[To be continued.]

VOCAL SOCIETY.

THIRD VOCAL CONCERT, Monday, February 4, 1833.

Leader, Mr. T. COOKE.—Organ and Piano-forte, Messrs. TURLE and GOSS.

PART I.

 1. Chorus, ‘Kyrie Eleison! Christe Eleison!’ LEO.
 2. Glee, ‘O snatch me swift.’ (Miss Masson, Terrail, Vaughan, Bellamy, and Atkins) DR. CALLCOTT.
 3. Quartett and Chorus, ‘Vergin’ Madre sconsolata.’ (Miss C. Novello, Spencer, Vaughan, and Bellamy) HAYDN.
 4. Song, ‘Oppress’d with grief.’ (Mr Vaughan) BEETHOVEN.
 5. Madrigal, ‘Die not, fond man.’ (1608) J. WARD.
 6. Solo and Quartett, ‘Mater amabilis!’ (Miss C. Novello, King, Vaughan, and Atkins) MOZART.
 7. Song, ‘Despair.’ (Mr. E. Taylor.) MS. E. TAYLOR.
 8. Glee, ‘A blossom wreath.’ (Master Howe, Terrail, Hobbs, and Chapman) CLIFTON.
 9. Chorus, the Vintagers’ chorus from The Seasons HAYDN.
10. Concertante, Clarinet. (Mr. Willman) C. M. VON WEBER.

PART II.

11. Mass, No. 1, ‘Gloria in excelsis Deo!’ HUMMEL.
12. Cantata, ‘Ch’io mi scordi.’ (Miss Masson) MOZART.
13. Glee, ‘I wish to tune.’ (Messrs. Hawkins, Horncastle, Bennett, and Chapman) WALMISLEY.
14. Duetto, ‘Fra gli Amplessi.’ Così fan Tutti, (Miss Masson and Mr. Bennett) MOZART.
15. Quartett, ‘What phrase, sad and soft.’ The Noble Outlaw. (Mrs. G. Wood, Miss George, Broadhurst, and Hobbs) BISHOP.
16. Song, ‘The Sea Rover.’ (Mr. Bennett) CHEV. NEUKOMM.
17. Madrigal, ‘In pride of May.’ (1608) WEELKES.
18. Terzetto, ‘Lei faccio.’ Il Matrimonio Segreto. (Misses Celia and Clara Novello, and Miss Masson) CIMAROSA.
19. Chorus, ‘Now tramp.’ Knight of Snowdon. BISHOP.

The general effect of this evening’s performance was not equal to the last: in regard to variety no fault can be found, for in a concert of nineteen pieces, we find the compositions of fifteen different authors, indicating a strong desire to suit the inclinations, and meet the wishes of the subscribers. The concerted pieces were by far the most effective, and, generally speaking, much the best done. The noble Kyrie of Leo is a magnificent specimen of that style of writing; it was, perhaps, too long to repeat, but we are persuaded it would have been done much better a second time; such music absolutely requires well rehearsing in order to go smooth, which is the necessary consequence of the performers being thoroughly conversant in what they have to do. The Madrigals were admirably sung, and encored as before, par acclamation. No. 5, by Ward, we consider as without an equal; it is, indeed, a matchless production. We hope, another season, to see a more convenient plan adopted in the mode of giving the time; it could not possibly be intrusted to abler hands than Mr. Turle; but owing to the position in which he stands, he can be seen only by a small part of the orchestra, and is of necessity driven to make himself heard, by those who cannot observe his motions. This materially interferes with the pleasure of the audience. The Maestro should be seen by every performer, but not heard. We can with propriety extend this observation to the instrumental part of the orchestra, beseeching both leader and conductor to abstain from such merciless stamping of feet as occurred during the performance of most of the full pieces. We notice in the present, as well as in the preceding concert, two compositions of Mr. Bishop, during the evening: this, we think, more than falls to his share; for however good his music may be, we cannot help recollecting many great and mighty names of antiquity, whose productions the musical public stand no chance of hearing, except at such concerts as these—need we mention Stradella, Steffani, Lotti, Luca Marenzio, cum multis aliis?