Chapter X: Part THE FIRST: Essays, Criticisms, and Miscellanies (10)

“A very happy modern improvement!” cried Sir Joshua, laughing;
“don’t you think so, Miss Burney?--but that’s not a fair question
to put to you; so we won’t make a point of your answering it.
However,” continued the dear natural knight, “what Mr. Burke says
is very true, now. The women begin to make a figure in every thing.
Though I remember, when I first came into the world, it was thought
but a poor compliment to say a person did a thing like a lady!”

“Ay, Sir Joshua,” cried my father, “but like Moliere’s physician,
_nous avons changé tout cela!_”

“Very true, Dr. Burney,” replied the Knight; “but I remember the
time--and so, I dare say, do you--when it was thought a slight, if
not a sneer, to speak any thing of a lady’s performance: it was
only in mockery to talk of painting like a lady; singing like a
lady; playing like a lady--”

“But now,” interrupted Mr. Burke, warmly, “to talk of writing like
a lady, is the greatest compliment that need be wished for by a
man!”

Would you believe it, my daddy--every body now, himself and my father excepted, turned about, Sir Joshua leading the way--to make a little playful bow to--can you ever guess to whom?--vol. ii. pp. 236, 237.

We do not complain that this was originally confided to an old, a fraternal friend, in all the warm glow of surprise, raised pride, and gratified feelings; but we do think that a lapse of fifty years should have somewhat tempered that glow, if it did not even suggest something like a question whether all these hyperbolical compliments, bestowed at last upon a production of no higher class than a novel, could be quite sincere. But enough on this subject; we have been led further into it than we at first intended, and abandon it with much more satisfaction than we took it up.

[To be continued.]

ANCIENT CONCERTS.

Whatever hopes we might have been led to entertain, at the commencement of the last season, from the change of circumstances which had occurred, by which a nobleman of great musical reputation became a director, and a gentlemen of no mean acquirements was appointed conductor of these concerts; we must confess, that, as the season advanced, these hopes, like the girdle of the Lady of Avenel, gradually diminished, and at the termination of the series, we had nearly abandoned the expectation of their further continuance. We are, however, in this respect agreeably disappointed; we say agreeably, because from early associations and long-confirmed habits, we are disposed to cling to the wreck, whilst ‘a plank of the vessel’ remains. With all its faults, both of omission and commission, its ‘short-comings and mis-doings,’ the Ancient Concert is endeared to us by a thousand interesting reminiscences: it was an assemblage of the great and mighty of the land, and ‘king’s daughters were among her honourable women.’ Even at this distant period, we cannot recall to mind the exquisite strains of a Banti, a Mara, a Billington, a Bartleman, &c., without sensations that thrill through our very frame.

FIRST CONCERT OF ANCIENT MUSIC,

_Under the Direction of his Royal Highness the Duke of Cumberland, Wednesday, March 6, 1833._

~Act I.~

1. Quartet, ‘When the ears heard,’ (Mrs. Knyvett, ~Handel.~
Terrail, Vaughan and Sale.) Chorus, ‘She delivered
the poor.’ _Funeral Anthem._

2. Madrigal, ‘Lady, when I behold’ ~Wilbye.~

3. Song, ‘Lascia Amor,’ (Mr. Phillips.) _Orlando._ ~Handel.~

4. Chorus, ‘Righteous Heaven.’ _Susanna._ ~Handel.~

5. Song, ‘Lord! to thee,’ (Miss Masson.) _Theodore._ ~Handel.~

6. Concerto, (First Grand.) ~Handel.~

7. Glee, ‘Once upon my cheek,’ (Miss ~Callcott.~
Stephens, Mrs. Knyvett, Vaughan, and Sale.)

8. Song, ‘There the brisk sparkling,’ (Mrs. ~Handel.~
Knyvett.) _Choice of Hercules_

9. Coronation Anthem, ‘Zadok the priest’ ~Handel.~

~Act II.~

10. Overture, _Iphigenia_ ~Gluck.~

11. Recit, ‘To Heaven’s Almighty King,’ (Mr. Braham) ~Handel.~
Air, ‘O liberty.’ _Judas Maccabeus_

12. Chorus, ‘For this God.’ Quartet and Chorus, ‘And ~Marcello.~
he will be.’ (Mrs. Knyvett, Terrail, Vaughan, and
Phillips)

13. Recit. ‘Alas! I find,’ (Miss Stephens.) Song, ‘If ~Handel.~
guiltless blood.’ _Susanna_

14. Duet, ‘Alma mia!’ (Vaughan and Phillips) ~Handel.~
_Admetus_

15. Madrigal, ‘Sweet honey-sucking bees’ ~Wilbye.~

16. Recit, ‘He measured the waters,’ (Mr. Machin.) ~Handel.~
Air, ‘He layeth the beams.’ _Redemption_

17. Chorus, ‘O, praise the Lord’ ~Leo.~

This concert is so much beyond the average quality of the Royal Duke’s ordinary selections, that we are inclined to believe that though his, nominally, yet that the conductor may have had the chief hand in it. ‘The voice is Jacob’s voice; but the hands are the hands of Esau.’ Be this, however, as it may, if we must listen to the same music over and over again, we had rather endure the repetition of that which is good, than of mere trash, none of which can be found in the present concert. At the rehearsal on Monday, ‘Zadok the priest’ was the opening piece, and the very fine chorus, ‘Let old Timotheus,’ concluded the first act; but this last was omitted on Wednesday night, to make room for the oft-repeated movement from the Funeral Anthem, a change considerably for the worse. Miss Masson, whose first appearance we noticed in the third concert of the season of 1831, sang the song allotted to her (No. 5) very respectably; the same huskiness of voice which we then observed is still perceptible; perhaps it is only the effect of a cold; some of her tones are exceedingly good, and her expression not without feeling. The novelty of the evening was the appearance of Mr. Machin, who possesses a fine bass voice, and seems to understand what he is about. He gave his recitative and song with great propriety; we shall be glad to hear him again. We defer for the present our sentiments respecting the Madrigals (No. 2 and 15), as our limits will not allow taking up the subject here; we propose noticing them in our account of the next concert. We cannot pass over the quartet and chorus from _Marcello_, without recording our approbation. We believe the late conductor, as well as the present, both arranged these movements from the forty-eighth psalm; to which of the two the merit belongs of this night’s performance, we cannot say; either might be justly proud of it, and thus ‘divide the crown.’

SECOND CONCERT OF ANCIENT MUSIC,

_Under the direction of Lord Burghersh, for His Royal Highness, the Duke of Cambridge, Wednesday, March 13, 1833._

~Act I.~

1. Overture. Chorus, ‘How excellent thy ~Handel.~
name.’ _Saul_

2. Song, ‘O Lord! have mercy,’ (Mr. Parry) ~Pergolesi.~

3. Madrigal, ‘Die not, fond man’ ~Ward.~

4. Song, ‘Non vi turbate.’ (Mrs. Bishop.) Chorus, ~Gluck.~
‘Dal lieto Soggiorno.’ _Alceste_

5. Recit. ‘Bless’d be the Lord,’ (Mrs. Knyvett.) ~Handel.~
Song, ‘What though I trace.’ _Solomon_

6. Chorus, ‘Credo in unum Deum.’ Quartet, ‘Et ~Mozart.~
incarnatus est,’ (Mrs. Bishop, Terrail, Sale, and
Donzelli.) Chorus, ‘Et resurrexit’

~Act II.~

7. Overture. Zauberflöte ~Mozart.~

8. Recit. ‘And God created man.’ _Creation._ Air, ~Haydn.~
‘In native worth,’ (Mr. Bennett)

9. Madrigal, ‘Stay, Corydon’ ~Wilbye.~

10. Recit. ‘Lasciate!’ (Miss Masson.) Aria, ‘Morirò! ~Handel.~
ma vendicata.’ _Teseo_

11. Chorus, ‘Regina cœli, lætare’ ~Mozart.~

12. Glee, ‘Blow, blow, thou winter wind,’ (Mrs. ~Stevens.~
Knyvett, Terrail, Horncastle, and Bellamy)

13. Duet, ‘The Lord is a man of war.’ _Israel in ~Handel.~
Egypt._ (Mr. Phillips and Mr. Machin)

14. Recit. ‘Ah perfida.’ Aria, ‘Và dal furor,’ ~Jomelli.~
(Signor Donzelli)

15. Chorus, ‘The Gods, who chosen.’ _Athalia_ ~Handel.~

For years past, the attempt to get up a _madrigal_ at the Ancient Concerts was little more than a failure. Lord Fortescue was attached to this species of composition, and while his health permitted him to take an active share in the direction, madrigals were occasionally introduced, but without effect. The causes which led to this arose out of the defective system to which we have frequently alluded, and were sufficiently evident to any one possessing some experience in this style of music. In the preceding concert, two madrigals were performed, and also two in the present (Nos. 3 and 9). The conductor has adopted a new plan, which has succeeded well, thus far: there is yet ample room for improvement, which we do not despair of witnessing, if he persevere in his endeavours to accomplish. Instead of sitting before the instrument and _thumping_ it, by way of marking the time, he quits the chair, and standing in front of the orchestra, with _baton_ in hand, gives the time in a way to be seen by every performer. But he must not stop here: at present, the whole body of chorus-singers are employed--if, indeed, these singers were drilled in the same admirable mode that the German chorus, who performed at the Opera House last summer, were, then might a similar powerful effect be produced by the same attention to the _piano_ and _forte_, the delightful _crescendo_ and _diminuendo_, the beautiful precision, and the nice blending of the different voices, creating, as it were, an _ensemble_ quite unrivalled. But as the Ancient Concert chorus is at a considerable distance from that just described, we are confident that if about four or five voices to each part were selected from the main body, comprising of course all the principal singers, the result would be highly beneficial. At present, the female singers appear to have no idea of what they are required to do; each seems determined to be heard, by singing as loud as possible, thus overpowering the other parts, the basses especially, and materially injuring the general effect. Among the _altos_ and _tenors_ also, there are some harsh discordant voices, which might be omitted in the selection with great advantage to the performance. We shall again revert to this subject.

Of the present concert we cannot but speak with respect; notwithstanding its containing much that has been repeated from year to year, yet no _trash_ can be found to disfigure and degrade it. We protest, however, against the arbitrary and uncalled-for act, of curtailing the subscribers of a portion of their due, the effect of which is plainly visible in this selection. The book announces the _Overture to Saul_, but the band played only the _first movement_, omitting the other three; one of which (_the third_) is an _obligato_ for the organ: this has always been omitted, owing, it used to be said, to the nervousness of the late conductor--is the present conductor equally nervous? we would fain hope the contrary, if only for the honour of the Ancient Concert, which has a sad _lee-way_ in reputation to _fetch up_. Only one movement of the noble opening chorus was performed. We thoroughly dislike these _un ancient_ mutilations, which we had hoped the influence of the new conductor would be exerted to remedy. _Miss Masson_ sang a song from Handel’s opera of _Teseo_, which did her great credit: it is too good to be popular, though we had the pleasure of hearing her in the same song at the _Philharmonic_, and also at the _Vocal Concert_, and in both instances she received great applause. _Mr. Parry_ made his first appearance here, and executed his song (No. 2) with judgment, by not attempting to introduce embellishments where they would be entirely misplaced. _Mr. Bennett_ also made his first appearance at these concerts in the fine song in _The Creation_. (No. 8.) We shall have no objection to hear him again, which we could wish to do, before pronouncing an opinion--our impression, however, is favourable. _Mr. Machin_ took the second bass in Handel’s noble duet (No. 13), and confirmed the view we took of his performance in the preceding concert. _Mr. Phillips_ acquitted himself with great credit in the first bass; each party felt emulous to do his best, and both were successful. _Stevens’s_ lovely glee (No. 12) was _encored_, a just compliment to its merits. We have been accustomed to hear it sung by _two trebles_, tenor and bass, which we consider to be more effective, than with _one treble_ and _an alto_.

_Signor Donzelli_, in the quartet (No. 6), sadly overpowered his companions, producing an effect almost ludicrous; he has certainly a voice of amazing power; but we might apostrophise it in the language of the great bard:--

“Oh ’tis excellent
To have a giant’s strength; but it is tyrannous
To use it like a giant.”

In his song from _Jomelli_ (No. 14), he was occasionally too flat; indeed, the same observation applies to his singing in the quartet, where he was by no means in strict tune throughout.

We omitted to notice, in our introductory remarks, the alteration which has taken place in the orchestra, by bringing it more forward into the room, and lowering it in front--it is a decided improvement--which we are informed we owe to the Philharmonic Society, whose concerts have been removed from the Opera House to these rooms.

THIRD CONCERT OF ANCIENT MUSIC,

_Under the Direction of Lord Cawdor, Wednesday, March 20, 1833._

~Act I.~

‘God Save the King.’

1. Overture, _Occasional Oratorio_ ~Handel.~

2. Recit. ‘It must be so,’ (Mr. Phillips.) Song, ~Handel.~
‘Pour forth no more.’ Chorus, ‘No more to
Ammon’s God.’ _Jephtha_

3. Recit. ‘Ye verdant plains,’ (Mrs. Knyvett.) Song, ~Handel.~
‘Hush, ye pretty.’ _Acis and Galatea_

4. Madrigal, ‘When Thoralis delights’ ~Weelks.~

5. Concerto in G minor ~Martini.~

6. Song, ‘Odi grand’ ombra’ ~De Majo.~

7. Sextet, ‘Dominus a dextris,’ (Miss Clara Novello, ~Pergolesi.~
Mrs. Knyvett, Terrail, Vaughan, Sale, and Phillips.)
Chorus. ‘Gloria Patri’

~Act II.~

8. Overture, _La Clemenza di Tito_ ~Mozart.~

9. Chorus, ‘He gave them hailstones’ } {

10. Chorus, ‘He sent a thick darkness’ } {

11. Chorus, ‘He smote all the first born’ } _Israel {

12. Chorus, ‘But as for his people’ } in { ~Handel.~

13. Chorus, ‘He rebuked the Red Sea’ } Egypt._ {

14. Chorus, ‘He led them through’ } {

15. Chorus, ‘But the waters overwhelmed’ } {

16. Duet, ‘Cantando un. Di sedea,’ (Miss C. Novello ~Clari.~
and Mrs. Knyvett)

17. Glee, ‘Thy voice, O! Harmony,’ (Mrs. Knyvett, ~Webbe.~
Terrail, Vaughan and Bellamy)

18. Song, ‘Agnus Dei,’ (Mrs. Knyvett) ~Mozart.~

19. Chorus, ‘Hallelujah,’ _Messiah_ ~Handel.~

The Queen was present at this concert, attended by the Marchioness of Westmeath, another lady, and Lord Denbigh, her Majesty’s Lord Chamberlain.

Having on former occasions given our opinion without reserve, on the propriety of receiving the Queen at the concert of Ancient Music, in the same way which has always been observed at the theatres, but which never was practised _here_, under the _ancien régime_, we shall merely remark, that we have heard the ‘National Anthem’ much better performed at the theatres, than it was done now, the solo parts more especially. The Occasional Overture was played extremely well; but the fugue was too slow, though in the same time in which the late conductor gave it. We are confident the effect would be improved, by performing the overtures of Handel generally a shade faster than is at present done. The charming concerto of Martini (No. 5) was indeed a treat. _Mr. Cramer_ may be said to be identified with these beautiful compositions, which are unheeded and unknown, except at these concerts; and which a prurient taste for florid and over-loaded accompaniment has nearly put _hors de combat_.

The madrigal (No. 4) was very creditably done. Mr. Knyvett has succeeded in bringing about an essential improvement in the performance of this most interesting style of music; we trust to his judgment for further efforts towards perfection. There are few difficulties over which patience and perseverance will not obtain the mastery. Mr. Phillips sang his song (No. 2) with great spirit, and without _rant_; we do not recollect ever to have heard him with more effect. The chorus which succeeds went off equally well: it is an admirable specimen of the genius of its immortal author. The fine _Sestet of Pergolesi_ (No. 7) was very fairly executed; it is a difficult piece to do well: every one must perform their part without _flinching_, as each must be considered as an _obligato_. To speak in terms of praise of the chorus which followed is superfluous; it ranks among the noblest of the many noble compositions of the same great musician. Ardently do we wish to hear from time to time more of his charming productions: his _Stabat Mater_, _Grand Mass_, _Salve Regina_, and other splendid writings, surely would afford ample materials from which to select, if those in authority were competent to the task. _Hinc illæ lachrymæ._

With much pleasure we notice the duet (No. 16), which we believe has never been done _here_ before--certainly not for many years. The compositions of this elegant writer are comparatively unknown; but only require to be heard, in order to be duly appreciated by those who understand and value that which is of sterling quality. The young lady who took the upper part made her début this evening at these concerts; she appears very young, but her manner did not discover any of that _embarras_, usually so trying to young performers; she possesses considerable compass of voice, and sang with correctness. The musical public are under no small obligation to this young lady’s father, for having brought to light much excellent music, which his indefatigable industry and research drew from the dust and cobwebs, ‘the rust of ages,’ under which it had long slumbered ‘neglected and forgotten.’ One of the numerous instances of that slavish attention to precedent, that horror of departing from the _old beaten track_, which has mainly contributed to reduce the Ancient Concerts to their present standard, occurs in the second act, where the batch of choruses from _Israel in Egypt_ are placed. Between Nos. 12 and 13, _Handel_ has inserted a very fine one, a masterpiece of learning, yet smooth and flowing in its construction; this admirable chorus we never remember to have heard _here_, though the two, between which it stands, are done every season. We allude to ‘Egypt was glad when they departed.’ These are points, surely, to which the influence of the present conductor might extend, if he were so disposed.

The final chorus, which was to have been the magnificent ‘_Cum Sancto Spiritu_’ of _Pergolesi_, was exchanged for the one from the _Messiah_ (No. 19): if this originated with the director of the night, we cannot compliment him upon his musical taste; perhaps, however, it was a suggestion from a quarter to which he could not but accede. We cannot consider it as an improvement.

PHILHARMONIC CONCERTS.

FIRST CONCERT, _Monday, February 25, 1833_.

~Act I.~

Sinfonia in E flat ~Mozart.~

Aria, Mr. Phillips, ‘Lascia Amor.’ (_Orlando_) ~Handel.~

Concerto, Clarinet, Mr. Willman ~Spohr.~

Aria, Signor Donzelli, ‘Pria che spunti.’ (_Il ~Cimarosa.~
Matrimonio Segreto_)

Overture, _Oberon_ ~C. M. Von
Weber.~

~Act II.~

Sinfonia, No. XI. ~Haydn.~

Aria, Mrs. Wood, ‘Ah che i giorni.’ ~Spohr.~
(_Der Alchymist_)

Quintetto, two Violins, two Violas, and Violoncello, ~Beethoven.~
Messrs. Mori, Watts, Moralt, Seymour, and Lindley

Duetto, Mrs. Wood and Mr. Phillips, ‘Come frenar.’ ~Rossini.~
(_La Gazza Ladra_)

Overture, _Demophon_ ~Vogel.~

Leader, Mr. Spagnoletti.--Conductor, Mr. Cramer.

The Philharmonic Society celebrated its coming of age this year--the present being its twenty-first season--in a manner not at all unusual with those who attain their majority, namely, by changing its domicile, and has gained many important advantages by removing.

The great defect in the Hanover Square Rooms, as injudiciously altered many years ago, by the directors of the Ancient Concerts, was, the height of the orchestra from the floor, owing to which, sound seemed to be confined in a gallery,--was half lost before it reached the audience; not to mention the ill effect produced on it by striking the roof before sufficient space had been given for its expansion; and it actually passed over the heads of all those who sat near the performers.

The orchestra is now sloped down to within about four feet of the ground, and the front is consequently advanced a considerable distance further into the room, thus admitting a much greater number of performers, and bringing the singers, concerto-players, &c. nearly on a level with the company; that is, only so much elevated as to be seen in all parts of the saloon. The great and beneficial effect of this alteration was universally admitted, and rooms acknowledged to be the worst in London for music, are now confessedly become the best.

The two symphonies in this opening concert were executed in a manner that left no doubt on the minds of the audience as to the continued efficiency of the band. Indeed, we are not aware that any change has taken place in it since the former season; it was, and is, filled by the highest talent which this country can produce. Haydn’s 11th grand, though not of so imposing a nature as most of the twelve composed for Salomon, is full of originality and beauty, and not being so often heard as some of the others, has a freshness which increases its charms. The overture to _Oberon_ was as perfect as its great composer himself could have wished. The _Demophon_ very well answered the purpose of a finale.

The clarinet concerto of Spohr, in E flat, was by all felt to be too long: many bars, both in the first and last movement, which are nothing but unnecessary reiterations, might have been curtailed, much to the advantage of all parties,--composer, performer, and hearers. Had this discretion been shown, the adagio in ~A~ flat, a rich and lovely movement, would certainly have met with an encore. This was played in an exquisite manner, though Mr. Willman did not seem at his ease in the other parts; they evidently cost him great labour, but made no adequate return. Beethoven’s quintet, the first in C, op. 29, was executed in a very masterly style by Mori and his coadjutors; the slow movement was played in a remarkably fine manner; but though the whole abounds in genius, it has the defect of much modern music, is somewhat too long; and when before large mixed audiences, performers would act prudently in omitting the repeats.

The vocal pieces in this concert did not show much research or vigour in the selection of them. The two first arie, excellent as they are, have been heard till they pall on the ear; and Donzelli with his mighty voice, is resolved that at all times, and in every kind of music, its utmost power shall be displayed. _Piano_ is a term unknown in his vocabulary; or else softness is despised by him, as an indication of effeminacy or idleness. This is the more to be regretted, because, had he a little light and shade in his singing, he would be the first Italian tenor in Europe. Mrs. Wood, in Spohr’s air, was admirable; and though a cadence to this was not only unnecessary, but ill-judged, yet, as a cadence, it was in exceedingly good keeping. The fine duet of Rossini is, like all his best music, worn to tatters, and, though well sung, was received with icy coldness.

The room was full from the very commencement.

SECOND CONCERT, _Monday, March 11, 1833_.

~Act I.~

Sinfonia, No. I. ~Spohr.~

Recit. ed Aria, Miss Masson, ‘Morirò! ma vendicata.’ ~Handel.~
(_Teseo_)

Quintetto, MS. (composed expressly for these Concerts, ~Cramer.~
and first time of performance) Piano-forte, Violin,
Viola, Violoncello, and Contra Basso, Messrs. Cramer,
F. Cramer, Moralt, Lindley, and Dragonetti

Duetto, Miss Masson and Mr. Horncastle, ‘Bella Ninfa.’ ~Spohr.~
(_Jessonda_)

Overture, _Euryanthe_ ~C. M. Von
Weber.~

~Act II.~

Sinfonia, No. VII. ~Beethoven.~

Aria, Madame de Meric, ‘Per pietà.’ (_Così fan ~Mozart.~
tutte_).

Concertino, Violin, Mr. Henry Wolff ~Wolff.~

Terzetto, Madame de Meric, Mr. Horncastle, and Mr. E. ~Beethoven.~
Taylor, ‘Tremate, empi, tremate.’ (_Fidelio_)

Overture, _L’Hotellerie Portugaise_ ~Cherubini.~

Leader, Mr. F. Cramer.--Conductor, Sir George Smart.

Spohr’s symphony in ~D~, dedicated to this society, certainly improves upon acquaintance. Written as it is, and as most of this composer’s works are, after Mozart’s models, it still is not devoid of original traits: while in fulness of harmony, and that kind of finish which well-directed labour produces, it has never been surpassed. We have not heard Beethoven’s symphony in A better executed, hardly ever so well. The second movement[46],--to the merits of which we have often attempted to do justice--was, as usual, encored. The overture to _Euryanthe_ received equal justice from the hands of this matchless band. This is one of those compositions which do not develope their beauties on a first or even a second hearing; but the fine imagination of Weber, his taste and artistic skill, are as fully displayed in this as in any of his better-known orchestral productions. Cherubini’s overture savours of mannerism; it is nearly made up of passages from his other works.

Mr. Cramer’s quintet--to compose which he was recently engaged by the society--aims at nothing grand, makes no attempt to surprise, either by eccentricity of melody or studied and far-fetched modulation; but a well-considered design is conspicuous in each movement, and the whole, particularly the slow movement, is marked by that elegance which is this author’s attribute. The first movement is an allegro in ~B~ flat; the second a largo in ~F~; and the last a rondo in six-quaver time. The performance of this was in Cramer’s well-known exquisite and unrivalled style,--for who like him knows how to touch the instrument!--and his efforts were met with that attention and applause which they so richly deserved[47].

Mr. Wolff, first a pupil of Spagnoletti, then of Mayseder, displayed considerable ability in his concerto. If his intonation was not always quite exact--if he sometimes attempted more than he could with great nicety perform, the occasional imperfections may possibly be imputed to the nervousness arising from a débût, and before such an audience. Wishing that he had more of his first master than of his second in his style--more of the solid and less of the glittering--we still think that there is great promise in this performer but are not so well convinced that the Philharmonic Concert was exactly the place for his first performance.

The scena and aria of Handel are worthy of the master, and pleased as novelties, for every part of the opera is totally unknown. Rage and revenge are here expressed, according to the fashion of the day, in long divisions; but these very divisions render the air unfit for Miss Masson’s voice, which has but little flexibility, and proved unequal to the many passages requiring quick and distinct articulation. Her shake too, a grace, if grace it must be called, is anything but perfect, and unfortunately was here frequently introduced, greatly to the regret of those who know how to appreciate this lady’s talents, which are of a high order, but in the present air much misemployed. The duet from _Jessonda_ was chosen for her with much more judgment. Mozart’s aria, from the appendix to his _Così fan tutte_, is a fine composition, abounding in the riches both of melody and accompaniment, but Mad. de Meric had fatigued herself by previously singing at the theatre, and certainly did not make the most of what was now assigned to her. The terzetto--another hacknied piece--was correctly performed; but this wants the stage; in concert-room it ranks as a second-rate composition, whatever the through-thick-and-thin admirers of the author may say to the contrary.

VOCAL SOCIETY.

FIFTH VOCAL CONCERT, Monday, March 4, 1833.

~Part I.~

1. Full Anthem, ‘O clap your hands’ ~O. Gibbons.~

2. Glee, ‘Blest pair of Syrens.’ (Masters Howe
and Hopkins, Spencer, Vaughan, and Bellamy) ~J. S. Smith.~

{Rec. ‘This image.’ MS. oratorio ‘Daniel } ~F. W.~
3.{ the Prophet’ } Horncastle.
{Air, ‘Lives there a mortal.’ (Mr. Phillips) }

4. Hymn, ‘O thou that read’st.’ (Miss C. ~Novello.~
Novello, Terrail, Vaughan and Chapman,
and Chorus)

5. Duet, ‘Forsake me not.’ _The Last ~Spohr.~
Judgment._ (Miss Shirreff and Mr. Vaughan)

6. Madrigal, ‘Cynthia! thy song and chanting.’ ~G. Croce.~
(1560)

7. Air, ‘Dulcissimum convivium.’ (Mrs. G. ~Mozart.~
Wood)

8. Terzetto, ‘Mandina amabile.’ _La Villanella ~Mozart.~
Rapita._ (Miss C. Novello, Hawkins, and
E. Taylor)

9. Glee, ‘The Shades of the Heroes.’ (Messrs. ~T. Cooke.~
Hawkins, Fitzwilliam, Horncastle, Phillips,
and Atkins)

10. Fantasia, Flute. (Mr. Nicholson.)

~Part II.~

11. Chorus, ‘Viaticum in Domino,’ from a
Litany. ~Mozart.~

12. Glee, ‘Now the blue fly’s gone to bed.’ ~W. Linley.~
(Messrs. Goulden, Horncastle, Vaughan, and
Sale)

13. Cantata, ‘Mad Bess.’ (Miss Shirreff) ~Purcell.~

14. Witches’ Song and Chorus. (Solos by Master ~R. J. S.
Howe, Goulden, Vaughan, Bellamy, and Stevens.~
Atkins)

15. Madrigal, ‘Fire, fire my heart.’ (1593). ~Morley.~

16. Aria, ‘Per questa bella.’ (Mr. Parry, Jun.) ~Mozart.~

17. Duetto from _La Primavera Felice_. ~Parr.~
(Messrs. Horncastle and Phillips)

18. Glee, ‘Come, Lucy, my love.’ (Master ~T. Jolly.~
Howe, King, Horncastle, and Sale)

19. Glee and Chorus, ‘Sons of Dian.’ (Messrs. ~E. Taylor.~
Hawkins, Vaughan, Fitzwilliam, and E. Taylor)

In the composition of a concert, as in that of a good picture, an attention to the _chiaro scuro_ is of essential importance: some of the noblest efforts of the pencil owe no small degree of their merit and high reputation to the skilful management of the artist in a judicious blending of his light and shade. The same principle, applying in the one case to the organ of vision, is of equal force in reference to the organ of audition. The concert under present consideration affords an apt illustration of our meaning: in variety of authorship, and in intrinsic excellence, there is little room for objection; but it is very deficient in what the French term _les nuances_. A succession of elaborate pieces compose the first act, giving a _sombre_ complexion to the whole, which might easily have been avoided by throwing in occasional _relief_. The opening piece, by being chorus throughout, did not produce anything like the effect of Battishill’s Anthem at the commencement of the second concert, where a charming verse for three voices, between the first and last chorus, affords the most agreeable relief to the musical ear: we are here speaking of _effect_, not intending any invidious comparison between _Orlando Gibbons_ and _Jonathan Battishill_, who were both splendid writers; and we heartily wish we had heard much more of the works of these truly great musicians at the concerts of the Vocal Society. In a mixed audience, various tastes must, of course, be expected; and without departing from the dignity which ought never to be lost sight of in the conduct and management of such concerts as these, still we contend that music of a somewhat lighter character might be most advantageously introduced, to the general improvement of the evening’s performance; always remembering, that _light_ music and _trifling_ music are by no means synonymous.

As we shall probably, in our notice of the concluding concert, take a short retrospective view of the whole, we will not at present say more on this topic; but proceed to remark briefly on certain points immediately connected with this night’s performance. The two Madrigals, (Nos. 6 and 15,) though of unequal merit, were both _encored_, and were the only _encores_ of the evening. We rejoice to witness the favour and acceptance which these compositions meet with; it is highly creditable to the musical feelings of the audience, and a satisfactory answer to those who affect to say that music of this description is entirely out of fashion. Miss Shirreff’s ‘Mad Bess’ wanted ease; she had evidently studied the part, but perhaps this very circumstance was too apparent, and gave the idea of a laboured performance: we must be permitted to express our surprise at the piano-forte accompaniment of Mr. T. Welsh, which we cannot but think his better judgment must disapprove; running up and down the keys may display the dexterity of the player, but it ought not to be at the expense of the composer, especially of such a composer as Henry Purcell. An elegant and pleasing glee (No. 12) of Mr. W. Linley’s was heard with great attention and evident satisfaction, and had it been done at an earlier period of the evening, would doubtless have been repeated. The Witches’ Song and Chorus (No. 14) of Mr. Stevens strongly reminds us of Purcell; it is a composition of great merit: the chorus should have been repeated. As an instance of the working of the system of admitting single tickets, we observed an individual _in boots, and with an umbrella under his arm_, walk up to the upper end of the room, where he stood in a very conspicuous situation during the whole of the concert. _This is too bad._

SIXTH VOCAL CONCERT, Monday, March 18, 1833.

~Part I.~

1. Anthem, ‘I will sing of thy power’ ~Dr. Greene.~

2. Solo and Chorus, ‘By the dark rolling’ ~M’Murdie.~

3. {Rec. ‘Lo! here my love.’ (Mr. Hawkins) } ~Handel.~
{Air, ‘Love in her eyes.’ _Acis and Galatea._ }

4. Mass, ‘Gloria in excelsis,’ &c. ~Haydn.~

5. Madrigal, ‘So saith my fair.’ (1580) ~Luca
Marenzio.~

6. {Rec. ‘Misera! dove son.’} (Mrs. Bishop) ~Mozart.~
{Aria, ‘Ah! non so io.’ }

7. Glee, ‘If o’er the cruel tyrant’ ~Arne &
Greatorex.~

8. Hymn to the Creator, (Solo, Miss C. Novello, ~M. Chelard.~
and Chorus)

9. Fantasia, Oboe. (Mr. G. Cooke) ~G. Cooke.~