rear Wing (constructed 1751/52). Floor plan, Baron von Wilczeck, 1834/35, including a portion of the apartments of Frederick II. By 1752 the music room, bedroom, study, and library were habitable. This wing of the palace was destroyed in World War II. Room numbers follow the floor plan and differ from those of the palace inventories.

Room 51: Speisesaal (dining salon)

Room 52: Concert-Saal (concert salon); room IV, 1752 (p. 53)

Room 53: Concert-Zimmer (music salon) (p. 53)

Room 54: Friedrich des Grossen Zimmer (Frederick "the Great" room), according to the 1835 floor plan

Room 57: Ausgangszimmer nach der Rampe (exit chamber to the ramp)

Room 58: Bibliothek (library)

 

 
Figure 2

7.2 (pp. 5355; Tables 78, pp. 8081): Double-manual harpsichord by Burkat Shudi, no. 496 (1765), prior to restoration. Formerly in the royal music salon, Breslau Schloss, inventory number 73; acquired by the Museum of Musical Instruments, Poznań. Photo: Beniamin Vogel, 2011.

     The instrument is pictured as it was in 2011, before a slight restoration was undertaken. It measures 103 x 96 cm. At the time of writing the instrument is on temporary loan to the Breslau Schloss museum. Note that the instrument does not feature the elaborate gilding of harpsichords no. 511 and 512, and as such probably represents the condition in which Shudi delivered nos. 511 and 512 to Potsdam (at which point the gilding of those instruments in gold or silver, to match their respective destinations, likely took place; see p. 58).

     NB: The photos of this instrument have been generously provided by Beniamin Vogel, the Polish organologist who in 2011 was the first to identify the instrument, and whose personal inspection and evaluation of the instrument brought it to light. My grateful thanks go to the Bach scholar Szymon Paczkowsi for connecting me with Vogel, whose work came to my attention only after Bach Perspectives 11 had gone to press.

 

 
Figure 3

7.3: Shudi harpsichord no. 496, close-up of the manuals (after restoration). Photo: Beniamin Vogel, 2011.

 

 
Figure 4

7.4: Shudi harpsichord no. 496, name batten (prior to restoration). Photo: Beniamin Vogel, 2011.

 

 
Figure 5

7.5: Shudi harpsichord no. 496, detail of soundboard, signed and dated, but labeled no. 497: "Burkat Tschudi | 4.9.7. [. . .] | ao 1765 | Lond . . ." (see p. 55). Photo: Beniamin Vogel, 2011.

 

 
Figure 6

7.6: Shudi harpsichord no. 496, view of the manuals and two of the machine stop knobs (pre-restoration). Note especially the veneer with colorful, burly wood grain, a feature of this and the other Shudi harpsichords owned by Frederick II, which Charles Burney, mistook for tortoiseshell during his visit to Potsdam (see p. 59). Photo: Beniamin Vogel, 2011.

 

 
Figure 7

7.7: Shudi harpsichord no. 496, close-up of the raised lid and soundboard (pre-restoration). Photo: Beniamin Vogel, 2011.

 

 
Figure 8

7.8: Shudi harpsichord no. 496, detail from one of the legs (pre-restoration). Note the Prussian Eagle (coat of arms of the Kingdom of Prussia) depicted in bas-relief. All of the stands Shudi created for the king's instruments appear to have been specially designed with legs bearing the Prussian coat of arms and cleverly matching ball-and-claw "eagle-feet" (compare 8.6d). Photo: Beniamin Vogel, 2011.



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Web Companion 8: The New Palace at Sanssouci (pp. 56�64; Table 1, p. 75; Tables 7�8, pp. 80�81)


 
Figure 1

8.1 (pp. 56–64): New Palace, ground and 2nd floors. Floor plan, Carl Philipp Christian von Gontard, 1766–1767. Room numbers shown in the floor plan follow Nicolai (1786). NB: Numbers from the inventories of 1784 and 1896, where different, are given below in each room description. See Table 8, p. 81, for information about many of these rooms.

Apartments of Frederick II (rooms 4–11), ground floor (garden side, lower left)

Room 4: Blaue Kammer / 1. Vorzimmer (Blue Chamber / 1st antechamber)

Room 5: Fleischfarbene Kammer / 2. Vorzimmer (Flesh-colored chamber / 2nd antechamber)

Room 6: Concert Cammer (music salon) (room 6, 1784; room 211, 1896) (p. 63)

Room 7: Arbeitzimmer (study)

Room 8: Schlafzimmer (bedroom)

Room 9: Schreibkabinett (writing room)

Room 10: Kleines Speisezimmer (small dining room)

Room 11: Bibliothek (library)

Other music rooms in the New Palace

Room 17, ground floor (garden side, lower right): Apollo-Saal / Untereskonzertzimmer (Apollo Salon / Lower Music Salon), in the Unteres Fürstenquartier (Lower Princely Quarters) (room 14, 1784; room 161, 1896) (see 8.2 and p. 58)

Room 27, ground floor (court side, upper right): Music salon in the apartments of Wilhelmine of Hesse-Kassel ("Princess Heinrich") (room 24, 1784; room 148, 1896) (p. 62)

Room 59, 2nd floor (court side, left): "Cammer" (chamber / music salon) in the apartments of the Crown Princess of Prussia, the Obere rote Kammern (Upper Red Chambers) (room 39, 1784; room 246, 1896) (p. 61)

Room 45, 2nd floor (court side, upper left): Schlosstheater (palace theater) (rooms 230–31, 1896) (pp. 5657)

Room 46, 2nd floor (garden side, lower right): "Cammer" / "eigentliche Cammer" (music salon), Oberes Fürstenquartier (Upper Princely Quarters)(room 10, 1784; room 260, 1896) (p. 58)

 

 
Figure 2

8.2 (p. 58; Table 8, p. 81): Apollo-Saal / Untereskonzertzimmer, New Palace, Potsdam. The gold, rococo bas-reliefs in plaster contribute to the room's Ovidian theme: Apollo, twin brother of Diana, and god of the sun, light, and music. They also contrast with the silver motifs of the Diana-themed Oberes Konzertzimmer, and thus help identify which harpsichord belonged to this room. Historic photograph courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Verwaltung der Staatlichen Schlösser und Gärten (after 1945).

 

 
Figure 3a
8.3a. Apollo-Saal (New Palace, Potsdam) with the integral furniture removed.

Figure 3b
8.3b. Detail, Apollo-Saal, gilt Apollo head adorning the wall.

8.3a–b (p. 58; Table 8, p. 81): Apollo-Saal / Untereskonzertzimmer. Photos: Mary Oleskiewicz, 2007.

 

 
Figure 4
8.4a. Shudi, no. 512, as depicted by William Dale (1913, n.p.), where the instrument is incorrectly labeled as no. 511; see p. 58n111.


8.4b. Shudi, no. 512, as currently exhibited in Moscow with a modern replacement stand (the original stand remained with no. 511, in Potsdam (see p. 59n116). It was not possible to obtain a photo, but see the lower left photo on page 3 of the CIMCIM bulletin, June 2016, no. 1 (http://network.icom.museum/fileadmin/
user_upload/minisites/cimcim/documents/CIMCIMbulletin_June_2016.pdf
).

8.4a–b (pp. 57–59; Tables 7–8, pp. 80–81): Double-manual harpsichord by Burkat Shudi, no. 512 (1766), shown with its original stand. Formerly New Palace, Potsdam; after ca. 1945, Mikhail Glinka Museum for Culture, Moscow. See also 8.6.

 

 
Figure 5

8.5 (pp. 5859; Table 8, p. 81): Oberes Konzertzimmer (Upper Music Salon), room 46 (room 260, 1896) in the Oberes Fürstenquartier (Upper Princely Quarters), New Palace, Potsdam. Silvered. The silvered, rococo bas-reliefs in plaster, over a pale yellow background, contribute to the room's Ovidian theme: Diana, twin sister of Apollo and goddess of the moon and hunt. The use of silver (as opposed to gold) embellishment was rare; not only does it refer to moonlight, contrasting the gold and daylight of the Apollo-Saal, but it also helps identify which harpsichord was intended for this room. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Roland Handrick. For the location of the room, see the floor plan, 8.1.

 

 
Figure 6a
8.6a. Shudi harpsichord no. 511, shown with no. 512's stand. The photograph includes a partial view of the Oberes Konzertzimmer, New Palace, Potsdam. Photo: Mary Oleskiewicz, 2007.

Figure 6b
8.6b. Shudi harpsichord no. 511, close-up, shown with no. 512's stand, Oberes Konzertzimmer. Historical photograph (ca. 1945). Note the unique, carved scroll-and-scallop detail under the cheek, which helps identify the instrument. Stiftung Preu�ische Schl�sser und G�rten Berlin-Brandenburg / Photo: Oberhofmarschallamt / Verwaltung der Staatlichen Schl�sser und G�rten.

Figure 6c
8.6c. Shudi harpsichord no. 511, close-up, shown with no. 512's stand. Note again here, for the purpose of identification, the presence of a scroll-and-scallop shell detail adorning no. 511's cheek; the oxidized silver trim and hinges of the case; and no. 512's (mismatched) gold-gilt ball-and-claw footed stand. Photo: Mary Oleskiewicz, 2007. See also 8.6d.

Figure 6d
8.6d. Detail from a leg of the original stand to Shudi harpsichord no. 512 (now displayed with no. 511). A Prussian Eagle (coat of arms of the Kingdom of Prussia) is depicted in bas-relief on each of the gold-gilt bronze ball-and-claw feet. Shudi's other known harpsichords for Frederick II possessed similar legs; see the detail from the Breslau Shudi in 7.8. Photo: Mary Oleskiewicz, 2007.

8.6ad (pp. 57–59; Tables 7–8, pp. 80–81): Double-manual harpsichord by Burkat Shudi, no. 511 (1766), with stand belonging to no. 512, in the Oberes Konzertzimmer (Upper Music Salon), room 46, Oberes Fürstenquartier (Upper Princely Quarters) New Palace, Potsdam.

 

 
Figure 7a
a. Historical photograph (ca. 1945), including view of the Oberes Konzertzimmer, courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Oberhofmarschallamt / Verwaltung der Staatlichen Schlösser und G�rten.

Figure 7b
b. Detail from 8.7a. Note the presence of the scroll-and-scallop shell detail on the cheek, and the oxidized silver stand and pedal, which identifies that this instrument is Shudi harpsichord no. 511.

Figure 7c
c. Front view of the harpsichord with view of silvered stand and pedal. As depicted in Dale (1913, n.p.), where it is mislabeled as no. 512 (see p. 58n111).

8.7a–c: Shudi harpsichord no. 511, Oberes Konzertzimmer, shown with its original stand.

 

 
Figure 8

8.8 (pp. 60–61; Table 8, p. 81): Music salon ("Cammer"), room 59 (room 246, 1986), Crown Princess (Princess of Prussia, wife of Frederick William II), Obere Rote Kammern (Upper Red Chambers). Photo: Mary Oleskiewicz, 2007. For the location of this room, see the floor plan, 8.1.

     The suite of rooms is named for its red silk damask wall coverings. According to Nicolai (1786), its music salon was furnished with a Shudi harpsichord that has not been identified. It may have been the missing instrument no. 497 (see 7.7). At the time of the photograph, a scale model of the Potsdam Schloss was on display in this room, seen here.

 

 
Figure 9a
a. Historical photo (after 1945) courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo Verwaltung der Staatlichen Schlösser und G�rten.

Figure 9b
b. Photo: Mary Oleskiewicz, 2007.

8.9ab (pp. 63–64; Table 8, p. 81): Music salon of Frederick II, room 6 (room 211, 1896), with Silbermann piano. For the location of the room, see the floor plan, 8.1; for a close-up of the piano, see 8.10.

 

 
Figure 10

8.10 (pp. 57, 63–64; Table 9, p. 82): Fortepiano by Gottfried Silbermann, close-up, in the music salon of Frederick II (room 6). Historical photo (n.d.). Note the decorative gilt rococo harpsichord replacement stand by the court sculptor Schwitzer (ca. 1765) to match the room. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo Roland Handrick. The piano is shown in place in 8.9; for the location of this instrument, see the floor plan, 8.1.

     Displayed in a glass vitrine atop the piano is a flute made for the king by Johann Joachim Quantz.

 

 
Figure 11

8.11 (pp. 56–57; Table 8, p. 81): Schlosstheater (palace theater). View of the seating area. Photo: Mary Oleskiewicz, 2012. For the theater's location, see the floor plan, 8.1.

 

 
Figure 12

8.12 (pp. 56–57; Table 8, p. 81): Schlosstheater (palace theater), view of the proscenium. Courtesy of Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Hans Bach. For the theater's location, see the floor plan 8.1.



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Mary Oleskiewicz is an associate professor of music at the University of Massachusetts Boston.