the music of the march or dance; and the flourishes of the brass instruments and drums almost lead one to suppose that he is listening to a military band. But still the hand of the master is seen, and although Beethoven comes down and freely holds conversation with the people, yet he always preserves his dignity, and never dishonors his profession in this pleasing composition.

A very good singer followed; Frau Leopoldine Tuczek-Herrenburg, from Berlin, in a Recitative and Arie from the opera of "Sylvana," by C. Maria von Weber.

This was followed by a grand Concerto for the Piano Forte, with orchestral accompaniment (G moll), composed by J. Moschelles, and played by Clara Schumann. I have already spoken of Madame Schumann's playing; her performance of this Concerto was perfect, and received the warmest approbation from the audience.

An air of De Beriot followed, by Frau Tuczek-Herrenburg; after which Madame Schumann played most charmingly a Notturno (B. major) for piano forte, by F. Chopin. In this she was encored, and played in answer to the call another piece unknown to the writer.

The second part of the concert was that in which the musical ones were most deeply interested, for it consisted of Robert Schumann's new Symphonie. This has not been published, and was played from manuscript, conducted by the author, who was cordially greeted on his appearance at the head of the orchestra. It is undoubtedly a work of great merit; but it is truly a great work, and can only be performed by a very thoroughly trained band. Its analogies and correspondencies are deeper and more hidden than in Mozart or Beethoven, but nevertheless they are there, and can be discovered to some extent even at a first hearing. The Symphonie consists of five movements, there

being in addition to the usual movements a short adagio (fourth) introduced. In the second movement (scherzo), there is playfulness and relief, but throughout the whole the idea of greatness prevails; so much so as almost to oppress one with a feeling of grandeur and sublimity. The fourth movement especially seems to partake in the highest degree of this character, and stirs up the deep feelings to awe and reverence. But vain is any attempt at description, especially by one who has heard. it but at a single performance. It was played with great energy; every member of the orchestra had enough to do. The captain inspired confidence, and the result was most satisfactory. There was but a momentary pause between the parts, and in this respect the learned conductor's example is well worthy of imitation. The Symphonie occupied thirty-three minutes in its performance, and at half-past eight the concert closed.

LETTER XVII.

Dedication of the Music Hall of the "Thomas School"-M. Hauptmann-Chorus

Singing.

LEIPZIG, March 22, 1852.

THE "Thomas School" is connected with the Thomas Church; and the choir of the latter is obtained from it. JOHN SEBASTIAN BACH was formerly Music Director here; and he has been succeeded by several distinguisned men. The present incumbent is M. HAUPTMANN, who is also Professor of Harmony in the Conservatory. The place was procured for him by MENDELSSOHN, with whom it was a favorite object to gather around him men of science, and Hauptmann most deservedly ranks among

these. He is now everywhere known as one of the most profound theorists living. He has also published Motets, and other pieces of Church Music, which are held in high estimation by musicians. But there is something more attractive about Hauptmann than either genius or learning; it is amiability. He seems to be filled with kindness, gentleness, and courtesy ; and I have met no German, nor indeed any one, in whose presence one is made more perfectly at home, and by whom one is treated with more affability and attention than by him. Although standing at the very head of musical science, he has, as yet, published no work of importance on harmony; he says that he waits for more experience, so that when he publishes a book, it may be of some value. A good hint is this to some of us, who write and publish works on the theory of music in the United States, without knowledge and without experience. How often we see verified the old saying (and frequently in musical productions), that " a little knowledge is a dangerous thing." Hauptmann is now, however, engaged in the preparation of a philosophical treatise, which he intends to give to the public in a few years. His health is not firm; he is a diligent student, and bodily infirmity is probably the result of severe and long-continued mental labor. He is very popular, and is, perhaps, equally respected for his knowledge, and beloved for his goodness. He called yesterday, bringing tickets to a musical performance, on the occasion of the dedication of the Music Hall of the School. It is not indeed a new hall, but an old one repaired, painted, and ornamented; it is in the same house where BACH lived, and is the very room where BACH, HILLER and others labored and conducted musical performances. Hauptmann now occupies the same apartments which were formerly occupied by the great Fuguist. The exercises, with the exception of a short address by one of the pupils, were exclusively musical, as follows:

82

SINGING WITHOUT ACCOMPANIMENT.

I. Prayer. "Kommt, lasset uns anbeten.".. II. Motette.

"Der Geist hilft unserer Schwachheit.".

III. Four part-songs :—

1. "O Thaeler weit, o Hoehen.”.....

..Hauptmann.

.J. S. Bach.

.Mendelssohn.

2. "O sanfter, suesser Hauch"..

3.

..Mendelssohn.

[The above may be found in the "Social Glee Book," and have

been sung in the Boston Musical Conventions.] "Waldeinsamkeit.” . . . . . . .

4. "Ich stand auf, Berges Hoehen.".

IV. Motette. "Jauchzet dem Herrn."..

.Hauptmann.

Hauptmann.
..Schicht.

The singing was by the choir of the school and church, which consisted of about fifty voices; Soprano and Alto by boys. It was entirely without accompaniment. A grand Pianoforte in the room was only used to announce the pitch before each piece. This singing most difficult music without accompaniment is something wholly unknown with us in America. I know full well that there are choirs and Quartet clubs who sing comparatively easy music in public without accompaniment; but even in this, what is often the result? Bach's music is exceedingly difficult. Handel, in comparison to Bach, may be said to be easy; and yet our choirs could but few of them sing Handel and sustain themselves well without instrumental aid. But here is a chorus who stand up and sing Bach's and other most difficult motets, the most difficult vocal music perhaps ever written, by voices alone, with as much certainty as the sure aim of an experienced marksman.

I think I have never before witnessed such devotion to the work as in these singers. Here is indeed entire self-committal. Every one throws all the powers he has, physical and spiritual, into the performance of the music. Every tone is attacked with a conscious certainty of success; no matter how complicated the rhythm, it is given with an energy and truthfulness

that a first-rate violinist can hardly excel. The singers seem to have a perfect command of their vocal organs, and are no less certain of results than is the accomplished pianist when he strikes the keys, or the violinist when he draws the bow. There is an entire absence of that sleepiness, drowsiness, inattention, and foolish levity too often witnessed in our choirs. No looking about, or whispering, or laughing, or silliness; but close attention is ever manifested. I wish I had words to point out that consecration to the work, that deep, heartfelt interest which these choir members seem to possess; so that it might be sought for by our American singers. But we cannot obtain it unless we use the appropriate means; education only will do it; musical training, such as we have but little idea of, must go before; and as we plant, so we shall reap in these things. This choir is drilled daily; five o'clock is the hour when they come together every day for their lesson, or rather their training and practice. For so far as I have had opportunity to observe, the teaching here consists mostly in training. But I must not enlarge. I have never before heard a vocal chorus so prompt, so energetic, and perfect in time and tune, as on this occasion. The place, too, was holy ground, for all the great musicians have visited that saloon; BACH lived there as his home, and HANDEL, and HAYDN, and MOZART, and BEETHOVEN have been there. A new portrait of Bach (or rather an old one put in perfect order) has been placed at the head of the hall, and opposite to it is a fine bust of SCHICHT, who, though less known, was a very profound musician, as his works testify. On the whole, I have not attended a more interesting musical performance in Germany.