biassed, competent judges. Of the many compositions of the highest order omitted, while several of an inferior kind were introduced, we shall presently have occasion to speak.

We

The principal singers were too numerous. Some, unhappily for themselves and the audience, were employed in the higher capacity, who would have been more fitly placed in the semi-choral seats. Signora Grisi was not in her right element; and with Signor Rubini we would on all occasions most willingly dispense. In fact, though there was a liberality in employing the Italian virtuosa and virtuosi, yet they were by no means necessary. will take this opportunity of saying, that we do not hold with those who think that the chiefs of the vocal department at the Commemoration were superior to those at the Festival just celebrated. Of the supremacy of Madame Mara we have no doubt; but we speak on no mean authority when we say that Champness and Reinhold were very indifferent singers, especially when compared with a performer of H. Phillips's calibre. Of Harrison, we do not hesitate to say, that he could not have produced anything like the effect in Westminster Abbey that Braham did. But on occasions of this kind, the principal singers are secondary persons; the combined whole is everything; the solos, &c., are only wanted as contrasts, as reliefs: the performance of these, however, should certainly be of the best possible kind.

The band generally, both instrumental and choral, can only be mentioned in terms of the highest praise. It is true that little was placed before them but what they could have performed almost without book; nevertheless, to their zeal and unremitting attention, as well as to their skill and experience, the public are indebted for the performance of many compositions in a manner that, it seems to us, realized the most sanguine expectations.

It is due to the performers of every class to publish their names as widely as possible; we therefore insert a complete list of them, from the books authorized by the Directors. We shall then give an account of each performance. First, however, it is proper to state that the Patrons were

Mr. Bannister
Binfield

Bonner

Brooks, James

Calkin, James

Mr. Daniels

Davis

Dewar, W. (Carlisle) Dorrell

Forster

Glanville

Goodban, T. jr. (Canterbury)

Hardman (York)

Hime (Liverpool)

VIOLONCELLOS.

Mr. Hill, H.

Principals.—Mr. Lindley and Mr. Crouch.

Gifford (Cambridge)

Mr. Castell

Mr. Griesbach, J. H.

Hatton

Lavenu, L. H.
Lindley, C.
Loder, W. (Bath)

DOUBLE BASSES.

Hunter Jones, W.

Mangold (Darmstadt) Nicks

Nunn (Bury)

Sharp, B. (Oxford)

Venua, F. (Maiden

head)

Ware

Cubitt

Humble

Smart, C.

Smith, A.

Taylor

Packer, F.

Wilson

Severn

FLUTES.

CONDUCTOR, SIR GEORGE SMART.

PRINCIPAL VOCAL PERFORMERS.

For the various Performances.—Madame Caradori Allan; Madame Stockhausen ; Miss Stephens; Mrs. W. Knyvett; Mrs. H. R. Bishop; Mrs. E. Seguin; Mrs. Seymour; Miss Betts; Miss Bruce; Miss H. Cawse; Miss Chambers; Miss Lloyd; Miss Masson; Miss Clara Novello; Miss Romer; Miss Shirreff; Miss Turner; Miss Wagstaff; Miss Woodyatt; Master Howe; Master Smith. Mr. Braham; Mr. Vaughan; Mr. Bellamy; Mr. H. Phillips; Mr. Bennett; Mr. Chapman; Mr. Goulden; Mr. Hawkins; Mr. Hobbs; Mr. Horncastle; Mr. Machin; Mr. F. Robinson; Mr. W. Robinson; Mr. J. B. Sale; Mr. Sapio; Mr. E. Seguin; Mr. Stretton; Mr. E. Taylor; Mr. Terrail.

Mademoiselle Giulietta Grisi, for the second and third Performances; Signor Rubini and Signor Zuchelli, for the second performance; Signor Ivanoff and Signor Tamburini, for the third performance.

Griffiths Hill

THE SEMI-CHORUS.

CANTOS.

Miss Foster

Hawes, M. B.

Master Howe (West. Ab.)

Mrs. Hunt

ALTOS.

Mr. King, J.

Moxley

Paddon (Exeter)

Clare (Norwich)

Coad

Corsbie (Norwich) Dutton, W. (Liverpool) Eames Edmondson, N. (Armagh)

Farmer, J. (Nottingham)

Fenn (Norwich)

Fletcher (Chichester) Fouldes, T. (Notting

ham)

Garbett, J. (Armagh)

Giffin

Greene, C. (Norwich) Greene, W. (Norwich)

Hartley, J. (Liverpool)

Master Lewis Mrs. E. Loder

Percy Wood, G.

Mr. Allcroft

Mr. Robinson

Salmon (Windsor)
Spencer

ham)

Baldwin

Holmes

Barclay

Hullah

Bennett, J.

(Lich

Hurlock

Taylor, A. (Framlingham)

Tinney

(Fram

ham)

Mrs. Tydeman

lingham)

Mrs. Walker

Walker, J.

Miss Wallace

Mrs. Willis

Miss Yates

Masters

Boardman (St. Paul's) Buckland (St. Paul's) Charlton (Chapel Royal) Chipp (Chapel Royal) Cooke (Chapel Royal) Coward (West. Abbey) Cunningham (West. Ab.) Durnsford (R. A. Music) Genge (Chapel Royal) Griffiths (St. Paul's) Harris (Windsor) Hill (West. Abbey) Hopkins (St. Paul's) Hopkins, J. (West. Ab.) Howse (West. Abbey) King

Makepeace (St. Paul's) ndegrass (Chap. Royal) Pullen (Windsor)

Ransford (Chapel Royal)
Sexton (Windsor)
Smith (Chapel Royal)
Smith, R.

Bird, G. (Birming

Blundell, T. (Liver

pool)

Blyth (Norwich) Branston (Leicester) Butler

Campling (Norwich) Caulfield

Clouting, J. (Eye)
Cossens, J. (Bristol)
Creed (Norwich)
Croft, A.

Cupper (Norwich)
Dobson (Canterbury)
Edwards
Edwards (Bath)
Ellis, T. (York)

Essex

Galli

Greaves

Green, J. Green, W.

Conductor

Organists

Martin, T. (Wells)

Watson

Maxfield, H.

(Not

West

tingham)

West, W. H.

Maynard

White

Wilson

(Nor

M'Carthy

SUMMARY.

1

Violins

Tenors (Violas)

Violoncellos

Flutes

Miss Savage

Webber (Windsor)

Oboes

Scofield, H. (Rochdale)

Wilson

Woodham (St. Paul's)

Double Basses

The bases, both vocal and instrumental, were not sufficiently numerous in the choruses, and the power of the voices generally bore no proportion to that of the instruments, the latter very much preponderating. This is imputable to the manner in which the performers were placed. More of the choral band should have been brought forward, and some of the instrumentalists ought to have been stationed in the aisles, or wings, of the orchestra.

The organ employed was borrowed of the builder, Mr. Gray, who, by an ingenious contrivance, enabled the organist to play with his face to the audience, and, consequently, in view of the conductor, who was well placed near the front of the orchestra, in sight of every performer.

Very shortly after the doors were opened, the unappropriated places were filled, and before eleven most of the reserved seats found occupants. By half-past eleven, the whole of the company, except some dozen or two, had assembled, the performers had all taken their stations, the operation of tuning was over, and everything was in readiness to receive the royal party, which entered at a quarter past twelve, consisting of the King and Queen, the Duchess of Kent, the Princess Victoria, and the Duke and Duchess of Gloucester, who all came in state, attended by the Duke of Devonshire, as Lord Chamberlain, the Master of the Horse, and other persons, male and female, of the royal household, and were met at the entrance into the church by the Directors, in their military uniforms, and wearing their respective orders. The scene was certainly imposing: the venerable character of the building, and all the associations it

called forth; the symmetrical appearance of the vast orchestra, part rising to the very roof, and disappearing among the arches; the presence of nearly three thousand persons, chiefly of the upper class, including many of the most distinguished personages of the age; and, above all, a greater proportion of female beauty than we have ever seen assembled under one roof since the coronation of the late King,-all united to excite feelings at once elevated and gratifying, and well disposed the mind to enjoy the intellectual and rarely-occurring pleasures that followed.

The Commemoration of Handel in 1784 began with 'Zadock the priest,' a courtly compliment to royal authority, and the precedent was now followed. Whatever may be thought of the unfitness of this composition for displaying the power of a grand orchestra, and opinions are divided on the question-it is admitted that it much diminished the effect which the opening of the Creation might have produced. To those who reason on the subject, it will be obvious that nothing should immediately precede the Representation of Chaos: whatever comes before it, unless a considerable interval of time be allowed between, proves injurious. This was evinced on the present occasion. All to whom musical description is intelligible, felt that the introduction to Haydn's oratorio, though it was most accurately performed, made not even the usual impression; while every one reasonably expected that, executed by such a band, its effect would be greater, not less, certainly, than ordinary. But the rejoicings, the shouts of a multitude, the clangor of instruments,-in short, the ideas excited by a coronation anthem, are so opposed to the prevalent notion of the state of things at the beginning, when the earth was without form, and void,' that the mind cannot at once adapt itself to so violent, so unnatural a change; it is unwillingly led back to chaotic darkness and confusion, to rudis indigestaque moles, for no other purpose than to be restored to the light and order, to that

"beauteous world

Where all that live, if so mankind would will,
Might happy be, and rarely know an ill,"—

of which it need not have been deprived.

Mr. Bellamy delivered the first recitative firmly and well, and in the succeeding chorus the voices and instruments were nicely subdued but when the great break-forth, at the words and there was light,' took place, disappointment was marked in all the countenances about us; the drugget drank up half the sound! Mr. Vaughan, in the air, Now vanish,' was more audible and animated than we expected. On coming to that fine part where the key changes to the minor, his effort surprised us. The chorus Despairing, though correct, was tame: confidence seemed to be wanting. But nothing could be better than A new created world.'

6

When Miss Stephens rose to sing The marvellous work,' we felt no little anxiety, she having lately been much out of practice; but though at first she was somewhat nervous, and her sweet voice, by a few faltering notes, betrayed her feelings, she altogether succeeded well. The simple and melodious chorus, 'Again the ethereal vaults resound,' though executed with great precision, was too powerful for the single voice which it accompanied: or, rather, the voice was unequal to the chorus.

6

Mr. H. Phillips gives a character to whatever he undertakes. In his hands the song, Rolling with foaming billows,' acquired a strength which does not seem naturally to belong to it, though well calculated for the situation in which it is placed.

Nothing could be more correct than Madame Caradori's air, With verdure clad;' her articulation was exemplary, and her intonation perfect. Her voice, too, proved nothing deficient in power. Still there is a want of fulness, a too great juvenility in it, if we may use the expression, that does not so well fit it for oratorio music as the admirers of so able and accomplished a performer could wish.

In splendour bright,' is one of those things which only Mr. Braham can sing. It is a fine musical picture, and this performer knows how to place it in the most favourable light. The chorus that follows, The heavens are telling,'-the finest choral effort of Haydn, both as regards design and working out-was begun rather too slow, but well performed. The exactness and bold spirit with which all the points were given, and the out pouring of the voices in the winding-up,-that splendid climaxare deserving of every praise.

Madame Stockhausen commenced the second part with an air that never affords us any kind of satisfaction,— On, mighty

pens.'*

It was, however, very well sung, the graces appropriate, and executed with great neatness, though rather too numerous." This lady's voice, which we feared would want power for the space, betrayed no deficiency in strength.

Mr. Phillips, in the brief but expressive air, Be fruitful and multiply,' gave another proof of superior taste. The lovely terzetto, How beautiful appear,' had no charms for us on this occasion but those which memory supplied. It was too quick, and the vocal party sung as if they had never before met. The tenor, too, was, we presume, forced into this situation. The part should have been assigned to Mr. Hobbs.

In the grand recitative, And God said,' and the air, Now heaven in fullest glory shone,' Mr. E. Seguin displayed powers which very few knew that he possessed. In his recitative he was animated as well as most commendably articulate; and in the song, which requires great spirit in some parts, and delicate taste in others, he was fully equal to the variety of style which the singer must command who does the composer justice.

Not less entitled to praise is Mr. Sapio for his performance of In native worth.' The ability he now showed, leads us to ask why, during the whole festival, he was only employed on this one occasion? He and the public have an equal right to put this question, for several things in which he would have proved eminently useful, were given to less capable persons.

On the chorus,Achieved is the glorious work,' we set little value; but the beautiful trio which divides it, On thee each living soul awaits,' deserved a better fate. Miss Clara Novello did it every possible justice, but Mr. Vaughan was rather too weak, and Mr. W. Robinson-whose name is unknown to us-was, we are willing to believe, frightened out of his powers.

The instrumental opening of the third part, a Largo in E, which introduces the recitative, In rosy mantle,' was hardly audible to those in the middle of the nave. The flutes ought to have been doubled; for so sweet a morsel, and so seldom produced, should not have been all but lost, at least to many. In the recitative, the very musical voice of Mr. Hobbs was in unison (we use the word figuratively) with the opening.

The charming duet, By thee with bliss,' and the solo parts of still greater beauty, were sung in a very chaste manner by Mrs. Bishop and Mr. E. Taylor. In the intervening choruses, the organ pedals, not answering immediately to the touch of the performer, produced a confusion of which he was unaware, and for which he can hardly be held responsible. We may here mention, that upon several occasions, these pedal pipes were ineffective, and sometimes mischievous, owing to their slowness in rendering the sound. Had one, or at the utmost two, filled the post of organist for all the days, this evil might have been avoided. It would have been easy thus to learn, by experience, how to manage these tardy instruments. Such a plurality of performers on the organ was a measure, the inutility of which struck all but those who suggested or had the power to prevent it. One for ancient, and one for modern music, would have answered every rational purpose. The dual number was the utmost prescribed by common sense.

The duet, Graceful consort,' produced no effect; part of it is heavy, part silly, and the whole tedious, coming when attention begins to be exhausted. And the final chorus, Praise the Lord,' is really an impotent conclusion.'

The Creation is an unequal work. The first part shines in all the splendour of Haydn's genius; but it is evident that the composer has here almost exhausted himself by the greatness of his efforts. In the second, his fire is not quite burnt out, and some of his invention remains, as is witnessed in the terzetto, and in the airs, 'Now heaven,' and 'In native worth.' But in the third, only the duet, &c., beginning By thee with bliss,' bears the impress of the composer. The few bars of instrumental music at the opening are most graceful, but this is their greatest praise. The nature of the subject has in a great measure led to this. After the creation of the firmament, the sublime, poetically and musically speaking, ceases. The second part, as it concerns the composer, only describes what is great. And the third, which may be called domestic, is a representation of connubial happiness, of perfect contentment, and pious gratitude. Thus, so far

We cannot help adding a note to say, that the printer has, in the proof sheet, put a query against the word 'pens.' He may well suppose it an oversight of the writer. But how will he stare, on reading this, to learn that the above is only one of many absurdities in the English version that were suffered to go before such an assembly.-EDITOR.

as relates to musical effect-that is, the grandeur of it-the musician may be said to have had an anti-climax to work on. Nevertheless, in the last chorus, he ought to have put forth more strength. He appears to have been in haste to complete his work, and not to have allowed himself time to end it in the mighty manner in which it commences.

We did expect, on such an occasion, the whole court, the bench of bishops, nay, many of the first literary characters of the age, forming part of the audience, that the English version of this oratorio would have undergone further revision.. Some of the alterations made from time to time were adopted, but much remained that is ludicrous and vulgar. It is discreditable to the taste of a nation to listen to anything so stupid, so monstrous. The directors probably relied on a musical committee for the correction of all this. If so, let them next hope to gather grapes from brambles.

The selection from Samson exhibited as little taste as judgment. The overture is not one of Handel's grandest works, and was begun much too slow. The chorus of the priests of Dagon, the fishified god, the sea-idol,' as Milton calls him, of the Philistines, is characteristic as part of the drama, but detached is not only trivial, but far from decent in a Christian church. What will be said of such a chorus by those who consider the performance even of the Messiah a desecration of a holy place? Why have furnished the opponents of what is conducive rather than injurious to the great ends of religion, with a subject of reproach against which no sort of defence can be set up?

The air, Total eclipse!'-sung in a manner that would have brought tears into the sightless eyes of the great, the afflicted composer-was welcomed by the breathless silence of thousands of admiring auditors. This, of course, was followed by the fine chorus,Ŏ first-created beam!' the introduction of which on the day that the Creation was performed we, in our last, objected to, and assigned a reason. Our opinion remains the same.

Honour and arms,' like the before-named chorus, is exactly what it should be, dramatically considered: a less fortunate choice could not have been made for the present occasion, than of this long, blustering piece of gasconade, in which a singer delights, because it shows off the strength and flexibility of his voice.

The recitative, Here lies the proof,' led us to expect the chorus, Then shall they know,' which alone should follow. Instead of this entered Fix'd in his everlasting seat,' a splendid composition, certainly, and necessarily comprised in any selection from the oratorio, but totally inapposite to the recitative. It was admirably performed.

A great leap was now made to the obsequies of Samson, whose death might as well have been intimated in a single line o recitative but anything like connection, though easily preserved, seems to have been thought unnecessary. Miss C. Novello sang The body comes' with great firmness and feeling. Then followed the funeral march, not the Dead March,' as designated in the books, the latter being quite a different thing. The former was originally written for Saul, and afterwards used, by the composer himself, in Samson. It now produced less effect than we expected; the bassoon was rather out of tune, and there was a feebleness in the whole that excited some surprise.

We much wish that the very hacknied song, Let the bright seraphim,' had formed no part of the selection. Miss Stephens having taken cold, could give hardly strength enough to it; and the long concerted cadence, coming, too, after an air which is bravura from beginning to end, can only be mentioned in terms of reprobation.

The whole ended with Let their celestial concerts all unite,' a clever and popular chorus; but, though accurately performed, produced little sensation. Fix'd in his everlasting seat,' should undoubtedly have been reserved for the conclusion; and where this was placed, the extremely fine invocation, Hear! Jacob's God!'-a chorus the rejection of which is unaccountable-might have been introduced.

6

Recit. and Air. Mr. H. Phillips, 'The snares of death.'
Recit. and Air. Miss Betts,' who can tell.' (Joshua.)
Solo. Mr. Braham, and chorus, 'Luther's Hymn.'

Air. Mademoiselle Grisi, Quoniam tu solus,' from his 5th Mass.
Chorus. Credo.'

2

HANDEL. HAYDN.

HANDEL.

HAYDN.

1

Quartet. Madame Stockhausen, Mr. Hawkins, Signor Rubini, and Mr. Sale, 'Et incarnatus est.'

Chorus. Et resurrexit.'

Solo. Madame Stockhausen, Agnus Dei!' Quartet and Chorus. Dona nobis pacem.'

Duet. Miss Romer and Miss Woodyatt, The Lord is my strength.' Chorus. He is my God.'

Duet. Mr. Phillips and Mr. Machin, 'The Lord is a man of war." The depths have covered them.'

Chorus.

Do.

Do.

Do.

'Thy right hand, O Lord.'

And in the greatness.'

"And with the blast.'

Air. Mrs. Knyvett, 'Thou didst blow.".

Chorus.

Do.

Who is like thee?'

"The people shall hear.'

Air. Miss H. Cawse, Thou shalt bring them in.' Chorus 'The Lord shall reign.'

Handel composed four anthems for the coronation of George II., Zadock the priest' being one. Another, 'The king shall rejoice,' was chosen for the commencement of this day's performance. The opening is grand, for every instrument at the composer's command is put into requisition. It is remarkable for having three distinct violin parts, and as many for the trumpets. The symphony is long, one of the besetting sins of Handel's day, and the words are too often repeated, but there is a briskness in it that compensates for the defects. The second movement, Exceeding glad shall he be,' is the most pleasing, though brevity is not its fault. This was committed to the semi-chorus, who executed it charmingly. In the Halelujah,' the last chorus of the anthem, the trebles were weak; but nothing could exceed the correctness of the whole.

The aria from Mozart's oratorio, Davide Penitente, was performed for the first time in this country. It is melodious, and there are other good points in it; but Signor Rubini's alternate bursts and whisperings, the last positively inaudible at any distance, did not afford it the best chance of being admired. We will nevertheless do him the justice to say, that in his mercy he dealt out none of his usual roulades.

The selection from Beethoven's Mass was, on the whole, well made. The first chorus, the Gloria, has nothing in it that particularly marks the author. The solo is insipid; but the quartet, a most imploring strain, in the minor key, and pianissimo all through, is truly excellent. At the end of this a tremendous bang of the great drum, the meaning of which we do not understand, introduces a splendid chorus, to which, and indeed to the whole, Mr. Gardiner has adapted English words. The fugue at I will exalt his name,' is most masterly, and the Amen' magnificent. Every part was performed à merveille. Miss Stephens sang Angels ever bright' most sweetly, and ended it with a modest cadence. The air ought to be reserved exclusively for her; she seems the very Theodora that the poet drew; who was not, it is necessary to add, either of the historical Theodoras.

The song from Joshua, O! who can tell,' is a sweet melody, and the accompaniments (delightfully played by Messrs. Weichsel and Lindley) are as pleasing as clever. Miss Betts got through it extremely well, till the close, when a very indifferent shake, prefaced in the old-fashioned English style, weakened the impression that had been made.

Luther's Hymn was ushered in by a long diapason piece, extemporaneous we presume, not being mentioned in the books, and a less appropriate introduction can hardly be imagined. The singer tells us that he hears the last trumpet, that he sees the destruction of all created things!-while he has only listened to a voluntary so soft, so gentle, that Cytherea herself might have entered to it, without the fear of alarming her doves! Mr. Braham sang this with undiminished energy and power, Mr. Harper accompanying him with his usual silvery, beautiful sounds. The effect of the chorus was great indeed.

Of Mademoiselle Grisi's performance we reluctantly speak: torn out of her sphere, and brought forward to sing a wretchedly bad air, written in the old bravura style, she was rather to be pitied than blamed. Her strained voice was so harsh, and her shakes so abominably violent, that really her performance would have made a much more fit introduction to the hymn of the great reformer, than the organist's effusion proved.

The Credo, (i. e. the Nicene creed) from Mozart's first Mass, opens in a way well calculated to display the powers of so fine a choral band; it is, however, very deficient in brass instruments; and till the lovely quartet, Et incarnatus,' comes, the genius of the great composer is not conspicuous. The points at Et in spiritum,' and in the 'Amen,' were most promptly and effectually taken up. The quartet and chorus, Dona nobis pacem,' would make a beautiful opera finale; few things could have been less | fit for an English church.

We now arrive at Handel's grand choral work, his Israel in Egypt, in which his supremacy in the most dignified branch of the art is so manifest, that no one has ever yet been set up as his competitor. The only defect of this wonderful effort of genius is, that it throws every thing of the kind by other composers into shade, and lessens the pleasure otherwise derivable from productions of great positive merit. After such an oratorio, all choruses but Handel's seem vapid, till time has weakened the impression his leave; and both justice and good policy demand that a long interval should be allowed to elapse between the hearing of so matchless a work, and anything of the same high class, from the pen of any other master, ancient or modern.

Israel in Egypt was composed in 1738, and, strange as it may seem, the title and date are all that is mentioned of it by Handel's biographer, Mainwaring, or by either of the musical historians. It probably produced at first little effect, with the small number of musicians that could be collected in the composer's day, for it can only be heard to fair advantage when performed by large masses. Hence it was scarcely known till the year 1786, when the Abbey resounded with its harmony, and all England with its praise. It was then given in strict conformity to the original score. But in the Lent of the same year it had been brought forward by the Directors of the Ancient Concerts, as one of six oratorios performed in the Tottenham-street Rooms, when much was added, with a view to relief, by throwing in pieces between the choruses. This scheme entirely failed in the operation; and at the Abbey in the June following, the oratorio was produced without a single interpolation, and with such decided success, that it was repeated every subsequent year.

Whoever prepared this oratorio for the present occasion had, most likely, seen the additions we allude to, and unfortunately