WHATEVER hopes we might have been led to entertain, at the commencement of the last season, from the change of circumstances which had occurred, by which a nobleman of great musical reputation became a director, and a gentlemen of no mean acquirements was appointed conductor of these concerts; we must confess, that, as the season advanced, these hopes, like the girdle of the Lady of Avenel, gradually diminished, and at the termination of the series, we had nearly abandoned the expectation of their further continuance. We are, however, in this respect agreeably disappointed; we say agreeably, because from early associations and long-confirmed habits, we are disposed to cling to the wreck, whilst ‘a plank of the vessel’ remains. With all its faults, both of omission and commission, its ‘short-comings and mis-doings,’ the Ancient Concert is endeared to us by a thousand interesting reminiscences: it was an assemblage of the great and mighty of the land, and ‘king’s daughters were among her honourable women.’ Even at this distant period, we cannot recall to mind the exquisite strains of a Banti, a Mara, a Billington, a Bartleman, &c., without sensations that thrill through our very frame.

FIRST CONCERT OF ANCIENT MUSIC,
Under the Direction of his Royal Highness the Duke of Cumberland, Wednesday, March 6, 1833.

ACT I.

ACT II.

This concert is so much beyond the average quality of the Royal Duke’s ordinary selections, that we are inclined to believe that though his, nominally, yet that the conductor may have had the chief hand in it. ‘The voice is Jacob’s voice; but the hands are the hands of Esau.’ Be this, however, as it may, if we must listen to the same music over and over again, we had rather endure the repetition of that which is good, than of mere trash, none of which can be found in the present concert. At the rehearsal on Monday, ‘Zadok the priest’ was the opening piece, and the very fine chorus, ‘Let old Timotheus,’ concluded the first act; but this last was omitted on Wednesday night, to make room for the oft-repeated movement from the Funeral Anthem, a change considerably for the worse. Miss Masson, whose first appearance we noticed in the third concert of the season of 1831, sang the song allotted to her (No. 5) very respectably; the same huskiness of voice which we then observed is still perceptible; perhaps it is only the effect of a cold; some of her tones are exceedingly good, and her expression not without feeling. The novelty of the evening was the appearance of Mr. Machin, who possesses a fine bass voice, and seems to understand what he is about. He gave his recitative and song with great propriety; we shall be glad to hear him again. We defer for the present our sentiments respecting the Madrigals (No. 2 and 15), as our limits will not allow taking up the subject here; we propose noticing them in our account of the next concert. We cannot pass over the quartet and chorus from Marcello, without recording our approbation. We believe the late conductor, as well as the present, both arranged these movements from the forty-eighth psalm; to which of the two the merit belongs of this night’s performance, we cannot say; either might be justly proud of it, and thus ‘divide the crown.’

SECOND CONCERT OF ANCIENT MUSIC,
Under the direction of Lord Burghersh, for His Royal Highness, the Duke of Cambridge, Wednesday, March 13, 1833.

ACT I.

ACT II.

For years past, the attempt to get up a madrigal at the Ancient Concerts was little more than a failure. Lord Fortescue was attached to this species of composition, and while his health permitted him to take an active share in the direction, madrigals were occasionally introduced, but without effect. The causes which led to this arose out of the defective system to which we have frequently alluded, and were sufficiently evident to any one possessing some experience in this style of music. In the preceding concert, two madrigals were performed, and also two in the present (Nos. 3 and 9). The conductor has adopted a new plan, which has succeeded well, thus far: there is yet ample room for improvement, which we do not despair of witnessing, if he persevere in his endeavours to accomplish. Instead of sitting before the instrument and thumping it, by way of marking the time, he quits the chair, and standing in front of the orchestra, with baton in hand, gives the time in a way to be seen by every performer. But he must not stop here: at present, the whole body of chorus-singers are employed—if, indeed, these singers were drilled in the same admirable mode that the German chorus, who performed at the Opera House last summer, were, then might a similar powerful effect be produced by the same attention to the piano and forte, the delightful crescendo and diminuendo, the beautiful precision, and the nice blending of the different voices, creating, as it were, an ensemble quite unrivalled. But as the Ancient Concert chorus is at a considerable distance from that just described, we are confident that if about four or five voices to each part were selected from the main body, comprising of course all the principal singers, the result would be highly beneficial. At present, the female singers appear to have no idea of what they are required to do; each seems determined to be heard, by singing as loud as possible, thus overpowering the other parts, the basses especially, and materially injuring the general effect. Among the altos and tenors also, there are some harsh discordant voices, which might be omitted in the selection with great advantage to the performance. We shall again revert to this subject.

Of the present concert we cannot but speak with respect; notwithstanding its containing much that has been repeated from year to year, yet no trash can be found to disfigure and degrade it. We protest, however, against the arbitrary and uncalled-for act, of curtailing the subscribers of a portion of their due, the effect of which is plainly visible in this selection. The book announces the Overture to Saul, but the band played only the first movement, omitting the other three; one of which (the third) is an obligato for the organ: this has always been omitted, owing, it used to be said, to the nervousness of the late conductor—is the present conductor equally nervous? we would fain hope the contrary, if only for the honour of the Ancient Concert, which has a sad lee-way in reputation to fetch up. Only one movement of the noble opening chorus was performed. We thoroughly dislike these un ancient mutilations, which we had hoped the influence of the new conductor would be exerted to remedy. Miss Masson sang a song from Handel’s opera of Teseo, which did her great credit: it is too good to be popular, though we had the pleasure of hearing her in the same song at the Philharmonic, and also at the Vocal Concert, and in both instances she received great applause. Mr. Parry made his first appearance here, and executed his song (No. 2) with judgment, by not attempting to introduce embellishments where they would be entirely misplaced. Mr. Bennett also made his first appearance at these concerts in the fine song in The Creation. (No. 8.) We shall have no objection to hear him again, which we could wish to do, before pronouncing an opinion—our impression, however, is favourable. Mr. Machin took the second bass in Handel’s noble duet (No. 13), and confirmed the view we took of his performance in the preceding concert. Mr. Phillips acquitted himself with great credit in the first bass; each party felt emulous to do his best, and both were successful. Stevens’s lovely glee (No. 12) was encored, a just compliment to its merits. We have been accustomed to hear it sung by two trebles, tenor and bass, which we consider to be more effective, than with one treble and an alto.

Signor Donzelli, in the quartet (No. 6), sadly overpowered his companions, producing an effect almost ludicrous; he has certainly a voice of amazing power; but we might apostrophise it in the language of the great bard:—

In his song from Jomelli (No. 14), he was occasionally too flat; indeed, the same observation applies to his singing in the quartet, where he was by no means in strict tune throughout.

We omitted to notice, in our introductory remarks, the alteration which has taken place in the orchestra, by bringing it more forward into the room, and lowering it in front—it is a decided improvement—which we are informed we owe to the Philharmonic Society, whose concerts have been removed from the Opera House to these rooms.

THIRD CONCERT OF ANCIENT MUSIC,
Under the Direction of Lord Cawdor, Wednesday, March 20, 1833.

ACT I.

ACT II.

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.