That the choir of the Dom-Kirche is the best in the world, (as we have heard it called,) we do not know, but that it is, on the whole, the best we have heard, we are willing to admit; and the performances of the choir and congregation, separately and together, present us with as fine a form of church music as we may ever expect to witness in this world.

We cannot close these very imperfect remarks on the music of the Dom-Kirche, without contrasting for a moment, the form of church music which it presents, with one which prevails to a considerable degree with us. What would the quartet clubs of our churches do, if they should become familiar with such choir singing as we have attempted to describe? If governed by correct musical taste, or by religious propriety, and if uninfluenced by that, the love of which is the root of all evil, we think they would, at least, draw the curtains in front of the organ-loft closer than ever, or perhaps hang their four-stringed harps on the willows, and let the people sing their own songs, until a choir, properly so called, could be formed. What worshipping assembly, knowing the power of a good choir, would be satisfied for a single Sabbath with the drawingroom effects of a single voice on a part? The substitution of a piano forte for an organ in church worship, would not be in worse taste than the substitution of a quartet for a choir. A quartet is beautiful in its place, and in connection and in contrast with a choir, may be truly effective in church music, but save us from that form of song in the house of God, which consists in the monotony of a four-voiced performance, without the light and shade afforded by a chorus.

Again, the true form of church music can only be found in the union of a choir, (including solo and quartet,) with a congregational performance. And while these two combined present us with a most perfect form of church song, each must be

CHOIR AND CONGREGATIONAL SINGING.

115

kept in its own proper place; they must be related and dependent, and yet preserve their own independence. Choir singing must be one thing, and congregational singing another, both with respect to the character of the music and the style of the performance. Congregational singing can never be good, until such tunes as are now attempted are laid aside, and a plainer and easier class are alone encouraged. No German congregation could sing such tunes as St. Martin's, Abridge, Devizes, and a host of others, old and new, now supposed to be appropriate to congregational performance in America; but let a plain and simple style of tunes be sung, such as are sung here, and let the more difficult and more tasteful pieces be reserved for a well-trained choir, and then both may flourish, strengthening in each other's strength. It is a grand mistake, but one that has extensively prevailed, to suppose that these two forms of church music are antagonistic, so that if one is encouraged, the other must be discouraged. They are friendly, and should ever go hand in hand.

Once more-1 -the account given of the Dome Choir should not discourage such choirs in our country, as can never expect to equal, or indeed to come near to that, in the excellency of their performances. That is a professional choir, sustained at a great expense, and of course, the circumstances under which it prospers are quite unlike anything existing in our country. Ours must be voluntary choirs of amateurs, supporting themselves, and in most cases paying their own expenses. But yet, if those who have good voices will but apply themselves according to their opportunity, as much may be done by our choirs, to promote the cause of a spiritual and sincere worship in America, as is done by the more skilful, better trained, and better paid choirs in Germany.

LETTER XXV.

The Service at St. Nicolai-Mad. de La Grange.

LEIPZIG, Sunday, May 2d, 1852.

I HAVE just returned from the morning service. Since Easter, the Motets with Orchestra have been resumed; and to-day, the musical exercises were somewhat different from what they usually are. A Chorale was first sung; but there were not many people to join in. The exercises commence precisely at eight o'clock, whether anybody is there or not; and sometimes I have attended public worship, when there was no one present at the commencement, except the singers. After the chorale to-day, the first two movements of a mass by Che

rubini were sung, "Kyrie," and "Gloria in excelsis;" sung,

too, not in the vernacular language of the land, but in the original Greek and Latin. The " Kyrie" commenced with a short Violoncello solo; this is followed by a vocal solo for a Bass voice; after which the other parts join. There is much solo throughout the movement. The music, although very fine, did not appear to me to be very supplicating in its character, nor did it seem to urge the cry for mercy as one might suppose David urged it in the fifty-first psalm. At the close of the "Kyrie," the minister, at the altar, chanted a few words of prayer, and then followed a brilliant "Gloria in excelsis,” mostly in chorus. A fugue is introduced, and the closing movement, to the word Amen, is very animating and triumphant. At the close of the " Gloria," the minister chanted the collect for the day with response by the choir; afterwards followed prayer, and then came a very fine Motet or Hymn with Orchestra, composed by Spohr. The moment this closed, choir and orchestra scattered, and were seen no more. The organ

instantly announced a chorale, and the loud congregational chorus arose, most cheering, most refreshing, Sabbath-like, a song of worship, solemn, grand, majestic, "fit for an angel to play, or a martyr to hear;" raising one's feelings, and bringing home thoughts of God, heaven, holiness, redemption, and eternity.

I am a great lover of music, I delight to listen to an orchestral performance, and never intend to omit an opportunity of hearing a good concert. But on the Sabbath-day, when one wishes to turn his thoughts upward, and bring himself into converse with his Father above, I love the great vocal chorus, plain and unpretending though it be; it lays no claim to either science or art, yet it grapples with the spirit of worship, draws it out. and bears it with certainty and rapidity towards the object of its search, and penitence, and thanksgiving, and adoration fill the soul. Oh, that those who love the worship of God in our happy land, knew the power of song, to their aid; and knew, too, that form of song, so well adapted to their end. I love the choir; I would spend days and nights in its trainings, and labor without being weary in attempts to bring it to perfection; I would listen to it on the Sabbath, be made sorrowful by its tones of penitence, strong in faith and confidence by its full, and scientific-wrought harmonies, jubilant by its Hosannas and Hallelujahs; but even this is not enough. In addition to all that a choir can do, I want the plain song of all the people, above science, above art, above everything save Him into whose presence it hastens one, and before whose throne it fills one with the spirit of them who sing without ceasing: Worthy is the Lamb that was slain to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing."

66

I heard the congregation singing hymns of praise to-day; the loud organ led them on, binding all together, so that the voices were as the voice of one man; the grand chorus filled

the house of the Lord; it seemed to say Holy, holy, holy is the Lord of hosts! let the whole earth be filled with his glory; and I came away wishing that the people of America could hear it too, hear it until they should know what we mean when we speak of congregational singing, become sensible of its immense importance to their worshiping assemblies, and hasten to take the appropriate preparatory measures for its introduction.

We have been favored with an opportunity to hear another very excellent singer, in MAD. De la Grange. She is a French lady, and a true artist. When Jenny Lind was here, some years ago, she was regarded as the best singer who was ever heard in Leipzig; save that now and then one remembered Catalani, and were, of course, unwilling to give up their earlier impressions with respect to that lady. Afterwards came the Countess Rossi-Sontag, who seemed to bear away the palm, and, indeed, she cannot be excelled; but now we have truly an artist of the first class here in the lady above named. Of her a very competent critic has said, in one of the papers, "She has never been equaled by any of her predecessors." While we might be willing to admit the truth of this remark in regard to some particular points of excellence, we do not acknowledge it as a general truth; and it must be credited to the favorable disposition of the newspaper critic. She has a voice rich in tone, extensive in compass, and of great flexibility. Her lower register is very fine, having more power than that of Sontag; indeed this is true of her whole compass, and in this particular she may be compared to Jenny Lind. With respect to quality and purity of tone, we think the latter lady may have the preference in the higher register, but elsewhere the voice of De la Grange is superior. In her lesson in the "Barber," of Rossini, she ran up with apparent ease to the thrice-marked small