One could never say too much about the music here. I do not mean that of the regimental bands, or the orchestras in every hall and beer-garden, or that in the churches on Sundays, both orchestral and vocal. Nearly every day, at half-past eleven, there is a parade by the Residenz, and another on the Marian Platz; and at each the bands play for half an hour. In the Loggie by the palace the music-stands can always be set out, and they are used in the platz when it does not storm; and the bands play choice overtures and selections from the operas in fine style. The bands are always preceded and followed by a great crowd as they march through the streets, people who seem to live only for this half hour in the day, and whom no mud or snow can deter from keeping up with the music. It is a little gleam of comfort in the day for the most wearied portion of the community: I mean those who have nothing to do. But the music of which I speak is that of the conservatoire and opera. The Hof Theater, opera, and conservatoire are all under one royal direction. The latter has been recently reorganized with a new director, in accordance with the Wagner notions somewhat. The young king is cracked about Wagner, and appears to care little for other music: he brings out his operas at great expense, and it is the fashion here to like Wagner whether he is understood or not. The opera of the "Meister-Singer von Nurnberg," which was brought out last summer, occupied over five hours in the representation, which is unbearable to the Germans, who go to the opera at six o'clock or half-past, and expect to be at home before ten. His latest opera, which has not yet been produced, is founded on the Niebelungen Lied, and will take three evenings in the representation, which is almost as bad as a Chinese play. The present director of the conservatoire and opera, a Prussian, Herr von Bulow, is a friend of Wagner. There are formed here in town two parties: the Wagner and the conservative, the new and the old, the modern and classical; only the Wagnerites do not admit that their admiration of Beethoven and the older composers is less than that of the others, and so for this reason Bulow has given us more music of Beethoven than of any other composer. One thing is certain, that the royal orchestra is trained to a high state of perfection: its rendition of the grand operas and its weekly concerts in the Odeon cannot easily be surpassed. The singers are not equal to the orchestra, for Berlin and Vienna offer greater inducements; but there are people here who regard this orchestra as superlative. They say that the best orchestras in the world are in Germany; that the best in Germany is in Munich; and, therefore, you can see the inevitable deduction. We have another parallel syllogism. The greatest pianist in the world is Liszt; but then Herr Bulow is actually a better performer than Liszt; therefore you see again to what you must come.