Carl Philipp Emmanuel, Bach’s second son, entered the service of Frederick the Great of Prussia in 1740. So widely was Bach’s skill recognised by this time that the King, who often heard him praised, was curious to meet so great an artist. More than once he hinted to Carl Philipp Emmanuel that it would be agreeable to welcome his father to Potsdam, and as Bach did not appear, desired to know the reason. Carl Philipp did not fail to acquaint his father with the King’s interest. But for some time Bach was too occupied with his duties to accede to the invitation. However, as Carl Philipp continued to urge him, he set out for Potsdam towards the end of 1747, in company with his eldest son, Wilhelm Friedemann.(101) It was the King’s custom to hold a private concert every evening, and to take part on the flute in a Concerto or two. One evening,(102) when he had got out his flute and the musicians were at their desks, an official brought him a list of the strangers newly arrived at Potsdam. Flute in hand the King ran through the names, and suddenly turning to the waiting musicians, said with considerable excitement, “Gentlemen, Old Bach has arrived.” The flute was put away for the evening, and Bach, who had alighted at his son’s lodging, was summoned immediately to the Palace. Wilhelm Friedemann, who accompanied his father, often told me the story. Nor am I likely to forget the racy manner in which he related it. The courtesy of those days demanded rather prolix compliments, and the first introduction of Bach to so illustrious a monarch, into whose presence he had hurried without being allowed time to change his travelling dress for a Cantor’s black gown, obviously invited ceremonial speeches on both sides. I will not dwell on them; Wilhelm Friedemann related a lengthy and formal conversation between the King and the Cantor.(103)