the end of the stanza, as in the American churches. Indeed the hymn seemed to flow along from beginning to end, as a whole, and without interruption. I observed, too, that in the hymnsinging I heard in England, the interludes between the stanzas were very short, and often omitted altogether. A very pleasing effect was produced at the close of this and every choral hymn, thus: as soon as the voices ceased on the last word of the last stanza, every head was inclined forward as in the attitude of prayer, while the organ died away piano, in a very short post-lude of perhaps half or three-quarters of a minute, the people retaining their position until the last sound was heard, when they gently resumed an erect posture. After this followed liturgical prayers, read by the clergyman, for a few minutes; and then the chorale was resumed, another stanza or two of the same hymn being sung to the same chorale as before. After this followed the sermon. I did not understand it, but if one might judge by the appearance of the people, it was good, for they all seemed to give close attention for at least three-quarters of an hour.

When the sermon was ended, and a short prayer offered, "Vater unser," the hymn was resumed again, and still another stanza sung to the same tune as before; so that the same tune was sung three times in the same service. A closing prayer of a few words, and the great congregation gradually dispersed, amid the loud rolling of the diapasons.

At half-past 11, A. M., the second service was held in the same church, i. e. about half an hour after the conclusion of the first. It had been previously advertised that at this hour there would be preaching by a divinity student. I attended; the service had already commenced, although there were only three persons in the house. These three were the organist, the singer, and one other person who was in the organ-loft (where

I ventured to go), and who seemed to be also a looker-on. The organ was playing with some sixteen or eighteen stops out, and the singer was singing a chorale by himself (in unison!) without a single person to hear or to be edified by the psalm. I was the fourth person. Soon, however, two or three others came in, and as the last stanza was drawing to a close, the minister entered the pulpit from a vestry door. By the time he began his sermon, which was as soon as the singing closed, the congregation numbered in all, including the organist, the singer, the minister and the sexton (who made his appearance when the minister came in), I believe, just twelve persons, six of whom were seated in the body of the house near the pulpit, and appeared to have come for the purpose of attending the service. A short prayer was read before the preaching. The sermon occupied about forty minutes, during which time several persons came in and others went away, so that from the beginning to the end of the exercises, from eighteen to twenty people may have been for a part of the time present. The preacher did not seem to be in the least disconcerted from the fact that he was almost without hearers, but went on as though the house had been quite full. The sexton seemed to enjoy it much, as he had nothing to do, and the singer and the organist, too, seemed to have no particular anxiety as to the effect of the psalmody. The moment the sermon was ended, the minister, preceded by the sexton, retired, and then, after they were out, came the concluding song, which was a grand chorale, performed vocally by the singer (in unison !) and instrumentally by the organist, on sixteen or eighteen stops of his organ. I suppose, too, that the six or seven persons below joined in the song, but they did not add so much to the power of the chorus as to enable me to say with certainty whether the singing was by the congregation, or by the choir only.

This account of the second service will appear so strange, that I fear some of your readers may doubt whether the writer is in earnest. I can assure them that it is strictly correct, and that the service, and the whole of it, has been described just as it occurred.

LETTER XV.

The Conservatory of Music at Leipzig, Germany.

LEIPZIG, March 29, 1852.

MUSIC has made so much progress within the last few years, that the importance of a more extensive and thorough course of education is beginning to be felt; and this is especially the case with those who have made the greatest advancement. It has not been generally known in our country, that there is enough in music to occupy years of close application. The older singing books, published some fifty or eighty years ago, contained a few pages of "Rules," giving some directions as to finding the "mi," and describing the different kinds of time; and a man who could so explain these that no one could possibly understand him, was thought to be musically learned. Many a time have I heard the exclamation: "What, devote his whole time to music!" as if it was quite impossible that one could find anything to study in it for more than an evening or two in a week, for two or three months. Even now there are but very few who have any just conception of the previous preparation, time and labor necessary to thorough knowledge in the science, or skill in the art. The subject is better understood this side the Atlantic, and especially in Germany, where for many years music schools similar to our law, medical and theological schools

have been established. It is exceedingly difficult, nay, quite impossible, to obtain a thorough musical education at present in America; for, although we have good musicians, they are scattered about through the different cities, and one cannot avail himself of their instructions but at great inconvenience and expense; and it is found to be a cheaper and a quicker way to come to Europe, if one is determined to make himself in good earnest a musical student.

The inquiry has often been made: What are the musical conservatories of Europe? what are their advantages? and how may one avail himself of their privileges? With the design of answering, in part, these questions, the following account of the Conservatory here has been prepared. It has been written by a young gentleman, a Bostonian, a graduate of Harvard University, now a musical student and member of the Conservatory -Mr. J. P. When young Americans, having good natural talent, favorable early musical associations, and a sufficient preparatory education, shall devote themselves, like Mr. P., to the thorough study of musical science and art, we may look for the rapid progress and success of music in our land, and may hope to realize some of the advantages for which it was designed.

"THIS INSTITUTION was founded in 1843, under the patronage of the King of Saxony, and with the valuable co-operation of the Capelmeister, Dr. FELIX MENDELSSOHN BARTHOLDY. Its reputation spread so rapidly, both in and around Germany, that at the close of the first half year it numbered forty-four pupils, thirty-three male and eleven female. At the commencement of the second term, the number had increased to sixty. These pupils are attracted thither not only from all parts of Germany, but from Belgium, Holland, Denmark, Norway, Russia, England and America.

"An institution like this, whose object is to give the student a thorough foundation in all branches, the knowledge of which is indispensable to every good musician, and to enable him to perfect himself theoretically as well as practically, has this advantage over private instruction-that by the participation of several scholars in the same immediate object of study, it awakens and keeps alive in them a true musical feeling, stimulates them to emulation and hence to industry, and preserves them from partiality or one-sidedness in the formation of their tastes, a fault against which every artist should be particularly cautious, during the progress of his studies. It has also the advantage of cheapness. Each student pays about $60 a year, for which he receives instruction in all branches. This moderate sum, as one can readily see, must bear a very small proportion to the expense of private instruction.

"The theoretical part of the education consists of a complete course of three years. The pupils are divided into six classes, and a new term commences every half-year; though if one is sufficiently prepared, he can enter any of the advanced classes at the time of his admission into the Conservatory. The first year is devoted to Simple Harmony; the second to Harmony and Simple Counterpoint; and the third to Harmony, Double Counterpoint, and Fugue. The study of Composition and Musical Form constitutes a separate branch, being under the charge of a different instructor. It comprises all the different forms of vocal and instrumental composition, with the analysis of classical works. There are also exercises in playing from score and the art of conducting an Orchestra. The Italian language is also taught to those who devote themselves principally to singing. Lectures are given twice a week by an eminent Professor on the History and Esthetics of Music, and the science of Acoustics, with experiments. So much for the theoretical course.