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Since the 18th century Berlin has been an influential musical center in Germany and Europe. First as an important trading city in the Hanseatic League, then as the capital of the electorate of Brandenburg and the Prussian Kingdom, later on as one of the biggest cities in Germany it fostered an influential music culture that remains vital until today. Berlin can be regarded as the breeding ground for the powerful choir movement that played such an important role in the broad socialization of music in Germany during the 19th century. History 1700–1900 When in 1701 Frederick III declared himself Frederick I, "King in Prussia", Berlin became a royal residence and subsequently attained more musical prestige. Under his successor Frederick William I (1713–1740), musical life in Berlin lost part of its splendor, due to his focus on the military strengthening of Prussia. At that time the court orchestra was abandoned and music events at the court played only a decorative role. When in 1740, Frederick II came to power, musical life at the court flourished again. Many 18th-century writers have termed his reign the "Golden Age" for music making in Berlin. Although statements like this have to be regarded with care for their obvious intention to glorify the person of the ruler, Frederick's reign was indeed a fruitful time for music making in Berlin. Already at Rheinsberg, where Frederick lived when he was still the crown prince, he had assembled a formidable group of musicians who were to form the core of his Kapelle in Berlin. Among these followers were Carl Heinrich and Johann Gottlieb Graun, Franz and Johann Benda, Christoph Schaffrath, and Johann Gottlieb Janitsch. Once installed as the King in Prussia, Frederick's Kapelle became quickly one of the most admired orchestras in Europe. Frederick who was an accomplished flautist and composer employed Europe's foremost flautist, Johann Joachim Quantz in 1741. His Kappelle, headed by C. H. Graun, could also boast of C. P. E. Bach, son of Johann Sebastian Bach, who joined the orchestra as harpsichordist in 1740, and of Johann Friedrich Agricola as the official court composer. By 1750 around 50 musicians were in Frederick's employment. The principal occasions at which music was played at the court included the daily soirées in which Frederick used to play the flute, and the concerts in the residence of the King's mother, Sophia Dorothea of Hanover at which Frederick's Kapelle had to perform as well. In addition to these regular events, the Kapelle also had to perform in the opera performances during Lent. Other important venues for music making at the Hohenzollern court were the residences of Prince Henry of Prussia and Margrave Frederick Henry. Frederick, an ardent opera enthusiast, was determined to turn Berlin into an international center for opera, one that could compete with the splendid opera house in Dresden. To this end, Frederick commissioned two opera stages from his architect George Wenzeslaus von Knobelsdorff. The first in the King's residence, the Berliner Stadtschloß, the second as a completely new opera house, located Unter den Linden, the main artery of Berlin which featured all of the representational buildings of the time. The stage in the Stadtschloß was inaugurated with a performance of Graun's Rodelinda on December 13, 1741. The construction of the new opera house started in 1741 and although not fully completed yet the first performance took place on December 7, 1742 with Graun's Cleopatra e Cesare. In preparation of the two premieres, Frederick sent Graun to Italy and France in order to recruit singers and dancers respectively. The Königliche Opernhaus, as the new opera house was called, remained the main opera house of Berlin throughout the century and the repertoire given there consisted mainly of Italian opera seria. Nineteenth Century 1870-1918 1900–2015 From the end of World War II Berlin was divided. A western sector, controlled by Britain, France, the United States, controlled eventually, in 1949, was within territory under the control of a new West German state, the Federal Republic of Germany. The eastern section, under the control of Soviet Union's occupying force, went under the control of a new east German state, the German Democratic Republic. The city's long-standing concert music institutions were in the two sections. In the West was the Berlin Philharmonic Orchestra; in the East was the Konzerthausorchester Berlin or Berlin Symphony Orchestra, the Berlin Radio Symphony Orchestra (East Berlin), as well as the Staatskapelle Berlin, the orchestra associated with the Berlin State Opera, which resided in the eastern sector of Berlin. The SO36 in Kreuzberg originally focused largely on punk music, but today has become a popular venue for many dances and parties. SOUND, located from 1971 to 1988 in Tiergarten and today in Charlottenburg, gained notoriety in the late 1970s for its popularity with heroin users and other drug addicts as described in Christiane F.'s book Wir Kinder vom Bahnhof Zoo. With a "New Europe" emerging at the end of the Cold War, the rock band U2 chose Berlin, in the centre of the reuniting continent, as a source of inspiration for a more European musical aesthetic. They recorded at Hansa Studios in West Berlin, near the recently opened Berlin Wall. Several acclaimed records were made at Hansa, including two from David Bowie's "Berlin Trilogy" with Eno, and Iggy Pop's The Idiot. U2 arrived on 3 October 1990 on the last flight into East Berlin on the eve of German reunification. Many new music and performance venues emerged in Berlin in the aftermath of the fall of the Berlin wall. Among these venues, locations such as ausland and KuLe are now renowned for presenting experimental and improvised music. The city of Berlin has developed into an international hub for experimental music and art, and this forms a core element of the programming of festivals such as transmediale and CTM Festival. Music industries Industries that do business in the creative arts and entertainment are an important and sizable sector of the economy of Berlin. The creative arts sector comprises music, film, advertising, architecture, art, design, fashion, performing arts, publishing, TV, radio, and video games. Around 22,600 creative enterprises, predominantly SMEs, generated over 18,6 billion Euro in total revenue. Berlin's creative industries have contributed an estimated 20% of Berlin's gross domestic product in 2005. Berlin is home to many international and regional television and radio stations. The public broadcaster RBB has its headquarters in Berlin as well as the commercial broadcasters MTV Europe, VIVA, and N24. German international public broadcaster Deutsche Welle has its TV production unit in Berlin, and most national German broadcasters have a studio in the city. American radio programming from National Public Radio is also broadcast on the FM dial. Personalities Many important musical.... Discover the Kat French Andrea Hartel popular books. Find the top 100 most popular Kat French Andrea Hartel books.