[33] Alfred Heuss was the first to show what attraction the musical drama had for Zachau, who introduced it even into the Church. Some of his cantatas, the 4th, for example, _Ruhe, Friede, Freud und Wonne_, very unjustly criticised by Chrysander, is a fragment of a fantastic opera where one finds David tormented by evil spirits. The declamation is expressive, and the choruses have a highly dramatic effect. Thus we see the theatrical career of Handel was prepared in Halle, and perhaps it was Zachau himself who sent Handel to Hamburg (A. Heuss: _Fr. Wilh. Zachau als dramatischer Kantaten-Komponist_). (I.M.G., May, 1909). [34] In reality under the influence of English publications, and notably _The Spectator_ of Addison, 1711. About 1713 _The Man of Reason_ appeared in Hamburg. In 1724 to 1727 the journal _The Patriot_ of Hamburg was founded by a patriotic society. The original intention was to print 400 copies, but 5000 were subscribed for in Upper Saxony alone. [35] The secular music about 1728 reckoned in its ranks 50 masters and 150 professors. In comparison, religious music was much more poorly represented than in many other cities of north Germany. [36] _The Birth of Christ, Michael and David, Esther._ [37] _Dramatologia antigua-hodierna_, 1688. [38] _Theatromachia_, or _die Werke der Finsterniss_ (The Powers of Darkness), by Anton Reiser, 1682. [39] _Histoire de l'Opèra avant Lully et Scarlatti_, 1895, pp. 217-222. [40] Reinhard Keiser was born in 1674 at Teuchern, near Weissenfels, and he died in 1739 at Copenhagen. See Hugo Leichtentritt: _Reinhard Keiser in seinen Opern_, 1901, Berlin; Wilhelm Kleefeld: _Das Orchester der ersten deutschen Oper_, 1898, Berlin; F. A. Voigt: _Reinhard Keiser_ (1890 in the _Vierteljahrsschrift für Musikwissenschaft_)--the Octavia and the _Croesus_ of Keiser have been republished. [41] For instance in the overtures in 3 parts, with French indications "_Vitement, Lentement_"; also in the instrumental preludes, and perhaps in the dances. [42] Principally in the duets, which have a slightly contrapuntal character. [43] "Is it the orchestra which is the hero?" asked the theorist of Lullyism, Lecerf de la Viéville. "No, it is the singer...." "Oh, well, then, let the singer move me himself, and take care not to worry me with the orchestra, which is only there by courtesy and accident. _Si vis me flere...._" (_Comparaison de la Musique italienne et de la Musique française_, 1705). [44] "One can represent quite well with simple instruments," says Mattheson, "the grandeur of the soul, of love, of jealousy, etc., and render all the feelings of the heart by simple chords and their progressions without words, in such a way that the hearer can know and understand their trend, the sense and thought of the musical discourses as if it were a veritably spoken one" (_Die neueste Untersuchung der Singspiele_, 1744).