least sign of approbation. The contrary eventuality had not been foreseen. Only the gigantic Quantz, worthy, in respect of stature, to figure in one of the King of Prussia's regiments,[1] "had the privilege of shouting bravo to his royal pupil, after each solo, or when the concert was finished."
But without lingering over these well-known facts let us see how the royal flautist endeavoured to rule, by blows of his stick, the whole musical world of Berlin, and especially the opera.
Certainly he had done good. From the death of Frederick I. (1713) to 1742, Berlin had had no opera,[2] Immediately upon his accession Frederick II. built one of the greatest opera houses in existence, with the inscription: Fredericus Rex Apollini et Musis. He got together an orchestra of fifty performers, engaged Italian singers and French dancers, and prided himself upon having a company which in Berlin was said to be the best in Europe. The king bore all the expenses of the opera, and admission was gratuitous to all who were decently clothed; which made it possible, after all, to exclude the popular element, even from the parterre.[3]
But although the artists were royally paid I fancy they earned their salaries. Their situation was by no means restful.
- ↑ The appearance of this old musician was of unusual majesty:
"The son of Hercules he justly seems
By his broad shoulders and gigantic limbs." - ↑ Frederick-William I. had suppressed plays and orchestra by this simple note: "Devil take them!"
- ↑ At Mannheim and Schwetzingen all the subjects of the Elector Palatine were admitted to the opera, and went to the Elector's concerts; which fact, according to Burney, did no little "to form the judgment and establish the decided taste for music which one finds throughout the Electorate."
