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MENDELSSOHN'S "WALPURGISNACHT."

to admire, both in the principal and in the accompanimen′. Two quite long cadenzas, composed by the performer, contair ing each an ingenious recapitulation of the thoughts, or rathe. allusion to the various figures of the movement in which the cadenza occurred, were introduced, with excellent taste an skill.

The second part of the concert consisted of "Die erste Wa purgisnacht," a ballad by Goethe, set to music by Mendels sohn. A choir of about one hundred and fifty voices sang the choruses (and there is much chorus in the piece) with admirable promptness and energy. The music is difficult, both for vocalists and intrumentalists; it is one of Mendelssohn's strong pieces, and is full of his peculiar harmonies. It is mostly very loud, with an abundance of instruments of noise, and extra double drums for earthquake, volcano, and thunder; though there is most acceptable relief in occasional piano passages. Although Mendelssohn does not belong to the noisy school, yet he has shown in the Walpurgisnacht, that if he had chosen to do so he might have cast quite into the shade, or thundered out of existence, all the Verdis of modern times.

A charming Quartette performance was recently given by a few of the very best artists here, as David, Dreyschock, (violinist,) Rietz, and others whose names are less known. They were assisted by a pianist from Munich, Herr Speidl. The following pieces were played. 1st. Trio for pianoforte, violin and violoncello, by Beethoven, (op. 70,) by Speidl, David, and Rietz. 2d. Quartette for strings, composed by David. 3d. Variations for pianoforte, by Mendelssohn. 4th. Quartette by Beethoven, (op. 59,) performed by Dreyschock, Rongen, Hermann, and Rietz.

There are only four of these concerts in the annual series, so that they are much more rare here than in Boston. They seem

not to be so popular as the concerts by full orchestra, yet they draw out a musical audience of great intelligence, and on this occasion the learned ones were there. It is indeed a great luxury to hear these choice works of Beethoven and others, so perfectly given. The Quartette above mentioned (op. 59) is well known, is always a favorite, and was on this occasion the crowning piece.

Another recent musical performance of much interest was on the occasion of the anniversary of a Singing Academy (Society) of this place. But one piece was sung, and that was a new composition by Robert Schumann, "Der Rose Pilgerfahrt," (Pilgrimage of the Rose,) an allegory by M. Horn, to which Schumann has written music. The choir consisted of about one hundred voices, well balanced as to the parts, with an efficient orchestra; the whole directed by the Concertmeister David.

The music is mostly solo, though some fine chorus effects are produced, especially in a funeral scene, the "burial of a miller's daughter." It is, throughout, highly scientific or learned, and of course difficult. A very fine musician, Mr. Richter, teacher of harmony and instrumentation in the conservatory, who was sitting beside me, said, "Robert Schumann is truly a great composer, but his music must be studied, and heard more than once, to be appreciated; we cannot understand it at the first hearing." His opera, Genoveva," failed-it is too learned, and is now seldom performed. He writes for the musicians rather than for the people.

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Through the politeness of Mr. Moscheles, I was permitted to listen to a private performance of a pianist, who is just coming into most favorable notice, Mr. Dupont from Belgium. He has, say the critics, very great execution and delicacy of touch,

and is regarded as approaching nearer to Listz, than any other person. He intends a professional visit to the United States. If all the musicians who go there are treated, as far as dollars and cents are concerned, as was Jenny Lind, there will be no lack of singers and "players upon instruments.”

LETTER XIV.

Church of St. Nicholas-Martin Luther-Singing by the great Congregation-Second Service-Small attendance.

LEIPZIG, March 21, 1852.

A BRIEF account of a public service, or rather two services, which I attended at the Nicholai kirche, on Sunday, may perhaps interest some of your readers; at least they will see it is quite a different thing from "going to meeting" in New England. This fine old church was erected many centuries ago, but it was greatly improved and enlarged in 1513, and again repaired in the inside in 1796. A church record informs us that on the 25th of May, in the afternoon, DR. MARTIN LUTHER preached in this house.

The church is a large one, seats are very cold, yet is

The first service commenced at 8 o'clock in the morning; and as the mornings are short and dark in the winter season, it requires some effort to be punctual. and the stone walls and uncushioned there no fire found there, save the burning candles on the altar, which, though they shed some light around, afford no warmth. It is not a Papal, but a Protestant church; the Lutherans use the crucifix, candles, &c., though less than the Romanists. There are two galleries, one rising high above the other, each capable

of containing, perhaps, five hundred people; so that the church may accommodate, say three thousand, on its three floors. The organ is large, with three rows of keys, pedals, and fifty-four registers.

The exercises commenced punctually at the hour, by a short prelude, played in fine organ style, but not more than about two minutes long. This was followed by a choir piece, sung without any accompaniment, by a choir of men and boys, and without much effect. The choir had not power sufficient for so large a building. An interlude of a few minutes upon the organ followed, when a chorale was sung by the congregation, accompanied with full organ. The congregation was not yet large, but the people were constantly coming in, and it was fast increasing. Still the effect of the general singing was quite animating. This being concluded, the minister began his part of the service, by chanting a short sentence, which was immediately responded to by the choir; and again the minister, and again the response. By this time the church was well filled. From an estimate that I made, I concluded that there could not be less than about twenty-five hundred people present. The organ loft, too, capable of accommodating, perhaps, a hundred, was completely filled with vocal and instrumental performers, including the common orchestral instruments, with trumpets and drums conspicuous. When the slow solemn chant was ended, the organ burst out in a loud minor voluntary, which continued three or four minutes, during which time the violins, violoncellos, double basses, and wind instruments tuned. so carefully was this done, that it was hardly perceptible, for the organ was giving out its full progressive chords, so as to nullify the tuning process, at least upon the ears of the people. Tune being secured, the choir, with organ and orchestra accompaniment, sung a motette, or hymn by Beethoven. This

Yet

had been announced in the newspapers of Saturday, and was, I suppose, with many an object of attention. It occupied, perhaps, fifteen minutes, and was very well done; the drums and trumpets especially doing fine execution in the great church in the forte passages. It closed with a short fugue, in which the points were distinctly taken up and marked. The choir did not number more than from thirty to forty persons, and had not sufficient power for the building; but still the performance was quite effective. I perceived that while most of the people gave close attention to the music, others were not so much interested, and one goodly-looking old man directly in front of me spent the time in reading over his psalm-book. As soon as the motette was concluded, the members of the orchestra took up their instruments and left the house, having nothing to do with the remaining service. And now came the grand singing-for the great congregation were now together. The organ gave out a choral, when all the people lifted up the loud chorus of praise. The whole house was filled with sound. It was sublime, and I found myself much more moved by this than by the previous choir and orchestra performance. The hymn (486) was indicated on tablets in different parts of the house, and every person had his book in his hand. Even the standersup in the aisles (for there were hundrds of these) had their books and joined in the song. The singing was in unison; I could not tell, being at the opposite side of the house, whether the choir sang the parts or not; the organ did indeed pour forth full harmony, but even this was vastly overpowered by the multitude of voices—men's voices, and women's voices, and children's voices, mingled in one mighty torrent of sound, rolling through the high arches like the rush of many waters. At the end of each line of the stanza there was an interlude of a few chords upon the organ, but there was no long interlude at