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THE HANDEL FESTIVAL.

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THE HANDEL FESTIVAL. This great musical festival was inaugurated on Monday, a general rehearsal having taken place on Saturday. The oratorio selected for the opening day was the Messiah/' The Crystal Palace never perhaps presented a more im- posing spectacle than that which was witnessed when about 16,000 persons had seated themselves to listen to nearly 4,000 performers. We give a criticism of the performance from the Daily News The performance began soon after one o clock with God save the Queen." This grand composition, consist- ing of a simple melody, accompanied by harmony equally simple, is the species of music calculated more than any other, except the chorale or psalm-tune, for a vast multi- tude of singers, either with or without instruments. The masses of sound are so broad, and so free from minute or intricate details, that they can be produced, and reach the ear without confusion and as a great body of singers are not tempted to strain their voices, the body of sound which they produce, though it may not be louder, is naturally more smooth and musical-more free from the admixture of mere noise-than it is likely to be when the numbers are comparatively small. Besides, there is some- thing in the voice of a great multitude, even when sub- dued, that has that effect of sublimity which arises from the impression of power. And certainly our "National Anthem" as uttered yesterday, by four thousand choral voices (setting aside the instruments, which contributed little or nothing to the result, though they were necessary to keep the voices together and in tune) affected us with a stronger sense of the sublime than we ever felt before. It showed, moreover, the efficiency of the recent improve- ments in the construction of the orchestra; for the sounds, reverberated from the roof and lateral enclosures, and pro- jected into the great area of the bailding, derived a great accession of power, while they derived softness from the vastness of the space into which they were thrown. This performance, therefore, displayed the acoustical qualities of the great Handel orchestra" to the very best advan- tage. The defects under which it still labours (and, we suspect, must always labour) became subsequently more or less apparent; but still it went to show that on the whole the improvement is very great, and that the Crystal Palace may now be made the scene of great musical solemnities of the grandest and most imposing description. The overture to the Meaiah had little effect, the fugal movement especially. The score is for stringed instru- ments and of all the organs of sound stringed instru- ments are the least resonant, and consequently the least calculated for the open air, or any locality similar to the open air. Instrumental bands for the open air, as every- body knows, must consist wholly or chiefly of wind instruments. For the same reason, the four beautiful instrumental bars which preface the opening recitative, Comfort ye, my people," were wholly inaudible even to listeners in the most favourable positions. It was not till Mr. Reeves began to sing that we found that those introductory bars had been played. Our great tenor sang this recitative with his usual dignity of style, and the following air, "Evèry valley shall ba exalted," with bis usual brilliancy of execution but even his powerful voice and his clear articulation were not heard with uniform distinctness' While his shout, as we may call it, "The voice of one that crieth in the wilderness," was electrifying, many of his florid divisions were in a great measure lost. We observed, in the case of all the singers, that the higher notes of the scale came fully upon the ear, while the lower were comparatively feeble, if not inaudible and this was the case whether the voice was soprano, contralto, tenor, or bass. The choruses were well beard, and some of them were indescribably grand. No choruses are so well fitted as those of Handel for performance on the vast scale in- troduced at the Crystal Palace. Even those in which his profound conirapuutal art is most strikingly displayed have a clearness of design, a breadth and simplicity of structure, an adherence to the diatonic scale, and a free- dom from chromatic obscurities, that are to be found in the works of no other master. The first chorus, ''And the glory of the Lord shall be revealed," possesses these features in a remarkable degree; and its performance abywed the admirable qualities of the Crystal Palace choir. Tue complete balance of the parts, the blended sweetness and power of the individual voices-their per- fect onen ss, each part sounding like the voice of a giant- and the precision with which those enormous masses fol- loived each movement of the conductor's baton, could not be observed without wonder and delight; and these feel- ings, excited by this chorus, were heightened as we lis teaed to the others in succession. The chorus, And he shall pnrify the Sons of Levi," is a most masterly fugue upon a long and florid Fubject given out by the sopranos' and followed by the other parts and the clear articula- tion and beautiful body of tone with which this passage was executed by all the voices of each part was something which till it was done would have been thought incredible. •' For UQtousaCbild is born"- notwithstanding Mr. Costa's (inouropinion) erroneous reading—the exaggerated pianis- simo of its commencement-was more effective still; and, of course, the unrivalled Hallelujah" was the most effective of all. Probably this almost superhuman effort of genius was never so rendered since it fell from its im- mortal author's pen. It was more than sublime-it was sublimity itself; and the impression which it made on the whole assemblage was emphatically expressed by the pause of profound and seemingly awed silence which preceded a general burst of fntbusiasm. Among the other choruses, the most striking effect was produced by that which opens the second part of the oratorio, Behold the Lamb of God." The deep feeling of which it is full was so beautifully expiessed by the soft and subdued tone in which it was sung, that the choir must. have been penetrated with the sentiment to which they were giving utterance. In short, as a choral performance, The Messiah on this occason has certainly never been equalled. The solo singers, as we have endeavoured to show, had great difficulties to contend with, but they met them bravely. We have spoken of Mr. Sims Reeves already, and must add that throughout the whole performance he exerted himself to the utmost, and with the most powerful effect. We cannot enumerate the beauties of his singing but we cannot pass over his air, "Thou shalt break them with a rod of iron"-a piece of energetic dechmation which, since Braham's day, no one has been able to equal. The soprano part was divided between Parepa and Mddlle. Titiens. The former was especially happy in her brilliant execution of "Rejoice greatly," and the latter gave exquisite effect to How beautiful are the feet," and I know that my Reedemer liveth." Madame Sainton-Dolby sustained the contralto part with her usual excellence. Her He was despised and rejected of men" was full of pathos. She sang, too, Bat who may abide the day of His coming," which used formerly to be given to the bass, but is now (in accordance with the composer's design) geierally con- signed to the contralto. The air, "The people that walked in darkness," was sung by Signor Bc'letti the remainder of the bass part was sustained by Mr. Weiss. Both these admirable performers displayed their usual ability. But, without the smallest disparagement to the excellent artists we have named, it must be admitted that the performance of tne airs was, on the whole, less satis- factory than that of the choruses. On Wednesday, the day fixed for the second perform- ance, the weather was again propitious,] andl the com- pany large. It was generally remarked that Monday's performance was more numerously attended by the people from the country, and that of Wednesday, the Selec- tion day," by the London folk. That admits of easy ex- planation. The visitors from the provinces, if compelled to make a selection, would naturally choose the day on which the Messiah," the most popular as it is the grandest of all the oratorios, was given. The Messiah," except at the festival towns, is rarely heard, and even at these it is performed but once in three years, and invariably constitutes the special feature and piincipal attraction at each meeting. The grand selection given comprised pieces from the secular as well as the sacred works of Handel. The oratorios re- presented were ''Samson," "Judas Maccabens," Saul Solomon," Deborah," and Joshua." The Dettingen Te Deuru, written to celebrate the victory gained by George II over the Frfneti in 1743, at Dettingen, supplied two choruses. The following were the secular composi- tions which supplied extracts Ode on St. Cecilia's Day," I. Hercules," Alexander's Feast," Acis and Galatea," and L' Allpgro." This day (Friday) will t,e the last day of this festival, when Handel's great masterpiece, Israel in Egypt, will be performed. "any representations, we hear, have been made to the direc ore respecting the desirability of adding another day's performance to this great celebration, but the impossibility of outlining an extended leave of ab- sence for the provincial vocalists and the numerous pro- fessional engagements of thr; instrumental portion of the Orchestra, render this impracticable

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