23 SEPTEMBER 1837, Page 11

THE BIRMINGHAM FESTIVAL.

TI1E Birmingham Festival exhibits strong symptoms of decay. This is a fact sufficiently evident to all who remember it in its former state of celebrity, when it not only brought together the most powerful and the most perfect assemblage of musical talent in the kingdom, but employed it in giving full effect to the finest works of the first masters. We witness this decline with regret;

for we used to look forward to the triennial recurrence of' this meeting as to a season of high musical enjoyment ; and many will hardly credit that, with all the advantages that Birmingham pos- sesses, its Festival, instead of holding its former rank, should now he in a state of decline. We speak of it solely as a musical per- formance, and judge of it entirely as such without any reference to pecuniary results; for those who have to watch and record the progress of events as connected with the art, are reminded too often, that the most trumpery displays of it are frequently the most profitable, and that such exhibitions as bring the highest en- joyment to the musician, bring also loss to those who have the courage to venture upon them.

If such a result be matter of regret to those who, like ourselves, are mere bystanders and lookers-on, it must be deeply mortifying to such of the inhabitants of Birmingham as, by comparing the past with the present, can form a correct estimate of the position Which their Festival now occupies. In its support they have uniformly acted with a generosity and public spirit to which no other town can furnish a parallel. They have raised the money to build one of the finest town-halls in the kingdom, and they have uniformly placed the pecuniary success of' the meeting Which is now held there beyond all doubt. They have said to the Managers of the Festival, " Draw on us to what amount you please, and your bills shall be honoured." Unlike Norwich, Gloucester, or Worcester, Birmingham evinces a full reliance Upon its own power. Smaller provincial towns act according to the• impulse of the aristocracy. Will such a duke, or earl, or squire be at the meeting ; will their families grace the patron's gallery, and mingle with the daucers at the ball ? The aye or no given to these queries goes far to decide the attendance of the crowd. Birmingham has no aristocracy ; and whether a few tilled persons appear at the Festival or not, the result is the same. The inhabitants of Birmingham, therefore, deserve a good festival. They ought to keep pace with, at least, if not to be " the mark and book, copy and glass to fashion" others. How it happme that this is no longer the ease, requires a little explanation ; which, indeed, is rendered absolutely necessary in order to account for many circumstances connected with the Festival, both as re- gards the selection and the performance. We must furnish the clue, as far as we are able, to unravel what is intricate and to make what is mysterious intelligible.

The first and most striking feature of the Birmingham Fes-

tival is the—not second, but third and fourth rate character of the materials which principally compose it, and the absence of any work, the Messiah alone excepted, of known and acknowledged eminence. It is a festival to which HAYDN, MOZART, BERT.. HOVEN, SPOHR, and WEBER, are either not allowed to contribute at all, or only often enough to justify the insertion of their names, or some of them, in the bills. Here and there a detached frag- ment, but no more. This fact stamps the character of the Bir- mingham Festival, and decides its rank and station. " Who," it is asked on all sides, " have inflicted on it this mark of degrada- tion ?" The reply to this question may be thus stated.

The Birmingham Festival, like most similar meetings, was

for many years managed by the conductor and the principal singers of the Ancient Concerts. It partook of their prosperity ; for it benefited, with them, by the energy of that mind which infused into both a portion of its own spirit. BARTLEMAN was the real director of the Ancient Concerts' and the real manager of the Birmingham Festival : whatever he proposed was done, whatever he forbade was rejected. All the rest of his colleagues—GREAT3- REX, KNYVETT, and VAUGHAN—were but playthings and puppets in his hands: they were the tools with which he worked ; and the Birmingham Festival was a machine which he took pleasure in directing-. His hand is visible in every selection up to the period of his death ; from which period the decline of this meet- ing dates. Then began the reign of imbecility ; then began " the day of small things," and second and third rate composers made their appearance. First-111E1nm, then WINTER, then ZINGA- RELLI. each in hie turn occupy ing prominent stations in successive schemes: and last of all NEUKOMM, with his David. Not one of the works thus produced ever found it.' way into any other Eng- lish orchestra. The last of them, which the newspapers informed us "combined all the excellences of HANDEL and HAYDN," is as dead as though it had never been. This attachment to me- diocrity, this patronage of poverty, begun under GREATOREICS management, has been yet more strongly exhibited by the pre- sent conductor, Mr. KNYVETT. With no disposition to under- value this gentleman's musical attainments, we only record the opinion of all who have witnessed his exhibitions in that line that he is utterly unfitted for the situation of a conductor. After the lamentable display of incompetency at this festival three years since, and the still more disgraceful one at York, we scarcely expected to witness his reappearance in that character. But KNYVETT'S influence with the clique who direct the concerns of the Birmingham Festival (for the truly public-spirited inhabi- tants have no other concern with it than to pay their money for admission) kept him in his office, or to speak more correctly, in the receipt of his salary ; the presence of MENDELSSOHN and NET:Keene, who were engaged to conduct their own compositions, having left him little more to do than to instruct CRAMER, LIND. LEY, and the rest of the band, in the time of the Messiah!

Thus, its connexion with the Ancient Concerts, which used to infuse vigour and animation into the Birmingham Festival— which used to give it splendour and reputation—now hangs about it like an incubus. °ace associated with a living and active spirit, it is now yoked to a mere lifeless caicass.

This disastrous assoeiation operates injuriously to the interests and the reputation of the Birmingham Festival in other .ways. It influences the selection not old) of the music to be performed, but of the singers who are to pei form it, and the allotment of work to each. The appintment of Mr. KNVVEIT as conductor, in- volves the appointment or Mrs. KNYVETr as fist English singer. This is a bold step, it must be confessed ; but it is ali part of the same job. IV'‘ turn back to the Birmingham Festival of 1820, and find Mrs. KNYVETT (then Miss Tavans) occupyin4 the place of third English singer; the principal business devolving on Miss STEPHENS and Mrs. S.U.MON. No'iV the-e ladies are all living, and two or them, at least, occupy the smite relative position as they did finneen years ago. No one, we apprehend, will contend that Mrs. KNVVETT is a better sineer now than then, or even than she was in 1810, when she ClIcd the same situation in the orchestra of the Ancient Converts under Mrs. 1311.1.INGTON and Mrs. VAUGHAN ; or that her voice, inihke any feniale voice that ever was heard, grows better by age. Seidority, therefore, coofers Mrs. KNYVETT'S only claim to the situation she has Le..n called on to fill; and it this claim be Amitted at Birmingham, the offer of an engagement should, in the first instanee, have been handed to Mrs. MOUNTAIN, whose delightful tunes, though at the distance of sonic seasons, still vibrate in our ears. But M rS. KNVVETT being installed as first lady, it was necessary to keep out of the orchestra any competitor who might occasion "odious comparisons." And this accounts for the absence of CAR ADORI, (her voyage to the United States being determined on long after the arrangements for the Birmingham Festival were made,) Miss Messoer, Mrs. BISHOP, and Miss HAWES.

Such is the history of the getting up of the Birmingham Festival. We shall see how the same influence has operated in the apportionment of each perforrmi's will:, as our narrative proceeds. The Managers seetn to imagine, that having a4sernbled a large and elli:ctive instrumental and (emend band, they have discharged their duty, and that it is matter of comparative indifference how • that band is, employed. This is not au uncommon error, but it is. an errejtVand a geir;vOus one, nevertheless. The. possession of .suCh lioever.ought to stimulate a desire to employ. it well and wor- ttify;attil net to Make it an excuse for indolence or a.cloak for jobbing, We should not think.mueh of the Birmingham Mana- ger's; judgment if he were to bring down MACREADY to play the principal Character in the Flying Dutchman, or any other of Mr. ritztieles dratnetic enormities; and NEUROSISI and HAVER .standitt. the same relation to MOZART and BEETHOVEN that Mr. .Ftrznent. does to SHAKSPEARE. Nor, with the advantage of such - a splendid building as the Town-hall, which is now completely -finished and furnished, and so fine an orchestra, was there any need to resort to any false or exaggerated description of either, by way of puff. This sort of game befits Manager BUNN, but the Birmingham Managers should be above it. They ought lo be able to let their festival speak for itself, and its reputation be the sufficient harbinger of its success.

The Hall at Birmingham has not only been completely and

superbly finished, but several important alterations and improve- ments have been effected in the orchestra. At the last meeting, in 1834, after having pointed out the absurdity of placing an orgafl so disproportioned to the size of the room in the centre of the orchestra, and thus cutting off all communication between the first and second violins, we added—" This defect was heightened b.), the arrangement of the orchestra : the whole chorus was brought to the front, and ranged in six rows, even before the violoncellos, so that the leader was scarcely visible. It was mor- tifying to bear a splendid band thus rendered comparatively powerless and ineffective." This error, which never ought to

have existed, is now remedied: the chorus flanks the instrumental band, and the leader and the other principal instruments are • brought near the singers. A recess has been built for the organ, which no longer severs the band into two distinct portions. We pointed out at the same time the disproportion of the several in- - strurnents, and the overpowering noise of the brass band. This defect, too, has been remedied; the number of violins having been increased and that of the brass instruments lessened. The front Las been lowered, but it is still too high from the ground, and of course the general elevation of the orchestra too much flattened. The following summary will show in what proportions the dif- ferent composers whose names occur in the various sacred selec- tions have been called upon to contribute- -DEL has furnished 45 pieces.

• MENDELSSOHN

NEU KOMM

31 ,, I 33 ,,

H ASER

.1100.411T

HAYT1N and GARDINER CROFT and GREATOREX

CHERCBINI

OUGLIELMI 1 1, Sir JOHN STEVENSON

BEETHOVEN

PP

• MS list, which we cannot and do not believe to afford an accurate indication of the musical taste of Birmingham, contains some droll combinations, which we give as we find them.

Of all the internal and external arrangements which are inde-

neudent of music, we can speak in terms of unqualified praise. Tile attention of the Committee has evidently been zealously, laboriously, and most effectively given. A number of the seats are reserved; but these are no better for hearing or seeing than elie rest; and in the apportionment of the former there is no favouritism nor undue influence, the selection being by ballot. These preliminaries being disposed of', we proceed to record the erogr3ss of the Festival. It began on Tuesday morning, with Nee eoeim's Ascension, an oratorio deduced from the Messiah of KLOPSTOCK. The translation, instead of following the metre of the original, is all in prose; but, knowing nothing of NEUKOMNI'S Torii except in its present form, we cannot say to what extent it hae suffered by such a mistake. That it is utterly unworthy to eecui y a place at this festival, we presume nobody who has eeard it will deny. We did our best, three years since, after 'having beard David, to warn its managers against the readmission et any more or NE1:14.0MM's compositions into their schemes ; but, as it appears,, in vain. The public seemed to have listened to Ass n i!iernere attention ; fer the hall was comparatively empty, and it k now discovered, when too late, that we were right. We caretot afford time or space to enter into any detailed criti- cism such a work ; and, in truth, we could not if ever so wil- ling. idSe have heard it on two successive days, but our impression es only Nat of a general atmosphere of dulness, where attention is sainly stimulated by the liberal employment of noise. We can recollect nothing—we ca-n recall nothing. We alone prophesied the fate of David; but in predicting that the Ascension has been :eeard for the last as well as the first time in England, we shall srobably steak the general opinion. This performance was succeeded by a miscellaneous act, in which GRISI, ALBERTAZZI, and TASIBITRINI were intended to form the 41 it% attiaction; but the very injudicious choice of songs for the

wo latter rendered the assistance of these distinguished singers at little value. Yet were there some features of surpassing grandeur : the three Choruses, "Your harps and cymbals sound," " els front the power of sacred lays," and above all, " See the reitid chief." They made us feel that HANDEL putting forth his :strength upon his own ground is unapproachable. In the last

• Seretetee um October 1934. 1 PP

•• . „ .

eherui,-fOr. maniple, one of the mightiest Otis Mighty Deborah itiq not the *Mire conttruction of fugal counterpoint—not the skilful 'reepbese and intermingling of subject with subject—but the Povierfal expression that is thus imparted to the words, which evinces the master. It is impossible to conceive defiance and scorn more truly and haughtily expressed. Here we feel innate grandeur and real power, without the noisy addenda which every second-rate -composer resorts to. To these choruses of HANDEL may be added that of MOZART which terminates hie Cantata gnadig. Now, either Deborah, Solomon, DRYDEN'S Ode, (whence these choruses are derived,) or MOZART'S entire Can- tata, would have been novelties equally with either of those which have been selected for this festival; but HANDEL and Moue? have no friends here to canvass for them.

The prominent attraction of Wednesday morning was MENDELS- SOHN'S St. Paul; which we had occasion to notice pretty much at length when it was produced at the Liverpool Festival last year. We anticipated the present performance with some interest' knowing that the previous one had been accomplished with much more haste than good speed, and that the presence and direction of the composer, together with the time which had been devoted to previous practice, would rectify all the errors incident to so digested an attempt. But the performance of Wednesday morn- ing has not materially altered our opinion of the intrinsic merits of the work, although it has brought out many latent beauties. The principle with which MENDELSSOHN starts is, that lie who would write an oratorio must transport himself in imagination to the time of BACH and HANDEL—must speak their musical language —must copy their style—must discard as heterodox and inadmis- sible all that subsequent composers have done to enlarge the sphere of musical action and capability. It is upon this principle that we join issue with him, and contend that the effort were a vain one if not impossible, and if possible not expedient. Our opinion is confirmed by the practice of all the great modern masters,— HAYDN, BEETHOVEN, SPOHR, (MOZART wrote no oratorio,) each of whom, though thoroughly conversant with the writings' of his illustrious predecessors, spoke in his own musical language. It is easier to talk of writing in the style of the old masters than to practise it. Among moderns, modernism will be nit- stantly peeping out; and the attempt thus to write,, will of neces- sity impose on the copyist restraints and shackles which his ori- ginal, writing without them, never felt. No great writer ever implicitly copied any other however great. PURCELL proved his intimacy with Peexeretsa and GIBBONS; but he carried out the power of sacred music more widely—he not only ascended 'die eminence which they had reached, but he mounted, in a different direction, still higher. He followed the bent of his own mind, not theirs. " If I have any originality of thought," said BURNS, "it is because I have viewed the subjects of my muse in a different Oasis 'from what others have done." And we may add, the poetry of BURNS would have been very different—that is, very inferior to what it is, if he had endeavoured to view those subjects in the same Oasis with his predecessors. From them he learned the technichalia of hie art, but no more. " The mere rules of art," as he elsewhere observes, "give us but a scanty and confined gamut. Nature alone can furnish powers equal to all the intellectual modulations of the human soul." In St. Paul MENDELSSOHN has evidently endeavoured to place himself in the same Oasis with some of his predecessors —to see as they saw, and no further—to hear as they heard, aud no otherwise : and hence, of necessity, the want of " originally of thought" in what he has produced. After bearing some of the compositions of the old masters,—such a chorus as " See the proud chief," for example,—we are apt to impute its merit rather to the accidental form in which its author saw fit to clothe his thoughts, than to the genius which inspired them—to admire the chariot rather than the mind which impels and guides it. Now there is no abstract merit in any style or form of writing—nu in- herent excellence in vocal fugue or canon. Like all the powers of art, musical or other, their sole use and value (except as mere exercises) consists in their peculiar applicability to the purpose for which they are used: and HANDEL sometimes blundered as egre- giously in the employment of these means as he was surpassingly successful in others. Every resource which the improved state of musical performance offers to the musician, he should gladly adopt, if he means to interest the feelings as well as to satisfy the critical expectations of his auditors. Language, whether it find expression in poetry or in music, must gush freely from the heart, if it be intended to find its way thither ; and not proceed by a con- stant recurrence to authorities and passages of a certain and re- mote age. Besides, an oratorio " written after the manner of Handel," is not a musical desideratum—for this plain reason, that we make no use of those which he wrote himself. Having discarded the originals, we can scarcely be expected to hang up copies in their places. If we stick to lIeennie, and BACH, resolved to advance no further,—if we are to discard HAYDN, BEETHOVEN, and Sroun, (to which the admission of this principle will compel us,) —let us rub the dust off our HANDEL'S scores, and let us also hear (which we never have yet heard) some of SEBASTIAN BACH 'S church-music. St. Paul is, avowedly, Ilandelian; but it is more —it is very often Hesanet. hintself—net only the spirit, but the letter : and if we adept the principle on which it was written, we ought thus to act, or our exclusive preference of this style will be mere talk. Our objections to St. Paul, it will be seen, regard the principle

on Which its accomplished author has choeen to Construct it. We Thursday was as perfect a can be imagined : every one felt at should differ from an 'authority so high with hesitation, had we the not still higher authority on our side; and we venture to urge augmented, as well as its precision secured. In the apportion- these considerations upcn him, in the hope that, by inspiring lum with more self.reliance, be will in future works of the same kind y badly sung. A comparison of the Messiah as performed hero in write down his own thoughts and clothe them with his own Ian-

gunge, instead of hunting for precedents

and past times. Thorcughly master as he is of all that ents and phrases of other musical science can impart—endowed with a genius in which bril-

liant and beautiful thoughts are contending for utterance—it is in know that my Redeemer ;" and PHILLIPS was thrust out of

manner of Mendelssohn." . Ms power to give us in his next oratorio a composition " after the The performance of St. Paul, if in some important respects it surpassed that of Liverpool, in others fell far short of it. Instead singers. The songs in this oratorio demand the highest class of

TETT and Miss CLARA NOVELLO ; instead of BRAHAM, BENNET: - of Madame CARADORI and Mrs. WOOD, we had only Mrs. KNY- formere ; hence their eitality is extinct—we have the notes, but and the part of Paul was severed in twain, and taken alternately, nothing more. bit by bit, by Messrs. PH tm ILLIPS and Mece : loans bad al- most nothing to do. In this distribution of parts, we trace the The Triumph of Faith, by a composer named HASER. We made some inquities of German as well as English prefessors. paltry influence of the same clique which has op Treed so bane- who Mena was ; and, after having beard his (so-called) oratorio fully in other concerns of this festival. The well-going of the rehearsed, were rather inclined to imagine that the composition piece is nothing in their estimation, compared with their own nor- was the juvenile effort of some English youth, who had adopted row and selfish ends : their sole attention is fixed upon serving an unknown foreign name. But we are credibly assured that themselves. No matter that PHILLIPS would have sung the part Hesen is a real personage, and that our conjecture was erroneous. of Paul as well ae MACHIN (lid ill ; no matter that H01:113 would What were the impelling motives—the " considreations" that have infinitely surpassed BENNET in all that the latter had to do; led to the production of this work, we have yet to learn ; it having lie matter even for the absurdity of raising BENNET (the Stephen

neither intrinsic merit, nor any previous reputation of its composer of the piece) from the dead and making him Paul's companion : to recommend it ; neither is it an oratorio, but we should guess. a all these absurdities are perpetrated, all these offences against part of an opera. The story is taken from La Gerusalemme Li- decency and good taste are committed, in order to serve the pur- berata, that rich and fertile source of operatic materials for the pose of a party ; awl the reputation of a composer and that of the but none of the choruses. In the miscellaneous act which fol- been so often expressed that they may venture on a repetition n s home in his part, and hence e physical force of the band was ment of the solo parts, we again saw the noxious influence of the cabal too visible; and they were, with few exceptions, feebly; or

past times was thus forced upon us. BRAAM'S absence was se-

FI

verely felt: the introductory song, instead of being given to

HOBBS, was allotted to BENNET; Mrs. Kevverr undertook "I liant and beautiful thoughts are contending for utterance—it is in know that my Redeemer ;" and PHILLIPS was thrust out of

" Why do the nations," to make room for the vulgar bawling of Mr. Mecum The incessant repetition of the Messiah forces comparisons upon us which are anything but advantageous to the surpassed that of Liverpool, in others fell far short of it. Instead singers. The songs in this oratorio demand the highest class of vocal attainments : they are now allotted to any inferior per

TETT and Miss CLARA NOVELLO ; instead of BRAHAM, BENNET: - of Madame CARADORI and Mrs. WOOD, we had only Mrs. KNY- formere ; hence their eitality is extinct—we have the notes, but and the part of Paul was severed in twain, and taken alternately, nothing more.

The Festival terminated on Friday morning, with an oratorio called

most nothing to do. In this distribution of parts, we trace the The Triumph of Faith, by a composer named HASER. We made some inquities of German as well as English prefessors. paltry influence of the same clique which has op Treed so bane- who Mena was ; and, after having beard his (so-called) oratorio fully in other concerns of this festival. The well-going of the rehearsed, were rather inclined to imagine that the composition piece is nothing in their estimation, compared with their own nor- was the juvenile effort of some English youth, who had adopted row and selfish ends : their sole attention is fixed upon serving an unknown foreign name. But we are credibly assured that themselves. No matter that PHILLIPS would have sung the part Hesen is a real personage, and that our conjecture was erroneous. of Paul as well ae MACHIN (lid ill ; no matter that H01:113 would What were the impelling motives—the " considreations" that have infinitely surpassed BENNET in all that the latter had to do; led to the production of this work, we have yet to learn ; it having lie matter even for the absurdity of raising BENNET (the Stephen

neither intrinsic merit, nor any previous reputation of its composer of the piece) from the dead and making him Paul's companion : to recommend it ; neither is it an oratorio, but we should guess. a all these absurdities are perpetrated, all these offences against part of an opera. The story is taken from La Gerusalemme Li- decency and good taste are committed, in order to serve the pur- berata, that rich and fertile source of operatic materials for the pose of a party ; awl the reputation of a composer and that of the

festival are sacrificed. last century and a half. Now, with all deference to the managers The attendance was more numerous this morning, although the here, we submit that, PURCELL and HANDEL having each com- posed operas tit-awn from the divine poem of Tess°, it would have hall was not yet filled. One of the songs (Mrs. SHAW 9 was encored, been as well to have taken either of them, since they would have y 7 lowed, was introduced one of the choruses from Israel in Egypt ; been equall :ovel, and (with all humility we suggest)luite as which, late as it was, was vehemently encored. So evident it is good. But Pueceet., in common with al! CM great writers of that HANDEL will suffer no rival near his throne, whenever he the English school, is unheard if not unknown at Birmingham.

chocses to assume regal port and dignity. The Triumph of Faith k, as an oratorio ought to be, dramatic ;

Thursday morning was devoted to the Messiah. On this per- but it is also, what an oratorio ought not to be, theatrical. These formance the reporters of most papers are eloquently diffuse : it is two epithets, which are sometimes confounded, are, in truth, per- safe ground, for raptures at the same songs and choruses have feet ly distinct. Nothing can be more highly dramatic, for instance, tha SPOHR'S Crucifixion—nothing less theatrical. HASER'S of them in perfect security. We have, for some time past, con- oratorio is, throughout, a collection of commonplace passages from tented ourselves with a simple announcement of the fact, or the the theatre. Fifty such oratorios might be concocted from the expression of a wish that some other of HANDEL'S oratorios might, operas of fourth and fifth-rate German writers. One fact speaks occasioaally, be allowed to take turn with it. This silence may a volume as to its merits, even in the estimation of those who pro-- be miemnstrued. Perhaps it has been, especially by the party duced it—tile instrumental score has been wholly rewrittee 're who desire to be understood as taking the reputation of HANDEL England! What should we think of a man's reinstrumenting under their especial if not exclusive protection,—who choose to a composition of Mozeee, or any author of unquestioned impute to such as question the propriety of incessantly repeating competency ? This fact, alone, is quite sufficient to decide the the same oratorio and no other. an intention to run down HANDEL, pile rank and character of HASER and his composition. and therefore an evidence of ignorance or bad taste. To such re- Verily, there is no accounting for taste,—that is, if taste marks we need not reply. All this pretended veneration for had any thing to do with the matter; for we can scarcely ima- HANDEL is, in truth, mere indolence. To get up another of his mute, that of all the sacred compositions ever written, from the oratorios, would give trouble—the Messiah gives none. There is time of PALESTRINA to the present, this could have been delibe- a doels-little-as-possible party in music as well as in politics, rately selected by the impartial judgment of a musician : and yet. whence springs all this by pocritical cant ; and who prove their pro- if we reject this supposition, we are driven to adopt another and fessed veneration for PURCELL by regularly absenting themselves more unworthy one—in plain English, that it is a job. We have from their duty at the Abbey on the day of his cornmemoratiun, as heard that this composition has sued in vain for admittance into they evidence their admiration of HANDEL by carefully locking other Festivals : one conductor returned it with the remark, that up all his sacred compositions—save one. If the Messiah were, it was "too pretty for him." indisputably, its author's finest work, it would be a good rea- The Triumph of Faith was preceded by one of SEBASTIAN son for a tnore frequent repetition of it, though not for an BACH'S preludes and fugues, performed by MENDELSSOHN,—the exclusive one; but we altogether deny that it is the finest, most perfect exhibition of the entire Festival. BACH'S music, With all its beauties, it has many weak points, and cc aelmal MENDELSSOHN's playing, and one of the finest organs in the glaring absurdities. Some of the songs are tedious and heavy ; kingdom—here all was in proportion, and the result was enjoy- several were altered or adapted from compositions of which meld of the very highest kind. The performer, who had to pro- HANDEL had previously made a very different use; and some of ceed immediately to Leipsic, took his leave amidst the leerty the choruses are also words fitted—and most injudiciously fitted— plaudits of the audience, to his former instrumental or vocal compositions. Habit has, in The rest of the miming was filled up with selections, chiefly a degree, rendered the unfortunate divorcement of' sound from songs,—such as " Holy, holy," " Deli pariate," and other well- sense less glaring; but who will pretend that the deep contrition Known airs. There was also a scrap from SEBASTIAN BACH'S Which tho words " All we like sheep have gone astray, we have "Gros Passions Musik "—which set us a longing for more; and turned every one to his own way," is fitly represented by strains the majestic opening chorus from Deborah—which produced a of bacchanalian jollity,—the only attempted defence of which is, similar effect. The latter was enthusiastically encored. The Hall that the author dcsigned to imitate the bounding and capering Of was pretty well filled, and the attendance was quite as good as sheep: or that the words " And with his stripes we are healed" could be expected, considering the very equivocal character and ought to he set to a lively fugue ? There is less of HereneCs untried merits of the principal compositien. unrivalled power as a descriptive choral writer displayed in the The aggregate receipts of this Festival must have fallen very Messiah than in many of his oratorios,—that power which shines far short of the amount taken in 1834. Two more entire works "iii peerless glory bright" throughout Israel in Egypt—which are now added to the long catalogue of failures which the Birm- breaks out in Joshua, in Deborah, in Ads and Galatea—in both ingham Festival has witnessed—two more compositions have been the Ceeilian Odes—and in some of his Anthems. In the Messiah, born here, only to die. Surely such facts, coupled with the fall- his full strength appears only in the last chorus ; the conception ing-off in the receipts. e ill open the eyes of the public-spirited of which is not only poetical in the highest degree, but, as a work inhabitants of this town, anti occasion some vigorous effort to of art, certainly distances immeasurably every other chorus in the restore the fading glories of their music meeting.

same oratorio. There are recitations and airs also in the Messiah Of the evening concerts we have little to say ; and in estima.- of perfect vocal beauty and faultless expression,—suchas the open- ting their character we are always disposed to judge leniently. ing recitative, "lie shall feed his flock," " Behold and see," and The principal singers, in point or fact, almost make the concert-

tie was despised." But if HANDEL has succeeded in these, lie bills themselves; and hence, this portion of the Festival usually cannot u/so have succeeded in expressing similar sentiments by consists of the most popular Italian and English songs : but music of a totally opposite character. Our limits, however, forbid over the instrumental pieces the Managers hare supreme eautrol% US to pursue this criticism further, and we did not anticipate that the concerts would pass off without The choral and instrumental pin formance of the oratorio on a single Siuteuia from any of the great masters—still less, that so

charming a composition as Mozaaf s Sinfonia in D would have been cut down to the first movement. This and such like "fan- tastic tricks" are utterly opposed to all feeling of propriety, and all tend to let down the reputation of the Festival. Two Glees only were sung ; and one of these was KNYvvresown "Wandering Willie,"—a composition which seems to be sung wherever he con- ducts, but nowhere else. 'Thus, at every turn we encounter the same selfish, narrow spirit—impertinently thrusting forward what is little, and active only in keeping what is truly great out of sight. Our remarks on the Birmingham Festival—which, no doubt, some interested parties will occasionally regard as severe—have been prompted by an earnest desire to see it restored to its former high rank. We observe that the newspapers of this town are full of praises, and not measured, of the two new works. Time will show who is right. It is not by ill-placed commendations, and still less by shutting our eyes to plain and palpable albeit un- welcome truths, that the retrograde career of this Festival can be prevented. No principle is, habitually, better understood or prac- tised in this town, than the right apportionment of power : let that principle be applied to the Festival, (in which we have lately seen an engine of 100 horse-power used to drag a couple of children's go-carts,) and all will prosper.