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a marriage in Cana of Galilee." In sacred poetry Alsace can pride herself upon having produced some of the most distinguished German writers. The oldest known of these is Ottfried von Weissenburg, who lived about the middle of the ninth century. Gottfried von Strassburg, in the beginning of the thirteenth century, was renowned as a writer of hymns as well as of Minnelieder. The first sacred songs of a popular character recorded in Alsace date from about the middle of the fourteenth century. But it is especially since the time of the Reformation that this branch of sacred poetry has been much cultivated here as in other parts of Germany. The authors of sacred poetry were generally either theologians or musicians. The latter often composed the words as well as the airs. Music and poetry were not cultivated so separately as is the case in our day. Of the musicians, deserves to be mentioned Wolfgang Dachstein, who, in the beginning of the sixteenth century, was organist in Strassburg, first at the Cathedral, and afterwards, when he become a Protestant, at the Thomas Church. His hymn An Wasserflüssen Babylon is still to be found in most chorale books of the German Protestants.

      The secular songs of the villagers are not all in the peculiar dialect of the province. Some are in High German, and there are several in which High German is mixed with the dialect. Occasionally we meet with a word which has become obsolete in other German districts; for instance, Pfiffholder for "Schmetterling," Low German "Buttervogel," English "butterfly;" Irten (Old German Urt, Uirthe) for "Zeche," English "score." Of the lyric poets of the present century, Hebel is, perhaps, the most popular in Alsace. His "Allemannische Gedichte" used to be sung especially in the southern district, which, until recently, formed the French department of Haut-Rhin. The people of this district have a less soft pronunciation than those of Bas-Rhin.

      As regards the popular songs of Lorraine, those which have been collected and published are, almost all of them, from the French districts of the province.

      The Société d'Archéologie Lorraine has published a collection, entitled 'Poésies populaires de la Lorraine, Nancy, 1854;' and R. Grosjean, organist of the Cathedral of Saint-Dié-des-Vosges, has edited a number of old Christmas Carols, arranged for the organ or harmonium, and published under the title of 'Air des Noëls Lorrains, Saint-Dié, 1862.' In the German villages we meet with songs in a peculiar dialect, not unfrequently interspersed with French words. The following example is from the neighbourhood of Saarlouis:—

      "Of de Bam senge de Viglen bei Daa ond Naat,

       D'Männtcher peife hibsch on rufe: ti-ti-pi-pi,

       On d'Weibcher saan: pi-pi-zi-zi.

       Se senge luschtig on peife du haut en bas. Berjer, Buwe on Baure d'iwrall her, Die plassire sich recht à leur aise. Se senge ensemble hibsch on fein. D'gröscht Pläsirn hot mer van de Welt Dat mer saan kann am grine Bam; Dat esch wohr, dat esch keen Dram."

      (On the tree sing the birds by day and night,

       They pipe and call, ti-ti-pi-pi;

       Their mates reply, pi-pi-zi-zi.

       They cheerfully chirp du haut en bas, High life and low life, from all around, Placent themselves quite à leur aise. They sing ensemble sweet and fine. No greater plaisir earth can give Than the sight of a greenwood tree; That's truth, no idle dream.)

      Thus much about the words of the popular songs. As regards the airs, those which have been traditionally preserved by the villagers of Alsace exhibit the characteristics of the German national music. That the construction of the airs has not altered much in the course of a century is evident from the specimens of songs and dance-tunes which Laborde gives in his 'Essai sur la Musique,' published in the year 1780. Still earlier, about two hundred years ago, the French composers adopted from Alsace a German tune of a peculiar construction, the Allemande. This happened at the time of the invention of the Suite, a composition which consists of a series of short pieces written in the style of popular tunes of various countries. The Allemande, which generally formed the introductory movement to the series, is more dignified than the sprightly Courante, Gavotte, and Bourrée, originally obtained from different provinces of France.

      Particularly interesting is the music of the peasant of Kochersberg. The mountain called Kochersberg is situated in the vicinity of the town of Zabern in Upper Alsace. The district immediately surrounding the mountain is also called Kochersberg. The villagers of this district are considered by the French as rather rude in manner, but as honest, straightforward, and trustworthy. They have several old favourite dances, as for instance, Der Scharrer ("The Scraper"), Der Zäuner ("The Fence Dance"), Der Morisken (evidently the "Morrice" or Moorish Dance, formerly also popular in England, and originally derived from the Moors in Spain), Der Hahnentanz ("The Cock Dance"). The last-named dance, which is also popular in other districts of Alsace, and, with some modifications, in the Black Forest of Germany, is generally performed in a large barn. On a cross-beam is affixed a dish, in which is placed a fine large cock (called Guller). The cock is ornamented with ribands of various colours. Near the dish hangs a tallow-candle, through which a string is drawn horizontally. To one end of the string is attached a leaden ball. The dancers arrange themselves in pairs, one behind the other. As soon as the musicians strike up, the candle is lighted, and the first pair receive a nosegay, which they have to hold as long as they continue dancing. When they are tired, and stop to rest, they must give the nosegay to the next following pair, and so on. The pair which have possession of the nosegay at the moment when the candle burns the string, and the ball falls into the dish, win the cock. The Hammeltanz of the Kochersberg peasants is likewise known in Baden. In this dance a fat wether is the prize of the lucky pair who happen to be dancing when a glass suspended by a burning match-cord becomes detached and falls to the ground. Some of the dancers are accompanied with singing; for instance, the Bloue Storken, in which the song begins with the words:—

      "Hon err de bloue Storken nit g'sähn?"

       (Have you not seen the blue storks?)

      The Bloue Storken is one of the oldest national dances of the Alsatian peasants. It is danced by one person only. At the commencement his performance resembles that of the slow and grave minuet; after awhile it becomes more animated.

      However, in a musical point of view, the most interesting of these dances is the Kochersberger Tanz, which is mentioned by Reicha and other musical theorists on account of its peculiar rhythm. According to Reicha's notation it is in ⅝ time. Perhaps it would have been as correctly written in ⅜ and 2/8 alternately, like Der Zwiefache, or Gerad und Ungerad ("Even and Uneven"), of the villagers in the Upper Palatinate of Bavaria, to which it bears altogether a strong resemblance. The musical bands attending the villagers at dances and other rural pastimes are, as might be expected, very simple—a clarionet and one or two brass instruments generally constituting the whole orchestra.

      In Alsace a certain musical instrument is still to be found which, about three centuries ago, was popular in Germany. Some of the works on music published in the beginning of the seventeenth century contain drawings of it. Its German name is Scheidholt, and its French name is bûche. It consists of an oblong square box of wood, upon which are stretched about half-a-dozen wire-strings. Some of the strings run over a finger-board provided with iron frets. These strings are used for playing the melody. The others are at the side of the finger-board, and serve for the accompaniment. The strings are twanged with a plectrum. The Scheidholt may be considered as the prototype of the horizontal cither which, in the present century, has come much in vogue in Bavaria and Austria, and which has recently been introduced also into England.

      Formerly, the professional musicians of Alsace formed a guild, the origin of which dates from the time of the Minnesänger, when players on musical instruments wandered from castle to castle to entertain the knights with their minstrelsy. In the year 1400 a Roman imperial diploma was granted to Count Rappoltstein constituting him protector of the guild. The musicians were called Pfeiffer, and Count Rappoltstein and his successors had the title of Pfeiffer-König ("King of the Pipers"). In the seventeenth century the Pfeiffer held annually a musical festival at Bischweiler, a small town near Strassburg. Having gradually fallen into decay, this old guild died out in the year 1789.

      Considering

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