Footnotes
[1] Vide 'Musikalisch-Kritische Bibliothek,' Band I., Gotha, 1778.
[2] The opera was introduced into England from Italy about the year 1660.
[3] 'Notes and Queries on Anthropology, for the Use of Travellers and Residents in Uncivilized Lands. Drawn up by a Committee appointed by the British Association for the Advancement of Science. London, 1874.'
[4] The book contains the note: "The Council of the Anthropological Institute of Great Britain and Ireland will be glad to receive any communications relating to the queries contained in this volume. Communications to be addressed to the Secretary, 4, St. Martin's Place, Trafalgar Square, London." It is understood that a certain number of copies of the book will be gratuitously distributed by the committee to English consular agents, naval officers, missionaries, and others who are likely to turn them to good account.
[5] Some account of the instruments in Eisenberg appeared in the Vienna paper, "Die Presse," of November 27th, 1872.
[6] In England the cither was formerly called cittern, cithern, cythorn, citharen, etc.
[7] 'Notices of Japan.' The Chinese Repository, Vol. IX. Canton, 1840, P. 620.
[8] 'Deutsche Mythologie, von Jacob Grimm. Göttingen, 1854.' P. 860.
[9] 'Alt-isländische Volks-Balladen, übersetzt von P. J. Willatzen. Bremen, 1865.' P. 83.
[10] 'Sketches relating to the History, Religion, Learning, and Manners of the Hindoos, [by Q. Craufurd.] London, 1790.' P. 153.
[11] 'The Oriental Collections, Vol. I. London, 1797.' P. 70.
[12] 'Polynesian Researches, by William Ellis. London, 1829.' Vol. II., P. 415.
[13] 'History of the Indian Archipelago, by John Crawfurd. Edinburgh, 1820.' Vol. I., P. 304.
[14] 'A View of the History, Literature, and Religion of the Hindoos, by the Rev. W. Ward. Madras, 1863.' P. 62.
[15] 'The History of Greenland, by David Crantz. London, 1767.' Vol. I., P. 233.
[16] 'Journal of an Expedition to explore the Course of the Niger, by Richard and John Lander. New York, 1844.' Vol. I., P. 366.
[17] 'Illustrations of Japan, by M. Titsingh. London, 1822.' P. 201.
[18] 'Sagenbuch der Lausitz, von Karl Haupt. Leipzig, 1862.' P. 124. The descriptive music of the Wild Hunt in Weber's opera, 'Der Freischütz,' is probably in the recollection of most musicians. It agrees remarkably well with the popular traditions.
[19] 'A View of the History, Literature, and Religion of the Hindoos, by the Rev. W. Ward. Madras, 1863.' P. 160.
[20] 'Stimmen des Russischen Volks, von P. v. Götze. Stuttgart, 1828.' P. 17.
[21] 'Die Mythologie des Nordens, von K. F. Wiborg; aus dem Dänischen von A. v. Etzel. Berlin, 1847.' P. 147.
[22] 'Volkslieder des Serben, übersetzt von Talvj. Leipzig, 1853.' Vol. II., P. 380.
[23] 'Travels in South-Eastern Asia, by Howard Malcolm. Boston, 1839.' Vol. i., P. 205.
[24] 'First Footsteps in East Africa, 1856, by Captain Burton, London.' P. 142.
[25] 'An Account of the Natives of the Tonga Islands, by Mariner and Martin. London, 1818.' Vol. II., P. 131.
[26] 'Icelandic Legends, collected by Jón Arnason; translated by Powell and Magnússon. London, 1866.' P. 631.
[27] 'Stimmen des Russischen Volks, von P. von Götze. Stuttgart, 1828.' P. 58.
[28] 'Briefe von Felix Mendelssohn Bartholdy. Leipzig, 1863. Vol. ii., P. 440.
[29] 'Deutsche Sagen, herausgegeben von den Brüdern Grimm. Berlin, 1816.' Vol. I., P. 355.
[30] 'Sagen, Märchen und Lieder der Herzogthümer Schleswig, Holstein und Lauenburg, herausgegeben von Karl Müllenhoff. Kiel, 1845.' Pp. 116, 118.
[31] 'Norddeutsche Sagen, Märchen und Gebräuche, herausgegeben von Kuhn und Schwartz. Leipzig, 1848.' P. 4.
[32] 'Die Sprichwörter der Polen, von C. Wurzbach. Wien, 1852.' P. 135.
[33] 'Allemannisches Kinderlied und Kinderspiel aus der Schweiz; gesammelt von E. L. Rochholz. Leipzig, 1857.' P. 58.
[34] 'Niedersächsiche Sagen und Märchen, gesammelt von Schaumbach und Müller. Göttingen, 1855.' P. 57.
[35] 'Niederländische Sagen, herausgegeben von J. W. Wolf. Leipzig, 1843.' P. 562.
[36] 'Iceland, its Scenes and Sagas, by Sabine Baring-Gould. London, 1863.' P. 194.
[37] 'Hinterlassene Schriften von C. M. von Weber. Zweite Ausgabe, Leipzig, 1850.' Vol. II., P. 14.
[38] 'Geschichte der Oper in Berlin, von L. Schneider. Berlin, 1850,' P. 240.
[39] 'Universal-Lexicon der Tonkunst. Stuttgardt, 1835.'
[40] Rochlitz wrote this in the year 1828. See 'Allgemeine musikalische Zeitung,' Jahrgang XXX, P. 489.
[41] 'Louis Spohr's Selbstbiographie. Cassel, 1861.' Vol. II., P. 404.
[42] A Midsummer-Night's Dream, Act I., Scene 2.
[43] The Tenor (Italian, Viola di braccio) is called in German Bratsche, corrupted here into Prätschel.
[44] A groschen is about an English penny.
[45] 'The English Drama and Stage, under the Tudor and Stuart Princes, 1543-1664, illustrated by a series of Documents, Treatises, and Poems. Printed for the Roxburgh Library, London, 1869.' P. 22.
[46] 'Extracts from the Registers of the Stationers' Company of works entered for publication between the years 1570 and 1587; with notes and illustrations by J. Payne Collier.' Vol. II., London, 1849. Printed for the Shakespeare Society. P. 142.
[47] 'The English Drama and Stage, under the Tudor and Stuart Princes; London, 1869.' P. 50.
[48] 'Geschichte der Oper and des Königlichen Opernhauses in Berlin, von L. Schneider; Berlin, 1852.' Anhang, P. 15.
[49] 'Geschichte der Oper, etc., in Berlin, von L. Schneider; Berlin, 1852.' Anhang, P. 25.
[50] 'Shakespeare in Germany, by Albert Cohn, London, 1865.' P. lxxviii.
[51] 'Shakespeare in Germany, by Albert Cohn; London, 1865.' P. xxvii.
[52] 'Zur Geschichte der Musik und des Theaters am Hofe zu Dresden, von Moritz Fürstenau; Dresden, 1861.' Vol. I., P. 70.
[53] 'Zur Geschichte der Musik und des Theaters am Hofe zu Dresden, von Moritz Fürstenau; Dresden, 1861.' Vol. I., P. 96.
[54] 'Shakespeare in Germany, by Albert Cohn; London, 1865.' P. lxxxiv.
[55] 'Shakespeare in Germany,' P. lxi.
[56] 'Shakespeare in Germany,' P. xxix.
[57] 'England as seen by Foreigners in the days of Elizabeth and James the First, by W. B. Rye; London, 1865,' P. cvi.
[58] 'A General History of Music,' by C. Burney; London, 1789. Vol. III., P. 136.
[59] Hawkins's 'History of Music.' London, 1776. Vol. III., P. 319.
[60] 'England as seen by Foreigners in the days of Elizabeth and James I. By W. B. Rye; London, 1865.' P. 3.
[61] 'C. W. Ritter von Gluck, von Anton Schmid; Leipzig, 1854.' P. 29.
[62] 'Geschichte des Theatres und der Musik in Cassel,' von W. Lynker; Cassel, 1865. P. 243.
[63] 'The English Drama and Stage, under the Tudor and Stuart Princes, 1543-1664, illustrated by a Series of Documents, Treatises, and Poems. Printed for the Roxburgh Library, London, 1869.' P. 263.
[64] Kiwi, or Apteryx; also called Wingless Emu. This bird is caught by torch-light.
[65] 'Polynesian Mythology, by Sir George Grey; London, 1855.' P. 292.
[66] Almost literally from 'The Popular Superstitions and Festive Amusements of the Highlanders of Scotland, by W. Grant Stewart; London, 1851.'
[67] 'Sagen, Märchen, Schwänke und Gebraüche aus Stadt und Stift Hildesheim, gesammelt von Seifart; Göttingen, 1854.' P. 30.
[68] 'Sagen, Märchen und Lieder der Herzogthümer Schleswig, Holstein und Lauenburg, herausgegeben von Karl Müllenhoff; Kiel, 1845.' Pp. 189, 300, 310.
[69] 'The White Wife, with other Stories;' collected by Cuthbert Bede; London, 1865; p. 220. 'A Collection of Ancient Piobaireachd,' by Angus Mackay; Edinburgh, 1838.
[70] 'Kinder und Hausmärchen, gesammelt durch die Brüder Grimm;' Göttingen, 1856. Vol. III. P. 192.
[71] 'Isländische Volkssagen der Gegenwart, gesammelt von Konrad Maurer;' Leipzig, 1860, P. 277.
[72] Deutsche Mythologie, von Jacob Grimm;' Göttingen, 1854. Vol. I. P. 461.
[73] 'Fairy Legends and Traditions of the South of Ireland. By T. Crofton Croker.' London, 1862; P. 215.
[74] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, 1843, P. 611.
[75] 'Niederländische Sagen, herausgegeben von J. W. Wolf;' Leipzig, 1843, P. 617.
[76] 'Beitrag zur deutschen Mythologie, von F. Panzer;' München, 1848, P. 184.
[78] 'A Vacation Tour in the United States and Canada,' by C. R. Weld; London, 1855, P. 295.
Transcriber's Note
Apparent printer's errors have been retained, unless stated below.
Punctuation, capitalization, accents and formatting markup have been normalized.
Page [44], "beleagured" changed to "beleaguered". (or when the enemy demands by trumpet-signal the surrender of a beleaguered town;)
Page [51], "Shakspeare" changed to "Shakespeare" for continuity. (Although the chief object was to obtain specimens of the various musical instruments used by our forefathers, which are alluded to by Shakespeare and other classical authors, it appeared to me desirable, as illustrative of the history of music, to incorporate into the collection the most interesting of the extra-European contrivances of the kind, and among these principally such instruments of Asiatic nations as are the prototypes of certain ones of our own.)
Page [102], in the midi representations of Beethoven's 'Adelaide', the rhythms were adjusted in the fourth full measure due to the erratic beaming of quavers/eighth notes and the change in metre (from 4/4 to 5/4) for a single measure without notation. To bring it in line with a number of editions of this piece, the last half of the bar has been represented as triplet quavers/eighth notes instead of quavers/eighth notes.
Page [104], the midi representation of Haydn's first sketch of the earthquake in the 'Seven Last Words' is an approximation. The absence of clefs and key signatures, the use of seemingly superfluous accidentals, as well as measures with inconsistent beats made it difficult to produce an audio version that is representative of the composer's intentions.
Page [125], "Leipzic" changed to "Leipzig" for consistency. (This is but a modest essay in tone-painting compared with a certain production by Johann Kuhnau, a predecessor of Bach, who depicted entire biblical stories in a set of six sonatas for the clavichord, which were published in Leipzig in the year 1700.)
Page [153], "n" changed to "an". (For instance, respecting an opinion which he formerly held on German music, he candidly avows ('History of Music' Vol. IV., p. 606),)
Page [182], "Italianized" changed to "Italianised" for consistency. (Some English musicians who at the time of James I. visited the continent, Italianised their names, a rather unpatriotic act to which they probably would not have thought of resorting, had they not become convinced of the superiority of the continental music.)
Footnote [37], "Leipzic" changed to "Leipzig" for consistency. ('Hinterlassene Schriften von C. M. von Weber. Zweite Ausgabe, Leipzig, 1850.' Vol. II., P. 14.)