duty. There were seven fine military bands, a part of them being composed of mixed instruments, and a part of brass only. They played in admirable style.

This is a Roman Catholic place, and the music is, of course, such as belongs to that Church. There is but one place where a good choir is sustained, namely, the "Chapel of All Saints." This a beautiful building, about one hundred and fifty feet in length, ninety in width, and seventy in height. There are a number of fine carvings; and the whole interior is finely covered with fresco paintings, on a gold ground; so that the appearance, as one enters the building, is very splendid. We attended at this chapel on two occasions, on each of which high mass was performed, viz., Ascension-day and the Sabbath morning following. The music on the first day was by the director, AIBLINGER, Well known as a composer of Masses, Motets, &c. The choristers numbered about twenty-four, or six voices on a part, being composed of the best professional vocalists, or opera singers, in Munich. The organ was well played, but never as an accompaniment, as the vocal music was without any accompaniment whatever. There was, in the performance of this choir, all the full, clear, and certain delivery and union of vocal tones that the most fastidious critic could desire; though less of the crescendo and diminuendo than in the Dom choir at Ber lin; but in one respect, the Munich choir had a great advan tage, the Soprano and Alto parts were sustained by female voices. Consequently, there was a fulness, richness, and maturity of voice, and a blending in the chorus; neither of which can be obtained in choirs where boys sing the Soprano. There is a disagreeable effect always resulting from the predominance of boys' voices in a choir. The attempt to unite them with adult voices, is like the attempt to mix oil with water; they will not coalesce. I have not, in a single instance, heard boys'

voices in a choir in which they did not stand out by themselves, as a separate thing, without sympathy, resemblance, or congeniality. There can be no perfect chorus where the Soprano, or even the Alto, is principally sustained by boys. Twelve or twenty boys, with good voices, trained to sing together, will form an excellent chorus of one part to lead in the singing of a large assembly of people; but they fail not, usually, to spoil a complete choir or chorus of each of the four parts in one.

Mr. Aiblinger is an able musician, and a fine composer; and his vocal music seems to be a very happy medium between the old and the new. "A little too modern," said one of the best musicians in Munich to me, as we left the chapel. "A little too modern," I suppose the best musicians would almost all of them say; but, while I admire the old, and regret that in America it should be entirely unknown, I cannot agree with those who for conscience sake would confine us to the old ecclesiastical tones. Mendelssohn has given us a happy medium in some of his vocal music, (written without accompaniment,) as the Berlin Psalms, and some other things.

I did not learn by whom the music performed on the second occasion was composed; but, on both occasions, most beautiful indeed was the performance of the choir. I never expect to hear it surpassed.

The music in the other churches, so far as I had an opportunity of hearing, consists of the old chant, the performance of which was, in some cases, very full and satisfactory.

The Protestants are but few in number, and their singing is congregational.

LETTER XXIX.

Henrietta Sontag.

MUNICH, May, 1852.

Or this inimitable artiste and mistress of song, we have already reported at length; but we have had the unexpected pleasure of hearing her again in the Bavarian capital, and cannot forbear saying a few words more. Since being in Leipzig, in February last, she has been singing in some of the most important German cities with the greatest success. In Dresden, Breslau, Hamburg, Bremen, and other places, she has met with the warmest reception; and now, in Munich, she is receiving the highest approbation that can be bestowed. Increased prices, crowded houses, wreaths, bouquets and showers of flowers, greeting her whenever she appears, all testify to the high stand which she takes as an artist. I have repeatedly seen her recalled after singing, three times, and even then the delighted multitude were hardly satisfied. It is indeed next to impossible that, in purity of tone, and perfection of execution, she should be excelled.

The man who, in describing her singing, said "she is a statue with a music-box in her throat," said well, so far as a perfect execution, touching or bowing, is concerned; but he should have added that it is a statue of humanity, having a spirit from the divinity within; a heart manifesting itself in every tone, look, gesticulation and movement. So easy, so graceful, so elegant, so chaste, so artistic, and yet so simple and natural is Sontag ; who has ever seen and heard the like? One would think her to be a mere child of nature-(as indeed she is in the best sense of this expression ;)—for there is an absence of all stiffness, formality, pedantry, and affectation, and yet the highest

degree of cultivation and artistic excellence which can be imagined. One cannot give attention to her singing without being delighted. To listen to her is like looking at the most beautifully variegated bouquet, or collection of flowers, that can be brought together; it is like the glittering plumage of the most brilliant of the feathered race; like the appearance of a thousand charming little girls of six years of age, wreathed with freshest roses, and dressed in purest white.

But she is coming to America, and then every one can hear her for himself. She expects (we have it from her own lips) to sail the latter part of August for New York; and then we promise all the lovers of perfection in song, full satisfaction. We cannot forbear adding, that which we have heard from various sources in Germany, that in addition to her artistic excellence as a singer, she is a most excellent woman, wife and mother.

LETTER XXX.

"Conservatorium der Musik."

MUNICH, May 25th, 1852.

THERE is a Conservatory of Music here, which seems to be in a very flourishing condition. A letter of introduction from Hauptmann secured for us a warm reception from the Director, F. HAUSER, (pronounced How-zer.) There are now connected with the Conservatory, fifteen professors of music, and ninety students. Every student is required to attend to the theory of music, harmony, fugue, and instrumentation, and also to either the Piano Forte or Violin; in addition to which, such as desire it can attend to wind instruments, and to vocal music. Much

attention is given to vocal music; the Director himself, being first teacher in this department. Many of the eminent singers now popular in Germany, were educated here. It is an excellent place for one who wishes to study the voice under the best advantages; and also for one who wishes to become acquainted with chorus effects, and the manner of drilling, training, and conducting a choir. Above one-half of the students constitute a choir, and meet regularly once a week for a two-hours' exercise, under the vigilant watch and care of Director Hauser. They practice the very best music, from Lasso and Palestrina all the way down to Mendelssohn; and on the afternoon when we were permitted to be present, the Oratorio of Elijah was performed, with Piano Forte accompaniment. The recitatives, songs, and concerted pieces were all given by pupils, and both these and the choruses were highly creditable to the institution. It was not a public performance, and was without rehearsal. Mr. Hauser was so kind as to allow us to choose what Oratorio should be sung, mentioning Elijah, St. Paul, the Creation, Seasons, and others; we chose Elijah, and it was put down before the choir accordingly, and, by them, quite satisfactorily rendered. It was a drilling, or training exercise, and the Director did not hesitate to stop the song whenever anything appeared to him to require it. stances stopped and corrected. and fears not to use it.

Solo singers were in several inThe Director has full authority, After the performance was over, we spoke to him of the great advantage he had over an American Conductor in this respect; for surely no choir with which we are acquainted, would bear such close bringing up to the mark of perfection; and we said to him, that were he in America, and thus corrected faults, especially in a Solo singer, the vocalist would very probably take his hat, bid him "good evening," and be off. Mr. H. smiled, and said: "I am a tyrant here."