This Selection contains some very good music, and is upon the whole, quite equal in merit to its precursor. It commences most appropriately with the fine anthem by Jonathan Battishill (No. 1), of which the three first movements were given; the verse for equal voices, was extremely well sung by Messrs. Hawkins, Hobbs, and Atkins, and the whole went off with much effect. Apropos, in regard to Battishill,—this admirable composer published two volumes of ‘Songs for three and four Voices,’ the greater part of which are models in glee-writing; and we strongly recommend them to the notice of this society, as being worthy of occasional introduction. Two charming Madrigals, one in each act (Nos. 5 and 15) gave general satisfaction, and were called for par acclamation. Several members of the Madrigal Society were present, and judging from “outward and visible signs” were highly gratified with the performance. Mr. Braham sang a long cantata (No. 3), and did all that could be done for it; we should have been glad to have seen his powers exerted to more effect; this gentleman is himself a host, and can perform wonders; but in the present instance had no scope for display. A MS. glee of Sir John Rogers, for six voices (No. 4) was sung with taste and expression; the worthy Baronet, though an amateur, may fearlessly enter the lists with most of the professors of the present day, none of whom but might be justly proud of producing such a specimen of melody and harmony combined. A glee of Mr. Goss was chastely and beautifully performed: it is an elegant piece of writing, and was encored with high plaudits, which it fully merited.
However excellent the plan and arrangements of these Concerts, we confess a considerable difference of opinion with the managers upon one point, and that, a not unimportant one—we allude to what, at the Philharmonic Concerts, is called the conductor’s department. There, it is allotted to one individual throughout the evening; and although we have always considered the conductorship at that Concert a most useless office, yet we would prefer seeing it confined to one, rather than shared by different persons during the same evening. At the first of these Concerts, it was announced, that the organ and piano-forte would be taken by Messrs. Turle, Goss, and Horncastle; and Mr. Blackbourne’s name is added to the list in the present concert. The reputation of these gentlemen is too well-established, to render it necessary to have recourse to this puffing mode; for which there is no occasion, and out of which much inconvenience may arise. We would take the liberty of suggesting as the more preferable course, that the same individual retain his situation for the evening,—upon whom, in that case, would devolve the responsibility of conducting that department of the business of the night; and to this conductor we would in all humility offer our decided opinion, that the less he was heard, except in instances where an accompaniment was obligato, the more perfect would be the effect produced. Genuine glee-singing is essentially injured by the jingling of the piano-forte, especially when singers know their own powers, and can sustain their voices without such artificial aid.
EXTRACTS FROM THE DIARY OF A DILETTANTE.
[Resumed from [page 16].]
January 2nd.—NATIVE TURKISH MUSIC!—Mr. Slade, in his Travels in Turkey, Greece, &c., just published, gives us a curious account of the knowledge of the Turkish Capitan Pacha, or high admiral, in musical matters. This officer had been a shoemaker, and knew as much of naval affairs as of the fine arts. Mr. Slade visited him on board his ship, and, among other amusements got up for the English traveller, was a concert, which he thus describes:—
‘In the middle of the day he (the Capitan Pacha) crept into the kennel abaft the mizen-mast, and reposed for some hours, his example being duly followed by the officers, stretched out on the quarter-deck, and covered by flags to keep off the sun. On awaking, coffee and chibouques were served. Water was then brought, with a complete change of garments! and in the same narrow box, six feet by three, by two high, he washed and dressed; then came out and enjoyed the cool of the evening on his quarter-deck couch; always doing me the honour to place me beside him with a chibouque, and no doubt it was a droll sight to the crew, who all gathered round to see the pacha and me thus cheek by jowl. His band, consisting of as many drums and cymbals as could be collected, with two clarionets and one fife, made a noise for our benefit. It played the hunter’s chorus in Freischütz, Zitti, zitti, and Malbrook, over and over, till I fairly wished it at the bottom of the sea. I not only could not stop my ears, but was obliged to applaud liberally. Thinking that its style was more adapted to Turkish music, at the same time intending a compliment, I asked the pacha whether it could perform any Turkish airs? “Turkish airs!” he repeated with astonishment; “Mashallah! have you not been listening to them these two hours?” I bowed, and took refuge in ignorance.’
7th. The first VOCAL CONCERT.—The unanimous and decided applause with which Bennet’s fine Madrigal was received, proves not only that a love yet remains in this country for such music, but we think indicates that it is on the increase. The truth is, that the concert-going public are completely nauseated with the modern Italian opera songs. The reception, too, of ‘Mad Tom,’ so inimitably sung by Braham, is another indication of a return to a healthy state of taste. By-the-by, only part of this is Purcell’s; the omission, however, of some of D’Urfey’s words, and the addition of two movements, by whomsoever made, are undeniable improvements[16].
The Hanover-square Rooms, where these concerts are held, have undergone a complete repair, are newly decorated, and the alteration in the orchestra must be attended by the most beneficial effect, as relates to sound.