"In the practical branch also, instruction is given in classes. No limited course can be prescribed, however, as everything here depends on the talent and industry of the scholar. The vocal department is patronized mainly by females, and for those who pursue the study, exercises in Declamation are given, to improve their pronunciation, and fit them for the stage. The instruments that are made the principal object of study are of course Piano and Violin, and each student is obliged unconditionally to devote himself to one or the other of these two. The violinists are exercised in Solo, Quartet, and Orchestra playing. The organ is unfortunately not much attended to. Those who desire to learn the common wind instruments, can do so by paying an extra fee, though it does not form part of the regular course. An opportunity is afforded to those who particularly excel on any instrument to appear at some public performance, either in orchestra, chorus, or solo. "Besides the regular exercises, the pupils meet together one evening in the week, and those who have studied any work to the satisfaction of the teacher during the past week, perform it for the benefit of the whole assembly. These soirées are attended by the friends and families of the professors, and frequently by distinguished artists who are visiting the city. As for instance, the past fortnight, the students have been inspired by the presence of the first of living German composers, Dr. ROBERT SCHUMANN. He has twice honored these assemblies with his presence, and several of his compositions were performed in his hearing, at which he evinced great satisfaction. His wife also accompanied him, and played several pieces. This lady (formerly CLARA WIECK) ranks among the first pianists of the day, and certainly stands at the head of those of her sex. "Two examinations are held every year, one a private one, at which the pupils are classified according to the progress they have made,—and one, a public exhibition or concert, at which the more advanced only are allowed to appear, either as composers or performers. The privilege of attending the rehearsals of the series of concerts that is given every winter in the 'Gewandhaus,' as well as of most others, is also afforded to the pupils. "The government of the institution is entrusted to five gentlemen, who are professed admirers of the art, and who discharge their office without compensation. The discipline is by no means more strict than every scholar who zealously engages in the study of music would willingly submit to. The regulations are very simple, viz.: that the scholars shall attend regularly the exercises, appear at no public performance without special leave, and in general conduct themselves orderly and submit to the direction of the Government of the Institution. Each pupil on leaving the Conservatory, receives a testimonial or degree, stating his time of study and his comparative proficiency in -he art. "As was said above, the expense is comparatively trifling, and within the means of almost every aspirant for musical knowledge. A fund has been given by the King of Saxony, by which a limited number, whose means will not otherwise allow it, can be educated free of expense. "The professors of the Institution are such as enjoy a universal reputation, and are many of them of Mendelssohn's own selection and appointment. Among them are MosCHELES, Instructor of the Piano, DAVID, of the Violin, and HAUPTMANN, of Harmony. "Such are the main features and advantages of this system of musical instruction. It were to be wished most heartily, by all lovers of music, that such an Institution could be founded in every large city of our own country. The rapidly-growing taste of our good people seems to demand some such effort, and from present appearances we may certainly encourage the hope. Objections have been made to the system of instruction in classes, but these are equally applicable to other studies as well as music. To be sure, where a pupil in a private lesson receives the undivided attention of his instructor for the space of an hour, in the class he receives individually only a fraction of the same. But this comparatively trifling evil is more than counterbalanced by the advantages, as we have above hinted. The pupil becomes acquainted with many different styles, sees the beauties and the faults of each, and is imperceptibly led in this way to the formation of his own. Again, by being constantly compelled to perform before others, he cannot fail to acquire a degree of confidence, which is beneficial and necessary to every public performer. How often do we see an instance of a private pupil, when summoned unexpectedly to an exhibition of himself, completely thrown off his guard by the presence of an assembled company, and so far from doing himself justice, making a total failure. If time admitted, we might enumerate many other advantages, to the truth of which we can testify from personal experience. As it is, for the present, our word must be taken for it, and we can only conclude with the hope, that the little insight we may have given into the system and zeal with which exertions are made in Europe in the cause of this absorbing study, may be of some slight assistance in stimulating our musical countrymen to similar endeavors." The foregoing will be read with interest, especially by such young men as are thinking of fitting themselves for the musical profession. The time is past when one can expect to succeed well, who takes up music and pursues it professionally without a suitable previous preparation. It is not necessary, indeed, that all teachers should be learned musicians; many excellent teachers in different musical departments there may be, who have madé but little progress in musical science; but still we need such as shall be able to pursue musical investigations, and give tone to the general character of American music. Such we shall have when men like Willis, Parker, and others whom we might mention, devote themselves to the work. In addition to what Mr. P. has said, we will remark in relation to expense, that it will cost a man about as much to live in Leipzig a year as it will to live in Boston or New York a year. One may, perhaps, live somewhat cheaper here, but this is not realized often. And the young men who come here generally find the expenses considerably more than they had been led to expect. Some live on four hundred dollars, more expend six hundred, and it is not safe for one who has been accustomed to city life in the United States, and who intends to attend the concerts, (which is quite necessary,) to make his calculations to get along with less than about eight hundred dollars per annum ; and then he must not be disappointed if he finds himself minus say two hundred dollars at the end of the year. But if a man has tried it, and finds that he can live on five hundred dollars per annum in New York, then he may safely conclude that the same sum will answer his purposes in Leipzig, or other German cities. In addition to the names of Professors given by Mr. P. we will add the following, all of whom are to a greater or less extent connected with the Conservatory: RICHTER, RIETZ, PAPPERITZ, PLAIDY, WENZEL, BECKER, DREYSCHOCK, (violinist,) HERRMANN, and KLENGEL. Success to the young men of America, who, having the necessary talent, shall devote themselves to the study and advance ment of musical science and art in our land! By-and-bye, when we shall have some MARY LYON to devote herself to the work, we shall have a Conservatory, with the buildings all erected and paid for, like the Mount Holyoke School, in Massachusetts. LETTER XVI. The Nineteenth Gewandhaus Concert-Robert and Clara Schumann-Madame Tuczek- LEIPZIG, March 19, 1852. THE presence of Robert and Clara Schumann was enough to attract a large audience. Anticipating this, our company, consisting of three persons, went a little before the time appointed for the opening of the door; but yet we found a crowd gathered; the room filled immediately as the door was opened, but we succeeded in obtaining good seats. We had now to wait a full hour before the music commenced, but in the midst of such a multitude of good-looking and well-dressed ladies and gentlemen, all in conversation in loud and merry voices, it soon passed away. Half an hour before the commencement, the oboe was heard, running the scales, &c.; this was soon followed by faggotti, corni, clarionetti, and strings; every man tuning and getting his instrument and his fingers in readiness. Mendelssohn seemed to look down from his bust immediately opposite the orchestra with approbation. At half-past six precisely, Kapelmeister Rietz takes his stand-the signal is given-every one is silent and attentive, and Beethoven's overture (op. 124) fills the whole company with delight. This is a very pleasing overture; it is less learned, but of a more popular character than most of Beethoven's. It is often marked with a rhythm like |