tag:blogger.com,1999:blog-2950548524392050592024-03-16T18:21:25.972+01:00...Humming A Diff'rent TuneOld Songbooks, Music History & MoreJürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.comBlogger101125tag:blogger.com,1999:blog-295054852439205059.post-74509723713680319292020-04-27T10:49:00.002+02:002021-05-02T15:36:29.766+02:00"Kein seeliger Tod ist in der Welt" - The Strange History of a German "Battle Song": From The Thirty Years' War To The First World War (Pt. 2)<br />
<b><a href="https://hummingadifferenttune.blogspot.com/2020/04/BattleSong1626.html" target="_blank">Part 1</a>:</b><br />
I. Introduction<br />
II. Herder (1778) - Morhof (1682) - Vogel (1626)<br />
III. The War Poetry of the Seven Years' War<br />
<br />
<b>Part 2:</b><br />
IV. Herder and the Volkslieder (1778)<br />
V. After Herder: From the Napoleonic Wars to the First World War<br />
VI. Conclusion<br />
Literature<br />
<br />
<br />
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<b>IV. Herder and the Volkslieder (1778)</b></div>
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The war ended in 1763 with the peace of Hubertusburg. Many soldiers and civilians were dead and Prussia was nearly ruined. Otherwise not much had changed and nobody had won anything. But the war songs remained and were still read and sung. I should mention that only in 1771 Klopstock managed to publish an updated version of his "Kriegslied" as "Heinrich der Vogler" in his <i>Oden</i> (<a href="https://books.google.de/books?id=G0c_AAAAcAAJ&hl=de&pg=PA110#v=twopage&q&f=false" target="_blank">pp. 111-3</a>). To avoid misunderstandings he replaced Friedrich with Heinrich I., the "German" king who won the battle against the Magyars. I wonder if he perhaps knew about Vogel's obscure epic. But we can see that Heinrich was at that time already established as a hero of German history. Klopstock also added some more battle songs (see <a href="https://books.google.de/books?id=G0c_AAAAcAAJ&hl=de&pg=PA71#v=twopage&q&f=false">pp. 71-2</a> & p. 205) as well as some pseudo-Germanic "bardic" odes like "Hermann und Thusnelda" (<a href="https://archive.org/details/GleimKriegslieder1758/page/n5/mode/2up">pp. 144-5</a>). "Hermann the Cheruscan" had already become a great "hero" from the past and his fight against the Romans was regularly celebrated by patriotic poets. In fact German poetry remained very martial even though at that time no war was going on.</div>
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Meanwhile young Johann Gottfried Herder was busy making himself a name a writer and scholar. He was from East Prussia but no Prussian patriot and also no admirer of King Friedrich. Herder always despised Prussia's militarism and despotism, particularly the "military slavery" (see Erinnerungen, <a href="https://books.google.de/books?id=NDoJAAAAQAAJ&hl=de&pg=PA33#v=twopage&q&f=false" target="_blank">pp. 32-3</a>, p. 74; Horn 1928). When he left Prussia on his way to Riga in 1764 he nearly kissed the ground after he had crossed the border (Böttiger 1838, <a href="https://archive.org/details/bub_gb_k6FbAAAAMAAJ/page/n119" target="_blank">p. 112</a>).</div>
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Nonetheless he loved and admired Gleim's war songs. In his first major work, the <i>Fragmente Ueber die neuere deutsche Literatur</i> (II, 1767, <a href="https://archive.org/details/HerderNdl21767/page/n175" target="_blank">pp. 345-9</a>) he included a chapter about the grenadier's songs. Here he celebrated them as "national songs [...] that nobody of our neighbors has", "Nationalgesänge: voll des preußischen Patriotismus" and Gleim as the German Tyrtaeus whose eleven songs have "more right to immortality" than the Greek poet's four songs. We can see here an amalgamation of Prussian and German patriotism: "hier hat einmal ein Deutscher Dichter über sein Deutsches Vaterland ächt und brav Deutsch gesungen". A year later in a letter to Gleim - who would become his life-long friend - he once again lauded the grenadier's songs and their "powerful language" (Herder, Briefe I, No. 48, p. 108).</div>
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Gleim's war songs and especially Lessing's introduction to the <i>Kriegslieder</i> were of great importance for Herder when he developed his concept of "Volkslied" (see Gaier in HW 3, pp. 848-50; see Hildebrandt, pp. 428-9). He understood war as one of the basic situations that inspired songs: "the martial nation sings about the feats of its ancestors and cheers itself up to feats" (Alte Volkslieder, 1773, in SWS 25, <a href="https://archive.org/details/HerderSWS251885/page/n105" target="_blank">p. 82</a>). In fact there were many songs about war and fighting in the <i>Volkslieder</i>, but nearly all of them from other countries and he deeply regretted the lack of relevant German songs, the "battle and freedom chants" of the old Germanic people. In the introduction to his first unpublished attempt at an anthology, the <i>Alte Volkslieder</i> (1773, SWS 25, <a href="https://archive.org/details/HerderSWS251885/page/n27">p. 5</a>), Herder expressed his patriotic longing for the lost songs of the old "bards" collected by Charlemagne. And later in <i>Über die Wirkung der Dichtkunst auf die Sitten der Völker in alten und neuen Zeiten</i> (<a href="https://books.google.de/books?id=NY1SAAAAcAAJ&hl=de&pg=PA85#v=onepage&q&f=false" target="_blank">p. 85</a>) written in 1777 he pleaded: "O hätten wir diese Gesänge noch oder fänden wir sie wieder".</div>
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Therefore the battle-song in Morhof's book was most welcome to him. It looked like one of the few relics of the alleged old German "bardic" tradition. When he compiled the <i>Alte Volkslieder</i> in 1773 he first intended to use the complete song with all eleven verses but then decided to quote only the last verse as well as some lines from the other verses in the introduction to the third part (SWS 25, <a href="https://archive.org/details/HerderSWS251885/page/n91" target="_blank">pp. 115-9</a>; pp. 68-72). In the notes he referred - of course - to both Gleim and Klopstock but strangely also to Pope's and Dryden's "Musikoden". It seems he meant their odes for St. Cecilia's Day. Dryden's had been set to music by Händel (1739, at <a href="https://imslp.org/wiki/Ode_for_St._Cecilia%27s_Day,_HWV_76_(Handel,_George_Frideric)" target="_blank">IMSLP</a>). This looks to me like name-dropping and I can't see a relationship.</div>
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It is clear that the reference to the death for the fatherland also must have caught Herder's attention. This formula was of well-known at that time. Both Klopstock and Gleim had used them in their songs and Herder was familiar with Abbt's above-mentioned treatise. But he also knew Horatius' ode, in fact he even translated that text. It was printed a year later - anonymously - in his friend Matthias Claudius' <i>Wandsbecker Bothe</i> (<a href="https://hdl.handle.net/2027/mdp.39015055415114?urlappend=%3Bseq=778" target="_blank">No. 191</a>, 30.11.1774). In 1778 Herder published, encouraged by, among others, his friend Gleim, the first volume of the <i>Volkslieder</i> and here also included the battle-song from Morhof's book, but this time he only used the last verse and referred the readers to Morhof for the other verses.</div>
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It should be noted that at that time another war was in the making and would start soon. The War of Bavarian Succession - later called the "potato war" - would come to an end already a year later without any battles. Nonetheless there was a new flood of saber-rattling songs by German poets. Gleim's <i>Preußische Kriegslieder</i> were published again (at <a href="https://gdz.sub.uni-goettingen.de/id/PPN638211514" target="_blank">UB Göttingen</a>) and he also wrote new war-songs that were printed as <i>Preußische Kriegslieder, im März und April 1778</i> (at <a href="http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb11259928-8" target="_blank">BSB</a>). Gleim sent a copy to Herder who was very impressed (see Herder, Briefe 4, No. 51, p. 67 ) but otherwise the new anthology wasn't really successful. These texts sounded weak compared to the original <i>Kriegslieder</i>. Christian Gottlieb Contius from Saxony wrote <i>Lieder zum Feldzuge 1778</i> (at <a href="http://nbn-resolving.org/urn:nbn:de:gbv:3:1-737952" target="_blank">UB Halle</a>). Gleim's former friend Karl Wilhelm Ramler in Berlin published - one book for both armies (!) - <i>Kriegslieder für Josephs und Friedrichs Heere</i> (at <a href="https://books.google.de/books?id=I61UAAAAcAAJ" target="_blank">Google Books</a>) where all the tired clichés including the death for the fatherland were recycled once again. There was also a new translation of Tyrtaeus' elegies, this time for the use in schools by one D. E. Mörschel, a military chaplain (at <a href="https://books.google.de/books?id=HVQ-AAAAcAAJ" target="_blank">Google Books</a>).</div>
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This was more or less the background music when the first book of Herder's <i>Volkslieder</i> was published. Those who bought this anthology found a considerable amount of old martial songs for example from Scandinavia and Spain. The "Schlachtgesang" (I.2.18, <a href="https://archive.org/details/HerderVolkslieder177892Bde/page/n179/mode/2up" target="_blank">pp. 177-8</a>) was the only "old" German war-song. In this context at that time it may have looked like another comment on the current war and it could easily be read as a historical companion piece to Gleim's and Klopstock's <i>Kriegslieder</i>. But strangely this time Herder didn't refer to them in the notes. Instead (notes, <a href="https://archive.org/details/HerderVolkslieder177892Bde/page/n325" target="_blank">pp. 323-4</a>) he only mentioned Percy who "would have started a book with it". This was of course his standard criticism of the lack of interest for these kind of songs in Germany: "aber wir? uns gesitteten Deutschen trage man so etwas auf."</div>
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Herder only used the last verse of the original text - the epic had now shrunk to a short song - and otherwise referred the readers to Morhof's book to read the rest. Interestingly he also called it "old" - "Es ist gewiß alt" - even though Morhof had said the opposite because he knew it wasn't that old. One may assume that this was Herder's attempt to to extend his anthology's historical depth: the older the better! Perhaps some readers really thought this was a song of a medieval bard.</div>
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A year later the second volume of the <i>Volkslieder</i> appeared and of course more songs about wars and fighting were included. Here he also used - to close a circle - "The Ancient Ballad of Chevy-Chase" (II.3.7, <a href="https://archive.org/details/HerderVolkslieder177892Bde/page/n599" target="_blank">pp. 213-26</a>), but this time the earlier version from Percy's <i>Reliques</i> (Vol. 1, 2nd ed., 1767 , No. 1, <a href="https://archive.org/details/reliquesancient29percgoog/page/n83" target="_blank">pp. 1-17</a>). There is also another song from the time of the ThirtyYears' War: Moscherosch's amalgamation of Zincgref's and Weckherlin's poems and he called it "Schlachtlied" (II.3.11, pp. 240-4, notes, II, <a href="https://archive.org/details/HerderVolkslieder177892Bde/page/n627" target="_blank">p. 310</a>). They are not identified as the original authors. Herder only had an unauthorized print of <i>Sittewalds Gesichten</i> without the marginalia of the first edition (Leyden, 1646, Vol. 4, <a href="https://books.google.de/books?id=pgZOAAAAcAAJ&hl=de&pg=PA114#v=twopage&q&f=false" target="_blank">pp. 114-7</a>). But he should have known that both poems had just been included in Eschenburg's <i>Auserlesene Stücke der besten deutschen Dichter</i> (Vol. 3, 1778, pp. 237-46 & <a href="https://books.google.de/books?id=mlM7AAAAcAAJ&hl=de&pg=PA194#v=twopage&q&f=false" target="_blank">pp. 194-7</a>) and I wonder if he was aware of who their authors were.</div>
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Nonetheless he now had a companion piece to the "Schlachtgesang": two "old" patriotic German soldier songs celebrating the death for the "fatherland" - whatever that was at that time - that served as a supplement to all the foreign war and battle songs he had included. From now on they were easily available and we can follow their further history. We will see that Vogel's obscure piece became more famous than it ever has been even though it would take a long time until he was identified as its original writer.</div>
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<b>V. After Herder: From the Napoleonic Wars to the First World War</b> </div>
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Herder's <i>Volkslieder</i> were clearly not a big success at first. But they served as an inspiration and source for later scholars, writers and editors who became interested in this newly invented genre. But it took more than 30 years until Vogel's "song" was revived. In 1806 Achim von Arnim and Clemens Brentano published the first volume of <i>Des Knaben Wunderhorn</i>, their great anthology of what they regarded as <i>Volkslieder</i>. Herder's ground-breaking collection served as a major source for them. Nearly all relevant German texts were reused, either taken directly from Herder or else they went back to his original source. </div>
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This was also the case with the "Schlachtgesang". They checked Morhof's book and included a nearly complete version of eight of the eleven verses and called it "Frommer Soldaten seligster Tod" ("A pious soldier's blissful death"). A reference to Morhof was added (<a href="https://archive.org/details/desknabenwunderhorn11806/page/n251" target="_blank">I, 245</a>; Roellecke DKW I, pp. 424-30). By the way, Goethe wrote a review of the <i>Wunderhorn</i> for the <i>Jenaische Allgemeine Literatur-Zeitung</i> (3, 1806, col. 137–144 & 145–148, here <a href="http://www.deutschestextarchiv.de/book/view/goethe_wunderhorn_1806?p=4" target="_blank">col. 142</a>) and commented on every single text in this collection. His remark about this particular piece sounds very accurate: "Perhaps uplifting in peace and while marching but in war and close to mischief it becomes horrible.".</div>
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There were many more martial songs of all kinds in the <i>Wunderhorn</i>. One may say there was a great demand for patriotic war and battle songs that year. It was the time of the Napoleonic Wars, not long after the battle of Austerlitz. The French were on a winning streak and the future for Prussia and the rest of fragmented Germany looked rather bleak. At around the same time Achim von Arnim compiled and published a broadside of <i>Kriegslieder</i>. Here we find another version of this piece. The same text also appeared on at least one commercial broadside but it looks like Arnim was the author (see Steig, <a href="https://archive.org/details/achimvonarnimund01stei/page/198" target="_blank">pp. 198</a>; Röllecke 1971):</div>
<blockquote class="tr_bq">
Kein sel'ger Tod ist in der Welt,<br />
Als wer vorm Feind erschlagen<br />
Auf grüner Heid' in freiem Feld<br />
Darf nicht hören groß Wehklagen.<br />
<br />
Im engen Bett er sonst allein<br />
Muß an den Todesreihen,<br />
Hier aber ist Gesellschaft fein,<br />
Fall'n mit wie Kräuter im Maien.<br />
<br />
Kein einz'ger Tod mir so gefällt!<br />
Wer da mit Klang begraben,<br />
Der wird das große Schlachtenfeld<br />
Zum Denkmal ewig grün haben.<br />
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Da denk und ruf ich, wenn ich sterb,<br />
Viktoria den andern,<br />
Da ist der Todestrank nicht herb,<br />
Da muß das Gläschen noch wandern. </blockquote>
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Here the last verse of the original text was turned - for the first time - into a modern, singable song of four stanzas. But this particular variant didn't prove successful. Others followed soon. But at first a new edition of Herder's <i>Volkslieder</i> appeared posthumously in 1807. Now it was called <i>Stimmen der Völker in Liedern</i>. The editors - his widow Karoline von Herder and Swiss scholar Johann von Müller - again included the "Schlachtgesang" and made it available for new generations of readers (5.3, <a href="https://archive.org/details/herderstimmen1807anl/page/n485" target="_blank">p. 466</a>). But in this edition the songs were arranged more or less in geographical and chronological order. Therefore we find this text in the chapter with German songs between Moscherosch's "Schlachtlied" and another - more peaceful - poem from the Baroque era. </div>
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In 1814, the time of the so-called <i>Befreiungskriege</i> against France, one Karl Wilhelm Göttling (1793-1869; see <a href="https://de.wikipedia.org/wiki/Karl_Wilhelm_G%C3%B6ttling" target="_blank">Wikipedia</a>), a young student and volunteer soldier who would later become a famous philologist, wrote an adaptation that didn't leave much of the original text, only two lines in the first verse. This new version was set to music by popular composer Albert Methfessel (1785-1869) who then included the song in his <i>Allgemeines Commers- und Liederbuch</i>, a songbook for students (1818, No. 67, <a href="https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN772199469&PHYSID=PHYS_0136&DMDID=DMDLOG_0005&view=picture-double" target="_blank">pp. 126-7</a>; 1823, No. 87, <a href="https://archive.org/details/allgemeinescomme00meth/page/168" target="_blank">pp. 168-9</a>): </div>
<blockquote class="tr_bq">
Kein schön´rer Tod auf dieser Welt,<br />
Als wer auf grüner Heide fällt!<br />
Auf grüner Heide schlafen,<br />
Wenn Schwerdt und Kugel trafen:<br />
Das nenn´ ich süsse Ruh,<br />
Thät´ gern die Augen zu.<br />
<br />
Und zieht ihr heim ins Vaterland -<br />
'Wer fällt, zieht noch in schön’res Land;<br />
Des Heils kann sich vermessen,'<br />
Kann Welt und Glück vergessen,<br />
Wer unter Blumen ruht,<br />
Getränkt von treuem Blut<br />
<br />
Und wer daheim ein Herz noch kennt,<br />
Das treu sich und sein eigen nennt,<br />
Der denke dran im Streite,<br />
daß Freiheit er bereite,<br />
Zum Heil dem Vaterland<br />
Zum Heil dem Liebesband!<br />
<br />
Drum, Brüder, rasch die Wehr zur Hand!<br />
Den kühnen Blick zum Feind gewandt!<br />
Lasst euer Banner schweben!<br />
Ertrotzt vom Tod das Leben!<br />
Denn nur aus Sieg und Tod<br />
Blüht Freiheitsmorgenroth. </blockquote>
<div style="text-align: justify;">
This song became quite popular and was occasionally reprinted during the following decades. But there were more attempts at bringing this old text into the modern age of new German nationalism. Another version can be found in the popular songbook <i>Deutsche Lieder für Jung und Alt</i> (1818, <a href="https://books.google.de/books?id=lb46AAAAcAAJ&hl=de&pg=PA74#v=twopage&q&f=false" target="_blank">pp. 75-6</a>): four of the verses used in the <i>Wunderhorn</i> set to music by an unnamed composer. One more reworking of the last verse appeared in a periodical <i>Zeitschwingen oder des deutschen Volkes fliegende Blätter</i> (1819, <a href="https://books.google.de/books?id=YIpEAAAAcAAJ&hl=de&pg=PA192#v=onepage&q&f=false" target="_blank">p. 192</a>). But most important was a variant that appeared in 1824 in an anthology with the title <i>Kriegs- und Volkslieder</i> (No. 61, <a href="https://hdl.handle.net/2027/hvd.hny3a9?urlappend=%3Bseq=94" target="_blank">pp. 79-80</a>), compiled and edited by young poet Wilhelm Hauff (1802-1827; <a href="https://de.wikipedia.org/wiki/Wilhelm_Hauff" target="_blank">Wikipedia</a>). </div>
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This collection included nearly 100 pages of older and more recent patriotic war and soldier songs. The editor - who remained anonymous - dedicated the book to the secretary of war of his home state Württemberg and according to the rather martial introduction it was inspired by officers there who wished to have "better" songs available for their soldiers to get rid of all the bawdy and insipid pieces that were apparently quite popular back then. Hauff also included Göttling's "Kein schönrer Tod" (No. 15, pp. 22-3). His newly edited version of the old "Schlachtlied" was derived from the text in Herder's <i>Volkslieder</i>. He turned Vogel's last stanza into a singable song of three verses and even indicated a tune: </div>
<blockquote class="tr_bq">
Kein schön´rer Tod ist in der Welt<br />
Als wer vorm Feind hinscheid't,<br />
Auf grüner Heid, im freien Feld<br />
Nicht hören darf Klag' und Leid;<br />
Im engen Bett nur Einer allein<br />
Muß an des Todes Reih'n,<br />
Hier aber find't er Gesellschaft sein,<br />
Fallen mit, wie die Kräuter im Mai'n.<br />
<br />
Manch frommer Held mit Freudigkeit<br />
Hat zugsetzt Leib und Blut,<br />
Starb sel´gen Tod auf grüner Heid,<br />
Dem Vaterland zu gut.<br />
Kein schön'rer Tod ist in der Welt<br />
Als wer vorm Feind hinscheid't,<br />
Auf grüner Heid', im freien Feld,<br />
Nicht hören darf Klag' und Leid.<br />
<br />
Mit Trommelklang und Pfeifengetön<br />
Manch frommer Held ward begraben,<br />
Auf grüner Heid' da fiel er ja so schön,<br />
Unsterblichen Ruhm thut er haben<br />
Kein schön'rer Tod ist in der Welt<br />
Als wer vorm Feind hinscheid't,<br />
Auf grüner Heid', im freien Feld,<br />
Nicht hören darf Klag' und Leid. </blockquote>
<div style="text-align: justify;">
This particular variant was then used 15 years later by Friedrich Silcher (1789-1860; see Schmid 1989, Dahmen 1989, Bopp 1916) who wrote a new tune and included the song in one of his collections of <i>Volkslieder</i>. Silcher's importance for German popular music during the 19th century should never be underestimated. I wrote about him several times (see for example <a href="https://justanothertune.com/html/raig.html#Chapter4" target="_blank">here</a>) and will only mention a few points here. He was one of the most successful and influential promoters of <i>Volkslieder</i> in Germany and supplied the choirs with songs and arrangements. </div>
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<i>Männergesangvereine</i> were not simply some men singing in a choir but an expression of the political and cultural emancipation of the ascending middle-class (for the historical background see Klenke 1998, esp. pp. 21-50, Nickel 2013, esp. pp. 67-86). It was a time of political repression - the Carlsbad decrees (1819) had put the screws on the national and democratic movements in the still fragmented Germany - and the singing associations offered one of the few possibilities to express modern political patriotism. </div>
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Silcher was <i>Musikdirektor</i> at the university of Tübingen since 1817 and he stayed there for the rest of his life. Since 1826 he published a series with the title <i>XII Volkslieder für Männerstimmen</i> (see here <a href="http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb11139631-8" target="_blank">Vol. 1</a>), songs in the popular style arranged for male choirs. This would become one of the century's most successful musical publications. A considerable part of his repertoire was made up of patriotic songs of all kinds, often very martial. In 1839 the sixth volume appeared (AMZ 41, 1839, <a href="https://books.google.de/books?redir_esc=y&hl=de&id=NWQPAAAAYAAJ" target="_blank">p. 481</a>). Here he included - besides the famous Loreley" - several soldier songs: "Es geht bei gedämpfter Trommel Klang", "Wer will unter die Soldaten" and as the first number, his own version of "Kein schön'rer Tod ist in der Welt" (see in a later ed., 1902, No. 74, <a href="https://archive.org/details/SilcherVLMstNA1902/page/n139" target="_blank">p. 127</a>): </div>
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The text was taken from Hauff's anthology. Wilhelm Hauff had studied in Tübingen 1820 - 1824, they had known each other (see Dahmen 1987, p. 73) and Silcher was surely familiar with this collection. It is nearly identical, except for a few edits that make it look closer to the wording of the text in Herder's <i>Volkslieder</i> which he also knew very well. The tune was his own. In fact Silcher wrote a considerable number of the melodies himself and first passed them off as authentic "Volksweisen". This he only admitted much later. Nearly a third of those published in the <i>Volkslieder für Männerstimmen</i> were his own compositions (see Bopp, p. 167). Shortly later, in 1841 he also wrote an arrangement for voices and piano for his other important series, the <i>XII Deutsche Volkslieder mit Melodien für 1 oder 2 Singstimmen mit Pianoforte</i> (Vol. 4, No. 2; see a reprint 1869, No. 38, <a href="https://archive.org/details/SilcherDeutscheVolksliederNeuaufl1869/page/n51" target="_blank">pp. 41-2</a>).</div>
<br />
<div style="text-align: justify;">
At this point this old text by a 17th-century poet who imagined what a medieval "bard" would sing had arrived in the modern world. It was now usable in the context of the new German nationalism. "Kein schön'rer Tod" would become one of Silcher's most popular songs´(see f. ex. AMZ 12, No. 40, 3.8.1877, <a href="https://books.google.de/books?id=PFEfAAAAMAAJ&hl=de&pg=PA625#v=onepage&q&f=false" target="_blank">col. 626</a>). Not only was it easily available in his own publication that were regularly reprinted and published anew. We can also find this piece in a great number of popular songbooks for all purposes. Among the first were the nicely illustrated <i>Alte und neue Soldatenlieder. Mit Bildern und Singweisen</i> (1842, No. 2, <a href="https://archive.org/details/alteundneuesolda00pocc/page/6" target="_blank">p. 6</a>; new ed. 1847, No. 64, <a href="https://books.google.de/books?id=x3ZcAAAAcAAJ&hl=de&pg=PA82#v=twopage&q&f=false" target="_blank">p. 82</a>), the massive anthology <i>Musikalischer Hausschatz der deutschen Volkes</i> (1843, No. 579, <a href="https://books.google.de/books?id=Dr9IAAAAcAAJ&pg=PA361" target="_blank">p. 361</a>) and <i>Lieder für Männer-Turngemeinden</i> (1846, No. 102, <a href="https://books.google.de/books?id=UJsyAQAAMAAJ&hl=de&pg=PA212#v=twopage&q&f=false" target="_blank">pp. 212-3</a>). The latter was a songbook for gymnastic clubs, also hotbeds of nationalist sentiments. </div>
<br />
<div style="text-align: justify;">
But especially editors of anthologies for schools and the youth apparently felt it necessary to include this song. I will only mention here <i>Neuer Liederhain. Sammlung mehrstimmiger Lieder für Schule und Haus. Jünglings- und Männerlieder</i> (Vol. 2, 1854, No. 28, <a href="https://books.google.de/books?id=YDLRfI0vqE8C&hl=de&pg=PA29#v=onepage&q&f=false" target="_blank">p. 29</a>), Erk's and Greef's <i>Singvögelein. Sammlung ein-, zwei-, drei- und vierstimmiger Lieder für Schule, Haus und Leben</i> (Vol. 5, 1855, No. 34, <a href="https://books.google.de/books?id=oFtcAAAAcAAJ&hl=de&pg=PA18#v=twopage&q&f=false" target="_blank">p. 19</a>), Greef's <i>Chorlieder, heitere und ernste, für Gymnasien und andere höhere Schulen: Erstes Heft</i> (H. 1, 1862, No. 12, <a href="https://books.google.de/books?id=ZVhcAAAAcAAJ&hl=de&pg=PA11#v=onepage&q&f=false" target="_blank">p. 11</a>) - in the latter two as "Altdeutsches Schlachtlied" with a reference to Morhof - and Lützel's <i>Liederkranz. Sammlung ein- u. mehrstimmiger Lieder für Schule u. Leben. Ein- und zweistimmige Lieder enthaltend</i> (Vol. 1, 1863, No. 85, <a href="https://books.google.de/books?id=uV9cAAAAcAAJ&hl=de&pg=PA70#v=onepage&q&f=false" target="_blank">p. 70</a>). Of course we can also find it in student songbooks like the wildly popular and often reprinted <i>Allgemeine Deutsches Commersbuch</i> of which Silcher was one of the original editors (1861, <a href="https://books.google.de/books?id=NX5B9naTDfsC&hl=de&pg=PA406#v=twopage&q&f=false" target="_blank">p. 406</a>; 1883 ed., No. 59, <a href="https://archive.org/details/allgemeinesdeut00erkgoog/page/n79" target="_blank">p. 65</a>). </div>
<br />
<div style="text-align: justify;">
The year 1871 was a political watershed with the foundation of the German <i>Kaiserreich</i>. And now, freshly united, many Germans seemed to have an even greater obsession for patriotic songs, the more martial the better. Especially the youth was regularly treated to war and battle songs of all kinds and this one was amongst the most popular of them. We may look into a <i>Liederbuch für die deutsche Jugend</i> (Vol. 2, 1871, No. 39, <a href="https://books.google.de/books?id=s1tcAAAAcAAJ&hl=de&pg=PA35#v=onepage&q&f=false" target="_blank">pp. 35-6</a>) or in school songbooks like Erk's and Greef's <i>Liederkranz. Auswahl heiterer und ernster Gesänge für Schule, Haus und Leben</i> (Vol. 3, No. 48, <a href="https://archive.org/details/ErkGreefLiederkranz3Aufl61882/page/n61" target="_blank">pp. 57-8</a>) and Sering's <i>Concordia. Auswahl mehrstimmiger Männergesänge für höhere Schule</i>n (c. 1880s, I, No. 15, <a href="https://archive.org/details/SeringConcordiaAuswahlMgMagdeburgNd/page/n15" target="_blank">pp. 15-6</a>). Occasionally Göttling's version appeared, for example in Erk's <i>Deutscher Liederschatz. 250 männerstimmige Gesänge für die höheren Klassen der Gymnasien und Realschulen und für Seminarien</i> (1889, No. 187, <a href="https://archive.org/details/ErkDLsch250GesaengeGesAusgAufl41889/page/n197" target="_blank">p. 186</a>) but Silcher's song was clearly much more popular. </div>
<br />
<div style="text-align: justify;">
I get the impression that after the turn of the century this piece was reprinted even more often, for example in <i>Auswahl von Liedern für deutsche Schulen</i> by Bösche and Linnarz (9th ed., 1902, No. 37, <a href="https://archive.org/details/LinnarzBoescheAuswahlLiederSchuleHeft31902/page/n37" target="_blank">p. 38</a>), Breu's <i>Deutsches Jugendliederbuch für Gymnasien, Oberrealschulen, Realschulen und andere höhere Lehranstalten</i> (2nd ed., 1909, No. 42, <a href="https://archive.org/details/BreuDtJugendliederbuchEssen1909/page/n45" target="_blank">p. 35</a>) as well as in one with the title <i>Gute Geister. 4stimmige gemischte Chöre für Gymnasien, Realschulen, Lehrerbildungsanstalten</i> (1909, No. 85, <a href="https://archive.org/details/GuteGeisterGemChoereNuernberg1909/page/n197" target="_blank">pp. 189-90</a>). In Lang's and Mezger's <i>Liederlust. Eine stufenmäßig geordnete Sammlung von Liedern für Knaben- und Mädchenschulen</i> (c. 1913, No. 202, <a href="https://archive.org/details/LangMezgerLiederlustIIStuttgartNd1913/page/n171" target="_blank">p. 170</a>) it was even included in the volume for 10 to 14 year old pupils. Young people also found it in the songbooks for the <i>Wandervogel</i>-movement , especially in the famous <i>Zupfgeigenhansl</i> (1909, here 1913, <a href="https://digital.ub.uni-duesseldorf.de/content/pageview/2065644" target="_blank">p. 162</a>) or in Werckmeister's <i>Wandervogel Liederborn für die Deutsche Jugend</i> (1910, No. 327, <a href="https://archive.org/details/WerckmeisterWandervogelLiederborn1910/page/n241" target="_blank">pp. 231-2</a>). Both had special chapters of soldier songs. </div>
<br />
<div style="text-align: justify;">
At this point the song had become willful and - seen from today - irresponsible propaganda and it makes me wonder what the editors of these kind of anthologies really thought when they wanted children and young people sing about how "beautiful" the death for the fatherland would be. Of course we can ask if singing a text like this had practical effects. But at least it can be seen a one little element in the process of the "militarization of male youth" (see Schubert-Weller 1998) since the 1890s. At that time the song was a kind of popular companion piece to Horatius' "Dulce et decorum est pro patria mori". His ode was of course taught in school. During these years before the war commentaries for the use in schools encouraged more "militaristic" readings of this text (see <a href="https://doi.org/10.11588/fc.2014.2.3947" target="_blank">Freund 2014</a>; here p. 129). </div>
<br />
<div style="text-align: justify;">
In 1914 the <i>Great War</i> started and the song of course remained in use and was apparently sung by soldiers and civilians (see f. ex. Glaeser in Weltbühne 1928, <a href="https://archive.org/details/DieWeltbhne24-21928/page/n419" target="_blank">p. 410</a>; Beaufort 1918, <a href="https://archive.org/details/cu31924027827868/page/n245" target="_blank">p. 204</a>). In one periodical it was called "The soldier's song of all soldier's songs, with which the brave are still buried in the field today" (Grenzboten 1915, <a href="https://brema.suub.uni-bremen.de/periodical/pageview/323290" target="_blank">p. 182-3</a>). This seems to mean that it was sung at fallen soldiers' burials. Later there were also claims that German students died with with Horatius' line "in their hearts and on their lips" (quoted in Freund 2014, p. 127). As far as I know barely any criticism was uttered against the glorification of the "beautiful" death for the fatherland. Young Bertolt Brecht had some problems in school for mocking this idea in an essay (see Freund 2014, p. 130). Still during the war - but only first published in 1922 and then 1927 in his <i>Hauspostill</i>e - he wrote his "Legende vom toten Soldaten" (see Cohen-Pfister 1985, <a href="https://archive.org/details/newgermanreview01univ/page/34" target="_blank">pp. 34-5</a>; see <a href="https://de.wikipedia.org/wiki/Legende_vom_toten_Soldaten" target="_blank">Wikipedia</a>): </div>
<blockquote class="tr_bq">
[...] <br />
Und als der Krieg im vierten Lenz<br />
Keinen ausblick auf Frieden bot<br />
Da zog der Soldat seine Konmsequenz<br />
Und starb den Heldentod<br />
[...] </blockquote>
<div style="text-align: justify;">
I may add that it looked a little bit different in England where Horatius' ode had also been taught to the young people, the future soldiers. Poet and officer Wilfried Owen (1893-1918, see <a href="https://en.wikipedia.org/wiki/Wilfred_Owen" target="_blank">Wikipedia</a>, see also Freund, p. 130) debunked it in a touching poem written shortly before he himself died in the war (Owen, Poems, <a href="https://archive.org/details/poemswilf00owenuoft/page/14" target="_blank">p. 15</a>): </div>
<blockquote class="tr_bq">
[..]<br />
If you could hear, at every jolt, the blood<br />
Come gargling from the froth-corrupted lungs<br />
Bitten as the cud<br />
Of vile, incurable scores on innocent tongues, - <br />
My friend, you would not tell with such high zest<br />
To children ardent for some desperate glory,<br />
The old Lie: Dulce et decorum est <br />
Pro Patria mori </blockquote>
<div style="text-align: justify;">
After the war ""Kein schön'rer Tod" remained popular and well known in Germany. There were references in literature and art, some very critical, especially the laconic sketch by George Grosz (1927, see Grosz 1971, <a href="https://archive.org/details/loveaboveallothe00gros/page/94" target="_blank">[p. 94]</a>). But the song was regularly reprinted in songbooks, particularly those for young people (see <a href="http://www.deutscheslied.com/de/search.cgi?cmd=search&srch_Titel=Kein+sch%F6nrer+Tod&srch_Melodie=&srch_Text=Vogel&srch_Tonsatz=&srch_Quelle=&Herausgeber=&Zeitalter=&MelodyYear=&TextYear=" target="_blank">Deutsches Lied</a>). Apparently nobody thought it inappropriate even after the gruesome war experiences. To name only one example: new editions of the very popular <i>Zupfgeigenhansl</i> still included the chapter with soldiers' songs and this particular piece (f. ex. 1920, <a href="http://digital.ub.uni-duesseldorf.de/content/pageview/2065644" target="_blank">pp. 162-3</a>). Viewed from today this even more so seems like irresponsible propaganda and a very tasteless glorification of war and death . </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It is no wonder that the song stayed in use after 1933 and during the second World War. There was now an even greater demand for young men wishing to die for the "fatherland". It is not clear how often it was sung but it can be found in a considerable number of songbooks. Once again this historical period piece had a practical and topical significance. How many did believe it? I have no idea. But even a song like this can be seen as one little element of the propaganda to glorify war. Only after 1945 this old song fell out of favor. It wasn't used anymore in school songbooks or other publications for young people. In practice it became unprintable and unsingable. I can't imagine a choir performing this text. After two world wars it would only sound cynical. Today this song can't even be found on YouTube. </div>
<br />
<br />
<div style="text-align: center;">
<b>VI. Conclusion </b></div>
<br />
<div style="text-align: justify;">
Now I can try to recapitulate this song's history in a more systematic way. Here we have an obscure early modern text - from the early 17th century, written by a rather obscure poet - about an heroic achievement in the early middle ages that was reanimated as a <i>Volkslied</i> in the late 18th century and then, in the 19th century, became a popular patriotic anthem. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
That was a not uncommon process. Recently I wrote about a song from Denmark with a similar history (see here in my <a href="https://hummingadifferenttune.blogspot.com/2019/09/Danmark.html" target="_blank">blog</a>): the text of "Danmark deilig Vang og Vænge" was originally written in the 1690s by Danish scholar Laurits Kok and then first published by historian Peder Syv in <i>200 Viser om Konger, Kemper og Andre</i> (1695), the new edition of A. Vedel's anthology of <i>kjaempeviser</i>, the old Danish heroic songs. It was about the Queen Thyra Danebod from the 10th century who, according to legend, organized the building of the <i>Danevirke</i>, the fortifications on the Southern border against attacks by "Tydske, Slaver, Vender". </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
This was an attempt at simulating the old heroic songs. Medieval heroism served as an example for the present. Laurits Kok, just like German poet Jacob Vogel, tried to create - in a time of crisis - a kind of patriotic national history. And just like Vogel's "Schlachtlied" Kok's poem was "rediscovered" after its inclusion in an anthology of <i>Volkslieder</i> (1818) and then set to music. Only then the song became really popular because it fit it well into the new era of modern nationalism. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Interestingly in case of Vogel's text - unlike the Danish song - the foreshortened and simplified version that was in use since the 19th century lost all references to the middle ages, to King Heinrich's battle against the Magyars. This is a little bit surprising because "Henry the Fowler" had become one of the heroes of "German" history and was at that time clearly much more popular than during his lifetime. Instead it was the formula "dying for the fatherland" - the recourse to antique tradition: Horatius and Tyrtaeus -, that kept the song alive. Herder had rediscovered the text after the Seven Years' War, when the <i>Kriegslieder</i> á la Gleim were immensely popular and it fit very well to this genre. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
This song was never a <i>Volkslied</i> in a narrow sense. The author regarded himself as a professional poet and later the text was at first published in learned books for an intellectual audience like Morhof's <i>Unterricht</i>, Herder's <i>Volkslieder</i> and even Arnim's and Brentano's <i>Des Knaben Wunderhorn</i>. It began to appear in songbooks for a wider audience since 1818 and then only became much better known with Silcher's melody. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
We can also see that this text had different meanings in different historical contexts. Vogel tried to encourage German patriotism during the Thirty Years' War. For Morhof at the end of the 17th century this was only a piece of historical interest. Herder saw it as an old German battle song, a supplement to both foreign songs about fighting and contemporary Kriegslieder in Germany. In the early 19th century, since the Napoleonic wars and with the emergence of the new German nationalism, this text was ready for practical use. It looked like a popular variant of Horatius' <i>Dulce et decorum est pro Patria mori</i> and in the end the song was used for militaristic propaganda. How much influence did this piece have on those who sang it, especially on the young people in the schools where it was a popular standard? At least we can assume that many who had to sing this song later died in the trenches. Today it is out of use and unsingable. </div>
<br />
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<br />
<ul style="text-align: justify;">
<li>András F. Balogh et al., Ungarnbilder im 17. Jahrhundert. Studien und Editionen der Texte: Jakob Vogel: Vungrische Schlacht (1626), Kapitel aus [...], Budapest, 2013 [<a href="http://honlap.eotvos.elte.hu/wp-content/uploads/2016/02/Balogh_Hg_Ungarnbilder17Jh_Vogel_BT_2013juli03-nincsvagojel.pdf" target="_blank">pdf</a>] </li>
<li>J. M. de Beaufort, Behind the German Veil. A Record of a Journalistic War Pilgrimage, New York, 1918, at the <a href="https://archive.org/details/cu31924027827868" target="_blank">Internet Archive</a> </li>
<li>Theodor Becker, Das Volkslied Kein schönrer Tod ist in der Welt und Daniel Georg Morhof, Neustrelitz, 1909 (= Beilage zum Jahresbericht des Grossherzoglichen Gymnasiums Carolinum), at <a href="https://nbn-resolving.de/urn:nbn:de:hbz:061:1-331797" target="_blank">UB Düsseldorf</a> </li>
<li>Hans-Martin Blitz, Aus Liebe zum Vaterland. Die deutsche Nation im 18. Jahrhundert, Hamburg, 2000 </li>
<li>[BH =] Bibliotheca Herderiana, Weimar, 1804 (reprint Köln 1980 at <a href="https://books.google.de/books?id=GRNoFQaKeOEC" target="_blank">Google Books</a>) </li>
<li>Henning Boetius, Daniel Georg Morhofens Unterricht von der Teutschen Sprache und Poesie, Bad Homburg, Berlin & Zürich, 1969 (= Ars Poetica. Texte und Studien zur Dichtungslehre und Dichkunst. Texte 1) </li>
<li>Karl Wilhelm Böttiger (Hg.), Literarische Zustände und Zeitgenossen. In Schilderungen aus Karl Aug. Böttiger's handschriftlichem Nachlasse, Bd. 1, Brockhaus, Leipzig, 1838, at the <a href="https://archive.org/details/bub_gb_k6FbAAAAMAAJ" target="_blank">Internet Archive</a> </li>
<li>Christiane Boghardt, Martin Boghardt & Rainer Schmidt, Die zeitgenössischen Drucke von Klopstocks Werken: Eine deskriptive Bibliographie, Berlin & New York, 1981 [<a href="https://books.google.de/books?id=MaMFCgAAQBAJ" target="_blank">GB</a>] </li>
<li>Klaus Bohnen, Von den Anfängen des "Nationalsinns". Zur literarischen Patriotismus-Debatte im Umfeld des Siebenjährigen Kriegs, in: Helmut Scheuer, Die Dichter und ihre Nation, Frankfurt/M., 1993, pp. 121-37 </li>
<li>August Bopp, Friedrich Silcher, Stuttgart 1916 </li>
<li>Heinrich Bosse, Klopstocks „Kriegslied“ (1749). Militärische Poesiepolitik im 18. Jahrhundert. In: Jahrbuch des Freien Deutschen Hochstifts 2000, S. 50-84 (Teil I) & 2001, S. 41-99 (Teil II) </li>
<li>Robert M. Browning, German Poetry in the Age of the Enlightenment. From Brockes to Klopstock, University Park & London, 1978, at the <a href="https://archive.org/details/germanpoetryinag00brow" target="_blank">Internet Archive </a>[BtB] </li>
<li>Carl Richard Brühl, Deutschland - Frankreich. Die Geburt zweier Völker, 2., verb. Aufl., Köln & Wien, 1995 </li>
<li>Laurel Cohen-Pfister, Bertolt Brecht and the Volkslied, in: New German Review 1, 1985, pp. 29-40, at the<a href="https://archive.org/details/newgermanreview01univ/page/28" target="_blank"> Internet Archive</a> </li>
<li>Carl Friedrich Cramer, Klopstock. Er; und über ihn. 2. Theil, Kaven, Leipzig, 1790, at <a href="https://books.google.de/books?id=2PZLAQAAMAAJ" target="_blank">Google Books</a> </li>
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<li>Hermann Josef Dahmen, Friedrich Silcher, Komponist Und Demokrat. Eine Biographie, Stuttgart & Wien 1989 </li>
<li>Otto Dann, Herder und die Deutsche Bewegung, in: Gerhard Sauder (Hg.), Johann Gottfried Herder 1744-1803, Hamburg, 1987 (= Studien zum 18. Jahrhundert 9) </li>
<li>Franz Wilhelm von Ditfurth, Die historischen Volkslieder des siebenjährigen Krieges, nebst geschichtlichen und sonstigen Erläuterungen.Aus fliegenden Blättern, handschriftlichen Quellen und dem Volksmunde gesammelt und herausgegeben, Lipperheide, Berlin, 1871, at <a href="https://books.google.de/books?id=W-RiAAAAcAAJ" target="_blank">Google Books</a> </li>
<li>Gerhard Dünnhaupt, Bibliographisches Handbuch der Barockliteratur. Hundert Personalbibliographien deutscher Autoren des siebzehnten Jahrhunderts, Stuttgart, 1981, 3 Bde., at the <a href="https://archive.org/details/inlibrary?and%5B%5D=Bibliographisches+Handbuch+der+Barockliteratur&sin=&sort=-publicdate" target="_blank">Internet Archive BtB</a> </li>
<li>Ferdinand Eichler, "Kein seeligr Tod ist in der Welt", in: Vierteljahrschrift für Litteraturgeschichte 2, 1889, pp. 246-264, at the <a href="https://archive.org/details/vierteljahrschr07unkngoog/page/n259" target="_blank">Internet Archive</a> </li>
<li>Ferdinand Eichler, Jakob Vogel. Ein Blick in die literarische Betriebsamkeit des 17. Jahrhunderts, in: Zentralblatt für Bibliothekswesen 13, 1896, pp. 387-406, at the <a href="https://archive.org/details/zentralblattfr13leipuoft/page/386" target="_blank">Internet Archive</a> </li>
<li>Erinnerungen aus dem Leben Joh. Gottfrieds von Herder. Gesammelt und beschrieben von Maria Carolina von Herder, geb. Flachsland. Herausgegeben durch Johann Georg Müller, Cotta, Stuttgart & Tübingen, 1830, 3 Bde., at the <a href="https://archive.org/search.php?query=Herder%20Erinnerungen%20Cotta%20Toronto" target="_blank">Internet Archive</a> </li>
<li>Cyril Aston Fanshawe, The Book of Battle Songs. A Collection of the War Songs of Various Nations, and a Selection of Curious Popular Lyrics, Domestic and Warlike, Chiefly from the Languages of the North and the East. (Rendered by Various Translators) With Remarks on the Poetry of Martial Enthusiasm, Hogg, London, 1859, at <a href="https://books.google.de/books?id=9ahfAAAAcAAJ" target="_blank">Google Books</a> </li>
<li>Stefan Freund, Der Schulautor Horaz und der Erste Weltkrieg. Überlegungen zur Rezeptionsgeschichte der zweiten Römerode, in: Forum Classicum 2, 2014, pp. 127-135, <a href="https://doi.org/10.11588/fc.2014.2.39477" target="_blank">UB Heidelberg</a> </li>
<li>Klaus Garber, Zentraleuropäischer Calvinismus und deutsche "Barock"-Literatur. Zu den konfessionspolitischen Ursprüngen der deutschen Nationalliteratur, in: Heinz Schilling (Hg.), Die reformierte Konfessionalisierung in Deutschland - Das Problem der "Zweiten Reformation". Wissenschaftliches Symposium des Vereins für Reformationsgeschichte 1985, Gütersloh, 1986 (= Schriften des Vereins für Reformationsgeschichte 195), pp. 317-348 </li>
<li>Wolfgang Giese, Heinrich I., Darmstadt, 2008 </li>
<li>Johann Wolfgang Goethe, Aus meinem Leben. Dichtung und Wahrheit,1. Theil, Cotta, Tübingen, 1811, at <a href="https://books.google.de/books?id=OdQFAAAAQAAJ" target="_blank">Google Books</a> </li>
<li>Johann Wolfgang Goethe, Aus meinem Leben. Dichtung und Wahrheit, 2. Theil, Cotta, Tübingen, 1812, at <a href="https://books.google.de/books?id=WtQFAAAAQAAJ" target="_blank">Google Books</a> </li>
<li>Johann Wolfgang Goethe, The Autobiography of Goethe. Truth and Fiction: Relating to my Life. From the German by John Oxernford, Volume I, New York, 1882, at the <a href="https://archive.org/details/autobiographyofg01goetuoft" target="_blank">Internet Archive</a> </li>
<li>Klaus Graf, Herold mit vielen Namen. Neues zu Georg Rüxner alias Rugen alias Jerusalem alias Brandenburg alias ... In: Ritterwelten im Spätmittelalter. Höfisch-ritterliche Kultur der Reichen Herzöge von Bayern-Landshut, Landshut 2009 (= Schriften aus den Museen der Stadt Landshut 29), pp. 115-125 [<a href="https://nbn-resolving.org/urn:nbn:de:bsz:25-opus-71401" target="_blank">urn:nbn:de:bsz:25-opus-71401</a>] [<a href="http://www.freidok.uni-freiburg.de/volltexte/7140/" target="_blank">pdf</a>] </li>
<li>George Grosz, Love Above All and Other Drawings. Über Alles die Liebe und Die Gezeichneten. 120 Works, New York, 1971 </li>
<li>Horst Hartmann, Das 'Vaterland' in der Kasualpoesie der Vitae Pomeranorum, in: Walter Baumgartner (ed.), Ostsee-Barock. Texte und Kultur, Münster, 2006, pp. 85-93 </li>
<li>Eckhart Hellmuth, Die "Wiedergeburt" Friedrichs des Großen und der "Tod fürs Vaterland". Zum patriotischen Selbstverständnis in Preußen in der zweiten Hälfte des 18. Jahrhunderts, in: Aufklärung 10, 1998, pp. 23-54 [<a href="https://www.jstor.org/stable/24361398" target="_blank">jstor</a>] </li>
<li>Johann Gottfried Herder, Briefe. Gesamtausgabe 1763-1803, Böhlau, Weimar, 1977-2009 </li>
<li>[HW =] Johann Gottfried Herder, Werke in 10 Bänden, Deutscher Klassiker Verlag, Frankfurt/M., 1985-2000 (= Bibliothek deutscher Klassiker) </li>
<li>Hans Peter Herrmann, Hans-Martin Blitz & Susanna Moßmann, Machtphantasie Deutschland. Nationalismus, Männlichkeit und Fremdenhaß im Vaterlandsdiskurs deutscher Schriftsteller des 18. Jahrhunderts, Frankfurt, 1996 </li>
<li>Hans Peter Herrmann, "Mutter Vaterland". Herders Historisierung des Germanenmythos und die Widersprüchlichkeit des Vaterlandsdiskurses im 18. Jahrhundert, in: Hans Adler & Wulf Koepke (Hg.), Herder Jahrbuch - Herder Yearbook 1998, Stuttgart, 1998, pp. 97-122 [<a href="https://books.google.de/books?id=tLb5aPeBLGkC" target="_blank">GB</a>] </li>
<li>Hans Peter Herrmann, Krieg, Medien und Nation. Zum Nationalismus in Kriegsliedern des 16. und 18. Jahrhunderts, in: Wolfgang Adam et al. (Hg.), "Krieg ist mein Lied". Der Siebenjährige Krieg in den zeitgenössischen Medien, Göttingen, 2007, pp. 27-64 [<a href="https://doi.org/10.6094/UNIFR/150875" target="_blank">pdf</a>] </li>
<li>Walter Hettche (Hg.), Johann Wilhelm Ludwig Gleim: Ausgewählte Werke, Göttingen 2003 (= Schriften des Gleimhauses 1) </li>
<li>Markus Hien, Altes Reich und Neue Dichtung: Literarisch-politisches Reichsdenken zwischen 1740 und 1830, Berlin & Boston, 2015 [<a href="https://books.google.de/books?id=np6lCQAAQBAJ" target="_blank">GB</a>] </li>
<li>Annika Hildebrandt, Die Mobilisierung der Poesie. Literatur und Krieg um 1750, Berlin & Boston, 2019 (= Studien zur deutschen Literatur 220) </li>
<li>Johannes Horn, Herders Stellung zu Friedrich dem Großen, Phil. Diss., Jena, Borna-Leipzig, 1928</li>
<li>Margaret C. Ives, Anna Luise Karsch (1722-1791): A Brave Woman Goes to War, in: Anthony C. Harper & Margaret C. Ives (eds.), Sappho in the Shadows. Essays on the Work of German Women Poets of the Age of Goethe (1749-1832), with Translations of their Poetry into English, Oxford etc., 2000 (= British and Irish Studies in German Language and Literature 19), pp. 15-52, at the <a href="https://archive.org/details/sapphoinshadowse0000unse/page/14" target="_blank">Internet Archive</a> [BtB] </li>
<li>Karl Janicke, Das Deutsche Kriegslied. Eine literaturhistorische Studie, Lipperheide, Berlin, 1871, at <a href="https://books.google.de/books?id=Z4tLAAAAcAAJ" target="_blank">Google Books</a> </li>
<li>Ulrich Kittstein, Der Patriotismus des Poeten. Gleims Kriegslied Bey Eröffnung des Feldzuges 1756, in: Andreas Böhn et al. (Hg.), Lyrik im historischen Kontext. Festschrift für Reiner Wild, Würzburg, 2009, pp. 41-54 [<a href="https://books.google.de/books?id=pcKrVOYqPJkC" target="_blank">GB</a>] </li>
<li>Dietmar Klenke, Der Singende 'Deutsche Mann'. Gesangsvereine und deutsches Nationalbewußtsein von Napoleon bis Hitler, Münster, New York, Berlin & München 1998 </li>
<li>Wilhelm Kühlmann, 'Vermanung zur Dapfferkeit' (1622). Zincgrefs Heidelberger Kriegsgedicht im Kontinuum der Tyrtaios-Rezeption des 16. bis 19. Jahrhunderts, in: Wilhelm Kühlmann (ed.), Julius Wilhelm Zincgref und der Heidelberger Späthumanismus. Zur Blüte- und Kampfzeit der calvinistischen Kurpfalz, Ubstadt-Weiher etc., 2011 (= Mannheimer historische Schriften 5), pp. 165-190 </li>
<li>Reimar F. Lacher, "Friedrich, unser Held" – Gleim und sein König, Göttingem, 2017 (= Schriften des Gleimhauses Halberstadt 9) </li>
<li>David E. Lee: Amor im Harnisch. Gleim als Anakreontiker und Grenadier. In: Euphorion, Jg. 105, Heft 1, 2011, S. 19-50 </li>
<li>Jörn Leonhard, Bellizismus und Nation: Kriegsdeutung und Nationsbestimmung in Europa und den Vereinigten Staaten 1750-1914, München, 2008 [<a href="https://books.google.de/books?id=9RrnBQAAQBAJ" target="_blank">GB</a>] </li>
<li>[LS =] Gotthold Ephraim Lessing, Sämtliche Schriften, herausgegeben von Karl Lachmann. 3., auf’s neue durchgesehene und vermehrte Auflage, besorgt durch Franz Muncker, 23 Bde., Stuttgart, Leipzig & Berlin, 1886–1924 [see <a href="https://de.wikisource.org/wiki/Gotthold_Ephraim_Lessing#Historisch-kritische_Ausgabe" target="_blank">wikisource</a>] </li>
<li>Dieter Martin, Barock um 1800. Bearbeitung und Aneignung deutscher Literatur des 17. Jahrhunderts von 1770 bis 1830, Frankfurt/Main 2000 (= Das Abendland NF 26) </li>
<li>Volker Meid, Ein politischer Deutscher. Zu Weckherlins Sonett 'An das Deutschland', in: Volker Meid (ed.), Gedichte und Interpretationen. Band 1: Renaissance und Barock, Stuttgart, 1982, pp. 149-158</li>
<li>Heinrich Meyer (ed.), Herders Werke 1.2: Stimme der Völker. Volkslieder Nebst untermischten andern Stücken, Union Deutsche Verlagsgesellschaft, Stuttgart, [1893] (= Deutsche National-Litteratur. Historisch-Kritische Ausgabe hg. von Joseph Kürschner 74.2) , at the <a href="https://archive.org/details/HerderVL1893" target="_blank">Internet Archive</a> </li>
<li>Jörg Muth, Flucht aus dem militärischen Alltag. Ursachen und individuelle Ausprägung der Desertion in der Armee Friedrich des Großen, Freiburg i. B., 2003 (= Einzelschriften zur Militärgeschichte 42) </li>
<li>Karl Nessler, Geschichte der Ballade Chevy Chase, Berlin, 1911 (= Palaestra CXII), at the <a href="https://archive.org/details/NesslerGeschichteDerBallade/page/n11" target="_blank">Internet Archive</a> </li>
<li>Sebastian Nickel, Männerchorgesang und bürgerliche Bewegung 1815-1848 in Mitteldeutschland, Köln, Weimar & Wien, 2013 </li>
<li>E. Niemeyer, Gleims preußische Kriegslieder, in: Archiv für das Studium der neueren Sprachen 21, 1857, pp. 121-52, at the <a href="https://archive.org/details/archivfrdasstu21brauuoft/page/120" target="_blank">Internet Archive</a> </li>
<li>Odes of Klopstock. From 1747-1780. Translated from the German by William Nind, Pickering, London, 1848, at the <a href="https://archive.org/details/odesofklopstockf00klop" target="_blank">Internet Archive</a> </li>
<li>Wilfried Owen, Poems. With an Introduction by Siegfried Sassoon, Chatto & Windus, London, 1921, at the <a href="https://archive.org/details/poemswilf00owenuoft" target="_blank">Internet Archive</a> </li>
<li>Heinrich Pröhle, Kriegsdichter des siebenjährigen Krieges und der Freiheitskriege, Mayer, Leipzig, 1857, at <a href="https://books.google.de/books?id=R946AAAAcAAJ" target="_blank">Google Books</a> </li>
<li>Hartmut Riemenschneider, Sprachpatriotismus. Nationale Aspekte in der literarischen Kultur des deutschen Barock, in: Helmut Scheuer, Die Dichter und ihre Nation, Frankfurt/M., 1993, pp. 38-52</li>
<li>Heinz Rölleke, "Kriegslieder". Achim von Arnims Imitation eines Fliegenden Blattes im Jahre 1806, in: Jahrbuch für Volksliedforschung 16, 1971, pp. 73-80 [<a href="https://www.jstor.org/stable/847040" target="_blank">jstor</a>] </li>
<li>Heinz Roellecke (Hg.), Des Knaben Wunderhorn. Alte Deutsche Lieder. Gesammelt von L. A. v. Arnim und Clemens Brentano. Lesarten und Erläiuterungen, 3 Bde., Stuttgart etc, 1975-1978 (= Clemens Brentano, Samtliche Werke und Briefe 9,1-3) </li>
<li>Michael Rohrwasser, Lessing, Gleim und der nationale Diskurs, in: Lenz-Jahrbuch 7, 1997, pp. 137-162 </li>
<li>Ludwig Sauer (Hg.), Preußische Kriegslieder von einem Grenadier von I.W.L. Gleim, Heilbronn, 1882 (= Deutsche Litteraturdenkmale des 18. Jahrhunderts 4), at the <a href="https://archive.org/details/preussischekrieg00gleiuoft" target="_blank">Internet Archive</a> </li>
<li>Manfred Hermann Schmid (ed.), Friedrich Silcher 1789-1860. Die Verbürgerlichung der Musik im 19. Jahrhundert. Katalog der Ausstellung zum 200. Geburtstag des ersten Tübinger Universitätsmusikdirektors, Tübingen 1989 (Kleine Tübinger Schriften, Heft 12) </li>
<li>Georg Schmidt, Teutsche Kriege. Nationale Deutungsmuster und integrative Wertvorstellungen im frühneuzeitlichen Reich, in: Dieter Langewiesche & Georg Schmidt (Hg.), Föderative Nation. Deutschlandkonzepte von der Reformation bis zum Ersten Weltkrieg, München, 2000, pp. 33-62</li>
<li>Alexander Schmidt, Vaterlandsliebe und Religionskonflikt. Politische Diskurse Im Alten Reich (1555-1648), Leiden & Boston, 2007 </li>
<li>Christoph Schubert-Weller, „Kein schönrer Tod ...“ Die Militarisierung der männlichen Jugend und ihr Einsatz im Ersten Weltkrieg 1890- 1918, Weinheim/München 1998</li>
<li>Bernd Schneidmüller, Heinrich I. (919-936), in: Bernd Schneidmüller & Stefan Weinfurter (Hg.), Die deutschen Herrscher des Mittelalter. Historische Portraits von Heinrich I. bis Maximilian I. (919-1519), München, 2003, pp. 15-34, 563-4, (<a href="http://archiv.ub.uni-heidelberg.de/volltextserver/12070/1/Schneidmueller_2003_Heinrich_I.pdf" target="_blank">pdf</a> at Uni Heidelberg) </li>
<li>Carl Schüddekopf (Hg.), Briefwechsel zwischen Gleim und Ramler, 2. Band 1753-1759, Tübingen, 1907, at the <a href="https://archive.org/details/briefwechselzwi01ramlgoog" target="_blank">Internet Archive</a> </li>
<li>Friedrich Silcher, Volkslieder gesammelt und für vier Männerstimmen gesetzt. Nebst einem Anhang von Trauerliedern, Neue Ausgabe, Tübingen 1902, at the <a href="https://archive.org/details/SilcherVLMstNA1902" target="_blank">Internet Archive</a> </li>
<li>Reinhold Steig, Achim von Arnim und Clemens Brentano, Cotta, Stuttgart, 1894 (= Achim von Arnim und die ihm nahe standen 1), at the <a href="https://archive.org/details/achimvonarnimund01stei" target="_blank">Internet Archive</a> </li>
<li>[SWS 25 = ] Johann Gottfried Herder, Sämmtliche Werke XXV. Herausgegeben von Bernhard Suphan. Poetische Werke 1. Herausgegeben von Carl Redlich, Weidmann, Berlin, 1885, at the <a href="https://archive.org/details/HerderSWS251885/page/n18" target="_blank">Internet Archive</a> </li>
<li>Theodor Verweyen, Nationale Identität als Problem im Barock: Opitz und die "Fruchtbringende Gesellschaft", Grimmelshausen und Moscherosch, in: Stefan Krimm & Wieland Zirbs (Hg.), Die Deutschen und die andern: Patriotismus, Nationalgefühl und Nationalismus in der deutschen Geschichte (Die Deutschen und die andern, Ising/Chiemsee, September 1996), München, 1997, pp. 67-91 (= Dialog Schule und Wissenschaft Bd. 42) </li>
<li>Friedrich Vollhardt, Johann Wilhelm Zincgrefs 'Vermanung zur Dapfferkeit' und die Popularisierung der elegie durch Johann Michael Moscherosch, in: Wilhelm Kühlmann (ed.), Julius Wilhelm Zincgref und der Heidelberger Späthumanismus. Zur Blüte- und Kampfzeit der calvinistischen Kurpfalz, Ubstadt-Weiher etc., 2011 (= Mannheimer historische Schriften 5), pp. 409-426 </li>
<li>Georg Waitz, Jahrbücher des Deutschen Reichs unter König Heinrich I. Neue Bearbeitung, Duncker & Humblot, Berlin 1863, at <a href="https://books.google.de/books?id=Yv1NAAAAcAAJ" target="_blank">Google Books</a> ; at the <a href="https://archive.org/details/jahrbcherdesde00wait" target="_blank">Internet Archive</a> </li>
<li>Johann Georg Walch, Philosophisches Lexikon. 2. verbesserte und mit denen Leben alter und neuer Philosophen vermehrte Auflage, Gleditsch, Leipzig, 1733, at <a href="https://books.google.de/books?id=4-xYAAAAcAAJ" target="_blank">Google Books</a> </li>
<li>Gerlinde Wappler, "Sie sind ein ungestümer Freund". Menschen um Gleim I. Mit einem Beitrag von David Lee zu Karl Wilhelm Ramler, Oschersleben, 1998 </li>
<li>Ernst Weber, Lyrik der Befreiungskriege (1812-1815). Gesellschaftspolitische Meinungs- und Willensbildung durch Literatur, Stuttgart, 1991 (= Germanistische Abhandlungen 65) [<a href="https://books.google.de/books?id=o4-8DQAAQBAJ" target="_blank">GB</a>] </li>
</ul>
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<a href="https://hummingadifferenttune.blogspot.com/2020/04/BattleSong1626.html" target="_blank">Go back to Pt. 1</a> </div>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-49682449313629790332020-04-13T08:09:00.001+02:002021-05-02T15:23:21.746+02:00"Kein seeliger Tod ist in der Welt" - The Strange History of a German "Battle Song": From The Thirty Years' War To The First World War (Pt. 1)<br />
<b>Part 1:</b><br />
I. Introduction<br />
II. Herder (1778) - Morhof (1682) - Vogel (1626)<br />
III. The Poetry of the Seven Years' War<br />
<br />
<b><a href="https://hummingadifferenttune.blogspot.com/2020/04/BattleSong1626-2.html" target="_blank">Part 2</a>:</b><br />
IV. Herder and the Volkslieder (1778)<br />
V. After Herder: From the Napoleonic Wars to the First World War<br />
VI. Conclusion<br />
Literature<br />
<br />
<br />
<div style="text-align: center;">
<b>I. Introduction</b></div>
<br />
<div style="text-align: justify;">
Johann Gottfried Herder published his famous anthology <i>Volkslieder</i> in 1778 and 1779 (here at the <a href="https://archive.org/details/HerderVolkslieder177892Bde/" target="_blank">Internet Archive</a>). In two volumes he offered what he regarded as the "national songs" of the Germans and several other peoples. It was at first not really a successful publication. But in practice in he created the genre <i>Volkslied</i> and inspired others to follow suit. Of course much of what he compiled would later not be accepted as belonging to this genre. Nonetheless in many cases Herder served as a kind of gate-keeper. He had selected texts from often very obscure sources and defined them as a <i>Volkslied</i>. That way these texts were reanimated and started a new life. Many of them were regularly reprinted and set to music and in the end they became popular songs.</div>
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<div style="text-align: justify;">
Here I will discuss one example of this process. This is in fact a very fascinating story, especially because it may be regarded as one of the more problematic texts in his anthology although this was surely not Herder's fault. But here we will see how an old text from a very obscure source can take on a new meaning in a new ideological and political context.</div>
<br />
<div style="text-align: justify;">In the second book of the first volume we find a text with the title "Schlachtgesang" (I.2.18, <a href="https://archive.org/details/HerderVolkslieder177892Bde/page/n179" target="_blank">pp. 177-8</a>). As the title says it's a battle song and it is placed between several old Norse texts - all very martial - and some Spanish romances. In fact this was included to represent German war songs and served as supplement and contrast to comparable texts from Northern and Southern Europe:
</div><blockquote class="tr_bq">
Kein selg'er Tod ist in der Welt,<br />
Als wer vor'm Feind' erschlagen,<br />
Auf grüner Haid' im freien Feld<br />
Darf nicht hör'n groß Wehklagen,<br />
Im engen Bett, da ein'r allein<br />
Muß an den Todesreihen,<br />
Hie aber findt er Gsellschaft fein,<br />
Fall'n mit, wie Kräuter im Mayen.<br />
Ich sag ohn' Spott,<br />
Kein selig'r Tod<br />
Ist in der Welt,<br />
Als so man fällt,<br />
Auf grüner Haid,<br />
Ohn Klag und Leid!<br />
Mit Trommeln Klang<br />
Und Pfeiffen G'sang,<br />
Wird man begraben,<br />
Davon thut haben<br />
Unsterblichen Ruhm.<br />
Mancher Held fromm,<br />
Hat zugesezt Leib und Blute<br />
Dem Vaterland zu gute. </blockquote>
It is really not necessary to translate the whole text. The first and the last few lines should suffice:<br />
<blockquote class="tr_bq">
No more blissful death in this world<br />
Than to get slain in front of the enemy,<br />
In the green heath in the open field,<br />
Must not hear big lamentations<br />
[...]<br />
Some pious hero<br />
Has used body and blood<br />
For the good of the fatherland</blockquote>
<div style="text-align: justify;">
This is a song about dying for the fatherland, whatever that was at that time and looks like a popular variant of the famous formula we know from one of Roman poet Horatius' odes (Carmina <a href="https://la.wikisource.org/wiki/Carmina_(Horatius)/Liber_III/Carmen_II" target="_blank">3.2.13</a>):</div>
<blockquote class="tr_bq">
[...]<br />
Dulce et decorum est pro patria mori<br />
[...]</blockquote>
<div style="text-align: justify;">
The text is - as will be seen - about an early medieval battle but was written at the time of the Thirty Years' War. Herder doesn't mention that in his notes (<a href="https://archive.org/details/HerderVolkslieder177892Bde/page/n325" target="_blank">pp. 323-4</a>) although it was known to him. Instead he claimed - wrongly - that it was "surely old". The reprint of this "Schlachtlied" in the <i>Volkslieder</i> served as the starting-point for a new tradition. During the 19th century it was turned into a popular song that was still sung during the first and second world wars. This story is worth recapitulating because it also gives some insight into the development of nationalism in Germany since the early 17th century. We can go back step by step to discuss the sources and origin and then forward again to see what happened after Herder saved this text from oblivion.</div>
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<br />
<div style="text-align: center;">
<b>II. Herder (1778) - Morhof (1682) - Vogel (1626)</b></div>
<br />
<div style="text-align: justify;">
In the notes (<a href="https://archive.org/details/HerderVolkslieder177892Bde/page/n325/mode/2up" target="_blank">pp. 323-4</a>) Herder also named the source for the text: "Die letzte Strophe aus einem langen Schlachtliede bei Morhof von der deutschen Poeterei." He clearly expected his readers to be familiar with this work, the earliest attempt at a comparative history of German literature that was first published 90 years earlier. Here - this is the second edition - we find the complete song of 11 verses (<a href="https://archive.org/details/bub_gb_QDBJAAAAcAAJ/page/n325/mode/2up" target="_blank">pp. 312-5</a>):</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
Daniel Georg Morhof, Unterricht von der Teutschen Sprache und Poesie, Deren Ursprung, Fortgang und Lehrsätzen, Sampt dessen Teutschen Gedichten. Jetzo von neuem vermehret und verbessert und nach deß Seel. Autoris eigenem Exemplare übersehen, zum anderen mahle von den Erben heraußgegeben, Wiemeyer, Lübeck & Frankfurt, 1700, at <a href="http://books.google.com/books?id=QDBJAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb10584075-6" target="_blank">BSB</a>], also at the <a href="https://archive.org/details/bub_gb_QDBJAAAAcAAJ" target="_blank">Internet Archive</a> (see also the mod. ed. in: Boetius 1969)</blockquote>
</div>
<div style="text-align: justify;">
Daniel Georg Morhof (1639-1691, see <a href="https://de.wikipedia.org/wiki/Daniel_Georg_Morhof" target="_blank">Wikipedia</a>; <a href="https://de.wikisource.org/wiki/Daniel_Georg_Morhof" target="_blank">wikisource</a>; <a href="https://www.deutsche-biographie.de/gnd118784919.html#ndbcontent" target="_blank">Deutsche Biographie</a>; Dünnhaupt II, <a href="https://archive.org/details/bibliographische0000dunn/page/1214" target="_blank">pp. 1215-1239</a>; Boetius 1969), poet, historian and since 1665 professor in Kiel, can be regarded as one of the earliest scholars of German literature history. His <i>Unterricht von der Teutschen Sprache und Poesie</i> first appeared in 1682 (at <a href="https://books.google.de/books?id=RdVlI-6uIfIC" target="_blank">Google Books</a> [= <a href="http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb11273532-5" target="_blank">BSB</a>]) and a new extended edition was published posthumously in 1700. Herder owned an identical 1702 reprint (at <a href="https://books.google.de/books?id=1GlpAAAAcAA" target="_blank">Google Books</a>; see <a href="https://books.google.de/books?id=GRNoFQaKeOEC&hl=de&pg=PA249#v=twopage&q&f=false" target="_blank">BH 5152</a>).<br />
<br />
Morhof wrote against the contempt for the German language and literature that was at that time common in academic and intellectual circles. His aim was to unearth German literary traditions even though not much was available at that time. Nonetheless he can be seen as a pioneer in this respect. He also attempted a comparative approach and discussed Italian, Spanish, English, Dutch and French literature. Morhof was among the first in Germany to write about old Norse poetry and was familiar with some of the relevant Scandinavian publications that had appeared so far in Sweden and Denmark. In the chapter "Von der Nordischen Poeterey" (pp. 360-82; here <a href="https://archive.org/details/bub_gb_QDBJAAAAcAAJ/page/n385/mode/2up" target="_blank">pp. 374-82</a>) he even introduced some exotic pieces to his readers: a Finnish "bear-song", a text from Scheffer's <i>Lapponia</i> and one of the Peruvian songs from Carcilaso de la Vega's <i>Commentarios Reales</i>. Herder later referred to or included them in his <i>Volkslieder</i> and he may have seen them first in this book.</div>
<br />
<div style="text-align: justify;">
In the seventh chapter (<a href="https://archive.org/details/bub_gb_QDBJAAAAcAAJ/page/n289/mode/2up" target="_blank">pp. 278-359</a>) Morhof presented what he knew of "German" literature since the time of Charlemagne. He mentioned for example the <i>Limburger Chronik</i> (p. 311) from the 15th century - also later used by Herder - and discussed the so-called <i>Meistersänger</i> (p. 306). And at this point he added the battle song:</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"Ich will hier zur Ergötzung des Lesers ein Schlacht Lied so ein solcher Meistersänger der die Historie des Henrici Aucupis beschrieben und wie eine Comoedie in gewisse Actus eingetheilet derselben mit einverleibet. Dann er führet einen Poeten ein, der zu Anfange der Schlacht ein Lied nach dem alten Gebrauche der Teutschen absinget ist gar nicht alt [...]" (<a href="https://archive.org/details/bub_gb_QDBJAAAAcAAJ/page/n323/mode/2up" target="_blank">p. 312</a>).</blockquote>
</div>
<div style="text-align: justify;">
Of course this was not the work of a <i>Meistersänger</i>. That was wrong. He didn't know the author's name because he only had a mutilated copy that a colleague had lent him. But he was able to tell that this text was part of a longer piece - a "comedy in several acts" about "Henry the Fowler" - King Heinrich I. of East Francia in the 10th century - and described it as the song performed by a poet before a battle, "after the old custom of the Germans". And he also noted that the song was "not really old", a remark that Herder later ignored. But at least Morhof made it clear that this particular text belonged to an unidentified literary work about an early medieval battle. He didn't really like this "tasteless song" - "in diesem ganzen ungeschmackten Liede" (p. 315) - but at least he had to acknowledge that a few parts of it, the chants sung by the warriors, were not completely wrong. The complete text offers a curious history of the battle music with many references to the bible and antique sources:
</div><blockquote class="tr_bq">
Viel Krieg hat sich in dieser Welt<br />
Mancher Ursach erhaben:<br />
Demselben hat Gott zugesellt<br />
Die Musik als sein Gaben:<br />
Ihr erstr Erfinder war Jubal<br />
Des Lamechs Sohn mit Namen:<br />
Erfand Drometn- und Pfeiffenschall<br />
Kont sie stimmen zusammen.<br />
Die Music gut<br />
Erweckt den Muth<br />
Frisch unverzagt<br />
Die Feind verjagt<br />
Ruft starck, dran, dran<br />
An Feind hinan<br />
Brecht gewaltig durch<br />
Schlagt Gassn und Furch<br />
Schießt, stecht und haut alles nider<br />
Daß keiner aufsteht wieder.<br />
[...]</blockquote>
<div style="text-align: justify;">
But what was Morhof''s source? It took more than a century after the publication of Herder's Volkslieder until the original author was identified. Austrian scholar Ferdinand Eichler (<a href="https://archive.org/details/vierteljahrschr07unkngoog/page/n259" target="_blank">1889</a> & <a href="https://archive.org/details/zentralblattfr13leipuoft/page/386" target="_blank">1896</a>) showed that Morhof quoted the text from a very obscure epic about the East Frankish King Heinrich I's victorious battle against the Magyars in 933 - today known as the battle of Riade - by the very obscure poet Jacob Vogel that was published first in 1626:</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
Jacob Vogel, Vngrische Schlacht. Das ist: Poetische Beschreibung der gewaltigen grossen Vngrischen Schlacht welche Keyser Heinrich der Erste (aus dem Königlichen Sächs. Stam Widikindi Magni, etc.) Auceps genant Anno 933. bey Mörsseburg mit dreymalhundert tausent Vngrern, Tartarn, Sarmaten, Wenden, Scythen, Reussen, etc. vnd andern damals grawsamen Völckern gehalten: welche er auch sampt seinem Heldenmühtigen Kriegsvolck mehrentheils erschlagen, theils gefangen, die vbrigen aber aus dem Lande verjaget hat.<br />
Mit Namhafftigmachung der streitbarsten Königlichen, Fürstlichen, Gräfflichen, Landherrischen, Adelichen, etc. vnd andern rittermessigen Kriegshelden: so bey der Schlacht das beste gethan vnnd dardurch vnsterbliches Gedächtnis, Lob vnd Ruhm erworben haben.<br />
Allen ritterlichen Helden, sonderlich dem Teutschen Adel, zu Ehren vnnd Wolgefallen, ans Tagesliecht gebracht, Weidner, Jena, 1626, here <a href="https://archive.org/details/vogelungrischeschlacht1626/page/n45/mode/2up" target="_blank">pp. 35-41</a>,<br />
at <a href="https://books.google.de/books?id=xLJdAAAAcAAJ" target="_blank">Google Books </a>[= <a href="http://data.onb.ac.at/rep/10A1BE9B" target="_blank">ÖNB</a>], also at the <a href="https://archive.org/details/vogelungrischeschlacht1626" target="_blank">Internet Archive</a> (mod. ed. <a href="http://honlap.eotvos.elte.hu/wp-content/uploads/2016/02/Balogh_Hg_Ungarnbilder17Jh_Vogel_BT_2013juli03-nincsvagojel.pdf" target="_blank">Balogh 2013</a>)</blockquote>
</div>
<div style="text-align: justify;">
Who was Jacob Vogel (1584-?; <a href="https://archive.org/details/zentralblattfr13leipuoft/page/386" target="_blank">Eichler 1896</a>; see also <a href="https://www.deutsche-biographie.de/sfz83911.html" target="_blank">Deutsche Biographie</a>)? He came from Württemberg but later settled in Saxony. A surgeon by profession he became a self-taught poet. Vogel didn't go to university - his family couldn't afford it - but he read a lot and also traveled far and wide, for example to Hungary and Italy. Since 1615 he was busy as a writer and in 1622 he was crowned a poet in Leipzig. Otherwise not much is known about him and after 1630 he vanished from the scene. We don't even know when and where he died.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Vogel wrote for example a <i>Kurtze Wanderregel</i> for travelling craftsmen (1615, at <a href="http://resolver.staatsbibliothek-berlin.de/SBB0001C72400000000" target="_blank">SB Berlin</a>) as well as some historical epics celebrating the house of Saxony. The <i>Clausensturm</i> (1622; at <a href="http://resolver.sub.uni-goettingen.de/purl?PPN506495310" target="_blank">UB Göttingen</a>) was about Elector Moritz of Saxony's campaign in Bavaria and Tyrol against Catholic emperor Karl V. in 1552 during the Second Schmalkaldic War. The <i>Bautzensturm</i> (at <a href="http://resolver.staatsbibliothek-berlin.de/SBB0001CA3900000000" target="_blank">SB Berlin</a>) showed the siege and conquest of the town of Bautzen: the Lutheran Elector of Saxony helped the Catholic Emperor to defeat and depose the new Bohemian king, the Calvinist Palatinate Elector Friedrich V.</div>
<br />
<div style="text-align: justify;">
Vogel was surely not among that era's greatest writers. But nonetheless his work is not uninteresting. He himself didn't suffer from false modesty but instead believed he was much better than all the old Greek and Latin poets (see Eichler 1896, <a href="https://archive.org/details/zentralblattfr13leipuoft/page/396/mode/2up" target="_blank">p. 397</a>; Clausensturm <a href="https://gdz.sub.uni-goettingen.de/id/PPN506495310?tify={%22pages%22:[4],%22view%22:%22info%22}" target="_blank">l. 2v</a>). What he shared with some of his high-brow colleagues from that time - for example Martin Opitz (see f. ex. Riemenschneider 1993) - was his language patriotism . He criticized the current contempt for the German language and he wanted to write German poetry: "Ob wol bey uns Deutschen, als welche ihre eigene Muttersprache verachten, kein Deutscher Poet [...] etwas gilt oder geachtet wird" (Clausensturm, l. 2v). He was not only a Saxon patriot but also promoted a kind of early German cultural nationalism.</div>
<br />
<div style="text-align: justify;">
The <i>Ungrische Schlacht</i> appeared in 1626, in the early years of what would later be called the Thirty Years' War. At that time his own ruler, the Lutheran Elector of Saxony, was still supporting the Emperor against the Protestants. Germans fought against Germans and a lot of foreign soldiers were involved. Poet Vogel who in an introductory epigram [<a href="https://archive.org/details/vogelungrischeschlacht1626/page/n7/mode/2up" target="_blank">p. iv</a>]) is celebrated as a German Homer and Vergil clearly attempted a German national epic and reached back to early Middle Ages when - according to legend - all of "Germany" stood together to fight against foreign invaders.</div>
<br />
<div style="text-align: justify;">
Heinrich I. (c.876-936; see <a href="https://de.wikipedia.org/wiki/Heinrich_I._(Ostfrankenreich)" target="_blank">Wikipedia</a>; <a href="https://books.google.de/books?id=Yv1NAAAAcAAJ" target="_blank">Waitz 1863</a>; Brühl 1995, pp. 411-60; Giese 2008; <a href="http://archiv.ub.uni-heidelberg.de/volltextserver/12070/1/Schneidmueller_2003_Heinrich_I.pdf" target="_blank">Schneidmüller 2003</a>) was the first Saxon king of East Francia. German nationalist historiography later saw him as the first "German" king and the founder of the "German" empire. Of course at that time there was no "Germany". During the 19th century "Heinrich der Vogler" ("Henry the Fowler") had a nearly legendary status. Everybody knew Loewe's famous ballad "Herr Heinrich sitzt am Vogelherd" and he was also the hero of Wagner's <i>Lohengrin</i>. But in fact not really much is known about him. There are only very few contemporary sources and historians always had a hard time distinguishing facts from legends.</div>
<br />
<div style="text-align: justify;">
Among Heinrich's most important achievements was surely the victory against the Magyars in 933. These equestrian warriors from the East conducted aggressive raids westwards and his own kingdom was a regular victim of these attacks. For a long time the Franks had no idea what to do against these invaders. But in the mid-20s King Heinrich managed to reach an uneasy truce for nearly a decade. He then introduced some military reforms and prepared his knights for future battles. In 932 he stopped delivering the tributes to the Magyars and - as expected - the following years they returned. This time they were defeated and driven out. This was not a decisive victory and by all accounts it was not a big battle with many dead enemies. Heinrich's success "had primarily the psychological effect of destroying the legend of the invincibility of the Magyars" (see Brühl, p. 499). Nonetheless this made him a great hero and soon the story of the battle would be embellished with numerous legendary elements.</div>
<br />
<div style="text-align: justify;">
The <i>Ungrische Schlacht</i> had of course not much to do with what really happened. Vogel turned it into a battle of epic proportions: knights from all parts of "Germany" - it seems in reality only Saxons and Thuringians did the fighting - came together and on page after page he has them massacring the always nameless Magyars. Interestingly he did some research and for example claimed (<a href="https://archive.org/details/vogelungrischeschlacht1626/page/n155/mode/2up" target="_blank">[p. 144]</a>) to have studied "old scrolls, rotten and partly eaten by mice" and other vermin. He also named his major sources: Brotuff's chronicle of Merseburg that included a chapter of very dubious quality about the battle (1556, <a href="https://books.google.de/books?id=Ls15SDm8-LwC&hl=de&pg=PA10-IA20#v=twopage&q&f=false" target="_blank">ch. 15</a>; 1557, <a href="https://books.google.de/books?id=zDJPAAAAcAAJ&hl=de&pg=PR29#v=twopage&q&f=false" target="_blank">ch. 15</a>; 1606, <a href="https://books.google.de/books?id=oWlYAAAAcAAJ&hl=de&pg=PA492#v=twopage&q&f=false" target="_blank">pp. 493-508</a>) and the "Turnirbuch", Georg Rüxner's <i>Anfang vrsprung vnnd herkommen des Thurnirs in Teutscher nation</i> (1530, see <a href="https://books.google.de/books?id=j8RUAAAAcAAJ&hl=de&pg=PR2-IA1#v=twopage&q&f=false" target="_blank">IIv - xiiii</a>). The infamous forger Rüxner (see <a href="https://de.wikisource.org/wiki/Georg_R%C3%BCxner" target="_blank">Wikipedia</a>; <a href="https://de.wikisource.org/wiki/Georg_R%C3%BCxner" target="_blank">wikisource</a>; <a href="https://nbn-resolving.org/urn:nbn:de:bsz:25-opus-71401" target="_blank">Graf 2009</a>) had invented for his book the first 14 tournaments in Germany and all the names of the knights who took part. He claimed that the very first tournament was held by Heinrich after the Hungarian battle. Here Vogel found the names of the "German" heroes that he used in his epic. Besides these two he must have also known other sources but it surely didn't help him much. The whole epic is pure fantasy.</div>
<br />
<div style="text-align: justify;">
But this didn't matter much. Who cares about the real history when it's more important to promote a piece of German national mythology? The political message of his epic is clear: let's fight against foreign invaders (see Balogh, pp. 9-10). At the time of writing this idea surely made sense but was extremely utopian. Here Vogel anticipated future developments and was way ahead of his time. The real problem with his attempt at a national epic is that it surely looks like one of the worst epics ever written. The endless list of names is tedious beyond belief. There are countless bad rhymes that produce an unintentional comical effect and it is really difficult to stay serious while reading:</div>
<blockquote class="tr_bq">
[...]<br />
Also erschlug der Keyser viel/<br />
Der Feind zu todt im Heldenspiel.<br />
Der Herr Feldobrist leget ein/<br />
Sampt den Herrn: in Ordnung fein/<br />
Randtens Spornstreichs wider die Feind/<br />
Jeder sein Man zu fällen meynt/<br />
Welchs auch geschach in solchem Strauß/<br />
Daß die Vngrer ankam ein Grauß/[<a href="https://archive.org/details/vogelungrischeschlacht1626/page/n75/mode/2up" target="_blank">p. 65</a>]<br />
[...]<br />
Wilm von Delsperg/ mit seim Schlachtschwert/<br />
Hieb manchen Vngrer zu der Erd/<br />
Hanß von Trott/ schlug auch grewlich drein/<br />
Mit seim Streitkolben: wurd ins Bein/<br />
Gschossen: des ergrimmt er gar/<br />
Zertrannt im Zorn der Feinde Schaar/ [p. 67]<br />
[...]</blockquote>
<div style="text-align: justify;">
The most interesting part of this epic is the song, clearly his own invention, that we can find at the start of <a href="https://archive.org/details/vogelungrischeschlacht1626/page/n45/mode/2up" target="_blank">Act III</a>:</div>
<blockquote class="tr_bq">
Des Keysrs Poet/ein Schlachtlied singt/<br />
Welchs manch Heldengemüth auffbringt<br />
<div style="text-align: justify;">
[...]</div>
</blockquote>
<div style="text-align: justify;">
The poet performs his battle-song at the emperor's table. He is accompanied by pipes and drums and sings it to encourage and incite the soldiers. There is nothing medieval about this text and most of it doesn't sound as if it could incite anybody. What's important is the last verse about dying for the "fatherland", the part that would survive the centuries. This formula would have been quite unusual at the time of the real battle against the Hungarians. But when Vogel wrote his epic it had become popular anew. He wasn't the first to use it.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<div style="text-align: justify;">This was of course a reference to Roman poet Horatius' famous ode (Carmina <a href="https://la.wikisource.org/wiki/Carmina_(Horatius)/Liber_III/Carmen_II" target="_blank">3.2</a>): "Dulce et decorum est pro patria mori". His works were easily available at that time. The earliest printed edition of his odes had appeared at Straßburg in 1498 and this collection was then regularly reprinted (see here <a href="https://books.google.de/books?id=XEhTmMkDRvsC&hl=de&pg=PP68#v=onepage&q&f=false" target="_blank">1516</a>). Equally important and influential in this respect were the martial elegies of Tyrtaios, the Greek poet from the 7th Century B.C. who had used an earlier variant of this formula (now fragm. 6D, see <a href="https://www.gottwein.de/Grie/lyr/lyr_tyrt_de.php#Tyrt.6D_7D" target="_blank">Gottwein.de</a>). His works were also available in print since the 16th century (see Kühlmann 2011, pp. 178-86), for example in the editions by Camerarius, Melanchthon and Osius (here 1563, <a href="https://books.google.de/books?id=1x3VaXSW1TsC&hl=de&pg=PT8#v=twopage&q&f=false" target="_blank">pp. 61-2</a>).</div></div>
<br />
<div style="text-align: justify;">
"Amor patria" and its practical implications were widely discussed among scholars and intellectuals (see f. ex. Schmidt 2007) and translations and variants of this formula could also be found in German language publications, for example in Georg Lauterbeck's <i>Regentenbuch</i>, a popular textbook for government and politics (1561, pp. <a href="https://books.google.de/books?id=Bo1YAAAAcAAJ&hl=de&pg=PR287-" target="_blank">CCLXXXVIIv</a> & CCCXXX):</div>
<blockquote class="tr_bq">
Wer an der Spitzen nider felt/<br />
Damit sein Vaterland erhelt<br />
Im Krieg/derselb ist Lobens werth/<br />
Kein grösser Lob mag seyn auff Erd.<br />
[...]<br />
Wie solchs der Poet lobet.<br />
Dulce, & decorum est pro patria mori.<br />
Das ist/Es ist lieblich und fein/sterben für das Vaterland [...].</blockquote>
<div style="text-align: justify;">
Only recently poet Julius Wilhelm Zincgref had used it:</div>
<blockquote class="tr_bq">
Kein Tod ist löblicher, kein Tod wird mehr geehret,<br />
Als der, durch den das Heil des Vaterlandts sich nehret<br />
[...]</blockquote>
<div style="text-align: justify;">
This is the opening couplet of his long poem <i>Eine Vermanung zur Dapfferkeit. Nach form und art der Elegien deß Grichischen Poeten Tyrtaei, welche der Lacedaemonier Feld Obersten ihren Bürgern und soldaten ehe sie ins Treffen giengen, vorzulesen pflegten </i>(see Kühlmann 2911, Vollhardt 2011). His "admonition to bravery" based on Tyrtaios' elegies "that were read to the citizens and soldiers before the battle" was first published in 1624 in <i>Teutsche Pöemata</i>, Zincgref's edition of the poems of Martin Opitz where he added an appendix of other German poems, mostly his own (here <a href="https://books.google.de/books?id=FbOYehv5c_EC&hl=de&pg=PA220#v=twopage&q&f=false" target="_blank">pp. 220-4</a>) and then a year later as a single print. More editions would follow (see Dünnhaupt III, <a href="https://archive.org/details/bibliographische0003dunn/page/2016/mode/2up" target="_blank">pp. 2017-18</a>).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Zincgref (1591-1635; <a href="https://de.wikipedia.org/wiki/Julius_Wilhelm_Zincgref" target="_blank">Wikipedia</a>; Dünnhaupt III, <a href="https://archive.org/details/bibliographische0003dunn/page/2004/mode/2up" target="_blank">p. 2005</a>), poet and jurist, wrote it - according to a later print (1632, at <a href="https://gdz.sub.uni-goettingen.de/id/PPN781818613?tify={%22pages%22:[10,11],%22panX%22:0.61,%22panY%22:0.84,%22view%22:%22info%22,%22zoom%22:0.622}" target="_blank">UB Göttingen</a>) - in 1622 during the siege of Heidelberg, capital of the Palatinate electorate, where he was military judge. Of course this poem was intended to encourage the soldiers to fight against the Catholic forces. But to be true it was apparently of no use there. Heidelberg had to surrender and the poet had to flee. Vogel may have known any of these publications. But in general this formula was already so widely known - it was even printed on flags (see Schevenhiller's Annales Ferdinandei 10, 1724, <a href="https://books.google.de/books?id=MhJPAAAAcAAJ&hl=de&pg=PA527#v=onepage&q&f=false" target="_blank">col. 527</a>) - that the question about his source is really not that important.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The real question is: what did he mean with term "Vaterland"? For whom should the soldier die? The fatherland in the political discussions of that time was not the same as the fatherland in modern nationalist ideology. It was usually simply the place one was born and living, the <i>Heimat</i> (see f. ex. Hartmann, p. 92; Walch 1733, <a href="https://books.google.de/books?id=4-xYAAAAcAAJ&hl=de&pg=PA2633#v=onepage&q&f=false" target="_blank">col. 2633</a>) but not "Germany" as a whole. Zincgref also spoke of "Volck und Vatterland". But he identified patriotism for "Germany" with the Protestant cause. That was of course a common way of thinking especially among Calvinist writers (see Garber 1986, pp. 327-31).</div>
<br />
<div style="text-align: justify;">
Two decades later another high-brow poet offered a soldier song in a similar vein. Georg Rudolf Weckherlin (1584-1653; see <a href="https://en.wikipedia.org/wiki/Georg_Rudolf_Weckherlin" target="_blank">Wikipedia</a>; Dünnhaupt III, <a href="https://archive.org/details/bibliographische0003dunn/page/1840/mode/2up" target="_blank">pp. 1841-6</a>), a jurist, diplomat and writer from Württemberg and a supporter of the Palatinate elector, went to England in 1620 where he then spent most of his life. In fact he preferred not to return to the continent and instead worked for the British government. Weckherlin wrote political and patriotic poems against the emporer and the Catholic league (see Meid 1982). In his <i>Gaistliche und Weltliche Gedichte</i> (1641, <a href="http://www.deutschestextarchiv.de/weckherlin_gedichte_1641/262" target="_blank">pp. 244-6</a>; 1648, <a href="https://archive.org/details/bub_gb_AyZLAAAAcAAJ/page/n637" target="_blank">pp. 522-4</a>) we can find the ode with the title "Wie die Soldaten man vorzeiten Laut mit dem mund: So Sie jetzund Ermahnet der Poët zu streitten":</div>
<blockquote class="tr_bq">
Frisch auff, ihr tapffere Soldaten,<br />
Ihr, die ihr noch mit Teutschem Blut<br />
[...] suchet grosse thaten<br />
[...]<br />
Der ist ein Teutscher wolgeboren,<br />
Der von betrug und falschheit frey,<br />
Hat weder redlichkeit noch trew,<br />
Noch glauben, noch freyheit verlohren:<br />
[...]<br />
Dan wan ihn schon die feind verwunden,<br />
Und nemen ihm das leben hin,<br />
Ist doch ruhm und ehr sein gewin,<br />
Und Er ist gar nicht überwunden:<br />
Ein solcher tod ist ihm nicht schwer,<br />
Weil sein gewissen ihn versüsset;<br />
Und er erwirbet lob und ehr,<br />
In dem er sein blut so vergiesset.'<br />
[...]</blockquote>
<div style="text-align: justify;">
In this admonition to bravery the poet also celebrated the death for the fatherland. There is much <i>Deutschtümelei</i> but he of course understood the fight for German freedom as the fight for the Protestant cause. By the way, Zincgref's and Weckherlin's texts would at first become much more popular than Vogel's. Some year's later Johann Michael Moscherosch (1601-1669; see <a href="https://de.wikipedia.org/wiki/Johann_Michael_Moscherosch" target="_blank">Wikipedia</a>; <a href="https://www.deutsche-biographie.de/sfz65635.html" target="_blank">Deutsche Biographie</a>), a Protestant writer from Strasbourg, combined Weckherlin's poem with a part of Zincgref's and included it in <i>Philander von Sittwalds Gesichten</i>, a highly successful collection of satirical narratives published since 1640 (here Vol. 2, 1644, <a href="https://books.google.de/books?id=x_dkAAAAcAAJ&hl=de&pg=PA566#v=twopage&q&f=false" target="_blank">pp. 566-8</a>; see Martin 2000; pp. 194-213).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Poet Jacob Vogel had a different attitude than his Calvinist high-brow colleagues. In the context of the epic the song was about "Germany" as a whole even if it didn't exist at that time. He celebrated the German heroes - "teutsche Helden" - and his patriotic epic is dedicated to everybody: "Allen ritterlichen Helden/sonderlich dem Deutschen Adel/Zu Ehren und Wolgefallen". By going back to the early middle ages he was able to ignore the ongoing war - Germans fighting against Germans and many foreign troops on German soil - and the contemporary political and religious fragmentation. Instead he offered a call for national unity against foreign invaders. The battle against Hungarians became a part of Germany's patriotic history.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The "Vaterland" in his song was clearly an imaginary united "Germany". At the time of writing this was wishful thinking. The armies consisted mostly of mercenaries from all over Europe who couldn't care less about the fatherland, whatever that was. In this respect Vogel was closer to modern nationalist ideology than most of his contemporaries. Of course in his thinking "Germany" was still represented by the nobility. The real people didn't play much of a role in this epic.</div>
<br />
<br />
<div style="text-align: center;">
<b>III. The Poetry of the Seven Years' War </b></div>
<br />
<div style="text-align: justify;">
But no matter what poet Vogel expected: his great epic wasn't successful. He was never recognized as the new German Homer and his name fell into oblivion. He was only rarely mentioned in the relevant literature and apparently not many copies of his book were sold at that time. When Morhof reprinted this "song" he didn't even mention Vogel's name, perhaps because he only had a mutilated copy. It seems he didn't even care about the author and his epic. For him it was only a strange curiosity and otherwise he thought the piece was quite bad and tasteless. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Nearly 90 years later Herder discovered this text in Morhof's book and he could relate to it in a very different way. At that time patriotic battle songs had become very popular in the German language literary world. This was mostly thanks to Prussian King Friedrich II. who since his accession to the throne in 1740 regularly started new wars of aggression. German writers responded with martial poetry to support the Prussian wars and to promote a new patriotism.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
We may only look at Samuel Gottlieb Lange's <i>Horatzische Oden</i> (1747, at <a href="https://books.google.de/books?id=5Lc6AAAAcAAJ&hl=de&pg=PA4#v=twopage&q&f=false" target="_blank">Google Books</a>). Here this pastor and poet (see <a href="https://de.wikipedia.org/wiki/Samuel_Gotthold_Lange" target="_blank">Wikipedia</a>) celebrated the king and the war in no uncertain terms and sometimes it sounded really blood-thirsty. In the appendix we find an ode by his wife Dorothea - "Friedrichs Zurückkunft in sein Land" (<a href="https://books.google.de/books?id=5Lc6AAAAcAAJ&hl=de&pg=PA166#v=twopage&q&f=false" target="_blank">pp. 161-6</a>) - where she expressed her wish to be a man and "splatter her blood" for the king: </div>
<blockquote class="tr_bq">
O könnt ich, mit stark und männlichen Kräften, <br />
Mein Blut für Dich, o Vater, Friedrich! versprützen <br />
[...] </blockquote>
<div style="text-align: justify;">
Most important and influential in this respect was Friedrich Gottlieb Klopstock (1724-1803; see <a href="https://de.wikipedia.org/wiki/Friedrich_Gottlieb_Klopstock" target="_blank">Wikipedia</a>) who had just become famous with the first parts of his <i>Messias</i>. In 1749 - a year after the end of the first Silesian wars - he published a "Kriegslied zur Nachahmung des alten Liedes von der Chevy-Chase-Jagd" in the <i>Bremische Neue Beyträge</i> (<a href="https://archive.org/details/sammlungbremischeneuebeytraege1748ff/page/n447" target="_blank">pp. 404-6</a>; see the translation of a later version in Odes, 1848, <a href="https://archive.org/details/odesofklopstockf00klop/page/54" target="_blank">pp. 55-7</a>). Here he applied the meter of the British ballad "Chevy Chase" to a modern battle-song (see Bosse 2000 & 2001): </div>
<blockquote class="tr_bq">
Die Schlacht geht an! Der Feind ist da!<br />
Wohlauf zum Sieg ins Feld!<br />
Es führet uns der beste Mann<br />
Im ganzen Vaterland.<br />
<br />
Es braust das königliche Roß,<br />
und trägt ihn hoch daher.<br />
Heil, Friedrich! Heil dir, Held und Mann<br />
Im eisernen Gefild!<br />
<br />
Sein Antlitz grüht vor Ehrbegier<br />
Und herrscht den Sieg herbey!<br />
Schon ist an seiner Königsbrust<br />
Der Stern mit Blut bespritzt.<br />
[...] </blockquote>
<div style="text-align: justify;">
In 1711 English writer Joseph Addison had introduced the "old song of Chevy-Chase", the "favourite ballad of the common people of England" to the readers of his <i>Spectator</i> (Nos. 70 & 74, here in later ed., Vol. 1, <a href="https://archive.org/stream/spectator01addiuoft#page/282/mode/2up" target="_blank">pp. 283-9</a>, 301-7), an innovative and influential periodical. In fact this ballad (see <a href="https://archive.org/details/NesslerGeschichteDerBallade/page/n11" target="_blank">Nessler 1911</a>) about a battle in the 14th century at the English-Scottish border was rather old but he used a more recent version from the early 17th century : </div>
<blockquote class="tr_bq">
This news was brought to Edinburgh,<br />
Where Scotland's king did reign,<br />
That brave Earl Douglas suddenly<br />
Was with an arrow slain. <br />
[...] </blockquote>
<div style="text-align: justify;">
Here he presented it as an example of what he regarded as old English heroic poetry: "I know nothing which more shews the essential and inherent perfection of simplicity of thought" (p. 283). This was a very influential article that more or less started the ballad revival of the 17th century. The <i>Spectator</i> was also translated into German in the 1740s by Luise Gottsched. This text in particular was received with great interest (here 2nd ed., 1750, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10616629_00360.html" target="_blank">pp. 340-6</a>, 362-8) and served as an inspiration for scholars and poets. </div>
<br />
<div style="text-align: justify;">
Klopstock was among the first to try it out. It is not clear if this was a serious attempt. Perhaps he regarded it only as an an experiment with an interesting meter. The "Kriegslied" was accompanied by two more pastiches, a drinking song and a love song, written either by Klopstock himself or one of his friends (pp. 407-11). It is also not clear if the "Friedrich" in this poem was really the Prussian king. Klopstock later denied it (see Cramer II, <a href="https://books.google.de/books?id=2PZLAQAAMAAJ&hl=de&pg=PA372#v=onepage&q&f=false" target="_blank">p. 372-3</a>) and changed the name. But for contemporary readers this was an obvious conclusion. Klopstock also revived here Horatius' "death for the Fatherland":</div>
<blockquote class="tr_bq">
Willkommen, Tod fürs Vaterland! <br />
Wann unser sinkend Haupt <br />
Schön Blut bedeckt; dann sterben wir <br />
Mit Ruhm fürs Vaterland.<br />
<br />
[...]<br />
<br />
Uns folgt ein Ruhm der ewig bleibt,<br />
Wenn wir gestorben sind!<br />
Gestorben für das Vaterland<br />
Den ehrenvollen Tod. </blockquote>
<div style="text-align: justify;">
He had already used this formula in the <i>Messias</i> (1749, here 1751, <a href="https://books.google.de/books?id=taJUAAAAcAAJ&hl=de&pg=PA16#v=onepage&q&f=false" target="_blank">p. 16</a> & <a href="https://books.google.de/books?id=taJUAAAAcAAJ&hl=de&pg=PA82#v=onepage&q&f=false" target="_blank">p. 82</a>) but here it was transferred to the present time and its real wars. All in all the "Kriegslied" sounded like a call for pro-Prussian patriotism and Friedrich II.'s wars and it would serve as a model for future "war-poets". </div>
<br />
<div style="text-align: justify;">
But the great flood of new battle-songs only started in 1756 with what later would be called the Seven Years' War. Philosopher-in-chief Friedrich II. invaded and occupied Saxony and soon saber-rattling German writers were again busy celebrating the Prussian king's latest war. Anonymous producers of cheap broadsides (see Ditfurth 1871, at <a href="https://books.google.de/books?id=W-RiAAAAcAAJ" target="_blank">Google Books</a>) and popular high-brow poets, amateurs as well as professionals did their best to support their army. There was for example an unnamed Prussian officer who wrote<i> Zwey Kriegslieder an die Unterthanen des Königs</i>, two victory songs with melodies (1757, at <a href="http://nbn-resolving.org/urn:nbn:de:gbv:3:1-812938" target="_blank">UB Halle</a>). Another anonymous author offered <i>Friederich der Sieger: Ein Heldengedicht</i> (1758, at <a href="https://books.google.de/books?id=D2RVAAAAcAAJ" target="_blank">Google Books</a>). Also Pastor Lange was at it again, blood-thirsty as usual: his lengthy poem with the title <i>Die besiegten Heere, eine Ode, nebst dem Jubelgesange der Preußen</i> (1758, at <a href="https://books.google.de/books?id=OgJhAAAAcAAJ" target="_blank">Google Books</a>; at <a href="http://resolver.staatsbibliothek-berlin.de/SBB0000B59700000000" target="_blank">SB Berlin</a>) seemed too harsh even for the Prussian censor (see Pröhle 1872, <a href="https://books.google.de/books?id=vjs_AAAAIAAJ&hl=de&pg=PA78#v=twopage&q&f=false" target="_blank">p. 78</a>). </div>
<br />
<div style="text-align: justify;">
Then there was Ewald von Kleist (1715-1759; see <a href="https://de.wikipedia.org/wiki/Ewald_Christian_von_Kleist" target="_blank">Wikipedia</a>), at that time already a well-established poet but also a Major in the Prussian army. The "Ode an die preußische Armee" was first published as a broadside (at <a href="https://doi.org/10.3931/e-rara-60485" target="_blank">e-rara</a>) and then included in his anthology <i>Neue Gedichte vom Verfaßer des Frühlings</i> (1758, at <a href="https://books.google.de/books?id=_6A6AAAAcAAJ&hl=de&pg=PA11#v=twopage&q&f=false" target="_blank">Google Books</a>). Here he celebrated the death in the battle: "O Heer! Bereit zum Siegen oder Sterben". Dying for the fatherland once again became the call of the day. In his verse novel <i>Cißides und Paches. In drey Gesängen</i> (1759), set in the time of the wars of the Diadoches after the death of Alexander the Great, Kleist quoted this formula several times (pp. 10, 28, 40, <a href="https://books.google.de/books?id=yYhN_D7IjbAC&hl=de&pg=PA56#v=twopage&q&f=false" target="_blank">56</a>): </div>
<blockquote class="tr_bq">
Der Tod fürs Vaterland ist ewiger <br />
Verehrung werth. Wie gern sterb ich ihn auch. </blockquote>
<div style="text-align: justify;">
This literary "death cult" (see Hellmuth 1998; Blitz 2000, pp. 223-6) was also promoted by admired young philosopher Thomas Abbt (1738-1766; see <a href="https://de.wikipedia.org/wiki/Thomas_Abbt" target="_blank">Wikipedia</a>) in his treatise <i>Vom Tode für das Vaterland</i> (1760, at <a href="https://books.google.de/books?id=2C8CAAAAcAAJ" target="_blank">Google Books</a>; see Hildebrandt 2019, pp. 344-55). He emphatically affirmed it as a patriotic obligation, even in an absolutist monarchy like Prussia. But at that time this ideal looked more like wishful thinking. A considerable part of the Prussian army was made up of mercenaries and of young men pressed into service against their will. Desertion was a great problem. Many of these soldier surely had no interest in dying for the "fatherland", whatever that was. Major Kleist himself in fact died in the war and that made him even more famous. Philosopher Abbt also died young, but not in battle. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The most successful war songs from this time were surely Gleim's <i>Kriegslieder eines preußischen Grenadiers</i>. (s. <a href="https://archive.org/details/preussischekrieg00gleiuoft" target="_blank">Sauer 1882</a>; Lacher 2017). Johann Wilhelm Ludwig Gleim (1719-1803; <a href="https://de.wikipedia.org/wiki/Johann_Wilhelm_Ludwig_Gleim" target="_blank">Wikipedia</a>; <a href="https://de.wikisource.org/wiki/Johann_Wilhelm_Ludwig_Gleim" target="_blank">wikisource</a>; see f. ex. Browning 1978, <a href="https://archive.org/details/germanpoetryinag00brow/page/92" target="_blank">pp. 92-115</a>; Wappler 1998; Hettche 2003; Lee 2011; see also <a href="https://www.gleimhaus.de/startseite.html" target="_blank">Gleimhaus Halberstedt</a>) was already a well-established and popular writer and poet. He had tried to bring a lighter tone into German-language literature with his attempt at anacreontic poetry in <i>Versuch in scherzhaften Liedern</i> (1744-5, here 1753-8, at <a href="https://books.google.de/books?id=jmAHAAAAQAAJ" target="_blank">Google Books</a>). Gleim was also familiar with French and Spanish romances and experimented with murder ballads (see his Romanzen, 1756, at <a href="https://books.google.de/books?id=bwJYAAAAcAAJ" target="_blank">Google Books</a>). Besides that he became a passionate literary networker with a large circle of friends, among them Gotthold Ephraim Lessing and the above-mentioned Major Kleist. With them he maintained an extensive correspondence. Not at least he was a Prussian super-patriot and a great admirer of King Friedrich. </div>
<br />
<div style="text-align: justify;">
Now that a new war had started Gleim, challenged by his friend Lessing (Sauer, <a href="https://archive.org/details/preussischekrieg00gleiuoft/page/n15" target="_blank">pp. xi-xii</a>), also set out to produce patriotic songs. The first one was <i>Siegeslied der Preußen nach der Schlacht bey Prag, den 6. May 1757</i> (at <a href="https://books.google.de/books?id=MQJhAAAAcAAJ" target="_blank">Google Books</a>):</div>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
[...] <br />
Auf sieben Schanzen jagten wir,<br />
Die Mützen von dem Bär.<br />
Da, Friedrich, gieng dein Grenadier,<br />
Auf Leichen hoch einher.<br />
<br />
Dacht, in dem mörderischen Kampf,<br />
Gott, Vaterland, und Dich,<br />
Erblickte, schwarz von Rauch und Dampf,<br />
Dich seinen Friederich. <br />
[...] <br />
<br />
[transl.:]<br />
[...]<br />
On seven entrenchments we hunted,<br />
The hats of the bear,<br />
There, Friedrich, went your grenadier,<br />
On dead bodies high along.<br />
<br />
Thought, in the murderous fight,<br />
God, Fatherland, and You,<br />
Saw, black with smoke and steam,<br />
You, his Friederich.<br />
[...] </blockquote>
</blockquote>
<div style="text-align: justify;">
Just like Klopstock he applied the meter of "Chevy Chase", this time with rhymes, to give the song a more popular and martial tone. It was published anonymously on a broadside and passed off as the work of an unknown grenadier, a real soldier fighting in the battle. This text was then reprinted in a periodical, the <i>Bibliothek der schönen Wissenschaften und der freyen Künste</i> (1, 1757, St. 2, <a href="https://books.google.de/books?id=co1KAAAAcAAJ&hl=de&pg=PA426#v=twopage&q&f=false" target="_blank">pp. 426-9</a>) where the anonymous author of the introduction - it was Lessing - explicitly claimed that the poet was a "common soldier". He introduced a second song, a "Schlachtgesang" from the start of that year's campaign, and it was equally rough.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
By the way, that song included the immortal verse "Aus deinen Schedel trinken wir/Bald deinen süßen Wein" ("From your skull we will/Soon drink your sweet wine"), one of the most often criticized lines in the history of German literature and until today a provocation to literary scholars who always condemned it in no uncertain terms (see f. ex. Kittstein, p. 44). But this was simply an attempt to show how the Prussian soldiers mocked the Hungarians in the Austrian army and of course also an ironic reference to the medieval battles against the Magyars. </div>
<br />
<div style="text-align: justify;">
In the accompanying remarks Lessing also noted that these songs "couldn't be more poetical or martial" and are "full of the most subliminal thoughts in the simplest expression". These were the key terms: sublimity and simplicity. Here Gleim and Lessing created the persona of a people's poet, a poet in the battle. The grenadier was a role, a mask (see Browning, <a href="https://archive.org/details/germanpoetryinag00brow/page/108" target="_blank">p. 109</a>) that allowed poet Gleim to simulate "authentic" war experiences (s. Hildebrandt, pp. 309-26; Bosse 2001, p. 69) and it seems that he sounded very convincing. Goethe (1812, <a href="https://books.google.de/books?id=WtQFAAAAQAAJ&hl=de&pg=PA158#v=twopage&q&f=false" target="_blank">p. 158</a>; see engl. transl., 1882, <a href="https://archive.org/details/autobiographyofg01goetuoft/page/n251/mode/2up" target="_blank">p. 232</a>) later lauded their poetical authenticity. He claimed that these songs worked so well because they pretend that "a combatant had created them in the highest moments". They are "mit und in der That entsprungen".</div>
<br />
<div style="text-align: justify;">
This literary role play proved to be very successful, apparently many believed it. Gleim and Lessing even upheld the fiction in their correspondence. They always spoke about the grenadier as if he was a real person which is sometimes amusing to read (see the relevant letters in LS 17, <a href="https://archive.org/details/smtlicheschrif17lessuoft/page/104" target="_blank">pp. 104-61</a>; LS 19, <a href="https://archive.org/details/smtlicheschrif19lessuoft/page/100" target="_blank">pp. 101-45</a>). But this was also a very productive endeavor. More songs would follow and they again appeared at first on broadsides. There was the "Sieges-Lied der Preußen nach der Schlacht bey Rossbach" (1757, at <a href="http://resolver.sub.uni-goettingen.de/purl?PPN626934095" target="_blank">UB Göttingen</a>; at <a href="https://books.google.de/books?id=l_laAAAAcAAJ" target="_blank">Google Books</a>), the "Sieges-Lied der Preußen nach der Schlacht bey Lißa, den 5ten December 1757" (1758, at <a href="http://resolver.sub.uni-goettingen.de/purl?PPN626934893" target="_blank">UB Göttingen</a>) and the "Lied eines Preußischen Grenadiers bey Anfang des Krieges 1756 und Schlachtgesang der Preußen vor der Schlacht bey Prag den 6. May 1756" (1758, at <a href="http://resolver.sub.uni-goettingen.de/purl?PPN721568580" target="_blank">UB Göttingen</a>). </div>
<br />
<div style="text-align: justify;">
Lessing himself reviewed and promoted some of them in newspapers (LS 7, <a href="https://archive.org/details/smtlicheschrif07lessuoft/page/120" target="_blank">pp. 121-4</a>) and of course there were also illegal reprints. Most interesting was one broadside where two of the grenadier's songs were combined with Klopstock's old "Kriegslied" that was reanimated because it was still regarded as a pro-Prussian piece. Here even melodies by an unknown composer - allegedly the grenadier's brother - were included: <i>Kriegslied, Schlachtgesang und Siegeslied eines preussischen Soldaten, mit seines Bruders Melodien, Gesungen im Lager by Prag </i>(1757, at <a href="https://books.google.de/books?id=9YRcAAAAcAAJ" target="_blank">Google Books</a>). But in 1758 Gleim and Lessing compiled an anthology, <i>Preußische Kriegslieder in den Feldzügen 1756 und 1757. Mit Melodien</i> (at the <a href="https://archive.org/details/GleimKriegslieder1758" target="_blank">Internet Archive</a>), with all the grenadier's song and with new melodies. They had commissioned tunes from several composers but it was Christian Gottfried Krause from Berlin who wrote them all.</div>
<br />
<div style="text-align: justify;">
Gleim, deeply rooted in antique literature, referred in the first song to what he regarded as the grenadier's predecessors. Prussia is Sparta, he is the the new Tyrtaios, the new Horatius. After the song he quoted and updated a line from the latter's Ars <i>Poetica</i> (402f): "[Tyrtaeusque] mares animos in Martia bella Versibus exacua" (see Kittstein pp. 49-50; see also Hildebrandt, pp. 224-9, 241-3). And of course he also explicitly promoted the death for the fatherland á la Horatius: </div>
<blockquote class="tr_bq">
Ein Held fall ich, noch sterbend droht<br />
Mein Säbel in der Hand!<br />
Unsterblich macht der Helden Tod,<br />
Der Tod fürs Vaterland. </blockquote>
<div style="text-align: justify;">
But if he doesn't die in the battle the grenadier would like to be the king's poet: </div>
<blockquote class="tr_bq">
So werd aus Friedrich's Grendier<br />
Dem Schutz, der Ruhm des Staates;<br />
So lern er deutscher Sprache Zier,<br />
Und werde sein Horaz. </blockquote>
<div style="text-align: justify;">
Lessing wrote a short <a href="https://archive.org/details/GleimKriegslieder1758/page/n5/mode/2up" target="_blank">introduction</a>. Here he once again affirmed the role fiction: "The author is a common soldier, who has as much heroic courage as poetical genius [...] All his images are subliminal and all his sublimity is naive." Of course he also referred to the antique tradition: Pindar, Horatius and Tyrtaios. But then Lessing constructed a different line of tradition: the grenadier is a modern Prussian "bard", a successor of the old Germanic bards - an invention of German poets like Klopstock who thought the Germanic tribes had such "bards" - and the old Norse scalds. This he had already noted in his recent reviews of the grenadier's songs (see LS 7, <a href="https://archive.org/details/smtlicheschrif07lessuoft/page/120" target="_blank">pp. 121-4</a>) where he claimed that he was not only a "second Tyrtaeus" but also sang in the "true tone of the old bards", in the "way of the old Scalds" and called him a "Heldenbarde". Lessing was among the first in Germany who was familiar with medieval Scandinavian poetry and with Danish <i>kjaempeviser</i> and this would be an important inspiration for later writers like Gerstenberg and Herder. It should be added that he also knew the battle-song in Morhof's book. It is mentioned and quoted partly in a letter to Gleim from around the same time (see LS 17, <a href="https://archive.org/details/smtlicheschrif17lessuoft/page/136" target="_blank">pp. 136-7</a>). </div>
<br />
<div style="text-align: justify;">
The series came to an end with this publication. Gleim stopped writing the grenadier's songs, partly because he was devastated by the death of his friend Kleist. But they remained popular and were regularly reprinted. In 1759 one magazine, the <i>Neue Beytraege zum Vergnügen des Verstandes und Witzes</i> (at <a href="https://books.google.de/books?id=5z1eAAAAcAAJ&hl=de&pg=PA251#v=twopage&q&f=false" target="_blank">Google Books</a>) dedicated a complete issue to this genre and offered a great number of them, including some of Gleim's. Here we can see how much of this kind of war poetry was produced at that time. But the grenadier was the only one who - at first - survived this era and was not quickly forgotten. In fact Gleim's songs - widely admired and often copied - were later regarded as an important achievement, the beginning of German national poetry and the time of the Seven Years' War as a crucial moment in the history of German literature (see Goethe 1812, <a href="https://books.google.de/books?id=WtQFAAAAQAAJ&hl=de&pg=PA156#v=twopage&q&f=false" target="_blank">pp. 157-8</a>; see the discussion in Hildebrandt, pp. 1-14, 23-7). </div>
<br />
<div style="text-align: justify;">
Today this may be a little difficult to understand. Of course we are now all against war-songs and the great amount of martial poetry from this time seems to be a serious embarrassment for German literature historians. The era of enlightenment and of early German patriotism apparently wasn't as peaceful as we wished to believe and - shockingly - even the great Lessing was involved in the production of war poetry. Especially Gleim's work has come under heavy attack and he is now "unmasked" as a violent nationalist and chauvinist. In fact the grenadier may have been occasionally a little harsh on his enemies but that doesn't compare to the merciless denunciations that I have found in some of the recent academic treatises in this field (see f. ex. Blitz 2000, Herrmann 1996, Rohrwasser 1997, Kittstein 2009). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
There is no need to scandalize the "dark side of enlightenment" (Herrmann 1998, pp. 108-9). It was a violent era with bloody wars, an era represented by Prussian king Friedrich II., not only a "philosopher on the throne" but also one of the worst warmongers of this time. Wars produce war-songs, and, as mentioned, there were many of them. At that time it was a completely legitimate genre with a long tradition. Gleim and Lessing did their best to ground these songs in this tradition by reaching back to antiquity and to the (pseudo-)Germanic predecessors. </div>
<br />
<div style="text-align: justify;">
Reading these songs today they often - but not always, of course - sound rather tame and harmless. We may compare them to Vogel's <i>Ungrische Schlacht</i> where the German "heroes" are busy butchering their nameless enemies page after page on assembly line. Poet Vogel is literally wading in blood. Also some of Gleim's contemporaries had less scruples in this respect, not only pastor Lange. Anna Louisa Karsch (1722-1791; see <a href="https://de.wikipedia.org/wiki/Anna_Louisa_Karsch" target="_blank">Wikipedia</a>; <a href="https://de.wikisource.org/wiki/Anna_Louisa_Karsch" target="_blank">wikisource</a>; see f. ex. <a href="https://archive.org/details/sapphoinshadowse0000unse/page/14" target="_blank">Ives 2000</a>; <a href="https://scholarsarchive.byu.edu/sophsupp_gallery/49/" target="_blank">Sophie Author Gallery</a>), a self-taught poet from a humble background, first became popular with impressive odes about the war, for example "Der 13. May 1758 als der Tag des Schreckens in Glogau" (1758, at <a href="http://nbn-resolving.de/urn:nbn:de:gbv:23-drucke/lo-35650" target="_blank">HAB</a>), "Siegesode Friedrich, dem Überwinder der Russen dem grossen und besten König allerunterthänigst zu Füssen gelegt" (1758, at <a href="http://nbn-resolving.org/urn:nbn:de:bsz:24-digibib-bsz4914216058" target="_blank">WLB</a>), "Ode an das zerstörte Cüstrin" (1758, at <a href="http://nbn-resolving.de/urn:nbn:de:bsz:24-digibib-bsz49142048X6" target="_blank">WLB</a>), "Friedrich der Beschützer und Liebenswürdige. Besungen den 24. Jenner 1759" (at <a href="https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN752291521&PHYSID=PHYS_0006&DMDID=" target="_blank">SB Berlin</a>) and "Den 3ten November 1760. groß durch den Sieg des Königs bey Torgau" (1760, at <a href="http://nbn-resolving.de/urn:nbn:de:gbv:23-drucke/lo-35672" target="_blank">HAB</a>). Here she offered at times astonishing and disturbing visions of revenge and violence and a nearly religious adoration of the king. These pieces were too much for the editors of her first anthology - Gleim among them - that was published in 1762. They left them out (see Hildebrandt, pp. 401-2). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But Gleim's Kriegslieder stood out for several reasons, I think. There are clear egalitarian tendencies, or better "egalitarian phantasies" (s. Blitz, p. 265; Hildebrandt, p. 259). The grenadier does not appear to be a mercenary or a poor guy pressed into service. He is a patriotic citizen soldier who fights beside his king to defend his country. This may be seen as a kind of wishful thinking - the reality often looked otherwise - but I wonder if, perhaps, he was also implicitly criticizing the state of the Prussian army at that time: the recruitment by force and the hiring of soldiers from all over Germany and Europe. But I am not sure if he really was anticipating future developments like the volunteer army of the Napoleonic era 50 years later. It looks to me like a recourse to antiquity, to the idealized citizen soldier of old Greece and Rome. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Gleim also humanized the king who - always close to his soldiers - was often portrayed very unmajestically. In fact his friend and fellow poet Ramler once noted in a letter: "Der König ist in ihren Schriften ja gewaltsam und antimajestätisch herumgenommen worden" (Schüddekopf, <a href="https://archive.org/details/briefwechselzwi01ramlgoog/page/n378" target="_blank">p. 364</a>). Even failure was included, for example when, in the song about the battle at Collin, the king cancels an attack after several unsuccessful attempts to take an enemy position: "Laßt, rief er, Kinder, laßt doch ab!/Mit uns ist Gott heut nicht" (Sauer, <a href="https://archive.org/details/preussischekrieg00gleiuoft/page/16" target="_blank">pp. 16-7</a>). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Gleim has been called the poet with the mask (see Browning 1978, <a href="https://archive.org/details/germanpoetryinag00brow/page/108" target="_blank">p. 109</a>). It was always the grenadier speaking and reporting. It was the soldier in rage, in the heat of the battle or when hearing of alleged atrocities of the enemy's army. When Lessing introduced the last of the grenadier's texts - not a song but a long ode - in his <i>Briefe, die neueste Literatur betreffend</i> (St. 15, 1759, pp. 81-91, here <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10539049_00085.html" target="_blank">p. 88</a>) he noted that "it seems that our bard is overwhelmed anew by the rage of the battle. It gets so terrifying that the reader's hair stands on end". But he didn't quote the incriminated lines. In fact this was a controversial text that had made Lessing's own hair stand on end when he read it first and he then asked if "the grenadier" could tone it down a little bit (LS 17, No. 108, <a href="https://archive.org/details/smtlicheschrif17lessuoft/page/156" target="_blank">pp. 155-6</a>). </div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
The ambiguous role play and the distance between the poet and the imaginary bard allowed Gleim to say more than he himself could say and it gave him more "stylistic freedom" (Hildebrandt, p. 316). He even discussed in his letters how far he could go (see f. ex. LS 19, <a href="https://archive.org/details/smtlicheschrif19lessuoft/page/134" target="_blank">pp. 135-6</a>). There were also some problems with the Prussian censor because of this particular piece and his friend Ramler asked explicitly: "why can't we allow the heated poet and, more, the fighting poet, a bold outburst, an enthusiasm against his enemy" (Schüddekopf, <a href="https://archive.org/details/briefwechselzwi01ramlgoog/page/n378" target="_blank">p. 364</a>). </div>
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Interestingly the national and prussophile scholars of the 19th century were also critical of what they regarded as Gleim's excesses and they didn't like the "Rauf- und Mordlust" - "rowdiness and lust for killing" - found in some of the songs (Janicke 1871, <a href="https://books.google.de/books?id=Z4tLAAAAcAAJ&hl=de&pg=PA30#v=twopage&q&f=false" target="_blank">pp. 29-30</a>). One may assume they preferred a more sanitized presentation of war. But Gleim did not sanitize the war. To some extent he showed its ugliness and its cruelty. In the song about the battle at Lissa the grenadier explicitly mentions the "cruel and martial lust to kill" ("die grausame kriegerische Lust/Zu tödten"; Sauer, <a href="https://archive.org/details/preussischekrieg00gleiuoft/page/30" target="_blank">p. 31</a>). </div>
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A war produces hate and this is reflected in some of the songs. In spite of the super-patriotism and bellicism there always remained an ambiguity, a deep-seated fear of these aggressions. The grenadier even appears to be terrified of himself and in one case - in the same song - he describes his own and his comrades' behavior as "inhumane" (Sauer, <a href="https://archive.org/details/preussischekrieg00gleiuoft/page/32">p. 32</a>): </div>
<blockquote class="tr_bq">
[...] <br />
Unmenschlich gaben wir nicht mehr <br />
Dem Bitten und dem Flehen <br />
Den Knieenden vor uns Gehör, <br />
[...] </blockquote>
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This was a bloody war with brutal battles, not in a far distant past like the Teutonic or old Greece epics, but in the present time and happening just around the corner. Gleim brought the war into the people's living-room with these songs and he didn't mince his words. Of course this was a stylized poetical "authenticity" still far away from the real brutality of the war. But nonetheless he created here a more realistic - and, what is rarely seen today, a more critical - view on what was happening on the battlefield. His grenadier was in fact "a bard for the present" (Bosse 2001, p. 51), but a very special bard who offered, it seems to me, a little more honesty. </div>
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The real problem with these songs was that Gleim and his editor, the self-appointed world-citizen Lessing, became part of the Prussian propaganda machinery. Friedrich's war of aggression was justified as a defensive fight forced upon the Prussians by their enemies (see f. ex. Weber 1991, p. 26). Dying for the "Fatherland" meant dying for the king's "honor and glory" and for territorial gains. But at that time many fell in that trap. The Prussian king was popular all over Germany. For example young Goethe in Frankfurt happened to a great admirer (see Dichtung und Wahrheit I, <a href="https://books.google.de/books?id=OdQFAAAAQAAJ&hl=de&pg=PA94#v=onepage&q&f=false" target="_blank">pp. 92-5</a>).</div>
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Friedrich was widely regarded as a great "hero" even though he surely may have been an unlikely hero for all the homeless German patriots: a francophile who despised German culture and literature and who had not much use for all the poets who celebrated him. But he had more to offer than the numerous potentates, mostly failures and despots, on all the mini-thrones in fragmented Germany. He was already a legend, a king who went to the battlefield himself and even won some of the battles in the wars he had started. This can be seen as the beginning of the prussification of German patriotism. The German "Fatherland" was at that time only purely theoretical entity. Friedrich's Prussia looked like the next-best solution. A century later Prussia took over the whole of Germany, with all the fatal consequences we now know about. </div>
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Gleim's war poetry was widely admired even outside of Prussia. The war didn't keep the French critics from showing respect to his works. At the same time French and Prussian soldiers were fighting against each other on the battlefield the grenadier's songs were reviewed in the <i>Journal Étranger</i> (Nov. 1761, <a href="https://books.google.de/books?id=68BHeXS5z9gC&hl=de&pg=PA102#v=twopage&q&f=false" target="_blank">pp. 103-20</a>). They even translated most of the texts. This review was then later acknowledged by Nicolai in Berlin in the<i> Briefe, die neueste Litteratur betreffend</i> (Vol. 16, 1763, No. 256, <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10540795_00054.html" target="_blank">pp. 50-1</a>) who reprinted one of the French translations. </div>
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War poetry was not only a Prussian specialty. Other poets elsewhere also tried out this genre and they were often inspired by Gleim's songs. One may say that there was a kind of international brotherhood of war poets. Michael Denis (1729-1800; <a href="https://de.wikipedia.org/wiki/Michael_Denis" target="_blank">Wikipedia</a>) in Vienna, Jesuit priest, teacher, scholar, writer and soon to be Austria's "bard", published <i>Poetische Bilder der meisten kriegerischen Vorgänge in Europa seit dem Jahr 1756</i> (1760, at <a href="https://books.google.de/books?id=3tZfAAAAcAAJ" target="_blank">Google Books</a>). But his attempts sound mostly rather tame and harmless and often much too diffuse. Christian Felix Weisse (1726-1804; <a href="https://de.wikipedia.org/wiki/Christian_Felix_Wei%C3%9Fe" target="_blank">Wikipedia</a>), a writer, poet and educator from Saxonia - for some time occupied by the Prussian army - offered <i>Amazonen-Lieder</i> (here 2nd. ed., 1762, at <a href="https://books.google.de/books?id=KFOy0SfQNZoC" target="_blank">Google Books</a>). His amazone was the soldier's girl who sends him to war and later follows him to the battlefield. This was surely a very strange collection with a touch of sultry eroticism. But he added translations of Greek poet Tyrtaios' elegies which were of course also of interest at that time. Weisse's publication was very well received by Prussian critic Nicolai in the <i>Briefe, die neueste Litteratur betreffend</i> (Vol. 17, 1764, No. 266, <a href="https://books.google.de/books?id=KFOy0SfQNZoC" target="_blank">pp. 1-16</a>). </div>
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Heinrich Wilhelm Gerstenberg (1737-1823; <a href="https://de.wikipedia.org/wiki/Heinrich_Wilhelm_von_Gerstenberg" target="_blank">Wikipedia</a>), a German writer living in Copenhagen and for some time solodier in the Danish army, offered <i>Kriegslieder eines Königlich. Dänischen Grenadiers bey Eröffnung des Feldzugs 1762</i> (at <a href="https://www.deutsche-digitale-bibliothek.de/item/UDUEDOQ5QYJO5UL5O5VQRZ67RQYIIGMA" target="_blank">DDB</a>). What he wrote sounds really like a bad copy of Gleim's songs: "Ich dürste Blut, schluck Pulverdampf/Mit starken Zügen ein" (p. 11). He also fantasized about dying for the king and his country. The Danes had their own Friedrich but Frederik V. of Denmark was not really known as a great warrior. There would be no campaign, Denmark didn't become involved in the Seven Years' War and a possible military conflict with Russia was canceled. But some years later there would be a war with Algiers. I wonder if these songs were of any help then. </div>
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Johann Kaspar Lavater (1741-1801; <a href="https://de.wikipedia.org/wiki/Johann_Caspar_Lavater" target="_blank">Wikipedia</a>), writer and theologian in neutral Switzerland, published anonymously his <i>Schweizerlieder</i> in 1767 (at <a href="https://books.google.de/books?id=RoYsOJbQ4NEC" target="_blank">Google Books</a>). But there was only one contemporary war song threatening prospective invaders and otherwise - because of the lack of current wars - he preferred to write about medieval battles with Swiss input. Just like Weisse and Gerstenberg he applied the "Chevy Chase"-meter and even paid tribute to Gleim: </div>
<blockquote class="tr_bq">
Wenn Leser! dir mein Reim gefällt,<br />
Danks dem Tyrtäus Gleim!<br />
Der sang von Helden wie ein Held,<br />
Und dessen ist mein Reim. </blockquote>
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By the way, nearly all the poets and writers named in this context would play an important role in the "discovery" and creation of the genre <i>Volkslied</i>. Gerstenberg later introduced old Norse songs and Danish <i>kjaempeviser</i> to his German readers, Denis translated MacPherson's <i>Ossian</i>, Weisse was among the first in Germany to discuss <i>Ossian</i> and he also translated old Norse texts. Lavater's <i>Schweizerlieder</i> looked like a collection of historical <i>Volkslieder</i>. Kleist had tried his hand at exotic poetry, for example with his "Lied eines Lappländers" (in Neue Gedichte, <a href="https://books.google.de/books?id=_6A6AAAAcAAJ&hl=de&pg=PA16#v=twopage&q&f=false" target="_blank">pp. 16-8</a>), Lessing not only introduced Gleim's war songs as a kind of folk poetry but at around the same time he also wrote about Lithuanian songs. Klopstock was of course the first one to use the "Chevy Chase"-meter and Gleim would later be regarded by Herder as Germany's "erster und fast einziger Volkssänger" (Herder, Briefe 4, No. 28, p. 49). The <i>Volkslied</i> was very closely linked with the war song, in fact one may say it was its younger sibling. </div>
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<a href="https://hummingadifferenttune.blogspot.com/2020/04/BattleSong1626-2.html" target="_blank"><b>Go to Pt. 2 </b></a></div>
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<br />Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-20445084064531458272019-09-11T12:06:00.002+02:002021-05-02T13:56:31.455+02:00"Danmark, Dejlig Vang og Vaenge" - Some Notes About the History of a Danish Patriotic Song<br />
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<b>I.</b> </div>
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I write here mostly about the genre that is usually called - in Germany - <i>Volkslieder</i> and - in England at that time - <i>national songs</i> and I am particularly interested in their transnational impact. Many of these songs were not only published in their country of origin but also translated into other languages. Anthologies of foreign <i>national airs</i> offered an international perspective on this genre and it is often interesting to see what songs found a place in these kind of collections. Some songs also became very popular and part of the singing tradition in other countries and others did not. Here is an interesting example for the latter case that also led me to the history of the original song. </div>
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Once again I can start here with Friedrich Silcher (1789-1860) who during the 19th century was one of the most popular and successful arrangers and editors of <i>Volkslieder</i> in Germany. He published several popular and successful anthologies arranged either for choirs or for singers accompanied by piano and guitar. Among his works was also a collection of foreign national songs, <i>Ausländische Volksmelodien, mit deutschem, zum Theil aus dem Englischen etc. übertragenem Text, gesammelt und für eine oder zwei Singstimmen mit Begleitung des Pianoforte und der Guitarre gesetzt</i>, that was published in four volumes 1835 - 1841 (at the <a href="https://archive.org/details/SilcherAuslVolksmelodien4Hfte183541" target="_blank">Internet Archive</a>; later ed., at the <a href="https://archive.org/details/SilcherAuslaendischeVolksmelodienNeuauflNdCa1870" target="_blank">Internet Archive</a>).</div>
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I have already discussed this influential collection (see <a href="https://hummingadifferenttune.blogspot.com/2015/04/auslandische-volkslieder-in-19th_14.html" target="_blank">here</a> in my blog) and at the moment I am busy trying to identify his sources, which is a very interesting task. As already noted this was mostly a kind of unofficial German edition of Thomas Moore's <i>Popular National Airs</i> and <i>Irish Melodies</i>. Nearly half of the songs he used were borrowed from Moore's anthologies. The rest was a rather unsystematic selection of songs from other - mostly European - countries. </div>
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Among the Scandinavian <i>Volkslieder</i> he included was one said to be from Denmark that is worth a more detailed discussion (Vol. 2, 1837, No. 3, <a href="https://archive.org/stream/SilcherAuslVolksmelodien4Hfte183541/Silcher-AuslVolksmelodien-4Hfte-1835-41#page/n23/mode/2up" target="_blank">p. 4</a>): </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQuveuRjweQ3iaLguKNYpeFDUyS80kRoLbo3VRlmLQWbA22G2NeoZMdzmqgA37swMIWeY658tMkFl4zFBeLjGO3H6FBYZs0llBgHvrkj8q8z4EXm5UoZFkkXsyB-W9DsxwpxfZrfj3L6E/s1600/1-SilcherAV-2-03-Daenemark.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="292" data-original-width="556" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQuveuRjweQ3iaLguKNYpeFDUyS80kRoLbo3VRlmLQWbA22G2NeoZMdzmqgA37swMIWeY658tMkFl4zFBeLjGO3H6FBYZs0llBgHvrkj8q8z4EXm5UoZFkkXsyB-W9DsxwpxfZrfj3L6E/s400/1-SilcherAV-2-03-Daenemark.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1. "Dän'mark, deine grünen Auen", tune and text transcribed from: <br />
Friedrich Silcher, Ausländische Volksmelodien 2, 1837, No. 3, p. 4</td></tr>
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<i>Dän'mark, deine grünen Auen, <br />Die das Meer umschliesst,<br />Glücklich ist, wer sie darf schauen, <br />Wen ihr Segen grüßt;<br />Ist die Fremde reicher, bunter,<br />Zeigt sie gleich dem Auge Wunder,<br />Immer muss das Herz des Dänen <br />Sich nach Hause sehnen.</i></div>
<i><br />Ist's auch kalt in unserm Norden, <br />Glüht doch unsere Brust;<br />Und nicht lau sind wir geworden, <br />Nicht erschlafft in Lust.<br />Rühmt der welschen Dirnen Schimmer,<br />Neben ihnen sind noch immer<br />Dänenmädchen mit den blauen Augen <br />Schön zu schauen.<br /><br />Aus dem Norden kam vorzeiten <br />Manche Heldenschaar,<br />Siegreich ziehend in die Weiten, <br />Froh der Schlachtgefahr;<br />Und noch ist nicht klein geworden<br />Unserer wackern Kämpfer Orden.<br />Wieder muss des Nordens Siegen <br />Einst der Süd' erliegen.</i></blockquote>
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This is a patriotic home-song ("Denmark, your green meadows/Enclosed by the Sea") but the German text is not that good, especially the second and third verses. Here we hear about Nordic heroes fighting against the decadent South and about blue-eyed Danish girls. I assume at that time a liberal nationalist could sing this without bad conscience but today it sounds rather tasteless. No author is given and not even the translator's name is mentioned. But I know that Silcher regularly "forgot" to give appropriate credit to the original writers of the songs he used. This is no exception. </div>
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Nonetheless this particular song is easily recognizable from the first verse and the tune. It's "Danmark, deilig vang og vænge", a popular historical ballad and "the most influential patriotic song of the 19th century Denmark" (Kuhn 1990, p. 77-8). At that time it was available in several Danish songbooks in different versions with different numbers of verses, for example as "Thyre Dannebods Vise" in A. P. Berggreen's <i>Sange til Skolebrug, udsatte for tre Stemmer</i> (I, 1834, No. 8, <a href="https://archive.org/details/bub_man_be64ea37d8b01e9870d2977ffa5d5e77/page/n23" target="_blank">pp. 12-3</a>):</div>
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<i>Danmark deilig Vang og Vænge, <br />Lukt med bølgen blaa,<br />Hvor de voksne danske Drenge <br />Kan i Leding gaae<br />Mod de Saxer, Slaver, Vender, <br />Hvor man dem paa Tog hensender;<br />Een Ting mangler for den Have - <br />Ledet er af Lave! <br /><br />At dissnarer færdes kunde <br />Værket med Behør,<br />Dronning Thyre lod fra Grunde <br />Reise, hvor man kjør,<br />Giennem Volden sig en Bure,<br />Paa det Værk at have kure.<br />Slet sig noget kun vil føie<br />Under fremmed øie.<br /><br />Efter ønske vorte volden,<br />'Dannevirke kaldt,<br />Som har mangen Tørning holden,<br />Før den slet forfaldt,<br />"Ledet", sagde Dronning Thyre,<br />"Har vi hængt, Gud Vangen hyre,<br />At den ingen Fremmed bryder,<br />Eller Hofbud byder!"<br /><br />Danmark vi nu kand ligne<br />Ved den frugtbar Vang,<br />Hegnet trindt omkring, Gud signe<br />Det i Nød og Trang!<br />Lad som Korn opvoxe Knægte,<br />Der kan frisk mod Fienden sægte,<br />Da om Dannebod end tale,<br />Naar hun er i Dvale. </i></div>
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This Danish text is - except in the first couple of lines - quite different from the German version. There is nothing about blue-eyed Danish girls or about invading the South. In fact the text in Silcher's anthology is not a translation but a very free adaptation that has not much to do with the original song. "Danmark, deilig vang og vænge" recounts a story from the early middle ages. It is about building fortifications on the Southern border against invasions by the Germans and Slavs. The Thyra Dannebod mentioned here was queen of Denmark in the 10th century. </div>
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The original song has a long and very interesting history that is worth reconsidering. It goes back several centuries and is based on some lines from medieval chronicles that served as the starting-point for a long historical ballad. During the 19th century a shortened version of this ballad became immensely popular as a patriotic song with an anti-German tendency. Thankfully there is already an exhaustive and detailed discussion of the song's history that has not been surpassed since its original publication more than 60 years ago (Dumreicher & Madsen 1956). But it is only available in Danish like nearly all relevant literature about this topic (except Kuhn 1990, pp. 77-93, a good summary). As usual I have included links to digital copies of the original sources and in the end I will add some words about this dubious German version that has so far not been discussed in this context. </div>
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<b>II. </b></div>
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We can start here with Peder Syv (1631-1703; see <a href="https://en.wikipedia.org/wiki/Peder_Syv" target="_blank">Wikipedia</a>; <a href="https://archive.org/details/pedersyvenliter00horngoog/page/n7" target="_blank">Horn 1878</a>; Lundgreen-Nielsen 2002, pp. 272-365), a Danish clergyman and scholar who made himself a name as a linguist and philologist. Among his works were a Danish grammar, <i>Grammatica or Den Danske Sprog-Kunst</i> (1685, at <a href="https://books.google.de/books?id=4qjzwwEACAAJ&hl=de&pg=PP5#v=twopage&q&f=false" target="_blank">Google Books</a>) and a collection of proverbs, <i>Aldmindelige Danske Ord-Sproge og korte Lærdomme</i> (1682 & 1688, at <a href="https://www.nb.no/items/URN:NBN:no-nb_digibok_2017121126001?page=5" target="_blank">NB, Oslo</a>). In 1695 he brought out a new expanded edition of Anders Sørensen Vedel's so-called <i>Hundredvisebog</i>, originally published more than a century ago in 1591. </div>
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Historian Vedel (1542-1616; see <a href="https://de.wikipedia.org/wiki/Anders_S%C3%B8rensen_Vedel" target="_blank">Wikipedia</a>; Lundgreen-Nielsen 2002, pp. 167-249) had compiled and edited the very first printed anthology of Danish historical and popular ballads, or - as they were later called - <i>kjæmpeviser</i> ("heroic songs"). This was an influential, innovative and often reprinted publication that offered an early glimpse into a genre that would later be defined as <i>folkevise</i> ("national songs" or "Volkslieder"): </div>
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<li>It Hundrede udvaalde Danske Viser om allehaande Merckelige Krigs Bedrifft, oc anden seldsom Eventyr, som sig her udi Riget Ved Gamle Kemper, Naffnkundige Konger oc eller fornemme Personer begiffvet hafver aff Arilds Tid indtil denne nærværendis Dag, Bern, Ribe, 1591 (see later ed.: Kopenhagen 1619, at <a href="https://books.google.de/books?id=toIAAAAAcAAJ" target="_blank">Google Books</a> & the <a href="https://archive.org/stream/bub_gb_toIAAAAAcAAJ#page/n3/mode/2up" target="_blank">Internet Archive</a>; Christiania 1664, at the <a href="https://archive.org/details/VedelDanskeViser1664/page/n3" target="_blank">Internet Archive</a>; see also Henningsen 1959)</li>
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<br /></div><div style="text-align: justify;">Syv added one hundred more songs from all kinds of different sources and now it was called<i> 200 Viser om Konger, Kemper og Andre or - even longer than Vedel's title - It Hundrede udvalde Danske Viser [...] Forøgede med det Andet Hundrede Viser om Danske Konger, Kæmper og Andre, Samt hosføyede Antegnelser Til Lyst og Lærdom</i> (Bockenhoffer, Kiøbenhavn, 1695). Unfortunately I have not found a digital copy of this edition but just like Vedel's original work the new version was reprinted several times and I can use the edition published in 1764 (at <a href="https://urn.nb.no/URN:NBN:no-nb_digibok_2014031928001" target="_blank">NB Oslo</a> & the <a href="https://archive.org/details/VedelDanskeViser1664_201906/page/n5" target="_blank">Internet Archive</a>).
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Four of the these new songs he had received from a friend and colleague of his, one Laurits Kok, whom he described as an "en flittig og vel forfaren Mand in vore gamle sager" (<a href="https://archive.org/details/VedelDanskeViser1664_201906/page/n595" target="_blank">p. 545</a>). Kok (1634-1691; see Dansk Biografisk Lexikon 9, 1895, <a href="http://runeberg.org/dbl/9/0326.html" target="_blank">pp. 324-5</a>, at Projekt Runeberg; Salmonsens Konversationsleksikon 14, 2nd Udg., 1923, <a href="http://runeberg.org/salmonsen/2/14/0285.html" target="_blank">pp. 261</a>, at Project Runeberg; Dumreicher, pp. 9-120) was a clergyman who spent most of his life as a school principal and then a parish priest. But he was also a respected scholar who had written a Danish grammar - that remained unpublished - and worked on a Danish-Latin dictionary. One of the texts he contributed was a historical ballad in 14 verses, "Om Tyre Danebod" (No. XXXVIII, <a href="https://archive.org/details/VedelDanskeViser1664_201906/page/n595" target="_blank">pp. 545-7</a>; see the - not really successful - Engl. translation in Borrow 1923, <a href="https://hdl.handle.net/2027/mdp.39015073201454?urlappend=%3Bseq=250" target="_blank">pp. 224-6</a>).</div>
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<div style="text-align: justify;"> Tyre - or "Thyra" - Danebod (+ c. 950; see <a href="https://da.wikipedia.org/wiki/Thyra_Dannebod" target="_blank">Wikipedia</a>; <a href="http://danmarkshistorien.dk/leksikon-og-kilder/vis/materiale/thyra-danebod-doed-ca-950/?no_cache=1&cHash=5998109e882998d8182c90f3c97f6268" target="_blank">Tanderup 2014</a>) was a legendary Danish queen from the 10th century, the wife of King Gorm the Old and mother of Harald Bluetooth. Here is described, "in a consciously folksy, in places even a humorous tone" (Kuhn 1990, p. 81), how she organized and oversaw the the building of the <i>Danevirke</i> (see <a href="https://en.wikipedia.org/wiki/Danevirke" target="_blank">Wikipedia</a>), the fortifications on the Southern border, to protect the country against the "Tydske, Slaver, Vender". But in reality these fortifications had originally been created several centuries earlier and by all accounts the real Queen Thyra was never involved in this project.
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Only more than two centuries after her death this apocryphal story - possibly a popular legend at that time - appeared in some medieval chronicles, at first in Svend Aagesen's <i>Brevis Historia Regum Dacie</i> (c. 1187, ch. 3, in Langebek 1772, <a href="https://books.google.de/books?id=RNlXAAAAcAAJ&hl=de&pg=PA49#v=onepage&q&f=false" target="_blank">pp. 49-50</a>; dan. transl.: Fenger 1842, <a href="https://books.google.de/books?id=ltNlAAAAcAAJ&hl=de&pg=PA16#v=twopage&q&f=false" target="_blank">pp. 16-18</a>) and then in Saxo Grammaticus' <i>Gesta Danorum</i> (c. 1200, <a href="http://wayback-01.kb.dk/wayback/20100504153359/http://www2.kb.dk/elib/lit/dan/saxo/lat/or.dsr/10/3/index.htm" target="_blank">10.3.1</a>, at KB Kopenhagen; Stephanius 1644, <a href="https://books.google.co.uk/books?id=EVN4cgiYw8kC&hl=de&pg=PA182#v=onepage&q&f=false" target="_blank">pp. 182-3</a>; dan. transl. in Grundtvig 1819, <a href="https://books.google.de/books?id=wLBBAAAAcAAJ&hl=de&pg=PA281#v=twopage&q&f=false" target="_blank">pp. 281-2</a>). Saxo, who described Thyra as a woman with "a man's heart" ("cum sub specie feminae virilem animum", 10.3.4) - wrote only one sentence about her efforts: </div>
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"Post haec Thyra, quo patriam a clandestinis exterorum irruptionibus tutiorem praestaret, quantum a Sleswico ad occidentalem Oceanum patet, vallo fossaque proscindere aggressa est, superque iacto aggere tenacissimi operis terrenum molita est munimentum." </div>
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Aggesen lauded her - here in Fenger's Danish translation (<a href="https://books.google.de/books?id=ltNlAAAAcAAJ&hl=de&pg=PA12#v=twopage&q&f=false" target="_blank">p. 13</a>) - as "et Fruentimmer af den fortræffeligste Art" and offered a more detailed account. His text, at that time already available in Stephanius' edition (1642; see Dumreicher, p. 87) - of which I have not yet seen a digital edition - was surely Laurids Kok's source and inspiration. It is also referred to in the note after the poem (<a href="https://archive.org/details/VedelDanskeViser1664_201906/page/n597" target="_blank">p. 547</a>). Kok embellished the story even more and ended up with 14 verses (see the analysis in Dumreicher, pp. 75-102): </div>
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<i>[1]<br />Danmark dejligst vang og vænge,<br />Lukt med bølgen blaa,<br />Hvor de vakre voxne drenge<br />Kan i leding gaa<br />Mod de Tydske, Slaver, Vender,<br />Hvort man dem paa tog hensender.<br />En ting mangler for dend have:<br />ledet er af lave. <br />[...] </i></div>
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This is Queen Tyre speaking. She celebrates Denmark's "lovely fields and meadows" that are enclosed by the "blue waves" of the sea and also their brave men who fight against the "Germans, Slaves and Vends". But she also notes what is missing: a gate at the Southern border to keep these enemies out. </div>
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<i>[5] <br />Saa begyndte Dronning Tyre,<br />Raet kaldt Danebod,<br />Tale til de, Danmarks Styre<br />Foresad med mod <br />[...] </i></div>
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Therefore she talks "with courage" to "Danmark's Styre" - the assembly of the chieftains - and proposes the building of a wall. At the end the wall is ready and Denmark's "rich fields" are now protected against foreign attacks: </div>
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<div style="text-align: justify;">
<i>[14]<br />Dannemark vi nu kand ligne<br />Ved en frugtbar vang,<br />Hegnet rund omkring, Gud signe<br />dend i nød og trang<br />Lad som korn opvoxe knekte,<br />Der kand frisk mod fienden fekte<br />Og om Danebod end tale<br />Naar hun er i dvale. </i></div>
</blockquote>
<div style="text-align: justify;">
Here Kok has created a kind of idealized image of Denmark's early medieval society. Noteworthy is the "the active role of the people [...] with Queen Tyre as the initiator and leader and a community not just following orders but being consulted and freely consenting" (Kuhn 1990, p. 258). It is not clear if he had any political intentions with this piece. But we know of course that a song about the past is also always a song about the present. During the 17th century there had been several invasions from the South. In the last decades the Duke of Holstein-Gottorp had caused a lot of trouble. Not at least the old fortifications were in a very bad shape (see Kuhn 1990, p. 77; Dumreicher, pp. 76, 104-7). Therefore it is easy to understand that he revived this heart-warming and inspiring story of a courageous female leader who rallied all Danes to work together to protect the country. </div>
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<div style="text-align: justify;">
This was a new ballad disguised as an old one, a pastiche and an attempt to simulate the the <i>kjæmpeviser</i> of the first edition. Very interesting is the use of alliterations, but only when Queen Tyre is speaking. They were common in old Norse poetry and it seems he wanted to give her voice an old Norse sound (see Dumreicher, p. 79-80). Later one scholar has called this text a "et vellykket Forsog paa det traeffe den gamle Tone" (Friis 1875, <a href="https://archive.org/details/udsigtoverdedan00friigoog/page/n27" target="_blank">p. 16</a>). In fact it was more an attempt to achieve what the author apparently regarded as the "old" style. It is not necessarily "authentic" but has more of a pseudo-archaic tone. </div>
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<div style="text-align: center;">
<b>III. </b></div>
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At first Kok's song about Queen Tyre Danebod was not really successful. Of course it was easily available in the different reprints of Syv's anthology. But there is no evidence that this piece won any kind of popularity in Denmark during the 18th century. In fact its time had not come yet. Strangely it was first reprinted in France in 1780. French musicologist Laborde included the original text as well as a French translation in his great <i>Essai Sur La Musique Ancienne Et Moderne</i> (II, <a href="https://archive.org/stream/essaisurlamusiqu02labo#page/398/mode/2up" target="_blank">pp. 398-401</a>). In this book he offered a long and interesting chapter about the "Chansons du Danmark, de la Norvege & de l'Islande" (pp. 397-418). Of course Laborde hadn't made a field trip to Scandinavia. His informant was C. F. Jacobi, at that time secretary of the <i>Kongelige Videnskabets Selskab</i> in Copenhagen, who sent him an interesting collection of tunes and texts from these countries. Interestingly Jacobi even tried a find a tune for this particular song. But the peasants he asked didn't know any (see pp. 397-8). </div>
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<br /></div>
<div style="text-align: justify;">
At this time a new era had already begun. "Old Ballads" and the songs of the people - or what was regarded as such - were discovered once again. MacPherson's <i>Ossian</i> (since 1760) and Percy's <i>Reliques of Ancient English Poetry</i> (1765) were received with great enthusiasm. In Germany Herder promoted and published what he called <i>Volkslieder</i> (1778/9). This also led scholars and intellectuals in Scandinavia to a reappraisal of their own ballad literature. </div>
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<br /></div>
<div style="text-align: justify;">
Of particular importance was Heinrich Wilhelm von Gerstenberg (1737-1823; see <a href="https://de.wikipedia.org/wiki/Heinrich_Wilhelm_von_Gerstenberg" target="_blank">Wikipedia</a>; see Gerecke 2002), a German writer and poet living in Denmark. In 1767 he offered the readers of his <i>Briefe über die Merkwürdigkeiten der Litteratur</i> (here No. 8, <a href="https://archive.org/details/GerstenbergBriefe1767/page/n121" target="_blank">pp. 108-15</a>; also No. 11, pp. 144-63) a discussion of both <i>Ossian</i> and Percy and then introduced them to Syv's anthology of <i>kjæmpeviser</i>. Even though Gerstenberg was critical of this edition he lauded the beauty and simplicity of these songs - "so schön, so naiv, so simple, und zugleich so heroisch, so voll Sentiment" (p. 109) - and attempted some translations. He also noted that these old songs were unknown to some Danes and misjudged by others. In fact the current generation of Danish writers - like Holberg - was not fond of this genre. Gerstenberg did not only inspire German scholars like Herder, he also had a part in the rediscovery of the <i>kjæmpeviser</i> in Denmark (see Møller 2017a, pp. 86-7). </div>
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<br /></div>
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Soon new anthologies of "old" songs began to appear (see Lundgreen-Nielsen 2002, pp. 368-9), for example <i>Levninger af Middel-Alderens Digtekunst</i> (1780, at <a href="https://books.google.de/books?id=43AAAAAAcAAJ" target="_blank">Google Books</a>; 1784, at <a href="https://books.google.de/books?id=7HAAAAAAcAAJ" target="_blank">Google Books</a>). Here the reader could find some old Norse poetry as well as songs from manuscripts. Vedel and Syv are mentioned in the introductions. But the ballad about Tyre Danebod wasn't included. Perhaps it wasn't old enough. The second volume, by the way, was edited by Rasmus Nyerup (1759-1829; see <a href="https://da.wikipedia.org/wiki/Rasmus_Nyerup" target="_blank">Wikipedia</a>), a young scholar and librarian who would later play an important role in this field. </div>
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<br /></div>
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The song's new life would only start in 1810. That year scholar and writer Knut Lyne Rahbek (1760-1830, see <a href="https://da.wikipedia.org/wiki/Knud_Lyne_Rahbek" target="_blank">Wikipedia</a>). published a little book with the title <i>Danske og Norske Historiske Mindesange</i>. This was an anthology of poems and songs for patriotic purposes, dedicated to King Frederic V. Nearly all of them were modern pieces by contemporary poets, for example Oehlenschläger and Storm as well as Rahbek himself. But as the first text he used here Tyre Danebod's song (<a href="http://archive.org/stream/RahbekMindesange1810#page/n21/mode/2up" target="_blank">pp. 1-6</a>). The author's name is missing but the <i>kjæmpeviser</i> are referred to as the source. A short introduction sketches the historical background and its meaning for the present.</div>
<div style="text-align: justify;">
<br /></div><div style="text-align: justify;">It was the time of the Napoleonic wars. Denmark was also involved, but unfortunately on the wrong aside. The British Navy had attacked Copenhagen two times, in 1801 and 1807 and the prospects weren't good at all. A "new patriotism" (see Dumreicher, p. 124) was necessary and in times of war there was of course always a greater demand for patriotic songs. It is obvious that Rahbek dug out this old song because of its inspirational national message. In his introduction to the song he noted that it proofs "hvaad Folk og Fyrster formaae, naar de eendræktige samvirke til Fædrelandets tarv" (p. 2).
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<br /></div>
<div style="text-align: justify;">
Soon afterwards the first comprehensive modern collection of old Danish songs - based on Vedel's and Syv's editions - was published: </div>
<ul>
<li style="text-align: justify;">Werner H. Abrahamson, Rasmus Nyerup & K. L. Rahbek, Udvalgte Danske Viser fra Middelalderen; efter A. S. Vedels og P. Syvs trykte Udgaver og efter handskrevne Samlingar undgivne paa ny, 5 Vols., Schultz, København, 1812-1814 (at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=54573766&db=100" target="_blank">BSB</a>, Vol. 5 also at the <a href="https://archive.org/details/bub_gb_VGgAAAAAcAAJ/page/n3" target="_blank">Internet Archive</a>; at <a href="https://www.nb.no/search?mediatype=b%C3%B8ker&title=Rahbek%2C%20Udvalgte%20Danske%20Viser%20fra%20Middelalderen*" target="_blank">NB, Oslo</a>) </li>
</ul>
<div style="text-align: justify;">
Here of course Kok's song about Tyre Danebod was included (Vol. 2, No. 56, <a href="https://www.nb.no/items/URN:NBN:no-nb_digibok_2016052548026?page=9" target="_blank">pp. 3-7</a>). In the notes (<a href="https://www.nb.no/items/URN:NBN:no-nb_digibok_2016052548026?page=345" target="_blank">pp. 338-9</a>) the editors identified the author and discussed the possible sources. More important for the song's future was the fact that they even published a tune (Vol. 5, p. 74, at <a href="https://www.nb.no/items/URN:NBN:no-nb_digibok_2016052548024?page=79" target="_blank">NB, Oslo</a>; at <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10036882_00080.html?zoom=0.5&numScans=2&rotate=90" target="_blank">BSB</a>). It was printed here without any information about its source. But it was a new melody, composed only a few years earlier: </div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwlg16HEZNXFfIjl2_eao9ByPAQFnyw0cgWPPi1zg9PkHhkT1vW5kNv2Uv77cVT1jhW8goSxqaOetV19z2EIo3qtIUgzO1b6Zb05IEU89PaTneq25r7PwpqrZtU6ZSA_evDVihl3aNlaA/s1600/2-Udvalgte+danske+Viser+5+p+74+tune+for+No+56.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="661" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwlg16HEZNXFfIjl2_eao9ByPAQFnyw0cgWPPi1zg9PkHhkT1vW5kNv2Uv77cVT1jhW8goSxqaOetV19z2EIo3qtIUgzO1b6Zb05IEU89PaTneq25r7PwpqrZtU6ZSA_evDVihl3aNlaA/s400/2-Udvalgte+danske+Viser+5+p+74+tune+for+No+56.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2. Tune of "Danmark deilig vang og vænge", in: Abrahamson, Nyerup & Rahbek, <br />
Udvalgte Danske Viser fra Middelalderen 5, 1814, p. 74, from digital copy available at BSB</td></tr>
</tbody></table>
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The composer was one Paul Edvard Rasmussen, one of their informants. Rasmussen (1776-1860; see <a href="https://sv.wikipedia.org/wiki/Poul_Edvard_Rasmussen" target="_blank">Wikipedia</a>; see <a href="http://denstoredanske.dk/Dansk_Biografisk_Leksikon/Kunst_og_kultur/Musik/Komponist/Poul_Rasmussen" target="_blank">DBL</a>; Dumreicher, pp. 123-49 ), a jurist in the Danish Navy who left his job early on and moved back to the countryside to live there from his small pension, collected "folk tunes" and helped out the editors of with some melodies he had found. Later he worked with Nyerup on another anthology of old Danish songs. He had written this tune soon after he had bought a copy of Rahbek's <i>Historiske Mindesange</i> so he could sing the song with his family. But he then also sent it to editor Nyerup together with the other melodies he had collected. Even though Rasmussen admitted in his letter to the editor that he had written it himself only recently it was included as an anonymous "folk tune". </div>
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<div style="text-align: justify;">
This story was only made public nearly three decades later, when Danish composer A. P. Berggreen did some research about the tune's origin and received this information from Berggreen himself who was still alive (see Berggreen 1840, <a href="https://books.google.de/books?id=zozbAFklcdoC&hl=de&pg=PR9#v=onepage&q&f=false" target="_blank">p. IX</a>, Berggreen 1870, <a href="https://archive.org/details/BerggreenFolkeSange10UdenforEuropa1870/page/n201" target="_blank">p. 80</a>; Dumreicher, pp. 137-8). Interestingly Rasmussen also told Berggreen that had used a song by German composer J. A. P. Schulz as a model for his simple tune: "Freund, ich achte nicht des Mahles", first published in the famous <i>Lieder im Volkston</i> (Vol. 1, 1782, p.34; here in a later anthology, <a href="https://books.google.de/books?id=TXVcAAAAcAAJ&hl=de&pg=PA108#v=onepage&q&f=false" target="_blank">p. 108</a>). Of course it is not identical to Rasmussen's melody but the relationship is obvious and not that difficult to see. </div>
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<br /></div>
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We can see that at this point this old text was not only part of the contemporary patriotic discourse but now also had folkloristic credentials and - with this tune - it was also singable. The first one to use it anew would be N. F. S. Grundtvig (1783-1872; see <a href="https://en.wikipedia.org/wiki/N._F._S._Grundtvig" target="_blank">Wikipedia</a>), pastor, writer, poet, scholar and one of the most influential intellectuals of that time. In 1816 he had started a periodical named <i>Danne-Virke</i>, named after the legendary fortifications. In the second volume he printed a slightly edited version of "Thyre Dannebods Vise", but still all 14 verses (1817, <a href="http://hdl.handle.net/2027/wu.89035396175?urlappend=%3Bseq=430" target="_blank">pp. 1-6</a>; see <a href="http://www.xn--grundtvigsvrker-7lb.dk/tekstvisning/7456/0#{%220%22:0,%22v0%22:0,%22k%22:0}" target="_blank">Pedersen 2019</a>). But for a more common use the song was still too long. This problem was solved several years later by Adam Oehlenschläger (1779-1850), Denmark's most popular poet and playwright. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Oehlenschläger regularly used motives of Nordic mythology and history in his works, particularly his plays. In 1820 he published the tragedy <i>Erik og Abel</i> (at <a href="https://www.nb.no/items/URN:NBN:no-nb_digibok_2015070848057?page=7" target="_blank">NB, Oslo</a>; at the <a href="https://archive.org/details/ohlenschlaegererikabel1820/page/n7" target="_blank">Internet Archive</a>). It was set in the year 1250 and depicted the conflict between two brothers, the Danish king and the Duke of Schleswig. At the start of the first act - with the <i>Dannevirke</i> in the background - a blind harpist performs this ballad, but only 4 edited verses, the first one and the last three of the original text (<a href="https://archive.org/details/ohlenschlaegererikabel1820/page/n7" target="_blank">pp. 3-4</a>). The debut performance was on April 26th, 1821 in Copenhagen and here the audience could actually hear the song. Of course this was an anachronism. The text didn't exist in the year 1250 and the tune was only written less than a decade earlier. But nonetheless it seemed to work. From then on this song became much better known and "ubbredte [...] sig mere og mere i Folket" (Berggreen 1840, p. IX).
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<br /></div>
<div style="text-align: justify;">
Oehlenschläger was also very popular in Germany where he was regarded as "a literary luminary of the highest order" (Rühling, p. 89). In fact he had a kind of parallel career there. His works were immediately published in Germany, usually translated by himself. This was also the case with Erik og Abel. The German edition appeared a year after the original version and here the song - of course only the four verses he had selected - was for the first time translated into German (Cotta, Stuttgart & Tübingen 1821, pp. 2-3, at <a href="https://books.google.de/books?id=Ndg6AAAAcAAJ&hl=de&pg=PA2#v=twopage&q&f=false">Google Books</a> & <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10115712_00009.html">BSB</a>): </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
<i>Dänmark du schöner Garten<br />Grün in blauem Meer,<br />Dein dich treu die Söhne warten,<br />Mit dem Heldenheer.<br />Kräftig sind sie aufgewachsen <br />Gegen Slawen, Wenden, Sachsen;<br />Eins doch mangelt Jütlands Wiesen:<br />Nur ein Zaun zum Schließen.<br /><br />Seeland, Fyhnen treu im Bunde<br />Fürchten nicht Gefahr<br />Die mit Belten Sand und Sunde<br />Zäunen sich fürwahr.<br />Jede Insel abgeschnitten<br />Von den Deutschen, von den Britten;<br />Jütland nur muß sich verwahren<br />Stets mit Streiterschaaren.<br /><br />Um zu schützen Ritter, Bauer,<br />Thyra, Fürstin fein,<br />Baut einst eine hohe Mauer<br />Hoch von Erd' und Stein.<br />Um den Leuten zuzusehen,<br />That sie selbst im Turme stehen.<br />Stark im weitesten Bezirke<br />Wuchs die Danne wirke.<br /><br />Dännemark kann sich jetzt wehren<br />Hinter seinem Zaun,<br />Schönes Feld mit goldnen Aehren,<br />Schöne Mädchen, Fraun!<br />Helden können den Verwegenen<br />An der Brustwehr keck begegnen,<br />Und ein Loblied Thyra singen,<br />Während Schwerter klingen</i>. </div>
</blockquote>
<div style="text-align: justify;">
Interestingly Ohlenschläger didn't even tone down the song's anti-German tendency. In the first verse the "Saxer, Slaver, Vender" are now named as potential enemies instead of the "Tydske, Slaver, Vender" in the original text. But in the second the Germans are mentioned once again. This play apparently wasn't a big success in Germany and the reviews were somewhat disappointing (see f. ex. Literarisches Conversationsblatt, No. 214, 17.9.1821, <a href="https://books.google.de/books?id=BqNSAAAAcAAJ&hl=de&pg=PA852#v=twopage&q&f=false" target="_blank">pp. 853-4</a>; Archiv für Geographie [...] 13, 1822, <a href="https://books.google.de/books?id=cywOAAAAYAAJ&hl=de&pg=PA91#v=onepage&q&f=false" target="_blank">pp. 91-6</a>). This may also be the reason that the song at that time didn't make any particular impression on the German audience. At least it was not reprinted anywhere else. </div>
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<br /></div>
<div style="text-align: justify;">
Meanwhile in Denmark this patriotic ballad began to appear in songbooks, at first in those intended for students and schools. In 1822 Ohlenschläger's four verses were reprinted in <i>Sange for Studenterforeningen</i> (<a href="https://books.google.de/books?id=l9DZ3HCUykkC&hl=de&pg=PP12#v=twopage&q&f=false" target="_blank">pp. 1-2</a>). Some years later complete versions with all 14 verses were included in Flor's <i>Dansk Laesebog til Brug i de laerde Skoler</i> (1831, <a href="https://books.google.de/books?id=gjpJAAAAcAAJ&hl=de&pg=PA556#v=twopage&q&f=false" target="_blank">pp. 556-60</a>), in Fabricius' <i>Samling af fædrelandshistoriske Digte. Udgivet af Selskabet for Trykkefrihedens rette Brug</i> (1836, <a href="https://books.google.de/books?id=DAZmAAAAcAAJ&hl=de&pg=PA2#v=twopage&q&f=false" target="_blank">pp. 1-7</a>) and in Barfood's <i>Poetisk Læsebog for Børn og barnlige Sjæle, til Brug saavel i Skolen som i Huset</i> (1835/6, No. 191, <a href="https://www.nb.no/items/URN:NBN:no-nb_digibok_2017050328001?page=337" target="_blank">pp. 311-15</a>). The latter also noted that probably all Danes already know this song (p. 487). </div>
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<br /></div>
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But it was Oehlenschläger's foreshortened text that would become most popular (see Kuhn, p. 81). It can be found for example in <i>Regentsens Visebog</i> (1833, <a href="https://books.google.de/books?id=NAZmAAAAcAAJ&hl=de&pg=PA55#v=twopage&q&f=false" target="_blank">pp. 55-6</a>) and again in the second edition of <i>Sange for Studenterforeningen</i> (1833, No. 1, <a href="https://archive.org/details/SangeStudenterforeningen1833/page/n13" target="_blank">pp. 2-3</a>), here for the first time with Rasmussen's tune in an arrangement for three voices. The following year young composer A. P. Berggreen included text and tune in the first volume of his influential <i>Sange til Skolebrug, udsatte for tre Stemmer</i> (1834, No. 8, <a href="https://archive.org/details/bub_man_be64ea37d8b01e9870d2977ffa5d5e77/page/n23" target="_blank">pp. 12-3</a>). Here he still thought it was an "old Danish melody". Only some years later, when he compiled the tunes for Fabricius's <i>Samling af fædrelandshistoriske Digte</i> he did some research and learned from Rasmussen himself that it was not an "old" tune (1840, <a href="https://books.google.de/books?id=zozbAFklcdoC&hl=de&pg=PR9#v=onepage&q&f=false" target="_blank">p. IX</a>). </div>
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Over the next decades the song developed into one of the most popular patriotic standards, especially at the time of the First Schleswig War 1848-1851 and the German-Danish War in 1864. Here Denmark was in fact "threatened from the very direction in which Dannevirke was situated" (see Kuhn 1990, pp. 85-92; quote p. 89). But that is another story and I will stop here in 1837, the year this song was published by Silcher in his <i>Ausländische Volksmelodien</i>. </div>
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<b>IV.</b> </div>
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At that time Danish songs were already easily available in Germany. Gerstenberg and Herder had introduced <i>kjaempeviser</i> in the 1760s and 1770s to their readers. Some decades later Wilhelm Grimm translated about one hundred of them for his anthology <i>Altdänische Heldenlieder, Balladen und Märchen</i> (1811, at <a href="https://books.google.de/books?id=NhyU0K-DKS0C&hl=de&pg=PP6#v=twopage&q&f=false" target="_blank">Google Books</a>). <i>Folkeviser</i> with tunes were also published. Friedrich Kunzen's, <i>Auswahl der vorzüglichsten altdänischen Volksmelodien und Heldenlieder mit Begleitung des Pianoforte</i> appeared in 1818 (at the <a href="https://archive.org/stream/bub_man_627d24cf9b1091ffb802e2f553294d32#page/n1/mode/2up" target="_blank">Internet Archive</a>). In Heidelberg Professor Thibaut translated foreign <i>Volkslieder</i> and arranged them for his choir, including some from Denmark. They can be found in his manuscript <i>Alte Nationalgesänge</i> (1820-40, see <a href="https://opac.rism.info/search?id=453009283&View=rism" target="_blank">RISM</a>). He of course knew Kunzen's booklet but was also familiar with Nyerup's and Rahbek's <i>Udvalgte Danske Viser fra Middelalderen</i> (see Verzeichnis, <a href="https://archive.org/details/bub_gb_mGtLAAAAcAAJ/page/n45" target="_blank">p. 41</a>; Thibaut, Reinheit, <a href="https://archive.org/stream/bub_gb_3LJyTj5mEPAC#page/n103/mode/2up" target="_blank">p. 89</a>). </div>
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Baumstark and Zuccalmaglio included one Danish song in their <i>Bardale</i>, the first German anthology of foreign <i>Volkslieder</i> (1829, Nr. 34, <a href="https://archive.org/details/BaumstarkWaldbruehlBardale1829/page/n67" target="_blank">p. 59</a>). In 1835 O.L.B. Wolff published <i>Brag</i>a, a massive collection of international songs in 14 volumes. One booklet was dedicated to Danish <i>folkeviser</i> (Vol. 11, at <a href="https://books.google.de/books?id=zLC7-NwJ5AcC&hl=de&pg=RA9-PT1#v=twopage&q&f=false" target="_blank">Google Books</a>). Interestingly none of them - except Thibaut (see <a href="https://opac.rism.info/search?id=453009317&View=rism" target="_blank">RISM</a>), whose version remained unpublished - used Syv's song about Tyre Danebod. One may assume that German editors and translators avoided this piece because of its anti-German tendency. Some in Germany may have known it from Oehlenschläger's E<i>rik og Abel</i>, but, as mentioned, that play was not really successful on German stages. </div>
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Silcher was the first one to publish this song with the tune and with a German text. It is not clear where he had got it from. Perhaps he had seen it in one of the few Danish songbooks available at that time or had heard a performance of Oehlenschläger's version. But I think it is more likely that he had received it from one of his students or friends who regularly helped him out with songs at that time. At least one of them was interested in Danish songs (see Bopp, pp. 100 & 103). </div>
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There is no evidence that Silcher did systematic research to find additional songs for his anthology. At first he relied nearly exclusively on Moore's publications which he obviously had at hand. For the first volume 8 of the 9 songs were borrowed from the <i>Popular National Airs</i> and the <i>Irish Melodies</i>. In the second volume four songs songs and one more tune can be traced to Moore. The rest was scraped together from all kinds of different sources: two French chansons recently published on sheet music (No. 8 & 9); a Norwegian tune he most likely knew from an arrangement by Carl Maria von Weber; a Persian song from a 20 year old book by Hammer-Purgstall (No. 10). There is no evidence that he had access to other foreign songbooks besides Moore's works. </div>
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Who wrote the German words? This is also not known. But whoever it was solved the problem of the song's anti-German tendency by simply deleting it. As already mentioned most of the text - except the first few lines - has next to nothing to do with the original version. The anonymous "translator" added some unpleasant Germanic chauvinism that doesn't represent the message of Syv's text. It was no longer about protecting the country from invasions from the South. Instead it celebrates the "heroes" from the North that have invaded the "decadent" South. </div>
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But on the other hand - if we only look at the first verse - the song fits well into Silcher's collection as another patriotic home-song. In the same volume he also included German versions of Burns' "My Heart's in the Highlands" (No. 1) and Berat's "Ma Normandie"(No. 9). In the following volumes we can find Guttinguer's "La Suissesse au bord du Lac" (III, No. 2) and, from England, "Home, Sweet Home" (IV, No. 9). These were all songs celebrating home. "Dän'mark, deine grünen Auen" looks in this context like one more variant of this topic. In Germany these kind of home-songs from other countries were very popular and often received very well, for example "My Heart's in the Highlands" and "Home, Sweet Home". </div>
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But this Danish song wasn't successful. It was very rarely reprinted in German songbooks. Silcher's version can only be found in a collection with the title <i>Ausländischer Liederschatz</i> (1886, <a href="https://archive.org/details/LangeAuslLS1886/page/n87" target="_blank">p. 81</a>). Victorie Gervinus included a piano arrangement in her <i>Naturgemässe Ausbildung in Gesang und Klavierspiel</i> (1892, No. 59, <a href="https://archive.org/details/VGervinus1892/page/n267" target="_blank">p. 253</a>). Otherwise all other editors and arrangers avoided the song. As far as I know there were no further attempts at a new German version of this song and I am not aware of more translations. </div>
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For some reason it didn't look much different in Britain. Even though several books with translated Danish poetry and songs appeared during the 19th century this particular text was never included. George Borrow's adaptation remained unpublished at first and only came to light in 1923 (see Borrow 1923, <a href="https://hdl.handle.net/2027/mdp.39015073201454?urlappend=%3Bseq=250" target="_blank">pp. 224-6</a>). The only other version I know of can be found in Granville Bantock's <i>Sixty Patriotic Songs of All Nations</i> (1913, No. 31, <a href="https://archive.org/details/sixtypatriotics01bantgoog/page/n124" target="_blank">pp. 82-3</a>). Here it was called "Denmark's Verdant Meadows (Thyra Dannebod)". But Bantock only used two verses, the first and second of Ohlenschläger's shortened variant. That doesn't make much sense. His English text is based on the first two verses of Silcher's German version. This makes even less sense and whoever read or sang this song may have wondered what it had to do with Thyra Dannebod. </div>
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During the 19th century a considerable number of songs crossed national borders and were adapted in other countries. There was certainly a great interest in what was regarded as foreign national music. But of course not every song was received well. This particular Danish piece never really achieved any kind of popular success outside of Denmark, neither as a historical ballad nor as a patriotic home-song. </div>
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<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Anders Peter Berggreen, Melodier til de af "Selskabet for Trykkefrihedens rette Brug" udgivne fædrelandshistoriske Digte, C. C. Lose & Olsen, København, 1840, at <a href="https://books.google.de/books?id=zozbAFklcdoC" target="_blank">Google Books</a> [= BL] & <a href="https://rex.kb.dk/permalink/f/fic8lq/MUS01000203661" target="_blank">KB, Kopenhagen</a> </li>
<li>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 <a href="https://archive.org/details/BerggreenFolkeSange10UdenforEuropa1870" target="_blank">Internet Archive</a> </li>
<li>August Bopp, Friedrich Silcher, Stuttgart 1916, at <a href="http://digital.wlb-stuttgart.de/purl/kxp1670563456" rel="nofollow" target="_blank">WLB</a> <br /></li>
<li>George Borrow, The Songs of Scandinavia and Other Poems and Ballads, Vol. 1, London & New York, 1923 (= The Works of George Borrow. Edited, With Much Hitherto Unpublished Manuscript, by Clement Shorter. Norwich Edition VII), at <a href="https://hdl.handle.net/2027/mdp.39015073201454?urlappend=%3Bseq=250" target="_blank">Hathi Trust </a> </li>
<li>Carl Dumreicher & Ellen Olsen Madsen, Danmark, Dejligst Vang og Vænge. Om Danevirkevisens Digter Laurids Kok, Dens Komponist og Dens Historie, Kopenhagen, 1956 </li>
<li>Augusta Eschricht, Danmark Dejligst Vang og Vaenge, in: Gads Danske Magasin 4 [ny Raekke], 1909-10, pp. 567-72, at the <a href="https://archive.org/details/gadsdanskemagasi04kobeuoft/page/566" target="_blank">Internet Archive</a> </li>
<li>R. Th. Fenger, Svend Aagesens Danmarks-Kronike, Reitzel, Kopenhagen, 1842, at <a href="https://books.google.de/books?id=ltNlAAAAcAAJ&hl=de&pg=PA16#v=onepage&q&f=false" target="_blank">Google Books</a> </li>
<li>P. Friis, Udsigt over de danske Kaempeviser og Folkesange fra Middelalderen. Ledetraad ved Undervisning i dansk Literaturhistorie, Woldike, Copenhagen, 1875, at the <a href="https://archive.org/details/udsigtoverdedan00friigoog" target="_blank">Internet Archive</a> </li>
<li>Anne-Bitt Gerecke, Transkulturalität als Literarisches Programm. Heinrich Wilhelm von Gerstenbergs Poetik und Poesie, Göttingen, 2002 (= Palaestra 317), at <a href="https://digi20.digitale-sammlungen.de/de/fs1/object/display/bsb00047083_00002.html" target="_blank">BSB</a> </li>
<li>N.F.S. Grundtvig, Danmarks Kronike af Saxo Grammaticus, Anden Deel, Schultz, Kopenhagen, 1819, at <a href="https://books.google.de/books?id=wLBBAAAAcAAJ" target="_blank">Google Books</a> </li>
<li>Gustav Henningsen, Vedel og Syv og bogtrykkerne. En bibliografisk underso\gelse af Hundredvisebogen, in: Danske Studier 1959, pp. 53-85, at <a href="https://danskestudier.dk/tidligere-aargange/" target="_blank">danskestudier.dk</a> </li>
<li>Fr. Winkel Horn, Peder Syv. En literærhistorisk studie, Copenhagen, 1878, at the <a href="https://archive.org/details/pedersyvenliter00horngoog/page/n7" target="_blank">Internet Archive</a> </li>
<li>Hans Kuhn, Defining a Nation in Song. Danish Patriotic Songs in Songbooks of the Period 1832-1870, Kopenhagen, 1990 </li>
<li>Jens Henrik Koudal, Rasmus Nyerups visearbejde og folkevisesamlingen 1809-21, in: Musik & Forskning 8, 1982, pp. 5-79, at <a href="http://www.danishmusicologyonline.dk/arkiv/arkiv_musik_og_forskning_pdf/mf_1982/mf1982_01_ocr.pdf" target="_blank">Danish Musicology Online</a> </li>
<li>Jacob Langebek, Scriptores Rerum Danicarum Medii Aevi I, Godiche, Kopenhagen, 1772, at <a href="https://books.google.de/books?id=RNlXAAAAcAAJ" target="_blank">Google Books</a> </li>
<li>Flemming Lundgreen-Nielsen, Anders Sørensen Vedel og Peder Syv. To lærde folkeviseudgivere, in: Flemming Lundgreen-Nielsen & Hanne Ruus (eds.), Svøbt i Mår. Dansk Folkevisekultur 1550-1700, Vol. 4, København, 2002, pp. 153-374 </li>
<li>Lis Møller, National Literatures and Transnational Scholarship. Wilhelm Carl Grimm's Altdänische Heldenlieder and its Reception in Denmark, in: Joachim Grage & Thomas Mohnike, Geographies of Knowledge and Imagination in 19th Century Philological Research on Northern Europe, Newcastle upon Tyne, 2017a, pp. 84-103 </li>
<li>Lis Møller, Travelling Ballads. The Dissemination of Danish Medieval Ballads in Germany and Britain, 1760s to 1830s, in: Dan Ringgaard & Mads Rosendahl Thomsen (eds.), Danish Literature as World Literature, London & New York, 2017b, pp. 31-52 </li>
<li>Vibeke A. Pedersen, Hundredvisebogen og senere trykte visebøger, in: Dansk Litteraturs Historie, Bd. 1: 1100-1800, Gyldendal, København, 2007, pp. 153-6, here at <a href="http://denstoredanske.dk/index.php?sideId=476441" target="_blank">Den Store Danske</a> (acc. 3.7.2019)</li>
<li>Vibeke A. Pedersen, <a href="http://www.xn--grundtvigsvrker-7lb.dk/tekstvisning/7456/0#{%220%22:0,%22v0%22:0,%22k%22:0}" target="_blank">Indledning til "Thyre Dannebods Vise" og "Efterklang"</a>, in: Grundtvigs Værker – en tekstkritisk og kommenteret udgave af N.F.S. Grundtvigs trykte forfatterskab, Grundtvig Centeret, Aarhus Universitet, Version 1.14, April 2019 </li>
<li>Carl Roos, Das Erste Bekanntwerden der Dänischen Kaempe- oder Folkevise im Auslande, in: Orbis Litterarum 6, 1948, S. 100-114 </li>
<li>Carl Roos, Die dänische Folkevise in der Weltliteratur, in: Forschungsprobleme der Vergleichenden Literaturgeschichte. Internationale Beiträge zur Tübinger Literaturhistoriker-Tagung, September 1950. Mit einer Einführung von Kurt Wais, Tübingen, 1951, pp. 79-99 </li>
<li>Lutz Rühling, Nordische Poeterey und gigantisch-barbarische Dichtart. Die Rezeption der skandinavischen Literaturen in Deutschland bis 1870, in: Helga Eßmann u. Udo Schöning (eds), Weltliteratur in deutschen Versanthologien des 19. Jahrhunderts, Berlin, 1996, pp. 77-121 </li>
<li>Olav Solberg, Editionen von Balladen und Volksliedern im Norden, in: Paula Henrikson & Christian Janss, Geschichte der Edition in Skandinavien, Berlin etc., 2013 (= Bausteine zur Geschichte der Edition 4), pp. 97-124 </li>
<li>Stephan Hansen Stephanius, Saxonis Grammatici Historiæ Danicæ Libri XVI., Molteken, Kopenhagen, 1644, at <a href="https://books.google.co.uk/books?id=EVN4cgiYw8kC" target="_blank">Google Books</a> </li>
<li>Line Kirstine Tanderup, Thyra Danebod, død ca. 950, 2014, at <a href="http://danmarkshistorien.dk/leksikon-og-kilder/vis/materiale/thyra-danebod-doed-ca-950" target="_blank">danmarkshistorien.dk</a> (Aarhus Universität) </li>
<li>[A. F. J. Thibaut], Ueber Reinheit der Tonkunst, 2. vermehrte Ausgabe, Mohr, Heidelberg, 1826, at the <a href="https://archive.org/stream/bub_gb_3LJyTj5mEPAC#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Hjalmar Thuren, Melodien Til "Danmark, Dejligst Vang og Vænge", in: Danske Studier 1911, pp. 28-36, at <a href="https://danskestudier.dk/tidligere-aargange/" target="_blank">danskestudier.dk</a></li>
<li>Verzeichnis der von dem verstorbenen Grossh. Badischen Prof. der Rechte
und Geheimrathe Dr. Anton Friedrich Justus Thibaut zu Heidelberg
hinterlassenen Musiksammlung, welche als ein ganzes ungetrennt
veräussert werden soll, Karl Groos, Heidelberg, 1842, at the <a href="https://archive.org/details/bub_gb_mGtLAAAAcAAJ" target="_blank">Internet Archive</a> </li>
</ul>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-17804676944999371682019-04-07T09:58:00.000+02:002019-04-07T21:41:17.369+02:00Thomas Hamly Butler (1755-1823) - National Airs and "Exotic" Rondos<br />
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<b>I. </b></div>
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I am interested in what I call "exotic" tunes and songs that were published in Europe from the 16th to the 19th century (see <a href="https://hummingadifferenttune.blogspot.com/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">here</a> in my blog & my <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8/edit?usp=sharing" target="_blank">bibliography</a>). By this I mean music from outside of Europe or from the European periphery that was notated by Western travelers and then made available in print to European readers. For a long time these kind of tunes could be found nearly exclusively in travel books or academic treatises. But since the late 18th century supposedly authentic non-European tunes began to appear in the popular music repertoire. </div>
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I recently came across one interesting example from the early 19th century, an "Egyptian air" arranged as a rondo by one Thomas Hamly Butler. Here is one of the many editions: </div>
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<li>An Egyptian Air. Arranged as a Rondo, or Easy Lesson for the Piano Forte, by T. H. Butler, Author of Lewie Gordon, Goulding & Co., London, n.d. [1815?], at <a href="https://books.google.de/books?id=3kXN-FSUiDoC" target="_blank">Google Books</a> [= <a href="http://access.bl.uk/item/viewer/ark:/81055/vdc_100056174776.0x000001" target="_blank">BL</a>] </li>
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This piece seems to have been very popular and it remained available in print for nearly the whole century (see <a href="https://copac.jisc.ac.uk/search?author=Butler&title=Egyptian+rondo&new-sort-order=date&action=Sort&new-page-size=100" target="_blank">Copac</a>). We can see that the author only claimed to have arranged it. This suggests that he wanted the buyers to believe that it was an original "Egyptian" tune. The problem with a publication of this kind - and the many similar pieces - is that it is difficult or even impossible to find out if it was really an "authentic" melody. But at that time it didn't matter much. The buyers and critics usually had no way of knowing. One may assume that many of them regarded it as an original "Egyptian" melody. Therefore Butler's rondo served as a representation of a foreign musical culture. </div>
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This seemed like an interesting problem to me. First I wanted to know more about the arranger of this rondo. Who was Thomas Hamly Butler? And then I will try to place his piece in a wider historical context. What other musical publications of this kind were available at that time? Who played these pieces? How do these works fit into the history of the so-called "national airs"? A great number of "Scottish" and "Irish" tunes and songs had already been published at that time. "National" melodies from other European countries also appeared. Therefore non-European tunes - no matter if they were "authentic" or not - were of course a reasonable addition to the popular repertoire. </div>
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<b>II. </b></div>
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Thomas Hamly Butler (1755-1823) was a pianist, composer, arranger and music teacher, first in London and then in Edinburgh. A search in <a href="https://copac.jisc.ac.uk/search?&author=Thomas+Hamly+Butler" target="_blank">Copac</a> provides several hundred results, nearly exclusively works for the piano. So it seems he must have been quite busy during his lifetime. But I must admit that I have rarely heard his name before. Not much has been written about him. There are only a few short articles in some encyclopedias (Fiske in New Grove 8, 1980, p. 518; Squire in DNB 8, 1886, at <a href="https://en.wikisource.org/wiki/Butler,_Thomas_Hamly_(DNB00)" target="_blank">wikisource</a>; Brown, Biographical Dictionary, 1886, <a href="https://archive.org/details/cu31924022287423/page/n145" target="_blank">pp. 132-3</a>; Moore, Complete Encyclopedia, 1854, <a href="https://books.google.de/books?id=NRA5AQAAIAAJ&hl=de&pg=PA168#v=twopage&q&f=false" target="_blank">p. 168</a>) and a paragraph or two in some books (see f. ex. Fiske, Theatre Music, 1973, pp. 425-6, Nelson, Notion, 2002, p. 261). Some information about his early years can be found in a letter by Butler himself that was published in <i>The Bee, Or Literary Weekly Intelligencer</i> (Vol. 10, No. 83, 19.7.1792, <a href="https://books.google.de/books?id=a4mhXdCi_xAC&hl=de&pg=PA65#v=twopage&q&f=false" target="_blank">p. 65</a>). </div>
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He was born in London but as a young man he went to Italy for three years to study music with composer Niccolò Piccinni (1728-1800). After his return to London he was hired to play the piano at Covent Garden. He also tried his hand at writing music for stage shows, first for <i>Calypso, a New Masque</i> (1779; see The Morning Chronicle No. 3070, 23.3.1779, BBCN) and then for<i> The Widow of Delphi</i> (1780, see <a href="https://books.google.de/books?id=PnZLjxQY1HMC" target="_blank">Google Books</a> [=BL]), both with words by popular dramatist Richard Cumberland.</div>
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But these two shows weren't particularly successful and his career in London was soon to end. In the early 80s Mr. Butler moved to Edinburgh where he spent the rest of his life as a teacher of music and writer of piano pieces mostly for amateurs and beginners. He taught the young ladies of the nobility and the better-off families to play this instrument. It is quite interesting to read his ads in local newspapers like the <i>Caledonian Mercury</i> [= CM]. For example on November 22nd, 1804 (CM No. 12981, BNCN) he "intimates, That he has commenced Teaching the Piano-Forte, as usual, for the winter Season". On May 5th, 1806 (CM No. 13157, BNCN) it was announced that "in the middle of May, Mr. Butler intends opening a Class, at his house, for Young Ladies, to improve themselves in this and some other very necessary and useful branches of musical knowledge". That year he opened what he called a Musical Academy: </div>
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"Mr. Butler begs leave to acquaint his Friends and the Public, That [...] on Monday se'enright he will open his Academy (as formerly advertised), and, with the assistance of the Miss Butlers, commence his plan of teaching Beginners the Piano Forte, For Two Guineas the Quarter. The Young Ladies will be more thoroughly grounded in the Rudiments of Music at the Academy than they can be in any other way, and they will be taught to Finger the Piano Forte well, and to execute what they play neatly, and as the Writing of Music, in a certain way, is a real help to the better understanding it, writing it for this purpose will also be taught at the Academy; - in short, a real foundation is Mr. Butler's object, and he flatters himself, that his long experience and tried ability as a teacher of Music, qualify him in a very particular manner for this undertaking [...] Mr. B. continues his Private Teaching, at Two Guineas Twelve Lessons as usual" (CM No. 13228, 18.10.1806, BNCN). </div>
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We can see that - just like all other teachers of course - he claimed to have a particularly good and effective method and he also pointed out his "his well known experience, as a Teacher of Music" (CM, No. 13000, 5.1.1805, BNCN). At this time he was already more than twenty years in this business. Among his educational publications were the <i>Musical Games</i> (1804, see Kassler, p. 535; see <a href="http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004249311" target="_blank">catalog BL</a>). In several ads he described them as "an entertaining way of passing A Winter Evening, And a pleasant and easy method of assisting Young Performers on the Piano-forte, To attain and retain some very useful Musical Knowledge" (CM No. 129891, 22.11.1804, BNCN), as " a pleasant and amusing, instead of the common dry and discouraging way, of learning the Keys of Music, both Major and Minor, with their Sharps, Flats and Scales" that "will tend more to increase and establish this most useful and necessary branch of musical knowledge in their memories than any other method whatever" (CM, No. 13000, 5.1.1805, BNCN) or as "entertaining and instructive musical Games, which no young Lady should be without who wish to know correctly by heart and play with ease and judgment upon the Piano Forte" (CM No. 13157, 5.5.1806, BNCN). </div>
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Exactly for these "young Ladies"- the young Gentlemen of course did not make music, they had other things to do - he wrote his piano pieces, mostly rondos as well as some sonatas. In this respect he showed an astonishing productivity. Many of these pieces were based on Scottish tunes and other national airs. Thankfully a considerable number of his works - 70 at the moment - have been digitized by <i>Google</i> for the <i>British Library</i> and are now available online (see <a href="http://tinyurl.com/BL-search-Butler-digitized" target="_blank">BL</a> & <a href="https://www.google.de/search?hl=de&tbo=p&tbm=bks&q=inauthor:%22Thomas+Hamly+Butler%22" target="_blank">Google Books</a>). Some more can be found on several other sites (see <a href="https://imslp.org/wiki/Category:Butler%2C_Thomas_Hamly" target="_blank">IMSLP</a>; <a href="https://archive.org/search.php?query=Thomas%20Hamly%20Butler" target="_blank">Internet Archive</a>). </div>
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<div style="text-align: center;">
<b>III. </b></div>
<div style="text-align: justify;">
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The first was "Lewie Gordon", published in 1782 after he had moved to Edinburgh. At least the earliest mention in a newspaper ad that I know of is from that year (CM, No. 9858, 10.4.1782, BNA): <i>The Favourite Scots Air of Lewie Gordon, made into a Rondeau</i>. It was later claimed that Mr. Butler had heard the song from "the maid of the house" and then chose it as the first tune to turn into a rondo (Moore, Complete Encyclopedia, <a href="https://books.google.de/books?id=NRA5AQAAIAAJ&hl=de&pg=PA168#v=twopage&q&f=false" target="_blank">p. 168</a>). This piece was clearly a great success and it would be regularly printed again during the following decades by nearly all major publishers (see <a href="https://copac.jisc.ac.uk/search?&author=Butler&title=Lewie+Gordon" target="_blank">Copac</a>), for example by Hamilton (c. 1800, at <a href="https://books.google.de/books?id=v2n2P31BBEcC" target="_blank">Google Books</a>), Dale (c. 1800, at <a href="https://books.google.de/books?id=QrJtbQA3ESoC" target="_blank">Google Books</a>), Walker (c. 1802, at <a href="https://books.google.de/books?id=GVe9DJBk_uoC" target="_blank">Google Books</a>), Preston & Son (c. 1811, at <a href="https://books.google.de/books?id=SiV4PUmrv9kC" target="_blank">Google Books</a>) and Goulding & Co. (n.d., in Jenkyns 07, at the <a href="https://archive.org/details/austen1677439-2001/page/n213" target="_blank">Internet Archive</a>). Butler also once announced "Lewie Gordon, very much improved [...] A very Pleasing Sonata for the Piano-Forte, in which is introduced the admired Rondo of Lewie Gordon, with Alterations and Additions" (CM No. 13352, 3.8.1807, BNCN). In ads and on sheet music covers he was often referred to as the "Author of Lewie Gordon" (see f. ex. CM No. 11509, 8.6.1795, BNA). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Apparently Mr. Butler regarded himself as an authority for Scottish songs. He also attempted an anthology <i>A Select Collection of Original Scotish Airs Arranged for One and Two Voices, with Introductory & Concluding Symphonies and Accompanyments for the Flute, Violin & Piano Forte [...] With an Additional Selection of Words from the Most Admired Scotch and English Poets</i> (Muir and Wood, Edinburgh, 1800, see <a href="http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004249341" target="_blank">cat. BL</a>). This publication looked "extremely similar" (Nelson 2003, p. 261) to George Thomson's ambitious <i>Select Collection</i> that was published since 1793 (see f. ex. the First Set, reprint Dublin, c. 1793, at the <a href="https://archive.org/details/IMSLP60618PMLP124158CollOfScotishAirsThomson18001" target="_blank">Internet Archive</a>). He even copied the term "Scotish" instead of "Scottish" from Thomson's title. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Of course the difference was that Mr. Butler wrote the arrangements himself while Thomson had managed to hire star composers like Pleyel. But nonetheless he claimed in his ads (f. ex. CM No. 12289, 28.6.1800, BNCN) that this "Elegant Folio Volume" with mostly the same songs was "infinitely preferable to any collection of the kind that hitherto has appeared". I really wonder what Mr. Thomson - who also lived in Edinburgh - thought about Butler's anthology. But by all accounts it was clearly not a big success. No further volumes appeared and later nothing more was heard about it. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Much more successful were his many piano arrangements of - mostly - Scottish tunes: "Mr. Butler, as a rondo writer, has long been a favourite with the public" (Universal Magazine 10, 1808, <a href="https://books.google.de/books?id=VmUAAAAAYAAJ&hl=de&pg=PA460#v=twopage&q&f=false" target="_blank">p. 460</a>). It seems that he wrote them on assembly line. I haven't counted these publications but it must have been several a year. Here I will list only some examples: </div>
<ul style="text-align: justify;">
<li>Corn Riggs. A Favorite Scots air, Made a Rondo for the Harpsichord or Piano Forte, Corri & Company, Edinburgh, c.1795, at <a href="https://books.google.de/books?id=44R3IYV6TccC" target="_blank">Google Books</a> [= BL]</li>
<li>The Birks of Invermay. A New Rondo for the Piano forte or Harpsichord, Stewart & Co., Edinburgh, c.1796, at <a href="https://books.google.de/books?id=K_qSqDfCxXwC" target="_blank">Google Books</a> [= BL]</li>
<li>I'll gang nae mair to yon Town. A New Rondo for the Piano Forte, Stewart & Co., Edinburgh, c.1800, at <a href="https://books.google.de/books?id=ctJ0mFD-rcwC" target="_blank">Google Books</a> [= BL]</li>
<li>The Lass of Paties Mill. A Favorite Rondo for the Piano Forte, Gow & Shepherd, Edinburgh, 1799 (see CM No., 3.8.1799, BNA), at <a href="https://books.google.de/books?id=5g1bFOlMQjQC" target="_blank">Google Books</a> [= BL]</li>
<li>A New and Pleasing Sonata for the Piano Forte. The Beautiful Scots Airs of Tweed Side, the Broom of Cowden knows, and Benny Jean of Aberdeen, are introduced in this Sonata, Brysson, London, c.1802, at <a href="https://books.google.de/books?id=f_Tpk-30VscC" target="_blank">Google Books</a> [= BL]</li>
<li>The Flowers of Edinburgh. Arranged as a Rondo for the Piano Forte, Clementi, Banger, Hyde, Collard & Davis, London, 1804 (see The Morning Chronicle No. 11106, 22.12.1804), at <a href="http://access.bl.uk/item/viewer/ark:/81055/vdc_100063835482.0x000001" target="_blank">BL</a> </li>
<li>The Earl of Moira's Strathspey, with entirely New and Brilliant Variations for the Piano Forte, Goulding & Co., London, 1806 (see CM No. 13157, 5.5.1806, BNCN), at <a href="https://books.google.de/books?id=UKPHT0zh9f4C" target="_blank">Google Books</a> [= BL]</li>
<li>The Ewe wi' the Crooked Horn. A Favorite Scots Air, Arranged as a Rondo for the Piano Forte, Goulding, Phipps, D'Almaine & Co., London, c.1810, at <a href="https://books.google.de/books?id=HrlzfDkDxSsC" target="_blank">Google Books</a> [= BL]</li>
<li>Could Kail in Aberdeen. A Favorite Scots Air, Arranged as a Rondo for the Piano Forte, Goulding, Phipps, D'Almaine & Co., London, c.1810, at <a href="https://books.google.de/books?id=R7aSm2BNBOAC" target="_blank">Google Books</a> [= BL]</li>
<li>The Bush Aboon Traquair, A Favorite Scots Air, Arranged as a Rondo for the Piano Forte, Goulding, Phipps, D'Almaine & Co., London, c.1810, at <a href="https://books.google.de/books?id=0o_sFkIYbFsC" target="_blank">Google Books</a> [= BL]</li>
<li>Durandarte & Belerna. A Favorite Scotch Air, Arranged as a Rondo for the Piano Forte, Wheatstone, London, c.1810, at <a href="https://books.google.de/books?id=4_TS-OE2L24C" target="_blank">Google Books</a> [= BL]</li>
</ul>
<div style="text-align: justify;">
Sometimes he compiled small anthologies with several pieces bound together: </div>
<ul style="text-align: justify;">
<li>Eight Rondos for the Piano Forte, with or without the Additional Keys. Composed from the following favorite English and Scotch Airs, Printed for the Author, Edinburgh, 1806, at <a href="https://books.google.de/books?id=VA0Pcv6gTYYC" target="_blank">Google Books</a> [= BL]</li>
</ul>
<div style="text-align: justify;">
Among the Scottish tunes included here were "The Bush Aboon Traquair", "My Ain Kind Dearie" and "Roys Wife of Aldivalloch". In this case he noted in the advert for whom this work was intended:</div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"These Rondos are all of them of an agreeable length to play in company and are composed to shew the taste and execution of the performers without tiring the hearers; and, from very long experience Mr. Butler can affirm [...] that these are the best, as well as the most inviting sort of Lessons that can be given to young performers, to improve their taste, and increase their execution upon the Piano Forte" (CM No. 13156, 2.1.1806, BNCN). </div>
</blockquote>
<div style="text-align: justify;">
Interestingly the reviews of Mr. Butler's publications in the contemporary press were usually quite positive. In the <i>Monthly Magazine</i> (18, 1804, <a href="https://books.google.de/books?id=omQ3AQAAMAAJ&hl=de&pg=PA250#v=twopage&q&f=false" target="_blank">p. 250)</a> it was noted that they had "frequently awarded our praise" to his "productions". For example the reviewer of <i>Dainty Davie. A Favorite Air Arranged as a Rondo for the Piano Forte</i> (Goulding & Co., London, 1802, at <a href="https://books.google.de/books?id=veM-bmEXxkEC" target="_blank">Google Books</a>) was mostly impressed by this work: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"Mr. Butler has arranged this air with a considerable degree of taste. The introductory movement, in three quavers, andante expressivo, is pleasingly conceived, both in the bass and general disposition of the melody; and the modulation, though in some places rather abrupt, is bold in its effect, and displays a respectable degree of science" (Monthly Magazine 13, 1802, <a href="https://books.google.de/books?id=DDSx3kVT1RMC&hl=de&pg=PA155#v=onepage&q&f=false" target="_blank">p. 155</a>). </div>
</blockquote>
<div style="text-align: justify;">
A <i>4th Sonata for the Piano-Forte, in which are introduced the favourite Scotch Airs "Lochaber" and "Duncan Gray"</i> (1803, see <a href="https://copac.jisc.ac.uk/id/160962?style=html&title=4th%20sonata%20for%20the%20piano-fortein%20which%20are%20introduced" target="_blank">Copac</a>) was also praised and recommended: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"Mr. Butler's excellent first movement to this sonata, together with the taste with which he has ornamented and augmented the subject matter of the following movement, will render the composition a pleasing acquisition with piano-forte performers. The plan of introducing old and favourite airs in instrumental compositions, is a very eligible one; and when adopted with a success equal to the present, forms a strong recommendation with the generality of hearers" (Monthly Magazine 14, 1802, <a href="https://books.google.de/books?id=6XNEAQAAMAAJ&hl=de&pg=PA168#v=twopage&q&f=false" target="_blank">p. 170</a>) </div>
</blockquote>
<div style="text-align: justify;">
The review of another work, <i>A Slow Movement, and the Favourite Scots air of O! Bonnie Lassie, Arranged as a Rondo, with or without Additional Keys</i> (Goulding & Co., see <a href="http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004249355" target="_blank">cat. BL</a>) was even better: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"The 'slow movement' to this production, which we suppose to be original, does great credit to Mr. Butler's taste and imagination. It is smooth, flowing, and affecting, and sweetly introduces the charming Scots' air, by which it is succeeded. As a rondo, this air, under Mr. Butler's excellent management, produces additional effect, and forms one of the most pleasing exercises for the piano-forte that we have noticed in a considerable time" (Monthly Magazine 15, 1803, <a href="https://books.google.de/books?id=rlEoAAAAYAAJ&hl=de&pg=PA170#v=onepage&q&f=false" target="_blank">p. 170</a>). </div>
</blockquote>
<div style="text-align: justify;">
Of course Butler was not the only one to use Scottish tunes for his popular piano pieces. That was quite common at that time (see f. ex. Nelson 2003, pp. 255-66) and sonatas and rondos of this kind had become a lucrative part of the music business. Many other composers and arrangers worked in this field. A look at contemporary newspaper adverts may suffice. For example publisher James Hamilton from Edinburgh announced in an ad in the Caledonian Mercury in 1804 on November 24th (No. 12982, BNCN) not only three new pieces by Mr. Butler ("De'il tak' the War", "O'er the Water to Charlie" and "Tweedside") but also one by Domenico Corri ("O'er the muir among the Heather") and five by John Ross from Aberdeen, another popular composer from that time who adapted "Scotch Airs" in his sonatas and rondos. </div>
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<br /></div>
<div style="text-align: justify;">
But it seems that Butler was particularly busy in this respect. I haven't counted his relevant works published between 1782 and 1823 but a complete bibliography could be a challenging task. Besides that there is also another question. There is good reason to assume that he had played - with his numerous piano pieces - a not unimportant part in popularizing all these tunes all over England, "among a class who might otherwise have remained in ignorance of their numberless beauties" (Brown, Biographical Dictionary, <a href="https://archive.org/details/cu31924022287423/page/n145" target="_blank">p. 132</a>). Many young pianists have learned and played them and that has surely also "prolonged the longevity of their popularity amongst amateur performers" (Nelson 2003, p. 266) and those who had to listen to them. </div>
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<br /></div>
<div style="text-align: justify;">
It is also not unreasonable to suspect that Mr. Butler's - and of course his like-minded colleague's - works played a bigger role in disseminating the Scottish melodies they used than the big ambitious anthologies like George Thomson's <i>Select Collection</i>. These were expensive publications that not everybody could afford. But a rondo by Butler was much cheaper, much easier to get and - I assume - easier to play for the typical amateur pianist. </div>
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I noticed that most of the experts on Scottish songs and music apparently didn't care much for Butler. I found him rarely mentioned in the relevant literature and as far as I know nobody ever wrote more than a few lines about him. Today his works are all forgotten and his reputation isn't the best. Fiske in his somewhat lackluster article in the <i>New Grove</i> (Vol. 8, 1980, p. 518) only mentioned in passing "a profusion of unambitious piano rondos and sonatas on 'Scotch' themes". Claire Nelson (2003, p. 261) noted that "in general his works seem to have lacked originality". Only recently another modern expert referred to "Butler's usual rubbish" (D. McGuinness on <a href="https://twitter.com/DMcGconcal/status/1096085343982505989" target="_blank">Twitter</a>, 14.2.2019). </div>
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<div style="text-align: justify;">
This may all be correct and I don't want to doubt it. But, as far as I know, Mr. Butler never claimed to be another Pleyel or Beethoven. He specialized in music for amateurs and beginners, "those juvenile practitioners, who wish to gratify the ear, while they are improving the finger" (Monthly Magazine 28, 1809, <a href="https://books.google.de/books?id=UWgEAAAAQAAJ&hl=de&pg=PA418#v=twopage&q&f=false" target="_blank">p. 418</a>) and many of them were surely not among the musically most gifted. He wrote "agreeable trifles for the piano-forte" (Monthly Magazine 28, 1809, <a href="https://books.google.de/books?id=UWgEAAAAQAAJ&hl=de&pg=PA316#v=twopage&q&f=false" target="_blank">p. 316</a>) and that was his niche on the music market. </div>
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<div style="text-align: justify;">
It seems that Butler did quite well both as a teacher and a composer. He had a successful business for four decades. By all accounts both the critics and the buyers were satisfied with what he produced. As mentioned above the reviews of his works were usually very good and his "unambitious" rondos probably sold quite well. Otherwise he wouldn't have written so many. This is a field that perhaps needs a little bit more research. It is not really important if what Mr. Butler wrote and published was "rubbish" or not. More relevant is the quantitative data. There must have been a reason for his apparent success and his numerous works surely had a certain importance on the popularization and dissemination of the so-called <i>national airs</i>, Scottish and others. They were played and they were listened to, not only in Scotland but all over England. But this is a question that should be left for the musicologists. </div>
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<div style="text-align: center;">
<b>IV.</b> </div>
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<br /></div>
<div style="text-align: justify;">
Mr. Butler of course did not only arrange Scottish tunes. He also attempted variations and rondos on patriotic standards like "God Save The King" and "Rule Britannia" (see f. ex. CM, No. 11153, 16.2.1793, BNA; No. 13156, 1.2.1806, BNCN), composed military pieces like <i>The Royal Montrose Volunteers. A New March</i> (see CM No. 11509, 8.6.1795, BNA), <i>The Landing of the Brave 42nd in Egypt. A Military Rondo for the Piano Forte</i> (1802; see Kassler, p. 492; <a href="https://copac.jisc.ac.uk/search?&author=Butler&title=The+Landing+of+the+Brave" target="_blank">Copac</a>) or <i>The Marching and Embarkation of the Brave 42nd Regiment, a Grand Military Divertimento for the Piano Forte</i> (see CM No. 14134, 25.7.1812) and turned some contemporary popular tunes into rondos. I will only mention Sanderson's "Adown, adown, adown in the Valley" (see Universal Magazine 10, 1808, <a href="https://books.google.de/books?id=VmUAAAAAYAAJ&hl=de&pg=PA460#v=twopage&q&f=false" target="_blank">p. 460</a>) and Nathaniel Gow's "Long Life to Step Mothers" (c. 1810, at <a href="https://books.google.de/books?id=fY8TajQkMD0C" target="_blank">Google Books</a>). The latter was published by Gow himself who apparently appreciated that a popular rondo writer revived his tune. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But he also used other <i>national airs</i>, for example some Irish tunes. <i>The Favorite Irish Air of Aileen Aroon with Variations for the Piano Forte or Harp </i>was published in 1807 (at <a href="http://catalogue.nli.ie/Record/vtls000370733" target="_blank">NLI</a>, see CM No. 13352, 3.8.1807, BNCN) and <i>Gramachree Molly, A New Rondo for the Piano Forte or Harp</i> (c. 1810, at <a href="https://books.google.de/books?id=0jaqRw6VKc4C" target="_blank">Google Books</a>) some years later. Not at least Mr. Butler also tried his hand at foreign melodies: </div>
<ul style="text-align: justify;">
<li>A Slow Movement and a Favorite Russian Arranged as a Rondo, for the Piano Forte, with or without the Additional Keys [No. 12], Goulding & Co., London, 1802, at <a href="https://books.google.de/books?id=nHIyJ1KotqsC" target="_blank">Google Books</a> [= BL])</li>
<li>A Slow Movement and a favorite Second Russian Air Arranged as a Rondo for the Piano Forte [No. ?], Goulding, Phipps & D'Almaine, London, c. 1802, at <a href="https://books.google.de/books?id=ByMl5srU7l4C" target="_blank">Google Books</a> [= BL]</li>
<li>A New Slow Movement, & the Favorite Russian Air of the Drunken Sailor, Arranged as a Rondo for the Piano Forte [No. ?], Goulding, Phipps & D'Almaine, London, c.1803, at <a href="https://books.google.de/books?id=AeFrj_wMymoC" target="_blank">Google Books</a> [= BL]</li>
<li>A Slow Movement and A Favorite Danish Air, Arranged as a Rondo for the Piano-Forte. With or Without the Additional Keys [No. 7], Goulding & Co., London, c.1802, at <a href="https://books.google.de/books?id=QxChcsTR7koC" target="_blank">Google Books</a> [= BL] </li>
</ul>
<div style="text-align: justify;">
He also wrote <i>Two Sonatas for the Piano-Forte, in which are introduced favourite Danish Airs as the Subjects of the Rondos</i>. It seems that no copy has survived but there was a review (Monthly Magazine 13, 1802, <a href="https://books.google.de/books?id=DDSx3kVT1RMC&hl=de&pg=PA496#v=onepage&q&f=false" target="_blank">p. 496</a>): </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"We can have the pleasure to speak of these sonatas in highly commendatory terms. Their style, though familiar, is gay and inspired; and the Danish airs are sweet and full of national character. Mr. Butler, in the digressive matter of the rondos, has been particularly happy in adhering to the cast of his subjects, to which he always returns with an adress which indicates a well-cultivated taste, and maturity of judgment." </div>
</blockquote>
<div style="text-align: justify;">
Russian tunes were not uncommon at that time in British music market. In fact it seems that that there was even a kind of fashion for "Russian Airs" (see <a href="https://copac.jisc.ac.uk/search?title=Russian+Air&new-sort-order=date&action=Sort&new-page-size=50" target="_blank">Copac</a>). But as far as I know Mr. Butler may have been the first one to introduce melodies said to be from Denmark. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
This series of "Slow Movements, with favourite select Airs, arranged as Rondos" (Morning Post No. 10647, 23.11.1802, BNA; see <a href="https://copac.jisc.ac.uk/search?&author=Butler&title=slow+movement" target="_blank">Copac</a>) was published since 1801 or 1802. It is particularly interesting because of its international approach. Of course he used predominantly <i>Scots airs</i> but there were also some foreign tunes: besides those from Russia and Denmark listed above he offered a "Neapolitan air" and a "Spanish Quick Step" as well as two pieces based on melodies from India and Persia. At least he claimed so:</div>
<ul>
<li>A Slow Movement and a favorite Indian Air Arranged as a Rondo for the Piano Forte [No. 15], Goulding, Phipps & D'Almaine, London, c.1802, at the <a href="https://archive.org/details/ButlerIndianAir1802" target="_blank">Internet Archive</a> </li>
<li>A New Slow Movement and a Beautiful Persian Air Arranged as a Rondo for the Piano Forte [No. 23], Goulding, Phipps & D'Almaine, London, 1802, at <a href="https://books.google.de/books?id=v9TA_-H-LUAC" target="_blank">Google Books</a> [= BL] (see the review in: Monthly Magazine 14, 1802, <a href="https://books.google.de/books?id=6XNEAQAAMAAJ&hl=de&pg=PA441#v=twopage&q&f=false" target="_blank">p. 441</a>) </li>
</ul>
<div style="text-align: justify;">
This was the time when foreign national airs began to appear in the popular repertoire. This included a small amount of supposedly non-European tunes. I don't mean the pseudo-exotic music - from Lully to Mozart, from a <i>Ballet des Indiens</i> performed at the French court in the early 17th century (see Pisani, <a href="http://indianmusiclist.vassar.edu/" target="_blank">Chronological Listing</a>, 2006) to an <i>Egyptian Love Song</i> by Welsh bard Edward Jones, published in one of his earliest collections, <i>The Musical Bouquet; or Popular Songs, and Ballads</i> (1799, <a href="https://archive.org/stream/bub_gb_sNdWAAAAcAAJ#page/n9/mode/2up" target="_blank">p. 4</a>) - that was so popular in Western Europe (see also Locke 2011 & 2015 about "exoticism"). Now real "national music" from outside of Europe - Westernized and made usable for European instrumentalists and singers - became available on sheet music and in popular anthologies. Of course there were only few publications and what was published was more often than not difficult to distinguish from the traditional "exoticism". But it was a visible development. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
We may at first look to Germany. Here the Abbé Vogler was a kind of innovator. His <i>Polymelos ou Caractères de Musique de differentes Nations</i> (1791, at <a href="http://digital.blb-karlsruhe.de/id/2255442" target="_blank">BLB Karlsruhe</a>) only included European tunes but in a later anthology with easy arrangements for pianists, the <i>Pieces de Clavecin faciles</i> (1798, at the <a href="https://archive.org/details/imslp-de-clavecin-faciles-vogler-georg-joseph" target="_blank">Internet Archive</a>), he also offered several tunes from outside of Europe: some that he claimed to have collected in North Africa as well as a Chinese melody he had learned while in London some years earlier. He even performed these tunes in his concerts all over Europe (see also <a href="https://hummingadifferenttune.blogspot.com/2015/05/polymelos-abbe-voglers-national-airs.html" target="_blank">here</a> in my blog). </div>
<div style="text-align: justify;">
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In the meantime German musician Karl Kambra had published in London <i>Two Original Chinese Songs. Moo-Lee-Chwa & Higho Highau, for the Piano Forte or Harpsichord</i> (1795, at <a href="https://iiif.lib.harvard.edu/manifests/view/drs:48331777$1i" target="_blank">Harvard UL</a>, see also the review in Monthly Magazine 4, 1796, <a href="https://books.google.de/books?id=cbYRAAAAYAAJ&hl=de&pg=PA223#v=twopage&q&f=false" target="_blank">pp. 223-4</a>). But in England tunes from India played a bigger role. William Hamilton Bird's <i>Oriental Miscellany</i>, an anthology of Indian melodies arranged for piano that was printed in Calcutta in 1789 (at the <a href="https://archive.org/details/OrientalMiscellanyWHBird1789">Internet Archive</a>), had inspired a fashion for so-called "Hindustannie Airs" (see f. ex. Farrell, pp. 31-44; Woodfield, pp. 292-95; see also <a href="https://hummingadifferenttune.blogspot.com/2016/02/exotic-airs-in-germany-dalbergs-ueber.html" target="_blank">here</a> in my blog, ch. 2) and since the late 1790s several collections with new arrangements of these tunes appeared in London. </div>
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Composer E. S. Biggs published two volumes of <i>Twelve Hindoo Airs</i> with English words by poet Amelia Opie (c. 1800, at the <a href="https://archive.org/search.php?query=Hindoo%20airs%20biggs" target="_blank">Internet Archive</a>). Thomas Williamson offered <i>Twelve Original Hindostanee Airs</i> (c.1800, see <a href="https://copac.jisc.ac.uk/search?&title=Twelve+Original+Hindostanee+Airs" target="_blank">Copac</a>). In 1802 M. P. King added <i>Three Indian Rondos for the Piano-forte. The Subjects Taken from Some of the Most Favorite Airs of Hindostan</i> (see <a href="https://copac.jisc.ac.uk/search?title=Indian%20Rondos&rn=1" target="_blank">Copac</a>; see Monthly Magazine 13, 1802, <a href="https://books.google.de/books?id=DDSx3kVT1RMC&hl=de&pg=PA155#v=onepage&q&f=false" target="_blank">p. 155</a>) to the available repertoire. We can see that Mr. Butler was also among the first to join this new musical fashion. </div>
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But his "Persian" rondo was more unusual. In fact until that time only two tunes supposedly from Persia had been published in Europe. The first one was the "petit Air Persan" in Jean Chardin's <i>Voyage de Perse</i> (1711, Vol. 2, <a href="https://archive.org/stream/bub_gal_ark_12148_bpt6k1050392t#page/n135/mode/2up" target="_blank">pl. 26</a>) that later also appeared in Rousseau's <i>Dictionnaire de Musique</i> (here in the Engl. ed., 1779, <a href="https://archive.org/stream/0043COMP#page/n265/mode/2up" target="_blank">p. 265</a>). The other one - of unkown and surely dubious origin - can be found in Domenico Corri's <i>Select Collection of the Most Admired Song</i>s (c.1782/3, Vol. 3, <a href="https://archive.org/stream/corri3-1783#page/n45/mode/2up" target="_blank">p. 44</a>). </div>
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Of course it is not clear if the tune used by Butler really was genuine. On the title page he only claimed to have arranged it. Perhaps he had received the melody from an unknown informant, someone who was in Persia and then had brought it to England. This was not unusual at that time. If it was in fact an original melody it would have been a notable achievement, no matter how much edited or even mutilated it may have been. But of course it is also possible that he had written it himself and then passed it off as a foreign tune. </div>
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After all these Indian airs one from Persia surely had a real novelty value. At least the reviewer in the <i>Monthly Magazine</i> (14, 1803, <a href="https://books.google.de/books?id=6XNEAQAAMAAJ&hl=de&pg=PA441#v=twopage&q&f=false" target="_blank">p. 441</a>) was impressed by this "beautiful" air and Mr. Butler's arrangement. After these two publications Mr. Butler returned to the usual repertoire. There were no more "exotic" tunes for a while until the <i>Egyptian Rondo</i>. But in the meantime some other composers and editors offered more music of this kind to a - hopefully - curious musical public. </div>
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Feliks Yaniewicz (1762-1848, see <a href="https://en.wikipedia.org/wiki/Feliks_Janiewicz" target="_blank">Wikipedia</a>), a Polish composer and musician who lived in Liverpool and later in Edinburgh, also wrote rondos based on <i>Scots airs</i> and European tunes (see <a href="https://copac.jisc.ac.uk/search?&author=Janiewicz&title=Rondo">Copac</a>). The <i>Indian War Hoop, A Rondo for the Piano Forte</i> (1804, at <a href="https://books.google.de/books?id=_AvVdln7BDUC" target="_blank">Google Books</a>) was his contribution to the "exotic" repertoire. He even performed this piece in concerts (see CM No. 12876, 19.3.1804, BNCN). Henry Dixon Tylee from Bath arranged <i>Eight Indian Airs Selected by A Lady</i> (c. 1805, at <a href="https://books.google.de/books?id=bWM4gUsiNH8C" target="_blank">Google Books</a>). This was published by Goulding in London who was also responsible for King's <i>Indian Airs</i>, the second volume of Williamson's <i>Hindostanee Airs</i> and of course for Butler's series of <i>Slow Movements</i>. It seems this publisher was particularly interested in foreign <i>national airs</i>. We will meet him more often in the next decade. </div>
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Then there were the earliest anthologies of international <i>national airs</i>. Welsh bard Edward Jones published his <i>Lyric Airs</i> with "Greek, Albanian, Walachian, Turkish, Arabian, Persian, Chinese, and Moorish National Songs and Melodies" in 1805 (at the <a href="https://archive.org/details/jones_lyric_airs_1805" target="_blank">Internet Archive</a>). He had received the "Persian Air" included here from an informant who had heard it in East India (<a href="https://archive.org/details/jones_lyric_airs_1805/page/n55" target="_blank">p. 25</a>). More collections of this kind would follow (see <a href="https://hummingadifferenttune.blogspot.com/2015/09/edward-jones-his-collections-of.html" target="_blank">here</a> in my blog). William Crotch's, <i>Specimens of Various Styles of Music</i> (1808) was a systematic presentation of <i>national airs</i> from Britain and from all over the world with a generous number of non-European tunes (<a href="https://archive.org/stream/specimensofvario00crot#page/n171/mode/2up" target="_blank">pp. 145-65</a>, at the Internet Archive). These were no academic treatises even though the editors included notes and an introduction. Crotch's <i>Specimens</i> even grew out of lectures in Oxford and London. But they were intended for practical use. All tunes were arranged for piano and they could be played by curious musicians. </div>
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Otherwise not much more appeared on commercial sheet music at that time. There were some "Turkish" pieces, for example one by Joseph Woelfl (1773-1812, see <a href="https://de.wikipedia.org/wiki/Joseph_Woelfl" target="_blank">Wikipedia</a>), an Austrian composer who had relocated to London in 1805. There he also began to write rondos for the British market (see <a href="https://copac.jisc.ac.uk/search?&author=Joseph+w%C3%B6lfl&title=rondo">Copac</a>). But his <i>Turkish March and Rondo</i> (1809, see <a href="https://copac.jisc.ac.uk/search?&author=w%C3%B6lfl&title=Turkish+rondo">Copac</a>; see Morning Chronicle No. 12373, 6.1.1809, BNCN) may have to do more with the traditional <i>alla Turca</i> style than with original Turkish music. Nonetheless it surely fit well with the new interest in "exotic" national airs. </div>
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The same can be said about a <i>Persian Dance</i>, a great hit in 1810 that was played on dances of the high society (see Cooper, <a href="https://www.regencydances.org/paper034.php" target="_blank">Examples</a>). Welsh bard John Parry, a composer and multi-instrumentalist who at that time had already made a name for himself himself as "the composer of several ballads, and agreeable exercises for young piano-forte practitioners" (Monthly Magazine 29, 1810, <a href="https://books.google.de/books?id=3SkAAAAAYAAJ&hl=de&pg=PA483#v=twopage&q&f=false" target="_blank">p. 483</a>) published it as <i>The Persian Dance. A Favorite Air Composed and Arranged as a Familiar Rondo for the Piano Forte</i> (Bland & Weller, London, 1810; see <a href="http://explore.bl.uk/BLVU1:LSCOP-ALL:BLL01004571105" target="_blank">cat. BL</a>; <a href="https://copac.jisc.ac.uk/search?&author=Parry&title=Persian+Dance" target="_blank">Copac</a>). There were also many other editions both as sheet music, for example one by Joseph Dale (at <a href="https://books.google.de/books?id=Jp7oZOXgdoQC" target="_blank">Google Books</a>), and in dance anthologies like Nathaniel Gow's <i>Favorite Dances of 1812</i> (<a href="https://archive.org/details/TheFavoriteDancesOf1812/page/n1">p. 2</a>). </div>
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It is unlikely that this dance is really based on an original Persian tune. At least one newspaper reported that it was "composed in compliment to his Excellency Mirza Abul Hassan" (quoted by Cooper, Examples), the Persian ambassador who was in London at that time. So it seems it was a new tune, probably written by Parry himself to whom it was credited in some contemporary newspaper reports. But three decades later this "Persian Dance" was included in Parry's own anthology <i>Two Thousand Melodies, arranged for All Instruments forming an Encyclopedia of Melody</i> (D'Almaine & Co., London, 1841, <a href="https://books.google.de/books?id=BcR1TGfCvDoC&hl=de&pg=PA152#v=twopage&q&f=false" target="_blank">p. 155</a>) and there he didn't claim authorship. In fact we really don't know who wrote this tune and where it was from. But at least Parry added a touch of authenticity. In his arrangement he "introduced an imitation of a small pipe used by the shepherds in Persia, somewhat resembling the English flageolet, and described to Mr. Parry by his Excellency the Persian Ambassador" (Monthly Magazine 29, 1810, <a href="https://books.google.de/books?id=3SkAAAAAYAAJ&hl=de&pg=PA483#v=twopage&q&f=false" target="_blank">p. 483</a>). </div>
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<b>V</b>. </div>
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Here I can return to Butler's <i>Egyptian Rondo</i>, that little piece of music that served as the initial inspiration for this work. We can see that it fit well into this music historical context. And again - as with the other "exotic" rondos - we don't know if it was genuine. Of course it is possible that he had received the melody from an anonymous informant, perhaps someone who had heard and noted it in Egypt. But we have no way of knowing. </div>
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At that time Egypt was no <i>terra incognita</i>, at least not since Bonaparte's invasion 1798, the Battle of Abukir and the landing of British troops. Since 1799 a few songs and tunes referring to Egypt had appeared. Edward Jones included an "Egyptian Love Song" in one of his earliest collections, <i>The Musical Bouquet; or Popular Songs, and Ballads</i> (1799, <a href="https://books.google.de/books?id=sNdWAAAAcAAJ&hl=de&pg=PA4#v=twopage&q&f=false" target="_blank">p. 4</a>). Broderip & Wilkinson offered an <i>Egyptian March</i> by the Lord Viscount Galway (Times No. 5280, 12.4.1801; Morning Chronicle No. 10143, 12.4.1801). Another <i>Egyptian March, for a Military Band, also adapted for the Piano Forte</i> was published by Cahusac in London (see <a href="https://copac.jisc.ac.uk/search?&title=Egyptian+March%2C+for+a+Military+Band" target="_blank">Copac</a>). Butler himself wrote <i>The Landing of the Brave 42nd in Egypt. A Military Rondo for the Piano Forte</i> (1802; see Kassler, p. 492; <a href="https://copac.jisc.ac.uk/search?&author=Butler&title=The+Landing+of+the+Brave" target="_blank">Copac</a>). </div>
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But original tunes from Egypt had not yet been made available in print in Western Europe. Neither Jones nor Crotch were able to include one in their respective anthologies. Only in 1809 French musicologist Villoteau - one of the scholars who had accompanied Bonaparte on his expedition - offered a generous amount of musical examples in his <i>De l'État Actuel de l'Art Musical en Égypte</i>, one volume of the famous <i>Description de l'Égypte</i> (<a href="https://archive.org/stream/DescriptiondelE2Fran#page/606/mode/2up" target="_blank">pp. 607-846</a>, available at the Internet Archive). But I couldn't find Butler's tune in this book. It is of course not even known if he was familiar with this work. </div>
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The dating of Butler's <i>Egyptian Rondo</i> is also a little bit difficult. It was not entered at <i>Stationer's Hall</i> and I know of no contemporary reviews that would help to determine when this piece was first published. Besides that I only found one advert, strangely not in a London newspaper but in a provincial publication. With an ad in the <i>Staffordshire Advertiser</i> on August 24th (at BNA) publisher Goulding, D'Almaine, Potter & Co. announced a "Second Egyptian Air" by Butler. I have no idea what the first one was but this seems like a reasonable publication date for the well-known <i>Egyptian Rondo</i> that I am discussing here. </div>
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Then we can have a look at the four editions of this piece that are at the moment - thanks to the <i>British Library</i> - available online at <i>Google Books</i>. The tentative dates from the catalog are not really reliable and look more like guesswork. Therefore I have added, with the help of <i>Music Publishing on the British Isles</i> by Humphries & Smith (1970), the time span when the respective publisher had his business at the address given on their edition: </div>
<ul style="text-align: justify;">
<li>An Egyptian Air. Arranged as a Rondo, or Easy Lesson for the Piano Forte, Goulding & Co., London, n.d. [betw. 1811 & 1816], at <a href="https://books.google.de/books?id=3kXN-FSUiDoC" target="_blank">Google Books</a> [= BL] </li>
<li>An Egyptian Air. Arranged as a Rondo, or Easy Lesson for the Piano Forte, J. Lawson, London, n.d. [after 1814], at <a href="https://books.google.de/books?id=w8BjLN-LEwYC" target="_blank">Google Books</a> [= BL] </li>
<li>Butler's Egyptian Rondo, For the Piano-Forte, Preston, London, n.d. [betw. 1810 & 1822], at <a href="https://books.google.de/books?id=LDNuJWOh-YwC" target="_blank">Google Books</a> [= BL] </li>
<li>An Egyptian Air. Arranged as a Easy Lesson for the Piano Forte, Birchall & Co., London, n.d. [betw. 1824 & 1829], at <a href="https://books.google.de/books?id=73diJipT4_sC" target="_blank">Google Books</a> [= BL] </li>
</ul>
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These four were all published after 1810 and the one published by Goulding seems to have been the earliest. That fits well with the advert quoted above. Nearly all other editions listed in British library catalogs (see <a href="https://copac.jisc.ac.uk/search?&author=Thomas+Hamly+Butler&title=Egyptian" target="_blank">Copac</a>) also appear to be from after 1810/11. There is only one exception: <i>A Favorite Little Egyptian Air, made an Easy Rondo for the Piano Forte and humbly dedicated to the Right Honorable Lady Isabella Boyle</i> was published by McFadyen in Glasgow and is dated as from "ca. 1800" (see <a href="http://encore.lib.gla.ac.uk/iii/encore/record/C__Rb2036457" target="_blank">cat. UofGlasgow</a>). This is perhaps a little too early. The publication dates in library catalogs are often unreliable. Publisher McFadyen was active until 1826 (Humphries & Smith, p. 222 ). </div>
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There were also several American editions, for example by Blake in Philadelphia (c.1816, at <a href="https://www.loc.gov/item/2014565801/" target="_blank">LoC</a>), Graupner in Boston (c.1810, at <a href="https://www.loc.gov/item/2014565804/" target="_blank">LoC</a>), Willig in Philadelphia (c.1810, at <a href="https://www.loc.gov/item/2014565803/" target="_blank">LoC</a>) and Willson in New York (c.1812, at <a href="https://levysheetmusic.mse.jhu.edu/collection/109/031" target="_blank">Levy Sheet Music</a>). The tentative dates in the catalogs indicate that the <i>Egyptian Rondo</i> was not available there before 1810. All in all it seems reasonable to assume that Butler's rondo first appeared in Britain in 1810 or 1811. If it really had been published much earlier it clearly wasn't successful at first and only became popular after 1810. I even tend to think that the great success of John Parry's <i>Persian Dance</i> perhaps inspired Butler and his publisher to offer something equally "exotic" and therefore this <i>Egyptian Rondo</i> was either composed and published at that time or - if already available earlier - revived and printed anew. </div>
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An "Egyptian" air was as uncommon and rare as a "Persian" dance. And it didn't matter if it really was an original tune or not. The buyers had no way of knowing that. Butler's rondo was clearly a great success. This can be seen from the surprising number of new editions by other publishers. But some other composers also felt inspired to try something similar. John Parry - since his <i>Persian Dance</i> an expert for "exotic" rondos - answered with an "Arabian" air and on the title page he even referred to Butler's piece. This was also published by Goulding: </div>
<ul style="text-align: justify;">
<li>John Parry, Arabian Rondo, for the Piano Forte. Intended as a Companion to Butler's Egyptian Rondo. Composed and respectfully inscribed to Miss Young, Goulding, D'Almaine, Potter & Co., London, n. d. [betw. 1811 & 1816], at <a href="https://books.google.de/books?id=hvqOCOBQS0sC" target="_blank">Google Books</a> [= BL]; at <a href="https://books.google.de/books?id=09VeAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://mdz-nbn-resolving.de/urn:nbn:de:bvb:12-bsb11138325-6" target="_blank">BSB</a>] </li>
</ul>
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This piece must have also been quite successful. Mr. Parry then produced a whole series of "international" rondos (see <a href="https://copac.jisc.ac.uk/search?&author=Parry&title=Arabian+Rondo" target="_blank">Copac</a>). I will only cite one here because the others are listed on the title page: </div>
<ul>
<li style="text-align: justify;">John Parry, The Hibernian Rondo, For The Piano Forte, Composed to Correspond With The Arabian, Russian, Hanoverian, Swiss, Prussian, Venetian, Spanish, Milanese, Turkish & Cambrian Rondos, No. 11, Goulding D'Almaine, Potter & Co, London, n.d. [betw. 1811 & 1816], at <a href="https://books.google.de/books?id=6YMAql_U__YC" target="_blank">Google Books</a> [= BL] </li>
</ul>
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Of course most of these rondos' titles refer to European countries and Hanover wasn't really an "exotic" foreign place. But the world outside of Europe was at least additionally represented by the <i>Turkish Rondo</i> of which apparently no copy has survived. Interestingly Parry occasionally identified the origin of the tune he used. In case of the Hanoverian Rondo he informed the buyers that the "subject [was] taken from a German Air" (see <a href="http://access.bl.uk/item/viewer/ark:/81055/vdc_100062067607.0x000001#?c=0&m=0&s=0&cv=1&xywh=431%2C33%2C1432%2C956" target="_blank">BL</a>) and the "subject" of the <i>Hibernian Rondo</i> was borrowed "from a Song in 'High Notions' called Dennis McPhane". But of course it is not clear if the Turkish and Arabian rondos are also based on original tunes. At around the same time Parry wrote an <i>Indian Rondo, Composed in a Familiar Style, for the Piano Forte</i> (Phipps, London, c.1815, see <a href="https://copac.jisc.ac.uk/search?&author=Parry&title=Indian+Rondo" target="_blank">Copac</a>) that was not part of this series </div>
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Shortly later one J. P. Wrede jumped on this bandwagon and produced not only an <i>Original Egyptian Rondo</i> but also "celebrated" Indian and Chinese Rondos (1816/17; see Kassler, p. 683 & p. 688; see <a href="https://copac.jisc.ac.uk/search?&author=Wrede&title=Rondo" target="_blank">Copac</a>). This was a pseudonym of John Charles White, a young composer from a music publishing family in Bath, who otherwise was busy writing country dances on assembly-line (see Cooper, <a href="https://www.regencydances.org/paper014.php" target="_blank">White v. Gerock</a>). Then there was Matthias Holst (1767-1845; see <a href="http://weissfamilymulhouse.blogspot.com/2017/01/matthias-holst.html" target="_blank">Scott, M. H.</a>; see <a href="https://imslp.org/wiki/Category:Holst,_Matthias" target="_blank">IMSLP</a>), a German musician from Riga who lived in England. He composed piano pieces, many of them on "foreign" subjects (see <a href="https://copac.jisc.ac.uk/search?author=Holst%2C+M.+%28Matthias%29+1767-1854&sort-order=date&new-sort-order=date&new-page-size=100&action=Show" target="_blank">Copac</a>) and later also arranged Scottish airs. Holst offered Tartarian, Circassian and American rondos and also tried his hand at a <i>Chinese Rondo</i> (c.1817, at <a href="https://books.google.de/books?id=qMNfAAAAcAAJ" target="_blank">Google Books</a>; see <a href="https://www.youtube.com/watch?v=feQXKwtheD8" target="_blank">YouTube</a>). </div>
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Butler himself also tried to capitalize on his great success and published a <i>New Egyptian Rondo, Composed and Arranged for the Piano Forte or Harp</i> in 1819. A reviewer called it a "pleasing trifle" and "a proper lesson for young pupils" (see Repository of Arts 7, 1819, <a href="https://books.google.de/books?id=veIRAAAAYAAJ&hl=de&pg=PA44#v=twopage&q&f=false" target="_blank">p. 44)</a>. But this new attempt apparently wasn't successful. As far as I know no copy has survived. There was even a parody "on Butler's celebrated Egyptian Air (to which it is intended as a companion)" by one O. H. Normino (Monro & May, London, c. 1825, see <a href="https://copac.jisc.ac.uk/id/3055377?style=html&title=L%27E%CC%81tude%20facile%2C%20parody%20on%20Butler%27s%20celebrated%20Egyptian" target="_blank">Copac</a>). </div>
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But - as mentioned - Butler's original Rondo survived them all. It must have been quite popular among piano players and was regularly reprinted during the 1820s. But at least some critics became more critical. A writer for the <i>Athenaeum</i> (No. 77, 15.04.1829, <a href="https://books.google.de/books?id=emZ16Ys0B6EC&hl=de&pg=PA232#v=onepage&q&f=false" target="_blank">p. 232</a>) ridiculed it as "the most popular, and, at the same time, most insignificant piece perhaps ever published". That was not very kind. But the pianists kept on playing this piece and the publishers kept it available. There were even new editions several decades later in 1872 and 1880 (see <a href="https://copac.jisc.ac.uk/search?author=T.+H.+Butler&title=Egyptian&new-sort-order=-date&action=Sort&new-page-size=50" target="_blank">Copac</a>), many years after Butler's death when all his other works were long forgotten. </div>
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<div style="text-align: center;">
<b>VI.</b> </div>
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I have started with Butler's <i>Egyptian Rondo</i> and now I have ended my text with this piece. In between I have tried to find out a little bit more about Mr. Butler who it seems was a quite interesting character even though his numerous works are now completely forgotten and his reputation isn't really that good today. But no matter what we now think of his abilities as a composer and arranger: during his lifetime his musical publications were apparently appreciated both by the buyers - probably mostly amateur pianists - and the music critics. </div>
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Butler was among the first piano composers who not only arranged numerous "Scottish" tunes for amateur pianists but also introduced foreign<i> national airs</i> to the commercial music market. Especially his series of "Slow Movements" with rondos in 1802 offered a new international approach: in addition to many melodies regarded as "Scottish" he also used tunes described as Danish, Russian, Persian and Indian. As far as I can see this was a new concept. I wonder if it was his own idea or his publisher's. The earliest comprehensive anthologies of international <i>national airs</i> - by Edward Jones and William Crotch - would only appear in 1805 respectively 1808. And in some way Butler's series also prepared the ground for later international collections like Thomas Moore's <i>Popular National Airs</i> (1818 etc). </div>
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Of course other piano composers followed Butler's example and wrote similar pieces based on tunes of supposedly exotic origin: until circa 1820 more "Indian", "Chinese", "Persian" and "Arabian" rondos were made available. His own <i>Egyptian Rondo</i> was clearly the most successful piece of this kind and inspired some more arrangers and composers, especially John Parry who even started his own series of "exotic" rondos. This was essentially a reorientation of the traditional musical exoticism in the context of the new interest for "national" music. </div>
<br />
<div style="text-align: justify;">
Of course it is not clear if any of the tunes used here were really genuine. I haven't yet found printed precursors. It can not be ruled out that Butler or Parry - or any of the other composers mentioned - have received formerly unpublished melodies from private collectors. But for me this looks more like musical masquerading. That was quite common at that time. To name only one famous example: some years later composer Henry Rowley Bishop claimed that the melody for the song that would later become "Home, Sweet Home" was "Sicilian". But in fact he had borrowed parts of an older German tune (see Underwood 1977). As already noted: for the buyers it surely didn't matter much. They had no way of distinguishing original tunes from imitations. These "Egyptian", "Persian" or "Arabian" rondos were a welcome supplement to the numerous "Scottish" piano pieces and they offered a simulated look at "exotic" musical cultures. </div>
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<div style="text-align: center;">
<b>Literature</b> </div>
<ul style="text-align: justify;">
<li>BBCN = 17th & 18th Century Burney Collection Newspapers (Gale - via Nationallizenzen.de) </li>
<li>BNA = <a href="https://www.britishnewspaperarchive.co.uk/" target="_blank">The British Newspaper Archive</a> </li>
<li>BNCN = 19th Century British Library Newspapers (Gale - via Nationallizenzen.de) </li>
<li>James Duff Brown, Biographical Dictionary of Musicians. With a Bibliography of English Writings on Music, Gardner, London, 1886, at the <a href="https://archive.org/details/cu31924022287423/page/n7" target="_blank">Internet Archive</a> </li>
<li>Thomas Hamly Butler, Letter to the Editor, in: The Bee, Or Literary Weekly Intelligencer 10, No. 83, 19.7.1792, p. 65, at <a href="https://books.google.de/books?id=a4mhXdCi_xAC&hl=de&pg=PA65#v=twopage&q&f=false" target="_blank">Google Books</a> </li>
<li>Paul Cooper, <a href="https://www.regencydances.org/paper014.php" target="_blank">White v. Gerock, 1818 (of Country Dances & Copyright) </a>(= Research Paper 14, 3.6.2015), at RegencyDances.org.Your learning resource for the dances of the 18th and 19th centuries</li>
<li>Paul Cooper, <a href="https://www.regencydances.org/paper034.php" target="_blank">Example Tunes for Country Dancing</a> (= Research Paper 34, 19.2.2019), at RegencyDances.org. Your learning resource for the dances of the 18th and 19th centuries </li>
<li>Gerry Farrell, Indian Music and the West, Oxford, 1997 </li>
<li>Roger Fiske, English Theatre Music In The Eighteenth Century, London, New York & Toronto 1973 Roger Fiske, Art.: Butler, Thomas Hamly, in: Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians 3, London, 1980, p. 518 </li>
<li>David Golby, Instrumental Teaching in Nineteenth-Century Britain, Abingdon & New York, 2014</li>
<li>Charles Humphries & William C.Smith, Music Publishing in the British Isles from the Beginning Until the Middle of the Nineteenth Century, 2nd Ed., Oxford 1970 </li>
<li>Michael Kassler, Music Entries at Stationers' Hall 1710-1818. From Lists prepared for William Hawes, D. W. Krummel, and Alan Tyson and from Other Sources, Burlington, 2004 (Online Edition, 2013, partly at <a href="https://books.google.de/books?id=QjBDq7rHQO0C" target="_blank">Google Books</a>) </li>
<li>Ralph P. Locke, Musical Exoticism. Images and Reflections, Cambridge, 2011 </li>
<li>Ralph P. Locke, Music and the Exotic from the Renaissance to Mozart, Cambridge, 2015 </li>
<li>John W. Moore, Complete Encyclopedia of Music. Elementary, Technical, Historical, Biographical, Vocal, and Instrumental, Jewett & Co., Boston, 1854, at <a href="https://books.google.de/books?id=NRA5AQAAIAAJ" target="_blank">Google Books</a> </li>
<li>Claire M. Nelson, Creating a Notion of 'Britishness'. The Role of Scottish Music in the Negotiation of a Common Culture, with Particular Reference to the 18th Century Accompanied Sonata,Ph.D., Royal College of Music, London, 2003, available at <a href="https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.489910" target="_blank">EthOS</a> </li>
<li>Michael V. Pisani, A Chronological Listing of Musical Works on American Indian Subjects, Composed Since 1608, 2006, online at: <a href="http://indianmusiclist.vassar.edu/" target="_blank">http://indianmusiclist.vassar.edu/</a> </li>
<li>Prue Scott, Matthias Holst, in: The Weiss family of Mulhouse (Mulhousien Society), n.d., at <a href="http://weissfamilymulhouse.blogspot.com/2017/01/matthias-holst.html" target="_blank">weissfamilymulhouse.blogspot.com</a> </li>
<li>Byron Edward Underwood, The German Prototype of the Melody of "Home! Sweet Home!", in: Jahrbuch für Volksliedforschung 22, 1977, pp. 36-48 </li>
<li>Ian Woodfield, English Musicians in the Age of Exploration, Stuyvesant NY, 1995 (= Sociology of Music 8) </li>
<li>Bennett Zon, Representing Non-Western Music in Nineteenth-Century Britain, Rochester, 2007 </li>
</ul>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-90334774297580952822018-10-30T21:10:00.003+01:002021-12-29T18:49:14.809+01:00"My Heart's on the Rhine" (1845) - A German Song In England<div class="tr_bq">
</div>
<div style="text-align: center;">
<b>I.</b> </div>
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<br /></div>
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In Königswinter at the Rhine, at the foot of the <i>Siebengebirge</i>, there is - on the main street at the south end of town, right at the river with the famous <i>Drachenfels</i> in sight (see <a href="https://goo.gl/maps/v5zfMXf6iFU2" target="_blank">Google Maps</a>) - a nice monument dedicated to "Dem Rheinischen Dichter Wolfgang Müller von Königswinter". Today he is more or less forgotten - this memorial, one of the lesser known historic sites here, didn't help him much in this respect - but in his day Müller (1816-1873; see Heckes, at <a href="http://www.rheinische-geschichte.lvr.de/Persoenlichkeiten/wolfgang-mueller-von-koenigswinter/DE-2086/lido/57c9516754ab31.17301722" target="_blank">Rheinische Geschichte</a>; <a href="https://de.wikipedia.org/wiki/Wolfgang_M%C3%BCller_von_K%C3%B6nigswinter" target="_blank">Wikipedia</a>; the biography: Luchtenberg 1959) was a very productive poet, writer, playwright, journalist and cultural networker, highly respected by his peers and the literary public. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIkrgEAdRPFUlocB6NYINFTegccuwSM3Invvi4GiQKUMSs1mjBdUrJXhq0OsS-t46SMtspQOUign4Efo4tj3RiOFxzl_zBfMI_yRh4k78HrsfkfPOwThGbYgxc1Yy-zGCYO8DyoNNi_vU/s1600/DM-Mueller-KW-kl.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" data-original-height="1600" data-original-width="1575" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIkrgEAdRPFUlocB6NYINFTegccuwSM3Invvi4GiQKUMSs1mjBdUrJXhq0OsS-t46SMtspQOUign4Efo4tj3RiOFxzl_zBfMI_yRh4k78HrsfkfPOwThGbYgxc1Yy-zGCYO8DyoNNi_vU/s200/DM-Mueller-KW-kl.jpg" title="Wolfgang Müller von Königswinter, Monument in Königswinter at the Rhine (Photo: J. Kloss, 2018)" width="196" /></a></div>
<div style="text-align: justify;">
He was born here in this town as the son of a doctor. Early on he began to write poetry and became interested in arts, music and literature. But nonetheless young Müller followed in his father's footsteps, studied medicine and also became a physician. His real name was Wilhelm but as a writer he called himself - so as not to be confused with other Müllers and in honor of Goethe and his town of birth - Wolfgang Müller von Königswinter. His first book of poetry - <i>Junge Lieder</i> (at the <a href="https://archive.org/details/MuellerJungeLieder1841/page/n5" target="_blank">Internet Archive</a>) - appeared in 1841 and many other publications would follow (see <a href="https://de.wikisource.org/wiki/Wolfgang_M%C3%BCller_von_K%C3%B6nigswinter" target="_blank">wikisource</a>). Even though he left Königswinter already as a young boy he remained a Rhinelander and later lived in Düsseldorf and Köln. </div>
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Müller was a popular and industrious exponent of the literary <i>Rheinromantik</i> (see Kiewitz 2003). In many of his works he wrote about the Rhine and the Rhineland: poems, legends, travelogues and more. I will only mention his <i>Rheinfahrt</i> (1846, at <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10128470_00005.html" target="_blank">BSB</a>), <i>Lorelei. Rheinisches Sagen</i> (1851, at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10115232-1" target="_blank">BSB</a>), <i>Das Rheinbuch. Landschaft, Geschichte, Sagen, Volksleben</i> (1855, at <a href="http://nbn-resolving.de/urn:nbn:de:hbz:061:2-878" target="_blank">UB Düsseldorf</a>) and <i>Sommertage im Siebengebirge</i> (1867). This monument, erected in 1896, two decades after his death when his writings were still well known, has several inscriptions on the pedestal. One one side we can read: </div>
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Wo ich auch gehe, wo ich auch stehe<br />
Mein Herz ist am Rhein </div>
</blockquote>
<div style="text-align: justify;">
This sounds strikingly familiar. Of course Robert Burns comes to mind: "My heart's in the Highlands, wherever I go". In fact it is a line from Müller's best known and most successful poem which is clearly a pastiche of Burns' famous song. I quote the complete text here from his <i>Junge Lieder</i> (No. XXX, <a href="https://archive.org/stream/MuellerJungeLieder1841/Mueller_JungeLieder1841#page/n63" target="_blank">pp. 49-50</a>): </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
Mein Herz ist am Rheine, im heimischen Land!<br />
Mein Herz ist am Rhein, wo die Wiege mir stand,<br />
Wo die Jugend mir liegt, wo die Freunde mir blühn,<br />
Wo die Liebste mein denket mit wonnigem Glühn,<br />
O, wo ich geschwelget in Liedern und Wein:<br />
Wo ich bin, wo ich gehe, mein Herz ist am Rhein!<br />
<br />
Dich grüß' ich, du breiter grüngoldiger Strom,<br />
Euch Schlösser und Dörfer, und Städte und Dom,<br />
Ihr goldenen Saaten im schwellenden Tal,<br />
Dich Rebengebirge im sonnigen Strahl,<br />
Euch Wälder und Schluchten, dich Felsengestein:<br />
Wo ich bin, wo ich gehe, mein Herz ist am Rhein! <br />
<br />
Dich grüß' ich, o Leben, mit jauchzender Brust,<br />
Beim Liede, beim Weine, beim Tanze die Lust,<br />
Dich grüß' ich, o teures, o wackres Geschlecht,<br />
Die Frauen so wonnig, die Männer so recht,<br />
Eur Streben, eur Leben, o mög es gedeihn:<br />
Wo ich bin, wo ich gehe, mein Herz ist am Rhein! <br />
<br />
Mein Herz ist am Rheine, im heimischen Land,<br />
Mein Herz ist am Rhein, wo die Wiege mir stand,<br />
Wo die Jugend mir liegt, wo die Freunde mir blühn:<br />
Wo die Liebste mein denket mit wonnigem Glühn!<br />
O möget ihr immer dieselben mir sein:<br />
Wo ich bin, wo ich gehe, mein Herz ist am Rhein! </div>
</blockquote>
<div style="text-align: justify;">
Burns at the Rhine? Of course he was never there. But he had obviously inspired - posthumously - a German Rhine poet. It was surely not unreasonable to transplant the song's idea and its title line to a poem about another place. I really wonder why it was not done more often. In this case it was particularly appropriate. What the "highlands" were to Scotland (see Pittock, II, p. 84) the Rhine was to Germany: a mythological place, a romantic landscape celebrated by artists and poets. </div>
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<br /></div>
<div style="text-align: justify;">
This looks like an interesting story, another chapter in the history of the reception of Burns' works in Germany. But further research showed that there is even more. Müller's poem was set to music several times and one version - by composer Wilhelm Speyer - became a great success, not only in Germany but also in Britain. There it was introduced to enthusiastic audiences by German singing star J. B. Pischek and then published numerous times as sheet music and in songbooks with English texts. Here we can see how a German pastiche of a song by Burns "returned" to Britain, an interesting example of German-British literary and musical exchange in the 19th century. </div>
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<br /></div>
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<b>II. </b></div>
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<br /></div>
<div style="text-align: justify;">
Robert Burns (1759-1796), the famous Scottish poet and songwriter, was virtually unknown in Germany during his lifetime and for several decades after his death (see Kupper 1979; Selle 1981/2013; Bödeker 1995; Reitmeier 2011 & 2014; MacIntosh 1928). At that time Scotland had already a kind of special reputation in the German literary public. Everybody knew about Ossian. Herder and others had translated Scottish ballads and later Sir Walter Scott's novels became immensely popular. But for some reason Burns was left behind and barely anyone knew about him. For a long time only very few translations were published. This only changed in the 1830s. In 1835 the original texts were made available to German readers with Wagners <i>The Works of Robert Burns. Complete in One Volume</i> (at <a href="https://books.google.de/books?id=6RdfAAAAcAAJ&hl=de&pg=PP6#v=twopage&q&f=false" target="_blank">Google Books</a>). </div>
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Soon more translations began to appear. A pioneer in this respect was Ferdinand Freiligrath (1810 - 1874; see <a href="https://de.wikipedia.org/wiki/Ferdinand_Freiligrath" target="_blank">Wikipedia</a>; <a href="https://de.wikisource.org/wiki/Ferdinand_Freiligrath" target="_blank">wikisource</a>), a popular poet, writer and translator who would become one of the most influential mediators of English-language literature in Germany. His translations of poems and songs (see Richter 1899) were widely read and often set to music (see Fleischhack, pp. 18-20 & 59-92). Early on he also tried his hand at Burns. Eight adaptations were published in 1836 in a periodical, the first volume of the <i>Blätter zur Kunde der Literatur des Auslandes</i> (<a href="https://archive.org/details/Blaetter1_1836/page/n9" target="_blank">pp. 4-5</a> & 13-4) and then - with three additional texts - in 1838 in his <i>Gedichte</i>, an anthology of his poetry (<a href="https://archive.org/details/Freiligrath1838Gedichte/page/n449" target="_blank">pp. 434-46</a>). Some more translations appeared in periodicals (see f. ex. Blätter zur Kunde 5, 1840, <a href="https://books.google.de/books?id=NwBfAAAAcAAJ&hl=de&pg=PA142#v=twopage&q&f=false">pp. 143-4</a>) or added to the later editions of the <i>Gedichte</i> (see 10th ed., 1848, <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11073095_00534.html?numScans=2&zoom=0.5" target="_blank">pp. 518-32</a> & 24th ed., 1868, <a href="https://archive.org/details/gedichte00freiiala/page/344" target="_blank">pp. 345-55</a>) but otherwise Freiligrath confined himself to these few pieces. </div>
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Others followed soon and made available whole books of Burns' songs and poems translated into German. Philipp Kaufmann (1802-1846), another early pioneer, had already started in 1830 but his <i>Gedichte von Robert Burns</i> (at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10745296-3" target="_blank">BSB</a> & <a href="https://archive.org/details/KaufmannBurns1839/page/n7" target="_blank">Internet Archive</a>; see the review in Blätter zur Kunde 5, 1840, <a href="https://books.google.de/books?id=NwBfAAAAcAAJ&hl=de&pg=PA180#v=twopage&q&f=false" target="_blank">pp. 181-4</a>) only appeared in 1839. A year later both Wilhelm Gerhard's <i>Robert Burns' Gedichte, deutsch. Mit des Dichters Leben und erläuternden Bemerkungen</i> (at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10745294-2" target="_blank">BSB</a> & <a href="https://archive.org/details/GerhardBurns1840/page/n5">Internet Archive</a>; see the review in Blätter für literarische Unterhaltung 1840, No. 38 & 39, <a href="https://books.google.de/books?id=vTxaAAAAcAAJ&hl=de&pg=PA148#v=twopage&q&f=false">pp. 149-50</a> & 153-5) and Julius Heintze's <i>Lieder und Balladen des Schotten Robert Burns</i> (at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10745295-7">BSB</a> & <a href="https://archive.org/details/HeintzeBurns1840/page/n9" target="_blank">Internet Archive</a>) were published. In the early 1840s Robert Burns had become a household name in Germany and he remained so for the rest of the 19th century. </div>
<div style="text-align: justify;">
<br /></div>
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Burns was read and Burns was also sung. Many of these translations were set to music, some multiple times. The first one was Friedrich Wilhelm Jähns whose <i>Schottische Lieder und Gesänge</i> came out in 1836 (at the <a href="https://archive.org/stream/JaehnsLiederBurns1836/Jaehns_LiederBurns_1836#page/n0/mode/2up" target="_blank">Internet Archive</a>). He used eight of Kaufmann's at that time unpublished translations. Many others would follow (s. f. ex. <a href="https://hummingadifferenttune.blogspot.com/2014/02/robert-burns-in-19th-century-germany-h.html" target="_blank">here</a> in my blog), including Robert Schumann, who noted in a review in the <i>Neue Zeitschrift für Musik</i> (Vol. 16, 1842, <a href="https://archive.org/stream/NeueZeitschriftFuerMusik1842Jg9Bd16#page/n225/mode/2up" target="_blank">No. 52, p. 207</a>) that Burns was "the favorite poet of the current young composers". </div>
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<br /></div>
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Burns' most popular and best known song in Germany surely was "My Heart's in the Highlands" or "Mein Herz ist im Hochland". The original version appeared first in 1790 in the third volume of the <i>Scots Musical Museum</i> (No. 259, <a href="https://archive.org/stream/scotsmusicalmuse03john#page/268/mode/2up" target="_blank">p. 268</a>). We know that the text is partly based on an obscure older ballad, "The Strong Walls of Derry". Burns once noted that "the first half-stanza of this song is old, the rest is mine" (see Pittock, pp. 83-4; McGuirk, pp. 110-16, Graham III, 1848, <a href="https://archive.org/details/songsofscotland02grah/page/114" target="_blank">pp. 114-5</a>). This means, he didn't even write the key-line himself. But he made it his own and since then this particular phrase has always been connected to him: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
My heart's in the Highlands, my heart is not here;<br />
My heart's in the Highlands, a chasing the deer;<br />
A chasing the wild deer, and following the roe,<br />
My heart's in the Highlands, wherever I go.<br />
Farewell to the Highlands, farewell to the North,<br />
The birth-place of Valour, the country of Worth;<br />
Wherever I wander, wherever I rove,<br />
The hills of the Highlands for ever I love.<br />
<br />
Farewell to the mountains, high-cover'd with snow;<br />
Farewell to the straths and green vallies below;<br />
Farewell to the forests and wild-hanging woods;<br />
Farewell to the torrents and loud-pouring floods.<br />
My heart's in the Highlands, my heart is not here;<br />
My heart's in the Highlands, a chasing the deer;<br />
A chasing the wild deer, and following the roe,<br />
My heart's in the Highlands, wherever I go. </div>
</blockquote>
<div style="text-align: justify;">
"My Heart's in the Highland" was regularly reprinted and of course we can find the original text in all editions of Burns' works, for example Cromek's <i>Reliques of Robert Burns</i> (1808 , <a href="https://archive.org/details/reliquesofrobert0burn/page/276" target="_blank">p. 276</a>), Currie's <i>Poetical Works of Robert Burns, The Ayrshire Bard</i> (here New Edition 1826, <a href="https://archive.org/details/poeticalworksofr00bur/page/n157" target="_blank">p. 138</a>) and Cunningham's <i>The Works of Robert Burns. With His Life</i> (IV, 1834, <a href="https://archive.org/details/workswithhislife04burn/page/144" target="_blank">pp. 145-6</a>). Besides that the song appeared in musical anthologies like Napier's <i>Selection of Original Scots Songs</i> (II, 1792, <a href="https://archive.org/details/selectionoforigi00hayd/page/n269" target="_blank">p. 78</a>) and R. A. Smith's<i> Scotish Minstrel</i> (IV, c.1823, <a href="https://archive.org/details/scotishminstrels34smit/page/4" target="_blank">p. 4</a>). Copies of some of the early publications may have reached Germany but it took a while until this particular song was taken note of. </div>
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Many German readers must have seen it first in translations of Sir Walter Scott's <i>Waverly</i> where one verse was quoted (see f. ex., 1825, <a href="https://books.google.de/books?id=Oi1NAAAAcAAJ&hl=de&pg=PA273#v=twopage&q&f=false">p. 273</a>). The earliest translation of the complete text appeared already in 1826 in <i>Vermischte Gedichte und Übersetzungen</i> (<a href="https://archive.org/stream/bub_gb_e3c6AAAAcAAJ#page/n131/mode/2upl">p. 120</a>), an anthology of poetry by orientalist Peter von Bohlen (1796-1840; see <a href="https://hummingadifferenttune.blogspot.com/2014/06/the-earliest-german-translation-of.html">here</a> in my blog), an admirer of Burns since his youth . But this was a rather obscure publication and his attempt was quickly forgotten. </div>
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<div style="text-align: justify;">
The original words of the song were made available in Germany in Wagner's edition in 1835 (<a href="https://books.google.de/books?id=6RdfAAAAcAAJ&hl=de&pg=PA207#v=twopage&q&f=false" target="_blank">p. 207</a>). "Mein Herz ist im Hochland" was among Kaufmann's unpublished texts used by composer Jähns in 1836 in his <i>Schottische Lieder und Gesänge</i> (here Heft 2, No. 1, <a href="https://archive.org/stream/JaehnsLiederBurns1836/Jaehns_LiederBurns_1836#page/n15/mode/2up" target="_blank">pp. 2-3</a>). But the most popular and best known German text would be the one by Ferdinand Freilingrath. It was among the translations published in the <i>Blätter zur Kunde der Literatur des Auslandes</i> in February 1836 (here <a href="https://archive.org/stream/Blaetter1_1836#page/n17/mode/2up" target="_blank">p. 13</a>) and then in 1838 in the first edition of his <i>Gedichte</i> (<a href="https://archive.org/details/Freiligrath1838Gedichte/page/n457" target="_blank">p. 443</a>): </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
Mein Herz ist im Hochland, mein Herz ist nicht hier!<br />
Mein Herz ist im Hochland im wald´gen Revier.<br />
Da jag´ ich das Rothwild, da folg´ ich dem Reh<br />
Mein Herz ist im Hochland, wo immer ich geh'.<br />
<br />
Mein Norden, mein Hochland, lebt wohl, ich muss ziehn!<br />
Du Wiege von allem, was stark und was kühn!<br />
Doch wo ich auch wandre und wo ich auch bin,<br />
Nach den Hügeln des Hochlands steht allzeit mein Sinn!<br />
<br />
Lebt wohl, ihr Gebirge, mit Häuptern voll Schnee,<br />
Ihr Schluchten, ihr Täler, du schäumender See,<br />
Ihr Wälder, ihr Klippen, so grau und bemoost,<br />
Ihr Ströme, die zornig durch Felsen ihr tost!<br />
<br />
Mein Herz ist im Hochland, mein Herz ist nicht hier!<br />
Mein Herz ist im Hochland, im wald'gen Revier.<br />
Da jag' ich das Rothwild, da folg' ich dem Reh,<br />
Mein Herz ist im Hochland, wo immer ich geh'. </div>
</blockquote>
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Kaufmann's version was published again in 1839 in his <i>Gedichte von Robert Burns</i> (<a href="https://archive.org/details/KaufmannBurns1839/page/n29" target="_blank">pp. 5-6</a>) and then both Gerhard (<a href="https://archive.org/details/GerhardBurns1840/page/n179" target="_blank">p. 126</a>) and Heintze (<a href="https://archive.org/details/HeintzeBurns1840/page/n153" target="_blank">p. 118</a>) translated the song for their anthologies. At this point five German texts were available and some more would follow in later years. But to be true they are all not much different from each other. Burns' text more or less translated itself. </div>
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"Mein Herz ist ist im Hochland" was particularly popular as a song. It became a favorite of German composers of <i>Lieder.</i> Jähns was only the first one. Many others set one of the available translations to new music. Until 1842 at least 13 settings followed (see <a href="https://hummingadifferenttune.blogspot.com/2014/09/mein-herz-ist-im-hochland-new-musical.html" target="_blank">here</a> in my blog), for example by Heinrich Marschner (<i>Lieder nach Robert Burns von F. Freiligrath, op.103</i>, 1839, No. 6, <a href="https://archive.org/stream/imslp-lieder-nach-robert-burns-op103-marschner-heinrich/PMLP216654-Marschner_-_103_-_7_Lieder_nach_Robert_Burns#page/n11/mode/2up" target="_blank">pp. 12-13</a>), Friedrich Kücken (<i>Drei Duette für Gesang mit Begleitung des Pianoforte, op. 30</i>, 1840, <a href="https://archive.org/stream/bub_gb_A75gAAAAcAAJ#page/n1/mode/2up" target="_blank">No. 2</a>), Robert Schumann (<i>Myrthen, op. 25</i>, 1840, Heft 3, No. 13, <a href="http://daten.digitale-sammlungen.de/bsb00096771/image_2" target="_blank">pp. 2-3</a>) and Carl Krebs (<i>Mein Herz ist im Hochland. Lied für eine Singstimme mit obligater Pianoforte-Begleitung, op. 73</i>, 1840, at the <a href="https://archive.org/details/KrebsMeinHerzIstImHochland1840Sheetmusic/page/n0" target="_blank">Internet Archive</a>; see <a href="https://hummingadifferenttune.blogspot.com/2014/05/sheet-music-carl-krebs-1840-mein-herz.html" target="_blank">here</a> in my blog). Many more appeared during the following decades. All in all I have counted more than 60 settings published between 1836 and 1899 (with the help of <a href="http://www.hofmeister.rhul.ac.uk/" target="_blank">Hofmeister XIX</a>; Fleischhack 1990, pp. 68-73). </div>
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But "Mein Herz ist im Hochland" also became a popular <i>Volkslied</i> but never with the original tune from the <i>Scots Musical Museum</i>. The first one was Friedrich Silcher from Tübingen in 1837. He combined Freiligrath's translation with a melody from Thomas Moore's <i>Popular National Airs</i>. This version was published in his <i>Ausländische Volksmelodien</i> (Vol. 2, No. 1, <a href="https://archive.org/stream/SilcherAuslVolksmelodien4Hfte183541/Silcher-AuslVolksmelodien-4Hfte-1835-41#page/n19/mode/2up" target="_blank">pp. 1</a>). Later others like Ludwig Erk used different tunes (see <a href="https://hummingadifferenttune.blogspot.com/2014/06/mein-herz-ist-im-hochland-ludwig-erk.html" target="_blank">here</a> in my blog). The song was a standard for choirs and was then also included in many anthologies for schools. In fact even the children in Germany sang Burns' farewell-song to the highlands. At least until the first decades of the 20th century it was among the songs - nearly - everybody knew. </div>
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The song's appeal is not that difficult to understand. It sounded like a nostalgic home song and this genre was immensely popular in Germany at that time. Especially since the 1830s songs of this type were also imported from Britain and France and they were equally successful. One may look for example at Silcher's <i>Ausländische Volksmelodien </i>(1835-41). Here we can also find German versions of "Home, Sweet Home", Bérat's "Ma Normandie", Guttinguer's "La Suissesse au Bord du Lac" and - from Scandinavia - "Danmark, Deilig Vang og Vænge" (II, p. 4 & p. 14; III, p. 2; IV, <a href="https://archive.org/details/SilcherAuslVolksmelodien4Hfte183541/page/n23" target="_blank">p. 9</a>). These are all songs celebrating <i>Heimat</i>, to use the German term. Burns' "My Heart's in the Highlands" fit well into this context. </div>
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<b>III</b>. </div>
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"Mein Herz ist am Rheine" was first printed in December 1840 in a newspaper, the <i>Kölnische Zeitung</i> (s. Luchtenberg I, p. 403, n. 13) and then - as mentioned above - in <i>Junge Lieder</i>, Müller's first anthology of poems that was published in Düsseldorf early in 1840 (No. XXX, <a href="https://archive.org/stream/MuellerJungeLieder1841/Mueller_JungeLieder1841#page/n63" target="_blank">pp. 49-50</a>). This collection was dedicated to three of his literary friends: Ferdinand Freiligrath, Christian Matzerath and Karl Simrock. He received a fee of 50 Taler. </div>
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This was a collection of older and more recent pieces. But it is not clear when exactly he wrote this particular poem. In summer 1840 Müller had returned from Berlin where had spent a year to complete his studies and graduate in medicine. Now he did his compulsory military service and worked in Düsseldorf as a surgeon for the Prussian army. But he still had time to cultivate his literary and cultural interests and kept on writing. </div>
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Just like other poets at that time Müller was familiar with Robert Burns' works. Already as a student in Bonn he had begun to learn English, became interested in literature from Britain, sought contact with British families living in Bonn and started translating Burns - his "favourite" -, Moore and others. Freiligrath became a friend of his in 1837. He knew and enjoyed his translations and in a letter offered to send him the tunes of these songs. In fact he had borrowed some volumes of a songbook - "eine köstliche Sammlung ihrer Volkslieder mit Melodien" - from a Scottish family (see Luchtenberg I, pp. 63, 66, 85, 139 157, 184). A few of Müller's own translations would appear in 1842 in his second anthology, the <i>Balladen und Romanzen</i> (here <a href="https://books.google.de/books?id=UQ4QAAAAYAAJ&hl=de&pg=PA127#v=twopage&q&f=false" target="_blank">pp. 127-32</a>). </div>
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At that time "Mein Herz ist im Hochland" was something like a song of the day. As mentioned above five translations were already available and at least 8 musical versions had been published until 1840. Therefore his readers would be able to understand the reference to Burns. But interestingly this wasn't a simple copy of the original. Not much was left of Burns' words. The key line remained: "Wo ich bin, wo ich geh', mein Herz ist am Rhein". And of course this was also an enthusiastic celebration of a landscape and the people living there. Burns had written a nostalgic farewell-song: someone banished from home who knows there will be no return. Müller's poem sounds like someone looking forward to coming home soon. It is much more optimistic. </div>
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His words are closer to another Rhine-poem from that time: the "Lied vom Rhein" by his friend Christian Matzerath (see Stendal, <a href="https://archive.org/stream/dieheimathymnend00broc#page/16" target="_blank">pp. 17-20</a>, p. 33): </div>
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Mein Heimatland, o du herrlicher Rhein!<br />
Du Perle des Westens, grüngoldige Flut.<br />
Deine Männer sind stark, deine Frauen sind gut,<br />
O selige Wonne dein Kind zu sein.<br />
<br />
Wie blauet der Himmel so tief und so klar,<br />
Wie wallet in goldenen Ähren das Land.<br />
Von den Hügeln zu Tal, an der Ebene Rand,<br />
Wie schwillst du von Segen so wunderbar.<br />
<br />
[...] </div>
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Matzerath (1815-1876; see <a href="https://www.deutsche-biographie.de/sfz59161.html" target="_blank">Deutsche Biographie</a>), a jurist and part-time poet, wrote it in 1838 (see the reprint in his <i>Nachgelassene Gedichte</i>, 1877, <a href="https://books.google.de/books?id=p-skG8dkRAAC&hl=de&pg=PA22#v=twopage&q&f=false" target="_blank">p. 23</a>). Müller's poem looks as if his older friend's words had served as a kind of template and in some lines he is clearly paraphrasing. But his text reads more like a friendly tribute than a plain copy. In fact it was not only a pastiche of Burns' song. With his references to Matzerath's piece he also acknowledged the long and already time-honored tradition of popular Rhine-poetry. </div>
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At that time the Rhine had been a favorite subject of of poets and painters for half a century (see Kiewitz 2003). But when Müller wrote and published his contribution to this genre it took on an additional meaning. It was the year of the so-called Rhine-crisis (see Cepl-Kaufmann, pp. 168-180; <a href="https://en.wikipedia.org/wiki/Rhine_crisis" target="_blank">Wikipedia</a>). The French Government laid claim to the Left Bank of the Rhine and that led to heated reactions in Germany. Many poets felt it necessary to raise their voice (see Kiewitz, pp. 192-202). Nicolaus Becker's wildly successful "Sie sollen ihn nicht haben den freien deutschen Rhein" was sung everywhere and Max Schneckenburger wrote the infamous "Die Wacht am Rhein" ("Es braust ein Ruf wie Donnerhall"). In this context even an apolitical-sounding home song obtained a political overtone. No matter if it was intended or not, both the author and the readers were of course aware of what was happening at that time.<br />
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Müller's <i>Junge Lieder</i> was well received by the critics and the reviews were mostly positive. "Mein Herz ist am Rhein" nearly always received special praise and its relationship to Burns' song was also acknowledged (see f. ex. Athenaeum 1, 1841, <a href="https://books.google.de/books?id=izFGAAAAcAAJ&hl=de&pg=PA442#v=twopage&q&f=false" target="_blank">p. 443</a>; Blätter für literarische Unterhaltung 2, 1842, <a href="https://books.google.de/books?id=IuUaAAAAYAAJ&hl=de&pg=PA486#v=onepage&q&f=false" target="_blank">p. 486</a>). One critic praised it as a "successful emulation of Burns' well-known poem" (Deutsche Jahrbücher für Wissenschaft und Kunst 5, 1842, <a href="https://books.google.de/books?id=M8A7AQAAMAAJ&hl=de&pg=RA1-PA15#v=twopage&q&f=false" target="_blank">p. 315</a>). Even in later years Müller's reference to Burns was regularly mentioned by literature historians and anthologists who commented on this poem (s. f. ex. Hub 1874, <a href="https://books.google.de/books?id=2iRKAQAAMAAJ&hl=de&pg=PA262#v=twopage&q&f=false">p. 263</a>).</div><div style="text-align: justify;"><br />
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It was surely the most successful piece from the <i>Junge Lieder</i> and would be reprinted regularly during the next decades: at first in Müller's own publications like the <i>Rheinbuch</i> (1855, <a href="https://digital.ub.uni-duesseldorf.de/dfg/content/dpage/1099835" target="_blank">bef. p. 1</a>) and his collected works, the <i>Dichtungen eines Rheinischen Poeten</i> (here 4th ed., 1871, Vol. 1, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11015091_00020.html?zoom=0.5&numScans=2" target="_blank">p. 3</a>) but then also in periodicals, for example in the <i>Illustriertes Unterhaltungsblatt</i> (1876, <a href="https://books.google.de/books?id=NT8-g_VlokIC&hl=de&pg=PA204#v=twopage&q&f=false" target="_blank">p. 204</a>), in anthologies like Stern's <i>Fünfzig Jahre deutscher Dichtung</i> (1877, <a href="https://books.google.de/books?id=23EwWzDdMAsC&hl=de&pg=PA884#v=twopage&q&f=false" target="_blank">p. 885</a>) and in collections of Rhine songs like this little booklet from the turn of the century, a souvenir by a wine tavern in Berlin (at the <a href="https://archive.org/details/Rheinlieder1906Images/page/n1">Internet Archive</a>): </div>
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<b>IV. </b></div>
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In Germany the 19th century was the era of the <i>Lied</i>. Composers set to music all kinds of poetry, both translations - like Burns' songs - and original German texts. Interesting new anthologies by both major and minor poets were always welcome. This was also the case with Müller's works. His poems sounded mostly quite simple and they had a certain formulaic quality (see Loos 1989, p. 118). A considerable number of them were provided with melodies by contemporary composers (see Luchtenberg I, pp. 158-9; II, pp. 497-507). </div>
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The <i>Junge Lieder</i> were particularly successful in this respect. Müller himself later noted: "Die Musiker fielen wie toll über die sangbaren Lieder her" (Luchtenberg I, p. 159). Heinrich Marschner, for example, seems to have been very fond of these texts: between 1842 and 1845 he published four volumes with 21 songs taken from Müller's anthology (op. 118, 123, 126 129; see <a href="http://www.gmg-bw.de/html/musikl-multimedia_lied_ga_marschner.html" target="_blank">Bibliographie Marschner,</a> at Lied-Portal, GMG). "Mein Herz ist am Rheine" was already included in an earlier publication of seven <i>Lieder</i>, with the texts otherwise mostly by Friedrich Rückert (op. 115, 1842, No. 7, <a href="http://digital.slub-dresden.de/id322622506/23">pp. 21-3</a>, at SLUB). </div>
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In fact the Rhine-poem turned out to be the most popular piece from his collection among German composers. This text was set to music at least 15 times since 1842 (s. Luchtenberg I, p. 158; II, p. 499). Interestingly the most successful version would be not Marschner's nor any of the others but the one by Wilhelm Speyer (1790-1878; see <a href="https://de.wikipedia.org/wiki/Wilhelm_Speyer_(Komponist)" target="_blank">Wikipedia</a>; see Speyer 1925), an immensely productive and popular composer of <i>Lieder</i>. It's not clear why he selected this poem. It was the only one of Müller's works that he used and otherwise Speyer himself didn't have much to do with the Rhine. He lived and worked in Frankfurt. Nonetheless he composed a spirited and catchy tune that was singable for amateurs but also - as will be seen - rewarding for professionals: </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjylZoGcNQFIC3YLMvuZm0jYOq_FPDit5aOHzWpOfIMxkW0YGmeYaFL0WXs-c1Anlo3oP3bgKm1eQ1sco7FlsMjdOqz7log2azy34TabYCqKSIsF1ZOK_u587CxkRfr5AZnl-JeO9hwLQU/s1600/Speyer-Rhein.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="960" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjylZoGcNQFIC3YLMvuZm0jYOq_FPDit5aOHzWpOfIMxkW0YGmeYaFL0WXs-c1Anlo3oP3bgKm1eQ1sco7FlsMjdOqz7log2azy34TabYCqKSIsF1ZOK_u587CxkRfr5AZnl-JeO9hwLQU/s400/Speyer-Rhein.jpg" width="400" /></a></div>
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His setting (see the ms. at <a href="https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN879211687&PHYSID=PHYS_0001&DMDID=DMDLOG_0001" target="_blank">SB Berlin</a>) was first published in December 1842 as "Rhein-Sehnsucht" in <i>Orpheon. Album für Gesang mit Pianoforte</i> (Göpel, Stuttgart, No. 11, <a href="https://archive.org/stream/Orpheon1_1842/Orpheon1842#page/n33" target="_blank">pp. 24-5</a>; see Hofmeister 1842, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=3&aid=1000001&bd=0001842&teil=0203&seite=00000199&zoom=3">p. 199</a>). This was one of the popular anthologies compiled by composer Thomas Täglichsbeck (1799-1867; see <a href="https://hummingadifferenttune.blogspot.com/2014/05/old-german-songbooks-no-10-thomas.html" target="_blank">here</a> in my blog) for publisher Göpel. They made available comparatively inexpensive collections of songs of all kinds for the growing number of amateur and home musicians. The series <i>Orpheon</i> offered new and formerly unpublished original contributions by many well-known and popular composers. In this case the publisher struck gold and secured himself a song that would become one of Speyer's most successful. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">In 1846 the "Rhein-Sehnsucht" was also included in an edition of <i>Orpheum</i> with arrangements for guitar (No. 5, <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11142289_00010.html?numScans=2&zoom=0.45" target="_blank">pp. 8-9</a>; see Hofmeister 1846, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=3&aid=1000001&bd=0001846&teil=0203&seite=00000115&zoom=1" target="_blank">p. 115</a>) and the same year the song appeared as regular sheet music together with two other pieces in Speyer's <i>3 Lieder für Sopran oder Tenor</i> (op. 42, Göpel, Stuttgart, 1846, see Hofmeister 1846, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=3&aid=1000001&bd=0001846&teil=0203&seite=00000203&zoom=3" target="_blank">p. 203</a>). It was also published in Austria (Diabelli, Wien, n. d., see <a href="http://data.onb.ac.at/rec/AC09212676" target="_blank">ÖNB</a>) as well as in Switzerland (Hegar, Basel, n. d., at the <a href="https://archive.org/details/SpeierRheinSehnsucht1840s" target="_blank">Internet Archive</a>) and could be found in some anthologies, for example in <i>Phoebus. Auswahl beliebter Opern-Arien und Gesänge mit leichter Guitarre-Begleitung</i> (Niemeyer, Hamburg, 1850, Vol. 3, No. 2, <a href="https://books.google.de/books?id=1wdfAAAAcAAJ&hl=de&pg=PA3#v=twopage&q&f=false" target="_blank">pp. 2-3</a>). </div>
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By all accounts Speyer's "Rhein-Sehnsucht" became popular very quickly. Already in June 1844 the <i>Allgemeine Wiener Musik-Zeitung</i> (4, No. 74, 22.6.1844 <a href="https://books.google.de/books?id=AIb8_4AHwGIC&hl=de&pg=PA296#v=twopage&q&f=false" target="_blank">p. 296</a>) noted that it was known throughout Germany. One of the most famous singing stars of that time performed and promoted the song. Johann Baptist Pischek (1814-1873; see <a href="https://de.wikipedia.org/wiki/Johann_Baptist_Pischek" target="_blank">Wikipedia</a>; Almanach 1876, <a href="https://books.google.de/books?id=6oZUBULQDcsC&hl=de&pg=PA58#v=twopage&q&f=false" target="_blank">pp. 58-64</a>; Gänzl 2018, pp. 543-9) was regarded as one of the best singers in Germany, both on opera stage and even moreso as a performer of Lieder: "Als Liedersänger [...], ist Pischek ohne Nebenbuhler und darf den Rang als ersten der deutschen, vielleicht europäischen Sänger unbedingt beanspruchen" (AMZ 50, 1848, <a href="https://archive.org/stream/bub_gb_0eIqAAAAYAAJ#page/n397" target="_blank">p. 759</a>). He was from Bohemia but worked since 1840 in Frankfurt, Speyer's hometown where the composer had become his "friend and patron" (Almanach, <a href="https://books.google.de/books?id=6oZUBULQDcsC&hl=de&pg=PA59#v=twopage&q&f=false" target="_blank">p. 59</a>). </div>
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One newspaper noted - only two years after the song's first publication - that it had "attained immortality" thanks to Pischek (Frankfurter Konversationsblatt, No. 287, 16.10.1844, <a href="https://books.google.de/books?id=vlFEAAAAcAAJ&hl=de&pg=PA1160#v=onepage&q&f=false" target="_blank">pp. 1160</a>). The "Rhein-Sehnsucht" would be one of his most beloved standards and he sang it until the end of his career. Poet Müller later reported that he once met the singer who then "fell around his neck on the street and admitted that he had made many thousands with this song" (Luchtenberg I, p. 159) which, by the way, was much more than Müller himself had ever earned with this poem. </div>
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The song remained popular for the next decades. It was sung "everywhere" (AZ München, No. 122, 2.5.1857, Beilage, p. 1 [<a href="https://books.google.de/books?id=yE3zciE1-zsC&hl=de&pg=PA1952#v=twopage&q&f=false" target="_blank">1952</a>]). Müller claimed that Speyer's setting became a <i>Volkslied</i> and could be "heard in all taverns and on the streets" (Luchtenberg I, p. 159). The text was even occasionally printed on broadsides (see <a href="http://swb.bsz-bw.de/DB=2.1/PPNSET?PPN=379190877&INDEXSET=1" target="_blank">VD Lied Digital</a>, c. 1863). But for some reason it never appeared - as far as I can see - in any of the numerous popular anthologies of <i>Volkslieder</i> for choirs or for schools. I found it a few times with other tunes but not with Speyer's. It would have fit there nicely besides "Mein Herz ist im Hochland" which was included in many of these collections. But perhaps the publisher managed to protect this work from this kind of - mostly illegal - utilization. Nonetheless it is clear that the "Rhein-Sehnsucht" was very popular during the second half of the 19th century (see f. ex. ZfM 93, 1926, <a href="https://archive.org/details/NeueZeitschriftFuerMusik1926Jg93/page/n35" target="_blank">p. 28</a>). </div>
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<b>V. </b></div>
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This song was not only a popular hit in Germany. It England it would be even more successful. It was singer Pischek who brought Speyer's "Rhein-Sehnsucht" to Britain. Just like many other musicians and singers from the continent he was invited to perform in London. The first visit from May to July 1845 (see Gänzl, pp. 545-7) left a deep impression on the the audiences there. Many years later impresario, writer and composer Thomas Willert Beale (1890, <a href="https://archive.org/stream/lightotherdayss03mayngoog#page/n200" target="_blank">p. 186</a>) still remembered his powerful singing: </div>
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"Pischek sang and played [the songs] with a dash and brilliancy that astonished the British concert-goer. He was a good musician, with a mighty voice, knew what he was about on the pianoforte, and his success was genuine. When he first sang to me, 'Mein Herz ist am Rhein,' the sound was deafening. It made the window rattle; the pianoforte trembled with stentorian vibrations. It was the loudest singing I ever heard, before or since. Purely melodious, and thoroughly vocal, the singing was not shouting by any means, yet the volume of the sound produced was overpowering. In a large concert-room, or theatre, where his vocal cords could have full swing, Pischek was wonderfully effective". </div>
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Wilhelm Kuhe, a German pianist who came to England together with Pischek but then stayed there for the rest of his life, noted that "his voice - a baritone - was so beautiful in quality, and the songs he introduced achieved so immediate a popularity, that engagements poured in by every post" (Kuhe 1896, <a href="https://archive.org/stream/mymusicalrecolle00kuheiala#page/40" target="_blank">p. 41</a>). In fact this first trip across the channel was very lucrative. He became a "great attraction" (Ganzl, p. 547) and performed numerous times during his stay there. Of course Pischek would return to England during the following years. </div>
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He left such an impression that some composers even wrote potpourris and fantasias of the songs he performed there. One W. Chalmers Masters published <i>Recollections of Pischek. Fantasia for the Piano Forte</i> (see <a href="https://copac.jisc.ac.uk/id/3036682?style=html&title=Recollections%20of%20Pischek.%20Fantasia%20for%20the%20Piano%20Forte" target="_blank">Copac</a>; Morning Chronicle, No. 23676, 15.9.1845, BNCN). Ignaz Moscheles, who lived in London at that time and had accompanied the singer in some concerts, offered <i>Gems á la Pischek. A brilliant fantasia for the Piano Forte in which are introduced "My heart's on the Rhine"</i> (op. 112, see <a href="https://copac.jisc.ac.uk/id/10606461?style=html&title=Gems%20a%CC%80%20la%20Pischek.%20A%20brilliant%20fantasia%20for%20the%20Piano" target="_blank">Copac</a>; German ed., Leipzig 1846, at <a href="https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN629822514&PHYSID=PHYS_0007&DMDID=DMDLOG_0001" target="_blank">SB Berlin</a>). There where more of this kind (see also <a href="https://copac.jisc.ac.uk/search?&title=souvenir+Pischek" target="_blank">Copac</a>) and most of them of course included the "Rhein-Sehnsucht". </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Pischek introduced this song first in a concert in London on May 7th where he appeared as a guest. The reviewer in <i>The Atheneaum</i> (No. 915, 10.5.1845, <a href="https://books.google.de/books?id=2X9evU-37OgC&hl=de&pg=PA469#v=onepage&q&f=false" target="_blank">p. 469</a>) noted that "the freshest and most taking thing of the morning's performance, was a Rhine-song, by Herrn Pischek, the newly arrived baritone" and praised his "superb voice, enthusiasm, and excellent musical feeling". There were reports about his great success even in the German press: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"Am Schlusse der ersten Abteilung erschien Hr. Pischek,in schlichter Weise, und sang ein einfaches deutsches Lied: die 'Rhein-Sehnsucht' von Speyer, aber - mit welchem Erfolg! Kühn ist das Wort, wenn ich es ausspreche, und doch wahr: er gefiel damit unter Allen am meisten; das Publikum, enthusiasmiert, applaudierte stürmisch jede Strophe, und er - der Einzige von Allen - mußte, auf unablässiges Verlangen, sein Lied da Capo singen. Vortrefflich bei Stimme, wurde der Sänger nach diesem Vortrag [...] mit Lob und Ehre überhäuft" (Didaskalia. Blätter für Geist, Gemüth und Publizität, No. 138, 21.5.1845, [<a href="https://books.google.de/books?id=FFREAAAAcAAJ&hl=de&pg=PT197#v=twopage&q&f=false" target="_blank">pp. 197-8</a>]). </div>
</blockquote>
<div style="text-align: justify;">
Soon the "Rhein-Sehnsucht" was one of the "songs of the day" (Gänzl, p. 546). Pischek sang it regularly, for example at the Duchess of Kent's party on May 16th. The Queen and Prince Albert were present (Morning Chronicle No. 23574, 17.5.1845, BNCN). In July he even performed it at the Queen's own evening party (Morning Chronicle No. 23618, 8.7.1845, BNCN).</div>
<div style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6hGWBSg_8FoneG8hWfRCpBizUvZDUWugdSAUA_6Lqi6_8aSym-aEfcIKcll_YUB2-WmcPEozXSs5JmhKAKaQgtw-bn9pDDchSnjg4GK-O3I7Y1hK_EWBK5el3UBbkTbGDr5QTlyppQw/s1600/BNCN-MC450517-Pischek-Queen.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="649" data-original-width="823" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6hGWBSg_8FoneG8hWfRCpBizUvZDUWugdSAUA_6Lqi6_8aSym-aEfcIKcll_YUB2-WmcPEozXSs5JmhKAKaQgtw-bn9pDDchSnjg4GK-O3I7Y1hK_EWBK5el3UBbkTbGDr5QTlyppQw/s320/BNCN-MC450517-Pischek-Queen.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From: Morning Chronicle No. 23618, 8.7.1845, BNCN</td></tr>
</tbody></table>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Moscheles wrote in a letter to Speyer in August that year: "Pischek hat Furore in London gemacht, und mit ihm die 'Rheinsehnsucht'" (Speyer, p. 281). During the following year he kept on performing the song in England with great success (see f. ex. Athenaeum 1846, <a href="https://books.google.de/books?id=4CBIAl04bJoC&hl=de&pg=PA530#v=onepage&q&f=false" target="_blank">p. 530</a>; Musical World 22, 1847, <a href="https://books.google.de/books?id=FJMPAAAAYAAJ&hl=de&pg=PA231#v=twopage&q&f=false" target="_blank">p. 231</a>). Even Robert Browning raved about "the marvellous Pischek, with his Rhine songs" (Browning 1846, <a href="https://archive.org/stream/lettersofrobertb02browiala#page/130" target="_blank">p. 130</a>). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
One may wonder why a song about a German river became so popular in Britain. The Rhine was of course a special case. English travelers, painters and poets had played a major role in what is now called "Rheinromantik", the invention of the romanticized Rhine (see Discher 1972; see also f. ex. <a href="https://www.der-rheinreisende.de/neuesvondennetzwerkern/ueber-die-entstehung-der-rheinromantik/" target="_blank">Der Rheinreisende</a>). Lord Byron had written a poem about the <i>Drachenfels</i>, to name only one example. Many British tourists had already visited the Rhine. The most famous "tourist" at that time would be Queen Victoria (see Baur, at <a href="http://rheinische-geschichte.lvr.de/Epochen-und-Themen/Themen/queen-victorias-rheinreise-anno-1845-im-spiegel-der-internationalen-presse/DE-2086/lido/57d12cabcf5ef5.70298481" target="_blank">Rheinische Geschichte</a>). In summer 1845 she came to Germany and traveled by ship from Bonn to Koblenz and then to Mainz. I should add that Pischek - back from England - was among the musicians and singers who performed for the Queen (see also Gänzl, p. 547). </div>
<br />
<div style="text-align: justify;">
Pischeks wildly successful performances of Speier's "Rhein-Sehnsucht" and other German <i>Lieder<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKxiDUdPBUpqlHjFGBLe8HG7F55exERxZli5NeQiBFtaHJzYcbmQ3a83VsKzvaO41zvbJnfIgD9MuMWBDF22NvANUZKErBRUqtVMX3OTOxo_jDJms1xyz9rO6-LuQzpLCyxo56DO4Qrn4/s1600/ad-MusicalWorld-20-1845-p309.png" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="89" data-original-width="333" height="84" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKxiDUdPBUpqlHjFGBLe8HG7F55exERxZli5NeQiBFtaHJzYcbmQ3a83VsKzvaO41zvbJnfIgD9MuMWBDF22NvANUZKErBRUqtVMX3OTOxo_jDJms1xyz9rO6-LuQzpLCyxo56DO4Qrn4/s320/ad-MusicalWorld-20-1845-p309.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From: The Musical World 20, No. 25, 19.6.1845, p. 298 (GB)</td></tr>
</tbody></table>
</i> also encouraged the British music publishers to make available their own editions of these pieces. Already in June Cramer, Beale & Co. offered five of the "Songs and Arias sung by Herr Pischek, with an English Version" (The Musical World 20, No. 25, 19.6.1845, <a href="https://books.google.de/books?id=dfksAAAAYAAJ&hl=de&pg=PA298#v=twopage&q&f=false" target="_blank">p. 298</a>, also p. 309). The following month Addison & Hodson announced the publication of three songs from Pischek's repertoire (dto., No. 27, 3.7.1845, <a href="https://books.google.de/books?id=dfksAAAAYAAJ&hl=de&pg=PA324#v=twopage&q&f=false" target="_blank">p. 324</a>. "My Heart's on the Rhine", as it was usually called here, was of course included (at the <a href="https://archive.org/details/SpeyerRhine1844Images" target="_blank">Internet Archive</a>):</div><div style="text-align: justify;"> <br /></div>
<div style="text-align: justify;">
Many more English editions would follow and every publisher commissioned a new translation of the original text. Addison & Hodson used one by G. F. Willis, that was not particularly good: </div>
<blockquote class="tr_bq">
My heart's on the Rhine in my own Fatherland,<br />
Tho' weary I roam on a far distant strand;<br />
There day after day still in happiness flew,<br />
For friends they were faithful, and lovers were true.<br />
I'll praise thee in song, and I'll praise thee in wine<br />
Let me go where I will <br />
My heart's my heart's on the Rhine, on the Rhine.<br />
<br />
While slumbering often in fanciful dream,<br />
Me thinks I revisit thy bright golden stream:<br />
Thy towers and thy castles, thy vineyards I see,<br />
Thy daughters so beauteous thy sons brave and free.<br />
May love, joy and happiness ever be thine,<br />
Let me go where I will <br />
My heart's my heart's on the Rhine, on the Rhine. </blockquote>
<div style="text-align: justify;">
The "Rhein-Sehnsucht" also appeared as No. 310 in publisher Wessel's series of German songs (see <a href="https://copac.jisc.ac.uk/id/27605299?style=html&title=My%20heart%27s%20on%20the%20Rhine.%20Rheinsehnsucht.%20The%20English" target="_blank">Copac</a>), as No. 11 in <i>Deutsche Lyra. A Complete Collection of the Classical Songs of Germany</i> by Jullien & Co. (see cover at at <a href="https://vads.ac.uk/large.php?uid=63692" target="_blank">Spellman Collection</a>) and also as No. 111 in the popular series <i>Musical Bouquet </i>(see Slatter, <a href="https://www.musicalbouquet.co.uk/the-catalogue" target="_blank">Catalogue</a>). This version was of course also reprinted later in bound editions of <i>The Musical Bouquet</i> like <i>Sixty Selected Popular Songs</i> (n.d., <a href="https://archive.org/stream/musicalbouquetsi00unse#page/14" target="_blank">pp. 14-5</a>) and <i>Three Hundred and Sixty Popular Songs and Ballads</i> (c. 1875, <a href="https://books.google.de/books?id=zXjsbYZdjGIC&hl=de&pg=PA14#v=twopage&q&f=false" target="_blank">pp. 14-5</a>). The English text included here had not much to do with Müller's original poem. Instead it looks more like a very free adaptation: </div>
<blockquote>
My heart's on the Rhine, the land I love best,<br />
My heart's on the Rhine, dear to childhood's young breast,<br />
The hours of my boyhood were blithsome and gay.<br />
My heart everlighted by joy's golden ray,<br />
My youth seem'd a vision of pleasure, a dream.<br />
Bright valley, blue mountain,gay flow'ret and stream,<br />
And tho' absent from home, the remembrance is mine,<br />
My heart, my heart, yes, my heart's on the Rhine.<br />
<br />
The bright orb of day changing mist into morn,<br />
Brought freshly the flowers my cot to adorn;<br />
Whilst the glittering waters of streamlet and rill,<br />
Reflected his rays on the old watermill.<br />
Fond scene of my boyhood, how sadly I pine,<br />
To behold thee again!<br />
My heart, my heart, oh! my heart's on the Rhine.<br />
<br />
My heart's on the Rhine, the true land of mirth,<br />
My heart's on the Rhine, the scene of my birth;<br />
Those scenes when reflected so clear to my mind,<br />
Bring nought and regret that I left them behind,<br />
For there with loved faces I wander'd and play'd,<br />
And 'long thy lov'd waters I cheerfully stray'd,<br />
And forever thy banks and thy waters are mine,<br />
My heart, my heart, yes! my heart's on the Rhine. </blockquote>
<div style="text-align: justify;">
All in all 17 editions of the song were published in England. At least this was claimed by Speyer's son who did some research (see Speyer 1925, p. 443). One version was even reprinted in the USA by Ditson in Boston (c. 1850, at <a href="https://hdl.handle.net/2027/mdp.39015096689073?urlappend=%3Bseq=2" target="_blank">Hathi Trust</a>), also with Pischek's name on the cover even though he never made it there. The text used here - by an unnamed translator - looks a little bit better than the others I know. </div>
<br />
<div style="text-align: justify;">
"My Heart's on the Rhine" can also be found in several songbooks, for example in the V<i>ocalists Companion. A Choice Collection of Popular Songs with Music, Original and Selected</i> (Glasgow, c. 1850, <a href="https://archive.org/details/vocalistscompani00rugg/page/22" target="_blank">p. 22</a>), an anthology for the use in "Schools and Public Institutions", and in Davidson's <i>Universal Melodist</i> (1853, Vol. 1, <a href="https://archive.org/stream/bub_gb_zlMJAAAAQAAJ#page/n17" target="_blank">p. 4</a>), both again with different translations. And of course it was included in songsters like <i>Diprose's National Song Book</i> ( c.1851 , <a href="https://archive.org/details/diprosesnational00dipr/page/224" target="_blank">p. 224</a>) and <i>Miller's New British Songster</i> (1853, <a href="https://books.google.de/books?id=r6VhAAAAcAAJ&hl=de&pg=PA214#v=twopage&q&f=false" target="_blank">p. 214</a>). In the latter the text from Davidson's edition was reprinted. </div>
<br />
<div style="text-align: justify;">
The English translations of this song were mostly of very dubious quality. I wonder if poet Wolfgang Müller has seen any of these texts. Interestingly he was not given credit as the author of the original words in any of the British versions I have seen. Speyer as the composer and - on the early sheet music editions - Pischek as the performer were named. It seems that Müller remained more or less unknown in England. But perhaps some music fans knew Baskerville's <i>The Poetry of Germany </i>(1858) where both the German text and a better translation were included (<a href="https://books.google.de/books?id=_ycHAAAAQAAJ&hl=de&pg=RA15-PA315#v=twopage&q&f=false" target="_blank">pp. 314-5</a>). </div>
<br />
<div style="text-align: justify;">
It is clear that many in Britain were familiar with "My Heart's on the Rhine" and of course the it was also known in Scotland. As noted above the <i>Vocalists Companion</i> was published in Glasgow. But there is also an interesting reference in book with the title <i>Heiress of the Blackburnfoot. A Tale of Rural Scottish Life</i> that was published anonymously in 1865 (<a href="https://archive.org/details/heiressblackbur00urqugoog/page/n180" target="_blank">pp. 180-1</a>, also p. 182): </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"[...] One tremendously wet night, I heard somebody singing wonderfully sweetly all through the night somewhere outside. It was a song, 'My Heart's on the Rhine,' we all learned long ago at the precentor's class. It brought back old times to me, he sang so sweetly. In the morning I found a poor, delicate-looking foreigner; he had made a bonfire, and was striving to keep himself up. He was the singer, a German". </div>
</blockquote>
<div style="text-align: justify;">
This his may serve an indication that the song was in fact even taught in school. Here it appeared as musical memory from the childhood. But what I don't know is if English or Scottish singers and readers were aware of the song's relationship to Burns. Maybe or maybe not. "My Heart's in the Highlands" was of course still well-known and popular in Britain at that time. But I haven't yet seen any references to this in British publications. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Nonetheless we can close the circle here. This was a musical journey that had started in Scotland with "The Strong Walls of Derry" and Robert Burns' "My Heart's in the Highlands". Half a century later German poet Müller used this idea for a poem about the Rhine that was then set to music by composer Speyer. This song became a great hit in England and at the end it "returned" to Scotland where it was apparently even taught to the children in schools. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But there is also another angle to this story that I find worth discussing. What do we know about 19th century musical and literary culture in Germany and Britain? Much of what was really popular back then is in many cases more or less forgotten today. Wolfgang Müller was a very popular poet during his lifetime. His many books were widely read. What is left of him today is a neglected memorial at the Rhine that most people wouldn't be able to identify. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Composer Speyer wrote a considerable number of immensely successful songs but today his name is barely known and his songs are barely sung. "My Heart's on the Rhine" - nearly forgotten today - was clearly among the most popular songs during these years, particularly in England with apparently 17 (!) editions of sheet music. Johann Baptist Pischek happened to be one of the great international singing stars of that era, well-known and highly respected both in Germany and in England. But his name, just like many others from that time with a few exceptions like Jenny Lind's, quickly disappeared from our memory. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
This is even the case with Robert Burns. The "German" Burns from the second half of the 19th century - he was one of the most popular foreign poets in Germany at that time - fell more or less into oblivion after the turn of the century. Today he is only "rediscovered". But hardly anyone is aware of all these numerous translations and songs that were published since the 1830s. His popularity in Germany today is only a pale shadow of what it was back then. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
There is still a lot of work to be done to document what was sung and read during the 19th century and what the people really enjoyed. This is much different from what has survived until the present time or what today is regarded as representative of that era. </div>
<br />
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Almanach der Genossenschaft deutscher Bühnenangehöriger. Herausgegeben von Ernst Hettke, Königlicher Schauspieler und Regisseur in Cassel und dem Central-Bureau der Genossenschaft deutscher Bühnenangehöriger. 4. Jahrgang, Selbstverlag, Berlin, 1876, at <a href="https://books.google.de/books?id=6oZUBULQDcsC" target="_blank">Google Books</a> </li>
<li>Alfred Baskerville, The Poetry of Germany. Consisting of Selections from Upwards of Seventy of the Most Celebrated Poets. Translated Into English Verse with the Original Text on the Opposite Page, Mayer, Leipzig; Williams & Norgate, London, 1858, at <a href="https://books.google.de/books?id=_ycHAAAAQAAJ" target="_blank">Google Books</a> </li>
<li>Uwe Baur, <a href="http://rheinische-geschichte.lvr.de/Epochen-und-Themen/Themen/queen-victorias-rheinreise-anno-1845-im-spiegel-der-internationalen-presse/DE-2086/lido/57d12cabcf5ef5.70298481" target="_blank">Queen Victorias Rheinreise anno 1845 im Spiegel der internationalen Presse</a>, in: Internetportal Rheinische Geschichte (04.09.2018) </li>
<li>BNCN = 19th Century British Library Newspapers (Gale) </li>
<li>Willert Beale (Walter Maynard), The Light of the Other Days. Seen Through the Wrong End of an Opera Glass. In Two Volumes. Vol. 1, Bentley, LOndon, 1890, at the <a href="https://archive.org/details/lightotherdayss03mayngoog" target="_blank">Internet Archive</a> </li>
<li>Birgit Bödeker, Der deutsche Burns. Zur Kanonisierung von Robert Burns in Deutschland im 18. und 19. Jahrhundert, in: Andreas Poltermann (ed.), Literaturkanon - Medienereignis - kultureller Text. Formen interkultureller Kommunikation und Übersetzung, Berlin 1995, pp. 79-91 </li>
<li>Gertrude Cepl-Kaufmann & Antje Johannig, Mythos Rhein. Kulturgeschichte eines Stromes, Darmstadt, 2003 </li>
<li>Kurt Gänzl, Victorian Vocalists, London & New York, 2018 </li>
<li>Gisela Discher, Ursprünge der Rheinromantik in England. Zur Geschichte der romantischen Ästhetik, Klostermann, Frankfurt/M., 1972 </li>
<li>G. F. Graham, The Songs of Scotland Adapted To Their Appropriate Melodies Arranged With Pianoforte Accompaniments By G. F. Graham, T. M. Muddle, J. T. Surenne, H. E. Dibdin, Finlay Dun, &c. Illustrated with Historical, Biographical, and Critical Notices, 3 Vols, Edinburgh, 1848-9, at the <a href="https://archive.org/details/nlsmusic?and[]=Songs%20of%20Scotland%20Graham%20Wood" target="_blank">Internet Archive</a> </li>
<li>Pia Heckes, <a href="http://www.rheinische-geschichte.lvr.de/Persoenlichkeiten/wolfgang-mueller-von-koenigswinter/DE-2086/lido/57c9516754ab31.17301722" target="_blank">Wolfgang Müller von Königswinter</a>, in: Internetportal Rheinische Geschichte (05.09.2018) </li>
<li>Hofmeister = Musikalisch-literarischer Monatsbericht neuer Musikalien, musikalischer Schriften und Abbildungen, Hofmeister, Leipzig 1829ff ; searchable database:<a href="http://www.hofmeister.rhul.ac.uk/2008/index.html" target="_blank"> Hofmeister XIX</a> (Royal Holloway, University Of London) </li>
<li>Ignaz Hub, Deutschlands Balladen-Dichter und Lyriker der Gegenwart. Ein Hülfsbuch zur Wissenschaft der neuesten Literatur. Mit den Lebensabrissen und Charakteristiken der Dichter, auch einer Auswahl des Schönsten und Eigenthümlichsten aus ihren Werken, Bd. 4, Würzburg & Karlsruhe, 1874, at <a href="https://books.google.de/books?id=2iRKAQAAMAAJ" target="_blank">Google Books</a> </li>
<li>Susanne Kiewitz, Poetische Rheinlandschaft. Die Geschichte des Rheins in der Lyrik des 19. Jahrhunderts, Köln, Weimar & Wien, 2003 </li>
<li>Wilhelm Kuhe, My Musical Recollections, Bentley, London, 1896, at the <a href="https://www.blogger.com/Wilhelm%20Kuhe,%20My%20Musical%20Recollections,%20Bentley,%20London,%201896" target="_blank">Internet Archive</a> </li>
<li>Hans Jürg Kupper, Robert Burns im deutschen Sprachraum unter besonderer Berücksichtigung der schweizerischen Übersetzungen von August Corrodi, Bern 1979 (= Basler Studien zur deutschen Sprache und Literatur 56) </li>
<li>The Letters of Robert Browning and Elizabeth Barrett Browning 1845-1846. With Portraits and Facsimiles. In Two Volumes. Vol. 2, Harper, New York & London, 1898, at the <a href="https://archive.org/details/lettersofrobertb02browiala" target="_blank">Internet Archive</a> </li>
<li>Helmut Loos, Wolfgang Müller von Königswinter und die Musik, in: Siegfried Kross (ed.), Musikalische Rheinromantik: Bericht über die Jahrestagung 1985, Kassel, 1989 (= Beiträge zur rheinischen Musikgeschichte 140) </li>
<li>Paul Luchtenberg, Wolfgang Müller von Königswinter, Köln, 1959, 2 Bde. (= Veröffentlichungen des Kölnischen Geschichtsvereins 21) </li>
<li>Carol McGuirk, Reading Robert Burns: Texts, Contexts, Transformations, London & New York, 2015 </li>
<li>William MacIntosh, Burns in Germany. Scoto-German Studies, Aberdeen, 1928, at <a href="https://hdl.handle.net/2027/uc1.$b156687" target="_blank">HathiTrust</a> </li>
<li>Murray Pittock (ed.), The Scots Musical Museum, 2 Vols., Oxford, 2018 (= The Oxford Edition of the Works of Robert Burns II & III) </li>
<li>Cecelia Hopkins Porter, The "Rheinlieder" Critics. A Case of Musical Nationalism, in: Musical Quarterly 63, 1977, pp. 77-98 </li>
<li>Frauke Reitmeier, "Nature's Poet" and Socialist Model: The Reception of Robert Burns in Germany, in: Murray Pittock (ed.), Robert Burns in Global Culture, Lanham & Plymouth, 2011, pp. 73-89 </li>
<li>Frauke Reitmeier, Lost in Translation: Robert Burns in Germany, in: Murray Pittock (ed.), The Recption of Robert Burns in Europe, London & New York, 2014, pp. 9-32 </li>
<li>Kurt Richter, Ferdinand Freiligrath als Übersetzer, Berlin, 1899 (= Forschungen zur neueren Literaturgeschichte XI), at the <a href="https://archive.org/details/ferdinandfreili00richgoog/page/n5" target="_blank">Internet Archive</a> </li>
<li>Rosemary Anne Selle, The Parritch and the Partridge: The Reception of Robert Burns in Germany. A History, 2 Vols, Phil. Diss., Heidelberg 1981 (now available as: 2nd rev. and augm. edition, Frankfurt/M. 2013)</li>
<li>Edward Speyer, Wilhelm Speyer der Liederkomponist 1790-1878. Sein Leben und Verkehr mit seinen Zeitgenossen dargestellt von seinem jüngsten Sohne, Drei Masken, München, 1952</li>
<li>Mervyn Slatter, 'The Musical Bouquet'. A Study of a Music Publisher 1845-1917 (2011) - <a href="https://www.musicalbouquet.co.uk/" target="_blank">online version</a> </li>
<li>Gertrud Stendal, Die Heimathymnen der preußischen Provinzen und ihrer Landschaften. Eine literarische Charakteristik, Winters, Heidelberg, 1919, at the <a href="https://archive.org/details/dieheimathymnend00broc" target="_blank">Internet Archive</a> </li>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-80544848670769551102018-06-15T16:56:00.001+02:002022-01-14T11:25:03.204+01:00Scottish Songs in Germany - "The Bush Aboon Traquair" (Pt. 2) <a href="https://hummingadifferenttune.blogspot.com/2018/06/Traquair-1.html" target="_blank"><b>Go back to Pt. 1</b></a><br />
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<b> III. </b></div>
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Ramsay's <i>Tea-Table Miscellany</i> was first published in 1723 but as far as I know at that time nobody in Germany was aware his works or of Scottish songs in general. Two decades later poet Friedrich von Hagedorn mentioned him shortly in the <a href="https://archive.org/stream/bub_gb_beIOAAAAYAAJ#page/n9/mode/2up" target="_blank">preface</a> to his <i>Sammlung neuer Oden und Lieder</i> (1742, here 4th ed., 1756), a knowledgeable discussion of songs and poetry from all over Europe. </div>
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But greater interest for the songs and ballads of Scotland only arose since the 1760s after the publication of both MacPherson's <i>Ossian</i> and Percy's <i>Reliques</i>, particularly among those promoting what would be called <i>Volkslieder</i> or <i>national songs</i>. Herder derived many of his ideas from Britain and Scotland was a kind of "dreamland" for him in this respect. Of course most of the Scottish ballads in his <i>Volkslieder</i> (1778/9) were taken from the <i>Reliques</i>. But he was also familiar with Ramsay's works and translated two texts from the <i>Tea-Table Miscellany</i> (see Vol. 1, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n75/mode/2up" target="_blank">pp. 73-8</a>). On the other hand: the popular repertoire of Scottish and also Irish national airs never made it to Germany at that time. In fact barely anyone knew the tunes of these songs (see also Waltz 2011, pp. 13-5). Interestingly Herder had even acquired the first three volumes of the <i>Scots Musical Museum</i> (see Bibliotheca Herderiana, 1804, <a href="https://books.google.de/books?id=GRNoFQaKeOEC&hl=de&pg=PA290#v=twopage&q&f=false" target="_blank">p. 290</a>) but he never made use of it in his relevant works. </div>
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As far as I can see only one single Scottish tune was made available in print before 1802. The Abbé Vogler published the melody of "The Birks of Invermay" as "Chanson Ecossaise" in his <i>Polymelos ou Caractères de Musique de differentes Nations</i> (1791, No. 2, <a href="https://digital.blb-karlsruhe.de/blbihd/content/pageview/2685871">pp. 4-5</a>), a small collection of international national airs arranged for easy piano (see <a href="https://hummingadifferenttune.blogspot.com/2015/05/polymelos-abbe-voglers-national-airs.html" target="_blank">here</a> in my blog). The same year at least an Irish song found its way into a musical periodical. German singer Felicitas Heyne returned from a concert tour in Britain with a copy of the popular "Shepherd's I have lost my love". Publisher Bossler in Speyer printed the song as "Altes Irrländisches Volkslied" with a German translation in his <i>Musikalische Korrespondenz der Teutschen Filharmonischen Gesellschaft für das Jahr 1791 </i>(pp. 278-9 & Notenbeilage, <a href="https://archive.org/stream/bub_gb_IQxDAAAAcAAJ#page/n371/mode/2up" target="_blank">pp. 130-1</a>). But otherwise not a single Scottish song with both text and tune was published in Germany during the 18th century. </div>
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Since the 1790s continental composers like Pleyel and Haydn wrote arrangements for Scottish songs for the anthologies of British publishers George Thomson and William Napier. These works were at first not made available on the German music market. But in 1802 the <i>Allgemeine Musikalische Zeitung</i> published a review of Napier's <i>Selection of Original Scots Songs in Three Parts. The Harmony by Haydn</i> (here Vols. 2 & 3, 1792 & 1795, at the <a href="https://archive.org/details/selectionoforigi00hayd" target="_blank">Internet Archive</a>) and reprinted two songs from this anthology (AMZ 5, Beylage I, <a href="https://archive.org/stream/bub_gb_oQUVAAAAQAAJ#page/n41/mode/2up" target="_blank">pp. I - IV</a>; review cols. 53-5). The following year Haydn's <i>Alt-Schottische Balladen und Lieder</i> came out, a small selection of songs from Napier's big collection with German translations (1803/4, at the <a href="https://archive.org/details/HaydnAschLieder18034">Internet Archive</a>). This was the very first anthology of Scottish song printed in Germany. </div>
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Of course "The Bush aboon Traquair" wasn't included here. As mentioned above it had already appeared in the first volume of Napier's Selection that was published before he hired the famous Austrian composer to write the arrangements. But at around the same time Haydn arranged the song for another anthology, publisher William Whyte's <i>Collection of Scottish Airs</i> (2 Vols., Edinburgh & London, 1804 & 1807, here Vol. 1, 2nd. ed., 1806, <a href="https://books.google.de/books?id=4rBWbcy2atwC&hl=de&pg=PA1-IA1#v=twopage&q&f=false" target="_blank">No. 2</a>; <a href="https://archive.org/stream/JosephHaydnThematisch-bibliographischesWerkverzeichnis/Hoboken1-3#page/n1421/mode/2up" target="_blank">Hob. XXXIa:204</a>; see Friesenhagen 2005, No. 366, pp. 5-7). But this version wasn't made available in print outside of Britain and therefore remained unknown to German music buyers. </div>
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A second anthology of Scottish songs appeared in Germany only in 1817: <i>Der Schottische Barde, oder Auserlesene Sammlung von National-Gesängen, mit der Originalmusik</i> (see <a href="https://opac.rism.info/search?id=452512301" target="_blank">RISM</a>; nyd). Editor Benjamin Beresford (c. 1750-1819; see Shelley 1936), an English writer and teacher living on the continent - mostly in Germany - since 1795 had published during the last 20 years a number of anthologies of German songs translated into English, for example <i>The German Erato</i> (1797 [ESTC <a href="http://estc.bl.uk/T187020" target="_blank">T187020</a>, at the <a href="https://archive.org/details/BeresfordGermanErato1797" target="_blank">Internet Archive</a>) and <i>A Collection of German Ballads and Songs with their original Music</i> (1799, here 2nd ed. 1800 [ESTC <a href="http://estc.bl.uk/T185153" target="_blank">T185153</a>], at the <a href="https://archive.org/details/bub_gb_YfVdAAAAcAAJ" target="_blank">Internet Archive</a>). Here he did it the other way round and offered Scottish songs to the German audience. The texts were translated by Helmina von Chezy (1783-1856; see <a href="https://en.wikipedia.org/wiki/Helmina_von_Ch%C3%A9zy" target="_blank">Wikipedia</a>), a popular and well-known writer, poet, playwright, journalist. </div>
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Among the 19 pieces included here - arranged for piano and voice - we can also find "Der Wald von Traquair" (see <a href="https://opac.rism.info/search?id=452512315" target="_blank">RISM</a>). This was the very first time this song was published in Germany, nearly a century after its original publication in the <i>Tea-Table Miscellany</i>. But it seems that this anthology wasn't a particularly big success. Only two extant copies are known and as far as I can see neither this song nor any of the others from this book managed to win any kind of popularity. </div>
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In fact the tune of "The Bush aboon Traquair" needed some help from France to become better known in Germany. In December 1825 French composer François-Adrien Boieldieu's "Scottish" opera <i>La Dame Blanche</i> (see f. ex. Fiske, p. 103) had its debut in Paris and already in April the following year a German adaptation was published. It was first performed in Vienna in July and in Berlin in August. Soon a reviewer noted that Boieldieu's "admirable music has won a lot of friends" (AMZ 28, No. 42, October 1826, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10528027_00396.html" target="_blank">p. 684</a>). This opera quickly became immensely popular in Germany.</div>
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Eugène Scribe's libretto was loosely based on some of Sir Walter Scott's works, f. ex. <i>Guy Mannering</i>, and the composer used a couple of tunes regarded as Scottish to make it sound more authentic. Most important was "Robin Adair" that would later become a great hit in Germany (see my article about this song at <a href="http://www.justanothertune.com/html/raig.html#Chapter2" target="_blank">JustAnotherTune.com</a>). But Boieldieu also used the melody of "The Bush aboon Traquair" in the Overture (see the piano-vocal score, German ed., 1826, <a href="https://archive.org/stream/ladameblancheope00boie#page/2/mode/2up" target="_blank">p. 2</a>, ms. 12-29). That way many German music fans became familiar with this tune. But neither the song's title nor its texts were made available and therefore it was only known as a nameless "Scottish" melody: </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Nks6Noe1PLCxkc7RKNZwGf8a12ZDUqs_RES0iwTDa_H7Q6er7V-HTihzGZGslYRHrwTx_qH6HU3-UDsf9NTsLTxGgDH3ovtaZSibi8ZUnrL83Z7O044GsQUJxch-eeZI3oXWUUtM_Bw/s1600/Traquair+-+LDB.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="205" data-original-width="545" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Nks6Noe1PLCxkc7RKNZwGf8a12ZDUqs_RES0iwTDa_H7Q6er7V-HTihzGZGslYRHrwTx_qH6HU3-UDsf9NTsLTxGgDH3ovtaZSibi8ZUnrL83Z7O044GsQUJxch-eeZI3oXWUUtM_Bw/s1600/Traquair+-+LDB.jpg" /></a></div>
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Otherwise the song is missing from relevant musical anthologies published at that time. It is neither in Beethoven's <i>25 Schottische Lieder</i> (op. 108, 1822, at <a href="https://www.beethoven.de/sixcms/detail.php?id=15123&template=dokseite_digitales_archiv_de&_dokid=bb:T00016587&_seite=1-1" target="_blank">Beethoven-Haus</a>, Bonn) nor in Weber's Schottische National-Gesänge (1826, at <a href="http://digital.slub-dresden.de/werkansicht/dlf/123945/1/" target="_blank">SLUB Dresden</a>). These were German editions of their works for George Thomson's anthologies. Thomson kept on using the arrangement of "The Bush aboon Traquair" that Pleyel had written for him in the 1790s and never commissioned a new arrangement from any of the other composers who worked for him (see f. ex Vol.1 of the octavo edition, 1828, <a href="https://archive.org/stream/acompositemusiv100ingl#page/n45/mode/2up" target="_blank">No. 7</a>). </div>
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For some reason "The Bush aboon Traquair" was also mostly ignored by the editors and arrangers of international <i>Volkslieder</i>, a genre that began to get more popular since the 1820s (see <a href="https://hummingadifferenttune.blogspot.com/2015/04/auslandische-volkslieder-in-19th.html" target="_blank">here</a> in my blog). Prof. Thibaut in Heidelberg didn't arrange the song for his choir and it doesn't appear in his unpublished manuscript <i>Alte National-Gesänge</i> (see <a href="https://opac.rism.info/search?id=453009283" target="_blank">RISM</a>). It can't be found in Zuccalmaglio's and Baumstark's <i>Bardale. Sammlung auserlesener Volkslieder der verschiedenen Völker der Erde</i> (1829, at the <a href="https://archive.org/details/BaumstarkWaldbruehlBardale1829">Internet Archive</a>) and even O. L. B. Wolff didn't include this song in his <i>Braga</i>, an anthology of foreign <i>Volkslieder</i> in 14 volumes (1835, see Vol. 5, at the <a href="https://archive.org/details/WolffBraga1835Vol5" target="_blank">Internet Archive</a>). Only Friedrich Silcher used the tune in his <i>Ausländische Volksmelodien</i> (here Vol. 3, 1839, No. 6, <a href="https://archive.org/stream/SilcherAuslVolksmelodien4Hfte183541/Silcher-AuslVolksmelodien-4Hfte-1835-41#page/n45/mode/2up" target="_blank">pp. 8-9</a>).</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Silcher (1789-1860), <i>Musikdirektor</i> at the University of Tübingen, composer, arranger, music educator and choirmaster, had already published successful collections of German <i>Volkslieder</i>. But he was also fascinated with foreign songs and between 1835 and 1841 he compiled four volumes of <i>Ausländische Volksmelodien</i> arranged for vocals with accompaniments by piano and guitar (for more see <a href="https://hummingadifferenttune.blogspot.com/2015/04/auslandische-volkslieder-in-19th_14.html" target="_blank">here</a> in my blog). This anthology was for the most part based on Thomas Moore's collections, both the <i>Popular National Airs</i> and the <i>Irish Melodies</i> while his knowledge about Scottish songs seems to have been very limited. </div>
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In fact the two "Scottish" songs in the first two volumes - "Stumm schläft der Sänger" (I, No. 1, <a href="https://archive.org/stream/SilcherAuslVolksmelodien4Hfte183541/Silcher-AuslVolksmelodien-4Hfte-1835-41#page/n3/mode/2up" target="_blank">p. 2</a>) and "Oft in der stillen Nacht" (II, No. 7, p. 10) - were borrowed from Moore and even the adaptation of Burns' "My Heart's in the Highlands" (II, No. 1, p. 1) was supplied with a tune from the <i>Popular National Airs</i>. It seems that Silcher had at that time no access to any Scottish collection, neither those published in Britain nor the few available in Germany. </div>
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"The Bush aboon Traquair" was the first - and in fact the only - original tune from Scotland that he used in his collection. But it is obvious that he borrowed it directly from <i>La Dame Blanche</i> to which he refers in a note at the bottom of the page: "es wird kaum nöthig sein, zu bemerken, dass Boieldieu diese Melodie in die Ouverture seiner Oper 'die weisse Frau' verflochten hat". There is good reason to assume that Silcher wasn't familiar with the original title and words of "The Bush aboon Traquair". Therefore he had to use another text and for some reason selected a poem by Friedrich Rückert. This is not a bitter lament about an untrue former lover like Crawford's original text but an unequivocal expression of love ("I am living in my sweetheart's breast/ In her quiet dreams [...]): </div>
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Ich wohn' in meiner Liebsten Brust,<br />
In ihren stillen Träumen.<br />
Was ist die Welt und ihre Lust?<br />
Ich will sie gern versäumen.<br />
Was ist des Paradieses Lust<br />
Mit grünen Lebensbäumen?<br />
Ich wohn' in meiner Liebsten Brust,<br />
In ihren stillen Träumen.<br />
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Ich wohn' in meiner Liebsten Brust,<br />
In ihren stillen Träumen.<br />
Ich neide keines Sternes Lust<br />
In kalten Himmelsräumen.<br />
Was ist die Welt und ihre Lust?<br />
Ich will sie gern versäumen.<br />
Ich wohn' in meiner Liebsten Brust,<br />
In ihren stillen Träumen. </div>
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Friedrich Rückert ((1788-1866, see <a href="https://de.wikipedia.org/wiki/Friedrich_R%C3%BCckert" target="_blank">Wikipedia</a>), a scholar and a true genius, was professor of Oriental languages. In fact he knew more languages than anybody else and translated Indian and Arabian literature into German. But he was also an immensely popular poet of astonishing productivity who wrote numerous poems in all possible circumstances and about all possible topics from love and death to patriotism. Most famous are surely the <i>Kindertodtenlieder</i> written after the death of two of his children. </div>
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This particular text was from a happier time. It belongs to a collection of poems called <i>Liebesfrühling</i> that he created during the years 1819 - 1821 when he was courting his future wife (see Erdmann 1988, pp. 215-9). Only very few of these pieces were published at that time in periodicals. The complete set including "Ich wohn in meiner Liebsten Brust" was first made available in 1834 in an edition of Rückert's <i>Gesammelte Gedichte</i> (pp. 187- 406, here No. LXXII, <a href="https://archive.org/stream/bub_gb_PScqAAAAYAAJ#page/n325/mode/2up" target="_blank">p. 314</a>). The Liebesfrühling was later published in extra-editions (see f. ex. Frankfurt/M., 1844, at the <a href="https://archive.org/details/liebesfrhling00rc" target="_blank">Internet Archive</a>) and would become one of most popular poetry collections of the second half of the 19th century (see Erdmann, p. 216). </div>
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For some reason Rückert himself was not particularly fond of music (see Demel in Erdmann, pp. 412 & 415) but nonetheless his poems were immensely popular among German composers. Everyone from Schubert and Schumann to Strauss and Mahler as well as numerous more obscure musicians set them to music. Around 1400 settings have been counted (see Demel in Erdmann 1988, pp. 417-550). According to a search in <a href="http://www.hofmeister.rhul.ac.uk/2008/content/database/search/free_text.html" target="_blank">Hofmeisters Monatsberichten</a> at least 16 settings of the text used by Silcher were published between 1838 and 1886, mostly by lesser known composers. But he was one of the first. Only one attempt by the rather obscure Adolf von Lauer in 1838 (see <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001838&teil=0203&seite=00000141&zoom=3" target="_blank">Hofmeister</a>) predated his version. </div>
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Combining this particular poem with a Scottish tune was surely a new idea. I am not sure if it really works. At least we can say that this version was never particularly popular in Germany. Many songs from Silcher's anthologies including some from the <i>Ausländische Volksmelodien</i> became standards that were reprinted in numerous songbooks. But that's not the case with "Ich wohn' in meiner Liebsten Brust". Perhaps the tune was too difficult to sing. I know of only one songbook, musicologist Victorie Gervinus' <i>Volksliederbuch</i> published posthumously in 1896 (No. 72, <a href="https://archive.org/stream/GervinusVolksliederbuch1896/Gervinus-Volksliederbuch-1896#page/n95/mode/2up" target="_blank">p. 86</a>). These were the songs she used to sing at home for family and friends and a considerable number of them were taken from Silcher's works. </div>
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The original version also appeared occasionally in other publications. In Eduard Fiedler's <i>Geschichte der volksthümlichen schottischen Liederdichtung</i> (1846, <a href="https://books.google.de/books?id=WEJjAAAAcAAJ&hl=de&pg=PA74#v=twopage&q&f=false" target="_blank">pp. 73-6</a>) we can find a chapter about Ramsay's contemporaries with a critical discussion of Crawford's work as well as translations of both "The Bush aboon Traquair" and "Tweedside". The arrangement from Graham's <i>Songs of Scotland</i> (Vol. 1, 1849, <a href="https://archive.org/stream/songsofscotland00grah#page/18/mode/2up" target="_blank">pp. 18-9</a>) was reprinted in a music journal (NZM 5, 1851, <a href="https://archive.org/stream/bub_gb_z-5CAAAAcAAJ#page/n335/mode/2up" target="_blank">pp. 322-3</a>). A handbook of English Literature for schools published in 1852 included a small chapter about Robert Crawford with some introductory remarks and the original texts of "The Bush" and "Tweedside" (II, <a href="https://books.google.de/books?id=MnhMAAAAcAAJ&hl=de&pg=RA1-PA270#v=twopage&q&f=false" target="_blank">pp. 271-2</a>).</div>
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Since the 1860 more anthologies of Scottish songs began to appear. In some of them new translations and arrangements of "The Bush aboon Traquair" can be found. Hermann Kestner, private scholar from Hannover and one of the most knowledgeable experts for international <i>national airs</i>, included his version - arranged for four voices by Eduard Hille - in <i>Schottische Volkslieder</i> (Vol. 1, No. 1, <a href="https://archive.org/stream/HilleKestnerSchottVolksliederH12Hannover1868/HilleKestnerSchottVolksliederH1-2Hannover1868#page/n1/mode/2up" target="_blank">pp. 3-5</a>), a part of his series with the title <i>Ausländische Volkslieder für Sopran, Alt, Tenor und Bass bearbeitet und mit deutscher Übersetzung versehen</i> (see also <a href="https://hummingadifferenttune.blogspot.com/2016/01/scottish-songs-in-germany-max-bruch.html" target="_blank">here</a> in my blog). He called it "Der Wald von Traquair". The text was not an exact translation but rather a free adaptation: </div>
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Im schönen Walde von Traquair <br />
Schlug einst mein Herz in Wonne,<br />
Die Zweige rauschten um uns her<br />
Im Strahl der goldenen Sonne.<br />
Dort schwur sie Liebe mir und treu,<br />
Wo wir so traulich sassen.<br />
O schöner Traum, du zogst vorbei,<br />
Sie hat mich längst verlassen.<br />
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O damals lächelt' sie so mild,<br />
Als ob ihr Herz voll Liebe;<br />
ich träumte all' mein Glück erfüllt,<br />
Als ob es stets so bliebe.<br />
Doch jetzt verlässt sie Wald und Flur,<br />
Wo wir uns einst gesehen,<br />
Blick' ich sie an, so zürnt sie nur<br />
Und lässt mich lieblos stehen.<br />
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Wie blühte einst der Wald so schön!<br />
Noch athm' ich seine Düfte.<br />
Jetzt trifft ihr Zorn mich wie das Wehn<br />
Der kalten Winterlüfte<br />
Der schöne Wald ist öd' und leer,<br />
verstummt sind uns're Lieder.<br />
Zum schönen Walde von Traquair<br />
Kehr' ich nun nimmer wieder. </div>
</blockquote>
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Between 1872 and 1877 young scholar Alfons Kissner (for more see here in my <a href="https://hummingadifferenttune.blogspot.com/2016/05/alfons-kissners-german-editions-of.html" target="_blank">blog</a>) - in 1875 he became professor for English and French at the University of Erlangen - compiled a series of anthologies of Scottish, Irish and Welsh songs, newly arranged mostly by his father Carl Kissner and with most of the texts translated by himself. These were in fact the first anthologies published in Germany with a more systematic approach. "The Bush aboon Traquair" was included in <i>Schottische Lieder aus älterer und neuerer Zeit für eine Singstimme mit Begleitung des Pianoforte</i> (1874, Heft 2, No. 10, <a href="https://archive.org/stream/KissnerSchottLieder1874/Kissner-SchottLieder-1874#page/n51/mode/2up" target="_blank">pp. 22-3</a>). He offered both the original text and his own translation of two verses as well as some short and accurate notes about the song's history. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">Composer Max Bruch had published an anthology of Scottish songs in 1864: <i>12 Schottische Volkslieder mit hinzugefügter Klavierbegleitung</i> (at the <a href="https://archive.org/stream/Bruch12SchottVL1864/Bruch-12SchottVL-1864#page/n1/mode/2up" target="_blank">Internet Archive</a>; for more see again <a href="https://hummingadifferenttune.blogspot.com/2016/01/scottish-songs-in-germany-max-bruch.html" target="_blank">here</a> in my blog). For some reason "The Bush aboon Traquair" was not among the songs arranged for this collection. But "Der Wald von Traquair" in an arrangement for a choir was already performed in 1866 in Koblenz (see Signale für die musikalische Welt 24, 1866, <a href="http://zs.thulb.uni-jena.de/rsc/viewer/jportal_derivate_00229676/aesth_891t_jg24_458.tif?x=-453.98418972332&y=0&scale=0.20403225806451614&rotation=270&layout=singlePageLayout" target="_blank">p. 457</a>). This version only appeared a decade later in <i>Fünf Lieder für gemischten Chor a Capella</i> (op. 38, Simrock, Berlin, 1875, see <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001875&teil=0203&seite=00000260&zoom=3" target="_blank">Hofmeister</a>), together with for example an aria from Wagner's <i>Tannhäuser</i> and a song about the Rhine. Bruch used Kestner's translation - "Im schönen Walde von Traquair" - just like Wilhelm Meyer who just had arranged the song for male choirs for his <i>Volks-Liederbuch</i> (1873, No. 70, <a href="https://archive.org/stream/MeyerVolksLiederbuchHannover1873/Meyer-VolksLiederbuch-Hannover1873#page/n87/mode/2up" target="_blank">pp. 75-6</a>) and O. L. Lange who included an arrangement for voice and piano in his <i>Ausländischer Liederschatz</i>, an anthology of international <i>Volkslieder</i> (1886, No. 42, <a href="https://archive.org/stream/LangeAuslLS1886/Lange-AuslLS-1886#page/n57/mode/2up">p. 50</a>). </div><div style="text-align: justify;"> </div><div style="text-align: justify;">All in all this wasn't much. At that time a considerable number of songs regarded as <i>Volkslieder</i> from Scotland and Ireland had become widely known popular standards that regularly appeared in songbooks of all kinds. I will only mention "My Heart's in the Highlands", "Robin Adair", "The Blue Bell of Scotland" and "Here comes the Bard". But for some reason "The Bush aboon Traquair" never was that popular and never became part of the common singing repertoire like these others. Even Silcher's special version with Rückert's appealing poem was surprisingly unsuccessful. Only Bruch's arrangement has survived until today and is still occasionally performed and recorded. Here we can once again see that song's or tune's popularity in one country did not always guarantee its success somewhere else.
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<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Cynthia Cathcart, Tweedside — For Ireland I’d Not Tell Her Name. The Melody and Lyrics of a Traditional Song, 2016, at <a href="http://www.wirestrungharp.com/music/tweedside.html" target="_blank">WireStrungharp</a> </li>
<li>Leith Davis, At "sang about": Scottish song and the challenge of British culture, in: Leith Davis, Ian Duncan & Janet Sorensen (ed.), Scotland and the Borders of Romanticism, Cambridge & New York, 2004, pp. 188-204 </li>
<li>Jürgen Erdmann (ed.), 200 Jahre Friedrich Rückert. 1788-1866. Dichter und Gelehrter. Katalog der Ausstellung, Coburg, 1988 </li>
<li>Roger Fiske, Scotland In Music: A European Enthusiasm, Cambridge 1983 </li>
<li>Matthew Gelbart, The Invention of "Folk Music" and "Art Music". Emerging Categories from Ossian to Wagner, Cambridge 2007 (New perspectives in Music History and Criticism) </li>
<li>Matthew Gelbart, Allan Ramsay, The Idea of 'Scottish Music' and the Beginnings of 'National Music' in Europe, in: Eighteenth-Century Music 9, 2012, pp. 81-108 </li>
<li>John Glen, Early Scottish Melodies, Edinburgh 1900, at the <a href="http://www.archive.org/details/earlyscottishmel00glen" target="_blank">Internet Archive</a> </li>
<li>G. F. Graham, The Songs of Scotland Adapted To Their Appropriate Melodies Arranged With Pianoforte Accompaniments By G. F. Graham, T. M. Muddle, J. T. Surenne, H. E. Dibdin, Finlay Dun, &c. Illustrated with Historical, Biographical, and Critical Notices, 3 Vols, Edinburgh, 1848-9, at the <a href="https://archive.org/details/nlsmusic?and[]=Songs%20of%20Scotland%20Graham%20Wood" target="_blank">Internet Archive</a> </li>
<li>Peter Holman, A Little Light on Lorenzo Bocchi: An Italian in Edinburgh and Dublin, in: Rachel Cowgill & Peter Holman (ed.), Music in the British Provinces, 1690-1914, Aldershot & Burlington, 2007, pp. 61-86 </li>
<li>Karen McAulay, Our Ancient National Airs: Scottish Song Collecting from the Enlightenment to the Romantic Era, Farnham 2013 (rev. ed. of: Our Ancient National Airs. Scottish Song Collecting c. 1760 - 1888, PH.
D. thesis, University of Glasgow, 2009,online available at<a href="http://theses.gla.ac.uk/1242/" target="_blank"> http://theses.gla.ac.uk/1242/</a>)</li>
<li>David McGuinness & Aaron McGregor, Ramsay's Musical Sources: Reconstructing a Poet's Musical Memory, in Scottish Literary Review 10, 2018, pp. 49-71 [just published] </li>
<li>Musick for Allan Ramsay’s Collection of 71 Scots Songs, set by Alexander Stuart. With an introduction by Kirsteen McCue, University of South Carolina Libraries, Columbia, 2017 (= Scottish Poetry Reprints 11) </li>
<li>Claire Nelson, Tea-Table Miscellanies: The Development of Scotland's Song Culture, 1720-1800, in:Early Music 28, 2000, pp. 596-604 & 607-618 </li>
<li>Steve Newman, The Scots Songs of Allan Ramsay: 'Lyrick' Transformation, Popular Culture, and the Boundaries of the Scottish Enlightenment, in: Modern Language Quarterly 63, 2002, pp. 277-314 </li>
<li>[OC 1962 =] Orpheus Caledonius: A Collection of Scits Songs Set to Music by William Thomson. Two Volumes in One. Foreword by Henry George Farmer, Hatboro, 1962</li>
<li>Bruce Olson, <a href="http://www.csufresno.edu/folklore/Olson/BALOP.HTM" target="_blank">Titles of Tunes in Ballad Operas Published With Music</a>, 1998 (csufresno.edu) </li>
<li>Bruce Olson, <a href="http://www.csufresno.edu/folklore/Olson/SCOTTUNS.HTM" target="_blank">An Incomplete Index of Scottish Popular Song and Dance Tunes Printed in the 18th Century</a>, 1998 (csufresno.edu) [this "concordance" is for me still the best starting-point for any research into the publication history of Scottish tunes] </li>
<li>Murray Pittock, Allan Ramsay and the Decolonisation of Genre, in: The Review of English Studies. New Series 58, 2007, pp. 316-337 </li>
<li>Murray Pittock (ed.), The Scots Musical Museum, 2 Vols., Oxford, 2018 (= The Oxford Edition of the Works of Robert Burns II & III) [see here II, p. 22, but these short notes about "The Bush aboon Traquair" are disappointing] </li>
<li>Philipp Allison Shelley, Benjamin Beresford, Literary Ambassador, in: PMLA 51, 1936, pp. 476-501</li>
<li>William Stenhouse, Illustrations of the Lyric Poetry of Scotland. Originally compiled to accompany the "Scots Musical Museum," and now published separately, with Additional Notes and illustrations, Edinburgh & London, 1853, at the <a href="https://archive.org/stream/illustrationsofl00sten#page/n3/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Sarah Clemmens Waltz, Great Expectations: Beethoven’s Scottish Songs, in: Beethoven Journal 26, 2011, pp. 12-25 </li>
<li>James Grant Wilson, The Poets and Poetry of Scotland. From the Earliest to the Present Time, Blackie & Son, London, n. d. [1877], at the <a href="https://archive.org/stream/poetspoetryofsco01wilsuoft#page/n7/mode/2up" target="_blank">Internet Archive</a></li>
</ul>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-54469264397930571592018-06-14T22:28:00.001+02:002022-01-14T11:35:56.681+01:00Scottish Songs in Germany - "The Bush Aboon Traquair" (Pt. 1) <div style="text-align: center;">
<b>I. </b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Scottish songs used to be quite popular in Germany. But the repertoire originally created and published in Scotland during the 18th century - from Ramsay to Burns - only began to appear there since the early 19th century. A few of these songs became very popular and part of the common singing repertoire. Others were occasionally included in some anthologies without really gaining a foothold. <br />
<br />
An not untypical example is "The Bush aboon Traquair", one of the songs first introduced by Allan Ramsay in his ground-breaking <i>Tea-Table Miscellany</i> in 1723. During the 18th and 19th centuries it surely was one of the most popular and most often printed Scottish songs in Britain. Here is the version that can be found in the first volume of the <i>Scots Musical Museum</i> in 1787 (No. 80, <a href="https://archive.org/stream/scotsmusicalmuv100ingl#page/80/mode/2up" target="_blank">p. 81</a>): </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQRKYMDVjLumlf354WOqR7pqTr9h0YQrcqdRozAIb3J53ZKFK8qSQqdYucJbKpXB60nJR1r4I2G4HCvnuokBj2iZ8xHL0UG5o9h9UMgl1iiuIbaLvzLR8s_Iz0J1YfCvD8fOseciVAiTc/s1600/Traquair-tune-SMM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="960" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQRKYMDVjLumlf354WOqR7pqTr9h0YQrcqdRozAIb3J53ZKFK8qSQqdYucJbKpXB60nJR1r4I2G4HCvnuokBj2iZ8xHL0UG5o9h9UMgl1iiuIbaLvzLR8s_Iz0J1YfCvD8fOseciVAiTc/s400/Traquair-tune-SMM.png" width="400" /></a></div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
Hear me, ye nymphs, and every swain, <br />
I'll tell how Peggy grieves me; <br />
Though thus I languish, thus complain, </div>
Alas! she ne'er believes me. <br />
My vows and sighs, like silent air, <br />
Unheeded, never move her; <br />
At the bonny bush aboon Traquair, <br />
'Twas there I first did love her. <br />
<br />
The day she smil'd, and made me glad, <br />
No maid seem'd ever kinder; <br />
I thought myself the luckiest lad, <br />
So sweetly there to find her. <br />
I try'd to sooth my am'rous flame, <br />
In words that I thought tender: <br />
If more there pass'd, I am not to blame, <br />
I meant not to offend her. <br />
<br />
Yet now the scornful flees the plain, <br />
The fields we then frequented, <br />
If e'er we meet, she shews disdain, <br />
She looks as ne'er acquainted. <br />
The bonny bush bloom'd fair in may, <br />
Its sweets I'll ay remember; <br />
But now her frowns make it decay; <br />
It fades as in December. <br />
<br />
Ye rural powers, who hear my strains, <br />
Why thus should Peggy grieve me? <br />
Oh! make her partner in my pains, <br />
Then let her smiles relieve me. <br />
If not, my love will turn despair, <br />
My passion no more tender; <br />
I'll leave the bush aboon Traquair, <br />
To lonely wilds I'll wander. </blockquote>
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In Germany this song was published several times, at first in 1817 and then occasionally throughout the century, usually together with a German translation of the original text. But in one case the tune was combined with a poem by a popular German writer that gave the song a completely different meaning. </div>
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In the following I will at first sketch the publication history of "The Bush aboon Traquair" in Britain during the 18th century and then discuss the different German versions published in the 19th century. This is all quite interesting because we can see the rather hesitant and somewhat slow introduction of the Scottish song repertoire in Germany. Anthologies with a more systematic approach only appeared since the 1860s. </div>
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<b>II. </b></div>
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The words of "The Bush aboon Traquair" were first published in Allan Ramsay's <i>Tea-Table Miscellany</i> (Edinburgh 1723 [ESTC <a href="http://estc.bl.uk/N63220" target="_blank">N63220</a>], here 1724 [ESTC <a href="http://estc.bl.uk/N45927" target="_blank">N45927</a>], <a href="https://books.google.de/books?id=V7UDAAAAQAAJ&hl=de&pg=PA2#v=twopage&q&f=false" target="_blank">pp. 3-5</a>; also reprint, Dublin 1724 [ESTC <a href="http://estc.bl.uk/T82653" target="_blank">T82653</a>], <a href="https://books.google.de/books?id=KbFYAAAAcAAJ&hl=de&pg=PA292#v=twopage&q&f=false" target="_blank">pp. 293-4</a>). </div>
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Ramsay (1668-1758; see <a href="https://en.wikipedia.org/wiki/Allan_Ramsay_(poet)" target="_blank">Wikipedia</a>; see also Gelbart 2012; Pittock 2007; Newman 2002) was not only a poet, playwright, editor and publisher but also an intellectual on the search for a Scottish cultural identity and surely one of the great literary innovators of his time. The <i>Tea-Table Miscellany</i> offered mostly new or edited texts for popular older tunes. With this collection he laid the groundwork for the modern repertoire of Scottish national songs. It was also a kind of early prototype of later collection of <i>national songs</i> or <i>Volkslieder</i>. He can be seen as the one who "started the process of organizing collections around national - and even nationalist - symbolism [...]. Suddenly tunes were being called upon less for immediate practical use [...] and more to represent, and later characterize, a nation - to be a body of national music" (Gelbart 2012, pp. 82-3 & 85). </div>
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The text of "The Bush aboon Traquair" was written not by Ramsay himself but by one Robert Crawford (1695-1733), one of the "ingenious young Gentlemen, who were so well pleased with my undertaking, that they generously lent me their assistance" (preface 10th ed., <a href="https://archive.org/stream/teatablemiscella04rams#page/6/mode/2up" target="_blank">p. vi</a>). He also contributed some other songs, all those marked with a "C". The best known among them is "Tweedside" (<a href="https://books.google.de/books?id=V7UDAAAAQAAJ&hl=de&pg=PA6#v=twopage&q&f=false" target="_blank">pp. 7-8</a>). Not much is known about Mr. Crawford but it seems that he died early: "he was drowned in coming from France in 1733" (see Wilson, <a href="https://archive.org/stream/poetspoetryofsco01wilsuoft#page/136/mode/2up" target="_blank">pp. 133-4</a>). This particular "bush" that gave the song its title was "a small grove of birches that formerly adorned the west bank of the Quair water, in Peeblesshire, about a mile from Traquair House, the seat of the Earl of Traquair" (dto.). Later visitors only found "a few solitary ragged trees" (see Stenhouse, <a href="https://archive.org/stream/illustrationsofl00sten#page/84/mode/2up" target="_blank">p. 85</a>). </div>
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Crawford wrote a new text to an already existing tune most likely of the same or a similar title. Otherwise the readers of the <i>Tea-Table Miscellany</i> wouldn't have known how to sing this song (see now McGuinness & McGregor 2018 about Ramsay and music). But unfortunately no earlier versions of the melody have survived. The tune was only made available about two years after the first publication of the text in two musical anthologies. It seems that both appeared at around the same time although the exact dates are not clear (see McCue in Musick, pp. xiv-xv, xix; see also McGuinness & McGregor, pp. 50-3). </div>
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Ramsay himself commissioned arrangements from Alexander Stuart, a local musician about whom very little is known, and then published them in a book of six parts with the title <i>Musick for Allan Ramsay’s Collection of 71 Scots Songs</i> (available at <a href="http://digital.tcl.sc.edu/cdm/ref/collection/rbc/id/2945" target="_blank">SC Digital Library</a>). This was intended as a musical companion to the <i>Tea-Table Miscellany</i> (see McCue, in Musick). Apparently few copies were printed and only two have survived until today. "Bush aboon Traquair" can be found here also as the second tune (<a href="http://digital.tcl.sc.edu/cdm/ref/collection/rbc/id/2944" target="_blank">pp. 4-5</a>). </div>
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Meanwhile in London another Scottish musician published a much more ambitious anthology: <i>Orpheus Caledonius: Or, A Collection of Scots Songs. Set to Musick by W. Thomson</i>. Mr. Thomson (bef. 1695-1753; see Farmer in OC, 1962) had "made a career performing 'Scotch songs' there" (Gelbart 2007, p. 34). He even sang at court and this collection was <a href="http://digital.nls.uk/special-collections-of-printed-music/archive/74569718" target="_blank">dedicated</a> to the Princess of Wales who had "graciously heard some of the following Songs" and then "encouraged" him to publish them. </div>
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Thomson borrowed most of the texts from the <i>Tea-Table Miscellany</i> but without acknowledging his source. The tunes were apparently not lifted from Stuart's <i>Musick</i> (see McCue, p. xxi). As a Scot himself he may have known them all along. Mr. Ramsay was not happy about receiving no credit (see preface to 10th ed., 1734, <a href="https://archive.org/stream/teatablemiscella04rams#page/6/mode/2up" target="_blank">p. vii</a>)) but one can say that with this book his modernized Scottish songs were introduced to and made popular among the sophisticated London audience. The <a href="http://digital.nls.uk/special-collections-of-printed-music/archive/74569720" target="_blank">list of the subscribers</a> is quite impressive. In fact Thomson's <i>Orpheus Caledonius</i> was a very successful publication (see Farmer, in OC 1962, pp. iii & v ) and a second edition with 50 additional songs came out in 1733. "The Bush aboon Traquair" appeared in Thomson's anthology as the third song (<a href="http://digital.nls.uk/special-collections-of-printed-music/archive/74569738" target="_blank">No. 3</a> & pp. 5-6; see also new ed., 1733, Vol. 1, No. 3 & <a href="https://archive.org/stream/orpheuscaledoniu01thom_0#page/n33/mode/2up" target="_blank">pp. 5-6</a>). </div><div style="text-align: justify;"> </div><div style="text-align: justify;">At this point both Mr. Crawford's new text and the old tune were available in print. But what do we know about the song's prehistory? Nothing. No earlier variants of the tune nor any earlier texts have survived. Stenhouse claimed in his notes to the <i>Scots Musical Museum</i> (1839, I, <a href="https://archive.org/stream/scotishmusicalmu01john#page/84/mode/2up" target="_blank">p. 84</a>; Illustrations, <a href="https://archive.org/stream/illustrationsofl00sten#page/84/mode/2up" target="_blank">p. 84</a>) that this "charming pastoral melody is ancient". That sounds like an exaggeration. The tune must of course be at least a little bit older than Crawford's text but there is no way of knowing how old it really was at that time.
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Graham in his <i>Songs of Scotland</i> (Vol. 1, 1849, <a href="https://archive.org/stream/songsofscotland00grah#page/18/mode/2up" target="_blank">pp. 18-9</a>) noted "that the tune was probably written down at first for some musical instrument; as its compass is too great for ordinary voices". This sounds like a reasonable assumption. But "we have no clue to any older words, nor even the tune" (Glen, <a href="https://archive.org/stream/earlyscottishmel00glen#page/82/mode/2up" target="_blank">p. 83</a>) and - if it was a song and not an instrumental - the "old song is lost" (Stenhouse, p. 84). This is different from - for example - "Tweedside", the other great hit with a new text by Crawford. Here at least some earlier variants and texts are known from manuscripts (see Cathcart 2016, at <a href="http://www.wirestrungharp.com/music/tweedside.html" target="_blank">wirestrungharp</a>). But in case of "The Bush aboon Traquair" Ramsay's project has really succeeded. All traces of possible predecessors have been obliterated. The new text has completely replaced any older versions. </div>
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Later folklorists and musicologists had some problems with Ramsay's approach (see f. ex. McAulay, p. 26, diss. p. 38; Gelbart 2012). But he was no collector in the modern sense. His aim was not to simply document what existed at that time. Ramsay - and his associates - "essentially re-wrote the repertoire" (McAulay, p.42, diss. p. 57). What they did was to revitalize these songs and tunes and make them more popular than they had been before. A melody like the one of "The Bush aboon Traquair" was saved from obscurity and - with new words - codified in print. It started a new life and then crossed social, cultural as well as even national boundaries. </div>
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This "new" old song quickly became a standard, the text was regularly reprinted and the tune was supplied with new texts. Already in 1725 Mr. Crawford's brand-new words were included in Ambrose Philips' <i>Collection of Old Ballads</i> (Vol. 3, No. LII, <a href="https://archive.org/stream/collectionofoldb03philrich#page/252/mode/2up" target="_blank">pp. 253-4</a>). First and foremost it was Ramsay himself who promoted the song. The text was easily available in the numerous new editions of the <i>Tea-Table Miscellany</i>. The 10th already appeared in 1734. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">But he also used the tune - with a new text ("At setting day and rising morn") - in the second version of his <i>Gentle Shepherd</i>. He had turned this pastoral play into a ballad opera á la Gay's <i>Beggar's Opera</i> (see Holman, pp. 67-7). The debut was in January 1729 but tunes were first included only in an edition published c. 1736. Strangely this melody was not printed here ([ESTC <a href="http://estc.bl.uk/T184414" target="_blank">T184414</a>], text: sang XIX, <a href="https://archive.org/stream/gentleshepherdsc02rams#page/76/mode/2up" target="_blank">p. 77</a>; see <a href="https://archive.org/stream/gentleshepherdsc02rams#page/n113/mode/2up" target="_blank">tunes</a>; but see the text with the right tune in later ed.: Glasgow 1758, Sang XVIII, <a href="https://books.google.de/books?id=bw8UAAAAQAAJ&hl=de&pg=PA86#v=twopage&q&f=false">pp. 86-7</a>; Glasgow 1796, <a href="https://archive.org/stream/gentleshepherdpa00rams_0#page/16/mode/2up" target="_blank">p. 16</a>).
</div><div style="text-align: justify;">
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Meanwhile the tune found favor among writers of ballad operas and we can find it for example - always with new words, of course - in Thomas Walker's <i>Quaker's Opera</i> (1729, Air XXII, <a href="https://archive.org/stream/quakersoperaasit00walk#page/40/mode/2up" target="_blank">p. 41</a>), John' Gay's <i>Polly</i> (1729, Air XIII, <a href="https://archive.org/stream/pollyoperabeings00pepu#page/n29/mode/2up" target="_blank">p. 14</a>, tunes, <a href="https://archive.org/stream/pollyoperabeings00pepu#page/2/mode/2up" target="_blank">p. 3</a>), Lacy Ryan's <i>Cobler's Opera</i> (1729, Air XVIII, <a href="https://archive.org/stream/acompositevolume00rugg#page/20/mode/2up" target="_blank">p. 21</a> , tunes, <a href="https://archive.org/stream/acompositevolume00rugg#page/10/mode/2up" target="_blank">p. 10</a>), James Ralph's<i> Fashionable Lady, or Harlequin's Opera</i> (1730, Air X, <a href="https://archive.org/stream/fashionableladyo00ralp#page/14/mode/2up" target="_blank">p. 14</a>) and Joseph Mitchell's The <i>Highland Fair, or Union of the Clans</i> (1731, Air V, <a href="https://archive.org/stream/acompositevolume03rugg#page/n207/mode/2up" target="_blank">p. 12</a>), to name only a few (see Olson, <a href="http://www.csufresno.edu/folklore/Olson/BALOP.HTM" target="_blank">Titles</a>). That also means that this melody was regularly performed in the theaters. </div>
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The tune or the whole song with Crawford's text also appeared in songbooks of all kinds throughout the century, for example in publisher John Watts' popular anthology <i>The Musical Miscellany; Being a Collection of Choice Songs Set to the Violin and Flute By the most Eminent Masters</i> (1729, Vol. 2, <a href="https://archive.org/stream/musicalmiscellan01rugg#page/96/mode/2up" target="_blank">p. 97-8</a>), Barsanti's <i>Collection of Old Scots Tunes</i> (1740, <a href="https://archive.org/stream/imslp-collection-of-old-scots-tunes-barsanti-francesco/PMLP194938-Barsanti_A_Collection_of_Old_Scots_Tunes#page/n7/mode/2up" target="_blank">p. 7</a>), James Oswald's <i>Caledonian Pocket Companion</i> (Vol. 2, 1747, <a href="https://archive.org/stream/caledonianpocket01rugg#page/n65/mode/2up" target="_blank">p. 17</a>), Geminiani's <i>Treatise of Good Taste in the Art of Musick</i> (London 1749, <a href="https://archive.org/stream/imslp-treatise-of-good-taste-in-the-art-of-musick-geminiani-francesco/PMLP124222-Geminiani_good_taste0002#page/n1/mode/2up" target="_blank">pp. 18-21</a>), a <i>Compleat Tutor for the Guittar</i>, a fashionable instrument at that time (ca. 1750s, <a href="https://books.google.de/books?id=vz2D4WtZ0rUC&hl=de&pg=PA20#v=twopage&q&f=false" target="_blank">p. 20</a>), Robert Bremner's <i>Thirty Scots Songs for a Voice and Harpsichord</i> (1757, <a href="https://books.google.de/books?id=IdpWAAAAcAAJ&hl=de&pg=PA18#v=twopage&q&f=false" target="_blank">p. 18-9</a>) or Johann Samuel Schröter's <i>Six Lessons from the Favourite Miscallaneous Quartettos</i> (1777, <a href="https://archive.org/stream/sixlessonsfromfa00schr#page/n7/mode/2up" target="_blank">p. 7</a>). The tune was also still recycled for the stage, for example in Thomas Linley's <i>Duenna</i> (1775, <a href="https://archive.org/stream/duennaordoubleel00linl#page/38/mode/2up" target="_blank">p. 38</a>) with new words by Richard Brinsley Sheridan: "O had my love ne'er smil'd on me". This song was performed by Michael Leoni, one of the most popular singers at that time. </div>
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During the 1780s "The Bush Aboon Traquair" was revived by Domenico Corri, who included the song with his own arrangement both in the <i>Select Collection of the Most Admired Songs</i> (Vol. 3, 1783, <a href="https://archive.org/stream/corri3-1783#page/n89/mode/2up" target="_blank">p. 88</a>) and the <i>Select Collection of the Most Favourite Scots Songs</i> (Vol. 2, 1788, <a href="https://books.google.de/books?id=9aiTC3lJbnEC&hl=de&pg=RA1-PA5#v=twopage&q&f=false" target="_blank">p. 5</a>). It could also be found - as already mentioned - in the <i>Scots Musical Museum</i> (Vol. 1, 1787, No. 80, <a href="https://archive.org/stream/scotsmusicalmuv100ingl#page/80/mode/2up" target="_blank">p. 81</a>) - here the words are still credited to Mr. Crawford - and in a popular anthology like <i>Calliope, or, the Musical Miscellany</i> (Vol. 1, 1788, No. CCXXVI, <a href="https://archive.org/stream/calliopeormusica00unse#page/422/mode/2up" target="_blank">pp. 423-4</a>). </div>
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Of course the editors of all the ambitious anthologies of Scottish songs that appeared in the 1790s couldn't leave out this old standard. It was the first song in William Napiers <i>Selection of the most Favourite Scots Songs, Chiefly Pastoral</i> (Vol. 1, No. 1, <a href="https://archive.org/stream/selectionofmostf00tytl#page/n27/mode/2up" target="_blank">p. 2</a>). Urbani included it in his <i>Selection of Scots Songs</i> (Vol. 1, 1792, <a href="https://archive.org/stream/selectionofscots0102urba#page/n33/mode/2up" target="_blank">pp. 24-5</a>) and George Thomson commissioned an arrangement from composer Ignaz Pleyel for the very first volume of the <i>Select Collection Of Original Scotish Airs For The Voice</i> (1793, <a href="https://archive.org/stream/IMSLP60618PMLP124158CollOfScotishAirsThomson18001/IMSLP60618-PMLP124158-coll_of_scotish_airs_thomson_1800-1#page/n11/mode/2up" target="_blank">No. 5</a>; see also later ed., 1803, <a href="https://archive.org/stream/selectcollection00hayd#page/n29/mode/2up" target="_blank">No. 5</a>). The song can also be found in Joseph Ritson's anthology <i>Scotish Song in Two Volumes</i> (1794, Vol. 1, No. XLVII, <a href="https://archive.org/stream/scotishsongsintw00rits#page/n227/mode/2up" target="_blank">pp. 101-2</a>), here again with a reference to Mr. Crawford as the the author.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">"The Bush Aboon Traquair" survived into the 19th century and was always easily available (see also <a href="http://copac.jisc.ac.uk/search?&date=1800%2D1900&title=Bush+Aboon+Traquair" target="_blank">Copac</a>). The text was regularly reprinted in songsters, in collections of poetry, on broadsides and in chapbooks like for example one published in Stirling around 1820 (at the <a href="https://archive.org/stream/fisherchapbook448#page/n3/mode/2up" target="_blank">Internet Archive</a>), here as an oldie together with Burns' "Lovely Jean", the popular hit "The Death of Wolfe" and others. The tune appeared in numerous publications, for example in a piano arrangement in Gow's <i>Vocal Melodies of Scotland</i> (c. 1816, <a href="https://archive.org/stream/vocalmelodiesofs00gown#page/2/mode/2up" target="_blank">p. 2</a>) or as sheet music, for example in an arrangement for harp by Philippe-Jacques Meyer (c. 1820, at the <a href="https://archive.org/details/bushaboontraquai00meye" target="_blank">Internet Archive</a>). The song with text and tune together can be found in many songbooks, both popular and antiquarian. In fact this old classic never really vanished from the music market and remained a standard. At the end of the 19th century it was still one of the best known Scottish songs. </div>
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<a href="https://hummingadifferenttune.blogspot.com/2018/06/Traquair-2.html" target="_blank"><b>Go to Pt. 2</b></a> </div>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-15303380144927031692018-03-07T14:09:00.004+01:002022-01-14T11:54:58.360+01:00Jonathan Carver's "Travels Through The Interior Parts of North-America" (1778) - What's Available Online?<div style="text-align: justify;">
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I. Introduction</div>
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II. Jonathan Carver and his <i>Travels</i></div>
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III. Controversies</div>
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IV. The "Songs"</div>
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V. Bibliography</div>
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Literature</div>
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<b>I. Introduction</b> </div>
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Digitization is - I think - one of the greatest watersheds in the history of research. Much of the older literature and sources have been scanned and are easily accessible online. Even the rarest books - if they have been digitized - are now immediately at hand. The use of digital facsimilés promotes transparency: every reader should be able to check the sources and references. </div>
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Still some important questions remain: are these digital copies available in open repositories that everybody has access to or only in closed databases behind a paywall? In the latter case it is of course not possible to set a direct link to a source. Does a digital copy represent the original book in the best possible way so it can be used as a "surrogate" for the real book? Is it complete or is something missing? Unfortunately there are often problems particularly with what is offered by Google Books, the greatest open online repository. The uncritical use of a digital facsimilé is not advisable and therefore the quality and completeness should always be checked. Often many copies are available and it is necessary to search for the best one. </div>
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Here I will try another case study. Jonathan Carver's <i>Travels Through The Interior Parts of North-America in the Years 1766, 1767 and 1768</i> - first printed 1778 in London - was one of the most popular and influential travel accounts of its time. It was among the books "that revealed the Middle West to the minds of curious Europeans" (Blegen, p. 70). There were altogether 17 English editions - published in either Britain or the USA - as well as translations into German, French, Dutch and Swedish. But it was also a very controversial book and the author's reliability and credibility has been called into question. </div>
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I needed to check this work because of the texts of some "songs" or orations that Carver claimed to have heard performed. They were later regularly reprinted or translated in both scholarly and popular publications as authentic representations of the song culture of the North American "Indians". One of them was even turned into a ballad by German poet Schiller. </div>
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At first there will be a short introduction to Carver and his book as well as a discussion of these so-called "songs". The most important secondary literature will be referred to and in passing I will check how many of these works can be found online at the moment. This will be followed by an attempt of a bibliography with links to the digital copies of the different editions of Carver's book that are available at the moment. </div>
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<b>II. Jonathan Carver and his <i>Travels</i> </b></div>
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Jonathan Carver (1710-1780; see <a href="https://en.wikipedia.org/wiki/Jonathan_Carver" target="_blank">Wikipedia</a>; Gould at <a href="http://www.mnopedia.org/person/carver-jonathan-1710-1780" target="_blank">MNopedia</a>; Parker, pp. 1-56; Gelb, pp. 1-51; Williams 1989; Wilson 1978, pp. 47-82) from Massachussetts, at first apparently a shoemaker, joined the militia in 1755. He fought in the French and Indian War until 1763, at the end as a Captain with his own company. After the war he went back home to Boston but didn't get happy with civilian life. He wanted to return to the borderlands. </div>
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Carver had become acquainted with the legendary Major Robert Rogers who at that time planned an expedition to find the fabled Northwest Passage and hired him as a mapmaker. In May 1766 they set out for Fort Michilimackinac in present day Michigan. Rogers had to wait for authorization of his expedition - which he never received - and commissioned Carver to explore the unknown formerly French territories (see Parker 1976, pp. 192-3). </div>
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He went west to the Mississippi and then to what is today Minnesota. There he spent a winter with a band of Dakota Indians and studied their way of life and customs. Then he traveled to Prairie du Chien at Lake Superior but there he ran out of supplies. The lack of support forced him to change his plans and he and his companions had to return to Michilimackinac where they spend the winter 1767/8. There Major Rogers was accused of treason and arrested. Carver went back to Boston. Unfortunately his efforts were not acknowledged, the commission issued by Rogers was worthless and he was not paid as promised for his work. Also his attempts at publishing his journals failed. Therefore he decided to travel to England hoping for more success there: </div>
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"Yesterday Morning sailed for London [...] Captain Carver, formerly of the New England Troops; This Gentleman has been employed several years as a Draughtsman, and has been exploring the Heads of the Mississippi, St. Piere's, and Lake Superior; in which Service he has given great satisfaction, having made many several discoveries of considerable utility [...] He has carried with him his Draughts and Journals, and has good recommendations for his faithful Services" (Boston Weekly News-Letter, No. 356, 23.2.1769, p. 1, at AHN). </div>
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In London Carver managed to get paid some money by the treasury and was also involved in the the production of new maps (see Bosse 1985, <a href="https://hdl.handle.net/2027/wu.89058300633?urlappend=%3Bseq=188" target="_blank">pp. 49-54</a>). But for most of the time he struggled to survive and remained "a figure of little significance" (Gelb, p. 36). At least he became acquainted with Joseph Banks, well-known scholar and later president of the <i>Royal Society</i>, who lent some support to the publication of his book. In the end it took nearly 10 years until the Travels were published in 1778. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">In fact this was an impressive work of nearly 550 pages. First there was - after an informative introduction - the "Journal of the Travels" (<a href="https://archive.org/stream/travelsthroughin00incarv#page/n49/mode/2up" target="_blank">pp. 17-180</a>). This is followed by an extended treatise "Of the Origin, Manners, Customs, Religion, and Language of the Indians" (pp. 181-441), vocabularies of two languages, chapters about the flora and fauna and a somewhat visionary appendix discussing the possible future colonization of these territories. Two maps and some illustrations were also included. </div>
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Of course the book was based on Carver's original notes. But they were rewritten, edited and supplemented with information taken - without credit - from a number of earlier works by other authors. It was "in part a borrowed and generalized collage of previous travellers' descriptions of different tribes, different times, and different places" (Fulford, p. 62). He got some help from a London writer, one Alexander Bicknell, "an industrious litterateur of the last quarter of the eighteenth century (DNB 5, p. 9, at <a href="https://en.wikisource.org/wiki/Bicknell,_Alexander_(DNB00)" target="_blank">wikisource</a>), who in ads for later works was referred to as the "compiler" (f. ex. St. James Chronicle, No. 2980, 15.-18.4.1780, at BBCN). One may describe the <i>Travels</i> as "a collaborative effort between two men who knew what readers wanted in travel narratives and how to satisfy their expectations" (Williams, p. 208; see Parker 1976; see also Wilson, pp. 72-82; Sayre, pp. 183-204).</div>
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Carver's book - self-published, because apparently no publisher wanted to take the risk - was a big success. The reviews were very positive (see f. ex. Critical Review 46, 1778, <a href="https://books.google.de/books?id=XYdHAAAAYAAJ&hl=de&pg=PA440#v=twopage&q&f=false" target="_blank">pp. 441-50</a>; London Magazine 48, 1779, <a href="https://books.google.de/books?id=qvkqAAAAYAAJ&hl=de&pg=PA180#v=onepage&q&f=false" target="_blank">p. 180</a>; Westminster Magazine 7, 1779, <a href="https://books.google.de/books?id=kYtFAQAAMAAJ&hl=de&pg=PA143#v=twopage&q&f=false">pp. 142-4</a>), two new editions appeared the following year in London and in Dublin, and another one in 1780. Parts of the book were reprinted in popular magazines (see f. ex. London Review 8, 1779, <a href="https://books.google.de/books?id=6MIRAAAAYAAJ&hl=de&pg=PA376#v=twopage&q&f=false" target="_blank">pp. 377-82</a>; Monthly Review 60, 1779, <a href="https://books.google.de/books?id=U-pKAQAAMAAJ&hl=de&pg=PA90#v=twopage&q&f=false" target="_blank">pp. 90-5</a> & pp. 281-9; Lady's Magazine 10, 1779, <a href="https://books.google.de/books?id=pG5bAAAAQAAJ&hl=de&pg=PA132#v=twopage&q&f=false" target="_blank">pp. 132-5</a> & pp. 180-2; London Magazine 48, 1779, <a href="https://books.google.de/books?id=qvkqAAAAYAAJ&hl=de&pg=PA200#v=twopage&q&f=false" target="_blank">pp. 201-2</a>). </div>
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Carver's name can also be found on two other books published at that time: a <i>Treatise on the Culture of Tobacco</i> (London 1779 [ESTC <a href="http://estc.bl.uk/T51643" target="_blank">T51643</a>]. at the <a href="https://archive.org/details/treatiseoncultur00carvrich" target="_blank">Internet Archive</a>; Dublin 1779 [ESTC <a href="http://estc.bl.uk/T174004" target="_blank">T174004</a>]) and <i>The Universal Traveller. Containing a Full and Distinct Account of All the Empires, Kingdoms, and States, in the Known World</i> (London 1779 [ESTC <a href="http://estc.bl.uk/T133709" target="_blank">T133709</a>], at <a href="https://books.google.de/books?id=WK8-AAAAcAAJ" target="_blank">Google Books</a>. But the latter wasn't his work (see Gentleman's Magazine 51, 1781, <a href="https://books.google.de/books?id=7Rk3AAAAYAAJ&hl=de&pg=PA80#v=onepage&q&f=false" target="_blank">p. 80</a>). He probably lent his name to cash in on the success of his own book. </div>
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But all this literary success didn't help him much. He died in 1780, still in poverty, and left behind two families, one in America and one in England. The following year a third edition was published to help out his wife and children in England. Responsible for this publication was Carver's last physician John Coakley Lettsom (1744-1815, see <a href="https://en.wikipedia.org/wiki/John_Coakley_Lettsom" target="_blank">Wikipedia</a>), philanthropist and founder of the <i>Medical Society of London</i>, who had bought the copyright of the book. He added an index and a rather inaccurate biography of the author (<a href="https://archive.org/stream/travelsthroughin00carv#page/n17/mode/2up" target="_blank">pp. 1-22</a>). This was for a while the last British edition. Only much later, between 1798 and 1808, the <i>Travels</i> were printed again several times in Edinburgh and Glasgow. </div>
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Carver never made it back to America and also missed the revolution. But his book was published there, at first in 1784 with the title <i>Three Years Travels Throughout the Interior Parts of North America For More Than Five Thousand Miles</i> by Crukshank in Philadelphia (at the <a href="https://archive.org/stream/threeyearstravel00carv#page/n3/mode/2up" target="_blank">Internet Archive</a>) and it became very popular: seven more editions were printed until 1813. Even George Washington owned a copy (see Everett 1860, <a href="https://archive.org/stream/lifeofgeorgewash01ever#page/298/mode/2up/" target="_blank">p. 298</a>). Just like in Britain parts of the book were regularly reprinted in magazines and newspapers (see Djahazi, pp. 31). In fact he was mentioned in the press rather often and one gets the impression that he became posthumously a kind of celebrity. </div>
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Of course the Travels were also published in other countries, at first in Germany in 1780. "Germans were rabid readers of travel accounts" and "the leading consumers of travel literature in Europe" (Apgar, p. 17). French (1784) and Dutch (1796) editions followed later. All in all this was already an impressive success for Carver's book. It was surely one of the most popular travel accounts of that era. But its life-span was prolonged and its popularity and influence increased because Joachim Heinrich Campe in Germany laid his hands on this text and turned it into one of the great classics of juvenile literature. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">Campe (1746-1818; see <a href="https://de.wikipedia.org/wiki/Joachim_Heinrich_Campe" target="_blank">Wikipedia</a>; see <a href="https://de.wikisource.org/wiki/Joachim_Heinrich_Campe" target="_blank">wikisource</a>; see f. ex. Ewers 2010, Apgar 2008, Brune-Heiderich 1989), educator, writer, publisher, linguist and one of the inventors of modern juvenile literature, had already published <i>Robinson der Jüngere</i> (1779/80), his adaptation of Defoe's classic, and the first two parts of <i>Die Entdeckung von Amerika</i> (1781). He was the one who brought the New World to the young people. In 1785 Campe started a <i>Sammlung interessanter und durchgängig zwekmäßig abgefaßter Reisebeschreibungen für die Jugend</i> with original travel accounts edited and made suitable for juvenile readers. In the preface to the first volume he noted that he regarded authentic travelogues as the best reading material for adolescents to promote their knowledge of the world and human nature -"Welt- und Menschenkenntnis" - in an easy and pleasant way (see <a href="https://books.google.de/books?id=0d9PAAAAcAAJ&hl=de&pg=PP18#v=twopage&q&f=false" target="_blank">pp. [vii-viii]</a>).
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His adaptation of Carver's <i>Travels</i> appeared in the fourth volume in 1788 (at the <a href="https://archive.org/stream/sammlunginteress41camp#page/32/mode/2up" target="_blank">Internet Archive</a>). It is interesting to see that he selected exactly this book to represent North America in his series. This shows how popular it was already at that time in Germany. Of course Campe edited the text a little bit to make it suitable for his purposes and also added some information from other relevant sources. This series of travel accounts was immensely successful and would be reprinted in at least 10 new editions until the 1840s. It was also translated into other languages. The French version of Campe's adaptation was first published in 1789 and reappeared in at least 13 editions until the 1870s. Additionally there were also Dutch, Swedish and even Greek translations. </div>
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All in all Carver's <i>Travels</i> was one of the best known and most widely read popular books about the American West and its inhabitants. His "words defined the image of the Indians right across the 'civilized' world" (Fulford, p. 61). Campe then turned it into an entertaining and instructive educational text for young readers. Its influence should not be underestimated, particularly in Germany where it was the starting-point for the long tradition of Indian novels for children (Brune-Heiderich, p. 116) and laid the groundwork for the reception for example of James Fenimore Cooper's books and in general for what has later been called "Indianertümelei", the naive fascination with native Americans (see f. ex. Lutz 1985 & 2012). </div>
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<b>III. Controversies </b></div>
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Carver's book was at first received very well and quickly became a standard work in this field. Travelers and scholars used it and relied on the information found there, for example William Falconer who in his <i>Remarks on the Influence of Climate</i> (1781, see f. ex. <a href="https://archive.org/stream/b28037868#page/222/mode/2up" target="_blank">pp. 221</a>, 225, 230, 235, 281 & 320) referred several times to the <i>Travels</i>. Indian trader John Long who spent some years in the same area was also familiar with Carver's work. He mentioned him a couple of times in his own book (1791, f. ex. <a href="https://archive.org/stream/voyagestravelsof00long#page/62/mode/2up" target="_blank">pp. 62</a>, 83 & 113) as did missionary and ethnologist John Heckewelder in his <i>Account of the History, Manner, and Customs, of the Indian Natives</i> (1819, at the <a href="https://archive.org/stream/transactionsofhi01amer#page/n5/mode/2up/search/Carver">Internet Archive</a>). </div>
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These are only some random examples. Throughout the 19th century the <i>Travels</i> were referred to in numerous popular and scholarly writings. It must have been among the most often quoted travel books about America during that time. Even towards the end of the century scholars like Danish sociologist C. N. Starcke in <i>Die primitive Familie in ihrer Entstehung und Entwicklung</i> (1888, here f. ex. <a href="https://archive.org/stream/dieprimitivefami00star#page/34/mode/2up" target="_blank">pp. 34</a>, 36 & 281) and American anthropologist Albert Jenks in his <i>Wild Rice Gatherers of the Upper Lake</i> (1901, at the <a href="https://archive.org/stream/wildricegatherer00jenk#page/1034/mode/2up/search/Carver" target="_blank">Internet Archive</a>) still made use of it. </div>
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But already early on serious doubts about the <i>Travels</i> were raised (see also Quaife 1914, <a href="https://archive.org/stream/jstor-1894948/1894948#page/n3/mode/2up" target="_blank">pp. 169-70</a>). American scholar Benjamin Smith Barton noted in 1787 in his <i>Observations on some Parts of Natural History</i> that he had "long considered Mr. Carver as a person whose authority may justly be disputed" (<a href="https://archive.org/stream/b22445183#page/n17/mode/2up" target="_blank">pp. 14-5</a>). Later Keating in his report about Stephen Long's expedition claimed that Carver's book "contains many circumstances, which might induce us to question the accuracy of his report"(1825, <a href="https://archive.org/stream/narrativeofexped00keat_0#page/2/mode/2up/search/Carver" target="_blank">p. 2</a>). Even more critical was Robert Greenhow who in his <i>History of Oregon and California</i> (here 2nd ed., 1845, <a href="https://archive.org/stream/historyoforegonc00greeuoft#page/142/mode/2up" target="_blank">pp. 142 & 145</a>) stated that Carver's account of the Indians "is extracted almost entirely, and, in many parts, verbatim, from the French journals and histories". </div>
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Detailed critiques would appear in the early 20th century. Most important in this respect was an influential article by historian E. G. Bourne in the <i>American Historical Review</i> in 1909 (<a href="https://archive.org/stream/americanhistoricv11jame#page/286/mode/2up" target="_blank">pp. 287-302</a>), an attempt at a devastating debunking. He showed where Carver had borrowed from earlier works and concluded that the <i>Travels</i> "must cease to be considered an original work" (<a href="https://archive.org/stream/americanhistoricv11jame#page/294/mode/2up" target="_blank">p. 294</a>). Lawrence J. Burpee, author of <i>The Search for the Western Sea. The Story of the Exploration of North Western America</i>, called Carver's book an "entertaining though untrustworthy narrative" and stated that he had "accomplished comparatively little" (1908, <a href="https://archive.org/stream/searchforwestern00burpuoft#page/284/mode/2up" target="_blank">p. 285</a>). </div>
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Also Reuben Gold Thwaites, one of the foremost experts in this field at that time, didn't think much of Carver <i>Travels</i>. He hadn't included it in the great series <i>Early Western Travels 1748-1846</i> (32 Vols., 1904-1907, available at the <a href="https://archive.org/search.php?query=Thwaites%20Early%20Western%20Travels%201748" target="_blank">Internet Archive</a>). In his history of Wisconsin (1908, <a href="https://archive.org/stream/wisconsinamerica00thwa_0#page/124/mode/2up" target="_blank">pp. 125-9</a>) he described Carver as an "ignorant shoemaker [...] incapable of writing such a book": </div>
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"[...] it is quite evident that he kept some rough notes [...] but the often-cited part containing descriptions of Indian life and customs is a mere patchwork of selections from the journals of Hennepin, Lahontan, Charlevoix and Adair."</div>
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That was all a little bit too much, "a condemnation too sweeping" (Quaife 1914, <a href="https://archive.org/stream/jstor-1894948/1894948#page/n5/mode/2up" target="_blank">p. 171</a>). Others did some real research and found reasons to disagree (see part. Lee <a href="https://archive.org/stream/1909proceedings00wiscuoft#page/142/mode/2up" target="_blank">1909</a> & <a href="https://archive.org/stream/1912proceedings00wiscuoft#page/86/mode/2up" target="_blank">1913</a>; Browning <a href="https://archive.org/stream/wisconsinmagazin03quai#page/290/mode/2up" target="_blank">1920</a>). Carver's original journals were found in the <i>British Library</i> and much biographical detail was uncovered. He surely wasn't an "ignorant shoemaker", in fact he did write more than only "rough notes" and one historian even felt justified to claim that Carver was "vindicated" (Alvord <a href="https://archive.org/stream/magazinehistory04abbagoog#page/n235/mode/2up" target="_blank">1913</a>). This may have been a more realistic verdict than the indiscriminate attacks á la Bourne and Thwaites. Of course the great number of plagiarisms from other works by either Carver or his ghostwriter had to be conceded. But these kind of methods were not uncommon among travel writers in 18th century. The question that remained was what was Carver's work and what was not. But at least it seemed obvious that he in fact had been the "author of the nucleus of the published book" (Sayre 2017, p. 190). </div>
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Three decades later Carver's reputation had to take another blow. Because of his association with the legendary Major Rogers he became a literary figure in Kenneth Roberts' <i>Northwest Passage</i> (1938). There he appeared as a very unpleasant character. At the end two of the books protagonists are discussing his book and they are very disappointed: </div>
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"'Why,' I said, 'the man's not only a liar, an ingrate, a traitor; he's a thief and a fool! He's falsified every date in his book! He's twisted every fact he's told, and left out most of the things he should have told [...]'" (p. 707). </div>
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As late as 1962 Percy Adams in his seminal <i>Travelers and Travel Liars</i> felt it justified to call Carver's book "largely a fake" (p. 85). This was a little bit unfair and not really convincing, in fact largely an exaggeration. He should have known better. Of course others at that time had attempted a more realistic appraisal of the Travels (see f. ex. Fridey 1954; Blegen 1963, pp. 67-70) but only after the publication of the manuscripts (Parker 1976) more serious discussions about Carver's achievements and shortcomings began to appear (see f. ex. Medeiros 1977, pp. 197-201; Wilson 1978, pp. 47-82 ; Savage 1979, pp. 42-8; Williams 1989; Sayre 2017, pp. 183-204). </div>
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It seems that now a fairer judgment is possible even though the shadow of Bourne et al. is still looming and Carver 's reputation has not completely recovered from their attacks (see f. ex. Lutz 1985, pp. 157-8; Hochbruck, pp. 73-7). I will only mention one recent contribution to this discussion,.an otherwise interesting and informative article (Djahazi 2014). Here I read that Carver "was an imposter in so far as he publicly staged himself as the first English gentleman venturing into the American interior, a bold and trustworthy discoverer telling his fellow citizens of the land's rich prospects and its inhabitants" (p. 28). </div>
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This is not wrong but I really do not see what's the problem here. Something like this could be said about many travel writers. Of course Carver posed as a great explorer and tried to outdo his predecessors. Of course he wanted to sell his book. And to call his expedition the "modest adventure" of an "historically rather insignificant traveler" (p. 28, also p. 42) - echoing earlier remarks by Burpee - seems to me unnecessarily condescending. Traveling several thousand miles, a considerable part of it through unknown territories, spending time with the locals to study their customs and then coming back alive with a lot of interesting information may now look like a "modest adventure" to a modern armchair academic. But I don't think I would describe it that way. </div>
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In fact Carver's expedition was in some way groundbreaking, a "soldierly record of the earliest experience of an Englishman in that portion of the continent" (Bain, in Henry 1901, <a href="https://archive.org/stream/travelsadventure00henr#page/n33/mode/2up" target="_blank">p. xxviii</a>). He happened to be the first British traveler who set out to explore the territories just won from the French and he brought back "new and exciting information" (Medeiros, p. 197). Of course he wasn't Captain Cook or Lewis & Clark but nonetheless the results of his efforts were surely not worthless. For example his maps were used by American commissioners at the peace negotiations after the Revolutionary War (see <a href="https://allthingsliberty.com/2015/03/the-impact-of-jonathan-carvers-journal-and-maps/" target="_blank">Ahrens 2015</a>). </div>
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His treatise about the customs and manners "of the Indians" may be a collage but it can also be seen as a good summary of what was known at that time, even if he mixed it all up a little bit and forgot to name his sources. Carver was no scholar. But he seems to have been familiar with much of the relevant literature and he attempted a more or less objective account. Even more important was the way he wrote about the native Americans: </div>
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"But the greatest significance of the book was its picture of the native Americans Carver met and resided among. His portrayal of the way they lived, the beliefs they held, and their human qualities did much to alter the prevailing eighteenth-century image of Indians as 'savages' [...]" (Gelb, p. 1).</div>
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His "Indians" were not "noble savages" but real persons and ordinary people. He "depicts an entirely conventional America" (Jehlen p. 130). </div>
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<b>IV. The "Songs" </b></div>
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All in all Carver's <i>Travels</i> were neither a "fake" nor - of course - can they be compared to a modern ethnography. Every single piece of information has to be checked for accuracy and correctness (see f. ex. the notes in Parker's edition of the manuscripts). But this should be the case with all travel accounts. And no matter how we judge its veracity: in a historical perspective the reception of this book was more important than its "authenticity", it's "qualities" were in fact "more literary than documentary" (Djahazi, p. 30). This also applies to the so-called "songs" quoted by Carver. </div>
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At that time poetry and songs of "exotic" peoples had already been published and discussed for more than two centuries (see <a href="https://hummingadifferenttune.blogspot.de/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">this article</a>, Ch. III, in my blog). I will only mention the two fragmentary Brazilian songs quoted by Montaigne in his <i>Essai</i> No. 30 "De Cannibales", the two Peruvian texts in Inca Carcilaso de la Vega's <i>Commentarios Reales</i> (1609) and the Lapp songs made available in Scheffer's <i>Lapponia</i> (1673). These pieces had become a part of the European literary tradition. </div>
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The Baron Lahontan had quoted some war songs of the Algonquin in his <i>New Voyages to North-America</i> (1703, II, <a href="https://archive.org/stream/newvoyagestonort02laho_2#page/32/mode/2up" target="_blank">pp. 32-3</a>), one of the most popular travel accounts about America from the early 18th century. Only a few years ago Henry Timberlake had included a war song of the Cherokees in his <i>Memoirs</i> (1765, <a href="https://archive.org/stream/memoirsoflieuthe00timb#page/56/mode/2up" target="_blank">pp. 55-59</a>) and British readers could also find a death-song of the Eskimos in David Crantz' <i>History of Greenland</i> (1767, <a href="https://archive.org/stream/historyofgreenla01cran#page/238/mode/2up" target="_blank">p. 239</a>). The "Indian song" would soon become a popular genre. </div>
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Therefore it was no wonder that Carver wanted to contribute to the growing body of relevant "authentic" texts. Three pieces in his book are of interest here. First there is an "extremely poetical and pleasing" oration performed for a dead chief (<a href="https://archive.org/stream/travelsthroughin02carv#page/n433/mode/2up" target="_blank">pp. 399-400</a>), not a song at all but it was later turned into one:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm2riecww_pZnJDIwlvW8Dg1Zrmb1kAzphEQKqHmOddbmdbdgaT4h58oajTMjZhLupShi-1ZAj7FHRH90fowk3K7IUpte0PBQaFGL2IR7pChf_h0NLKprAEX001PRVKcmOiry5qZT2riE/s1600/1-Carver-p399.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="263" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm2riecww_pZnJDIwlvW8Dg1Zrmb1kAzphEQKqHmOddbmdbdgaT4h58oajTMjZhLupShi-1ZAj7FHRH90fowk3K7IUpte0PBQaFGL2IR7pChf_h0NLKprAEX001PRVKcmOiry5qZT2riE/s320/1-Carver-p399.jpg" width="235" /></a></div>
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Bourne has shown (<a href="https://archive.org/stream/americanhistoricv11jame#page/294/mode/2up" target="_blank">p. 295</a>) that this was not an original text but derived from a - possibly also fictitious - funeral oration in Lahontan's <i>New Voyages</i> (1703, II, <a href="https://archive.org/stream/newvoyagestonort02laho_2#page/n69/mode/2up" target="_blank">pp. 51-2</a>). It's only the question if Carver had witnessed something of this kind during his time with the Dakotas and then attempted to reconstruct it with the help of Lahontan's description or if it was simply plagiarized to fill up the pages of his book. In this case the latter seems more plausible. </div>
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Then he offered a "plaintive melancholy song" of a woman bemoaning her dead child (<a href="https://archive.org/stream/travelsthroughin02carv#page/n439/mode/2up" target="_blank">pp. 404-6</a>):</div>
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In this case the core of the scenery can be found in the Journals (Parker, p. 104): </div>
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"[...] the mother of the child [...] would sing to the corps of her son telling over in a sort of singing tone how it had slam its enemies and taken prisoners [...] By these elegies they mean to signifie no more than what they think probable the child might have performed had it lived to mature years." </div>
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For the book he expanded this part and added the words of the "song". But this was obviously his own work. He had learned a little bit of the language - "I was six months among them & had oppertunity to learn something of their dialict" ([sic!]; Parker, pp. 100/1) - but with his rudimentary knowledge he surely wouldn't have been able to understand and write down a complete text as it was sung by this woman. </div>
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There is also a vocabulary of the Dakota language - the first one ever published - that Carver had collected himself. As an illustrative example he added both the "original" words and an English translation of a "hunting song" (<a href="https://archive.org/stream/travelsthroughin02carv#page/n475/mode/2up">p. 440</a>): </div>
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But again serious doubts are advisable: </div>
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"Although this text clearly demonstrates Carver's lack of knowledge of Dakota grammar, it is valuable as an example of the type of 'pidgin' Dakota probably used by Carver and many early traders. Each of the three sentences is grammatically correct in English, with the best possible substitutions of Dakota words as Carver knew them [...]. It is doubtful that the Naudowessee would have understood more than a few disconnected phrases [...]" (DeMallie in Parker 1976, p. 212). </div>
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All three texts were clearly not "authentic" recordings of original performances by native Americans. But at least in the latter two cases - the death-song for the child and the hunting-song - the basic ethnographic information seems to be correct. These "songs" may have been attempts at reconstructing something he had heard. But Carver's "fabricated" texts (see Hochbruck, pp. 75-6) were closer to the pseudo-Indian rhetoric created and promoted by European writers, the kind of style common for literary works like - for example - Warton's popular poem about the "Dying Indian" (1755, at the <a href="https://books.google.de/books?id=17MDAAAAQAAJ&hl=de&pg=PA208#v=twopage&q&f=false" target="_blank">Internet Archive</a>). </div>
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Nonetheless these texts' "authenticity" was taken for granted and they were well received among scholars and poets who looked for some original "Indian" songs. The year 1790 saw the publication of a new edition of Purmann's <i>Sitten und Meinungen der Wilden in Amerika</i>. In the appendix to the fourth volume he presented and discussed Carver's book and also quoted all three pieces (<a href="https://archive.org/stream/sittenundmeinung04purm#page/368/mode/2up" target="_blank">pp. 368-9</a>, 372, 379). </div>
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Carver's "songs" also fit well into the popular enthusiasm for the poetry of the people: "Volkslieder" and "national songs". Herder in Germany didn't include them in his <i>Volkslieder</i> (1778/79) because the German edition of the <i>Travels</i> only appeared in 1780. But two decades later he quoted two of the three in the little treatise <i>Land der Seelen</i>, a discussion of the beliefs in life after death among several peoples (Zerstreute Blätter 6, 1797, <a href="https://archive.org/stream/bub_gb_fJU6AAAAcAAJ#page/n163/mode/2up" target="_blank">pp. 135-42</a>). As examples he used Arabian poems, texts from <i>Ossian</i> that were supposed to represent the Celts and from Carver both the death-song for the child and the oration of death for the deceased chief. </div>
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A year later German poet Friedrich Schiller - like many Germans fascinated with the "Indians" - took the latter, also from the German edition of Carver's book, and turned it into a ballad that was published first in the <i>Musen-Almanach für das Jahr 1798</i> (<a href="https://archive.org/stream/bub_gb_smBeAAAAcAAJ#page/n257/mode/2up" target="_blank">pp. 237-9</a>). Poems about Indians by German writers were not uncommon. For example adaptations of Warton's "Dying Indian" had been published both by Christian Heinrich Schmid in his <i>Anthologie der Deutschen</i> (1772, <a href="https://books.google.de/books?id=_qn8MoJaAnoC&hl=de&pg=PA330#v=twopage&q&f=false" target="_blank">pp. 330-1</a>) and by Christian Friedrich Daniel Schubart (first in the <i>Deutsche Chronik</i> 1, 1774, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10611621_00094.html?numScans=2" target="_blank">p. 83</a>). Many more "Indian" poems would follow (see Augustin's anthology, 1981). But Schiller's "Nadowessische Todtenklage" (see Jantz 1959) was a particularly strange piece. Today it sounds like a parody but I assume it was a serious attempt at speaking with an "Indian" voice. Interestingly this ballad won a certain popularity. It was set to music by composer Hummel (in <i>12 Deutsche Lieder</i>, 1799, <a href="https://archive.org/stream/bub_gal_ark_12148_btv1b9081968h#page/n13/mode/2up" target="_blank">pp. 6-7</a>) and also translated into English several times, for example by Benjamin Beresford who included Hummel's song with an English text in one of his anthologies, the <i>Collection of German Ballads and Songs</i> (1800, <a href="https://archive.org/stream/bub_gb_YfVdAAAAcAAJ#page/n21/mode/2up" target="_blank">pp. 22-3</a>, at the Internet Archive; also at <a href="https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11146506_00022.html?numScans=2&zoom=0.35000000000000003" target="_blank">BSB</a>). </div><div style="text-align: justify;"> </div><div style="text-align: justify;">The "hunting song" also appeared in a little anthology of "exotic" poetry and songs compiled by linguist Johann Christoph Adelung. His <i>Proben der Dichtung ungebildeter Völker</i> can be found in a Becker's <i>Erholungen</i>, a literary periodical (1799, pp. 194-208, here No. 10, <a href="https://gdz.sub.uni-goettingen.de/id/PPN818862467?tify={%22pages%22:[210,211],%22view%22:%22info%22}" target="_blank">p. 206</a>). Here he put together original songs and poetry - together with his own translations - from the Baltic, Siberia, Lapland as well as South and North America. They were taken mostly from travel books and ethnographies, some older like Scheffer's <i>Lapponia</i> and the rest more recent publications like Carver's <i>Travels</i> and Long's <i>Voyages</i>. In fact these were more or less all texts of this kind that were available at that time. Adelung versified Carver's text "to make it more look like a poem" (Feest, p. 56) and that way he adapted it even more to European literary conventions.
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One may assume that Adelung was already busy preparing his <i>Mithridates oder allgemeine Sprachenkunde</i>, a comparative survey of the world's languages. The volumes about America were only published posthumously. I can't say how much of it was his own work but we can see that the chapter discussing the language of the "Nadowessier oder Sioux-Nation" is still based mostly on Carver's vocabulary. Here this "hunting-song" was quoted again (3.3, 1816, pp. 256-65, here <a href="https://archive.org/stream/mithridatesodera_33adel#page/264/mode/2up" target="_blank">p. 265</a>). </div>
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Interestingly this particular piece - "the first purportedly 'Dakota' text ever published, and [...] perhaps also the most frequently reprinted and translated one" (Feest, p. 56) - reappeared later in other publications, for example in the USA in a periodical, <i>The Portfolio</i> (5, 1818, <a href="https://books.google.de/books?id=ArMPAAAAQAAJ&hl=de&pg=PA328#v=onepage&q&f=false" target="_blank">p. 328</a>), where the original text and a translation were placed between an Italian song and a "Sonnet" from Goethe's <i>Torquato Tasso</i>. In Germany it was Bromme who quoted it again in his popular books about America (here 1839, <a href="https://archive.org/stream/nordamerikasbewo00brom#page/252/mode/2up" target="_blank">p. 252</a>). </div>
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I can close here with Therese von Jacob - i. e. Talvj - a very knowledgeable scholar of international "Volkslieder" and ethno-poetry -, who in 1840 published her <i>Versuch einer geschichtlichen Charakteristik der Volkslieder germanischer Nationen</i>. She also included chapters about non-European songs and her anthology of American texts included her own adaptations of both the hunting-song and the mother's song for the dead child (here <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10121062_00140.html?zoom=0.45&numScans=2" target="_blank">pp. 120-1</a>). It is somewhat surprising that she still used these old texts - and once again turned then into Europeanized poems - but at least some of the other pieces in her little collection were of a later date and perhaps from more reliable sources. </div>
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<br /></div>
<div style="text-align: justify;">
We can see that by that time Carver's "songs" were still regarded as authentic representations of the American Indians' culture. Of course they weren't but instead already adapted to the cultural frame of reference of the European readers. With each translation they were even more Europeanized. Nonetheless his texts had a semblance of "authenticity" because he had been there and he had some real knowledge of this culture. That made their reception different from the purely literary works like for example Warton's "Dying Indian". </div>
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<div style="text-align: center;">
<b>IV. Bibliography </b></div>
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<br /></div>
<div style="text-align: justify;">
At first it is of course necessary to bring all the editions and translations of Carver's book into some order. Thankfully this work has already been done. A more or less complete bibliography was attempted first by John Thomas Lee in his two ground-breaking articles more than a century ago (<a href="https://archive.org/stream/1909proceedings00wiscuoft#page/142/mode/2up" target="_blank">1909</a> & <a href="https://archive.org/stream/1912proceedings00wiscuoft#page/120/mode/2up" target="_blank">1913</a>) and then by Parker in his edition of Carver's journals (1976, pp. 222-31). All the English and American editions until the year 1800 are also listed in the <i>English Short Title Catalogue</i> (<a href="http://estc.bl.uk/" target="_blank">ESTC</a>). </div>
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<div style="text-align: justify;">
Where then can we find the digital copies of these books? That is not always easy because they are scattered over different repositories. The search strategy usually depends on what I am looking for. In this case I have started with the <i>Internet Archive</i>. Their own scans - mostly of books from North American libraries - are nearly always of excellent quality. I also know that there are some collections that include a considerable number of travel books from the 18th and 19th century. In fact this turned out to be very <a href="https://archive.org/search.php?query=Jonathan+Carver+Travels&sort=-publicdate" target="_blank">successful</a>. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
What is available there first needed to be sorted and then served as a backbone of the bibliography. This was supplemented with what can be found - with the help of search engines like the <a href="http://kvk.bibliothek.kit.edu/index.html" target="_blank">KVK</a> - on sites like <i>Google Books</i> and in other libraries' repositories. By the way, nearly all early English and American editions published until 1800 are also available at <i>Eighteenth Century Collections Online</i> (ECCO) and some of the American editions in <i>Early American Imprints</i> (Newsbank/Readex). But these are closed databases and also the quality isn't the best. Ten years ago they would have been the only digital copies available. Today in most cases better scans are available in open repositories. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
ESTC had for a long time only links to copies in closed collections like <i>ECCO</i> and <i>EAI</i>. Recently they started to add links to scans at sites like <i>Hathi Trust</i>, <i>Internet Archive</i> and even sometimes <i>Google Books</i>. At the moment this is far from being complete. Nonetheless it is helpful and I hope this feature will be expanded in future. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It is also necessary to identify a digital copy's provenance. The same copy may be available in different repositories. A considerable number of books scanned by <i>Google</i> can be found at the <i>Internet Archive</i>, at <i>Hathi Trust</i> and often on the site of the contributing library. Scans produced by the <i>Internet Archive</i> were also posted at <i>Hathi Trust</i>. This means that the same copy is available different repositories. Occasionally this can be a little bit confusing and it is advisable to sort it out. </div>
<div style="text-align: justify;">
<br /></div>
At first I will look at the five early English editions published between 1778 and 1781:<br />
<ul style="text-align: justify;">
<li>Jonathan Carver, Travels Through The Interior Part of North-America in the Years 1766, 1767 and 1768. Illustrated with Copper Plates, Printed for the Author, London, 1778 [ESTC <a href="http://estc.bl.uk/T133718" target="_blank">T133718</a>],<br />at the <a href="https://archive.org/stream/travelsthroughin02carv#page/n7/mode/2up" target="_blank">Internet Archive</a> [= JCBL] <br />at the <a href="https://archive.org/details/travelsthroughin00incarv" target="_blank">Internet Archive</a> [= Uof Pittsburgh] <br />at the <a href="https://archive.org/details/travelsthroughin01carv" target="_blank">Internet Archive</a> [= Duke] <br />at <a href="https://books.google.de/books?id=C57hAAAAMAAJ" target="_blank">Google Books </a>[=UofMich] </li>
<li>-, Price etc., Dublin, 1779 [ESTC <a href="http://estc.bl.uk/T133587" target="_blank">T133587</a>], <br />at the <a href="https://archive.org/details/travelsthroughin04carv" target="_blank">Internet Archive</a> [= JCBL] <br />at <a href="https://books.google.de/books?id=aVJZAAAAcAAJ" target="_blank">Google Books</a> [=UofMich] </li>
<li>-. The Second Edition, Printed for the Author, London, 1779 [ESTC <a href="http://estc.bl.uk/T133727" target="_blank">T133727</a>]<br />at the <a href="https://archive.org/details/travelsthroughin05carv" target="_blank">Internet Archive</a> [= JCBL] <br />at the <a href="https://archive.org/details/McGillLibrary-129978-5062" target="_blank">Internet Archive</a> [= McGill] </li>
<li>-, Printed for the Author, London, 1780 [ESTC <a href="http://estc.bl.uk/N63312" target="_blank">N63312</a>] (not yet digitized) </li>
<li>-. The Third Edition. To which is added, Some Account of the Author, And A Copious Index, Dilly etc., London, 1781 [ESTC <a href="http://estc.bl.uk/T133716" target="_blank">T133716</a>] <br />at the <a href="https://archive.org/details/travelsthroughin00carv" target="_blank">Internet Archive</a> [= UofPittsburgh] <br />at the <a href="https://archive.org/details/travelsthroughin03carv" target="_blank">Internet Archive</a> [= JCBL] </li>
</ul>
<div style="text-align: justify;">
Three copies of the first edition - from three different libraries - are available at the <i>Internet Archive</i>. They are of good quality and also complete. As far as I can see all maps and plates have been scanned correctly and are included. There is also one copy at <i>Google Books</i>. But - as expected - it is not complete and should be avoided: the maps have been mutilated by the scanner. As is widely known this is a general problem with <i>Google</i>'s scans that limits their usefulness. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Of the four following editions one is missing, the one published in London in 1780. But this one seems to be very rare and according to ESTC there is only one extant copy in a library. But good scans of other three are easily available at the <i>Internet Archive</i>. The most important supplier in this respect is the <a href="https://archive.org/details/JohnCarterBrownLibrary&tab=collection" target="_blank">John Carter Brown Library</a> (JCBL). They offer a great collection of early literature about the Americas including many different editions of Carver's <i>Travels</i>. I have also listed <i>Google Books</i>' scan of the Dublin edition but once again the <a href="https://books.google.de/books?id=aVJZAAAAcAAJ&hl=de&pg=PA16#v=twopage&q&f=false" target="_blank">map is missing</a>. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Periodicals are also an important source. There was a considerable number of reviews as swell as reprints of parts of the <i>Travels</i>. Magazines from this era can easily found at <i>Google Books</i>. They have digitized nearly all the important publications like for example the <i>Gentleman's Magazine</i>, the <i>Monthly Review</i>, the <i>London Review</i> and the <i>Lady's Magazine</i>. Newspapers from that time are of also indispensable. The most important resource is the <i>17th-18th Century Burney Collection </i>(Gale) that is of course still not freely available. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The American editions published since 1784 are based on the last London edition. But neither the index nor Mr. Lettsom's biography were included. For some reason the maps and the plates were also left out. In 1798 the book returned to Britain. Four editions were published in Scotland until 1808: </div>
<ul style="text-align: justify;">
<li>Jonathan Carver, Three Years Travels Throughout the Interior Parts of North America For More Than Five Thousand Miles, Containing [...], Crukshank, Philadelphia, 1784 [ESTC <a href="http://estc.bl.uk/W14447" target="_blank">W14447</a>] (see the ad in The Pennsylvania Packet, and General Advertiser, No. 1705, 29.5.1784, at AHN) <br />at the <a href="https://archive.org/details/threeyearstravel02carv" target="_blank">Internet Archive</a> [= JCBL] <br />at the <a href="https://archive.org/details/threeyearstravel00carv" target="_blank">Internet Archive</a> [= UofPittsburgh] </li>
<li>-, Crukshank, Philadelphia, 1789 [ESTC <a href="http://estc.bl.uk/W28307" target="_blank">W28307</a>] <br />at the <a href="https://archive.org/stream/threeyearstravel03carv#page/n3/mode/2up" target="_blank">Internet Archive</a> [= JCBL] </li>
<li>-, Crukshank, Philadelphia, 1792 [ESTC <a href="http://estc.bl.uk/W28102" target="_blank">W28102</a>]<br />[at Early American Imprints (c)] </li>
<li>-, West, Portsmouth NH, 1794 [ESTC <a href="http://estc.bl.uk/W28308" target="_blank">W28308</a>] <br />at the <a href="https://archive.org/details/threeyearstravel04carv" target="_blank">Internet Archive</a> [= JCBL] </li>
<li>-, Key & Simpson, Philadelphia, 1796 [ESTC <a href="http://estc.bl.uk/W29547" target="_blank">W29547</a>] <br />at the <a href="https://archive.org/details/threeyearstravel01carv" target="_blank">Internet Archive</a> [= Duke] <br />at the <a href="https://archive.org/details/threeyearstravel00" target="_blank">Internet Archive</a> [= PTSL]<br />at <a href="https://books.google.de/books?id=aqdCAQAAMAAJ" target="_blank">Google Books</a> [= Ohio StL] </li>
<li>-, West, Boston, 1797 [ESTC <a href="http://estc.bl.uk/W28309" target="_blank">W28309</a>] <br />at the <a href="https://archive.org/details/threeyearstravel05carv" target="_blank">Internet Archive</a> [= JCBL] </li>
<li>-, Key, Edinburgh, 1798 [ESTC <a href="http://estc.bl.uk/T175338" target="_blank">T175338</a>] <br />at the <a href="https://archive.org/details/threeyearstravel06carv" target="_blank">Internet Archive</a> [= JCBL] </li>
<li>-, West & Greenleaf, Boston, 1802 <br />at <a href="https://books.google.de/books?id=968BAAAAYAAJ" target="_blank">Google Books</a> [= Harvard], also at the <a href="https://archive.org/details/threeyearstrave00lettgoog" target="_blank">Internet Archive</a> </li>
<li>-, Leslie, Glasgow, 1805 <br />at the <a href="https://archive.org/details/cihm_18093" target="_blank">Internet Archive</a> [=UofAlberta CIHM] </li>
<li>-, Key, Edinburgh, 1807 <br />at the <a href="https://archive.org/details/cihm_91143" target="_blank">Internet Archive</a> [=UofAlberta CIHM] </li>
<li>-, Key, Edinburgh, 1808 (not yet digitized) </li>
<li>-, Thomas & Co., Walpole NH, 1813 <br />at <a href="https://books.google.de/books?id=0LRNAAAAMAAJ" target="_blank">Google Books</a> [= Uof Michigan] </li>
</ul>
<div style="text-align: justify;">
We can see that only one is missing. The rest has been scanned at least once and all except one are available in open repositories. Again the <i>JCBL </i>offers excellent digital copies of five of them. For the others we can also use <i>Google Books</i>' scans. Here they couldn't do much wrong because there were no maps or other fold-outs to mutilate. Some are also available at the <i>Internet Archive</i> as part of the <a href="https://archive.org/details/university_of_alberta_libraries_microfilm&tab=collection" target="_blank">CIHM Monograph Collection</a>. This is a great and very valuable collection of Canadiana that were scanned from microfiches. The resulting digital copies don't always look that perfect but if there is nothing else they can be used to fill the gaps. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
As mentioned above parts of Carver's book were also reprinted in popular periodicals, for example in newspapers like <i>The Columbian Herald</i> (1784), <i>The New Haven Gazette</i> (1784/5), The <i>Lichfield Monitor</i> (1785/6) and others. These publications have all been digitized. They can be found easily in a <i>America's Historical Newspaper</i> (Newsbank/Readex), but of course only by those who have institutional access. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
One more later edition of the <i>Travels</i> was published in 1838, this time with all the maps and illustrations (see the review in: The New York Review 4, 1839, <a href="https://books.google.de/books?id=c-wRAAAAYAAJ&hl=de&pg=PA232#v=twopage&q&f=false" target="_blank">pp. 233-4</a>). Two fine copies are available at the <i>Internet Archive</i>: </div>
<ul>
<li>Jonathan Carter, Travels in Wisconsin. From the Third London Edition, Harper & Brothers, New York, 1838<br />at the <a href="https://archive.org/details/travelsinwiscons1838carv" target="_blank">Internet Archive</a> [= Wellesley CL] <br />at the <a href="https://archive.org/details/travelsinwiscons00carv" target="_blank">Internet Archive</a> [= LOC] </li>
</ul>
<div style="text-align: justify;">
We can see that the British and American editions of Carver's <i>Travels</i> are well represented in the digital book world. Nearly all of them are freely available. There is no need to use closed databases like <i>ECCO</i> or <i>Early American Imprints</i>. Most of the scans are also in good quality and perfectly usable. But it is also clear to see that in this case one particular library - the <i>JCBL</i> that is specialized in this genre - is responsible for most of the good digital copies of Carver's book produced until now. Without their digitization efforts much less would be available. </div>
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<br /></div>
<div style="text-align: justify;">
The publication history of this book in Britain and America came to an end in 1838 and it took a very long time until it was made available again. In the 1950s a facsimilé of the third edition was published (Minneapolis 1956, at <a href="https://hdl.handle.net/2027/mdp.39015027811135?urlappend=%3Bseq=632" target="_blank">Hathi Trust</a> [= GB]). But it was Parker's groundbreaking edition of Carver's journals (1976, at the <a href="https://archive.org/details/journalsofjonath00carv" target="_blank">Internet Archive</a>) that attracted new attention for his work. Later the <i>Travels</i> were published anew in a modern edition with an excellent introduction and an abbreviated text (Gelb 1993). But today it is much easier to get access to the digital copies of nearly all original editions of this work. They can serve as the starting-point for further research. </div>
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<br /></div>
<div style="text-align: justify;">
The foreign editions of Carver's <i>Travels</i> are also mostly available online. I can start here with Germany where the first translation was published already two years after the first English edition. <i>Google Books</i> offers two copies. But both of them are incomplete because - as expected - the map is missing. Thankfully the <i>JCBL</i> helps out once again. The excellent scan of their copy can be found at the <i>Internet Archive</i>. </div>
<ul style="text-align: justify;">
<li>Johann Carvers Reisen durch die inneren Gegenden von Nord-Amerika in den Jahren 1766, 1767 und 1768, mit einer Landkarte. Aus dem Englischen, Bohn, Hamburg, 1780, <br />at the <a href="https://archive.org/stream/johanncarversrei00carv#page/n3/mode/2up" target="_blank">Internet Archive</a> [= JCBL] <br />at <a href="https://books.google.de/books?id=K-5XAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11095760-0" target="_blank">BSB/SB Regensburg</a>] <br />at <a href="https://books.google.de/books?id=qvNVAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/rec/AC09761269" target="_blank">ÖNB</a>] </li>
</ul>
<div style="text-align: justify;">
Responsible for this publication was Christian Daniel Ebeling who wrote a short preface. The translator wasn't named but most likely it may have been his brother Johann Philipp (see Parker, p. 224). This book also served as the first volume of the his series <i>Neue Sammlung von Reisebeschreibungen</i> (Bohn, Hamburg, 1780-1790). All the other volumes have been scanned by <i>Google</i> (available at <a href="http://solo.bodleian.ox.ac.uk/OXVU1:LSCOP_OX:oxfaleph014576366" target="_blank">Oxford</a>). Ebeling (1741-1817, see <a href="https://de.wikipedia.org/wiki/Christoph_Daniel_Ebeling" target="_blank">Wikipedia</a>; <a href="https://de.wikisource.org/wiki/Christoph_Daniel_Ebeling" target="_blank">wikisource</a>; Stewart 1976), a teacher, scholar, librarian, translator and editor, was at that time amongst those who brought the world to the German readers. Later he wrote a geography and history of North America, the <i>Erdbeschreibung und Geschichte von Amerika</i> (7 Vols., 1793-1816, at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=23631836&db=100" target="_blank">BSB</a>). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
For some reason this edition was never reprinted and vanished from the book market. But soon Campe's version of Carver's <i>Travels</i> became available. The publication history of his first collection of travel accounts for juvenile readers can be a little bit confusing. It was first published by Campe's own <i>Schulbuchhandlung</i> in Braunschweig between 1785 and 1793 but soon reprints followed and other publishers also took over. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
I have used a copy of the fourth volume that I found at the <i>Internet Archive</i>. The quality is fine but the contributing library apparently didn't have the complete series. Therefore I have listed some others where all volumes of the <i>Sammlung</i> are available as well as one later edition from the 1790s: </div>
<ul style="text-align: justify;">
<li><div>
Das Interessanteste aus Johann Carvers Reise durch die inneren Gegenden von Nordamerika, in: Joachim Heinrich Campe, Sammlung interessanter und durchgängig zwekmäßig abgefaßter Reisebeschreibungen für die Jugend. 4. Theil, Schulbuchhandlung, Braunschweig, 1788 (= Kleine Kinderbibliothek 16), pp. 33-352,</div>
<div>
at the <a href="https://archive.org/stream/sammlunginteress41camp#page/32/mode/2up" target="_blank">Internet Archive</a> [= Duke-JantzColl] </div>
at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10761827-6" target="_blank">BSB</a> [= GB; see the <a href="https://opacplus.bsb-muenchen.de/search?oclcno=9749254&db=100" target="_blank">complete series</a>] <br />at <a href="https://gdz.sub.uni-goettingen.de/id/PPN715670093?tify={%22pages%22:[40,41],%22view%22:%22info%22}" target="_blank">UB Göttingen</a> (see also the <a href="http://gdz.sub.uni-goettingen.de/dms/load/toc/?PID=PPN690000898" target="_blank">complete series</a>) </li>
<li>-, [Herold, Hamburg], 1788, pp. 31-287,<br />at <a href="https://books.google.de/books?id=_0VhAAAAcAAJ&hl=de&pg=PA31#v=twopage&q&f=false" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11247447-7" target="_blank">BSB/SBB Augsburg</a>; see there the <a href="https://opacplus.bsb-muenchen.de/search?id=BV009778468&db=100" target="_blank">complete series</a>] </li>
<li>-, Grözinger, Reutlingen, 1796, pp. 31-287 ,<br />at <a href="http://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN780555244&PHYSID=PHYS_0035&DMDID=DMDLOG_0001&view=picture-double" target="_blank">SB Berlin</a> (see the <a href="http://resolver.staatsbibliothek-berlin.de/SBB0001542700000000" target="_blank">complete series</a>)<br />at <a href="https://books.google.de/books?id=hxhCAAAAcAAJ&hl=de&pg=RA1-PA30#v=twopage&q&f=false" target="_blank">Google Books</a> [= UGent]<br />at <a href="https://books.google.de/books?id=ALcLAAAAYAAJ&hl=de&pg=RA1-PA30#v=twopage&q&f=false" target="_blank">Google Books</a> [= UofVirginia], also at the <a href="https://archive.org/stream/sammlunginteres01unkngoog#page/n331/mode/2up" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
More editions would follow. There was one published in Vienna as <i>Sammlung interessanter Reisebeschreibungen für die Jugend</i> in 1807/8. Nearly all volumes of the series have been digitized by <i>Google</i> for the <i>Austrian National Library</i> but not yet the one with Carver's <i>Reisen</i> (see <a href="http://data.onb.ac.at/rec/AC00933514" target="_blank">ÖNB</a>). Publisher Macklot in Stuttgart brought out a new edition in 13 volumes, now with the title <i>Sammlung merkwürdiger Reisebeschreibungen für die Jugend</i>. The part with Carver's <i>Reisen</i> can be found, bound together with several other parts of this series, in a digitized volume available at the <a href="https://archive.org/stream/sammlungmerkwrdi51camp#page/n267/mode/2up" target="_blank">Internet Archive</a> [= Duke-JantzColl]. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Campe also put together a complete collection of all his writings for juvenile reader. This <i>Gesamtausgabe</i> first appeared between 1806 and 1822 in 39 volumes and was then regularly reprinted at least six times until the 1840s. The first <i>Sammlung</i> can be found in volumes 17-28 and Carver was of course included, too. The 4th edition - published between 1830 and 1832 - may serve as an example. Nearly all volumes are available at the <a href="https://archive.org/details/robarts?and[]=Campe%20S%C3%A4mmtliche" target="_blank">Internet Archive</a>: </div>
<ul style="text-align: justify;">
<li>J. Carvers Reisen durch das Innere von Nordamerika, in: Joachim Heinrich Campe, Erste Sammlung merkwürdiger Reisebeschreibungen. 4. Theil, 7. verb. Aufl. (= Sämmtliche Kinder- und Jugendschriften. Neue Gesamtausgabe der letzten Hand 20), Schulbuchhandlung, Braunschweig, 1831, at the <a href="https://archive.org/stream/smmtlichekinde1920campuoft#page/n237/mode/2u" target="_blank">Internet Archive</a> [= UofToronto] </li>
</ul>
<div style="text-align: justify;">
The first French translation appeared with a map but just like in Germany the plates weren't included. There are several fine scans available at the <i>Internet Archive</i>. Several more copies can be found at <i>Google Books</i>. I have only listed two of them: </div>
<ul>
<li><div style="text-align: justify;">
Jonathan Carver, Voyage Dans Les Parties Intérieures de L'Amérique Septentrionale, Pendant les années 1766, 1767 & 1768. Ouvrage traduit sur la troisieme édition Angloise, par M. de C.... avec de remarques & quelques additions du traducteur, Pissot, Paris, 1784, </div>
at the <a href="https://archive.org/details/voyagedanslespar02carv" target="_blank">Internet Archive </a>[= JCBL] <br />at the <a href="https://archive.org/details/McGillLibrary-129980-5064" target="_blank">Internet Archive</a> [= McGill] <br />at the <a href="https://archive.org/details/McGillLibrary-129979-5063" target="_blank">Internet Archive</a> [= McGill] <br />at <a href="https://books.google.de/books?id=wQVYAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/rec/AC09761268">ÖNB</a>] </li>
<li>-, [s. n.], Yverdon, 1784 <br />at the <a href="https://archive.org/details/voyagedanslespar01carv" target="_blank">Internet Archive</a> [= JCBL] <br />at <a href="https://books.google.de/books?id=lrUPAAAAQAAJ" target="_blank">Google Books</a> [= UofLausanne] </li>
</ul>
<div style="text-align: justify;">
Soon afterwards a new translation was published, not of the original book but of Campe's abbreviated German edition. </div>
<ul>
<li>Choix des Détails le Plus Intéressans que Contiennent les Voyages de Jean Carver dans l'Intérieur de l'Amerique Septentrionale, in: Johann Heinrich Campe, Recueil de Voyages Intéressans pour l'Instruction et l'Amusement de la Jeunesse. Traduit de l'Allemand, T. 4, Streng, Frankfurt/M., 1789, pp. 43-408,<br /><div style="text-align: justify;">
at <a href="http://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN780538315&PHYSID=PHYS_0047&DMDID=DMDLOG_0001&view=picture-double" target="_blank">SB Berlin</a> (see <a href="http://resolver.staatsbibliothek-berlin.de/SBB000153F100000000" target="_blank">Vols 1-5</a>)</div>
at <a href="https://books.google.de/books?id=DuMUAAAAQAAJ&hl=de&pg=PA43#v=twopage&q&f=false" target="_blank">Google Books</a> [= UofLausanne] </li>
</ul>
<div style="text-align: justify;">
After the turn of the century a series with the title <i>Bibliothèque Géographique et Instructive des Jeunes Gens ou recueil de voyages intéressants</i> began to appear. It was based on Campe's first Sammlung but other popular travel accounts like Chardin's <i>Voyage en Perse</i> were also included. Between 1802 and 1807 nearly 70 volumes were published. Carver's <i>Travels</i> can be found in volumes 5 and 6: </div>
<ul style="text-align: justify;">
<li>Jonathan Carver, Voyage dans l'Interieur de l'Amerique Septentrionale, pendantles années 1766, 1767 & 1768. Rédigé pour l'instruction et l'amusement de la jeunesse, par Campe. Traduit de l'Allemand avec des notes [...], Dufour, Paris & Amsterdam, 1802, 2 Vols. [not yet digitized] </li>
</ul>
<div style="text-align: justify;">
This series must have been quite popular and was republished several times until 1816 (see Parker, p. 230). But that wasn't the last time the young readers in France heard of Mr. Carver. After a long hiatus the French translation of Campe's edition appeared again in 1845 as part of the <i>Bibliothèque des Écoles Chrétiennes</i>. The editor added a good and informative introduction. This book was then reprinted eight times until the 1870s (see Parker, p. 231). I found digital copies of two early editions at <i>Google Books</i>. The quality of the scan leaves leaves something to be desired but they are still usable: </div>
<ul>
<li><div style="text-align: justify;">
Aventures de Carver Chez les Sauvages de l'Amérique Septentrionale, Mame et Co., Tours, 1845 , at <a href="https://books.google.de/books?id=wxITAAAAYAAJ" target="_blank">Google Books</a> [= NYPL]</div>
-, 3rd ed., 1849, at <a href="https://books.google.de/books?id=WREIAAAAQAAJ" target="_blank">Google Books</a> [= <a href="http://solo.bodleian.ox.ac.uk/OXVU1:LSCOP_OX:oxfaleph014569071" target="_blank">Oxford</a>] </li>
</ul>
<div style="text-align: justify;">
All in all 15 editions of Carver's <i>Travels</i> were published in France between 1784 and 1870. It was available on the book market for nearly 90 years, much longer than in the USA. In fact "the book's popularity in Europe"was surely not only "rather momentary" (Djahazi, p. 31), at least in Germany and France. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
There was also a Dutch translation based on the third English edition that appeared in the 1790s in two volumes. A map and several plates were included. I found three copies. The one at <i>Google Books</i> has of course the usual defects: </div>
<ul>
<li>Jonathan Carver, Reize Door De Binnenlanden Van Noord-Amerika. Naar den deerden Druk uit het Engelsch veertaald door J. D. Pasteur. Meet Plaaten, Honkoop, Leyden, 1796, 2 Vols.,<br />at the <a href="https://archive.org/details/jcbindigenous?and[]=Carver%20Reize%20door" target="_blank">Internet Archive</a> [= JCBL] <br />at <a href="http://opc4.kb.nl/DB=1/XMLPRS=Y/PPN?PPN=375583793" target="_blank">KBN/UB Leiden</a><br />at <a href="https://books.google.de/books?id=dfJaAAAAQAAJ" target="_blank">Google Books</a> [= UGent] </li>
</ul>
<div style="text-align: justify;">
But soon Campe's version followed. His works were also very popular in the Netherlands and many of them were translated (see de Jong 1832, <a href="https://books.google.de/books?id=PxJEAAAAcAAJ&hl=de&pg=PA101#v=twopage&q&f=false" target="_blank">p. 101</a>). Parts of the <i>Sammlung interessanter Reisebeschreibungen</i> appeared as <i>Reisbeschrijvingen voor de Jeugd</i> in five volumes since 1786 in Zwolle and Amsterdam (Catalog <a href="http://aleph.library.uu.nl/F?func=direct&doc_number=001229188" target="_blank">Utrecht University</a>). The one with Carver's <i>Travels</i> came out in 1804 (see AVL 1804, <a href="https://books.google.de/books?id=W0I3AAAAMAAJ&hl=de&pg=PA658#v=twopage&q&f=false" target="_blank">p. 658-60</a> ). The following year a Swedish edition was published, translated not from Campe's original German but from the French: <i>Jonathan Carvers Resa i Norra Amerika</i>. It was part of the <i>Geografiskt bibliotek för ungdom, eller Samling af intressanta resebeskrifningar till den uppväxande ungdomens nytta och nöje</i> (see Parker, p. 230; see <a href="http://libris.kb.se/bib/2435423" target="_blank">libris</a>). And more than 75 years later, in 1881, even a Greece translation appeared (see Parker, p. 231). But as far as I know none of these publications have been digitized. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
We can see that the most important European editions are also available online. As usual Google's scans need to checked for quality and completeness. But excellent copies of the first German, French and Dutch translations can be found at the <i>Internet Archive</i>, once again thanks to the <i>JCBL</i>. There is also a representative sample of the different editions of Campe's abbreviated version and its French translation. What is missing from the digital book world at the moment are some of the more obscure publications. But I have no doubt that they may be available sometime in the future. All in all the result is mostly satisfying. Mr. Carver's <i>Travels</i> are nowadays easier to find and more accessible than at the time of their original publication. </div>
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Percy Adams, Travels and Travel Liars, 1660-1800, Berkeley & Los Angeles, 1962, at the <a href="https://archive.org/details/travelerstravell00adam" target="_blank">Internet Archive</a> [B] </li>
<li>Johann Christoph Adelung, Proben der Dichtung ungebildeter Völker. Erstes Dutzend, in: Erholungen. Herausgegenen von W. G. Becker. 1. Bändchen, Koch & Weigel, 1799, Leipzig, 1799 pp. 194-208, at <a href="https://books.google.de/books?id=0lpTAAAAYAAJ&hl=de&pg=PA194#v=twopage&q&f=false" target="_blank">Google Books</a> [= Princeton]; at <a href="https://gdz.sub.uni-goettingen.de/id/PPN818862467?tify={%22pages%22:[198,199],%22view%22:%22info%22}" target="_blank">UB Göttingen</a> </li>
<li>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 (<a href="https://archive.org/details/university_pittsburgh?&and[]=Adelung%20Mithridates" target="_blank">Vols. 1/3</a>; <a href="https://archive.org/details/robarts?and[]=Adelung%20Mithridates" target="_blank">Vols. 2/4</a>) </li>
<li>AHN = <a href="http://www.readex.com/content/americas-historical-newspapers" target="_blank">America's Historical Newspapers</a> (Newsbank/Readex, via Nationallizenzen.de) </li>
<li>Merv O. Ahrens, The Impact of Jonathan Carver's Journal and Map, in: Journal of the American Revolution, March 23, 2015, at <a href="https://allthingsliberty.com/2015/03/the-impact-of-jonathan-carvers-journal-and-maps/" target="_blank">allthingsliberty</a> </li>
<li>Algemene Vaderlandsche Letter-Oefeningen voor 1804, van der Kroe etc, Amsterdam, 1804, at <a href="https://books.google.de/books?id=W0I3AAAAMAAJ" target="_blank">Google Books</a> </li>
<li>C. V. Alvord, Jonathan Carver Vindicated, in: The Magazine of History with Notes and Queries 16, 1913, pp. 196-9, at the <a href="https://archive.org/stream/magazinehistory04abbagoog#page/n235/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Richard B. Apgar, Taming Travel and Disciplining Reason. Enlightment and Pedagogy in the Work of Joachim Heinrich Campe, Phil. Diss., University of North Carolina, Chapel Hill, 2008, at <a href="https://cdr.lib.unc.edu/record/uuid:9c81f91a-bff6-4623-8324-ec3680e15d98" target="_blank">Carolina Digital Repository</a> </li>
<li>Siegfried Augustin (ed.), Nadowessiers Totenlied. Der Indianer im Gedicht, München, 1982 </li>
<li>BBCN = 17th-18th Century Burney Collection Newspapers (Gale) </li>
<li>Benjamin Smith Barton, Observations on Some Parts of Natural History. To Which is Prefixed an Account of Several Remarkable Vestiges of an Ancient Date, Which Have Been Discovered in Different Parts of North America. Part I, Printed for the Author, London, 1787 [ESTC <a href="http://estc.bl.uk/T11076" target="_blank">T11076</a>], at the <a href="https://archive.org/details/b22445183" target="_blank">Internet Archive</a> </li>
<li>Theodore Blegen, Minnesota. A History of a State, Minneapolis & London, 1963 </li>
<li>David Bosse, The Maps of Robert Rogers and Jonathan Carver, in: The American Magazine and Historical Chronicle 1, 1985, pp. 45-61, at <a href="https://hdl.handle.net/2027/wu.89058300633?urlappend=%3Bseq=184" target="_blank">Hathi Trust</a> </li>
<li>E. G. Bourne, The Travels of Jonathan Carver, in: AHR 11, 1906, <a href="https://archive.org/stream/americanhistoricv11jame#page/286/mode/2up" target="_blank">pp. 287-302</a>, at the Internet Archive </li>
<li>Traugott Bromme, Nordamerika's Bewohner, Schönheiten und Naturschätze im Allgemeinen und die brittischen Besitzungen insbesondere. Mit zwei Stahlstichen und achtundvierzig Kupfern, Scheible, Stuttgart, 1839, at the <a href="https://archive.org/details/nordamerikasbewo00brom" target="_blank">Internert Archive</a> [= YorkUL] </li>
<li>William Browning, The Early History of Jonathan Carver, in: Wisconsin Magazine of History 3, 1920, <a href="https://archive.org/stream/wisconsinmagazin03quai#page/290/mode/2up" target="_blank">pp. 291-306</a>, at the Internet Archive </li>
<li>Gabriele Brune-Heiderich, Die Begegnung Europas mit der überseeischen Welt. Völkerkundliche Aspekte im jugendliterarischen Werk Joachim Heinrich Campes, Frankfurt/M., 1989 </li>
<li>Lawrence J. Burpee, The Search for the Western Sea. The Story of the Exploration of North Western America, Muisson, Toronto, 1908, at the <a href="https://archive.org/stream/searchforwestern00burpuoft#page/284/mode/2up" target="_blank">Internet Archive</a> </li>
<li>David Crantz, The History of Greenland: Containing a Description of the Country, and Its Inhabitants: and Particularly, a Relation of the Mission, carried on for above these Thirty Years by the Unitas Fratrum, at New Herrnhuth and Lichtenfels, in that Country, Printed for the Brethren's Society for the Furtherance of the Gospel among the Heathen, London, 1767 [ESTC <a href="http://estc.bl.uk/T144569" target="_blank">T144569</a>], available at the<a href="https://archive.org/stream/historyofgreenla01cran#page/n7/mode/2up" target="_blank"> Internet Archive</a> </li>
<li>Ramin Djahazi, The Message Becomes the Messenger: Jonathan Carver's Travels between Imposture and Nationalist Self-Fashioning, in: Caroline Rosenthal & Stefanie Schäfer (eds.), Fake Identity? The Imposter Narrative in North American Culture, Frankfurt & New York, 2014, pp. 27-44 </li>
<li>EAI = <a href="http://www.readex.com/content/early-american-imprints" target="_blank">Early American Imprints Series I & II</a> (Newsbank/Readex, via nationallizenzen.de) </li>
<li>ECCO = Eighteenth Century Collections Online (Gale, via nationallizenzen.de)</li>
<li>Edward Everett, The Life of George Washington, Sheldon & Co., New York, 1860, at the <a href="https://archive.org/details/lifeofgeorgewash01ever" target="_blank">Internet Archive</a> </li>
<li>Hans-Heino Ewers, Joachim Heinrich Campe als Kinderliterat und als Jugendschriftsteller, in: ders., Erfahrung schrieb's und reicht's der Jugend. Geschichte der deutschen Kinder- und Jugendliteratur vom 18. bis zum 20. Jahrhundert. Gesammelte Beiträge aus drei Jahrzehnten, Frankfurt/M., 2010, pp. 53-78 </li>
<li>William Falconer, Remarks on the Influence of Climate, Situation, Nature of Country, Population, Nature of Food, and Way of Life on the Disposition and Temper, Manners and Behaviour, Intellects, Laws and Customs, Form of Government, and Religion, of Mankind, Dilly, London, 1781 [ESTC <a href="http://estc.bl.uk/T60417" target="_blank">T60417</a>], at the <a href="https://archive.org/details/b28037868" target="_blank">Internet Archive</a> [= RCP] </li>
<li>Christian Feest, Early German Ethnopoetics, or Little Redskin Riding Hood, in: European Review of Native American Studies 4, 1990, pp. 54-7 (see <a href="http://www.academia.edu/34401274/Early_German_Ethnopoetics_or_Little_Redskin_Riding_Hood" target="_blank">academia.edu</a>) </li>
<li>Russel W. Fridey, The Writings of Jonathan Carver, in: Minnesota History Magazine 34.4, 1954, pp. 154-9, at <a href="http://collections.mnhs.org/MNHistoryMagazine/articles/34/v34i04p154-159.pdf" target="_blank">Minnesota Historical Society</a> </li>
<li>Tim Fulford, Romantic Indians. Native Americans, British Literature, and Transatlantic Culture, 1756-1830, Cambridge, 1996 </li>
<li>Norman Gelb (ed.), Jonathan Carver's Travels Through America 1766 - 1786. An Eighteenth-Century Explorer's Account of Uncharted America, New York, 1993 </li>
<li>Paul Goetsch, Linguistic Colonialism and Primitivism. The Discovery of Native Languages and Oral Traditions in Eighteenth-Century Travel Books and Novels, in: Anglia. Zeitschrift für Englische Philologie 106, 1988, pp. 338-359 </li>
<li>Heidi Gould, Carver, Jonathan (1710–1780), at <a href="http://www.mnopedia.org/person/carver-jonathan-1710-1780" target="_blank">MNopedia</a> (Minnesota Historical Society), 2013 </li>
<li>A. W. Greely, Explorers and Travellers, Scribner, New York, 1894, at the <a href="https://archive.org/details/explorerstravell00gree" target="_blank">Internet Archive</a> [= NYPL]</li>
<li>Robert Greenhow, The History of Oregon and California, and the Other Territories on the North-West Coast of North America; Accompanied by a Geographical View and Map of those Countries, and a Number of Documents as Proofs and Illustrations of the History. 2nd Edition, Little & Brown, Boston, 1845, at the <a href="https://archive.org/details/historyoforegonc00greeuoft" target="_blank">Internet Archive</a> [= Uof Toronto] </li>
<li>John Hawkesworth, An Account of the Voyages Undertaken by the Order of His Present Majesty for Making Discoveries in the Southern Hemisphere, and successively performed by Commodore Byron, Captain Wallis, Captain Carteret, and Captain Cook, In the Dolphin, the Swallow, and the Endeavour. Drawn up From the Journals which were kept by the several Commanders And from the Papers of Joseph Banks, In Three Volumes, Strahan and Cadell, London, 1773, at the <a href="https://archive.org/details/university_pittsburgh?and[]=Hawkesworth%20Account%20Voyages" target="_blank">Internet Archive</a> </li>
<li>John Heckewelder, Account of the History, Manners, and Customs of the Indian Nations who once inhabited Pennsylvania and the Neighboring States, 1819 & Correspondence between Mr. Heckewelder and Mr. Duponceau, on the Language of the American Indians, in: Transactions of the Historical and Literary Committee of the American Philosophical Society I, Small, Philadelphia, 1819, <a href="https://archive.org/stream/transactionsofhi01amer#page/n55/mode/2up" target="_blank">pp. 1-350 </a>& 351-450, at the Internet Archive </li>
<li>Alexander Henry, Travels and Adventures in Canada and the Indian Territories Between the Years 1760 and 1776. New Edition, Edited with Notes, Illustrative and Biographical, Little, Brown & Cio., Boston, 1901, at the <a href="https://archive.org/details/travelsadventure00henr" target="_blank">Internet Archive</a> [= LoC] </li>
<li>Johann Gottfried Herder, II. Das Land der Seelen. Ein Fragment, in: Zerstreute Blätter 6, Gotha 1797, pp. 95-142, at <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10110896_00125.html" target="_blank">BSB</a> [= Google Books], also at the <a href="https://archive.org/stream/HerderZerstrBl61796/Herder-ZerstrBl6-1796#page/n121/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Wolfgang Hochbruck, 'I Have Spoken'. Die Darstellung und ideologische Funktion indianischer Mündlichkeit in der nordamerikanischen Literatur, Tübingen, 1991 </li>
<li>Harold Jantz, Schiller's Indian Threnody, in: John R. Frey, Schiller 1759 - 1959. Commemorative American Studies, Urbana, 1959, pp. 58-75 </li>
<li>Myra Jehlen, The Literature of Colonization, in: The Cambridge History of American Literature. General Editor, Sacvan Bercovitch. Volume 1: 1590-1820, Cambridge & New York, 1994, pp. 11-168</li>
<li>Albert Ernest Jenks, The Wild Rice Gatherers of the Upper Lakes. A Study in Primitive Economy, Government Printing Office, Washington, 1901, at the <a href="https://archive.org/details/wildricegatherer00jenk" target="_blank">Internet Archive</a> [= LoC] </li>
<li>[J. de Jong], Alphabetische Naamlijst van Boekken, welke sedert het jaar 1790 tot en met het jaar 1831, in Noord-Nederland sijn uitgekomen, van Cleef, 's Gravenhage & Amsterdam, 1832, at <a href="https://books.google.de/books?id=PxJEAAAAcAAJ" target="_blank">Google Books</a> </li>
<li>William H. Keating, Narrative of an Expedition to the Source of St. Peter's River, Lake Winnepeek, Lake of Woods, &c. Performed in the Year 1823 [...] Under the Command of Stephen H. Long. Composed from the Notes of Major Long, Messrs. Say, Keating, & Calhoun, 2 Vols., Whittaker, London, 1825, at the <a href="https://archive.org/details/thomasfishercanadiana?and[]=Keating%20Narrative" target="_blank">Internet Archive</a> </li>
<li>Louis Armand Lahontan, New Voyages to North-America. In Two Volumes, Bonwicke et al., London, 1703 [ESTC <a href="http://estc.bl.uk/T43043" target="_blank">T43043</a>], at the <a href="https://archive.org/details/thomasfishercanadiana?&%20and[]=LaHontan%20Wotton" target="_blank">Internet Archive</a> </li>
<li>John Thomas Lee, A Bibliography of Carter's Travels, in: Proceedings of the State Historical Society of Wisconsin 1909, Published by the Society, Madison, 1910, pp. 143-183, at the <a href="https://archive.org/stream/1909proceedings00wiscuoft#page/142/mode/2up" target="_blank">Internet Archive</a> </li>
<li>John Thomas Lee, Captain Jonathan Carver: Additional Data, in: Proceedings of the State Historical Society of Wisconsin 1912, Published by the Society, Madison, 1913, <a href="https://archive.org/stream/1912proceedings00wiscuoft#page/86/mode/2up">pp. 87-123,</a> at the Internet Archive<br />-, Published for the Society, Madison, 1913 (= Separate No. 150), at the <a href="https://archive.org/details/captainjonathanc00leej" target="_blank">Internet Archive</a> </li>
<li>John Long, Voyages and Travels of an Indian Interpreter and Trader, Describing the Manners and Customs of the North American Indians; With an Account of the Posts Situated on the River Saint Laurence, Lake Ontario, &c. To Which is Added, a Vocabulary of the Chippeway Language. Names of Furs and Skins, in English and French. A List of Words in the Iroquois, Mohegan, Shawanee, and Esquimaux Tongues, And a Table Shewing the Analogy between the Algonkin and Chippeway Languages, Printed for the Author, London, 1791 [ESTC T122592], at the <a href="https://archive.org/details/voyagestravelsof00long" target="_blank">Internet Archive</a> </li>
<li>Hartmut Lutz, 'Indianer' und 'Native Americans'. Zur sozial- und literaturhistorischen Vermittlung eines Stereotyps. Hildesheim, Zürich & New York, 1985 </li>
<li>Hartmut Lutz, 'German Indianthusiasm'. A Socially Constructed German National(ist) Myth, 2002, in: Colin G. Calloway, Gerd Gemünden & Susanne Zantop (eds.), Germans and Indians. Fantasies, Encounters, Projections, Lincoln & London, 2002, pp. 167-84 </li>
<li>Patricia M. Medeiros, Three Travelers, in: Everett Emerson (ed.), American Literature 1764-1789. The Revolutionary Years, Madison, 1977, pp. 195-201 </li>
<li>Edward D. Neill, Dakotah Land and Dakotah Life, with the History of the Fur Traders of the Extreme Northwest during the Feench ans British Dominions, Lippincott & Co., Philadelphia, 1859, at the <a href="https://archive.org/details/dahkotahlanddahk01neil" target="_blank">Internet Archive</a> [= LoC] </li>
<li>John Parker, The Journals of Jonathan Carver and Related Documents 1766-1770, St. Paul, 1976, at the <a href="https://archive.org/details/journalsofjonath00carv" target="_blank">Internet Archive</a> [B] </li>
<li>John Parker, New Light on Jonathan Carver, in: The American Magazine and Historical Chronicle 2.1. 1986, pp. 4-17, at <a href="https://hdl.handle.net/2027/wu.89058300633?urlappend=%3Bseq=144" target="_blank">Hathi Trust</a> </li>
<li>Johann Georg Purmann, Sitten und Meinungen der Wilden in Amerika. Letzte verbesserte Auflage, Schräubl, Wien, 1790, 4 Vols. at the <a href="https://archive.org/search.php?query=Sitten%20und%20Meinungen%20der%20Wilden%20in%20Amerika" target="_blank">Internet Archive</a> [= Getty] </li>
<li>Milo M. Quaife, Critical Evaluation of the Sources for Western History, in: The Mississippi Valley Historical Review 1, 1914, pp. 167-84, at the <a href="https://archive.org/details/jstor-1894948" target="_blank">Internet Archive</a> [= JStor] </li>
<li>Kenneth Roberts, Northwest Passage, Collins, London, 1938 </li>
<li>Henry Savage Jr., Discovering America 1700-1875, New York, 1979 </li>
<li>Robert Woods Sayre, Modernity and Its Other. The Encounter with North American Indians in the Eighteenth Century, Lincoln & London, 2017 </li>
<li>Carl Nicolai Starcke, Die primitive Familie in ihrer Entstehung und Entwicklung, Brockhaus, Leipzig, 1888, at the <a href="https://archive.org/details/primitivefamilyi00staruoft" target="_blank">Internet Archive</a> [= UofToronto] </li>
<li>Gordon M. Stewart, Christoph Daniel Ebeling: America's Friend in Eighteenth Century Germany, in: Monatshefte 68.2, 1976, pp. 151-61 (<a href="http://www.jstor.org/stable/30156678" target="_blank">jstor</a>) </li>
<li>Talvj [Therese von Jacob], Versuch einer geschichtlichen Charakteristik der Volkslieder germanischer Nationen mit einer Uebersicht der Lieder aussereuropäischer Völkerschaften, Brockhaus, Leipzig, 1840, at <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10121062_00121.html" target="_blank">BSB</a> [= GB] </li>
<li>Reuben Gold Thwaites, Wisconsin. The Americanization of a French Settlement, Houghton Miflin, Boston & New York, 1908, at the<a href="https://archive.org/stream/wisconsinamerica00thwa_0#page/124/mode/2up" target="_blank"> Internet Archive</a> </li>
<li>Henry Timberlake, The Memoirs of Lieut. Henry Timberlake, Printed for the Author, London, 1765 [ESTC <a href="http://estc.bl.uk/T138032" target="_blank">T138032</a>], at the <a href="https://archive.org/stream/memoirsoflieuthe00timb#page/56/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Daniel E. Williams, Until They Are Contaminated by Their More Refined Neighbors: The Images of the Native Americans in Carver's 'Travels Through The Interior' and its Influence on the Euro-American Imagination, in: Christiaan F. Feest (ed.), Indians in Europe. An Interdisciplinary Collection of Essays, Lincoln & London, 1989, pp. 195-214</li>
<li>David Scofield Wilson, In the Presence of Nature, Amherst, 1978 </li>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-50271251928309993622017-11-17T12:09:00.001+01:002022-01-14T11:59:58.043+01:00"The Blue Bell of Scotland": Popular song, National Air & "Volkslied" - Pt. 3: The German Versions (1839-1852)<br />
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1. <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS1.html">Mrs. Jordan's New Hit (1800)</a> </div>
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2. <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS2.html">Mr. Thomson, Mr. Ritson & Mr. Johnson (1802-3)</a> <b> </b></div>
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<b>3. The German Versions (1839-1852) </b></div>
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<b>I. </b></div>
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"The Blue Bell of Scotland" also became very popular in Germany. But it took some time, in fact nearly four decades, until the first adaptation was introduced. But then several versions with different German texts were published and at the end of the century the song was a standard for choirs and was even sung in schools. </div>
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Of course there was, thanks to <i>Ossian</i> and Percy's <i>Reliques</i>, a great interest for Scottish - but not yet Irish - songs in Germany since the 1770s. Herder and others translated a considerable number of texts. But it seems that at first there was much less interest in the tunes. Only very few were made available. The first anthology with music, Haydn's <i>Alt-Schottische Balladen und Lieder</i> (1803/4, at the <a href="https://archive.org/details/HaydnAschLieder18034" target="_blank">Internet Archive</a>), wasn't particularly successful. Even Beethoven's <i>Schottische Lieder</i> (op. 108, 1822, at <a href="https://www.beethoven.de/sixcms/detail.php?id=&template=dokseite_digitales_archiv_de&_dokid=bb:T00016587&_seite=1" target="_blank">Beethoven-Haus</a>) were at first received with some skepticism (see Waltz). </div>
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But in 1826 "Robin Adair", introduced via France with Boieldieu's <i>La Dame Blanche</i>, was a great hit (see my text at <a href="http://www.justanothertune.com/html/raig.html" target="_blank">JustAnotherTune</a>). It became one of the most popular <i>Volkslieder</i> in Germany during the 19th century and opened the door for more British songs, especially Scottish and Irish <i>national airs</i>. Meanwhile in Heidelberg Professor Thibaut (see <a href="https://hummingadifferenttune.blogspot.de/2015/04/auslandische-volkslieder-in-19th.html" target="_blank">here</a> in my blog), jurist and music theorist, was busy translating and arranging foreign songs. He also performed them regularly with his choir. Thibaut owned copies of some of Thomson's collections and he made good use of them. None of his works were published at that time but the manuscript of "Alte Volksgesänge" (see RISM <a href="https://opac.rism.info/search?id=453009283" target="_blank">453009283</a>) has survived. </div>
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In the '30s Burns was discovered in Germany, more than three decades after his death. Several books of translations appeared even though the original tunes remained rare. German composers preferred to write their own melodies. Thomas Moore became even more popular and many of his songs from the <i>Irish Melodies</i> and the <i>Popular National Airs</i> were made available. From then on Scottish, Irish and English songs always made up a not insignificant part of the German singing repertoire. </div>
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A key role was played by Friedrich Silcher (1789-1860), director of music at the University of Tübingen. He had already made himself a name as editor and arranger of German <i>Volkslieder</i>. Between 1835 and 1841 he first published the four volumes of his <i>Ausländische Volksmelodien</i>, an anthology of international national airs that was mostly derived from Moore's collections (at the <a href="https://archive.org/stream/SilcherAuslVolksmelodien4Hfte183541/Silcher-AuslVolksmelodien-4Hfte-1835-41#page/n0/mode/2up" target="_blank">Internet Archive</a>; see <a href="https://hummingadifferenttune.blogspot.de/2015/04/auslandische-volkslieder-in-19th_14.html" target="_blank">here</a> in my blog). Here he introduced German versions of for example "The Last Rose of Summer", "Here comes the Bard", "Home, Sweet Home"and "My Heart's in the Highlands" These songs would become popular <i>Volkslieder</i> nearly everybody was familiar with. </div>
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<div style="text-align: center;">
<b>II.</b> </div>
<div style="text-align: left;">
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<div style="text-align: justify;">
"The Blue Bell of Scotland" was first published in Germany circa 1810 in a rather obscure collection, guitar player Carl Kreye's <i>VI Englische National-Lieder</i> (No. 3, <a href="https://archive.org/stream/KreyeVIEnglNLC1815/Kreye-VIEnglNL-c1815#page/n3/mode/2up" target="_blank">p. 5</a>). But this was only Mrs. Jordan's original version and he didn't include a translation. Apparently nothing did come of this publication and it would take nearly two decades until the song appeared again in print. Professor Thibaut in Heidelberg must have known at least Mrs. Grant's version from Thomson's anthology. But it seems he didn't use it. At least the song can not be found in his manuscript. </div>
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Who knew it was Franz Kugler (1808-1858; see <a href="https://de.wikipedia.org/wiki/Franz_Kugler_%28Historiker%29" target="_blank">Wikipedia</a>), a young poet and songwriter who later would become a famous art historian. In 1829 he had spent some time in Heidelberg and had also sung in Thibaut's choir. A year later his <i>Skizzenbuch</i> appeared. This was a very tasteful collection of songs and poetry and here we can find a "Harfenlied" (<a href="http://nbn-resolving.de/urn:nbn:de:hbz:061:2-1374-p0140-4" target="_blank">p. 80</a>) written to the tune of "O where, and o where is your Highland Laddie gone". This poem is in no way related to the original text and the melody was not included. One may assume that Kugler expected his readers to be familiar with it. Some years later instrumental versions of "The Blue Bell of Scotland" by piano players Auguste de Sayve (see Hofmeister, Nov/Dec 1832, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001832&teil=0203&seite=00000089&zoom=3" target="_blank">p. 89</a>) and Henri Herz (see Hofmeister, Juni 1836, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001836&teil=0203&seite=00000052&zoom=3" target="_blank">p. 52-3</a>; at <a href="http://imslp.org/wiki/R%C3%A9cr%C3%A9ations_Musicales%2C_WoO_(Herz%2C_Henri)" target="_blank">IMSLP</a>) were published. </div>
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It seems that the tune was already well known in Germany by that time. But the first successful German adaptation of the song only appeared in 1839: in the third volume of Silcher's <i>Ausländische Volksmelodien</i> (No. 8, <a href="https://archive.org/stream/SilcherAuslVolksmelodien4Hfte183541/Silcher-AuslVolksmelodien-4Hfte-1835-41#page/n47/mode/2up" target="_blank">p. 11</a>): </div>
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<blockquote class="tr_bq">
<div style="text-align: left;">
Hinaus, ach hinaus zog des Hochlands kühner Sohn; <br />
Er zog in den Streit für seines Königs Thron. <br />
Er geht, es eilt ihm nach der Liebsten Klageton, <br />
'Und er sucht ihn ihr Blick, nie kehrt er mehr zurück. <br />
<br />
Ach dort, wo kein Berg die müde Sonne deckt, <br />
Von mir liegt er fern auf blut'gen Sand gestreckt; <br />
Wo ihn nicht mehr mein Ruf zu frühem Jagen weckt, <br />
Ach, das Schwert, das ihn traf, senkt mich in Todesschlaf. </div>
</blockquote>
<div style="text-align: justify;">
This volume offered a good selection of international <i>Volkslieder</i>. There are four tunes - Irish, Indian, Venetian and Neaplitan - from Moore's collections as well as French and Scandinavian songs. Most interesting is a real Scottish tune, the one of "The Bush Aboon Traquair" which is here combined with a poem by Friedrich Rückert (No. 6, pp. 8-9). "Hinaus, ach hinaus" fits in well here. At that time every anthology needed at least one patriotic war song. </div>
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This text's author is not known. Silcher was not always forthcoming about his sources. Perhaps he had found it in a literary magazine and then dispossessed the original writer. This was also the case with another song in this collection, the "Minstrel Boy" in the fourth volume. But this free adaptation isn't that bad. In fact it sounds quite effective when sung to the tune. There are only two verses but they are more dramatic than the original text. Here the brave warrior doesn't return home and at the end of the second verse the girl also dies. </div>
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We can see that he used the simplified version of the tune. Perhaps he had a sheet music edition with this variant at hand. For this collection Silcher had arranged the song for one voice accompanied by piano or guitar. Later he also wrote an arrangement for male choirs that was first published in 1860 in the 12th volume of his <i>XII Volkslieder für Mannerstimmen</i> (see Bopp, p. 215; also in Volkslieder, 1902, No. 135, <a href="https://archive.org/stream/SilcherVLMstNA1902/Silcher-VLMst-NA-1902#page/n255/mode/2up" target="_blank">pp. 243-4</a>).</div>
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<div style="text-align: center;">
<b>III.</b> </div>
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Only three years later the song appeared again, this time with both the original English text and a new German translation: </div>
<ul style="text-align: justify;">
<li>Scotch National Song: The Blue Bells of Scotland. Schottisches Nationallied: Die Blauen Glöckchen von Schottland (Choice of the Most Favorite English, Scottish and Irish Romances and Airs No. 10), Schlesinger, Berlin, n. d. [1842] (see Hofmeister, März 1842, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001842&teil=0203&seite=00000042&zoom=3" target="_blank">p. 42</a>; AMZ 44, 1842, <a href="https://books.google.de/books?id=dBVDAAAAcAAJ&hl=de&pg=PA221#v=onepage&q&f=false" target="_blank">col. 222</a>), at the <a href="https://archive.org/stream/BBoSSchlesinger1842/BBoS-Schlesinger-1842#page/n0/mode/2up" target="_blank">Internet Archive</a> </li>
</ul>
<blockquote class="tr_bq">
</blockquote><div style="text-align: left;"><blockquote>"Wohin zog, o, zog dein Hochlandsbursch davon?" <br /> "In den Kampf mit Frankreichs Sohn für König George auf seinen Thron. <br /> Und, o, wünscht mein Herz, wär er doch zu Hause schon!" <br /> <br /> "O wo ist, o wo ist deines Hochlandsburschen Haus?" <br /> "Sein Haus ist in lieb' Schottland in dem Blumenglöcklein Strauss. <br /> Und o aus dem Herzen kommt er mir nie heraus." <br /> <br /> "In welch ein Kleid denn gekleidet dein Hochlandbursche geht?" <br /> "Seine Mütze, die ist von Tartan grün, und sein Brustlatz, der ist von Plaid, <br /> Und immer mein Herz nach dem Hochlandburschen steht." <br /> <br /> "Ach denk' nur, ach denk' nur, wenn dein Hochlandbursche fiel?" <br /> "Ich setzt' mich hin und weinte bei der Trauerpfeife Spiel <br /> Vor Schmerz bräch' mein Herz, wenn er fiel, wenn er fiel." </blockquote></div><blockquote class="tr_bq">
</blockquote>
<div style="text-align: justify;">
The German version was by Philipp Kaufmann (1802-1846; see Goedeke, Grundriss, <a href="http://archive.org/stream/grundrisszurges04goedgoog#page/n576/mode/2up" target="_blank">p. 1041</a>) who had made himself a name as a translator of Shakespeare and also of Burns' songs (see Gedichte von Robert Burns, 1839, at <a href="https://books.google.de/books?id=6jhcAAAAcAAJ" target="_blank">Google Books</a>). His text is much closer to the original but otherwise not very convincing. It sounds clumsy and stiff and not particularly well singable. </div>
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<div style="text-align: justify;">
The publisher also included accompanying arrangements for guitar and piano by Eduard Salleneuve respectively Sigmund Jähns, both respected musicians. Interestingly the original variant of the tune was used here, not the simplified one á la Silcher. In fact the song was newly imported again, in this case - believe it or not - by the King of Prussia. At least that's what is claimed on the cover of the sheet music: </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"played before his Majesty Frederik William of Prussia on the Duke of Wellingten's presenting new colours to the 72 regiment of Scotch Highlanders of Windsor Castle the 26 January 1842." <br />
<br />
"gespielt vor Sr. Maj. dem Könige Friedrich Wilhelm IV zu Schloss Windsor am 26. Januar 1842 bei Übergabe der neuen Fahne an das 72te Regiment der Schottischen Hochländer und so beifällig aufgenommen, dass S. M. der König eine Abschrift nach Deutschland mitnahm." </blockquote>
</div>
<div style="text-align: justify;">
In January 1842 the King had traveled to London to attend the christening of the new-born Prince of Wales. There he also took part in a parade by a Scottish regiment that received new colours (see Natzmer, p. 38 & <a href="https://archive.org/stream/unterdenhohenzo02natzgoog#page/n61/mode/2up" target="_blank">p. 48</a>; Gentleman's Magazine 17 (N.S.), 1842, <a href="https://books.google.de/books?id=smUdAQAAMAAJ&hl=de&pg=PA317#v=onepage&q&f=false" target="_blank">p. 317</a>). It is interesting to see that this song was performed at such an official occasion. Apparently Mrs. Jordan's old popular dittie was at that time really regarded in England as an authentic Scottish air. </div>
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It may also sound unusual that the King of Prussia himself - or maybe someone from his entourage - brought the song to Germany and then passed it on to a music publishing house. But there is no reason to disbelieve this story. The publisher surely wouldn't have dared to claim this on the sheet music if it wasn't true. In a catalog published in 1846 (<a href="https://books.google.de/books?id=jh1DAAAAcAAJ&hl=de&pg=PP78#v=onepage&q&f=false">p. 74</a>) he could still boast about his royal informant: "Von S. Maj. dem König Friedrich Wilhelm IV. aus England mitgebracht". </div>
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<div style="text-align: justify;">
Some years later this version was revived by August Neithardt (1793-1861, see <a href="https://de.wikipedia.org/wiki/August_Neithardt" target="_blank">Wikipedia</a>), at that time director and conductor of the <i>Königliche Domchor</i> in Berlin. In fact the song became part of the repertoire of this famous choir. In 1850 they toured in England and it was among the pieces performed there. Neithardt's arrangement was even published as sheet music in London by Novello (see Musical Times 4, 1850, <a href="https://books.google.de/books?id=fWsPAAAAYAAJ&hl=de&pg=PA107#v=onepage&q&f=false" target="_blank">p. 107</a>).</div>
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<div style="text-align: left;">
Only the following year this version appeared in print in Germany together with three other popular British standards: </div>
<ul style="text-align: justify;">
<li>August Neithardt, 4 Volkslieder für Vokalquartett, op. 141. (Heimath, süsser Ort. Des Sommers letzte Rose. Blaue Glöcklein von Schottland. Rule Britania), Schlesinger, Berlin, 1851 (see Hofmeister, Juli 1851, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001851&teil=0203&seite=00000142&zoom=3" target="_blank">p. 142</a>); at <a href="http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:b170-10459" target="_blank">UDK Berlin</a> </li>
</ul>
<div style="text-align: justify;">
Of course the <i>Domchor</i> also performed the song at concerts in German, for example in one on March 1, 1852 (NBM 6, 1852, <a href="https://archive.org/stream/bub_gb_ku5CAAAAcAAJ#page/n81/mode/2up" target="_blank">p. 72</a>). </div>
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<div style="text-align: center;">
<b>IV. </b></div>
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<div style="text-align: justify;">
At around that time a third German version of "The Blue Bell of Scotland" was published: </div>
<ul style="text-align: justify;">
<li>Johannes Dürrner, 6 Schottische Nationalgesänge mit deutschem und englischem Texte, für 4 Männerstimmen (Solo u. Chor). Part. u. Stimmen (Die Blumen vom Walde, Das Mädchen von Gowrie, John Anderson, The blue Bells of Scotland, Schotten, deren edles Blut, Schwarz ist die Nacht). Gewidmet den deutschen Liedertafeln, Breitkopf & Härtel, Leipzig, 1852 (see Hofmeister, Oktober 1852, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001852&teil=0203&seite=00000187&zoom=3" target="_blank">p. 187</a>; NZM 37, No. 10, 3.9.1852, <a href="https://archive.org/stream/NeueZeitschriftFuerMusik1852Jg19Bd37#page/n105/mode/2up" target="_blank">p. 104</a>) <br />- 4 songs reprinted in: Vivat Paulus. Liederbuch des Universitäts-Sängervereins zu St. Pauli, Leipzig, 1863, pp. 14-24, here No. 6d, <a href="https://books.google.de/books?id=m0dMAAAAMAAJ&hl=de&pg=PA22#v=twopage&q&f=false" target="_blank">pp. 22-4</a> </li>
</ul>
<blockquote class="tr_bq">
<div style="text-align: left;">
Auf deinen Höh'n, du mein liebes Vaterland, <br />
da blüht ja so schön die Blum' am Waldesrand! <br />
Die Blume blüht so blau, so blau im Sonnenschein: <br />
Und liebliches Grün schließt rings die Blumen ein. <br />
Die Glockenblumen blühn so hell im Sonnenschein, <br />
Und liebliches Grün schliesst rings die Blumen ein! <br />
<br />
O Heimathland bist du mir doch so hold und lieb. <br />
In weitester Fern mein Herz bei Dir stets blieb. <br />
Wohl ist die Welt so schön, so weit mein fuß mich trug, <br />
Doch du warst's allein, für das mein Herze schlug. <br />
Wohl ist die Welt so schön, so weit mein fuß mich trug, <br />
Doch du warst's allein, für das mein Herze schlug. <br />
<br />
Wo rings im Wald die rothen Disteln blühn, <br />
Und Rosmarin und Raute sie umblühn, <br />
Da lebt mein Volk so treu, mein Volk so treu und kühn, <br />
Und preiset das Land, wo blau die Blumen blühn. <br />
Da lebt mein Volk so treu, mein Volk so treu und kühn, <br />
Und preiset das Land, wo blau die Blumen blühn. </div>
</blockquote>
<div style="text-align: justify;">
Johannes Dürrner (1810-1859, see <a href="http://bmlo.de/Q/GND=11624058X" target="_blank">BMLO</a>; see Eichner), composer, conductor, arranger and teacher, came from the town of Ansbach and studied in Leipzig with Mendelssohn and others. Among his first works were settings of some of Burns' songs (see Eicher, pp. 175-7). In 1844 he moved to Edinburgh and worked there for the rest of his life as music teacher. His subsequent works, mostly songs, were published both in Germany and in Britain (see f. ex. <a href="http://copac.jisc.ac.uk/search?&author=D%C3%BCrrner" target="_blank">Copac</a>). </div>
<div style="text-align: justify;">
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<div style="text-align: justify;">
This was the very rare case of a musician from Germany who lived in Scotland and produced a collection of Scottish songs for the German market. He of course had there easy access to all anthologies of <i>national airs</i> published in Britain. This was very different from editors and translators in Germany who often had difficulties to find those publications. Very few were available there. In Edinburgh Dürrner was also in contact with G. F. Graham and other local experts. His aim was to offer the German choirs arrangements that allowed them to perform these songs in an "authentic" way (see Eichner, p. 186-7). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The German text was written by Wilhelm Doignon (1820-1863; see <a href="http://www.wugwiki.de/index.php?title=Wilhelm_Philipp_Peter_Doignon" target="_blank">Stadt Weißenburg-Wiki</a>), a teacher, pastor and poet from the town of Weißenburg in Bavaria. Dürrner had already used some of his poems in an earlier publication. In this case he seems to have commissioned translations of three of the six songs from Doignon in whose own collection of poetry they were also published later (1860, <a href="https://books.google.de/books?id=MnQ6AAAAcAAJ&hl=de&pg=PA360#v=twopage&q&f=false" target="_blank">pp. 361-2</a>). Interestingly this text is very different from the original version, in fact not a translation but a completely new song. There is no reference to Scotland nor to going to war. Instead Doignon wrote a home song celebrating the beauty of the "Heimathland". It was closer to "Home, Sweet Home" than to Mrs. Jordan's "The Blue Bell of Scotland".</div>
<div style="text-align: justify;">
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<div style="text-align: left;">
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<div style="text-align: center;">
<b>V.</b> </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: justify;">
Three German adaptations of this song appeared in a comparatively short time, in the course of 13 years between 1839 and 1852. But more would follow. At first I have to mention a Danish publication. Composer A. P. Bergreen was at that time very busy producing a comprehensive anthology of international <i>national airs</i>, the <i>Folke-Sange og Melodier, Fædrelandske og Fremmede</i>. The first edition had appeared in the '40. and the second one came out in 10 volumes between 1860 and 1870. </div>
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The fourth volume of the latter was dedicated to British songs - <i>Engelske, Skotske og Irske Folk-Sange og Melodier </i>(1862) - and here he included the original version of "The Blue Bell of Scotland" in an arrangement for vocals and piano together with a Danish translation (No. 68, <a href="https://archive.org/stream/BerggreenFolkeSange4British1862/Berggreen-FolkeSange4-British-1862#page/n113/mode/2up" target="_blank">p. 108</a>; notes, p. 175 & p. 182). He had received the song from one Cora Nygaard in 1844. Her father had heard it in London sung by a Scotsman in 1807. Berggreen noted that what she had sent to him was nearly identical to the version in Chappell's book. </div>
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Some years later Hermann Kestner (1810-1890; see <a href="https://hummingadifferenttune.blogspot.de/2016/01/scottish-songs-in-germany-max-bruch.html" target="_blank">here</a> in my blog) tried his hand at the song. We can find his attempt in the second booklet of the <i>Schottische Volkslieder</i> (1868, No. V, <a href="https://archive.org/stream/HilleKestnerSchottVolksliederH12Hannover1868/HilleKestnerSchottVolksliederH1-2Hannover1868#page/n17/mode/2up" target="_blank">pp. 8-9</a>), a part of the short-lived series <i>Ausländische Volkslieder für Sopran, Alt, Tenor und Bass</i> that he had put together with composer Eduard Hille who wrote the arrangements. His source was Graham's book but he preferred to use an "older" text even though he was not sure if this was the one written by Mrs. Grant. His translation is not convincing. Instead it sounds rather stiff. </div>
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The next in the row was Alfons Kissner (1844-1928), a scholar of Romance and English literature who during the 1870s translated a great number of Scottish, Irish and Welsh songs into German. They were made available in a series of songbooks with arrangements by several different musicians, for example his father (see <a href="https://hummingadifferenttune.blogspot.de/2016/05/alfons-kissners-german-editions-of.html" target="_blank">here </a>in my blog). His version "The Blue Bell of Scotland" appeared in <i>Schottische Lieder aus älterer und neuerer Zeit</i> (1874, No. 1, <a href="https://archive.org/stream/KissnerSchottLieder1874/Kissner-SchottLieder-1874#page/n5/mode/2up" target="_blank">pp. 6-8</a>). He was the first one to offer a translation of Mrs. Grants text. Another new adaptation was used in 1886 Lange's <i>Ausländischer Liederschatz</i> (No. 36, <a href="https://archive.org/stream/LangeAuslLS1886/Lange-AuslLS-1886#page/n51/mode/2up" target="_blank">p. 44</a>), an anthology of foreign <i>Volkslieder</i> with arrangements for vocals and piano. But this was only a mutilated text of two verses that didn't make much sense. At least Mrs. Jordan is identified as the song's author.
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<b>VI</b>.</div>
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Now we have altogether six German translations of this song published between 1839 and 1886. But only two of them became popular and were regularly used again: Silcher's "Hinaus, ach hinaus" and "Auf deinen Höh'n", written by Doignon for Dürrner. It is not unreasonable to assume that these two texts survived because they were better singable than the others. Those four adaptations - by Kaufmann, Kestner, Kissner and Lange - all sound, I have already mentioned that, mostly clumsy and stiff and they were later ignored. </div>
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Of course Silcher was immensely popular in Germany. He can be seen as one of the most influential promoters of <i>Volkslieder</i>. His publications were regularly reprinted and the two arrangements of the song remained easily available for a long time. Other editors also adopted this version and arranged it anew. Most important in this respect was Ludwig Erk (1807-1883), music educator and song collector, who edited songbooks for all purposes. His arrangement of "Hinaus, ach hinaus" - he usually called it "Des Mädchens Klage" or "Hochlands Sohn" - for male choirs can be found for example in his colleague Wilhelm Greef's <i>Männerlieder</i>, a very popular collection that was reprinted for several decades (Vol. 9, 1849, here 6th ed., 1869, No. 22, <a href="https://archive.org/stream/GreefMliederH9Aufl6Essen1869/Greef-Mlieder-H9-Aufl6-Essen1869#page/n27/mode/2up" target="_blank">p. 26</a>) and in Erk's own <i>Deutscher Liederschatz</i> for schools (1859, here 4th ed. 1889, No. 135, <a href="https://archive.org/stream/ErkDLsch250GesaengeGesAusgAufl41889/Erk-DLsch-250Gesaenge-GesAusg-Aufl4-1889#page/n141/mode/2up" target="_blank">p. 131</a>). Mixed choirs were supplied with an arrangement for example in the <i>Sängerhain</i> (see 50 Years' Jubilee Edition, 1899, Vol. 2, No. 68, <a href="https://archive.org/stream/ErkSangerhainChorbuchAusgB1899/Erk-Sangerhain-Chorbuch-AusgB-1899#page/n119/mode/2up" target="_blank">pp. 112-3</a>) and those who preferred to sing this song at home with piano accompaniment found it in his <i>Liederschatz</i> (Vol. 3, 1879, No. 79, <a href="https://archive.org/stream/ErkLiederschatz31879/ErkLiederschatz3-1879#page/n77/mode/2up/" target="_blank">p. 74)</a>. Interestingly he also had done some research and knew about Mrs. Jordan. In his books she nearly always received credit as the song's author. </div>
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Other arrangements for choirs were published for example in Wilhelm Meyer's <i>Volks-Liederbuch</i> (1873, No. 102, <a href="https://archive.org/stream/MeyerVolksLiederbuchHannover1873/Meyer-VolksLiederbuch-Hannover1873#page/n121/mode/2up" target="_blank">pp. 109-10</a>) - here Kestner's text was also included -, Jakob Blied's <i>Vater Rhein. Liederbuch für deutsche Männerchöre</i> (here 2nd ed., 1897, No. 113, <a href="https://archive.org/stream/BliedVaterRheinAufl21897/Blied-VaterRhein-Aufl2-1897#page/n331/mode/2up">pp. 320-1</a>) and a popular collection with the title <i>Neuester Liederschatz</i> (No. 36, <a href="https://archive.org/stream/NeuesterLiederschatzReutlingen1899/NeuesterLiederschatz-Reutlingen1899#page/n59/mode/2up" target="_blank">p. 56</a>). </div>
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Editors of songbooks for schools also revived the song. At that time the pupils were plagued with a great number of patriotic ditties but this one had at least a good tune and a certain exotic touch. Arrangements for choirs can be found in collections like Voigt's <i>Volksweisen für die reifere Jugend</i> (H. 1, 9th. ed., 1880, Nr. 32, <a href="https://archive.org/stream/VoigtVolksweisenReifereJugend2HfteBerlin187880/Voigt-VolksweisenReifereJugend-2Hfte-Berlin1878-80#page/n25/mode/2up" target="_blank">pp. 25-6</a>), Lützel's <i>Chorlieder für Gymnasien und Realschulen</i> (3rd ed., 1885, No. 80, <a href="https://archive.org/stream/LuetzelChorliederAufl31885k/Luetzel-Chorlieder-Aufl3-1885k#page/n179/mode/2up" target="_blank">pp. 172-3</a>), Manderscheid's <i>Frauenchöre für den Gesangsunterricht</i> (1902, No. 108, <a href="https://archive.org/stream/ManderscheidFrauenchoereDdorf1902/Manderscheid-Frauenchoere-Ddorf1902#page/n207/mode/2up" target="_blank">pp. 192-3</a>) or <i>Polyhymnia. Auswahl von Männerchören für Seminare und höhere Lehranstalten</i> by Bösche, Linnarz and Reinbrecht (Vol. 2, here 10th ed., 1904, No. 34, <a href="https://archive.org/stream/LinnarzEtAlPolyhymniaIILeipzig1904/Linnarz-et-al-PolyhymniaII-Leipzig1904#page/n57/mode/2up" target="_blank">pp. 46-7</a>). These are only a few examples. </div>
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Arrangements for piano and vocals were also offered regularly. I will only mention here from the '60s Carl Stein's <i>Album volksthümlicher deutscher und ausländischer Lieder</i> (2nd ed. 1868, No. 63, <a href="https://books.google.de/books?id=7LYQAAAAYAAJ&hl=de&pg=PA141#v=twopage&q&f=false" target="_blank">pp. 140-1</a>) and from the '90s Victorie Gervinus, a respected music scholar. The song was included both in her <i>Naturgemässe Ausbildung in Gesang und Klavierspiel</i> (1892, Nr. 61, <a href="https://archive.org/stream/VGervinus1892#page/n205/mode/2up" target="_blank">pp. 190-1</a>), an instruction book for singing and piano playing, and in the posthumously published <i>Volksliederbuch</i> (1896, No. 61, <a href="https://archive.org/stream/GervinusVolksliederbuch1896/Gervinus-Volksliederbuch-1896#page/n75/mode/2up" target="_blank">p. 67</a>), a collection of German and international <i>Volkslieder</i> she used to sing at home. </div>
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Johannes Dürrner died in Edinburgh in 1859. But his songs remained popular among choir singers in Germany. The original arrangement of "Auf deinen Höh'n" was reissued several times as sheet music during the '80s and '90s (see Hofmeister September 1885, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001885&teil=0203&seite=00000256&zoom=3">p. 256</a>; Mai 1892, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001892&teil=0203&seite=00000194&zoom=3" target="_blank">p. 194</a>; Dezember 1896, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001896&teil=0203&seite=00000626&zoom=3" target="_blank">p. 626</a>; Januar 1897, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001897&teil=0203&seite=00000023&zoom=3" target="_blank">p. 23</a>). Meanwhile other arrangers had adopted this version. In Switzerland it was Ignaz Heim (1818-1880; see ADB 50, 1905, pp. 133-5, at <a href="https://de.wikisource.org/wiki/ADB:Heim,_Ignaz" target="_blank">wikisource</a>; see <a href="https://hummingadifferenttune.blogspot.de/2014/02/old-this-time-swiss-songbooks-no-3.html" target="_blank">here</a> in my blog), a very successful and influential editor of songbooks for choirs, who used it in some of his own collections, both in the <i>Neue Volksgesänge für den Männerchor</i> (Vol. 1, 1865, No. 17, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11162030_00052.html?numScans=2&zoom=0.5" target="_blank">pp. 40-1</a> & 9th ed., 1882, No. 17, <a href="https://archive.org/stream/HeimNeueVolksgesaengeMaennerchor1Aufl9/Heim-Neue_Volksgesaenge_Maennerchor-1-Aufl9#page/n51/mode/2up" target="_blank">pp. 40-1</a>) and the <i>Sammlung von drei- und vierstimmigen Volksgesängen für Knaben, Mädchen und Frauen. Liederbuch für Schule, Haus und Verein</i> (1869 , No. 93, <a href="https://archive.org/stream/bub_gb_Jl1cAAAAcAAJ_2/bub_gb_Jl1cAAAAcAAJ#page/n171/mode/2up" target="_blank">pp. 162-3</a>). He changed the words a little bit. Now it was about roses in the Alps and the text sounded even less Scottish. </div>
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In Germany Doignon's original text was sung but the poet's name was lost. The song was usually treated as an anonymous <i>Volkslied</i> even though it wouldn't have been too difficult to check Dürrner's original sheet music for the author's name. This piece was most popular among editors of songbooks for schools and we can find it for example in Lüdicke's<i> Liederwald. Lieder für deutsche Schulen</i> (H. 4, 3rd. ed., 1883, No. 30, <a href="https://archive.org/stream/LuedickeLiederwald4Leipzig1883/Luedicke-Liederwald4-Leipzig1883#page/n43/mode/2up" target="_blank">p. 41</a>), Theodor Schmidt's <i>Auserlesene weltliche Männerchöre zum Gebrauche in Lehrerbildungsanstalten</i> (2, 1886, No. 44, <a href="https://archive.org/stream/SchmidtWeltlMC21886/Schmidt-WeltlMC2-1886#page/n191/mode/2up" target="_blank">pp. 180-1</a>) - here Dürrner's arrangement was reprinted -, Robert Schwalm's <i>Schulliederbuch</i> (4th ed., 1899, No. 76, <a href="https://archive.org/stream/SchwalmSchulliederbuch188LiederAufl4Halle1899/Schwalm-Schulliederbuch-188Lieder-Aufl4-Halle1899#page/n79/mode/2up" target="_blank">p. 74</a>), Hesse's & Schönstein's <i>Schulliederbuch</i> (H. 3, 5th ed., 1899, No. 90, <a href="https://archive.org/stream/HesseSchulliederbuchHeftIIIAufl5Dessau1899/Hesse-Schulliederbuch-HeftIII-Aufl5-Dessau1899#page/n141/mode/2up" target="_blank">pp. 137-8</a>), Linnarz' <i>Auswahl von Chorgesängen</i>, a collection for girls' schools (1908, No. 60, <a href="https://archive.org/stream/LinnarzAuswahlvonChorgesaengenIIAufl2Essen1908/Linnarz-AuswahlvonChorgesaengenII-Aufl2-Essen1908#page/n105/mode/2up" target="_blank">pp. 98-9</a>). The latter is interesting because here we can find the song neatly packed together with the other five standards from the British Isles that were at that time among the most popular <i>Volkslieder</i> in Germany (pp. 94-105): "Robin Adair", "My Heart's in the Highlands", "Long, long ago", "The Last Rose of Summer" and "Home, Sweet Home".</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Occasionally Silcher's and Dürrner's versions were included together, for example in Böhme's great compendium <i>Volksthümliche Lieder der Deutschen</i> (1895, No. 732, <a href="https://archive.org/stream/BoehmeVtLieder1895/Boehme-VtLieder-1895#page/n585/mode/2up" target="_blank">p. 561</a>) or in another songbook for schools, Bösche's & Linnarz' <i>Auswahl von Liedern für deutsche Schulen</i> (H. 4, 2nd ed. ,1900, No. 54-5, <a href="https://archive.org/stream/LinnarzBoescheAuswahlLiederSchuleHeft41900/Linnarz-Boesche-AuswahlLiederSchule-Heft4-1900#page/n73/mode/2up" target="_blank">pp. 71-3</a>). Sometimes only an English text was printed as in Irmer's <i>Sammlung französischer und englischer Lieder für den Schulgebrauch</i> (2nd ed., 1911, No. 26, <a href="https://archive.org/stream/IrmerSammlungFrEngVLMarburg1911/Irmer-SammlungFrEngVL-Marburg1911#page/n83/mode/2up" target="_blank">p. 81</a>) and in <i>Französische und Englische Volkslieder für den Schulgebrauch</i> by Simon & Stockhaus (1912, Nr. 21, <a href="https://archive.org/stream/SimonStockhausFrEngVLFrankfurt1912/Simon-Stockhaus-FrEngVL-Frankfurt1912#page/n85/mode/2up" target="_blank">p. 75</a>). These examples should suffice. Not only in Britain but also in Germany a complete bibliography of all editions of the different versions of this song would be a challenging undertaking.
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"The Blue Bell of Scotland" was one of a group of British songs, mostly older popular hits, that were adopted as <i>Volkslieder</i> in Germany. During the 19th century the <i>Volkslied</i>-genre was not only a nationalist undertaking but also had an international dimension. Songs from other countries were accepted without prejudice. Interestingly foreign patriotic and home songs like "Home, Sweet Home", "My Heart's in the Highlands" and of course "The Blue Bell of Scotland" found particular favor. Perhaps German singers could relate to them so well because songs of this type already made up a considerable part of the singing repertoire. </div>
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These imported songs were performed by choirs, became standards in songbooks for schools and the people also sang them at home, accompanied by guitar or piano. In fact in 1899 it was noted that "today even the farmhand and the peasant girl" knew the German versions of "Long, long ago" and "The Last Rose of Summer" (see Fleischer 1899, <a href="https://archive.org/stream/SammelbandeDerInternationalenMusikgesellschaft011899-1900/SammelbndeDerInternationalenMusikgesellschaft011899-1900#page/n11/mode/2up" target="_blank">p. 6</a>). I assume this was also true of "The Blue Bell of Scotland". Most of the time this song was regarded as an anonymous <i>Volkslied</i>. At best the editors referred to it as "schottische Volksweise". Only very few of them - Erk and some others, see also Tappert 1871, p<a href="https://archive.org/stream/bub_gb_5owPAAAAYAAJ#page/n823/mode/2up" target="_blank">. 812</a> - managed to name Mrs. Jordan as its original author. But that was not uncommon. For example "Home, Sweet Home" by Payne and Bishop and Bayly's "Long, long ago" (see my article at <a href="http://www.justanothertune.com/html/longago.html">JustAnotherTune</a>) were usually sold as "Irish" <i>Volkslieder</i>. In these cases it would also not have been too difficult to find out about the real authors. </div>
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Nonetheless it is still interesting to see that the song has survived. Mrs. Jordan surely would have been surprised that her tune was also well known outside of Britain. One may assume that Mr. Dutton of the <i>Dramatic Censo</i>r would have been shocked even more about its great success. He had called out this "undeservedly popular" song as a "Namby Pamby insipidity" and regarded it as "convincing proof of the frivolity and depraved taste of the age" and "insignificance itself". But the people did not agree and kept Mrs. Jordan's "old Scottish Ballad" alive for such a long time. </div>
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<b>Literature</b> </div>
<ul style="text-align: justify;">
<li>August Bopp, Friedrich Silcher, Stuttgart 1916 </li>
<li>Wilhelm Doignon, Gedichte, Meyer, Weissenburg i. R., 1860 , at <a href="https://books.google.de/books?id=MnQ6AAAAcAAJ&hl=de&pg=PA360#v=twopage&q&f=false" target="_blank">Google Books</a> </li>
<li>Barbara Eichner, Singing the Songs of Scotland. The German Musician Johann Rupprecht Dürrner and Musical Life in Nineteenth-Century Edinburgh, in: Peter Horton & Bennett Zorn, Nineteenth-Century British Music Studies Vol. 3, London & New York, 2016 (2003), pp. 171-94 </li>
<li>Oskar Fleischer, Ein Kapitel vergleichender Musikwissenschaft, in: Sammelbände der Internationalen Musik-Gesellschaft 1, 1899-1900, pp. 1-53, at the <a href="https://archive.org/stream/SammelbandeDerInternationalenMusikgesellschaft011899-%20%201900/SammelbndeDerInternationalenMusikgesellschaft011899-1900#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Karl Goedeke, Grundriß zur Geschichte Der Deutschen Dichtung aus den Quellen, Bd. 3, Abt. 2, Dresden 1881, available at the <a href="http://archive.org/stream/grundrisszurges04goedgoog#page/n576/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Franz Kugler, Skizzenbuch, Reimer, Berlin, 1830, at <a href="http://nbn-resolving.de/urn:nbn:de:hbz:061:2-1374-p0005-4" target="_blank">UB Düsseldorf</a> </li>
<li>Oldwig von Natzmer, Unter Hohenzollern. Denkwürdigkeiten aus dem Leben des General Oldwig von Natzmer. aus der Zeit Friedrich Wilhelms IV., Teil I, 1840-1848, hg. von G. E. v. Natzmer, Perthes, Gotha, 1888, at the <a href="https://archive.org/stream/unterdenhohenzo02natzgoog#page/n61/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Wilhelm Tappert, Die Frauen und die musikalische Komposition, in: Musikalisches Wochenblatt 2, 1871, pp. 809-12, at the <a href="https://archive.org/stream/bub_gb_5owPAAAAYAAJ#page/n823/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Sarah Clemmens Waltz, Great Expectations: Beethoven’s Scottish Songs, in: Beethoven Journal 26, 2011, pp. 12-25 </li>
</ul>
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Go back to <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS2.html">2. Mr. Thomson, Mr. Ritson & Mr. Johnson (1802-3)</a> <br />
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-33379188601929381782017-11-16T20:19:00.001+01:002022-01-14T12:01:19.892+01:00"The Blue Bell of Scotland": Popular Song, National Air & "Volkslied" - Pt. 2: Mr. Thomson, Mr. Ritson & Mr. Johnson (1802-3)<br />
1. <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS1.html" target="_blank">Mrs. Jordan's New Hit (1800)</a><br />
<b>2. Mr. Thomson, Mr. Ritson & Mr. Johnson (1802-3) </b><br />
3. <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS3.html" target="_blank">The German Versions (1839-1852)</a> <br />
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<b>I. </b></div>
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In the first part I have described how a new popular song was introduced on stage and then quickly became a great hit, a "favourite air". One of the major critics didn't like it but that didn't matter much. Other performers and publishers jumped on the band-wagon and offered their own versions to get a slice of the new cake. In the earliest ads the song was called an "old Scottish Ballad". In fact it was a simple song in the popular style that was supposed to sound like an old traditional. Of course this can be seen an attempt at taking advantage of the great enthusiasm for Scottish national airs. </div>
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But it was a mistake to try to pass it off as an "old" song. The publisher tried to correct this by noting in the ads that Mrs. Jordan herself had written the tune. But that didn't help much. Soon editors of songbooks and scholars began to look for precursors and older versions. What they then did was to create a fictitious history around the song that was later taken at face value. One may also say that their attempts at dispossessing Mrs. Jordan of her song proved to be very successful. </div>
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<b>II. </b></div>
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The first one to offer a new "older" version was George Thomson (1757-1851; see McAulay, pp. 44-52) from Edinburgh, editor of the <i>Select Collection of Original Scottish Airs</i>. This great representative anthology of Scottish songs appeared since 1793. He did his best to modernize the genre and often added new - in his eyes better - texts. Thomson also commissioned popular composers from the continent like Pleyel, Haydn and later Beethoven to write new arrangements. In 1802 the third volume of the <i>Select Collection</i> was published. All arrangements were by Joseph Haydn. Here we can find "O Where tell me. Air, The blue bell of Scotland" (<a href="https://archive.org/stream/selectcollection00hayd#page/n329/mode/2up" target="_blank">No. 135</a>). The tune is nearly identical and even in the same key but there is a new text by "written for this work on the Marquis of Huntly's departure for the continent with his regiment, in 1799, by Mrs. Grant, Laggan". Anne MacVicar Grant (1755-1838, see <a href="https://en.wikipedia.org/wiki/Anne_Grant" target="_blank">Wikipedia</a>) was a Scottish writer and poet who occasionally helped out Mr. Thomson with new lyrics. Her attempt doesn't sound particularly convincing. It is is more along the lines of standard patriotism and lacks the touching simplicity of the original words:
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Oh where, tell me where, is your Highland Laddie gone? <br />
O where, tell me where, is your Highland Laddie gone? <br />
He’s gone with streaming banners where noble deeds are done, <br />
And my sad heart will tremble till he come safely home. <br />
He’s gone with streaming banners, where noble deeds are done. <br />
And my sad heart will tremble, till he come safely home. <br />
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O where, tell me where, did your Highland Laddie stay? <br />
O where, tell me where, did your Highland Laddie stay? <br />
He dwelt beneath the holly trees, beside the rapid Spey, <br />
And many a blessing follow'd him, the day he went away; <br />
He dwelt beneath the holly-trees, beside the river Spey, <br />
And many a blessing follow'd him, the day he went away. <br />
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O what, tell me what, does your Highland Laddie wear? <br />
O what, tell me what, does your Highland Laddie wear? <br />
A bonnet with a lofty plume, the gallant badge of war. <br />
And a plaid across the manly breast that yet shall wear a star, <br />
A bonnet with a lofty plume, the gallant badge of war, <br />
And a plaid across the manly breast that yet shall wear a star. <br />
<br />
Suppose, ah, suppose, that some cruel, cruel wound <br />
Should pierce your Highland Laddie, and all your hopes confound! <br />
The pipe would play a cheering march, the banners round him fly, <br />
The spirit of a Highland chief would lighten in his eye; <br />
The pipe would play a cheering march, the banners round him fly, <br />
And for his King and Country dear with pleasure would he die. <br />
<br />
But I will hope to see him yet in Scotland’s bonnie bounds, <br />
But I will hope to see him yet in Scotland’s bonnie bounds, <br />
His native land of liberty shall nurse his glorious wounds, <br />
While wide through all our Highland hills his warlike name resounds, <br />
His native land of liberty shall nurse his glorious wounds, <br />
While wide through all our Highland hills his warlike name resounds. </blockquote>
<div style="text-align: justify;">
There is no mention of Mrs. Jordan as the author and original performer of this song. Instead Thomson clearly tried to suggest that the tune already existed before she sang it on stage. I won't doubt that the Marquis sailed to France in 1799. But the text was surely written later and is based on Mrs. Jordan's version. Apparently Thomson had at first not even planned to include this song. It looks as if it was Haydn's own idea to arrange it and then he sent it to him unsolicited in January 1802 (see Edwards, p. 8): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"I send you with this the favourite air 'The Blue Bells of Scotland,' and I should like that this little air should be engraved all alone and dedicated in my name as a little complimentary gift to the renowned Mrs. Jordan, whom, without having the honour of knowing, I esteem extremely for her great virtue and reputation" (Hadden, <a href="https://archive.org/stream/haydn00haddgoog#page/n187/mode/2up" target="_blank">pp. 149-50</a>).</blockquote>
</div>
<div style="text-align: justify;">
Haydn liked the tune. It was later also included in his <i>Six Admired Scotch Airs</i> (1805, <a href="https://books.google.de/books?id=F-leAAAAcAAJ&hl=de&pg=PP8#v=twopage&q&f=false" target="_blank">pp. 2-5</a>, at Google Books). But it is not clear how and where he had received the song. He can't have heard it himself because the last time he was in England was in 1795. But it is also unlikely that he had a copy of the original sheet music. It seems he wasn't familiar with the text and had asked Thomson to send it to him (see Edwards, p. 8). It is also strange to see that he was so impressed by Mrs. Jordan even though he didn't know her personally. </div>
<br />
<div style="text-align: justify;">
Thomson must have then asked Mrs. Grant to produce a new text which she did on short notice. This volume was ready at the end of April 1802 when it was entered at <i>Stationer's Hall</i> (see Kassler, 28.4.1802). The text can also be found in Anne MacVicar Grant's own collection of poetry published the following year, the <i>Poems on Various Subjects</i>, together with a short note about this one and her other works for Thomson (1803, <a href="https://archive.org/stream/poemsonvariouss00grangoog#page/n410/mode/2up" target="_blank">pp. 407-9</a>): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"The Author wrote these songs at the request of her Friend Mr. George Thomson, in whose valuable Collection the Airs will be found, joined to the Verses, along with the beautiful Accompaniments of Haydn." </blockquote>
</div>
<br />
<div style="text-align: center;">
<b>III.</b></div>
<br />
<div style="text-align: justify;">
The second attempt to dispossess Mrs. Jordan followed soon. Antiquarian and scholar Joseph Ritson (1752-1803, see <a href="https://en.wikipedia.org/wiki/Joseph_Ritson" target="_blank">Wikipedia</a>; see Bronson) was one of the foremost experts on national songs and old English poetry. Among his many relevant publications were a series of songsters, collections of texts of songs from the North-East of England, for example<i> The Bishopric Garland or Durham Minstrell</i> (1784), <i>The Yorkshire Garland</i> (1788) and the <i>Northumberland Garland, Or Newcastle Nightingale</i> (1793).</div>
<br />
<div style="text-align: justify;">
The last of this series was <i>The North-Country Chorister; An unparalleled variety of excellent songs. Collected and published together, for general Amusement, by a Bishoprick Ballad-Singer</i>, published first in 1802, shortly before his death. Here we can find another version of the song with the title "The New Highland Lad". With seven verses it was the longest so far and he added a short but somewhat nasty and unkind remark: "This song has been lately introduced upon the stage by Mrs. Jordan, who knew neither the words, nor the tune" (No. IV, <a href="https://archive.org/stream/northerngarlands00hasl#page/12/mode/2up" target="_blank">pp. 12-3</a>, here in: Northern Garlands, 1809): </div>
<blockquote class="tr_bq">
There was a Highland laddie courted a lawland lass, <br />
There was, &c. <br />
'He promis'd for to marry her, but he did not tell her when; <br />
And t'was all in her heart she lov'd her Highland man. <br />
<br />
Oh where, and oh where does your Highland laddie dwell? <br />
Oh where, &c. <br />
He lives in merry Scotland, at the sign of the Blue bell; <br />
And I vow in my heart I love my laddie well. <br />
<br />
What cloaths, O what cloaths does your Highland laddie wear? <br />
What cloaths, &c. <br />
His coat is of Saxon green, his waistcoat of the plaid; <br />
And it's all in my heart I love my Highland lad. <br />
<br />
Oh where and oh where is your Highland laddie gone? <br />
Oh where, &c. <br />
He's gone to fight the [faithless] French whilst George is on the throne, <br />
And I vow in my heart I do wish him safe at home. <br />
<br />
And if my Highland laddie should chance to come no more, <br />
And if, &c. <br />
They'll call my child a love-begot, myself a common whore; <br />
And I vow in my heart I do wish him safe on shore. <br />
<br />
And if my Highland laddie should chance for to dye, <br />
And if, &c. <br />
The bagpipes shall play over him, I'll lay me down and cry, <br />
And I vow in my heart I love my Highland boy. <br />
<br />
And if my Highland laddie should chance to come again, <br />
And if, &c. <br />
The parson he shall marry us, and the clerk shall say amen; <br />
And I vow in my heart I love my Highland man. </blockquote>
<div style="text-align: justify;">
We don't know who this "Bishoprick Ballad-Singer" was and Mr. Ritson didn't tell his readers when exactly he had heard and written down the text, before May 1800 or later. But it is highly unlikely that it was a precursor of Mrs. Jordan's song. There is simply no evidence for such a claim and no other earlier variants have been found. Why should a stage star from London borrow a song from an obscure ballad singer who was busy somewhere in the North-East of England? For me this text looks like it was derived from Mrs. Jordan's original lyrics and this would also be much more likely. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It is easily possible that this particular provincial performer had simply adopted a current popular hit, added some variations and additional verses and sang it to a different tune. Folklorists often tend to assume priority for variants from oral tradition even if they were collected after the publication of the printed version. This may have been the case here. As long as we don't have an actual date Mr. Ritson's text surely can't serve as evidence for any kind of claims about the song's origin and age. We only know that it was first published two years after Mrs. Jordan first performance and the original sheet music. </div>
<br />
<br />
<div style="text-align: center;">
<b>IV. </b></div>
<br />
<div style="text-align: justify;">
The following year the sixth and last volume of James Johnson's <i>Scots Musical Museum</i> appeared. Here we can find another version of "The Blue Bell of Scotland" (Nr. 548, <a href="https://archive.org/stream/scotsmusicalmuv300john#page/566/mode/2up" target="_blank">pp. 566-7</a>), this time with a different tune and a new set of words that looks as if it was derived from the variants available at the time: </div>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQ-QwdtVOeUJbEmnzXD_UnlN9IGkmA1aAyfeM68Iw9n-rjNfB5mEP3zvi546wfnxC11QeVPvsUkEg5AlylJlT_l3qj9vNg2VzjcnOQkjD5jkFl-nsYrSAOG_OMpFcwyifGbS-awIO1DQ/s1600/BBoS-SMM-1803.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="373" data-original-width="559" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQ-QwdtVOeUJbEmnzXD_UnlN9IGkmA1aAyfeM68Iw9n-rjNfB5mEP3zvi546wfnxC11QeVPvsUkEg5AlylJlT_l3qj9vNg2VzjcnOQkjD5jkFl-nsYrSAOG_OMpFcwyifGbS-awIO1DQ/s400/BBoS-SMM-1803.jpg" width="400" /></a></div>
<div style="text-align: center;">
<br /></div>
<blockquote class="tr_bq">
O where and o where does your highland laddie dwell; <br />
O where and o where does your highland laddie dwell; <br />
He dwells in merry Scotland where the blue bells sweetly smell, <br />
And all in my heart I love my laddie well <br />
He dwells in merry Scotland where the blue bells sweetly smell <br />
And all in my heart I love my laddie well. <br />
<br />
O what lassie what does your highland laddie wear, <br />
O what lassie what does your highland laddie wear, <br />
A scarlet coat and bonnet blue with bonny yellow hair, <br />
And none in the world can with my love compare. <br />
<br />
O what lassie what if your highland lad be slain, <br />
O what lassie what if your highland lad be slain, <br />
O no true love will be his guard and bring him safe again, <br />
For I never could live without my highlandman. <br />
<br />
O when and o when will your highland lad come hame, <br />
O when and o when will your highland lad come hame, <br />
When e'er the war is over he'll return to me with fame, <br />
And I'll plait a wreath of flow'rs for my lovely highlandman. <br />
<br />
O what will you claim for your constancy to him, <br />
O what will you claim for your constancy to him, <br />
I'll claim a Priest to marry us, a clerk to say Amen, <br />
And ne'er part again from my bonny highlandman. </blockquote>
<div style="text-align: justify;">
But for some reason there is no information about the source of this piece. When and where did Mr. Johnson get the tune and the text? Who sang it that way? This is not particularly helpful. Perhaps he had to use a different melody to avoid problems with the publisher of Mrs. Jordan's song. Or perhaps he wanted to imply that this is an older variant. But he didn't say that. Therefore it is not clear what to make of his version of the song. </div>
<br />
<br />
<div style="text-align: center;">
<b>V. </b></div>
<br />
<div style="text-align: justify;">
At that point - in 1803 - three additional versions of "The Blue Bell of Scotland" were available. There is no evidence that any of them was older than the song introduced by Mrs. Jordan in May 1800. All three only came to light two respectively three years after her first performance and the publication of the original sheet music. I tend to think that these were deliberate attempts to undermine her claim to the song. Thomson, Ritson and Johnson created alternate histories that were later often adopted uncritically by other writers and scholars. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
This was for example the case with R. A. Smith who reprinted the version from the <i>Scots Musical Museum</i> in his <i>Scotish Minstrel</i> (Vol. 5, 1821, <a href="https://archive.org/stream/scotishminstrels56smit#page/n75/mode/2up" target="_blank">pp. 58-9</a>) and referred to it as the "Old Set". Smith also included Mrs. Jordan's tune together with Johnson's text as the "Modern Set". This was of course misleading. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
William Stenhouse - in his commentary in a later reprint of the <i>Museum</i> (Vol. 6, 1839, <a href="https://archive.org/stream/scotishmusicalmu06john#page/480/mode/2up" target="_blank">p. 480</a>) - regarded the song as a "parody" of Anne MacVicar Grant's poem. Apparently he thought she was the original author of "Blue Bell of Scotland". Interestingly David Laing quoted in his additional notes (<a href="https://archive.org/stream/scotishmusicalmu06john#page/526/mode/2u" target="_blank">pp. 526-7</a>) an informative remark by Charles Kirkpatrick Sharpe who referred to Ritson's "older words of this ballad" and also claimed to have found "another set of words, probably as old, which I transcribed from a 4to collection of songs in MS. made by a lady upwards of seventy years ago". But the text quoted here bears only a very superficial resemblance to Mrs. Jordan's "Blue Bell". It is also about someone going to war. Strangely it looks more similar to Ritson's and Johnson's versions, especially in the fifth verse: </div>
<blockquote class="tr_bq">
O, fair maid, whase aught that bonny bairn,<br />
O, fair maid, whase aught that bonny bairn?<br />
It is a sodger's son, she said, that's lately gone to Spain,<br />
Te dilly dan, to dilly dan, te dilly, dilly dam.<br />
<br />
[...]<br />
<br />
O, fair maid, what if he should come hame?<br />
O, fair, &c.<br />
The parish priest should marry us, the clerk should say amen.<br />
Te dilly dan, &c. <br />
[...] </blockquote>
<div style="text-align: justify;">
"The Blue Bell of Scotland" was of course also included in G. F. Graham's <i>Songs of Scotland</i>, at that time the most comprehensive anthology of Scottish songs (Vol. 2, 1848, <a href="https://archive.org/stream/songsofscotland01grah#page/106/mode/2up" target="_blank">pp. 106-7</a>). Mr. Graham felt it necessary to commission a new text - "Oh, I Ha'e Been On The Flow'ry Banks of Clyde" - from one Miss Stirling Graham of Duntrune because he regarded "the old words as very silly". His notes are quite interesting and he was able to compile all information that was available so far. Graham correctly saw it as an English and not a Scottish song. But nonetheless he still got the chronology wrong and believed that the variants published by Ritson, Johnson and Sharpe were all older than Mr. Jordan's popular hit.</div>
<br />
<div style="text-align: justify;">
William Chappell also discussed the song in his <i>Popular Music of the Olden Time</i> (c.1860, II, <a href="https://archive.org/stream/popularmusicofol02chapuoft#page/738/mode/2up" target="_blank">pp. 739-40</a>). He saw clearly that Mrs. Grant's version was written after the publication of Mrs. Jordan's "Blue Bells" and correctly noted that Sharpe's text "is in a different metre, and could not be sung to" the two available tunes. But he also claimed - without any further evidence - that Johnson's tune was the original one and that the text published by Ritson already existed before Mrs. Jordan wrote her song. At least he acknowledged that she had composed the tune she sang:</div>
<blockquote class="tr_bq">
"As to the words, all the verses were not fit for the stage; therefore Mrs. Jordan selected four, made trifling alterations in them, and sang them to a tune of her own."</blockquote>
<div style="text-align: justify;">
In the meantime composer Sir Henry Bishop (1786-1855) had also attempted to "dispossess, if possible, the old song of Mrs. Jordan". This was only reported in 1870 by writer and poet Charles Mackay in his <i>Recollections</i> (<a href="https://archive.org/stream/fortyyearsrecoll02mackuoft#page/198/mode/2up" target="_blank">pp. 199-201</a>). Sir Henry claimed to have found the English song "I have been a forester this many a long day" and "three or four bars of the melody were almost identical". It seems he believed that this was the original source of Mrs. Jordan's tune. As far as I can see nobody else has ever seen this tune except Mr. Mackay who wrote "The Magic Harp" to this melody. There is a song with this title but only with the music written by one Stephen Stratton (see <a href="http://copac.jisc.ac.uk/id/23934488?style=html&title=magic%20harpsong">Copac</a>). In fact this story sounds very dubious and I would not take it too seriously. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
We can see that most of the research about this song during the 19th century was not particularly convincing. All these writers had problems with the exact chronology and missed the very simple point that Mrs. Jordan had been the first one to perform "The Blue Bell of Scotland". All other variants were only published thereafter. Instead they relied on Ritson's dubious and unverifiable claims. Not at least they misled themselves by assuming that the tune in the <i>Scots Musical Museum</i> must be older than the "modern" popular hit. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
As a result the song's real history has been seriously obscured. This can be seen in some publications from the turn of the century. Banks in his <i>Immortal Songs of Camp and Field: The Story of Their Inspiration</i> (1799, pp. 279-87; see here <a href="https://archive.org/stream/cu31924022337541#page/n289/mode/2up" target="_blank">p. 286</a>) wrote about Anne MacVicar Grant's life, then quoted from both Ritson and Mackay and in the end claimed wrongly that Mrs. Jordan's text was an "altered version of Mrs. Grant's song". In Crosland's <i>English Songs and Ballad</i>s (c. 1902, <a href="https://archive.org/stream/englishsongsball00crosuoft#page/196/mode/2up" target="_blank">p. 197</a>) it was only described as "anonymous". Even in modern works Mrs. Jordan doesn't get the credit she deserves. Roger Fiske in his <i>Scotland in Music </i>(1983, p. 73) stated that the song "was published as her own composition." This is of course also misleading. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
There is no reason to doubt that Dorothea Jordan was the author of both the tune and the text of "The Blue Bell of Scotland". The song's history started exactly on May 12, 1800 when she performed it first at <i>Drury Lane</i>. I know of no evidence that an earlier variant existed. The versions presented by Thomson, Ritson and Johnson were only published after that date and there is no proof that they were older. Later claims by Charles Kirkpatrick Sharpe and Sir Henry Bishop that they had found a precursor are also not convincing. This is all that can be said at the moment. </div>
<br />
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Louis Albert Banks, Immortal Songs of Camp and Field: The Story of Their Inspiration, Cleveland, 1899, at the <a href="https://archive.org/stream/cu31924022337541#page/n283/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Betrand H. Bronson, Joseph Ritson: Scholar-At-Arms, 2 Vols., Berkeley, 1938 </li>
<li>William Chappell, Popular Music of the Olden Time.; A Collection of Ancient Songs, Ballads and Dance Tunes, Illustrative of the National Music of England, Vol. II, London, n. d. [1860], at the <a href="https://archive.org/details/popularmusicofol02chapuoft" target="_blank">Internet Archive</a> </li>
<li>T.W.H. Crosland, English Songs and Ballads, London, 1902, at the <a href="https://archive.org/stream/englishsongsball00crosuoft#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Warwick Edwards, New Insights into the Chronology of Haydn's Folksong Arrangements: Reading Between the Lines of the George Thomson Correspondence, in: Haydns Bearbeitungen Schottischer Volkslieder. Bericht über das Symposium 21. - 22. Juni 2002, Haydn-Studien 8.4, 2004, pp. 325-40, here <a href="http://eprints.gla.ac.uk/4578/" target="_blank">pdf</a> at University of Glasgow</li>
<li>Roger Fiske, Scotland In Music. A European Enthusiasm, Cambridge 1983</li>
<li>G. F. Graham, The Songs of Scotland Adapted To Their Appropriate Melodies Arranged With Pianoforte Accompaniments By G. F. Graham, T. M. Muddle, J. T. Surenne, H. E. Dibdin, Finlay Dun, &c. Illustrated with Historical, Biographical, and Critical Notices, 3 Vols, Edinburgh, 1848-9, at the <a href="https://archive.org/details/nlsmusic?and[]=Songs%20of%20Scotland%20Graham%20Wood" target="_blank">Internet Archive</a> </li>
<li>J. Cuthbert Hadden, Haydn. With Illustrations and Portraits, London & New York, 1902, at the <a href="https://archive.org/stream/haydn00haddgoog#page/n187/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Michael Kassler, Music Entries at Stationers' Hall 1710-1818. From Lists prepared for William Hawes, D. W. Krummel, and Alan Tyson and from Other Sources, Burlington, 2004 (Online Edition, 2013, partly at <a href="https://books.google.de/books?id=QjBDq7rHQO0C" target="_blank">Google Books</a>) </li>
<li>Charles Mackay, Forty Years' Recollections of Life, Literature, and Public Affairs. From 1830-1870, Vol. 2, London, 1870, at the <a href="https://archive.org/details/fortyyearsrecoll02mackuoft" target="_blank">Internet Archive</a> </li>
<li>Karen McAulay, Our Ancient National Airs: Scottish Song Collecting from the Enlightenment to the Romantic Era, Farnham 2013 </li>
<li>Joseph Ritson (ed.), Northern Garlands, Triphook, London, 1810, at the <a href="https://archive.org/details/northerngarlands00hasl" target="_blank">Internet Archive</a> </li>
<li>R. A. Smith, The Scotish Minstrel. A Selection from the Vocal Melodies of Scotland Ancient & Modern Arranged for the Piano Forte, Purdie, Edinburgh, n. d. [1821-24], 6 Vols., at the <a href="https://archive.org/details/universitywesterno?and[]=Scotish%20Minstrel" target="_blank">Internet Archive</a> </li>
</ul>
<br />
Go back to: <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS1.html" target="_blank">1. Mrs. Jordan's New Hit (1800)</a><br />
<div style="text-align: right;">
Go to: <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS3.html" target="_blank">3. The German Versions (1839-1852)</a></div>
<div class="Normal">
<br /></div>
Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-22341559928541796662017-11-15T21:47:00.001+01:002022-01-14T12:08:27.820+01:00"The Blue Bell of Scotland": Popular Song, National Air & "Volkslied" - Pt. 1: Mrs. Jordan's New Hit (1800)<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<b>1. Mrs. Jordan's New Hit (1800) </b></div>
<div style="text-align: left;">
2. <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS2.html" target="_blank">Mr. Thomson, Mr. Ritson & Mr. Johnson (1802-3) </a></div>
<div style="text-align: justify;">
<div style="text-align: left;">
3. <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS3.html" target="_blank">The German Versions (1839-1852)</a> </div>
<br />
<br /></div>
<div style="text-align: center;">
<b>I.</b> </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
What is a "national song", what is a "folk song", what is "popular song"? These are of course artificial genres. A song can start its life in one field and then end up in another. A brand new popular song can be passed off as an "old ballad" and after some time it may be regarded as such. Any connection to the original author is lost then. An interesting example is "The Blue Bell of Scotland", one of the most popular English songs during the 19th century. It was immensely successful not only in Britain but also in the USA and even in Germany. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
"The Blue Bell of Scotland" was written and introduced by British actress Dorothea Jordan in 1800. That year it appeared first as sheet music: </div>
<ul style="text-align: justify;">
<li>The Blue Bell of Scotland. A Favorite Ballad. As Composed and Sung by Mrs. Jordan at the Theatre Royal Drury Lane, John Longman, Clementi & Co., London, n. d. [1800], at the <a href="https://archive.org/stream/hartley00535541#page/n75/mode/2up" target="_blank">Internet Archive</a> & <a href="http://hdl.handle.net/2027/mdp.39015080964938?urlappend=%3Bseq=1" target="_blank">Hathi Trust</a> </li>
</ul>
<div style="text-align: justify;">
<br /></div>
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<div style="text-align: center;">
<br /></div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
O where and o where is your Highland Laddie gone? <br />
O where and o where is your Highland Laddie gone? <br />
He's gone to fight the French for King George upon the Throne, <br />
And it's O in my heart I wish him safe at home, <br />
And it's O in my heart I wish him safe at home. <br />
<br />
O where and O where did your Highland Laddie dwell? <br />
O where and O where did your Highland Laddie dwell? <br />
He dwelt in merry Scotland at the sign of the Blue Bell, <br />
And it's O in my heart I love my Laddie well, <br />
And it's O in my heart I love my Laddie well. <br />
<br />
In what cloaths in what cloaths is your Highland Laddie clad? <br />
In what cloaths in what cloaths is your Highland Laddie clad? <br />
His bonnet of the Saxon green and his Waistcoat of the plaid. <br />
And it's O in my heart I love my Highland Lad, <br />
And it's O in my heart I love my Highland Lad <br />
<br />
Suppose and suppose that your Highland Lad should die - <br />
Suppose and suppose that your Highland Lad should die - <br />
The bagpipes should play over him and I'd sit me down and cry! <br />
And its O in my heart I wish he may not die, <br />
And its O in my heart I wish he may not die. </div>
</blockquote>
<div style="text-align: justify;">
Dorothea Bland (1761-1816; see <a href="https://en.wikipedia.org/wiki/Dorothea_Jordan" target="_blank">Wikipedia</a>; BDA 8, pp. 245-265; Tomalin 1995; Boaden 1831; Public and Private Life, 1886) was born in Ireland. In 1777 she first appeared on stage in Dublin but then quickly moved to England and there she called herself Mrs. Jordan. Her debut in London at <i>Drury Lane</i> was in 1785 and she performed there and in other theatres until 1809. Since 1791 she lived with the Duke of Clarence, later William IV, with whom she had 10 children. In 1815, after some serious trouble with the Duke and heavily in debt, Mrs. Jordan moved to France where she died the following year. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
She was a good singer with a "voice of compelling sweetness" (BDA 8, p. 252) and accompanied herself on the lute (see the image at <a href="http://imagesearchnew.library.illinois.edu/cdm/ref/collection/actors/id/2756" target="_blank">UofIllinois</a>). Songs by all important composers were performed by her on stage. A songster with many of these pieces already appeared in 1789: </div>
<ul style="text-align: justify;">
<li>Jordan's Elixir of Life, And Cure for the Spleen; Or, A Collection of All the Songs Sung by Mrs. Jordan, Since her first Appearance in London. With many other Favourite Songs, Sung by her in The Theatres in Dublin, York Edinburgh and Cheltenham, and a number of Duetts, Trios, Glees, &c. that she has a part in. To Which Is Prefixed, Authentic Memoirs of Mrs. Jordan, Now First Published, Holland, London, 1789 [ESTC <a href="http://estc.bl.uk/T69914" target="_blank">T69914</a>], at <a href="https://books.google.de/books?id=WtdlAAAAcAAJ" target="_blank">Google Books</a> </li>
</ul>
<div style="text-align: justify;">
A great number of songs were published with her name on the sheet music (see <a href="http://copac.jisc.ac.uk/search?title=sung+Mrs.+Jordan&new-page-size=191&action=Show" target="_blank">Copac</a>) and some of them she had written herself. It seems to me that her musical achievements - as a singer, songwriter and instrumentalist - are rarely discussed. In Tomalin's biography only two pages are dedicated to this topic (pp. 178-9) and others have shown even less interest. But female songwriters were quite uncommon at that time and in this respect she was treated - as will be seen - rather unfairly by contemporary critics and scholars. "The Blue Bell of Scotland" happened to be her greatest success. But in the course of only a few years she was more or less dispossessed of this song. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<b>II. </b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
At first it is necessary to reconstruct the early history of the song. When and where did she introduce it? Why did it become such a big hit? Are there early reviews about her performances? The best and most useful sources are of course contemporary advertisements and reports in newspapers and magazines. The theaters announced every new show and often also the new songs performed there. Thankfully today a lot of this publications are available now in digital databases and that makes it much easier to use them. Particularly valuable are the <i>17th & 18th Century Burney Collection Newspapers</i> (BBCN) and the <i>19th Century British Library Newspapers</i> (BNCN). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Mrs. Jordan introduced her new song on May 12, 1800 at <i>Drury Lane</i>. This show was first announced on May 2 (Oracle and Daily Advertiser, No. 22276, at BBCN): </div>
<div style="text-align: justify;">
<br /></div>
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<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
A series of ads followed in different newspapers until the day of the performance (see f. ex.: Oracle and Daily Advertiser No. 22 279, 6.5.1800; Morning Post and Gazetteer No. 9878, 8.5.1800; Morning Herald No. 12.5.1800, at BBCN; see also London Stage 5.3, <a href="http://hdl.handle.net/2027/mdp.39015012265917?urlappend=%3Bseq=830" target="_blank">p. 2272</a>). </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"Mrs. Jordan's Night Theatre Royal, Drury Lane. Mrs. Jordan respectfully informs the Public, that on her Night, Monday the 12th of May, will be performed the Comedy of The Inconstant; Or The Way To Win Him. [...] With A Favourite Farce. In the course of which will be introduced an old Scotch Ballad, called 'The Blue Bell of Scotland,' to be sung by Mrs. Jordan, and accompanied by her on the lute". </div>
</blockquote>
<div style="text-align: justify;">
<i>The Inconstant</i> was a comedy by George Farquhar, a hundred years old but still popular. Interestingly the song was described here only as an "old Scotch ballad". Of course it was neither old nor Scotch nor a ballad. An ad in <i>Bell's Weekly Messenger </i>(No. 211, 11 May 1800) sounded a little bit different but particularly emphasized that she played the lute. </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"Mrs. Jordan’s night, to-morrow, at Drury-Lane, will prove the night of Dramatic attraction; when, in addition to her comic excellence in the ‘Inconstant’, she means to treat her fashionable friends with the sprightly Blue-bells, rapturously accompanied by her sweet-toned lute". </div>
</blockquote>
<div style="text-align: justify;">
The day after the first performance the song was entered at <i>Stationers' Hall</i> (Kassler, p. 429) to secure the copyright and the publisher first announced the sheet music (Morning Chronicle, No. 9664, 13.5.1800). The same ad would reappear regularly during the next weeks (see f. ex.: Star, No. 3646, 14.5.1800; Oracle and Daily Advertiser, No. 22 286, 14.5.1800; Morning Herald, No. 6132, Evening Mail, 14.-16.5 and more, at BBCN). It seems that someone at the publishing house felt it necessary to add a note that this was a song with a new melody by Mrs. Jordan herself: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"Mrs. Jordan's favourite Song, 'The Blue Bell of Scotland,' was this day published, by John Longman, Clementi, and Co. No. 26, Cheapside. Price 1s. N.B. The Melody of the above song composed by Mrs. Jordan." </div>
</blockquote><div style="text-align: justify;">
She performed the song again in the course of the next weeks, first on May 23 at a benefit for the actress Miss de Camp where she played Roxalana in Bickerstaffe's <i>The Sultan, or, A Peep into the Seraglio</i>. We can see that authenticity wasn't particularly important at that time. An actress could sing an "old Scotch Ballad" during a play staged in a completely different exotic scenery:
</div><div style="text-align: justify;">
<blockquote class="tr_bq">
"In the course of which will be introduced an old scotch Ballad, called 'The Blue Bell of Scotland,' to be sung by Mrs. Jordan, and accompanied by her on the Lute" (Morning Chronicle, No. 9668, 17.5.1800, at BBCN). </blockquote>
<blockquote class="tr_bq">
"[Mrs. Jordan] will introduce the favourite Air of 'The Blue Bell of Scotland', accompanied by her on the Lute" (True Briton, No. 2312, 21.5.1800, at BBCN; see also LS 5.3, <a href="http://hdl.handle.net/2027/mdp.39015012265917?urlappend=%3Bseq=835">p. 2277</a>). </blockquote>
</div>
<div style="text-align: justify;">
The next occasion was on May 30, in <i>The Country Girl</i>, Garrick's edited version of an old piece by Wycherley. Mrs. Jordan played the title role "in which character she will, by particular Desire, introduce the favourite Ballad of 'The Blue Bell of Scotland'" (see Morning Chronicle, No. 9669, 19.5.1800 & No. 9672, 22.5.1800, at BBCN; LS 5.3, <a href="https://hdl.handle.net/2027/mdp.39015012265917?urlappend=%3Bseq=838" target="_blank">p. 2280</a>). Then she sang it once again on June 13 in <i>The Sultan</i>, this time not at <i>Drury Lane</i> but at <i>Covent Garden</i> in a benefit for the <i>General Lying In Hospital</i> (see Morning Herald, No. 6157, 12.6.1800; True Briton, No. 2331, 13.6.1800, at BBCN; LS 5.3, <a href="https://hdl.handle.net/2027/mdp.39015012265917?urlappend=%3Bseq=842" target="_blank">p. 2285</a>):</div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: justify;">
In several reviews of Mrs. Jordan's performances that appeared in May and June we can also find remarks about her new song, for example in <i>The Monthly Mirror</i> (IX, June 1800, <a href="https://archive.org/stream/bub_gb_EswPAAAAQAAJ#page/n377/mode/2up" target="_blank">p. 364</a>): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"This unimitable actress [...] introduced a new song, called The Blue Bells of Scotland. It is a simple little ballad, of which, as a composition, or a tune, nothing extraordinary can be said; but it pleased, and will continue to please whenever it is sung by Mrs. Jordan - such is the exquisite sweetness of her voice, and, what is scarcely less fascinating, the accompanying naivité of her manner."</blockquote>
</div>
<div style="text-align: justify;">
On May 17 Thomas Dutton's <i>Dramatic Censor </i>offered a short report about the show on the 12th (p. 172, at BP): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"[...] the popularity of Mrs. Jordan, who took her benefit this evening, attracted a crowded and a literally overflowing house [...] Mrs. Jordan introduced in the course of the Entertainment, the admired ballad, entitled, 'The Blue Bell of Scotland.' She was received with the warmest applause."</blockquote>
</div>
<div style="text-align: justify;">
But it seems that Mr. Dutton didn't like this song. A review of the performance of <i>The Country Girl</i> on May 30 included some very unkind words about "The Blue Bell of Scotland" (Dramatic Censor, No. XXIII, 7.6.1800, pp. 231-2, at BP): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"Mrs. Jordan performed the part of Peggy, with her accustomed naivette; and in the course of the play introduced The Blue Bell of Scotland. The popularity of this ballad, which, bye the bye, takes its title from the most trifling circumstance in the whole song, affords convincing proof of the frivolity and depraved taste of the age. Possessing no other recommendation, but Namby Pamby insipidity, this self-same Blue Bell (if we may be pardoned the use of a pun) literally 'bears away the bell' from a number of songs, which combine sentiment with simplicity and neatness of diction. It must, however, be confessed, that Mrs. Jordan's singing is a sufficient source of attraction to ensure success to insignificance itself." </blockquote>
</div>
<div style="text-align: justify;">
He preferred songs like "Crazy Jane" (see sheet music at the <a href="https://archive.org/stream/hartley00535541#page/n121/mode/2up" target="_blank">Internet Archive</a>) and "The Fisherman and the River Queen" (text in The Whim of the Day, 1801, <a href="https://books.google.de/books?id=Km0EAAAAQAAJ&hl=de&pg=PA12#v=twopage&q&f=false" target="_blank">p. 12</a>), both with words by M. G. Lewis, the author of the celebrated novel <i>The Monk</i> and performed at this show by actress and singer Theresa Bland. Perhaps they were more suitable for intellectual listeners like this particular writer. But these songs were never as popular as Mrs. Jordan's "Blue Bell", no matter what the critics said.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Two weeks later, in a report about the benefit at <i>Covent Garden</i> on June 13, he referred to the "flimsy, but undeservedly popular song, 'The Blue Bell of Scotland'" (Dramatic Censor, No. XXV, 21.6.1800, p. 281, at BP). Of course already at that time critics like Mr. Dutton were often living on a different planet than the audiences. It seems he still did not understand why the people loved this song. Mrs. Jordan's abilities as a singer surely played an important role. But she was busy introducing new songs all the time and no other piece from her repertoire had become such a big success. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
At around the same time she used to sing another song, "I Rise With The Morn". This one was not written by herself but by "a Lady of Fashion", whoever that was. The publisher promoted the sheet music with as much ads as he did with "The Blue Bell of Scotland". But that didn't help much. This song was never as successful as her big hit and then quickly forgotten (see LS 5.3, <a href="https://hdl.handle.net/2027/mdp.39015012265917?urlappend=%3Bseq=829" target="_blank">p. 2271</a>; sheet music at the <a href="https://archive.org/stream/hartley00535541#page/n59/mode/2up" target="_blank">Internet Archive</a>; see <a href="http://copac.jisc.ac.uk/search?&title=%22I+Rise+with+The+Morn%22" target="_blank">Copac</a>; see f. ex. Oracle and Daily Advertiser, No. No. 22292, 21.5.1800, at BBCN).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But why did the people then like Mrs. Jordan's "The Blue Bell of Scotland"? It was not only a simple song with a catchy tune. This was a time of constant warfare. Many men left as soldiers and a line like "its O in my heart I wish he may not die" surely reflected the feelings of countless women who didn't know if they will ever see their husbands or boy-friends again. This was not run-of-the-mill patriotism. With these simple but touching words she spoke directly to the many people who could easily identify with what was expressed here. </div>
<br />
<br />
<div style="text-align: center;">
<b>III. </b></div>
<br />
<div style="text-align: justify;">
Mrs. Jordan's new song was quickly adopted by other performers. Actress and singer Fanny Kemble sang it "by particular Desire" in Edinburgh already in July to "universal applause". This must have been the first time that this "much admired Scotch Ballad" crossed the Scottish border (see Caledonian Mercury, No. 12298, 19.7.1800, at BNCN). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
A "new Scotch Ballet Dance, by Mrs. Byrne, named The Blue Bell of Scotland, in which Mr. and Mrs. Byrne dance in a a style thoroughly unequalled" was performed first on July 28 at the <i>New Royal Circus</i> in London during a spectacle with the title <i>The Magic Flute</i> that also included trampoline performances, "astonishing feats on the slack-rope", horses and more music (see f. ex. Morning Chronicle, No. 9725, 28.7.1800 & 9731, 30.7.1800, at BBCN). In some previous shows they had already performed "a favourite Scotch Pastoral Dance, called Jocky and Jenny" (see f. ex. Sun, No. 2418, 21.6.1800, at BBCN). I wonder if they only changed the title. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Parodies were also a sure sign for a song's success. One was introduced already in August in an "entirely new grand Spectacle [...], called The Inquisition; Or, The Maid of Portugal". Here the audience heard "an entirely NEW PARODY (written by Mr. Upton), on the celebrated Song of The Blue Bell of Scotland, to be sung in Character of Poor Nan, by Mr. Johannet"(Albion and Evening Advertiser, No. 282, 2.8.1800, at BBCN). The text of "The Bell of Tothill Fields" was later also printed in <i>The New Whim of the Night, or the Town and Country Songster for 1801</i> (<a href="https://books.google.de/books?id=_mRpAAAAcAAJ&hl=de&pg=PA74#v=twopage&q&f=false" target="_blank">pp. 74-5</a>): </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
Oh! where, and oh! where does your own true lover stray? <br />
He's sent upon his travels, for he's gone to Botany Bay: <br />
And it's, oh! my poor heart, they have torn my love away. <br />
<br />
[...] <br />
<br />
Oh! what cloaths, and what cloaths did your own true lover wear? <br />
He's cloath'd in woollen yarn, and they've shav'd off all his hair: <br />
And it's, oh! in my heart, that I'd love him to despair. </div>
</blockquote>
<div style="text-align: justify;">
Of course other publishers also jumped on the band-wagon to try to get a slice of this new cake. It didn't matter that Longman, Clementi & Co. had entered it at <i>Stationer's Hall</i> to protect their investment. Soon new versions appeared. The first one to offer his own edition was guitar-maker and music seller Joseph Buckinger who noted that "the above Song was originally set for the Lute, and accompanied" by himself: "no copies are genuine but those signed by him" (Morning Chronicle, No. 6157, 12.6.1800, at BBCN; see <a href="http://copac.jisc.ac.uk/id/32869952?style=html&title=blue%20bell%20of%20Scotlanda%20favorite%20Scotch%20song%2C%20with%20an" target="_blank">Copac</a>). This was only a month after the song's first performance. Riley in London also announced his sheet music at the end of June (Portsmouth Telegraph, No. 38, 30.6.1800, p. 1, at BNCN; see <a href="http://copac.jisc.ac.uk/id/13751144?style=html&title=The%20blue%20bell%20of%20Scotlandwith%20an%20accompaniment%20for" target="_blank">Copac</a>).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
In July Goulding & Co. published "The Blue Bell of Scotland arranged as a Sonata for the Piano Forte" by composer Joseph Mazzinghi (see Sun, No. 2445, 23.7.1800, BBCN; at <a href="http://levysheetmusic.mse.jhu.edu/catalog/levy:160.027" target="_blank">Levy Sheet Music</a>). Later Domenico Corri recycled the tune as a rondo (see <a href="http://copac.jisc.ac.uk/search?author=corri&title=Blue%20Bell%20of%20Scotland%20&rn=1" target="_blank">Copac</a>). A reprint of the original edition also appeared in Dublin (at <a href="http://hdl.handle.net/2027/mdp.39015080935664?urlappend=%3Bseq=1" target="_blank">Hathi Trust</a>) and publisher James Peck offered an arrangement "for Two or Three Voices with a Piano-Forte Accompaniment" (at the <a href="https://archive.org/stream/hartley00535537#page/n223/mode/2up" target="_blank">Internet Archive</a>). Here the melody was simplified a little bit and printed in half and quarter notes. It is not clear who had first introduced it that way. The following year the tune was also for the first time included in a book, in one of William Campbell's dance collections: Vol. 16 of his <i>Strathspey Reels, Waltzes & Irish Jiggs for the Harp, Piano Forte & Violin. With their Proper Figures as Danced at Court, Bath, Willis's, Hanover Square Rooms, &c. &c</i> (<a href="https://archive.org/stream/strathspeyreelsw00camp#page/n15/mode/2up" target="_blank">p. 12</a>; see Cooper 2017). He only forgot to mention Mrs. Jordan's name.
</div><div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
These are only some examples. Many more would follow. In the meantime the song had also crossed the ocean and had become available in North America. The sheet music was published there first in December in <i>Carr's Music Journal </i>(No. 25 , Dec. 1, <a href="https://hdl.handle.net/2027/mdp.39015025450787?urlappend=%3Bseq=116" target="_blank">pp. 2-4</a>, at Hathi Trust; at <a href="http://levysheetmusic.mse.jhu.edu/catalog/levy:030.001" target="_blank">Levy Sheet Music</a>): "The very popular and beautiful Scotch Ballad Sung by Mrs. Oldmixon called The Blue Bell of Scotland. As lately revived in England by Mrs. Jordan and sung by her with the most unbounded applause". It seems the publisher really believed that this was an old song and Mrs. Jordan had only "revived" it. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Mrs. Oldmixon was a popular American actress and singer. By all accounts she was the first one to perform the song there. In Philadelphia she sang it on December 7 in <i>St. David's Day</i> (see James 1957, <a href="https://archive.org/stream/cradleofculture1010753mbp#page/n45/mode/2up" target="_blank">p. 45</a>), a new play by Thomas Dibdin that had been debuted in London in March that year (see London Stage 5.3, <a href="http://hdl.handle.net/2027/mdp.39015012265917?urlappend=%3Bseq=817" target="_blank">p. 2259</a>). Perhaps a copy of "The Blue Bell of Scotland" came to America with this particular play and it first remained connected to it as well as to Mrs. Oldmixon. Another edition of sheet music must have been published at around the same time: </div>
<ul style="text-align: justify;">
<li>The Blue Bell of Scotland. A favorite Scotch ballad sung by Mrs. Oldmixon in St. David's Day, Willig, Philadelphia, n. d. [c. 1800/1801], at Levy Sheet Music [<a href="http://levysheetmusic.mse.jhu.edu/sites/default/files/collection-pdfs/levy-031-034.pdf" target="_blank">pdf</a>]; at <a href="https://www.loc.gov/item/2014565732/" target="_blank">LoC</a> </li>
</ul>
<div style="text-align: justify;">
Interestingly it was not the original version´of the tune that at first reached the USA but a simplified one in half and quarter notes. There was also a small but notable change of the text. In Carr's version the Highland Laddie is "gone across the ocean in search of wealth to roam" and on Willig's sheet music he goes to war "to redress its countrys wrong" [sic]. In North America it wouldn't have made much sense to sing about going to war "for King George upon his Throne". </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But there were also sheet music editions that offered both the tune and the text in its authentic shape, for example by Gilfert in New York (n. d., at <a href="http://levysheetmusic.mse.jhu.edu/collection/031/032" target="_blank">Levy Sheet Music</a>). Here Mrs. Jordan was also named as the song's composer. In 1806 the above mentioned publisher Riley emigrated to the USA (Humphries, p. 380) and he published his edition there again, only with his new address in New York on the cover (at <a href="http://levysheetmusic.mse.jhu.edu/collection/108/071" target="_blank">Levy Sheet Music</a>). We can see here that the song came to North America several times. Both the original version and modified variants were available. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
At this time "The Blue Bell of Scotland" had become popular both in Britain and in North America. But unlike many other successful songs it did not fall out of favor after some time. It was published again numerous times on sheet music, in songbooks and in songsters. There were new vocal arrangements as well as instrumental versions (see f. ex. <a href="http://copac.jisc.ac.uk/search?&title=%22Blue+Bell+of+Scotland%22" target="_blank">Copac</a>, Roud Index <a href="https://www.vwml.org/roudnumber/13849" target="_blank">#13849</a>; <a href="https://www.loc.gov/notated-music/?q=Blue+Bell+of+scotland" target="_blank">LoC</a>). A complete bibliography would be a very challenging undertaking. But - as will be seen - the song quickly lost all connections to Mrs. Jordan. Soon it would be regarded as an anonymous "old Scottish ballad". </div>
<br />
<br />
<div style="text-align: center;">
<b>Literature</b> </div>
<ul style="text-align: justify;">
<li>BBCN = <a href="http://www.bl.uk/reshelp/findhelprestype/news/newspdigproj/burney/index.html" target="_blank">17th & 18th Century Burney Collection Newspapers</a> (Gale - via Nationallizenzen.de)</li>
<li>BNCN = <a href="http://www.bl.uk/reshelp/findhelprestype/news/newspdigproj/database/index.html" target="_blank">19th Century British Library Newspapers</a> (Gale - via Nationallizenzen.de) </li>
<li>BDA = Philip H. Highfill et al., (ed.), A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800, Vol. 1 - 16, Carbondale 1973 - 1993 </li>
<li>BP = <a href="http://www.proquest.com/products-services/british_periodicals.html" target="_blank">British Periodicals</a> (ProQuest - via Nationallizenzen.de) </li>
<li>LS = The London Stage 1660-1800. A Calendar Of Plays, Entertainments & Afterpieces Together With Casts, Box-Receipts And Contemporary Comment compiled from Playbills, Newspapers and Theatrical Diaries of the Period, 5 Parts in 11 Vols., Carbondale 1960-1968, at <a href="http://catalog.hathitrust.org/Record/000200105" target="_blank">Hathi Trust</a> </li>
<li>James Boaden, The Life of Mrs. Jordan. Including Original Private Correspondence and Numerouis Anecdotes of her Contemporaries. In Two Volumes, Bull, London, 1831, at the Internet Archive (<a href="https://archive.org/details/lifeofmrsjordani01boad" target="_blank">Vol. 1</a> & <a href="https://archive.org/details/lifeofmrsjordani02boad" target="_blank">Vol. 2</a>) </li>
<li>Paul Cooper, The Dance Collections of William Campbell (2017), at: <a href="https://www.regencydances.org/paper027.php" target="_blank">RegencyDances.org</a>. Your learning resource for the dances of the 18th and 19th centuries </li>
<li>Charles Humphries & William C.Smith, Music Publishing in the British Isles from the Beginning Until the Middle of the Nineteenth Century, 2nd Ed., Oxford 1970 </li>
<li>Reese Davis James, Cradle of Culture 1800 - 1810. The Philadelphia Stage, Philadelphia, 1957, at the <a href="https://archive.org/stream/cradleofculture1010753mbp#page/n45/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Michael Kassler, Music Entries at Stationers' Hall 1710-1818. From Lists prepared for William Hawes, D. W. Krummel, and Alan Tyson and from Other Sources, Burlington, 2004 (Online Edition, 2013, partly at <a href="https://books.google.de/books?id=QjBDq7rHQO0C" target="_blank">Google Books</a>) </li>
<li><a href="http://levysheetmusic.mse.jhu.edu/" target="_blank">The Lester S. Levy Collection of Sheet Music</a> (John Hopkins University) </li>
<li>The Public and Private Life of that Celebrated Actress, Miss Bland, Otherwise Mrs. Ford, Or, Mrs. Jordan. Accompanied by Numerous Remarks and anecdotes of Illustrious and Fashionable Characters. By a Confidential Friend of the Departed, Duncombe, London, n. d. [1886?], at the <a href="https://archive.org/details/publicprivatelif00londuoft" target="_blank">Internet Archive</a> </li>
<li>Claire Tomalin, Mrs. Jordan's Profession. The story of a great Actress and a future King, London & New York, 2012 (1995) </li>
</ul>
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Go to: <a href="https://hummingadifferenttune.blogspot.de/2017/11/BBoS2.html" target="_blank">2. Mr. Thomson, Mr. Ritson & Mr. Johnson</a> </div>
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<br />Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-17867538868850056962017-10-15T21:51:00.001+02:002022-01-14T12:15:42.903+01:00The Early Reception of Herder's Volkslieder in Britain<div style="text-align: center;">
<b>I. </b></div>
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Johann Gottfried Herder's <i>Volkslieder</i> (at the <a href="https://archive.org/details/HerderVolkslieder177892BdeBSB" target="_blank">Internet Archive</a>), first published in two parts in 1778 and 1779, was an attempt at a multicultural anthology of songs - only texts, but not tunes - of different nations. This collection was very influential not only in Germany but also in parts of Europe, for example the Baltic (see <a href="https://hummingadifferenttune.blogspot.de/2017/05/herder-hupel-baltic.html" target="_blank">here</a> in this blog) and Scandinavia. But it had barely any influence on British scholars and writers. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">In fact Herder's relationship to Britain is a very interesting topic. On one hand English and Scottish texts made up the greatest part of what he worked with. Shakespeare's <i>Hamlet</i> had been a major inspiration (see Müller, Erinnerungen I, <a href="https://archive.org/stream/erinnerungenaus01herd#page/70/mode/2up" target="_blank">p. 70</a>). His anthology is built around translations from MacPherson's <i>Ossian</i> and Percy's <i>Reliques</i>. Herder was also familiar with Ramsay, Addison and others as well as with popular song collections like d'Urfey's <i>Wit and Mirth</i>. "Der Anblick dieser Sammlung gibt's offenbar, daß ich eigentlich von Englischen Volksliedern ausging [...]", he wrote later in his <i>Volkslieder</i> (II, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n373/mode/2up" target="_blank">p. 27</a>). In fact Scotland was even a kind of dreamland for him: "zu den Schotten! zu Macferson [...] eine Zeitlang ein alter Kaledonier werden" ( Briefwechsel, <a href="https://archive.org/stream/vondeutscherartu00herd#page/16/mode/2up" target="_blank">p. 17</a>):
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"[...] und dann nach Wales und Schottland und in die westlichen Inseln, wo auf einer Macpherson, wie Ossians jüngster Sohn sitzt. Da will ich die celtischen Lieder des Volks in in ihrere ganzen Sprache und Ton des Landherzens wild singen hören [...]" (Letter to Merck, 28.10.1770, in Briefe I, p. 277; Wagner I, No. 4, <a href="https://archive.org/stream/briefejohannhein00wagnuoft#page/n79/mode/2up" target="_blank">p. 14</a>).</blockquote>
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Besides that the works of English scholars like - to name only one - Thomas Blackwell's <i>Enquiry into the Life and Writings of Homer</i> (1735, at the <a href="https://archive.org/details/enquiryintolifew00blac" target="_blank">Internet Archive</a>) were of prime importance for him (see Gaier in HW 3, p. 850; for others see f. ex. Beers, <a href="https://archive.org/stream/historyofenglish00beer#page/386/mode/2up" target="_blank">pp. 387-9</a>). One may say that Herder would not have been able to develop his ideas about what he regarded as <i>Volkslied</i> without knowledge of the relevant discussion in Britain that was already going on there for several decades. He borrowed the whole concept and applied it for his own project.</div>
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But on the other hand the <i>Volkslieder</i> were more or less ignored there. The first problem was of course that "until the turn of the nineteenth century, Herder's work was basically unknown in England" (Gelbart, p. 105). Before 1800 he was only rarely mentioned in the press or in literary magazines. Only one translation became available to British readers, a minor piece about Ulrich van Hutten, but for some reason this was assigned to Goethe (1789, [ESTC <a href="http://estc.bl.uk/T96229" target="_blank">T96229</a>]). Only towards the end of the century a kind of "rage for german literature" (quoted in Jefcoate, p. 86) was noted. A new generation of young writers took note of what happened in Germany but still others like Bürger, Goethe and Kotzebue (see Jefcoate, pp. 88-91; see also <a href="https://archive.org/stream/germaninfluencei00stok#page/n7/mode/2up" target="_blank">Stokoe 1926</a>; Beers 1899, <a href="https://archive.org/stream/historyofenglish00beer#page/374/mode/2up" target="_blank">pp. 374-424</a>) were much more successful in Britain than Herder. </div>
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His<i> Vom Geist der Ebräischen Poesie</i> was reviewed in the <i>Monthly Review</i> in 1798 (<a href="https://books.google.de/books?id=946NER8wVDYC&hl=de&pg=PA642#v=twopage&q&f=false" target="_blank">pp. 642-50</a>) and a part of this important work was translated into English and published as <i>Oriental Dialogues</i> in 1801 (at the <a href="https://archive.org/details/orientaldialogue00herd" target="_blank">Internet Archive</a>). The same year William Taylor, an influential promoter of German literature in Britain, mentioned Herder in an article with the title <i>Anecdotes of German Authors and Authoresses residing at Weimar in Saxony</i> in the <i>Monthly Magazine</i> (11.1, 1801, <a href="https://books.google.de/books?id=HS4AAAAAYAAJ&hl=de&pg=PA144#v=twopage&q&f=false" target="_blank">pp. 145-6</a>) but that was not particularly informative. </div>
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1801 saw also the publication of the translation of his opus magnum, the <i>Ideen zur Philosophie der Geschichte der Menschheit </i>(1784-1891) as <i>Outlines of the Philosophy of the History of Man</i> ([ESTC <a href="http://estc.bl.uk/T112944" target="_blank">T112944</a>], at the <a href="https://archive.org/stream/b22010282#page/n5/mode/2up" target="_blank">Internet Archive</a>). Interestingly the editor Thomas Churchill noted in the introduction one major problem with Herder's works (<a href="https://archive.org/stream/b22010282#page/n7/mode/2up" target="_blank">p. iii</a>) : "Every one, who is acquainted with Herder, must be aware of the difficulty, if not impossibility, of transfusing his spirit, his 'words that burn,' into another language". </div>
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Nonetheless this book was widely discussed in Britain. There were several interesting reviews (see Jefcoate, p. 85), for example in the <i>Critical Review, Or, Annals of Literature</i> (30, 9-12 1800, <a href="https://books.google.de/books?id=c8YPAAAAQAAJ&hl=de&pg=PP8#v=twopage&q&f=false" target="_blank">pp. 1-10</a>, 169-75) and in the <i>Monthly Review</i> (41, August 1803, <a href="https://books.google.de/books?id=jAwoAAAAYAAJ&hl=de&pg=PA402#v=twopage&q&f=false" target="_blank">pp. 403-420</a>). A second edition came out in 1803. But this was an exception. Only very few translations followed until the end of the 19th century, for example the <i>Treatise upon the Origin of Language</i> in 1827 (at <a href="https://books.google.de/books?id=1A1gAAAAcAAJ" target="_blank">Google Books</a>) and the <i>Cid</i> in 1828 (see Morgan 1922, <a href="https://archive.org/stream/bibliographyofg00morg#page/244/mode/2up" target="_blank">pp. 245-6</a>). Only in the 1880s a short but good biography appeared, Nevinson's <i>A Sketch of Herder And His Times</i> (1884, at the <a href="https://archive.org/details/sketchofherderhi00nevirich" target="_blank">Internet Archive</a>). All in all the reception of Herder's work in Britain left a lot to be desired. </div>
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This was particularly the case with the <i>Volkslieder</i>. At the time of its first publication in 1778 nobody cared. It seems not even Joseph Ritson knew about Herder's work when he wrote his <i>Historical Essay on National Song</i> that can be found in the <i>Select Collection of English Songs</i> (1783, I, <a href="https://archive.org/stream/selectcollection01ritsiala#page/n43/mode/2up" target="_blank">pp. xv-lxxii</a>). Only in the '90s a few young writers interested in German literature took note. </div>
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<b>II.</b></div>
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Most important in this respect was young Matthew Gregory Lewis (1775-1818; see <a href="https://en.wikipedia.org/wiki/Matthew_Lewis_(writer)" target="_blank">Wikipedia</a>; summ. from Guthke 1958b, pp. 41-8 & 135-55; see also Thomson 2010; Mortensen 2004, pp. 77-94) who spent some time at the court in Weimar in 1792/3. There he even met Goethe and other popular German writers. He also became familiar with the <i>Volkslieder</i> while in Germany. Lewis was particularly interested in some of the the <i>kaempeviser</i>, the medieval Danish ballads translated into German by Herder. </div>
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In 1591 Andersen Sørensen Vedel had published <i>Et hundrede udvaalde Danske Viser</i> (later editions: Kopenhagen 1619, at the <a href="https://archive.org/stream/bub_gb_toIAAAAAcAAJ#page/n3/mode/2up" target="_blank">Internet Archive</a>; Christiania 1664, at <a href="http://www.nb.no/nbsok/nb/1f50e9af99856334dbfcacf8f1141115?index=1#0" target="_blank">NB, Oslo</a>). An updated and expanded edition compiled by Peter Syv then appeared in 1695:<i> 200 Viser om Konger, Kemper og Andre</i> (a later reprint, 1739, is available at <a href="https://books.google.de/books?id=-MEDAAAAQAAJ" target="_blank">Google Books</a> and the <a href="https://archive.org/details/ethundredeudval00visegoog" target="_blank">Internet Archive</a>). This collection was introduced in Germany by Gerstenberg in 1767 in the <i>Briefe über die Merkwürdigkeiten der Litteratur</i> (No. 8, <a href="https://archive.org/stream/bub_gb_AfdLAAAAcAAJ#page/n121/mode/2up" target="_blank">pp. 108-15</a>) and it became an important source for Herder who included four of these ballads in the <i>Volkslieder</i> (I.2, No. 14, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n155/mode/2up" target="_blank">pp. 152-5</a>; II.2, Nos. 25-27, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n535/mode/2up" target="_blank">pp. 153-60</a>; see Møller, p. 31-7). </div>
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Lewis was the first one to introduce Danish <i>kaempeviser</i> to English readers. His more or less free adaptations were derived from Herder's German translations. In <i>The Monk</i>, his famous and romance first published in 1795, we can find "The Water-King" (here here 2nd. ed., 1796 Vol. 3, <a href="https://archive.org/stream/monkaromance01lewigoog#page/n24/mode/2up" target="_blank">pp. 17-20</a>). "The Erl-Kings Daughter" appeared first in Monthly Mirror (2, 1796, <a href="https://books.google.de/books?id=pssPAAAAQAAJ&hl=de&pg=PA370#v=twopage&q&f=false" target="_blank">pp. 371-2</a>). But this didn't help to promote the <i>Volkslieder</i> in Britain because in both cases he failed - for whichever reason - to refer to his source. Only in the 4th edition of <i>The Monk</i> in 1798 - where he also added "The Erl-King's Daughter" (pp. 23-5) - he managed to name Herder's anthology as the source of the "Water-King" (<a href="https://books.google.de/books?id=ZcRDAQAAMAAJ&hl=de&pg=PA16#v=twopage&q&f=false" target="_blank">p. 17</a>). This was - as far as I know - the very first time that the <i>Volkslieder</i> were mentioned in British literature. </div>
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The next project were the <i>Tales of Wonder</i> (2 Vols., 1801, at the <a href="https://archive.org/details/dukeulibbritromanticfiction?&and[]=Tales%20of%20Wonder" target="_blank">Internet Archive</a>), an anthology of supernatural ballads the concept of which was at least partly indebted to Herder. It can be seen as the first attempt in England to produce something like the <i>Volkslieder</i> (Guthke 1958b, p. 135). Lewis wrote original ballads himself and also commissioned some more from other writers like the young Walter Scott with whom he discussed this work (see Guthke 1957). But he also borrowed some from German writers like Goethe and of course Herder. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">In the first volume we can find several ballads based on Herder's translations of Danish and Nordic texts. First there was "Elver's Hoh" (I, No. VI, <a href="https://archive.org/stream/talesofwonder02lewi#page/30/mode/2up" target="_blank">pp. 31-3</a>; see Volkslieder I.2, No. 14, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n155/mode/2up" target="_blank">pp. 152-5</a>): "My version of this Ballad (as also most of the Danish ballads in this collection) was made from a German translation to be found in Herder's 'Volkslieder'"). He also included once again "The Erl-King's Daughter" and "The Water-King" (Nos. X-XI, pp. 53-61). The latter, by the way, served as an inspiration for new ballads written by Lewis himself respectively Mr. Scott: "The Fire-King" and "The Cloud-King" (No. XII & XIII, pp. 62-78). He also added adaptations of two more Nordic songs - not from the <i>Kaempeviser</i> but from other sources - that also can be found in the Volkslieder (I.2, Nos. 15- & 16, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n159/mode/2up" target="_blank">pp. 156-74</a>): "The Sword of Agantyr" and "King Hacho's Death Song" (Nos. VII & VIII, pp. 34-50). At least for the latter he referred to Herder's anthology as his source.
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Lewis also used texts from the <i>Volkslieder</i> for another collection, the <i>Romantic Tales</i> first published in 1808 (4 Vols., at the <a href="https://archive.org/details/19thcennov?and[]=Romantic%20Tales" target="_blank">Internet Archive</a>). Here the reader could find "The Dying Bride" (II, <a href="https://archive.org/stream/romantictales02lewi#page/116/mode/2up" target="_blank">p. 114-20</a>) and he noted that this piece was "partly translated from a Lithuanian ballad, a German translation of which is to be found in Herder's Volks-lieder - the last seven stanzas are entirely new" (I, <a href="https://archive.org/stream/romantictales01lewi#page/n15/mode/2up" target="_blank">p. xiii</a>, see Volkslieder I.1, No. 3, pp. 33-4). In fact this is a very free adaptation.. Also of interest in this respect are "Bertrand & Mary-Belle" and "The Lord of Falkenstein" (I, <a href="https://archive.org/stream/romantictales01lewi#page/272/mode/2up" target="_blank">pp. 273-87</a>). Lewis only noted that they were "in a great measure taken from some fragments of old German ballads". There is good reason to assume that these two pieces are also based on texts found in the <i>Volkslieder</i> (Guthke 1958b, pp. 148-52; see Volkslieder, I.1, No. 16, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n81/mode/2up" target="_blank">pp. 79-82</a> & I.3, No. 2, pp. 232-4). </div>
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Lewis was the first one and at that time the only one who made available English adaptations of texts from Herder's <i>Volkslieder </i>and also in some cases named it as his source. Here the reader at least learned about the origin of these pieces. The only other writer who during these years tried his hand at adapting a piece from this anthology was much less forthcoming and preferred not to mention where he had found the original German words. This was Samuel Taylor Coleridge (1772-1834; see <a href="https://en.wikipedia.org/wiki/Samuel_Taylor_Coleridge" target="_blank">Wikipedia</a>), writer, poet, critic, philosopher and more, who was interested in German literature and philosophy and also learned the language (see Stokoe, <a href="https://archive.org/stream/germaninfluencei00stok#page/88/mode/2up" target="_blank">pp. 89-143</a>).</div>
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He spent some time in Germany in 1798 and there he bought a copy of the <i>Volkslieder </i>(see Coleridge, Marginalia II, p. 1048). Two years later a little piece was published in a literary almanac, <i>The Annual Anthology</i> (II, 1800, <a href="https://books.google.de/books?id=KDUJAAAAQAAJ&hl=de&pg=PA192#v=twopage&q&f=false" target="_blank">p. 192</a>; see also Coleridge, Complete Poetical Works I, 1912, <a href="https://archive.org/stream/cu31924102776576#page/n345/mode/2up" target="_blank">p. 313</a>). He called it "Something Childish, but very natural. Written in Germany": </div>
<blockquote class="tr_bq">
If I had but two little wings, And were a little feathery bird,<br />
And were a little feathery bird,<br />
To you I'd fly, my dear!<br />
But thoughts like these are idle things<br />
And I stay here.<br />
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But in my sleep to you I fly,<br />
I'm always with you in my sleep,<br />
The world is all one's own.<br />
But the one wakes, and where am I?<br />
All, all alone.<br />
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Sleep stays not though a Monarch bids,<br />
So I love to wake 'ere break of day;<br />
For though my sleep be gone,<br />
Yet while 'tis dark one shuts one's lids<br />
And still dreams on. </blockquote>
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No source is given but this was clearly an adaptation of a song from the <i>Volkslieder</i> called "Flug der Liebe" (I.1, No. 12, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n69/mode/2up" target="_blank">pp. 67-8</a>). Herder was the first one to publish this text in a book and it would then become immensely popular in Germany (see Widmer in <a href="http://www.liederlexikon.de/lieder/wenn_ich_ein_voeglein_waer" target="_blank">Liederlexikon</a>), one of the songs even today nearly everybody knows of:</div>
<blockquote class="tr_bq">
Wenn ich ein Vöglein wär<br />
Und auch zwey Flüglein hätt',<br />
Flög ich zu dir;<br />
Weil es aber nicht kann seyn,<br />
Bleib ich allhier.<br />
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Bin ich gleich weit von dir,<br />
Bin ich doch im Schlaf bey dir,<br />
Und red' mit dir:<br />
Wenn ich erwachen thu,<br />
Bin ich allein.<br />
<br />
Es vergeht keine Stund' in der Nacht,<br />
Da mein Herz nicht erwacht,<br />
Und an dich gedenkt,<br />
Daß du mir viel tausendmal<br />
Dein Herz geschenkt. </blockquote>
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Coleridge's little poem was reprinted numerous times but - as far as I can see - only very rarely with a reference to Herder as the original source. In 1873 a writer in the Aldine (Vol. 5, <a href="https://books.google.de/books?id=qig1AQAAMAAJ&hl=de&pg=PA21#v=onepage&q&f=false" target="_blank">p. 23</a>), a journal published in New York, did point to Herder's text, quoted it in an English translation and felt justified to call the poet a "plagiarist". It should be added that Coleridge also read other works by Herder but apparently never returned to the <i>Volkslieder </i>(see Marginalia II, p. 1048). </div>
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The third one in the trio of early British "Herderians" with some interest in the <i>Volkslieder</i> was of course Walter Scott (1771-1832; see Stokoe, <a href="https://archive.org/stream/germaninfluencei00stok#page/60/mode/2up">pp. 61-88</a>). He also learned the language and developed a fascination with contemporary German literature. Among his earliest works were translations of ballads respectively plays by Bürger and Goethe (see Mortensen 2014, pp. 140-50). His "interest in ballads had been in part inspired" by Herder's <i>Volkslieder</i> (Ferris 2012, p. 10) of which he owned a copy (see Catalogue Abbotsford, 1838, <a href="https://archive.org/stream/catalogueoflibra00scotrich#page/172/mode/2up" target="_blank">p. 172</a>). He discussed the topic - as already noted - with M. G. Lewis and contributed some pieces for the latter's collections (see also Thomson at the <a href="http://www.walterscott.lib.ed.ac.uk/works/poetry/apology/contents.html" target="_blank">Walter Scott Digital Archive</a>; Scott, <a href="https://archive.org/stream/minstrelsyofscot04scot#page/n17/mode/2up" target="_blank">Essay</a>, 1830). </div>
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But the only time Scott mentioned Herder's name was a reference to his "beautiful German translation" of "Sir Patrick Spens" that he added to the third edition of the <i>Minstrelsy</i> in 1806 (Vol. 1, <a href="https://archive.org/stream/ofscottishborder01scotiala#page/6/mode/2up" target="_blank">p. 6</a>; but see also Scott, Essay, <a href="https://archive.org/stream/minstrelsyofscot04scot#page/64/mode/2up" target="_blank">p. 65</a>). Here he also called the <i>Volkslieder</i> "an elegant work, in which it is only to be regretted that the actual popular songs of the Germans form so trifling a proportion", a complaint Herder surely would have agreed to. </div>
<br />
<div style="text-align: justify;">
Otherwise there wasn't much. When Robert Jamieson included some Danish texts in his <i>Popular Ballads and Songs</i> (1806, at the <a href="https://archive.org/details/robarts?and[]=Jamieson%20Popular%20Ballads" target="_blank">Internet Archive</a>) he didn't need to rely on Herder's adaptations as Lewis did but instead used the original sources and translated them anew (see f. ex. I, <a href="https://archive.org/stream/popularballadsan01jamiuoft#page/208/mode/2up" target="_blank">pp. 208-28</a>; II, <a href="https://archive.org/stream/popularballadsan02jamiuoft#page/98/mode/2up" target="_blank">pp. 99-116</a>; see also Møller, pp. 43-4). Even more original translations of <i>kaempeviser</i> can be found in the <i>Illustrations of Northern Antiquities</i>, the great anthology of "Teutonic and Scandinavian Romances" compiled by Jamieson in cooperation with Scott and Henry Weber. But here he at least added two German ballads taken directly from Herder, "Ulrich and Annie" and "The Maiden and the Hasel" (<a href="https://archive.org/stream/illustrationsofn00webe#page/348/mode/2up" target="_blank">pp. 348-53</a><b>;</b> see Volkslieder I.1, No. 16,<a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n81/mode/2up" target="_blank"> pp. 79-82</a> & I.2, No. 1, pp. 109-10 ).</div>
<div style="text-align: justify;">
<br /></div>
<br />
<div style="text-align: center;">
<b>III. </b> </div>
<br />
<div style="text-align: justify;">
Some years later the British readers could learn a little bit about Herder from the English translation of Madame de Staël's book about Germany (II, <a href="https://archive.org/stream/germanyhols02staeuoft#page/364/mode/2up" target="_blank">pp. 364-9</a>). There are also some remarks about the <i>Volkslieder</i>, a not unhelpful summary of his thinking about popular poetry (pp. 366-7): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"Herder published a collection entitled 'Popular Songs.' It contains ballads and detached pieces, on which the national character and imagination of the people are strongly impressed. We may studxy in them that natural poetry which precedes cultivation. Cultivated literature becomes so speedily factitious, that it is good, now and then, to have recourse to the origin of all poetry, that is to say, to the impression made by nature on man before he had analysed both the universe and himself. The flexibility of the German language alone, perhaps admits a translation of those naivités peculiar to that of different countries, without which we cannot enter into the spirit of popular poetry; the words in those poems have in themselves a certain grace, which affects us like a flower we have before seen, like an air that we have heard in our childhood: these peculiar impressions contain not only the secrets of the art, but those of the soul, from which art originally derived them [...]". </blockquote>
</div>
<div style="text-align: justify;">
An article in the <i>Monthly Magazine</i> in 1821 (<a href="https://books.google.de/books?id=TGY3AQAAMAAJ&hl=de&pg=PA34#v=twopage&q&f=false" target="_blank">pp. 35-8</a>, 409-14) offered a short overview of Herder's life. The <i>Volkslieder</i> weren't mentioned but at least a translation of a "Fragment about Shakespeare" was added. Some more relevant publications appeared since the late '20. In 1827 Treuttel & Würtz, a French publishing house that was also busy in London, brought out an interesting anthology with the title <i>Stray Leaves, Including Translations from the Lyric Poets of Germany, with Brief Notices of their Work </i>(at the <a href="https://archive.org/stream/specimenssacred00unkngoog#page/n177/mode/2up" target="_blank">Internet Archive</a> [wrong title]). The anonymous author wrote a short introduction to Herder (pp. 154-6) that also included a few remarks about the <i>Volkslieder</i>:</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"His Volks-Lieder, or Popular Songs of all nations, translated into German, consist of the following [...] The translations are for the most part executed with facility, in corresponding measures. Such a garland of poetic flowers, in which are depicted the pains and pleasures, the love and hatred, the hopes and fears of almost universal humanity, in the affecting simplicity of national song, is interesting in the highest degree. The strains of the most distant zones here meet in harmony, and greet us from afar in the accents of home. Herder's passion for such anthologies is remarkable. Wherever he found a rare exotic of exquisite poesy, he immediately transplanted it, with evident delight". </blockquote>
</div><p>
More important was William Taylor's <i>Historic Survey of German Poetry, Interspersed with Various Translations</i>, published in three volumes in 1830 (at the <a href="https://archive.org/details/robarts?and[]=Taylor%20Historic%20Survey" target="_blank">Internet Archive</a>). Taylor (1765-1836; see <a href="https://en.wikipedia.org/wiki/William_Taylor_(man_of_letters)" target="_blank">Wikipedia</a>), critic and translator - I have already mentioned him -, was at that time the most influential mediator of German literature in Britain. He included a longer chapter about Herder with English translations of original texts (II, pp. 9-42). The <i>Volkslieder</i> are represented by four songs, three of them from the Baltic (<a href="https://archive.org/stream/historicsurveyof03tayluoft#page/16/mode/2up" target="_blank">pp. 15-8</a>). </p><p>John Bowring (1792-1872; see <a href="https://en.wikipedia.org/wiki/John_Bowring" target="_blank">Wikipedia</a>), well-known polyglot translator and editor, wrote a review of some Latvian song collections for the <i>Foreign Quarterly Review</i> (8, 1831, pp. 61-78). He had received these rare publications from Sir Walter Scott (see Catalog Abbotsford, <a href="https://archive.org/stream/catalogueoflibra00scotrich#page/172/mode/2up">p. 172</a>). Here he also referred to the <i>Volkslieder</i> and added translations of Latvian and Lithuanian songs there as well as some of Herder's notes about Baltic popular poetry (<a href="https://archive.org/stream/foreignquarterly08npnpuoft#page/74/mode/2up">pp. 73-5</a>).
</p><div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
At this point we can see that there was never a systematic reception of the <i>Volkslieder</i> in Britain. Only a few authors with knowledge of German were familiar with this anthology and some of them - particularly Lewis and Scott - seem to have been inspired at least a little bit by Herder's work. It was not exactly a book suitable for the English market and there was no way that this collection of mostly translations, many of them from the English, could be turned into something of comparable worth for a British audience (see also Bohlman 2011, p. 506). Therefore only a few texts were "translated" into English, the most successful of them as very free adaptations á la Lewis. These were in fact new works only loosely based on Herder's texts. </div>
<br />
<div style="text-align: justify;">
Another problem was that for a long time German writers were neglected in Britain. Of course the romantics were interested in literature from Germany. But the "rage" didn't last long and only a few literary stars like Goethe, Bürger, Schiller and Kotzebue became popular and their works were translated into English (see Morgan, <a href="https://archive.org/stream/bibliographyofg00morg#page/64/mode/2up" target="_blank">pp. 64-7</a>, 154-84, 306-11, 443-66). The rest fared much worse and was rarely made available to English readers. Herder was one of them even though in his case one would have expected more. There was always a great interest for national songs and popular ballads on the British Isles and Herder would have fitted well there. But not even his theoretical works like the <i>Briefwechsel</i> about Ossian were translated. All in all the cultural exchange between German and England was in this case very one-sided and later it wouldn't get much better. </div>
<br />
<div style="text-align: justify;">
Of course Herder would be mentioned in books about the history of German literature, like Gostwick's and Harrison's <i>Outlines</i> (1873). There is even a short comment on the <i>Volkslieder</i> (<a href="https://archive.org/stream/outlinesofgerman00gostiala#page/234/mode/2up" target="_blank">p. 234</a>):</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"By his 'Voices of the Peoples' - a series of free translations of the popular songs and ballads of several nations - and by his 'Spirit of Hebrew poetry' (1782) he awakened a cosmopolitan taste in imaginative literature [...] His best work - the popular songs and ballads of many nations - is divided into six books [...] The whole aim of his literary labours seemed to be to make the Germans forget the distinctive character of their own land and recognize themselves as citizens of the world." </blockquote>
</div>
<div style="text-align: justify;">
But the first critical discussion of this anthology in Britain can be found in Nevinson's biography (<a href="https://archive.org/stream/sketchofherderhi00nevirich#page/318/mode/2up" target="_blank">pp. 319-24</a>), that is, by the way, still worth reading. Some paragraphs from the <i>Briefwechsel</i> about Ossian were translated for the chapter about Herder in Warner's <i>Library of the World's Best Literature</i> (XIII, 1902, pp. 7259-76, here <a href="ttps://archive.org/stream/libraryofworldsbv13warn#page/7260/mode/2up" target="_blank">p. 7261</a>), an American publication. Of course Herder was regularly referred to by folklorists as a kind of great-grandfather of research into "folk-songs". But his most relevant texts were only recently translated into English (Bohlman 2016). This was really very late. </div>
<br />
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<br />
<ul style="text-align: justify;">
<li>Henry A. Beers, A History of English Romanticism in the 18th century, Holt & Co., New York, 1899, at the <a href="https://archive.org/details/historyofenglish00beer" target="_blank">Internet Archive</a> </li>
<li>Bohlman, Philip V.: Translating Herder Translating. Cultural Translation and the Making of Modernity. In: The Oxford Handbook of the New Cultural History of Music. Edited by Jane F. Fulcher, Oxford & New York, 2011, pp. 501-522 </li>
<li>Philipp Bohlman, Song Loves the Masses. Herder on Music and Nationalism, Oakland, 2017 </li>
<li>The Catalogue of the Library at Abbotsford, Edinburgh, 1838, at the <a href="https://archive.org/stream/catalogueoflibra00scotrich#page/172/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Samuel Taylor Coleridge, The Complete Poetical Works Including Poems and Versions of Poems Now Published For the First Time. Edited, With Textual and Bibliographical Notes by Ernest Hartley Coleridge. In Two Volumes. Vol. 1: Poems, Clarendon, Oxford, 1912, at the <a href="https://archive.org/stream/cu31924102776576#page/n345/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Samuel Taylor Coleridge, Marginalia II: Camden to Hutton. Edited by George Whalley, London & Princeton, 1984 (= The Collected Works of Samuel Taylor Coleridge) </li>
<li>Ina Ferris, Scott's Authorship and Book Culture, in: Fiona Robertson (ed.), The Edinburgh Companion to Sir Walter Scott, Edinburgh, 2012, pp. 9-21 </li>
<li>Matthew Gelbart, The Invention of "Folk Music" and "Art Music". Emerging Categories from Ossian to Wagner, Cambridge 2007 (= New perspectives in Music History and Criticism) </li>
<li>Joseph Gostwick & Robert Harrison, Outlines of German Literature, Williams & Norgate, London & Edinburgh, 1873, at the <a href="https://archive.org/stream/outlinesofgerman00gostiala#page/234/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Karl S. Guthke, Die erste Nachwirkung von Herders Volksliedern in England, Archiv für das Studium der neueren Sprachen 193, 1957, pp. 273-84 </li>
<li>Karl S. Guthke, Some Unidentified Early English Translations from Herder's Volkslieder, in: Modern Language Notes 73, 1958a, pp. 52-6 (<a href="http://www.jstor.org/stable/3043287" target="_blank">jstor</a>) </li>
<li>Karl S. Guthke, Englische Vorromantik und deutscher Sturm und Drang. M. G. Lewis' Stellung in der Geschichte der deutsch-englischen Literaturbeziehungen, Göttingen, 1958b (= Palaestra. Untersuchungen aus der deutschen und englischen Philologie und Literaturgeschichte 223) </li>
<li>Rudolf Haym, Herder nach seinem Leben und seinen Werken, Gaertner, Berlin, 1880 & 1885, 2 Vols., at the <a href="https://archive.org/details/robarts?and[]=Herder%20Haym" target="_blank">Internet Archive</a> </li>
<li>[Johann Gottfried Herder], Auszug aus einem Briefwechsel über Ossian und die Lieder alter Völker, in: Von deutscher Art und Kunst. Einige fliegende Blätter, Bode, Hamburg, 1773, <a href="https://archive.org/stream/vondeutscherartu00herd#page/n7/mode/2up" target="_blank">pp. 3-70</a>, 113-8, at the Internet Archive </li>
<li>[HW =] Johann Gottfried Herder, Werke in 10 Bänden, Deutscher Klassiker Verlag, Frankfurt/M., 1985-2000 (= Bibliothek deutscher Klassiker) </li>
<li>Johann Gottfried Herder, Briefe. Gesamtausgabe 1763-1803, Böhlau, Weimar, 1977-2009 </li>
<li>Graham Jefcoate, Deutsche Drucker und Buchhändler in London 1680-1811. Strukturen und Bedeutung des deutschen Anteils am englischen Buchhandel, Berlin etc., 2015 (= Archiv für Geschichte des Buchwesens - Studien 12) </li>
<li>Library of the World's Best Literature. Ancient and Modern. Charles Dudley Warner. Editor. Teachers' Edition. Thirty-One Volumes. Vol. XIII, Hill, New York, n. d. [1902], at the <a href="https://archive.org/stream/libraryofworldsbv13warn#page/n35/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Heinrich Lohre, Von Percy zum Wuinderhorn. Beiträge zur Geschichte der Volksliedforschung in Deutschland, Berlin & Leipzig, 2002 (= Palelaestra XXII), at the <a href="https://archive.org/stream/vonpercyzumwunde00lohruoft#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Lis Møller, Travelling Ballads. The Dissemination of Danish Medieval Ballads in Germany and Britain, 1760s to 1830s, in: Dan Ringgaard & Mads Rosendahl Thomsen (eds.), Danish Literature as World Literature, London & New York, 2017, pp. 31-52 </li>
<li>Peter Mortensen, British Romanticism and Continental Influences. Writing in an Age of Europhobia, Basingstroke & New York, 2006 </li>
<li>Johann Georg Müller (ed.), Erinnerungen aus dem Leben Joh. Gottfrieds von Herder. Gesammelt und beschrieben von Maria Carolina von Herder, geb. Flachsland, Cotta, Stuttgart & Tübingen, 1830, 3 Vols. , at the <a href="https://archive.org/search.php?query=Herder%20Erinnerungen%20Cotta%20Toront" target="_blank">Internet Archive</a> </li>
<li>Henry Nevinson, A Sketch of Herder And His Times, London, 1884, at the <a href="https://archive.org/details/sketchofherderhi00nevirich">Internet Archive</a> </li>
<li>Lawrence Marsden Price, English Literature in Germany, Berkeley & Los Angeles, 1953, at the <a href="https://archive.org/stream/englishliteratur00pric#page/n7/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Bayard Quincy Morgan, A Bibliography of German Literature in English Translation, Madison, 1922 (= University of Wisconsin Studies in Language and Literature 16), at the <a href="https://archive.org/stream/bibliographyofg00morg#page/244/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Wolf Gerhard Schmidt, 'Homer des Nordens' und 'Mutter der Romantik'. James MacPhersons Ossian und seine Rezeption in der deutschsprachigen Literatur, 4 Bde., Berlin & New York, 2003-4 </li>
<li>Walter Scott, Essay on the Imitation of the Ancient Ballad (1839), in: The Minstrelsy of the Scottish Border with His Introductions, Additions and the Editor's Notes, Vol. 4, Cadell, Edinburgh, 1849, <a href="https://archive.org/stream/minstrelsyofscot04scot#page/n17/mode/2up" target="_blank">pp. 3-78</a>, at the Internet Archive </li>
<li>F. W. Stokoe, German Influence in the English Romantic Period 1788-1818. With Special Reference to Scott, Coleridge, Shelley and Byron, New York, 1963 (first publ. 1926), at the <a href="https://archive.org/stream/germaninfluencei00stok#page/n7/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Douglass H. Thomson (ed.), Matthew Gregory Lewis, Tales of Wonder, Peterborough, ON, 2010</li>
<li>Douglass H. Thomson (ed.), Walter Scott's An Apology for Tales of Terror (1799), at <a href="http://www.walterscott.lib.ed.ac.uk/works/poetry/apology/home.html" target="_blank">The Walter Scott Digital Archive</a> (Edinburgh University Library) </li>
<li>Karl Wagner, Briefe an Johann Heinrich Merck von Göthe, Herder, Wieland und andern bedeutenden Zeitgenossen. Mit Merck's biographischer Skizze, Diehl, Darmstadt, 1835, at the <a href="https://archive.org/details/briefejohannhein00wagnuoft" target="_blank">Internet Archive</a> </li>
<li>Tobias Widmer, <a href="http://www.liederlexikon.de/lieder/wenn_ich_ein_voeglein_waer" target="_blank">Wenn ich ein Vöglein wär</a> (2012), in : Populäre und Traditionelle Lieder. Historisch-Kritisches Liederlexikon (Deutsches Volksliedarchiv), last access: 15.10.2017</li>
</ul>
Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-60708919542042240322017-08-25T15:48:00.002+02:002022-01-14T12:50:12.521+01:00"Exotic" Tunes: Athanasius Kircher's Tarantellas (1641)<div style="text-align: center;">
<b>I. </b></div>
<br />
<div style="text-align: justify;">
Athanasius Kircher (1602-1680; see <a href="https://de.wikipedia.org/wiki/Athanasius_Kircher" target="_blank">Wikipedia</a>; good introduction: Larsen 1989, at the <a href="https://archive.org/stream/athanasiuskirche00merr#page/n1/mode/2up" target="_blank">Internet Archive</a>), Jesuit from Germany, was one of the most famous and productive scholars of the 17th century. He has been called "The Last Man Who Knew Everything" (Findlen 2012) or the "Master of a Hundred Arts" (Reilly 1974), to quote the titles of two of the more recent works about him. Kircher wrote about numerous different topics, for example about China, Egyptology, medicine, geology, musicology and much more (see the list of his books at Roessler, <a href="http://www.holeroessler.de/kircher_online.html" target="_blank">Kircher</a>; see also at the <a href="https://archive.org/search.php?query=Athanasius+Kircher&sort=-publicdate" target="_blank">Internet Archive</a>). </div>
<br />
<div style="text-align: justify;">
I am interested here only in his work in one particular field. Kircher also happened to be among the first who made available popular tunes and songs of the people from Europe's cultural periphery. Today they would be called "folk-tunes". One may say that he could be regarded as one of the first folklorists or ethnomusicologists. I am referring of course to the famous <i>tarantellas</i> from the south of Italy, dance tunes that at that time were said to cure the bite of the tarantula. </div>
<br />
<div style="text-align: justify;">
We can find them in his work about magnetism, <i>Magnes Sive De Arte Magnetica Opus Tripartitum</i> - first published in 1641 and then in new editions in 1643 and 1654 - as part of a chapter "De Tarantismo, sive Tarantula Apulo Phalangio, eiusque Magnetismo, ac mira cum Musica sympathia", an extensive scholarly discussion of what was called tarantism (see here 2nd ed. 1643, <a href="https://archive.org/stream/athanasiikircher00kirc_6#page/n845/mode/2up" target="_blank">pp. 755-77</a>). He offered eight tunes, some of them with texts, together with helpful notes (<a href="https://archive.org/stream/athanasiikircher00kirc_6#page/n851/mode/2up" target="_blank">pp. 761-4</a>, see the translation in Brewer 2011, pp. 2-9). </div>
<div style="text-align: justify;">
<br /></div>
<br />
<div style="text-align: center;">
<b>II. </b></div>
<br />
<div style="text-align: justify;">
But at first it is necessary to review the digital copies of this work. We have to find them which is not always that easy. Then we have to check if they are usable: are the scans complete and in good quality?. Not at least there is also the question if these digital copies are presented in a way that they can be used effectively? </div>
<br />
<div style="text-align: justify;">
A good start is the above-mentioned list of digital copies of Kircher's books (Roessler, <a href="http://www.holeroessler.de/kircher_online.html" target="_blank">Kircher</a>). <a href="https://de.wikisource.org/wiki/Athanasius_Kircher" target="_blank">Wikisource</a> offers links to scans of Kircher's publications with musical content including this one. To find more copies several search engines and catalogs are needed: <a href="http://kvk.bibliothek.kit.edu/" target="_blank">KVK</a>, <a href="http://www.europeana.eu/portal/de" target="_blank">Europeana</a>, Google and Google Books, the Internet Archive and others. The result is once again very impressive. All in all I found more than 30 digital facsimiles of this work, eight of the 1st edition, nine of the 2nd and 14 of the third. Two thirds of them - twice as many as by all other libraries together - were produced by Google. This shows that they still rule the field. </div>
<br />
<div style="text-align: justify;">
Athanasius Kircher, Magnes Sive De Arte Magnetica Opus Tripartitum, Scheus, Roma, 1641, here pp. 872-6 </div>
<ul style="text-align: justify;">
<li>at <a href="https://books.google.de/books?id=nK1DAAAAcAAJ" target="_blank">Google Books</a> [= UofLausanne], also at the <a href="https://archive.org/details/bub_gb_nK1DAAAAcAAJ" target="_blank">Internet Archive</a> </li>
<li>at <a href="https://books.google.de/books?id=1aZ3FcTAYdUC" target="_blank">Google Books</a> [= BM Lyon] </li>
<li>at <a href="https://books.google.de/books?id=br5-tCP8V1YC" target="_blank">Google Books</a> [= BNC Roma] </li>
<li>at <a href="https://books.google.de/books?id=lM9ZAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11111144-6" target="_blank">BSB/SB Regensburg</a>] </li>
<li>at <a href="https://books.google.de/books?id=3pA_AAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10058476-3" target="_blank">BSB</a>] </li>
<li>at <a href="http://echo.mpiwg-berlin.mpg.de/MPIWG:MANTPCWE" target="_blank">MPIWG</a> </li>
<li>at <a href="http://www.dbc.wroc.pl/dlibra/docmetadata?id=25959" target="_blank">Lower Silesian Digital Library</a> [djvu; Book 1 & 2 only] </li>
<li>at <a href="http://bdh-rd.bne.es/viewer.vm?id=0000096287" target="_blank">BDH</a> </li>
</ul>
<div style="text-align: justify;">
dto., Editio Secunda, Kalcoven, Köln, 1643, here pp. 761-4 </div>
<ul style="text-align: justify;">
<li>at <a href="https://books.google.de/books?id=vd0TAAAAQAAJ" target="_blank">Google Books</a> [= UofLausanne] </li>
<li>at <a href="https://books.google.de/books?id=FJE_AAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10058477-8" target="_blank">BSB</a>] [plates missing, see VD 17 <a href="https://gso.gbv.de/DB=1.28/CMD?ACT=SRCHA&IKT=8002&TRM=%2723:255233C%27" target="_blank">23:255233C</a>], also at the <a href="https://archive.org/details/bub_gb_FJE_AAAAcAAJ" target="_blank">Internet Archive</a> </li>
<li>at <a href="https://books.google.de/books?id=WLtdAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/ABO/%2BZ181596601">ÖNB</a>] </li>
<li>at <a href="https://books.google.de/books?id=K40PAAAAQAAJ" target="_blank">Google Books</a> [= U Gent] </li>
<li>at <a href="https://books.google.de/books?id=rNBjS68X9Z8C" target="_blank">Google Books</a> [= BM Lyon] </li>
<li>at the <a href="https://archive.org/details/athanasiikircher00kirc_6" target="_blank">Internet Archive</a> [= BCL] </li>
<li>at <a href="http://nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:gbv:23-drucke/218-25-quod-18" target="_blank">HAB Wolfenbüttel</a> </li>
<li>at <a href="http://dx.doi.org/10.3931/e-rara-14041" target="_blank">e-Rara</a> (ZB Zürich) </li>
<li>at <a href="http://bdh-rd.bne.es/viewer.vm?id=0000060598" target="_blank">BDH</a> </li>
</ul>
<div style="text-align: justify;">
dto., Editio Tertia, Mascardi, Roma, 1654, here pp. 591-6 </div>
<ul style="text-align: justify;">
<li>at <a href="https://books.google.de/books?id=fftlAAAAcAAJ">Google Books </a>[= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11200555-2" target="_blank">BSB/SSB Augsburg</a>] </li>
<li>at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10944317-0">BSB</a> [= GB?], also at the <a href="https://archive.org/details/KircherMagnesSive1654" target="_blank">Internet Archive</a> </li>
<li>at <a href="https://books.google.de/books?id=pymMGNmnxzgC" target="_blank">Google Books</a> [= BM Lyon] </li>
<li>at <a href="https://books.google.de/books?id=MuFtruJ9vcEC" target="_blank">Google Books</a> [= Sapienza – Università di Roma] </li>
<li>at <a href="https://books.google.de/books?id=dwHmGGj9zeAC" target="_blank">Google Books</a> [= UC Madrid] </li>
<li>at <a href="https://books.google.de/books?id=ZRlxpOsqfPYC" target="_blank">Google Books</a> [= UC Madrid] </li>
<li>at <a href="https://books.google.de/books?id=Wn_7Jsg-qM0C" target="_blank">Google Books</a> [= BNC Roma], also at the <a href="https://archive.org/details/bub_gb_Wn_7Jsg-qM0C">Internet Archive</a> </li>
<li>at <a href="https://books.google.de/books?id=RZXjT8-D6ywC" target="_blank">Google Books</a> [= BNC Firenze] </li>
<li>at <a href="https://books.google.de/books?id=6-HTufhslv4C" target="_blank">Google Books</a> [= BN Napoli], also at the <a href="https://archive.org/details/bub_gb_6-HTufhslv4C" target="_blank">Internet Archive</a> </li>
<li>at <a href="https://books.google.de/books?id=E3JVAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/ABO/%2BZ165292400" target="_blank">ÖNB</a>] </li>
<li>at <a href="http://diglib.hab.de/drucke/14-6-phys-2f/start.htm" target="_blank">HAB Wolfenbüttel</a> </li>
<li>at <a href="http://www.e-rara.ch/zuz/doi/10.3931/e-rara-36064" target="_blank">e-rara</a> (ZB Zürich) </li>
<li>at <a href="http://polona.pl/item/9026045/" target="_blank">Biblioteka Narodowa</a> (Warszawa) </li>
<li>at <a href="http://www.internetculturale.it/jmms/iccuviewer/iccu.jsp?teca=&id=oai%3Awww.internetculturale.sbn.it%2FTeca%3A20%3ANT0000%3AIT%5C%5CICCU%5C%5CUFIE%5C%5C003490&viewType=twopages&mediaType=image&objectIndex=8" target="_blank">Internet Culturale</a> </li>
</ul>
<div style="text-align: justify;">
It is good to have so many copies but as is known there are some serious problems with the quality of the Google-scans. Particularly troublesome is the fact that many of them are not complete. Everything that has a different format than the book itself has - in many cases - not been scanned correctly: fold-outs with maps, illustrations and music or other extras. This is not occasional sloppiness but a general problem that must always be taken into account. Therefore every Google Book needs to be checked for completeness. In this case - Kircher's books are lavish productions - it would be a very time-consuming task: how many illustrations and plates are missing? Were they already missing from the original copy or did they get lost during the scanning process? </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But I can't do this here and I only have checked if they are usable for my own purposes: at least the chapter about the tarantula including the musical examples should be complete. Surprisingly in nearly all copies it is. Only in two scans made from copies of the 2nd edition the plate with the "Antidotum Tarantulae" (after p. 762) is missing (<a href="https://books.google.de/books?id=K40PAAAAQAAJ&hl=de&pg=PA762#v=twopage&q&f=false" target="_blank">UGent</a>; <a href="https://books.google.de/books?id=rNBjS68X9Z8C&hl=de&pg=RA1-PT278#v=twopage&q&f=false" target="_blank">BM Lyon</a>). This seems to have happened during the scanning process. In another one (<a href="https://books.google.de/books?id=FJE_AAAAcAAJ&hl=de&pg=PA762#v=twopage&q&f=false" target="_blank">BSB</a>) it is also missing but in this case it is a problem of the original book (see VD 17 <a href="https://gso.gbv.de/DB=1.28/CMD?ACT=SRCHA&IKT=8002&TRM=%2723:255233C%27" target="_blank">23:255233C</a>). In general most of the scans are better than expected. Of course some look a little uneven and some are still only in black & white but the pages I needed were there. But I don't doubt that a closer inspection would reveal other defects. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The copies made available by other libraries also seem to be reliable but I think their online readers are not as good and effective as they should be. They are much slower and less flexible than those of Google Books and of the Internet Archive. The latter offers at the moment still the best possible reader and therefore I used as my working copy a scan of the 2nd edition - from the Boston College Library - that is available there. The Internet Archive's own scans are generally much more reliable than those by Google Books and usually I prefer them to all others. </div>
<br />
<br />
<div style="text-align: center;">
<b>III. </b></div>
<br />
<div style="text-align: justify;">
Tarantism, an exotic and strange custom from Europe's cultural periphery, used to be a favorite problem for scholars for a very long time. A wealth of relevant literature was produced over the last several centuries and it is still discussed today<b> </b>(see f. ex. the overviews in: Strasser 1984; Schedtler 1994; Arcangeli 2000, at <a href="http://www.academia.edu/3735797/Dance_between_disease_and_cure_the_tarantella_and_the_physi" target="_blank">academia.edu</a>; Le Menthéour, 2009, at <a href="http://hdl.handle.net/2027/spo.0642292.0037.003" target="_blank">Michigan Publ.</a>; Daboo 2010; Korenjak 2013; still useful; Bergsøe 1865, at <a href="https://books.google.de/books?id=SQpFAAAAYAAJ&hl=de&pg=PA238#v=twopage&q&f=false" target="_blank">Google Books</a>; Büsching 1778, at <a href="http://idb.ub.uni-tuebingen.de/diglit/Bh29" target="_blank">UB Tübingen</a>). It was known well before Kircher's publications. Perotti referred to the tarantula in his <i>Cornucopiae seu Latinae Linguae Commentarii</i> (1527, <a href="https://books.google.de/books?id=iWE-AAAAcAAJ&hl=de&pg=PP180#v=onepage&q=quidam&f=false" target="_blank">col. 51</a>; see Becker 1836, <a href="https://archive.org/stream/systematischchr00beckgoog#page/n23/mode/2up" target="_blank">col. 11</a>) as did Spanish humanist Pedro Meija in his immensely popular <i>Silva de varia lección</i> (1540, see German ed., 1564, <a href="https://books.google.de/books?id=mrdMAAAAcAAJ&hl=de&pg=PR204#v=twopage&q&f=false" target="_blank">pp. cciiii</a>). In England it was John Case who included a short remark in <i>The Praise of Musicke</i> (1586 [ESTC <a href="http://estc.bl.uk/S115011" target="_blank">S115011</a>], p. 56, at EEBO]: </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"Likewise in Apulia when anie man is bitten of the Tarrantula, which is a certain kinde of flie, verie venimous and full of daunger, they finde out the nature and sympathie of the sicknesse or humor, with playing on instrumentes, and with diuersitie of Musicke, neither doe they cease from playing, vntill the often motion and agitation, haue driuen the disease away".</blockquote>
</div>
<div style="text-align: justify;">
This fable also found its way into literature. There is for example a reference in Sidney's <i>Arcadia</i> (1590, here 1598, <a href="https://books.google.de/books?id=GKVdAAAAcAAJ&hl=de&pg=PA32#v=twopage&q&f=false" target="_blank">p. 33</a>): "This word, Louer, did not lesse pierce poor Pyrocles, than the right tune tune of musicke toucheth him that is sicke of the Tarantula". Italian physician Vincenzio Bruni dedicated one of his <i>Tre dialoghi</i> to this problem (Napoli, 1601, <a href="https://books.google.de/books?id=zyFkAAAAcAAJ&hl=de&pg=PA1#v=twopage&q&f=false" target="_blank">pp. 1-37</a>). More names could be added. But it was Kircher who actually discussed it in detail, as a scientific case study in the context of his ideas about musical therapy. "Rather than offering rarefied speculations [...] Kircher focuses on the here-and-now, observing, scrutinizing, documenting" (Gioia, p. 118). </div>
<br />
<div style="text-align: justify;">
Most important in this respect was that he made available the tunes and songs performed at these occasions. He hadn't collected them himself. Instead he relied on the information sent to him by two Jesuits who lived and worked in Apulia and who had witnessed cases of tarantism. Their names are given at the start of the chapter (2nd. ed., p. 756). There have been some doubts about the reliability of these notations. All except one of these tunes are in common time while all <i>tarantellas</i> collected later were in triple metre (see Daboo, p. 122). Perhaps these two padres didn't have enough experience with this kind of music or these tunes were really performed this way. </div>
<br />
<div style="text-align: justify;">
Kircher offered all in all eight tunes. For some of them he added texts. He was able to comment on every one of them, gave some information about the instrumentation, the performance context and the effects. One of them - the only one in triple time - had been sent to him from Napoli as the "true tarantella". In this case he had some doubts but added it nonetheless. His theories about musical therapy and his discussion about tarantism are of course now completely outdated. But this collection of tunes and songs remains important as "a unique example of actual music from this historical moment" (Daboo, p. 122), a very fascinating documentation of the popular music of the people from the South of Italy. </div>
<br />
<div style="text-align: justify;">
At that time not much music of this kind - "exotic" tunes either from the European periphery or from outside of Europe - was available (see my <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8/edit?usp=sharing" target="_blank">bibliography</a> at Google Docs). Spanish musicologist Francisco Salinas had published popular tunes from Southern Europe in his <i>De Musica Libri Septem</i> (1577; see also Pedrell 1899). Some original music from the Americas had been made available by Jean de Lery (1585) and Marc Lescarbot (1617). Turkish pieces can be found both in Salomon Schweigger's, <i>Newe Reyßbeschreibung</i> (1608) and Kepler's <i>Harmonices Mundi</i> (1618). </div>
<br />
<div style="text-align: justify;">
Most closely related to Kircher's work was a book published only several years earlier. Friedrich Menius had included three fragmentary tunes recorded from performances of Baltic peasants in his <i>Syntagma de Origine Livonorum</i> (1635, <a href="https://vivaldi.nlr.ru/bx000015644/view#page=54" target="_blank">pp. 45-6</a>, at NLR; see also the reprint in Scriptores Rerum Livonicarum II, 1848, <a href="https://archive.org/stream/ScriptoresRerumLivonicarum21848/ScriptoresRerumLivonicarum-2-1848#page/n559/mode/2up" target="_blank">p. 525</a>; see Graf 1963). Menius (1593-1659), at that time professor of history in Dorpat, also offered these songs and tunes in the context of an academic treatise. He was interested in the origin of the non-German Baltic populations, a very popular topic among scholars at that time (see now Donecker 2017, part. pp. 123-46). But he also added interesting and notes about the musical performances. These tunes were in fact the earliest available examples of the music of the Latvians and Estonians and it would take a long time - more than 140 years - until more was collected and published. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Neither Kircher nor Menius were interested in these tunes and songs itself but only in their value as an historical source and as documentary evidence in the context of their treatise. Nonetheless both works can be seen as the symbolic starting-points for subsequent research into the popular music of the people from Europe's cultural periphery. At that time both the Baltic peasants and Kircher's Apulian <i>taranti</i> must have been as exotic and strange to the common European scholar as some newly discovered people on the other side of the world. Unfortunately Menius' innovative efforts were quickly forgotten. But Kircher's <i>tarantellas</i> always remained available and were reprinted regularly over the next centuries. </div>
<br />
<br />
<div style="text-align: center;">
<b>IV. </b></div>
<br />
Kircher returned to this topic in two of his later publications, both musicological works:<br />
<ul style="text-align: justify;">
<li>Athanasius Kircher, Musurgia Universalis Sive Ars Magna Consoni Et Dissoni in X Libros Digesta, Grignani, Roma, 1650, II, <a href="https://archive.org/stream/bub_gb_e1DD9JtL96MC#page/n231/mode/2up" target="_blank">pp. 221-4</a>, at the Internet Archive: <a href="https://archive.org/details/bub_gb_Ebv8SNgKNnoC" target="_blank">Vol. 1</a> & <a href="https://archive.org/stream/bub_gb_e1DD9JtL96MC#page/n231/mode/2up">V</a><a href="https://archive.org/details/bub_gb_e1DD9JtL96MC" target="_blank">ol. 2</a> [= Google Books-UC Madrid: <a href="https://books.google.de/books?id=Ebv8SNgKNnoC" target="_blank">Vol. 1</a> & <a href="https://books.google.de/books?id=e1DD9JtL96MC" target="_blank">Vol. 2</a>]; at Google Books: <a href="https://books.google.de/books?id=Fr1CAAAAcAAJ" target="_blank">Vol. 1</a> & <a href="https://books.google.de/books?id=97xCAAAAcAAJ&hl=de&pg=PA83-IA34#v=twopage&q&f=false" target="_blank">Vol. 2</a> [= BSB], also at the Internet Archive: <a href="https://archive.org/stream/bub_gb_97xCAAAAcAAJ#page/n231/mode/2up" target="_blank">Vol. 2</a> </li>
<li>Athanasius Kircher, Philosophischer Extract und Auszug aus deß Welt-berühmten Teutschen Jesuiten Athanasii Kircheri von Fulda Musurgia Universali, in Sechs Bücher verfasset, Laidigen, Schwäbisch Hall, 1662, here pp. 179-87, at <a href="https://books.google.de/books?id=1BqZ3g3arSIC&hl=de&pg=PA178#v=twopage&q&f=false" target="_blank">Google Books</a> [= NBC]; at <a href="https://books.google.de/books?id=zIhTAAAAcAAJ&hl=de&pg=PA179#v=twopage&q&f=false" target="_blank">Google Books</a> [= BSB] </li>
<li>Athanasius Kircher, Phonurgia Nova Sive Conjugium Mechanico-physicum Artis & Naturae Paranympha Phonosophia, Dreher, Kempten, 1673, pp. 204-16, at the <a href="https://archive.org/stream/bub_gb_W1IhE-jdlX0C#page/n263/mode/2up" target="_blank">Internet Archive</a> [= <a href="https://books.google.de/books?id=W1IhE-jdlX0C&hl=de&pg=PA206#v=twopage&q&f=false" target="_blank">Google Books</a>-BNC Roma]; at the <a href="https://archive.org/stream/bub_gb_cLlCAAAAcAAJ#page/n237/mode/2up" target="_blank">Internet Archive</a> [= <a href="https://books.google.de/books?id=cLlCAAAAcAAJ" target="_blank">Google Books</a>-BSB] </li>
<li>Athanasius Kircher, Neue Hall- und Thonkunst, oder Mechanische Geheim-Verbindung der Kunst und Natur, Durch Stimme und Hall-Wissenschaft gestiftet, In unsere Teutsche Sprache übersetzt von Agatho Carione, Schultes, Nördlingen, 1684, pp. 144-52, at <a href="https://books.google.ch/books?id=frlCAAAAcAAJ&hl=de&pg=PA144#v=twopage&q&f=false" target="_blank">Google Books</a> [= BSB], also at the <a href="https://archive.org/stream/bub_gb_frlCAAAAcAAJ#page/n161/mode/2up" target="_blank">Internet Archive</a></li>
</ul>
<div style="text-align: justify;">
In his <i>Musurgia Universalis</i> we can find a summary of this problem, but no musical examples. The German translation made Kircher's ideas also available to those who couldn't read Latin. I should add that this influential standard work (see Scharlau 1969) also included some remarks about non-European music (I., <a href="https://archive.org/stream/bub_gb_Ebv8SNgKNnoC#page/n617/mode/2up" target="_blank">p 565</a>; German ed. <a href="https://books.google.de/books?id=1BqZ3g3arSIC&hl=de&pg=PA150#v=twopage&q&f=false" target="_blank">p. 151</a>). Here he added two examples, one a fragmentary Chinese tune he had received from a Jesuit colleague who had been in China, the other the Turkish melody from Kepler's <i>Harmonices Mundi</i>. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Kircher also wrote about tarantism in his <i>Phonurgia Nova</i> and here he offered his readers at least one of the tunes originally published in the <i>Magnes Sive De Arte Magnetica</i>, the "Antidotum Tarantulae" (here pp. 209-10). He added a nice illustration of dancers and musicians (p. 206). Both the tune and the image can also be found in the German translation (p. 145 & p. 148). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Other scholars also discussed this problem with reference to Kircher's work. Samuel Hafenreffer (1587-1660, see <a href="https://de.wikipedia.org/wiki/Samuel_Hafenreffer" target="_blank">Wikipedia</a>), physician and professor in Tübingen, did not invest much efforts but simply quoted most of Kircher's original text in his book about dermatology. We can find it here as part of the chapter about animal bites. He also reprinted all the music. But beware, this book has until now only been digitized by Google and in all five available copies the fold-out with the "Antidotum Tarantulae" (after p. 488) is either missing or mutilated: </div>
<ul style="text-align: justify;">
<li>Samuel Hafenreffer, Nosodochium, In Quo Cutis, Eique Adhaerentium Partium, Affectus Omnes, Singulari Methodo, Et Cognoscendi et Curandi Fidelissime Traduntur, Ulm, 1660 , p. 475-520, at <a href="https://books.google.de/books?id=I3hVAAAAcAAJ&hl=de&pg=PA488-IA2#v=twopage&q&f=false" target="_blank">Google Books</a> [= ÖNB]; at <a href="https://books.google.de/books?id=sGIOAAAAQAAJ&hl=de&pg=PA488#v=twopage&q&f=false" target="_blank">Google Books</a> [= UofLausanne]; at <a href="https://books.google.de/books?id=ZVoknqLIAGQC&hl=de&pg=PA488#v=twopage&q&f=false" target="_blank">Google Books</a> [= UTorino]; at <a href="https://books.google.de/books?id=EHHTYvA23ggC&hl=de&pg=PA488#v=twopage&q&f=false" target="_blank">Google Books</a> [= NB Napoli]; at <a href="https://books.google.de/books?id=mH0_AAAAcAAJ&hl=de&pg=RA8-PA486#v=twopage&q&f=false" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10472228-6">BSB</a>] </li>
</ul>
<div style="text-align: justify;">
The tarantula also earned an entry in Matthias Zimmermann's encyclopedia: one of Kircher's tunes, the "Antidotum Tarantulae", was reprinted. But beware again, this scan, the only one available of this publication, is of very bad quality and barely usable. But at least we can see that a foldout with music was originally included: </div>
<ul style="text-align: justify;">
<li>Matthiae Zimmermann, Florilegium Philologico-Historicum, Aliquot myriadum Titulorum, Cum Optimis Authoribus, qvi de qvavis Materia scripserunt, qvarum praecipuae curiose & ex professo tractantur, Adhibita re Nummaria & Gemmaria, Praemittitur Diatriba De Eruditione Eleganti Comparanda Cum Figuris, Parts II, Güntherus, Dresden & Meissen, 1689, here <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10351957_00419.html" target="_blank">p. 757</a>, at BSB [= GB] </li>
</ul>
<div style="text-align: justify;">
It seems that during the 18th century the tarantula and tarantism were referred to even more often. It was mentioned in literary works, for example by Jonathan Swift in his <i>Tale of a Tub</i> (1704, <a href="https://archive.org/stream/bub_gb_VNROAAAAcAAJ#page/n219/mode/2up" target="_blank">p. 203</a>): "He was troubled with a Disease, reverse to that called the Stinging of the Tarantula, and would run Dog-mad at the Noise of Musick, especially a Pair of Bag-Pipes". Physicians discussed this topic in their treatises, like Giorgio Baglivi from Italy in his <i>De Praxi Medica</i> (1699, here Engl. ed., 1723, <a href="https://archive.org/stream/practiceofphysic00bagl#page/312/mode/2up" target="_blank">pp. 312-73</a>) and Richard Mead from England in his <i>Mechanical Account of Poisons</i> (1702, here 1708, <a href="https://archive.org/stream/mechanicalaccoun00mead#page/58/mode/2up" target="_blank">pp. 59-81</a>). </div>
<br />
<div style="text-align: justify;">
Travelers went to Apulia and reported what they saw, for example Johann Georg Keyßler (II, 1741, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11211808_00238.html" target="_blank">pp. 232-3</a>) and Johann Hermann Riedesel (1771, <a href="https://archive.org/stream/reisedurchsicili00ried#page/250/mode/2up" target="_blank">pp. 250-9</a>). But the original story - music as a cure for the bite - was more and more treated with suspicion and then debunked. German physician Ernst Gottfried Baldinger ridiculed it as a "Fabel" in an article in the <i>Neues Magazin für Ärzte</i> (1779, <a href="https://books.google.de/books?id=BIWj1F1nbAkC&hl=de&pg=PA143#v=twopage&q&f=false" target="_blank">p. 143</a>) and Anton Friedrich Büsching, geographer and jurist, found even harsher words in his <i>Eigene Gedanken und gesammelte Nachrichten von der Tarantel</i> (1779, at <a href="http://idb.ub.uni-tuebingen.de/diglit/Bh29" target="_blank">UB Tübingen</a>), a collection of critical articles and documents. He regarded it all as a fraud. </div>
<br />
<div style="text-align: justify;">
I will only list here those relevant publications that included some music. Among those was one that stood out: </div>
<ul style="text-align: justify;">
<li>Georgius Vallerius, Exercitium Philosophicum de Tarantula, Quod Indultu Ampliss. Collegii Philosophici in Regia Upsaliensi Academia, Uppsala, 1702, at <a href="https://books.google.de/books?id=1axtowdYX_cC&hl=de&pg=PP1#v=twopage&q&f=false" target="_blank">Google Books</a> [= BL]; at the <a href="https://archive.org/stream/ValleriusTarantula1702/Vallerius_Tarantula_1702#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
In this Swedish dissertation the author not only discussed Kircher's standard talking-points but also compared the Italian <i>tarantellas</i> with Swedish popular dances and songs and saw similarities (see also Arcangeli, p. 98). This may be regarded as a very early example of comparative ethnomusicology. Vallerius also reprinted several of Kircher's melodies and the frontispiece depicts two traveling musicians with drums and bagpipe performing an unidentified tune.</div><div style="text-align: justify;"> <br /></div><div style="text-align: justify;">
In Germany one or more of Kircher's tunes were included in a several books published during the first half of the century. It is interesting to see the many different contexts in which this topic was discussed: </div>
<ul style="text-align: justify;">
<li>Germanus Adlerhold, Umständliche Beschreibung Des anjetzo Vom Krieg neu-bedrohten sonst herrlichen Königreich Neapolis, nach dessen bewunders-würdigen Natur-Gütern, Fruchtbarkeit, Flüssen, Seen, Meer-Busen, und Häfen [...]. Zusamt einer nachrichtlich-Alphabetischen Verzeichnus aller in denen zwölff Provincien dieses Reichs enthaltenen Städten und Vestungen ; Nebst vielen schönen Kupffern auch mit und ohne Land-Carten. Wobey eine Erzehlung was sich seit dem Tod Caroli II. in diesem Königreich begeben, Buggel, Nürnberg, 1702, pp. 239-60, at <a href="http://data.onb.ac.at/ABO/%2BZ197842701?order=301&view=DOUBLE" target="_blank">ÖNB</a> [= <a href="https://books.google.de/books?id=94hgAAAAcAAJ&hl=de&pg=PA240#v=twopage&q&f=false" target="_blank">GB</a>]; at <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11246961_00296.html?zoom=0.5&numScans=2" target="_blank">BSB</a> [= <a href="https://books.google.de/books?id=mCNhAAAAcAAJ&hl=de&pg=PA237-IA2#v=twopage&q&f=false" target="_blank">GB</a>] </li>
<li>Michael Bernhard Valentini, Museum Museorum, oder Vollständige Schau-Bühne aller Materialien und Specereyen, nebst deren natürlichen Beschreibung, Election, Nutzen und Gebrauch. Aus andern Material-, Kunst und Naturalien-Kammern, Oost- und West-Indischen Reiß-Beschreibungen, Curiosen Zeit- und Tag-Registern, Natur- und Artzney-Kündigern, wie auch selbst-eigenen Erfahrung. Zum Vorschub der Studirenden Jugend, Materialisten, Apothecker und deren Visitatoren , wie auch anderer Künstler als Jubelirer, Mahler, Färber u.s.w. also verfasset, und mit etlich hundert sauberen Kupfferstücken unter Augen geleget. ZUnner, Frankfurt, 1704, <a href="https://archive.org/stream/mobot31753000820560#page/512/mode/2up" target="_blank">pp. 514-6</a>, at the Internet Archive </li>
<li>Abraham Friedrich Krafft, Der Sowohl Menschen und Viehe Grausamen Thiere schädlichen Ungeziefers Und Verderblichen Gewürmer Gäntzliche Ausrottung: Oder vielmehr Ausführliche Unterweisung, Wie allerley Thiere, als reissende Wölffe, listige Füchse, wütende und rasende Hunde, Mader, Iltißen, Wieseln [...] gäntzlich auszurotten, zu vertilgen und zu vertreiben, Buggel, Nürnberg, 1709, pp. 344-67, music p. 362, at <a href="https://books.google.de/books?id=Or06AAAAcAAJ&hl=de&pg=PA362#v=twopage&q&f=false" target="_blank">Google Books</a> [= <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10293846_00398.html?zoom=0.5&numScans=2" target="_blank">BSB</a>] </li>
<li>Georg Ernst Stahl, Praxis Stahliana, Das ist Collegium Practicum, Welches theils von Ihm privatim in die Feder dictirt, theils von seinen damahligen Auditoribus aus dem Discurs mit besonderem Fleiß nachgeschrieben, Nunmehrs aber aus dem Lateinischem ins Deutsche übersetzt, mit vielen Anmerckungen und Raisonnemens aus 29. jähriger Praxi bekräfftiget und erläutert, auch nach der Vorschrifft des Herrn Autoris bey dieser zweyten Auflage um viel vermehrt und verbessert zum Druck befürdert worden von Johann Storchen, alias Hulderico Pelargo, Eyssel, Leipzig, 1732, p. 31, at <a href="https://books.google.de/books?id=7FFCAAAAcAAJ&hl=de&pg=PA31#v=twopage&q&f=false" target="_blank">Google Books</a> [= <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10367345_00049.html" target="_blank">BSB</a>]; also 3rd ed., 1745, <a href="http://data.onb.ac.at/ABO/%2BZ165689609?order=49&view=DOUBLE" target="_blank">p. 31</a>, at ÖNB [= GB] </li>
<li>Historische Nachricht von der Tarantula, und derselben Abbildung, in: Kern Anmuthiger und Zeit-kürtzender, Eines auserlesenen Vorraths curieuser und nützlich-gesammleter Wissenschafften und deren brauchbaresten Kunst-Stücke, 1. Sammlung, Funcke, Erfurt, 1745, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10132726_00284.html?numScans=2&zoom=0.5" target="_blank">pp. 283-7</a>, at BSB</li>
</ul>
<div style="text-align: justify;">
Adlerhold's book is description of the Kingdom of Napoli. The tarantula was what most readers presumably knew best about this area and therefore he couldn't avoid including a long chapter about this topic. Valentini (1657-1729; see <a href="https://de.wikipedia.org/wiki/Michael_Bernhard_Valentini" target="_blank">Wikipedia</a>), professor of medicine in Giessen, discussed the tarantula and the musical cure of its bite in his monumental medical compendium. Krafft in his book about animals regarded as vermin also felt it necessary to add a well researched chapter. All three used Kircher's "Anitidotum Tarantulae" as a musical example. </div>
<br />
<div style="text-align: justify;">
Georg Ernst Stahl (1659-1734), professor of medicine in Halle, also reprinted this tune - he had taken it from Valentini's book - but he seems to have been quite skeptical about this story. He only mentioned it in passing in connection with some short remarks about music and medicine. Swiss "Küh-Reyhen" that were said to cure homesickness of soldiers from Switzerland served as another example. In Funcke's <i>Kern Anmutigher Wissenschaften</i>, a popular scientific periodical, the old stories about the tarantula and the tarantella were recycled once again more or less uncritically and here we can also find the same tune. </div>
<br />
<div style="text-align: justify;">
Shortly later a different tune was made available in an article published by an English magazine:</div>
<ul style="text-align: justify;">
<li>Stephen Storace [i. e. Stefano Storace], A genuine Letter from an Italian Gentleman, concerning the Bite of the Tarantula, in: The Gentleman's Magazine and Historical Chronicle 23, 1753, <a href="https://books.google.de/books?id=NawUAAAAQAAJ&hl=de&pg=PA434#v=twopage&q&f=false" target="_blank">pp. 433-4</a>, at Google Books </li>
</ul>
<div style="text-align: justify;">
One Steven Storace , i. e. Stefano Storace (1725-1781, see <a href="https://it.wikipedia.org/wiki/Stefano_Storace" target="_blank">Wikipedia</a>), an Italian musician who later moved to Britain - his son of the same name would become a popular composer there - claimed to have come across someone bitten by the tarantula. He learned the tune on the spot, played it for him and helped him to recover (see also Gioielli 2008). This article was translated into German the following year and his tune reappeared later in several other publications, for example a Viennese dissertation and Tans'ur's influential <i>Elements of Musick</i>: </div>
<ul style="text-align: justify;">
<li>Ein ächter Brief von einem italienischen Herrn über den Biß der Tarantul. Aus dem Gentleman's Magazine for Sept. 1753, in: Hamburgisches Magazin, oder, Gesammlete Schriften, aus der und den angenehmen Wissenschaften überhaupt 13.1, 1754, <a href="https://archive.org/stream/hamburgischesmag13hamb#page/n7/mode/2up" target="_blank">pp. 1-8</a>, at the Internet Archive [= BHL] </li>
<li>Johann Baptist Mathias Schwarz, Dissertatio Inauguralis Medica De Tarantismo Et Chorea Viti, Wien, 1766, at <a href="https://books.google.de/books?id=_V1UAAAAcAAJ&hl=de&pg=PT26#v=twopage&q&f=false" target="_blank">Google Books</a> </li>
<li>William Tans'ur, The Elements of Musick Display'd. Or, Its Grammar, or Ground-Work Made Easy, Rudimental, Practical, Philosophical, Historical, and Technical. In Five Books, Crowder, London, 1772 [ESTC
<a href="http://estc.bl.uk/T153927" target="_blank">T153927</a>], <a href="https://archive.org/stream/elementsofmusick00tans#page/220/mode/2up" target="_blank">pp. 217-20</a>, at the Internet Archive </li>
</ul><div style="text-align: justify;">
One more tune from Apulia was made available by English traveler and scholar Thomas Shaw (1694-1751; see DNB 51, p. 446, at <a href="https://en.wikisource.org/wiki/Shaw,_Thomas_%281694-1751%29_%28DNB00%29" target="_blank">wikisourc</a>e) in the second edition of his popular and influential book about his <i>Travels</i> in the Middle East. In a short chapter about scorpions and phalangiae he couldn't resist referring to the tarantula and the dance "to obtain [...] copious perspiration". In a note one tune is printed. I haven't seen it in an earlier publication so I assume Shaw had heard and noted it himself. There is no mention of Kircher's work but only of Italian botanist and physician Mattioli's commentary on Dioscorides (1554, here 1565, <a href="https://archive.org/stream/PetriAndreaMatt00Matt#page/362/mode/2up" target="_blank">p. 362</a>), another early reference to this phenomenon:
</div><ul style="text-align: justify;">
<li>Thomas Shaw, Travels or Observations Relating to Several Parts of Barbary and the Levant. Illustrated with Cuts. The Second Edition, with Great Improvements, Millar, London, 1757 [ESTC <a href="http://estc.bl.uk/T114688" target="_blank">T114688</a>], <a href="https://archive.org/stream/travelsorobserva00shaw_0#page/n221/mode/2up" target="_blank">p. 191</a>, n.9, at the Internet Archive </li>
</ul>
<div style="text-align: justify;">
Occasionally also a musicologist expressed his opinion about this topic. Jacob Adlung (1699-1762) wasn't fond of the "Antidotum tarantulae" and quipped that it sounded so miserable that one gets sick rather than healthy from it. He only included one half of this melody which he had found in Kircher's <i>Phonurgia Nova</i> thinking it was the second of two tunes: </div>
<ul style="text-align: justify;">
<li>Jacob Adlung, Anleitung zu der musikalischen Gelahrtheit, theils vor alle Gelehrte, so das Band aller Wissenschaften einsehen; theils vor die Liebhaber der edlen Tonkunst überhaupt [...], Jungnicol, Erfurt, 1758, pp. 57-8, <a href="https://archive.org/stream/anleitungzudermu0000adlu#page/854/mode" target="_blank">Tab 1.1</a>, at the Internet Archive [= Oberlin] </li>
</ul>
<div style="text-align: justify;">
All of Kircher's tune were later made available once again in a German dissertation about the human ear: </div>
<ul style="text-align: justify;">
<li>Christian Ernst Wünsch, De Auris Humanae Proprietatibus Et Vitiis Quibusdam, Leipzig, 1777, <a href="https://books.google.de/books?id=qI5SAAAAcAAJ&hl=de&pg=PR38#v=twopage&q&f=false" target="_blank">pp. 38-43</a>, at Google Books [= BSB] </li>
</ul>
<div style="text-align: justify;">
A decade later six more tarantellas were included in a Spanish publication: </div>
<ul style="text-align: justify;">
<li>Francisco Javier Cid, Tarantismo observado en España, con que se prueba el de la pulla, dudado de algunos, y tratado de otros de fabuloso, Gonzalez, Madrid, 1787, here after <a href="https://archive.org/stream/b2875959x#page/14/mode/2up" target="_blank">p. 14</a>, at the Internet Archive </li>
</ul>
<br />
<br />
<div style="text-align: center;">
<b>V. </b></div>
<br />
<div style="text-align: justify;">
After the turn of century <i>tarantellas</i> began to appear in collections of <i>national airs</i>. Edward Jones, Welsh harper and editor of a series of anthologies dedicated to foreign tunes (for more about Jones see <a href="https://hummingadifferenttune.blogspot.de/2015/09/edward-jones-his-collections-of.html" target="_blank">my article</a> in this blog), once again revived Kircher's "Antidotum Tarantulae" but his source was Zimmermann's <i>Florilegium Philologico-Historicum</i>. He also added some variations: </div>
<ul style="text-align: justify;">
<li>Edward Jones, Maltese Melodies; Or National Airs, And Dances, usually performed by the Maltese Musicians at their Carnival & other Festivals; with a few other characteristic Italian Airs & Songs; To these are annex'd a selection of Norwegian Tunes, never before Published; and to which are added Basses for the Harp or Piano-Forte, London, n. d. [1807], <a href="https://archive.org/stream/maltesemelodieso00jone#page/38/mode/2up" target="_blank">pp. 38-9</a>, at the Internet Archive </li>
</ul>
<div style="text-align: justify;">
Among the more important publication dedicated to this topic was surely Justus Hecker's influential book about dancing manias. This work was translated into English and other languages. Hecker (1795-1850), historian and physician, reprinted all of Kircher's tunes and made them available for a new generation of readers: </div>
<ul style="text-align: justify;">
<li>J. F. C. Hecker, Die Tanzwuth, eine Volkskrankheit im Mittelalter. Nach den Quellen für Aerzte und gebildete Nichtärzte bearbeitet, Enslin, Berlin, 1832, pp. 26-54, tunes: <a href="https://archive.org/stream/bub_gb_W30_AAAAcAAJ#page/n99/mode/2up" target="_blank">pp. 89-92</a></li>
<li>J. F. C. Hecker, The Epidemics of the Middle Ages, London, 1844, <a href="https://archive.org/stream/epidemicsofmiddlin00heck#page/106/mode/2up" target="_blank">pp. 107-133</a>, tunes: pp. 167-74, at the Internet Archive </li>
</ul>
<div style="text-align: justify;">
At this time the <i>tarantella</i> had already been adopted by modern composers and a lot of new pieces were composed and published. Nearly 400 relevant publications were announced between 1829 and 1900 in <i>Hofmeisters Monatsberichten</i> (at <a href="http://www.hofmeister.rhul.ac.uk/2008/content/database/database.html" target="_blank">Hofmeister XIX</a>). Many travelers went to Apulia and witnessed local performances of <i>tarantellas</i>. Goethe made it there during the 1780s but his short report was only published much later, in 1810 (<a href="https://books.google.de/books?id=hCBfAAAAcAAJ&hl=de&pg=PA110#v=twopage&q&f=false" target="_blank">pp. 110-2</a>; see Assel & Jäger at <a href="http://www.goethezeitportal.de/index.php?id=6408" target="_blank">Goethezeitportal</a>). Others brought back <i>tarantella</i> tunes they had heard there, like Gustav Parthey (I, 1834, App., No. V, <a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen1-1834#page/n477/mode/2up" target="_blank">p. 6</a>) and Karl August Mayer (I, 1840, <a href="https://archive.org/stream/neapelunddieneap00maye#page/386/mode/2up" target="_blank">pp. 387-8</a>, see also pp. 366-73). But the old tunes were also republished and remained available, for example in a history of dancing:</div>
<ul style="text-align: justify;">
<li>Albert Czerwinski, Geschichte der Tanzkunst bei den cultivierten Völkern von den ersten Anfängen bis auf die gegenwärtige Zeit, Weber, Leipzig, 1862, <a href="https://books.google.de/books?id=4r9RAAAAcAAJ&hl=de&pg=PA54#v=twopage&q&f=false" target="_blank">pp. 54-7</a>, at Google Books </li>
</ul>
<div style="text-align: justify;">
Of course some of the experts for national airs and Volkslieder also weighed in. Danish composer Berggreen included nine <i>tarantellas</i> in his comprehensive anthology of international <i>Folke-Sange</i>. Eight of them (No. 90-96) were modern pieces from different sources, for example Parthey's book and several Italian collections. As an example of the older style he revived Storace's tune (No. 97). But of course he was familiar with the historical development of the genre and in his notes also referred to Kircher: </div>
<ul style="text-align: justify;">
<li>A. P. Berggreen, Italienske, Spanske og Portugisiske Folke-Sange og Melodier, Samlade og Udsatte for Pianoforte, Anden, Meget Forogode Udgave (= Folke-Sange og Melodier, Fædrelandske og Fremmede 7, Anden Utgave), C. A. Reitzel, Köbenhavn, 1866, here No. 97, <a href="https://archive.org/stream/BerggreenFolkeSange71866/BerggreenFolkeSange7-1866#page/n133/mode/2up" target="_blank">p. 129</a> , also notes, p. 246, pp. 251-2 </li>
</ul>
<div style="text-align: justify;">
I will close with two musical encyclopedias from the latter part of the 19th century. In both of them we find informative summaries of this topic. One or more of Kircher's tunes were reprinted and once again made available to those interested in the history of this genre. </div>
<ul style="text-align: justify;">
<li>Musikalisches Conversations-Lexikon. Eine Encyklopädie der gbesammten musikalischen Wissenschaften. Für Gebildete aller Stände, begründet von Hermann Mendel. Fortgesetzt von Dr. August Reissmann, Bd. 10, Oppenheim, Berlin, 1878, <a href="https://archive.org/stream/musikalischescon10mend#page/104/mode/2up" target="_blank">pp. 104-108</a>, at the Internet Archive </li>
<li>A Dictionary of Music and Musicians (A. D. 1450-1889). By Eminent Writers, English and Foreign. With Illustrations and Woodcuts. Ed. by Sir George Grove. In Four Volumes. Vol. IV, MacMillan, London & New York, 1889 , <a href="https://archive.org/stream/adictionarymusi03grovgoog#page/n76/mode/2up" target="_blank">pp. 58-9</a> </li>
</ul>
<div style="text-align: justify;">
During the 20th century these tunes were also regularly published again. For example the original plate with the "Antidotum Tarantulae" appeared as the frontispiece in a <i>Handbook of Medical Entomology</i> (<a href="https://archive.org/stream/handbookofmedica00rile#page/n5/mode/2up" target="_blank">1915, p. ii</a>). We can find them in musicological works and other academic publications discussing tarantism. Some of Kircher's <i>tarantellas</i> were recorded. Today they are of course available on YouTube (see f. ex. <a href="https://www.youtube.com/watch?v=LRRZeqa85fQ" target="_blank">here</a>). Now these melodies have a consecutive history of more than 350 years. They have made it in to the modern world even though Kircher's own theories are long out-dated.</div>
<br />
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Alessandro Arcangeli, Dance between disease and cure: the tarantella and the physician, in: Ludica. Annali di Storia e Civilà del Gioco 5-6, 2000, pp. 88-102, at <a href="http://www.academia.edu/3735797/Dance_between_disease_and_cure_the_tarantella_and_the_physician" target="_blank">Academia.edu</a> </li>
<li>Jutta Assel & Georg Jäger, Goethes Italienische Reise - Neapel: Volksleben Folge 3: Tarantella (Italiensehnsucht Deutscher Künstler der Goethezeit), 2015/16, at <a href="http://www.goethezeitportal.de/index.php?id=6408" target="_blank">Goethezeitportal </a> </li>
<li>Giorgio Baglivi, The Practice of Physick, Reduc'd to the ancient Way of Observations Containing a just Parallel between the Wisdom and Experience of the Ancients, And the Hypothesis's ogf Modern Physicians, Intermix'd with many Practical Remarks upon most Distempers. The Second Edition, Midwinter etc., London 1723 [ESTC <a href="http://estc.bl.uk/N9783" target="_blank">N9783</a>], at the <a href="https://archive.org/stream/practiceofphysic00bagl#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Philip V. Bohlman, Representation and Cultural Critique in the History of Ethnomusicology, in: Bruno Nettl & Philip V. Bohlman (eds.), Comparative Musicology and Anthropology of Music. Essays on the History of Ethnomusicology, Chicago & London, 1991, pp. 131-51 </li>
<li>Karlis Brambats, Ein frühes Zeugnis livländischen Singens, in: Musik des Ostens 8, 1982, pp. 9-29</li>
<li>Carl Ferdinand Becker, Systematisch-Chronologische Darstellung der musikalischen Literatur von der frühesten bis auf die neueste Zeit, Friese, Leipzig, 1836, at the <a href="https://archive.org/stream/systematischchr00beckgoog#page/n23/mode/2up" target="_blank">Internet Archive</a> [= <a href="https://books.google.de/books?id=_ApDAAAAcAAJ" target="_blank">GB</a>] </li>
<li>V. Bergsøe, Iagttagelser om den italianske Tarantel og Bidrag til Tarantiesmens Historien i Middelalderen og nyere Tid, in: Naturhistorisk Tidsskrift 3.2, 1865, <a href="https://books.google.de/books?id=SQpFAAAAYAAJ&hl=de&pg=PA238#v=twopage&q&f=false">pp. 239-299</a>, at Google Books</li>
<li>Charles E. Brewer, The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries, Abingdon & New York, 2011 (see <a href="https://books.google.de/books?id=nhSoDQAAQBAJ" target="_blank">Google Books</a>) </li>
<li>Anton Friedrich Büsching, Eigene Gedanken und gesammelte Nachrichten von der Tarantel, Berlin, 1778, at <a href="http://idb.ub.uni-tuebingen.de/diglit/Bh29" target="_blank">UB Tübingen</a> </li>
<li>Jerri Daboo, Ritual, Rapture and Remorse. A Study in Tarantism and Pizzica in Salento, Bern etc, 2010 </li>
<li>Stefan Donecker, Origines Livonorum. Frühneuzeitliche Hypothesen zur Herkunft der Esten und Letten, Köln etc, 2017 </li>
<li>Paula Findlen (ed.), Athanasius Kircher: The Last Man Who Knew Everything, New York & London, 2004 </li>
<li>Walter Graf, Die ältesten deutschen Überlieferungen estnischer Volkslieder, in: Musik des Ostens 1, 1963, pp. 83-105 </li>
<li>Johann Georg Keyßler, Neueste Reise durch Teutschland, Böhmen, Ungarn, die Schweitz, Italien, und Lothringen, worinn der Zustand und das merckwürdigste dieser Länder beschrieben wird. Mit Kupfern, Försters und Sohns Erben, Hannover, 1740-1, 3 Bde., at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=643290069&db=100" target="_blank">BSB</a> [= GB] </li>
<li>Mauro Gioielli, Il tarantismo campano in una lettera di metà settecento, in: Utriculus. Bollettino trimestrale dell’Associazione Culturale “Circolo della Zampogna” di Scapoli 22, No. 46, April-June 2008, pp. 29-33, at <a href="http://www.maurogioielli.net/UTRICULUS/Mauro.Gioielli,Il.tarantismo.campano.in.una.lettera.di.met%C3%A0.settecento,%C2%ABUtriculus%C2%BB,XII,n.46,2008,pp29-33.pdf" target="_blank">maurogioielli.net</a> </li>
<li>Ted Gioia, Healing Songs, Durham & London, 2006 </li>
<li>Andrea Korenjak, Musik und rituelle Heilung am Beispiel des Tarantismus - Historische, ethnologische und psychologische Reflexionen, in: Jacob A. v. Belzen (ed.), Musik und Religion. Psychologische Zugänge, Wiebaden, 2013, pp. 125-164 </li>
<li>A. Dean Larsen (ed.), Athanasius Kircher (1602-1680). Jesuit Scholar. An Exhibition of his Works in the Harold B. Lee Library Collections at Brigham Young University. Introduction and Descriptions by Brian L. Merrill, Provo, 1989, at the <a href="https://archive.org/details/athanasiuskirche00merr" target="_blank">Internet Archive</a> [= BYU] </li>
<li>Rudy Le Menthéour, The Tarantula, the Physician, and Rousseau: The Eighteenth-Century Etiology of an Italian Sting, in: Proceedings of the Western Society for French History 37, 2009, pp. 35-47 , at <a href="http://hdl.handle.net/2027/spo.0642292.0037.003" target="_blank">Michigan Publishing</a> </li>
<li>P. Conor Reilly, Athansius Kircher, S. J.: Master of a Hundred Arts, 1602-1680, Wiesbaden, 1974 (= Studia Kircheriana 1) </li>
<li>Karl August Mayer, Neapel und die Neapolitaner, oder Briefe aus Neapel in die Heimat, Schulze, Oldenburg, 1840 & 1842, 2 Bde., at the <a href="https://archive.org/details/getty?and[]=Mayer%20Neapel" target="_blank">Internet Archive</a> [= GRI] </li>
<li>Richard Mead, A Mechanical Account of Poisons in Several Essays. The Second Edition, Revised, with Additions, Smith, London, 1708 [ESTC <a href="http://estc.bl.uk/T55004" target="_blank">T55004</a>], at the <a href="https://archive.org/details/mechanicalaccoun00mead" target="_blank">Internet Archive</a> </li>
<li>Friedrich Menius, Syntagma de Origine Livonorum, Dorpat, 1635 (not yet digitized; reprinted in: Scriptores Rerum Livonicarum II, Riga & Leipzig, 1848, <a href="https://archive.org/stream/ScriptoresRerumLivonicarum21848/ScriptoresRerumLivonicarum-2-1848#page/n545/mode/2up" target="_blank">pp. 511-42</a>, at the Internet Archive) </li>
<li>Gustav Parthey, Wanderungen durch Sicilien und die Levante, 2 Bde. & Anhang, Nicolai, Berlin, 1834 & 1840, at the <a href="https://archive.org/details/PartheyWanderungen" target="_blank">Internet Archive</a> </li>
<li>Felipe Pedrell, Folk-lore musical castillan du XVI. siècle, in: Sammelbände der Internationalen Musik-Gesellschaft 1, 1899-1900, pp. 372-400 (<a href="https://archive.org/stream/SammelbandeDerInternationalenMusikgesellschaft011899-1900/SammelbndeDerInternationalenMusikgesellschaft011899-1900#page/n387/mode/2up" target="_blank">Internet Archive</a>) </li>
<li>Johann Hermann Riedesel, Reise durch Sicilien und Großgriechenland, Orell etc, Zürich,. 1771, at the <a href="https://archive.org/stream/reisedurchsicili00ried#page/n3/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Hole Rößler, Athanasius Kircher: Forschungsbibliographie & Werke im Internet, at <a href="http://www.holeroessler.de/kircher.html" target="_blank">holeroessler.de</a> </li>
<li>Ulf Scharlau, Athanasius Kircher (1601-1680) als Musikschriftsteller. Ein Beitrag zur Musikanschauung des Barock, Phil. Diss., Marburg, 1969 (= Studien zur hessischen Musikgeschichte 2) </li>
<li>Susanne Schedtler, Musiktherapeutische Aspekte der Tarantella in Geschichte und Gegenwart. In: Jahrbuch für musikalische Volks- und Völkerkunde Band 15, 1994, 181-221 </li>
<li>Gerhard F. Strasser, 'Wie von der Tarantel gebissen': Tarantismus und Musiktherapie im Barock, in: Martin Bircher et al. (eds.), Barocker Lustspiegel. Studien zur Literatur des Barock. Festschrift für Blake Lee Spahr, Amsterdam, 1984 (= Chloe. Beihefte zum Daphnis 3), pp. 245-64</li>
</ul>
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<b><span style="font-size: x-small;">[first publ. 25.8.2017; 10.02.2018: some minor corrections & one link added] </span></b></div>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-8256139736778188062017-08-24T16:12:00.001+02:002021-12-29T18:41:48.728+01:00Gustav Parthey's Remarks about Sicilian and Egyptian Music in his Wanderungen (1834/40)<br />
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In the <a href="https://hummingadifferenttune.blogspot.de/2017/07/wallin.html" target="_blank">previous article</a> I have discussed an interesting addition to my bibliography of "exotic" tunes in European publications from the 16th to the 19th century (see <a href="https://hummingadifferenttune.blogspot.de/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">here</a> in my blog and the <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8/edit?usp=sharing" target="_blank">bibliography</a> at GoogleDocs): a few Bedouin tunes the Finnish orientalist G. A. Wallin's collected during the 1840s.</div>
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Two decades earlier young German scholar Gustav Parthey had traveled to the Mediterranean and to Egypt and he also brought back some music: tunes from Sicily, Malta and Egypt. They later appeared in his travelogue which is worth rediscovering not only because of his own contribution to this field but also because he reprinted some formerly unpublished tunes and notes by a famous traveler of the previous century: </div>
<ul style="text-align: justify;">
<li>Gustav Parthey, Wanderungen durch Sicilien und die Levante, 1. Theil. Wanderungen durch Sicilien und Malta, Nicolai, Berlin, 1834, here <a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen1-1834#page/n471/mode/2up" target="_blank">Musikbeilage</a> </li>
<li>Gustav Parthey, Wanderungen durch Sicilien und die Levante, 2. Theil: Wanderungen durch das Nilthal, Nicolai, Berlin, 1840 </li>
<li>Gustav Parthey, Wanderungen durch Sicilien und die Levante. Anhang zum zweiten Theil der Wanderungen durch Sicilien und die Levante, Nicolai, Berlin, 1840, <a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen2Anhang-1840#page/n23/mode/2up" target="_blank">pp. 15-20</a>, <br />all at the <a href="https://archive.org/details/PartheyWanderungen" target="_blank">Internet Archive</a> </li>
</ul>
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Gustav Parthey (1798-1872; see <a href="https://de.wikipedia.org/wiki/Gustav_Parthey" target="_blank">Wikipedia</a>; see ADB 25, 1887, pp. 189-91, at <a href="https://de.wikisource.org/wiki/ADB:Parthey,_Gustav" target="_blank">wikisource</a>), German art historian, Egyptologist and philologist - he was the grandson of Friedrich Nicolai (1733-1811), the influential publisher, writer and critic, a key figure of literary enlightenment - studied in Berlin and Heidelberg. After his dissertation in 1820 he went on an extended journey through Europe and to the Mediterranean and also the Levant. Especially Egypt and the Holy Land used to be popular travel destinations for German intellectuals (see f. ex. Goren 2003; Amin 2013) . </div>
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He returned in 1824 and soon became director of the <i>Nicolaische Buchhandlung</i>, the publishing house founded by his grandfather. Parthey also made himself a name as a private scholar. Among his publications were a dictionary of Coptic language, a geography of old Egypt and catalogs of modern and antique works of art (see <a href="https://de.wikisource.org/wiki/Gustav_Parthey" target="_blank">wikisource</a>). Later he moved to Italy and died in Rome. </div>
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His travel report appeared in two parts, first a volume about Sicily and Malta in 1834 and then in 1840 the second one about his time in Egypt. An extra volume with a map, illustrations, astronomical observations by the one of his companions, the astronomer and mathematician Johann Heinrich Westphal, a small Nubian dictionary and a chapter about music was published as a supplement. </div>
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Parthey's account of his travels is well written and still very pleasant to read. He was mostly interested in the antiquities and offered good summaries of the history of the places he visited. But he also happened to be a good and sympathetic observer who showed some genuine interest in the people he met, their culture and their everyday life. </div>
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In the volume about Sicily and Malta we can find some helpful and valuable remarks about the music he had heard there (see pp. <a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen1-1834#page/n39/mode/2up" target="_blank">27-8</a>, 93-4, 124, 140, 143-4). For example he discussed the legendary Sicilian poet Giovanni Meli (1740-1815, see <a href="https://de.wikipedia.org/wiki/Giovanni_Meli" target="_blank">Wikipedia</a>), a name not unknown in Germany. His songs were still popular among the people and sung all over Sicily (<a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen1-1834#page/n57/mode/2up" target="_blank">pp. 45-48</a>). </div>
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The <a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen1-1834#page/n471/mode/2up" target="_blank">Musikbeilage</a> offered a collection of 21 songs and tunes mostly from Sicily and Malta that he had recorded from oral tradition - "dem Volke abgehorcht" -, among them some of Meli's together with the melodies they were sung to as well as songs apparently imported from Tyrol and France (Nos. IV & XII). Of course he couldn't resist including a <i>tarantella</i> from Apulia (No. V). </div>
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The volume about Egypt also includes a number of short and often casual remarks about musical performances he witnessed (f. ex. pp. <a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen2-1840#page/n77/mode/2up" target="_blank">63</a>, 91, 186, 203, 208-9, 280, 294, 560-2). But more important and informative are a chapter about music as well as 21 tunes and songs that can be found in the extra volume, the <i>Anhang zum zweiten Theil</i> (here <a href="https://archive.org/stream/PartheyWanderungen/Parthey-Wanderungen2Anhang-1840#page/n23/mode/2up" target="_blank">pp. 15-20</a>). It is obvious that Parthey was not particularly impressed with what he had heard there. In fact he sounds very disappointed: </div>
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<blockquote class="tr_bq">
"Die Armuth des heutigen Orients an edleren geistigen Genüssen zeigt sich auch in der Musik [...] Man findet im Orient weder eine wissenschaftliche noch eine praktische Ausbildung der Musik, einen zwei- oder mehrstimmigen Gesang hört man nirgends, die Notenschrift ist gänzlich unbekannt, von Generalbass oder Kontrapunkt hat niemand einen Begriff [...]" (p. 15). </blockquote>
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This was a not uncommon attitude for travelers from Europe. But nonetheless he collected some tunes (Nos. I-VI), for example a song of a Nubian sailor, a Nubian variant of the popular tune "Malbrook s'en va-t-en guerre" as well as a "lament of an Arabian girl whose lover was conscripted by the Pasha. She wants to go to him but her mother holds her back with beatings" (see p. 15). He also noted that these melodies were difficult to transcribe "weil die Araber und Nubier, ausser den halben, auch Drittel-Töne haben, woran ein europäisches Ohr sich schwer gewöhnt". </div><div style="text-align: justify;"> </div>
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But apparently Dr. Parthey wasn't really satisfied with what he had noted. Therefore he made available some more tunes collected eight decades earlier by the famous Carsten Niebuhr. His grandfather Friedrich Nicolai used to conduct correspondences with numerous contemporaries. Among them was Niebuhr (1733-1815, see <a href="https://de.wikipedia.org/wiki/Carsten_Niebuhr" target="_blank">Wikipedia</a>; a good introduction: Wiesehöfer & Conerman 2002), who between 1774 and 1780 had sent several letters to Nicolai where he discussed Arabian music and also included a number of melodies (see <a href="http://kalliope-verbund.info/DE-611-BF-23722" target="_blank">Kalliope</a>). </div>
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Niebuhr, a German engineer in duty of the Danish king, started his journey to Arabia, India and Persia in 1760 together with five companions. In 1767 he returned as the only survivor. The first two volumes of his famous <i>Reisebeschreibung nach Arabien und anderen umliegenden Ländern</i> appeared in 1774 and 1778. This would become one of the most important and widely read travel books of the 18th century and it was quickly translated into other languages. </div>
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Unlike many other travelers Niebuhr was also a trained musician. He played the violin and even performed there for the locals. He also tried to keep his ears open and listened to what he heard. In his <i>Reisebeschreibung</i> we can find a chapter about "Leibesübungen und Zeitvertreib der Morgenländer bey müssigen Stunden" and here he wrote a little bit about music (I, <a href="https://archive.org/stream/bub_gb_Nm5BAAAAcAAJ#page/n251/mode/2up" target="_blank">pp. 175-182</a>, at the Internet Archive). But, just like Parthey eight decades later and just like other visitors in the meantime, he was more or less disappointed and mostly critical. Particularly valuable were Niebuhr's descriptions of musical instruments (see <a href="http://dibiki.ub.uni-kiel.de/viewer/resolver?urn=urn:nbn:de:gbv:8:2-1078309" target="_blank">Pl. XVI</a>, at UB Kiel). He was also able to transcribe tunes he had heard. For some reason he only included one single melody in his work (dto., E) </div>
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Parthey had access to his grandfather's estate and reprinted nearly all the unpublished tunes from the correspondence as well as the relevant parts from six of the letters Niebuhr had written for Nicolai: they offer explanations and notes about these tunes and Arabian music in general. First there is the original, uncorrected version of the tune published in the <i>Reisebeschreibung</i> (No. VII). Then there are five tunes identified by Niebuhr as Greek (12.3.1775) - perhaps these were "Oriental melodies" performed for him by a Greek musician that he referred to in an earlier letter (30.9.1774) - as well as three Arabian and Egyptian tunes, among them a sailor's song he had heard on a ship (Nos. XIV-XII; 12.3.1775). This of course isn't much but there is so little Arabian music available
from that time that even the fragmentary pieces recorded by Niebuhr may
count as a major addition. </div>
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The rest are tunes from other publications. The music of the dervishes of the mosque in Pera (Nos. XVIII-XX) was of course taken from Ferriol's <i>Recueil de Cent Estampes Representant Differentes Nations du Levant</i> (1715, <a href="https://archive.org/stream/bub_gal_ark_12148_btv1b53000003j#page/n39/mode/2up" target="_blank">p. 16</a>) but Niebuhr had some doubts about its authenticity. One part he claimed he had heard himself but another one didn't sound "morgenländisch" to him (18.4.1775).</div>
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He also referred Nicolai to a new Danish publication, Georg Höst's <i>Efterretninger om Marokos og Fes, samlede der i Landene fra ao. 1760 til 1768</i> (1779). Höst (1734-1794; see <a href="http://denstoredanske.dk/Dansk_Biografisk_Leksikon/Samfund,_jura_og_politik/Administration_og_ledelse/Sekret%C3%A6r/Georg_Hjersing_H%C3%B8st" target="_blank">Dansk Biografiskt Leksikon</a>) had spent most of the 1760s in Morocco, first working for the short-lived <i>Danish-African Company</i> and then as vice-consul. Encouraged by Niebuhr he wrote his own report about his time there which also included a chapter about music as well a generous amount of tunes (pp. 241-6, <a href="https://archive.org/stream/HoestEfterretninger1779/Hoest-Efterretninger-1779#page/n329/mode/2up" target="_blank">plate No. 32</a>). Niebuhr sent some of them to Nicolai even before the book was published (here only No. XXI). In the last letter reprinted he even translated some relevant parts of this chapter for Nicolai (3.4.1777, 20.3.1780). </div>
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Taken together both Niebuhr's tunes and comments as well as those by Parthey himself eight decades later offer interesting insights into how non-European - here Arabian - music was experienced and judged by European scholars (see also Lebedeva 2011 & Harbert 2008). Both showed a remarkable openness and were willing to listen but in the end they were mostly disappointed about what they heard. Their attitudes - particularly the cultural bias - were still very similar even though in the meantime major treatises about Arabian music - particularly Villoteau's work (1809) - had been published. Nonetheless the tunes they have collected - no matter how their authenticity in a modern sense may be judged - and their often casual descriptions of musical performances and performance contexts are still valuable historical sources. </div>
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<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Abbas Amin, Ägyptomanie und Orientalismus. Ägypten in der deutschen Reiseliteratur (1175-1663). Mit einem kommentierten Verzeichnis der Reiseberichte (383-1845), Berlin, 2013 </li>
<li>[Charles Ferriol], Recueil de Cent Estampes Representant Differentes Nations du Levant, tirée sur les Tableaux peints d'apres Nature en 1707 et 1708 par les ordres de M. de Ferriol, Ambassador du Roi a la Porte. Et gravées en 1712 et 1713 pat les soins de Mr. Le Hay, Le Hay, Duchange, Paris, 1715, p. 16, at<a href="http://gallica.bnf.fr/ark:/12148/btv1b53000003j/f40.double" target="_blank"> Gallica Bnf</a> & the<a href="https://archive.org/stream/bub_gal_ark_12148_btv1b53000003j#page/n39/mode/2up" target="_blank"> Internet Archive</a>) </li>
<li>Haim Goren, "Zieht hin und erforscht das Land". Die deutsche Palästinaforschung im 19. Jahrhundert, Göttingen, 2003 </li>
<li>
<div class="content">
Benjamin J. Harbert, Of Their Knowledge in Musick: Early European
Musical Encounters in Egypt and the Levant as Read within the Emerging
British Public Sphere, 1687-1811, in: Pacific Review of Ethnomusicology
13, 2008, at <a href="http://ethnomusicologyreview.ucla.edu/journal/volume/13/piece/497" target="_blank">Ethnomusicology Review</a>
</div>
</li>
<li>Georg Höst (i. e. Høst), Efterretninger om Marokos og Fes, samlede der i Landene fra ao. 1760 til 1768, N. Müller, Kiøbenhavn, 1779, pp. 241-6, <a href="https://archive.org/stream/HoestEfterretninger1779/Hoest-Efterretninger-1779#page/n329/mode/2up" target="_blank">plate No. 32</a> (at the Internet Archive) </li>
<li>Carsten Niebuhrs Reisebeschreibung nach Arabien und anderen umliegenden Ländern, 2 Vols., Möller, Kopenhagen, 1774-8, at <a href="http://dibiki.ub.uni-kiel.de/viewer/toc/PPN720917417/0/LOG_0000/" target="_blank">UB Kiel</a> & <a href="http://digi.ub.uni-heidelberg.de/diglit/niebuhr1774ga?sid=a7d23044e84557ffe7a693c9a8609be4" target="_blank">UB Heidelberg</a>, here Vol. 1, pp. 175-182 & <a href="http://dibiki.ub.uni-kiel.de/viewer/fullscreen/PPN720922585/270/" target="_blank">plate No. 26</a> (there are also several GB-scans, for example this one at the <a href="https://archive.org/stream/bub_gb_Nm5BAAAAcAAJ#page/n251/mode/2up" target="_blank">Internet Archive</a> , but the plates are never correctly scanned). </li>
<li>M. Villoteau, De l'État Actuel de l'Art Musical en Égypte. On Relation historique est descriptive des Recherches est Observations faites sur la Musique en ce pays, in: Description de l'Égypte, ou, Recueil des Observations et des Recherches qui ont été faites en Égypte pendant l'Éxpédition de l'Armée Française. État Moderne, Vol. 1, De L'Imprimerie Royale, Paris, 1809, pp. 607-846, available at the <a href="https://archive.org/stream/DescriptiondelE2Fran#page/606/mode/2up" target="_blank">Internet Archive</a> & at <a href="http://www.wdl.org/en/item/2414/view/1/614/" target="_blank">World Digital Library</a> </li>
<li>Josef Wiesehöfer & Stephan Conermann (eds.), Carsten Niebuhr (1733-1815) und seine Zeit. Beiträge eines interdisziplinären Symposiums vom 7.-10. Oktober 1999 in Eutin, Wiesbaden, 2002</li>
</ul>
Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-86789921496042010522017-07-13T10:15:00.002+02:002022-01-14T15:24:48.311+01:00Georg August Wallin's Bedouin Tunes (1851-1864)<br />
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For a while now I am working on a little project about "exotic" tunes in European publications from the 16th to the 19th century (see <a href="https://hummingadifferenttune.blogspot.de/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">here</a> in my blog and the <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8/edit?usp=sharing" target="_blank">bibliography</a> at GoogleDocs). Occasionally I happen to find some additions. Here is one I thought particularly interesting: Finnish orientalist Georg August Wallin who traveled through the Middle East during the 1840s and noted a handful of Bedouin tunes. </div>
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Wallin (1811-1852; see <a href="https://www.kansalliskirjasto.fi/extra/vanhat_bulletinit/bulletin11/hi4.html" target="_blank">Öhrnberg 2011</a>; <a href="https://en.wikipedia.org/wiki/Georg_August_Wallin" target="_blank">Wikipedia</a>; see also Berg et al. 2014, Berg 2015) was born in the Åland isles. He studied Oriental languages since 1829, first in Helsinki and then in St. Petersburg. After his graduation he worked as a librarian but in 1843 he went to Cairo and from there he traveled all through the Middle East and also to Persia, saw Mecca, Medina and Jerusalem and made expeditions through the desert. He "was the first European to get to know the Bedouins and their way of life, and to live among them for a considerable time" and the "first scholar to collect Bedouin poetry" (Öhrnberg 2011). </div>
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After his return he became professor of Oriental literature in Helsinki in 1851 but died only shortly later at the age of 41. Very little of what he wrote was published during his lifetime. Most of it came out only posthumously . There were some articles in German and English but the greatest part of his writings is only available in Swedish. </div>
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Wallin was also a trained musician and played some instruments: the flute and the bass. He listened to songs and music he heard during his travels and was able transcribe some melodies (see Elmgren I,<a href="https://archive.org/stream/b29352654_0001#page/n19/mode/2up" target="_blank"> p. xliii</a>). The first relevant publication was an anthology of "modern Arab songs" - with translations and notes - in a German journal: </div>
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<li>Georg August Wallin, Probe aus einer Anthologie neuarabischer Gesänge, in: Zeitschrift der Deutschen Morgenländischen Gesellschaft, 5, 1851, <a href="https://archive.org/stream/zeitschriftderd52gesegoog#page/n9/mode/2up" target="_blank">pp. 1-23</a>; 6, 1852, <a href="https://archive.org/stream/zeitschrift06deutuoft#page/190/mode/2up" target="_blank">pp. 190-218</a>, at the Internet Archive</li>
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For some reason he included here only one tune (5, <a href="https://archive.org/stream/zeitschriftderd52gesegoog#page/n13/mode/2up" target="_blank">p. 4</a>) that he had transcribed from a singer's performance. A second one was published two years later, after his death, in a partial edition of his diaries from the first expedition from Cairo to the Arab desert:
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<li>Georg August Wallin, Första Resa från Cairo till Arabiska Öknen. Fragment, Simelius, Helsingfors, 1853, here <a href="https://books.google.de/books?id=EOAoAAAAYAAJ&hl=de&pg=PA69#v=twopage&q&f=false" target="_blank">p. 69</a>, at Google Books </li>
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He had heard this piece from his Bedouin companions while riding through the desert: it was one single line sung endlessly to a simple melody, "but with many variations in the voice, first in the deepest bass, then in the thinnest falsetto, sometimes with a rippling loud voice [...], sometimes barely audible".</div>
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A decade later some more tunes came to light. S. G. Elmgren edited four volumes of Wallin's diaries between 1864 and 1869 and in the first we can find five melodies. He noted (pp. xiii-xiv) that Wallin had given them only shortly
before his death to Finnish folklorist Henrik August Reinholm. </div>
<ul style="text-align: justify;">
<li>Elmgren, S. G.: Georg August Wallins Reseteckningar från Orienten åren 1843–1849, Vols. 1–4, Frenckell & Sön, Helsingfors, 1864–1866, at the <a href="https://archive.org/details/wellcomelibrary?&and[]=Georg%20August%20Wallin" target="_blank">Internet Archive</a> [= WellcomeL], here I, <a href="https://archive.org/stream/b29352654_0001#page/n39/mode/2up" target="_blank">p. xxxiii</a></li>
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At that time Wallin's melodies could have been a welcome addition to what was already available. But as far as I can see they were not taken note of by musicologists, folklorists or editors of songbooks. </div>
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Arab tunes had been published in European books since the 18th century (see my <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8/edit?usp=sharing" target="_blank">bibliography</a>, at Google Docs). Thomas Shaw in 1736 (<a href="https://archive.org/stream/travelsobservati00shaw#page/272/mode/2up" target="_blank">p. 272</a>) and Danish traveler Georg Höst in 1779 (after <a href="https://archive.org/stream/HoestEfterretninger1779/Hoest-Efterretninger-1779#page/n329/mode/2up" target="_blank">p. 244</a>) had both presented a few pieces they had collected. Shaw's tunes were also regularly reprinted in other publications. Otherwise not much was added until the end of the century. The great breakthrough was surely Villoteau's <i>De l'État Actuel de l'Art Musical en Égypte</i> (1809, at the <a href="https://archive.org/stream/DescriptiondelE2Fran#page/606/mode/2up" target="_blank">Internet Archive</a>), an extended treatise with many musical examples. A few travelers added some more tunes, like Burkhardt (1831, <a href="https://archive.org/stream/bub_gb_zApDAAAAcAAJ_2/bub_gb_zApDAAAAcAAJ#page/n81/mode/2up" target="_blank">p. 66</a>) and especially Lane in his <i>An Account of the Manners of the Modern Egyptians</i> (1836, II, <a href="https://archive.org/stream/anaccountmanner01lanegoog#page/n102/mode/2up" target="_blank">pp. 80-93</a>). </div>
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When Kiesewetter wrote <i>Die Musik der Araber</i> (1842, at the <a href="https://archive.org/stream/bub_gb_YNX8AAAAMAAJ#page/n145/mode/2up" target="_blank">Internet Archive</a>) he still had only a rather limited corpus of tunes at hand. He relied mostly on Shaw, Villoteau and Lane. At the same time the "sounds of the desert" became immensely popular among European music fans. French composer Félicien David's <i>Le désert</i> (1844) was a great success. More original tunes were only published in the 1860s, in Salvador Daniel's <i>Chansons Arabes, Mauresques et Kabyles</i> (at the <a href="https://archive.org/stream/SDanielChansonsArabes1860s/SDaniel-ChansonsArabes-1860s#page/n0/mode/2up" target="_blank">Internet Archive</a>) and Alexandre Christianowitsch's <i>Esquisse Historique de la Musique Arabe aux Temps Anciens</i> (1863, at the <a href="https://archive.org/stream/esquissehistoriq00chri#page/n5/mode/2up" target="_blank">Internet Archive</a>). </div>
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Wallin's tunes would have fit well to this new interest for Arab music but by all accounts they remained unknown. Not even Danish composer A. P. Berggreen, editor of <i>Folke-Sange og Melodier Fra Lande Udenfor Europa</i> (1870, at the <a href="https://archive.org/details/BerggreenFolkeSange10UdenforEuropa1870" target="_blank">Internet Archive</a>), the best and most comprehensive popular anthology of international <i>national airs</i>, seems to have been familiar with them. In this respect Wallin's work was more or less forgotten. </div>
<br />
<div style="text-align: justify;">
I should add that Wallin's writings are a good and important source for research into the music in that area. He clearly kept his eyes and ears open and was a good observer and listener. In his diaries we can find interesting descriptions of musical performances. For example the three articles in English published in the<i> Journal of the Royal Geographical Society</i> offer some relevant remarks: </div>
<ul style="text-align: justify;">
<li>Georg August Wallin, Notes taken during a Journey through Part of Northern Arabia, in: Journal of the Royal Geographical Society 20, 1851, <a href="https://archive.org/details/jstor-1798039" target="_blank">pp. 293-344</a>, at the Internet Archive [= jstor] </li>
<li>Georg August Wallin, Narrative of a Journey from Cairo to Medina and Mecca, in: Journal of the Royal Geographical Society 24, 1854, <a href="https://archive.org/details/jstor-3698106" target="_blank">pp. 115-207</a>, at the Internet Archive [= jstor], here pp. 147, 183, 185, 187 </li>
<li>Georg August Wallin, Narrative of a Journey from Cairo to Jerusalem, Journal of the Royal Geographical Society 25, 1855, <a href="https://archive.org/details/jstor-1798123" target="_blank">pp. 260-290</a>, at the Internet Archive [= jstor], see here f. ex. pp. 265, 268 </li>
</ul>
<div style="text-align: justify;">
His complete writings have recently been published - in Swedish of course - by the <i>Svenska Litteratursällskapet i Finland</i>. </div>
<ul>
<li><a href="https://www.sls.fi/sv/utgivning/serie/wallins-skrifter" target="_blank">Georg August Wallin', Skrifter, 8 Vols., 2010-2017 (SLS)</a> </li>
</ul>
<div style="text-align: justify;">
Seven volumes are available at the moment, all with notes, commentaries and helpful introductions. This is an excellent edition and thankfully the pdfs of these volumes can be downloaded for free. There are no additional tunes - apparently he hadn't collected more - but the complete diaries should include more information about the music he heard during his time there. </div>
<br />
<b>Literature </b><br />
<ul style="text-align: justify;">
<li>Patricia Berg et al., Dolce far niente in Arabia. Georg August Wallin and His Travels in the 1840s, Society of Swedish Literature in Finland, Helsinki, 2014 </li>
<li>Patricia Berg, The Travels of G. A. Wallin and His Views on Western Influence in the Middle East, in: Neil Cooke & Vanessa Daubney (eds.), Every Traveller Needs A Compass. Travel and Collecting in Egypt and the Near East, Oxford & Haverton, 2015, pp. 23-32 </li>
<li>Kaj Öhrnberg, The extraordinary travels of Georg August Wallin or ‛Abd al-Wālī. From the Åland Islands to the Arabian Peninsula, in: The National Library of Finland Bulletin 2011, at <a href="https://www.kansalliskirjasto.fi/extra/vanhat_bulletinit/bulletin11/hi4.html" target="_blank">NLF</a></li>
</ul>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com1tag:blogger.com,1999:blog-295054852439205059.post-51252885385767524282017-07-11T11:40:00.000+02:002017-07-13T15:59:50.732+02:00Two New Publications about Thomas Moore's Irish Melodies <div style="text-align: justify;">
Thomas Moore (1779-1852) was one of most popular songwriters of the 19th century. His <i>Irish Melodies</i> (here Vol. 1 & 2, at the <a href="https://archive.org/stream/selectionofirish00stev#page/n9/mode/2up" target="_blank">Internet Archive</a>), published in 10 volumes between 1808 and 1834, were immensely successful, not only in Britain but also in the USA and in Europe. I have written <a href="https://hummingadifferenttune.blogspot.de/search/label/Thomas%20Moore" target="_blank">here</a> a little bit about some of Moore's songs - especially the German versions - and I must admit I was always a little bit surprised about the lack of literature about the musical side of his works. What was available did not reflect Moore's great importance as a songwriter. Thankfully there are now two new publications, one book and one article, that look like they could fill some gaps:</div>
<ul style="text-align: justify;">
<li>Sarah McCleave, The Genesis of Thomas Moore's Irish Melodies, 1808–34, in: Paul Watt et al. (eds.), Cheap Print and Popular Song in the Nineteenth Century. A Cultural History of the Songster, Cambridge University Press, Cambridge & New York, 2017, pp. 47-69 (see <a href="http://www.cambridge.org/us/academic/subjects/music/nineteenth-century-music/cheap-print-and-popular-song-nineteenth-century-cultural-history-songster#bRzlXRowbV0GQtGD.97" target="_blank">Cambridge University Press</a>; see also <a href="https://books.google.de/books?id=V3U3DgAAQBAJ&lpg=PP1&hl=de&pg=PA47#v=onepage&q&f=false" target="_blank">Google Books</a> & <a href="https://www.amazon.de/Cheap-Print-Popular-Nineteenth-Century/dp/1107159911" target="_blank">amazon.de</a>) </li>
<li>Una Hunt, Sources and Style in Moore's Irish Melodies, Routledge, Abingdon & New York, 2017 (see <a href="https://www.routledge.com/Sources-and-Style-in-Moores-Irish-Melodies/Hunt/p/book/9781409405610#" target="_blank">Routledge</a>; see also <a href="https://books.google.de/books?id=z-BBDgAAQBAJ" target="_blank">Google Books</a> and <a href="https://www.amazon.de/Sources-Style-Moore-Irish-Melodies/dp/1409405613" target="_blank">amazon.de</a>) </li>
</ul>
<div style="text-align: justify;">
I haven't yet seen the complete books but only the parts available at Google and amazon and I think they are both worthwhile and interesting. Sarah McCleave's article can be found in a new anthology about 19th century songsters. She discusses the early publication history of the <i>Irish Melodies</i> and especially the variations in different print editions. Moore worked constantly on his songs, even after the publication, and regularly introduced little changes. </div>
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<br /></div>
<div style="text-align: justify;">
Una Hunt's book is particularly important because she is the first one for a long time to discuss the sources of the songs. Until now we only had Veronica ní Chinnéide ground-breaking article (1959) and the helpful additional information in Aloys Fleischmann's <i>Sources of Traditional Irish Songs</i> (1998). She offers here some new insights that are worth considering and I am looking forward to study this work in detail. </div>
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<div style="text-align: justify;">
Unfortunately both books a very expensive and as far as I can see there are at the moment only very few copies in German libraries. They can also be bought as ebooks that are a little bit less expensive. To be true, I find the pricing of academic publications like these very problematic. </div>
<br />
<div style="text-align: justify;">
I should add that there is at the moment a project about the reception of Moore's <i>Irish Melodies</i> and <i>Popular National Airs</i> in Europe. I hope I can read the resulting publications in a couple of years. But I wish to recommend the project's <a href="https://blogs.qub.ac.uk/erin/" target="_blank">blog</a> (at Queen’s University Belfast) that offers a lot of interesting articles. </div>
<br />
<b>Literature </b><br />
<ul style="text-align: justify;">
<li>Veronica ní Chinnéide, The Sources of Moore's Melodies, in: The Journal of the Royal Society of Antiquaries of Ireland, Vol. 89, No. 2, 1959, pp. 109-134 </li>
<li>Aloys Fleischmann (ed.), Sources Of Irish Traditional Music, C. 1600 - 1855, 2 Vols., New York & London 1998 </li>
</ul>
Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-15700393738414042192017-06-21T17:47:00.001+02:002022-01-14T15:29:11.599+01:00Some Estonian Songbooks (1860-1900)<br />
<div style="text-align: center;">
<b>I. </b></div>
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I have just written a little treatise about the collection and publication of <i>Volkslieder</i> - <i>national songs</i> - of the Estonians and Latvians from circa 1770 until the late 19th century (see the previous <a href="https://hummingadifferenttune.blogspot.de/2017/05/Herder-Hupel-Baltic-Pt2.html" target="_blank">blogpost</a>). Texts were published in considerable numbers, at first by Baltic-German scholars and then by the first generation of indigenous intellectuals. But tunes only played a minor role. Very few were made available until the 1860s. Only since then - during the era of what is called the national awakening - they began to appear, not in academic anthologies but in songbooks for choral singing. </div>
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The first one to publish two Estonian <i>rahwawiis</i> was Carl Robert Jakobson in 1869 in a small anthology with the title <i>Wanemuine Kandle Healed</i> (at <a href="http://www.digar.ee/viewer/et/nlib-digar:109772/192975/page/14" target="_blank">digar</a>). The first collection of <i>Volkslieder</i> only appeared in 1890: Karl August Hermann's <i>Eesti rahwalaulud</i> (at the <a href="https://archive.org/stream/HermannEestiRahwalaulud1890/Hermann-Eesti%20Rahwalaulud-1890#page/n1/mode/2up" target="_blank">Internet Archive</a>). This was very late. For example in Finland - also a nation trying to find its own voice - the very first anthology of national songs was already made available in 1831 and more would follow soon (see in this blog: <a href="https://hummingadifferenttune.blogspot.de/2015/11/the-collection-and-publication-of.html" target="_blank">The Collection and Publication of National Airs in Finland 1795-1900</a>).</div>
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<br /></div>
<div style="text-align: justify;">
Even the Latvians were a little bit faster in this respect. Some original Latvian traditional tunes had already been published in 1859 by the pastor Juris Caunītis and the teacher Jānis Kaktiņš in their songbook <i>100 dseesmas un singes ar nohtem</i> (see Karnes, p. 205, p. 219, n. 64, see Das Inland 25, 1860, <a href="https://books.google.de/books?id=JD9bAAAAcAAJ&hl=de&pg=PA151#v=onepage&q&f=false">p. 151</a>). In 1869 a conference of Latvian teachers called for a more systematic collection of traditional tunes (Apkalns, pp. 151). The key figure here was Jānis Cimze (1814-1881; see <a href="https://en.wikipedia.org/wiki/J%C4%81nis_Cimze" target="_blank">Wikipedia</a>) from the teacher seminary in Valka who in 1872 published the very first anthology of Latvian <i>Volkslieder</i> arranged for choirs: <i>Dseesmu rohta jaunekļeem un wihreem</i> (see Karnes 2015; Apkalns, pp. 148-53). </div>
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Here I will attempt a select bibliography of Estonian songbooks published since 1860. I am foremost interested in the publication of <i>rahwalaulud</i>. Why did traditional tunes play a comparatively small role? How many were published? Why took it so long until the first anthology appeared? But it is equally important to see the wider context: the development of a national repertoire for choral singing. This was what Estonian teachers and musicians were interested in. At first this repertoire consisted nearly solely of translated German songs and only slowly Estonian songs - both new works and <i>rahwalaulud</i> - were added. </div>
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<br /></div>
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Today - in the digital era - a bibliography is not only list of books. Thankfully most of the publications needed here have been digitized and are therefore quick at hand. This is a great progress. These are all rare books that are available in only a very few libraries. Back in the old days it would have been necessary to travel to these libraries to see them. Now they can be checked online and the reader has also direct access to these primary sources. </div>
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In Estonia the digital libraries are well-organized. For a systematic approach we should start with <a href="http://erb.nlib.ee/" target="_blank">Eesti rahvusbibliograafia</a> (erb), the <i>Estonian National Bibliography</i> that is available online. A look for example at the entry for Jakobson's <i>Wanemuine kandle healed</i> (<a href="http://erb.nlib.ee/?kid=14712556" target="_blank">erb</a>) shows that one can find here all relevant bibliographical data as well as other helpful information. Usually both the number of copies printed, the price and the content - here a list of the songs in this book - are included. It is also possible to get a chronological list of all the publications a particular writer - in this case Jakobson - was involved in (<a href="http://erb.nlib.ee/?piirang=5047b14a&order=k" target="_blank">erb</a>). </div>
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Thankfully there is also a link to a digital copy if one exists as well as a link to a book's record in <a href="http://ester.ee/record=b1471255*est" target="_blank">ester</a>, the <i>National Library Catalogue</i> that also offers the link to the digital copy. The most important digital libraries are <a href="http://www.digar.ee/" target="_blank">digar</a> - <i>Estonian National Library</i> - , <a href="https://www.blogger.com/www.etera.ee">etera</a> - <i>University of Tallinn </i>- and the one of the <i><a href="http://dspace.ut.ee/">University of Tartu</a></i>. Jakobson's songbook is available at <a href="http://www.digar.ee/id/nlib-digar:109772" target="_blank">digar</a>. The online readers of etera and digar - here only for a part of the books - are usable but not as flexible as I would wish. But all digitized books can also be downloaded as pdf-files and I have taken the liberty to upload some of those I needed to the the <i>Internet Archive</i> where they are much easier to use. </div>
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The number of books already digitized by the Estonian libraries is impressive but there are of course still some that haven't been scanned yet. Thankfully it is also possible to order the digitization of a book, but only if it is available at one of the libraries in Tallinn and - apparently - if it was printed before 1900. In this case there is a link in ester that leads to EOD, the well-known network of libraries. Therefore digital copies of five more relevant songbooks can now be accessed online. <br />
<br />
Most of the editors, composers and writers mentioned here are not exactly household names outside of Estonia. Therefore some basic information is needed and here the German wikipedia proved to be very helpful. Links to the relevant articles are added but they can only serve as a short introduction. For some of the more obscure names I found only Estonian sources, either <i>Wikipedia</i> or another encyclopedia. </div>
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<br /></div>
<div style="text-align: justify;">
Otherwise I can recommend some books. Estonian music history in the second half of the 19th century is more or less identical to the history of the national singing movement, therefore I found Arro's <i>Geschichte der estnischen Musik</i> (1933) very helpful. He is good at describing the context and also discusses nearly everyone mentioned here. But it is better to ignore his stern judgments about most Estonian song composers. Nearly all of these editors were also busy in other fields, as writers, poets, teachers, journalists and cultural activists. For that reason a good history of Estonian literature is also useful. Hasselblatt's (2006) is the best so far. </div>
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<div style="text-align: center;">
<b>II. </b></div>
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<div style="text-align: justify;">
The new choral singing movement from Germany and Switzerland (good overview: Klenke 1998) was quickly adopted by the Baltic-Germans (see Loos, p. 226). They had their own choirs: in 1833 the first <i>Liedertafel</i> was founded in Riga, in 1849 a choral society in Reval and the year 1857 saw the the first great German song festival. They also had their own songbooks where we can find the popular German repertoire: </div>
<ul style="text-align: justify;">
<li>Baltisches Liederbuch, Plates, Riga, 1861, at <a href="https://www.blogger.com/hdl.handle.net/10062/37411" target="_blank">UofTartu</a> & the <a href="https://archive.org/details/ReinfeldtBaltischerLiederkranz1886" target="_blank">Internet Archive</a> </li>
<li>Vierundzwanzig Volkslieder mit ihren Singweisen für Sopran und Alt 1. Heft, Laakmann, Dorpat, 1871, at <a href="http://www.digar.ee/id/nlib-digar:240143" target="_blank">digar</a> </li>
<li>Liederbuch für Knaben- und Mädchenschulen, von A. W. Schönberg, Gesanglehrer am Gymnasium zu Arensburg, 1876 [<a href="http://erb.nlib.ee/?kid=1106724x" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:103589" target="_blank">digar</a> </li>
<li>Joh. Reinfeldt, Baltischer Liederkranz. Ausgewälte Lieder zum Gebrauch für den Gesangsunterricht, 2. vermehrte und verbesserte Auflage, 1. & 2. Teil, Kluge, Reval, 1886 [<a href="http://erb.nlib.ee/?kid=23217662" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240355" target="_blank">digar</a> & the <a href="https://archive.org/details/ReinfeldtBaltischerLiederkranz1886" target="_blank">Internet Archive</a> </li>
<li>Joh. Reinfeldt, Baltischer Liederkranz. Ausgewälte Lieder zum Gebrauch für den Gesangsunterricht, 3. vermehrte und verbesserte Auflage, 1. Teil, Kluge, Reval, 1898 [<a href="https://www.blogger.com/erb.nlib.ee/?kid=12958244" target="_blank">erb</a>], at <a href="https://www.blogger.com/digar.ee/id/nlib-digar:254702" target="_blank">digar</a> & the <a href="https://archive.org/details/ReinfeldtBaltischerLiederkranzT11898" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
The Estonians - just freed from the shackles of serfdom - also started singing in choirs and at first they were of course taught by their German pastors. What should they sing? For centuries they had been treated to imported hymns translated into Estonian and these religious songs made up the greatest part of their repertoire. More collections appeared during these years, for example: </div>
<ul style="text-align: justify;">
<li>[Johann August Hagen], Choralbuch zum Gebrauche für die Orgel und das Pianoforte. Enthaltend Kirchen-Melodien für Deutsche und Ehstnische Kirchen-Gesangbücher, so wie auch für Dr. K. C. Ulmanns geistliche Liedersammlung. Tallinna ja Tarto lauloramatute täis wisi ramat Reval, n. d. [1844] [<a href="http://erb.nlib.ee/?kid=17268357" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:102360" target="_blank">digar </a> </li>
<li>Tallinna- ja Tarto-ma Kirriko laulo ramato laulo wisid, Jacoby & Co., Pärnu & Viljandi, n. d. [1860] [<a href="http://erb.nlib.ee/?kid=16445429" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:100958" target="_blank">digar</a> </li>
</ul>
<div style="text-align: justify;">
What was missing were secular songs. The pastors didn't like the Estonians' traditional song culture which was under perpetual cultural pressure. Instead some of them also promoted modern German songs that were translated into Estonian. An early pioneer was Emil Hörschelmann (1810-1854, see Arro 1933, pp. 28-51) who - besides writing and publishing hymns - also put out a small collection of German songs, <i>Mönned armsad laulud</i> (1847, <a href="http://erb.nlib.ee/?kid=14778683" target="_blank">erb</a>, at <a href="http://www.digar.ee/id/nlib-digar:100018" target="_blank">digar</a>). It seems this booklet was quite popular. New editions appeared in 1852 and 1862. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
During these years the first generation of Estonian writers and teachers came to the fore and they would single-handedly begin to create what they regarded as their national culture. But most of them still preferred the adoption of German singing culture. The key figure here was Johann Voldemar Jannsen (1819-1890; see <a href="https://de.wikipedia.org/wiki/Johann_Voldemar_Jannsen" target="_blank">Wikipedia</a>; Hasselblatt, pp. 175-7, 184-8, 203; Arro, pp. 89-97; see <a href="http://erb.nlib.ee/?piirang=15ac5123&order=k" target="_blank">erb</a>), teacher, writer, journalist, translator, choirmaster and activist. In 1850 he was "barred from full membership in a German choir because of his ethnicity" (Ŝmidchens, p. 70) and felt it necessary to start his own. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
He at first translated religious songs, for example Krummacher's <i>Zionsharfe</i> (here f. ex. 1827, at <a href="https://books.google.de/books?id=s2dFAAAAcAAJ" target="_blank">Google Books</a>). The first part of the Estonian version appeared in 1845 with the title <i>Sioni-Laulo-Kannel ehk 333 uut waimolikko laulo</i> (<a href="http://erb.nlib.ee/?kid=17254450" target="_blank">erb</a>). More parts would follow as well as other similar collections. But he also tried to take care of the secular repertoire and in 1860 he published an anthology with the title <i>Eesti laulik</i> - "The Estonian Singer" - with 125 texts. </div>
<ul style="text-align: justify;">
<li>[Johann Voldemar Jannsen], Eesti Laulik. 125 uut lauo neile, kes hea melega laulwad ehk laulo kuulwad. Esiminne jaggo, Laakmann, Tartu, 1860 [<a href="http://erb.nlib.ee/?kid=15523159" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:36738" target="_blank">digar</a>; at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10035117-7" target="_blank">BSB</a> [= <a href="https://books.google.de/books?id=T00AAAAAcAAJ" target="_blank">Google Books</a>]; at the <a href="https://archive.org/details/eestilaulikvutl00laulgoog" target="_blank">Internet Archive</a> [= GB-Oxford] <br />-, 2. Trük, Laakmann, Tartu, 1865 [<a href="http://erb.nlib.ee/?kid=15523226" target="_blank">erb</a>], at <a href="https://books.google.de/books?id=rR5eAAAAcAAJ" target="_blank">Google Books</a> [= BL] </li>
</ul>
<div style="text-align: justify;">
Jannsen was no Herderian and no friend of Estonian <i>rahwalaulud</i> (see Arro 1933, pp. 90-1; Ŝmidchens, pp. 77-8). In fact he didn't like them and preferred German songs. All texts in this songster were translations from the German and he completely avoided any original Estonian pieces. But nonetheless his anthology became very popular and was reprinted several times. He also compiled a tune-book with only the melodies because he couldn't afford to publish complete arrangements for choirs: </div>
<ul>
<li>[Johann Voldemar Jannsen], Eesti Lauliko wisi-ramat. 120 uut laulo-wisi , Laakmann, Tartu, 1862 [<a href="http://erb.nlib.ee/?kid=11346656" target="_blank">erb</a>], at the <a href="https://archive.org/details/JannsenEestiLauliko1862" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
Other early pioneers also relied completely on German songs. Martin Körber (1817-1893; see Arro, pp. 112-9; <a href="https://de.wikipedia.org/wiki/Martin_K%C3%B6rber" target="_blank">Wikipedia</a>), a German pastor in a little village on the isle of Saremaa did a lot for the musical culture of his flock, not at least because he didn't want them to sing their traditional drinking songs. He himself wrote new songs and taught them the people, he had them sing in choirs and also organized the earliest local song festivals. One collection of his songs was published with music: </div>
<ul style="text-align: justify;">
<li>Laulud Sörwemaalt, mitme healaga. Lieder aus der Schworbe, mehrstimmig, Laakmann, Tartu, 1864 & 1867, 2 Vols. [erb: <a href="http://erb.nlib.ee/?kid=22247403" target="_blank">Vol. 1</a> & <a href="http://erb.nlib.ee/?kid=22248699" target="_blank">Vol. 2</a>], at <a href="http://hdl.handle.net/10062/41589" target="_blank">Uof Tartu</a> </li>
</ul>
<div style="text-align: justify;">
Friedrich Brandt (1830-1890; <a href="https://et.wikipedia.org/wiki/Friedrich_Brandt" target="_blank">Wikipedia</a>), teacher and writer, also put together a songster with the title <i>Eestima öpik</i> (1864, <a href="http://erb.nlib.ee/?kid=16679623" target="_blank">erb</a> at <a href="http://www.digar.ee/viewer/et/nlib-digar:101151/21195/page/23" target="_blank">digar</a>) - "The Estonian Nightingale" - that included both translations from the German as well as his own works. This collection was reprinted several times and apparently sold in great numbers. He for example included the popular German ballad "Es waren zwei Königskinder" ("Kuningatte lapsed", <a href="http://www.digar.ee/viewer/et/nlib-digar:101151/21195/page/29" target="_blank">p. 28</a>). Folklorist Walter Anderson (1932, pp. 23-48) has shown that nearly all variants collected from oral tradition are derived - directly or indirectly - from this anthology. Brandt also published a little songbook with music, <i>Pisukene laulu- ja mängimees</i> (1869, <a href="http://erb.nlib.ee/?kid=15480732" target="_blank">erb</a>, at <a href="http://www.digar.ee/id/nlib-digar:240136" target="_blank">digar</a>). Just like Jannsen he avoided all references to his sources. But it seems that these songs were mostly his own. </div>
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Friedrich Kuhlbars (1841-1924; see <a href="https://de.wikipedia.org/wiki/Friedrich_Kuhlbars" target="_blank">Wikipedia</a>; Hasselblatt, p. 267), teacher, writer and poet, compiled the first songbook for schools and he only used songs imported from Germany: </div>
<ul style="text-align: justify;">
<li>Laulik koolis ja kodus. Ued laulud ühe, kahe, kolme ja nelja healega ja kaanonid. Noorele ja wanale, iseäranis Eesti koolidelle wäljaanud Friedrich Kuhlbars, Gläser, Tartu, 1868 [<a href="http://erb.nlib.ee/?kid=16882349" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:41988" target="_blank">digar</a> </li>
</ul>
<div style="text-align: justify;">
Here we can find pieces by Schulz, Silcher, Gersbach and Julius Mayer as well as many that are only described as "Deutsche Volksweise". Interestingly there is also an version of Thomas Moore's "Last Rose of Summer" ("Õue viimne roosikene", No. 15, <a href="http://www.digar.ee/viewer/et/nlib-digar:41988/251653" target="_blank">pp. 13-4</a>). But he didn't feel it necessary to include even a single original Estonian song. </div>
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<br /></div>
<div style="text-align: justify;">
In the meantime Jannsen had launched <i>Wanemuine</i>, a society for choral singing and other convivial activities (see Arro, pp. 98-101). It was named after a mythological character in Kreutzwaldt's <i>Kalevipoeg</i>, the god of music with the harp ("Laena mulle kannelt, Vanemuine!"). This society played a major role during the next decades and Wanemuine himself appeared on the covers of some songbooks. Jannsen also organized the first Grand Song Festival in 1869 in Tartu (see Arro, pp. 102-8). This was of course modeled after the German song festivals but it set the start of a long-running tradition (see <a href="https://de.wikipedia.org/wiki/Liederfest_(Estland)" target="_blank">Wikipedia</a>). The repertoire performed at these festivals shows the development of the national Estonian singing culture: </div>
<ul style="text-align: justify;">
<li>[Johann Voldemar Jannsen], Eestirahwa 50-aastase Jubelipiddo-Laulud. Tartu Wanemuine seltsit wäljaantud, Laakmann, Tartu, 1869 [<a href="http://erb.nlib.ee/?kid=16900777" target="_blank">erb</a>]; at <a href="http://www.digar.ee/id/nlib-digar:104869" target="_blank">digar</a> & the <a href="https://archive.org/stream/Eestirahwa50aastase1869c/Eestirahwa50aastase-1869c#page/n1/mode/2up" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
This is the songbook for the first festival. Here we can find for the most part religious songs - that's what the local choirs sang at home - and only a few of secular character. Nearly all of them were by German composers, for example Beethoven, Mozart, Mendelssohn-Bartholdy, Abt and Kreutzer. Finland was the other major source. There is one song by Finnish composer Karl Collan (No. 22, p. 71) and Jannsen himself wrote a new text for the tune Frederik Pacius had composed for Runeberg's "Vårt land", the future Finnish national anthem. His "Mu isamaa, mu õnn ja rõõm" (No. 21, <a href="https://archive.org/stream/Eestirahwa50aastase1869c/Eestirahwa50aastase-1869c#page/n71/mode/2up" target="_blank">p. 70</a>) would then become - after independence in 1918 - the Estonian anthem. </div>
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<br /></div>
<div style="text-align: justify;">
Then there were two more Estonian patriotic songs: "Mo isama on minno arm" and "Sind surmani" (No. 25-6, pp. 76-9). These are poems by Jannsen's daughter Lydia Koidula (1843-1886; see <a href="https://de.wikipedia.org/wiki/Lydia_Koidula" target="_blank">Wikipedia</a>; see Hasselblatt, pp. 249-59) that were set to music by Alexander Kunileid (-Säbelmann; 1845-1875, see <a href="https://en.wikipedia.org/wiki/Aleksander_Kunileid" target="_blank">Wikipedia</a>; see Arro, pp. 115-20), a graduate of Cimze's teacher seminary and an aspiring young composer. These two pieces may count as the first published original Estonian songs but - as musicologist Arro has shown - Kunileid had borrowed the tunes from a Finnish songbook.</div>
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<div style="text-align: justify;">
<br />
<div style="text-align: center;">
<b>III.</b> </div>
<br />
The first one who took efforts to promote a more original Estonian repertoire was Carl Robert Jakobson (1841-1882; see <a href="https://de.wikipedia.org/wiki/Carl_Robert_Jakobson" target="_blank">Wikipedia</a>; Arro, pp. 109-115; Hasselblatt, pp. 261-4), a teacher - also a graduate of Cimze's seminary -, journalist and a very productive writer, particularly of school-books (see <a href="http://erb.nlib.ee/?komp=d0befc11&order=k" target="_blank">erb</a>). He criticized the predominance of the German songs at the festival and published a little booklet with five Estonian songs, all arranged for male choir. The title translates as "The Sounds of Wanemuine's Harp" and the god of music himself appeared on the cover:</div>
<ul style="text-align: justify;">
<li>Wanemuine Kandle Healed. Neljähealega meeste koorid. Eesti Laulupühaks 1869. Wälja annud C. R. Jakobson, Transchel, St. Petersburg, 1869 [<a href="http://erb.nlib.ee/?kid=14712556" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:109772" target="_blank">digar</a> </li>
</ul>
<div style="text-align: justify;">
The words of all five songs were by Lydia Koidula. Three of them - including the two published in the songbook for the festival - were set to music by Kunileid. But the melodies for the other two are described as "Eesti rahwawiis" (Estonian popular tunes): "Miks sa nuttad" & "Meil aia äärne tänawas". The source of these two is not clear but - as mentioned above - it was the first time that Estonian "folk-tunes" were used in a songbook for choirs. Unlike Jannsen Jakobson - who was very critical of the German cultural and economic dominance - had no problems with traditional songs and he saw them as a source for a future national repertoire. Two more anthologies appeared only shortly later and here he showed again that he had different ideas than Jannsen of what the Estonians should sing: </div>
<ul style="text-align: justify;">
<li>Wanemuine Kandle Healed. Nelja healega meeste koorid. Wälja annud C. R. Jakobson. Toine jagu, W. Gläser, Tartu, 1871 [<a href="http://erb.nlib.ee/?kid=16798752" target="_blank">erb</a>], at the <a href="https://archive.org/stream/WanemuineKandleHealed21871/WanemuineKandleHealed2-1871#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Rõõmus Laulja. Kooli lugemise raamatu Wiisid. Wälja annud C. R. Jakobson. Esimene jagu: Kahe, kolme ja nelja healega laulud, laste ja segatud kooridele, Laakmann, Tartu, 1872 [<a href="http://erb.nlib.ee/?kid=15557315" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240144" target="_blank">digar</a> & the <a href="https://archive.org/details/JakobsonRoomuslaulja1872" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
In the second volume of <i>Wanemuine Kandle Healed</i> the tunes of four of the 15 songs were described as "Eesti rahwawiis", collected by Jakobson himself or by Johannes Eglon (1836-1908; see <a href="http://entsyklopeedia.ee/artikkel/eglon_johannes" target="_blank">Eesti Entsüklopeedia</a>), another graduate of Cimze's seminary. Jakobson - C. R. Linnutaja was his pseudonym - also wrote new words for three of them and the fourth was combined with a text by Kreutzwald. Besides these there were also some pieces with tunes by Kunileid as well as songs from Finland and Hungary, two linguistically related peoples. </div>
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<br /></div>
<div style="text-align: justify;">
<i>Rõõmus Laulja</i> was a songbook for schools and it looks a little bit different from Kuhlbars' earlier anthology. Of course Jakobson couldn't avoid at least some German songs. But there were five original Estonian pieces, four with "Eesti rahwawiis" and one written by Kunileid. He also again included a considerable amount of Finnish songs. All in all this looked like a deliberate attempt to push back the German repertoire and to promote his ideas for the future development of Estonian national music. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But one may say that Jakobson was at that time some steps ahead of what was possible. Other anthologies published at that time were still much more conservative in this respect: </div>
<ul style="text-align: justify;">
<li>Friedrich Kuhlbars, Wanemuine ehk Neljakordne Laulu-Lõng. Laulud meestekoorile, Laakmann, Tartu, 1870 [<a href="http://erb.nlib.ee/?kid=15958012" target="_blank">erb</a>], at the <a href="https://archive.org/details/KuhlbarsWanemuine1870" target="_blank">Internet Archive</a> </li>
<li>Adelbert Hugo Willigerode, Laulo-salgokenne. Korilaulud Jummala nimmel Keisrile auuks rahwale roömuks soprano, alto, tenore ning basso heältest laulda. Essimenne jaggo, 24 kolilaste-pühha laulu, Laakmann, Tartu, 1870 [<a href="http://erb.nlib.ee/?kid=15356978" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240142" target="_blank">digar</a> <br />Adelbert Hugo Willigerode, Laulo-salgokenne. Korilaulud Jummala nimmel Keisrile auuks rahwale roömuks soprano, alto, tenore ning basso heältest laulda. Tölne jaggo: 24 kewwade aea laulo, Laakmann, Tartu, 1870 [<a href="http://erb.nlib.ee/?kid=27222123" target="_blank">erb</a>; not yet digitized] </li>
<li>Jaan Nebokat, Ilmalikud meestekoorid. Seminaride, kihelkonnakoolide ja lauluseltside tarwis wäljaantud. Saksakeelest ümberpandud, Laakmann, Tartu, 1870 [<a href="http://erb.nlib.ee/?kid=15740298" target="_blank">erb</a>; not yet digitized] </li>
<li>[Jaan Jung], Laulud kolme heälega. Keige laulu armastajatele, isseärranis Eesti kolidele ja lastele wäljawallitsetud, seatud ja üllespantud J. Jung, Laakmann, Tartu, 1871 [<a href="http://erb.nlib.ee/?kid=16025222" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:258129" target="_blank">digar</a>, at <a href="http://hdl.handle.net/10062/32376" target="_blank">UofTartu</a><br />[Jaan Jung] Laulud kahe ja kolme häälega ja kaanonid. Kõigile laulu armastajatele wälja annud J. Jung, 2. jagu, Laakmann, Tartu, 1876 [<a href="http://erb.nlib.ee/?kid=1602509x" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:258124" target="_blank">digar</a>; at <a href="http://hdl.handle.net/10062/32375" target="_blank">Uof Tartu</a> </li>
</ul>
<div style="text-align: justify;">
All these collections offered a germanized repertoire and only very few or none Estonian songs. This was no wonder with Willigerode (1818-1893; see <a href="https://et.wikipedia.org/wiki/Adalbert_Hugo_Willigerode" target="_blank">Wikipedia</a>; Arro, pp. 79-80), a German clergyman with a lot of sympathy for the Estonian singing movement. He even was a honorary member of <i>Wanemuine</i> and Jannsen had asked him to be the chairman of the committee for the first song festival. But even younger Estonian teachers like Nebokat (1844-1908; see <a href="https://et.wikipedia.org/wiki/Jaan_Nebokat" target="_blank">Wikipedia</a>) and Jung (1835-1900; see <a href="https://et.wikipedia.org/wiki/Jaan_Jung" target="_blank">Wikipedia</a>) followed in Jannsen's footsteps and preferred songs from Germany. </div>
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<br />
<br />
<div style="text-align: center;">
<b>IV.</b></div>
<br /></div>
<div style="text-align: justify;">
This decade also saw the first publications of Karl August Hermann who would become the most important and influential promoter of Estonian choral singing. Hermann (1851-1909; see <a href="https://de.wikipedia.org/wiki/Karl_August_Hermann" target="_blank">Wikipedia</a>; see Arro, pp. 155-83), born in a poor family, was at first trained as a teacher and then went to the university of Leipzig to study Mongolian and Slavic languages. There he received his doctorate. Back home in Tartu he made himself a name as a writer and scholar of astonishing productivity (see <a href="http://erb.nlib.ee/?komp=9978b2f6&order=k" target="_blank">erb</a>). He was busy as linguist, translator from German, author of books for children and instruction books for Russian, editor and journalist, he wrote a history of Estonian literature (1898, <a href="http://erb.nlib.ee/?kid=11858424">erb</a>) and later even started an encyclopedia. </div>
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<br /></div>
<div style="text-align: justify;">
But he also was a trained musician and became known as composer, songwriter, arranger, choirmaster, folklorist and popular music writer. Musicologist Arro is not fond of Hermann's abilities as composer but that is not the point. He took great efforts to create a repertoire for mostly rural choirs and singers and what was needed were simple songs in the popular style. That's exactly what he did. </div>
<ul style="text-align: justify;">
<li>Eesti kannel. Neljä Häälega laulud segakoorile. Komponeerinud ja wälja annud K. A. Hermann, 1. wihk. Laakmann, Tartu, 1875 (= Eesti Kirjameeste Seltsi Toimetused 5) [<a href="http://erb.nlib.ee/?kid=14731046" target="_blank">erb</a>], at <a href="http://www.etera.ee/zoom/1444/view" target="_blank">etera</a> & the <a href="https://archive.org/stream/HermannEestiKannel/Hermann-EestiKannel1-1875#page/n3/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Koori ja kooli kannel. Walja Walitud mitme häälega segakoorilelaulud, kõigile lauluarmastajatele iseäranis aga Eesti kihelkonna- ja külakoolidele iseäranis aga Eesti kihelkonna- ja külaskoodile on kosku pannud K. A. Hermann. 1. anne, Laakmann, Tartu, 1875 [<a href="http://erb.nlib.ee/?kid=15707854" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240198" target="_blank">digar</a> & the <a href="https://archive.org/stream/HermannKooriJaKoolikannel11875/Hermann-KooriJaKoolikannel1-1875#page/n3/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Karl August Hermann, Kodumaa Laulja. Waimulikud ja ilmulikud neljä häälega laulud meestekoorile. Esimene kogu Komponeerinud ja wälja annud K. A. Hermann, Laakmann, Tartu, 1877 (= Eesti Kirjameeste Seltsi toimetused 7) [<a href="http://erb.nlib.ee/?kid=15707702" target="_blank">erb</a>], at <a href="http://www.etera.ee/zoom/1425/view" target="_blank">etera</a> </li>
</ul>
<div style="text-align: justify;">
Both <i>Eesti Kannel</i> and K<i>odumaa Laulja</i> included his own tunes with words - both religious and secular - written by himself and others. In fact at that time these two books presented the greatest number of new original Estonian songs. Nothing comparable had been published before and one may say that Hermann single-handedly created a national repertoire. It seems that at first he was not particularly interested in Estonian <i>Volkslieder</i>. In Eesti Kannel there is only one described as "Eesti rahwawiis" (No. 23, <a href="https://archive.org/stream/HermannEestiKannel/Hermann-EestiKannel1-1875#page/n75/mode/2up" target="_blank">pp. 74-5</a>). <i>Koori ja kooli kannel</i> was - as the title says - intended for schools and choirs and included nearly exclusively German songs. </div>
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<br /></div>
<div style="text-align: justify;">
Another anthology for schools appeared in 1878. Ado Grenzstein (-Piirikivi; 1849-1916; see <a href="https://de.wikipedia.org/wiki/Ado_Grenzstein" target="_blank">Wikipedia</a>), also a teacher trained in Cimze's seminary, compiled this very interesting collection in six parts that was built mostly on European <i>Volkslieder</i>, not only from Germany but also from other countries from Italy to Latvia. </div>
<ul style="text-align: justify;">
<li>Kooli laulmise raamat. Kuues jaos kirja pannud A. Grenzstein, I.-VI. jagu, Schnakenburg, Tartu, 1878 (= Eesti Lirjameste Seltsi toimetused 15) [<a href="http://erb.nlib.ee/?kid=11445944" target="_blank">erb</a>], at <a href="http://www.etera.ee/zoom/1441/view" target="_blank">etera</a> (in 1 Vol.) & the <a href="https://archive.org/details/GrenzsteinKooliLaulmiseRaamat1878" target="_blank">Internet Archive</a>; at <a href="http://www.digar.ee/arhiiv/et/search/simple?utf8=%E2%9C%93&search%5Bsource%5D=&search%5Bavailable%5D=0&search%5Bcontent%5D=0&search%5Btext%5D=Kooli+laulmise+raamat+jagu&search%5Bscope%5D=" target="_blank">digar</a> </li>
</ul>
<div style="text-align: justify;">
Here we can even find an Estonian version of "Robin Adair/Eileen Aroon", interestingly not based on any of the popular German versions but instead on the variant used by Boildieu in his <i>La Dame Blanche</i> (VI, No. 14, <a href="https://archive.org/stream/GrenzsteinKooliLaulmiseRaamat1878/Grenzstein_KooliLaulmiseRaamat-1878#page/n119/mode/2up" target="_blank">pp. 17-8</a>). Grenzstein kept the share of German pieces to a minimum and included a considerable number of Estonian songs, both rahwalaulud and new works. This was the closest the school-children came to learn an Estonian national repertoire in an European context.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Grenzstein's collection was way ahead of its time. We can look into the songbooks for the Grand Song Festivals in 1879 and 1880 and see that - even though there is a little more diversity than a decade ago - the German songs still made up the greatest part of the songs performed:</div>
<ul style="text-align: justify;">
<li>Karl August Hermann, Eestirahwa teise Üleüldise Laulu-Pidu Meestekoorid. Tartu Wanemuine Seltsi wälja antud, Laakmann, Tartu, 1877 [<a href="http://erb.nlib.ee/?kid=11905281" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:109784" target="_blank">digar</a> & the <a href="https://archive.org/details/HermannEestirahwaMeestekoori1877" target="_blank">Internet Archive</a> </li>
<li>Eesti tänu-laulu-pidu laulud. Kaiserliku Majestedi Alekasandri II. 25-aastase walitsuse juubeli-püha mälestuseks wälja annud pidu toimekond, Laakmann, Tartu, 1880 [<a href="http://erb.nlib.ee/?kid=16735134" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:109367" target="_blank">digar</a> & the <a href="https://archive.org/stream/EestiLaulud1880/EestiLaulud-1880#page/n31/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Laulu-kogu. 1880-ma jubeli aasta mälestuseks. Wälja annud P. Abel ja Dr. M. Weske, J. Erlemanni, F. Säbelmanni ja teiste abiga, Schnakenburg, Tartu, 1880 [<a href="ttp://erb.nlib.ee/?kid=16633453" target="_blank">erb</a>], at the <a href="https://archive.org/stream/LauluKogu1880#page/n43/mode/2up" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
Another anthology from this time is a little bit different. Linde (1851-1908; see <a href="https://et.wikipedia.org/wiki/Adolf_Linde" target="_blank">Wikipedia</a>), also a graduate of Cimze's seminary, offered here mostly Latvian songs with Estonian texts: </div>
<ul style="text-align: justify;">
<li>Adolf Linde, Lõbus Lõuke. Meeste healtele, Schnakenburg, Tartu, 1881 [<a href="http://erb.nlib.ee/?kid=15935073" target="_blank">erb</a>], at the <a href="https://archive.org/details/LindeLL1881" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
During the 1880s Dr. Hermann was even more busy than before: </div>
<ul style="text-align: justify;">
<li style="text-align: justify;">Koori ja kooli kannel. Walja Walitud mitme häälega segakoorilelaulud, kõigile lauluarmastajatele iseäranis aga Eesti kihelkonna- ja külakoolidele iseäranis aga Eesti kihelkonna- ja külaskoodile on kosku pannud K. A. Hermann. 2. anne, Laakmann, 1882 [<a href="http://erb.nlib.ee/?kid=15707908" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240234" target="_blank">digar</a> & the <a href="https://archive.org/stream/HermannKooriJaKoolikannel11875/Hermann-KooriJaKoolikannel2-1882#page/n1/mode/2up" target="_blank">Internet Archive</a>; at <a href="http://www.etera.ee/zoom/1129/view" target="_blank">etera</a> </li>
<li>Eesti kannel. Waimulikud ja ilmalikud segakoorilelaulud kirkus, koolis ja kodus laulda. Wälja annud K. A. Hermann. 2. wihk, Schnakenburg, Tartu, 1883 [<a href="http://erb.nlib.ee/?kid=14731009" target="_blank">erb</a>], at <a href="http://www.etera.ee/zoom/1129/view" target="_blank">etera</a> & the <a href="https://archive.org/stream/HermannEestiKannel/Hermann-EestiKannel2-1883#page/n3/mode/2u" target="_blank">Internet Archive</a>; at <a href="http://www.digar.ee/id/nlib-digar:240346" target="_blank">digar</a> </li>
<li>Eesti kannel. Neljä Häälega laulud segakoorile koolioas ja kodus laulda. 3. wihk. Trükki andnud K. A. Hermann, Laakmann, Tartu, 1884 [<a href="http://erb.nlib.ee/?kid=12139774" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240347" target="_blank">digar</a> & the <a href="https://archive.org/stream/HermannEestiKannel/Hermann-Eestikannel3-1884#page/n1/mode/2up" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
The second volume of <i>Koori ja kooli kannel</i> included mostly German songs as well as a few by Estonian and Finnish composers. In the two volumes of <i>Eesti kannel</i> he was able to add works by some more Estonian composers and songwriters like Grenzstein-Piirikivi, Jung and young Miina Hermann (1864-1941, see <a href="https://de.wikipedia.org/wiki/Miina_H%C3%A4rma" target="_blank">Wikipedia</a>) - not related but one of his pupils - who would later become the most important female composer in Estonia. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Hermann also started a monthly musical periodical that was then published for more than a decade:</div>
<ul>
<li><div style="text-align: justify;">
Laulu ja mängu leht. Kuukiri Eesti muusika edendamiseks. Wastuwaw toimentaja ja wääljandja Dr. K. A. Hermann, 1885-1897, 1908, at <a href="http://www.digar.ee/arhiiv/et/perioodika?id=2641" target="_blank">digar</a>, at <a href="http://www.etera.ee/s/ixI4W6wUxL" target="_blank">etera</a>;</div>
Vol. 2, 1886; Vol. 3, 1887; Vol. 4, 1888, also at the <a href="https://archive.org/details/LauluJaMaenguLeht21886" target="_blank">Internet Archive </a> </li>
</ul>
<div style="text-align: justify;">
Here the interested reader could find for example informative articles about composers, musicians, singers. The first four numbers of the <a href="https://archive.org/stream/LauluJaMaenguLeht21886/Laulu%20Ja%20Maengu%20Leht_2_1886#page/n5/mode/2up" target="_blank">second volume</a> included texts about Beethoven, Liszt, Rubinstein, Wagner. And in <a href="https://archive.org/stream/LauluJaMaenguLeht21886/Laulu%20Ja%20Maengu%20Leht_4_1888#page/n91/mode/2up" target="_blank">No. 12</a> in Volume 4 there was even an article about Dr. Hermann by Dr. Hermann himself. This magazine was a major contribution to the musical education of the Estonians. He also added a supplement with songs, mostly arranged for choirs. Of course Hermann was plugging his own works but otherwise he selected an interesting national and international repertoire. For example the fourth volume included translated German songs by Bach, Abt, Mendelssohn-Bartholdy, Gluck, Silcher and others, some pieces by Swedish composer August söderman as well as Russian, Finnish, Estonian and Latvian <i>Volkslieder</i>. He also offered young composers like Miina Hermann the opportunity to make their works available to a wider public. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">
At around this time Hermann became more interested in Estonian <i>rahwalaulud</i>. He wrote some articles for the <i>Laulu- ja mänguleht</i> (for ex. in Vol. 3, 1887, <a href="https://archive.org/stream/LauluJaMaenguLeht21886/Laulu%20Ja%20Maengu" target="_blank">pp. 9-10</a>) and then in 1890 published the very first anthology of Estonian <i>Volkslieder</i>: </div>
<ul style="text-align: justify;">
<li>Karl August Hermann, Eesti rahwalaulud. Segakoorile. Esimene wihk, Hermann, Tartu, 1890 (Eesti Kirjameeste seltsi tolmetused 89) [<a href="http://erb.nlib.ee/?kid=14731344" target="_blank">erb</a>], at <a href="https://www.blogger.com/www.etera.ee/zoom/1417/view" target="_blank">etera</a> & the <a href="https://archive.org/details/HermannEestiRahwalaulud1890" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
Here we can find a short introduction with some musical examples as well as 40 songs, all arranged for mixed choirs. Most of these tunes had been collected by Hermann himself, the rest by colleagues like Aleksander Thomsen (1845-1917, see <a href="https://de.wikipedia.org/wiki/Aleksander_Eduard_Thomson" target="_blank">Wikipedia</a>), a teacher and composer, also a graduate of Cimze's seminary. The texts of most of these songs were also taken "from the mouth of the people" - "rahwa suust" - but some were combined with new lyrics by Hermann or others. All in all this was a very interesting anthology and also an attempt to reanimate traditional songs and make them usable for modern rural and urban choirs. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Hermann announced this as the first volume but it took a while for the next booklets of this series to appear. Vols. 2 (see <a href="http://erb.nlib.ee/?kid=14731289" target="_blank">erb</a>) and 3 (see <a href="http://erb.nlib.ee/?kid=14731332" target="_blank">erb</a>; at the <a href="https://archive.org/details/HermannEestiRahwalaulud31908" target="_blank">Internet Archive</a>) only came out in 1905 respectively 1908. Instead he wrote a little treatise in German about Estonian <i>Volkslieder</i> that was published shortly later. Here he included 27 original melodies, mostly collected by himself: </div>
<ul style="text-align: justify;">
<li>Karl August Hermann, Ueber estnische Volksweisen. Separat-Abdruck aus den Verhandlungen der gelehrten estnischen Gesellschaft zu Dorpat, Hermann, Dorpat, 1892, at <a href="http://dspace.ut.ee/handle/10062/48824" target="_blank">UofTartu</a>, <br />-, in: Verhandlungen der gelehrten Estnischen Gesellschaft zu Dorpat 16, 1896, pp. 54-72, at the <a href="https://archive.org/stream/verhandlungen_16_Dorpat_1896#page/n57/mode/2up" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
He complained that nobody had yet been interested in the songs of the Estonian people. The few printed in songbooks since 1869 had "vanished among the art songs". <i>Volksmelodien</i> weren't known "weil man das Volk zu wenig kannte". They only sang their songs in family circles but not when strangers, particularly Germans, were present. In recent years the traditional tunes were replaced by modern songs and only "old Estonian women in remote areas" still sing them.</div>
<br />
<div style="text-align: justify;">
This sounds reasonable and it should be recalled once again that generations of German pastors fought against their flock's traditional music and also a considerable part of the first generation of Estonian intellectuals and teacher weren't fond of the songs sung by the people. Hermann noted that during his youth 30 years ago he had heard many original folk tunes and he had been busy collecting them for a while. This booklet as well as his anthology were the results of his researches. What he tried was to bring "back" the old rural songs and make them usable for modern choral singing. </div>
<br />
<div style="text-align: justify;">
His little treatise is still worth reading, not only because it was the very first attempt at discussing this genre. He tried a description of the different styles, from the eldest to the modern tunes. and also pointed out European influences on the more recent melodies. There are also some fancy speculations about a possible relationship to Greek, Egyptian and Sumerian music but such theories were not uncommon at that time. He simply tried to postulate a connection to the ancient civilizations to place the formerly so often derided music of the Estonians in a wider cultural context: "Es ist jedenfalls ein interessanter Gedanke, dass die alten Aegypter und die klassischen Griechen ebenso gesungen haben, wie die Esten bis auf die gegenwärtige Zeit" (<a href="https://archive.org/stream/verhandlungen_16_Dorpat_1896#page/n67/mode/2up" target="_blank">p. 65</a>). </div>
<br />
Later Hermann also tried to expand his operations to Germany. 150 songs from his <i>Laulu- ja mängu leht</i> translated into German were published in a massive anthology in 1893:<br />
<ul style="text-align: justify;">
<li>Karl August Hermann, Völkerlieder für vierstimmige gemischte Chöre. Eine Sammlung von 150 geistlichen und weltlichen volkstümlichen Kompositionen und Volksliedern der Italiener, Franzosen, Spanier; Russen, Tschechen, Serben, Letten; Niederländer, Engländer, Walliser, Schotten, Iren, Amerikaner, Schweden, Dänen, Norwegeer; Armenier; Inder; Esten, Finnen, Lappen, Tscheremissen, Magyaren; Türken; Chinesen; Japaner; Javaner. Für den Chorgebrauch gesammelt, bearbeitet und herausgegeben von Dr. K. H. Hermann, Klinkhardt, Leipzig, 1893, at <a href="http://nbn-resolving.de/urn:nbn:de:0111-bbf-spo-16575447" target="_blank">BBF</a> </li>
</ul>
<div style="text-align: justify;">
This was a very worthwhile collection of international <i>Volkslieder</i>, and it is clear that Hermann - someone from the European periphery - had a different outlook than those from the cultural centers in Germany or England. His selection was much more varied than what his German or English colleagues at that time had managed to put together. Unfortunately the Estonian part was somewhat disappointing because he preferred to promote his own songs instead of <i>rahwalaulud</i>. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br />
<div style="text-align: center;">
<b>V. </b></div>
<br />
Meanwhile in Estonia other songbooks appeared and we can see that repertoire became more diverse. Estonian songs now made up a greater part than before. A good example is this collection for schools. Around a third of the 30 songs included are described as "Eesti rahwawiis" while the share of German songs was brought to a minimum. Instead the pupils get some more modern Estonian songs by Piirikivi and Hermann as well as some European <i>Volkslieder</i>, for example from Scotland and Sicily:</div>
<ul style="text-align: justify;">
<li>[G. Pärn], Eesti laulud rahwa koolidele, Mellin, Riga, 1890 [<a href="http://erb.nlib.ee/?kid=15967876" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240360" target="_blank">digar</a> & the <a href="https://archive.org/details/EestiLauludRahwaKoolidele1890" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
The anthologies produced for the song festivals in the 90s also show a more varied repertoire even though they remained more conservative than for example songbooks for schools. Nonetheless the greater number of Estonian songs - both modern pieces and <i>rahwalaulud</i> - is notable (see also Arro, p. 153): </div>
<ul style="text-align: justify;">
<li>Neljanda üleüldise ja teise tänu-laulupidu segakoori laulud, Hermann, Tartu, 1891 (Eesti Kirjameeste Seltsi toimetused 91) [<a href="http://erb.nlib.ee/?kid=12029865" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:109260" target="_blank">digar</a> & <a href="http://www.etera.ee/zoom/1430/view" target="_blank">etera</a> </li>
<li>Neljanda üleüldise ja teise tänu-laulupidu meestekori laulud, Hermann, Tartu, 1891 (Eesti Kirjameeste Seltsi toimetused 92) [<a href="http://erb.nlib.ee/?kid=12434012" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:109277" target="_blank">digar</a> </li>
<li>Eesti Rahwa Wabastuse Seitsme-kümne-wiie Aasta Juubeli Tänulaulupidu laulud. Segakoorid, Laulupidu toimetawad seltsid, Jurjewis [Tartu], 1894 [<a href="http://erb.nlib.ee/?kid=16734889" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:109308" target="_blank">digar</a> </li>
<li>Eesti Rahwa Wabastuse Seitsme-kümne-wiie Aasta Juubeli Tänulaulupidu laulud. Meestekoorid, Laulupidu toimetawad seltsid, Jurjewis [Tartu], 1894 [<a href="http://erb.nlib.ee/?kid=11678859" target="_blank">erb</a>], at <a href="http://digar.nlib.ee/show/nlib-digar:109274" target="_blank">digar</a> </li>
<li>VI. Eesti üleüldise laulupidu meestekoorid. Trükki toimetanud K. Türnpu, Lootuse ja Estonia Selts, Tallin, 1896 [<a href="http://erb.nlib.ee/?kid=15969149" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:10976" target="_blank">digar</a> </li>
<li>VI. Eesti üleüldise laulupidu segakoorid. Trükki toimetanud K. Türnpu, Lootuse ja Estonia Selts, Tallin, 1896 [<a href="http://erb.nlib.ee/?kid=17276755" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:110430" target="_blank">digar</a> </li>
</ul>
<div style="text-align: justify;">
I will close this little history of Estonian songbooks with another of Hermann's productions, a comprehensive anthology for all purposes and occasions: for schools, home, concerts and festivals. Here we can find a very diverse repertoire - both religious and secular - that shows how much had changed in this respect since the 1860s. There is still an emphasis on German songs but all in all what is offered here is much more balanced. The original Estonian repertoire consists mostly of Hermann's own songs but a few pieces by others as well as some <i>rahwawiis</i> are also included: </div>
<ul style="text-align: justify;">
<li>Laulude raamat. Ilu-hääled kooli, kiriku, kodu, konzerdi ja pidu tarwituseks. Kokku seadnud ja wälja andund Dr. K. A. Hermann, Hermann, Jurjewis [Tartu], 1897 [<a href="https://www.blogger.com/erb.nlib.ee/?kid=14733493" target="_blank">erb</a>], at <a href="http://www.digar.ee/id/nlib-digar:240398" target="_blank">digar</a> & the <a href="https://archive.org/details/HermannLauludeRaamat1897" target="_blank">Internet Archive</a>; at <a href="http://hdl.handle.net/10062/41590" target="_blank">UofTartu</a> </li>
</ul>
<div style="text-align: justify;">
We can see how a small group of teachers, writers and activists managed to create a kind of national repertoire. Music played a particularly important role for the development of Estonian culture. This was of course a slow process but all the more impressive. The Estonians were stuck between the dominant German culture on one side and the the Czarist government with their attempts at Russification on the other side. All publications were still subjected to censorship. Nonetheless they created a cultural space and used it as good as possible. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Noteworthy was the lack of interest in traditional Estonian tunes. The longstanding prejudices against the musical culture of the Estonians were even shared by some important protagonists of the first generation of national activists, especially Jannsen. Over the years only a few tunes found its way into popular songbooks. Compared for example to the situation among the Latvians this was somewhat disappointing. And it is also interesting to see that most of the early collectors and popularizers of <i>rahwalaulud</i> - Jakobson, Kunileid, Thomsen, Grenzstein - had been trained in Cimze's seminary. They were clearly influenced by their Latvian colleagues. A more systematic collection of Estonian "folk tunes" only started after the turn of the century and in an European perspective this was really very late. </div>
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Walter Anderson: Das Lied von den zwei Königskindern in der estnischen Volksüberlieferung, in: Verhandlungen der Gelehrten Estnischen Gesellschaft 26, 1932, pp. 1-130, at <a href="http://hdl.handle.net/10062/19413" target="_blank">UofTartu</a> </li>
<li>Longins Apkalns, Lettische Musik, Wiebaden, 1977 </li>
<li>Elmar Arro, Geschichte der Estnischen Musik. Band I, Tartu, 1933 </li>
<li>Cornelius Hasselblatt, Geschichte der estnischen Literatur. Von den Anfängen bis zur Gegenwart, Berlin & New York, 2006 </li>
<li>Kevin C. Karnes, A Garland of Songs for a Nation of Singers: An Episode in the History of Russia, the Herderian Tradition and the Rise of Baltic Nationalism, in: Journal of the Royal Musical Association 130, 2005, pp. 197-235 (<a href="http://dx.doi.org/10.1093/jrma/fki003" target="_blank">dx.doi.org/10.1093/jrma/fki003</a>) </li>
<li>Dietmar Klenke: Der singende „deutsche Mann“. Gesangvereine und deutsches Nationalbewußtsein von Napoleon bis Hitler, Münster, 1998 </li>
<li>Helmut Loos, Deutsche Männergesangvereine im Ostseeraum und der Anfang der lettischen Singbewegung, in: Martin Loeser & Walter Werbeck, Musikfeste im Ostseeraum im späten 19. und frühen 20. Jahrhundert, Berlin, 2014, pp. 221-36 </li>
<li>Heinrich Rosenthal, Kulturbestrebungen des estnischen Volkes während eines Menschenalters (1869-1900). Erinnerungen, Cordes & Schenk, Reval, 1912, at the <a href="https://archive.org/details/kulturbestrebung00roseuoft" target="_blank">Internet Archive</a> </li>
<li>Guntis Šmidchens, The Power of Song. Nonviolent National Culture in the Baltic Singing Revolution, Seattle, London & Copenhagen, 2014 </li>
</ul>
Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-36614390550669602692017-05-09T12:01:00.002+02:002022-01-14T15:45:26.771+01:00Herder, Hupel and the Discovery of Baltic "Volkslieder" - Pt. 2<br />
<div style="text-align: center;">
<a href="https://hummingadifferenttune.blogspot.de/2017/05/herder-hupel-baltic.html" target="_blank"><b>Part 1</b></a><br />
<span style="font-size: x-small;">I. Introduction <br />
II. Pastor Hupel as a Collector of Estonian and Latvian Songs <br />
III. Herder and the Baltic <br />
IV. Herder's <i>Volkslieder</i> <br />
V. Herder & Hupel after 1779 </span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<b>Part 2 </b><br />
<span style="font-size: x-small;">VI. New Perspectives 1780-1830 <br />
VII. Baltic <i>Volkslieder</i> since 1830 <br />
VIII. Towards Cultural and Political Emancipation <br />
Literature </span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<b>VI. New Perspectives 1778 - 1820</b> </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: justify;">
Herder's anthology can be regarded as turning-point for the perception of the culture of the Baltic peasants. It became a "catalyst that reinforced the legacy of folksong study among the German speaking minority of Livland" (Jaremko-Porter 2008a, p. 163). But one can't say that suddenly everybody set out to collect and publish Latvian and Estonian songs. It was more of a very slow process and only very few relevant publications appeared over the next several decades. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
At first one of the old hands, the already legendary pastor Stender, returned to the scene. It is not clear if he knew about Herder's <i>Volkslieder</i> and its new approach. But for a new edition of his <i>Lettische Grammatik</i> in 1783 he expanded the chapter about Latvian poetry and songs and even added some German translations (<a href="https://books.google.de/books?id=yaRWAAAAcAAJ&hl=de&pg=PA273#v=twopage&q&f=false" target="_blank">pp. 272-81</a>). This was a competent and knowledgeable overview. But he still preferred to promote his own Latvian songs, those he wrote for educational purposes like the one "wider die Säufer" where he tried to emulate the "crude taste of the peasants" (p. 279). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Some years later two interesting articles about the Estonians appeared in the <i>Teutsche Merkur</i>, at that time the most important periodical for the German literary <i>intelligentsia</i> (1787, 4, <a href="https://archive.org/stream/DerTeutscheMerkur178734/Der-Teutsche_Merkur_1787_3-4#page/n517/mode/2up" target="_blank">pp. 232-55</a>; 1788, 2, here <a href="https://archive.org/stream/DerTeutscheMerkur178812/Der-Teutsche_Merkur_1788_1-2#page/n481/mode/2up" target="_blank">pp. 425-33</a>; see also Meyer 1896, <a href="https://archive.org/stream/verhandlungen_16_Dorpat_1896#page/n269/mode/2up" target="_blank">pp. 268-80</a>). The author was one Christian Schlegel (1757-1842), a young theologian from Jena who had spent some years as a teacher in Estonia. He offered a considerable number of Estonian songs with German translations, some original tunes and also very informative notes. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">The first of these two articles, <i>Volksgedichte der Esthnischen Nation</i>, was also translated into English and appeared in 1795 in the <i>Varieties of Literature</i> (1, <a href="https://archive.org/stream/varietiesofliter11795took#page/22/mode/2up" target="_blank">pp. 22-44</a>), but without any reference to its source. Instead it was only described as a "Letter from a Friend". Samuel Taylor Coleridge then reprinted two songs as well as some explanatory notes in his <i>Watchman</i> (1, March 1, 1796, <a href="https://archive.org/stream/cu31924103990358#page/n275/mode/2up" target="_blank">pp. 271-3</a>). One of these songs was later borrowed by Maria Edgesworth for her <i>Castle Rackrent</i> and reprinted in the <i>Glossary</i> as "a curious specimen of Esthonian poetry" (1800, <a href="https://books.google.de/books?id=EZ9WAAAAcAAJ&hl=de&pg=PR26#v=twopage&q&f=false" target="_blank">pp. xv-xvi</a>; 4th ed., 1804, <a href="https://archive.org/stream/castlerackrentb02edgegoog#page/n218/mode/2up" target="_blank">pp. 195-6</a>):
</div><div style="text-align: justify;">
<blockquote class="tr_bq">
This is the cause that the country is ruined<br />
And the straw of the thatch is eaten away;<br />
The gentry are come to live in the land-<br />
Chimneys between the village<br />
[...] </blockquote>
</div>
<div style="text-align: justify;">
A decade after Schlegel's articles Garlieb Merkel (1769-1850), pastor, writer and a spirited fighter against serfdom and the political and cultural repression of the Baltic peasants, published his great book about <i>Die Letten in Liefland am Ende des philosophischen Jahrhunderts</i> (1797, here 2nd ed. 1800, at the <a href="https://archive.org/stream/MerkelLetten1800/Merkel_Letten_1800#page/n61/mode/2up" target="_blank">Internet Archive</a>). Already here he included some notes about the Latvians' songs and music (see pp. 55-7, pp. 61-2). The same year an article <i>Ueber Dichtergeist und Dichtung unter den Letten</i> with translations of several Latvian songs appeared in the <i>Neue Teutsche Merkur</i>, (1797, 2, <a href="https://archive.org/stream/DerNeueTeutscheMerkur17972/DerNeueTeutscheMerkur_1797-2#page/n37/mode/2up" target="_blank">pp. 29-49</a>). This text was then recycled in his next important book, <i>Die Vorzeit Lieflands. Ein Denkmahl des Pfaffen- und Rittergeistes</i> (I, 1798, <a href="https://archive.org/stream/MerkelLiefland17989/Merkel_Liefland_1798-9#page/n209/mode/2up" target="_blank">pp. 194-202</a>). </div>
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<br /></div>
<div style="text-align: justify;">
The year 1802 saw the publication of Johann Gottlieb Petri's <i>Ehstland und die Ehsten</i>, a comprehensive treatise about the Estonians in three volumes, a "historisch-geographisch-statistisches Gemälde von Ehstland". The author, another theologian from Germany who had spent 12 years as a teacher in the Baltic and in Russia (see Heeg 1985), also included some remarks about Estonian songs and music (<a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=16385&tid=348" target="_blank">pp. 67-72</a>, at EEVA). But unlike Schlegel and Merkel he didn't offer anything new. This small chapter was mostly derived from Hupel's works. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: justify;">
Gustav Bergmann, a pastor already involved in Hupel's efforts to collect Latvian songs for Herder, had over the years amassed a great number of texts. He published them in two volumes in 1807 and 1808 and also printed another collection by colleague (see Biezais 1961). It is not clear if he knew about Herder's <i>Volkslieder</i> and if he had assimilated some of his thoughts (see Jaremko-Porter 2012, pp. 143-4; Scholz 1995, pp. 571-2). But it seems he remained an old-fashioned antiquarian collector in the style of Hupel and Stender. This little booklets only included the Latvian texts. Bergmann had printed them himself in only very small numbers and therefore they were barely known outside of his home. But at least Gottfried von Tielemann, teacher, writer and also editor of <i>Livona</i>, a popular anthology for the Baltic provinces, had seen a copy and he wrote a helpful and worthwhile little treatise <i>Über die Volkslieder der Letten</i> (1812, <a href="https://archive.org/stream/Livona1812#page/n211/mode/2up" target="_blank">pp. 177-96</a>) and also included some translated texts.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Pastor Bergmann also happened to become acquainted with the Scottish ballad scholar Robert Jamieson who at that time just spent some years as teacher in Riga. He gave him copies of these collections and also translated all the songs for him into German. Parts of two songs - in Latvian with an English translation - were then included in the <i>Illustrations of Northern Antiquities</i>, the great anthology of old Scandinavian and German epic poetry compiled by Jamieson together with Sir Walter Scott and Henry Weber (1814, <a href="https://archive.org/stream/illustrationsofn00webe#page/468/mode/2up" target="_blank">pp. 469-70</a>; see Biezais, pp. 27-9). As far as I know this was the first time that Latvian songs were made available in Britain.
</div><div style="text-align: left;">
<br /></div>
<div style="text-align: justify;">
Meanwhile in Reval another learned pastor, Johann Heinrich Rosenplänter, had started with his <i>Beiträge zur genaueren Kenntnis der esthnischen Sprache</i>. 20 Volumes were published between 1813 and 1832 (available at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=711800528&db=100" target="_blank">BSB</a>, the <a href="https://archive.org/search.php?query=subject%3A%22bub_upload%22+rosenpl%C3%A4nter&sort=publicdate" target="_blank">Internet Archive</a> and <a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=autor&aid=22" target="_blank">EEVA</a>) and some of them offered interesting collections of Estonian songs, texts only of course, as well as informative treatises (see f. ex. 1, 1813, <a href="https://archive.org/stream/bub_gb_P7BYAAAAcAAJ#page/n27/mode/2up" target="_blank">pp. 11-2</a>; 2, 1813, <a href="https://archive.org/stream/bub_gb_P7BYAAAAcAAJ#page/n169/mode/2up" target="_blank">pp. 15-34</a>, pp. 71-4; 4, 1815, <a href="https://archive.org/stream/bub_gb_P7BYAAAAcAAJ#page/n641/mode/2up" target="_blank">pp. 134-65</a>; 7, 1817, <a href="https://archive.org/stream/bub_gb_QFIwAAAAYAAJ#page/n349/mode/2up" target="_blank">pp. 32-87</a>). Translations were only rarely included and therefore most of these articles were only suitable for specialist with a knowledge of the language. </div>
<div style="text-align: justify;">
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In 1817 Bavarian diplomat and scholar François Gabriel de Bray's <i>Essai Critique sur l'Histoire de la Livonie</i> was published. In this excellent treatise on the history of Livonia we can find some remarks about music and songs with the old "Jörru, Jörru" from Kelch's <i>Historia</i> as an example (<a href="https://archive.org/stream/essaicritiquesu01unkngoog#page/n100/mode/2up" target="_blank">pp. 54-5</a>). He also quoted from an unpublished work by a pastor Masing who had collected this song only recently from oral tradition (pp. 286-8; later in Beiträge 10, 1818, <a href="https://archive.org/stream/bub_gb_i0kwAAAAYAAJ#page/n225/mode/2up" target="_blank">pp. 60-71</a>). </div>
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In 1821 young Estonian poet and scholar Kristian Jaak Peterson (1801-1822; see <a href="https://de.wikipedia.org/wiki/Kristian_Jaak_Peterson" target="_blank">Wikipedia</a> & <a href="https://utlib.ut.ee/eeva/index.php?lang=de&do=autor&aid=59" target="_blank">EEVA</a>) published his German translation of Christfried Ganander's <i>Mythologia Fennica</i> (at the <a href="https://archive.org/stream/bub_gb_y7D0lo0IH9IC#page/n7/mode/2up" target="_blank">Internet Archive</a> & <a href="https://utlib.ut.ee/eeva/index.php?lang=de&do=tekst_detail&eid=22079&tid=330" target="_blank">EEVA</a>). He included additional examples from Estonian tradition (see f. ex. <a href="https://archive.org/stream/bub_gb_y7D0lo0IH9IC#page/n33/mode/2up" target="_blank">pp. 26-7</a>). Two years later a handful of "Nachbildungen Esthnischer Volkslieder" were made available in the<i> St. Petersburgische Zeitschrift</i> (12, 1823, <a href="https://books.google.de/books?id=I0pYAAAAcAAJ&hl=de&pg=PA127#v=twopage&q&f=false" target="_blank">pp. 127-8</a>; pp. 254-6). The author was one Heinrich Neus, (1795-1876, see <a href="https://de.wikipedia.org/wiki/Alexander_Heinrich_Neus" target="_blank">Wikipedia</a> & <a href="https://de.wikipedia.org/wiki/Alexander_Heinrich_Neus" target="_blank">EEVA</a>), formerly a student of theology in Dorpat and at that time already school inspector. He will reappear several times again in the course of this story. </div>
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Nearly all of these works were produced by German scholars and writers, mostly theologians. They played the major role in this field. Estonians and Latvians were of course rarely involved. Serfdom would only be abolished in the Baltic provinces between 1816 and 1819. At least some of these writers - particularly Merkel, the truest Herderian among them - showed a less antiquarian and more forward-looking perspective. But at that time there was not yet any kind of systematic collection of songs. Individual scholars - especially Bergmann and Rosenplänter - managed to acquire considerable numbers of songs but they still were not able to discuss them in a wider context. It also appears that barely anyone except Schlegel cared about the music. Otherwise they all collected and published many texts but only rarely the associated tunes. </div>
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Herder may have brought the Estonians and Latvians onto the European literary stage but for a very long time they were still relegated to the background and rarely noted or discussed by intellectuals, scholars and the general readership in the European cultural centers. One should remember that this was a time when poetry and also songs from even the remotest parts of world were already easily available. </div>
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For some reason the Lithuanians fared a little bit better. Already in 1808 a literary adaptation appeared. Popular writer M. G. Lewis, the first one England who borrowed texts from Herder's <i>Volkslieder</i> - in his novel <i>The Monk</i> (1795) and in the <i>Tales of Wonder</i> (1801; see Guthke 1957 & 1958) - also used one of the Lithuanian songs for his ballad "The Dying Bride" in the <i>Romantic Tales</i> (II, <a href="https://archive.org/stream/romantictales02lewi#page/116/mode/2up" target="_blank">p. 115</a>, see I, <a href="https://archive.org/stream/romantictales01lewi#page/n15/mode/2up" target="_blank">p. xiii</a>). "Eine littauische Daina (Liebesliedchen)" was discussed in the AMZ in 1812 (<a href="https://archive.org/stream/bub_gb_JtwqAAAAYAAJ#page/n25/mode/2up" target="_blank">pp. 25-28</a>). </div>
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In 1825 the first comprehensive anthology of Lithuanian songs appeared: Rhesa's<i> Dainos oder Litthauische Volkslieder</i> (at the <a href="https://archive.org/stream/RhesaDainas1825/Rhesa_Dainas_1825#page/n363/mode/2up" target="_blank">Internet Archive</a>; see Šmidchens, pp. 59-61) offered original texts, translations into German and even some tunes and was well-received in Germany. Jacob Grimm wrote a review for the <i>Göttingische Gelehrte Anzeigen</i> (1826, St. 104, <a href="https://books.google.de/books?id=rkVKAAAAcAAJ&hl=de&pg=PA1024#v=twopage&q&f=false" target="_blank">pp. 1025-1035</a>). Goethe - interested in the Baltic since he had met Herder more than 50 years ago - also put his thoughts to paper. But his review wasn’t published at that time (later in Sämmtliche Werke 33, 1844, <a href="https://books.google.de/books?id=FXg6AAAAcAAJ&hl=de&pg=PA338#v=twopage&q&f=false" target="_blank">pp. 339-41</a>; see also Hennig 1987, pp. 298-90).<br />
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Adelbert von Chamisso (1781-1838), poet and scholar, created adaptations of four songs from this book (see Gedichte, 1834, <a href="https://archive.org/stream/gedichte00cham#page/154/mode/2up" target="_blank">pp. 154-60</a>). One of them, "Lied einer Wittwe" ("Her zogen die Schwäne mit Kriegsgesang"), became very popular and was regularly reprinted in other anthologies, even in books for schools like Wackernagel's <i>Auswahl deutscher Gedichte für höhere Schulen</i> (1836, No. 255, <a href="https://books.google.de/books?id=EH5mAAAAcAAJ&hl=de&pg=PA254#v=onepage&q&f=false" target="_blank">p. 254</a>). </div>
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Thanks to the melodies included by Rhesa some of his songs also found its way into musical anthologies. Zuccalmaglio and Baumstark used one in their <i>Bardale</i> (1829, No. 21, <a href="https://archive.org/stream/BaumstarkWaldbruehlBardale1829/Baumstark-Waldbruehl-Bardale-1829%20#page/n45/mode/2up" target="_blank">p. 36</a>), the first German collection of international national airs. Five of them were then included in O. L. B. Wolff's <i>Braga</i>, another anthology of this kind in 14 volumes (1835, here Vol. 14, Nos. 1-5, <a href="https://archive.org/stream/bub_gb_dtlWAAAAcAAJ#page/n299/mode/2up" target="_blank">pp. 3-9</a>). Apparently Wolff - who otherwise had an encyclopedic knowledge in this field - wasn't able to find some Estonian or Latvian songs. </div>
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He also plundered Rhesa's collection for his later anthologies of only texts, <i>Halle der Völker. Sammlung der vorzüglichsten Volkslieder der bekanntesten Nationen</i> (1837, II, here <a href="https://archive.org/stream/bub_gb__rJKAAAAcAAJ#page/n139/mode/2up" target="_blank">pp. 132-9</a>) and <i>Hausschatz der Volkspoesie. Sammlung der vorzüglichsten und eigenthümlichsten Volkslieder aller Länder und Zeiten</i> (1846, here f. ex. <a href="https://archive.org/stream/bub_gb_7DAPAQAAMAAJ#page/n143/mode/2up" target="_blank">pp. 123-4</a>), while missing out the rest of the Baltic except for one Estonian song borrowed from Herder. Other popular anthologies of this kind from this time also preferred Lithuanian texts. One may only look into <i>Die Volksharfe. Sammlung der schönsten Volkslieder aller Nationen</i> published in six volumes in 1838. Here we find three of Chamisso's poems (6, Nos. 57-9, <a href="https://books.google.de/books?id=nI5IAQAAMAAJ&hl=de&pg=RA5-PA69#v=twopage&q&f=false" target="_blank">pp. 69-74</a>). Otherwise the Baltic people are - once again - only represented by two of Herder's Estonian songs (1, No. 56, <a href="https://books.google.de/books?id=nI5IAQAAMAAJ&hl=de&pg=PA117#v=twopage&q&f=false" target="_blank">p. 117</a>, 2, No. 6, <a href="https://books.google.de/books?id=nI5IAQAAMAAJ&hl=de&pg=RA1-PA9#v=twopage&q&f=false" target="_blank">pp. 9-10</a>). </div>
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In fact Lithuanian songs were generally much better known in Germany and also much easier to find. A second edition of Rhesa's collection appeared in 1843 (at the <a href="https://archive.org/stream/bub_gb_uEwAAAAAcAAJ#page/n3/mode/2up" target="_blank">Internet Archive</a>) and new anthologies followed soon, for example Jordan's <i>Litthauische Volkslieder und Sagen</i> (1844, at the <a href="https://archive.org/stream/bub_gb_cJ4WAAAAYAAJ#page/n5/mode/2up" target="_blank">Internet Archive</a>). Meanwhile Latvian and Estonian songs still took a backseat. Much of what had already been published - by Merkel, Schlegel, Hupel and others - seems to have been forgotten. Only the Baltic chapter of Herder's <i>Volkslieder</i> occasionally served as a source. What was made available anew often didn't reach the mainstream. </div>
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<b>VII. Baltic <i>Volkslieder</i> since 1830</b> </div>
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In Britain not much was published. In 1830 William Taylor included in the chapter about Herder in his <i>Historic Survey of German Poetry</i> two of the Estonian songs from the <i>Volkslieder</i> as well as one Lithuanian (<a href="https://archive.org/stream/historicsurveyof03tayluoft#page/16/mode/2up" target="_blank">pp. 16-8</a>). This was the first time since M. G. Lewis' publications three decades ago that texts from Herder's anthology were published in English translation. The Volkslieder were barely known there. </div>
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But the following year a much more interesting piece appeared in the <i>Foreign Quartely Review</i> ( 8, 1831, <a href="https://archive.org/stream/foreignquarterly08npnpuoft#page/60/mode/2up" target="_blank">pp. 61-78</a>). Pastor Bergmann's anthologies of Latvian <i>dainas</i>, brought to England by Robert Jamieson, also reached - via Sir Walter Scott - the well-known polyglot writer John Bowring (1792-1872; see <a href="https://en.wikipedia.org/wiki/John_Bowring" target="_blank">Wikipedia</a>) who had already published translations of, for example, Finnish, Russian, Serbian, Hungarian, Polish, Dutch and Spanish poetry. He wrote a treatise about "Lettish Popular Poetry" and also tried his hand at translating some of these texts into English. Bowring's linguistic abilities were somewhat controversial. He often seems to have relied on the help native speakers or used German translations as starting-point (see f. ex. Lurcock 1974). It is not clear who helped him with this work. By all accounts he didn't know the manuscript with the German texts that Bergmann had given to Jamieson (see Biezais, pp. 29-30). </div>
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This article quickly reached Germany. A short piece in the <i>Blätter für literarische Unterhaltung</i> (2, 1831, <a href="https://archive.org/stream/bub_gb_zFYiAQAAMAAJ#page/n665/mode/2up" target="_blank">pp. 1379-80</a>) offered "Proben lettischer Volkslieder und Poesie". But the anonymous author simply translated some of Bowring's English texts into German. One may assume that these few examples had not much to do with the original songs as collected by Bergmann. Three years later Baltic-German pastor and scholar Carl Christian Ulmann (1793-1871, see <a href="https://de.wikipedia.org/wiki/Karl_Christian_Ulmann" target="_blank">Wikipedia</a>) - at that time already the foremost expert in this field - reviewed Bowring's treatise and criticized him for his bad translations. In fact he accused him of not knowing the language at all, a not unreasonable assumption (in Dorpater Jahrbücher 2, 1834, <a href="https://archive.org/stream/bub_gb_gt4EAAAAYAAJ#page/n403/mode/2up" target="_blank">pp. 393-407</a>). Nonetheless this work was also translated into German and appeared in the <i>Magazin, herausgegeben von der Lettisch-literärischen Gesellschaft </i>(5, 1835, <a href="https://books.google.de/books?id=autOAAAAcAAJ&hl=de&pg=PA28#v=twopage&q&f=false" target="_blank">pp. 28-86</a>). </div>
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Meanwhile in Germany Christian Schlegel had returned to the scene. He had made a career in the bureaucracy of the Russian Empire but still had enough time at hand for traveling around (see <a href="https://archive.org/stream/bub_gb_HQpQAAAAcAAJ#page/n103/mode/2up" target="_blank">Paucker 1847</a>; Kallas 1902, <a href="https://archive.org/stream/finnischugrisch02helgoog#page/n33/mode/2up" target="_blank">pp. 16-18</a>). Schlegel reported about these trips in his <i>Reisen in mehrere russische Gouvernements</i>, published in 10 volumes between 1819 and 1834. He kept on collecting - apparently with the help of local clergymen - songs of all the peoples he visited, especially of the Estonians. A great number of texts - in German translation - as well as some tunes can be found scattered among several volumes of this series (see f. ex. Vol. 5, 1830, <a href="https://archive.org/stream/SchlegelReisen56718302/Schlegel_Reisen-567-1830-2#page/n111/mode/2up" target="_blank">pp. 108-63</a>; <a href="https://archive.org/stream/SchlegelReisen56718302/Schlegel_Reisen-567-1830-2#page/n443/mode/2up" target="_blank">Tab. I & II</a>). Unlike others he really enjoyed what he heard and took great care to describe it accurately. He also tried to compare the Estonians' songs and performances with what he had read about the national music of other peoples. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">The 10th volume (1834) included a great number of texts - about 100 - but I haven't yet seen a copy. It seems this was a very rare book. For some reason the editors of popular anthologies of international songs like O. L. B. Wolff weren't familiar with Schlegel's highly interesting works and never used any of the songs from his books. But at least it was taken note of by local scholars in the Baltic. Heinrich Neus wrote an extended and informative review (in: Dorpater Jahrbücher 5, 1836, <a href="https://archive.org/stream/bub_gb_Pj0VAAAAYAAJ#page/n229/mode/2up" target="_blank">pp. 217-32</a>).
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At that time most of the research into the popular poetry and songs of the Latvians and Estonians was done by German-Baltic scholars. Learned societies had already been founded: the <i>Lettisch-literärische Gesellschaft</i> in 1824 (see Scholz 1990, pp. 121-4) and the <i>Estnische Gelehrte Gesellschaft </i>in 1838. Their periodicals regularly included relevant articles as well as original texts, often with translations (see Kallas 1901, <a href="https://archive.org/stream/diewiederholung00kallgoog#page/n71/mode/2up" target="_blank">pp. 60-1</a>). Ulmann had already called for the systematic collection of Latvian songs in the Latvian society's <i>Magazin</i> (Vol. 3, <a href="https://books.google.de/books?id=EOtOAAAAcAAJ&hl=de&pg=RA1-PT1#v=twopage&q&f=false" target="_blank">p. 282</a>). A very insightful treatise "Über das lettische Volkslied" by Hermann E. Katterfeld can be found in the fifth volume of the <i>Magazin</i> (<a href="https://books.google.de/books?id=autOAAAAcAAJ&hl=de&pg=PP10#v=twopage&q&f=false" target="_blank">pp. 1-27</a>; see Scholz 1990, pp. 160-2). </div>
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Neus published Estonian texts in several volumes of <i>Das Inland. Wochenschrift für Liv-, Esth- und Kurland's Geschichte, Geographie, Statistik und Litteratur </i>(see f. ex. Vol. 6, 1841, pp. 671-2, 753-4, 782-9, 811-6, at <a href="http://dspace.ut.ee/handle/10062/11024" target="_blank">UofTartu Rep</a>.). F. R. Kreuzwald (1803-1882; see <a href="https://de.wikipedia.org/wiki/Friedrich_Reinhold_Kreutzwald" target="_blank">Wikipedia</a>) - not a German but from an Estonian family - also wrote an informative treatise for the <i>Verhandlungen der Gelehrten Estnischen Gesellschaft</i> (f. ex. in Vol. 2.2, 1848, <a href="https://books.google.de/books?id=TMBJAAAAcAAJ&hl=de&pg=RA1-PA42#v=twopage&q&f=false" target="_blank">pp. 43-59</a>). But it seems that these works rarely reached Germany or England. Most of these scholars' knowledge as well as the songs they were collecting and publishing remained confined to small Baltic-German circles. </div>
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During the 1840s only very few more relevant publications appeared in Germany. Johann Georg Kohl (1808 - 1878; see <a href="https://de.wikipedia.org/wiki/Johann_Georg_Kohl" target="_blank">Wikipedia</a>; <a href="https://de.wikisource.org/wiki/Johann_Georg_Kohl" target="_blank">wikisource</a>), librarian and writer from Bremen had spent several years as a teacher in the Baltic and also traveled through parts of the Russian Empire. In 1841 his book <i>Die Deutsch-Russischen Ostseeprovinzen oder Natur- und Völkerleben in Kur-, Liv und Esthland</i> was published. He included chapters about the poetry, songs and music of both the Latvians and Estonians and quoted a great number of texts in German translation (II, <a href="https://archive.org/stream/KohlOstseepr21841/Kohl-Ostseepr-2-1841#page/n131/mode/2up" target="_blank">pp. 119-186</a>; pp. 223-36; see Viese 1989; Jaremko-Porter 2008a, p. 147, pp. 174-6). </div>
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These were interesting and knowledgeable treatises and it is clear that Kohl - who called the Latvians a "nation of poets" - had done his homework. He was well aware of the history of collecting and criticized the German clergy of earlier times for their attempts to suppress the Baltic peasants' singing culture. Kohl was also able to describe the different genres as well as the performance contexts. All in all this was a competent addition to the literature and also suitable for a wider readership in Germany. Unfortunately he didn't include any tunes. </div>
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Georg Friedrich Daumer (1800-1875; see <a href="https://de.wikipedia.org/wiki/Georg_Friedrich_Daumer" target="_blank">Wikipedia</a>), philosopher and poet from Nürnberg, was an expert for oriental poetry. But he also tried his hand at Baltic songs. A small collection of translations, "Lieder der Letten und Esthen", can be found in the <i>Kalender auf das Jahr 1843</i> (München 1842, here <a href="https://books.google.de/books?id=7QdBAAAAcAAJ&hl=de&pg=PA58#v=twopage&q&f=false" target="_blank">pp. 58-62</a>). Four years later Daumer published his <i>Hafis. Eine Sammlung persischer Gedichte. Nebst poetischen Zugaben aus verschiedenen Völkern und Ländern</i> and here he included a long chapter dedicated to "Lettisch-Litthauische Volkspoesie" as well as another one with Estonian songs (<a href="https://archive.org/stream/bub_gb_tipBAAAAMAAJ#page/n237/mode/2up" target="_blank">pp. 227-280</a>). With these translations the Latvian and Estonian peasants returned onto to the literary stage. </div>
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Compilers of anthologies of literature occasionally used Daumer's text, for example Heinrich Scherr in his popular<i> Bildersaal der Weltliteratur.</i> He not only reprinted some of Rhesa's and Chamisso's texts in a chapter titled "Volkslieder aus Polen und Lithauen" (pp. 1163-5) but also added some of Daumer's pieces under the heading "Lieder der Letten" (<a href="https://books.google.de/books?id=oWZKAAAAcAAJ&hl=de&pg=PA1187#v=onepage&q&f=false" target="_blank">pp. 1187-8</a>). Some of his adaptations were also reprinted 12 years later in a curious collection edited by Amara George (i. e. Mathilde Kaufmann): <i>Mythotherpe. Ein Mythen-, Sagen- und Legendenbuch</i> (1858, <a href="https://books.google.de/books?id=vGcHAAAAQAAJ&hl=de&pg=PA106#v=twopage&q&f=false" target="_blank">pp. 106-20</a>). Here the readers could find a lot of exotic poetry not only from Europe but also from around the world and the few Baltic texts were placed here in a chapter including translations of Finnish, Siberian, Polish and Serbian songs and poems. </div>
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The year 1846 also saw the publication of Friedrich Kruse's <i>Ur-Geschichte des Esthnischen Volksstammes und der Kaiserlich Russischen Ostseeprovinzen Liv-, Esth- und Curland überhaupt</i>. Kruse, at that time professor of history in Dorpat, added a short chapter about "Volkslieder der Letten und Esthen" (<a href="https://archive.org/stream/bub_gb_IhlaAAAAcAAJ#page/n207/mode/2up" target="_blank">pp. 169-74</a>, see also p. 47) with several texts as well as two melodies, one Estonian and one Latvian. The latter was particularly important. It was - as far as I can see - the first time since Hupel in 1782 that a Latvian traditional tune was made available in print. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">A more systematic collection and publication also started during the 1840s. In 1844 pastor G. F. Büttner published his <i>Latweeschu lauschu dzeesmas un singes</i> (at <a href="https://books.google.de/books?id=9utOAAAAcAAJ&hl=de&pg=PP8#v=twopage&q&f=false" target="_blank">Google Books</a> & <a href="http://data.onb.ac.at/ABO/%2BZ157183602" target="_blank">ÖNB</a>), the first comprehensive anthology of Latvian songs. But he only included the original texts and because of the lack of translations this otherwise very valuable collection was not really suitable for a more general readership. But at least the introduction and the notes were in German and an interesting and helpful review in a Baltic-German periodical also offered at least some information to readers not proficient in Latvian (11, No. 13, 26.3.1846, <a href="https://archive.org/stream/bub_gb_9NhPAAAAcAAJ#page/n143/mode/2up" target="_blank">pp. 293-8</a>).
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Much better in this respect was Heinrich Neus' <i>Ehstnische Volkslieder. Urschrift und Übersetzung</i> (1850-52, 3 Vols, at the <a href="https://archive.org/stream/NeusEhstnischeVL18502/Neus_EhstnischeVL_1850-2#page/n5/mode/2up" target="_blank">Internet Archive</a>). This was at that time a definitive anthology of Estonian songs and here the reader could find the original texts, translations into German, a good introduction as well as explanatory notes. Another collection appeared four years later: <i>Mythische und Magische Lieder der Ehsten</i> (1854, at the <a href="https://archive.org/stream/mythischeundmag00neusgoog#page/n5/mode/2up" target="_blank">Internet Archive</a>) by Neus and Friedrich Kreutzwald. The music was missing in all these volumes but most scholars were more interested in the words of the songs than the tunes. </div>
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But nonetheless this was a good start. Scholars of Baltic song culture as well as compilers of literary anthologies now had a little more to select from. One may have a look for example at Wolfgang Menzel's <i>Gesänge der Völker</i>, another collection of the texts of international songs published in 1851. These kind of anthologies - all of course modeled on Herder's <i>Volkslieder</i> - were very popular in Germany. Menzel, a well-known and very productive poet, critic and scholar, did not yet know Neus' <i>Ehstnische Volkslieder</i> - this is understandable because the first part had just been published the year before - but at least he was familiar not only with Herder, Rhesa and Chamisso but also with Schlegel's and Kruse's publications (see <a href="https://books.google.de/books?id=pG1KAAAAcAAJ&hl=de&pg=PA76#v=onepage&q&f=false" target="_blank">pp. 76</a>, 152-6, 290-1, 347, 365-6). Therefore his selection of Baltic songs was a little more varied than what earlier similar anthologies like Wolff's or the <i>Volksharfe</i> had offered. </div>
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But several publications from the 1860s - from England, Germany and Denmark - show that the reception of the works of the Baltic-German scholars and also of the older literature was still somewhat limited. English linguist and ethnologist Robert Gordon Latham included in his <i>Nationalities of Europe</i> (Vol. 1, 1863, here <a href="https://archive.org/stream/nationalitieseu00lathgoog#page/n42/mode/2up" target="_blank">pp. 23-42</a>, pp. 132-45, pp. 148-50) chapters about both the Lithuanians and the Estonians. He also discussed their "poetry" and quoted a considerable number of songs in English translation. For the former he used an anthology published in the meantime, Nesselmann's <i>Littauische Volkslieder</i> (1853, at the <a href="https://archive.org/stream/bub_gb_hU0AAAAAcAAJ#page/n3/mode/2up" target="_blank">Internet Archive</a>). For the Estonians he could rely on Neus' great collection but didn't use anything else. Strangely there is only a short and not particularly insightful remark about the Latvians (p. 102). Perhaps he wasn't familiar with what was available. </div>
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Johann Georg Kohl, at that time one of the most successful travel writers in Europe, offered another contribution to this field and made again use of his research in the Baltic. <i>Die Völker Europas</i> (1868, <a href="https://archive.org/stream/bub_gb_roQHAAAAQAAJ#page/n309/mode/2u" target="_blank">pp. 284-303</a>; 2nd ed., 1872, <a href="https://books.google.de/books?id=GU5WAAAAYAAJ&hl=de&pg=PA157#v=twopage&q&f=false" target="_blank">pp. 156-73</a>), a popular ethnography of the peoples of Europe for a wider readership, included a chapter about Latvians and Lithuanians. This was an interesting and informative presentation of their history and he also quoted from several songs.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Latham and Kohl only used texts. More problematic was the music. Not
much was available. Carl Engel, a German scholar and musician living in
England, was at that time surely one of the greatest experts for
international national airs. His <i>Introduction to the Study of National Music</i>
(1866) can be regarded as the most comprehensive contemporary
discussion of this genre. The bibliography list nearly all relevant
anthologies of songs. He was of course familiar with the Lithuanian
collections by Rhesa and by Nesselmann (<a href="https://archive.org/stream/introductiontost00enge#page/404/mode/2up" target="_blank">p. 404</a>).
The latter also included some tunes. But the Estonians are only
represented - besides a book of hymns - by Neus' anthology of texts and
the chapter in Latham's Nationalities of Europe (p. 387). Apparently the
few older publications with tunes - like Hupel's, Schlegel's and
Kruse's - weren't known to him. The Latvians are not even mentioned. <br /></div><div style="text-align: justify;">
<br />
The largest anthology of international Volkslieder at that time was Danish composer A. P. Berggreen's <i>Folke-sange og Melodier, Faedrelandske og Fremmede</i>, published in 10 volumes during the 1860s. He also included a couple of Lithuanian songs (in Vol. 9, 1869, <a href="https://archive.org/stream/BerggreenFolkeSange9FinnishEtc1869/Berggreen-FolkeSange9-Finnish-etc-1869#page/n7/mode/2up" target="_blank">pp. 3-20</a>) taken from Rhesa and Nesselmann. Latvian and Estonian songs are completely missing. ´</div>
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Some original Latvian traditional tunes had already been published in 1859 in <i>100 dseesmas un singes ar nohtem</i>, a collection of songs for the youth compiled by the pastor Juris Caunītis and the teacher Jānis Kaktiņš (from Karnes, p. 205, p. 219, n. 64, see Das Inland 25, 1860, <a href="https://books.google.de/books?id=JD9bAAAAcAAJ&hl=de&pg=PA151#v=onepage&q&f=false" target="_blank">p. 151</a>). But one may assume that this booklet was barely known outside of the Baltic. The first Latvian anthology including some tunes aimed at an international readership would only be available in the following decade. <i>Lettische Volkslieder übertragen im Versmaass der Originale</i> by Karl Ulmann - son of Carl Christian Ulman - appeared in 1874 (see Karnes 2005, pp. 212-4). Here the interested reader could find German translations of original songs - but no Latvian texts - as well as 11 melodies (see <a href="https://archive.org/stream/UlmannLettischeVolkslieder1874/Ulmann_LettischeVolkslieder_1874#page/n221/mode/2up" target="_blank">Anhang</a>). This wasn't much and also much too late, nearly a century after Herder and 50 years after the publication of Rhesa's Lithuanian collection. </div>
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It was also during the '70s that Latvian tunes appeared in a musical publication in Germany, in Baltic-German composer Hans Schmidt's <i>Weisen fremder Völker mit hinzugedichtetem Texte</i> (c. 1879, here <a href="https://archive.org/stream/SchmidtWeisen1879/Schmidt-Weisen-1879#page/n11/mode/2up" target="_blank">pp. 12-3</a>). He was from Riga and one may assume that he was familiar with the musical traditions of the Latvians. A more systematic collection and publication of a greater number of Latvian tunes only started in the 1870s (see Biezais, pp. 22-4; Apkalns, pp. 149-52; Boiko 1994; Karnes 2005).<br />
<br />
Jānis Cimze (1814-1881; see <a href="https://en.wikipedia.org/wiki/J%C4%81nis_Cimze" target="_blank">Wikipedia</a>), a teacher and musician who had studied in Germany, compiled the series <i>Dseesmu rohta jaunekļeem un wihreem</i> (1872-84). Here the songs were offered with arrangements for choirs. But his important and influential anthologies were barely known outside of the Baltic. In 1890 composer Adam Ore's <i>Lettische Volkslieder. Latweeschu Tautas Dseesmas, für eine Singstimme mit Begleitung des Pianoforte</i> (at the <a href="https://archive.org/stream/OreLettVL1890/Ore_LettVL_1890#page/n0/mode/2up" target="_blank">Internet Archive</a>) was published. This little booklet may have been more suitable for a wider public. German translations of the original texts were included.</div>
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Estonian tunes also remained quite rare. Two songs described as "Eesti rahwaviis" can be found in <i>Wanemuine kandle healed</i> (<a href="http://www.digar.ee/viewer/et/nlib-digar:109772/192975/page/14" target="_blank">p. 13</a>, p. 16), a small collection of original Estonian songs arranged for four voices that was published by Carl Robert Jakobson (1841-1882; see <a href="https://de.wikipedia.org/wiki/Carl_Robert_Jakobson" target="_blank">Wikipedia</a>) in 1869. Some more were included in similar publications. The first anthology - also with arrangements for choirs - only appeared in 1890: Karl August Hermann’s <i>Eesti rahwalaulud</i> (at the <a href="https://archive.org/details/HermannEstSongs1890" target="_blank">Internet Archive</a>). Hermann (1851-1909; see <a href="https://de.wikipedia.org/wiki/Karl_August_Hermann" target="_blank">Wikipedia</a>), journalist, linguist and composer, also wrote the first treatise about this topic: <i>Ueber estnische Volksweisen</i> (1892, at <a href="http://dspace.ut.ee/handle/10062/48824" target="_blank">UofTartu Rep</a>.; also in: Verhandlungen 16, 1896, <a href="https://archive.org/stream/verhandlungen_16_Dorpat_1896#page/n57/mode/2up" target="_blank">pp. 54-72</a>). In fact at that time he did the most for a revival of the old traditional tunes. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">Here we can look into some musical anthologies of national songs from all over the the world that were published around the turn of the century in England and Germany, for example Reimann's <i>Internationales Volksliederbuch</i> (c. 1894, see <a href="https://archive.org/stream/ReimannVolksliederbuch1894/Reimann-Volksliederbuch-1894#page/n3/mode/2up" target="_blank">pp. 2-3</a>) or the <i>Characteristic Songs and Dances of All Nations</i> by Alfred Moffatt and James Duff Brown (c. 1901, see <a href="https://archive.org/stream/characteristicso00brow2#page/150/mode/2up" target="_blank">p. 150</a>). At best one can find there some Lithuanian songs. Both the Latvians and the Estonians were still completely ignored.
</div><div style="text-align: justify;">
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But at least Latvian songs would become more visible on the music market after the turn of the century. The works of composer Jāzeps Vītols ([Joseph Wihtol] 1863-1948; see <a href="https://de.wikipedia.org/wiki/J%C4%81zeps_V%C4%ABtols" target="_blank">Wikipedia</a>; see Apkalns 1977, pp. 247-64) were particularly important in this respect. His <i>100 Latweeschu tautas dseesmas. 100 Lettische Volksweisen</i> (1908, at <a href="http://imslp.org/wiki/100_Latvian_Folk_Songs_(V%C4%ABtols,_J%C4%81zeps)" target="_blank">IMSLP</a>), with German texts by poet Rūdolfs Blaumanis, was the most comprehensive anthology so far and the first to offer a greater selection of Latvian <i>Volkslieder</i> for an international audience.</div>
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<b>VIII. Towards Cultural and Political Emancipation</b></div>
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This was only a quick review of works including original or translated texts that were published until the 1860s and - to show the negligence of the musical dimension - of songs with tunes that were published until the turn of the century. It is clear to see that the reception of Estonian and Latvian <i>Volkslieder</i> in the West - here in Germany and England - during the 19th century was somewhat limited. It was a very slow and uneven process. As noted before: Herder may have lifted the Baltic peasants out of literary obscurity and placed the on the main stage. But for most of the time they were barely visible. </div>
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As I tried to show only very few writers or scholars in Germany or England showed some interest and offered major contributions: historians like de Bray and Kruse, ethnologists like Latham, travel writers like Schlegel und Kohl, translators of poetry like Bowring and poets like Daumer. At that time poets in Germany produced translations of foreign poetry and songs on assembly line. But Daumer was the only one who offered a greater number of adaptations of Baltic texts. </div>
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Also many composers were busy setting these kind of translations to new music but a look into <a href="http://www.hofmeister.rhul.ac.uk/2008/content/database/search/basic.html" target="_blank">Hofmeisters Monatsberichte</a> shows that only very few of them tried their hand at Latvian and Estonian songs. The old "Jörru, Jörru" - usually taken from Herder's <i>Volkslieder</i> - was supplied with a new tune a couple of times, for example by Julius Rietz (see Hofmeister, 1841, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001841&teil=0203&seite=00000080&zoom=4" target="_blank">p. 80</a>). Jakob Rosenhain used one of Daumer's texts ("Sehnlich in die Runde") for his "Esthnisches Volkslied" (here in <i>Album für Gesang</i>, c. 1860, Nr. 17, <a href="https://books.google.de/books?id=TXZcAAAAcAAJ&hl=de&pg=PA62#v=twopage&q&f=false" target="_blank">pp. 62-5</a>). Alexander Winterberger wrote new tunes for two of Daumer's Latvian or Lithuanian adaptations. They can be found in his <i>20 Gesänge</i> (Op. 10, 1862, here <a href="https://archive.thulb.uni-jena.de/hisbest/rsc/viewer/HisBest_derivate_00002385/HFM_0641_0012.tif?x=-321.7731992157335&y=-63.98178485457902&scale=0.30190042974022757&rotation=0&layout=singlePageLayout" target="_blank">Nos. 5 & 6</a>; see Hofmeister, 1862, <a href="http://anno.onb.ac.at/cgi-content/anno-buch?apm=0&aid=1000001&bd=0001862&teil=0203&seite=00000182&zoom=4" target="_blank">p. 182</a>). On the title-page both are called "Lettisches Volkslied". This was - by the way - a very interesting and not untypical collection of <i>Lieder</i>. Besides the two Baltic texts he also set to music both German poems by Uhland und Heine and translations of songs and poems from the Britain by Burns, Moore, Byron and Hemans. </div>
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At that time only very few <i>Volkslied</i>-scholars used collections of Baltic songs for comparative research. Ludwig Uhland referred to a Latvian text in his - posthumously published - <i>Abhandlung über die deutschen Volkslieder</i> (1866, here <a href="https://archive.org/stream/uhlandsschrifte01pfeigoog#page/n93/mode/2up" target="_blank">p. 67</a>). But it seems he only knew Herder and Rhesa's Lithuanian anthology. Alexander Reifferscheid, editor of <i>Westfälische Volkslieder in Wort und Weise</i> (1879, <a href="https://archive.org/stream/bub_gb_rtQOAQAAMAAJ#page/n15/mode/2up" target="_blank">pp. vx-xvi</a>) listed both Neus' and Ulmann's anthologies in his bibliography. </div>
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For some reason most of the great work done by the Baltic-German scholars was often ignored and not taken note of outside of their own small circles. The lack of easily accessible handy anthologies with translations and melodies seems to have been a serious problem. Not at least some of the important older relevant publications were more or less forgotten. For example Schlegel's <i>Reisen</i>, a real treasure trove of Estonian songs and tunes, fell quickly into oblivion. Even in later years much of what was known about Baltic song culture didn't reach a wider readership. </div>
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Here we can look into one more anthology of popular songs, ballads and poetry from around the world. Grabow's <i>Die Lieder aller Völker und Zeiten</i> - "Nach dem Vorbilde von J. G. Herder's 'Stimmen der Völker'" - with around 700 texts on more than 650 pages was published in 1880. The editor - who plundered many earlier collections of this kind - was able to include even Chinese or Persian poems as well as songs of the North American Indians. But his knowledge of the Baltic was rather uneven. Of course he offered a considerable amount of Lithuanian songs - all again from Rhesa's influential anthology - but there are only very Estonian texts - mostly from Herder's <i>Volkslieder</i> - and only one Latvian (<a href="https://archive.org/stream/dieliederallerv01grabgoog#page/n331/mode/2up" target="_blank">pp. 295-6</a>). Apparently he wasn't aware of what was already available at that time. </div>
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In fact the international reception of the research and the publications by the Baltic-German scholars left a lot to be desired. But at home their work was all the more important and influential. Rosenplänter, Ulmann, Neus and Büttner have already been mentioned. I could add for example August Bielenstein (1826-1907, see <a href="https://de.wikipedia.org/wiki/August_Johann_Gottfried_Bielenstein" target="_blank">Wikipedia</a>), another collector and editor of Latvian songs - the two volumes of his <i>Latweeschu tautas dseesmas</i> appeared in 1874/5 (see Biezais, pp. 7-8) - and Ferdinand Wiedemann (1805-1887; see <a href="https://de.wikipedia.org/wiki/Ferdinand_Wiedemann" target="_blank">Wikipedia</a>), author of <i>Aus dem innern und äussern Leben der Ehsten</i> (1876, at the <a href="https://archive.org/stream/ausdeminnerenun01wiedgoog#page/n13/mode/2up" target="_blank">Internet Archive</a>), a groundbreaking treatise on Estonian folklore. They all were primarily linguists, they studied the Estonian and Latvian languages. Therefore their emphasis on texts and the negligence of tunes is of course understandable. Most of them had studied theology and they later became pastors and teachers. Ulmann was even appointed bishop. </div>
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It should be remembered that their predecessors during the 17th and 18th centuries, both the rabid fighters against paganism like Einhorn and the well-meaning enlightened pastors like Stender and Hupel, were not really fond of the Latvians' and Estonians' own singing culture. They of course had started to document and describe what they saw and heard. But it would not be too far off to say that their ultimate goal was surely the eradication such unwelcome and dangerous traits of the Baltic peasants' traditional culture. This was exactly what Herder had criticized so harshly. But of course they were never completely successful. The Latvians and Estonians showed considerable resilience against this kind of cultural repression and managed preserve much of what their German teachers and pastors despised or even regarded as a sin. </div>
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This new generation of learned clergymen that was busy during the 19th century showed much more understanding and much more interest for what their flock was singing. Of course they taught them tunes of songs and hymns imported from Germany or simply translated German songs - both secular and religious - into Latvian and Estonian (see f. ex. Karnes, pp. 204-5). But some of them - not all of course - learned to apply a more Herderian perspective and they managed to find some real value in the traditional songs of the Baltic peasants, not only as a source for studying their languages but also as a legitimate testimony of their "national spirit" that was about to die out (see f. ex. Karnes, p. 210-14; also Smidchens, pp. 61-2, Scholz 1995, p. 573). The Baltic-German scholars documented what was left and preserved it for the future. That way they laid an indispensable foundation for the later cultural - and ultimately also - political emancipation of the Latvians and Estonians (see Jürjo 1995). </div>
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The first generation of Latvian and Estonian intellectuals and scholars that came to the fore during the second half of the century - what is called the era of "national awakening" - could seamlessly continue these efforts. "Armed with a Herder-inspired Romantic nationalist ideology mediated through the works of three generations of Baltic German writers and armed with a vast store of cultural artefacts" collected and documented so far (Karnes, p. 215) they set out to define and create their national culture (see also f. ex. Jaremko-Porter 2008a, pp. 176-87; Ŝmidchens, pp. 63-106, Scholz 1990, passim; Apkalns, pp. 148-63; for a wider context: Joachimsthaler 2007). </div>
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This is another story that I can't go into here but at least some names should be mentioned. Friedrich Kreutzwald - the son of an Estonian bondman who studied medicine and became a physician - was a pioneer in this respect. He also created the <i>Kalevipoeg</i> (see <a href="https://de.wikipedia.org/wiki/Kalevipoeg" target="_blank">Wikipedia</a>), the future Estonian national epic. Jakob Hurt (1839-1906; see <a href="https://de.wikipedia.org/wiki/Jakob_Hurt" target="_blank">Wikipedia</a>; Scholz 1990, pp. 148-50), pastor and teacher, linguist and folklorist, wrote his first treatise about Estonian legends. It was published in 1863 by the <i>Estnische Gelehrte Gesellschaft</i> (at the <a href="https://archive.org/details/bub_gb_bq0WAAAAYAAJ" target="_blank">Internet Archive</a>). He later became the chairman of the Eesti Kirjameeste Selts, the first Estonian literary society (1872, see Scholz 2013, p. 112). His anthology of Estonian songs appeared between 1875 and 1884 (at <a href="https://books.google.de/books?id=Aq0WAAAAYAAJ" target="_blank">Google Books</a>, at <a href="http://www.etera.ee/s/QOW9eWMVoy" target="_blank">etera</a>): <i>Vana Kannel. Täieline kogu vanu Eesti rahvalauluzid. Alte Harfe. Vollständige Sammlung alter estnischer Volkslieder</i>. He still included German translations so international scholars could use it. </div>
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Others filled gaps left by the Baltic-German scholars. Choral singing had become immensely popular among Latvians and Estonians but at first their repertoire consisted predominantly of songs translated from German. Jakobson, Herrmann and Cimze published traditional tunes, not for academic purposes but to create a national song repertoire. For centuries Western observers had decried the Baltic peasants' singing. What they heard had been described as "kläglichs Geschrey" and "schreyende Gesänge" or as howling like the wolves. Now they were "transformed into singing nations at national song festivals, which established a distinct public culture to carry the message of nationalism" (Šmidchens, p. 78; see also Karnes, p. 201; Loos 2014). </div>
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Of course I have to mention teacher and writer Krišjānis Barons (1835-1923; see <a href="https://de.wikipedia.org/wiki/Kri%C5%A1j%C4%81nis_Barons" target="_blank">Wikipedia</a>; see Scholz 1990, pp. 164-7) who started in 1878 what would become a life-long project: the collection and systematic review of the Latvian <i>dainas</i> (see Biezais, pp. 8-13). The first volume began to appear in 1894 and this would be the most comprehensive and most important edition even though at first it was only printed in very small numbers. </div>
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For nearly all of them the traditional songs were a part of their national identity. They had in fact become a means of cultural - and in the end also political - emancipation. Herder had laid the foundation and it was his work, his reappraisal of the up to that point more or less despised traditional song culture of the Baltic peasants as their own legitimate national literature that can be seen as one of the starting-points for this process. This development was of course only possible under the right political, economical and cultural circumstances: first the abolishment of serfdom, then the growing literacy and the emergence of a small but influential group of intellectuals who took the chance and set out to define what they regarded as Latvian respectively Estonian national culture. <b> </b></div>
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<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Longins Apkalns, Lettische Musik, Wiebaden, 1977 </li>
<li>Leonid Arbusow, Herder und die Begründung der Volksliedforschung im deutsch-baltischen Osten, in: Erich Keyser (ed.), Im Geiste Herders. Gesammelte Aufsätze zum 150. Todestage J. G. Herders, Kitzingen/M., 1953 (= Marburger Ostforschungen 1), pp. 129-256 </li>
<li>Richard Baumann, Language, Poetry, and Volk in Eighteenth-Century Germany: Johann Gottfried Herder’s Construction of Tradition, in: Richard Bauman and Charles L. Briggs, Voices of Modernity: Language Ideologies and the Politics of Inequality, Cambridge & New York, 2003, pp. 163-96</li>
<li>Haralds Biezais, Die erste Sammlung der lettischen Volkslieder von Gustav Bergmann. Mit einer historischen Einleitung über die Ausgaben der lettischen Volkslieder, Uppsala, 1961 </li>
<li>Martin Boiko, Latvian Ethnomusicology: Past and Present, in: Yearbook for Traditional Music 26, 1994, pp. 47-65 </li>
<li>Julija Boguna, Lettland als übersetzte Nation. Garlieb Merkels 'Die Letten' und ihre Rezeption im 19. Jahrhundert in Livland, Berlin, 2014 </li>
<li>Dace Bula, Latvian Folksongs: Collected, Published and Studied, in: Dace Bula & Sigrid Rieuwerts (eds.), Singing the Nations: Herder's Legacy, Trier, 2008 (= Ballads and Songs - International Studies 4), pp. 7-29 </li>
<li>Franz-Josef Deiters, Das Volk als Autor? Der Ursprung einer kulturgeschichtlichen Fiktion im Werk Johann Gottfried Herders, in: Heinrich Detering (ed.), Autorschaft: Positionen und Revisionen, Stuttgart & Weimar 2002, pp. 181-202 </li>
<li>Franz-Josef Deiters, Poesie als kulturelle Selbstbescheibung. Johann Gottfried Herder und die Fallstricke des Eurozentrismus, in: Jens Stüben (ed.), Ostpreußen - Westpreußen - Danzig. Eine historische Literaturlandschaft, München, 2007 (= Schriften des Bundesinstituts für Kultur und Geschichte der Deutschen im östlichen Europa 30), pp. 285-303 </li>
<li>Helmut Glück & Ineta Polanska, Johann Ernst Glück (1654-1705). Pastor, Philologe, Volksaufklärer im Baltikum und in Russland, Wiesbaden, 2005 (= Fremdsprachen in Geschichte und Gegenwart 1)</li>
<li>Walter Graf, Die ältesten deutschen Überlieferungen estnischer Volkslieder, in: Musik des Ostens 1, 1963, pp. 83-105 </li>
<li>Anneliese Grasshof, Zur Mentalität livländischer Aufklärungsschriftsteller. Der Patriotismus August Wilhelm Hupels, in: Heinz Ischreyt (ed.), Königsberg und Riga, Tübingen, 1995 (= Wolfwenbütteler Studien zur Aufklärung 16), p. 217-236 </li>
<li>Stefan Greif, Marion Heinz & Heinrich Clairmont, Herder Handbuch, Paderborn, 2016 </li>
<li>Johann Gottfried Herders Sammlung der lettischen Volkslieder, ms. SB Berlin, Nachlass Herder, XIV 50-53, online at <a href="http://garamantas.lv/de/manuscript/2321" target="_blank">Archives of Latvian Folklore</a> </li>
<li>Karl S. Guthke, Die erste Nachwirkung von Herders Volksliedern in England, Archiv für das Studium der neueren Sprachen 193, 1957, pp. 273-84 </li>
<li>Karl S. Guthke, Some Unidentified Early English Translations from Herder's Volkslieder, in: Modern Language Notes 73, 1958, pp. 52-6 (<a href="http://www.jstor.org/stable/3043287" target="_blank">jstor</a>) </li>
<li>Rudolf Haym, Herder nach seinem Leben und seinen Werken, Gaertner, Berlin, 1880 & 1885, 2 Vols., at the <a href="https://archive.org/details/robarts?and[]=Herder%20Haym" target="_blank">Internet Archive</a> </li>
<li>Jürgen Heeg, Die Publikationen Johann Christoph Petris (1762-1851) über Estland, Livland und Russland, in: Journal of Baltic Studies 16, 1985, pp. 128-37 (<a href="http://www.jstor.org/stable/43212192" target="_blank">jstor</a>) </li>
<li>John Hennig, Goethes Europakunde: Goethes Kenntnisse des nichtdeutschspracigen Europas. Ausgewählte Aufsätze, Amsterdam, 1987 </li>
<li>Emil Gottfried von Herder, Johann Gottfried von Herder's Lebensbild. Sein chronologisch-geordneter Briefwechsel, verbubnden mit den hierhergehörigen Mittheilungen aus seinem ungedruckten Nachlasse, und mit den nöthigen Belegen aus seinen und seiner Zeitgenossen Schriften, Bläsing, Erlangen, 1846, 6 Bde., at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=645050235&db=100" target="_blank">BSB</a> [= GB] </li>
<li>[HW =] Johann Gottfried Herder, Werke in 10 Bänden, Deutscher Klassiker Verlag, Frankfurt/M., 1985-2000 (= Bibliothek deutscher Klassiker) </li>
<li>Johann Gottfried Herder, Briefe. Gesamtausgabe 1763-1803, Böhlau, Weimar, 1977-2009 </li>
<li>Otto Hoffmann, Herders Briefe an Hamann, Gartner, Berlin, 1889, at the <a href="https://archive.org/stream/briefejohgeorgha00herduoft#page/16/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Kristina Jaremko-Porter, Johann Gottfried Herder and the Latvian Voice, Ph. Diss., Edinburgh, 2008a (at <a href="https://www.era.lib.ed.ac.uk/handle/1842/3292" target="_blank">Edinburgh Research Archive</a>) </li>
<li>Kristina Jaremko-Porter, A Return to a Rural Idyll: The Herderian Past in Latvian Ethnographic Singing, in: Dace Bula & Sigrid Rieuwerts (eds.), Singing the Nations: Herder's Legacy, Trier, 2008b (= Ballads and Songs - International Studies 4), pp. 40-50 </li>
<li>Kristina Jaremko-Porter, The Latvian Era of Folk Awakening: From Johann Gottfried Herder's Volkslieder to the Voice of an Emergent Nation, in: Matthew Campbell & Michael Perraudin (eds.), The Voice of the People. Writing the European Folk Revival, London & New York, 2012, p. 141-156</li>
<li>Jürgen Joachimsthaler, Mythos "Volk". Zu Vorgeschichte und Entstehung der National-Texturen Mittel-, Ostmittel- und Nordosteuropas, in: Nordost-Archiv. Zeitschrift für Regionalgeschichte 16, 2007, pp. 19-77 (at <a href="http://www.ikgn.de/cms/index.php/gedruckte-ausgabe1/2178-band-xvi-2007-gedruckte-ausgabe" target="_blank">Nordost-Institut</a>) </li>
<li>Jürgen Joachimsthaler, Das übersetzte "Volk". Johann Gottfried Herder und die Tradition baltischer Spracharbeit, in: Bernd Kortländer & Sikander Singh (eds.), "Das Fremde im Eigensten". Die Funktion von Übersetzungen im Prozess der deutschen Nationenbildung, Tübingen, 2011, pp. 23-38</li>
<li>Ambraziejus Jonyas, Herder als Herausgeber litauischer Volkslieder, in: Jahrbuch für Volkskunde und Kulturgeschichte 8. 1980, pp. 15-19, at <a href="http://digi.evifa.de/viewer/image/DE-11-001911524/19/" target="_blank">EVIVA</a> </li>
<li>Indrek Jürjo, August Wilhelm Hupel als Repräsentant der baltischen Aufklärung, in: Jahrbücher für Geschichte Osteuropas NF 39, 1991, pp. 459-513 </li>
<li>Indrek Jürjo, Das nationale Erwachen der Esten im 19. Jahrhundert - ein Verdienst der deutschbaltischen Aufklärung, in: Nordost-Archiv. Zeitschrift für Regionalgeschichte 4, 1995, pp. 409-430 (available at <a href="http://www.ikgn.de/cms/index.php/gedruckte-ausgabe1/2196-band-iv-1995-h-2-gedruckte-ausgabe" target="_blank">Nordost-Institut</a>) </li>
<li>Indrek Jürjo, Aufklärung im Baltikum. Leben und Werk des livländischen Gelehrten August Wilhelm Hüpel (1737-1819), Köln etc., 2006 </li>
<li>Oskar Kallas, Die Wiederholungslieder der Estnischen Volkspoesie. I. Akademische Abhandlung, Finnische Literaturgesellschaft, Helsingfors, 1901, at the Internet Archive [= GB] (see <a href="https://archive.org/stream/diewiederholung00kallgoog#page/n69/mode/2up" target="_blank">pp. 58-65</a>, a very helpful bibliography) </li>
<li>Oskar Kallas, Übersicht über das Sammeln estnischer Runen, in: Finnisch-Ugrische Forschungen. Zeitschrift für Finnisch-Ugrische Sprach- und Volkskunde 2, 1902, <a href="https://archive.org/stream/finnischugrisch02helgoog#page/n25/mode/2up" target="_blank">pp. 8-40</a>, at the Internet Archive [= GB] </li>
<li>Kevin C. Karnes, A Garland of Songs for a Nation of Singers: An Episode in the History of Russia, the Herderian Tradition and the Rise of Baltic Nationalism, in: Journal of the Royal Musical Association 130, 2005, pp. 197-235 (<a href="http://dx.doi.org/10.1093/jrma/fki003" target="_blank">dx.doi.org/10.1093/jrma/fki003</a>) </li>
<li>Andreas F. Kelletat, Herder und die Weltliteratur. Zur Geschichte des Übersetzens im 18. Jahrhundert, Frankfurt/M., 1984 </li>
<li>Toms Kencis, <a href="http://romanticnationalism.net/viewer.p/21/56/object/122-160477" target="_blank">Oral literature: Latvian</a>, 2016in: Joep Leerssen (ed.), Encyclopedia of Romantic Nationalism in Europe (electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, www.romanticnationalism.net), article version 1.1.2.1/a, last changed 25-03-2017, consulted 11-04-2017 </li>
<li>Kaisa Kulasalu, <a href="http://romanticnationalism.net/viewer.p/21/56/object/122-160473" target="_blank">Oral literature: Estonian</a>, 2016, in: Joep Leerssen (ed.), Encyclopedia of Romantic Nationalism in Europe (electronic version; Amsterdam: Study Platform on Interlocking Nationalisms, www.romanticnationalism.net), article version 1.1.2.1/a, last changed 25-03-2017, consulted 11-04-2017 </li>
<li>Heinrich Lohre, Von Percy zum Wuinderhorn. Beiträge zur Geschichte der Volksliedforschung in Deutschland, Berlin & Leipzig, 2002 (= Palelaestra XXII), at the <a href="https://archive.org/stream/vonpercyzumwunde00lohruoft#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Helmut Loos, Deutsche Männergesangvereine im Ostseeraum und der Anfang der lettischen Singbewegung, in: Martin Loeser & Walter Werbeck, Musikfeste im Ostseeraum im Späten 19. und frühen 20. Jahrhundert, Berlin, 2014, pp. 221-36 </li>
<li>A. F. T. Lurcock, John Bowring and Finland, in: Neuphilologische Mitteilungen 75, 1974, pp. 428-443 (<a href="http://www.jstor.org/stable/43342922" target="_blank">jstor</a>) </li>
<li>Theodor Matthias (ed.), Herders Werke. Kritisch durchgesehene und erläuterte Ausgabe. 2. Band, Leipzig & Wien, n. d. [1903] (= Meyers Klassiker-Ausgaben), at the <a href="https://archive.org/details/werkekritischdur02herduoft" target="_blank">Internet Archive</a> </li>
<li>L. M. [Leo Meyer], Acht estnische Volkslieder aus Herders Nachlaß und dreizehn aus Wielands Teutschem Merkur nebst mehreren alten Hochzeitsgedichten in estnischer Sprache in: Verhandlungen der gelehrten Estnischen Gesellschaft zu Dorpat 16, 1896, <a href="https://archive.org/stream/verhandlungen_16_Dorpat_1896#page/n239/mode/2up" target="_blank">pp. 237-318</a>, here pp. 243-63 </li>
<li>Friedrich Menius, Syntagma de Origine Livonorum, Dorpat, 1632-35, p. 45 (not yet digitized; reprinted in: Scriptores Rerum Livonicarum II, Riga & Leipzig, 1848, <a href="https://archive.org/stream/ScriptoresRerumLivonicarum21848/ScriptoresRerumLivonicarum-2-1848#page/n545/mode/2up" target="_blank">pp. 511-42</a>, at the Internet Archive) </li>
<li>Johann Georg Müller (ed.), Erinnerungen aus dem Leben Joh. Gottfrieds von Herder. Gesammelt und beschrieben von Maria Carolina von Herder, geb. Flachsland, Cotta, Stuttgart & Tübingen, 1830, 3 Bde. , at the <a href="https://archive.org/search.php?query=Herder%20Erinnerungen%20Cotta%20Toront" target="_blank">Internet Archive</a> </li>
<li>C. J. Paucker, C. H. J. Schlegel's Leben und Schriften, in: Archive für die Geschichte Liv- Esth- und Curlands 5, 1847, <a href="https://archive.org/stream/bub_gb_HQpQAAAAcAAJ#page/n103/mode/2up" target="_blank">pp. 95-107</a>, at the Internet Archive [= GB] </li>
<li>Beata Paškevica, Die Sammlung von Volksliedern im lettischen Livland. Herders Helfer in den Jahren 1777 und 1778, in: Klaus Garber (ed.) et al., Kulturgeschichte der baltischen Länder in der frühen Neuzeit, Tübingen, 2003, pp. 229-244 </li>
<li>Andreas Poltermann, Antikolonialer Universalismus. Johann Gottfried Herders Übersetzung und Sammlung fremder Volkslieder, in: Doris Bachmann-Medick (ed.), Übersetzung als Repräsentation fremder Kulturen, Berlin, 1997 (= Göttinmger Beiträge zur internationalen Übersetzungsforschung 12), pp. 217-259 </li>
<li>Johann Friedrich von Recke & Karl Eduard Napiersky, Allgemeines Schriftsteller- und Gelehrten-Lexikon der Provinzen Livland, Esthland und Kurland. Zweyter Band: G - K, Steffenhagen & Sohn, Mitau, 1829, at the <a href="https://archive.org/stream/allgemeinesschr02napigoog#page/n360/mode/2up" target="_blank">Internet Archive</a> [= GB] </li>
<li>Heinrich Schaudinn, Deutsche Bildungsarbeit am lettischen Volkstum des 18. Jahrhunderts, München 1937 </li>
<li>Wolf Gerhard Schmidt, 'Homer des Nordens' und 'Mutter der Romantik'. James MacPhersons Ossian und seine Rezeption in der deutschsprachigen Literatur, 4 Bde., Berlin & New York, 2003-4 </li>
<li>Friedrich Scholz, Die Literaturen des Baltikums: Ihre Entstehung und Entwicklung, Opladen, 1990 (= Abhandlungen der Rheinisch-Westfälischen Akademie der Wissenschaften 80) </li>
<li>Friedrich Scholz, Herders Auffassung des Volkslieds und der Dichtung und die lettischen Volksliedersammlungen des 19. Jahrhunderts, in: Zeitschrift für Ostmitteleuropa-Forschung 44, 1995, pp. 564-577, at <a href="https://www.zfo-online.de/index.php/zfo/issue/view/4" target="_blank">zfo-online</a> </li>
<li>Singer, Rüdiger: "Nachgesang". Ein Konzept Herders, entwickelt an Ossian, der popular ballad und der frühen Kunstballade. Würzburg 2006 (= Epistemata; Reihe Literaturwissenschaft, 548) </li>
<li>Guntis Šmidchens, Herder and Lithuanian Folksongs, in: Lituanus. Lithuanian Quarterly Journal of Arts and Sciences 56, 2010, pp. 51-67, at <a href="http://www.lituanus.org/2010/10_1_05%20Smidchens.html" target="_blank">Lituanus</a> </li>
<li>Guntis Šmidchens, The Power of Song. Nonviolent National Culture in the Baltic Singing Revolution, Seattle, London & Copenhagen, 2014 </li>
<li>Kurt Stavenhagen, Herder in Riga. Rede, gehalten zum Festaktus des Herder-Institutes am 4. September 1922, Löffler, Riga, 1925 (= Abhandlungen des Herder-Instituts zu Riga 1), at <a href="http://hdl.handle.net/10062/44271" target="_blank">UofTartu</a> </li>
<li>S. Viese, Lettische Volksdichtung aus der Sicht Johann Georg Kohls, in: Zeitschrift für Slawistik 34, 1989, pp. 256-64 (<a href="https://doi.org/10.1524/slaw.1989.34.16.260" target="_blank">doi.org/10.1524/slaw.1989.34.16.260</a>) </li>
<li>[SWS 25 = ] Johann Gottfried Herder, Sämmtliche Werke XXV. Herausgegeben von Bernhard Suphan. Poetische Werke 1. Herausgegeben von Carl Redlich, Weidmann, Berlin, 1885, at the <a href="https://archive.org/stream/HerderSWS251885#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Karl Wagner, Briefe an Johann Heinrich Merck von Göthe, Herder, Wieland und andern bedeutenden Zeitgenossen. Mit Merck's biographischer Skizze, Diehl, Darmstadt, 1835, at the <a href="https://archive.org/details/briefejohannhein00wagnuoft" target="_blank">Internet Archive</a> </li>
<li>Alexander Wegner, Herder und das lettische Volkslied, in: Deutsche Blätter für erziehenden Unterricht 54, 1927, <a href="http://goobiweb.bbf.dipf.de/viewer/image/ZDB027110176_0054/316/" target="_blank">pp. 315-8</a>, 323-6, 331-4 </li>
<li>Sabine Wienker-Piepho, Herder and the Development of his Volkslied Concept during his Time in Riga, in: Dace Bula & Sigrid Rieuwerts (eds.), Singing the Nations: Herder's Legacy, Trier, 2008 (= Ballads and Songs - International Studies 4), pp. 30-39 </li>
</ul>
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Go back to <a href="https://hummingadifferenttune.blogspot.de/2017/05/herder-hupel-baltic.html" target="_blank">Part 1</a>Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-36002427894724060392017-05-08T16:38:00.002+02:002022-01-14T15:48:30.197+01:00Herder, Hupel and the Discovery of Baltic "Volkslieder" - Pt. 1<br />
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<b>Part 1 </b><br />
<span style="font-size: x-small;">I. Introduction <br />II. Pastor Hupel as a Collector of Estonian and Latvian Songs <br />III. Herder and the Baltic <br />IV. Herder's <i>Volkslieder</i> <br />V. Herder & Hupel after 1779 </span></div>
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<a href="https://hummingadifferenttune.blogspot.de/2017/05/Herder-Hupel-Baltic-Pt2.html" target="_blank"><b>Part 2</b></a> <br />
<span style="font-size: x-small;">VI. New Perspectives? (1780-1830) <br />VII. Baltic <i>Volkslieder</i> since 1830 <br />VIII. Towards Cultural and Political Emancipation <br />Literature </span></div>
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<b>I. Introduction </b></div>
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I have written already a little bit about the early history of the collection and documentation of the music and songs of the Estonians and Latvians. In the last text (see <a href="https://hummingadifferenttune.blogspot.de/2016/08/early-sources-for-songs-and-music-in.html" target="_blank">here</a>) I discussed two important travel reports, Brand's <i>Reysen</i> (1702) and Weber's <i>Verändertes Russland</i> (1721). Both writers offered in their works interesting descriptions of what they had heard as well as the words of some songs. Also some German pastors began to take note of the musical culture of their flock and made available more detailed accounts. But the Latvians and Estonians had to wait. First was a surprisingly sympathetic discussion of the songs of the East Prussian Lithuanians by Philipp Ruhig (1675-1749) in his <i>Betrachtung der Littauischen Sprache</i> (1745, <a href="https://archive.org/stream/bub_gb_VlJKAAAAcAAJ#page/n73/mode/2up" target="_blank">pp. 74-9</a>). He included three texts,"der einfältigen Mägdelein erfundene Dainos oder Oden", both in the original language and in German translation. </div>
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Latvian songs were then published by Gotthard Friedrich Stender (1714-1796; see <a href="https://de.wikipedia.org/wiki/Gotthard_Friedrich_Stender" target="_blank">Wikipedia</a>), also in a linguistic work: his <i>Neue vollständigere Lettische Grammatik</i> (1761, <a href="https://archive.org/stream/StenderLettischeGrammatik1761/Stender_LettischeGrammatik_1761#page/n173/mode/2up" target="_blank">pp. 152-7</a>, see new ed., 1783, <a href="https://archive.org/stream/lettischegramma00stengoog#page/n274/mode/2up" target="_blank">pp. 272-82</a>). He quoted several original texts in a chapter with the title "Von der Poesie". The tunes were not included. He only noted that they had "einerley Melodie". Otherwise Stender offered a surprisingly insightful description of the Latvians' song poetry even though he claimed there was not much wittiness ("nicht eben viel witziges"). But he saw the economic and political repression of the indigenous peasants as the reason for their "lack of culture". Later this pastor would publish collections of songs in Latvian, some translated from German and others written by himself, as a means of education, for example in <i>Jaunas Singes pehz jaukahm meldeijahm, par gudru islusteschanu</i> (1774, at <a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=25810&fit=true&full=false&lens=true&loupe=120&off=1&rotation=0&thumb=false&tid=736&zoom=100" target="_blank">EEVA</a>) and in the two volumes of <i>Singu Lustes</i> (1785 & 1789, at <a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=25905&fit=true&full=false&lens=true&loupe=120&off=1&rotation=0&thumb=false&tid=737&zoom=100" target="_blank">EEVA</a>). </div>
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In 1764 pastor Johann Jacob Harder (1734-1775) added some more interesting information about Latvian singing culture in an article in the <i>Gelehrte Beyträge zu den Rigischen Anzeigen</i> (here <a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=26691&fit=true&full=false&lens=true&loupe=120&off=1&rotation=0&thumb=false&tid=499&zoom=100" target="_blank">pp. 89-90</a>, at EEVA). He included some fragments from original songs but did not give any musical examples. In fact he described their music as "very crude and undeveloped" and as "singsong" ("etwas sehr grobes und unausgewickeltes", "dieses Geleyer", p. 90). But the most important and influential publication would be pastor August Wilhelm Hupel's <i>Topographische Nachrichten von Lief- und Ehstland</i>. In the second volume in 1777 he included an interesting and informative discussion of Estonian and Latvian music and songs (pp. 133-4, <a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n171/mode/2up" target="_blank">pp. 158-61</a>) as well as two original tunes (<a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n649/mode/2up">plate</a>). </div><div style="text-align: justify;"> </div><div style="text-align: justify;">The Baltic provinces - at that time part of the Russian Empire - were something like the cultural backyard for German intellectuals. Many traveled there and many worked there but there was barely any interest for the culture of the indigenous peasants. Even those who took note usually didn't like what they heard and saw or at best - like Stender - showed a patronizing attitude. Hupel - as will be seen - was no different in this respect. But his work would become the starting-point for more research into this field: Johann Gottfried Herder read it and asked him to collect even more songs - both Estonian and Latvian - for his forthcoming collection of international <i>Volkslieder</i>. Herder's anthology would be a kind of turning-point: a "reevaluation" of the peasants' songs that - until then - were so despised by the enlightened intellectuals (see Arbusow, p. 138), even by well-meaning learned clergymen like Stender and Hupel.
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The following text is an attempt to discuss the process of the discovery and publication of Estonian and Latvian traditional songs - <i>Volkslieder</i> - starting with Hupel and Herder. For comparative purposes I will also occasionally refer to Lithuanian songs. But this all should also be seen in a wider context: the discovery and adoption of music and poetry - i. e. songs - of foreign and "exotic" people" both from outside of Europe and from the European periphery (see in this blog: <a href="https://hummingadifferenttune.blogspot.de/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">"Exotic" Songs and Tunes in European Publications 1577-1830</a> and my <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8" target="_blank">Bibliography</a> at Google Docs). </div>
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The main focus will be on Hupel and Herder and their cooperation, particularly their differing attitudes towards the culture of the Baltic peasants. I will then sketch the development over the following 100 years until the era of the so-called "national awakening". Who did collect songs, who published them in which context, what was available? How was the reception outside of the Baltic provinces, in Germany and England? What was known there? What was published there? </div>
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In fact there were three distinctive voices: first the scholars and writers from outside the Baltic. Herder was one of them. For them the Baltic peasants were often enough exotic strangers. Then there were the Baltic-German scholars, mostly learned clergymen like pastor Hupel. Some of them showed considerable sympathy for the plight of their flock. They promoted educational efforts to improve their situation and also set out to document their culture. But first and foremost they were also a part of the repressive regime in the Baltic provinces. This should not be forgotten. The indigenous peasants, the Latvians and Estonians themselves, at first had no voice of their own. They could only be heard through the publications of both the foreign and local scholars. Only much later, since the 1840s, they would come to the fore. Only then they had the possibility to define what they regarded as their own culture. </div>
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<b>II. Pastor Hupel as a Collector of Estonian and Latvian Songs </b></div>
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August Wilhelm Hupel (1737-1819; see Jürjo 2006; Jürjo 1991, Grashof 1995; Eckhardt in DNB 13, 1881, at <a href="https://de.wikisource.org/wiki/ADB:Hupel,_August_Wilhelm" target="_blank">wikisource</a>; von Recke & Napiersky 1829, <a href="https://archive.org/stream/allgemeinesschr02napigoog#page/n360/mode/2up" target="_blank">pp. 363-9</a>; <a href="http://kulturportal-west-ost.eu/biographien/hupel-august-wilhelm-2" target="_blank">Kulturportal West-Ost</a>) was born near Weimar and studied in Jena. He moved to the Baltic in 1757. He first spent some years in Riga and Dorpat and in 1763 was appointed pastor in Oberpahlen (Põltsamaa) where he remained until his retirement in 1804. Hupel also became a highly respected and knowledgeable scholar and an expert for Baltic history and culture. </div>
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His major work were the <i>Topographische Nachrichten von Lief- und Ehstland</i>. Three volumes appeared between 1774 and 1782. This was the first modern topography of Livonia, compiled with the help of a great number of local correspondents and contributors (see Jürjo, pp. 121-80). Pastor Hupel also edited and published <i>Nordische Miscellaneen</i> (1781-91, 28 Vols, at <a href="http://www.ub.uni-bielefeld.de/diglib/aufkl/nordmisc/index.htm" target="_blank">UB Bielefeld</a>) and <i>Neue Nordische Miscellaneen</i> 1792-98, 18 Vols., at <a href="http://www.ub.uni-bielefeld.de/diglib/aufkl/nnordmisc/index.htm" target="_blank">UB Bielefeld</a>), two important periodicals. Not at least he also found time for a linguistic work, an Estonian grammar and dictionary (<i>Ehstnische Sprachlehre</i>, 1780, 1806, 1818). These are only his best-known and most influential publications. Besides these he also wrote about topics ranging from theology to economy to ethnography. </div>
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The music and songs of the indigenous peasants were clearly only a topic of minor interest for him. In the first volume of the <i>Topographische Nachrichten</i> (<a href="https://books.google.de/books?id=Z6dKAAAAcAAJ&hl=de&pg=PA162#v=onepage&q=lieder&f=false" target="_blank">p. 162</a>) there was already a short remark that the Estonians didn't have historical ballads about their ancient heroes and wars but he didn't elaborate on it further. In the second volume he dedicated five pages to songs and music (<a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n145/mode/2up" target="_blank">pp. 133-4</a>; <a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n171/mode/2up" target="_blank">pp. 158-61</a>). This was part of an extended ethnography of the Estonian peasants (pp. 121-93) where he discussed language, culture and traditions with a competence and knowledge rarely seen before in literature about the Baltic (but see the critical reading by Boguna 2014, pp. 101-7).</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Hupel noted that singing was one of their favorite pastimes and that many had good voices. They sang on weddings, in the fields and it were mostly the women who did the singing: "Bey der Feldarbeit, bey ihren Spielen u. d. g. hört man nur die Dirnen durch ihre schreyenden Gesänge allgemeine Zufriedenheit verbreiten" (p. 133). He also described the differences between Latvians and Estonians. The former used to sing in two voices, with a droning bass while the latter sang in unison, "aber gemeiniglich in 2 Chören, so daß jede Zeile welche ein Haufe vorsingt, von dem zweiten wiederholt wird" (p. 133). The bagpipe, "beyder Völker gemeinstes und vermuthlich sehr altes musicalisches Instrument" (p. 133) was still very popular but the harp and the violin - both introduced from Germany - were also in use.
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He described how songs were improvised and remarked that they enjoyed mockery, especially of their German masters: "sehr sind sie geneigt in ihren Liedern bittere Spöttereien anzubringen" (p. 158). The songs were usually without rhymes and instead they used meaningless end-words, "gedankenlose Endwörter, die sie in etlichen Liedern an jeden Vers hängen" (p. 159). Their songs were often difficult to understand because of many "mutilated" words. He offered German translations of some texts: a wedding song, a lover's song as well as a protest song against serfdom: "Der Teufel wurde zum Aufseher gesetzt" (pp. 159-60). </div>
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But he also added two pieces of original music: a bagpipe tune and the melody of a wedding song (<a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n649/mode/2up" target="_blank">plate</a>). This is what distinguished him from colleagues like Ruhig and Stender who offered only texts. This was the very first time music from the Baltic was published in a book since 1635 when Friedrich Menius had included some Estonian and Latvian tunes in his <i>Syntagma de Origine Livonorum</i> (<a href="https://vivaldi.nlr.ru/bx000015644/view#page=54" rel="nofollow" target="_blank">pp. 45-6</a>, at NLR; see also SRL II, <a href="https://archive.org/stream/ScriptoresRerumLivonicarum21848/ScriptoresRerumLivonicarum-2-1848#page/n559/mode/2up" target="_blank">p. 525</a>). Here we can see how long it took until at least a few examples of the Baltic peasants' music were documented and printed. </div>
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At that time it was easier to find Chinese, Turkish or Arabian tunes than examples of original music from the European periphery. These years saw the publication of - among others - Niebuhr's <i>Reisebeschreibung nach Arabien</i> (1774), Steller's <i>Beschreibung von dem Lande Kamtschatka</i> (1774), Forster's <i>Voyage Round The World</i> (1777), Amiot's <i>Mémoire sur la Musique des Chinois</i> (1779) and Höst's <i>Nachrichten von Marókos und Fes</i> (1781), all with one or more musical examples as well as interesting discussions of foreign musical cultures. </div>
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<div style="text-align: justify;">
Music from Europe’s borderlands still took a backseat. The first modern Greek song was made available by Pierre Augustin Guys in his V<i>oyage Littéraire de la Gréce ou Lettres sur les Grecs, Anciens et Modernes</i> (1776). A Russian song can be found in Johann Heinrich Christian Meyer's <i>Briefe über Russland</i> (Vol. 1, 1778). Some popular songs and tunes from Norway and Iceland were included in Laborde's <i>Essai Sur La Musique</i> (1780). Original music for example from Finland or Lapland would have to wait until the turn of the century (see my <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8#bookmark=id.srq5351r9aoy" target="_blank">Bibliography</a> at Google Docs). In this respect Hupel was a pioneer. </div>
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<div style="text-align: justify;">
But his discussion of the peasants' musical culture was somewhat biased and very negative. Pastor Hupel simply didn't like these songs and thought them "intolerably childish" and worse than the "worst Italian Improvisatore" (p. 160, p. 158). He claimed to have selected the most bearable of all these miserable songs. Just like his predecessors he had problems with the sound of the performances. Describing them as "schreyende[n] Gesänge" echoed comments by earlier observers. Weber in his <i>Verändertes Russland</i> had heard "wüstes Gesänge" (1721, <a href="https://archive.org/stream/WeberRussland1721/Weber_Russland_1721#page/n93/mode/2up" target="_blank">p. 70</a>), in Löwenklau's <i>Annales Sultanorum</i> (here German ed. 1590, <a href="https://archive.org/stream/neuwechronicatrc00leun#page/182/mode/2up" target="_blank">p. 182</a>) we read about "kläglichs Geschrey" and Sebastian Münster had noted in his <i>Cosmographey</i> that they "heülen [...] jämerlich wie die wölff, unnd das wort Jehu schreien sie on underlaß" (Basel 1550, <a href="https://archive.org/stream/bub_gb_d3hAi9SIEAgC#page/n1005/mode/2up" target="_blank">p. 929</a>). </div>
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<div style="text-align: justify;">
Hupel was really interested in the Baltic peasants' culture and invested considerable time and effort to collect ethnographic information. He was not an aggressive fighter against paganism like his predecessors a century earlier, for example Paul Einhorn who had condemned the Latvians' songs in the harshest terms (<i>Historia Lettica</i>, 1649, <a href="https://archive.org/stream/Einhorn3Werke16493627/Einhorn_3Werke_1649-36-27#page/n57/mode/2up" target="_blank">p. 41</a>). In fact he defended his flock against other writers' misjudgments and prejudices (see <a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n145/mode/2up" target="_blank">p. 132</a>). </div>
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<div style="text-align: justify;">
He also defended them against the curious ideas of a modern ivory-tower philosopher like Johann Gottfried Herder who in his <i>Abhandlung über den Ursprung der Sprache</i> (1772, <a href="https://archive.org/stream/bub_gb_JNMWAAAAQAAJ#page/n17/mode/2up">p. 15</a>) had called the Estonians as well as the Lapps and others "unser kleiner Rest von Wilden in Europa", the European equivalent of Hurons and Peruvians. Hupel (II, <a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n179/mode/2up" target="_blank">pp. 167-9</a>) strictly disagreed: "Das geht zu weit [...]". He even listed their cultural and economic achievements and explained their partial backwardness compared to German peasants from political and economic repression: "Sie haben ihre Fehler; aber sie sind Sklaven". </div>
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<div style="text-align: justify;">
But notwithstanding all his sympathy for the Estonian - and Latvian - peasants and all his knowledge about their ways of life: music and songs were one of the elements of their culture that seemed to have been - even after the 18 years he was there - way beyond his understanding. He regarded the traditional songs as an unfortunate relic of the past and promoted educational efforts to improve their situation. He wanted to bring them closer to modern Western culture and all those ditties only reflected their cultural backwardness. </div>
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<div style="text-align: center;">
<b>III. Herder and the Baltic </b></div>
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<div style="text-align: justify;">
At around the same time Johann Gottfried Herder in Weimar was working on what would become his famous anthology of international <i>Volkslieder</i>. He needed more Estonian and Latvian songs and therefore could make use of Hupel's contribution. </div>
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<div style="text-align: justify;">
German writers and scholars, the literary establishment, had shown interest for exotic poetry and songs for quite a while. But examples from the Baltic were only very rarely taken note of. For example Morhof in his groundbreaking <i>Unterricht von der teutschen Sprache und Poesie</i> (1682, here new ed., 1700, <a href="https://archive.org/stream/bub_gb_QDBJAAAAcAAJ#page/n385/mode/2up" target="_blank">pp. 374-82</a>) quoted Lapp, Finnish and even Peruvian songs but nothing from the Baltic provinces. Poet Friedrich von Hagedorn showed familiarity with nearly all the relevant literature and discussed songs form all over Europe - English, Scottish, Spanish, Polish, Russian, Lapp - and America in the <a href="https://archive.org/stream/bub_gb_beIOAAAAYAAJ#page/n5/mode/2up" target="_blank">preface</a> to his <i>Sammlung neuer Oden und Lieder</i> (1742, here 4th ed., 1756). But apparently he didn't know anything about the Latvians, Estonians or Lithuanians. </div>
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<div style="text-align: justify;">
The first one was Gotthold Ephraim Lessing who referred to Ruhig's Lithuanian songs in the 33rd of his <i>Briefe, die neueste Litteratur betreffend</i> (1759, here in later ed., 1761, <a href="https://archive.org/stream/BriefeLitteraturII1761/Briefe-Litteratur-II-1761#page/n43/mode/2up" target="_blank">pp. 239-44</a>; see Joachimsthaler 2011, p. 34). Here he first discussed an unsuccessful exotic pastiche in Gerstenberg's recently published <i>Tändeleyen</i> and then quoted - besides a German adaptation of as Lapp song - two of Ruhig's texts as examples of authentic simple poetry: "Welch ein naiver Witz! Welche reizende Einfalt". Poets are born everywhere and "lively sentiments are not the privilege of civilized peoples". One of these texts was then later versified by Gerstenberg himself - he even recommended a German tune to sing these words to - and published in the <i>Hypochondrist</i> (1771, <a href="https://archive.org/stream/derhypochondrist01jernuoft#page/118/mode/2up" target="_blank">pp. 118-9</a>).</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Young philosopher Johann Georg Hamann from Königsberg traveled through the Baltic and he heard Latvian peasants singing. In his <i>Aestehetica in Nuce</i> (here in <i>Kreuzzüge des Philologen</i>, 1762, <a href="https://archive.org/stream/bub_gb_VOMts98LHmIC#page/n237/mode/2up" target="_blank">p. 218</a>; see also Jaremko-Porter 2008a, pp. 97-104, Joachimsthaler 2011, pp. 35-7) he described what he had heard as "eine Kadenz von wenigen Tönen" and put it besides remarks about "Homers monotonisches Metrum". </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">
Herder himself seems to have shown a little bit of interest in songs from the Baltic already as a young man in Königsberg. It may have been him who published the Estonian song from Kelch's <i>Liefländischer Historia</i> (1695) in the <i>Königsbergschen Gelehrten und Politischen Zeitungen</i> 1764 (see Kelletat, p. 131, Lohre, <a href="https://archive.org/stream/vonpercyzumwunde00lohruoft#page/8/mode/2up" target="_blank">p. 9</a>). In an early unpublished piece - an answer to Hamann's <i>Aesthetica in Nuce</i> - he also referred to Latvian peasants (HW 1, p. 38). But at that time he apparently had only a very limited knowledge about Baltic culture. </div>
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Between 1764 and 1769 Herder spent more than four years in Riga and one may assume that he had time to become familiar with the songs and music of the Latvians. In fact in parts of the literature about Herder it is claimed that he witnessed live performances of Latvian songs and that this could have been a major influence on his thinking and the development of his ideas about what would be known as <i>Volkslieder</i>. </div>
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These theories are based on the fact that he was there and that he must have heard or seen something during this time. Of course this is a perfectly reasonable assumption. Even for a member of the upper-class with no knowledge of the Latvian language it would have been quite difficult to avoid some personal experiences. But this is also based on one curious remark in his famous <i>Auszug aus einem Briefwechsel über Ossian und die Lieder alter Völker</i>, a spirited defense of his interest in this genre (in: <i>Von Deutscher Art und Kunst</i>, 1773, <a href="https://archive.org/stream/vondeutscherartu00herd#page/4/mode/2up" target="_blank">pp. 3-70</a>, 113-8).<br />
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Here he described a kind of epiphany: how he became fascinated with MacPherson's <i>Ossian</i> - i. e. the first volume of Denis' German translation published in 1765 - during an adventurous trip on a ship, far away from the usual routine and thrown out of the "arm-chair of a scholar" (here p. 19). This was in 1769/70 on the way from Nantes to Amsterdam. But then he dated the real "genesis" of what he called his "Enthusiasmus für die Wilden" (p. 18) even earlier : </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"Wissen sie also, dass ich selbst Gelegenheit gehabt, lebendige Reste dieses alten, wilden Gesanges, Rhythmus, Tanzes, unter lebenden Völkern zu sehen, denen unsre Sitten noch nicht völlig Sprache und Lieder und Gebräuche haben nehmen können, um ihnen dafür etwas sehr Verstümmeltes oder Nichts zu geben" (<a href="https://archive.org/stream/vondeutscherartu00herd#page/20/mode/2up" target="_blank">p. 21</a>). </blockquote>
</div>
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But strangely he didn't tell his readers where exactly he had heard "einen solchen alten - - [sic!] Gesang mit seinem wilden Gange". He only referred then to the "Latvian ditties" quoted by Lessing. Of course these were Lithuanian songs and it strikes me as odd that he still wasn't able - after more than four years in Riga - to distinguish between Latvians and Lithuanians. Otherwise he avoided any closer description of what he had witnessed and instead discussed songs from Lapland and Peru, the well-known classics of the genre. </div>
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Already Haym in his great biography of Herder (I, 1880, <a href="https://archive.org/stream/herdernachseinem01haymuoft#page/444/mode/2up" target="_blank">p. 444</a>) claimed - without any further evidence - that this remark referred to "Erfahrungen die er noch früher in Livland, unter Letten und Esthen mit den Resten eines solchen alten, wilden Gesanges gemacht hat". Then Theodor Matthias in the notes in his edition of <i>Von deutscher Art und Kunst</i> added "gemeint sind die livländischen Letten", but also without any explanation (II, 1903, II, <a href="https://archive.org/stream/werkekritischdur02herduoft#page/26/mode/2up" target="_blank">p. 26</a>, n. 4). </div>
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<div style="text-align: justify;">
Philosopher Kurt Stavenhagen in 1922 in a lecture about "Herder in Riga" (1925, pp. 13-4) even tried to identify what exactly Herder had seen and heard and speculated that he - who spent some time during the summers in the countryside near Riga as a guest of his wealthy friends - may have witnessed the local Latvians' midsummer's eve celebrations on St. John's Day in 1765. This is also not an unreasonable assumption but without supporting evidence it looks more like wishful thinking.</div>
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Nonethleless these claims were replicated and elaborated on by other scholars (see f. ex. Wegner 1927, <a href="http://goobiweb.bbf.dipf.de/viewer/image/ZDB027110176_0054/324/" target="_blank">pp. 324-6</a>, Schaudinn 1937, p. 134). Most important in this respect was Arbusow's otherwise outstanding and seminal work about Herder and Latvian songs (1953). He went a step further and claimed that what Herder heard and saw at that time played a pivotal role in shaping his ideas about the genre he would later call "Volkslied": </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"Es war also die Begegnung mit dem lettischen Volksliede im Jahre 1765-1766 um oder in Riga oder vielleicht in Maihof [...] die diesen tiefgreifenden [...] Wandel in Herders Anschauungen über Poesie und die Umwertung der Lieder primitiver Völker hervorgebracht hat. Diese Erleuchtung hat sich bei mehrmaligen Hören und Sehen lettischer Gesänge eingestellt und wiederholt" (pp. 139-40; see also p. 136, p. 142, pp. 144-5, p. 151, p. 159). </blockquote>
</div>
<div style="text-align: justify;">
Today we can find these kind of speculations and claims - often without any critical discussion - in many works about Herder and the Baltic (see f. ex. Paškevica 2003, p. 231; Jürjo 2006, p. 342; Jaremko-Porter 2008a, pp. 8-9, pp. 88-92, pp. 118-20; Bula 2008, p. 9; Joachimsthaler 2011, p. 28; Šmidchen 2014, p. 27; see also Apkalns 1977, p. 317) and also in some of the more general scholarly literature about him (see f. ex. Kelletat 1984, p. 131-2; Grimm in HW 2, 1993, p. 1141; Baumann 2003, p. 174; Singer 2006, p. 198). This has been described as a "broad consensus of scholarship" (Jaremko-Porter 2008a, p. 120). In fact it is more a kind of self-reproducing theory that has taken on a life of its own and is usually based on references to earlier secondary literature. Assumptions are reported as facts. </div>
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I think this is all not convincing and it doesn't hold up. I see it the other way round. It is astonishing how little - in effect nothing! - Herder knew about the songs of the Latvians from personal experience. How he managed to live there for four and a half years and and not learn anything about the musical culture of the local population is way beyond my understanding! </div>
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<div style="text-align: justify;">
Herder - who of course didn't know Latvian, he once intended to learn the language but then apparently gave it up (see Hofman 1889, p. 17 & <a href="https://archive.org/stream/briefejohgeorgha00herduoft#page/32/mode/2up" target="_blank">p. 33</a>) - never described in detail what is claimed he may have heard. He never repeated this story from the <i>Briefwechsel</i> again and nowhere in his writings - published or unpublished - we can find another reference to it. Noone else knew about it, even not his wife who worked with him on the <i>Volkslieder</i>. There is no evidence that he himself ever collected or tried to collect songs while he was there and he didn't bring anything back. From reading what Herder wrote about Baltic songs I don't get the impression that he had any personal experiences. In fact it is all derived from either printed sources or from information received from helpful correspondents.</div>
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Herder was always a man of books and never a field researcher. It seems his only attempt to collect some songs from real people - in 1770 when he had returned to Germany - was a debacle (see Briefe 2, p. 76, Kelletat, p. 132-3). His influences and inspirations while developing his concept of <i>Volkslieder</i> have been researched and discussed thoroughly (see f. ex. Gaier, in HW 3, pp. 848-92). Herder's wife later named the oriental poetry that he had read in his youth, Shakespeare's <i>Hamlet</i> and of course then MacPherson's <i>Ossian</i> (Müller, Erinnerungen I, <a href="https://archive.org/stream/erinnerungenaus01herd#page/70/mode/2up" target="_blank">p. 70</a>). </div>
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During his time in Riga he spent a lot of time with Old Norse poetry. The German translation of Mallet's <i>Introduction à l’histoire de Dannemarc</i> had been published in 1765 (available at <a href="https://books.google.de/books?id=4bFBAAAAcAAJ&hl=de&pg=PA128#v=twopage&q&f=false" target="_blank">Google Books</a>, see Arbusow, p. 136). After he left Riga he became familiar with Percy's <i>Reliques</i>, also a major influence and source. Otherwise he was busy reading the works of English scholars like Blackwell, Lowth and Brown (see Arbusow, p. 133). In Germany both Lessing and Hamann had already anticipated some of his ideas (see Joachimsthaler 2011, pp. 33-6). </div>
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Texts from the British traditions - from Shakespeare to Percy's ballads and MacPherson's <i>Ossian</i> - made up the greatest part of what he worked with: "Der Anblick dieser Sammlung gibt's offenbar, daß ich eigentlich von Englischen Volksliedern ausging [...]", he wrote later in his <i>Volkslieder </i>(II, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n373/mode/2up" target="_blank">p. 27</a>). On the other hand his actual knowledge of and familiarity with Baltic musical culture was very limited. He knew barely anything and referred to Latvian, Estonian or Lithuanian songs only very rarely. </div>
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In his second Fragmente <i>Über die neuere deutsche Literatur</i> (1767, here <a href="https://archive.org/stream/bub_gb_kPxLAAAAcAAJ#page/n53/mode/2up" target="_blank">pp. 222-3</a>) Herder - still in Riga - first called for the collection of national songs - "Nationallieder" or "Nationalgesänge" - and offered an impressive looking list of all kinds of European and non-European peoples: "Skythen und Slaven, Wenden und Böhmen, Russen, Schweden und Polen [...] Ballads der Britten, [...] Chansons der Troubadouren, [...] Romanzen der Spanier [...] Sagolinds der alten Skalder [...] Kosakische Dummi, oder peruanische, oder amerikanische Lieder sein [...]". </div>
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This sounds somewhat familiar. As already Arbusow has noted (p.141-2) this list was mostly derived from Hagedorn's above-mentioned introduction to the <i>Sammlung neuer Oden und Lieder</i> (1742, here 4th ed., 1756, <a href="https://archive.org/stream/bub_gb_beIOAAAAYAAJ#page/n7/mode/2up" target="_blank">pp. [i-xiii]</a>). But there is an additional reference to "Lettische Dainos", in fact the Lithuanian texts published by Lessing in the 33rd <i>Brief</i>. There are Latvian <i>dainas</i> and Lithuanian <i>dainos</i> and Herder simply mixed them up. Otherwise there is no hint that he at that time was already familiar with real Latvian songs.</div>
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In a letter to his future wife (14.10.1770, in: Briefe I, p. 254; Herder, Lebensbild 3, No. 43, <a href="https://books.google.de/books?id=_Q06AAAAcAAJ&hl=de&pg=PA204#v=twopage&q&f=false" target="_blank">p. 204</a>) he quoted a somewhat boastful list of exotic songs, the more exotic the better: "'Arabische von Eselstreibern, Italienische von Fischern, Amerikanische aus der Schneejagd, item Lapp-Grönländische u. Lettische'". But there is no evidence that this was more than only a reference to texts from the printed sources he knew at that time. </div>
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<div class="Normal" style="text-align: justify;">
Then, of course, I have to mention again Herder's <i>Abhandlung über den Ursprung der Sprache</i> (1772, <a href="https://archive.org/stream/bub_gb_JNMWAAAAQAAJ#page/n17/mode/2up" target="_blank">p. 15</a>) where he told his readers about what he called "unser kleiner Rest von Wilden in Europa, Ehstländer und Lappen usw." who have ""semi-articulated and not writable sounds" just like the Hurons and Peruvians. I wonder how he knew that. He can't have met many Estonians. Why not the Latvians? But perhaps they are included in the rather unspecific "u. s. w.". </div>
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As strange as this may sound - and, as already noted, pastor Hupel was quite upset about it - he only wanted to say that they represented an earlier stage of cultural development, just like the "savages" in the Americas. Herder knew about exotic people on the other side of the world from reading travel books. Now - in full Ossian-mode - he compared them to the ancient Scottish bards. </div>
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In the <i>Briefwechsel</i> he then claimed that the Iroquois of the Five Nations and the bards had several song genres in common: "alles ist den Barden Ossians und den Wilden in Nordamerika gemein" (<a href="https://archive.org/stream/vondeutscherartu00herd#page/16/mode/2up" target="_blank">p. 16</a>; see Schmidt, p. 687). What he needed here were contemporary European "Wilde". His dreamland was Scotland: "zu den Schotten! zu Macferson [...] eine Zeitlang ein alter Kaledonier werden" (p. 17). Apparently he expected to still find there some real old-fashioned "savage" songs:</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"[...] und dann nach Wales und Schottland und in die westlichen Inseln, wo auf einer Macpherson, wie Ossians jüngster Sohn sitzt. Da will ich die celtischen Lieder des Volks in in ihrere ganzen Sprache und Ton des Landherzens wild singen hören [...]" (in: Letter to Merck, 28.10.1770, in Briefe I, p. 277; Wagner I, No. 4, <a href="https://archive.org/stream/briefejohannhein00wagnuoft#page/n79/mode/2up" target="_blank">p. 14</a>).</blockquote>
</div>
<div style="text-align: justify;">
But he never made it there. He only had been in the Baltic where it may have been possible for him to witness what he needed: "Lieder der Wilden". What he wrote in the Briefwechsel about the "genesis of his enthusiasm" - when he first heard "einen solchen alten - - [sic!] Gesang mit seinem wilden Gange" - was clearly a retrospective claim (see also Singer 2006, p. 198), a fictitious account that added a touch of authenticity. Here he created a symbolic turning-point. There is no reason to take him literally. </div>
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<div style="text-align: justify;">
Next we can look at Herder's first attempt to compile an anthology of international songs. This was only shortly later, in 1773. But he did not publish it, not only because he wasn't satisfied with what he had put together but also because he was somewhat afraid of the reactions of the literary establishment. Thankfully the manuscript of his <i>Alte Volkslieder</i> has survived (documented in SWS 25, <a href="https://archive.org/stream/HerderSWS251885#page/n23/mode/2up" target="_blank">pp. 1-104</a>). </div>
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There is only a small chapter dedicated to Baltic songs (pp. 88-92) and everything was taken from printed sources: the two Lithuanian texts from Lessing's <i>Brief</i> - here he had apparently learned to distinguish between Lithuanian and Latvians - the well-known Estonian song from Kelch's <i>Historia</i> and the Latvian song in Weber's <i>Verändertes Russland</i>. He also quoted from Harder's article in the <i>Gelehrte Beyträge zu den Rigischen Anzeigen</i>. That was all. He may have known Stender's grammar but didn't use it. His knowledge of the available literature was somewhat incomplete. He didn't know Menius' important but obscure book nor Brand's <i>Reysen</i> (1702) with its examples of songs from all three Baltic peoples. Instead there is (p. 83) a tribute to the pastors who were busy researching the peoples living along the Baltic Sea, "Wenden, Slaven, Alt-Preussen, Litthauer, Letten, Esthen", and a call to collect the information more systematically. </div>
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At this point Herder clearly didn't know much about Baltic songs. There is no reference to any kind of personal experiences nor any hint that they were particularly important for him. He was completely dependent on what he found in books. This all doesn't fit well to the theories proposing a special significance to live performances of Latvian songs he may have witnessed during his time in Riga. I would even say that for someone who had been there for several years his knowledge seems to have been extremely limited. He would only acquire a more closer acquaintance with the songs of Baltic people long after he had left and then only with the help of competent correspondents. </div>
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<div style="text-align: center;">
<b>IV. Herder's Volkslieder (1778/9) </b></div>
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In 1777 he started to work again on his anthology of international songs. Parts of the introduction to the unpublished <i>Alte Volkslieder</i> were recycled for an article with the title <i>Von der Ähnlichkeit der mittlern englischen und deutschen Dichtkunst</i> in the periodical <i>Deutsches Museum</i> (2, St. 11, Nov. 1777, <a href="https://archive.org/stream/DeutschesMuseum17772/DeutschesMuseum-1777-2#page/n457/mode/2up" target="_blank">pp. 421-435</a>). Some more Lithuanian songs were supplied to him by Johann Gottlieb Kreutzfeld, professor in Königsberg (see Jonyas 1980; Šmidchens 2010; Arbusow 1953, pp. 164-5). Then the publication of the second volumne of Hupel's <i>Topographische Nachrichten</i> with informative remarks about Estonian and Latvian songs as well as the translations of original texts must have been like a gift from Heaven for him. But he wasn't satisfied what he found there and tried to get more songs. </div>
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Herder contacted Hupel and asked him for both Estonian and Latvian songs. He gave clear instructions about what he needed: original texts, translations, and an exemplary tune (see Arbusow, pp. 166-7, Jürjo 2006, p. 343). Hupel delivered and helped him out with a small but fine sample of Estonian songs collected by himself and a friend - 8 texts, two additional tunes - as well as some helpful notes (publ. in: Meyer 1896, <a href="https://archive.org/stream/verhandlungen_16_Dorpat_1896#page/n243/mode/2up" target="_blank">pp. 243-63</a>). </div>
<div style="text-align: justify;">
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It was a little more difficult for him to get some Latvian songs because Hupel himself didn't know this language. But he sent out requests to colleagues who he thought should be able to help him out (see Arbusow, pp. 166-77; Schaudinn, pp. 134-5; Jaremko-Porter, pp. 130-5). It is interesting to see that he still was afraid that some pastors may regard these songs as a "sin" and decline his request. But Hupel also couldn't completely forget his personal bias and noted in a letter: "Je witziger die Lieder, desto besser. Die meisten jedoch sind einfältig" (Arbusow, p. 167). </div>
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Thankfully some local clergymen were able to collect texts and sent him a considerable number of pieces. At least one of them admitted that he wasn't aware of these kind of songs and reported that his servants performed them for him with great enthusiasm. But he also wondered why Herder wanted to have these songs and what he needed them for: "Was will Herr Generalsuperintendent Herder [...] mit unsern lettischen Volksliedern machen? Der große Mann! das ist mir noch ein rechtes Rätsel, wo aufzulösen nicht imstande bin" (Arbusow, p. 169; Jaremko-Porter 2008a, pp. 132-3). </div>
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It is interesting to see that the process of collecting the songs ran not through scholarly channels but through those of the church. Herder, the well known writer and philosopher, also had a high office in the hierarchy of the Lutheran church: he was <i>Generalsuperintendent</i> in Weimar. He made use of the fact that all local scholars were clergymen with not so high an office but with direct access to the people. It should also be clear that these pastors' servants only sang to them what they thought was appropriate for the their ears. Here were can see contemporary power structures: from the <i>Generalsuperintendent</i> via the local pastors to the real people. </div>
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Nonetheless the results of these efforts were very impressive. Herder received a manuscript with nearly 80 Latvian texts of different genres (at <a href="http://garamantas.lv/de/manuscript/2321" target="_blank">Archives of Latvian Folklore</a>; transcription in Arbusow 1953, pp. 187-222) even though it is not completely clear who exactly had recorded and compiled these texts. All in all this was at that time the largest and most comprehensive collection of Volkslieder - the words only, of course - of a people from the European periphery, surpassing all that was available from - for example - the Finns, the Lithuanians, the Estonians or from any other linguistic group in the Russian empire. </div>
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Herder used only very few of these texts in his <i>Volkslieder</i> (II, 1779, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n465/mode/2up" target="_blank">pp. 83-92</a>, pp. 96-101, pp. 111-3). Here we find 6 short Latvian texts - "Fragmente lettischer Lieder" - as well as a "Frühlingslied". These were the only texts taken from the massive collection he had. There are also - only - three Estonian songs from Hupel's collection. Most interesting among them was the ""Klage über die Tyrannen der Leibeigenen", a lament against oppression and it is somewhat surprising that Hupel had managed to collect such a song and then sent it to Herder: "Vor dem bösen Deutschen flieh ich, vor dem schrecklich bösen Herrn" (pp. 99-100).</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Herder was not naive. He had no illusions about the economic and political situation in Livonia. In his unpublished <i>Journal</i>, written after he had left Riga, he called it "die Provinz der Barbarei und des Luxus [...] der Freiheit und der Sklaverei [...]" (Herder, Lebensbild 2, <a href="https://books.google.de/books?id=6g06AAAAcAAJ&hl=de&pg=PA182#v=twopage&q&f=false" target="_blank">p. 182</a>). He was very much aware of the repression of indigenous peasants by their German masters. But he barely scratched the surface of what he had at hand. Nonetheless in the context of the book it looks very impressive. He mixed these texts up with songs from other "exotic" places - Greece, Lithuania, Lapland - and this was followed by English and Scottish pieces as well as one from Greenland.
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In the introduction to this chapter Herder quoted once again the song from Kelch's <i>Liefländischer Historia</i> as well as some relevant parts from Harder's and Hupel's works and also from Theodor von Hippel's anonymously published <i>Lebensläufe in aufsteigender Folge</i> (1778/9). This was a fictitious autobiography of the son of a German pastor in the Baltic that also included a knowledgeable discussion of Latvian singing as well as an equally fictitious collection of Latvian songs in German translation. In fact these were all pastiches created by the author (Vol. 1, <a href="https://archive.org/stream/HippelLL1217789/Hippel-LL1-2_1778-9#page/n79/mode/2up" target="_blank">pp. 72-3</a>, Vol. 2 Beilage A, <a href="https://archive.org/stream/HippelLL1217789/Hippel-LL1-2_1778-9#page/n1117/mode/2up" target="_blank">pp. 558-618</a>; see Jaremko-Porter 2008a, pp. 141-3). In addition Herder also quoted some Estonian proverbs from Gutsleff's <i>Kurtzgefaszte Anweisung Zur Ehstnischen Sprache</i> (1732, see there <a href="https://archive.org/stream/bub_gb_MgtNAAAAcAAJ#page/n371/mode/2up">pp. 325-72</a>). </div>
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All in all his was a very informative documentation, but it was completely derived from printed sources. Herder avoided any thought of his own and a reader surely doesn't get the impression that the author had spent several years in the Baltic. If he really had seen and heard something during his time in Riga one would expect that he would at least here try to describe it in more detail. But there is nothing. Nor do I find any hint that he attached particular importance to the musical culture of the Estonians and Latvians. This is more like a "exotic" topping that brought a little more diversity to an anthology that was mostly made up of British, German and Nordic texts. </div>
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What he published in his anthology was of course several steps away from the original context. Herder only received texts - both the original transcriptions and a German translation - as well as a few tunes. This he had to work with. In fact he experienced Latvian and Estonian songs only as translated texts. He himself had surely never in his life heard a performance of an Estonian song. As mentioned above it is not clear if he really had witnessed Latvian songs while he was there. But if so he at that time had no way to understand them because he didn't know the language. </div>
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Herder then selected from these texts he had at hand only what he thought would fit into the context of his anthology or what he regarded as a representative sample or simply what he liked best. It is not clear why exactly he used these particular pieces. Of course he also edited the translations according to his own aesthetic ideas. The artifacts of musical performances with often improvised words were turned into literature to read. They were transferred from the "discontinuity of orality to the continuity of the printed book" (see Deiters 2002, p. 183): texts codified in print in a different language and in a new cultural context. The readers of Herder's anthology had no way of knowing how these songs were supposed to sound. </div>
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But there was an additional bonus: the ethnographic descriptions from the relevant literature helped the readers to understand the contexts of the original performances at least a little bit. Herder's <i>Volkslieder</i> were both a literary and an ethnographic project and the Baltic chapter was particularly successful in this respect. But it was not a musical project, not only because he simply couldn't afford the include some music. Even some tunes wouldn't have helped too much to understand how these songs sounded. This was also a problem with the songs from all the other peoples. Of course nobody in Germany had any idea how for example the pieces from Greenland or Lapland sounded as songs. Even musical performances of Scottish or English <i>Volkslieder</i> were not available in Germany at that time.</div>
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But nonetheless: in the context of this great collection the short chapter about the Baltic with these few examples and the documentary texts offered a good and competent introduction into the singing culture of this area. Nothing comparable was available at that time. Herder put together what was known and made it digestible for those readers who perhaps may not be willing to look into the more academic or obscure works like for example Hupel's or Harder's publications. </div>
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<b>V. Herder & Hupel after 1779 </b></div>
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This was apparently the only time Hupel and Herder crossed paths and worked together, at least via letters. As far as I know they never met personally. Herder had the ideas and the theory but barely any empirical knowledge except what he had found in some books. Hupel made available to him what he needed even though he didn't like these songs and thought them "childish" and "simple-minded". In fact everything Herder knew about the musical culture of the Estonians and Latvians he owed to the efforts of the Baltic-German scholarly clergymen. </div>
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But even though he was completely dependent on their work he offered an opposite viewpoint. For him it was the literature of the indigenous population. Herder regarded these songs a legitimate part of their culture that should not be suppressed. Already in his <i>Briefwechsel über Ossian</i> he had explicitly criticized that our culture was forced upon the peoples he called "Wilde", the less cultivated and civilized nations. There he had referred to </div>
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"lebende[n] Völker[n] [...] denen unsere Sitten noch nicht völlig Sprache und Lieder und Gebräuche haben nehmen können, um ihnen dafür etwas sehr Verstümmeltes oder Nichts zu geben [...] was haben solche Völker durch Umtausch ihrer Gesänge gegen ein verstümmeltes Menuet, und Reimleins [...] gewonnen" (<a href="https://archive.org/stream/vondeutscherartu00herd#page/20/mode/2up" target="_blank">p. 21</a>). </blockquote>
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In fact this sounds like a critical comment on the educational efforts of German clergy in the Baltic provinces, exactly what - with the best intentions - Stender, Hupel and their colleagues were doing. In the <i>Volkslieder</i> he showed that the local population had at least preserved parts of their traditional culture against all pressure from above. In the context of his anthology we find the Baltic examples in between those from other nations. He lifted the Estonian and Latvian peasants from the backyard of history onto the German literary stage and tried to demonstrate that their cultural expressions - in this case their songs - were as valuable and important as those of the more "cultivated" nations. This was at a time when many didn't even believe that the Baltic peasants had a culture of their own (about Herder's "anti-colonialist" attitude see Poltermann 1997, here pp. 236-59; see also Kelletat 1984, pp. 127-39; Deiters 2007).</div>
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Both Hupel and Herder only rarely returned to this particular topic. Pastor Hupel - unfortunately it is not known what he thought about Herder's <i>Volkslieder</i> - published his <i>Ehstnische Sprachlehre fuer beide Hauptdialekte</i> in 1780. Here he included a very short chapter of two pages, <i>Von der Dichtkunst oder den Volksliedern</i>, with some informative notes and parts of two songs (<a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=41843&tid=768" target="_blank">pp. 89-90</a>). This book was published again in 1806 (<a href="http://www.digar.ee/id/nlib-digar:103384" target="_blank">digar</a> [pdf], here pp. 144-5) and 1818 (<a href="https://books.google.de/books?id=GOIGAAAAQAAJ&hl=de&pg=PA144#v=twopage&q&f=false" target="_blank">pp. 144-5</a>) but without any changes or additions to this chapter. </div>
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The third volume of the <i>Topographische Nachrichten</i> appeared in 1782. Here we find (<a href="https://archive.org/stream/HupelTopogrNachr31782/Hupel_TopogrNachr3_1782#page/n771/mode/2up" target="_blank">pl. 1</a>) two Latvian songs with German translation and - that's notable - with the tunes. This was not only the first time since Menius in 1635 that original Latvian music was published in a book. It would also take very long until more tunes were made available. In fact these two melodies together with the one in Herder manuscripts are the only specimens of Latvian music we have from this time.</div>
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This was all and afterwards Hupel never wrote again about the songs of the Baltic peasants. It seems it was a topic of minor interest for him. But Herder also remained reserved in this respect. Only once he mentioned the Baltic peoples again in a major work. In his <i>Ideen zur Philosophie der Geschichte der Menschheit</i> (IV, 1791, <a href="https://books.google.de/books?id=xmdTAAAAcAAJ&hl=de&pg=PA16#v=twopage&q&f=false" target="_blank">pp. 17-22</a>; engl. ed., London, 1800, <a href="https://archive.org/stream/b22010282#page/474/mode/2up" target="_blank">pp. 475-7</a>) we find a chapter about "Finnen, Letten und Preußen", also with a reference to Hupel's works. "All the popular tales and songs of the laps, fins, and esthonians, prove them to be gentle people" (engl. ed., p. 475, or. text, p. 19). He criticized strongly oppression and serfdom: </div>
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"The fate of the nations on the Baltic fills a melancholic page in the history of mankind [...] Humanity shudders at the blood, that was here spilled in long and savage wars, till the ancient prussians were nearly extirpated, and the courlanders and lettonians reduced to a state of slavery, under the yoke of which they still languish. Centuries perhaps will pass, before it is removed, and this peaceful people are recompensed for the barbarities, with which they were deprived of land and liberty" (from Engl. ed., pp. 476-7, or. text, p. 19 & pp. 21-2).</blockquote>
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During the last years of his life Herder kept on working on his <i>Volkslieder</i> (see <i>Volksgesang</i>, in Adrastea V, 1803, <a href="https://archive.org/stream/HerderAdrastea5/HerderAdrastea-5#page/n271/mode/2up" target="_blank">pp. 269-73</a>). But a new edition - now titled <i>Stimmen der Völker in Liedern</i> - was only published posthumously in 1807. It was put together by his widow in cooperation with the Swiss scholar Johannes von Müller and they decided to order the songs geographically. Therefore the Baltic texts got their own chapter (<a href="https://archive.org/stream/HerderStimmen1807/Herder-Stimmen-1807#page/n127/mode/2up#page/n130/mode/2up" rel="nofollow" target="_blank">pp. 107-23</a>). But they only added one more Estonian song from the vaults (see pp. 112-3) and otherwise there were no notable changes. It was this edition that was regularly published again and became quite popular during the 19th century. </div>
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<b>Go to <a href="https://hummingadifferenttune.blogspot.de/2017/05/Herder-Hupel-Baltic-Pt2.html" target="_blank">Part 2</a></b></div>
Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-26220898247001891962017-04-16T20:06:00.000+02:002019-03-27T23:24:50.660+01:00August Wilhelm Hupel (1737-1819) as a Collector of Estonian and Latvian Songs - What is available online?<br />
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Today it is possible to work with digital copies of historical books. Digitization makes both researching and writing much easier because the literature needed is much quicker at hand. But it also allows greater transparency. The reader is able to immediately check the sources. Therefore reliable scans are necessary. They should represent the original book in the best possible way and - of course - they should be complete so they can be used as surrogates. Besides that it is desirable that they are not hidden behind a paywall or in a closed repository. What's the use of digital books that can only be accessed by the fortunate few? This does not encourage and promote transparency. At least those that are in the public domain should be freely available. </div>
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But - as I have noted before - it is not advisable to use them uncritically. The first step should always be a review of all the digital copies of a particular book. Are they available online in an open repository? How many different copies there are? What is the quality? Are they usable? Here is another example that also demonstrates some of the problems with the use of digitized literature.</div>
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August Wilhelm Hupel (1737-1819; see Jürjo 2006; Eckhardt in DNB 13, 1881, at <a href="https://de.wikisource.org/wiki/ADB:Hupel,_August_Wilhelm" target="_blank">wikisource</a>; von Recke & Napiersky 1829, <a href="https://archive.org/stream/allgemeinesschr02napigoog#page/n360/mode/2up" target="_blank">pp. 363-9</a>; <a href="http://kulturportal-west-ost.eu/biographien/hupel-august-wilhelm-2" target="_blank">Kulturportal West-Ost</a>), a German pastor in Livonia, was a very industrious editor and writer. Among his many works were the <i>Topographische Nachrichten von Lief- und Ehstland</i>, published in three volumes between 1774 and 1782. It was at that time the most comprehensive and competent topography of the Baltic provinces.</div>
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I needed to have a look at these books because Hupel also wrote - in Volume 2 (pp. 133-4, pp. 158-61) - a little bit about the songs and music of the Estonians and Latvians. He even added some original Estonian and - in the third volume - Latvian melodies. In fact Hupel was a pioneer in this respect. This was the first time tunes from the Baltic were published since Friedrich Menius had included some musical examples in his <i>Syntagma de Origine Livonorum</i> in 1635 (see SRL II, <a href="https://archive.org/stream/ScriptoresRerumLivonicarum21848/ScriptoresRerumLivonicarum-2-1848#page/n559/mode/2up" target="_blank">p. 525</a>). Therefore it belongs in my bibliography of publications from the 16th to the 19th century that offer examples of original "exotic" music either from outside of Europe or from the European periphery (see in this blog: <a href="https://hummingadifferenttune.blogspot.de/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">"Exotic" Songs and Tunes in European Publications 1577-1830</a> and the <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8/edit?usp=sharing" target="_blank">Bibliography</a> at Google Docs).</div>
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But this work became very important for another reason. In 1777 Johann Gottfried Herder in Weimar, at that time busy compiling his anthology of international <i>Volkslieder</i>, contacted Hupel and asked for more songs. Pastor Hupel then sent him some additional Estonian texts and tunes and also organized the collection of a great number of Latvian pieces. Some of them were used by Herder in the <i>Volkslieder</i> (1778/9, f. ex. II, <a href="https://archive.org/stream/HerderVolkslieder177892BdeBSB/Herder_Volkslieder_1778-9_2Bde_BSB#page/n469/mode/2up" target="_blank">pp. 83-92</a>, pp. 96-101, p. 303 etc.; see Jürjo 2006, pp. 342-50, Arbusow 1953, Paškevica 2003, Jaremko-Porter 2008, pp. 126-46). </div>
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Thankfully the <i>Topographische Nachrichten</i> have been digitized several times and it is no problem to find these digital copies. There are at the moment five sets available and - for the sake of completeness - I will list them all here. But only one of them is really complete and immediately usable. That's not a good - but not untypical - ratio: </div>
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<li>August Wilhelm Hupel, Topographische Nachrichten von Lief- und Ehstland, Johann Friedrich Hartknoch, Riga, 1774, 1777 & 1782, 3 Vols.,<br />at Google Books: <a href="https://books.google.de/books?id=Z6dKAAAAcAAJ" target="_blank">Vol. 1</a>, <a href="https://books.google.de/books?id=tqlKAAAAcAAJ" target="_blank">Vol. 2</a>, <a href="https://books.google.de/books?id=86lKAAAAcAAJ" target="_blank">Vol. 3</a> [= BSB: <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10782589-2" target="_blank">Vol. 1</a>, <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10782590-0" target="_blank">Vol. 2</a>, <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10782591-5" target="_blank">Vol. 3</a>];<br />at Google Books: <a href="https://books.google.de/books?id=UsNXAAAAcAAJ" target="_blank">Vol. 1</a>, <a href="https://books.google.de/books?id=fstXAAAAcAAJ" target="_blank">Vol. 2</a>, <a href="https://books.google.de/books?id=7BFYAAAAcAAJ" target="_blank">Vol. 3</a> [= BSB/SB Regensburg: <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11095465-1" target="_blank">Vol. 1</a>, <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11095466-7" target="_blank">Vol. 2</a>, <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11095467-2" target="_blank">Vol. 3</a>];<br />at Google Books: <a href="https://books.google.de/books?id=LHFUAAAAcAAJ" target="_blank">Vol. 1</a>, <a href="https://books.google.de/books?id=ZHFUAAAAcAAJ" target="_blank">Vol. 2</a>, <a href="https://books.google.de/books?id=pnFUAAAAcAAJ" target="_blank">Vol. 3</a> [= <a href="http://data.onb.ac.at/ABO/%2BZ16680960X" target="_blank">ÖNB</a>];<br />at <a href="https://jbc.bj.uj.edu.pl/dlibra/publication/289088#structure" target="_blank">Jagellonian Digital Library</a> [djvu];<br />at University of Tartu Repository (<a href="http://dspace.ut.ee/handle/10062/1850" target="_blank">Vol. 1</a>, <a href="http://dspace.ut.ee/handle/10062/1888" target="_blank">Vol. 2</a>, <a href="http://dspace.ut.ee/handle/10062/1899" target="_blank">Vol. 3</a>), also at EEVA (<a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=29442&tid=831" target="_blank">Vol. 1</a>, <a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=30075&tid=832" target="_blank">Vol. 2</a>, <a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=30477&tid=833" target="_blank">Vol. 3</a>), also at the Internet Archive: <a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n649/mode/2up" target="_blank">Vol. 2</a> & <a href="https://archive.org/stream/HupelTopogrNachr31782/Hupel_TopogrNachr3_1782#page/n771/mode/2up" target="_blank">Vol. 3</a>;</li>
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I found three copies produced by Google from books from the holdings of two Bavarian libraries and the <i>Austrian National Library</i>. They are available both at <i>Google Books</i> and in these library's own repositories. But here we run into the usual problems. In all three cases the plates at the end of the book in Volumes 2 and 3 - where the tunes are supposed to be found - were not scanned correctly. This means that the musical examples are missing. We need only to look at Vol. 2 of the copies for the <a href="https://books.google.de/books?id=tqlKAAAAcAAJ&hl=de&pg=PT9#v=onepage&q&f=false" target="_blank">BSB</a>, the <a href="https://books.google.de/books?id=fstXAAAAcAAJ&hl=de&pg=RA1-PT9#v=twopage&q&f=false" target="_blank">SB Regensburg</a> and the <a href="https://books.google.de/books?id=ZHFUAAAAcAAJ&hl=de&pg=RA2-PT16#v=twopage&q&f=false" target="_blank">ÖNB</a>. This is disappointing but should be expected. It is well known that Google's scanners use to mistreat all pages of a book that exceed its standard size. They have digitized the texts but not the books. Of course these copies are not usable. I must admit I still don't understand why the contributing libraries have accepted these kind of shortcomings. </div>
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Another copy is available at the <i>Jagellonian Digital Library</i>. The Polish libraries offer excellent digital collections (see<i> <a href="https://fbc.pionier.net.pl/" target="_blank">fbc</a> - On-line Collections of Polish Cultural and Scientific Institutions</i>). But unfortunately they still prefer as file-format the outdated <i>djvu</i> and therefore their digital books are quite difficult to use. This library's online reader is awfully slow and not particularly´user-friendly <i>[07.06.2018: I see that it is now it is possible to read and download the books as pdf!]</i>. The scans are in good quality. The one of the second volume is complete and the plate with the music is included. Unfortunately it is missing in the third volume. But this is a problem of their copy of the original book (see the <a href="https://chamo.bj.uj.edu.pl/uj/lib/item?id=chamo%3A1036181&theme=system" target="_blank">catalog record</a>). Of course they can't scan anything that is not there. </div>
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The only really complete copy of this set was produced by an Estonian library. Excellent scans are available in the repository of the <i>University of Tartu</i>. As far as I can see all plates of the second and third volume are included. Pdfs of the scans can be downloaded there. These books can also be read online at EEVA, the <i>Digital Text Repository for Older Estonian Literature</i>. This is an outstanding site that offers nearly all relevant historical literature from and about the Baltic. They also have more of his publications as well as a good introduction to his life and works (see Hupel's page at <a href="https://utlib.ut.ee/eeva/index.php?lang=et&do=autor&aid=43" target="_blank">EEVA</a>). Their online-reader is quite simple and a little bit old-fashioned but still usable. Volumes 2 (here plate: <a href="https://archive.org/stream/HupelTopogrNachr21777/Hupel_TopogrNachr2_1777#page/n649/mode/2up" target="_blank">Ehstnische Melodien</a>) and 3 (here plate: <a href="https://archive.org/stream/HupelTopogrNachr31782/Hupel_TopogrNachr3_1782#page/n771/mode/2up" target="_blank">Zwey lettische Lieder</a>) of this set are now also available at the<i> Internet Archive</i> where they are even easier to use.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The additional collections of Estonian and Latvian songs made for Herder are also available in digital form. Hupel himself compiled 8 Estonian texts as well as two tunes and some informative notes. This was published in 1896 in a learned periodical that has also been digitized in Tartu: </div>
<ul>
<li><div style="text-align: justify;">
L. M. [= Leo Meyer], Acht estnische Volkslieder aus Herders Nachlaß und dreizehn aus Wielands Teutschem Merkur nebst mehreren alten Hochzeitsgedichten in estnischer Sprache in: Verhandlungen der gelehrten Estnischen Gesellschaft zu Dorpat, Bd. 16, 1896, pp. 237-318, here pp. 243-67, </div>
at <a href="http://hdl.handle.net/10062/19354" target="_blank">University of Tartu Repository</a> [pdf], also at the <a href="https://archive.org/stream/verhandlungen_16_Dorpat_1896#page/n243/mode/2up" target="_blank">Internet Archive</a>;</li>
</ul>
<div style="text-align: justify;">
The Latvian collection consists of nearly 80 texts recorded by some of Hupel's colleagues whom he had asked for support (see Arbusow 1953, pp. 187-222). In this case the original manuscript has been scanned and is available online: </div>
<ul>
<li>Johann Gottfried Herders Sammlung der lettischen Volkslieder, ms. SB Berlin, Nachlass Herder, XIV 50-53, online at <a href="http://garamantas.lv/de/collection/887947" target="_blank">Archives of Latvian Folklore</a>;</li>
</ul>
<div style="text-align: justify;">
Pastor Hupel also put together a grammar of the Estonian language that was first published in 1780 and then again in 1806 and 1818. Here we can find some more informative notes about Estonian songs in a small chapter with the title "Von der Dichtkunst und den Volksliedern". The first edition of this book is easily available at <i>EEVA</i>. There are also several scans by Google but their quality is not the best: </div>
<ul>
<li style="text-align: justify;">August Wilhelm Hupel, Ehstnische Sprachlehre fuer beide Hauptdialekte, den revalschen und doerptschen; nebst einem vollstaendigen Woerterbuch, Hartknoch, Riga und Leipzig, 1780, here pp. 89-9<br />at <a href="https://utlib.ut.ee/eeva/index.php?lang=en&do=tekst_detail&eid=41843&tid=768" target="_blank">EEVA</a> (pdf at <a href="http://dspace.ut.ee/handle/10062/8187" target="_blank">UofTartu Repository</a>)<br />at <a href="http://www.digar.ee/id/nlib-digar:100926" target="_blank">diigar</a> [pdf]<br />at <a href="https://books.google.ee/books?id=ZPxJAAAAcAAJ&hl=de&pg=PA98#v=twopage&q&f=false" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10589132-6" target="_blank">BSB</a>] </li>
<li style="text-align: justify;">-, Grenzius, Dorpat, 1806, <br />at <a href="http://www.digar.ee/id/nlib-digar:103384" target="_blank">diigar</a> [pdf] , here pp. 144-5 </li>
<li><div style="text-align: justify;">
-, 2. durchgängig verbesserte und vermehrte Auflage, Steffenhagen & Sohn, Mitau, here pp. 144-5</div>
at <a href="https://books.google.de/books?id=GOIGAAAAQAAJ&hl=de&pg=PA144#v=twopage&q&f=false" target="_blank">Google Books</a> [= Oxford]<br />at <a href="https://books.google.de/books?id=EgBKAAAAcAAJ&hl=de&pg=PA144#v=twopage&q&f=false" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10589133-2" target="_blank">BSB</a>] </li>
</ul>
<div style="text-align: justify;">
We can see that whoever wants to work with digital copies of Hupel's relevant publication as well as the two originally unpublished collections will be able to find them all online. Everything has been scanned. But of course it is important to be careful with those produced by Google. They are not up to the necessary standards. Incomplete and sloppily scanned books are not suitable for serious work and they do not encourage confidence in the systematic use of digital copies.<br />
<br />
But - as I have noted before - there are many libraries that are offering excellent scans and in many cases they can be used in place of the often dubious products of Google's scanners. It is necessary to learn to distinguish between the good and the bad, between usable and unusable scans. This is an additional but indispensable level of source criticism. But it will help to bring a little bit of order into this still rather chaotic field.</div>
<br />
<div style="text-align: center;">
<b>Literature </b></div>
<ul style="text-align: justify;">
<li>Leonid Arbusow, Herder und die Begründung der Volksliedforschung im deutsch-baltischen Osten, in: Erich Keyser (ed.), Im Geiste Herders. Gesammelte Aufsätze zum 150. Todestage J. G. Herders, Kitzingen/M., 1953 (= Marburger Ostforschungen 1), pp. 129-256 </li>
<li>Kristina Jaremko-Porter, Johann Gottfried Herder and the Latvian Voice, Ph. Diss., Edinburgh, 2008 (at <a href="https://www.era.lib.ed.ac.uk/handle/1842/3292" target="_blank">Edinburgh Research Archive</a>) </li>
<li>Indrek Jürjo, Aufklärung im Baltikum. Leben und Werk des livländischen Gelehrten August Wilhelm Hüpel (1737-1819), Köln etc., 2006 </li>
<li>Friedrich Menius, Syntagma de Origine Livonorum, Dorpat, 1632-35, p. 45 (not yet digitized; reprinted in: Scriptores Rerum Livonicarum II, Riga & Leipzig, 1848, <a href="https://archive.org/stream/ScriptoresRerumLivonicarum21848/ScriptoresRerumLivonicarum-2-1848#page/n545/mode/2up" target="_blank">pp. 511-42</a>, at the Internet Archive) </li>
<li>Beata Paškevica, Die Sammlung von Volksliedern im lettischen Livland. Herders Helfer in den Jahren 1777 und 1778, in: Klaus Garber (ed.) et al., Kulturgeschichte der baltischen Länder in der frühen Neuzeit, Tübingen, 2003, pp. 229-244 </li>
<li>Johann Friedrich von Recke & Karl Eduard Napiersky, Allgemeines Schriftsteller- und Gelehrten-Lexikon der Provinzen Livland, Esthland und Kurland. Zweyter Band: G - K, Steffenhagen & Sohn, Mitau, 1829, at the <a href="https://archive.org/stream/allgemeinesschr02napigoog#page/n360/mode/2up" target="_blank">Internet Archive</a> [= GB] </li>
</ul>
<br />Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-86591484905195270232017-01-18T11:41:00.003+01:002022-01-14T15:49:36.770+01:00John Abell's "Songs in Several Languages" (1715)
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<div style="text-align: justify;">
Foreign songs and music - both from outside of Europe and from the European periphery - were made available in England, Germany and France already since the late 16th century (see in my blog: <a href="https://hummingadifferenttune.blogspot.de/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">"Exotic" Songs and Tunes in European Publications 1577-1830</a>). Multicultural anthologies of texts or tunes began to appear much later (see in this blog:<a href="https://hummingadifferenttune.blogspot.de/2015/09/melodies-of-different-nations.html" target="_blank"> "Melodies of Different Nations": Anthologies of International "National Airs" in Britain 1800-1830</a>). But in England there was one very early attempt at this concept that predated - as far as I know - all other publications of this kind. On June 30, 1715 singer and lutenist John Abell performed at a concert in London an interesting collection of songs from different countries. This repertoire was documented in a little booklet that was sold to the audience: </div>
<ul style="text-align: justify;">
<li>[John Abell], A Collection of Songs in Several Languages. To be perform'd at Mr. Abell's Consort of Music [London, 1715] [ESTC <a href="http://estc.bl.uk/T219143" target="_blank">T219143</a>], at ECCO, also at the <a href="https://archive.org/details/AbellSongs1715ESTCT219143" target="_blank">Internet Archive</a> </li>
</ul>
<div style="text-align: justify;">
Here we can find the words of more than 20 songs: some were from England, France, Italy and Germany and others from Scotland, Wales - with a Latin text! - and Ireland. But besides these he also introduced Greek, Dutch, Swedish,. Danish and even Turkish pieces as well as one in <i>Lingua Franca</i>, the Mediterranean pidgin of commerce. This was in fact a multicultural set of songs that must have sounded quite exotic to the audience at that show. I am not aware of any collection of music or lyrics from this time that offered something similar.
</div><div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
John Abell (1653-c.1724; see BDA 1, <a href="https://books.google.de/books?id=V8IutzpP0sYC&lpg=PP1&hl=de&pg=PA6#v=twopage&q&f=false" target="_blank">pp. 6-9</a>, at GB; Farmer 1952; also <a href="https://en.wikipedia.org/wiki/John_Abell" target="_blank">Wikipedia</a>) from Scotland at first managed to make a career as a musician in royal service. Already in 1679 he became member of the <i>Chapel Royal</i> and of the King's private music. Charles II even allowed him to study in Italy. But as a Catholic he ran into some troubles after the <i>Glorious Revolution</i>. In 1679 he was "discharged as being a papist" (Hawkins 4, <a href="https://archive.org/stream/generalhistoryof04hawk#page/444/mode/2up" target="_blank">pp. 445-6</a>) and thought it better to leave the country. Abell then spent the next decade on the continent. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
He traveled through Europe and worked for some time in the Netherlands (see Rasch, p. 12), in France, in different parts of Germany and even in Poland. German conductor and composer Johann Mattheson (1739, <a href="https://archive.org/stream/bub_gb_islCAAAAcAAJ#page/n129/mode/2up" target="_blank">p. 95</a>) noted that Abell sang "to much applause" in Hamburg and Holland and was also very impressed by his voice. But at least for some time he may have been "very poor" (BDA 1, p. 8) and only once he had a permanent position as intendant in Cassel. Otherwise Mr. Abell seems to have been always on the move. Around 1700 he was allowed to return to England. The following year some of his concerts were announced in newspapers (see also London Stage 2.1, <a href="https://hdl.handle.net/2027/mdp.39015038922269?urlappend=%3Bseq=190" target="_blank">pp. 11</a>, 16, 19, 20, 26, 30): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"At the Theatre in Dorset Garden on Wednesday the 21st. of this Instant [...] will be a Performance of Musick in English, Italian and French by Mr. John Abell, beginning exactly at Six [...]" (Post Boy, No. 935, 15.-17.5.1701, at BBCN) </blockquote>
<blockquote class="tr_bq">
"At the Desire of several Persons of Quality, Mr. Abell will Sing, on Monday the 11th of this Instant August, at Five of the Clock precisely, in the Great Room, at the Wells at Richmond, it being the last time of his Singing this Season, and will Perform in English, Latin, Italian, Spanish, and French, accompanied with Instrumental Musick by the Best Masters. And after that will Sing alone to the Harpsichord. The usual Dancing will begin at Eight of the Clock [...]" (Post Boy, No. 972 7.-9.8.1701, at BBCN). </blockquote>
<blockquote class="tr_bq">
"Mr. Abell having had the Honour lately, to Sing to the Nobility and Gentry of Richmond and the Neighbouring Towns, thinks himself bound in Gratitude, to give an Invitation to the said Noble Assembly, to return his most Humble Thanks with a Performance of New Musick, in English, Latin, Italian, French, &c. On Monday next, being the 8th of September 1701, at 3 of the Clock exactly, in that most Excellent Musick-Room of Richmond Wells; being Honour'd and Accompany'd by the Greatest Masters of Europe, it being the last time of his Singing this Summer [...]" (English Post with News Foreign and Domestick, No. 140, 1.-3.9.1701, Post Boy, No. 983, 2.-4.9.1701, at BBCN). </blockquote>
<blockquote class="tr_bq">
"This present Monday, being the 8th Inst. at 3 of the Clock exactly at Richmond Wells, will be perform'd a New Consort of Instrumental Musick, by the Greatest Masters in Europe, for the last time this Summer. Mr. Abell will sing in English, Latin, Italian, Spanish and French [...]" (London Post with Intelligence Foreign and Domestick, No. 356, 5.-8.9.1701, at BBCN) </blockquote>
<blockquote class="tr_bq">
"At Chelsey Colledge, in the great Hall, on Saturday the 25th of this present April, at 5 of the Clock, will be perform'd Mr. Abell's new Consort of English Musick, composed on that Royal Subject; With other Songs in several Languages, accompanied by the greatest Masters of Instrumental Musick" (Post Man and the Historical Account, No. 959, 21.-23.4.1702, at BBCN). </blockquote>
</div>
<div style="text-align: justify;">
Among his published works from this time were two anthologies that presented foreign songs: </div>
<ul style="text-align: justify;">
<li>A Collection of Songs in Several Languages. Compos'd by Mr. John Abell, Pearson, London, 1701 [ESTC <a href="http://estc.bl.uk/N15004" target="_blank">N15004</a>], at ECCO </li>
<li>A Choice Collection of Italian Ayres, Pearson, London, 1703 [ESTC <a href="http://estc.bl.uk/N15061" target="_blank">N15061</a>] , at <a href="http://imslp.org/wiki/A_Choice_Collection_of_Italian_Ayres_(Abell,_John)" target="_blank">IMSLP</a> </li>
</ul>
<div style="text-align: justify;">
It seems Mr. Abell was already at that time some kind of expert in this field even though his repertoire wasn't as exotic as it would be in 1715. It is not clear what he did during the next 12 years. He was only rarely mentioned in the contemporary press. At least for some time he worked as a singing teacher and one may assume that he also kept on performing. A stay in Ireland during the years 1703 and 1704 and a concert Scotland in 1706 are documented (see Farmer, p. 453). He also traveled again abroad. For example he sang in Antwerp in 1707 and 1709 (Schreurs, p. 119) and in Amsterdam in 1709 and 1714 (Rasch, p. 12-3). But otherwise information about him is rare. Only in 1715 his name appeared again when the show on June 30 was announced: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"A Consort of Music, in 14 Languages, to be perform'd by Mr. Abell, lately arrived from Italy [...] at his Consort of Vocal and Instrumental Musick, compos'd by the best Masters in Europe, to be perform'd at Stationer's Hall, near Ludgate, to Morrow the 30th of June, at 7 a Clock in the Evening, where he is to be accompanied by a great Number of the best English Masters in Instrumental, with Sicilian Illuminations. The Songs as follow. Greek, Latin, Spanish, Italian, English, Scotch, Irish, French, High-Dutch, Low-Dutch, Danish, Swedish, Lingua Franca, Turkish. The Sea-Compass to be Sung if desired [...] Note, That all the Songs herein mentioned, will be printed in their proper Languages, and distributed at the Place of Performance" (Daily Courant, No. 4263, 23.6.1715; No. 4266, 27.6.1715; No. 4268, 29.6.1715, at BBCN; see also London Stage 2.1, <a href="https://hdl.handle.net/2027/mdp.39015038922269?urlappend=%3Bseq=548" target="_blank">p. 361</a>). </div>
</blockquote>
<div style="text-align: justify;">
Apparently Abell had again traveled to the continent and just arrived back home. It is also clear that he regarded this as a special and unusual project. All languages were listed and the booklet with the words of the songs was also announced. According to one report the concert was successful: </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"The Pleasure that our English People of Quality took, in being acquainted, that a Gentleman of ours, the curious Mr. Abel [sic!], hath brought over hither all the most delicate Eentertainments of Musick that are in Use and Request among Foreigners, both in the dead and living Languages, made them last Thursday, for his Encouragement, flock in abundance to his Concert" (Weekly Journal with Fresh Advices Foreign and Domestick, 2.7.1715, p. 6, at BBCN). </blockquote>
</div>
Even the Princess of Wales sat in the audience. But I haven't seen more reviews and as far as I know Mr. Abell has not performed this repertoire again.<br />
<br />
<div style="text-align: justify;">
Where did get all these foreign songs? Some of them may have been taken from printed publications. This seems to be the case with one of the French pieces, "Dans un desert innaccessible" which is a cantata by composer André Campra (1660-1744) published in 1708 in his <i>Cantates Françoises</i> (No. 6: "Les Femmes", in: Vol. 1, <a href="https://archive.org/stream/imslp-franoises-campra-andr/PMLP229249-Campra_-_Cantates_1_%281708%29#page/n115/mode/2up" target="_blank">pp. 113-145</a>). Others may in fact have been examples of the popular music of that countries, what later would be called <i>Volkslied</i> or <i>national song</i>. I haven't yet been able to identify them. Especially interesting is the German song that I have not seen anywhere else ([pp. 8-9]):</div>
<blockquote class="tr_bq">
Swartz Brawne Magdelein<br />Hast du mich liebe<br />Setz ein hut mit federn auf<br />Und ziehe mit mir in kriege. <br />[...] </blockquote>
<div style="text-align: justify;">
The same can be said about the texts from Sweden respectively Denmark ([p. 14]). This must have been the first time that songs from these countries were made available in Britain. I know of no earlier examples. Particularly interesting is the Turkish text ([p. 15]): </div>
<blockquote class="tr_bq">
Gelmedi Janam Gelmedi<br />Gelmedi dostum Gelmedi<br />Ni Ajub Ilandi<br />Jol Balande<br />Gelmedi</blockquote>
<div style="text-align: justify;">
This one as well as the one in <i>Lingua Franca</i> he may have learned while in Italy. Abell also performed Welsh, Scottish and Irish songs. The one from Wales was sung with a Latin text ([p. 8]. Scotland was "represented" by "Catherine Oggie" ([pp. 6-7]), an Anglo-Scottish - or "pseudo-Scottish - ballad: </div>
<blockquote class="tr_bq">
As I went forth to view the Spring<br />Upon a morning early,<br />To chear my Brain,<br />When Flowers grew fresh<br />And fairly.<br />[...] </blockquote>
<div style="text-align: justify;">
This is a song with an interesting history (see Simpson, pp. 54-5, Chappell II, <a href="https://archive.org/stream/popularmusicofol02chapuoft#page/616/mode/2up" target="_blank">pp. 616</a>). The tune was first printed in 1686 in the 7th edition of Playford's <i>Dancing Master</i> as "Lady Catherine Ogle, a new Dance" (No. 8, [p. 212], at <a href="http://imslp.org/wiki/The_Dancing_Master_(Playford,_John)" target="_blank">IMSLP</a>; SITM, No. 104) and also in <i>Apollo's Banquet</i> (5th ed., 1687, I, <a href="https://archive.org/stream/apollosbanquetco01rugg#page/31/mode/2up" target="_blank">No. 96</a> & II, <a href="https://archive.org/stream/apollosbanquetco01rugg#page/65/mode/2up" target="_blank">No. 64</a>; SITM, No. 114 & 118), another important anthology of tunes. Thomas d'Urfey then wrote two new texts. One appeared first in 1700 in an early edition of <i>Wit and Wirth, or Pills to Purge Melancholy</i> as "A New Scotch Song" ("Walking down the Highland Town", Vol. 2, pp. 201-2, ESTC <a href="http://estc.bl.uk/R224073" target="_blank">R224073</a>, at EEBO), the other - "Bonny Kathern Loggy (A Scotch Song)" - in 1714 in a later edition of this famous anthology ("As I came down the hey [sic!] Land Town", Vol. 5, 1714, pp. 170-2, ESTC <a href="http://estc.bl.uk/T52601" target="_blank">T52601</a>, at ECCO; see both songs in the ed. publ. in 1719/20: Vol. 2, <a href="https://archive.org/stream/witmirthorpillst01durf#page/200/mode/2up" target="_blank">pp. 200-1</a>; Vol. 6, <a href="https://archive.org/stream/witmirthorpillst05durf#page/274/mode/2up" target="_blank">p. 274</a>). The latter was also published as sheet music at around the same time: "As I came down the Heyland Town. Bonny Kathern Loggy. A Scotch Song" (see <a href="http://primocat.bl.uk/F?func=direct&local_base=ITEMV&doc_number=004179077&con_lng=eng" target="_blank">Catalog BL</a>).</div>
<br />
<div style="text-align: justify;">
It seems at that time it was a kind of popular hit. Abell introduced a new text to this tune and it is not unreasonable to assume that he had written it himself. His new version was then also published as sheet music: "Bonny Kathern Oggy, as it was sung by Mr. Abell at his consort in Stationer's Hall" (see <a href="http://solo.bodleian.ox.ac.uk/OXVU1:LSCOP_OX:oxfaleph015121835" target="_blank">catalog Bodl.</a>). A modified variant with some new verses appeared - without any reference to Abell's performance - a year later with the title "A new Song To the Tune of Katherine Loggy" in a popular anthology of songs, Walsh's <i>Merry Musician, Or A Cure for the Spleen</i> as an alternate text to d'Urfey's "Bonny Kathern Loggy" (Vol. 1, 1716, <a href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~928553~162989?qvq=q%3AA%2Bcure%2Bof%2Bthe%2Bspleen%3Blc%3AFOLGERCM1~6~6%2CBINDINGS~1~1&mi=155&trs=182" target="_blank">pp. 295-6</a>, <a href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~928238~162954?qvq=q%3AA%2Bcure%2Bof%2Bthe%2Bspleen%3Blc%3AFOLGERCM1~6~6%2CBINDINGS~1~1&mi=120&trs=182#" target="_blank">pp. 224-6</a>, at FSL). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
A decade later Allan Ramsay published Abell's text - with some "corrections" - in the first edition of the <i>Tea-Table Miscellany</i> (1724, <a href="https://archive.org/stream/bub_gb_V7UDAAAAQAAJ#page/n145/mode/2up" target="_blank">pp. 133-5</a>) and in 1725 William Thomson included the words and the tune in his <i>Orpheus Caledonius</i> (<a href="http://digital.nls.uk/special-collections-of-printed-music/pageturner.cfm?id=74569776&mode=fullsize" target="_blank">p. 22</a>, at NLS; see new ed. 1733, Vol. 1, No. XXII, <a href="https://archive.org/details/orpheuscaledoniu01thom_0" target="_blank">pp. 44-7</a>). It became one of the most successful and popular Scottish songs. Burns later used the tune for his "Highland Mary". </div>
<br />
<div style="text-align: justify;">
It is still sometimes claimed that Abell sang this song already in 1680 (see f. ex. Farmer 1952, p. 453, Porter 2007, p. 38). But this is wrong and misleading. Stenhouse in his notes to the <i>Scots Musical Museum</i> had dated Abell's sheet music as from this year, maybe in an attempt to make this song much older than it really was (see Illustrations, 1853, <a href="https://archive.org/stream/illustrationsofl00sten#page/152/mode/2up" target="_blank">p. 154</a>). This fantasy was already debunked by Chappell in his <i>Popular Music of the Olden Time</i> (Vol. 2, [c.1859], <a href="https://archive.org/stream/popularmusicofol02chapuoft#page/616/mode/2up" target="_blank">p. 616</a>). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
From the chronology of the relevant publications it is clear that Abell's version can only have been written around the time he performed it in his concert. There is simply no evidence that it was older. In fact we can see here how a future Scottish national song grew out of the pseudo-Scottish pastiches that were so popular during the early years of the 18th century. </div>
<br />
<div style="text-align: justify;">
Of Abell's two Irish songs ([pp. 7-8]) - both in mutilated Gaelic - one is also particularly noteworthy because it served as the starting point for the development of another future national song (see <a href="http://www.csufresno.edu/folklore/Olson/IRTITLE3.HTM" target="_blank">Olson 2001</a>; <a href="http://irishsongproject.qub.ac.uk/song/76" target="_blank">Irish Song Project</a>): </div>
<blockquote class="tr_bq">
Shein sheis shuus lum<br />Drudenal as fask me<br />Core la boè Funareen<br />A Homom crin a Party<br />Tamagra sa souga<br />Ta she loof her Layder<br />Hey Ho Rirko<br />Serenish on bash me.</blockquote>
<div style="text-align: justify;">
Farmer (p. 453) has claimed that Abell already sang "his Irish song 'Shein sios agus suas liom" in Dublin on "February 7, 1704, at the festivities at Dublin Castle for the birthday of Queen Anne". He even suggested that Abell had written it himself "on his return from the continent". Unfortunately I find here no reference to the source of this interesting information. He was in Dublin during the years 1703 and 1704 with the Duke of Ormond and he at least performed there a "Birthday Ode for Queen Anne" (see Boydell 1988, revisions, No. 33). But, to be true, I haven't yet seen any other documentary evidence for a performance of this Irish song before the show in 1715 and I must admit I have some doubts. Nor can I believe that Abell waited more than 10 years until he used it again. </div>
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In fact the real history of this song only started in 1715 at the Concert at Stationer's Hall. It was also published as sheet music and this was the first time this particular tune appeared in print: "Shein sheis shuus lum. An Irish Song. Sung by Mr. Abell at his Consort at Stationers Hall"<i> </i>(at Irish Song Project: <a href="http://irishsongproject.qub.ac.uk/song/76" target="_blank">Music Facsimile</a>). In 1716 this piece was also included in the <i>Merry Musician</i> as "An Irish song. Sung by Mr. Abel at his Consort at Stationers Hall" (Vol. 1, 1716, <a href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~928697~163005?qvq=q%3AA%2Bcure%2Bof%2Bthe" target="_blank">pp. 327-8</a>). </div>
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A decade later the tune also found a place in the very first anthology of Irish Music, publisher William Neale's <i>Colection of the most Celebrated Irish Tunes proper for the Violin, German Flute or Hautboy</i> (c. 1724, <a href="http://d232364.sitehosting.ie/data/IMCO/CMCIT.HTM" target="_blank">p. 17</a>, at IMCO). But the melody became very famous several decades after that with a new text written by young George Ogle, future Irish politician and hobby-poet: "Shepherds I have lost my love". But this is another story that I will try to put together some time in the near future. </div>
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All in all Abell's <i>Songs in Several Languages</i> was a fascinating collection even though the music was missing and only two of these songs were later published with melodies as sheet music. With this "multicultural" anthology he was anticipating ideas that would only come to the fore much later. Of course a theoretical background á la Herder had not yet been developed. More important at that time was surely the novelty value of this kind of "exotic" songs. But nonetheless Mr. Abell's <i>Songs</i> may count as an early anthology of international <i>national airs</i>, long before this particular genre became common. </div>
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Unfortunately this was a publication of limited circulation. The booklet was only sold to the audience on this day but was never made available to a wider public. Therefore Abell's groundbreaking song collection was quickly forgotten and - as far as I know - never referred to later. Only the two songs published as sheet music - "Shein sheis shuus lum" and "Catherine Oggie" - survived. In these two cases Abell served as an important mediator. His versions later developed into popular and "authentic" <i>national airs</i>. </div>
<br />
<b>Literature </b><br />
<ul style="text-align: justify;">
<li>BBCN = <a href="http://www.bl.uk/reshelp/findhelprestype/news/newspdigproj/burney/index.html" target="_blank">17th & 18th Century Burney Collection Newspapers</a> (Gale) </li>
<li>BDA = Philip H. Highfill et al., (ed.), A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800, Vol.1 - 16, Carbondale, 1973</li>
<li>Brian Boydell, A Dublin Musical Calendar 1700-1760, Dublin 1988 </li>
<li>William Chappell, Popular Music of the Olden Time. A Collection of Ancient Songs, Ballads, and Dance Tunes, Illustrative of the National Music of England, Vol. II, London, n. d. [1859] , available at the <a href="https://archive.org/stream/popularmusicofol02chapuoft#page/n5/mode/2up" target="_blank">Internet Archive</a> (here also <a href="https://archive.org/details/popularmusicofol01chapuoft" target="_blank">Vol. 1</a>) </li>
<li>H. G. Farmer, A King's Musician for the Lute and Voice: John Abell (1652/31724), in Max Hinrichsen (ed.), Music Book. Hinrichsen's Musical Yearbook 7, 1952, pp. 445-56 </li>
<li>John Hawkins, A General History of the Science and Practice of Music, 5 Vols., Payne, London, 1776, at the <a href="https://archive.org/details/byumusicreference?and[]=Hawkins%20General%20History" target="_blank">Internet Archive</a> </li>
<li>Irish Song Project: types and histories - <a href="http://irishsongproject.qub.ac.uk/song/76" target="_blank">"Shein Sheis Shuus Lum"</a> (Queen's University Belfast) </li>
<li>The London Stage 1660 - 1800. A Calendar Of Plays, Entertainments & Afterpieces Together With Casts, Box-Receipts And Contemporary Comment, Part I: 1660-1700, ed. by William van Lennep, Carbondale, 1965 (available at <a href="http://catalog.hathitrust.org/Record/000200105" target="_blank">HathiTrust</a>) </li>
<li>Johan Mattheson, Der Vollkommene Capellmeister. Das ist gründliche Anzeige aller deerjenigen Sachen, die einer wissen, können, und vollkommen inne haben muß, der einer Kapelle mit Ehren und Nutzen vorstehen will. Zum Versuch entworffen, Herold, Hamburg, 1739, at the <a href="https://archive.org/stream/bub_gb_islCAAAAcAAJ#page/n3/mode/2up" target="_blank">Internet Archive</a> [= GB] </li>
<li>Bruce Olson, <a href="http://www.csufresno.edu/folklore/Olson/IRTITLE3.HTM" target="_blank">Early Irish Tune Title Index</a>, 2001</li>
<li>James Porter, Introduction. Defining Strains: Tradition, invention, genre and context in musical life, in: James Porter (ed.), Defining Strains. The Musical Life of Scots in the Seventeenth Century, Oxford etc., 2007, pp. 19-46 </li>
<li>Rudolf Rasch, Geschiedenis van de Muziek in de Republiek der Zeven Verenigde Nederlanden 1572-1795 (= <a href="http://www.let.uu.nl/~Rudolf.Rasch/personal/My-Work-on-the-Internet.htm" target="_blank">Mijn Werk op Internet</a>, Deel Een), Hoofdstuk Dertien: <a href="http://www.let.uu.nl/~Rudolf.Rasch/personal/Republiek/Republiek13-Concerten.pdf" target="_blank">Het Concertwezen</a>, 2013, acc. 17.01.2017 </li>
<li>Eugeen Schreurs, Church music and minstrel music in the Southern Netherlands, with a special focus on Antwerp, in: Stefanie Beghein, Bruno Blondé & Eugeen Schreurs (eds.), Music and the City. Musical Cultures and Urban Societies in the Southern Netherlands and Beyond, c. 1650-1800, Leuven, 2013 </li>
<li>Claude Simpson, The British Broadside Ballad and Its Music, New Brunswick 1966</li>
<li>SITM = Aloys Fleischmann (ed.), Sources Of Irish Traditional Music, C. 1600 - 1855, 2 Vols., New York & London 1998 </li>
<li>William Stenhouse, Illustrations of the Lyric Poetry of Scotland. Originally compiled to accompany the "Scots Musical Museum," and now published separately, with Additional Notes and illustrations, Edinburgh & London, 1853, at the <a href="https://archive.org/stream/illustrationsofl00sten#page/n3/mode/2up" target="_blank">Internet Archive</a></li>
</ul>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-51825987075536306882016-12-20T18:37:00.001+01:002022-01-14T15:52:38.257+01:00"Eriks-Visan" - The Curious Story of an "Old" Swedish Ballad (1554-1891)<div style="text-align: center;">
<b>I.</b></div>
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Since the 16th century the music and the songs of the people - both from outside of Europe and from the European periphery - found the interest of scholars and travelers. A few examples were even made available in some of the relevant publications. Montaigne presented two fragmentary Brazilian texts in one of his <i>Essais</i> (1580), Jean de Léry published five tunes from Brazil (1585), de Salinas' <i>De Musica Libri Septem</i> (1587) included a considerable number of what later would be called "folk tunes" (see in this blog: <a href="http://hummingadifferenttune.blogspot.com/2016/04/exotic-songs-and-tunes-in-european.html" target="_blank">"Exotic" Songs and Tunes in European Publications 1577-1830</a>). </div>
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But some forward-looking intellectuals also began to discover the popular song traditions of their own country. The earliest anthology of old ballads was published in 1591 in Denmark: Anders Sørensen Vedel's <i>Et hundrede udvaalde Danske Viser</i> (see a later edition, Kopenhagen, 1619, at the <a href="https://archive.org/stream/bub_gb_toIAAAAAcAAJ">Internet Archive</a>). In Sweden Johannes Messenius (1579-1636), historian and playwright, used popular songs in his dramas (see Lidell 1935, pp. 126-61; see also Jonsson 1967, pp. 38-43).</div>
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Recently I came across one very early example that predates nearly everything else but is usually not discussed in this context. In 1554 the <i>Historia De Omnibus Gothorum Sveonumque Regibus</i> by the exiled Swedish bishop Johannes Magnus was published posthumously in Rome. This was a rather fanciful history of Sweden and its Kings. Here we can find a Latin text of 10 verses about one King Erik. Magnus claimed that this was his translation of an "old" song still known all over Sweden (<a href="https://archive.org/stream/bub_gb_VpCBcnTRrjkC#page/n89/mode/2up">pp. 27-8</a>).</div><div style="text-align: justify;"> </div><div style="text-align: justify;">During the 19th century this "song" was very popular among scholars in Sweden. Historian Erik Gustav Geijer described it as "en gammal Svensk Folkvisa" (1825, <a href="https://archive.org/stream/svearikeshfder01geijgoog#page/n134/mode/2up" target="_blank">p. 113</a>) and literary historian Peter Wieselgren (1835, <a href="https://archive.org/stream/sverigessknalit00wiesgoog#page/n93/mode/2up" target="_blank">p. 77</a>) claimed that it was "utan tvivfel [...] den äldsta sång, folkminnet till oss framfört" ("without doubt the oldest song preserved by the memory of the people"). In 1853 "Eriks-Visan" appeared as the very first song in what was then the standard anthology of Swedish historical and political ballads (here No. 1, <a href="https://archive.org/stream/SverigesHistoriskaOchPolitiskaVisor1853/Sveriges_historiska_och_politiska_Visor_1853#page/n15/mode/2up" target="_blank">pp. 1-18</a>). But, alas, it wasn't a real song but a deliberate fabrication, a "balladpastisch" (Jonsson, pp. 681) by Johannes Magnus himself (see Schück 1891). </div><div style="text-align: justify;"><br />
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This is an interesting story that is worth recapitulating. At first I will give a short introduction to Johannes Magnus' life and work as well as the historical context. This will be followed by a review of the digital copies of the different editions and translations of Johannes Magnus' book. That is a necessary work because at the moment it is not possible to get quick access to all existing scans of a particular publication. They are usually scattered across many different repositories and much "footwork" is needed to find them all. In the third chapter I will present the history of this song from its initial publication until the end of the 19th century with the help of digital copies of the relevant publications. In fact nearly everything I needed is available online.</div>
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<br />
<div style="text-align: center;">
<b>II.</b></div>
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<div style="text-align: justify;">
Johannes Magnus (1488-1544; see Johannesson 1982; Nilsson 2006; Schmidt-Voges 2004, pp. 95-129; Lindroth in <a href="https://sok.riksarkivet.se/sbl/Presentation.aspx?id=12115" target="_blank">SBL</a>; <a href="https://sv.wikipedia.org/wiki/Johannes_Magnus" target="_blank">Wikipedia</a>), the brother of the famous Olaus Magnus, was the last Catholic archbishop in Uppsala and also a notable scholar. He and his brother left the country in the 1520s because of the reformation. He never returned home but instead lived at first for some years in Danzig and then spent the rest of his life in Italy. Even though at odds with King Gustav Vasa he remained a committed Swedish patriot. His major work was this history of Sweden that was published by his brother in 1554. </div>
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Sweden at that time needed a presentable history. Since the late 14th century the "heroic" Goths had been rediscovered and they were claimed as the forefathers of the Swedes (about the "Gothic renaissance", see f. ex. Schmidt-Voges 2004, part. pp. 37-62; Neville 2009). He started with Magog, Noah's grandson and then offered a long list of kings since the days of the old Goths. This great narrative with an anti-Danish stance was based on all available literary and historical sources but most of all on his own rich fantasy :</div>
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<blockquote class="tr_bq">
"What is remarkable in Magnus's version is his number of details from these remote times in combination with his aggressive patriotism. Magnus had to rely on his own imagination. Not afraid of deliberate falsifications, he claims support from sources he does not know and manipulates those he does know" (Skovgaard-Petersen 2002, p. 94).</blockquote>
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One may also say that he "composed the truth" (see Nilsson 2016). But his truth wasn't received particularly well in Denmark. Historian Hans Svaning wrote a <i>Refutatio</i> (1561, available at <a href="https://books.google.de/books?id=LasrPe9ml30C" target="_blank">Google Books</a>). Later - in 1612 - Swedish scholar Johannes Messenius felt it necessary to publish a <i>Refutatio</i> of the <i>Refutatio</i> (available at the <a href="https://archive.org/stream/bub_gb_mPJbGmx_mXEC#page/n0/mode/2up" target="_blank">Internet Archive</a>; see Skovgaard-Petersen 2009; Schmidt-Voges 2004, p. 368). Magnus' <i>Historia</i> was not only regarded as a theoretical treatise. It had great political potency and offered historical legitimation for Sweden as a monarchy and for its strive to be an European power. Its influence on Swedish political thinking during the 17th century was "enormous" (see Roberts 1984, p. 72).</div>
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The original Latin version appeared in new editions in 1548, 1567 and then in 1617 (see Warmholtz, <a href="https://archive.org/stream/bibliothecahist02warmgoog#page/n48/mode/2up" target="_blank">pp. 38-46</a>). Early on there were also attempts to create a Swedish translation. Erik XIV (1533-1577), Gustav Vasa's son who had been deposed by his brother in 1568, tried one during his captivity but his manuscript is lost (see Warmholtz, <a href="https://books.google.de/books?id=tQU_AAAAcAAJ&hl=de&pg=PA43#v=twopage&q&f=false" target="_blank">p. 43</a>). Historian and diplomat Peter Petrejus published <i>En kort och nytthigh Chrönica Om alla Swerikis och Göthis Konungar </i>in 1611 (available at <a href="https://books.google.de/books?id=_VlYAAAAcAAJ&hl=de&pg=PP1#v=twopage&q&f=false" target="_blank">Google Books</a>). This was a kind of abbreviated popular version of Johannes Magnus' big tome. </div>
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At around the same time one Elai Terserus, probst and vicar, prepared a translation of the complete book but it was never published. Thankfully the manuscript has survived. Only in 1620 a Swedish edition appeared, commissioned by King Gustav Adolf. It was the work of Ericus Schroderus (1570-1647; see <a href="https://sv.wikipedia.org/wiki/Ericus_Benedicti_Schroderus" target="_blank">Wikipedia</a>; <a href="https://sok.riksarkivet.se/sbl/Presentation.aspx?id=6397" target="_blank">Svenskt Biografiskt Lexikon</a>), printer, writer, <i>slotssekreterare</i> and at that time the King's official translator (available at <a href="https://books.google.de/books?id=z0JoAAAAcAAJ&hl=de&pg=PP7#v=twopage&q&f=false" target="_blank">Google Books</a>). Interestingly there were no translations into other languages.</div>
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<b>III.</b></div>
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The first step is now - of course - to look for digital copies of these different editions. Once again the result is impressive. Of the first edition - there were two variants with different title-pages - I found 15 scans. Most of them - 12! - were produced by Google and only three by other libraries. But this is the typical ratio:</div>
<ul>
<li><div style="text-align: justify;">
Historia Ioannis Magni Gothi Sedis Apostolicae Legati Suetiae Et Gotiae Primatis Ac Archiescopi Upsalensis De Omnibus Gothorum Sueonumque Regibus qui unquam ab initio nationis extitere, corumque memorabilibus bellis Late Varieque Per Orbem Gestis, Opera Olai Magni Gothi Fratris eiusdem autoris ac etiam Archiepiscopi Upsalensis in lucem edita. Suscipiant Montes Pacem Populo. Cum Gratia Et Privilegio Iulii III. Pont. Max., Apud Ioannem Mariam de Viottis, Romae, 1554</div>
at <a href="https://books.google.de/books?id=VpCBcnTRrjkC" target="_blank">Google Books</a> [= BNC Roma], also at the <a href="https://archive.org/details/bub_gb_VpCBcnTRrjkC" target="_blank">Internet Archive</a><br />at <a href="https://books.google.de/books?id=o5Dnm3YpAjoC" target="_blank">Google Books</a> [= BNC Roma]<br />at <a href="https://books.google.de/books?id=gUILDrUHTKgC" target="_blank">Google Books</a> [= Biblioteca Alessandrina, Roma]<br />at <a href="https://books.google.de/books?id=zXfLEdGGKYcC" target="_blank">Google Books</a> [= Biblioteca Casanatense]<br />at <a href="https://books.google.de/books?id=TaMJLj4w5PIC" target="_blank">Google Books</a> [= Università di Torino]<br />at <a href="https://books.google.de/books?id=nXlUAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/ABO/%2BZ16720230X" target="_blank">ÖNB</a>]<br />at <a href="https://books.google.de/books?id=ZVFhAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11197031-8" target="_blank">BSB/SBB Augsburg</a>]<br />at <a href="https://books.google.de/books?id=ps9fAAAAcAAJ" target="_blank">Google Books</a> [= NCR]<br />at <a href="http://www.dbc.wroc.pl/dlibra/docmetadata?id=17728" target="_blank">Lower Silesian Digital Library</a> (DBC) [djvu]<br />at <a href="http://www.bvh.univ-tours.fr/Consult/index.asp?numfiche=1143" target="_blank">BVH</a>, Tours<br />at <a href="http://litteraturbanken.se/#!/forfattare/JohannesMagnus/titlar/Historia/sida/VII/faksimil" target="_blank">Litteraturbanken.se</a> </li>
<li><div style="text-align: justify;">
Gothorum Sveonum Que Historia Autore Io. Magno Gotho Archiepiscopo Upsalensi, Apud Ioannem Mariam de Viottis, Romae, 1554</div>
at <a href="https://books.google.de/books?id=-BtdHL1QkK8C" target="_blank">Google Books</a> [= Biblioteca Casanatense]<br />at <a href="https://books.google.de/books?id=lXhUAAAAcAAJ" target="_blank">Google Books </a>[= <a href="http://data.onb.ac.at/ABO/%2BZ167202402" target="_blank">ÖNB</a>]<br />at <a href="https://books.google.de/books?id=LVFhAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11197030-2" target="_blank">BSB/SBB Augsburg</a>]<br />at <a href="https://books.google.be/books?id=etxEAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://lib.ugent.be/catalog/bkt01:000306927" target="_blank">UB Gent</a>]</li>
</ul>
<div style="text-align: justify;">
As far as I can see all are in decent quality. It is always necessary to be careful with scans by Google. Often enough something is missing: illustrations, fold-outs or supplements. In this case there was not much to do wrong. Some of them look a little bit uneven - too many fingers! - but otherwise they all seem to be usable. One problem remains: even though most of them are available online as colored scans they can be downloaded at Google Books only as pdfs in black and white and sometimes worse quality. This is annoying and should be corrected. But at least the copies made for the BSB and the ÖNB can also be downloaded as colored pdfs from their own repositories.</div>
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<div style="text-align: justify;">
The three digital copies not produced by Google are also reliable. The one at the <i>Lower Silesian Digital Library</i> is a little bit difficult to use: it is in <i>djvu</i> and the online reader is awfully slow. Another one is available at the BVH (= Les Bibliothéques Virtuelles Humanistes). That is, by the way, an excellent digital library. <i>Litteraturbanken.se</i> is also an important and helpful resource. They offer a great selection of Swedish literature from the earliest times to the 20th century and naturally one can find there also Johannes Magnus' <i>Historia</i>. But their reader is not as effective and flexible as I would wish and apparently it is not possible to download this book as a pdf.</div>
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The later editions are also available online. I found 11 digital copies of the one published in 1558. Once again most of them were produced by Google. The other two are a little bit more rare. Of the third edition printed in Cologne in 1567 there is only one and of the fourth from 1617 there are three:</div>
<ul>
<li><div style="text-align: justify;">
Gothoruum Sveonumque Historia, Ex Probatis Antiquorum Monumentis Collecta, & in xxiiii. libros redacta, Autore IO. Magno Gotho, Archiepiscopo Upsalensi. Cum Indice rerum ac gestorum memorabilium locopleußimo. Basileae Ex Officina Isingriniana, anno á Christonato, 1558</div>
at <a href="https://books.google.de/books?id=lolAwJlBFxcC" target="_blank">Google Books</a> [= BNC Roma], also at the <a href="https://archive.org/details/bub_gb_lolAwJlBFxcC" target="_blank">Internet Archive</a><br />at <a href="https://books.google.de/books?id=FzleD_AGhsAC" target="_blank">Google Books</a> [= Biblioteca Alessandrina, Roma]<br />at <a href="https://books.google.de/books?id=gvn2K2t6RJUC" target="_blank">Google Books</a> [= BM Lyon]<br />at <a href="https://books.google.de/books?id=athgAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/ABO/%2BZ204821903" target="_blank">ÖNB</a>]<br />at <a href="https://books.google.de/books?id=qfpTAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10206684-3" target="_blank">BSB</a>]<br />at <a href="https://books.google.de/books?id=qvlYAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11098588-9" target="_blank">BSB/SB Regensburg</a>]<br />at <a href="https://books.google.de/books?id=FlZhAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11248984-0" target="_blank">BSB/SBB Augsburg</a>]<br />at <a href="https://books.google.be/books?id=ZKZJAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://lib.ugent.be/catalog/bkt01:000151523" target="_blank">UB Gent</a>]<br />at <a href="https://books.google.de/books?id=x31gAAAAcAAJ" target="_blank">Google Books</a> [= NCR]<br />at <a href="http://dx.doi.org/10.3931/e-rara-3888">e-rara</a>, UB Zürich<br />at <a href="http://hdl.handle.net/10481/4675" target="_blank">Universidad de Granada</a> [pdf-b&w]</li>
<li><div style="text-align: justify;">
Historiae (Qua Vix Alia Lectu Iucundior) De Gothorum Sveonumqve Rebus Gestis, Lib. XXIIII. Antiquitatis reconditae studiosis apprimè utiles, Ioh. Magno, Gotho, Archiepiscopo upsalensi, auctore: Non Sine Verborum & Rerum locuplete tabella. Coloniae, Apud Ioannem Birckmannum, 1567</div>
at <a href="https://books.google.de/books?id=zNlTAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10206685-8" target="_blank">BSB</a>]</li>
<li><div style="text-align: justify;">
Gothorum Sveonumque Historia, Ex Probatis Antiquorum monumentis collecta, & in 24. libros redacta, Autore Jo. Magno Gotho, Archiepiscopo Vpsalensi. Cum Indice rerum ac gestorum memorabilium locupletissimo. Jam denuo summ side recognita, à mendis nonullis fideliter repurgata, & in honorem Serenis. Illustratiss. ac Potentiss Regis, Nationumq; Sveciae. Secunda vice edita. Sumptibus & cura Zachariae Schüreri Bibliopolae, 1617</div>
at <a href="https://books.google.de/books?id=HpFlAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/ABO/%2BZ221564506" target="_blank">ÖNB</a>]<br />at <a href="https://books.google.de/books?id=di79qFtN8yEC" target="_blank">Google Books</a> [= BM Lyon]<br />at <a href="http://resolver.staatsbibliothek-berlin.de/SBB00001EE100000000" target="_blank">SB Berlin</a> </li>
</ul>
<div style="text-align: justify;">
The Swedish editions haven't been digitized that often. There is at the moment only one digital copy of the first edition of Petrejus' <i>Chrönica</i> as well as one of a later edition. Both are by Google, of course. They are usable even though in case of the latter some mishaps seem to have happened during the scanning process:</div>
<ul style="text-align: justify;">
<li>Petrus Petrejus, En kort och nyttigh Chrönica Om alla Swerikis och Göthis Konungar, som hafwa både in och uthrijkis regerat, ifrån then Första Konung Magogh, in til thenna höghlosliga nu regerande Konungh Carl then IX. [...], Reusner, Stockholm, 1611,<br />at <a href="https://books.google.de/books?id=_VlYAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10899176-8" target="_blank">BSB</a>]</li>
<li>-, Meurer, Stockholm, 1656,<br />at <a href="https://books.google.de/books?id=8d9AAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10452209-6" target="_blank">BSB</a>] (not so good)</li>
</ul>
<div style="text-align: justify;">
There is also only one digital copy available of Schroderus' translation published in 1620. I must admit I can't understand why this book hasn't been digitized by a Swedish library. Here once again Google comes to help. They have scanned the British Library's copy:</div>
<ul style="text-align: justify;">
<li>Joannis Magni Archiep. Upsal. Swea och Götha Cronica; Hwaruthinnan beskrifwes, icke allena the Inrikis Konungars lefwerne och namnkunnige bedrifter uthi thera eghit Fosterland: Räknandes ifrån Magog Japhetson, Götha första Regent, in til then Stormächtige (Christeligh och höglosligh i åminnelse) Konung Göstaff: Uthan och the uthländske Göthers loslighe Regimente och store Mandon, som the på många ortar uthoefwer wijda Werlden, och särdeles uthi Hispanien och Italien bedrifwit hafwe. Aldraförst på åthskillige tijder och rum uthgången på Latin, Och nu på Swenska uthtålkat aff Erico Schrodero Stockholms Slots Secretario. Tryckt uthi Stockholm, hoos Ignatium Meurer, 1620, at <a href="https://books.google.de/books?id=z0JoAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://access.bl.uk/item/viewer/ark:/81055/vdc_100032557410.0x000001#ark:/81055/vdc_100032557434.0x0000bc|open" target="_blank">BL</a>]</li>
</ul>
<div style="text-align: justify;">
This was only added to Google Books recently, in May 2016. The quality is fine. The problem is - as usual - that it can only be downloaded in black and white and the pdf doesn't look as good as what can be seen online. It is also possible to access this book on the site of the British Library. But their viewer seems to be in an experimental stage and is not as flexible and effective as it should be. Strangely it is not possible to download a complete book as a pdf.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But I don't want to complain. Digital copies of all the different editions of Magnus' Historia are available and can be used. Of course it is still necessary to check their quality but that should go without saying. Once again we can also see how much Google has contributed. I am often very critical about what they offer. But without them we wouldn't have much and the world of digital books would look rather empty. In fact in many cases serious work would not even be possible.</div>
<br />
<br />
<div style="text-align: center;">
<b>IV.</b></div>
<br />
<div style="text-align: justify;">
Now I can return to Johannes Magnus' song about King Eric and its publication history (see Schück 1891, <a href="https://archive.org/stream/bub_gb_bRE2AAAAMAAJ#page/n295/mode/2up" target="_blank">pp. 283-8</a>; Jonsson 1967, pp. 667-81; Swanson 2000) which is also easy to illustrate with the help of online resources. Nearly all the relevant older literature has been digitized. As already mentioned the original version of the text appeared in 1554 in the first edition of the <i>Historia De Omnibus Gothorum Sueonumque Regibus</i> (here <a href="https://archive.org/stream/bub_gb_VpCBcnTRrjkC#page/n89/mode/2up" target="_blank">pp. 27-8</a>; see 2nd ed., 1558, <a href="https://archive.org/stream/bub_gb_lolAwJlBFxcC#page/n49/mode/2up" target="_blank">pp. 33-4</a>):</div>
<blockquote class="tr_bq">
Primus in regnis Geticis coronam<br />
Regiam gessi, subiique Regis<br />
Munus, & mores colui sereno<br />
Principe dignos<br />
[...]</blockquote>
<div style="text-align: justify;">
It consists of 10 verses (Engl. translation in Swanson, pp. 58-9). Here the reader learned that King Eric was the founder of what would become Denmark. He sent out convicts to settle there. Later Dan, son of King Humle, was appointed King of this country. This song was completely in line with the anti-Danish stance expressed throughout Magnus' book. He claimed that it was known all over Sweden and that his text was a Latin translation of this popular piece.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But there is good reason to assume that had simply written this "old" song himself : "Hans Eriksvisa är nämligen intet annat än en amplifierad parafras af lilla Rimkrönikans inledningsstycke" (Schück, <a href="https://archive.org/stream/bub_gb_bRE2AAAAMAAJ#page/n299/mode/2up" target="_blank">p. 287</a>). This chronicle (c. 1450) starts with a short monologue by fictitious King Erik (here in: Scriptores Rerum Suecicarum, <a href="https://archive.org/stream/ScriptoresRerumSvecicarum1818/Scriptores_rerum_Svecicarum_1818#page/n291/mode/2up" target="_blank">p. 252</a>):</div>
<blockquote class="tr_bq">
Jak var förste Konung i Giöthaland redh,<br />
Ta bodde ingen i skane eller Wetaleedh,<br />
Jak lot them byggia och upptaga<br />
[...]</blockquote>
<div style="text-align: justify;">
There is no evidence that a song like this has ever existed in Sweden. He created it anew and made it fit his narrative: it served both as a historical source and as a "political statement", not at least because he could present a song from Sweden that was "far older than anything Danish" (Swanson, p. 58).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
At this point there was an old Swedish song, but only in Latin. The Swedish text would be created with the translations of Magnus's <i>Historia</i> several decades later. The first was Elaus Terserus in 1611. His attempt - not published at that time (but in Säve 1850, <a href="https://archive.org/stream/SaeveEriksvisan1849/Saeve_Eriksvisan_1849#page/n63/mode/2up" target="_blank">p. 58-9</a>; Hyltén-Cavallius 1853, <a href="https://archive.org/stream/SverigesHistoriskaOchPolitiskaVisor1853/Sveriges_historiska_och_politiska_Visor_1853#page/n25/mode/2up" target="_blank">pp. 10-11</a> ) - was not an exact translation but can be described as a "fairly generous re-conception of the poem as a Swedish text" (Swanson, p. 53):</div>
<blockquote class="tr_bq">
Erik han var den förste Kong<br />
I Göthe landett wijde,<br />
Aff sinne och modh dhå war han from´,<br />
Som någon dher kunne rijde.<br />
Så låther han först ergie uthi Juthland<br />
[...]</blockquote>
<div style="text-align: justify;">
He added an extra refrain line - "Så låther han först ergie uthi Juthland" - that emphasized the anti-Danish message even more: King Eric was the first to plow in "Juthland". This did not mean Jutland but Skåne in the south of Sweden which was at that time a part of Denmark.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Schroderus included in his translation of the <i>Historia</i> both the original Latin text and a new Swedish version (<a href="https://books.google.de/books?id=z0JoAAAAcAAJ&hl=de&pg=PA8#v=twopage&q&f=false" target="_blank">pp. 8-10</a>). He was surely familiar with Terserus' text but he made it look older and used "en besynnerlig arkaiserande rotvälska" (Schück, <a href="https://archive.org/stream/bub_gb_bRE2AAAAMAAJ#page/n295/mode/2up" target="_blank">p. 284</a>). "Vätulum"apparently included Småland, Skåne and Denmark as a whole (see Afzelius 1839, <a href="https://archive.org/stream/swenskafolketss00afzegoog#page/n47/mode/2up" target="_blank">p. 34</a>):</div>
<blockquote class="tr_bq">
In Eiriker fyrsti Kununge war<br />
I Göthalandinu widhu<br />
I bragd uk i hughi sniäller mar,<br />
I Wighi swa uk i fridhi.<br />
Han war uk er fyrsti uthi Vätulum ärdi.<br />
[...]</blockquote>
<div style="text-align: justify;">
We can see here how this "song" was created and then shaped to fit its purpose. First there was Magnus' fabricated Latin text together with the claim that it was well known in Sweden and also "old". Terserus then produced the missing - i. e. not existing - Swedish text. His was still in the language of that time. Schroderus then turned it into an "old" song by adjusting the language a little bit. This would become the standard version. This is an early and very interesting example of how an "authentic" old song was produced. It only existed in the fantasy of these scholars but they made it real.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Strangely this text was only rarely referred to and quoted during the 17th century. I would have expected more. Two verses from Schroderus' translation were reprinted in an obscure historical tract, Wattrangius' <i>Theatridium Sveo-Gothicarum Antiquitatum</i> (1647, <a href="https://books.google.de/books?id=N-VmAAAAcAAJ&hl=de&pg=PA25#v=twopage&q&f=false" target="_blank">p. 24</a>). <i>Riksantikvarie</i> Olav Verelius quoted three verses in a note in his edition of the <i>Hervarar Saga</i> (1672, <a href="https://archive.org/stream/HervararSagaPGam000173321v0HervReyk/HervararSagaPGam000173321v0HervReyk_orig#page/n129/mode/2up" target="_blank">p. 113</a>). This, by the way, was one of the few Old Norse sagas about the Goths and medieval Sweden (see <a href="https://en.wikipedia.org/wiki/Hervarar_saga_ok_Hei%C3%B0reks" target="_blank">Wikipedia</a>). A new translation of one single verse from Magnus' original version can be found in a dissertation published in 1687 (see Hyltén-Cavallius , <a href="https://archive.org/stream/SverigesHistoriskaOchPolitiskaVisor1853/Sveriges_historiska_och_politiska_Visor_1853#page/n21/mode/2up" target="_blank">p. 6</a>). Two decades later one respectively two verses - this time taken from Verelius' book - were included in two other dissertations (see dto. p. 5). But that was all.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
By all accounts there were no attempts to turn the text into a real popular song. It was never printed on a broadside. That would have been a not unreasonable idea. Instead this piece remained confined to publications for the learned elite. There is no evidence that it was known among the real people. Already during the 17th century "old ballads" were collected from rural singers (see the overview in Jonsson) but no variant from oral tradition has been found in Sweden, neither at that time nor later.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Johann Hadorph (1630-1693), historian and chairman of the <i>antikvariatskolleg</i>, claimed - in a note in his at that time unpublished edition of a chronicle - that it was still sung in parts of the country ("[...] "cantilenam, quam adhuc in Vestrogothia et Dalia plebeii homines canunt"). But this is highly unlikely (see Jonsson, p. 680). In fact he only quoted two verses that he had taken from either Schroderus or Verelius. Hadorph's rather misleading contribution to this topic was only made available much later, in 1818, in Fant's <i>Scriptores Rerum Svecicarum</i> (see here <a href="https://archive.org/stream/ScriptoresRerumSvecicarum1818/Scriptores_rerum_Svecicarum_1818#page/n277/mode/2up" target="_blank">p. 240</a>).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
During the 18th century Johannes Magnus' curious "song" more or less fell into oblivion. But then it returned and became much better known than during its first life. This old text was revived in 1811 by Arvid August Afzelius (1785-1871; see <a href="https://de.wikipedia.org/wiki/Arvid_August_Afzelius" target="_blank">Wikipedia</a>), pastor, poet and scholar, one of the mainstays of the new Gothic revival (see <i>Götiska Förbundet</i>, at <a href="https://en.wikipedia.org/wiki/Geatish_Society" target="_blank">Wikipedia</a>) and the Swedish romantic era. He - together with historian Erik Gustav Geijer (1783-1847, see <a href="https://de.wikipedia.org/wiki/Erik_Gustaf_Geijer" target="_blank">Wikipedia</a>) - compiled the very first collection of Swedish "Folkvisor" (1814-18, see Vol. 1, at the <a href="https://archive.org/stream/svenskafolkviso02folkgoog#page/n8/mode/2up" target="_blank">Internet Archive</a>). His first publications were new translations of some Old Norse sagas, among them the <i>Herwara Saga</i> (1811). One may assume that he was familiar with Verelius' edition and and therefore also had become acquainted with the song about King Erik.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">But he didn't only quote the three verses from that book but instead included in his notes the complete Swedish text (here <a href="https://archive.org/stream/Herwarasaga000173322v0HervReyk/Herwarasaga000173322v0HervReyk_orig#page/n109/mode/2up" target="_blank">pp. 105-6</a>). In fact this was the very first time since Schroderus' <i>Cronica</i> in 1620 that all 10 verses were published and it is clear that this also must have been his source. But there is no reference to Magnus or even to Schroderus and he preferred not to tell about his source. At least he modernized the language a little bit and avoided some of the more absurd archaisms of the original version. Interestingly Afzelius called it here "en gammal folkvisa" - an old national song - about King Erik "som skall hafwa warit den förste Konung i Göthaland". He appears to have been somewhat skeptical and interestingly the song was not included in Afzelius' and Geijer's <i>Swenska Folkevisor från Forntiden</i> that was published shortly later.
</div><div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But afterwards it was regularly reprinted and discussed. By all accounts there were very few doubts about its "authenticity". At that time such an "old" song was always welcome. The year 1818 saw the publication of Fant's <i>Scriptores Rerum Svecicarum</i>. Here Hadorph's - dubious - claim that the song was still known to the people was published for the first time. A year later a new edition of Afzelius' <i>Herwara Saga</i> came out (<a href="https://archive.org/stream/Herwarasaga000173323v0HervReyk/Herwarasaga000173323v0HervReyk_orig#page/n87/mode/2up" target="_blank">pp. 87-8</a>) and in 1825 historian Geijer published the first and only part of his <i>Svea Rikes Häfder</i>. This was a kind of history of Sweden starting with its mythical beginnings. Here (<a href="https://archive.org/stream/svearikeshfder01geijgoog#page/n134/mode/2up" target="_blank">p. 113</a>) he quoted not the complete text but only the three verses from Verelius' book, referred to Hadorph and - like Afzelius - described it as "en gammal Svensk Folkvisa".</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Later historian Anders Magnus Strinnholm in his <i>Svenska Folkets Historia</i> (1834, here <a href="https://archive.org/stream/svenskafolketsh11strigoog#page/n113/mode/2up" target="_blank">pp. 90-1</a>) and literary historian Peter Wieselgren, in his <i>Sveriges Sköna Litteratur</i> (1834, <a href="https://archive.org/stream/sverigessknalit00wiesgoog#page/n93/mode/2up" target="_blank">p. 77</a>) took their cue from Geijer and also recycled these three verses. Afzelius himself used this "gammal visa" again in his <i>Svenska Folkets Sago-Häfder, eller Fäderneslandets Historia</i> (Vol. 1, 1839, <a href="https://archive.org/stream/swenskafolketss00afzegoog#page/n47/mode/2up" target="_blank">pp. 34-6</a>; 2nd ed. 1844, <a href="http://hdl.handle.net/2027/uc1.b4783235?urlappend=%3Bseq=64" target="_blank">pp. 38-40</a> ; 3rd ed. 1860, <a href="https://books.google.de/books?id=tuwnAQAAMAAJ&hl=de&pg=PA36#v=twopage&q&f=false" target="_blank">pp. 37-9</a>). This was a popular and often reprinted patriotic history of Sweden in many volumes, based on "Sägner, Folksånger och andra Minnesmärken aand written for the people: "Till Läsning för Folket".</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
He presented one verse of of Schroderus' original text and then the complete song "på ett något yngre språk", in a modernized Swedish. In fact this was the same text he already had used in his edition of the <i>Herwara Saga</i>. Here Afzelius once again reiterated the great narrative of Sweden's mythical golden era with the old Gothic kings. Of course at that time it was pure Folklorism and - one may assume - had lost all the political vigor . But at least it still sounded like a good and worthwhile story. Any serious discussion of the text's publication history or of its value as an historical source was still missing here. At this time King Erik also became known in Germany. Both Geijer's and Afzelius' books were translated and published there (1826, <a href="https://books.google.de/books?id=DOBAAAAAcAAJ&hl=de&pg=PA92#v=twopage&q&f=false" target="_blank">p. 92</a>; 1842, <a href="https://archive.org/stream/volkssagenundvo1v3afze#page/n103/mode/2up" target="_blank">pp. 75-8</a>).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The first real scholarly examination only came out in 1849: linguist Carl Säve's (1812-1876; see <a href="https://sv.wikipedia.org/wiki/Carl_S%C3%A4ve" target="_blank">Wikipedia</a>) dissertation<i> Eriks-Visan. Ett Fornsvenskt Qväde, Behandlat in Språkligt Afseende</i> . This was a very strange work. On one hand he had access to the manuscript of Terserus' translation of Johannes Magnus' <i>Historia</i> (1611) and therefore was able to make available in print the earliest extant Swedish text (<a href="https://archive.org/stream/SaeveEriksvisan1849/Saeve_Eriksvisan_1849#page/n63/mode/2up" target="_blank">pp. 58-9</a>). This was a helpful and important addition. But on the other hand Säve's theories about the song's history now look patently absurd.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Informed and encouraged by George Stephens (1813-1895; see <a href="https://en.wikipedia.org/wiki/George_Stephens_(philologist)" target="_blank">Wikipedia</a>, <a href="https://sok.riksarkivet.se/sbl/Presentation.aspx?id=20150" target="_blank">SBL</a>; see also Byrman 2008), an English scholar working in Sweden at that time who had done some research, he claimed - without any supporting evidence - that this "urgamla Svenska qväde" was first written down in runes not later than the 13th century. But - he added - it must have been put together much earlier, based on "ännu äldre traditioner" (pp. 6-7). The absurdity reached its peak with his attempt to reconstruct the text's original form. Then he translated his fantasy-text back into more modern Swedish. This was all very dubious and a good example of misguided scholarship.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">A little more realism was brought into the discussion by Norwegian scholar P. A. Munch who showed that the fictitious King Erik was invented only during the 15th century and therefore the song can't be older (1850, <a href="https://archive.org/stream/AnnalerForNordiskOldk1850/Annaler_for_nordisk_Oldk_1850#page/n335/mode/2up" target="_blank">pp. 330-1</a>). But the above-mentioned Mr. Stephens must have missed this article. In 1853 he - together with Gunnar-Olof Hyltén-Cavallius - published <i>Sveriges Historiska och Politiska Visor</i>, an anthology of historical and political ballads. This was for the greatest part an excellent and very helpful work. The song about King Erik was regarded as the oldest extant ballad and therefore placed first (here No. 1, <a href="https://archive.org/stream/SverigesHistoriskaOchPolitiskaVisor1853/Sveriges_historiska_och_politiska_Visor_1853#page/n15/mode/2up" target="_blank">pp. 1-18</a>). But what is offered here looks more like wishful thinking.</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Of course they - like their predecessors and also Säve in his dissertation - presumed a lost Swedish original version. There was still the belief that Magnus' Latin text was only a translation. Also most extant texts - those by Terserus, Schroderus, Wattrangius, Verelius, Lund, Hadorph and Afzelius - were regarded as individual variants derived from this assumed Urtext. Just like Säve they also included a fanciful "reconstruction" of the "original" version that looked equally absurd (<a href="https://archive.org/stream/SverigesHistoriskaOchPolitiskaVisor1853/Sveriges_historiska_och_politiska_Visor_1853#page/n31/mode/2up" target="_blank">pp. 16-8</a>). This was "Urtext-romanticism pressed to its uttermost" (Swanson, p. 57). What we can see here is a history of a song that never existed. The enthusiasm about such an "old" song must have seriously hindered these scholars' critical abilities.
</div><div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
After this curious excesses it became somewhat quiet. But as late as 1882 King Erik's song - in this case Terserus' translation - still found a place in Klemming's <i>Svenska Medeltids Dikter och Rim</i>, an anthology of medieval Swedish poetry (Vol. 2, No. 11, <a href="https://archive.org/stream/SvenskaMededeltidsDikterOchRim/Svenska_medeltids_dikter_och_rim_utg_af#page/n431/mode/2up" target="_blank">pp. 401-2</a>, notes, p. 523-4). The editor rejected all dubious claims about its old age but nonetheless thought it genuine. He dated the assumed original text - following Munch's work - as from the 15th century.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Only in 1891 literary historian Henrik Schück managed to shatter all scholarly illusions about this piece. In an article in the <i>Historisk Tidskrift</i> about <i>Våra äldsta historiska folkvisor</i> (here <a href="https://archive.org/stream/bub_gb_bRE2AAAAMAAJ#page/n295/mode/2up" target="_blank">pp. 283-8</a>) he showed convincingly that Johannes Magnus' Latin text was the original version from which all later "variants" were derived, either directly or indirectly. A Swedish <i>Urtext</i> never existed. Not only did he see clearly that Magnus had produced simply an extended "parafras" of the relevant part about King Erik in the <i>Minor Rhyme Chronicle</i>. He also noted that the translations by Terserus and Schroderus did not offer anything more than the original Latin text: "De innehåller intet, hvilket icke står att läsa på latin [...]" (p. 285). Johannes Magnus had claimed that his piece was only a translation of a part of a Swedish song. But - in fact - nobody ever managed to find more verses.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It was Schück's article that actually buried this "urgamla visa" and later scholars - with only few exceptions - followed his reasoning (see Jonsson, p. 679). Bengt Jonsson also discussed the song in his <i>Svensk Balladtradition</i> (1967, here pp. 667-81), but only in the chapter about pastiches and falsifications. He once again examined all relevant literature but saw no reason to reanimate this piece. Otherwise it was more or less ignored since then and I found only one recent article (Swanson 2000).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
But why should we discuss Bishop Magnus' obvious fraud? His "old song" was excellent work and it took nearly 350 years until it was debunked. This doesn't speak well for the critical abilities of the scholars who fell for this trick. But there is no reason to mock them. They all - Afzelius, Geijer, Säve, Hyltén-Cavallius, Stephens et al. - did a lot of excellent work. But this particular field - Folkloristics, or the research into the products of the "folk" - is and was prone to flights of fancy. It is an interesting and instructive chapter in the history of this genre. In fact nothing should be taken for granted and one should be particularly suspicious of everything that is claimed to be "old" or even "very old". </div>
<div style="text-align: justify;">
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But there are more reasons to have a look at this piece. Swanson (p. 58) notes that "no-one seems ever to have taken Johannes Magnus's poem seriously, neither as a text nor as a cultural artifact". It was regarded either a translation of an original Swedish song with no particular creative input by him or as a fabrication not worth further discussion after it was exposed as such. This is too narrow a perspective. Swanson (p. 62) sees it as an early example of "neo-Latin poetry". That's correct. But equally valid is another perspective and here I can return to the start. </div>
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Johannes Magnus' song of King Erik was in fact a very early example of what would later be defined as the songs of the people - "Volkslied" in German, "national songs" of "Folk-songs" in English - and it should be seen as a part of the prehistory of the genre. As already mentioned this text was published years before nearly all other early contributions. In this respect it doesn't matter that it was not "authentic". For a long time the text was regarded as genuine.</div>
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At around the same time Münster in his <i>Cosmographei</i> (1550, <a href="https://archive.org/stream/bub_gb_d3hAi9SIEAgC#page/n1005/mode/2up" target="_blank">p. 929</a>) and Goebel in his book about amber (1566, <a href="http://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN672635984&PHYSID=PHYS_0020" target="_blank">[p. 20]</a>; see in this blog: <a href="https://hummingadifferenttune.blogspot.de/2016/06/jeru-jeru-mascolon-remarks-about.html" target="_blank">"Jeru, Jeru, Mascolon" - The Remarks About a Livonian Lament in Löwenklau's Annales Sultanorum Othmanidarum, 1588</a>) referred to a Baltic song, "Jeru" or "Jehu, Jehu". But this was only a fragment of one word. Magnus instead offered an nearly complete song of 10 verses that made sense. For the learned readership at which Magnus' <i>Historia</i> was aimed it looked like the very first indigenous song of quasi-"exotic" people from the European periphery. That was something new. Here we can also see an increased "ethnographic" interest in the music of "exotic" people both in and outside of Europe. Olaus Magnus - the editor and publisher of his late brother's great work - also referred to the musical practices of the Swedish "folk" in his immensely popular <i>Historia de Gentibus Septentrionalibus</i> (1555, see here <a href="https://archive.org/stream/bub_gb_O9lEAAAAcAAJ#page/n609/mode/2up">p. 521</a>, p. 523) but didn't include any examples.</div>
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On the other hand Bishop Magnus also anticipated - or perhaps even introduced - a particular technique that would win great favor among the learned elites interested in the songs of the people: if the "folk" didn't produce what was needed it was no problem to create something new and claim it was sung by them. In this respect he also was a pioneer. Magnus wanted to prove the existence of a fictitious king and the early settlement of Denmark from Sweden. Therefore he invented this song which served as a political statement and an historical source. That was a forward-looking idea.</div>
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Writing new "old" ballads would become a not uncommon pastime of interested scholars and poets. For example Laurids Kock (1634-1691) in Denmark, clergyman, writer and linguist, produced several historical ballads that were then included in Peder Syv's new extended edition of Vedel's collection (200 Viser om Konger, Kemper og Andre, 1695; later editions: 1739, at the <a href="https://archive.org/stream/ethundredeudval00visegoog#page/n1/mode/2up" target="_blank">Internet Archive</a>; 1764, at <a href="http://urn.nb.no/URN:NBN:no-nb_digibok_2014031928001" target="_blank">NB, Oslo</a>). One of these texts, "Danmark, dejligst Vang og vaenge" about the legendary queen Thyre Dannebod (here <a href="http://www.nb.no/nbsok/nb/95e571d48eec8344afef9589612d0109?index=6#595" target="_blank">p. 545</a>), was set to music in the early 19th century and became one of the most popular patriotic songs (see Dumreicher & Madsen 1956).</div>
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Pastiches, falsifications and songs in the "style" of the people - whatever that is - have always been a major part of the genre. Often enough scholars, editors and collectors have doctored texts and tunes or even passed off their own works as traditional. Today there are many so-called "Folk-songs" - political statements sung to a simple tune with three chords - that were surely not written by the "folk" but receive a certain kind of cultural legitimation from its pretended connection to the people. It would not be too far-fetched to regard the old Bishop as the long-forgotten inventor of this still popular genre.</div>
<br />
<b>Literature</b><br />
<ul style="text-align: justify;">
<li>[Arvid August Afzelius], Herwara-Saga. Översättning från gamla Isländskan, Nordström, Stockholm, 1811, at the <a href="https://archive.org/stream/Herwarasaga000173322v0HervReyk/Herwarasaga000173322v0HervReyk_orig#page/n5/mode/2up" target="_blank">Internet Archive</a> (also 2nd ed. 1819, at the <a href="https://archive.org/details/Herwarasaga000173323v0HervReyk" target="_blank">Internet Archive</a>)</li>
<li>Arvid August Afzelius, Svenska Folkets Sago-Häfder, eller Fäderneslandets Historia, sådan hon lefwat och till en del ännu lefwer i Sägner, Folksånger och andra Minnesmärken. Till Läsning för Folket. Första Delen, Hedna Tiden till Ansgarius, Haeggström, Stockholm, 1839, at the <a href="https://archive.org/details/swenskafolketss00afzegoog" target="_blank">Internet Archive</a> [= GB]; 2nd ed., 1844, at <a href="https://catalog.hathitrust.org/Record/011589072" target="_blank">Hathi Trust</a>; 3rd. ed., 1860, at <a href="https://books.google.de/books?id=tuwnAQAAMAAJ" target="_blank">Google Books</a></li>
<li>Arvid August Afzelius, Volkssagen und Volkslieder aus Schwedens älterer und neuerer Zeit. Aus dem Schwedischen übersetzt von Dr. F. H. Ungewitter. Mit einem Vorwort von Ludwig Tieck, Kollmann, Leipzig, 1842, 3 Vols., at the <a href="https://archive.org/details/volkssagenundvo1v3afze" target="_blank">Internet Archive</a></li>
<li>Gunilla Byrman (ed.), En värld för sig själv. Nya studier i medeltida ballader, Växjö, 2008 (<a href="http://urn.kb.se/resolve?urn=urn%3Anbn%3Ase%3Avxu%3Adiva-1874" target="_blank">urn:nbn:se:vxu:diva-1874</a>)</li>
<li>Carl Dumreicher & Ellen Olsen Madsen, Danmark, Dejligst Vang og Vænge. Om Danevirkevisens Digter Laurids Kok, dens Komponist og dens Historie, København, 1956</li>
<li>Erik Gustav Geijer, Svea Rikes Häfder. Första Delen, Palmblad, Uppsala, 1825, at the <a href="https://archive.org/details/svearikeshfder01geijgoog" target="_blank">Internet Archive</a></li>
<li>Gunnar Olof Hyltén-Cavallius & George Stephens, Sveriges Historiska och Politiska Visor, Första Delen. Från Äldre Tider Intill år 1650, Lindh, Örebro, 1853, at <a href="https://books.google.de/books?id=-n0AAAAAcAAJ" target="_blank">Google Books</a></li>
<li>Erik Gustav Geijer, Schwedens Urgeschichte. Aus dem Schwedischen, Seidel, Sulzbach, 1826, at <a href="https://books.google.de/books?id=DOBAAAAAcAAJ" target="_blank">Google Books</a></li>
<li>Kurt Johannesson, Gotisk Renässans. Johannes and Olaus Magnus as Politicians and Historians, Stockholm, 1982</li>
<li>Bengt Jonsson, Svensk balladtradition. I. Ballad källor och balladtypor, Stockholm, 1967 (= Svensk Visarkivs handlingar 1)</li>
<li>G. E. Klemming, Svenska Medeltids Dikter och Rim, Norstedt, Stockholm, 1881 & 1882, at the <a href="https://archive.org/details/SvenskaMededeltidsDikterOchRim" target="_blank">Internet Archive</a></li>
<li>Sten Lindroth, Johannes Magnus, in: Svenskt Biografiskt Lexikon 20, 1973-1975, p. 220, online at <a href="https://sok.riksarkivet.se/sbl/Presentation.aspx?id=12115" target="_blank">riksarkivet</a>, urn:sbl:12115</li>
<li>Hilding Lidell, Studier i Johannes Messenius Dramer. Akademisk Avhandlung, Uppsala, 1935</li>
<li>P. A. Munch, Om Kilderne til Sveriges Historia i den förchristelige Tid, 1850, in: Annaler for Nordisk Oldkyndighet och Historie, 1850, p. 291-358, at the <a href="https://archive.org/stream/AnnalerForNordiskOldk1850/Annaler_for_nordisk_Oldk_1850#page/n295/mode/2up" target="_blank">Internet Archive</a></li>
<li>Kristoffer Neville, Gothicism and Early Modern Historical Ethnography, in: Journal of the History of Ideas 70, 2009, pp. 213-234, at <a href="http://jhi.pennpress.org/media/5300/sampleart2.pdf" target="_blank">pennpress.org</a></li>
<li>Astrid Nilsson, Johannes Magnus and the Composition of Truth: Historia de omnibus Gothorum Suenumque regibus, Lund, 2016 (Studia Greca et Latina Lundensia 21) [<a href="http://www.dissertations.se/dissertation/627f6e30a7/" target="_blank">Abstract</a>]</li>
<li>Michael Roberts, The Swedish Imperial Experience 1560-1718, Cambridge, 1984 (1979)</li>
<li>Carl Säve, Eriks-Visan. Ett Fornsvenskt Qväde, Behandlat in Språkligt Afssende, Norstedt, Stockholm, 1849, at the <a href="https://archive.org/details/SaeveEriksvisan1849" target="_blank">Internet Archive</a> [= <a href="https://books.google.de/books?id=9tIVAAAAYAAJ" target="_blank">GB</a>]</li>
<li>Scriptores Rerum Svecicarum Medii Aevi Ex Schedis Praecipue Nordinianis Collectos Dispositos ac Emendatos, Editit Ericus Michael Fant, Tomus I, Zeipel & Palmblad, Uppsala, 1818, at the <a href="https://archive.org/details/ScriptoresRerumSvecicarum1818" target="_blank">Internet Archive</a> [= <a href="https://books.google.de/books?id=wNJDAAAAcAAJ" target="_blank">GB</a>]</li>
<li>Inken Schmidt-Voges, De antiqua claritate et clara antiquate Gothorum. Gotizismus als Identitätsmodell im frühneuzeitlichen Schweden, Frankfurt am Main, 2004 (= Imaginatio Borealis Bilder des Nordens 4)</li>
<li>Henrik Schück, Våra äldsta historiska folkvisor, in: Historisk Tidskrift 11, 1891, pp. 281-318, at the <a href="https://archive.org/stream/bub_gb_bRE2AAAAMAAJ#page/n293/mode/2up" target="_blank">Internet Archive</a></li>
<li>Karen Skovgaard-Petersen, Historiography at the Court of Christian IV (1588-1648). Studies in the Latin Histories of Denmark by Johannes Pontanus and Johannes Meursius, Copenhagen, 2002</li>
<li>Karen Skovgaard-Petersen, Political Polemics in Early Modern Scandinavia, in: Anne Eriksen & Jón Viðar Sigurðsson (eds.), Negotiating Pasts in the Nordic Countries. Interdisciplinary Studies in History and Memory, Lund, 2009, pp. 79-98</li>
<li>Anders Magnus Strinnholm, Svenska Folkets Historia fran äldsta till närwaramnde tider. Första Bandet: Skandinavien under Hedna-åldern, Hörberg, Stockholm, 1834, at the <a href="https://archive.org/details/svenskafolketsh11strigoog" target="_blank">Internet Archive</a> [= GB]</li>
<li>Peter Frederik Suhm, Critisk Historie af Danmark, udi den hedenske Tid, fra Odin til Gorm den Gamle, I. Bind, Berling, Kiobenhavn, 1774, at the <a href="https://archive.org/stream/critiskhistorie01suhmgoog#page/n4/mode/2up" target="_blank">Internet Archive </a>[= <a href="https://books.google.de/books?id=N84BAAAAYAAJ" target="_blank">GB</a>]</li>
<li>Svenska Folk-Wisor Från Forntiden. Samlade och utgifne af Erik Gustav Geijer och Arvid August Afzelius, Strinholm & Häggström, Stockholm, 1814-16, 3 Vols. + Musical Supplement, at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=23555964&db=100" target="_blank">BSB</a> [= GB; Vol. 1 incompl., musical supplement missing], at <a href="http://solo.bodleian.ox.ac.uk/OXVU1:LSCOP_OX:oxfaleph013943097" target="_blank">Oxford Libraries</a> [= GB], also at the <a href="https://archive.org/search.php?query=Afzelius%20Svenska%20folk-visor%20Oxford" target="_blank">Internet Archive</a> [musical supplement missing], musical supplement at <a href="http://rara.ub.umu.se/bookview/BookViewServlet/ipac/admin/BookViewLoader.jsp?method=getIpacBook&BookId=73" target="_blank">Umeå UB</a>; <a href="http://hdl.handle.net/2027/uiug.30112063875048?urlappend=%3Bseq=8" target="_blank">Hathi Trust</a> [= GB]</li>
<li>Allan Swanson, Eriks-visan. Disappearances of a Song, in; Scandinavian Studies 72, 2000, pp. 49-62 (<a href="http://www.jstor.org/stable/40920195">jstor</a>)</li>
<li>[Olav Verelius], Hervarar Saga på Gammal Götska Med Olai Vereli Uttolkning och Notis, Curio, Uppsala, 1672, at the <a href="https://archive.org/details/HervararSagaPGam000173321v0HervReyk" target="_blank">Internet Archive</a></li>
<li>Carl Gustaf Warmholtz, Bibliotheca Historica Sveo-Gothica; eller Förtekning Uppå Så väl tryckte, som handskrifne Böcker, Tractater och Skrifter, hvilka handla om Svenska Historien, Eller därutinnan kunna gifva Ljus; Med Critisca och Historiska Anmärkingar. Femte Delen, Som innehåller de Böcker och Skrifter, hvilka angå Sveriges almänna Historia och Konunga-Historia til år 1520, Nordström, Stockholm, 1790, at the <a href="https://archive.org/details/bibliothecahist02warmgoog" target="_blank">Internet Archive</a> [= GB]</li>
<li>[Michael Johannis Wattrangius], Theatridium Sveo-Gothicarum Antiquitatum: Textum a Michaele Johan. Wattrangio, Uppsala, 1647, at <a href="https://books.google.de/books?id=N-VmAAAAcAAJ" target="_blank">Google Books</a></li>
</ul>
Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-52749696163337497582016-11-23T10:56:00.000+01:002018-12-10T09:57:45.763+01:00A New Book About The Abbé Vogler <br />
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<b>I. </b> </div>
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Abbé Georg Joseph Vogler (1749-1814), Catholic priest, composer, organ virtuoso - "Europas 1. Orgelspieler" (see Musikalische Korrespondenz 1790, <a href="https://archive.org/stream/bub_gb_kOZCAAAAcAAJ#page/n73/mode/2up" target="_blank">p. 122</a>) -, 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. </div>
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I must admit that I am mostly interested in one particular part of his work (see <a href="https://hummingadifferenttune.blogspot.de/2015/05/polymelos-abbe-voglers-national-airs.html" target="_blank">this little piece</a> here in my blog): Vogler was among the first to publish compilations of international <i>national airs</i>, tunes of "Volkslieder". <i>Polymelos ou Caractères de Musique de differentes Nations</i> in 1791 (at BLB Karlsruhe, <a href="http://digital.blb-karlsruhe.de/id/2255442" target="_blank">DonMusDr 272</a>) 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 <i>national air</i> published in Germany - , two from Russia - one of them a <i>Danse des Cosaques</i> -, a <i>Polonaise</i> and an Italian song.</div>
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He also made a kind of "field-trip" to North Africa to study non-European music (see Vogler 1806, <a href="https://archive.org/stream/bub_gb_CyBDAAAAcAAJ#page/n27/mode/2up" target="_blank">p. 24</a>) and brought back some even more exotic tunes. In his <i>Pieces de Clavecin faciles</i> (1798) we can find - besides the Chinese melody and some European tunes - also a <i>Romance Africaine</i> as well as an <i>Air Barbaresque</i> from Morocco (see <a href="https://archive.org/stream/imslp-de-clavecin-faciles-vogler-georg-joseph/PMLP198859-vogler_musiksk_t-m_pieces_de_clavecin#page/n5/mode/2up" target="_blank">p. 6</a>, p. 20). In 1806 a new version of <i>Polymelos</i> - "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, <a href="https://archive.org/stream/bub_gb_ZbtCAAAAcAAJ#page/n21/mode/2up" target="_blank">col. 43</a>, Schafhäutl, No. 185, <a href="https://archive.org/stream/SchafhVogler1888/Schafh-Vogler-1888#page/n283/mode/2up" target="_blank">pp. 267-8</a>). 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 <a href="https://archive.org/stream/VoglerVaritionsSurDeux/Vogler%2C%20Varitions%20sur%20deux#page/n0/mode/2up" target="_blank">Internet Archive</a>). </div>
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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 <i>national airs</i> and the audience was treated to pieces like the "Terrassenlied der Afrikaner, wenn sie Kalk stampfen" (AMZ 3, No. 12, 17.12.1800, <a href="https://archive.org/stream/bub_gb_Rd0qAAAAYAAJ#page/n113/mode/2up" target="_blank">pp. 192-4</a>). 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 <i>Volkslieder</i> (1778/9) had done with the texts. </div>
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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 <i>national air</i>s in Britain, "borrowed" - without giving appropriate credit to his source - the three Swedish tunes in Vogler's <i>Pieces de Clavecin</i> (here <a href="https://archive.org/stream/imslp-de-clavecin-faciles-vogler-georg-joseph/PMLP198859-vogler_musiksk_t-m_pieces_de_clavecin#page/n9/mode/2up" target="_blank">pp. 10</a>, 16, 30) for his own <i>Lyric Airs. Consisting of Specimens of Greek, Albanian, Turkish, Arabian, Persian, Chinese and Moorish National Songs and Melodies</i> (c. 1805, see <a href="https://archive.org/stream/jones_lyric_airs_1805#page/n59/mode/2up" target="_blank">pp. 27-8</a>). 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. </div>
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<b>II. </b></div>
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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 <a href="https://archive.org/details/SchafhVogler1888" target="_blank">Internet Archive</a>). Then there is <i>In Praise of Harmony</i> by Margaret and Floyd Grave (1987), a useful discussion of the his life and work but surely not exhaustive. </div>
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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. </div>
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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: </div>
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<li>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) </li>
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Both authors are associated with the <i>Forschungsstelle Südwestdeutsche Hofmusik</i>, an important project dedicated to research about music at the courts in Southwestern Germany. There is also an excellent website - <a href="http://www.hof-musik.de/" target="_blank">hof-musik.de</a> - that offers, besides information about other relevant musicians, a <a href="https://www.haw.uni-heidelberg.de/forschung/forschungsstellen/hofmusik/hofmusik-mus.de.html?id=M000002" target="_blank">helpful resource</a> 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. </div>
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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. </div>
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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.</div>
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As mentioned above I am interested in his <i>Polymelos</i> 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 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. </div>
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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 <a href="https://books.google.de/books?id=VM5YAAAAcAAJ&hl=de&pg=PA62#v=twopage&q&f=false" target="_blank">pp. 62-3</a>). There is good reason to assume that the tune was "Birks of Invermay", the one Vogler included in the published version of the first <i>Polymelos</i> (1791, No. 4, <a href="http://digital.blb-karlsruhe.de/blbihd/content/pageview/2685871" target="_blank">pp. 4-6</a>). </div>
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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. </div>
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<div style="text-align: justify;">
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 <i>Samori</i>, an opera staged in India and also - for Kotzebue's <i>Rollas Tod, oder Die Spanier in Peru</i> - a piece called "Peruanisches Volkslied" (see Der Freimüthige oder Ernst und Scherz. Ein Unterhaltungsblatt 2, No. 177, 4.9.1804, <a href="https://archive.org/stream/bub_gb_J1lEAAAAcAAJ#page/n199/mode/2up" target="_blank">pp. 187-8</a>). </div>
<br />
<div style="text-align: justify;">
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 he was the Swedish King's <i>direktör för musiken</i> 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, <a href="https://archive.org/stream/bub_gb_0dwqAAAAYAAJ#page/n401/mode/2up" target="_blank">p. 592</a>, Beylage 24 [music not scanned correctly]; RISM <a href="https://opac.rism.info/search?id=551005155" target="_blank">SchV 166</a>) - but it seems in this case he himself wasn't there but only some of his friends. </div>
<br />
<div style="text-align: justify;">
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. <b> </b></div>
<br />
<div style="text-align: center;">
<b>III. </b></div>
<br />
<div style="text-align: justify;">
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. </div>
<br />
<div style="text-align: justify;">
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 <i>17th-18th Century Burney Collection Newspapers</i> database for relevant articles in the English press. Among those I found are some that are not used in this book. </div>
<br />
<div style="text-align: justify;">
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 <i>London Chronicle</i> (No. 5243, 30.3./1.4.1790) and the <i>Diary or Woodfall's Register</i> (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:</div>
<blockquote class="tr_bq">
"Specimen of Imitative Music. </blockquote>
<div style="text-align: justify;">
<blockquote>
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". </blockquote>
</div>
<div style="text-align: justify;">
The second one, a little bit shorter, can be found in the <i>Public Advertiser</i> (No. 17391, 3.4.1790):</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"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"".</blockquote>
</div>
<div style="text-align: justify;">
Fot the concert in the <i>Pantheon</i> on May 25 (p. 321) there is also an advert with the complete program (Diary or Woodfall's Register, No. 361, 24.5.1790): </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnN2FWT7_YLpw4-So4ep9h9_Ki_wd3lYmcaIP8CksaNHwidc5jLUQkvmNcgwLrG_JQWnJS5uaCbX2NGhxyzDgDJWJ_Ki4eM3dKN4Y0HABGreufZVikEtUYdlLVArjC7xY8n3G8oR2GSE/s1600/DWR-17900524-ad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnN2FWT7_YLpw4-So4ep9h9_Ki_wd3lYmcaIP8CksaNHwidc5jLUQkvmNcgwLrG_JQWnJS5uaCbX2NGhxyzDgDJWJ_Ki4eM3dKN4Y0HABGreufZVikEtUYdlLVArjC7xY8n3G8oR2GSE/s320/DWR-17900524-ad.jpg" width="320" /></a></div>
<br />
<div style="text-align: justify;">
He also took care of the organ at the <i>Pantheon</i> (see also p. 322): </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"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). </div>
</blockquote>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"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). </div>
</blockquote>
<div style="text-align: justify;">
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: </div>
<blockquote class="tr_bq">
<div style="text-align: justify;">
"[...] 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). </div>
</blockquote>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"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).</blockquote>
</div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
" [...] 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).</blockquote>
</div>
<div style="text-align: justify;">
On June 26 Vogler apparently played at the "church of St. Andrew, Holborn". This is mentioned in an article in the <i>Public Advertiser </i>(No. 17466, 30.6.1790, pp. 1-2, here p. 2): </div>
<div style="text-align: justify;">
<blockquote class="tr_bq">
"[...] 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 [...]". </blockquote>
</div>
<div style="text-align: justify;">
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 <i>Polymelos</i> in the <i>Musikalische Korrespondenz</i> in December 1790 (<a href="https://archive.org/stream/bub_gb_kOZCAAAAcAAJ#page/n103/mode/2up" target="_blank">p. 183</a>) 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 dubious story about the Emporer of China: </div>
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<div style="text-align: justify;">
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 <a href="http://digi.ub.uni-heidelberg.de/diglit/dioezarchivschwab1894/0080" target="_blank">UB Heidelberg</a>). 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).</div>
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<div style="text-align: justify;">
Between 1791 and 1798 Vogler gave several concerts in Christiania (i. e. Oslo). They are all documented in Huitveld's <i>Christiania Theaterhistorie</i> (1876, here pp. 143-4, pp. 150-1, <a href="https://archive.org/stream/christianiathea00huitgoog#page/n179/mode/2up" target="_blank">pp. 164-6</a>, at the Internet Archive; see also Schwab, p. 335). Huitveld used as source the adverts and announcements published in a newspaper, the<i> Norske Intelligens-Sedler</i>. This paper has been digitized by the <i>Norwegian National Library</i> and therefore is also easily available online:</div>
<ul>
<li>13.5.1791 (N. I.-S. 1791, No. 19, 11.5., <a href="http://urn.nb.no/URN:NBN:no-nb_digavis_norskeintelligenssedler_null_null_17910511_29_19_1" target="_blank">p. 1</a>) </li>
<li>17.10.1791 (N. I.-S. 1791, No. 41, 12.10., <a href="http://urn.nb.no/URN:NBN:no-nb_digavis_norskeintelligenssedler_null_null_17911012_29_41_1" target="_blank">p. 1</a>) </li>
<li>5.8.1794 (N. I.-S. 1794, No. 31, 30. Juli, <a href="http://urn.nb.no/URN:NBN:no-nb_digavis_norskeintelligenssedler_null_null_17940730_32_31_1" target="_blank">p. 1</a>) </li>
<li>24.8.1797 (N. I.-S. 1797, No. 34, 23.8., <a href="http://www.nb.no/nbsok/nb/6440b4e4f22b884c0bc44ae1ac12f08a.nbdigital?lang=no#1" target="_blank">p. 2</a>) </li>
<li>1.5.1798 (N. I.-S. 1798, No. 17, 25.4., <a href="https://www.nb.no/nbsok/nb/b8a59531ad0943cfd05e6cbbfcafb940?index=1#8" target="_blank">p. 9</a>) </li>
<li>4.5.1798 (N. I.-S. 1798, No. 18, 2.5., <a href="http://www.nb.no/nbsok/nb/a8a651a5f9a536fdd4fbf8dd533c53ed?index=29#0" target="_blank">p. 1</a>) </li>
</ul>
<div style="text-align: justify;">
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". </div>
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<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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 <i>Døleviser</i>, "songs from the valley" (see Storm 1949). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Vogler later included this particular tune in the second edition of his <i>Polymelos</i> in 1806, but strangely as an "old" air from Greenland: "Der klagende Normann, vom A. V. dort selbst aufgesetzt" (Schafhäutl, <a href="https://archive.org/stream/SchafhVogler1888/Schafh-Vogler-1888#page/n285/mode/2up" target="_blank">p. 268</a>; 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 <i>Volkslieder</i> (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: <i>Norsk Fjeld-Sang, Stusle Söndags Qvællen med 5 lette Variationer</i> (1822, see Morgenbladet, 5.4.1822, <a href="http://www.nb.no/nbsok/nb/7fbae619407e853b01bed0f665a44403?index=1#3" target="_blank">p. 991</a>; see Schwab, p. 315, p. 337). </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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 <i>IX Variations sur un Air Norvégien pour Pianoforte at Violon concertants</i> (Op. 22; see later ed., 1879, at <a href="http://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN756292573&PHYSID=PHYS_0005" target="_blank">SB Berlin</a>; see Jähns, No. 61, <a href="https://archive.org/stream/carlmariavonwebe00jh#page/76/mode/2up" target="_blank">pp. 77-8</a>). Other composers also tried it out, for example Ludwig Berger (<i>Air norvégien avec douze variations pour le piano-forte</i>, op. 3, Christiani, Berlin, 1812) and Carl Arnold (<i>Divertissement No. 1: Rondeau sur un Théme norvégien pour le Pianoforte</i>, Op. 12, Schlesinger, Berlin, 1819). There must have been a kind of fashion for this melody at that time. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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 <i>Ausländische Volksmelodien</i>, the most successful and influential collection of international <i>national airs</i> in Germany ("Wenn der Lenz erwacht", No. 6, <a href="https://archive.org/stream/SilcherAuslVolksmelodien4Hfte183541/Silcher-AuslVolksmelodien-4Hfte-1835-41#page/n23/mode/2up" target="_blank">p. 5</a>). The new song became quite popular and can be found in several later anthologies, for example Kugler's own <i>Liederhefte</i> (Vol. 2, 1852, No. 10, <a href="https://archive.org/stream/KuglerLiederhefte1518523/Kugler-Liederhefte_1-5_1852-3#page/n33/mode/2up" target="_blank">p. 14</a>), Schubert's <i>Concordia. Anthologie classischer Volkslieder</i> (Vol. 2, 1860, No. 431, <a href="https://archive.org/stream/SchubertConcordia21861/Schubert-Concordia2-1861#page/n115/mode/2up" target="_blank">p. 104</a>) and Erk's <i>Liederschatz</i> (Vol. 3, c. 1870, No. 174, <a href="https://archive.org/stream/ErkLiederschatz31879/ErkLiederschatz3-1879#page/n173/mode/2up" target="_blank">p. 171</a>). But at that time it was already forgotten that Vogler had brought the tune to Germany. </div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
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. </div>
<br />
<b>Literatur</b><br />
<ul style="text-align: justify;">
<li>Paul Beck, Abbé Vogler in Ulm (dessen Orgelkonzert im Münster) – eine Säkularerinnerung, in: Diöcesan-Archiv von Schwaben 12, 1894, Heft 18, p. 72 (at <a href="http://digi.ub.uni-heidelberg.de/diglit/dioezarchivschwab1894/0080" target="_blank">UB Heidelberg</a>) </li>
<li>Floyd K. Grave & Margaret K. Grave, In Praise of Harmony. The Teachings of Abbé Georg Joseph Vogler, Lincoln, 1987 </li>
<li>H. J. Huitfeldt, Christiania Theaterhistorie, Hegel, Kjøbenhavn, 1876, at the <a href="https://archive.org/details/christianiathea00huitgoog" target="_blank">Internet Archive</a> </li>
<li>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 <a href="https://archive.org/details/carlmariavonwebe00jh" target="_blank">Internet Archive</a> </li>
<li>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 </li>
<li>Karl Emil von Schafhäutl, Abt Georg Joseph Vogler. Sein Leben, Charakter und musikalisches System. Seine Werke, seine Schule, Bildnisse &c., Augsburg, 1888, at the <a href="https://archive.org/details/SchafhVogler1888" target="_blank">Internet Archive</a> </li>
<li>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 </li>
<li>Edvard Storm, Døleviser. Utgitt ved 200-Årsminne. Tegninger av Øystein Jørgensen. Litteraturhistorisk Oversikt og Kommentarer av Professor Didrik Arup Seip, Oslo, 1949 </li>
<li>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, <a href="http://nbn-resolving.de/urn:nbn:de:hbz:466:2-6908" target="_blank">urn:nbn:de:hbz:466:2-6908</a>) </li>
<li>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<a href="https://books.google.de/books?id=CyBDAAAAcAAJ" target="_blank"> Google Books</a> & the <a href="https://archive.org/stream/bub_gb_CyBDAAAAcAAJ#page/n1/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Patrick Vretblad, Abbé Vogler som Programmusiker, in: Svensk Tidskrift for Musikforskning 9, 1927, pp. 79-98</li>
</ul>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-56337246011876493932016-09-26T12:46:00.001+02:002022-01-16T18:47:32.434+01:00Jean Chardin's Travels to Persia - A Critical Look at the Available Digital Copies<br />
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<b>I. </b></div>
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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 <a href="https://hummingadifferenttune.blogspot.de/2016/09/Labat.html" target="_blank">Jean-Baptiste Labat's works</a> and <a href="https://hummingadifferenttune.blogspot.de/2016/09/Havestadt.html" target="_blank">Bernhard Havestadt's Chilidúgu</a>. 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? </div>
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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. </div>
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An excellent introduction to Chardin's life and works is still Emerson's article in the <i>Encyclopaedia Iranica</i> (1991/2011, available <a href="http://www.iranicaonline.org/articles/chardin-sir-john" target="_blank">online</a>). 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 <i>Lives and Exploits of the Most Distinguished Voyagers, Adventurers and Discoverers</i> (here <a href="https://archive.org/stream/livesexploitsofm00stjorich#page/252/mode/2up" target="_blank">pp. 253-80</a>). 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 <a href="https://en.wikipedia.org/wiki/Jean_Chardin" target="_blank">Wikipedia</a> but the articles about Chardin in English, French and German are all a little bit too short. </div>
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<b>II. </b></div>
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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. </div>
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<li>[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,<br />at <a href="https://books.google.de/books?id=-etAAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10433386-7" target="_blank">BSB</a>]; at <a href="https://books.google.de/books?id=lEBpAAAAcAAJ" target="_blank">Google Books</a> [= BL]; at <a href="https://books.google.fr/books?id=vFkEtKj8WgAC" target="_blank">Google Books</a> [= BM Lyon]; at <a href="https://books.google.de/books?id=NHNgAAAAcAAJ" target="_blank">Google Books</a> [= NKC]; at <a href="https://books.google.de/books?id=mANgeBwIS-0C" target="_blank">Google Books</a> [= BNC Firenze]; at <a href="https://books.google.de/books?id=_Uw1AVYfVfUC" target="_blank">Google Books</a> [= BNC Rom], also at the <a href="https://archive.org/details/bub_gb__Uw1AVYfVfUC" target="_blank">Internet Archive</a> </li>
<li>-, Seconde Edition, reveuë & corrigée de plusieurs fautes, Paris, 1672 [not yet digitized] </li>
<li>[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 <a href="https://books.google.de/books?id=myJWAAAAcAAJ" target="_blank">GoogleBooks</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10869299-6" target="_blank">BSB</a>] </li>
<li>-, 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 <a href="https://books.google.de/books?id=KDRZAAAAcAAJ&hl=de&pg=RA2-PR46#v=twopage&q&f=false" target="_blank">Google Books</a> [= <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11165716_00286.html" target="_blank">BSB</a>] </li>
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I found six digital copies of the first French edition, all available at <i>Google Books</i>. 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. </div>
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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: </div>
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<li>[Jean Chardin], Journal Du Voyage Du Chevalier Chardin En Perse & aux Indes Orientales, par la Mer Noire & par la Colchide. Premiere Partie, Qui Contenient Le Voyage de Paris à Ispaham, Pitt, London, 1686 [ESTC <a href="http://estc.bl.uk/R1175" target="_blank">R1175</a>],<br />at <a href="http://gallica.bnf.fr/ark:/12148/bpt6k1040006r.r=Jean%20Chardin" target="_blank">Gallica BnF</a>, at <a href="http://resolver.sub.uni-goettingen.de/purl?PPN659506041" target="_blank">UB Göttingen</a>, at <a href="https://books.google.de/books?id=7YQCPSKqJ6gC" target="_blank">Google Books</a> [= BM Lyon], also at the <a href="https://archive.org/stream/bub_gb_7YQCPSKqJ6gC#page/n7/mode/2up" target="_blank">Internet Archive</a>; at <a href="https://books.google.de/books?id=MFlOAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://data.onb.ac.at/ABO/%2BZ159574503" target="_blank">ÖNB</a>], also at the <a href="https://archive.org/details/bub_gb_MFlOAAAAcAAJ_2" target="_blank">Internet Archive</a> </li>
<li>-, Horthemels, Paris, 1686,<br />at <a href="https://books.google.de/books?id=Es22dewTvRUC" target="_blank">Google Books</a> [= BM Lyon], also at the <a href="https://archive.org/stream/bub_gb_Es22dewTvRUC#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
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Thankfully an excellent and complete scan of the edition published in London is available at the <i>French National Library</i>. Another one can be found at the <i>UB Göttingen</i> 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 <a href="https://books.google.de/books?id=7YQCPSKqJ6gC&hl=de&pg=PA344#v=twopage&q&f=false" target="_blank">p. 344</a> etc) or in the one from the <i>Austrian National Library</i> (after <a href="https://books.google.de/books?id=MFlOAAAAcAAJ&hl=de&pg=PA222#v=twopage&q&f=false" target="_blank">p. 220</a> 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. </div>
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<li>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 <a href="https://books.google.de/books?id=fFtVAAAAcAAJ" target="_blank">Google Books</a> [= <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb11062307-6" target="_blank">BSB</a>], also at the <a href="https://archive.org/stream/bub_gb_fFtVAAAAcAAJ#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>[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 <a href="https://books.google.de/books?id=nitnAAAAcAAJ" target="_blank">Google Books</a> [= KBN] </li>
<li>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 <a href="http://estc.bl.uk/R12885" target="_blank">R12885</a>] </li>
<li>The Travels of Sir John Chardin into Persia and East-Indies, Through the Black Sea, And the Country of Colchis describing Mingrelia, Imiretta, Georgia and 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 <a href="http://estc.bl.uk/R40322" target="_blank">R40322</a>] </li>
<li>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 <a href="http://estc.bl.uk/R18098" target="_blank">R18098</a>] (now at <a href="https://www.qdl.qa/archive/81055/vdc_100023639357.0x00000f" target="_blank">Quatar National Library</a> [added 15/12/2017])</li>
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Chardin's <i>Journal du Voyage</i> was also translated into German, Dutch and English. One copy each of the German and Dutch editions has 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. </div>
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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 <i>Early English Books Online</i> (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 <i>EEBO</i> or <i>ECCO</i>. 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 <i>Journal</i>. </div>
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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: </div>
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<li>[Jean Chardin], Voyages de Mr. Le Chevalier Chardin, en Perse, et Autres Lieux de L'Orient, de Lorme, Amsterdam, 1711, 3 Vols., <br />at <a href="http://gallica.bnf.fr/services/engine/search/sru?operation=searchRetrieve&version=1.2&collapsing=disabled&query=dc.relation%20all">Gallica BnF</a>, also at the <a href="https://archive.org/search.php?query=Voyages%20de%20Monsieur%20le%20chevalier%20Chardin%20Gallica" target="_blank">Internet Archive</a>; at Google Books [= KBN, 2014]: <a href="https://books.google.de/books?id=RmBeAAAAcAAJ" target="_blank">Vol. 1</a>, <a href="https://books.google.de/books?id=eGBeAAAAcAAJ" target="_blank">Vol. 2</a>, <a href="https://books.google.de/books?id=XGBeAAAAcAAJ" target="_blank">Vol. 3</a>; at Google Books [= KBN, 2016]: <a href="https://books.google.de/books?id=PS9nAAAAcAAJ" target="_blank">Vol. 1</a>, <a href="https://books.google.de/books?id=XC9nAAAAcAAJ" target="_blank">Vol. 2</a>, <a href="https://books.google.de/books?id=OTJnAAAAcAAJ" target="_blank">Vol. 3</a> </li>
<li>[Jean Chardin], Voyages de Monsieur Le Chevalier Chardin, en Perse, et Autres Lieux de L'Orient, de Lorme, Amsterdam, 1711, 10 Vols., <br />at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=643159424&db=100" target="_blank">BSB</a> [= GB]; at Google Books [= <a href="http://catalogue.bm-lyon.fr/?fn=ViewNotice&Style=Portal3&q=871437" target="_blank">BM Lyon</a> [2 sets]]; at Google Books [= <a href="http://renouvaud.hosted.exlibrisgroup.com/41BCULIB_VU1:41BCULIB_ALL:41BCU_ALMA7146195470002851" target="_blank">UofLausanne</a>] </li>
<li>-, Mazuel, Paris, 1723, 10 Vols., at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=643113029&db=100" target="_blank">BSB</a> [= GB; not all Vols. digitized]</li>
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An excellent and complete digital copy of the edition in three volumes is available at <i>Gallica BnF</i>. 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 <a href="https://archive.org/stream/bub_gal_ark_12148_bpt6k1050392t#page/n135/mode/2up" target="_blank">p. 114</a>). He included the tune, the original text in Latin transcription and a translation into French. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">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). </div><div style="text-align: justify;"><br />
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This digital copy by the <i>French National Library</i> is perfectly well usable. But two more scans of this edition are available. Both were produced by Google for the <i>Dutch National Library</i> (KBN). The first one, from 2014, should be avoided. Many plates are missing or look mutilated including the one I need (Vol. 2, <a href="https://books.google.de/books?id=eGBeAAAAcAAJ&hl=de&pg=PA102-IA16#v=twopage&q&f=false" target="_blank">p. 114</a>). 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, <a href="https://books.google.de/books?id=XC9nAAAAcAAJ&hl=de&pg=PA113#v=twopage&q&f=false" target="_blank">p. 114</a>). 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. </div>
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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 <i>BSB</i> (<a href="https://books.google.de/books?id=gnpCAAAAcAAJ&hl=de&pg=PA68#v=twopage&q&f=false" target="_blank">p. 68</a>). It is the same with, for example, one of the copies from the BM Lyon (<a href="https://books.google.fr/books?id=Lez8_Ip_LfsC&hl=de&pg=PA68#v=twopage&q&f=false" target="_blank">p. 68</a>), the one from the <i>University of Lausanne</i> (<a href="https://books.google.ch/books?id=-JQOAAAAQAAJ&hl=de&pg=RA1-PA68#v=twopage&q&f=false">p. 68</a>) or another one I just found (BN Napoli, <a href="https://books.google.de/books?id=qAFbdkngohAC&hl=de&pg=PA68#v=twopage&q&f=false" target="_blank">p. 68</a>). </div>
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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 <i>BSB</i>. The quality of course leaves a lot to be desired. </div>
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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 <i>ECCO</i> (Eighteenth Century Collections Online). This is of course unfortunate. But it should be noted that the quality of the scans at <i>ECCO</i> and <i>EEBO</i> 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: </div>
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<li>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 <a href="http://estc.bl.uk/N23323" target="_blank">N23323</a>]</li>
<li>[Jean Chardin], A New and Accurate Description of Persia, and Other Eastern Nations [...], Bettesworth etc., London, 1724, 2 Vols. [ESTC <a href="http://estc.bl.uk/T93276" target="_blank">T93276</a>] </li>
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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 <i>Biblioteca Virtual de Patrimonio Bibliográfico</i>. The chapter about music can be found in Vol. 3 (pp. 158-61; here <a href="http://bvpb.mcu.es/es/catalogo_imagenes/grupo.cmd?interno=S&posicion=189&path=11002705&forma=&presentacion=pagina" target="_blank">pl. 26</a>) and there is nothing new compared to the earlier edition. Other reliable copies are available at the <i>BDH</i>, in Mannheim and in Göttingen. There is also at least one scanned by Google - for the <i>BSB</i> - but, as expected, it has usual problems and should not be regarded as a reliable reproduction: </div>
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[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, </div>
at <a href="http://bvpb.mcu.es/es/consulta/registro.cmd?id=399531" target="_blank">BVPB</a>; at <a href="http://bdh.bne.es/bnesearch/detalle/bdh0000177410" target="_blank">BDH</a>; at <a href="http://resolver.sub.uni-goettingen.de/purl?PPN688540473" target="_blank">UB Göttingen</a>; at <a href="http://nbn-resolving.de/urn:nbn:de:bsz:180-digad-9389" target="_blank">UB Mannheim</a>; at <a href="https://opacplus.bsb-muenchen.de/search?id=BV040781651&db=100" target="_blank">BSB</a> [= GB] </li>
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Over the years short extracts of Chardin's writings were included in anthologies of travel reports, for example in English translation in the popular <i>The World Displayed; Or, A Curious Collection of Voyages and Travels</i> (here Philadelphia 1796, Vol. 6, <a href="https://archive.org/stream/worlddisplayedor06smar#page/n9/mode/2up" target="_blank">pp. 1-113</a>) and in 1811 in Pinkerton's <i>General Collection of the Best and Most Interesting Voyages and Travels</i> (Vol. 9, <a href="https://archive.org/stream/generalcollectio09pink#page/138/mode/2up" target="_blank">pp. 138-167</a>). 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: </div>
<ul>
<li>Voyages du Chevalier Chardin, en Perse, et Autres Lieux de l'Orient, Nouvelle Édition, Par L. Langlès, Le Normant, Paris, 1811, 10 Vols. & Atlas, <br />at <a href="http://www.nb.no/nbsok/search?page=0&menuOpen=false&instant=true&action=nosearch&currentHit=0&currentSesamid=&deweyClass=&deweyLevel=0&deweyMenuOpen=false&searchString=Voyages+du+Chevalier+Chardin,+en+Perse,+et+Autres+Lieux+de+l%27Orient" target="_blank">NB Oslo</a>; at Google Books [= <a href="http://catalogue.bm-lyon.fr/?fn=ViewNotice&Style=Portal3&q=871454" target="_blank">BM Lyon</a>]; at Google Books [= <a href="http://renouvaud.hosted.exlibrisgroup.com/41BCULIB_VU1:41BCULIB_ALL:41BCU_ALMA7146240150002851" target="_blank">UofLausanne</a>]; at Google Books [= <a href="http://solo.bodleian.ox.ac.uk/OXVU1:LSCOP_OX:oxfaleph014630551" target="_blank">Oxford</a>]; at Google Books [= BSB, <a href="https://opacplus.bsb-muenchen.de/search?oclcno=165527835&db=100" target="_blank">Res/It.sing. 227</a>]; at Google Books [= BSB, <a href="https://opacplus.bsb-muenchen.de/search?oclcno=643517393&db=100" target="_blank">Bibl.Mont. 1324</a>]; at <a href="https://catalog.hathitrust.org/Record/005220994" target="_blank">Hathi Trust</a> [= GB] </li>
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The <i>National Library of Norway</i> 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 (<a href="http://www.nb.no/nbsok/nb/5d139d992fd5ff07e19b4cfd2b23a7aa?lang=no#305#305" target="_blank">pp. 299-311</a>). 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 <i>Atlas</i>! </div>
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I will stop here with this edition. Of course there were also some more in later years - for example one published in 1830 (at <a href="https://books.google.fr/books?id=qOg9AAAAcAAJ&hl=de&pg=PA2#v=twopage&q&f=false" target="_blank">Google Books</a>) - and there are also modern reprints. But they should be easy to find. A collection of illustrations from Chardin's <i>Voyages</i> can be found at <a href="https://commons.wikimedia.org/wiki/Category:Jean_Chardin" target="_blank">wikimedia commons</a>. 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 <a href="https://commons.wikimedia.org/wiki/File:Iranian_old_music_system.jpg" target="_blank">plate with the song</a> 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. </div>
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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 <i>EEBO</i> or in <i>ECCO</i>. 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. </div>
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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 <i>Atlas</i> 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. </div>
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<b>III. </b></div>
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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. </div>
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When Langlès published the new edition of the <i>Voyages</i> 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 <i>Dictionnaire de Musique</i> as an example of non-European music, besides one Chinese and two Canadian melodies (1768, <a href="https://archive.org/stream/dictionnairedemu00rous#page/n585/mode/2up" target="_blank">Planche N</a>). We can also find it in the English edition published in 1779 (<a href="https://archive.org/stream/0043COMP#page/n265/mode/2up" target="_blank">pp. 265-6</a>), here with an English translation of the French text. This was the first time the song was made available in a British publication. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">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 an "Italian minuet" (Briefe 4.1, 1779, here <a href="https://books.google.de/books?id=Zk9CAAAAcAAJ&hl=de&pg=PA10#v=twopage&q&f=false" target="_blank">p. 11</a>; also in Schlözer, Briefwechsel 2.7, 3rd ed. 1780, <a href="http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10033647_00125.html" target="_blank">p. 122</a>; Reichardt's Musikalisches Kunstmagazin 1, 1782, <a href="https://archive.org/stream/MusikalischesKunstmagazinBd.11782/ReichardtMusikalischesKunstmagazinB11782#page/n59/mode/2up" target="_blank">p. 51</a>; Hausleutner, in: Toderini, Litteratur der Türken, 1790, <a href="https://books.google.de/books?id=uZ0-AAAAcAAJ&hl=de&pg=PA266-IA7#v=twopage&q&f=false" target="_blank">p. 262</a>). This is a not 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.
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Nonetheless it was later always regarded as original Persian music, for example by German musicologist Hugo von Dalberg who included it in his influential <i>Musik der Indier</i> (1802, No. 43, <a href="https://archive.org/stream/JonesMusikderInderDt1802/Jones_MusikderInder_dt_1802#page/n201/mode/2up" target="_blank">p. 37</a>), 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: <a href="https://hummingadifferenttune.blogspot.de/2016/02/exotic-airs-in-germany-dalbergs-ueber.html" target="_blank">"Exotic" Airs in Germany - Dalberg's "Ueber die Musik der Indier" (1802)</a>). 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 he didn’t use the additional verses quoted there. </div>
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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 <i>Lyric Airs</i> published in 1805, we can find instead a formerly unpublished Persian tune that he had received from a private collector (<a href="https://archive.org/stream/jones_lyric_airs_1805#page/n55/mode/2up" target="_blank">p. 25</a>). But musicologist William Crotch offered the melody - with a piano arrangement - in his <i>Specimens of Various Styles of Music</i> (1808, No. 315, <a href="https://archive.org/stream/specimensofvario00crot#page/n179/mode/2up" target="_blank">p. 152</a>). His source was Rousseau's <i>Dictionary</i>. </div>
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In the following decades Chardin's "little song" reappeared occasionally in publications of different kinds. We can find it for example in <i>La Perse</i> (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 <a href="https://archive.org/stream/bub_gb_1GZKAAAAYAAJ#page/n331/mode/2up" target="_blank">p. 312</a>). American musicologist and composer Thomas Hastings borrowed several tunes including Chardin's from Rousseau's <i>Dictionary</i> for his <i>Dissertation on Musical Taste</i> (1822, <a href="https://archive.org/stream/bub_gb_T0VDAAAAcAAJ#page/n223/mode/2up" target="_blank">p. 219</a>). </div>
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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 <i>Bardale. Sammlung auserlesener Volkslieder der verschiedenen Völker der Erde</i>, the first German anthology of international <i>national airs</i>, (No. 1, <a href="https://books.google.de/books?id=_HlcAAAAcAAJ&hl=de&pg=PP8#v=twopage&q&f=false" target="_blank">p. 1</a>, notes, p. 75). They named as their sources both Rousseau and the new edition of Chardin's <i>Voyages</i>. 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". </div>
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Later the "Air Persan" was also reanimated for some music histories. In <i>Geschichte der Musik aller Nationen</i> (1835), a German edition of Stafford's <i>History of Music</i> (1830), the tunes from Rousseau's <i>Dictionnaire</i> again served as examples of non-European music (see <a href="https://archive.org/stream/bub_gb_nT1DAAAAcAAJ#page/n475/mode/2up" target="_blank">Tafel 4</a>). Another new German translation of the French text was also added ("Dein Gesicht ist frisch, wie die Granatblume [...]"). Even Ambros in his own <i>Geschichte der Musik</i> (I, 1862, <a href="https://archive.org/stream/bub_gb_xk8pAAAAYAAJ#page/n131/mode/2up" target="_blank">p. 109</a>; see also 3rd ed., 1887, <a href="https://archive.org/stream/geschichtedermus01ambr#page/454/mode/2up" target="_blank">p. 455</a>) still quoted the tune even though at that time more Persian songs and tunes had become available, for example those in Chodzko's <i>Specimens of the Popular Poetry of Persia</i> (1842, <a href="https://archive.org/stream/specimensofpopul00chod#page/582/mode/2up" target="_blank">pp. 583-92</a>). </div>
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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<i> Folke-Sange og Melodier Fra Lande Udenfor Europa</i>, the 10th volume of the new edition of his great <i>Folke-Sange og Melodier, Fædrelandske og Fremmed</i>e (1870, No. 55, <a href="https://archive.org/stream/BerggreenFolkeSange10UdenforEuropa1870#page/n49/mode/2up" target="_blank">p. 46</a>, 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 <i>Characteristic Songs and Dances of all Nations</i> (<a href="https://archive.org/stream/characteristicso00brow2#page/238/mode/2up" target="_blank">p. 238</a>).</div><div style="text-align: justify;"> </div><div style="text-align: justify;">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. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div>
<div style="text-align: center;"><b>Literature: </b><br /></div><div>
<ul style="text-align: justify;">
<li>August Wilhelm Ambros, Geschichte der Musik. 1. Band, Leuckart, Breslau, 1862 at the <a href="https://archive.org/stream/bub_gb_xk8pAAAAYAAJ#page/n5/mode/2up" target="_blank">Internet Archive</a> [= GB], 2nd. ed., Leuckart, Leipzig, 1880, at the <a href="https://archive.org/stream/geschichtedermus188001ambr#page/n3/mode/2up" target="_blank">Internet Archive</a>; 3rd ed., revised, Leuckart, Leipzig, 1887, at the <a href="https://archive.org/stream/geschichtedermus01ambr#page/n3/mode/2up" target="_blank">Internet Archive</a> </li>
<li>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 <a href="http://books.google.de/books?id=_HlcAAAAcAAJ" target="_blank">Google Books</a> [= <a href="https://opacplus.bsb-muenchen.de/search?oclcno=165547944&db=100" target="_blank">BSB</a>]</li>
<li>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 <a href="https://archive.org/details/BerggreenFolkeSange10UdenforEuropa1870" target="_blank">Internet Archive</a> </li>
<li>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 <a href="https://books.google.de/books?id=Zk9CAAAAcAAJ&hl=de&pg=PP3#v=twopage&q&f=false" target="_blank">Google Books</a> </li>
<li>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 <a href="https://archive.org/details/specimensofvario00crot" target="_blank">Internet Archive</a> </li>
<li>[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 <a href="https://archive.org/stream/JonesMusikderInderDt1802/Jones_MusikderInder_dt_1802#page/n7/mode/2up" target="_blank">Internet Archive</a>; at Universität Wien, <a href="https://fedora.phaidra.univie.ac.at/fedora/get/o:124977/bdef:Asset/view" target="_blank">Phaidra</a>) </li>
<li>John Emerson, "Chardin, Sir John", 1991/2011, in: <a href="https://www.blogger.com/John%20Emerson," target="_blank">Encyclopaedia Iranica</a> </li>
<li>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<a href="https://archive.org/stream/bub_gb_nT1DAAAAcAAJ#page/n9/mode/2up" target="_blank"> Internet Archive</a> [= GB] </li>
<li>Frank L. Harrison, Time, Place and Music. An Anthology of Ethnomusicological Observation c. 1550 to c. 1800, Amsterdam, 1973 </li>
<li>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] </li>
<li>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 <a href="https://archive.org/details/bub_gb_1GZKAAAAYAAJ" target="_blank">Internet Archive</a> [= GB] </li>
<li>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 <a href="https://archive.org/stream/characteristicso00brow2#page/n5/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Johann Friedrich Reichardt, Musikalisches Kunstmagazin, 1. Band, I.-IIII. Stück, Im Verlage des Verfassers, Berlin, 1782, at the <a href="https://archive.org/stream/MusikalischesKunstmagazinBd.11782/ReichardtMusikalischesKunstmagazinB11782#page/n0/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Jean-Jacques Rousseau, Dictionnaire de Musique, Veuve Duchesne, Paris, 1768, at the <a href="https://archive.org/details/dictionnairedemu00rous" target="_blank">Internet Archive</a> </li>
<li>[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 <a href="http://estc.bl.uk/N5070" target="_blank">N5070</a>], at the <a href="https://archive.org/stream/0043COMP#page/n265/mode/2up" target="_blank">Internet Archive</a> [= <a href="https://books.google.de/books?id=1e8ZAQAAIAAJ&hl=de&pg=PA264#v=twopage&q&f=false" target="_blank">GB</a>] </li>
<li>August Ludwig Schlözer, Briefwechsel meist historischen und politischen Inhalts, Zweiter Theil, Heft VII-XII 1777, 3. Auflage, Vandenhoeck, Göttingen, 1780, at <a href="http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10033647-8" target="_blank">BSB</a> </li>
<li>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 <a href="https://archive.org/stream/livesexploitsofm00stjorich#page/ii/mode/2up" target="_blank">Internet Archive</a> </li>
<li>Giambatista Toderini, Litteratur der Türken. Aus dem Italiänischen. Mit Zusätzen und Anmerkungen von Philipp Wilhelm Gottlieb Hansleutner, Nicolovius, Königsberg, 1790, pp. 240-67, at <a href="http://data.onb.ac.at/ABO/%2BZ178225501" target="_blank">ÖNB</a> [= <a href="https://books.google.de/books?id=uZ0-AAAAcAAJ" target="_blank">GB</a>] </li>
</ul>
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</div>Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0tag:blogger.com,1999:blog-295054852439205059.post-7076861161532376962016-09-20T15:48:00.001+02:002022-01-16T18:49:26.022+01:00Bernhard Havestadt's "Chilidúǵu" (1777/1883) - A Critical Look at the Available Digital Copies<br />
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In the <a href="https://hummingadifferenttune.blogspot.de/2016/09/Labat.html" target="_blank">previous article</a> 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. </div>
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Here I will discuss another example: German Jesuit Bernhard Havestadt's <i>Chilidúǵu</i>, 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. </div>
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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, <a href="https://books.google.de/books?id=V-tiAAAAcAAJ&hl=de&pg=PA44#v=onepage&q&f=false" target="_blank">pp. 44-46</a>). 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 <i>Histoire d'Un Voyage Faict en la Terre du Brésil </i>(1586, <a href="https://archive.org/stream/histoiredunvoyag00lryj#page/158/mode/2up" target="_blank">p. 159</a> etc) and one lone fragmentary melody from Chile in Frézier's<i> Relation du Voyage de la Mer du Sud</i> (1716, here 1717, Vol. 1, <a href="https://archive.org/stream/relationduvoyage01frzi#page/114/mode/2up" target="_blank">p. 114</a>) were available to European readers (see also my bibliography, at <a href="https://docs.google.com/document/d/1M0T1e3Bg40H3mMBEdFU7iifItRc0eXqRG3U0fE6rjv8/edit?usp=sharing" target="_blank">Google Docs</a>). In this respect the cultural exchange between the old and the new world was very one-sided. </div>
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Bernhard Havestadt (1714-1781; see NDB 8, 1969, at <a href="https://www.deutsche-biographie.de/sfz28406.html#ndbcontent" target="_blank">Deutsche Biographie</a>; <a href="https://en.wikipedia.org/wiki/Bernhard_Havestadt" target="_blank">Wikipedia</a>; 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: </div>
<ul style="text-align: justify;">
<li>[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.</li>
</ul>
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The book consists of seven parts in three volumes (see Rich, Bibliotheca Americana Nova 1, 1835, <a href="https://archive.org/stream/americananova00richrich#page/262/mode/2up" target="_blank">p. 262</a>), 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, <a href="https://archive.org/stream/nachrichtenvonve02murr#page/430/mode/2up" target="_blank">pp. 431-96</a>). But I am mostly interested in the Catechism (pt. 3) and the music (pt. 6). </div>
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I found four digitized copies from three different libraries at Google Books as well as one at the Internet Archive:<br />
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<li>at Google Books: <a href="https://books.google.de/books?id=0YBcAAAAcAAJ" target="_blank">Vol. 1</a> & <a href="https://books.google.de/books?id=X4FcAAAAcAAJ" target="_blank">Vol. 2/3</a> [= KBN], pts. 1-7, in 2 Vols.:, <br />at <a href="http://data.onb.ac.at/ABO/%2BZ15890040X" target="_blank">ÖNB</a> [= GB: <a href="https://books.google.de/books?id=ao9NAAAAcAAJ" target="_blank">Vol. 1</a> & <a href="https://books.google.de/books?id=wY5NAAAAcAAJ" target="_blank">Vol. 2/3</a>], pts. 1-7, in 2 Vols., <br />at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=166114515&db=100" target="_blank">BSB</a> [= GB: <a href="https://books.google.de/books?id=MFdKAAAAcAAJ" target="_blank">Vol. 2</a> & <a href="https://books.google.de/books?id=QldKAAAAcAAJ" target="_blank">Vol. 3</a>], pts. 3-7 in 2 Vols., <br />at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=166114514&db=100" target="_blank">BSB</a> [= GB: <a href="https://books.google.de/books?id=2E5KAAAAcAAJ" target="_blank">Vol. 1</a>, <a href="https://books.google.de/books?id=B1dKAAAAcAAJ" target="_blank">Vol. 2</a>, <a href="https://books.google.de/books?id=IFdKAAAAcAAJ" target="_blank">Vol. 3</a>], pts 1-7, in 3 Vols., <br />at the <a href="https://archive.org/details/jcbindigenous?and[]=Havestadt" target="_blank">Internet Archive</a> [= JCBL] </li>
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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 "Catechismus in Versu" is of course there (<a href="https://books.google.de/books?id=X4FcAAAAcAAJ&hl=de&pg=PA582#v=twopage&q&f=false" target="_blank">pp. 582-99</a>). But of the part with the music we only get the title-page (<a href="https://books.google.de/books?id=X4FcAAAAcAAJ&hl=de&pg=PA892-IA2#v=onepage&q&f=false" target="_blank">p. 892</a>): <i>Notae Musicae Ad Canendum in Organo Cantiones Partis Tertiae á Numero 650 usque ad 676</i>. 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 in the digital copy, neither added after the title-page nor at the end of the book. It is simply missing. </div>
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This is also the case with the copy from the Austrian National Library (ÖNB; see <a href="https://books.google.de/books?id=wY5NAAAAcAAJ&hl=de&pg=PA892#v=twopage&q&f=false" target="_blank">p. 892</a>) and one of the two from the Bavarian State Library (BSB; see <a href="https://books.google.de/books?id=QldKAAAAcAAJ&hl=de&pg=PA892#v=twopage&q&f=false" target="_blank">p. 892</a>). The <i>Notae Musicae</i> 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. </div>
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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 (<a href="https://books.google.de/books?id=IFdKAAAAcAAJ&hl=de&pg=PA890-IA4#v=twopage&q&f=false" target="_blank">p. 892</a>). 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. </div>
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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. </div>
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One more digital copy can be found at the <a href="https://archive.org/details/jcbindigenous?and[]=Havestadt" target="_blank">Internet Archive</a>. 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. </div>
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In 1883 a facsimile edition of Havestadt's work was published. The legendary Dr. Julius Platzmann (1832-1902; see <a href="http://www.quetzal-leipzig.de/themen/ethnien-und-kulturen/karl-julius-platzmann-ein-leipziger-und-die-indianersprachen-19093.html" target="_blank">Kammler 1994</a>; <a href="https://de.wikipedia.org/wiki/Julius_Platzmann" target="_blank">Wikipedia</a>), botanist and (amateur-)linguist, collected rare books about Indian languages and then made them available anew as reprints. </div>
<ul>
<li>[Bernhard Havestadt], Chilidúgú Sive Tractatus Linguae Chilensis Opera Bernardi Havestadt. Editionem Novam Immutatam Curavit Dr. Julius Platzmann, Teubner, Lipsiae, 1883 [2 Vols.],<br />at the <a href="https://archive.org/details/chilidusivetrac00platgoog" target="_blank">Internet Archive</a> [= GB - Harvard]<br />at Memoriachilena (Biblioteca National de Chile): <a href="http://www.memoriachilena.cl/602/w3-article-8487.html" target="_blank">Vol. 1</a>, <a href="http://www.memoriachilena.cl/602/w3-article-8488.html" target="_blank">Vol. 2</a> [now also at the <a href="https://archive.org/details/HavestadtChiliduguPlatzmann1883" target="_blank">Internet Archive</a>] </li>
</ul>
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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 <a href="https://archive.org/stream/chilidusivetrac00platgoog#page/n985/mode/2up" target="_blank">end of the book</a>. 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. </div><div style="text-align: justify;"> </div><div style="text-align: justify;">In the end I was saved by the <i>Biblioteca Nacional de Chile</i> that also has an excellent digital library. They offer a very interesting presentation about "Música de las misiones jesuitas de la Araucanía" (at <a href="http://www.memoriachilena.cl/602/w3-article-756.html#presentacion" target="_blank">memoriachilena</a>) 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 <a href="https://archive.org/stream/HavestadtChiliduguPlatzmann1883/Havestadt_Chilidugu_Platzmann_1883#page/n973/mode/2up" target="_blank">Appendix</a>). 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 <a href="http://www.memoriachilena.cl/602/w3-propertyvalue-129623.html">memoriachilena</a>).
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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 great 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. </div>
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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 <i>Biblioteca Nacional de Chile</i> (at <a href="http://www.memoriachilena.cl/602/w3-article-74671.html" target="_blank">memoriachilena</a>) while a short introduction to his important book about the <i>19 canciones misionales</i> (1997) can be found in his own <a href="https://elcobijoenlacolina.com/2011/10/19/19-canciones-misionales-en-mapudungun-contenidas-en-el-chilidugu-1777-del-misionero-jesuita-en-la-araucania-bernardo-de-havestadt-1714-1781-1977/" target="_blank">blog</a>. An article in English (2006) may serve as a good introduction. It can be inspected at <a href="https://books.google.de/books?id=6OSux6Zfd74C&lpg=PP1&hl=de&pg=PA498#v=onepage&q&f=false" target="_blank">Google Books</a> 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). </div>
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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" (<a href="https://archive.org/stream/chilidusiveresch01have#page/238/mode/2up" target="_blank">pp. 237-9</a>). German linguist Johann Christoph Adelung (1732-1806) was of course familiar with Havestadt's book. He later referred to it in his - posthumously published - <i>Mithridates, oder allgemeine Sprachenkunde</i> (Vol. 3.2, 1813, <a href="https://archive.org/stream/mithridatesodera312adel#page/n421/mode/2up" target="_blank">p. 403</a> etc). </div>
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But already in 1799 he put together a little anthology with the title <i>Proben der Dichtung ungebildeter Völker </i>that was published in W. G. Becker's <i>Erholungen</i>. 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" (<a href="https://books.google.de/books?id=0lpTAAAAYAAJ&hl=de&pg=PA202#v=twopage&q&f=false" target="_blank">pp. 203-6</a>). 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). </div>
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<b>Literature </b><br />
<ul style="text-align: justify;">
<li>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 <a href="https://books.google.de/books?id=0lpTAAAAYAAJ&hl=de&pg=PA194#v=twopage&q&f=false" target="_blank">Google Book</a>s [= Princeton; bad quality]; at <a href="http://gdz.sub.uni-goettingen.de/dms/load/img/?PID=PPN818862467|LOG_0004&physid=PHYS_0198" target="_blank">UB Göttingen</a> [quality much better] </li>
<li>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 (<a href="https://archive.org/details/university_pittsburgh?&and[]=Adelung%20Mithridates" target="_blank">Vols. 1/3</a>; <a href="https://archive.org/details/robarts?and[]=Adelung%20Mithridates" target="_blank">Vols. 2/4</a>) </li>
<li>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 <a href="https://books.google.de/books?id=IvtUAAAAcAAJ" target="_blank">Google Books</a> [= <a href="https://opacplus.bsb-muenchen.de/search?oclcno=163439617&db=100" target="_blank">BSB</a>]; at <a href="https://books.google.de/books?id=V-tiAAAAcAAJ" target="_blank">Google Books</a> [= BL] </li>
<li>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) </li>
<li>Henry Kammler, Karl Julius Platzmann: ein Leipziger und die Indianersprachen, in: Quetzal. Politik und Kultur in Lateinamerika. Online-Magazin 8, 1994 (at <a href="http://www.quetzal-leipzig.de/themen/ethnien-und-kulturen/karl-julius-platzmann-ein-leipziger-und-die-indianersprachen-19093.html" target="_blank">quetzal-leipzig.de</a>) </li>
<li>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 </li>
<li>Michael Müller, P. Bernhard Havestadts "Chilidúgú". Das literarische Vermächtnis eines Indianermissionars, in: Jahrbuch Kirchliches Buch- und Bibliothekswesen 5, 2004, pp. 105-129 </li>
<li>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 <a href="https://archive.org/details/getty?and[]=Murr%20Nachrichten" target="_blank">Internet Archive</a> [= GettyRI] at <a href="https://opacplus.bsb-muenchen.de/search?oclcno=604323146&db=100" target="_blank">BSB</a> [= GB] </li>
<li>Charlotte Oberfeld et al. (eds.), Brüder Grimm Volkslieder. Aus der Handschriftensammlung der Universität Marburg, 1: Textband, Marburg, 1985 </li>
<li>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 <a href="https://archive.org/stream/americananova00richrich#page/n5/mode/2up" target="_blank">Internet Archive</a> [= CDL] </li>
<li>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: <a href="https://elcobijoenlacolina.com/2011/10/19/19-canciones-misionales-en-mapudungun-contenidas-en-el-chilidugu-1777-del-misionero-jesuita-en-la-araucania-bernardo-de-havestadt-1714-1781-1977/" target="_blank">elcobijoenlacolina.com</a>, 19.10.2011) </li>
<li>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 <a href="http://www.memoriachilena.cl/602/w3-article-74671.html" target="_blank">memoriachilena</a> (BNC) </li>
<li>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 </li>
</ul>
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Jürgen Klosshttp://www.blogger.com/profile/15320518895348914652noreply@blogger.com0