Saxony, home of Martin Luther, was the first country to be divided over the issue of the Protestant faith. While Ernestine Saxony became the heartland of the Reformation, the neighbouring principality of Albertine Saxony saw the beginnings of the Counter-Reformation. The two Saxonies provide almost perfect laboratory conditions for comparing contrary reactions to the Reformation. By investigating the lives, piety and politics of the Wettin princes, Frederick the Wise, John the Constant and George of Saxony the Reformation is revealed to have been a true game changer. Christian humanism, attempts at church reform and sympathy for the Reformation did not correlate neatly. Rather, the dynamics of religious conversion disrupted lines of continuity from the Middle Ages into the early modern era. That disruption testifies to the groundbreaking impact of Protestant ideas. At the same time, early resistance to Luther in Electoral Saxony proves that even in his homeland, Reformation and Catholic reform were alternatives right from the very beginning.

This chapter addresses the political and intellectual context for Wagner’s revolutionary socialism. The nineteenth century stood in the light and shadow of the French Revolution, emboldened and fated to revisit and to relive many of its questions and practices. Wagner’s life mixed revolutionary theory and practice: in the Dresden uprising of 1849, but also in its ‘Vormärz’ prologue and in its apparently counter-revolutionary aftermath. Wagner experienced revolution on at least three geographical levels, European, German, and Saxon, the third receiving particular attention here. The focus is on Wagner’s most unambiguously revolutionary period, the 1840s and early 1850s, yet these ideas continued to play out in life, thought, and dramatic oeuvre: not only until completion of the Ring in 1874, Wagner’s revolutionary ‘fire cure’ reaching fulfilment in the final conflagration of Götterdämmerung, but in Parsifal and beyond. Earlier themes did not go unchanged; they provided shifting foundations for further dramatic exploration.

This chapter focuses on the crucial importance of familial relationships within the ruling dynasties – both in terms of securing a successful transition from one generation of rulers to the next and with regard to the individual wellbeing of the royal heirs. Two key relationships are identified and explored through selected case studies: the relationship between the monarch and his or her successor (through the prism of the relationships between Queen Victoria, Emperor Wilhelm I and Emperor Franz Joseph and their oldest sons) and the relationship between the royal heir and his wife – through an analysis of the marriages of Prince Umberto of Savoy, Prince Wilhelm of Württemberg and Prince Friedrich August of Saxony.

Chapter 3, ‘The Mines and the Court’ is set both in the Ore Mountains and at the court of Dresden under August of Saxony (1553–1586). It offers a broader picture of the vibrant intellectual life in mining cities, illustrated here by the example of Annaberg. Local officials and technicians developed remarkable skills in arithmetic and geometry, on which rulers came to rely to map their realms and tame their capricious landscapes. I focus on the careers of two dynasties of practitioners, respectively subterranean surveyors (the Öders) and reckoning masters (the Rieses). After both patriarchs contributed to the economic rise of the city, their descendants became versatile engineers and courtiers of the Saxon Electors. They collaborated with university professors and instrument-makers, using their skills all over the Electorate and beyond, temporarily turning the court of Dresden into a centre of practical mathematics.

As is well known, Telemann was godfather to Carl Philipp Emanuel Bach, who eventually succeeded Telemann in his position at Hamburg. Telemann may have been equally significant for Emanuel’s father Johann Sebastian, serving as a professional role model and providing models for composition. In particular, Telemann’s “Eisenach” cantata Jahrgang of 1710–11 could have been a crucial spur toward Bach’s first essays in the new type of church cantata which he began composing at Weimar circa 1714. Telemann’s later nomination as allgemeiner Capellmeister for the Ernestine Saxon duchies formalized his position as the dominant musical figure in the region while Bach was at Weimar. Musical sources as well as stylistic parallels suggest that, during this formative period, Bach composed vocal as well as instrumental works in emulation of examples by Telemann.