7 MARCH 1835, Page 15


Tnoss: who are desirous of learning the various attributes, powers, and characters of vocal composition, have no such other opportunity afforded them as these concerts offer. They present a musical studio from which the veteran will derive delight and the student information. The models of classic elegance and grandeur are ranged side by side ; and the senses as well as the understanding are gratified by a successive contem- plation of their various excellences. The following selection presents a group of this kind.

1. Anthem. "God is gone up" Dr. Cnorr.

2. Glee, "Are the white hours" Dr. CA LLCOTT.

3. Aria, Miss LACY." Dove woo" MozAirs. 4. Madrigal, "Sigh not fond shepherd" FERRETTI. 5. Quartette COM, "Virgin' madre " HAYDN. 6. Glee, "Give me the harp" Sir JouN STEVENSON. 7. Sang. MS.. Madame STOCEHAUSEN, "Let Me from

noontide" horses% 8. Septetto and Chorus." Hear, 0 heart" Sumter.


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10. Termite, " Most beautiful appear HAYDN. 11. Cantata, Mr. DRAIIAII," Mad Tom" Purtcsr.L, 12. Glee," When winds breathe soft" WEBBZ. 13. Duet, Miss MASSON and Mr. Hostas, " Fairest maiden" SPORN. 14. Madrigal," Cynthia, thy song" Gm. CROCE. 15. Song, Mr. ATKI.03. "Sigh for the sailor" BARNETT. 16. Glee," From Oberon" STEVENS.

17. Solo e Coro." Placido e il mar" MOZART. 18. Serenade, "0 by rivers" Wii.sims and SAvztr..

It would be difficult to give a greater variety to a vocal concert than this scheme embraces. Here is the church music of the Reformed and the Catholic religion ; the oratorio ; the rich choral flow of the Madrigal, and the refinement of the modem glee ; the operatic music of Italy, Germany, and England ; the immortal vigour of PURCELL, the melody of JACKSON, the exquisite grace of MOZART, and the fertile invention Of BARNETT, in the songs of the night. Little can be added in variety of excellence to such a combination as this.

We are happy to see that the Directors persevere in the laudable prac- tice of performing an anthem at every one of their concerts. The English school of ecclesiastical composition may safely invite compa- rison with that of any other country, and in the honoured list of its members few can rank with CROFT. The works of these eminent writers are heard only in our cathedrals ; and even there, for the most part (in consequence of the spoliation of the revenues destined to the support of this branch of the service, by those who ought to be its guar- dians), but tamely and imperfectly. With the organist of the Abbey at the keys, and the unrivalled choral band of the Vocal Society, ample

justice was done to CROWS noble anthem. The quartetto and chorus from HAYDN'S favourite oratorio, in which Madame STOCKHAUSEN took

the principal soprano, is one of the most enchanting sacred composi- tions of that great master ; for, unlike some of his masses, its character is simply devotional a strain of pathetic and touching expression per-

vades the entire movement, which never awakens the unhallowed asso- ciations of the theatre. Cannot the Directors indulge us with another movement from this delightful, and to the English public, unknown, work ?

FERRETTI'S Madrigal, "Slat' avertiti," was performed, with an excel- lent translation by Mr. OLIPHANT, for the first time. It is full of the

melodious response of the Italian school of the sixteenth century. No. 14 is always a welcome feature in these concerts, and it never was better sung than on the repetition (for both the Madrigals were encored). The murmur of fifty voices on the unexpected transition to the chord of C was one of those beautiful effects that we are seldom allowed to hear. At this concert, the members fully redeemed their reputation as glee- singers. Often as we have heard No. P2—the best of glees—we never listened to it with more unalloyed delight than on this occasion, as sung by Master HOWE, Messrs, HAWKINS, VAUGHAN, HOBBS, and E. TAYLOR. The blending of the voices was perfect, the expression equal and alike, and the intonation faultless. Not less delightful was the performance of No. 16, by Madame STOCKHAUSEN, Messrs. TERRAIL, VAUGHAN, and BELLAMY.

In our notice of the songs, BRAIIAM'S must stand first. Is it that this great artist feels himself more in his own proper element when sur- rounded by his vocal brethren, and that thus all his powers are roused and called into action, or does his strength rise with the character of the song he has to deliver ? Perhaps both reasons conspire to the same end. Certain it is that his singing on Monday night was immeasurably superior to that of the preceding week at the Philharmonic. We never heard him with greater delight, or with a more profound admiration of his unrivalled powers. Miss LACY sung Mozaar's charming song with great sweetness ; but she has, evidently, been trained (we believe at Florence) in that vocal school which considers it the duty of a singer to make something else of a song than the text of the author supplies. Hence certain addenda—" all moderna "—with which we could have dispensed; and which, we are persuaded, her own good taste, had she heard this air sung by SCHRCEDER or MALIBRAN, would have discovered to be unnecessary. We were increasingly gratified by the purity and sweetness of her voice. Madame STOCKHAUSEN, we presume in cour- teous deference to the main object of the Vocal Concerts, produced an unknown song of JACKSON'S. It possesses some very pleasing touches of melody, which lost nothing of their charm in her hands : but here ends JACKSON'S claim to distinction as a song-writer ; and to ears ac- customed to the combinations which our orchestras now produce, the effect of his accompaniment was stiff and meagre. RanNErr's new song showed the immense advantage of our song-writers in this respect : we only regretted that a composition of so much merit was attached to such trashy words.

The Duet from SPOIIR'S Jessonda was admirably sung; and the clever and animated finale from the Pirates commanded an encore. STORACE is expelled from our theatres ; but this deserved tribute from the audi- ence evinced his musical power, even when deprived of dramatic aid. Eight principal singers were engaged in this piece. An encore was also given to the Trio of CORELLI; which the masterly playing of the three performers well deserved.

The concert terminated exactly at eleven. We heard that it is the intention of her Royal Highness the Dutchess of KENT and her daughter to attend the next concert.