Musical letters from abroad: : including detailed accounts of the Birmingham, Norwich, and Dusseldorf musical festivals of 1852

Preface

The following letters are almost exclusively on musical subjects, and they relate more particularly to the department of church-music, or to the service of song in religious worship. There are many persons in different parts of our country, who are deeply interested in the subject of music, who are beginning to appreciate its value, and who are engaged in the cause of musical education, and especially in efforts for the improvement of church-music ; this is abundantly proved by the rapid spread of music in common schools, by the steadily growing demand for good instructors both in the vocal and instrumental departments, by the higher qualifications which from year to year are required in those who are sought for and employed as teachers, and by the constantly-increasing number of associations and gatherings for musical purposes, as elementary classes, singing societies, choirs and musical conventions.

IV PREFACE.

It was for the gratification of these persons, and especially for the satisfaction of the author's numerous pupils and friends, that these very imperfect letters were originally written and published in various periodicals, and for these too they have been now collected and printed in a more convenient and permanent form. May they serve as a token of remembrance from the writer, and may they in their humble way add a little to the influence of those who, regarding music as an object worthy of human pursuit and cultivation, are exerting themselves for its improvement and universal diffusion.

Letter IV

Gewandhaus Concert— Mendelssohn— Crowded Hall— Beethoven's Symphony, No. 8— Overture by Gade 21

LETTER y.

Concert of the " Musik-Verein's Euterpe" — Symphony by Westmayer—Oberon — Mile. Marie Wieck — Old and New School of Piano-forte playing 27

LETTER YI.

Gewandhaus Concert— Julius Rielz— Barman's new Symphony — Cherubini— Beethoven— Rossini — Mendelssohn , 31

LETTER YII.

Sketch of Moscheles, the celebrated Pianist 35

LETTER YIII.

Seventeenth Gewandhaus Concert— Ferdinand David— Gluck's " Iphigenie in Tauride"— Madame Sontag— Central Hall Concert 41

1*

VI CONTENTS.

LETTER IX.

PAGE

Madame Sontag — The two Styles of Singing compared — Mara — Catalan! — Wagner — Liud— Sontag 44

LETTER X.

** Thomaskirche"— Charity Pupils— Order of Service— The good Organist— Essential Qualifications 51

LETTER XI.

*Musik-Vereins Euterpe"— Gluck—Cherubinl— Bach— Part Songs by men's voices — Beethoven 57

LETTER XII.

Robert Schumann, the Composer— Clara Schumann, the Pianist— Their great Concert 60

LETTER XIII.

The Concerts — Gewandhaus — David — Dreyschock — Rietz — Robert Schumann — Quartet — Dupont 63

LETTER XIY.

Church of St. Nicholas — Martin Luther — Singing by the great Congregation — Second Service— Small attendance 66

LETTER XV.

The Conservatory of Music at Leipzig, Germany 71

LETTER XYI.

The nineteenth Gewandhaus Concert— Robert and Clara Schumann— Madame Tuczek-Herrenburg of Berlin 78

LETTER XYII.

Dedication of the Music Hall of the " Thomas School"— M. Hauptmann— Chorus Singing 80

LETTER XVIII.

Distinct Articulation in Singing— Congregational Singing, with reference to the uttering of the words 84

CONTENTS. VU

LETTER XIX.

PAGE

St. Peter's Church— Richter, the Organist— the Tomb of Bach— Chorals sung at St. Peter's 88

LETTER XX.

Concert by the Pupils of the Conservatory— Original Overtures by the Pupils 92

LETTER XXL

Mendelssohn and Robert Schumann 95

LETTER XXIL

Berlin — Wilhelm Bach — Symphonic Concerts and Orchestral Music — Military Music — The " Tod Jesu" by Graun, the " Passion Music" by Bach, and the " Seven Words" by Haydn 97

LETTER XXIII.

Easter Sunday— Music in the Catholic and Protestant Churches— The Picture Gallery—John Schneider the Organist 101

LETTER XXiy.

The Dom-Kirche, or Cathedral— The Exercises 105

LETTER XXY.

The Service at St. Nicolai — Madame de La Grange 116

LETTER XXYL

The Leipzig Fair 120

LETTER XXYII.

The Reformed Church— Singing— Preaching 124

LETTER XXYIII.

Churches— Royal Library— Military Bands— Church Music 126

Vlll CONTENTS.

LETTER XXIX.

PAoa arietta Sontag - 131

LETTER XXX.

^ Conservalorium der Musik" 132

LETTER XXXL

Orlando di Lasso and Gluck— Professor Dehn, of Berlin . 135

LETTER XXXII.

Pestalozzi— Nageli — Church Service— Sunday School— Sacred Concerts in America — Schnvder Von Wartensee 137

LETTER XXXIIL

University — Castle— Singing Conventions— Wine-casks— Duels— Jerome of Prague 140

LETTER XXXIY.

Abbe Vogler—Ri nek— Music in Schools— The Kappelmeister's Wife and her Rose 142

LETTER XXXV.

Military Music— Schnyder von Wartensee— Prof. Schindler — Schmidt, the Pianist- Church Music— Organ Playing — Congregational Singmg 146

LETTER XXXVL

Matinee — Mozart — Bach — Elocution— Singing — Piano forte— Bonn— Beethoven's Monument— Cologne— Aix-la-Chapelle— Don Juan — Musical Conventions 151

LETTER XXXYII.

Church Music— Catliolic— Protestant— Old Psalms— Hotel des In valides— Concerts- Meyerbeer — Onslow— Adam — Henrietta Sontag — Americans — Etc 154

LETTER XXXYIII.

Smging in the Jewish Synagogue ; also in the Church St. Roch 159

CONTENTS. IX

LETTER XXXIX.

-Church Music — London Sj Opera Singers— Henrietta Sontag— Spohr 161

PAGE

Concert of the Musical Union — Church Music — London Sacred Harmonic Society —

LETTER XL.

Church Music in the Cliapel of the Rev. Baptist W. Noel 168

LETTER XLL

Grand Musical Festival at Dusseldorf 171

LETTER XLII.

Birmingham Festival— Powers of the Musical World— The Market Place— Service at Rev. Mr. James' Church— Sermon— Choir— Organ — Tunes— Church of St. Martin's—New kind of Chanting— Bread for the Poor— Wesleyan Chapel— Rehearsal —Money matters 195

LETTER XLIIL

The Birmingham Festival— Continued 204

LETTER XLIV.

Funeral Musical Performances — Messiah — Elijah — Smaller Musical Associations — The Oratorio Societies in London — Exeter Hall— Organ Performance 251

LETTER XLV.

St. George's Bloomsbury— St. Paul's Cathedral— Dr. Watts' Chapel— Pickle Shop- John Newton 256

LETTER XLYL

The Norwich Musical Festival 258

LETTER XLVII.

The Tabernacle, Moorfields, Finsbury— Wickliffe Chapel, Commercial Road, East 286

LETTER XLVIIL

Moravian Church— Baptist Chapel, Lyon Street— Singing in Rev. Mr. Brock's Church 290

S. CONTENTS.

LETTER XLIX.

PAGE

Wesleyan Chapel, Grent Queen Street, Lincoln's Inn Fields — Rev. Baptist Noel's Chapel — Lesson on Chanting, by G. C. Spencer — Anecdote — Stoke Newington — Dr. Watts's Monument and Inscription -9:5

LETTER L.

Sacred Harmonic Society — Samson— Christus — Spohr's Last Things 298

LETTER LI.

St. Paul's Cathedral— Rev. Mr. Brock's Church 300

LETTER LIL

Church Music in Holland— Haarlem Organ — Leyden— The Hague— Bells— Hats on — Reading the Bible for a Voluntary 302

LETTER LIIL

Dr. Bexfield's Lectures— English Glee and Madrigal Union — Oratorios — Sacred Harmonic Society — Judas Maccabeeus— Concerts 305

LETTER Liy.

York— Dr. Camidgc—Roughness of Boys' Voices— Lord Murray— Neukomm's Psalms— Rev. Mr. Guthrie— St. Giles's Cathedral— Choral Singing in Scotland 309 cv

ViSXtul 3ttttxs.

Letter I

The Voyage— Burial at Sea— Liverpool — Worcester Cathedral— Choir— St. Nicholas- Rev. Mr. Havergal— Psalmody— Organ Playing.

London, Jan. 9th, 1852.

A VOYAGE across the Atlantic has been so often described, that I will not attempt any account of ours, except to say that it was, with the exception of a day or two, a succession of blows and gales, rough and cold. A single circumstance may be mentioned in a death at sea. We were just rising from the dinner-table, at about 6 o'clock, the fourth day out, when a messenger came in to announce to the captain that one of the passengers in the forward cabin had just died. The captain immediately went out to ascertain the facts, and soon returned with the information that a man had died suddenly, and apparently of delirium tremens. The burial took place in an hour afterwards. The Episcopal service having been read by Eev. Dr. Robinson, who was a passenger on board, the body was consigned to the deep as its last resting-place. Death is always solemn, but it seemed peculiarly so at sea — in a storm, just at night, it being already dark, the wind blowing, the ocean foaming and roaring, and the ship, though by the power of her mighty engines steadily pursuing her way, tossing her© ai)Ld there g, nut-shell upon the mighty billows.

12 CATHEDRAL — CHANTING.

Eleven days and a half brought us safely to Liverpool, where we arrived on New Year's morning, at about 6 o'clock. Taking a hasty look of the city, where we landed, we proceeded the next day to the old city of Worcester, delightfully situated on the banks of the river Severn, where we took lodgings for the Sabbath at the " Star and Garter Hotel." This was the last city that held out against Cromwell, and in September, 1651, the decisive battle was here fought which established his authority, and which destroyed the hopes of the Royalists. The Cathedral is, of course, an object of curiosity and interest. It is in the form of a double cross, in different styles of architecture, yet exhibiting unity or harmony of design. The tower, about 170 feet in height, is very beautiful and grand. There are many interesting monuments contained in different parts of the building ; that of King John in the choir attracts, perhaps, most attention. A full-length effigy of the King lies on the top of the tomb. The King was buried here, (1216,) by his own desire, in a monk's cowl, to expedite his passage through purgatory.

We attended the daily service on Saturday, at 3 o'clock. The prayers, litany, &c., were all intoned or recited to the plain chant by one of the canons of the cathedral, with the usual responses by the choir. The psalms for the day were chanted by the choir, consisting of sixteen or eighteen boys and men, who also sung the canticles set in the service or anthem form, by Dr. Nares.

The chanting was poor enough, at least, for three reasons : 1st. Great rapidity of utterance. 2d. No two members of the choir kept together. 3d. The enunciation of the words was so careless, that it was with difficulty one could keep the place and follow the performance, even with book in hand. There was, of course, nothing like attention to the sense of the psalms —

CONGREGATIONAL SINGING. 13

there was no appropriate emphasis, or any more expression, than would be given by a hand-organ or grind-stone. The great leading object seemed to be to hurry on, and get through as quickly as possible. One good point, however, in the chanting was the absence of all drawling in the cadences. The tones were not prolonged, but were delivered in quick succession.

On Sunday morning, at 11 o'clock, we attended divine service in the parish church of St. Nicholas, Eev. Mr. Havergal rector. The exercises commenced by a few measures as a voluntary, or rather prelude, and the " giving out " the tune on the organ, after which all the congregation united in a single stanza sung to the old tune called " Tallis's Evening Hymn." The hymn was not read nor named, but it appeared to be a common thing for the worship to commence in the use of a stanza well known, always the same, and to the same tune. It was a hearty commencement, for every one seemed to join with full voice. The service was read by the curate. The chanting was done by the whole congregation, and the responding was between the occupants of the lower floor and those of the gallery— but the song was universal — men, women and children uniting harmonious voices. The Venite and the Te Deum were chanted responsively ; the psalms were not chanted but, read in the usual manner. Two metrical hymns were sung during the service. The tunes were both of the old ecclesiastical class, and were in the same rhythmic form as St. Ann's, York, &c. appear in the Cantica Laudis. The first and last words of each line being long, and all the rest short. They were sung by all the people, and in very quick time ; as fast as propriety would allow the enunciation of the words. They were sung somewhat quicker than the writer has taught this class of tunes in musical conventions and singing classes in

14 REV. MR. HAVERGAL.

America. Let the tune Uxbridge, for example, be sung in quick time, somewhat quicker than usual, and the crotchets will give the time of the minims in the above-named class of tunes. There were one or two organ interludes introduced in a psalm of five stanzas; but these were very short, not more than about tw^o measures, "or the length of the last line of a common metre tune. " These tunes would he popular in America^^'' said the lady who was with me, w^ho, though not a singer, has been accustomed for many years to give close attention to the Psalmody, and to hear criticisms and remarks concerning it. And indeed, they are as far from being dull and heavy as need be ; I doubt not that many good people, with us, w^ould think it almost irreverent to sing a hymn through with such rapidity. Yet all the people, old and young, joined — all seemed to know the tunes perfectly, and all kept well together.

Mr. Havergal is himself, as is well known, much of a musical man, and an excellent composer. He has once or twice obtained the Gresham prize medal for the best composition of a church service or anthem ; and he is well-known by numerous sacred songs, published with pianoforte accompaniment. But it is metrical psalmody and the chant in which he is most interested, and in which he has produced some very fine specimens. He only devotes odds and ends of time to music, and never writes music when he is able to write sermons ; but it has been, when weary with the labors of the day, or when travelling, that he has composed most of his popular and excellent tunes. He has many curious and valuable old books of psalmody, and is now himself writing, as he can find time, some historical notice of the " Old Hundredth Psalm Tune."

In the afternoon of Sunday, we again attended the cathedral service. The officiating canon and the choir went through it with the speed of railroad travelling, and if that is well done

CATHEDRAL SERVICE. 15

which is done quickly, then this was well indeed. But the idea of worship in such a service, who would think of it, or suppose for a moment that confession, supjDlication, thanksgiving and adoration, had any part or lot in the matter.

We have had opportunity to attend but one public religious service m London, in the daily cathedral service at St. Paul's. It was nearly the same as at the Worcester cathedral. The choir is a little larger, but the same irreverent hurrying prevails. The manner of treating the cadences in the chant I like, for there is no singing, drawling style, but the tones are short and words quickly spoken ; but with respect to the chanting in other respects, or in general, it is all confused, inarticulate, rapid and unsatisfactory — still it is not relatively, perhaps, much quicker than the other parts of the service. A company of hungry ones in a second or third-rate American hotel do not eat their dinner in greater speed than these humble confessions and prayers are recited.

It is quite astonishing that good people from America, ministers and others, should write in such glowing terms of the cathedral music of England. It is as unfit for our purposes as are their cathedrals, or their Church and State dependence and connection. One does not wonder at the old Puritans, or at their rejection of all chantings, and organ playings, and respondings, and liturgies, when he sees the very great abuses of these things here. It does not follow that they are necessarily bad things, because we see them so much abused ; but it surely becomes us to guard against these abuses of them, as they are introduced into the churches of New-England.

The organ in particular, if we err not, is already sadly abused in many of our churches. Light and silly voluntaries, long and unmeaning interludes between the stanzas, loud accompaniment, fancy stop, and see-saw 52^^Z/-playing, and other things, call for

16 OEGAN PLAYING.

reformation. Indeed, unless the organ can be used as a simple aid to worship, surely it had better be altogether dispensed with.

I have omitted to mention one important point in the use of the organ, both at the parish church and at the cathedral in Worcester. It was this, viz. : the closing voluntary, in both cases, consisted of an introduction and fugue played in excellent style. How noble and elevating is the fugue ; this most learned and most interesting style of music is admirably adapted to the organ, and no person ought to be regarded as an organist who cannot play with a clear and distinct articulation, a strict fugue — yea, even a Bach !

I will also add that both organs at Worcester (as also St. Paul's here) were played in the true organ style, and without the slightest tendency to the light, frivolous, overture, polka, waltz, dance-prevailing manner so common with us. Dr. Hodges, in New York, and the elder Hay ter, in Trinity church, Boston, are both fine specimens of well-educated English organists.

Letter II

A Sunday Service at the Foundling Hospital, London— St. Martins-in-tlie-Fields.

London, January 15, 1852.

This establishment is interesting to musical people, from the fact that Handel was one of its patrons, composing for it, and performing his music for its benefit. A tablet is seen in one of the rooms, with the amount received for several years in succession from Oratorios sriven. But alas! for the music

FOUNDLING HOSPITAL. 17

now; it is anything but church music. There are nearly 400 children, about half of each sex ; they all sit in the organ loft, and all sing the chants, responses, tunes, and services. They are dressed in a neat uniform, the boys in blue, with a white collar turned down, and the girls with white caps and aprons. The organ loft is so arranged, that by the raised seats every one can be distinctly seen.

The service commenced by an organ voluntary ; and a lighter, more frivolous piece of organ-playing, I never heard. It was an attempt at a kind of extemporaneous overture with fancy stops, flute, oboe, &c., and great organ contrasts, staccato passages, sudden pianos, and fortes, and sforzandos, in little scraps of melody, light as the lightest of Donizetti or Verdi, without dignity, solemnity, character, or sense. Not a particle of reverence about it. I have heard the organ abused before, and degraded enough, but this was the climax of organ absurdity and degradation.

In the chanting the children kept together, and there was the entire absence of that drawling in the cadences, so common in America. The notes in the cadences were very quickly sung — very much quicker than I have been accustomed to teach them, yet not too quick. But little attention was given to words — they were not properly delivered ; but the smaller words were omitted, and many were so clipped or abridged as to be decidedly coarse or vulgar, as

" Glory be t' 'he Father," &c. '' As 't was 'n th' beginning," <fec.

This was particularly observable in the monotone recitation of the Lord's Prayer and Creed.

The Te Deum was sung in anthem form, and was well done ' — ^. e, they all Icept together, pronouncing the words with the

18 CHILDEEN AT DINNER.

speed of an auctioneer, but without any attention to sense, emphasis, pause, and the like.

A strange psalm tune was sung. It was like an andante allegretto^ with marked time, by Haydn. Strange indeed, to hear a hymn so sung to music so very light and inappropriate. But it was well done, that is, they all went through it together, as true as a factory wheel goes round, and with as much expression and good taste.

In the place of an anthem, an extract from the Messiah was sung. Rec. " For behold darkness," &c. ; aria, " The people that walked," and the chorus " For unto us." The bass song was well done, by a fine voice, and in quite an artistic manner. The singer did himself much credit indeed, but the chorus was a failure — the little things [children] kept along and got through with it, but no character was given to it whatever. It is not children's music. Children might as well be required to read Shakspeare, as to sing Handel. They may hit the tones, but they cannot sing the music.

The organ accompaniment was here excellent — -orchestra style was required, and orchestra style was played. The staccato was boldly, cleanly, and naost distinctly given. Indeed the organ was made a most excellent substitute for an orchestra ; and very great skill indeed was manifested by the organist.

A very excellent and instructive sermon followed ; the whole service occupying a little more than two hours.

We were now permitted to follow, or rather to precede the children to their dining room. We took our stand in the boys' room, and in a few minutes the two hundred little fellows marched into the room, and took their places at the tables in most perfect order. Four of the larger boys had clarionets in ^eir hands, and, on a signal being given, the whole company

CHURCH OF ST. MARTINS. 19

folded their hands and shut their eyes and sang a grace, accompanied by the clarionets. This was the most affecting song of the day; it was indeed much aided by sight, but the effect was to " enforce tears " from many an eye. This being over, the music of knives and forks was heard — and the nice roast beef and boiled potatoes appeared to be gratefully, or certainly gladly received. We also passed through the girls' room, and saw them at their dinner.

In the afternoon we attended church at St. Martin' s-in-theiields ; but as this communication is already sufficiently long, we will only speak of the organ-playing. It was in legitimate style, and formed a striking contrast to the Foundling Hospital organ. The true organ style was here given ; like the organ at St. Paul's and at Westminster Abbey, there was nothing light, trifling, and silly, but the lofty diapasons told their story with a dignity and a grandeur becoming the house of God. Truly the organ is a noble instrument, but it may be awfully degraded and sadly abused !

LETTER III. London Thursday Concerts, Exeter Hall

^ London, January 15, 1852.

This is a series of concerts for the people, at a low charge ; the prices being four shillings, two shillings, and one shilling, according to the class of seats. They consist of vocal and instrumental music, but without orchestra. They employ some five or six solo performers, and a choir of about forty-five choristers. Glees and madrigals are sung by the choir, and songs, duets, &c., by the solo voices, with piano forte pieces, violin

20 EXETER HALL.

pieces, or other instruments as it may be convenient to obtain for the different concerts. I attended the second of the series on Thursday last. The large Exeter Hall was full of people, who seemed to be much delighted with the music ; indeed I thought that there was more warmth of approval exhibited there than we usually see at the best concerts with us. The solo performers were Miss Pyne, Miss Louisa Pyne, Miss Binckes, Mr. Swift, (a new tenor,) Herr Jonghmans, Mr. Cotton, and Mr. Whitworth. Miss Goddard played serenade (Don Pasquale), by Thalberg, and also an andante and rondo ca,prisioso by Mendelssohn, on the piano forte, and Mr. Richardson played an air with variations on the flute. Miss Binckes has a very fme voice, and sung to the great acceptance of the audience, and Miss Louisa Pyne sung quite a difficult aria by Eode, which called forth a most enthusiastic encoi^e. The pieces for full choir were performed without accompaniment, not even the piano forte being played ; and although I have heard a better chorus at home, yet this was truly good. The concert was conducted by Mr. T. H. Severn. The programme contained the music to the National Anthem, printed in full in four parts, and the whole audience joined in this the closing chorus :

*• God save our gracious Queen, Long may Victoria reign ;

God save the Queen !

Send her victorious, Happy and glorious, Long to reign over us,

God save the Queen !

" O Lord bur God arise.

Scatter her enemies,

And make them fall.

GOD SAVE THE QUEEN. 21

Confound their politics, Frustrate their knavish tricks, On Thee our hopes we fix, God save us all.

" Thy choicest gifts in store On her be pleased to pour,

Long may she reign ; May she defend our laws, And ever give us cause, To sing with heart and voice,

God save the Queen !

There is but little music in London just now : it yields to the Christmas holidays, which are hardly over as yet. There is to be a grand performance of Mendelssohn's hymn of Praise and of Athalie on the 28th of January, and of Elijah on the 30th, but before that time I hope to be in Germany.

Letter IV

Gewandhaus Concert— Mendelssohn— Crowded hall— Beethoven's Symphony No. 8— Overture by Gade.

Leipsig, January 22, 1852.

I HAVE this evening had an opportunity of attending one of the famous subscription concerts in this city, known as the Gewandhaus Concerts.

The concert room is not large, but convenient, and good for musical effect. The centre of the room is occupied by ladies, and the outer seats mostly by gentlemen. A narrow gallery, in which are a number of private boxes, runs round the room. The first object of attraction, after entering the room, is a fine large medallion of Mendelssohn, back of the orchestra ; there

22 MENDELSSOHN.

is no other bust or picture in the room. It makes one feel sad when looking at this fine representation of the great modern composer, in the very room where he has been, and still is, so highly appreciated, and where he has so often triumphed gloriously, to think that he was cut off in his youth, and that the musical world, after so short a time of enjoyment, was deprived of the talents and learning of one who promised to do for music, perhaps, more than any man living. At almost every concert, more or less of his music is performed ; his memory is cherished, not only here, where he w^as so well known, but by all the musical world, and his name shall be held in everlasting remembrance.

A crowd of people were waiting round the door, when we arrived ; and, although it was an hour before the time for the performance to commence, the room was filled, (save the reserved seats in the gallery,) in a few minutes after the door was opened. One must be on hand at an early hour to get a good seat. In about half an hour the members of the orchestra began to make their appearance, and as all the people in the house were talking loud, so the musicians, as they came in, one after another, began to tune, to try their instruments, and to amuse themselves by running over the scales ; so that by the time they were all there, thus employed, the room was filled with sound ; the more so because, as the musicians began to exercise themselves upon their instruments, the talking and laughing grew louder and louder, and at a quarter of an hour before the commencement of the music, it w^as a perfect Babel in the concert room, and as difficult to hear one speak as it is in a railroad car, with all the windows open, in summer. But a few minutes before the hour, the room began to grow quiet, musical expectation began to awaken, and when, as the precise moment arrived, the conductor's signal was heard, everything

CHORUS OF VIOLINS. 23

was still, and perfect silence took the place of noise and confusion. Another signal, and the whole band, as one man, were heard interpreting and presenting to a most attentive audience, one of the great works of the immortal Beethoven.

It was the Sinfonie No. 8, F major. This is not regarded as one of Beethoven's greatest triumphs ; but, although it is light and playful, it abounds in each of its four movements, with the most fanciful and imaginative melodic figures, contrapuntal points, and instrumental contrasts. Ever lively and ever new, it never tires, but holds one in a kind of musical ecstasy from beginning to end ; there seems to be no place where one can relax attention, or cease to be filled with musical delight ; so that at the close of each part, a good long breath naturally comes in as a relief; and one becomes conscious of the intensity of the application he has been giving to the discourse.

The very first thing which strikes one, on hearing such an orchestra as this, is the perfect oneness of the violins. They do, indeed, constitute a perfect chorus — ten or more persons are playing the first violin, and as many more the second ; but they are all artists^ and, therefore, each one loses himself; no one is heard above the others ; but all so beautifully blend as to constitute one perfect whole. This is the perfection of a chorus, be it vocal or instrumental ; and this effect is produced by the Gewandhaus Orchestra.

Another point, immediately noticed, is the proper proportion of wind and stringed instruments ; but perhaps the most striking point, as contrasted with our American orchestras, is the perfection of the wind instruments. It is too often the case in our orchestras that some wind instrument is wanting; thus the oboe or the faggotto is often missing; and again, it is not unfrequently the case that, although there may be some one to hold these or other instruments in the hand, or up