West Palatinate touring musicians

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The Carl Weber chapel on their North America trip in 1882/83

The West Palatinate Wandermusikantentum was a touring trade that developed from around 1830 in a part of the West Palatinate that is now called Musikantenland . The heyday was between 1850 and the First World War . During this time several thousand musicians traveled all over the world and earned a living for themselves and their families.

history

Emergence

The West Palatinate has always belonged to the agriculturally disadvantaged regions, there were no transport links to the industrial centers in the early 19th century, bad harvests like those of 1816/17 or 1831 regularly caused famine. The decline in mining on Königs- and Potzberg also had a negative impact on the region . For many families, the way out of this misery was either to emigrate or to work as migrant workers in the better-off regions of Europe. The economic boom in France during Napoleon's reign , for example, drew many Germans to southern France, where they found work in the ports. At the same time, touring trades of various professions developed, which sold products made in home work abroad, for example brushes and brooms from Ramberg or shoes from the Pirmasens area.

The reasons why the inhabitants of the later Musikantenland between Kusel , Kaiserslautern , Rockenhausen and Meisenheim dedicated themselves to the performance of music are not exactly known. It is believed that the importance of the Palatinate Court in Mannheim as the music center of Europe in the 18th century played into this development. Miners who had been recruited from Saxony, Thuringia or Alsace to mine the natural resources of Königs- and Potzberg and who played the folk music of their homeland in their free time are said to have contributed to the musicality of the residents of the Musikantenland. The names of the musicians who were the first to wander around making music and thus could be considered role models, or the time of their first trip are unknown. The civil code introduced during the French era , which among other things brought freedom of trade , meant that from 1800 onwards the additional professional title "musician" was increasingly found.

In the early days, the first musicians played at church fairs or other festivals in the area or in neighboring countries. After it was obviously economically worthwhile, more and more chapels merged from around 1830, so that the travel area also had to be expanded. In the beginning one mainly traveled to the areas in which many Germans lived as emigrants or migrant workers, and came to southern France or Spain.

The number of passports issued for trips abroad increased from year to year. The Bavarian state government - the Palatinate had belonged to the Kingdom of Bavaria since the Congress of Vienna  - became aware of the growing number of musicians. However, since the economic hardship in the Western Palatinate was alleviated, it was decided not to take action against it. Only school-age children, who increasingly accompanied their fathers or relatives, were banned from traveling.

The "largest" musicians' villages
place Number of
musicians
Jettenbach 532
Mackenbach 427
Eßweiler 284
Wolfstein 227
Rothselberg 226

The heyday

From 1850 it was increasingly trained musicians who played in the bands. The bands now traveled all over Europe and also moved overseas - Asia, Australia, Africa and above all America were worthwhile destinations. They were known everywhere as "Mackenbachers", even if they came from other places: Mackenbach was, however, a typical musicians' village, in which at times a quarter of the population was musically active. The number of musicians and bands increased steadily. In 1909 alone, 1043 traveling musicians were identified for the Kusel district based on the passport applications. Since at that time it was possible to travel to some countries without a passport - in England only 100 gold marks and a valid employment contract had to be presented - it is assumed that around 2500 musicians were on the road every year at the turn of the century.

Over time, the musicians became more professional and their education better. Wealthy citizens spent the summer months in the English seaside resorts. The musicians from West Palatinate were welcome there, provided that they adapted to the increased demands of the audience. In order to get involved in the baths and health resorts, the usual street clothes had to be exchanged for uniforms and the current pieces by well-known composers had to be added to the repertoire. In order to communicate with employers and officials, at least the conductor had to speak foreign languages. Hubertus Kilian, for example, spoke English and French and understood Italian and Spanish. There were still bands that walked from place to place through the emigrant areas and made music in the squares; however, the proceeds from street appearances alone were lower. Those who could not make themselves understood and only had Palatine folk music in their program could not hope for permanent employment. Another, crisis-proof field of activity was the circus , which still offered work opportunities for some musicians even after the First World War. Large circuses developed in the 19th century, sometimes with several bands. The need for musicians was great, and many people from the Palatinate, especially from Mackenbach, found well-paid jobs at Hagenbeck , Sarrasani or Busch .

In the hometowns, instrument making developed as a flourishing branch of industry, the business of cloth makers, dyers and tailors flourished. Music brought prosperity to the once impoverished region, and many musicians returned as wealthy men, sometimes after years of absence.

The end

The chapel of Hubertus Kilian in China (1863/64)

The beginning of the First World War marked the end of the traveling music industry, which had just reached its absolute climax. Many men had to go to war, most of the job opportunities for musicians were lost, and the borders with other countries were closed. Musicians who were surprised by the start of the war while traveling abroad were prevented from returning home. Rudolf Mersy from Aschbach was interned in camps in Australia and New Zealand until 1920, Otto Schwarz from Hinzweiler and his chapel, who had previously lived in England for several years, on the Isle of Man .

After the war, Germans were initially banned from entering almost all countries; the Netherlands was an exception. After the hardship of the post-war period was over and cultural life flourished again, the traveling musicians increasingly faced competition from records, radio and sound film; the industry was never able to continue its heyday. At best, as circus musicians, some traveling musicians were able to continue their profession for a while. Some musicians also stayed abroad, especially in the USA, and continued to make music there. Bill Henry, actually Heinrich Jakob from Mackenbach, hired a young singer named Frank Sinatra for his band in 1932 .

In 1935 the remaining full-time traveling musicians in the Palatinate were accepted into the Reichsmusikkammer . A prerequisite for professional hiking was that the band consisted of at least seven members. They had to take exams and needed a responsible leader, who was issued a group ID by the Saar-Palatinate Regional Director of the Reichsmusikkammer. In 1938 musical performance tests took place in Mackenbach and Lauterecken, during which a total of 30 bands were tested. With effect from April 1, 1939, the decree on the membership of traveling musicians was repealed by the Reich Chamber of Music, as their activities were "not viewed as the distribution of musical cultural assets". This ended the traveling music industry in the West Palatinate.

The musicians

Training of musicians

The repertoire of the bands required the individual musician to be able to play several instruments; as a rule, one had to master a string instrument in addition to a wind instrument. There were no music schools in the Palatinate ; the Jettenbacher pastor Schowalter tried in vain to politically enforce such an institution before the First World War. The training was therefore similar to that in the handicraft: The apprentice was apprenticed to a master, an experienced traveling musician, for several years. The best-known teachers were Ludwig Christmann from Kaulbach , Jakob and August Rech from Etschberg and Ludwig Jakob from Mackenbach , who was also called "Gorlhauser Lui" because he grew up in Godelhausen .

Michael Schröck's chapel from Jettenbach in Russia, around 1895

The training began while still at school, and the student had to take music lessons several times a week. The young musicians' first trip - called “Easter boys” because they had just left school at Easter - often took place with their father or a close relative. This prevented homesickness, but on the other hand also prevented the young people from falling into the hands of unscrupulous band masters who only exploited them.

The musicians' actual training period began with the first trip. For two to three years, the young musicians were usually only allowed to play accompanying voices, this was called “push off” or “knop off”. It was decided whether someone was talented enough to become a soloist or whether he had to remain in the background as an accompanist. Many musicians quickly gave up music when they found a job that was more suitable for them, and only made a few trips. The most gifted musicians took further lessons from good teachers of their instruments, often abroad, whenever the opportunity arose.

Another training opportunity arose with the military service. A regimental musician could not only improve the mastery of his instrument, he also got an insight into a broader musical spectrum and into the possibilities of its arrangement. This turned out to be useful in the selection and interpretation of the pieces for the later time as a traveling musician. Hubertus Kilian from Eßweiler, for example, received such training when he served in the military in 1852 with an infantry battalion in Kaiserslautern.

Chapels

The bands, also known as gangs, were put together by the Kapellmeister, an experienced traveling musician, and relatives were often preferred. On longer trips, several band masters sometimes got together with their bands. Most bands consisted of five to ten musicians, but they could have 20 or more members. The musicians were employed by the conductor and received their wages from him after the trip, which was determined according to their ability, their experience and the profit of the band. The line-up was mostly mixed; pure wind or string groups were rarely found. When making the cast, the Kapellmeister had to make sure that more demanding pieces could be included in the repertoire in order to get better paid engagements. Easier to transport, more robust instruments were preferred. The discipline of the musicians was important, later on the external appearance and appearance of the musicians was also emphasized.

Kapellmeister

Experienced traveling musicians became band masters. The conductor was the conductor of his band, he put them together, recruited the members, selected the pieces and rehearsed them with his musicians, usually during the winter. Kapellmeister had to have theoretical knowledge of music, as they had to adapt the selection of the repertoire and the parts of the pieces to the respective line-up of the band and also had to write the part books for the members. They had to have organizational skills, as they were responsible for the engagements, planning the travel route, catering for the musicians, choosing accommodation and discipline during the trip. The band masters paid for the travel expenses and also provided the uniforms. Often, good band masters were able to get a job as board band during the crossing, thereby reducing travel costs considerably.

Orchestral musician

The repertoire of the traveling musicians always contained not only light music but also so-called serious music . Mastering classical music was a basic requirement in order to get one of the coveted longer engagements in one place abroad, and it was a matter of course with good bands. Good musicians could play straight from the sight without lengthy rehearsals. All of this and the fact that many symphony orchestras were founded in the USA in the second half of the 19th century made it easy for some traveling musicians to find work there as professional musicians:

These are just some examples. Maria Bauer mentions in Das Hohenöller Musikantentum from 1921 that two-thirds of the Boston Symphony Orchestra was supposed to have consisted of wandering musicians from West Palatinate when it was founded. Since these musicians usually did not return to their old homeland, the musicians' country lost many of its most capable musicians.

Musician women

Musicians were rather rare. Often the wife of a younger musician was taken on a trip so that she could take care of the household during the trip. Sometimes the whole family was there for longer trips or permanent commitments. Hubertus Kilian took his wife Phillipine to Australia in 1858, and two of their seven children were born there during the seven-year journey. Even Rudolf Mersy from Aschbach spent his childhood with his parents in Edinburgh and went to school there.

This was not possible if there was a business or agriculture at home as a second source of income or for retirement purposes. Especially on the shorter trips during the summer months, it was usually only the men who moved around making music. In addition to raising the children at home, the women also took on traditional men's jobs such as running the farm.

Course of trips

In the autumn, the Kapellmeister put the band together by engaging the musicians with a handshake. After the repertoire had been determined, the pieces were rehearsed during the winter. Rehearsals were held several times a week, mostly in the conductor's house. During this time the Kapellmeister ordered the uniforms for the members of his band. In the winter time, destinations and travel routes were planned, which were often laid out in such a way that mainly areas were visited in which many emigrants of a certain nationality lived; these didn't necessarily have to be only Germans. Since the bands were able to adapt their repertoire to their audience, they usually achieved higher income. Destinations were also countries or areas that experienced an economic upswing and therefore promised higher income. For this reason Hubertus Killian chose Australia as his travel destination in 1858. Once the destinations and route had been determined, the conductor took care of the transport of the band and luggage to a suitable port, the passage of the ship and accommodation. Maybe he could already get his first engagements.

The journey began in spring. In the early days, when the musicians were only out and about in Germany and neighboring countries, they wandered around on foot; Instruments, clothing and provisions for the journey were carried on the shoulder or in handcarts. That was later, when the demands of the audience on musicians and repertoire became higher and more luggage (instruments, sheet music, clothes) was required, and no longer possible when traveling overseas. In 1848 the Ludwigsbahn was opened between Saarbrücken and Ludwigshafen and in 1859 the Nahe Valley Railway from Saarbrücken via Bad Kreuznach to Bingen. After the construction of these railway lines in the region, one took the train from Staudernheim or Landstuhl to a suitable port of departure, such as Le Havre , Antwerp , Bremerhaven or sometimes English ports. Local farmers and their teams took over the transport of the luggage to the train station.

On the outward journey, concerts were given at folk festivals or kerwen in the places along the route, if possible . When traveling to the north, stopovers were often made in the Rhenish carnival areas. During the passage of the ship, the aim was to work as an on-board band, and the musicians also took on other work on the ship. This enabled travel costs to be reduced.

At the stages of the journey, the Kapellmeister booked rooms in hostels, inns or cheap hotels. If the intention was to stay longer, houses were also rented for one or more months. The necessary household items such as fuel, pots and furniture were bought cheaply on site. The household was usually carried out by a wife who traveled with them, who cooked and did the laundry. People lived very economically on the travels. Salary advances, which the musicians received from the income generated, were transferred to the families in their homeland. The bandmaster also began to pay off existing debts with the merchants at home after receiving the first income.

Concerts took place in public places where money was collected. Usually a booth concert was given in a busy place immediately after arrival in order to attract the attention of potential employers such as hotel or theater owners or wealthy private individuals. One hoped for longer engagements in coffee or tea houses, in theaters or in hotels. Engagements for concerts and balls in private homes were also possible.

After a few days, a few weeks, sometimes months, or if the competition from other music groups did not generate a lot of income, the journey to the next stage was set. Before leaving, everything was sold that was not necessary from the household furnishings and could not be taken away. People often traveled on foot, 30 to 40 km a day, and luggage was allowed to be transported. For greater distances in sparsely populated areas, available means of transport such as carriages or the train were used.

In the autumn the chapels came back to their families in their home villages. Traveling to more distant destinations such as America or Australia or with longer engagements could take several years. After their return, the conductor made the travel accounts, paid his musicians the rest of their salaries and paid off any remaining debts.

Fixed engagements

The Peter Engel Chapel in the seaside resort of Littlehampton in 1902

Fixed engagements were very popular, as they mostly offered regular working hours and secure income over a longer period of time and made the strenuous and expensive moving around unnecessary.

The English seaside resorts were very popular and the West Palatinate hiking musicians were very welcome there, provided that their appearance and music repertoire met the demands of wealthy summer guests. Peter Engel (born March 5, 1861 in Adenbach , † September 9, 1932 in Adenbach) played with his band from 1901 for several years during the summer in Littlehampton . Before the actual season he could appear at tea parties, balls and other festivals. During the season, the band played in the mornings and at teatime on the beach promenade, and in the evenings for the spa concerts. Sunday was a day of rest and the musicians were free. Otto Schwarz (born August 10, 1876 in Hinzweiler , † 1961 in Hinzweiler) also moved to England several times with various bands. They played in Whitby and were engaged as a town band in Saltburn-by-the-Sea . From 1910 to 1914 he rented a house in Harrogate for his musicians, his wife took care of the household. Otto Schwarz was a member of the Harrogat flute quartet De Young. In 1914 he and his chapel were interned on the Isle of Man.

Shorter permanent positions were also welcome. Ludwig Jakob from Mackenbach (born February 11, 1853 in Rodenbach , † April 1, 1931 in Mackenbach), who traveled with his band from the spring of 1890 to the autumn of 1892 in the southern states of the USA, spent two weeks in Fort Worth in a variety theater involved. The band played daily from 10 a.m. to 5 p.m. for $ 18 a day.

repertoire

In the course of setting up the Musikantenland Museum at Lichtenberg Castle , Paul Engel collected and evaluated the sheet music that was still available from the entire Musikantenland area. The music books or part books found were mostly wrapped in wax paper and often put together to form books. Two formats in particular were widespread:

  • the small format (about 13 * 17 cm) to attach to the marching fork of the instruments. It therefore mainly contains pieces that were performed outdoors, at so-called “stand concerts”.
  • the large format (about 25 * 30 cm) for the music stand . Often these are pieces from operas or operettas that were suitable for larger concerts, mostly in permanent engagements. These notes were often recorded on single sheets of paper, probably to ensure greater flexibility in the performance. Performances in concert halls were called "chair concerts".

The part books were handwritten by the bandmaster, the individual pieces were provided with the place and date of the writing, sometimes the players also added private comments such as the weather or daily and travel events.

The part books contain pieces for pure wind instrumentation as well as pieces for mixed string and wind instrumentation. All conceivable band compositions and musical styles were taken into account. As a rule, the repertoire of a band comprised around 300 individual pieces or "piécen", a total of 5,929 titles from the years between 1870 and the beginning of the First World War are contained in the part books. The collection of the Hinzweilerer Kapelle Hoffmann / Schwarz alone comprised around 4,000 titles.

The Höring Chapel from Niederstaufenbach in the USA around 1900

The musicians had to and could adapt their performances to the respective musical taste of the audience. Among the songs, which made up about a fifth of the total repertoire, there are many Polish, Hungarian, Yiddish or English titles. For the emigrants, they represented a bridge to their former home countries, similar to German Heimatlieder for emigrants of German origin. A similar international compilation can be found in the traditional dances and marches, which made up about 60 percent of the repertoire. This adaptability meant that the Palatinate chapels were often given preference over local chapels.

Music styles from the respective host country were also included in the repertoire. For example, early forms of jazz such as ragtime or cakewalk were picked up and implemented by the traveling musicians who were active in the USA , even before John Philip Sousa presented this new music to the Europeans at the World Exhibition in Paris in 1899. And since such pieces could not be missing in any program of the musicians traveling to the USA, one can also say that the traveling musicians have made their contribution to the spread of this musical style in the USA.

Pieces of music from operas or operettas such as overtures or fantasies and other classical pieces of music such as the Hallelujah choir from Handel's “ Messiah ” made up about ten percent of the repertoire. You have to keep in mind that these pieces are more extensive and often take a lot longer than songs or dances, so that they make up 25 percent of the pure playing time. The traveling musicians thereby made a not inconsiderable contribution to the spread of opera music, with which one would otherwise only have come into contact in the opera houses.

Own compositions

5 to 10 percent of the bands' repertoire were original compositions. It was common for a conductor to be able to identify himself as a composer in the 19th century. And also the more technical organization of the training of musicians who started as apprentices with a master, in order to later perhaps be active as a master themselves, required - as a "master's examination" so to speak - the proof that a conductor was able to to compose pieces yourself. Most of the original compositions found consist of utility dances. As a rule, they were only written down in the part books for their own band. It was also common to simply copy compositions from friends or colleagues from their part books; the term “intellectual property” was rather alien. Only a few titles have been published, one example is the “Kaulbacher Balltänze” by Ludwig Christmann, a collection of 35 everyday dances for 14 voices. Outstanding among the composers was Georg Drumm , who enjoyed a high reputation as Kapellmeister, arranger and composer on Broadway . In addition to waltzes and marches, including Hail America , a march that has been part of the standard ritual of every new US president's inauguration since Dwight D. Eisenhower's inauguration in 1952, Drumm also composed larger orchestral works in the style of symphonic poems that appeared in print. Another outstanding composer was Rudolf Mersy from Aschbach, who was known as "Aschbacher Mozart". He is said to have composed around 600 works, most of which were lost in times of war. His most famous work is the march sea ​​eagle , named after Count Luckner's ship .

Breakdown by genre

From the years between 1870 and 1914 a total of 5929 titles are recorded in the part books. They are broken down as follows:

European ballroom dances of the 19th century (marches, waltzes, polka, Rhinelander ...) 3,507 tracks 59.11%
American fashion dances / ragtime descendants (One Step, Two Step, Quick Step, Cakewalk, Barn Dance) 256 tracks 4.29%
Other national dances (Tango, Reel, Krakowiak ...) 31 tracks 0.52%
Songs (folk songs, hymns, dance songs, potpourris) 1,474 tracks 24.85%
Opera and operetta music (opera potpourris, overtures, quadrilles ...) 637 tracks 10.73%
From classical oratorios 24 tracks 0.40%

Significance for the region

Economical meaning

During this time, traveling musicians were of great economic importance for the West Palatinate. The more successful musical bands achieved relatively high incomes. In his travel diary, Hubertus Kilian noted income of $ 12,640 and expenses of $ 1,125 for the time his chapel was in China in 1863/64. Of course, such high profits were only achieved in exceptional cases. As a rule, the income was lower and dependent on the engagements that could be concluded on the trip. When things went very badly, the cost of the trip was higher than the income. Due to a bank failure, Hubertus Kilian lost all the income that his band had made in Australia before he became involved in China, so you had to start all over again. Rudolf Höring's band achieved a total net profit of 2,972 dollars in the USA in 1904/05, about 12,000 marks, which was divided among the members.

The individual musicians received their wages from the conductor depending on their experience. At the beginning of the 20th century, beginners earned a weekly wage of 5 to 10 marks, experienced musicians 20 to 30 marks, and band masters around 2 to 3 times as much. However, this was not little at that time, for comparison:

  • A day laborer in agriculture received a wage of 50 pfennigs a day (if he found work)
  • The members of the Berlin Music Union earned 50 marks a month in 1905
  • In the second half of the 19th century a house in the West Palatinate cost between 3,000 and 6,000 marks.

In 1899 the musicians' savings at the Kusel district savings bank amounted to 451,000 marks, and in 1909 to 1,185,000 marks.

In the home country, long-established craft businesses also benefited from the income of the traveling musicians. Cloth makers, dyers and uniform tailors provided the clothing for the chapels. And since the musicians were mostly on foot on their travels, the shoemakers also had plenty to do. Music shops opened up in the villages, where musicians could cover all of their travel needs in addition to instruments. The large shipping companies such as Hapag , Norddeutscher Lloyd or Woermann Linie offered ship passages overseas directly on site through agencies in Musikantenland - for example Jakob Hebel in Rothselberg, Philipp Kläres in Jettenbach, Ernst Vogt in Wolfstein and various others in the area.

The largest and smallest brass instrument, built by Rudolf Sander

For social security, the musicians often ran farms or inns; they bought meadows, fields and agricultural implements. The traditional handicrafts of the region benefited from this.

Instrument maker

Companies soon sprang up all over the Musikantenland that took care of the construction and repair of musical instruments. The piano maker Friedrich Eichler (1854–1934) was based in Oberweiler im Tal and Hinzweiler. He built prefabricated parts ordered from external companies into self-made housings. This approach based on the modular principle is also often found in violin making. Another well-known name is Fritz Mallach, who took over the business from Franz Pfaff in Kaiserslautern in 1895 and specialized in string instruments. His violins were mentioned in the Dictionnaire Universel des Luthiers , published by René Vannes in Brussels in 1951, as exemplary products of instrument making.

The most famous instrument makers in the region, however, are the Pfaff families in Kaiserslautern ( Georg Michael Pfaff , the founder of the sewing machine manufacturer Pfaff, started out as an instrument maker) and Sander , who opened workshops in Kaiserslautern, Wolfstein and Lauterecken. These instrument makers from the Musikantenland had an excellent reputation. Her clientele included orchestras all over the world, especially in the USA. Rudolf Sander (* 1866 in Kaiserslautern, † 1942 in Wolfstein) built the largest tuba in the world, a subcontra-C bass , in 1899 . It can be seen today in the Musikantenland Museum at Lichtenberg Castle .

Musicians' houses

Typical musician's house (with the musician's gable) in Eßweiler

With the income from the trips, the old farmhouses in the home villages were converted and expanded, and in some cases entire streets were rebuilt. The formerly poor villages reflected the prosperity of the musicians over time. Some musicians' houses received a so-called musician's gable, which was often provided with a lyre as a sign of the musician's status. The architectural styles of the countries visited have also been incorporated into the architecture, for example at the former “Storchennest” inn in Jettenbach, where Australian farmhouses served as models. This was mainly for representational purposes. The musicians' houses are now considered typical of Musikantenland, although many details fell victim to the renovations after the Second World War.

Negative impacts

The relative prosperity of the traveling musicians also led to conflicts. On the one hand, the rest of the village population, who had to laboriously cultivate their fields and could hardly work enough to survive, were not entirely comfortable with the way of life of the musicians in the villages after their return, as they did not understand much about agriculture and apparently did not do any hard work Prosperity could come. On the other hand, the traveling musicians who bought up fields and meadows for social security are said to have pushed prices up. The way of life of the musicians was also denounced by the church. In 1841, the pastor from Weilerbach, Wilhelm Stepp, complained about the musicians that they were “raw, ignorant and open to any sensual impression, hanging around with their art half of the year in suspicious houses in the larger cities of France” and from this “frivolous, irreligious rich country would not bring the best principles ”. The Bosenbach pastor Christian Böhmer, responsible for the parish of Eßweiler, also complained about the “hanging around” musicians.

Unscrupulous bandmasters who took advantage of the “Easter boys” entrusted to them also contributed to the negative image that this partially attached to the musicians. Sometimes children from poor backgrounds were specifically recruited for the trips, so that they arouse pity on the part of the audience and thus generate higher income. They were paid little wages. When 12-year-old Peter Bartholomae from Eßweiler fell ill in England in 1863, his comrades left him without money. Since his mother could not pay for the treatment and the return trip either, the Bavarian embassy had to put the money out. Johann Schenkel from Hinzweiler had a similar experience.

Names

Georg Drumm from Erdesbach, composer and conductor on Broadway

Well-known musicians

Instrument maker

literature

  • Marliese Fuhrmann: Cuckoo Call and Nightingale. The Palatinate hiking musicians . Gollenstein, Blieskastel 2000, ISBN 3-933389-27-5 .
  • Paul PJ Engel: Palatinate Musikantenland Museum at Lichtenberg Castle. (= District of Kusel . No. 1). Görres-Verlag, Koblenz 2001, ISBN 3-920388-99-2 .
  • Kurt Neufert: Rudi Rosenthal - A musician travels the world . Verlag Pfälzer Kunst, Landau 1986, DNB 871247135 .

Web links

Individual evidence

  1. ↑ a b c d e f g h i j k l m n Marliese Fuhrmann: Cuckoo Call and Nightingale . Gollenstein Verlag, ISBN 3-933389-27-5 .
  2. ↑ a b c d e f g h i j k l m n Paul Engel: Palatinate Musikantenland Museum at Lichtenberg Castle . Görres-Verlag, Koblenz, ISBN 3-920388-99-2 .
  3. ↑ West Palatinate Musicians Museum Mackenbach
  4. ↑ a b c d e f g h Paul Engel: The west Palatinate hiking musicianship in the light of scientific investigation. In: Erich Weingart, Paul Kaps: For example - The district of Kusel . Pfälzische Verlagsanstalt, 1985, pp. 157–176.
  5. ^ Rüdiger Becker: Circus Music in Germany. Results of musicological and music pedagogical research on a forgotten genre. Dissertation at the University of Cologne, 2008, p. 100.
This version was added to the list of articles worth reading on September 7, 2008 .