FIFTH VOCAL CONCERT, Monday, March 4, 1833.

PART I.

PART II.

In the composition of a concert, as in that of a good picture, an attention to the chiaro scuro is of essential importance: some of the noblest efforts of the pencil owe no small degree of their merit and high reputation to the skilful management of the artist in a judicious blending of his light and shade. The same principle, applying in the one case to the organ of vision, is of equal force in reference to the organ of audition. The concert under present consideration affords an apt illustration of our meaning: in variety of authorship, and in intrinsic excellence, there is little room for objection; but it is very deficient in what the French term les nuances. A succession of elaborate pieces compose the first act, giving a sombre complexion to the whole, which might easily have been avoided by throwing in occasional relief. The opening piece, by being chorus throughout, did not produce anything like the effect of Battishill’s Anthem at the commencement of the second concert, where a charming verse for three voices, between the first and last chorus, affords the most agreeable relief to the musical ear: we are here speaking of effect, not intending any invidious comparison between Orlando Gibbons and Jonathan Battishill, who were both splendid writers; and we heartily wish we had heard much more of the works of these truly great musicians at the concerts of the Vocal Society. In a mixed audience, various tastes must, of course, be expected; and without departing from the dignity which ought never to be lost sight of in the conduct and management of such concerts as these, still we contend that music of a somewhat lighter character might be most advantageously introduced, to the general improvement of the evening’s performance; always remembering, that light music and trifling music are by no means synonymous.

As we shall probably, in our notice of the concluding concert, take a short retrospective view of the whole, we will not at present say more on this topic; but proceed to remark briefly on certain points immediately connected with this night’s performance. The two Madrigals, (Nos. 6 and 15,) though of unequal merit, were both encored, and were the only encores of the evening. We rejoice to witness the favour and acceptance which these compositions meet with; it is highly creditable to the musical feelings of the audience, and a satisfactory answer to those who affect to say that music of this description is entirely out of fashion. Miss Shirreff’s ‘Mad Bess’ wanted ease; she had evidently studied the part, but perhaps this very circumstance was too apparent, and gave the idea of a laboured performance: we must be permitted to express our surprise at the piano-forte accompaniment of Mr. T. Welsh, which we cannot but think his better judgment must disapprove; running up and down the keys may display the dexterity of the player, but it ought not to be at the expense of the composer, especially of such a composer as Henry Purcell. An elegant and pleasing glee (No. 12) of Mr. W. Linley’s was heard with great attention and evident satisfaction, and had it been done at an earlier period of the evening, would doubtless have been repeated. The Witches’ Song and Chorus (No. 14) of Mr. Stevens strongly reminds us of Purcell; it is a composition of great merit: the chorus should have been repeated. As an instance of the working of the system of admitting single tickets, we observed an individual in boots, and with an umbrella under his arm, walk up to the upper end of the room, where he stood in a very conspicuous situation during the whole of the concert. This is too bad.

SIXTH VOCAL CONCERT, Monday, March 18, 1833.

PART I.

PART II.

The sixth and concluding concert of the series having now taken place, we may fairly offer our congratulations to the Society on the patronage and success which it has met with. The attempt was, in every point of view, commendable; and the ardour and zeal with which it has been followed up, such as, while it deserved success, we have every reason to believe has abundantly experienced it. We take for granted that these concerts will be continued another season, and therefore proceed briefly to review what has, as also what has not been done; which may not be altogether without advantage to future arrangements.

In the Prospectus issued by the Vocal Society, it is stated that ‘the compositions of native musicians are nearly banished from the concerts of the metropolis; the glees of Webbe, Callcott, Cooke, and Battishill, as well as those of their living successors, being superseded by the productions of foreign composers;’ and further, ‘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.’ Taking the four names above mentioned—and they are names that claim the highest rank in the department of glee writing—it is somewhat remarkable that only three of Webbe’s have been produced, which, with an ode and a catch, form the catalogue of his compositions; of Callcott, one glee and one catch only; of Dr. Cooke, who in sterling merit we should scarcely hesitate to place at the top of the list, one glee only; and of Battishill, of whose elegant melodies and sound harmonies it were impossible to speak too highly, not a single glee has been done. We might go on to mention the names of Danby, Robert Cooke, and other charming English composers, known but to few; but whose music would infallibly delight and captivate an audience brought together to enjoy compositions of superlative excellence. Of the Madrigals introduced, the effect has exceeded our previously formed anticipations; they were executed generally with correctness and precision highly creditable to all parties; and the manner in which they were received by the audience was a sufficient hint how acceptable they were. Of English church music, the portion given has been very scanty. Part of an anthem of Battishill’s, part or one by Orlando Gibbons, and one by Dr. Greene, comprise the whole. Of theatrical music, not a note, with the exception of Mr. Bishop’s, has been heard. Of Henry Purcell, the pride and ornament of the English school, one piece has been given[48], and that, one of his most hackneyed compositions, brought forward on frequent occasions, as offering a test to try the merits of young musical aspirants, who in their adventurous flight have too often met the fate of Icarus, by thus soaring too high. In regard to the works of living writers, the committee of managers must have felt great difficulty: and this feeling by no means lessened, we conceive, owing to the circumstance of some of its members being themselves composers. So strongly, indeed, are we impressed with this idea, that, if it should form part of the Society’s plan to change the committee from year to year, we would venture to hint at the propriety of excluding composers from being elected; not from any apprehension of their abusing their trust, but solely with the view of securing independence and impartiality in the execution of a duty requiring both delicacy and firmness.

In regard to the foreign music which has been performed, when it is considered that the principal feature of these concerts was stated to be ‘to present the vocal music of the English school,’ it would appear as if this intention had been materially departed from, in the number of Italian and German compositions which are to be found. Without detracting in the slightest degree from the merit of these, we still entertain great doubt as to the policy of the measure: take, for instance, Mozart, one of the most admirable writers of either ancient or modern date, whose music, whether for ‘the church, the chamber, or the theatre,’ was never more in fashion than in the present day, and may be constantly heard in all parties, both public and private. We observe three, and sometimes four pieces of Mozart in the same evening, and not one of the six concerts without his music. With all our high respect for this eminent man, we could have wished to hear less of him, in order to have made room for composers who would have done honour to the Society, and given the highest gratification to the audience; and, strictly speaking, would have been more in accordance with the scope and design put forth in the Prospectus. We allude to Palestrina, Pergolesi, Bononcini, with many others, whose names are not to be found in the concerts of the past season. Of Haydn we have had a small portion compared with Mozart, nor have the selections from him been happily chosen; an English dress does not become him; and we must own, that of translations and adaptations generally, there are very few that do not materially interfere with the beauty and spirit of the original. One other point we must just touch upon before we conclude, of which the managers do not seem to have taken the same view, with regard to its importance, that we do. We have already dwelt upon the propriety of throwing in a certain portion of relief in the composition of these concerts: many a half-suppressed yawn we have witnessed in the room, during the performance of some very good music, which would gladly have been exchanged for something less fine, but more pleasing, and doubtless more intelligible to the majority of the audience. The simple ballad, sung with much expression by Mr. Broadhurst in the first concert, ‘My ain fire-side,’ was encored with enthusiasm, while the terzetto of Beethoven, which followed soon after, was heard with comparative indifference. A catch of Webbe’s was introduced in the first, and one of Callcott’s in the second evening’s performance, but none since, although both were encored. If the future managers choose to exert themselves, they will be at no loss to find many cheerful, and even humorous compositions, where the words are altogether unexceptionable, and the music excellent. We strongly recommend attention to this.

We had proposed to say something on the merits of the performers individually, but our limits forbid. We will only observe, that a strong desire to please was evident throughout the season; and we doubt not that much satisfaction has been afforded to numbers, who will readily testify the fact, by renewing their subscription the following season; when the experience which has been gained during the past will enable the VOCAL SOCIETY to resume its functions next year with improved effect; and we take our leave, with cordial wishes for its future success.