Anna Amalia, Duchess of Saxe-Weimar-Eisenach, was a woman of many artistic talents: she painted, wrote poetry and composed, including music to Singspiele and other dramatic works by Johann Wolfgang von Goethe. Gathering the Weimar “Musenhof” (Court of the Muses) around her after the end of her regency, Anna Amalia was the real founder of Weimar’s heyday as a city of the arts. She appointed Christoph Martin Wieland as tutor for the future Duke of Weimar, which practically ushered in Weimar Classicism. For there, the author of Agathon and Musarion experienced a second wave of popularity for his poetry and in Der Teutsche Merkur, which he founded, he spread Weimar’s reputation as the Athens of Germany all over the globe.
Goethe, in addition to his administrative positions at the Weimar court, had a variety of responsibilities which Herder ironically enumerated in a letter of 11 July 1782 to Johann Georg Hamann: the prince of poets was not only a powerful minister, but “also directeur des plaisirs, court poet, author of pretty festivities, court operas, ballets, costumes for masked balls” etc. – in short, the “factotum” of the Weimar Musenhof, whose members Theobald von Oer immortalised in his famous painting of the same name from 1860.
Götz Teutsch dedicates this Philharmonic Salon to the illustrious circle of the Weimar Musenhof. Gerd Wameling reads texts by Anna Amalia, Goethe, Schiller, Wieland and Herder among others; members of the Berliner Philharmoniker and Cordelia Höfer (piano and fortepiano) play works by Bach, Haydn, Mozart, Johann Graf, Franz Benda, Hummel and Reichardt.