3 NOVEMBER 1849, Page 10

MUSIC IN PARIS.

The funeral of Chopin the composer and pianist, at Paris, on Tuesday last, gave rise to a musical performance of uncommon interest. A cor- respondent who was present has favoured us with an account of it, and some other musical matters: the following are extracts from his letter.

"The funeral of Chopin, which took place on Tuesday, created a great sensa- tion in the fashionable world, as well as in the circles of literature and art. His interment in the cemetery of Pere la Chaise was preceded by a funeral-service in the church of the Madeleine of a most solemn and imposing kind. No persons were admitted into the church without special invitations; which, however, were so extensively issued that between two and three thousand persons were present. Mozart's Requiem was performed, in consequence, it is said, of a wish to that effect expressed by the dying artist. Its execution was perfect. The solo singers were Madame Castellan, Madame Viardot, Alexis Dupont, (a very fine tenor,) and the mighty Lablache. These were accompanied by the whole orchestra and chorus of the Conservatoire. The orchestra deserves its reputation; equalling our Philharmonic in power, and, I am inclined to think, even surpassing it in smoothness and variety of nuance. The choruses were rendered delicious by the contraltos being females; a custom I should be glad to see generally adopted in England. The effect of this divine music, performed in such a manner and on such an occasion, cannot be described; and perhaps there never was so immense an audience assembled all of whom in a greater or less degree were so able to un- derstand it and feel its power. The intoning of the prayers by the priests, gene- rally unaccompanied, and sometimes accompanied only by a serpent playing in unison with the voice, was exceedingly impressive; and the whole service was certainly calculated to produce strong devotional feeling.

" The funeral procession then marched to the Pare la Chaise. The pall-bearers were the old Prince Czartoriski, Meyerbeer, Camille Pleyel, and Delacroix the celebrated painter. The chief mourners walked on foot, and were followed by a long train of carriages. Many ladies, some of them of high rank, entered the cemetery and mingled with the persons who stood round the grave. I expected that one of the distinguished persons present would have pronounced an liege, as is usual in France at funerals of this kind; but the assemblage dispersed with- out anything being said. One of the ladies who stood by the closing grave of the artist, overwhelmed with grief, was his sister, Madame Tendrzejewicz; who ma rived from Warsaw a few days before his death, and in whose arms he breathed his last. She is a woman of a remarkably interesting appearance, in countenance strongly resembling her brother. "Chopin, though his peculiarly sensitive temperament prevented him from making public displays as an artist—for he never played except to small and se- lect audiences—and from mixing much in society, was idolized by the circle in which he moved. He was remarkable for uncompromising plainness and honesty both of speech and action, and for a geherosity of disposition which showed itself in acts of noble beneficence.

"In so far as spectacles and public amusements are concerned, I do not see any

decay in the bustle and animation of this city. All the theatres are crowded. Last night I went to the Grand Opera; where the Prophete was performed to a house crowded to the Ceiling, and presenting a most brilliant appearance. I was curious to compare the representation with that of Covent Garden. Roger, as the Prophet, is not comparable to Mario in any respeca—neither in voice, aspect, nor dramatic power. Madame Viardot was as great as ever. Castellan gave an effect to the part of Bertha which was new to me. The orchestra was decidedly an- perior to that of Covent Garden in smoothness and delicacy: its effect convinced me that the Covent Garden band has too much of what is called "power." In respect to the splendour of the spectacle, I think London has the advantage. The audience applauded warmly, bat not so furiously as the folks at Covent Garden. Halevy's new opera, La Fee aux Roses, is drawing immense houses at the Opera Comique. There is a new opera by Auber forthcoming ; and another by Rosen- hain, a composer greatly esteemed as a writer for the pianoforte, but not yet known as a dramatic musician. So, in regard to music, Paris exhibits no lack of spirit or activity."