The Musical Myths and Facts (Vol. 1&2) - Engel Carl

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with the orchestral accompaniment in score, as well as with the orchestral accompaniment arranged for the pianoforte or for some other instruments.

      5. Sonatas, Fantasias, Fugues, etc.—Of all the classical works composed for a single instrument, the original editions, generally revised by the composers themselves, are indispensable. Besides these, the most important subsequent editions of the same works would be required. Beethoven's pianoforte sonatas, for instance, have been re-edited by several eminent pianists. It is instructive to examine the readings of these musicians, which differ in many points from each other.

      6. Arrangements.—Those of operas, oratorios, masses, and other elaborate compositions with orchestral accompaniment, must necessarily be confined to the instrumental portion, otherwise they are useless either for study or reference. Those arrangements are greatly preferable which have been made by the composers themselves, or under their superintendence.

      7. National Music.—All the collections of national songs and dances which have been published in different countries. The advantage which the musician might derive from a careful study of them is not yet so fully appreciated as it deserves; but it would probably soon be better understood, if these treasures were made more easily accessible.

      9. Works on the Theory and History of Music.—All the standard works ought to be found in the library, not only in the languages in which they were originally written, but also in translations, if any such exist. Many of the latter are valuable, on account of the explanations and other additions by the translators. This is, for instance, the case with some English books which have been translated into German; as Brown's 'Dissertation on the Rise, Union, and Power of Music,' translated by Eschenburg; 'Handel's Life,' by Mainwaring, translated by Mattheson, etc. It need scarcely be added that the biographies of celebrated musicians ought also to be included among the desirable requisites.

      10. Works on Sciences intimately connected with the Theory of Music.—Treatises on acoustics, on the construction of musical instruments, on æsthetics, etc.

      11. Musical Journals.—All the principal ones published in different countries and languages. To these might advantageously be added the most important literary journals containing critical and other dissertations on music.

      12. Dictionaries, Catalogues, etc.—The English language possesses no musical dictionary, technical, biographical, or bibliographical, similar to the French and German works by Fétis, Schilling, Gerber, Koch, Rousseau, and others, which are indispensable for the library. With these may be classed the useful works on the Literature of Music compiled by Forkel, Lichtenthal, and Becker, as well as Hofmeister's comprehensive 'Handbuch der musikalischen Literatur.' The collection of catalogues should comprise all those of the principal public musical libraries on the Continent and in England; those of large and valuable private libraries, several of which have appeared in print—as, for instance, Kiesewetter's 'Sammlung alter Musik,' Becker's 'Tonwerke des XVI. und XVII. Jahrhunderts,' and others; those of the principal music-publishers, and those of important musical libraries which have been disposed of at public auctions.

      There is no necessity for extending this list any further, as it will suffice to indicate the plan which, in my opinion, ought to be pursued in the formation of a national musical library. I shall therefore only observe further that there are, besides the above mentioned, several kinds of works which can scarcely be considered as of secondary importance, such as musical travels, novels, and entertaining as well as instructive musical essays; librettos of operas, and the poetry of other elaborate vocal compositions; drawings illustrating the construction of musical instruments—as, for instance, of the most celebrated organs, of the various improvements in the pianoforte, etc.; engravings from the best portraits of celebrated musicians; faithful sketches from sculptures and paintings of nations of antiquity in which musical instruments and performances are represented, etc.

      There remains yet another point which requires a moment's consideration—namely, the daily increasing difficulty of forming such a library as has just been planned. The interest in the study of classical works relating to music is no longer confined to the professional musician, but is spreading among amateurs and men of science. Their libraries now absorb many of the old and scarce works which formerly were almost exclusively in the hands of musicians. Moreover, the English colonies have already drawn upon our limited supply of the old standard works, and there is every reason to suppose that the demand for them will continue to increase. Many of these works have evidently been published in an edition of only a small number of copies. Still it is not likely that they will be republished. In a few instances where a new edition has been made, it has not apparently affected the price of the original edition, because the latter is justly considered preferable. To note one instance: the new edition of Hawkins' 'History of Music' has not lessened the value of the first edition, the price of which is still, as formerly, on a par with the price of Burney's 'History of Music' of which no new edition has been published. About ten years ago it was possible to procure the original scores of our old classical operas, and other works of the kind, at half the price which they fetch now, and there is a probability that they will become every year more expensive. Indeed, whatever may be the intrinsic value of any such work, the circumstance of its being old and scarce seems sufficient, at least in England, to ensure it a high price.

      If, therefore, the acquisition of such a national musical library as I have endeavoured to sketch is thought desirable, no time ought to be lost in commencing its formation.

      ELSASS-LOTHRINGEN.

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      Whatever may be thought of the value of the well-known aphorism, "Let me make a nation's Ballads; who will may make their Laws"—it can hardly be denied that through the popular songs of a country we ascertain to a great extent the characteristic views and sentiments of the inhabitants.

      The villagers of Alsace recently may not have been in the mood for singing their old cherished songs; otherwise the German soldiers must have been struck by recognizing among the ditties old familiar friends slightly disguised by the peculiar dialect of the district. Take, for instance, the cradle songs, or initiatory lessons as they might be called. Here is one as sung by the countrywomen of Alsace:—

      "Schlof, Kindele, schlof!

       Dien Vadder hied die Schof,

       Dien Muedder hied die Lämmele,

       Drum schlof du guldi's Engele;

       Schlof, Kindele, schlof!"

      (Sleep, darling, sleep!

       Thy father tends the sheep,

       Thy mother tends the lambkins dear,

       Sleep then, my precious angel, here;

       Sleep, darling, sleep!)

      And another:—

      "Aie Bubbaie was rasselt im Stroh?

       D'Gänsle gehn baarfuesz, sie han keen Schueh;

       Der Schuester het's Leder, keen Leiste derzue."

      (Hush-a-bye baby, what rustles the straw?

       Poor goslings go barefoot, they have not a shoe;

       The souter has leather, no last that will do.)

      Making allowance for the pronunciation of the words, which sounds odd to the North-German ear, these are the identical lullabies with which the mothers in the villages near Hanover sing their babies to sleep. Some of the old ballads, legends, fairy-tales, and proverbs, popular in Alsace, are current throughout almost the whole of Germany. Then we have the old-fashioned invitation to the wedding feast, stiff and formal, as it is observed especially in Lower Alsace, and likewise in the villages of Hanover and other districts of North Germany. In Alsace the weddings take place on a Tuesday, because, they say, we read in the Bible:

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