Norwich Musical Festivals.
SINCE the year 1824, musical festivals have been held in this city
triennially, for the benefit, originally, of the hospitals, and lately of
various other charities also, and for the promotion of musical science.
These celebrations have been so successful on the whole that the total
surplus receipts over the expenditure have amounted to more than £10,000.
Works of the greatest composers have been well performed by the most
eminent instrumentalists and vocalists of the day, and thereby a taste
for music has been diffused throughout the city and county.
The patrons of the festivals have included the Queen, the late Prince
Consort, the Prince and Princess of Wales, the Duchess of Kent, the
Duchess of Cambridge, the Duke of Cambridge, the Princess Mary of
Cambridge, the Duke of Wellington, the Marquis of Lothian, the Earl of
Roseberry, the Earl of Gosford, the Earl of Orford, Lord W. Powlett, Lord
Stanley, Lord Walsingham, Lord Wodehouse, and many others of the
nobility. The committee of management have included the Lord Lieutenant
of the county, the Earl of Albemarle, Lord Ranelagh, Lord Sondes, Lord
Hastings, Lord Stafford, Lord Suffield, Lord Bayning, Hon. W. C. W. Coke,
Hon. H. Walpole, Hon. W. Jerningham, Sir J. P. Boileau, Bart., Sir W.
Foster, Bart., Sir S. Bignold, and others.
The first musical performance for charitable purposes is said to have
been on the anniversary of the Sons of the Clergy, in 1709; some fifteen
years after which period, the meeting of the three choirs of Gloucester,
Hereford, and Worcester, was instituted, those cathedral cities sending
their choristers to each place in alternate years. These early music
meetings, however, were held in the evening, and seem to have been
limited to the performance of Anthems and the Te Deum. The first
occasion of an Oratorio having been performed in the morning appears to
have been at Hereford in 1759, when the Messiah was given.
The Birmingham Triennial Festival was instituted about the year 1778, and
that of Norwich, as now held in St. Andrew’s Hall, in 1824, previously to
which the Norwich festival consisted of the yearly performance of an
Oratorio in the cathedral for the benefit of the Norfolk and Norwich
Hospital. The performances of later years have been on a much grander
scale. The festivals at Birmingham and Norwich now stand pre-eminent
among provincial musical meetings, both for the excellence of the
performances, and for the special interest given to the programmes by the
first production of new or little-known works. Among other claims to
honourable distinction in this respect, it is the chief and will be the
lasting honour to Norwich that Dr. Spohr’s sacred Oratorios were first
performed here, his earliest production being conducted by himself in
person before a large audience.
The selection of works and music to be performed has always occupied a
great deal of the time and attention of the committees, who have made it
an object to bring out some new work at every festival. Most of Handel’s
best Oratorios have also been performed, including, of course, the
“Messiah,” which is never omitted from the programme. Haydn’s “Creation”
and “Seasons” have also been frequently given, while Dr. Spohr’s
“Calvary,” “Fall of Babylon,” and “The Last Judgment.” Dr. Bexfield’s
“Israel Restored,” Pierson’s “Jerusalem,” and Molique’s “Abraham” were
first performed in this city. The programmes have also included
Sterndale Bennett’s “May Queen,” which won all hearts; Benedict’s
brilliant “Undine,” and many other approved compositions.
The committees, acting on the principle of securing the highest talent,
have generally engaged the best vocal performers whose services were
available. In proof of this we need only mention the names of the
following female vocalists:—Madame Viardot Garcia, Madame Caradori Allan,
Madame Clara Novello, Madame Sainton-Dolby, Madame Alboni, Madame
Malibran, Madlle. Tietjens, Madame Patti, Madame Lemmens-Sherrington,
Madame Rudersdorf, Miss Louisa Pyne, Madame Grisi; and among the male
vocal performers may be mentioned Signor Lablache, Herr Formes, Mr.
Weiss, Signor Rubini, Signor Belletti, Signor Morini, Mr. Santley, Mr.
Sims Reeves, Mr. Cummings, Signor Gassier, Signor Giuglini, Signor Mario,
Mr. Phillips, Mr. Lockey, &c. &c.
The Norwich Choral Society, comprising 300 members having good voices,
altos, tenors, and basses, has contributed greatly to the success of the
festivals by the excellence of the choral performances, especially in
grand Oratorios. The Choral Society was established in 1824, and had its
origin in the establishment of the musical festivals, Professor Taylor
being its chief promoter. In 1825 the Professor removed to London, and
the direction of the society was confided to the Rev. R. F. Elwin. The
management of affairs was entrusted to a committee of twelve, who were
annually elected by ballot at a general meeting. The practice was held
in the Old Library Room or in St. Andrew’s Hall. The society has
undergone many changes, but has always maintained its high reputation for
choral performances. A memoir of the late Professor Taylor, which
appeared in the _Norfolk News_, contained some information as to the part
he took in promoting the festivals. We give the following extracts:—
“We learn from the _Quarterly Musical Review_, which was edited by
the late Mr. R. M. Bacon, that at the Festival of 1824, ‘Mr. Bacon,
Mr. Taylor (late Professor Taylor), and Mr. Athow, were nominated as
a committee for the entire conduct of the musical department.’ Vol.
VI. p. 434. The same authority says a little further on, ‘Mr. Taylor
undertook the formation of a Choral Society, which he accomplished
with a degree of knowledge, skill, and perseverance, that cannot be
too highly praised.’ Again ‘The musical committee then decided on
the following vocalists and instrumentalists, &c.’ From all which it
seems that the triumvirate managed the musical department.
“Mr. Fitch once wrote to Mr. E. Taylor requesting him to state what
share he had in the management of the first festival. The following
was Mr. Taylor’s reply, dated March 25th, 1847. ‘When the Norwich
Festival was resolved on in 1823, I made the entire selection
(morning and evening). I engaged every performer; I selected the
entire band, and I formed and trained the Choral Society. I have
done the same for every subsequent festival (until the last, 1845,)
with the exception of having nothing to do with the Choral Society,
or any of the country performers. Every Oratorio brought out (and a
new one was always brought out) was translated and prepared for
performance by me.’ These were the following performed for the first
time here. ‘The Last Judgment,’ Spohr; ‘The Crucifixion,’ Spohr;
‘The Fall of Babylon,’ Spohr; ‘The Deluge,’ Schneider; ‘Redemption,’
Mozart; ‘The Death of Christ,’ Graun; ‘The Christian’s Prayer,’
Spohr.
“It will be seen by the above how little Mr. E. Taylor left for
anybody else to do. Mr. Taylor’s two associates, like the wings on a
stage sylph, were more for ornament than use. His statement is
confirmed by the _Musical Review_, which says, ‘The Hospital Board
presented to Mr. Taylor a piece of plate, of fifty guineas value, for
his services in raising and instructing the Choral Society, and for
his general assistance.’”
The memoir before mentioned further states:—
“At the Norwich Festival of 1830, Mr. Taylor introduced Spohr’s
Oratorio of ‘The Last Judgment’ for the first time into this country,
the words being translated and adapted to the music by Mr. Taylor
himself. This was followed at subsequent festivals by other
oratorios of the same composer, which for originality, richness, and
beauty, are unrivalled in their way. After the performance of ‘The
Last Judgment,’ Mr. Taylor became personally acquainted with Spohr,
and one day, getting an invitation from Mendelssohn to visit him and
his family at Dusseldorf on the Rhine, where Spohr then was, the
invitation was accepted, and thus Mr. Taylor first became known to
the illustrious composer, with whom he formed a friendship which
lasted as long as they both lived.
“At the Norwich Festival of 1836, the expenses exceeded the receipts
by £231 5s. 10d. We give an extract from a letter, written in the
following year by Mr. Taylor to Mr. Henry Browne, which will be read
with pain, because it shows that Mr. Taylor received far other
treatment than he deserved at the hands of the committee of
management. Mr. Taylor said, ‘I hear of the discord engendered by
the winding up of the Festival with much concern, and which seems to
threaten the existence of future ones. How it happened that the last
terminated so unprofitably has always been a mystery to me. I think
it ought not.’”
And Mr. Taylor goes on to state the amount of work which he himself did
for nothing.
All the festivals had been hitherto successful. The first, in 1824,
produced a surplus of £2399 to the Norfolk and Norwich Hospital. The
second, in 1827, afforded that institution £1672; the third, in 1830,
yielded £535 to the hospital; the fourth, in 1833, was also successful;
but in 1836 the expenses of the Festival, as has been shown, exceeded the
receipts by £231, and a general board of the hospital resolved that no
part of the funds belonging to the institution should be used for any
purpose connected with the Festival.
At the Sixth Musical Festival, held on the 17th, 18th, 19th, and 20th
September, 1839, Dr. Spohr conducted his own new Oratorio of “Calvary,”
before a very large audience, in St. Andrew’s Hall. The performance was
very grand, and produced a thrilling effect on the audience. The
selection of such a subject as the Crucifixion for an Oratorio drew forth
a good deal of criticism, but there could be no doubt of the musical
merits of the composition.
After the performance of “The Crucifixion,” Spohr and Mr. Taylor were
travelling outside the coach to London, when the former expressed a wish
to write another oratorio for Norwich, but said that he was at a loss for
a subject. Mr. Taylor then suggested The Fall of Babylon. This led to a
chat about the effects which might be introduced in the way of contrast,
&c., and ultimately Spohr promised to write the oratorio if Taylor on his
part would write the words. The bargain was struck, and the result was a
work which will live to the end of time.
The Festival of 1842 was by far the most brilliant that had been held.
Of course Dr. Spohr’s “Fall of Babylon” was the chief attraction. It was
performed in the presence of the largest and most fashionable audience
ever seen in St. Andrew’s Hall. Numbers of the gentry could not obtain
admission. People stood under the long galleries, and along the
passages, and in every corner of the building. The performance was a
splendid success, and greatly added to the fame of the composer.
Professor Taylor translated the Libretto, and was the conductor of the
Oratorio. On the following day he conducted the performance of Handel’s
Oratorio of “Samson,” to which he added selections from Handel’s works.
This caused a good deal of adverse criticism, but it was not without
precedent. On Friday morning the Professor conducted a performance of
Handel’s “Messiah.”
The Festival of 1845 commenced on Tuesday evening, September 16th, and
continued on the 17th, 18th, and 19th. The programme included
miscellaneous concerts on Tuesday, Wednesday, and Thursday evenings; a
selection of sacred music, and Haydn’s Oratorio “The Seasons,” on
Wednesday morning; another selection of sacred music, and Spohr’s
Oratorio “Calvary,” on Thursday morning; and Handel’s sacred Oratorio
“Messiah,” with additional accompaniments by Mozart, on Friday morning.
All the concerts were well attended. The principal vocalists were Madame
Grisi, Miss Dolby, Madame Caradori Allan, Miss Poole, Signor Mario,
Signor F. Lablache, Mr. Hobbs, Mr. Machin, Mr. Hawkins, Mr. Bradbury, and
Herr Staudigl. Mr. Benedict was conductor; Mr. J. Hill, chorus master;
Mr. F. Cooke, leader of the band; Mr. Turle, organist. The chorus
comprised the usual number of voices. The band included the best
instrumentalists in England, and the festival was very successful.
The Festival of 1848 commenced on Tuesday, September 12th, with a
miscellaneous concert, followed by similar concerts on Wednesday and
Thursday evenings. On Wednesday morning the programme comprised a sacred
Cantata, by L. Spohr, “The Christian’s Prayer,” and Haydn’s Oratorio
“Creation.” On Thursday morning Mendelssohn’s Oratorio of “Elijah” was
performed. On Friday morning “David Penitent,” a sacred Cantata by
Mozart, was given, followed by Handel’s “Israel in Egypt,” one of the
best of his numerous productions. The principal vocalists were Madame
Castellan, Madame Alboni, Madame Viardot Garcia, Miss A. Williams, Miss
M. Williams; Signor Lablache, basso; Mr. Sims Reeves, tenor; Mr. H.
Phillips, basso; Mr. Whitworth, tenor; Mr. Lockey, tenor. Mr. Benedict
was conductor; Mr. H. Blagrove, leader of the band; Mr. Harcourt,
organist. Professor Taylor translated “The Christian’s Prayer” for this
occasion. Mr. J. F. Hill was chorus master.
In September, 1852, the Festival again comprised grand miscellaneous
concerts on the Tuesday, Wednesday, and Thursday evenings, which concerts
were well attended. On the first evening, Mrs. Fanny Kemble read the
“Midsummer’s Night’s Dream,” but the reading was a failure, as she could
only be heard a short distance from the orchestra. On the Wednesday
morning a new Oratorio, “Israel Restored,” by Dr. Bexfield, was performed
for the first time at a festival. On Thursday morning Mr. H. H.
Pierson’s Oratorio, “Jerusalem,” was performed for the first time, and
occupied nearly four hours. On Friday morning the “Messiah” was
performed as usual. The principal vocalists were Miss Louisa Pyne, Miss
Alleyne, Miss Dolby, Madame Viardot Garcia, Madame Fiorentini, Signor
Gardoni, Signor Belletti, Mr. Weiss, Mr. Lockey, Herr Formes, Mr. Sims
Reeves. Mr. Benedict was conductor; Mr. H. Blagrove, leader of the band
in the morning performances, and Mons. Sainton in the evening
performances; Mr. J. F. Hill, chorus master. At the close of the
performance on the Wednesday morning (September 22nd), a short selection
from Handel’s Oratorio of “Samson” was given as a tribute of respect to
the memory of the late Duke of Wellington. Madame V. Garcia sung the
solo—
“Ye sons of Israel, now lament,
Your spear is broke, your bow unbent,
Your glory’s fled.
Among the dead,
Our hero lies,
For ever closed his eyes.”
The “Dead March” was played and the chorus sung—
“Glorious hero, may thy grave
Peace and honour ever have;
After all thy pains and woes,
Rest eternal, sweet repose.”
The Festival in September, 1854, again comprised miscellaneous concerts
in the evenings, and Oratorios in the mornings. On Tuesday morning,
September 12th, the programme included Rossini’s “Stabat Mater,”
Meyerbeer’s “91st Psalm,” and a selection of sacred music. On Wednesday
morning Beethoven’s Service in C, and Haydn’s “Creation” were brilliantly
performed. On Thursday morning Mendelssohn’s “Elijah” attracted a very
large audience. On Friday morning the “Messiah” was given, with the
additional accompaniments by Mozart. The principal vocalists were Madame
Clara Novello, Madame Angelina Bosio, Madame Castellan, Madame Weiss,
Miss Dolby, Mr. Sims Reeves, Signor Gardoni, Herr Reichardt, Signor
Lablache, Signor Belletti, and Mr. Weiss. Mr. Benedict was conductor;
Mons. Sainton and Mr. H. Blagrove, instrumental solo performers; Herr
Hausman, violoncello; Mr. J. F. Hill, chorus master. On Tuesday evening
the concert included a descriptive and characteristic Cantata, called
“Tam o’ Shanter,” the words by Burns and the music by Macfarren. It
consisted of a solo and chorus, which were sung with great applause.
Indeed, nothing so comic and lively had ever been heard before at any
festival.
Notwithstanding all the attractions of this festival it proved a failure
in a financial point of view, and it was feared that these triennial
musical meetings would no longer answer, but their promoters determined
not to give them up. A committee was appointed; efforts were made to
secure by all proper means success in future; and several of the county
nobility joined as members of the committee. That this determination was
made on good grounds, was fully proved by the success of the three
subsequent festivals of 1857, 1860, and 1863, the surplus from which was,
in round numbers, severally, £425, £916, and £1221. From these sums no
less than £2000 were distributed amongst the charities.
The Festival of 1857 commenced on Tuesday evening, September 15th, with a
miscellaneous concert, and similar concerts were given on Wednesday and
Thursday evenings. On Wednesday morning the programme comprised a sacred
Cantata by Louis Spohr, “God Thou art Great,” a Hymn of Praise
(Lobgesang) by Mendelssohn, and the “Requiem” of Mozart, his latest work.
On Thursday morning Beethoven’s Sacred Cantata, “The Mount of Olives,”
and Haydn’s Oratorio, “The Seasons” were performed. The “Messiah” was
given on Friday morning, and concluded the festival. The principal
vocalists were Madame Clara Novello, Madlle. Leonhardi, Madame Weiss,
Mrs. Lockey, Madlle. Piccolomini, Signor Gardoni, Signor Giuglini, Signor
Belletti, Mr. Lockey, Mr. Miranda, and Mr. Weiss. Mr. Benedict was
conductor; Mons. Sainton, H. Blagrove, and Herr Hausman, were
instrumental solo performers; Mr. J. F. Hill was chorus master.
The Festival of 1860 was under very distinguished patronage and eminently
successful. The programme included Haydn’s “Creation,” Handel’s
“Messiah,” Dr. Spohr’s “Last Judgment,” Herr Molique’s “Abraham,” and
Handel’s “Dettingen Te Deum,” all sacred music of the highest class,
assigned to the morning performances. The evening concerts comprised
Glück’s “Armida,” Professor Sterndale Bennett’s Pastoral, “The May
Queen,” Benedict’s Cantata, “Undine,” besides selections from the most
popular operas, part songs, madrigals, symphonies, and overtures, all of
which were admirably rendered and highly applauded.
The choice of so large a work as Hadyn’s “Creation,” one of the finest of
his productions, on the first evening, was considered desirable, as it
gave full employment at once for the principal vocalists, the chorus, and
the band. As many persons could not attend in the morning, an oratorio
in the evening gave them an opportunity of hearing a great work well
performed, and the lovers of sacred music readily seized the opportunity
presented to them of attending the performance, which was never more
perfect. No band could have possibly played it more exquisitely, no
chorus could have sung it more honestly or earnestly, and the solos were
beyond all praise.
Wednesday morning was assigned to performances of a sacred and very
solemn character; Handel’s “Dettingen Te Deum,” and Spohr’s “Last
Judgment.” Handel composed five Te Deums, but the finest is that written
in 1743, in celebration of the victory at Dettingen, then thought a great
event. The victory was rather unexpected, and as George II. commanded in
person, the rejoicings in England were very general. Horace Walpole
wrote, “We are all mad; drums, trumpets, bumpers, bonfires! The mob are
wild, and cry ‘Long live King George and the Duke of Cumberland!’” After
the “Te Deum,” there was a short interval preceding the performance of
Dr. Spohr’s great work “Die Letzten Dinge” (The Last Things), the
earliest of the composer’s three oratorios. In 1825 it was brought over
from Germany by Professor Taylor, and it was first performed before an
English audience at the Norwich Festival on September 24th, 1830, under
the title of “The Last Judgment,” which does not convey a very correct
idea of the work. It was received with the greatest possible favour,
like all other works of the same master, in this city. The grand theme
is set forth in a series of paraphrases of scripture texts referring to
the final consummation of all things.
The novelties at this festival were Professor Sterndale Bennett’s
Pastoral “The May Queen,” and Benedict’s brilliant Cantata, “Undine,”
both of which were performed with great success. The Pastoral was
produced with complete success at the Leeds Musical Festival, in
September, 1858. Mr. Chorley composed the poem, and he deserves some
credit for the verses, as well as for the dramatic character of the
piece. The overture is a beautiful composition, and the whole work
displays a marvellous combination of simplicity and ingenuity. Herr
Molique’s new Oratorio, “Abraham,” was performed here for the first time,
and conducted by the composer, who at the close was greatly applauded.
The words are taken from the Old Testament, and the characters personated
are Abraham, Sarah, Hagar, Isaac, Angel, and Messenger, who in turn
depict the different scenes in the life of the patriarch. He is
exhibited as a saint, as a warrior, and as a great sufferer. Full scope
is given for the display of human passion in almost every phase, from
triumphant joy to a sorrow that borders on despair. The incidents are
picturesque, striking, and varied, calling all the powers of the
orchestra into play. The principal vocalists were Madame Clara Novello,
(her last appearance in Norwich,) Madame Weiss, Miss Palmer, Madame
Borghi Mamo, Madlle. Tietjens, Signor Giuglini, Signor Belletti, Mr. Sims
Reeves, Mr. Wilbye Cooper, Mr. Santley, Mr. Weiss. Instrumental solo
performers, Miss Arabella Goddard, piano; Mr. Sainton, Mr. H. Blagrove,
Signor Piatti, violoncello; Mr. Benedict, conductor; Mr. J. F. Hill,
chorus master.
The Festival of 1863 commenced on Monday evening, September 14th, with a
performance of Handel’s grand Oratorio, “Judas Maccabæus,” which was
eminently successful. The large audience seemed to be carried away by
the martial music. On the Tuesday, Wednesday, and Thursday evenings,
miscellaneous concerts were given. On Wednesday morning Mr. Silas
conducted a performance of his own sacred drama, “Joash,” with success.
This was followed by a “Scene at the Gates of Nain,” from the Oratorio
“Immanuel,” by Henry Leslie; also selections from the Stabat Maters of
Haydn, Pergolesi, and Rossini, and a selection of sacred music. “Elijah”
was performed on Thursday morning, and the “Messiah” on Friday morning.
Another novelty at this festival was a Cantata, entitled “Richard Cœur De
Leon,” composed expressly for the occasion, and performed on Thursday
evening with immense applause. This Cantata embodied the romantic story
of the warrior king in captivity, being discovered by the minstrel
Blondel, who at last caused the liberation of the monarch. The principal
vocalists were Madlle. Tietjens, Madame Lemmens Sherrington, Madame
Weiss, Miss Wilkinson, Miss Palmer, Madlle. Trebelli, (her first
appearance in Norwich,) Mr. Sims Reeves, Mr. Montem Smith, Mr. Santley,
Mr. Weiss, Signor Bettini, (his first appearance here,) Signor Bossi,
(his first appearance here). Mr. Benedict was conductor. Instrumental
soloists, M. Paque, violoncello; Mr. H. Blagrove and Mr. Sainton,
violins. Mr. J. F. Hill, chorus master.
The Festival of 1866 was deferred till November, very unwisely, in
anticipation of a visit of the Prince and Princess of Wales on the
occasion. This caused a larger attendance on the day their Royal
Highnesses were expected, and a smaller on all the other days. The
arrangements for the visit were also injudicious, to say the least.
Their Royal Highnesses should at once have proceeded to the Wednesday
morning’s performance, but they were detained at the Guildhall to hear an
address from the corporation, and then they were allowed to go to St.
Andrew’s Hall in the middle of a performance, which was greatly
interrupted. Their Royal Highnesses, therefore, could not possibly have
appreciated Costa’s Oratorio from hearing only half of it. The festivals
have been always patronized by royalty, and by the nobility, gentry, and
clergy, and have never failed to attract the county families; but this
year (1866) was the first in which members of the royal family were
actually present.
The general programme for 1866 when issued, presented some points of
peculiar attraction, including “Israel in Egypt,” by Handel, on Monday
evening; an Anthem by Dr. Spohr, and the Oratorio of “Naaman,” by Costa,
on Wednesday morning; “St. Cecilia,” a new Cantata by Benedict,
selections from the Passion Music of Handel, and first and second parts
of the “Creation,” by Haydn, on Thursday morning; and the “Messiah” on
Friday morning. Most lovers of sacred music would have preferred Haydn’s
entire Oratorio to the sombre Passion Music. The committee, acting on
the principle of securing the highest talent, made engagements with
Madlle. Tietjens, Madame Rudersdorff, Miss Edith Wynne, Madame De Meric
Lablache, Madlle. Anna Drasdil, three of them appearing for the first
time in this city; also with Mr. Sims Reeves, Mr. Cummings, Signor
Morini, Mr. Santley, Mr. Weiss, and Signor Gassier, all well-known
vocalists. The instrumentalists were all first-class performers. The
choral body was much improved and strengthened, and included 62 of the
best trebles ever selected, 24 contraltos, 35 altos, 59 tenors, and 67
basses.
Handel’s Oratorio, “Israel in Egypt,” was splendidly performed on the
Monday evening; the solos were in the hands of first-class vocalists, but
the absence of Mr. Sims Reeves was a disappointment. Mr. George
Macfarren had improved the instrumentation by the addition of parts to
the original score. He had no occasion to apologize for doing for
“Israel,” what many musicians have done for other productions. It is not
presumptuous to have recourse to the resources of more modern
instrumentation, so long as the character of the work is not altered.
On Wednesday morning, as we have said, the Prince and Princess of Wales
were present. The performances commenced with Dr. Spohr’s Anthem “O
blessed, for ever blessed, are they,” the first time of performance, and
it was admirably rendered. Mr. Costa then conducted a splendid
performance of his own Oratorio of “Naaman,” founded on a part of Old
Testament history, relating to the restoration from death of the son of
the Shunamite by the prophet Elisha; a subject not very well adapted for
musical purposes. All Oratorios are cast more or less in the Handelian
mould, but Mr. Costa has introduced more of the secular clement than
usual.
On Thursday morning the hall was well filled by a large audience desirous
of hearing a performance of Handel’s Passion Music, and Mr. Benedict’s
new work, “St. Cecilia.” As to the former, we may state that there are
two works of Handel entitled “Passion Music,” one produced, it is
believed, in 1704, the other in 1716. Dr. Chrysander caused the
publication of both these works by the Leipzig Handel Society in 1860 and
1863. It is strange that these two productions should have slumbered so
long unheard and unknown till the selection was performed in Norwich.
Interesting as the Passion Music might be, the all-important event of
this morning’s concert was, the production of Mr. Benedict’s new Cantata.
“St. Cecilia” has long been a favourite subject with both poets and
composers. Among the former, Fletcher, Dryden, Pope, Addison, Congreve,
and a host of versifiers, have contributed Odes in honour of the
patroness of music. Many of these Odes are still in existence, with
their accompanying music, of various degrees of merit; the principal
being those by Purcell and Handel. These are great names, but the
construction of the older works is entirely different from the Cantata
now performed for the first time with great applause. After a short
interval the concert was continued with the “Creation,” which could not
have been better performed or with a stronger cast.
Friday morning has been always assigned to the performance of the
“Messiah,” and to hear it every seat in the hall was this time occupied,
and numbers could not obtain admission. We have heard this sublime
Oratorio scores of times, in London and in many large towns, and here at
every festival since 1840, but we never heard it rendered with greater
effect than the last time (in 1866).
Norwich has in many ways obtained credit and advantage from the Musical
Festivals. Their high character has placed the city in a very eminent
position in the musical world, and many of the citizens cherish a just
pride in endeavouring to qualify themselves for the maintenance of that
degree of excellence which the festivals enable them to exhibit in the
choral performances, which the best judges have pronounced second to none
in the kingdom. On the whole the festivals have contributed largely to
the funds of important charities, and will no doubt continue to do so if
conducted with judgment and economy. They have always attracted large
numbers of visitors to the old city, for the same facilities which make
it easy for _us_ to go elsewhere to hear good music, enable others to
come hither for the same purpose. Many persons will always come from
distant places to hear a well-trained Norwich chorus. And besides all
this, not the least of the benefits derived from these triennial
meetings, is that they encourage an interchange of good feeling and
hospitality between the city and county, and afford to those who enjoy
music such an amount of pleasure as must contribute, at least for a time,
to cheerfulness and happiness in their social intercourse with their
fellow creatures.