The Express.
London, England, 1867-08-29 00:00:00

THE BIRMINGHAM MUSICAL FESTIVAL.

(11011 OMR OM= 0011.118P01 DINT.)
BIRMINGHAM, WIDNESDLL

The second morning'■ performance took place
to-day at the usual hour of half-past 11—the pro-
gramme comprising Professor Sterndale Bennett's
new sacred cantata The Woman of Samaria and
Handers oratorio Judas Maccabeus.

The subject of The Woman of Samaria, selected
from the Holy Scriptures, and divided into;
choruses and airs connected by • series of xis:- ;
rative recitatives, is of course the well-known in-;
cident recorded in the 4th chapter of the Gospel of
St. John, portions of the Old as well as of thej
New Testament being introduced in the cantata.
The work commences with a short instrumental
introduction (" Andante serioso") in A minor,!
leading to a somewhat longer movement, " An-
dente quasi Allegretto," in the same time (three-
eight), in which is some orchestral writing at once i
graceful and elaborate, leading to a climax in the!
relative major key, and then merging into • Chorale
(Luther's Hymn) sustained in unison by the
sopranos of the chorus ; the melody, by an inv..;
nious use of syncopation, having the effect of
common time against the three-eight of the orches-
tral accompaniment, which sustains the figurative
writing of the previous instrumental prelude. The
drums are used with excellent effect to mark the
close of every vocal strain. This is a move-
ment of masterly construction, and produces
an admirable effect by the contrast of
the sustained vocal chorale with the florid
and diversified orchestral accompaniment.
After some well written recitative, expres-
sively sung by Madame Sainton-Dolby, we
come to a melodious and graceful chorus, " Blessed
be the Lord God of Israel," containing some
admirably sustained vocal part-writing ; the in-
cidental use of the triangle in the orchestral ac-
companiments having perhaps rather too mundane
an effect, although it serves to give a brightness of
character. Some further recitative passages,
divided between Madame Sainton-Dolby, Mdlle.
Titiens, and Mr. Santley, led to a short chorus,
" For with thee is the well of life," full of religious
calm. The next prominent number, is an air for
Mdlle. Titiens "Art thou greater ;" perhaps one
of the least successful pieces in the work,
being somewhat laboured in its design of
displaying, by occasional florid passages, the powers
of a great singer. A rather prolonged series of
short, accompanied, recitatives follows, divided
between Mr. Santley and Mdlle. Titiens, and
including some good cantabile phrases of regular
melodic form. The contralto air, "0 Lord, thou hest
searched me out," sung with true fervour by
Madame Sainton-Dolby, is perhaps the best solo
piece in the cantata, being full of chaste religious
feeling. It produced a marked effect, and at the
instance of the right hon. president, it was re
peated to the evident gratification of the entire
audience. More recitative passages lead to one of
the most masterlychoruses (and these aro several
such) in the cantata, "Therefore they shall come;"
written for six voice parts, the sopranos and basses,
being divided into first and second. The sopranos
and contraltos commence with a charming phrase
in three parts, accompanied by some admirable
orchestral writing in which the pi=icato of
the stringed instruments contrasts admirably ,
with the aoatenuto of the chorus and the
wind instruments. This phrase is answered by I
the male voices also in three parts, with the same
orchestral features maintained ; and this rattans-
tion of response is combined with full choral
effects till the movement gradually subsides in a
tranquil close of holy calm on the words " They
shall not sorrow." This chorus is full of beauty,
and produced an impression which was quite
evident, although the usual demonstrations of
applause are not given during these oratorio per
formances. At the intimation of the president this
chorus was repeated.
The next chorus, " Who is the image of the
invisible God 1" (preceded as each movement is by
connecting passages of recitative)—a piece of pure;
flowing vocal harmony—afforded a good test of the'
qualities of the Birmingham chorus, having been !
sung admirably in time throughout, although only
sustained by a slight organ accompaniment (played
by the excellent organist of the Town-hall,
Mr. Stimpson, who also exercises that office
at the festival performances). The chorus, " Come,
0 Israel," written in the key of E fiat major, but
nearly throughout in the minor by the use of the
accidental G flat, is a solemn and impressive dirge.
like piece of vocal harmony, the massive choral
effects of which are relieved by the regular reitera-
tion of chords for the stringed instruments on the
four beats of the bar. The next chorus, " Abide'
with us " (the words from a hymn by Kahle) is
divided into three verses : the first verse in two
parts, for sopranos and contraltos ; the second
verse the same as the first, but in three-part bar-
mony ; the third and last verse being given with'
full choral harmony in four parts. The chorus of
the people, " Now we believe," is written in con-
trapuntal style on a bold and well-defined 1
subject, with occasional inversions, treated with!
much power, and evidencing a thorough acquaint-
ance
with those grand old masters and models of
this style, Bach and Handel. An air for tenor solo, j
" His salvation," follows, delicately accompanied!
with violoncellos and occasional passages for oboe •
solo. There is much vocal grace in this solo, which I
received full effect from Mr. Cummings' relined
singing. A repetition being called fur, this made
the third piece encored in this morning's perform-
ance of Professor Bennett's new work ; the climax
of which, the final chorus " Blessed be the Lord
God," with its admirable fugal writing, confirmed
the success of the work, which, indeed, had been
evident soon after its commencement. This chorus,
after an introductory movement, resembling, in its
florid and graceful orchestral writing, the instru-
mental prelude to the work, starts with a bold and
effective subject for the sopranos, answered and
alternated with a counter-subject and occasional
inversion of the original theme, and treated with a
facility and mastery that, combined with previous
portions of his cantata, prove Professor Bennett's
full title to aim at still further success in the
higher order of composition in which this is his
first essay. The conclusion of the cantata (the
performance of which was extremely well directed
by Mr. W. G. Culling) was hailed with loud and
long applause (an exception allowed in favour of a
successful new work), and Professor Bennett
ascended the orchestra and bowed his acknowledg-
ments. We trust soon to hear the cantata re-
peated in London, and to be able to speak of it