Zusammenfassung
Given that many musicologists have investigated manuscript material belonging to the former music collection of Crown Prince Friedrich Ludwig of Württemberg (1698–1731), it is somewhat surprising to discover that very little is known of this young noble and his musical activities.1 As noted by Ortrun Landmann in her valuably informative article outlining the remnants of the prince’s music collection (now held by the Universitätsbibliothek Rostock), Josef Sittard’s pioneering 1890–91 study of the Württemberg Hofkapelle did not even mention the musically-gifted crown prince.2 And yet, to Telemann Friedrich Ludwig clearly counted among the foremost aristocratic musical dilettanti of early eighteenth-century Germany. In his poem »Verworffene Music!«, published in Johann Mattheson’s »Organisten-Probe« (Hamburg, 1719), Telemann cited a number of prominent noble musicians in a footnote to the line »And many a great prince can be an Apollo« (Und mancher grosser Fürst kan ein Apollo seyn). The list included the composers Duke Friedrich II of Sachsen-Gotha (1676–1732), Landgrave Ernst Ludwig of Hessen-Darmstadt (1667–1739), and Prince Johann Ernst of Sachsen-Weimar (1696–1715), with Friedrich Ludwig specifically mentioned on account of instrumental music.3 3
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Literatur
See, to name just two examples, Gerhard Poppe, Eine bisher unbekannte Quelle zum Oboen¬konzert HWV 287, in: Händel-Jahrbuch, 39, 1993, S. 225–235;
Klaus-Peter Koch, Die Codices Mus. saec. XVII. 18–53/3 und/3a der Rostocker Universitätsbibliothek und ihre Bedeutung für die Telemann-Forschung, in: Musikalisches Füllhorn: Aufsätze zur Musik. Günter Fleischhauer zum 60. Geburtstag, hrsg. von Bernd Baselt, Halle 1990, S. 31–44.
Ortrun Landmann, »Pour l’usage de Son Altesse Serenissime Monseigneur le Prince Heredi¬taire de Wirtemberg«: Stuttgarter Musikhandschriften des 18. Jahrhunderts in der Universitätsbi-bliothek Rostock, in: Musik in Baden-Württemberg — Jahrbuch 1997, Stuttgart 1997, S. 149–173;
Josef Sittard, Zur Geschichte der Musik und des Theaters am Württembergischen Hofe 1458–1793, Stuttgart 1890/91.
See Werner Rackwitz, Georg Philipp Telemann. Singen ist das Fundament zur Music in allen Dingen. Eine Dokumentensammlung, Wilhelmshaven 1981, S. 108: Wegen der Instrumental-Music aber Fridericus Ludovicus, Erb-Printz zu Würtemberg-Stuttgard.
Das Haus Württemberg. Ein biographisches Lexikon, hrsg. von Sönke Lorenz Stuttgart 1997, S. 174.
The wedding played an important role in securing a mutual defence pact with Prussia, signed by Duke Eberhard Ludwig on 18 December; the 16-year old Princess was King Friedrich I’s cousin, see Peter H. Wilson, War, State and Society in Württemberg, 1677–1793, Cambridge, 1995, S. 142.
See Walter Pfeilsticker, Neues württembergisches Dienerbuch, Stuttgart 1957, § 905 and § 957; employed first as an Hautboist (12 June 1701) then promoted to the rank of Hofmusicus (23 April 1706). Pfeilsticker lists Georg Nikolaus Niklas, Nikolaus Nicolai, and Joh. Nikolai but it seems more likely that there was only one man, Johann Nicola Nicolai, repeatedly described as a woodwind player in archival sources between c. 1702–1720. In the year of his appointment Nicolai was listed as Nicolaus Nicolai Musicus aus München,
see Hans Scholz, Johann Sigismund Kusser. Sein Leben und seine Werke, Leipzig 1911, S. 228.
See documents in Hauptstaatsarchiv Stuttgart, A 21 Bü 630, dated 21, 22, & 28 February 1721 and 18 March 1721; on this particular occasion, while rehearsing a work by Keiser, Brescianello reportedly commented that in Italy this piece would have been thrashed long ago (schon lang in Italien außgepeitschet worden). The remark found its way back to Keiser who then insulted Brescianello in public (exclaiming Du bist eine rechte Canaille), leading to the former’s arrest and detention for several days and an official investigation into the incident. For further background on the dispute between the two Kapellmeister (who were vying for the position of Oberkapellmeister), see Josef Sittard, Reinhard Keiser in Württemberg, in: Monatshefte für Musikgeschichte 18, 1886, S. 3–12.
Labelled by Landmann as Schreiber I, II, and III, these men may be identified respectively as Carl Gustav Hirth (copyist at the court from February 1702 until June 1703 and again from November 1717 until August 1718), Carl Coraro Belleroche (court copyist between September 1718 until his retirement, sometime before his death in 1747), and Anthonÿ Meister (mentioned as a copyist between 1706–1717), for further details see Samantha Owens, The Württemberg Hofkapelle c. 1680–1721, diss., Victoria University of Wellington 1995, S. 266.
Hauptstaatarchiv Stuttgart, A 21 Bü 615; Le Long was a bass singer and left the court’s service without permission in May 1730; Barré may also have been a vocalist. According to a Visitation decree dated 8 June 1724 (A 6 Bü 208) the three had already spent some time in Württemberg and were paid from April of that year. It is possible that their appointment relates to the visit of Duke Eberhard Ludwig, his mistress Christiane Wilhelmine von Grävenitz, Friedrich Ludwig, his wife Crown Princess Henriette Marie, and a retinue of several hundred servants, to the duchy of Mömpelgard (Montbéliard), France in July 1723, see W. Grube, Herzog Eberhard Ludwigs Reise nach Mömpelgard, in: Schwäbische Heimat, 10, 1959, S. 44–48
The Hofkapelle sometimes gave away music it no longer required: a 1695 catalogue of the music owned by the local Stiftskirche included a section entitled The following pieces have been rejected by the [court] chapel and have been given to the Stiftsmusik (Folgende Stück sind in der Cappel außgelesen und zur Stiffis-Music gegeben worden), see A. Bopp, Beiträge zur Geschichte der Stuttgarter Stiftsmusik, in: Württembergische Jahrbücher für Statistik und Landeskunde 1910, Stuttgart 1911, S. 240f.
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Owens, S. (2003). »Und mancher grosser Fürst kan ein Apollo seyn«. In: Günther, G. (eds) Musik in Baden-Württemberg. J.B. Metzler, Stuttgart. https://doi.org/10.1007/978-3-476-02892-1_9
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