VOCAL SOCIETY.

FIFTH VOCAL CONCERT, Monday, March 4, 1833.

PART I.

 1. Full Anthem, ‘O clap your hands’ O. GIBBONS.
 2. Glee, ‘Blest pair of Syrens.’ (Masters Howe and Hopkins, Spencer, Vaughan, and Bellamy) J. S. SMITH.
 3. Rec. ‘This image.’ MS. oratorio ‘Daniel the Prophet’ F. W. HORNCASTLE.
Air, ‘Lives there a mortal.’ (Mr. Phillips)
 4. Hymn, ‘O thou that read’st.’ (Miss C. Novello, Terrail, Vaughan and Chapman, and Chorus) NOVELLO.
 5. Duet, ‘Forsake me not.’ The Last Judgment. (Miss Shirreff and Mr. Vaughan) SPOHR.
 6. Madrigal, ‘Cynthia! thy song and chanting.’ (1560) G. CROCE.
 7. Air, ‘Dulcissimum convivium.’ (Mrs. G. Wood) MOZART.
 8. Terzetto, ‘Mandina amabile.’ La Villanella Rapita. (Miss C. Novello, Hawkins, and E. Taylor) MOZART.
 9. Glee, ‘The Shades of the Heroes.’ (Messrs. Hawkins, Fitzwilliam, Horncastle, Phillips, and Atkins) T. COOKE.
10. Fantasia, Flute. (Mr. Nicholson.)

PART II.

11. Chorus, ‘Viaticum in Domino,’ from a Litany. MOZART.
12. Glee, ‘Now the blue fly’s gone to bed.’ (Messrs. Goulden, Horncastle, Vaughan, and Sale) W. LINLEY.
13. Cantata, ‘Mad Bess.’ (Miss Shirreff) PURCELL.
14. Witches’ Song and Chorus. (Solos by Master Howe, Goulden, Vaughan, Bellamy, and Atkins) R. J. S. STEVENS.
15. Madrigal, ‘Fire, fire my heart.’ (1593) MORLEY.
16. Aria, ‘Per questa bella.’ (Mr. Parry, Jun.) MOZART.
17. Duetto from La Primavera Felice. (Messrs. Horncastle and Phillips) PARR.
18. Glee, ‘Come, Lucy, my love.’ (Master Howe, King, Horncastle, and Sale) T. JOLLY.
19. Glee and Chorus, ‘Sons of Dian.’ (Messrs. Hawkins, Vaughan, Fitzwilliam, and E. Taylor) E. TAYLOR.

In the composition of a concert, as in that of a good picture, an attention to the chiaro scuro is of essential importance: some of the noblest efforts of the pencil owe no small degree of their merit and high reputation to the skilful management of the artist in a judicious blending of his light and shade. The same principle, applying in the one case to the organ of vision, is of equal force in reference to the organ of audition. The concert under present consideration affords an apt illustration of our meaning: in variety of authorship, and in intrinsic excellence, there is little room for objection; but it is very deficient in what the French term les nuances. A succession of elaborate pieces compose the first act, giving a sombre complexion to the whole, which might easily have been avoided by throwing in occasional relief. The opening piece, by being chorus throughout, did not produce anything like the effect of Battishill’s Anthem at the commencement of the second concert, where a charming verse for three voices, between the first and last chorus, affords the most agreeable relief to the musical ear: we are here speaking of effect, not intending any invidious comparison between Orlando Gibbons and Jonathan Battishill, who were both splendid writers; and we heartily wish we had heard much more of the works of these truly great musicians at the concerts of the Vocal Society. In a mixed audience, various tastes must, of course, be expected; and without departing from the dignity which ought never to be lost sight of in the conduct and management of such concerts as these, still we contend that music of a somewhat lighter character might be most advantageously introduced, to the general improvement of the evening’s performance; always remembering, that light music and trifling music are by no means synonymous.

As we shall probably, in our notice of the concluding concert, take a short retrospective view of the whole, we will not at present say more on this topic; but proceed to remark briefly on certain points immediately connected with this night’s performance. The two Madrigals, (Nos. 6 and 15,) though of unequal merit, were both encored, and were the only encores of the evening. We rejoice to witness the favour and acceptance which these compositions meet with; it is highly creditable to the musical feelings of the audience, and a satisfactory answer to those who affect to say that music of this description is entirely out of fashion. Miss Shirreff’s ‘Mad Bess’ wanted ease; she had evidently studied the part, but perhaps this very circumstance was too apparent, and gave the idea of a laboured performance: we must be permitted to express our surprise at the piano-forte accompaniment of Mr. T. Welsh, which we cannot but think his better judgment must disapprove; running up and down the keys may display the dexterity of the player, but it ought not to be at the expense of the composer, especially of such a composer as Henry Purcell. An elegant and pleasing glee (No. 12) of Mr. W. Linley’s was heard with great attention and evident satisfaction, and had it been done at an earlier period of the evening, would doubtless have been repeated. The Witches’ Song and Chorus (No. 14) of Mr. Stevens strongly reminds us of Purcell; it is a composition of great merit: the chorus should have been repeated. As an instance of the working of the system of admitting single tickets, we observed an individual in boots, and with an umbrella under his arm, walk up to the upper end of the room, where he stood in a very conspicuous situation during the whole of the concert. This is too bad.

SIXTH VOCAL CONCERT, Monday, March 18, 1833.

PART I.