The Express.
London, England, 1858-09-04 00:00:00

BIRMINGHAM MUSICAL FESTIVAL

(nom ori

BIRMINGHAM, FRIDAY Iviortno.
The armed of last night was superior to that of
Wednesday evening. It-contained a larger propor-
tilt. of really good and interesting things, but had
the usual fault of provincial concerts—inordinate
length. It did not terminate till almost midnight,
by which time both performers and audience seemed
heartily fatigued. Mendelssohn's Symphony in A
minor (the Scotch symphony) began the 0000ert. It
was superbly executed, and much applauded. The
grXranklryin also i:ecanluded
d Wteva'sfink'siryanrate otivire.rtures—
With
thee, exceptions the oonoert was vocal. The only
piece of any magnitude was Costa's &remits, " The
Dream," composed for the occasion of the Princess
Royal's marriage, and performed during the festivi-
ties at Buckingham Palace. Being a *ice de tir-
o:instance, it is of slight construction ; but the poem,
from the elegant pen of Mr. Bartholomew, is
Imaginative and graceful, and the music is of a
similar character. The machinery of Queen Mab
and her Fairies is prettily used as the vehicle
for the courtly compliments to royalty called
Ibr on so auspicious an occasion, and the
week is worthy to be preserved beyond the
for which it was produced. Its
meet ataseell:rartions were an introductory air,
" 0 tin me, gentle orb of night," sung by Madame
Clara Novell° ; a very fanciful chorus of fairies; a
serenade, " 0, the joy of truly I ," sung. by
Sims Reeves • and the final chorus, " y, arise,
which is exceedingly spirited and pleasing. The
execution of this pretty piece was perfect, and re-
ceived warm applause.
" "

Then were, besides, many vocal pines of a high
order, which, well known, an always inter-
esting. Such were tha scene in the Now di .Pigaro,
containing Count Almaviva's famous air, Vedro
menu' io sospiro," sung by Belletti ; the cavatina in
the finale to Lo Count/stole, " Non piU meets,"
sung with incomparable brilliancy and finish by
Albon ; the pathetic duet, " Ebben, per mia me-
marls," in the Gana Lady., by Madame Cestellan
and Min Dolby ; Mozart's quintet, " Sento, oh
Dio," from Cosi jaw Atte ; the aria, " Come
unlit.," from the same opera, sung by
i Madams Castellon; Mendelasohn's great scene,
" Welke," by Madame Clara Novell° ; the quaint
old aria from Grit's Brininess* which Madame
Viardot seems so fond of, and sings with each re-
markable brilliancy ; and other things equally
clinical and beatiaal. There were, moreover, two
or three ballads, of which" The last rose of rummer,"
charmingly sung by Mdlle. Victoire Balfe, was the
most remarkable. Tagh this was, altogether, an
excellent concert, yet it, as well as the other evening
concerts, lacked a fine instrumental solo. Joachim,
the greatest violinist that has been heard since Pa-
ganini's day, was present at all the performances as
an amateur. Why were not his services, or those of
our young English pianist, Arabella Goddard, put in
requisition ? Either of those exquisite artists would
have been invaluable. The attendance was again but
indifferent: 1,198 persons were present, producing a
receipt of 6881. 10a.
_ • • •

The p7f.
dorms,. nee of this morning consisted of
Henry •►'s new oratorio (or Biblical Cantata, as
is is called) Judith : together with Mendelasohn's
sacred cantata, " Lauda Sion," and Beethoven's
Mass (or Barrios, as it is termed in imitation of
Exeter) in C.
The subject of Mr. Leslie's work may be gathered
front its title—the same of the Jewish heroine who
delivered her country from the Assyrian yoke by the
diming bat somewhat questionable deed of blood, the
murder, is his sleep, of Holofernes, the commander
of the army besieging the city of Bothnia', wooed.
lag to the tale so amply and graphically told in the
Apocryphal book of the Maccabeee. Ile poem, by
Mr. Charley, adheres closely to the words of the
original narrative, Intermingling them with &pro-
priate passages from other parts of Scripture. It is
divided into three parts. The first, entitled "The
beleaguered City," paints the internal condition of
Bethulta when the Assyrian host sits down before it.
Judith a in the midst of the distracted and
disunited multitude, rebukes them for their want of
trust in the Lord, antionnoes her design to attempt
their deliverance, and departs followed by the
prayers and blessings of the priests and people. The
second part, called " The Camp of the Assyrians,"
describes the arrival of Judith and her attendant in
the oamp, her introduction to Holofernes, the blan-
dishments with which she captivates him, the
banquet which be gime in her honour, and the
orgies in which she feigns to join, while shei watches
for the moment when she may strike the blew. The
third pert, " Night and Daybreak," Wehrle' the
completion of the enterprise, and the heroine's return
to the delimend city, celebrated by songs of praise
,and thanksgiving.
In this subject there is much room for musical
expression and effect. A fine instrumental 'eu-
phony, or prelude, leads to a gloomy chorus arthe
despariag people, who, in their dismay, clamour
violently for peace, sad demand that the city shell
be given sp. The recitative of Judith, in which she
reproves and encourages the multitude, is in a com-
manding tone and toll of energy. They answer in
one voice, " Pray for as, for thou art a godly wermaa."
Her prayer, in answer to this appeal. is deeply
i solemn and mpressive; and • diem earembre of
hope and confidence closes the AM gent. The seem
now changes to the Ireyrian ramp; aid Holollossa.
in an air of a grandiose lishbratee his amp
greatness and that of hie and antieipales
the fall of the dome* dlr. Judith and herr
attendant appear in the onepifismi swe surrounds*
by. the soldiers, whose km* gosimak with hat
brief answers, form a same of great spirit.
The soldiers lead them to the general's tent, where
they are commanded to wait his pleasure. This
situation gives room for an air sung by Amital (the
principal soprano), "The Lord preserveth all them
that love Him," a brilliant and effective composition.
The two women are then admitted to the presence of
Holofernes ; and their colloquy with him takes the
farm of a beautiful and highly dramatic trio. Then
follows the scene of the banquet, which is painted
with great animation. The shoats of the revellers,
the gay rhythm of the music, mingled with the bar-
baric clang of brazen instruments, while the two
Jewish women, sitting apart, are heard from time to
time to atter ominous were to each other : all
these things form a finale which would derive great
effect from theatrical representation. In the open-
ing of the third part, the sounds of the revel ma-
dame to be heard ; the feasters are still singing their
bacchanalian wogs, bat in drowsy murmurs, while
the two women are repeating to each other the
legend of "Jul and Sisera," their suppressed voices
mingling with the chorus as it grew. fainter and
fainter. At length Holofernes is left asleep
on his couch, with Judith only in the
tent. The bloody deed, justified, perhaps, and
rendered heroic by its patriotic motive and
daring courage, is narrated in recitative, soma-
ponied by the sgitated chords of the mehestra. The
narrative goes on to relate the ramp at Mit=
km return to the city. She calla le times
Ile era the gates, az a declension ak of root
newer. The itersiar eaters the' eflr wait the foy-
er' strains of military music, sad is mimed by
Mies, the governor, in an air deemed's a tenor-
singer of the highest order. This is teamed by ,k,
fine trio between Judith, Amital, and Oties
contralto, sad team) whisk leads to the grs teal
shares, in whisk the three solo wises continue tolls
beard t. the sad.
The execution of this work was magnificent, sad
its same, complete. The pert of Judith was
Viardm ; her attendant,
iliAltilky Lem Castellon Holofentes by Bel-
laid sad Was, the governor of the city, by Sims
Reeves. The music oi Judith's part, written ex-
pressly far Madame Vadat, is of course for a con-
tralto voice. It is impossible to praise too highly