Much may be said of the French musical performers, who certainly may be considered to excel upon several different instruments, particularly on the harp, which all can testify who have ever heard Liebart.  There are also a number of ladies to be met with in private society who play extremely well; the same may be said with regard to the piano-forte, but although there are many professors who astonish by their execution, yet they have not produced any equal to a Liszt or Thalberg; I have even amongst amateurs known some young ladies develop a lightness and rapidity of finger quite surprising, and far surpassing what I have generally met with in England (except with the most accomplished professors), but I do not consider that they play with so much feeling and expression as I have often found even with female performers in my own country, and which affords me a much higher gratification, as fingering is after all but mechanical, which may astonish, but will never enchant.  On the violin they have produced some very fine players, as also upon other instruments, and the bands at their operas can hardly be too highly praised.  But their music which has afforded me the most delight has been the performances of their first masters on some of their magnificent organs; on those occasions I heard the most exquisite feeling and expression displayed, and have known the most powerful sensations excited; this most superlative enjoyment I have experienced at the churches of Notre-Dame, St. Sulpice, St. Eustache, and St. Roch, but it happens only on particular and rare occasions, and it is difficult to find out when such performances will take place; sometimes it is announced in Galignani’s paper but not always, and their sacred music is often most exquisite particularly that which is vocal.

In respect to singing, although the Conservatory of Music and the most talented masters give every advantage to the pupil of theory and science, yet they cannot confer a fine quality of voice where it has not been afforded by nature, and that deficiency I find generally existing with the French females; they will often attain an extreme height with apparent facility, and even will manage notes at the same time so low that no fault can be found with the compass of their voices, nor any lack of flexibility; their execution being perfectly clean and correct.  I have frequently heard them run the chromatic scale with extreme distinctness and apparent ease, and acquit themselves admirably in the performance of the most intricate and difficult passages, all of which is the result of good teaching and attentive application of the pupil, but sweetness of tone exists not in their voices, which are generally thin and wiry; they want that depth and roundness which gives the swell of softness and beauty to the sound; hence there is generally a want of expression in their singing as well as their playing.  Of course there are exceptions, and Madame Dorus-Gras may be cited