In the later days of paganism, when the music of the Christian church had already manifested its power and superiority, the Emperor Julian endeavored to bolster up the religion of the ancestors, and fight the church with one of its own weapons. He therefore sought to make an extensive reform in the religious and sacrificial music. He endeavored to form music schools at Alexandria, in Egypt, where a new school of singing and composition might be inculcated, and whence Rome might draw the material for a better religious music than had formerly obtained. In one of his letters, he says: “I deem no study more worthy of attention than good music. I desire that you select from among the population of Alexandria certain well born lads, who shall be supplied each with two Egyptian artabai per month, besides rations of corn, wine and oil, and be provided also with clothes by the comptroller of the treasury. The boys are to be chosen for a definite time according to their voice. Should any give promise of further abilities to reach a high degree in the science of music, let them be informed that we propose to offer to such, very substantial rewards. That the minds of these lads will, independently of our encouragement, be benefited by that cleansing power which perfect music exerts, we may rest assured on the authority of those who in past times have laid down excellent regulations on the subject. So much for the new choristers. As for those now under the instruction of the music master Dioscurus, make them act here all the more diligently to their practice. Since we are prepared to assist them in whatever way they may choose.”[77]
This beautiful scheme was frustrated by the death of its great originator, about two years afterward.
But among all the Roman Emperors, none was a more passionate virtuoso, and devotee of skillful music than that incomprehensible monster, Nero. We shall enter into considerable detail regarding this curious emperor, as he may stand as a type (although an exaggerated one) of the soulless and sensual musical virtuosi of his era. In giving his history (so far as it relates to music) we follow mainly the version of Suetonius.
He studied music in his early youth, and first appeared publicly in the games of the Roman youth, entitled the Juvenalia;[78] here he seems to have made no remarkable impression, either by his voice or dramatic action. Immediately on his accession to the throne, he sent for the famous harper Terpnus, and took the greatest pleasure in his performances; it was his habit to sit with him after supper till late into the night. At last he began to practice upon the instrument himself; and at the same time he began to apply himself assiduously to the cultivation of his voice, although it is the testimony of all his historians, that his voice was rather thin and husky.
The care he lavished upon the preservation of his voice, far out-does that of any modern prima donna; he would lie on his back during part of each day, with a sheet of lead on his stomach, or chest; he used emetics and clysters copiously when it seemed at all out of order; his food was always regulated with reference to its effect upon his voice, and he forbore from eating many fruits and pickles, because they were prejudicial to it.
He never delivered any addresses to his army because he feared that he might thereby strain it; all his speeches to the soldiers were delivered by proxy, even though he were present. On all occasions, he had his voice-master by him, to caution him whenever he should be in danger of over-straining, and this instructor was ordered, if the warning should by any cause be unheeded, to clap a napkin upon his mouth by way of enforcing his advice. Through the whole reign of this emperor however, there was never less misery than while he was applying himself to his musical education, or was upon his musical tours.
Encouraged by the improvement (real or imagined) in his voice, he became desirous of appearing upon the public stage. The unjust valuation which he placed upon the art, being apparent by his remark that “music unheard, was valueless and unregarded.”
His first public appearance took place at Naples, A. D. 63; while singing, the theatre was shaken by an earthquake, but Nero was not to be checked, even by the elements, and sang to the end of his song.[79] After the theatre had been vacated, it fell in; and Nero composed lengthy hymns to the gods for his escape.[80]
On his return to Rome he was desirous of showing his skill in that metropolis; at first he only sang to select audiences of friends at his own palace, but infatuated with the applause of this flattering circle, he was only too glad to follow their suggestion that such a fine voice should not be hidden.
He instituted games in his own honor, entitled the Neronia, which were celebrated in imitation of the Greek sacred games, every fifth year; at these games he had introduced contests of flute and organ-players; he was too impatient to wait until the allotted interval should have expired, but ordered that the games should be celebrated in advance of their accustomed time, and placed his name on the list of musical competitors;[81] the Senate sought to avert such a disgrace, by offering to decree the victory to him, without requiring him to compete, but Nero answered, that he stood in no need of favor or protection; that he depended entirely upon himself and upon his own merits; that he would fairly enter the lists, and that the decision should come from the judges.[82] When his name was called, he came on in his regular turn, attended by a suite of high military officials, one of whom bore his harp. After taking his place he announced that he would sing the story of Niobe; this he did, and kept it up for hours, but at the conclusion he (suddenly changing from singer to emperor) deferred the awards of the judges for one year, as this afforded him an opportunity to appear again in that time.