We are accustomed to seeking the ‘music itself’ in the musical text. The actual and spiritual spaces that are inscribed in music, and the people connected to these sites, are thereby in danger of being left out of consideration. In my view, place and people are part of the music. It is thus against a background of an understanding of music that does not only mean the opuses in the sense of the written musical texts, but also implies all aspects of life connected with the production, reproduction and reception of music, that I offer this enquiry into the meaning of the Leipziger Straβe Drei for the artistic works emanating from Fanny Hensel.