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Kaleb J. Koslowski and Caryl Clark

(b Bad Iburg near Osnabrück, 30 Oct 1668; d Hanover, 1 Feb 1705). Princess of Hanover, Electress of Brandenburg, and Queen in Prussia. Musical culture in and around Berlin flourished at the turn of the 18th century as a direct result of her activities as a musical patron, performer, composer, and collector.

Sophie Charlotte was the only daughter of Ernst August of Brunswick-Lüneburg and Sophie of the Palatinate. She was thrust into a lifestyle of courtly competition from an early age. The court at Osnabrück was relatively obscure, overshadowed by the wealthier and more politically prominent seat at Hanover ruled by her father’s brother, Johann Friedrich. Her mother determined to overcome this by immersing Sophie Charlotte in the arts. As a child she received instruction in singing, courtly dance, and religion, and in French, Italian, English, and Latin. During the 1670s and into the 1680s, the family visited Versailles, Venice, Brussels, and The Hague. These visits included recurring attendance at opera and ballet performances, and provided the foundation for Sophie Charlotte’s cultivation of music as a courtly and sociopolitical tool later at Hanover and Berlin....

Article

Michel Le Moël

(b c1650; d Paris, March 30, 1706). French musical amateur . The son of a Parisian doctor, Mathieu was inducted into the living of Saint-André-des-Arts, Paris, in 1678. In 1685 he commissioned Alexandre Thierry to improve the church organ; the organist was Claude Rachel de Montalan, Molière’s son-in-law. For several years Mathieu presided over weekly concerts which took place in his presbytry in rue du Cimetière-Saint-André (now rue Suger) and were attended by his parishioners, many of whom belonged to the famous families of the parlement. The spacious room on the first floor contained a chamber organ, a harpsichord by Philippe Denis, viols and violins. According to Jean de Serre de Rieux the only vocal music at the concerts was ‘Latin music composed in Italy by the greatest masters since 1650’ (Les dons des enfans de Latone, 1734). Italian composers represented in Mathieu’s 200-item library were G.B. Bassani, Melani, Lorenzani, G.P. Colonna and Foggia. French vocal music included works by Lully, Du Mont, Robert, M.-A. Charpentier, Nicolas Bernier, André Campra and J.-B. Morin. The library also contained instrumental music by Rebel and ‘Italian symphonies’ which may have included sonatas by Corelli. (M. Le Moël: ‘Un foyer d'italianisme à la fin du XVIIe siècle’, ...