Beschreibung:
ABSTRACTThis article examines various eighteenth-century sources to determine whether they confirm the present practice of calling a first-floor hall of the Fertőd (Eszterháza) palace the ‘music room’. While the answer is essentially negative, we learn that the neighbouring ceremonial hall was used by Empress Maria Theresia for a banquet with some music-making in 1773, and that two more spaces on the ground floor served regularly as the ‘summer music halls’. So where did the ‘real’, quality concerts take place? A whole body of documentary evidence clearly shows that theaccademiestook place in the opera house orGrosses Theater. Much of this evidence refers to the first opera house, which burnt down in 1779. The practice apparently continued in the new, bigger 1781 opera house, but by then the number of concerts would have been reduced substantially, owing to the Prince's growing addiction to opera. A survey of Haydn's last symphonies and concertos composed for domestic use confirms that regular concerts could not have taken place later than 1783 or, possibly, 1784. However, a long-neglected remark in a contemporary witness report provides direct proof of the inclusion of symphonies in the course of opera performances.