ACT II.

Overture. (Henry the Fourth.) MARTINI.
Recit., ‘Grazie vi rendo.’ Song, ‘A compir.’ (Semiramide.) GUGLIELMI.
Glee, ‘When winds breathe soft.’ WEBBE.
Recit., ‘Me, when the sun.’ Song, ‘Hide me from Day’s.’ (Il Pensieroso.) HANDEL.
Overture. (Prometheus.) BEETHOVEN.
Chorus, ‘Rex tremendæ.’ Quartet, ‘Recordare.’ (Requiem.) MOZART.
Glee, ‘Though the last glimpse of Erin.’ Irish air, harmonized by GREATOREX.
Chorus, ‘O sing unto Jehovah.’ HAYDN.

This concert, the first selected by the noble Earl who has lately added his name to the list of directors, augurs very favourably of his musical knowledge and taste. We here discern no symptoms of prejudice, of an irrational exclusive system, for the best productions of the great schools are allowed a place; and, so long as the works of living composers are declared inadmissible,—a regulation which, for obvious reasons, ought to be strictly enforced,—the wider the field for choice, the better, both for the subscribers and the art itself. With this exception, the rule should be, and we have no doubt will be, to throw the door wide open to all that is excellent, whatever its country or date, and to give every work all the advantages that the best-appointed orchestra can bestow.

The Queen was present at this performance, and perhaps what is here denominated ‘The National Anthem’ was meant as a compliment to her Majesty. But why not have called it by its right name? And what reason can there have been for not giving the composer the credit of it? This is neither more nor less than Haydn’s Hymn for the Emperor Francis, with English words adapted to the music,[67] and as such would probably now have been announced, had not the secretary made his copy from a book of some former year.

The song from Judas Maccabeus is certainly not one of the best in that fine oratorio, but the chorus is grand. Webbe’s lovely glee, of which it is difficult to say whether the melody or the simple harmony is most charming, was well executed by the second choir; the first wanted strength in the base. Madame Cinti excels more in the cantabile than in the declamatory style; she therefore sang the air, ‘Per pietà,’ divinely, but was not quite so successful in the recitative. The fine choral prayer, ‘O Father, whose almighty power,’ with the spirited fugue, forming the second movement, was admirably performed; as was Handel’s concerto. In the air from the Messiah, Mrs. Knyvett was perfectly at home, as she is in all Handel’s music. Indeed this lady is, we fear—and we feel with regret this apprehension—likely to be the last of that school which has received from tradition the true manner of singing the oratorio music of this master. The chorus that followed, by being placed in juxtaposition with Haydn’s choral chef-d’œuvre, seemed to challenge comparison; but if Handel is to be weighed in the scale against Haydn, ‘Lift up your heads,’ though a very masterly chorus, is not the work to be selected for the purpose. Nothing can exceed the admirable manner in which the selection from the Creation was performed: Braham’s ‘In splendour bright’ was magnificent, and ‘The heavens are telling’ stupendously grand; we never before heard so perfect a performance, and never were more affected by choral music.

The very pleasing light overture of Martini found an abundance of admirers in the room: many who did not justly appreciate Haydn’s chorus, entered fully into the merits of this. The melody, ‘Charmante Gabrielle,’ forming part of this, dragged—was played too slow. The aria, ‘A compir,’ proved too much of a duet; the violin was rendered more prominent than the composer intended; but Madame Cinti executed her share of it with a delicacy and neatness that never have been surpassed. Webbe’s greatest work, his glee, ‘When winds breathe soft,’ was a very finished performance. Miss Stephens sang most sweetly the song from Il Pensieroso. What poetical music! what musical words! But the whole oratorio (as it is called) whence this is taken, tempts one to commit an anachronism, by making Milton and Handel commune together during the progress of their work. The overture to Prometheus went well, but wanted some of the fire of the Philharmonic orchestra. The chorus, ‘Rex tremendæ majestatis,’ had ample justice done it; but in the exquisite quartet, a want of ensemble, of that union which good rehearsing produces, was too apparent.

TWELFTH CONCERT,
Under the Direction of Lord Burghersh, Wednesday,, June 5, 1833.

ACT I.

Overture. Chorus, ‘O the pleasures.’ (Acis and Galatea.) HANDEL.
Song, ‘Parto ma tu ben.’ (La Clemenza di Tito.) MOZART.
Glee, ‘Mark’d you her eye.’ SPOFFORTH.
Recit., ‘O loss of sight!’ Song, ‘Total eclipse!’ (Samson.) HANDEL.
Quartet, ‘Vieni à regni.’ (Orfeo ed Euridice.) GLUCK.
Song, ‘Il pensier stà.’ (Orfeo ed Euridice.) HAYDN.
Recit., ‘Euridice!’ Song, ‘Che farò.’ (Orfeo ed Euridice.) GLUCK.
Te Deum (MS.) Composed for the Royal Chapel at Naples, 1741. LEO.

ACT II.