The choice of so large a work as Hadyn’s “Creation,” one of the finest of his productions, on the first evening, was considered desirable, as it gave full employment at once for the principal vocalists, the chorus, and the band. As many persons could not attend in the morning, an oratorio in the evening gave them an opportunity of hearing a great work well performed, and the lovers of sacred music readily seized the opportunity presented to them of attending the performance, which was never more perfect. No band could have possibly played it more exquisitely, no chorus could have sung it more honestly or earnestly, and the solos were beyond all praise.
Wednesday morning was assigned to performances of a sacred and very solemn character; Handel’s “Dettingen Te Deum,” and Spohr’s “Last Judgment.” Handel composed five Te Deums, but the finest is that written in 1743, in celebration of the victory at Dettingen, then thought a great event. The victory was rather unexpected, and as George II. commanded in person, the rejoicings in England were very general. Horace Walpole wrote, “We are all mad; drums, trumpets, bumpers, bonfires! The mob are wild, and cry ‘Long live King George and the Duke of Cumberland!’” After the “Te Deum,” there was a short interval preceding the performance of Dr. Spohr’s great work “Die Letzten Dinge” (The Last Things), the earliest of the composer’s three oratorios. In 1825 it was brought over from Germany by Professor Taylor, and it was first performed before an English audience at the Norwich Festival on September 24th, 1830, under the title of “The Last Judgment,” which does not convey a very correct idea of the work. It was received with the greatest possible favour, like all other works of the same master, in this city. The grand theme is set forth in a series of paraphrases of scripture texts referring to the final consummation of all things.
The novelties at this festival were Professor Sterndale Bennett’s Pastoral “The May Queen,” and Benedict’s brilliant Cantata, “Undine,” both of which were performed with great success. The Pastoral was produced with complete success at the Leeds Musical Festival, in September, 1858. Mr. Chorley composed the poem, and he deserves some credit for the verses, as well as for the dramatic character of the piece. The overture is a beautiful composition, and the whole work displays a marvellous combination of simplicity and ingenuity. Herr Molique’s new Oratorio, “Abraham,” was performed here for the first time, and conducted by the composer, who at the close was greatly applauded. The words are taken from the Old Testament, and the characters personated are Abraham, Sarah, Hagar, Isaac, Angel, and Messenger, who in turn depict the different scenes in the life of the patriarch. He is exhibited as a saint, as a warrior, and as a great sufferer. Full scope is given for the display of human passion in almost every phase, from triumphant joy to a sorrow that borders on despair. The incidents are picturesque, striking, and varied, calling all the powers of the orchestra into play. The principal vocalists were Madame Clara Novello, (her last appearance in Norwich,) Madame Weiss, Miss Palmer, Madame Borghi Mamo, Madlle. Tietjens, Signor Giuglini, Signor Belletti, Mr. Sims Reeves, Mr. Wilbye Cooper, Mr. Santley, Mr. Weiss. Instrumental solo performers, Miss Arabella Goddard, piano; Mr. Sainton, Mr. H. Blagrove, Signor Piatti, violoncello; Mr. Benedict, conductor; Mr. J. F. Hill, chorus master.
The Festival of 1863 commenced on Monday evening, September 14th, with a performance of Handel’s grand Oratorio, “Judas Maccabæus,” which was eminently successful. The large audience seemed to be carried away by the martial music. On the Tuesday, Wednesday, and Thursday evenings, miscellaneous concerts were given. On Wednesday morning Mr. Silas conducted a performance of his own sacred drama, “Joash,” with success. This was followed by a “Scene at the Gates of Nain,” from the Oratorio “Immanuel,” by Henry Leslie; also selections from the Stabat Maters of Haydn, Pergolesi, and Rossini, and a selection of sacred music. “Elijah” was performed on Thursday morning, and the “Messiah” on Friday morning. Another novelty at this festival was a Cantata, entitled “Richard Cœur De Leon,” composed expressly for the occasion, and performed on Thursday evening with immense applause. This Cantata embodied the romantic story of the warrior king in captivity, being discovered by the minstrel Blondel, who at last caused the liberation of the monarch. The principal vocalists were Madlle. Tietjens, Madame Lemmens Sherrington, Madame Weiss, Miss Wilkinson, Miss Palmer, Madlle. Trebelli, (her first appearance in Norwich,) Mr. Sims Reeves, Mr. Montem Smith, Mr. Santley, Mr. Weiss, Signor Bettini, (his first appearance here,) Signor Bossi, (his first appearance here). Mr. Benedict was conductor. Instrumental soloists, M. Paque, violoncello; Mr. H. Blagrove and Mr. Sainton, violins. Mr. J. F. Hill, chorus master.
The Festival of 1866 was deferred till November, very unwisely, in anticipation of a visit of the Prince and Princess of Wales on the occasion. This caused a larger attendance on the day their Royal Highnesses were expected, and a smaller on all the other days. The arrangements for the visit were also injudicious, to say the least. Their Royal Highnesses should at once have proceeded to the Wednesday morning’s performance, but they were detained at the Guildhall to hear an address from the corporation, and then they were allowed to go to St. Andrew’s Hall in the middle of a performance, which was greatly interrupted. Their Royal Highnesses, therefore, could not possibly have appreciated Costa’s Oratorio from hearing only half of it. The festivals have been always patronized by royalty, and by the nobility, gentry, and clergy, and have never failed to attract the county families; but this year (1866) was the first in which members of the royal family were actually present.
The general programme for 1866 when issued, presented some points of peculiar attraction, including “Israel in Egypt,” by Handel, on Monday evening; an Anthem by Dr. Spohr, and the Oratorio of “Naaman,” by Costa, on Wednesday morning; “St. Cecilia,” a new Cantata by Benedict, selections from the Passion Music of Handel, and first and second parts of the “Creation,” by Haydn, on Thursday morning; and the “Messiah” on Friday morning. Most lovers of sacred music would have preferred Haydn’s entire Oratorio to the sombre Passion Music. The committee, acting on the principle of securing the highest talent, made engagements with Madlle. Tietjens, Madame Rudersdorff, Miss Edith Wynne, Madame De Meric Lablache, Madlle. Anna Drasdil, three of them appearing for the first time in this city; also with Mr. Sims Reeves, Mr. Cummings, Signor Morini, Mr. Santley, Mr. Weiss, and Signor Gassier, all well-known vocalists. The instrumentalists were all first-class performers. The choral body was much improved and strengthened, and included 62 of the best trebles ever selected, 24 contraltos, 35 altos, 59 tenors, and 67 basses.
Handel’s Oratorio, “Israel in Egypt,” was splendidly performed on the Monday evening; the solos were in the hands of first-class vocalists, but the absence of Mr. Sims Reeves was a disappointment. Mr. George Macfarren had improved the instrumentation by the addition of parts to the original score. He had no occasion to apologize for doing for “Israel,” what many musicians have done for other productions. It is not presumptuous to have recourse to the resources of more modern instrumentation, so long as the character of the work is not altered.
On Wednesday morning, as we have said, the Prince and Princess of Wales were present. The performances commenced with Dr. Spohr’s Anthem “O blessed, for ever blessed, are they,” the first time of performance, and it was admirably rendered. Mr. Costa then conducted a splendid performance of his own Oratorio of “Naaman,” founded on a part of Old Testament history, relating to the restoration from death of the son of the Shunamite by the prophet Elisha; a subject not very well adapted for musical purposes. All Oratorios are cast more or less in the Handelian mould, but Mr. Costa has introduced more of the secular clement than usual.
On Thursday morning the hall was well filled by a large audience desirous of hearing a performance of Handel’s Passion Music, and Mr. Benedict’s new work, “St. Cecilia.” As to the former, we may state that there are two works of Handel entitled “Passion Music,” one produced, it is believed, in 1704, the other in 1716. Dr. Chrysander caused the publication of both these works by the Leipzig Handel Society in 1860 and 1863. It is strange that these two productions should have slumbered so long unheard and unknown till the selection was performed in Norwich. Interesting as the Passion Music might be, the all-important event of this morning’s concert was, the production of Mr. Benedict’s new Cantata. “St. Cecilia” has long been a favourite subject with both poets and composers. Among the former, Fletcher, Dryden, Pope, Addison, Congreve, and a host of versifiers, have contributed Odes in honour of the patroness of music. Many of these Odes are still in existence, with their accompanying music, of various degrees of merit; the principal being those by Purcell and Handel. These are great names, but the construction of the older works is entirely different from the Cantata now performed for the first time with great applause. After a short interval the concert was continued with the “Creation,” which could not have been better performed or with a stronger cast.
Friday morning has been always assigned to the performance of the “Messiah,” and to hear it every seat in the hall was this time occupied, and numbers could not obtain admission. We have heard this sublime Oratorio scores of times, in London and in many large towns, and here at every festival since 1840, but we never heard it rendered with greater effect than the last time (in 1866).