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MUNICH AS A PLACE FOR STUDY.

This, however, was his own saying, and not that of his pupils, who seemed to regard him with great respect and confidence. He is apparently a very able Conductor, instantaneous in ear and in speech, ever watchful and vigilant, detecting the smallest errors, and commanding respect and obedience. Where there is such a Conductor, there will be a good chorus, provided he has good materials at his disposal. Some of the pupils manifested much talent, especially a young girl, not more than fifteen or sixteen, who sang with an openness of voice, and fulness and purity of tone, charming in the hearing, and pleasant in the remembrance. A voice of such perfection is of more value than gold; and (although there may be exceptions) indicates a good disposition. Happy are they in whom both are united.

We regret that we failed to obtain a printed plan or prospectus of the Conservatory at Munich, but we came away deeply impressed in its favor.. The Library contains a good collection of the works of the best musical writers, and writers on music. Munich is a place where one can live as cheap as at any place in Germany-rents and tuition are very low, and food and raiment can be obtained for as small a sum as anywhere, except, perhaps, in some parts of Italy. Were I an American youth, wishing to obtain a thorough musical education, I should make careful inquiry as to the advantages of the Conservatory of Munich, before making engagements elsewhere.

LETTER XXXI.

Orlando di Lasso and Gluck-Prof. Dehn, of Berlin.

MUNICH, May 26, 1852.

Of all the old writers of vocal music, PALESTRINA seems to stand at the head. He seems to be held in the highest estimation by every truly learned musician. After Palestrina, perhaps there is no one for whom superiority may be claimed to ORLANDO LI LASSO. He is the boast of the Germans, and passed the best part of his life in this city. In the Odeon Platz, in front of the building occupied by the Conservatory of Music, is a fine bronze statue of ORLANDO DI LASSO, and also of GLUCK. They stand there together; the former, the head of the German writers of the old school of church music; and the latter, at the head of modern dramatic musical composers. Gluck's opera of "Ipheginia in Aulis," can only be considered as equaled by Mozart's "Don Juan" and Beethoven's "Fidelio." Indeed, there are not a few who give Gluck the highest place. His operas never fail to draw out the most intelligent musicians, and it is always regarded as a rich treat to listen to them. The one we have mentioned certainly holds the highest place, but the Iphigenia in Tauris, the Alceste, and Orpheon, may still be heard; and hardly a classic concert is. given in which there is not something found on the programme from this popular writer. Mozart, no doubt, owed much of his success to the fact, that in the order of time he followed Gluck, who is still held up to the student as one of the very best models. His "De Profundis" (138th Psalm), and other things, show that he might have excelled in church music. His music seems to be but little known in America, but it will hereafter be studied by the musical pupils of our coun

try, and "Iphigenia in Aulis," at least, will be found in the libraries of all those who wish to analyze the very best specimens of song, and of recitative. Extracts from several of Gluck's tasteful melodies are to be found in a late work (and most beautiful and effective pieces they are); but, besides these, we do not know that any of his works have been published with us; and even his very popular overture, so often played here, we believe is unknown to the American concertgoing public.

The fame of Orlando di Lasso rests very much on his connection with David (good company, truly!); and his psalms are studied as affording some of the finest examples of counterpoint, or four-part voice-writing, that can be found. In this respect, these old masters have not been surpassed by any who have followed them; indeed, some of the best theorists have told me that no one now can equal them. Haydn and his followers have made great advances in all that belongs to instrumental music, but the capacities of the voice, it would seem, were thoroughly understood by the old composers. As Bach carried the fugue to perfection, so Palestrina, Orlando di Lasso and others worked out the full problem of vocal four-part writing.

It is pleasant to the musician to see such monuments as those I have mentioned erected to the memory of the great composers; and the statues of Orlando di Lasso and of Gluck, side by side, seem happily to unite the different schools and ages represented by these two distinguished men.

An anecdote shall close this communication. When in Berlin, we had the pleasure of an interview with Professor Dehn, one of the most learned musicians in Germany. Prof. Dehn has charge of the musical department of the Royal Library, and, as he was showing us the valuable and scarce old books,

he came to Orlando di Lasso's Psalms. Wishing to express a decided opinion, and not being able to speak much English, he took the volumes into his hand, and touching me, to call my attention, gave them a very intelligible and affectionate kiss! Professor Dehn has edited a new edition of some of Orlando di Lasso's best works.

LETTER XXXII.

Pestalozzi-Nägeli-Church Service-Sunday School-Sacred Concerts in America— Schnyder Von Wartensee.

ZURICH, June 7, 1852.

PESTALOZZI lived here, and so did Nägeli; and here the first efforts were made to apply the principle of inductive teaching to music. The work of Nägeli and Pfeiffer was excellent, and its influence has been felt far and wide. Other manuals, based on this, have been since published, better adapted, perhaps, to the common purposes of teaching; but the work of Nägeli and Pfeiffer is a text book which every teacher should study until he makes the principle his own. "The Boston Academy's Manual of Instruction in Vocal Music," is the only work of the kind in English, so far as we know, in which these principles are carried out. Nägeli died in December, 1836. A very handsome monument of black marble, surmounted by a bust, has been erected to his memory, dedicated by the Swiss Singing Societies to their "Vater Nägeli." He died at the age of sixty-three, His family, consisting of his wife, son and daughter, still live in the same house in which he died. The son and daughter are both well-educated musicians, teachers and composers.

son.

The contrast between the Lutheran churches of Germany, and the Zwinglian churches of Zurich, is very great in the Sabbath-day service, in many respects. The great Cathedral, where we attended, and where ZWINGLI once preached, is as plain as plain can be. There are no carvings, paintings, crosses, statues, or anything ornamental; not even a leather cushion can be found, or the smallest piece of drapery about the pulpit or elsewhere. There is neither organ, choir nor any instrument of music. The seats in the centre of the main floor are of plain, hard boards, unpainted; this part of the house is occupied exclusively by women. The men are mostly in the gallery, which is divided into separate stalls, each for one perEach stall has a seat swung on hinges, that turns back after the fashion of the old New England swinging seats of a hundred years ago. The men on going into the church did not sit down, but each one took his stand in one of the stalls, waiting for the commencement of the service. Some took off their hats, others continued to wear them. When the bell ceased, the minister stepped up to the railing near the pulpit, and gave out the pitch by sounding the four principal tones of the scale to the syllable la, (1, 3, 5, 8,) and immediately the large assembly began to sing. The singing was slow, very slow; I have never before heard a tune sung so slowly as on this occasion. In singing a tune-"The Old Hundredth," for example,-I am persuaded that the Rev. Mr. Havergal's congregation would get through the tune by the time this Zurich assembly would get through the first line. The hymn-book used here, includes, also, the tunes, printed in four parts, and, although the tenor and the alto were not to be heard, yet many of the men made a bold attack upon the bass, which they made to tremble with uncertainty, if not with fear. The trebles in one line sought to attain the pitch of E; they reached a little higher than