re
influential associations and institutions that were subsequently founded
with a view to the wider diffusion and better cultivation of the musical
art in Poland. After the battle of Jena the French were not long in
making their appearance in Warsaw, whereby an end was put to Prussia's
rule there, and her officials were sent about, or rather sent out of,
their business. Thus the Musical Ressource lost many of its members,
Hoffmann and Mosqua among others. Still, it survived, and was
reconstructed with more national elements. In Frederick Augustus of
Saxony's reign it is said to have been transformed into a school of
singing.

The year 1815 brought into existence two musical institutions that
deserve to be noticed--society for the cultivation of church music,
which met at the College of the Pianists, and had at its head Count
Zabiello as president and Elsner as conductor; and an association,
organised by the last-named musician, and presided over by the Princess
Sophia Zamoyska, which aimed at the advancement of the musical art in
Poland, and provided for the education of music teachers for schools,
organists for churches, and singers for the stage. Although I try to
do my best with the unsatisfactory and often contradictory newspaper
reports and dictionary articles from which I have to draw my data, I
cannot vouch for the literal correctness of my notes. In making use of
Sowinski's work I am constantly reminded of Voltaire's definition of
dictionaries: "Immenses archives de mensonges et d'un peu de verite."
Happy he who need not consult them! In 1816 Elsner was entrusted by the
minister Staszyc with the direction of a school of dramatic singing and
recitation; and in 1821, to crown all previous efforts, a conservatorium
was opened, the programme of which might almost have satisfied a
Berlioz. The department of instrumental music not only comprised
sections for the usual keyed, stringed, and wind instruments, but also
one for instruments of percussion. Solo and choral singing were to be
taught with special regard to dramatic expression. Besides these and the
theoretical branches of music, the curriculum included dancing, Polish
literature, French, and Italian. After reading the programme it is
superfluous to be informed that the institution was chiefly intended for
the training of dramatic artists. Elsner, who was appointed director,
selected the teaching staff, with one exception, however, that of the
first singing-ma