Worcester daily spy. [volume] (Worcester [Mass.]) 1850-1888, 1861-06-06

composed by German for Biron's army. In
contradiction to this, Rouget de Lisle says
himself in collection of French songs 81
made the air and the words of the song at
Strasburg in the night following the dectfra.
ton OF war, end of April, 17a2 1t is related
that the daughter of Marie Dietrich played it
on the piano on the following morning M.
Kastner, in his attempt to vindicate the COM
position for Rouget, repeats the words Of the
sculptor David, of Anglers, who told him,
"Rouget made the stanzas of the song in the
night, and accompanied himself on the vio-
lin" But this would speak more against than
for him, as he could not have composed words
and music at the same time. M. Castil. Blaze,
in the France Musicale" of 1852, gives very
different explanations. He states that in the
theater OF Maame.de Montesson, who was Sc.
crcty married to the Duke of Orleans, in
1882, German Song, with chorus and burden,
was performed for the first time which those
who had been among the auditory recognized
ten years afterwards as the melody of the
world.inspiring song of Rouget's. German
music at that time came into vogue through
Gluck and his successes. A NJ Julien, SEN,
violinst at the Italian Opera, had produced
that song in Madame MOntessons concert it
was received with enthusiasm by the highly
arlstocratic company, against which it turned
such sharp weapon afterwards M. Desau-
ries, publisher OF Guck's operas, and NJ. I'm
bault, who directed the orchestra, were both
present on that evening, and conlided their
secret to Cast Blaze in the eighth year of the
republic although Imbault, who became music
venler, in contradiction to his own opinion,
from speculation and regard to the public voice
had printed the 3" Marsease" himself, in
1872, with Rongets name as the composer
Both assured Nj. Castil- Blaze, that the melody
originally, with its frs: words, had mild re.
ligious character With Rouget's words, the
song became first Chant de Parmee du Rim,
which the regiment at Sirasburg and in Alsa-
ia sang and played as a March. From there
the song travelled to the south of France
and from thence, with the Marseilles battal-
lions to Paris, where it was first ascrihed to
the above mentioned NJ Julien, and others, as
Gossec, Pleyel, and particularly Mehul, who
had set it more completely. NJ CastiI Blaze
quotes several examples where the words en-
tlrely change the character of the tune he
comes very near the truth and the latest news
from Meersburg, when he says :-"lt you hear
in our churches the song 'Sante Cite, demeure
permanente,' and when the singers ntonate
the finale, % ma patrie, o mon bonheur,' do
you see everybody get excited and rush to
arms BY no means; you have heard the
gentle, sentimental tune a hundred times, and
you never dreamed that it was one and the
sdine WIN the fearful burden: AUX armeS,
citoyens tormez vos batalons !"-Professor
Bischoff observes that neither by he older
works of Walther and Gerber, nor by the
newer musical biographical dictionaries, nor
by any authority to which he has access, can
he learn anything nearer of the Capellmester
and composer Hollzmann but, he continues,
there have always lived in the south of Ger
many, and there are still living, a number of
composers of sacred music, OF whom no one,
beyond the narrowest circle of their activity,
ever hears anything.