A Dictionary of Music and Musicians/Frederic the Great

FREDERIC the great (Friedrich II.), king of Prussia, a distinguished amateur, born at Berlin, Jan. 24, 1712, died at Sans-Souci near Potsdam, Aug. 17, 1786. He passionately admired German music while detesting that of Italy and especially of France, which was the more remarkable from his well-known love of French literature. He said on one occasion, 'la musique française ne vaut rien.' His first musical instructor when Crown Prince was Gottlob Hayne the cathedral organist, for whom he always retained a regard, and who presented him with a composition every year on his birthday. In 1728 he began to learn the flute from Quantz, who was a strict master, while Frederic was a docile pupil. [Quantz.] He was afterwards, however, compelled to study in secret, as his father, Frederic William I, considered music an effeminate pastime, and declined to allow him instructors or musicians of any kind. He was therefore driven to engage musical servants, and often played duets with his valet Fredersdorf, until he was able in 1734 to have a private band at his own castle of Reinsberg. On his accession to the throne in 1740, he established a court-band at Berlin, and sent Graun to Italy to engage singers. [Graun.] He also had designs made for a new opera-house, which was opened Dec. 7, 1742. An amusing account of his difficulties with Barberina the ballet dancer will be found in Carlyle (Bk. xiv. chap. 8). His expenditure on music was lavish, though it has been exaggerated. Quantz's salary amounted to 2000 thalers, besides 25 ducats for each of his compositions for flute solo, and 100 ducats for every flute he made for the king. According to Reichardt, Frederic practised perseveringly, playing the flute four times a day. It is in one of these eager practising that Gérome has represented him in an admirable picture. Quantz died in 1773 while composing his 300th concerto for the king, who completed the work. Frederic's execution of an Adagio is said by Fasch to have been masterly, but in quick movements he betrayed a want of practice, and in matter of time his playing was so impulsive and irregular, that to accompany him was an art in itself. In later years he again took up the clavier, not having sufficient breath, it is stated, for the flute. He invited Sebastian Bach to Potsdam, and the visit, of which Forkel gives an account, and the result of which was Bach's 'Musikalisches Opfer,' took place on April 7, 1747. He particularly admired Silbermann's pianofortes, and bought all he could hear of, to the number, according to Forkel, of 15. One of these is perhaps still to be seen in the Schloss at Potsdam. Frederic was also a composer. The Hohenfriedberg March was nominally by him, as well as a march inserted in Lessing's play, 'Minna von Barnhelin.' He also composed a 'Sinfonia' for 'Galatea ed Acide' and one for 'Il Rè pastore'; an Aria for 'Il trionfo della fedeltà'; another for Graun's 'Coriolano' (of which he wrote the libretto); and added fioriture for Hubert the singer to an air in Basse's 'Cleofile.' In 1835 a search was instituted by King Frederic William III, and 120 pieces composed by Frederic the Great were found, but they were interesting only from their history, and not suited for publication. He had an eye to the improvement of the singing in the public schools, and an official decree of his, dated Oct. 18, 1746, contains the following passage: 'Having received many complaints of the decline in the art of singing, and the neglect of it in our gymnasiums and schools, His Majesty commands that the young people in all public schools and gymnasiums shall be exercised more diligently therein, and to that end shall have singing-lessons three times a week'—a command which has doubtless materially contributed to the prevalence of music in Germany. (See 'Friedrich d. G. als Kenner und Dilettant' ..... by C. F. Müller, Potsdam, 1847.)

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