CLOSE OF THE NORWICH FESTIVAL.

IN conducting SPORE'S Oratorio in the absence of its illustrious author, Professor TAYLOR performed a delicate and responsible task ; but the responsibility incurred by him on the subsequent day, when the Oratorio of Samson was performed, was of a still more serious kind. He has dared to violate the purity of the text—to impair what the French ex- pressively call the totaliti of HANDEL'S work, by interpolations, ex- cisions, and alterations, to an extent altogether unprecedented in such cases. COLLEY CIBBER'S onslaughts on SHAKSPERE were timidity itself compared with this of the learned Professor of Gresham College on Hamm.; and he must lay his account with being roundly taken to task for his hardihood, by those critics who, forgetting that poets and musicians are but men, liable like other men to weakness and error, would rather insist on their remaining with all their imperfections on their heads than allow the most necessary alteration and most evident improvement to be made or the most glaring deformity removed. HANDEL, with all his transcendent greatness, was, as an oratorio- composer, unfortunately situated. He was resident in a foreign coun- try, with the language of which he was imperfectly acquainted, and with its literature still less. He was under the necessity of obtaining the aid of men of letters—or those who called themselves such—and, whether from ignorance or from parsimony, or from both causes combined, he was singularly unhappy in his choice of literary assistants. "This great composer," says one of his contemporaries, instead of engaging the assistance of the best poets of his time, usually sought out those who would work the cheapest." The consequence was, that (with the ex- ception of The Messiah and birael in Egypt, the words of which are taken from the Scriptures) his Oratorios, considered as dramatic poems, are contemptible ; confused and incoherent in structure, mean and ,vulgar in thought and expression, and profaned with the trashy love- argon of the theatres. Though HANDEL was apparently no judge of literature, yet he had the soul of a poet ; and though he took the pieces manufactured by his literary journeymen, yet the inequality of his music shows how they acted upon his mind. The greatness of the in- cidents, and striking and affecting situations, with which Scripture his- tory abounds, and which are consequently found in all these pieces, however poorly treated, were sufficient of themselves to kindle the flame

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of inspiration n the musician's breast; while the flame was evidently extinguished as often as it met with and was buried under heaps of base rubbish. Hence the number of trifling and commonplace songs, which, to the amazement of the listener, are mixed up with those stupendous choruses, impassioned recitatives, and divine strains, which will render immortal the name of the mightiest of masters. HANDEL'S Oratorios, considered as entire works, though talked of by everybody, are really known to very few. But let any one go through Solomon, Joshua, Jephtha, or this same Samson, and he will be satisfied that this descrip- tion of them is without the slightest exaggeration.

The fate of these, and others of HANDEL'S Oratorios, has proved their unfitness for performance. Every attempt since HANDEL'S own day to revive them has been a failure ; and for a long time past they have been used only as quarries from which to dig materials for the Miscel- laneous selections performed at concerts and music-meetings.. The question, then, comes to be, shall they be allowed to sink into oblivion, like the Italian Operas, or shall they be rendered fit for performance by necessary and judicious alterations ? There can, we think, be but one answer to the question ; and in conformity with this answer Mr. TAYLOR has acted. We know no man to whom so delicate a task could have been so safely intrusted. No man reveres HANDEL more deeply ; no man knows him more thoroughly ; no man is better able to fathom his designs and appreciate his beauties; and few men, we verily believe, combine so much practical knowledge of the art with the same extent of literary attainment. The poem of the Oratorio is founded on the Samson Agonistes of MILTON, most gratuitously changed and mutilated by HANDEL'S lite- rary mechanic. Mr. TAYLOR has, as far as possible, restored MILTON'S text ; though frequently the inferior words are necessarily retained be- cause they could not be separated from music the rejection of which was out of the question. But, when HANDEL'S fire was quenched by contact with the words—where the one was rendered cold or trifling by the other—both were removed, and music as well as poetry of a different calibre substituted in their room ; the additional mane, how- ever, being, with a single exception, HANDEL'S own, and the additional poetry MILTON'S. In short, the result of' Mr. TAYLOR'S labours has been the production of an oratorio the joint work of MILTON and of HANDEL, equally grand, symmetrical, and simple in its general form, as beautiful in all its parts.

Its performance, on Friday morning, met with the completest suc-

cess. It was listened to with those signs of deep attention and unfailing interest which, in a large audience, even though the ordinary modes of applause are laid aside, can never be mistaken. The overture is one of HANDEL'S best orchestral compositions. Its effects were judiciously heightened by additional parts for wind-instruments : the lovely final movement especially, by the introduction of four horns, was rendered quite enchanting. In the first scene, the triumphal chorus of the priests of Dagon, rejoicing in the capture of their arch-enemy—" Awake the trumpet's lofty sound," was indeed lofty, and (as it ought to be) expressive of exultation without piety. The beautiful song, "Ye men of Gaza," was admirably given by Miss RA.INFORTH. This is one of those melo- dies over which time has no power ; it has all the freshness of youth- s youth which can never decay. It was mach embellished by the ad- ditional parts for horns, flutes, and clarinets ; which were delicate and tasteful. The next scene presents Samson in a solitary place without the walls of Gaza, bemoaning the bitterness of his lot. In this Soliloquy MILTON'S poetry is profoundly affecting ; and the recitative in which it has been clothed by HANDEL is equal to the far-famed "Deeper and deeper still." It was, too, one of BRAHAH'S greatest efforts in impas- sioned declamation : but Mr. HOBBS, even when weighed in the balance with that great performer, was not found wanting. He delivered the monologue with intense feeling ; and was equally admirable in the air, "Total eclipse." His utterance of "no sun—no moon!" was the very cry of despair. He is joined by Micah ; who condoles with him, and endeavours to inspire him with religious hope. This part was sustained by Miss HAWES ; who exhibited considerable ability, and would have done better had she rested content with being natural and simple; bat (as she generally is) she was too ambitious of display ; and in the air, "In God your father trust," fell into one of her usual tricks of substituting her own notes for those of the composer, in order to exhibit the lowest tones of her voice. There was an awkward hitch, too, at the return to the first part of the air : she was at variance with the instruments, and stopped and sat down, while the orchestra went on, till she apparently found her place again. Miss HAWES, howeve,r, is a good musician, and not liable to commit mistakes of this kind. The chores, "0 first created beam," is a prayer breathing the deepest de- votion. At the words, "Let there be light," there is a descriptive effect in the accompaniments, which evidently suggested to HAYDN his treat- ment of the same words in The Creation : and the effect of this passage was greatly enhanced by Mr. TAYLOR'S powerful reinforcements of trumpets, trombones, and the whole strength of the wind-instruments. Samson's aged father, Mauoah, now eaters. The recitative and air de- livered by Mr. PHILLIPS belong to the additional matter; both are per- fectly in place ; and the air, "Lord, let thy mercy lighten," is a gem of the purest water : it was sang with much beauty and expression. The subsequent air of Samson—also introduced—is equally admirable in its melody and its accompaniments. The concluding lines, "My race of glory's run, and race of shame; And I shall shortly be with them that rest,"

are united to notes that breathe the deepest wo, and were uttered in a tone which 'ew could listen to without emotion.

The scene of the morning sacrifice of the Jews consists chiefly of added matter. The hymn, "Jehovah reigns in majesty excelling,' is the only piece introduced by Mr. TAYLOR which is not from the works of HANDEL. It is a motet by PALESTRINA, in five vocal parts, and ac- companied only by the trombones. Its effect was inconceivably grand ; and its repetition was called for by the Bishop of Noawicu. It was followed by a beautiful quartet, "Lord, thy all-commanding might,"— very finely sung by Madame CARADORI, Youtin, Hones, and Pinusses. A passage in triplets, at the words "Let us therefore warble forth," was most charmingly warbled by the soprano. The chorus, "God will not long defer," is a wonderful combination of simplicity and grandeur. It opens with a solemn strain, in long notes and plain counterpoint, in the manner of a corale, and then breaks into a fugue on a broad and marked subject ; which is soon followed by a second subject, combined with a third ; and all are worked together with astonishing skill and clear- ness, till the conclusion rises to a climax of harmonic splendour. A charming little air, snug by Madame CA.RADORI as an Israelitish woman, "Shepherd of Israel," followed this mighty display of poly- phonic power, with which it made a delicious contrast. Then came the fine recitative for Samson, the first words of which in this version are, "Israel, on thee I have brought shame and scandal"; followed by the famous air, " Why does the God of Israel sleep,"—remarkable for its descriptive accompaniment. It was succeeded by a beautiful quintet for solo voices; and the act terminated with the magnificent chorus, "Im- mortal Lord of Malt sad skies,"—taken from the Oratorio of Deborah,

"with the alterations of the words rendered necessary by the difference of the subject. The opening chorus of the second act " Then round about the starry throne," or in this version, " Before the sapphire-colour'd throne," is one of the greatest and best-known of HANDEL'S choruses ; and equally well-known is the divine air, " Return, 0 God of hosts," which is so beautifully blended with the voices of the chorus. The performance of this air was one of Miss HAWES'S most successful efforts. The approach of Harapha, the gigantic Philistine, is announced by a chorus, taken, like the former, from Deborah. It has some fine descriptive effects, parti- cularly at the words "with giant stride and haughty brow " ; and the fugue which winds it up is admirable. The giant did not find in Mr. BALFE a very giant-like representative ; but his Italian education has made him an admirable declaimer. His recitative has the true march and rapidity of musical speech—qualities in which English singers in general are very deficient ; and he sustained the part with vigour and energy. His singing of the air, "Honour and arms," was peculiarly excellent. This scene is terminated by the celebrated chorus, "Hear, Jacob's God," which was borrowed by HANDEL himself from the chorus, " Plorate filim Israel," in CARISSIMI'S cantata of Jephtha. The scene in the temple of Dagon where the Philistines are holding their festival is introduced by a triumphal march and chorus of the priests, of a rich and gorgeous character. Miss RAINFORTH, as a Philistine woman, sang an air, "Spirits of mirth and pleasure," full of joyous expression and beautiful melody : a second woman, Miss Bitssexo, joined her in a duet, the subject of which is remarkably like that of the rustic chorus " Giovinette ' in Don Giovanni. The parts are beautifully blended in notes "of linked sweetness long drawn out," and the whole duet might have been written by MOZART. Then follows one of Mr. TAYLOR'S happiest introductions, the splendid chorus, "Proclaim aloud his wide domain," from HANDEL'S Italian Opera Giulio Cesare. The blind cap- tive is brought into the temple, amid the insulting shouts and exclama- tions of the Philistine rabble. The words "Hear, Samson, hear The foe is near!"

reiterated and tossed about from side to side, in sharp, abrupt accents, give a lively idea of the clamours of such a multitude. The air sung by Samson, "0 Lord, remember me this once," is full of expression ; and beautifully accompanied by the violoncello and contrabasso only, in the style of ALESSANDRO Sceatsrri, adopted by HANDEL in many beautiful airs, which have been enriched by the exquisite tones of LINDLEY. The celebrated chorus, "Fixed in his everlasting seat,"—in which the Philistines and Israelites, in opposition to each other, sing the praises of Dagon and of Jehovah, concludes this scene ; and shortly afterwards, Samson's friends, assembled without the walls, hear the dis- tant sounds which announce the catastrophe. Now we have never un- derstood this part of the drama ; and Mr. TAYLOR, we think, has not removed the difficulty. How comes there to be a band of Israelites within the temple during the celebration of this Philistine festival, and strong enough to dare to blend the praises of their own God with those of the Pagan idol ? And, as Samson immediately afterwards pulls down the temple, what becomes of this assemblage of his countryfolks ? Be this, however, as it may, the effect of the music which describes this event has been greatly heightened by Mr. TAYLOR; who, by the chro- matic wailing of the flutes and oboes, the bursts from the trombones, and the thunder of the drums, added great strength to the colours of the picture. The cries of the perishing multitude, blended in wild con- fusion with the crash of the falling edifice, form a chorus which for ap- palling effect is without a parallel.

• The third act is very brief; and, after the tremendous catastrophe of the tale, it may in a dramatic point of view be considered as superfluous. It consists entirely of the lamentations of the Israelites for their fallen champion, and contains some beautiful music : among which, in par- ticular, is the exquisite solo and chorus, " Ye sons of Israel " ; the Dead March taken by HA.NDEL himself from his Saul; the solo and chorus, "Glorious hero "; the song, "Let the bright seraphim," with its brilliant trumpet accompaniment ; and the final chorus, "Let their celestial concerts all unite," which terminates the work with great majesty.

Such is the Oratorio of Samson as remodelled and revived by Pro- fessor TAYLOR. As performed at Exeter Hall, it drives numbers away, from very weariness : as performed at Norwich, it produced one un- mingled feeling of enthusiastic delight, in which the audience shared with every performer in the orchestra. In regard to the performers of every description—solo-singers, choristers, and instrumentalists— their merits transcend any praise that we can bestow : they have nobly supported the musical reputation of their country. The gallant veteran FRANcOIS CRAMER exerted himself with his whole heart and soul; and Mr. TIIRLE made the most able and judicious use of the powers of his colossal instrument.

It remains to say a few words of the Concerts of Wednesday and

Thursday evening ; and but few words are necessary, since, as we remarked last week, the performances must necessarily be but a repetition, on provincial ground, of those pieces which have al- ready been fashionable or popular in London. The peculiarity of the Norwich Concerts is the use of the choral band ; who on both these evenings were effectively employed, in the quartet and chorus from Muse in Egitto, "Dal tuo stellato soglio"; in the march and chorus by MOZART, "All hail, our queen"; in Puncztes "To arms " ; and in

Galatea, dry thy tears," from Ads and Galatea. These concerts pre-

sented no other remarkable feature, but were as good as, under the circumstances, they could be made ; and they went off very pleasantly.

On the whole, this has been a most brilliant and successful Festival. From a statement in the Norwich papers it appears that the pecuniary receipts exceed those of 1839 by no less than seven hundred pounds ; and, as there is no reason to suppose that the expenditure has been greater, the sum available for charitable purposes may be considered as increased by that amount Such a triumph, at this time, will be of in- estimable benefit to the cause of good music. It has proved to the Norwich Committee themselves, that they have only to proceed in the same excellent course they have pursued so long. It has fixed on a sure and solid basis a festival which is the great source of musical illu- mination in England ; and has done more towards the progress of the art, in its loftiest branches, than all our other musical institutions put together. Lastly, it has shown the directors of similar undertakings,

that it is in their power to obtain equal results by equal means. They are apt to forget that while they stand still the taste and know- ledge of the public are progressing, and that an audience--even in the provinces—will turn with indifference from a musical banquet which five-and-twenty years ago they would have thought rich and delicate. To form too low an estimate of the public in regard both to intelligence and taste, is a common error among those who provide for its informa- tion as well as entertainment. In regard to music, the unfailing suc- cess of the Norwich Festivals may be ascribed, not merely to the judg- ment of its managers, but to their respect for and reliance on the judg- ment of the audiences to whose gratification their efforts are directed. Let others, therefore, go and do likewise. Let them not make sacri- fices to the imagined frivolity of the general taste ; let them encou- rage the most distinguished musicians of the day to enrich the art by the productions of great works; let them bring forward the labours of the illustrious masters of the olden time in their best and completest form ; let them put in requisition the greatest practicable amount of executive talent, so united as to cooperate with the greatest efficiency; let them shun what is vulgar, trifling, and commonplace. Let them do these things, and the merits of their management will not fail to be ap- preciated. They will arrest the incipient decay of Musical Festivals, and will bestow permanence on one of the noblest entertainments of which this country can boast.