Musical Myths and Facts, Volume 2 (of 2). Engel Carl
it was readily promised him.
As soon as the bargain had been struck, the strange man drew from his pocket a small pipe, began to play and walked through the streets of the town. Presently, all the rats and mice came running out of their holes and followed him. Lustily playing he marched with his odd army out of the town and into the river Weser, where every rat and mouse was drowned.
Then the inhabitants of Hameln rejoiced greatly, as after a victory over a powerful enemy. But, when the strange man came to claim the promised reward, they withheld it from him, and treated him with derision.
However, a few days afterwards, how sorely were they punished for their ingratitude!
The enraged rat-catcher unexpectedly appeared, this time dressed entirely in red. Strange to say, even his face and hands seemed to be quite red. He took his pipe and walked through the streets, playing as before. Presently, all the little children of Hameln came running out of the houses and followed him. He marched with them out of the town into the mountains, where he vanished with them into a deep hole in a rock.
Some persons believe that the children afterwards came to light again, very far off in Transylvania. At all events, there are villages in that country in which the people speak the same language as in Hameln.
The gate through which the strange man took the children is still extant, and there are other evidences of similar importance to be found in Hameln, which prove to the satisfaction of certain respectable citizens that the story is quite true in all its details.
The earliest record of the Rat-catcher of Hameln written in English is probably the quaint one contained in 'A Restitution of decayed Intelligence in Antiquities by the studie and travaile of Richard Verstegan,' Antwerp, 1605. Verstegan concludes his relation with the statement: "And this great wonder hapned on the 22 day of July, in the yeare of our Lord one thowsand three hundreth seauentie and six." The brothers Grimm, however, than whom a better authority could not be adduced, say that according to the old records preserved in the town-hall of Hameln the memorable event occurred on the 22nd of June, Anno Domini 1284, and that there was formerly on the wall of the town-hall the following old and oddly-spelt inscription:
Im Jahr 1284 na Christi gebort
Tho Hamel worden uthgewort
Hundert and dreiszig Kinder dasülwest geborn
Dorch einen Piper under den Köppen verlorn.22
Which means in plain English —
In the year 1284, after the birth of Christ,
There were led out of Hameln
One hundred and thirty children, natives of that place,
By a Piper, and were lost under the mountain.
The reader will perhaps be surprised at the smallness of the number recorded of the children lost. But, Hameln is not a large town, and was most likely even less populous six hundred years ago than it is at the present day.
THE EXQUISITE ORGAN
The following story is told by the villagers in the Netherlands.
Once upon a time a countryman of the province of Hainault went on some business matters to the village of Flobeck, which lies not far from Krekelberg. When he was crossing the flat and lonely tract of land, some miles south-east of Flobeck, he heard some distant music, which came so sweetly through the air that he thought he would just take a few steps in the direction whence it proceeded to ascertain its origin.
He had not gone far when he saw a beautiful palace, from which the fascinating music evidently issued. This astonished him greatly; but he was not one of those faint-hearted men who would have crossed themselves and taken to their heels. Quite the contrary; he at once determined to investigate the matter a little nearer. And so he entered the palace.
Having ascended the broad staircase leading to the principal rooms, he opened the large door and paced from one hall to another. All were splendidly decorated, and most richly furnished. But, nowhere did he meet with any living being. Soon it became evident to him that the inmates were feasting and dancing in an interior court of the palace. Thither he bent his steps.
To be sure, there they were! – a large assemblage of odd-looking people in high glee dancing to the performance of a musician, who had on his lap an instrument in appearance not unlike a barrel-organ; for it had a long handle which the player turned with all his energy.
Nov, when these strange people saw the countryman peeping in, they beckoned him to come forward. He availed himself gladly of the invitation, and took his seat by the side of the musician; for, no music he had ever heard in his life appeared to him comparable to that which the man produced on the admirable instrument with the long handle. Sometimes it was very soft and deep-toned; – suddenly it rose up to a high pitch, like an Æolian harp when a gust of wind passes over its strings; – now it gradually diminished in power, and its sweetness actually moved our countryman to tears; – now, again, it grew suddenly so loud, as if a whole military band was playing, only that it was much more beautiful.
The countryman expressed his admiration in the highest terms, adding that nothing in the world could delight him more than to be permitted to turn the handle of the exquisite organ for a little while. The musician showed himself quite willing to afford him this pleasure, and placed the instrument on his lap.
The delighted countryman turned the handle a few times round: – No sound was forthcoming. – He turned again, more vigorously: – The delicious music began.
"Oh! Ever-blessed Mother Mary! how exquisite!" exclaimed the enraptured countryman.
Scarcely had he said the words when everything vanished, and he found himself sitting in a fallow field, having on his lap a large cat whose tail he had been wrenching so vehemently that poor puss was still mewing from its very heart in most ear-piercing modulations. On the spot where the palace had stood he saw a large dust heap, and that was all.23
ROYAL MUSICIANS
A royal personage being a lover of music possesses many advantages for attaining proficiency in this art, which are rarely at the command of a poor musician, however talented he may be. The young prince has from the beginning the best instruction, excellent instruments, and every possible assistance in making progress. The most distinguished musicians consider it an honour to play to him whenever he is disposed to listen to them. If it affords him pleasure to be a composer, whatever he produces, even if it is a large orchestral work, he can directly have performed; and he is thus enabled to ascertain at once whether it sounds exactly as he contemplated in composing it, and whether the peculiar instrumental effects in certain bars, which he had aimed at producing, really answer his expectation. Repeated rehearsals, and revisions of the score, with the ready assistance of the most experienced professional musicians in his service, enable him to improve his composition as long as he likes. And should he be inclined to join the musicians with his instrument in a performance, – to become for a little while, so to say, one of them, – he may be sure that they will do everything to help him through by covering his mistakes and giving him, if possible, the opportunity of displaying his skill.
What can be more delightful for an influential amateur than to join with first-rate professional players in practising the classical Quartets of Haydn, Mozart, and Beethoven! All this, and more, is at the command of the royal musician; and the poor striving disciple of the art may have some excuse for envying him on this account.
However, if the poor disciple is a true artist, he will also duly appreciate the disadvantage under which the royal musician labours for attaining proficiency in the art. He will see how necessary it is for the sake of progress to know exactly the truth about one's own powers and requirements, and that in this respect even a musical beggar enjoys an advantage above the King, – or rather, he has it, whether he enjoys it or not; a candid opinion as to his musical accomplishments is gratuitously offered him, and it is often a just one. If his music is bad, he, instead of being deceived with fine words of flattery, will simply be told: "Leave off! Begone!" If it pleases, he will be rewarded. But the royal musician
'Deutsche Sagen, herausgegeben von den Brüdern Grimm; Berlin, 1816;' Vol. I., p. 330.
'Niederländische Sagen, herausgegeben von J. W. Wolf; Leipzig, 1843;' p. 464.