practically useful or so generally instructive as the pianoforte: here, you combine two clefs in music, bass and treble, at the same time; here, the resources of harmony become practically available, and here also you can command a very faithful substitute for the orchestral forces. In addition to which, no instrument known has been so largely written for by the great masters. The pianoforte works of Beethoven alone are sufficient for a lifetime. For these reasons the study of the pianoforte should be required of all musical students-not so much as their principal instrument as from the harmonic power and the knowledge of harmonic combination which it imparts. The organ, the grandest of all instruments of sound, will of course class in the same scale; only its greater compass and its increased difficulties of management render it an instrument worthy, and indeed necessary, to be studied distinct and apart from all others.

VIII. GENERAL RECAPITULATION, AND REMARKS AS TO PRESENT STATE OF MUSICAL ART.

THE importance of an early acquaintance with the acknowledged masters of musical science I have before spoken of. The clearness, the beauty, the freedom, and at the same time the skill displayed in their writings, will fully reward your closest investigations. You will admire each for some charming and striking peculiarity which is apparent in their style of composition. You may, for instance, notice that Handel stands conspicuous for his lofty and sublime conceptions, Haydn for his accurate form, Mozart for his wonderful flow, Mendelssohn for his peculiar and enchant

ing mannerism, Weber for his great fertility, and Spohr for his luscious harmony; but, if you think with me, you will admire Beethoven for his greatness only. All peculiarities of style seem as it were combined in him; in him appears to lie the concentration of all that is lovely in musical art. Every excellence to be met with elsewhere you will find embodied in his writings, and from him appears to spring every resource of power and sentiment and graphic delineation of which the art is capable. But whichever way your taste be directed, let me urge you not to select any one writer as the sole object of your study, or even of your predilection, at the first taste and judgment are formed not in one school, but in many. Far less attempt to underrate the excellencies of any single writer by an undue comparison with others, or upon the plea that his compositions are not in consonance with your

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own feelings, or are different to your own conceptions. In true musical art, as in nature, beauty is widely diffused, and may be traced in the very simplest forms, or may display itself in the smallest possible fragments. It should be matter of rejoicing to every lover of the divine art that he has the noble text-works of the great masters, the concentrated fruits of well-directed genius, profound skill, and careful elaboration to guide his judgment and assist his studies; but let us remember, while we feel a just pride in witnessing in our day the high development of musical science and art, at the same time that there are many symptoms abroad which awaken very serious apprehensions as to its future progress, if not of its present decay. I will not lay much stress on the dearth of musicians at the present time, for the apostles of art are always to be found in groups and in company; but

I lay very great stress indeed upon the public taste generally, and the manner in which musical knowledge is sought after, and the ends to which she is prostituted. When musical art first lifted her head from obscurity she was one whom kings and princes delighted to honour. But for this, Corelli, Haydn, Mozart, Beethoven, and many others, would have sunk into the lowest obscurity, "and chill penury would certainly have 'frozen the genial current of their souls."" Let us think of the affection and esteem which Louis XIV. ever showed for his Maitre-de-chapelle, Lulli. Let our thoughts go back to Germany in the latter part of the last century, and we shall find every prince with his own private musical establishment. All the works of Haydn were produced under the auspices of the Esterhazy family Mozart owed his leisure and advancement to the Emperor's great predilection for his