The Express.
London, England, 1863-12-18 00:00:00

MR. HENRY LESLIE'S CHOIR.

The first concert of the season took place last
night at St. Jamee's-hall—the programme °Desisting, as
usual, chiefly of madrigals and unaccompanied part songs,
the refined and expressive singing of which class of music hie
earned for this institution so high and medal a reputation.
While the marl.. grandeur and sublimity of Handers
choruses is heard to perfection as interpreted by the
gigantic chain of the Sacred Harmonic and National Choral
Societies; those lighter works, in which delicacy rather than
power, refinement rather than strength are requisite, can
nowhere be heard to such advantage ea at Mr. Henry Leslie's
concerts. The selection last night included a genuine old
madrigal, " Stay Corydon," by John Wilbm, and some
clever modern imitations of thn school by Mr. John Bar-
nett and Mr. Pearsall. The form of the madrigal, however,
belongs to so conventional a period of art, and offers so lit-
tle scope for any novelty of thought, that attempts at its
reproduction, however ingenious, can scarcely power much
permanent value. The " part-gong," however, being
of move modern (German) origin, admits of greater flexi-
bility of style and freedom of expreerloo—as many exquisite
specimens by Meodelmohn testify. Several examples of
this form, by English composers, however, were included in
Mr. Leslie's programme last night, one of the most effec-
tive being Mr. Callcott's "First twitter of Spring." But the
most important vocal piece of the evening was Spoln's
" Ode to St. Cecilia," for soprano solo, chorus, and organ
amompaniment, in which that master's graceful but
somewhat mannered style is throughout appa-
rent. Those chromatic progressions and favourite
sequences, which were so charming in the
early works of the author of Azor and Zemira, have
now lost somewhat of„their freshness, and are too minute'
in detail to be mutable to such • work ma the "Ode to St.
Cecilia." in which diatonic simplicity and Meachhcf style
would be more appropriate. The final fugue too is poor in
subject and as poor in treatment. Spohr was not a great
contrapuntist, and has seldom succeeded in the fugal
style, his beet specimen Laing, perhaps, the chorus "Thine
is the Kingdom" in the Last Judgment. Madam
Lemnieng-Sherrington, who was the solo sopraeo,
pve her share of the ode with great purity
of expression, and was also very enoceseful
in • new song of Mr. Leslie's, "The Lark's Massage," and
an air from Anbet's Le Domino Noir. The vocal pieces
were varied by t►e instrumental performances of Herr
Blumeer (pianoforte), end M. Lotto (violin)—the former
gentleman playing Beethoven's thirty-three variations on an
original theme in C minor, and Liszt's transcription of
, Wagner's Tan nionsir Match ; the latter artist
giving • concert-piss by Lembard, and Paganini's
" Witches' Dance." Herr Blumner is • pianist of
ommiderable force, but his reeding of Beethoven's variations
was characterised by far too much tempo rubel° for a work
so classical in style, and so especially demanding continuity
of phrasing. In the transcription, or rather paraphrase, of
Wagner's March, Herr Blumoer displayed great energy in
dashing at the mirages of octaves, thirds, &c., with which
Liszt has overlaid his subject. M. Lotto's brilliant fantasia
playing and skilful command over the difficulties of octame,
harmonica, and double stops met with the cordial reception
which usually attends his performances. For the ensuing
concerts various new compositions are promised, including
an anthem for an eight-part choir by Professor Steredale
Bennett. At the second concert on February 4, Madame
Arabella Goddard is to play.