BIRMINGHAM MUSICAL FESTIVAL.

THIS long-expected Festival, the Festival of the present year, has taken place this week ; and if the result has not in all respects equalled our anticipations, it has not been for any lack of zeal on the part of the managers, or of the inhabitants of the town in general.

The Birmingham Festivals were accustomed to be held in St. Philip's Church, an inconvenient and (for such a purpose) an in- sufficient building. In consequence of a threat from the Rector that it would no more be granted for a musical performance, the inhabitants of Birmingham, and those especially who took an interest in the welfare of the Infirmary and of the Triennial Meeting by which its funds were periodically augmented, deter- mined on applying to Parliament for leave to erect a Town-hall, the expense of which was to be defrayed by a rate for that pur- pose; thus, like the citizens of Norwich, making the building sub- serve for political discussion, civic hospitality, and musical enjoy- ment. The dimensions of the Birmingham and Norwich moths are nearly similar ;5 the one being Grecian, the other Gothic. The exterior of the Birmingham Hall is most splendid. We have heard some architectural errors hinted at; but these, if they exist, detract little from the magnificent appearance of the It is the model of a Grecian temple, surrounded with Corinthian pillars of Anglesea stone ; which, when viewed from the front, hide the deformity and incongruity of a row of sash windows. Such a building would form a proud ornament to aily town in Britain. The interior is admirably adapted for the development of sound. There is resonance enough, and not too much. The best quality loth of voices and instruments is brought out, and at every part of the room the faintest sound is audible. The ceiling is handsome in design, but disfigured. by a dirty red ground. A very spacious gallery fronts the orchestra, galleries also extend along the sides, and the whole orchestra is visible to almost every spectator. At the back of the orchestra, rises an immense organ; so large, indeed, as to be out of all proportion to the room. It contains sixty stops • and, we believe, with the exception of the York organ, is stops; largest instrument of its *kind in the kingdom. The erection of such an instrument in a Mom of such dimen- sions, we take to be an error. Every thing connected with an orchestra ought to be in proportion. A room of a given size requires a band of a corresponding strength—less than this disappoints, more than this stuns the ear : and the same rule should h., observed in apportioning the comparative strength of instru- ments to each other, as well as of instruments to vo:ces. This is no longer a matter of conjecture or experiment, but of rule. The proportions of an orchestra are as well ascertained as those of a building; and any violation of them is equally an offence to the ear in the one case as to the eye in the other. It is not merely in

• Cowparatiee ttatemest of the two Hailt. Birmingham 63 feel "ide. 140f. long, 5r. high.

Non. ich 71.1 130 " 61 the colossal size of the organ that these rules are, in the present instance, violated, but in the apportionment of the band. We have a right to speak on this point, for we pointed out the defect in time for its correction. The effect was as we anticipated : the vio- lins, precisely the instruments which give brilliancy and colcur to the orchestra, end to which every composer makes the rest sub- servient, were here, unfortunately, almost inaudible—sometimes completely so. This defect was heightened by 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; while the stringed instruments were Ranked by twenty-five trumpets, horns, trombones, and °pity- el6ides—one of such dimensions that two men were required to carry it. Thus, without any figure of speech, the orchestra con- sisted of an organ and brass instruments, through which the vio- lins vainly struggled for a partial and imperfect hearing. The principal singers were placed at an awful distance from the Leader, while he was separated from his principal second by a wide and deep chasm. It was mortifying to see a splendid band, rand a finer set of instrumental peiformers never assembled on any occasion) thus rendered comparatively powerless and ineffec- tive.

F. CRAMER led the morning performances, and WEICHSEL, MORI, and LODER, in turn, the evening concerts. The vocal rank and file were, principally, the members of the Birmingham Choral Society ; and their steadiness and precision reflect the highest credit on Mr. MUNDEIN'S training. The principal singers were Madame STOCKHAUSEN, Madame CARADORI, MISS C. NOVELLO, and MTS. KNYVETT Messrs. BRAHAM, HORNCA&TLE, CUR1ONI, VAUGHAN, TERRAIL. HAWKINS, PHILLIPS, E. TAYLOR, MACHIN, and BELLAMY. MT. TURLE presided at the Organ; and Mr. W. Knyverr was the Conductor.

As regarded the audience, the arrangement was excellent. If there was any preference as to seats, that preference was given by lot and not obtained by favour. There was none of the jobbing and tricking which, among other things, disgraced the Abbey Festival; but the claims of every auditor, whether noble or com- moner, stranger or native, were equally respected.

We give the strength of the Band from the printed books; not to be followed by future Conductors, but avoided. 46 Violins .57 Trebles

24 Violas 48 Altos

16 Violoncellos 52 Tenors 10 Double Basses 60 Basses

4 Flutes

4 Oboes 217 4 Clarinets 14 Principal Singers 4 Basses:us 6 Trumpets 231 8 Horns

8 Trombones 1 Serpent 2 Ophycleides 2 Drums 139 Total, 370 Performers.-t

In reviewing the general scheme of this Festival, the first thing that strikes us is the total disregarded of musical rank and talent which it discovers. It is truly and emphatically a levelling scheme. "Every valley is exalted, and every mountain and hill made low."

The following summary will, too accurately, bear us out in this statement. The morning performances contained pieces selected

from the following composers in this proportion— From HANDEL.

70

NEUKOMM

54 Seems. 7 HUMMEL 6 HAYDN 5 MOTART 3!!!

NOVELL°

2 Caorr 1 BEETHOVEN 1!!!

To what we are to attribute such a strange departure from every principle of good taste, it were needless to inquire: there stands the fact, and those who have arranged the bill of fare must give the best explanation in their power of so extraordinary a selection. It is impossible to avoid contrasting it with the classi- cal taste and admirable arrangement which distinguished the neighbouring Festival of Worcester last 'year, and from which the Birmingham Committee ought to have profited. Let us now proceed to examine and report on the performances in detail.

The selection of Tuesday morning consisted of the most thread- bare songs of HANDEL ; a song and chorus from the Creation ; and the solitary tribute to BEETHOVEN'S genius, his " Gloria " from the Mass in C. with its beautiful Larghetto torn out. To these were added, the last act of the Last Judgment, and a selection from Mount Sinai. We regret that so amiable a man and so re- spectable a composer as the Chevalier NEUKOMM should, by thus at ailing himself of his influence with the Birmingham Com- mittee, lane incurred the imputation of selfishness or vanity. flad even the Creation of his master been performed on the first day, it would have been an evidence of bad taste to have given half his Seasons on the second. David was to form a prominent .1 The number of performers at the last Norwich Festival was 374. (Spectator, Slat &October I 833.) feature in the scheme, and this ought to have sufficed. Netmosre ought to have been aware, that to thrust himself thus indiscreetly forward, was, in effect. to keep his immortal preceptor back,—an ar- rangement not very likely to increase the leputation of the Bir- mingham Festival. A meeting like this should concentrate as much as possible of first-rate excellence. and nothing else should be admitted. How many compositiors of the former class have yet to be heard in this country I We have no remembrance of _ever having seen SEBASTIAN BACH'S name in any scheme of the kind; HAYDN'S Seven Last Words—Mozsar's Requiem, most of his Masses, his Davide Penitente, many of his Motets—the sacred compositions of WEBER—S PH OR'S Vater Unser,—all these, and many more, are neglected or forgotten ; and any of them ought to have taken precedence of a second oratorio by NEUKOMM. On the performance of the morning there is very little to re. mark—on the songs nothing. " Total eclipse," " Let the bright Seraphim," " 0 Liberty !" with LINDLEYS interminable ca- denza, have been sung by BRAHAM, Madame CARADOR1, and VAUGHAN, sufficiently often to render the public intimately ac- quainted with every tone and turn appertaining respectively to each air. The Last Judgment needed a rehearsal. The increased cultivation both of vocal and instrumental, music in this ceuntry, is sufficiently evidenced by the bold attempt to venture on the per- formance of such an oratorio without a previous trial; but the ex- periment ought not to be hazarded. It is not enough, in this composition, that the choruses be sung and played in time and tune; and until both vocal and instrumental performers can be made to understand and express, simultaneously, all the degrees of power which lie between pp and if, its perfect effect will not be developed. Our instrumental bands, even the best of them, are notoriously inattentive in this respect; and the murmur of many voices we have never yet heard from an English chorus. On this occasion, we believe, the Birmingham singers were the best trained, and the offence was chargeable on those who came to performance unpractised. BRAHAM'S execution of all he had allotted to him was masterly; and the delightful quartet, "Blest are the,departed," was sung with " happy union of voices," by Miss NOVELLO, and Messrs. TERRAIL, VAUGH AN, and E. TAYLOR.

The evening concerts, at these provincial meetings, are scarcely subjects for criticism. The performers furnish the materials, which the Conductor is obliged to group as well as he can. The pieces usually consist of the most popular airs and concerted pieces of the preceding season, most of which have passed under our review when produced in London. The principal feature of the first concert was an extempore performance on the Organ, by M. Nauxonss, announced as "a Concert on a Lake, interrupted by a Thunder-storm." The "Concert" consisted of some pretty variations on "See the conquering hero comes," succeeded by a tremendous roar of the organ, and "Rule Britannia" with varia- tions as a finale. MOSCHELES played his " Recollections of Ireland;" Mrs. Kanevarr sung "Mad Bess;" Madame CARA. DORI an air of BELLINI'S, Madame STOCHAUSEN "Let me wander not unseen'," and so on. We should have expected from such a veteran glee-singer as Mr. KnyvErr a better choice than "Old May morning," and a better situation for it than the last piece in a concert which lasted more than four hours.

The great feature of the Wednesday morning's performance, and indeed the chief novelty of the Festival, was the Chevalier NE UKOMM'S David.

The story of David is well chosen. The incidents are fa- miliar; and the imagination easily supplies all the chasms which a dramatic poem, condensed into the compass of an ora- torio, occasionally present. We connect, too, with the charac- ter of David, more than the story of the oratorio : we think of him not merely aa the humble shepherd boy, or the successful combatant with Goliah, but as the monarch, poet, and judge of Israel. The character of Saul, standing in strong contrast to that of David, affords excellent scope to the composer. Goliah is a mere vulgar bully. The weak parts of the drama are, of neces- sity, the female characters.

The advantages which this subject offers as a vehicle for drama- tic and musical expression, have not escaped the notice of former poets and musicians : we need only refer, among others, to HAN- DEL'S Sasd,.and Dr. Aessosn's Cure of Saul. The story of the former is, substantially, that of NEUROMM'S oratorio; and it is this circumstance which brings him into comparison with HAN- DEL. Unfortunately, in this instance, is the comparison chal- lenged; for Saul is one of that great master's greatest works. It is true that NEUKOMM seeks the accomplishment of his purpose by different means—it is true that his model is rather 11 AVON or Rossini than HANDEL : bat if HAvwsr shrunk from contending with his great predecessor on his own ground, the success of his pupil was, at least, questionable. NEuitomm has escaped a colli- sion with PURCELL, in which even HANDEL. was worsted ; for the scene between Saul and the Witch forms no part of the libretto. NEUKOMM begins his oratorio at an earlier period of the history than HANDEL. The former introduces the combat between David and Goliah; the latter commences with the triumphal chorus of the Israelites for their gigantic enemy's destruction. The oratorio was thus cast— David, Mr. BRAHAM. David's Sister, Mad. STOCKHAVSEN.

Goliah, Mr. MAcum. Michal, Mrs. KNYVETT.

Saul, Mr. PHILLIPS.

High Priest, Mr. E. TANI-0:u Jonathan, Mr. VAUGHAN. Messenger, Mr. BELLAMY. It commences with a pastoral symphony, in which WILLMAN'S clarinet was the most prominent instrument. A short recitative

leads into a chorus, accompanied only by the organ, for four choirs. This is a very ingenious specimen of vocal writing; but, like most of its kind, is rather interesting on paper than in actual per-

formance. Perhaps the most wonderful effort of this kind is TALLIS'S

"Song for forty voices,"—which, in fact, is an anthem for ten choirs : yet is this, when sung, little else than a confused jumble of voices.

ScHNEI DER'S Deluge also contains a chorus for three choirs ; but

there three classes of singers sustain each a different subject, and the division is made palpable to the audience. Here this is not attemptel; and the auditor is informed by his book, rather than his ear, that four choirs are employed, at intervals or in combina- tion. Nevertheless, this chorus will afford the musical student profit as well as pleasure in the perusal. In the symphony of the next song, the flute is principal : the song itself has little accord- ance with the character of sacred music, and little interest of any kind : neither are the words set with a due regard to accent. Mr.

BRAHMA threw as much power into it, and rendered it as attrac- tive, as it was possible for any singer to do. Mr. LINDLEY now

took his turn, in a violoncello obligate symphony to a very graceful song, charmingly sung by Madame Sooctrueuseer. The next chorus, "Behold the giant," describes Goliah's approach: and had not the printed book informed us that it was sung by the Israelites, we should have supposed it to have been the exulting shout of the Philistines. The instrumentation of this chorus is masterly ; but the vocal effect is far below that of Hearne'. in "Along the monster Atheist," and still more in his description of Polypliemns's "ample strides." Our opinion of the character of Goliah has been expressed; and it was well suited to the manner of its representative. The chorus of victory which follows, is purely an ebullition of noise ; and, like the triumphal chorus, "Daughters of Israel," partakes of the style of the theatre, and not of the church. The best and most oratorio-like piece in the act, is the quartet, " Who can proclaim thy wondrous power I " A choral fugue succeeds, and is sustained with considerable skill until the conclusion, which is only suited to the opemhouse.

In the second act, Saul appears; the agitation of whose mind is appropriately depicted by an introductory symphony, to which the invocation to sleep stands in beautiful contrast. The harp and voice of David are heard singing one of his psalms,—one of the happiest ideas in the oratorio: the rage of Saul increases, and a chorus of Israelites exhorts David to flight. The succeeding ter- zetto has some agreeable passages; but the conclusion might be advantageously curtailed. The scene changes to the camp of Gilboa; and a duet between Saul and Jonathan follows, rather commonplace in its character. The battle symphony is gloriously effective, and written with consummate instrumental skill. The chorus of lamentation for the death of Saul and Jonathan is full of beauty, and would be heard with unabated pleasure but for the strange and barbarous thumping of a gong. David is then

crowned. The succeeding chorus presents an unfortunate incon- gruity of style, beginning and ending in the commonplace noisy manner of the opemhouse, with a short but excellent specimen of fugal counterpoint interposed. The song "Glory to God," though completely suited to BRAHAM'S powers, is wholly devoid of any._

attempt at gravity of style, and never ought to have found its way into a sacred composition. A distant chorus, singing "Blessed

is he that cometh in the name of the Lord,"- is heard; with the

repetition of which by the whole orchestra the oratorio concludes. Our opinion of this work, as a whole, is that it is calculated to sustain, but not to advance the reputation of its author. It pos-

sames, occasionally, the grace of HAYDN, but never approaches the majesty of HANDEL. The parts are put together with consum- mate skill ; all the joints are nicely fitted, the embellishments are

numerous and showy ; but the structure wants majesty. The melodies are frequently graceful, but never original ; and the choruses, as well as the whole style and character of the piece,

must be referred to the theatre and not to the church. Here is its great fault. The line of demarcation between these two classes of composition is broad and deep, and the composer should beware of attempting to overstep it. As a specimen of sacred composi- tion, we regard David as inferior to Mount Sinai ; which contains several examples of the truly sublime. David does not possess one. Of noise there is enough and to spare ; and this is the uni- versal resource of second-rate writers. Every noisy instrument was almost in constant requisition—the twenty-five trumpets, trombones, and horns, the monster ophycleides, a double allow- ance of drum, cymbals, and a gong. These are the elements of noise, but not of grandeur. Could the oratorio have been finished with the concluding chorus of HANDEL'S Saul, " Gird on thy sword," the secret would have been diselosed,and the magnificence of its proportions would have appeared without these multifarious and brazen addenda.

The oratorio was admirably performed. BRAHAM exerted him- self to the utmost, and brought out all and more than the text of the author supplied. Great pains had been taken with the pre- vious training of the chorus, and the instrumental band had been Perfected by two previous rehearsals. The hall was crowded to suffocation.

The performance of Wednesday evening, as we predicted, turned out a failure. The scene of aetion was removed to the Theatre. Nine-tenths of the instrumental band were unemployed ; several of the principal singers, BRAHAM among the rest, were silent; much additional expense and trouble Were ineurred,—all in order that CARADORI, CASTELLI, and CURIONI, might display their weakness in two scenes from Anna Bolena and Welk. We need not describe the performance : though not familiar to our readers, who have lately been accustomed to witness the performance of GRISI in these pieces, it may be conceived. The only pretence for this exhibition was, that it would bring money to the treasury but it failed to do this, and the funds are, unquestionably, diminished by the experiment. The Theatre will not hold so much money as the Concert-roam; and the dramatic performances did not succeed in attracting the crowds which attended the first concert. This ought to have been anticipated. GRISI, TAM- HUAI NI, and Rum NI, would have filled the house ; and an opera— an entire opera—sustained by such artists, would have been a worthy (though an unnecessary) adjunct to the other attractions of the Festival. Such an exhibition as we witnessed, if given at the Italian Opera-house in London, would not have attracted twenty hearers.

The Messiah was performed on Thursday morning. Here the defects in the construction of the orchestra were less palpable than on the preceding mornings. The violins had a chance of being heard; for the formidable array of brass instruments was very rarely called into use, and we enjoyed the luxury of fine choral harmony undisturbed by their insufferable noise. In this oratorio, too, the band moved .with a more perfect consent than before. The Leader and Conductor, who must have played and sung in it some hundreds of times, are of the same school ; and, involuntarily, take every movement in the same time. The effect of some of the choruses—the concheding "Amen 'S in particular—was beyond de- scription grand. Mr. TURLE'S use of the organ was exceedingly judicious: the fine round tone of the pedal pipes in "Behold the Lamb of God," formed a magnificent basis for the vocal super- structure. The noisy stops of the instrument were rarely, if ever used. Why, we may be permitted to ask, were the beautiful ac- companiments, with which MOZART has enriched the songs of this oratorio, so frequently omitted ?—for instance, in "But thou didst not leave ;" where nothing can be more bald than the score HANDXL has left, and nothing more beautiful than MOZART'S additions, which, without disturbing a note of the original text, enrich it with the harmony which the author's figured bass suggests, and which, we have no doubt, he was accustomed to supply. The efforts of the audience to obtain entrance into the building during this Festival, were certainly most disinterested; for the two upper rows of panes having been removed from the windows all round the building, the band was heard to much greater ad- vantage in the street than in the room ; the tone of the violins coming out more, and that of the brass instruments less. Every note of the songs was audible ; and even MOSCHELEs's Concerto was enjoyed by the Birmingham artisans, who crowded around the building with eager and admiring ears. The performance of Friday morning was the most interesting of the week. It displayed the band to the best advantage, by employing it on the Israel in Egypt. Our opinion of the tran- scendent merits of this work has been so recently given, that we need not again enter on an analysis of them. The books an- nounced the performance of the entire work,—a deception which should not have been practised; for the oratorio (as at the Abbey) suffered beth from mutilation and interpolation. Not a half of the original was retained; while several pieces were thrust in "without note or comment," one of which was not even HANDEL'S, and the rest had no connexion or affinity with the work. The choruses were, on the whole, well sung, particularly that most. elaborate, and most magnificent of them all, "The people shall hear." Occasional errors in taste were discernible, for which the Conductor must be held responsible,—such as directing the singers to shout in "He sent a 'thick darkness;" the substitution of "Holy, holy" (a song not in the oratorio), for the beautiful and appropriate "Thou shalt bring them in." But enough of the work was left to display HANDEL'S gigantic power and unrivalled supremacy. This oratorio (thus pieced and patched) was preceded by a selection,—in which E. TAYLOR sung " The prophecy of Babylon ;" BRAHAM, " Deeper and deeper still ;" Mrs. Kxvvart, "ye sacred priests ;" Madame STOCKHAUSEN, "Angels evet bright and fair :" but the only novelty was a selection from Hummel's Mass in E flat, adapted, not unskilfully, to English words. This charming composition is a sufficient evidence that the gravity and devotional feeling which ought to be inseparable from sacred music are not necessarily linked to " age and sour severity." There is not a phrase that carries you to the theatre, or

excites a light and frivolous feeling in the mind. It is graceful, but never trifling, and grand without the employment of a regi- ment of trombones. But even this could not escape unscathed. The first movement of the author's beautiful Motet, " Alma Virgo," was ruthlessly torn from its context, and thrust, neck and shoulders, between two movements, or rather two portions of the same movement, in the Mass!

The pecuniary success of this meeting has been most triumphant. We cannot state the receipts accurately, but it is thought they will reach 14,0001. The inhabitants of Birmingham have entered into the affair with an unanimity and a warmth of feeling which it is gratifying to see. They are told that their Festival is the best thing of its kind : they believe it, and feel proud to give it their support. There is no asking whether this Duke or that Lord in- . tends to be present : the attendance of the Aristocracy collects no train of followers here—their absence would be no more missed

than any equal number of plebeians. Many of the hearers evi- dentlreame from the forge and the bench : they did not even know that, during the performance of sacred music, it was usual to be uncovered : they wanted to applaud, and seemed to wonder why they might not make a noise as well as the gentlemen and ladies in the orchestra. It is ludicrous to see to what an extent this admiration of all and every part of their Festival is carried by the Birmingham people, and how this feeling is echoed and fos- tered by the public press of the town. The room is "the largest in Europe;" the organ is "the most powerful in the world ;" their oratorio "rivals the greatest compositions of HANDEL or HAYDN :" its poetry "infinitely surpasses that of any other oratorio,"—MIL- TON, of course, must yield the palm to Mr. WEBB, as HAYDN to his pupil.

Our opinion of the Festival, as whole, will have been gathered from what we have already said. The possession of great resources involves a corresponding responsibility as to the manner of their employment. It is not enough to assemble a large and excellent band in a fine room—this is only the first step. It must be well arranged, and well employed. Our general summary of its disposition and employment will enable all our readers, as well those who did not bear as those who did, to judge how far this was the case. We cannot look at the Birmingham Festival as the only thing of its kind : we cannot avoid comparing it with others ; and, although we willingly admit that the performance of sonic pieces has given us more pleasure than we ever derived from them before, yet, as a whole, it was not what every Festival ought to be—a demonstration of the power of music as exhibited in the works of the greatest masters, "unmixed with baser matter."