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diff --git a/40384-8.txt b/40384-0.txt index 0e3cd43..563f2ed 100644 --- a/40384-8.txt +++ b/40384-0.txt @@ -1,25 +1,4 @@ -Project Gutenberg's Musical Myths and Facts, Volume II (of 2), by Carl Engel - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Musical Myths and Facts, Volume II (of 2) - -Author: Carl Engel - -Release Date: October 3, 2012 [EBook #40384] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MUSICAL MYTHS AND FACTS, VOL 2 *** - - - +*** START OF THE PROJECT GUTENBERG EBOOK 40384 *** Produced by Veronika Redfern, Linda Cantoni, Bryan Ness and the Online Distributed Proofreading Team at @@ -176,9 +155,9 @@ the public; but this favourable opinion is hardly supported by such of his compositions as have appeared in print. A collection of twelve Suites for the harpsichord, the manuscript of which he sent to England, where it was published in two volumes, in the year 1714, bears the -title:--'Pièces de Clavecin, en deux Volumes, consistant des Ouvertures, +title:--'Pièces de Clavecin, en deux Volumes, consistant des Ouvertures, Preludes, Fugues, Allemandes, Courentes, Sarabandes, Gigues et Aires, -composées par J. Mattheson, Secr.--London, printed for J. D. Fletcher.' +composées par J. Mattheson, Secr.--London, printed for J. D. Fletcher.' The work is prefaced by an address to the musical public, written by the editor, J. D. Fletcher, in which he says:--"Britain may now hope to return those arts with interest, which she borrowed from other nations; @@ -231,16 +210,16 @@ him with some biographical notices, Handel, at the conclusion of his letter in reply, excuses himself for not complying with the second point in question:-- - "Pour ce qui est du second point, vous pouvez juger vous même qu'il - demande beaucoup de recueillement, dont je ne suis pas le maître - parmi les occupations pressantes, que j'ai par devers moi. Dès que - j'en ferai un peu debarassé, je repasserai les Epoques principales + "Pour ce qui est du second point, vous pouvez juger vous même qu'il + demande beaucoup de recueillement, dont je ne suis pas le maître + parmi les occupations pressantes, que j'ai par devers moi. Dès que + j'en ferai un peu debarassé, je repasserai les Epoques principales que j'ai eues dans le cours de ma Profession, pour vous faire voir - l'estime et la consideration particulière avec laquelle j'ai - l'honneur d'être, + l'estime et la consideration particulière avec laquelle j'ai + l'honneur d'être, Monsieur, - Votre très humble et très + Votre très humble et très Obeissant Serviteur, G. F. HANDEL. @@ -259,19 +238,19 @@ again evasive:-- Monsieur, - Il y a quelque tems que j'ai reçu une de vos obligeantes lettres; - mais à présent je vien de recevoir votre dernière avec votre ouvrage. + Il y a quelque tems que j'ai reçu une de vos obligeantes lettres; + mais à présent je vien de recevoir votre dernière avec votre ouvrage. Je vous en remercie, Monsieur, et je vous assure que j'ai toute - l'estime pour votre mérite, je souhaiterois seulement que mes - circonstances m'étaient plus favorables pour vous donner des marques - de mon inclination à vous servir. L'ouvrage est digne de l'attention - des connoisseurs, et quand à moi, je vous rends justice. + l'estime pour votre mérite, je souhaiterois seulement que mes + circonstances m'étaient plus favorables pour vous donner des marques + de mon inclination à vous servir. L'ouvrage est digne de l'attention + des connoisseurs, et quand à moi, je vous rends justice. - Au reste, pour rammasser quelque époque, il m'est impossible + Au reste, pour rammasser quelque époque, il m'est impossible puisqu'une continuelle application au service de cette cour et - noblesse me détourne de toute autre affaire. + noblesse me détourne de toute autre affaire. - Je suis, avec une considération très parfaite, etc." + Je suis, avec une considération très parfaite, etc." Handel was at this period in circumstances by no means flourishing, his operatic enterprises having failed. Mattheson's request came therefore @@ -314,7 +293,7 @@ wanted, he allowed himself to be persuaded to take his place, and showed himself a man, when no one but I expected it. I am sure if he reads this he will laugh in his sleeve, for outwardly he seldom laughs. Especially will he laugh if he recollects the pigeon-dealer who once travelled post -with us to Lübeck; likewise, the son of the pastry-cook who had to blow +with us to Lübeck; likewise, the son of the pastry-cook who had to blow the bellows while we were playing the organ in the church of St. Mary Magdalen of this place. This was on the thirtieth of July, 1703, after our having been out on the water on the fifteenth." @@ -338,11 +317,11 @@ the other hand, in dramatic style I have been of no little service to him; so that one hand washed the other." "On the seventeenth of August, in the year 1703, we travelled together -to Lübeck, and in the carriage composed many double-fugues, _da mente +to Lübeck, and in the carriage composed many double-fugues, _da mente non da penna_. I had been invited there by the President of the Privy Council, Magnus von Wedderkopp, in order to choose a successor for the excellent organist, Dieterich Buxtehude. I took Handel there with me. We -tried almost all the organs and harpsichords in Lübeck; and, with regard +tried almost all the organs and harpsichords in Lübeck; and, with regard to our playing, we arranged between ourselves that he should play exclusively on the organ, and I on the harpsichord. We also heard with due attention the above-mentioned artist in his St. Mary's Church. But @@ -365,7 +344,7 @@ which will soon be repaired, as the time approaches in which it will be impossible to undertake anything in the way of operas without your presence. I therefore pray you obediently to inform me of your departure, that I may have the opportunity of showing my obligation by -meeting you with Miss Sbülens,' etc., etc." +meeting you with Miss Sbülens,' etc., etc." These extracts from Mattheson's 'Ehrenpforte' are quoted here because they throw light upon some occurrences alluded to in the remarks with @@ -381,9 +360,9 @@ death, much as it has been disparaged on account of its chronological inaccuracies and its want of musical erudition, is certainly valuable as containing the fullest account of Handel's life in England written by a contemporary of the great musician. Mattheson's German translation, with -annotations, is entitled _Georg Friderich Händel's Lebensbeschreibung, -nebst einem Verzeichnisse seiner Ausübungswerke und deren Beurtheilung; -übersetzt, auch mit einigen Anmerkungen, absonderlich über den +annotations, is entitled _Georg Friderich Händel's Lebensbeschreibung, +nebst einem Verzeichnisse seiner Ausübungswerke und deren Beurtheilung; +übersetzt, auch mit einigen Anmerkungen, absonderlich über den hamburgischen Artikel, versehen von Legations-Rath Mattheson. Hamburg. Auf Kosten des Uebersetzers_, 1761. ('George Frederick Handel's Biography, with a list of his Compositions, and a critical examination @@ -556,7 +535,7 @@ sometimes fear and terror, sometimes tears, sometimes merriment and delight. On the 9th of June, 1703, he made Handel's acquaintance at an organ, when Handel was 19-1/4 years old, and Mattheson 21-3/4, so that the difference in age amounted only to two years and a half.[7] On the -17th of August, in the same year, they travelled together to Lübeck, and +17th of August, in the same year, they travelled together to Lübeck, and played in that town, as well as in Hamburg, on the organ and harpsichord, so to say in emulation, in which Handel proved himself the most successful on the former instrument, but acknowledged himself @@ -579,7 +558,7 @@ guidance the young gentleman attained, in the course of time, a high degree of perfection. He succeeded his father, after the death of the latter, and obtained in 1729 the hereditary dignity of a Baronet. Mattheson always remained in royal service, was twelve or thirteen times -'Chargé des Affaires,' was employed on important missions, etc.,--as has +'Chargé des Affaires,' was employed on important missions, etc.,--as has already been circumstantially recorded in the 'Ehrenpforte,' published in 1740. At last, after the lapse of fifty years, the highly-meritorious Baronet departed to a better world on the 18th of August, when he had @@ -726,7 +705,7 @@ second, but his third; and it was performed in 1708, three years after 'Nero.' Meanwhile, Keiser had not only composed a new 'Almira,' as well as the operas 'Octavia,' 'Lucretia,' 'Fedelta coronata,' 'Masagnello furioso,' 'Sueno,' 'Genio di Holsatia,' 'Carnival of Venice;' but also -Schieferdecker had brought out his 'Justin'; Grünwald, his 'Germanicum;' +Schieferdecker had brought out his 'Justin'; Grünwald, his 'Germanicum;' and Graupner his 'Dido.' In the year 1708, Handel produced another opera, called 'Daphne,' which was the fourth of those he wrote for Hamburg, and which appears to be unknown to his biographer, as he omits @@ -765,7 +744,7 @@ Binitz to Italy, free of expense; and in 1710 he had his 'Agrippina' performed at Venice." _Mainwaring_ (P. 44). "The very first answer of the fugue in the -overture for 'Mucius Scævola' [an opera by Handel] affords an instance +overture for 'Mucius Scævola' [an opera by Handel] affords an instance of this kind [viz., a musical licence]. Geminiani, the strictest observer of rule, was so charmed with this direct transgression of it that, on hearing its effect, he cried out _Quel semitono_ (meaning the @@ -813,7 +792,7 @@ _Mattheson._ "If you know that, blessed are you if you act upon it." _Mainwaring_ (P. 110). "Having one day some words with Cuzzoni on her refusing to sing _Falsa imagine_ in 'Ottone': 'Oh! Madame,' Handel said, -'je scais bien que vous êtes une véritable diablesse; mais je vous ferai +'je scais bien que vous êtes une véritable diablesse; mais je vous ferai scavoir, moi, que je suis Beelzebub, le _chef_ des diables!' With this he took her up by the waist, and swore that if she made any more words he would fling her out of the window. It is to be noted that this was @@ -847,7 +826,7 @@ birth--no other person of the same profession was likely to make any figure." _Mattheson._ "This agrees with a remark of mine before made. Hasse was -born in Bergedorf, a small town belonging to Hamburg and Lübeck in +born in Bergedorf, a small town belonging to Hamburg and Lübeck in common; he is, therefore, a Lower-Saxon of the highest type.... However, the reason why these two Saxons did not wish to encroach upon each other's precincts was a very different one from that indicated by our @@ -862,7 +841,7 @@ with a striking instance and public act of generosity and benevolence. The first step that he made was to perform his Messiah for the benefit of the city-prison." -_Mattheson._ "On a beau être généreux et liberal, quand il n'en coute +_Mattheson._ "On a beau être généreux et liberal, quand il n'en coute que des chansons, et que d'autres payent les violons; c'est en bon allemand: _Mit der Wurst nach dem Schinken werfen_ ('To throw the sausage at the ham')." @@ -923,7 +902,7 @@ belief of the author that there must be other people, unknown to him, who, on account of their arts, deserve quite as much honour as Handel. Alas! how much pains has the 'Great-Thorough-Bass School' taken to show this, not to mention the 'Triumphal Arch.'[17] ... Bach, Fux, Graun, -Graupner, Grünewald, Heinichen, Keiser, etc., have died without +Graupner, Grünewald, Heinichen, Keiser, etc., have died without experiencing it; perhaps the same will happen with Hasse, and with several others." @@ -1060,10 +1039,10 @@ those of his modern commentators who censure him. the date, which appears to have arisen chiefly through Mainwaring's mis-statement, J. J. Eschenburg consulted the Baptismal Register of the Frauenkirche in Halle, where he found the year 1685 given. (_See_ 'Dr. -Karl Burney's Nachricht von Georg Friedrich Handel's Lebens umständen, +Karl Burney's Nachricht von Georg Friedrich Handel's Lebens umständen, und der ihm zu London im May und Juny, 1784, angestellten -Gedächtnissfeyer, aus den Englischen übersetzt von J. J. Eschenburg; -Berlin, 1785').--Förstemann ('Händel's Stammbaum,' Leipzig, 1844), and +Gedächtnissfeyer, aus den Englischen übersetzt von J. J. Eschenburg; +Berlin, 1785').--Förstemann ('Händel's Stammbaum,' Leipzig, 1844), and others, have subsequently convinced themselves that Eschenburg's date is correct. The year 1684, given on Handel's Monument in Westminster Abbey, therefore, requires rectifying. @@ -1093,7 +1072,7 @@ not have remembered them exactly. [15] Mattheson is mistaken here. It has been satisfactorily ascertained that Handel left Hamburg for Italy in the year 1706. (See G. -F. Händel, von F. Chrysander, Leipzig, 1858, Vol. I., p. 139.) +F. Händel, von F. Chrysander, Leipzig, 1858, Vol. I., p. 139.) [16] The following well-authenticated data may serve to correct the "corrections" of Mattheson:--Handel was born in 1685; went to @@ -1152,7 +1131,7 @@ poor fellow was hanging on the thread and was dead.[20] THE INDEFATIGABLE FIDDLER. -The following strange event happened in the parish of Börne, two miles +The following strange event happened in the parish of Börne, two miles south of Ripen, in Denmark, and is still known to the people in all its details. @@ -1238,7 +1217,7 @@ After having recovered a little from his astonishment, the Pastor in a solemn tone of voice called out towards the organ:-- "If thou up there canst play everything, just play to me our old Chorale -_Wer nur den lieben Gott lässt walten_." +_Wer nur den lieben Gott lässt walten_." In a moment the organ was silent. @@ -1498,8 +1477,8 @@ town-hall the following old and oddly-spelt inscription: Im Jahr 1284 na Christi gebort Tho Hamel worden uthgewort - Hundert and dreiszig Kinder dasülwest geborn - Dorch einen Piper under den Köppen verlorn.[22] + Hundert and dreiszig Kinder dasülwest geborn + Dorch einen Piper under den Köppen verlorn.[22] Which means in plain English-- @@ -1549,7 +1528,7 @@ invitation, and took his seat by the side of the musician; for, no music he had ever heard in his life appeared to him comparable to that which the man produced on the admirable instrument with the long handle. Sometimes it was very soft and deep-toned;--suddenly it rose up to a -high pitch, like an Æolian harp when a gust of wind passes over its +high pitch, like an Æolian harp when a gust of wind passes over its strings;--now it gradually diminished in power, and its sweetness actually moved our countryman to tears;--now, again, it grew suddenly so loud, as if a whole military band was playing, only that it was much @@ -1574,17 +1553,17 @@ tail he had been wrenching so vehemently that poor puss was still mewing from its very heart in most ear-piercing modulations. On the spot where the palace had stood he saw a large dust heap, and that was all.[23] -[20] 'Sagen, Gebräuche, und Märchen aus Westfahlen, gesammelt von A. +[20] 'Sagen, Gebräuche, und Märchen aus Westfahlen, gesammelt von A. Kuhn. Leipzig, 1859.' Vol. I., p. 175. [21] 'Fairy Legends and Traditions of the South of Ireland, by T. Crofton Croker; London, 1862,' p. 22.--Compare also 'Hans mein Igel,' in -Grimm's Kinder und Hausmärchen. +Grimm's Kinder und Hausmärchen. -[22] 'Deutsche Sagen, herausgegeben von den Brüdern Grimm; Berlin, +[22] 'Deutsche Sagen, herausgegeben von den Brüdern Grimm; Berlin, 1816;' Vol. I., p. 330. -[23] 'Niederländische Sagen, herausgegeben von J. W. Wolf; Leipzig, +[23] 'Niederländische Sagen, herausgegeben von J. W. Wolf; Leipzig, 1843;' p. 464. @@ -1674,7 +1653,7 @@ much could be said without flattery. The German common saying-- Wo man singt da lass dich ruhig nieder, - Böse Menschen haben keine Lieder; + Böse Menschen haben keine Lieder; is as untenable as Shakespeare's assertion-- @@ -1755,14 +1734,14 @@ here translated from the German. No. 2. Ne nobis Domine;--on account of obtained victories. - No. 3. Tempus est;--on leaving the two towns, Rüssel and Valencien, + No. 3. Tempus est;--on leaving the two towns, Rüssel and Valencien, in gratitude for the many kindnesses which I and my kindred received from the inhabitants of those towns. No. 4. Victoria;--after the battle of Belgrade against the Turks, in 1717. - No. 5. Per hoc vitæ spatium;--when I was debating with myself what + No. 5. Per hoc vitæ spatium;--when I was debating with myself what pursuit I should follow, whether I should become spiritual or remain secular. @@ -1773,7 +1752,7 @@ here translated from the German. No. 8. Parce Domine!--at Lent. - No. 9. Maria Mater gratiæ;--to the honour of the ever-blessed + No. 9. Maria Mater gratiæ;--to the honour of the ever-blessed Mother of God. No. 10. When my brother-in-law, the Dauphin, died, anno 1711. @@ -2133,11 +2112,11 @@ Solomon says: "Give me neither poverty nor riches," (Proverbs, Chap. XXX. v. 8), he speaks rather as a musician, or poet. A king requires riches as necessarily as a musician requires talent. -[24] 'Tonkünstler-Lexicon Berlin's, von C. Freiherrn von Ledebur;' +[24] 'Tonkünstler-Lexicon Berlin's, von C. Freiherrn von Ledebur;' Berlin, 1861; p. 6. [25] 'Biographie von Ludwig van Beethoven, verfasst von A. Schindler;' -Münster, 1845; p. 141. +Münster, 1845; p. 141. @@ -2189,7 +2168,7 @@ advocates; and in this case the originator of the innovation, who was regarded as an unpractical man, may attain the reputation of being of a remarkably practical turn of mind. When Richard Wagner, about thirty years ago, as a poor and obscure musician in Paris, was arranging -operatic melodies for the cornet-à-piston to save himself from +operatic melodies for the cornet-à -piston to save himself from starvation, his notions about the opera of the future appeared to those few musicians to whom he communicated them, as a dream which to realize would be as impossible as it would be undesirable. At the present day he @@ -2243,7 +2222,7 @@ FOR PIANOFORTE. Trio for Pianoforte, Violin, and Violoncello 50 " Duett for Pianoforte and Violin 40 " Duett for Pianoforte and Violoncello 40 " - Duett for Pianoforte _à quatre mains_ 60 " + Duett for Pianoforte _à quatre mains_ 60 " Grand Sonata for Pianoforte alone 40 " Sonata for Pianoforte alone 30 " Fantasia for Pianoforte 30 " @@ -2293,7 +2272,7 @@ and was still continuing to add to their number, he became rather alarmed lest the work should grow too voluminous for practical use. However, he did not succeed in stopping the composer until after the thirty-third variation. The entire set was published by Diabelli in -1823, under the title '33 Veränderungen über einen Walzer von A. +1823, under the title '33 Veränderungen über einen Walzer von A. Diabelli, von Ludwig van Beethoven, Op. 120.' What must one think of Beethoven's knowledge of money matters when in a @@ -2337,7 +2316,7 @@ transcribing the song for the pianoforte. Although the conditions which he proposed to the publishers were always modest, they were generally rejected as being exorbitant. How cautiously the publishers treated him, may be seen from a letter which Peters, in Leipzig, wrote to -Hüttenbrenner, a friend of Schubert. As this letter is also interesting +Hüttenbrenner, a friend of Schubert. As this letter is also interesting inasmuch as it affords a glance into the speculations of a practical man who makes the art his business, it deserves a place here, although it is rather long. The translation, which is from the German, is as literal as @@ -2527,7 +2506,7 @@ In another letter to Schubert, by the same publisher, written in 1827, he says: "However much pleasure it would give me to incorporate your name in my catalogue, I must for the present renounce it, as I am overwhelmed with work owing to the publication of Kalkbrenner's -_Oeuvres complètes_. I also confess that the honorarium of eighty +_Oeuvres complètes_. I also confess that the honorarium of eighty florins[30] for each manuscript seems to me rather high terms. I keep the works at your disposal, and remain," etc. @@ -2543,7 +2522,7 @@ honorarium, we shall readily come to an agreement, if you will only treat with me on a moderate scale; and you will find me always in these matters reasonable, provided the works are so that I can be pleased with them. The prices of the Vienna publishers might here fairly serve as a -guide. Herr Lähne would pay you your honorarium in proper time +guide. Herr Lähne would pay you your honorarium in proper time punctually. Moreover, I must beg you to examine beforehand carefully the works which you intend me to have, and not to show them first to the Vienna publishers. Such business transactions must remain entirely @@ -2553,7 +2532,7 @@ only such compositions for me in which you have been successful, you afford me the opportunity of exerting myself for the sake of your reputation." -Breitkopf and Härtel, the famous publishers in Leipzig, in a letter to +Breitkopf and Härtel, the famous publishers in Leipzig, in a letter to Schubert, dated September 7th, 1826, cautiously suggest: "We reply with grateful thanks to your kind intention of sending us some compositions for publication, and we assure you that it would give us much pleasure @@ -2577,7 +2556,7 @@ you. We remain, with the highest esteem, etc., - BREITKOPF AND HÄRTEL."[31] + BREITKOPF AND HÄRTEL."[31] Somewhat later, when Schubert had become a little better known, he received more favourable replies. Schott, in Mayence, offered to publish @@ -2591,7 +2570,7 @@ business; and the delay would be against your interest." This trio (Op. 100) was afterwards bought by Probst, in Leipzig, for about two pounds, paid with a grumble, and with the insulting remark: "In any case, I hope the Trio in question is not the 'Fantasia' which was performed on the -5th of February in Herr Slawick's concert at the Kärnthnerthor theatre; +5th of February in Herr Slawick's concert at the Kärnthnerthor theatre; for that composition was unfavourably criticized in the Leipzig Musical Gazette, No. XIV., page 223." @@ -2624,10 +2603,10 @@ make concessions to the popular taste, or I cannot buy anything more from you for publication!" Mozart replied: "Well, I must write what I think good, though I should starve." Some music-sellers, in an inexplicable way, succeeded in procuring manuscripts of his, for which -they did not pay him anything.[35] His famous opera, 'Die Zauberflöte,' +they did not pay him anything.[35] His famous opera, 'Die Zauberflöte,' he wrote with the object of benefiting his friend, the embarrassed theatrical manager Schikaneder; and the statement of some writers, that -Mozart gained only fifty thalers (about £7 10s.) by this opera, may +Mozart gained only fifty thalers (about £7 10s.) by this opera, may therefore be correct. The King of Prussia offered him an appointment as Kapellmeister in Berlin, with a salary of 3,000 thalers. Mozart solicited an audience of his master, the Emperor Joseph II. and asked @@ -2645,7 +2624,7 @@ He subsequently received an annual pay of 800 florins, with the title of Kapellmeister in the service of the Emperor. At his death, he left a debt of 3,000 florins. The copyright of 'La Clemenza di Tito' was offered to Breitkopf, in Leipzig, for sixteen ducats. Breitkopf having -declined the opera, it was bought by his apprentice, A. Böhme, who with +declined the opera, it was bought by his apprentice, A. Böhme, who with it laid the foundation of his prosperous publishing-house in Hamburg. It must be admitted that among our modern composers several very @@ -2664,13 +2643,13 @@ Handel,'[36] may have contributed to entice other continental musicians to try to make their fortune in England; and many have shown common sense enough in this attempt. Handel in London generally received for the copyright of an oratorio twenty guineas. The wealthy publisher, -Walsh, gained £1500 by the publication of the opera 'Rinaldo,' a fact +Walsh, gained £1500 by the publication of the opera 'Rinaldo,' a fact which elicited from Handel the remark: "My dear sir, it is only right that we should be upon an equal footing; _you_ shall compose the next opera, and _I_ will sell it." At any rate, so the story goes. Handel, after having lost, by his enterprise as manager of the Haymarket Theatre, all the money he had gained during a residence in England of -about twenty-four years, which amounted to about £10,000, commenced +about twenty-four years, which amounted to about £10,000, commenced anew, exerting himself as a practical man in another and more successful way. Handel died "worth" upwards of twenty thousand pounds. @@ -2684,9 +2663,9 @@ distinguished musician, it is necessary to take into consideration the usages of his time. Haydn, on his first visit to London, in 1791, was engaged by Salomon for -£500, for which sum he had to compose six symphonies, and personally to +£500, for which sum he had to compose six symphonies, and personally to direct the performance of them at the concerts; and to resign the -copyright of those six symphonies. Furthermore, £200 were guaranteed to +copyright of those six symphonies. Furthermore, £200 were guaranteed to him by Salomon for a benefit concert. That Rossini could be practical in England, is evident from the @@ -2703,7 +2682,7 @@ singular that you did not think of becoming an operatic singer." _Rossini._ "I had no other intention, dear sir; but I also wished to learn my art more thoroughly than most of the singers with whom I came into contact at that time had learnt it. This was easy enough; at an -early period I already officiated as _Maëstro al Cembalo_; then there +early period I already officiated as _Maëstro al Cembalo_; then there came the period when the mutation of my voice interfered with my singing; my attempts at composition found favourable reception; and thus I fell almost accidentally into the career of the composer. I adhered to @@ -2756,7 +2735,7 @@ new occupation. It may have been a prejudice with me, but I had a dislike to being paid for accompanying on the pianoforte, and I have submitted to it nowhere but in London. However, they were determined to see my nose, and to hear my wife. I had fixed for our co-operation at -musical evenings the rather high terms of £50. We attended at about +musical evenings the rather high terms of £50. We attended at about sixty of such evenings, and the pecuniary result was certainly worth the trouble. Moreover, in London the musicians will do anything to make money. I have witnessed there, queer doings." @@ -2764,7 +2743,7 @@ money. I have witnessed there, queer doings." _Hiller._ "There one scarcely trusts one's eyes, still less one's ears." _Rossini._ "Thus, for instance, when I accepted my first engagement as -accompanist at such a Soirée, I was told that Puzzi, the celebrated +accompanist at such a Soirée, I was told that Puzzi, the celebrated virtuoso on the horn, and Dragonetti, the celebrated double-bass player, would also be present. I thought they would play solo, but this was far from being the case, they had only been engaged to assist me in @@ -2846,11 +2825,11 @@ to him as follows:-- "My dear Sir, - I have duly received the £5, and thought previously you would not + I have duly received the £5, and thought previously you would not increase the number of Englishmen neglecting their word and honour, as I had the misfortune of meeting with two of this sort. In reply to the other topics of your favour, I have no objection to write - variations according to your plan, and I hope you will not find £30 + variations according to your plan, and I hope you will not find £30 too much; the accompaniment will be a flute, or violin, or a violoncello; you'll either decide it when you send me the approbation of the price, or you'll leave it to me.... Concerning @@ -2877,17 +2856,17 @@ Lonsdale, the manager at R. Birchall's. In answer to yours of the 1st October I am desired by Mr. Birchall to inform you he is glad to find you are now satisfied respecting - the promise of paying you £5,--in addition to what you before + the promise of paying you £5,--in addition to what you before received according to agreement,--but he did not think you would have delayed sending the receipt signed, after the receipt of the - 130 ducats, merely because you had not received the £5, which + 130 ducats, merely because you had not received the £5, which latter sum was not included in the receipt. Till it arrives, Mr. Birchall cannot at any rate enter into any fresh arrangement, as his first care will be to secure those pieces he has already paid for, and see how they answer his purpose as a music-seller; and without the receipt he cannot prevent any other music-seller from publishing them. In regard to the airs with variations, the price - of £30, which it is supposed you mean for each, is considerably + of £30, which it is supposed you mean for each, is considerably more than he could afford to give,--even to have any hopes of seeing them repay him; if that should be your lowest price, Mr. Birchall will give up his idea of them altogether.... I am sorry to @@ -2919,13 +2898,13 @@ To this reasonable letter Beethoven replies (in English): place, that instead of Messrs. C. sending it to you they have been directed to keep it till fetched. Excuse this irregularity, but it is not my fault, nor had I ever the idea of withholding it from the - circumstance of the £5 not being included. Should the receipt not + circumstance of the £5 not being included. Should the receipt not come forth at Messrs. C., I am ready to sign any other, and you shall have it directly with return of post. - If you find variations--in my style--too dear at £30, I will abate + If you find variations--in my style--too dear at £30, I will abate for the sake of your friendship one third, and you have the offer - of such variations, as fixed in our former letters, for £20 each + of such variations, as fixed in our former letters, for £20 each air.... I anxiously hope your health is improving. Give me leave to subscribe myself, @@ -2982,7 +2961,7 @@ Philharmonic Society in the name of the Society, and forwarded to me." Failing health prevented Beethoven from undertaking the journey. The Philharmonic Society, believing him to be in want, which was far from -being the case, in a delicate way presented him with £100. Indeed, +being the case, in a delicate way presented him with £100. Indeed, Beethoven had every reason to feel gratified by the generous attention shown to him by those Englishmen who were able to appreciate his merits. In the year 1817, some of his London admirers gave him great pleasure by @@ -3018,17 +2997,17 @@ comprehensible that to Beethoven an attempt to associate him with musical jobbery must have been especially repulsive. Perhaps no opera composer had a better chance of becoming a rich man -than had Carl Maria von Weber. The success of 'Der Freischütz' was +than had Carl Maria von Weber. The success of 'Der Freischütz' was immense. The fascinating melodies of this opera were sung, played and whistled everywhere, by musical and unmusical people. It would be -difficult to point out a civilized country in which 'Der Freischütz' has +difficult to point out a civilized country in which 'Der Freischütz' has not been performed and listened to with rapture. Before the popularity of the opera was fully established, Weber offered the pianoforte score to the publisher Schlesinger, in Berlin, for sixty Frederick-d'ors -(£51). Schlesinger thought the demand exorbitant, and offered two -hundred and twenty thalers (£33), which Weber accepted.[42] +(£51). Schlesinger thought the demand exorbitant, and offered two +hundred and twenty thalers (£33), which Weber accepted.[42] Nevertheless, in consequence of the many performances of 'Der -Freischütz' in various towns on the Continent, from which the composer +Freischütz' in various towns on the Continent, from which the composer derived some pecuniary advantage, the opera proved rather lucrative to him. Still, it was more remunerative indirectly than directly, inasmuch as its universal success induced Charles Kemble, the manager of the @@ -3036,13 +3015,13 @@ Theatre Royal, Covent Garden, to engage Weber to compose 'Oberon,' and to visit London for the purpose of conducting the new opera. Thus Weber had an excellent opportunity of exercising his aptitude for business. How he acquitted himself of the task, may be gathered from his rejecting -at the outset the terms offered by Kemble,--which were £500, and all his +at the outset the terms offered by Kemble,--which were £500, and all his expenses paid,--and proposing his own terms, which, with the help of some one acquainted with the English language, he had penned as follows:-- "At my arrival at London I will first of all preside at the piano in six -representations of the 'Freischütz'; for the first five you will give me +representations of the 'Freischütz'; for the first five you will give me every night a pecuniary compensation of two hundred pounds, and the sixth as a benefit for me. During this time we will prepare 'Oberon' and I will preside at the piano also the first six representations at the @@ -3053,14 +3032,14 @@ property for Great Britain. The poem and the music are mine for all the rest of Europe." According to this proposal Weber would have realized in the course of -three months £2,400. But he soon experienced that one may also be too +three months £2,400. But he soon experienced that one may also be too practical. His shattered health rendered the journey to England exceedingly fatiguing, and the trouble, excitement and disappointments connected with the rehearsals and representations of 'Oberon,' and with the necessary preparations for his concerts, accelerated his dissolution. He died in 1826, when he had been about three months in London, and the proceeds of his toil during the time amounted to about -£1,100, or less than half the sum which he at first demanded from +£1,100, or less than half the sum which he at first demanded from Kemble. The musical student, in perusing the master-works in his art, has @@ -3097,23 +3076,23 @@ Is this not thoroughly practical in an artistic point of view? [Illustration] [26] 'Biographie von Ludwig van Beethoven, verfasst von A. Schindler;' -Münster, 1845; p. 246. +Münster, 1845; p. 246. -[27] 'Biographische Notizen über L. van Beethoven, von Wegeler und +[27] 'Biographische Notizen über L. van Beethoven, von Wegeler und Ries;' Coblenz, 1838; p. 34. -[28] 'Historisch-Kritische Beiträge zur Aufnahme der Musik, von F. W. +[28] 'Historisch-Kritische Beiträge zur Aufnahme der Musik, von F. W. Marpurg.' Vol. II., Berlin, 1756; p. 575. [29] 'Franz Schubert, von H. Kreiszle von Hellborn;' Wien, 1865, p. 272. -[30] £8. +[30] £8. [31] 'Franz Schubert, von H. Kreiszle von Hellborn;' Wien, 1865; p. 388. [32] Op. 114. -[33] £6. +[33] £6. [34] 'Franz Schubert, von H. Kreiszle von Hellborn;' Wien, 1865; p. 442. @@ -3127,7 +3106,7 @@ p. 584. [38] 'Aus dem Tonleben unserer Zeit, von Ferdinand Hiller; Leipzig, 1868.' Vol. II., p. 22. -[39] 'Jahrbücher für Musikalische Wissenschaft, herausgegeben von F. +[39] 'Jahrbücher für Musikalische Wissenschaft, herausgegeben von F. Chrysander.' Leipzig, 1863, p. 434. [40] See above, p. 45. @@ -3417,7 +3396,7 @@ possessed of evil spirits; Priestesses of the Serpent worship, which has its principal temples in Whydah; Rain-makers; Wizards, called _Greegree-men_; and other "wise men," who are also physicians and musicians. The _Ganga_, in Loango, South Western Africa, are, according -to the Abbé Proyard, priests as well as physicians: "When they come to a +to the Abbé Proyard, priests as well as physicians: "When they come to a patient, they ask him where his ailment lies. They blow on the part affected: after that, they make fomentations, and tie up his limbs in different places with bandages. These are the preliminaries used in all @@ -3713,7 +3692,7 @@ while mowing grass, in June, 1840, felt a sudden pain on his right arm, near the insertion of the Deltoid muscle, and saw that he was bitten by a speckled spider, the Aranea Tarantula. The wound having become livid, enlarged and spread the pain over the arm and the back of the neck. He -was seized with anxiety and with pressure on the Præcordia, inclination +was seized with anxiety and with pressure on the Præcordia, inclination to vomit, faintness, cold skin, and weak pulse. After some time, the warmth of the body increased, and the pulse became stronger. The patient experienced great thirst, heavy breathing, restlessness, and the @@ -3724,7 +3703,7 @@ consequently slept quietly and uninterruptedly. After several repetitions of the music in the course of three days, he entirely recovered.[64] -Dr. Martinus Kähler, a Swedish physician, who visited Apulia in the year +Dr. Martinus Kähler, a Swedish physician, who visited Apulia in the year 1756, for the express purpose of investigating the Tarantism thoroughly, came to the conclusion that it is not caused by the Tarantula, but that it is a peculiar hypochondria with hysteria, to which the inhabitants of @@ -3744,7 +3723,7 @@ Tarantula."[65] The Tigretiya of Abyssinia is in some respects similar to the Tarantism; it is, however, not caused by the bite, or sting, of any animal. The Tigretiya has its name from occurring principally in the Abyssinian -district called Tigré. It is a kind of melancholy, the first symptoms +district called Tigré. It is a kind of melancholy, the first symptoms of which usually are a gradual wasting away of the attacked person. Music and dancing are used as the most effective remedies for healing the sufferer. @@ -3780,7 +3759,7 @@ thus regarded. The most extraordinary exhibitions of this kind among Christian sects occurred on the Continent during the Middle Ages, and are described in an interesting little book, by J. F. C. Hecker, entitled 'Die Tanzwuth, eine Volkskrankheit im Mittelalter; nach den -Quellen für Aerzte und gebildete Nichtärzte bearbeitet,' (The Dancing +Quellen für Aerzte und gebildete Nichtärzte bearbeitet,' (The Dancing Mania, an epidemic in the Middle Ages; compiled from original sources, for medical men and intelligent non-medical men. Berlin, 1832.) The author, a Doctor of Medicine, in Berlin, treats especially of the St. @@ -3852,7 +3831,7 @@ the centre, represent the planetary system in its relation to the sun. So far, the procedures of these fanatics are intelligible enough; but the words of their songs are so mystic that probably the Dervishes themselves are unable to attach a reasonable meaning to them. Still more -extraordinary is the behaviour of the Aïssaoua, a kind of Mohammedan +extraordinary is the behaviour of the Aïssaoua, a kind of Mohammedan fraternity in the Barbary States, who by means of music and dancing work themselves up to a state of ecstasy, in which they fancy themselves to be camels,--or, at any rate, in which they convey to others the @@ -3885,11 +3864,11 @@ Cure of Diseases; to which is subjoined an essay to solve the question wherein consisted the difference of ancient musick from that of modern time;' London, 1749.--The author, Richard Brocklesby, was a physician in London.--A circumstantial account of the contents of this treatise is -given in 'Historisch-Kritische Beyträge zur Aufnahme der Musik, von F. +given in 'Historisch-Kritische Beyträge zur Aufnahme der Musik, von F. W. Marpurg;' Vol. II., Berlin, 1756; p. 16-37. -'Traité des Effets de la Musique sur le corps humain, traduit du Latin -et augmenté des notes, par Etienne Sainte-Marie;' Paris, 1803.--This is +'Traité des Effets de la Musique sur le corps humain, traduit du Latin +et augmenté des notes, par Etienne Sainte-Marie;' Paris, 1803.--This is an annotated translation of a dissertation written in Latin by Joseph Ludovicus Roger, and published at Avignon in 1758. @@ -3898,26 +3877,26 @@ Musica nelle malattie nervose;' Livorno, 1780.--A French translation appeared in the year 1784, in St. Petersburg, entitled: 'Sur l'Effet de la Musique dans les Maladies nerveuses.' -Buc'hoz (Pierre Joseph): 'L'Art de connaître et de désigner le pouls par -les notes de la Musique, de guérir par son moyen la mélancolie, et le -Tarentisme qui est une espèce de mélancolie; accompagné de 198 -observations, tirées tant de l'histoire que des annales de la médicine -qui constatent l'éfficacité de la musique, non seulement sur le corps -mais sur l'âme, dans l'état de santé, ainsi que dans celui de maladie. -Ouvrage curieux, utile et intéressant; propre à inspirer le goût de cet -art, qui est pour nous un vrai présent des cieux;' Paris, 1806.--A +Buc'hoz (Pierre Joseph): 'L'Art de connaître et de désigner le pouls par +les notes de la Musique, de guérir par son moyen la mélancolie, et le +Tarentisme qui est une espèce de mélancolie; accompagné de 198 +observations, tirées tant de l'histoire que des annales de la médicine +qui constatent l'éfficacité de la musique, non seulement sur le corps +mais sur l'âme, dans l'état de santé, ainsi que dans celui de maladie. +Ouvrage curieux, utile et intéressant; propre à inspirer le goût de cet +art, qui est pour nous un vrai présent des cieux;' Paris, 1806.--A treatise with a similar title, by F. N. Marquet, appeared at Nancy in the year 1747. Lichtenthal (Peter): 'Der musikalische Arzt; oder, Abhandlung von dem -Einflusse der Musik auf den menschlichen Körper, und von ihrer Anwendung +Einflusse der Musik auf den menschlichen Körper, und von ihrer Anwendung in gewissen Krankheiten,' (The Musical Physician; or, a Treatise on the influence of music upon the human body, and on its application in certain illnesses. Vienna, 1807.)--An Italian translation of this work appeared in Milan in the year 1811. Schneider (Peter Joseph): 'System einer medizinischen Musik; ein -unentbehrliches Handbuch für Medizin-Beflissene, Vorsteher der +unentbehrliches Handbuch für Medizin-Beflissene, Vorsteher der Irren-Heilanstalten, praktische Aerzte, und unmusikalische Lehrer verschiedener Disciplinen,' (A System of Medical Music; an indispensable guide for Students of Medicine, Principals of Lunatic Asylums, @@ -3932,11 +3911,11 @@ To musicians, the most useful books among this class of literature are those which give good advice concerning the preservation of health. F. W. Hunnius, a Doctor of Medicine in Weimar, wrote a book entitled -'Der Arzt für Schauspieler und Sänger' (The Physician for Actors and +'Der Arzt für Schauspieler und Sänger' (The Physician for Actors and Singers. Weimar, 1798,) which, no doubt, has been useful to many. Another German publication of the kind, in which especial attention is given to the practice of musical instruments in so far as it affects the -health, bears the title 'Aerztlicher Rathgeber für Musiktreibende' +health, bears the title 'Aerztlicher Rathgeber für Musiktreibende' (Medical Adviser for those who cultivate Music) by Karl Sundelin, Berlin, 1832. The author, a Doctor of Medicine in Berlin, wrote his book with the assistance of his brother, who was a professional musician in @@ -4117,7 +4096,7 @@ William MacCann; London, 1853. Vol. I., p. 111. [48] _Machi_ is evidently identical with _Manchi_. [49] 'The Geographical, Natural, and Civic History of Chili,' by the -Abbé Don J. Ignatius Molina; London, 1809. Vol. II., p. 105. +Abbé Don J. Ignatius Molina; London, 1809. Vol. II., p. 105. [50] 'The Araucanians,' by E. R. Smith; London, 1855; p. 235. @@ -4130,11 +4109,11 @@ M. G. Lewis; London, 1845; p. 158. [53] The word _Obeah_ is probably identical with _Piaie_, mentioned above, page 89. -[54] 'History of Loango,' by the Abbé Proyard; Paris, 1776. 'A General +[54] 'History of Loango,' by the Abbé Proyard; Paris, 1776. 'A General Collection of Voyages and Travels,' by John Pinkerton; London, 1808; Vol. XIV., p. 572. -[55] 'Reisen in Süd-Africa,' von Ladislaus Magyar; Pest, 1859; Vol. I., +[55] 'Reisen in Süd-Africa,' von Ladislaus Magyar; Pest, 1859; Vol. I., p. 26. [56] 'The Kafirs of Natal and the Zulu Country,' by J. Shooter; London, @@ -4142,7 +4121,7 @@ p. 26. [57] 'Outlines of a Grammar, Vocabulary, and Phraseology of the Aboriginal Language of South Australia.' By G. C. Teichelmann and C. W. -Schürmann. Adelaide, 1840; part II. +Schürmann. Adelaide, 1840; part II. [58] 'An Historical Journal of the Transactions at Port Jackson and Norfolk Islands.' By John Hunter. London, 1793; p. 476. @@ -4289,7 +4268,7 @@ the garden. Again, on another occasion the beautiful lady immediately comes at the sound of the flute, inquiring, "Husband, what can I do for you?"[69] -In the Scandinavian Fairy Tales, collected by Asbjörnsen and Moe, we +In the Scandinavian Fairy Tales, collected by Asbjörnsen and Moe, we have a story entitled 'East o' the Sun and West o' the Moon,' in which a young country lass is taken into the cave of a shaggy White Bear, who afterwards turns out to be a lovely prince. When the White Bear has @@ -4407,12 +4386,12 @@ occasionally appear in human shape, and are in many ways like human beings, they live subject to other laws, and are endued with powers other than ours. It admits of no doubt that in the traditions respecting them much is to be found which has been derived from the pagan mythology -of our ancestors relating to the Walküren, who rode or sailed in the +of our ancestors relating to the Walküren, who rode or sailed in the clouds. The Walriderskes are frequently described as floating through the air and singing most sweetly. In Ostfriesland, England is the home assigned to these charming singers. They come from far over the sea to seek their sacrifice. Their boat is a sieve, such as the peasants in -Ostfriesland use for straining milk, and which is called _Tähmse_. Their +Ostfriesland use for straining milk, and which is called _Tähmse_. Their oars are human shoulder-blades. A peasant of Barssel once, while on a moonlight night he was mowing his @@ -4421,10 +4400,10 @@ sheaf to sleep. He had not lain long when he heard at a distance a melodious song, which gradually came nearer and nearer until it was above the field where he lay. He looked up and saw sailing in the air a Walriderske who had come over from England. She descended, hid her -_Tähmse_ and oars under a sheaf, and went away in the direction towards +_Tähmse_ and oars under a sheaf, and went away in the direction towards Barssel. The peasant lost no time in appropriating to himself the things which the Walriderske had hidden. Towards morning she returned; and when -she missed her _Tähmse_ and oars, she began to sing so dolefully that +she missed her _Tähmse_ and oars, she began to sing so dolefully that the peasant felt sorry for her, and gave her back the things. In the following night, when curiosity led him to go again to the place @@ -4608,31 +4587,31 @@ wife. But in Wallachia the common village priest of the Greek Church is called Pope, and may marry. He generally avails himself of the permission. -As regards Bakâla, whose music, as we shall presently see, killed the +As regards Bakâla, whose music, as we shall presently see, killed the Pope's wife, various tricks of his are on record, which clearly show that he was a great fool, somewhat resembling the German Till Eulenspiegel, who had perhaps more happy ideas than many persons who have passed for wise. -Well, Bakâla, one fine day, took it into his head to ascend a high +Well, Bakâla, one fine day, took it into his head to ascend a high mountain, merely for pleasure, and for the sake of boasting. Arrived at the top of the mountain he was fortunate enough to make the acquaintance of a well-disposed spirit, who offered him a present from -the clouds. The articles from which Bakâla was invited to select a +the clouds. The articles from which Bakâla was invited to select a keepsake looked mean and shabby, like those which people generally -consign to the lumber-room. Bakâla, however, examined them carefully, +consign to the lumber-room. Bakâla, however, examined them carefully, and chose an old and dusty bagpipe; for he imagined, as some people are apt to do, that he was madly fond of music. Moreover, the sound of the -bagpipe--this Bakâla soon discovered--had the power of making everyone +bagpipe--this Bakâla soon discovered--had the power of making everyone dance. -When Bakâla had come down from the mountain he engaged himself as +When Bakâla had come down from the mountain he engaged himself as shepherd to a village Pope in the valley. Every day he led the sheep into the fields, and blowing his bagpipe he made them caper and jump into the air like grasshoppers. And when, one morning, his master had sneaked out before him into the fields, and had hid himself in some bushes of sloes and dog-roses to watch his servant's strange -proceedings, Bakâla made the Pope dance as well as his flock. +proceedings, Bakâla made the Pope dance as well as his flock. The Pope was a soft-hearted sort of man. Quietness he loved above all things in the world; for its sake no sacrifice appeared to him too @@ -4641,7 +4620,7 @@ truth, she was just the reverse of her husband. She had more courage in her little finger than he had in all his limbs. His _Yes_ was her _No_, and when he called a thing white she was sure to declare that she had long since found it to be very black indeed. Neither would she believe -in the power of Bakâla's bagpipe. When the poor Pope, after his return +in the power of Bakâla's bagpipe. When the poor Pope, after his return from the sloes and dog-roses, showed her his tattered clothes and scratched limbs, all the sympathy he got from her was, "Tush! tush! nonsense! If I were as soft-hearted as some people are said to be, I @@ -4654,23 +4633,23 @@ to-night. I want to convince you"---- bagpipe? Let him come on!" Then the Pope thought that it was time to withdraw for the sake of -quietness. But in the evening he took Bakâla aside, and desired him +quietness. But in the evening he took Bakâla aside, and desired him just to serenade their mistress for a little while under the window. -Before Bakâla commenced playing the Pope sat down on the ground and +Before Bakâla commenced playing the Pope sat down on the ground and bound two heavy stones to his feet by way of precaution, while his wife -busied herself in the upper story of the house. No sooner had Bakâla +busied herself in the upper story of the house. No sooner had Bakâla begun his performance than she danced so furiously that she made the -whole house shake. Bakâla played faster and faster; her stamping grew +whole house shake. Bakâla played faster and faster; her stamping grew louder and louder. She danced until she had actually stamped a hole in the floor, through which she descended into the lower story. The Pope peeped into the room; and when he saw what had happened he felt sorry, -and he beckoned Bakâla to leave off playing. But, alas! he beckoned too +and he beckoned Bakâla to leave off playing. But, alas! he beckoned too late! The poor lady had danced herself to death. -Now, one might have thought the Pope would have dismissed Bakâla, +Now, one might have thought the Pope would have dismissed Bakâla, telling him that his services were not any further required. But this is -just precisely what he did not do. On the contrary, he kept Bakâla in +just precisely what he did not do. On the contrary, he kept Bakâla in his service, and treated him even better than before.[75] @@ -5161,7 +5140,7 @@ of the Niederring, old and young unite in singing the Chorale _Uns ist ein Kindlein heut geboren_ ("For us this day a child is born"). As soon as this impressive act of devotion is concluded, the town band stationed in the tower of the old parish church performs on brass instruments the -noble Chorale _Allein Gott in der Höh sei Ehr_ ("All glory be to God on +noble Chorale _Allein Gott in der Höh sei Ehr_ ("All glory be to God on High"), which in the stillness of the night is heard over the whole town, and even in the neighbouring villages. @@ -5276,7 +5255,7 @@ of the art and science of music? [Illustration] -[67] 'Griechische und Albanische Märchen, gesammelt von J. G. v. Hahn.' +[67] 'Griechische und Albanische Märchen, gesammelt von J. G. v. Hahn.' Leipzig, 1864; Vol. I., p. 273. [68] See above, Vol. I., p. 84. @@ -5287,8 +5266,8 @@ India.' Collected from oral tradition by M. Frere. London, 1868; p. 25. [70] 'Popular Tales from the Norse, translated by G. W. Dasent.' Edinburgh, 1859; p. 27. -[71] 'Sagen, Märchen und Lieder der Herzogthümer Schleswig, Holstein und -Lauenburg,' von Karl Müllenhoff; Kiel, 1845; p. 336. +[71] 'Sagen, Märchen und Lieder der Herzogthümer Schleswig, Holstein und +Lauenburg,' von Karl Müllenhoff; Kiel, 1845; p. 336. [72] 'Aberglaube und Sagen aus dem Herzogthum Oldenburg, herausgegeben von Strackerjan;' Oldenburg, 1867; Vol. I., p. 190. @@ -5296,21 +5275,21 @@ von Strackerjan;' Oldenburg, 1867; Vol. I., p. 190. [73] 'Aberglaube and Sagen aus dem Herzogthum Oldenburg, herausgegeben von Strackerjan;' Oldenburg, 1867; Vol. I., p. 375. -[74] 'Griechische und Albanische Märchen, gesammelt von J. G. v. Hahn;' +[74] 'Griechische und Albanische Märchen, gesammelt von J. G. v. Hahn;' Leipzig, 1864; Vol. I., p. 222, and Vol. II., p. 240. -[75] 'Wallachische Märchen, herausgegeben von A. Schott;' Stuttgart, +[75] 'Wallachische Märchen, herausgegeben von A. Schott;' Stuttgart, 1845, p. 228. [76] Aix-la-Chapelle. -[77] 'Deutsche Märchen and Sagen, gesammelt von J. W. Wolf.' Leipzig, +[77] 'Deutsche Märchen and Sagen, gesammelt von J. W. Wolf.' Leipzig, 1845; p. 472. -[78] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, +[78] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, 1843; p. 466. -[79] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, +[79] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, 1843; p. 648. [80] _Taters_ is evidently synonymous with _Tartars_. @@ -5319,7 +5298,7 @@ Leipzig, 1864; Vol. I., p. 222, and Vol. II., p. 240. India.' Collected from oral tradition, by M. Frere. London, 1868; pp. 139, 273. -[82] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, +[82] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, 1843. p 230. [83] 'Deutsche Volksfeste, von F. A. Reimann;' Weimar, 1839; p. 218. @@ -5553,7 +5532,7 @@ history of Siam, published in the year 1771, "whenever they burn the body of a minister or great man, a theatre is erected on the side of a river, where the actors appear habited according to their parts; and during three days they never quit the scene from eight in the morning -till seven at night." De La Loubère, who visited Siam in the year 1687, +till seven at night." De La Loubère, who visited Siam in the year 1687, says that the subjects of the dramas are "historical, in verse, serious, and sung by several actors who are always present, and who only sing reciprocally. One of them sings the historian's part, and the rest sing @@ -5593,7 +5572,7 @@ plays remarks of the actors: "Their singing is good, when the ear has become accustomed to it; and the modulation of voice of the females is really captivating."[95] Sir George Staunton was evidently surprised to find that a kind of historical opera, which he heard in the town of -Turon (called by the natives Hansán) contained recitatives, airs, and +Turon (called by the natives Hansán) contained recitatives, airs, and choruses, which were, he says, "as regular as upon the Italian stage." He adds: "Some of the female performers were by no means despicable singers. They all observed time accurately, not only with their voices, @@ -5714,27 +5693,27 @@ lotus." (_Scene closes._) - _Himalaya Mountains.--Enter a Nát._[99] + _Himalaya Mountains.--Enter a Nát._[99] -_Nát._--"Now I am a Nát! When, and in what body was I before? Ah! -looking with a Nát's eyes and understanding, I perceive I was a hermit +_Nát._--"Now I am a Nát! When, and in what body was I before? Ah! +looking with a Nát's eyes and understanding, I perceive I was a hermit in these wilds. My companion, Alakappa, is still here. I will seek my friend." (_Approaches a cave._) _Hermit._--"Who art thou that comest suddenly to my cell in the garb and -appearance of a Nát, with the nine jewels in thy crown?" +appearance of a Nát, with the nine jewels in thy crown?" -_Nát._--"O holy Hermit, of a good lineage, who ever livest in the +_Nát._--"O holy Hermit, of a good lineage, who ever livest in the forest, tell me all thou desirest, so that nought may remain unsaid!" -_Hermit._--"O Nát, who by stupendous merit has reached the exalted +_Hermit._--"O Nát, who by stupendous merit has reached the exalted abode! I have nothing particular to ask; but numerous elephants come around my cell and do great damage. Be pleased to forbid this for the future." -_Nát._--"O holy Hermit! I will give thee a golden harp, and by the +_Nát._--"O holy Hermit! I will give thee a golden harp, and by the virtue of its sounds, and thy songs accompanying, elephants will come or go as thou commandest." @@ -5805,7 +5784,7 @@ dramas. Its title was 'The Results of Misplaced Friendship;' the words were recited in a "monotonous recitative," accompanied by a band of instrumental performers. As regards the plot of the piece, suffice it to say that it had a moral aim, and that a Brahmin and a clown were the -most amusing characters of the Dramatis Personæ. The clown displayed +most amusing characters of the Dramatis Personæ. The clown displayed much cleverness in mimicking a European in his dress and manners. The 'Select Specimens of the Theatre of the Hindus,' translated from the original Sanskrit, by R. H. Wilson, London, 1835, contain but few @@ -5813,7 +5792,7 @@ allusions to music; but these are ancient dramas, and the Hindus possess, as R. H. Wilson in his interesting Introduction points out, different kinds of theatrical entertainments. There was in former time no building appropriated to the public performance of dramas. The Kings -had in their palaces a kind of music hall, called _Sangita Sálá_, in +had in their palaces a kind of music hall, called _Sangita Sálá_, in which were given entertainments consisting principally of music and dancing, and occasionally of dramatic representations. @@ -5957,7 +5936,7 @@ demons; and there are besides several other religious celebrations in which music is employed in combination with fire-works and dramatic representations. -Comic scenes were not excluded from the old Mysteries of mediæval time. +Comic scenes were not excluded from the old Mysteries of mediæval time. On the contrary, they appear to have been highly relished by the worshippers, and contributed much to the popularity of the entertainments. In Paris a building was erected, in the year 1313, @@ -6066,14 +6045,14 @@ their appropriate costumes, and provided with their requisite attributes. Again, at a festival which was held at Brussels, in September, 1839, two parishes of the town arranged a grand Cavalcade, in which a scene was represented commemorating a political event from -the history of Belgium. Many of the riders were dressed in mediæval +the history of Belgium. Many of the riders were dressed in mediæval costume, while some appeared in Oriental dresses. The sons and daughters of the most influential citizens generally undertake the representation of the principal characters in these processions. Music is, of course, an indispensable assistance for the solemnity of such pageants. However, as recitations are of secondary importance in them, or are even entirely omitted, the first attempts at dramatic music are less traceable in -these remains of mediæval entertainments than they are in the rude +these remains of mediæval entertainments than they are in the rude amusements of savages noticed in the beginning of this survey. It has probably already occurred to the reader that the "Opera of the @@ -6146,7 +6125,7 @@ Barrow. London, 1806; p. 295. [98] 'A Seaman's Narrative of his Adventures in Cochin-China,' by Edward Brown. London 1861; p. 221. -[99] '_Náts_' are sprites corresponding to the Hindu _Dewas_ whose place +[99] '_Náts_' are sprites corresponding to the Hindu _Dewas_ whose place they take in the Burman Buddhist system. They are supposed to have been the objects of Burman worship in pre-Buddhistic times. @@ -6238,7 +6217,7 @@ chronological tables he may have compiled in this way without detriment to them, since they do not require to be written with feeling, even less with inspiration, but merely with careful discernment, and with perseverance. Be this as it may, he certainly was an eminent pianoforte -teacher, as is proved by his having instructed Liszt, Döhler, and other +teacher, as is proved by his having instructed Liszt, Döhler, and other distinguished pianists. His finger-exercises, or pianoforte-studies, have outlived his other compositions, and his chronological tables will probably be used for reference long after his finger-exercises have been @@ -6286,13 +6265,13 @@ _Eighth Period._--From Dufay until Ockeghem, or Ockenheim (A.D. Counterpoint. Musical Notation fixed. Composers according to the new system of Harmony. -_Ninth Period._--From Ockeghem until Josquin des Prés (A.D. 1450-1480). +_Ninth Period._--From Ockeghem until Josquin des Prés (A.D. 1450-1480). The newer or second Netherlandish School. Artificial Counterpoint. Beginning of the reputation of the Netherlandish masters. In Italy and Germany executive artists on the Organ, Clavichord, and other instruments, make their appearance. -_Tenth Period._--From Josquin des Prés until Willaert (A.D. 1480-1520). +_Tenth Period._--From Josquin des Prés until Willaert (A.D. 1480-1520). Commencement of the flourishing, state of the Netherlandish masters, and their influence upon all European countries. Masters in Counterpoint arise in Germany. Meritorious teachers in Italy. French musicians attain @@ -6508,7 +6487,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. sail to Colchis. | | Hercules. | | Amphion, lyrist, singer, and Theseus. | | composer, improves the Grecian lyre. - Triptolemus introduces | | Musæus, lyrist, sets music to the + Triptolemus introduces | | Musæus, lyrist, sets music to the agriculture | | words of the oracles. into | | Greece. | | @@ -6546,7 +6525,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | Trojan heroes: | | Celmis, a priest of Creta, invents Priam, Hector, | | (or probably improves) several - Paris, Æneas. | | instruments of percussion. + Paris, Æneas. | | instruments of percussion. | | Codrus, the last | 1100 | Ardalus, of Troezen, invents a new King of Athens | | species of flute for accompanying @@ -6576,7 +6555,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. in Greece. | | Lycurgus reforms | 850 | Hesiodus, singer and poet, born in the Republic of | | Boeotia. Simmicus, inventor of an - Lacedæmonia, | | instrument with thirty-five strings, + Lacedæmonia, | | instrument with thirty-five strings, and gives laws | | called Simmikon or Simmicium. to the Spartans. | | Thaletas, of Creta, musician and poet, | | composes in Sparta, under Lycurgus, @@ -6593,7 +6572,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | Important improvements in the music | | of the Greeks. | | - | 700 | Tyrtæus, of Athens, poet, singer, + | 700 | Tyrtæus, of Athens, poet, singer, | | and trumpeter, composes war-songs for | | Sparta against Messenia. | | @@ -6615,7 +6594,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. carries the | | accompaniment, besides airs to his Jews into captivity. | | poems. | | - | | Alcæus, of Mytilene, singer, lyrist, + | | Alcæus, of Mytilene, singer, lyrist, | | and poet. | | Solon, law-giver, | | Sappho, of Mytilene, female singer, @@ -6653,7 +6632,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | 500 | Lasus, of Achaia, writes treatises | | on the theory of music. | | - Battle of Marathon, | | Æschylus, born at Athens about + Battle of Marathon, | | Æschylus, born at Athens about in which the Greeks, | | 525, singer and writer of Tragedies. commanded by | | Miltiades, defeat | | Simonides, of Ceos, born in 557, @@ -6685,7 +6664,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | Pericles, Greek | 450 | The highest degree of perfection of General and | | the dramatic art in Greece through - orator. | | Æschylus, Sophocles, Euripides, and + orator. | | Æschylus, Sophocles, Euripides, and Herodotus, historian. | | through the musical composer Damon, | | the singer Agathon, etc., at Athens. | | @@ -6771,10 +6750,10 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | letters of the Greek alphabet. The Romans | | under Julius | | - Cæsar invade | | + Cæsar invade | | Britain (55). | | | | - Julius Cæsar | 50 | Hermogenes (Marcus Tigellius), + Julius Cæsar | 50 | Hermogenes (Marcus Tigellius), assassinated in | | singer and instrumentalist of Greece, the Senate-house | | settles in Rome. (44). | | @@ -6791,7 +6770,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | of the oldest music of the Egyptians Horace. | | and Greeks. | | - Mæcenas. | | + Mæcenas. | | | | Titus Livius, | 10 | Vitruvius (Pollio M.), born in historian. | | Italy, architect, writes on musical @@ -6847,7 +6826,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. the Parthians, & | | founds | | the dynasty of | | - the Sassanidæ | | + the Sassanidæ | | (226). | | Probus, Roman | 250 | The Fathers of the Church who give Emperor, | | the first account of the sacred songs @@ -7031,7 +7010,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. of Hungary by | | positions between lines. The signs the Magyars | | used for the purpose during the (about 900). | | three preceding centuries were - University of | | called Numæ. + University of | | called Numæ. Cambridge | | restored (915). | | Institution of | | @@ -7074,10 +7053,10 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. of English | | Harp, Rotta, Viol, Lute, Organistrum, Liberty (1215). | | Regals, Recorder, Sackbut, Shalm, etc. | | - Distinguished | 1207 | Contest of the Minnesänger at the + Distinguished | 1207 | Contest of the Minnesänger at the Troubadours and | | Wartburg, in Saxony. - Minnesänger during | | - the twelfth and | | The Minnesänger, who flourished in + Minnesänger during | | + the twelfth and | | The Minnesänger, who flourished in thirteenth | | Germany, especially during the twelfth centuries:-- | | and thirteenth centuries, were | | identical with the Troubadours, or @@ -7090,7 +7069,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Arnold of Maraviglia, | | where they originated about the Heinrich von Veldeck, | | beginning of the eighth century. Wather von der | | Subsequently, at the time of the - Vogelweide, Reimar | | German Minnesänger, there were also + Vogelweide, Reimar | | German Minnesänger, there were also der Aeltere, Reimar | | Troubadours in Italy, Spain and der Zweter, Ulrich | | England. Among them were many von Lichtenstein, | | noblemen, and even princes. @@ -7100,7 +7079,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. von der Aue, | | Gottfried von | | Strassburg, Conrad | | - von Würzburg, | | + von Würzburg, | | Johann Hadlaub. | | | | The Kingdom | 1220 | FRANCO OF COLOGNE, the first @@ -7108,7 +7087,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. founded by the | | circumstantially on the new theory of Moors in Spain | | Harmony, and who, by expounding it (1238). | | systematically, greatly contributes to - | | its diffusion. (Forkel, Fétis, and + | | its diffusion. (Forkel, Fétis, and Foundation of | | some other musical historians, the University | | maintain that Franco of Cologne lived of Vienna | | during the second half of the eleventh @@ -7120,7 +7099,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Termination of | | the Crusades | | (1248). | | - Parliament of | 1260 | Hieronymus von Mæhren, in France, + Parliament of | 1260 | Hieronymus von Mæhren, in France, Great Britain. | | writes on the theory of music. First assembly | | of the Commons | 1280 | ADAM DE LA HALE, of Arras, in @@ -7129,7 +7108,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. (1265). | | with songs, etc. He lived in Provence. Venice and Genoa | | are powerful. | | - Invention of Gunpowder | 1290 | Ægidius, of Zamora, a Spanish monk, + Invention of Gunpowder | 1290 | Ægidius, of Zamora, a Spanish monk, (1292). | | writes on the invention of musical Italian poets and | | instruments. authors: Dante | | @@ -7183,7 +7162,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Turks (1453). | | harmony and the musical notation. | | Watches invented | 1470 | OCKEGHEM, or OCKENHEIM (Johann), - at Nürnberg | | born about 1430 in Hainault, Belgium; + at Nürnberg | | born about 1430 in Hainault, Belgium; (1477). | | died 1513. Founder of the newer Inquisition in | | Netherlandish School, improver of Spain (1480). | | harmony, and composer of Church music. @@ -7199,7 +7178,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. growth of the | | arts & sciences | | (1402-1537). | | - America discovered | 1490 | DÉPRÉS (Josquin des Prés), born + America discovered | 1490 | DÉPRÉS (Josquin des Prés), born by Columbus | | about 1450 in France, died about 1521. (1492). | | Pupil of Ockeghem. Many Masses and Macchiavelli, | | other compositions for the Church. @@ -7217,7 +7196,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Rafael Sanzio, | | Adam von Fulda, born about 1450 in painter (1483-1520). | | Germany. Writes a treatise on the Correggio (1494-1534). | | newly-established theory of music, and - Albrecht Dürer | | composes music for the Church. + Albrecht Dürer | | composes music for the Church. (1471-1528). | | | | Towards the end of the fifteenth | | century Chairs of Professorship for @@ -7373,13 +7352,13 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. (1565). | | Theory of Music. | | Hans Sachs, | | PALESTRINA (GIOVANNI PIERLUIGI DI), - Meistersänger | | born 1524 in Palestrina, died 1594. + Meistersänger | | born 1524 in Palestrina, died 1594. (1494-1576). | | Reform of the Italian Church music by | | means of purer harmony. Ennobling of Tycho Brahe, | | the rude Netherlandish style. Many Astronomer | | Masses, Hymns, Motetts, Litanies, (1546-1601). | | Offertories, etc.--Palestrina's - | | celebrated Mass, known as Missa Papæ + | | celebrated Mass, known as Missa Papæ The Counts Egmont | | Marcelli, which was performed in Rome & Horn | | in the year 1565, had the effect of beheaded at | | altering the opinion of many of the @@ -7466,7 +7445,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Edict of Nantes. | | Religious Liberty | | (1598). | | Gallus (Johann Peter), properly - | | Händl, born about 1550 at Krain, in + | | Händl, born about 1550 at Krain, in | | Austria, died 1591. Many sacred songs. | | Incorporation by | 1600 | Vittoria (Tomaso Ludovico della), @@ -7492,7 +7471,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Colony in | | theoretical works. Canada (1604). | | | | Schultz (Hieronymus), called - First permanent | | Prætorius, born 1560 at Hamburg, died + First permanent | | Prætorius, born 1560 at Hamburg, died British settlement | | 1629. Motetts, etc. in North | | America, formed | | From about 1600 to 1725, the @@ -7505,7 +7484,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Bacon publishes | | The most popular instruments about his Advancement | | the year 1600 were: The lute, cither, of Learning | | spinet, virginal, clavichord, - (1605). | | flûte-à-bec, cornet, etc. + (1605). | | flûte-à -bec, cornet, etc. | | Guy Fawkes | 1605 | Viadana (Ludovico), born 1560 in Gunpowder | | Italy, died 1625. Many Church @@ -7532,7 +7511,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | at Bergamo, died 1620. Many English poets:--Milton,| | theoretical treatises. Dryden, | | - Butler, | | Prætorius (Michael), born 1571 in + Butler, | | Prætorius (Michael), born 1571 in Otway, Prior, | | Thuringia, Germany, died 1621. Many Cowley, Denham. | | Masses, Psalms, Hymns, and a musical | | treatise. @@ -7581,14 +7560,14 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. New Plymouth | | (1620). | | | | - Charles I. succeeds | 1627 | Schütz (Heinrich von), called + Charles I. succeeds | 1627 | Schütz (Heinrich von), called James I., | | Sagittarius, born 1585 in Germany, King of England, | | died 1672. Many Motetts, Psalms, and after the | | also Operas. In the year 1627 the death of the | | Opera Dafne, by Rinuccini (see above, latter, in 1625. | | date 1580), having been translated Disputes between | | into German by Opitz, and composed - King | | anew by Schütz, was performed in + King | | anew by Schütz, was performed in Charles I. and | | Dresden as the first German Opera. his Parliament. | | Civil war begins | | Mazzocchi (Domenico), born about @@ -7596,7 +7575,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. general assembly | | Oratorios, Madrigals for five of the Hanseatic | | different voices with instrumental cities of | | accompaniments. Introduced signs of - Germany. Lübeck, | | expression in the notation. + Germany. Lübeck, | | expression in the notation. Hamburg | | and Bremen | | continue united. | | @@ -7644,7 +7623,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Richelieu (1642). | | died 1662. Psalms and Secular | | songs. Louis XIV. (styled | | - _Dieu-donné_), | | + _Dieu-donné_), | | King of France | | (1643-1715). | | | | @@ -7664,7 +7643,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. the Commonwealth | | and other vocal music. (1653). | | | | - Portugal takes | | Dumont (Henri), born 1610 at Liége, + Portugal takes | | Dumont (Henri), born 1610 at Liége, possession of | | Belgium, died 1684. Masses and other the Brazils | | Church compositions. Innovation of (1654). | | the employment of instrumental @@ -7716,7 +7695,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. (1670). | | Schleswig, died 1711. Many Treatises | | on the Music of the Ancient Greeks. | | - Death of Molière | 1672 | LULLI (GIOVANNI BATTISTA), born + Death of Molière | 1672 | LULLI (GIOVANNI BATTISTA), born (1673). | | 1633 at Florence, died 1687 at Paris. | | Founder of the older French operatic De Ruyter, the | | music. Composed 19 Operas and 26 @@ -7763,7 +7742,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Death of Racine | | other sacred compositions. (1699). | | | | Krieger (Adam), born 1646 at - Locke, philosopher, | | Nürnberg, died 1725. Operas, etc. + Locke, philosopher, | | Nürnberg, died 1725. Operas, etc. English | | (1632-1704). | | | | @@ -7785,8 +7764,8 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Queen Anne | | (1702). | | | | - Battle of Blenheim, | | Brossard (Sébastien de), born 1660, - or Höchstadt, | | probably at Strassburg, died 1730. + Battle of Blenheim, | | Brossard (Sébastien de), born 1660, + or Höchstadt, | | probably at Strassburg, died 1730. gained by | | Many Masses, a Dictionary of Music. the Duke of | | Brossard's Dictionary, which was Marlborough & | | published in 1703, is generally @@ -7816,7 +7795,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Peace of Utrecht | | counterpoint of Domenico Scarlatti (1713). | | and Marcello. | | - Death of Fénélon | | Lotti (Antonio), born about 1665 at + Death of Fénélon | | Lotti (Antonio), born about 1665 at (1715). | | Venice, died 1740. Nineteen Operas, | | many church compositions and Defoe, author of | | madrigals. @@ -7830,7 +7809,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. and Parnell, | | about 23 Operas. For a time rival of English Poets. | | Handel in London. | | - George, Elector | | Couperin (François), born 1668 at + George, Elector | | Couperin (François), born 1668 at of Hanover, | | Paris, died 1733. Organist. Many organ becomes King | | and clavecin (harpsichord) of England, as | | compositions. @@ -7898,7 +7877,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. thermometer | | Treatise on the Theory of Music. (1724). | | | | - Réaumur, improver | | + Réaumur, improver | | of the | | thermometer | | (1731). | | @@ -7913,7 +7892,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Swift publishes | | About this time, the first his 'Gulliver's | | Pianofortes were constructed by Travels' (1726). | | Christofori, in Italy, and by - | | Schröter, in Germany. + | | Schröter, in Germany. | | Pope publishes | 1730 | Marcello (Benedetto), born 1686 at his 'Essay on | | Venice, died 1739. Composed fifty @@ -7944,12 +7923,12 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. constructs | | 'God save the King.' a chronometer of | | great precision | | HANDEL (GEORG FRIEDRICH), properly - (1735). His | | Händel, born 1685 at Halle, died 1759 + (1735). His | | Händel, born 1685 at Halle, died 1759 fourth chronometer | | in London. Composed fifty-one Operas is used at sea | | (forty-three having Italian words in 1764, and he | | and eight having German words), twenty receives a reward | | English Oratorios, many cantatas, - of £20,000. | | motetts, anthems, a Mass, four Te + of £20,000. | | motetts, anthems, a Mass, four Te | | Deums, concertos, instrumental | | compositions for the organ, Frederick III., | | harpsichord, etc. @@ -7974,8 +7953,8 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Gellert, Hagedorn, | | Every German town in which Rabener, | | a Sovereign resided had an Rammler, Kleist, | | Italian Opera. The German art of - Weisse, Bürger, | | singing began to flourish - Hölty, Stollberg, | | only about the year 1760. Even + Weisse, Bürger, | | singing began to flourish + Hölty, Stollberg, | | only about the year 1760. Even Voss, | | Mozart wrote but two Operas to German Gleim, Jacoby, | | words. The German composers Uz, Gerstenberg, | | (Handel, Gluck, Hasse, Mozart, etc.) @@ -7999,7 +7978,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. sect of Methodists | | great Mass in B minor, about 1734; (1730). | | the Art of Fugue, in the year 1748. | | - | | Stölzel (Gottfried Heinrich), born + | | Stölzel (Gottfried Heinrich), born George Whitfield, | | 1690 in Bohemia, died 1749. Several founder of the | | Operas, Oratorios, Masses, and sect of Calvinistic | | Treatises on the Theory and History of @@ -8088,14 +8067,14 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. persons in the | | ruins (1746). | | | | - Linnæus, naturalist | 1750 | The flourishing period of the + Linnæus, naturalist | 1750 | The flourishing period of the (1750). | | Italian operatic music dates from | | about the year 1700 to 1780. The most The Academy of | | celebrated writers of libretti were Sciences at | | Apostolo Zeno and Metastasio. The most Stockholm, | | celebrated female singers: Faustina, and the Royal | | Cuzzoni, Mattei, Scotti, Grassi, - Society at Göttingen, | | Gabrieli, Agujari, Danci, Allegrante, + Society at Göttingen, | | Gabrieli, Agujari, Danci, Allegrante, are founded (1750). | | Storace, etc. The most celebrated Samuel Johnson | | male singers: Lovattini, Guarducci, commences the | | Farinelli, Nicolini, Guadagni, @@ -8226,7 +8205,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | at Madrid, died 1799. Author of a Death of William | | History of the Italian Opera. Pitt, first Earl | | - of Chatham | | Philidor (François André), born 1727 + of Chatham | | Philidor (François André), born 1727 (1778). | | at Dreux, died 1795. Composed 22 | | Operas, of which 11 are to Italian Captain Cook is | | words, and 11 to French words. @@ -8237,7 +8216,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | 1729 at St. Omer, died 1817. Composed J. Priestley, | | 17 Operas, ballets, etc. chemical philosopher | | - (1733-1804). | | Gossec (François Joseph), born 1733 + (1733-1804). | | Gossec (François Joseph), born 1733 | | at Hainault, died 1829. Composed 28 Hunter, surgeon | | Operas, and many sacred compositions. (1728-1793). | | @@ -8251,7 +8230,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | works. Boswell, biographer | | of Dr. | | Abel (Carl Friedrich), born 1725 at - Johnson. | | Köthen, in Germany, died 1787 in + Johnson. | | Köthen, in Germany, died 1787 in | | London. Viola-da-Gambist and composer. Cowper, poet. | | | | @@ -8349,14 +8328,14 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. (about 1780). | | Paesiello, Cimaroso, Sacchini, | | Piccini, etc. The Steam | | - Engine is | | Langlé (Onorio Francesco), born + Engine is | | Langlé (Onorio Francesco), born applied to | | 1741 at Monaco, died 1807. Composed cotton spinning | | 8 Operas (with French words), and (1785). | | wrote several theoretical works on | | music in French. Lessing (1729-1781). | | - | | Grétry (André-Ernest-Modeste), born - The United | | 1741 at Liége, died 1813. Composed + | | Grétry (André-Ernest-Modeste), born + The United | | 1741 at Liége, died 1813. Composed States of | | 59 Operas, several Masses, motetts, America declare | | symphonies, quartetts, their | | pianoforte-sonatas, etc. Also Essays @@ -8405,7 +8384,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Botany Bay | | concertos and other instrumental (1788). | | pieces. | | - Invention of the | | André (Johann), born 1741 at + Invention of the | | André (Johann), born 1741 at balloon, and | | Offenbach, in Germany, died 1799. ascent by | | Composed about 30 German Operettas. Montgolfier, in | | @@ -8492,7 +8471,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. the English | | instruction on music. Parliament | | (1807). | | Schulz (Johann Peter), born 1747 at - | | Lüneburg, in Germany, died 1800. + | | Lüneburg, in Germany, died 1800. Vaccination is | | Several Operas, Oratorios, choruses, introduced by Dr. | | etc. Jenner (1796). | | @@ -8502,15 +8481,15 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Alois Sennefelder | | Operas. Teacher of Beethoven, in (1796). | | Bonn. | | - Hahnemann, | | Stadler (Maximilian), Abbé, born + Hahnemann, | | Stadler (Maximilian), Abbé, born founder of | | 1748 in Austria, died 1833. An Homoeopathy | | Oratorio, Masses, psalms, and other (1796). | | sacred vocal music, compositions for | | the organ and the pianoforte. In the year 1792 | | the French | | - nation adopted | | Vogler (Georg Joseph), Abbé, born - a new Calendar | | 1749 at Würzburg, in Germany, died + nation adopted | | Vogler (Georg Joseph), Abbé, born + a new Calendar | | 1749 at Würzburg, in Germany, died founded on | | 1814. Composed 5 Operas, several philosophical | | Masses, many other sacred principles. It | | compositions, symphonies, organ @@ -8532,9 +8511,9 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. were dedicated | | Moravia, died 1831. Above 200 Operas to Les Vertus, | | of a light and popular character. Sept. 17; Le | | - Génie, Sept. | | + Génie, Sept. | | 18; Le Travail, | | Reichardt (Johann Friedrich), born - Sept. 19; | | 1752 at Königsberg, in Prussia, died + Sept. 19; | | 1752 at Königsberg, in Prussia, died L'Opinion, | | 1814. Composed 30 Operas, some Sept. 20; Les | | Oratorios, hymns, secular songs. Recompenses, | | Author of several Treatises on Music, @@ -8547,7 +8526,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. is later | | harmony. defeated. Suwarrow | | storms | | - Warsaw (1794). | | Türk (Daniel Gottlieb), born 1756 in + Warsaw (1794). | | Türk (Daniel Gottlieb), born 1756 in | | Saxony, died 1813. An Oratorio, The third division | | motetts, many pieces for the of Poland between | | clavichord and the pianoforte, a @@ -8579,13 +8558,13 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | The English take | 1800 | Mozart composed, in 1780, the Opera possession of | | 'Idomeneo' for Munich; in 1781, 'Die - most of the | | Entführung aus dem Serail' (his first + most of the | | Entführung aus dem Serail' (his first French and | | Opera with German words) for Vienna; Dutch dominions | | in 1785, 'Le Nozze de Figaro' for in America | | Vienna; in 1787, 'Don Giovanni' for (1803). | | Prague; in 1790, 'Cosi Fan Tutte' for | | Vienna; in 1791, 'La Clemenza di Tito' - Napoleon, Emperor | | for Prague, and 'Die Zauberflöte' (his + Napoleon, Emperor | | for Prague, and 'Die Zauberflöte' (his of France | | second Opera with German words) for (1804). | | Vienna. In the same year, 1791, he | | wrote also his Requiem. @@ -8623,14 +8602,14 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. (1818). | | in Italy. Composer of 77 Operas, many | | Oratorios, Masses, psalms, and other Death of Marshal | | sacred music. - Blücher, | | + Blücher, | | aged 77 (1819). | | | | Captain Ross | | MEHUL (ETIENNE HENRI), born 1763 makes a voyage | | at Givet, died 1817. Composed 42 of Discovery | | Operas, many hymns, cantatas, etc. in the | | - Polar Sea | | Lesueur (Jean François), born 1764 + Polar Sea | | Lesueur (Jean François), born 1764 (1818). | | at Abbeville, died 1837. Composed 10 | | Operas, 33 Oratorios, several Masses Klopstock (1724-1803). | | and motetts. @@ -8690,7 +8669,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Honour in | | Opera. France (1802). | | | | Kunzen (Friedrich), born 1761 at - Men of Science | | Lübeck, died 1817. Composed 9 Operas + Men of Science | | Lübeck, died 1817. Composed 9 Operas born about this | | (8 of which are with Danish words, and time:-- | | one is with German words), 3 | | Oratorios, several cantatas, and other @@ -8742,12 +8721,12 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. (1759-1814). | | etc. | | | | Choron (Alexandre Etienne), born - Thorwaldsen, | | 1772 at Caën, died 1834. Many + Thorwaldsen, | | 1772 at Caën, died 1834. Many Danish sculptor | | theoretical works. A Musical (1770-1844). | | Dictionary. | | | | Catel (Charles Simon), born 1773 at - Béranger, French | | L'Aigle, died 1830. Composed 10 + Béranger, French | | L'Aigle, died 1830. Composed 10 poet (1780-1857). | | Operas, many instrumental and vocal | | pieces. Author of a Treatise on Arago, French | | Harmony, etc. @@ -8771,12 +8750,12 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Baron Beust, | | Oratorios and cantatas, 10 Masses, and born 1809. | | other sacred music. | | - Bismarck-Schönhausen, | | Weber (Bernhard Anselm), born 1766 + Bismarck-Schönhausen, | | Weber (Bernhard Anselm), born 1766 born 1813. | | at Mannheim, died 1821. Several | | Operas, melodramas, and Entr'actes. Count Cavour, | | born 1810. | | Romberg (Andreas), born 1767 in - | | Vechte, near Münster, in Germany, died + | | Vechte, near Münster, in Germany, died Cobden, born 1804. | | 1821. Composed 7 Operas, a Te Deum, | | psalms and other sacred compositions, John Bright, born | | many symphonies and other instrumental @@ -8784,17 +8763,17 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | | | Romberg (Bernhard), brother of Sculptors born | | Andreas Romberg, born 1770 near - about this time:-- | | Münster in Germany, died 1841. + about this time:-- | | Münster in Germany, died 1841. | | Violoncellist. Composed 3 Operas, many Marochetti, born | | concertos and other pieces for the 1805. | | violoncello, quartetts, etc. | | - | | Müller (Wenzel), born 1767 in + | | Müller (Wenzel), born 1767 in Kiss, born 1802. | | Moravia, died 1835. Above 200 Operas | | of a light popular character, Powers, born 1805. | | pantomimes, etc. | | - | | Nägeli (Johann Georg), born 1773 + | | Nägeli (Johann Georg), born 1773 The Jesuits are | | near Zurich, in Switzerland, died expelled from | | 1836. Promoter of popular singing Prussia (1817). | | societies, composer of vocal music, @@ -8900,7 +8879,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Davy, chemist, | | Malta, died 1818. Composed 42 Operas, inventor of the | | several Masses, cantatas, etc. safety-lamp, | | - etc. | | Boieldieu (François Adrien), born + etc. | | Boieldieu (François Adrien), born | | 1775 at Rouen, died 1834. Composed Macadam, improver | | 23 Operas. of | | @@ -8916,16 +8895,16 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Preacher), Sir | | trios, 2 pianoforte sextetts, and R. Phillips, W. | | other pianoforte music. Hazlitt, | | - Charles | | Auber (Daniel François Esprit), born - Lamb, miscellaneous | | 1782 at Caën, in France, died 1871. + Charles | | Auber (Daniel François Esprit), born + Lamb, miscellaneous | | 1782 at Caën, in France, died 1871. writers. | | Above 30 Operas. | | - P. B. Shelley, | | Fétis (François Joseph), born 1784 + P. B. Shelley, | | Fétis (François Joseph), born 1784 James Hogg | | at Mons, in Belgium, died 1872. (the "Ettrick | | Dictionary of Musicians, historical Shepherd"), | | Treatises on Music, etc. Reginald | | - Heber, Robert | | Castil-Blaze (François Henri + Heber, Robert | | Castil-Blaze (François Henri Southey, Sir | | Joseph), born 1784 at Cavaillon, in Walter Scott, | | France, died 1857. Several Treatises poets. | | on Music, a Musical Dictionary, etc. @@ -8965,7 +8944,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. of Russia | | compositions and songs. (1825). | | | | Kreutzer (Conradin), born 1782 at - Death of John | | Möskirch, in Germany, died 1849. + Death of John | | Möskirch, in Germany, died 1849. VI., King of | | Composed 24 Operas, an Oratorio, Portugal (1826). | | several Masses and other Church | | music, many instrumental pieces and @@ -9016,7 +8995,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. with Persia | | sonatas, songs, etc. (1827). | | | | In 1821, first performance of 'Der - Russia makes | | Freischütz' at Berlin; in 1823, + Russia makes | | Freischütz' at Berlin; in 1823, peace with | | 'Euryanthe' at Vienna; in 1826, Persia and | | 'Oberon' in London. increases her | | @@ -9045,7 +9024,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. of France, deposed | | Naples, died 1872. About 30 Operas. (1830). | | | | - Göthe (1749-1832). | | ROSSINI (GIOACHINO ANTONIO), born + Göthe (1749-1832). | | ROSSINI (GIOACHINO ANTONIO), born | | 1792 at Pesaro, died 1868. About 40 William IV., King | | Operas, a Stabat Mater, some other of Great Britain, | | sacred vocal music, several secular @@ -9121,7 +9100,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. | | many romances, an instruction book Revolution in | | on singing, etc. France (1848). | | - | | Halévy (Jacques), born 1799 in + | | Halévy (Jacques), born 1799 in The Monarchy | | Paris, died 1862. Above 20 Operas. abolished in | | France. | | Marschner (Heinrich), born 1795 at @@ -9145,7 +9124,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. of Holland, and | | Russian National Hymn, and of other nephew of Napoleon | | music. I.) is | | - elected President | | Löwe (Johann Carl), born 1796 near + elected President | | Löwe (Johann Carl), born 1796 near of the Republic | | Halle, died 1869. Many ballads and (1848). | | other songs, also several Operas, | | Oratorios, and pianoforte @@ -9158,7 +9137,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. 1840-1850). | | school. | | | | Berlioz (Hector), born 1803, at La - Death of Wordsworth | | Côte Saint-André, in France, died + Death of Wordsworth | | Côte Saint-André, in France, died (1850). | | 1869. Requiem, symphonies, overtures, | | other orchestral works with and Great Exhibition | | without vocal music. A Treatise on @@ -9181,7 +9160,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. of Napoleon | | III. (1852). | | | | - Historians:--Thos. | | Chopin (Frederic François), born + Historians:--Thos. | | Chopin (Frederic François), born Carlyle, | | 1810 near Warsaw, died 1849, in Paris. Macaulay, Guizot, | | Pianist. Many pianoforte compositions, Thiers, Rotteck, | | studies, etc. @@ -9218,7 +9197,7 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. Important discoveries.| | Celebrated female singers: Catalani, | | Malibran, Grisi, Persiani, Pasta, Alfred Tennyson, | | Pauline Viardot, Henriette Sontag, - Poet Laureate. | | Sophie Löwe, etc. + Poet Laureate. | | Sophie Löwe, etc. | | Livingstone, | | Celebrated male singers: Lablache, African traveller. | | Rubini, Tamburini, Braham, Wild, @@ -9242,8 +9221,8 @@ CHRONOLOGY OF THE HISTORY OF MUSIC. However, in | | As standard works on the history of some countries | | music, easily accessible, may be attempts to return | | recommended the treatises by Forkel, - to a Mediæval | | Kiesewetter, Bellermann, Ambros, - state of | | Burney, Hawkins, Fétis, and + to a Mediæval | | Kiesewetter, Bellermann, Ambros, + state of | | Burney, Hawkins, Fétis, and civilization. | | Coussemaker. [Illustration] @@ -9430,7 +9409,7 @@ Major Sixth, that some theorists--among them Moritz Hauptmann--notice this order of intervals as a new and characteristic scale, and desire to have it as such generally acknowledged by musicians. A. Krauss, a teacher of music in Florence, has recently published a pamphlet, -entitled 'Les Quatre Gammes diatoniques de la Tonalité moderne,' in +entitled 'Les Quatre Gammes diatoniques de la Tonalité moderne,' in which he designates this new scale with the name 'La Gamme semimajeur' (The Half-major Scale,) which is at any rate better than that suggested by Moritz Hauptmann, in his 'Die Natur der Harmonik and der Metrik,' @@ -9631,7 +9610,7 @@ find decidedly objectionable some rule of musical composition which is now thought highly satisfactory. Did not our ancestors at the time of Hucbald relish consecutive Fifths and Octaves as an harmonious accompaniment to a melody? A Chinese Mandarin, on hearing a French -Jesuit, at Pekin, play on a clavecin some _Suites de Pièces_ of a +Jesuit, at Pekin, play on a clavecin some _Suites de Pièces_ of a celebrated French composer, endeavoured to convince the performer that the Chinese music was the only true music "because," he said, "it appeals to the heart, while yours makes only noise." When Villoteau, @@ -9684,9 +9663,9 @@ Punctuation, capitalization, accents and formatting markup have been made consistent in the text. This excludes the footnotes due to several inconsistencies. -Page 2, "Giques" changed to "Gigues". ('Pièces de Clavecin, en deux +Page 2, "Giques" changed to "Gigues". ('Pièces de Clavecin, en deux Volumes, consistant des Ouvertures, Preludes, Fugues, Allemandes, -Courentes, Sarabandes, Gigues et Aires, composées par J. Mattheson, +Courentes, Sarabandes, Gigues et Aires, composées par J. Mattheson, Secr.--London, printed for J. D. Fletcher.') Page 6, "I I" changed to "I". (I am sure if he reads this he will laugh @@ -9721,7 +9700,7 @@ Page 185, "Trojan" changed to "Trajan". (Trajan, Roman Emperor (98).) Page 204, "Christofali" changed to "Christofori". (About this time, the first Pianofortes were constructed by Christofori, in Italy, and by -Schröter, in Germany.) +Schröter, in Germany.) Page 206, "harpischord" changed to "harpsichord". (many compositions for the organ, clavichord, clavicembalo (harpsichord), and for the @@ -9731,7 +9710,7 @@ Page 219, "Manheim" changed to "Mannheim". (Weber (Bernhard Anselm), born 1766 at Mannheim, died 1821.) Footnote 15, "Crysander" changed to "Chrysander" for consistency. (See -G. F. Händel, von F. Chrysander, Leipzig, 1858, Vol. I., p. 139.) +G. F. Händel, von F. Chrysander, Leipzig, 1858, Vol. I., p. 139.) @@ -9740,362 +9719,4 @@ G. F. Händel, von F. Chrysander, Leipzig, 1858, Vol. I., p. 139.) 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Musical Myths and Facts, Volume II (of 2) - -Author: Carl Engel - -Release Date: October 3, 2012 [EBook #40384] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MUSICAL MYTHS AND FACTS, VOL 2 *** - - - - -Produced by Veronika Redfern, Linda Cantoni, Bryan Ness -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive/American -Libraries.) Music transcribed by Veronika Redfern. - - - - - - -</pre> <p class="notes"><i>Transcriber's Note:</i> <span class="larger-version">Musical excerpts appear throughout the book, @@ -8940,377 +8904,7 @@ F. Händel, von F. Chrysander, Leipzig, 1858, Vol. I., p. 139.)</p> -<pre> - - - - - -End of the Project Gutenberg EBook of Musical Myths and Facts, Volume II (of -2), by Carl Engel - -*** END OF THIS PROJECT GUTENBERG EBOOK MUSICAL MYTHS AND FACTS, VOL 2 *** - -***** This file should be named 40384-h.htm or 40384-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/3/8/40384/ - -Produced by Veronika Redfern, Linda Cantoni, Bryan Ness -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive/American -Libraries.) 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