17 FEBRUARY 1844, Page 18

MUSIC,

MELOPHONIC SOCIETY.

SINCE the days in which the Court ladies at Paris sang the Psalms of David in the version of CLEMENT MAROT, the sacred lyre has never been so popularized—its music certainly never introduced into such high society—as through Rossm's Stabat Mater. And wherein lies the secret of this popularity ? Partly, perhaps, that it is the first production of a famous pen in a new style, after long cessation from composition ; but chiefly that it is a piece of studied effect, the fruit of long expe- rience in the choir and orchestra,—which, moreover, has had the advam- tage of making its first impression with the aid of the finest voices and instruments in Europe. To this point Rossua has laboured his work; and, heard with these means and appliances, it will always please, whatever differences of opinion may exist with regard to its ecclesiasti- cal orthodoxy in those who square their faith in church-composition by MOZART, HAYDN, CHERUBINI, and their older models. The success which had attended the performances of this work at the Operahonse and elsewhere, when supported by first-rate artists, would necessarily subject an amateur society attempting it to perilous cool. parison ; and the result of its first performance, on the 9th of this month, by the Melophonic Society, at the Hanover Square Rooms, justified our apprehensions. Unhappily, it was not neces- sary to judge of the indiscretion of this attempt by any previous standard. A weak and incompetent stringed band, wind-instru- ments that were rarely in tune, an imperfect chorus, and mis- matched principal singers, (BRAHAM and —HAMILTON BRAMAN being very doubtful attractions in a work of this character,)—with these means, the work went as it could, amidst such a bombardment of wrong notes as we have rarely sustained in public. This is the worst fault of the amateur conductors. They seldom fail in acquiring the right time of movements, or in beating them with correctness : but in the most necessary part of their business—in the detection and cor- rection of errors, they are either incompetent or strangely neglectful. How vain the idea of representing a work full of finesse and delicacy in its effects, where the first and rudest discipline of the orchestra and choir has been overlooked The simultaneous major and minor ending of choruses is not uncommon at Exeter Hall, though the offence of the erring party is there often softened by a multitude who are right But when one remarks in a society of such manageable construction as the Melophonic, an ignorance of the modulations of a piece, omission of the leading notes of the harmony, major and minor terminations, hesitating or wrong time in the attack of figurate passages of accompaniment, and the like, there is no need to look farther for evidences of a rash attempt, or proof that a more beaten and humble path will be a safer one to public approbation. In the choral department of the Melophonic So- ciety there are fine voices, and the means of grandeur, which we hope on a future occasion to hear more favourably developed. The least faulty parts of the ensemble were perhaps the first and last chorus. The " Eia Mater" exhibited an effective basso-profondo in a Mr. J. KENCH; whose low notes told well in the monastic sepulchral style of this movement Miss RAINFORTH sustained the principal soprano part with becoming confidence and brilliancy. Practice has improved her facility in high notes, and added certainty to her intona- tion. Her associate in the duet "Quis eat homo," Miss CUBITT, ShORld be advised to make herself more thoroughly mistress of the part before she again attempt it. The cadence on the intervals of the chord of the seventh was quite spoiled by her failing to observe a slight interruption to the regular gradation of the descent It can scarcely be expected that in speaking of Bitiatim we should' chronicle improvement And yet it is surprising to remark how effec- tive a man he still is for popular purposes—how fully master still of his peculiar and surprising shouts—how little deteriorated in that respect daring the last ten years, in which he has been the patriarch of tenors I Like the old horse in harness, he still warms to his work; a little raw and rusty at first, perhaps, but improving as he goes on. Musical in- terest in his performance, however, can no longer exist in those who witness the painful effort with which his intonation is sustained and the greater part of his notes commanded. To those who are curious to observe art remedying the defects of nature and parrying the assaults of time, the exhibition may be both instructive and interesting ; but an uneasy sensation possesses the mere listener—all his feelings are alien to the repose and voluptuousness of song. For this we must have youth, and the sensibilities of the youthful artist, as such a one as Memo embodies them. Still, in a long catalogue of favourite songs, BRAHAM'S performances, we repeat, will pass muster ; and the admirers of his spirited and noisy manner find no symptoms of decay. Mr. HAMILTON BRAMAN, who figured in this concert as a basso-can- tante, appears to us to possess no bass-notes, and a voice of a very non- descript character—pitched somewhat lower than his father's, but of the same quality. We could detect in him none of the inflexions of the musician—still less any reading of his part which would warrant the designation of style. As the son of a distinguished performer, he was received with considerable favour ; which we hope it will be his future endeavour by application and improvement to merit.