Sara Itzig Salon

Sara Levy and the Making of Musical Taste in Berlin
Author(s): Peter Wollny

Source: The Musical Quarterly , Winter, 1993, Vol. 77, No. 4 (Winter, 1993), pp. 651-688
Published by: Oxford University Press
Stable URL: http://www.jstor.com/stable/742352
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Sara Levy and the Making
of Musical Taste in Berlin
Peter Wollny
The salons of educated women represent an important aspect of the

cultural history of Berlin during the second half of the eighteenth and
the nineteenth century. Their full significance has been recognized
only recently.' These salons provided a social setting in which the
ideals of rationality, liberty, and "Bildung" could be realized in disre-
gard of the hierarchical structure of the Prussian state. And it is not
accidental that the first generation of salons were established almost
exclusively in Jewish circles, where novel concepts of tolerance, equal-
ity, and emancipation were being developed at the same time.
Of particular importance for the musical life of the Prussian capi-
tal is the salon of Sara Levy, daughter of the influential Jewish banker
Daniel Itzig, great-aunt to Felix Mendelssohn-Bartholdy, and student
of Wilhelm Friedemann Bach. In his function as "Miinz-Entrepreneur"
and court Jew of Frederick the Great, Daniel Itzig (1722-1799) held
the highest position a Jew could reach in the hierarchy of the Prussian
state. Thus, it is not at all surprising that, following the customs at
Frederick's court, Sara and her brothers and sisters received a thor-
ough education in the French language and manners. Their musical
education appears to have been equally profound: it is said that the
family employed an excellent piano instructor with a fixed annual
salary.2
Sara Levy's long life (1761-1854) spanned the second half of the
reign of Frederick the Great, the Napoleonic Wars, and the Revolu-
tion of 1848. Documentary evidence for her salon exists mostly for the
nineteenth century;3 the writers E. T. A. Hoffmann and Ludwig
Bmrne, the historian Gustav Droysen, and musicians like the director
of the Berlin Singakademie, Carl Friedrich Zelter, and of course Felix
Mendelssohn-Bartholdy counted among her regular guests. More
obscure, however, is the early phase of the social gatherings at her
home. In this essay, I will present some ideas about the period prior to
1800 and attempt an assessment of the role she played as collector and
patron of music, particularly by members of the Bach family.
651

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652 The Musical Quarterly
For an understanding of the private musical gatherings and circles that

are so typical of Berlin, we must take a brief look at the special condi-
tions of musical life in the Prussian capital in the eighteenth century.
When in 1740 Frederick II succeeded his father, the so-called Soldier
King, to the throne, the arts and sciences began to flourish again after
a period of dire neglect.4 At his court, Frederick reinstituted the
Hofkapelle and built a new opera house, luring a great number of
renowned composers and musicians to the Prussian capital. Yet due to
the king's rather restricted musical tastes, many of these soon had to
seek additional engagements away from court. This situation was
aggravated by the outbreak of the Seven Years' War (1756-63),
which signaled a further decline of musical life at court. In the years
following the war, the king's enthusiasm for music continued to be
rather tepid.
The problems that the musicians incurred at court turned out to
be of advantage to musical connoisseurs among the nobility and the
upper bourgeoisie, who recruited the underemployed court musicians
for regular soirdes and private concerts. The musicians themselves
initiated the founding of private musical institutions, the so-called
Musikalische Gesellschaften. The most famous among these were the
"Musikiibende Gesellschaft" founded by the organist Johann Philipp
Sack, the "Akademie" of the court musician Johann Gottlieb Jan-
itsch, the "Assemblke" of the second court harpsichordist Christian
Friedrich Schale, and the "Concert" of the court composer and stu-
dent of J. S. Bach, Johann Friedrich Agricola.s The increasing signifi-
cance these societies had for musical life in Berlin-and especially for
the composers living in the city--is demonstrated by the fact that
Carl Heinrich Graun's famous oratorio Der Tod Jesu (1755) was pre-
miered by the "Musiktibende Gesellschaft" and not by the court
orchestra. And Carl Philipp Emanuel Bach's harpsichord concertos
were probably not intended to be performed at court either, but
instead seem to have been instigated primarily by the musical societ-
ies.6 Toward the end of the century most of these private gatherings
were absorbed into the newly founded Singakademie, established by
the court harpsichordist, Carl Friedrich Fasch, in 1792.
Not much is known about the exact conditions of the musical
activities in the Itzig household or about the repertoire used there.
Adolf Weissmann claims that "at the Itzigs's, a veritable cult of Sebas-
tian and Philipp Emanuel Bach is being observed."7 This statement is
corroborated by a look at the music collections of Sara Levy and her

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The Making of Musical Taste in Berlin 653
siblings, documented in the appendix of this essay. In addition,

according to a family tradition, Sara's oldest sister Bella took lessons
with the former Bach student and kapellmeister of Princess Anna
Amalia of Prussia, Johann Philipp Kimberger.8 And the fact that Sara
herself later became the only student Wilhelm Friedemann Bach ever
consented to instruct during his Berlin years points to the veracity of
Weissmann's statement.
Their high esteem for the Bach family together with their link to
Kimberger leads us to conclude that the family had close ties to the
salon of Princess Anna Amalia, whose conservative taste they appear
to have shared.9 While there is no documentary evidence for this
conclusion, the repertoire of Sara's music collection also appears to
indicate that she modeled her salon after that of the princess.
We do not know exactly when Sara outgrew the sphere of dilet-
tante musicianship within the family circle and began to have her
own salon with its own regular guests and performances. It seems,
however, that this transition had already occurred by the time she
married Salomon Levy in 1783.
After the Singakademie was founded, a good deal of Sara Levy's
musical activities appear to have taken place within this institution,
despite its noticeable anti-Semitic tendencies. 10 There is evidence
that in the years 1806 and 1808 she played the solo part in perfor-
mances of J. S. Bach's Harpsichord Concerto in D Minor (BWV
1052) and the Fifth Brandenburg Concerto."11 Hans Uldall even claims
that according to documents he saw at the Singakademie, between
1807 and 1815 Sara Levy performed a harpsichord concerto regularly
every Friday with Zelter's "Ripienschule."12
To examine closer Sara Levy's musical activities, as well as to define

her musical predilections in more detail, we must gain an overview
of her music collection. This is not an easy task, since her library has
not survived intact; single items are spread all over the world, and a
large portion disappeared with the library of the Berlin Singakademie
in 1945.13
Three important clues may help us to reconstruct Levy's collec-
tion: (1) subscription lists in eighteenth-century prints, (2) manu-
scripts in European and American libraries bearing her owner's mark,
and (3) a recently rediscovered catalog from about 1835, listing the
holdings of the Singakademie library.

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Subscription lists constitute a primary source of information for

the geographic and social distribution of a work. The practice became
especially popular in the second half of the eighteenth century. 14
When composers wanted to publish a work, they often sought pro-
spective buyers in an advertisement in order to finance the printing
with their advance payment. Sara Levy's name appears in a number of
such subscription lists. They reveal that she was primarily interested in
highly demanding keyboard music; in this she differed significantly
from most other young ladies of the time, who preferred easy songs
and pieces. Sara subscribed, for example, to the six collections for
"Kenner und Liebhaber" by C. P. E. Bach, sonata anthologies by
Johann Christoph Friedrich Bach and Johann Georg Witthauer, and a
set of variations by Johann Nikolaus Forkel. Occasionally she bought
prints with outstanding vocal music, such as C. P. E. Bach's "Mor-
gengesang am Sch6pfungsfeste" on a text by Klopstock, Johann Abra-
ham Peter Schulz's excerpts from his drama "Athalia," and Johann
Gottlieb Naumann's opera Orpheus und Euridice. She clearly avoided
any kind of fashionable music.15
Manuscripts formerly owned by Levy can be traced in a variety of
European and North American libraries. On the title pages of these
sources, usually the owner's mark in her own hand (often in the form
"Sara Levy nee Itzig") or a stamp can be found. In addition there is
usually a number or reference mark found in one of the upper corners
of the title page. These numbers probably either reflect some sort of
personal library system or point to an auction. Most of the sources are
in the hand of a single copyist, who also prepared the majority of
sources owned by Sara's sisters. 16 Most likely this was a professional
copyist working for the entire family, who might even be identical
with the music and keyboard teacher that Daniel Itzig employed for
his children. 17
The existing manuscripts formerly owned by Sara Levy add a
further dimension to our first impression of her predilections that we
have gained from the subscription lists. The sources I have been able
to trace so far contain almost exclusively compositions by J. S., W. F.,
and C. P. E. Bach-again primarily with keyboard and chamber music.
The exact provenances of these manuscripts need to be investigated
further; at this point it is only possible to state that the sources now
at Brussels are from the collection of the Marburg physician Guido
Richard Wagener (1822-1896), 18 and that some of the manuscripts
now in Berlin and Kiel once belonged to the collection of the Darm-
stadt church composer Arnold Mendelssohn (1855-1933).19
The most valuable aid toward reconstructing Levy's music library,
however, is represented by the above-mentioned manuscript catalog

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with the title "Catalog musikalisch-literarischer und practischer Werke

aus dem Nachlasse des K6nigl. Professors Dr. Zelter," the so-called
Zelter catalog. This catalog came to light in 1988 when it was
acquired by the Berlin Staatsbibliothek from the estate of the former
Singakademie librarian Friedrich Welter (call number: N. Mus. ms.
theor. 30).20 Since the holdings of the Singakademie library did not
resurface after 1945, the Zelter catalog assumes particular importance.
To understand the original purpose of the catalog some explana-
tion is necessary. When Carl Friedrich Zelter died on 15 May 1832
after having acted as the director of the Singakademie for more than
thirty years, a lawsuit broke out between the executive board of the
Singakademie and Zelter's heirs concerning ownership of the library's
holdings. This lawsuit was caused by the fact that Zelter had failed to
distinguish properly between what belonged to the institution and
what he owned privately. It appears that he kept most of the library's
valuable manuscripts in his private home, and both his heirs and the
Singakademie claimed ownership. The institution's chief librarian,
Georg Poelchau, commented upon the distressing situation: "Zelter
has left the affairs of our library in such confusion that the executive
board will feel the damage for a long time. Donations that were made
to the Academie are part of his estate, and his heirs, of course, will
not give them back since there are no records, nor is there any other
legal proof."21 Zelter's daughter Doris, however, insisted that her
father had instructed her "to keep his precious collection together
after his death and not to sell any of the items."22 In April 1835 the
two parties agreed to a settlement, and the Singakademie paid Zelter's
heirs the sum of 1000 Reichsthaler for ceding the musical books,
prints, and manuscripts. During this lawsuit, the Zelter catalog was
prepared, listing all the holdings with meticulous annotations concern-
ing the provenance of every item.
In particular, the Singakademie claimed ownership for a large
number of manuscripts that had been donated by Sara Levy. For that
reason the Zelter catalog was carefully annotated, in red ink, listing
any indications on the manuscripts pointing to Levy's ownership (e.g.,
handwritten or stamped owner's marks). A number of comments writ-
ten into the catalog by a representative of Zelter's heirs indicate that
the administrative board of the Singakademie seems to have also
claimed additional items as having been donated by Levy. Thus, we
find the following note concerning a copy of a St. Matthew Passion by
C. P. E. Bach: "claimed by the Academy as a gift of Sara Levy; there
is, however, no stamp on it";23 and elsewhere: "without Mad. Levy's
stamp. The Academy is quite mistaken, since it is a gift from the
privy councillor Kiesewetter, of Vienna, of Dec. 7, 1819."24

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While we do not know precisely when the donations were made,

the catalog attests that the manuscripts came into the possession of
the Singakademie during Levy's lifetime and were not-as has fre-
quently been suggested--bequeathed to the institution only after her
death. Also, the repertoire found in the Zelter catalog does not con-
stitute Levy's entire music collection, since, with one exception, those
manuscripts that today can still be traced in other libraries were never
part of the Singakademie collection. These latter sources were appar-
ently kept by her until her death; only then did they begin their jour-
ney to their present locations.
Despite the loss of the Singakademie sources themselves, the
detailed entries in the Zelter catalog allow us to gain a fairly precise
notion of the items that can thus be identified as the former property
of Sara Levy, and these items confirm our impression of her musical
taste. Apart from a copy of J. C. F. Bach's lyrical cantata "Die Ameri-
kanerin" and an anthology of opera arias by Johann Adolph Hasse, we
find mostly instrumental music. There are numerous sinfonias by
C. P. E. Bach, Johann Gottlieb Graun, Johann Gottlieb Janitsch, and
others and harpsichord concertos by C. P. E. and W. F. Bach as well
as by other Berlin composers, such as August Kohn(e) and Carl Gott-
lieb Richter. Further, Levy owned violin, viola, and viola da gamba
concertos by Johann Gottlieb Graun and several dozen flute concertos
by Frederick the Great's flute instructor, Johann Joachim Quantz.
Finally, there is a vast number of trio sonatas by the Graun and Bach
brothers, and by Janitsch, Quantz, Handel, and Pergolesi; even Fred-
erick the Great is represented with a number of flute compositions.
Reconstructed thus with the help of subscription lists, extant
manuscripts, and the Zelter catalog, Sara Levy's music collection pre-
sents an astonishingly unified picture. Clearly the main focus of her
interests was compositions by members of the Bach family: She sub-
scribed to the printed works of the Backeburg J. C. F. Bach and found
ways to acquire chamber music by the London J. C. Bach. She pos-
sessed precious autographs of the little-known compositions of W. F.
Bach and a representative selection of J. S. Bach's keyboard music. In
addition, she managed to assemble a surprisingly complete collection
of C. P. E. Bach's instrumental works. If her collection were still
intact, it would almost be comparable to the famous C. P. E. Bach
collection of Johann Jakob Heinrich Westphal, today housed at the
Brussels Conservatory and the Brussels Royal Library.
While she acquired the works of the London Bach apparently
only through professional dealers, and there is no documentation of
any contacts to the Buckeburg Bach, Levy evidently stood in direct

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personal contact with the two oldest Bach sons.25 It appears that
during his Berlin years (1774-84) she was Friedemann's only student,
and the personal acquaintance with Emanuel is demonstrated in a
letter written to her shortly after his death by his widow Johanna
Maria.26 In this letter Johanna Maria Bach responds to a (lost) letter
of condolence by Levy, and the intimate tone of her answer suggests
that this was not the first contact between the two women. We fur-
ther glean from Johanna Maria's response that Levy was planning to
donate a statue to the memory of the second Bach son; also, she had
requested detailed information about Bach's oeuvre, probably in order
to complete her collection.
Apart from her pronounced predilection for music by members of
the Bach family, one notes Levy's interest in "classical" Berlin com-
posers, such as the two Grauns, Janitsch, and Quantz. Most remark-
able is the fact that her taste failed to adapt to the changes in musical
style that she witnessed in the course of her long life. Even after
1800, the composers she favored were those of the generation of her
parent and grandparents. Among the few younger composers we only
find Johann Nikolaus Forkel, who musically was strongly influenced by
the two older Bach sons, and the C. P. E. Bach student Johann Georg
Witthauer. There are no traces whatsoever in her collection of music
fashionable in Berlin around or after 1800.
It thus appears that in her musical taste-as in her political and
religious convictions27--Sara Levy demonstrated a tendency to pre-
serve everything she valued, resisting popular and fashionable trends.
She was, for example, one of the few members of her family who did
not follow the trend to convert to Protestantism, but continued to
follow the traditions of her parents' faith, just as she kept up the musi-
cal traditions favored in her parents' home. In collecting the music of
the earlier eighteenth century and in preserving and cultivating its
ideas and aesthetic concepts, Levy became a crucial figure in the early
phase of the Bach Renaissance which culminated, in 1829, in the
famous centennial performance of J. S. Bach's St. Matthew Passion by
the Berlin Singakademie under the direction of Felix Mendelssohn.28
The above-mentioned letter written to Sara Levy by Johanna Maria

Bach indicates that Levy had commissioned a concerto from C. P. E.
Bach shortly before his death.29 Johanna Maria writes: "You may
have been notified already by Herr Wessely that the illness of my dear

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husband did not permit him to think about the concerto commis-
sioned by you. Whatever he may have promised he certainly did only
in the confidence of being able to fulfill it soon."30 Although Johanna
Maria states explicitly that her husband had not been able to com-
plete the work, there are indications that at the time of her letter to
Levy she was not fully aware of the details of his musical estate.31 The
information she gives in this letter on her husband's works diverges in
a number of other details from the estate catalog that was published in
1790.32 It is thus possible that the concerto was in fact finished, but
that Bach's widow could not immediately identify it. If we accept this
hypothesis, the only piece to be considered is C. P. E. Bach's double
concerto for harpsichord, fortepiano, and orchestra (Wq 47; H 479).
Thus twelve years after his last two harpsichord concertos (Wq 44; H
477, and Wq 45; H 478) and sixteen years after the publication of his
collection of six harpsichord concertos (Wq 43; H 471-476), Bach
had turned to the concerto again; it is unlikely that he would have
done so without instigation from outside.
The assumption that Wq 47 is identical with the concerto com-
missioned by Levy is supported by another observation. The autograph
score of the work-one of the few relics from the library of the Berlin
Singakademie -according to a note on the title wrapper was in Levy's
possession before she donated it to the Singakademie on 8 October
1813.33 It appears that J. M. Bach eventually found the piece in ques-
tion and delivered the autograph score to its proper owner-whereas
usually C. P. E. Bach's autographs remained in the possession of his
family.34
With two capable harpsichordists among her sisters, it seems that
works for two keyboards were quite popular in Levy's collection: She
owned, for example, a score and performing parts for W. F. Bach's
Concerto in E-flat Major for Two Harpsichords and Orchestra (Fk
47), and it seems feasible that she commissioned Wq 47 as a compan-
ion piece from Friedemann's brother Carl Philipp Emanuel. It is also
noteworthy that there are further works for two harpsichords in the
collections of Levy's sisters Fanny von Amstein and Zippora Wulff,
suggesting that performing jointly on two harpsichords was quite popu-
lar in the Itzig family.35
Further works that might have been commissioned by Levy
include the three quartets for flute, viola, fortepiano and bass by
C. P. E. Bach (Wq 93-95; H 537-539), also composed in 1788. The
autograph sources of the second and third of these pieces were again
in Levy's possession before she gave them to the Singakademie.36 The
unusual scoring of the works suggests indeed that for these pieces the
composer might have followed specific instructions.

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In this case, too, there are several other hints that support my
hypothesis. There must have been in Levy's circle a capable violist, as
the viola concertos by Graun and the viola duets by W. F. Bach (Fk
60-62) in her collection indicate.37 In her copy of the latter pieces
(which is again the composer's autograph), careful fingerings indicate
that the pieces were indeed performed. Apparently, a trio for two
flutes and viola, possibly also by W. F. Bach, belongs in the same
group; however, the loss of the sources does not permit a more specific
assessment. 38
Both the fact that Sara Levy owned the autographs of the three
quartets and the observation that she favored compositions with an
obbligato viola support the assumption that these pieces, which are
among the most sophisticated compositions of C. P. E. Bach's late
chamber music, owe their existence to a commission by Levy as well.
If we search for further pieces that may have been written espe-
cially for Levy or commissioned by her, a couple of works by W. F.
Bach come to mind. There is, for example, the little wedding song,
entitled "Cantilena nuptiarum consolatoria" (Fk 97), written to a text
that markedly avoids any Christian metaphors. The autograph of this
piece according to Falck showed traces of W. F. Bach's latest hand-
writing, which would suggest a date of around 1780 or after.39 And
indeed the wedding of Friedemann's student Sara Itzig and Samuel
Salomon Levy took place on 2 July 1783.40 Further, one wonders if a
similar genesis can be assumed for Friedemann's Harpsichord Fantasia
in D Minor (Fk 19), which appears to be transmitted in sources only
from Levy's circle. And finally, there is a letter by Georg August
Griesinger that attests that in 1804 Levy had contacted the aging
Joseph Haydn with the commission "to compose several fugues for the
choir of Herr Zelter, but without any instruments."41 Griesinger adds,
however, that Haydn had to refuse this commission because of his
failing health.
All this suggests that Levy was not only passively receptive as a
performer and connoisseur, but in fact strove actively to influence the
musical scene of her time by commissioning music from her favored
composers and thus acting as a patron of the arts in the modem sense.
How detailed her instructions for the pieces she commissioned were is
difficult to determine. The ingenious idea of combining the harpsi-
chord and the fortepiano in Emanuel Bach's double concerto at a
time when the fortepiano had already surpassed the harpsichord, how-
ever, fits Levy's conservative-enlightened musical taste extremely
well. Being herself a great virtuoso, Levy obviously saw no need to
restrict the difficulty and sophistication of the works she commis-
sioned-similar to Count van Swieten, who, when commissioning six

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symphonies for string orchestra from C. P. E. Bach, explicitly

demanded that the composer show absolutely no consideration for the
difficulties that his compositions might cause the performers.42 Both
the double concerto and the three quartets are thus clearly music for
connoisseurs and do not make any concessions to amateurs. In his
concerto, Bach dares the experiment of transferring the thorough
polyphonic treatment of the orchestra, which he had developed in
1780 in his four orchestral symphonies "with twelve obbligato voices,"
to the concerto form.43 The dialogue between the two soloists com-
bined with the potentially eight-part orchestra raises the concept of
the concerto to a level hitherto unsurpassed.
Similarly novel effects are presented in the combination of
instruments in the three quartets. Flute, viola, fortepiano, and bass
produce a well-balanced texture, in which, due to the introduction of
the obbligato viola part, particularly the often-neglected middle range
is treated with special care. This disposition in connection with the
flexible treatment of the fortepiano allows a more subtle motivic pene-
tration than conventional types of instrumentation.44
Both C. P. E. Bach's quartets and his double concerto are sub-
lime achievements, composed in the last year 6f his life. If my
hypotheses are right, the impulse for these pieces came from Sara
Levy. Bach must have been confident that the novelties and complex
beauties of his compositions would be understood and esteemed by
their recipient. He must also have been aware that through Sara
Levy's salon the connoisseurs would soon be reached. There, his aes-
thetic ideals and principles would be discussed and promoted.
Appendix: Musical Sources Formerly Owned
by Members of the Itzig Family
Abbrevations and Library Sigla:
BB Staatsbibliothek zu Berlin (previously Deutsche Staatsbibliothek

and Staatsbibliothek PreuBischer Kulturbesitz, formerly PreuBische
Staatsbibliothek and before that Kinigliche Bibliothek). For the
Bach holdings the following abbreviations are used: P
(Partitur = score) instead of Mus. ms. Bach P and St
(Stimmen = parts) instead of Mus. ms. Bach St.
BWV Wolfgang Schmieder, Thematisch-systematisches Verzeichnis der

musikalischen Werke von Johann Sebastian Bach. Bach-Werke-
Verzeichnis (Leipzig: Breitkopf & Hirtel, 1950).

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DDT Denkmdler deutscher Tonkunst (Leipzig: Breitkopf & Hirtel, 1893

ff.).
Engelhardt Ruth Engelhardt, Untersuchungen iiber Einflasse Johann Sebastian

Bachs auf das theoretische und praktische Wirken seines Schiilers Johann
Philipp Kirnberger (Ph.D. diss., Erlangen-Niimrnberg, 1974), Appen-
dix, "Verzeichnis der Klavier- und Orgelwerke Kirnbergers."
EQ Robert Eitner, Biographisch-Bibliographisches Quellen-Lexikon der

Musiker und Musikgelehrten, 10 vols. (Leipzig, 1900-1904; repr.
Graz: Akademische Druck- und Verlagsanstalt, 1959-60).
Falck Martin Falck, Wilhelm Friedemann Bach. Sein Leben und seine
Werke, Studien zur Musikgeschichte, vol. 1 (Leipzig: Kahnt,
1913).
Fk Martin Falck, "Thematisches Verzeichnis der Kompositionen

Wilhelm Friedemann Bachs," in Wilhelm Friedemann Bach, Studien
zur Musikgeschichte, vol. 1 (Leipzig: Kahnt, 1913).
H E. Eugene Helm, Thematic Catalogue of the Works of Carl Philipp

Emanuel Bach (New Haven: Yale University Press, 1989).
Hortschansky Klaus Hortschansky, Katalog der Kieler Musiksammlungen, Kieler

Schriften zur Musikwissenschaft, vol. 14 (Kassel: Bdrenreiter,
1963).
Kast Paul Kast, Die Bach-Handschriften der Berliner Staatsbibliothek, Tii-

binger Bach-Studien, vol. 2/3 (Trossingen: Hohner, 1958).
NBA Neue Bach-Ausgabe. Johann Sebastian Bach. Neue Ausgabe samtlicher

Werke, ed. Johann-Sebastian-Bach-Institut G6ttingen and Bach-
Archiv Leipzig (Leipzig: Deutscher Verlag fur Musik, and Kassel:
Birenreiter, 1954).
RISM Ripertoire International des Sources Musicales.
Schmid Ernst Fritz Schmid, Carl Philipp Emanuel Bach und seine Kammer-
musik (Kassel: Birenreiter, 1931).
Ty Charles Sanford Terry, Johann Christian Bach (London: Oxford

University Press, 1929), Appendix, "Johann Christian Bach's
Works, Vocal and Instrumental: Thematic Catalogue."
Uldall Hans Uldall, Das Klavierkonzert der Berliner Schule (Leipzig: Breit-
kopf & Hirtel, 1928).
Wendt Matthias Wendt, "Die Trios der Brider Johann Gottlieb und Carl
Heinrich Graun," (Ph.D. diss., University of Bonn, 1983), 253ff.

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Wohlfarth Hans-Dieter Wohlfarth, Johann Christoph Friedrich Bach (Bern,

1971), Appendix, "Neues Verzeichnis der Werke von Johann
Christoph Friedrich Bach."
Wq Alfred Wotquenne, Thematisches Verzeichnis der Werke von Carl

Philipp Emanuel Bach (Leipzig: Breitkopf & Hirtel, 1905).
Preliminary note: For each individual the manuscripts are listed alphabetically by
libraries. Titles have been standardized and, wherever possible, are accompanied
by references to pertinent work catalogs. Identified composers of anonymously
transmitted pieces appear in brackets; in cases of misattributed compositions I pro-
vide information about the true author. The data about scribes and provenances are
incomplete, for I have not been able so far to examine every manuscript. For un-
identified copyists, I generally use the sigla established by the J. S. Bach-Institut,
G6ttingen. Due to the limited space available, I do not provide exact diplomatic
descriptions of the sources; I do, however, report original numberings and hand-
written or stamped owner's marks appearing on the title pages (in italic print here).
Sara Levy, nee Itzig (1761-1854)

Married to Samuel Salomon Levy in 1783
1. Manuscripts
Staatsbibliothek zu Berlin45
P 416 adn. 346

J. S. Bach, Preludes and Fugues from the Well-Tempered Clavier II, BWV 872-875,
881, 885, 886/2, 887/1, 888, 890/1, 891/1, 892/1
Copyist: Anon. Vr
Provenance: A. W. Bach-G. R. Wagener (before 1869)-BB (1874)
P 702
W. F. Bach, Fantasia in D Minor, Fk 19
Copyist: Anon. V 19
Provenance: unknown
N. 50; "Sara Levy geborne Itzig"
P 703
W. F. Bach, Fantasia in E Minor, Fk 20, and March in E-flat Major, Fk 30
Copyist: Anon. V 19
Provenance: unknown
No. 113, "Sara Levy geb Itzig"
P 773
C. P. E. Bach, Keyboard Works, Wq 48-50, 113/1-4,6, 118/1, 119/4
(H 24-30, 31-34, 36, 126, 136-140); J. Ph. Kirnberger,
Variations on "Ich schlief, da triumte mir," Engelhardt No. 68
Copyist: unknown
Provenance: Singakademie--BB

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P 904
C. P. E. Bach, Trio Sonata in G Major, Wq 153; H 586
Copyist: Anon. Itzig 6
Provenance: B. Itzig
P 100047
C. P. E. Bach, Arioso with Variations in C Major, Wq 118/10; H 259
Provenance: A. Mendelssohn--BB (1920)
Nor. 10; "Sara Levy nee Itzig"
P 100148
C. P. E. Bach, Keyboard Sonata in F Major, Wq n.v. 31 = Wq 64/1; H 7
Copyist: anon. V 19
Provenance: A. Mendelssohn--BB (1920)
Nro. 17; "Sara Levy geb Itzig"
P 1002
Unknown Composer, Keyboard Sonata in E-flat Major, erroneously attributed to
C. P. E. Bach, Wq n.v. 26; H 344
Copyist: Anon. V 19
Provenance: A. Mendelssohn-BB (1920)
Nr. 13; Nro: 3; "Sara L Itzig"
Mus. ms. autogr. Jos. Haydn 49

J. Haydn, Missa Sti. Bernardi von Offida ("Heiligmesse"), Hob. XXII, No. 10 (auto-
graph)
Provenance:49 Verlagsarchiv Artaria (?)-G. A. Griesinger-S. Levy-F.
Mendelssohn-Bartholdy-P. Mendelssohn-Bartholdy (1847) -E. von Mendelssohn-
Bartholdy (1874)--BB (1908)
N. Mus. SA 450
C. P. E. Bach, Double Concerto in E-flat Major, Wq 47; H 479 (autograph)
Provenance: Singakademie (1813)-BB (1974)
N. Mus. ms. 10067 (1-2)

C. P. E. Bach, Keyboard Sonatas in C Major, Wq 65/8; H 17, and G Major, Wq
65/6; H 15
Copyist: Anon. V 19
Provenance: A. Mendelssohn-W. Wolffheim (Cat. 1929)51- . . . -BB (1972)
No: 114; "Sara Itzig"
N. Mus. ms. 1047952

C. P. E. Bach, Trio Sonata in D Minor, Wq 160; H 590
Copyist: unknown
Provenance: A. Mendelssohn-H. Spitta-A. Kdick-BB (1981)
N. Mus. ms. 10486

J. S. Bach, 6 Trio Sonatas for Organ, BWV 525-30
Copyist: Anon. V 19

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Provenance: A. Mendelssohn-H. Spitta-A. Kiick-BB (1981)

No: 47; "Sara Levy geborene Itzig"
N. Mus. ms. 1048853

J. S. Bach, Fugue in D Major from the Well-Tempered Clavier I, BWV 850/2
Copyist: Anon. V 19
No: 41; "Sara Itzig"
N. Mus. ms. 10493

J. S. Bach, Sonata for Violin and Harpsichord in E Major, BWV 1016
Copyist: Anon. V 19
No: 41
N. Mus. ms. 10494

J. C. Bach, Keyboard Sonata in C Minor, op. 5, no. 6, Ty 339/6, erroneously attrib-
uted to J. S. Bach
Copyist: Anon. V 19
Provenance: A. Mendelssohn--H. Spitta--A. Kiick--BB (1981)
No: 20
[Berlin, K6nigl. Akademisches Institut ffir Kirchenmusik]
W. F. Bach, Harpsichord Concerto in E Minor, Fk 4354
W. F. Bach, Sonata Movement (Fantasia?) in G Major, Fk, p. 3, unsicher d)55
[Berlin, Singakademie]
Z. E. 1954-55h56
Unknown Composer, Trio Sonata in E Major, erroneously attributed to C. P. E.
Bach, H 591
Z. E. 1954-55? and Z. E. 1954-55m57

[ ] Graun, Trio Sonata in E-flat Major, erroneously attributed to C. P. E. Bach, H 593
Boston, Public Library
M. 200.9(6)
C. P. E. Bach, Keyboard Sonata in E-flat Major, Wq 49/5; H 34
Copyist: Anon. V 19
Provenance: A. A. Brown-Public Library (1894)
No: VI; "Sara L Itzig"
Brussels, Bibliothbque du Conservatoire Royal
12.109 FRW
W. F. Bach, Eight Fugues, Fk 31

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
Copyist: Anon. V 19
Provenance: A. W. Bach (Cat. 1870)58--G. R. Wagener--A. Wotquenne (1901)-
Conservatoire (1905)
No: 85; "Sara Levy"
25.448(1) FRW
J. S. Bach, Preludes and Fugues from the Well-Tempered Clavier I, BWV 846, 851,
852
Copyist: Anon. V 19
Provenance: A. W. Bach (Kat. 1869)59--G. R. Wagener-A. Wotquenne (1901)-
"Sara Itzig"
26.527(2) FRW
Chr. Schaffrath, Harpsichord Concerto in C Minor, erroneously attributed to W. F.
Bach, Fk, p. 11, unecht.
Copyist: unknown
Provenance: G. R. Wagener (after 1854) -A. Wotquenne (1901) -Conservatoire
(1905)
"Sara Levy nee Itzig"
27.910 FRW
C. P. E. Bach: Keyboard Sonata in F Major, Wq 62/24; H 240
Copyist: Anon. V 19
Provenance: G. R. Wagener (after 1854)-A. Wotquenne (1901) -Conservatoire
(1905)
No: 114.; "Sara Levy geb Itzig"
Chicago, Newberry Library
Case MS 6A 7260
J. S. Bach, Fugue in B Major from the Well-Tempered Clavier II, BWV 892/2
Copyist: Anon. Vr
Provenance: (A. W. Bach?)-J. A. Lecerf-C. Kraukling (Cat. 1884)61-R.
Schnitzler-Lengfeld'sche Buchhandlung, K61n (1932)--Newberry Library
Kiel, Schleswig-Holsteinische Landesbibliothek
Mb 42:1 [Hortschansky, No. 761]

C. P. E. Bach, Keyboard Sonata in G Major, Wq 49/3; H 33
Copyist: unknown
Provenance: A. Mendelssohn
"Sara L Itzig"

C. P. E. Bach, Keyboard Sonata in B-flat Major, Wq 49/4; H 32
Copyist: unknown
"Sara L Itzig'"

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C. P. E. Bach, Keyboard Sonata in F Minor, Wq 62/6; H 40
Copyist: unknown
London, British Library
Add. Ms. 3806863

J. S. Bach, Prelude and Fugue in G Major from the Well-Tempered Clavier II, BWV
884
Copyist: Anon. Vr
Provenance: A. Morton-Clara Morton-British Library (1910)
Stuttgart, Wiirttembergische Landesbibliothek
Cod. Mus. II, fol. 251

J. S. Bach, Sonata for Violin and Harpsichord in G Major, BWV 1019
Copyist: Anon. V 19
Provenance: unknown
"Sara Levy geb Itzig"
Washington, Library of Congress
ML 96 B 18664
J. S. Bach, French Suites, BWV 812-817
Copyist: J. C. Altnickol (ca. 1750-55)
Provenance: S. W. Dehn (after 1854) -his son-Adolph W. Dohn-his heirs-
Library of Congress (1924)
ML 96 B 188
W. F. Bach, Keyboard Sonata in D Major, Fk 365
Copyist: unknown
Provenance: A. W. Bach (Cat. 1869)66--W. H. Cummings (Cat. 1917)67-Library of
Congress (1917)
II, No: 153; "Sara Levy"
2. Zelter Catalog
[Catalog musikalisch-literarischer und practischer Werke aus dem Nachlasse des K6nigl:
Professors Dr. Zelter. (Staatsbibliothek zu Berlin, N. Mus. ms. theor. 30)]
Preliminary note: On the genesis and function of the Zelter catalog see my discussion
in the main text. The catalog groups the items according to genre, and within these
groups alphabetically by composers. The entries are always notated on the verso
pages, while the recto pages were reserved for annotations and addenda. The annota-
tions are mostly related to questions of provenance in order to clarify their legal own-
ership; those concerning Sara Levy use mostly the standardized text: "No. x ist
(theilweise) mit dem Stempel der Mad. Levy versehen" ("No. x is [partly] furnished

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
with the stamp of Madame Levy"). Each entry contains, listed in five distinct col-
umns, two sets of call numbers, a brief physical description, the number of volumes
kept under one call number, composer and title, and the estimated value.
In the following, I provide transcriptions of all the entries that are either
identified in the catalog as stemming from Sara Levy's collection, or for which her
previous ownership can be demonstrated otherwise. I restrict myself to a literal tran-
scription of columns 1 and 4 and also give a shortened version of the corresponding
annotation. The first of the two numbers in column 1 probably reflects an older cata-
loging system of the Singakademie library, while the second (marked in the catalog
by smaller type, and here by brackets) is a consecutive numbering within the Zelter
catalog ranging from number 1 to number 1949; up to 1945, the holdings of the Sing-
akademie were set up according to the latter system.
As can be seen from a number of instances, the person who annotated the
Zelter catalog did not record all the sources formerly owned by Sara Levy; how many
sources he actually overlooked is impossible to assess, however. In addition, Zelter's
heirs disputed the Singakademie's claims regarding Levy's previous ownership in a
number of items since there were apparently no stamps on them. These items (mostly
sacred vocal works by C. P. E. Bach, often autographs) probably form a group of
sources that Georg Poelchau in 1811 sold to Abraham Mendelssohn, who gave them
to the Singakademie through Levy.68
1327 [454] [Anonym.] Ernte Musik "Jauchzt dem He[rmrn]" ohne P[artitur] u. Alt-
st[imme] sonst complett. [mit Stempel]
948 [502]69 Bach, W. F. Cantilena nuptiarum consolatoria. Aut[ograph] u.
M[anuscript].
981 [1129]70 Bach, J. C. Die Amerikanerinn, von Gestenberg. St[immen]
M[anuskript]. [theilweise mit Stempel]
635 [1216]:' Knecht, Wechselgesang der Mirjam und Debora. P[artitur] Leipzig.
[mit Stempel]
662 [1253] Hasse, Arien aus Opern, theilweise in P[artitur] u. St[immen]. [theil-
weise mit Stempel]
1358 [1377]72 Anonym. S[infonie] a 2 orchestri (d#.) [mit Stempel]
931 [1382]73 Bach, C. Ph. E. 8 S[infonien] f. Orchester P[artitur] St[immen]
M[anuskript]. (nicht die vier gedr[uckten]) [mit Stempel]
938 [1387]74 [Bach, C. Ph. E.] S[infonie] (es#) St[immen] M[anuscript]. [theil-
weise mit Stempel]
1124 [1388] [Bach, C. Ph. E.] S[infonie] in St[immen] M[anuskript]. [mit Stempel]
928 [1390] [Bach, C. Ph. E.] S[infonie] (es#) 2 P[artituren] u. St[immen] Bear-
beitung von Zelter. [mit Stempel]
767 [1402] Graun, sen.75 18 S[infonien] in St[immen] M[anuskript]. [theilweise
mit Stempel]
770 [1403] [Graun, Johann Gottlieb] 11 S[infonien] in St[immen] M[anuskript].
[theilweise mit Stempel]
1014 [1409] [Graun, C. H.], 22 S[infonien] aus Opern St[immen] M[anuskript].

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966 [1410] Graun, sen. 19 S[infonien] in St[immen] M[anuskript]. [2 der Sf. sind
mit dem Stempel der Mad. Levy versehen.]
1592 [1448] [12] S[infonien] von verschied[enen] Componisten in St[immen]
1615 [1458] Agrell,76 Richter,77 6 Clav[ier]conc[erte]. [Ein Conc. mit Stempel]
890 [1465]78 Bach, C. Ph. E. 1.) Conc. per il Cembalo. P[artitur] 3 mal und
St[immen] M[anuskript]
2.) Conc. per il Cembalo. P[artitur] u. St[immen]
3.) 2 [Conc. per il Cembalo]. P[artitur]
4.) 2 [Conc. per il Cembalo]. St[immen] M[anuskript]
5.) 2 Conc. per il Flauto. St[immen]
6.) 6 Conc. per il Cembalo. Hamburg 1772. St[immen] [zwei Conc. mit
Stempel]
1034 [1473]79 [Bach, C. Ph. E.] Doppelconc. (es#) 1788. P[artitur] M[anuskript]
935 [1476]s80 Bach, W. Fr. Conc. f. die Fl6te. P[artitur] St[immen] M[anuskript].
1360 [1477]81 [Bach, W. F.] Conc. f. 2 Clav. (es#) P[artitur] u. doppelte St[im-
men] M[anuskript]. [mit Stempel]
1190 [1483] Benda, G. und F. 3 Conc. in St[immen], Sonaten und kleinere
Musikstiicke M[anuskript] u. gedr[uckt]. [theilweise mit Stempel]
782 [1500] Graun, sen. 9 doppelte u. mehrfache Concerte St[immen]
781 [1503] [Graun, J. G.], 8 Violin u. Bratschenkonzerte. [theilweise mit Stem-
pel]
1011 [1509] [Graun, J. G.] u. C. H. Graun, 1.) 6 Conc. p. la Viola da gamba.
2.) Conc. p. il Violino. 3.) Ritornello e Capriccio d'un Conc. p. il Vio-
lono. 4.) Conc. da Chiesa p. il Violino. 5.) Conc. grosso--Simtlich P[arti-
tur] M[anuskript]. [theilweise mit Stempel]
1606 [1516] Hdindel, Krause, Stamitz, u.a. 10 Fl6ten und Fagottconc. [theilweise
mit Stempel]
1617 [1543] M1ller,82 Kohne,83 Schobert,s84 Schr6ter.85 7 Clav.concerte. [theil-
weise mit Stempel]
498 [1553] Quantz, 17 Conc. f. d. Fl6te mit Quartettbegl. St[immen]
499 [1554] [Quantz], 26 Fl6ten Conc. St[immen] M[anuskript]. [mit Stempel]
556 [1555] [Quantz], 18 dergl. [gr68tentheils mit Stempel]
537 [1556] [Quantz], Ein Paket mit 14 Fl6tenconc. u. Quart. in St[immen]
M[anuskript]. [gr6Btentheils mit Stempel]
1359 [1583] Anonym, Ouv[erture] a 2 orchestri (g#) St[immen] M[anuskript]. [mit
Stempel]
967 [1585] Graun, J. G. Ouv[erture] in St[immen] M[anuskript]. [mit Stempel]
773 [1587] Graun, senior, 12 Ouv. St[immen] M[anuskript]. [theilweise mit
Stempel]
435 [1595] Janitsch, 27 Kammer und Kirchensonat. M[anuskript]. [durchgingig
mit Stempel]
979 [1632]86 Bach (aus London.) Quint[ett] f. Fl6te, Oboe, Viol., Bratsche u.
Cello. St[immen] M[anuskript]. [mit Stempel]

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
1131 [1633] Bach, J. C. 1.) Sonata f. 2 Viole e Basso.87 2.) 6 Quint[ette] ~ Flute,
Hautb. Violon Taille e Basso. Amsterdam.s8 [mit Stempel]
980 [1635]89 [Bach, J. C.] 2 Sext[ette] in St[immen] M[anuskript]. [mit Stempel]
1008 [1637] Graun, J. G. 3 Sext. f. 2 Fl6ten, 2 Viol., Bratsche u. Bass. St[im-
men] M[anuskript]. [mit Stempel]
895 [1649]90 Bach, C. Ph. E. 1.) 3 Quart[ette] P[artitur] u. St[immen] (Autogr.)
2.) Sonatina II a Cembalo con Strom. Berl. 1764 St[immen]
3.) Sonatina III Cembalo con Strom. Berl. 1764 St[immen]
4.) Six Sonates pour le clavec. avec Violon e Vcello, Berl. op. 2. St[im-
men] (2 Exempl.)
765 [1657] Graun, sen. 16 Quart[ette] u. 1 Quint[ett]. St[immen] M[anuskript].
1013 [1661] Graun, C. H. 1.) 14 Sonat[en] f. 2 Viol[inen] oder 2 F16ten u.
Bass. 2.) 5 Trios. 3.) Sonat. f. Oboe oder V[io]lin[e] Viol[a] e Basso.
4.) Quart[ette]-St[immen] -M[anuskript]. [theilweise mit Stempel]
430 [1671] [Janitsch] Paket von 30 drei u. vierstimmigen Kammer und Kirchen-
sonaten. M[anuskript]. [theilweise mit Stempel]
1607 [1689]91 Rault, Reicha, Kreutzer, u.a. Compositionen f. 2, 3 u. 4 Fl6ten.
St[immen] M[anuskript]. [eine Comp. mit Stempel]
1601 [1697] Anonym, Mehrere Trios. [mit Stempel]
893 [1702]92 Bach, C. Ph. E. 13 Sonaten fur Cembalo, Violino oder Flauto und
Basso [theilweise mit Stempel]
950 [1703]93 Bach, W. Fr. 4 Sonaten a tre. M[anuskript]. [mit Stempel]
968 [1714] Graun, C. H. Sonata a tre (b#) St[immen] M[anuskript]. [mit Stem-
pel]
961 [1715] Graun, J. G. 12 Trios. M[anuskript]. [theilweise mit Stempel]
780 [1716] [Graun, J. G.], 33 Trios. St[immen] M[anuskript]. [theilweise mit
Stempel]
775 [1717] [Graun, J. G.], 15 Trios. St[immen] M[anuskript]. [theilweise mit
Stempel]
1599 [1726] Hoffmann,94 Quantz, Hdndel, u.a. Trios. St[immmen] M[anuskript].
511 [1734] Pergolesi. Sonate f. Fl6te, Violine u. BaB [mit Stempel]
951 [1748]95 [Bach, W. F.], 4 Bratschenduette. M[anuskript]. [mit Stempel]
934 [1749]96 [Bach, W. F.], Bratschenduette. Autogr.
1602 [1793] Friedrich II (K6nig von PreuBen) Verschiedene Fl6ten Composi-
tionen. [theilweise mit Stempel]
994 [1810] Anonym. Frtihlingsballet. Clav.ausz. gedr[uckt] [mit Stempel]
892 [1818] [Bach, C. Ph. E.] 1.) Sonatine ffir Cembalo mit Begleitung. P[artitur]
und St[immen] M[anuskript] 2.) 29 Sonaten ffor Violin 1 oder Flauto. Violin
2. e Basso continuo. (Cemb. oder Cello.)
3.) Sonata p. il Violino.
4.) [Sonata] a Cemb. e Viol. di Gamb.
5.) 2 Sonat. a Cemb. e Flauto o Violino.
[mit Stempel]
894 [1821]97 Bach, Ph. E. 11 Sonatin[en] p. il Cembalo con stromenti [theil-
weise mit Stempel]
949 [1831]98 [Bach, W. Fr.] Clav.conc. (f4) St[immen] M[anuskript]. [ist ohne
Stempel, aber mit der Unterschrift "Sara Itzig" versehen.]

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC12:34:56 UTC
3. Subscription
C. P. E. Bach, Kenner und Liebhaber I-VI (Leipzig, 1779-87), Wq 55-59, 61; H 130,
173, 186-88, 208, 243-47, 260-62, 265-71, 273-74, 276-79, 281-84, 286-91
RISM A/I/1: B 85, 87, 88, 90, 91, 93
C. P. E. Bach, Klopstocks Morgengesang (Leipzig, 1784), Wq 239; H 779

RISM A/I/1: B 112; copy:99 London, British Library, I.45.b.
J. C. F. Bach, Sechs leichte Sonaten (Leipzig, 1785); Wohlfarth, XI/3

RISM A/I/1: B 421
J. C. F. Bach, Drei leichte Sonaten (Rinteln, 1789); Wohlfarth, XI/8

RISM A/I/1: B 422
J. A. P. Schulz, Chdre und Gesange zur Athalia (Kiel, 1786)

RISM A/I/8: S 2357
J. G. Witthauer, 6 Claviersonaten II (Berlin, [1787])

RISM A/I/9: W 1709
J. G. Naumann, Orpheus und Euridice (Kiel, 1787)

RISM A/I/6: N 189
J. N. Forkel, 24 Veranderungen (G6ttingen, [1791])

RISM A/I/3: F 1519
Zippora Wulff, nie Itzig--later Cicilie von Eskeles (1760-1836)

Married to Simcha Bonem Wulff in 1777, divorced after 1789, married to Bernhard Freiherr von Eskeles,
Vienna in 1799
1. Manuscripts and Prints100
Staatsbibliothek zu Berlin
St 648101
J. S. Bach, Concerto for 2 Harpsichords in C Minor, BWV 1060
Copyist: Anon. V 19
Provenance: Akademisches Institut ffir Kirchenmusik-BB (1975)
doppio Con. N. 9; "ZWulff" (red stamp)
Brussels, Bibliotheque du Conservatoire Royal
26.527(1) FRW
F. Couperin, Allemande for 2 Harpsichords in A Major, erroneously attributed to
W. F. Bach102
Copyist: Michel (probably after 1790)
Provenance: S. Levy?--... -G. R. Wagener-A. Wotquenne (1901)-
No. 10; "ZWulff" (red stamp)

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Cambridge, Fitzwilliam Museum
Mu. Ms. 285

W. F. Bach, Andante for Harpsichord in E Minor, Fk 40/2
Copyist: unknown
Provenance: S. Levy?--Akademisches Institut ffir Kirchenmusik?-A. W. Bach (Cat
1869)-W. H. Cummings (Cat. 1917)-R. Griffin--Fitzwilliam Museum (1925)
No: 56; "ZWulff" (stamp)
Leipzig, Bach-Archiv
Go.S. 56103
J. Ph. Kimberger, Concerto for Harpsichord in C Minor, erroneously attributed to
J. S. Bach, Engelhardt No. 11
Copyist: Anon. V 19
Provenance: M. Gorke-Stadtbibliothek Leipzig (1935) -Bach-Archiv (1952)
No: X; ZWulff (red stamp); Z: Wulff nee Itzig
London, Royal College of Music
Ms. 2000 (convolute manuscript):104

(2)
W. F. Bach, Eight Fugues, Fk 31
Copyist: Anon. V 19
"ZWulff" (red stamp)
(3)105
Copyist: Anon. V 19
Nom: 26; "ZWulff" (red stamp); "Z Wulff nee Itzig"
(4)
Copyist: Anon. V 19
No: 25; "ZWulff" (red stamp); "Zippora Wulff gebohrne Itzig"
(7)
C. P. E. Bach, Fantasia in F-sharp Minor, Wq 67; H 300
Copyist: Michel (probably after 1790)
"ZipItzig: Wulff"
(8)
W. F. Bach, Fantasia in E Minor, Fk 20, and March in E-flat Major, Fk 30
Copyist: Anon. V 19
No: 58; "ZWulff" (red stamp)
(9)
C. P. E. Bach, Six Fugues, Wq 119/2-7; H 75.5, 99-102
Copyist: Anon. V 19
Nom: 24; "D. Itzig; ZWulff" (red stamp)
(10)
C. P. E. Bach, Fantasia in G Minor, Wq 117/13; H 225
Copyist: Anon. V 19
N: 85; "ZWulff" (red stamp)
Provenance: Z. Wulff-J. B. Cramer-V. Novello (1816)--his son--Sacred Harmonic
Society-Royal College of Music (1888)

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
Vienna, Osterreichische Nationalbibliothek
S. H. Beethoven 3106
L. van Beethoven, Piano Trios, op. 1, Vienna 1795 (first edition)
"Zip. Wulff nie Itzig / 1798 May"
Vienna, Gesellschaft der Musikfreunde
Vermlichtnis Wimpffen
L. van Beethoven, "Der edle Mensch sie hiilfreich und gut," WoO 151 (autograph
album leaf for Cdicilie von Eskeles, 20 Jan. 1823)107
Provenance: C. von Eskeles-her daughter (1836)--Maria Freifrau von Gagern
(1862)--Victor Graf Wimpffen-Gesellschaft der Musikfreunde (1899)
2. Subscription
J. Andre, Lieder und Gesdnge I-IV (Berlin, 1779-80)

RISM A/I/1: A 1051
C. P. E. Bach, Piano Trios (Leipzig, 1776), Wq 90; H 522-24

RISM A/I/1: B 61
C. P. E. Bach, Kenner und Liebhaber I-VI (Leipzig, 1779-87), Wq 55-59, 61; H 130,
173, 186-88, 208, 243-47, 260-62, 265-71, 273-74, 276-79, 281-84, 286-91
RISM A/I/1: B 85, 87, 88, 90, 91, 93

RISM A/I/1: B 112
J. C. F. Bach, Sechs leichte Sonaten (Leipzig, 1785), Wohlfarth, XI/3

RISM A/I/1: B 421
J. C. F. Bach, Drei leichte Sonaten (Rinteln, 1789), Wohlfarth, XI/8

RISM A/I/1: B 422
J. W. HiBler, Sechs leichte Sonaten (Erfurt, 1786)

RISM A/4: H 1585
J. A. P. Schulz, Chdre und Gesange zur Athalia (Kiel, 1786)

RISM A/I/8: S 2357
J. G. Naumann, Orpheus und Erudice (Kiel, 1787)

RISM A/I/6: N 189
J. C. F. Rellstab, Clavier-Magazin I (Berlin, 1787)

RISM B II, p. 131
F. W. H. Benda, Die Grazien (Berlin, 1789)

RISM A/I/1: B 1853

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F. A. Baumbach, Air de trois notes (Berlin, 1791)

RISM A/I/1: B 1362
J. N. Forkel, 24 Verainderungen (G6ttingen, [1791])

RISM A/I/3: F 1519
G. Tepper de Ferguson, Schillers Ode an die Freude (Hamburg, 1797)

RISM A/I/8: T 505
D[aniel] Itzig (1722-1799)

Manuscripts
London, Royal College of Music
Ms. 2000(9)
C. P. E. Bach, Six Fugues, Wq 119/2-7; H 75.5, 99-102
Copyist: Anon. V 19
Provenance: Z. Wulff-J. B. Cramer-V. Novello (1816)-his son-Sacred Harmonic
Society--Royal College of Music (1888)
No. 24; "D. Itzig; ZWulff" (red stamp)
B. Itzig-presumably Benjamin (Bernhard)108 (1756-1833)
1. Manuscripts
Staatsbibliothek zu Berlin:1'09
P 900
C. P. E. Bach, Sinfonia in D Major, Wq 74; H 507
P 901
C. P. E. Bach, Trio Sonata in A Minor, Wq 148; H 572
Copyist: Anon. Itzig 2 (Violino, Flauto), Anon. Itzig 3 (Basso)
Provenance: Trautwein
P 902
P 903
C. P. E. Bach, Trio Sonata in B-flat Major, Wq 159; H 587
Provenance: Zuwer
P 904
Provenance: S. Levy

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P 905
C. P. E. Bach, Sinfonia in A Minor, Wq 156; H 582
Provenance: A. Ritz
P 906
C. P. E. Bach, Trio Sonata in D Minor, Wq 145; H 569
St 426
J. S. Bach, Trio Sonata in C Minor from the Musical Offering, BWV 1079/8
"B. Itzig" (green stamp)"0
St 477
W. F. Bach, Trio Sonata in D Major, Fk 47
"B. Itzig" (blue stamp)
St 490
J. C. Bach, Sinfonia in B-flat Major, Ty 280-81/16
St 554
J. C. F. (?) Bach, Trio Sonata in B-flat Major, Wohlfarth, XX/3
St 556
J. E. (?) Bach, Trio Sonata in A Major (Kast: Bach-Inc. 43)
St 559
C. P. E. Bach, Sinfonia in D Major, Wq 176; H 651
St 570
C. P. E. Bach, Trio Sonata in D Major, Wq 151; H 575
St 578
C. P. E. Bach, Sinfonia in F Major, Wq 175; H 650
St 579
C. P. E. Bach, Sinfonia in E-flat Major, Wq 179; H 654
St 580
C. P. E. Bach; Sinfonia in C Major, Wq 174; H 649
St 582
C. P. E. Bach, Sinfonia in E-flat Major, Wq 179; H 654

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
Mus. ms. 8276/10

C. H. Graun, Trio Sonata in A Major, Wendt 4
2. Subscription
J. Andre, Lieder und Gesdinge I-IV (Berlin, 1779-1780)

RISM A/I/1: A 1051
C. P. E. Bach, Kenner und Liebhaber V (Leipzig, 1785), Wq 59; H 268, 279, 281-284
RISM A/I/1: B 91
C. P. E. Bach, Kenner und Liebhaber VI (Leipzig, 1787), Wq 61; H 286-91

RISM A/I/1: B 93
Zippora Itzig, nie Wulff

Married to Benjamin [Bernhard] Itzig on 11 Jan. 1780; died in 1830
Manuscripts
Kiel, Schleswig-Holsteinische Landesbibliothek:111
M 89 [Hortschansky, No. 743]

[J. Ph. Kirnberger], Keyboard Pieces:
a. Presto in D Major, Engelhardt No. 47; b. Suite in D Major: Rigaudon, Engelhardt
No. 84, Passepied, Engelhardt No. 85, Chaconne, Engelhardt No. 59, Loure and
Musette, Engelhardt No. 86; c. Menuett in B-flat Major, Engelhardt No. 72; d. Ballet
in B Major, Engelhardt No. 82; e. Allegro in B Minor, Engelhardt No. 46; f. Prm-
ludium in E Minor, Engelhardt No. 17; g. Vivace in A Major, Engelhardt No. 43;
h. Gavotte in D Major, Engelhardt No. 79; i. Allegro in G Major, Engelhardt No.
10; k. Allemande in A-flat Major, Engelhardt No. 50
Provenance: E. Prieger?
"Zipora Itzig nee Wulff"

Provenance: E. Prieger (Cat. 1924)112
"Zipora Itzig nee [Wulff]"

C. P. E. Bach, Keyboard Sonata in F Major, Wq 62/9; H 58
Provenance: E. Prieger (Cat. 1924)
"Zipora Itzig nee [Wulff]"

C. P. E. Bach, Keyboard Sonata in B-flat Major, Wq 62/16; H 116
"Zipora Itzig nee W[ulff]"

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C. P. E. Bach, Keyboard Sonata in F Major, Wq 65/21; H 52

C. P. E. Bach, Keyboard Sonata in A Minor, Wq 65/25; H 61


C. P. E. Bach, Keyboard Sonata in A Minor, Wq 65/33; H 143
Mh 7 [Hortschansky, No. 831]

J. A. Hasse?, Sonata Movement in D Major, Menuet in A Minor with Trio in A
Major, Gigue in A Minor
"Zipora Itzig nee Wul[ff]"
Mn 6:1-3 [Hortschansky, No. 842-44]

Christoph Nichelmann, 3 Keyboard Sonatas in G Minor, D Major, and G Major"13
I. Itzig-presumably Isaac Daniel (1750-1806)
1. Manuscripts
Hannover, Stadtbibliothek"14
K. F. Abel, Trio Sonata in C Minor (Knape"'5 No. 29), erroneously attributed to

C. P. E. Bach, H 592
Provenance: Ingenheim family--H. Scheurell (1945) -Stadtbibliothek (1970)
No. XII; "I. Itzig" (stamp)
2. Subscription
J. Schuster, Lob der Musik (Leipzig, 1784)

RISM A/I/8: S 2438
J. A. P. Schulz, Chare und Gesdnge zur Athalia (Kiel, 1786)

RISM A/I/8: S 2357

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J. G. Naumann, Orpheus und Euridice (Kiel, 1787)

RISM A/I/6: N 189
F. H. Himmel, Mourning Cantata on the Death of Friedrich Wilhelm II (Hamburg, 1798)

RISM A/I/4: H 5376
Fanny (Vigelchen) von Arnstein, nie Itzig (1758-1818)

Married to Nathan von Arnstein, Vienna, in 1776
1. Manuscripts
Vienna, Osterreichische Nationalbibliothek
S.m. 5008116
J. S. Bach, Six Trio Sonatas for Organ, arranged for two harpsichords (BWV 525-30)
Copyist: Anon. V 19
N. 10; "Vogelchen Itzig"; "F Arnstein" (stamp)
Vienna, Gesellschaft der Musikfreunde
VII 18938 (Q 11730)"117

Copyist: unidentified Viennese copyist around 1800
J. S. Bach, Partita in B-flat major, BWV 825
2. Subscription1s
C. P. E. Bach, Piano Trios (Leipzig, 1776), Wq 90; H 522-24

RISM A/I/1: B 61

RISM A/I/1: B 112
C. P. E. Bach, Kenner und Liebhaber V (Leipzig, 1785), Wq 59; H 268, 279, 281-8
RISM A/I/1: B 91

RISM A/I/1: B 421
J. N. Forkel, 24 Verinderungen (Gdttingen, [1791])

RISM A/I/3: F 1519
L. van Beethoven, Piano Trios, op. 1 (Wien, 1795)
Bella Salomon, nie Itzig (1749-1824)

Subscription
C. P. E. Bach, Kenner und Liebhaber IV (Leipzig, 1783), Wq 58; H 188, 267, 273-74,
276-78
RISM A/I/i: B 91

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RISM A/I/1: B 422
J. W. HiBler, Sechs leichte Sonaten (Erfurt, 1786)

RISM A/4: H 1585
Veilchen Itzig (1749-1824)
Subscription
C. P. E. Bach, Sei Concerti per il Cembalo (Hamburg, 1772), Wq 43; H 471-76

RISM A/I/1: B 53
C. P. E. Bach, Cramers Psalmen (Leipzig, 1774), Wq 196; H 733

RISM A/I/1: B 131
Edel Itzig, nie Wulff (1764-1851)

Married to Isaak Daniel Itzig in 1783
Subscription

RISM A/I/1: B 421
Moses Daniel Itzig (1753-1783)
Subscription

RISM A/I/1: B 131
Rachel (Recha) Itzig (1766-1841)
Subscription

RISM A/I/1: B 421

RISM A/I/1: B 422
Rebecca Itzig (1763-1847)

Married to David Ephraim in 1784
Subscription

RISM A/I/i: B 421

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Henriette Itzig (1767-1842)
Subscription

RISM A/I/1: B 422
Lea Itzig (1768-1794)

Married to Bernhard Seligmann in 1794
Subscription

RISM A/I/1: B 422
J. G. Witthauer, 6 Claviersonaten II (Berlin, [1787])

RISM A/I/9: W 1709
Sara Itzig, geb. Wulff

Married to Jakob Daniel Itzig in 1785
Subscription
C. P. E. Bach, Kenner und Liebhaber I-III, V (Leipzig, 1779-85), Wq 55-57, 59;

H 130, 173, 186-87, 208, 243-47, 260-62, 265-66, 268, 269-71, 279, 281-84
RISM A/I/1: B 85, 87, 88, 91
J. G. Vierling, 2 Sonaten fiir das Clavier (Leipzig, 1784)
RISM A/I/9: V 1481
Mad. Itzig 19
Subscription

RISM A/I/1: B 131
Itzig (without first name)
Subscription
J. F. Reichardt, Musikalisches Kunstmagazin 1 (1782)

RISM B VI/2, p. 691
J. F. Reichardt, Musikalisches Kunstmagazin II (1791)

RISM B VI/2, p. 691
J. G. Witthauer, Sammlung vermischter Clavier- und Singstaiicke, 4. Stick (Berlin,

[17851)
RISM A/1/9: W 1705

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Notes
Versions of this paper were read at the research colloquium "Jtidische Aufklirung,
isthetische Bildung und musikalische Praxis im Berlin des sp5iten 18. Jahrhunderts,"
held at the Herzog-August-Bibliothek, Wolfenbtittel, in December 1992, and at the
New England Chapter Meeting of the American Musicological Society at Harvard
University in February 1993. This article represents a slightly modified translation of
the original German text, which will be published together with the other papers
presented at the Wolfenbuttel colloquium in a forthcoming volume of the series
Wolfenbatteler Studien zur Aufklarung.
1. See particularly Deborah Hertz, Jewish High Society in Old Regime Berlin (New
Haven: Yale University Press, 1988); Petra Wilhelmy, Der Berliner Salon im 19. Jahr-
hundert (1780-1914), Ver6ffentlichungen der Historischen Kommission zu Berlin, vol.
73 (Berlin: De Gruyter, 1989); and Petra Wilhelmy-Dollinger, "Emanzipation durch
Geselligkeit: Die Salons jiidischer Frauen in Berlin zwischen 1780 und 1830," in Bild
und Selbstbild der Juden Berlins zwischen Aufklarung und Romantik, ed. Marianne Awer-
buch and Stefi Jersch-Wenzel, Einzelver6ffentlichungen der Historischen Kommission
zu Berlin, vol. 75 (Berlin: Colloquium Verlag, 1992), 121-38.
2. Adolf Weissmann, Berlin als Musikstadt (Berlin: Schuster & Loeffler, 1911), 36.
3. Wilhelmy, 720-22. Wilhelmy's extensive bibliography can be supplemented by

the following titles: Nahida Lazarus (N. Remy), Das jiidische Weib, 3rd ed. (Berlin:
Cronbach, 1896), 250-56; Ernst Fritz Schmid, Carl Philipp Emanuel Bach und seine
Kammermusik (Kassel: Barenreiter, 1931), 42-44; and Eric Werner, Mendelssohn:
Leben und Werk in neuer Sicht, 2nd rev. ed. (Ziurich: Atlantis, 1980), esp. 12-14,
25f., and 255.
4. See especially Adolf Friedrich Wolff, "Entwurf einer ausfahrlichen Nachricht von
der Musikiibenden Gesellschaft zu Berlin," in Friedrich Wilhelm Marpurg, Historisch-
Kritische Beitrdge zur Aufnahme der Musik, vol. 1 (Berlin: Schtitze, 1755), 385-413.
5. A. F. Wolff, 387.
6. See especially Johann Wilhelm Hertel, Autobiographie, ed. Erich Schenk, Wiener
musikwissenschaftliche Beitrdge, vol. 3 (Graz: B6hlau, 1957), 24. Hertel reports on a
gathering in the house of Franz Benda, which he attended in late October of 1745,
where he heard C. P. E. Bach play a harpsichord concerto, his newly composed Con-
certo in D Major, Wq 11; H 414. Similarly, the famous remark by Frederick the
Great on the occasion of Bach's petition for an increase in salary ("Er hat ein mahl
im consert hier gespilet nun Krigt er Spiritus") suggests that Bach's role at court was
mostly limited to playing the continuo. For more details on Bach's petition, see Hans-
Giunter Ottenberg, Carl Philipp Emanuel Bach (Leipzig: Reclam, 1982), 83.
7. Weissmann, 36.
8. Werner, 26.
9. Andreas Holschneider, "Johann Sebastian Bach in Berlin," in Preuj3en, Dein

Spree-Athen: Beitrdge zu Literatur, Theater und Musik in Berlin, ed. Helmut Kahn,
PreuBen: Versuch einer Bilanz, vol. 4 (Reinbek: rororo, 1981), 141-43.
10. See Werner, 255f. and 549. Although Levy frequently performed at the Sing-
akademie, her name never appeared in the institute's official publications. Also, the

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
fact that her nephew Felix Mendelssohn in 1832 was rejected as prospective director
of the academy despite his thorough involvement with its activities and his overall
reputation may be attributed to anti-Semitic prejudice.
11. George Schiinemann, "Die Bachpflege der Berliner Singakademie," Bach-

Jahrbuch 24 (1928): 138-71, esp. 144. Further, a note by Zelter on the score of the
Triple Concerto (BWV 1044), formerly owned by the Singakademie, states that he
had lent the harpsichord part to Levy on 29 May 1831, suggesting that she might
have performed that piece at the Singakademie, too. The source of BWV 1044 is now
at the Staatsbibliothek zu Berlin, Mus. ms. Bach P 249; for further detail see NBA
VII/3, Kritischer Bericht, 44.
12. Hans Uldall, Das Klavierkonzert der Berliner Schule (Leipzig: Breitkopf & Hirtel,
1928), 111f. According to Uldall, Levy played mostly pieces by C. P. E. Bach, but
sometimes also works by J. S. and W. F. Bach, Miithel, and Nichelmann.
13. Rudolf Elvers, "Quellen zur Bach-Rezeption in Berlin in der zweiten Halfte des
18. Jahrhunderts," Jahrbuch des Staatlichen Instituts fir Musikforschung Preuj3ischer Kul-
turbesitz 1985/86, 175-79.
14. See Klaus Hortschansky, "Pranumeranten- und Subskriptionslisten in Noten-

drucken deutscher Musiker des 18. Jahrhunderts," Acta Musicologica 40 (1968): 154-
74. An evaluation of subscription lists in literary works can be found in Gunnar Och,
"Jiidische Leser und jtidisches Lesepublikum im 18. Jahrhundert: Ein Beitrag zur
Akkulturationsgeschichte des deutschen Judentums," in Menora. Jahrbuch fir deutsch-
jiadische Geschichte (Frankfurt: Fischer, 1991), 298-336.
15. See the Appendix. My own research in this field has been supplemented by
material that Klaus Hortschansky (University of Mdtnster) has collected in connection
with a research project concerning subscription lists in eighteenth-century music
prints. I wish to thank him for his permission to make use of this unpublished mate-
rial.
16. This copyist has been labeled "Anon. V 19" in the records of eighteenth-
century scribes at the J. S. Bach-Institut G6ttingen; Eva Renate Blechschmidt, Die
Amalienbibliothek (Berlin: Merseburger, 1965), calls him Anon. Palestrina II. A char-
acteristic sample of his handwriting is found in The Collected Works for Solo Keyboard
by Carl Philipp Emanuel Bach, ed. Darrell Berg (New York: Garland, 1985), 3:129-37.
Further information--based on unpublished research by Yoshitake Kobayashi--is sup-
plied by Wolfgang Horn, C. P. E. Bach: Fraihe Klaviersonaten (Hamburg: Wagner,
1988), 196f.
17. Weissmann, 36.
18. Wagener bought some of these manuscripts from the estate of the director of the
Akademisches Institut fdir Kirchenmusik in Berlin, August Wilhelm Bach (1796-
1869). Since one of the sources that Wagener acquired from A. W. Bach (Staatsbib-
liothek zu Berlin, Mus. ms. Bach P 416 adn. 3) does not appear in any of the two
auction catalogs of A. W. Bach's collection, it is very well possible that a larger num-
ber of the Wagener sources than hitherto assumed have the same provenance (see the
Appendix).
19. Hans-Ginter Klein, "Werke Carl Philipp Emanuel Bachs in der Staatsbibliothek
Preufischer Kulturbesitz Berlin: Neuerwerbungen von Handschriften nach 1945," in

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
Carl Philipp Emanuel Bach und die europdische Musikkultur des mittleren 18. Jahrhunderts.
Bericht aber das internationale Symposium der Joachim Jungius-Gesellschaft der Wissen-
schaften Hamburg 29. September-2. Oktober 1988, ed. Hans Joachim Marx (G6ttingen:
Vandenhoeck & Ruprecht, 1990), 461-71, esp. 465f. Arnold Mendelssohn was a
grandson of a sister of Sara Levy's, Henriette Itzig. Since he usually signed his manu-
scripts "A. Mendelssohn," he was sometimes confused with Abraham Mendelssohn,
the father of Felix Mendelssohn-Bartholdy.
20. Friedrich Welter, "Die Musikbibliothek der Sing-Akademie zu Berlin: Versuch

eines Nachweises ihrer fraheren Bestlinde," in Sing-Akademie zu Berlin: Festschrift zum
175 jAhrigen Bestehen, ed. Werner Bollert (Berlin: Rembrandt, 1966), 33-47. Welter
mentioned this catalog as being in his possession as early as 1966.
21. Letter dated 25 Nov. 1834 to Aloys Fuchs; qtd. in Klaus Engler, "Georg Poel-
chau und seine Musikaliensammlung: Ein Beitrag zur Oberleiferung Bachscher Musik
in der ersten Hilfte des 19. Jahrhunderts" (Ph.d. diss., Univ. of Tiibingen, 1984),
17.
22. Werner, 255.
23. "Wird v[on] der Academie verlangt als v[on] Mad. Levy derselben geschenkt; es
befindet sich kein Stempel darauf."
24. "Ohne Stempel der Mad. Levy. Die Academie irrt sich sehr, denn es ist ein
Geschenk des H[err]n Hofrath Kiesewetter zu Wien am 7. Decbr. 1819."
25. The large number of copies of J. C. F. Bach's published keyboard sonatas that,
according to the subscription lists, were bought by members of the Itzig family could,
however, very well indicate personal contacts after all. This is also suggested by the
subscription list for the "Drei leichte Sonaten" of 1789: among the twelve subscribers
from Berlin no less than six are members of the Itzig family (Sara Levy, Zippora
Wulff, Bella Salomon, as well as Rachel, Lea, and Henriette Itzig); four other buyers,
by the way, belong to other prominent Jewish families from Berlin (Mad. Halle, Hen-
del Liebemann, Henriette Herz, Benjamin Friedlinder). And finally, a letter by
J. C. F. Bach of 14 Mar. 1789 to an unknown addressee in Berlin further demon-
strates that this Bach son indeed had contacts to music lovers in the Prussian capital.
For this letter, see Bettina Faulstich, "Ober Bach-Handschriften aus dem Besitz der
Grafen von Ingenheim," in Acht kleine Prdludien und Studien aiber B A C H. Georg von
Dadelsen zum 70. Geburtstag, ed. J.-S.-Bach-Institut G6ttingen (Wiesbaden: Breitkopf
& Hirtel, 1992), 51-59, esp. 54 and 57.
26. The letter is published in Carl Hermann Bitter, Carl Philipp Emanuel und
Wilhelm Friedemann Bach und deren Briider (Berlin: Mtiller, 1868), 2:307-11; the origi-
nal is today owned by the Bach-Haus in Eisenach.
27. Wilhelmy, 141f., and Wilhelmy-Dollinger, 136-38.

28. The music collections of Levy's siblings, as well as those of other members of
her family (documented in the Appendix), show similar tendencies; they do not seem
to have been gathered with the same consistency, however. The collection of Levy's
sister Zippora Wulff (1760-1836) with its rich holdings of music by members of the
Bach family deserves special attention. Since from 1799 on Zippora lived in Vienna
where, like her sister Fanny von Arnstein, she maintained a salon, she must have
played a decisive role in the transmission of Bachian music in the Austrian capital.

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The two Viennese sisters' active interest in the music of Beethoven distinguishes them
clearly from the Berlin members of the Itzig family and suggests that after they had
left the closer family circle, their musical tastes somewhat accommodated to their new
environment.
29. I wish to thank Ulrich Leisinger for a number of suggestions and comments
concerning the following discussion.
30. "Sie werden durch Herrn Wessely schon benachrichtigt worden seyn, daB die
Krankheit meines lieben Mannes ihm nicht erlaubt hat, an das von Ihnen ihm comit-
tirte Conzert zu denken. Was er diesfalls versprochen, hat er gewiss nur in der Erwar-
tung, es bald erfuillen zu k6nnen, gethan." It remains unclear whether J. M. Bach
refers here to the Berlin composer Karl Bernhard Wessely, or to another member of
this family of which a branch had settled in Hamburg. If it is indeed K. B. Wessely, it
could very well be that he conveyed the commission for the concerto on behalf of
Levy during his journey to Hamburg in 1787.
31. Bitter, 2:307. According to a letter to the Schwerin organist Johann Jakob
Heinrich Westphal, Bach had been unable to work since 18 Sept. 1788.
32. See, for example, the number of "Clavier Soli" or that of "Soli for andere
Instrumente als das Clavier." Several other important works (e.g., the three quartets
Wq 93-95; H 537-539) are not mentioned in the letter.
33. The facsimile of the title page is presented in Klein, 470.
34. There is no indication for a "normal" provenance of the source, via Anna Caro-
lina Philippina Bach, Casper Siegfried Gdhler, and Georg Poelchau.
35. Wolff Davidson, Ueber die biargerliche Verbesserung der Juden (Berlin: Felisch,
1798), 109. A contemporary document mentions "Madame Lewy" ( = Sara Levy)
and "Madame Wolff" ( = Zippora Wulff) as "vortreffliche Klavierspielerinnen." Thus
it would be very possible that Sara and her sister Zippora performed these works
together. Although another of Sara's sisters, Fanny von Amstein, is also known as an
excellent keyboard virtuoso, she could not have been a regular partner, for she moved
to Vienna as early as 1776. (For this reference I am indebted to Gunnar Och.)
36. Schmid, 44.
37. The source itself has been lost since 1945; however, photocopies exist in the
Staatsbibliothek zu Berlin, Fot. Bia. 227.
38. The thematic catalog in Martin Falck, Wilhelm Friedemann Bach. Sein Leben und
seine Werke (Leipzig: Kahnt, 1913), 12 (Trio in G Major). The piece was edited as a
work of Wilhelm Friedrich Ernst Bach by Rolf Ermeler in the series Hortus Musicus,
vol. 57 (Kassel: Bdirenreiter, 1943).
39. Falck, 56.
40. According to the Zelter catalog there was no owner's stamp on this manuscript.
As we know from the sources for C. P. E. Bach's three quartets and his double con-
certo, as well as from the autograph of W. F. Bach's three viola duets, however, these
stamps were sometimes overlooked.
41. "Eben komme ich von Haydn .. ": Georg August Griesingers Korrespondenz mit
Joseph Haydns Verleger Breitkopf & Hdrtel 1799-1819, ed. Otto Biba (Zarich: Atlantis,

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
1987), 219. Letter dated 25 Jan. 1804. Caused by Levy's commission, a brief corre-
spondence between Haydn and Zelter ensued. See Joseph Haydn. Gesammelte Briefe
und Aufzeichnungen, ed. Denes Bartha (Kassel: Barenreiter, 1965), 436-39. Levy's
appreciation of Haydn's music is corroborated by the fact that she acquired from
Griesinger the autograph of the so-called Heiligmesse, which she eventually gave to
her grandnephew Felix Mendelssohn-Bartholdy.
42. Ottenberg, 179.
43. Christoph Wolff, "Carl Philipp Emanuel Bach und Wien. Zum Kontext der
Orchester-Sinfonien mit zw6lf obligaten Stimmen," in Carl Philipp Emanuel Bach und
die europdische Musikkultur des mittleren 18. Jahrhunderts, 119-31.
44. For a detailed analysis of these works see Friedhelm Krummacher, "Kontinuitat
und Experiment: Die spditen Quartette von Carl Philipp Emanuel Bach," in Carl Phil-
ipp Emanuel Bach und die europaische Musikkultur des mittleren 18. Jahrhunderts, 245-67.
45. NBA VII/1, Kritischer Bericht, 86. Kast's reference regarding St 445 as having
been part of S. Levy's collection is incorrect.
46. This source is part of an originally complete copy of the Well-Tempered Clavier
II; two further fragments are owned by the Newberry Library, Chicago, Case MS 6A
72, and the British Library, London, Add. Ms. 38068; a third part, formerly in the
possession of Moritz Ftirstenau, is lost. Since only the fragment in Chicago bears a
note regarding S. Levy (see note 60), the assumption of a provenance ex Levy is valid
only if the manuscript was separated in the nineteenth century. Regarding the copyist
see Bach-Jahrbuch 74 (1988): 30.
47. A facsimile of this source can be found in The Collected Works for Solo Keyboard
by Carl Philipp Emanuel Bach, ed. Darrell Berg (New York: Garland, 1985), 5:59-76.
48. Facsimile found in Collected Works for Solo Keyboard, 3:129-37.
49. Data according to Joachim Jaenecke, Joseph und Michael Haydn. Autographe und
Abschriften, Staatsbibliothek PreuBischer Kulturbesitz: Kataloge der Musikabteilung,
first series: Handschriften, vol. 4 (Munich: Henle, 1990), 40.
50. Facsimile of the title page in Klein, 470; facsimile of the first page in the exhibi-
tion catalog "Er ist Original!" Carl Philipp Emanuel Bach: Sein musikalisches Werk in
Autographen und Erstdrucken aus der Musikabteilung der Staatsbibliothek Preuf3ischer Kul-
turbesitz Berlin, ed. H.-G. Klein (Wiesbaden: Reichert, 1988), 95.
51. See also Versteigerung der Musikbibliothek des Herrn Dr. Werner Wolffheim, 2 vols.
(Berlin: Liepmannssohn und Breslauer, 1929), vol. 2, Textband, no. 1104.
52. Data according to Klein, 465-66.
53. Data according to NBA V/6. 1, Kritischer Bericht, 103.
54. This manuscript has been lost since 1945; for further reference see Falck, 107.
55. This manuscript has been lost since 1945; for further reference see Falck, 80.
56. This manuscript has been lost since 1945 and is not listed in the Zelter catalog;
for further reference see Schmid, 120. For a concordance, which is also attributed to
C. P. E. Bach, see H 591.

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
57. This manuscript has been lost since 1945 and is not listed in the Zelter catalog;
for further reference see Schmid, 120. For a concordance see Wendt, 136.
58. Verzeichnis einer werthvollen Sammlung theoretischer Werke aber Musik, sowie alterer
praktischer Werke und neuerer Musikalien, aus dem Nachlasse des Herm Professors A. W.
Bach in Berlin und Anderer [. . .] (Leipzig: List & Francke, 1870), 3, no. 89.
59. Verzeichniss einer werthvollen musikalischen und hymnologischen Sammlung u. Auto-

graphen (auch die vom Direktor A. W. Bach hinterlassene) [...] (Berlin: J. A. Stargardt,
1869), 1, no. 2.
60. On fol. Ir of this manuscript there is the following remark: "Fuge aus dem
wohltemperirten Clavier aus dem NachlaB der Lieblingsschiilerinn Friedemann Bachs,
der Madame Sarah Levy geb. Itzig zu Berlin. Justus Amadeus Lecerf." See Gerhard
Herz, Bach-Quellen in Amerika (Kassel: Barenreiter, 1984), 215-19, and 396 f. See
also notes 46 and 63.
61. Katalog der nachgelassenen Autographen-Sammlung des Kinigl. Bibliothekars und

Direktors des kgl. historischen Museums Herrn Karl Constantin Kraukling in Dresden. Ver-
steigerung zu Kdln am 3. Dezember 1884 (K61n: J. M. Heberle, 1884), 102, no. 3417
(copy: Stadt- und Universitatsbibliothek K61n, without shelf-mark). Concerning the
provenance of this manuscript see Hans-Joachim Schulze, " 'Sebastian Bachs Choral-
Buch' in Rochester, NY?" Bach-]Jahrbuch 67 (1981): 123-30, esp. 125 f.; and the
commentary by the same author in the facsimile edition of Johann Sebastian Bach,
Fantasie und Fuge c-Moll fiir Cembalo BWV 906 (Leipzig: Peters, 1984).
62. Provenance ex Levy only assumed.
63. Provenance ex Levy only assumed; see notes 46 and 60.
64. Data according to NBA V/8, Kritischer Bericht, 21-23.
65. Probably copied after the original print of 1745 (RISM A/I/1: B 526).
66. Verzeichniss einer werthvollen musikalischen und hymnologischen Sammlung, 1, no. 5.
67. Catalogue of the Famous Musical Library of Books, Manuscripts, Autograph Letters,
Musical Scores, etc. The Property of the Late W. H. Cummings, Mus. Doc., Sotheby
Auction, Wilkinson & Hodge, 17-20 May 1917..
68. See Engler, 55; and especially Werner, 255.
69. Provenance ex Levy only assumed.
70. Wohlfarth, XVIII/3 Composition by Johann Christoph Friedrich Bach on a

text by H. W. von Gerstenberg. This source is presumably a copy of the original
Hartknoch print of 1776; RISM A/I/1: B 415.
71. Justin Henrich Knecht (1752-1817); RISM A/I/5: K 957.
72. Perhaps Johann Christian Bach, op. 18, no. 3; Ty 270/3.

73. Probably Wq 173-77 and 179-81; H 648-52 and 654-56. See Elias Kulukun-
dis, "C. P. E. Bach in the Library of the Singakademie zu Berlin," C. P. E. Bach Stud-
ies, ed. Stephen L. Clark (Oxford: Oxford University Press, 1988), 172. There, the
call number is erroneously given as MS: 1385.
74. Perhaps Wq 179; H 654 or Wq 183/2; H 664.

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
75. Johann Gottlieb Graun (1702/3-1771).

76. Johann Agrell (1701-1765).
77. According to Uldall the composer is given as "Giorgo Fed. Richter" (103); for
this composer see EQ, vol. 8:220. The work is presumably identical with the Concerto
pour le clavecin [. ..] opera IIe (Lyon: Guerra, No. 87), RISM A/I/7: R 1302.
78. The following pieces can be identified: Wq 1, 6, 9, 16, 19, 35 (H 403, 409,
412, 419, 422, 446) and Sei Concerti per il Cembalo concertato (Hamburg: Author,
1772), Wq 43; H 471-76; RISM A/I/1: B 53. Cf. Kulukundis, 169f.
79. Wq 47; H 479 (autograph). Today it is kept at the Staatsbibliothek zu Berlin,

N. Mus. SA 4. A note on the title wrapper proves the provenance ex Levy, though
this is not mentioned in the Zelter catalog. The title wrapper was apparently written
by the copyist of the Zelter catalog.
80. According to Fk, unecht, this is a work by Johann Joachim Quantz, incorrectly
attributed to W. F. Bach (11).
81. Fk 46.
82. According to Uldall the author's full name is Christian Heinrich Muller, who is
represented here with two concertos (94).
83. August Kohn(e) (1732-1801), Concerto in C Major; see Uldall, 85.

84. Johann Schobert (d. 1767), two concertos in C major and E-flat major; see
Uldall, 88. On the basis of the incipits given by Uldall it is possible to identify the
first work as Schobert's op. 15, published in Paris and announced in Breitkopf's the-
matic catalog of 1774 (Concerto IV pour le Clavecin, RISM A/I/7: S 2000-2003),
while the second piece is identical with Schobert's Concerto II pour le Clavecin, op. 1
(RISM A/I/7: S 1982-1983), announced as early as 1767 by Breitkopf. See DDT 1/39,
xix; an edition of the second piece can be found on pp. 112-47 of the same volume.
85. Johann Samuel Schr6ter (1750-1788), two concertos in D major and G major.
See Uldall, 105 f.
86. Ty 303/1. See also Ty 302 and Schmid, 176. According to Terry and Schmid
this call number contained a second work, the Sextet in C Major by J. C. F. Bach,
erroneously attributed to J. C. Bach.
87. See Ty 318-19/[4], where the call number is given as ZD. 1690m.
88. See Ty 303-4; RISM A/I/1: B 303.

89. One of the two works might be identical with the Sextet in C Major by J. C. F
Bach (Wohlfarth, V).
90. Although not labelled as such in the Zelter catalog, at least the three quartets
(Wq 93-95; H 537-39) formerly belonged to Sara Levy (see Schmid, 44); whether
this is also true for the other pieces in this volume remains unclear. The other items
are the original prints of Wq 107, 108, and 89 [H 461-62, 525-30; RISM A/I/1: B
57-59].
91. Felix Rault (1736-180[?]), Anton Reicha (1770-1836), and probably Rudolph
Kreutzer (1766-1831).

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
92. The only identifiable piece in this item is the doubtful Trio Sonata in F Major,
H 597. See Schmid, 120. For concordances see H 597; to the source list given there
one could add St 243, and Christian Ulrich Ringmacher, Catalogo de' Soli, Duetti, Trii
[. . .], Berlin 1773 (Leipzig: Peters, 1987), 7, no. 26.
93. Fk 47-50 (partly autograph). The manuscript also contains the twenty canons
Fk 39. See Falck, 90 and 117.
94. Probably Leopold Hoffmann (1730-1792), whose chamber music was sold by
Breitkopf.
95. Presumably Fk 60-62, and one unknown work.
96. Fk 60-62 (autograph). Photocopies of this source from the collection of the
Staatliches Institut ffir Musikforschung are extant at the Staatsbibliothek zu Berlin
(call number Fot. B1i. 227). Although a corresponding note in the Zelter catalog is
missing, the source contains Sara Levy's stamp on the title page.
97. Together with the first piece in item 892 [1818], this presumably constitutes a
complete collection of C. P. E. Bach's twelve unpublished sonatinas for harpsichord
and orchestra, Wq 96-105 and 109-10 (H 449-53, 455-57, 459-60, 463-64).
98. Fk 44. See also Falck, 105.
99. The first reference to that source is given by Rachel Wade, The Keyboard Con-
certos of Carl Philipp Emanuel Bach, Studies in Musicology, vol. 48 (Ann Arbor: UMI
Research Press, 1979), 51.
100. As can be seen clearly from the owner's marks, all these manuscripts stem from
the Berlin years of Z. Wulff. She might have acquired the first edition of Beethoven's
piano trios during a visit to her sister Fanny von Amstein in Vienna. On the bio-
graphical context see Hilde Spiel, Fanny von Arnstein oder Die Emanzipation: Ein
Frauenleben an der Zeitwende 1758-1818 (Frankfurt am Main: Fischer, 1978), 263 f.
101. See NBA VII/5, Kritischer Bericht, 16 f. (Source D).
102. The work is taken from the Neuvieme Ordre of Frangois Couperin's Second Livre
de pieces de Clavecin (Paris: Auteur, 1717), RISM A/I/2: C 4288-93. The misattribu-
tion to W. F. Bach is first found in the estate catalog of C. P. E. Bach (1790). The
original manuscript, labelled there as an autograph of W. F. Bach, is lost; still, this
source certainly formed the exemplar for Michel's copy.
103. Following Hans-Joachim Schulze, Katalog der Sammlung Manfred Gorke:

Bachiana und andere Handschriften und Drucke des 18. und friihen 19. Jahrhunderts, Bib-
liographische Veroffentlichungen der Musikbibliothek der Stadt Leipzig, vol. 8 (Leipzig:
Musikbibliothek, 1977), 26.
104. The remaining items in this convolute manuscript contain no stamped or

handwritten owner's marks. The following works are represented here: (1) C. P. E.
Bach, Flute Concerto in D Minor, H 484.1; (5) J. S. Bach, Partita in E Minor, BWV
830; (6) Johann Georg Albrechtsberger (1736-1809), two string quartets in C minor
and F minor (autographs with the original dating "Fine [1]782"). If these items belong
indeed to Zippora Wulff's collection, she probably acquired the two Albrechtsberger
autographs only during her Viennese years. The two quartets are labelled "Sonata
XIma" and "Sonata XIIma". and belong to Albrechtsberger's op. 2. In Laslo Somfai's

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC
catalog they are listed as nos. 84 and 85. See L. Somfai, "Albrechtsberger-
Eigenschriften in der Nationalbibliothek Sz'chdnyi, Budapest (Dritte Mitteilung),"
Studia Musicologica Academiae Scientiarum Hungaricae 9 (1967): 191-220.
105. Number 3 and 4 form a direct copy of Washington, Library of Congress, ML

96 B 186, which stems from the collection of Sara Levy.
106. See Katalog der Sammlung Anthony van Hoboken in der Musiksammlung der Oster-
reichischen Nationalbibliothek. Musikalische Erst- und Friihdrucke, vol. 2: Ludwig van
Beethoven, Werke mit Opuszahl, ed. Karin Breitner and Thomas Leibniz (Tutzing:
Schneider, 1983), no. 3.
107. According to Georg Kinsky and Hans Halm, Das Werk Beethovens. Thematisch-
bibliographisches Verzeichnis seiner sdimtlichen vollendeten Kompositionen (Munchen:
Henle, 1955), 622 f. Facsimile in Otto Erich Deutsch, "Eine vergessene Goethe-
Komposition Beethovens," Philobiblon 5 (1932): 173 f. A thorough study of the auto-
graph album of the Stiftung Wimpffen, which was founded by Cacilie von Eskeles,
would probably bring to light more items from her collection; this undertaking would,
however, go beyond the scope of this article.
108. Elvers, 177 f.
109. The data for the sources owned by Benjamin Itzig are mainly taken from Kast;
references to scribes rely on the index of the Bach-Institut G6ttingen. In a number of
instances scribes and provenances have not yet been investigated.
110. See NBA VIII/1; Kritischer Bericht, 80.
111. The data are mainly based on Hortschansky. Scribes have not yet been investi-
gated.
112. Musiksammlung aus dem Nachlasse Dr. Erich Prieger-Bonn. Beschreibendes Ver-
zeichnis von Georg Kinsky (K61n: M. Lempertz, 1924); copy: Stadt- und Universitits-
bibliothek K61n, RhK 48/217a.
113. Nos. 1, 2, and 4 of Sei brevi Sonate (Niurnberg: Balthasar Schmid, No. 24
[1745]); RISM A/I/6: N 555.
114. According to Faulstich, 54. See also the facsimile of the title page on p. 63.
115. Walter Knape, Bibliographisch-thematisches Verzeichnis der Kompositionen von Karl

Friedrich Abel (Cuxhaven: Heinrichshoven, 1971).
116. According to NBA IV/7, Kritischer Bericht, 59. From the handwritten owner's
mark one can deduce that Fanny von Arnstein owned this manuscript in her Berlin
years (i.e., before 1776).
117. See NBA V/1, Kritischer Bericht, 46 (Source H 64).
118. After her move to Vienna F. von Amstein's name appears on subscription lists
only irregularly; it is possible, therefore, that she acquired the works of C. P. E. Bach
through Baron van Swieten or Artaria, both of whom usually subscribed to twelve
copies of each of his printed works.
119. Possibly Hendel Itzig (d. 1776).

212.8.71.130 on Fri, 15 Jan 2021 19:58:13 UTC

Sara Itzig Salon

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Sara Itzig Salon

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Sara Levy and the Making of Musical Taste in Berlin

Author(s): Peter Wollny

Stable URL: http://www.jstor.com/stable/742352

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The salons of educated women represent an important aspect of the

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For an understanding of the private musical gatherings and circles that

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siblings, documented in the appendix of this essay. In addition,

To examine closer Sara Levy's musical activities, as well as to define

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Subscription lists constitute a primary source of information for

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with the title "Catalog musikalisch-literarischer und practischer Werke

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While we do not know precisely when the donations were made,

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The above-mentioned letter written to Sara Levy by Johanna Maria

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symphonies for string orchestra from C. P. E. Bach, explicitly

Appendix: Musical Sources Formerly Owned

by Members of the Itzig Family

Abbrevations and Library Sigla:

BB Staatsbibliothek zu Berlin (previously Deutsche Staatsbibliothek

BWV Wolfgang Schmieder, Thematisch-systematisches Verzeichnis der

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DDT Denkmdler deutscher Tonkunst (Leipzig: Breitkopf & Hirtel, 1893

Engelhardt Ruth Engelhardt, Untersuchungen iiber Einflasse Johann Sebastian

EQ Robert Eitner, Biographisch-Bibliographisches Quellen-Lexikon der

Fk Martin Falck, "Thematisches Verzeichnis der Kompositionen

H E. Eugene Helm, Thematic Catalogue of the Works of Carl Philipp

Hortschansky Klaus Hortschansky, Katalog der Kieler Musiksammlungen, Kieler

Kast Paul Kast, Die Bach-Handschriften der Berliner Staatsbibliothek, Tii-

NBA Neue Bach-Ausgabe. Johann Sebastian Bach. Neue Ausgabe samtlicher

RISM Ripertoire International des Sources Musicales.

Ty Charles Sanford Terry, Johann Christian Bach (London: Oxford

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Wohlfarth Hans-Dieter Wohlfarth, Johann Christoph Friedrich Bach (Bern,

Wq Alfred Wotquenne, Thematisches Verzeichnis der Werke von Carl

Sara Levy, nee Itzig (1761-1854)

P 416 adn. 346

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Mus. ms. autogr. Jos. Haydn 49

N. Mus. ms. 10067 (1-2)

N. Mus. ms. 1047952

N. Mus. ms. 10486

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Provenance: A. Mendelssohn-H. Spitta-A. Kiick-BB (1981)

N. Mus. ms. 1048853

N. Mus. ms. 10493

N. Mus. ms. 10494

[Berlin, K6nigl. Akademisches Institut ffir Kirchenmusik]

W. F. Bach, Harpsichord Concerto in E Minor, Fk 4354

W. F. Bach, Sonata Movement (Fantasia?) in G Major, Fk, p. 3, unsicher d)55

Z. E. 1954-55? and Z. E. 1954-55m57

Boston, Public Library

Brussels, Bibliothbque du Conservatoire Royal

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Chicago, Newberry Library

Kiel, Schleswig-Holsteinische Landesbibliothek