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* THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED; IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES” - Göthe.
SUBSCRIPTION Stamped for Postage_20s. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.
AN ORIGINAL COMPOSITION FOR THE PIANO.
CONCERT to be given by Mr. JOHN THOMAS
(Pencerdd Gwalia), at St. James's Hall, Friday Evening, July 4, with the kind Assistance of the Members of the Vocal Association, the West London Madrigal Society, and the Royal Academy of Music.
Vocalists : Miss Edith WYNNE (Eos Cymru), Miss BANKS, Miss EYLES, Mr. WILBYE Cooper, and Mr. LEWIS THOMAS.
Harps : Messrs. J. BALSIR CHATTERTOX, FREDERICK CHATTERTON, WRIGHT, OBERTHUR, TRUST, CHESHIRE, LAYLAND, LOCKWOOD, Ellis ROBERTS, GEORGE, WEIPPERT, and APTOMMAS; Mesdames B. HRR (late Mins CHATTERTON), COOPER, DAVIES, DRYDEN, and O'LEARY VINNING; Misses BULKELEY and TRUST ; and Mr. JOAN THOMAS.
Conductor: Mr. BENEDICT.
To commence at Eight o'clock. Sofa Stalls, 108. Gd.; Balcony, 58.; Area, 3s.; Gallery and Back Area, Is. Applications for Sora Stalls to be made to Mr. John Thomas, 109 Great Portland Street, W.
Tickets to be obtained at Addison, Hollier & Lucas's, 210 Regent Street ; Cramer, Beale & Wood's, 201 Regent Street; at Keith, Prowse & Co.'s, 48 Cheapside ; at Jullien's, 214 Regent Street ; at Chappell & Co.'s, 50 New Bond Street ; at Cocks & Co.'s, 6 New Burlington Street; and at Mr. Austin's Ticket Office, 28 Piccadilly.
"An exquisite Romance, which no imitator, however ingenious, could have written--as quaint, as fascinating, and at the same time as Thalbergian as anything of the kind that has been produced for years."
cogent Street ; Cramer
Regent Street; at Chisi at Keith, Prowse
THALBERG'S ART OF SINGING, APPLIED TO THE PIANO.
New Series. Price 3s. each.
HANDEL FESTIVAL. UTOMAGE TO HANDEL. - Three Arrangements for
the Pianoforte, by H. W. GOODBAN, No. 1, " Messiah ;” No. 2, “Selection;" No. 3, “Israel in Egypt." Price, 3s. eac
Metzler & Co., 37, 38, 35 and 16 Great Marlborough Street, W.
HALBERG.-MELODIES of SCHUBERT.-TranI scribed for the Pianoforte; played by M, THALBERG at his Concerts with great success.
No. 1. DIE TAUSCHUNG.
No. 13.— Serenade from “ Il Barbiere."
14.—Daet from “ Zauberflöte.”
MR SIMS Reeves's NEW SONG,
HOWARD GLOVER. Sung by Mr. Sins Reeves at St. James's Hall, on the 7th, and Exeter Hall on the 9th inst., and rapturously encored on both orcasions. Price 3s.
BOONEY & SONS, Holles Street.
“ Among the hitherto unknown compositions were some selections from the · Art of Singing applied to the Piano,'. Transcriptions' of Operatic Melodies, arranged in M. Thalberg's ornate and elaborate manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the delivery of cantabile passages.”—The Times.
Now Ready, in Two Vols., with Portraits, 21s. THIRTY YEARS' MUSICAL RECOLLECTIONS.
By HENRY F. CHORLEY, "Every page of these volumes offers pleasant reminiscences. No one singer of merit, or pretension to it, no distinguished composer of the period, is without his or her portrait. Whether as a conscientious history, a graceful series of portraits, or an avecdotical record, the author must be congratulated on the work he has accom. plished."-Atheneum.
" Every one interested, whether professionally or only by sympathy, in the development of the musical taste and the musical renown of this country will peruse these volumes with the utmost avidity. As a critic of the art, Mr. Chorley has long held a high and distinguished position amongst us; his characteristics being immense experi. ence, wide and catholic information, a great aptitude of expression, and a taste somewhat absolute, though for the most part unfailingly correct. These qualities are revealed in every page of the work before us, to which we strongly recommend our musical readers to reler for au intellectual qualification of the highest order."--Sunday Times.
Hurst & BLACKETT, Publishers, 13 Great Marlborough Street.
LONDON: BOOSEY & SONS, HOLLES STREET.
MEYERBEER'S GRAND EXHIBITION OVER- | MR. WALTER MACFARREN'S MATINEE 1 TURE will be Performed at Mr. BENEDICT'S MORNING CONCERT,
D'INVITATION on Saturday, July 5, assisted by Herr JOACHIM, Sig. PIATTI, St. James's Hall, June 3).
Miss BANK, and Miss ROBERTINE HENDERSON,
1 Osnaburgh Street, Regent's Park, N.W. TIERR WILHELM GANZ begs to announce that his
MR. WALTER MACFARREN will play his "TAL ANNUAL MORNING CONCERT will take place at the HANOVER SQUARE ROOMS, on THURSDAY, July 3, at 3 o'clock, assisted by the following
IRANTELLA" at his Matinée, July 5, and at Mr. CHESHIRE's Concert, eminent Artists:
Hanover Square Roomz, July 9.
MISS ELEANOR ARMSTRONG will give an Stalls, 10s. Os.; Reserved Seats, 5s. ; Unreserved, 28. 6d. To be had of the principal U EVENING CONCERT, at Hanover Square Rooms, on Tuesday, July 1. To musicsellers, and of Herr Wilhelm Ganz, 15 Queen Anne Street, Cavendish Square, W.
commence at 8 o'clock.
Vocalists: Miss MESSENT, Miss ELEANOR ARMSTRONG, Miss LASCELLES, Mr. GEOROR
PERREN, Mr. SUCHET CHAMPION, and M. DE FONTANIER.
Conductors: Mr. FRANK MORI, Herr ADOLPH RIES, and Mr. GEORGE LAKE D announce that her ANNUAL CONCERT will take place on Thursday Evening,
Tickets, 59.; Reserved Seats, 7s.6d, ; Stalls, 10s bid To he had at Miss Arm. July 3.
strong's residence, 36 Osnaburgh Street, Regent's Park ; at the Hanover Square Vocalists : Miss Banks and Miss PALMER, Mr. Sims Reeves and Mr. Lewis THOMAS.
Rooins, and of the principal musicsellers.
NUEEN'S CONCERT ROOMS, Hanover Square. Doors open at Seven, commence at a Quarter to Eight. Sola Stalis, 5s.; Area and
MR. JOHN CHESHIRE begs to announce that his FIRST MATINEE will Balcony, 2s.6d.; Gallery, Is.
take place at the above rooms on Wednesday, July 9. Ticktis to be had at Austin's Ticket Office, Piccadilly; and of Mr. Headland, Vocalists : Miss BANKS, Miss PALMER; Sig. Naprl, and Mr. LEWIS THOMAS. 9 Heathcote Street, W.C.
Pianoforte: Mr. Walter MACFARREN and Mr. BRADBURY TURNER : Flute, Mr. R. S. PRATTEN; Harp, Mr. J. BALSIR CHATTEKTON (Harpist to Her Majesty), and Mr.
JOHN CHESHIRE, MRS. JOHN HOLMAN ANDREWS SOIREE of Tickets and programmes to be had at all the principal musicsellers and of Mr. CLASSICAL CHAMBER MUSIC will take place on Wednesday, July 2,
Cheshire, 125 Albany Street, Regent's Park, N.W. at her Residence, 50 B-dford Square.
Tickets, 10s. 6d. each, may be obtained at the Music Warehouses, and of Mrs. Holman Andress.
UANOVER SQUARE ROOMS. - HERR FRANZ
ABT (Kapellmeister at the Court of Brunswick), has the honour to announce
that he will give a MATINEE MUSICALE, at the abuve Rooms, on Friday, July 4, M R. H. C. COOPER begs to announce that he will at which the following eminent artists will appear :1 give a MORNING CONCERT 01 Thursdar, July 3, 1862, at 15 Grosvenor
Vocalists: Mlle. TiTiENS, Mlle. LIEBHARIT, Mlle. ELVIRA BEHRENS, Herr REICH
ARDT, Herr CARL FORMES.
Pianoforte: Herr ALFRED JAELL and M. RUBINSTEIN.
Violoncello: Herr LIDEL.
Accompanyists · Herr FRANZ ABT and Sig. ALBERTO RANDEGGER.
Reserved Seats, 158.; Unreserved Seats, 10s. 6d To be had of his publishers, Messrs. Tickets, 5s, each, may be obtained at Messrs. Cock, Hutchings, & Co., 63 New Bond Street.
Robert Cocks & Co., New Burlington Street; and at the Rooms; also at the princi. pal Music Warehouses.
ST. JAMES'S HALL. - MR. BENEDICT has the
honour to announce his ANNUAL GRAND MORNING CONCERT on Monday next, June 30. To commence at Two
Vocalists : Mile. TITIENS, Mlle. TREBELLI, the Sisters MARCHISIO, Miss LOUISA PYNE, Mad. SHERHINGTON, Mlle PAREPA, Mad LEMAIRE, Mlle. Gillies, Mlle. GEORGI, FRAULEIN LIEBHART, Mr. Sims REEVES, Sig BET PINI, Herr REICHARDT, Mr. SANTLEY, Sig GIRALDONI, M. GASSIER, Sig BELLETTI, Mr. Weiss, and Herr FORMES.
Instrumentalists: M. VIVIER, Sig. Piatti, Mr. BENEDICT, M. ASCHER, Mr. J. THOMAS, Mr. AFTOMMAS, and Herr JOACHIM.
At the Piano'orte: MM. LINDSAY SLOPER, WILHELM GANZ, FRANCESCO BERGER, RANDEGGER, HAROLD THUMAS, and GEORGE LAKE.
The whole of the music composed for the opening of the International Exhibition, including the Grand Overture de l'Exposition, en forme de Marche (Mererbeer); Inauguration Ode (W. Sterndal- Benne !); Grand March ( Auber); and Cantata (Verdi), solos by Mlle. TITIENS, will be performed by the Full Band and Chorus Vocal Asso ciation, numbering 200 Voices.
Conductors : MM. ALFRED MELLON and BENEDICT.
ROYAL ACADEMY of MUSIC DINNER, 1862.
WEDNESDAY, July 9, at the Royal Academy of Music (by permission of the
Tickets, One Guinen each To be obtained (by Vouchers only) of Messrs. Addison & Co., 210 Regent Street, Treasurers. I Osnaburgh Street, N.W.
WALTER MACFARREN, Hon. Sec.
PHILHARMONIC SOCIETY. - JUBILEE CON-
Full particulars will be announcid in a few days.
DRAULEIN LIEBHART will SING at Mr. BENE.
DICT'S ANNUAL GRAND MORNING CONCERT, Monday, June 30.
DHILHARMONIC SOCIETY. - EIGHTH CON1 CERT, on Monday, June 30.
Sinfonia in A minor (Mendelssohn); Concerto, Violin, Mr. BLAGROVE (Spohr); Overture, Egmont (Beethoven); Sinfonia in B. flat (Beethoven); Overture, Preciosa (Weber).
Vocal performers: Miles. MARCH1910,
Conductor : Professor STERNDALE BENNETT.
MR. SCOTSON CLARK will play his new Mazurka,
"LA MIGNONNE," on Pleyel Woelf & Co.'s Grand Piano at the French Court in the Exhibition, THIS DAY.
LERR REICHARDT will sing “A YOUNG AND
1 ARTLESS MAIDEN,' from HOWARD GLOVER's popular operetta of "ONCE TOO OFTEN," at Mr BENEDICT's Concert.
LLE. GEORGI will sing “BY THE SAD SEA
WAVES" (Benedict), and the duet " 10 RESTO FRA LE LEGRIME" (Donizetti), with Mr. SANILEY, at Mr. BENEDICT's Concert.
MR. F. PENNA and Mid. PENNA beg to announce
I that their MATINEE MUSICALE will take place at Collards' Rooms, 16 Grosvenor Street, Grosvenor Square (by the kind permission of the Messrs. Collard), on Friday, July 4, at Thrre o clock precisely.
Vocalisis: Mlle PAREPA, Miss ELEONORA WILKINSOY, and Mrs. MEREST (late Miss Maria B. Hawes); Mr. IRELAWNY COBHAM, and Mr. F. PENNA,
Instrumentalists: Mad. SIDNEY PRATIEN (Guitar), Mr. WilLY (Violin), Mr. R.SIDNEY
Conductor : Sig. CAMPANA,
es); Maiad. SIDNEY
Pianoforte Campanacan Davis
MELLE. GEORGI will sing the Romanza “ DEH NON
| VOLER COSTRINGERE,” from Donizetti's ANNA BOLENA, and Fivri's Valse “LA CONTENTEZZ:1," at Sig. Favilli's Concert, July 2.
MR. GEORGE PERREN will sing ASCHER's Popular
W Song, “ALICE, WHERE ART THOU?" at Miss Eleanor Armstrong's
A PTOMMAS'S SIXTH and LAST HARP RECITAL,
1 on Tuesday, July 8, ar Three o'clock, at 16 Grosvenor Street (ny kind permis. sion of Messrs. Collard).
He will play Alvars" Concertino" (for two Harps) with Mr. CHARLES OBERTHUR : his own "Tarantelle" for two Harps) with Mr. JOHN THOMAS; a Trio (for Harp, Piano, and Organl) with Messrs. KOHE and ENGEL ; Irish Melodies, &c.; and will be assisted by several eminent vocalists, who will sing Rossini's “ La Charité," with Harps, O gan, and Piano.
Tickets, 5s. and 10s. 6d. At the Music Shops, and of Mr. Aptommas, 6 Leighton Grove, Kentish Town.
TT ER R REICH A R D T will sing his Popular
“CRADLE SONG" (Good Night), at HERR GANZ'S CONCERT, HANOVER SQUARE Rooms.
ISS ARABELLA GODDARD begs to inform ber U Friends and Pupils that she has REMOVED to No. 26 Upper Wimpole Street, Cavendish Square.
THE HANDEL FESTIVAL.
tive perfection, that the practicability of erecting in the centre transept
a permanent structure furnished with all the means and appliances, Saturday, June 21.
acoustical and otherwise, indispensable to the complete efficiency of an The last of the choral rehearsals took place yesterday evening, orchestra devoted to choral and instrumental performances on a when nearly 2,000 singers, men and women, met together in Exeter scale of exceptional magnitude, is no longer 'matter of speculaHall. These included a fair proportion of the “ London Contingent,” | tion. With the process through which this desirable result has with the best voices from the provincial " delegations ”- the flower, it been obtained our readers have, step by step, been made acquainted. may be said, without any stretch of courtesy towards our country Nothing, indeed, remains for us to add to what has already been stated, visitors, of the Handel Festival Chorus. The area of the hall, the gallery except the fact of the unequivocal success of the undertaking. The opposite the orchestra, and the orchestra itself were so completely Handel orchestra, with its solid roof and lateral enclosures, is now a crowded, that not a vacant nook could be discerned. Nevertheless, the substantial thing—no longer a dream, but a reality. multitude of choristers, ranked in symmetrical order, and seated with the The rehearsal began considerably later than was announced, owing utmost comfort, were able to watch at ease the indications of the con to the non-arrival of many of the vocal and instrumental executants, ductor's bâton, to hear his voice, and profit by his counsels. Mr. Costa's | who, it would appear. had trusted too implicitly in the nnnctual desk was on a low platform, immediately in front of the orchestra, departure from London and arrival at Sydenham of the railroad trains. where he could see and be seen by every one — the centre of discipline, | About a quarter to twelve, however, the impatience of the crowds that whence the vast host of musicians --whose harmony, but for the vigorous filled the area of the centre transept, and were scattered with irregular influence of some dictatorial band, might soon be turned to discord - | degrees of density in and about the adjacent galleries, was allayed by was controlled. There were no instruments to aid and support the the sound of our National Anthem, which, at a sign from M. Costa's chorus ; and indeed there would not have been room to lodge a fiddle. bâton, was struck up by the band and echoed by the chorus. Then The organ was at hand, however, that boast of Exeter Hall, an orchestra followed, in immediate succession, three of the noblest chorus pieces in itself, if loudness and harmony are synonymous, and capable, under from The Messiah-"For unto us a child is born,” “Hallelujah," and manipulation less discreet than Mr. Brownsmith's, of drowning ten “ Amen." These, most probably, had been included in the scheme with thousand voices. The organ, being happily (or unhappily, as hyper- the object of testing at once and in a convincing manner the actual critical spirits insist) a fixture, on this occasion did the work of accom. strength of the 4,000 singers and players, and the acoustical capacity paniment.
of the orchestra since the alterations, which have given it its present The rehearsal was exclusively limited to extracts from the splendid imposing and substantial aspect. If such was the case, there was good miscellaneous programme drawn up for the second day of the festival - cause for satisfaction. The “consummation” so “devoutly to be a programme so varied in attraction, and so unexceptionably interesting, wished” has apparently been reached with signal felicity, inasmuch as as to be a formidable rival even to that of Monday, devoted to one piece the chosen choruses from the sacred oratorio perhaps the most -"the sacred oratorio” of the Messiah - in juxtaposition with which | impressive in the whole work - never sounded more majestic and nothing could well stand its ground. From the Dettingen “Te Deum," | sublime. Samson, and Judas Maccabaus (each of which contributes its quota to As it would, of course, be out of place to criticise a rehearsal — even Wednesday's selection) nothing was tried ; and, indeed, nothing greatly a public rehearsal, like the one under notice, the programme of which needed trial, for it is notorious that the choral societies of Yorkshire, was made as attractive as possible, by the introduction not only of the Lancashire, Norfolk, Warwickshire, Worcester, Hereford, and Gloucester most popular choruses, but the most popular airs and duets that could (to name only a few), are just as well acquainted with the music of be thought of--we shall merely note down, with here and there, a word Handel as any in the capital ; and to their chosen singers, it may be or two of paasing comment, the pieces that were respectively gone readily believed, the familiar masterpieces we have named present no through. A large majority were taken from the miscellaneous prodifficulties. An impressive chorus (with solos for contralto),“ As from gramme, which invests the performance of the second day (Wednesday) the power of sacred lays," from the Ode on St. Cecilia's Day (a setting with such an extraordinary degree of interest. All the familiar pieces of Dryden's poem), comparatively little known-one of them an iin. comprised in this selection are popular favourites; while those less famipressive chorus (" The dead shall live "); another from Hercules liar are in every instance master-works, only requiring to be as well (** Tyrants now no more '), perhaps the least generally appreciated of known to enlist unanimous sympathy-to obtain, indeed, as wide a celeHandel's secular works; “Wretched lovers !" (Acis and Galutea), un brity as that enjoyed by the best of their more fortunate companions, surpassed as a combination of the profoundly expressive with the To begin with these: first, and among the most noteworthy, was a frag! thoroughly picturesque; “ Haste thee, nymph” (from the setting of ment from the Ode on St. Cecilia's Day -- a slow chorus interspersed Milton's " Allegro "), with the famous langhing burden, the irresistible with solos, for soprano (“As from the power of sacred lays”), succeeded effect of which, from an army of voices reckoned in thousands, may be by a fugued chorus, in somewhat quicker time, “The dead shall live, easier imagined than described ; the soft and truly Orphean chorus, the living die.” The introduction of such a truly noble composition is * May no rash intruder" (the “ Nightingale," as it has been nicknamed alone enough to confer distinction on the programme. To Mlle. Titiens by its admirers); “ Fron, the censer," and "Praise the Lord ”_ two of are allotted the solos, which afford ample occasion for the display of her those double choruses which place Handel beyond the reach of rivalry, magnificent voice; and we are inuch mistaken if the interest awakand forced the haughty Beethoven to say, “ We are children to him ;" ened by this revival does not create a desire among the lovers of * Music, spread thy voice," "Shake the dome” (double chorus), and Handel's music to hear the whole of St. Cecilia's Day. Next in order, * Draw the tear from hopeless love"--an inimitable group of descriptive and by no means inferior in merit, was a chorus from Hercules—"Tychoral pieces, drawn, like the three just previously named, from the rants now no more shall dread”-vigorous and dignified throughout, oratorio of Solomon; and last, not least, two compositions as unlike as and marked by progressions that reveal a dramatic instinct in Handel, any two creations of art could possibly be made, having no feature in which owing, perhaps, to the transcendant qualities of his purely sacred common but their beauty - viz., "Envy, eldest born of hell," the terrible inusic, has been overlooked by all but those who have been able to devote apostrophe from Saul, and " See, the conquering hero coines !" which a special study to his genius. The programme of Wednesday is welhas informed the whole world that at least such an oratorio as Joshuu come, if only on account of the opportunity it affords of rescuing exists — were all rehearsed. The imposing hymn, " Immortal Lord !” | from unmerited oblivion such things as these. Where now can Her(double chorus) from Deborah, which also forms part of Wednesday's cules be heard entire? -- where the Ode on St. Cecilia's Day? Nowhere, uncommonly rich selection, might also have been tried, but was not. | alas! - and yet, as we have shown, they both contain passages that may The effect of the rehearsels was unanimously declared “unprecedented.” | be placed side by side with the most remarkable in Handel's unfor
This morning a very different ordeal must be braved; but, with the ad gotten works. Among the pieces with which the present generation is - dition of the enormous instrumental band, and with the advantage of better acquainted, and which, nevertheless, are still unhacknied, was the the newly constructed orchestra, of which the most competent judges declamatory air from Alexander's Feast" Revenge, Timotheus cried". have spoken in terms of unqualified approval, there need be little appre- set down for Sig. Belletti. The second movement of this, to the hension about the issue.
“Behold a ghastly band, Monday, June 23.
Each a torch in his hand!
These are Grecian ghosts, that in battle were slain, The result of the grand rehearsal in the Crystal Palace on Saturday,
And urburied remain,"' &c. when the wliole of the vocal and instrumental performers-about 4,000 convey, another even more striking example of Handel's descriptive in number were assembled, may be fairly pronounced a triumph. and dramatic power. A third instance the bass air (Mr. Weiss), with What in 1857 was a mere essay, the experience derived from the un. I chorus, from “ L'Allegro,'_ avoidable defects of which served as a guide to the remarkable modifica
• " Haste thee, nymph, and bring with thee, tions of 1859, has now, three years later, been brought to such compara,
Jest and youthful jollity-"
exhibits an unsuspected side of it-viz. the comic. Nor Mozart, nor far and in every respect excel its predecessors of 1857 and 1859. It is Boieldieu, nor Rossini, nor Auber, nor any composer of “opera scarcely requisite to add that it begins to-day, at 1 o'clock precisely, buffa” has left a more animated and mirth-compelling strain. The with The Messiah; that on Wednesday the miscellaneous performance inexhaustible fertility, indeed, of Handel's inventive faculty, its singular will take place; and that on Friday the Festival winds up with the variety and almost unlimited appliance, are set forth in Wednesday's incomparable Israel in Egypt-the oratorio of the plagues and miracles, programme with a success to warrant a belief that its compilers, in the delivery, the Exodus, and the thanksgiving. making it out, had some such purpose in view. From Dryden and Mil. ton we pass to Gay, whose Acis and Galatea furnished the grand musi
Tuesday, June 24. cian with a subject for the most genial and exquisite of his secular The Messiah inaugurated the Handel Festival yesterday morning pieces. The delicate air of Galatea, “ Hush, ye pretty warbling choir” in the most brilliant manner. Between 15,000 and 16,000 persons (Mad. Lemmens-Sherrington); the pearl of all present (and future?) | were comfortably seated shortly after the performance had begun, and amatory ditties, that rapturous apostrophe of Acis to the nymph of his never, perhaps, has the great centre transept of the Crystal Palace preadoration, “Love in her eyes sits playing " (Mr. Sims Reeves); and, sented a more gay and animated appearance. The weather was most last not least, the eloquent, pathetic, and (again) most dramatic chorus, propitious - a matter of real importance on such festive occasions, in which the peasants simultaneously lament the imminent destiny of when thousands meet together for the purpose of enjoyment, inasmuch the “star-crossed” pair, and quail before the approach of the monster as if they arrive at their destination in comfort they are all the more Polypheme—the inimitable “wretched lovers"-are the excerpts, from disposed to appreciate with hearty unanimity the treat in store for this pastoral of pastorals, which enrich the selection and equal in ge- | them. To hear The Messiah under such conditions as those of yesternuine attraction any other features. All these (all the pieces, in short, I day is a very different thing from hearing it in the atmosphere of a we have named and shall name) were tried on Saturday, and left no close and heated room. We think we may safely say that, though the doubt as to the result. We should have wished the boisterous love- oratorio did not terminate till at least one hour later than had been antisong of Polyphemus (“ Oh, ruddier than the cherry ") added-if only in cipated (5 o'clock instead of 4), no one felt in the least fatigued, no one contrast to that gentle one of Acis; but “enough is as good as a feast," at ali regretted the four hours (allowing for the interval between the and to crowd a whole cycle of music into a single programme is simply | parts) spent in listening to so unprecedentedly fine a performance of the out of the question. If Madame de Stael said of Napoleon I. that “he grandest of sacred oratorios. And, certainly, the immortal masterwas not a man but a system,” what might she have said (had she been piece of Handel, take it for all in all, was, without exaggeration, never capable of understanding him) of Handel? The extracts from Solo. at any time within our experience so nobly executed as yesterday. mon alone - the most gorgeous and oriental of his oratorios, the The orchestra, now — after so many experiments, such earnest and most wonderful combination of sacred and secular ever invented diligent enquiry - thoroughly completed, has more than answered exby poet, painter, or musician -- would have immortalised an ordinary pectation. It is not so much that the volume of sound has increased man. These comprise the double choruses, “From the censer," and there was, indeed, no want of that -- as that, by a most ingenious ex. " Praise the Lord,” - the first a triumph of the secular, the last of the pedient, the concentration of sound has been insured. Thus, while the sacred style; the choruses descriptive of the “ Passions” -“ Music, extensive reverberation formerly complained of is almost wholly done spread thy voice,” “Shake the dome," “ Draw the tear from hopeless away with, we have, in place of it, a sharpness of definition and clearlove,” and “ Thus rolling surges rise," with which Solomon entertains ness of detail, permitting each separate part of the vocal and instruthe Queen of Sheba (solos by Mad. Sainton-Dolby, the recognised mental score to be easily and distinctly recognised. In an oratorio “Solomon” at Exeter Hall); and the delicious opithalamium, “May no like The Messiah, which abounds in elaborate fugal writing, this is of rash intruder" (in the accompaniment to which Handel, taken with a the utmost consequence ; and yesterday the marked improvement was pre-Handelite fit of minute detail, aims at counterfeiting the “ Nightin. the subject of general comment. gale”). With the single exception of “ Praise the Lord,” all these were To invent words for a new description of The Messiah, under whatrehearsed (“May no rash intruder," with the first performance of whichever conditions it may be given, is somewhat difficult, every part or ine Mr. Costa was by no means satisfied, twice), to the manifest delight of oratorio being more or less familiar to musical -- and, indeed, to a the assembled “20,000," whose appetite for musical sounds appeared large majority of non-musical readers. Such an execution as that of insatiable, and who, with obstinate persistance, succeeded in persuading yesterday in the Crystal Palace, however, could scarcely fail to offer the not easily yielding conductor to repeat two pieces. “Let the bright new points for comment; and, indeed, were the space available, we Seraphim " (Samson-sung by Mlle. Titiens, with trumpet obbligato by Mr. might fill columns with a description of it. Not that it was faultless T. Harper), and “ See the conquering hero comes ” (Joshua--solo trio byl that would be overstating the truth ; but that there was a freshness about Mesdames Titiens, Sherrington, and Sainton), were thus distinguished; it to distinguish it altogether from ordinary performances, even from the and, had the music-devouring multitude been encouraged, some others best at the great country music-meetings, and at the concerts of the would have had equally to be given twice, and especially “Love in her Sacred Harmonic Society - the best of the best. The tone of the eyes,” by Mr. Sims Reeves, whose appearance in the orchestra was fiddles, in giving out and answering the fugal subject of the overture hailed with acclamations. Besides what we have mentioned, the air, 1 (second movement), was unprecedented in vigorous sonority. Then “Return, O God of Hosts” (Mad. Sainton), with its choral pendant the brightness of the soprano voices, leading off the chorus, " And the "To dust his glory they would tread," and the soaring and magnificent glory of the Lord;" the multitudinous clamour of “He shall purify the “Let their celestial concerts all unite” (which, with“ Let the bright sons of Levi” — where every part is important, and which the occaSeraphim,” completed the extracts from the oratorio of Samson); sional “ dragging" of the basses alone prevented from being irreproach“Immortal Lord” (Deborah), & chorus in grandeur rarely surpassed able ; and the precision, closeness, and energy which marked from end even by Handel ; the soprano air, “So shall the lute," from Judas to end the delivery of that most picturesque chorus, “For unto us a Maccabæus (Mad. Lemmens-Sherrington); and “0, had I Jubal's lyre," child is born," alternately aroused attention, and, as one succeeded from Joshua (Mlle. Titiens); together with the choruses, “He spake another, more and more deeply impressed all hearers. The superb exethe word,” and “He gave them hailstones," the choral recitative, * He cution of this last, indeed, was the theme of universal praise ; not only sent a thick darkness," and the obstreperous (and popular) duet for with which all the preceding and intervening sentences were taken op basses, “The Lord is a man of war" (Sig. Belletti and Mr. Weiss), - and not the least admirable, the emphatic enunciation, by the tenors, were tried the last-mentioned, late as it came in the day, exciting in for the climax at “Wonderful, Counsellor, the Mighty God, the Everthe minds of a vast number of the audience a desire for the repetition lasting Father, the Prince of Peace," but for the crispness and delicacy that seldom fails to accompany it at the concerts in Exeter Hall. Mr. of the passage, “ And the government shall be upon His shoulder." Costa, however,—who, with the singers and players under his control, The boisterous demand for a repetition of this chorus not being acceded must by this time have been nigh exhausted - very properly turned a to by Mr. Costa, a large portion of the “ Pastoral Symphony” - de
to by Mr. Costa, a large portion of deaf ear to the suggestion; and the rehearsal terminated, as it had scriptive of “the shepherds keeping watch over their flocks by night" begun, with the National Anthem, after – allowing for the interval through which George III. declared he “could see the stars between the first and second parts, during which the interior of the shining ") - was entirely lost. The choruses of the second part, Crystal Palace wore the aspect of a gigantic " restaurant"-something The Passion — though simpler, yet grander than Bach's profound like five hours of unremitting “work." If the audience was not as and elaborate treatment of the subject--were no less finely given. tired out as the singers, Mr. Costa, and the players, it is matter for “ Behold the Lamb of God,” “Surely He hath borne our griefs," * And surprise, inasmuch as the labour of bearing, under such circumstances, with His stripes we are healed "-surpassing instances of pathos and must, long before the conclusion, have been just as trying and difficult sublimity; "All we like sheep have gone astray”-that wonderfully as that of performing.
spirited and continuous movement, arraigned by shallow critics as an To conclude, the rehearsal has inspired unanimous confidence in the undignified piece of word-painting, while it is, in fact, as strictly appromusical success of the Festival, which, there can be little doubt, will priate to the text as any of the series of which it forms a component
part, and from which is virtually inseparable; and “The Lord hath which contrasted effectively with what had gone before. To this, and laid on Him the iniquity of us all," with its stately, long, and measured to the solos interspersed throughout the plaintive chorus (in the minor phrase, as noble an example of full harmony as “And with His stripes" | key)-"To dust his glory they would tread "_which is its pendant of fugue-one and all created an impression not to be effaced. Equally Mad. Sainton-Dolby, with her pure “ devotional” voice, did all possible, good but for the fact of the bass voices being rather overweighted and justice. The whole, indeed, was admirable. “Let the bright Seraphim," disturbed than aided and supported by the big and loud brass instru --that brilliant apostrophe to the “Cherubic host," in which the obbli. ments, placed in the midst--no doubt with a view of keeping them in gato trumpet plays so conspicuous and appropriate a part, came after countenance--would have been " He trusted in God," which, as far as the foregoing with exceeding brightness. This was sung with astonishmusic can. convey what is presumed to be the exclusive privilege of ing energy by Mlle. Titiens, whose high tones, penetrating everywhere, words, is an expression of the deepest irony and scorn, “ Lift up your rivalled the clcarness and sonority of Mr. T. Harper's trumpet. So heads," with its obstinately reiterated burden, “Who is the King of enraptured were the audience, that, at the end of the first part, without Glory?" was one of the brightest, clearest, and most splendid choral ex. waiting for the second, they unanimously demanded a repetition, which bibitions of the day; while, singular enough, the clamorous outburst of was instantly accorded by Mr. Costa. At the “repeat," Mlle. Titiens the assembled nations, “ Let us break their bonds asunder”_wbich, on restored the omitted portion. The magnificent chorus, “Let their account of its peculiar rhythm and almost (not to speak it profanely) celestial concerts all unite"-a continuation of the air, carrying out its un vocal intervals, is invariably more or less of a failure was given, as poetical intention with the thousand-voiced energy of the choir, was the phrase is, “ without a hitch." One of the most characteristic choruses
also nobly executed. The difficulty is to imagine any other climax to of the second part-“The Lord gave the word, great was the company Samson than this superb and graphic peroration. The capital war-song of the preachers ”_was unaccountably, and, as we cannot but think, in ) in which Harapha the Philistine expresses his contempt for the questionable taste, omitted. The culminating point, however, the chorus Israelitish champion, although extremely well given by Sig. Belletti, a of choruses, the unequalled and magnificent “ Hallelujah"--at the first thorough master of the florid style, by the side of it was comparatively familiar phrase of which, according to immemorial habit, the whole of | tame. It could hardly have been otherwise, even with a better singer the vast assembly rose-eclipscd everything that had gone before, and than the Italian basso-supposing a better could be found. made us forget all about “ the company of the preachers," all short- Judas Maccabæus, written to celebrate the victory of Culloden and comings, all objections, all criticism. This colossal hymn, and its al- the discomfiture of the Stuarts (frequently styled the “ Jewish Oratorio"), most equal in sublimity, while superior in complex, ingenious, and contributed the next items to this remarkable programme. The selecelaborate contrivance-*Worthy is the Lamb,” with the stupendous tion opened with “0, Father, whose almighty power”--the petition of “ Amen," in which harmony towers above harmony, until the ear is the Jews for a chieftain to conduct their wars. Not a fault could be perplexed and the mind absorbed in admiration at the genius that could | found with this, the most characteristic feature of which-as far as the conceive such a work, and with unflagging vigour and unexhausted in- | delivery went--was the passage, vention climax it with such a chorus-were incontestably the “triumphs"
“ And grant a leader bold and brave, of the day. To compare any performance of “ Hallelujah" and
If not to conquer, born to save," “ Worthy is the Lamb" with that of yesterday at the Crystal Palace is with its emphatic reiteration of the first line-a striking example of out of the question. It is a peculiarity of Handel that his compositions Handel's genius in the picturesque employment of counterpoint. To for the greater part, and especially his choruses, instead of losing, gain Judas Maccabæus, who responds to the vows of his compatriots, the by accumulation of executive means; and never was this truth more composer of the Messiah has allotted " Sound an Alarm”- perhaps the thoroughly established than on the present occasion, when nearly 4,000 boldest war-song ever imagined. The glorious voice and dramatic performers, vocal and instrumental, were engaged.
energy of Mr. Sims Reeves have, for years, been inseparably connected The solo singing was unexceptionable. The soprano music was with this, in its style, unequalled air, with which no one but himself in shared between Miss Parepa, who took the first part, including the the memory of the present generation has been able successfully to cope. florid air, “ Rejoice greatly,” and Mlle. Titiens, who, in “How beautiful Mr. Reeves at the Handel Festival means always Mr. Reeves, proud of are the feet " and " I know that my Redeemer liveih,” raised the audi his laurels, anxious to retain, and, if possible, to add to them. This was ence to enthusiasm. The bass music was divided between Signor Bel
proved, for the third time, yesterday, when “ Sound an Alarm” proletri and Mr. Weiss, practised adepts in the Handelian school. Signor ceeded from his lips with as much enthusiasm as if he had heen the Belletti most particularly shone in the recitative and air, “ The people veritable “ Judas” urging on his followers to victory or death. Nothing that walked in darkness," to which Mozart's additional accompaniments could have led up more vigorously to the climax, “ We hear, we hear," impart such wonderful interest, and the “Trumpet sball sound,” where the people respond with acclamations to the martial ardour of in which the obbligato accompaniment of Mr. T. Harper was, their champion. The solo and chorus, as inspiriting as ever, produced as usual, a conspicuous feature. Mr. Weiss produced an im- their wonted effect, and brought down a storm of applause. To encore mense effect in “Why do the nations so furiously rage together?” so long and elaborate a piece was of course out of the question. to which his noble voice is peculiarly suited. The contralto was To Judas succeeded Saul-an oratorio composed eight years earlier. Mad. Sainton-Dolby, whose “He was despised,” was, as it rarely | Saul was finished in September 1738, three days before the commencefails to be, a masterpiece of pathos, and who in the tranquil andment of the immortal Israel in Egypt-or rather of the “Song of lovely pastoral, “ He sball feed his flock," was admirably supported by Moses” (Exodus), which now forms its second and concluding part. Miss Parepa. The whole of the tenor part was allotted to Mr. Sims From Saul was taken one of the most wonderfully graphic of all the Reeves, to share it with whom would not be an enviable task. Mr. Handelian choruses, “ Envy, ellest born of hell,” which contains a pas. Reeves has seldom thrown more devotional fervour into “Comfort yc, sage, my people," more fire into “ Thou shalt brcak them with a rod of
" Hide thee in the blackest nig! iron," or given the fluently melodious “ But Thou didst not leave His
Virtue sickens at thy sight," ..., soul in hell ” with chaster sentiment. His greatest effort, nevertheless, expressive and significant enough to expel the demon of “envy" from was the Passion-music, his delivery of which reached the ideal of ex the soul of whomsoever, not wholly callous, it might possess, and radipression.
cally cure him of the fatal passion. The execution of this tremendous To-morrow will be devoted to the miscellaneous selection, which has apostrophe may be cited among the most immaculate efforts of the created so extraordinary a degree of interest in consequence of its ex “4,000.” The renowned “ Dead March” which followed, completing hibiting Handel as a composer of secular no less than of sacred music - the excerpts from Saul, was indescribably touching and solemn--the an innovation that promises the happiest results.
more so on account of its immediate juxtaposition with a piece so op
posed to it in character. The band played the march to perfection, the Thursday, June 26.
wind instruments and the big drums of Mr. Chipp being delicately and The second day began, as it ended - in triumph. Nothing more gratefully subdued in the softer passages; while those marked forte imposing could have been selected to head the miscellaneous programme were, in another sense, equally impressive, because never obstreperous. than “ We praise Thec, O God,” from the “Te Deum" composed in This unexceptionally interesting first part concluded with the solo and 1743 for the victory of Dettingen. It was, moreover, in all respects | chorus (or, rather, chorus with solos), “As from the power of sacred well rendered - the full rich tone of the immense body of altos, in the lays”—from the setting of Dryden's Ode on St. Cecilia's Day-to which opening of the movement, “All the earth doth worship Thee,” the we particularly called attention in our report of the rehearsal. Mlle. sonorous rejoinder of the basses (“Father Everlasting '), and the Titiens gave the solos, if possible, with still greater purity and splendour fortissimo with which the united vocal and instrumental host delivered of vocal tone than on the former occasion, producing a marked impresthe entire sentence, being especially worth notice. The extracts from sion in the passage, Samson (written two years in anticipation of the “Te Deum ") com
“ The trumpet shall be heard on high," menced with “Return, O God of Hosts,” the tranquil character of at the end of which she sustained, during several bars, a high “ A,'