II. Military Concerto for Violin, with Orchestra, by Lipinski, (first part,) performed by Herr Carl Hahn, Nuremberg.

III. Introduction and Variations for Violin, with Orchestra, by David, performed by Herr Wilhelm Langhanns, Hamburg.

VOCAL MUSIC.

I. Aria, from Stradella, sung by Fraulein Anna Masius, Leipzig.
II. Aria, by Rossini, (Barber of Seville,) sung by Fraulein Marie Kuehne,
Magdeburg.

III. Recitative and Aria, from Figaro, by Mozart, sung by Fraulein Marie
Grohmann, Magdeburg.

CHOIR MUSIC.

The 137th Psalm for Soprano Solo, Choir and Orchestra, by E. F. Richter.

Such was the music of the school exhibition, and it was in all respects highly creditable to the institution. The students are from various parts of Germany and England; and for the last few years America has also been represented. Such an institution is much needed in our country. A Conservatory of Music upon a proper basis, and under suitable regulations, would do much for the advancement of a pure style, and correct taste. It would be to music what the Normal Schools are to education generally; would raise the standard of musical education, and the qualification of music teachers; and put forth an influence in many ways to promote the cause of secular and sacred, vocal and instrumental music in the land.

LETTER XXI.

Mendelssohn and Robert Schumann.

BERLIN, April 5, 1852.

A

In a recent number of one of the musical papers in New York, Robert Schumann is said to be an imitator of Mendelssohn. strange charge, indeed, and one that could not be made by any who had heard some of the principal productions of the two writers.

These two original composers have both established schools of their own; quite unlike each other, or any one else. Robert Schumann is a little the older of the two, though they were contemporaneous for many years, or during the whole of Mendelssohn's professional life.

It is said they were always intimate and friendly, although each one had his friends; and these friends of the parties of course differed with respect to the merits of the two composers; but we believe that neither was ever charged before with being an imitator of the other. If there has been any original composer of music in latter times; one who has penetrated farther into the unexplored region of harmony than any other, that man is, we suppose, Robert Schumann. At least he has this reputation among some of the most learned musicians of Germany. He is quite unlike all other composers, and while he has imitators and Mendelssohn has imitators, it cannot be said in truth of either of these distinguished men, that he is an imitator of the other. As well might it be said of Shakspeare that he is an imitator, or of Milton, as of Schumann. Both as it respects form and harmony, these authors differ widely. Who that has ever listened to a symphony by Schumann would compare it to a like composition of any other writer? Surely, no one.

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SCHUMANN AND MENDELSSOHN.

The difference between Schumann and Mendelssohn has been the subject of no few criticisms and discussions; but all truly learned musicians acknowledge that they not only walk in a new path, but that they both are truly original-investigators of nature-searchers-out of things not before discovered-advancers of scientific knowledge. Robert Schumann is generally regarded as the more deep, and difficult of interpretation. Mendelssohn, indeed, was not understood at first; but he is now well known. So too of Beethoven, some of whose works are mysterious even to this day. It also requires such a well trained and talented orchestra to represent Robert Schumann as is not everywhere found; and even when he is interpreted by an orchestra fully competent to the task, with all the hints that he himself can give as conductor, the best musicians cannot fully comprehend him at a single hearing. Since Mendelssohn's death, Robert Schumann seems to stand at the head of the German school. It is not wonderful that a disciple of Donizetti or Verdi should not like Schumann, or that a child should not receive pleasure from the reading of a profound and learned work; it is not surprising indeed that Schumann is not favorably received by many good musicians, for even Beethoven was rejected for many years. How long was the Philharmonic of London in decyphering his ninth? Several years, to say the least. One should be careful, and be certain that he knows what Robert Schumann is, before he ventures to charge him with being an imitator of the highly gifted and talented Mendelssohn, or of any one else. That Robert Schumann is an original composer, a musician will not deny; that his compositions are not designed to please the unlearned in music, is also true; but that he will be admired whenever he is truly interpreted, cannot be doubted.

LETTER XXII.

Berlin-Wilhelm Bach-Symphonie Concerts and Orchestral Music-Military MusicThe "Tod Jesu" by Graun, the "Passion Music" by Bach, and the "Seven Words" by Haydn.

BERLIN, April 9, 1852.

THIS is one of the finest cities of Europe, and is said to be one of the four most splendid cities in the world. Its palaces, statues, and monuments, including those of Charlottenburg and Potsdam, are magnificent; and with its museums, library, and paintings, are full of historic interest. Frederick the Great is everywhere to be seen. He is to Prussia what Napoleon is to France; his name is on the tongue of every child, and his memory seems to be even more sacred here than is that of Washington in America. His monument, lately erected, at an expense of about a hundred thousand dollars, is regarded as the greatest work of the kind of modern times. Would that a similar monument to the memory of Washington stood in each of our large cities in America; its moral power would be great and good. Drawings of it are everywhere to be seen; I will, therefore, only remark concerning it, that in one of its group of statues, among the literary and scientific men of the age and country, as Lessing, Kant and others, is seen that of GRAUN, well known to the musical world. GRAUN is honored here, as BACH in Saxony, or HANDEL in England; though among all the names of German musicians, that of BACH takes rank, perhaps, the highest. That he was a most profound writer, and that his Fugues especially have never been equalled, is, we believe, universally admitted. His passion music is performed at this season of the year in the principal cities. Having been in Berlin but a little more than a week, and at a time when there is less music than usual (passion week), we cannot report very fully;

but we must not omit to tell our musical friends of some of the things we have heard or seen.

WILHELM BACH, now probably nearly seventy years of age, is of the family of the famous JOHN SEBASTIAN, of whom he has several interesting relics. He has long been a music-director in Berlin, and one of the finest organists in Germany. He is a professor in a school for church-music here, which is under the patronage of the government. The school has a good number of students, although other institutions which have more recently arisen have drawn considerably upon it. We called upon Mr. Bach in 1837, accompanied him to the school, and also to the church, where we had the pleasure of hearing him play the organ for nearly an hour. We remember a fine compliment paid to Mr. Bach by the celebrated organist, JOHN SCHNEIDER, whom we afterwards met in Dresden. When on the way from Mr. Schneider's house to the church where he was about to play, he said, "I will play for you some of Bach's fugues." "Thank you, sir," we replied; "we are always delighted to hear these charming organ pieces, and had the pleasure a few days since of listening to several of them as performed by Wm. Bach, of Berlin.” "So?" said Schneider; "if you have heard Wilhelm Bach play Bach's fugues, I will play something else, for I do not like to play the same music which you have heard by so excellent a performer as he is." Mr. Bach is not only a very thorough and scientific musician, but also a very gentlemanly man. He had a perfect recollection of our former call, and was as ready now as then to exhibit his old manuscripts and musical curiosities, and his conversation was filled with anecdotes and historic recollections and instruction. It was painful to part with one so cheerful, pleasant, learned, and accomplished, after an interview of one hour, feeling almost certain that we should not meet again on earth.