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Beyond Bach• Music and Everyday Life in the Eighteenth Century

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Beyond Bach• Music and Everyday Life in the Eighteenth Century Beyond Bach• Music and Everyday Life in the Eighteenth Century Andrew Talle Beyond Bach• Beyond Bach• Music and Everyday Life in the Eighteenth Century andrew talle Publication is supported by a grant from the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. © 2017 by the Board of Trustees of the University of Illinois All rights reserved Manufactured in the United States of America c 5 4 3 2 1 ∞ This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Names: Talle, Andrew. Title: Beyond Bach : music and everyday life in the eighteenth century / Andrew Talle. Description: Urbana : University of Illinois Press, 2017. | Includes bibliographical references. Identifiers: LCCN 2016041694 (print) | LCCN 2016043348 (ebook) | ISBN 9780252040849 (cloth : alk. paper) | ISBN 9780252099342 (e-book) | ISBN 9780252099342 (E-book) Subjects: LCSH: Music—Social aspects—Germany— History—18th century. | Keyboard players— Germany—Social conditions—18th century. | Germany—Social life and customs—18th century. Classification: LCC ML3917.G3 T35 2017 (print) | LCC ML3917.G3 (ebook) | DDC 786.0943/09032—dc23 LC record available at https://lccn.loc.gov/2016041694 Jacket illustration: Barthold Fritz: Clavichord for Johann Heinrich Heyne (1751). Copyright Victoria and Albert Museum For J. E. Contents Illustrations .................................... ix Acknowledgments .............................. xiii A Note on Currency ............................. xv Introduction ....................................1 1. Civilizing Instruments ............................11 2. The Mechanic and the Tax Collector ...............32 3. A Silver Merchant’s Daughter......................43 4. A Dark-Haired Dame and Her Scottish Admirer ............................66 5. Two Teenage Countesses..........................84 6. A Marriage Rooted in Reason.....................111 7. Male Amateur Keyboardists ......................142 8. A Blacksmith’s Son .............................171 9. May God Protect This Beautiful Organ .............196 10. How Professional Musicians Were Compensated .............................205 11. The Daily Life of an Organist .....................222 Conclusion....................................257 Notes ........................................261 Bibliography ..................................305 Index ........................................331 Color plates follow page 110 Illustrations Tables Table 1. Barthold Fritz Clavichord Customers, 1721–1757...............35 Table 2. Christiane Sibÿlla Bose Expenditures, 1732 ....................43 Table 3. Movement Titles for the Countesses zu Epstein.................97 Table 4. Composers Copied for the Countesses zu Epstein...............97 Table 5. Johann Heinrich Fischer’s Books about Music.................165 Table 6. Johann Heinrich Fischer’s Music Prints ......................167 Table 7. Movements in the Print of Bach’s Clavier-Übung I (belonging at one time to J. H. Fischer) ...........................169 Table 8. Siblings of the Family von Lillieström, 1753 ..................188 Table 9. Carl August Hartung’s Income and Expenses in Cöthen, 1752–1760 ...........................................227 Table 10. Carl August Hartung’s Baptism and Wedding Performances ........................................230 Table 11. Carl August Hartung’s Keyboard Students in Cöthen, 1752–1760 ...........................................235 Table 12. Carl August Hartung’s Income and Expenditures, March 17–31, 1761............................................242 Table 13. Carl August Hartung’s Keyboard Students in Braunschweig, 1760–1765 ......................................247 Table 14. Carl August Hartung’s Keyboard Teaching in Cöthen and Braunschweig.............................................248 x Illustrations Table 15. Carl August Hartung’s Finances in Cöthen and Braunschweig Compared . 251 Table 16. Carl August Hartung’s Income in Cöthen and Braunschweig by Percentage ....................................251 Charts Chart 1. Multiple-Composer Manuscripts for the Countesses zu Epstein ....................................................94 Chart 2. Single-Composer Manuscripts for the Countesses zu Epstein ....................................................95 Chart 3. The Only Bach Work to be Copied for the Countesses zu Epstein ....................................................99 Musical Examples Musical Example 1. Friederika Sophie zu Epstein: Menuet 1 in C major .....................................................102 Musical Example 2. Friederika Sophie zu Epstein: Menuet 1 in C major. Copied around October 1744 by Johannes Merle. D-B: N.Mus.ms.BP95...........................................103 Musical Example 3. Friederika Sophie zu Epstein: Menuet 2 in C minor .....................................................104 Musical Example 4. Friederika Sophie zu Epstein: Menuet 2 in C minor. Copied around October 1744 by Friederika Sophie zu Epstein. D-B: N.Mus.ms.BP95 .................................105 Musical Example 5. Friederika Sophie zu Epstein: March and March Fragment in D major . 106 Musical Example 6. Friederika Sophie zu Epstein: March and March Fragment in D major. Copied by Friederika Sophie zu Epstein. At the top of the page is an abortive attempt by Luise Charlotte zu Epstein to copy a work designated “Allegro moderato” in F major attributed to “Seybert.” D-B: N.Mus.ms.BP670 .........................................107 Musical Example 7. Lüneburg Organ Audition 1737. Theme 1..........215 Musical Example 8. Lüneburg Organ Audition 1737. Theme 2..........215 Plates (Color) Plate 1. Music Printed in German-Speaking Lands, 1660–1759 Plate 2. German Music for Keyboard Solo for Which the Publisher Is Known, 1660–1759 Illustrations xi Plate 3. Barthold Fritz: Clavichord Sales, 1721–1757. The year 1757 includes only the months January through March Plate 4. (4a.) Johann Christoph Eberling: Portrait of Barthold Fritz. Wolfenbüttel, Herzog August Bibliothek: Inv.Nr.7212. (4b.) Barthold Fritz: Signum from a Lost Clavichord. Braunschweig, Städtisches Museum Plate 5. Barthold Fritz: Clavichord for Johann Heinrich Heyne (1751). London, Victoria and Albert Museum: Inv.Nr.339-1882 Plate 6. Johann Kuhnau: Frontispiece to Musicalische Vorstellungen Einiger biblischer Historien (1700). Staatsbibliothek zu Berlin: Mus.ant.pract.K385 Plate 7. Johann Heinrich Tischbein the Elder: Self-Portrait with the Artist’s First Wife, Marie Sophie Tischbein (ca. 1757). Gemäldegalerie Berlin, Inv.Nr.1697 Plate 8. Johannes Merle: Keyboard Manuscripts for the Countesses zu Epstein, 1742–1744 Plate 9. Anonymous: Portrait of Friederika Sophie, Countess zu Epstein. Schlossmuseum Darmstadt, Inv.Nr.B21320 Plate 10. Elias Gottlob Haußmann: Portrait of Luise Adelgunde Victorie Gottsched (1740). Custodie und Kunstsammlungen der Universität Leipzig. Inv.Nr.4691/90 Plate 11. Leonhard Schorer: Portrait of Johann Christoph Gottsched (1744). Custodie und Kunstsammlungen der Universität Leipzig. Inv.Nr.0699/90 Plate 12. Detail from Grundriß über die Rittergüter Rötha und Rüben (1681). Sächsisches Staatsarchiv, Staatsarchiv Leipzig, 20532 Rittergut Rötha, K1 Plate 13. Gottfried Silbermann: Organ for Rötha’s Church of St. George (1721). Photograph courtesy of Jihoon Song Plate 14. Anonymous: Portrait of Christian August, Freiherr von Friesen. Photograph courtesy of Jihoon Song Plate 15. Carl August Hartung: Excerpt from Kleine Wirthschafft Rechnung über Einnahme und Ausgabe. D-BS: H III 3:99, pp. 168–69 Plate 16. Carl August Hartung: Excerpt from Verzeichniß von Clavier-Piecen des seel. Herrn Joh: Seb: Bachs. Staatsbibliothek zu Berlin: Mus.ms.theor.1215, f. 18r Acknowledgments am extremely grateful for all of the help I have received in researching and writing this book. First and foremost, I would like to thank the cur- I rent and former scholars of the Bach Archive in Leipzig, especially Chris- toph Wolff, Hans-Joachim Schulze, Peter Wollny, Michael Maul, Manuel Bärwald, Andreas Glöckner, Christine Blanken, and Ulrich Leisinger. I would also like to thank that institution’s past and present library staff, espe- cially Ulla Zacharias, Viera Lippold, and Christina Funk-Kunath. I received advice and assistance from many others in Germany, particularly Birgit Busse, Martina Rebmann, Birgit Renner, and Christiane Tewinkel (Ber- lin); Hartmut Nickel (Braunschweig); Jürgen Samuel and Inge Streuber (Cöthen); Rainer Maaß, Günter Merle, Christina Pilz, and Silvia Uhlemann (Darmstadt); Günter Preckel (Dessau); Edgar Kutzner, Bernhard Jäger, and Gerda Lobe-Roeder (Fulda); Jürgen Neubacher (Hamburg); Detlef Döring and Rüdiger Otto (Leipzig); Helmut Klingelhöfer (Marburg); Elisabeth Höpfner, Jihoon Song, and Helmut Hentschel (Rötha); and Rashid-Sasha Pegah (Würzburg). Friends in the United States offered helpful comments on earlier drafts of this book, including Susan Baron, Linda Delibero, Hollis Robbins, Chip Wass, Mark Janello, Sharon Levy, and Gary Sampsell (Baltimore); Joshua Rifkin (Cambridge); Mark Peters (Chicago); Woody and Cynthia Andrews (Minneapolis); Steven Zohn (Philadelphia); and Margaret Guroff (Washington, D.C.). I also owe a great debt to the ad- ministrators at the Peabody Conservatory of Johns Hopkins University for xiv Acknowledgments granting me leave to research and write this book, and to the American Musicological Society, which supported its publication through the AMS 75 PAYS Endowment.
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