es apart from the stage,
Vienna had till more recent times very little to boast of. In 1830-1831
the Spirituel-Concerte (Concerts Spirituels) were still in existence
under the conductorship of Lannoy; but since 1824 their number had
dwindled down from eighteen to four yearly concerts. The programmes were
made up of a symphony and some sacred choruses. Beethoven, Mozart,
and Haydn predominated among the symphonists; in the choral department
preference was given to the Austrian school of church music; but
Cherubim also was a great favourite, and choruses from Handel's
oratorios, with Mosel's additional accompaniments, were often performed.
The name of Beethoven was hardly ever absent from any of the programmes.
That the orchestra consisted chiefly of amateurs, and that the
performances took place without rehearsals (only difficult new works got
a rehearsal, and one only), are facts which speak for themselves.
Franz Lachner told Hanslick that the performances of new and in any way
difficult compositions were so bad that Schubert once left the hall
in the middle of one of his works, and he himself (Lachner) had felt
several times inclined to do the same. These are the concerts of which
Beethoven spoke as Winkelmusik, and the tickets of which he denominated
Abtrittskarten, a word which, as the expression of a man of genius, I do
not hesitate to quote, but which I could not venture to translate. Since
this damning criticism was uttered, matters had not improved, on the
contrary, had gone from bad to worse. Another society of note was the
still existing and flourishing Gesellschaft der Musikfreunde. It, too,
gave four, or perhaps five yearly concerts, in each of which a symphony,
an overture, an aria or duet, an instrumental solo, and a chorus
were performed. This society was afflicted with the same evil as the
first-named institution. It was a

gladdening sight [we are told] to see counts and tradesmen,
superiors and subalterns, professors and students, noble
ladies and simple burghers' daughters side by side
harmoniously exerting themselves for the love of art.

As far as choral singing is concerned the example deserves to be
followed, but the matter stands differently with regard to instrumental
music, a branch of the art which demands not only longer and more
careful, but also constant, training. Although the early custom of
drawing lots, in order to determine who were to sing the solos, what
places the playe