No. 9 is well designed, but in the execution the composer seems to have been at a loss; there are in this many proofs of inexperience as a writer,—not exactly errors, but want of habit. We, however, recommend him to persevere, practice will remedy defects of the kind to which we allude.
No. 10 evinces talent that we hope will be often called forth. The melody is exceedingly pleasing, and far from common; some of the phrases remind us of the classical schools, and are as unexpected as charming, particularly that in the second page, beginning at the fifth bar. The accompaniment, too, is not less to be approved.
VOCAL SOCIETY
WE have great pleasure in announcing the first meeting of a Society, under the above designation, comprising a body of musical talent, calculated, as we think, to render most essential service to the cause of music generally, but more especially so to the exhibition of vocal excellence, unfettered by the caprice or tyranny of that non-descript, but all-powerful, influence which is known under the familiar term—Fashion. It is, perhaps, the fairest way that the Society should speak for itself; and we therefore insert a considerable portion of the prospectus put forth by its members, which is sufficiently explanatory of what it purposes to accomplish:—‘It has often been a subject of regret among the lovers of English vocal music, that the opportunities of hearing it effectively performed are becoming more rare. The compositions of native musicians are nearly banished from the concerts of the metropolis; the glees of Webbe, Calcott, Cooke, and Battishill, as well as those of their living successors, being superseded by the productions of foreign composers. Were excellence alone made the test of admission, the English musician would have no right to complain; but it may be questioned whether such a principle of exclusion is called for by public opinion or the progress of musical science; or whether the compositions of modern Italy are better calculated to improve the taste of the professor, and to increase the gratification of the amateur, than those of our own country. The regulations of the several societies formed for the encouragement of glee writing, and the practice of glee singing, preclude the presence of ladies, while they are attended with considerable expense wholly unconnected with their musical objects. The intention of the Vocal Society is to present, as its principal feature, the vocal music of the English school, both ancient and modern, including that of the church, the chamber, and the theatre; with the addition of foreign compositions of excellence, songs, duets, concerted pieces, and chorusses, several of which (hitherto almost unknown in this country) are preparing for performance. To this object, its members respectfully invite the co-operation of those who cherish a love for that species of music in which the most celebrated English composers have been proved to excel, and to unite with them in a strenuous effort to vindicate its claim to public attention and patronage.’
To this rational and ingenuous address thirty names are appended, both male and female, including most of the vocal performers of acknowledged merit in the metropolis. We now proceed to give the program of the first concert, to which we shall add such observations as occurred to us during the performance:—
FIRST CONCERT OF THE VOCAL SOCIETY, King’s Concert Room, Hanover Square, Monday, January 7th, 1833.
Leader, Mr. T. COOKE.—Organ and Piano-forte, Messrs. TURLE, GOSS, and HORNCASTLE.
PART I.
God Save the King,—Verse and Chorus.