21 FEBRUARY 1835, Page 12

VOCAL CONCERTS.

THE third concert was last Monday; and the following was the scheme-

1. Anthem," WI, have heard with our ears" PA LEST RI NA. 1. Anthem," WI, have heard with our ears" PA LEST RI NA. 2. Glee," Marked you her eye" SrOFFORTU. 3. Aria. Miss 1'osis."Fr,nar wand"

4. Madrigal. " awake!" Mont.E.Y.

5. Quartet and Chorus," Eja nutter " W 151511. 6, Glee, " Thyrsis" Dr- Cam.coTT.

7. Cantata, Mr. ItnAHANI, " Hi ism " 1' ECKOMSI. S. Trio," O'er the mighty watm:" F. ScittiEtnEn. 9. Chorus. "Sine Jehovah, our Redeemer".

10. Rondo (MS.) Pianoforte, Mrs. A NDERVON HUMMEL.

• 11. Gloria front the Second Mass IlystmEr.

12. Duetto,"Che al mit, ben " HATE n.

• 13. Aria, Mr. LTA "Qui Folegno" M(.7.sitr.

14. Trio, '' The Butterfly's Ball" Sir I. FORGE SMART.

15. Madrigal," In pride of May" W EELEES,

16. Mande, "Cosi Ian tutte" H. rail r. 17. Al.., Miss MASSON, " Part% ma tu 1)n olio" M‘a %RT.

. " O. the sueet contentment " I Ions icy.

19. llunting Chorus (Sensors) I ATI,N.

The members of this Society have been rather tardy in manifesting their respect for the labours of PALESTRINA, the father of vocal har- mony. In simple majesty of style, no composer has exceeded this great writer; and no modern combinations conveyed to our ears more full and complete sense of musical enjoyment than the fine harmonies of this sublime anthem, written three hundred years ago. Perhaps we ought not to wonder that the audience in general were not similarly affected: the untutored eye or ear generally prefers the gaudy to the chaste. A fine specimen of the modern school of Catholic church . music was afforded by the performance of No. II; parts of tritiell, especially the " Qui toll is," are exquisitely beautiful; and in all HUM- MEL'S writing there is substance as well as show. The first Madrigal, from the classical pen of MORLEY, and selected from the celebrated work of which he was the editor, contains an allu- sion to some one of the suitors who aspired to the favour of Qt1Ven ELIZABETH. It was encored, as well as the Madrigal (or rather Ballet) by WEELEES. The Glees, we must again say, were not siwit as they might be, and as they ought to be by the members if thii Society. That sort of execution which would be accounted excellent elsewhere, will not do in an orchestra which presents the materials for a perfectly finished performance. The Cantata No. 7 owed much to the singer. The words are a strange rambling compound, destitute of the high tone and feeling of sacred poetry ; and the music, though interspersed with piesages of great beauty, is too much broken up into fragments. flows:Lt.'s exe- cution in the introductory symphony was extraordinary, but we have no relish for the double bass as a solo instrument. Miss PosTANS sang for the first time at these concerts, and with great success. Her voice is a mezzo soprano of a rich and rare quality, strongly reminding us of that of GRASSINI. Her song, erroneously given to C1MAROSA in the bills, was written by PORTOGALLO, and introduced into his opera. Miss MASSON'S singing" Porto" was admirable; and we need not add that equally so was WILLMAN'S accompaniment. PHILLIPS gave the lovely song from Die Zauberfliitte with his accustomed smoothness and polish. The selection from the Finale to " Cosi fan tutte," in which Miss MAssoN and Mr. E. TAYLOR sustained the principal parts, was very effective. One of the best-studied and therefore the most perfect specimens of part-singing, was the Trio No. 14, by Miss WOODYATT, Miss MASSON, and Miss POSTANS. The instrumental piece of the evening has just reached this country. It is every way worthy its cele- brated author, and received from Mrs. ANDERSON'S fine playing ample justice. The Dutchess of KENT and the Princess VICTORIA, with their suite, were present. They were warmly welcomed by a numerous and fashionable audience.