The Theatre at Berlin from 1840 to 1848

T o examine what the present King of Prussia, whose reign was inaugurated in 1840, has substantially effected for music in Germany, is a subject for some future historian of German Art, rather than for a work for this.—Nevertheless, it is impossible to avoid observing that, during the first eight years of his sovereignty, his Majesty approved himself as the successor of the great Frederick, not merely by his earnest protection and patronage of music, but also by the forms into which his interest moulded itself, and sought to mould the spirits of those whom he gathered to his capital. During the years which elapsed betwixt the “Huldigung” and the Revolution of 1848, strenuous attempts were made by the King of Prussia to raise Music in connection with Art and letters, to a high place in his metropolis. Whether greater union, greater placability, greater scope for German theatrical composers, a better construction put by musician upon musician, have distinguished the artistic circles of Berlin since the Chevalier Spontini, a stranger, was succeeded by Herr Meyerbeer, a native of the town, is a delicate matter for future, not for contemporary investigation.