and a half or three inches wide, round the neck, as is seen in portraits of the Reformers and clergymen of 300 years ago. No fires in the churches, however cold. The service begins punctually at past 8 o'clock in the morning, and it requires something of an effort to be up and ready on the morning of a short and cold winter's day.

The following leading qualifications of a good organist, have been suggested to my mind, and may find a place in this letter:

1. He must be able to play his instrument. The degree of execution requisite will depend much upon the peculiar local circumstances of the congregation. In some churches, both in Roman Catholic and in Protestant countries, an ability to play difficult music will be required; but in general, in our New England churches, no very great execution or command of the instrument is indispensable; and organists more frequently fail from other causes than from a want of skill in the technicals of their instrument. If called upon for some criterion or standard by which to try one's powers of performance, we might name Handel's choruses, or say the series of Handel's choruses. One who can play these has an abundant command of his instrument. It must be understood, too, that we have taken a standard which is rather high; indeed, higher than is often necessary; for we have known very successful organists who had not the ability to play Handel. In fact, no great power of execution is necessary for the common purposes of the church service; and it may be also true that one who can merely play psalmody and perhaps easy anthems, so as never to trip or touch the wrong key, will be a more successful church organist than one who can play John Sebastian Bach. Let it be understood that we object not to great power of execution, but only say that it is not essential.

2. A most important, nay absolutely essential qualification,

of a good church organist is, that he should have not only a true knowledge of his office, its nature and design, but that he should also possess a true feeling of sympathy and fellowship with all, be they cleric or lay, who are engaged in the promotion of the work in which he is called to take a part. The organ (like the minister's voice or powers of eloquence) is to be regarded only as a means to an end. This end should be kept constantly in view; and in proportion as this is done, the organist will feel that both himself and his instrument, with all musical science and art, occupy only a secondary place. Any true musician will have a sufficient love of music, and sympathy with knowl edge in science and skill in art; but this is not the sympathy we mean, though often mistaken for it. In short, if a man has this sympathy, it will manifest itself in the love of the Sabbath, the ordinances of religion, and the parts of public service other than the musical. An organist who, after singing is over, leaves the church, or gives no attention to prayers or sermon, whatever other excellencies he may possess, has not this of which we speak, and cannot therefore be qualified for his work; for though one may have the gift of musical prophecy, or teaching, and understand all mysteries and all knowledge, and though he has faith to remove all mountains of difficulties, and has not charity, or this love of the work to which he is called, and sympathy with those who are also engaged department, it profiteth him nothing. name for the thing of which I speak? is the beginning of wisdom."

in it, though in another Shall I furnish another "The fear of the Lord

3. An organist, in order to be successful, must be a man of good judgment; or he must have good common sense in the application of the powers of his instrument to the circumstances of his situation. To be able to seize upon the surrounding circumstances, and when moved by them, to put forth the mighty

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powers of his instrument, under the direction and control of a well-regulated judgment, is a high qualification indeed; nevertheless it is one without which no one can succeed well. Let the organist then seek for that wisdom which is profitable to direct.

4. An organist should have that control of himself which will enable him to exercise self-denial. Any one who is fit for an organist will, of course, love music; his soul will delight in it; but yet, in the church, certainly, it should never be the object of supreme devotion; and one will find it often, very often, necessary to make musical sacrifices to the great end of organists and ministers, and churches, religion or religious improvement. Mere musical effect, the exhibition of Handel or Mozart, be it repeated, is not that at which the organist should aim. I know there are musicians who assert the contrary; there are both organists and conductors of choirs with whom music is supreme, and who openly contend for the doctrine that the best musical performance in itself considered is the best adapted to church purposes, or, what is the same thing, the most acceptable to God. That the best musical performance, all things considered, is indeed the best, of course we admit; but there may be a very high degree of musical excellence without any appropriate religious adaptation, and a man may be a most excellent musician and organ-player who, for want of judgment or self-control, or self-denial, is but a poor church organist. Simple and unpretending strains, comparatively uninteresting in themselves, will often be the most effective in religious worship; indeed, if we are not mistaken, it will be found, in general, that as religious feeling prevails, and is intense or all absorbing, it seeks only for that musical expression which is most simple and natural. A good organist must therefore be able to deny himself the gratification which

musical science or art in itself affords, and seek and obtain a higher satisfaction in the promotion of the spiritual good of his fellow men.

We need not proceed further; for where the qualifications already pointed out exist, there will be no danger but that others will exist also, and that the individual possessing them will succeed, and be useful and happy in his profession. Where these are wanting, a Handel's genius, a Bach's skill, or a Mendelssohn's learning, will not be sufficient.

We add a simple remark. If congregations would take these things into view when about engaging an organist, seeking for other qualifications than those which are merely musical, many difficulties would be avoided, and occasions would much more seldom occur of trouble between organist and singers, or organist and ministers or people.

LETTER XI.

Musik-Vereins-Euterpe-Gluck-Cherubini-Bach-Part-Songs by Men's Voices

Beethoven.

LEIPZIG, March 12, 1852.

AN excellent concert was given by the Euterpe on the evening of the 9th inst. This orchestra, though regarded as inferior to that of the Gewandhaus, is, nevertheless, fully competent to put life into any of the compositions of the great masters; it can expound Beethoven, make clear his meaning, and bring one into communion with his spirit, as was abundantly manifested on the present occasion. It numbers ten violins on a part, five double basses, an equal number of violincellos, and a complete set of wind instruments. A perfect knowledge and command

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of his instrument, a clear perception of the music to be performed, and the will to do the exact thing necessary, in the best possible manner, seems to belong to each performer. A universal determination to succeed seems to prevail; every man is not only competent to the discharge of his duty, but is at his post, watchful and ready, heart and hand, to put forth his whole power, according to the circumstances, at the indication of the baton. Why should not the result be satisfactory?

A rich programme was presented this evening. The concert opened with an overture which is a great favorite here, and often played in public, though I have not heard it in America,— "Iphigene in Aulis," by Gluck. It is a charming overture, and any one's musical reputation might safely rest on the production of a single piece like this. Its subjects are at once natural and beautiful, and they are always treated in a most masterly manner; with elaborateness it is always intelligible, and with copiousness it is never diffuse. There is no departing from the main topic of discourse, no wandering in the mazes of thick darkness, or searching for ideas, but the leading thoughts are kept ever before the mind, presented now in this form, and now in that. Its analogies are perfect, its contrasts are striking, and its light and shade are applied with the hand of a Raphael or a Turner. It is full of pleasing melody, yet always subject to the laws of good taste, and manifesting both genius and science ; it is in the performance, perhaps, equally satisfactory both to the musician and to the mere unstudied lover of song.

The second piece was an extract (first and second movements) of Cherubini's Requiem, written for male voices. This, which is one of Cherubini's great works, was written under circumstances somewhat exciting, as I remember to have heard years ago. On some funeral occasion when a Requiem was desired, that which he had previously written was rejected, because