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GERMANY. 



nightingales, hung in cages, on the lime-trees ; and which divide attention with the various mu- 

 sical bands, that charm away the summer nights in that metropolis. 



The inhabitants of Germany may rank next to the Italians as the most successful cultivators 

 of music ; and it is even doubtful whether, with regard to eminent composers, they do not carry 

 off the palm from the most musical of nations. Instrumental music, especially, which requires 

 labor and perseverance, qualities for which the German character is so much distinguished, has 

 been brought by them to great perfection ; and if their composition is of a more labored char- 

 acter than the Italian, it has also more science, and affords more pleasure than any other, to 

 those who are capable of appreciating it. The organs and organists of Germany, as well as 

 their violin performers, have long been famous over Europe. Before the 16th century, there 

 was little music in any country except masses and madrigals, the two principal divisions of 

 sacred and secular music ; and in the former, the Germans more especially excelled. In the 

 16th century, among their most eminent composers and theorists were, Keischius, Michael 

 Koswick, Henry Loris, Taber, and Hoffman. When dramatic music came into fashion, the 

 opera, imported from Italy, was introduced into the German capitals, and patronized by the 

 German princes. So late, however, as the 17th century, the performers in the German 

 operas, were tradesmen and handicrafts. Shoemakers performed the first parts ; and girls, who 

 during the day sold fruits and sweetmeats through the streets, appeared in the evening as 

 Armida or Semiramis. This exhibition soon rose to a more respectable character, and at about 

 the period when Handel began to acquire celebrity, the Italian opera, especially at Dresden, at 

 the court of Augustus, Elector of Saxony, was performed in the most splendid manner. 

 Handel himself, one of the most eminent composers, whether of Germany or of any other 

 country, was in the service of the Elector of Hanover, afterwards George the First, when his 

 fame began to be spread all over Europe. He was the first who introduced oratorios into 

 England, and, at his own risk, engaged a whole band of performers for the London opera. 

 His oratorios of the Messiah and Samson, his Acis and Galatea, and all his numerous compo- 

 sitions, are too well known to require praise ; and, however the caprice of fashion, which brings 

 about nearly as many changes in musical taste as In any other, may neglect the harmony of 

 Handel for more brilliant melody, his name will always be venerated, and his compositions ad- 

 tnired, by all true judges of the art. The English were not ungrateful for the services which 

 Handel had rendered to music in their country, and the year 1784 was rendered memorable in 

 the annals of the art, by the splendid manner in which his birth and genius were celebrated In 

 Westminster Abbey, and the Pantheon, by fine performances of pieces, selected from his own 

 works, and executed by a band of more than 500 voices and instruments, in the presence of 

 the royal family and the first persons of the kingdom. The commemoration of Handel has 

 since been established as an annual musical festival for charitable purposes. 



But the prince of German musicians, even among a host of eminent composers, is undoubt- 

 edly Mozart, a rare instance of an infant prodigy, whose manhood more than surpassed the 

 promise of his early years. All his performances breathe the same sensitive and delicate spirit 

 with which nature had endued him, even to a degree of morbid acuteness, and to an extent 

 which incapacitated him for the labors and duties of life. There Is more depth of feeling in 

 his works than brilliancy, and even his most lively compositions have a tinge of sadness. He 

 is dignified, without severity, and tender even In his most cheerful mood. He may rank among 

 musicians as Raphael among painters ; while Handel, with the severe majesty of an ancient 

 artist, has infinitely less grace and melody. But it would be tedious to enumerate the German 

 composers, who have enriched music by their splendid works. We can only mention Haydn, 

 who may be ranked next to Mozart ; Beethoven, whose compositions have afforded the utmost 

 pleasure to the lovers of science and harmony ; and Weber, whose untimely death has caused 

 a blank in the musical world, which the pleasure derived from his splendid operas can hardly 

 compensate. His style is truly German and original, full of striking passages, and capricious, 

 but beautiful changes. It speaks of dark forests, and frowning precipices, where the torrent 

 appears suddenly to stop the listener's progress, or where he rests for a while to breathe the 

 clear, pure air of the mountain tops ; or to hearken to the huntsman's horn, as it echoes among 

 the rocks. Among his countrymen his name is spoken with enthusiasm, and his death was a 

 signal for mourning throughout Germany, where the excellence of his private character was as 

 fully appreciated as the splendor of his talents. There is no country in the world where mili- 

 tary music is carried to greater perfection than in Austria, where the bands surpass all others. 

 Of the ancient national music of Germany, little is known, and though their bards sung in the 



