Documentos de Académico
Documentos de Profesional
Documentos de Cultura
August 1 983
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UNIVERSITY OF SOUTHERN CALIFORNIA
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THE GRADUATE SCHOOL
UNIVERSITY PARK
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LOS ANGELES, CALIFORNIA 90007 J.
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School, in partial fulfillment of requirements of
the degree of
DOCTOR PHILO
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Dtaft
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DISSERTATION COMMITTEE
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·------ ---_
Acknow l ed gments
d i s sert at i on .
ii
CONTENTS
INTRODUCT I ON • • • • • • • • • • • • • • • • • • • • • • • • 1
B ack ground to the I deen zu e i ner �sthet i k der Ton k unst 1
Schub art • s L i fe • • • • • • • • • • • • • • • 9
Tran s l ator • s Not es • • • • • • • • • • • • • • • 30
Abbrev i at i on s • • • • • • • • • • • • • • • 32
TH E TRANSLAT I ON
TITLE PAGE 35
FOREWORD 36
CONTENTS 42
[ PART ONE]
III . J EWS • • • 53
IV. GRE EK MU S I C • 63
V. ROMANS • • • 81
X. WURTTEMBERG • . . . . . . 1 99
iii
XII . BRUNSWI CK . . . . . . . . . . . . . . . . . . 211
XI I I . ANSBACH • • . . . . . . . . 213
XI X . TR I ER • • • • • • • • . . . . • • 239
XX . TAX I S • • . . . . . . . 243
XX I V . HANAU • • • . . . . . . . . . . . . . . 25 1
XXV I . F RANKFURT . . . . . . . . . . . . . . . . . . . . . 27 1
XXX . R US S I A . . . . . . . . . • . . . . • • . • • . . 298
iv
P ART TWO
TH E PR I NC I PLES OF MUS IC
v
XL I . CONCERN I NG MU S I CAL STYLE • 398
The S acred Styl e 398
The Dramat i c Styl e 403
P ant omi me Styl e • 405
XLI I . C ONCERNING CHAMB ER STYLE • 409
XL I I I . CONCERNING THE TECHNI CAL TERMS OF MUSIC 410
Concerto 410
Chorus 410
F ugue • 411
Al l a breve 411
Ar i a 412
C av at i n a 412
Rec i t at i ve 412
Ar i os o 413
C antab i l e • 413
Maetoso • 413
L amento • 414
Symphony an d Overt ure • 414
Son at a 414
Ad ag i o 415
L argo • 415
Andante • 415
A 11 egro • 415
Presto 415
Prest i s s i mo • 415
Rondo • 416
M arch or W ar Step • 416
Sch i k or G i gue [ Q u i que] 417
Gavotte • 417
Murky [Murk i l ] 417
vi
leg ato [ L i g ato ]
S t ac c ato • • • . . . . . . . . . . . . . . . . 421
. . . . . . . . . 421
V i brato • • • • . . . . . . 4 21
P i z z i c ato • • . . . . . . . . . 4 22
Tenuto .. . . . . . . . 422
Ad l i b i tum . . . . . . . . . . . 422
T asto S o l o . . . . . . . . . 422
Do l ce • . . . . . .
. . . . . . . . . . . 4 22
F ur i oso • • . . . . 4 23
Amoroso • • • . . . . .
. 4 23
APPEND I X • • • • . . . . . . . . . . . . 438
B I BL IOGRAPHY • • . . . . . . . . . . 505
v;;
I NTRODUCT I ON
val u ab l e works , but t he i r scho l ar l y appro ach was not d i rected to the
l ayman . On the other h and , mu s i cal a l man acs , wh i l e wri tten for the
genera l p ub l i c , were l i m i ted o n l y to contemporary events . They l ooked
forward and d i d not attempt to comment on the contri but i ons of com
posers of the recent p ast . Sch ubart , however , sought to s at i sfy the
need for a general h i story of mus i c t hrough h i s � sthet i k der Tonk unst ,
h i story was wr i tten by a German who cou l d express the German v i ewpo i n t . ·
Schubart h as l eft u s very l i tt l e i nformat i on concern i n g the
1
the manuscr i pt i n 1 784 1 to B aron E u gen von Schee l ers son of the
was comp l eted i s not certai n , but i t extends beyond the end o f 1 785
1
S i nce there are s ever a l references to e v ents wh i ch h appened after t h i s
I
l p r i son ,
I
Schubart wrote a l etter to C . F . H i mburg , a book se l l er i n
!w as
!
that its preparation required much work. Not trusting his own
determine whether or not the public would welcome such a work. The
response, he tells us, was favorable, and the manuscript was finally
:author's death. There have been five other editions since the
corrections was prepared by Fritz and Margrit Kaiser in 1968 and pub
and Hawkins. Although Schubart may not have had reference materials
mony), 9 this fact may have had little bearing on the final product.
Schubart was accustomed to describe only those things which came from
seem likely that he would have invested the time or energy necessary
stood, just as he was with the articles he dictated for his Chronik.11
Thus, we can probably assume that the work we now possess is similar
the many travel journals of this time. Most of these musical trave
5
taste where opi n i on cou l d be expressed, and they were typi cal l y
org ani zed i n t h e manner o f a d i ary : by d ate r ather t h an by top i c .
The Astheti k d e r Ton k unst i s organ i zed i n much t h e s ame way. Schubart
sel ect s a c i ty for d i scus s i o n , he bri ef l y out l i nes the h i story of musi c
i n that part i c u l ar c i ty , and then he eval u ates i ts mus i ci ans , many of
whom were personal acquai ntances . He never trav e l ed out s i de of what i s
now southern Germany . 13 And al though the p l aces d i scussed i n the
Asthet i k are not l im i ted to c i t i es or courts that Schub art h ad v i s i ted
[ personal l y , the sect i on on German mu s i c emphas i zes act i vi t i es i n south
1 Germany. 14 H i s extensi ve read i ng and h i s b ackground i n mu s i c
j enab l ed h i m t o comment o n mus i c mak i ng throughout Germany w i thout
I
Bayreuth •
Darmstadt. •Wiirzburg
E
Mannheim • rlangen
• .Heidelberg eNuremberg
• Heilbronn
Obersontheim • • Wallerstein
L wigsburg Aalen • • N1if.d1 ingen
E ss 1,.
•
Stuttgart --Kon1gsbronn
•
• 1ngen
eGeislingen
•
Ulm
• Augsburg
.Munich
•Memmingen
---� -----�-----------'
7
• Hamburg
•Brunswick
.. ... ----- ""' ...
.. .. .. -
-
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..
,filii"
SAXONY
Leipzig
Cassel • Dresden
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• Cologne ' Weimar
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•Nassau '
• Ko blenz ,_ .. ,.,- ..... -
• Frankfurt
Mainz
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• • Han au
Darmstadt
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P T N tf
t Mannhei!ll
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fQ'fiRTTEMBER� t
,. - , ' .,. , ""' •Ansbach, PALATINATE
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• Wall rstein
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1 Stuttgart, 1 ,'
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Augsourg •1 BAVARIA
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Munich
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8
asses sments (for ex amp l e , Burney ' s } of the s ame mu s i c i ans . A l though
Schubart ' s L i fe
year he "surpassed his father in clavier, sang with feeling, played the
Such changes became obsessions and everything else was put aside while
Schubart pursued his latest quest. There does not seem to be any
by Klob.2 0
Helene Juliane Horner, although quite probably a good woman and capable
mother, does not receive nearly the attention that the father receives.
There may also be a parallel in the roles played by each parent that
! manifested
r
itself later in Schubart's marital life, as he tried to
pattern his relationship after their model. And the problems which
arose are of Christian's own making. Schubart by and large did what he
deserved.
activities:
: [ St adtpfarrer] . 24
Schu bart ' s ent h u s i asm for mu s i c cont i n ued to grow dur i ng th i s
:cert ai n Herr von Mal i tz , a Pru s s i an off i cer and a fr i end o f Sch ubart ' s
f at her , vi s i ted the Sc hubart h ome, and h e brought w i t h h i m t h e f i rs t
24GS , 1 : 1 8- 19 ( L & G , 1 ) .
I1
I
(
I n 1 7 53 Schu b art entered the Lyceum at Nord l i ngen , and t here
! Homer ,
I
I
26 GS , 1 : 21 ( L & G , 1 ) • 27 GS , 1 : 24 ( L & G , 1 ) .
28 GS , 1 : 24 ( L & G , 1 ) •
29 K l ob , Schubart , p . 28 .
p ub l i c and pr i vat e concert s ; h e pro v i ded mus i c for the d evot i onal s at
t h at Sch ubart • s i nterest i n the femal e s ex was arous e d , and the f l ames
Schu bart ret urned h ome abo ut 1 758 , but was i mmed i at e l y s ent to
I
3 1 GS , 1 : 28 ( L & G, 1 } .
I
35 GS , 1 : 3 3 ( L & G , 1 } . 36� , 1 : 34-36 ( L & G , 1 } .
� ------------------ -------------------------------------- �
on wor l d l y w i sdom and on the pri est , F ather SchU l en . 3 7 But more
[ s chwebe 38 1.
l
1 ag a i n returned h ome and ag ai n was i mmedi ate l y sent away to study t he-
1
o l ogy, t h i s t i me i n Erl angen , but not b efore h e h ad v i s i ted h i s fri ends
l t i me
!
for neg l ect i ng h i s stud i e s . But al l was not l ost , for he h ad acces s
4 2Gs , 1 : 46 (L & G , 1 ) .
15
time i n my l i fe , a very good orchestra and some I tal i an s i n gers ,
who carri ed me heavenward . Hasse and Graun were the cornerstones
of the Bayreu th cou r t , whi c h , as i s wel l known , knew how to
combi ne G erman profundi ty wi th I tal i an song. 43
On hi s return home to Aa l en , Schu bart expres sed hi s l ack of
feel i ng for rel i g i on , and , as a probat i oner , he a l so stated that h i s
own sermons were empty. 44 He was more comfortab l e wi th mus i c . He
organ i zed the Stadtmus i k i n Aal en and composed sacred work s , sympho
n i es , sonatas , ari as , and ot her sma l l works. 45 H i s p l ayi n g
abi l i ti es al so improved :
I pl ayed the mo st di ff i cu l t works of the Hamburg [ C . P . E. ]
Bach and those of hi s father wi th fl uen cy, and thereby made my
hands strong and practi ced [rund ] , unti l I weakened them somewhat
by the destruct i ve A l berti taste wi th [i ts] broken chord s and by
the ru i nou s toccatas wh i ch come to the pi an o from Jommel l i 1 s
operas , i n whi c h they do not real l y bel ong . 46
Mu s i c , for Sc hu bart, became a maj or preoccupati on. He set
forth requ i rements for a good cl av i eri st:
I p l ayed , about thi s t i me , wi th ad ro i t q u i cknes s [mi t
gef l ugel ter Geschwi ndi gkei t] ; s i g htread very di ffi cu l t works
composed for the cl avier or another i n strument, wi th and wi thout
[ fi g ured ] bass; pl ayed i n al l keys wi th eq ual dexteri ty, i mpro
vi sed w i t h ferv i d i ngen u i ty, and d i spl ayed the comp l ete abi l i ty of
a great organi s t. I cou l d pl ay wi th su ch fi re--the pri n c i pal
characteri st i c of geni us--that everythi ng ar ou nd me vani shed and I
onl y l i ved i n the sounds wh i c h my imag i nati on created . I ndeed , I
had comp l ete control of al l techn i cal passages--a q u al i ty wh i ch i s
l acki ng i n so many p l ayers . They are content i f they su cceed wi th
a death ly l eap [Tod ten sprun � ] and care not whether the l i stener
al so understands what they ave to say. Every p i ece mu st form a
who l e , must h ave i t s own character , must not be bl emi shed by
capri ci ou snes s , and must be performed p l ai n l y and i n te l l i gen tl y.
Thus the l ate S chu bart 47 ( not Schubert , Schobert , or Schober ,
43 Gs, 1 : 46 ( L & G , 1 ) •
44Gs 1 : 48 ( L & G, 1 ) •
_,
45 Gs 1 : 49 ( L & G , 1 ) . 46 Gs , 1 : 49 ( L & G , 1 ) .
_,
16
as the F rench man g l e h i s n ame ) , Vog l er , Eck ard , B eec k e , p art i
u l ar l y Mozart , remai n or i g i na l for a l ong t i me , by wh i ch the
budd i ng v i rtuoso c an measure h i msel f . S peed general l y i mp a i r s
gracefu l ness , yet I sought , through true i m i t at i on o f our
heartst i rr i ng n at i onal song , to adopt the l atter u nt i l the I ta l i an
song enc i rc l ed me i n sensual s ounds and g ave my s tyl e of pl ayi ng
more of the sweetness of fash i on ab l e t aste, but at t h e s ame t i me
weakened my h and s , and duri ng t h at t i me I p l ayed orn ate l y and
mi xed many a styl e [ E i { entuml i ch k e i t] . A c l av i er i st does wrong i f
h e sel ect s s omet h i ng o her than the German mode l , for wh at are
fore i gners , even M arch and , Scarl att i , and Jozz i , ag ai nst o ur B ac h ,
Hande l , W agen sei l , Schubart , Beeck e , Eck ar d , Vog l er , F l e i scher ,
Muthe l , Koze l uch , Moz art . Our v i rtuosos [ Menat seac h s ] c an h ard l y
b e counted ! 48
d i l i gent ly. 4 9
The s cene c h an ged , and Schu b art became a p r i v ate teacher for
the c h i l dren of the B l ez i nger fami l y i n K5n i g sbronn . 50 H i s enthu
s i asm for rel i g i on was rek i nd l ed , 5 1 and he event ual l y rel i nq u i shed
17
�
' --�---
and beg i n to preach i n the border i ng t owns . 5 2 F rom t h i s po i nt ,
speaks noth i n g o f mu s i c , o n l y of preach i ng . 53
1 org an . 55
d au ghter , Ju l i an e , s ur v i ved i nf an cy .
5 2.§i , 1 : 5 7 ( L & G , 1 ) •
54 §S , 1 : 69 (�.....&....fa, 1 ) .
Engel h ard who i mpre s s ed h i m great ly .§i , 1 : 6 1 ( L & G, 1 ) .
•
5 5K l ob , Sch u b art , p . 1 1 3 .
56� , 1 : 83 ( L & G , 1 ) .
Gei s l i ngen may h av e i ndeed been too restr i ct i ve. B u t t here may a l so
h ave been another reason for h i s want i ng to l eav e: the i n- l aws . There
were severa l i nstances to come when Schubart and h i s w i fe were s epa-
rated, i n wh i ch c ase we wi l l f i n d Hel ene and the ch i l dren b ack i n
Gei s l 1 ngen and S hu bart on h i s own . Another reason for separati on may
h ave been Schub art quest i on i ng h i s own rel i g i ou s f a i t h and the doc
tri nes of h i s church. 57
In 1 769 Schubart and h i s wi fe v i s i ted Bockh i n E s s l i ngen .
Schub art and Bockh t hen travel ed to Ludw i g sb urg to attend a performance:
of Jommel l i ' s Fetonte ( 11 Febru ary) . Schubart was great ly affected by
the mus i c he hear d .
T h e spi r i t o f mus i c was great and i t ascended heavenward and
was pl ayed as if each mus i c i an were a nerve of Jomme l l i . Dance,
scenery , f l yi ng scenery [ F l u gwerk] , everyth i ng was i n the bo l dest ,
newest , and best styl e. And n ow , " Good N i gh t , Gei s l i ngen , •• with
your s i mp l i c i ty, your mountai n s , your poverty, your t aste l essness ,
your graveyar d , and your student ' s pri son . 58
I n the fal l of 1 769 , 59 Schubart took h i s l eave of Gei s l i n
gen--and h i s fami l y--to assume a new pos i t i on i n Ludw i gsburg, t h at of
org an i st , conductor of sacred mus i c , and vocal i nstructor at the
schoo 1 . 60 He f i n a l l y made amends wi th h i s father-i n-l aw , who a l l owed
h i m to retr i eve h i s fami ly. In Ludwi gsburg he was once agai n absorbed
i n mus i c . A l though not assoc i ated wi th the court , he became we l l
5 7 � , 1 : 88 { L & G , 1 ) . 58 ss , 1 : 8 3 ( L & s, 1 )
59K l ob , Schubart , p . 1 20 . � ' 1 :88 ( L & G , 1 ) h as 1 768.
,wife and children left to stay with the BUhler family in Geislingen.64
20
On 13 August 1772 Schubart was interviewed by Charles Burney,
i
money, but to spend it, in search of musical merit and talen�
wherever I could find them, in order to display them to my coun- :
trymen. M. Schubart seemed sensible of this, and took all pos-
sible pains to please my ears, as well as to satisfy my mind. He I
tomed to speak it, would not have been intelligible to him; but as
he understood Italian, though he could not speak it, our conversa-:
i
tion was carried on in two different languages, Latin and
been gone since August of that year (see letter to Bockh, 26 August
1771; Strauss, Briefe, 1:181-82). This kind of sentiment expressed by
Schubart most certa1nly made him vulnerable to an adulterous affair,
for which he was excommunicated and which led to his expulsion from
Ludwigsburg in 1773. His infidelity may be the reason for his wife's
absence during this time, as Klob, p. 141, suggests.
Italian; so that the questions that were asked in one of these
tongues, were answered in the other. In this manner we kept on a
loquacious intercourse the whole day, during which, he not only
played a great deal on the Harpsichord, Organ, Piano forte, and
Clavichord; but shewed me the theatre, and all the curiosities of
Ludwigsburg, as well as wrote down for me, a character of all the
musicians of that court and city.
became important for Schubart when he began to compile his own history
was an organist at Ulm when in fact he was not? Burney may have
have misled Burney into thinking that he was organist at Ulm. There
22
L.
emphas i zes Schu bart ' s i nterest i n i nd i genous or " n at i onal " mu s i c
whi ch man i fests i tsel f , i f on ly t o a sma l l degree , i n the Asthet i k .
One other po i nt mu st be made. B urney ' s l angu age i s no c l earer than
Schubart ' s . The statement "He i s formed on the B ach schoo l " i s a l so
found i n the Asthet i k . And a l though Joh ann Sebasti an B ach and C ar l
Ph i l i pp Emanu e l B ach are the l eadi ng cand i d ates for s uch a n attri bu
t i on , no further i dent i f i c at i on i s pos s i b l e; thu s , i t i s i mpo ss i b l e
to determi ne whether the author i s refer r i ng to the o l der schoo l of
p l ayi ng , represented by J . S . B ach , or to the newer schoo l .
At the beg i nn i ng of 1 7 7 3 Schubart wrote a s at i r i c a l poem, sup
posed ly cr i t i cal of pub l i c off i c i al s . Thi s , coupl ed w i th Schubart ' s
adul tery with one B arbar a Strei cher of Aal en , res u l ted i n an edi ct from:
Car l Eugen (d ated 21 May 177 3 ) , Duke of WUrttemberg , wh i ch requi red h i m
t o l e ave the country. 67
Schubart then went to Hei l bronn; h i s w i fe and c h i l dren went
back to Gei s l i ngen . 68 Schubart bo arded w i th the P irker f ami ly and
g ave l essons and si ngi ng and c l avi er, and he al so g ave v i rtuos i c per
formances at pri v ate g ather i ngs . 69 A l though the cu l tural c l i mate
was to Schubart ' s l i k i n g , he was wi thout a l i vel i hoo d , and he fel t a
need to i mprove h i s s i t u at i on so t h at he mi ght fu l f i l l h i s obl i g at i ons
as a hu sband to prov i de support for h i s fami ly sti l l i n Gei s l i nge n .
Schubart p l anned t o g o by way o f Ansb ach and then seek h i s
fortune i n Berl i n , but a l etter from " a l ong-t i me acq u a i n t ance" by
Once i n Heidel ber g , he was adv i sed by members of the pal at i ne court
to ret urn to Mannheim to seek emp l oyment . Upon h i s retur n , h e was
emp l oyed by Count N i ssel rode to i nstruct the count ' s son i n mus i c . 7 2
At t h i s po i nt , several p ages of Schubart ' s autob i ography are d evoted to
the art s . He was fortunate enough t o meet many of the art i sts o f a l l
types assoc i ated wi th the Mannhe im court , 73 and he even trave l ed to
Schwetzi n gen to perform for the e l ector:
The e l ector p l ayed a f l ute concerto accompan i ed by the two
Toesch i s and the cel l i st D anz i . After th i s , I p l ayed several
p i eces on the p i an o , s ang a Russi an war son g wh i c h I had even
wri tten myse l f , stood up , spoke about l i terature and art , and
24
won the elector's complete approval. " I want to hear and speak
to you more often," he said with the most cheerful mien as I bade
my farewe11.74
ance with Baron von Leiden, secretary to the Bavarian minister, who
since Roman Catholicism was the state religion of Bavaria. On the way
and music of those cities, information which would be used later in his
the Holy Ghost.78 Schubart could not remain in Munich after this
25
His first incl ination was to go to Stockholm, or so �
I
public disgrace.
i
he wrote to his wife.79
iwrite something that he coul d publ ish. Schubart for some time had been
Both his autobiography and his Asthetik were dictated in this manner,
.and both without the aid of reference material. The Chronik came under
I
. 81oavid Ossenkop, "C. F.D. Schubart•s Writings on Music, ..
(Master•s thesis, Columbia Univesity, 1960), p. 24.
I
I
82Gs, 1:221 ( L & G), 2.
�
von Kuhn, and the Chronik could no longer be published in Augsburg.
ias I want" 84 is typical of his free lifestyle and one which would
j During the rest of the time, Schubart was involved in the arts of
iAugsburg.
i
I gave lessons on the piano, and had the good fortune to pre
pare, in a short time, a couple of excellent pupils [subjekte],
who were heard publicly with approval. I played the organ, harp
sichord, and clavier, everywhere with approval; I gave lectures on:
literature and the arts, hosted learned and artistic gatherings in
my home, read the newest publications and scores, took advantage
of the arts, libraries, art galleries 85
• • • •
fruition. 86
His next stop was Ulm. He comments that " the censor here is
talent, and various people visited him or would take him to an inn
: whom he had not seen for ten years.92 He went to Wallerstein and
for Rheineck's wedding cantata and also directed the performance (15
July 1776).94
from Stuttgart.
94 H ammerstein, "Schubart," p. 26 .
J
(New York: Macm1 I Jan, 1980) , 16:750.
96 oavid C. Ossenkop, "C. F. 0. Schubart," The N ew Grove
Dictionary ,of Music a�d Musicians, ed. Stanley Sadie, 20 vol s.
II
i
28J
Dur i ng the f i rst year Schubart was p l aced i n sol i t ary conf i ne
ment . Apparent ly he was al l owed to h av e a B i bl e, but he d i d not h ave
i p aper on wh i ch to wri te . I n h i s autob i ography, he expres sed remorse
for h i s past act i on s and compared h i mse l f w i t h b i b l i c a l person ages ,
s uch as Judas , Ephrai m, and the i nhabi t ants of B aby l o n . H i s sel f
den i a l and persona l s ufferi ng became i mportant factors i n the process
of repentance. 97 I n Febru ary 1 7 78 he was moved to a l arger cel l ,
,but sti l l he was not permi tted to wri te , p l ay musi c , or t o s pe ak to
anyone. 98 As t i me p assed , some of these restri cti ons were l oos-
ened . He began to rece i ve v i s i tors i n the s ummer o f 1778 ; duri ng 1 778
and 1779 he d i ct ated h i s autobi ography , wh i ch he ed i ted once he was
rel eased from pr i so n , to a fel l ow pr i soner through a hol e i n the wal l .
By 1 78 1 he co u l d wri te l etters . He was a l l owed to p l ay the organ at a
church serv i ce and the c l av i er , and he was al l owed to g i ve i nstruct i on
i n keyboard , s i n g i n g , and f i gured b ass to sever al fami l i es of p r i son
, off i c i al s. He was a l so act i vely engaged i n wri t i ng poetry. 99 Many
of h i s poems and mus i cal compo s i t i ons were p ub l i shed dur i ng h i s
97 GS , 2 : 20- 21 , 3 9 ( L & G , 2 ) .
98GS , 2 :42 ( L & G , 2 ) and K l ob , Schu b art , p . 28 3 .
99GS , 2 :66 , 1 06 , 1 10 ( L & G , 2 ) ; GS , 2 : 1 79 ( L & G , 3 ) ;
Kl ob, Schuoart , pp . 289 , 3 1 3 ; Ho l zer , SchiHrart al s Mu siker, p. 24;
Ossenkop, "Schubart • s Wri t i ngs on Mu s i c , u p . 28 .
29
imprisonment, the most important collection being his Musikalische
Rhapsodien )00
August 1790, Schubart•s wife writes that Christian "has not been in
the opera house for a whole year." 104 In the fall of 1791, he
30
concise summary of Schubart's views concerning music in the late
places where the author's meaning is vague, and here annotations have
been added.
this translation, the transl ator has numbered each heading and sub
into two parts giving a heading to part two but not to part one. Foot
Ludwig, are indicated by asterisks and are placed above the footnote
words are underl ined as a matter of current practice, but they may not
1 1 l _b l " l
c- b c -b C c
I I
C- B
Abbreviations
abbreviations:
Abbreviated T it l e F u l l T it l e l 05
der Tonkunst 1
I
Burney F Burney/Schol es: An Eighteenth- I
Century Musica l Tour 1n France !
and Italy
L ---- --�-----··------
------- -----···················-- ----·· ---,
··············-�---�------ ------
F�tis: Biographie
GS C . F . D . Schubart's, des
Patr1oten, gesamme ite
Schriften und Schi cksale
33
THE TRANSLAT I ON
CHRIST. FRIED. D AN. SCHUBAR T'S
IDEEN
ZU EI N E R 1STHETIK
Df.R
T 0 N K U N S T.
H E 1\ A U 8 0 E 0 £ 8 E N
VO N L U D V\' I G S C H U B A R T.
X 6 1 U G L, I' II I: II U. L E G 4 1' 1 G Jf i & A 1' M,
W I E N.
BEY J. v. D E G E N.
8 U C :U D 1\ U C K £ 1\ l'ND 8 U C II H A M D L E 1\
I 8 0 6.
"--------�------ -- -----,
-��
FOR EWORD
fifteen] years after the death of the author, woul d have been offered
ito the publ ic earl ier if so many a disconnected articl e had not first
'to have been compl eted, so much in l an guage and diction corrected, and
so many omissions- -particul arl y in the exampl es where the author did
not have the sources at hand- -fil l ed in. My l ate father dictated the
I
pages were strewed among his papers an d were only brought together
and during the years 1784 and 1785 had begun writin g, I thus undertook
the idea seemed to me and the more striking so many an articl e seemed
\ to be.
I
� ==�-
*He had few books around him whil e he undertook the work and
j
dictated a great deal fr ·
__
A l so , after I h ad done my p art on the manuscr i pt , i t was s t i l l
i mport ant to cons u l t wi th some competent connoi sseurs abou t i t and to
l earn the o p i n i on of the art i st i c p ub l i c by way of excerpt s [vorgel egte
Proben ] . These s ame excerpts were presented to p atrons of the fi ne
arts in G erman mont h l y p er i od i c a l s i n W i e l and ' s Der neue teutsche
! M er k u r , i n the Eng l i sche B l atter, and i n the l i epzi g Al l geme i ne mus i
j k a l i sche Ze i tu ng . 1 The j udgments were f avorab l e; new vi ews , d i st i nc
[t i veness of styl e , c l ar i ty and popu l ar i ty of present at i o n , an d , wi t h
! al l apparent e ase, mu ch profound l y creat i ve truth b ased on experi ence
[were found i n i t s v ar i ou s parts .
i
And thu s fo l l ows n ow the who l e , as
:far as i t mi ght proceed from the ext ant papers .
Here the reader , even the non-mu s i c i an , fi n d s a br i ef com-
prehens i b l e , and attract i ve l y presented h i story of mus i c--from the
Hebrews , Greeks , and Roman s on up the the great mus i cal schoo l s of the
� I tal i ans , Germans and Frenc h . The German [schoo l ] i s f urther d i v i ded , 1
38
to h i m to sei ze the f i nest nuances of feel i ng and to l end words to
, obscure i deas wh i ch one m i ght th i nk h ard ly capab l e of expres s i o n . *
To these attri butes are added a warm, German p at r i o t i sm, whi ch
a l so characteri zed the V ater l and schroni k , 2 and j u st h ere found i ts
most val u ab l e susten ance . For Eng l and and France b ow down before the
mu s i cal gen i us of G ermany, and even I t a l y ' s art i st i c g l ory can now name
no Mozart and H ayd n to us . The German i n strumental i st s h ave l ong been
and sti l l are the best i n P ar i s , London , Rome , and [ S t . ] Petersburg,
and the very n ame German i n these countri es arouses a f avorab l e pre
d i spos i t i on for the performi ng vi rtuoso [Kraftmann] .
I n the second part of the work , whi ch was to contai n the pri n
c i p l es of mus i c , the author fi rst furni shes a descr i pt i on of a l l the
i nstruments , from the roya l organ down to the u npretenti o u s Jew ' s h ar p ,
and dwel l s espec i al l y u pon types of keybo ard i nstruments [ C l av i er
Arten ] , on whi ch he d i st i n gu i shed h i ms e l f , and about whi c h he
Introduction • • • • • • • • • . . . . [ 1]
Jews • • • • . . [ 7]
Romans • • • . . . . . . . . [32]
WUrttemberg • • . . . . • [ 14 7]
Salzburg . [ 1 57]
Brunswick . . . . • • [ 159]
Ansbach • • • • . . . . . . . . . • [ 16 1]
Wallerstein-Oettingen • [ 166]
Durlach • • [ 17 0]
Hamburg • • • • [ 173]
Cologne • • • • [ 184]
46
i l l u s i on --th i s obj ect i on l oses al l power when one con s i ders t h at
wou l d l i kewi se not b e permi tted as a ru l e to form an op i n i on about sub- ·
F uess l i , Add i son , d ' Argenv i l l e , l C ayl u s , W i nckel mann , Goeth e , and
ph i l osoph i cal l y ref l ected about th i s art ; and , f i nal l y , whether one
the out pouri ng of h i s heart , and to show the reader why thi s ph rase
forth such gre at a n d dec i s i ve effects , a n d why another phr ase shou l d
s l i p away power l e s s l y from the heart of mank i nd .
Author ) .
47
'-----
- · --·-·---- -· ---- --- - ---- --- ------ ---'
II. A SK ETCH ED H I STOR Y OF MUS I C
of the pl oughm an as i t s ang over the head of Abe l the shepherd ; and
her fri end wi thout know i ng t h at t h i s mi ght be the accomp an i ment . The
49
cent uri es was i t reserved for J ubal l to l ay the groundwork for the
d i scovery of i nstrument al mu s i c . The shalme i , or the sh epherd ' s f l ute,
and the lyre, because of i ts s i mp l e construct i on , r i ght l y b e l on g among
the f i rst d i scovered i n strument s , and when the s acred wr i t i ngs say
about J u ba l , "From h i m descended the p i pe and f i dd l e , " i t i s cert a i n
t h at the shepherd ' s fl ute and lyre- -and by no means our v i o l i n- - i s
u nderstood by t h at . F or wh at r i ches of h uman know l edge does the
v i o l i n , as we possess today , not req u i re ! The symme try of the bel ly,
of the sound-post , the extremel y s i mp l e t u n i ng, the noti on of e l i c i t i ng
heave n l y tones from d i s gust i ng cat gut by means of horseh ai r smeared
w i th ros i n h as certai n ly mat ured o n l y i n much l ater t i mes .
But i t i s certai n , and i t c an be proved i rrefut ab ly from the
nature of man k i nd , th at even before the F l ood mus i c among the h uman
r ac e was urged on very v igorou s ly , and Bodmer i n h i s " Descendant s of
Noah '' [ Noahch i de ] --th i s d i v i ne representat i on [ Gemah l de] 2 of the
ear ly worl d- -hard ly h as ex ag gerated the portr ayal of the state of mus i c
i n t h i s age. Immed i ate l y after the F l ood one f i nd s ag ai n traces of the
rev i v i ng mu s i c . Th e Chal deans , and part i cu l ar ly the Phoen i c i ans , very
early h av e combi ned mus i c wi th d i v i ne worsh i p . They pract i ced the
l Gen . 4 : 2 1 .
2The "Gem lh l de" descri bed here by Sch ubart i s act ual ly used
i n a f i gurat i ve sen s e : poeti c verse funct i on s a s a subst i tute for the
v i sual e l ements of a pai nt i ng . B odmer ' s b i b l i c al epi c N o ah , publ i shed
i n 1750 , today i s regarded wi th as much zeal perhaps as�ubart seems
�
to h av e cher i shed i t , though wi th o ppos i te o p i n i on (cf . Der ros se
Brock h aus , 1 5th ed . , 20 vo l s . [Lei p z i g : F . A. Brockhaus , 19 1] , ! i90 :
"6 1 s eigene zah l rei che D i chtungen , z . B . sei ne v erst i egenen b i b l . E pen
[ ' No ah , ' 1750 , u . a . ] , s i nd poet i sch wertl os , " An Eng l i sh
• • • •
other great art i s t i c repo s i tor i es one f i nds some of these i nstruments
51
The mus i c of Med i a and P er s i a was at f i rst s er i ous and
m aj est i c , but very soon fel l to weakness w i t h the n at i on . The Pers i ans
and Med i ans s i n g for women , s ays X enophon ; 4 they don ' t make the soul
52
III. J EWS
53
compet i t i on w i th thei rs? The song of Moses i n the wi l derness was sung I
and accomp an i ed by i nstruments of that t i me. 2 Perh aps the wor l d
wou l d b e more asto n i shed i f we knew the mel ody i t sel f wi th i t s harmoni c
treatment , as ev ery person fu l l of fee l i ng i s aston i shed over the song. !
At the t i me of the Judge s , mus i c began to dec l i ne among the Hebrews ,
but i t ag ai n obtai ned h i gh f l i ght under D av i d and Sol omon . The spel l s
of D av i d ' s h arp , wh i ch many a s i mp l eton ri d i cu l ed, are eas i l y exp l ain
abl e to everyone who knows prec i sely the mag i c of assoc i at i on between
poetry and mu s i c . Qu i te cert ai n ly D av i d dec l aimed great heart -render i ng
n at i on a l events before S au l and accomp an i ed them w i th the s i mp l e chords
of h i s h arp . On ly through th i s c an the great effect be understood, to
a certai n degree , wh i ch cou l d uncha i n a furious S au l . 3
Undoubted l y D av i d was one of the greatest mu s i c i ans there
about , because he knew how to comb i ne the spel l s of mus i c wi th those
of poetry. Yet Hebrew mus i c fi rst reached i ts summi t at the t i me of
Sol omon . At the d ed i c at i on of h i s temp l e he h ad 8 , 000 s i n gers and
1 2 ,000 i nstrumental i st s ; and the sp i r i t of thi s great monarch i s a
guarantee to us t h at mu s i c wou l d not h ave deni ed i ts remai n i ng t aste.
In order for us to comprehend th i s to some extent , we mu st pl ace before
us the present-day hymn i n such a w ay as i t i s accomp an i ed by the
54
org an , the pi erci ng z i nk s , and the reson ance of the ram ' s horns
[ Pos aunenh al l = ?s hofar ] . 4 i
The H ebrews h ad v ari ous i nstruments wh i ch we do not k now any
struck wi th the h and , one u sed o n l y i n the more pri v ate co ncerts of
the rul ers [ der Gros sen]
tones . The hept achord was k nown to them , as to other peop l e , because
the n umber seven i s prom i nent i n al l arts and sci ences as a st andard of
al l perfect i on .
4 s ur ney d i scus ses the prob l em at i c termi nol ogy o f anci ent
i nstruments by c i t i ng the Engl i sh v ers i on of P s a l m 150 : 3- 5 and then
g i v i n g s i x trans l at i ons of the s ame v erses , none of wh i ch agree
t
tot a l ly. See B urne H , 1 : 200- 201 . Fork e l adds the L uther trans
l at i o n . Forke l A , :129 .
5 see 1 Chro n . 6 : 39 ; 1 5 : 1 7 , 1 9 ; 1 6 : 4- 7 , 37 ; 25 : 1 -9 ;
2 Chro n . 5 : 1 2 ; 20 : 14 ; Ezr a 2 : 41 ; 3 : 10 ; N eh . 7 : 44 ; P s . 50 ; 7 3-84.
55
e a s ; an d as t h e accou n t s abou t Hebrew mu s i c i n gener a l are ob s cu r e ,
od er E i n k l a n g ] m i g h t h a v e b e e n i t s n a t u re .
A n t i p h ony w a s , as o n e c an c o n c l u d e from t h e P s a l ms , a l s o k n o wn
s o n g s t h at c l e a r n e s s of e x p r e s s i on , t h u n d e r i n g d e c l ama t i o n , and s l av i s
regretted t h at t h e i n v e n t i on o f n o t a t i on or i g i n a ted i n s u c h l a t e t i me s ,
amon g a l l peo p l e .
T h e H ebrews d eterm i n ed t h e r i s e a n d f a l l o f t o ne s , o f wh i c h
I
t h ey p r ob ab l y h ad n ot more t h an f i v e , wh i c h agreed w i t h t h e f i v e v owe l �
I
�' !' 1, �' an d �; 6 t h e fi r s t d e s i g n ated t h e l owe s t t o n e , w h e r e a s t h e I
l a s t , t he h i g h e st . Q u i t e cert a i n l y t h ey were a l so s u c h wher eby t h e
i
l ong or s h o rt d u r a t i on o f s on g wa s d et erm i n ed . To t h e mu s i c a l symb o l s
[ S c h r e i b k u n s t ] of t h e Jews a l s o b e l o n g s t h e e i g h t e e n me t r i c a l acce n t s .
W h e t h er t h e t r u e form of a c ad en ce formu l a [ e i n e s k U n s t l i c h en G e s a n g e s
Sc h i l t e H ag g i b b or i m , 8 or whether t h ey a re s a i d mer e l y to ex p l a i n
6 F o r k e l H , 1 : 1 5 6 - 57 c i t i n g J o h a n n C h r i s t o p h S p i ed e l ,
U n v e rwerffl i che S p u r e n von d e r a l ten D av i d s c h e n S i n gk u n s t , . . . •
7 T h e s e met r i c a l accent s , wh i c h B u r n e y ca l l ed 11 mu s i c a l
accen t s , " a re i n fact c ad e n c e forum l a s . See Bu rney H , 1 : 392-9 3 ;
M a rt i n i H , 1 : T ab l e V I ( fo l l ow i n g p . 424 ) ; Forkel H , 1 : 1 5 2- 5 5 .
Bs n te h a g - g i b bor1'm ( 11 Sh i e l d s o f M i g h ty Men .. ) . Wi t h t h e
h e l p o f con temp o r a ry m u s 1 c a l t h ou gh t , P or t a l eone attemp ted a reco n
s tr u ct i o n of an c i e n t mu s i c , wh i c h ob v i ou s l y cont a i n ed s ome r at h e r
5
/ mnemon i c s i gns a s s i ng l e parts o f the who l e c an never be dec i ded w i t h
Whether the Jews now even tod ay underst and t h i s mu s i cal char
10 P s s . 8 , 8 1 , 84 . 1 1 1 S am. 27 : 2 ; 29 : 3 .
1 2 I have not been ab l e to l oc ate t h i s t erm i n t h e L u ther
t r an s l at i on of the German B i b l e nor i n any s ources d e a l i n g wi t h Hebrew
mu s i c a l i nstruments . Cou l d Schubart • s s cr i be h ave mi s t ak en t h i s word
as a homonym for t h e Hebrew words k i nnor (psal tery ) or asor ( an
i nstrument of ten stri ngs ) ?
13 u eber der Mu s i k der a l t en H ebraer von Augu st Fri edri ch
Pfe i ffer ( Erl angen : Wolfgan g Walther , 1779) . Here i s an examp l e o f
confu s i ng attr i b ut i on . The work just ment i oned c er tai n l y i s more
contempor ary w i t h Schu bart • s own t i me per i od , but t here i s another
Au gu s t Pfe i ffer ( 1640-1698 ) who al so wrote an e s s ay o n Hebrew mu s i c ,
11 De neg i noth a l i i sque i nstrument i s mu s i c i s Hebr aeorum, " wh i ch was p art
of h i s Ant i qu i t at e s Hebrai c ae s e l ect ae ( 1689 ) , but wh i ch was al so
i nc l u ded in B l as i u s Ogol i nu s 1 The s aurus ant i qu i t at um s acrum ( 17 67 ) ,
ment i oned prev i ou s l y on p age 57 , note 8 of tfii s tran s l at i o n . W h i ch
�-----------------·--------�-------------------�----------_� 58 I
, drove away the spi r i t of me l ancholy from a S au l , i s qu i te eas i l y
prehens i b l e to m e when I cons i der that t h e Jews used to u n i te n
i ts h i ghest power w i t h musi c , and that one cou l d hear an i n strument
al one very r are ly or not at al l .
I t al so seems h i gh ly prob ab l e to me , for v ar i ous reasons , t h at
Hebrew poetry was more mus i cal poetry than [true] son g . The i nstrument
accomp an i ed the dec l aimer , who n atural l y mu st h ave been q u i te s p l end i d
and who was abl e t o express al l of the nuances and shad i ngs , e i ther
w i th short strokes or fu l l mu s i cal phrases wh i ch i nterpreted the spi r i t
of the poem. Every comma, who l e or h a l f l i ne , every s i g n of adm i r a
t i on , the exc l amat i on , the quest i on , and ev ery per i od was expressed by
means of the accompanyi ng i n strument . Even today one can c l ear l y rec
ogn i ze i n our best made p i eces for mu s i c al dec l amat i on the extraord i
n ary effect o f Hebrew mus i c . Yet one must l i kewi se not g o too far here
out of the pred i l ect i on for poetry and want to rej ect a l l composed
[ ausgefuhrten ] song , for the song, or the mus i c i n gener a l , c an real i ze
fee l i ngs and i deas accordi ng to the i r k i nd wh i ch are i mpos s i b l e for the
poetry. And that the Hebrews mu st h ave h ad s uch composed song i s c l ear
to see from more t h an one passage of s acred wri t i ng. Thei r s p l end i d
1 ant i phon al choru ses , as for examp l e , the Psalm " 0 g i v e t h an k s unto the
Pfei ffer d i d Schub art i ntend? The f i rst P fei ffer ( 1748-181 7 ) w as
acti ve i n Erl angen , and there i s a poss i b i l i ty that Sch ubart may h ave
k nown h im. B ut there are a l so reasons for i denti fying the second
Pfei ffer. References to the fi rst Pfei ffer may be found i n Sch i l l i ng
5 : 442 ; Fet i s B 7 : 20 ; E i tner Q 7 : 406 ; and R I SM B/V I / 2 : 64 9 ; the second
Pfei ffer may be found 1 n Fet1 s B 7 : 20 ana-RTSM B / V I / 2 :849- 5 1 . The
fi rst Pfei ffer i s probably the one Schu b art 1 ntend s .
59
Lord , for he i s good" [ " Danket dem H errn , denn er i st freu nd l i ch " ] 14
and the master l y Psalm " L i ft u p yo ur heads , 0 ye gates; and be ye l i ft
u p , ye ever l ast i ng doors ; and the K i ng of g l ory sh al l come i n"
[ "Machet d i e Thore wei t und d i e TUren der Wel t hoch , das s der Kon i g der 1
Ehre ei nz i ehe" ] , 1 5 whi ch assume an al ternat i ng and composed song; J
the i r sustai ned Hal l e l uj ah of many beat s ; the i r sel ah , wh i ch i s cer
t ai n l y nothi ng other than a mus i c a l p ause whereupon another choi r
began ; the i r prev i ous ly menti oned men at ze achs i n al l of the i nstruments
a l ready known at t h at t i me; the h i gh f l i ght of thei r i mag i n at i on ; and
the fu l l stream of the i r fee l i ngs-- [these th i ng s ] prove th i s suff i
i ci ent ly. The great number o f s i ngers and i nstrument al i sts at the t i me
of Dav i d and So l omon exto l s part i cu l ar ly Asaph , C a l co l , and Deda n . Too
b ad that the i r sounds h ave faded away , and that the mus i c al l angu age of
the Hebrews , as al l the remai n i ng anci ent peopl e i n general because of
the absence of understandab l e s i gn s , cou l d not be preserved as the
poetry ! Th i s s i gh sti l l wi l l be drawn often from us , but at the same
t i me w i l l make the great worth of our d i scovery of mu s i cal not at i on so
muc h more percept i b l e. Sti l l I mu st note here that by means of the
B aby l on i an capt i v i ty and the resu l t i ng destruct i on of the J ews , mu s i c
among these peop l e h as suffered i mmense l y. Esr a , th i s great man,
i ndeed ag ai n estab l i shed the d i v i ne serv i ce and w i th th i s al so the
mu s i c , but only as shadows of the former magn i f i cence. 1 6 The
el ders wept b i tterl y , they who yet recal l ed the former s p l endor of
60
the d i v i ne serv i ce and part i c u l ar l y the fest ive sound s of mus i c . The
h i gh tri umph al ton e, the thunder i n g noi se of thei r former mu s i c was
s i l ent by th i s t i me, and one sang for the most p art the L amentat i ons of
Jeremi ah wi th weep i ng l utes and muted i nstrumental accompan i ment.
Mus i c does not wi l l i ng l y l i nger amon g a p eopl e who b ow to e arth because
of oppressi on , wan t , mi sery , and i n su l t . For t h at reason , mu s i c among
them recovered on ly gradua l ly. At the t i me of S i mon , 1 7 the h i gh
pri est , who was h i msel f an exce l l ent mus i c i an , there were agai n some
good mus i c i ans . Josephus , i n h i s h i story books as wel l as i n h i s
Jew i sh ant i qu i t i es , d i ffuses much l i ght o n the r i se and f a l l of Jewi sh
mus i c . 18
At the t i me of Chr i st mu s i c of the Hebrews does not p art i c u
l ar l y seem to h ave been i n b l ossom. W i t h the moral and po l i t i c a l dec ay
of th i s n at i on , mu s i c and poetry a l so decayed . I ndeed , the t est i mony of
some p agan wri t ers , who cal l the mu s i c of the Jews the brayi n g of an
ass , i s not tot al l y val i d , but it i s certai n that mu s i c i n a l l forms
drew to a c l ose amon g the Jews after the death of Jesus . I n the year
A . D . 70 Jerus a l em was destroyed ; the Temp l e , together w i th the store
61
of a l l mus i c al i n strument s , was burned ; the peopl e s c attered among
the n at i ons , and the few conno i sseurs of o l d Hebrew mu s i c per i shed
by and by .
t aste; they h ave devel oped q u i te accord i ng to t he new [taste] . For who .
s uch abom i n ab l e gri m aces , and often become so red and b l ue i n the f ace
that s omet i mes one shou l d become anx i ous about the l i fe of the
off i c i ator.
62
I V. GRE E K MUSIC
The Greeks must have been fami l iar with the secrets of this
art very ear l y. By their earl iest history, as it is very much vei l ed
in the mystic obscurity of fab l es, the power of music a l ready f lashes
through; one shou l d bel ieve that music has given the wings for its
astonishing ascent to this great peopl e. Who does not know the fab l e
of Orpheus who subdued the monsters of the forest with the magic of his
In this who l e poem the phil osopher sees nothing other than the
the heavens, the de l icate and responsive formation of Greek bodies, the
l enient and the appropriate form of government for the arts, the a l most
fashion among these peopl e. For a l ong time the Greeks absorbed onl y
the magic o f music unti l they reconstructed the goddess hersel f and
formed a system. Yet one finds a l ready in the decrees of Draco's and
Sol on's vestiges2 that this peop l e emphatica l l y bound music with
63
educ at i on . Gymn ast i c s and mus i c were the two pri nci pal p i l l ars on
wh i ch the i r ent i re system was b ased . Yet i t i s beyond al l doubt th at
they g ave a much wi der i nterpretat i on to the word mus i c t h an we are
accustomed to accept tod ay. They understood mus i c under the concept
1 of art not merely i nf l uenci ng feel i ng by me an s of tones , but even g ave
dann schl upft di e Terz aus i h ren Umarmungen hervor und bi l d et jene
hohe mysti sche Tri as , -- den ti efen unerschopfl i chen I n hal t jeder
harmon i schen O ffen baru ng . Wo nur ei n Ohr i st , f�h i g , den Hal l tonender
Korper au fz u sau gen , da wi rd es sei nen Accord schon f i nden , wei l das
Herz , wi e der Resonanzboden , dabei nachk l i ng t . " C. F . D. Schu bart ,
" Vortrag , " Musi kal i sche R hapsod i en , 3 vo l s . ( Stuttgart: ged rukt i n
der Buckdrukerei der Herzogl ichen Hohen C arl sschu l e, 1786 ) , vol . 1 ,
c i ted by Rei n hol d Hammerstei n , Chri sti an F r i edri ch D an i el Schubart : ei n
schwabi sh-al emanni scher Di chter-Musl ker der Goethezei t ( P h . D . di sser
tation , U n iver sity of Freiburg , 1940) , p. 158. I t is a l so i nterest i ng
to note that the phrase "Der G ru ndton kUs st i n ei ner Bogenl i ni e di e
Qu i nt , w i e sei ne Gatt i n ; d an schl upft d i e Terz aus i hren Umarmungen
hervor " i s simi l arl y st ated i n the very next paragraph of thi s tran s
l ati on as " • •wi e der Mann se i n Wei b kUs st , urn sei n Gesch l echt
•
fortzupfl an zen . " Ho l zer rai ses the questi on about how a man ki sses hi s
wi fe " i n a curve" [ i n ei ner Bogen l i n i e] and some of the probl ems
as soci ated wi th Schubart 1 s fig ur at i v e l anguage and i t s i nterpretati on
i n modern u s age. See Hol zer , pp. 56-5 7 .
4 G i u seppe Tarti n i , Trattato di mu si ca secondo l a vera sci enza
del ' armon i a ( P adova: Stamperia del sem 1 n ario [Giovan n i Manfr�] , 1754) .
65
The Greek sc a l e was , therefore , the fol l owi ng :
7 . Nete • • • • e
6 . P aranete • . . . d
[the h i ghest t etrachord]
5 . P aramese • . • • c
4 . Mese • • • • • . a
3 . L i ch anos • . . . g
[the l owest tetrachord ]
2 . Parhyp ate • . • f
1 . Hypate . . . . • e
Pythagoras f i rst not i ced the g ap contai ned wi thi n and set u p
the fol l owi n g scal e i n two d i sjunct tetrachord s :
8 . Nete • • . . . . . • • • e
7 . P ar anete • . . . • d [the h i ghest
t etrachord]
6 . Tri te • • . . • c
5 . P aramese • • • • . • . . b
4 . Mese • . . . . . . . . . a
3 . L i ch anos or Hyperp ate . g
[the l owest
2 . P arhypate . . . . . . • f tetr achord]
1 . Hypate • . . . • e
What now concerns the tuni ng of the Greek str i ng i nstruments
w as whether such was const i t uted accord i ng to the fol l ow i ng measures of
Boet h i u s :
e the h i ghest str i ng
b
a
} the two mi dd l e stri ngs
e the l owest st r i ng
or whether the Greek tetrachord cont ai ned tones before the t i me of
66
Pyth agor as , wh i ch l i e c l oser together , one c annot c l aim w i t h certai nty. �
It was always very i ncomp l ete and the arpeggi o i s so fl atter i ng ; yet ,
the tones resu l t from true d i s sonances i n the further devel opment.
Pyth agoras f i rst not i ced t h i s i ncompl eteness and i nvented on thi s
account the famous i n strumen t cal l ed the Hel i kon [= monochord ] , wh i ch
h ad an a l together s i mp l e form and accordi ng to i ts construct i on some
s i mi l ar i ty w i t h our present d u l c i mer .
Thi s i n strument was fi rst adapted for that purpose i n order to
determ i n e the rel at i onsh i ps of consonances thereo n . K i rcher i nd i cated
seven l i nes to t h i s preparat i on and s ai d , "One sho u l d f i rst d i v i de a
s i de of a square i n two, then i n four , and f i nal ly i n three equ a l
p art s . Through these t h u s made po i nt s one sho u l d then draw p aral l e l
l i nes . Hereupon , one draws from the upper corner at the top of the
aforement i oned s i de a l i ne to the mi dd l e of the l owest l i ne , then th i s
l owest d i v i ded l i ne (to s uch k i nd i n two equal part s ) g i ves the
accord ; the second l on ger l i ne from underneat h ag ai nst the t h i rd of
t he i r equ a l s [ g i ves ] the Semi ton i um majus or the l arge i mperfect ton e,
for examp l e , c s h arp, �, �' f of such a fourth ag ai nst the f i fth
[ g i ves] the Ton um majorem or whol e tone , etc. 5 Cae l i us Rhodi g i nus
g ave n i ne str i n gs t o the He l i kon , whereon each bore the n ame of a Mu se .
67
�
5
I� t q uadratum V A IJ. c uius l�tu s AB prim � diuid.atu r bifariam in E. d eind
F
�. tn
c
1 11 + p a rt es a:qualcs 1 0 pun,:bs
, G EC. polhcm o 1 0 3 partes � q u ales in puoCl:is
FD.
Ducan turq ue per diuiGon um p u nct� linea: pcrallcl� CT. DS. R E
. FQ. G P. f� o pera
cto duca rur linea AN e x p u n ct a pu n c tu m medieta tu lateris OB . h a bc b ifq ue m
firurneatum peractum , qu o om nrs gen e ris c onfonantia: conti nentur .
r---�-----fl�--�� F
r---
--��--- -��--- G
B
�tprimo quidem Vnifonum dabunt BN ad NO .
Stmitonium maius MP ad LQ
'l'onum min ortm IS ad RK,
1'onum m.Jiortm Con J bu nt LF ad MG & SI a d OJ. •
beg i nn i n g of the prev i ous c entury , the hymn to the Muse C a l l i ope ,
fl e a l 11 J
j:
� I I J � Ic j j I -
� j I � J I J J lV l I
V-l�j � � i
- pn OE CXIJV cln: ' CIA - O"E - wv , E - l.lac; <W E -
c lJ
¥� +_1 j l 21: I J J j I � t j l
00 - - "CW, KaA -AL. - o - ao -
l
-vac; VE L. JTE L. : a
Vt= J ,
J:
Mou
l �
..,.. -#-
'
l I ;t 1 j 1 $
- -
!
?r
I
,\\: l
CXIJV 'KPO -Ka"C a VE -"C L. "CEP - nwv ,
J 1 � � �I
-�
t* l I J l I l
-
l
KaL.
$
ao - <DE
+
llU - c;o - oo
�
"Ca , Aa - "COUc; VO-VE ,
� l J I � J I
�"":')
&¥ Lln
l J l i J J
- Y L. - E ,
I
rraL. - av ! Eu - ll E - VE L.c; rra-
� 4= -p E -
:± I
O"E
l
1.10 l.. .
...
II
70
T h i s l i t t l e G reek son g , t h at , accord i n g to i t s s i �p l i c i ty ,
71
l 1 n b ;auty and s t r�ngth ;-�
i n h i s mast e r l y ode A l ex ander ' s F east , o
P ower of Mu s i c . 7
art amon g t h e H e l l e nes . The tones were ab sorbed and no t h eory was
gen i us and proves noth i ng but t h at the f i fth , t hi r d , and h i g her oct ave , !
i n a word , the f u l l c hord . l i es i n t h e s p here of mus i c . F rom th i s
1 2 4 5 [ recte 8] 16 32
3 9 15
7 14
P l utarch :
a ) i nto t h e d i aton i c ,
who l e and h a l f steps , but the c hromat i c and enh armo n i c p roceeded to an
G maj or , D major , A maj o r , E maj or , B major , F-sh arp major , C-sh arp
73
Nevertheless, it deserves to be noticed here that the Greeks
music, and that the best, admirable effect of music could not be other-
wise comprehended of poetry, being for a long time mistress over music,
and that , therefore, the Grecian musicians had nothing to do other than
which one can almost compare to our opera houses; in these odeums not
only great declaimers, mimics, and artists of all types practiced, but
The Greeks indeed did not have our musical notation with which
one can impart the musical ideas of all nations, but they did have cer
tain marks which they set down over or under the words of the poem and
whereby they could show the rise and fall of the voice so well. We
indeed now do not understand their musical signs any longer, yet we see
of musical colors, the blenqing of tones, and particul arly the arrange
ment of beats the Greeks lacked totally . Even the profound scholar
people ." (Ernest C. Harriss , Johann Mattheson ' s Der vol l kommene
Capellmeister : A Revised Trans 1 ati on with Critical Commentary [Ann
Arbor : UMI Research Press, 198 1 J , p . 1 / 9 . ) Burney even speaks of the
"soft Lydian" and that the Lydian mode was appropriate for " complaint
and songs of sorrow . " (Burney H, 1 : 6 2). Apparentl y, Schubart is
relying more on ancient texts than on contemporary accounts .
74
P l utarch h as proved noth i ng further i n h i s treat i se on Greek mu s i c
than that , i n rel ati onsh i p to us , they stand approxi mate l y as a dwarf
to a g i ant . S i mp l i c i ty and correct re l ati onsh i ps may h av e approx i
mately const i tuted the c h aracter o f Greek mus i c . B ut what i s t h i s
comp ared wi th t h e mus i c of the I t a l i ans or Germans ? ! When the Gree ks
sank down from the i r ori g i nal greatness , thei r mus i c al so sank ; and
D i o , the h i stor i ographer , r i ght ly sai d , •the Greeks how l and s i ng no
more, the Greeks ' l yre ' and p l ay no more . • lO
Before I conc l ude the art i c l e about Greek mu si c , I mu st fi rst
br i efly show t he i r c h ar acter i st i cs as f ar as i t can be done.
F i rst of al l there seems to h ave been far more dec l amat i on than
song . P athos was certai n l y pecul i ar t o th i s mus i c a s one can deduce
wi th authent i c i ty p art ly by the s p l end i d poems , but al so p art ly from
the few fragments thems e l ves .
The f i rst Chr i sti ans found Grec i an mu s i c so sp l end i d t h at they
kept many pract i c ab l e me l od i es and put on l y Chr i sti an texts underneath .
They publ i shed a Grec i an songbook whi ch consi sts of ei ght p arts or
sty l es of s i ng i ng , and therefore cal l i t " e i ght sound s " [ Achtk l ang] . ll
[ Achtk l ang] . l l Th i s Achtk l ang al so c ame at the t i me of Char l emagne
to the Catho l i c church , and our great Luther kept them and put German
texts underneat h .
choruses were fu l l of majesty and dignity; and since even the choruses
comic sty l e. In a word and without having a know l edge of the Greek
l anguage, one can thus assert positive l y that the i r music indeed had
compared to our music today . One searches in vain for these riches,
77
I n conc l u s i on , we append thei r scal e :
For the c l av i er
,--
� -· 1 .. - i) +
I .."'
I
..., 1.. ....
.,
" ,I , v
....
•
c
:t ... k# bD A
I
'"
"!" =t I
Cil ""'
I
fl --- �.4 �
.......
3?:._ ""
-. I
...w
rJ r A"''
b..IL" ----..._..
..l ..... .... .. -· , D
I .,
I •
I _.._.. C.l l A
\ \
r:JIIr' A "I
- \
"A.I'"'D "'J
eJ
-
rJ,
""" ..y ..
� Olol"'� ,. ...... ..
� 1 I
fl 1:1 -
I ""
-
h !'tl> .. -
t, �
....
t '" ¥
.1"
b iJ +
- -
h# ... ... *
'
78
Rel at i on s h i � [ P i tch] [ Hexachord ]
1 536 [ ee] [1 a]
1 7 28 [dd] [ l a sol ]
1914 [ recte 1944] [cc] [ s o l fa]
2048 [hh] [mi ]
2187 [bb] [ f a]
2304 [ aa] [1 a mi re ]
1592 [ recte 259 2] [g] [sol re ut]
2916 [f] [fa ut]
307 2 [e] [la mi ]
2456 [d] [ l a sol re]
2888 [c] [sol fa ut]
3096 [h] [mi ]
4374 [b] [fa]
4608 [ a] [ 1 a mi re]
5184 [ G] [sol re ut ]
5832 [ f a ut ]
6144
6912
f�j
[ D]
[ l a mi ]
[ s o l re ]
7776 [ C] [fa ut]
8192 [B] [mi ]
9 216 [ A] [re]
10368 [ r] [ ut ]
wherein only here and there a little flower grows. T h e Romans were
music. Yet one finds already in Livius traces of the oldest music
among the Romans. By this time Romulus and Tullus Hostilius, espe
which lies in the cradle, Roman music at that time was also small,
had for a long time no further range than our cow horn [ K Uhhorn ] , and
I also believe his testimony. The sounds of the cow horn lie totally
in nature; art must first seek out all of the remaining tones lying in
the study of this art, these mediant tones could not be expected so
soon from the warlike Romans. The instruments which were unearthed in
Rome were also made so poorly that those of the wilderness in N orth
America have more beauty and range. In the rich antique halls of the
ear ly, come togethe r , and s i ng a song to Chr i st , thei r God ; o n l y then
do they go to t h e i r jobs . 3
the Lati n song tot a l l y from the German c h urch for the wi sest of rea
sons , but he al so t r ans l ated some of the best o l d songs and retai ned
2co l . 3 : 1 6 .
83
.----- ------ ------
--- ----
w i t h the downf a l l of the arts and s c i ences , for o ut of Con st ant i nop l e ' s
fore , worth the troub l e to search for the reasons whereby I t a l y swun g
84
F i rst of a l l , the favorab l e c l i m ate, wh i ch i nv i tes mank i nd so
much to song and p l ay , may we l l h av e some part i n th i s soar i ng of the
i mag i nat i on , a l though I may not want to as sert wi th the great
W i nckelmann that the Greeks h ave become [great ] mere ly by the b l essi ng
of thei r Greek c l i mate and that , therefore , the I ta l i an fragrance of
oranges must h ave h ad such a gre at part i n the i r b l ossomi ng mus i c .
One h as i ndeed made t h e observ at i on that a favorabl e c l i mate produces
greater mus i c i ans than an unfavorab l e one; yet our norther n Germany h as
l imi ted th i s statement very much , for we h ave brought forth mus i c i ans
who d o not mere ly contend wi th the I t a l i ans , b ut they surpass them i n
gen i us and abu nd ance of d i scovery. A F ueg i an does not s i ng , but , on the
other han d , the Tah i t i an swi ms i n the b l i s s of musi c . But two border
l i nes of the extremes here dec i de noth i ng . Yet th i s much remai ns
certai n , that a m i l d l and and cheerfu l l e i sure al most a lways b r i ng
forth son g .
The second reason for t h e ascent of I ta l i an mu s i c i s more
dec i ded and con s i sts of the extraordi nary encouragement i tse l f by the
n ob l emen [Grossen] and i n the pri nce ly reward s wh i ch they g i ve to d i s
t i n gu i shed mu s i c i an s . The house of the Med i c i h as gai ned i mmortal
mer i t i n mus i c ; the great pr i nces of th i s house honored mus i c i ans as
i f they were the l eadi ng pi l l ars of the state . A Kape l l mei ster by the
n ame of Cryso l i das, a nat i v e of Greece , had a sal ary of 2 , 000 sequ i ns
[ Zechi nen] , the r ank equ a l to a l ord marshal l , and usual l y ate at the
duke ' s tab l e every d ay. Under th i s great encouragement of the Mu ses ,
mus i c i n I t a l y real ly fi rst b l oomed. One sti l l h as s acred p i eces from
that t i me wh i ch are fu l l of s i mp l i ci ty and maj esty. Al so, the theory
85
of music began to be investigated for the first time, and indeed with
such thoughtfulness that our more recent musicians can still learn
very much from that . The Republic of Venice emulated the Medicis
man who asked him what kind of a teacher he had had: "My father, '' he
answered, 11and Zarlino. " The Venetians invented several stops in the
organ; they combined instrumental music with the hymn in the church;
and now one pays more than one hundred Louis d'or for it . The opera is
great in style, full of simplicity and majesty ; the song prevails with
out exception, and the instruments are totally subject to it . The car
nival entertainments have given cause for the discovery of opera. But
what the Venetians praise above all is that one has them to thank for
so-called German tablature, where one drew four lines and indicated the
highness and lowness of the tones and their value by letters and
this method, one has finally brought musical notation to the point
B6
that not o n l y s et s down the s l owest as we l l as the f astest tones , but
the mu s i cal d i scover i es of al l n at i on s c an be preser ve d for posteri ty .
death the notes were g i ven more and more perfect i on : one d i v i ded the
Mu s i c a l notat i on h as a l so g i v en a g i g ant i c i de a t o t h e g re at
s i b i l i ty of t h i s d i scovery.
The pope h i ms e l f p a i d the mu s i c i ans extr aord i nari l y . The papal c h apel
87
and soon a l l o f I t a l y was a l oud-sound i ng concert h a l l to wh i ch
Mus i ca. " Even Pope Honori s wrote " Beat u s est , qu i ad honorem Dei , et
God for the peo p l e to enjoy w i th mu s i c . " Even i n the prev i ou s century
h uman voi ces , str i n g sound s , org an tone , drums , trumpet s , and a l l wi nd
scho l ar who b l ows away the d u st and studi es the scores of t h i s great
sett i n gs o f t h i s master.
�
l for 1 ts i nc l u s i on i n th i s treat i s e . See MAfD 1783 , p p . 1 23-25 and
MAadJ 1 784 , po . 1 00- 1 1 2 . See a l so K ar l F . Cramer, ed . , M a azi n der
downfal l of mu s i c i s near .
the power of the song, but h i s s pi r i t subm i tted to the t aste of the
choruses . Yet one wi shes very much that h i s styl e h ad been preserved .
e l ev ated the song and knew h ow to man i pu l ate the thorough bass . Al s o ,
90
� ------- -------,
seventy- e i ght of the be st mus i ci ans of the wor l d were buri ed under the
organ was recogni zed throu ghou t Germany , and [ the organ ] was pl ayed by
ordi nary emp h as i s . The mos t spl end i d wri t i ngs abou t mus i c were pu b
fi rst ran k , and the vi rtu osos were rewarded to the po i n t of l av i shness .
so not i ceab l y . The I t al i an s fi rst came t o the abom i nabl e thou ght of
au thori zed by a papal bri ef , and thi s bri ef , moreov er , has the detest
ab l e cl au se, "Ad honorem Dei . " If God asked for cas trat i on to h i s
gl ori f i cati on, we wou l d hav e fou nd wel l - ex pres sed command s t o that end
thel ess howl and sc reech . God and n ature l a i d down the l aw that one
shou l d s et the descant and al to wi th femal es , on l y the ten or and bas s
91
1 avenges hersel f through d i ssonance and adverse i mpres s i o n . H ai l to o ur
father l and that we i nd eed reward c astrat i but do not make any! Whoever
understands the art of properl y trai n i ng fema l es as the Germans has no
need of eun uchs .
S i nce the song was cu l t i vated so passi onately i n th i s mu s i cal
epoch t i n strumenta l mu s i c suffered . We h av e produced, th erefore, from
t h i s t i me , except for some great organ i sts , no s pec i al masters. Th i s
was reserved for the t h i rd epoch , wh i ch extends from 1750 unti l our
t i me .
E ven i n th i s t i me per i od , t h e I t a l i an s sti l l number great and
extraord i nary masters . Traettat Gal uppi , and Jomme l l i l ed the way.
Traetta sti l l mai ntai n s the d i gn i ty of the song but g i ves the i n stru
ments more wor k . H i s operas are composed wi th profound know l edge of
the poetry and mu s i c ; h i s rec i tat i v e i s p assab l y correct; h i s ar i as
h av e grace and often mel t i ng tenderness ; and a l so h i s choruses do not
l ac k d ign i ty. B ut he was not a spec i al contrapunt i st , for h i s s acred
p i eces stream down l i ke s l ush on a b are rock. H i s sei zi ng after new
not i ons , h i s bor i n g co l orat ura, h i s frequent p auses , and other manner
i sms destroy the s i mp l i c i ty of the phrase and promi se h i s compos i t i ons
no l asti ng permanence.
Gal uppi , f ar greater t h an h i s predecessors , h as extremel y s i m
p l e and l ove ly songs , r i ch i nvent i ons , i ngen i ous modu l at i on s , and mag
n i fi cent h armony. H i s i nstrumenta l accomp an i ment i s not rag i ng nor
drowni ng the h uman vo i ce , nor l ul l i ng for the i nstrumental i sts , but i s
so s p l end i dly chos en, [ and] thus s u i ted to the n ature of the i nstru
ments . The notes are so easy, yet on ly a master can bri n g them out
92
comp l etely • G al uppi h as fee l i ng for profound beauty; he was , mostly
for that reason , a true i nterpreter of the poet i cal texts . He d i d not
at al l l i k e the storm of i nvers i on , wh i ch drops the p r i nci pal thoughts
as i n a rai n of f i re on the sou l of the l i stener. What ever the poet
s poke, he [ i . e. , the poet] repeated i t to the composer i n the s i mp l i c
i ty of h i s hear t . H i s [ Ga l upp i ' s ] s cores seem so l uc i d ; thus one f i nds
so often wi t h him that he tri ed to express a pr i nc i pa l fee l i ng w i th a
s i n g l e note or yet wi th a few notes . One sees the proof as he set the
s p l end i d ar i a of Met ast as i o :
Se cerca, se d i ce :
L ' am i co dov ' e?
L ' ami co i nfel i ce,
R i s pon d i --mori . lO
Al s o , we possess masterwork s by h i m i n the s acred styl e. Yet
he succeeds mu ch better wi th a Kyr i e e l e i son and a M i serere t h an w i th
a Te Deum l audamu s and a Gl or i a i n exce l s i s , for l oud shouts for j oy,
i ntensel y l ast i ng f i re , [ and] heav en-as p i r i n g p athos were never the
I t a l i an ' s concer n ; yet one must s ay of the great Gal uppi t h at he has
c arefu l l y stud i ed counterpoi nt and h as worked out h i s f u gues wi th d i l
i gence. A Credo wh i ch he composed i n Ven i ce i n 1752 i s set wi th so
mu ch d i gn i ty and s imp l i c i ty that he h as made h i msel f i mmortal by t h at
a l o n e , i f h i s operas d i d not cry out sti l l l ouder around the gar l and of
i mmortal i ty. In a word , Gal uppi i s a man cel ebr ated t hrough a l l of
E urope, and he deserves thi s cel ebrat i on so mu ch more because h e
�
10 see B a l d ass are Gal upp i , L ' O l i m i ade , Ital i an O pera,
1640-1770 , no. 41 { New Yor k : Gar l and Pub 1 shi n g , 1978 ) , f . l03r-110v .
93
comb i ned the most god l i ke h eart wi th h i s great t a l ent . H e d i ed as
Ari on for h i s peo p l e 1 1 and bequeat h ed 50 ,000 th a l er for the poor.
S c i u nt
q u ae cec i n i t 1 2
Jommel l i , the creator of a n ent i re ly new t as t e , and certai n ly
one of the best mu s i c a l gen i uses who h as ever l i ved . T h i s i mmortal man
p aved h i msel f , a s h av e a l l spi r i t s of the f i rst rank , a comp l et e l y
whol e opera hou s e seems to be a sea of sou nd , where ev ery wav e , every
surge, and often t he s p l ash of every s i ngl e note can be not i ced . In
s acred pi eces he was not a s fortu n ate ; yet h i s Requ i em , and especi al l y
h i s 59th P s a l m , wh i ch was h i s swan- song, bel ong among the best master
t h i s great , general l y wonderfu l work cons i st s of two voi ces and four
as c h arm i n g as i t i s .
98
these carry the stamp of Pergol esi an geni u s , name l y , utmost simp l i c
i ty. As l ong as such mus i cal compos i t i ons sti l l create a sensati on
among u s , the tru e mu si cal taste i s certai n l y there . The great
Jommel l i used to ri ght ly say [that] when a Pergol esi i s no l onger
appreci ated , then the downfal l of true mu si c i s certai n . The sacred
p i eces of th i s immort al composer are preserved as sanctuari es. Hi s
Masses , Psal ms , and Te Deum l audamus are honored wi th very l arge sums .
The ari a " Se cerca, etc. " was perhaps h i s best, al thou gh the greatest
masters after h i m tri ed hard to surpass him.
P adre Mart i n i ( i n Bol ogna ) i s j ust as great a composer as a
mus i c al cri t i c . He pl ayed the organ masterl y, had the pathos of the
s acred styl e in h i s power , and understood cou nterpo i nt from i t s founda
ti on . Hi s pu b l i shed hi story of musi c , in three quarto-si zed vol ume s ,
i s the most usefu l work o f th i s type . Si nce he possessed an extra
ordi nary store of mu si cal sou rces and for thi rty years gathered
materi al for th i s work , one cou l d , from th i s bas i s , a l ready expect
much from hi s hi story . I f Hawki ns, Burney, and Forkel have subse
q uent ly surpassed h i m, the honor of a p i oneer yet al ways rema i n s to
him. The correct sketches of ol d and new mu s i cal i nstru ments gi v e a
deci ded worth to th i s book .
Pai s i el l o , a mod i s h , extreme ly wel l - l i k ed composer ; sweets
ra i n from h i s h and s, but one may not search for hardy mea l s wi th h i m .
He has to th ank for hi s fame mos t of al l the l ad i es , who fal l i n l ove
wi th his sweetn ess ; but he wi l l be l ooked at con s i derably by al l great
connoi sseu rs as a fl ower i n g tree : ni ce to l ook at , but from wh i ch no
l asti ng fru i ts can be expected .
9
P i cc i n i , a true pup i l of the G races; for t h at reason al l of
t h e E uropean l ad i es espec i al l y h ave foun d so much t aste i n h i m. Wh at
f l ashes of grat i f i cat i o n but t akes one through the a lw ays proport i on ate
1 00
the sacred styl e h e d i d not h ave enough pract i ce; con sequen t l y , h i s
Masses h ave n ever attr acted attent i on . Al so, h e was snatched away from
i t he wor 1 d premature 1 y . 21
�
d i ctated thi s manuscr i pt between 1784 and 1785 . But there al so exi sts
another i ncons i stency wi th i n th i s paragr aph . S acch i n i ' s Oed i e �
Col one d i d not rece i ve i ts f i rst performance unti l Janu ary 17 6, and i t
was not u nt i l after i ts P ar i s premi ere i n Febru ary of 1 787 t h at i t was
acc l ai med a master p iece ( Grove 6 , 16 : 37 1 ) . A score was publ i shed i n
P ar i s i n 1 787 and a G erman tran s l at i on appeared i n pr i nt o n l y i n 1790 .
See Al fred Loewenberg, Annal s of Oper a , 1597-1940 , 2 vol s . ( Geneve :
Soc i etas B i b l i ograph i c a , 1955) , 1 : 4 20- 21 . Obv i ous l y , th i s p aragr aph
h ad to be wri tten somet i me after 1786 ei ther by Schubart h i msel f , or by
L udwi g Schubart , who may h ave been ed i t i ng thi s sect i on i n preparat i on
for pub l i cat i on ( e . g . , pages 84- 96 served as Proben i n the Le i pz i g
A l l g emei ne mu s i k al i sche Zei tung 6 ( 11 J anuary 1So4 ) : 23 1 -41 ) .
101
VI . CONCER N I NG I TALY ' S GR EAT S I NGERS
sound and tone w i t h them. The mos t ord i n ary marmot youth often s i n gs
the most beaut i fu l and me l ody- r i ch l i tt l e songs . Yet t hey are s urpassed
The present s i ngers s i ng and c l uck too mu ch; al so they often smot her
the song w i t h exces s i ve col orat ure and f l or i d orn ament s . One i mi t ates
and Rome can br i n g i n 10,000 to 15,000 thal ers of our money year l y .
102
Just recent l y the famo us c astrato F ari ne l l i bought h i mse l f a duchy. 1
The I t a l i ans real l y h ave on ly three c l asses of s i n gers , name l y ,
sopr anos , al tos , and tenors ; they d i v i de t h e a l to i nto t h e h i gh and
contral to. But the deep ly mov i ng bas s vo i ce they i gnore out of c apr i
c i ousness or out o f s hortcomi n g o f s uch voi ces and use them only i n the
comi c opera. Perh aps , too, there are few beaut i fu l b as s voi ces in a
country where one dri nks noth i ng but w i ne.
The best aforesaid voi ces amon g them are so much more spl end i d .
A F aust i n a 2 d i d not s i ng , she practi ced mag i c . Her voc al r ange con
t a i n s s ixteen q u i t e perfect steps . She was stronger i n the express i on
of s l ower tones t h an i n f ast r uns ; consequent l y no one expressed the
gri ef , the l ove, the devot i o n , and feel i n gs of such k i nd more i nt i
mately than th i s great s i nger. 3 One u sed to c a l l her a l one the tenth
Muse of the I t a l i an s . Now she s i ts as a matron i n V i en n a , 4 and her
thro at is dr i ed u p .
103
� amous contra l to of whom Hasse said [th at ] whoever h as not h e ard h i m
G i o v an n i C arest i n i . A castr ato and t hro ugh a l l o f E urope a
at the hei ght of h i s f ame. The prev i ous l y ment i oned F ar i ne l l i , who
1 04
of tones and th e most sensi t i ve heart , st i l l the most profound i ns i ght
of art . He [ ?S a l i mben i ] 7 h as wri tten a book on the song, whi ch i s a
true masterpi ece. Hi s strength con s i sts espec i al ly i n the express i o n
o f the s acred styl e; consequent ly, he s an g more i n ch urches t h an i n
theaters .
Boss i . One of the best I t al i an t enors . H i s vo i ce i s fu l ly
nat ur a l , pure i n the l ow as i n the h i gh [reg i ster] . He s ucceeds wi th
the affect i ve remarkably wel l , but he a lw ays man g l es , as h e o ften h as
expressed , v i o l ent , i mpetuous , hero i c pass i o n ; on l y the German s i ngers
s ucceed i n th i s .
Apr i l e . The former j ewe l of the Wurttemberg th eater [ 17 56-69]
and one of the most perfect s i ngers of the wor l d . H e s an g wi th the
pur i ty of a s i l ver bel l up to the three- l i ned c [ c ' ' ' ] , h ad a profound
know l edge of s o n g , and a warm, swe l l i ng heart . He p art i cu l ar l y under
stood to the h i ghest degree the art of v aryi n g an ar i a sever a l t i mes
with extraord i n ary gen i u s . Even t h e i mmort al Jommel l i adm i tted that h e
h ad mu ch to t h an k t h i s great s i nger for. 8
105
K at h ar i n a G abr i e l i * i s the t r i umph of tod ay ' s s i ng i n g art !
She h as extraor d i n ary he i gh t and u n u s u a l l owness [of r ange] , reads as
among whom perh aps are s ome who bel ong i n the forego i ng sh i n i ng order.
The most recent t r avel wri ters , who at the s ame t i me are con noi sseurs
1 785 to 1786 . 9
109
A s for t h e org an , the gen i u s o f I tal i an mu s i c p asses by s ayi n g
noth i ng of i t and v i s i t s t h e o ak grove s of Germany. Meanwh i l e , I t a l y
fet ched out ent i re ly from the v i o l i n and on t i me u nder the stroke .
fast passages . However , the pupi l s f rom th i s schoo l are perfect l y good
for the s acred styl e , for the i r bowi n g h as exact l y as much power and
stress as i s nece s s ary for the true expre s s i on of the sol emn , s acred
i d i om.
majesti c and fest i ve phrasi ng of t h e bow , not the grasp of t h e comp l ete
110
i s not strai ght but crooked . H e stroked not w i t h al l h i s mi ght but
!on ly s l i d away over the stri ngs , s e l ected the peri phery of the bri dge,
vent ured upwards h i gh on the f i ngerboard, and thereby brough t forth a
tone about the s ame as rubbi ng [the r i m ] of a g l ass fai r ly l i ghtly so
t h at i ts crystal cortex resound s . B ut the mi stake of th i s great man
was that , out of obst i nacy, he d i d not as s ume that wh i ch was good i n
T art i ni . The T art i n i tones are al l q u i t e fu l ly devel oped , but the
Ferrari are unri pe . H e k i s ses , a s i t were, on l y t h e fru i t o f the tree,
but does not s h ak e it so t h at the notes f a l l as a B orsdorf app l e to
our l ap . H i s execut i o n was therefore more echo than n atura l tone .
Anton i o L ol l i . Perh aps the S hakespeare among v i o l i n i sts . He
comb i ned the perfec t i ons of the Tart i n i and Ferrari schoo l s not on ly i n
themsel ves , but found s t i l l an ent i rely new p ath . H i s bow s troke i s
eternal ly i ni m i t ab l e. One be l i eved unt i l now [that ] fast p as s ages were
only expressed by means of a short stroke , but he pu l l s the whol e bow ,
as l ong as i t i s , d own the stri ngs unt i l he i s at the poi nt of the b ow ,
and thus the hearer h as heard a who l e hai l storm o f tones . B eyond that
he possesses the art of drawi ng together new tones from h i s v i o l i n
wh i ch have never b een heard before. He i mi tates ev erythi ng that h as a
sound i n the an i m a l k i ngdom to the most extreme i l l us i on . H i s ve l oc i ty
extends to the poi nt of mag i c . H e not on l y p l ays [ ab stossen] octaves
and tenths wi t h p erfect i ntonat i o n , but he a l so p l ays [ sch l agen ]
doubl e tri l l s i n thi rd s and s i xths . And he ascend s so as to become
d i zzy i n the h i g hest atmosphere of tones that he often conc l udes h i s
concertos w i th a tone wh i ch seems t o be the non p l u s u l tra o f tones .
111
Co l d pedagogues i ndeed reproach h i m that h e does not a l ways
exert i on and the comi c rel axes ; prec i se l y so, the great Lo l l i h ad a
i ndeed contai n ri ch enj oyment ; but from t he s i de of art they are very
112
al ways h appy to hear h i m , for he was capab l e of tran sformi ng , as by
mag i c , the most u nrestrai ned i mprov i s at i on i nto the most wanton d ance
upon graves . The stroke of h i s bow was s l ow and sol emn; yet he d i d not
tear out the notes by the root as Tart i n i , but mere ly k i ssed thei r
t i ps . H i s stacc ato was s l ow , and every n ote seemed t o b e a drop of
b l oo d wh i ch fl owed from the most sens i t i ve sou l . One mai n t ai ns that
an u nfortunate l ov e g av e the soul of th i s great man t h i s me l ancho l i c
d i spos i t i on , for persons who h ad prev i ous ly heard h i m s ay that h i s
style i n younger ye ars h ad been v ery bri ght and ros e-co l ored. 18
Al l of Ita ly deve l oped accord i ng to these great men , and even
tod ay one ei ther attaches h i mse l f to one of them or becomes e c l ect i c
and constructs a new one from the i r manners .
I n al l o f the remai n i ng i n struments the Ital i ans h ave not been
epoch mak i n g , and they themsel ves adm i t that they are student s of the
Germans , p art i c u l ar ly i n wi nd i nstrument s .
113
VII . SCHOOLS OF THE GERMANS
g et one short l y .
I n the d awn of German h i story- - as s oon a s a n at i on began t o
114
and h ad perh aps some resemb l ance t o o ur marches . The anci ent Germans
al l s ang i n u n i son--t h e women an oct ave h i gher t h an the men- -and t h i s
i ned whether t hese i nstr uments c ame from the Germans or f rom the
!
cert ai n : the mu s i c of o ur f at hers mus t certai n l y h ave h ad a great
1 15
c h , even accord i ng to the test i mon i es of the i r foes , mu st h ave h ad
much ch arm.
Thu i s ko n , Thuet , Wood an , Vel eda , and Herd a , 3 i n f act , often i n a l ter
n at i ng cho i r s ; thei r as s i stants [ Opferkn aben ] h ad t o s i ng a l o n g , too.
l ai n l y ,
1
the G ermans t h ems e l ves s up posed for a l on g t i me and express l y
mai ntai ned that i t was abs urd t o s i ng somet h i ng that one d i d not under
116
trav el i ng b i s ho p from R ome wrote about t h em : " I t i s surpr i s i ng h ow
these drunken and wi l d beasts s i ng and p l ay s o beaut i fu l l y . " Yet mus i c
one mus t not t o l er ate a mus i ci an among honorab l e peop l e . But one s ees
o n l y too wel l t h at t h i s does not app l y to the who l e of mu s i c but merely
t o the dest i tute , i t i n er ant s treet mus i c i an s , who gener a l l y make them
and more br i l l i ant : great s ums were s pent on s i ngers and i nstrumen
v ar i ous stop s ; and a Nuremberger even i nvented the pedal whereby the
organ attai ned great perfect i on as i t s t ands tod ay. Cornett s , trom
bone s , horns , and trumpets were for a l ong t i me p art i cu l ar ly f avor i te
117
The famous n u n Hrotswitha was not o n l y a poetess , but al so a
cou l d . At fi rst he ret a i ned the ant i phon s and mote t s ; l ater he g ave
composer H andel posses sed many p i eces not ated i n L uther ' s own han d .
append any [ add i t i onal ] accomp an i men t . The peri phery of i t s tones i s
chosen so natu r a l l y that they sel dom wan der ou t of the sphere of an
and s acred mus i c were borne [ bestri tten ] , and the school master ' s and
c antor ' s p o s i t i ons were fi l l ed from them. Even the d i rge was p erformed
mus i c . One a l so sees from t h i s arran gement how much our Luther recog-
119
pub l i shed to wh i ch L uther wrote a foreword wh i ch breathes true i ns p i r a
i on for mu s i c . Th i s i nterest i ng book t h at d i ffuses so much l i ght over
erman fo l k songs , as the master songs , sel ect the m i nor key i nfre
F ormer l y o n e s an g :
,. �
IK ffi
Gott
I f
••
g ru s s
t
dich
'ir r I r
1 i eber
r &
Wan de rsmann !
t
�
WO -
&$ r tUn
r
s teht
lftdir
f
de i n
I f
S i nn?
l 1
E x amp l e 3 . German F o l k Song
\K r � s � �E
§� Gott g rll s s d \ C 1 i e-
§ 1�£ g
ber
� �I
Wan - ders -mann ! wo-
� l
r �- � !t Q I �
hi n steht dir Si nn?
B l ack Forest peas ants and general l y t h e Swabi an countrymen h ave st ayed
1 21
to t h i s d ay w i t h t h e f i rst . A l so t h e movement i s much q u i c k er and
[ 1503-64] mai ntai ned l arge choruses of s i nger s and i n strument a l i st s for
s acred and sec u l ar u se s . There was never a mea l wi thout t ab l e mus i c ,
5 c f . GS , 1 : 226 ( L & G , 2 ) .
1 22
overpowered the s acred sty l e ; at that t i me the ecc l esi ast i ca l p athos
swal l owed up the uncontrol l ed , s ec u l ar styl e.
Thi s phenomenon exp l ai ns i t sel f very e asi l y from the ch aracter
of t h at t i me . The zeal for t h e d i v i ne servi ce was s o great then t h at
the echo of the ant i phons and hymns was a l so heard wi th del i ght at the
roar i ng b anquets . I t was , part i cu l ar ly i n the c l oi sters , somewh at
al together customary to get drunk duri ng the chant i ng of a p s a l m, about
wh i ch the fore i gners h ave cri t i c i zed us very s ever l y , and i nd eed
r i ghtly so. The wretched Thi rty Years ' W ar a l most made smo l der i ng
rui ns out of the who l e of our father l an d . Before Wot an ' s thunder i n g
char i ot f l ed al l o f t h e arts and sci ences , and above a l l , the heaven l y
Po l yhymn i a. Where there i s much l ament i ng and cryi ng ; where m i sery and
mi sfortune stagger over the domai n wi th wh i tened cheeks and s craggly
hai r ; where wi dows and orph ans , the aged and cri ppl ed s i t and cry at
the edge of streams--there the harps are s u spended on the wi l l ow
branches . 6 Thi s was the st ate of th i ngs i n a l l of Germany at th at
t i me . Many hundreds of c l o i sters were p l undered ; the pri cel ess scores
were burned and scattered ; the best i nstrument al i sts s erved o ut of
desper at i on as p i pers and trumpeters among the armi es; the temp l es
echoed noth i ng anew except the p l ai nt i ve Mi serere; the d ance and
g l adness fl ed from Germany ' s groves; and even the German song became
s i l ent at dr i nk i n g-bout s . Yet a s the musi c o f Germany was s o deep l y
rooted at that t i me , mart i al musi c was d evel oped t o i t s greatest forc e .
O ur composers i nvented then t h e march , a type o f mu s i c wh i ch extol s
6 psalm 137 : 2 .
1 23
the heart and courage of a f i e l d army , th at thereby the l oss of the
b ard ' s son gs can a l most be compen s ated .
T h i s great d i scovery h as a l so a t act i c a l reason for s i nce t h at
t i me of the great wars , the measured step was est ab l i shed ; thus i t was
!necessary to express th i s step throu gh a mus i c al tempo. The march was
.even t aken up by the c av a l ry , but wi th the d i fference that the tempo
I
was qui cker .
The o l d German march s urpas ses by far most o f the newer
marches i n h i gher mart i a l consci ousness for noth i ng i s more r i d i c u l ous
t h an to t ake up the I t al i an coos and s i gh s i n a march as one i s now so
frequent l y apt to d o . After the Th i rty Years • War the fi ne arts and
sc i ences rev i ved thems e l ves wi th s l ow breaths , but q u i ckest was mus i c .
At the co urt of Emperor Maximi l i an i t was st i mu l ated wi th the greatest
: zea l . The emperor h i msel f p l ayed the v i o l i n v ery wel l after those
!
1
t i mes and al so now and aga i n assumed a s i ng i ng part i n the Mass . From
1th i s t i me on i t was as i f i t were hered i t ary among t h e i mper i a l fami ly
to d i st i n gu i sh themse l ves throu gh mus i c. Among the pri nces as wel l as
among the pri ncesses of the Austri an house there were conno i s seurs ,
respecters , and p atrons of mus i c . Leopo l d i ndeed had no great t aste,
but he mai ntai ned an orchestra of over a hu ndred strong. Joseph I
unfortunate ly i n many regards , espec i al l y with respect to mus i c , ru l ed
for too s hort a t i me. He not on ly p l ayed v ar i ous i n struments master l y
b ut al so requ i s i t i oned great mus i c i ans from I t a l y o r sent Germans there
i n order to be trai ned . N one of h i s prov i nces , perh aps none i n a l l of
Germany, surpassed the Bohemi ans i n mus i c. Si ng i n g school s were even
founded i n the v i l l ages there, and the wi nd i nstruments were
1 24
part i cu l ar l y pursued wi th such zeal that the Bohemi ans to t h i s hour
surpass not o n l y I t a l y but even the rest of Germany herei n . But wh at
i s the most s i gn i f i c ant thi ng i s that the Bohemi ans formed a comp l etely
ndi v i dual taste i n mu s i c wh i ch i s fu l l of grace and c h ar acte r , but i t
al so appro aches the comi c somewhat . The Bohemi an c h amber sty l e i s
i i ndi sputab ly the mo st beaut i f u l i n the wor l d . One hears a process i o n
of P rague students p l ayi ng symphon i e s , sonatas , l i tt l e p art i tas ,
marches , mi nuets , and sl i di ng d ances [ Schl ei fer]--wh at h armony, what
roundness of performance , wh at u n i ty , wh at so ar i n g sound ! B ut i n
s i ng i ng t h e Bohemi ans sti l l h ave not brought i t as far as , for examp l e ,
t h e S axon s and B avari ans , where there are s i ng i ng schoo l s for s o many
years and where t here i s a compl ete ly nat ural abi l i ty to s i ng among the
peo p l e . I n B av ar i a everyt h i ng babbl es and s i ngs . Who c an h e ar
anythi ng more beaut i fu l that a l i tt l e B av ari an cou ntry song? So
ori g i n al and at t h e s ame t i me sweet ; so me l od i c ; so entertai n i n g , and
especi al ly so moody; yes , often s i l l y- -no peop l e of the wor l d h ave
prod uced [ such] fo l k songs .
U nder K ar l VI mu s i c rose to a hei ght wh i ch h as st i l l not been
seen i n Germany. He mai ntai ned a hundred s i ngers and over three
hundred i nstrument a l i sts . Both of h i s K apel l mei sters , F ux and C a l d ara,
were the most profound composers in the wor l d. F ux was p art i cu l ar l y a
gre at contrapunt i st : h i s M asses st i l l today are masterpi eces fu l l of
sacred pathos wherei n one fi nds such magn i f i cent ly treated fugues that
a composer today cou l d h ard ly wri te any that are better . He al so
bec ame a mus i c a l wr i ter and wrote a Gradus ad P arnassum i n L at i n ,
where i n the found at i ons of mu s i c are d i scus sed w i th great d i scernment .
1 25
Thi s magn i fi cent book was a l so tran s l ated i nto German for the u s e of
composers and even today deserves u n i ver s a l recommendat i o n . But i t
ever seen . The s i ngers and i nst rument a l i s t s n umbered o ver a thousand.
Four K ape l l me i sters stood on h i l l ocks and l ed the mu s i cal s torm. More
cost l i ne s s , for the performance of t h i s opera cost the emperor 300 ,000
performance [ s tyl e s ] c ros sed one another . Thi s enormou s o pera found
1�
staffed ; i n a word , German mus i c was e poch mak i ng fi rst u nder K ar l V I .
i nstruments ; per h aps somewhat too much " comi c " s al t--are t he ch arac-
1 27
somewhat from i t ; yet the great masters a l so used t h i s drawback i n
order t o reach a benef i c i a l end by smoot h i n g the rough edges of the
one once degraded t h e great Hasse before Jommel l i , the great master
t e acher . " 9
1�
At the s ame t i me d ance mu s i c i n V i en n a was a l most brought to
i ts zen i t h . Starzer composed s uch thorough l y s p l end i d bal l et s t h at
more i n the s acred styl e . For Starzer was dest i ned for the ch urch , but
s p ang l es often resemb l e the chec kered dress of the h ar l eq u i n and pro
1�
Grau n , lO a K ape l l me i ster i n the l i teral sense; equ al to
every mus i cal s ty l e . H i s operas are composed wi t h i ndescr i b ab l e l ove-
h e art open to every good sen s at i on are found i n Grau n • s scores . The
to the boundar i es of ped antry are Grau n ; that l i fe l ess s i l houette ! His
Death of J esus [ Tod yesu] was g azed at by a l l the wor l d , 1 1 a l though
much from Grau n . Of heavy col or atura h e was not i n the l e ast a l over;
on the cont rary , h e trai ned the h uman vo i ce by sp l end i d s i ng i n g
exerc i ses to bri ng forth e ach tone comp l et e and rou n d , to expres s the
sor; thus they wou l d n ever s i nk to the ped ant i c st i ffness wh i ch one n ow
w i t h m ag n i fi cent comments .
133
defended i t to the poi nt of pedantry; yet one must admi t t h at i n h i s
Beytrage 17 here and there are found very correct suggest i ons on
musi ca l aesthet i c s wh i ch no one h ad even treated before h i m. Th i s man
was so thorough [ and ] h i s j u dgments on mu s i cal works and art i sts were
[ ausf i e l en ] so pert i nent s yet h i s own compos i t i ons are so forced and
st i ff . H i s c l av i er pi eces are h i gh ly forced and mathemat i c a l l y l ai d
ou t; h i s ari as are hand l ed co l d ly and school master l y; and h i s songs
are wi thout s avor and strength . Yet the connoi s seur must study them
for the s ake of thei r profundi ty.
K i rn berger i nd eed an i ce-co l d theori st s but a wr i ter of great
i mportance . One sti l l has noth i ng more fundamental t h an h i s D i e Kunst
des rei nen S atzes [ 17 7 1 s 17 76-79] . 18 I ndeed s one g ets a l oud
poundi ng of the heart when he sees the many f i gures and contrapuntal
mu s i ngs over whi ch one must l abor ; b ut whoever wants to l earn to com
pose thorough ly must not pay attent i on to the persp i rati on on the fore
head nor be i nti m i d ated by the dryness of a K irnberger . H i s system
cert ai n ly goes deeps but i t i s too one-s i ded and thus deteri orates to
i nj u sti ces ag ai nst men who h ave anot her system. The fugues of
K i rnberger are cert a i n ly awkward and troub l esome s but are treated wi th
great art and mu st be stud i ed carefu l l y by organ i st s and c l av i er
p l ayers . B ut whatever he h as wr i tten for the vo i ce i s i ntol erab l e
b ad reput at i on .
c i ated by peop l e . Al though the phrase i s v ery correct , the songs are
wel l sel ect e d , and a l so the me l od i es are often not bad l y adv i s ed . But
w i t h the mus i ca l l i e d .
135
was the f l ut e t e acher of h i s k i ng [ beg i nn i ng i n 1 7 28 ] , h e enjoyed h i s
4 ,000 t h a l ers , 20 rece i ved one h u nd red d u c ats for e ach f l ut e tested
others . The wor l d pos sesse s very many p i eces by t h i s man . H i s method
h i s new and most n at ur a l f i nger i n gs , [ and ] the m any wel l -proport i oned ,
n atura l i sts and organ g r i nders who do not u nderstan d wh at they are
137
performance was comp l et e l y s u i t ed to t h e n ature of t h e v i o l i n . I ndeed ,
p en etrat ed i nto t h e h e art , and one h as seen more t h an once peop l e weep
general l y u sed even today as exerci ses for v i o l i n i st s . No one amon g the
g re at deal , yet h i s p i eces are now becomi n g more and more r are because
c h amber sty l e . 23
and afterward s Kape l l me i ster for Pri nce Hei n r i ch [from 1780 to 1787 ] ,
�rom
I
140
wi t h h i s footstep . Too b ad t h at h i s organ compo s i t i on s are more
v al u ab l e but r arer t h an go l d ; yet , i t i s a conso l at i on for art t h at
hochsten Verwu nderu n g vom B l att weg . " MAadJ 1782, p p . 34- 35 . C f .
B urney G , p . 1 6 7 .
28 cf. B urney G , p . 1 99 .
141
and sustai ns the who l e notes wi th except i on al power . S he h as never
sung i n the comi c styl e , yet she has many mood s , as al l gre at s i n gers
d o , and does not a l ways rema i n the s ame . When the grand duke was i n
Berl i n , Mar a shou l d h ave exce l l ed i n a n ew oper a . But she s ang bad l y
H e d i rect s the bow as i n a storm, and the tone rai ns down . H e s l i des
1782, p . 35 .
30 c f . the fol l owi n g excerpt from MAad J 1784 , p . 1 7 2 :
"Al l e i n er [ P r i n z Georg ] wurde e s g ar b a l d mOde, una pfl egte n achmal s ,
a l s Kon i g von Eng l and , 6fters zu s agen , er wo l l e v i e l l e i chter e i ne
Arrnee von 50000 Mann command i ren a l s e i ne Gese l l sch aft von Oper i sten . "
31 Re i ch ardt , Bri efe , 1 : 8 , prai ses Joh ann Mar a • s p l ayi ng
and cal l s him " cert ai n l y o n e o f t h e greatest gen i uses . " An extended
art i c l e abo ut Johann Mar a was i n the MAadJ 1782, pp . 36-37 . Schub art • s
stat ement b as i c al l y agrees wi th these contempor ary report s . But see
Lord Mount- Edgcumb e , Mu s i c a l Remi n i scences ( London , 1 8 28 ) , c i ted by
Grove 6 , 1 1 : 6 39 , where Mara is des cribed as " an i d l e drunken man and a
bad p l ayer on the c e l l o . ••
32Rei ch ardt • s asse ssment of Duport agrees wi th Schubart • s .
See Rei ch ardt , Br i efe , 1 : 1 7 7-78 .
142
Ernst E i chner . Thi s favor i te of the Graces p l ayed the bas soon
w i t h unusual sweetness . He compl et e l y took up th i s grumb l i n g , mock i ng
tone and tu ned i t to the most del i c ate tenor and to t h e most l ov e l y
contral to . 33 P l e as i n g gracefu l ness and me l t i ng sweetness was h i s
phr ase. For t h at reason h i s styl e becomes mott l ed more often , and many
for the mu s i c a l Mu se t 34
Rei c h ard t . W i th th i s man , whom fut ure g enerat i ons w i l l f i rst
h i gh l y i mport ant pos i t i on i f one does not forget that h e was Gr aun ' s
successor ! He trai ned h i mse l f for the great post of K ape l l me i ster
143
the geni u s of mus i ca l cri t i c i sm [Kri ttel ey] and asserts that thou ghts
the swamp , but wi th the d i fference that the d i sease [col d theory]
v i rtuoso. H i s pri nci p l es on the vari ous styl es of mus i c are fau l t l es s .
mus i c are treated i n a v ery beaut i fu l s tyl e . Among the mus i ca l wri ters
the s i mp l eton can fai l to appreci ate . He has set some song s from
144
Mess i ah [ Der S i eg des Mess i as , 1 784] wh i ch compete wi th the great
poet and are a re l i ab l e demonstr at i on of h i s nob l e t ast e . When
Rei chardt s ays that he knows no greater poet than K l opstock , that
suff i c i en t l y proves h i s correct feel i ng . Whatever he s ays about the
choral e and about the i nvesti ture of s acred s i n g i n g , i n g eneral , i s
near l y aposto l i c ; herei n he i s r i g ht l y a f avor i te of L avater 39 and
of al l the d evout . He there by made h i ms e l f vu l nerab l e to h i s many
enem i es , s i nce he swam too h ast i l y ag ai nst the stream and wanted to
contri bute al l at once to the theoret i cal and styl i sh m an i a; sure l y
t h e future g enerat i on wi l l best dec i de t h e meri t o f th i s man . B ut i t
i s al so certai n t h at h e wants more than he can accomp l i sh ; h e i s , as
i t were , a mus i c al P i et i st .
Freder i ck the Great h i mse l f f i n a l l y comp l etes the ro l e o f the
st ate ly mus i ca l spect ac l e i n Ber l i n . After h i m it was n i ght [he d i ed
i n 1786] , and i n h i s presence a l i ght s hone i n wh i ch a l l of E urope
bas ked and rav i shed . Thus , as he was a creator i n everyth i n g , so he
w as al so i n mu s i c . U tmost acc uracy reduced t o bas i c p r i n c i p l es was h i s
fi rst precept . He remai ned i nv ari ab l y t rue to th i s precept and l et the
styl i sh d i scover i e s i n mu s i c swarm and buzz about , even as unconcerned
as the stormi ng batt l e around h i s ears . He heard everyth i ng . The
g reatest v i rtuosos of the worl d h ad the i r odeum i n Berl i n , but he
a lways judged accordi ng to h i s preconcei ved pr i nc i p l es . Al l decept i ons
of mu s i ci ans wi thout i nner strength ( i . e . , wi thout correct ly founded
theory ) s l i pped off h i s rocky sou l as dri zz l e . He h i msel f p l ayed the
145
f l ute as a master , accomp an i ed sp l end i d l y wi th the h arps i chord , and
understood compos i t i on master ly. He furn i shed the mot i ves to many of
Graun • s ar i as . I n a word , F rederi ck the Great i s a l so the creator of
one of the best mus i cal school s as he i s the creator of one of the
most famous po l i t ic a l and t act i c al schoo l s i n t h e wor l d .
146
VII I . THE SAXON SCHOOL
147
Mor i tz mai ntai ned an admi r ab l e cho i r. He brought f i gured
s acred mus i c throughout Saxony; [ h e ] founded s i ng i n g school s and g ave
the i r d i rectors the t i t l e of Cantor s . Even tod ay these s p l end i d mu s i
cal i nsti tut i ons , wh i ch are the pr i de of Germany and the envy of for
e i gn countri es , are i n S axony and h ave produced the greatest mus i c i an s .
The Saxons h ave s o d i st i ngui shed themsel ves i n mus i c throughout many
centuri es that the I t a l i ans i nc l u de a l l of Germany u nder the word
Sasson e , a country that they recogn i ze al one as thei r worthy r i val i n
mus i c . When E l ector Augu stus [ Augu stus I I the Stron g ] became K i ng of
Pol and [ 1697 ] , mus i c rece i ved a new fl i ght , and i t s prevai l i ng s i m
p l i c i ty degenerated a l most to Pers i an revel ry. He secured [v erschr i eb]
the greatest si ngers and composers from Italy and was one of the f i rst
who b l ended the I t a l i an taste wi th the German. Thi s b l end i ng , f rom
August ' s t ime forth , h as become a pri nci pal feat ure of German mus i c .
Therefore, i t requ i res a great connoi s seur to d i st i ng u i sh the char ac
ter i sti cs of the pecu l i ar German mus i cal styl e from the i nterbreedi ng
w i th the I t a l i an s .
U nder t h i s ostentat i ous k i ng the f i rst operas were performed
accord i ng t o I t a l i an taste an d , i ndeed , with greater d i spl ay t h an i n
I taly i tsel f . One s aw e l ephants and l i ons here , not st uffed as i n
Italy, but appear i n g i n more fri ghtful real i ty. Decorat i ons , mach i n
ery, f l yi ng scenery [ F l ugwerk]--al l of that was v i ewed i n i ts fu l l
spl endor for the fi rst t i me i n Germany. But i ts orchestra was too
strong and t umu l tuous to h ave been ab l e to operate s u i t ab l y; one
compares it wi th the roar of the sea that swal l ows up the p l ead i ng
voi ces of the d i stressed. F rom th i s t i me on the S axon t aste recei ved
1 48
a new di rect i on i n mu s i c , for a l l of t he rest of Saxony devel oped
accor d i n g to Dresden .
composers of the wor l d h ave come from th i s school and , i ndeed , are not
monuments :
Mot u s contrari u s , t au ght to f i gure the basses wi th utmost con sci en
u nderneath the song , an d gave the most mag n i fi cent ru l es to the art of
149
c ompo s i n g . Neverthe l ess , a cert a i n anxi ety appear s between t h e l i nes ,
wh i ch h i s al l too f ar -reac h i ng theoret i c a l know l edge mu st h ave
produced .
posed many p i eces for the ch urch as we l l as for the ch ambe r , b ut every
150
mi stake the ori g i n al gen i us of a B ac h . B ut the ev er more dest ruct i ve
search for smal l hess among the moderns h as al l but comp l etely el i mi
n ated the taste for s uch g i g an t i c p i eces . Thi s can even be asserted
for h i s organ p i ece s . Hard ly any man h as ever wri tten for the organ
w i th such thoughtfu l ness , w i t h such gen i u s , wi th such i ns i ght i nto art
than B ac h ; but i t t akes a great master i f one wants to perform h i s
p i eces , for they are so d iff i cu l t that h ard ly two or three men l i ve i n
Germany who cou l d perform them fl aw l es s l y . An i mprov i s ati o n , sonat a ,
concerto, o r f i gured choral e for t h e org an composed b y B ach usual l y
has s i x l i nes : two for the upper manu a l , two for the l ower , and two
for the p ed al . The stops are most l y marked , wh i ch one h as to d raw
hurr i ed ly. The ped al i s unusual ly busy , and the l i g atures , the runn i ng
phrases , and other ornaments are composed for the organ w i t h such d i f
f i cu l ty th at one must often ponder on one l i ne for hours . On top of
th i s , the l eft and r i ght h and more often h av e i nterv a l s of a tenth or
twel fth , wh i ch on ly a g i ant can bri ng out.
B ach ' s c l av i er works certai n l y do not have the grace of
today ' s , b ut they make amends for th i s def i ci ency through strength .
How much our c l av i er p l ayers of today cou l d l e arn from thi s i mmortal
1nan if it were no l onger a matter of the f i ck l e approva l of fash i onabl e
i n sects than of the greater , more i mport ant conno i sseurs . The B ach i an
p i eces are not transcri bed from other i nstruments , b u t are true c l av i er
p i eces . He understood comp l etely the nature of the i nstrument ; h i s
phrases strengthen the hand and fi l l the ear. Both hands are i n . equal
pursu i t , so th at the l eft does not become weaker when the r i ght becomes
stronger. He a l so h as such an abundance of i deas that no one comes as
151
j c l ose to h i m there i n than h i s own great �· W i th a l l of these qual
i t i es , B ach st i l l comb i ned the r arest tal ent for i nstruct i o n . The
and d i spl ayed from youth an extr aord i nary mus i cal gen i u s . The afore
pl ayed the organ and c l av i er s pl endi d ly and thereby made h i mse l f known
he became a royal K apel l mei ster and p l ayed , for more th an f i fty year s ,
152
wi th ever- i ncreas i ng approv al . I t i s s i mp l e , stat e ly , and r i ch i n
grat i f i c at i on . Hande l h as obt ai ned t h e s p i r i t o f t h e i ngen i ou s Dryden
so compl et e l y t h at no mu s i c i an s i nce h as agai n d ared to set t h i s poet i c
masterpi ece t o mus i c .
R aml er h as made a G erman text for t h i s compos i t i on [ 1 766 ] so
t h at Germans wou l d be ab l e to j udge for thems e l ves t h e express i on . 2
Handel h as a l s o composed the c ant at a Ceci l i a [Cec i l i a, vogl i un squ ardo
( ? 1736 ) ] by Pope w i t h a l most the s ame success . S i nc e Pope d i d not
present to the composer such abundant great thoughts as Dryden , nei ther
cou l d H andel express h i s gen i us as wel l here. Yet th i s p i ece al so was
recei ved very wel l by the Eng l i sh and i s sti l l often performed i n
London . H andel h as made many oper as i n the I t al i an and Engl i sh l an
gu ages whereby h i s approbat ion i ncre ased unt i l the e n d . The spi r i t of
h i s operas h as someth i ng q u i te ori g i n a l . Those he composed i n I ta l y
are comp l etely I t a l i an wi th the except i on of some aspects of t h e German
i d i om. The ones made i n Eng l and h ave recei ved mu ch of the pecu l i ar
ch aracter of th i s nat i on . Handel often sel ected, for examp l e , a gen-
eral l y popu l ar fo l k song and brought i t to the theater w i th embel l i sh
ments and art i f i c i al modul at i ons . He has to thank the enth us i ast i c
adorat i on for thi s craft wi th wh i ch the B r i t i sh rewarded h i m unt i l the
end of h i s career. And even yet they mai ntai n t h at Handel s urpasses
every mu s i c i an who h as ever l i v ed . E ven t h e s acred pi eces wh i ch Handel
made i n London , to th i s hour , h ave not been d i sp l aced by any others .
153
H ande l was a s p l end i d contrap u nt i st , yet he never s acr i f i ced
the gen i us of art , as one r i gh t l y reproaches some of h i s countrymen.
A l so , h i s chamber pi eces espec i al l y some �rg an sonatas and fugues,
wi l l be preserved as l ong as true mus i c al taste remai ns i n the wor l d .
H andel was a man o f unusual mi ght [ l i ebeskraft] ; h e was one o f the
heav i est eaters i n london and was never s i ck i n h i s l i fe . Wi th s uch a
body cou l d such a spi ri t do thi ngs ! H andel was , for ex amp l e , c apab l e
of p l ayi ng o n the cou p l er [Koppe l ] for hours , with the greatest force,
w ithout comp l ai n i ng about fat i gue. H i s h and was as f ar-reac h i ng as
B ach ' s ; accordi ng l y, some phrases i n h i s org an pi eces are very h ard to
br i ng out . Handel a l so understood the th eory of other i nstruments
perfect ly. In short , h e i s one of the most perfect gen i uses who h as
ever l i ved .
Gottfri ed August Homi l i us . 3 A very thorough church styl i st
[Ki rchenstyl i st ] . He espec i al ly understood the art of sett i ng a
chor us master ly. S i mp l i c i ty, sub l imi ty, and d i gn i ty characte r i ze h i s
choruses . He d i d not search for bol d h armon i c movements , yet he found
them . Now one begi ns t o put h i s works i nto pr i nt , i n fact , even oppor
tune ly, for the church mus i c i ans among the Protest ants deter i orate
more and more. Homi l i us a l so h as the honor to h ave trai ned many
154
thorough art i sts , amon g whom H i l l er i s certai n l y one of the best. 4
H i stor i ographer of Warsaw, st ayed for the most part i n War s aw, p l ayed
the c l av i er very wel l , and i s one of the most famou s German mus i c al
t i ons became st i ff and t astel ess and were a l ready h i s sed off the stage
155
l earn much from h i s wri t i ngs i f one has enough pati ence to work through
h i s subt l eti es .
Joh ann Gottfri ed Muthe1 . 7 From B ach ' s schoo l ; one of the
best and most thoughtful organ and h arp s i chord p l ayers . H i s p i eces
h av e a comp l etely ori g i n al character : d ark , omi nous , unusual modu l a
t i ons , stubborn i n mot i ons , i nfl exi b l e agai nst the fashi onab l e taste
[ Modegeschmak ] of h i s contempor ar i es . B ut even th i s or i g i nal character
of h i s spi ri t deserves that the c l av i er i st shou l d study h i m and thereby
become accustomed to the d i ver s i ty of performance. MUthel h i msel f i s
a sp l endi d p l ayer, to whom B urney h i msel f d i d j u st i ce , B and who
deserves to be better known i n the mus i ca l wor l d than he re al l y i s .
B ut he wraps h i msel f i n h i s obscuri ty and only gi ves u s concertos ,
sonatas , and other c l av i er p i eces from t i me to t i me , wh i ch j u st i fy my
opi n i on .
H i l l er . Mus i c d i rector i n L e i pzi g ; the favori te composer of
the German s . As much as Hi l l er stu d i ed Ital i an son gs , he studi ed the
German ones even more and , accord i ng l y , h i s songs cut so deep l y i nto
our heart th at they h ave become common throughout al l of Germany.
Whi ch travel i ng art i s an , wh i ch common so l d i er , wh i ch young g i r l does
not s i ng h i s "Al s i ch auf me i ner B l e i che, etc. , " "Ohn e L i eb und ohne
Wei n , etc. , " and v ar i ous others? In the fo l k song no one h as reached
H i l l er . H e i s the f i rst , after Standfuss , who h as brought comi c
. 7 The art i c l e i n the Deut sche C hroni k { 9 Febru ary 1 775) : 94-95
i s essent i al ly the same as the section tran sl ated here, except that
Schubart cr i t i c i zes MOthel ' s mus i c bec ause i t h as l i tt l e effect on the
l i stener.
BB urney G , pp . 1 21 , 240-41 .
1 56
operas to the stage i n the German l an gu age. H i s Der l u st i ge Schu ster
[ 1759 ] , 9 D i e J agd [ 17 70] , Der Dorfbal b i er [ 17 7 1 ] , Der Aerndtekranz
more than onc e . And one h as not attri buted th i s so much to the text ,
73) .
158
au gment at i on . 13 In the way of resources , we now l ack ab so l ute l y
h av e suppl i ed s p l end i d contr i but i on s . Wal ther ' s son 14 was one of
the best org an i sts i n Germany, espec i a l l y a m aster i n the ped a l , b ut
bec ame Kape l l me i ster i n Copenh agen [ 1 740-47 and 1 766- 7 6 ] and supp l i ed
13 c f . B urney H , 2 : 947-48 .
159
sty l e . I n add i t i on t o that h e possessed a n exp anded l earn i ng , espe
c i al ly i n f i ne l i terat ure. Th at i s why h i s styl e i s more than correct ;
i t i s beaut i fu l . We possess a r i ch supply of mus i cal wr i t i ngs by h i m,
wh i ch revea l th i s profound i n vest i g ator i n mu si c as the man of correct
tast e . The i mmort a l Les s i ng con s i dered h i m to be the best mu s i cal
wr i ter in Germany. He e l aborated on a l l aspects of mus i c . H i s i ntro
d u ct i on to mus i c a l composi t i on , 16 wh i ch he pub l i shed the f i rst
vo l ume i n q u arto short l y before h i s death , i s the resu l t of many years
of deep research . A better work h as h ard l y ever been wri tten on th i s
great theme ! How often one must l ament that the death of an excel l ent
man i nterrupted th i s i n val u ab l e wor k ! I n short , Schei be was one of the
mos t l earned mus i c i an s of our century ! What i s the h i gh l y c e l e brated
Doctor of Mus i c B urney compared to a Schei be? 1 7
Schwei tzer . One o f t h e most ce l ebrated and most popu l ar
composers of recent t i mes . He comb i nes profound thoroughness w i th
h i s " German Tour , " Burney s l i ghted the German s for " l ack of gen i us , " a
s l u r for wh i ch he l ater apo l og i zed . See Burney H , 2 : 963 .
160
unusual grac e . H i s s p i r i t revea l s a c ert ai n propens i ty to greatness i n
the obbl i g ato v i ol i n s w i th t h e song makes the most magn i f i cent effect .
seri ous o pera, Aurore [ 17 7 2] -- l i kew i se wri tten [poes i rt] by W i e l and-- i s
161
N auman n . Born a S axon and present l y K ape l l me i ster [f rom 1 7 7 6 ]
i n Dresden . H e h as s udden l y proc l a i med h i msel f t o t h e mus i c a l wor l d
a l though the phr ase i s crystal c l e ar ; but the mel od i es are mor e l ove l y
p . 1 5 . ) ; concert performance parts t aken from the oper a were publ i shed
i n Dresden ( 1780 ) and i n H al l e ( c a. 1 78 1 ) . Thi s opera f i na l l y recei ved
i t s prem i ere i n Stockho l m on 30 September 1782.
20 " N aurnann goes on wri t i ng , i n what s eems to me an I t a l i an
styl e , too feeb l e and pl ac i d for those who admi re the or i g i n al i ty and
force of P i c c i n i and P aesi e l l o .. '' B u rney H , 2 : 960 .
16 2
temperament of the compo ser , becau se each work i s an i mi t at i on of the
master. N aumann understands the art of emp l oyi n g w i nd i n struments at
· n ecessary p l aces f ar better than one was accustomed unti l now from
S axons . He h as , i n add i t i on , arranged v ar i ou s th i n gs for the royal
stage i n Stockh o l m , but whi ch the k i n g h as u sed very st i ng i ly. Some
l i eder wh i ch we possess from h i m were wri tten qu i te adm i r ab ly , espe-
c i al ly the amorous ones . I n short , no one underst and s the amoroso
tod ay better than the charm i ng Nauman n , who i s so comp l et e l y engrossed
i n the spi r i t of our t ime . On the other h and, one c an r i gh t l y mai ntai n
that he can al most never s ucceed i n the sub l i me wi th th i s study of the
grac i ous.
Georg B end a . Not on ly the greatest among al l h i s brothers , but
one of the best composers who h as ever l i ved, one of the epoch makers
of our t i me ! He i s thorough wi thout pedant i c exactness , great and
smal l , serio u s and wi tty, [and ] equ al ly s p l end i d i n church , dramati c ,
and chamber styl e. H i s mel od i c movements are espec i al l y c atchy for
every trai ned ear , but the anxious mi en of art s h i nes forth n ow and
then . Accord i ng l y , not al l of h i s ari as are good to commi t to memory.
On the other han d , h i s rec i t at i ves and choru ses are so m aster ly treated
that here i n he h as a l most reached the per ihel i um of art . How i n acces
s i b l e are the choruses i n h i s operas; [how ] super i or i n Romeo and
J u l i et ! 21 I n wh i ch mag i c l abyr i nth are h i s duets and tr i os
p l ai ted ; how masterfu l ly he knows how to al ter [ i nverti ren] the
I 163
poet ' s word s ! When Rousseau s ays , i n h i s mu s i c a l d i rectory , "the t ext
i s an oran ge [ Pomeran ze ] i n the h and of the composer , wh i ch h e s queezes
for examp l e , the a l l a breve and f u g al styl e more t h an once and always
dec l amatory , d r am as i nto f avor and rai sed the actor ' s l an gu ag e through
164
th i s type are h i s Medea [ 17 7 5 ] and Ari adne auf N axos [ 17 7 5 ] . 23 In
both me l odramas the thoughts and feel i n gs of the poets are expres sed so
165
E ven i n h i s s acred pi eces t h i s great man h as d i st i n gu i shed
h i ms e l f . We possess a few c hurch cyc l es 24 by h i m wh i ch prove to
affi rms t h i s great approv al for t h i rty years , not i n d ecreas i ng but
a l ways i n i ncreas i ng degree s . Wh at a b r i g ht ness th i s i mmort a l man
t �
25 Am nts k l a en U ber d i e F l ucht der L a l a e ( 17 7 4 ;
Q
hol ograph , 1 77 2) . c h u6arf brief1y revi ewed fh 1 s work i n the
D eut sche C hron i k ( 12 September 1 7 74 ) : 381 and adv ert i sed the score i n
th e Deutsche Chron i k ( 7 November 1 7 7 4 ) : 5 1 . L ater , i t was rev i ewed
i n MAfD 1783 , p p . [ 207 ] -8 .
166
Schuster , a n at i ve of Dresden , now K ape l l me i ster i n
N ap l es . 26 O n l y twenty- f i v e years o l d , h e stepped forward as t h e
not a l w ays make bows before t h e fash i on ab l e t aste of our dec adent
contemporari es . He i ndeed descends somet i me s t o the l i stener , yet h e
167
a great conno i sseur of mu s i c , 29 for wh i ch he recei ved a thousand
seq u i n s together w i t h a gol den c l ock adorned with d i amonds . Thi s
s i tuat i on i s so much more noteworthy s i nce Schu ster i s a L utheran . He
has at the s ame t i me i ntroduced the p i ano i n I t a l y , on whi ch he i s a
great master and h as shown the manner of mani pu l at i n g th i s i nstrument
to the proud I t a l i an s . Schuster has been work i ng for four years o n a
German o pera, to wh i ch a famous poet h as supp l i ed the t ex t . 30 When
th i s appear s , Germany wi l l know even more about h i m and wi l l val ue h im
as h i gh l y as fore i gn countri es a l ready val ue h i m.
Ro l l e h as made h i mse l f wor l d-f amous through h i s church cyc l es ,
cantat as , orator i os , motets , org an , and c l av i er p i eces . U tmost pre-
c i s i o n of the phras e , ser i ousness and d i gn i ty i n the e xpress i o n , and
magn i fi cent basses d i st i ngu i sh h i s mu s i c . H i s rec i t at i ves are worked
wi th much art , and h i s choru ses are f u l l of grandeur.
Abrah am auf Mori a [ 1776 ] and L az arus [ 1778 ] made by the i nt i
mat e , warm poet N i emeyer are h i s masterp i eces . 3 1 I n p art i cu l ar
one cannot l i sten to h i s Lazarus w i thout bei ng pi erced by the del i ght-
f u l expect ati on of h i s resurrect i on . B ut the overcr i t i cal h ave wanted
to f i nd fau l t wi th i t , s i nce he has i ntroduced Jesus s i n g i n g . But i n
i n those days [ and ] repeated l y sung by a l l God -feari n g Jews . Who can ,
much wort h , 3 2 yet he has been surpas sed herei n by many others .
N eefe. One of t he most thorou gh and most p l eas i ng composers
169
IK ' s great spi r i t and ex press hi s profou nd l y mel an chol i c
und Sel ma [ recte Sel ma und Se l mar] , and the pi ece from Ossi an ' s •• Komm
th at h e deep l y feel s that every good poem has i ts own mu s i cal k ey.
nuan ces , the portamentos and mez zoti nts . The comi c oper as of thi s
�aster i n deed cont a i n many beaut i fu l pl aces yet show that Neefe ' s
spi r i t i s not mad e for the com i c theater . I t seems to me that Neefe
t here , bec ause the present duke h as a g reat deal of t aste, and h i s
pr i vy counci l l or , the f amous Goethe , hel p s i n everythi ng i n mak i ng
are fo und at the pub l i c concert s and compete w i th the v i rtuosos . The
171
the name of Erme l i nda, a very p l eas i ng o pera; 36 bes i des , she s ang I
and p l ayed the harp s i chord wel l . 37 Cou nt BrUh l and several
grandees of the court h ave d i st i ngui shed themsel ves as master s on the
c l av i er , and there are today few of the Saxon l ad i es of cu l ture who do
not spark l e [bri l l i rt ] on the p i ano or i n son g .
True German thoroughness uni ted w i th sensi t i ve, p l e as i ng me l o
d i es , i s t ake n , on the aver age , as the pri nc i pa l feat ure of today ' s
S axon mus i c . B ut for some t i me i t seems t o want t o deteri orate i nto
smal l ness and tri f l i ng through the i ncreas i ng t aste for operettas ,
wh i ch a l most borders on man i a. Throu gh the i nvent i on of mu s i c pri nt i ng,
wi th whi ch Brei tkopf h as made h i msel f i mmort a l , more of the best p i eces
can now be put i nto c i rc u l at i on q u i ck ly, and mus i c al t aste more e as i ly
spread s i tsel f w i d e l y . When prev i ou s l y al l p i eces were engraved, they
were very cos t l y . But b y means of mu s i c pri nt i ng, o n e now gets for a
Lou i s d 'or what one cou l d hard ly have bought w i th several . Al so, the
pri nted notes are now so beaut i fu l , c l ear , and d i st i nct that they com
pete w i t h the best engraved i n P ar i s , Lon don , Berl i n , and N uremberg.
172
IX. THE PALAT I NE-BAVAR IAN SCHOOL
I t h as a l ready been menti oned above that the dukes and el ectors
of B avar i a h ad gre at meri t i n mus i c al l al ong and t h at the nat i on over
al l i s remarkab l y mu s i ca l . Every t r avel er , who t akes a l on g h i s ear and
heart , wi l l not i ce thi s wi th p l easure whenever he travel s through th i s
venerab l e , anc i ent prov i nce of B avar i a . Everyth i ng s i ngs and r i n gs
amon gst them, and even thei r so i l l -reputed, rough l anguage becomes
sonorous and l ovely i n the mouth of a B avari an g i r l whenever she s i n gs
a fo l k song . The B av ar i an song d i sti n gu i shes i t sel f especi a l l y by the
u n usual l y fast use of the tongue, s i nce they are c apab l e of cover i ng
every note of the most f l eet i ng pas s age w i t h one syl l ab l e ; the dro l l ,
burl esque, or vu l g ar comedy , no nat i on expresses i t b etter t h an a
B av ar i an or Sa l zb urger. W i th respect to the mus i cal meri t of the dukes
of B av ari a i n the ol dest t i mes , that wh i ch i s necessary h as b een remem
bere d . M aximi l l i an Emanue l , one of the greatest German heros , mai n
tai ned a very wel l organi zed orchestra and promoted c hurch mu s i c above
al l . Every c l o i ster i n B av ari a h as i t s own cho i r once mor e , where
s p l end i d l y wri tten p i eces i n the true church style often appear . The
many churches i n Mun i ch resound year i n and year out with songs and
hymns , and B avar i ans can t h an k th i s truly great e l ector t h at many of
these i nsti tut i on s h ave taken u p mu s i c . The many turmoi l s of war i n
wh i ch he i nvo l ved h i mse l f made h i m, of course, a l i tt l e l ess
1 73
respon s i ve to the st i l l peace of mus i c , but h i s just decrees to t ake
up mu s i c neverthel ess conti nued i n the mi dst of the d i n of war . I n the
r emai n i ng c i t i es , even i n the v i l l ages of h i s count ry, these char i t ab l e
i nst i tut i on s d i s semi nated themse l ves . Si nce t h i s t i me , even at the
sma l l est vi l l ages i n B av ari a, one often hears good s ongs accompani ed
w i t h i n strument s by the v i l l age i nh ab i t ants. The church styl e
t hroughout al l of B avari a has preserved , before other German provi nces ,
ost of its anc i ent d i gn i ty and grandeu r . Th e exqu i s i te descant v o ices
and , part i cu l ar l y , bass voi ces , wh i ch one comes across i n B avar i a i n
unusual depth and strength , certai n l y add much to th i s .
Emperor Charl es V I I of the B avari an house u n i ted spl endor wi th
al l of these features . He mai ntai ned approximately two hundred of the
cho i cest mus i c i ans , and bec ause he was a f r i end of the I t al i an s , he
emp l oyed many s i ngers , composers , and concertmasters from I t a l y . Con
sequent ly, the mus i c al s p i r i t of B av ari a took a somewhat d ifferent
course. One adopted much from the gen t l e Ital i an song without thereby
s acri f i c i ng the ch aracter i st i cs of the nat i on . Meanwh i l e , i t mu st b e
confessed that the B av ar i an nat ional t aste i n general symp ath i zes w i t h
t h e I tal i an up t o t h e po i nt o f decept i on ; accord i ng l y , i t attr acted
attent i on to the poi nt of l oud l aughter whenever one heard a d ro l l
B av ari an text reci ted w i th the I t al i an sweet song of a mel t i ng I tal i an
mel o dy. Char l e s V I I was h i mse l f a conno i sseur of mu s i c . He p l ayed the
h ar psichord and v i o l i n wi th moderate s k i l l and i s s a i d to h ave set some
p i eces of mus i c h i msel f , wh i ch one wou l d n atural ly prai se bec ause he
was the emperor. The s ad fortunes of t h i s emperor, bec ause he was a
fug i t i v e al most to the end of h i s l i fe and becau se he had to s urrender
1 74
Mu n i ch to the enemy, h ad brought l i fe and act i v i ty of mu s i c i n B avari a
to a moderate standst i l l . The great v i rtuosos d i s persed by and by , and
the rejoi c i ng of B av ar i ans chan ged to wai l s of l ament at i on .
After t h e death of t h e wi se b u t unhappy emperor came h i s son ,
the p i ous Max i mi l l i an J oseph , to the throne [ 1745 ] . Har d l y h ad he con
c l uded peace wi th h i s enem i es when the h armon i es , wh i ch h ad been dri ven
off , returned w i t h the i r reti nue to h i s country. T h i s e l ector was h i m
sel f an excel l ent mus i c i an . He p l ayed the v i o l a d a g amba as a master,
always bowi n g a l ong w i th the v i o l i n s i n most of h i s concerts , l and
composed some church p i eces , whi ch are wr i tten i n the best t aste .
S i nce he was so comp l ete ly i n favor of prayers , he ded i c ated h i s mu s i c
compl ete l y t o rel i gi o n . H e reestab l i shed h i s orchestr a q u i te soon and
put the I tal i an K apel l mei ster Tozz i , who h ad command over f ar greater
peo pl e t h an he was h i msel f , i n charge [ 1 774-75 ] ; for Toz z i composed
o n l y moderately wel l , but he understood very wel l the art of coach i ng
s i ngers . Si nce the el ector was an ecstat i c l over of song, he a lways
mai ntai ned the most exc e l l ent s i ngers at h i s court , among wh i ch were
found the best c astr ati of that t i me . But s i nce these be l ong to the
I tal i an school , we pass over them and stay with the German s . U nder
th i s e l ector the fol l owi ng mus i c i an s d i st i n gu i shed themsel ve s :
Joseph M i c he l . A compo ser of many mi nd s . S i nce h e on l y
worked for t h e court , on ly a few o f h i s p i eces h ave come to the pub l i c .
He surpassed Tozz i by far i n compo s i t i onal s k i l l s , composed o peras and
l see B urney G , p . 5 1 .
175
church mu s i c with much t aste and thoroughness , and a l so proved the
chamber styl e to be h i s most f avor ab l e s i de. His p l easant , l uc i d
spi r i t i s al so evi dent i n h i s compo si t i on s . H i s phrases are not
myst i c al ly d ark , as an or ac l e thunder i ng out of the mouth of a copper
i do l , but l i ght and gener a l l y underst and ab l e . Mus i c al pub l i c spi r i t
i s t h e pri nc i pa l feat ure i n h i s charac te r ; therefore , he was a uni
vers al l y l i ked composer. L ater on he composed some G erman songs where
h i s sp i ri t took a h i gher fl ight and sought to expres s more German qual
i t i es . M i chel , of course , spent sever al years i n I ta l y [ 1774-76? ] but
preserved h i s n at i on a l styl e so th at the B av ar i an mus i c a l spi r i t sh i nes
through i n al l of h i s p i ece s . I n h i s chamber p i eces there i s a n e as i er
f l ow and much i nstrument al i ns i gh t . Even i f M i chel was no or i g i n a l
gen i u s , he at l e ast possessed a n exce l l ent mus i c a l t a l ent .
Joh ann von Croner . Best concertmaster of the e l ector , and at
the s ame t i me v i o l i n teacher of the p r i nce . The emperor u su a l l y stood
next to h i m whenever a symphony was performed and p l ayed the v io l i n
w i th h i m. 2 Crtlner was an unusual l y good r i p i en i st , but he d i d not
underst and the art of l ead i ng an orchestra wi th s uccess , 3 and ,
accordi ng ly , a st ate of confu s i on h appened very often . The el ector s aw
the d i sorder, but he contro l l ed i t j ust as l i tt l e out of the goodness
of h i s heart , as he contro l l ed the po l i t i ca l d i sorder of h i s mi n i sters .
T h i s Croner a l so d i st i ngu i shed h i msel f espec i al ly i n s o l o p l ayi ng ; he
h ad an unusual , s k i l l fu l stroke, short but n i ce , but he thereby
4 cf. B urney G , p . 60 .
l i eder uni versal i n the l and . W hen the pri nces of t h i s house resi ded
i n He i de l berg , they a l ways h ad a cho i r around them. One reads wi th
the i r pr i n ces and pri ncesses , [ and ] al so wi t h many s t ate l y kn i ghts and
brave men , s at around the t ab l e , every b i te a s i f i t were s easoned w i th
mu s i c , and s i pped the s pi r i t of the f r agran t Rh i ne wi n e ami dst
s i ng i n g .
When t h e pr i nces o f t h i s house were e l ev ated to e l ector i al r ank
Fri edr i ch ' s [Fri edr i ch V ] s ad f ate , whom the i nh abi t an ats of t h e
P a l at i n ate prof aned wi th t h e i nappropr i at e t i t l e of t h e " W i nter Ki n g , "
s er v ants who fri ghtened away the c l ouds of g r i ef from h i s brow t hrough
me l t i ng chor d s . When the Pal at i nate became qui et ag ai n after the
179
robbi ng the pri nces , [extra] funds were t hen l ack i ng to mai nt ai n
cho i rs . Al l they cou l d do was to mai ntai n careful ly the i r heart
st i rr i ng chor a l e s . O n l y u n der the C atho l i c reg ime o f t h e p a l at i ne
el ectors were matters i mproved, wi th choral and f i gural mus i c i n the
churches . Even at t h e beg i nn i ng of th i s century a bequest of 80 ,000
f l ori n s a year was estab l i shed sol e ly for the s upport of pri nce l y
mu s i c . Thi s bequest i s s o f i rmly grounded that no e l ector c an abo l i sh
i t anymore. Thus no one may be surpr i sed when mus i c i n the Pal ati nate
qu i ck ly ascended to such wonderf u l hei ghts . Neverthel ess , i t was
i nd ebted fi rst to the prev i ous e l ectors for the l ustre wh i ch even
sti rred up the envy of the arrogant fore i g n countr i es and made the
court i nto a schoo l of tru ly good t aste i n mu s i c . Th i s e l ector [Karl
Theodor, el ector from 1742] p l ayed the f l ut e and w as an enthu s i ast i c
admi rer of mus i c . He not on ly l ured the wor l d ' s best v i rtuosos t o h i s
cour t , founded mus i c schoo l s , al l owed n at i ves o f gen i us t o t r ave l , but
al so ordered , w i t h great cost , the choi cest p i eces of al l k i nds from
al l of E urope and l et them be performed by h i s mu s i c masters . Q u i te
soon the Mannheim school d i ffered from al l other s; i n Nap l es , Berl i n,
V i enna, and Dresden , t aste to th i s t i me was always one-s i ded . One
great master l ed the fashi o n , he h e l d sway unt i l another came forth who
possessed enough power to suppl ant the previous one. W hereas N aples
d i sti n gu i shed i t se l f by spl endor , Berl i n by cri t i cal exactness, Dresden
9Y grace, V i en n a by the tragi -comedy , Mannheim sti rred up the worl d ' s
admi r at i on by v ar i ety. The e l ector ' s theater and h i s concert h a l l
were a l most an odeum, character i zed by the masterworks of al l arti sts •
. The e l ector ' s changi ng mood contri buted very much to th i s taste.
I 180
Jomme l l i , H as s e , Graun , Traetta, Georg B enda, S al es , Agr i co l a, the
London B ach , G l uck , [ and] Schwe i tzer al ternated there year after year
i n the wor l d where one cou l d so s ure l y deve l op h i s mus i cal t aste so
s p l end i d orchestra fol l owed h i m there, one wou l d h ave bel i eved h i mse l f
s k i l l ed on al l types of i ns truments .
a s they cou l d be: they l i ft and c arry, o r they f i l l u p and an i mate the
storm of the v i o l i ns . Th i s schoo l h as d i st i n gu i shed i tse l f f amous ly i n
t r ai ned t hemsel ves i n th i s great schoo l and aft erward s h ave become the
e n vy of other choi rs . Yet m any more adm i rab l e i nstrument a l i st s h ave
And when Kl opstock heard t h i s orchestr a, the great , r are l y surpr i sed
man cr i ed out ecstat i cal l y , "Here one swi ms i n the l asci v i ousness
181
of mus i c ! " A l l k i nd s of mus i c were c u l t i v ated there w i t h utmost pre
c i s i on . The church p i eces are profound and fundamental ly set; the
1 oper a sty l e i s r i ch and v ar i ed ; the p antomi me of the d ancer i s
enl i vened by the most appropri ate mel od i es ; the chamber musi c h as f i re ,
g reat ness , strength , and v ar i ety by many of the best v i rt uosos , even
var i ety of mus i cal styl es; and i n the symphony everyt h i n g storms
toget her i n an i nexpressi b l y beaut i fu l tota l i ty. The most f amous men
of thi s schoo l are the fol l owi n g :
Hol zhau er was K ape l l mei ster f i rst at the WUrttemberg court
[ 1751-53] , then h e c ame at thi s rank to the Pal at i n ate [ 1 753-58 ] and
hel ped the most i n the perfect i on of th i s great orchestra. He was not
on l y an unusual l y thorough and i ndust r i ous art i st who h ad stud i ed com
pos i t i on profound l y and thorough l y , but an excel l ent mi nd , whose mu s i c
h ad i t s own st amp , al though h e was not so obst i n ate i n i t not t o seek
gol d from fore i g n l and s . German character col ored w i th I ta l i an grace
was nearly h i s pri nc i pal mus i c al feature . Through t h at he affected
u nderst and i ng , through th i s he affected the heart , and thus he touched
the who l e of man . Whatever he composed i n the I tal i an l angu age i s
i ndeed goo d, yet i t appears that here he was not ri ght at home. On ly
when the German t aste tri umphed over the i nhab i t ants of the pal at i ne
court d i d he fee l compl ete , and he composed the Germ an opera GUnther
von Schwarzburg [ 1776 ] . 7 The poet ry i s by Professor K l e i n ,
1 83
master s . I f h e h ad not composed h i s GUnther von Schwarzburg , one
1WOu l d st i l l h ard l y know h i m by n ame .
V ogl er . An epoch maker i n mus i c [ an d ] certai n l y one of the
best organ and h arpsi chord p l ayers i n E urope. H i s h an d i s round and
s p l end i d . H e bri ngs o ut the most fri ghtf u l p as s ages [ and ] the most
per i l ous sk i ps w i t h wonderfu l ease. Hi s v ar i at i on s are mag i c al and h i s
fugues [ are ] worked out wi th profound understand i ng . H e i mprov i ses
q u i t e s p l end i d l y; I mai ntai n that he i mprov i ses better t h an he com
poses . He h as made h i s h and unusual l y strong by cont i nu al p l ayi ng.
Vog l er possesses i ncontestab l e f i re and geni us; yet he reve a l s in h i s
compo s i t i on s , as i n h i s p l ayi n g , p ed antry. 8 Thi s phenomenon i n t he
h i s tory of i deas wou l d be puzzl i ng to me , i f i t had not been known t h at
Vog l er h i mse l f purs ued a system to whi ch he s l av i sh l y res i gned h i msel f .
He d i scovered a hept achord , from wh i ch h e wanted to c a l c u l ate the
n at ure and devel opment of a l l tones . Cert ai n ly h i s system h as much
profoundness and sel f -ev i dence, b ut no art can endure the s l aves ' yoke
of a system l ess than the art of mu s i c . V o l ger wants t o c al cu l ate, for
examp l e , al l s i mi l ar �nd progressive h armoni es i n mus i c. He remai n s so
f ai thfu l to these progress i on s and ar i thmet i c rel at i orsh i p s that they
shine through i n a l l of h i s compos i t i on s . A b i rd o n a str i n� cert ai n ly
f l i es but on l y re}ches as far as the str i ng wi l l al l ow . Gen i us f l i es
the eag l e f l i ght; [ i t ] dri nks sunbeams ! Every system constrai ns the
s p i r i t i n a l l arts and sci ences and i nh i b i ts the devel opment of h uman
know l edge . I t i s one th i ng to h ave order and a correct sequence of
187
rare man i s now grow i n g o l d and a l re ady beg i n s to tremb l e i n h i s
voi c e .
h as d i scovered al l of those tri cks wh i c h Europe now adm i res . Perh aps
bow and br i ngs out the l ow and h i gh , the strong and weak , even t h e
and the most spl end i d ri p i e n i sts come out of h i s schoo l . H i s or i g i nal
188
the who l e c h ar acter of h i s compo s i t i on s . H i s b a l l ets are not bad, but
i n f i fty ye ars no one w i l l read them any more. 16 C an n ab i ch i s a
t h i nker , an i n dustr i ous , t astef u l man , but not a gen i u s . I ndustry com
who comb i nes the best German heart w i t h the most beaut i fu l u nder
st and i ng of h i s art . One mu st speak to h i m and must even hear h i s
compo s i t i ons performed i n order to be ab l e to j udge them correct l y . A
S
s i n g l e fal se stro k e , a wrong bowi ng [ Bogen l enkun ] c an g i v e h i s p i eces ,
wh i c h are qu i te or i g i n a l , a f a l se c h ar acter and r i ng about f a l se j udg
ment s . I h ave he ard them performed i n h i ghest perfect i o n , and they
seem to me to be much more study of the v i o l i n and of t h e peri pheral
f l ouri shes of mu s i c t h an g i v i ng ev i dence of profound creat i on from the
cryst a l sea of h armony i t se l f . H i s symphon i es , performed by t h e whol e
p al at i ne orchest r a , seem to me , at that ti me , to be the no n p l u s u l tr a
o f the symphony [ i t a 1 1 c s aaaea j . 1 t 1 s not mere l'y crowa n o 1 se, as the
moo shrl eKs 1 n revo l t ; i t i s a mus i c a l who l e , whose part s bui l d a who l e
agai n l i ke a sp i r i t u a l outpouri n g . The l i stener i s not on l y deafened ,
b ut sh aken and penetrated by t hrown-down l ast i ng effects . The so
r i ght l y h i gh l y f amed pal at i ne orchestra h as to t h an k th i s m an the most
for i t s perfect i o n . " GS , 1 : 1 5 2-53 ( L & G , 1 ) . Schub art i mp l i es that
h e at one t i me [poss i blf:Y at the t i me he d i ct ated h i s auto b i ography , ca.
1 7 78-7 9 ] regarded C an n ab i ch ' s symphon i e s as tru l y great work s , but t h at
on ref l ect i on [ 1 784-85 , or the d i ct at i ng of �sthet i k der Ton kunst] i n
spi te of the powerfu l effect t hey h ad on the l i stener , the1 r worth ,
l i ke sound i t se l f , f aded qu i ck l y . Cou l d h i s opi n i ons be affected by ,
s ay , the MAadJ 1 7 8 2? See the next three foot notes .
16 s i l m i l ar observ at i ons concern i n g h i s performance and
compos i t i ons , espec i a l l y h i s bal l et s , are made i n the MAadJ 1782,
p p . 6-7 .
189
style by excepti on al power and effort . They [ i . e. , the sympho n i es ]
beg i n with maj esty and gradu a l l y s pout forth i nto the crescen d o , p l ay
fu l l of grace i n the andante, and end thems e l ves i n a j oyous presto.
Yet v ar i ety i s l acki ng, for i f one h as heard one of h i s symphoni es ,
he h as heard a l l of them. 1 7 C annab i ch h as bro u ght the symp hony
further by dri nk i ng water than thi s man [ i . e. , Toesch i ] has done by
dri n k i ng wi ne . Toeschi earned for h i msel f a l aure l , wh i ch wound
p h l egmat i cal ly around h i s head , and [he] fel l asl eep q u i te tender l y
on i t . 18 H i s bal l ets are treated w i th except i onal d e l i cacy; one
sees the dancers i n h i s scores , and noth i ng is s i mp l er t h an to l ay
words u nder h i s mag i c a l me l od i es , s o rhythmi c a l are they. Sweetness ,
p l eas i ng c h arm , and l i ght harmo n i e s are h i s pri nc i pal feat ure s . He
s eems to be more a student of n ature t h an of art , s i nce so l i tt l e
counterpoi nt comes out i n al l o f h i s phrases . Toesch i does not refi ne;
he rel i nqui shes h i msel f comp l etely to the o ut pouri ng of h i s g en i u s .
Perhaps h e i s , except for F l ori an Del l er , the most stat e l y of
Noverre • s i nterpreters . 19
1 90
Wi l he l m Cramer . a v i o l i n i st f u l l of g en i u s . H e trai ned h i msel f
i n the Mannheim schoo l but soon overtook h i s teachers . He now l i ves i n
L ondon [ 1772-99 ] , and the E ng l i sh cal l h i m the wor l d ' s best v i o l i n i st .
Even i f th i s judgment m i ght b e exaggerated. o n e must confess that he
h as brought admi rab l e perfecti on to h i s i n st rument . H i s bow i ng i s
q u i te ori gi na l : he b r i n gs i t not as other v i o l i n i st s strai ght down
but rather from the top away, and h e makes i t short and except i on al l y
del i cate. No o n e p l ays staccato [ st ak i rt ] w i t h such extraord i n ary
prec i s i on as Cramer . He p l ays very fast [ an d ] q u i c k , and a l l of t h i s
[ i s ] unconstrai ned ; h e succeed s the best wi th the ad ag i o , o r much more
wi th the affect i on ate and f u l l of expressi on . I t i s p erh aps not pos
s i b l e to perform a rondo sweeter and more heartfel t th an Cr amer does
it. I n th i s p i ece he even l eaves a L o l l i beh i nd h i m.
Cramer composes h i s concertos , son at as , and so l os al l h i msel f ,
t h at i s , thorough l y ag ai nst t h e h ab i t o f most of tod ay ' s v i rtuosos , and
w i th exce l l ent tas t e . N o o n e who wants t o trai n h i mse l f i n the v i o l i n
c an d o wi thout the p i eces o f t h i s master. H i s fi nger i ngs are so thor
o u gh and natural that the most d i ff i c u l t passages are made eas i er . His
w i fe bel ongs among the best h arp p l ayers of our t i me . O n e bel i eves
t h at he h as been transpl anted to E l ys i um whenever she and her h usband
v i e wi th one another on the v i o l i n and h arp .
St ami t z , the father, a famous , extraordi nar i l y thorough v i o l i n
i st . H i s concerto s , tr i os , so l os , especi al ly h i s symphon i es are sti l l
i n great esteem , a l though they al ready h ave an ag i ng mi en . The short
comi ng of the new, mod i sh , f l or i d ornaments he repl aces by other , more
sol i d qual i t i es . He h as profound ly stud i ed the nat ure of the v i o l i n ;
191
T herefore, the phrases seem to a l most f a l l as one i nto the f i nger s .
H i s b asses are composed s o master l y t h at they c an serve as h umi l i at i ng
h e compo sed . One f i nds so much truth , so much beauty and c h arm i n h i s
E n g l and [ Ch ar l otte ] . 20
192
h i s surpri s i ng and antes , h i s catchy minuet s and tr i os , and f i n al l y h i s
q u i ck , l ou d , r ej o i c i ng prestos--to th i s hour h ave not been ab l e t o rob
h i m of gener al admi r at i on . [ It i s] t oo b ad t h at th i s s p l endi d mi nd ,
bec ause of h i s b i zarre fancy of eat i ng s p i ders , w i thered away
premature l y . H i s p i eces today are a l ready sel dom performed because he
al l owed few to be engr aved . Most of h i s compos i t i on s were sto l en from
h i m, otherwi se we wou l d h ave nothi ng at a l l by h i m. For h e thought so
modes t l y of h i s own works that he made k i nd l i ng [ F i d i bus = a p i pe
l i ghter] out of many of h i s most excel l ent works after they were
performed . General ly F i l tz posses sed a rather spec i al mus i c a l and
phys i cal c h aracter. He had much Bri t i shness in h i s p hys i ognomy and i n
h i s who l e psych i c stat e .
L udwi g Augu st Lebrun , 21 a true mag i c i an on the oboe. Thi s
i nstrument , wh i ch comes so c l ose to the h uman voi c e , i s h ard l y a hun
dred years o l d , and F i scher, Besozz i , Secc h i , and t h i s Leb r u n seem to
h ave al ready exh austed i t . Lebrun has forced two tones from i t wh i ch
unti l now d i d not l i e i n i t s gamut - -the Q and f [ recte E ( e • • • ) ] . 22
The oboe as a r u l e h ad a certai n sol emn tone whi ch sounded c l ose to
193
the goose • s hon k . T h i s i s now not only ref i ned by the n amed great
masters but transformed to such a tempt i ng sound that we c an r i ght ly
number th i s i n strument among the most p l eas ant d i scover i es of the h uman
spi r i t . Hard ly wi l l one be ab l e to do somet h i ng more wi th i t [than ]
wh at Lebrun h as not al ready done. H i s tone h as the utmost del i c acy .
He not on ly s i ghs , coos , l aments , and weeps but al so p l ays i n the
bri l l i ant co l ors of j oy . H e succeeds wi th the l i v ely presto a s with
the i nnermost s i gh i ng l argo. 23 In h i s concertos h e overcomes a l l
d i ff i cu l t i es , and i n h i s so l os he i s who l ly emot i ona l . He composes hi s
p i eces most ly h i mse l f , a l tho ugh he p l ays i n more than one styl e . His
compos i t i ons are exceed i ng ly f i ne and sweet as drops of nect ar. He has
made bal l ets and c h amber pi eces wh i ch are evi dence of the most ref i ned
t aste. The ether al beam of gen i us twi tches i n everythi ng that he
wr i tes , th at he performs . He h as thus r i ght ly earned admi rat i on from
France and Germany. Al though h e i s not as l earned as Besozz i , he has
doubt l es s l y more gen i us than the l atter . 24
Franz i s k a O anz ; , 25 wife of the preceed i ng , d aughter of a
famous P a l at i ne- B av ar i an cel l i st , who excel s more i n accompan iment
t h an i n so l o. H i s d aughter i s the best s i nger of the e l ector . 26
194
adm i r ab l e h e i ghts t h an Fran z i sk a , for she reached the t hree-l i ned A
Amon g a l l s i n gers now l i v i ng , no one h as brought her vo i ce to more
1 96
Rei ner , 31 the best b as soon i st out of the Mannheim schoo l .
H i s i ntonat i on i s c l ear, h i s ornament s are t astefu l and beau t i fu l ,
the most admi r ab l e s u bj ects go forth from her and become s o u gh t and
German theater.
197
From t h i s s hort descr i pt i on of one of the greatest mu s i c
school s , the pri n c i pa l c h ar acter shows t h at there i s more except i on a l
German courts and con s i derabl e pri nces and d i gn i t ar i e s of the I mper i al
198
X.
"
WURTTEMBERG
pri ncely cou rt of that pl ace , th ere was a famou s Kapel l mei ster kn own
and rel i g i ous grandeu r that n o one among us wi l l mak e them better . How
admi rab l e are the songs A l l ei n zu di r H err J esu Chri s t , Wenn mei n
order to stu dy the spi ri t of the ag e , shou l d become acq uai n ted .
1 99
S hort l y before the t i me of the T h i rty Years ' W ar , t h e f i rst
Choral b uch was pub l i shed i n Stuttg art i n 1618, wh i ch was rece i ved by
pub l i c worsh i p . The d ev astat i n g , b l oody war drove off the mus i c a l Muse
t h e who l e of the sevent eenth century because the war ' s h ard sh i ps never
beg i n n i ng of the e i ghteenth century. Duke Eberh ar d Ludw i g mai ntai ned
1703 to 1 7 19] . The duke , a war l i ke sou l , l i ked the wi nd and no i se-
wrote the f i rst church cyc l e 2 i n WUrttemberg , wherei n the tutt i s and
200
He had comp osed a Te Deum l audamus 3 on the occasi on of the
1 eader wa s :
Bresci anel l o from Bol ogn a , a very good an d p l eas i n g composer .
charm i n g and devoti ona l l y awak en i n g . The i n struments i n them are some
wh at too i ntri cate and cov er t he song . H i s chamber p i eces l asted many
years throu ghout i n general approv a l unt i l they f i n a l l y per i s hed i n the
orchestra wi th fi rst- rate mast ers , and took the great Jommel l i wi th
20 1
th i s reg i on became comp l etely I tal i an . F ormerly one heard o n l y the
operas of Hasse and Graun , but now one wanted to hear nothi ng but the
operas of J ommel l i . 5 These operas were not only p l ayed wi th excep
t i onal spl endor but a l so executed to the h i ghest perfect i on . Under
Jommel l i the Wurttemberg court mu s i c was one of the worl d ' s best .
Apr i l e [ i n Stuttg art 1756-69 ] , Grassi , B uonan i , Ces ar i , 6 and espe
c i a l l y the unequal l ed H ager , d i st i n gu i shed themsel ves a s s i nger s .
H ager was u n quest i on ab l y the greatest tenor o f h i s t i me. 7 He sang
with s uch ench ant i ng gracefu l ness and wi th s uch sympathet i c , heartfel t
emot i on that h e fasc i nated al l l i steners . Moreover h e was , i n the
German manner, such a profound mus i c i an t h at no Ital i an equ a l ed h i m.
He joi ned wi th these r are qual i t i es a t heatri c al demeanor wh i ch
reveal ed the greatest actor. When he san k t o the l ower reg i ster, he
w as an accomp l i shed bass; when he ascended to the h i gher regi ster , one
heard i n h i m the most unequal ed tenor . Hi s r ange went from b ass F u p
to t h e non-l edger- l i ned descant c [ c • • ] and every tone was s i l very.
The bravura ari as s ucceeded as d i d the senti ment al ari as . His
embel l i shments were comp l etely fu l l of beauty and a lways s eemed to
s prout from the mot i ve l i ke f l ower s . N o s i nger u nderstood t h e art
202
of dec l amat i on better than he. Metastas i o h i ms e l f must h ave admi tted
that no one h i t u pon h i s me an i ng as p erfect ly as H ager.
Jozzi [ i n Stuttg art 1 7 50-56] , the foremost h arpsi chord p l ayer
of the duk e . He p l ayed with great s k i l l , threw off thi rty-second notes
i n oct aves w i t h the l eft h and , a l w ays successfu l ly bro ught out the
stu n n i n g l eaps over the h and [ h and cros s i ng ? ] , and troubl ed h i msel f
more to be outstand i ng i n d i ff i cu l t i es than t o affect the heart of the
l i stener by mean s of gracefu l execut i on . H i s compos i t i ons for the
c l av i er are somewhat b i z arre , and for t h at reason h ave f a l l en out of
f ash i on too soo n ; yet one m i ght s t i l l recommend them t o h arpsi chord i sts
for the devel o pment of t h e h and . They wor k , by the way, on l y on the
qui l l ed harp s i chord ; b ut on the p i an o , pantal eon [Pant a l o n ] , and c l av
i chord they are h ard to p l ay and do not sh i ne because they are too
p l ai n.
De l l er , B th i s admi r ab l e man matured u nder the g enerous i nf l u-
ence of Jommel l i , but he never cop i ed h i m, for Del l er soon was aware of
h i s own fountai n out of whi ch he cou l d create. Del l er admi red the gen
i us of a Jomme l l i with enthusi asm but was proud and stubborn enough to
cal l out to h i m, 11 Don • t d i sturb my c i rc l e. .. He was at f i rst a r i p i en-
i st [ 17 5 1 ] i n the WUrttemberg orchestr a, but when Jommel l i l eft the
court , the duke appoi nted h i m concertmaster and court compo ser [ca.
1769-7 1 ] . Noverre , t he foremost bal l et master i n the wor l d ,
B Del l er must h ave been one of Schu bart • s c l osest fri ends
wh i l e i n Ludw i gsbur g , for Schubart ' s autobi ography al so i s very much i n
keep i ng i n the s ame s p i r i t as the � sthet i k der Tonkunst . -GS , 1 : 94-97 ,
202- 4 ( L & G , 1 ) .
203
contr i buted much to the devel opment o f D e l l er ' s s p i r i t . D e l l er com
posed the mus i c to Noverre ' s mag ic a l b al l et s and i ndeed so s p l end i d ly
t h at these b a 1 1 ets h av e become admi red as masterpi eces throughout
E urope even today . 9
Noverre h i ms e l f admi tted to never h av i ng come across a better
i nterpreter of h i s mimi cal d i scover i es t h an De l l er . The great trag i c
b a l l et Orpheu s [ 1763] i s r i ch i n grand , dreadfu l , cel esti a l , and
exc i t i ng pl aces . Newness i n though t , grace and d e l i c acy i n fee l i ng ,
sentimental sweet ness i n t h e nuances , r i ch rhythmi c al mod u l at i on-- i n a
wor d , beauty sparkl es everywhere i n the musi ca l c h ar acter of t h i s man .
B ec au se he p l ayed the v i o l i n w i t h unusual gracef u l ness , the scori ng
[ Bearbei tung] of th i s i nstrument al so s ucceeded very wel l . Del l er
worked i n a l l sty l es; the comi c operas , for examp l e , h i s Contandi n a
n e l l a corte 1 0 and h i s Maestro d i C apel l a [ 1771] , are st i l l f avori te
p i eces of the WUrttemberg theater . The ar i as and c avat i n as , the duets
! and f i n a l choru ses h ave such l ovely and noti ceab l e mot i ves and are ,
' wi thout detri ment t o s i mp l i c i ty, so r i ch i n i ns i nu at i ng l y mu s i c a l
not i on s that they compete wi th the best comi c oper as . I f D e l l er h ad
wri tten for the German theater, he wou l d h ave become even greater
bec ause he often rej ected the I ta l i an prose and was over a l l more
German th an I t a l i an i n h i s way of th i nk i ng and i n h i s t aste .
204
Hi s church p i eces al so demonstrate a great tal ent for the
h i gher styl e. Had he l i ved l onger y he wou l d h ave furn i s hed us wi th
masterwork s in t h i s category. But he l eft the Wurttemberg cou rty went
to V i en na and Muni ch [ after 1771 ] y and di ed there before hi s spi r i t
had comp l etely devel oped i n the monastery of monk hospi t a l l ers y poor
and hard l y known . W i th i n the cemetery wal l s of th i s chari tabl e
monastery towers up the grave of thi s admi rab l e man . I fou nd i t i n
1774 covered wi th nett l e s ; meanwhi l e these l aure l s of fame after death
[ i . e. y the nettl es ] fl utter about hi s temp l e . He has al so composed
many chamber p i eces wh i ch sparkl e i n eq ual beauty and el egance. One
has hope of preservi ng the pi eces of th i s charmi ng master wi th others
in the forthcomi ng Stutt gart Musi ksamml ung whereby the mu s i cal sup ply
of the German s wou l d be en ri ched wi th new tr easu res .
The P l a brothers . I f Cas tor and Pol l ux , both i n spi red by God
who created them y had pl ayed the oboey they cou l d have hardl y p l ayed
better than these two. They were both Sp ani ards transpl anted to Ger
manyy [where they] cu l ti vated thei r styl e under Jommel l i an d attai ned
except i onal sk i l l on thei r i n strumen ts . Th i s pai r of brothers i s q u i te
an ex cept i onal phenomenon i n mus i c. As they l oved one an other i n ex
pres s i bl yy thei r mus i cal performance was al l the more sympathet i c.
Whoev er has heard them y heard the u l timate i n mu s i cal performance.
One thou ght pursued the other; one breath l i fted the other. Th i s com
bi n i n g of psyches [ Si mpsych i e] had nev er before been heard i n Europe;
it seemed to be a mutual fri ends h i p of two cl osely uni ted ange l s .
Both composed , both p l ayed thei r phrases masterl y, and no one was ab l e
to dec i de who mi ght be the greater. The uni t i ng of s ound s , the ri se
205
and fal l of the port amento , the resemb l ance i n song , and , i f one i s
are extreme l y rare bec au se out of obst i n ancy they h ad l eft not h i ng to
mode l .
Rodol ph e , o n e of t h e foremost h orn i st s . As i mperfect as t h i s
s p l endi d l y , and he was one of the f i rst who expressed the mezzot i nt
o n Good F ri d ay. l l
Seeman n , nei ther compos er nor sol oi s t , but a comp l etel y admi
posses sed al l the qual i t i es wh i c h the great B ach demanded from the
d i s son ance, ev ery dev i ati on from harmony. H i s compos i t i on s for cl avi er
and song are fi rst- rate . [ I t i s ] too bad that he wrote too l i tt l e ou t
207
wor l d . Gratefu l tear s fal l on th i s page ! Seemann was my teacher and
fri end . 1 2
of the l ower reg i ster by her prec i s i on o f execut i on . She a lw ays s ang
sotto voc e , but t h i s was sotto-he aven l y ! 0 echo from pr i meva l sound !
�rescendo sou nds d i d so much more. A gen i u s she was not , but [she was ]
a g i fted i mi t ator .
i n a l l of Germ any. The organ t here bel ongs among t h e most s p l end i d
ones t h at ex i st ; [ i t i s ] too b ad t h at a B ach i an h an d does not an i m at e
styl e i s s omewh at o l d-f as h i oned but wel l -fo unded and f u l l of contra
the l atter .
209
H i s son h as become even more famo us th an the f ather . He
bel ongs t o the c l as s i f i c at i on of a mu s i c a l prod i gy for already i n h i s
e l eventh year h e set an opera, whi ch was wel l recei ved by a l l experts .
Th i s son r anks among our best c l av i er p l ayers . He p l ays wi th mag i cal
s k i l l and reads so acc urately from the p age t h at h i s equal i s found
on l y with great d i ff i cu l ty.
The cho i rs i n Sal zburg are sp l end i d ly prepared , but the styl e
i n the church for some t i me beg i ns to degenerate i nto the theatri ca l -
a d i se ase wh i ch al re ady h as poi soned more t h an one church . The
S a l zburgers sh i ne espec i al ly i n wi nd i nstruments . One f i nd s the most
exce l l ent trumpet ers and horni sts , but c l av i er and organ p l ayers are
al l the r arer. The spi r i t of the Sal zburgers i s prej udi ced exceed i ng l y
to b ase comedy. The i r fo l k songs are so amu s i ng and b u r l esque t h at one
cannot l i sten to them wi thout appal l i ng l aughter. The Hanswurst sp i ri t
i s v i s i b l e everywhere, and the mel od i es are most ly sp l end i d and of
matchl ess beauty. 1
210
XII. BRUNSW I CK
orchestr a .
mounts eas i l y , but the adag i o does not s ucceed near l y as wel l as the
211
and set wi th much t aste; he succeed s q u i te master l y wi th the comi c
p l aces . H i s Podagr i st i s magn i f i cent . 2
Hur l ebu sch . A son of the f amous org an i st of H amb urg [ Conrad
Fr i edri ch Hurl ebus ch ] and one of the best German c l av i er p l ayers . His
accentu ati o n i s new and deep ly penetrat i ng ; for that reason he espe
c i al ly shi nes on the c l av i chord , wh i ch he man i pu l ates l i ke a master.
H i s adag i o and l argo are of matchl ess beauty. He h as exact ly what
F l ei scher does not h ave. [ It i s ] too b ad that h e composes s o l i tt l e.
Zachar i a (the poet ) p l ayed the c l av i er very be aut i fu l ly [ and]
a l so publ i shed v ar i ous col l ect i on s for the c l av i er , wh i ch g i ve evi dence
of good t aste . Th i s i s so much more to adm i re s i nce Zach ar i a only
beg an to study mus i c when he was twenty-f i ve years o l d .
The now re i gn i ng Duke of Brunswi ck [ Ch ar l es Lou i s M aucourt]
p l ays the v i o l i n s p l end i d l y and supports one of the best orchestras .
He was not as much i nterested i n the theater as i n ch amber mus i c. He
usual l y is i n the h ab i t of p l ayi ng i n the concerts . H i s sol os are
admi red by conno i sseur s ; he p l ays the most d i ff icu l t p i eces of Lol l i
w i th express i on and s k i l l .
21 2
XI II . ANSBACH
213
sp l e nd i d l y , honest l y , and thorough l y that the German man comes forth
at a l l t i mes . 3
Schwarz . A p u p i l of the WUrttemberg chape l and unquest i onab l y
t h e best b assoon i st o f o ur t ime. H i s l arge phys i cal body c auses h i m to
p l ay somewhat asthmat i cal ly, but he compensates for i t by thousandfo l d
ref i nements . H i s tone i s f u l l and beaut i fu l . He h as mag i cal accuracy
i n sound . I n the tenor [ r ange] h e i s extremel y p l eas ant , and i n the
l ow [range] he i s angry. He bri n gs out the vol u b l e p as s ages with
penetrat i ng force , and no one p l ays the adag i o better th an he. Hence
he uni tes i n h i msel f qual i t i es that few v i rtuosos know h ow to do. The
Bri t i s h h ave g azed at thi s master, and i n Germany h i s b anner h as l ong
w aved . [ It i s ] too b ad that he u nderstands too l i ttl e t o be abl e to
compose a concerto h i msel f . Yet he choos es v ery wel l and knows how to
arrange pi eces of v ar i ou s compos i t i ons to s ati sfy h i s s pi r i t .
Joh ann J ager . 4 Perh aps the most energeti c v i o l oncel l i st that
we h ave. I say " perh aps11 because he h as a s i gn if i c ant r i va l in the
great Legrand of Ber l i n , who i s sai d to surpass h i m i n s peed , accord i ng
to the adm i s s i on of a ser i ous conno i s seur. One observat i on a l one g i ves
J ager the edge : Legrand does not p l ay J ager ' s most d iff i c u l t
21
honor and was appo i nted v i o l oncel l i st w i th t h i s orchestra a l re ady i n
h i s e l eventh year [ c a . 1 787 ] , 5 u nd er h i s f ather.
c au se s the i nstrument al i st s th emse l ves to dri ft away more and more from
the c antab i l e .
p i eces , of wh i ch m any are i n the gre at N uremberg col l ect i on engr aved i n
216
often wi th gen i u s . Certai n l y , he does not compose accordi ng to modern
t ast e ; but h i s phrases are so pract i c a l , so strengtheni ng of the h and
for the cl av i eri st that I must r i gh t l y recommend them before many of
the newer ones wh i c h often are real ly ephemeral .
When B ayreuth ear l i er bu i l t a spec i al court , a speci al orches
tra was al so i n that p l ace . The margr av i ne [Wi l he lm i ne] , a s i ster of
F rederi ck the Great , s ang very wel l herse l f and composed many Ital i an
ar i as wi th taste and i ns i gh t . Chamber mus i c at th at t i me was very
good . The best s i ngers from a l l p arts were heard i n t h at very p l ace .
The k i ng g ave h i s s i ster 30 ,000 thal ers each year for the mai ntenance
of an orchestra, [ and ] bec au se the margrav i ne i ncl i ned more to the
I t al i an than the German taste , her orchestra consi sted mos t l y of
I tal i an s . When th i s house d i ed , the orchestra a l so fel l ap art
[ staubte au s e i n ander] .
21
XIV. WALLERSTE I N-OETT INGEN
E ver s i nce th i s anc i ent nob l e house was r a i sed to p r i ncely rank
[ 1774 ] . mu s i c h as b l oomed there to a very h i gh degree. l The pre-
v ai l i ng sound there has somethi ng a l together or i g i n a l . a certai n some-
th i ng wh i ch i s comb i ned from I tal i an and German t aste and s p i ced wi th
capr i ce.
Herr von Beecke 2 i s the l e ader of th i s orchestra [from ca.
1 76 3] . He bel ongs not on ly among the best of harps i chord i st s but al so
among the most s u per i or and most o r i g i nal of composers . H i s h and i s
sma l l and bri l l i an t ; h i s executi on . i ntel l i g i b l e and p l ump; h i s i mpro-
v i s at i on . r i ch and sparkl i ng , and--what honors h i m the most--h i s whol e
218
styl e of p l ayi n g was created by h i mse l f . He h as bui l t a schoo l i n
c l avi er p l ayi ng known as the B eeck i sh schoo l . The characteri st i c of
t h i s s choo l i s proper f i nger i n g , short , somewhat affected movement of
the hand , i ntel l i g i b l e performance, p l ayi n g wi t h common sense in pas
s ages , and an espec i al l y magni f i cent compact t r i l l [Pral l tr i l l er . ]
B eecke ' s c l av i er p i eces are al so wri tten i n th i s styl e . He s t i l l has
t hi s d i st i nct i on , that al l of h i s works represent a c ertai n p i cture of
fee l i ngs whose character i s not eas i ly mi sunderstood . One knows com
p l etely i n what mood B eeck e was when he composed t h i s or t h at product ,
as he remai n s so true to the govern i ng feel i ng. H i s concertos are not
espec i a l l y d i ff i cu l t but are p art i cu l ar l y l ovely and f l at t er i n g to the
ear . H i s cl av i er sonat as bel ong to the best of t h i s type that we pos
sess : t hey are r i ch i n stri k i n g , most ly ent i rely new phrase s . His
mod u l at i ons are not ex act l y d ar i ng but are very often surpr i s i ng . He
g u ards h i msel f wi t h anx i ous consc i ent i ousness ag ai n st ros al i a; thus h i s
nuances are so agreeab l e. H i s compos i t i on s for other i nstruments h ave
q u i te an ori g i na l co l or i ng . The contour i s stat ed most prec i sely , and
the i nstruments bri ng forth such a powerful carnat i on and l ov e l y col or
comb i nat i on that one cannot hear them w i t hout a del i ghtfu l sensat i on .
Beecke has al so wr i tten much for vo i ce, yet he does not d i st i n
gu i sh h i mse l f as much i n t h i s as i n i nstrument a l p i eces . He e l aborates
on the fee l i n gs wi th i n the song, but p l aces more or l ess i n them than
i s real l y there.
Roset t i . One of the most bel oved composers of our t i me . One
now sees Rosett i p i eces on al l c l av i er s ; h i s songs resound from al l
mai denl y throat s . And to be sure, one c an h ardly i mag i ne somet h i ng
219
l i ghter , more i l l umi n at i ng , or more me l l i f l uous than the p i eces of th i s
man . N ai vety i s espec i al ly h i s mai n feat ure. B ut as easy as h i s works
appear to be, they are so d i ff i c u l t to p erform i f one does not h ave any
i nd i v i du a l symp ath et i c fee l i ng . The mere mus i cal t umb l er , who tri es t o
f i nd h i s fame only i n a break-neck l eap , w i l l f a i l i f h e shou l d perform
a Roset t i work . Grace and beauty are of so i nfi n i te , del i c ate a nat ure
t h at only a q u i ver of the h and destroys i ts frag i l e o ut l i ne and the
portrait of Venus becomes a car i cature. Thi s fundamental i dea app l i es
to a h i gh degree i n the performance of a R osett i compos i t i o n : on a
h arpsi chord they work o n ly poor l y ; on a Stei n pi ano , better ; [ and ] best
of al l on a S i l bermann c l av i chord .
Rosetti a l so composed much for the church . H i s Requ i em [ 1776 ]
o n the death of the pri ncess of Tax i s i s part i cu l ar ly beaut i f u l but
does not h ave the s o l emn i ty , the mystery of death , or the consol at i on
of resurrect i on as i n the J ommel l i Requ i em [ 1764] . 3 He tri f l es too
much with the wind i nstrument s . The n asal sound o f the muted tr umpet
a l most descend s to the comi c l evel and d estroys the i mpres s i on of
mournful devot i on . Al s o , he does not u nderstand counterpoi nt wel l
enough to work through a fugue wi th energy and v i gor. Rosetti i s the
f i rst Ital i an who mus i cal ly ad apted German poetry. S i nce he h ad
studied the German l angu age thorough l y these works h ave succeeded
not forced onto t h e shore of the beat . No one performs Beecke ' s com
t ant e ' s h i story , but o n l y i f mere d i l ett antes rai se t h ems e l ves t o s uch
h e i ghts as Frau von Sch aden , they deserve not on l y to be not i ced but
beat , gri maces at t i mes , and embel l i shes the ad ag i o . H er own h e art
does not swe l l when s h e expresses feel i n gs , but i s a l ways i n the m anner
221
To the honor of the Wal l erstei n orchestra , thi s shou l d be
added : that here the mu s i cal col or has certa i n l y become more di st i nc
tive than i n nearl y any ot her orchestra . Here the most refi ned an d
i mpercept i b l e b l endi ngs of tone are often perce i ved , espec i al ly wi th
Rosett i , wi th pedanti c consci ent i ou snes s .
222
XV . OURLACH
223
mu s i c , 2 espec i al l y "Ad am ' s feel i ngs at t h e f i rst t h understorm . " The
2 24
the bel l and to be ab l e to mod i fy the sound s . 4 Trumpet s w i t h k eys
seemed to h i m to h ave l ost too much of the i r nature. He therefore came
upon th i s d i s covery, w i thout t ak i ng away f rom the resound i ng of the
trumpet .
H i s tongue i s fi rst-rate i n doub l e-tongu i ng as i n s i ng l e , and
h i s h i gh r ange not on ly i s exceed i ng l y pure but al so so l ove ly that i t
seems t o b e more l i ke the h uman vo i ce t h an a trumpet p l ayi ng . The con
certos for h i s i nstrument are most l y by Schmi ttbaur and are wr i tten
w i th good t aste and s u i t ab l e profund i ty . 5 But s i nce he h as speci al
i zed most l y to the h i gh r ange, he l oses not i ceab ly i n the l ow tones .
The margrave a l so possesses i n Geyer of Durl ach one of the most
noteworthy organ i sts , whom even a Vog l er respected. He h as f i re, pow
erfu l h and s , know l edge of the ped al s , and underst and i ng i n the reg i s
trat i on . But he e l aborates too much on the organ and seems to h ave
stud i ed the adag i o , l argo , and ant e , and ar i oso mu ch too l i tt l e . 6
,
4The I nv ent i onstrom ete , or h and-sto pped trumpet , was
Woeggel •s i n vention c a . 177 See Grove 6 , 19 : 220.
•
225
Sandmai r . A good so l o i st on the v i o l i n , though even a more
exce l l ent r i pi en i st . 7 He deve l oped at t h i s court and travel ed
wor l d-wi de wi th Vog l er .
The song h as been unti l n ow exceed i ng l y negl ected , doi ng
i rreparab l e h arm to the i nstrumental i sts , for wi thout song no
i nstrument al i st wi l l be mature.
226
XV I . HAMBURG
were mai nt ai ned , wh i ch , after the church song w as brought i n , came i nto
found l y by the org an than i n H ambur g . The peop l e of H amburg were the
very adv ant ageo u s to mu s i c . The l ocal author i t i es al l owed con s i derab l e
peop l e of H ambu rg ag ai n were the f i rst who brought German songs to the
227
Mattheson was the r u l er of these mu s i c a l dram as and the fore-
mos t mus i c i an i n H amb urg. True , h i s own compo s i t i o n s were r ather st i ff
cou l d read and study everyt h i n g t h at was wri tten about mu s i c i n these
[mah l en ] not on l y for the e ar but al so for the eyes . Once he composed
228
a c antat a, t i t l ed Noah , wh i ch was su pposed to express a rai nbow; he
wrote the notes i n a h a l f -c i rc l e and used red, yel l ow, b l u e , and other
c o l ored i n k-- an i de a wh i ch K l opstock , i n h i s Gel ehrten Repu b l i k [ 1774] ,
made fun o f . W i th al l these cos t l y arrangements , Hamburg ' s mus i c sti l l
h ad very mu ch that was h arsh and near l y b arb ar i c . B ut s u ddenl y a man
stepped out of the c l ouds--c l araque l uce refu l s i t 3 - - and t h i s man
was :
Tel emann . He stu d i ed theol ogy, but h i s mus i c al ori g i nal i ty
stood h i gher than theol ogy. From nat ure endowed wi th gen i us , he cul
t i v ated mu s i c under the best masters . He travel ed through I ta l y and
France, took nouri shment everywhere for h i s spi r i t wi thout l os i ng h i s
own manner i sms . When he c ame back to G ermany , he became K ape l l me i ster
i n H amb urg [ 1 7 21] , and here began the per i od of hi s greatnes s . H e soon
rose to one of the foremost E uropean composers . Espec i a l l y i n the
church styl e , he h ad no equ al ; thoughtfu l ness , Psal mod i c sp i r i t , l oft
i nes s , d ig n i ty, and maj esty were compat i b l e w i th a heart that was
f i l l ed with re l i g i on . H i s many church cyc l es are a p r i ce l ess treasure
for mus i c . I n h i s mi dd l e age h e i nc l i ned , enti ced by L u l ly ' s ex amp l e ,
to somethi ng of t h e French phras e , yet h e soon t urned b ack ag ai n , for
the aberrat i on of g en i us does not l ast l ong. In h i s l ater works he was
a comp l etel y German man . No one cou l d h ave wri tten more correct ly t h an
Tel emann , yet correctness d i d not eat i nto the del i c ate sprout of
I 229
me l ody. F ew masters were r i cher i n me l od i c mot i on t h an h e . His
rec i tat i ves are mode l s wh i ch the art i s t mus t study. H i s ari as , mos t l y
230
The l uck of the peopl e of H amburg i s envi ab l e; after th i s
enormous bereavement they rece i ved a:
C ar l P h i l i pp Emanuel B ac h , who i n many p i eces even surpassed
Tel eman n . 4 He was K ape l l mei ster i n H amburg [ 1768-88] for Pri ncess
[ Ann a] Ama l i a of Pruss i a and h ad th i s t i t l e from var i ous courts as
wel l . He i s the son of the great [ Johann ] Sebast i an B ach and stud i ed
h arpsi chord and organ wi th h i m wi th such admi rab l e s uccess that he,
even i n h i s e l eventh year , p l ayed through the mag i ca l p i eces of h i s
f ather [wh i l e ] l ook i ng over h i s shoul der as he composed them . Soon ,
howev er , he l et the organ go and devoted h i msel f comp l etely to the
c l av i er and compos i t i on . Al ready i n h i s ei ghteenth yea r , he became the
h arpsi chord p l ayer for Frederi ck the Great and always accomp an i ed the
k i ng • s f l ute concertos and so l os a l one. Here he rose i n every respect
to the wor l d • s best c l av i er p l ayer. No one h as ever penetrated the
n ature of h arsi chor d , p i an o, pantal eo n , and c l avi chord wi th such a pro-
found v i ew as th i s i mmorta l man . I n p art i cu l ar he w as the f i rst who
brought co l or to the c l av i chor d , who found the suspen s i on and v i brat i on
of the tone , the port amento ( a styl e of mezzot i nto ) , t he fermata, the
compact tri l l , al so the tri l l w i th turned end i n g , together wi th count
l es s other c l av i chord ornament s . He p l ays very heav i ly yet be aut i
f u l ly. H i s l eg ato sty l e , h i s orn amentati on , h i s mod u l at i ons , h i s
h armonic dev i ces are i ncomp arabl e. H e h as stud i ed mu s i c i n i ts
w i dest doma i n . A s great a s h e i s a s o l o p l ayer , s o creat i ve are h i s
5 Horace , fpi s t l e s , I :6 .
6 cf. B urney G , p . 218 . Schubart commented on B ach ' s Six
senates pour le cl avic i n, � l ' u s age des d ames (Amsterdam, 1 7 70;rpt
R 1 g a , 177 3 ) not 1 n a condescena 1 ng way as he had done with Wol f , for
ex amp l e , but i n a very pos i t i ve way. See D eutsche C hron i k ( 15 Augu st
1774} : 3 18-19 and ( 13 March 1775 ) : 168. Th i s was not the case as wi th
Johann C hri sti an B ach. See p age 257 of th i s tr an s l at i on .
232
the re i gn i n g s p i r i t of pett i ness . A l l tr i f l es o n the c l av i chord , a l l
sweet , sp i r i tu al l y enervated essence , a l l j ang l i ng tri n kets of tod ay ' s
of t h e f ash i on wh at he i s : B ach !
a work was wri tten . H i s styl e i s ser i ou s , prec i se, and c l e ar . His
t o be equ al ed . Aco u st i c s , the orch estral order i ng, and many s ecret s o f
t h e Kapel l me i ster ' s art h e under stood from the i r foundat i on s . Even as
233
a composer o f s ongs he showed h i msel f w i th l ustre. H i s c an t at as , h i s
choral es , for wh i ch h e sel ected text s from Gel l ert , Crame r , and
234
that concertmasters shou l d travel there to l earn h ow t o d i rect an
orchestra. S i nce the best products of the wor l d are performed ther e ,
o ur f ather l an d .
K l ops�ock , B ac h , Bode, Schr oder, and others h ave worked for many years ,
l ong ago t h at , i n gener a l , mus i cal t aste i n H amb urg i s f ar greater than
t h at i n London .
235
XVI I . MAI NZ , TR I ER , AND COLOGN E
237
XVI I I . C OLOGNE
Too bad t h at the org an s are not the best and that no org an i st h as
mei ster S al es [ K apel l mei ster from 1768 t o 1797 ] , a thorough and p l eas-
dramat i c and chamber styl e w i th honor . A l though the e l ector does not
t hey were rece i ved very wel l . H i s s p i ri t i s not great but pl eas ant .
239
Much beauty , but not mu ch greatne s s , l i es i n h i s p i ece s ; for t h at
reason h i s Masses , Te Deums , and other ch urch compos i t i ons do not h ave
thus , the contral to--mal e or femal e--s i n k s comp l et e l y under. Thi s was
the theater .
Among t h e i n s trumental i sts of the Tr i er court , Voc i k a
240
greatest doub l e b as s i st of our t i me . 4 He h i t u pon t h e i de a o f
The l ow r ange was bel l owi n g , gruesom e , noti ceab l y p i erc i ng--sound i ng as
241
a so l o i st . I t sounds l i ke mock ery and f a l l s dur i ng i t s grumb l i n g
phrases often i nto urs i ne and com i c al sound s . Yet , s i nce i t i s
242
XX . TAX I S
243
cannot p l ease everyone. H i s son , when he was twe l ve years o l d , d i s
p l ayed great t a l ent for the v i o l i n on wh i ch he performed the most
h im. 3
nei ther h e nor h i s f ather are i ntel l ects o f s i gn i f i c ance , but they are
�' 1 : 1 9 1 ( L & G , 1 ) .
4Apparent l y Schubart met K i efer ( the son ) i n Mu n i c h . See
244
and often v ery f unny operett as appear t here wh i ch are s up posed l y from
remar k ab ly good m i n d s . A Span i sh c av a l i er h as n ow composed s ome p i eces
the German h as t urned out we l l , even to adm i r at i o n . Yet one can expect
a good or g an i st , and the i r cho i rs shout and howl w i thout effect . For
mer l y Sch l i mb ach , a t horough org an p l ayer and a very u sefu l composer,
246
XX I . NASSAU-WE I LBURG
l nrhose who are actuated by the des i re of fame and g l ory are
amazi ng ly grat i f i ed by approbat i on and prai se even though i t comes from
thei r i nfer i ors . " P l i ni us , P l i n� Letter s , tran s . W i l l i am M e l moth , rev .
W . M . L . Hutch i nskon , 2 vo l s . , T e Loeb Cl ass i c a l Li br ary ( New York :
247
i s by n o me ans as we l l k nown i n Germ any as h i s i ntel l ect deserves . 2
Few v i rt uosos are so free of boast as th i s master. He val ues modest
orchestra of the German theater ther e . The Wei l b urg court feel s the
Vi rtuosos of the f i rst rank , who are heard there , are amazed at the
248
XXI I . CASSEL , DARMSTADT , HANAU
The court at Cassel was always bri l l i ant , yet I wou l d not have
remembered that i t h ad ever attracted attent i on i n mus i c . Nei ther a
composer nor a f i rst-rate performer h as d i st i ngu i s hed h i ms e l f there.
The pri nces of th i s court were never much for mus i c ; consequent ly, the
deat h l y s i l ence wh i c h exi sts there i n mus i c . T he counts l oved o n l y the
noi sy, war l i ke , bo l d , and d ance-i nspi r i ng el ements i n the i r mus i c ; true
s i ng i ng and p l ayi ng meant l i tt l e to them. There were i ndeed some
organ i sts of tol erab l e s i gn i f i cance former ly at th i s court , but what
i s a mol eh i l l next to mount a i n s and the A l ps ?
The court mus i c now i s cert a i n l y i n tol erab l e stand i n g there,
but i t p a l es i n comp ar i son to the best reg arded court s . Trav el i ng
v i rtuosos , who are heard there from t i me to t i m e , al one sustai n th i s
court .
249
XXI I I . DARMSTADT
d i st i n gu i s hed h i msel f . One t astes the tol erab l e p i eces of fore i gners
exceed i ng l y w i t h h i s mu s i ca l es s ays .
251
The rema i n i ng German courts h ave done so l i tt l e real service to !
mus i c that the styl u s of hi story shou l d not be preoccu p i ed wi th them.
Wurzburg h as produced somewhat i n song ; the Meck l enburg courts
are content with servants ' mus i c ; and wh atever appears to be note-
worthy to the rema i n i ng pri nces and counts merel y b e l ongs i n an al pha
bet i ca l reg i ster of German mus i c and not i n the pai nt i ng of a great
tot a l i ty. I now wi sh to concl ude the h i story of German mu s i c i n such
a way that I m i ght des i gnate some masters who h ave d i st i n gu i shed
thems e l ves i n mus i c .
Adl ung , from E rfurt, a truly good mus i cal theor i st . His
method for p l ay i n g t h e organ 2 h as much essence [ S aft] and s trength.
He u nderst and s not on l y the mechan i cs of organ b u i l d i ng ; that i s , not
as an ord i nary mec h an i c, i n wh i ch he h as noted very profound l y a l l the
i mperfect i ons of the prevai l i ng org an b u i l d i n g , but al so spec i f i es
pr i nc i p l es , wh i ch must be a true amu l et to mu s i c i ans of the profess i on ,
espec i al l y org an i sts.
Abel p l ayed a great ro l e i n London. He was rea l l y on l y a
r i p i en i st on the v i o l i n , but soon he devoted h i msel f to compos i t i on
w i th great success and produced admi rab l e works , espec i al l y i n the
chamber styl e . H i s symphon i es are f u l l and beaut i fu l ; h i s c l av i er
p i eces , u sefu l for d i l ettantes ; and whatever he otherw i se composed,
em i tted rays of a very h appy m i n d . He worked h i s way up to a con
certmaster i n L ondon [ an d ] reveal ed i n everyt h i n g t h at he d i d more
252
sk i l l ed d i l i gence t h an geni u s . He h as many work s engr aved , but h i s
s tren gth .
i nvented , h av e , for a l ong t i me, occ upi ed and t i red the h and s . His
hosen mot i ve s were certai n ly more oft en tu nefu l and covered many
i n ger i ngs to true c l av i er p l ayi n g c au sed . A broken chord bri ngs three
i ngers to movement and p aral yzes two . Whoever does not p ut the who l e
c l av i er p l ayi n g .
sphere. Th e l i ttl e f i n gers of both h ands a l ways as s ume the peri pher i es
of h i s mus i c al i n vent i ons , and the remai n i n g e i ght f i n gers retai n thei r
own d ance most ex act i ng l y. He notes , by mean s of the most un i mport ant
� & ! arpe io I
Accord i ng to Buxtehud e :
254
Georg B ach [ recte Joh an n Chr i st i an B ach ] , K apel l mei ster i n
Engl an d , and , because of h i s l ong res i dence there, h e i s known on l y as
the " Eng l i sh B ach , " a son of the i mmort al [ Johann] Seb ast i an B ac h .
So much f l ex i b i l i ty o f s pi r i t , s o much accommodat i on to the
g en i us of the century, so much s ubj u gat i on of profound theory to the
trans i ent mel opoet i c s of the t i me- -no one has h ad these ab i l i t i es as
th i s Bac h . H e seems t o h ave set before h ims el f out-and-o ut t h e p l an to
prove to h i s brother i n Hamburg t h at one can be great and sti l l submi t
h i msel f to the tri v i al spi r i t of the masses . The resu l t proves that
th i s B ach was mi s t ak e n , for h i s spi r i t suffers from the c h ai n s of
accommodat i on . T h e nob l e theory wh i ch h e drew from t h e r i b s o f h i s
great father he surrounded wi th s i l ver gauze of modern taste--a g i ant
wrapped i n nett i ng ! For a l on g t i me the I tal i ans admi red h i m u nt i l he
was fi n a l l y cal l ed as Kapel l mei ster i n London . He was a master in al l
mus i cal styl e s . I t was l i teral l y true what a n E ng l i sh poet s ang about
him:
" B ach stood o n O l ymp i a • s peak
And Po lyhymn i a came towards h i m .
She spread her s i l v er arms
To h i m and sai d :
' You are comp l et e ly mi ne . • ••
H i s church pi eces h av e much profundi ty, but with a cert ai n
wor l d l y mi en wh i ch betrays the odor of dec ay. H i s operas , whi ch he
composed i n En g l an d , Italy, and Germany , reveal a command i ng s p i r i t
i n the area o f mus i c .
255
Thi s B ac h cou l d be whatever he wanted , and one compared h i m
r i ght ly to the fab l ed Proteu s : now h e b ubb l ed l i ke water ; n ow he
f l ared l i ke f i re . I n the m i d st o f fr i vo l i ty of fash i onab l e taste the
g i ant s p i r i t of h i s father sh i mmers through . Thus , the prod i gal son
w i th ragged g arments c ame home. The fat her threw h i s arms around h i s
neck and sobbed , 11You are my son ! "
H i s brother i n Hamburg wrote h i m repeate d l y : " Don • t become
l i ke a chi l d l 11 B ut he always an swered : " I must stammer i n order that
the chi l dren u nderstand me . ••
B ut that th i s extraord i nary man cou l d work i n the thou ghtfu l
styl e of h i s brother i n H amb urg and h i s father i s d emonstrated by var
i ous c l av i er sonat as wh i ch he pub l i shed i n London . Espec i a l ly known
i s a sonata by h i m i n f mi nor wh i ch competes with the most p rofound
and best p i eces of th i s k i nd .
B ach has proved h i mse l f i n a l l k i nd s of mu s i cal sty l es , al most
wi th equal success . He worked for the ch urch , theate r , and chamber.
He made trag i c and comi c opera [ an d ] earnest and j ocose b a l l et s . Nat
ural f l ow of thoughts , l ove ly mel od i es , amp l e knowl edge of i nstruments ,
unexpected modu l at i on s , sp l end i d arr angements of duet s , fest i v e choirs ,
and master ly rec i tat i ves ch aracteri ze h i s best oper as . He wrote many
of them i n I ta l y , Eng l and, and Germany , and even today they are per
formed with the most dec i s i ve approv a l .
One of course searches i n v a i n for J ommel l i ' s f i re and the
harmoni c thoughtfu l ness of h i s broth er i n Hamburg i n h i s operas , but
n ature and s i mp l i c i ty compensate so much more abund ant ly for these
256
def i c i enc i es . He s ucceed s better w i t h t h e affect i o n ate and bel oved
t h an the nob l e t r agedy.
composed some Masses for Rome and N ap l es wh i ch c aused general admi ra
t i on t here. E ven for L ondon he wrot e some P s a l ms i n the true , anci ent
t as t e . H i s Te Deum l au d amu s i s one o f t h e most beaut i fu l t h at w e
possess i n E urope . The fugues and choruses h e arr an ged w i t h great art
but even so that n o one i n Eng l and s urpas sed h i m . Bec ause h e was of an
amorous n at ure , he l onged for the appro v al of women . Thi s f act c l ears
257
B ach w as one of t h e most i nd u st r i o us composers who h as ever
extremel y i rregu l ar . S i nce B ach f o l l owed h i s own t aste very s e l dom and
gre at s p i r i t .
258
di ffi cu l t an d wi th thorou g h l y German power . He p l ayed the choral e
! s i mply and vari ed i t wi th much energy.
The remark bel ongs here that Nu remberg bel ongs to the best
German c i t i es wh i ch h ave done great serv i ce to the i r fatherl and • s
mus i c . I n th i s ci ty there are spl end i d i n st i tuti on s from the o l d en
t i mes whi ch awak en and reward mus i cal t a l ent . I t ma i ntains i ts own
Kapel l mei ster and about thi rty ci ty mus i ci ans often i n cl ud i n g peop l e
whom the worl d l ooked u p to . The chorus i s very wel l staffed , and even
thou gh ordi nary peop l e prevai l , there i s so much natural taste i n mus i c
that the sen s i t i ve forei gner l i ngers wi th s i l ent admi rat i on . Al l the
streets of thi s ci ty resound wi th song on Sundays and hol i d ays .
Nowhere are there so many house org ans as i n N uremberg because nowhere
i s fami ly worshi p so at home . Thi s mus i c al taste has ex i sted for
centur i e s . Each church h as a paid organ i st and a cantor. T h e ri ch
donati ons of thi s ci ty mai nt a i n choi rboys from wh i ch sometimes great
masters h ave stepped forth . Wi th th an kfu l joy the author recol l ects
that he was i ndebted to thi s i n st i tu t i on for hi s mu s i cal knowl ed ge.
The greatest honor th i s venerab l e ci ty h as earned for i tsel f i
that i t nouri shed arti sts wh o not onl y con structed the mo st cho i c e
i nstruments but al so i nvented new th i n gs. The fi rst excel l ent
harpsi chord was made here by the unforgett ab l e Gl i s . For the i n vent i o
of the pedal , one h as to thank N uremberg .
Stai ner , the best vi ol i n mak er i n the worl d , i s a Nuremberger ,
and even today N uremberg vi ol i n s are counted among the l e ad i ng and the
best . I n the mak i ng of wi nd i n struments thi s ci ty has not been
surpased by anyone. The Denner fl utes are wor l d famou s . Trumpets ,
25
trombones , cornet t s , c l ar i nets , and b as soons made t here h ave durab i l i ty
of s uch an ori g i n a l mi n d .
H i s motets and ch urch p i eces are for the thorough mus i ci an perh aps
260
more v al u ab l e than a pai nt i ng recovered from Herc u l aneum, for the
d i st i ngu i shed man wrote on ly a few , but wh at h e wrote produced a great
i mpres s i on .
Leff l oth , the tenderest org an and c l av i er p l ayer t h at one c an
th i nk of . H i s me l ancho l i c ch ar acter i nc l i ned h i s heart to the ad ag i o ,
and th i s he p l ayed w i th heart-penetrat i ng force . He was a gen i u s and
adhered to no schoo l . F avored wi th fortune, he cou l d tr avel through
a l l of Europe and hear everyth i ng great , but he remai ned Leff l ot h . His
composi n g , as h i s pl ayi ng, was so or i g i nal t h at i t i s i mpos s i b l e to
make a descr i pt i on of i t . Res entment of approachi ng death , tears wh i ch
f a l l as dew on a funeral wreath , and tremb l i n g ant i c i p at i on of fut ure
repri eve--th i s i s wh at h i s compos i t i on speak s . Hecti c fever robbed the
worl d of th i s r are geni us i n the twenty-s i xth year of h i s l i fe . Before
h i s deathbed stood a G l i s c l av i chor d . A few mi n utes before h i s end , he
stretched h i s wit hered arms from the bed, spread h i s h ands over h i s
c l avi er , and p l ayed "Ach Gott und Herr , wi e gross and schwer , etc . "
wi th i nexpres s i b l e grace . W i th tears s h i mmer i n g, he s an k to h i s
bed--and d i ed .
Th i s man wou l d not o n l y h ave s urpassed every N uremberg mu s i c i an
by some di stance , but wou l d h ave been an e poch maker i f i t were possi
b l e to prol ong h i s l i fe i n sp i te of h i s f a l l en fortune. Two d ays after
h i s death he recei ved a cal l as Kape l l mei ster i n Russ i a, but h i s h igher
c a l l was in heaven .
Agre l l , K ape l lme i ster of th i s c i ty [ 1 746-65 ] , born a Swede. A
true arti st , but of col d n ature: he p l ayed col d ly but regu l ar l y; he
composed co l d l y but regu l ar ly. Sti ff was hi s behav i or [ an d ] st i ff was
261
h i s p l ayi n g ; b u t for every note h e wrote down , h e k n ew prec i s e l y h ow
I f I t ake away notes and do not see t h e framework of t h e most ref i ned
the h and exceed i n g l y ; h i s motet s and church p i eces are adapted most
s tr i c t l y accord i ng to the n ature of t h e vo i ce. We poss e s s a ri ch s up
artfu l t heori es .
262
brought forth everyth i ng t h at only the ear and heart cou l d expect . He
p l ayed a s i l ver trumpet ; and i ts penet rat i on as wel l as i ts u nspeakab l e
purity was equ al ly fami l i ar to h i m. H i s trumpet p i eces bel ong to the
best in the wor l d , but h ave become more r are bec au se he on ly composed a
few . He d i ed as a n offeri n g t o h i s art i n the mi dd l e o f a concerto
from a hemorrhage cau sed by the excess i ve strai n on h i s l un gs .
B i schoff , a del i ghtful v i o l i n i st , and H umme l , a powerfu l
b ass s i nger, deserve not to be pas sed over i n th i s h i story. In
gener al , Nuremberg i s ri ch i n be aut i fu l vo i ces , and s i nce i t i s a
beer [ -dri nki ng ] country , i t produces more bass s i ngers th an one i s
accustomed to hear i n wi ne [-dr i n k i n g] countr i e s .
Mus i c p ub l i sh i ng and t h e excel l ent engrav i ng t here g i ve th i s
German c i ty a new mer i t i n mu s i c a l art as i t h as earned for i tse l f
immort al honor general l y i n a l most al l the arts and sci ences .
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XXV . AUGSBURG
ch urch mus i c beg an to f l ouri sh t here- -of course u nder the shower of
For several centuri es the vespers serv i ces and cho i rs h ave been excel
l ent ly st affe d . Even today pi eces from t h at venerab l e � fearf u l t i me
cond uct s the c hor al and f i gural mus i c of the P rotest ant s . To these
d i rectorsh i p s t h e Aug sburgers h ave al ways sel ected very ab l e men .
o f our cent ury . He devel oped i n the school of the great H amburg
[ C . P . E . ] B ach and of the Ber l i n orchestra u nder the eyes of Grau n .
T hereu pon , he proceeded to Ven i ce , earned for h i ms e l f general approval
through h i s w i de-re achi n g h armon i c knowl edge , and came back to h i s
f ather l and wi th t h i s thorough trai n i ng , where h e d i ed at 3 3 [rect e 4 1 ]
years o f age a s mus i c d i rector . He was not only one of the most
thorough German c l av i er p l ayers--Bach h i ms e l f n umbered h i m among h i s
best student s- -but he al so devoted h i mse l f to compos i t i on with such
ausp i c i ous resu l ts t h at , i n the short t ime of h i s l i fe , the n ame
Seyfert resounded through a l l of Europe .
H e was a born mus i c i an . Wherever h e went , h e w h i st l ed and
searched for me l od i es . Consequen t l y , he became extraord i n ar i ly r i ch
i n me l od i e s . He wrote mu ch but never repe ated h i mse l f; i n stead , he
remai ned a l ways new. Seyfert comb i ned thoroughness and gracef u l ness
to a h i gh degree. He was equ a l to every sty l e , for h e u sed to s ay,
"Whoever cannot do everyth i ng can do noth i ng . .. H i s masterpi eces are :
1. An I t�l i an opera wh i ch he composed i n Ven i ce and wh i ch i s s t i l l
performed there once a year. Th e modest me l ody of th i s oper a, the
l ovel y i nstrument al accomp an i ment , the novel ty of i t s me l od i c
mot i o n , the correctness of h armony , and the s urpri s i ng modu l at i ons
h ave earned g eneral approv al for th i s o pera i n I ta l y . Seyfert gav e
ev i dence a t that ti me o f much preference for t h e comi c ; t h e trag i c ,
howev er , l ater g ai ned a very not i ceab l e heav i ness i n h i s mu s i cal
ch ar acter .
265
• 2. A P as s i on-Orator i o [ Jesu Chr i stus t der auferstanden i st von den
Toten , 1 754] on Krause ' s poetry. 1 Th i s orator i o i s f i l l ed w i t h
traits o f gen i u s . Wh at a not i on when H e , i n despai r , al l ows Judas
to rush H i m to H i s deat h . T he c horus " D as Herze b l utet mi r, etc. , "
bel on gs amon g the most adm i r ab l e mus i cal choruses wh i ch we h ave
produced . E very exper i ence of the l i stener , every r i se and f a l l of
the streami n g b l oo d , every de l i cat e , i nt imate feel i ng of devot i on
i s not i ced here w i th i ndescr i bab l e art and underst and i ng . Hardl y
any mus i c i an h as s ucceeded better than he wi th t h e percept i on
[ Be l auschen] of the most secret fee l i ngs . Out of eagerness to be
new , he neverth e l ess fe l l occ as i onal ly to t r i f l i n g . He al l owed ,
for ex amp l e , i n th i s oratori o for C hr i st to be accomp an i ed to the
grave with muted trumpets , but he wi ped away th i s s pot and
corrected i t wi th the d arkness of the grave represented i n the
chorus . The voi ces moan and s i ng no more; the i n strumental
accomp an i ment i s prepared w i th profound u nderst and i ng . But
occ as i onal ly he sl i ps b ack to the b i zarre i n h i s choi ce. He even
beg an a certai n ari a w i th a tri angl e, but he no s ooner percei ved
that i t was r i d i c u l ou s th an he removed the nui s ance.
3. R aml er ' s I no [a cantat a wr i tten ca. 1 770] . Undoubted l y , Seyfert
h as captured the s p i r i t of th i s poet i cal masterpi ece the best
among al l mus i ci ans . The go l den scal e of cr i t i c i sm, wh i ch wou l d
266
l i ke to wei gh poet and composer , wou l d certai n ly be su spended i n
equ i l i br i um here . Seyfert u nderstood h i s poet o n l y as wel l as one
can understand h i m [ i . e. , the poet ] . R aml er h imse l f , and even the
great [ ?C . P . E . ] B ach , number th i s p i ece among the best products of
mus i c . How unequal ed i s the scene of I nc ' s f a l l i nto the seal How
d i v i ne [ are ] the best senti ments of i ts Godhood ! How s i mp l e and
great i s everyth i ng ! The dec l am at i ons and rec i t at i ves h ave noth i ng
above them, and h i s b asses are so exce l l ent l y f i gured th at the
young mus i c i an shou l d accord i ng l y "draw" from them as a p ai nter
draws from the anc i ents . H i s song h as a beauty for wh i ch we h ave
no word i n our l angu age . S i ncer i ty i s truly the pri nci pal char
acter, yet h i s mel od i es beaut i fy a cert ai n g l ory wh i ch i s l ost on
every descri pti on . I f Seyfert wou l d h ave h ad command o f a great
orchestra, he woul d h ave certai n ly been epoch mak i ng i n mus i c . He
defeated armi es w i th batt a l i on s . What more wou l d h e h ave done i f
h e commanded armi es? Just a s the squ i nt i ng g l ance, wh i ch i n
Augsburg the Catho l i cs throw to t h e Protest ants , s o th i s Seyfert
l ured respect and adm i rat i on from them . They confessed unan i mous ly
t h at he d i d not h ave h i s equal among them, and they pai d a great
dea l of money [mi t schwerem Ge l d ] fo r :
4. The Masses , a s he composed them. These Masses are wri tten i n a
great l y pen s i ve styl e , but here and there they h av e a fash i onab l e
craze on account of comp l ai sance for h i s contemporari es .
5. The c l av i er pi eces of th i s master bel ong among the best of th i s
k i nd . They were wri tten w i th great underst and i ng o f the i n stru
ment , fu l l of work for both hands , r i ch i n new modu l at i on s , and
267
i n the l ov e l i e st mel od i e s . [ I t i s ] too b ad t h at h i s c l av i er p i eces
s t i l l h av e not a l l bee n pri nted ! He h i mse l f p l ayed i n t h e m an ner
much too l i mi te d .
warmt h of the h e art and l ove for God and h i s son . He by no means
268
Lord-- a l l of these sent iments l i e i n the sphere of h i s gen i u s . In a
wor d , he bel ongs to the c l ass of the most sens i t i ve composers who ever
l i ved .
Demml er , a mu s i cal drifter [ Luftpassag i er] , but who possesses
true tal ent for compos i t i on . H e p l ays t he org an and c l av i er wi th t aste
and h as composed several Masses and pri nci pal p i eces of i mportance
wh i ch reveal h i s mi nd. But he sec l udes h i mse l f i n the I mper i al D i et ' s
comfort and i s dead to the wor l d . H e can be what h e want s , but wi l l
not b e wh at he c a n .
Stei n , 2 an excel l ent mu s i cal mi nd respected for h i s i n ven
t i ons and h i s i mag i nat i on . 3 H i s t aste i s s p l end i d . He h i ms e l f p l ays
by necess i ty not b ad ly and knows everyth i ng great , especi a l l y wh atever
concerns c l av i er and org an p l ayi ng . B ut as an i nstrument maker
[Mechan i ker] , he h ard ly h as h i s equ al i n E urope . H i s org an.s , h arps i
chords , pi anos , and c l av i chord s are the best that one knows . Strength
pai red with del i c acy, ser i ousness w i t h grandeur, [and] durab i l i ty with
beauty- -he i mpr i nts a l l of h i s i nstruments wi th th i s s t amp . Thi s i s
st i l l , however , the l east [of what h e does] . Stei n i s a l so the
269
i nventor of the d i v i ne i nstrument k nown as the Mel o d i k a
[ c a . 1 7 58-72] . 4 B y i t h e puts the performer i n t h e pos i t i on t o
270
X XV I . F RANKFURT
I ndeed , good org ans and wel l -prepared church mu s i c are t h ere, but there
the so-cal l ed "Red Hou s e , " make up for a l l of these we akne s ses . There
are few great masters who are not h eard by and by , and , except for
H amb urg, there are no pri vate concert s as prof i t ab l e as Frankfurt ' s .
and l oft i ness were not s o demanded there as t h e g ent l e, mod i sh , comi c ,
c i ty.
271
Otto , a med i ocre org an i st and an even more med i ocre performer . !
Hel feri ch , a modi sh c l av i eri st . He tri f l e s with f l ower s wh i ch
tr i l l s are powerfu l . He h as wri tten many t h i n gs for the voi ce and the
w i t h some by Cr amer and Kl opstock , very beaut i fu l ly for the ch urch and
l schu bart • s subt l et i es are often too v ague. Conj ect ure then
becomes the on l y poss i b l e so l ut i on . Here i s a good ex amp l e . Perhaps
Schu bart i s s ay i n g t h at Otto i s adequ ate at the organ dur i n g a church
serv i ce , but i n so l o performance he i s l e s s th an adeq u at e . Or perh aps
he i s s ayi ng t h at Otto h as adequate trai n i ng for b e i n g an org an i st
accord i n g to s t an d ard s est ab l i shed by e i ghteenth -century theori st s ,
but t h at h e j u st does not l i ve u p t o expect at i on s .
2cf. "Sei n Mann i st G l uck ; • • • • " MAadJ 1782, p . 35 .
3 rhe reference may be to e i ther or both o f the fo l l ow i n g :
Ph i l l i pp Chri stoph K ayser [ 25 ] Verm i schte Li eder mi t Me l od i en aufs
C l av i er ( W i ntert h u r : Hei n r i ch Ste i ner , 1 775 ) or i dem , [ 19 ] Ges Snge
m1 t Beg l e i tun des Cl av i ers ( Le i pzi g und W i nterthur : He i n ri c h Ste 1 ner ,
A
1777) . See M fD 1782 , p . 68 and R I SM A/ I/5 : 14 .
27 2
l i tt l e sens at i on i n Germany. Gracefu l nes s , comp l ai s ance , and t h e
l i ghtnes s o f the me l od i es are want i n g . H i s phras e i s often s u l l en and
fee l i ngs , fu l l of gre at and correct thought s , but too one-s i ded i n
t aste . H e i s a l so not a b ad poet , but a s p i r i t wh i ch wants t o affect
i s. When Gu l l i ver came home from Brobd i ngnag, h e stooped u nder the
door becau se h e be l i eved h e h ad become t a l l er among the g i ant s by two
head s . 4
4 see the penu l t i m ate p ar agr aph of "A Voyage t o Brobd i ngnag"
�
i n Swi ft ' s Gu l l i ver ' s Tr ave l s . Joh at h a n Swi ft , Gul l i ver ' s Trave l s and
Other Wr i t i n s , ed . Lou i s A. Landa (Boston : Houghton Miff l i n Co . ,
1960 ) , pp . 1 0 -21 . '
273
XXV I I . ULM
ter of the ped a l . Hi s s uccessor , Wal ther , h as been depi cted as pre-
l i tt l e for n ature.
274
P r i v at e concerts , wh i ch were i nst i tuted now and then i n U l m , do
not h av e much t o s ay , for a l though one often chooses very good p i eces ,
Sch nei der are i dent i f i ed n ow , perh aps because i t shou l d sound f as h i on
ab l e . S artor i us , who i s a very thorough v i o l i n i st , was educ at ed i n t he
275
XXV I I I . THE CHARACTERS OF FAMOU S MU S I C I ANS
h i s ch ar acter.
Fri ede l . There are these two brothers who h ave both d i st i n
th at one cannot i ntroduce them to good soci ety wi th honor . Both com
i n strument .
276
but al so brought the h armoni ca, i nvented by Frank l i n , to perfect i on .
He p l ays th i s profound l y cal mi ng, mel ancho l i c i nstrument wi th unbe l i ev
ab l e tenderness and perhaps as wel l as i t c an be p l ayed . H i s p i eces
for the h armoni c a are st i l l the o n l y ones at the moment , bec ause wh at
Frank l i n composed for i t h as no mu s i c al v al ue. Frank l i n was more a
mech an i c than a mus i c i an , but Fri ck i s bot h .
G l uck . A man , admi red by a l l three great schoo l s of Europe ,
who rose to the pos i t i on of a mus i cal e poch maker. I n the beg i nni ng he
composed s i mp l e c l avi er p i eces wh i ch only made l i tt l e sen s at i on . Then
al l of a sudden he ventured upon an opera and compl ete ly aston i s hed
I t al y. H i s Alceste [ s i c] was f i rst performed i n F l orenc e , then i n
V en i ce and N ap l es w i th exces s i ve approv al whi ch bordered on man i a. 2
Always the s ame b l azi ng f i re throughout the who l e oper a ; d ar i ng and
u ncommon phrases; d i thyramb i c fant asy f l i ghts; strong modu l at i on s ;
beaut i fu l b u t not a lways correct harmo n i es ; profound u nderst andi ng of
w i nd i nstruments wh i ch he knew how to use more frequent l y and more
effecti ve l y than any other composer- -these are G l uck ' s ch aracter i st i c
trai ts i n the f i rst per i od of h i s l i fe . Sudden ly h e o verthrew h i s
exi st i ng system and pondered about the great thought s i n h i s sou l :
to reform the who l e of musi c . 3 He found that today • s mu s i c al art
i s over l aden w i th many u nnecessary embel l i shments . He wanted ,
�
. 4 "And now he has performed h i s I ph i �n i e i n P ar i s w i th an
approva l whi ch mat ches the worth of the wor 'Or i g i n a l , new , stron g ,
•
c l ever was h i s compo s i t i on , ' o n e person h as wri tten f rom Par i s . And
t h at i s s ayi ng a gre at deal from a Frenchman , whose mus i c possesses the
l east of these att r i butes . �• Deutsche Chron i k ( 7 Apri l 1774) : 23 ;
Iph ig�n i e e n Au l i de recei ved 1 ts prem1 ere on 19 Apr i l 17741
278
reader to t h i s recen s i on of G l uc k ' s I ph i g �n i e , but w i th the warn i n g ,
27
g i ant soul cou l d not endure H ar l equ i n ' s coat for l ong. T h i s rare man
h as al so wri tten v ari ous treat i ses on mus i c i n Frenc h , It al i an , and
German wh i ch generate from th i s f i ery s p i ri t and h i s profound mu s i cal
knowl edge . One compares wh at h as been said here with wh at R i edel h as
wri tten about G l uck ' s ch ar acter . 9
H aydn . A composer of great gen i us , who , next to Mozart , h as
i n most recent t i mes been an epoch maker. He is the Kapel l mei ster for
Pri nce E sterh azy and a f avor i te of al l of Germany. H i s Masses breathe
a l ofty s p i r i t , a thorough i ns i ght of the l aw of mu s i c , and a depth of
feel i ng . H i s symphon i es are admi red , and r i ghtl y so, through al l of
Europe , for they are set i n the true symphoni c styl e , are eas i ly prac
t i c ab l e , often w i t h i nstrument al f i re , and wri tten w i th comp l etely
or i g i nal moods . By means of h i s c l av i er p i eces , h e h as f i n a l l y become
the d ar l i ng of a l l conno i s seurs . T hey are not on l y thorou gh and s u i ted
for the i nstrument , but they d i st i n gu i sh themsel ves before al l others
through the unusual · be auty of the i r mel od i c movements . H i s ad ag i os ,
l argos , andantes , c antab i l es , rondos , and vari ati ons seem to h ave been
g i ven to h im by the goddess H armoni a herse l f . So i nstr uct i ve for the
p l ayer and so p l e asant and entertai n i ng for the l i stener t h at few
p i eces l i k e them h av e been composed i n Germ any. Gen i us shouts
280
approval to h i m and the temperate mi nd swal l ows hi s tones wi th del i ght
( u nti l 1784 ) . 10
H i mrnel bauer . A respectab l e and except i onal l y pl easant v i ol on -
cel l i st wi thout the mu s i ci an ' s arroganc e; a man of the mo st di rect and
ki nd heart . No one di rects hi s bow so ca l mly and unrestri ctedl y as
thi s master. He performs the most d i ff i cu l t p assages wi th the most
ex cepti onal ea se; hi s heart especi al l y ov erfl ows in the cantab i l e .
H i s sweet expres si on , h i s l ovely fermatas , and , part i cu l arly, h i s great
strength i n the mez zoti nts [Mi ttel ti nten ] hav e been admi red by al l con
noi sseu rs and l i stener s . 11 He has composed [very] l i tt l e for hi s
i n strument , but there few [works] h ave so much the more i ntri n s i c
va l ue . He i s from V i enna and now resi d es i n Bern .
Hofman n , an al re ady somewhat aged sympho n i c compos er , who was
general l y l i k ed twenty years previ ou s l y but tod ay i s nearl y forgotten .
H i s sp i r i t does not deserve thi s desti ny, for one often fi nds spl end i d
phrases and great thou ght i n hi s symphoni es; but unfortu nate l y , fashi on
does not tyr ann i ze more ov er an arti st than over the mus i ci an .
Hoffmei ster, one of t h e most recent composers wh ose ga l ant
pi eces recei ved much approval because of thei r mod i s h , el egant dress .
Hi s symphoni es hav e a fl owi ng song and emi t sparks of real mus i cal
281
remai n i n esteem for l on g .
i n strument .
L ang, a gener a l l y l i ked and rea l l y s p l end i d mu s i c i an . H e has
and sonat as are not exact l y extr aord i n ar i l y d i ff i cu l t nor composed with
on l y p l ays t h e c l av i er moderately.
283
not on l y thorough but al so new and r i ses through br i l l i ant i deas . He
284
of pi eces , but among wh i ch one mu st make a sel ect i on , for he composed
much for students of a moderate capac i ty . A tr ag i c c i rcumst ance wh i ch
cau ses many a great master to s i nk further under h i s sphere ! Whatever
he composed for h i mse l f was a lways wr i tten i n the best styl e and
repeated ly gave ev i dence of traces of a f i ery sou l .
H i s broth er , Schobert , l i ves i n Par i s [ and i s ] now the best
bassooni st [there ] . 1 7
Spandau , i n the fi rst horn [ Pr i mhorn] , the best horni st of
our t i me . He bri ngs out the most d el i cate and pur i st tones on h i s
i nstrument , but i t seems t h at h i s l i ps often c au se the tone to f l ut
ter for the horn general l y n ever sounds good i n the extreme l y h i gh
r ange. 18 I n a f l eet i ng run the horn can certai n l y chal l enge the
h i ghest tones , but never stays on them for a l ong t ime wi thout h urt i ng
the trai ned ear. Spandau composed very we l l and accord i ng to the
nature of h i s i nstrument . 19
Spath , the teacher of the great Lol l i . 20 I f th i s man h ad
not exposed h i mse l f to a far too cyn i cal l i fe and [ i f he] had l i ved a
l itt l e more ref i ned l i fe , he wou l d h ave p l ayed a great ro l e among us .
H i s stroke i s admi r ab l e, d ar i ng , and dec i s i ve , and h i s performance ,
285
espec i al l y i n the ad ag i o, i s f u l l o f power and beauty. I n h i s youth
he p l ayed the al l egro n i mb l y and f l eet i ng l y, but over the ye ar s h i s
for our t i me , and con s eq uent l y , are not part i cu l ar l y tr i ed any l onger .
Schwi nd l , a popu l ar and f amous c omposer for t h e v i o l i n through-
attract attent i on . H e sel ect s poems f rom our best poet s and f i nd s
co l l ect i on s .
one o f the nob l est and best . He h as stud i ed the phr ase thorough l y ,
madnes s . 22
Zwei brUck en . 24
287
B aron von D a l berg , a d i l et t ante, as few as there are , who t akes
f ai l s h i m.
288
as the best and the prevai l i ng one, he h as been l ed astray by th i s
means to i nj u st i ce t owards other s choo l s . We h ave to wai t for a
h i story of mus i c [ 1788- 1801] from h i m , and he wi l l certai n l y not d i s-
1
appoi nt our expectat i on s . H i s rare mu s i cal schol ars h i p , the r i ch ai ds
wh i ch he has at the famous Gotti ngen Uni v er s i t�t s-Bi b l i othek , and h i s
powerf u l German styl e m ake h i m the mos t c ap abl e before many other
authors for such an i mportant wor k .
Forkel i s at t h e s ame t i me one o f o ur best c l av i er p l ayers ,
trai ned compl et e l y accordi ng to the B ach schoo l , but h i s compos i t i ons
for vo i ce and i nstrument do not have much i n p art i cu l ar to s ay . He has
too l i ttl e f i re , h i s song i s not f l owi ng enough , and h i s modu l at i on s
and h armoni es are often sought anx i ou s l y .
Von Eschstruth , o n e of the mos t p l eas ant song composer s . His
song h as l ot s of nobi l i ty, l ots of true express i on , and h i s h armoni es
are pure and bol d . The d i st i nct i nstrument al accompan i ment , by ch ange
to doub l e cou nterpo i nt h av i ng a s i mp l e me l ody for the vo i ces , enhances
h i s songs exceed i ng l y . H i s youth and enthus i asm for mus i c promi sed u s
yet many products o f h i s beauti f u l s p i ri t .
Eckar d , a n at i ve of Augsburg. A great c l av i er i st who h as
resi ded i n P ar i s many years [ 1758- 1809] and who h as acqu i red money and
respect . He p l ays strong ly and extraord i nar i l y heavy . I n v ar i at i ons
he has no equal because he know s how to a l ter a g i ven phrase on the
spur of the moment as often as one desires and i n al l key s. H i s h and
h as l ustre and f l i ght , and h i s f i nger i ng i s fau l t l es s . H i s fermat as
and c adenzas are comp l ete ly new , and no one wi l l i m i t ate them so
eas i ly.
289
H e h as the doubl ed tri l l comp l et e l y i n h i s power. H i s nervo u s
system i s stro n g , w i thout l os i ng s ome o f h i s sens i t i venes s . Th i s
290
o f h i s contempo r ar i es , E ck ard al so u nd e r stood t h e art o f master l y
and Germany .
h i s eye s .
wr i t i n g .
29 1
Thi s sketched h i story of German mu s i c must al so man i fest to
the aver age person the thought t h at mus i cal spi ri t bel ongs to the
pr i nc i p a l features of the German character. However , one accuses us of
imitat i ons , and as true as it i s th at no soul i s i ncl i ned more i n al l
forms as the German , thus the great German mu s i c s choo l s h ave preserved
the i r pecu l i ar i ty . Th i s pecu l i ar i ty con s i st s i n the most profound
study of h armony, i n the natural f l ow of the key, or modu l at i on , and
i n s i mp l e r , wi th al l hearts sympath i z i ng , mel od i es . German song i s
appreci ated wherever there are h uman e ars . The foot of a s av age
twi tches , as do the l egs of honorab l e Schwab i an s , whenever he hears a
German s l i d i ng d ance [ Sch l e i fer] . I n the tone of c h armi ng fol k song,
Germany i s s urpassed by no other peop l e ; the greates t Ital i an masters
often l ·i sten to o ur travel i ng art i s ans i n order to steal c h armi n g
mel od i es from them. Nature i tse l f seems to s i ng from German throats ,
and th i s nature h as g i ven a course for the ph i l osoph i cal s p i rt of our
nat i o n , wh i ch must i nev i tab ly fas h i on every great schoo l . Wh i ch peop l e
have choral es as we h ave? Whi ch peopl e h ave ever s urpassed u s i n
i nstrumental mus i c ? Wh i ch peopl e h ave produced s uch general ly good
voi ces as ours? F i n a l l y , whi ch peopl e h armo n i ze i n the s i mp l e concert
of nature so correct ly as the Germans? Al l of Europe has recogni zed
our worth ; al l Europe an orchestras are staffed wi th German K apel l
mei sters; and the word "tedesco11 l ong ago fl owed al ong as one with
the I t a l i an word " v i rtuoso . "
29 2
XXI X . SWEDEN AND DENMARK
Both of these nort h ern k i ngdoms h ave n ever b een epoch mak i ng
i n t h is realm.
1 Al l eg retto
� _l I
I :�el
6 Yl , _l_ I •
..
I
I I
... v A __l I I I ..ol � I'
ll .,
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E x amp l e 6 . Swed i s h Fo l k Song
Accord i ng to t h i s sty l e are near l y a l l o f the pri mal fo l k
was the mus i c al f as h i on amon g the German s at the beg i nn i ng of the cen
bec ame s o agon i z i n g among the Germans after more t h an f i fty years that
Q ueen Chri s t i n a was a ped ant i c admi rer o f mus i c . S he h ad an odd not i on
part i cu l ar l y from the pros perous era of sovere i g nty i n Sweden , one
goi n g to the t i me of the anc i ent b ards [ Sk al den ] , whose mus i c was rough
appo i nted throughout the who l e rea l m. The fo l k songs of the Danes are
295
me l ody i n thei r fo l k s ongs . They ci rcumscr i be near l y s i x or s even
tones , beg i nn i n g most l y i n mi nor and end i ng i n m aj o r . For ex amp l e :
,_.....-,
-.. 6 -
,...
7 • 'r • ......
II
1'.4 ... I LJ .,
" 7 .UoO'
., . I ..
"'
.J .___, �-
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Wa 1 - 1e
I -
� Mond - g l anz - s tra h1 her - a b
*'
I
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'- 11"
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I
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"�����. I •
L i e b - chens Gra b !
� ...r '- •
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t •
.,
Sche i n •
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auf mei -
,.
nes
I • •
•
..... -r ""'
"' � •
'
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-
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I I I
.-
• •
I
of us . The great Count Bernstorf promoted Schei be- -a l ready ment i oned
296
fi rst-r ate mu s i c i an and p l ayed the v i o l i n as a master--was real i zed
u nder Chr i st i an V I I ! Po lyhymn i a herse l f rece i ved a chair and voi ce i n
the D an i sh counci l [ S anhedr i n] [ s i c] , and s i nce then Dan i sh mu s i c
hovers a l most i n equ a l hei ght t o the Germans . Yet , too, Denmark
h as--an aston i sh i n g observat i on ! [mi rum v i su ! ]- -brought forth not one
s i ng l e great mus i c i an . Whoever was , or s t i l l i s , outstand i ng there,
i s ei ther I tal i an or German !
297
XXX . RUSS I A
an i mi t at i o n . A l so , t h i s i s u n i que i n t h e i r fo l k s i n g i n g t h at they
Langsam
"' • • •
I
I ..... ' -• • -
_.. !' -.
, .., ... ... I
\. ll I
•
Low - n a komm , herz- l i ch l i eb 1 i c h d i ch ,
�
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,. .. I -, -:.J. I
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.. ...
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Low - na komm , komm und kus - se mich !
It
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" .. .... --.
,. • "II I -� \
•
I
Examp l e 8 . R u s s i an F o l k Song l
298
almost al l beg i n i n major and end i n m i nor . One c annot even s ay t h at
i t m akes a b ad effect , especi al l y i f the song was performed correc t l y;
P eter t h e Great was the f i rst one who , o n h i s t r avel s , recei ved
h i s reg iment s . But i t was l eft to K athar i n a I to tr anspl ant even f i ner
most l y of German s .
299
past to devote t h ems e l ves t o the study of mu s i c wi th moderate resu l t .
Yet at th i s t i me st i l l no master among them h as shown h i mse l f .
300
XXX I . POLAND
re alm except En g l and are there more l arger and smal l er orch estras than
mi n d , l e ads . The oper as themsel ves are as magn i fi cent as i n perh aps
con s i sted of between 500 to 600 persons , bec au se the grandee s used to
l end a l l o f the i r mu s i c i an s to i t .
301
A l l o f W ars aw repe at ed l y resounds year after year w i th concerts
and house mu s i c . Al l b acchan al i a were crowned wi t h mus i c , and even the
the mus i cal wor l d m ay undoubted l y expect i mportant benef i t s from them.
302
XXXI I . SW I TZERLAND
great poet s and art i sts h ave d i st i n gu i shed themsel ves here . Accord
i ng l y , i t i s i nconce i v ab l e exact ly why th i s repub l i c remai ned so f ar
pri nted together and h ave been l a i d before the wor l d as model s of th i s
art . I n Zuri ch the mus i cal spi r i t h as become very u n i vers al i n recent
t i mes . There are d i l et t antes there who rose to mastery. A l s o , year
after year , concerts are g i ven there where the greatest fore i gn
303
vi rtuosos often c ome forward and thereby tra i n the ear of t h e Swi s s
even more. F i rst -rate mus i c masters often res i d e i n Swi t zer l an d for
h e does not h ave remark abl e strength . H i s V i er und zwan z i g Componi sten
[ recte Zwan z i g C ompo n i sten] where i n many a mat ure opi n i on ru l es over
the greatest m asters , h i s mu s i cal al man acs [ 1782 , 1783 , and 1 784] , and
h i s e s s ay " Von den Pfl i chten ,des C ape l l mei sters" 2 h ave e arned h i m a
l as t i n g n ame i n mus i ca l h i story. He h i mse l f pl ays the cl av i er and
i nstrument s were emp l oyed here who h ave remar k ab l y modern i zed the
304
taste of thei r mus i c . At W i nterthur many a beaut i f u l work h as been
l ai d before the wor l d through Stei ner ' s prai seworthy zeal for mu s i c . 4
Wei s s , from Muh l h ausen , n ow res i de s i n London and i s one of the best
4 sev eral o f Stei ner ' s col l ect i on s , s uch as V ermi s chte L i eder
mi t Me l od i en auf s K l av i er [ 1 77 6 ] an d Wern h ammer ' s G . F . Ge1 1 er�s
gei sl, i che �den' u nd Lieder , Erste H a l fte ( 17 7 7 ) [ rect e 1776J , were
announced 1 n Schubart ' s Teutsche Chron i k ( 30 M ay 1776) : 350 ,
( 19 Augu st 1 7 76 ) : 5 26 - 28 , and ( 3 October 1776 ) : 631 .
5 schubart heard Wei s s i n a concert g i v en i n Augs burg .
Deutsche Chron i k ( 6 October 1774) : 4 39-40 .
6 sy add i n g a sma l l key to Qu ant z ' s al ready i mproved f l ute,
the weak soun ds o f g ' s h arp , f ' s h arp , b ' fl at , and c ' ' became more
d i sti nct , and a l ong k ey, when added , made the l ow c ' s h arp and c ' f u l l
and pure. Deut sche Chron i k ( 6 October 1774) : 440 ( = Gerber L , 2 : 6 1 3 ) .
305
I
XXXI I I . HOLLAND
enter. Lol l i , who w a s very much admi red there , rece i ved once for a
very f ast .
and somet i mes more. M any a great master , among whom the prev i ou s l y
wh i ch powerfu l men of the f i rst r ank p art i c i p ate and rece i ve pri nce l y
c o l ored waters .
; f
307
XXX I V . E N GLAND
a l w ays val ued remark ab l y h i gh ly. Par l i ament appropri ated 10 ,000 pounds
for the mai nten ance of a roya l orchestra, wh i ch was a l ways st affed wi th
never bro ught forth a mus i c al schoo l , never a great cqmpo s e r , never a
Accord i ng ly, Kl opstock rec i ted the tri u i mph song before thei r e ar s :
one purpose.
308
S acred mu s i c i n London i s m ag n i f i cent l y st affed , as one c an not
otherwi se e xpect from the stream i n g ri ches of these peop l e . The org an
s uch a k i nd . S i nce they are , as i s wel l known, the most profound seek
ers of truth , they h ave more theoret i c i ans of mus i c t h an pract i t i oners .
They d i ss ect too mu ch and seek the l umi no u s concept of perfect i on more
These peop l e are the second i n h i story who recogn i zed the
i mportance of mus i c so much that t hey emp l oyed profes sors of mus i c i n
h armony as deep l y as i nto other sci ences . Hi s sys tem i s i ndeed d i ffi
than h i s researches on the chor d , from wh i ch h e deri ved the most f ar
reac h i n g res u l t s . Thus he s ays , for examp l e , •• J take C as the purest
�
Dortou s de Mai ran , w h o s uccessfu l ly repeated Newto n ' s experi ments on
opt i cs i n 1 7 16 and 1717 at Bezi ers ( see The Corres ond ence of I saac
Newton , 7 vol s . [ C amb r i dge : C ambr i dg e Un i vers i ty res s , 1959-1977] ,
vo l . 7 : 1 7 18-1747 , ed . A . R uppert H a l l and L aura T i l l i ng , p . 1 17 ,
n . 6 ) . Th u s th e L aborde p as s age h a s to be t aken from a l ater ed i t i on
and , based o n t h e j u st men t i oned reference and s i nce L abord e ' s quote
i s i n the t h i rd person , probab l y from the Pref ace to S i r I s sac Newton ,
Tra i t� d ' opt i g u e s u r l es ref l ex i on s , refract i on s , i nf l ex i ons , et
cou l eur s de l a 1 um 1 ere. P ar m . Le c h ev . Newton. Trad u i t d e
1 ang l o l s p ar m . l P l errej _!;_o st e , s u r l a s econde ed 1 t 1 o n , augment�e
ear I auteur l Ams tera am : fl . H Umbert , c a . ! f lU ) . t nere 1 S a p a s s age
1 n Rous seau ' s d i ct i on ary ( s . v . " sound " ) wh i ch d i scu sses soun d s der i ved
from the h armon i c s and t h e f act t h at as t h e h armon i cs cont i nu e to r i ng
they gradu a l l y d i s ap pear . The concept i s s i mi l ar t o Sch u b art • s , but
310
Th i s thoughtfu l ob s ervati on contai n s the who l e teachi n g of
311
unquest i onab l e and , after the manner of h i s peopl e , real i zed i n a
master ly styl e . Hi s compari sons of great mus i c i ans wi th great p a i nters
i n thei r own way can be set on the p ages alongs i de the comp ar i sons of
the i mmort al P l u t arch . Th i s spl end i d book h as been tran s l ated so
beaut i fu l l y i n Swi tzerl and t h at one c an read i t as an or i g i nal [ 1 7 75 ] .
Burney, Doctor of Mus i c , h as made a name for h i mse l f in al l of
Europe by means of h i s mus ic a l journeys [ 17 7 1 and 1773] and , p art i c u
l ar ly , through h i s h i story of mu si c [ 4 vol s . , 2 i n 1 7 76 , 1 i n 178 2 ,
and 1 i n 1 789 ] . I ndeed , h i s journeys contai n an abund ance of correct
and true observ at i ons and reve a l , i n p art i cu l ar , much mus i c al knowl
edge. B ut h i s opi n i on s are much too Bri t i sh , i . e. , too bo l d and often
total l y i ncorrect . �be l i ng, the tran s l ator of these j ourneys , and
Rei chardt h av e demonstrated th i s to h i m most emp h at i c a l l y and w i th
German courage, h ave reported h i s errors and h i s l i be l s of great men .
Burney travel ed much too q u i ck l y and hurr i ed l y t o h ave been ab l e to
make observat i on s w i t h phi l osoph i ca l co l dnes s . He does not d o su i t
abl e just i ce to u s German s by any mean s . H e concedes t o u s on l y
art i st i c s k i l l and d i l i gence, but refuses us mus i cal gen i us , a l i be l ,
wh i ch , through the who l e h i story of mu s i c , i s refuted to the honor of
our n at i on .
H i s mu s i c al h i story, on wh i ch he col l ected and wrote for twenty
years , i ndeed contai ns an i nd u l g i n g d i spl ay of schol arsh i p , for such
can eas i ly be obtai ned by whomever has enough money. B ut the work i s
fi l l ed wi th errors , h i s op i n i on i s not or i g i nal but most l y French , and
h i s aesthet i c senti ment does not s ay much .
312
I n the meanti me, Eschenburg ' s tran s l at i on of th i s work h as
wi ped away many of these conspi cuous mi stakes .
H awk i ns , one of the greatest erofessors of mus i c now l i v i ng.
He wrote for more than twenty years on h i s h i story of mus i c [pub l i shed
i n 1776 ] , wh i c h came out of Oxford i n four qu arto vo l umes and i s
a l re ady trans l ated i nto German , 3 cert ai n l y the most i mport ant work
th at h as ever been wri tten on th i s subject . The extens i ve l e arn i ng of
t h i s man , hi s i ndescr i bab l e abundance of mater i al s i n wh i ch he brought
together, throughout h i s who l e l i f e , a store of mus i ca l wr i t i ngs and
i nstruments that was val ued at more t h an 100 ,000 Rei chst h al er , h i s
penetrat i ng spi r i t , h i s cryst al l i ne sty l e of wri t i n g , and above al l ,
h i s i mp art i a l i ty make h i m a c l ass i c author of the f i rst rank i n the
h i story of mus i c .
The concerts i n London are more common than i n any other c i ty
of the wor l d . One can d i v i de them i nto pub l i c and pri vate concerts .
The publ i c ones are l arge and the p arts are ski l l fu l l y ass i gned ; who
ever i s mus i cal l y endowed c an be heard there. If one remembers how
H andel and [ J . C . ] !!.!E!. stood out at those concerts , one h as s ai d
enough to the i r honor . The sovere i gn orchestra cons i sts of about
seventy to e i ghty persons , among whom are very i mportant masters .
313
There are i nn umerab l e sma l l er orch estras i n London i t s e l f as
wel l as in the prov i nces . Every mi l ord and every great merch ant ho l d s
h ave expatri ated themsel ves hu ndredfo l d i n order to m ake thei r fortunes
there . The oper a t heater i n London i s one of the r i chest and w i th the
l argest s t aff i n the wor l d . The best composers , s i ngers , and v i rt uosos
the most attr act i ve advant ages and e i ther d r i n k up the sun • s r ays wi th
peop l es . The prev ai l i ng mel o dy was i nd eed war l i ke , yet they d i ffered
the F rench from the earl i est t i mes on were the f i rst who ventured to
make the m i nor key the p rev ai l i ng o n e . Because o f th i s , i t i s beyo nd
k eynote.
315
The French were even the f i rst who arr anged the feast of
St. Cec i l i a to the honor of mus i c . Th i s sai nt was e l ev ated to
patro ness because of her l ove for mu s i c , and s i nce th i s t i me , th i s
fest i v al i s cel ebrated with great d i s p l ay througho u t Europe , even by
P rotest ant Eng l and , ev ery ye ar i n Nov ember. On th i s d ay one sees i n
Par i s the goddess Harmon i a march i n her fest i ve pomp , and al l ch urches
and concert h al l s reso und anew the l ov e of mus i c i n sol emn hymns .
I n al l mus i cal styl es of wri t i n g , Gaul h as d i st i ngu i shed i t sel f
and each [ sty l e ] h as i ts own c haracter i st i c .
The sacred styl e i s strong ly contrapunt a l , s i mp l e i n the cho
ruses , but not fu l l enough i n the fugues . The ar i oso h as a certai n
offens i ve , wor l d ly mi e n , wh i ch adverse ly affects the devot i on . The
basses are most l y very wel l fi gu red , and the i nstruments f i l l out the
son g wi th power . But the i r choral s i ngi n g , i n compar i son with the Ger-
man, i s empty and weak ; i t often approaches total l y the secul ar song.
The opera styl e of the French beg i n s from the t i me of the great
Lu l l y and Qui n au l t . The l atter was the best l i brett i st i n F rance. He
u nderstood the need s of mu si c an d, consequen t l y , wrote very fl owi ng ly
and h armon i c al l y for the composer. One must not search for greatness
of i deas i n h i m, but [th ere i s ] so much more gent l eness i n thoughts and
i mages [ an d ] so much more h armony i n express i on .
L u l ly, l the Orpheus of the French , the true cre ator and
reformer of thei r n at i onal taste. He was ori g i nal ly an I t a l i an but
317
master. H i s overt ures , sonat as , and d ance p i eces test i fy to an
i nexhausti b l e mus i c a l gen i us .
He i s the i nventor of the mi nuet . The movement of th i s d ance
i s so p l easant- -carryi ng thi ther gent l y on waves , urg i ng the feet on to
c a l � , del i c ate muted doub l e d ance--th at l u l l y was epoch mak i ng throu gh
out Europe with the mi nuet al one. The comb of mus i c wou l d h ave h ad a
not i ceab l e g ap i f there were no mi nuet .
The f i rst m i nyet ( i n German f l yi ng dane� [ F l ugtanz ] or sus
pended d ance [ Schwebetanz] ) was d anced in 1663 at Ver s ai l l es by Loui s
X I V wi th one of h i s mi stresses . I t i s adm i r ab l e that the mot i ve of
the f i rst mi nuet was submerged i n the mi nor key. Here i t i s :
. .
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lt
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/ , ... ,.. _L _r L
.
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I
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318
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,...- l l 1 ......- 1
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. ... .. I y ... ., I
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7
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319
For more t h an f i fty ye ars the mi nuet , th i s most s i gn i f i c ant
movement , was cast i n th i s p l i ant form u nt i l our great German f at her
l and ch anced upon the i dea of a l so mak i n g mi nuets i n the major key.
Si nce t hen the Germ ans , part i cu l ar l y the Bohemi an s , make the best
a number of gal ant t�i ngs . Hi s n ame i s undoubt ed ly one of the best and
agai nst the rhythm; h i s choruses are d i l uted v i s i ons t hrough wh i ch the
322
D i derot , t h i s s p l end i d man of l etters and poet , p l ays the
h arps i chord not o n l y very we l l , but a l s o p ub l i shed a t heorl o n c l av i er
often amb i t i ou s , but many t i mes too f i ery for the orgatusty l e. He
lS
3 23
, : t�asured them , a l though the g i ant d i d see way above Marc h and • s h ead.
th at po i nt . The p r i nces of the hou ses , espec i a l l y the pri nce of Conde ,
mai nt ai ned orchestras of p r i me i mport ance. Al l of Par i s abounds wi th
3 24
mus i c i an s , and G l uck and P i cc i n n i h av e jost l ed s o omn i potent l y i n t h e
mechan i sm [Masch i ne ] o f French t as t e , t h at a revo l ut i o n , or r at h er a n
l ute who l e p ages wi th exami nat i ons of t h i s mot i v e . The two -four beat
3. W h at s ho u l d we s t i l l do?
only h as the song been s h aped , emb ankments and precepts for t he stream
of sens at i on h ave been prescr i bed, the co l l apse [ E i nst urz] [ s i c ] or the
3 25
The org an i n F r ance h as been r at h er stron g l y cu l t i v ated, but
t wou l d be ungrat ef u l ever t o want t o put a French org an p l ayer
· eat deal but does not t h i n k as muc h ; the German i s col d and pro
schoo l s .
The 1 ast two q ue st i on s , "W here are we? " and 11W h at d o we h av e to
hem :
Vel oci ty , const ancy , deep and exal t i ng feel i ng , art l y i ns i ght and
3 27
med i t at i on , but on the other h and he shou l d not mock al l theor i e s .
I t i s true th at mu s i c mu st be s i mp l i f i ed , but i t certai n l y mu st not
be turned out b are i nto the wor l d . I t w i l l be espec i al ly necess ary to
seek out a new rhythm i n wh i ch the ever present cesuras wi l l not make
our mu s i c monotonou s . F i na l ly, t h e composer mu st ref i ne new compo
sit i ons , bri ng the o l d measure i nto mot i o n agai n , st u dy the fo l k
mel od i es more c l ose l y , and h e must compose and perform w i th a streak
of gen i u s i n h i s sou l . Thu s , mus i c wi l l not on ly h ave been l ed back
to i t s former d i gn i ty and subl imi ty but w i l l soon reach a hei ght
[Sonnenpu nct] to wh i ch it has never as cended .
Hymn
3 28
N ow the d e l i c ate , l yd i an f l ute wh i spered
Now the d ance wh i rl ed ag ai n ,
Let me s i ng , J ehov ah ,
3 29
T h at I l ove, as a youth h i s f i anc e e .
To you , oh f at h er l an d , of heros a n d o f f i ery sou l s ,
At t h e s i te of t h e grav e :
Thus , i f a tender boy l i ngers a t my gr av e ,
of t he i r heart s :
330
CHRI STIAN FR I EDR I C H DAN I EL SC HUBART ' S
( P art Two )
Ted Al an DuBoi s
I n Part i al F u l f i l l ment o f t he
DOCTOR OF P H I LOSOPHY
( Mu s i col ogy )
Augu st 1983
PART TWO
TH E PR I N C I PLES OF MUS I C
331
XXXV I . CONCERN I NG TH E MU S I CAL . I NSTRUMENTS
Concern i ng t h e Organ
the stops and rece i ve breath and l i fe by means of the w i nd chest , are
332
makers h ave al re ady i ncreased i t from two feet to thi rty-t wo. The
p i pe of l ow C then h as a vo l ume i n wh i ch the l argest man c an stand
comfort abl y .
The tone of a good organ must be l arge, cutt i ng , and al l
penetrat i n g . Noth i ng i s more d i ff i cu l t than the pure voi c i ng of the
organ . I n the chords B major and E major there i s the so-cal l ed hi atu s
or wol f , wh ere t h e org an masters , who d i d not carefu l ly study the tem
perament , try to conceal the i mperfect i on of the i r k i nd of voi c i ng .
But s i nce a true organ p l ayer as g l ad l y wal l ows i n t h e chromat i c notes
as the d i aton i c , the org an tuner must try carefu l l y to conceal the wol f
tone from al l keys . I t i s a p aradoxi ca l yet perfect l y founded pri nci
p l e that one may tune no key comp l et e ly pure l y i n the org an because
other notes thereby suffer . The greatest art , therefore, consi sts of
t h at wh i ch i s to d i stri bute the adherent i mperfect i on of th i s i nstru
ment so wi se l y t h at every key h as the smal l est poss i b l e p art of [the
wo l f ] . The best and purest org an vo i c i ng i s that by f i fths accordi ng
to the fol l owi ng arrangemen t :
C major , G major
E mi nor , B mi nor
D major , A major
F-s h arp mi nor , C-sh arp mi nor
E major, B major
G-sh arp mi nor , D- sharp mi nor
F-sh arp major , C-sh arp major
B-f l at mi nor , F mi nor
A-fl at major, E-f l at major
333
C mi nor , G m i nor
B -f l at m aj o r , F m aj or
D m i nor , A mi nor
S i nce the keys are s t ated h ere accord i ng to thei r con s an
curve, the t u ner must l earn p art l y from the mathemat i c al rel at i onsh i ps
b u t more through the most d e l i cate and most ref i ned e ar . The best
1681) .
annehmen , probi ren , u n ter s uchen , und den Ki rchen li efern k8nne und
so 1 1 e ll"rankfurt am Ma1 n und L 1 ep 2 1 g : Theodor Ph l l l pp Cal v f s f u s ,
334
stops , abo ut the adv ant ages and weak nesses of our org an s , and about
the best poss i b l e f urn i sh i ngs of the org an . Yet hours of observat i o n
s u bj ect .
I de a l of an Org an P l ayer
do not f l ame i n one ' s bosom , he wi l l never become a s i gn i f i c ant org an
w i l l never b u i l d a f i re .
counterpoi nt , and do i ng a l l t h at w i th f i re !
335
i nstantaneous i deas , no one wi l l produce exce l l ent i mprov i sat i o n . The
improv i sati on remarkab ly h as very many s imi l ar i t i es wi th the poet i c
d i thyramb : i t steps from the domai n of r u l es and me as ures , i t i rr i
gates and fert i l i zes wi thout ever be i n g i nundated , i t soars t o heaven ,
i t p l unges to hel l , and a l l types of mu s i c l i e i n i t s c i rc umference.
From thi s descr i pt i on i t becomes ev i dent , the n , that there cou l d be
few men who i mprov i se we l l ; for f i rst of al l , the creat i ve s p i r i t i s
extreme ly r are , and then , not every hour i s an hour when gen i us i s
evi dent . I mprov i s i ng c annot be l e arned at al l , for , a l though there
are some who commi t i mprov i s at i on to memory , there i s noth i ng e as i er
than to d i st i ngu i sh the pract i ced from the sel f-created . I mprovi s at i on
i s , therefore, the f i rst u nm i stak ab l e char acter i st i c of an exce l l ent
organ i st .
The pre l ude and i nter l u de are much eas i er , for one c an acqu i re
moderate strength through i m i t at i o n ; and because the notes move with i n
the boundar i es o f the measure, the performance i s s ubj ect to much fewer
diff i cu l t i es .
The n ature of pre l udes i s , i n short , th i s : they must be sui ted
prec i se ly to the theme of the chor a l e [ L i ed ] . For examp l e , the prel ud�
to the choral e "0 Ewi gkei t , du Donnerwort ! etc . , " must provoke fear and
terror , just as the pre l ude to the chor a l e "0 Jerus a l em du Sch6ne,
etc . .. must arouse yearni ng and l on g i ng after heaven . Whoever . deeply
feel s the text of a choral e wi l l n ever comm i t the i mpropr i ety of
pre l u d i ng i nsol ently to the song 11 0 Traur i gkei t , 0 Herzelei d l etc . , "
iilnd pour out a b 1 ack , 1 ethargi c s auce over the song "Nun danket al l e
Gott , etc . 11
336
D ur i ng t h e commu n i on , where t h e pre l udes must be most l y l on g ,
and for though t l es s rhythms and mov ements so t h at the l i stener i s not
guar d , out of res pect for rel i g i o n , not to f a l l i nto the thought l es s
w i t h pur i ty.
The i nter l udes are more d i ff i c u l t and more i mport ant than many
bel i ev e . They shou l d , proper l y , a l ways i nterpret the next l i ne of the
ho l y thoug h t sows weeds amon g the wheat; and whoever p l ays a sad i nter
for these i nter l udes . One must be on gu ard so much t h e more ag ai nst
337
al l l uxur i ant abuses i n the choral e as they creep i nto t h e heart of
the l i stener l i ke a po i so n . A Mor av i an attended a d i v i ne serv i ce
sever al ye ars ago where a very good , but somet i mes pet u l ant org an i st
p l ayed . The organ i st commi tted the i mprudence of choosi ng a profane
phrase for the i nterl ude. After t h e serv i ce the Mor av i an sai d to the
organ i st , NYou h ave annoyed me tod ay , for I heard the run between the
choral e [verses ] twenty years ago i n a comedy. N As strong as thi s
ch al l enge i s , one must fo l l ow the i nstruc t i on of the apostl e Pau l wh i ch !
g i ves the tenet to al l superv i sors of congregat i ons , consequent l y al so I
to organ i sts , to treat the i r del i cate brothers w i t h con s i derat i on . One
shou l d read the beauti f u l and emph ati c t h i n gs the famou s K ape l l mei ster
Rei ch ardt i n Ber l i n has s a i d on the s ubject .
The strongest poi nt of the true org ani st mu st be present i n the
performance of t h e choral e. Th i s performance is threefo l d : one ei ther
prel u des the choral e of the congregat i on s i mp ly , o r a l ters i t art i s
t i cal ly, or accomp an i es the congreg at i on wi th i t . I n t h e f i rst case,
s i mp l i c i ty and beauty are great l y to be recommended . One chooses , for
ex amp l e , the f l ute stop for the performance of the me l ody o r , where i t
i s av ai l ab l e, the d i v i ne vox h uman a , [ and ] p l ays the mel ody q u i te s i m
p ly wi th extreme fee l i ng of the prev ai l i ng tone. For the accompani ment
on the other manu al , however , one shou l d t ake perh aps the v i o l a d a
gamb a and shou l d p l ay the ped al o n l y s i mp ly , so that the tender me l ody
w i l l not be destroyed . T h i s very d i ff i c u l t manner of p l ayi ng requ i res
much gen i us an d fee l i n g .
The art i st i c v ar i at i on c an b e l earned mech an i cal ly. O n e c an
real i ze i t fugal ly or wi th a runn i ng bass , wi th doubl ed or s i n g l e
338
ped a l , whereby the appropri ate and qu i c k a l ternat i on of stops b r i n gs
forth great effect . One mu st espec i al l y be on gu ard here for pro l i x i ty
schoo lmasters and bung l ers search for honor when t h ey ent ang l e the con
t uoso ' s pal ett e ; and the qu i c ker and more correct l y an org an i st knows
l eft foot borders o n the n ature of the doub l e b as s and the b ass trom
339
d ancer ' s sk i l l . One sees f rom th i s how d i ff i cu l t i t i s to re ach such
an i deal and h ow h i gh a m an mu st be respected who measures u p to the
furthest po i nt on th i s scal e .
pl ays , stri kes , dr ums , and p i pe s ; the nob l e and i gnob l e ; the bung l er
even become one of the most i mport ant art i c l es i n styl i sh u pbr i ng i n g .
340
strengthen h i ms e l f i n the most exacti ng and preci se performance of
compos i t i ons before he goes on to other c l av i er type s . l
Whoever h as l earned to perform a p i ece wel l on a Fri eder i zi ,
S i l bermann , or Stei n h arps i chord--for these are the best by f ar
among al l known unt i l now--wi l l progress on other c l avi ers so much
eas i er . But one mu st not t arry too l ong on the h arpsi chor d , for
th i s i nstrument i s more for the al l egro than the ad ag i o ; conse
quent l y , [ i t i s ] more appropri ate to the art t h an to the perform
ance of sensi t i ve p i eces .
2. Fortepi ano . Thi s sp l end i d i n strument--Hai l to u s ! --ag ai n an i nven
t i on of the Germ ans . Si l bermann sensed the rudeness of the harp s i
c hord , whi ch ei ther cou l d not tot al l y express the col orat i on or
expressed i t by means of stops i n al l too strong contrasts , so
d eep ly that he thoght of a w ay to b r i ng col ors to the h arps i chord .
He and h i s successors came, therefore , u pon the great d i scovery of
br i ng i ng forth the forte and pi ano w i t hout stops--because stops
on ly cause del ay- -by mean s of the pres s i ng of the h an d wi th the
greatest poss i b l e vel oci ty . I f the mezzot i nto cou l d be brought to
the fortep i an o , no wi sh wou l d remai n for the h arps i chord i st . - Si nce
then th i s magn i f i cent i nstrument h as been brought to s uch a per
fect i on that one can produce the fu l l m ag i c of mus i c, so much more
by the e l ast i c i ty of h i s f i n gers t h an by means of h i s knee, wi th
wh i ch one mod i fi es the strengths and weaknes ses of the sounds
wi thout gr i m ac i n g . There are fortepi anos of ten, twe l ve , [ and ] u p
341
to twenty stops . A nob l eman i n M ai n z h as made one where the f l ute,
v i o l i n, bassoon , obo e , even horns and trumpets were conjured up i n
t h e fortep i ano . When the secret of b u i l d i ng i s m ade known by th i s
great i nventor t o the wor l d , one wi l l h ave an i nstrument th at
d evours al l other s .
Spath i n R egensburg , F r i ck i n B er l i n , S i l bermann i n Strasbourg,
Strouth i n London , and especi a l ly Ste i n i n Augsburg now make the
best fortep i anos k nown .
The way of man i pu l at i ng th i s i n strument i s very d i ff i cu i l t
from the qu i l l ed h arpsi chor d . The l atter [ i . e , the h arpsi chord]
r equ i re s on l y gent l e touch , but the fortep i ano requ i res a j erk i ng
or s l i pp i ng mot i on . The mus i c a l co l orat i on can be expres sed here
so s u i t ab l y , but by far not i n al l i ts n u ances.
3. C l av i chor d . Th i s l on e l y , mel ancho l i c, i nexpres s i b ly sweet i nstru
ment , when i t i s made by a master , h as adv antages over the harpsi
chord and the fortep i ano. By means of the pressure of the f i nger,
by the v i br at i on and bebung of the str i ngs , by the strong or
gent l er touch of the h an d , not on ly can the natural musi cal colors
be determi ned , but a l so the me zzot i nto , the swel l i n g and fad i ng
away of sound s , the breathtak i ng tri l l mel t i ng away under the
f i ngers , the portamento or the Trager, in a word , a l l traits are
determi ned from wh i ch feel i ng i s composed . Whoever does not l i ke
to thunder , r age, and storm ; whose heart often and h app i l y bursts
i nto sweet fee l i ngs--l et h i m bypass the h arpsi chord and fortepi ano
p l ayers , but extremel y few c l av i chordi sts .
34 2
The c l av i chords tod ay h ave a l most reached the i r s ummi t : they
are of f i ve or s i x oct ave s ; are fretted or u nfretted ; wi t h and
343
note of h i s performance i s a p u l se beat , i f he c an tr an sform
rubb i n g , s l i d i n g , and t i ck l i ng- -then l et h i m approach t h i s
further sphere of act i v i ty. The frag i l e bel l s ; the extraordi n ary
where i n ev ery group s adness bow s down o ver a deceased fri end .
ever mak i ng the p l ayer the s l ave . The f i nger o f the p l ayer ru l es
344
wh i ch one c an on l y co l or , but c an never create n ew me l od i es-- a
mag n i f i cent f anfare wi thout regard to good d es i gn . *
of i t . 4
345
XXXV I I . CONCER N I NG F INGER I NG
h an d pos i t i on o r Ap p l i c at u r i s u n att a i n ab l e .
v ar i ous t r i cks of mus i c , s uch as t hey were observed by great col or i sts ,
346
1. P up i l of the c l av i er ! � correct l y ! I f you c an d o t h i s , you
do everyth i n g .
l i ve , [ and ] d i e.
).
m ajor to the key of A m ajor , one wou l d on l y h ave to add one s h arp and
s u b st i tute the b as s c l ef for the s opr ano c l ef ( i . e . ,
from to
348
c l efs from mu s i c through h i s syst em , and w i th i t wrests f rom the
h ands of a l l c l av i er and org an p l ayer s the m ag i c wand of ch an g e , or
349
XXXV I I I . C ONCERN I NG SOLO PLAY I NG
the secret s of the art are c h an ge l i ngs of mus i c and h av e g i ven c l av ier
performance a b ad reput at i on . The so l o p l ayer mu st perform e i ther h t s
wi thers away and becomes the B ach i an i d i om. Al l mech an i c a l ski l l s--the
power , i f he does not know how to transform the notes i nto just as many
s p arks , i f he c annot petri fy the accomp anyi ng voi ces around h i m as wel l
350
wi thout f i gu res . W h atever concerns the t horough b as s b e l o ngs t o the
mathemat i cal and not to the aesthet i c al i n mus i c . The great B ach h as
each p i ece as i t s n at ure requ i res . One must h av e s tu d i ed and pract i ced
unprepared trans i t i on from one key to the othe r , the beauty of son g ,
s i nger s . Otherwi s e , one wi l l h ack and peck wi thout any fee l i ng but wi l l
at e l y after the K ape l l me i ster . And , most K apel l me i sters undert ake th i s
Viol i n
ant i qu i ty, yet I d i d not want to as sert , as Burney, that the Jews and
hyl i n of the Greek s , was l i kewi se not a v i o l i n , but as one sees from
2. F sh arp
3. D
4. A
352
l angu ages are spoken [ Romanes i s hen] . Too bad t h at the n ame of th i s
great i nventor s l umbers i n u ndeservi ng neg l ect ! Th i s t un i ng i s so
And s i nce the mezzot i nts , even the mos t refi ned n u an ces , l i e i n thi s
r ange and c an b e brought out through u n not i ceab l e s l i des on the f i nger
Moz art , a s h as a l ready been ment i oned , h as determi ned the theory o f t h e
The V io l a
354
The t un i ng of the v i o l a i s : 1. A
2. 0
3. G
4. c
the v i o l i n .
The V i o l once l l o
arm extraord i n ar i l y; the f i nger i ng a l most cuts through the t h umb of the
that the stroke i s not i ceab l y d i fferent u nder the ch i n and between the
355
bri dg e , o v er wh i ch t h e tone c l i mb s u pward t o t h e reg i on s o f t h e a l to ,
v i o l oncel l o f ar more d i ff i c u l t t h an t h e v i o l a.
mer l y h ad four to f i ve stri ngs , but n ow i t uses , for accomp an i ment , not
more th an three , wh i ch are so much more adequat e , as t h e d o ub l e b ass i s
c as e . But the effect was not great; one i ndeed admi red t h e n ot i on , but
at the s ame t i me fel t noth i ng . T h i s i nstrument was created for the
356
purpose of remai n i ng a pedestal and never becomi ng a s t at u e . One does
not bui l d the house from top to bottom, r ather from bottom to top .
V i o l a d a g amb a
V i o l a d ' amour
357
B aryton
accompan i ment . I t hovers between t enor and b ass , but ofte n c l i mbs
The lyre
between .
S i nce the l yre i s undo ubted l y the o l dest i nstrument o f the
wor l d , it c an thus be con s i dered the mot her of a l l stri nged i nstru
358
wh i ch l i kew i se i s l o st i n remote ant i qu i ty . I t was i nvented by the
Jews , i m i t ated by the Pers i ans , Medes , and Greek s , and came thus i n
travel i n g h arp s , wh i ch were for the most p art used for r e l i g i ous songs .
The tr ave l i ng h arps were made so l i ght and gracefu l t h at one cou l d t ake
waters of B abyl on : "There we s at and wept , our h arps [we ] h an ged u pon
the h arps i chord h ave ousted i t from th i s assemb ly. Therefore, whoever
6 p s a l m 137 : 1 - 2 .
359
pi zzi c ato i s so i mpercept i bl y done t h at i t never degenerates i nt o c at
att ac k [ Angr i ff] u nder one ' s f i ngers . I n N uremberg a magni f i cent
The L ute
young seamstres ses , and school masters , the ecst asy for the l ut e sl ack•
pract i ce.
360
Wei s s , the f ather of the f amous poet � was one of the best
l uten i st s i n Europe. He a l so p ub l i shed an i nstruct i on for the l ut e ,
supp l anted .
There are few men amon g them who cou l d not p l ay poo r l y o r we l l on them .
2. A
3. F
4. c
361
5. B f l at
6. A
7. G
8. F
The l atter str i ngs are covered w i th s i l ver. By means of th i s
i mport ant i mprovement the Germans h ave brought i t to the po i nt that one
362
X XX I X . CONCERN I NG W I ND I N STRUMENTS
i nvent i on of al l wi n d i nstruments .
363
underneath w i t h t h e thumb o f the r i ght h and [ and] on wh i ch the Swab i an
shepherd s st i l l p l ay today , i s cert a i n ly an i nstrument wh i ch i s more
anc i ent than the syr i nx i tse l f . One f i nd s traces of i t i n the most
anci ent wri t i ngs .
The Trumpet
364
When th i s i nstrument does not remai n w i th i n i ts n ature, [or] when one
forces it by me ans of the v i rtuoso ' s art out of i ts l i m i t at i ons , i t s
pr i nc i pal char acter i s l ost. T h e trumpet , therefore, c an o n l y be used
by composers for great , sol emn , an d maj esti c occas i ons . Yet great
v i rtuosos h ave shown t h at one co u l d a l so use the muted trumpet for the
expres s i on of most profound sorrow and mo an i n g .
The method of b l owi ng the trumpet i s extreme l y d i ff i cu l t and
seems to requ i re near l y i ron l un gs [ stiihl erne Lungenf l.Ugel ] . The
tongue wi th al l of i ts s i mp l e , doub l e , tr i pl e, and quadru p l e v i bra
t ions mus t h ave a s p l endi d effect i n thi s i nstrument . The tr umpet h as
been used not on l y i n recent t i mes for h ero i c and s o l emn process i ons
but even empl oyed i n so l o. We now possess trumpet concertos wh i ch
former ages cons i dered to be sorcery. A Dresden trumpeter even came
to the not i on of i nvent i ng trumpets wi th keys , but the trumpet tone
d i sappeared a l most comp l etely, and one heard o n ly here and there [the]
hyb r i d l oudness produced by trumpet and oboe sounds . R i ght l y one has
therefore rej ected th i s i nventi on , for changel i ngs make progress
nowhere l es s than i n mu s i c .
Process i ons w i th trumpets can be made i n two , three , four , or
more parts . And it is amaz i ng that the second part a lways orn aments
[ f i gu i rt ] more t h an t h e f i rs t . Perhaps tone i s sought i n the f i rst
p art [ Prim] , but i n the second [ i t ] i s f u l l ness and r ange for tone
365
:tnd tongue . l T he mu s i c al wor l d s t i l l h as few pr i nted i n struct i on s
3nstrument to the mouth of even the heral d s of war and peace. A trum
peter today i s a l most a holy man who i s exempted f rom the g ates of the
greatest fortress just as h e i s from t h e abysses of the most f r i ghtfu l
The Horn
bri ngs forth the the greatest effect to the an imal wor l d . A forest
i s bl own upo n . The s t ags l i e down at the s pr i n g and doze , the frogs
sou l of h uman s ! A hor n b l ast command s the dogs to p l u nge i nto the
[ sp i r i tual ly] approaches most creat ure s . But whatever h owl s c annot
tol erat e the horn , bec au se th i s l ament i ng i nstrument u sed to provoke
h ow l i n g .
368
The theory of today • s horn h as been c l ar i f i ed by the best
weeps i n the t emp l e , dr aws the notes from the fu l l s ou l , and endows
for the echo . Consequent l y , for a compo ser , the study of t h i s i nstru
The Trombone
369
sound i n w i nd i nstrume nt s , and these c annot be thought o f except for
than the cow horn . W h atever goes beyond the comp l ete c hord i s outs i de
370
/ V i en n a h ad n o t s een to i t » * w e wou l d h av e h ad t o fear l os i ng i t by
degrees ent i re ly .
Hai der at Dresden i n such a bri ght l i ght t h at one s t i l l c an h ard l y put
and one l e aves the pract i ce on l y to wretched cornett i sts , our mus i c
Sol omon ' s t i me. In the meant i me , t here are sti l l f i rst-rate
37 1
chest s i nce the breath i s u s ed on l y through a q u i te sma l l o pe n i ng , s o
t h at al ready more t h an o n e cornett i st h as contracted con s umpt i on and
0, e, f, g, a , b f l at , b n atural , c, 0, e , f , g ,
a, b n at ur a l , c , d
as the cornet t .
372
wi t h great s uccess . 3 · Tod ay cornett i s ts are found on l y i n G ermany,
the soundi ng [Abb l as u ng] of s acred songs and short son at as . Among so
many cornetti sts one f i nds o f course some who deserve to be drawn from
the dus t . I n Rothenb urg ob der Tauber t here h ave been cornett i st s for
near l y a h al f a century , among wh i ch p art i c u l ar l y were the Z ahn broth
ers , who were f amous throughout Germany as the best m asters i n cor-
an estate. 4
3orfeo ed Euri d i ce , 1 76 2 .
4Apparent l y Schubart i s i n error , for t h i s p art i cu l ar Z ah n
w a s a b assoo n i s t . Cf . M u n d KAadJ 1783 , p . 7 7 : ZAHN . E i ner der
R otenburger B ru der , d i e, so viel wi r wi ss en , a l l e-rmiSi k al i sch s i nd .
E r was sehr l ange f agot i st [ i t a l i cs added ] bei der Petersburger
K apel l e , und s o l l s i ch d a e i n V ermogen v o n 1 0 , 000 fl . gesamml et h aben ,
w i e man s ag t , das er jetzt i n Ruhe i n sei nem Vater l and verzehren wi l l .
E r woh nt zu dem E nde sei t ei ni gen J ahren auf e i nem L andhau se , n ah e bei
sei ner Vat ers stad t .
373
Oboe
Peter the Great brou ght the oboe to Rus s i a al ong w i th many French and
German obo i sts and i ntroduced them to al l regu l ar reg i ment s .
and f i rst-rate gen i uses h ave brought i t t o s uch he i g ht and del i c acy
high £ [c ' ' ' ] . The most recent masters h ave st i l l added the three
l ed ger-l i ne Q, l• and f [d ' ' ' , e ' ' ' , f ' ' ' ] . The tone of the pure oboe
very much appro aches the h uman vo i ce i n the h i gh [ r ange] , but i n the
whereby they mu st h ave i nev i tab l y r i sen t o the ment i oned perfect i o n
i n a short per i od of t i me .
374
For th i s i n s trument mu ch feel i ng i s requi red and espec i al l y
the most ref i ned wi nd contro l . Whoever i s not a master of h i s breath
[The] C l ar i net
than the oboe i ts e l f : i t was f i rst l earned i n Germ any forty years ago .
Mun i ch , Ber l i n , and V i en n a the best c l ari nets i n Europe are made. The
h arder the woo d , the stron ger the tone. Whoever h as an e ar for mus i c
375
The E ns l i s h Horn
tenor and often touches the border of the b ar i tone. For the expres s i on
s ays B urney. 6
i mprove i t .
376
The F l ute
appropri ate pl aces , for exampl e , i n oper as where these f l utes sound
remar k ab l y wel l . 9
378
ours , o n the ot h er h and , n umbers more t h an twenty . Our t r an s verse
f l ut e i s cert a i n l y a German i nvent i on . At the beg i nn i ng of th i s cen-
p art out of wood and i vory; then peopl e t r i ed to m ake them out of por
37 9
fee l i ng , i n a word , the mu s i c al eco l ogue and i dy l l appert a i n to t h e
i nstr ument as the i r f avor i te an d h av e mai ntai ned the most excel l ent
bec ause i t requ i re s sustai n i n g , steady , and ever-fl owi ng breat h . The
l ower tones must roar, the upper ones must de l i ghtfu l l y soar t h i t her.
The port amento , mezzot i nto, and other mus i c a l orn aments c an be
38
The F i fe
tones , for i n the l ower [tones] i t i s swal l owed up by the drum rol l .
The Shawm
of mu s i c .
The Bassoon
382
sound , then i t ag ai n ri ses to tenor F [f ] , and through art s t i l l fur
ther to the h i gh tenor £ [f ' ] and al so spar k l es i n the upper reg i ster
as i t h as s park l ed i n the l ow reg i ster. The scal e of th i s i nstrument
i s , therefore, the f o l l owi n g . ( [ It i s ] wel l noted that al l b ass
i nstr uments are computed from the l owest note upward ) :
Contra B f l at [ B b ] . Thi s i s i ts most extreme, natural l ow
po i nt ; art bri n gs forth sti l l deeper tones .
! n atura l , i t h as by me ans of v i brato [ Schwebung ] .
C , c sh arp, D , d sh arp, E, a sharp [recte e sharp]
F , f sharp, G , g sh arp, A , a sharp, al so a f l at
B f l at , b nat ur a l , C , c s harp
D , d sharp, E , a sharp [recte e sharp]
F , f sh arp
G, g sh arp
h i ghest st i l l the a l to A [ a ' ]
Th i s i nstrument was made w i th mu ch perfect i on at N uremberg , yet
the P ar i s i an b assoons st i l l h ave a not i ceab l e superi or i ty. I t requi res
the fu l l est breath and such a sound and man ly method o f b l ow i ng that
on ly few men are a l ready cap ab l e , owi ng to i ts construct i on
[ Organ i s at i on ] , to p l ay i t to the po i nt of mastery. A l though the
French i nvented i t , the Germans h ave brought forth the greatest masters
on thi s i nstrument. I t has been used for a l ong t i me only for the
accompan iment , but we Germans were the f i rst al so to wrest the sol o
from i t , and i n deed w i th such success t h at now the bassoon bel ongs
amon g the best sol o i n struments of the wor l d . The tone o f t h e i nstru
ment i s so soci ab l e , so c harmi ng l y t al k at i ve, that for ev ery untai nted
383
sou l the l ast d ay of the wor l d may certai n l y run across many thousand
b as soons . The b as soon adapts i t sel f to a l l forms : i t accomp an i es war
T i mpan i
ent from a l l the memori a l s of these peopl e . Dre adf u l and true i s the
thought t h at venge an ce g ave the f i r s t mater i a l for the i n vent i on of t h
drum . "My enemy i s dead ! " though t a b arbari an c as u al l y , " but upon h i s
i nstrumen t ; thus , there are few peopl e i n the wor l d wh o d o not know th
384
wor l d even among the T ah i t i ans , Otah i t i an s , and I roquo i s , who u sed
them p ar t l y i n wars , p art l y i n smal l er form for the d ance. l 3
The Drum
concert s , i t i s i nto l er ab l e .
385
As i s wel l known , the drums are a l so now p l ayed at s i ght wi th
we l l -organ i zed Jan i z ary musi c just as the t i mpan i .
386
effect; ( 5 ) two cymb al s of the f i nest bronze, or bel l -met a l , wh i ch were
struck rhythm i c a l l y agai nst one another; [ and] ( 6 ) two drums , on wh i ch
the smal l er a lways . ro l l s and swe l l s , but the l arge i s subdued and
struck from be l ow w i th a rod.
How or i g i na l , how un i que are the sounds g athered together here !
The German s h ave even rei nforced th i s mus i c with b assoons whereby the
effect i s sti l l i ncreased by vastnes s . A l s o , trumpet f l ouri shes c an be
brought out we l l i n i t . I n short , the Turk i sh mus i c i s the best among
al l war l i ke mu s i c , but a l so the most cost ly, i f i t wou l d be as perfect
as i t s nature and heroi c des i gn demands i t [to be] . Si nce the Turk i sh
mus i c [ i s] p l ayed not accord i ng to mu s i c a l notat i on , but on ly from
memory ( because on l y we Germans h ave begun to not ate i t ) , noth i ng fur
ther can be s a i d about thei r theory ot her t h an e ar and pract i ce dec i d
i ng i ts perfecti on a l one. Two-four meter i s preferred a l though we h ave
a l so made very successfu l attempts w i th other meters . Neverthe l es s , no
other k i nd of mus i c req u i res s uch a f i rm, dec i ded , and a l l -powerful ly
predomi n ant be at . The f i rst beat of each me asure i s s o s trongly marked
by means of a new , man ly beat that i t i s near ly i mposs i b l e to get out
of step . F major and B-fl at maj or seem to be the favor i te keys of the
Turks because the r ange of al l the i r i n struments coi nci des best i n
these keys . Meanwh i l e , we Germans h ave a l so made successfu l exper i
ments wi th D m�or and C major from wh i ch the great i mportance of
Turk i sh mus i c becomes apparent .
Bes i des the aforesaid i n struments there are st i l l v ari ous
ones wh i ch were prev i ou s l y i nvented not for who l e concerts but on l y
for soc i al g ather i ngs . Amon g these bel ong the excel l ent [mechan i c al ]
387
port at i v e or gan [Rei seorgel oder Tragorgel ] , wh i ch today h a s attai n e�
such a perfect i on t h at often ten to s i xteen pi eces c an be put on one
aesthet i c s .
was condemned on l y amon g the l owe st cl ass of men becau se of i t s imp er
cept i bl e reson an ce and bec ause of the ratt l i ng tongue wh i ch swal l ows up
t as , v ari at i on s , and whatever one wants on t h e Jew ' s harp . Yes , one
shou l d bel ong among t he worl d • s most del i c ate s oun d s . I f o n e cou l d
of mel ody , the Jew ' s harp mi ght become ennob l ed . But perhaps an other
15 cf . Bu rney G, p. 24 .
388
gen i us wi l l ari se who wi l l s h arply contour and restri ct the v i brat i ons
of the Jew ' s h arp wi th h i s ton gue , then one wi l l real l y h ave an i nstru
eas i l y be i m ag i ned . Wood and al l met al s , the stee l , bras s , and gut
389
XL . CONCERN ING SINGING
them morn i ng and n i ght with the strongest consc i ent i ou snes s .
enth s , oct aves , and wi der i nterv a l s e xpressed with the appropr i ate
port amento or TrKger .
391
5. After th i s , h e s ho u l d practi ce i n runn i ng pas s ages; therewith h i s
throat wi l l be smooth and wi l l be rou l aded accordi ng to the
art i f i c i al l angu age.
6. The nuances of fee l i ng i ndeed c annot be defi ned too c l osely for
whoever has no heart wou l d al so never l earn to s i ng with fee l i ng.
But, gi ve thanks to the creator , every h uman bei ng h as a heart, and
he i s a bungl er who does not know h ow to f i nd the heart str i n gs to
the most muff l ed i nstrument. Sent i ment and fee l i ng of nature are
i n a l l men ' s hearts but are deeper and more conceal ed with one than
w i th another . I t i s therefore the s i ng i ng master ' s ob l i g at i on to
seek out those aspects of h i s s ubj ect where he reaches h i m most
certai nly. I f he h i ts upon these, the aorta pos i t i vely opens and
the deep-red jet gushes forth .
7. The s i nger mu st i nd eed c areful ly study the mus i cal ornaments
because i n t h at way h i s throat becomes f l uent , but he must not
overburden the song therewi th because al l too mu ch art i f i c i al i ty
and embel l i shment damages the s i mp l i c i ty and crushes the i nven
t i on . A gracefu l l y expressed mordent ; a portamento affect i onate ly
suspended al ong from one tone to another ; the crescendo and d imift
uendo of sound ; the b l en d i ng sounds or the mezzot i nto, a cal�i ng
tri l l r i s i ng and agai n f a l l i ng ; a p l eas ant cadenz a i n the charaCter
of the ar i a, wh i ch never mu st be too l ong i f i t does not want to
bui l d a country wi thi n a country- -these are approx imat e l y the
ornaments wh i ch deve l o p , l i ft , and beaut i fy the song.
392
One d i v i des the sound s of h uman voi ces most correct ly i nto the
fol l owi ng c l asse s :
1. The Head Tone. wh i ch the gre at P orpora c al l s [the] reverberat i on i n
the s k u l l . If a syl l ab l e names i tse l f wi th the vowel ls the sounds
resound upward in the head . One must therefore beware of color i ng
al l too frequent ly with the v owe l I because the song thereby dete-
-
1 the three- l i ned � [d ' ' ' ] or t h e three - l i ned I [ e ' ' ' ] . The l ow descant
or second h as a sma l l er comp ass and reaches upw ard only to the � [ a ' ' ]
or B f l at . The a l to hovers i n the m i dd l e and h as a compass approxi
mately of one and a h a l f oct aves . The contr al to i s even n arrower and
has about an oct av e , n i nth , or tenth , but al l of these tones i n utmost
fu l l ness and c l ar i ty .
T he bar i tone i s half tenor and h a l f bass , part i cu l ar ly ad apted
for the theater. I t s compass contai n s two ful l octaves , from f [ F ] up
to the f [f ' ] ag ai n . The l ow b ass a l so compri ses two fu l l oct aves ,
from the l ow C [ C ] up to the f [ c ' ] ag ai n , and al l i n excepti onal f u l l
ness , more forcefu l sti l l than the sound of a trombone . Th i s voi ce i s
most r are and express ly capab l e of l i fti ng and carryi ng the whol e
choi r .
One fi nd s the most [ i n n umber] a n d t h e most beaut i fu l descant
voi ces i n I t a ly . Even the tenor voi ces t here are more n umerous than 1 n
other countr i e s . B ut the best a l to and bass vo i ces are i nd i genous to
Germany , al though there are a l so q u i te s p l ended tenor voi ces i n B av ari a
and Bohemi a.
To the formati on of the vo i ce , prov i ded Mother N at ure h as pre
p ared [ i t ] , the fol l ow i n g pri nc i p l es are s uff i c i en t :
1. One sho u l d express the words wh i ch one wants to perform with
the Germ an song . I n the meant i me , one mu st c l a i m on the aver age that
397
XL I . CONCERN I NG MUS I CAL STYLE
years o l d .
composers .
i ntroduce the ant i phons i nto h i s songs , but they are now s t i l l admi tted
nowhere other t h an i n H an au . *
Chri stmann h as set some wh i ch h ave a l ready been i ntroduced here and
t here .
399
The f i gural mu s i c shou l d h ave never been separated from
Ji ng i ng of the congreg at i on but shou l d h av e fl owed together much more
opera?" But s i nce not every congregat i on can p erform mus i c , men and
women , young and o l d , organ and congreg at i on shou l d al ternate with one
the pri nces and m ag i strates do not i nterest themsel ves more energet
phr ase and performance i nto every human heart . The motets of the
Protestants are i ndeed most l y we l l composed, but t h e performance does
not h ave much to s ay , for what i s our song c omp ared wi t h those of the
400
Masse s , Kyr i es , Te Deu ms , Vespers , P sal ms , G l or i as , and l i k e
confu s i on once must h ave gone out wh i ch presented the l ame thoughts to
the Protest ant s of trans pl ant i ng the so-cal l ed cantat as i nto the
ari as , duet s , choral e s , and the l i ke ; but who does not al ready see from
the descri pt i on t h at th i s i s a mus i c a l H ar l equ i n ' s j ac ket wh i ch one
shou l d n ever h ave hung u p on the s acred wal l s of the temp l e? Tel emann ,
the B achs , Bend a, and other masters h ave afforded u s i n deed magn i f i cent
p i eces of th i s typ e , but the i r prof ane m i e n , the i r dress s to l en from
the theater, the art i f i ci al d i stort i on of the text , and t h e i nso l ent
church . *
the mus i c i s p l ayed aft er the sermo n , as for examp l e , i n U l m and other
*The Coburg court c h apl ai n , Hohn b aum, h as made s ome magni f i cent
s acred poet , h i s added test h as succeeded v ery wel l . One of the most
402
The Dramat i c S ty l e
sumptuous i mag i n at i on , and s i nce pomp , h eroi sm, pas s i on , t h e marve l ous ,
the i nspi rat i o r� , i deas from Ari � sto • s wor l d or Ov 1d "s Met amorphos i s ,
and the most fri vo l ous and mos t dreadfu l ' s cenes c an be uni ted i n i t
exc i te s the heart ; yes , even wh atever br i ngs forth t error and horror
P antom i me Styl e
405
affected t h at they [ i . e . , the me l od i e s ] are l i ke s a l t t h at c auses the
the F rench n at i on , a neat l y- dres sed comp l i ment i n art , and a l w ays h as
tod ay , for the s ake of modu l at i on , o ften t o set the tr i o i n v ery d az
bod i l y conto ur, and wh i ch perh aps does not h ave i ts equ a l ( for those
406
such h i gh ly prai sed, p antomi mi c d ances by Forster and G l uc k are sti l l
too unknown among u s ) l i ke s the two-four [meter ] , but for the most
p art the three-four meter , i n the s l owest poss i bl e mot i on . Those
Par i s d ances , wh i ch are composed i n the cou ntry i tsel f , far s urpass
the remai n i ng ones .
The Hung ari an d ance has some qui te ori g i n al turns , and the Jews
and Genti l es [ He i demacken ] even h ave or i g i na l mel od i es wh i ch r ather
approach the d ances of the gyp s i e s . The meter i s a l w ays two-four , the
movement more s l ow than fast , and the modul at io n i s qu i te b i zarre ( for
ex amp l e , they beg i n four measures i n � and then end i n £) , and they
sti l l h ave many B aroque turns . Th i s d ance deserves very much to be
brought to the theater.
The German d ance, or the wal t z , from the o l d Sch l ei fer , now
al so known as the Land l er , d i v i des i tsel f i nto the c l os e and w i d e .
T h e c l ose Sch l e i fer , a very sc anda l ous and d i sgracefu l d ance to the
German e arnestness , always has the two-fo ur meter ; the w i d e Sch l e ifer,
an i mpetuous , wal tzl i ke d ance i n w i de c i rc l es , wh i ch c an be d anced sol o
or tutt i , alone o r wi th a partner [ gesel l sch aft l i ch] , i s set i n three
ei ght or three-four [meter ] , w i th or w i thout a tr i o . I n n o d ance i s
the el ev at i on stronger than th at of the Germans . Every measure must be
arked emp h at i cal l y , and the movement mu st never be too fur i ous nor too
s l ow . I n the fi rst case, i t wh i rl s the head confu sed l y; i n the second ,
i t devi ates from i ts n ature.
The Germans s t i l l h ave some qu i te ori g i n a l d ances , of w h i ch the
K i efer d ance or BUttner d ance deserve to be stu d i ed by the best bal l et
masters . *
The so-c al l ed seven l eaps are l i kew i se a very o l d i nvent i on of
the Germans . It i s actu a l ly a so l o d ance, and the me l o dy i s very
un i que, and one c an h ard ly i nvent an accompan i ment .
408
XL I I . C ONCERN I NG CHAMB ER STYLE
orchestr a h armo n i zes or how gre at and aver age v i rtuosos perform.
accept .
409
XL I I I . CONCERN I NG THE TECHN I CAL TERMS OF MUS I C
Concerto
C horus
410
F ugue
are composed more i n the s acred styl e t h an i n the prof an e , for the
dou b l e fugu e .
Al l a Brev e
by a more determi ned movement of the beat , and that the a l l a breve i s
411
An art i s t i c vocal p i ece wh i ch con s i sts of two p hr ases : an
C av at i n a
Rec i t at i ve
perfect ly; under s t and the pros ody of the l angu age most prec i sely; the
hei ght , the dept h , the r i se and f a l l of s peech mu st be not i ced s h arpl y;
412
every comma, co l on , per i od , quest i on mark , every excl amat i o n , ev ery
d as h and stroke of expectat i on , i n a wor d , every d i st i nct i ve mark of
[ i . e . , the rec i t at i ve] i s more metr i cal , but t h e dec l amat i on i s freer.
Ar i oso
C ant ab i l e
M aestoso
413
L amento
andante , and presto . Yet our arti sts no l onger feel bou nd to thi s fo
Sonata
parts never form a son ata , but three; and these three parts are as
many fri ends who amu se themse l v es wi th one anot her i n the i n t i mate
there are sonatas , but they must be mod i f i ed accord i n g to the n ature o
the i n strument .
414
Adag i o
s l ow , s ad mot i o n .
L argo
Andante
Al l egro
Presto
very qu i ck metr i ca l mot i on, of two-four , three-ei ght , s i x-e i ght , and
more metr i cal d i v i s i ons .
Prest i ss imo
415
Rondo
t aste of a n at i on .
M arch o r W ar .Step
desi g n ates the s tep for ent i re armi es t h at they must fo l l ow on the p ath
the horses fee l i t s authori ty and move accord i ng to the beat . of the
march.
416
Sch i k or G igue [Qu i gue]
Gavotte
Murky [ Murk i l ]
417
XL I V . CONCERN I NG MUS I CAL COLOR ING
h ad been observed by t he anc i ents . The forte and p i ano t h emsel ves are
performance .
418
J ommel l i was the f i rs t who determi ned mu s i c a l
so far that one a l so marks the f i nest n u ances for the p l ayer . These
b l end i n g .
P i ano [and] P i an i ss i mo
'
b l end i ng .
Crescendo
thunderstorm.
Decrescendo
the breeze .
419
Forzando [ For,ando]
D i mi nuendo
C a l ando
Morendo
F ermat a [ Ferma]
Mordent
one another.
4 20
'------ -----··--··----··---· ---�---
C aden z a or Sch l u ss f al l
al l h i s power .
Mezzot i nto
S t ac c ato
out l i ne of e ac h s i ng l e note.
L egato [ L i g ato]
as the l i ne extends .
V i br ato
421
P i zz i c ato
p l ayed wi th the bow or the h and i t sel f , but the str i n gs are o n ly
p l u cked .
Tenuto
Ad l i b i t um
i nd i cates the l ack of the beat where the p l ayer or s i nger h as free
T asto Sol o
A f i gure for the org an where one s u stai n s the pedal and c h anges
Do l ce
422
L___._
. ___ ----- ----- ------ ··----- ------'
F ur i oso
W i l d , l i v e l y performance .
Amoroso
Tende r , l an gu i sh i ng performanc e .
wh i ch bel ong not to the sph ere of the wr i ter, but to the h al o of the
the sudden i nterrupt i on s of compos i t i ons , the tempo rubat o , where the
hund red other s i mi l ar dev i ce s [ Neben zUge] are effect i v e o n l y under the
423
XL V . CONCERN I NG MUS I CAL GEN I U S*
mus i cal mi nd . " P r act i c al exper i ence t eaches t h at men come i nto the
worl d w i thout the fee l i ng for rhythm and t h at they are ob l i v i ous and
from every h armon i c touch . Al l great mu s i cal gen i uses are consequent ly
424
Mu s i c al euphony [ Woh l k l ang] was i n t h e i r sou l , and t hey soon t hrew
away the crutch of art . The char acter i st i cs of mu s i ca l gen i u s thus
are u ndoubt ed l y as fo l l ow s :
greatness .
2. An extremely tender fee l i ng i n t h e heart wh i ch symp at h i zes w i th a l l
great .
od i es--then mu s i c a l g en i u s i s p resen t .
4. N at ur a l fee l i ng for the rhyt hm and meas ur e . If one put s a key i n
very strong cri ter i o n for the presence of mus i cal gen i us . Yet t h i s
d i st i ngu i sh i ng mark i s s omet i mes decei v i ng for t here are peopl e who
425
fi dd l e , strum, and p l ay the lyre al l d ay l ong and who themsel ves
h ard ly r i se above the med i ocre.
I n a word , the heaven ly f l ash of gen i u s i s of such d i v i ne
n at ure that i t c annot be concea l e d . I t presses , forces , pushes , and
burns so l ong unti l i t bursts forth as a f l ame and g l or i f i es i t se l f i n
i t s O lymp i an s p l endo r . The mech an i c al mus i c i an l u l l s t o sl eep , b ut the
mus i c al g en i us awakes and r i ses heav enwards . Y et he h as room enough
al so to c arry u p the l i stener on h i s cherubi c w i ngs .
However , the mus i c al gen i us w i thout c u l ture and practi ce w i l l
a lways remai n very i mperfect . Art must comp l ete and f i l l out what
n ature threw down raw . For i f there were men who were born perfect i n
any art , app l i c at i on and effort wou l d e as i ly d i e away i n the wor l d .
The h i story o f t h e great mus i c i ans proves i t : how much sweat
a l l s with the i r pract i ce ; how much o i l the i r eveni ng l amp consumes;
how many i mperfect attempts they l et ev aporate i n the f i repl ace; how,
eep l y conceal ed i n l one l i ness , they pract i ced fi nger, ear, and heart
they f i n a l l y appeared and el i c i ted a jubu l ant " bravo .. from the
through thei r masterpi eces .
The gre atest strength of mus i c al gen i u s mani fests i tsel f i n
ompos i t i on [ Tonsatz ] and i n the wi se l e aders h i p of a great orchestr a .
true K apel l mei ster and mu s i c d i rector must k now a l l mus i cal sty l es
n d know how to prove h i ms e l f as a master i n at l east one of them. He
u st h ave st udi ed counterpoi nt to the most i nt i mate u nderstandi ng ; he
ust be r i ch i n great and i nterest i ng me l od i c mot i on ; he must h ave pro
oundl y studi ed the heart of h uman i ty i n order to be ab l e to p l ay on
he heart stri ngs [Cordi al nerven] ju st as sure ly as on h i s f avor i te
4 26
I i nstrument . F i n al l y � he must be an acousti c i an and know how to l ead �
with breath and stroke , a hundred m i nds as i f they were one so t h at
thereby a great , al l -effect i v e who l e i s formed . I f one wou l d o n l y
study Der vo l l kommene K appe l l mei ster or a Mattheson or Junker � l he
wou l d be amazed at the wi de range of i ts theoret i ca l and practical
req u i rements .
Woe to you , p up i l o f mus i c ! I f you al ready dream of bei ng a
Kapel lmei ster before you h ave the q ua l i t i es of the good r i pi en i st t or
as H andel used to s ay, " I t i s l i ke want i ng to be an admi ral without
possess i ng the know l edge of a s ai l o r . " The hal f-deve l oped mu s i c i an s �
the travel i ng art i s ans � who tod ay b l ack en t h e mus i cal wor l d l i ke a
swarm of l ocusts , m i ght f r ighten you off that you wear yourse l f out i n
your chamber; for yo u must pract i ce me l ody , modu l at i o n , and h armony-
and the n , i n the g l ory of a c ul t iv ated gen i us , you c an appear among
your contemporar i e s .
427
XLV I . CONCERN I NG MUS I CAL EX PRESS ION
4 28
p l ai nest choral e or the s i mp l est fo l k song. Through d i l i gent sol f�ge
and practi ce of f i nger i ngs , the s i n ger and i nstrumental i st can acq u i re
t h at s k i l l i n read i ng.
T he second qual i ty of good mu s i c a l performance i s d i sti nct
nes s . What one does not u nderst and does not affect the heart. One
must , therefore , sh arpl y contour every mu s i c al comma, even every s i ng l e
not e ; h e must pract i ce the shortness [Abstossen ] of sounds , for
not h i ng i s more d i st i nct than a staccato phrase; he must never murmur
when he shou l d speak ; and he must app ly h i msel f , p art i c u l ar ly i n per
formance, to rou nd i ng off the phrase. Q u i te prefer abl y , the s i nger h as
need of th i s d i st i nctness , for , unfort unate ly, often the most beaut i f u l
poetry i s l ost among t h e l i ps and teeth o f most s i ngers . For that
reason the effect i s only s i mp l e , when i t shou l d have been doub l ed :
t h at i s , mu s i c and poetry shou l d h ave worked together o n the heart .
That i s the reason why so l i tt l e attent i on prevai l s i n our concerts .
I f one wou l d o n l y s i ng one good fo l k song d i st i nct ly and u nderstand
ab l y , and see ther e ! a l l eyes wou l d w i d e n , al l ears wou l d l i sten care
fu l l y , and al l hearts wou l d open. Every s i nger shou l d , consequent l y ,
read through the i r texts very c l os e l y , d i scern the power of each wor d ,
g i ve t o ev ery word i ts determi ned pronunc i at i on , and b e espec i al ly o n
guard agai nst the detestab l e l engthen i ng and stretch i ng of vowel s ,
whereby the performance becomes , for the most p art , i ncomprehens i bl e.
4 29
The th i rd qu a l i ty of mus i c a l performance i s , f i nal l y , beauty.
Whoever h as a fee l i ng heart; whoever knows how to percei ve
accord i ng to the poet and composer w i th whom the f l ow of s ong even
wal tzes away; whoever c l ear ly s aw the heaven ly beauty i n the hours of
ded i c at i on--he requi res onl y a nod , for he wi l l s i ng beaut i fu l l y and
wi l l know h ow to perform each p i ece beauti fu l ly.
The beaut i f u l consi sts of so many i nf i n i te , f i ne nuances ,
even i n mus i c , that i t i s i mpossi bl e to defi ne them al l . A girl ful l
of i nnocence and c h arm i s beaut i f u l often w i thout k n ow i ng i t hersel f;
at l east she does not know her temperament and how to sep arate each
feature of her beauty from one another . H owever , very i nterest i n g
observat i ons concern i ng th i s can yet be made.
The b l en di ng of sound s ; the l i ght , p l eas i ng portamento or
g l i di ng from one sound to the other; the swel l i n g , r i s i n g , f a l l i n g,
[ an d ] dyi ng o f sound; the n a i vety w i th whi ch one adds l i tt l e ornaments ;
h e beaut i f u l contour wi th whi ch one mar k s each phrase, t h e gent l e
vi brato , the breat h i ng o f s i ngers ; the l ovely tri l l ; the mel ti ng exe
u t i on ; and fi n a l l y the beauti f u l pos i t i on of the musi c i an and the
eartfel t express i on i n h i s face--al l these together make up the
beaut i f u l mus i ca l performance. Si nce each thought h as i ts own col or
[ an d ] s i nce many p l eas i ng sh ades of c o l o r , from the f i ery co l or of
p athos on to the rosy col or of tender j oy , l i e i n between . i t i s , as
a l ready ment i oned, i mposs i b l e to mark a l l of these grad at ions as to
i nd i cate each n u ance of col or i ng i n the case of a T i ti an, Corregg i o,
or Mengs .
430
O ne who mer e l y performs th i n g s wh i ch another h as composed h as
to observe th i s and s t i l l other ob l i g at i on s . But i nf i n i t e l y more
the fl ood of sound s urges and wal tzes and carr i es i t s j oyf u l fee l i ng
s u bj ects . For examp l e , the tr i ump h ant s tyl e prev ai l s o n feast d ays ,
the f l ood of sound s ur ges and wal tzes and carr i es i ts j oyfu l feel i ng
mi t J auchzen und Fro h l ocken " to mus i c , the prevai l i ng i de a wou l d be the
W i th the i de a " Got t , " the composer wou l d h ave to l i nger , i nvert
more often , and , by a genera l pause , i mp ress the h e art o f the h e arer .
43 2
Charact er i zat i on o f the K eys*
433
E-f l at major , the key of l ove, of devoti on , of i nt imate
I conversat i on w i th God ; express i n g, throu gh i ts three f l ats , the h ol y
Tri n i ty.
C mi nor, dec l ar at i on of l ove, and at the s ame t i me l ament at i on
of unreq u i ted l ov e . Every l an gu i sh i n g , l ong i n g , s i gh i ng of the l ove
crazed sou l l i es i n th i s key .
A-f l at maj o r , the grave key. Death , grav e , dec ay, judgment ,
etern i ty l i e i n i ts c i rcumference.
F mi nor, d eep depress i on, wai l i ng for the dead , groans of
mi sery and year n i ng for the grave.
0-f l at maj o r , a l eer i ng key , d egenerat i ng i nto gri ef and
rapture. It cannot l augh , but i t can smi l e; i t cannot how l , but at
l east it can gr i mace i ts weepi ng. Consequent l y , one c an tran sfer only
unusual ch aracters and fee l i ngs to th i s key .
B-f l at mi nor , an odd i ty, for t h e most p art d ressed i n the
garment of n i ght . I t i s somewhat d i sgrunt l ed and embraces most rare ly
a p l easant mi en . Mockery ag ai nst God and the wor l d ; d i s p l easure with
i tse l f and w i t h everyth i ng ; prepar at i o n for s u i c i de resound i n thi s
key.
G-f l at major , tri umph i n d i ff i c u l ty, a free s igh of rel i ef on
h av i ng crossed h i l l s , remi n i scence of a sou l wh i ch has struggl ed hard
and fi n a l l y i s v i ctor i o us l i e i n al l app l i c at i ons of th i s key.
E-fl at mi nor , feel i ngs of anx i et� of al l the sou l ' s deepest
d i stress , of bei ng l ost i n d aydreami ng despai r , o f b l ackest
434
me l ancho ly, of the s o u l ' s g l oomi est cond i t i on . E very fear , every
key.
a l together f u l l g r at i f i c at i on l i es i n E m ajor.
f r i endsh i p and l ov e l i e i n i ts c i rc l e.
dog at one ' s p ants l eg . Anger and d i scontent are i t s l anguage . Ord i
o f D major .
435
0 major, the key of tri umph , of Hal l e l uj ahs , of battl e cr i es ,
o f tri umph ant rejoi c i ng. Accord i ng l y, one sets attract i ve symphoni es ,
marches , fest i ve songs , and heaven-rejoi c i ng choru ses i n th i s key.
B mi nor, i s , as it were , the key of pat i ence, of the s i l ent
expect at i on of fat e , and of the s ubmi s s i on to the d i v i ne decree.
Therefore, i t s comp l ai nt i s so gent l e , wi thout ever breaki ng out i n
offend i ng murmurs or wh i mp ers . The app l i cat i on of t h i s key i s rather
d i ff i cu l t for al l i nstrument s ; for that reaso n , one f i n d s so few pi eces
wh i ch are composed expressely i n th i s key.
G major, everyth i ng rust i c , moderate ly i dyl l i c and l yr i ca l ,
each qu i et and s at i s f i ed pass ion , each tender recompense for s i ncere
fri endsh i p and true l ove; i n a wor d , each gent l e and serene mot i on of
the heart c an be expressed sp l end i dly i n t h i s key. Too bad that it i s
today so very much neg l ect ed on account of i t s seemi ng ag i l i ty. One
does not con s i der t h at there i s no d i ff i c u l t and fac i l e key i n the real
sense , but these apparent d i ffi c ul t i es and agi l it i es depend on the
composer.
E mi nor , n a i ve, woman ly. i nnocent decl arat i on of l ove, l ament
wi thout murmur i ng, s i gh s accompani ed by few tears . Th i s key speaks of
i mpend i ng hope of the purest happi ness c a l l i ng forth i n C major. S i nce
by n ature it h as on ly one co l or, one cou l d compare it w i th a g i r l ,
dressed i n whi te , w i th a rose-red bow on h er bosom. One wi t hdraws f rom
th i s tone with i nexpressi bl e grace ag ai n to the fundamental C major,
where heart and ear f i nd the most perfect s ati sfacti on .
If one wanted to object t o th i s character i zat i on of k eys a s i n
the l iterary cri t i c i sm that no key co u l d h ave a d etermi ned ch ar acter
436
because of the v ar i ous ornaments , one must con s i der t h at i t i s the
duty of every composer to study c l ose l y the character of i ts keys and
only t ake up the symp athet i c al ones i n i ts h a l o . A good compan i on
never i nv i tes b i zarre ch aracters wh i ch d i st urb the c i rc l e of h i s con
f i d ants ; on the contrary , he chooses homogeneous men who e l ev ate the
p l easure of soci ety. A freeth i nk er who brands h i msel f through s loven
l i ness does not be l on g to a s i l ent , Chri sti an g ather i ng on Good Fri d ay
even i f he wou l d s t ay put i n h i s r ightfu l p l ace. Even so it i s al so
the case wi th t h e composer. As soon as h e h as once sel ected a sui tab l e
key of prevai l i n g fee l i ng , h e may never s l i p i nto k eys wh i ch contradi ct
t h i s feel i ng . I t wou l d be unbearabl e , for examp l e , i f an ari a whose
fundament al key i s C major conc l uded the f i rst p art i n B major, or if
one wanted to c h an ge over sudden l y from F mi nor to F-sharp maj or. In
short , the musi cal expres s i on through a l l keys i s so s tr i ct l y deter
mi ned that--al though I wonder i f ph i l osoph i c al c r i t i cs h ave not made i t
val i d enough - -i t far surpasses the poet i cal and p i ctoral express i on i n
prec i s i on .
Devot i on and sub l i mi ty are t h e c h aracters o f s acred express i on ;
amazement , hero i cs , majesty, the deep l y mov i ng, mel ancho l y , and joy i s
the ch aracter o f dramat i c expres s i on .
I nt i mate conversat i on , on the other hand , soci abi l i ty, conform
i ty to each character, mus i cal ly al l -i n -one concentr ated, s i gnifies the
expression of c h amber mu s i c .
A l so , popu l ar mu s i c i s a carcass wi thout n ature ' s express i on
that i s r i gh t l y buri ed i n the meadow .
437
APPEN D I X
areas as out l i ned bel ow . The f i rs t th ree s ect i ons are mod e l ed after
438
3. A br i ef descr i pt i on of the i nd i v i du al ( e . g. , comp oser , perforrner ,
et c . )
439
M any of the fo l l ow i ng abbrev i at i on s were u sed i n the
tr an s l at i o n , but sever al others h ave been added .
Abbrev i ated T i t l e F u l l T i t l e*
ADB
-
Al l geme i ne Deut sche B i ogr aph i e
The Book of K i ngs McN au ghton : The Book o f K i ngs : A Royal
Genea l o sl
B urnel G �
B urney/Scho l es : An E i h teenth-Cent ury
Mu s i c al Tour i � Centr a �urope ano t� e
� et� er 1 ana s
DDT
-
Denkmal er deut scher Tonkunst
EB
-
The New E nctc l o p aed i a Bri t ann i c a,
15th ea .
441
Cath Enc c New C atho l i c Encyc l oped i a
Oxford Hamond/Sc u l l ard : The Oxford C l as s i cal
D i ct i onary
I
R I SM Repertoi re i nternat i onal des sources
mus 1 cales
· Sai n sbury A D i ct io n ary of Mu s i ci ans • • • •
442
Abel , C ar l [ K ar l ] F r i edri ch
b . Cothen , 2 2 Dec 1 7 23 ; d . London , 20 J un e 1787
Composer and v i o l a d a g amb a p l ayer
Grove 6
252-53
Ach i l l es
Mytho l o g i cal person age ; reference i s to Homer ' s I l i ad
Smi th
80
Achmet E ffend i
T ur k i sh ambas s ador 1
Schubart , K ai ser
386
Aeschy l us
b . 5 25/ 24 B . C . ; d . Ge l a, S i c i l y , 456/55 B . C .
Wri ter o f trage d i e s
EB
"77
Agat h a
Nun i n Co l ogne, v i rtuoso org an i st
Schub art
238
443
Agr i co l a , Johann F r i edr i ch
b . Dob i tschen , S axe-Al tenb ur g , 4 J an 1 7 20 ; d . Ber l i n , 2 Dec 1774
German mus i cographe r , compo ser , org an i st , s i ng i ng m aster and conductor
Grove 6
133 , 181 , 369
Al bert i , Domen i co
b . Ven i ce , c a . 1 7 10 ; d . Rome , 1 740 .
I t a l i an compose r , h arps i chord i st , and s i n ger
Grove 6
253
A l b recht V
b . M un i c h , 2 9 Feb 15 28 ; d . Mun i ch , 24 Oct 1579
Duk e , 1 5 50- 79 ; e l ector of B av ar i a ; s ucceeded by W i l he l m V
*2
A l c aeus
b . Myt i l ene, Lesbos , ca. 6 20 B . C . ; d . ca. 580 B . C .
Greek l yr i c poet
EB
04
A l c i b i ades
b . Athen s , c a . 450 B . C . ; d . P hryg i a , n ow Turkey, 404 B . C .
Po l i t i c i an and m i l i t ary commander
EB
'80
Al l egr i , Gregor i o
b . 1 5 8 2 ; d . Rome , 1 7 Feb 165 2
I t a l i an composer and s i nger
Gro ve 6
88
Ambros e
b . Tri er [Treves ] , c a . 340 ; d . M i l an , 3 9 7
Sai nt , b i s ho p , a n d Doctor of t h e Church
G rove 6
398-99
444
Anac areon
b . Teo s , I on i a, c a. 582 B . C . ; d. ce. 485 B . C .
Last great l yr i c poet of As i an Greece
EB
"
Apo l l o
God of L i ght , l yre p l ayer
Smi th
378
Ar i on
b . Met hymn a , now Mol yvos , Lesbos ; f l . 6 25 -600 B . C .
Greek c i thar a p l ayer and s i nger who accumu l ated great wea l th by
successfu l l y wi n n i ng contests
Grove 6
94
Ar i o sto , Ludo v i co
b . Regg i o Emi l i a , I t a l y , 8 Sep 1474 ; d . F errara, 6 J u l y 1 533
Poet and p l aywr i ght
EB
403
Ari stophanes
b . ca. 450 B . C . ; d . ca. 385 B . C .
Greek dramat i st
EB
77
445
Ari stot l e
b . Stag i ru s , 384 B . C . ; d . C h al c i s , 3 3 2 B . C .
Greek ph i l osopher
Grove 6
48
Ari stoxenu s
b . T arentum, n ow Taranto, c a . 37 5/60 B . C . ; d . ?Athen s
72
Greek theor i st
Gro ve 6
Asaph
B i b l i c al person age
55 , 60
S ai nt Ath an as i u s
b . A l e x andr i a, E gypt , ca. 293; d . A l ex and r i a , 2 M ay 373
Theo l og i an , ecc l es t i ast i c a l statesma n , and E gypt i an n at i on a l l eader
EB
"S!
Av i son , Char l es
b . N ewcast l e u pon Tyne; b apt i zed 16 Feb 1709 ; d . N ewc ast l e u pon Tyne ,
9 or 10 May 1770
E ng l i sh composer , conductor , wr i t er on mu s i c , and org an i st
Grove 6
311 - 12
B ach , C ar l P h i l i pp Emanuel
b . W i em ar , 8 M ar 1 71 4 ; d. H amb ur g , 14 Dec 1788
Composer , k eybo ard p l ayer , and t h eor i s t
Grove 6
127 , 15 2 , 207 , 231-34, 247 , 255-56 , 257 , 264 , 265 , 267
268 , 3 23 , 346 , 350 , 3 5 1 446
' Bach , Georg [ recte, Johann Chri sti an ]
b . Lei pzi g , 5 Sep 1 735 ; d . Lon don , 1 J an 1 782
Composer and keyboard pl ayer
G rove 6
181 , 255-258, 313
Bauer
P adre i n Col ogne; organi st
Schubart
238
B esoz z i , C ar l o
b . Dresden , 1 738; d . after 1798
Son of Anton i o , obo i st and composer; 1 7 55-92, Dresden
Grove 6
His , 193-94
448
----- -�
449
B uon ani [ Bonan i ] , Mon i c a
S i n ger i n WUrttemberg court
Schub art
202
69
Mu s i c i an and scho l ar
Grove 6 , Ger ber L
B ur ney , Char l es
b . Shrew s bu ry, 7 Apr 17 26 ; d . Che l sea, London, 1 2 Apr 1814
E ng l i sh compo ser and mus i c h i stor i an
G rove 6
57 , 99 , 1 1 4 , 1 5 6 , 160 , 3 1 2 , 35 1 , 3 7 6
B uxtehude, D i et r i ch
b . ? O l des l oe , now B ad O l d es l oe , c a . 1 637 ; d . L u beck , 9 M ay 1707
German compo ser and org an i st
Grove 6
126 , 253-54
C aesar , ( G ai us ) J u l i u s
b . Rome , 1 2 or 13 J u l y 1 00 B . C . ; d . Rome , 1 5 Mar 44 B . C .
Roman emperor
EB
TI4
C ah u s ac , Lou i s de
b. Mont aub an , ca. 1 700 ; d. P ar i s , 1 759
Dance master
D ance Encyc , L aborde
405
C a l co l [ C a l k o l , C h a l co l ]
B i b l i ca l person ag e , 1 Chron 2 : 6
60
C a l d ar a , Anto n i o
b . V en i ce , c a . 1 6 7 0 ; d . V i en n a , 28 Dec 1736
I t a l i an composer
Grove 6
90 , 125
Cal l i ope
Muse of ep i c poetry and e l oquence
EB
og
450
C annab i ch , ( Joh ann ) Chr i st i an ( Innocenz Bonaventura)
b . Man nhe i m, bapti zed 28 Dec 1731 ; d. Frankfurt am Mai n , 20 J an 1798
Composer, vi o l i n i st , and conductor
Grove 6
C arest i ni , B i ovanni
b. F i l ottrano , n r . Ancona, ca. 1 705 ; d. ?F i l ottrano , ca. 1 760
Ital i an a l to castrate, i n Freder i c k • s emp l oy 1750-54
Grove 6
2, 211
Car l X I I
b . Stockholm, 1 7 June 168 2; d . F redr i k s h a l d , now Hal den , Norw ay
30 Nov 1 7 18
K i n g of Sweden , 1697-1 7 18
EB
4-95
C ass i us D i o Coccei anu s ( ca l l ed D i o )
��
b . N i c aea, B i thyn i a, c a . 150 ; d . 235
man admi n i strator and h i stor i an
451
Char l es V I I
b . 6 Aug 1697 ; d . Mun i ch , 20 J an 1 745
Char l es Al bert , e l ector of B av ari a from 1 7 26 ; Ho l y Roman emperor
from 1742
EB
174-75
C h ar l e s L ou i s M aucourt
b . 1760 ; d . 1825
Duke of Bru n sw i ck
MGG , s . v . "Br aun sc hwe. i g ..
2lT
Charl otte
b . Stre l i t a , 19 M ay 1 744 ; d . Kew P al ace, Londo n , 1 7 Nov 18 18
Duche s s of Meck l en b urg- Stre l i tz , Queen of Eng l an d , w i fe of George I I I
The B ook of K i n gs
192
C h ar l otte P h i l i pp i ne
b . Brunsw i ck , 1 Aug 1 7 1 3 ; d . Brunsw i ck , 26 Mar 1780
S i ster of Freder i ck I I , wi fe of Duke C ar l I ( 1 7 35-80)
MGG , s . v . "Braunschwe i g"
m
Chri s t i an V I I
b . Copen h agen , 29 J an 1 749 ; d . R ends bu rg , W . Germany, 1 3 Mar 1808
D an i sh ru l er , 1 766-17 84
EB
ID
Chri s t i n a
b . S tockho l m , 8 Dec 1626 ; d . Rome , 1 9 Apr 1689
Queen of Swede n , 1644-1654
EB
W4 , 295
452
Chri stmann , J oh an n F r i edr i ch
b . Ludw i gsburg , 9 Sep 1 7 5 2 ; d . Heut i n gs h e i m , n r . Ludw i gsburg
21 M ay 1817
German c l ergyman , composer , and wr i t er on mu s i c
Grove 6 , MAadJ 1 784 , p p . 45-51
399
C i mon
M i l i t ary commander , son of M i l t i ades
Smi t h
80
239
E l ector of Tr i er , P r i nce-B i shop of Augs burg
Grove 6
Cramer , Ange l i q ue
W i fe of W i l h e l m C r ame r ; s i n ger , h arp i s t , and keyboard p l ayer
Schu b art
234
453
Cramer, J oh an n Andreas
b . Joh stadt ( Erzgeb i rge ) , 27 J an 1 7 2 3 ; d . K i e l , 1 2 J une 1 788
Thea l og i an and wri ter
GB
TI4 , 27 2
Cramer , W i l he 1 m
b . Mannh e i m , b apt i zed 2 J une 1 746 ; d . London , 5 Oct 1 799
German v i o l i n i st
Grove 6
49 , l9l , 28 2
Cr6ner [ Croener , K roner ] , Joh ann N epomu k
b . ?Mun i ch , c a . 1 7 3 7 ; d . Mun i ch 27 J une 1785
German compo ser and v i o l i n i st
Grove 6
' 176-77
Croesus
d. ca. 546 B . C .
L ast k i ng of Lyd i a ( r u l ed c a . 560-546 B . C . ) ; prob ab l y from
H erodotus Pers i an W ars
EB
m
Cryso l i d as
Med i c i K ape l l me i ster
Schubart
35
454
D ar i u s I I I ( c a l l ed Codomman us )
d . B actr i a , 330 B . C .
L ast k i ng , rei gned 336-330 B . C . , o f t h e Ach aemeni d dyn asty
EB
TI
D av i d
B i b l i c al person age
54, 55, 58, 60, 359
De d an
B i bl i c al person age
60
455
Deza l l i er d ' Argenv i l l e , Antoi ne-Joseph
b. P ar i s , 4 J u l y 1680 ; d . P ar i s , 29 Nov 1 765
F rench wri ter on f i ne arts
Mi chaud
47
D i an a
Roman goddess
Smi th
243
D i derot , Deni s
b . L angres , 5 Oct 1 7 1 3 ; d . P ar i s 3 1 J u l y 1784
French phi l osopher and cr i t i c
Grove 6
Dol ci [ Do l ce] , C ar l o [ C ar l i no ]
b . F l orence , 1616 ; d . F l orence , 1686
I t a 1 i an pai nter
Bryan
399
D raco [ Dracon ]
f l . 7th cent . B . C .
Roman l awgi ver
EB
456
Dryden , John
b . A l dw i n k l e , North amptons h 1 re , 19 Aug 1631 ; d. London , 1 May 1 700
Wr i ter of l i terat ur e , poetry , dram a , and cri t i c i sm
EB
71", 1 5 2-53
D u l ci nea de l Toboso
F i ct i onal ch aracter i n Cerv antes ' Don Q u i xote ( 1605 ) and the obj ect of
the Don • s attent i o n ; Schubart refers to " Du l ci neen " ( gen i t i ve p l ural )
Walsh
457
E l i zabeth I
b . Greenwi ch P al ace , G reenwi ch , 7 Sep 1 533 ; d . R i chmond , 23 Mar 1603
Queen of Eng l and
EB
1m3
236
B aron of Bre i db ach at BUrres he i m ; E l ector o f Mai nz ( 1763-74)
ADB
E ndymi on
Myth o l og i c al youth of d i st i ngu i shed beauty i n p erpet u a l s l eep. D i an a
dreaded t h e very s i ght of a man. None was al l owed i n her temp l e , and
she remai ned a v i rg i n .
Smi t h
243
E pami nond as
b . Thebes , ca. 4 10 B . C . ; d . M ant i ne i a , 36 2 B . C .
Greek st atesman and general
EB
mr
E r i chsen
f l . c a . 16 20
Swed i s h compo ser; K apel l me i ster to G us t av Adol ph
Schubart
294
458
E rme l i nd a ( s ee Mari a Anton i a Wal purg i s )
E schenb ur g , Joh an n Jo ac h i m
b . H ambur g , 7 Dec 1743; d . Brunsw i ck , 29 Feb 18 20
German c l as s i c i st , poet , tran s l ator , and c i v i l servant ; tran s l ated
B urney ' s h i story i n 1 78 1
GB , Grove 6
1!'3
E sr a [ Ezra]
B i b l i c a l person age
60
F ar i ne l l i [ Bros ch i , C ar l o ; F ar i ne l l a ]
b . And r i a , Apu l i a , 24 J an 1705 ; d . Bo l og n a , 1 5 J u l y 1782
I t a l i an soprano castrato
Grove 6
lo3 , l04
F au st i n a ( s ee H as s e )
F erdi n an d I
b . A l c al { de Hen are s , Spai n , 1 0 M ar 1503 ; d . V i enna, 25 J u l y 1 564
H o l y Roman emperor { 1558-64 ) and k i ng of Bohem i a and Hungary from 1 5 26
EB
'IT2
459
Ferraresi [ Ferr ares e] del B ene, Adr i an a [Gabri el l i , Adr i ana;
Gabri e l l i , Francesca]
b . Ferrera , ca. 1 75 5 ; d . ?Ven i ce , after 1799
Ital i an soprano
Grove 6
to6
F errari , Domeni co
b. P i acen z a , 1 7 2 2 ; d . P ar i s , 1 780
I t al i an v i o l i ni s t and composer ; st udent of Tart i n i
Grove 6
Ito , 111 , 1 88 , 2 1 1
f
Fr i ede l [ F r i ed ' l ] b rot h ers
'V i o l i n i sts
Schubart
6 2 ' 276
F r i edr i c h [ Freder i ck ] V
b . Amberg , 26 Aug 1596 ; d . Mai nz , 29 Nov 16 3 2
E l ector Pal at i n ate o f t h e Rh i ne , K i ng o f Bohemi a ( 16 1 9 - 20 ;
F r i edr i ch I , the W i nter K i n g } , and head o f t h e Protest ant U n i on
ag ai nst Catho l i c Austri a at tne beg i n n i ng of t he Th i rty Years ' W ar
EB , - GB
179
F r i edr i ch W i l he l m
b . Berl i n , 25 Sep 1 74 4 ; d . Marb l e P al ace , Potsd am , 1 6 N ov 1797
Crown pri nce o f Pru s s i a ; K i n g Fr i ed r i ch W i l he l m I I of P ru s s i a
GB
143
F r i t z , B artha l d
b . Hol l e , 1697 ; d . B runsw i ck , 1 7 J u l y 1 766
German c l av i chord m aker , i nventor , an d wri ter o n tun i ng ( 17 5 6 )
Grove 6
342
F roberger [ ? =Franz berger] , Joh ann J acob [ J akob ]
b . Stuttgart , b apt i zed 1 9 May 1616 ; d . H � ri court , n r . Montb�l i ar d ,
F r ance, 6 or 7 May 1667
G erman composer , organ i st , and k eybo ard p l ayer
Grove 6
I26
F uessl i , Joh ann Hei nr i ch
b . Z ur i ch , 3 Dec 1 745 ; d . Zuri ch , 26 Dec 1832
Swi s s h i stori an , wri t er , and s t at esman
ADB
47
46 2
F u x [ F uchs ] , Joh ann J oseph
b . H i rtenfe l d , n r . St. Mare i n , Styr i a , 1660; d . V i enna, 13 Feb 1741
90, 125
Austr i an composer and mu s i c theor i st
G rove 6
46 3
G i u l i n i [ Curs i n i ] , J oh ann Andreas Joseph
b. Augsburg, b apt i zed 16 Oct 1 732 ; d. Au g s bur g , 21 Aug 1 7 7 2 .
German composer
Grove 6
268
G l i ss [ G l i s ] , J o h an n
f l . f i rst h al f o f the 1 8t h cent ury
N uremberg org an and c l av i er bu i l der. H e constructed an org an i n
Erl angen i n the Lutheran H au pt - und St adtk i rche , 1 736-37
Gerber N L , J oh ann U l ri ch Sponse l , Orge l h i stor i e ( Nurnberg :
Georg Peter Monat h , 1 77 1 ) , p . 135
i 259 , 26 1
Graf or Graf
C l av i er i st i n Erl angen ; student o f P hi l l i p Chri s toph (from Augs burg ) ;
m any of h i s p i eces are i n a Nuremberg col l ect i on ( poss i b ly re l at i ng
h i m to the fol l ow i ng Graf )
Schubart
216-17
Graf or Graf
N uremberg t r umpeter ; pos s i bl y one of the s i x sons of J oh ann Graf
( Sch i l l i ng , Gerber N L )
Schubart
26 2-63
Gu l l i ver
F i ct i on a l character from Swi ft ' s G u l l i ver ' s Trav e l s
27 3
Gustav i us I I I
b . S tockholm, 24 J an 1 746 ; d . Stockholm, 29 March 1 7 9 2
Ki ng o f Sweden , 1 7 7 1 - 9 2
EB
E"2
465
! Hager
erman
, Chri stoph von
si nger i n Wurttemberg cou rt at Stuttgart
G
Schu bart , Kai ser
• 202-03
H a i der
Dresden trombone theori s t ; supposed l y pu bl i shed a book on trombone
i n 1 764
Schub art
371
H andel [ H andel , H endel ] , G eorge Fri deri c [Georg Fri eder i ch
( F ri edri ch ) ]
b . H a l l e , 23 F eb 1685 ; d . London , 14 Apr 1 7 59
Engl i sh ( n atural i zed) composer of Germ an bi rth
Grove 6
38 , 91 , 1 1 9 , 152-54 , 308 , 3 1 3 , 427
H an swurst
German C ommedi a de l l • arte ch aracter
161 ' 210
H ar l eq u i n
I ta l i an Commed i a del l • arte character
1 29 , 280 , 401
H as s e , Joh an n Adol f
b . Bergedorf, n r . H amburg , bapti zed 25 Mar 1699 ; d . Ven i ce,
16 Dec 1 783
C omposer
Grove 6
103 , 128 , 181 , 202 , 2 1 1
H au ber
Court t i mp an i st i n Dresden ; su pposed l y pu bl i shed a book on
ti mp ani i n 1 768
Schubart
385
H awk i n s , S i r John
b. L ondon , 29 Mar 1 7 1 9 ; d . L ondon , 21 May 1789
E n g l i sh mu s i c h i stori an , ant i q uari an , and attorney
Grov e 6
99, 114, 313
46
· H aydn [Hai dn ] , (Franz ) Joseph
b . Rohrau , Lower Austri a, 31 Mar 17 3 2 ; d . V i enna, 3 1 May 1 809
Aust r i an composer
i Grove 6
. 129, 280-81
Hed l er , Mar i a Ann a [ Mar i anne] ( c al l ed "N anette" )
b . 1759 or 1760 ; d . 2 2 Apr 1776
N i ece of G l uc k ; soprano; Mi l l i co was h er teacher i n 1 770
Grove 6
279
Hei n i chen , Joh ann D av i d
b . Kr5ssu l n , nr. Wei s senfel s , 1 7 Apr 1683 ; d . Dresden , 1 6 J u l y 1 7 29
German composer and theori st
Grove 6
149-ISo
H e i nr i ch
b . Berl i n , 1 8 J an 1 7 26; d . Rhei nsberg , 5 Aug 1802
Pri nce of Pruss i a ; brother of Freder i ck the Great
GB
1!9
H e i nri ch der L5we
b . c a . 1 1 29 ; d . Brunsw i ck , 6 Aug 1 1 95
Duke of B av ar i a and Saxony , 1142-80
GB
m
Helfer i ch
C l av i er i st .at Fran kfurt
Schubart
272
Hemme l [Hemel , H aeme l ] , Si gmund
d . prob ab ly at Tub i n gen, end of 1 564
German composer and s i nger , i n t h e Stuttg art Hofkape l l e, 1 544
Grove 6
l99
H erd a [ ? =Erda]
Teutoni c goddes s of earth
116
Herder , Johan n Gottfr i ed von
b . Mohrungen , East Prus s i a, 25 Aug 1744 ; d . Wei mar , 18 Dec 1803
German cri t i c , theol og i an , and phi l osopher
EB
u, 5 3 , 1 7 1
467
!Hb.erodotus
ca. 490/84 B . C . ; d . ca. 425/20 B . C .
, Greek author
EB
H i l l er , Joh ann Ad am
b . W i nd i sch-Oss i g , nr . Gar l i tz , 25 Dec 1 7 28 ; d . Lei pz i g , 16 June 1804
German composer and writer on mu s i c
Grove 6
, 156-58, 300 , 396-97, 405
H i mme l bauer, Wenzel [ ?=Wi l he l m]
Cel l i st, i n Prague 1 764; 1 n V i enn a 1 78 2 ; " now" i n B ern
Gerber L , Mende l , MAfD 1 784
28
H ofmann , Leopo l d
b . V i enna, 1 4 Aug 1738; d . V i enna, 1 7 Mar 1793
Austr i an composer , v i o l i n i st , and organ i st
Grove 6
28
Hohnbaum [ Honb aum] , J oh ann Chri stoph
Coburg court chap l ai n
Schubart , Kai ser
401
Hol berg, Ludw i g Frei herr von
b. B ergen , Norway , 3 Dec 1684 ; d . Copenhagen , 28 J an 1 754
Norweg i an-Dan i sh poet and h i stor i an
GB
6-97
Ho l z bau er , Ignaz ( J akob }
b . V i enna, 1 7 Sep 1 7 1 1 ; d . Mannh eim, 7 Apr 1783
Austri an composer
Grove 6
468
Homer
f l . c a . 9th or 8th century B . C .
64, 7 2 , 80 , 1 22 , 4 16
Greek wr i ter o f ep i c poems
EB
154-55
Org an i st , composer , canto r , and mu s i c d i rector; at Dresden from 1 755
Grove 6
Honori u s
Pope ( Sch ubart does not g i v e enough spec i f i c i nformat i on to correct l y
i dent i fy th i s pop e . )
Schubart
88
Hrotsw i th a [ Roswi t h a]
b . c a . 935 ; d . 1 000
Nun of G an dershe i m , German poetess , author of s i x p l ays (comed i es )
i n i m i t at i on o f Terence
Grove 6 , - EB
118
H unme l
B as s s i nger i n N uremberg ; ?son of Matthau s H umme l , l ute and v i o l i n
� chub art
m aker i n N uremberg c a . 1 7 20 ( Gerber N L )
i
63
469
Isis
E gypti an goddess; w i fe o f O si r i s
EB
n
J ag er , Joh annes
b . Sch l i tz , 31 Aug 1748
C e l l i st at Ansb ach
Gerber L , Mende l , Sch i l l i ng , Gerber N L
142 , 214-1 6
J ager, Johann Zac h ar i as Leopo l d
b . An sbach , 1777
C e l l i st; appo i nted to the Ansbach court orchestr a c a. 1 787 ;
son of above
Mende l , Gerber L , Schubart
215
J amb l i chus
b. Chal c i s , Coel e-Syr i a, now i n Syr i a, 250; d. c a. 330
M ajor f i gure i n the ph i l osoph i ca l schoo l of Neop l aton i sm
EB
1Pf
J an i tsch , Anton
b . Swi t zer l an d , 1 75 3 ; d . Stei nfurt , 1 2 Mar 1812
V i o l i ni st and composer; c a . 1784 i n the serv i ce of the Duke of
Oett i ngen at Wal l erstei n
Gerber L , Sch i l l i ng
221
Jehovah
B i bl i cal personage
3 29 , 359
J eremi ah
B i bl i cal personage
61
Jesus Chri st
B i bl i cal person age
6 1 , 131 , 1 68-69 , 266 , 431
470
1
Jommel l i [ Jomel l i ] , N i co l o [ N i cco l o ]
b . Aversa, 10 Sep 1 7 1 4 ; d . N apl es , 25 Aug 1 7 74
I t al i an compo ser of opera and s acred mu s i c
Grove 6
92, 94 , 95 , 96 , 9 9 , 1 05 , 1 28 . 164 , 1 6 7 , 181 , 201 , 202 , 203 , 205 ,
207 , 220 , 224 , 256 , 257 , 369 , 419 , 424
Joseph I
b . V i enna, 26 J u l y 1678; d . V i en n a , 1 7 Apr 1711
Ho l y Roman empero r , 1 705-1 1 ; son o f Leopol d I
EB
1'2'4
Joseph I
b . L i sbon , 6 J un e 1 7 14 ; d . L i sbo n , 24 Feb 1777
K i ng of Portug al , 1750-77
91
Joseph Wenzel
Pri nce of F urstenberg
245
J oz z i [Yoz z i ] , G i u seppe
b . ?Rome , ca. 1 71 0 ; d . ?Ams terdam, ca. 1 770 or e ar l i er
I t a l i an s i nger ( c astrat o soprano } , h arps i chord i st , and composer ,
at Stuttg art , 1 7 50-56
Grove 6
169 , 203
J ubal
B i b l i c a l personage; G en . 4 : 21
50
J u n ker , C ar l L udw i g
b . K i rc hberg an der J agst , 3 Aug 1748; d . R uppertshofen , 30 May 1797
German pastor . wri ter o n mus i c and art , and composer
Grove 6
114 , 304 , 4 27
,
K ar l August
b . Weimar, 3 Sep 1757 ; d . Grad i t z bei Torg au , 14 June 1 8 28
Duke of S axony-Weimar , 1758-1815 ; grand duk e , 1815-28 ; son of Anna
Amal i a ( 1739- 1807 }
GB
171
K ar l Eugen
b . BrUssel s , 1 1 Feb 1 7 28 ; d . Hohen h e i m , 24 Oct 1 793
Duke of Wurttemberg , 1 7 37-93
GB
"2m.
K ar l F r i edrich
b. K ar l sruhe, 22 Nov 1 7 28 ; d. K ar l sruhe, 10 June 1811
Margrave of B aden-Dur l ac h , 1 738- 1803 ; el ector , 1803-06 ; grand duke,
1 806 - 1 1
GB
�3 , 225
K ar l Theodor
b . Drogenbos , nr. Brussel s , 1 1 Dec 1 7 24 ; d . Mun i ch , 16 Feb 1799
Pri nce of B av ar i a , 1742-99 ; rece i ved f l ute l essons from Wend l i ng ,
1751 or 52
GB
TS'O, 380
Kar l Wi l he l m
b . 1 709 ; d . ?B ase l , 1 738
Margrave of B aden-Dur l ach
MGG, s. v. •K ar l sruhe"
m
K aro l i n a
b . Leeuwarden , 28 Feb 1743 ; d . K i rchheimb o l anden , 6 May 1 787
Pri ncess of Orange- N as s au ; marr i ed to Kar l Chri st i an , pri nce of
N as s au-Wei l burg
The Book of K i ngs
1 24 /
K i rcher , Ath an as 1 u s
b . Ge1 s a , nr. F u l d a , 2 May 1601 ; d . Rome , 27 Nov 1680
German po l yh i stor i an , theo l og i an , and mu s i c theor i s t ; res i dent
mai n l y i n I ta l y
Grove 6
67
473
I K i rnberger [Kernberg ] , Johann P h i l i pp
b . Saal fe l d , b apt i zed 24 Apr i l 1 7 21 ; d . Ber l i n , 26 or 27 Ju l y 1 783
German t heor i st and composer
Grove 6
1j4-135
K l ei n , Ant on
P rofess or ; i n Man n he i m b eg i nn i ng i n 1 768 ; he he l d v ar i ous court
pos i t i on s
DDT, vo l . v i i i and i x ( 1902/R1958}
K orber , I gn az [ I gnat i us ]
b . Mai n z , 1 744 ; d . Goth a , 1801
Wal dhorn i st at Gotha; i n P ar i s , 1 766 ( a c h a l l enger to Punto ? } ; opens
a mus i c s tore i n 1 785 ; l ater a bassoo n i st
MAfD 1 78 2
8
K r au s e , Chr i s t i an Gottf r i ed
b . W i nz i g , n ow W i � s k o , S i l es i a, bapt i zed 1 7 Apr 1719;
d . Berl i n , 4 May 1 7 70
G erman l awyer , mus i c aesthet i c i an , composer , and poet
Grove 6
6
474
L act ant i s , Luc i u s Caeci l i u s F i rm i anu s
b . North Afr i c a , c a . 240 ; d . Tr i er , West Germ any, c a . 3 20
Chr i s t i an Apo l og i st
EB
L an g , J oh ann Georg
b . S voj !�n , 1 7 22; d . Ehren brei tstei n , 1 7 J u l y 1 798
German composer of Bohemi an desce nt
Grove 6
L av ater , J oh ann K as p ar
b . Z ur i ch , 1 1 Nov 1 74 1 ; d . Zuri ch , 2 J an 1801
Wri ter , patr i ot , Protest ant pastor , and founder of phys i ognomies
EB
' 304
475
Leffl oth [ LBffe l l oth ] , Joh ann Matt h i as [ L8ffel oth , J . Matt h Hu s ]
b . N uremberg , bapt i zed 6 Feb 1 705 ; d . N uremberg, buri ed 2 Nov 1731
German org an i st and composer
Grove 6
261
Legrand
C e l l i st i n Berl i n
Sch ubart
214
Legrand , ?Jean-P i erre
b . T arbes , 8 Feb 1734 ; d . Marsei l l e s , 31 J u ly 1 809
French h arps i chord i st
Grove 6
3a
Lei bni z , Gottfri ed W i l he l m
b . Lei p z i g , 3 Ju l y 1646 ; d . Hanover , 1 4 Nov 1716
German phi l osopher
Grove 6
1 87
Leopo l d I
b . V i enna, 9 J une 1640 ; d . V i enna, 5 May 1705
Ho l y Roman emperor , 1658-1705
EB
rn
L es s i ng , Gottho l d E phraim
b. K amenz , 22 J an 1 7 29 ; d. Brunsw i ck , 1 5 Feb 1781
German dramat i st , author, cri t i c , and aesthet i c i an
EB
jB, 160, 235
Pri nce of L i chtenste i n
Schubart
276
L i d l [ L i ed l , L i de l ] , Anton (Andreas )
b . ?V i enna; d . London , ?before 1789
V i rtuoso on and i mprover of the baryton; v io l a da g amb a p l ayer
Grove 6
l jOH
L i ppert , P h i l i pp D an i el
b . Mei ssen , 29 Sep 1702; d . Dresden , 28 Mar 1785
Professor of Ant i qu i t i es at the Academy of Arts i n Dresden ( from 1764)
�
476
L i v i u s [ L i vy ] , T i t u s
b . P at av i um , now P ad u a , 5 9 B . C . o r pos s i b l y 6 4 B . C . ; d . P at av i um ,
A . D . 17
8I
Roman h i stori an
EB
L o l l i [ Co l l i ] , Anton i o
b . Bergamo , ca. 1 7 25 ; d . P a l ermo , 1 0 Aug 1802
I t a l i an v i o l i n i st and composer
Grove 6
38 , 48 , 1 1 1 , 1 1 2 , 1 38 , 1 9 1 , 1 96 , 2 1 2 , 27 1 , 28 2 , 285 , 299 , 306
Lowth , Robert
b . W i nchester , 1 7 10; d . London , 1 787
Bri t i sh theo l og i an ; professor of poet ry at Oxford , 1741 -50 ; b i shop
n
at Oxford , 1 766 ; b i shop of London , 1 77 7
L uther , Mart i n
b . E i s l eben , now i n E . Ger . , 1 0 Nov 1483 ; d . E i s l eben , 1 8 Feb 1546
B i b l i ca l scho l ar , l i n gu i st , and fou nder of the 16th -cent ury Protestant
Reformat i on
Man nus
Founder of the German i c r ace
Tac i tu s German i a
477
Mara, Johann B apt i st
b Berl i n , ? 1746 ; d . Sch i edam , nr . Rotterdam, 1 808
•
M arpurg , Friedr i ch Wi l he l m
b . Seehof , n r . Wendemar k , Brandenbur g , 2 1 Nov 1718 ; d . Ber l i n ,
22 M ay 1 795
German cr i t i c , j ournal i st , theor i st , composer , and c i v i l servant
. Grove 6
111�, 1�3 , 159
1 M arsyas
Greek mythol ogy; f l ute p l ayer ( ?au las ) who chal l enged Apol l o ( l yre
and ci thara pl ayer ) to a contest and l ost
Smi th
378
M art i n , ?Joh annes
! Org an i st i n U lm, s uccessor to Wal ther , who l eaves i n 1 770
MGG , s . v. " U l m "
m
478
M arti nel l i
German organ i st ; contemporary of J . S . B ach
Schubart
91 , 1 09
Mart i n i , Padre G i ov an n i Batti sta
b. Bol ogn a, 24 Apr 1 706 ; d. Bo l ogna, 3 Aug 1784
I t a l i an wri ter on mu s i c , teacher , and composer
Grove 6
:57 , 81 , 99 , 1 5 8 , 268 , 3 5 2 , 372
I
Mattheson , Johann
b . H amburg , 28 Sep 1 68 1 ; d . H amburg , 17 Apr 1764
German compose r , cri t i c , mu s i c j ourn al i st , l ex i cographer, and theori st
Grove 6
111 4 , Zi!:B- 29 , 4 27
Max imi l i an I I
b . V i enna, 3 1 J u l y 1 5 27 ; d . Regensburg, 1 2 Oct 1576
Ho ly Roman emperor , 1 564-76
EB
lr2'2 , 1 24
Max imi l i an I I Eman uel
b . Mun i ch , 11 J u l y 1662; d . Mun i ch , 26 Feb 17 26
El ector of B av ari a , 1679-1726
�
Max imi l i an I I I Joseph
b. Mun ich , 28 Mar 17 27 ; d . Mun i ch , 30 Dec 1777
El ector of B av ari a from 1745 , composer and stri ng p l ayer
Grove 6
11 7 5
Mayer
Keyboard p l ayer i n I taly; Schubart • s st udent
Schubart
109
Med i c i fami ly
I tal i an p atrons of the arts
85 , 86
Mel pomene
Muse of tragedy
Smi th
403
479
I1 Mengs , Anton R aphael
b . Auss i g , Bohem i a , 2 2 Mar 17 28 ;
d. R ome , 29 Jun 1 779
Neocl as s i c pai nter and wri ter on art
Bryan
47 , 430
Merkel
C l av i er i st in the Hofk ape l l e at D armstad t
Schub art
250
N �rd i n i , P i etro
b . L i vorno, 1 2 Apr 1722; d . F l orence , 7 May 1 79 3
Ital i an v i o l i n i st a n d composer
Grove 6
, von G a 1 '
N i kol aus ( Joseph ) , 11the Mag n i f i cent , .. E sterhazy anth a
b . 1 8 Dec 1 7 14 ; d . 28 Sep 1790
Pri nce E sterhazy; mu s i c p atron
Grove 6 ·
280
Noverre, J ean-Georges
b . P ar i s , 29 Apr 1 7 27 ; d . S� Germai n-en-Laye, 19 Oct 1810
French-Swi ss choreogr apher
Grove 6
190 , 203-04 , 405
482
Orpheus
legendary mus i c i an of Greek mythol ogy
Grove 6
63 , gs , 21o
Os i r i s
Egypt i an god of fert i l i ty and a person i f i cat i on of the dead k i ng as god
of the underworl d ; h u sb and of I s i s
EB
n
Oss i an [ Oi s i n]
Poet of the t h i rd cent ury 11d i scovered " by J ames Macpherson and
1 pub l i shed i n 1 7 6 2-63 i n the epi cs F i ngal and Temora
�
B urne G , p . 80 n .
170, 76
Otto , Johann D av i d
: Medi ocre organ i st of Fran kfurt
� Schubart
27 2
Otto I I , der Erl auchte ( Nob l e )
b . Ke l heim, 7 Apr 1 206 ; d . landshut , 29 Nov 1 253
Duke of Bavar i a , 1 231-53
GB
7
[ Ovi d ] Publ i u s Ovi d i us Naso
b . S u l mo, now Su l mona, Italy, 20 Mar 43 B . C . ; d . Tomi s , now Constanta,
Roman i a , A . D . 1 7
Roman poet , author of Met amorphoses ( A . D . 1 -8 )
I EB
[im3
P ache l bel [Bache l bel ] , Joh ann
b . Nuremberg, bapti zed 1 Sep 1653; d . N urember g , bur i ed 9 Mar 1706
German composer and org an i st
Grove 6
258-59
P ai s i e l l o , G i ovann i
b . Roccafurzat a , nr. T aranto , 9 May 1 740 ; d . Nap l es , 5 June 1 816
I t a l i an composer
Grove 6
gg , 2gg
P a l m-Gunde l f i ngen , Pri nce K ar l Joseph
Pri nce of Thurn and Tax i s
Schubart , Kai ser
244
483
I BP aui b ll i c al personage
· 83 , 338
Pergo l es i , G iovanni B att i st a
b . I es i , Marche, 4 J an 1 7 1 0 ; d . Pozzu l i , n r . Nap l e s , 1 6 Mar 1736
1 I t a l i an composer
Grove 6
97-99
Per i c l es
b . Athens , c a. 495 B . C . ; d . Athens , 4 29 B . C .
Greek st atesman
I EB
7r, 80
Peter I the Great
. b . Moscow , 9 June 1672; d . S� P etersburg , now Leni ngrad , 8 Feb 1725
Tsar and Emperor of Russ i a , 16B2-1725
EB
N9 , 374
Peter I I [ k ar l P eter U l r i c h , Duke of Hol l stei n-Gottrop]
b. K i e l , 21 Feb 1 7 28 ; d. Ropsh a , nr. St. Petersburg , 1 7 Ju l y 1762
Emperor of R us s i a from 5 J anu ary to 9 J u l y 1 7 6 2
EB
173
Pfei ffer , ?Augu st F r i edr i ch
b . Er l angen , 13 J an 1 748 ; d . Erl angen , 1 5 Ju l y 1817
Professor of Ori ental L an gu ages
Sch i l l i ng , F�t i s B , Ei tner Q
58 , 352
P h i l i dor , Franco i s-Andr� Dan i c an
b . Oreu x , 7 Sep 1 7 26 ; d . London , 31 Aug 1795
Composer
Grove 6
320-21
Phi l i p I I of Macedoni a
b . 382 B . C . ; d . Asi a Mi nor . 336 B . C .
K i ng of Macedon i a. 359-336 B . C .
EB
"!Z7
484
P ic c i nni [ P i c i n n i ] , ( V i to ) N i cco l o [ N i co l a] ( M arce l l o Ant on i o G i acomo)
b . B ar i , 16 J an 1 7 28 ; d . Passy , n r . P ar i s , 7 May 1800
Opera composer
Grove 6
' 3 25
P i n d ar
b . Cynoscepha l ae, Boeot i a, central Greece, 5 22/518 B . C . ; d . after 446,
probab ly c a. 438 B . C .
Greek choral l yr i c i st , master of epinicta ( odes cel ebrat i ng an
ath l et i c v i ctory)
EB
64
;' . � -r
t ,1
f n. �- � �·
485
P l � , Jos� ( =Gi u seppe)
, J u an ( =Gi ovanni Bapt i sta )
, Manuel
V ari ant spel l i n g s of the fami l y name : B l asa , B l as , 1 Bl ass [ ? ] ,
----
Le P l ats , P l a , P l ah , P l as , P l at , P l ats .
b . Catal uni a , possi bl y Barce l ona , fl . from ca . 1 750
Span i s h oboi sts and composers . Much confus i on cl ouds the bi ograph i cal
i nformat i on about these brother s . I t many cases , referen ces to these
mus i ci ans are by fami ly name on l y.
1 752 - two brother s ( un speci fi ed ) from Madri d arri ve i n Pari s an d ,
accord i ng to Feti s , performed i n the Con certs spi ri tuel .
1 752 - Jos� and Juan travel to Stu ttgart an d are empl oyed ( ca . 1753)
by the grand duke, Karl A l ex ander, of Wurttemberg .
ca. 1760 - the two brothers may have been i n London .
1761 - J u an d i es i n Stuttgart . J ose conti nues i n the d u ke ' s servi ce
unt i l 1763 when he goes to Ams terdam , where he wi l l remai n unti l
1 77 6 . 2 ( Some works are pri nted i n Amsterdam i n 1 7 76 ) .
1 782-1 789 - P l a, the el d er and the you nger are i n Germany , 3
possi b l y referri n g to Manuel an d Jos�. 4
1 786 - I n ms . i n the West phal i en N i ederl age there are s i x oboe
concertos , 20 tr i os for two oboes and ba s s , and three [ ? ] oboe sol o s .
Main source: R i chard Xavi er Sanchez, " Sp an i sh Chamber Mus i c of the
E i g hteenth Century" ( P h . D . di ssertat i on , L ou i s i ana State Uni v ers i ty and
Agr i cu l tural and Mech an i cal Col l ege, 1975 ) , pp. 46-52 , 279-8 1 .
Ad di ti onal sources not ci ted by Sanchez i n cl ude Burney G , p . 38 ,
Schi l l i ng , Gerber L , and the mu s i cal al man acs ci ted in the footnotes .
205-06
486
,-�-��--- �- �-- � - �-�� -----�-�--- -- --- -
P l ut arch
b . before A . D . 5 0 ; d . after A . D . 1 20
Greek phi l osopher and bi ographer
Grove 6
64 , 73 , 7 5 , 80 , 3 1 2 , 396 , 418
Po lyhymn i a
Goddess of l yr i c poetry , i nventor of t he lyre
Smi th
84 , 1 23 , 1 79 , 255 , 278 , 29 7 , 305 , 3 29 - 30 , 40 3
Po pe , Al exander
b. London , 2 2 May 1 688 ; d. Tw1 ckenh am, 30 May 1 744
E ng l i sh c r i t i c , poet , sat 1 r 1 st , and w i t
Grove 6
153
Porpora , N i co l a (Antoni o )
b . N ap l es , 1 7 Aug 1686 ; d . Nap l e s , 3 Mar 1 7 68
I ta l i an mus i c i an .. : ; �·'i 1 ; . ,· .
Grove 6
g] , 390, 3 9 3 , 396
P roteus
Prophet i c o l d man of the sea who was abl e to as sume v ar i ous forms
Smi th
256 r i �jer t ch
� ""'< t.' :-> H r. 1 n�adt 25 ._. 1 7 &2; d . 8 i eh : �. i ; c , ,: : �, , ·, ,
P unto , � i o v ann1 , ffi�11b\ Johann Weitzel ( Jan Vicl av ) ]
b . Zehu!i ce, nr • ._.U�e�f'f&o5epulfMi ; d . Prague, 16 Feb 1803
B oh emi an horn p l ayer
Grove 6 ''''�
236-37
487
Pyth agoras
b . S amos , Greece , c a. 580 B . C . ; d . Met apontum, c a. 500 B . C .
Greek ph i l osopher and re l i g i ous teacher
EB
-67
Qu i n au l t , Ph i l i ppe
b. P ar i s , bapt i zed 5 J une 1635 ; d. P ari s , 26 Nov 1688
French dramat i s t , l i brett i st , and poet
Grove 6, L aborde
R aml er, K ar l W i l he l m
b . K o l berg , 25 Feb 1 7 25 ; d . B er l i n , 1 1 Apr 1798
Poet
GB
3, 267
R ap h ae l
b . U rb i n a , 6 Apr 148 3 ; d . Rome , 6 Apr 1 5 20
I t a l i an p a i nter
B ryan
23 2
.. � ; �; ' ., ' !
'I;
488
I Rei ner?
Bas sooni st i n Mannhe i m
Schu bart
1 97
R i chey , Mi chael
b . H amburg , 1 Oct 1678; d . H amburg , 10 May 1761
P oet and scho 1 ar
GB 1 5 , MAfD 1 783 , pp . 164-66
230
Romu l u s
Myth i c al founder of Rome
· Smi th
81
Rosett i [ Res l er , Rosety , Ros sett i , Ros s l er] , { F rance sco ) Anton i o
[ Franz Anto n , Frant i � ek Anton fn ]
b . Lei tmer i t z , now L i tomer i ce , c a . 1 750 ; d . Ludwi gs l u st , 30 J u n e 1 79 2
Bohem i an composer and doub l e b as s p l ayer
Grove 6
S a l es [ n �e B l umer ] , Franz i s k a
W i fe of P i etro Pompeo ; former l y P i etro ' s student ? ; s i nger { a l to ) at
Kob l en z
Schi l l i ng
240
490
S a l i mbeni [Sal emb i n i ] , Fel i ce
b . Mi l an , c a . 1 7 1 2 ; d . Lj ub l j an a , Aug 1 7 5 1
I t al i an c astrato; st udent of P orpora
Mende l , Sch i l l i ng , L aborde
1 04 , 1 05 , 1 3 2 , 2 1 1
Sandmai r ( se e Forstmeyer )
S ap pho
b. Lesbos , As i a M i nor, f l . ca. 6 10-580 B . C .
Gree k lyr i c poetess
EB
1)4"
S artori [ ?S artor i us ]
V i o l i n i st from U lm ; trai ned i n M an n h e i m and Ludw i gsburg ; chamber
v i rt uoso i n An s b ach
Schubart , Deutsche Chro n i k ( 29 J une 1 7 7 5 ) : 414
275
S au l
B i b l i c al personage
54 , 59
lila, 1� 2
Composer , k eyboard t e acher , and performer
Grove 6
221
Sche i be , Joh ann Ado l ph
b . Lei pzi g , 5 May 1 708 ; d . Copenh age n , 2 2 Apr i l 1776
German composer and t heor i st
Grove 6
159-60, 296
491
! Sch l ege l , Joh ann E l i as
b . Mei ssen , 1 7 J an 1 7 1 9 ; d . Sor0 ( Se e l and ) , 13 Aug 1749
German poet
GB
!!S"'9
Sch l i mb ach [ Sch l 1 mmb ach] , Georg C hr i st i an Fri edr i ch
b . Ohrdruf , 1 Dec 1759
Org an i st and compo ser at Regensburg ; 1 782 he i s cantor and organ i st
at Prenzl au ; l ater he i s i n Berl i n ; student of B ach ( ?Ernst Carl
Gottfri ed B ach )
Sch i l l i ng , Mende l
245
Schmi d l i n [ Schmi d l i ] , Joh annes
b. Zuri ch , 22 May 1 7 22 ; d. Wetzi kon , 5 Nov 1772
Swi ss composer and mi n i ster
Grov,e 6
I.:SU4
Schmi ttbaur [ Schmi ttbauer] , Joseph Al oys
b . B amb urg , 8 Nov 1 7 1 8 ; d . K ar l sruh e , 24 Oct 1809
German composer , conductor , and g l ass h armon i ca maker
Grove 6
1 223- 25 , 238
Schnei der, Con r ad M i chae l
b . Ansbach , bapt i zed 28 Aug 1673; d . U l m, 23 Nov 1752
German composer and organ i st
Gro ve 6
274
Schobert , Johann [ Je an ]
b . ?Si l es i a, c a . 1 7 35 ; d . P ar i s , 28 Aug 1767
H arps i chord i st and composer
Grove 6
£4 / , "l.ts4-85 , 291
Schobert [Schubert (MAadJ 1782) , ?Schubarth , G. P . (horn i st i n
Vers ai l l es ) , Sch ubart, Schober ( GS , 1 : 30 , 50 [ L & G , 1] )
B rother of Joh ann Schobert ; bassoon i st i n P ari s
Sch ubart
285
49 2
Schubart [?Schubert, Schobert , Schober ( GS , 1 : 30 , 50 [ L & G, 1 J U
Tenor i n Hamburg
Schubart
228
Schonfel d , J oh ann P h i l i pp
b . Strasbourg, 1742; d . Str asbour g , 5 J an 1790
A l s at i an compo ser and conductor
Grove 6
286
Schuback . J acob
b . Hamburg, 8 Feb 1 7 26 ; d. Hamburg, 15 May 1 784
German l awyer and amateur mus i c i an
Grove 6
234
493
Sc hwaneberger [Schwan berg , Schwanberger ] , Johann Gottfri ed
b . P robab l y at Wol fenbUttel , c a . 1 740 ; d . Brun swi ck , 29 March 1804
German composer and Kapel l me i ster
Grov e 6
211
1 9 7 , 214
Bassooni st
MAadJ 1 782 , Gerber L, Schi l l i n g , Gerber NL
? Scott i [ Scotc i ]
C emba l i st i n M i l an c a . 1770
Gerber L , Burney F , p . 74 , Schubart
108
494
Seyfert [ Seyffert ] � Joh ann Gottfri ed
b . Augsburg, 11 M ay 1731 ; d. Augsburg � 12 Dec 1772
German composer
. Grove 6
. 264-68
Sey l er , Abe l
b . L 1 estal , nr . B as l e , 23 Aug 1730 ; d . Rel l i ngen � nr. H amburg �
1 25 Apr 1800
Swi ss theater d i rector and actor act i ve i n Germany
Grove 6
170
Shakespeare , W i l l i am
b . Stratford-upon-Avo n � W arw i cksh i re � 26 Apr 1564; d . Stratford-upon
Avo n , 23 Apr 1616
P l aywr i ght and poet
EB
li2 , 165 , 405
S i l bermann , Joh ann Andreas
b . Strasbourg, 26 May 1 7 1 2 ; d . Strasbourg, 11 Feb 1783
German keyboard i nstrument maker (organ )
Grove 6
220 , 341. "34 2
S i mo n , Johan Cas p ar
b . nr. Schma l k a l den� Erfurt � Thur i ng i a� 10 J an 1701 ; d . Lei p z i g �
2 2 Nov 1776
German compo ser and organ i st
Grove 6
286
Socrates
b . Athens , ca. 470 B . C. ; d . Athen s , 399 B . C
Greek ph i 1 osopher
EB
mT
495
Sol omon
f l . m i d -lOth century B . C .
B i b l i ca l person age
54 , 60 , 3 7 1
So l on
b . ca. 630 B . C . ; d . c a . 560 B . C .
Athen i an st atesman and poet
EB
n
Sophoc l es
b . Col onu s , nr. Athens , c a . 496 B . C . ; d . Athens 406 B . C .
P l aywr i ght of Greek traged i es
EB
77
178 , 342
German organ b u i l der and pi ano manufacturer
Grove 6
Gerber NL
Spat h [ Spat ]
V i o l i ni st , t eacher of Lo l l i ; i n Ludw i g s burg , 1 770
r
259 , 354
Stami t z , Car l { Ph i l i pp )
b . Mannheiii,:; &J•p* i led 8 May 1 745 ; d . Jena, 9 Nov 1801
Composer anct v;tpl i n.1 s t ; v i o l an , and v i o 1 a d • amore p l ayer
Grove 6 ., ,
19 2
Pol i sh ki n g , 1764-95
Grove 6 , - GB
301
� rove 6
� . K i rchberg an der J ag s t , 14 Au g 1675 ; d . Stuttgart, 26 J u l y 1 7 19
� trouth
�00
� chu bart
ondon pi ano mak er
�4 2
497
Tacet [Tacert ] , Jos eph
Act i ve c a . 1756
Engl i sh f l ute p l ayer and i mprover of the i n strument
Gerber L , Sch i l l i ng , E i tner Q
1 305 ' 380
IM:
Roman orator, public· off i c i al , and h i stor i an
Grove 6
1 200 ' 229-30 ' 231 ' 381 ' 401
Th a l i a � .� : , · .·
Greek mu se of collecty l . : . .
Smi t h
403
Theuth or Theut
E gypt i an god , ,invantcm.. of names ; or f i gure i n German f o l k l ore
1 16 ,,�: : . ;
T i mo 1 eon · . .:
b . ?411 B .C .:;' d .· 331 13 . C .
Statesman and mi l i t ary l eader ; ?mu s i c i an ( P l ut arch L i ves )
80
498
T i motheus
b. Thebes
F l aut i st i n serv i ce to A l ex ander t h e Great
L aborde
7 1 , 3 26
T i t i an [ T i z i ano Vecel l i o ]
b . P i eve d i Cad or e , Italy , 1 488/9 0 ; d . V en i ce 2 7 Aug 1576
Pai nter of the Venet i an schoo l
B ryan
430
Toesch i , C ar l Joseph
b . Ludwi gsburg, bapt i zed 11 Nov 1731 ; d . Mun i ch , 1 2 Apr 1788
1S§-§D
Composer and v i o l i n i st
G rove 6
Ton i n i
f l . E ar l y 1 8th centu ry? , act i ve i n Germany
Sch u b art
90
Tos i , P i er Francesco
b . Cesena, c a . 1 653 ; d . F aen z a , 1 7 3 2
I t al i an wr i ter o n mus i c , s i n ger , teach er , compo ser , and d i pl omat
Grov e 6
107 , 133
Touchemou l i n , E gi d i us or L u dw i g
b . 1 75 9 ; d . 1 4 Ju1y 1830
Son of Joseph
Grove 6
244
Tozz i , Anton i o
b . Bol ogna, c a. 1 736 ; d . B o l ogn a , after 1812
I t a l i an compo se r , act i ve i n Spai n ; Hof k ape l l me i ster i n Mun i ch ,
1 7 74-75
Grove 6
115
499
Traett a [Traj ett a ] , T011111a so ( M i chel e F r ancesco S aver i o )
b . B i tonto , nr. B ar i , 30 M ar 1 7 27 ; d . Ven i ce , 6 Apr 1779
I t al i an composer
Grove 6
Smi th
84
Smi th
1 6 2 , 243
500
Dou b l e b as s i st i n Tr i e r ; former ly at WUrttember g , then Kob l en z
Voc i k a [= ?Wosch i tk a ( s ee Grove 6 ) ] , I gn az
Schu b art
240-42
1 1 27
W ag n er , Chri st i an U l r i ch
b . U l m , 28 Dec 1722;::
U l m publ i sher anfl o"pai st
Gerber L .. !
334
Wal ther [Wal ther ] , Johann Chri stoph
b. Wei mar , 8. : Jtt'bv. WJ5 ; d. Wei mar 25 Aug 1 7 7 1
Organ ht 411d· .SMQR4lr�· of. Johann Gottfr i ed W a l ther; org an i st i n U lm,
c a . 1 75 2-.70.; . re t urn s t o Wei mar . Sep 1770
G er ber L , Gerber NL , Sch i l l i ng , Fit i s B, E i t ner Q
15�. 274
Wei s s , Car l
b . Miil h avs.-. �a� J-738J d . London , 1 79 5
F 1 aut i s t ·.,. :.: ,
·. · :.'$ •
Wei s s , S H v 1 vs ....,.pe l4
b . B reslau � �� �t lla6 ; d . Dresden , 1 6 Oct 1 750
Luteni s t
Grove 6
361
501
Wend l i n g [n �e S purn i ] , Dorothea
b. Stuttgart , 2 1 March 1 736 ; d. Mu n i c h , 20 Aug 181 1
S i n ger
Grove 6
196
W i l he l m V
b . The Kague, 8 Mar 1748 ; d . Brunsw i ck ; 9 Ap� 1806
Pri nce of Orange-Nas s au , Erbst atth al ter of the Nether l ands
The Book of K i ngs
143
502
W i nckelmann , J.-a.aJ {Joach i m )
b . Stenda•l , Prass f lf\t�8: Dec 1 7 1 7 ; d . Tr i e ste, 8 J une 1768
Arch aeo log i st intltJ art' h i stori an
EB
47', 85
197
W i tteki pdt [lll tttttl6rtitl)� ;; .
c a . 750"'801 , !:tl'1,tHitd y
Leader o�·tbe 1 1� _,af nst Char l emagne
GB
147
Woegge 1 � [Wiegel ]Vtllcthae 1
b . R ast ait, . 114hlt l4k1:; ;
Trumpet i,!ajer. &adBtHa�Durl ach and i nstrument maker
MAfD 1782, 1783 , 1784 , Sch i l l i n g , Grove 6 , s . v. "Trumpet , 11
•schmittbauarr"' -
224- 25 , 26 2
Wo l f , Ernst Wf·lM1•
b . Grossen , Betlrfngen , b apt i zed 25 Feb 1735 ; d . Wei mar ,
29 or 30 Nov 1792
German COJIPOStr
Grove 6
171
Wood an [Wuoden , Od i n , Woden , Wot an ]
Teutoni c god
1 16 , 1 23 , 3 29
X aver i a
Pri ncess , wf fe o f Pri nce K ar l A l exander ? ; c l avi chord p l ayer at Tax i s
Schubart
243
Xenophon
b. Att i c a, 431 B . C . ; d . Atti c a, short l y before 350 B . C .
Greek h i stori an
EB
�
Yor i ck [Yorfk]
F i ct i on a l character of L aurence Sterne
245 (see espec i al ly the footnote to p . 24 5 )
503
Z achar i a [ Zach ar i ae ] , ( Just ) [ Ju st u s ] Fr i edrich Wi l he l m
b . Frankenh au se n , Th ur i ng i a , 1 May 1 7 26 ; d . Brunswi ck , 30 J a n 1777
212
German poet and ed i tor; in Brunsw i c k by 1 748
Grove 6
Z ah n brothers
b . Franconi a; d . 1 7 90
B as s oonist s , a l though Schubart states t h at they are z i n k i st s
Sch i l l i ng , Sai n sb ury, Choron
373
Z ar l i no , . G i o seffo [ G i o seffe]
b . Chfmh . prob ab l y 3 1 J an 151 7 ; d . Ven i c e , 4 Feb 1590
1§§
I t a l i an theori st and composer
Grove . 6
86 ,
504
B IB L I OGRAPH Y
f
B ryan , M i chael . B r� an ' s D i ct i on ary of P ai nters and En ravers . Edi ted
by Georg e C . W 1 l l i amson . 5 vo l s . Lo nd o n : G. B e 1 an d Sons,
1930- 34 .
505
'l;j'·¥iiRCe
196
,
C h uj oy , Anato 1 e , and M anchester , P . w . , comp . and ed•·: T
Enc c l ope d i a . Rev. and en l . e d . N ew York : S1 ..0n.
.··
\( ; '
nister,
.
• '
ed .
50
i m Schwi kertschen Verl age , 1788-1801 ; repn nt ed. , r&$g. von
Forke l , Johann N i ko l au s ; . A l l seme i n e Gesch i chte der Mus i k •. leipz i g :
Othmar Wes sely, Graz : Ak ademi s che D ruck- und Ver l ags anst al t ,
1 967 •
17Sa�
-- · · · Mus i k al i scher A l manach fur Deut sch l and auf das J ahr 1782-84 ,
I - � lei pzi g1 Schwi ckert , I?S2-89.
-
�
Zei tbi l d, Ausgew!hl t e Sch r i ften . Stuttgar t : Si l berburg , l9 29 .
;;�t \( :� .
Gerbert , Mart i n . De c antu et mus i c a s acra a pr i ma ecc l es i ae aet ate
uJqpe : !d ; pr aesens tempu s . 2 vo l s . Typ i s San B l as i an i s , 1774 .
,·.• �� �},�·�� \.i, ;"'
Godo l ptll "··frillc 1 s R . T . , ed . The Greek Hi stor i ans . 2 vo l s . New
York: R andom H ouse , 1 94 2 .
31 vo l s . P ar i s : H . L ami rau l t et C i e. ,
507
Grave, Floyd K. "Afab' Vogl er ' s Rev i-s i on of Pergolesi ' s Stabat Mater"
Journal of the Alner1 can Mu s i co l og i cal Society 30 (Sp n ng 1977) :
43-71.
J ambl f chus . I amb 1 1 chus ' L i fe of Pytha oras. Transl ated by Thomas
Tayl'or��:: :::{•din·: · X. J. Val py, 18 8 ; reprint ed., London: John M.
w at« tfts .. 1 ft6
·-· · ·· . .
· , .-·
Kl ob, Karl Mari a. Schubart: ein deutsches Dichter- und Kul turb il d.
Ulm: H. Kerl er, 1908.
508
L aborde , J ean Benj ami n d e . E s s a i s u r l a mu s i qu e anc i enne e t mod ern e .
4 vol s . P ar i s : P h i l i ppe Denys P1 erres , 1780; repr 1 nt ed. ,
New York : AMS Press , 1 97 8 .
Livius , Titus. �
i vy Tran s l ated by B . 0 . Foster . The Loeb C l as s i cal
L i brary. 1 vo l s . Londo n : W i l l i am He i n em an n ; New Yo rk : G . P .
P ut n am ' s Sons , 1 919 .
Soc i et as B i b l i ograph 1 c a , 19 5 .
�
Loewen berg , A l fred . Annal s of O er a , 1597-1940 . 2 vo l s . Gene v a :
Mu s i k a l i s cher und Kunst l er-A lman ach auf d as J ahr 1783 . Attr i b uted to
K . L . Ju nke r . Kosmopo 1 i s : n . p . , 1783 .
g
Nestri epk e , S i egfr i ed . B e i trl e zur K enntn i s Schubarts a l s D i c hter .
M arbu r g : H . Sch n e i der , 1 09 .
Ossenkop , Oav 1 d . •c . F . D . Schub art ' s Wr i t i n g s o n Mus i c . " M'a ster ' s
thes i s , C o l umb i a U n i ver s i ty , 1 960 .
510
Peck , H arry Thurston , ed. H ar per ' s D i ct i on ary o f C l as s i c al
L i t erat ure and Ant i qu 1 t 1 es . 2 vo l s . New York : Amer 1 c an Book
Company , 1937 .
�
Rousseau , Jean J acques . A Comp l et e D i ct i o n ar of Mu s i c . Transl ated by
W i l l i am W ar i n g . 2d ed . london : p r i nte for J . Murr ay , 177 9 ;
r epr i nt e d . , New Y ork : AMS Pres s , 1 97 5 .
511
Schai rer , Eri ch . Chr i st i an F r i ed r i c h D an i el Schubart a l s
po l i t i s cher Journ a l 1 st . l ubi n ge n : Mohr , 1914.
c.
ung,
I nterest i n
51 2
S u l zer , J oh ann G eor g . A l l geme i ne Theor i e der schonen KUnste . 2 vo l s .
Lei p z i g : M . G . Wefaman n s Er6en und Re1 cfi , 1//1 ; Ber l i n : George
Ludw i g W i nter , 1 774 .
�
fi che repri nt e d . , New York : Un i vers i ty Mu s i c Edi t i on s , 1975 .
513