SOME OCCASIONAL ASPECTS OF JOHANN HERMANN SCHEIN

DAVID PAISEY

IN 1973 the Department of Printed Books of the British Library, Reference Division, acquired a collection of some ninety separate pieces of occasional verse in Latin and German, mainly epithalamia, published in Leipzig between 1608 and 1630.^ Amongst these are four relating to the composer Johann Hermann Schein (born 1586, Thomas- kantor in Leipzig a century before Bach, from 1616 until his death in 1630) which do not seem to be recorded elsewhere. Two were published in celebration of Schein's second marriage in 1625, and two (from 1627 and 1629) contain poems by him, the second being in celebration of the wedding of Heinrich Schiitz's youngest brother. For ease of reference, I shall call these publications, which are more fully described in the Appendix, (i) Gaudia votiva (1625); (2) Relatio pastoralis (1625); (3) Euphemiai (1627); and (4) Pharetra nuptialis (1629). All are absolutely typical of the occasional verse which members of the educated and (especially) academic bourgeoisie in Germany traditionally exchanged throughout the seventeenth century to mark weddings, funerals, official inaugurations, degree ceremonies, and so on. Latin verses naturally predominate, though as the century progresses German verses become more numerous with the growing status of vernacular literature.^ Being intended for an intellectual elite, such verses abound in learned references and sometimes tedious word-play - acrostics, anagrams, and the like. It is difficult for us in the twentieth century, with our small Latin and less Greek, to escape the impression that the vernacular verse has greater immediacy, though in technique it is often primitive and its conceits laboured. The ritual nature of these offerings means that purely literary pleasures are rare, though of course some excellent poets did produce quantities of occasional verse. But as a source of historical information the genre is certainly not without interest and tends to be neglected, perhaps because its products are so difficult to grasp bibliographically. Schein's first wife Sidonia, whom he had married in 1616, died in 1624 leaving him with three young children. His second wife, whom he married in St. Thomas's Church on 22 February 1625, was the twenty-year-old Elisabeth de Perre, daughter of the painter Johann de Perre (ti62i). The marriage of the Thomaskantor with the daughter of a celebrated local artist whose pictures hung all over Leipzig, including St. Thomas's Church, naturally suggested the principal conceit used by most authors in Gaudia votiva., that of the conjugation of music and art, of Orpheus and Apelles. The name Schein and

171 its Latin synonyms is of course a gift for poetasters, and is duly exploited, and one writer addresses the shepherd Corydon, the pastoral name which Schein used for himself in so many of his works. More than one contributor recalls, rather tactlessly as we might think, though it cannot have appeared so at the time, the virtues of the dead first wife: one such contributor is Johannes Hopner, Pastor at St. Nicolai and Professor of Theology at the University, Schein's friend and godfather to some of his children, who was to deliver the oration at Schein's funeral in St. Thomas's on 21 November 1630.^ The only two German poems here are inelegant but interesting, as one is by Martin Rinckart, the poet-musician best remembered as the author of 'Nun danket alle Gott', and the other, signed simply G. R., is an acrostic on the bride's name Elisabetha by the Leipzig printer-poet Gregor Ritzsch, who printed the whole anthology and indeed many of Schein's musical works. The orthography of the bride's surname, a Netherlandish family here de Perre or von der Perre, seems to have fluctuated, so that the form Behr or Beer allows one contributor of a Latin poem, Christoph Pincker, to develop a conceit on the Latin ursa (= Barin). This leads us to a consideration of the second work published to celebrate Schein's wedding, the German Relatio pastoraUs whose author hides under the pseudonym 'Chariteius Philomusus', and which is a lengthy elaboration in clumsy verse of the equation Schein — the shepherd Corydon and Elisabeth Barin = a lady bear. The resulting distinctly odd love story must of course have seemed more amusing than incongruous to its contemporary audience. Towards the end of the poem, after Corydon has won and carried off the beautiful bear, the author writes the following interesting lines:

Als diB der gantze Schifer Ordn Vnd all NymphfE berichtet: Das Corydon ein Breutgam worden / Jeder ein Carmen dichtet / Vnd brachten Gaben mancherley / Fr61ich jhtn gratulirten, Vnd machten ein groB Waldgeschrey / Ein Liedlein intonirten: , ,,Gluck zu dem Schlfer Corydon ,,Vnd seiner liebsten Beeren / ,,A]1 Segen / Wolfarth / Frewd vnd Wonn ,,Vnd was sie sonst begehren / ,,Das kom gar reichlich vber sie / ,,AlIs Vngluck sol aus bleiben / ,,Kein Vnfall sie betrube nie ,,BiB sie der Todt thut scheiden. Vnd da dieses zum dritten mal Die Nymphas repetiret, Fuhrt Corydon sie in den Saal / Vnd sie statlich tractiret. 172 Mich aber Pan vermahnet sehr / Das was wer vorgelauffen / Ich alles solt erzehlen her Den gantzen Hochzeit Hauffen.

Is this a reference to real events? Arthur Priifer, in his biobibliography JOA^K Herman Schein (Leipzig, 1895), noting the recurrence in many of the German texts set by Schein (mostly his own words) of certain Arcadian names, speculated (p. 47) about the possible existence in Leipzig of a society of poets using pastoral pseudonyms, like the much later - 1644 onwards - Shepherds of the Pegnitz at Nuremberg. The words 'der gantze Schafer Ordn^ above would at first sight tend to support such an idea, but I think we must discount it: this is a literary convention and not a real formal organization. Schein certainly did call himself Corydon on a number of his title-pages (some examples are reproduced in Priifer's edition of the Sdmtliche Werke, Bd. 2 (Leipzig, 1904)), but while the earlier appearances in his verse of Corydon's partner Phyllis (Tilli zart') may well be compliments to his first wife Sidonia, his second wife would hardly have taken kindly to the continued appearance of Filli, for example in the second and third parts o( Mustca boscareccia of 1626 and 1628, after her marriage, were that identification fixed or any more than a literary incorporation of the (unspecified) beloved. An anonymous German poem, from the same collection as the Schein pieces, entitled UAveuglement d'Amour (Leipzig, 1626)'^ written to celebrate the wedding of a Leipzig businessman, Heinrich Zorsch, and Dorothea Schmidt, refers incidentally to the wooing of a Corydon and Phyllis, with Phylhs only apparently a reluctant lover:

Da leist der Corydon der Phyllis courtosi / Ob gleich die Phyllis sprech zum Corydon J. J. Oo geht jhr b6ser Mensch / ich dachte was niich bisse / Jhr kompt mir h6nisch vor / daB seyndt gar taube Nusse / Seydt jhr denn auch weit her.'' Jhr m6cht mir einer seyn / Je denckt doch / was jhr sagt / es trifft mir eben ein.

This comic tone, with Phyllis more an Audrey than a Phoebe, would surely have been impossible in Leipzig at this date, given the great popularity of Schein's Corydon- villanelles (Musica boscareccia), had the identities of Corydon and Phyllis been fixed on Schein and his dead first wife. They must be simply the literary stereotypes of Pastoral, coming from the Classics via the Italian Renaissance, which Schein himself did much to establish in Germany but which had become general property.^ Mirtillo, another Arcadian who recurs in Schein's works, seems similarly not to be asso- ciated consistently with any one of his friends. And there seems to be no extant body of works by his friends signed with pastoral aliases. 'Chariteius Philomusus' is not such a name, and we may surely assume from his function here and what he says about the 'Orden' that, if it existed, he would have belonged to it. I think, therefore, that when he says of the

173 shepherds that each one composed a poem for the wedding he is referring to the writers represented in Gaudta votiva, where they sign their contributions with their real names. What of the eight-line song our author says was sung at the wedding-feast? We may be sure that music accompanied the celebration, and I have no doubt that some of Schein's choristers from St. Thomas's would have sung in his honour. It is tempting to think that these were some of the words they sang, but there is no evidence either way. Whether 'Chariteius Philomusus' recited his poem to the guests too, as he says he did, is also unprovable, though if he did I hope the guests were already well fortified with wine. But who was 'Chariteius Philomusus' ? I should like to suggest that he was the Christoph Pincker mentioned above as providing the Latin poem in Gaudta votiva with the same bear-conceit, the only writer of the twenty-one contributors to use it. His initials alone coincide with those of the pseudonym - it was quite a common device for pseudonymous authors to choose names which retained their real initials - and he was, as one should expect, a friend of Schein, providing for example a dedicatory poem in the first part of Musica boscareccia (1621) in which he calls Schein 'a new Orpheus'. Although I have not established his date of birth, he must have been almost the same age as Schein, since he is registered (as 'Misnensis' - i.e. of Meissen) in the Leipzig University Matrikel in winter 1604, when he would have been in his teens. He was a lawyer, and became first 'Rats-Syndikus' or Town Clerk, later 'Kurfiirstlich sachsischer Kammer- und Bergrat' and 'Accise-Direktor'. He married on 23 November 1618 Gertraudt Grafe of Leipzig, whose father Caspar was also a lawyer, and amongst other things 'Vorsteher' at St. Thomas's Church, that is to say a church elder. Christoph Pincker was her second hus- band (her first, Gregor Volckmar, having died in 1610), and it is particularly interesting for those in search of musical connections to note that their son Christoph the younger, another lawyer, and in 1655 Mayor of Leipzig, had as his first wife Euphrosyna, daughter of Hcinrich Schiitz, whom he married on 25 January 1648 in Dresden. Christoph Pincker the elder, whom I propose as Schein's 'Chariteius Philomusus', died in 1656.^ I turn now to Schein's poems of 1627 and 1629. The first appears in Euphemiai written to celebrate the wedding of Georg Ernst Moss- bach and Christina Mayer in September 1627. (The bridegroom's father was the Ernst Mossbach for whom Schein had composed his Votum pro pace on his inauguration as Mayor of Leipzig in 1621.) It is as follows, the German being, as is apparent, a free version of the Latin: CEU PISCIS LIQUIDA SE L^TUM GESTAT IN UNDA: SIC NAIAS LEPIDO SE GERIT APTA TORO. DUM PETIT AMPLEXUS MUSCOSI NYMPHULA RIVI. UNDE REFRIGERIUM FLAMMULA COHDIS HABET. MUSCOSUS CONTRA NIMIO QUI FRIGORE RIVUS CONSTITERAT MODO, NUNC HUIUS AB IGNE FLUIT. EN OPIS ALTERN/E EXEMPLUM! DUM FERVIDA FRIGUS; FRIGORA DUM GRATA TEMPERAT ARTE CALOR. O FLUAT, O VIREAT MUSCOSO-RIVULUS ALVEO! O VIVAT, VIGEAT FLAMMULA CORDIS AMOR! Gleich wie ein lustigs Fischelein Jn einem klaren BACHELEJN Fiir frewden hin vnd wieder schwimmt / Bald hie / bald dort piacer einnimbt: Also auch Naias gleicher weiB Heut diesen Tag mit allem fleiB Jn Frewden sich accomodirt Wies gfellt dem Breutgam / jhr gebuhrt. Jn dem sie ist vermdhlet zwar / Als eine WasserG6ttin klar / Eim BACH mit grinem MooB geziert / Darinn VIRTU selbst residirt, Vnd wird nun von den Armen sein Gar sussiglich geschlossen ein / Darvon gel6scht jhr LJEBESFLAM / So vbr jhr HERTZLEJN schlug zusam. Hingegn der EDLE BACH erkohrn Jm MooB fur Kalt hartzugefrorn Empfindet W4rm vnd thawet auff / Bekdmmet also seinen Lauff / Weil jhm der Nimphen Hertzlein Fewr DiBfalls gar sehr wol k6mpt zu stewr: Vnd wer auch noch so hart das EyB / Es schmultz von solcher Flammen heiB.

Seht nun jhr lieben Hochzeit Gist / Betracht mit mir vflfs allerbest / Wie vns allhier in der Natur Ein sch6n Exempl gebildet fur / Wie Eins dem Andern stehet bey Mit Rath vnd That / mit Lieb vnd Trew! Hitz schmeltzet EyB; EyB kuhlet Hitz / Jst jmmer Eins dem Andern nutz.

Darumb so flieB vnd grun allzeit Der Edle Bach im MooB bereit / DaB ja kein Flut / wie da mag seyn / ReiB etwa seine Vfer ein! Es brenn vnd ludr in Gottes Nam / Die auBerlesne LiebesFIam / DaB also BACH vnd FLAM / merckt ebn / Jhnn selbst vnd andern Nutzung gebn!

Johan-Herman Schein / Griinhain. Director Chori Musici Lips.

175 The bridegroom's surname provides the basic conceit (Mossbach = Moos and Bach), that of a frozen mossy stream thawed by the warmth of a nymph's love. Schein's fluency in Latin verse is not surprising in a man whose teaching duties at St. Thomas's school included Latin grammar, syntax, and literature. The German, with its (for modern taste) clumsy metre and rhymes, bumpy elisions, predilection for diminutives, and peppering of Italian words, is quite typical of Schein's vernacular technique, and not without its charm. Were these verses sung.^ Rudolf Wustmann (Musikgechichte Leipzigs, Bd. I (Leipzig and Berlin, 1909), p. 84) says that the Latin epithalamia were not normally set to music. But many of the German epithalamia Schein composed for specific occasions were taken up into his Musica boscareccia and Diletti pastorali. Could this be an uncol- lected example, whose music does not survive, or which was sung to an existing setting? While it is not laid out in strophes, it could presumably be divided into four- or eight- line units for a strophic song in the manner of the villanelles of Musica boscareccia^ though the sense would run awkwardly across the breaks. The concluding section alone (either the last sixteen or the last eight lines) might perhaps have provided a suitable text for music: in the printed page the line which begins the address to the wedding- guests and all the last eight lines are set in larger type than the rest of the poem. The poem as a whole is of course much too long for a through-composed madrigal in the manner of Diletti pastorali, and the text quite unsuitable. The verse-form, tetrameters in couplets with all masculine rhymes, occurs elsewhere in Schein's recorded work, as far as I can see, only in the thirteenth madrigal of Dilettt pastorali (a twelve-line text beginning 'Aurora schon mit ihrem Haar') and in the long poem entitled 'Potenza d'amore' which concludes that collection and which is both unset and obviously not designed for music. The other poem of Schein, from Pharetra nuptialis, though clearly not meant for music, is more interesting. It was written, as I have said, for Benjamin Schutz, youngest brother of Heinrich Schutz, on the occasion of his wedding to Maria Elisabetha Kirstenius on 20 April 1629. Benjamin Schutz was described as late as 1909 as 'hitherto unknown' by Rudolf Wustmann (op. cit., p. 219), who cites the two entries for him in the Leipzig University Matrikel, in summer 1610 and again in summer 1617, the former registration being together with his brother Valerius. Hans Joachim Moser {Heinrich Schutz (Kassel, 1936), p. 44) adds the information that Benjamin appears in the Marburg University Matrikel in 1615. He was a lawyer, who later lived at Erfurt, where in 1655 he is described as 'Senior und Dekan der Juristenfakultat Erfurt, Syndicus daselbst'.' We can now add the date of this wedding and the name of his bride, and further (from Latin poems in Pharetra nuptialis by his brother Georg and by Andreas Ehrlichius) that he had recently been travelling in the Low Countries and France. Georg Schutz (ti637), known to have been Heinrich's favourite brother, was an old friend of Schein, contributing for example Italian dedicatory verses ('madrigals') to both parts of Schein's Opella nova (1618 and 1626). Heinrich Schutz himself is not a contri- butor to this collection of epithalamia for Benjamin - he was in Venice at the time - but besides Georg's contribution there is another Latin poem signed 'Johannes Schutz, 176 LL-Stud.' dedicated to his 'patruus' (paternal uncle) Benjamin. Immediately preceding this are some German verses signed with the initials M.V.S., and although the writer addresses the hridegroom as 'liebster Hertzens Freund', I think it quite likely that M.V.S. stands for Magister Valerius Schiitz, that is to say the brother already mentioned as being registered in the Leipzig Matrikel in 1610, who became Magister on 31 January 1622,8 and, as Moser tells us, died in 1632. The affecting little poem makes it clear that the writer was so seriously ill that he was unable to attend the wedding. And now to Schein's poem:

AD Dn. SPONSUM. Non me Virgilius, nee Ovidius ipse Latinum Romano carmen condecorare stylo; Non me Teutonicos docuit componere versus Musa MODO ludens OPITIANA NOVA: (Quam sequitur, quicuncj bonus nunc esse Poeta Vult, & centipedis consuit arva metri.) Sed Damon rauco sylvestrem stridere cantum Gutture per Panos Valle-Roseta, dedit. Quid male deposcis, quod non praestare potissum? Quin mage, quod possum, Sponse novelle, petis? Sed quia sic placuit, placeat quocj crassa Minervae Textura, & votum quod fero cordicitus. Sic voveo, VIVAS! VIVAS CUM TURTURE TURTUR! UNACJ CONCILIET CORCULA BINA FIDES! Johan-Hermanus Schein / Griinhain Direct. Mus. Lips.^

In conveying his good wishes, Schein characterizes his own verse style: he lays no elaim to the elegance in Latin of Virgil or Ovid, nor can he follow the 'Musa Opitiana', that is to say write in the new German style of Martin Opitz, for which Benjamin Schiitz had apparently asked: his German pastoral style is rough, and his offering instead is simple (crassa Minervae textura). This is particularly interesting for the light it throws on the reception in Leipzig of the Opitzian reforms in German poetry which eventually had so profound an effect throughout Germany. Their principal feature, exemplified in Opitz's Teutsche Poemata of 1624, was a reconciliation of metrical demands with natural verbal stress, in 1629 still new enough to be called 'novus modus' but clearly familiar enough in the intellectual circles of Leipzig not only for Schein to say that all aspiring poets now adopt it, but for the new technique itself to be considered a suitable theme for occasional verse. Martin Opitz met Heinrich Schiitz when he visited Dresden in 1625 and had since provided him with madrigal-texts and the libretto for the lost opera Dafne of 1627, so Schiitz and his music no doubt helped to transmit the literary reforms in Saxony. It is worth recalling, as Rudolf Wustmann does (op. cit., p. 132), the large number of Leipzig students in the early seventeenth century who later became known 177 as poets, not forgetting Paul Fleming who was a pupil at St. Thomas's School under Schein from 1622/3 ^^ 1628. Schein himself, however, while fully aware of the new style, maintains his distance from 'the furrows of hundred-footed metre''"- his tongue seems to be in his cheek - and stays a cheerful reactionary, singing pastorals in his raucous voice 'per Panos Valle-Roseta\ This last reference is to the Rosental near Leipzig, a pleasant piece of country popular with the townspeople for their walks, bounded by the Elster, Plcisse, and Luppa, and which Schein had chosen, in traditional pastoral style, as the landscape setting for his poetic idylls (cf. the references to it in dedicatory verses by Friedrich Deuerlin in Musica boscareccia, part i, and number 9 in that collection, a 'Balletto pastorale' in the same setting). One fascinating question I cannot answer, since it requires a lot of research, is how far the actual order of contributors in occasional anthologies, presumably determined by the printer, reflects a social and academic hierarchy which can be codified with some confidence. It is clear that university Rectors come first and mere students towards the end. But what significance can we attach to Schein in one case coming 26th out of 36 contributors and in the other 32nd out of 34? Examination of the general question would be a good research topic for a student with access to a computer, although the variables would admittedly be difficult to handle and require a sound knowledge of literature and social history.

APPENDIX

1. GAUDIA VOTIVA || Sub secundis secundarum Nuptiarum auspicijs 1 Viri praestantiBimi &doctifiimi || Dn. JOHANN is 1| HERMANN i Schein/1 Chori Musici apud Lipsienses Directoris I qua naturam, qua artis excellentiam I ingeniosissimi, SPONSI: || CUM || LectiBima, pudiciBimaq Virgine || ELISABETHA, || Dn. JOHANNIS DE PERRE PICTO- |i RIS QUONDAM LIPSIENSIS UT I artificiosiBimi, ita celeberrimi relicta filia, I SpoNSa: || celebratarum 22.Februar. || Pristino maerore mutata | a || Fautoribus, Intimis & Cultoribus. || LIPSI^E, || Excudebat GREGOR. RitZSch. I ANNO M.DC.XXV. 4°, 10 leaves, sig. A, B-*, O. British Library (Reference Division) pressmark C. 107.6.22.(23).

2. RELATIO PASTORALIS 1 Vom edlen Schiffer Corydon vnd I seiner sch6nen Beerin / 1 Auff der Hochzeitlichen Ehrenfrewde / || Des Ehrenvesten / Achtbarn || vnd Wolgelahrten Herrn / |j JOHAN-HERMAN || Scheins / Cantoris vnd Directoris || Musici Chori in Leipzig / Brautigams. I Vnd I Der Erbarn vnd Tugendsamen Jungfrawen || ELISABETH, | Des weiland / Ehrenvesten vnd Kunstrei- i| chen Herrn / Johan von der Perre / gewesenen || Burgers vnd berumbten Contrafattors / daselbst nach- || gelassenen Eheleiblichen Tochter / Braut. 1| Denen domals anwesenden Hochzeit- I g&sten erzehlet vnd verehret / || Von I Chariteio Philomuso. I Am XXII. Februarii, Anno M.DC.XXV. 40, 4 leaves, sig. A; woodcut title-page border (4 blocks); colophon (A4 verso): Leipzig / Gedruckt bey George Liger. B.L. pressmark C.iO7.e.22.(24). 178 ELISABETH.

179 3- Quod faustum gratumq Deo sit & utile Sponsis. || 'Ev(^fiLOiL, \\ Solennitati Nuptiarum Auspicatissimarum || ClariBimi & ConsultiBimi Viri, || Dn. GEORGII || ERNESTI MoBbachs / LU.D. I SPONSI, f ET 1 HonestiBimae PudiciBimaeq Virginis || CHRISTIN/^:, j| AmpliBimi ConsultiBimiq Viri 1 Dn. FRIDERICI Mayers / Hx~ \\ reditarii in Plausigk / Consulis Reipubl. Lips. meritissimi, & Scabinatus Electoralis ibidem Assessoris dignissimi, filiae dilectissimee, II a I Fautoribus & Amicis consecratae 8. Iduum IXbris. I Anno M.DC.XXVII. I LiPSi^, I Typis exscribebat GREGORIUS Ritzsch. 4", 12 leaves, sig.A-C"*. B.L. pressmark C.io7.e.2o.(io).

4. Pharetra Nuptialis, || In solennem Nuptiarum festivitatem || ViRi || CLARISSIMI ET EXCELLENTISSIMI, |] Dn. BENJAMINIS || SCHUTZII, || JURIS UTRIUSQUE DOCTORIS || ExiMii, &c.SPONSI; |i & || LectiBimsE ac PudiciBim^ Virginis, || MARI^ EtiSABETHyf;, I Viri integerrimi & honoratissimi, || Dn. JOHANNIS KIRSTENII, Civis quondam || Lipsiensis primarii, &c. relict^e filiae, || SPONSI; I Lipsiae die 20. Aprilis Anno 1629. peractam, votivis carniinum telis || a |! Dominis Patronis, Affinibus, Agnatis, || Fautoribus & Amicis referta. || Lipsi/E II Parata typis GREGORII RITZSCHII. 4", 12 leaves, sig. A-C'*. B.L. pressmark C.107.€.22.(19).

1 Bound in four volumes, pressmarks C.iO7.e.i9- from Fritz Roth's extremely useful Restlose 22. Auswertungen von Leichenpredigten und Personal- 2 Relatio pastoralis consists of one long poem in schriften (Boppard, 1959- ), entries R4628 German; Gaudia votiva is an anthology of 20 (Euphrosyna Schutz) and R4629 (Gertraudt short poems in Latin and 2 in German; Euphemiai Grafe). Amongst the splendid collection of of 33 in Latin, one in Greek, one in Hebrew and occasional verse by Simon Dach formerly in the one in German; and Pharetra nuptialis of 34 in Maltzahn Collection and now in the British Latin and } in German. Library (C.4O.g.6) is a pamphlet containing three 3 It is interesting to note that the British Library poems, hy Dach and two other members of the copy of Gaudia votiva once belonged to Hopner, Konigsberg circle, Christoph Kaldenbach and as appears from a manuscript inscription on the Heinrich Albert, addressed to Heinrich Schutz title-page: 'Licentiato Johannj Hopnero, Profes- on the occasion of his daughter Euphrosyna's sori P. vndt Archidiaco Jn S.Thomas, meinem marriage to Christoph Pincker the younger - insonders liebgunstigen fy-liolj L.Sebaldus.' C.4O.g.6.(22), formerly Maltzahn II. 179. (lam indebted to my colleague Margaret Nickson 7 Fritz Roth, op. cit., no. R4628. for help in deciphering this difficult hand.) 8 The Magisterpromotion is recorded in a con- Lorentz Sebaldus was Pastor Primarius at Kalbe, gratulatory poem in Thomas Kempferus's near Magdeburg, and died in 1645 aged 84 Hercules philosophicus (Leipzig, 1622), B.L. (Zedler). C.107.e.19.(18). 4 C.io7.e.22.(i2). 9 It was characteristic for Schein to describe him- 5 It would be interesting to know who wrote self as 'Director Musices Lipsiensis' or 'Director L\4veuglement d'Amour: it is accomplished and Chori Musici Lipsiensis' rather than 'Cantor'. amusing. 10 'Consuit' is perhaps a misprint for 'conserit'. 6 This biographical information is almost entirely

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