SOME OCCASIONAL ASPECTS OFJOHANN 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 andGerman, mainly epithalamia, published in Leipzig between 1608 and 1630.̂ Amongstthese 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 notseem to be recorded elsewhere. Two were published in celebration of Schein's secondmarriage in 1625, and two (from 1627 and 1629) contain poems by him, the secondbeing 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 inthe Appendix, (i) Gaudia votiva (1625); (2) Relatio pastoralis (1625); (3) Euphemiai(1627); and (4) Pharetra nuptialis (1629). All are absolutely typical of the occasionalverse which members of the educated and (especially) academic bourgeoisie in Germanytraditionally 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 thegrowing status of vernacular literature.^ Being intended for an intellectual elite, suchverses 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 Latinand 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 natureof these offerings means that purely literary pleasures are rare, though of course someexcellent poets did produce quantities of occasional verse. But as a source of historicalinformation the genre is certainly not without interest and tends to be neglected, perhapsbecause its products are so difficult to grasp bibliographically.

Schein's first wife Sidonia, whom he had married in 1616, died in 1624 leaving himwith three young children. His second wife, whom he married in St. Thomas's Churchon 22 February 1625, was the twenty-year-old Elisabeth de Perre, daughter of the painterJohann de Perre (ti62i). The marriage of the Thomaskantor with the daughter of acelebrated local artist whose pictures hung all over Leipzig, including St. Thomas'sChurch, 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

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its Latin synonyms is of course a gift for poetasters, and is duly exploited, and one writeraddresses the shepherd Corydon, the pastoral name which Schein used for himself inso many of his works. More than one contributor recalls, rather tactlessly as we mightthink, 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 Theologyat the University, Schein's friend and godfather to some of his children, who was todeliver the oration at Schein's funeral in St. Thomas's on 21 November 1630.̂ Theonly 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 theother, signed simply G. R., is an acrostic on the bride's name Elisabetha by the Leipzigprinter-poet Gregor Ritzsch, who printed the whole anthology and indeed many ofSchein's musical works. The orthography of the bride's surname, a Netherlandishfamily here de Perre or von der Perre, seems to have fluctuated, so that the form Behror Beer allows one contributor of a Latin poem, Christoph Pincker, to develop a conceiton the Latin ursa (= Barin).

This leads us to a consideration of the second work published to celebrate Schein'swedding, the German Relatio pastoraUs whose author hides under the pseudonym'Chariteius Philomusus', and which is a lengthy elaboration in clumsy verse of theequation Schein — the shepherd Corydon and Elisabeth Barin = a lady bear. Theresulting distinctly odd love story must of course have seemed more amusing thanincongruous to its contemporary audience.

Towards the end of the poem, after Corydon has won and carried off the beautifulbear, the author writes the following interesting lines:

Als diB der gantze Schifer OrdnVnd 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 malDie Nymphas repetiret,Fuhrt Corydon sie in den Saal /Vnd sie statlich tractiret.

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Mich aber Pan vermahnet sehr /Das was wer vorgelauffen /Ich alles solt erzehlen herDen gantzen Hochzeit Hauffen.

Is this a reference to real events? Arthur Priifer, in his biobibliography JOA^K HermanSchein (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 possibleexistence in Leipzig of a society of poets using pastoral pseudonyms, like the muchlater - 1644 onwards - Shepherds of the Pegnitz at Nuremberg. The words 'der gantzeSchafer Ordn^ above would at first sight tend to support such an idea, but I think wemust discount it: this is a literary convention and not a real formal organization. Scheincertainly did call himself Corydon on a number of his title-pages (some examples arereproduced in Priifer's edition of the Sdmtliche Werke, Bd. 2 (Leipzig, 1904)), but whilethe earlier appearances in his verse of Corydon's partner Phyllis (Tilli zart') may wellbe compliments to his first wife Sidonia, his second wife would hardly have taken kindlyto the continued appearance of Filli, for example in the second and third parts o( Mustcaboscareccia of 1626 and 1628, after her marriage, were that identification fixed or anymore than a literary incorporation of the (unspecified) beloved. An anonymous Germanpoem, from the same collection as the Schein pieces, entitled UAveuglement d'Amour(Leipzig, 1626)'̂ written to celebrate the wedding of a Leipzig businessman, HeinrichZorsch, and Dorothea Schmidt, refers incidentally to the wooing of a Corydon andPhyllis, 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 beenimpossible 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 onSchein 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 muchto 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 ofworks by his friends signed with pastoral aliases. 'Chariteius Philomusus' is not such aname, 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

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shepherds that each one composed a poem for the wedding he is referring to the writersrepresented 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 maybe sure that music accompanied the celebration, and I have no doubt that some of Schein'schoristers from St. Thomas's would have sung in his honour. It is tempting to think thatthese 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 alsounprovable, 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 ChristophPincker mentioned above as providing the Latin poem in Gaudta votiva with the samebear-conceit, the only writer of the twenty-one contributors to use it. His initials alonecoincide with those of the pseudonym - it was quite a common device for pseudonymousauthors to choose names which retained their real initials - and he was, as one shouldexpect, a friend of Schein, providing for example a dedicatory poem in the first part ofMusica boscareccia (1621) in which he calls Schein 'a new Orpheus'. Although I havenot established his date of birth, he must have been almost the same age as Schein, sincehe is registered (as 'Misnensis' - i.e. of Meissen) in the Leipzig University Matrikel inwinter 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 interestingfor 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, daughterof Hcinrich Schiitz, whom he married on 25 January 1648 in Dresden. Christoph Pinckerthe 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 ErnstMossbach for whom Schein had composed his Votum pro pace on his inauguration asMayor of Leipzig in 1621.) It is as follows, the German being, as is apparent, a free versionof 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 RIVUSCONSTITERAT MODO, NUNC HUIUS AB IGNE FLUIT.

EN OPIS ALTERN/E E X E M P L U M ! DUM FERVIDA FRIGUS;FRIGORA DUM GRATA TEMPERAT ARTE CALOR.

O FLUAT, O VIREAT MUSCOSO-RIVULUS ALVEO!O VIVAT, VIGEAT FLAMMULA CORDIS A M O R !

Gleich wie ein lustigs FischeleinJn einem klaren BACHELEJN

Fiir frewden hin vnd wieder schwimmt /Bald hie / bald dort piacer einnimbt:

Also auch Naias gleicher weiBHeut diesen Tag mit allem fleiB

Jn Frewden sich accomodirtWies 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 seinGar sussiglich geschlossen ein /

Darvon gel6scht jhr LJEBESFLAM /So vbr jhr HERTZLEJN schlug zusam.

Hingegn der EDLE BACH erkohrnJm MooB fur Kalt hartzugefrorn

Empfindet W4rm vnd thawet auff /Bekdmmet also seinen Lauff /

Weil jhm der Nimphen Hertzlein FewrDiBfalls 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 NaturEin sch6n Exempl gebildet fur /

Wie Eins dem Andern stehet beyMit Rath vnd That / mit Lieb vnd Trew!

Hitz schmeltzet EyB; EyB kuhlet Hitz /Jst jmmer Eins dem Andern nutz.

Darumb so flieB vnd grun allzeitDer 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.

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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 fluencyin Latin verse is not surprising in a man whose teaching duties at St. Thomas's schoolincluded Latin grammar, syntax, and literature. The German, with its (for moderntaste) clumsy metre and rhymes, bumpy elisions, predilection for diminutives, andpeppering of Italian words, is quite typical of Schein's vernacular technique, and notwithout 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 normallyset to music. But many of the German epithalamia Schein composed for specific occasionswere 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 suitabletext 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. Thepoem as a whole is of course much too long for a through-composed madrigal in themanner of Diletti pastorali, and the text quite unsuitable. The verse-form, tetrametersin couplets with all masculine rhymes, occurs elsewhere in Schein's recorded work, asfar as I can see, only in the thirteenth madrigal of Dilettt pastorali (a twelve-line textbeginning '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 formusic.

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 brotherof Heinrich Schutz, on the occasion of his wedding to Maria Elisabetha Kirstenius on20 April 1629. Benjamin Schutz was described as late as 1909 as 'hitherto unknown' byRudolf Wustmann (op. cit., p. 219), who cites the two entries for him in the LeipzigUniversity Matrikel, in summer 1610 and again in summer 1617, the former registrationbeing together with his brother Valerius. Hans Joachim Moser {Heinrich Schutz (Kassel,1936), p. 44) adds the information that Benjamin appears in the Marburg UniversityMatrikel in 1615. He was a lawyer, who later lived at Erfurt, where in 1655 he is describedas 'Senior und Dekan der Juristenfakultat Erfurt, Syndicus daselbst'.' We can now addthe date of this wedding and the name of his bride, and further (from Latin poems inPharetra nuptialis by his brother Georg and by Andreas Ehrlichius) that he had recentlybeen travelling in the Low Countries and France.

Georg Schutz (ti637), known to have been Heinrich's favourite brother, was an oldfriend of Schein, contributing for example Italian dedicatory verses ('madrigals') to bothparts 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 - butbesides Georg's contribution there is another Latin poem signed 'Johannes Schutz,

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LL-Stud.' dedicated to his 'patruus' (paternal uncle) Benjamin. Immediately precedingthis are some German verses signed with the initials M.V.S., and although the writeraddresses 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 asbeing registered in the Leipzig Matrikel in 1610, who became Magister on 31 January1622,8 and, as Moser tells us, died in 1632. The affecting little poem makes it clear thatthe 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 LatinumRomano carmen condecorare stylo;

Non me Teutonicos docuit componere versusMusa MODO ludens OPITIANA NOVA:

(Quam sequitur, quicuncj bonus nunc esse PoetaVult, & centipedis consuit arva metri.)

Sed Damon rauco sylvestrem stridere cantumGutture 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 MinervaeTextura, & votum quod fero cordicitus.

Sic voveo, VIVAS! VIVAS CUM TURTURE TURTUR!

UNACJ CONCILIET CORCULA BINA FIDES!

Johan-Hermanus Schein / GriinhainDirect. Mus. Lips.̂

In conveying his good wishes, Schein characterizes his own verse style: he lays noelaim 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 Schiitzhad apparently asked: his German pastoral style is rough, and his offering instead issimple (crassa Minervae textura). This is particularly interesting for the light it throwson the reception in Leipzig of the Opitzian reforms in German poetry which eventuallyhad so profound an effect throughout Germany. Their principal feature, exemplified inOpitz's Teutsche Poemata of 1624, was a reconciliation of metrical demands with naturalverbal stress, in 1629 still new enough to be called 'novus modus' but clearly familiarenough in the intellectual circles of Leipzig not only for Schein to say that all aspiringpoets now adopt it, but for the new technique itself to be considered a suitable themefor occasional verse. Martin Opitz met Heinrich Schiitz when he visited Dresden in1625 and had since provided him with madrigal-texts and the libretto for the lost operaDafne of 1627, so Schiitz and his music no doubt helped to transmit the literary reformsin Saxony. It is worth recalling, as Rudolf Wustmann does (op. cit., p. 132), the largenumber of Leipzig students in the early seventeenth century who later became known

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as poets, not forgetting Paul Fleming who was a pupil at St. Thomas's School underSchein from 1622/3 ^^ 1628. Schein himself, however, while fully aware of the newstyle, maintains his distance from 'the furrows of hundred-footed metre''"- his tongueseems to be in his cheek - and stays a cheerful reactionary, singing pastorals in his raucousvoice 'per Panos Valle-Roseta\ This last reference is to the Rosental near Leipzig, apleasant piece of country popular with the townspeople for their walks, bounded by theElster, 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 versesby 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 howfar the actual order of contributors in occasional anthologies, presumably determinedby the printer, reflects a social and academic hierarchy which can be codified with someconfidence. It is clear that university Rectors come first and mere students towards theend. But what significance can we attach to Schein in one case coming 26th out of 36contributors and in the other 32nd out of 34? Examination of the general question wouldbe a good research topic for a student with access to a computer, although the variableswould admittedly be difficult to handle and require a sound knowledge of literature andsocial 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 Iqua naturam, qua artis excellentiam I ingeniosissimi, S P O N S I : || CUM || LectiBima, pudiciBimaqVirgine || ELISABETHA, || Dn. JOHANNIS DE PERRE P ICTO- |i RIS QUONDAM LIPSIENSIS

UT I artificiosiBimi, ita celeberrimi relicta filia, I SpoNSa: || celebratarum 22.Februar. || Pristinomaerore 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 / 1Auff der Hochzeitlichen Ehrenfrewde / || Des Ehrenvesten / Achtbarn || vnd WolgelahrtenHerrn / |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 vndberumbten Contrafattors / daselbst nach- || gelassenen Eheleiblichen Tochter / Braut. 1| Denendomals anwesenden Hochzeit- I g&sten erzehlet vnd verehret / || Von I Chariteio Philomuso. IAm 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.

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3- Quod faustum gratumq Deo sit & utile Sponsis. || 'Ev(^fiLOiL, \\ Solennitati NuptiarumAuspicatissimarum || ClariBimi & ConsultiBimi Viri, || Dn. GEORGII || ERNESTI MoBbachs /LU.D. I SPONSI , f ET 1 HonestiBimae PudiciBimaeq Virginis || CHRISTIN/^:, j| AmpliBimiConsultiBimiq Viri 1 Dn. FRIDERICI Mayers / Hx~ \\ reditarii in Plausigk / Consulis Reipubl.Lips. meritissimi, & Scabinatus Electoralis ibidem

II a I Fautoribus & Amicis consecrataeAssessoris dignissimi, filiae dilectissimee,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 ETEXCELLENTISSIMI, |] Dn. BENJAMINIS || SCHUTZII , || JURIS UTRIUSQUE DOCTORIS ||ExiMii, &c.SPONSI; |i & || LectiBimsE ac PudiciBim^ Virginis, || M A R I ^ EtiSABETHyf;, IViri integerrimi & honoratissimi, || Dn. JOHANNIS K I R S T E N I I , Civis quondam || Lipsiensisprimarii, &c. relict̂ e filiae, || S P O N S I ; I Lipsiae die 20. Aprilis Anno 1629. peractam, votiviscarniinum 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.i9-22.

2 Relatio pastoralis consists of one long poem inGerman; Gaudia votiva is an anthology of 20short poems in Latin and 2 in German; Euphemiaiof 33 in Latin, one in Greek, one in Hebrew andone in German; and Pharetra nuptialis of 34 inLatin and } in German.

3 It is interesting to note that the British Librarycopy of Gaudia votiva once belonged to Hopner,as appears from a manuscript inscription on thetitle-page: 'Licentiato Johannj Hopnero, Profes-sori P. vndt Archidiaco Jn S.Thomas, meineminsonders liebgunstigen fy-liolj L.Sebaldus.'(lam indebted to my colleague Margaret Nicksonfor help in deciphering this difficult hand.)Lorentz Sebaldus was Pastor Primarius at Kalbe,near Magdeburg, and died in 1645 aged 84(Zedler).

4 C.io7.e.22.(i2).5 It would be interesting to know who wrote

L\4veuglement d'Amour: it is accomplished andamusing.

6 This biographical information is almost entirely

from Fritz Roth's extremely useful RestloseAuswertungen von Leichenpredigten und Personal-schriften (Boppard, 1959- ), entries R4628(Euphrosyna Schutz) and R4629 (GertraudtGrafe). Amongst the splendid collection ofoccasional verse by Simon Dach formerly in theMaltzahn Collection and now in the BritishLibrary (C.4O.g.6) is a pamphlet containing threepoems, hy Dach and two other members of theKonigsberg circle, Christoph Kaldenbach andHeinrich Albert, addressed to Heinrich Schutzon the occasion of his daughter Euphrosyna'smarriage to Christoph Pincker the younger -C.4O.g.6.(22), formerly Maltzahn II. 179.

7 Fritz Roth, op. cit., no. R4628.8 The Magisterpromotion is recorded in a con-

gratulatory poem in Thomas Kempferus'sHercules philosophicus (Leipzig, 1622), B.L.C.107.e.19.(18).

9 It was characteristic for Schein to describe him-self as 'Director Musices Lipsiensis' or 'DirectorChori Musici Lipsiensis' rather than 'Cantor'.

10 'Consuit' is perhaps a misprint for 'conserit'.

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