7 JUNE 1845, Page 18

MUSIC.

CHORAL MEETING OF THE UPPER SCHOOLS INSTRUCTED ON WILHKM'S METHOD 01' TEACHING SINGING BY JOHN HULLAIL

EXETER HALL on Wednesday presented to strangers a curious reverse of its ordinary musical aspect ; the auditory filling the platform and galleries, and the whole area of the building being densely crowded with performers, in number from 1,500 to 2,000. The result of their solitary public trial for the present year was fully satisfactory, and showed that for some time past, while the system has ceased to be noisily obtruded on the public, a quiet progress has been making; that the art of effective part-singing has been accomplished by a considerable number; and that the Committee of the Council of Education have not altoeether failed in the object of their sanction and patronage, as some had feared. Perhaps, for the establishment of the superior efficiency of the method itself, it might have been desirable to try some pieces read absolutely at first sight. But it would be ungene- rous and unjust to deny admiration and applause at what was accomplished by this vast assembly, particularly by the male amateurs and those who had commenced musical studies as adults, even had it been the consequence of years of zealous attention to their class-studies. Formerly, the training of the adult ear for pure harmony, which is still one of the greatest practical difficulties in the teaching of part-singing, appeared an invincible, a miracu- lous task. And thirty years since, considering the total omission of music from the education and habits of men in general, it in reality was so. But times have changed; and even long before this excellent social plan of musical education had been devised, or rather adopted in England, a kind of progress had insensibly been making. The youth of the present day, or both sexes, have sprung up amid much popular culture of music, vulgar enough perhaps in style and execution, but sufficient to instil some notions of rhythm and of correct intonation. Street-music—out of tune enough at times, Heaven knows—has not been altogether ineffectual in improving the musical faculties of the present generation, born amidst the echoes or popular melodies in every direction. The rude material has long been col- lecting in abundance; the favourable moment has arrived, and now it is shown what great purposes await the development of the harmonious prin- ciple, whether in the choral grandeur and dignified sentiment of church- composition, or in the lighter strains of mere social amusement.

The exhibition of Wednesday surprised many who had attended pre- vious meetings, by the precision of many of the performances, and the fine effects of light and shade introduced. These were at times of a nature to remind us of those exhibited at the anniversaries of the Madrigal Society by the most practised vocalists and musicians. We missed the energetic forte, which is so conspicuous a feature of the well-drilled and accu- rate chorus, and there was a frequent inclination to drag the time,which could be corrected only by a vigorous exertion of the baton. But in opposition to these blemishes,we must place an admirable tuttipiatw, a generally good into- nation, an expressive delivery of the parts, correctness in holding suspen- sions and pedal-basses, and in delivering chromatic intervals; in short, many of the effects principally admired in vocalists of professional education were shown to be no longer exclusive attainments.

The most effective things were in harmony of a simple diatonic charac- ter. The Evening Hymn, with the popular melody slightly altered, and harmonized in a tasteful antique style, was highly effective. So was Croft's anthem " God is gone up." A chant by Blow, executed antiphonally by the entire mass of singers, was most extraordb. nary and beautifuL The response, made on either side with a re7 markably clear articulation of the words, and a striking ensemble in pronouncing them, threw all our poverty-stricken cathedral displays into the shade, and promised noble things for congregational singing wheneter this dignified form of the church service may be carried out. Gibbons's " Te Deum," sung by a part of the choral force, is a work as conspicuous for its varied terminations and cadences as for its close and involved coun- terpoint. The modulation was ably followed; but the time seemed to pre- sent difficulties, and the attack of the points was consequently timid and indecisive. Ttillis's " Song of Forty Parts " was produced, probably as an exercise of the reading of the more select pupils. When performed at the Madrigal Society's anniversary in 1836, it was found totally effectless; and this mistake of a barbarous age as to the true principles of harmonious effect, it might be thought quite sufficient to have revived once as a curiosity. Its repetition on Wednesday seemed to put an end to its pretensions as a work of interest or entertainment; none present, we suspect, will ever wish to hear it more.

The second part, which consisted of secular music, seemed to be a source of much pleasure to the performers, who entered upon it with alacrity. Here the change of the points and strict imitations of church music, for the more melodious and popular form of glee parts, created manifest delight. Still, however, there was much steadiness in the execution. The glee " From Oberon," Ruffo's Madrigal " See from his ocean bed," and Webbe's glee " Breathe soft ye winds," were performed with delicacy and correctness. A remarkably good combination was perceptible in all the simpler things; and the occasional predominance of a few female voices of bad quality, which slightly marred the pieces of more difficult reading, was here wholly lost.

The classes are now, we understand, to raise funds for a music-hall of their own, to perform oratorios, &c.; and led as if by magic, the Snored Harmonic Society will have a gigantic competitor in the field, and rivalry must commence where for once one might have thought it fairly exclud But the issue will be for the benefit of art.