Buch Von der Meister-Singer Holdseligen Kunst Anfang, Fortübung, Nutzbarkeien, und Lehr-Sätzen.

Altdorf: J.W. Kohl. 1697. First edition. 4to. Portrait; Title (verso quotation from Virgil); 433 - 554 pp.; 6 pages music (notation on 11 sides, 1 side text); 555 - 564 pp.; Engraving (v.b.); 565 - 576 pp. Finely bound in modern full green calf, with 4 raised bands. In very fine condition throughout.


This appendix to Wagenseil's principle work "Libera...civitate Noribergensi commentatio" (RISM écrits imprimés p. 873) is perhaps the most essential source used by Wagner in composing the text for his opera "Die Meistersinger von Nürnberg." More than the writings of Jakob Grimm ("Ueber den altdeutschen Meistergesang," 1811) or E.T.A. Hoffmann's "Meister Martin der Küfner," it was Wagenseil's description of the customs of the Meistersinger which most influenced Wagner. Names, musical motives etc. in "Die Meistersinger" are drawn extensively from the present volume. For further discussion of Wagner's use of this material, see Ernest Newman's "The Wagner Operas," beginning on page 283.


"Because of his comprehensive knowledge he was described as ‘Polyhistor celeberrimus’ (by Will) in the 18th century...He was professor of public and canon law, history and oriental languages at the Civic University of Nuremberg at Altdorf, of which he was twice rector and law dean. For a time he also had charge of the university library. His list of works, large even for a polymath, runs to 88 titles, including the appendix to his Latin history of Nuremberg, De civitate noribergensi commentatio (Altdorf, 1697/R1975); the appendix (pp.433–5) bears the German title Buch von der Meister-Singer holdseligen Kunst Anfang, Fortübung, Nutzbarkeiten, und Lehrsätzen and contains an engraved portrait of Wagenseil by J. Sandrart (dated 1680). It deals with the origin of the Meistersinger, their Tabulaturen and their customs, and includes examples of music by Müglin, Frauenlob, Marner and Regenbogen. Wagenseil’s reliability and scholarly accuracy were doubted even by his contemporaries. Nevertheless, his treatise on the Meistersinger of Nuremberg, the first of its kind, is a very important account of the subject and provided the basis for texts by Jean Paul and E.T.A. Hoffmann, as well as the text, and the musical substance too, of Wagner’s opera." (Heinz Zirnbauer, Grove Online) (3493)

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