1 This is generally considered to be 5 November 1793, the day the group's lease for the use of the hall in the Royal Prussian Akademie of the Arts was settled. The group had been meeting informally since 1791, when it numbered around 30. By 1801, there were 130 members. See Ellen Elizabeth Exner, ‘The Forging of a Golden Age: King Frederick the Great and Music in Berlin 1732–1765’ (Ph.D. dissertation, Harvard University, 2010), 14.

2 A list of the holdings of the Sing-Akademie library is published as The Archive of the Sing-Akademie zu Berlin. Catalogue / Das Archiv der Sing-Akademie zu Berlin. Katalog, On behalf of Sing-Akademie zu Berlin ed. Axel Fischer and Matthias Kornemann (Berlin, 2009). Detailed information on the manuscripts themselves (instrumentation, copyists, watermarks and former owners) can be accessed via RISM (<http://opac.rism.info/index.php?L=1>), library code: D-Bsa. Some examples of incorrect dating and geographical attribution are discussed below.

3 Christoph Wolff, ‘Recovered in Kiev: Bach et al. A preliminary Report on the Music Collection of the Berlin Sing-Akademie’, Notes, Second Series, 58, bo. 2 (2001), 260–1.

4 For more information on the negotiations and arrangements for the return of the collection, see Wolff, ‘Recovered in Kiev’, 259–71.

5 See the article on the Grave collection by Barbara Wiermann, ‘“Sie haben einen sehr guten musikalischen Magen, deßwegen erhalten Sie hierbey starke Speisen” Johann Heinrich Grave und das Sammeln von Musikalien im späten 18.Jahrhundert’, Bach-Jahrbuch (Leipzig, 2010), 249–67. Like the Klipfel collection, the Grave collection has been broken up and absorbed into the Brussels accessions. Barbara Wiermann has attempted a reconstruction of the original collection.

6 See Peter Wollny, ‘Sara Levy and the Making of Musical Taste in Berlin’, Musical Quarterly, 77 (1993), 651–88. The Sarah Levy collection was sold to the Sing-Akademie after her death in 1854.

7 Johann Heinrich Zedler, Grosses vollständiges Universal-Lexicon aller Wissenschafften und Künste (1739).

8 The formers pupils of J.S. Bach are currently being tracked and researched as part of the Bach-Archiv, Leipzig project, Johann Sebastian Bachs Thomaner, led and co-ordinated by Prof. Dr Peter Wollny and Dr Michael Maul (see www.bacharchivleipzig.de/de/bach-archiv/johann-sebastian-bachs-thomaner).

9 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York, 2000), 252.

10 Wolff, Learned Musician, 355.

11 As suggested by Wolff in Learned Musician, 355.

12 See commentary below.

13 See Wolff, ‘Recovered in Kiev’, 259–71.

14 See: (a) Georg Thouret, ‘Die Musik am preußischen Hofe im 18. Jahrhundert’ in Hohenzollern-Jahrbuch (1897), 49–70 and Friederich der Große als Musikfreund und Musiker (Leipzig, 1898); (b) Curt Sachs, Musikgeschichte der Stadt Berlin bis zum Jahre 1800 (New York, 1908); Music und Oper am kurbrandenburgischen Hof (Berlin, 1910); ‘Prinzessin Amalie von Preußen als Musikerin’, in Hohenzollern-Jahrbuch 14 (1910), 181–91.

15 See the five articles in Telemann, der musikalischer maler – Telemann-Kompostionen im Notenarchiv der Sing-Akademie zu Berlin (Hildesheim, 2010).

16 See ‘Symphonies, Concertos and Ouvertures’, The Archive of the Sing-Akademie zu Berlin: Catalogue, ed. Fischer (Berlin 2010), 91.

17 Christoph Henzel, ‘Die Musikalien der Sing-Akademie zu Berlin und die Berliner Graun-Überlieferung’, Jahrbuch des Staatlichen Institut für Musikforschung Preußischer Kulturbesitz, 72ff. See discussion of library sequences below.

18 Berlinsche Monatsschrift (1793–1811) ed. F. Gedike and J.E.Biester, 1802, 135–49. (Available in digital copy at www.ub.uni-bielefeld.de/diglib/aufkl/berlmon/berlmon.htm referred to hereon as ‘Obituary’.) All material sourced from this article is indicated by footnotes.

19 I am grateful to Dr Peter Braun, Leiter Historische Sammlungen at the Meissen Factory, for this information (email to the author dated 10 June 2013).

20 ‘Dies begeisterte ihn, mit einigen seiner Kameraden, und mit den sogenannten Stadtpfeiffern, in Meißen ein Konzert zu errichten’ (‘Obituary’, 140). The name of the group comes from the printed wordbooks to cantatas performed in 1753 and 1755 (see discussion below).

21 See further comments below about the dating of works.

22 ‘mit Recht Aufseh[e]n’ (‘Obituary’, 142).

23 ‘…und verschafte zugleich dem Stifter den Zutritt zu den vorzüglichern Familien der Stadt’ (‘Obituary’, 142).

24 ‘Um bei seinem Konzerte die Lücken möglichst auszufüllen, erwarb er sich auch durch eignes Studium die Fertigkeit: zu singen, die Bratsche zu spielen und die Pauken zu schlagen’ (‘Obituary’, 141).

25 See comments in Section 4.

26 The anonymous copyists (some of whom may also have been members of the Stadtpfeifers) are discussed below.

27 Very often in the symphonies and partitas by Roellig, Schrägrichen and others the viola line goes below the notated basso part creating inversions of chords that are not intended. A 16-foot instrument (violone) is required to maintain the correct bass note in the harmony.

28 St Afra was one of three Fürstenschulen established by Herzog Moritz von Sachsen in Meissen (1543), Naumburg (1543) and Grimma (1550). An important library of music was built up at Grimma (now preserved in the State and University Library in Dresden) and there are records of performances at the School there. In contrast, little is known of the musical training, repertoire and musical life of St Afra in the seventeenth and eighteenth centuries and while St Afra cannot boast the musical achievements of St Augustin in Grimma, it did have its own church and choir. Vollhardt, in Geschichte der Cantoren und Organisten von den Stadten im königreich Sachsen (Berlin, 1899), 83, reports that the choir at the school performed church music on at least 14 days, except in the holiday period, but that no performing materials from the sixteenth to the eighteenth century could be found in either the School or in the town archives. The present School building was constructed in 1879, and it is possible that eighteenth-century materials were dispersed or destroyed at this time.

29 In 1733, J. G. Stübner had lost out to W.F. Bach for the post of organist at the Sophienkirche in Dresden and in c.1734 had been organist of the Annenkirche in Dresden where he had given lessons to (and been deputised by) the young G.A. Homilius. Stübner had then taken up a more lucrative post in Meissen. See (a) Hector Ian Soga, ‘Sacred Vocal Works of Gottfried August Homilius (1714–85) with Particular Reference to his St Mark Passion’ (Ph.D. dissertation, University of Glasgow, 1989), 15–16 and (b) Ulrich Kahmann, Wilhelm Friedmann Bach der unterschätz Sohn (Aisthesis Verlag, Bielefeld, 2010), 81, (Accessed online at www.aisthesis.de/leseprobe/9783895288289.pdf 2.6.2013).

30 See Roellig Partita in D, SA 2334.

31 This repertoire will be discussed further below.

32 Chorton pitch was the relatively high pitch of German church organs as opposed to Kammerton, the slightly lower pitch used for instruments introduced principally by the adoption of French oboes into Germany. Perhaps this might explain why, having been repaired again in 1771, the Dom organ was demolished in 1870 for a more modern instrument with a pipe box in a neo-gothic style. (Information from display in Meissen Dom, inspected July 2014).

33 Both libretti were owned by the old university library of Wittenberg, which received these books via a bequest from Johann August Ponickau (1718–82), who attended St Afra c.1732–40.

34 Autograph score. Title of libretto: Die Eigenschaften / eines grosen Königs / betrachten an dem Ruhmwürdigsten Beyspiele / Des Allerdurchlauchtigsten, Großmäch= / tigsten Herrn, / HERRN / Friedrich August, / Königs in Pohlen / und Churfürstens zu Sachßen, u. / und suchten zugleich / bey Alllerhöchst=Deroselben erfreulichen / Geburthstage, / am 7. des Weinmonats, 1753. / ihre Landeskindliche Neigung in einem glückwunschenden / Singegedichte / allerunterthänigst gehorsamst zu bezeugen / Das ietzige / Collegium Musicum der Königl. / Porcellaine-Manufactur in Meissen. // Dreßden, gedruckt bey der derro. Königl. Hof=Buchdr. Stößelin (D-Hau Yd1941). The fragment in autograph score of another birthday cantata dedicated to the Elector of Saxony is Tag der mit Friedrichs Namen prangt (SA 1177/2), which consists of just one recitative in F major.

35 Title of libretto: Das / am Michaelistage 1755 / in Sachsen gefeyerte / Jubelfest, / wegen des / am 25. Sept. 1555. geschlossenen / religiousfriedens, / in einem / Singegedichte / aufgefürt / von dem / Collegio musico. / in Meissen // DRESDEN, / gedruckt bey Johann Wilhelm Harpetern (Halle: D-Hau Yd1610).

36 The title is Vor der predigt…Festo Jubilei. d:25 Septbr: anno 1755 / Di Roellig jun:

37 A Prince of Poland and Saxony in the house of Wettin, he was the son of August III and, from 1758 to 1763, was Duke of Courland and Semigallia, a region now part of Estonia.

38 Uses Symphony in Bb (SA 3206) as the overture; parts copied by Roellig, Klipfel and ‘Anon Sing-Akademie 105’.

39 Uses Symphony in D (SA 3204) as the overture; partly autograph score plus score and parts copied by Klipfel, ‘Anon Sing-Akademie 96’ and Roellig, text book written by Klipfel.

40 Wolff, Learned Musician, 358–60.

41 The image of the monkey orchestra, from the website of Kunsthaus Lempertz, Cologne, is reproduced with kind permission of Edgar Abs and Professor Henrik Hanstein. The date for the first production of the monkey orchestra is provided by the Meissen Factory website, www.meissen.com/en/products/monkey-orchestra (Accessed 21 June 2014).

42 See Samantha Owens, ‘Gedanken für ein gantzes Leben’, Polnischer Bock Music at the Würtemburg Court c. 1730’, The Consort, 54 (1998), 43–56.

43 Images of the ‘Galante Kapelle’ can be found at www.meissencollector.com/galante_kapelle.htm. Winifred Baer (in Von Gotzkowsky zur KPM aus der Frühzeit des friderizianischen Porzellans (Berlin 1986)) indicates the orchestra was designed and created 1753–4 but this website suggests the Kapelle was created c.1745, which would coincide with the foundation of the Meissen Collegium.

44 Autograph score with parts copied by Klipfel and Roellig. It is bound with the birthday cantatas Wie Glucklich ist ein Land (SA 1177/4) and Die Lust von jenem Schreckenbilde (SA 1177/5).

45 Both are autograph scores; the parts that accompany SA 444 are in Klipfel's hand. From Klipfel's styles of clef, it is possible to date SA 444 to c.1758–9. (See discussion of handwriting below).

46 Marriage recorded in Taufbuch der Kircheneinde Frauenkirche (Stadgemeinde) Meißen, 1718–1765, 299. I am grateful to Frau Marzin, Sachbearbeiterin at the Evangelisch-Lutherische, Landeskirche Sachsens Regionalkirchenamt, Dresden, for providing copies of the relevant records.

47 Christening recorded in Traubuch der Kircheneinde Frauenkirche (Stadgemeinde) Meißen, 1748–1766, item 122. She married Kriegsräth Samuel Gottfried Bandelow and lived at Mohrenstraße 15, Berlin (www.adressbuecher.net/entry/show/3411698, accessed 10 June 2013) and died in Berlin (www.gravestonephotos.com/public/gravedetails.php?grave=273439, accessed 10 June 2013).

48 Carl Wilhelm Klipfel composed the birthday piece Wer denkt wer denkt so früh schon mein (Alexia's Ahnungen. | Aus einer romantischen Erzählung.) (SA 1404) for soprano and piano c.1800.

49 Composed 19 January 1759 in Presch (near Wittenburg). This is one of three Easter cantatas for solo soprano and instruments in the same folder (the other two are Joseph lebet noch und ist ein Herr über ganz Ägypten (SA 178/1) and Christus ist um unsrer Sünde willen (SA178/2). All scores are probably autograph, presumably collected by Klipfel at the same time. Parts are in Klipfel's hand.

50 Johann Christoph Richter entered the Hopfkapelle in 1716 and was sent for further study in Italy. From 1727 he was Hoforganist in Dresden (taking on regular students) and took lessons on the Pantaleon from Hebenstreit. Surviving works include the Opera drammatica per festeggiare il gloriosissimo giorno natalizio della real Altezza principesse. Imp. di Sassonia [Maria Antonia] 1764. (Eitner, Vol. 8, 221).

51 Nur fort ins Feld ihr tapfern Brüder (SA 1291); score and parts copied by Klipfel. Fehre was an organist in Dresden and then in nearby Zehren bei Meissen (approximately five miles north of Meissen). Fehre is also a composer of a symphony in the Klipfel collection (SA 2285/1).

52 Referring to his first meeting with the king, (‘Obituary’, 143) he describes Frederick as the ‘Victor of Torgau’, a battle that had taken place on 3 November 1760. Frederick penned a letter from Meissen seven days following the battle. See G.P. Gooch, Frederick the Great: the Rule, The Writer, The Man (London, 1947), 50.

53 Since Frederick the Great is most commonly referred to and known by the anglicised version of his name (Frederick), this spelling has been used for all references to the king. For all other persons, the German spelling ‘Friedrich’ has been maintained.

54 There is a report that Frederick visited the Meissen factory on 8 November 1760 in which he remained for over an hour in the storeroom before inspecting one of the studios and looking at chinaware he had ordered. See Berling, ed., Meissen China An Illustrated History (New York, 1970) 54, which is a reprint of the 1910 book entitled: Festive Publication to Commemorate the 200^th Jubilee of the Oldest China Factory, Meissen.

55 The obituary states that Klipfel played the ‘Flügel’, but this may purely be an indication that by 1802 the piano had superseded the harpsichord.

56 ‘…daß Friedrich ihn bald und oft mit Bravorufen belohnie’ (Obituary’, 143).

57 ‘Wenn der König Meißen verließ, ward Kl[ipfel]n jedesmal ein angemessenes Geldgeschenk ausgezahlt’ (‘Obituary’, 145)

58 ‘…als wegen seines bescheidenen Offenheit, woraus sein Charakter hervorleuchtete…’ (‘Obituary’, 144).

59 ‘…worüber Kl.[ipfel] immer mit Freimüthigkeit antwortete’ (‘Obituary’, 143).

60 Thomas Carlyle, [History of Friedrich II,] [Called Frederick the Great], xx, 6. www.gutenberg.org/files/2120/2120.txt (Accessed 18 June 2013). Giles MacDonogh (in Frederick the Great (London, 2001), 302, suggests that Frederick took lodgings in Leipzig on 1 December 1760.

61 As reported in the ‘Capelletats’, see Mary Olekiewicz ‘The Court of Brandenburg Prussia’, in Music at German Courts, 1715–1760: Changing Artistic Priorities Priorities, ed. Samantha Owens, Barbara M. Reul and Janice Stockigt (Woodbridge, 2011), 107–8.

62 Carlyle, [Friedrich II,] xx, 6.

63 ‘Der König war bereits von dessen Konzerte benachrichtigt, durch seine Generale und Adjutanten, die mehrmal demselben beigewohnt…’ (‘Obituary’, 143–4).

64 ‘Friedrich trat an das Fenster, behiehlt es während des ganzen Konzertes, das anderhalb Stunden dau[e]rte und wobei Kl.[ipfel] auch ein Arie sang, offen, und ließ nach persönlich wiederholten Beifall Vergnügen am Schlusse durch den Kammerhusaren “für Das geleistete Vergnügen sehr danken”’ (‘Obituary’, 144).

65 MacDonogh, Frederick the Great, 302, quoting Ouevres xix, 213. Nancy Mitford writes that Frederick ‘passed through Meissen where the workmen at the China factory were very fond of him–they came out and serenaded him with their band’. See Nancy Mitford, Frederick the Great (London, 1970), 234, though, in error, she suggests that this was in the summer of 1760, before the battle of Torgau.

66 Although much chinaware was delivered to Frederick II free of charge, he paid considerable sums of money to the factory to ensure it remained operational. See Berling, ed., ‘Meissen China’, 55. However, according to Joseph Marryat (A History of Pottery and Porcelain [London, 1857], 263) ‘he forcibly carried away to Berlin, for his own establishment there, the workmen, with the models and moulds of the finest pieces…’ and added ‘Meissen was the battlefield between the Austrians and Prussians [on 4 December 1759], when the manufactory was again plundered and its archives destroyed.’ That Frederick instructed his staff to ensure chosen workers were transported to Berlin is made clear in a letter dated 29 February 1761 from Dahlen, near Leipzig, that Frederick wrote to Generalmajor von Linden: ‘…do not forget to engage those people in Meissen of which I have spoken to you…’ (Baer: Von Gotzkowsky zur KPM, 70). It is suggested that many of the workers who moved from Meissen to Berlin did so under duress. Wraxsell reports, in Memoirs of the Court of Berlin, 1777–9, i. 212 (quoted by Marryat in Pottery and Porcelain, 263), that ‘these are acts imputable to Frederick over which no causistry can throw a gloss. Neither the laws of nations, nor those of modern war allow of transporting the male and female manufacturers of a conquered state into the dominions of the invader. This infraction of justice was nevertheless committed at Meissen, in Saxony, famous for the manufacture of porcelain, so generally admired under the name of Dresden china. All the best artists were forcibly sent to Berlin, and there compelled to continue their labours for the benefit of a sovereign the inveterate enemy of their county. They and their descendants, or their scholars, who are still here, have become the involuntary denizens of another soil, the subjects of Frederick II.’ This opinion appears to read like propaganda and, at least, does not reflect the experience of the leading artists. Klipfel's circumstances were much improved by the move to Berlin (see further comments below) and, significantly, the most important modeller and artist of the factory in the 1740s and 1750s, Johann Joachim Kändler, together with his assistant Peter Reinicke, remained at the Meissen factory after 1764, working there for the rest of their lives. It should also be noted that the two monarchs displayed a markedly different attitude in their relationship to their respective porcelain factories. The electors of Saxony paid low wages and enjoyed a large income stream from sales that helped support a lavish lifestyle. In contrast, Frederick was more interested in the kudos (personal and Prussian) of having a porcelain factory in Berlin and supported it in its early days as a customer. The factory was set up on commercial lines and had to pay its way, but wages reflected more generously the level of skill of its artists.

67 Carlyle, [Friedrich II,] xx, 6.

68 ‘Nach Abschluß des Hubertusburger Friedens 1763 nutzte Friedrich II. in letzter Gelegenheit seine Stellung in Meißen aus. Seinem Aufruf folgte der Mosaikmaler Carl Jacob Christian Klipfel, der zum zweiten Leiter der Malerabteilung mit einem Gehalt von 1.100 Talern ernannt wurde.’ www.berlinintensiv.de/personen/person.html?tmpl=component&id=2577 (Accessed 8 June 2013) In 1763, the highest paid employees of Gotzkowsky's factory were: Commissioner Rath Grieninger (1200 Thlr); Friedrich Elias Meyer, Quarliter (1500 Thlr); Jacob Clauce, 1. Vorgesetzer Quartaliter (2000 Thlr); Klipfel, 2^.Vorgesetzer Quartaliter (1100 Thlr); Carl Wilhelm Böhme, Figurn Mahler Quartaliter (1000 Thlr); and Ernst Heinrich Reichardt, Arcanist (1200 Thlr). One or two other workers received 800 Thlr and 500 Thlr, the rest received lower wages; see Baer, Von Gotzkowsky zur KPM, appendix.

69 In 1750, the eminent philanthropist and merchant Jonas Hanway who, on his return from St Petersburg to England, passed through Dresden and reported: ‘There are about 700 men employed at Meissen in the manufactory, most of whom have not above ten German crowns a month, and the highest wages are forty, so that the annual expense is not estimated above 80,000 crowns. This manufactory being entirely for the king's account, he sells yearly to the value of 150,000 crowns and sometimes 200,000 crowns (35,000 l), besides the magnificent presents he occasionally makes, the great quantity he preserves for his own use.’ (Quoted in Marryat, Pottery and Porcelain, 245; presumably from Hanway's memoires: Historical Account of British Trade over the Caspian Sea, with a Journal of Travels, etc. [London, 1753]). This indicates that Klipfel's Meissen salary could have been not much more than 480 Thlr per annum at best, even before the cuts imposed during the war.

70 Baer, Von Gotzkowsky zur KPM, 118.

71 ‘Doch Klipfel was für den König als Mosaikmaler, als Dekorationsspezialist für “gesteinelte Gründes”, für Schuppenmuster oder ornamental dekorierte Dondränder, wie sie seit kurzem in Meißen Mode waren, besonders wilkommen, da er offensichtlich eine besondere Begeisterung für diese textile anmutenden Randdekorationen besaß.’ Baer, Von Gotzkowsky zur KPM, 72.

72 Meyer was employed by the Meissen Factory between 1748 and 1761. See ‘Meissen China’, ed. K. Berling, (1911; repr. 1972), 53.

73 See SA 4642, which includes seven works: four works for solo keyboard (two sonatas, a minuet, and polonaise and trio) and three works for solo soprano and keyboard (A teneri affetti; Hier wo die stummen Bäume and Die nacht: Du verstörst uns nicht o Nacht). Descriptions of the watermarks on each source can be found in RISM.

74 Emil Platen and Iain Fenlon, ‘Collegium Musicum’, The New Grove Dictionary of Music and Musicians, 2^nd edition, ed. Stanley Sadie (London, 2001) vi, 116.

75 Klipfel was noted for ‘gute Kenntniss von den Meissner Malerei-Taxen hatte, wurde er nebst den beiden vorgesetzten hier mit zum monatlichen Taxiren betsellt.’ G. Kolbe Geschichte der Königlichen porcellanmanufactur zu Berlin (Berlin, 1863), 139.

76 Dr Peter Braun, Leiter, Historische Sammlungen, Meissen Factory (email to author, 10 June 2013).

77 Walter Hubatsch, Frederick the Great of Prussia, Absolutism and Administration (London, 1975), 65.

78 ‘Daß Kl[ipfel]n zu seinen mehrmaligen Reisen nach Sansouci in Dienstangelegenbeiten ein Wagen mit sechs Pferden aus dem Kgl. Marchall gelittert werden muste’ (‘Obituary’, 148).

79 Perhaps occurrences such as these contributed to the reportedly sometimes fiery relationship between Klipfel and Grieninger. Upon the promotion of Klipfel to co-director, Baer comments: ‘This constellation of power in the Factory has resulted in repeated violent disputes between the two directors’ (Baer, Von Gotzkowsky zur KPM, 117–8).

80 ‘Wenn Friedrich ein Solo blies, trat Kl.[ipfel], neben ihm an das Pult, und sagte bei jeder vorzüglich gelungenen Stelle ihm laut ein Bravo’ (‘Obituary’, 149).

81 ‘Nach Beendigung dieses Gesprächs, machte der König eine kurze Pause, und sagte dann: “Nun! Leb’ Er wohl, mein lieber Klipfel! ich habe Ihn eigentlich nur gerne noch einmal sehen wollen”’ (‘Obituary’, 149).

82 www.berlinintensiv.de/personen/person.html?tmpl=component&id=2577 (Accessed 8 June 2013).

83 www.berliner-klassik.de/publikationen/werkvertraege/hahn_leipziger/12.html (Accessed 8 June 2013).

84 This portrayed Grieninger in costume sitting next to his wife, his father, a boy (presumed to be his son, the new director of the factory) in front of what Kolbe refers to most tellingly as ‘the house of cards’ (der Kartenhäuser) that was the factory. Kolbe, Geschichte, 176.

85 Two cantatas with the same title Der Herr hat gesagt: SA 796 (a ‘Johannistag’ cantata, surviving as a score in Roellig's hand) and SA 1436 (a cantata for 15th Sunday after Trinity, score and parts in Klipfel's hand), also share the same music but set to differing libretti, the words of opening aria and final chorale being the only common texts of the two cantatas. It was the latter work (SA 1436) that was performed in Berlin. What is confusing is that the libretto that belongs with SA 1436 is incorrectly included with the materials of SA 796. However, there is a second solo bass part in SA 796 (in the hand of ‘anon-Sing-Akademie 15’) with the text that corresponds with the libretto of SA 1436, suggesting that the performing materials in SA 796 were used to perform the version of the cantata transmitted in SA 1436 in Berlin.

86 Exner, ‘Golden Age’, 54.

87 Letter from Zelter to Goethe, 26 Sept. 1827, (Reich), 360. ‘Auf der königlichen Bibliothek bin ich nun dreimal gewesen; sie ist sehr stark und enthält rare musikalische Codices und Manuskripte des sechzehnten Jahrhunderts, die prächtig ausgestattet und wohlerhalten sind. Mich selbst interessiert, was aus der letzten Halfte des achtzehnten Jahrhunderts ist, um meine Singakademie damit noch mehrzu bereichern’ (Quoted and translated by Exner, ‘Golden Age’, 43).

88 Examples of lost sets of performing parts are those to the birthday cantata Wie glücklich ist ein Land (SA 1177/4), and the celebratory cantata Tage die vor langen Jahren (SA792/2)1, where the printed word book for the performance survives in Halle (see discussion above).

89 Most of these are choral works: see SA 795, SA 1423, SA 1424, SA 1426, SA 1427, SA 1436, SA 1177/1–5, SA 1439/1–5 and SA 797/1–4; many are listed in the tables. Klipfel's relationship with Roellig will be explored more fully below.

90 Karle Hellern (trans. David Marinelli): Antonio Vivaldi the Red Priest of Venice (Portland 1997), 243.

91 SA 1932, Symphony in F (Helm 650); SA 1933, Symphony in C (Helm 649); SA 1936, Symphony in E minor (Helm 652); SA 1956, Symphony in Eb (Helm 654); SA 1934/5, Symphony in C (Helm 651); SA 2620, Concerto in Bb (Helm 429); SA 2611, Concerto in D (Helm 421).

92 SA 2280, Symphony in G (BocR 22); SA 2291/1, Symphony in Bb (BocR 61); SA 2291/2, Symphony in C (BocR deest).

93 Henzel, ‘Die Musikalien der Sing-Akademie zu Berlin’, 72ff.

94 I.e. those based in Saxon towns and cities other than Dresden and Meissen.

95 Included are all works that are referenced to Klipfel in RISM, along with all works by J.C. Roellig in the Sing-Akademie Library, whether there is an overt reference to Klipfel or not.

96 See comments below about the dating of copies in Klipfel's hand.

97 Indeed, in 2005, before the Roellig works had been fully examined by the Sing-Akademie cataloguers, they were issued to the author to inspect still bound in their original packs of six items, labelled by only by the genre of the item on top (e.g. ‘Symphonies by Roellig’) even if occasionally some of the items in the bundle were found to be by other composers.

98 ‘Gewöhnlich schrieb er die Musikalien erst in ganzer Partitur, und dann in einzelnen Stimmen ab’ (‘Obituary’, 141).

99 ‘…durch das erstere bildete er sich zugleich zum Theoretiker, indem er sein Geschäft nicht mechanisch betrieb, sondern dabei über den Zusammenhang der Stimmen unter einander, den Sinn der Komposizion im Ganzen, und die musikalische Harmonie überhaupt, nachdachte [making the most of this business [copying] not as a [purely] mechanical operation, but in the context of the parts under each other, gained the sense of the composition as a whole and, above all, consider the musical harmony]’ (‘Obituary’, 141).

100 Score: SA 2392, parts: SA 3224. See comment below about Klipfel's handwriting and the dating of sources.

101 Scores created prior to 1763 that postdate the set of parts to the same work include: Partita in A (score: SA2399; parts SDA 2356/2); Partita in A (score: SA2366; parts SDA 2355; Partita in D (score and parts: SA 2344). Scores created after 1763 that postdate sets of parts (in Klipfel's hand) created prior to 1763 include: Partita in G (score: SA 2360; parts SA 2350); Partita in G (score: SA 2402; parts SA 3238).

102 ‘Neben dem Kaufhandel entstanden Leihanstalten’ [In addition to the merchandise outlets, Lending Offices have been created]’, in Barbara Wiermann, ‘“Sie haben einen sehr guten musikalischen Magen”, 249, quoting T. Widmaier, Der deutches Musikalien. function, bedeutung und Topographie einer Formen gewerblicher Muskaliendistribution vom späten 18. bis zum frühen 20. Jahrhundert (Saarbrücken, 1998), 18–34.

103 Copied on Saxon paper.

104 Peter Wollny believes that sets of parts existed for all works now represented by only a score in the collection; in conversation with the author, August 2013.

105 This sub-genre was first identified by Nigel Springthorpe in ‘Who was Roellig? – Roellig and the Sing-Akademie collection’, Fasch-Studien 10: Musik an der Zerbster Residenz: Bericht über die Internationale Wissenschaftliche Konferenz vom 10. bis 12. April 2008 im Rahmen der 10. Internationalen Fasch-Festtage in Zerbst (Beskow, 2008), 117–42, and is a topic of ongoing research by the author.

106 Partitas in A minor (SA 2341); G major (SA 2424); D major (SA 2432); F major (SA 2433) and Divertimenti in C (SA 3234); A major (SA 3235); G minor (SA 3236) and D minor (SA 3242), all by Roellig.

107 SA 3234 is concordant with SA 2342 (for string quartet) while SA 3242 is concordant with SA 2318 (for string quartet).

108 VI. Suites del Sigr. ROELLIG, jun. a7 Voci. Racc.V., published by Breitkopf (Part V, 1765), music now lost.

109 SA 2415/2 (score), SA 2335 (parts).

110 SA SA2418/3.

111 Partita in Eb, SA 3225, scored ‘à6’ for two horns and strings. This Partita has not only a triple set of violin and bass parts but also extra colla parte oboe and bassoon parts. (Extra string copies by Anon. Sing-Akademie copyist 522, the rest by Klipfel).

112 Excluding the sinfonias discussed above.

113 ‘Zur Karnevalszeit versäumte er nie, in Dresden die großen Opern zu hören, so beschwerlich auch in mancher hinsicht ihm die Befriedigung dieser Sehnsucht ward; auf der Rückreise nahm er jederzeit ein Partitur der gehörten Opern mit’ (‘Obituary’, 141). There was a popular tradition of carnival (Fastennacht) in Saxony before the Reformation. (See Bob Scribner, ‘Reformation, Carnival and the World Turned Upside Down’, Social History, 3 (1978), 303–29). The Reformers tried to stamp out carnival, but it was cultivated at Dresden court in the late sixteenth century and again in the late seventeenth century when the Electors of Saxony converted to Catholicism in order to retain the Polish crown, but it is likely that carnival appealed to the Italophilia of the Saxon royal family.

114 In the Sing-Akademie Library there are ten examples of entire Hasse operas in score copied out by members of the Dresden court where each copyist produced one of the three acts. Kremmler invariably copied act 1 and Grundig copied act 2, while act 3 was copied by Grundig, Schlettner or a ‘disciple of Kremmler’. Considering the probable cost, it seems unlikely that Klipfel could afford the expense of a complete opera. But if not via Klipfel, what then was the route by which these copies were transmitted to the Sing-Akademie Library? Were the Dresden court copyists receiving commissions direct from Berlin?

115 Holstein was an active copyist in Berlin, supplying sets of Italian songs (SA 4940) and trio sonatas by various Berlin composers (SA 4114). He collaborated with the copying of choral work such as the C.P.E. Bach Magnificat (SA 239) but his principal role was as a copyist of Graun operas (complete and extracts) in score, short scores and parts. Is it the same person as F.E. Holstein mentioned in conjunction with Schrank II (worked from 1744–51) see: www.schrank-zwei.de/recherche/schreiber-wasserzeichenkataloge/schreiberkatalog/?tx_slubwatersignauthorsdb_pi1%5Bmaxpages%5D=188&tx_slubwatersignauthorsdb_pi1%5Bpage%5D=10&tx_slubwatersignauthorsdb_pi1%5Baction%5D=detail&tx_slubwatersignauthorsdb_pi1%5Bcontroller%5D=Author&cHash=ec359e1cb9758b49f8c67791e31d3698 (Accessed 18 June 2014).

116 I.e. the copies were all made in reasonably close proximity rather than with a 20-year gap.

117 There are undoubtedly a number of different examples (types) of Saxon arms and further research is required to identify all.

118 A thorough examination of all scores in Klipfel's hand in the collection may provide further clarity to the dating of sources.

119 Two copyists listed on the Staatsbibliothek zu Berlin web site (www.staatsbibliothek-berlin.de/die-staatsbibliothek/abteilungen/musik/projekte/dfg-projekt-singakademie/ergebnisse/) as ‘Meissen copyists’ to have nothing to do with Klipfel. One, G. Füllner, is associated with a Graun Symphony in D, (SA 2114) copied in 1770, and the provenance appears to be Zelter rather than Klipfel. Heinrich is also listed as a Meissien copyist, but identifying a source with his name has not been possible.

120 SINPHONIA. | Violino Primo | Violino Secundo | Viola | et | Basso. | Heinrich Oehm | 30^t November 1752. The paper type appears to be unique in the collections: gekröntes Wappen - Gegenmarke “M” (b), gekrönter Adler mit Brustschild, Zepter und Schlüssel.

121 Gebel Partita in D for strings (SA 2383) (Klipfel copied the parts in SA 2308); Roellig Partita in C (à4) for flute, 2 violins and bass (SA 2394); Harrer Partita in Bb (à6) for two oboes and strings (SA 2390). The paper used is of Saxon origin for SA 2383 (‘Sing-Akademie 520’ produced the parts that accompany the score within the signature SA 2394).

122 SA 2101.

123 SA 2330 is a Partita in F by Harrer.

124 See comments above about his possible relationship with Meissen Stadtorganist J.G. Stübner.

125 Trio. | â. 3. | [incipit] | Violino Primo. | Violino Secondo. | et | Fondamento. | del Sigr: Orschler. | Stübner. In RISM Stübner is described as a ‘former owner’ of SA 2330.

126 Only Klipfel is credited as a copyist in RISM.

127 KnaA 104.

128 … and perhaps who should be renamed ‘anon. Meissen 1’.

129 C:XIII:45. See Henzel, Graun-Werkverzeichnis: Verzeichnis der Werke der Brüder Johann Gottlieb und Carl Heinrich Graun (Ortus Verlag, 2006).

130 Dido Abandonata (1743).

131 See discussion of anonymous copyists below.

132 In RISM 469233800, Stübner's handwriting has been confused with Klipfel; Stübner is the copyist not Klipfel.

133 ‘Sing-Akademie 15’ appears to be a Berlin musician, see comments below. Note: the term ‘Sing-Akademie 96’, as used in RISM, refers to an anonymous copyist identified by the Sing-Akademie cataloguers, while ‘SA 96’ refers to the shelf number of a musical item in the collection.

134 Note: ‘Sing-Akademie 509’ is a Berlin copyist associated with items in the Sarah Levy collection (see SA 3637) and the collection of Georg Friedrich von Tempelhoff (see SA3169, copied in conjunction with SA 510).

135 SA 2296/1–4.

136 Each score is labelled ‘FB II No.…’: FB II No. 1 Sonata in Bb (SA 4016, LeeB 3.132); FB II No. 2 Sonata in C minor (SA 4015, LeeB 3.10); FB II No. 3 Sonata in F minor (SA 4014, LeeB 3.73); FB II No. 4 Sonata in Eb (SA 4013, LeeB 3.99); FB II No. 5 Sonata in G (SA 4012, LeeB 3.76); FB II No. 6 Sonata in Bb (SA 3354, LeeB 3.131).

137 ‘Sing-Akademie 105’ also collaborated with Klipfel with the production of the score for Roellig's 1756 Christmas cantata Wilkommen ihr fröhlichen Zeiten (SA 1434).

138 … as he is described in RISM, but he is more likely to be a Meissen musician.

139 See SA 3222, SA SA3220 and SA 3193/2, SA 2346 and SA 2417.

140 Other combinations are: SA 2337, SA 2344 and SA 3228.

141 ‘Sing-Akademie 522’ copied f.2, 4, 6 and 7 while Klipfel copied f, 1, 3 and 5. It is suggested in RISM that ‘Sing-Akademie 522’ is also the copyist of the score of Abel's Concerto for Flute in E minor (SA 2670) though this needs further investigation. If correct, this might be a further work formerly in the Klipfel collection.

142 It should be noted that the convergences of the musical handwriting and notational styles of colleagues working in the same environment (e.g. copying shop, court or less formal collective) is a fairly universal feature in eighteenth-century Europe. It had pragmatic value in that copies of longer compositions produced by several hands, often working concurrently, became uniform in appearance and therefore more attractive to the end user/owner. In this case, Klipfel set exacting standards for quality and style to which, it appears, Sing-Akademie 522 aspired.

143 SA 1368(1): recitative and aria from Ezio (score – one copyist) and SA 1079: excerpts from Il natal di Gove (score – two copyists).

144 Watermark: Saxon arms with crown (‘Gekröntes Kursachsenwappen’) with ‘IGS’ underneath; countermark 1: ‘F I’, countermark 2: ‘G H S’.

145 Score and parts: ‘geteiltes kursächsisches wappen – countermark ‘C H F’ (SA 3927 is a work in the Klipfel collection).

146 As demonstrated above, ‘Berlin 61’ was based in Dresden.

147 ‘Sing-Akademie 15’ is a copyist of sacred choral works by Agricola (SA 185, SA 186 – copy dated c.1758), C.F. Fasch (SA 221), Graun (SA 700, SA 734) and ‘anonymous’ (SA 180, SA 758).

148 Which is found with the parts in SA796 – see comments above about the relationship of SA 796 and SA 1436.

149 ‘Berlin 38’ is a copyist on several items in the Levy Collection: see SA 3090, SA 2156, SA 1999 and SA 2152 (all music by Graun) while ‘Berlin 46’ appears on SA 3768, SA 3399, SA 2107, SA 3401, SA 3663, SA 3665, SA 2038, SA 3688, SA 2016, SA 3687, SA 3726, SA 3705, SA 3744 (all works by Graun) and SA 2827 (a flute concerto by Hoffman).

150 These are SA 2018 (Symphony in C, D:XII:103) and SA 2151 (Symphony in C, A:XII:31); score copied by Klipfel and Zelter, parts copied by F. Baumann, ‘Berlin 38’ and ‘Berlin 46’.

151 F. Baumann was a major contributor to the Levy collection in the Sing-Akademie, supplying mainly instrumental music (symphonies, concerti and chamber music) as well as supplying parts to the C.P.E. Bach St Matthew Passion (H798) and St Luke Passion (H800).

152 Confusingly, the entry in RISM gives both copyists in different places on the page. SA 2002, Graun Symphony in D (A:XII:8).

153 There are 26 works in the hand of Thamm in the Singakademie collection, all but two are symphonies or opera sinfonias by: anon (x2) C.P.E. Bach (x3), Graun (x10), Hasse (x2) and Udhe (x3); plus trios by C.P.E. Bach and Benda.

154 A number of sets of parts of orchestral works and chamber were produced by Schober (as sole coyist). He copied music of C.P.E. Bach, Hasse, Kirnberger, Kleinknecht, Mortellari and Schluze, as well as a set of parts of Handel's Messiah. Since the paper ‘ES im Falz’ is associated with Saxony, then the identity of the copyists also need further investigation; the tentative dating in RISM of the parts of SA 2733 (1755–66) also needs reappraisal if indeed as it appears the parts were created prior to Klipfel's move to Berlin.

155 See reference above.

156 SA 79. The score, in Klipfel's hand, was written on the Saxon paper (‘ES in circle’), before 1763. An anonymous ‘copyist of Berlin’ aided Patzig.

157 Patzig copy is SA 3218 Patzig and Berlin 63 collaborated on just four works: SA 1593 (J.C. Bach: one aria from Allesandro nell'Indie); SA 4090 (Graun: Sonata in E minor); SA 2484 (Steinmetz: Symphony in D); and SA 3218. However, a number of works just in the hand of ‘Berlin 63’ are in the Patzig collection.

158 Eighty sources in the Sing-Akademie Library have an association with Patzig.

159 It perhaps debatable whether SA 84 and SA 97 can be considered part of Klipfel's personal collection; it is more likely they were passed straight to the Sing-Akademie collection at the time of performance.

160 The others are ‘Anon. Sing-Akademie 9’, ‘Anon. Sing-Akademie 20’ and ‘Copyist of Berlin’.

161 See SA 1570/1, Hasse: excerpts of Solimano.

162 Were Stadtpfeiffers paid to play?

163 With the exception of the scores copied by Klipfel after 1763, which appear to have been copied from sets of parts of works composed at an earlier date (see discussion above).

164 See Springthorpe ‘Who was Roellig?’, 131–3.

165 In A major, SA 2370 (score)/SA 2333 (parts); in B minor, SA 2390 (score)/SA 2313(parts); in G major, SA 3191 (score); and in F major, SA 3195 (score)/SA 2330 (parts).