the 1784 London Handel Commemoration described in Burney's detailed account of 1785. Three years later in 1789, Fasch started an informal group in Berlin, formed from singing students and music lovers, that met for rehearsals in private homes. In 1791, with the introduction of a "presence book", it became officially known as the Sing-Akademie zu Berlin and two years later was granted its own rehearsal room in the Royal Academy of Arts in Berlin. As a composer, Fasch had learnt the old methods of counterpoint from Kirnberger and, like the Academy of Ancient Music in London, his initial purpose in founding the Sing-Akademie was to revive interest in neglected and rarely performed sacred vocal music, particularly that of J.S. Bach, Graun and Handel. The society subsequently built up an extensive library of baroque music of all types, including instrumental music. Despite Burney's antipathy towards Bach prior to 1800, there was an "awakening" of interest in the music of Bach in England, spurred on by the presence of émigré musicians from Germany and Austria, trained in the musical tradition of Bach. From 1782 Queen Charlotte, a dedicated keyboard player, had as music teacher the German-born organist Charles Frederick Horn; and in the same year Augustus Frederic Christopher Kollmann was summoned by George III from the Electorate of Hanover to act as organist and schoolmaster at the Royal German Chapel at St James's Palace. It is probable that they were instrumental in acquiring for her in 1788 a bound volume from Westphal of Hamburg containing Clavier-Übung III in addition to both books of The Well-Tempered Clavier. Other German musicians moving in royal circles included Johann Christian Bach, Carl Friedrich Abel, Johann Christian Fischer, Frederick de Nicolay, Wilhelm Cramer and Johann Samuel Schroeter. More significant for the 19th-century English Bach revival was the presence of a younger generation of German-speaking musicians in London, well versed in the theoretical writings of Kirnberger and Marpurg on counterpoint but not dependent on royal patronage; these included John Casper Heck (c. 1740–1791), Charles Frederick Baumgarten (1738–1824) and Joseph Diettenhofer (c. 1743 – c. 1799). Heck in particular promoted fugues in his treatise "The Art of Playing the Harpsichord" (1770), describing them later as "a particular stile of music peculiar to the Organ than the Harpsichord"; in his biographical entry for Bach in the 1780s in the Musical Library and Universal Magazine, he gave examples of counterpoint from