1862, Sept. 8,

JOHN LEIGHTON, PRINTER, Johnson's Court, Fleet Street.

45 Wesley, S.-Anthems......... 231, 242, 277 233 Westrop, H.-Winter; cantata.......... 308

"W. L. P." ditto.......... "Agathon " ditto.......... "Bob Tanner" ditto....... ib. John Barnett" ditto.... 59 "A Well-wisher" ditto.... ib. "A Music-master" ditto.. 75 "Amateur Cremona" ditto 76 391 Our Lecture to our Correspondents, "John 244 Thomson respecting. 150

419 Protestant Church Music, "Laicus" on 199 187 Psalm-singing, "Violino

On the performance of a piece of music depends, if not wholly, at least in a great degree, the perception and acknowledgment of its merit; and this is the only point in which the creative musician labours under great disadvantages, when compared with masters in the other arts. The intelligent reader of a good poem needs not the aid of the actor to enable him to enjoy its beauties; sculpture and painting stand open to the eye and heart of every beholder; but the work of the musician, however finely it may be conceived, however securely he may have put it down in writing, wants the performance to breathe life and spirit into it; and this he must often leave to others, nay, to the combination of many. His signs upon paper have a meaning for connoisseurs only; any one else can but understand and appreciate the actual tones which are there inscribed. Thus the composer has to confide the whole effect of his work to the performer. The latter must therefore not only strive to give expression to the whole, but must also be aware of the different shades, perspectives, &c.," of the different parts of the musical picture: and must combine them into a whole. He must, in one word, make this poem of another his own.

This is, of course, easier for the individual than for a number of performers; and is the more difficult the greater the number. It cannot be expected that eyery musician who participates in a great concerted performance should possess the musical education and cultivation necessary to a true and full conception of its spirit. An orchestra, therefore, has one or two individuals who may represent, as it were, the composer and his work. These are the conductor and the leader.

The conductor's duty is the most important. He must study the spirit of the

VOL. XIV.-NEW SERIES, VOL. VII.

B

[Printed by John Leighton, 11, Johnson's Court, Fleet Street.)

whole composition; he must fully understand the composer, and enter into his conceptions. The rehearsals are his proper field of action, where he must labour with the greatest patience and perseverance to make the whole body, as well as each single individual, give the true expression of the composition in all its parts. He must himself be a composer; for he is required to know accurately the effect of each kind of voice, as well as of each instrument, both individually and combined; and to conceive the particular tendency of the genius of the composer of each piece that is to be performed; he must also combine with this a true love of the art. His duty extends over the manner of performance of each solo or chorus, or ripieno part; and he is answerable for each performer's right conception of the meaning of the composer in each part of his work: failure in which can only be attributed to his want of knowledge, or to his carelessness in instructing during the rehearsals; and these must always be full and frequent. During the performance the conductor must first give the time by his beating, with the full score before him; thus keeping the instruments and singers together, and giving life to the whole. He must therefore stand in front of the choir and orchestra, in such position that he can be seen by each member. His chief attention must be directed to the vocal parts; and in instrumental compositions, to those that have the melody; and it is therefore well, especially in recitatives, to` have a pianoforte at hand on which he may assist the singer. But in the performance he must be as calm and quiet as possible, however much of activity and life he must show in the rehearsals.

The leader must follow the hints of the conductor in the rehearsals with close attention; and take from them the true conception of the spirit of the whole, as well as of the single parts; and then, at the performance, he must communicate this spirit by his playing, or by hints if necessary, or by winks of his eye, to the full orchestra; especially where the members have not correctly understood, or have forgotten the instructions of the conductor. His proper place is at the head of the first violins, this being the most important and energetic instrument, and the most capable of setting the example to the whole orchestra. He must have his eye constantly on the conductor, who looks primarily to him for any particular effect which he wants brought out.

ON THE PRESENT STATE OF MUSIC IN RUSSIA. Letter from M. Adolphe Adam to the Editors of " La France Musicale." Gentlemen,—You wished me to communicate to you the musical notes of my last journey. The task of writing concerning a country so little advanced in civilization as Russia, may appear difficult; yet perhaps the mine will be found more fertile from having been less explored. A trip to Italy is the usual daydream of an artist, yet it has not been so with me; we know that country by heart even without a visit; the accounts of travellers have so accustomed our imaginations to its sunny skies that I have always been fearful lest the reality should fall short of the poetry of description.

Of Russia we are comparatively ignorant, but the little that we do know should instigate us to extend our information. What spectacle in fact more curious than a country of slavery and barbarism, yet fostering luxury and the fine arts; immense plains of snow, chequered with proud cities where the manners of