was produced. It is always better that the organ should lead, than that a single voice should be heard ahead of others; but, there is, indeed, no necessity for either, even in Congregational singing, and the idea that a single voice should lead a choir by being always a little in advance in time, is so entirely at variance with good taste that it is not to be tolerated. The singing was in unison, and the tunes seemed to be perfectly familiar. The tune was not played over upon the organ before the singing, but the organist played only a prelude of a few measures, when all the people joined at once in the hymn. The interludes were very short; indeed, they could hardly be called interludes in the ordinary sense, since they were too short to include even a single phrase; they consisted only of a passing chord or two, merely allowing time to breathe between the

stanzas.

We have already intimated that the singing was very general in the congregation; in this respect, we think the Dutch congregations are in advance even of the German; for there was one universal burst of vocal sound from the beginning to the end of the hymn. No other musical form was attempted than that of the plain metrical tune, or chorale.

We were also present during public worship in churches at other places, as Leyden, and The Hague, but a description of one is a description of all. At Amsterdam and Rotterdam the same general style of church-singing prevails. There is one prevailing custom here, which strikes a stranger with surprise, and which seems to indicate a want of propriety, if not of reverence; and that is, the wearing of hats in church. It is a custom in the Hollandish churches for the men to enter and remain with hats on, until the devotional exercises actually commence; they then uncover their heads, but put on their hats again the moment the preacher begins his sermon. It looks

strange to see the hats put on the moment the text is named. This custom also prevails in some parts of Switzerland.

There was another custom which we observed here, that we have not seen elsewhere. Very soon after the people began to assemble for public worship, an elder took his stand in front of the pulpit and commenced reading the Scriptures aloud. This he continued for perhaps fifteen minutes, while the people were assembling, or until the minister had arrived and was quite ready to commence the service. So that the reading of the Scriptures publicly, was treated with less appearance of reverence than are our organ voluntaries in New England; since it is not the general custom with us to commence the voluntary until after the minister has taken his place in the pulpit. But it seemed strange to see the public reading of the Scriptures employ the coming in of the people, the walking, talking, and other noises of disturbance, and at the same time to see the men with heads covered, or hats on, in the house of God.

LETTER LIII.

Dr. Bexfield's Lectures-English Glee and Madrigal Union-Oratorios-Sacred Harmonic Society-Judas Macccbæus-Concerts.

LONDON, March 11, 1853.

DR. W. R. BEXFIELD, the author of the oratorio "Israel Restored," has been giving a course of lectures on music, and especially on the present state of music in England, at the London Institution. This is an institution which provides lectures, popular and instructive, annually, on many subjects. The present season there have been courses of lectures on Physiology, Physical Geography, Electricity, Geology, Poetry, and Music.

The musical course consisted of six lectures, on the following topics:

Lecture I. CHURCH MUSIC.-Chants, Psalms, Tunes, Services, Anthems, Voluntaries.

Lect. II. THE ORATORIO.-Requirements for writing one; Handel, Haydn, Crotch, Mendelssohn, Spohr.

Lect. III. THE CONCERT-ROOM.-Concertos, Violin, Clarionet, Overtures, Symphonies.

Lect. IV. THE DRAWING-ROOM.-Pianoforte; Mozart, Weber, Sterndale, Bennett, Mendelssohn's songs without words.

Lect. V. THE OPERA.-Beethoven, Mozart, Gluck, Spohr, Rossini, and others.

Lect. VI. Revival of taste for Glees and Madrigals, etc. These have been accompanied with illustrations by various artists in the different departments. Indeed, it may be said that the illustrations have constituted the principal attraction (and the house has always been crowded), Dr. Bexfield not having given himself much to close analysis or description. Dr. Bexfield is quite a young man, but a fine musician, considered either as a composer or as a performer. He has a good command of the keys, and were he not otherwise occupied, i. e. as a composer, he might excel as a solo performer. He is a great lover of the old writers, is well acquainted with musical history and with the various excellences or peculiarities of all the musical composers, and seems ready to quote any of them from memory. His oratorio of "Israel Restored," though owing to peculiar circumstances it did not draw a full house on its second representation at the Norwich Festival, is regarded as a work of considerable merit. We have heard parts of it under the author's direction, and were much pleased. It is by some regarded as the best English oratorio which has appeared for many years.

The concert season is now coming on, and we have some kind of musical performance almost every evening. On Monday last we had the pleasure of listening to one of the "English Glee and Madrigal Union's" concerts. This Union consists of a number of the best English singers, say six or eight, who, by much practice together, bring glee singing to a great state of perfection. Messrs. Lockey, Hobbs, and Phillips, are of the number. The best glees sung on the present occasion were: "Mark'd you her eye of heavenly blue?"-Spofforth; "As on a Summer's Day"-J. Stafford Smith; and "Under the Greenwood Tree"-Arne and Bishop. The best madrigal was, “Flora gave me fairest flowers." For the madrigals they have a chorus of about sixteen voices. Several songs were also sung,

two of which excited some interest, viz.: 66

My Time, O ye

Muses!" by Dr. Croft, sung by the most charming mezzosoprano, Miss M. Williams; and a song

66

from Handel's opera of Orlando," by Mr. Phillips, "Lascia amor, e siegui."* There were also some very poor specimens of songs, glees, etc., which need not be mentioned. There are in almost all concerts things

to be endured, as well as things to be enjoyed.

Mendelssohn's Elijah has been given this week by the Harmonic Union; so also the Hymn of Praise and Mozart's Requiem, by the Sacred Harmonic Society. The Messiah and Elijah are in constant demand, and, like Macbeth, never fail to draw a full house.

The Philharmonic Concerts are now soon to begin; but ere that we expect to be on our way towards home.

On Friday evening last, the Sacred Harmonic Society gave Handel's Judas Maccabæus. This is one of the most popular of Handel's oratorios, though less so than the Messiah. as a work of genius can it be compared to the greatest work

Nor

of the mighty composer, the "Israel in Egypt." It contains some very fine specimens of chorus writing, both contrapuntal and dramatic. It is an oratorio well known in Boston, having been performed frequently by the Handel and Haydn Society. The greatest attraction in the way of performers was the magnificent tenor of Mr. Sims Reeves. "Sound an Alarm" was perhaps never given with greater power and effect. Mr. H. Phillips sang in his usual excellent style. A new soprano, Miss Deakin, attracted considerable attention, and promises to become a popular singer. She was cordially received, as one almost always is who looks prettily.

On the Monday following, the Harmonic Union performed Handel's Messiah. The Societies are all obliged to perform the Messiah occasionally, otherwise they might not pay their expenses. This oratorio always insures a full house. Mr. Benedict proves himself to be fully adequate to the direction of Handel's music-no one can do it better-and the Harmonic Union have an efficient chorus and orchestra.

Mr. Stern

There are now many concerts of classical music. dale Bennett is giving a series of concerts into which he introduces none but the finest compositions. He includes the modern German authors, and even Robert Schumann is heard at his rooms.

Mr. Lucas, the Professor of Harmony in the Royal Academy, is also giving a series of quartet concerts at his own residence, in which the first artists in London are employed, and the most classic works are introduced.

The Concerts of the English Glee and Madrigal Society, in which the finest English glees are performed in the very best manner by the most accomplished English singers, are highly interesting and instructive. The principal performers are Mrs.