several months, that she was perfectly cured; yet refusing to let her parents take her away or visit her, till, by the advice of Dr. Ingenhouze, the Barons Stoerck and Wenzel, and Professor Bath, the celebrated anatomist, and the assistance of the magistrates, she was withdrawn from his hands by force: when it was found that she could see no more than when she was first admitted as Mesmer's patient. However, he had the diabolical malignity to assert that she could see very well, and only pretended blindness to preserve the pension granted to her by the Empress Queen in consequence of her loss of sight; and after the death of her imperial patroness, this cruel allegation was made an excuse for withdrawing the pension.

Mad. Paradis afterward quitted Vienna, in order to travel, accompanied by her mother, who treated her with extreme tenderness, and was a very amiable and interesting character. After visiting the principal courts and cities of Germany, where her talents and misfortunes procured her great attention and patronage, she arrived at Paris, and remained there five or six months, and likewise received every possible mark of approbation and regard in that capital, both for her musical abilities and innocent and amiable disposition.

When she arrived in England, she brought letters from persons of the first rank to her Majesty, the Imperial Minister, and other powerful patrons, as well as to the principal musical professors in London. Messrs. Cramer, Abel, Salomon, and other eminent German musicians, interested themselves very much in her welfare; not only as their country woman bereaved of sight, but as an admirable performer. After her arrival in England she received a cantata, written for her in the German language, by the celebrated professor of mathematics, M. Pfeffel, of Colmar, who was himself blind. This cantata was admirably set to music for her own voice and accompaniment on the piano-forte; and she executed it in a truly pathetic and able manner. Her voice was not so powerful as her hand; but it was touching in itself; and her knowledge of music and circumstances rendered it doubly interesting.

Madame Paradis intreated Dr. Burney, who had letters from Germany in behalf of her ingenious daughter, and was very zealous in her service, to translate this cantata; and the following is his version :

CANTATA,

Written in German for Mademoiselle Paradis, by her blind friend, M. Pieffel, of Colmar, and set to music by her music-master, M. Leopold Kozeluch, of Vienna, 11th November, 1781.

The new-born insect sporting in the sun,

Is the true semblance of my infant state,
When every prize for which life's race is run,
Was hidden from me by malignant fate.
Instant destruction quench'd each visual ray,
No mother's tears, no objects were recal'd!
Extinguish'd was the glorious lamp of day,
And every work of GoD at once conceal'd!
Where am I plunged? with trembling voice I cried;
Ah, why this premature, this sudden night!
What from my view a parent's looks can hide,

Those looks more cheering than celestial light!
Vain are Affliction's sobs, or piercing cries,
The fatal mischief baffles all relief!
The healing art no succor can devise,

Nor balm extract from briny tears and grief!
How should I wander through the gloomy maze,
Or bear the black monotony of wo,

Did not maternal kindness gild my days,
And guide my devious footsteps to and fro.
Upon a festival, design'd

To praise the Father of mankind,
When joining in the lofty theme,
I tried to hymn the great Supreme :
A rustling sound of wings I hear,
Follow'd by accents sweet and clear;
Such as from inspiration flow,
When Haydn's fire and fancy glow.
"I am the genius of that gentle art

Which soothes the sorrows of mankind,
And to my faithful votaries impart
Ecstatic joys the most refined.

"On earth, each bard sublime my power displays; Divine Cecilia was my own;

In heaven each saint and seraph breathes my lays In praises round th' eternal throne.

"To thee, afflicted maid,

I come with friendly aid,

To

put Despair to flight,

And cheer thy endless night."

Then, gently leaning to the new-made lyre, He placed my fingers on the speaking keys; "With these (he cries) thou list'ning crowds shalt fire, And rapture teach on every heart to seize." Elastic force my nerves new braced,

And from my voice new accents flow; My soul new pleasures learn'd to taste, And Sound's sweet power alleviates wo. Theresa! great in goodness as in power, Whose favorite use of boundless sway Was benefits on all to shower,

And wipe the tear of wretchedness away; When first my hand and voice essay'd,

Sweet Pergolesi's pious strains, Her pitying goodness she display'd,

To cherish and reward my pains.
But now, alas! this friend to wo,

This benefactress, is no more!
And though my eyes no light bestow,

They'll long with tears her loss deplore!
Yet still where'er my footsteps bend,
My helpless state has found a friend.
How sweet the pity of the good;
How grateful is their praise!
How every sorrow is subdued,
When they applaud my lays.
Th' illustrious patrons I have found,
Whose approbation warms my heart,
Excite a wish that every sound

Seraphic rapture could impart.

The wreathes my feeble talents share,
The balmy solace friends employ;
Lifting the soul above despair,
Convert calamity to joy.

CHURCH MUSIC.

[SELECTED.]

IMPORTANCE OF CULTIVATING SACRED MUSIC,

AND PRACTISING IT IN THE HOUSE OF GOD.

No one who is at all familiar with the Scriptures, can doubt that the celebration of GOD'S praise has always made part of public worship. The design of sacred music of course is nothing less, than to awaken devotional feelings in the heart, while it serves as an expression of those feelings, as they are directed to the heart-searching GOD. Most persons are capable of being wrought upon, and many in a high degree, by this peculiar exercise of the human voice; and though there may be a glow of animal feeling produced by it, without any thing like genuine devotion, yet in a mind piously disposed, it cannot be doubted that it is eminently fitted to awaken and cherish a devotional spirit. The effect must, of course, be measured, in some degree, by the original capability of the mind to receive impressions from this source; but there

are few minds so constituted, that the impressions made by devotional sentiments, will not be heightened by their being appropriately expressed in music. If such be the design of this part of public worship, then it follows, not only that it is of great importance that sacred music should be cultivated, but that that is the best style of music which is best adapted to cherish true devotion. That it should be conducted with propriety and with taste, certainly does not admit of question; because, otherwise, instead of being a help to devotion by falling in with an original current of feeling in the human breast, it becomes a hinderance to it by giving a shock to some of our finest sensibilities. There are, indeed, a few minds, constituted in such a manner as to be in a good degree proof against the most exquisite melody, on the one hand, and the most grating discord, on the other; but in the great majority of instances, the devotions of the Christian will in the one case be greatly embarrassed, in the other, greatly assisted.

But while this part of public devotion ought to be performed with correct taste, and, if you please, with a measure of elegance, it ought to be in a style of Christian simplicity. If the minister who should lead in the public prayers, should assume the manner of an actor, and should seem to be praying merely to gratify the taste or amuse the fancy of a portion of his hearers, every one would regard it not only as unpardonable trifling, but downright impiety. And what better is to be said of that style of singing God's praise, which causes his praise to be forgotten, and the singing only to be thought of? GOD forbid that the Church should ever borrow any thing from the stage,-no, not even the parade and fascination of its music! We repeat,-let every thing be done here in perfect simplicity! It matters little, whether the devotions of Christians be hindered by awkward and discordant sounds, on the one hand, or by strains which only become the theatre, on the other in the latter case, as truly as in the former, the decorum of Christian worship is violated.

If the preceding remarks be correct, it surely is the duty of every religious congregation, to cultivate sacred music to such an extent, as to secure in the best manner the design it is intended to answer, as a part of divine worship; and if it is the duty of every congregation to do this, it is the duty of every individual who is endowed with the power of music, to cultivate this gift, as God gives him opportunity. And we go further and say, that it is the duty of all who are able, to aid, from time to time, in this part of public religious service. It was for this purpose, of celebrating his praise, that GoD gave them this noble faculty; and if they never use it in this way, are they not chargeable with burying at least one talent in the earth? This is a duty, which every individual who is thus gifted, owes to himself, his fellow-worshippers, and his GOD. He owes it to himself, as it is not only an expression of devotional feeling, but a powerful means of exciting and cherishing it. He owes it to his fellow-worshippers, as he thereby contributes to make melody in their hearts, and to deepen the current of their devotion. He owes it to GoD, as a reasonable expression of his homage for every good gift; and as one principal means which

GOD himself has ordained, for acknowledging his goodness, and celebrating his praise.

I cannot forbear to remark in this connexion, that the course to which I have here adverted, would be an important security against the decline of sacred music in any congregation, as well as the most efficient means of effecting a revival of it where it has already declined. Let not this be a thing to be monopolized by persons of any age; but let all who have the ability, regard it a privilege to render their aid. Even the tremulous voice of old age, if it does not destroy the harmony, will increase the solemnity and dignity, of this part of religious worship. Can you conceive of a spectacle, at once more delightful and more sublime, than a great congregation, all engaged, so far as they are able, in celebrating God's praise; in which the old, and the middle aged, and the youth, and even the little child,-we had almost said, the lisping infant, are mingling their voices, in a common expression of thanksgiving to GOD and the Lamb? Let each one feel his personal obligation on this subject and act accordingly, and this blessed, thrice blessed result would be realized.

MYSTERIOUS SOUNDS.

{FROM THE EDINBURGH JOURNAL OF SCIENCE.] The subterraneous sounds heard at Nakous, on the Red Sea.-Baron Humboldt informs us, on the authority of most credible witnesses, that subterraneous sounds, like those of an organ, are heard towards sunrise, by those who sleep upon the granite rocks, upon the banks of the Orinoco. Messrs. Joimard, Joilois, and Develliers, three of the naturalists who accompanied Bonaparte to Egypt, heard at sunrise, in a granite monument placed at the centre of the spot on which the palace of Carnac stands, a noise like that of a string breaking.

Sounds of a nature analagous to these have been heard by Mr. Gray, of University College, Oxford, at a place called Nakous, (which signifies a bell,) at three leagues from Tor, on the Red Sea. This place, which is covered with sand, and surrounded with low rocks in the form of an amphitheatre, presents a steep declivity towards the sea, from which it is half a mile distant. It has a height of about 300 feet, upon 3 feet of width. It has received the name of a bell, because it emits sounds, not as the statue of Memnon formerly did, at sunrise, but at every hour of the day and night, and at all seasons. The first time that Mr. Gray visited this place, he heard at the end of a quarter of an hour, a low continuous murmuring sound beneath his feet, which gradually changed into pulsations as it became louder, so as to resemble the striking of a clock. In five minutes it became so strong as to detach the sand. The people of Tor declare, that the camels are frightened and rendered furious by these sounds.

Anxious to discover the cause of this phenomenon, which no preceding traveller had mentioned, Mr. Gray returned to the spot next day, and remained an hour, to hear the sound, which was, on that occasion, heard much louder than before. As the sky was serene and the air calm, he was satisfied that the sound could not be attributed to the introduction of the external air; and in addition to this, he could not observe any crevices by which

the external air could penetrate. The Arabs of the desert ascribe these sounds to a convent of monks, preserved miraculously under ground, and they are of opinion that the sound is that of their bell. Others think that it arises from volcanic causes; and they found this opinion on the fact, that the hot baths of Pharaoh are on the same coast.

M. Humboldt ascribes the sounds in the granite rocks to the difference of temperature between the external air, and the air of narrow and deep crevices of the shelves of rocks. These crevices, he informs us, are often heated to 48° or 50° during the day, and the temperature of their surface was often 39; when that of the external air was only 29'.

THE FAMILY MINSTREL.
NEW YORK, JUNE 15, 1835.

ATTACK ON OUR PUBLISHERS.
"When you shall these unlucky deeds relate,
Speak of me, as I am: nothing extenuate,
Nor set down aught in malice."

In the 'Fredonia Censor,' we meet with so violent and unwarrantable an article by the editor, that we feel bound to notice it, and vindicate our publishers from censure wholly undeserved. It appears, that only three out of the first seven numbers of the Minstrel, have ever reached the Censor. We assure him, however, that this apparent neglect is altogether undesigned. Either an unintentional omission has been made, by the person who directs our parcels, or they have met with some "evil accident by the way," or, perchance, they have fallen among thieves. All publishers are occasionally annoyed, we believe, by such perplexities. When we hear of irregularities, however, we are prompt to have them duly corrected; and our missing numbers will soon be in the Censor's hands. He has had, and surely now has, no good reason to "deem the publishers" of the Minstrel "lacking in moral honesty," &c. &c. &c.

By the bye, he says, he has sent us two numbers of the Censor; yet only one has ever come to hand. "Quere de hoc," as gentlemen of the bar say. Some of our exchange papers are often missing, but in no case, we trust, from want of "moral honesty." We never ask for PUFFS from any of our editorial brethren, (although we feel much obliged to them, whenever they notice our work in a respectful manner,) but we demand, and we have a right to demand from the severest Censor of them all, at least

COMMON JUSTICE.

SOMETHING MORE AGREEABLE.

We cheerfully turn "from grave to gay," having a much greater affinity for "the concord of sweet sounds," than for notes of discord, -although, under the hand of a good contrapuntist, even discords are made to result in harmony.

A pleasing communication, signed "Borrodale," recently appeared in the columns of the Mayville Sentinel, published in this State. The closing observations we commend to the special notice of our contributors. After hailing us with a most kind reception, and wishing us a "hearty welcome every where from our musical and music-loving race," Borrodale remarks:

"The soul, (itself a most richly attuned musical instru ment,) vibrates in unison with the silvery chords, whether

:

of nature or of art. Its energies are awakened, electrified and sublimed by sound. Virtue, valor, love, devotion, kindle afresh from the cradle to the grave, through all the toils and joys and triumphs of life, the love of music is almost the only love that changeth not,-nay, the "thrilling fife and tinkling drum" alone can give elasticity to the step and bring fire to the glazy eye of the veteran tottering over the tomb.

'For one long cherish'd ballad's simple stave,

Rung from the rock or mingled with the wave,' hath a stirring potency over each true heart and ear, far greater than the historic or monumental art can wield Hence our ground of assurance, that a work devoted to a science, so congenial to the nature and taste of mankind, must and will

be patronized.

"It would be a philosophical inquiry, equally interesting and important, and for which, we doubt not, many of the contributors to "The Family Minstrel' are abundantly competent, how far the musical taste of mankind is affected by political and religious institutions; by the clime and scenery in which their lot is cast; wherein the lively Greek differs from the luxuriant Asiatic or sterner Roman, the freeman from the minion of despotism, the Christian from the grave Ottoman or mystic Braman, the Switzer or Highlander from the Dutch or Boeotian. Here opens a most ample field for speculation, rich in materials, for the most part as yet fresh and untouched, with all their virgin honors yet to be won and enjoyed."

SERIO-LUDICRO CRITICISM.

In pointing out the gross typographical and other errors, in the first number of the MUSICAL MAGAZINE, was our purpose to lead the editor and publishers, to prepare at least some articles of a "high order" and in better style. We accordingly declared our intention, in terms not to be misunderstood. But, in the columns of the Independent Press,' a paper recently established in this city, we find a notice of the Magazine, ironical from the beginning to the end, and even calculated to betray the cursory reader into the supposition, that what is certainly the most cutting sarcasm may be intended for enthusiastic praise. For instance: "There is good, better and best; and the public interests are never promoted so well as is desirable, till the superlative degree of excellence is devoted to their service." "We are too apt to think, that if a thing is pretty well done, it is all that is necessary; not reflecting that it would be much better to have it done as well as possible." The whole paragraph is in the same strain of ultrahyperbole, without the slightest hint to the unwary, that the critic is a wag. Now against such jokes we enter our protest. It is well for us, to stir up one another to good works; but it is too much to expect of an editorial brother, that he will be content to be thus quizzed into efforts of the "highest order." The Independent Press, we think, is quite too sarcastic.

A VALUABLE WORK.

We have learned with great pleasure, that Mr. JOHN COLE, of Baltimore, is engaged in preparing for the press a Book of Ancient Church Music. Of his ample qualifications for this undertaking, there can of course be but one opinion. Mr. Cole, in early youth, before he emigrated to the United States, enjoyed the musical instruction of Law, Spicer and Atwill, and associated familiarly with many of the most eminent instrumentalists and vocalists in Great Britain. He has for more than thirty years been prominently before the public, as a sound theoretical and able practical musician. The thought, therefore, that he is devoting his attention to the long-neglected, but invaluable treasures of "olden times," affords us peculiar satisfaction; and we are prepared

to hail his proposed work, as a timely publication, and a rich treat to all lovers of the best order of Psalmody.

MUSIC AT THE WEST.

A general meeting of professional teachers, for the purpose of taking into consideration the subject of the proper Education of Youth in all its branches, was held at Carthage, Ohio, on the 18th of May. It was resolved, to form an Association, auxiliary to the "Western Literary Institute and College of Professional Teachers." The measures which were adopted, are indicative of a high tone of intellectual and religious feeling. And among the prominent topics which were discussed, we are happy to learn, that Vocal Music constituted one, which it was decided "should be made a part of common elementary education both of boys and girls." All the movements at the West, have for some time given evidence, that the importance of a thorough education of youth is there duly appreciated. Our favorite subject, we are Associaglad to find, has received from the tion of Teachers" its due deference. And it is our heart's desire, that it may give them, in return, its best and holiest rewards, in solitude, in the social circle, and in the sanctuary.

In our Atlantic States, although something has been done to encourage Vocal Music in our schools and colleges, very much yet remains to be accomplished. It is true, however, we have reason to rejoice in the prospects, which are afforded by the arrangements now existing in some of our principal schools and seminaries, especially in Massachusetts and Connecticut, and in many also of our New York schools. In the Franklin Academy, for instance, at Sing Sing, N. Y., beside the able instructions given in instrumental music by Miss H. N. Errington, we find that Mr. C. Runyan, well known and highly appreciated as a chorister, is very successfully employed in the vocal department.

We trust, that all our elementary schools, our academies, and our colleges will soon vie in zeal for instrumental and vocal music, as one of the most innocent and delightful recreations, and as a medium of the holiest communings with the Most High.

MUSICAL UNION.

According to previous notice, several gentlemen from different sections of the country, met in this city, at the lecture-room of the Brick Church, May 15th, with a view to adopt some measures for the more general cultivation of Sacred Music throughout our country. The Rev. Mr. OWEN was called to the chair, and Mr. C. DINGLEY was chosen Secretary of the meeting.

After prayer by the Rev. Mr. Ingersoll, of Rhode Island, Mr. T. Hastings was requested to state the object of the meeting, which he did briefly; and, on his motion, after remarks by the Rev. Mr. Seymour, of New Jersey, Rev. Mr. Ingersoll, Rev. Mr. Owen, of this city, and Messrs. S. B. Pond, W. J. Edson, F. D. Allen, A. Jones and C. A. Fairbanks, it was resolved, to form a Union for the general promotion of Devotional Church Music. A committee of seven was then appointed, to report the plan of a Society. At an adjourned meeting, May 18th, this committee reported, and

the plan submitted by them was fully discussed. A committee was then appointed to draft a Constitution; and it consisted of Messrs. Hastings, Edson, Dingley, Griffin, Ryerson, Andrews, and Challis.

The next meeting was held at the Chathamstreet Chapel, May 25th, when the draft of a Constitution was presented, discussed, and recommitted. On the 8th of June, the Constitution was finally adopted, denominating the society, "The New York Academy of Sacred Music," to consist of professional and amateur performers, and of non-performing and honorary members. It contemplates, beside the usual officers, Professors of Musical Elocution, Elementary Instruction, and Instrumental Music, a Vocal Conductor, and a Librarian. One important feature of the Academy, is a law deciding that no performer shall be paid, for taking part in the public concerts of the institution, one or more of which are to be given

every year.

The officers are to be elected on the 15th instant.

N. Y. INSTITUTE OF SACRED MUSIC.

This Society, as we learn from a pamphlet now before us, was formed in the Spring of the year 1833, with a view to cultivate, extend and diffuse the knowledge of Sacred Music, and the science of Harmony. It aimed also to unite and imbody in the city of New York, cultivated talents for mutual improvement; to organize primary schools, and supply them with competent teachers; and to establish "a Classical School for qualifying teachers and choristers." It has now been in operation, for the space of just two years; and we have been recently pre

sent at its FIRST ANNIVERSARY CONCERT.

It was held in the Murray-street Church, on Thursday evening, the 4th inst. In addition to a large choir of adults, a numerous Juvenile Class, "composed of the pupils of several young ladies' and boys' schools," performed a number of interesting pieces. The conductor of the Institute, Mr. ABNER JONES, deserves well of the public, for the zeal and diligence with which he has engaged in this good enterprise. We learn from the report of the proceedings of the Society, made by the Secretary on the occasion, that there are to be hereafter branch schools, in different parts of the city, which will occasionally be brought together.

The first anniversary went off very well; but we clearly see the germ of still better fruits. The two pieces which gave us the most pleasure, were the Duet and Chorus, "How beautiful upon the mountains," and the Duet by two young ladies, (sisters,) "The spring flowers know their time to bloom," which was sung with much taste and sweetness. Some of the articulation, in a few of the performances, however, was exceptionable,—especially in the Juvenile Class, when, in the fifth piece, they pronounced, for instance, "lovely"-"love-ly." Yet we discovered very little of this.

The Institute promises to be an eminently useful auxiliary in our cause. Its first anniversary exercise was Prayer; and there was throughout the Concert a pervading spirit of devotion, which should always, we think, be dominant at performances of Sacred Music. Before high heaven, all else, in such circumstances, is but “solemn mockery."

CONCERT OF SACRED MUSIC.

A Sacred Concert was given in the South Baptist Church of this city, on Wednesday evening, May 27th, under the direction of Mr. CHARLES D. FIELD, the Chorister of the church, assisted by Prof. REUBEN MUNSON, Jr., who kindly tendered his services as Organist on the occasion, and by several distinguished

amateurs.

We were well pleased with the Concert as a whole; and were particularly struck with the successful and effective performance of Chapple's Anthem, "The Lord is King, the earth may be glad." The superior execution and remarkably distinct articulation of a second treble voice, often fell upon our ear with a pleasing cadence.

The propriety (and, we had almost said duty,) of opening every Sacred Concert with an appropriate prayer, and closing it with a benediction, was so clearly evinced, by the good effect produced in this case, that we trust the wholesome example will be generally, if not universally, imitated.

то OUR PATRONS.

Zeal of the Ladies.-We are much indebted to the kindness of the 'gentler sex,' for many of our chief encouragements, in the prosecution of our cause. Among the letters which have come to hand, from various sources, cheering and animating us on our way, we name with peculiar satisfaction one from "C. M. M." (of Jonesborough, Tenn.,) who has voluntarily assumed the duties of an agent, and has forwarded the names of five ladies, in addition to her own, accompanied with the amount of their subscription for a year. Pleased with any accession to our list of patrons, and with any contributions to our revenues,—we feel especially favored by the communication of “C. M. M.," and tender her our best acknowledgments.

Students in Colleges.-It is with pleasure also, that we record the fact of the favorable reception of our work in several of our Colleges. From Waterville College, Me., we have recently been obliged by a communication from "I. P.," containing more than professions,-good wishes, indeed, but the names of five subscribers, with a claim on our best efforts, which shall be promptly afforded with great cheerfulness.

Professors and Teachers.-We beg leave to. say a word to Professors and Teachers of Music, on the want of promptness manifested by some of them. And, instead of using our own words on the subject, we extract the following lines from a letter of a correspondent, who is much interested in our success:

"I wish you would take notice of an objection of the Professors and Teachers of Music against giving their influence to the support of the MINSTREL. Several of them, I understand, decline, for the reason that there have been periodicals of this kind, which have failed for want of support. Let me ask, whose fault is it, that these works do not succeed? If these professors had come forward, very probably the works would not have failed. Some promise me to use their influence, after they see that your work prospers, and is well supported by the community! But how is it to get into circulation, without an effort by those who ought to feel interested? If any ought so to feel, it is certainly the Professors and Teachers of Music."