We had an opportunity of attending only one Symphonie Concert, or "Grand Concert Serieux." The orchestra was not large (three contra-Basses with other instruments in proportion), yet they played well, and gave fine character to the Overtures to Don Juan by Mozart, Egmont by Beethoven, Ruy Blass by Mendelssohn, Jessonda by Spohr, and also Haydn's Symphonie, G major No. 3. The orchestra of the Royal Opera House is of course excellent, and ranks with the best in Europe. Yet we did not see that it was much superior to that of the Leipzig Gewandhaus. It is somewhat larger, and its pianos are, perhaps, more piano, and its fortes more forte. The great points of excellence, as quality of tone, blending of the different instruments, Piano, Forte, Crescendo, Diminuendo, Sfortzando, Syncopation, &c., are most perfectly brought out, and the most fastidious hearer seems to be compelled to say, enough.

An excellent military band plays daily at eleven o'clock. It contains about sixty instruments, and we were truly glad to see that the use of the old-fashioned military band instruments is continued. Here were Oboi, Faggotti, Clarinetti, Corni, as well as all the modern brass instruments. The band usually play an overture and one or two smaller pieces daily, at the hour above mentioned; and in its performances, it is sufficient to say, that the characteristics of good orchestral playing are carefully observed.

Throughout Germany three great compositions are performed at this season of the year. Thus, the present season the "Passion Music" and the "Last Seven Words" have been given in Leipzig. The "Passion Music" and the "Tod Jesu" have been performed in Berlin, and one or both in Dresden. We were so unfortunate as to lose both the "Seven Words" and the "Passion Music," but have had the satisfaction of hearing the

"Tod Jesu" twice in Berlin. It is a learned work, not designed for amusement merely, but rather to paint with a deep coloring, the death scene of the Saviour of the world. It is, in general, too serious for a popular audience. "It is quite tedious," said a German lady to me, "but yet it is very grand.' " It does not afford sufficient immediate musical gratification for many; indeed it appeals to a higher principle than that of the mere sensuous, -even to the religious; and to appreciate it, one must be both musically and religiously educated and inclined. Modern musical taste, especially in our country, is of too light a character for Graun or Bach, and for the great religious works which we have mentioned; and then again, religious emotion has been too much separated by our educational habits from a musical form of utterance or expression; indeed, the nasal twang of an uncultivated voice has sometimes been regarded as more natural and appropriate to the expression of religious feeling than the most pure and musical tones.

The “Tod Jesu" was performed on Wednesday by a choir and orchestra under the direction of Julius Schneider, in the Garnisonkirche; and on the Friday following by the "Sing Academie" of Berlin, in their beautiful Hall. It was well done on both occasions, but was much the most effective in the "Sing Academie." The choir was in excellent order, and consisted of about two hundred vocalists; the solo singing, though not by great artists, was all in good style and keeping, and the orchestra were fully adequate to the work they had to do. The recitatives were accompanied by the pianoforte, and the songs and choruses by the orchestra. There was no organ on either occasion, and I find that it is not common to unite the organ with a choir performance. If an orchestra play an overture, they are not supposed to need the support of an organ, and if a choir sing a vocal motette, they are supposed to be able to

sing it independent of instrumental aid; so that the organ is seldom heard, except when it is telling its own story, or sustaining and leading along the great congregation in the choral

songs.

Every seat was occupied; indeed it was necessary to secure tickets a day or two previous to the performance. The king was there, and both the sovereign and the people seemed to enter into the spirit of the music. The house was perfectly still, and there was not the slightest indication of applause; not because the music was not well executed, but because the usual. method of manifesting approbation seemed to be inappropriate to the solemn state of feeling existing. It seemed indeed to be an occasion of deep solemnity; all the members of the choir, male and female, were dressed in black, so that an appeal was made, through the eye as well as the ear, to the religious sympathies in view of the sufferings of the Son of God. I shall not attempt any analysis of the "Tod Jesu." With the exception of one chorus, and Luther's chorale, it is, I believe, quite unknown in America; the chorus to which I refer may be found in the "Boston Academy's Collection of Choruses;" I do not remember the words, but it has been very popular and much sung, and is the only piece by Graun in the volume. More of Berlin in my next.

LETTER XXIII.

Easter Sunday-Music in the Catholic and Protestant Churches-The Picture GalleryJohn Schneider, the Organist.

DRESDEN, April 12, 1852.

YESTERDAY being Easter Sunday, we were awakened at early day-light by the ringing of bells, and the discharge of cannon. The day was ushered in, much in the same manner as is the

4th of July in America. I liked the music of the bells, but the cannon seemed to be less adapted to the occasion. At 8 o'clock I attended the Frauen Church, a very large circular building, having four galleries all around, and in some five and even six. The Organ, which is powerful, stands very high over the altar; perhaps thirty feet from the floor. A fine introductory voluntary, full of joy, was played, closing with a very lively fugue; after which the people sang a chorale. At 9 o'clock we went to the Kreuz-Kirche, where we heard an ostercantate with full orchestra, composed by Theodor Weinlig. It was brilliant and joyful as can be imagined; the trumpets and the drums being fully employed throughout. At 11 o'clock we attended the Catholic Church, where Grand Mass was performed; the music, by Hesse, was sung by a very good choir, accompanied with an efficient orchestra. It was brilliant and exciting, and occupied a little more than an hour. Both the cantate at the KreuzKirche, and the Mass at the Cathedral were well done, though far inferior to the performance of the Dom-Chor, Berlin. Indeed, the two were so different in style as not to admit of comparison. The music of the Berlin choir was churchlike in its composition, and it was exclusively vocal; whereas, here the music was of the modern secular character, and was rather orchestral than vocal. The trumpets and drums (with other brass instruments) were in constant requisition; and more brilliant and animating flourishes of these instruments I have never heard. The whole musical performance made its appeal to lower principles of taste, than did the singing of the DomChor. That was, intellectually and tastefully considered, music of a high order; whereas, in this the strains were more common, adapted to the popular ear, and had much the ance of mere show or exhibition. That was ecclesiastical, religious music; this was was secular, like that of most of the

appear

productions of modern composers of Masses, Te Deums, and other vocal music with orchestral accompaniment.

The congregational singing in the Kreuz-Kirche was excellent, that is, excellent congregational singing; but the organ was played with mighty power, and without variation of Piano and Forte. It seemed to support, bind together, and lead the people, who bore a somewhat similar relation to the organ, to that which a large factory wheel does to the water power by which it is moved. It seemed almost to take away from the people voluntariness or free agency, and to compel them onward in their song. It was certainly impossible for any one to commit any overt act of sin against the laws of time and tune, during such a torrent of sound as that which the organ poured forth. In the afternoon we heard, in the Kreuz-Kirche, an ostercantate by Berg, and a fine Te Deum by Naumann, both in the modern orchestral style, brilliant and dazzling. It was a day of pleasure, and the Concert-Gardens, Opera, and other places of amusement, were well patronized in the evening.

We must leave our readers to imagine whether feelings religious of gratitude to a risen Saviour, or those of a more worldly or sensuous character, were called forth by the scenes of the day. It seemed to us somewhat different from the manner in which Paul would have rejoiced in the contemplation of the resurrection.

The Picture Gallery is regarded as one of the best in Europe, and contains choice specimens of the old masters. The grand picture of the collection is, the Madonna di san Sisto, by RAPHAEL; but there are many fine pieces by Correggio, Titian, Guido, Reubens, and others of different schools. It is most interesting to stand and gaze on the works of those great masters of which one has always heard and read; but instead of the day or two which a traveler has to bestow, months and years