Of the present concert we cannot but speak with respect; notwithstanding its containing much that has been repeated from year to year, yet no trash can be found to disfigure and degrade it. We protest, however, against the arbitrary and uncalled-for act, of curtailing the subscribers of a portion of their due, the effect of which is plainly visible in this selection. The book announces the Overture to Saul, but the band played only the first movement, omitting the other three; one of which (the third) is an obligato for the organ: this has always been omitted, owing, it used to be said, to the nervousness of the late conductor—is the present conductor equally nervous? we would fain hope the contrary, if only for the honour of the Ancient Concert, which has a sad lee-way in reputation to fetch up. Only one movement of the noble opening chorus was performed. We thoroughly dislike these un ancient mutilations, which we had hoped the influence of the new conductor would be exerted to remedy. Miss Masson sang a song from Handel’s opera of Teseo, which did her great credit: it is too good to be popular, though we had the pleasure of hearing her in the same song at the Philharmonic, and also at the Vocal Concert, and in both instances she received great applause. Mr. Parry made his first appearance here, and executed his song (No. 2) with judgment, by not attempting to introduce embellishments where they would be entirely misplaced. Mr. Bennett also made his first appearance at these concerts in the fine song in The Creation. (No. 8.) We shall have no objection to hear him again, which we could wish to do, before pronouncing an opinion—our impression, however, is favourable. Mr. Machin took the second bass in Handel’s noble duet (No. 13), and confirmed the view we took of his performance in the preceding concert. Mr. Phillips acquitted himself with great credit in the first bass; each party felt emulous to do his best, and both were successful. Stevens’s lovely glee (No. 12) was encored, a just compliment to its merits. We have been accustomed to hear it sung by two trebles, tenor and bass, which we consider to be more effective, than with one treble and an alto.

Signor Donzelli, in the quartet (No. 6), sadly overpowered his companions, producing an effect almost ludicrous; he has certainly a voice of amazing power; but we might apostrophise it in the language of the great bard:—

“Oh ’tis excellent

To have a giant’s strength; but it is tyrannous

To use it like a giant.”

In his song from Jomelli (No. 14), he was occasionally too flat; indeed, the same observation applies to his singing in the quartet, where he was by no means in strict tune throughout.

We omitted to notice, in our introductory remarks, the alteration which has taken place in the orchestra, by bringing it more forward into the room, and lowering it in front—it is a decided improvement—which we are informed we owe to the Philharmonic Society, whose concerts have been removed from the Opera House to these rooms.

THIRD CONCERT OF ANCIENT MUSIC,
Under the Direction of Lord Cawdor, Wednesday, March 20, 1833.

ACT I.

‘God Save the King.’
 1. Overture, Occasional Oratorio HANDEL.
 2. Recit. ‘It must be so,’ (Mr. Phillips.) Song, ‘Pour forth no more.’ Chorus, ‘No more to Ammon’s God.’ Jephtha HANDEL.
 3. Recit. ‘Ye verdant plains,’ (Mrs. Knyvett.) Song, ‘Hush, ye pretty.’ Acis and Galatea HANDEL.
 4. Madrigal, ‘When Thoralis delights’ WEELKS.
 5. Concerto in G minor MARTINI.
 6. Song, ‘Odi grand’ ombra’ DE MAJO.
 7. Sextet, ‘Dominus a dextris,’ (Miss Clara Novello, Mrs. Knyvett, Terrail, Vaughan, Sale, and Phillips.) Chorus. ‘Gloria Patri’ PERGOLESI.