re Her VOCAL ASSOCIATION.-The concert which took place yesterday se'nnight was in aid of the unemployed operatives of Lancashire. The programme was peculiarly attractive, as some of the principal artists of Her Majesty's Theatre, as well as other artists of eminence, assisted. The full list of performers comprised-Singers, Mlle. Trebelli, Mlle. Ida Gilliess, Mlle. Agnes Bury, Mlle. Georgi, Mlle. Marie Cruvelli, Mad. Lemaire, Signor Armandi, M. Gassier, and Herr Theodore Formes: Instrumentalists, the Brothers Munck (violin and violoncello), Mr. Henry Holmes (violin), M. Paque (violoncello), Mr. Aguilar (pianoforte), Mr. John Thomas and Mr. Aptommas (harp). The choir sang Mozart's "Ave Verum," Meyerbeer's "Pater Noster," Mr. Benedict's part-song, "Blessed be the home," Webbe's Glee, "When winds breathe soft," and Handel's Madrigal, "Oh! waste not, pining lovers." Meyerbeer's "Pater Noster" was perhaps the best achievement of the Association. One of the great hits of the concert was made by Mlle. Trebelli, who took her audience by surprise. Her first effort was in the duo, "Ah! se di mali miei," from Tancredi, with Herr Formes, in which she was vehemently applauded and called with enthusiasm. Mlle. Trebelli's other performances were the brindisi "Il segreto," from Lucrezia Borgia (unanimously and loudly encored), and the duet from the Barbiere "Dunque io son," with M. Gassier, which had as great a success as the other performances. Mlle. Ida Gillies, another young lady whom the French capital has transmitted to us, was also a great surprise and a great success-greater surprise, indeed, than Mlle. Trebelli, since Mlle. Gillies was quite unknown in London. Mile. Gillies comes from the Théâtre Lyrique, where she has been singing lately with distinguished success. voice is a light high soprano, of brilliant quality, extremely flexible and nicely in tune. Moreover, she evidences undeniable artistic feeling, and is, indeed, as far as we may surmise from hearing her on one occasion only, a thoroughly accomplished singer. She commenced with an air from the Dragons de Villars of Maillart, and was recalled twice, creating, in fact, what might be called a furore; and afterwards sang the "Couplets de la Coupe" from Massé's Galutée, with equal effect. Mlle. Marie Cruvelli was another genuine success. She gave the air "Ah! mon Fernand" from the Favorite, and was unanimously recalled. Our readers cannot, we trust, have forgotten this talented lady, the sister of the incomparable Sofie, who debuted at Her Majesty's Theatre, some years since, in M. Thalberg's opera Florinda, with distinguished success, Mlle. Marie Cruvelli's voice-a pure and even contralto has lost nothing of its quality, while the singer seems to have gained by experience a deeper knowledge into the arcana of her art. We have said so much of the ladies that we must pass over the gentlemen, not forgetting, nevertheless, that Mlle. Georgi, with her fine low notes, and Mlle. Agnes Bury, with her capital soprano, both found numerous admirers. M. Gassier was recalled after "Largo al factotum;" Herr Theodore Formes after the great tenor air from Der Freischütz; and Sig. Armandi displayed immense force, if nothing else, in the lovely air "La mia letizia," from I Lombardi. We can only afford to say of the instrumental performance that, in consequence of the longitudinity of the programme, which should have been calculated previously, the first movement only of Mr. Aguilar's trio in E, for violin, violoncello and pianoforte, announced for performance, could be given. To make amends to Mr. Aguilar, however, for his great disappointment, Mr. Benedict is determined, we understand, that the trio will be given in extenso at the next concert of the Vocal Association, so that a second opportunity may be afforded the friends of the composer of hearing it. MISS FANNY CORFIELD'S MATINEE OF CLASSICAL PIANOFORTE MUSIC took place in Collard's Rooms on Wednesday, and attracted a brilliant and numerous attendance. Miss Corfield joined with her in the instrumental department Herr Molique and M. Paque, and in the vocal, Mad. Guerrabella and Miss Eleanora Wilkinson. When we say that the first part was restricted to the names of Mozart, Haydn, Beethoven, Clementi, Weber, and Mendelssohn, it will be seen how rigidly the young bénéficiaire adheres to the designation of her programmes. Miss Corfield's play is at once distinguished for its grace and energy, two qualities she may have derived from her master, Professor Bennett. She has the true classical feeling, and devotes her talents almost entirely to the great masters. At the concert on Wednesday she did permit the classic texture of her selection to be interwoven by two pieces from Stephen Heller's "Sleepless Nights; " but these excepted-we do not except, as a matter of course, Professor Bennett's contribution, Chamber Trio, A major, pianoforte, violin, and violoncello-all her other performances were taken from the classic repertory. These were, Beethoven's Sonata (op. 30, No. 2), in C minor, for pianoforte and violin; Clementi's Sonata, in D major, for pianoforte solus; and Mendelssohn's "Variations Concertantes," in D major, for pianoforte and violoncello. Hummel's offertorium “Alma Virgo" was well sung by Mad. Guerrabella, but the rest of the vocal music calls for no especial comment. Mr. Arthur O'Leary accompanied. MR. G. A. OSBORNE gave the first of a series of three Matinées of residence in Dorset Square. The programme included Beethoven's Classical and Modern Pianoforte Music, on Wednesday last, at his Sonata, in B flat, op. 22; Selection from Mendelssohn's Lieder ohne Worte; Nocturne by Chopin; Tarantella by Thalberg; his own and De Beriot's duet for piano and violin. Mr. Osborne displayed the "Fallen Leaves" (first book); a fantasia on Sonnambula; and Osborne versatility of his powers in these various performances, and was honoured with distinct applause in all. The company was fashionable and select. MAD. LOUISA VINNING'S CONCERT.-The Matinée Musicale of this admired English vocalist took place at the Hanover Square Rooms on Wednesday last, and was well attended. Mad. Vinning, who sang the prayer and barcarole from L'Etoile du Nord, joined Mr. Santley in a duet from Rigoletto with much effect, and, gaining an enthusiastic encore by her brilliant execution of Francesco Berger's Waltz, "Ti sovvien," substituted a new Scotch ballad (composed expressly for her by A. D. Harrison), entitled "Dinna gang awa'," which may become popular. Mr. Wilbye Cooper was also encored for his tasteful rendering of "The long waves come and go." Miss Lascelles, Mad. Laura Baxter, and Mr. Allan Irving-with Miss Ada Jackson, a débutante, who sang, "My mother bids me bind my hair," with taste and feeling-contributed to the vocal part of the programme. Of Miss Jane Jackson, who brought in praise. Her performance of Mendelssohn's Trio in D minor, in with her from Clifton a local reputation as a pianist, much must be said which she was ably supported by M. Sainton and M. Paque, and of two commended, and was deservedly applauded. Miss Jackson's neat and movements of the Kreutzer Sonata (with M. Sainton), was highly to be facile execution was also shown to advantage in some pleasing variations on Scotch airs, by M. Jules de Sivrai. Mr. Aptommas's harp solo came late, but was warmly received. The accompaniments were divided between Mr. Benedict, Mr. George Lake, and Mr. Francesco Berger. SIGNOR AND MAD. FERRARI gave a Soirée Musicale at their residence on Friday last, before a distinguished and fashionable audience. Among the morceaux that pleased most may be named -a new duet by Henry Smart, for soprano and barytone, "When the wind blows in from the sea," gracefully sung by Sig. and Mad. Ferrari (to whom, by the by, the duet is dedicated); the trio from Dr. Bennett's May Queen, sung by Mr. Wilbye Cooper and Sig. and Mad. Ferrari; a new song by Mr. Hatton, "The return," sung by Mr. Wilbye Cooper; the popular lied, "Thou art so near," and a Cradle song," sung by Herr Reichardt; the "Dream Dance," by Mr. Aguilar; a Fantasia by Mr. John Francis Barnett, and a Capriccio from Mendelsshon, by Miss Schiller, a young pianist of considerable talent. This Soirée may be cited as among the most brilliant of the season. 66 PIANOFORTE ASSOCIATION.-The first of a series of day concerts for the performance of chamber music was given on Thursday, the 8th inst., at Messrs. Collards' rooms, in Grosvenor Street, by Messrs. Baumer, Carrodus, Baetens, and Pettit, artists of the pianoforte, violin, viola, and violoncello, who have enrolled themselves under the above distinguishing title. The programme of the first concert consisted of selections of the best order-viz., Beethoven's Quartet in E flat (Op. 16), for pianoforte and three-stringed instruments, excellently played by the gentlemen whose names we have just given; Mozart's sonata in D (No. 3), for pianoforte and violin, by Messrs. Baumer and Carrodus; Weber's Quartet in B flat by the four members of the association, a work, which in the eyes of the audience, carried off the palm, the minuetto (sustained by pianoforte and violoncello, and a delicious piece of melody) being unanimously encored; and Mendelssohn's "Andante and Rondo Capriccioso" in E, a pianoforte solo, which was given with admirable taste by Mr. Henry Baumer, and warmly applauded. Miss Emma Charlier, a young vocalist of genuine ability, sang Weber's scena, "Softly sighs," in German, with very considerable dramatis inteliigence and artistic feeling; and a prayer, "Holy Father," by H. Baumer, which, though a work of more than ordinary merit, is of so completely solemn a character, that it seemed a little misplaced in a concert devoted otherwise to secular music. HANOVER SQUARE ROOMS.- Miss Catherine A. Thomson gave a concert on Thursday evening week, at the above rooms, in which Professor Bennett's May Queen formed the principal feature. This fine work was admirably sung by Miss Thomson, Miss Kate Merritt, Mr. Wilbye Cooper, and Mr. Chaplin Henry, and a highly efficient chorus, under the direction of a "Mr. J. J. T." In the miscellaneous part, Miss Thomson introduced a new ballad by Mr. Henry Smart, called "Thine"-a pretty song, very sweetly sung, without any attempt at display. The other vocalists were Misses E. Armstrong, Merville, E. Walker, Beaslane, and Eyles, Mad. Maxwell, Messrs. Finlayson, W. S. Smith; Herr A. Ries (pianoforte), M. Vieuxtemps (violoncello), and Herr E. Behm (flute), contributing several instrumental pieces. Mr. Henry Smart and Mr. F. Osborne Williams were the conductors. MAD. GOLDSCHMIDT-LIND'S CONCERTS. THE second of the three concerts announced by Mad. Goldschmidt, in aid of certain charitable institutions, took place on Wednesday night in Exeter Hall, which was again as crowded and as uncomfortable as could well be imagined. The oratorio was Haydn's Creation, the general execution of which, under the direction of Herr Otto Goldschmidt, if not remarkably striking for so comparatively easy and familiar a work, was in many respects better than that of the Messiah some time since. About Mad. Goldschmidt's reading of the soprano part there is little to add to what has been said already, more than once-less to modify. As in the instance of the Messiah, it is more studied and carefully finished than before; and for this reason, perhaps, the third part is less effective than the rest. Mad. Goldschmidt seems more thoroughly at home with the narrational recitative and celestial homilies of the Angel Gabriel, than with the newly-awakened surprise at the wonders of Creation, or the genuine vows of obedience and affection towards her husband, uttered with such fervid eloquence by the emancipated Eve. Of "The marvellous work" and "With verdure clad" we need say nothing; their conspicuous features are still vividly remembered; but as an example of florid ornamental singing in the very highest school (to cite only one) the air, "On mighty pens," has probably not been surpassed. Mad. Clara Novello gave this air (in which the powers of so many accomplished singers have been tested) with less apparent exertion, and with more of the presumed impersonal quietude of a super-terrestrial being, refraining, besides, from lingering for an indefinite period on the second word of the line "And, cooing, calls the tender dove his mate," to which Mad. Goldschmidt resorts as a means of effect closely allied to the "theatrical." But as a purely elaborate display, as a consummate exercise of vocal skill, where the ars celare artem about which critics preach is boldly disdained for the sake of what musicians term "effect," the exhibition of our admirable English songstress was hardly comparable to that of her illustrious Scandinavian rival. Even in the matter of the "cooing" Mad. Goldschmidt may found a solid argument for her own peculiar reading on the prevalent character of the middle section of the oratorio, where Haydn has illustrated that part of the cosmogony relating to the production of living creatures-man, of course, as the higher animal excepted-in a spirit unquestionably theatrical. It would be difficult to quarrel with any very decided view adopted by Mad. Goldschmidt of a musical passage, descriptive or otherwise, as arbitrary. She is, above all, intellectual; and whatever may be thought of the pre-Raphaelite minuteness with which she occasionally dwells on periods the significance of which has escaped the attention of less diligent inquirers, she does nothing without a reason. Her performance in The Creation is everywhere marked by this laborious attention to details, and the success achieved is proportionate. In the concerted pieces (trios and duets) it is just the same; not a point is ignored, not a phrase unfinished, not a chance of forced or delicate contrast overlooked. In the trio for soprano, tenor, and bass ("Most beautiful appear"), all but the florid passages, which yield to her voice less gratefully than of old, was perfect alike in execution and delivery; while that with chorus ("Achieved is the glorious work")-the stirring and splendid climax of the second part-was wholly irreproachable, the upper tones of the gifted lady soaring at intervals above the vocal and instrumental harmony, as though their youth, their vigour, and their beauty were perennial. The duets with Adam (in the third part) abounded with good intentions; but while the expression was always warmly coloured, it was occasionally overdone. The apostrophe in which Eve owns her dependence upon Adam, and the position of the wife towards the husband is set forth: "O Thou for whom I am-my help, my shield, So God our Lord ordains, and from obedience - was uttered with the measured cadence of a didactic oration, the words "and from obedience" being dwelt upon with a slow and peculiar gravity that instead of suggesting earnestness almost gave the idea of half-suppressed irony. The remainder of this duet, in which the chorus takes so animated a part, was beyond criticism. So, too, would have been the still more tuneful and still more popular " Graceful consort,' but for the unwonted slowness of the "tempo," which deprived the melody of much of the ease and flow that are its salient characteristics. The ardour with which Mad. Goldschmidt delivered Eve's reply to Adam's glowing protestation,"Spouse adored, at thy side Purist joys o'erflow the heart,"&c.—the delicate gradations which accompanied the line— "The breath of eve, the savoury fruit, the fragrant bloom," and the enthusiastic fervor of the peroration, "With thee is every joy enhanced," &c.— would, however, have atoned for a graver delinquency than that of differing from Haydn's idea of the time at which his own music should be taken; and this duet, like the airs, "With verdure clad" and "On mighty pens," was followed by rapturous and long-continued plaudits. On the whole (to conclude), Mad. Goldschmidt's Creation is superior to her Messiah, if not quite equal to her Elijah. In the duets of the third part she was admirably supported by Sig. Belletti — an excellent musician, as all the world knows, and who proved it as emphatically in the descriptive and declamatory recitatives and airs of Raphael, in the earlier, as by his delivery of Adam's more cheerful music in the later portion of the oratorio. Mad. Goldschmidt and Sig. Belletti could not have found a worthier associate than Mr. Sims Reeves, who, if he did not sing better than recently in the Messiah-which would have been difficult sang quite as well. The pains Mr. Reeves takes at these concerts show in an equal measure his esteem for Mad, Goldschmidt and that self-respect without which an artist must never hope to rise to and to sustain, as he has done, the highest position. We cannot speak of his performance in detail, but may single out from the rest the well-known air, "In native worth and honour clad," as a specimen of oratorio singing which long experience, natural taste, and artistic refinement alone could furnish; and from among the recitatives that simple and noble passage, at the commencement of Part III., describing the approach of morning ("In rosy mantle," &c.)- an example of vocal declamation as impressive as it was wholly without effort, and thus attaining the highest aim of musical soliloquy. "In native worth" was loudly redemanded, but (probably because the same compliment had not been extended either to Mad. Goldschmidt or Sig. Belletti) Mr. Reeves declined to accede. Herr Goldschmidt conducted the performance well; and the execution of several of the choruses (among others "The heavens are telling," "Achieved is the glorious work," and "Praise the Lord," the three finest) was forcible and good. In the band (among other eminent artists) was Sig. Piatti. The profits of this concert are destined for the Hospital for Consumption and Diseases of the Chest at Brompton; those of the next (Wednesday, June 4, the "Derby-day," when Mendelssohn's Elijah will be given) are to be shared between the Royal Society of Musicians and the Royal Society of Female Musicians. BACH SOCIETY. THE performance on Satuday night of the Grosse Passions-Musik, at St. James's Hall, was a great success. Never before has the work been so well done, and consequently never before have the energy, grandeur, sublimity, pathos and beauty of this sacred masterpiece of J. S. Bach been so thoroughly demonstrated. The orchestra and chorus were well up to the difficulties of the work, and the solo singing was beyond reproach. The dreamy melody of the opening double chorus, with the interjected quavers from the second choir, and the strangely-beautiful chorale for trebles only (sung by boy voices), were remarkable for the extreme correctness of the singing, and even more so for fluent delivery and perfect phrasing, which are, indeed, only too rare in choral perform. ances. The narrational recitative which follows, introduces the story with the words, "When Jesus had finished all these sayings." Then follows a chorale, "O blessed Jesus, what is thy transgression?"-a passage for beauty of melody and contrapuntal harmony second to none of the numerous chorales in the work. After another narrative passage, a short chorus of wonderful impetuosity and force, "Not on the feastday, least there be an uproar among the people," ends that part of the history. Then follows a recitative, "Now when Jesus was in Bethany," and the story of the Magdalene, with a chorus somewhat similar to the last in vigour of manner, "To what purpose is this waste?" Then comes the first aria, "Grief for sin," preceded by an introductory passage, "Thou blessed Saviour." These two pieces were sung by Mad. Sainton with such wonderful case and grace, that the extreme difficulty of the music was lost sight of, and there only remained to admire the chaste and dignified manner, and the beauty of expression which never fails this true artist. The obbligati parts to this song are a study in themselves. After three short recitatives comes the chorale, "My sin it was which bound thee," the air of which is identical with that of many others subsequently occurring; but the harmonic treatment, or the key, is so varied in each as to produce a new effect. Then comes a recitative and air for soprano, "Jesus, Saviour, I am thine," which for grace and beauty rivals the tenor air that follows it. For what M. Fetis so well describes as "rhythmic melody," the soprano song is, perhaps, the more remarkable. Miss Banks was the singer, and although since her first appearance some years ago, she has never failed to sing any music she has undertaken with unimpeachable correctness and artist-like intelligence, she has never had an opportunity of showing the height to which she could rise till last Saturday. To deliver such a song with unfaltering tune, and to phrase its long passages with ease, is the work of a mistress of the mechanical part of the vocal art; to imbue it with the spirit and life that animated Bach himself when he wrote it, is a triumph such as is reserved for those who have great natural gifts, and who bring laborious perseverance and study in aid of them. The applause which followed the song showed the feeling the singer created; a more hearty and spontaneous evidence of appreciation we never heard. Three more recitatives, with another version of the chorale above mentioned, to the words "O Lord, thy love's unbounded," bring us to the tenor solo with chorus, "With Jesus I will watch and pray," a song varied in character, with oboi obbligati, and blended with the chorus with all Bach's felicitous skill. The florid parts of this song are original even to being beyond limitation, and the sense of subdued strength imparted to the passage "He endureth my griefs," is most impressive. The singing of Mr. Sims Reeves in this song was superlatively great. The brightness and power of his upper tones are almost indispensable to such a piece; and the vigorous declamatory manner which distinguishes him from all other tenor singers, found noble opportunities in the recitatives (of the Evangelist) throughout the work. A chorale, "O Father, let Thy will be done," and two short narrative passages are followed by a duet for soprano and contralto (the former part being sung with great care by Miss Martin), accompanied by a chorus of interjectional phrases of great power, leading to a chorus " Have lightnings and thunders," which, as a marvellous combination of simplicity and power, is equalled only by that great number of Israel in Egypt, “He gave them hailstones for rain." Another chorus, "O man, thy heavy sin lament," ends the first part of the oratorio which is remarkable for the variety of choral effects produced during its progress, and the skill with which phrases dissimilar in manner are connected together. The second part is introduced by an air for contralto, with chorus, "Alas, now is my Saviour gone?" This may, perhaps, be more convincingly quoted as a proof of the tenderness of Bach's melodic genius than any other air in the work. Mad. Sainton delivered the phrases of this exquisite piece in her own style. Such music must have been written in the hope that such a singer would some day arise to do it justice. The scene before Pilate is then described in several recitatives. Mr. Sims Reeves, in "Then did they spit in his face," produced a tremendous effect by his emphasis and force; and at the words "He went out and wept bitterly," the pathetic expression imparted to the chromatic passage was listened to in solemn silence, until the last note died away, when the applause burst forth from all parts of the hall. The chorale, "O Lord, who dares to smite Thee?" was redemanded and repeated; and it could not have been otherwise. Mr. Weiss created a profound impression by his very admirable delivery of Have mercy on me, O Lord." The recitatives which follow describe the appeal to the people as to the release of a malefactor, answered by the shout of the choir, "Barabbas!" which was the only very faulty piece of singing of the evening.* The following number is the other great soprano air, "From mercy will my Saviour perish," a grand specimen of Bach's genius. Let any one who is accustomed to consider Bach a mere chord-compiler, compare this song with some of more modern origin, and observe how thoroughly the Saxon master was quainted with the most delicate capabilities of the human voice. It was sung by Miss Banks, in a manner and with an effect no way inferior to her former display. The short chorus "Let Him be crucified," which follows one of the recitatives, is then reiterated with increased emphasis in a key a tone higher. Here the Evangelist's account of the Crucifixion is strictly followed, interrupted only by another version of the chorale above-mentioned to the words "O Thou, whose head was wounded." A recitative accompanied, “O Golgotha," with air, "See the Saviour's outstretched arm," for contralto voice, is truly sacred music, in which ac Then the self-reproach and self-contempt of Peter are wonderfully portrayed in a air to words judiciously chosen from the Psalms, and sung by Mr Weiss with great power. The appeal to the people as to the releasing a malefactor at the feast time succeeds it, and the shouts of the crowd-" Barabbas !" the science of the musician serves to express devotional feelings of the greatest intensity. The singing of the two pieces by Mad. Sainton, rendered Bach's admirers still more indebted to her. Another chorale and a recitative brings us to a beautiful air for bass voice, "'Twas in the cool of eventide," which Mr. Wallworth sang with due appreciation of its excellence. Then the narration ends at the tomb, and a recitative and chorus, "Now doth the Lord in peace recline," introduces the finale "In tears of grief," a chorus of unapproachable melody and deep impressiveness. The oboe of Mr. Lavigne, the flutes of Messrs. Rockstro and Card, and the violin of Mr. H. C. Cooper did great service in the obbligati parts. Mr. E. J. Hopkins was at the organ, and Mr. Lindsay Sloper at the pianoforte, the latter instrument being introduced occasionally with excellent effect. We have been thus particular in alluding to the several numbers of this important work, because Dr. Bennett and the Bach Society have our best wishes in their undertaking to make Bach's works better known to the English public. The bugbears of "impossibility" and "unvocalism" have been long since destroyed, and a few more concerts, such as that of last Saturday, will further the good cause. Let us hope that Dr. Bennett and his friends will not loiter by the way. They have gained much ground by this performance, and we trust they will maintain it. N. CRYSTAL PALACE.—( Communicated.)—The Great Handel Festival Orchestra, with its vast and imposing roof, is now acknowledged to be a success beyond the most sanguine expectations. The performance of the International Exhibition Music at the Grand Flower Show, on Saturday last, demonstrated in a most satisfactory manner its acoustic capabilities,-the faintest tone, such as the high notes of a flute or violin, came out with remarkable distinctness, while the thunders of the gigantic organ were concentrated and thrown forward in such a manner, as to render it highly probable that when the combined forces at the Handel Festival are heard, the effect will be astounding. But it is not alone in increase of loudness that the Orchestra is remarkable, but for the clearness and distinctness with which each sound falls upon the ear. The Sacred Harmonic Society are now exerting themselves to make the usual arrangements for the approaching Festival the most complete of any on record. Upwards of 1,200 engagements have been made with the Provincial choirs, and as these either have been or will be selected by the officers of the Society, the engagement of a class of performers far superior in musical ability to those who took part in the former Festivals may be reckoned upon. It is expected that by the close of this week the whole of the engagements will have been completed. The final choral rehearsals in London are appointed for Fridays, the 6th, 13th, and 20th of June, to be held in the large hall, Exeter Hall. The great full rehearsal will take place at the Crystal Palace, on Saturday, 21st June. At this, the whole of the performers, both choral and instrumental, as well as the principal singers, will be present. The Messiah will be performed on the first day, and Israel in Egypt on the last day, of the Festival; the intermediate day (Wednesday) being devoted to a selection from Handel's greatest works, not included in the before-named Oratorios. The selection is not yet definitely arranged, but it will comprise cho. ruses from the Dettingen "Te Deum," Samson, Saul, Judas Maccabeus, Deborah, Solomon, including the celebrated Passion Chorus, Jephtha, &c., &c. A novel feature in this day's programme will be the introduction of selections from some of Handel's best-known secular works; among these will be found, "Haste thee, Nymph," from L'Allegro, "Wretched Lovers," from Acis and Galatea, "Tyrants, now no more shall dread," from Hercules, "As from the power of sacred lays," from St. Cecilia's Ode, interspersed with some of the best-known solos. The entire orchestra will comprise a larger force than were ever before assembled, numbering in all nearly 4,000 performers. The stage and scenery erected for Blondin's performances at Christmas have been cleared away, and visitors may now form some idea of the value of the more distant places. It is believed by competent judges that the seats furthest removed from the Orchestra will now be amongst the best for hearing. Additional seats are now being erected in the gallery, plans of which will be ready for issue in a few days. MLLE. TREBELLI. The cantata was preceded by the Barbiere (minus the finale), in which Mlle. Trebelli again made her appearance as Rosina. In this young lady Mr. Mapleson has evidently found a prize. So interesting and so well-endowed a vocalist, of the Alboni school, has not been heard for many a day; and that she is destined to attain a high place in the public estimation is palpable enough. It may be mentioned that she last night abandoned Alary's variations on "Sul Margine" for Arditi's well-known "Il baccio "- -a better thing as music, and a neater thing for display. - Observer. ST JAMES'S HALL. MONDAY POPULAR CONCERTS, least, to the Passion-Music according to St. John, and the Grand Mass in B minor, being superior to the first in depth of feeling and grandeur of expression, and in clearness of form to the latter, which is almost unfathomably mystical." The book of the Passion according to St. Matthew con EIGHTY-SIXTH CONCERT, ON MONDAY tains an account of Christ's sufferings, as related by that Evening, June 2, 1862. PROGRAMME. PART I-Quartet, in A, No. 5, for Two Violins, Viola, and Violoncello, Herr LAUB (his first appearance), Herr L. RIES, M. SCHREURS, and Signor PIATTI (Beethoven). Song, "Dawn, gentle flower," Miss BANKS (Henry Smart). Song, "Adelaida," Mr. SIMS REEVES (Beethoven). Fantasia, in E flat, Op. 18, for Pianoforte solo (first time at the Monday Popular Concerts), Herr PAUER (Hummel). PART 11-Sonata, in E flat, for Violoncello, with Pianoforte Accompaniment (first time at the Monday Popular Concerts), Signor PIATTI (Boccherini). Song, "Summer is sweet," Mr. SIMS REEVES (G. Lake). Song, "Where the bee sucks (Tempest). Miss BANKS (Sullivan). Sonata, in A minor, Op. 23, for Violin and Pianoforte, Herr LAUB and Herr PAVER (Beethoven). Conductor, MR. Benedict. To commence at eight o'clock precisely. NOTICE.-It is respectfully suggested that such persons as are not desirous of remainlast instrumental piece, or between any two of the movements, so that those who wish ing till the end of the performance can leave either before the commencement of the to hear the whole may do so without interruption. **Between the last vocal piece and the Sonata for Violin and Pianoforte, apostle. It commences at the 26th chapter, in which Christ an interval of Five Minutes will be allowed. The Concert will finish before HalfN.B. The Programme of every Concert will henceforward include a detailed analy-chorus, the work commences: "Come, ye daughters, and aid past Ten o'clock. sis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Stalls, 5s.; Balcony, 3s.; Admission, Is. ter. BIRTH. On Friday, May 23, the wife of Howard Glover Esq., of a daugh- With this we have frequent points d'orgue, as at the very TO CORRESPONDENTS. me to lament; see the bridegroom, see him like a lamb," &c. It was impossible for Bach to have begun more powerfully than with this chorus. It is in E minor, and in 12/8 rhythm. It is ushered in by an instrumental introduction of sixteen bars, and, with but few exceptions, the bass, which is extremely low, preserves the rhythmical movement commencement; most unusual harmonies cries of woe, freezing the very marrow in our bones (see, for instance, bar 14 of the instrumental introduction); and the most wonderful vocal combinations. Everything in this chorus, so powerfully developed, serves the purpose of preparing the way for some awful event, and plunging the listener into a frame of mind suitable for hearing great things, the whole being conceived as only the highest genius, and of which the subject EFFIE. Will our correspondent, in confidence of course, favour us with her name and address? FAIR PLAY.-Consult Godwin On Sepulchres, Brown on Urn Burials, Cardan's Encomium Neronis, and Sir Thomas More's Praise of Folly. When he has perused these tomes, let him take castor-oil; and dine, sup, and breakfast (or vice versa) on Phoenicopter's Eggs. He must go to bed early. ACCOUNTS of the following concerts are in type, and will appear forth-speaks immediately, could conceive it. This most wonderful with:-Mr. Charles Hallé's Recitals; Concerts of Mr. John Frances Barnett; Mr. Harold Thomas; Mr. Hermann Slater; Mlle. Bondy; Mrs. Dundas; 48th Middlesex Rifle Volunteers; Herr Sprenger, - and others. NOTICES. TO ADVERTISERS.-Advertisers are informed, that for the future the Advertising Agency of THE MUSICAL WORLD is established at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o' Clock P.M., on Fridays-but not later. Payment on delivery. Terms {Two lines and under ... ... 2s. 6d. Every additional 10 words TO PUBLISHERS AND COMPOSERS.-All Music for Review in THE MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following in THE MUSICAL WORLD. TO CONCERT GIVERS.-No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in THE MUSICAL WORLD. The Musical World. LONDON: SATURDAY, MAY 31, 1862. piece is written for two choruses, so that the second chorus We have dwelt with rather more than ordinary length on this piece, because it is one of the finest with which we are acquainted from Bach's pen and because we meet in only one other part, even of this work-namely, the final chorus introductory movement is followed by several recitatives, a -a similar instance of such power of expression. The above chorale, and smaller choral movements, which we may pass over. No. 9 and No. 10, recitative and air, are devoted to mournful reflections; they are sung by a contralto, and are both of moving beauty, being full of that meltingly-sweet naïvety which characterises Bach above all other masters. The recitative is in F sharp minor, 4/4, and is accompanied, in a regular gently-undulating semiquaver figure, by two flutes, to which are added pizzicato basses; it is followed by the air in F sharp minor, 3/8, an indescribably charming composition, though surpassed by the very neat air (No. 12), in B minor, 4/4, sung by a soprano, "Bleed, thou dear heart, "AMONG the great works of Sebastian Bach," says the thou!" Further on, we must direct particular attention to Recensionen (Vienna)-"the Passion-Music according to the Gospel of St. Matthew occupies, perhaps, the highest position. It is entitled to that position in preference, at *The Singacademie performs the work according to the version adopted by Ferdinand Hiller for Cologne. the arioso in No. 17: "Take, eat; this is my body" (C major, 4/4). No. 18 is another remarkable recitative, constructed similarly to that in No. 9; only the bass proceeds in heavy quavers, with the fluttering Oboi d'amore; while, in the former instance, it merely accompanied in light touches the Aute-arabesques hovering above it. It is followed by a very graceful air (G major, 6/8), sung by a soprano, "I will give thee my heart"-charming, gentle, and full of mild expression, although proceeding, from the first bar to the last, in rich, contrapuntal figuration. Beautiful chorales, and interesting recitatives, full of characteristic expression, follow in Nos. 20-25. No. 26, an air (C minor, 4/4), is a particularly remarkable piece. An instrumental prelude-a contrapuntal movement between the oboe (solo) and the violoncellos - begins it. At the eleventh bar, the tenor (solo) comes in, and takes up the melody of the oboe, the fiddles executing a counterpoint, while the basses remain true to the course they were previously pursuing. In the third bar we have the chorus answering, and thus the solo part and the chorus go on continually alternating. The tenor sings, "I will watch by my Jesus;" the chorus replies, "Thus do our sins slumber:" the tenor then sings, "His soul's agony suffers for my death;" while the chorus answers, "Therefore must his meritorious suffering be most bitter and yet sweet to us." These two verses form the middle developing movement, thematically and strictly worked out; the principal movements and the first two verses then recur. The construction of this piece is admirable. In this, though still more in the foregoing movement, a recitative, we are struck, as is frequently enough the case throughout the work, with what Bach expects the voice to do. In the recitative in F minor, No. 24, the tenor part lies uninterruptedly exceedingly high; and this too, not in passages on which there is any particularly pathetic accent, but quite non chalament; nay, he even writes as mere fioriture: These are demands which our singers are no longer called upon to satisfy; fortunately they and similar passages can be easily punctuated, and, as we have here to do with something which is by no means an artistic necessity, but, wholly and solely, a custom of the day, no one will hesitate taking advantage of the fact. No 33 consists of two movements, an air for soprano and contralto (E minor, 4/4), and a slow movement (Allegro vivace 3/8), worked out with great breadth, for a double chorus. This air, also, commences with a somewhat long instrumental introduction of sixteen bars; in the seventeenth bar, the soprano takes up the melody, at first played by the oboes and flutes, expressing its sorrow in the words, "Thus is my Jesus now taken!" Two bars further on, the contralto follows with the same lament. The voices are re "Let newed; the soprano now executes the lower counterpoint, previously played by the oboes, and the contralto, in the octave, the higher one, previously played by the flutes. The contrapuntal basis given to the stringed instruments remains the same. The lament of the two solo voices is accompanied by the chorus in pauses with short quavers, adding him ! Hold! Bind him not!" At length when the soprano and contralto, according to strict canonical principles, have, for twenty bars, carried on the verse, They led him away; he is bound," the double chorus bursts forth like a tempest with the words, "Have the lightnings, have the go thunderbolts vanished in clouds?" The basses of both choruses are now introduced in B minor, with a highly energetic four-bar motive, descending in the first two bars in the triad intervals from the C of the great octave to the C of the counter-octave-then springs up into the seventh, and closes in E minor; the tenors then follow in the fugato, then the contraltos, and then the sopranos; the basses accompany first in short touches, and then at the word "thunderbolts" combine with the rolling movement of the instrumental basses. After the motive has been developed by the four voices, both choruses take it up and continue it alternately, in G major, D major, A minor, and E minor, combining once more in canonical form at the conclusion; the cellos and double basses accompany the whole development uninterruptedly with a rolling movement of semiquavers, until finally, in the last development, in order to give the greatest possible force of expression, Bach makes the violins and violas, which have previously followed faithfully the contrapuntal movements of the vocal parts, accompany in harmonic semiquavers. Compressed as the whole of this development appearsfor it comprises only 38 bars-it is most powerful. A general pause ensues, and then comes the development of the next verses. "Eröffne den feurigen Abgrund der Hölle! Verderbe, zerschelle mit plötzlicher Wuth, Den falschen Verräther, das mord'rische Blut."• The first chorus begins in F sharp major, and opens with the former motivo, which, however, is reversed; it remains stationary upon the dominant chord of E minor, which it keeps up for three bars, while the second chorus executes the same motivo (with a reversal of the voices between soprano and contralto), and then, in like manner, during the third development, in A minor, gives out the dominant chord of this key; the instrumental basses accompany the whole of the development, partly in a descending figure of semiquavers, and partly in harmonic figures, while the vocal basses invariably proceed in octaves, and the other chorus of the stringed instruments accompanies, tremolando, in demisemiquavers. We must, furthermore, especially notice the highly energetic turn with which this powerful movement closes in the last four bars. here remark parenthetically, that more than mere superficial No. 34 consists of a long recitative movement; and we may attention should be devoted to these recitatives, which are always highly characteristic and full of profound thought. cludes the first part; that is to say, the movement is inscribed A chorale, No. 35, "O man, bewail thy great sins!" con"chorale," though it is constructed in an essentially different manner than to chorale movements usually, which always tarded by ties, and in which all four voices take an equal consist of only a few bars, moving along steadily, and reshare. This exceedingly comprehensive movement (C major, 4/4) is to be called a chorale, only in so far as the oboe part melody, round which the other parts play in a lively manner, accompanies it throughout with the mention of a chorale consistency, the orchestra accompanies this movement from but in turns regularly recurring. With genuine Bachian first to last, in a strictly equal rhythmical manner; some quavers undulating up and down, and being connected in twos. Everything in this movement, which is introduced by an instrumental prelude of seventeen bars, breathes a "Throw open the fiery abysses of Hell! Quick! number the vile treach'rous slave with the dead! |