MUSIC AT MANNHEIM
The Athens of the German-speaking world.
-C.F.D. Schubart
For a brief period in the eighteenth century, Mannheim represented a musical paradise that was unrivalled by larger and better known cultural centers on the European continent.
Much of Mannheim’s prominence was based upon politics. The ruling prince held the title of Elector Palatine. This position was one of the four original secular electors of the Holy Roman Empire. The Elector Palatine occupied a position of great importance within the aristocratic hierarchy. Because of its strategic location at the confluence of the Rhine and Neckar rivers, the Palatinate greatly profited from this position on one of the principal European trade and travel routes. Because of its close proximity to France, Mannheim received a steady stream of French influence both politically and culturally.
However, Mannheim’s true fame was derived from its position as one of the leading cultural centers of the Enlightenment. The basis for this position of eminence was first set forth during the reign of Elector Carl Philipp (r.1716-1742). Carl Philipp’s principal residence was at Heidelberg. However, the arch-Catholic elector for himself in constant conflict with the strong Protestant faction of Heidelberg. As a result of the chronic friction between Carl Phillip and the Protestants of Heidelberg, Carl Philipp moved his court to Mannheim in 1720. It was sat Mannheim that he began an aggressive building campaign on a lavish level. He brought to Mannheim the leading sculptors, painters, and architects of Europe to his court. The major project of this project was the construction and decoration of the electoral palace. The first phase of this project was completed in 1737 at which time the Elector took occupancy. The second phase was completed in 1742 with the completion of the opera house located in the West wing of the palace.
Carl Philipp’s strong interest in music established a tradition that in later years gave Mannheim its famous musical claim. Carl Philipp had inherited a number of musicians and singers from his predecessor as Elector Palatine in Dusseldorf. Other musicians he brought with him from his previous post at Innsbruck. His most significant employee was the Bohemian violin virtuoso Johann Stamitz (1717-1757), who joined the court orchestra in 1741 and quickly rose to the post of Konzertmeister.
Upon Carl Philipp’s death in 1742 at the age of 81, he was succeeded by his eighteen-year-old nephew Carl Theodor (1724-1799). The vast difference in age between the two rulers demonstrates a severe contrast between them. Carl Philipp was the epitome of the Baroque absolutist. He was an intolerant man who modeled himself after Louis XIV. In contrast, Carl Theodor was a typical ruler of the Enlightenment. Although an arch-Catholic with strong ties to the Jesuits, he demonstrated a more tolerant attitude to other religions in his public pronouncements. Carl Theodor was far less repressive in the political arena. He did introduce a number of economic reforms. However, his spirit of reform in the spirit of the Enlightenment was not on the same level as that of Frederick the Great and later rulers. None of Carl Theodor’s reforms proved to be substantial or lasting.
“The expense and magnificence of the court of this little city are prodigious; the palaces and offices extend over almost half the town; and one half the inhabitants,who are in office, prey on the other, who seem to be in the utmost indigence.
-Charles Burney (1772)
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Updated 5/10/11