CONCERT AT GUILDHALL.

CONCERTS for charitable purposes are often but slovenly per- formances. On the principle that " the end will sanctify the means," they are usually made to depend for success upon the sti- mulus which charity awakens, and the eclat which attaches to a long list of fashionable patrons and patronesses. They are gene- rally, too, under the control of a committee ; to please whose various tastes or caprices, the bill of fare is made to exhibit a curious and often ridiculous mélange, while the indolence of per- formers is consulted, rather than the interest of the art. To these remarks the Concert at Guildhall on Thursday, for the benefit of the Spanish and Italian Refugees, formed an honourable excep- tion. The Committee to whose mana!rement it was intrusted, might have rested secure of a successful termination of their labours, with such a patronage as graced the bills of the concert ; but they have acted as if the music were the sole attraction. They have given the London public an opportunity of healing what sacred music is; and this it has very rarely fallen to their lot to enjoy. There are a dozen towns in England whose inhabitants pos- sess this advantage in a higher degree than those of the metropolis. It is not our business now to inquire why it is so; it is sufficient, for the present, to state the fact. The concert at Guildhall was in some respects but an approaCh to several of the best-regulated pro- vincial Festivals, although in others it exceeded any of them. The band, though not so numerous as that of York, Norwich, Man- chester, or Birmingham, was more select. Every player and every singer was complete master of his work ; and the result was not only a grandeur, but a precision and perfection in the effect, which the introduction of moderate performers into an orchcotrn.. must necessarily impair. CRAMER led; and he had under him all the best of the Philharmonic, and the unrivalled late members of the Opera bands. The wind instruments were doubled from the Covent Garden orchestra; and an organ, on a magnificent scale, was erected by GRAY. Thus the materiel was ample and com- plete. The selection, too, was worthy of such a band : it was as follows.

PART 1.

Grand Chorus in The Coronation Anthem—. The King shall rejoice".. Handel.

Scena—Mr. E. Taylor—" The Fall of Zion" Paisiello.

Air—Miss Wilkinson—" Lord 1 to thee" • (Theodora) Handel. Grand Chorus—" Hallelujah to the Father".. (The Mount of Olives) .. Beethoven. Phillips—" Honour and Arms".......... (Samson).. ........ Handel. Recit. and Air—Miss Paton—" If guiltless blood" .... (Susanna) Handel.

Chorus—" Rex tremendte Majestatis ! " (Requiem).— Mozart. Quartetto—Mrs. W. Knyvett, Messrs W. Knyvett, Horncastle, and E. Taylor—" Recordare."

Scena—Mr. Braham—" The Battle of the Angels" Bishop. Air—Mrs. W. Knyvett—" What though 1 trace".. .... (Solomon).— Handel. Trio—Mrs. W. Knyvett, Messrs. W. Knyvett and Hurneastle—" The

Lord will comfort Zion ;" and Chorus—" 0 sing unto Jehovah"

(introduced by Mr. Gardiner in the Oratorio of ".huitth" Haydn.

Rent. and Air—Miss Paton—" From mighty Kings.. (Jades Macc.) Handel.

Grand Double Chorus—" From the Censer" ...... (Solomon) Handel.

PART It.

Grand Overture to "Eurijantfte" . . . . ..... ...... C. M. von Weber. Glee—Mrs. W. K Ity vett, Messrs. W.. Knyvett, .................. Phillips, See the Chariot at hand" Horsley, M.B. Aria—Madame Caradori Allan—" It soave e bel content° .... Undone _Alm/Mona ta). . Pacini. Aria—Signor Donzelli—" Ah ! si per voi". ..... ((Vella—. .... Rossini. Aria—Madame Pisaroni—" Elena" (L. a Doane del Lagm) ...... .. Rossini. Spanish National Air—Mr. Braham—(Written expressly for this occa- sion) Arranged by Gomis. Aria—Madame Camporese—" Parto, ma tu ben mio" (La Clemenza di Tito) .. . . .... . ... . .. . . . ............ . Mozart. Clarinet Obilgato, ... Willman.

Terzetto—Madame de Vigo, Madame Pisaroni, and Signor Donzelli-

" Crnda sorte" (Rieeiardo e Zoraide. ........ . .... Rossini.

Aria—Mademoiselle Blasis—" Bel Raggio" (Sentiromide) Rossini. Spanish Song—Madame de Vigo—" El Bajelito," Accompanied on the Harp by Mr. G Hoist Garcia. Duetto—Madame Caradori Allan and Madame Pisaroni—" Lasciami !

non t' a.scolto Taneredi).. ...... -. . . .... ... Rossini. Finale, Grand Chorus—" Diseendi, 0 benetica".... (ZattberAtte). ..... Mozart.

It would be nearly impossible to give a better selection of sacred music than the first act contained. The object evidently was, to bring within that compass some of the first productions of the first masters, and, at the same time, to introduce as much of novelty into the scheme as was practicable. The Chorus by HAYDN (adapted from the " Cum Sancta Spiritu" of his uth Mass) was performed, we believe, for the first time in London. It partakes of the school of LEO and PERGOLESI ; and is a specimen of vocal writing which it would be difficult to parallel in his more popular works. The " Rex trernend" followed by the "Recordare," from MOZART'S Requiem (which never ought to be disjoined) were ad- mirably sung. But for magnificence of effect, HANDEL stood unrivalled. There is a breadth of outline in his choral writing, winch is completely lost in a puny band : the respoose of half a dozen voices to a part in his double choruses, is like raising a tempest in a duck-pond. Our notice of the songs must be chiefly confined to such as either in themselves or their performance have come for the first time under our notice. BRAHAMS " Battle of the Angels," perhaps, ought to be an exception : we have never heard it go so well, and we hope Mr. BISHOP was present to enjoy the full effect of his very masterly score. The first song in the scheme, " The Fall of Zion," was altogether new to us. If it be (as we suppose) originally a sacred song, we can only .regret that PAISIELLO'S sacred music is not more known in this county. The first movement, which pos- sesses all the melodious character of his vocal writing, is followed by a brilliant allegro. It is admirably adapted to display the power and compass of Mr. E. TAYLORS voice ; and he did it ample justice. Miss PATON'S " If guiltless blood" (from Susanna) we heard for the first time. She is here unrivalled. Miss STEPHENS is every thing we can desire in the concluding largo ; but she fails in the triumphant expression of conscious innocence which marks the commencement of the song : Miss PATON was equally happy in both. It would be unjust to Mrs. W. KNYYETT to leave un- noticed her singing " What though I trace." It is as finished a specimen of what may be called the traditionary style of HANDEL'S songs, as can be heard. The most effective song of the second part was DONZELLI'S " Ali si per voi." His magnificent voice seemed to revel in the ample space of Guildhall, while its most subdued tones were heard at the remotest corners : such is the power and the charm of correct and distinct articulation. We will just hunt to Signor DONZELLI, that the next time he is accompanied by such a band, he need not be so very anxious to mark the time. The Spanish national air sung by BRAHAM, was the well-known "Ala guerra Espanoles," which excited so much enthusiasm in the Peninsular war. We were delighted to see CAMPORESE again, and to witness her recep- tion: the audience and the band loudly testified their welcomes. She looks quite as well as when she left England, and her voice is completely unimpaired. She is all that she was. Her choice of " Parto, ma tu ben mio," is a favourable omen: MOZART iS Still (rood enough for her. It was a delightful respite from the reitera- tions of ROSSINI ; and to hear the exquisite conversation between her and WILLMAN, revived some "reminiscences of the King's Theatre," more gratifying than even those of Mr. EDER% " Cruda sorte" was splendid. Madame de VIGO sung the part of Zoraide very sweetly, though the power of PISARONI sometimes was too much for her. Mademoiselle Bid% sts sustained a very respectable rank in this assemblage of artistes ; but her singing wants that decided character, and those indescribable marks of excellence, which attach to the singers of the first rank. " Lasciami" was nearly perfect it will be so when sung again by the same performers. We regretted the loss of Madame de VIGO'S captivating Spanish melody ; which we understood was owing to the absence of Mr. HOLST, who was to have accompanied it on the harp. The Overture to Euryanthe was completely overpowering. The strength and excellence of the wind instruments gave a surpassing splendour to this extraordinary composition. It was putting HORSLEY'S glee (or any glee) to a severe test, to place it in jux- taposition with such an Overture.

And here let us endeavour to do justice to the band and the conductor. We are told there was no rehearsal. If this be true, the result was most extraordinary. The scheme contained music of almost every good school ; it embraced every variety that it was possible to combine in the same space: the band was new to many of the singers, and the singers to the band; and yet every thing went as if after elaborate rehearsals—there was not a fault, scarcely a trip of any kind. We say, boldly, that no other country in Europe can produce a band of the same size, so thoroughly master of all the styles (from HANDEL to Rossnei), as to- be able, without rehearsal, to produce an equally perfect performance. But the leader was CRAMER! Of the conductor we will only say, that none but those who are acquainted with orchestral details can measure out the praise which ought to attach to Sir GEORGE SMART. They know the thousand minutim which must all com- bine to form perfection ; and of these, we verily believe, not one escapes his vigilance. The public will learn, in time, to distinguish between good and bad conductors, between musicians and music- mongers.

We heard it hinted that another performance of a similar kind was to take place for the benefit of the Spitalfields' weavers. After the success of the present concert, there can be no question as to the result of another. Successful it was in every respect. The patrons' seats, which formed one half of the hall, were crowded by the nobility from the West, and the magistracy and rich merchants of the City. And there is no question that the principal attraction was the music.

We are informed that the seceding members of the late Opera band—the flower of that band, and the pride of the Guildhall orchestra—intend to give a concert, or perhaps more than one, in the course of the season. We know how welcome this announce- ment will be to the musical public : if the subscribers and patrons of the King's Theatre were accessible to the ordinary impressions, we might add that it will be peculiarly interesting to them—they owe some atonement for past neglect.