rient himself sang the part allotted to "Christ," and Mendelssohn conducted.
It is needless to say that the performance (given in 1829) was a success. A repetition was demanded; and not Berlin alone, but the whole musical world began to realize that in Sebastian Bach's great works there was a mine of wealth that would be unexhausted for ages. And it was to these young men, Mendelssohn especially, that we owe our knowledge and appreciation of the Leipzig cantor's masterwork of sacred music.
But Mendelssohn did not stop with this. Through his efforts there was erected a fine monument to Bach's memory, which perpetuates the face and figure of this fountain head of modern music. It was erected in 1842, in front of the "Thomas Schule" in which Bach taught, and facing the windows of his study.
3.—WHY WE SHOULD SING.
It is generally admitted that there is a beneficial physiological side to the matter of singing as well as that of entertainment and musical pleasure. Long and learned articles on this subject come from erudite pens; but we venture that it would be hard to find anything more unique in this line than the "Reasons briefely set downe by th' auctor, to perswade euery one to learne to sing," given in William Byrd's "Psalmes, Sonets, and songs of Sadnes and Pietie," published in England in 1588.
These reasons that are "briefely set downe" are as follows:—
First, It is a knowledge easily taught, and quickly learned, when there is a good Master and an apt Scoller.
2. The exercise of singing is delightfull to nature, and good to preserue the health of Man.
3. It doth strengthen all parts of the brest, and doth open the pipes.
4. It is a singuler good remedie for a stutting and stamering in the speech.
