The ‘Requiem’ and ‘Agnus Dei’ of Jomelli did not find the choral performers quite at home in their parts, although their occasional want of confidence was only discernible to very experienced and close observers. How ingenious, how effective, and yet how simple, the whole of the base accompaniment to the first movement, the Requiem! Not less admirable, but in another style, is the ‘Agnus Dei,’ and full of original melody, which is still new, because, fortunately, never yet imitated. The fugue, too, at ‘Lux æterna,’ is of that kind which, while its musical learning is as indisputable as great, possesses the superior merit of being pleasing. Mrs. Bishop is not yet familiar with Handel; her ‘Wise men, flatt’ring’ was not what it doubtless will be when she is become more accustomed to this music—though it was far from displeasing. It is much to be wished that the singer would have the courage to get rid of about two-thirds of the shakes which the composer himself, we admit, has written. We are certainly bound by the author’s text, which is permanent, but not by his embellishments, which belonged only to the age that produced them. A singer in the present day who should venture to introduce the double relish and the back-fall of the seventeenth century,—both of which, as well as other ‘graceless graces,’ are constantly found in the old writers,—would be laughed at for his scrupulous adherence to the original. The madrigal of Luca Marenzio is still fresh, and exceedingly elegant; its only fault is want of modulation. The performance of this did great credit to the singers. The fine chorus from Hercules was executed in a most perfect manner. So was the charming quartet from Samson. Here science is turned to the best account: none but a great musician could have worked out such effects, yet the whole is free from every thing that smells of the lamp. It is the true offspring of genius highly cultivated. We are old-fashioned enough in our taste to be pleased with Avison’s concerto, the soli parts in which were nicely played by Mori, (in the absence of F. Cramer,) who was ably seconded by the band, and most judiciously supported by the organ, which Mr. W. Knyvett always manages with taste and discretion. The song from Samson is beyond Mr. Horncastle’s physical powers, and only fit for such a voice and such energy as Braham possesses. Indeed, we so little like its incessant divisions, and especially the puerile attempt to give expression to the word ‘thunder,’ that we should not repine were we never to hear it again.
NINTH CONCERT,
Under the Direction of Lord Burghersh, for the Archbishop of York, Wednesday, May 15, 1833.
ACT I.
| Anthem, ‘O sing unto the Lord.’ (Sixth.) | HANDEL. |
| Recit., ‘When he is in his wrath.’ Song, ‘When storms the proud.’ Chorus, ‘O Judah, boast.’ (Athalia.) | HANDEL. |
| Quartetto, ‘Come! ohimè!’ (Nina.) | PAISIELLO. |
| Concerto 4th. (Oboe.) | HANDEL. |
| Recit., ‘Tranquillo io son.’ Song, ‘Ombra adorata.’ (Romeo e Giul.) | ZINGARELLI. |
| Ode, ‘Hence, all ye vain delights.’ | WEBBE. |
| Duetto, ‘Son io desto.’ (Nina.) | PAISIELLO. |
| Chorus, ‘Kyrie eleison.’ | BEETHOVEN. |
ACT II.
| Overture. (Idomeneo.) | MOZART. |
| Recit., ‘Crudele!’ Song, ‘Ho perduto.’ | PAISIELLO. |
| Glee, ‘Bird of the wilderness.’ | CLARKE AND GREATOREX. |
| Recit., ‘’Tis done!’ Song, ‘Heart, the seat.’ (Acis and Galatea.) | HANDEL. |
| Magnificat. | MOZART. |
| Song, ‘Amor se nume,’ | SCARLATTI. |
| Double Chorus, ‘From the censer.’ | HANDEL. |
This was a very fine concert, for the music was well chosen, both as regards diversity of school and contrast in style. An infusion of Mozart and Beethoven as moderns, of Paisiello and Zingarelli who may be said to belong to the middle age, and of Handel and Scarlatti as of the ancient class, produced a mixture that suited every taste, and presented a fair prospect of great amelioration in the system by which these concerts are regulated.
The selection from Handel’s anthem made an excellent beginning; we should have been glad to hear the whole of it, for it is one of his best. The scene from Athalia is a good specimen of that fine but comparatively little known oratorio, the magnificent air in which, ‘When storms the proud,’ is exactly suited to Mr. Phillips, who sang it admirably. Paisiello’s delicate quartet was not very thoroughly understood by all the parties engaged in it, nevertheless it proved very satisfactory to the audience. Madame Pasta, who made her first appearance here this season, was as great as usual in the calmly impressive scena from Romeo; and in the air, ‘Ho perduto,’ gave every advantage to the work of a composer who ought again to be brought forward. The song, as it is called, of Alessandro Scarlatti produced quite a surprise. Who ever supposed that an air of so much beauty could have remained thus long unknown in a concert established for the preservation of ancient music? Who ever imagined that a composition upwards of a century old could exhibit so many of the best features of the modern school, that it might be mistaken for the work of Haydn or Mozart? To Signor Rubini we are, it is said, indebted for the introduction of this antique gem, and he placed it in a highly favourable light by his manner of performing it, which, for him, was remarkably chaste.
The Ode (a much better term for it than glee) to Melancholy is one of Webbe’s chefs-d’œuvre, and shows how well that great composer understood the words. It was most perfectly sung by Miss Stephens, Mrs. Knyvett, Messrs. Terrail, Vaughan, Elliot, and Sale. Miss Stephens, in the song from Acis and Galatea, pleased as usual by her captivating simplicity. The Magnificat of Mozart was well performed, and a very grand work it is. The concerto of Handel, every part of which abounds in beautiful melody, and not less masterly, though not extraneous harmony, was most ably executed. The two fugues in this prove how possible it is to unite the learned and the agreeable. The andante of it is delicious, and here the oboe is rendered almost vocal; as is the bassoon in the last movement. The Kyrie of Beethoven wanted rather more rehearsing; and the overture to Idomeneo required the immense power of the Philharmonic band; nevertheless it produced considerable effect. But the stupendous chorus from Solomon was perfect, though wasted as a finale.
TENTH CONCERT,
Under the Direction of the Earl of Cawdor, Wednesday, May 22, 1833.