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loftier worlds, and inspired by the very presence, as it were, of Him whom he adored and sought to celebrate? And now, Mozart himself would join the glorious company that sung "the song of Moses and the Lamb"—enriching with the high faculties which God had given him, now purified and exalted, even that celestial choir. In a few years, too, another noble spirit is added to the band, the immortal Haydn. Immortal, we term him—not as being such merely in name and fame, but in fact. Every man, indeed, in a certain sense, is immortal and undying: man never dies,—the body, only, dies. Yet, as life is scarce worthy of the name, unless it be good and happy—therefore, the wicked are called morally dead, and only the good and wise are said to have life eternal, and thus to be immortal. When, therefore we term Haydn the immortal—we mean to convey the distinct idea that he took with him into the spiritual state of existence all the good and great qualities and powers, which he manifested here—all, in a word, that characterized and constituted the man, Haydn. Thus he continues to live on—thus he is immortal. And what a glorious addition would that be to the spiritual choir! Haydn humbly and beautifully acknowledged, while on earth, that his musical powers, ay, and his very works, too, were not his own,—not of or from himself, but from heaven and from God. This appears from the following touching incident related of him. A little while before his death, he was invited by a musical society of Vienna to attend the performance of his own fine oratorio, the "Creation." The warm reception he met with, weakened as he was by age, affected him much; but he was still more deeply affected by the music. At that part of