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MUSIC IN EUROPE. |
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eighth, and beginning of the ninth centuiies. tool? all art and music under his powerful protection. He loved to compare himself with King David, and had in many respects, good reason to, for he possessed both the virtues and the failings of that ancient monarch.
He gathered about him a number of musical and literary friends, and we can judge of the pleasant manner of their intercourse by the names of antiquity which each one was known by. Alcuin, was dubbed Flaccus Albinus; Riculf, Archbishop of Mayence,—Damoetas; Arno,—Aquila; Angilbert,—Homerus, etc.*
In addition to the literary and musical schools founded throughout his empire, in his own palace was one devoted to the education of the children of his servants. Books were read, and music sung to his courtiers, during the hours of dining or other leisure.
The singing at his court, he often conducted himself, and every one was obliged to participate. If a stranger arrived, he was also obliged to stand with the chorus, and even if he could not sing, at least to make the semblance of doing so.
In the conservation of ancient legendary songs Charlemagne was very active, and many which have come down to our day, owe their existence to his wise and thoughtful care.f
In church music he was, most of all, interested, and remarked with much concern, the variations
•Epoch men, by Sam'l Real, p. 43.
t Vie de Charlemagne, Guizot, T. 3, p. 161. |
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