Wednesday, November 23, 2016

A New Book About The Abbé Vogler


I. 

Abbé Georg Joseph Vogler (1749-1814), Catholic priest, composer, organ virtuoso - "Europas 1. Orgelspieler" (see Musikalische Korrespondenz 1790, p. 122) -, organ designer, musicologist and music educator, was one of the most interesting and fascinating musicians of his time. He traveled far and wide all over Europe, was very popular and a kind of celebrity. The contemporary press reported regularly about him. But the Abbé also happened to be quite controversial and some even thought him a charlatan. This he surely was not, but - judging from many accounts - a very impressive performer and also an innovative theorist and teacher. 

I must admit that I am mostly interested in one particular part of his work (see this little piece here in my blog): Vogler was among the first to publish compilations of international national airs, tunes of "Volkslieder". Polymelos ou Caractères de Musique de differentes Nations in 1791 (at BLB Karlsruhe, DonMusDr 272) included six tunes with variations: one from Sweden - where he was working at that time -, one from Scotland - "Birks of Invermay", in fact the first Scottish national air published in Germany - , two from Russia - one of them a Danse des Cosaques -, a Polonaise and an Italian song.

He also made a kind of "field-trip" to North Africa to study non-European music (see Vogler 1806, p. 24) and brought back some even more exotic tunes. In his Pieces de Clavecin faciles (1798) we can find - besides the Chinese melody and some European tunes - also a Romance Africaine as well as an Air Barbaresque from Morocco (see p. 6, p. 20). In 1806 a new version of Polymelos - "Ein nazional-karakteristisches Orgel-Koncert, in zwei Theilen, zu 16 verschiedenen Original-Stücken" - was published, once again a selection of international tunes, but this time combined with Bavarian "Volkslieder" written by Vogler himself (see Verzeichnis Falter, 1810, col. 43, Schafhäutl, No. 185, pp. 267-8). Besides these three major works there were also several editions of sheet music including pieces from this repertoire, for example one with variations on two Swedish tunes (at the Internet Archive). 

But Vogler also performed these foreign and "exotic" tunes on stage. He used them as themes for his improvisations on the organ. A typical concert usually included a selection of national airs and the audience was treated to pieces like the "Terrassenlied der Afrikaner, wenn sie Kalk stampfen" (AMZ 3, No. 12, 17.12.1800, pp. 192-4). To play something like this - in churches! - was very uncommon at that time. In fact he brought both European "Volkslieder" and - notwithstanding the perhaps dubious authenticity of his pieces - examples of non-European music to the attention of a wider audience. In this respect he really was a pioneer. This was something new but surely more than only a novelty act. I think that what Vogler tried here was an attempt to do with the tunes what Herder in his Volkslieder (1778/8) had done with the texts. 

In this respect he also seems to have been quite influential, not only in Germany. I recently noted that Edward Jones, Welsh bard and at that time the foremost expert on international national airs in Britain, "borrowed" - without giving appropriate credit to his source - the three Swedish tunes in Vogler's Pieces de Clavecin (here pp. 10, 16, 30) for his own Lyric Airs. Consisting of Specimens of Greek, Albanian, Turkish, Arabian, Persian, Chinese and Moorish National Songs and Melodies (c. 1805, see pp. 27-8). On the title-page he claimed that this was the "first selection of this kind ever yet offered to the public". But - as we can see - it wasn't and Mr. Jones must have been familiar with Vogler's work in this field. 

II. 

I am not a musicologist and I am not able to judge the quality of his many compositions. Nor do I want to comment on the value of the Abbé's theoretical works. But nonetheless: I don't get the impression that Vogler's music historical importance is adequately reflected in the amount of literature about him. There is no critical biography. We still have to work with Schafhäutl's groundbreaking book published in 1888 (available at the Internet Archive). Then there is In Praise of Harmony by Margaret and Floyd Grave (1987), a useful discussion of the his life and work but surely not exhaustive. 

Besides these two we also have a considerable number of articles, many of them informative and helpful. All in all this is not much. But thankfully today a reappraisal of such an unfairly neglected figure like the Abbé Vogler is much more easily possible. Many of his publications as well as numerous contemporary sources about him - especially in newspapers and the music press - have been digitized and are now available online. 

Therefore I am glad to see that a new book has just been published that from now on will serve as a starting-point and foundation for all future research into the life and work of the Abbé Vogler. In fact this is an outstanding handbook that puts together much of what is known about him and helps to close many gaps: 
  • Bärbel Pelker & Rüdiger Thomsen-Fürst, Georg Joseph Vogler (1749-1814). Materalien zu Leben und Werk unter besonderer Berücksichtigung der pfalz-bayerischen Dienstjahre, PL Academic Research, Frankfurt am Main, 2016, 2 Bde. (= Quellen und Studien zur Geschichte der Mannheimer Hofkapelle 6) 
Both authors are associated with the Forschungsstelle Südwestdeutsche Hofmusik, an important project dedicated to research about music at the courts in Southwestern Germany. There is also an excellent website - hof-musik.de - that offers, besides information about other relevant musicians, a helpful resource for anybody interested in Vogler: a short introduction as well as an extended bibliography enhanced with links to digital copies of many of the publications listed. 

In the first volume of this new book we can find a comprehensive chronological documentation of the Abbé Vogler's life and career on nearly 700 pages that is based on numerous archival and printed sources, for example letters, concert programs or articles in newspapers. Many of them are either quoted in full or reprinted in facsimilé. The second volume offers an extensive bibliography including archival sources. A list of his publications, both the musical works and the theoretical writings, is particularly valuable. 

This is one of the most impressive works I have seen for a long time. The wealth of information provided here is astonishing. It is not only fascinating to read and study but also helps to appreciate Vogler's achievements much better than anything else published until now. In fact it can be used both as an encyclopedic handbook and as a biography in documents. All the contemporary accounts included here allow a good understanding of the music scene at that time and the historical context.

As mentioned above I am interested in his Polymelos and all the foreign and "exotic" tunes Vogler has performed and published. I was a little bit surprised to see that he had started this project a little bit earlier than I thought. It was performed first not in London in 1790 but in several concerts in the Netherlands the year before (see pp. 293-4). In Rotterdam on September 3 in 1789 Vogler played "Nieuwe Europasche Nationale Caracter-Stukken (bestaande uit 10 Deelen genaant Polymelos)". This may have been the debut performance of this work. A concert in Amsterdam on September 22 offered "Polymelos, of de Nationaale Carakter-Stukken, en Musicq van van differente Volken" including a Scottish tune. This means that he knew a melody from Scotland already at that time. I had assumed he had learned it in London. 

On October 16 in Den Haag he again performed a Scottish tune - probably the same - and described it as "Gesang des Bergschotten [...] ächt und aus den ältesten Zeiten". Swiss writer David Hess was there and felt inspired to write a long poem which was then published the next year in a periodical in Switzerland (see Schweizerisches Museum 6, 1790, pp. 61-7, here pp. 62-3). There is good reason to assume that the tune was "Birks of Invermay", the one Vogler included in the published version of the first Polymelos (1791, No. 4, pp. 4-6). 

I found it particularly helpful that so many of his concerts are documented here, often with the program performed there. When did he play what piece? When did he introduce a particular tune? How did his repertoire develop over the years? It is clear to see that these national airs were most of the time a major part of of his public performances and it seems to me that he regarded it as an important project. At that time nobody else did something like that. A statistical analysis of his repertoire - what Vretblad (1927) once did for the concerts in Stockholm - would surely be worthwhile. 

Interestingly he had some more "exotic" tunes that he didn't include in any of his published works. For example a piece called "Índianische Arie" was performed in a concert in Sweden in March 1796 (p. 382). It is not clear if this was a melody from the Americas or from India. But in both cases it would have been something new. At that time only very few original Indian or American tunes were available in Europe. Interestingly some years later he wrote the music for Samori, an opera staged in India and also - for Kotzebue's Rollas Tod, oder Die Spanier in Peru - a piece called "Peruanisches Volkslied" (see Der Freimüthige oder Ernst und Scherz. Ein Unterhaltungsblatt 2, No. 177, 4.9.1804, pp. 187-8). 

Equally impressive is the documentation of his travels (see pp. 14-5). He was nearly constantly "on the road" and didn't spend too much time in Stockholm where was the Swedish King's direktör för musiken from 1786 until 1799. Vogler went as far as Spain, Greece and Africa and he at least once also intended to travel to America. A letter to him from June 1797 refers to an "americanische Reise" (p. 329). This apparently didn't work out. In 1805 the Abbé attempted to join a Russian embassy to China but to no avail (see p. 498). He also wrote a piece about the midnight sun in Lapland - with words by the famous Italian traveler Acerbi (p. 396; see AMZ 1, 1799, p. 592, Beylage 24 [music not scanned correctly]; RISM SchV 166) - but it seems in this case he himself wasn't there but only some of his friends. 

All in all this is an outstanding work that will be indispensable for anyone with even the slightest interest not only in Vogler but also the music of that time in general. I am glad that it was published in a book. But we are living in the digital era and I really hope that this database will be made available online. Then it would be much easier to access. The printed version is quite expensive and not every library will be able or willing to purchase such a tome. But it would also be much easier to use. There is only a index of names and it can get difficult at times to find what one is looking for. A search function is indispensable. Besides that this would make it possible to add links to digital copies of the original publications. In fact many of the sources referred to here have already been digitized. As mentioned above this has already been done for the bibliography available on hof.musik.de. But the documentation in the first volume would also benefit greatly from such digital enhancements.  

III. 

A work of this kind is of course not complete. The authors note that "eine vollständige Zusammenstellung in einem angemessenen Zeitraum unmöglich erreicht werden konnte" (p. 10). In fact it will never be complete. New information will be found and formerly unknown sources will appear. I have also some minor additions. 

In 1790 Vogler spent some months in London. This visit is of course also documented here but only partly (pp. 319-23). A while ago I checked the 17th-18th Century Burney Collection Newspapers database for relevant articles in the English press. Among those I found are some that are not used in this book. 

At the end of March, most likely on the 29th , he performed at St. Paul's Cathedral. I haven't seen an announcement but there were two interesting reports. One appeared in the London Chronicle (No. 5243, 30.3./1.4.1790) and the Diary or Woodfall's Register (No. 315, 31.3.1790). The reviewer must have been a very perceptive listener. But I wouldn't be surprised if the Abbé had helped him out a little bit. It is worth quoting here in full:
"Specimen of Imitative Music.
The executor of this performance, which was done in order to try the organ at St. Paul, was the Abbe Vogler, Director of the King of Sweden's Oratorios, one of the first musicians in Europe. The music was all voluntary, and such indeed is all that he plays. It was divided into three parts, and opened with a grand prelude, which was followed by a most capital performance descriptive of the storming of Jericho, and beginning with the prayer of the Israelites when entering into the Land of Canaan; the trumpets then resounded, and were succeeded by a most dreadful crash of falling walls at three different shocks, intermingled with the sound of trumpets. After the conquest, a thanksgiving hymn was heard. In the 2d part was displayed a most melodious piece of music in imitation of flutes, and imitated in such a manner as to deceive the auditors. The 3d part represented the sound of human voices, interrupted by an approaching storm, which by degrees swelled and encreased with great vehemence, and terrible peals of thunder were heard. The whole performed by this most wonderful musician on the organ alone, without the assistance of any other instrument whatever. The Abbe Vogler has published a Dissertation on Imitative Music, wherein he shews that the imitation of natural sounds is not only undegrading to the art of music, but even productive of many great and surprising beauties". 
The second one, a little bit shorter, can be found in the Public Advertiser (No. 17391, 3.4.1790):
"On the organ of St. Paul's, Abbé Vogler, a Swede, played the other day a complete Sacred Drama. He began with the imitation of the Siege of Jericho, he next proceeded to imitate the fall of the walls of that city, and the groans and lamentations of its citizens; he then concluded with a most rapturous praise of thanksgiving. He has, it seems, published a book on the subject of Imitations by Music, the title is perhaps, "Musique Sacrée Imitatione"".
Fot the concert in the Pantheon on May 25 (p. 321) there is also an advert with the complete program (Diary or Woodfall's Register, No. 361, 24.5.1790): 


 He also took care of the organ at the Pantheon (see also p. 322): 
"Abbé Vogler has not been heard yet to advantage in this country. Our organs are not sufficiently large for him. By additional stops, however, to that of the Pantheon, by pedals, and by a contrivance to touch the different bars of keys at the same time, he may most likely be able on Tuesday next to realize the great expectations that have been formed of his powers upon that instrument, both in compass and execution" (Public Advertiser, No. 17434, 24.5.1790). 
"The Abbé Vogler having examined several Organs in London, has expressed the greatest satisfaction upon trying one at St. George's, Bloomsbury, made by Mr. Holland; the Abbé, therefore has employed this eminent Builder, to furnish him with those stops he has projected for the Organ at the Pantheon [...]" (World, No. 1058, 25.5.1790). 
Then there were - on June 5 and June 14 - two free shows at the manufactory of Longman & Broderip, instrument makers and music publishers in London. The adverts tell an amusing story: 
"[...] Mess. Longman and Broderip respectfully inform the Nobility, Gentry, and Professors of Music, they have finished a large Organ for the Town of Stafford, upon an extensive Plan, with a great Variety of Stops - and on Saturday next, the 5th of June, the Abbé Vogler will perform on the various Stops of the Organ, from Twelve till Four o'clock. Tickets (gratis) may be had by applying to them [...]" (Public Advertiser, No. 17443, 3.6.1790; World, No. 1066, 3.6.1790). 
"Messrs Longman and Broderip, respectfully acquaint the Nobility, Gentry, and Professors, who honor them by their attendance to hear the Abbé Vogler's performance, that owing to the numerous applications for Tickets, which they could not with politeness refuse, it will be necessary to divide the Abbés performance into two acts [...]" (World, No. 1067, 4.6.1790).
" [...] Mess. Longman and Broderip beg leave to inform their Friends, and Musical Amateurs in general, that in consideration of the numerous disappointments, occasioned by the want of room to accommodate them on Saturday last, the Abbé Vogler has obligingly promised to perform on the Organ, at their Manufactury at Tottenham-court road, on Monday, the 14th instant, from twelve to two o'clock. Tickets of Admission to be had gratis [...]" (Gazetteer and New Daily Advertiser, No. 19194, 12.6.1790).
On June 26 Vogler apparently played at the "church of St. Andrew, Holborn". This is mentioned in an article in the Public Advertiser (No. 17466, 30.6.1790, pp. 1-2, here p. 2): 
"[...] The abilities of the Abbe on the organ are so transcendent, and so very different from what we have been used to hear on that instrument, that panegyric would be fulsome, and description impertinent [...] the church of St. Andrew, Holborn, where the Abbe exhibited such a degree of musical science on Saturday last [...]". 
It seems that the Abbé's visit in London caused quite a stir and his performances must have been very impressive. But for some reason he never returned. At least he learned here the Chinese tune that he would play regularly in his concerts for the next two decades. In the announcement for the first Polymelos in the Musikalische Korrespondenz in December 1790 (p. 183) he claimed that the Emporer of China had sent this melody to London and the Secretary of War made it available to him. This of course sounds more than doubtful. Interestingly at that time a popular show with the title "The Mandarin" was performed in London (see f. ex. Public Advertiser, No. 17466, 30.6.1790, p. 1). Unfortunately the music - by one Mr. Taylor - has not survived and it is not possible to check if he has borrowed the melody from this play. But this would be much more reasonable than the weird story about the Emporer of China: 


 Back from England Vogler traveled - in August and September - through Western and Southwestern Germany and gave a series of concerts (see pp. 323-33). One in Ulm on September 29 can be added. It is documented in a rather obscure article (Beck 1894, at UB Heidelberg). I must admit I only found it because it has been digitized. The day before he had played in Augsburg (p. 333), a town nearly a 100 km away. Here we can see once more that he had at times a really challenging schedule. This concert , by the way, also included the Chinese tune Vogler had learned in England. It seems he started to perform it on this tour, always as a part of a simulated flute concert: "Statt Rondo eine Chinesische Arie, die der Kaiser von China neuerdings nach London gesandt". It is first mentioned in the program for a concert in Mainz on August 23 (p. 324).

Between 1791 and 1798 Vogler gave several concerts in Christiania (i. e. Oslo). They are all documented in Huitveld's Christiania Theaterhistorie (1876, here pp. 143-4, pp. 150-1, pp. 164-6, at the Internet Archive; see also Schwab, p. 335). Huitveld used as source the adverts and announcements published in a newspaper, the Norske Intelligens-Sedler. This paper has been digitized by the Norwegian National Library and therefore is also easily available online:
  • 13.5.1791 (N. I.-S. 1791, No. 19, 11.5., p. 1
  • 17.10.1791 (N. I.-S. 1791, No. 41, 12.10., p. 1
  • 5.8.1794 (N. I.-S. 1794, No. 31, 30. Juli, p. 1
  • 24.8.1797 (N. I.-S. 1797, No. 34, 23.8., p. 2
  • 1.5.1798 (N. I.-S. 1798, No. 17, 25.4., p. 9
  • 4.5.1798 (N. I.-S. 1798, No. 18, 2.5., p. 1
For the concert in August 1794 the complete program was announced. The audience heard for example an "Arabisk Romance", an "Afrikansk Allegro" and a piece called "Mohrernes Begravelses-Sang". These were three of his most "exotic" tunes, all apparently collected during his trip to North Africa. But he also performed there some of his so-called "musical paintings": one about a sea-battle and the other one a pastoral piece - one of his most often played, it seems - with the title: "Die Hirtenwonne, vom Donner unterbrochen". 


In 1797 he was announced as "den berömte Abed Vogler". This was quite common at that time. On May 4, 1798 the Abbé introduced a popular Norwegian tune and it was apparently the first time he played it: "Iblandt mange nye piecer opføres den bekjendte Norske Døle-Viise med Forandringar". This was the melody of a song that was usually known as "Stusle Søndagskvelden" or "Skogmøte has Torjer Skjeille". Around 1770 young Norwegian poet Edvard Storm had written new words to a couple of older tunes, among them this one. These songs would become known as Døleviser , "songs from the valley" (see Storm 1949). 

Vogler later included this particular tune in the second edition of his Polymelos in 1806, but strangely as an "old" air from Greenland: "Der klagende Normann, vom A. V. dort selbst aufgesetzt" (Schafhäutl, p. 268; Leopold, p. 215). We can see that he was not always reliable. I assume he only wanted to have a Greenlandic song because Herder had included one in his Volkslieder (1778/9). Therefore he needed one, too. This piece was later also published in Norway - in fact it was the first Norwegian "folk-tune" made available there as sheet music - but then of course with the correct title: Norsk Fjeld-Sang, Stusle Söndags Qvællen med 5 lette Variationer (1822, see Morgenbladet, 5.4.1822, p. 991; see Schwab, p. 315, p. 337). 

But the tune also became popular in Germany. Carl Maria von Weber - who surely had learned it from Vogler and knew about its real origin - published it 1812 as IX Variations sur un Air Norvégien pour Pianoforte at Violon concertants (Op. 22; see later ed., 1879, at SB Berlin; see Jähns, No. 61, pp. 77-8). Other composers also tried it out, for example Ludwig Berger (Air norvégien avec douze variations pour le piano-forte, op. 3, Christiani, Berlin, 1812) and Carl Arnold (Divertissement No. 1: Rondeau sur un Théme norvégien pour le Pianoforte, Op. 12, Schlesinger, Berlin, 1819). There must have been a kind of fashion for this melody at that time. 

Vogler had turned a song into an instrumental piece. In 1837 Friedrich Silcher turned it back into a song, a modern "Volkslied". He combined the melody with a text by Franz Kugler and included it in the second volume of his Ausländische Volksmelodien, the most successful and influential collection of international national airs in Germany ("Wenn der Lenz erwacht", No. 6, p. 5). The new song became quite popular and can be found in several later anthologies, for example Kugler's own Liederhefte (Vol. 2, 1852, No. 10, p. 14), Schubert's Concordia. Anthologie classischer Volkslieder (Vol. 2, 1860, No. 431, p. 104) and Erk's Liederschatz (Vol. 3, c. 1870, No. 174, p. 171). But at that time it was already forgotten that Vogler had brought the tune to Germany. 

These are of course all only some minor additions that shed a little bit more light on some particular topics. More will be found in future and I hope that this new handbook will serve as a starting-point for more research into Vogler's life and achievements. He would have earned it. And I must admit that I really hope for a digital version of this work that would make the authors' substantial and important research much more easier to access and and to use. 

Literatur
  • Paul Beck, Abbé Vogler in Ulm (dessen Orgelkonzert im Münster) – eine Säkularerinnerung, in: Diöcesan-Archiv von Schwaben 12, 1894, Heft 18, p. 72 (at UB Heidelberg
  • Floyd K. Grave & Margaret K. Grave, In Praise of Harmony. The Teachings of Abbé Georg Joseph Vogler, Lincoln, 1987 
  • H. J. Huitfeldt, Christiania Theaterhistorie, Hegel, Kjøbenhavn, 1876, at the Internet Archive 
  • Friedrich Wilhelm Jähns, Carl Maria von Weber in seinen Werken. Chronologisch-thematisches Verzeichniss seiner sämmtlichen Compositionen nebtst Angabe der unvollständigen, verloren gegangenen, zweifelhaften und untergeschobenen mit Beschreibung der Autographen, Angabe der Ausgaben und Arrangements, kritischen, kunsthistorischen und biographischen Anmerkungen, unter Benutzung von Weber's Briefen und Tagebüchern und einer Beigabe von Nachbildungen seiner Handschrift, Berlin, 1871, at the Internet Archive 
  • Silke Leopold, Grönland in Mannheim. Abbé Voglers Polymelos und die Idee der "nazional-karakteristischen" Musik, in: Kreutziger-Herr, Annette (Hrsg.), Das Andere. Eine Spurensuche in der Musikgeschichte des 19. und 20. Jahrhunderts (= Hamburger Jahrbuch für Musikwissenschaft. Bd. 15), Frankfurt/M., 1998, pp. 203-224 
  • Karl Emil von Schafhäutl, Abt Georg Joseph Vogler. Sein Leben, Charakter und musikalisches System. Seine Werke, seine Schule, Bildnisse &c., Augsburg, 1888, at the Internet Archive 
  • Heinrich W. Schwab, "Gegen niemand ist noch so viel geschrieben worden, alsd gegen Vogler". Zum Auftreten von Georg Joseph Vogler im dänischen Gesamtstaat, in: Thomas Betzwieser & Silke Leopold (eds.), Abbé Vogler. Ein Mannheimer im europäischen Kontext. Internationales Kolloquium Heidelberg 1999, Frankfurt am Main, 2003 (= Quellen und Studien zur Geschichte der Mannheimer Hofkapelle 7), pp. 313-340 
  • Edvard Storm, Døleviser. Utgitt ved 200-Årsminne. Tegninger av Øystein Jørgensen. Litteraturhistorisk Oversikt og Kommentarer av Professor Didrik Arup Seip, Oslo, 1949 
  • Joachim Veit, Der junge Carl Maria von Weber. Untersuchungen zum Einfluß Franz Danzis und Abbé Georg Joseph Voglers, Mainz 1990 (online at Universität Paderborn, Digitale Sammlungen, urn:nbn:de:hbz:466:2-6908
  • Georg Joseph Vogler, Über die harmonische Akustik (Tonlehre) und ihren Einfluß auf alle musikalischen Bildungsanstalten. Rede gehalten in Verbindung mit den öffentlichen Vorlesungen im Saale der deutschen Schulanstalt in München vom wirklichen und ordentlichen Mitgliede der Königl. bairischen Akademie der Wissenschaften A. Vogler den 1. Juni 1806, Johann André, Offenbach, n. d. [1806], at Google Books & the Internet Archive 
  • Patrick Vretblad, Abbé Vogler som Programmusiker, in: Svensk Tidskrift for Musikforskning 9, 1927, pp. 79-98

Monday, September 26, 2016

Jean Chardin's Travels to Persia - A Critical Look at the Available Digital Copies


I. 

This is the third part of a series where I discuss the available digital copies of the publications of a particular writer. The first two parts were about Jean-Baptiste Labat's works and Bernhard Havestadt's Chilidúgu. This text is dedicated to Jean Chardin (1643-1713) and his books about his travels to Persia. They appeared since 1671 and some of them were also translated into English, German and Dutch. Which of the different editions of his works have been digitized? Where can I find these digital copies? How is their quality? Are they usable for serious work? 

Chardin's extensive reports about his stays in Persia are very interesting and highly informative. He also was also - and that's what's of interest for me here and the reason I had to make myself familiar with his books - the first one who brought back and published an original Persian song. At least he claimed it was. It would remain for a long time the only piece of music from Persia that was available to European readers. This song later also had a history of its own and was reprinted and republished until the early 20th century. 

An excellent introduction to Chardin's life and works is still Emerson's article in the Encyclopaedia Iranica (1991/2011, available online). It is very helpful to understand the publication history of his books and also lists more relevant literature. An entertaining description of his life and achievements can be found in book published in 1840, the Lives and Exploits of the Most Distinguished Voyagers, Adventurers and Discoverers (here pp. 253-80). This is still worth reading and also shows that at that time his name was well known and he was regarded as one of the most important voyagers of his era. Modern readers may wish to start with Wikipedia but the articles about Chardin in English, French and German are all a little bit too short. 

II. 

French Hugenot Jean Chardin, a jeweller and merchant, went on two extended business trips to Persia and India, the first in the 1660s and the second one in the following decade. He stayed there for several years and traveled through the country. His first publication already appeared in 1671: a report about the coronation of the new Persian king and what happened during the first years of his reign. This book was also translated into German. 
  • [Jean Chardin], Le Couronnement de Soleimaan Troisième Roy de Perse, Et ce qui s'est passé de plus mémorable dans les deux premières années de son Regne, Barbin, Paris, 1671,
    at Google Books [= BSB]; at Google Books [= BL]; at Google Books [= BM Lyon]; at Google Books [= NKC]; at Google Books [= BNC Firenze]; at Google Books [= BNC Rom], also at the Internet Archive 
  • -, Seconde Edition, reveuë & corrigée de plusieurs fautes, Paris, 1672 [not yet digitized] 
  • [Jean Chardin], Beschreibung Der Krönung Solimanni Des dritten dieses Nahmens Königs in Persien Und Desjenigen was sich in den ersten Jahren seiner Regirung am denck-würdigsten zu getragen. Anfangs Frantzösisch beschrieben anjetzo aber in die Hoch-Teutsche Sprache versetzet, Widerhold, Genff, 1681, at GoogleBooks [= BSB
  • -, also in: Beschreibung Der Sechs Reisen Welche Johan Baptista Tavernier, Ritter und Freyherr von Aubonne, In Türckey, Persien und Indien innerhalb viertzig Jahren durch alle Wege die man nach diesen Länderen nehmen kan verrichtet: Worinnen Unterschiedliche Anmerckungen von der Beschaffenheit der Religion, Regierung, Gebräuchen und Handlungen, jeglichen Landes enthalten. Samt den Figuren, Gewichten und dem Maß der Müntzen, welche in diesen Länderen gangbar sind [...]. Dritter Theil, Widerhold, Genff, 1681, at Google Books [= BSB
I found six digital copies of the first French edition, all available at Google Books. Usually I am very skeptical about their scans but in this case they seem to be of tolerable quality. But this book includes only very few illustrations and therefore there was not much to do wrong. There are also Google-scans of the the two German editions and they are also usable. 

The first part of his great report about his travels to Persia only appeared in 1686, both in Paris and London. Some extant copies of these two editions have been digitized. There were also two editions published in Amsterdam the same year and one in Rouen in 1687 but I haven't yet seen digital copies of them: 
Thankfully an excellent and complete scan of the edition published in London is available at the French National Library. Another one can be found at the UB Göttingen even though I think their online reader is not always easy to use. In fact it is rather slow and not as effective as one would wish. Besides these two fine copies there are also several produced by Google. These are all very disappointing. Most of the plates were not scanned correctly and therefore look mutilated or are missing completely, for example here in the copy from Lyon (after p. 344 etc) or in the one from the Austrian National Library (after p. 220 etc). These shortcomings render them more or less useless. We can only read the text but not have a look at a digital reproduction of the complete book. But, as should be known, this is a general problem with the scans produced by Google. 
  • Jean Chardin, Des vortrefflichen Ritters Chardin, des grossen Königs in Persien Hoff-Handelsmanns Curieuse Persian- und Ost-Indische Reise-Beschreibung. Bestehend in einem ordentlichen Journal Oder Täglichen Verzeichnüß seiner in Persien und Ost-Indien über das schwartze Meer und den Cholchidem abgelegter Reisen, Gleditsch, Leipzig, 1687, at Google Books [= BSB], also at the Internet Archive 
  • [Jean Chardin], Dagverhaal der Reis van den Ridder Chardyn na Persien en Oost-Indien, door de Swarte Zee en Colchis, van de Jouwer, Amsterdam, 1687, at Google Books [= KBN] 
  • The Travels of Sir John Chardin into Persia and East-Indies. The First Volume, Containing the Author's Voyage from Paris to Ispahan. To which is added, The Coronation of this Present King of Persia, Solayman the Third, Pitt, London, 1686 [ESTC R12885
  • The Travels of Sir John Chardin into Persia and East-Indies, Through the Black Sea, And the Country of Colchis describing Mingrelia, Imiretta, Georgia amnd Several Other Countries Unknown to These Parts of Europe. With a New Map of the Black Sea [...]. To Which is Added, The Coronation of this Present King of Persia, Solayman the Third, Pitt, London, 1689 [ESTC R40322
  • The Travels of Sir John Chardin into Persia and the East-Indies,Through the Black Sea, and the Country of Colchis,Containing the Author's Voyage from Paris to Ispahan. Illustrated with Twenty Five Copper Plates. To which is added, The coronation of this present King of Persia, Solyman the III., Bateman, London, 1691 [ESTC R18098
Chardin's Journal du Voyage was also translated into German, Dutch and English. One copy each of the German and Dutch editions have been digitized by Google. The former is once again of dubious quality. A considerable number of the plates look mutilated and some may be missing. Surprisingly the latter is of much better quality and - as far as I can see - all the illustrations are included. I know it is hard to believe but in this case it seems to be true. This shows that even Google's scanners are able to reproduce a book completely. This scan was published only recently, in April 2016. 

The three English editions - 1686, 1689 and 1691 - have also been digitized, but not by Google and not by any other library. They can only be found in a closed repository, the well known database Early English Books Online (EEBO). This is of course very disappointing. One major hindrance for the productive use of digital copies is, as already noted, the existence of too many bad scans. But equally problematic are closed repositories: not everybody has access and it is not possible to set direct links to a source. I know of many books of which - a couple of years ago - digital copies were only available in commercial collections like EEBO or ECCO. Today copies in better quality can be found in open repositories. But unfortunately this is not yet the case with the English editions of Chardin's Journal

It took Chardin quite a long time to publish more of his report. In 1711 a new edition appeared in Amsterdam in two variants: one in three volumes and another one - with the same content - in 10 books. The latter was reissued by several French publishers in Rouen and Paris in 1723: 
  • [Jean Chardin], Voyages de Mr. Le Chevalier Chardin, en Perse, et Autres Lieux de L'Orient, de Lorme, Amsterdam, 1711, 3 Vols.,
    at Gallica BnF, also at the Internet Archive; at Google Books [= KBN, 2014]: Vol. 1, Vol. 2, Vol. 3; at Google Books [= KBN, 2016]: Vol. 1, Vol. 2, Vol. 3 
  • [Jean Chardin], Voyages de Monsieur Le Chevalier Chardin, en Perse, et Autres Lieux de L'Orient, de Lorme, Amsterdam, 1711, 10 Vols.,
    at BSB [= GB]; at Google Books [= BM Lyon [2 sets]]; at Google Books [= UofLausanne]
  • -, Mazuel, Paris, 1723, 10 Vols., at BSB [= GB; not all Vols. digitized]
An excellent and complete digital copy of the edition in three volumes is available at Gallica BnF. This is also the edition I need. Only in 1711, more than 30 years after his return from his second stay in Persia, did he publish the piece of music he had collected there. We find it in Vol. 2 on plate No. 26 (after p. 114). He included the tune, the original text in Latin transcription and a translation into French. 


This plate is part of a chapter "De La Musique" (pp. 113-5; see also an English translation in Harrison 1972, pp. 130-3). Here he gives some more interesting information, for example about the "modes", the singing style, the instruments and dancing. About the song he simple notes: "J'ai donné dans la même Figure joignante un petit Air Persan sur lequel on jugera aussi de la nature de leurs petits Airs" and he also adds - in French only - several more verses (p. 113). 

This digital copy by the French National Library is perfectly well usable. But two more scans of this edition are available. Both were produced by Google for the Dutch National Library (KBN). The first one, from 2014, should be avoided. Many plates are missing or look mutilated including the one I need (Vol. 2, p. 114). There must have been some problems with the scanner. But - again much to my surprise - the other one, published only recently in April 2016, is of much better quality. Here all illustrations seem to be included (see f. ex. Vol. 2, p. 114). This is very uncommon for Google's scans. It is nice to see that they have decided to reproduce the whole book and not only the text. 

The edition in 10 volumes has also been digitized, but up until now only by Google. I found half a dozen sets but there may be more because I have also seen scattered single volumes of two more sets. Unfortunately all of them are of very dubious quality. Many plates have not been scanned correctly. One may for example have a look at plate 26 in the copy from the BSB (p. 68). It is the same with, for example, one of the copies from the BM Lyon (p. 68), the one from the University of Lausanne (p. 68) or another one I just found (BN Napoli, p. 68). 

In fact none of these copies are reliable. We can read the text but don't get the complete book. This seems to me like an deplorable waste of resources. I would be glad if there was one complete copy instead of six or more incomplete scans. As far as I can see this edition has not yet been digitized by other libraries and therefore no better copy is available. Of the editions published in 1723 I found the one by Mazuel in Paris, but only an incomplete set with four of the 10 volumes that was produced by Google for the BSB. The quality of course leaves a lot to be desired. 

Once again there were English translations of this edition. Two sets of two volumes each appeared in London in 1720 respectively 1724. This was not the complete text but only a part of it. For example the chapter about music wasn't included. As was the case with the earlier English editions these two are only available digitally in a closed database, this time in ECCO (Eighteenth Century Collections Online). This is of course unfortunate. But it should be noted that the quality of the scans at ECCO and EEBO is not the best. They are made from microfilms and are often barely readable. I wonder when better copies will be available in open repositories: 
  • Sir John Chardin's Travels in Persia. Never before translated into English. Containing, A most particular Account, of the Religion, Government, Trade, Product, Rarities, Structures, Arts and Sciences of that great Monarchy [...], Printed for the Author, London, 1720, 2 Vols. [ESTC N23323]
  • [Jean Chardin], A New and Accurate Description of Persia, and Other Eastern Nations [...], Bettesworth etc., London, 1724, 2 Vols. [ESTC T93276
A new edition in French in four volumes came out in 1735 in Amsterdam, published by the Dutch East India Company. An excellent digital copy is available at the Biblioteca Virtual de Patrimonio Bibliográfico. The chapter about music can be found in Vol. 3 (pp. 158-61; here pl. 26) and there is nothing new compared to the earlier edition. Other reliable copies are available at the BDH, in Mannheim and in Göttingen. There is also at least one scanned by Google - for the BSB - but, as expected, it has usual problems and should not be regarded as a reliable reproduction: 
  • [Jean Chardin], Voyages du Chevalier Chardin, en Perse, et Autres Lieux de l'Orient, Nouvelle Edition, 4 Vols., Aux Depens de la Compagnie, Amsterdam, 1735,
    at BVPB; at BDH; at UB Göttingen; at UB Mannheim; at BSB [= GB] 
Over the years short extracts of Chardin's writings were included in anthologies of travel reports, for example in English translation in the popular The World Displayed; Or, A Curious Collection of Voyages and Travels (here Philadelphia 1796, Vol. 6, pp. 1-113) and in 1811 in Pinkerton's General Collection of the Best and Most Interesting Voyages and Travels (Vol. 9, pp. 138-167). The year 1811 also saw the publication of a new, expanded, French edition, that was put together by the well known scholar and orientalist Louis-Mathieu Langlès:
The National Library of Norway offers an excellent digital copy of this edition. Additionally there are at least six sets produced by Google. The chapter about music can be found in Vol. 4 (pp. 299-311). The editor has added some footnotes here. But there is no plate with the song. In fact for this edition all plates have been relegated to an extra volume which is not included in any of these sets. Apparently nobody has yet digitized this Atlas

I will stop here with this edition. Of course there were also some more in later years - for example one published in 1830 (at Google Books) - and there are also modern reprints. But they should be easy to find. A collection of illustrations from Chardin's Voyages can be found at wikimedia commons. For a lot of them no source is given and therefore it is not clear from which edition they were taken. Nonetheless it is helpful to have them in one place together. Interestingly the plate with the song is not the same as the one in the editions from 1711 and 1735. There is an additional part at the bottom: the tune in modern notation with the text in original writing. It would be interesting to know where it is from. But unfortunately there is no reference to the source of this page. 

All in all the result is not completely satisfying. Nearly every edition of Chardin's works published between 1671 and 1811 has been digitized. But all the English editions are only available in closed repositories, either in EEBO or in ECCO. Besides that we have numerous scans by Google which are nearly always of dubious quality. Their reproductions are usable if they are of books that only include text. If there is more, like illustrations or music, they should be treated with great caution. There is always the chance that something is missing. In fact this particular plate with the song - exactly the page of the book I needed - can not be found in most of their copies. 

But thankfully other libraries have published excellent and complete digital copies of the most important French editions, those from 1686, 1711 and 1735. This was - nearly - all I needed. Only the Atlas of the 1811 edition has not yet been scanned and is therefore missing from the digital world. But of course it is a serious problem that we have to wade through numerous bad scans to find one or two that are good and complete. Of the two editions published in 1711 there are at least seven copies that should be avoided - all at Google Books - and only two complete ones. This ratio is very disappointing but not untypical. At the moment we have to live with these problems. But thanks to the digitizing efforts of so many libraries more and more better copies will be made available. 

III. 

At this point I can return to Chardin's "petit Air Persan" and discuss its further history. Here we will once again see that the use of digital sources can not only be very helpful but also adds a dimension of transparency that was not possible in the pre-digital era. Nearly all publications I needed were immediately at hand and all of them are available in open repositories. Therefore I can set a direct link to the source and it can be seen in its original context. 

When Langlès published the new edition of the Voyages in 1811 this "little song" already had made quite an impressive career on its own. At first it was Jean-Jacques Rousseau who helped spread the tune. He included it in his Dictionnaire de Musique as an example of non-European music, besides one Chinese and two Canadian melodies (1768, Planche N). We can also find it in the English edition published in 1779 (pp. 265-6), here with an English translation of the French text. This was the first time the song was made available in a British publication. 


But was it really a Persian tune? Perhaps not. Swedish professor Björnståhl, a well known scholar of oriental languages, claimed in one of his letters from Constantinople in 1777 that it was only "Italian minuet" (Briefe 4.1, 1779, here p. 11; also in Schlözer, Briefwechsel 2.7, 3rd ed. 1780, p. 122; Reichardt's Musikalisches Kunstmagazin 1, 1782, p. 51; Hausleutner, in: Toderini, Litteratur der Türken, 1790, p. 262). This is not an unreasonable assumption, especially coming from an expert like Björnståhl. I have not seen further discussions of the tune's origin. But if so it would be an interesting example of musical exchange: an European melody that had migrated to Persia and then returned to Europe as a Persian song. 

Nonetheless it was later always regarded as original Persian music, for example by German musicologist Hugo von Dahlberg who included it in his influential Musik der Indier (1802, No. 43, p. 37), an extended German edition of Sir William Jones' important article about Indian music, but with many additional "exotic" tunes, not only from India but also from other parts of the world (see in my blog: "Exotic" Airs in Germany - Dalberg's "Ueber die Musik der Indier" (1802)). He called it "Persisches Lied" and added his own translation of the French text ("Deine Wangen sind röthlich wie die Blumen des Granatbaums"). His source was apparently the edition in 10 volumes from 1711 ("Aus Chardin's Reisen Vten Bande") but didn’t use the additional verses quoted there. 

At that time anthologies of international national airs began to appear in England. Interestingly Welsh harper Edward Jones, the foremost expert for this genre, didn't include Chardin's song in any of his collections. In the first one, the Lyric Airs published in 1805, we can find instead a formerly unpublished Persian tune that he had received from a private collector (p. 25). But musicologist William Crotch offered the melody - with a piano arrangement - in his Specimens of Various Styles of Music (1808, No. 315, p. 152). His source was Rousseau's Dictionary

In the following decades Chardin's "little song" reappeared occasionally in publications of different kinds. We can find it for example in La Perse (1814), French historian Amable Jourdain's great work about Persian history and culture. The chapter about music is a good summary of what was known at that time and the "Air Persan" served as the only musical example (Vol. 5, pp. 300-315, Fig. B, after p. 312). American musicologist and composer Thomas Hastings borrowed several tunes including Chardin's from Rousseau's Dictionary for his Dissertation on Musical Taste (1822, p. 219). 

In Germany there was even an attempt at introducing this piece to the popular song repertoire. Wilhelm Zuccalmaglio and Eduard Baumstark, two young admirers of foreign "Volkslieder", added it - with a simple arrangement for piano and guitar - to their Bardale. Sammlung auserlesener Volkslieder der verschiedenen Völker der Erde, the first German anthology of international national airs, (No. 1, p. 1, notes, p. 75). They named as their sources both Rousseau and the new edition of Chardin's Voyages. The original text wasn't included but only a new German translation of first verse of the French lyrics ("Deine Wange ist Granathenblüth' [...]"). But this publication was apparently not particularly successful and I know of no reprints of their version of the song in other collections of "Volkslieder". 

Later the "Air Persan" was also reanimated for some music histories. In Geschichte der Musik aller Nationen (1835), a German edition of Stafford's History of Music (1830), the tunes from Rousseau's Dictionnaire again served as examples of non-European music (see Tafel 4). Another new German translation of the French text was also added ("Dein Gesicht ist frisch, wie die Granatblume [...]"). Even Ambros in his own Geschichte der Musik (I, 1862, p. 109; see also 3rd ed., 1887, p. 455) still quoted the tune even though at that time more Persian songs and tunes had become available, for example those in Chodzko's Specimens of the Popular Poetry of Persia (1842, pp. 583-92). 

Two more versions in popular anthologies of international national airs followed. In Denmark it was composer A. A. Bergreen who included Chardin's song - with a Danish translation: "Rød din Kind er" - in Folke-Sange og Melodier Fra Lande Udenfor Europa, the 10th volume of the new edition of his great Folke-Sange og Melodier, Fædrelandske og Fremmede (1870, No. 55, p. 46, notes, p. 101, p. 106). As late as 1901 the tune appeared again - with a new English text, not a translation of the original words - in Alfred Moffat's Characteristic Songs and Dances of all Nations (p. 238):


We can see that the song had a surprisingly long history. Chardin heard a performance somewhere in Persia in the 1670s and then published the transcribed tune, text and French translation in 1711. Since then this piece appeared and reappeared, sometimes in the original form and sometimes in new arrangements, for nearly 200 years in publications of different kinds: musicological treatises, music histories and popular anthologies. 

Literature: 
  • August Wilhelm Ambros, Geschichte der Musik. 1. Band, Leuckart, Breslau, 1862 at the Internet Archive [= GB], 2nd. ed., Leuckart, Leipzig, 1880, at the Internet Archive; 3rd ed., revised, Leuckart, Leipzig, 1887, at the Internet Archive 
  • Eduard Baumstark & Wilhelm von Waldbrühl [i. e. Zuccalmaglio], Bardale. Sammlung auserlesener Volkslieder der verschiedenen Völker der Erde mit deutschem Texte und Begleitung des Pianoforte und der Guitarre, herausgegeben und dem Herrn Geheimen Rathe und Professor Dr. A. F. J. Thibaut hochachtungsvoll gewidmet, I. Band, Friedrich Busse, Braunschweig, 1829, at Google Books [= BSB]
  • A. P. Berggreen, Folke-Sange og Melodier Fra Lande Udenfor Europa, Med en Tillaeg af Folkens Nationalsange, Samlade og Udsatte for Pianoforte (= Folke-Sange og Melodier, Fædrelandske og Fremmede 10, Anden Utgave), C. A. Reitzel, Köbenhavn, 1870, at the Internet Archive 
  • Jacob-Jonas Björnståhl, Briefe auf seinen ausländischen Reisen an den Königlichen Bibliothekar C.C. Gjörwell in Stockholm. Aus dem Schwedischen übersetzt von Just Ernst Groskurd. Der morgenländische Briefe Erstes Heft welche die Briefe aus Konstantinopel enthält, Koppe, Leipzig & Rostock, 1779, at Google Books 
  • William Crotch, Specimens of Various Styles of Music referred to in A Course of Lectures, read at Oxford & London and Adapted to keyed Instruments, Vol. 1, London, n. d. [1808], at the Internet Archive 
  • [Hugo von Dalberg], Ueber die Musik der Indier. Eine Abhandlung des William Jones. Aus dem Englischen übersetzt, mit erläuternden Anmerkungen und Zusätzen begleitet, von F. H. v. Dalberg. Nebst einer Sammlung indischer und anderer Volks-Gesänge und 30 Kupfern, Beyer und Maring, Erfurt, 1802 (available at BSB, also at the Internet Archive; at Universität Wien, Phaidra
  • John Emerson, "Chardin, Sir John", 1991/2011, in: Encyclopaedia Iranica 
  • Geschichte der Musik aller Nationen. Nach Fetis und Staffort. Mit Benutzung der besten deutschen Hilfsmittel von mehreren Musikfreunden. Mit 12 Abbildungen und 11 Notentafeln, Voigt, Weimar, 1835, at the Internet Archive [= GB] 
  • Frank L. Harrison, Time, Place and Music. An Anthology of Ethnomusicological Observation c. 1550 to c. 1800, Amsterdam, 1973 
  • Thomas Hastings, Dissertation on Musical Taste; or General Principles of Taste Applied to the Art of Music, Websters and Skinners, Albany, 1822, at the Internet Archive [= GB] 
  • Amable Jourdain, La Perse. Ou Tableau De L'Histoire, Du Gouvernement, De La Religion, De La Littérature, etc., De Cet Empire; Des Moeurs at Coutumes de ses Habitans, Vol. 5, Ferra, Paris, 1814, at the Internet Archive [= GB] 
  • Alfred Moffat & James Duff Brown, Characteristic Songs and Dances of All Nations. Edited, with Historical Notes and a Bibliography, Bayley & Ferguson, London, n. d. [c. 1901], at the Internet Archive 
  • Johann Friedrich Reichardt, Musikalisches Kunstmagazin, 1. Band, I.-IIII. Stück, Im Verlage des Verfassers, Berlin, 1782, at the Internet Archive 
  • Jean-Jacques Rousseau, Dictionnaire de Musique, Veuve Duchesne, Paris, 1768, at the Internet Archive 
  • [Jean-Jacques Rousseau], A Complete Dictionary of Music. Consisting Of A Copious Explanation of all Words necessary to a true Knowledge and Understanding of Music. Translated from the original French of J. J. Rousseau. By William Waring. Second Edition, J. Murray, London & Luke White, Dublin, 1779 [ESTC N5070], at the Internet Archive [= GB
  • August Ludwig Schlözer, Briefwechsel meist historischen und politischen Inhalts, Zweiter Theil, Heft VII-XII 1777, 3. Auflage, Vandenhoeck, Göttingen, 1780, at BSB 
  • J. A. St. John, Hugh Murray et al., Lives and Exploits of the Most Distinguished Voyagers, Adventurers and Discoverers, In Europe, Asia, Africa, The South Sea, And Polar Regions, Huntington, Hartford & New York, 1840, at the Internet Archive 
  • Giambatista Toderini, Litteratur der Türken. Aus dem Italiänischen. Mit Zusätzen und Anmerkungen von Philipp Wilhelm Gottlieb Hansleutner, Nicolovius, Königsberg, 1790, pp. 240-67, at ÖNB [= GB]



Tuesday, September 20, 2016

Bernhard Havestadt's "Chilidúǵu" (1777/1883) - A Critical Look at the Available Digital Copies


In the previous article I have discussed the digitized copies of the works of French Dominican Jean-Baptiste Labat. The basic questions were: how much is available online? Are these digital copies usable for serious work? The result was mostly positive. Nearly all of Labat's publications have been digitized. At least one good and reliable copy exists for most of them. 

Here I will discuss another example: German Jesuit Bernhard Havestadt's Chilidúǵu, a book first published in 1777 and then reprinted in 1883. This was a groundbreaking linguistic work about the language of the Mapuche in Chile. But besides that it also included 19 tunes used for a versified Catechism in this particular language. That is the part of this book that I want to have a look at. I am interested in the publication of non-European tunes in Europe. This is a well-documented example of the reverse process, the export of Western music to the New World. 

Music was always an important tool used by the missionaries to promote Christendom among the indigenous people. They brought with them tunes from home and used them for religious songs in the local languages which they taught to their flock. The Jesuits were particularly well-versed in this respect (see f. ex Bach 1843, pp. 17-8, pp. 44-46). On the other hand there wasn't much interest in documenting local musical cultures. At that time - until 1777 - only 6 tunes from South America - the five from Brazil in de Lery's famous Histoire d'Un Voyage Faict en la Terre du Brésil (1586, p. 159 etc) and one lone fragmentary melody from Chile in Frézier's Relation du Voyage de la Mer du Sud (1716, here 1717, Vol. 1, p. 114) were available to European readers (see also my bibliography, at Google Docs). In this respect the cultural exchange between the old and the new world was very one-sided. 

Bernhard Havestadt (1714-1781; see NDB 8, 1969, at Deutsche Biographie; Wikipedia; Müller 2004; Meier 2010) from Cologne became a Jesuit in 1732 and in 1746 he traveled to Chile to work as a missionary. He stayed there for more than 20 years until the expulsion of the Jesuits from the Spanish colonies in South America in 1768. Havestadt learned and studied Mapudungu, the language of the Mapuche. His original manuscript was written in Spanish. He returned to Germany where he spent the rest of his life. His great work was then published in 1777, but in Latin: 
  • [Bernhard Havestadt], Chilidúǵu, Sive Res Chilenses Vel Descriptio Status tum naturalis, tum civilis, cum moralis Regni populique Chilensis inserta suis locis perfectæ ad Chilensem Linguam Manuductioni, Deo O. M. Multis ac Miris Modis Juvante opera, sumptibus, periculisque Bernardi Havestadt, Agrippinensis quondam Provinciae Rheni Inferioris primum Horstmariae in Westphalia, deinde Americae Meridionalis Regno Chilensi e Societate Jesu Missionarii, Monasterii Westphaliae Typis Aschendorfianis, 1777, 3 Vols.
The book consists of seven parts in three volumes (see Rich, Bibliotheca Americana Nova 1, 1835, p. 262), among them a grammar (pt. 1), a vocabulary (pt. 4) but also Havestadt's diary of some of his travels (pt. 7). The latter - which is, by the way, very worthwhile to read - was even later translated into German (in Murr II, 1811, pp. 431-96). But I am mostly interested in the Catechism (pt. 3) and the music (pt. 6). 

I found four digitized copies from three different libraries at Google Books as well as one at the Internet Archive:
Let's have a look at first at the scan Google has produced from the copy at the National Library of the Netherlands (KBN). The "Catechismi in Versu" is of course there (pp. 582-99). But of the part with the music we only get the title-page (p. 892): Notae Musicae Ad Canendum in Organo Cantiones Partis Tertiae á Numero 650 usque ad 676. On the following page already the next part of the book starts. A note at the bottom of this title-page tells us that the music as well as a map have been published separately. Unfortunately this part can't be found anywhere the digital copy, neither added after the title-page nor at the end of the book. It is simply missing. 

This is also the case with the copy from the Austrian National Library (ÖNB; see p. 892) and one of the two from the Bavarian State Library (BSB; see p. 892). The Notae Musicae are not included and no reason is given. It is easily possible that this extra booklet got lost and is not part of these particular copies. But there is no information about this problem in these libraries' catalogs. Therefore it is not clear if the music is missing from the original book or if it simply wasn't scanned. 

Then I look at the second copy from the BSB and I see that here these pages were bound in after the title-page of part 6 (p. 892). But unfortunately they were not scanned correctly and are not usable. This is of course a general problem with Google Books: pages exceeding a book's standard size are usually not reproduced completely. 

All in all we have four digital copies of Havestadt's important work that were made made available by Google and none of them is complete.  Quantity was apparently more important than quality. We can see once again the general problem with Google Books: they have digitized not the books but only the texts. 

One more digital copy can be found at the Internet Archive. This one is from the collection of the John Carter Brown Library which is usually very reliable. I have rarely encountered any problems with the scans of their books that were created by the Internet Archive itself. They are usually excellent and also complete. In this case there are some problems. First there is curious error with the title of the book. It is given as "Chilidúu" instead the correct "Chilidúgú". I assume the "ǵ" got lost somewhere. That makes it a little bit difficult to find it. But these things can happen and I found it nonetheless. Unfortunately the part with the music is missing here, too. Thankfully this is noted in the extensive bibliographical description. Therefore the reader knows that this digital copy is not complete and that these pages were not part of the library's copy of the book. 

In 1883 a facsimile edition of Havestadt's work was published. The legendary Dr. Julius Platzmann (1832-1902; see Kammler 1994; Wikipedia), botanist and (amateur-)linguist, collected rare books about Indian languages and then made them available anew as reprints. 
  • [Bernhard Havestadt], Chilidúgú Sive Tractatus Linguae Chilensis Opera Bernardi Havestadt. Editionem Novam Immutatam Curavit Dr. Julius Platzmann, Teubner, Lipsiae, 1883 [2 Vols.],
    at the Internet Archive [= GB - Harvard]
    at Memoriachilena (Biblioteca National de Chile): Vol. 1, Vol. 2 [now also at the Internet Archive
This one was also digitized by Google. Here in Europe we are not allowed to see scans of books published after 1875 at Google Books but thankfully this has been uploaded to the Internet Archive where I can use it. Much to my surprise the pages with music are included here. The extra booklet can be found at the end of the book. This is fine but I have to add that their scanners haven't been able to reproduce the map. It missing and therefore this copy is still not complete. 



In the end I was saved by the Biblioteca Nacional de Chile that also has an excellent digital library. They offer a very interesting presentation about "Música de las misiones jesuitas de la Araucanía" (at memoriachilena) and here we can find not only a helpful introduction to this topic, a bibliography, links and images but also digitized books as downloadable pdfs. One of them is the 1883 edition of Havestadt's work and this digital copy is really complete (now available at the Internet Archive, see Appendix). Both the music and the map are included and the quality of the scan is excellent. Thankfully they also have a scan of only this extra booklet and there we can get even soundfiles of the tunes (at memoriachilena). 

All in all there are 7 digital copies of the two editions of this book but only one of them is complete and perfectly well usable. This result is not particularly convincing and encouraging. In fact it shows that there are still serious problems. The basic prerequisite for serious work with digital copies is that they are complete. At the moment it is always necessary to search for good and complete copies. In this respect it is not a good idea to rely solely on the scans produced by Google. There is always the chance that something is missing.

In the meantime, while searching for the available copies of Havestadt's book, I also found some of the relevant literature. Chilean musicologist Victor Rondón is the foremost expert on the music in Chilidúgu. An article published in 2001 is available on the site of the Biblioteca Nacional de Chile (at memoriachilena) while his important book about the 19 canciones misionales (1997) can be found in his own blog. An article in English (2006) may serve as a good introduction. It can be inspected at Google Books and should be easy to get from the next library. He has unearthed the sources and origins of most of the tunes and notes that they are "derived mainly from the old religious songbook of Cologne" (2006, p. 502). 

I also learned that Havestadt in fact offered at least one piece for the admirers and collectors of non-European "folk poetry", but unfortunately only the words without the music. In the grammar (pt. 1) we can find a text with the title "Machiorum medicantium cantiunculae seu geicurehuen pu machi ta ni úl" (pp. 237-9). German linguist Johann Christoph Adelung (1732-1806) was of course familiar with Havestadt's book. He later referred to it in his - posthumously published - Mithridates, oder allgemeine Sprachenkunde (Vol. 3.2, 1813, p. 403 etc). 

But already in 1799 he put together a little anthology with the title Proben der Dichtung ungebildeter Völker that was published in W. G. Becker's Erholungen. This included texts from Lappland, the Baltic, Siberia and the Americas in the original language and in German translation. One of them was Havestadt's piece, here called "Lied eines Zauberers in Chili beim Kräutersammeln" (pp. 201-6). The Brothers Grimm later copied these exotic poetry for their own intended collection of Volkslieder. But this project remained unfinished and they never managed to publish it (see Oberfeld I, 1985, pp. 442-4; Becker & Schopf 1889). 

Literature 
  • Johann Christoph Adelung, Proben der Dichtung ungebildeter Völker. Erstes Dutzend, in: Erholungen. Herausgegeben von W. G. Becker, 1799, 1. Bändchen, Koch und Weigel, Leipzig, 1799, pp. 194-208, at Google Books [= Princeton; bad quality]; at UB Göttingen [quality much better] 
  • Johann Christoph Adelung, Mithridates oder allgemeine Sprachenkunde mit dem Vater Unser als Sprachprobe in beynahe fünfhundert Sprachen und Mundarten, Voss, Berlin, 1806-1817, 4 Vols. ,at the Internet Archive (Vols. 1/3; Vols. 2/4
  • Moritz Bach, Die Jesuiten und ihre Mission Chiquitos in Südamerika. Eine historisch-ethnographische Schilderung. Herausgegeben und mit einem Vorworte begleitet von Dr. Georg Ludwig Kriegk, Mittler, Leipzig, 1843, at Google Books [= BSB]; at Google Books [= BL] 
  • Jörg Becker & Frederico Schopf, Lied eines Zauberers in Chili, in: Charlotte Oberfeld et al. (eds.), Brüder Grimm Volkslieder. Aus der Handschriftensammlung der Universitätsbibliothek Marburg, Bd. 2: Kommentar, Marburg, 1989, pp. 308) 
  • Henry Kammler, Karl Julius Platzmann: ein Leipziger und die Indianersprachen, in: Quetzal. Politik und Kultur in Lateinamerika. Online-Magazin 8, 1994 (at quetzal-leipzig.de
  • Johannes Meier, P. Bernhard Havestadt (1714-1781), ein Kölner Jesuit als Missionar und Sprachwissenschaftler bei den Mapuche in Chile, in: Mariano Delgado & Hans Waldenfels (eds.), Evangelium und Kultur. Begegnungen und Brüche. Festschrift für Michael Sievernich, Fribourg & Stuttgart, 2010 (= Studien zur Christlichen Religions- und Kulturgeschichte 12), pp. 545-550 
  • Michael Müller, P. Bernhard Havestadts "Chilidúgú". Das literarische Vermächtnis eines Indianermissionars, in: Jahrbuch Kirchliches Buch- und Bibliothekswesen 5, 2004, pp. 105-129 
  • Christoph Gottlieb von Murr, Nachrichten von verschiedenen Ländern des Spanischen Amerika. Aus eigenhändigen Aufsätzen der Gesellschaft Jesu 1810, Hendel, Halle, 1809/11, 2 Vols., at the Internet Archive [= GettyRI] at BSB [= GB] 
  • Charlotte Oberfeld et al. (eds.), Brüder Grimm Volkslieder. Aus der Handschriftensammlung der Universität Marburg, 1: Textband, Marburg, 1985 
  • O. Rich, Bibliotheca Americana Nova; or, A Catalogue of Books in Various Languages, Relating to America, Printed since the Year 1700. Compiled principally from the works themselves, New York & London, 1835, at the Internet Archive [= CDL] 
  • Victor Rondón, 19 canciones misionales en mapudúngún contenidas en el Chilidúgú (1777) del misionero jesuita, en la Araucanía, Bernardo de Havestadt (1714-1781), Santiago, 1997 (see: elcobijoenlacolina.com, 19.10.2011) 
  • Victor Rondón, Música y evangelización en el cancionero Chilidúgú (1777) del padre Havestadt, misionero jesuita en la Araucanía durante el siglo XVIII, in: Manfred Tietz & Dietrich Briesemeister (eds.), Los Jesuitas españoles expulsos: su imagen y su contribución al saber sobre el mundo hispánico en la Europa del siglo XVIII. Actas del Coloquio Internacional de Berlín (7-10 de abril de 1999), Frankfurt/M. & Madrid, 2001, pp. 557-580; online at memoriachilena (BNC) 
  • Victor Rondón, 22/Sung Catechism and College Opera: Two Musical Genres in the Jesuit Evangelization of Colonial Chile, in: The Jesuits II. Cultures, Sciences, and the Arts, 1540-1773. Edited by John W. O'Malley, S.J. et al., Toronto etc., 2006, pp. 498-510