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The account of that you will find in a book where you certainly would not look for it, Wagenseil's 'Nuernberg Chronicle. The old gentleman speaks of a visit he made to Mademoiselle Scuderi in Paris, and if I have succeeded in representing her as charming and delightful, I am indebted solely to the distinguished courtoisie with which Wagenseil mentions her."
One may read about the ceremonies attending its annual exposition, along with other relics, in the old history of Nuremberg, by Wagenseil, which was the source of Wagner's knowledge of the mastersingers. The disruption of the Holy Roman Empire caused a scattering of the jewels and relics in the imperial treasury, and the present whereabouts of this sacred lance is unknown.
The Syriac has it The wicked contributed to his burial, and the rich to his death. The Arabic I will punish the wicked for his burial, and the rich for his death. The Targum He shall send the wicked into hell, and the rich who put him to a cruel death. E. # Or, shall destroy. * The remainder of this chapter is taken from Levi and Wagenseil.
Our own Arne tried his hand at them, and no one looking at his would dream that the sonata form was so nearly ripe at the time. Emanuel and Johann Christian Bach wrote them, and from these two Haydn got the hint which he turned to such splendid account. Abel, Stamitz and Wagenseil wrote them, and achieved nothing in particular.
And, bearing it in mind, we can see in Haydn's early attempts much in a style that had been used before or was being used at the time, much that is simply copied from the younger Bachs, from Domenico Scarlatti, Dittersdorf, Wagenseil, perhaps even his Parisian contemporary Gossec. But we see the character of the themes becoming more and more his own.
From the first he used counterpoint, canon, imitation, and all the devices of the contrapuntal style. But the difference between his newer style and that of Wagenseil and the rest is that he neither uses counterpoint of any sort nor chord figures to make up the true substance of the music, but merely as devices to help him in maintaining a continuous flow of melody.
Over the heads of the assemblage is a representative of the medallion with which the victor in a contest used to be decorated, as we see in the last scene of Wagner's comedy. One of these decorations was given to the guild by Sachs and was in use for a whole century. At the end of that time it had become so worn that Wagenseil replaced it with another.
Wagner's stage people apply them to their idol, but Sachs uttered them in praise of Martin Luther; they form the beginning of his poem entitled "The Wittenberg Nightingale," which was printed in 1523. To the old history of Nuremberg written by Wagenseil, Wagner went for other things besides the theatre and personages of his play.
He met Gluck, who a little later was quite inaccessible to the most pushful of young men; also Dittersdorf and Wagenseil, who, whatever we may think of them, were very high and unapproachable musicians in their time. He worked with unflagging diligence, and the natural instinct of his genius drove him to the works of Emanuel Bach, which he now possessed.
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