WE have great pleasure in announcing the first meeting of a Society, under the above designation, comprising a body of musical talent, calculated, as we think, to render most essential service to the cause of music generally, but more especially so to the exhibition of vocal excellence, unfettered by the caprice or tyranny of that non-descript, but all-powerful, influence which is known under the familiar term—Fashion. It is, perhaps, the fairest way that the Society should speak for itself; and we therefore insert a considerable portion of the prospectus put forth by its members, which is sufficiently explanatory of what it purposes to accomplish:—‘It has often been a subject of regret among the lovers of English vocal music, that the opportunities of hearing it effectively performed are becoming more rare. The compositions of native musicians are nearly banished from the concerts of the metropolis; the glees of Webbe, Calcott, Cooke, and Battishill, as well as those of their living successors, being superseded by the productions of foreign composers. Were excellence alone made the test of admission, the English musician would have no right to complain; but it may be questioned whether such a principle of exclusion is called for by public opinion or the progress of musical science; or whether the compositions of modern Italy are better calculated to improve the taste of the professor, and to increase the gratification of the amateur, than those of our own country. The regulations of the several societies formed for the encouragement of glee writing, and the practice of glee singing, preclude the presence of ladies, while they are attended with considerable expense wholly unconnected with their musical objects. The intention of the Vocal Society is to present, as its principal feature, the vocal music of the English school, both ancient and modern, including that of the church, the chamber, and the theatre; with the addition of foreign compositions of excellence, songs, duets, concerted pieces, and chorusses, several of which (hitherto almost unknown in this country) are preparing for performance. To this object, its members respectfully invite the co-operation of those who cherish a love for that species of music in which the most celebrated English composers have been proved to excel, and to unite with them in a strenuous effort to vindicate its claim to public attention and patronage.’

To this rational and ingenuous address thirty names are appended, both male and female, including most of the vocal performers of acknowledged merit in the metropolis. We now proceed to give the program of the first concert, to which we shall add such observations as occurred to us during the performance:—

FIRST CONCERT OF THE VOCAL SOCIETY, King’s Concert Room, Hanover Square, Monday, January 7th, 1833.

Leader, Mr. T. COOKE.—Organ and Piano-forte, Messrs. TURLE, GOSS, and HORNCASTLE.

PART I.

God Save the King,—Verse and Chorus.

PART II.

We have here presented to our view a wide range of musical compositions embracing a period of upwards of two centuries, and comprising names which will live till ‘music shall untune the sky.’ The performers exerted themselves to the utmost, and the most fastidious critic could have found but little to disapprove. We earnestly hope that the same spirit of emulation will continue to be shown throughout the remaining concerts; and, if such be the case, we cannot entertain a doubt of the liberal patronage of the musical public. Much will depend upon the judgment and taste of those with whom the choice of the selections will rest; and it will involve a point of some delicacy, as well as require a certain firmness, in deciding upon the introduction of the works of living composers, who will naturally be desirous of having their music brought forward under such favourable circumstances. It is in this point of view that we are glad to observe among the names of the members a great preponderance of vocalists, and but few distinguished by their writings; this will render the society more independent, by offering a wider and more extensive field in which to roam, collecting sweets wherever they are to be found; and while not insensible to living merit, yet free to draw largely from the stores of excellence, both ancient and modern, which will amply repay the task of bringing forward, and present the fairest prospect of success and permanence to the VOCAL SOCIETY.

SECOND CONCERT OF THE VOCAL SOCIETY, Monday, January 21, 1833.

Leader, Mr. T. COOKE.—Organ and Piano-forte, Messrs. TURLE, GOSS, BLACKBOURNE, and HORNCASTLE.

PART I.

PART II.

This Selection contains some very good music, and is upon the whole, quite equal in merit to its precursor. It commences most appropriately with the fine anthem by Jonathan Battishill (No. 1), of which the three first movements were given; the verse for equal voices, was extremely well sung by Messrs. Hawkins, Hobbs, and Atkins, and the whole went off with much effect. Apropos, in regard to Battishill,—this admirable composer published two volumes of ‘Songs for three and four Voices,’ the greater part of which are models in glee-writing; and we strongly recommend them to the notice of this society, as being worthy of occasional introduction. Two charming Madrigals, one in each act (Nos. 5 and 15) gave general satisfaction, and were called for par acclamation. Several members of the Madrigal Society were present, and judging from “outward and visible signs” were highly gratified with the performance. Mr. Braham sang a long cantata (No. 3), and did all that could be done for it; we should have been glad to have seen his powers exerted to more effect; this gentleman is himself a host, and can perform wonders; but in the present instance had no scope for display. A MS. glee of Sir John Rogers, for six voices (No. 4) was sung with taste and expression; the worthy Baronet, though an amateur, may fearlessly enter the lists with most of the professors of the present day, none of whom but might be justly proud of producing such a specimen of melody and harmony combined. A glee of Mr. Goss was chastely and beautifully performed: it is an elegant piece of writing, and was encored with high plaudits, which it fully merited.

However excellent the plan and arrangements of these Concerts, we confess a considerable difference of opinion with the managers upon one point, and that, a not unimportant one—we allude to what, at the Philharmonic Concerts, is called the conductor’s department. There, it is allotted to one individual throughout the evening; and although we have always considered the conductorship at that Concert a most useless office, yet we would prefer seeing it confined to one, rather than shared by different persons during the same evening. At the first of these Concerts, it was announced, that the organ and piano-forte would be taken by Messrs. Turle, Goss, and Horncastle; and Mr. Blackbourne’s name is added to the list in the present concert. The reputation of these gentlemen is too well-established, to render it necessary to have recourse to this puffing mode; for which there is no occasion, and out of which much inconvenience may arise. We would take the liberty of suggesting as the more preferable course, that the same individual retain his situation for the evening,—upon whom, in that case, would devolve the responsibility of conducting that department of the business of the night; and to this conductor we would in all humility offer our decided opinion, that the less he was heard, except in instances where an accompaniment was obligato, the more perfect would be the effect produced. Genuine glee-singing is essentially injured by the jingling of the piano-forte, especially when singers know their own powers, and can sustain their voices without such artificial aid.