Dedication

pp v-vi

Contents

pp vii-viii

Acknowledgments

pp ix-x

Introduction: Experiencing Sara Levy’s World

pp 1-18

Part One - Portrait of a Jewish Female Artist: Music, Identity, Image

pp 19-20

1 - What Was the Berlin Jewish Salon around 1800?

pp 21-38

2 - Sara Levy’s Musical Salon and Her Bach Collection

pp 39-51

3 - Remaining within the Fold: The Cultural and Social World of Sara Levy

pp 52-74

4 - Women’s Voices in Bach’s Musical World: Christiane Mariane von Ziegler and Faustina Bordoni

pp 75-96

Part Two - Music, Aesthetics, and Philosophy: Jews and Christians in Sara Levy’s World

pp 97-98

5 - Lessing and the Limits of Enlightenment

pp 99-121

6 - Poetry, Music, and the Limits of Harmony: Mendelssohn’s Aesthetic Critique of Christianity

pp 122-146

7 - Longing for the Sublime: Jewish Self-Consciousness and the St. Matthew Passion in Biedermeier Berlin

pp 147-178

Part Three - Studies in Sara Levy’s Collection

pp 179-180

8 - Duets in the Collection of Sara Levy and the Ideal of “Unity in Multiplicity”

pp 181-204

9 - The Sociability of Salon Culture and Carl Philipp Emanuel Bach’s Quartets

pp 205-242

Appendix: The Salonnière and the Diplomat: Letters from Sara Levy to Karl Gustav von Brinckmann

pp 243-254

Bibliography

pp 255-278

List of Contributors

pp 279-282

Index

pp 283-292