Document generated on 10/02/2021 7:53 a.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle “Seven Years of Musical War” (1757-1763) at the German Court of Anhalt-Zerbst Barbara M. Reul Volume 30, 2011 URI: https://id.erudit.org/iderudit/1007720ar DOI: https://doi.org/10.7202/1007720ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Reul, B. M. (2011). “Seven Years of Musical War” (1757-1763) at the German Court of Anhalt-Zerbst. Lumen, 30, 131–151. https://doi.org/10.7202/1007720ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 2011 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ “Seven Years of Musical War” (1757-1763) 131 9. “Seven Years of Musical War” (1757-1763) at the German Court of Anhalt-Zerbst Considering the great impact of the last of the Silesian Wars (the Seven Years War) on the political landscape of the eighteenth century, compar- atively little attention has been paid to the question of how it affected musicians serving at German courts. When their rulers left for battle (or exile), instrumentalists and vocalists serving in larger centres such as Berlin and Dresden, for example, experienced discontinued patronage and a clear shift in artistic priorities — away from grand musical pro- ductions such as operas toward more intimate performances in private circles.1 But what about smaller courts such as the principality of Anhalt- Zerbst, which boasted not only powerful political connections — Catherine the Great, Empress of Russia, was a former princess of Anhalt-Zerbst — but also a vibrant musical life? The latter had been shaped signifi cantly and with great success by Johann Friedrich Fasch (1722-1758), who served as the court’s Kapellmeister for over thirty-six years from 1722 until his death in December 1758. His successor was Johann Georg Röllig (1710-1790), court organist, cellist and composer at the court of Anhalt-Zerbst since 1737. When their employer, Fried- rich August (1734-1793), the ruling Prince and brother of Catherine the Great, was forced into exile by King Frederick II in Prussia in April 1758, never to return, the lives of these two directors of music and their musicians changed forever. Röllig, acting Kapellmeister from December 1758 on, was forced to watch his beautiful ensemble, which comprised 1 See the chapters “The Court of Brandenburg-Prussia” (Mary Oleskiewicz) and “The Court of Saxony-Dresden” (Janice B. Stockig) in Music at German Courts, 1715-60: Changing Artistic Priorities, eds. Samantha Owens, Barbara M. Reul and Janice B. Stockigt (Woodbridge: Boydell & Brewer, 2011). LUMEN XXX / 2011 1209-3696 / 2011 / 3000-131 $22.00 / © CSECS / SCEDHS 132 Barbara M. Reul professionally trained vocalists as well as string, woodwind, and key- board players, crumble in front of him. Yet, Röllig’s salary virtually doubled between 1762 and 1764 when the court paid him handsomely for composing new, tailor-made works, specifi cally a new collection of sacred vocal pieces, for the few musicians who were left at his disposal. At the same time, the court failed to appoint him as the offi cial director of music until 1777.2 This article describes for the fi rst time in detail the impact of the Seven Years’ War on musical life at the court of Anhalt-Zerbst over the course of seven years, between 1757 and 1763. Little-known archival sources held at the Landeshauptarchiv Sachsen-Anhalt in Dessau, Ger- many, will be examined to track the gradual demise of the Kapelle in each of these seven “years of musical war”. This allows us to appreciate more fully how court offi cials and music directors coped with reduced performing forces, unsuitable repertoire, and a lack of fi nancial support for the fi ne arts in general. Year 1 — 1757: Beglückter Tag (Joyous Day)3 We are fortunate to have extant in Dessau multiple volumes that describe all activities, including musical performances, at the Anhalt- Zerbst court chapel between 1719 and 1773.4 Fasch’s Kapelle performed at least three times a week (for Vespers on Saturdays, as well as dur- ing morning and afternoon services on Sundays) throughout the year, a performance schedule that was maintained throughout 1757. More- over, the musicians concertized several times a week at the palace and presented special music on birthdays celebrated by members of the princely family — whether the individual honoured was in town or not. On Sunday, 8 May 1757, for instance, the anniversary of Arch- 2 For a general overview of musical life at the court of Anhalt-Zerbst during the fi rst half of the eighteenth century, see Barbara M. Reul, “The Court of Anhalt-Zerbst,” in Music at German Courts, 259-86. 3 Unless otherwise indicated, all translations are the present author’s. 4 Landeshauptarchiv Sachsen-Anhalt, Abteilung Dessau (hereafter: D-LHASA, DE), Z 93, Konsistorium Zerbst, vols. 351-77. These sources are described more fully in Barbara M. Reul, “Musical-liturgical activities at the Anhalt-Zerbst Court Chapel from 1722 to 1758: the Konsistorium-Zerbst Rep. 15A IX a primary source at the Landesarchiv Oranienbaum,” in Johann Friedrich Fasch und sein Wirken für Zerbst, ed. Internationale Fasch-Gesellschaft e.V. [Konstanze Musketa and Barbara Reul], Fasch-Studien 6 (Dessau: Anhaltische Verlagsgesellschaft, 1997), 59-70. “Seven Years of Musical War” (1757-1763) 133 Duchess Catherine of Russia’s birth (actually on 2 May) was celebrated at the court. On that occasion, two newly-composed works were pre- miered. These included a church cantata with sacred text at the court chapel in the morning, and a secular “serenata” — a multi-sectional work that typically featured several solo vocalists singing melodious arias alternating with more speech-like recitative sections and usually ending with a chorus — at the palace in the evening.5 As to the number of musicians would have performed these works under Kapellmeister Fasch’s direction, Friedrich Wilhelm Marpurg’s Historical-Critical Contributions on Music published that same year, indi- cates that there were nineteen professional musicians employed at the court: four vocalists and nine musicians playing string instruments (see Table 1).6 Curiously, fi ve of the violinists were trumpeters in real life and one was the resident kettle-drummer, while one of the vocalists served as the sexton at a local church. But profi ciency on more than one instrument and pursuing two careers were not at all unusual for eigh- teenth-century German court musicians.7 Missing in Marpurg’s over- view are the junior members of the orchestra, namely, four male choral scholars (“Choralknaben”) as well as the oboe- (and possibly violin-) playing members of the palace guard, the Hautboisten.8 This brings the total number of performing musicians at Anhalt-Zerbst to (at least) twenty-four in 1757, numbers that compare favourably to orchestras at other, similarly sized German courts.9 Unique to Zerbst may have been that local grammar school students helped out on special occasions, 5 Barbara M. Reul, “Catherine the Great and the Role of Celebratory Music at the Court of Anhalt-Zerbst,” Eighteenth-Century Music 3/2 (2006): 269-309, at 300-02, especially Table 3. It details the church cantatas presented in Catherine’s honour at the court chapel from 1746-1773, even though she never set foot on Zerbst soil again after her departure for Russia in 1744. 6 Friedrich Wilhelm Marpurg, Historisch-kritische Beyträge zur Aufnahme der Musik, vol. 3, “2. Stück” (Berlin, 1757), 130-33, see <http://commons.wikimedia.org/ wiki/File:Historisch-Kritische_Beytr%C3%A4ge_zur_Aufnahme_der_Musik_ Bd.3.pdf>. 7 See Samantha Owens and Barbara M. Reul, “‘Das gantze Corpus derer ... musicirenden Personen’: An Introduction to German Hofkapellen,” in Music at Ger- man Courts, 1750-1760, 1-14. 8 See Table 1 below: only musicians who performed inside the palace were listed on pay rolls in the court account books; others (such as court trumpeters, kettle- drummers and Hautboisten) were not. 9 See the respective chapters and tables on Anhalt-Zerbst, Gotha and Sondershau- sen in Music at German Courts. 134 Barbara M. Reul such as feast days during the church year and princely birthdays and weddings, including celebrations for Fasch’s son Carl Friedrich Chris- tian Fasch (1736-1800), the future founder of the famous Berlin choral society, the “Sing-Akademie”.10 In 1757, Fasch set to music a serenata text for Catherine’s birthday. The text was probably written by the sexton at the local St. Bartholomew Church, Johann Jacob Ulisch, who had been supplying musical poetry since 1751 and also assisted as bass vocalist in the court chapel from 1754 to 1756.11 In the fourth movement of Beglückter Tag, the author paid tribute to the reigning Russian Empress Elisabeth, Catherine’s mother- in-law, even though political super power Prussia, which was watching Anhalt-Zerbst and its Russian connections carefully, considered her its arch enemy [see Figure 1].12 While it is possible that the serenata text was authored prior to the onset of the Seven Years War in 1756, it seems more likely that it was meant as an incentive for Catherine to protect the principality of Anhalt-Zerbst during her brother’s reign, given that she occasionally received copies of music in Russia.13 10 In a letter to the court penned in March 1754, the elder Fasch himself refers to Carl Fasch’s unpaid involvement in the Kapelle during the wedding festivities of Prince Friedrich August and Princess Caroline Wilhelmine, which took place in November 1753.