ACT II.

 8. Overture, La Clemenza di Tito MOZART.
 9. Chorus, ‘He gave them hailstones’ Israel
 in
Egypt		 HANDEL.
10. Chorus, ‘He sent a thick darkness’
11. Chorus, ‘He smote all the first born’
12. Chorus, ‘But as for his people’
13. Chorus, ‘He rebuked the Red Sea’
14. Chorus, ‘He led them through’
15. Chorus, ‘But the waters overwhelmed’
16. Duet, ‘Cantando un. Di sedea,’ (Miss C. Novello and Mrs. Knyvett) CLARI.
17. Glee, ‘Thy voice, O! Harmony,’ (Mrs. Knyvett, Terrail, Vaughan and Bellamy) WEBBE.
18. Song, ‘Agnus Dei,’ (Mrs. Knyvett) MOZART.
19. Chorus, ‘Hallelujah,’ Messiah HANDEL.

The Queen was present at this concert, attended by the Marchioness of Westmeath, another lady, and Lord Denbigh, her Majesty’s Lord Chamberlain.

Having on former occasions given our opinion without reserve, on the propriety of receiving the Queen at the concert of Ancient Music, in the same way which has always been observed at the theatres, but which never was practised here, under the ancien régime, we shall merely remark, that we have heard the ‘National Anthem’ much better performed at the theatres, than it was done now, the solo parts more especially. The Occasional Overture was played extremely well; but the fugue was too slow, though in the same time in which the late conductor gave it. We are confident the effect would be improved, by performing the overtures of Handel generally a shade faster than is at present done. The charming concerto of Martini (No. 5) was indeed a treat. Mr. Cramer may be said to be identified with these beautiful compositions, which are unheeded and unknown, except at these concerts; and which a prurient taste for florid and over-loaded accompaniment has nearly put hors de combat.

The madrigal (No. 4) was very creditably done. Mr. Knyvett has succeeded in bringing about an essential improvement in the performance of this most interesting style of music; we trust to his judgment for further efforts towards perfection. There are few difficulties over which patience and perseverance will not obtain the mastery. Mr. Phillips sang his song (No. 2) with great spirit, and without rant; we do not recollect ever to have heard him with more effect. The chorus which succeeds went off equally well: it is an admirable specimen of the genius of its immortal author. The fine Sestet of Pergolesi (No. 7) was very fairly executed; it is a difficult piece to do well: every one must perform their part without flinching, as each must be considered as an obligato. To speak in terms of praise of the chorus which followed is superfluous; it ranks among the noblest of the many noble compositions of the same great musician. Ardently do we wish to hear from time to time more of his charming productions: his Stabat Mater, Grand Mass, Salve Regina, and other splendid writings, surely would afford ample materials from which to select, if those in authority were competent to the task. Hinc illæ lachrymæ.

With much pleasure we notice the duet (No. 16), which we believe has never been done here before—certainly not for many years. The compositions of this elegant writer are comparatively unknown; but only require to be heard, in order to be duly appreciated by those who understand and value that which is of sterling quality. The young lady who took the upper part made her début this evening at these concerts; she appears very young, but her manner did not discover any of that embarras, usually so trying to young performers; she possesses considerable compass of voice, and sang with correctness. The musical public are under no small obligation to this young lady’s father, for having brought to light much excellent music, which his indefatigable industry and research drew from the dust and cobwebs, ‘the rust of ages,’ under which it had long slumbered ‘neglected and forgotten.’ One of the numerous instances of that slavish attention to precedent, that horror of departing from the old beaten track, which has mainly contributed to reduce the Ancient Concerts to their present standard, occurs in the second act, where the batch of choruses from Israel in Egypt are placed. Between Nos. 12 and 13, Handel has inserted a very fine one, a masterpiece of learning, yet smooth and flowing in its construction; this admirable chorus we never remember to have heard here, though the two, between which it stands, are done every season. We allude to ‘Egypt was glad when they departed.’ These are points, surely, to which the influence of the present conductor might extend, if he were so disposed.

The final chorus, which was to have been the magnificent ‘Cum Sancto Spiritu’ of Pergolesi, was exchanged for the one from the Messiah (No. 19): if this originated with the director of the night, we cannot compliment him upon his musical taste; perhaps, however, it was a suggestion from a quarter to which he could not but accede. We cannot consider it as an improvement.

PHILHARMONIC CONCERTS.

FIRST CONCERT, Monday, February 25, 1833.

ACT I.