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since for London, whence, after a few months, he will return to his native country, to commence his musical professional career. Mr. R. commenced his studies, we believe, under Mr. Webb; after several years' study in Boston, he went to Germany, where he remained about four years; he then spent some six months in Paris. He has all this time been under the best masters that could be found, and he has turned his special attention to the art of teaching. We rejoice in this, for there may be those who play well, or sing well, or are good theorists, and understand all harmony, counterpoint, and fugue, but who are poorly qualified to teach. Indeed, to be a good teacher, one must have a genius for it, and a delight in it; and, when we see a young man devoting himself to this particular musical department, and pursuing it with steadiness and perseverance, we may conclude (if we may judge of one of his works), that he has the love of it in his heart. Success must follow. So may

it be in the present case.

Mr. J. C. D. Parker still pursues his studies at Leipzig. Mr. S. P. Homer, and Mr. William Mason, are in Frankfort.

We daily meet Americans in Paris; some seeking for health, some for pleasure, and many for knowledge in some department of science or art.

LETTER XXXVIII.

Singing in the Jewish Synagogue; also in the Church St. Roch.

PARIS, July 12, 1852.

On Friday evening last, we attended the regular service at the Jewish synagogue. There was a congregation of perhaps three hundred men occupying the lower part of the house, and

a few scattering women were seen in the gallery. The men all sit or stand with heads covered; and although four of us Americans took off our hats when we entered, we were told to put them on again, and obeyed orders. There was very little appearance of reverence or solemnity; indeed, none that could be observed. The appearance of the assembly was somewhat like that of a New England town meeting, after having been called to order by the chairman. There was a choir of about twelve or fourteen boys, with men for tenor and bass, and the harmony parts were sung. All the service was chanted, in a responsive manner, by priest or priests, choir and people, with the exception of two airs and melodies, which were sung by the choir. These were both modern, and even the chants did not seem to come from David or Solomon, but were more like the common chant, somewhat modified by a kind of recitative or declamatory manner of utterance. On the whole, the Jewish service here was not one of much interest, considered either religiously or musically.

On Sabbath morning, we attended the Roman Catholic service at St. Roch. Music receives more attention here than at, perhaps, any of the other Paris churches; and the whole mass was, to-day, quite well done. The choir, including ministers, boys, and all, numbered about fifty persons. There are two organs; a large one at the end of the gallery, occupying about the place in the house that organs generally do with us; and a smaller one in the choir, near the altar. This latter was used exclusively for accompaniment, and the former, or large one, was played only when some flourish of overture or march triumphant was desired. Then it sent forth its tones loud and jubilant, so as to make the welkin ring again. The music was quite modern; as much so as if composed by the latest Donizetti or Verdi, and quite in the orchestral, anti-ecclesiastical style. It was

indeed vocal,-words were sung; but, as they could not be understood, the effect of the whole was such as is the musical effect in a grand pantomime. Indeed, the worship in the Roman Catholic cathedrals seems to be little else than a mute, gesticulatory action of bowings, crossings, and kneelings, with grand processions, musical accompaniment, &c. Musically considered, how ever, the performance was good. It was prompt and energetic, and the pianos and fortes were well observed. The organs too, though far different from the German style, were played with all the power of execution that could be desired.

LETTER XXXIX.

Concert of the Musical Union-Church Music-London Sacred Harmonic SocietyOpera Singers-Henriette Sontag-Spohr.

LONDON, August 2, 1852.

WE did not arrive in London until after most of the musical season was over; consequently there is not much to be heard. On the very day of our arrival, however, we had the pleasure of attending a very fine performance of "The Musical Union." The following was the programme for the occasion:

Mozart.

1-QUINTET, G minor...

Allegro, Adagio, Minuet, Finale.

MM. SIVORY, MELLON, VIEUXTEMPS, OURY, and PIATTI.

Allegro, Adagio, Minuet and Trio, Presto.

MM. VIEUXTEMPS, MELLON, OURY, WEBB, and PIATTI.

Here was a programme worth one's attention, whether the compositions, or the performers be considered. It was interesting to see such artists taking subordinate parts, that the compositions might be as perfectly rendered as possible. It is needless to add that the result did not disappoint expectation. This was the last concert of the Union for the season. Sixteen performances have been given; eight evening concerts, and eight subscription matinees. The Union have secured the very best artists; and three Italians, two Hungarians, two Bohemians, two Belgians, one Bavarian, three Prussians, one Austrian, one Frenchman, and five Englishmen, have been employed. So, it seems as many foreign artists are employed in London as in New York.

On Sabbath last we attended public worship at the Scotch Church, under the pastoral charge of Dr. John Cumming. Dr. Cumming is a very popular preacher; his house is generally crowded, and it is not easy always to obtain seats-which favor, however, we procured, through the politeness of the leader of the singing, Mr. Purday. The order of exercises observed in this church is an excellent one, and I therefore copy it.

I-Singing-a Hymn by the Congregation.

II—Prayer, half as long as the Prayer usually is in Presbyterian Churches.

III-Choir Singing. An Anthem.

IV-Reading Scriptures, with Exposition.

V-Hymn, sung by the Congregation.

VI-Prayer, about the length of the first.

VII-Sermon.

VIII-Singing by Congregation. Notices.

IX-Concluding Prayer, and Benediction.

The standing position was observed in the singing exercises, and the sitting posture in all others. I will not attempt to

report the sermon, but will only observe that one more plain, faithful, and edifying can hardly be imagined. The text was

"It is good for me to draw near unto God."

It will be observed that the singing exercise occurs four times; thrice by the congregation, and once by the choir exclusively. The people generally united, although the tunes, (with the exception of the last, which was York,) were too difficult to justify the expectation of the best congregational singing. The old tune of Martyrdom was sung; but in singing it, the people could not keep together, on account of the triple measure, and the crotchets in the fourth line. The other tune (we do not know its name) was so high that many could not reach the pitch. A congregational tune should not go higher than D, or E flat.

At three o'clock we attended the Episcopal service, at Lincoln's Inn Fields. Mr. J. A. Novello is the principal bass in this choir. The service was quite well done, and the popular anthem by Purcell, "O give thanks," was highly interesting. In the sermon there was a great falling off, indeed, from that of the morning.

In the evening we attended the Baptist Church, Devonshire Square, Bishopgate street. A precentor, standing in front of the pulpit, led the singing. He first read a stanza, and then it was sung by all the people; and, thus, the whole hymn was alternately read and sung. The same obstacle to success in Congregational singing was observable here, as at the Scotch Church in the morning the tunes were too difficult, and the effect of the singing was wretched. We are more and more satisfied that tunes must be made more simple in time, and limited in compass of melody, to insure success in this form of church song. The St. Nicholas Church in Worcester, England, has the true Congregational style,