558

THE MUSICAL WORLD.

BIRMINGHAM FESTIVAL.

(From our own Reporter.)

TUESDAY, August 28.

ALL Birmingham is in the greatest possible state of excitement about Mr. Costa's new oratorio, Eli, and the utmost expectations respecting its success are entertained in various quarters. So much curiosity has it caused, that nearly every musical notability in London-amateur and professor-has contrived to find his way to Birmingham. The town swarms with visitors, and every bed in every hotel is taken. The accommodation, I hear, is everywhere good, but the prices are doubled in most places and quadrupled in some.

Well, Festivals come but once in three years, and these constitute the innkeepers and landlords' carnival time. Who can blame them for making hay while the sun shines?

I came from Worcester on Sunday night by the train, having travelled in the morning by coach over the Malvern Hills from Hereford-a journey I would strongly recommend to all who love scenery in its greatest beauty and variety to undertake. The ride from Ledbury to Malvern presents a succession of landscapes, which, for picturesque beauty and variety, are, perhaps, not surpassed in England. I am not going to describedescription is not my forte"-but the Hereford Festival three years hence will come again with the Birmingham, and should the former take precedence-as it has this year (for the first time, by the way)-I would earnestly advise all such as are bounden from one place to the other-even supposing the railway finished from Hereford to Worcester-a consummation devoutly to be wished to take places (outside of course) by the mail, so skilfully and meekly driven by the placid coachman and proprietor (Mr. Meek), and, putting cigars in their pockets, mount to the top, and await the unfolding of the wondrous panorama, which Nature in all its glory (providing that the sun shines) is about to spread before their eyes. Should they follow my advice, I wish them the enjoyment of as fine a day as we had yesterday; and then, indeed, they will behold a sight which will not fade easily from their recollection.

We arrived in Birmingham about half-past ten. Yesterday morning, about seven o'clock, I was awoke by the braying of brass instruments, much more loud than agreeable. The Festival is being inaugurated in rather an unmelodious manner, I thought. Some ragged boys in advance of a brass band, held flags of various nations, and led the way to the station, near which my hotel is situated. The band comprised four ophicleides, three cornet-à-pistons, two drums, a big and a little, and two boys to carry the books. The "musicians" were dressed in scarlet, with scarlet caps, and, but for their wretched attempts to accomplish "Partant pour la Syrie," I should have supposed they belonged to a militia regiment. I understood they were going by rail some distance from Birmingham to accompany a gipsy party.

Yesterday morning I went early to the Town-Hall to hear the rehearsal of Mr. Costa's new Oratorio. On my way, I passed the new statue of Sir Robert Peel, erected at the top of Newstreet, midway between Christ's Church and the Town-Hall. The statue was then covered, the covering not being removed until noon, when the usual inaugural ceremony took place. The site is by no means the best in the city. The sculptor is Mr. Peter Hollins, a Birmingham man, and the casting in bronze, in one piece, was executed by the well-known firm of Elkington and Mason, so that the statue is essentially a local production. Sir Robert is represented in the act of addressing the House. He has knee-breeches and silk stockings, which he never wore in the House, and a cloak is thrown over his shoulders in ample folds, though he never wore a cloak. Why the knee-breeches and why the cloak, the sculptor, Mr. Peter Hollins, can, no doubt, satisfactorily tell. The statue is regarded by many as a good likeness, but its general merits are very generally discussed. For my own part-being no sculptor-I cannot pretend to say. If called upon to give an opinion, I should pronounce the statue a failure, unworthy of a great city and of a great statesman. The face appears to me too old and withered, and the figure gives no idea whatever of the portly and full-sized Sir Robert.

The attitude is decidedly ungraceful, and the position of the left
leg in advance, strikingly awkward. But, I repeat, I am no
sculptor. The statue is placed on a square pedestal of Peterhead
granite, red and warm in tone, highly polished, and harmonizing
gratefully with the bronze. Not to return to this subject again,
I may state here, that the ceremonial of inauguration was brief
and simple. It consisted merely of a formal conveyance of the
At least 25,000
statue to the Mayor and Corporation, on behalf of the subscri-
mittee, who delivered a spirited eulogium on the character and
bers, by the Hon. and Rev. G. M. Yorke, chairman of the com-
achievements of the illustrious statesman.
hood of the statue was dreadful. During the progress of the
people were present, and the crush in the immediate neighbour-
ceremony the rehearsal of Mr. Costa's Oratorio was going on in
the Town-Hall close by.

The interior of this fine monument has been completely trans-
formed since the last Festival. The building itself is Grecian in
its exterior, with an Italio-Greek interior, with which Mr.
ceiling is a mixture of Roman and Italian ornaments; the mould-
Ingram's decorations are in the most perfect harmony. The
ings are of a Greek character, especially in their arrangement.
three circles, each divided into four portions, separated by taper-
The rosettes are strictly Roman. The ceiling is composed of
ing ribs on which are painted arabesques in the manner of
Raffaelle, with musical trophies, vases of flowers, and other
ornaments introduced. Each compartment is again divided into
nine coffers or sunk pannels; the extreme depth of these being
work of each compartment is a maize colour, with Roman
painted in rich crimson, with a gold radiating star. The frame-
circle is a Roman rosette of white and gold, with a rich orange
The
ornaments in soft carmine. The junction of the rib of each
centre upon a blue ground. The first coffer is painted a deeper
maize than the frame-work, with a terra-cotta ornament.
next receding coffer is of blue and gold, and the extreme depth
of crimson and gold. In all there are thirty-six coffers in each
circle, forming a splendid enrichment for the centre, which
consists of a sun-light composed of four hundred and thirty
work of the ceiling is richly decorated with large rosettes, of
burners. Of these there are three in the ceiling. The frame-
singular beauty. These are emblazoned with a profusion of gold,
and relieved with glowing colours. The cornice is white; the
cantelevers and the mouldings are etched with gold. On the
frieze around the building is painted the celebrated honeysuckle
ornament from the temple of Jupiter Stator. The walls are
which has gained for Mr. Ingram a peculiar pre-eminence. The
Sienna marble, finished in the highest style of art by a process
pilasters are highly polished, resembling enamel. The capitals are
elegantly gilded. The basement of the building is of that peculiar
mainder of the decorations. The front of the galleries is bronze
grey tint, which brings out in relief the richer hues of the re-
and gold. The decorations of the organ correspond with those
of the building. The framework, excepting the base, is elabo-
rately gilded; the pipes are of a rich cobalt blue, diapered with
The colours are rich and brilliant, but they
gold, and the whole presents a mixture of the Greek and Italian
styles. On entering the Hall, the eye is delighted with its light
are so harmoniously blended that their combined effect is chaste
and cheerful aspect.
as well as magnificent.

An outline of the programme has already appeared in the Musical World. It may, nevertheless, not be superfluous to state that the Birmingham Musical Festival is given in aid of the funds of the General Hospital, an institution which in every respect deserves assistance from the benevolent. The Festival

like the Hereford and others-is under the especial patronage of her most gracious Majesty the Queen, his Royal Highness but not to speak disloyally-as none of these high personages Prince Albert, and her Royal Highness the Duchess of Kent; ever condescend to attend the meetings, I do not exactly see The Birmingham Festival of the value of their "especial patronage." The presence of Her much more fashionable than it is. Majesty would effect a vast amount of good, and render charity tronage. The list of vice-presidents alone-which includes names 1855, however, has nothing to complain of on the score of paof the highest rank and influence in Warwickshire and the

seventy-four, and the receipts, including donations and collections, amounted to £1889 9s. 10d. This exhibits a falling off from the first morning's receipts in 1852, when £2304 11s. 1d. was realised. The disturbed state of public affairs no doubt has exerted a depressing influence on the Festival. Indeed I am told by those versed in managerial matters that the Charity will not benefit as largely as was expected.

I have just learned that Mad. Bosio is prevented from coming to sing at the Festival from illness, and that there is no one to supply her place, the committee having declined Mad. Gassier, or Madlle. Marai, offered by Mr. Beale as substitutes. Mad. Castellan, has, however, offered to sing all the music of Mad. Bosio, and her proposition has been accepted. By this contretemps-"'tis an ill wind that blows nobody good"-more than £200 will be saved to the Charity.

The concert last night provided one novelty of great interest Mr. Macfarren's cantata, Lenora. The remainder was of the stereotyped miscellaneous kind. The band played the overtures to the Isles of Fingal (an imperfect and coarse performance), Der Freischütz (a worse), and Masaniello (a brilliant, but unusually noisy performance), which last obtained an encore. The introduction of cymbals and two ophicleides into Weber's overture had an effect more novel than agreeable.

voce

The vocal selection did not present anything remarkable. On the contrary, Miss Dolby brought "Over the sea "with her all the way from Hereford, across the Malvern Hills, with the addition of new and original accompaniments of the orchestra, by Mr. Duggan; and Madame Grisi did not leave "Qui la " behind her; neither did Mario his favourite romance from the Favorite; nor Mr. Sims Reeves his quotations from Henry Smart's Berta. Madame Castellan filled Madame Bosio's place in the programme, and was an admirable substitute. There were six encores-Mr. Sims Reeves, in the ballad, "In vain I would forget thee," from Berta; Madame Grisi, in "Qui | la voce," from I Puritani; Signor Labbache, in "Non più andrai ;" Herr Formes, in "Possenti humi," from Il Flauto Magico; Signor Mario, in "Angiol d' Amore," from La Favorita; and the overture to Masaniello, already cited. One of the most interesting performances of the evening, however, was the lovely duet, "Bella Ninfa," from Spohr's Jessonda, by Madame Rudersdorff and Herr Reichardt.

Of Mr. Macfarren's fine and poetically conceived cantata, I need say nothing to your readers. Its merits have been discussed on more than one occasion, in the pages of the Musical World. It was very ill performed, although Mad. Viardot who sang the part of Lenore-as usual, like a true and zealous artist-did full justice to the music of that highly-passionate, true-hearted, dreamy, half silly and wholly interesting personage. Such a work as Lenore should be heard more than once or twice, in order to obtain a true idea of its meaning and intrinsic worth. The visitors to these evening concerts, however, have not the chance; and certainly the slovenly performance in question did not help their understandings. The principals-Mesdames Castellan and Viardot, and Mr. Weiss-however, did all that could be demanded of them in their respective parts. The applause was enthusiastic at the end, and Mr. Macfarren, who was by the side of Mr. Costa, in the orchestra, was honoured with a genuine "ovation."

In the meanwhile, every individual of musical note in London has arrived in Birmingham, bent upon hearing the new oratorio of Herr Richard Wagner's predecessor. Dr. Henry Wylde, Mr. Charles Horsley, Mr. Henry Leslie, Mr. Lindsay Sloper, Mr. | Henry Smart, Mr. Robert Barnett, Mr. Amott (of Gloucester), and many others, in addition to the musical critics of the press, are all here. The fate of Eli will soon be decided. It is now half past ten o'clock. In four hours from this time, the verdict of the public, musical and unmusical, will be given concerning a work, which, previous to its performance, has, from the combination of various circumstances, created in the musical world an excitement almost unprecedented.

THURSDAY MORNING.

The great "event" of the Birmingham Festival has taken place, and judgment has been pronounced on Eli. As every

body anticipated, the success of Mr. Costa's new oratorio yesterday was almost unprecedented. I do not remember to have witnessed such a demonstration in favour of any individual connected with the artistic world since the Jenny Lind nights or Macready's last performances. The enthusiasm displayed in 1846, when Elijah was first produced here, was at least equalled, and Mr. Costa has been placed on a pedestal about half-an-inch higher than Mendelssohn, by the people of Birmingham, the committee of the Birmingham Festival, and the dignitaries of the Sacred Harmonic Society. Chacun à son goût. Mr. Costa has cause to be proud of his success, and I only hope it may not turn his brain. Something akin to the exhibition of yesterday occurred at the Olympic some years ago, when Mr. Brooke made his first appearance in London. The audience went frantic, and, with some exceptions, pronounced him the successor of Edmund Kean. To say the least, they had better have waited. It is ill to swallow one's own words. The public had to swallow theirs, nevertheless. Mr. Brooke is now, by universal assent, placed among third-rate actors. I do not compare Mr. Costa with Mr. Brooke-Heaven forbid! But surely the extravagant praises lavished upon Eli may, by a stretch of imagination, be compared to those formerly bestowed on Mr. Brooke. It is easier, however, to account for the favour shown to Mr. Costa, who has done a great deal for the Birmingham Festival by his talents and energy. An important work from his pen was, therefore, entitled to consideration, although attempting something out of his line, and although his antecedents counted for little. The Birmingham folk, however, detected indications of genius in Mr. Costa, or they would never have invited him to compose an oratorio-the most difficult of all tasks for a musician-and Mr. Costa must have agreed with the people of Birmingham, or he would not have accepted the invitation. That Mr. Costa applied himself heart and soul to his task I have not the least doubt, nor that he has done his best. And this is his chief praise. He has laboured conscientiously, and given the world the result of his labour. What that may be is a distinct question.

But how to describe a demonstration which baffles description! Words might be found to afford some idea of the reception accorded to Mr. Costa on his entrance into the orchestra; but, for the end, the tongue can find no language. How vociferous were the cheers, and how long they endured, must be left to the reader's imagination. No wonder Mr. Costa was overpowered by emotion-he must else have been made of granite. The excitement would have disturbed the equanimity of one of even sterner mould. When all was finished, four ladies of the chorus were deputed to demand from Mr. Costa the gloves he wore in conducting Eli, as a memento. The gloves were granted, the ladies in question cut them in pieces, and divided them among their companions to be worn as insignia during the rest of the Festival.

Of the performance it is easy to speak. The band, chorus, and principals, were perfect, from first to last. The execution of Eli was almost as wonderful as that of Elijah the preceding day, and everything was done that could be done to place it in a favourable light. Never were greater zeal and energy displayed; one feeling only seemed to actuate the mass-that of doing the utmost to achieve a triumphant success.

I cannot speak with confidence of the music, after the unqualified encomiums I have listened to. The merits of Eli, nevertheless, are not so universally acknowledged as I was led to imagine. There are many who dissent from the general opinion of the crowd. While some laud the new oratorio to the skies, there are others who criticise it severely, and these are chiefly among musicians. My own impression, after two hearings, to both of which I paid particular attention, is: that Mr. Costa has written an exceedingly clever work; that he has proved himself thoroughly acquainted with the resources of his art; that he has command over the orchestra and writes admirably for voices; that his music is to the purpose; and that he has great fluency. Something more than this, however, is required to produce a masterpiece (as Eli has been denominated), and this the composer does not possess. He displays neither imagination nor originality; he is wanting in elevation of style; even when he soars,

he cannot sustain himself; and that harmony of purpose, which spreads such a halo round the compositions of the great masters, is not to be found in the new oratorio. But what surprised me most was the absence of melody, new or old. The phrases are rhythmical and flowing, but I did not catch one original thought. This is singular for an Italian-the author, too, of Don Carlos and Malek Adel. Did Mr. Costa deem it requisite to abandon tune in the sacred oratorio? If so, he thought very differently from Händel and Mendelssohn, whose sacred works abound in "absolute melody."

you in the name of the Lord," by Mesdames Castellan and Viardot, Mr. Sims Reeves and Herr Formes, the performance of which was irresistible and an encore inevitable. The orchestral march of the Israelites, which follows, sounds better when it is given subsequently to the chorus. The tune is very primitive. The chorus, "Hold not thy peace," is one of the best pieces. It was a prodigious performance. The air, "This night I lift my heart to thee"-calm and expressive, but not very original-was entitled to notice on account of Madame Viardot's singing, than which nothing could be more artistic and finished. The dropping of the voice as Samuel falls asleep was worthy of the greatest of singers. The chorus "No evil shall befall thee," with triple harp accompaniment, was redemanded, chiefly on account of execution. The pianissimos and crescendos were managed with wonderful effect. The remainder of the oratorio was listened to in silence, but the execution was no less extraordinary than what had gone before.

Mr. Costa, however, had much to contend with in the composition of Eli. The libretto-if I may so call the book of an oratorio-is bad. The story-a digest of which has already appeared in the Musical World—is disjointed; and the incidents, few and far between, are by no means favourable to musical illustration. The composer was therefore compelled to give a fragmentary shape to his music and to break the interest into pieces. There are two situations, however, which offer great I have scarcely spoken in terms of sufficient praise of the scope to the musician, and of these Mr. Costa has availed him- principal singers. I have mentioned Madame Viardot, Mr. self melodramatically. The first is when Eli overhears his two Sims Reeves, and Madame Castellan. Herr Formes, however, sons, Hophni and Phinehas, riotously singing with the women has a most difficult and ungrateful part in Eli. His music is of assembled at the door of the tabernacle; the second is where the same sombre and grave character throughout, and presents "Saph"-a valiant warrior of Gath-summons the Philistines very few opportunities for effect. The declamatory powers of to battle. Mr. Costa has illustrated both of these with effect, the German basso, however, had frequent occasions for display, although, as I have said, melodramatically. The employment of and of these he made the best use. The recitatives were finely the tabret a sort of Indian drum or banjo played with a stick-given, and the words of the prophet received double force from is questionable, at least in sacred music. The second situation, his earnest and impressive delivery. Herr Reichardt had little the call to battle, is represented with similar contempt of "seve- to do, but that little he did well, as usual. He is always painsrity." The singing, however, of Mr. Sims Reeves and the chorus taking, and always equal to what he undertakes. induced the audience to overthrow the barriers of etiquette, and The oratorio of Eli finishes with a fugued chorus, "Blessed be take from the hands of the president the assumed right of the Lord God of Israel," during the performance of which, yesencoring. With these exceptions the situations are unsugges- terday, the audience remained standing. tive, and the composer, it must be owned, has had up-hill work. For many reasons I have refrained from entering into an analysis of the music. No doubt a future opportunity will be found for an elaborate consideration of its merits. It remains, therefore, to speak of the performance, or rather of the effect produced, since I have already stated that the execution was perfect.

The overture and introduction passed off quietly. The first encore was awarded to the chorus, "The Lord is Good," a round, with a simple theme, accompanied by three harps in the orchestra. The singing of the chorus, more especially of the females, was inimitable. The chorus of the ungodly revellers, "For everything there is a season," was as fine a performance in another way, and the music is far more interesting and difficult, but the President allowed it to pass unnoticed. The solo and chorus, "Philistines, hark, the trumpet sounding," carried everything before it, and the audience could not suppress their emotions. Mr. Sims Reeves gave the solos with electrical effect, and the chorus answered in a voice of thunder. The applause was renewed at the end of the repeat, and Lord Willoughby de Broke consented. I forgot to mention the air for soprano voice, "Turn thee unto me," immediately following the introduction, a graceful and flowing melody, admirably sung by Madame Castellan. This really deserved an encore, but the President made no sign. Mad. Castellan was encored in the second air, "I will extol thee," written something after the manner of Händel. At the end of the first part, the fugued chorus, "Hosanna in the Highest," was received with uproarious applause. There are three fugues, or attempts at fugues, in the first part-the overture, the chorus, "Blessed be the Lord," and the final chorus.

The second part opens with a morning prayer for Samuel, "Lord, from my bed again I rise," one of the most attractive tunes in the oratorio, written with skill for the contralto voice, and exquisitely sung by Madame Viardot. This created a genuine impression; Lord de Broke gave the signal for repetition, and it was repeated with increased effect. The trio, "Thou shalt love the Lord," sung by Mesdames Castellan, Viardot, and Mr. Sims Reeves, was applauded by part of the audience, but suppressed-the President remaining quiescent-silence, contrary to the adage, giving no consent. The trio-a sort of round, with a harp accompaniment was sung to perfection. Still better, if possible, was the unaccompanied quartet, "We bless

I must be brief with last night's concert, as the morning performance commences to-day half-an-hour earlier-why, I cannot say, unless it be that the Messiah occupies a longer time than other oratorios. The principal attractions of last evening's programme was Mendelssohn's Symphony in A major (the Italian") and finale to Loreley, and Beethoven's overture to Leonora. The symphony was on the whole finely executed, but the andante a little too fast. The last movement, the Saltarello, went splendidly. I was agreeably disappointed in the finale to Loreley, which was infinitely better executed than at the rehearsal. Another and a careful rehearsal would have insured a faultless performance. The grandest of the four overtures to Fidelio (the so-called Leonora,) left little to be desired. In the Miscellaneous Selection there were six encores-Signor Mario in a new ballad by Mr. Frank Mori, "Good morrow" Mr. Sims Reeves in Molique's "When the moon is brightly shining;" the chorus in Mrs. Mounsey Bartholomew's choral part song, "Philomela sings"-exquisitely sung; Mr. Sims Reeves, Mr. Weiss, and chorus in Purcell's dramatic piece, "To arms, to arms;" Herr Formes in the comic air, "O! wie will ich triumphiren," from Die Entführung aus dem Serail; and Mesdames Grisi, Viardot, and Castellan in the trio, " Le faccio un inchino," from Il Matrimonio Seyreto.

The attendance at the morning performance yesterday was not so great as on the first day, notwithstanding all the excitement about the new oratorio. The evening concert, on the other hand. attracted a large audience, the receipts verging close on £1,100. The performance of the Messiah to-day will, I understand, bring an enormous crowd. Every place in the hall is taken, and three hundred tickets are sold, the purchasers of which will have to content themselves with standing-room. I shall have time to write but a few lines on my return to be in time for the express. Fortunately the Messiah requires no explanatory notice. A1 cord of the performance will suffice.

-re

THURSDAY, 3 O'CLOCK.

I have just returned from the performance of the Messiah, in the Town Hall, which was crammed to suffocation in every part. Some idea may be entertained of the vast crowd assembled, when it is stated that the receipts surpassed by a considerable amount those of any day at any former Festival. No less a sum than £2,808 odd was realized; the greatest previous receipts having been