THE VOCAL CONCERTS.

THE commencement of these concerts was delayed till Monday the 7th instant (as we mentioned in our second edition last week), in conse- euenee of the alterations which have taken place in the Hanover Square Rooms, of which the most important is the enlargement and new arrangement of the orchestra. The front is brought lower ; the ridi- culous Stalls for the principal singers are cleared away; and the noble Directors' preserve is no more. The concert-room is now worthy of the metropolis ; and is equally elegant, spacious, and commodious. •

As some months have elapsed since we mentioned the birth of the Vocal Society, it may be as well to remind our readers that it is an as- sociation of the principal English.singers, for the purpose of perform- ing classical music, as well English as foreign ; and that their talent, both individual and combined, is thrown into the common stock in aid of this most excellent and important purpose. The Society exhibits the names of thirty members ; and we had the pleasure of seeing them nearly all in the orchestra on Monday, and of hearing, for the first time in our lives, what such a combination of native singers can achieve. It was completely a Vocal Philharmonic. The members all entered and took their places, ranged side by side according to their voices, re- maining through the whole performance, and themselves forming the chorus to all the full pieces. Thus, BRAHAM, HORNCASTLE, WILSON, Homzs, and BENNETT, occupied the front rank of Tenors, supported by the combined Bass phalanx of PHILLIPS, E. TAYLOR, BELLAMY, SALE, PARRY junior, and BLACKBOURNE ; and so on of the other voices. The prospectus (with a degree of modesty very unusual in these. days of humbug) had held oat no expectation as to an instrumental band; and we were agreeably surprised at finding one complete in all points, and combining some of the best players in the kingdom. T. COOKE was the Leader; supported by MOUNTAIN, THOMAS, Nx- onoLsos G. COOKE, WILLMAN, POWELL, MACKINTOSH, PLATT, BON- Ea, and HOWELL. How these gentlemen were employed, will be seen by the scheme which follows. We shall number the pieces, for the convenience of reference, and prefix an asterisk against those which were performed in public for the first time. To give the singers of all the concerted pieces, will be unnecessary.

FIRST VOCAL CONCERT.

PART I.

• I. Ode to St. Cecilia, six Voices and CLOTHS WEBBE.

• 2.*Duet, Mrs. G. WOOD and Mr. Hon ns—" illy constant lovely Jane" (Seasons) HAYDN. • 3.*Trio and Chorus—" Sieut locutus est " FENOGLIO.

4. Song, Mr. PHILLIPS—" Lascia Amor" • 5.*Madrigal—" All creatures now" BRNO. 6.*Offert0TillM, " Alma Virgo" Mrs. H. It. BISHOP and

Chorus Hnustar..

7. Glee—" In this fair vale" ATTWOOD.

S. Quintet, Pianoforte, Oboe, Clarinet, Bassoon, and MOM, MIS. ANDERSON, MONTS. G.COORE,WILI,

MAN. MACKINTOSH, and PLATT BEETHOVEN.

• 9. Quartetto—" II can e In mm a 1'5" (Fidclio) Burritbvitg. 10. Glee—" Mona on Snowdon calls" Dr. CROTCH.

• IL*Hanting Chorus (Seasons) HAYDN.

PART IL

12.*Selettion from Mass No I . • MozAwr.

13. Cantata, Mr. Baeiran—" Mad Torn?' • PURCELL.

14. Glee—" Deli dove" Dr. COOKE.

15. Ballad, Mr. BROADHURST. "My ain fireside " 16. Serenade—" Sleep, gentle lady" BISHOP. 17. Trio—" Tremate ;" Miss C. NOVELL°, Messrs. Bs- - HAM and PHILLIPS " • BEETHOVEN. Catch—" 'Would you know coy Celia's clews" : WEBBE. 19. Chorus—" To Rome's immortal hero" (Tito) !dozes?.

Several particulars are worthy of remark in this scheme. First, it bears the mark of industry and forethought. It is no gleaning of the hack pieces of theatres and concerts, but the result of diligent research into first-rate authors. Secondly, it would be difficult to say what was the prevalent taste of its compilers : no stupid prejudices are discovered .either for or against any school of classical music. The chain of Eng- lish vocal harmonists commences in the Madrigalian age, and the links of WERBE and COOKE unite it to our own time. Here is the stately grandeur of the school of LEO ( No. 3), and the more florid and ornate' Church music of MOZART and 11 LMMEL : here is the vigour of Pun.- CELL, and the elegance and fire of HAYDN. In short, with the excep- tion of the Italian Opera, this scheme exhibits an epitome of the vocal art in all its great and commanding features. Thirdly, here is no sacrifice of good taste to fashion. The aim of this Society, evidently, is to lead, not to follow—to elevate the taste of the bearers, not to lower that of the singers.

We add a few remarks on the principal features of the bill. No. I was finely sung ; and it was an appropriate commencement of such a series of concerts : the fugue at its close ("Th' immortal music never dies") was repeated in chorus by the whole choir with great energy. No. 2 is out of that beautiful but neglected work of HAYDN'S, which,. it may be hoped, will be allowed to find its frequent way into this , orchestra. It was sung with good taste, and in good tune. No. 3 is a gem of the brightest lustre. But the favourite of the evening was the' Madrigal. Old BENET had ample justice done him ; and it is scarcely possible that in any other place, or at any former period, a madrigal could have been so sung. All the performers joined ; and it was marked with the precision and light and shade of excellent glee-singing. The effect on the audience was electrical. After going through it twice, a third repetition was loudly called for. No. 6 is a composition not only worthy of MOZART'S pupil, but of Mozaar himself. How little is known of HUMMEL'S vocal music in this country ! Here is a field in which the Vocal Society may appropriately and successfully , labour. We never heard Mrs. BISHOP to more advantage than in this splendid composition. The Quintet (in E flat) of BEETHOVEN was delightfully played, and formed an excellent relief to the succession of vocal pieces. No. 11 was a joyous and animating termination of the act. No. 12 comprised the Sanctus, Benedictns, and Agnus Dei of MOZART'S First Mass. The utmost precision marked the performance of this masterly composition. BARHAM'S selection of " Mad Tom" was a fit tribute to the genius of its immortal author ; and his per- formance showed bow he estimated the character of his audience. Few men can set forth the grandeur and pathos of PURCELL'S songs: BRAHA3I can, and he did. No. 141s a beautiful piece of vocal writing; but it is more fitted for the chamber than the concert-room. Dr. Coosa could have supplied a glee more certain of succeeding in such a situation than " Deh dove." No. 17 we have often heard, but seldom with more pleasure. The correctness of Miss NOVELLO'S performance in all she undertook, her certain intonation, joined to the sweetness of her voice, render her a valuable member of such a Society as this.

We have looked to the commencement of these concerts with great interest, regarding them as the means of correcting and improving our national taste. Hitherto we have had no national school of vocal music. All preceding concerts have been founded upon some principle of ex- clusion—exclusion both of music and musicians. The plan of the old Vocal Concerts will appropriately illustrate this fact. They were undertaken by two persons (HARRISON and KNYVETT) for their own exclusive advantage : all instrumental music was excluded, and nearly all vocal, except of one class. The bill of the first concert (Febru- ary 11, 1792) is before us : it contains ten glees, two duets by JACKSON and Hoot:, and four songs. Now compare this with the bill of Monday night, and what an immense stride the latter exhibits f—embracing the finest specimens of the art in all ages, and employing the united vocal talent of the metropolis.

We have very little to offer in the way of advice : we only need to say, " Persevere, and success is certain." As far as we could judge of the audience, there is no appearance of any inducement from them to sink the character of these concerts. It was not only a numerous, but a most attentive and discriminating audience. Applause was exactly - measured out according to merit, and the best pieces were best relished.