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V. 218 V. Report on the Music Historical Importance: Dr. Bärbel Pelker the next two decades in the form of works by Johann Christian Bach, Egidio Romoaldo Duni, Florian Leopold Gassmann, Giuseppe Gazzaniga, Christoph Willibald Gluck, François- Joseph Gossec, André Ernest Modeste Grétry, Pietro Alessandro Guglielmi, Johann Adolf Hasse, Niccolò Jommelli, Giovanni Paisiello, Niccolò Piccinni and Antonio. Another unique feature in European musical history is the continuity of the active interest in comic opera of Italian and French origin, as it used to be staged in Schwetzingen between 1753 and the court’s move to Munich in 1778, and which was intensified even further in 1771, once the troupe of French actors had left. Starting in summer 1772, for example, up to four different operas were performed several times over in Schwetzingen 27 . In choosing which Italian comic operas to perform (which were predominantly works by the composers Galuppi, Piccinni and Sacchini, who were amongst the most famous and most successful in Europe) the Schwetzingen programme is, however, a unique reflection of the taste of the time in its mixture of works in French and German. In the early years, the French operas were translated into German. The first of these, in summer 1774, was Duni’s “La laitière et les deux chasseurs” (Das Milchmädgen und die beiden Jäger). In his official statement of opinion, Carl Theodor thus began by expressing his predilection for the German language, which he brought onto the opera stage with the help of these translations, with the intention of having the “genuine” German operas follow them later. That happened in 1775 with a performance in Schwetzingen palace theatre of the opera “Alceste” composed by Anton Schweitzer (with the libretto by Christoph Martin Wieland) on 13 August, two years after its premiere in Weimar. With this large-scale opera performance, Carl Theodor made it unmistakably clear that he wanted to make the German language acceptable at court as a language of theatre – if necessary, 27 Detailed records of performances including documentary evidence of the librettos and music scores are to be found in: Hofoper in Schwetzingen, pp. 87–154 and 391–405. even against the will of his wife, Elisabeth Augusta. There is evidence of initial sympathies for German as a language of theatre as early as 1767, and on 25 June 1768 the Prince Elector had a German play staged at his summer residence for the first time. The end of this development, and at the same time its climax, can be seen as Ignaz Holzbauer’s opera “Günther von Schwarzburg”, with the libretto by Anton Klein. For the first time, this took an episode from German history as its theme. The composer completed this work in 1776, once again in Schwetzingen, upon the personal command of the Prince Elector. With this opera, the electoral court established the definitive profile for itself as the cradle of reformed German opera, which had begun on the court’s experimental stage in Schwetzingen. It was to be a position that was only short-lived, on account of the court’s transfer to Munich in 1778. Both the last two operas, “La festa della rosa” and “Zemira e Azor”, were Italian translations of French operas by Grétry and were performed in Schwetzingen in 1776. They once again confirmed the unique variety of the opera repertoire and also Carl Theodor’s interest in focussing on European opera traditions and then melting them together as if under a magnifying glass. The legacy of the music at the court of the Prince Elector In presenting an inventory of the visible evidence of this important epoch in the history of European music, a good place to start is with the compositions of the musicians at the electoral court in the Electoral Palatinate, which are to be found today in nearly all the leading music libraries (there are comprehensive collections, for instance, in Paris, London, Brussels, Berlin, Munich and Washington). The world’s largest collection, however, with more than 6000 compositions is to be found at the Heidelberg Academy of Sciences and Humanities in the research unit concerned with Court Orchestras in
the German Southwest in the 18th-Century. This collection is still housed in Heidelberg at the time of writing, but it is planned to transfer it to the Prince Elector’s former summer residence in Schwetzingen in the near future. The fact that it is still possible to reconstruct the collected works of the court orchestra on this representative scale and thus to bring them to life again in concerts is due to a considerable extent to its fame, which spread definitively throughout the whole of Europe in the 1770s. There was thus a correspondingly large demand for the works of the court musicians. In addition to the paid copyists, whose full-time job it was to meet the numerous orders for handwritten scores, various German and foreign publishing houses secured privileges to print the new works 28 and thus also contributed to the survival of this compositional inheritance. Along with these visible testimonies, the legacy of the Prince Elector’s musicians also extends to their pioneering musical achievements, which had their impacts on musical culture and technique, in other words on those performing music too. Those who contributed significantly to their dissemination throughout Europe included government ministers, envoys and agents 29 as well as numerous visitors from abroad, who, in the age of Enlightenment, were keen on undertaking those oh-so-important educational journeys, which included the 28 Leading publishers: De LaChevardière, Sieber, Venier, Huberty, Le Clerc, Bailleux, Bureau d’abonnement de musique, Boüin & Bérault in Paris; Hummel in Amsterdam and Bremner, Welcker, Walsh, Longman and Broderip in London; cf. on this point, inter alia: Cari Johansson, French Music Publishers’ Catalogues of the Second Half of the Eighteenth-Century (= Publications of the Library of the Royal Swedish Academy of Music 2), Stockholm 1955; Cari Johansson, J. J. & B. Hummel. Music-Publishing and Thematic Catalogues (= Publications of the Library of the Royal Swedish Academy of Music 3), vol. 2, Stockholm 1972 Starting in 1773, Johann Michael Götz published works by the court musicians in the residence town of Mannheim, cf. Hans Schneider: Der Musikverleger Johann Michael Götz (1740–1810). 2 vols. Tutzing 1989 29 Ministers and servants of the Electorate of the Palatinate spent time at all the important courts and in all the important places in Europe: Amsterdam, Augsburg, Berlin, Brussels, Colmar, Cologne, Frankfurt, Hamburg, Kleve, Liege, London, Loreto, Mainz, Milan, Munich, Naples, Paris, Regensburg, Rome, Strasbourg, The Hague, Trier, Venice, Vienna and Wetzlar. The Electorate of the Palatinate was represented for many years especially at the following courts: Ansbach, Berlin, Dresden, Munich, Paris, Rome and Vienna. The envoys reported the latest happenings to their courts two or three times a week, resorting to cipher for critical matters. V. Report on the Music Historical Importance: Dr. Bärbel Pelker “Germans’ musical Athens” 30 . The biggest contribution of all, however, came from the court musicians themselves, who, when making guest appearances during their journeys abroad, preferably to London, Paris and Italy, successfully demonstrated their artistic skills before local audiences and thus repeatedly acted as ambassadors of the music from the Electorate of the Palatinate. The final group that also contributed to the spread of the Palatinate’s musical tradition was those musicians who served abroad. Of these, it is worth mentioning the examples of Wilhelm Cramer (orchestra conductor in London), Franz Eck (solo violinist and director of concerts at the court of the tsars in St. Petersburg), Franz Xaver Richter (musical director at Strasbourg cathedral), Franz Tausch (clarinettist in the court orchestra of King Friedrich Wilhelm III in Berlin and founder there of the institute of wind instruments) and Georg Joseph Vogler (director of the Swedish royal orchestra). The court musicians of Prince Elector Carl Theodor contributed decisively to improving orchestral and playing culture throughout Europe through achievements which we take for granted these days, such as precision in playing together, synchronous bow movements and innovations in the tones and technical playing qualities of their instruments 31 . Heidelberg, 30 November 2009 Dr. Bärbel Pelker 30 Schubart: Deutsche Chronik, 5<strong>3.</strong> No. 29. 9. 1774, p. 423 31 The improvement in the violinist’s virtuosity in playing technique, for which the evidence is most striking in the solo concerts, would have been unthinkable without the further development of the bow. The decisive change in bow manufacture, which was completed around 1760, is linked with the name of the palatine violinist, Wilhelm Cramer. It was the so-called “Cramer bow” which already displayed the most important characteristics of the modern bow that members of the Tourte family in Paris took from about 1780 onwards as the bow model valid until the present (Thomas Drescher: Art. “Streichinstrumentenbau”, in: Ludwig Finscher (ed.): Die Musik in Geschichte und Gegenwart. Second revised edition, technical part, vol. 8. Kassel 1998, col. 1883 V. 219
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Nomination for Inscription on the U
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Contents Nomination Form 1. Identif
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1. Identification of the Property 1
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1. Identification of the Property 1
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2. Description 2.a) Description of
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Captions (italics denote a selectio
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of the eighteenth-centuries. Most o
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projecting galleries, and stalls ge
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pavilion of the southern arbour wal
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the other rooms in the bathhouse, w
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y wooden columns. The trellises, to
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Areas Bordering the Gardens, and Bu
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Palatina; 1773: publication of the
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function, was guaranteed by the con
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(Monuments in the Administrative Di
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3. Justification for Inscription 3
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as it were, in the palace garden, t
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“Arboretum” is at the very begi
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However, archaeological activity wa
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3.c) Comparative Analysis Introduct
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uncommonly personal and individual
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east of the palace; 1803/04 constru
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Authenticity: The palace was only s
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der Gärten Nymphenburg und Schwetz
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Court Garden of Ansbach Basic Facts
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Characteristics: Today the Bayreuth
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is in the merely rudimentary landsc
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has been lost. The original statue
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Summary Herrenhausen performed the
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Palace of Sanssouci Basic Facts Loc
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Garden Kingdom of Dessau-Wörlitz B
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under King Johann of Saxony (1801-1
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of palace chapel; 1715 death of Lou
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World Heritage site since 1996. Cha
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Technical monuments: The 1725 ”Wi
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Palace Garden of Palazzo Reale, Cas
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Characteristics: The estate incorpo
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Summary Even after the main residen
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Géza Galavics: Egy elfeledett ango
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Blenheim Castle und Park Basic Fact
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Topical Comparison Summer residence
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Philipp, enlarged from 1748 under E
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encroachment of the residential are
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Technical Monuments Technical monum
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Comparison of Outstanding Artistic
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eference to Greek antiquity. 13 The
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of the palace and as a star-shaped
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laying out of such a collection as
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gardens in 1804-1823. 45 Here Sckel
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Bayreuth. A novel element is the sl
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current appearance is shaped by num
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early as 1753 the “Salle de Comé
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Garden Mosques The mosque, built 17
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in a garden plan of that year. 90 T
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3.d) Integrity and/or Authenticity
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Thus the numerous small 18th-centur
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3. Justification for Inscription 3.
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4. State of Conservation and Factor
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4. State of Conservation and Factor
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Planned Measures The Management Pla
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necessary steps are taken to avoid
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5. Protection and Management of the
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environmental features worthy of pr
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special conservation areas designat
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• the palace gardens, combining B
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5.c) Means of Implementing Protecti
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5.e) Property Management Plan or Ot
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5.g) Sources of Expertise and Train
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Since 1991, guided tours of the pal
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5.i) Policies and Programmes Relate
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5.j) Staffing Levels (Professional,
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6. Monitoring 6.a) Key Indicators f
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Schwetzingen: A Prince Elector‘s
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Date Title, author, source Content
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6. Monitoring 6. 155
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7. Documentation 7.a) Photographs,
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7.d) Addresses where Inventory, Rec
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8. Contact Information 8.a) Prepare
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Badische Heimat, Bezirksgruppe Schw
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9. Signatures on Behalf of the Stat
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Page 185 and 186: II. Report on the Garden Historical
Page 187 and 188: uildings - that rarely corresponded
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Page 201 and 202: By 1681, Liselotte‘s brother, Pri
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Page 209 and 210: V. Report on the Music Historical I
Page 211 and 212: list of musicians for the first tim
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Page 215 and 216: classical Viennese composers) the s
Page 217: green vines, and mystifyingly bound
Page 233 and 234: VI. Interpretation of the Palace Ga
Page 235 and 236: the significance of Schwetzingen Ga
Page 237 and 238: Pfalz-Zweibrücken, the Palatinate
Page 239 and 240: On 29 August 1749, the Prince Elect
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Page 243 and 244: conceptualisation underlying the ga
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Page 265 and 266: About the Experts Michael Hesse Pro
Page 267 and 268: team at the Berlin-Brandenburg Acad
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