The Musical Myths and Facts (Vol. 1&2). Engel Carl
the influence which the principal town of a country usually exercises upon the taste of the rural population, a few remarks relating to the cultivation of music in Strassburg may find here a place. Strassburg possesses, indeed, valuable relics illustrative of the history of music as well as of the other fine arts. Unfortunately, several of these treasures were injured at the recent bombardment. The town library, which was burnt, contained some valuable musical manuscripts; for instance, the Gesellschaftsbuch der Meistersänger from the year 1490 to 1768, and an historic treatise on the music and the Meistersänger of Strassburg written in the year 1598, by M. Cyriacus Spangenberg. To antiquarians who deplore the loss of these relics it may afford consolation to know that the town library of Colmar, in Alsace, possesses a manuscript collection of more than 1,000 old Minne-songs and Meister-songs, which originally belonged to the guild of shoemakers of Colmar. It must be remembered that in the beginning of the fourteenth century, after the Minnesänger of the Middle Ages, like the old chivalry with which they were associated, had become obsolete, there sprang up in Germany a corporation of poets and singers constituted of citizens, and known as the Meistersänger. Strassburg was one of the first among the German towns in which the Meistersänger flourished. An old sculpture of a Meistersänger, life-size, placed under the celebrated organ of the cathedral, testifies to the popular esteem enjoyed by this corporation. The town library possessed two curious oil-paintings on panel, dating from about the year 1600, which belonged to the Meistersänger of Strassburg, who used to place them one at each side of the entrance to their hall of assembly. A collection of antiquated musical instruments, which, probably, originally belonged to the Meistersänger, was formerly in a public building called Pfenningthurm, from which, in the year 1745, it was removed to the town library, where it was reduced to ashes.
However, the most interesting musical instrument in Strassburg is the organ of the cathedral made by Andreas Silbermann. Notwithstanding the care exercised by the beleaguerers to prevent damage to the cathedral, a shell found its way right through the centre of the organ, and must have greatly injured this work of art. Andreas Silbermann was no mere handicraftman, but an artist like Amati or Stradivari. He was born in Saxony, settled in Strassburg in the year 1701, and built the organ of the cathedral in 1715. His brother, Gottfried Silbermann of Saxony, was likewise a distinguished maker, not only of organs, but also of clavichords, and an improver of the pianoforte soon after its invention, in the beginning of the eighteenth century. Almost all the organs built during the eighteenth century for the churches of Strassburg are by Andreas Silbermann and his sons. Among the latter, Johann Andreas is noteworthy on account of his antiquarian pursuits. He wrote, besides other works, a 'History of the Town of Strassburg,' which was published in folio, with engravings, in the year 1775. His collection of sketches drawn by himself of the most remarkable scenery, and of old castles and other interesting buildings of Alsace, and likewise his collection of the old coins of Strassburg, were preserved in the town library, and are, it is to be feared, now lost. As even the catalogue of the library has, it is said, been burnt, it may be worth while to notice some of the losses. With the irreparable ones must be recorded a copy of the first hymn book of the Protestant Church, of which no other copy is known to be extant. It was published at Erfurt in the year 1524, and contains twenty-five songs, eighteen of which are by Luther. Its title is Enchiridion, oder eyn Handbuchlein eynem yetzlichen Christen fast nutzlich bey sich zu haben, zur stetter vbung vnd trachtung geystlicher gesenge und Psalmen, Rechtschaffen vnd Kunstlich vertheutscht. ("Enchiridion, or a little Hand-book, very useful for a Christian at the present time to have by him for the constant practice and contemplation of spiritual songs and psalms, judiciously and carefully put into German.") The musical notation is given with the words. It is believed that Luther gave the manuscript of his own songs, and most likely also of the other songs, and of the musical notation, into the hands of the publisher;—that, in fact, the "Enchiridion" emanated directly from Luther. A fac-simile of this book was published in Erfurt in the year 1848. Only three chorales are known with certainty to be of Luther's composition.
With the musical relics of the olden time preserved in Strassburg must be classed the so-called Astronomic Clock. This curious piece of mechanism, which is in the cathedral, was, in the year 1570, substituted for one which dated from the year 1354. Having been out of repair since the year 1789, it was restored about thirty years ago. The cylinders of the old mechanism of 1354, which act upon a carillon of ten bells, have been retained. The old tonal system exhibited in the arrangement of the cylinders, which produce hymn tunes, cannot but be interesting to musical antiquarians. Also, the wonderful mechanical cock, which, at the end of a tune, flapped its wings, stretched out its neck, and crowed twice—a relic of the work of 1354—is still extant; but whether it continues to perform its functions, I cannot say.
Let us now refer for a moment to the theatrical performances patronised by the burghers. Some interesting records relating to the history of the opera in Strassburg have been published by G. F. Lobstein, in his 'Beiträge zur Geschichte der Musik im Elsass, Strassburg, 1840.' The oldest theatrical representations in Strassburg are of the sixteenth century. They consisted of sacred and historical pieces, and likewise of dramas of the Greek and Latin classics. The actors were scholars, or academicians, and the performances were called Dramata theatralia, Actiones comicae or tragicae, Comoediae academicae. About the year 1600 also the Meistersänger occasionally engaged in dramatic performances, or, as they called it, in Comödien von Glück und Unglück ("Comedies treating of Happiness and Unhappiness") and they continued to act such pieces in public until towards the end of the seventeenth century. In the year 1601 we find, the first time, mention made of the English comedians who, like the Meistersänger, evidently introduced music into their dramatic performances. Respecting the companies of English comedians who visited Germany at the time of Shakespeare, much has been written by Shakespearean scholars; but little attention has, however, been given by them to the musical accomplishments of these strollers. The old records which have recently been brought to light in Germany relating to the history of the theatres of the principal German towns, contain some interesting notices of "English instrumentalists" who formed part of the companies of English comedians. Indeed, most of the so-called English comedians appear to have been musicians and dancers (or rather tumblers) as well as actors. Probably it was more the novelty of their performances than any superiority of skill which rendered these odd foreigners temporarily attractive in Germany. Howbeit, to the musical historian they are interesting.
The invention of the opera, it must be remembered, dates from the year 1580, when, at Florence, the Count of Vernio formed at his palace a society for the revival of the ancient Greek musical declamation in the drama. This endeavour resulted in the production of the operas 'Dafne' and 'Orfeo ed Euridice,' composed by Peri and Caccini. The first German opera was performed in Dresden, in the year 1627. It was the libretto of 'Dafne,' just mentioned, written by Rinuccini, which was translated into German, and anew set to music by Heinrich von Schütz, Kapellmeister of the Elector of Saxony. In France the first composer of an opera was Robert Cambert, in the year 1647. He called his production 'La Pastorale, première comédie française en musique.' This composition was, however, performed only at Court. The first public performance of an opera in France occurred not earlier than the year 1671.[2] However, before the invention of the opera, strolling actors, such as the English comedians, and the Italian companies, which were popular in Strassburg, used to intersperse their performances with songs, accompanied by musical instruments such as the lute, theorbo, viol, etc. The first operatic representations, properly so called, in Strassburg, took place in the year 1701, and the operas were German, performed by German companies. Later, Italian companies made their appearance, and still later, French ones. In the year 1750 the French comic opera 'Le Devin du Village,' by J. J. Rousseau, was much admired. However, even during the eighteenth century the German operas and dramas enjoyed greater popularity in Strassburg than the French, notwithstanding the protection which the French companies received from the Government officials of the town. Indeed, the theatrical taste of the burghers has never become thoroughly French, if we may rely on G. F. Lobstein, who says, "The diminished interest evinced by the inhabitants of Strassburg at the present day" [about the year 1840] "in theatrical performances dates from the time when the French melodramas and vaudevilles made their appearance. The hideous melodramatic exhibitions, and the frivolous subjects, unsuitable for our town, and often incomprehensible to us—depicting