The Express.
London, England, 1868-09-12 00:00:00

THE EXPRESS, SATURDAY EVENING, SEPTEMBER 12, 1868.

day night was in many respects far above
the average. The overture and the elaborate and
picturesque instrumental acoompanimente, coo fall
of varied and suggestive details, were admirably
exteuted by the capital orchestra, which is so
important a feature in the festival arrangements—
and the difficulties which abound in the choral
writing were surmounted by the choristers with a
resolute decision that evinced a thorough acquaint-
ance with the work. The good qualities of the
chorus, already referred to in previous notices,
were here put to the meet extreme feet, and were
again successfully manifested, especially in that
marvellously developed and highly-wrought move-
ment," Come with torches," in which are simulated
the fabled revels of the demons of the Hartz
Mountains. The tenor solos were excellently given
by Mr. Vernon Rigby, that for the "aged woman
of the people" with much expression by Mdllo.
Draedil, and those of the Druid Priest
with power and effect by Mr. Lewis Thomas.
After the fra/purgis Night Mies Edith Wynne
sang Sr;:ihr's exquisite lied, " The bird and the
maiden, and Mr. Macfarren's graceful song,
" Pack clouds away," each enhanced by Mr.
Laramie refined performance of the clarinet ob-
bligato accompaniment. Mr. Rims Reeves gave
special importance by his singing to two of Bee-
ihos en's slightest chamber songs—" The stolen
kiss," and " The Savoyard "—after which Mdlle.
Titiens and Male. Sandrina gave a portion of
Rossini's well-known duet, " E ben per min me-
'eyrie." Mr. Santley sang, with splendour of
voice end st) le, Mercadante's eavatina, "II Sogno,"
with the efficient violoncello and harp acoompani-
minta of Mr. Collins and Mr. Trust.. Maclaine
Sainton-Dolby sang Mr. Sullivan's graceful song,
" Oh sweet and fair," the first part of the canoed
closing with " Rule Britannia," the soprano solo
given with immense effect by Wile. Titiene. The
second part commenced with Rpohie Nonetto. This
work, composed in 1813, inunediately after his opera
of Feast, was then and for long afterwards the only
work of its kind in which so many solo instru-
ments were included. The masterpiece of all such
nipositions is, and will probably ever remain,
Beethoven's immortal Septet (produced in 1800),
a work which was long a favourite with the com-
poser himself, but afterwards almost ignored by
Lim when his genius expanded into those lofty
regions of abstract idealism where beauty of form
and proportion disappears in a vaster gene-
ralisation. In addition to the violin, viola,
violoncello, double-buss, clarinet, horn, and
bassoon, which compose the instrumentation
of Beethos en's Septet, Spohr's Nonetto in-
cludes a flute and oboe. All those instru-
ments arc used with that eonsummate knowledge
of their characteristics which rendered Spohr ono
of the grcatest masters of orchestral effect. Every
instrument in the Ncnetto has alternate and fre-
quent opportunities for the display of special skill
and style; the violin perhaps being, in addition to
its real pre-eminence, rendered particularly con-
spicuous by the elaboration naturally bestowed by
the composer on a part written for his own admi-
rable
.performance. Of this work, which was a
commission, Spohr says, in his " Selbst-Biogra-
phie" " I comieeted it in a elKirt woe, hu4 deli-
vered the score to Herr von Tost. He had it writ-
ten out, and then invited the first artiste in Vienna
to his house, in order to study it under my direction.
It was then performed at one of the first musical
parties in the beginning of the winter, and met
with such unanimous applause that its repetition
was frequently called for during the season."
That it was admirably played here at Wednesday
night's concert may be inferred from the names of
the ezecutants—Mr. H. Blagrove (violin), Mr. R.
Blagrove (viola), Mr. G. Collins (violoncello), Mr.
Hosed' (double bass), Mr. Radcliff (flute), Mr.
Crozier (oboe), Mr. Lazarus (clarinet), Mr. C.
Harper (horn), and Mr. Ilutchins (bassoon). Mr.
11. Blagrove displayed his usual fine qualities of
tore and execution. and that special appreciation
of the style of the work derived from his having
been one of the beet pupils of the great master.
As usual, the first of the two trios which belong to
the n.iuuet— a brilliant violin solo—was one of
the meat effective features in the performance. The
many d.fficult
.passages of display, assigned in
rapid alternation to each instrument, were
admirably rendered by the executants already
specified, and the whole piece pleased greatly
and generally. Mdlle. Titiens' brilliant execu-
tion of Signor Bevignani's " Yalu!" aria, " (Jodi-
unto ;" Mr. Sinis Reeves' expressive ainginy,
and the encore, of a graceful new bulled, to words
by Jean Ingelow, " For 'tis 0 my love," com-
posed by Mr. Arthur Sullivan, and aocompaniel
by himself, were followed by Abes German lied,
" The Cuckco," in which Mdlle. L.ebhart so
ph seed the majority of her audience that an encore
was insisted on, and replied to by the popular
" 0 dear what can the matter be," both
tiering a somewhat violent contrast to most of
the preceding music. Donizetti's romanza, " Una
Nitwit lagrinia," effectively sung by Mr. Rigby ;
a ballad, " The Schooner," which was much bene-
fit, d by the voice and style of the sing -r, Mane.
;Ilrardil
faccio,"by Mdlle. Liebhart, Miss E. Wyune, and
Madame Sainton- Dolby, completed the vocal eelec-
tien—the concert terminating with Beethoven's
spnphony in C minor.
The third and last of the evening concerts, on
Thursday, commenced with Mendelssohn's
'nation symphony. Of this noble work a long
analysis appeared in the Daily News on the occa-
sion of its brat performance in this country at the
Crystal Palace concert of November 30 last year.
It will be remembered that until that date the
work (composed in 1830, and then intended for
I roduction at the German Reformation Festival,
but withdrawn) bad been pertinaciously withheld
from performance and publication by those who
held in charge the many compositions left in
manuscript by Mendelssohn at his death. The
13110Ctile which this symphony his met with in
London and elsewhere also attended its performance
here on Thursday night, the first occasion on
which it has been heard at a provincial festival.
It was followed by a selection from Don Giovanni,
the operatic clef-d'oeuvre, of Mozart, and the
inauguration of the romantic school of stage
music —a work as fresh now as on its first produc-
tion more than eighty years since. The Donna
Anna of Mdlle.Titiens is one of her finest and best
known performances, and it is therefore unneces-
sary here to dwell at much length on her
admirable singing of her share in the selection of
Thursdaynight,which began with the fine scene
and passionate duet, " Fuggi," betweeu Donna
Anna and Don Ottavio, which ocean immediately
after the innrdcr of her father. The beautiful air
of Donna Elvira, " Mi triedi," with its preceding
recitative, was given by Mdlle. Titiens with
power and sentiment not often realised, since the
character is seldom so efficiently sustained as it
should be. Although not so prominent as
that of Donna Anna, it is little less important ;
and both might well be alteruated between
two declamatory singers as the parts of
Othello
and lago have frequently been between
two groat tragedians. The recitative, " Crudele,"
and air, " Non mi dir," and Donna Anna's share
in the (motet, " Sole, cola," were the remaining
motions of Mdlle. Titiens' share in the selection.
The beautiful air, " Della sua pace," so often
omitted in the performance of the opera, was
given by Mr. Sims Reeves with a subdued soete-
auto and calm expression, as admirable, in such a
case, as the grandeur and passion which this great
singer throws into music of a more declamatory
character. Mr. Healey, whose Leporello and
Don Giovanni are both well-known performances,
*see the air of the former, " Madamina," and the
latter's share in the duet, "La ci darem," with
admirable realisation of the humour of the ono
and the sentiment of the other; Zerlina'a share in
the latter being sung with much refinement by
Miss Edith Wynne, who replaced Millie. Sandrina in
consequence of the indisposition of thin young lady.
In this and in several similar instances during the
festival Mims Wynne has proved her thorough
readiness and preparation at very sudden natio&
The charming air of Luling, " Butti, batti," im-
ploring the forgiveness of the jealous Manetto,
was another graceful performance of Miss Wynne.
Don Ottavio 'n air, " 11 mit) tenor° " was carefully
eung by Mr. Vernon Rigby, who also sang Don
Ottavio 's share in the commencing duet ; Zer-
line's air, " Vedrai swine," by Mdlle. Lichhert,