For the Scottish botanist, see Christopher Nigel Page. Christopher Page, FBA is an expert on medieval music and performance practice, together with the social and musical history of the guitar in England from the sixteenth century to the nineteenth, he has written numerous books regarding medieval music. He is a Fellow of Sidney Sussex College, where he is Professor of Medieval Music and Literature, Professor of Music at Gresham College. Christopher Page, Fellow of the British Academy, was educated at Sir George Monoux Grammar School in London and Balliol College, Oxford, he was a Junior Research Fellow at Jesus College and Senior Research Fellow in Music at Sidney Sussex. He is the founder and director of Gothic Voices, an early music vocal ensemble, which has recorded 25 discs for Hyperion Records, many winning awards; the ensemble has performed in many countries, France, Germany and Finland. London dates included twice-yearly sell-out concerts at London's Wigmore Hall; the ensemble gave its first Promenade Concert in 1989.
The group's work has been chronicled most in Daniel Leech-Wilkinson, The Modern Invention of Medieval Music and Richard Taruskin and Act. Between 1989 and 1997, he was presenter of BBC Radio 3's Early Music programme, Spirit of the Age, a presenter of the Radio 4 arts magazine Kaleidoscope, he has been chairman of the National Early Music Association and of the Plainsong and Medieval Music Society. He serves on the editorial boards of the journals Early Music and Plainsong and Medieval Music. Christopher Page was elected a Fellow of the Society of Antiquaries in 2008, he is working on a major reference work, Music in Medieval Literature: Readings from the Fall of Rome to Gothic Europe, for Cambridge University Press, a monograph on the Tudor Guitar. He is a founder member of the Consortium for Guitar Research at Sidney Sussex College Cambridge, an affiliate of the Royal Musical Association. In 2014 he was appointed Professor of Music at Gresham College. In this role he will deliver series of free public lectures within London.
His first year of lectures will be on Men and Guitars in Romantic England. He plays historical guitars, principally the four-course renaissance guitar and the early Romantic guitar. Voices and Instruments of the Middle Ages The Owl and the Nightingale: Musical Life and Ideas in France 1100-1300 The Summa Musice: A Thirteenth-Century Manual for Singers Discarding Images: Reflections on Music and Culture in Medieval France Latin Poetry and Conductus Rhythm in Medieval France Music and Instruments of the Middle Ages The Christian West and Its Singers: The First Thousand Years The Guitar in Tudor England The Guitar in Stuart England Page's major 350,000 word study, The Christian West and its Singers: The First Thousand Years, is published by Yale University Press. In a review for The New York Review of Books, Eamon Duffy writes: "But once or twice in a generation a book comes along which crosses disciplinary boundaries to make unexpected connections, open up new imaginative vistas, refocus what had seemed familiar historical landscapes.
Page’s musician’s-eye view of the evolution of western Christendom is one of those books". Official homepage of Christopher Page at Cambridge retrieved 28th Dec 2010 http://www.hyperion-records.co.uk/artist_page.asp?name=page
Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Die Frau ohne Schatten and Salome. Strauss was a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss was born on 11 June 1864 in Munich, the son of Josephine and Franz Strauss, the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father, he wrote his first composition at the age of six, continued to write music until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra, where he received private instruction in music theory and orchestration from an assistant conductor.
In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas and Tannhäuser; the influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In life, Strauss said that he regretted the conservative hostility to Wagner's progressive works. Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist; the same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music.
He left a year to go to Berlin, where he studied before securing a post as assistant conductor to Hans von Bülow, enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was fond of the young man, decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bülow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings, his Horn Concerto No. 1, is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894, she was famous for being irascible, garrulous and outspoken, but to all appearances the marriage was happy, she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, all his operas contain important soprano roles.
The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons and Christian. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death; some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios, a string quartet, a piano sonata, a cello sonata, a piano quartet, a violin sonata, as well as a serenade and a longer suite, both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed infrequently for chamber groups, his energies being completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, the overture to his final opera Capriccio.
His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" and Sonatina No. 2 "Happy Workshop" —both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, contrabassoon. Strauss wrote two early symphonies: Symphony No. 1 and Symphony No. 2. However, Strauss's style began to develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, the husband of one of Richard Wagner's nieces, it was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, at Strauss
Baroque music is a period or style of Western art music composed from 1600 to 1750. This era followed the Renaissance music era, was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, is now studied and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, Johann Pachelbel; the Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were accompanied by a basso continuo group while a group of bass instruments—viol, double bass—played the bassline.
A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers. During the period and performers used more elaborate musical ornamentation, made changes in musical notation, developed new instrumental playing techniques. Baroque music expanded the size and complexity of instrumental performance, established the mixed vocal/instrumental forms of opera and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed was an important part of many Baroque choral and instrumental works; the term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, in a description by Charles de Brosses of the ornate and ornamented architecture of the Pamphili Palace in Rome.
Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary to designate a historical period in music. The term "baroque" is used by music historians to describe a broad range of styles from a wide geographic region in Europe, composed over a period of 150 years. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734; the critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances changed key and meter, speedily ran through every compositional device. Jean-Jacques Rousseau, a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, loaded with modulations and dissonances.
The singing is harsh and unnatural, the intonation difficult, the movement limited. It appears that term comes from the word'baroco' used by logicians." Rousseau was referring to the philosophical term baroco, in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument. The systematic application by historians of the term "baroque" to music of this period is a recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer and by Suzanne Clercx-Lejeune to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period concerning when it began.
In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang. As late as 1960, there was still considerable dispute in academic circles in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, Johann Sebastian Bach under a single rubric; the term has become used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding and following periods of musical history; the Baroque perio
George Frideric Handel
George Frideric Handel was a German British, Baroque composer who spent the bulk of his career in London, becoming well-known for his operas, oratorios and organ concertos. Handel received important training in Halle-upon-Saale and worked as a composer in Hamburg and Italy before settling in London in 1712, he was influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition. Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera. Musicologist Winton Dean writes; as Alexander's Feast was well received, Handel made a transition to English choral works. After his success with Messiah he never composed an Italian opera again. Blind, having lived in England for nearly fifty years, he died in 1759, a respected and rich man, his funeral was given full state honours, he was buried in Westminster Abbey in London. Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Messiah, Water Music, Music for the Royal Fireworks remaining steadfastly popular.
One of his four coronation anthems, Zadok the Priest, composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign's anointing. Another of his English oratorios, has remained popular, with the Sinfonia that opens act 3 featuring at the 2012 London Olympics opening ceremony. Handel composed more than forty operas in over thirty years, since the late 1960s, with the revival of baroque music and informed musical performance, interest in Handel's operas has grown. Handel was born in 1685 to Georg Händel and Dorothea Taust, his father, aged sixty-three when George Frideric was born, was an eminent barber-surgeon who served the court of Saxe-Weissenfels and the Margraviate of Brandenburg. Georg Händel was the son of a coppersmith, Valentin Händel, who had emigrated from Eisleben in 1608 with his first wife Anna Belching, the daughter of a master coppersmith, they were Protestants and chose reliably Protestant Saxony over Silesia, a Hapsburg possession, as religious tensions mounted in the years before the Thirty Years War.
Halle was a prosperous city, home of a salt-mining industry and center of trade. The Margrave of Brandenburg became the administrator of the archiepiscopal territories of Mainz, including Magdeburg when they converted, by the early 17th century held his court in Halle, which attracted renowned musicians; the smaller churches all had "able organists and fair choirs", humanities and the letters thrived. The Thirty Years War brought extensive destruction to Halle, by the 1680s it was impoverished. However, since the middle of the war the city had been under the administration of the Duke of Saxony, soon after the end of the war he would bring musicians trained in Dresden to his court in Weissenfels; the arts and music, flourished only among the higher strata, of which Handel's family was not a member. Georg Händel was born at the beginning of the war, was apprenticed to a barber in Halle at the age of 14, after his father died; when he was 20, he married the widow of the official barber-surgeon of a suburb of Halle, inheriting his practice.
With this, Georg determinedly began the process of becoming self-made. Anna died in 1682. Within a year Georg married again, this time to the daughter of a Lutheran minister, Pastor Georg Taust of the Church of St. Bartholomew in Giebichtenstein, who himself came from a long line of Lutheran pastors. Handel was the second child of this marriage. Two younger sisters were born after the birth of George Frideric: Dorthea Sophia, born 6 October 1687, Johanna Christiana, born 10 January 1690. Early in his life Handel is reported to have attended the gymnasium in Halle, where the headmaster, Johann Praetorius, was reputed to be an ardent musician. Whether Handel remained there or for how long is unknown, but many biographers suggest that he was withdrawn from school by his father, based on the characterization of him by Handel's first biographer, John Mainwaring. Mainwaring is the source for all information of Handel's childhood, much of that information came from J. C. Smith, Jr. Handel's confidant and copyist.
Whether it came from Smith or elsewhere, Mainwaring relates misinformation. It is from Mainwaring that the portrait comes of Handel's father as implacably opposed to any musical education. Mainwaring writes that Georg Händel was "alarmed" at Handel's early propensity for music, "took every measure to oppose it", including forbidding any musical instrument in the house and preventing Handel from going to any house where they might be found; this did nothing to dampen young Handel's inclination. Mainwaring tells the story of Handel's
The lied is a term in the German vernacular to describe setting poetry to classical music to create a piece of polyphonic music. The term is used for songs from the late fourteenth or early fifteenth centuries or to refer to Minnesang from as early as the 12th and 13th centuries, it came to refer to settings of Romantic poetry during the late eighteenth and nineteenth centuries, into the early twentieth century. Examples include settings by Ludwig van Beethoven, Franz Schubert, Robert Schumann, Johannes Brahms, Hugo Wolf or Richard Strauss. Among English speakers, however, "lied" is used interchangeably with "art song" to encompass works that the tradition has inspired in other languages; the poems that have been made into lieder center on pastoral themes or themes of romantic love. Lieder are arranged for a single singer and piano, lieder with orchestral accompaniment being a development; some of the most famous examples of lieder are Schubert's "Der Tod und das Mädchen", "Gretchen am Spinnrade", "Der Doppelgänger".
Sometimes lieder are composed in a song cycle, a series of songs tied by a single narrative or theme, such as Schubert's Die schöne Müllerin and Winterreise, or Robert Schumann's Frauenliebe und -leben and Dichterliebe. Schubert and Schumann are most associated with this genre developed in the Romantic era. For German speakers, the term "Lied" has a long history ranging from twelfth-century troubadour songs via folk songs and church hymns to twentieth-century workers' songs or protest songs; the German word Lied for "song" first came into general use in German during the early fifteenth century displacing the earlier word gesang. The poet and composer Oswald von Wolkenstein is sometimes claimed to be the creator of the lied because of his innovations in combining words and music; the late-fourteenth-century composer known as the Monk of Salzburg wrote six two-part lieder which are older still, but Oswald's songs far surpass the Monk of Salzburg in both number and quality. In Germany, the great age of song came in the nineteenth century.
German and Austrian composers had written music for voice with keyboard before this time, but it was with the flowering of German literature in the Classical and Romantic eras that composers found inspiration in poetry that sparked the genre known as the lied. The beginnings of this tradition are seen in the songs of Mozart and Beethoven, but it was with Schubert that a new balance was found between words and music, a new expression of the sense of the words in and through the music. Schubert wrote over 600 songs, some of them in sequences or song cycles that relate an adventure of the soul rather than the body; the tradition was continued by Schumann and Hugo Wolf, on into the 20th century by Strauss and Pfitzner. Composers of atonal music, such as Arnold Schoenberg and Anton Webern, composed lieder in their own style; the lied tradition is linked with the German language, but there are parallels elsewhere, notably in France, with the mélodies of such composers as Berlioz, Fauré, Francis Poulenc, in Russia, with the songs of Mussorgsky and Rachmaninoff in particular.
England too had a flowering of song, more associated, with folk songs than with art songs, as represented by Vaughan Williams, Benjamin Britten, Ivor Gurney, Gerald Finzi. American Heritage Dictionary, Editors of. 2018. "Lied". Random House Unabridged Dictionary. New York: Houghton Mifflin Harcourt. Anon. 2014. "Lieder". GCSE Bitesize: BBC Schools. Böker-Heil, David Fallows, John H. Baron, James Parsons, Eric Sams, Graham Johnson, Paul Griffiths. "Lied". Grove Music Online, edited by Deane L. Root. Oxford Music Online. Oxford University Press, accessed December 26, 2016. Collins English Dictionary, Editors of. N.d. "Lied". Collins English Dictionary online. Deaville, James. "A Multitude of Voices: The Lied at Mid Century". In The Cambridge Companion to the Lied, edited by James Parsons, 142–67. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-80471-4. Encyclopædia Britannica, Editors of The. 1998. "Lied: German Song". Encyclopædia Britannica online. Gramit, David. "The Circulation of the Lied: The Double Life of an Art Form".
In The Cambridge Companion to the Lied, edited by James Parsons, 301–14. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-80471-4. Orrey and John Warrack. "Lied". The Oxford Companion to Music, edited by Alison Latham. Oxford and New York: Oxford University Press. ISBN 978-0-19-866212-9. Random House Unabridged Dictionary, Editors of. 1997. "Lied". Random House Unabridged Dictionary. New York: Random House, Inc. reprinted on Infoplease.. Thyme, Jürgen. 2005. "Schubert’s Strategies in Setting Free Verse". In Word and Music Studies: Essays on Music and the Spoken Word and on Surveying the Field: Essays from the Fourth International Conference in Word and Music Stu
A violin concerto is a concerto for solo violin and instrumental ensemble. Such works have been written since the Baroque period, when the solo concerto form was first developed, up through the present day. Many major composers have contributed to the violin concerto repertoire, with the best known works including those by Bach, Bartók, Brahms, Mendelssohn, Paganini, Shostakovich, Tchaikovsky and Vivaldi. Traditionally a three-movement work, the violin concerto has been structured in four movements by a number of modern composers, including Dmitri Shostakovich, Igor Stravinsky, Alban Berg. In some violin concertos from the Baroque and modern eras, the violin is accompanied by a chamber ensemble rather than an orchestra—for instance, in Vivaldi's L'estro armonico scored for four violins, two violas and continuo, in Allan Pettersson's first concerto, for violin and string quartet; the following concertos are presently found near the center of the mainstream Western repertoire. For a more comprehensive list of violin concertos, see List of compositions for violin and orchestra.
Violin sonata Piano trio Tobias Broeker: Free e-book about the compositions for violin concertante of the 20th century
Jakob Ludwig Felix Mendelssohn Bartholdy and known as Felix Mendelssohn, was a German composer, pianist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, piano music and chamber music, his best-known works include his Overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the oratorio Elijah, the overture The Hebrides, his mature Violin Concerto, his String Octet. The melody for the Christmas carol "Hark! The Herald Angels Sing" is his. Mendelssohn's Songs Without Words are his most famous solo piano compositions. A grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family, he was brought up without religion until the age of seven, when he was baptised as a Reformed Christian. Felix was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent. Mendelssohn enjoyed early success in Germany, revived interest in the music of Johann Sebastian Bach, notably with his performance of the St Matthew Passion in 1829.
He became well received in his travels throughout Europe as a composer and soloist. His conservative musical tastes set him apart from more adventurous musical contemporaries such as Franz Liszt, Richard Wagner, Charles-Valentin Alkan and Hector Berlioz; the Leipzig Conservatory, which he founded, became a bastion of this anti-radical outlook. After a long period of relative denigration due to changing musical tastes and antisemitism in the late 19th and early 20th centuries, his creative originality has been re-evaluated, he is now among the most popular composers of the Romantic era. Felix Mendelssohn was born on 3 February 1809, in Hamburg, at the time an independent city-state, in the same house where, a year the dedicatee and first performer of his Violin Concerto, Ferdinand David, would be born. Mendelssohn's father, the banker Abraham Mendelssohn, was the son of the German Jewish philosopher Moses Mendelssohn, whose family was prominent in the German Jewish community; until his baptism at age seven, Mendelssohn was brought up without religion.
His mother, Lea Salomon, was a sister of Jakob Salomon Bartholdy. Mendelssohn was the second of four children; the family moved to Berlin in 1811, leaving Hamburg in disguise in fear of French reprisal for the Mendelssohn bank's role in breaking Napoleon's Continental System blockade. Abraham and Lea Mendelssohn sought to give their children – Fanny, Felix and Rebecka – the best education possible. Fanny became a pianist well known in Berlin musical circles as a composer, but it was not considered proper, by either Abraham or Felix, for a woman to pursue a career in music, so she remained an active but non-professional musician. Abraham was disinclined to allow Felix to follow a musical career until it became clear that he was dedicated. Mendelssohn grew up in an intellectual environment. Frequent visitors to the salon organised by his parents at their home in Berlin included artists and scientists, among them Wilhelm and Alexander von Humboldt, the mathematician Peter Gustav Lejeune Dirichlet.
The musician Sarah Rothenburg has written of the household that "Europe came to their living room". Abraham Mendelssohn renounced the Jewish religion prior to Felix's birth. Felix and his siblings were first brought up without religious education, were baptised by a Reformed Church minister in 1816, at which time Felix was given the additional names Jakob Ludwig. Abraham and his wife Lea were baptised in 1822, formally adopted the surname Mendelssohn Bartholdy for themselves and for their children; the name Bartholdy was added at the suggestion of Lea's brother, Jakob Salomon Bartholdy, who had inherited a property of this name in Luisenstadt and adopted it as his own surname. In an 1829 letter to Felix, Abraham explained that adopting the Bartholdy name was meant to demonstrate a decisive break with the traditions of his father Moses: "There can no more be a Christian Mendelssohn than there can be a Jewish Confucius".. On embarking on his musical career, Felix did not drop the name Mendelssohn as Abraham had requested, but in deference to his father signed his letters and had his visiting cards printed using the form'Mendelssohn Bartholdy'.
In 1829, his sister Fanny wrote to him of "Bartholdy this name that we all dislike". Mendelssohn began taking piano lessons from his mother when he was six, at seven was tutored by Marie Bigot in Paris. In Berlin, all four Mendelssohn children studied piano with Ludwig Berger, himself a former student of Muzio Clementi. From at least May 1819 Mendelssohn studied counterpoint and composition with Carl Friedrich Zelter in Berlin; this was an important influence on his future career. Zelter had certainly been recommended as a teacher by his aunt Sarah Levy, a pupil of W. F. Bach and a patron of C. P. E. Bach. Sarah Levy displayed some talent as a keyboard player, played with Zelter's orchestra at the Berliner Singakademie. Sarah had formed an important collection of