The committees, acting on the principle of securing the highest talent, have generally engaged the best vocal performers whose services were available. In proof of this we need only mention the names of the following female vocalists:—Madame Viardot Garcia, Madame Caradori Allan, Madame Clara Novello, Madame Sainton-Dolby, Madame Alboni, Madame Malibran, Madlle. Tietjens, Madame Patti, Madame Lemmens-Sherrington, Madame Rudersdorf, Miss Louisa Pyne, Madame Grisi; and among the male vocal performers may be mentioned Signor Lablache, Herr Formes, Mr. Weiss, Signor Rubini, Signor Belletti, Signor Morini, Mr. Santley, Mr. Sims Reeves, Mr. Cummings, Signor Gassier, Signor Giuglini, Signor Mario, Mr. Phillips, Mr. Lockey, &c. &c.
The Norwich Choral Society, comprising 300 members having good voices, altos, tenors, and basses, has contributed greatly to the success of the festivals by the excellence of the choral performances, especially in grand Oratorios. The Choral Society was established in 1824, and had its origin in the establishment of the musical festivals, Professor Taylor being its chief promoter. In 1825 the Professor removed to London, and the direction of the society was confided to the Rev. R. F. Elwin. The management of affairs was entrusted to a committee of twelve, who were annually elected by ballot at a general meeting. The practice was held in the Old Library Room or in St. Andrew’s Hall. The society has undergone many changes, but has always maintained its high reputation for choral performances. A memoir of the late Professor Taylor, which appeared in the Norfolk News, contained some information as to the part he took in promoting the festivals. We give the following extracts:—
“We learn from the Quarterly Musical Review, which was edited by the late Mr. R. M. Bacon, that at the Festival of 1824, ‘Mr. Bacon, Mr. Taylor (late Professor Taylor), and Mr. Athow, were nominated as a committee for the entire conduct of the musical department.’ Vol. VI. p. 434. The same authority says a little further on, ‘Mr. Taylor undertook the formation of a Choral Society, which he accomplished with a degree of knowledge, skill, and perseverance, that cannot be too highly praised.’ Again ‘The musical committee then decided on the following vocalists and instrumentalists, &c.’ From all which it seems that the triumvirate managed the musical department.
“Mr. Fitch once wrote to Mr. E. Taylor requesting him to state what share he had in the management of the first festival. The following was Mr. Taylor’s reply, dated March 25th, 1847. ‘When the Norwich Festival was resolved on in 1823, I made the entire selection (morning and evening). I engaged every performer; I selected the entire band, and I formed and trained the Choral Society. I have done the same for every subsequent festival (until the last, 1845,) with the exception of having nothing to do with the Choral Society, or any of the country performers. Every Oratorio brought out (and a new one was always brought out) was translated and prepared for performance by me.’ These were the following performed for the first time here. ‘The Last Judgment,’ Spohr; ‘The Crucifixion,’ Spohr; ‘The Fall of Babylon,’ Spohr; ‘The Deluge,’ Schneider; ‘Redemption,’ Mozart; ‘The Death of Christ,’ Graun; ‘The Christian’s Prayer,’ Spohr.
“It will be seen by the above how little Mr. E. Taylor left for anybody else to do. Mr. Taylor’s two associates, like the wings on a stage sylph, were more for ornament than use. His statement is confirmed by the Musical Review, which says, ‘The Hospital Board presented to Mr. Taylor a piece of plate, of fifty guineas value, for his services in raising and instructing the Choral Society, and for his general assistance.’”
The memoir before mentioned further states:—
“At the Norwich Festival of 1830, Mr. Taylor introduced Spohr’s Oratorio of ‘The Last Judgment’ for the first time into this country, the words being translated and adapted to the music by Mr. Taylor himself. This was followed at subsequent festivals by other oratorios of the same composer, which for originality, richness, and beauty, are unrivalled in their way. After the performance of ‘The Last Judgment,’ Mr. Taylor became personally acquainted with Spohr, and one day, getting an invitation from Mendelssohn to visit him and his family at Dusseldorf on the Rhine, where Spohr then was, the invitation was accepted, and thus Mr. Taylor first became known to the illustrious composer, with whom he formed a friendship which lasted as long as they both lived.
“At the Norwich Festival of 1836, the expenses exceeded the receipts by £231 5s. 10d. We give an extract from a letter, written in the following year by Mr. Taylor to Mr. Henry Browne, which will be read with pain, because it shows that Mr. Taylor received far other treatment than he deserved at the hands of the committee of management. Mr. Taylor said, ‘I hear of the discord engendered by the winding up of the Festival with much concern, and which seems to threaten the existence of future ones. How it happened that the last terminated so unprofitably has always been a mystery to me. I think it ought not.’”
And Mr. Taylor goes on to state the amount of work which he himself did for nothing.
All the festivals had been hitherto successful. The first, in 1824, produced a surplus of £2399 to the Norfolk and Norwich Hospital. The second, in 1827, afforded that institution £1672; the third, in 1830, yielded £535 to the hospital; the fourth, in 1833, was also successful; but in 1836 the expenses of the Festival, as has been shown, exceeded the receipts by £231, and a general board of the hospital resolved that no part of the funds belonging to the institution should be used for any purpose connected with the Festival.
At the Sixth Musical Festival, held on the 17th, 18th, 19th, and 20th September, 1839, Dr. Spohr conducted his own new Oratorio of “Calvary,” before a very large audience, in St. Andrew’s Hall. The performance was very grand, and produced a thrilling effect on the audience. The selection of such a subject as the Crucifixion for an Oratorio drew forth a good deal of criticism, but there could be no doubt of the musical merits of the composition.
After the performance of “The Crucifixion,” Spohr and Mr. Taylor were travelling outside the coach to London, when the former expressed a wish to write another oratorio for Norwich, but said that he was at a loss for a subject. Mr. Taylor then suggested The Fall of Babylon. This led to a chat about the effects which might be introduced in the way of contrast, &c., and ultimately Spohr promised to write the oratorio if Taylor on his part would write the words. The bargain was struck, and the result was a work which will live to the end of time.
The Festival of 1842 was by far the most brilliant that had been held. Of course Dr. Spohr’s “Fall of Babylon” was the chief attraction. It was performed in the presence of the largest and most fashionable audience ever seen in St. Andrew’s Hall. Numbers of the gentry could not obtain admission. People stood under the long galleries, and along the passages, and in every corner of the building. The performance was a splendid success, and greatly added to the fame of the composer. Professor Taylor translated the Libretto, and was the conductor of the Oratorio. On the following day he conducted the performance of Handel’s Oratorio of “Samson,” to which he added selections from Handel’s works. This caused a good deal of adverse criticism, but it was not without precedent. On Friday morning the Professor conducted a performance of Handel’s “Messiah.”