THE “MESSIAH.”

Globe, Volume XX, Issue 1515, 24 December 1878, Page 3

THE “MESSIAH.”

From the fact that this most _ popular oratorio has not been sung in Christchurch for a considerable time, and considering its peculiar appropriateness at this season of the year, it was only reasonable to have supposed it would hare attracted a large audience last night. From some unaccountable reason, possibly the heat of the weather, this expectation ■was not realised, for the Provincial Council Chamber last night presented quite a different appearance to what it did on the evening of the conversazione, the patrons of music being conspicuous by their absence. In the face of such scant appreciation, or rather perhaps of its public manifestation, it is discouraging to dilate upon the excellencies of this noble composition, which has invariably drawn crowded and enthusiastic audiences at all trie grand musical festivals where it has been produced hi ICngland. Still a tact or two, us showing its unprecedented popularity, may not bo out of place here. From the commencement to the finish the composition of the “Messiah” occupied only twenty-three days. During Handel s life it was performed thirty-four times in London, eleven of the performances being for the benefit of the Foundling Hospital; which

his generous liberality enriched to tho extent of £10,209. Its original performance in Dublin in 1742 realised the sum of £ (00, the whole of which the composer divided between three charities, which facts prompted an eloquent biographer to write thus of tho oratorio: — “ As if tho ‘Messiah’ were to illustrate all tho best qualities of Handel, that masterpiece of the artist who gave tho most to the poor during his life is, of tho productions of the human mind, that which has most contributed to all kinds of charities. Truly does it deserve the touching eulogy that it has fed tho hungry, clothed tho naked, and fostered tho orphan,” Amongst tho most notable performances of the “Messiah” may be mentioned throe that took place in London during tho Christmas week of 1834—0n0 in St. Martin’s Hall, under tho direction of Hullah, with soloists, band and chorus, numbering 300, and two in Exeter Hall, under the batons of Costa and Surman, tho founder of tho London Sacred Harmonic Society, with 700 and 800 performers respectively. But these performances wore eclipsed by ono at tho Birmingham Musical Festival of 1835, whore tho receipts amounted to £2BOB, and another at the Crystal Palace, when the united talent were combined of 387 instrumentalists and 1248 soloists and choristers. Tho climax of all was reached, however, at the memorable Handel Festival at the Sydenham Palace in 1857, when 2500 artists rendered the Messiah in a manner that was never even approached before or since. Returning to the performance of last night, tho most that can bo said is that it was a creditable effort in tho right direction of the Harmonic Society. One exception must, however, be taken, which is to the elision of many of the choicest numbers in tho oratorio. Custom has sanctioned the omission of some portions of the music, such as tho conclusion of the fine bass solo “Tho Trumpet shall sound” (though why this is permissible it is hard to say), and all tho numbers that succeed it up to “Worthy is tho Lamb.” Nothing, however, can be said in extenuation of tho omission of that most pathetic lament “He was despised,” which is one of the chiefest glories of the work, and which, while writing it moved the composer to an agony of tears. After this heresy it would not have been surprising if “i know that my Redeemer liveth” had been omitted also. The greatest strength of the Society lies with tho orchestra and chorus, especially the latter. Some of the choruses last night were sang with excellent effect, particularly the “ Hallelujah” and the “Amen.” The former more than compensated by the aplomb and precision with which it was given for any shortcomings of the soloists. The chorus, “ Lift up your heads,” in the second part, was also excellently sung, the jubilant exultant tone being well sustained. Indeed in this and in many other of the choral pieces there was very little wavering or indecision. Of the solo performers, “ Place aux dames,” Miss Smith certainly takes the premiere position for the pure unaffected manner in which she sang the air “ He shall feed his lloek.” The lovely pathetic melody was sung with much tenderness, and was one of the treats of the evening. Miss Rowley was fortunate enough to hare allotted to her that muchcoveted solo “ I know that my Redeemer liveth,” and sang it with considerable taste, though her voice scarcely possesses tho volume necessary to do justice to tiro solo. It was, however, notwithstanding, her most successful effort. Miss Ness had only one moresau allotted her, the recitative and air, “Ho was cut off,” and “But Thou didst not leave,” and it was a matter for regret that she had no more, as she sang remarkably well, tho purity and power of her voice and her clear distinct enunciation being entitled to great praise. Many more pretentious vocalists than Miss Ness might copy that young lady’s excellence in the singing of recitative passages, with advantage. Miss E. B. Rowley was overweighted, her voice not possessing sufficient power to do justice to the music she undertook, especially in so large an area as tho Council Chamber. Of the gentlemen scarcely anything but what is commendatory can bo said. Mr Knox was in unusually fine voice, and rendered tho bass solos in a very satisfactory manner. “ Tho trumpet shall sound," though suffering from the inevitable but usual substitution of a cornet a piston for a trumpet in the instrumental solo and accompaniment, was finely sang, and so was tho grand air “"Why do tho nations.” Mr H. F. Towle rendered valuable service in the two numbers set down for him, his clear ringing voice and musician like stylo being highly effective, at the same time causing tho audience to regret that ho had not more to do. In tho opening recitative, “ Comfort ye my people, ” and tho succeding aria, “ Every valley, ” Mr Rowley sustained his reputation as a conscientious interpreter of sacred music. The orchestra was up to tho mark, though now and again, by certain slight indications of wavering and indecision, and occasionally a faint suspicion of discord, was apparent a few more rehearsals with tho vocalists would not have been superfluous. Taken in its entirety there was far more in the performance of the oratorio last night to applaud than to cavil at, and great credit is due to Mr J. T. Smith for the excellent manner in which he has drilled and brought before the public tho amateur forces at his command. Lastly Mr R. T. Searell acquitted himself well at the pianoforte, and contributed to tho successful result of tho performance. Possibly the society may see their way to a repetition of the “Messiah” during the Christmas season, and it is certainly to be desired that they will not he disheartened by the meagre attendance last night. Their praiseworthy and fairly successful attempt to produce Handel’s masterpiece was worthy of more generous recognition at the hands of tho public, and will, doubtless, receive it should they perform tho work again.

THE STEWART FAMILY. There was a capital house at the Oddfellows’ Hall to greet the appearance of the latest candidates for popular favor—the Stewart Family. Their debut, judging from the hearty applause with which the various items were greeted and the persistent encores accorded to the principal features of the programme, must be regarded as a complete success. The entertainment, in which the Misses Docy, Nellie, and Maggie, with Mr E. Stewart, appear, is written with a view to develope the various talents possessed by the quartette. With this view the audience are introduced to a number of impersonations of character, comprising various nationalities, who sing a very excellent selection of music and generally prove themselves exceedingly entertaining personages. Of these a tow may be selected for especial commendation. Miss Docy Stewart, in the character of Madllc, Voicibella, sang “ Ernani Involami ” in a manner which shows her to bo a thoroughly artistic musician, and to possesss a trained voice of good range and power. The various bits of tragedy which are interspersed throughout this part were also given with much histrionic ability. Her impersonations of a Yorkshire girl and a lady from the Emerald Isle wore also very good, and in the latter her rendering of the plaintive ballad music allotted to her, especially “The Last Rose of Summer,” elicited loud plaudits. Mies Nellie Stewart, as the page, was also exceedingly good. In her impersonation of Tasma Darlington she sang “ See how it sparkles ” capitally. The other two impersonations which specially deserve notice were Lotta Schmidt, a little German maiden, and Prince Prebtypot, one of the heroes of extravaganza. In the former she gave a clog dence with much spirit and success, and in the latter one of those double songs and dances which have become so popular lately, the latter being encored. Miss Nellie also sang “ Maid of Athens” with guitar accompumment very nicely, and for !un encore sang one verso of the lullaby, mode so popular here by Mr Emmet, in *• Fritz.” Miss Maggie Stewart ably seconded the efforts of her sisters in making the entertainment very pleasing. Mr Stewart’s impersonations of actors were marked with much fidelity, especially those of Mr Charles Kean as Louis XL, and Mr Jefferson as Eip Van Winkle. His impersonation of a Frenchman find German were excellent, and the same may bo said of his Irish characters. The best ul his impersonations was decidedly that ot the deaf gardener, which requires to be seen to bo on-

predated. Two quartettes, ono from “Lucia” and the other from “La Perichole,” were nicely sung, the voices blending well. An efficient orchestra under Mr H. Leo, contributed in no small degree to the success of the entertainment, which as a whole was very enjoyable. Tho same programme will bo repeated this evening.