composed for a mixed choir; this caused him to put forth his energies, in the production of a mass for men's voices only. The music throughout is of a very high character, though it would not much interest those who desire musical gratification only from pretty tunes or pleasant voices. The first movement, "Requiem aeternam," with its accompaniment of violoncellos and double basses, is plaintive and sad, and tells only of sorrow, penitence and grief. In the "Dies irae," the full powers of the orchestra are brought into requisition; and uniting, as was the case on the present occasion, with sixty well-trained and fearless men's voices, the effect was awfully grand and commanding. The majestic movements, the severely dissonant harmonies, the wailings of the strings, the frightful appeals of the instruments of blast and percussion, and the cryings out of the voices, all combined to produce an effect which was, at times, truly terrific and overwhelming. The nineteen stanzas, however, have furnished an opportunity for musical contrasts which have been well introduced, affording variety and relief.

The third piece was the very unique but, to the musician, highly interesting "Concert für 2 claviere (c moll) Von J. S. Bach. Following the Requiem, it was like a delightful calm after a storm, enabling one to realize where he was, to breathe easily again, and put on a cheerful countenance.

Several part-songs were then sung by the "Mannerchor” without accompaniment.

The second part consisted of the "Sinfonie in C minor, by L. Von Beethoven." What a symphonie this is? We have often heard it, and it is well known in America. We will not attempt a description; we listened with intense interest to the whole of it, hardly daring to breathe in the piano and not having the power to do so in the forte passages. Is it strange then, that, whether "in the body or out of the body" at its close, we should not be able to tell?

LETTER XII.

Robert Schumann, the Composer-Clara Schumann, the Pianist-Their Great Concert. LEIPZIG, March 13, 1852.

THE concert was given in the saloon of the Gewandhaus, by Robert and Clara Schumann. The conductor was Robert Schumann himself; the pianist was his wife. The orchestra was large, and the best that Leipzig could furnish. Robert Schumann has great celebrity, and especially in those cities where he has resided and has brought out his music under his own immediate direction. No one since Mendelssohn's death stands so high in the estimation of the German musicians. There are places where he is not known, because his music is not understood; but even in these, and throughout Germany, he is regarded as standing at the very head of his profession, and no one commands as he does the universal attention of scientific men. Some go so far as to regard him as the greatest symphonist that has ever lived; but time can only determine this.

The concert had been advertised for some time, and the expectations of the lovers of music were fully awake. Not only were the musicians and lovers of music of Leipzig present, but literary and scientific men of the various professions, and the beauty, and wealth, and fashion of the city came to do homage to talent of so high an order, and to learning so extensive. Like the people at Lystra, so here, they lifted up their voices, saying, not in the speech of Lycaonia, but in that of Saxony, "The gods are come down to us in the likeness of men."

I suppose that in no part of the world is greater respect paid to men of genius, talent or learning than in Germany; and certainly nowhere else are musical gifts or attainments so fully

appreciated and so highly honored.

Mendelssohn was wor

shiped while he lived, and since his ascension his mantle seems to have rested upon Robert Schumann. But it was not only from this city that the audience was gathered on this occasion; it had been noised abroad that this concert was to be given, and musical men of high standing, Kapellmeisters and Concertmeisters, from the region round about, came up to Leipzig. Berlin, Dresden, Weimar, and other places were represented. At the head of this foreign company, and indeed at the head of the whole company, was LISTZ;—the very LISTz himself came from Weimar to listen, and to pay honor to greatness. But Robert Schumann is not alone, he has a "help meet" indeed. Clara Wieck was perhaps the most distinguished female pianist who has ever lived; and, unlike many ladies, she did not give up her instrument when she became Clara Schumann, but rather devoted herself with greater assiduousness under her new instructor, than she had previously done under the teachings of her father, to the profession which had been the choice of both her husband and herself. No wonder that the people should assemble on the occasion of a visit from this far-famed couple. But they came not to hear any one sing or play on an instrument, for although the wife is indeed a most accomplished pianist, yet the husband neither plays nor sings; but they rather came to hear the new music that the master had produced. They looked for some new musical revelation, for new chords (if possible), or new progressions; at least some new method of treatment, or harmonic development was expected. It was not to be the same tune over again. They went away satisfied; for, not only was the musical performance pronounced to be one of the very best, but the music, or the principal piece of attraction, was regarded as worthy of its author.

The first piece was the "Overture zu L. Byron's Manfred

von R. Schumann." This is an overture in the true learned German style, and as unlike the overtures of the modern Italian and French schools as can be imagined; of course, it cannot be popular, that is, it cannot take with the people generally; on this occasion, however, it was fully appreciated and listened to, by one of the most intelligent musical audiences that could be brought together in Germany, with unmingled delight. The second piece was "Concert No. 2, F moll, für Piano Forte mit Begleitung des orchester, von F. Chopin," performed by Clara Schumann. This is said to be in Chopin's peculiar style, and one of his most difficult productions. Mad. Schumann played it with apparent ease, and with a delicacy of touch and distinctness of articulation not to be excelled. She has not so great a power as some; in this respect she resembles Chopin himself, but in everything else requisite to the perfection of piano forte playing she is fully accomplished. The third piece was a song by Herr Behr, necessary for variety's sake; after which Mad. Schumann played most charmingly two pieces-" Andantino von W. Sterndale Bennett,” and Lied ohne Worte (F major), von F. Mendelssohn Bartholdy."

The second part of the concert (and here was the attraction) consisted of "Die Pilgerfahrt der Rose" (the pilgrimage of the rose), a new composition for voices (solo and chorus) and orchestra by Robert Schumann. This has been performed here a week or two before, and was noticed in a previous communication. Anything like an analytical notice of it from one who has heard it but once or twice would hardly be expected, and in the present case it would be quite absurd. It will be known in a few years. The orchestra never played better; the idea of playing under Schumann inspired every man with new life and energy, and the improvement in the performance of the music under the direction of the composer (there having been a previous rehearsal

also under his teaching), was said to be very apparent. We can hardly imagine a musical occasion that would be more interesting or exciting especially to the truly enlightened musician than this. For the few details here given we are indebted to others, for we did not attend this concert; we neither saw the sight nor heard the sound thereof. Why? It was given on Sun

day Morning, March 14th, at 11 o'clock.

LETTER XIII.

The Concerts-Gewandhaus-David-Dreyshock-Rietz--Robert Schumann-Quartette

-Dupont.

LEIPZIG, March 14, 1852.

THE last Gewandhaus concert was one of peculiar interest. The band was in the most perfect order, and the programme was unusually attractive; though great variety of music, both with respect to authorship and character, is always presented to the patrons of this celebrated series of concerts. The Symphonie was by Mozart in Eb major; it is less noisy, flighty and diffuse than some more modern compositions, but not less intelligible or beautiful. The adagio is particularly melodious, elegant and attractive.

A scene and arie from "Orpheus," by Gluck, followed. Gluck is a decided favorite here, and especially as a dramatic writer stands among the very first.

The third piece was a concerto for violin, by Beethoven, performed by Herr Concertmeister F. David. This concerto, worthy the reputation of its author, was finely rendered by the violinist, and received with a hearty applause. It is very long, but it does not tire for it is full of variety, and there is enough