MUSIC AS THE MEANS TO AN END: AN INQUIRY INTO THE MUSICAL

CONTENT OF THE WORKS OF GEORG PHILIPP HARSDORFFER

By

ELIZABETH ANN SPENCE

B.A. ( H o n s . ) , The U n i v e r s i t y of B r i t i s h C o l u m b i a , 1976

M.A., The U n i v e r s i t y of B r i t i s h Columbia, 1978

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE DEGREE OF

DOCTOR OF PHILOSOPHY

in

THE FACULTY OF GRADUATE STUDIES

(Department o f Germanic Studies)

We a c c e p t t h i s thesis as c o n f o r m i n g

to the r e q u i r e d standard

THE UNIVERSITY OF BRITISH COLUMBIA

April, 1983

© Elizabeth Ann S p e n c e , 1983

 In p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of the
requirements f o r an advanced degree at the University
o f B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make
it f r e e l y a v a i l a b l e f o r reference and study. I further
agree t h a t p e r m i s s i o n f o r e x t e n s i v e copying of t h i s t h e s i s
f o r s c h o l a r l y purposes may be granted by the head of my
department or by h i s or her representatives. It is
understood t h a t copying or p u b l i c a t i o n of t h i s t h e s i s
f o r f i n a n c i a l gain s h a l l not be allowed without my written
permission.

Department of Germanic Studies

The U n i v e r s i t y of B r i t i s h Columbia
1956 Main Mall
Vancouver, Canada
V6T 1Y3

DE-6 (3/81)
Abstract

The prime purpose of this inquiry i s t o determine the

e x t e n t and s i g n i f i c a n c e i o f t h e treatment o f music i n the

literary and s c h o l a r l y works o f t h e German w r i t e r , Georg

Philipp Harsdfirffer (1607-1658). A t t h e same t i m e , h i s

references t o music a r e a l s o u s e d as a means o f e s t a b l i s h i n g

the importance o f a n o n - l i t e r a r y medium f o r a s e v e n t e e n t h -

century writer, and t o i l l u s t r a t e Harsdttrffer s place1

i n the

intellectual life of h i s times. A t the o u t s e t , the lack of

strict dividing lines between t h e a r t s o f . m u s i c and p o e t r y ,

and between t h e a r t s and the s c i e n c e s i n the seventeenth-

century i s stressed, as i s H a r s d f i r f f e r ' s own v i e w of the

close relationship o f a l l the a r t s and o t h e r f i e l d s o f know-

l e d g e . The s e v e n t e e n t h - c e n t u r y t r i p a r t i t e c l a s s i f i c a t i o n of

music, Musica T h e o r e t i c a , Musica P r a c t i c a and M u s i c a Poetica,

is u s e d as an o r g a n i z i n g p r i n c i p l e to allow h i s statements

on m u s i c t o be a s s e s s e d i n t h e i r contemporary context. The

first chapter, Musica T h e o r e t i c a , d e a l i n g w i t h music as a

subject f o r philosophical speculation, demonstrates Hars-

d f l r f f e r ' s wide knowledge i n t h i s area and h i s e c l e c t i c

use o f s o u r c e s . The s e c o n d chapter, Musica P r a c t i c a , con-

c e r n e d w i t h music as a s c i e n c e and a p r a c t i c a l a r t , provides

information on instruments and technical musical termino-

logy o f the seventeenth-century, and shows Harsdflrffer's

f a m i l i a r i t y with these. I t i s emphasised that his clear

presentation of m a t e r i a l here i s aimed a t t h e practical

needs o f r e a d e r s w i s h i n g to partake i n musical activities.

Much o f t h e information provided i n the first two chapters

is a p p l i e d i n the third chapter, Musica P o e t i c a , which deals

with the relationship o f m u s i c and poetry. An examination

of selected poems and songs shows t h e arts t o have formal

features i n common. Harsdflrffer s close collaboration

1
with

the composer Sigmund S t a d e n i s also e s t a b l i s h e d by the analy-

sis o f an e x t r a c t from their opera, Seelewig, and a new

source f o r t h i s work i s i n v e s t i g a t e d f o r the first time.

The variety of m a t e r i a l i n a l l three chapters is finally put

into the c o n t e x t o f u n i v e r s a l harmony and the C h r i s t i a n world

view.
 iv

Table of Contents

Page Number

Abstract i i

List of Tables v

List of Figures vi

Abbreviations Used i n the Text v i i

A N o t e on Quotations, viii

Introduction 1

C h a p t e r One: Musica T h e o r e t i c a 23

C h a p t e r Two: Musica P r a c t i c a 58

Chapter Three: Musica : Poetica:

A. Music and Poetry 90

B. Poetry and Music 126

Conclusion 163

Abbreviations i n t h e N o t e s and Bibliography ... 174

Notes 175

Select Bibliography 196

Appendix 20 9
 V

L i s t o f Tables

Page Number

Table I : The A f f e c t s and Uses of the Modes .. 46

Table I I : The Hexachord System 85

 vi

L i s t of Figures

Page Number
F i g u r e I: Staden's M u s i c a l A i d 44
 vii

Abbreviations used i n the Text

AA Ars Apophthegmatica

D Diana

FG Frauenzimmer G e s p r a c h s p i e l e (Modern P a g i n a t i o n )

HS Hertzbewegliche Sonntagsandachten

ME D e l i t i a e Mathematicae e t Physicae Die Mathematischen

und Philosophischen Erquickstunden

NJ N a t h a n und Jotham

PT Poetischer Trichter. Unless otherwise stated the

1647 edition i s used.

 viii

A N o t e on Quotations

Literary Quotations:

The f o l l o w i n g c h a n g e s have b e e n made:

- ampersand (&) r e p l a c e d by "und"

- diacritical "e" r e p l a c e d by U m l a u t

- s u p e r i o r dash i n d i c a t i n g gemination o r o m i s s i o n of a
f i n a l l e t t e r (komen, un, e t c . ) r e p l a c e d by word in full

- apostrophe denoting omission of l e t t e r s (d', od', e t c . )

r e p l a c e d . , by word i n f u l l .

- other abbreviations ( d z , wz, e t c . ) r e p l a c e d by word in full

- A n t i q u a t y p e f a c e has b e e n u n d e r l i n e d f o r p u r p o s e s of
differentiation.

- punctuation and s p e l l i n g have o t h e r w i s e been r e t a i n e d .

Translations from Latin, except those from Strunk, are

my own.

Musical Quotations:

U n l e s s t h e o r i g i n a l i s r e q u i r e d f o r t h e d i s c u s s i o n , modern
transcriptions' o f m u s i c a l examples a r e g i v e n .
 1

Introduction

The most c u r s o r y reading of Harsdflrffer s 1

Frauen-

zimmer G e s p r a c h s p i e l e reveals an abundance o f musical

notation and a w e a l t h o f s t a t e m e n t s on many different

features o f music. Not o n l y does t h e work c o n t a i n songs

and instrumental pieces, but a l s o musico-dramatic pageants

and an o p e r a . A number o f songs w i t h music appear, dealing

with s u c h v a r i e d themes as t h e f o u r s e a s o n s (FG,II,295-308),

or t h e u s e and m i s u s e o f m u s i c (FG,IV,46-49,51-55). Others

are included as i n c i d e n t a l m u s i c i n a play (FG,II,393-96,

419-21). Still others are u n i t e d to form the b a s i s of theat-

rical spectacles, the f i r s t of which, e n t i t l e d Von der Welt

Eitelkeit (FG,III,191-261) c o n s i s t s of instrumental sections

and songs w h i c h a r e a l l c o n n e c t e d by t h e theme o f v a n i t y .

The second, Die Tuqendsterne (FG,V, 397-435 , 633-670 )_, i s also

made up o f a s e r i e s of instrumental pieces and songs demon-

strating the i n t e r r e l a t i o n s h i p of music, t h e v i r t u e s and the

planets. The s o n g a l s o forms the b a s i s of Seelewig, which i s

often r e g a r d e d as t h e f i r s t extant German o p e r a . 1

The Frauenzimmer Gesprachspiele, however, i s n o t t h e

o n l y work by H a r s d f i r f f e r i n which music appears, although i t

is an i m p o r t a n t s o u r c e . Large s e c t i o n s of parts two and

 2

three of the Mathematische Erquickstunden are devoted to

the subject, and include some n o t a t i o n , as t o v a r y i n g de-

g r e e s do the P o e t i s c h e r T r i c h t e r , Hertzbewegliche Sonntags-

andachten, Nathan and Jotham and A r s A p o p h t h e g m a t i c a . Hars-

dflrffer attributes a l l the music up t o and including part

f o u r o f the Frauenzimmer Gesprachspiele to h i s contemporary

and fellow townsman, Sigmund S t a d e n (FG,IV,43). D i e Tugend-

sterne in part five o f t h e same work i s a l s o by S t a d e n (FG,

IV,633). A selection o f dance music i n the Mathematische

Erquickstunden (111,372-74), i s by J o h a n n Wellter, also of

Nuremberg, w h i l e t h e r e m a i n i n g q u o t a t i o n s and examples used

for demonstration purposes in this work a r e drawn primarily

from o t h e r s o u r c e s , a l t h o u g h a c e r t a i n amount i s o r i g i n a l ,

as i s t h e c a s e i n t h e P o e t i s c h e r T r i c h t e r , and Frauenzimmer

G e s p r a c h s p i e l e , where m u s i c a l n o t a t i o n i s used i n conjunc-

tion with aspects of poetic and n o n - p o e t i c l a n g u a g e . The

composer o f t h e m u s i c t o a song i n the H e r t z b e w e g l i c h e

Sonntagsandachten i s not given, and an a t t e m p t w i l l be made

to determine whether i t c a n be ascribed to Harsdorffer him-

self.

Music as a t o p i c f o r general speculation, for inclusion

in stories and a n e c d o t e s , o r f o r d r a w i n g a n a l o g i e s w i t h a l l

nature of things pervades H a r s d S r f f e r s 1

works. I f an inves-

tigation is restricted only to those s e c t i o n s dealing speci-

fically w i t h music, however, t h e r e s u l t s w i l l be i n c o m p l e t e ,

since references to various aspects of the s u b j e c t are to

be found under such a p p a r e n t l y unconnected headings as "Die

Reutkunst"(FG,V,675-88), "Die Buchstaben"(FG,V,177-84), or

"Die Faulheit"(NJ,II,n.p.). The scattered distribution of

the m a t e r i a l i n the case o f one major source, the Frauen-

zimmer G e s p r a c h s p i e l e , is partly the result of the format

c h o s e n by Harsdflrffer. The work i s c o n c e i v e d as a series o

three hundred c o n v e r s a t i o n s between s i x people:

A n g e l i c a von Keuschew-itz/ e i n e A d e l i c h e J u n g f r a u
Reymund D i s c r e t i n / e i n g e r e i s t - und b e l e s e n e r S t u d e n t
J u l i a von F r e u d e n s t e i n / e i n e k l u g e M a t r o n
V e s p a s i a n von L u s t g a u / e i n a l t e r Hofmann
Cassandra Schflnlebin/ eine Adeliche Jungfrau
Degenwert von Ruhmeck/ e i n v e r s t a n d i g e r und g e l e h r t e r
Soldat. (FG,I,22).

It has been shown, however, t h a t t h e s i x are not complete

characters in their own r i g h t — t h e y are not developed accor

ding to t h e i r individual p e r s o n a l i t i e s — b u t are basically

interchangeable, and a c t as v e h i c l e s f o r p a s s i n g on infor-

2

m a t i o n and ideas. The t o p i c s used i n c o n v e r s a t i o n cover

s u c h d i v e r s e s u b j e c t s as word games, dreams, g a r d e n i n g , bees

hunting, ghosts, heraldry or p l a y i n g cards. Great emphasis

is put on c o r r e c t behaviour a t c o u r t o r among s o c i a l superi

ors. There i s i n a d d i t i o n much d i s c u s s i o n o f the German

l a n g u a g e , as w e l l as the arts, and a t times the characters

read poetry, s i n g , or a c t out p l a y s .

By p r e s e n t i n g m a t e r i a l on a l l k i n d s of topics through
 4

t h e mouths o f s i x c h a r a c t e r s , H a r s d o r f f e r i s n o t o n l y a b l e

t o draw i n a l l k i n d s o f m a t e r i a l , but also to put forward

opposing p o i n t s o f view, some o f w h i c h a r e r e c o n c i l e d , some

of which a r e not. A t times, t h i s results i n some difficulty

in a s c e r t a i n i n g which o f the c o n t r a r y views Harsdflrffer him-

self s u b s c r i b e s t o , and i t i s o n l y by t a k i n g into account

statements made e l s e w h e r e that the attempt c a n be made t o

determine this. On o c c a s i o n , no a d d i t i o n a l material c a n be

found, and t h e c o n t r a d i c t o r y statements must t h e r e f o r e be

d e a l t w i t h as t h e y s t a n d . Nevertheless, the information

s c a t t e r e d t h r o u g h o u t t h e F r a u e n z i m m e r G e s p r a c h s p i e l e , and

throughout H a r s d o r f f e r ' s o t h e r works p r o v i d e s a w e a l t h o f

material available f o r a s s e s s i n g h i s u n d e r s t a n d i n g and u s e

of musical matter.

The name o f H a r s d o r f f e r has f o u n d i t s way i n t o musico-

logical s t u d i e s n o t so much f o r i t s own s a k e , b u t on t h e

coat-tails o f Staden, who e a r n s h i s p l a c e above a l l as t h e

composer o f S e e l e w i g . Harsdflrffer, i t i s true, i s referred

to independently i n a late seventeenth-century h i s t o r y of

3
music as t h e w r i t e r o f some f i n e songs, and a n o t e i s made

o f him and t h e M a t h e m a t i s c h e E r q u i c k s t u n d e n u n d e r Staden's

name i n a s t a n d a r d e i g h t e e n t h - c e n t u r y m u s i c a l r e f e r e n c e
4
work--one w h i c h does n o t m e n t i o n Seelewig. Although Hars-

d o r f f e r was a s s o c i a t e d c l o s e l y w i t h music i n h i s own time

(1607-1658), and S t a d e n was r e f e r r e d t o as t h e "Nurnberger

 5

Apollo," t h e e i g h t e e n t h - c e n t u r y saw no r e a l interest i n

their collaborative efforts, a f a c t which i s b a s i c a l l y

attributable t o the s t a t e of affairs as d e s c r i b e d by an

important musical h i s t o r i a n o f t h e t i m e , who n o t e d that

many works o f s e v e n t e e n t h - c e n t u r y German m u s i c i a n s were

"irrecoverably lost, and t h e i r talents forgotten, e v e n by

their countrymen."
7
Aside from r e f e r e n c e s made i n p a s s i n g , Harsdflrffer

and Staden were f o r a l l p r a c t i c a l purposes forgotten until

1864, when an a n a l y s i s o f Seelewig, and f o u r t e e n pages o f

musical extracts from the opera appeared i n a general h i s -
g

t o r y o f music. The r e d i s c o v e r y o f S e e l e w i g , however, i s

usually attributed to Robert Eitner, who p u b l i s h e d a new

edition o f t h e work i n 1881, and s u g g e s t e d the reason i t

had escaped the a t t e n t i o n of researchers u n t i l t h e n was

because i t l a y embedded i n a l i t e r a r y work o f t h e s e v e n t e e n t h -
9

century. Eitner i n t u r n prompted an e s s a y by Eugen Schmitz

in 1910 w h i c h d e a l s w i t h t h e m u s i c o l o g i c a l significance of

t h e F r a u e n z i m m e r G e s p r a c h s p i e l e , and i n c l u d e s a new edition

o f Von d e r W e l t Eitelkeit. ^ 1
The i m p o r t a n c e of this essay

lies i n the f a c t that i t i s the f i r s t major attempt t o draw

attention t o H a r s d f l r f f e r ' s own r e m a r k s on t h e s u b j e c t o f

music. Although Schmitz acknowledges the m a t e r i a l t o be

of interest from a general c u l t u r a l point o f view, h i s main

point i s that i s i s not p a r t i c u l a r l y original, and he c o n -

 6

eludes by stating that there i s very little more t o be found

on m u s i c i n the Frauenzimmer Gesprachspiele.

This assessment undoubtedly c o n t r i b u t e d to the sub-

sequent n e g l e c t of H a r s d o r f f e r and Seelewig in musicological

investigations, as indeed do such b r i e f d e s c r i p t i o n s of the

work i n v a r i o u s s e c o n d a r y s o u r c e s as "naive and insignifi-

11 12
cant," c o n s i s t i n g mainly of "lebloses Gestrupp," the
13

characters being "blutleere Allegorien," The critical

n a d i r was reached with the 1947 e d i t i o n of Grout's Short

History of Opera, i n which the music to the Tugendsterne

14

was n o t e d as being lost. The music in fact appears sepa-

rately towards the end of the same volume o f the Frauen-

zimmer G e s p r a c h s p i e l e which c o n t a i n s the words-to the piece.

The recent upsurge of enthusiasm f o r e a r l y music has

15

corrected this error—James Haar p o i n t e d i t out in 1962,

and he i s duly footnoted i n the latest e d i t i o n of Grout's

Short History. ^ 1
Haar h i m s e l f published an English trans-

lation of the Tugendsterne, the score i n c l u d i n g the original

German t e x t , and an extensively documented introductory

e s s a y g i v i n g much u s e f u l i n f o r m a t i o n on t h e s c h o l a r l y b a c k -
17
g r o u n d o f t h i s work by H a r s d o r f f e r . T h i s i n t u r n prompted
a r e b u t t a l by P e t e r K e l l e r t o a s t a t e m e n t made by Haar on
the nature of the c o l l a b o r a t i o n between H a r s d f l r f f e r and
18

Staden. K e l l e r later provided the first exhaustive study

of Seelewig, which takes into consideration a l l the major

 7

f e a t u r e s o f t h e work, examines i t s r e l a t i o n s h i p t o o t h e r

s i m i l a r musical dramas o f t h e t i m e , and p u t s i tinto i t s

19

proper historical context. B o t h Haar and K e l l e r p a y

attention to Harsdflrffer, and t h i s , plus the f a c t t h a t he

now w a r r a n t s h i s own e n t r y i n the l a t e s t edition o f Grove's

20

D i c t i o n a r y o f M u s i c and M u s i c i a n s , one o f t h e s t a n d a r d

music r e f e r e n c e books o f today, suggests that musicologists

are starting t o t u r n t h e i r heads i n h i s d i r e c t i o n .

Undocumented r e f e r e n c e s a r e made t o a f i r s t perfor-

21

mance o f S e e l e w i g i n 1644, the year t h e work f i r s t a p -

peared i n p r i n t . The o n l y c o n t e m p o r a r y i n d i c a t i o n of this,

however, i s a remark made i n p a s s i n g by H a r s d o r f f e r . In

the i n t r o d u c t o r y s e c t i o n t o p a r t f o u r o f t h e Frauenzimmer

Gesprachspiele, he n o t e s t h a t t h e m u s i c " i s t nach Beurtheilung

aller derer/ d i e b e y g e f u g t e s W a l d g e d i c h t jjBeelewig^j ange-

horet/ dergleichen . . . i n Teutschland noch n i c h t i n D r u c k

kommen . . ."(FG,IV,43). This seems t o i m p l y that the opera

had been h e a r d , a l t h o u g h i t c a n n o t be t a k e n as c o n v i n c i n g

evidence t h a t a f u l l - s c a l e v e r s i o n had been p u t on.

A performance c e r t a i n l y took p l a c e i n Wolfenbuttel i n

1654: "Nach g e h a l t e n e r M a h l z e i t / wurden S. F f l r s t l . Gn. . . .

n a c h dem Commoedien Hause b e g l e i t e t / d a s e l b s t e i n schones

Theatrum b e r e i t e t / und d e s H e r r n Harstorffers geistreiche

S i n g - C o m o e d i e , genommen aus s e i n e m v i e r d t e n Buch d e r Ge-

22
s p r a c h s p i e l e / G e s a n g w e i s e g e r e p r e s e n t i r e t geworden." In
 8

this c a s e , S e e l e w i g was used for a particular occasion, a

birthday celebration, a l t h o u g h i t had been w r i t t e n ten

years e a r l i e r . Many m u s i c o - d r a m a t i c works a t t h i s time were

composed for a specific event, and c o n s e q u e n t l y were p e r -

formed o n l y once, w i t h no real n e e d t o have t h e material

23

printed. That S e e l e w i g was resurrected i n 1654 not o n l y

attests to i t s p o p u l a r i t y at Wolfenbtittel--as i n d e e d does ;\

the r e p r i n t of the libretto there i n 1665—but can also be

attributed to the f a c t that the libretto and s c o r e were

readily available in printed form.

A f u r t h e r performance of Seelewig i s noted f o r the year

1698 i n Augsburg, but i t was not u n t i l over two-hundred years

later that t h e work began a p p e a r i n g on stage again—revivals

24
took p l a c e i n Cologne i n 1912, and i n Gera i n 1924. The
25

latest p r o d u c t i o n was s t a g e d i n 1975 i n Utrecht, and a

f u r t h e r performance i s planned f o r t h e S p r i n g o f 1983 in

Saarbrucken. The performance history of Seelewig thus

corresponds closely to that of i t s c r i t i c a l reception.

From a l i t e r a r y p o i n t o f view, Harsdflrffer*s fortunes

have been s i m i l a r l y erratic. The reception o f the Frauen-

zimmer G e s p r a c h s p i e l e i n p a r t i c u l a r has been n o t e d . When

the thousand c o p i e s o f the first edition o f p a r t one first

26

appeared i n 1641, t h e y were q u i c k l y sold out, and a second

edition i n a new f o r m a t was printed i n 1644. Enthusiasm for

t h e work c o n t i n u e d u n t i l t h e end o f the seventeenth-century,

 9

but i t was subsequently r e c e i v e d w i t h much vituperative

27

disapproval well into the n i n e t e e n t h - c e n t u r y . Harsdflrffer

was o c c a s i o n a l l y viewed w i t h some g r a c e i n the eighteenth-

century with respect to h i s e f f o r t s on b e h a l f o f the German

28 29
language, o r as a notable son o f Nuremberg. Another
30 31
approach, however, was one of d e r i s i o n or t o t a l neglect.

Two m a j o r s t u d i e s on H a r s d f l r f f e r appeared i n the nineteenth-

32
century, but i t was not u n t i l the twentieth-century that
interest i n him increased. I n v e s t i g a t i o n s have been made
33
into such d i v e r s e areas as l a n g u a g e and poetics, h i s know-
34 35 36 37
ledge of authors, staging, aesthetics, emblems, and
38

proverbs, t o name b u t a few. The tendency i n these works

is g e n e r a l l y , although not exclusively, t o examine Hars-

dflrffer i n the context of h i s times, with the result that he

has been f o u n d t o be a f i g u r e worthy of s c r u t i n y . It is

therefore remarkable t h a t t h e word "absurdities" is still used

in connection with.him in a relatively recent edition of a

39

history o f German literature.

Notable by i t s a b s e n c e i s an independent study of Hars-

d f l r f f e r and music, in spite o f the r e c o g n i t i o n of t h i s gap,^°

and in spite of the appearance of Seelewig (without music)

41

in a literary series. Recent literary critics h a v e , how-

ever, touched on the s u b j e c t to v a r y i n g degrees, one of the

longest assessments being a four-page c o n t r i b u t i o n by Nar-
42
ciss. These few pages c o n s i s t o f a number o f citations
 10

o f H a r s d f l r f f e r ' s more s t r i k i n g comments on music,iinter-

spersed with restatements from Schmitz' essay. Other

s t u d i e s which mention music i n any s p e c i f i c way e i t h e r r e -

43
sort to description, o r suggest H a r s d f i r f f e r s 1
understanding
and use o f music in a theatrical context i s as accompaniment
44 45
only, as " b l o s s e Stimmung," or, using an a n a c h r o n i s t i c
46

t e r m , as " G e b r a u c h s m u s i k . " One e a r l y twentieth-century

writer, i n spite o f a t e n d e n c y t o u s e vague a b s t r a c t i o n s ,

does i n d i c a t e t h a t a l l o w a n c e s must be made f o r t h e f a c t

that the conception and a p p l i c a t i o n o f m u s i c i n h i s day has

47

changed s i n c e H a r s d o r f f e r ' s time, although i ti s not with-

in t h e s c o p e o f h i s work t o d e a l w i t h the subject i n any

depth.

Two m a j o r o b s e r v a t i o n s c a n be made on t h e s t u d i e s cited.

Firstly, t h e emphasis i s on t h e m u s i c i n t h e Frauenzimmer

Gesprachspiele. There i s very little c o n s i d e r a t i o n o f the

musical content i n Harsdflrffer's other writings. Secondly,

there i s a seeming r e l u c t a n c e to delve into musicological

studies dealing with the p e r i o d , o r indeed into musical

sources o f the time. I f references do a p p e a r , they a r e

generally l i m i t e d t o Schmitz o r E i t n e r , although the p o s s i b l e

significance of the w r i t i n g s o f musicians 'contemporary with

48

Harsdorffer has r e c e n t l y been p o i n t e d o u t .

The explanation f o r thi-s g e n e r a l neglect i s that music

and literature i n the twentieth-century have become s e p a r a t e .

 11

areas of i n v e s t i g a t i o n , resulting in a significant gulf

between t h e c r i t i c a l approaches t o t h e two arts today.

Such a g u l f , however, was by no means e v i d e n t a t t h e time

of Harsdorffer. "Only towards the e i g h t e e n t h - c e n t u r y d i d

the interrelationships between t h e a r t s , and especially

between m u s i c and literature, become a r e c o g n i z e d f i e l d of

study^" which i n d i c a t e s that t h e two were p r e v i o u s l y viewed

49

according to "universal aesthetic principles." Changes

have a l s o t a k e n p l a c e i n t h e manner o f i n t e r p r e t i n g and ap-

praising the content, f u n c t i o n and general s i g n i f i c a n c e of

t h e two arts since t h e y became i n d e p e n d e n t — t h e importance

of theological or i n t e l l e c t u a l s t a n d a r d s as t h e b a s i s of

criticising a p i e c e o f music o r a work o f literature has

dwindled. Connected to t h i s a r e the changes i n m u s i c a l

and literary t a s t e w h i c h have o c c u r r e d sinee\:the s e v e n t e e n t h -

century—what i s c o n s i d e r e d good i n one age may be viewed

w i t h contempt i n another.

Moreover, the d i v i s i o n between t h e a r t s and the s c i e n c e s

familiar t o d a y was by no means e s t a b l i s h e d i n the seventeenth-

century, as H a r s d o r f f e r ' s M a t h e m a t i s c h e E r q u i c k s t u n d e n manir

festly attests. Yet the q u e s t i o n o f whether music was an

50

art o r a s c i e n c e was being put forward i n Harsdflrffer's day.

At least since the time of Pythagoras, music had been viewed

in many o f i t s a s p e c t s as a m a t h e m a t i c a l phenomenon, and tra-

ditionally, t h e s u b j e c t had been p a r t o f t h e quadrivium,

 12

which a l s o i n c l u d e d the s u b j e c t s of geometry, a r i t h m e t i c

and astronomy. Furthermore, by Harsdflrffer's time, a

g r e a t number o f e x p e r i m e n t s had been c a r r i e d o u t on the

acoustic p r o p e r t i e s of various musical instruments, an

area of i n v e s t i g a t i o n which d u r i n g t h i s century culminated

above a l l i n t h e v i o l i n s o f A m a t i and Stradivarius. The

c o n c e p t i o n o f music as a s c i e n c e , b o t h philosophically and

practically, i s therefore basic t o an u n d e r s t a n d i n g of the

subject i n a seventeenth-century context.

From a c r e a t i v e as w e l l as a c r i t i c a l p o i n t o f view,

the d i v i s i o n between m u s i c and literature evident today

did not e x i s t t o n e a r l y t h e same e x t e n t i n t h e seventeenth-

century. There were o f c o u r s e p r o f e s s i o n a l musicians:

Kindermann, H e r b s t , Franck and Staden a r e b u t a few examples

of those active i n Nuremberg i n t h e first half of the cen-

tury. But, as w i l l be shown, t h e a r t o f m u s i c was so inti-

mately bound up w i t h t h e word, t h a t t h e m u s i c i a n was expected

to be f a m i l i a r with a number o f a s p e c t s o f language. There

were t h o s e , f u r t h e r m o r e , who n o t o n l y composed m u s i c , but

a l s o w r o t e t h e words f o r t h e i r own songs. S c h e i n and Krieger

a r e two examples o f m u s x c i a n poets.

The professional writer d i d not e x i s t in seventeenth-

c e n t u r y Germany, w i t h t h e p o s s i b l e e x c e p t i o n o f Sigmund von

Birken. A l l other writers of t h i s t i m e were e i t h e r employed

in full-time o c c u p a t i o n s , o f t e n as p r e a c h e r s , p r o f e s s o r s , o r
 13

town c o u n c i l l o r s , o r were members o f t h e aristocracy.

Nevertheless, a l a r g e number o f them were i n c l o s e c o n t a c t

with musicians, w r i t i n g with musical s e t t i n g s i n mind:

Fleming and Schein; Rist and a number o f c o m p o s e r s , in- -

eluding S t a d e n ; Dach and Albert; Klaj, B i r k e n and Staden.

The writers provided t h e words f o r hymns, s e c u l a r songs and

in some c a s e s opera, t h e most n o t a b l e i n the last category

b e i n g O p i t z and D a f n e , w i t h m u s i c by Schutz. Some p o e t s ,

Rist, K a l d e n b a c h and Beer, f o r i n s t a n c e , a l s o composed music.

T h e r e was thus extensive interaction between t h e prac-

titioners of the two arts.

The c h a n g e s w h i c h have t a k e n p l a c e s i n c e the seventeenth-

century i n the conception of the r e l a t i o n s h i p between lite-

rature and m u s i c on t h e one hand, and arts and sciences on

the o t h e r , are sufficient to e x p l a i n f i r s t l y why literary

critics examining Harsdfirffer shy away f r o m m u s i c o l o g i c a l

r e s e a r c h m a t e r i a l s ; the two areas have e a c h become so spe-

cialized that researchers i n one field are r e l u c t a n t to go

foraging i n the o t h e r , although tentative efforts are now

b e i n g made. The changes s e c o n d l y e x p l a i n why literary cri-

tics pay little a t t e n t i o n to H a r s d o r f f e r s Mathematische

1

Erquickstunden in particular, a work w h i c h i n f a c t includes

much o f literary interest i n t e r s p e r s e d between o r i n c l u d e d

under s u b j e c t s which would today come u n d e r t h e heading of

science. The p r e s e n t work t h e r e f o r e f u n d a m e n t a l l y repre-

 14

s e n t s an a t t e m p t t o cross over the twentieth-century d i v i -

ding lines between t h e two a r t s , and between t h e a r t s and

sciences i n o r d e r t o examine H a r s d f l r f f e r ' s involvement i n

a s u b j e c t w h i c h i n many o f i t s a s p e c t s i s v i t a l l y connected

t o h i s l i t e r a r y work. Music i s t h e means t o t h i s b a s i c end.

B e f o r e e m b a r k i n g on s p e c i f i c s , a .few general obser-

vations c a n be made on H a r s d f l r f f e r ' s own v i e w s o f the a r t s

and o t h e r areas o f knowledge. Although he d i s c u s s e s a num-

of them i n d e p e n d e n t l y , t h e e s s e n c e of h i s understanding of

their ultimate relationship t o each o t h e r i s e x p r e s s e d as

the following analogy: " . . . Dann d i e M u s i c / Poeterey/

Mahlerey/ Wissenschaften/ und d e r o Z u g e h o r u n g / s o genau

aneinander hangen/ d a s s k e i n e s v o n dem a n d e r n sich nicht

wol trennen lasst/ sondern a l sGlieder einer Ketten nach

und n a c h v e r b u n d e n e r h a l t e n werden konnen"(FG,II,322).

In o t h e r words, a l l t h e a r e a s mentioned retain their indi-

viduality insofar as e a c h represents a link i n the c h a i n ,

but o v e r a l l they a r e seen as c o n j o i n e d i n t o one g r e a t syn-

thesis. With r e s p e c t t o the a r t s o f music, p o e t r y and p a i n -

ting i n particular, the synthesis i s also seen i n terms o f

"ein Cirkel m i t dreyen S p i t z e n / a u f einem P a p y r stehend/

wie man s o n s t e n z u dem F e l d m e s s e n gebrauchet"(FG,IV,202).

They a r e r e p r e s e n t e d by a s c i e n t i f i c instrument. The t h r e e

arts, i n addition, exist "in richtiger Ebenmaase"(FG,IV,

202)—none i s inferior or superior t o t h e o t h e r s i n any way.

 15

The result of t h i s interrelationship o f the a r t s f o r

Harsdorffer i s that the poet i s not considered merely as

a maker o f v e r s e s , b u t as someone who has e x p e r i e n c e i n as

many o t h e r f i e l d s as p o s s i b l e . I f he i s writing f o r the

stage, f o r i n s t a n c e , a knowledge o f a r c h i t e c t u r e , the rules

of p e r s p e c t i v e , p a i n t i n g , music and dance i s e s s e n t i a l (FG,

VI,162-63). Harsdflrffer a l s o notes that i t would take a

lifetime f o r an individual to excel i n any one o f the arts,

let alone e x c e l l i n g i n a l l o f them a t t h e same t i m e (FG,IV,

135). I t i s n e v e r t h e l e s s the poet's job to f i n d o u t as much

as p o s s i b l e about other areas of knowledge.

A second factor t o be taken into account i s Harsdorf-

f e r 's u n d e r s t a n d i n g o f t h e a r t i s t i c creative process. His

view i s clear: " E t l i c h e vermeinen dass die Lehrartige Ver-

fassung der PoSterey n i c h t v o n n f l h t e n / (da d o c h a l l e s was mit

V e r s t a n d vorgenommen werden s o l / n a c h A n w e i s u n g d e r Natur

K u n s t - s t a n d i g b e s c h r a n k e t werden muss) s o n d e r n dass s i e nach

dem K l a n g / L a u t und Mass/ w e l c h e s i h n e n etwan von Lesung

e i n e s G e d i c h t s i n dem Gedachtniss g e b l i e b e n / gute Verse

machen konnen/ und s o l c h e s aus naturlichen Trieb/ den s i e

mit ihnen geboren zu s e y n v e r m e i n e n . Wir lassen ihnen und

einem j e d e n s e i n e n Wahn. . . . " There is little question

here of emotional "Herzensergiessungen" as the s t i m u l u s f o r

writing poetry. Harsd&rffer continues: " . . . so w e n i g

a b e r e i n Knab d e r e i n e g u t e Stimme h a t / d i e K u n d i g u n g der

 16

Noten m i t auf d i e W e l t b r i n g e t / und s o n d e r Ubung zu e i n i g e r

Vollkommenheit g e l a n g e n kann; so w e n i g w i r d e i n e r ohne vor-

gehenden B e r i c h t und u n t e r r i c h t ein wolklingendes Gedicht

aufsetzen k f l n n e n " ( P T , I I I , S i g . ) ( v) . The emphasis is rather

on an intellectual a p p r o a c h t o b o t h m u s i c and poetry. Natu-

ral aptitude and a c r e a t i v e s p a r k , however, a r e not denied,

they are in fact t h o u g h t t o be essential (FG,VI,260; FG,VIII,

440), but the accent i s on m o u l d i n g these g i f t s in a reason-

able and studied manner.

Harsdorffer often r e f e r s to literary works o f art

as "Erfindungen," works w h i c h a r e not p r i m a r i l y the result

of a writer's creative imagination, but are the re-working

of existing material i n a new way, and written according

to c e r t a i n set precepts. In the field o f German literature

before Opitz, however, t h e r e had b e e n few set artistic

precepts, and Harsdflrffer, f o l l o w i n g the lead of Opitz, took

it upon h i m s e l f to provide them. One of the main ways i n

w h i c h he undertook t h i s task consisted in translating foreign

texts i n t o German, p r i m a r i l y t o p r o v i d e examples o f how the

53

German l a n g u a g e c o u l d be used i n a l i t e r a r y manner. To

this end, he drew on his extensive knowledge o f foreign lan-

guages—he in fact a l s o w r o t e a number o f poems and other

pieces i n languages o t h e r t h a n German, h i s first known pub-

54

lication being a poem i n S p a n i s h . By turning to writings

in other languages—not only literary works, but also those

 17

dealing with a l l manner o f s c i e n t i f i c , philosophical or

cultural m a t t e r s — t r a n s l a t i n g them i n t o German, reworking

or r e s t a t i n g t h e i d e a s g i v e n , he n o t o n l y h e l p e d i n setting

certain literary standards, but also c o n t r i b u t e d t o the

general knowledge o f h i s German r e a d e r , h e l p i n g t o e x t r i c a t e

him from t h e "Schlamm d e r U n w i s s e n h e i t " ( P T , I I I , 5 7 ) . He

made i n f o r m a t i o n a v a i l a b l e on a l l s o r t s o f s u b j e c t s , in-

c l u d i n g m u s i c , much o f w h i c h h a d h i t h e r t o been inaccessible

to a l l but the learned p o l y g l o t of Harsdflrffer s 1

stamp.

His view o f the i n t e r r e l a t i o n s h i p between different

fields o f knowledge and t h e i r application for artistic,

scholarly or cultural purposes illustrates that i t i s not

tenable t o condemn him f o r l a c k o f i n s p i r a t i o n or origina-

lity from either a literary or a musical p o i n t o f view, f o r

his aims c l e a r l y d i d n o t c o n s i s t i n encouraging methods o f

composition based on t h e s e criteria—at least i n t h e modern

sense o f the terms. Moreover, h i s b a s i c i n t e n t i o n i n pro-

ducing any p i e c e o f w r i t i n g was t o p r o v i d e i n s t r u c t i o n and

information f o r the reader i n an a r t i s t i c a l l y p l e a s i n g and

intellectually a t t r a c t i v e manner, t h e r e s u l t b e i n g prodesse

et delectare with a vengeance. In the case o f music i n par-

ticular, any q u e s t i o n w h i c h a s k s what o r i g i n a l c o n t r i b u -

tions H a r s d f i r f f e r made t o t h e f i e l d will not find a satis-

factory answer. The b a s i c q u e s t i o n s w h i c h c a n be asked

here, however, a r e t h o s e dealing with the extent o f h i s

 18

musical knowledge, h i s manner o f m a k i n g t h i s knowledge

available t o h i s German r e a d e r s , and i t s significance in

contributing t o t h e u n d e r s t a n d i n g and assessment of h i s

literary works.

Certain potential difficulties have t o be overcome, or

at least r e c o g n i z e d , however, i f t h e e x t e n t o f Harsdflrffer's

involvement i n music i s t o be a p p r e c i a t e d , the f i r s t of which

is the v a s t scope of the s u b j e c t . As a l r e a d y noted, music in

t h e s e v e n t e e n t h - c e n t u r y was not viewed o n l y as an a r t , and,

as w i l l be made a p p a r e n t , i t also had a long t r a d i t i o n as a

topic for speculation, and had been u s e d s i n c e Greek times

as an integral component i n d i s c u s s i o n s o f a l l manner o f

things. Harsdflrffer s 1
e x t e n s i v e r e a d i n g on a g r e a t many

subjects thus suggests that some f a m i l i a r i t y w i t h m u s i c , at

least from a philosophical point of view, s h o u l d be taken

for granted.

Rather than imposing the t r a d i t i o n a l and/or prevailing

views on H a r s d o r f f e r , t h e b a s i c procedure t o be followed i n

this dissertation will be t o t a k e h i s own statements on the

subject, examine them on their own terms, and where necessary

for a fuller understanding, t o r e g a r d them i n r e l a t i o n t o what

had been s a i d by o t h e r s . On o c c a s i o n , t h e r e s u l t s of. r e l i a b l e

secondary studies wil1 also be used f o r e x p l a n a t o r y purposes.

In view o f the f a c t t h a t more t h a n t h r e e hundred years

have p a s s e d since Harsdflrffer's days, i t i s understandable.

 19

t h a t many f e a t u r e s o f m u s i c w h i c h were a c c e p t e d without

question i n the s e v e n t e e n t h - c e n t u r y have e i t h e r disappeared,

c h a n g e d a l t o g e t h e r o r have i n g e n e r a l become murky through

the m i s t s of time. This i s p a r t i c u l a r l y evident with re-

spect to musical terminology and instruments i n use during

this period. Where t h e s e are r e f e r r e d t o by H a r s d o r f f e r ,

explanations and descriptions have been i n c l u d e d , firstly

to assist i n determining his intentions, and secondly, i n

a broader sense, t o p r o v i d e i n f o r m a t i o n w h i c h may be of use

to researchers investigating other poets and writers of

this t i m e who concerned themselves with music. The Appendix,

giving seventeenth-century illustrations o f most o f t h e i n -

struments m e n t i o n e d by Harsdorffer will also contribute in

a visual way t o an a p p r e c i a t i o n of m u s i c a l performance of

the day.

The second difficulty facing the i n v e s t i g a t o r into

H a r s d f l r f f e r ' s works i s t h e q u a l i t y o f the p r i n t e d texts.

Nuremberg had l o n g been an important printing c e n t r e by the

middle o f the s e v e n t e e n t h - c e n t u r y , and the p r i n t e r s were

noted for their ability to produce complex and extremely

55

ornamental work. The reproduction of musical notation r e -

presented a substantial p a r t of t h e i r output. Neverthe-

less, a c o n s i d e r a b l e number o f p r i n t i n g errors identifiable

as such a r e t o be found i n H a r s d o r f f e r s w o r k s , and

1
he him-

s e l f was fully aware o f t h i s . He lists five possible causes

 20

for such errors: 1) t h e a u t h o r , c o n c e n t r a t i n g on t h e s e n s e ,

can slip up i n h i s s p e l l i n g ; 2) h i s s e c r e t a r y does n o t make

an a c c u r a t e : f a i r c o p y ; 3) the compositor u s e s t h e wrong

letters; 4) t h e c o r r e c t o r m i s s e s errors, and 5) the p r i n t e r ,

in a hurry, does n o t r e t u r n t h e t y p e face to i t s proper

place i fi tfalls out. "So l e i c h t l i c h kan a u c h d e r a l l e r

Beredste irren"(FG,VI,401).

Harsdorffer s 1
r e a d e r s were a l s o aware o f p r i n t i n g errors

in h i s w o r k s , as was t h e c a s e w i t h L u d w i g v o n A n h a l t who

pointed out the f a c t i n a letter t o H a r s d f i r f f e r o f May 3 ,

57

1642. In t h i s particular i n s t a n c e , Ludwig r e f e r s specifi-

cally to the f a u l t y application of signs indicating metrical

stress. Harsdorffer, i n h i s reply, suggests t h a t the e r r o r s

this time c a n be e x p l a i n e d p a r t l y by t h e h a s t e i n which the

m a t e r i a l was p r i n t e d , partly by t h e d i f f e r e n c e i n dialects,

58

and a l s o b y t h e "Unvolkommenheit T e u t s c h e r Poeterey."

L u d w i g , however, was n o t t h e o n l y one t o t a k e exception to

the standard of printing i n H a r s d O r f f e r ' s w o r k s , as t h e pub-

el ri s h e r o f t h e F r a u e n z i m m e r G e s p r a c hbekommen/
s p i e l e p o iinnt dem
s o ubte:y"Hat
dem

eilfahrigen Drukwerk/ K u p f e r s t e c h e n und H o i t z a r b e i t e n an

einem oder anderen B l a t etwas v e r s e h e n / so i s t s o l c h e s n i e -

mand a n d e r s a l s dem l e i d i g e n Unfall beyzumessen"(FG,III, 539) .

Unfortunately, "der l e i d i g e Unfall" presents t h e modern r e -

searcher with t h e p r o b l e m o f d e t e r m i n i n g w h e t h e r what i s

 21

printed r e p r e s e n t s what i s a c t u a l l y intended. This i s

particularly the case w i t h r e s p e c t to such m a t t e r s of fine

detail as m e t r i c a l stress i n poetry, punctuation, or the

positioning of c l e f s i n music. Where p r o b l e m s o f t h i s na-

ture arise i n t h e p r e s e n t work, t h e a t t e m p t i s made t o

a s c e r t a i n what H a r s d f l r f f e r i n f a c t meant t o c o n v e y , r a t h e r

than a s s u m i n g o u t o f hand t h a t he was unfamiliar with cer-

tain aspects of a s u b j e c t , or incompetent to deal with them.

A third difficulty which a r i s e s i n a study of t h i s type

d e a l i n g w i t h one m a j o r theme i n H a r s d f l r f f e r ' s w o r k s , i s t h e

placement o f t h e m a t e r i a l t o be examined. As references to

music are scattered throughout, a p p e a r i n g n o t o n l y i n sec-:.,

tions dealing specifically with the subject, but also i n

obscure c o r n e r s , the result i s that an inherent organiza-

tional principle, drawing the v a r i o u s threads together does

n o t emerge i n any obvious way. In o r d e r t o d e a l w i t h this,

an o r g a n i z a t i o n a l method has been s e l e c t e d based^ on the tri-

partite division of music as s e t o u t by J o h a n n A n d r e a s Herbst,

a Nuremberg m u s i c i a n contemporary w i t h H a r s d o r f f e r . Herbst"s

terminology—Musica T h e o r e t i c a , Musica Practica and Musica

P o e t i c a - - w i l 1 be used as the g u i d i n g p r i n c i p l e s o f the chap-

ters to follow, and e x p l a n a t i o n s of h i s understanding of the

terms w i l l be s u p p l i e d as an a i d to a s c e r t a i n i n g Harsdorf-

f e r ' s involvement i n a l l three general areas.

The fundamental purpose of t h i s inquiry i s to determine

 22

and assess the significance of v a r i o u s aspects of music

in H a r s d o r f f e r * s works. In Chapter One, Musica Theoretica,

his statements on the s u b j e c t are used as a means o f es-

tablishing t h e manner i n w h i c h he a p p l i e s m a t e r i a l drawn

from other sources. In Chapter Two, Musica Practica, his

knowledge o f t e c h n i c a l f e a t u r e s of music i s investigated.

Harsdflrffer s 1
familiarity with a l a r g e number o f musical

instruments and t h e way i n w h i c h he i n t e n d s them t o be used

in a theatrical performance are also explored here. Much o f

the i n f o r m a t i o n g i v e n i n the first two chapters i s intended

to provide i n f o r m a t i o n and prepare t h e way for Chapter

Three, Musica P o e t i c a , i n w h i c h an examination i s made o f

how H a r s d f l r f f e r uses h i s m u s i c a l knowledge f o r p o e t i c pur-

poses. This chapter i s concerned initially with determining

the formal relationships between m u s i c and poetry. The

attempt-: i s . t h e n made t o e s t a b l i s h t h e way i n w h i c h he col-

laborated with Staden on Seelewig. Finally in this chapter,

a new source f o r Seelewig i s presented f o r the first time,

resulting i n the need f o r some r e c o n s i d e r a t i o n o f t h e i n -

f l u e n c e o f t h e German l i t e r a r y tradition on the opera. Over-

all, this inquiry into the m u s i c a l content of HarsdOrffer's

works w i l l p r o v i d e new means by w h i c h t o a s s e s s his contri-

bution t o the intellectual life o f the seventeenth-century.

 23

C h a p t e r One: Musica Theoretica

"Dass d i e Music i n s gemein i n drey Classes, nemlich

in T h e o r e t i c a l ^ , P r a c t i c a m und P o e t i c a m a b g e t h e i l e t wird,"

wrote Johann Andreas H e r b s t i n 1643, "ist ausser allem

streit und Zweiffel." 1

The tripartite division of music,

b a s e d on v a r i o u s criteria, had indeed held sway f o r c e n -

turies. B o e t h i u s , f o r example, one o f t h e most influential

authorities on m u s i c up t o t h e s e v e n t e e n t h - c e n t u r y had used

t h e c a t e g o r i e s o f w o r l d l y m u s i c , m u s i c a mundana, w h i c h was

concerned w i t h such t h i n g s as t h e harmony o f t h e universe

and the music o f t h e s p h e r e s ; human m u s i c , m u s i c a humana,

dealing above a l l w i t h the e f f e c t o f music on t h e human m i n d ,

body and soul; and i n s t r u m e n t a l music, musica instrumentalis,

2
the p r a c t i c a l s i d e which strives to i m i t a t e wordly music.

A n o t h e r e a r l y w r i t e r and important authority, Cassiodorus,

3

had d i v i d e d m u s i c i n t o h a r m o n i c s , r h y t h m i c s and m e t r i c s . Yet

tripartite classifications-were by no means u n i v e r s a l in

the s e v e n t e e n t h - c e n t u r y : w r i t e r s
o f t h e t i m e were a l s o d i v i -
4
d i n g m u s i c i n t o two c l a s s e s : n o t a t i o n and s i n g i n g , elemen-
t a r y and h a r m o n i c ,
5 r
o r C h o r a l i s [ _ a l l n o t e s have t h e same

v a l u e ~ | and F i g u r a l i s ["notes have different values]] . ^

A l t h o u g h such d i v e r s e approaches to the classification

 24

of music e x i s t e d i n and a r o u n d the time of Herbst, he never-

theless i s adamant i n h i s p r o n o u n c e m e n t on t h e s u b j e c t , and

with a l l due r e g a r d f o r t h e f a c t that h i s divisions are i n

no way f i n a l i n the broader v i e w , t h e y do r e f l e c t the opin-

i o n o f an e x p e r t c o n t e m p o r a r y w i t h H a r s d f l r f f e r , and were i n

wide u s e . Even t h o u g h H e r b s t resided i n Nuremberg f o r

some t i m e , t h e r e i s no e v i d e n c e in literary sources that

H a r s d o r f f e r was aware o f h i s w o r k s , a l t h o u g h H e r b s t ' s name

does a p p e a r w i t h o u t comment i n a l i s t of musicians given i n

Der Teutsche S e c r e t a r i u s (p.49). Nevertheless, f o r the pur-

poses o f t h e p r e s e n t work, g i v e n t h e n a t u r e o f the m a t e r i a l

a t hand, t h e d i v i s i o n s p r o v i d e d by H e r b s t p r o v e t h e most

practical and t h e most encompassing.

For Herbst, the Musicus T h e o r e t i c u s i s one who i s

concerned purely with contemplating and d i s c u s s i n g music,

not i n any way w i t h the compositional o r performing aspects.

By the seventeenth-century, t h e r e was i n d e e d a l a r g e body

of inherited material available f o r discussion. A vast

array of b e l i e f s and i d e a s a b o u t m u s i c as a r e f l e c t i o n o f

t h e harmony o f t h e u n i v e r s e , i t s e f f e c t on t h e human body

and soul, and i t s p l a c e i n t h e g r e a t e r scheme o f t h i n g s , h a d

been t r a n s m i t t e d from G r e e k and Roman times through a long

series o f commentators.. Many o f t h e s e , S t . Ambrose and S t .

A u g u s t i n e , f o r example, had added t h e C h r i s t i a n p e r s p e c t i v e .

I n t h e f i f t e e n t h and s i x t e e n t h c e n t u r i e s t h e g r e a t u p -
 25

surge of interest i n a n c i e n t music l e d to the r e v i v i f i c a -

tion, reworking and r e - a p p l i c a t i o n o f t h e o l d myths a n d

beliefs, as w e l l as t o t h e d i s c o v e r y o f t h e f i r s t known

piece o f Greek m u s i c a l n o t a t i o n . Many o f t h e a n c i e n t i d e a s

in v a r i o u s forms were i n c o r p o r a t e d as a m a t t e r of course

i n t o works c o n c e r n i n g m u s i c a l t h e o r y o f t h e t i m e , a n d e v e n

in the seventeenth c e n t u r y , t h e y p r o v i d e some o f t h e b a s i c

assumptions f o r the massive tomes o f some o f t h e t h e o r i s t s .

For H a r s d o r f f e r then, a wealth of material originating

from Classical s o u r c e s , and o f t e n imbued w i t h a s p e c t s o f

Christian thought, was a v a i l a b l e f o r use. The a r e a s t o be

discussed here are those concerned with h i s statements on

the o r i g i n s and h i s t o r y o f music, i t s cosmological signi-

ficance and i t s e f f e c t s on t h e m i n d and body. The theme o f

musical speculation w i l l be u s e d as a means o f d e t e r m i n i n g

how H a r s d f l r f f e r reacted to existing material, and w h e t h e r

he presented i tconsistently o r q u e s t i o n e d i t i n any way

when p a s s i n g i t on t o h i s r e a d e r .

Much d e l i b e r a t i o n on t h e o r i g i n s o f music had p r e c e d e d

Harsdflrffer, b u t as a d e v o u t Christian, he p u t much credence

in the evidence of the B i b l e . D r a w i n g on G e n e s i s . 4 . 2 1 , he

states: " I n d e r g a r k u r t z e n E r z e h l u n g v o n d e r e r s t e n Men-r

schen Thun i h r Q n u s i c ' s ^ j E r f i n d e r nicht i s t verschwiegen/

und J u b a l g e n e n n e t worden/ v o n welchem w i r T e u t s c h e d a s Wort

 26

jubiliren behalten"(FG,IV,90-91). Jubal i s not the only

contender f o r the t i t l e of originator o f music, since Hars-

dflrffer notes that "der G o t t l o s e T u b a l / d e r M o r d e r und E h e -

brecher/ d i e Music erfunden habe"(FG,VI,290). In t h i s par-

ticular instance, Harsdorffer i s discussing the negative

aspects o f music, and t h e f i g u r e o f Tubal p r o v i d e s a con-

v e n i e n t example f o r showing how t h e m i s u s e o f music began:'

Tubal's Godlessness implies that any e v i l s produced by, o r

attributable t o music a r e w h o l l y man made. Overall, however,

"ist d i e Music/ bald nach E r s c h a f f u n g der Welt/ erfunden

worden"(FG,V,399).

In addition to providing the reader with information

regarding the beginnings o f music, H a r s d f l r f f e r uses h i s

Biblical examples f o r other purposes. He t a k e s advantage

of t h e name " J u b a l " to provide a brief etymological aside—

e l s e w h e r e he n o t e s t h a t "Jubal" comes f r o m t h e word "Jabal/

produxit sonum"(ME,II,130). T u b a l on t h e o t h e r hand, i s

used t o make t h e r e a d e r aware o f t h e d a n g e r s o f music.

Both figures then prove u s e f u l f o r conveying i n s i g h t s into

a r e a s o t h e r than t h o s e from which t h e y a r e drawn.

Another explanation f o r the o r i g i n o f music tantalizes

Harsdorffer. He a s k s "ob d i e m u s i c v o n dem Vogelgesang/

o d e r v o n dem R a u s c h e n d e s s W a s s e r s ( w e l c h e s den Ton n a c h

den S t e i n e n / an w e l c h e e s zu s t o s s e n kflmt/ a n d e r t / ) oder

von dem u n g l e i c h e n Hammerschlag d e r Schmid e r f u n d e n worden

 27

sey"(FG,II,309-10), the last i n p a r t i c u l a r being a direct

reference t o one of the traditional Pythagorean ideas about

the beginnings of music. How some o f these s o u n d s became

music i s explained i n a n o t h e r p l a c e where H a r s d o r f f e r re-

p o r t s what he s t a t e s t o be t h e v i e w h e l d by some o t h e r s that

"ein mussiger H i r t grosse und kleine Kiesssteinlein ausge-

sucht/ solche i n ein Bachlein geleget/ und das lispeln und

wispeln desselben so l a n g b e o b a c h t e t / b i s s e r das unter-

s c h i e d e n e Geton m i t der Stimmen n a c h p f e i f f e i n kflnnen: Oder

man hat es von dem Wind d e r i n d i e R o h r gegangen/ abgemerkt/

aus solchem a l l e m n a c h g e h e n d s d i e K u n s t mag verfasset wor-

den seyn"(ME,II,130). The beginnings of music are thus seen

as an i m i t a t i o n by man of the sounds i n nature.

In this case, the information i s p a s s e d on for i t s own

s a k e , and i t i s i n the f o r m o f an unanswered q u e s t i o n and

reported opinion. H a r s d t t r f f e r i s t h e r e f o r e not prepared

to accept blindly any man made e x p l a n a t i o n f o r the origin

of music. Nevertheless, the inclusion of t h i s view reflects

firstly his general enthusiasm f o r n a t u r a l sounds, evident

9

above a l l i n h i s use o f onomatopoeia i n p o e t r y , and secondly

a w i l l i n g n e s s to incorporate an e m p i r i c a l l y based i n t e r p r e -

tation i n h i s d i s c u s s i o n of the subject. The Biblical ver-

sions, i n c o n t r a s t , are not presented i n the form o f ques-

tions or opinions, but as statements of religious faith.

T h e i r v e r a c i t y i s taken for granted.

 28

There:is.nevertheless a contradiction In the Biblical

accounts: i s Jubal o r Tubal the o r i g i n a t o r o f music?

Furthermore, how can the i m i t a t i o n t h e o r y be justified in

light of the C h r i s t i a n explanation? From Harsdorffer's

standpoint these are i r r e l e v a n t questions. The Biblical

v e r s i o n s on t h e one hand, and the i m i t a t i o n of nature on

the other, a l l represent v a l i d causes f o r the o r i g i n s of

music on e a r t h . H a r s d f l r f f e r makes no attempt to reconcile

the v a r i o u s v i e w s , b u t a c c e p t s them a l l as possibilities.

No reconciliation i s n e c e s s a r y , however, f o r t h e ulti-

mate s o u r c e . Music i s " h i e r a u f E r d e n d e r Echo o d e r Wider-

hall der himmlischen Freuden"(FG,IV,91), and a t bottom a

gift f r o m God for a m e l i o r a t i n g man's j o u r n e y t h r o u g h this

vale of tears (ME,II,130; ME,III,349). The final answer i s

to be found i n the r e l i g i o u s sphere. The beginnings of

music on e a r t h may be debatable, the o r i g i n a l source i s not.

Biblical evidence p r o v i d e s not only e x p l a n a t i o n s f o r

the origins o f music on e a r t h , but a l s o elements constitu-

ting the s e v e n t e e n t h - c e n t u r y view o f music history. Hars-

dflrffer certainly uses m u s i c a l f i g u r e s and e v e n t s from the

Bible to i l l u s t r a t e what had o c c u r r e d i n t h e p a s t : t h e de-

struction o f t h e w a l l s o f J e r i c h o by t h e sound of trumpets

(FG,IV,86; Joshua, 6.5); David d r i v i n g out the e v i l spirit

f r o m S a u l by p l a y i n g the harp (FG,IV,87; I Sam. 16.23) o r

the u s e o f m u s i c a l i n s t r u m e n t s by v a r i o u s Biblical characters'.

 29

in general t o p r a i s e God (FG, IV, 514-15 ; I C h r o n . 23 ; 5), . . :.

In a d d i t i o n , the statement t h a t music i s " e i n Vorgeschmack

dess ewigen Lebens"(FG,II,311) i s a chronological assess-

ment drawn from a view o f h i s t o r y e x p l a i n e d i n terms o f t h e

Christian religion, as i s t h e l i n e : "Es h a t v o r d i e s e r W e l t

der Engel-Chor erschallet"(FG,IV,86). Such i d e a s form t h e

basis o f a c o n c e r t p u t on i n May, 1643, t o i l l u s t r a t e t h e

p r o g r e s s i o n o f music from i t s heavenly beginnings t o beyond

t h e L a s t Judgement, a n d H a r s d o r f f e r s p e a k s o f t h i s concert

with great admiration (ME,III,378). T h i s , and h i s u n q u e s -

tioning acceptance, indicate his tacit approval o f the con-

tent and t h e way i n w h i c h i s i s p r e s e n t e d . The o u t l i n e o f

the c o n c e r t w i l l therefore provide a concise sketch of the

seventeenth-century c o n c e p t i o n o f music h i s t o r y s h a r e d by

Harsdflrffer.

Johann M i c h a e l Dilherr, a Nuremberg p r e a c h e r , teacher

and writer, h a d .'joined forces with Staden to present this

concert. Dilherr gave a L a t i n oration t o open t h e p r o -

ceedings, and S t a d e n s e l e c t e d , arranged and d i r e c t e d t h e

music. Although the o r a t i o n and t h e m u s i c a r e l o s t , a pro-

gramme g i v i n g a detailed description o f t h e c o n c e r t has

survived, entitled "Entwerffung dess Anfangs/ Fortgangs/

E n d e r u n g e n / B r a u c h s und M i s s b r a u c h s der Edlen Music.""^ It

gives the v o i c e s , instruments and t h e t e x t s u s e d t o demon-

strate the v a r i o u s stages i n musical history, beginning with

 30

three descant voices representing the a n g e l i c choir before

the creation o f the world. Periodization i s t h e n as fol-

lows: b e f o r e the f a l l ; after the f a l l ; O l d Testament; Greek;

New T e s t a m e n t ; time o f the p a t r i a r c h s (chorale); period of

figural music culminating with Lassus; Luther (chorale);

contemporary, i n c l u d i n g u s e and m i s u s e o f music; L a s t Judge-

ment; h e a v e n and h e l l . The w h o l e i s then rounded o f f by

a grand t u t t i t o t h e words: "MUSICA NOSTRA v a l e ; COELESTIS

MUSICA salve!" 1 1

The Christian interpretation reigns supreme i n t h i s

programme: t h e s o u r c e o f m u s i c i s i n heaven, and w h i l e man

can to a certain extent partake of this on e a r t h by s i n g i n g

or listening t o sacred music, he must w a i t u n t i l a f t e r the

L a s t Judgement f o r f u l l membership i n t h e h e a v e n l y choir.

Religious truths a r e seen as h i s t o r i c a l truths. Indeed,

the idea of h i s t o r i c a l a c c u r a c y anywhere a p p r o a c h i n g t h e

modern s e n s e o f t h e t e r m i s nowhere t o be s e e n . The m u s i c

representing t h e Greek element, f o r example, c o u l d n o t have

been historically faithful, as G r e e k n o t a t i o n had n o t been

d e c i p h e r e d by 1643. Authentic r e p r o d u c t i o n was c l e a r l y n o t

the point. Nevertheless, some a t t e m p t i s made t o d u p l i c a t e

the i n s t r u m e n t a t i o n mentioned i n the B i b l e — h a r p s , trumpets

and c y m b a l s f o r example (I C h r o n . 14.8)—but t h e s e were i n -

s t r u m e n t s i n common u s e i n t h e s e v e n t e e n t h - c e n t u r y , and a l -

though academic interest i n ancient instruments i s evident

 31

at the time, reconstruction does n o t seem t o have b e e n

a major concern. The presence of harpsichords, v i o l s and

other seventeenth-century i n s t r u m e n t s f o r the purposes of

the c o n c e r t i s t h e r e f o r e not surprising.

Although the d i v i s i o n o f music history into periods'is

based primarily on B i b l i c a l sources, other c r i t e r i a are

also included, especially f o r more r e c e n t t i m e s . The musi-

cal form o f t h e c h o r a l e , f o r i n s t a n c e , i s u s e d to designate

the p e r i o d from the e a r l y p a t r i a r c h s u n t i l "ungefehr vor

13

zweyhundert J a h r e n , " i . e . the middle of the fifteenth-

century, and refers to e c c l e s i a s t i c a l plainsong. The term

then r e - e m e r g e s i n c o n n e c t i o n w i t h L u t h e r , who i s considered

t o be an important figure i n music history as the instigator

and composer o f c h u r c h s o n g s i n German, b u t i t c l e a r l y no

l o n g e r has t h e same m e a n i n g . L u t h e r ' s name, f u r t h e r m o r e , i s

a l s o used for period designation. Contemporary music is

explained i n terms o f m u s i c a l s t y l e : i t i s "von den alten

w e i t u n t e r s c h i e d e n / und g l e i c h s a m auf O r a t o r i s c h e weiss/ die

14

affecten, so v i e l muglich/ zu m o v i r e n , angegeben." There

a r e t h e r e f o r e no discernably consistent criteria for deter-

mining m u s i c a l epochs, b u t t h e w h o l e i s n e v e r t h e l e s s drawn

t o g e t h e r by t h e common f a c t o r s of sacred texts and the over-

15

all C h r i s t i a n world view.

S e c u l a r music receives very little mention i n the pro-

gramme. I t was presumably used to i l l u s t r a t e "der Griechen/

 32

oder Heydnische Musica," as w e l l as t h e i d e a s a b o u t the

misuse o f music i n the s e v e n t e e n t h - c e n t u r y , a t o p i c o f some

concern f o r H a r s d o r f f e r which will be d i s c u s s e d below.

Harsdflrffer, however, does display some knowledge o f t h e

development o f German s o n g o u t s i d e the Church, b e g i n n i n g

w i t h a mention of "wie die alten Teutschen ihre Gesetze"zu

singen pflegten/ damit s i e dem groben P o v e l mochten i n dem

Gedachtnis verbleiben"(HS,I,n.p.). This s t a t e m e n t may re-

present the e s t a b l i s h e d view, but, says H a r s d o r f f e r , "Weil

w i r T e u t s c h e a b e r so u n g l u c k l i c h / d a s s w i r von den altesten

und r u h m l i c h s t e n G e s c h i c h t e n u n s e r e r g e e h r t e n Ahnen nichts

aufgeschrieben finden/ a u s s e r was C a e s a r und Tacitus (welche

fremde und ihre F e i n d e gewesen/) h i n t e r l a s s e n / i s t hiervon

k e i n e umstandige Gewiessheit beyzubringen"(FG,IV,59). This

is an instance i n which the s t a n d a r d sources are not arbi-

trarily a c c e p t e d as r e p r e s e n t i n g the f a c t s — C a e s a r and Taci-

tus are c o n s i d e r e d b i a s e d and u n r e l i a b l e . This statement

shows an e l e m e n t of c r i t i c a l questioning i n Harsdfirffer s 1

way of thinking and f o r him the r e s u l t i s uncertainty.

O l d German song, however, i s n o t v i e w e d in historical

isolation: "Die a l t e n T e u t s c h e n haben i h r e r H e l d e n mannliche

T h a t e n bey i h r e n Graberen gesungen . . . von w e I c h e n nach

und nach a u c h bey den Christen e i n e gewiese/ wiewol harte

und unannemliche A r t der Singreimen geblieben i s t / d i e noch

heut zu Tage d i e M e i s t e r s i n g e r b e h a l t e n " ( F G , I V , 5 6 ) . Hars-

 3

d f i r f f e r here sees a d i r e c t line linking t h e o l d German song

w i t h h i s own t i m e , and h i s o p i n i o n o f the a r t o f the M e i s t e r

singer i s made p e r f e c t l y clear. This opinion i s n o t based

on h e a r s a y , h o w e v e r , s i n c e he was f a m i l i a r w i t h t h e i r techni-

ques r(FG,"iy,-57-8).-. The d e s i g n a t i o n "Meistersinger, " further

more, i s n o t l i m i t e d to those u s u a l l y c o n s i d e r e d under this

heading today, f o rHarsdorffer refers t o Walther von d e r

Vogelweide as one o f t h e o l d p r a c t i t i o n e r s o f t h e a r t (FG,VI

578). The d e v e l o p m e n t o f M e i s t e r g e s a n g i n H a r s d f l r f f e r ' s un-

d e r s t a n d i n g o f the term i s viewed as a c o n t i n u o u s l i n e , and

the historical c a e s u r a o c c u r s between t h e p r e - C h r i s t i a n and

the Christian periods.

S e c u l a r music o t h e r than Meistergesang i s c o n s i d e r e d

by H a r s d f l r f f e r : "Die a l t e n Poeten/ a l s Eschylus der Feld-

oberste/ S o p h o c l e s und a n d e r e haben a u f d e r H a r f f e n g e -

s c h l a g e n / wann man i h r e F r e u d e n s p i e l e v o r g e s t e l l e t / und

j e d e s m a l s den T o n / m i t d e r V e r s a r t / nach Begebenheit der

Geschichte v e r a n d e r t / welches die Italianer auch nachzu-

thun pflegen"(FG,VI,597-98). H a r s d o r f f e r was j u s t as aware

as modern w r i t e r s on m u s i c that the I t a l i a n s had b e e n

attempting to recreate the conditions o f a n c i e n t Greek musi-

cal performance.

The method o f r e s e a r c h u s e d b y t h e I t a l i a n s d i d not

rely exclusively on u s i n g m a t e r i a l transmitted through the

a g e s , b u t a l s o on e x a m i n i n g evidence found i n o r i g i n a l
 34

sources. T h e i r aims were t o some e x t e n t b a s e d on a view

of the p a s t i n which the seeds o f modern h i s t o r i o g r a p h y c a n

be detected. Harsdflrffer s 1
contact with the I t a l i a n aca-

demies and his interest i n t h e i r work t h e r e f o r e s u g g e s t some

f a m i l i a r i t y with this type of h i s t o r i c a l a s s e s s m e n t , as i n -

d e e d does h i s c o m p l a i n t that t h e r e a r e no reliable sources

dating from the times of Caesar and Tacitus.

In a general discussion o f stage works, which f o r Hars-

dflrffer usually c o n t a i n music, he i n c l u d e s the statement

made by an Italian which p r o v i d e s a view of the relationship

between t h e p a s t and the p r e s e n t : " . . . Es i s t der Schau-

platz/ und unsere T r a u e r - und Frewdenspiele in solcher V o l l -

kommenheit/ d a s s uns n o c h d i e G r i e c h e n n o c h d i e Rflmer des-

gleichen i e m a l s ausgesonnen haben. Aristoteles i s t nicht

mehr d e r P o e t e r e y Gesetzgeber/ und Euripides/ Aristophanes/

Sophocles/ s o l t e n von uns zu l e r n e n haben/ a l s P l a u t u s und

Terentius. Wann s i e w i e d e r l e b e n d i g werden und uns zu-

schauen konten/ so wurden s i e es bekennen m u s s e n " ( F G , V I ,

164). H a r s d f l r f f e r c o n t i n u e s t o say t h a t such a degree of

perfection has not y e t been a t t a i n e d i n Germany, b u t that

Seelewig i s an attempt to scale these h e i g h t s . The signifi-

cance of these statements i s that they r e j e c t the arbitrary

acceptance of a u t h o r i t y , and suggest a development to better

things. Historically, the Golden Age of the Greeks i s seen

as s u r p a s s e d by the achievements o f more r e c e n t times.

 35

Harsdorffer s 1
view o f the o r i g i n s and history o f music on

t h e one hand t h e n i s caught up w i t h t h e c o n c e p t of the his-

t o r y of s a l v a t i o n : music began and c o n t i n u e s i n heaven, and

is accessible t o man d u r i n g h i s s o j o u r n on e a r t h o n l y as an

echo o f the d i v i n e . On t h e o t h e r hand, he demonstrates

an interest i n non-religious interpretations, including those

which d e r i v e t h e i r impulse from investigating t h e way things

actually were.

Although Harsdflrffer t o some e x t e n t q u e s t i o n s t h e supre-

macy o f t h e G r e e k s i n an h i s t o r i c o - a r t i s t i c c o n t e x t , he i s

elsewhere f a s c i n a t e d by aspects of t h e i r thought. "Der tieff-

sinnige Pythagoras," he w r i t e s , "hat b e s t a n d i g aussgesagt:

E r sehe n i c h t allein den Himmel/ s o n d e r n e r hflre a u c h e i n e

liebliche Zusammenstimmung der herumwallenden Sterne"(ME,

111,353). The music of the spheres had indeed provided a

source of d i s c u s s i o n and speculation f o r musical theorists

for centuries. Initially, i t had been d e s c r i b e d as a result

of the friction of revolving crystalline spheres i n the

heavens, the s i n g i n g of s i r e n s perched on the spheres, or

as t h e i n d e p e n d e n t s o u n d s made by each sphere in motion.

The i d e a o f the individual p l a n e t s p r o d u c i n g s o u n d as they

travelled harmoniously in their orbits represented a v a r i - \

ation on the b a s i c concept, and i n the seventeenth-century

was taken f o r g r a n t e d by no less a person than the a s t r o n o -

mer, J o h a n n e s K e p l e r , who maintained that the notes produced:

 36

by the e a r t h were "mi, f a , mi," standing f o r "miseria"

18

(misery), "fames" (famine), " m i s e r i a " (misery).

D i s c u s s i o n on the general s u b j e c t not o n l y c e n t r e d

around the nature and meaning of c e l e s t i a l harmony, but

a l s o i n c l u d e d d i s q u i s i t i o n s on whether i t e x i s t e d a t all.

T i n c t o r i s , a f i f t e e n t h - c e n t u r y Flemish t h e o r i s t , f o r example,

suggested t h a t C i c e r o , Macrobius, Boethius and I s i d o r e be-

l i e v e d i n i t , while A r i s t o t l e , h i s commentator Thomas

Aquinas, and more r e c e n t p h i l o s o p h e r s d i d not. Those of the

second group, maintained Tinctoris, " m a n i f e s t l y prove t h a t

1<

i n the heavens there i s n e i t h e r a c t u a l nor p o t e n t i a l sound."

H a r s d f l r f f e r , on the other hand, was not concerned with

d i s c u s s i n g the r e l a t i v e m e r i t s of the e x i s t e n c e or non-

e x i s t e n c e of the harmony of the spheres. I t was basically

s u f f i c i e n t f o r him t h a t the theme had been worthy of contem-

p l a t i o n i n the past, and i t t h e r e f o r e represented a useful

p i e c e of i n f o r m a t i o n to be passed on to h i s German readers

f o r broadening t h e i r general knowledge (also FG,III,23; FG,

V,399). Yet he does not forgo the o p p o r t u n i t y of i n c l u d i n g

C l a s s i c a l cosmological ideas i n a C h r i s t i a n context: "Die

Himmel e r z e h l e n d i e Ehre GOTTES . . . E i n Tag sagets den

andern und eine Nacht thut es kund der andern. Es i s t keine

Sprache noch Rede da man nicht ihre (der Sterne stumme)

Stimme hfire. Ihre Schnur (die himmlischen K r a i s e und

C i r c k e l ) gehet auss i n a l l e Lande/ und i h r e Rede (Zeichen

 37

und Wurckungen) b i s s an der Welt Ende"(ME,III,349-50).

A l l kinds of astronomical and a s t r o l o g i c a l elements, as

w e l l as the i d e a of the harmony o f the p l a n e t s , are used

here to demonstrate the d i v i n e order of the heavens.

The e f f e c t s of the p l a n e t s themselves was a t o p i c of

g r e a t i n t e r e s t to H a r s d o r f f e r , so much so t h a t he used i t

as the theme of the musical pageant, Die Tugendsterne

( l i b r e t t o FG,V,397-435; score FG,V,633-70). The b a s i c

assumption on which the pageant i s based i s t h a t "wie d i e

Planeten d i e grosse Welt r e g i e r e n / so r e g i e r e n d i e VII E r t z -

tugenden d i e k l e i n e Welt"(FG,V,402). The macrocosm and the

microcosm have corresponding parts. There i s , i n a d d i t i o n ,

a r e l a t i o n s h i p between the e f f e c t s o f the p l a n e t s and the

a f f e c t s of the musical modes (FG,V,634). In the Tugend-

sterne , H a r s d o r f f e r j o i n s a l l these elements together, and

presents seven songs, one f o r each mode and i t s c h a r a c t e r i s -

tics, each p l a n e t and each v i r t u e . The whole i s preceded by

a song by the nymph, Echo, and each song i s preceded by a

short instrumental section. The arrangement given i n the

p r e f a c e to the score appears as the f o l l o w i n g t a b l e (FG,V,635)

Die Ordnung Der Ton und seine Eigenschaft Der Planet Die Tugenden

A Aeolius lieblich $ Venus!! Liebe

B Hyperaeolius schwach t i _[Saturn] Massigkeit
C Ionicus frolich % [Mercury] Vorsichtigkeit
D Dorius gravitetisch &[Bun] Glaub
E Phrygius traurig J [Moor{] Hof fnung
F Lydius klaglich JJ- pupiter} Gerechtigkeit
G Mixtolydius zornig J> [Marsl Starcke
 38

In the a c t u a l score and t h e l i b r e t t o s e c t i o n , the arrange-

ment o f modes i s g i v e n a s :

Score Libretto

Dorius Dorius
Phrygius Phrygius
Aeolius Aeolius
Lydius Mixtolydius
Mixtolydius Lydius
Ionicus Ionicus
Hyperaeolius " » o d e r b d u r , " and " S p u r i u s
t
oder der
v e r w o r f e n e H . "20

Although the order i s more c o n s i s t e n t h e r e - - t h e o n l y altera-

tions being the placement o f the Lydian and M i x o l y d i a n , and

an a l t e r n a t i v e way o f naming t h e H y p e r a e o l i a n — i t differs

substantially from t h a t g i v e n i n the t a b l e .

In Mediaeval times, e i g h t modes had been i n u s e , r e -

21

ferred t o o n l y by number. Later t h e o r i s t s had a p p l i e d

names t o t h e modes, s u p p o s e d l y representing the ethos attri-

b u t e d t o them by t h e G r e e k s . Glareanus, a sixteenth-century

S w i s s monk, had added f o u r more t o t h e s y s t e m . Yet the order

and number o f modes a t t h e end o f t h e s i x t e e n t h - c e n t u r y and

in the f i r s t h a l f o f t h e s e v e n t e e n t h - c e n t u r y - w a s by no means
a g r e e d upon, and w r i t e r s on t h e s u b j e c t were n o t r e l u c t a n t
22

to say so.

Glareanus i s r e f e r r e d t o b y H a r s d f l r f f e r as t h e a u t h o r i t y

for the Tugendsterne. I t was he, s t a t e s H a r s d f l r f f e r , who

made c o n n e c t i o n s between t h e modes and t h e p l a n e t s (FG,V,398

and 634). Y e t Glareanus' order o f those modes u s e d by H a r s -

 39

dorffer i s :

Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Ionian
Hyperaeolian

Significant d i f f e r e n c e s a r e e v i d e n t between t h i s arrangement

and those given i n the Tugendsterne.

In the p r e f a c e to the score, the reasoning behind the

order o f t h e modes i s made p e r f e c t l y clear: " D i e Ordnung

£istj n a c h den Tugenden/ und n i c h t n a c h den P l a n e t e n oder

Simmen g e r i c h t e t " ( F G , V , 6 3 5 ) , and t h e p r o b l e m o f j u s t i f y i n g

t h e modal a r r a n g e m e n t a p p e a r s t o be s o l v e d . Y e t i t does

not e x p l a i n why t h e a r r a n g e m e n t i s d i f f e r e n t again i n the

libretto and i n t h e s c o r e . The c o n t e n t o f the l a s t song,

furthermore, c o n t r a d i c t s the statement that the order of the

virtues as t h e y appear i n the t a b l e takes precedence: "Ob

ich gleich d i e l e t z t e b i n an d e r Tugend S c h w e s t e r Reyen . . ."

(FG,V,429 and 6 6 8 ) , s i n g s t h e f i g u r e representing "Massig-

keit," who a p p e a r s i n s e c o n d p o s i t i o n i n the t a b l e . Clearly

the statement e x p l a i n i n g that the order i s according to the

virtues does n o t a p p l y to the t a b l e appearing immediately

above i t i n t h e p r e f a c e to the score, but r e f e r s to the

order of virtues given i n the score itself. The a r r a n g e m e n t

of the v i r t u e s i s then "Glaube, Hoffnung, L i e b e , " the t h r e e

 40

religious virtues, and " G e r e c h t i g k e i t , S t a r k e , Vorsichtig-

keit, M a s s i g k e i t , " the f o u r moral v i r t u e s . <

The t a b l e , m o r e o v e r , c a n n o t be e x p l a i n e d i n terms o f

the order of the p l a n e t s . Harsdflrffer c e r t a i n l y was fully

aware o f t h e s t a t e o f a s t r o n o m y i n h i s d a y — h e discusses

Copernicus, Galileo and K e p l e r (ME,II,272)—yet the p e r s i s -

tence of the o l d Ptolemaic s y s t e m d i d n o t a l l o w h i m t o come

down f i r m l y on e i t h e r side of the questions of planet posi-

tion or heliocentricity (ME,II,289). The o r d e r o f t h e p l a -

nets i n the t a b l e nevertheless does n o t a g r e e e i t h e r with

t h e o l d o r t h e new s o l a r systems.

The a r r a n g e m e n t i n t h e t a b l e c a n be e x p l a i n e d , however,

if the l e t t e r s A t o G a r e v i e w e d as more t h a n a convenient

organizing system—more than just "die Ordnung"—and taken

to represent the f i n a l s o f the corresponding modes; t h a t

is t o s a y , t h e A e o l i a n mode e n d i n g on t h e n o t e A, t h e H y p e r -

aeolian on B, t h e I o n i a n on C, t h e D o r i a n on D, e t c . The

letters A t o G were p o s s i b l y t h o u g h t of i n i t i a l l y purely f o r

organizational purposes, b u t t h e s u b s e q u e n t a t t a c h m e n t of:.;

modal finals to the l e t t e r s resulted i n an i n c o r r e c t order

being assigned t o t h e names o f t h e modes and t h e p l a n e t s .

The t a b l e i s t h e r e f o r e made up on m u s i c a l principles.

A q u e s t i o n w h i c h now a r i s e s i s whether the t a b l e and

the rest o f the preface preceding the score s h o u l d be a t -

23
tributed to H a r s d o r f f e r o r t o Staden: " . . . i n den Sym-
 41

p h o n i e n / A n - o d e r Zustimmungen/ haben d i e Stimmen wegen des

kleinen Formats/ n i c h t v o l l i g durchgangen/ oder ausgefuhret

werden kflnnen; wie dann a u c h d i e R e i m a r t e n / Gemahle und

andere Anweisung der Gesprachspiele/ von endlicher Voll-

kommenheit e n t f e r n e t / und zu a l l e r Teutschliebenden Samt-

hulffe uberlasset wird"(FG,V,634). The i n c l u s i o n of a Ger-

man equivalent f o r the word "Symphonien" f i r s t l y , is typical

of H a r s d f l r f f e r i n h i s attempts t o make i d e a s and concepts

readily understandable t o h i s German r e a d e r s . Staden,

throughout the score u s e s t h e word "Symphonie" e x c l u s i v e l y .

Secondly, i t i s surely HarsdOrffer who i s taking the res-

ponsibility and apologizing f o r the scantiness of the work

as a w h o l e , a c o n c e r n w h i c h he voices throughout the work.

It w o u l d seem, t h e r e f o r e , t h a t H a r s d f l r f f e r and not Staden

is responsible f o r the text of the preface, including the

table.

The first s i x modes f r o m G l a r e a n u s g i v e n i n the list

above (p. 3 9 ) are r e f e r r e d t o as authentic—they form the

basis of the modal s y s t e m . Harsdflrffer, however, i s c o n -

c e r n e d w i t h a t t a c h i n g modes t o s e v e n v i r t u e s , and chooses

the Hyperaeolian t o make t h e number up to seven, evidently

d r a w i n g on Glareanus' remark t h a t t h i s may i n f a c t be an

24
authentic mode. In g e n e r a l , Glareanus objected vehemently
to the Hyperaeolian, and refused to discuss i t a t any length,
25
calling i t "spurius" and "rejecto." Harsdflrffer, i t is
true, does p i c k up on the term "spurius"(FG,V,431), and

his reference t o t h e mode as "verworffen" i n the same place

is the German e q u i v a l e n t of Glareanus' "rejecto." Herbst

explains that the Hyperaeolian i s "verworffen" because i t

26

contains "verwerffliche Intervallen." The final of the

Hyperaeolian i s B, and Harsdorffer seems t o have c h o s e n the

mode t o c o r r e s p o n d to the ordering number B i n t h e table

preceding the score. He i s therefore not concerned with

musical a c c e p t a b i l i t y , and no c o n s i d e r a t i o n whatsoever of

the t h e o r e t i c a l o b j e c t i o n s to the mode a p p e a r s i n t h e Tugend

sterne. I t was clearly not H a r s d f i r f f e r s i n t e n t i o n to

1
deal

with them.

In the score s e c t i o n of the Tugendsterne, the super-

scription "B. Hyperaeolius"(FG,V,669) i s retained. Yet an

examination of the music f r o m a modal p o i n t of view shows

27

that Staden a c t u a l l y used a transposed Lydian. It is

somewhat a n a c h r o n i s t i c , however, t o i n s i s t on a modal i n -

terpretation, as the death k n e l l f o r the modes had long

been s o u n d i n g by the m i d - s e v e n t e e n t h - c e n t u r y , and the tonal

quality of the piece i s most p e r v a s i v e . I t should rather

be considered as being i n the key of B f l a t rather than in

any p a r t i c u l a r mode.

S t a d e n ' s own t h e o r e t i c a l understanding of the modes

is considerably c l e a r e r than H a r s d o r f f e r s 1
Although he

does n o t discuss the modes i n h i s m u s i c a l handbook, Rudi-

 43

mentum Musicum, a line drawing of a device showing the

modes and designed by him does a p p e a r i n H a r s d f i r f f e r ' s

Mathematische Erguickstunden (III,fol. 367). The device,

w h i c h i s shown h e r e on page 44, c o n s i s t s o f two discs which

are t o be cut out and superimposed. The user then turns

the top smaller disc t o any note with the name o f a mode

assigned to i t appearing on the edge o f t h e larger outer

disc, and by f o l l o w i n g the lines g i v e n on the smaller disc,

he can work o u t the intervals. In e f f e c t , i t is a two-fold

musical version of HarsdOrffer's "funffacher Denckring."

The arrangement of t h e modes h e r e exactly follows Glareanus.

Yet i n the Tugendsterne, S t a d e n has accommodated Harsdflrf-

fer to the extent t h a t he alters the o r d e r o f t h e modes, and

includes the designation "Hyperaeolius" i n the heading to

the last song.

The affects o f t h e modes g i v e n i n the Tugendsterne

adhere fairly closely to those attributed t o them by Gla-

reanus, which can be seen from T a b l e 1 (p. 4 6 ) . As Haar

suggests, H a r s d o r f f e r ' s choices are probably simplifica-

29

tions of Glareanus' more complex d e s c r i p t i o n s . In the

case of t h e L y d i a n mode, H a r s d f i r f f e r has s e l e c t e d one from

a number o f p o s s i b i l i t i e s . For t h e M i x o l y d i a n , where G l a -

r e a n u s does n o t give a clear description, Harsdorffer's

choice af "zornig" finds an e q u i v a l e n t i n the "indignans" of

G u m p e l z h a i m e r and Herbst. Harsdorffer.provides- a ' l i t t l e more

Figure 1

S i m p l i f i e d v e r s i o n o f S t a d e n ' s m u s i c a l a i d (ME, I I , f o l " . 3 67) ,

i n c l u d i n g names a n d n u m b e r s o f t h e modes. Small correc-
t i o n s h a v e b e e n made. Modern e q u i v a l e n t s o f the i n t e r v a l s
are: semiditonus, t e r t i a m i n o r — m i n o r t h i r d ; ditonus, t e r t i a
major—major t h i r d ; diatessaron--fourth; diapente, quinta—
f i f t h ; sexta minor—minor sixth; sexta major—major sixth
 45

information i n the libretto s e c t i o n o f the Tugendsterne

which agrees w i t h t h a t given i n the T a b l e . Overall, the

affects a p p l i e d by H a r s d f l r f f e r appear i n a t l e a s t one or

more o f t h e d e s c r i p t i o n s by theorists given here.

An o u t s t a n d i n g f e a t u r e w h i c h emerges from Table 1 is

t h e number o f c o n t r a d i c t i o n s r e g a r d i n g modal affects—not

only:between t h e o r i s t s , but also in individual cases, es-

pecially Herbst. F o r him t h e D o r i a n mode may be "frolich

or " m a j e s t a t i s c h ; " the P h r y g i a n "zornig" or leydmutig;" the

M i x o l y d i a n can produce "Trawrigkeit" or "Zorn" i n the lis-

tener. There i s n e v e r t h e l e s s g e n e r a l a g r e e m e n t on the

affects o f t h e I o n i a n and A e o l i a n modes, w h i c h i s a signi-

ficant factor, s i n c e these two became t h e modern m a j o r and

minor keys. I n g e n e r a l , however, t h e c o n t r a d i c t i o n s indi-

cate that the a f f e c t s o f t h e modes, o v e r and above their

o r d e r and number, were n o t totally agreed upon by writers

on the s u b j e c t .

H a a r a l s o p o i n t s t o d i s c r e p a n c i e s between theorists
30

regarding the a s s o c i a t i o n o f t h e modes and the p l a n e t s .

It s h o u l d be noted, however, t h a t G l a r e a n u s himself i s not

clear on the m a t t e r : on t h e one hand, d r a w i n g from one

s o u r c e he notes that the D o r i a n i s associated with Saturn,

and on the o t h e r , drawing from a second source, that the

31

Mixolydian and Saturn belong together. In the Tugend-

sterne, the Hyperaeolian i s shown as the c o u n t e r p a r t to

Mode Harsdflrffer Glareanus Kircher Gumpelz- Herbst
(L=Libretto) haimer

Dorian gravitetisch maiestas ad temperantiam e t hilaris h i l a r i s (lively)

(L) p r a c h t i g und (majesty) moderationem (lively) prachtig, f r o i i c h , lustig
majestatisch gravitas (temperance and frewdig, majestatisch
(gravity) moderation)

Phrygian traurig lachrymabile not given austerus a u s t e r u s (grave)

(L) t r a u r i g und (mournful) (grave) zornig, saurzappfig
betrubet leydmutig

Lydian klaglich querulus ( p l a i n t i v e ) ad f l e t u s e t asper asper (harsh)

(L) f a s t k l S g - remissus (languid) lamentationes (harsh) hart, scharff, h e f t i g ,
l i c h anzuhflren resolutus (effemi- (weeping and s a u r s c h l e c h t i g , trohend
nate) lamentation)

Mixo- zornig not d e f i n e d ad commiserationem indignans indignans (impatient)

1ydian (L) e r n s t l i c h pietatisque (impatient) e r n s t h a f f t , saur, f r o i i c h
und gleichsam zum (compassion and l i e b l i c h . . . kan doch auch
S t r e i t reitzend pity) T r a w r i g k e i t / Zorn und an-
dere a f f e c t e n erwecken

Aeolian lieblich jucunda ( d e l i g h t f u l ) s u a v i s (pleasant) suavis s u a v i s (pleasant)

(L) l i e b l i c h und d u l c i s (sweet) mollis (soft) (pleasant) lieblich, froiich, sanfft-
sehr anmuhtig s u a v i s (pleasant) mtltig

Ionian froiich suavis (pleasant) suavis (pleasant) jucundus jucundus ( d e l i g h t f u l )

(L) f r o i i c h und (delightful) frOlich, l e i c h t f e r t i g
lieblich f ilrwitzig

Hyper- schwach - - - -
aeolian

T a b l e I. The A f f e c t s and Uses o f the Modes.

 47

Saturn, a p l a n e t which H a r s d o r f f e r elsewhere refuses to

d i s c u s s because o f i t s m a l e f i c i n f l u e n c e (FG,II,83). The

two a r e n e v e r t h e l e s s drawn t o g e t h e r i n t h e T u g e n d s t e r n e

because o f t h e i r arbitrary association with the seventh

virtue. I t i s pure c o i n c i d e n c e t h a t the H y p e r a e o l i a n hap-

pens t o be a t l e a s t a contender f o r the p o s i t i o n o f the

seventh a u t h e n t i c mode i n G l a r e a n u s ' system, and t h a t

Saturn happens t o be t h e s e v e n t h planet (including t h e sun

as the f i r s t ) .

Harsdflrffer's treatment o f t h e modes shows t h a t a l -

t h o u g h he was f a m i l i a r w i t h the general concepts, a n d was

aware o f t h e o r e t i c a l w r i t i n g s on t h e s u b j e c t , he inter-

preted this r e c e i v e d knowledge i n h i s own way. The C h r i s t

tian virtues ultimately take precedence i n the Tugendsterne

and modal t h e o r y i s adapted accordingly. And a l t h o u g h

H a r s d f l r f f e r does n o t f o l l o w G l a r e a n u s , h i s quoted source,

as f a r as t h e o r d e r i n g o f t h e modes i s c o n c e r n e d , this may

be excused i n view o f the f a c t t h a t many a u t h o r i t i e s dis-

agreed on t h e m a t t e r i n any e a s e . Harsdfirffer's choice of

t h e H y p e r a e o l i a n mode does n o t make s e n s e from a musical

p o i n t o f v i e w , b u t i t c a n be e x p l a i n e d i n terms o f h i s

willingness t o use i n f o r m a t i o n gleaned from sources without

concerning himself with t h e whole r a n g e o f i m p l i c a t i o n s .

That H a r s d f l r f f e r who was n o t a p r o f e s s i o n a l musician,

could twist t h e modes a r o u n d f o r h i s own u s e i s n o t e w o r t h y

 48

in itself. That Staden f o l l o w e d Harsdflrffer in this pro-

vides evidence t h a t the p r o f e s s i o n a l musician was prepared

to tamper t o some e x t e n t with Glareanus, a named a u t h o r i t y

in his f i e l d . The definite tonality of Staden's music in

the Tugendsterne, moreover, i s a f a i r indication that the

question of t h e modes i n g e n e r a l was being r e l e g a t e d more

and more t o t h e realm of theoretical s p e c u l a t i o n , and to

whatever extent these t h e o r i e s were p e r s i s t i n g , the modern

key s y s t e m was already t a k i n g precedence i n p r a c t i c e . It

is purely from a t h e o r e t i c a l - s p e c u l a t i v e p o i n t o f view that

H a r s d f l r f f e r approaches the m o d e s — h e i s not concerned with

the m u s i c a l t e c h n i c a l i t i e s — a n d although h i s treatment of

the subject i n the Frauenzimmer G e s p r a c h s p i e l e i s at times

arbitrary or unclear, the basic information is nevertheless

p a s s e d on, b r o a d e n i n g the reader's general musical know-

ledge, and p r o v i d i n g him with a topic for inclusion in

cultured conversation.

A further subject s u i t a b l e for discussion i s that of

the psychological effects of m u s i c — t h a t i s to say, the

power o f m u s i c on the mind or soul. There are not only

mythological examples t o be drawn o n — O r p h e u s , A r i o n and

the dolphin, the Sirens—but also B i b l i c a l characters,

above a l l K i n g David, a l l o f whom a r e seconded time and

again to provide proof i n a p l e a s i n g and i n s t r u c t i v e man-

ner of the universality of the affects and power o f m u s i c .

 49

The essence of Harsdflrffer s understanding

1
o f the

power o f m u s i c on t h e mind o r s o u l i s t o be f o u n d i n the

statement that, "Ob zwar d i e S e e l e e i n G e i s t i s t / welcher

durch leibliche D i n g e n i c h t mag e r r e g t werden/ s o l a s s e n

doch a l l e derselben Kraffte/ der Verstand/ der Wille/ d i e

Gedachtnuss/ d i e B i l d u n g s i c h durch das Gehflr u b e r m e i s t e r n

33

und bewegen"(FG,IV,91). In order t o understand the i m p l i -

cations o f these ideas f u l l y , they s h o u l d be v i e w e d i n con-

junction with the contemporary c o n c e p t i o n o f the s o u l .

The structure o f t h e s o u l was c o n s i d e r e d a s t r i p a r t i t e ,

consisting i n ascending order of the vegetable, the s e n s i b l e

and the reasonable levels, a l l three p a r t s housing the sundry
34

faculties. The v e g e t a b l e level i s concerned with such

physical elements as growth and d i g e s t i o n , a n d i s t o be

found i n man, i n a n i m a l s and i n p l a n t s . The s e c o n d o r sen-

s i b l e l e v e l - , common t o man and a n i m a l s , contains the f i v e

external senses, each o f which r e p o r t s t o the f i r s t : \ i n t e r i o r

power, t h e "common s e n s e , " which i n t u r n c o n s u l t s w i t h the

interior powers o r f a c u l t i e s o f i m a g i n a t i o n and memory t o

determine w h e t h e r what i s p e r c e i v e d i s h a r m f u l or pleasant.

The emotions, desires and f e a r s are also lodged here. The

first o r r e a s o n a b l e l e v e l , b e l o n g i n g t o man a l o n e , c o n t a i n s

the main p r i n c i p a l power o f t h e u n d e r s t a n d i n g , - which func-

tions i n an a b s t r a c t way, d r a w i n g on t h e i m a g i n a t i o n and

memory, a n a l y z i n g a n d d i s t i n g u i s h i n g good from evil, right

 50

f r o m wrong. The w i l l , the second p r i n c i p a l power, causes

action or reaction. I f t h e u n d e r s t a n d i n g has b e e n suffi-

ciently d e v e l o p e d by t r a i n i n g o r e d u c a t i o n , and i s s t r o n g

enough, t h e w i l l then causes a c t i o n which i s right i n the

e y e s o f man a n d God. I f the understanding i s not strong

enough, t h e w i l l i s governed b y t h e s e n s e s and e m o t i o n s ,

c a u s i n g a l o s s o f harmony o r temper. A simplified diagram

u s i n g music and t h e s e n s e o f h e a r i n g as examples w i l l e x -

plain t h e main p r o c e s s e s :

sound o f: sense of common . imagination » understanding

music hearing ~' sense J, • T reason
memory.
t.
i
•

emotions - - - - w i l l - •> - - - -> disharmonious

action o r
reaction

low l e v e l harmonious
action or action o r reaction
reaction

Although Harsdflrffer himself does not refer either

to a tripartite division o f the s o u l , o r t o a common sense,

his statements regarding the e f f e c t o f music on t h e mind

or soul c a n be e x p l a i n e d i n conjunction with this scheme.

The sound o f music, entering the soul through the sense o f

hearing, produces various actions and r e a c t i o n s a c c o r d i n g

to the l e v e l o f the soul i t r e a c h e s , and a c c o r d i n g t o t h e

ability of the p a r t i c u l a r interior powers t o d e a l w i t h i t .

 51

In the case o f animals, H a r s d o r f f e r notes t h a t elephants,

dolphins and b e e s like the sound o f s i n g i n g (FG,IV,429),

and that sheep and cows g r a z e b e t t e r and more contentedly

when t h e y a r e a c c o m p a n i e d by t h e sound o f a s h e p h e r d ' s pipe

o r by a s o n g . Similarly, young b a b i e s e n j o y and a r e s o o t h e d

by t h e s i n g i n g of t h e i r nurses (ME,II,130; PT,II,2; FG,II,

310). In these i n s t a n c e s , t h e powers a t t h e s e n s i b l e level

interpret the p e r c e i v e d s o u n d as p l e a s u r a b l e , and low level

reaction occurs accordingly.

When t h e sound o f m u s i c reaches the r e a s o n a b l e s o u l

in a d u l t human b e i n g s , i t s e f f e c t depends on t h e ability

of the u n d e r s t a n d i n g housed there to i n t e r p r e t it. "Des

Menschen V e r s t a n d l i e b e t das Ebenmaas/ w e i l a u c h s e i n Wesen

in g l e i c h r i c h t i g e r Verfassung bestehet," notes Harsdflrffer

in a discussion of music (FG,VI,288). Ideally, the under-

standing analyses the p e r c e i v e d sound o f m u s i c i n such a

way that an even temper between i t and t h e s e n s e s and emo-

tions i s produced, r e t a i n i n g or restoring harmony: " S i e

[_music[] machet a l l e S o r g e n aus dem Hertzen entweichen . . .

besanfftiget den Z o r n und b e l u s t i g e t m i t unstrafflicher

Wollust ihre ZuhOrer"(FG,IV,91). I f the understanding i s

in any way deficient, the-effects o f music c a n be chaotic:

"Wie uns d e r Wein/ so kan uns auch d i e M u s i c / m i t Sussig-

keit bethflren/ sonderlich a b e r z u r W o l l u s t / und unzimlicher

 52

Brunst reitzen/ u n d d i e Augen u n s e r e s Verstandes ein-

schlafen"(FG,VI,289-90). There i s clearly a vast dif-

f e r e n c e between p l a i n " W o l l u s t " and " u n s t r a f f l i c h e Wollust;"

the former i s produced by t h e r e s p o n s e s o f t h e s e n s e s and

emotions, r e s u l t i n g i n d i s h a r m o n y and a l o s s o f temper, and

is t o be a v o i d e d at a l l costs, while the l a t t e r i s "gleich-

sam d e r W i d e r h a l l h i m l i s c h e r Freuden"(ME,II,131), which can

be attained through the understanding, and i s t o be culti-

vated a s much as p o s s i b l e . I t i s i n this context that the

onus i s on t h e composer t o p r o v i d e m u s i c w h i c h w i l l appeal

to the understanding before the emotions.

The understanding relies heavily on t h e power o f memory,

which H a r s d f l r f f e r a s s o c i a t e s v e r y s t r o n g l y w i t h music, main-

taining that i t i s not d i f f i c u l t t o remember s o m e t h i n g per-

ceived through the sense of hearing (FG,I,102). He further-

more r e f e r s to "die k u n s t l i c h e Gedachtniss"(FG,I,70), arti-

ficial memory, a t e r m found in classical works and l a t e r

adaptations dealing with t h e a r t o f memory. An example o f

.one Of t h e t e c h n i q u e s of a r t i f i c i a l memory i s u s e d by H a r s -

dorffer i n a section o f t h e Frauenzimmer G e s p r a c h s p i e l e en-

titled "Die Gedachtnisskunst"(FG,I,70), where two l i n e s o f

poetry are presented i n conjunction with musical notes, the

35

names o f w h i c h (ut, r e , mi, f a , s o l , l a ) assist i n memo-

rization and l a t e r recall:

 53

Example 1:

R e d l i c h s o l t du f a h r e n m i t m i r /
Recht guts s o l wiederfahren d i r .

dllch t du hren t r/ cht g s wieder h n dir.

Syllables r e p r e s e n t i n g t h e names o f t h e n o t e s are e x t r a c t e d

from t h e words and w i t t e n o u t i n m u s i c a l f o r m . The process

of recall consists in visualizing firstly the m u s i c a l s t a v e ,

and s e c o n d l y the p o s i t i o n o f the notes on t h e s t a v e as well

as their names. S i d e by s i d e w i t h the v i s u a l memory i m a g e s ,

the melody r e s u l t i n g from t h e n o t e s a c t s as an aural mnemonic

37

device. Music t h u s becomes a means o f m a k i n g accessible

what i s s t o r e d i n t h e memory.

The memory, as w e l l as the o t h e r i n t e r i o r powers o f the

soul play a significant part i n H a r s d O r f f e r * s view of the

methods t o be used and the e f f e c t s t o be aimed a t by the

writer. The purposes o f a l i t e r a r y work, a r e t h a t i t "I.

wolvernemlich begreifft/ I I d e u t l i c h b e y b r i n g e t / I I I merksam

vorstellet/ und IV von v e r d r u s s l i c h e r Bemuhung entfernet/

nutzlich belustiget: D e r g e s t a l t dass I der Verstand/ II

Die B i l d u n g s k r a f f t e (facultas imaginativa) III die Gedachtnis

und IV u n s e r e bald-ecklende Sinne zu v o r t r S g l i c h e r Belernung

angehalten werden"(NJ,I,n.p.). Both literature and music

 54

are t o be aimed a t t h e powers o f t h e r e a s o n a b l e soul.

The fact that t h e u n d e r s t a n d i n g and o t h e r powers exist

in harmony w i t h e a c h o t h e r e x p l a i n s why m u s i c a l dissonances

are offensive (MJS, I I I , 3 5 7 ) — t h e y disturb the balance o f the

soul o r mind. The a c t u a l ability to identify a dissonance

or consonance, however, goes b e y o n d t h e power o f u n d e r -

standing, and r a i s e s q u e s t i o n f o r H a r s d f l r f f e r : "Warumb

kan d o c h e i n j e d e r G e l e h r t e r und U n g e l e h r t e r v o n G l e i c h -

stimmung u n d M i s s s t i m m u n g der Music urtheilen/ da v o n ande-

ren Kunsten n u r d i e K u n s t l e r d e r s e l b e n zu r e d e n wissen?"

(FG,II,310-11). The answer f o r h i m l i e s i n the a s s o c i a t i o n

between m u s i c and t h e f o u r e l e m e n t s , aspects o f which the

body was t h o u g h t to consist. One main c o n n e c t i o n i s between

the four singing voices, the elements and t h e body (FG,11,311):

Descant Alto Tenor Bass

Fire Air Water Earth
Vital Spirits Blood Flesh Bones

When t h e f o u r v o i c e s p r o d u c e a musical concord, they effect

a harmonious i n t e r a c t i o n o f the elements, a desirable state,

w h i c h e x p l a i n s man's n a t u r a l affinity f o r music (FG,II,311).

If a dissonance i s p e r c e i v e d through the sense of hearing,

a sympathetic imbalance o f the elements occurs, resulting

in a natural a v e r s i o n t o t h e sound, i n d i s c o m f o r t , and even

in pain (FG,II,289). The r e c o g n i t i o n o f m u s i c a l harmony

is then u l t i m a t e l y based on man's n a t u r a l makeup s e e n i n

 55

terms of the elements, while the overall r e a c t i o n to music

can be regulated by the u n d e r s t a n d i n g and i t s capacity in

e a c h i n d i v i d u a l t o make judgements.

Traditionally, the harmonious b a l a n c e of elements in

38
the body was seen to r e s u l t i n good h e a l t h , and Hars-
d f l r f f e r was certainly aware o f the view t h a t the harmony of

music favourably influenced the health of the human orga-

39

nism. He reports that the e f f e c t s of a t a r a n t u l a b i t e

can be cured by hearing a harp p l a y e d (HS_,I,206; ME, I I I ,

3 5 7 - 5 8 ) , by hearing s i n g i n g and the sound of stringed i n - .

struments ( M E , I I , 1 3 1 ) , o r by m u s i c i n g e n e r a l , which i s a l s o

said t o be a c e r t a i n cure for a stitch i n the side (FG,VI,

290). In these instances, the i d e a o f m u s i c as a healer,

restoring b o d i l y harmony, i s p a s s e d on w i t h o u t comment, yet

Harsdfirffer also notes: "Die Musik h e i l e t fur sich keine

Krankheit/ aber durch s o n d e r e A u f m e r k u n g / so die verur-

sachet/ hindert s i e / die sonst von dem Haubt abtrieffende

Feuchtigkeiten/ und m i n d e r t a l s o e t l i c h e r massen das Schmert-

zen." • (FG, V I , 290) . In this case, music itself i s not con-

sidered therapeutic, which i s i m p l i e d i n the earlier state-

ments. I t i s seen r a t h e r as distracting the s i c k person

from h i s p a i n . On the one hand t h e traditional view i s

accepted without question; on the other, i t i s rejected and

a more p r a c t i c a l explanation i s put forward. The overall

effect o f m u s i c , however, i s n o t denied.

 56

The influence o f m u s i c on the body and soul, its cos-

mological associations, and i t s role in illustrating the

s e v e n t e e n t h - c e n t u r y view of h i s t o r y are a l l u s e d by Hars-

dorffer as a means o f p r o v i d i n g information f o r the reader.

A l t h o u g h the material is scattered i n various works, some

of i t i s repeated two or three times, arid o c c a s i o n a l l y it-.is

applied to e x p l a i n aspects of another subject--etymology,

for example. In the case of the modes, i t i s u s e d to ex-

plain the association between t h e Christian virtues and

heaven. The significance for Harsdorffer of the effects of

m u s i c on the mind and soul will become a p p a r e n t later in

connection with his treatment of music in a poetic context.

Harsdflrffer's remarks i n the area of speculative music

in general d e m o n s t r a t e above a l l h i s e c l e c t i c a p p r o a c h to

source m a t e r i a l s . He e i t h e r s e l e c t s what i s appropriate

for each p a r t i c u l a r case, or presents opposing viewpoints

without n e c e s s a r i l y coming down on one side or the other.

This r e s u l t s i n a number o f contradictions, and however

troubling t h e s e may be to the modern mind, t h e y evidently

were n o t so for Harsdflrffer. Some o f the contradictions

result f r o m h i s own inconsistencies or from the unclear

presentation of m a t e r i a l , others stem f r o m c l a s h e s between

the C h r i s t i a n and Classical traditions. Nevertheless, his

great i n t e r e s t i n m u s i c as a topic for discussion, and its

importance f o r him as a means o f b r o a d e n i n g the general

knowledge of h i s reader, b r i n g s him c l o s e to e a r n i n g the

t i t l e of Musicus T h e o r e t i c u s .
 58

C h a p t e r Two: Musica Practica

The Musicus Practicus, e x p l a i n s Johann Herbst, i s

one "welcher d i e Music exercirt, und ubet." 1

Harsdflrffer

himself came f r o m a m u s i c a l f a m i l y , as h i s f a t h e r certainly

2

is a s s o c i a t e d w i t h music. The name, P h i l i p p Harsdflrffer,

furthermore, appears i n t h e r e c o r d s o f t h e Nuremberg Music

:3
Society ("Kranzchen"), but there i s disagreement on whether

this refers t o the poet o r to h i s f a t h e r . Nagel assumes i t

it the poet, w h i l e K e l l e r suggests i t i s the f a t h e r , noting

that f o r t h e y e a r g i v e n o f 1626, Harsdflrffer j u n i o r was at-

4
tending the u n i v e r s i t y of Strasbourg. Yet the r e c o r d s of

the Music S o c i e t y d a t e one attendance of a H a r s d o r f f e r as

May 29, 1626, w h i l e the r o l l s of the U n i v e r s i t y of Stras-

bourg show t h e s t u d e n t H a r s d f l r f f e r t o have r e g i s t e r e d on

July 10, 1626, allowing sufficient time for Harsdorffer

t o have a t t e n d e d t h e m u s i c meeting, made h i s way to Stras-

bourg and registered a t the u n i v e r s i t y . I t i s therefore

possible t h a t he was actively involved i n the m u s i c a l life

of the c i t y a t an e a r l y age.

Harsdflrffer's friend and co-member o f t h e P e g n e s i s c h e r

B l u m e n o r d e n , Sigmund von Birken, i s known t o have owned a

musical instrument. He w r i t e s in his diary: "Meine Mandor

 59

wieder bezogen," u
and he p r e s u m a b l y a l s o p l a y e d i t . Sig-

mund S t a d e n received instruction on a number o f i n s t r u m e n t s ,

7
particularly the cornetto, the v i o l a bastarda and t h e o r g a n .

Although H a r s d o r f f e r thus associated with at least one p r o -

fessional and one n o n - p r o f e s s i o n a l i n s t r u m e n t a l i s t , i t is

i
n o t c l e a r i f he h i m s e l f was a p l a y e r . H i s name c e r t a i n l y
i s o f t e n c l o s e l y connected with musical instruments. Carl

Gustav von H i l l e , f o r example, c o n t r i b u t e d a poem, its

g

music and an e t c h i n g t o t h e F r a u e n z i m m e r Gesprachspiele,

associating Harsdflrffer with t h e n i n e muses, a l l o f whom a r e

depicted p l a y i n g musical instruments. In the l a s t verse o f

the song, they are exhorted t o seek o u t H a r s d o r f f e r , who,

if not t h e i r better, i s at least their equal:

Neun G f l t t i n e n e i l t m i t Z i e r !
nemt neun I n s t r u m e n t e n hier.
S u c h t den h o c h b e g a b t e n Mann/
der so t r e f f l i c h s p i e l e n kan. (FG,IV,15)

The word "spielen" i s a direct reference to Harsdorffer's

pseudonym " d e r S p i e l e n d e " w h i c h he u s e d subsequent t o being

accepted into the Fruchtbringende Gesellschaft. In the

preface to H i l l e ' s song, furthermore, the l e t t e r s o f t h e name

"der S p i e l e n d e " a r e l a v i s h l y decorated with a harp, violin,

organ, drum and l u t e , visually demonstrating the i n t e r -

t w i n i n g o f H a r s d f l r f f e r ' s name and m u s i c a l instruments, while

in Hille's etching, the i n i t i a l "S" s t a n d i n g f o r " d e r S p i e -

 60

lende," i s wound a r o u n d a lyre.

Johann R i s t also associates Harsdflrffer with a musi-

cal instrument. I n h i s " S i n n e - B i l d u b e r das f u n f t e Theil

der n i e genug-gepriesenen Gesprach-spiele," he provides

this description of Harsdflrffer: "Der H e r r S p i e l e n d e r sitzet

9
a u f f einem schonen H u g e l / s p i e l e n d a u f f d e r L a u t e n . "

Christoph Arnold a l s o says o f H a r s d o r f f e r : " . . . hat er

seine Leyr g e s t i m m e t / d i e uns h i e r g e s p i e l e t h a t " ( F G , V , 8 6 ) .

Similarly, Ludwig von A n h a l t , in a letter to Harsdflrffer

of August, 1, 1643, i n c l u d e s a poem f o r i n c l u s i o n i n the

Frauenzimmer G e s p r a c h s p i e l e beginning: "Der S p i e l e n d alZeit

wol mit seiner l e i r e spielt / I n ungebundner r e d , darZu m i t

schflnen Reimen. . . ."' L0

Although i n these instances Hars-

dflrffer i s described as p l a y i n g v a r i o u s instruments, none

of these references c a n be t a k e n literally, as t h e y a r e drawn

from h i s penchant f o r , and a s s o c i a t i o n w i t h "das S p i e l , " e x -

emplified above a l l by t h e F r a u e n z i m m e r G e s p r a c h s p i e l e . In

the last quotation i n particular, p l a y i n g the l y r e is a

metaphor f o r H a r s d f l r f f e r ' s expert u s e o f rhymed and unrhymed

language.

I n a poem w r i t t e n by R i s t f o r Johann K l a j ' s wedding i n

1648, m e n t i o n i s made o f H a r s d f l r f f e r as a p e r f o r m e r . Re-

ferring to Harsdorffer as " S t r e p h o n , " h i s pseudonym i n t h e

Pegnesischer Blumenorden, R i s t writes:

 61

Strephon sang, Montano p f i f f e ,

A l c i d o r that Lauten-Griffe,
F l o r i d a n s p i e l t auf der Leyr,
Gross war d i e s e H i r t e n - F e y r . . . .

H a r s d f l r f f e r i s thus d e p i c t e d as a s i n g e r , w h i l e the con-

n e c t i o n between Sigmund von Birken (Floridan) and the l y r e

may be a p o e t i c r e f e r e n c e to h i s p l a y i n g the mandora.

Although the same r e s e r v a t i o n s apply here as f a r as

taking l i t e r a l l y any i n f o r m a t i o n found i n a poem i s con-

cerned, R i s t n e v e r t h e l e s s was w r i t i n g a p i e c e o f o c c a s i o n a l

poetry, i n which f a c t s are dressed up i n p o e t i c language.

The i m p l i c a t i o n s t h e r e f o r e are t h a t the i n f o r m a t i o n in this

poem i s based on a c t u a l events a t K l a j ' s wedding. Although

it cannot u l t i m a t e l y be proven from such sources as these

t h a t H a r s f l r f f e r d i d s i n g o r p l a y a musical instrument, the

very frequent a s s o c i a t i o n o f h i s name with aspects o f musi-

cal performance suggests t h a t metaphor may not be so f a r

from the t r u t h .

The d e s i g n a t i o n Musicus P r a c t i c u s i n Herbst's under-

standing o f the term n e v e r t h e l e s s cannot be a p p l i e d to Hars-

d o r f f e r with c e r t a i n t y . But i t can be a p p l i e d to him i n

the sense o f someone who i s i n t e r e s t e d i n a l l kinds of prac-

tical aspects o f music and musical instruments. Although

some of the m a t e r i a l to f o l l o w , e s p e c i a l l y t h a t concerned

with i n t e r v a l l i e experiments, would o f t e n have been found

i n a Musica T h e o r e t i c a t r e a t i s e , i t has been i n c l u d e d here

 62

as i t b o r d e r s on the realms o f modern p r a c t i c a l s c i e n c e .

Harsdorffer i n a number o f p l a c e s r e v e a l s an interest

in the n a t u r e o f s t r i n g e d i n s t r u m e n t s and in experiments

made w i t h s t r i n g s . He refers above a l l t o t h e monochord,

a one-stringed experimental i n s t r u m e n t i n which the string

is drawn o v e r a soundbox and s e c t i o n e d by m o v a b l e b r i d g e s .

The position of the b r i d g e or b r i d g e s determines the ratios

of the v i b r a t i n g string, and the m u s i c a l i n t e r v a l s can thus

be explained mathematically. F o r i n s t a n c e , i f the string

is p l u c k e d w i t h no b r i d g e p r e s e n t , and then plucked again

with the b r i d g e d i v i d i n g i t exactly i n two, the second

sound p r o d u c e d will be one octave h i g h e r than the first,

and the r a t i o o f the o c t a v e w i l l be 2:1. The procedure can

12

t h e n be c o n t i n u e d f o r a l l the v a r i o u s i n t e r v a l s . Hars-

dorffer prefers to explain the process i n terms o f v u l g a r

fractions: "Die h e l f t \ i s t d i e Octav: die tertz 2/3 die

quint 3/4 und dieses sind die vollstandige Zusammenstim-

mungen"(ME,II,135). In the c o n t i n u a t i o n o f t h i s passage, he

leaves out the fractions, and explains: "Es sind auch un-

vollkommene G l e i c h s t i m m u n g e n / a l s d i e q u a r t und sext: die

secund und septima aber s i n d missstimmig . . . weil diese

numeri n i c h t harmonici sind"(ME,II,135). Harsdflrffer i s not

so much c o n c e r n e d here w i t h the mathematical intricacies

o f m o n o c h o r d a l e x p e r i m e n t a t i o n , f o r he restricts his dis-

cussion to the s i m p l e s t terms, and does n o t r e p r o d u c e the

 63

complexities found i n some o f t h e m u s i c a l treatises of the

time. He i s rather interested firstly i n the elements

of harmony and d i s h a r m o n y e x e m p l i f i e d by p e r f e c t , imper-

fect and dissonant intervals, and secondly, i n the associ-

a t i o n o f m u s i c and numbers.

Music and m a t h e m a t i c s had belonged together at least

since the time of Pythagoras, and i n p a i n t i n g s and woodcuts

up to the seventeenth c e n t u r y he i s usually depicted carrying

out h i s musical experiments with strings, hammers and bells.

Daniel S c h w e n d t e r , one of Harsdorffer's professors at the

University of A l t d o r f , wrote the first p a r t o f t h e Mathema-

tische Erquickstunden, and H a r s d o r f f e r may have c o l l a b o r a t e d

13

w i t h him on t h e work. I t i s e x p l a i n e d here t h a t music

belongs to the area of mixed mathematics, " w e i l s i e . aus der

Arithmetica, a l s d e r e r s t e n und vornemsten Wissenschaft

ihre principia nimmet"(ME,I,229). Numbers i n any context,

states H a r s d o r f f e r i n the second p a r t o f the Mathematische

Erquickstunden, are " n i c h t s anders/ als aller dinge Ordnung"

( M E , I I , 1 2 9 ) , and the type of experimentation with t h e mono-

chord i s then a means o f d e t e r m i n i n g the o r d e r inherent i n

music. S u c h an a s s o c i a t i o n between numbers and m u s i c i s

thus drawn f r o m the traditional Pythagorean way of approach^-

ing music, and the b a s i c i d e a s are p r e s e n t e d by H a r s d o r f f e r

in simplified f o r m , m a k i n g them r e a d i l y accessible to the

general reader. The associations, furthermore, provide

 64

justification for including a s e c t i o n on m u s i c i n such

a work as the Mathematische Erquickstunden (ME,11,129).

Harsdorffer i s interested not only i n a r i t h m e t i c a l

aspects of v i b r a t i n g strings: "Unter anderen Wunderwerken

in der Music," he explains, "ist vielleicht nicht das

r i n g s t e / w a n n u n t e r zwo gleichgestimmeten Lauten/ die eine

b e r u h r e t w i r d / dass d i e andere dardurch g l e i c h s f a l s sich

hflren lasset"(FG,IV,254) . Sympathetic vibration between

the strings i s not e x p l a i n e d s c i e n t i f i c a l l y in this instance,

and i t is sufficient that t h e phenomenon i s s o m e t h i n g ama-

z i n g which happens i n m u s i c . In the Mathematische Erquick-

stunden, however, s c i e n t i f i c explanations are attempted:

" G e s c h i h e t es aus einer sonderbaren Sympathia? Oder ge-

schihet es v i e l m e h r darum/ w e i l die Saiten i n einem tono ge-

stimmet/ d i e i m p r e s s i o n des L u f f t e s leichtlich fangen/ wel-

cher erwecket i s t durch d i e Anrtihrung der e r s t e n Saiten/

daraus folgte/ d a s s d i e auch bewegt wflrde n a c h d e r Mensur

und Mass/ w i e d i e andere/ so d u r c h den F i d e l b o g e n bewegt.

Ich v o r meine P e r s o n l a s s e beede v o r h e r g e h e n d e rationes und

Ursachen passiren/ b i s e i n e b e s s e r e h e r f u r g e b r a c h t wird"(ME,

1,233). If Harsdorffer i s the author of these statements,

they demonstrate t h a t he was p r e p a r e d t o w e i g h up existing

evidence, b u t was finally unwilling to a c c e p t the s t a n d a r d

explanations f o r sympathetic v i b r a t i o n . No reason i s given

 6 5

as to why the e x p l a n a t i o n s are c o n s i d e r e d u n t e n a b l e — g e n -

e r a l d i s s a t i s f a c t i o n i s merely i m p l i e d . The l a s t sentence,

furthermore i l l u s t r a t e s q u i t e c l e a r l y the modus operandi

/

o f . t h e author: he i s not concerned with f i n d i n g an accep-

t a b l e answer to the q u e s t i o n o f sympathetic v i b r a t i o n him-

s e l f , and c e r t a i n l y not through p r a c t i c a l experimentation.

He p r e f e r s r a t h e r to r e l y on the f i n d i n g s o f o t h e r s , and

independent s c i e n t i f i c r e s e a r c h i s out of the q u e s t i o n .

Even i f H a r s d f l r f f e r i s not the author o f these remarks,

h i s a s s o c i a t i o n with Schwendter suggests most s t r o n g l y that

he was aware not o n l y o f the content but a l s o o f Schwendter's

u n c e r t a i n t y i n the matter.

S t r i n g s f o r use on musical instruments, H a r s d o r f f e r

t e l l s us, can be made o f hemp, s i l k , metal o r animal gut

(ME,II,154-5). Hemp i s n o t p a r t i c u l a r l y good, he e x p l a i n s ,

as i t i s not always s t r o n g enough. I f s i l k i s used, the

best c h o i c e i s Milanese s i l k which has been t r e a t e d with

resin. In the case o f metals, the most s u i t a b l e are g o l d

and s i l v e r , as others cannot be drawn w e l l . The b e s t gut

s t r i n g s are those from a sheep which has grazed on the

mountains, and which i s s l a u g h t e r e d i n the summer. Gut from

the goat and the wolf may a l s o be used, but sheep and wolf

s t r i n g s can never be used together on the same instrument,

as i t would be i m p o s s i b l e t o g e t them i n tune. T h i s i s ex-

p l a i n e d by the f a c t t h a t i n l i f e there i s a n a t u r a l a n t i p a t h y
 66

between t h e sheep and the w o l f — t h e two are n a t u r a l ene-

mies—and that this enmity remains a characteristic of the

gut a f t e r the death o f the animals (FG,VI,140-41; M E , I I ,

137). T h i s a n t i p a t h y , f u r t h e r m o r e , e x p l a i n s why beating a

drum c o v e r e d w i t h w o l f skin w i l l cause a nearby drum covered

with sheep s k i n to s p l i t (FG,VI,133). Alternatively, the

sound o f the w o l f skin drum w i l l be so l o u d as t o o v e r p o w e r

the sound o f t h e o t h e r (ME,II,137).

As f a r as t h e s t r i n g s in particular are concerned, "der

niemals genugsam b e l o b t e J e s u i t K i r c h e r u s hat e i n e Prob ge-

t h a n / und befunden/ dass d i e S c h a f s - und Wolfssaiten/ sich

g a r wolzusammen stimmen l a s s e n / und noch zersprungen/ noch

14

einen m i s s l a u t gegeben"(ME,II,137). Harsdflrffer was

clearly up t o d a t e w i t h what was g o i n g on i n the field of

musical e x p e r i m e n t a t i o n , and he i s furthermore prepared to

include a least a mention of Kircher's f i n d i n g s which dis-

prove the b e l i e f s commonly h e l d for centuries. Yet Hars-

dorffer does n o t v i e w either the s t a n d a r d b e l i e f s or K i r - :

cher's results critically. On t h e one hand, t h e law o f anti-

pathy founded i n g e n e r a l t e r m s on a philosophically based

interpretation of n a t u r a l phenomena i s a c c e p t e d as r e p r e -

senting the t r u t h . On t h e o t h e r hand, e v i d e n c e from scien-

tific experimentation i s also included, b u t no attempt is

made t o r e c o n c i l e t h e two. Just as i n the case o f helio-

centricity noted above (p. 4 0 ) , H a r s d o r f f e r p r e s e n t s the

 67

traditional p h i l o s o p h i c a l and t h e modern s c i e n t i f i c expla-

nations, b u t does not himself come down on e i t h e r side.

Arithmetical proportions provide the b a s i s f o r Hars-

dflrffer's s t a t e m e n t s on the s u b j e c t of tuning instruments.

Drawing once more f r o m e x i s t i n g sources, he e x p l a i n s the

p r o p o r t i o n a t e w e i g h t s , d i a m e t e r s and amounts o f various

metals r e q u i r e d to produce b e l l s of d i f f e r e n t pitches (ME,

111,370-71) . The c o n s t r u c t i o n of organ pipes (ME,III,366-

3 67), and t h e x y l o p h o n e , known as "das H o l t z e r n e Gelachter"

(ME,III,368-69) i s also explained i n mathematical terms,

as i s t h e t u n i n g o f drums, a l t h o u g h H a r s d f l r f f e r also i n -

cludes h e r e t h e a c t u a l n o t e s f o u r drums s h o u l d be tuned to:

i i i ii 15
c e g c (ME,II,156). :
Of i n t e r e s t with regard t o the performance p r a c t i c e s

of the time are H a r s d f l r f f e r s 1

remarks on t h e scordatura
16

tuning o f l u t e s and v i o l i n s : " D i e L a u t e n kflnnen a u f f viel

weise vejrjstimmet werden/ d a s s s i e e i n e richtige und Musi-

calische Lieblichkeit haben/ so g a r / d a s s e i n e m e i s t e r l i c h e

Hand/ e i n e g a n t z ungestimmte L a u t e f a s t m i t den G r i f f e n be-

stimmen k a n . Auss s o l c h e m Grunde kan man auch d i e Geigen

verstimmen/ wie hiervon H. Erasmus K i n d e r m a n n ein Buchlein/

des v e r s t i m m t e n V i o l e n - L u s t g e n a n n t / in offentlichen Druck

17

gegeben"(ME,III,371-72). There follow four short pieces

o f dance music, i n c l u d i n g the notes f o r t u n i n g the strings

of the v i o l i n i n v a r i o u s ways, a l l composed by J o h a n n Wellter,

 68

a noted Nuremberg lutenist.

In t h i s instance, Harsdflrffer goes b e y o n d a mere des-

cription of the general principles of tuning, as was the

case with bells, o r g a n s and x y l o p h o n e s , and includes evi-

dence t h a t he was aware o f c e r t a i n aspects of s t r i n g tech-

nique, although this c a n n o t be taken as a b s o l u t e proof that

he himself played the instruments. T h i s knowledge may re-

present merely another aspect o f h i s wide r e a d i n g on a l l

aspects o f m u s i c , and his reference t o K i n d e r m a n n ' s book

shows t h a t h i s s e a r c h for information l e d him to instru-

mental works. In the continuation of the passage given,

moreover, H a r s d O r f f e r remarks t h a t the tuning provided by

Wellter "lautet am frembdsten"(ME,111,372), and such a

j u d g e m e n t a l comment c l e a r l y results from a comparison of

the scordatura with normal tuning. T h e s e words unmistakably

illustrate Harsdflrffer's f a m i l i a r i t y with one of the basic

aspects of p l a y i n g a s t r i n g e d instrument. His interest in

scordatura, finally, can be associated with h i s love f o r

"das Spiel," s i n c e on paper, a p i e c e of music w i t h scorda-

tura tuning provided i s nothing but a trompe d ' o e i l - - i t does

not sound as i t i s w r i t t e n , and as a result, the a r t of

composing in this manner may be v i e w e d as a means o f p l a y i n g

off illusion against reality.

Throughout h i s works, H a r s d f i r f f e r refers to a great

variety of musical instruments, and although some o f them

 69

are r e c o g n i z a b l e t o t w e n t i e t h - c e n t u r y e y e s and e a r s , a

number a r e n o t . There a r e , i n a d d i t i o n , some terminolo-

gical difficulties w h i c h must be r e s o l v e d or at least dis-

cussed i n order to understand the i n t e n t i o n s of Harsdflrffer

and Staden w i t h regard to p r a c t i c a l instrumentation.

The first potential cause o f c o n f u s i o n o c c u r s w i t h the

word "Instrument" i t s e l f . I t had been customary t o use the

word as a synonym f o r t h e h a r p s i c h o r d or other similar key-

board i n s t r u m e n t , and H a r s d f l r f f e r does indeed use i t w i t h

t h i s m e a n i n g when he r e f e r s to a person i n Ferrara owning

"ein Instrument oder Spinneta"(ME,III,371). Similarly, i n

the i n t r o d u c t o r y music t o t h e s e c o n d s c e n e o f t h e Tugend-

sterne the instruments c a l l e d f o r by S t a d e n are "Discant-

Violen" and an " I n s t r u m e n t " ( F G , V , 6 4 7 ) . P r a e t o r i u s had o b -

j e c t e d most s t r o n g l y to such a l i m i t e d application o f the

term, insisting that i t should c o r r e c t l y be a p p l i e d to a l l

19

instruments, and H a r s d o r f f e r does use i t i n t h i s sense,

referring f o r example t o a t h e o r b o , a l o n g - n e c k e d l u t e , a s

" b e s a g t e s I n s t r u m e n t " ( F G , I I I , 2 0 0 ) , and t o " d i e k u n s t l i c h e n

und unkunstlichen Music-Instrumenten"(FG,IV,496). Staden

also employs t h e word w i t h t h i s g e n e r a l meaning a t t h e b e -

ginning o f the score to Seelewig (FG,IV,534). Although

Harsdorffer usually uses the term i n this s e n s e , n e i t h e r he

n o r S t a d e n does so e x c l u s i v e l y , and c a r e must t h e r e f o r e be

taken t o s c r u t i n i z e t h e c o n t e x t whenever t h e word appears.

 70

Only once i s t h e h a r p s i c h o r d p u t t o use as a continuo

instrument, and that i s i n the i n s t a n c e o f the Tugendsterne

noted above. The first choice f o r continuo instrument i s

t h e t h e o r b o — i t i s t o be used exclusively as s u c h in Seel-

ewig (FG,IV,534), i t i s the first o p t i o n i n Von der Welt

Eitelkeit (FG,III,200), and i t i s also t o be used f o r the

third song i n t h e T u g e n d s t e r n e (FG,V,651). Alternative

instruments to f u l f i l this function are harp, lute, posi-

tive and regal (both types o f s m a l l o r g a n ) , and the "Geigen-

werk." This last instrument seems t o have been w e l l known

in the seventeenth c e n t u r y : P r a e t o r i u s p r o v i d e s a woodcut

20
of i t ; i t i s mentioned as "das new erfundene Nurnbergische
G e i g e n w e r c k " i n t h e programme f o r t h e h i s t o r i c a l concert of
21
1643; i t was used i n the m u s i c a l f e s t i v i t i e s celebrating
22

t h e end o f t h e T h i r t y Y e a r s ' War, and H a r s d o r f f e r makes

no special remarks about i t when he recommends i t f o r use

in Von der Welt E i t e l k e i t (FG,III,200). The "Geigenwerk"

has the appearance o f a b u l k y keyboard instrument of the

time, but internally i t contained five o r s i x parchment

c o v e r e d w h e e l s w h i c h were s e t i n m o t i o n by means o f a p e d a l

or handle. Depressing the keys brought the s t r i n g s into

contact with the r o t a t i n g wheels, thus producing the sound.

The instrument r e p r e s e n t e d an a t t e m p t t o improve on exis-

ting keyboards, s i n c e i t was capable of producing g r e a t e r

23
dynamic v a r i a t i o n , and t h e sound c o u l d be s u s t a i n e d .
 71

Above t h e i n t r o d u c t o r y m u s i c f o r the f o u r t h song i n the

Tugendsterne, t h e i n s t r u m e n t s r e q u i r e d by S t a d e n a r e "2

Floten" and a "Geigen-Instrument"(FGV,655). Keller under-

24

stands t h i s as "Geigen." However, i f t h e s e c o n d compo-

nent, "Instrument," i s t a k e n t o mean h a r p s i c h o r d o r similar

keyboard instrument, the the "Geigenwerk" i s most certainly

intended. ^ 2

I n t h e S c h a u s p i e l zu R o s s , Harsdflrffer demonstrates

his knowledge o f t h e v a r i o u s trumpet ranges i n use a t t h e

time. The Schauspiel consists of a d e s c r i p t i o n of formations

which can be t a k e n by r i d e r s and their h o r s e s , a l l i n time

26

to trumpet music. Harsdflrffer includes the n o t a t i o n , and

explains:. "Es s o l g e b l a s e n werden d u r c h s e c h s Trompeten/

als I . den Clarin. I I . G e g e n c l a r i n / oder C o n t r a c l a r i n . III.

Principal/ o d e r hohe Stimme. IV. f u l g a n t , oder Mittelstimme,

V. d i e G r o b e r o d e r Grundstimme/ und dann V I . m i t dem Flatter"

(FG,VII,506):
Example 2:

1~ "(1 ~T~ ff 1

rue i
IV

A j-P .J ' i t VI'* 1 ' ' ' W '| ^—L-M-

i L» *— -r- J ^
iT [ f f lr ff TCf 1 r tr f f ip=4
r]
 72

The m u s i c i s marked "Clarin," and Praetorius explains that

t n e
clarino i s the d e s c a n t trumpet which carries the melody
27

and o r n a m e n t s . The stepwise progressions i n the piece

indeed require a clarino t e c h n i q u e , which i s the a r t o f

playing scales i n the h i g h register of a valveless instru-

ment. Praetorius i n t h e same p l a c e , further explains that

the "Volgan" (HarsdOrffer's "fulgant") is a fifth above t h e

bass, and remains on t h e n o t e G; the " G r o b " i s the bass, and

the "Fladdergrob" (Harsdflrffer s 1

"Flatter") i s an o c t a v e

below the bass. Although Praetorius includes additional

names f o r t r u m p e t ranges which do n o t a p p e a r i n Harsdorffer's

list, both adhere t o t h e same g e n e r a l principles.

It i s important to note i n t h i s c o n n e c t i o n t h e use of

t h e word "grob," meaning low i n p i t c h . Harsdorffer often

uses i t in this s e n s e , as i s t h e c a s e , f o r example, when

he e x p l a i n s that the l o n g e s t strings on a h a r p "die grfibsten

Stimmen f u h r e n " ( M E , I I , 1 3 4 ) , o r t h a t t h e Germans " e i n e grobe

starcke Stimme h a b e n " ( M E , I I , 1 7 0 ) . In S e e l e w i g , f u r t h e r m o r e ,

t h e i n s t r u m e n t c h o s e n by S t a d e n t o accompany t h e character
of Trugewalt, the s a t y r , i s a " g r o b e s Horn"(FG,IV,534 and
28
561). I n g e n e r a l u s a g e t h e word meant " u n c o u t h , c o a r s e ,
r o u g h , " e t c . , as i s e v i d e n t f r o m H a r s d o r f f e r ' s r e f e r e n c e
29

to h i s p r i n t e r s as "grob and g e i z i g . " When u s e d as a

musical t e r m , however, t h i s s e n s e o f t h e word does not a l -

ways a p p l y , a l t h o u g h a d o u b l e m e a n i n g i s sometimes a p p a r e n t :
 73

"Es w o l t e e i n C a n t o r von einem unstudierten Studenten

r e d e n / und sagte: Seine Studia s i n d wie d i e Noten im Coral/

wenig und grob"(AA,288).

A potential complication arises w i t h t h e word "Leyer,"

I t may refer t o the l y r e , the hurdy-gurdy or a certain type

of v i o l . H a r s d f l r f f e r once uses t h e word w i t h t h e last

meaning when he describes an i n s t r u m e n t as "eine L e y r / oder

Geigen"(FG,VII,129), and h i s i n t e n t i o n s regarding the first

two o p t i o n s c a n o f t e n be deduced from the c o n t e x t . It is

immediately clear, for instance, t h a t when t h e word i s

used i n c o n n e c t i o n w i t h Orpheus, the l y r e i s meant (FG,VI,

573; FG,VIII,69). In a d e s c r i p t i o n of the border of a tapes-

try,' H a r s d o r f f e r mentions a number o f i n s t r u m e n t s , i n c l u d i n g

the "Leyer:" " D i e E i n f a s s u n g d i e s e s T e p p i c h t s kan s e y n von

Lauten/ Geigen/ Harpffen/ F l o t e n / Zincken [cornettos]/

P o s a u n e n : und u b e r d i e s e M u s i k a l i s c h e Gezeug (Instrumenta)

ist auff einer Seiten eine Sackpfeiffen/ auff der andern

eine Schallmeyen ^shawmjoder Leyern erhaben; zu v e r s t e h e n

gebend/ wie offt B a u r i s c h e K u r t z w e i l / mehr k u s t l i c h e Music

vorgezogen werde"(FG,II,157) . M u s i c a l instruments are thus

divided into two camps, one o f which is socially and artis-

tically superior to the o t h e r . The "Leyer" belongs to the

inferior group, and i s therefore a peasant hurdy-gurdy in

this context. The lyra viol is certainly n o t meant, firstly

because i t comes u n d e r the g e n e r a l heading of "Geigen," and

 74

secondly, b e c a u s e i t was e s p e c i a l l y i n t e n d e d f o r virtuoso

performance.

Such a d i v i s i o n of instruments i s confirmed i n one o f

Harsdorffer*s poems w h i c h d e s c r i b e s them as " k u n s t l i c h " and

"unkunstlich:"

Ein j e d e r s t e c k t ihm s e l b e s t e r w e h l t e s Z i e l :
Der l i e b e t etwan k u n s t l i c h e M u s i c s p i e l ' /
e r l u s t i g t s i c h m i t O r g l e n und T r o m p e t e n /
s c h l u r f f e n d e n Z i n k e n und g r o s s e n F l f i t e n .
P o s a u n e n / G e i g e n / L a u t e n und a n d e r s mehr/
b e l i e b e t v i e l e n neben d e r M u s i c - L e h r .
E i n minderer G e i s t l i e b t auszuschweiffen/
B a u r e n und B u r g e r e n a u f z u p f e i f f e n .
D i e C i t t e r / L e y e r / das s c h a l l e n d e J a g e r H i f f t
im F e l d und i n den D f l r f f e r e n F r e u d e s t i f f t /
Schalmayen/ T r i a n g e l / Maultrommel
l i e b e t d e r P f i v e l im Zechgemommel.
E i n j e d e r l o b t das S e i n e so v i e l e r w i l ;
U n k u n s t ' und K u n s t e / S a i t e n und S i n n e - S p i e l ;
i c h denk' i h r k e i n e n zu b e f e d e n /
h o r e t m i c h / h o r e t v o n S p i e l e n r e d e n ! (FG,IV,496-97)

The poem p r o v i d e s firstly a convenient catalogue of various

instruments i n u s e a t t h e t i m e , and s e c o n d l y , Harsdorffer's

view o f the s o c i a l s t a t u s o f each.

Harsdorffer has no d o u b t s a b o u t t h e way i n w h i c h instru-

ments a r e t o be p l a y e d : "Wer w o l t e nun n i c h t l i e b e r einen

Kunstrichtig-gestimmten Seitenklang/ a l s eine missgestimmte

Baurenfidel hflren"(PT,III,30). The e m p h a s i s i s n o t on w h i c h

i n s t r u m e n t s a r e u s e d , b u t on w h e t h e r t h e y a r e p l a y e d in a

manner w h i c h i s m u s i c a l l y c o r r e c t and p l e a s i n g to the ear.

Peasant instruments c e r t a i n l y t a k e on a s o c i a l l y different

 75

meaning when s e e n i n l i g h t of the passion f o r t h i n g s bu-

colic: " . . . viel f r e y e r e r k l i n g e t das s c h l u r f f e n d e

D u d e l n d e r S a c k p f e i f f e n und d e r S c h a l m a y e n / a l s d i e mord-

t o n e n d e n Trommel und T r o m p e t e n " ( D , p r e f a c e ) . The same s e n -

timent i s b e h i n d H a r s d f i r f f e r s poem, "Des F r i e d e n s

1
Sieg-

seule," i n w h i c h shawms a r e o p p o s e d t o "Pauken, Trommel

30

und Trompeten." An i d e a l i z e d rustic life i s thus pre-

ferable to the r e a l i t i e s o f t h e T h i r t y Y e a r s ' War. The

popularity of instruments r e s u l t i n g from t h e p a s t o r a l trend

is a l s o apparent i n live e n t e r t a i n m e n t s o f the day. Hunting

31

h o r n s and shawms were known a t t h e c o u r t at Wolfenbuttel,

and b a g p i p e s and shawms were p l a y e d during the firework

d i s p l a y w h i c h was a p a r t of the f e s t i v i t i e s i n Nuremberg

32

celebrating t h e end o f t h e T h i r t y Y e a r s ' War.

Harsdorffer a l s o has no qualms a b o u t recommending instru-

ments a s s o c i a t e d w i t h t h e p e a s a n t s o r town w a i t s f o r use i n

his musical pieces. I n one o f t h e s e c t i o n s o f Von d e r W e l t

Eitelkeit, three smiths a r e t o appear, s i n g i n g a song and

beating red hot iron on an a n v i l i n time t o the song. Hars-

dorffer suggests that a hurdy-gurdy could a l s o be u s e d (FG,

1 1 1 , 2 0 8 ) , and t h e i m p l i c a t i o n s a r e t h a t the s o c i a l status

of the instrument i s i n accord with that o f the smiths. In

addition, the assumption has t o be made t h a t t h e h u r d y - g u r d y

is t o be p l a y e d i n a tuneful and m u s i c a l l y p l e a s i n g manner

to avoid giving offence to the c u l t i v a t e d ear. Other instru-

 76

merits m e n t i o n e d b y H a r s d o r f f e r i n c o n n e c t i o n w i t h Von d e r

Welt E i t e l k e i t are theorbo, "Geigenwerk," lute, positive

organ and v i o l i n (FG,III,200 and 2 3 5 ) , a l l o f which belong

to the a r t i s t i c group.

The choice of instruments i n the Tugendsterne appears

t o have d e v o l v e d upon S t a d e n , although H a r s d & r f f e r does

give a suggestion. The o n l y i n s t r u m e n t s he m e n t i o n s i n

the libretto section o f the Tugendsterne a r e t h e l u t e and

theorbo, either o f w h i c h c a n be u s e d exclusively i f neces-

33

s a r y t o reduce the c o s t o f a performance (FG,V,403). In

the.actual s c o r e , however, t h e i n s t r u m e n t s chosen by Staden

are: cornetto, positive organ, descant viols, harpsichord,

descant violin, theorbo, recorders, "Geigen-Instrument,"

clarino, trombone, shawm, r e g a l , flute and h a r p . A l l these

instruments belong to, or are related t o , those o f the a r t i s -

tic c a t e g o r y as s e t o u t i n H a r s d o r f f e r * s poem e x c e p t t h e

shawm. The f i r s t lines o f t h e song i n t h e Tugendsterne

associated with t h e shawm s u g g e s t why t h e i n s t r u m e n t might

have been s e l e c t e d : "Weil d i e schwachen Menschen schweben

in dem t i e f f e n Threnen T h a i / s o l l e n s i e nicht allzumal/ ein-

sam a l s d i e Wilden leben . . ."(FG,V,664-65). The o t h e r

instrument t o be u s e d i n this instance i s the r e g a l , and t h e

juxtaposition of this and t h e shawm u n d e r s c o r e s the sense o f

these lines: the regal i s associated with " d i e Menschen,"

and t h e shawm w i t h "die Wilden." The song, furthermore, i s

 77

entitled " D i e V o r s i c h t i g k e i t , " and t h e e v i l s o f the world

t o be g u a r d e d a g a i n s t a r e c h a r a c t e r i z e d by t h e u s e o f t h e

shawm.

In the case of Seelewig, H a r s d o r f f e r i n the l i b r e t t o

section does n o t d e a l extensively with the q u e s t i o n o f the

instruments, b u t he does g i v e some i n d i c a t i o n s . Following

the names o f c h a r a c t e r s supplied a t the beginning, he n o t e s

that t h e c h o r u s e s a r e t o be a c c o m p a n i e d by " e i n S a i t e n s p i e l "

(FG,IV,82). A t t h e end o f the l i b r e t t o s e c t i o n , an o u t l i n e

of instruments t o be a s s o c i a t e d w i t h the v a r i o u s characters

is provided: "Bey d e r M u s i c i s t zu merken/ d a s s b e y jedem

Aufzug e i n e An- o d e r G l e i c h s t i m m u n g z u h f l r e n / a l s den Nymfen

mogen G e i g e n / L a u t e n u n d F l o t e n / den S c h a f e r e n Schalmeyen/

Zwerchpfeiffen/ F l a g e o l e t / dem T r u g e w a l t e i n g r o s s e s Horn

zugeeignet werden"(FG,IV,206). Trugewalt could also carry

a large hunting horn (FG,IV,208). This i s the extent o f

Harsdorffer's instructions as t o i n s t r u m e n t a t i o n i n Seel-

ewig. The r e m a i n i n g r e m a r k s i n t e r s p e r s e d i n the l i b r e t t o

deal above a l l w i t h e x p l a i n i n g t h e meaning o f t h e songs,

suggesting a l l kinds o f emblematic p a r a l l e l s w i t h t h e con-;,

tent, and p r o v i d i n g examples o f how m e t r e and rhyme c a n be

u s e d c o r r e c t l y i n t h e German l a n g u a g e .

The instruments c a l l e d f o r a t the beginning of the

score s e c t i o n of Seelewig are three violins, three recorders,

three shawms, a " g r o b e s H o r n " and f i n a l l y a theorbo to pro-:

 78

vide the continuo. In the a c t u a l score, additional instru-

ments a r e r e q u i r e d : pommers ("Pomparten" = low p i t c h e d

shawms), b a s s o o n s , trumpet and v i o l s . The d i s p o s i t i o n o f

the instruments a c c o r d i n g t o the c h a r a c t e r s they are t o

represent i n the i n t r o d u c t o r y music t o t h e a c t s and 1

scenes

is as f o l l o w s :

A l l e g o r i c a l f i g u r e "Music" (Prologue) violins

E h r e l o b and R e i c h i m u t h (I,iii) shawms
S e e l e w i g and S i n n i g u n d a ( I , i v ) violins
Trugewalt (I,iv) t r u m p e t o r low
p i t c h e d horn
S e e l e w i g and S i n n i g u n d a ( I I , i ) recorders
E h r e l o b , K u n s t e l i n g and
Reichimuth (II,ii) shawms
Trugewalt, K u n s t e l i n g , Reichimuth
and E h r e l o b ( I I I , i ) pommers and
bassoons
Angels (III,vi) viols

Staden has t h u s selected some o f t h e i n s t r u m e n t s from Hars-

dorffer' s l i s t provided i n the l i b r e t t o section. Not o n l y

has he a p p l i e d them t o t h e c h a r a c t e r s as H a r s d o r f f e r s u g -

gests, b u t he h a s a l s o i n c r e a s e d the p o s s i b i l i t i e s of v a r i -

a t i o n by i n c l u d i n g additional related i n s t r u m e n t s : pommers

and bassoons, f o r example, like t h e shawm, u s e a d o u b l e reed,

and p r o d u c e a similar type o f sound.

The c h o i c e and a p p l i c a t i o n of instruments i n Seelewig

adhere c l o s e l y t o t h e scheme g i v e n i n H a r s d f l r f f e r ' s poem

above, b u t t h e i n s t r u m e n t s now t a k e on an o b v i o u s symbolic

significance i n addition t o any a r t i s t i c and s o c i a l connota-

 79

tions. The nymphs, including Seelewig h e r s e l f (violins

and r e c o r d e r s ) r e p r e s e n t t h e powers o f good, w h i l e the

shepherds (reed instruments, horn and trumpet) represent

t h e powers o f e v i l . A contradiction i s apparent here, i n

that the trumpet, o t h e r w i s e an artistic instrument, i s used

in connection with Trugewalt. Keller p r o v i d e s two explana-

tions as t o why this c o u l d have o c c u r r e d : f i r s t l y ^ trumpets

may have been [ a n d were^J more r e a d i l y available than hunting

horns, and secondly, the sound q u a l i t y o f the trumpet is

similar to t h a t of the trombones and cornettos required by

Monteverdi to d e p i c t the underworld i n Orfeo, and the instru-

ment may c o n s e q u e n t l y have been c h o s e n for this type of

acoustic reason rather than f o r any particular artistic or

35

symbolic considerations. Whatever the cause, the inclusion

of a trumpet to represent Trugewalt suggests that however

valid Harsdflrffer s 1
division of instruments into two socially

and artistically differing groups may have b e e n on paper, i t

did not n e c e s s a r i l y apply i n p r a c t i c e . The i n s t r u m e n t a t i o n

suggested f o r performance purposes, furthermore, i s never a

Harsdflrfferian fiat, f o r , as n o t e d , factors of cost and

availability are taken into consideration, allowing instru-

mental accompaniment a c c o r d i n g t o means. H a r s d o r f f e r more-

over regularly bemoans t h e fact that he does n o t have enough

space for full e x p l a n a t i o n s , and i n s u c h c a s e s , he leaves the

reader t o make t h e most o f what i s g i v e n .

 80

The p l a c i n g o f i n s t r u m e n t a l i s t s f o r stage works i s

not always g i v e n i n Harsdflrffer's instructions. Most o f

his r e m a r k s on t h i s s u b j e c t e x p l a i n t h a t the music i n par-

ticular instances i s t o be h e a r d from b e h i n d the c u r t a i n .

This i s the case with t h e c h o r u s e s and one o f t h e e c h o

scenes i n Seelewig (FG,82,125,161), and w i t h one o f t h e s o n g s

in Von d e r W e l t E i t e l k e i t (FG,III,200). In n e i t h e r of these

pieces i s any f u r t h e r i n f o r m a t i o n given on t h e p o s i t i o n i n g

of musicians. F o r t h e T u g e n d s t e r n e , however, Harsdorffer

suggests t h a t i f t h e a i m i s t o keep t h e c o s t o f a p e r f o r -

mance t o a minimum, a p a i n t e d c u r t a i n should be drawn across

the stage, and a l l t h e m u s i c , v o c a l and i n s t r u m e n t a l , should

37

be heard from b e h i n d this curtain (FG,III,403). In t h i s

type of production, the musician or musicians w o u l d n o t be

seen a t a l l .

Harsdflrffer r e f e r s to a c e l e b r a t i o n a t the court of

the M e d i c i s , i n which s i n g e r s appeared "mit verborgener

Instrumental Music"(FG,VI,192). In a c o u r t s i t u a t i o n , the

invisibility o f t h e o r c h e s t r a c a n be e x p l a i n e d by t h e f a c t
38

that musicians were s e r v a n t s and were k e p t o u t o f s i g h t

to avoid offending the s e n s i b i l i t i e s of noble onlookers. Ih

the "freie Reichsstadt" o f Nuremberg, where m u s i c i a n s were

held i n high esteem, such s o c i a l c o n s i d e r a t i o n s were n o t
39

as applicable. Harsdorffer nevertheless r e t a i n s the p r i n -

ciple o f an i n v i s i b l e orchestra.
 81

The f u n c t i o n of i n s t r u m e n t a l music i n a stage setting

i t not o n l y to accompany the s i n g e r s or to provide intro-

ductory "An- oder Gleichstimmungen," which foreshadow up-

coming a c t s or scenes. The a t t e n t i o n of the s p e c t a t o r s

must be s u s t a i n e d at a l l times, and t h i s can be done between

a c t s and scenes by p r e s e n t i n g them with a p a i n t e d c u r t a i n

and a l l o w i n g them to hear music, sometimes a song (FG,VI,

183), to keep t h e i r eyes and ears f u l l y occupied. Instru-

mental music between a c t s or scenes i s p a r t i c u l a r l y appro-

p r i a t e e s p e c i a l l y when played by trumpets or other loud

instruments, as i t covers up the noise produced by changing

the scenery (FG,VI,170).

When i n s t r u m e n t a l music i s used i n c o n j u n c t i o n with

the v o i c e , however, c o n s i d e r a t i o n s of volume are r a t h e r d i f -

ferent. The importance of understanding the t e x t of a song

was s t r e s s e d by a number of w r i t e r s . V a l e n t i n Haussmann

at the beginning of the century, f o r example, had noted:

"Es kommen auss I t a l i e n v i i schone gesang zu uns i n Teutsch-

land/ so von dem mehrern t h e i l on v e r s t a n d der t e x t e musi-

40

c i r t und gesungen werden." L a t e r i n the century, the

q u e s t i o n of f o r e i g n t e x t s was no longer as a p p l i c a b l e , but,

" . . . vernimmt man k e i n Wort im Gesang/ so i s t und bleibt

es e i n todtes Klang/ H a l l und S c h a l l / der i n der L u f t v e r -

gehet/ und i n den Ohren e r s i t z e n b l e i b t / und kriegt der

inwendige Mensch/ Seel und G e i s t zu s e i n e r Erbauung n i c h t s

 82

davon." The intelligibility o f t h e words o f a s o n g i s

thus a f a c t o r of prime importance. In terms v e r y similar

to those used by Gruber, Harsdflrffer himself states that

"der n i c h t i g e K l a n g / und das i n der L u f t verrauschende

Getflne/ kan niemals w i r k - und w e s e n t l i c h e Begntigung bey-

bringen"(FG,IV,92-3). He a l s o notes i n connection with Von

der Welt E i t e l k e i t that t h e i n s t r u m e n t s must n o t overwhelm

the v o i c e (FG,III,200). Harsdorffer's instructions regar-

ding i n s t r u m e n t a l music then d e a l not o n l y w i t h the symbolic

implications of the v a r i o u s i n s t r u m e n t s , but also with con-

siderations of a purely p r a c t i c a l nature.

In addition t o a knowledge o f v a r i o u s t y p e s o f instru-

ments and instrumentation, Harsdflrffer demonstrates some

familiarity with the nomenclature o f t h e gamut, w h i c h was

the c o l l e c t i v e name g i v e n t o t h e range of musical sounds

used in practice. I t may be seen as the seventeenth-century

version of the t o n i c solfa. The gamut i s t h o u g h t o have

been d e v i s e d by G u i d o d ' A r e z z o , a e l e v e n t h - c e n t u r y monk, as

a means o f p r o v i d i n g h i s p u p i l s w i t h a p r a c t i c a l method o f

learning to sing at sight. G u i d o had realized that a cer-

tain six syllables o f words t o a L a t i n hymn were sung a t

stepwise ascending p i t c h levels, and he consequently chose

these syllables t o r e p r e s e n t t h e names o f t h e n o t e s which

were t h e n a l w a y s t o be u s e d i n t h e same r e l a t i o n s h i p to each

42
other. H a r s d f l r f f e r quotes the lines o f t h e hymn, n o t i n g
 83

t h a t they are "Die Verse/ aus welchen d i e 6 Stimmen oder

Voces.genommenV(ME,II,138):

Ut queant L a x i s Resonare f i b r i s
M i r a gestorum Famuli suorum
Solve p o l l u t e L a b i i reatum, ^
Sancte Ioannes. (ME,II,139)

The s e t o f s i x notes i s r e f e r r e d to as the hexachord, of

which there were three types known as "hard," " n a t u r a l " and

" s o f t , " o v e r l a p p i n g to make up the gamut (Table II) ... " A l -

though H a r s d o r f f e r i s n o t concerned with the i n t r i c a c i e s of

the hexachord s y s t e m — h e assumes the reader i s f a m i l i a r with

it—he i s n e v e r t h e l e s s aware t h a t such a method based on u n i t s

of s i x notes was no longer working p a r t i c u l a r l y w e l l i n p r a c -

tice: "Weil aber s i e b e n Stimmen und h i e r nur sechs . . ."(ME,

11,139), he w r i t e s . The move towards a system based on the

octave ( a c t u a l l y o n l y seven d i f f e r e n t notes) was so s t r o n g ,

t h a t a number o f suggestions were being made f o r the name of

the seventh note. H a r s d f i r f f e r was f a m i l i a r w i t h the sugges-

tion "bi"(ME,II,139), although there were o t h e r s . 4 4

H a r s d f i r f f e r uses hexachordal terminology i n a number o f

ways. In the case o f the t u n i n g o f drums noted above, he

sets out the i n f o r m a t i o n as:

Example 3:
ut mi sol fa
 84

The f i r s t t h r e e n o t e s , u t , mi and s o l , s t a r t i n g on the note

c' b e l o n g t o t h e n a t u r a l hexachord. The l a s t n o t e , c",
however, i s f a o f t h e hard hexachord which would s t a r t i n
t h i s case on g'.
In another p l a c e H a r s d o r f f e r discusses the tuning of
s t r i n g s on a l u t e o r g u i t a r , n o t i n g t h a t the bottom - s t r i n g
s h o u l d be tuned t o "G s o l , r e , ut"(ME,III,366). A glance
at the t a b l e on page 85 w i l l show t h a t i n t h i s i n s t a n c e , the
element " s o l " belongs t o t h e n a t u r a l hexachord, " r e " t o the
soft'f and " u t " t o the h a r d . From t h i s i n f o r m a t i o n the p i t c h
of the note can be d e t e r m i n e d .

Knowledge o f the hexachord i s a l s o e v i d e n t i n Hars-

d f l r f f e r 's comments on t h e American s l o t h , which he c a l l s
a " H a u t " ( N J , I I , n . p . ) . T h i s a n i m a l , says H a r s d f l r f f e r i s
as b i g as a c a t , w i t h malodorous b r e a t h , i t has v e r y l o n g
c l a w s , i s v e r y slow and l i v e s i n t r e e s . "Wundersam aber
i s t d i e s e s T h i e r e s Stimme/ i n dem es bey Nacht das u t , r e ,
m i , f a , s o l , l a o r d e n t l i c h s i n g e t / und d a r z w i s c h e n jedesmals
einen halben Schlag p a u s s i e r e t / a l s o " ( N J , I I , n . p . ) :

Example 4:

V— - A - p - P - P - J -—
£4 —^—e

ha ha
" c
ha ha ha ha ha ha ha
e>
ha
rh—
ha
Pitch Hard Natural. Soft Hard Natural Soft Hard The Gamut

e" E la E la
d" D re D sol D re s o l
c" e sol C fa C sol fa
b' b fa B B mi B b fa B
o r : mi B
a' A la A mi A re A l a mi r e
q* G sol G re G ut G s o l re ut
f F fa F ut F fa ut
e' E la E mi E l a mi
d' D la D sol D re D l a s o l re
c ( m i d d l e c)
l
C sol C fa C ut C s o l fa ut
bb btt b fa B B mi B b fa B .
o r : nii B
a A la A mi A re A l a mi r e
g G sol G re G ut G s o l re ut
f F fa F ut F fa ut
e E la E mi E l a mi
d D sol D re D s o l re
C C fa C ut C fa ut
B B me B mi
A A re A re
G r ut j- u t (Gamma Ut)

Table I I .

The H e x a c h o r d System. B a s e d on t h a t given i n D o n i n g t o n , The Interpretation of Early

M u s i c , p. 64.

CO
 86

S t r i c t l y speaking, the s o f t hexachord o f F used here should

have a B f l a t , so t h a t the semitone f a l l s i n the same p l a c e

as i t does i n the o t h e r hexachords. The f l a t s i g n i s a l s o

m i s s i n g the the same example g i v e n i n the Mathematische

4 c

Erquickstunden (11,150), as i t i s i n H a r s d O r f f e r ' s source. "

46

In Caspar S c h o t t ' s v e r s i o n , however, i t i s i n c l u d e d . In

view o f the g r e a t number o f p r i n t i n g e r r o r s e v i d e n t i n

seventeenth-century books, i t i s p o s s i b l e t h a t t h i s omis-

s i o n i n H a r s d f l r f f e r s v e r s i o n s can be put down t o lack o f

1

care on the p a r t o f the p r i n t e r , o r inadequate p r o o f r e a d i n g ,

a chore H a r s d o r f f e r h i m s e l f d i d not have much time f o r

(FG,V,109-10). Insouciance on the p a r t of H a r s d f l r f f e r when

borrowing m a t e r i a l from another source i s another f a c t o r

which cannot be r u l e d o u t .

Elsewhere he r e p o r t s having seen a game c o n c e r n i n g

music,

bey welchem man das u t , r e , mi, f a , s o l , l a ausge-

t h e i l t / und w e i l a l l e a l l d a r Anwesende der Singkunst
kundig waren/ hat d e r / so das S p i e l g e f u h r t / m i t dem
S t a b l e i n den Tact gegeben/ und anfangen zu singen u t ,
mi, r e , e t c . und e i n jedes so lang/ a l s e i n h a l b e r oder
gantzer/ oder v i e r t e l S c h l a g / gewaret/ a u f f s t e h e n mils-
sen/ und so lang selbe Noten g e l a u t e t / stehen b l e i b e n ;
welche dann zu b a l d oder zu langsamb auffgestanden/ oder
gesessen s i n d / haben d i e Pfand/ m i t Beantwortung e t l i c h e r
Fragen von der Music wider lflsen mussen . . . I c h b i l d e
mir l e i c h t l i c h e i n / wie s i e u n t e r e i n a n d e r werden ge-
hupffen haben/ wenn der schwartzen Noten v i e l s i n d ge-
sungen worden. (FG,II,309).

Apart from the r e f e r e n c e to the hexachord, t h i s passage i s

 87

notable f o r the inclusion of other musical terminology.

47

Although i t i s probably based on an Italian source, Hars-

d f l r f f e r has n e v e r t h e l e s s had to t r a n s l a t e the m u s i c a l words

i n t o German: " T a c t , " " h a l b e r oder gantzer/ oder viertel

S c h l a g , " and "schwartze Moten," a l l d e m o n s t r a t i n g his fami-

liarity with the rudiments of musical terminology.

Harsdflrffer's concern f o r u s i n g German e q u i v a l e n t s f o r

f o r e i g n words i s as e v i d e n t i n h i s s t a t e m e n t s on m u s i c as i t

is in a purely literary context (PT,III,8-15). To ensure

that the reader w i l l know what t h e German word means, Hars-

dflrffer usually i n c l u d e s the o r i g i n a l foreign term. Some

examples w i t h r e s p e c t to music are:

Original German

Clausula intermedia Mittelschluss (PT,III,95)

C l a v i s [ k e y on an o r g a n ] H o l t z (HS,II,198)
Contrapuncto E b e n m e s s i g e Gegenftigung
(ME,III,350)
In genere r e c i t a t i v o Erzehlungsweiss (FG,IV,89;
ME,II,144)
Instrumenta M u s i k a l i s c h e Gezeug ( F G , I I ,
157)
Semitonia D i e h a l b e n Tflnungen (ME,III,
369)
Symphonia An- o d e r Gleichstimmung
(FG,IV,535)

H a r s d f l r f f e r was by no means a l o n e i n these concerns. Herbst

himself noted t h a t h i s work M u s i c a P o e t i c a was the first of

48

its k i n d t o have been w r i t t e n i n German. T h e r e were also

earlier treatises i n German—parts two and t h r e e o f P r a e t o r i u s '

 88

Syntagma Musicum, f o r example. At the b e g i n n i n g of the

century, the first edition of Gumpelzhaimer's Compendium

M u s i c a e L a t i n o Germanicum had appeared, a b i l i n g u a l general

treatise on m u s i c w i t h the L a t i n original and German t r a n s -

lation given s i d e by side.

As i t i s extremely difficult i f not impossible always

to determine t h e e x a c t moment a word a p p e a r e d i n the l a n -

49

guage, t h e German m u s i c a l vocabulary a p p l i e d by Harsdflrffer

cannot ultimately be used as e v i d e n c e t h a t he was respon-

sible for introducing i t . A number o f t h e words and phrases

g i v e n above i n any case appear i n the e a r l i e r treatises,

and H a r s d f l r f f e r was familiar at least with t h e work o f Prae-

torius (IIS, I I , 198) . H i s use o f German t e r m i n o l o g y , however,

does show him t o be aware o f t h e m u s i c a l needs o f t h e time,

and by insisting on t h e use o f German, he supplies his

reader in a practical way with a means o f u n d e r s t a n d i n g the

material.

There can be little d o u b t t h a t H a r s d f l r f f e r had an

e x t e n s i v e w o r k i n g knowledge o f a l l k i n d s o f a s p e c t s of

practical music. Although a g r e a t many o f h i s statements

in this area are translations or borrowings from other sour-

ces, he has nevertheless presented the i n f o r m a t i o n i n Ger-

man i n a way which c l e a r l y shows t h a t he understood the

material he was dealing with. Harsdflrffer's pedagogic ten-

dencies also come t o t h e fore, i n that readers w i l l readily

 89

grasp the matter a t hand without the need f o r mathematical

a c r o b a t i c s , or, i n the case of instruments, a b r i l l i a n t

technique. I t i s not H a r s d O r f f e r ' s i n t e n t i o n to teach h i s

readers music, as he does presuppose a c e r t a i n familiarity

w i t h the s u b j e c t . He i s i n t e r e s t e d above a l l i n broadening

the general knowledge of the educated person, and, in a

t h e a t r i c a l context, i n p r o v i d i n g him with the raw m a t e r i a l

f o r p u t t i n g t h i s g e n e r a l knowledge i n t o p r a c t i c e .
 90

Chapter Three: Musica Poetica

A. Music and Poetry

"Was i s t Musica Poetica? Es i s t eine freye Kunst/

w e l c h e A n l e i t u n g und A n w e i s u n g g i b t / wie man einen Gesang

schfln und zierlich/ n a c h den vorgeschriebenen Praeceptis

und Regulis c o m p o n i r e n und setzen soil/ damit d i e Hfertzen

und Gemuther d e r Zuhorer d e l e c t i r e t / erfrewet und lieblich

eingenommen w e r d e n . " 1
The Musicus Poeticus i s therefore

the composer as o p p o s e d t o t h e t h e o r e t i c i a n who merely

speculates on the subject, or t h e p r a c t i t i o n e r who i s con-

cerned only with the problems of performing.

Herbst's understanding o f the compositional side of

music illustrates the intimate relationship between m u s i c

and t h e word, a r e l a t i o n s h i p w h i c h had been so s t r o n g that

the traditional definition of music s t i l l found i n seven-

teenth-century t e x t books was "eine Kunst welche lehrt/ wie

2
man recht singen soil," or, " e i n K u n s t r e c h t und wol zu
3

singen." Harsdflrffer himself explains that "dieses Wort

M u s i c a kan zwar S i n g - o d e r K l i n g k u n s t oder Thonkundigung

geteutschet werden"(ME,III,351). The last two options indi-

cate t h a t a more g e n e r a l m e a n i n g was also attributed to the

 91

word a t t h e time.

For Herbst, c o m p o s i n g meant s e t t i n g words t o music,

and he makes i t p e r f e c t l y c l e a r w h i c h o f t h e two has supre-

macy: " . . . dann d i e Gesang wegen d e s s T e x t e s / und nicht

d i e W f l r t e r o d e r T e x t wegen d e r Harmoney C o m p o n i r e t , und

gemacht werden."^ H a r s d f l r f f e r does n o t a g r e e completely,

for, he a d v i s e s , t h e r e a r e i n s t a n c e s when t h e p o e t must

set t h e words t o an e x i s t i n g m e l o d y (PT,III,93). In either

case, the poet and t h e m u s i c i a n must be familiar with the

techniques of both a r t s i n o r d e r to produce successful songs

(PT,III,93) .

From H a r s d f l r f f e r ' s p o i n t o f view, "der f u g l i c h s t e Thon

ist/ welcher d i e a u f g e g e b e n e Reimen n a c h d r u c k l i c h und aller-

beweglichsten fasset/ und gleichsam durch eine zierliehe

Kunstsprache/ unsere naturliche Hertzenserregungen eigent-

lich gemass hflren l a s s t " ( F G , I I I , 2 7 5 ) . The similarities be-

tween t h i s statement and Herbst's definition o f M u s i c a ":.

Poetica cannot be overlooked. Both refer firstly to the

need f o r an o r n a m e n t a l ("zierlich") style, which i n Hars-

d f l r f f e r 's c a s e i s based on t h e use of r h e t o r i c a l devices

and imagery i n language (PT,III,63-72).^ For Herbst, orna-

mentation consists i n e x p r e s s i n g the n a t u r e o f the material

and the sense o f t h e words i n an a p p r o p r i a t e way musically.

If, f o r i n s t a n c e , a word o r p h r a s e suggests any kind of

motion—running, ascending, e t c . — t h i s must be reflected by

 92

the speed or direction of the notes. Herbst does n o t go

as f a r as some w r i t e r s of musical treatises o f the seven-

t e e n t h - c e n t u r y who were a t t e m p t i n g to establish s e t systems

of m u s i c o - r h e t o r i c a l p a r a l l e l s : Joachim Burmeister, f o r

instance, compiled a list o f t w e n t y - s i x terms taken from

the a r t o f r h e t o r i c w h i c h were t o be u s e d i n musical com-

8
position. Terms i n common u s e i n c l u d e d " h y p e r b o l e , " e x -

t e n d i n g beyond t h e normal range of the v o i c e ; " p a t h o p o i i a , "

ascending or descending chromatic p r o g r e s s i o n t o denote

grief; "apocope," t h e f i n a l note of a musical phrase being

snapped o f f ; " p o l y p t o t o n , " t h e r e p e t i t i o n o f t h e b e g i n n i n g

9

of a phrase a t a new p i t c h level. I t i s the a p p l i c a t i o n

of such rhetorical figures which i s behind Harsdflrffer s 1

statement t h a t music i s a part of "Redkunst"(FG,V,178).

The second p o i n t o f s i m i l a r i t y between H e r b s t ' s defi-

nition o f Musica P o e t i c a and H a r s d f l r f f e r ' s v i e w o f t h e most

suitable m e l o d y f o r a s o n g i s t h e e m p h a s i s on r u l e s . Herbst

insists on f o l l o w i n g the s e t p r e c e p t s — a v o i d i n g forbidden

intervals, . f o r instance—while f o r HarsdOrffer, "Kunst-

sprache" i s by d e f i n i t i o n g r o u n d e d i n r u l e s . The two w r i -

ters from their different s t a n d p o i n t s t h i r d l y agree on t h e

same g e n e r a l e f f e c t s the combination o f ornamentation and

rules i s t o have on t h e l i s t e n e r . As H e r b s t and H a r s d f l r f f e r

do n o t a p p e a r t o have been i n c l o s e c o n t a c t , t h e agreement

between t h e i r s t a t e m e n t s indicates not only that t h e two

 93

a r t s were i n g e n e r a l b a s e d on t h e same f u n d a m e n t a l compo-

sitional criteria, but a l s o that the ideas expressed were

all part of the l i t e r a r y and m u s i c a l c o i n o f the day.

Although H a r s d o r f f e r s 1
understanding of the a r t of

the composer i s v e r y a p p a r e n t , he h i m s e l f c a n n o t be c o n -

sidered a Musicus Poeticus i n the s t r i c t sense o f t h e term,

as no m u s i c i s a t t r i b u t e d t o him. By s u p p l y i n g t h e words

for t h e composer, however, he f o r e s h a d o w s t o a g r e a t extent

the shape and n a t u r e o f the music. The m e a n i n g and sound

of t h e words w i l l i n f l u e n c e t h e composer i n h i s c h o i c e o f

rhythm, m u s i c o - r h e t o r i c a l f i g u r e s , and key o r o s t e n s i b l e

mode. Harsdflrffer, as w i l l be shown, a l s o draws on many

aspects of h i s musical knowledge i n p r e p a r i n g p o e t r y , and

he applies this k n o w l e d g e i n d i f f e r e n t ways. I f the ety-

mology o f t h e words "poetica," "poeticus," "poet," e t c . i s

traced back t o t h e o r i g i n a l Greek " p o i e i n , " meaning " t o

fashion," o r " t o make," t h e n H a r s d f l r f f e r c a n be e x a m i n e d

as one who f a s h i o n s a l 1 k i n d s of musical material without

composing a note.

The queen o f r h e t o r i c a l f i g u r e s i n language,' s a y s

Harsdflrffer, i s "die Gleichniss"(PT,III,56-7). I t s impor-

tance lies i n the f a c t that i t i s "der Stab unsers blinden

Verstands: Was w i r n i c h t nennen kflnnen/ b e s c h r e i b e n / und

finden w i r gleichsam/ d u r c h d i e V e r e i n p a r u n g m i t dem/ so

es a h n l i c h i s t / und w i r d unser Sinn b e l u s t i g e t / wann e r

 94

durch s o l c h e s M i t t e l f a s s e t / was e r sonsten n i c h t verstehen

kan"(FG,VIII,234). In a d d i t i o n t o having ornamental and

explanatory f u n c t i o n s , the f i g u r e i s a l s o s u i t a b l e f o r

drawing a n a l o g i e s between a l l kinds of a p p a r e n t l y d i s p a r a t e

items o r s u b j e c t s , and i n t h i s way, i t d i s p l a y s the i n h e r e n t

harmony which was seen t o e x i s t between a l l t h i n g s . The

use o f musical m a t e r i a l f o r such purposes i s a common f e a t u r e

of H a r s d f l r f f e r ' s p o e t i c works, e s p e c i a l l y h i s "Lehrgedichte"

which he d e s c r i b e s as types o f extended " G l e i c h n i s s e " ( P T , I I ,

51; FG,VIII,238), and i n h i s emblems ("Sinnbilder") which

i n c l u d e i n s t r u c t i v e i n t e r p r e t a t i o n s of the motto and p i c -

ture i n verse.

The musical s u b j e c t matter i n H a r s d f l r f f e r ' s poems and

emblems i s a p p l i e d f o r comparative purposes i n v a r i o u s

ways. The f i r s t type deals with the a r t of p o e t r y , and can

be e x e m p l i f i e d by an emblem w i t h the motto "Nicht ohne

Stimmung" appearing above an I l l u s t r a t i o n o f a seated figure

p l a y i n g the harp. H a r s d o r f f e r p r o v i d e s the i n t e r p r e t a t i o n :

Wer w i l l auf der H a r f f e n s p i e l e n /

muss durch strengen Saitenzwang/
den Kunstrechten g l e i c h e n Klang
stimmen/ proben und e r z i e l e n .
sonsten b r i n g t das H a r f f e n s c h l a g e n /
mehr Verdruss a l s Sinnbehagen;
A l s o muss s i c h weisen l a s s e n /
Wer w i l l s c h r e i b e n e i n Gedicht
Nach der Sprache Lehr B e r i c h t /
und d i e Red n i c h t Plumsweis f a s s e n ;
Wann e r n i c h t m i t Missbehagen/
w i l d i e z a r t e n Ohren plagen. (PT,III,n.p.)
 95

The " G l e i c h n i s s " i n t h i s poem c o n s i s t s o f t h e s t r a i g h t -

f o r w a r d c o m p a r i s o n o f two s e e m i n g l y u n r e l a t e d subjects—

playing t h e h a r p and w r i t i n g a poem. J u s t as t h e h a r p i s t

must t u n e and t e s t h i s i n s t r u m e n t t o be a b l e to play a r -

tistically, and t h e r e b y p l e a s e his listener, so t h e p o e t

must t e s t h i s w r i t t e n invention against the r u l e s of

grammar and c o r r e c t u s e o f l a n g u a g e . The h a r p i s t does n o t

play just any n o t e , and t h e p o e t does n o t p i c k j u s t any

word. The f i r s t point of reference between t h e two p a r t s o f

the comparison i s therefore the n e c e s s i t y f o r a s t u d i e d ap-

proach to both a r t s . The s e c o n d p o i n t o f r e f e r e n c e i s con-

cerned with t h e sound o f h a r p m u s i c and p o e t r y , both of

which c a n o f f e n d the e a r i f the a r t i s t i c rules are not f o l -

lowed. H a r s d f l r f f e r ' s e m p h a s i s on t h e o r a l nature of poetry

is thus very much i n e v i d e n c e , and t h e c h o i c e of musical

material as t h e e l e m e n t o f c o m p a r i s o n i s most appropriate.

A second type o f musical subject matter i s that dealing

with the misuse o f music. Harsdflrffer i n general has much

t o s a y on t h i s subject, and o v e r a l 1 , he d i r e c t s h i s d i s a p -

proval a t t h o s e who s u b m i t t o e x c e s s . The s u r g i c a l o p e r a -

tion c a r r i e d o u t on young b o y s t o p r o d u c e c a s t r a t o singers

is one example o f m i s u s e (ME,III,359; FG,VI,289). A second

example i s t h e w i l l i n g n e s s t o be s e d u c e d by t h e i n t o x i c a t i n g

effects o f music, which can lead t o moral turpitude and a

deviation from the p a t h o f r i g h t e o u s n e s s (ME,III,359-60; FG,

IV, 87, 92-93).

 H a r s d o r f f e r , moreover, insists "dass man d i e Music zu

G e i s t l i c h e n Sachen gebrauchen solle"(FG,IV,89). Yet he him

s e l f i s not adverse to p r o v i d i n g s e c u l a r content f o r songs.

On one o c c a s i o n i n the Frauenzimmer G e s p r a c h s p i e l e , the

words and music of a complaint by a shepherdess are g i v e n :

M t i t t e r l e i n was wolt i h r sagen?

Mich t r i f f t es am meinsten an:
Weiss i c h n i c h t / was h e i s t e i n Mann/
dessen H e r r s c h a f t man mus tragen?
Umsonst i s t eu'r Huht und Wacht/
nem i c h micht n i c h t s e l b s t i n Acht

Sagt mir n i c h t vom Eheverbinden/

wie d i e L i e b e S t a r e n b l i n d :
Es i s t auch e i n kluges Kind/
und kan manche Rank' e r f i n d e n /
Umsonst i s t eu'r Huht und Wacht/
nem i c h mich n i c h t s e l b s t i n Acht.

Das/ so man dem Kind v e r b i e t e t /

darnach l u s t e t es v i e l m e h r .
Es i s t e i n e s c h l e c h t e Lehr
d i e / ders g i e b e t n i c h t v e r h u t e t . -
Umsonst i s t eu'r Huht und Wacht/
nem i c h mich n i c h t s e l b s t i n Acht. . . .(FG,IV,
46-48)

T h i s song i s r e f e r r e d to by one o f the c o n v e r s a t i o n a l i s t s a

" e i n uppiges B u h l l i e d l e i n " (FG', IV, 50) . A second c h a r a c t e r

maintains t h a t there i s n o t h i n g wrong w i t h i t , and t h a t the

shepherdess i s s i n g i n g the t r u t h . In order to o f f s e t this

remark, H a r s d f l r f f e r f o l l o w s i t w i t h a r e l i g i o u s song, i n

which God's omnipotence i s praised. The purpose of i n c l u -

d i n g a song w i t h w o r l d l y s u b j e c t matter i n t h i s particular

i n s t a n c e i s to p r o v i d e a demonstration by n e g a t i v e example.
 97

Harsdorffer*s responsibility f o r t h e words t o t h e s o n g i s

in any c a s e d i m i n i s h e d t o some e x t e n t by t h e f a c t that i t

is a translation from a S p a n i s h s o u r c e .

Erotic verses appearing i n Von der Welt Eitelkeit,

however, a r e n o t t r a n s l a t i o n s . I n one s c e n e , a young man

and a young woman a r e t o a p p e a r s i t t i n g on a b e d , and t h e y

proceed t o s i n g a song r e p l e t e w i t h sexual innuendo. Hars-

dflrffer, fully aware t h a t t h i s m i g h t o f f e n d the audience,

n o t e s : ' "So man v e r m e i n e n w o l t e / d a s s das L i e d zu f r e y und

frech seyn s o l t e . . . kflnte man w o l bey dem andern oder

dritten Gesetz abbrechen"(FG,111,252). The justification

for including s u c h a s o n g i n t h e c o n t e x t o f t h e whole work

is to i l l u s t r a t e the f o o l i s h n e s s of s u b m i t t i n g totally to

the d e s i r e s o f the f l e s h . As this s o n g i s f o l l o w e d by a

scene i n which the f i g u r e o f Death s i n g s of the v a n i t y , muta-

bility and t r a n s i t o r i n e s s o f human l i f e , i t i s put into i t s

proper perspective, and p r o v i d e s another negative example.

The general theme o f t h e m i s u s e o f m u s i c e x p l a i n e d i n

terms o f a m u s i c a l i n s t r u m e n t a p p e a r s i n t h e poem entitled

"Die L a u t e redet:"

i c h konte vor der Z e l t das Sorgenwaehen s t i i l e n /

die Furcht/ d i e blasse Furcht mit meinem Ton verhullen.
Die Winde hflrten mich/ der Bache Lispelgang
verzflgert' auenwarts/ ob meinem stissen klang.
Nun i s t mein Freudenlied i n neues L e i d gewendet/
Ich b i n e i n leeres Holtz/ beraubet und geschandet
geschandet und beraubt durch eine Frevelhand/
die mir bey dustrer Nacht mein holdes Saitenband
zerschnitten und zerstuckt. Komm doch/ mich zu verbrennen/
 98

komm/ komm/ bring deine Flamm/ weil ich bin tod zu nennen/
nachdem mein Sternendach/ mein Dach von Helffenbein/
(Zu helffen mancher Pein erbaut) gerissen ein.
Mein Zweck i s t ohne Zweck/ mein Steg i s t gantz zerstucket;
Ich bin ein eitles Nichts verstummt/ und eingedrticket.
Zuvor hat meinen Ton der Himmel selbst begehrt/
nun bin ich nimmer nicht so hoher Milde wehrt. (PT,III,12-13)

The comparison i n t h i s poem c o n s i s t s n o t i n drawing p a r a l -

l e l s between two d i f f e r e n t t h i n g s , but i n p r e s e n t i n g the

l u t e as i t used t o be and as i t i s now. The reader must

decide f o r h i m s e l f t h a t the c o n d i t i o n o f the l u t e r e p r e s e n t s

the p a s t and p r e s e n t s t a t e o f music. In p r e v i o u s times,

music soothed a savage b r e a s t , was i n harmony with the d i -

vine. Now i t i s used f o r v a i n and shameful purposes. The

c h o i c e o f the l u t e t o r e p r e s e n t the descent o f music i s

p a r t i c u l a r l y a p p o s i t e , as these instruments were f r e q u e n t l y

adapted and transformed i n t o hurdy-gurdies, o r c a n n i b a l i z e d

to p r o v i d e p a r t s . "
1< )
The words " z e r s c h n i t t e n , " " g e r i s s e n

e i n , " and " z e r s t u c k e t " d e s c r i b e such treatment o f the l u t e .

The o u t s t a n d i n g t e c h n i c a l f e a t u r e o f t h i s poem i s

the use o f the pun. The words "Sternendach," "Dach," "Zweck"

and "Steg" have meanings i n a d d i t i o n t o the obvious. When

a p p l i e d t o the l u t e , the "Sternendach" i s the b e l l y o r upper

s u r f a c e w i t h i t s rose ("Stern"); the "Dach" o f i v o r y i s the

back, the "Zweck" i s the peg, and the "Steg" i s the b r i d g e .

By i n c l u d i n g such words w i t h double meanings, H a r s d f l r f f e r

presupposes t h a t the reader w i l l be f a m i l i a r with the names

 99

for parts of a lute. Otherwise t h i s demonstration of the

artistic and o r n a m e n t a l u s e o f l a n g u a g e w i l l remain un-

appreciated.

Although the l u t e i n this poem c a n be s e e n t o r e p r e -

sent music i n general, this i s t h e c a s e o n l y when i t i s r e a d

in isolation, f o r Harsdflrffer s 1
remarks c o n c e r n i n g t h e poem

show t h a t he had a n o t h e r " G l e i c h n i s s " i n mind, namely:

" . . . wann w i r u n s r e n G l a u b e n m i t e i n e r L a u t e / d i e Wercke

a b e r m i t d e r o s e l b e n S a i t e n v e r e i n b a h r e n . . ."(PT,1,13, 1650

edition). F u r t h e r m o r e , an a d d i t i o n a l section i s added i n

the v e r s i o n f o u n d i n t h e Frauenzimmer G e s p r a c h s p i e l e which

p o i n t s o u t t h e comparison:- ' ':. .

Der G l a u b b e f r e y t v o n S o r g e n /
d i e i n dem M e n s c h e n h e r t z e n
v e r h u l l e t und v e r b o r g e n /
und d o c h m i t S e u f f t z e n s c h m e r t z e n /
m i t T h r e n e n / A n g s t und F l e h e n /
s i c h k l a g l i c h l a s s e n sehen.
Der S a t a n k a n dem G l a u b e n /
d a s s w i r i n Jammer s t e r b e n /
und H o i l e n b r a n d v e r d e r b e n /
aus b l f l d e n S i n n e n r a u b e n /
Der G l a u b i s t G e i s t und L e b e n /
i n dem w i r s i n d und schweben.
Wann w i r n i c h t G l a u b e n haben/
w i r d u n s e r Thun und L a s s e n /
g l e i c h f a u l e Opfergaben/
der Himmelsschopfer hassen. (FG,VIII,198-99)

The basic assumption i n these cases i s that just a s t h e body

and strings of a lute are equally n e c e s s a r y t o produce a

harmonious sound, so f a i t h and good works a r e n e c e s s a r y

 100

f o r man to reach a state o f grace. Harsdflrffer also notes

that t h e poem may be u s e d as t h e e x p l a n a t o r y verse o f an

emblem c o n t a i n i n g the p i c t u r e of a l u t e without s t r i n g s to

illustrate t h e same m e a n i n g '(ME, I I , 172) . ' The poem then

e x p r e s s e s a s e n s e o f d i s t r e s s a t t h e l a c k o f f a i t h and

good works i n t h e l i v e s o f men. As i t f i r s t appeared i n

the 1647 e d i t i o n s o f t h e F r a u e n z i m m e r G e s p r a c h s p i e l e (Part

Seven) and t h e P o e t i s c h e r T r i c h t e r , i t may a l s o be a reflec-

tion o f the lack o f r e l i g i o u s observance evident during the

c o u r s e o f t h e T h i r t y Y e a r s ' War i n p a r t i c u l a r .

A f u r t h e r area o f concern In"Harsdflrffer's poetry i n

w h i c h he draws on m u s i c a l material i s t h a t o f human beha-

viour i n a Christian context:

Hflrt meiner Lauten Laut/ wie l i e b l i c h doch e r k l i n g e t

das rundgehfllte Holtz! Hflrt wie der Finger zwinget
ungleich vergleiehten Ton!
Bevor man dieses S p i e l behaglich untemimmet;
mus dieser Saiten Chor k u n s t r i c h t i g seyn gestimmet/
sonst hat man Schand darvon.
Wolffssaiten taugen n i c h t / so r e i n l i c h s i e auch scheinen,
kan doch i h r f a l s c h e r Ton niemalen s i c h vereinen
mit Schafgedarmer Klang/
die kan man nach und nach anstrengen und bezwingen/
dass i h r getfln gesammt behaglich muss erklingen;
mit unterschiednem Zwang.
Wann man aus Ungedult die Saiten w i l l zerreissen/
s i e Ziehen gar zu hoch und diese Laute schmeissen
an nechsten Mauerstein:
Was Music wtirde man von solchem Spiele hflren?
Ach nein/ e i n s a n f f t e r Mut l a s s t s i c h n i c h t so bethflren/
und l i e b t der Tugendschrein.
Der Klugste giebet nach/ dem/ der zu Zeiten i r r e t /
(gleich wie der Lautenklang ohn k u n s t l i c h spielen k i r r e t )
und weiset i n n zu recht;
 101

Es kan ein gutes Wort den of f t zu rucke Ziehen/

den dess Vermahners Grimm und Schelten machet fliehen/
gleich einem Ruderknecht.
Wie sanfft verfahrt mit uns der susse Geist der Gnaden
der uns verlohrene Schar pflegt taglich einzuladen
zu GGTTES Himmelreich.
Wen der Geleitesmann/ mit seinem Wink regieret/
und auf dess HErren Weg gefallig einher fuhret/
verhalt sich ime gleich;
in dem er mit Gedult i n seinem Thun verfahret/
den nachsten Freundesmann mit linden Worten lehret/
baut auf den rechten Stein:
Wer aber mit Gewalt w i l l die Gemuter dringen/
und was man glauben s o i l erpressen und erzwingen/
der reisset v i e l mehr ein. (HS,II,305-6)

In t h i s poem comparisons are made between three t h i n g s :

the c o r r e c t t u n i n g of a l u t e , v i r t u o u s behaviour towards

one's f e l l o w man, and a tempering of p r o s e l e t y z i n g zeal.

In a l l t h r e e cases allowances must be made i f a harmonious

sound and harmonious r e l a t i o n s h i p s with man and God are to

be a c h i e v e d . P a t i e n c e i s more p r o d u c t i v e than anger. In

the f i r s t s e c t i o n of the poem, H a r s d f l r f f e r i s not content

merely to s t a t e t h a t an untuned l u t e has an unpleasant

sound, but i n c l u d e s s p e c i a l i z e d m u s i c a l knowledge to des-

c r i b e some of the problems of t u n i n g . For i n s t a n c e , the

statement t h a t sheep gut s t r i n g s "kan man nach und nach an-

strengen und bezwingen," i l l u s t r a t e s one of the d i f f i c u l t i e s

i n u s i n g gut s t r i n g s of any k i n d — t h e y can be extremely

i n t r a c t a b l e , and t u n i n g them c e r t a i n l y r e q u i r e s a g r e a t deal

of p a t i e n c e . T h i s f a c t o r i s e v i d e n t elsewhere i n H a r s d o r f -

f e r ' s works when he remarks i n c o n n e c t i o n w i t h the lute:

 102

" V i e l Stimmens/ wenig Schlagens"(FG,V,399). The g r e a t num-

ber o f s t r i n g s on the l u t e makes t u n i n g the instrument a l l

the more time consuming. The v i s u a l impact o f the poem

g i v e n above i n f a c t b r i n g s to mind the s t r i n g s o f a l u t e :

the p a i r s o f long l i n e s r e p r e s e n t the double courses of the

instrument.

In order to understand t h i s poem i t i s not e s s e n t i a l

f o r the reader to be aware o f the p r a c t i c a l problems o f

t u n i n g , nor i s i t necessary f o r him t o be f a m i l i a r with

the a n t i p a t h i c r e l a t i o n s h i p between wolf gut and sheep gut

s t r i n g s , since Harsdfirffer provides s u f f i c i e n t information

f o r him t o grasp the g e n e r a l meaning. The uninformed reader

may l e a r n about such t h i n g s by s t u d y i n g the poem. For the

reader who does have a knowledge o f these aspects of music,

the " G l e i c h n i s s " w i l l prove to be a l l the more a p t .

A f u r t h e r "Lehrgedicht" which i n c o r p o r a t e s a m u s i c a l

instrument as p a r t o f the comparison appears i n the Frauen-

zimmer G e s p r a c h s p i e l e (VIII,334-37), and w i t h minor a l t e r a -

t i o n s i n the Hertzbewegliche Sonntagsandachten (1,23), and

Nathan und Jotham (I,n.p.). A v a r i a n t form i s a l s o to be

found i n the Mathematische Erquickstunden (111,356-57).

The emphasis i s once again on C h r i s t i a n faith:

In den g r u n l i c h f a l b e n Matten
u n t e r e i n e r Eichen Schatten/
hat e i n f r e y e r Wandersmann
s e i n e Laute h i n g e l e g e t /
w e i l e r von dem S c h l a f e r r e g e t /
Mund und Augen zugethan.
 103

Auf nechst beygelegnen Auen

welder." i n dem kuhlen Tauen/
e i n darob e r s t a u n t e r Knab:
A l s e r nun n i c h t s mehr vernommen/
l i e s s er d o r t den H i r t e n s t a b /
und i s t naher hingekommen.
Er k n i e t bey der Laute n i d e r /
d i e zuvor so holde L i e d e r
und den wunderreinen Klang/
d i e s e n Knaben zu bethoren/
durch den strengen S e i d e n s t r a n g /
i n den L u f f t e n l a s s e n hflren.
Er w o l t dem Gehflr nicht' trauen/
und m i t seinen Augen schauen/
wie des stummen H o l t z e s S t e r n
kflnte sonder Sinn und Leben/
(wolt e r s e l b s t e n sehen gern)
So b e l i e b t e Stimme geben?
A l s e r nun n i c h t mflgen sehen/
und n i c h t wust/ wie es geschehen/
r u h r e t e r d i e Seiden an:
b a l d d i e Laute murmelend K l a g t e
und das/ was der Knab gethan/
ihrem rechten Herrn sagte.
Sind n i c h t i n des H o l t z e s Krummen
a l l e r Vflgel z a r t e Stimmen/
d i e i c h h i e r noch n i c h t geschaut/
aber m i t dem Ohr vernommen/
dass der wundersusse Laut
i s t aus diesem H o l t z gekommen?
Wie kan aus des Bauches K l u f f t e n
etwas tflnen i n den L u f f t e n ?
Sag mir l i e b e r Wandersmann/
Sag mir, wie doch mag geschehen
das i c h hab gehflret an:
was i c h doch n i c h t mflgen sehen?
Knab/ du must den Ohren trauen/
was du h f l r s t / komt n i c h t zu schauen:
d i c h vergnuge das Gehflr.
Man muss seinen Sinn betauben
und der Gnadenreichen Lehr/
i n des Hflchsten Worte glauben. (FG,VIII,334-37)

In t h i s poem, which i s a v e r s e - p a r a b l e , the l u t e i s once

more drawn i n t o s e r v i c e . The s t r e s s i s again on the con-

t r a s t between a s k i l l f u l l y and u n s k i l l f u l l y played instru-

 104

ment. Only once i s a word of a m u s i c a l l y t e c h n i c a l nature

used, and t h a t i s "Stern." Otherwise the v o c a b u l a r y and

meaning can be understood by the m u s i c a l l y uninformed r e a d e r .

The v e r s i o n o f the poem i n the Hertzbewegliche Sonntagsan-

dachten i s used as the e x p l a n a t o r y v e r s e of an emblem which

i n c l u d e s the p i c t u r e of a boy p l a y i n g a l u t e and the motto:

" S e l i g s i n d / d i e n i c h t sehen/ und doch glauben"(HS,I,23).

The poem then explands on the sentiment expressed i n the

motto. The use of the l u t e to e x p l a i n t h a t one should be-

l i e v e i n the word o f God without seeking causes r e p r e s e n t s

a f i n e example of the extended " G l e i c h n i s s " based on words

of the B i b l e : " F a i t h cometh by hearing"(Romans.10.17). The

f a c t t h a t the poem appears i n f o u r d i f f e r e n t works suggests

t h a t H a r s d f l r f f e r h i m s e l f v a l u e d i t h i g h l y as an example of

the " L e h r g e d i c h t . "

M u s i c a l instruments and t h e i r sounds can be used i n

v a r i o u s o t h e r ways f o r purposes of comparison, suggests Hars-

dflrffer. The p i c t u r e of an organ, ::for i n s t a n c e , would be

s u i t a b l e f o r an emblem w i t h the motto: "Es gehflrt n i c h t zum

Tantz"(ME,II,17 2; H S , I , S i g . B i i i j ) , or "Durch Kunst und Mtihe"

(FG,VIII,126). Panpipes can be used to demonstrate unity

and harmony i n w o r l d l y matters (ME,11,173), while the harp

can do so i n a heavenly c o n t e x t — t h e s t r i n g s , although un-

even i n l e n g t h n e v e r t h e l e s s sound harmoniously together (HS,

11,231-33). Furthermore, the sound of the harp c u r i n g a

 105

t a r a n t u l a b i t e may a l s o be used to show t h a t r e l i g i o u s

doubt can be cured by the word of God (ME,II,175-76; HS,I,

213). A cracked b e l l , on the o t h e r hand, i s s u i t a b l e f o r

r e p r e s e n t i n g a bad r u l e r — j u s t as the b e l l a d v e r t i s e s i t s

c o n d i t i o n to the whole town, so the e r r o r s of a bad ruler

are apparent to everyone (ME,II,l74). Harsdflrffer*s f a -

v o u r i t e instrument f o r i n c l u s i o n i n " G l e i c h n i s s e " i s the

l u t e , and i n three of the p o e t i c examples given above, t h i s

instrument i s used. He a l s o employs i t i n v a r i o u s stages

of being strung to r e p r e s e n t the ages of man (FG,VIII,121-

124), and i t i s r e g u l a r l y seconded i n connection w i t h w o r l d l y

or heavenly harmony.

M u s i c a l instruments, t h e i r sound when they are played

p r o p e r l y , and t h e i r c o n s t i t u e n t p a r t s thus p r o v i d e a wealth

of m a t e r i a l f o r i n c l u s i o n i n p o e t i c works. The a s s o c i a t i o n

of instruments w i t h the C h r i s t i a n f a i t h i s p a r t i c u l a r l y

s t r o n g , and can very o f t e n be demonstrated even i f the poem

does not c o n t a i n any literal r e f e r e n c e to i t . T h i s asso-

c i a t i o n a p p l i e s r e g a r d l e s s of the work i n which such a poem

i s f o u n d - - i t i s as e v i d e n t i n the Frauenzimmer Gesprach-

s p i e l e and Mathematische Erquickstunden as i n the H e r t z -

bewegliche Sonntagsandachten. Although H a r s d f l r f f e r occa-

s i o n a l l y assumes a c e r t a i n amount of s p e c i a l i z e d knowledge

on the p a r t of h i s reader, t h i s i s r a r e . M u s i c a l poems of

the type d i s c u s s e d are t h e r e f o r e a c c e s s i b l e to the general

 106

reader, who will go away n o t only with examples o f how

musical s u b j e c t m a t t e r can be transformed i n t o p o e t i c works

of a r t , but also with suggestions for further "Gleichnisse,"

w h i c h he can then incorporate into h i s own poetry.

In the case of L a t i n poetry, the opportunities for

applying musical m a t e r i a l of a t e c h n i c a l nature are greater

than i n German (ME,II,144). As t h e word o r d e r in Latin can

be altered at w i l l , nouns and their attributive adjectives

can be arranged according to musical principles. If two

words i n a g r e e m e n t a r e p l a c e d n e x t to each other, they can

be seen i n terms o f the m u s i c a l interval of a second (tonus).

If another word i n t e r v e n e s , t h e interval then becomes a

third (ditonus). I f two words i n t e r v e n e , t h e interval is

a fourth (diatessaron) , * a n d so on. Harsdorffer explains

t h i s method by using a Latin poem f r o m a n o t h e r source (ME,II,

144; PT,10-11). He i s h i m s e l f , however, t h e author of nu-

merous L a t i n poems, and this technique can be a p p l i e d to

the first few lines taken from the explanatory verse of one

o f h i s emblems:

Harmoniam s a c r a m d i v e r s a haud M u s i c a c o g i t :
p e r f i c i t una f i d e s , q u i q u i d i n a r t e l a t e t .
Sola fides a r t i s resonat miracula rara: ^.
m o l l e m e l o s a c u i t murmure t e n s a f i d e s . . . .(FG,VIII, 694) .'

(Literal translation)

Different t y p e s o f m u s i c do n o t p r o d u c e s a c r e d harmony
One f a i t h completes whatever l i e s hidden i n a r t
 107

F a i t h alone echoes the r a r e m i r a c l e s o f a r t

F i r m f a i t h i n t e n s i f i e s s o f t song w i t h a murmur. . . .

In the f i r s t l i n e "Harmonium" and "sacram" b e l o n g together,

forming the i n t e r v a l o f a second, w h i l e " d i v e r s a " and "Musi-

ca" produce a t h i r d . In the f o l l o w i n g three lines, nouns

and their qualifying adjectives are placed next t o each

other, again representing the i n t e r v a l o f a second. The

first line c a n be shown v i s u a l l y as:

Harmoniam s a c r a m d i v e r s a haud M u s i c a cogit:

tonus ditonus

When o t h e r parts of speech are i n c l u d e d i n this system,

the number o f i n t e r v a l s possible increases. In the second

line, f o r instance, the i n t e r v a l o f a f o u r t h c a n be found:

perficit una f i d e s , quiquid i n arte latet

diatessaron

The i l l u s t r a t i o n i n t h i s emblem i s t h a t o f a monochord, i t s

single string stretched t i g h t l y over the bridges, with some

of the i n t e r v a l s marked. The " G l e i c h n i s s " i s then between

t h e monochord and t h e C h r i s t i a n faith. In t h i s Latin verse,

the combination i s extremely fitting, as t h e word "fides"

means n o t o n l y " f a i t h , " but also "string of a musical i n -

strument." The c o m p a r i s o n i s t h u s b a s e d on a word w i t h a

 108

double m e a n i n g , and t h e poem t a k e s the form o f an extended

pun.

Although H a r s d f l r f f e r nowhere s t a t e s t h a t he had musi-

cal intervals i n mind when w r i t i n g this poem, a p p l y i n g them

is n e v e r t h e l e s s a p p r o p r i a t e i n view o f the content. In the

first line, the two different intervals reflect the meaning

of " d i v e r s a . . . Musica," while i n the remaining lines,

the intervals o f a.second p r o d u c e d by the three occurrences

of "fides" and i t s adjectives exemplify the c o n s i s t e n c y of

genuine f a i t h . The s i n g l e word "sola" i n the third line,

moreover, can be r e a d as the h e x a c h o r d a l notes " s o l " and

"la," which a l s o r e p r e s e n t the interval of a second. The

phrase "sola fides" i s t h e r e f o r e packed with m u s i c a l meaning,

and i t was undoubtedly for this reason t h a t the wprdsvwere

chosen for inclusion i n t h e m o t t o o f t h e emblem: "Sola fides,

, • ... ,, (Faith alone, . , .
heic sola
n
sonati" ;_. ' . this alone resounds).
(The single string,

The use o f the p r i n c i p l e s of musical intervals t o com-

p o s e o r a p p r e c i a t e a poem c a n n o t be used successfully in

German, s a y s Harsdflrffer. "Wir Teutschen pflegen unsere

Wflrter n i c h t zu v e r s e t z e n / wie d i e L a t e i n e r / sondern suchen

die zierliche Lieblichkeit in leichtfliessender Ordnung/

und w o l s c h l i e s s e n d e r Reimung"(ME,II,144). Yet .this state-

ment does n o t exclude the p o s s i b i l i t y of using aspects of

the hexachord i n c o n n e c t i o n w i t h German p o e t r y . This can

 109

be done by r e v e r s i n g t h e method a p p l i e d by G u i d o i n devising

the system. Where G u i d o extracted syllables from a L a t i n

hymn t o be u s e d as t h e names o f n o t e s , H a r s d o r f f e r takes

these syllables, and t h e n f i n d s words w h i c h include them.

He t h e n p r e s e n t s them i n a m u s i c o - p o e t i c manner ( M R , 11,139) :

Example 5:

- re f a fa re

32:
n ci
Cf Wann uns n t a s e y das b e l w e r c k bethfl ° t

fa re re mi re

-° o—; © ©-
6 so s s t der ° bensafft v i e l ~ ichlich lde "den

re l a ut l a ut ut ut re

0 -g— a
Wann uns e den g en M vermeh t

Qso 1 la re la

4) €>- a o~
c h e n L u s t und F ud den S o r g e n s t befeden.

H a r s d f l r f f e r p r o v i d e s t h e names o f t h e n o t e s w h i c h are to

be r e a d i n c o n j u n c t i o n w i t h t h e words and p a r t s o f words

appearing underneath t o complete the sense. Where he p r e -

viously used e x a c t l y t h e same t e c h n i q u e as a memory d e v i c e

13
(above, p . 5 3 ) , i t i s u s e d h e r e p u r e l y f o r poetic purposes.

When w r i t t e n out i n f u l l , without r e c o u r s e t o n o t a t i o n , the

 110

poem runs:

Wann u n s r e f a n t a s e y d a s f a b e l w e r c k b e t h o r e t
so f a s s t d e r r e b e n s a f f t v i e l r e i c h l i c h m i l d e r e d e n
Wann u n s r e l a u t e l a u t den g u t e n Mut v e r m e h r e t
s o l l a c h e n L u s t und F r e u d den S o r g e n l a s t b e f e d e n .

In most c a s e s t h e names o f t h e n o t e s c a n be r e a d a s t h e y

stand—very little alteration i n pronunciation i s required

for example i n t h e words "unsre," "fantasey," "milde" o r

"guten." In other cases, the s y l l a b l e c o n t a i n s one p a r t

of a diphthong, and i t s p r o n u n c i a t i o n must be adapted:

"re-ichlich" becomes "reichlich," "Ij^utv becomes "laut,"

and F-re-ud" becomes "Freud." The method . i n these i n -

stances i s based on o r t h o g r a p h i c r a t h e r t h a n phonetic con-

siderations, and t h e r e a d e r m u s t be aware o f s u c h a use o f

t h e names o f n o t e s i f he i s t o r e c i t e t h e poem fluently.

Harsdfirffer g i v e s o t h e r examples o f h e x a c h o r d a l ter-

m i n o l o g y a p p l i e d i n t h i s manner (AA,9; M E , I I , 1 4 0 ) , b u t t h i s

is t h e o n l y one w h i c h he c l a i m s as h i s own i n v e n t i o n (ME,

11,139). From a m u s i c a l p o i n t o f view, the i n v e n t i o n can-

n o t be c o n s i d e r e d s u c c e s s f u l — t h e n o t e s are d i s c r e t e , the

leaps as a r e s u l t are unwieldy, and t h e m e l o d i c line, i f i t

can be c a l l e d such, i s r e p e t i t i v e and e r r a t i c . Harsdorffer's

intention here was n o t t o p r o v i d e a c h a r m i n g m e l o d y t o u n d e r -

s c o r e t h e m e a n i n g , o r t o p r o v i d e a theme f o r u s e i n a m u s i -

cal work, b u t t o draw t h e a r t s o f m u s i c and p o e t r y together

 Ill

in a s t u d i e d manner, and to present a means by which the

two c o u l d be associated. One method o f a p p r e c i a t i n g seven-

teenth-century poetry emerges h e r e , i n t h a t the reader,

seeking out hexachordal terminology or musical intervals

in a p o e t i c work w i l l discover connections between t h e two

arts. I t i s a method w h i c h i s b a s e d on the principle

that a l l things are interrelated, and the kind of evalu-

a t i o n which r e s u l t s i s one which d e s c r i b e s r a t h e r than ana-

l y z e s one a r t f o r m i n terms o f another.

Musical n o t a t i o n has a value for Harsdorffer other

than s u p p l y i n g syllables for inclusion i n poetry. It can

a l s o be u s e d as a guide to the pronunciation of German.

He d i v i d e s v o w e l sounds i n t o t h r e e main g r o u p s (FG,I,37 6 ) •

The first deals with the long vowels "aa," "ee," diphthongs,

as w e l l as "a, 6, ii," a l l of which are represented by a

whole n o t e . I f the vowel i s p r e c e d e d by "h," as in "Jahr"

or "mehr," i t i s s l i g h t l y shorter, and represented by a half

note, but i t is still considered long. The second category

consists o f v o w e l s w h i c h can be long or short: i n mono-

syllabic r o o t words, t h e vowel i s • long i n the case of "lieb"

(half note), and s h o r t as i n the case of "ehr" (quarter note),

but when p r e f i x e s o r s u f f i x e s are attached, they are always

long: " l i e b e n " and "verehrt." Short vowels (quarter notes)

are t o be f o u n d i n p r e f i x e s and suffixes, "er-," "ver-" or

"-en," and i n words s u c h as "Spiel" or "Zier" i n which the

 112

"e" f o l l o w i n g the "i" i s always s h o r t . The choice of only

three types of musical notes for this e x e r c i s e was probably

made i n i t i a l l y to agree w i t h the division of vowels into

three groups. Harsdorffer in fact o n l y u s e s "two names f o r

the v o w e l s — l o n g and s h o r t , and the representation of long

v o w e l s by both whole notes and half notes suggests a slight

difference i n pronunciation between s u c h words as "Meer"

(whole n o t e ) and "mehr" (half note).

In view of H a r s d f l r f f e r s 1
e m p h a s i s on the oral nature

of poetry, the q u e s t i o n of p r o n u n c i a t i o n becomes particu-

larly important. He is certainly aware o f the problems

c a u s e d by the v a r i o u s German d i a l e c t s , and notes that the

written language can reflect the p r o n u n c i a t i o n of the author:

"Der S c h l e s i e r s c h r e i b t / wie e r r e d e t / und reimet a £uj and

o wie H. Opitz S e l . w e i l e r K u n s t und sonst gleich ausspricht"

(PT,I,116). In t h i s particular i n s t a n c e , t h e words given

do not actually show t h a t O p i t z w r o t e as he s p o k e , as "sonst"

would o t h e r w i s e have been w r i t t e n "sunst." P r e c i s e examples

can be found i n Z e s e n ' s H o c h - D e u t s c h e r K e l i k o n , where Opitz

is taken to task f o r rhyming s u c h words as "brunnen" and

"sonnen." 1 4
Harsdorffer's point i s nevertheless clear,

and can be f u r t h e r demonstrated i n a general way by an ex-

tract f r o m a poem by Opitz:

D i e W e l t i s t n i c h t s a l s Traume d i e uns t r i e g e n /
D i s s s e h ' i c h nun n a c h dem m i c h G o t t e r w e c k t :
 113

I h r g a n t z e s t h u n i s t L i s t / B e t r u g und L i e g e n .
Das Auge s c h a f f t / d i e arrae S e e l e s t e c k t . . . .

Where O p i t z w r i t e s "triegen" and "Liegen," Harsdflrffer pre-

fers " t r t i g e n " and L t i g e n . " That Harsdflrffer perceives, that

"ie" and "ti" are pronounced differently in his dialect

is evident from h i s d e s c r i p t i o n o f t h e "e" i n " i e " as a

s h o r t vowel, and " t i " as a l o n g v o w e l . In p r a c t i c e , however,

he does rhyme t h e two: " b e t r t i b e n " and "lieben" appear as

rhyme words i n t h e c h o r u s o f nymphs i n S e e l e w i g (FG,IV,159).

In view o f the i n f l u e n c e of Opitz" work on H a r s d f l r f f e r , and

his subsequent exposure t o s u c h rhymes, t h e s e may have be-

come a c c e p t a b l e c u r r e n c y i n a p o e t i c context, despite the

implication t h a t he w o u l d not pronounce " t i " and "ie"in

ordinary discourse. In a d d i t i o n , Harsdflrffer notes that as

t h e German l a n g u a g e has n o t y e t become a p e r f e c t literary

medium, i n c o r r e c t rhymes o f t h i s t y p e must be a c c e p t e d f o r

the time b e i n g (FG,IV,120).

Harsdflrffer is rarely dogmatic about which dialect

is the c o r r e c t one: "Wir . . . l a s s e n es d i e M e i s n e r und

Schlesier ausfechten"(PT,III,7), he explains. H i s main con-

cern i s that t h e c o n t e n t be clear and articulately expressed,

r e g a r d l e s s o f the d i a l e c t (FG,I,373). N e v e r t h e l e s s , he does

refer t o " u n s e r e S p r a c h e wie s i e h e u t zu Tage i n Ober-

Teutschland gebrauchlich ist"(PT,III,8) as b e i n g t h e one to

aim for. The geographical range o f language d e f i n e d in this

 114

V7ay, however, i s so v a s t , and includes so many dialects

that Harsdflrffer's statement merely shows t h a t he personally

prefers the general tendencies and characteristics of South-

ern and M i d d l e German. The l e n g t h of vowels e x p l a i n e d in

terms o f m u s i c a l notation thus g i v e s some i n d i c a t i o n of

the pronunciation p r e f e r r e d by Harsdorffer.

When i t comes t o p r o v i d i n g instruction for writing

poetry, H a r s d f l r f f e r once a g a i n draws on m u s i c a l notation,

this t i m e as an a i d to d e s c r i b i n g various types of metre.

The b a s i c aim i n his choice o f any metre i s to represent

the natural pronunciation of t h e words (PT,I,18). It is

primarily in this area t h a t he takes the M e i s t e r s i n g e r to

task: "Sie beobachten a l l e i n die Anzahl der Sylben und den

Reimen; d a s s a b e r e i n e Sylben l a n g - d i e andere kurtzlautend

sey/ das gilt ihnen gleich viel"(FG,IV,57). Wrenched accents

or syllables left out or added a r e not part of Harsdflrffer's

method. The n a t u r a l rhythm o f t h e words comes f i r s t , and

this determines the choice of metre.

Although Harsdflrffer s 1
avowed i n t e n t i o n i n i n c l u d i n g

musical notation i n a d i s c u s s i o n of p o e t i c metre i s a l s o to

show " d i e Hflhe und Tieffe/ oder steigende und fallende

Endung"(PT,I,51), a d d i t i o n a l explanatory factors implicit

in the notation can be identified w h i c h have v a r y i n g degrees

of success when a p p l i e d t o t h e spoken language.

Different notes are chosen to i n d i c a t e the various types

 115

of m e t r i c a l foot. The t r o c h e e i s r e p r e s e n t e d by t h e b r e v e

and w h o l e n o t e (PT,I,52-53):

Example 6:

The same n o t e s a p p e a r i n t h e c a s e o f t h e iamb (FT,I,56-57]

Example 7:

° m l° Nt

Dactyls receive one w h o l e n o t e and two h a l f notes (PT,I,60-61)

Example 8:

fl —
1 ° c cy o c <J

while anapaests a r e r e p r e s e n t e d by two h a l f notes and one

whole note (PT,I,62-63):

Example 9:

• II i A
—s- /••> ch i 1
o
,\Y v v v d
K

The a l t o c l e f i s used f o r t h e iamb, t r o c h e e and dactyl,

and the r e l a t i v e p i t c h o f t h e n o t e s c a n t h e r e f o r e be d e t e r -

mined: i n d i s y l l a b i c f e e t t h e n o t e s a r e c and b, i n t h e
l
 116

trisyllabic dactyl t h e y a r e c' b b , a l l r e p r e s e n t i n g t h e

interval o f a semitone. F o r the anapaest, the mezzo-soprano

clef i s chosen, and where t h e p i t c h does vary, the notes

d'd'e' a p p e a r , p r o d u c i n g t h e i n t e r v a l o f a tone. Elsewhere

Harsdflrffer broadens t h e scope o f i n t o n a t i o n o f the ana-

paest (PT,I,64) :

Example 10:

32
-F=F

The n o t e s here range from d t o f , p r o d u c i n g a range o f

one and a h a l f tones. I n t h e same example g i v e n elsewhere,

the mezzo-soprano clef i s r e p l a c e d by t h e s o p r a n o clef

(PT,I,71; 1650 edition):

Example 11:

e — J J c)
E

resulting i n a r a n g e o f two t o n e s ( f ' t o a) .

1
The p o s s i b i l i -

ties of varying intonation thus extend from a semitone t o

two tones.

The fact that different clefs a r e chosen f o r t h e same

example o f t h e a n a p a e s t i n two d i f f e r e n t editions o f the

Poetischer Trichter, and t h e f a c t t h a t no c l e f s at a l l are

u s e d f o r t h e iamb a n d t r o c h e e i n t h e 1650 e d i t i o n , suggest

 117

either t h a t the p r i n t i n g and proof-reading processes were

inadequate, and a c l e f was intended—probably the a l t o clef

as i t predominates; o r , w h i c h i s more l i k e l y , that the

clefs are u l t i m a t e l y s u p e r f l u o u s , b u t were i n c l u d e d f o r

reasons of musical appearance. I t w o u l d t h e r e f o r e seem

that the v a r i a t i o n s i n range brought a b o u t by the incon-

sistent use of c l e f s , especially i n the case of the anapaest,

are p u r e l y accidental.

The q u e s t i o n of the r e l a t i o n s h i p between t h e p i t c h of

a note, i n t o n a t i o n and the stress of a s y l l a b l e poses a

certain problem. No fixed rule emerges f r o m the examples

given, f o r i n the i n s t a n c e o f the trochee, dactyl and ana-

paest, the stressed syllable i s r e p r e s e n t e d by the higher

or h i g h e s t note, while i n the iambic foot the s t r e s s e d

syllable i s i n d i c a t e d by the lower note. The same occurs

in an earlier example o f t h e iamb (PT,I,18). Harsdflrffer s 1

intention seems t o be t o r e p r e s e n t the stressed syllable by

a higher pitch i n a l l metres but the iambic. Yet reciting

a poem w i t h such a regularly alternating intonational pat-

t e r n becomes t e d i o u s : t h e trochaic " I n den g r u n l i c h f a l b e n

Matten"(FG,VIII,334), f o r example, w o u l d be up-down-up-

down-up-down-up-down, and the iambic meter would produce

the same p a t t e r n w i t h the emphasis on the "down" e l e m e n t .

The resulting see-saw e f f e c t does n o t n e a r l y a p p r o a c h the

intonation used i n n a t u r a l speech which H a r s d f l r f f e r was

 118

aiming for. Clearly t h e r e c a n b e no real relationship be-

tween t h e p i t c h of the notes given and the syllable stress

f r o m an intonational point of view. The association is

rather i n terms o f p i t c h and forcefulness d e p e n d i n g on the

type of m e t r e — t h e higher the note i n a t r o c h a i c , dactylic

or anapaestic foot, the more f o r c e f u l l y t h e syllable is

t o be uttered. In iambic metre, forcefulness is indicated

by the lower p i t c h . If a stressed or unstressed s y l l a b l e

is d e t e r m i n e d by i t s degree of forcefulness, then the pitch

of the n o t e s as g i v e n by H a r s d f l r f f e r cannot d e s c r i b e this

aspect in a literal way. Musical pitch in this connection

becomes a m e t a p h o r f o r s y l l a b i c stress.

That v a r y i n g note v a l u e s are used i n conjunction with

poetic metre suggests initially that these also reflect the

length of the vowel of a stressed or unstressed s y l l a b l e .

This i s one area of consistency in Harsdorffer's use of nota-

tion, as the stressed s y l l a b l e s i n a l l examples g i v e n above

are r e p r e s e n t e d by notes of longer duration than those for

unstressed syllables. It quickly becomes a p p a r e n t , however,

that the r e l a t i o n s h i p between t h e length of a n o t e and the

length of a vowel i s not as i t first appears. To demon-; .

strate the trochaic metre H a r s d f l r f f e r i n c l u d e s the lines:

"Weh und Ach/ dienet leider nicht zur Sach"(PT,I,54), in

which the word "nicht" with i t s short vowel is stressed

(long note). E l s e w h e r e he writes: " S o l t m i c h das nicht

recht betruben . . . " ( F G , I V , 1 2 1 ) , where t h e same word i s

in an u n s t r e s s e d p o s i t i o n (short note). An example o f

the iambic m e t r e shows t h e same d i s c r e p a n c y between s t r e s s

» *•» — *-*
and length o f vowel: " E r kommt n i c h t wiederum z u s e i n e n

jungen Tagen"(PT,I,57-58). The s h o r t v o w e l i n "kommt" i s

stressed (long note), while t h e long vowel i n "zu" i s un-

stressed (short note). The l e n g t h o f a n o t e i s t h e n d e -

cidedly no r e f l e c t i o n o f t h e l e n g t h o f the vowel. When

dealing with normal d i s c o u r s e , H a r s d f l r f f e r does u s e m u s i c a l

notation to indicate relative vowel lengths, but h i s r e -

marks i n t h a t a r e a no l o n g e r apply i n a poetic context.

A difficulty a r i s e s i f the musical rhythms a r e s e e n t o

represent t h e n a t u r a l rhythm o f t h e words. As t h e i a m b i c

and trochaic f o o t e a c h have two s y l l a b l e s , the expected

rhythm i s d u p l e . Y e t H a r s d f l r f f e r u s e s a b r e v e and whole

note f o r each o f these f e e t , the r e s u l t being an u n d e r -

lying triple rhythm—a breve plus a whole n o t e equals

t h r e e whole n o t e s . Similarly, i n those feet containing

three syllables, a rhythm o f f o u r m u s i c a l beats i s given.

If the musical beat i s to p r e v a i l , then the s t r e s s e d syl-

l a b l e s must be t w i c e the length of the unstressed syllables,

w h i c h means t h a t s h o r t v o w e l s i n a s t r e s s e d p o s i t i o n become

long, and l o n g v o w e l s i n an u n s t r e s s e d p o s i t i o n become short.

Yet i t has a l r e a d y been shown t h a t vowel l e n g t h and s t r e s s

are unconnected. The r h y t h m s u g g e s t e d by t h e n o t e s t h e r e f o r e

 120

i l 3 i x
c a n n o t be taken literally. I t i s not " I - n den grun-

l i c h f a - l b e n Ma-tten," but " I n den grunlichfalben Matten;"

H \ 1 3 * i x 3 4- i a . 3
not "Die Wa-ffen v e r r o - s t e n w i r k o - s t e n , " ( P T , I , 6 2 ) , b u t
3 ' 2- 3 • a. 3 i j,

"Die Waffen v e r r o s t e n w i r k o s t e n . " The element of length

in a m u s i c a l note thus p r o v i d e s a n o t h e r metaphor f o r syl-

labic stress.

A final f e a t u r e of n o t a t i o n which explains an aspect

of p o e t i c metre i s the literal length of notes a p p l i e d to

the d i f f e r e n t metres to indicate the speeds a t which va-

,rious types of f e e t a r e t o be spoken in relation to each

other. I f t h e n o t e v a l u e s g i v e n by H a r s d f l r f f e r a r e reduced

by a half f o r ease i n reading, the f o l l o w i n g relationships

between t h e f o u r m e t r e s emerge:

Beat i n o j i 2 3 4 5 6
Beat in J 1 2 3 4 5 6 1 2 3 4 5 6

Iamb d o d o

Trochee ° J O d

Dactyl J J J J JJJ IJ
Anapaest

The time required to u t t e r two f e e t of a d i s y l l a b i c metre

is t h e same as t h a t f o r three feet of a t r i s y l l a b i c metre.

The ratio between t h e two t y p e s o f m e t r e i-s t h e n 2:3. In

the second two examples o f t h e n o t a t e d a n a p a e s t , however,

(Examples 10 and 11), notes are used which are h a l f the

 121

value of those i n the first example (Example 9 ) . If these

are compared to a d i s y l l a b i c f o o t , the proportion becomes

1:3:

1 2 3

Iamb d °

Anapaest J /"J J J"J J (Notation r e d u c e d by half) .

With such v a r i a t i o n i n proportions i t i s u n l i k e l y that they

should be taken literally. M o r e o v e r , as note v a l u e s have

been shown t o be unconnected t o the length of a syllable,

the m u s i c a l proportions can have no direct bearing on

spoken v e r s e . Nevertheless, in practical p o e t i c terms they

do i n d i c a t e i n a general way that a verse of iambic or tro-

c h a i c m e t r e i s s p o k e n more s l o w l y than t h a t of dactylic

or anapaestic metre. This is particularly appropriate, as

disyllabic metre, e s p e c i a l l y the trochee,is suitable for

melancholy subject matter (PT,I,52), while trisyllabic metre

is t o be used for joyful themes (PT,1,63).

The musical n o t a t i o n c h o s e n by Harsdorffer i s thus not

16

very satisfactory f o r e x p l a i n i n g p o e t i c metre. Neither-the

pitch nor the note values describe i n any p r e c i s e way the

stress, rhythm o r i n t o n a t i o n o f spoken v e r s e . Furthermore,

Harsdorffer's c l a i m t h a t he himself was u s i n g notes to

indicate the "Hohe und Tieffe/ oder steigende und fallende

Endung," i s n o t demonstrated c o n s i s t e n t l y i n the examples

 122

he g i v e s , as the strong ending of the iambic foot f a l l s on

the lower p i t c h e d note of the series (Example 7 ) , while

the same e n d i n g of the anapaestic foot f a l l s on the higher

note (Example 9). This apparent inconsistency results from

the assumption that Harsdflrffer intended s t r o n g and weak

endings t o be shown by the p i t c h of the n o t e s . I f they are

i n d i c a t e d by the note v a l u e s , then he i s consistent, for

stressed syllables are always r e p r e s e n t e d by the longer or

l o n g e s t note of the series.

The v a r i o u s p r o b l e m s b r o u g h t a b o u t by a s s o c i a t i n g

note v a l u e s w i t h m e t r i c a l s t r e s s can be e x p l a i n e d by the

persistence of imprecise prosodic terminology. In Latin

poetry the system of v e r s i f i c a t i o n depends on the length

of time r e q u i r e d to u t t e r a s y l l a b l e — i t i s quantative, and

the terms " l o n g " and "short" accurately describe this fea-

ture. German v e r s e , on the:other hand, i s a c c e n t u a l - s y l l a b i c .

The determining factor i s the s t r e s s of syllables, not their

17

length. T.he use o f t h e words " l o n g " and "short" to ex-

plain a c c e n t u a l - s y l l a b i c verse i s t h e r e f o r e not p r e c i s e .

Opitz had been f u l l y aware o f t h i s : "Nachmals i s t a u c h

ein jeder verss entweder e i n iambicus oder t r o c h a i c u s ;

nicht das wir a u f f a r t der griechen vnnd lateiner eine ge-

wisse grflsse der s y l b e n kflnnen i n n a c h t nemen; s o n d e r n das

wir an den accenten unnd dem thone erkennen/ welche s y l b e

18
h o c h und welche n i e d r i g g e s e t z t s o l i werden" In the
 123

r e m a i n d e r o f h i s d i s c u s s i o n , he employs t h e words "hoch"

and "niedrig" to describe s t r e s s e d and u n s t r e s s e d syllables.

B u c h n e r a l s o made a s t a t e m e n t on t h e s u b j e c t : "Die S y l l b e n

sind entweder lang oder k u r t z : welche ihre Beschaffenheit

i n u n s e r P o e t e r e y b l o s s und a l l e i n aus d e r A u s r e d e und dem

19

Thone zu e r m e s s e n . " Harsdflrffer also recognized the prob-

lem, f o r he n o t e s that syllables i n verse are "lang oder

kurtz ( a c c e n t u ) " ( M E , 1 1 , 1 4 5 ) , where t h e terms d e n o t i n g length

actually imply syllabic stress. I n a d d i t i o n , he s t a t e s that

a l t h o u g h vowels a r e c a l l e d " b r e v e s " and " l o n g a e " they should

in fact be c a l l e d " c l a r a e " and " o b s c u r a e " ( S P , 1 3 6 ) . His-view

of t h e a s s o c i a t i o n between L a t i n and German v e r s i f i c a t i o n i n

general i s i n c o n t r o v e r t i b l e : "Die j e n i g e n / s o v e r m e i n e n / man

musse d i e t e u t s c h P o e t e r e y n a c h dem L a t e i n i s c h e n r i c h t e n /
20

sind auf e i n e r gantz irrigen Meinung"(PT,I,17). In addi-

tion, he f o l l o w s O p i t z and Buchner i n drawing a t t e n t i o n t o

the accentual n a t u r e o f t h e German l a n g u a g e by c l a s s i f y i n g

words a c c o r d i n g to their stress (PT,I,18-26). He n e v e r t h e -

less r e t a i n s terminology b a s e d on c o n s i d e r a t i o n s of length,

and u s e s words f r o m t h i s terminology to describe metres used

i n German.poetry: "langkurtz" (trochaic); "kurtzlang" (iam-

bic) ; "langgekurtzt" (dactylic); "gekurtztlang" (anapaestic);

"doppellang" (spondaic), and " d o p p e l k u r t z " (pyrrhic) (PT,I,

50) .
When a p p l y i n g musical notation t o p o e t i c m e t r e , Hars-?
 124

dorffer takes the concept of length literally, and he '

chooses different note v a l u e s to i n d i c a t e stressed and un-

stressed syllables. The words "Hohe" and "Tieffe;" almost

certainly b a s e d on O p i t z ' "hoch" and "niedrig," are also

taken literally, and a r e r e p r e s e n t e d as n o t e s a t different

pitches. A l t h o u g h t h e r e l a t i o n s h i p between p o e t i c metre

and m u s i c a l n o t a t i o n i s somewhat t e n u o u s when s u b j e c t e d to

detailed scrutiny, f o r Harsdflrffer, the a s s o c i a t i o n i s based

on t h e m e a n i n g o f t e c h n i c a l terms originating from a quanta-

tive system o f v e r s i f i c a t i o n ( " l o n g " and "short"), and on

the m e a n i n g o f words w h i c h attempt to describe syllabic

stress '( "Hflhe" .and " T i e f f e " ) . He u s e s n o t e v a l u e s and pitch

to e x p r e s s t h e s e n s e o f t h e s e w o r d s , a l t h o u g h he i s aware

that t h e ones w h i c h signify length a r e n o t t o be taken a t

f a c e v a l u e when u s e d i n a p u r e l y p r o s o d i c context. His

application of notation t o metre nevertheless illustrates

that c o n n e c t i o n s c a n be f o u n d between t h e a r t s o f music and

poetry.

Overall, musical material plays a significant part i n

Harsdflrffer s poetry.
1
Musical s u b j e c t matter i s used i n

an o r n a m e n t a l manner t o f o r m "Gleichnisse," thereby teaching

various lessons i n a p l e a s i n g manner. The technical aspects

of music p r o v i d e a means o f d r a w i n g p a r a l l e l s between t h e

two arts: intervals, h e x a c h o r d a l t e r m i n o l o g y and notation

in d i f f e r e n t ways a r e a l l i n t e n d e d t o d e m o n s t r a t e the rela-

 125

t i o n s h i p between music and p o e t r y . Music i s thus a source

which H a r s d O r f f e r draws on t o e m b e l l i s h and d e s c r i b e f e a -

t u r e s of h i s a r t .
 126

B. Poetry and Music

Harsdflrffer s 1
view of the relationship between words

and music i n song i s clear: "Es solten es . . . die unver-

nunfftigen Vflgelein den vernunfftigen Menschen weit bevor

thun/ wann nicht wolvernehmliche Verse und Wflrter/ mit

der lieblichen Stimme verbunden wurden/ der Ton ohne rede

ist nicht zu v e r s t e h e n / und gleichet einer frembden Sprache/

die wir nicht erlernet haben"(ME,11,131). Words are there-

fore necessary for translating this arcane foreign language

into a comprehensible system of sounds, and Harsdflrffer

becomes the translator by providing the words.

In writing the words either to an existing melody or

to be s e t to music, the poet must follow certain rules which

differ i n some respects from those used in writing verse

which i s not intended f o r a musical setting. The first

factor which i s t o be taken into consideration i s the length

of verses. Harsdflrffer prefers to use short verses, inclu-

ding sonnets, "weil sich die kurtzen Verse viel besser zu

singen schicken als die langen"(FG,IV,158). Furthermore,

in a discussion of the translation of foreign songs into

German, he justifies obvious omissions by the fact that i t

is done "nach der kurtzen Art Teutscher Gesanger"(FG,II,

21
337) . 1
 127

The second factor t o be c o n s i d e r e d i s which o f the

p o e t i c m e t r e s a r e t o be u s e d i n g e n e r a l , and w h i c h ones c a n

be m i x e d i n t h e same s o n g . The most s u i t a b l e i s the t r o -

chaic tetrameter (PT,I,54 and 7 0 ) , t h e i m p l i c a t i o n s b e i n g

that shorter trochaic lines are not acceptable f o r poetry.

The use o f o t h e r metres i n song i s n o t e x c l u d e d . I f metres

are t o be m i x e d i n p o e t r y , the general rule i s t o u s e iambs

and a n a p a e s t s t o g e t h e r on t h e one hand, t r o c h e e s and d a c -

tyls on t h e o t h e r (PT,I,71). I n s o n g s , more leeway i s p o s -

s i b l e : m e t r i c a l v a r i a t i o n s w i t h i n a poem "kflnnen u n z e h l i c h

a u s g e d a c h t werden/ haben a b e r / ausser dem Gesang w e n i g L i e b -

lichkeit"(PT,I,76). Nevertheless, Harsdfirffer insists that

using iambs and t r o c h e e s i n t h e same v e r s e o f a s o n g i s an

22

" A b s c h r i t t v o n den Lehr-Satz." (PT, I I I , 96) . To d e m o n s t r a t e t h e

"Abschritt," he q u o t e s p a r t o f a song by R i s t w h i c h includes

lines o f iambic and t r o c h a i c m e t r e . ,He f o l l o w s t h i s b y t h e

statement: " D i e s e s , wenn es den N o t e n z u L i e b e geschihet/

kan f u r keinen Fehler gehalten werden"(PT,III,97). The

actual y a r d s t i c k i s n o t s o much w h e t h e r t h e p o e t i c rules

have b e e n f o l l o w e d , b u t w h e t h e r t h e m u s i c a l rhythm h a s b e e n

taken into account. The i n d i c a t i o n s here are t h a t the poet

who w r i t e s songs r a t h e r than verse t o be r e a d o r r e c i t e d

has t o take into consideration other musical factors which

may o c c a s i o n a l l y r e s u l t i n a neglect of the p o e t i c rules.

When w r i t i n g words t o an e x i s t i n g melody, t h e p o e t

 12

must be aware o f t h e general tone of the m u s i c — t h e words

must r e f l e c t t h e mood, w h e t h e r gay or melancholy (PT,III,

9 3 - 9 4 ) , as w e l l as e x p r e s s i n g t h e meaning o f t h e melodic

line. When t h e n o t e s ascend or descend, phrases such as

" I h r hohen B e r g e " o r "Ihr t i e f e n Thaler" w i l l combine the

meaning o f the t e x t and the music (PT,III,94). Harsdflrffer

is just as aware o f t h e n e e d for this a s s o c i a t i o n as Herbst.

The two agree i n a d d i t i o n , t h a t the p u n c t u a t i o n of a text

23

must c o r r e s p o n d with the cadences i n music (PT,III,94).

The f u n c t i o n of punctuation for Harsdflrffer i s to d i v i d e

grammatical e l e m e n t s i n a r e g u l a r and ordered manner t o make

the p r o g r e s s i o n o f meaning c l e a r . It is incorrect, he sug-

gests, to p l a c e the direct o b j e c t a t the b e g i n n i n g of the

first line o f a s o n g , and the s u b j e c t i n the third line

when a c a d e n c e i n t e r v e n e s (PT,III,95), otherwise the meaning

will be lost (PT,I,105). This i s part of h i s general view

that t h e word o r d e r o f v e r s e should not d i f f e r substantially

from t h a t o f prose (PT,1,106).

If a composition c o n s i s t s o f a number o f v e r s e s sung

to the same m e l o d y , t h e n a l l these f a c t o r s must be taken

into c o n s i d e r a t i o n i n every verse. I f t h e work i s through-

composed, t h e m e a n i n g o f t h e words i s s t i l l to r e f l e c t the

movement o f t h e m e l o d i c line (PT,III,94). Harsdflrffer then

has a definite s y s t e m t o be f o l l o w e d when w r i t i n g s o n g s to

be s e t t o an existing tune, and although much o f i t i s

 129

drawn f r o m t h e I t a l i a n tradition, a s he h i m s e l f admits,''" 1

it does provide a convenient c o d i f i c a t i o n o f those features

considered i m p o r t a n t b y a German p o e t .

Whether H a r s d o r f f e r f o l l o w s h i s system i n practice

c a n be a s c e r t a i n e d b y a n a l y z i n g a song from the H e r t z -

bewegliche Sonntagsandachten, a work w h i c h i n c l u d e s many

t e x t s which a r e t o be s u n g t o well-known melodies. The

verses chosen a r e f r o m t h e " L i e b s G e s a n g Der GOTT ergebenen

S e e l e bey d e r V o g e l Gesang:"

E r h e b e d i c h f l u c h t i g e Stimm/
s t e i g Wolken a n / s c h w i n g e d i c h / klimm
und h i l f f e den V o g e l e i n s i n g e n /
die l i e b l i c h e n L i e d e r gemein/
und h o r e d i e P s a l t e r l e i n k l i n g e n /
h a l t f l e i s s i g m i t i h n e n auch e i n !
Mit k u n s t l i c h gemischetem Chor/
s c h w i n g t e i n e r l e y M u s i c empor!

Der N a c h t i g a l l k r a u s s l i c h t e r K l a n g
t i r i l i r e t das r e i n s t e Gesang/
sie f a l l e t auf l i e b l i c h e Tertzen/
und s c h l u r f f e l t dem B a c h l e i n n a c h :
s i e l i s p e l t und w i s p e l t z u s c h e r t z e n /
dess reimenden G e g e n h a l l s Sprach/
und s i n g e t im hflherem C h o r /
den a n d e r e n V f l g e l e i n v o r . . . .(HS,II,234-35)

From a p u r e l y literary p o i n t o f view, a number o f

features stand out. Metrically, the dactyl predominates,

and t h e r e i s an a n a c r u s i s a t the b e g i n n i n g o f each line, with

the single exception of " t i r i l i r e t " i n v e r s e two, l i n e two.

A stressed monosyllable or trochaic f o o t appears a t t h e end

 130

of each line. A trochaic foot a l s o occurs i n the fourth

line o f v e r s e two ("Bachlein"). The mixing of d a c t y l s and

trochees i s recommended in Harsdflrffer s 1

theoretical state-

ments, as i s t h e u s e of the d a c t y l to express joyful subject

matter. M o r e o v e r , t h e word "fluchtige" (verse-one, liner

one), reflects i n i t s m e t r e and m e a n i n g t h e s p e e d of the

26

dactyl. I n v e r s e one, line seven, however, t h e word

"gemischetem" goes a g a i n s t one o f H a r s d f l r f f e r ' s main rules,

which s t a t e s that the letter "e" must n o t be added m e r e l y to

fill out the metre (PT,I,105). Both v e r s e s c o n s i s t of four

c o u p l e t s , w i t h t h e rhyme scheme AA BC BC DD, and the rhymes

in the last two lines of each v e r s e are based on t h e word

"Chor," implying a recurrent refrain. The preponderance

of a l l i t e r a t i o n , assonance, internal rhyme, onomatopoeia

27

and f r o n t vowels i s a hallmark of H a r s d o r f f e r ' s s t y l e .

The combination of these f e a t u r e s produces a typical example

of some o f t h e t e c h n i q u e s u s e d by H a r s d & r f f e r i n p o e t r y .

The motives behind h i s choice of metre, structure,

acoustic elements and m e a n i n g c a n t o some e x t e n t be ex-

plained by the music f o r w h i c h t h e words were w r i t t e n . The

rhythm o f t h e v e r s e s r e a d w i t h o u t refering t o the notes,

however, does n o t i m m e d i a t e l y suggest that the melody t o :

28
w h i c h t h e y a r e t o be sung i s that of "In D u l c i J u b i l o : "
 131

Example 12:

The dominant rhythm i n t h i s melody i s one l o n g n o t e fol-

lowed by a n o t e o f h a l f the length, , t h e same p r o -

portion Harsdflrffer uses i n h i s t h e o r e t i c a l statements t o

describe the t r o c h a i c metre. F o r t h e p u r p o s e s -of t h i s

s o n g he h a s t a k e n t h e u n d e r l y i n g triple rhythm o f t h e music

29

and t r a n s l a t e d i t into a predominantly d a c t y l i c metre.

The b a s i c melody therefore r e q u i r e s some a l t e r a t i o n i f

Harsdflrffer's words a r e t o be sung f l u e n t l y w i t h o u t any

disturbance o f the m e t r i c a l r h y t h m o f t h e poem:

 13 2

Example 13:

Er - he - be dich fInch
Loch - tt ii - ge S t i - - mm/
W
steig
1

Der Nach-ti-gall k r a u s s - l i c h - t e r Kla - - - -ng ti-ri-

i
1 r rf 1f
- w
i
1

— h
Wo1-ken an/ schwing-e dich k l i - - - — mm und h i l f f - e den
l i - r e t das r e i n - ste Ge - sa - ng/ sie f a l - l e t auf

-p- t IC fS

Vo - g e - l e i n s i- - - - gen/ d i e l i e b - l i c h - en Lie-der ge-

lieb-lich-e Ter - -tzen/ und s c h l u r - f e l t dem Ba - - - c h l e i n
4
—»—f—-— r* t
0 -el J —
mei - - n/ und ho-re d i e P s a l t - er - l e i n k l i - ngen/ h a l t
na - - — -ch: s i e l i s p - e l t und wis-pelt zu s c h e — r t z e n / dess
Q

f f
f l e i s s - i g mit i h - nen auch e i - - - - n! M i t ktinst-lich ge-
rei-men-den Ge-gen-halls Spra ch/ und sing-et l i m
/TV
i — i — 1 k 1

1*— —i r
f r f
mf mT mt
\ jj J -€ * $ 41 -«U
misch-e -tern Cho - - r / schwingt ei-ner-ley Mu-sic em - por!
hfl - he - rem Cho r/ den an-der - en Vo-ge-lein vor.

•In t h e words t o -this-song- H a r s d f l r f f e r has n o t - f o l l o w e d t h e

notes o f the o r i g i n a l - l i t e r a l l y , although the t r o c h a i c

"Bachlein" i n verse two, l i n e f o u r - d o e s r e f 1-e.ct t h e original

notation, and may have been c h o s e n b e c a u s e H a r s d f l r f f e r had

this basic rhythmic u n i t to contend with. In contrast,

 133

the m e t r i c a l d a c t y l r a t h e r than the musical notation i s

behind t h e word "gemischetem" i n t h e p e n u l t i m a t e l i n e of

the first verse. In these cases, the o r i g i n a l notation pre-

vails on t h e one hand, t h e metre on t h e o t h e r . Harsdflrf-

fer otherwise a p p l i e s h i s chosen metre a c c o r d i n g to h i s

own standards.

The punctuation and g r a m m a t i c a l structure correspond

closely to the musical s t r u c t u r e , AA BC BC DE. The virgula,

exclamation mark o r s e m i - c o l o n a r e used a t a l l cadence

points except a t t h e end o f t h e f i r s t line of the second

verse. In t h i s particular i n s t a n c e t h e meaning i s c a r r i e d

on into the second line—the two l i n e s f o r m one main clause,

and from a grammatical p o i n t o f v i e w no p u n c t u a t i o n i s neces-

sary. From a m u s i c - p o e t i c p o i n t o f v i e w , however, t h e v i r -

gula should appear here, as i t does i n o t h e r instances i n

which a main c l a u s e takes up two l i n e s ( v e r s e one, lines

three and f o u r ; v e r s e two, l i n e s five and s i x , s e v e n and

eight). As t h e p u n c t u a t i o n i n the remaining verses i s

somewhat e r r a t i c , owing t o i n c o n c s i s t e n c y e i t h e r on t h e

p a r t of; H a r s d f l r f f e r o r h i s p r i n t e r , a c t u a l u s a g e i n t h e song

c a n n o t u l t i m a t e l y be u s e d t o d e m o n s t r a t e w h e t h e r t h e p r i n -

ted version i n fact reflects Harsdflrffer s 1

real intention

or not. The g r a m m a t i c a l structure nevertheless consists

primarily of a concatenation of one-line or two-line main

clauses, t h e l a t t e r n e v e r c r o s s i n g f r o m one c o u p l e t into

 134

the next. The a d v e r b i a l p h r a s e m a k i n g up the penultimate

line of verse one i s the only example o f a l i n e w h i c h i s

n o t made up o f p a r t o f , o r a c o m p l e t e , main c l a u s e , b u t i t

too forms a c o u p l e t w i t h the main c l a u s e t o w h i c h i t be-

longs. The division of the verses into four couplets, each

of w h i c h c o n t a i n s , one o r two u n i t s o f meaning r e f l e c t s the

musical structure. Harsdfirffer has t h e r e f o r e adhered to h i s

own rule r e q u i r i n g t h a t t h e m e a n i n g o f t h e words s e t t o a

g i v e n melody s h o u l d unfold i n short sections according to

the m u s i c a l cadences.

The repetitions i n the melody are a t times matched

by the language, p a r t i c u l a r l y i n the m u s i c a l B sections

which correspond to lines three and five o f the verses.

In v e r s e one these lines begin with "und hilffe den ..."

and "und hflre d i e ..." producing an identical first word,

and parallel a l l i t e r a t i o n of "h" and "d." In the second

verse, the same word, " s i e " appears a t the beginning of

lines three and f i v e , b u t more i m p o r t a n t here i s the meaning

of t h e words "lispelt" and " w i s p e l t , " and the reference to

the echo i n l i n e six. As lines five and s i x are a musical

repeat of lines three and f o u r , the indication from the

meaning of these words i s t h a t t h e y should be sung more

softly, as i f t h e y were an echo. Musical dynamics are there-

fore implicit i n the meaning.

In five of the lines g i v e n , words i n d i c a t i n g ascent or

 135

descent are used, and i n a l l c a s e s b u t one, they corres-

pond t o t h e same f e a t u r e s i n t h e m e l o d i c line. The words

"Erhebe" and "steig" a t the b e g i n n i n g o f the f i r s t two lines

of the f i r s t verse prepare t h e way f o r the r i s i n g melodic

line, and t h e word "hflherem" i n t h e p e n u l t i m a t e line of

verse two m i r r o r s the same. In the t h i r d line of verse two

t h e word "fallet" reflects the descending line o f the melody,

while t h e word "Tertzen" i s a c t u a l l y s e t to the interval

of a falling third. In the last line o f the f i r s t verse,

the meaning o f "schwingt . . . empor" i n d i c a t e s ascent, but

the melody f a l l s . H a r s d f l r f f e r does n o t s t a t e i f a special

c a s e c a n be made f o r t h e last line o f a v e r s e , and i t would

therefore appear t h a t he has not f o l l o w e d h i s own direc-

tions. Furthermore, his idea that the meaning s h o u l d r e -

flect t h e movement o f t h e n o t e s i n t h e same way i n every

verse i s not put into practice here. It i s possible that

the limitations o f t h e m e l o d y - - i t i s s h o r t and repetitive—

place t o o many s t r i c t u r e s on the poet, and H a r s d O r f f e r s 1

theoretical requirements t h e r e f o r e cannot be applied effec-

tively. I n g e n e r a l , however, H a r s d o r f f e r was certainly i n -

f l u e n c e d by the melody i n h i s c h o i c e o f p o e t i c elements for

this song.

Very l i t t l e actual n o t a t i o n appears i n the Hertzbe-

wegliche Sonntagsandachten, but the melodies of those verses

w h i c h a r e t o be sung a r e a l w a y s indicated. Harsdflrffer provides

this i n f o r m a t i o n by u s i n g t h e p h r a s e s "Im Ton . . . " o r

"Nach d e r Stimme. . . . " On o c c a s i o n , he m e n t i o n s t h e

specific s o u r c e , as when he r e f e r s t o s e t t i n g s o f hymns

by A m b r o s i u s Lobwasser (HS,1, 181,253) . At other times, the

tune i s i n d i c a t e d as " I n s e i n e m e i g n e n Ton"(HS,I,213) o r

"In seinem bekannten T o n " ( H S , I I , 2 2 7 ) , where t h e t i t l e or

first line i s t h e same as t h e o r i g i n a l . A l t h o u g h , as has

been shown, t h e e x i s t i n g melody dictates a s p e c t s o f form,

style and meaning, the content of the o r i g i n a l song i s n o t

necessarily as b i n d i n g , f o r i n some c a s e s t h e r e l i g i o u s

subject matter of Harsdfirffer's verses i s t o be sung t o

s e c u l a r m e l o d i e s : a " K l a g und T r o s t l i e d " i s t o be sung t o

the t u n e o f "Wo i s t mein schflne S c h a f e r i n hinkommen"(HS,I,

68); the "Absaglied der Welt d e r grossen Sunderin M a r i a

Magdalena" i s t o be sung t o "Habt i h rnicht hflren k l a g e n /

ein S c h a f e r an dem R h e i n " ( H S , I , 2 8 4 ) ; and a " T r a u r l i e d " i s

also s e t t o t h i s melody (HS,II,327). By f a r t h e most fre-

quent s e c u l a r music used i s t h a t t o "Daphnis gieng vor

wenig Tagen" f r o m a work by R i s t . " ^ The i m p o r t a n c e o f melo

dies selected therefore does n o t depend on t h e meaning o f

the original texts, but the o v e r a l l popularity o f t h e melo-

dies. T h i s was c e r t a i n l y a deliberate a c t on t h e p a r t o f

Harsdorffer, as he s t a t e s t h a t h i s c h o i c e o f tunes i s a r b i -

trary (HS,I,preface). The o v e r a l l significance of h i s sele

tion i s that i tprovides a brief compendium o f some o f t h e

melodies w h i c h were famous and w i d e l y d i s s e m i n a t e d ' i n t h e

seventeenth-century.^ 1

I n one i n s t a n c e H a r s d f l r f f e r i n c l u d e s music without

stating a source. H i s " L i e d v o n den v i e r letzten Dingen"

is t o be sung e i t h e r t o one o f two w e l l known t u n e s , o r

"nach f o l g e n d e r M e l o d e y " ( H S , I I , 3 7 9 - 8 1 ) :

Example 14:

A B

3
D E

— *
5 13. v=—

I I I . ,1 f^-jr-
Sb J ) J >
J

*
[__£_ y —e

First Verse:

Mein Hertz du b i s t sehr verdustert/ mit der sehnoden. E i t e l k e i t /

du hast so vielmals gelustert/ nach dem was man spat bereut/
werde nun j e t z t endlich weiss/ und betracht mit allem F l e i s s
was bald bald hernacher kommet/ was d i r schadet oder frommet.

Although i t i s tempting to attribute t h i s melody t o Hars-

d o r f f e r himself, i t i s probably r a s h t o do s o , f o r i n p r e -

copyright d a y s t h e r e was no r e a l n e e d t o a c k n o w l e d g e one's

 138

32
source. In a l i t e r a r y context Harsdflrffer generally

mentions h i s sources, including a bibliography i n the

Frauenzimmer Gesprachspiele(II,467-94); IV,703-16), b u t

at t i m e s he does n o t . The m u s i c i n the Frauenzimmer Ge-

sprachspiele i s attributed t o Staden e i t h e r d i r e c t l y or

indirectly, as H a r s d f l r f f e r n o t e s t h a t a l l m u s i c up t o and

including part four i s by S t a d e n (FG,IV,43). Yet at least

33

one song i n p a r t f o u r i s n o t by S t a d e n , b u t H i l l e , and

the a u t h o r s h i p o f b r i e f m u s i c a l quotations i n subsequent

volumes o f t h e work i s n o t a l w a y s c l e a r . Overall, Hars-

d f l r f f e r does n o t name h i s s o u r c e s i n a c o n s i s t e n t way, and

the lack of a reference i n this particular instance i s

therefore no r e a l indication t h a t he d i d n o t t a k e t h e melody

from somewhere else.

T h i s melody, i n addition, bears a remarkable resem-

blance t o one composed by S t a d e n f o r a s o n g by R i s t one

34
year earlier:
Example 15
A B

3 -& E E t E E E f : IEE2

-4 -

6i ; is: J3Z i IP r i c r l J J
l d-
-&• 1
—^—'
 139

First Verse:

GOTT/ der du den Klooss der Erden/ samt dem grossen Himmels-Sahl
Durch dein Wohrt hast lassen werden/ wir erkennen allzumahl/
dass du b i s t e i n HErr/ Allmachtig/ Schreklich/ H e r r l i c h / stark
und prachtig/
wie wir denn i n dieser Nacht/ sptiren deine grosse Macht.

Although the first example has a duple rhythm and the second

a triple i n the o r i g i n a l s , both a r e s e t t i n g s o f t h e same

p o e t i c metre. The overall structures o f t h e two are very

similar: each song i s divided into s i x sections, with the

first two sections being repeated. The only structural

d i f f e r e n c e between them i s t h e s h o r t e n e d D s e c t i o n i n the

first example. The melodies follow very similar lines with

many i d e n t i c a l l e a p s and stepwise progressions. The song

in the H e r t z b e w e g l i c h e Sonntagsandachten t h e r e f o r e appears

to be a reworking of that in Rist's collection, and in a l l

probability i t s h o u l d be attributed to Staden rather than

Harsdflrffer.

H a r s d f l r f f e r s main method o f c o m b i n i n g
1
religious sub-

j e c t matter and m u s i c i n t h i s work i s t h e n to w r i t e new

words t o w e l l - k n o w n tunes, w i t h the r e s u l t that the readers

can sing t h e songs w h e t h e r t h e y u n d e r s t a n d the principles

of music or not. T h o s e who do have a knowledge o f music

will be a b l e t o t r y o u t t h e new m e l o d y p r o v i d e d , b u t as i t

is based on an e x i s t i n g tune, the m e l o d i c o u t l i n e may very

well be familiar. H a r s d o r f f e r has t h e r e f o r e made h i s songs

 140

as accessible as p o s s i b l e to h i s public.

In contrast to the Hertzbewegliche Sonntagsandachten

w h i c h r e l y on w e l l - k n o w n m e l o d i e s , the major dramatic works

which i n c l u d e music i n t h e F r a u e n z i m m e r G e s p r a c h s p i e l e were

written i n collaboration with Staden. The a c t u a l method o f

collaboration i s not recorded, but suggestions have been

made i n c r i t i c a l l i t e r a t u r e on how t h e p o e t and composer

worked t o g e t h e r . On t h e one hand, S t a d e n i s r e g a r d e d as

Harsdflrffer's "hired help rather than . . . f r i e n d and

35
equal," o r as one who f o l l o w e d Harsdflrffer s 1
instructions
36
precisely. On t h e o t h e r hand, S t a d e n i s shown t o have
taken considerable l i b e r t i e s w i t h t h e t e x t s , and n o t t o have
37

followed Harsdflrffer s instructions

1
to the l e t t e r . Keller

has uncovered 250 m a j o r d i f f e r e n c e s between t h e t e x t o f

Seelewig given i n the l i b r e t t o section and t h a t given i n

the score. Giving e x a m p l e s , he shows t h a t changes i n t h e

t e x t were made t o p r o d u c e more f l o w i n g and n a t u r a l declama-

tion, to provide the opportunity f o rapplying musico-

rhetorical figures and t o e m p h a s i s e important points i n

the plot. Similar tendencies are evident i n t h e Tugend-
38
sterne. A l t h o u g h K e l l e r admits the p o s s i b i l i t y that Hars-
39

dflrffer himself m i g h t have made t h e c h a n g e s , he c o n c l u d e s

that they a r e the r e s u l t o f Staden's working c r i t i c a l l y with

the texts.

Throughout the libretto section of Seelewig, Harsdflrffer

 141

intersperses a number o f s t a t e m e n t s made by t h e c h a r a c t e r s

of t h e " G e s p r a c h s p i e l " on t h e m u s i c t o be u s e d f o r the

various songs: "Die Music bedunkt mich w o l g e s e t z t " ( F G , I V ,

120); "Die Music i s t kunstlicher gesetzt/ a l s i c h sagen

kan"(FG,IV,145), o r , "Die Music i s t zu d i e s e r Reimart

anmuhtig gebracht"(FG,IV,149). Remarks o f t h i s t y p e do

not necessarily imply that H a r s d f l r f f e r had t h e music a t

hand while writing the l i b r e t t o , as t h e y a r e o f s u c h a gene-

ral nature. In other cases, the p i c t u r e i s rather different:

" D i e s e und d e r g l e i c h e n S o n n e t o d e r K l i n g r e i m e n mflgen a u f

mancherley A r t g e s e t z e t werden/ h i e r i s t eine gleiche/ doch

s c h i c k l i c h e Mensur"(FG,IV,96); "Nach den V e r s e n i s t d i e M u s i c

gerichtet/ i n dem das Gesang d e r S i n n i g u n d a s p r i n g t und f r f l -

lich/ d e r S e e l e w i g L i e d mehr g e m a s s i g t i s t " ( F G , I V , 1 3 0 ) ; o r

"Dieses a l l e s erhebet d i e Music noch v i e l kunstlicher/

in dem d a s T o t e n l i e d den Ton f t l h r e t : Wann m e i n Stundlein

40

verhanden i s t . . ."(FG,IV,76). The l a s t statement i n par-

ticular, which gives t h e name o f a m e l o d y c h o s e n from else-

where, l e a v e s no d o u b t that t h e m u s i c was a v a i l a b l e a t the

time H a r s d f l r f f e r wrote the l i b r e t t o .

A q u e s t i o n which still r e m a i n s , however, i s w h e t h e r

Harsdorffer f r o m t h e p o i n t o f v i e w o f l a n g u a g e , h a d more

of a hand i n making t h e changes o f wording i n the score

version o f S e e l e w i g t h a n h a s h i t h e r t o been admitted. This

q u e s t i o n c a n be a p p r o a c h e d by examining v e r s e s from b o t h
 142

s e c t i o n s which c o n t a i n significant alterations:

Libretto (FG,IV,98-100) Score (FG,540-45).

Trugewalt:

Kunsteling i c h muss d i r klagen Kunsteling i c h muss d i r klagen/

Wie i c h lange Z e i t i n mir
habe d i e Begierd getragen
Seelwig zu berucken h i e r .
Wirst du mir b e h u l f f l i c h seyn
So s t e l l i c h mich dankbar e i n
1
dass i c h lange Z e i t i n mir
habe d i e Begierd getragen/
Seelewig zu trugen h i e r .
Wirst du mir b e h u l f f l i c h seyn
So s t e l l ' i c h mich dankbar e i n

Kunsteling:

Wie? s o l i jemand dein begehren Solte wol auch dein Begehren

der inwohnet dieses Land/
schimfen/ und dich nicht gewaren?
B i s t du dann i h r n i c h t bekant?
Was ich. darbey l e i s t e n kan/
b i e t i c h frey und w i l l i g an
jemand i n dem gantzen Land/
wegeren und nicht gewehren
deme deine Macht bekand?
Meine Dienst und was i c h kan
B i e t i c h hiermit w i l l i g an

Trugewalt:

Ach s i e p f l e g t nicht zu verweilen/ Ach s i e p f l e g t nicht zu verweilen

wann i c h an bequemen Ort/
Sie gedenke zu e r e i l e n /
i h r zu sagen Liebes-Wort
Wirst du mir b e h u l f f l i c h seyn
so s t e l l ' i c h mich dankbar e i n
wann i c h o f f t an einem Ort
sie gedenke zu e r e i l e n
i h r zu sagen nur e i n Wort
Wirst du mir b e h u l f f l i c h seyn
so s t e l l i c h mich dankbar e i n
1

In v e r s e one, t h e f i r s t change occurs i n the second line

where " w i e " becomes " d a s s , " b u t t h e meaning i s not altered

substantially by t h i s substitution. Phonetically, however,

the word "wie" e n d i n g i n a vowel sound, and " i c h , " beginning

w i t h a vowel, tend t o be r u n t o g e t h e r , obscuring t h e meaning.

If t h e two words a r e i n d i v i d u a l l y a r t i c u l a t e d , a glottal stop

 143

must be u s e d , w h i c h produces a slight interruption i n de-

livery, and r e s u l t s i n the m e t r i c a l l y u n s t r e s s e d word " i c h "

r e c e i v i n g more emphasis than r e q u i r e d . With the use o f

the word "dass," these concerns are e l i m i n a t e d .

The o t h e r changes made i n t h e f i r s t verse occur i n

line four: " S e e l w i g zu berucken hier," becomes "Seelewig

zu trugen h i e r . " The p o s i t i o n o f "Seelewig" i n the second

^ -^
line shows t h a t t h e h e r o i n e ' s name i s n o t " S e e l e w i g , " b u t

"Seelewig." T h i s way o f a c c e n t i n g t h e name i s u s e d consis-

tently throughout the score. Yet i n the text, Harsdorffer

has "Seelwig," the c e n t r a l "e" b e i n g d r o p p e d for metrical

reasons t o include t h e word "berucken." H a r s d o r f f e r ex-

plains: " E r ^Trugewalt^j sagt h i e r nicht dass e r S e e l e w i g

hold sey/ sondern e r l o b e t s i e / wie e i n Ehebrecher einer

e h e l i c h e n F r a u e n a u f w a r t e t / s i e zu F a l l e zu b r i n g e n / w e l -

ches d u r c h das W o r t l e i n berucken v e r s t a n d e n worden"(FG,IV,

99). Harsdflrffer c l e a r l y felt the i n c l u s i o n o f t h e word

"berucken" t o be more i m p o r t a n t t h a n t h e c o r r e c t form o f

" S e e l e w i g " when w r i t i n g t h e words. The change t o " S e e l e w i g "

in t h e s c o r e seems t o have been made t o i n c o r p o r a t e t h e com-

plete form o f t h e n a m e — i t appears that the dropping o f a

syllable i s n o t a p p r o p r i a t e i n t h e name o f t h e h e r o i n e , and

indeed i n two o t h e r i n s t a n c e s where H a r s d f l r f f e r w r i t e s "Seel-

wig" i n the text, t h e name e i t h e r reverts to "Seelewig" i n

the score (FG,IV, 141,583), o r t h e w o r d i n g i s a l t e r e d t o avoid.

 144

using i t (FG,IV,105,541). Furthermore, t h e word " S e e l w i g , "

with t h e "1" and "w" j u x t a p o s e d , i s more d i f f i c u l t to pro-

nounce f l u e n t l y than "Seelewig" w i t h the i n t e r v e n i n g vowel.

The correct f o r m o f t h e name i n t h e s c o r e requires a sub-

stitution f o r "berucken" to r e t a i n m e t r i c a l regularity.

The word "trugen" a l t e r s t h e m e a n i n g t o some e x t e n t , b u t

as i t i s a c o n s t i t u e n t p a r t o f t h e name " T r u g e w a l t , " i t

expresses t h e n a t u r e and intent of this c h a r a c t e r more effec-

tively t h a n t h e word "berucken." Both changes in this line

c a n t h u s be e x p l a i n e d i n terms o f metre, p h o n e t i c s and

meaning.

The alterations i n v e r s e two a r e much more extensive,

and the i n i t i a l cause f o r them c a n be found i n the first

line. Where i n spoken delivery the i n t e r r o g a t i v e nature of

"Wie?" c a n be conveyed by intonation, this c a n n o t be done

in song. "Wie? s o i l jemand d e i n b e g e h r e n ? " becomes "Wie soil

jemand d e i n b e g e h r e n ? " which i s not the q u e s t i o n . The major

syntactic changes and d i f f e r e n t v o c a b u l a r y i n the score

version are t h e r e f o r e necessary to r e t a i n the general meaning

of the o r i g i n a l . The alteration o f t h e word "schimfen" to

"wegeren" i n l i n e three not o n l y p r o v i d e s the c o r r e c t metre

in the score v e r s i o n , b u t a l s o p r o d u c e s an o p p o r t u n i t y f o r

a s s o n a n c e w i t h t h e word "gewehren" a t t h e end o f t h e line.

In the f o u r t h line o f the s c o r e , t h e word "deme" i n c l u d e d to

complete the metre i s another d e v i a t i o n from Harsdorffer s 1

 145

rule that the l e t t e r "e" must n e v e r be i n c l u d e d just f o r

scansion. As t h i s a l s o o c c u r r e d w i t h t h e word "gemische-

tem" i n t h e song t o "In D u l c i Jubilo" i n t h e Hertzbeweg-

liche Sonntagsandachten, the r u l e appears t o be flexible.

There i s no o b v i o u s m e t r i c a l o r phonetic reason f o r the

changes i n the l a s t two l i n e s i n t h i s v e r s e , a l t h o u g h from a

semantic point o f view, Ktinsteling's subservience t o Truge-

walt i s more a p p a r e n t i n the score version. The e m p h a s i s on

service i s t h e n made c l e a r immediately by t h e words "Meine

Dienst" a t the beginning of the couplet. In t h i s verse there

are t w i c e as many nouns i n t h e s c o r e t h a n i n the l i b r e t t o

section: "Macht" and " D i e n s t " a r e a d d e d . A possible reason

is that nouns c o n v e y a s t r o n g e r meaning t h a n many o t h e r p a r t s

of speech. This i s certainly t h e c a s e when t h e two v e r s i o n s

of line five a r e compared. The m a j o r c h a n g e s i n t h i s verse

can t h e n be a t t r i b u t e d to c o n s i d e r a t i o n s o f syntax, metre

and meaning.

The alterations i n v e r s e t h r e e a r e m i n o r compared t o

t h o s e o f v e r s e two, and a p p e a r only i n lines two a n d f o u r .

The changes from "an bequemen" t o " o f f t an e i n e m , " and

"Liebes-Wort" t o " n u r e i n Wort" were c l e a r l y n o t made f o r

metrical r e a s o n s , as a l l v e r s i o n s c a n be s c a n n e d regularly.

Grammatically, both lines i n the l i b r e t t o section properly

require an i n d e f i n i t e article: "an e i n e m bequemen O r t , "

"sagen e i n Liebes-Wort," and i n b o t h c a s e s this i s supplied

 146

in the score. As a result, "offt" and "nur" are necessary

to complete the metre. The s u b s t i t u t i o n s i n these cases

affect the meaning of the original words--"bequemen" and

"Liebes" c o n v e y more i n f o r m a t i o n than "offt" and "nur."

The meaning i n the score i s therefore diminished by these

alterations.

Despite the changes i n a l l t h r e e v e r s e s , the overall

meaning i s m a i n t a i n e d — T r u g e w a l t i s s o l i c i t i n g Kunsteling's

help in his plot against Seelewig. Minor semantic altera-

tions are t h e r e f o r e not of great importance i n the total

scheme, b u t at times they do represent an attempt to clarify

t h e m e a n i n g ; and the intelligibility of a t e x t i s a major

41

concern for Harsdflrffer. O t h e r r e v i s i o n s a r e b a s e d on fac-

tors of phonetics, metre, syntax and grammar. Harsdflrffer's

involvement with the last three has a l r e a d y been demonstrated.

His own method o f t e s t i n g a s o n g shows t h e e m p h a s i s he put

on phonetics: "Wann dann das Lied verfertiget/ s o l man es

unterschiedlichmals l e s e n oder auf selbst erfundene Stimme

singen. Und hflren ob alles wol aufeinander klinge . . ."

(PT,III,96). He was thus v e r y much aware o f the sound of

words i n s o n g , and the k i n d of p h o n e t i c c h a n g e s made i n

these verses reflect this concern. None o f t h e alterations

affects the g e n e r a l metre, f o r the regular trochaic tetra-

meter, w h i c h H a r s d f l r f f e r names as t h e most s u i t a b l e f o r s o n g ,

is r e t a i n e d throughout the score v e r s i o n . Phonetics and

 147

metre are thus v e r y s i g n i f i c a n t f a c t o r s i n H a r s d f l r f f e r ' s

view of the song.

His o v e r a l l concern f o r matters o f p h o n e t i c s , metre and

grammar suggests most s t r o n g l y t h a t he was i n v o l v e d i n such

changes made i n the s c o r e . Although Staden, as K e l l e r ob-

s e r v e s , i s almost c e r t a i n l y r e s p o n s i b l e f o r the major a l t e r a -

t i o n s made f o r m u s i c a l reasons, those which are based on

c o n s i d e r a t i o n s o f language stem i n a l l l i k e l i h o o d from Hars-

d o r f f e r 's pen.

K e l l e r suggests t h a t H a r s d o r f f e r "hatte wohl kaum s e i n e

42

eigenen Verse z e r s t f l r t . " Y e t Harsdttrffer h i m s e l f s t a t e s

at the end o f the l i b r e t t o s e c t i o n t h a t Seelewig i s an "An-

fangsprob"(FG,IV,209), which admits the p o s s i b i l i t y of r e -

vision. The examples g i v e n o f changes between the two v e r -

s i o n s then p r o v i d e some i n d i c a t i o n o f the way i n which Hars-

d f l r f f e r worked with h i s m a t e r i a l — t h e r e i s always room f o r

improvement.

The f a c t t h a t the music was a v a i l a b l e a t the time the

l i b r e t t o s e c t i o n was w r i t t e n suggests t h a t much p r e p a r a t o r y

work had taken p l a c e beforehand. Staden c o u l d not have w r i t -

ten the music without the words, and t h e r e f o r e must have had

an e a r l y d r a f t o f the l i b r e t t o from Harsdc-rf f e r . Some o f

the d i f f e r e n c e s i n the score s e c t i o n , e s p e c i a l l y those with

no obvious e x p l a n a t i o n , may i n f a c t r e p r e s e n t remnants of

such a d r a f t . A procedure which c o u l d have been f o l l o w e d

 148

is that Staden composed t h e m u s i c a c c o r d i n g t o the material

supplied a t an e a r l y s t a g e by H a r s d f l r f f e r , and p a s s e d i t to

him i n rough form w i t h o u t text underlay. Harsdflrffer was

thereupon in a position t o p r o v i d e comments on the music in

his version of the libretto. The two t h e n came t o g e t h e r t o

improve on t h e work. As the s c o r e to Seelewig i s not part

of t h e main body o f t h e volume o f t h e F r a u e n z i m m e r Gesprach-

spiele i n which i t appears, but i s appended t o i t , the prin-

ting o f H a r s d f l r f f e r s v e r s i o n may
1
well have a l r e a d y b e e n

underway by the time the r e v i s e d form was complete and ready

t o go to the p r e s s . This certainly accounts f o r the appear-

ance i n t h e same work o f two variant libretti; one o f them

is totally H a r s d f l r f f e r ' s own, t h e o t h e r shows d e f i n i t e signs

of h i s involvement.

A final f e a t u r e to.be c o n s i d e r e d here i n connection with

the c o l l a b o r a t i o n between t h e p o e t and m u s i c i a n i s that of

the relationship o f p o e t i c m e t r e and m u s i c a l r h y t h m . The

r e g u l a r m e t r e p r o v i d e d by H a r s d f l r f f e r i n t h e s o n g sung by"

Trugewalt and K u n s t e l i n g i s t a k e n up by Staden, who trans-

lates i t into a regular musical beat, and includes barlines

at set points. Y e t t h e use o f the b a r l i n e to i n d i c a t e a re-

c u r r i n g b e a t had by no means been a s t a n d a r d f e a t u r e o f music

before the seventeenth-century:

A r t m u s i c o f t h e R e n a i s s a n c e was r e g u l a t e d t h r o u g h o u t
i t s c o u r s e by t h e t a c t u s , a b a s i c n o t e - v a l u e t o w h i c h
 149

a l l o t h e r note-values were r e l a t e d i n s t r i c t propor-

tion. T h i s t a c t u s was simply a time-beating u n i t
t h a t c o n t r o l l e d the sounding together o f the v o i c e s
but d i d not r e p r e s e n t a r e g u l a r s u c c e s s i o n o f heavy
and l i g h t beats o r any s o r t o f a c c e n t u a l system.
Since over and above t h i s the note-values of the v o i c e s
i n a polyphonic composition c u t across each other
and came together o n l y a planned caesuras to a common
cadence, £this type o f ] composition o f f e r s today's
ear no rhythmic o r i e n t a t i o n ; indeed, i t even s e t s
insurmountable o b s t a c l e s i n the way o f drawing b a r -
l i n e s i n a modern s c o r e . T h i s means t h a t the Re-
naissance knew no beat i n the sense o f a m e c h a n i c a l l y
r e c u r r i n g p u l s e of rhythmic u n i t s , o r r a t h e r , i t pur-
p o s e l y avoided such a beat. . . . The p r a c t i c e con-
t i n u e d £to the end o f the seventeenth c e n t u r y ] o f
c o n s i d e r i n g the "bar-line" movable' and t o frame, with i t
groups o f tones t h a t belonged together r a t h e r than
r i g i d rhythmic patterns.43

When H a r s d o r f f e r s u p p l i e s verse w i t h a r e g u l a r metre, and

Staden expresses t h i s by u s i n g a r e g u l a r m u s i c a l rhythm and

b a r l i n e s , they are thus h e l p i n g t o pave the way f o r the

modern a p p l i c a t i o n of the beat i n music. T h i s i s not to

say, however, t h a t Staden follows Harsdorffer exclusively

i n t h i s manner, f o r i n o t h e r i n s t a n c e s , e s p e c i a l l y i n the

use o f the through composed s o l o song, a s t r i c t beat i s

not always maintained. N e i t h e r i s t h i s to suggest t h a t the

tendency towards e s t a b l i s h i n g a f i x e d beat was not i n e v i -

dence before H a r s d f l r f f e r and S t a d e n - - s t r i c t musical settings

of m e t r i c a l l y r e g u l a r verse had appeared i n the s i x t e e n t h -

44

century, and the i n c r e a s i n g s o c i a l a c c e p t a b i l i t y of dance

music had a l r e a d y p r e d i s p o s e d the e a r t o a c o n s i s t e n t beat.

N e v e r t h e l e s s , H a r s d o r f f e r may be c o n s i d e r e d as an example
 150

o f a p o e t , who, by h i s i n s i s t e n c e on t h e c o r r e c t use of

r e g u l a r m e t r e i n song, had some i n f l u e n c e on the develop-

ment o f t h e r e g u l a r l y recurring rhythm i n music.

As the major m u s i c a l a s p e c t s of the dramatic works i n

t h e F r a u e n z i m m e r G e s p r a c h s p i e l e have been d i s c u s s e d i n de-

tail by K e l l e r and H a a r , i t w o u l d be superfluous to reiterate

their findings here. One a r e a w h i c h c a n be investigated

further, however, i s t h a t o f t h e s o u r c e m a t e r i a l w h i c h Hars-

dflrffer drew on for Seelewig.

Many s i m i l a r i t i e s i n c o n t e n t have b e e n u n c o v e r e d between

Seelewig and Italian opera of the time, notably Emilio de

45

Cavalieri's Rappresentazione s a c r a d i Anima e d i C o r p o .

General c o n n e c t i o n s have a l s o b e e n made between S e e l e w i g and

t h e German l i t e r a r y tradition, particularly i n the areas of

i— 46

Jesuit and S c h o o l drama, and m o r a l i t y p l a y s . The impor-

tance of the p a s t o r a l tradition cannot be overlooked. The

outstanding figure in this r e g a r d was O p i t z , who not only

popularized the t r e n d i n German l i t e r a t u r e with the Schaf-

f e r e y Von der Nimfen H e r o i n e , but also i n t r o d u c e d t h e German

pastoral opera by translating Dafne from an Italian model.

H a r s d f l r f f e r h i m s e l f had a g r e a t enthusiasm f o r the bu-

colic i n the a r t s . He refers t o a number o f p a s t o r a l novels

47

and poems w r i t t e n i n o t h e r l a n g u a g e s , and he translated

some o f them i n t o German. He collaborated with Birken and

Klaj on a major p a s t o r a l work, t h e P e g n e s i s c h e s Schafer^-.

 151

gedicht. There i s , in< a d d i t i o n , t h e whole b u c o l i c frame-

work o f t h e " H i r t e n - und Blumeriorden an d e r P e g n i t z , " t h e

society founded by H a r s d f l r f f e r and K l a j i n 1644, t h e same

year Seelewig appeared i n print. Keller points to l i k e -

nesses between S e e l e w i g and t h e I t a l i a n pastoral opera

Eumelio by A g o s t i n o A g a z z a r i , and n o t e s that this composer

and C a v a l i e r i were s t r o n g l y associated with the J e s u i t C o l -

49 50
lege i n Rome. H a r s d f l r f f e r h i m s e l f had v i s i t e d Rome, and

he furthermore suggested that t h e works o f t h e I t a l i a n s

51

s h o u l d be i m i t a t e d by t h e Germans. -•. I t i s t h u s / v e r y pro-

bable t h a t he was f a m i l i a r w i t h s u c h works as t h e R a p p r e -

sentazione and E u m e l i o .

Seelewig clearly follows i n the footsteps o f the l i t e -

rary and o p e r a t i c traditions o f t h e day w i t h respect to i t s

religious and p a s t o r a l content. Y e t no documented evidence

of a specific l i n k w i t h a named s o u r c e has b e e n d i s c o v e r e d

to date. Harsdflrffer i n fact does r e f e r t o a s o u r c e , and

it will be e x a m i n e d h e r e t o determine i t s influence on S e e l -

ewig.

In the f i r s t volume o f t h e F r a u e n z i m m e r G e s p r a c h s p i e l e

Harsdflrffer refers t o "das g e i s t l i c h e W a l d g e d i c h t der gluk-

seligen Seele"(FG,I,188); i t appears a g a i n i n one o f H a r s -

dflrffer' s bibliographies as " W a l d g e d i c h t d i e Gltickseelige

Seele genannt," w i t h the date 1637, b u t no a u t h o r (FG,II,

491), and i t i s r e f e r r e d t o once a g a i n : "Unter d e n neuen

 152

Schauspielen hat m i r das G e i s t l i c h e Waldgedicht/ von der

G l u c k s e l i g e n Seele s o n d e r l i c h g e f a l l e n . . ."(FG,II,322).

The f u l l t i t l e o f the work i s : E i n gar schon g e i s t l i c h e s

Waldgetichte genant Die G l u c k s e e l i g e S e e l e . Auss z i h r l i c h e m

Welnsch £sic3 i n gemeines Deutsch gebracht. Gedruckt Im J a h r

52

1637, with no p u b l i s h e r , p l a c e o r author.

The extent to which H a r s d f l r f f e r might have drawn on t h i s

p l a y when w r i t i n g Seelewig can be a s c e r t a i n e d by comparing

major f e a t u r e s o f the two works:

Die Gluckseelige Seele Seelewig

Language: Prose—to be spoken Verse—to be sung

Structure: Prologue—dialogue between the Prologue—allegorical figure

allegorical figures "Liebe "Die Music"
Gottes "; arid "Irrdische Liebe"

Five acts divided into four Three acts divided into six
or five scenes each scenes each

Chorus of Shepherds in verse Chorus of Shepherds, Nymphs

at the end of the f i r s t four or Angels at the end of
acts each act.

Quasi-epilogue (V,v)—alle- Epilogue—allegorical figure

gorical figure "Gutt begehren" "Die Mahlkunst"

Characters: Pastor—Liebe Gottes

Cupido—Irrdische Liebe
Nympha—Seele Seelewig—Nymfe—die ewige
Seele
Pastor—Sinn Sinnigunda—Nymfe—die Sinn-
lichkeit oder die Sinne
Matrona—Gewissen Gwissulda—Zuchtmeisterin—
die Huld oder Gunst des
Gewissens

Regina—Vomumft [sic] Hertzigild—Nymfe—Vers tand

Pastor—Lust
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Pastor—Lache
Pastor sumptuosus—Welt (Reichimuht—HirtoderSchafer—
Reichtum)
(Ehrelob—Hirt oder Schafer—
Ehrgeitz)
(Kunsteling—Hirt oder Schafer—
der Kunstkutzel furwitziger
Wissenschaften)
Dea—Himlische Schonheit
Pastor—Forehfee Gottes
Nympha—-Irrdische Schonheit
Satyrus—Sathan Trugewalt—Satyro oder
Waldgeist
Echo—Wiederhall
Pastor—Gutt begehren
Fides—Glaube
Spes—Hoffnung
Dea—Genade Gottes
Die Music
Die Mahlkunst

The p l o t of Die G l u c k s e e l i g e Seele;

Prologue:

D i v i n e Love and Worldly Love are incompatible.

Act One:

The S o u l , i n a despondent mood i s tempted by the Senses.

Conscience s c o l d s her and leaves to r e c r u i t the a i d
of Reason. The Soul i s shown the b e a u t i e s of nature by
the Senses, succumbs; they s i n g a duet, "In d i e Welt,"
and s e t o f f together to seek out Joy and Laughter.
Reason and Conscience agree to keep a c l o s e eye on the
Soul i n danger.
The Chorus of Shepherds g i v e s advice to d i r e c t one's
gaze towards heaven.

Act Two:

The Soul and the Senses e v e n t u a l l y f i n d Joy and Laugh-

t e r , but the Soul i s i n a quandary. Reason warns her
t h a t the World i s d e c e p t i v e , and begs her to r e t u r n ,
as does Conscience. Heavenly Beauty a r r i v e s , b l i n d s
 154

the Senses, and persuades him and the Soul to f o l l o w

her.
The Chorus of Shepherds prays f o r God's grace.

Act Three:

The World encourages the Senses to draw the Soul back

i n t o h i s camp. They eavesdrop on the Fear of God,
who i s t e l l i n g the Soul to look a t the World as i t
r e a l l y i s . He makes her c h o i c e c l e a r — e i t h e r the
h o r r o r s of H e l l , or her heavenly bridegroom. The Soul
r e a l i z e s she does not want to l o s e Heaven. She and
the Senses make t h e i r way along a thorny path, - but
are tempted by Worldly Beauty, and once more throw i n
t h e i r l o t with the World, Joy and Laughter. The Soul
i s taken f i s h i n g by the Senses, but she becomes morose
as the f i s h d i e when drawn from the water.
The Chorus of Shepherds warns the Soul to leave the
World.

Act Four:

The Soul r e a l i z e s t h a t Worldly Beauty i s t r a n s i t o r y ,

and bemoans her s i t u a t i o n . Satan, j e a l o u s of her b r i d e -
groom, wants her to go h u n t i n g . He t r i e s to take her
by f o r c e , but she r e j e c t s him. The Soul converses w i t h
Echo (Voice of God), r e a l i z e s her e r r o r s , and s i t s down
to r e s t .
The Chorus of Shepherds a d v i s e s t h a t there i s no r e s t i n g
i n Heaven.

Act F i v e :

Good Behaviour t e l l s the Soul to climb the h i l l to

Heaven. Satan's power weakens. F a i t h and Hope a r r i v e
to a s s i s t i n the Soul's upward journey. She i s i n v i t e d
to lean on God's Grace. The path becomes smooth and
easy. At the top, she hears heavenly music and the
s i n g i n g of s a i n t s and a n g e l s . The Soul i s . f i n a l l y
d e l i v e r e d to her bridegroom.
Good Behaviour announces t h a t he w i l l s t a y w i t h those
l e f t on e a r t h and lead them to Heaven.

H a r s d f l r f f e r ' s own comments on p l a y s i n general throw some

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l i g h t on the d i f f e r e n c e s i n type of language and s t r u c t u r e

between Die G l u c k s e e l i g e Seele and Seelewig. The usual d i -

v i s i o n , he notes, i s : "Vorredner/ d i e Aufzuge/ funf Hand-

lungen/ (deren d i e H i r t e n - S p i e l e nur drey zu haben p f l e g e n ) /

und der S c h l u s s . Zu diesen a l i e n i s t zu rechnen der Chor/

oder d i e Music/ dienend d e r g e s t a l t / dass zwischen j e d e r

Handlung e i n L i e d gesungen werden s o l . . . und in etlichen

Reimsatzen mit e i n e r oder mehr Stimmen d e u t l i c h s t hflren

lassen"(PT,II,73-74). T h i s d e s c r i p t i o n a p p l i e s to the s t r u c -

t u r e of Die G l u c k s e e l i g e Seele, and i t i s notable t h a t music

i s to appear o n l y between a c t s . Harsdflrffer states e l s e -

where t h a t songs may be used i n prose works as long as they

fit the context (PT,II,97), and t h i s does i n f a c t occur i n

Act One of Die G l u c k s e e l i g e S e e l e . In a d i s c u s s i o n of " H i r -

t e n s p i e l e " and " H i r t e n g e d i c h t e " the example of Seelewig is

given (PT,II,99), and the d i v i s i o n of t h i s work i n t o three

acts i s therefore appropriate. In a d d i t i o n , H a r s d f l r f f e r

states:"Nach Italianer Art sollen alle solche Gedichte gantz

i n Reimen v e r f a s s e t seyn/ und benebens e i n e r Theorbaklang

vernemlichst gesungen werden"(PT,II,99), hence the choice

of verse r a t h e r than prose i n Seelewig. Harsdflrffer s 1

theo-

retical d e f i n i t i o n s thus e x p l a i n the s t r u c t u r a l and language

d i f f e r e n c e s between the two works.

Although the number of c h a r a c t e r s i n Die Gluckseelige

Seele i s c o n s i d e r a b l y l a r g e r than i n Seelewig, the emphasis

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on a l l e g o r i c a l r e p r e s e n t a t i o n s i s the prime f e a t u r e of

both works. There are d i r e c t c o r r e l a t i o n s between the

f i g u r e s r e p r e s e n t i n g the s o u l , the senses, c o n s c i e n c e ,

reason or understanding, and the d e v i l , but not between

those r e p r e s e n t i n g f a c e t s of the world. In Die Gluck-

s e e l i g e Seele, the f i g u r e s cover a wide range of w o r l d l y

temptations but i n Seelewig they s p e c i f i c a l l y stand f o r

r i c h e s , ambition and knowledge, a l l r e f l e c t e d i n the proper

names H a r s d f l r f f e r g i v e s to these c h a r a c t e r s : Reichimuht,

Ehrelob and K u n s t e l i n g . The d i s p o s i t i o n of nymphs and shep-

herds a l s o v a r i e s i n the two works, f o r i n Die G l u c k s e e l i g e

Seele they may r e p r e s e n t e i t h e r good or e v i l , w h i l e i n S e e l -

ewig , they are d i v i d e d i n t o two d i s t i n c t c a m p s — t h e shepherds

are of the world, but the nymphs ( i n c l u d i n g Sinnigunda when

under c o n t r o l ) are on the s i d e of the s o u l . There i s t h e r e -

f o r e a tendency i n H a r s d f l r f f e r ' s work to p r e s e n t the charac-

t e r s i n a s i m p l e r and more c l e a r - c u t manner than i s the case

i n Die G l u c k s e e l i g e S e e l e .

The b a s i c p l o t s of the two works are the same: the soul

i s a s s a u l t e d by the senses, the world and the d e v i l , d e v i a t e s

from the t r u e path, but f i n a l l y r e a l i z e s the e r r o r s of her

ways. Two s p e c i f i c i n s t a n c e s i n the works are, moreover,

strikingly similar. The first i s the f i s h i n g scene, where

i n Die G l u c k s e e l i g e Seele the Soul i s shown by the Senses

how to f i s h ( I I I , i v ) , and i n Seelewig, the heroine i s o f f e r e d

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a fishing r o d by E h r e l o b (II,ii). A l t h o u g h t h e scene i n

Seelewig i s n o t as e x p l i c i t as t h a t i n D i e G l u c k s e e l i g e

Seele, the o v e r a l l futility of spending time on a w o r t h -

less cause i s the d i d a c t i c p o i n t o f each.

The second outstanding similarity i s the confronta-

tion o f the heroine i n despair with an e c h o , w h i c h i n D i e

Gluckseelige Seele i s an i n d e p e n d e n t c h a r a c t e r standing f o r

the voice o f God. This scene i n the p l a y represents a mo-

ment o f d i v i n e communion, p r o v i d i n g t h e S o u l with strength

t o t u r n away f i n a l l y from the w o r l d (IV,iii). In Seelewig,

H a r s d o r f f e r u s e s t h e e c h o i n a d i f f e r e n t way. I t i s not the

v o i c e o f God, b u t T r u g e w a l t , a b a s s , d i s g u i s i n g h i s v o i c e by

singing falsetto (III,iv). Harsddrffer explains: "Der bflse

Feind findet s i c h um d i e T r a u r i g e n / und obwohl s e i n e Stimme

uns angenehm s c h e i n e t / und u n s e r e n S i n n e n gemass; so f u h r e t

und leitet s i e d o c h a u f den v o r i g e n Sundenwege"(FG,IV,182).

Although Harsdorffer i m p l i e s e l s e w h e r e t h a t t h e echo i n

general has a t l e a s t a partial connection with the d i v i n e

(FG,V,403)—music itself i s " d e r Echo o d e r W i e d e r h a l l der

himmlischen Freuden"(FG,IV,91)—he shows i t i n S e e l e w i g to

be subject t o misuse, and employs i t as a v e h i c l e f o r i l l u -

sion, the r e s u l t being a scene o f h i g h dramatic tension,

which i s not the case i n Die Gluckseelige Seele.

Harsdflrffer's overall interest i n t h e e c h o as a s c i e n -

tific phenomenon and as a s o u r c e f o r the poet i s evident

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in the Mathematische Erquickstunden, i n w h i c h he discusses

not only the v a r i o u s surfaces and a n g l e s required to pro-

duce d i f f e r e n t qualities o f e c h o , b u t a l s o words w h i c h lend

themselves to echoic treatment i n l i t e r a t u r e . A word s u c h

as "unvermehrt," f o r i n s t a n c e , may be e c h o e d by any o f t h e

words " v e r m e h r t , " "mehrt" o r "ehrt"(ME,II,162), 5 3

where,

although t h e rhyme i s k e p t , t h e meanings a r e changed, as

additional syllables are discarded f o r each word. This may

be c a l l e d the d i m i n u t i o n p r i n c i p l e . A n o t h e r way of pro-

d u c i n g an e c h o i s t o u s e i n t e r n a l rhyme: "Horet mich Tochter

der Grtlfften ( i n Ltifften) e r s c h a l l e n " (ME,II,162;FG,V,636) .

These t e c h n i q u e s c a n be u s e d i n a d d i t i o n t o the possibili-

ties inherent i n end-rhyme. In Seelewig"s scene w i t h the

echo, the d i m i n u t i o n p r i n c i p l e and end-rhyme a r e applied:

"mich - i c h , " " k l a g - s a g , " "Welt - G e l d , " "mehr - e h r , " e t c .

(FG,IV,180-81). The diminution p r i n c i p l e i s used exclusively

in Die G l u c k s e e l i g e Seele: "mich - I c h , " "gebothe - Bothe,"

"hieher - Ehr," "Vorachten - achten," e t c . The first lines

of t h e s e echo s c e n e s i n e a c h work a r e , m o r e o v e r , closely

related as f a r as c o n t e n t i s c o n c e r n e d :

Die G l u c k s e e l i g e Seele:

"Ach wer errettet d o c h a u s s meinem E l e n d e m i c h ?

Echo: I c h "
Seelewig:

"Wer kan dann t r o s t e n mich? Echo: I c h . "

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The similarities i n t h e u s e o f t h e e c h o i n t h e two works

are remarkably c l e a r , but H a r s d o r f f e r does expand on t h e

dramatic p o s s i b i l i t i e s of the technique.

A l t h o u g h music i s t o be u s e d i n Die Gluckseelige Seele,

no notation i s given. Musical'interludes are r e s t r i c t e d to

the d u e t between t h e S o u l and t h e S e n s e s (I,iii), the cho-

ruses o f s h e p h e r d s between t h e a c t s , and t h e sound o f m u s i c

and t h e s a i n t l y and a n g e l i c ' c h o i r h e a r d when t h e S o u l arrives

in Heaven (V,iv). The d u e t i n t h e f i r s t a c t represents mu-

sic as a w o r l d l y temptation—it i s u s e d by t h e S e n s e s as a

means o f s e d u c i n g the Soul. In H a r s d f l r f f e r ' s terms, this

is a demonstration o f the "Missbrauch d e r Musik." The m u s i -

cal harmony h e a r d a t t h e end o f t h e p l a y a c t s as a c o n t r a s t ,

s h o w i n g t h a t m u s i c has i t s p r o p e r p l a c e i n heaven. The s u b -

ject o f music then appears b r i e f l y i n Die Gluckseelige Seele,

but i t does n o t p l a y a major r o l e . The e m p h a s i s i s rather

on presenting and s o l v i n g t h e c o n f l i c t between t h e body and

the soul through the i n t e r a c t i o n o f g e n e r a l i z e d allegorical

figures.

In Seelewig, this conflict i s a l s o the basis o f the

plot, but underlying i t , and o f e q u a l importance, i s the

p r o b l e m o f t h e u s e and m i s u s e o f m u s i c , e x p l a i n e d i n the

p r o l o g u e by t h e a l l e g o r i c a l figure representing Music:

Mein Hoher Adelstand l a s t mich n i c h t gar v e r l i g e n /

Ich muss/ i c h muss hervor und weisen/ was i c h kan!
 160

Mag i c h d i e Frevelwitz des Pflvels n i c h t vergnugen:

So wird mein" Ehre doch gelangen Himmel an.

Es hat vor dieser Welt der Engel-Chor e r s c h a l l e t /

Darnach i n Gottes Volk ward i c h mit seinem Wort/
Dass der Posaunen Ruf nur durch d i e Lufte wallet/
und ohne Schwertesstreich obsieget manchem Ort.

Der Harfen Wunderklang dem bflsen Geiste wehret/

und ware Trostes v o l l i n F a h r l i c h k e i t und Noht;
Dem Abendopfer g l e i c h / dardurch man hat geehret
mit stissem Lobgeruch den ewig grossen Gott.

Noch hat s i c h nach der Z e i t die Missvernunft gefunden/

und von des Tempels Thur mich zogen mit Gewalt.
Ich wurd der Knechtin g l e i c h mit Uppigkeit gebunden/
dass nach und nach mit mir d i e Gottes-Lieb' e r k a l t .

Obwol mein Kunstgeschmuck wurd eine Z e i t bereichet/

so gar dass i c h mit Z i e l und Grentzen wurd umschrenkt.
Doch hflrt man l e i c h t l i c h j e t z t / wie f e m e darvon weichet
der/ so nach seinem Kopf mit Grillwerk mich" behengt.

Das schwere Fesselband' i s t mir j e t z t abgefalien.

Dein F r e i h e i t l e i t e t mich zu Gottes Lob und Lehr'/
Und zu des Nechsten Lieb'. Ich lasse h i e r erschallen
E i n G e i s t l i c h e s Gedicht ohn e i t l e n Ruhm und Ehr.

Hflrt nun/ so euch b e l i e b t / wie schfln mit mir vermahlet

Die edle Reimenkunst/ d i e so v e r l i e b t i n mich/
Dass s i e mein Selbstwort h e i s t / von meinem Geist beseelet
Mein S p i e l / mein Hertz, mein Lieb', j a mein s e l b s t ander Ich.
(FG, IV,85-88).

Apart from p r o v i d i n g a summary o f some o f H a r s d f l r f f e r s 1

main

v i e w s on m u s i c , t h e s e v e r s e s s e t o u t t h e p r i m e aim o f Seel-

ewig : t o j o i n the a r t s o f music and p o e t r y i n a manner u s e -

ful t o man and p l e a s i n g t o God. The a r t of painting i s also

drawn i n by t h e u s e o f t h e f i g u r e "Die Mahlkunst" i n the

epilogue. The combination of a l l three arts on s t a g e i n t h e

f o r m o f m u s i c , words and p a i n t e d scenery, confirms that the

 161

medium i s the message. H a r s d f l r f f e r i s thus d e a l i n g with

concerns over and above those found i n Die G l u c k s e e l i g e

Seele; he uses the theme of the fundamental s t r u g g l e between

the body and the s o u l as a v e h i c l e f o r h i s a r t i s t i c ideas.

Such a use of the theme r e p r e s e n t s the main d i f f e r e n c e

between Seelewig and Die G l u c k s e e l i g e Seele, and i t i s the

b a s i c cause f o r o t h e r d i f f e r e n c e s : song as opposed to

speech; verse as opposed to prose; three a c t s as opposed to

f i v e ; the i n c l u s i o n of a l l e g o r i c a l f i g u r e s r e p r e s e n t i n g the

a r t s as opposed to a l l e g o r i c a l f i g u r e s s t a n d i n g only f o r good

and e v i l . N e v e r t h e l e s s , H a r s d f l r f f e r c l e a r l y had a high o p i -

n i o n of Die G l u c k s e e l i g e Seele, and the s i m i l a r i t i e s which

have been p o i n t e d out between the two works i n terms of p l o t ,

s p e c i f i c scenes and the use of the echo i n German c o n f i r m

t h a t he d i d have t h i s p l a y i n mind when w r i t i n g Seelewig.

H a r s d f l r f f e r s concern
1
f o r , and understanding o f , the

p r i n c i p l e s and problems of musical c o m p o s i t i o n — n o t only i n

Seelewig and other musico-dramatic works, but a l s o i n hymns

and songs i n g e n e r a l — d o not make him a Musicus P o e t i c u s i n

the s t r i c t sense of the term. In s p i t e of t h i s , h i s b e l i e f

i n the interdependence of the a r t s of music and poetry,

e v i d e n t i n h i s general statements and i n p r a c t i c e , b r i n g him

very c l o s e to e a r n i n g t h a t e p i t h e t i n a t h e o r e t i c a l sense.

He does not compose music h i m s e l f , but draws on existing

compositions, or works hand i n hand with the composer,

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h e l p i n g to t r a n s l a t e the mysterious system of musical

sounds i n t o a form which can be understood by a l l .

 163

Conclusion

The diversity o f m a t e r i a l used by H a r s d f l r f f e r i n

c o n n e c t i o n w i t h music illustrates n o t o n l y t h a t he h i m s e l f

was v e r y w i d e l y r e a d on t h e s u b j e c t , 1
but also that a single

theme i n t h e works o f a s e v e n t e e n t h - c e n t u r y w r i t e r can f i n d

expression i n a l l manner o f s e e m i n g l y unrelated areas.

The modern mind i s u n l i k e l y to find a connection between

the p l a n e t s , the American sloth and a l u t e , f o r example,

while i n H a r s d f l r f f e r s works t h e common d e n o m i n a t o r i s m u s i c .

1

Much o f t h e m u l t i f a r i o u s m a t e r i a l r e f e r r e d to i n this

inquiry can, i n a d d i t i o n , be s u b o r d i n a t e d t o two b a s i c prin-

ciples. The f i r s t i s t h e view o f music as a r e f l e c t i o n o f

universal harmony. I t i s as e v i d e n t i n H a r s d o r f f e r s s t a t e -
1

ments c o n c e r n i n g the e f f e c t s o f m u s i c on t h e s o u l and t h e

body, o r t h e w o r k i n g s o f a monochord, a s i t i s i n h i s u s e

of instruments as s u b j e c t m a t t e r i n a poem, o r t h e p l a c e and

f u n c t i o n o f music i n a dramatic setting: a l l are intended to

demonstrate the balance and o r d e r i n h e r e n t i n , and c o n v e y e d

by, the proper use o f music. Intimately associated with

the concept o f harmony i s t h e C h r i s t i a n w o r l d view, the

second b a s i c p r i n c i p l e w h i c h draws much o f t h e m a t e r i a l t o -

gether; the conception of h i s t o r y , the a s s o c i a t i o n o f the

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planets with C h r i s t i a n virtues, t h e messages o f many poems

and songs, and t h e p l o t of Seelewig, f o r example, a r e a l l

subsumed u n d e r this.

The i d e a o f m u s i c as a m y s t e r i o u s revelation of the

divine, as u l t i m a t e l y incomprehensible t o man, i s put for-

ward by H a r s d o r f f e r , b u t t h e e m p h a s i s i s n o t on s u b m i t t i n g

to the senses a s a way o f u n d e r s t a n d i n g i t , b u t by r e c o g -

nizing connections and d i s c o v e r i n g a systematic order, i n -

herent o r a p p l i e d , which appeal t o t h e powers o f t h e r e a s o n -

a b l e mind. Experimentation with t h e monochord, by means o f

which the p h y s i c a l laws on w h i c h m u s i c i s based reveal them-

selves as a c o m p r e h e n s i b l e system o f numbers, i s one example

of how t h e i n h e r e n t o r d e r i n m u s i c c a n be d i s c o v e r e d . This

order i s then applied t o t h e way i n w h i c h drums, b e l l s o r

other instruments a r e tuned and p l a y e d . The f a c t that the

American s l o t h was s e e n to utter sounds a c c o r d i n g t o m u s i c a l

0

principles also shows t h a t a system used forartistic pur-

poses c a n be d e m o n s t r a t e d i n nature.

From a p u r e l y a r t i s t i c p o i n t o f v i e w , a s s o c i a t i o n with

t h e word i s t h e means b y w h i c h t h e a t t e m p t i s made t o reduce

the mysterious nature o f music t o a comprehensible form.

That this i s ultimately impossible i s e v i d e n t i n Hars-

dflrffer's definition ofamajor aspect of poetic language,

the "Gleichniss"—it c a n make a c c e s s i b l e what i s b e y o n d

human u n d e r s t a n d i n g o n l y b y means o f s u g g e s t i o n and a n a l o g y .

 165

N e v e r t h e l e s s , the importance o f the word f o r attempting to

e x p l a i n o r t r a n s l a t e music cannot be overestimated.

I t i s i n t h i s context t h a t the use of m u s i c o - r h e t o r i -

cal f i g u r e s i n general becomes very s i g n i f i c a n t , f o r by

a p p l y i n g the formal aspects o f language t o music, e s p e c i a l l y

to i n s t r u m e n t a l works, the composer i s not o n l y s u p p l y i n g

criteria by which h i s music can be judged intellectually,

but i s a l s o connecting the two a r t s i n such a way t h a t the

music, i t s beauty o f form and e x p r e s s i o n , can only be appre-

c i a t e d f u l l y when seen i n terms o f f e a t u r e s p r o p e r l y be-'

l o n g i n g t o language.

T h i s i s not to suggest, however, t h a t the emotional

response t o music i s i g n o r e d . Both Herbst and H a r s d o r f f e r

insist t h a t the purpose of music i s t o move the emotions.

But i n view o f the dangers which H a r s d f l r f f e r sees lying i n

wait here under the general heading of "misuse," they are

p r i m a r i l y to be d i r e c t e d by the understanding, r a t h e r than

being g i v e n f r e e r e i n . There i s no i n d i c a t i o n t h a t they

cannot be f e l t i n t e n s e l y , however. The combination o f music

and words o r aspects of language i s the most e f f e c t i v e way

of moving the emotions and r e a c h i n g the understanding a t

the same time, and t h a t i s why i n a v o c a l context the need

for intelligible a r t i c u l a t i o n by the s i n g e r i s o f v i t a l im-

portance. In t h i s r e s p e c t , music i s not intended as accom-

2
paniment o n l y , o r as "blosse Stimmung," f o r i t i n turn
 166

heightens the l i s t e n e r ' s response to the message by inten-

s i f y i n g the meaning of the language. The view t h a t "Spra-

3
che wird zur Musik" i n H a r s d f l r f f e r s case thus becomes
1

extremely s u s p e c t — i t should i n f a c t be the o t h e r way round:

"Musik w i r d zur Sprache."

The combination of the a r t s of music and p o e t r y i n a

t h e a t r i c a l s e t t i n g i s a l s o to appeal to the senses, to move

the emotions, and to s t i m u l a t e the i n t e l l e c t u a l faculties.

In a d d i t i o n to responding to the meaning of the words,

the l i s t e n e r must a l s o be aware of the "meaning" of the

sounds made by the v a r i o u s instruments, t h a t i s to say, the

symbolism a t t a c h e d to each of them. Furthermore, as the

m a t e r i a l t o be t r e a t e d i s not n e w — i n the case of Seelewig,

f o r i n s t a n c e , i t i s drawn not o n l y from the general t r a d i -

t i o n , but a l s o from a s p e c i f i c German s o u r c e — t h e emphasis

i s not o n l y on the d i d a c t i c p o i n t , but a l s o on how effec-

t i v e l y the theme and i t s message i s put a c r o s s . In order to

make judgements i n t h i s regard, the s p e c t a t o r or listener

r e q u i r e s some knowledge of the techniques of the poet and

composer, and i t i s t h i s type of knowledge which H a r s d f l r f f e r

passes on i n much of h i s w r i t i n g , p r o v i d i n g the reader and

l i s t e n e r with the b a s i c t o o l s f o r a p p r e c i a t i n g a work of

art intellectually.

The way i n which H a r s d f l r f f e r h i m s e l f uses such tools

i n p r o v i d i n g new words to e x i s t i n g melodies g i v e s some i n -

d i c a t i o n o f the c r e a t i v e process a t work. He i s not i n -

s p i r e d by the music i n the sense that he i s t r a n s p o r t e d

i n rapture by the sound, and moved t o pour out h i s soul

on paper. On the c o n t r a r y , the melodies f i r s t l y are chosen

because o f t h e i r p o p u l a r i t y , not t h e i r e f f e c t , and secondly

they are i n t e r p r e t e d above a l l according to t h e i r technical

and formal aspects which are then r e f l e c t e d i n the language

The order i n one system i s transposed .into the o t h e r .

This a l s o a p p l i e s t o the a p p l i c a t i o n o f m u s i c a l i n t e r v a l s

and the names o f notes t o p o e t r y . The g r e a t e r the number

of s i m i l a r i t i e s which can be found i n d i f f e r e n t areas, the

nearer an a p p r e c i a t i o n of a basic truth.

The necessity f o r a framework o f r u l e s f o r judging

and c r e a t i n g works o f a r t , whether p o e t i c o r m u s i c a l , i s

therefore o f great importance. Almost o f equal signifi-

cance f o r H a r s d f l r f f e r are the a c o u s t i c elements. His i n -

t e r e s t i n the sounds o f instruments, as w e l l as the views

t h a t music o r i g i n a t e d as an i m i t a t i o n o f n a t u r a l sounds,

or t h a t the sense o f h e a r i n g has a great e f f e c t on the mind

i s general evidence o f t h i s . From a p o e t i c p o i n t o f view,

his concern f o r sound i s t o be found i n h i s a p p l i c a t i o n o f

the n a t u r a l rhythms o f spoken words i n p o e t r y , h i s use o f

onomatopoeia, assonance, i n t e r n a l rhyme, e t c . , and h i s man-

ner o f t e s t i n g a poem t o determine i t s m e l l i f l u e n c e . The

f a c t t h a t there are no man-made r u l e s f o r u l t i m a t e l y deter-

 16

m i n i n g what sounds r i g h t puts t h e onus once more on the

ability o f the poet o r listener to judge--judgement which

is based n o t so much on intuition as on knowledge a c q u i r e d

through learning and experience.

Correct sounding v e r s e and m u s i c are connected inso-

far as b o t h reach the u n d e r s t a n d i n g through the sense of

hearing, and b o t h use techniques i n t e n d e d t o movei.the emo-

tions and p l e a s e the i n t e l l e c t . Both are a l s o based on

the use o f rhythm, b u t i n H a r s d f l r f f e r ' s p o e t r y i t a p p e a r s

as a r e g u l a r l y recurring pattern, while i n music of this

time, this i s not n e c e s s a r i l y the case. As a result, the

idea t h a t p o e t r y t a k e s on the c h a r a c t e r i s t i c s o f music i f

it has a r e g u l a r beat cannot be assumed i n a seventeenth-

century context. The two arts a r e i n any case essentially

different media—different links i n the c h a i n - - b u t they rely

on t h e same b a s i c p r i n c i p l e s td a c h i e v e t h e same ends.

The principles underlying Harsdorffer's selection of

material t o be p a s s e d on t o h i s r e a d e r , and t h e way in

w h i c h he p a s s e s i t on, throw c o n s i d e r a b l e l i g h t on h i s con-

c e p t i o n of the function and use o f knowledge. I t has been

demonstrated a number o f t i m e s that information concerning

t h e same t o p i c i s chosen from v a r i o u s s o u r c e s , y e t a l l v e r -

s i o n s have t h e w e i g h t of a u t h o r i t y behind them, and this is

sufficient justification. " F o r t h e mind and t h e memory a r e

more s h a r p l y e x e r c i s e d i n comprehending a n o t h e r man's t h i n g s

 169

than our own, and such as accustom themselves and are f a -

m i l i a r with the b e s t authors shall e v e r and anon f i n d some-

what o f them i n t h e m s e l v e s , and i n the e x p r e s s i o n of their

m i n d s , e v e n when t h e y feel i t n o t , be able to u t t e r some-

thing like t h e i r s which hath an authority above t h e i r own.

Nay, sometimes i t i s t h e r e w a r d o f a man's s t u d y , the praise

4

of quoting another man fitly." Reiterating reliable sour-

c e s may then t o some e x t e n t be seen as an end in itself.

F o r t h e modern r e a d e r , t h e result i s the d i s c o v e r y

of a number o f c o n t r a d i c t i o n s . As a consequence, i t is

not always p o s s i b l e to determine what H a r s d f l r f f e r himself

thought about a p a r t i c u l a r view o r e x p l a n a t i o n . The impor-

tance f o r him lies primarily i n p a s s i n g on existing know-

ledge, and the problem of c o n t r a d i c t i o n i n such cases i s

clearly irrelevant from h i s p o i n t of view. Nevertheless,

his eclectic use o f e x i s t i n g m a t e r i a l does d e m o n s t r a t e his

implicit belief i n the v e r a c i t y of r e l i a b l e s o u r c e s , as well

as i n the fact t h a t w r i t i n g s from a l l ages and a l l countries

have s o m e t h i n g t o c o n t r i b u t e t o man's u n d e r s t a n d i n g of God,

o f h i m s e l f , and of the w o r l d around him. The realm of hu-

man knowledge i s n o t bound by restrictions of time or p l a c e .

Knowledge and experience are t h e r e f o r e gained primarily

from w r i t t e n s o u r c e s . Yet the r e s u l t s of p r a c t i c a l expe-.v

rience g i v e n i n a few sources i n some c a s e s oppose t h e tradi-

tional views—the ostensible a n t i p a t h y between w o l f gut and

 170

sheep g u t strings is a vivid example, where t h e results

of experimentation show t h a t what had been h e l d as true by

authorities i s not substantiated in fact. The important

point i n H.arsdflrf f e r ' s c a s e i s t h a t he does n o t reject the

results of contemporary scientific investigation out of

hand. On the c o n t r a r y , both explanations concerning the

gut strings a p p e a r s i d e by side, as do the c o n t r a d i c t o r y

statements concerning the P t o l e m a i c and Copernican solar

systems.

Y e t no attempt i s made t o r e c o n c i l e the opposing evi-

dence, d e m o n s t r a t i n g t h a t H a r s d f l r f f e r was not concerned with

finding out the facts for himself. It i s therefore unlikely

that he had actually carried out experiments with the dif-

ferent types of s t r i n g s , f o r example, o r i n d e e d t h a t he had

actually seen and heard an A m e r i c a n sloth. Once a g a i n , i t

is t h e p a s s i n g on of i n f o r m a t i o n which i s important, not the

results of personal experience. Nevertheless, the m a t e r i a l

which H a r s d f l r f f e r chooses to p r e s e n t shows t h a t he was

a b r e a s t of developments i n the area of p r a c t i c a l science,

but i t a l s o marks him as one who was not fully prepared to

g i v e up traditional views o r the traditional ways o f ex-

plaining and d e s c i b i n g n a t u r a l phenomena.

In a p u r e l y a r t i s t i c c o n t e x t , on t h e o t h e r hand, the

practical s i d e o f H a r s d f l r f f e r emerges. Although he is fol-

lowing i n the f o o t s t e p s of notable predecessors i n supplying

 171

a framework o f p o e t i c rules, he provides p r a c t i c a l examples

of h i s own i n v e n t i o n r a t h e r than relying exclusively on

those drawn from other sources. He,is furthermore very

much c o n c e r n e d with the p r a c t i c a l aspects of s t a g i n g musico-

dramatic works, r a n g i n g from the use o f music to cover up

the n o i s e o f s c e n e r y c h a n g e s , t o t h e most e c o n o m i c a l way of

putting on a performance. There a r e t h e r e f o r e two main

sides t o t h e manner i n w h i c h he p r e s e n t s h i s m a t e r i a l - -

one i s caught up i n the realm of p h i l o s o p h i c a l s p e c u l a t i o n ,

and d e a l s p u r e l y w i t h ideas.., t h e o t h e r i s c l o s e l y i n touch

with the p r a c t i c a l artistic needs o f t h e time.

The desirable epithet f o r a seventeenth-century German

w r i t e r was not so much " b r i l l i a n t in his f i e l d , " as i t might

be for a writer today--although some p r o f e s s i o n a l musicians

were s e e n i n terms a p p r o a c h i n g this—but "world famous and

l e a r n e d , " words w i t h a v e r y w i d e b a s e , and regularly applied

to Harsdflrffer i n h i s time. From a s p e c i f i c a l l y musical

p o i n t o f v i e w , he amply d e m o n s t r a t e s his learning in a l l

three areas of music c o n s i d e r e d s i g n i f i c a n t i n h i s day. In

terms o f t h e M u s i c u s T h e o r e t i c u s he approaches the s u b j e c t

from a philosophical, s p e c u l a t i v e s t a n d p o i n t , and demon-

strates his familiarity w i t h m a j o r themes i n t h i s area. At

times, p a r t i c u l a r l y i n the case of the m u s i c a l modes,"he

adapts prevailing t h e o r i e s f o r h i s own purposes. From the

point of view of the Musicus Practicus, he delves into the

 172

topical questions of the tuning of musical instruments,

their f u n c t i o n on s t a g e and t h e i r symbolism. In a d d i t i o n ,

his use o f m u s i c a l terminology shows him t o have a c o n s i -

derable grasp of the t e c h n i c a l side o f the s u b j e c t . His

treatment o f m a t e r i a l under the t i t l e Musicus Poeticus

illustrates above a l l how a p o e t can apply h i s musical know-

ledge t o h i s own a r t . H a r s d o r f f e r draws on themes f o u n d in-

the p h i l o s o p h i c a l a r e a , and i n c o r p o r a t e s them i n t o h i s own :

works o f a r t . The p r o l o g u e t o Seelewig i n particular out-

lines some o f t h e themes, and p r o v i d e s the p h i l o s o p h i c a l

background to the opera. H a r s d o r f f e r a l s o uses the t e c h -

nical aspects o f music, not o n l y i n d e s c r i b i n g and w r i t i n g

poetry, b u t a l s o i n p r o v i d i n g new words t o e x i s t i n g songs.

H i s knowledge o f m u s i c a s w e l l a s h i s p o e t i c expertise•isi

furthermore p u t t o good u s e i n h i s c l o s e c o l l a b o r a t i o n with

S t a d e n on S e e l e w i g . T h i s work c a n now be s e e n as h a v i n g

a definite place i n the l i t e r a r y pastoral tradition o f Ger-

many i n a d d i t i o n t o i t s g e n e r a l associations with the opera-

tic pastoral tradition-;of Italy. In the s t r i c t sense o f

the terms, H a r s d f l r f f e r i s not a Musicus T h e o r e t i c u s , Musicus

Practicus o r a Musicus P o e t i c u s , s i n c e he d i d n o t w r i t e

specific works i n any o f t h e t h r e e areas. He n e v e r t h e l e s s

shows t h a t he i s c o m p e t e n t to deal with the s u b j e c t o f

music i n an e x t e n s i v e way i n a l l k i n d s of other works.

For Harsdflrffer, a l l areas o f knowledge and e n d e a v o u r

 173

are potential h u n t i n g g r o u n d s f o r t h e human m i n d . Further-

more, f a c t o r s of periodization and c l a s s i f i c a t i o n o f these

a r e a s do n o t p r e s e n t t h e m s e l v e s as b a r r i e r s f o r him a s t h e y

tend t o do f o r us t o d a y . As a r e s u l t , this inquiry into

a non-literary a s p e c t o f t h e works o f a s e v e n t e e n t h - c e n t u r y

writer i s sufficiently justified. F o r i t i s by t a k i n g into

account the extent of Harsdflrffer's intellectual pursuits

and the i n t e r a c t i o n of h i s intellectual involvements that

an u n d e r s t a n d i n g o f h i s m o t i v a t i o n s and i n t e n t i o n s c a n be

reached.

Certain a r e a s c o v e r e d by H a r s d f l r f f e r still present prob-

lems f o r t h e t w e n t i e t h - c e n t u r y . The u s e o f m u s i c a l n o t a t i o n

to d e s c r i b e p o e t i c m e t r e i s one c a s e i n point, and t h e

attempt has b e e n made h e r e t o show t h a t t h e two r e a l l y have

little i n common. In a d d i t i o n , t h e answers t o some o f t h e

questions Harsdflrffer addresses can s t i l l o n l y be guessed

at, especially t h o s e c o n c e r n i n g m u s i c and i t s e f f e c t s on

man. Yet Harsdflrffer, relying on t h e framework o f u n i v e r -

sal harmony and t h e o v e r a l l C h r i s t i a n world view, i s a b l e t o

confront and e x p l a i n such things, and t o a c c e p t t h a t t h e

ultimate answers cannot be f o u n d i n this world.

List of Abbreviations i n t h e N o t e s and Bibliography

A f MW Archiv fur Musikwissenschaft

AM Acta Musicologica

GLL German Language and Literature

Groves The New Grove D i c t i o n a r y o f M u s i c and Musicians

JEGP Journal o f E n g l i s h and German P h i l o l o g y

MD Musica Disciplina

Mf M Monatshefte fur Musikgeschichte

MGG Musik i n G e s c h i c h t e und Gegenwart

SIMG Sammelbande d e r internationalen Musikgesellschaft

Those e n t r i e s i n the b i b i o g r a p h y f r o m t h e F a b e r du Faur

or Jantz Collections a r e marked "FdF" or " J " with the

appropriate number.
 175

Introduction: Notes

A. Harman and A. M i l l e r , Man and H i s M u s i c : L a t e

R e n a i s s a n c e and B a r o q u e M u s i c , I I (New Y o r k : S c h o c k e n ,
1962), p. 156. R e n a t e B r o c k p a h l e r , Handbuch z u r G e s c h i c h t e
d e r B a r o c k o p e r i n D e u t s c h l a n d ( E m s d e t t e n : L e c h t e , 1964),
p. 300. A r t h u r S c h e r l e , Das d e u t s c h e O p e r n l i b r e t t o von
O p i t z b i s H o f m a n n s t h a l , D i s s . M u n i c h , 1954, p . 12. P.H.
L a n g , M u s i c i n W e s t e r n C i v i l i s a t i o n (New Y o r k : N o r t o n ,
1941), p. 404. The o p e r a D a f n e by O p i t z and S c h u t z was
w r i t t e n i n 1627, b u t as t h e m u s i c i s l o s t , S e e l e w i g e a r n s
the t i t l e o f f i r s t e x t a n t German o p e r a . The e x i s t e n c e o f
D a f n e i s b e h i n d t h e r e f e r e n c e t o S e e l e w i g as t h e s e c o n d
German o p e r a , as i n K. S t o r c k , G e s c h i c h t e d e r M u s i k ( S t u t t -
g a r t : Muth, 1910), p. 285.

2
G e o r g A d o l f N a r c i s s , S t u d i e n zu den F r a u e n z i m m e r -
g e s p r a c h s p i e l e n Georg P h i l i p p H a r s d f i r f f e r s : E i n B e i t r a g z u r
deutsishen L i t e r a t u r g e s c h i c h t e des 17. J a h r h u n d e r t s ( L e i p z i g :
E i c h b l a t t , 1928), p. 117, and K.G. K n i g h t , "G.P. Harsdfirf-
f e r ' s F r a u e n z i m m e r g e s p r a c h s p i e l e , " GLL, 13 (1959-60), 119.
3
Wolfgang Kaspar P r i n t z , H i s t o r i s c h e Beschreibung
d e r E d e l e n S i n g - und K l i n g - K u n s t ( D r e s d e n : M i e t h , 1690),
pp. 165-66.

Johann G o t t f r i e d Walther, M u s i k a l i s c h e s L e x i c o n oder

4

Musikalische Bibliothek. Documenta M u s i c o l o g i c a , I I I

(1732; f a c s i m i l e r p t . K a s s e l , B a s e l : B a r e n r e i t e r , 1953),
p. 576.

5
Johann R i s t , Neuer H i m l i s c h e r L i e d e r Sonderbahres
Buch ( L u n e b u r g : S t e r n , 1651), p r e f a c e , n.p.

C h a r l e s Burney, A G e n e r a l H i s t o r y o f Music from the

E a r l i e s t Ages t o t h e P r e s e n t P e r i o d , I I (1789; r p t . New York:
H a r c o u r t , B r a c e , n . d . ) , p. 456. A s i m i l a r statement appears
a l m o s t f i f t y y e a r s l a t e r i n George H o g a r t h , M u s i c a l H i s t o r y ,
B i o g r a p h y and C r i t i c i s m (London: P a r k e r , 1838), p. 94.
 176

7
As i n C a r l v o n W i n t e r f e l d , " M u s i k t r e i b e n und M u s i k -
e m p f i n d e n im s e c h z e h n t e n und s i e b z e h n t e n J a h r h u n d e r t e , "
appended t o V o l . I I o f Zur G e s c h i c h t e h e i l i g e r Tonkunst,
2 v o l s , i n 1 (1850; f a c s i m i l e r p t . H i l d e s h e i m : Olms, 1966),
pp. 291-92.

8
August Reissmann, A l l g e m e i n e G e s c h i c h t e d e r Musik,
I I (Mtinchen: Bruckmann, 1864), p p . 159-65, 59-73 ( n o t a t i o n
has s e p a r a t e p a g i n a t i o n ) .

9
Robert E i t n e r , " S e e l e w i g , " MfM,13 ( 1 8 8 1 ) , p . 56.

Eugen S c h m i t z , " Z u r m u s i k g e s c h i c h t l i c h e n B e d e u t u n g
der Harsdflrfferschen 'Frauenzimmergesprachspielen*,"
F e s t s c h r i f t zum 90. G e b u r t s t a g v o n R o c h u s , F r e i h e r r v o n
L i l i e n c r o n ( L e i p z i g : B r e i t k o p f and H a r t e l , 1910), p p . 254-
277.

1 1
Lang, p . 404.

12
Ludwig S c h i e d e m a i r , D i e d e u t s c h e Oper: Grundzuge
i h r e s Werdens u n d Wesens ( L e i p z i g : Q u e l l e a n d Meyer, 1930),
p . 21.
13
Scherle, p . 15.
14
Donald J . Grout, A S h o r t H i s t o r y o f Opera, 1 s t ed.
(New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1947), p . 152n.
15
James Haar, " A s t r a l M u s i c i n S e v e n t e e n t h - C e n t u r y
Nuremberg: The T u g e n d s t e r n e o f H a r s d f l r f f e r a n d S t a d e n , "
MD, 16 ( 1 9 6 2 ) , 176.

^ Grout; A Short H i s t o r y o f Opera, 2nd e d . , 19 65, p .

115n.

17
James Haar, The T u g e n d s t e r n e o f H a r s d f l r f f e r and
S t a d e n : An E x e r c i s e i n M u s i c a l Humanism. Musicological
S t u d i e s and Documents, 14 ( n . p . A m e r i c a n I n s t i t u t e o f
M u s i c o l o g y , 1965).
18
P e t e r K e l l e r , "New L i g h t on t h e T u g e n d s t e r n e o f
H a r s d f l r f f e r and S t a d e n , " MD,24-25 ( 1 9 7 1 ) , 223-27.
 177

19
P e t e r K e l l e r , D i e Oper S e e l e w i g von Sigmund T h e o p h i l
S t a d e n und G e o r g P h i l i p p H a r s d f l r f f e r . P u b l i k a t i o n e n der
S c h w e i z e r i s c h e n M u s i k f o r s c h e n d e n G e s e l l s c h a f t , I I , 29 ( B e r n ,
S t u t t g a r t : Haupt, 1977).

2 0
Groves, pp. 258-59.

21
A l f o n s O t t , "Von d e r f r u h d e u t s c h e n Oper zum
d e u t s c h e n S i n g s p i e l , " M u s i k i n B a y e r n , I, e d . R o b e r t Mun-
s t e r and Hans Schmid ( T u t z i n g : S c h n e i d e r , 1972), p. 165, and
A l f r e d L o e w e n b e r g , A n n a l s o f O p e r a , 1597-1940 (London:
C a l d e r , 1978), c o l . 23.
22
S o p h i a E l i s a b e t h , H e r z o g i n zu B r a u n s c h w e i g -
L u n e b u r g , B e s c h r e i b u n g des F r e u d e n - F e s t i n s , w e l c h e s . . .
S o p h i a E l i s a b e t h . . . a u f f den G e b u r t s - T a g i h r e s H e r r n
A u g u s t i . . . a n g e s t e l l e t , w e l c h e r gewesen d e r 10. A p r i l i s ,
Im J a h r 1654 (no i m p r . ) .
23
F r e d e r i c k R o b e r t Lehmeyer, The " S i n g s p i e l e " o f
Anton U l r i c h von B r a u n s c h w e i g , D i s s . B e r k e l e y , 1971, p.4.
24
Loewenberg, c o l s . 23-24.
25
See, F e r d i n a n d van I n g e n , " B e r i c h t fiber d i e , S e e l e w i g 1

A u f f u h r u n g i n U t r e c h t , " I n s z e n i e r u n g und R e g i e b a r o c k e r
Dramen, e d . M a r t i n B i r c h e r (Hamburg: H a u s w e d e l l , 1976),
pp. 69-73, and F e r d i n a n d v a n I n g e n and Kees V e l l e k o o p ,
Programme Book f o r t h e P e r f o r m a n c e ,of S e e l e w i g in' U t r e c h t ,
1975.
26
Narciss, p. 58.

27
Narciss, pp. 158-63.

28
E l i a s Caspar Reichard, Versuch e i n e r H i s t o r i e der
d e u t s c h e n S p r a c h k u n s t (Hamburg: M a r t i n i , 1747), pp. 131-43.

29
Johann G a b r i e l Doppelmayr, H i s t o r i s c h e N a c h r i c h t von
den N u r n b e r g i s c h e n M a t h e m a t i c i s und K u n s t l e r n (1730; f a c s i m i l e
r p t . H i l d e s h e i m : Olms, 1972), pp. 98-100, and G e o r g A n d r e a s
W i l l , N u r n b e r g i s c h e r G e l e h r t e n l e x i c o n (Ntirnberg: S c h u p f e l ,
1755), pp. 34-39.
 178

30
See, f o r example, t h e d i s p a r a g i n g remarks made on
"Poetische T r i c h t e r " i n G o t t l i e b S t o l l e , A n l e i t u n g zur
H i s t o r i e d e r G e l a h r t h e i t ( J e n a : h e i r s o f J o h a n n Meyer,
1736), p . 174.

31
H a r s d f l r f f e r does n o t a p p e a r f o r i n s t a n c e i n
C h r i s t i a n Schmid, A n w e i s u n g d e r v o r n e h m s t e n B u c h e r i n a l i e n
T h e i l e n d e r D i c h t k u n s t ( L e i p z i g : Weygand, 1 7 8 1 ) .
32
J u l i u s Tittmann, Die Nurnberger D i c h t e r s c h u l e :
H a r s d f l r f f e r , K l a j , B i r k e n (1847; r p t . W i e s b a d e n : S a n d i g ,
1965), and T h e o d o r B i s c h o f f , "Georg P h i l i p p H a r s d o r f f e r .
E i n Z e i t b i l d aus dem 17. J a h r h u n d e r t , " F e s t s c h r i f t z u r 250-
j a h r i g e n J u b e l f e i e r des P e g n e s i s c h e n Blumenordens g e g r u n d e t
i n N u r n b e r g am 16. O k t o b e r , 1644 ( N u r n b e r g : S c h r a g , 1894) •
33
Wolfgang Kayser, Die K l a n g m a l e r e i b e i H a r s d f l r f f e r .
P a l a e s t r a , 179 ( G f l t t i n g e n : Vandenhoeck and R u p r e c h t , 1962) .
J o h n Edward O y l e r , The Compound Noun i n H a r s d f l r f f e r ' s
'Frauenzimmer G e s p r a c h s p i e l e ' , D i s s . N o r t h w e s t e r n , 1957.
S i e g f r i e d F e r s c h m a n n , D i e P o e t i k G.P. H a r s d f l r f f e r s . Ein
B e i t r a g z u r D i c h t u n g s t h e o r i e des B a r o c k , D i s s . V i e n n a , 1964.
34
L e o n a r d F o r s t e r , " H a r s d f l r f f e r s Canon o f German
1

Baroque A u t h o r s , " E r f a h r u n g und U b e r l i e f e r u n g . . F e s t s c h r i f t

f o r C P . M a g i l l , e d . H. S i e f k e n and A. R o b i n s o n ( C a r d i f f :
U n i v e r s i t y of_ Wales P r e s s , 1 9 7 4 ) .
35
G i l b e r t J . Jordan, "Theater Plans i n Harsdoerffer's
F r a u e n z i m m e r G e s p r a e c h s p i e l e , " JEGP, 42 ( 1 9 4 3 ) , 475-91.
36
A l b e r t Krapp, Die a s t h e t i s c h e n Tendenzen H a r s -
dflr'ffers. B e r l i n e r B e i t r a g e z u r G e r m a n i s c h e n und Romani-
s c h e n P h i l o l o g i e , XXV ( B e r l i n : E b e r i n g , 1903). K a r l - A u g u s t
K r o t h , D i e m y s t i s c h e n und m y t h i s c h e n W u r z e l n d e r a s t h e t i -
s c h e n T e n d e n z e n G.P. H a r s d o r f f e r s , D i s s . M u n i c h , 1921.
37
E r i c h Kuhne, E m b l e m a t i k und A l l e g o r i e i n G. Ph.
H a r s d f l r f f e r s ' G e s p r a c h s p i e l e n ' 1644-1649, D i s s . V i e n n a ,
1932.

W o l f g a n g M i e d e r , "Das Schauspiel Teutscher Sprich-

w f l r t e r o d e r G.P. H a r s d f l r f f e r s E i n s t e l l u n g zum S p r i c h w o r t , "
D a p h n i s , 3 ( 1 9 7 4 ) , 178-95.
 179

39
J o h n G. R o b e r t s o n , A H i s t o r y o f German L i t e r a t u r e ,
4th e d . , r e v . Edna P u r d i e (New Y o r k : B r i t i s h Book C e n t r e ,
1962), p . 181.

40
K r o t h , p . 101; and, w i t h r e s p e c t t o t h e Nuremberg
p o e t s i n g e n e r a l , C o n r a d Wiedemann, e d . J o h a n n K l a j :
F r i e d e n s d i c h t u n g e n und k l e i n e r e p o e t i s c h e S c h r i f t e n .
D e u t s c h e N e u d r u c k e ( T u b i n g e n : N i e m e y e r , 1 9 6 8 ) , p . 13*.
R e i t e r a t e d by B l a k e Lee S p a h r , " N u r n b e r g s S t e l l u n g im
l i t e r a r i s c h e n L e b e n des 17. J a h r h u n d e r t s , " S t a d t , S e h u l e ,
U n i v e r s i t a t , Buchwesen und d i e d e u t s c h e L i t e r a t u r im 17.
J a h r h u n d e r t , e d . A l b r e c h t Schflne (Munchen: Beck, 1976),
p . 75.
41
In W i l l i Flemming,.Die O p e r . Deutsche L i t e r a t u r i n
E n t w i c k l u n g s r e i h e n , 13b:5 ( L e i p z i g : Reclam, 1 9 3 3 ) .
42
Narciss, pp. 93-96.
43
R o s m a r i e Z e l l e r , S p i e l und K o n v e r s a t i o n im B a r o c k :
U n t e r s u c h u n g e n zu H a r s d f l r f f e r s ' G e s p r a c h s p i e l e n ' " (Berlin,
New Y o r k : de G r u y t e r , 1974)^, pp. 117-23.
44
Kuhne, p . 70, and K r a p p , pp. 69 and 70

45
Krapp, p. 70.

46
Ferschmann, p. 158.

47
K r o t h , p. 101.

48
Wiedemann, p . 13*.

49
C a l v i n S. Brown, "The R e l a t i o n s between M u s i c and
L i t e r a t u r e as a F i e l d o f S t u d y , " C o m p a r a t i v e L i t e r a t u r e ,
X X I I , 2 ( S p r i n g , 1970), 98-99.

50
See f o r example, S e t h u s C a l v i s i u s , E x e r c i t a t i o M u s i c a
t e r t i a (.1611) , p. 11. Appended t o E x e r c i t a t i o n e s M u s i c a e
duae (1600; f a c s i m i l e r p t ; H i l d e s h e i m , New Y o r k : Olms, 1973) .
51
See R. H i n t o n Thomas, P o e t r y and Song i n t h e German
Baroque: A Study o f the Continuo L i e d (Oxford: Oxford U n i -
 180

v e r s i t y P r e s s , 1963), w h i c h d e a l s w i t h t h e i n t e r a c t i o n o f
m u s i c i a n s and p o e t s a t t h i s t i m e , and i s drawn on f o r much
of t h i s paragraph. *

52
H a r s d f l r f f e r h i m s e l f n e a r t h e end o f h i s l i f e i s
n o t e d as b e i n g " z u r Z e i t B u r g e r m e i s t e r " i n Nuremberg.
Appended t o a d e d i c a t o r y poem i n G e o r g Neumark, F o r t g e -
p f l a n t z t e r M u s i k a l i s c h - P o e t i s c h e r L u s t w a l d ( J e n a : Sengen-
wald,1657),n.p.
53
F o r an a s s e s s m e n t o f H a r s d f l r f f e r as a t r a n s l a t o r ,
see G e r h a r d H o f f m e i s t e r , D i e s p a n i s c h e D i a n a i n D e u t s c h -
land. P h i l o l o g i s c h e S t u d i e n und Q u e l l e n , 68 ( B e r l i n : E r i c h
S c h m i d t , 1972), e s p . p p . 50-54.
54
In Leonhard W u r f b a i n , V i e r U n t e r s c h i e d l i c h e R e l a -
t i o n e s H i s t o r i c a e ( N u r n b e r g : E n d t e r , 1636), l a s t unnumbered
page. The poem i s n o t I t a l i a n as s t a t e d by H a r o l d J a n t z ,
German B a r o q u e L i t e r a t u r e . A d e s c r i p t i v e Catalog o f the
C o l l e c t i o n o f H a r o l d J a n t z , I I (New Haven: R e s e a r c h P u b l i -
c a t i o n s I n c . , 1974), p . 388; and G e r h a r d Dunnhaupt, B i b l i o -
g r a p h i s c h e s Handbuch d e r B a r o c k l i t e r a t u r , I I , 2, H i e r s e -
manns B i b l i o g r a p h i s c h e H a n d b u c h e r ( S t u t t g a r t : H i e r s e m a n n ,
1 9 8 1 ) , p . 778.

5 5
S p a h r , p p . 75-77.

56
T h e o d o r Wohnhaas, " D i e E n d t e r i n N u r n b e r g a l s M u s i k -
d r u c k e r und M u s i k v e r l e g e r : E i n e U b e r s i c h t , " Q u e l l e n s t u d i e n
z u r M u s i k : W o l f g a n g S c h n e i d e r zum 70. G e b u r t s t a g , e d . K.
D o r f m u l l e r ( F r a n k f u r t , L o n d o n , New Y o r k : P e t e r s , 1972), .,
p. 197, and, b y t h e same a u t h o r , "Zum N u r n b e r g e r M u s i k d r u c k
und M u s i k v e r l a g im 16.. und 17. J a h r h u n d e r t , " G u t e n b e r g
J o u r n a l (1973), 337-43.
57
In G o t t l i e b Krause, e d . Der F r u c h t b r i n g e n d e Gesell-
s c h a f t a l t e s t e r E r t z s c h r e i n : B r i e f e , D e v i s e n und a n d e r -
weitige S c h r i f t s t u c k e . Urkundlicher Beitrag zur Geschichte
d e r d e u t s c h e n S p r a c h g e s e l l s c h a f t e n im 17. J a h r h u n d e r t (1855;
f a c s i m i l e r p t . H i l d e s h e i m , New Y o r k : 01ms, 1973), p p . 311-

Letter from H a r s d f l r f f e r t o Ludwig von A n h a l t ,

J u n e 8, 1642. I n K r a u s e , p p . 312-14.
 181

C h a p t e r One: N o t e s

J o h a n n A n d r e a s H e r b s t , M u s i c a P o e t i c a , S i v e Com-
pendium M e l o p o e t i c u m ( N u r n b e r g : Dumler, 1643), p . 1.
H e r b s t a l s o r e f e r s t o M u s i c a T h e o r e t i c a as M u s i c a T h e o r i c a ,
i n Musica P r a c t i c a , S i v e I n s t r u c t i o p r o Symphoniacis
( N u r n b e r g : Dumler, 1642), p . 1.

2
B o e t h i u s , De I n s t i t u t i o n e M u s i c a , I , 2, i n W.
O l i v e r Strunk, ed. Source Readings i n M u s i c a l H i s t o r y
(New Y o r k : N o r t o n , 1940), p p . 84-85.
3
Cassiodorus, Institutiones, i n S t r u n k , p . 89.

^ Calvisius, E x e r c i t i o Musica tertia, p . 150.

Erasmus S a r t o r i u s , I n s t i t u t i o n u m Musicarum (Ham-

b u r g : R e b e n l i n i u s , 1635), S i g . D4.
c
Erasmus G r u b e r , S y n o p s i s M u s i c a ( R e g e n s b u r g : Ge-
d r u c k t b e y C h r i s t o f f F i s c h e r , 1673), S i g . E v .
7
M a n f r e d B u k o f z e r , M u s i c i n t h e B a r o q u e E r a : From
M o n t e v e r d i t o Bach (New Y o r k : N o r t o n , 1947), p . 370.
Q

Herbst, Musica P o e t i c a , p . 1.

9
See K a y s e r , e s p . p p . 42-87.

Reprints a r e t o be f o u n d i n :
F r a n z E d u a r d H y s e l , Das T h e a t e r i n N u r n b e r g v o n 1612 b i s
1868 ( N u r n b e r g : Im S e l b s t v e r l a g e d e s V e r f a s s e r s , 1863) ,
pp. 29-31, b a s e d on an e n t r y i n t h e "Neue Munchner Z e i t u n g ,
N r o . 104. Vom J a h r e 1858.'„'
E l i s a b e t h A. K r u c k e b e r g , " E i n h i s t o r i s c h e s K o n z e r t z u N u r n -
b e r g im J a h r e 1643," AfMW, I (1918-19), 590-93, b a s e d on
M a r c u s S t e f f e n s , G e i s t l i c h e Gedancken (Oldenburg: Gedruckt
b e i J o h a n n - E r i c h Zimmern, 1 6 9 7 ) .

O t t o C. Clemen, "Das Programm zu e i n e m M u s i k f e s t i n N u r n -

b e r g im M a i , 1643," i n F e s t s c h r i f t f u r O t t o G l a u n i n g zum 60.
G e b u r t s t a g ( L e i p z i g : H a d l , 1 9 3 6 ) , pp. 18-24, f o l l o w s K r u c k e -
berg.

W i l l i K a h l , "Das N t i r n b e r g e r h i s t o r i s c h e K o n z e r t von 1643

und s e i n G e s c h i c h t s b i l d , " AfMW XIV (1957), 281-303, based
on o r i g i n a l document.

Wiedemann, pp. 9*-12*, b a s e d on o r i g i n a l document. This

source i n p a r t i c u l a r i s used i n the t e x t .

1 1
Wiedemann, p . 12*.

12
See M i c h a e l P r a e t o r i u s , Syntagma Musicum, I I , De
O r g a n o g r a p h i a , Documenta M u s i c o l o g i c a , XIV (1619; f a c s i m i l e
r p t . K a s s e l , B a s e l , L o n d o n , New Y o r k : B a r e n r e i t e r , 1 9 5 8 ) .
13
Wiedemann, p. 10*.
14
Wiedemann, p . 11*.
15
F o r a g e n e r a l assessment o f the s e v e n t e e n t h - c e n t u r y
c o n c e p t i o n o f h i s t o r y , see W i l h e l m Vosskamp, U n t e r s u c h u n g e n
z u r Z e i t - und G e s c h i c h t s a u f f a s s u n g im 17. J a h r h u n d e r t b e i
G r y p h i u s und L o h e n s t e i n . L i t e r a t u r und W i r k l i c h k e i t (Bonn:
B o u v i e r , 1 9 6 9 ) , pp. 10-61.
16
Wiedemann, p . 10*.
17 .
See, f o r example, K a r l G u s t a v F e l l e r e r , P e r S t i l - .
wandel i n d e r a b e n d l a n d i s c h e n M u s i k um 1600 (Opladen:
W e s t d e u t s c h e r V e r l a g , 1972), p. 57.
jQ
In G e o r g e A b e l 1 , E x p l o r a t i o n o f t h e U n i v e r s e (New
York: H o l t , R i n e h a r t W i n s t o n , 1973), pp. 40-41.

19
Joannes T i n c t o r i s , L i b e r de arti contrapuncti, in
Strunk, p. 198.
20
A t t h i s t i m e , t h e modern E n g l i s h B f l a t was g i v e n
a s b , B rotundum, o r B m o l l e , and B n a t u r a l as kj ,
 183

B
quadratum or B dur. See Robert Donington, The I n t e r p r e -
t a t i o n of E a r l y Music (London: Faber and Faber, 1963) ,
p. 62.

21
A l b e r t Seay, Music i n the Medieval World (Englewood
C l i f f s , N.J.: P r e n t i c e H a l l , 1965), pp. 32-34.
22
See Athanasius K i r c h e r , Musurgia U n i v e r s a l i s , IV
(Rome: C o r b e l l e t t i , 1650), p. 228, and Henricus Glareanus,
Dodecacordon (1547; f a c s i m i l e r p t . New York: Broude Bros.,
1979) , p. 76.
23
A q u e s t i o n r a i s e d but not answered by Haar, Tugend-
s t e r n e , p. 25n. The c h o i c e of modes and t h e i r a f f e c t s i s
a s c r i b e d to Staden by H a r o l d Samuel, The Cantata i n Nurem-
berg d u r i n g the Seventeenth Century, D i s s . C o r n e l l , 1963,
p. 549.
24
Glareanus, p. 101.
25
Glareanus, pp. 82 and 112.
26
Herbst, Musica P o e t i c a , p. 55.
27
See Haar, Tugendsterne, p. 46n.
28
Sigmund T h e o p h i l Staden, Rudimentum Musicum (Nurn-
berg: K u l s s n e r , 1649).
2 9
Haar, Tugendsterne, p. 25.
30
Haar, Tugendsterne, p. 24.
31
Glareanus, pp. 76 and 120 respectively.
32
The works from which these l i s t s are drawn up a r e :
Athanasius K i r c h e r , Magnes s i v e De A r t e Magnetica, I I I (Rome:
G r i g n a n i , 1641), p. 848.
Adam Gumpelzhaimer, Compendium Musicae Latino-Germanicum,
4th ed. (n.p.: Schoenig, 1632), p. 17.
Herbst, Musica P o e t i c a , pp. 101-109.
Glareanus, Dodecachordon, pp. 102-137.
 184

A m a r g i n a l n o t e t o t h e word " B i l d u n g " e x p l a i n s t h a t

it i s H a r s d f l r f f e r * s German v e r s i o n o f " I m a g i n a t i o . "

3
T h i s p a r a g r a p h i s b a s e d on H. James J e n s e n , The
4

Muses C o n c o r d : L i t e r a t u r e , M u s i c and t h e V i s u a l A r t s i n t h e
Baroque Age,(Bloomington, Ind.: Indiana U n i v e r s i t y Press,
1977) , pp. 1-23.

35
The s i g n i f i c a n c e o f t h e s e names o f t h e n o t e s i n a
s e v e n t e e n t h - c e n t u r y c o n t e x t w i l l be e x p l a i n e d b e l o w .
3 ft

H a r s d f l r f f e r s example i s t a k e n from t h e f i r s t p a r t
1

o f the M a t h e m a t i s c h e E r q u i c k s t u n d e n , w r i t t e n by D a n i e l
Schwendter. F o r H a r s d f l r f f e r s r e l a t i o n s h i p w i t h Schwendter
1

see p. 63 -above..
37
F o r t h e use o f t h i s and o t h e r t y p e s o f m u s i c a l
mnemonic a i d s , see G r e g o r y G. B u t l e r , "Music and Memory i n
J o h a n n e s Romberch's C o n g e s t o r i u m ( 1 5 2 0 ) , " MD, 32 (1978)
73-85.
38
Leo S p i t z e r , " C l a s s i c a l and C h r i s t i a n I d e a s o f
W o r l d Harmony: P r o l e g o m e n a t o an I n t e r p r e t a t i o n o f t h e
Word 'Stimmung'," T r a d i t i o , I I I (1945), 308.
39
See a l s o Werner F r i e d r i c h Kummel, M u s i k und M e d i z i n :
I h r e W e c h s e l b e z i e h u n g e n i n T h e o r i e und P r a x i s von 800-1800
( F r e i b u r g : A l b e r , 1977) . R e f e r e n c e s t o H a r s d f l r f f e r , pp. 237
and 350.
 185

Chapter Two: Notes

Herbst, Musica P o e t i c a , p. 1.

2
See Andreas Georg Widmann, V i t a e C u r r i c u l u m Georg
P h i l i p p H a r s d o r f e r i sub p r a e s i d i o M o l l e r i a n o , i n U n i v e r s i -
t a t e A l t d o r f i n a A.C. 1707 d. 7. Maj ( L i t e r i s Magni D a n i e l i s
M a y e r i ) , p. 4.
3
See W i l i b a l d Nagel, "Die Nurnberger M u s i k g e s e l l s c h a f t
(1588-1629)," MfM, XXVII, 1 (1895), 1-11.
4
K e l l e r , Seelewig, p. 28.
5
N a r c i s s , p. 4.

^ Sigmund von B i r k e n , Tagebucher, ed. Joachim K r o l l

Q u e l l e n und D a r s t e l l u n g e n zur f r a n k i s c h e n K u n s t g e s c h i c h t e ,
5 (Wurzburg: Schoningh, 1971), p. 51. F o r an i l l u s t r a t i o n
of the mandora and other instruments mentioned i n the t e x t
see Appendix to the p r e s e n t work.
7
See Samuel, The Cantata, p. 16. A l s o Samuel's e n t r i e s
under "Staden" i n Groves, and MGG. For f u r t h e r i n f o r m a t i o n
see H. Druener, Sigmund T h e o p h i l Staden, 1607-1655: E i n
B e i t r a g zur E r f o r s c h u n g und Leben und Werk, D i s s . Bonn,
1946; and W i l i b a l d Nagel, "Zur B i o g r a p h i e Johann Stadens
und s e i n e r Sflhne," MfM, XXIX, 4 (1897) , 53-61.-
Q
The music i s not by Staden, as s t a t e d by Samuel, The
Cantata, p. 350, but by H i l l e h i m s e l f .
9
Johann Rist-, P o e t i s c h e r Schauplatz (Hamburg: Werner,
1646), p. 234.

In Krause, p. 171.
 186

J
" In Johann Herdegen, H i s t o r i s c h e N a c h r i c h t von dess
L

l f l b l . H i r t e n - und Blumen-Ordens an der Pegnitz-(Nurnberg:

R i e g e l , 1744), p. 262.

12
On how to c o n s t r u c t a monochord, see Ray Nurse,
"The Monochord as a Tuning Device," Musick, IV,; (October,
1982), 19-24.
13
H a r s d o r f f e r s c o l l a b o r a t i o n with Schwendter i s not
1

proven (see Dunnhaupt, p. 778). Quotations i n the p r e s e n t

t e x t from t h i s volume t h e r e f o r e may or may not be a t t r i b u -
t a b l e d i r e c t l y to him, but i n g e n e r a l terms, they r e p r e s e n t
restatements of standard contemporary ideas and b e l i e f s .
H a r s d f l r f f e r c l e a r l y thought h i g h l y of the work, f o r he com-
p i l e d the two c o n t i n u a t i o n s i n d e p e n d e n t l y . ;

14
Reference to t h i s experiment appears i n K i r c h e r ,
Magnes, pp. 861-62.
15
H a r s d f l r f f e r a c t u a l l y uses the hexachordal termino-
logy, "ut, mi, s o l , f a , " which w i l l be e x p l a i n e d below.

^ S c o r d a t u r a (Verstimmung) i s the d e l i b e r a t e "mis-

t u n i n g " of a s t r i n g e d instrument u s u a l l y to extend the
range or to make c e r t a i n i n t e r v a l s p o s s i b l e on open s t r i n g s .
The instrument i s then p l a y e d as i f i t had the normal
t u n i n g s . See Groves, "Scordatura," and F. T r a f i c a n t e ,
"Lyra V i o l Tunings: ' A l l ways have been Tryed to do I t ' , "
AM, 42 (1970), 183-205. T r a f i c a n t e i s aware of f o r t y - o n e
d i f f e r e n t tunings.

Kindermann's work, New-verstimmte V i o l e n L u s t mit

dreyen V i o l e n sampt dem Generalbass (1652), i s l o s t (MGG,
"Kindermann").

• W e l l t e r ' s works are thus not t o t a l l y l o s t as s t a t e d

LO

by R o b e r t - E i t n e r , B i o g r a p h i s c h - B i b l i o a r a p h i s c h e s Q u e l l e n
L e x i c o n der Musiker und Musikgelehrten,'X (Graz: Akademische
Druck- und V e r l a g s a n s t a l t , 1959), p. 223.

1 9
P r a e t o r i u s , Syntagma, I I , p. 11.

2 0
P r a e t o r i u s , Syntagma, I I , p l a t e I I I . See Appendix,
p. 212.
 187

21
Wiedemann, p. 11*.

22
See Tobias N o r l i n d , " E i n M u s i k f e s t zu Nurnberg im
Jahre 1649," SIMG, VII (1905-6), 111-13. The instrument
i s a l s o mentioned i n the e i g h t e e n t h - c e n t u r y i n Johann Adlung,
A n l e i t u n g zu der m u s i k a l i s c h e n G e l a h r t h e i t ( E r f u r t : Jung-
n i c o l , 1758), pp. 565-66.
23 Rene Clemencic, Old M u s i c a l Instruments (New York:
Putnam, 1968), pp. 59-60.

24 K e l l e r , "New Light," 226.

25 "Geigeninstrument" i s i n f a c t used as a synonym f o r

"Geigenwerk" i n Adlung, p. 565.

26
For a d e s c r i p t i o n o f a " R o s s b a l l e t " a t the c o u r t
i n Vienna i n 1667, see Johann C o n s t a n t i n F e i g i u s , Wunder-
b a r e r Adlers-Schwung*(Vienna: V o i g h t , 1694), pp. 82-99.
The p o p u l a r i t y of " R i t t e r b a l l e t t e " i n seventeenth-century
Germany i s noted by Hans Joachim Moser, G e s c h i c h t e der
deutschen Musik, I I (1930 ; r p t . H i l d e s h e i m : Olms, 1968),
5

p. 155.
27
P r a e t o r i u s , Syntagma, I I I , p. 171.
28
H a r s d o r f f e r s example "grobes Horn" i s used to
1

i l l u s t r a t e the meaning " t i e f " i n Grimm, Deutsches Worter-

buch, IV, I, 6 p. 388.
29
From a l e t t e r by H a r s d o r f f e r , noted i n Spahr, p. 75.
30
In C a r l Gustav von H i l l e , Der teutsche Palmenbaum
(Nurnberg: Endter, 1647), pp. 229-30.
31
See S o p h i e - E l i s a b e t h , Beschreibung, n.p.
32
See G o t t f r i e d S c h u l t z e , Neu a g i r t e und c o n t i n u i e r t e
Chronica (Ltibeck: Beckers, 1656), p. 761. For a f u r t h e r
d e s c r i p t i o n o f the f e s t i v i t i e s , see Sigmund von B i r k e n ,
Kurtze Beschreibung des Schwedischen Friedensmahls gehalten
i n Nurnberg den 25. Herbstmonats Anno 164 9 (Nurnberg:
Dumler, 1649), and, by the same author, Teutschlands K r i e g e s -
 1

B e s c h l u s s und F r i e d e n s Kuss ( N u r n b e r g : Dumler, 1659) . For

t h e s o c i a l a s c e n t o f b a g p i p e s and h u r d y - g u r d i e s , see Emanuel
W i n t e r n i t z , M u s i c a l I n s t r u m e n t s and t h e i r Symbolism i n
W e s t e r n A r t : S t u d i e s i n M u s i c a l I c o n o l o g y (New Haven, London
Y a l e U n i v e r s i t y P r e s s , 1979), pp. 66-85, w h i c h i n c l u d e s a
d e s c r i p t i o n o f the development o f the bagpipe from the l a r g e
"Bock" sometimes w i t h a n i m a l h a i r s t i l l a t t a c h e d t o t h e s k i n
o f t h e bag, t o t h e d e l i c a t e t a p e s t r y c o v e r e d m u s e t t e u s e d i n
court c i r c l e s .

33
The c o s t o f p u t t i n g on masques o r o p e r a s seems t o
have b e e n h i g h n o t o n l y f o r t h e a v e r a g e c i t i z e n , b u t a l s o
f o r t h e n o b i l i t y : "The Duke o f B r u n s w i c k , f o r one, r e l i e d
n o t o n l y on t h e most i n g e n i o u s forms o f d i r e c t and i n d i r e c t
t a x a t i o n b u t r e s o r t e d even t o s l a v e t r a d e . He f i n a n c e d h i s
o p e r a t i c amusements by s e l l i n g h i s s u b j e c t s as s o l d i e r s so
t h a t h i s f l o u r i s h i n g o p e r a d e p e n d e d l i t e r a l l y on t h e b l o o d
o f t h e l o w e r c l a s s e s " ( B u k o f z e r , p. 3 9 8 ) .

3 4
F o r a d i s c u s s i o n o f the use o f i n s t r u m e n t s i n the
T u g e n d s t e r n e see a l s o K e l l e r , "New L i g h t , " p. 226. A simi-
l a r m u s i c o - p l a n e t a r y p a g e a n t was s t a g e d i n W o l f e n b u t t e l —
see S o p h i e E l i s a b e t h , B e s c h r e i b u n g . The m u s i c u s e d was
p o s s i b l y t h a t of Staden"s Tugendsterne a c c o r d i n g to Joseph
L e i g h t o n , " D i e W o l f e n b u t t e l e r A u f f u h r u n g von H a r s d f l r f f e r s
und S t a d e n s S e e l e w i g im J a h r e 1 6 5 4 " W o l f e n b u t t e l e r B e i -
r

t r a g e , 3 (1978), 123.

35
Keller, Seelewig, p. 39.

The q u e s t i o n o f a v a i l a b i l i t y o f i n s t r u m e n t s t a k e s
on a new f e a t u r e when i t comes t o modern p e r f o r m a n c e s , as
t h e d e c i s i o n must be made w h e t h e r t o use modern i n s t r u m e n t s
or r e c o n s t r u c t i o n s of o l d instruments. F o r t h e 1975 U t r e c h t
p e r f o r m a n c e o f S e e l e w i g , i n s t r u m e n t s were p l a y e d w h i c h m i g h t
have b e e n u s e d i n a s e v e n t e e n t h - c e n t u r y p r o d u c t i o n , and t h e
s y m b o l i c s i g n i f i c a n c e o f e a c h was r e t a i n e d : f o r t h e n y m p h s —
l u t e s , o r g a n and h a r p s i c h o r d ; f o r t h e s h e p h e r d s — d u l c i a n
( r e e d i n s t r u m e n t ) , shawms, pommers, b a s s o o n s , o b o e s ; f o r
T r u g e w a l t - r - r e g a l and trumpet,. O t h e r i n s t r u m e n t s u s e d were
t h e c e l l o , v i o l s and v i o l a s da gamba. Although the i n s t r u -
m e n t a t i o n d i f f e r s i n some r e s p e c t s f r o m t h a t s u g g e s t e d by
H a r s d o r f f e r and S t a d e n , t h e a l l o w a n c e s made by H a r s d f l r f f e r
i n d i c a t e t h a t s u c h v a r i a t i o n s w o u l d have b e e n t h o r o u g h l y
a c c e p t a b l e t o him. A t a p e o f t h i s p e r f o r m a n c e was v e r y
k i n d l y made a v a i l a b l e by Dr. F e r d i n a n d v a n I n g e n .
 189

F o r H a r s d o r f f e r ' s a d v i c e on s t a g e c r a f t and stage

t e c h n i q u e , see J o r d a n , pp. 475-491.

3 8
B u k o f z e r , p. 404.

39
A t t h e c o n c e r t i n 1643 t h e a u d i e n c e c o n s i s t e d o f
town c o u n s e l l o r s and n o b i l i t y , and t h e s o c i a l c o n c e r n s
were r a t h e r d i f f e r e n t : g u a r d s were p o s t e d a t a l l t h e d o o r s
"Zu Abwendung des unbandige.n P f l b e l s " ( K a h l , pp. 2 8 8 - 8 9 ) .
4
^ V a l e n t i n Haussmann, L i e b l i c h e F r o i i c h e B a l l e t t e
( N u r n b e r g : K a u f f m a n n , 1 6 0 9 ) , n.p.

41
Gruber, Sig. Biii.

4 2
See Groves, "Hexachord."

4 3
In the second line Harsdflrffer writes "suorum"
instead o f "tuorum."

44
C a l v i s i u s p u t f o r w a r d d i f f e r e n t names a l t o g e t h e r :
"bo ce d i ga l o ma ni." I n E x e r c i t a t i o M u s i c a t e r t i a , p. 151.
S a r t o r i u s , p o s s i b l y somewhat d i s p a r a g i n g l y r e f e r s t o t h e use
o f t h i s n o m e n c l a t u r e as " b o b i s i e r e n " ( I n s t i t u t i o n u m , S i g . D5).
45
K i r c h e r , Musurgia, I, p. 27.

C a s p a r S c h o t t , P h y s i c a C u r i o s a (Wurzburg: E n d t e r ,
1 6 6 7 ) , pp. 785-86. I n t h i s work, t h e names g i v e n t o t h e
s l o t h are: "Archopithecus," " P i g r i t i a , " "Ignavia" " A i , "
and "Ha."

^ F o r t h e i n f l u e n c e o f I t a l i a n s o c i e t i e s and t h e i r
4

games on H a r s d f l r f f e r , see T.F. C r a n e , I t a l i a n S o c i a l C u s -

toms o f t h e S i x t e e n t h C e n t u r y and t h e i r I n f l u e n c e on t h e
L i t e r a t u r e s o f E u r o p e (New Haven: Y a l e U n i v e r s i t y P r e s s ,
1 9 2 0 ) , pp. 555-64; and R o l f H a s s e l b r i n k , G e s t a l t und
E n t w i c k l u n g des G e s p r a c h s p i e l s i n d e r d e u t s c h e n L i t e r a t u r
des 17. J a h r h u n d e r t s , D i s s . K i e l , 1956.

48
Herbst, Musica Poetica, title page.
49
For a d i s c u s s i o n of this problem, see Oyler, pp. 17-24-
 1

Chapter Three: Notes

H e r b s t , M u s i c a P o e t i c a , p . 4. The t e r m M u s i c a
P o e t i c a was f i r s t u s e d i n 1533 (Samuel, The C a n t a t a , p . 533)
See a l s o C a r l D a h l h a u s , " M u s i c a P o e t i c a und m u s i k a l i s c h e
P o e s i e , " AfMW, 23 ( 1 9 6 6 ) , 110-124.

2
S t a d e n , Rudimentum, n.p.
3
"Gumpelzhaimer, n.p. These are t r a n s l a t i o n s o f the
s t a n d a r d L a t i n p h r a s e s "bene c a n e n d i s c i e n t i a " (Gumpelz-
h a i m e r ) , o r " r e c t e ac bene c a n e n d i s c i e n t i a " ( C h r i s t o p h
Thomas W a l l i s e r , M u s i c a F i g u r a l i s , n.p.: n.p., 1611), p . 1.

4
A n o t h e r d i m e n s i o n i s added i n t h e d e f i n i t i o n o f m u s i c
as " S i n g : K l i n g : und L u s t - K u n s t " ( M a r t i n Z e i l l e r , Handbuch
von a l l e r l e y n u t z l i c h e n E r i n n e r u n g e n , Ulm: W i l d e i s e i n ,
1655, p . 2 8 1 ) .

5
H e r b s t , M u s i c a P o e t i c a , p . 84. " I c h habe es g a t h a n
umb d e r Worte w i l l e n , " w r i t e s H e i n r i e h A l b e r t , E r s t e r T h e i l
der A r i e n ( K f l n i g s b e r g : R e u s n e r , 1654), n.p.

F o r H a r s d f l r f f e r and r h e t o r i c , see L u d w i g F i s c h e r ,
Gebundene Rede: D i c h t u n g und R h e t o r i k i n d e r l i t e r a r i s c h e n
T h e o r i e des B a r o c k i n D e u t s c h l a n d . Studien zur deutschen
L i t e r a t u r , 10 ( T u b i n g e n : N i e m e y e r , 1968), p a s s i m . Hars-
d f l r f f e r ' s use o f imagery i s examined i n Manfred Windfuhr,
Die b a r o c k e B i l d l i c h k e i t und i h r e K r i t i k e r : S t i l h a l t u n g e n
i n d e r d e u t s c h e n L i t e r a t u r des 17. und 18. J a h r h u n d e r t s .
G e r m a n i s t i s c h e Abhandlungen, 15 ( S t u t t g a r t : M e t z l e r , 1966),
passim. The u s e o f " Z i e r l i c h k e i t " i i n German p o e t r y was i n i -
t i a l l y c a l l e d f o r by M a r t i n O p i t z , Buch von d e r D e u t s c h e n
P o e t e r e y ( B r e s l a u : M u l l e r , 1624), c h a p t e r V I , n.p.

7
Herbst, Musica Poetica, pp. 84 and 111.

Joachim Burmeister, Musica P o e t i c a . Documenta M u s i -

c o l o g i c a , I (1606; f a c s i m i l e r p t . K a s s e l , B a s e l : B a r e n r e i t e r
1955) .
 191

q
Samuel, The Cantata, pp. 556-74. See a l s o MGG,
"Figuren, m u s i c a l i s c h - r h e t o r i s c h e , " and M a r t i n F r i e d e r i c h ,
Text und Ton; Wechselbeziehungen zwischen Dichtung und
Musik (Hohengehren: Schneider, 1973), pp. 71-80; and Heinz
H e i n r i c h Eggebrecht, "Barock a l s m u s i k g e s c h i c h t l i c h e Epoche,"
i n Aus der Welt des Barock, ed. R i c h a r d Alewyn e t a_l
( S t u t t g a r t : M e t z l e r , 1957), pp. 168-91.
1 0
W i n t e r n i t z , p. 82.

For modern: e q u i v a l e n t s of examples- of- -seven;teeth- -

1 1

century i n t e r v a l l i e . terminology, see p. 44 above.

12
A l s o i n M a r t i n Gosky, ed. Arbustum v e l arboretum
Augustaeum ( W o l f e n b u t t e l : S t e r n , 1650), p. 180.
13
See B u t l e r , p. 80 f o r the use of the e x t r a c t i o n of
s y l l a b l e s from names and t i t l e s t o p r o v i d e a musical theme.
A l s o Groves, "Soggetto cavato." H a r s d f l r f f e r does not use
the technique f o r t h i s purpose, although h i s example i s
based on the general t r a d i t i o n .

P h i l i p p von Zesen, Hoch-Deutscher H e l i k o n , I, i n

1 4

Samtliche Werke, X / l , ed. F e r d i n a n d van Ingen. Ausgaben

Deutscher L i t e r a t u r des XV. b i s XVIII. Jahrhunderts ( B e r l i n ,
New York: de G r u y t e r , 1977), p. 87.

15
M a r t i n O p i t z , W e l t l i c h e Poemata, E r s t e r T e i l .
Deutsche Neudrucke, 2 (1644; f a c s i m i l e r p t . Tubingen: N i e -
meyer, 1967), p. 543.
16
For the same c o n c l u s i o n s i n a general context, see
C a l v i n S. Brown, Music and L i t e r a t u r e : A Comparison of the
A r t s (Athens, Ga.: U n i v e r s i t y o f Athens, 1948), esp. pp.
15-30.
17
For b r i e f comparisons of the two types of v e r s e ,
see F r i e d e r i c h , pp. 64-69; and Thrasybulos Georgiades,
Sprache und Musik; Das Werden der abendlandischen Musik
d a r g e s t e l l t an der Vertonung der Messe ( B e r l i n , Gflttingen,
H e i d e l b e r g : S p r i n g e r , 1954), pp. 53-69.
18
O p i t z , Buch von der Deutschen Poeterey, S i g . G2.
 192

19
August Buchner, A n l e i t u n g z u r deutschen P o e t e r e y .
D e u t s c h e N e u d r u c k e , 5 (1665; f a c s i m i l e r p t . T u b i n g e n : N i e -
meyer, 1966), p . 113.

20
See also Zesen, p. 38.
21
See a l s o J o h a n n P e t e r T i t z , Zwey B u c h e r v o n d e r
K u n s t H o c h d e u t s c h e V e r s e und L i e d e r zu machen ( D a n z i g :
H u n e f e l d , 1 6 4 2 ) , S i g . NI, who s t a t e s t h a t l o n g v e r s e s o f
songs s h o u l d be d i v i s i b l e i n t o a number o f s h o r t o n e s .
22
B u c h n e r i n c o n t r a s t , had no qualms a b o u t m i x i n g
t h e iamb and t r o c h e e i n songs ( A n l e i t u n g , p..171).
23
Herbst, Musica P o e t i c a , p. 111.
24
See H a r s d f l r f f e r ' s "Nachwort" t o J o h a n n K l a j ' s
Der L e i d e n d e C h r i s t u s , i n J o h a n n K l a j : R e d e o r a t o r i e n und
" L o b r e d e d e r T e u t s c h e n P o e t e r e y " (1645; f a c s i m i l e r p t ;
T u b i n g e n , N i e m e y e r , 1 9 6 5 ) , pp. 238 and 241.
25
The l a s t l i n e o f v e r s e one shows t h a t t h e word
" M u s i c " was s t r e s s e d on t h e f i r s t s y l l a b l e i n t h e s e v e n t e e n t h -
century. See a l s o Thomas, p . 24n.
2 fi

The a s s o c i a t i o n o f t h e d a c t y l w i t h "das F r f l l i c h e "

i s s t r e s s e d i n H a r s d f l r f f e r s "Nachwort" t o K l a j ' s H e r o d e s
1

d e r K i n d e r m f l r d e r , i n J o h a n n K l a j : R e d e o r a t o r i e n , p . 195.
27
The f u l l e s t a s s e s s m e n t o f t h e s e f e a t u r e s i s t o be
found i n Kayser's study.
28
From The O x f o r d Book o f C a r o l s , e d . P e r c y Dearmer
( O x f o r d : O x f o r d U n i v e r s i t y P r e s s , 1929), p . 180, b a s e d on a
v e r s i o n o f 1601.
29
R i s t , i n c o n t r a s t , had a v e r y low o p i n i o n o f t h e
use o f the d a c t y l i n a s p i r i t u a l c o n t e x t ( H i m l i s c h e L i e d e r
. . . Das d r i t t e Zehn. L u n e b u r g : S t e r n , 1648, p r e f a c e ,
n.p.) .
30
J o h a n n R i s t , Des D a p h n i s aus C i m b r i e n G a l a t h e e (Ham-
b u r g : R e b e n l e i n , n . d ) , n.p.
 193

31
For an a n a l y s i s of the d i s s e m i n a t i o n of melodies
a p p l i e d to p o p u l a r song, see D i e t e r Lohmeier, "Die Ver-
breitungsformen des L i e d e s im B a r o c k z e i t a l t e r , " Daphnis,
8 (1979), 41-65.

32
For complaints r e g a r d i n g p i r a t i n g of melodies, see
R i s t , p r e f a c e to Daphnis aus Cimbrien; H e i n r i c h A l b e r t ,
p r e f a c e s to A r i e n , I I I , VII and V I I I ; and G a b r i e l V o i g t -
lander, E r s t e r T h e i l A l l e r h a n d Oden unnd L i e d e r , quoted
i n Lohmeier, p. 49.
33
See pp. 59 and 185, f o o t n o t e 8.

R i s t , Neuer H i m l i s c h e r L i e d e r Sonderbahres Buch,

3 4

pp. 54-55. T h i s melody has been transposed and note v a l u e s

have been reduced f o r e a s i e r comparison.

3 5
Haar, " A s t r a l Music," p. 178.

Ferdinand van Ingen and Kees V e l l e k o o p , Programme

Book f o r the Performance of Seelewig i n U t r e c h t , 1975,
pp. 68-69.

K e l l e r , Seelewig, pp.. 29-33, and "New

3 7
Light,"
pp. 223-37.

3 8
Keller, "New L i g h t , " p. 227.

39
K e l l e r , Seelewig, p. 33.
^ T h i s melody appeared i n a book of songs compiled
by Hans Leo H a s s l e r o f Nuremberg, and the whole work was
r e p u b l i s h e d by Staden i n 1637. See K e l l e r , Seelewig, p. 71,
footnote 246.

41
I n t e l l i g i b i l i t y was a l s o a concern f o r the rhe-
t o r i c i a n : "Die Redekunst i s t e i n e Kunst von einem vorge-
s e t z t e n Dinge z i e r l i c h zu reden/ und k u n s t l i c h zu uber-
legen. Es h e i s s e t aber z i e r l i c h reden/ n i c h t mit lustigem
Getone d i e Ohre f u l l e n , " w r i t e s Johann Matthaus Meyfahrt,
Teutsche R h e t o r i c a . Deutsche Neudrucke, 25 (1634; f a c s i m i l e
r p t . Tubingen: Niemeyer, 1977), p. 57.
 194

42
Keller, Seelewig, p. 33.

F r i e d r i c h Blume, Renaissance and Baroque Music:

4 3

A Comprehensive Survey (New York: Norton, 1967), pp. 130-31.

4 4
Blume, p. 130.

45
See K e l l e r , Seelewig, pp. 69-71.
K e l l e r , Seelewig, pp. 50-51; Hermann Kretzschmar,
Geschichte der Oper (1919; r p t . Wiesbaden: Sandig, 1970),
p. 155; Paul Hankamer, Deutsche Gegenreformation und
deutsches Barock: Deutsche L i t e r a t u r im Zeitraum des 17.
Jahrhunderts.(193 5; r p t . S t u t t g a r t : M e t z l e r , 1964) p. 331.

I n c l u d i n g a 1642
4 7
French e d i t i o n of Sidney's A r c a d i a
(FG,II,469).

48
Pegnesisches S c h a f e r g e d i c h t . Deutsche Neudrucke, 8
(1644; f a c s i m i l e r p t . Tubingen: Niemeyer, 1966).
49
K e l l e r , Seelewig, p. 77.
50 N
„ a r c i.s s , p. o
8.

51
In h i s "Nachwort" to K l a j ' s Der Leidende Christus,
p. 238.
52
I wish to thank Dr. Ferdinand van Ingen f o r a s s i s -
tance i n i d e n t i f y i n g t h i s work.
53
For the use of t h i s technique i n I t a l i a n opera,
see K e l l e r , Seelewig, p. 43.
C o n c l u s i o n : Notes

The view t h a t Staden i s behind H a r s d f l r f f e r s s t a t e -

1

ments on music (Schmitz, p. 256), i s thus not t e n a b l e .

2
Krapp, p. 70.
3
Ferschmann, p. 189.

Ben Jonson, Timber, or D i s c o v e r i e s (1640) , i n

S e l e c t e d Works, ed. David McPherson (New York: H o l t Rine-
h a r t , Winston, 1972), p. 392.
 196

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Appendix

The i l l u s t r a t i o n of the monochord i s from FG,VIII,p.694.

A l l other i l l u s t r a t i o n s of instruments are from Michael

P r a e t o r i u s , Syntagma, I I .
 CfytonecJjordwn

iiiiiiiiiiwniiiiiiiiiM

V i o l a Bastarda
 211

Theorbo
212
213
 214

A Set of F l u t e s
Cornetto's
(Zinck)
216
217