Schwetzingen - Schlösser-Magazin

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II. 26 II. Schwetzingen – Elector Carl Theodor’s Summer Residence RUINE DES MERCURTEMPELS Nikolaus Harnoncourt, 1983 „ “ gest. von Haldenwang The time I spent at Schwetzingen in the spring of 1983 has become a special time in my long career – an enchanted castle set in an unreal park, and this incredibly atmospheric little theatre. […] In such an ambience you end up being enchanted yourself, as in Alcina’s flower garden – the music must be played in a different way from the factories in the large cities.
III. Architectural Features a) The Palace Theatre – the Ideal of an Eighteenth-Century Theatre and Opera House The Schwetzingen palace theatre 1 is a historical, architectural and technical marvel of the late 18th century. Opened five years earlier than its counterpart at Ludwigsburg, today it is the oldest theatre in Baden- Württemberg and may be considered the oldest surviving galleried theatre in the world. Built from plans by the architect Nicolas de Pigage, opened on 15th June 1753, with an opera by Ignaz Holzbauer, for a quartercentury it was a major centre of the opera with a programme of unequalled variety. In July 1763, Mozart himself, with his father and sister, was among its visitors. With Elector Carl Theodor’s move to Munich, the palace theatre fell into oblivion. During the 19th century under the rule of the Archdukes of Baden, a few performances were staged by the Karlsruhe court; beyond that the theatre was used for a number of purposes – for example, as a drying room for hops. In 1937, it was rescued from oblivion, and returned to its original function. Building History The building documents surviving from the 18th century are incomplete, and so is our knowledge of the building history 2 : On 20th May 1752, Pigage drew up the expected costs on the basis of a plan that no longer exists. The contracts with the bricklayer, the carpenter, the metalworker and the wood merchant, were concluded on 2nd June 1752; contracts with the sculptor, the painter and the gilder had to be postponed for lack of specific plans. Four days later, the treasury issued an urgent appeal to the craftsmen concerned to 1 Silke Leopold/Bärbel Pelker (eds.), Hofoper in Schwetzingen. Musik – Bühnenkunst – Architektur, Heidelberg 2004. An interdisciplinary overview of the many aspects of the Schwetzingen palace theatre. 2 See also Monika Scholl/Peter Knoch: “Bretterbude? Neue Erkenntnisse zur Baugeschichte des Theaters”, Leopold/Pelker 2004, pp. 251-301. agree on the sequence of building measures, to coordinate their efforts and to avoid delays. No more than six weeks later the 61 craftsmen received a gift of wine because the wooden construction was completed. In late September they were awarded a special “bread bonus”. It is unclear whether the theatre was actually completed by that time, but it appears to have been functional – on 10th September 1752, the set painter received a commission. However, it was only on 30th December that Pigage drew up his first overall statement; minor jobs were still being done in January 1753. The massive walls enclosing a timber construction rise over a T-shaped ground plan (Fig. 1). The pit was fitted out with latticed boxes on the ground floor, and open galleries on the two floors above; each gallery featured one central semicircular box. The wooden railings were covered with hessian. The woodwork of the walls and ceiling remained visible and like the hessian was either painted with distemper or covered with decorative painting. III. Fig. 1: This plan of the Schwetzingen garden by Joseph Kieser, with a design for the palace by Balthasar Neumann, c.1753 (61,0 x 93,2 cm), shows the theatre as it looked shortly after its completion (From: Leopold/Pelker 2004, p. 258). Fig. 2: Nicolas de Pigage, longitudinal section of the theatre; pen and ink, grey wash (42,5 x 117,6 cm). The three plans, rediscovered in 1991, show the theatre after 1762. Analyses performed during recent renovation work have confirmed that Pigage’s drawing shows the earliest “look” of the house and galleries, immediately after the building’s completion. The depiction of some details, notably in the stage area, is somewhat vague (From: Leopold/Pelker 2004, p. 264/265). 27
Page 1 and 2: Nomination for Inscription on the U
Page 3 and 4: Nomination for Inscription on the U
Page 5 and 6: V. Science and Technology Contents
Page 7 and 8: I. Introduction In the eighteenth c
Page 9 and 10: II. Schwetzingen - Elector Carl The
Page 11 and 12: lives in small and crammed rooms wh
Page 13 and 14: of Benrath also served as an assert
Page 15 and 16: part also that thereby the places,
Page 17 and 18: Palatine Electorate in 1748, during
Page 19 and 20: This is clear from the memoires of
Page 21 and 22: c) Musical Life at the Court of Ele
Page 23 and 24: The Two-Season Structure: Winter an
Page 25: friend Lorenz Hagenauer in Salzburg
Page 29 and 30: auditorium and the stage, according
Page 31 and 32: On the whole, though, Pigage’s dr
Page 33 and 34: Influences and Models The architect
Page 35 and 36: et de son bon naturel...”. 9 By t
Page 37 and 38: Idolino. 17 Both porticoes are deli
Page 39 and 40: oval basin is surrounded by a white
Page 41 and 42: to Lunéville from Einville Castle.
Page 43 and 44: the huge cost of fl. 120 000; this,
Page 45 and 46: uilding is clearly not meant to be
Page 47 and 48: probably found in the available gro
Page 49 and 50: in 1730 and translated into German
Page 51 and 52: d) The Arabic Insriptions of the Mo
Page 53 and 54: The Inscriptions of the Interior Al
Page 55 and 56: “EINSAMKEIT IST BESSER ALS BOESE
Page 57 and 58: and humour as the European one, and
Page 59 and 60: e) “… Beyond this lake, finally
Page 61 and 62: Mythology The building owes its nam
Page 63 and 64: of St John: “No man cometh unto t
Page 65 and 66: III. Architectural Features III. 65
Page 67 and 68: IV. Palace Gardens: Role and Signif
Page 69 and 70: Antiquity is a trove of model motif
Page 71 and 72: The four-column Corinthian façade
Page 73 and 74: three identical façades - has a ma
Page 75 and 76: with the colossal stags spouting wa
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to which all his subjects were invi
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) The Collection and Cultivation of
Page 81 and 82:
pot plants during the winter, the s
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The Schwetzingen Orchards and Kitch
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„The merit of a natural garden is
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trees and its beautiful layout, and
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are on display. There are some magn
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space, today occupied by the palace
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The long-planned lane cut into the
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oad, where the new crossing had bee
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The interplay between the summer re
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kitchen gardens, Johann van Wynder;
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view, and that for that reason, it
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utterly misplaced. The harmony betw
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of scientific, botanical interests
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IV. Palace Gardens: Role and Signif
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V. Science and Technology a) On the
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affection for Antiquity instilled i
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knowledge and integrated directly i
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The “litmus test” is to analyse
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In contrast to the military tenor o
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the Wittelsbachs. The spectrum rang
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a notably more complex technical ef
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But postponement does not necessari
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Apollo 71 , the sight line conspire
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c) The Waterworks and Carl Theodor
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tip. The lightning conductors were
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horologist, André Le Paute Mayer b
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ecentissimisque observationibus et
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VI. Schwetzingen - Historical Conte
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Calvinists, over the use of the Hei
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2. History of the Town of Schwetzin
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their properties when the new north
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The Twentieth Century to the Presen
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The New Town is Born The timing of
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Development North of the Market-Pla
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The foundations for the new two-sto
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) History of the Palace 1. The Orig
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Origins A “fort” at “Sweczing
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Friedrich V and the Aftermath of th
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oofed passage; the remains of this
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The following plans (Building phase
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locks. The masonry is regular, and
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Friedrich V and the Conversion of t
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Fig. 8: Findings 8 - Inscription on
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Page 169 and 170:
uilding done in 1715/16). Seen from
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2. The Palace Interior Through the
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into random, occasionally fanciful
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A number of institutions were house
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honour wings, a golden yellow, to e
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the history of the Schwetzingen ora
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In 1731, Johann Friedrich Armand vo
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The Origins of the Palace Gardens a
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hunting park. The dilapidated Upper
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“berceaux en treillage”, i.e. l
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However, as the southern one is des
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that was begun in 1764 and created
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displayed a collection of alpine pl
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drew up an inventory of the Schwetz
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touched any of the shores, a featur
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Neckar valleys” 6 , as the anonym
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inscriptions was faithfully recorde
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I would not like to add my own to s
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fled from the persecution of Art. I
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2. The Schwetzinger Festspiele: the
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VII. Appendices a) Biographies (Man
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was begun with the intention that t
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Elector’s scholarly and artistic
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In 1792/93, with the Palatinate wes
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were involved in building sets and
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sculptor of Duke Leopold of Lorrain
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sculptor, Mr. Lamini, has fashioned
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At the age of about twenty, Nicolas
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de Pigage. Two plans by his hand su
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At Mannheim the most important work
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in two editions together with Georg
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1776 Physicist Johann Jakob Hemmer
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detail, inspired by late Baroque bu
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Carl-Theodor-Straße 9 (Flstnr. 374
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Forsthausstraße (Flstnr. 425) Leim
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Hebelstraße 4 (Flstnr. 179/1) Shar
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Karlsruher Straße 2a, (Flstnr. 434
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Lessingstraße 35 - cf. Lessingstra
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Marstallstraße 12 (Flstnr. 498/1)
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Schlossplatz 2 (Flstnr. 262) Confer
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Zeller and retaining the tower of t
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Zeyherstraße 2 (Flstnr. 219) Resid
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Beringer 1902 - Joseph August Berin
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Freund 1923 - Karl Freund, „Die T
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Heber/Seeliger-Zeiss 1974 - Wiltrud
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Kollnig 1993 - Karl Kollnig, Die Ku
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Mörz 1997 - Stefan Mörz, Die letz
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Schwab 1840 - Franz Schwab, Beschre
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Was bleibt. Markgrafenschätze aus
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Zeyher/Roemer 1815 - Johann Michael
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92 88 87 89 90 91 16 8 86 52 15 14
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