Auf den Spuren von Gottfried Silbermann by Werner MüllerReview by: Carlton T. RussellNotes, Second Series, Vol. 25, No. 3 (Mar., 1969), pp. 488-489Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895352 .

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them, with, in consequence, a consider- able body of editorial notation to explain and justify a given reading. Crane edits both the music and the choreography in- telligently; and, referring to the notes, one can always figure out what he has added and changed. But one has to work in order to do so. We are all familiar with the arguments against cluttering the main body of a critical edition with foot- notes. But the self-confessed purpose of this work is utility to other scholars-the class of people, that is, least disconcerted by the visual aspects of critical apparatus. And surely that aim of utility would be better served by some sort of indication in the main text at the points where the editor has exercised his function.

Regarding Crane's historical insight, one may have other reservations. His argu- ments for dating the Brussels manuscript around 1470 are cogent enough, but they do not illuminate certain oddities of the repertory and the choreography-as does, for instance, Daniel Heartz's reconstruc- tion of the manuscript's circumstances. (See his monograph in Annales Musicolo- giques VI [1958-63]; Heartz prefers a dat- ing in the late 1490's.)

In addition, Crane implies a cohesion for the body of dances belonging to the fifteenth century that it did not, so far as the evidence indicates, possess. ("On the whole," he says, "[it] is a self-contained repertory.") One appreciates the necessity for confining the scope of his work to convenient limits, but could not the ar- bitrary nature of these limits be made clearer? Crane's historical exposition seems not to take adequate account of the

them, with, in consequence, a consider- able body of editorial notation to explain and justify a given reading. Crane edits both the music and the choreography in- telligently; and, referring to the notes, one can always figure out what he has added and changed. But one has to work in order to do so. We are all familiar with the arguments against cluttering the main body of a critical edition with foot- notes. But the self-confessed purpose of this work is utility to other scholars-the class of people, that is, least disconcerted by the visual aspects of critical apparatus. And surely that aim of utility would be better served by some sort of indication in the main text at the points where the editor has exercised his function.

Regarding Crane's historical insight, one may have other reservations. His argu- ments for dating the Brussels manuscript around 1470 are cogent enough, but they do not illuminate certain oddities of the repertory and the choreography-as does, for instance, Daniel Heartz's reconstruc- tion of the manuscript's circumstances. (See his monograph in Annales Musicolo- giques VI [1958-63]; Heartz prefers a dat- ing in the late 1490's.)

In addition, Crane implies a cohesion for the body of dances belonging to the fifteenth century that it did not, so far as the evidence indicates, possess. ("On the whole," he says, "[it] is a self-contained repertory.") One appreciates the necessity for confining the scope of his work to convenient limits, but could not the ar- bitrary nature of these limits be made clearer? Crane's historical exposition seems not to take adequate account of the

dance's morphological developments to- wards the end of the fifteenth century. In the article cited, Heartz shows con- vincingly that in fact the Toulouze print represents a later choreographic stage than the Brussels collection. Crane dismisses the differences in choreography between the two sources with a vague supposition that they were made "for no evident rea- son, unless it was to suit a different taste." He assumes, that is, that Brussels and Toulouze are equal representatives of the same, old tradition; Heartz demonstrates that Toulouze begins to represent a new tradition. And the Salisbury source repre- sents a still later development.

Finally, the work perhaps suffers slightly from its publication in a non-English- speaking country: it contains an above- average number of typographical errors (the most embarrassing of which is the reading, on p. 5, of "1596" for "1496" as the probable date of Toulouze's publica- tion), and it is otherwise inconsistent in punctuation usages, especially with quo- tation marks.

But again, these are minor issues. Par- ticularly in his collation of literary and historical sources and in his control of bibliographical material, Crane's scholar- ship is impressive. Indeed, we could be grateful alone for the comprehensive up- dating of the bibliography on the basse dance. And in its main function as a convenient compendium, especially as one including the lesser-known Spanish and Catalan sources, the book renders a nota- bly welcome service.

JAMES L. JACKMAN San Francisco, Calif.

dance's morphological developments to- wards the end of the fifteenth century. In the article cited, Heartz shows con- vincingly that in fact the Toulouze print represents a later choreographic stage than the Brussels collection. Crane dismisses the differences in choreography between the two sources with a vague supposition that they were made "for no evident rea- son, unless it was to suit a different taste." He assumes, that is, that Brussels and Toulouze are equal representatives of the same, old tradition; Heartz demonstrates that Toulouze begins to represent a new tradition. And the Salisbury source repre- sents a still later development.

Finally, the work perhaps suffers slightly from its publication in a non-English- speaking country: it contains an above- average number of typographical errors (the most embarrassing of which is the reading, on p. 5, of "1596" for "1496" as the probable date of Toulouze's publica- tion), and it is otherwise inconsistent in punctuation usages, especially with quo- tation marks.

But again, these are minor issues. Par- ticularly in his collation of literary and historical sources and in his control of bibliographical material, Crane's scholar- ship is impressive. Indeed, we could be grateful alone for the comprehensive up- dating of the bibliography on the basse dance. And in its main function as a convenient compendium, especially as one including the lesser-known Spanish and Catalan sources, the book renders a nota- bly welcome service.

JAMES L. JACKMAN San Francisco, Calif.

Auf den Spuren von Gottfried Silbermann. By Werner Miiller. Kassel: Barenreiter, 1968. [252 p.; DM 12.-] Auf den Spuren von Gottfried Silbermann. By Werner Miiller. Kassel: Barenreiter, 1968. [252 p.; DM 12.-]

Scholar-organists involved in the bur- geoning organ renaissance on this conti- nent will welcome this biography of the great Saxon builder, a book which fills out a relatively small and inaccessible lit- erature. Until now we have had the two basic books: Ulrich Dahnert's excellent, systematic study of the organs (Die Or- geln Gottfried Silbermanns in Mittel- deutschland, Leipzig, 1953; Knuf reprint, 1968) and Ernst Flade's combination of biography and inventory (Der Orgelbauer

Scholar-organists involved in the bur- geoning organ renaissance on this conti- nent will welcome this biography of the great Saxon builder, a book which fills out a relatively small and inaccessible lit- erature. Until now we have had the two basic books: Ulrich Dahnert's excellent, systematic study of the organs (Die Or- geln Gottfried Silbermanns in Mittel- deutschland, Leipzig, 1953; Knuf reprint, 1968) and Ernst Flade's combination of biography and inventory (Der Orgelbauer

Gottfried Silbermann, Leipzig, 1926; rev. ed., 1953), the latter now out of print. Beyond this there is the concise article by Hans Klotz in Die Musik in Geschichte und Gegenwart, and the English trans- lation, mainly by Arthur Howes, of ex- cerpts from Flade's book, using the 1926 edition ("The Organ Builder, Gottfried Silbermann," Organ Institute Quarterly, Vol. III [1953], Nos. 3 and 4; Vol. IV [1954], Nos. 1-4), as well as numerous pamphlets and monographs on individual

Gottfried Silbermann, Leipzig, 1926; rev. ed., 1953), the latter now out of print. Beyond this there is the concise article by Hans Klotz in Die Musik in Geschichte und Gegenwart, and the English trans- lation, mainly by Arthur Howes, of ex- cerpts from Flade's book, using the 1926 edition ("The Organ Builder, Gottfried Silbermann," Organ Institute Quarterly, Vol. III [1953], Nos. 3 and 4; Vol. IV [1954], Nos. 1-4), as well as numerous pamphlets and monographs on individual

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organs, of which there are, according to Miiller, thirty-one extant out of a total of forty-five, all in East Germany.

Miiller's study is predominantly bio- graphical; one should look elsewhere (preferably to Dahnert) for complete technical data on instruments. In fact, the author intends to provide a plain and simple picture of the "Saxon Archi- medes," avoiding the errors and legends found in other biographies, especially those of Kromer ("Mooser": 1857 and 1861) and Flade. This is not a wissen- schaftliche Silbermann-Biographie but a sympathetic Lebensbild; the author builds on firm documentary bases, however, and does challenge several previously accepted details. He rejects, for example, the sha- dowy sixteenth-century figure of Bild- schnitzer Silbermann, posited by earlier biographers as the original Silbermann ancestor and accepted as such by Flade and those basing their genealogies in turn on his, including Klotz (see above) and Matthias and Worsching in the Saxon segment of their complete family tree (see Die Orgelbauer-Familie Silbermann in Strassburg, Mainz, 1943-1949). He like- wise offers new suggestions concerning Gottfried's reputed training as a book- binder, the circumstances of his death, and his supposedly irritable disposition.

Chapters are devoted to Gottfried's an- cestry, his birth and youth in Frauenstein, his ten-year apprenticeship with his broth- er Andreas in Strasbourg, and his career as a builder, from the first Frauenstein organ to the last great work for the Hof- kirche in Dresden. We glimpse the man's relationships with his assistants, church

organs, of which there are, according to Miiller, thirty-one extant out of a total of forty-five, all in East Germany.

Miiller's study is predominantly bio- graphical; one should look elsewhere (preferably to Dahnert) for complete technical data on instruments. In fact, the author intends to provide a plain and simple picture of the "Saxon Archi- medes," avoiding the errors and legends found in other biographies, especially those of Kromer ("Mooser": 1857 and 1861) and Flade. This is not a wissen- schaftliche Silbermann-Biographie but a sympathetic Lebensbild; the author builds on firm documentary bases, however, and does challenge several previously accepted details. He rejects, for example, the sha- dowy sixteenth-century figure of Bild- schnitzer Silbermann, posited by earlier biographers as the original Silbermann ancestor and accepted as such by Flade and those basing their genealogies in turn on his, including Klotz (see above) and Matthias and Worsching in the Saxon segment of their complete family tree (see Die Orgelbauer-Familie Silbermann in Strassburg, Mainz, 1943-1949). He like- wise offers new suggestions concerning Gottfried's reputed training as a book- binder, the circumstances of his death, and his supposedly irritable disposition.

Chapters are devoted to Gottfried's an- cestry, his birth and youth in Frauenstein, his ten-year apprenticeship with his broth- er Andreas in Strasbourg, and his career as a builder, from the first Frauenstein organ to the last great work for the Hof- kirche in Dresden. We glimpse the man's relationships with his assistants, church

and town officials, musicians, and royalty through his workaday remarks on ma- terials, wages, prices, transportation, and delivery dates, his more personal expres- sions, and the glowing testimony of his contemporary admirers in prose and verse. The personality who emerges shows proud self-confidence tempered by the humility of living Christian faith; ambition and keen business sense controlled by high ethical principles and gratitude to God; precision and organization within the framework of fairness, honesty, and man- nerly courtesy toward all; and material thrift coupled with complete self-giving to art.

On the mechanical side, the book, though beautifully printed and bound, would be more useful with an index or at least a register of persons and places; and the gratifyingly detailed footnotes, albeit wisely grouped at the ends of chapters, are in eye-strainingly small print. There is, however, a valuable list of thirty-two primary documents as well as twenty-four photographs and a handy checklist locating the thirty-one remain- ing organs.

If one accepts the limitation to bio- graphical material and does not object to thorough scholarship blossoming into an informal travelogue in an imaginative, almost conversational narrative style, then one must conclude that, in his attempt to give a truthful yet compassionate and vital account of the man Silbermann, the author has most admirably succeeded.

CARLTON T. RUSSELL Wheaton College

Norton, Massachusetts

and town officials, musicians, and royalty through his workaday remarks on ma- terials, wages, prices, transportation, and delivery dates, his more personal expres- sions, and the glowing testimony of his contemporary admirers in prose and verse. The personality who emerges shows proud self-confidence tempered by the humility of living Christian faith; ambition and keen business sense controlled by high ethical principles and gratitude to God; precision and organization within the framework of fairness, honesty, and man- nerly courtesy toward all; and material thrift coupled with complete self-giving to art.

On the mechanical side, the book, though beautifully printed and bound, would be more useful with an index or at least a register of persons and places; and the gratifyingly detailed footnotes, albeit wisely grouped at the ends of chapters, are in eye-strainingly small print. There is, however, a valuable list of thirty-two primary documents as well as twenty-four photographs and a handy checklist locating the thirty-one remain- ing organs.

If one accepts the limitation to bio- graphical material and does not object to thorough scholarship blossoming into an informal travelogue in an imaginative, almost conversational narrative style, then one must conclude that, in his attempt to give a truthful yet compassionate and vital account of the man Silbermann, the author has most admirably succeeded.

CARLTON T. RUSSELL Wheaton College

Norton, Massachusetts

Rumanische Volkslieder aus dem Komitat Bihar. By Bela Bart6k. Edited by D. Dille. (Ethnomusikologische Schriften Faksimile-Nachdrucke, III.) Budapest: Editio Musica, 1967. [17*, xxii, 450 p.; Ft 83.-]

Rumanische Volkslieder aus dem Komitat Bihar. By Bela Bart6k. Edited by D. Dille. (Ethnomusikologische Schriften Faksimile-Nachdrucke, III.) Budapest: Editio Musica, 1967. [17*, xxii, 450 p.; Ft 83.-]

During the summers of 1909 and 1910 Bart6k visited peasant villages in the Transylvanian county of Bihor (then Hun- garian [Bihar], now Rumanian territory), recording vocal and instrumental melodies with a primitive Edison phonograph and notating them by ear on the spot. He offered the wax cylinder recordings to the Academy of Science in Bucharest together with the suggestion that the collection should be published. The favorable re-

During the summers of 1909 and 1910 Bart6k visited peasant villages in the Transylvanian county of Bihor (then Hun- garian [Bihar], now Rumanian territory), recording vocal and instrumental melodies with a primitive Edison phonograph and notating them by ear on the spot. He offered the wax cylinder recordings to the Academy of Science in Bucharest together with the suggestion that the collection should be published. The favorable re-

sponse provided Bart6k with the impetus to embark on a new, scholarly field: eth- nomusicology.

Avoiding the usual practice of provid- ing folk melodies with piano accompani- ments, Bart6k treated his material in ac- cordance with the innovations of the Fin- nish ethnomusicologist Ilmari Krohn, such as transposition of the melodies to a common tonus finalis (ge). Indeed, Bart6k explored hitherto untried areas in terms

sponse provided Bart6k with the impetus to embark on a new, scholarly field: eth- nomusicology.

Avoiding the usual practice of provid- ing folk melodies with piano accompani- ments, Bart6k treated his material in ac- cordance with the innovations of the Fin- nish ethnomusicologist Ilmari Krohn, such as transposition of the melodies to a common tonus finalis (ge). Indeed, Bart6k explored hitherto untried areas in terms

489 489

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