5 March 1823

Oratorio Concert/A Grand Performance of Ancient and Modern Music

London: Theatre Royal, Drury Lane

Time: Evening, Seven o’Clock

Tickets: Boxes 7s., Pit 3s. 6d., Lower Gallery 2s., Upper Gallery 1s., Second Price at 9.

Programme

Part I
A Grand Selection
From Jephtha: ‘When his loud voice’	Chorus	Handel
From Judas Maccabæus: Air, ‘Pious orgies’	Miss Stephens	Handel
From Alexander’s Feast: Recit. and Air ‘Softly Sweet in Lydian measures’	Mr. Sapio; Violoncello Obbligato: Mr. Brooks	Handel
From Judas Maccabæus: Recit. and Air ‘So shall the lute and harp awake’	Mrs. Salmon; Harp: Mr. Bochsa; Organ: Sir George Smart	Handel
Scena and Aria, ‘Superbo di metesco’ (composed for this occasion)	Mr. Braham	Cianchettini
Air	Miss Goodall	Moore
Trio and Chorus, ‘Sound the loud timbrel’	Miss Goodall, Messrs. Nelson, Terrail, Chorus	[Avison]
From Solomon: Air, ‘What though I trace’	Miss Tree	Handel
‘Luther’s Hymn’	Mr. Braham
From Tancredi Recit., ‘Tu che accendi questo core’ Aria, ‘Di tanti palpiti’	Miss Paton	Rossini
Grand Piano Variations on a Military March with Orch. Accomp. (Alexander Variations)	Mr. Moscheles (last appearance at the oratorios)	Moscheles

Part II
A Sacred Oratorio, Palestine Part I (first time at this performances). Words from a poem by Rev. R. Heber set to Music by William Crotch
Overture
Solo and Chorus, ‘Reft of thy sons’	Mr. Terrail, Chorus
Recit., ‘Is this thy place’	Mr. Kellner
Air, ‘Ye guardian saints’	Harp Obbligato: Mr Bochsa
‘O happy once’	Chorus
Air, ‘But now thy sons’	Mr. Sapio and Chorus
Air, ‘O thou their guide’	Miss Paton
‘O feeble boast’	Chorus
‘Let Sinai tell’	Chorus
Recit., ‘But who shall dare’	Mr. Nelson
Air, ‘Awe struck I cease’
Recit., ‘Such were the cares’	Miss Tree
Air, ‘Triumphant race’
Recit., ‘And he the Royal Sage’	Mr. Braham
Air, ‘To him were known’
‘Hence all his might’	Chorus
Air, ‘Yet ‘e’en the works’	Miss Goodall
Air, ‘In Frantic converse’	Semi-Chorus
Duet, ‘Such the faint echo’	Miss Paton, Mr. Braham
Air, ‘For thee his iv’ry load’	Mr. Kellner
Recit. ‘No workman steel’	Mr. Nelson
Air and Chorus, ‘Then the harp awoke’	Chorus
Part III
A Sacred Oratorio, Palestine Part II (first time at this performances). Words from a poem by Rev. R. Heber set to Music by William Crotch
Air, ‘Did Israel shrink?’	Mr. Sapio
Air, ‘E’en they who dragged’	Miss Povey; Harp Obbligato: Mr. Bochsa
‘Nor vain their hope’	Chorus
Quartet, ‘Lo! stan-led Chiefs’	Miss Goodall, Miss M. Tree,Messrs. Braham, KellnerMiss Goodall, Miss M. Tree,
‘Daughter of Sion’	Chorus
‘He Comes’	Chorus
Quartet, ‘Be peace on earth’	Miss Povey, Messrs. Nelson, Sapio, Terrail
Recit., ‘Though palsied earth’	Mr. Kellner
Air and Chorus, ‘Are these his limbs?’	Chorus
Air, ‘Ye faithful few’	Miss Tree
Air, ‘Vengeance, thy fiery wing’	Mr. Braham
Recit. acc., ‘Yet heavier far’	Mr. Kellner
Air, ‘Ah! fruitful now no more’
Quartet, ‘Then on your tops’	Miss Goodall, Messrs. Braham, Nelson, Terrail, Chorus
Air, ‘No more your thirsty rocks’	Mrs. Salmon
Air, ‘But who is he?’	Mr. Nelson
Sestest, ‘Lo! Cherub Bands’	Mrs. Salmon, Miss Paton, Messrs. Braham, Kellner, Sapio, Terrail
Recit. ‘And Shall not Israel’s sons’	Mrs. Salmon
Solo and Chorus, ‘Hark! white-robed’ crowds	Mrs. Salmon, Chorus
‘Worthy the Lamb. Hallelujah. Amen’	Chorus

Principal Vocalists: Miss Goodall, Miss M. Tree, Miss Paton, Miss Povey, Mrs. Salmon, Miss Stephens; Master Longhurst, Messrs. Braham, Kellner, Nelson, Sapio, Terrail

Principal Instrumentalists: Messrs. Bochsa, Brooks, Moscheles, Signor Puzzi

Leader: Leader, Mr. Henry Smart; Conductor: Sir George Smart

———————————

Encore: Air, ‘No more your thirsty rocks’—Mrs. Salmon

Moscheles: Today there was an Oratorio Concert where, among other things, besides a deal of secular music, we had the whole of Crotch’s Oratorio, Palestine. How, I ask, must nerves be organized which can endure so much heterogeneous music?’. [RMM, 49]

The Morning Chronicle (March 3, 1823): 1.

NEW THEATRE ROYAL, DRURY-LANE.

—On Wednesday next, a GRAND PERFORMANCE of ANTIENT and MODERN MUSIC, under the Direction of Mr. BOCHSA.—Part I. A SELECTION from the Works of eminent Composers. Between the First and Second Parts, Fantasia and grand Variations on the Piano-forte, Mr. Moscheles, his last appearance at these Performances.—Parts II and III. (first time at these Performances) PALESTINE, a Sacred Oratorio in Two Parts; the Words selected from a Prize Poem, by the Rev. R. Heber; set to Music by W. Crotch, Mus. Doc. (by whose Permission this Work will be Performed).—Principal Vocal Performers: Mrs. Salmon, Miss Goodall and Miss M. Tree; Miss Stephens, Miss Povey, and Miss Paton; Mr. Braham, Mr. Sapio, Mr. Terrail, Master Longhurst, Mr. Nelson, and Mr. Kellner. Conductor, Sir George Smart; Leader, Mr. H. Smart.—It is respectfully announced, that the whole of Handel’s Sacred Oratorio, THE MESSIAH, with the additional Accompaniments by Mozart, will be performed, by particular desire, on Friday next, being the only time this Oratorio can be performed during the present Season.

The Morning Post (March 3, 1823): [2].

The announcement of Dr. CROTCH’S celebrated Oratorio, Palestine, on Wednesday next, at the Theatre Royal, Drury-lane, has created great curiosity in the musical world. This highly-effective composition was only performed twice in 1813, but with the most extraordinary success. Since then it has been treasured up by the Author, but it afford us great pleasure to hear that Mr. BOCHSA has at length obtained permission to have it performed during the Lent Musical Performances.

Morning Advertiser (March 4, 1823): 1.

NEW THEATRE ROAYL, DRURY-LANE. TO-MORROW, (Wednesday,) March 5, a GRAND PERFORMANCE of ANCIENT and MODERN MUSIC, under the Direction of Mr. BOCHSA.

Part I. A SELECTION from the Works of eminent Composers. Between the first and second Parts, Scena ed Aria, Miss Paton—Tu ch’ accendi; Fantasia and grand variations on the Piano-forte, Mr. Moscheles, his last appearance at these Performances.

Parts II and III. (1^st time at these Performances) PALESTINE, a Sacred Oratorio in Two Parts; the Words selected from a Prize Poem, by the Rev. R. Heber; set to Music by W. Crotch, Mus. Doc. (by whose permission this Work will be performed). Full Particulars are given in the Small Bills.

Principal Vocal Performers.—Mrs. Salmon, Miss Goodall and Miss M. Tree; Miss Stephens, Miss Povey, and Miss Paton. Mr. Braham, Mr. Sapio, Mr. Terrail, Master Longhurst, Mr. Nelson, and Mr. Kellner.

Conductor Sir George Smart.—Leader, Mr. H. Smart.

It is respectfully announced, that the whole of Handel’s Sacred Oratorio, THE MESSIAH, with the additional Accompaniments by Mozart, will be performed, by particular desire, on Friday next, the 7^th inst. Being the only time his Oratorio can be performed during the present Season.

Public Ledger and Daily Advertiser (March 4, 1823): 1.

THEATRE ROYAL, DRURY-LANE.

TO-MORROW EVENING, the 5^th Instant.

A GRAND PERFORMANCE OF ANCIENT AND

MODERN MUSIC

Under the direction of Mr. BOCHSA.

PART I.—A SELECTION from the Works of eminent Composers. Between the First and Second Parts, Scena ed Aria, Miss Paton—Tu ch’ accendi; Fantasia and Grand Variations on the Piano Forte, Mr. Moscheles (his last appearance at these Performances)

PART II and III.—(First time at these Performances) PALESTINE, a Sacred Oratorio in Two Parts; the Words selected from a Prize Poem, by the Rev. R. Heber; set to Music by W. Crotch, Mus. Doc. (by whose Permission this Work will be performed).—Full particulars are given in the small Bills.

Principal Vocal Performers—Mrs. Salmon, Miss Goodall and Miss Paton; Miss Stephens, Miss Povey, and Miss Paton. Mr. Braham, Mr. Sapio, Mr. Terrail, Master Longhurst, Mr. Nelson, and Mr. Kellner.

Conductor, Sir George Smart. Leader, Mr. H. Smart.

It is respectfully announced, that the whole of Handel’s Sacred Oratorio, THE MESSIAH, with the Additional Accompaniments by Mozart, will be performed (by particular desire), on Friday, the 7th Instant, being the only time this Oratorio can be performed during the present Season.

Morning Advertiser (March 5, 1823): 2.

The advert is identical to the advert of March 4, except that “TO-MORROW, (Wednesday,)” is replaced with “THIS EVENING (Wednesday)”.

Playbill (March 5, 1823).

THEATRE ROYAL, DRURY LANE.

The Nobility, Gentry, and the Public, are respectfully informed, that a GRAND PERFORMANCE of

ANTIENT AND MODERN MUSIC,

Will take place at the above Theatre,

THIS EVENING, WEDNESDAY, MARCH 5th, 1823,

Under the Direction of Mr. BOCHSA.

A NEW AND SUPERB ORCHESTRA has been designed and decorated by Mr. MARINARI, for these Performances.

PART I.

A SELECTION.

Chorus—When his loud voice…………(Jephthah.)………………….Handel.

Air, Miss STEPHENS—Pious orgles…(Judas Maccabæus.)………….Handel.

Recit. ed Aria, Mr. SAPIO—Softly sweet in Lydian measures—Violoncello

Obligato, Mr. BROOKS……..(Alexander’s Feast.)………………..Handel.

Recit. and Air, Mrs. SALMON—So shall the lute and harp awake.—

Accompanied on the Harp and Organ by Mr. BOCHSA and

Sir GEORGE SMART………………….(Judas Macc.)…………….Handel.

Scena ed Aria, Mr. BRAHAM—Superbo di metesso. (Composed expressly for

these Performances.)…………………………………………Pio Cianchettini.

Air, Miss GOODALL, and Trio, with Mr. TERRAIL and Mr. NELSON;

and Chorus—Sound the loud timbrel. (From Moores sacred Songs, newly

arranged with orchestral Accompaniments.)

Air, Miss. M. TREE—What though I trace…….(Solomon.)……………Handel.

Luther’s Hymn (by express Desire)—Mr. BRAHAM.

Between the First and Second Parts,

Scena ed Aria, Miss PATON, “Tu ch’ accendi.”………………..Rossini.

THE EMPEROR ALEXANDER’S FAVOURITE MARCH, with Variations for the Grand Piano Forte,

MR. MOSCHELES,

(His last Appearance at these Performances.)

Part II and III.

(FIRST TIME AT THESE PERFORMANCES,)

PALESTINE,

A SACRED ORATORIO,

IN TWO PARTS,

The Words from a Prize Poem by the Rev. R. HEBER—set to Music by

WILLIAM CROTCH, Mus. Doc.

Professor of Music in the University of Oxford, by those Permission this Oratorio will be performed.

PART FIRST.

Overture.

Solo, Mr. TERRAIL, and Chorus—Reft of thy sons.

Recit. Mr. KELLNER—Is this thy place. Air—Ye guardians saints.

Harp Obligato, Mr. BOCHSA.

Chorus—O happy once.

Air, Mr. SAPIO, and Chorus—But now thy sons.

Air, Miss PATON—O thou their guide.

Chorus—O feeble boast.

Chorus—Let Sinai tell.

Recit. Mr. NELSON—But who shall dare. Air—Awe struck, I cease.

Recit. Miss M. TREE—Such were the cares. Air—Triumphant race.

Recit. Mr. BRAHAM—And he, the Royal Sage. Air—To him were known.

Chorus—Hence all his might.

Air, Miss GOODALL—Yet e’e’n the works. Y

Air, and Semi-Chorus—In frantic converse.

Duet, Miss PATON and Mr. BRAHAM—Such the faint echo.

Air, Mr. KELLNER—For thee his iv’ry load.

Recit. accompanied, Mr. NELSON—No workman steel. n

Air and Chorus—Then the harp awoke.

PART SECOND.

Air, Mr. SAPIO—Did Israel shrink?

Air, Miss POVEY—E’en they who dragged. Harp Obligato, Mr. BOCHSA.

Chorus—Nor vain their hope.

Quartet, Miss GOODALL, Miss M. TREE, Mr. BRAHAM, and

Mr. KELLNER—Lo! star-lewd chiefs.

Chorus—Daughter of Sion. Chorus—He comes.

Quartet, Miss POVEY, Mr. TERRAIL, Mr. SAPIO, and Mr. NELSON—

Be peace on earth.

Recit. Mr. KELLNER—Though palsied earth.

Air, and Chorus—Are these his limber?

Air, Miss M. TREE—Ye faithful few.

Air, Mr. BRAHAM—Vengeance, thy fiery wing.

Recit. acc. Mr. KELLNER—Yet heavier far. Air—Ah! fruitful now no more.

Quartet, Miss GOODALL, Mr. TERRAIL, Mr. BRAHAM, & Mr. NELSON,

and Chorus—Then on your tops.

Air, Mrs. SALMON—No more your thirsty rocks.

Air, Mr. NELSON—But who is he?

Sestet, Mrs. SALMON, Miss PATON, Mr. TERRAIL, Mr. BRAHAM,

Mr. SAPIO, and Mr. KELLNER—Lo! Cherub Bands.

Recit. accompanied, Mrs. SALMON—And shall not Israel’s sons. A

Solo, Mrs. SALMON, and Chorus—Hark! white-robed crowds.

Chorus—Worthy the Lamb. Hallelujah. Amen.

PRINCIPAL VOCAL PERFORMERS.

Mrs. SALMON	Miss STEPHENS,
Miss GOODALL,	Miss POVEY,
AND	AND
Miss M. TREE.	Miss PATON.

Mr. BRAHAM,

Mr. SAPIO,

Mr. TERRAIL, Mr. NELSON, Master Longhurst,

and Mr. KELLNER,

PRINCIPAL INSTRUMENTAL PERFORMERS

Grand Piano Forte, Mr. MOSCHELES

AND

Harp, Mr. BOCHSA.

The Band will be numerous, and Complete in every Department. Leader, Mr. SMART.

SIR GEORGE SMART,

Will conduct the Performance, and preside at the Organ, built by Mr. GRAY.

….

The Performers in the Choruses, under the Superintendence of Mr. WATSON, will be numerous, and assisted by the Young Gentlemen of

His Majesty’s Chapel Royal, St. Paul’s Cathedral, and Westminster Abbey.

Books of the Performance to be had in the Theatre only, Price 10d. Boxes, Places, & Tickets may be had of Mr. SPRING, at the Box Office, from 11 to 4.

Doors will be opened at half-past Six. The Performance will commence at Seven o’Clock.

The Public are most respectfully acquainted that Places in the Dress Circle can only be secured by paying the Price of Admission when they are taken.

Boxes, 7s. Pit, 3s. 6d. Lower Gallery, 2s. Upper Gallery, 1s. Second Price at Nine.

[GB-Lbl Playbills 56]

Public Ledger and Daily Advertiser (March 5, 1823): 1.

THEATRE ROYAL, DRURY-LANE.

TO-MORROW EVENING, the 5^th Instant.

A GRAND PERFORMANCE OF ANCIENT AND

MODERN MUSIC

Under the direction of Mr. BOCHSA.

PARTS II and III.—(First time at these Performances) PALISTINE, a Sacred Oratorio in Two Parts; the Words selected from a Prize Poem, by the Rev. R. Heber; set to Music by W. Crotch, Mus. Doc. (by whose Permission this Work will be performed).—Full particulars are given in the small Bills.

Principal Vocal Performers—Mrs. Salmon, Miss Goodall and Miss M. Tree; Miss Stephens, Miss Povey, and Miss Paton. Mr. Braham, Mr. Sapio, Mr. Terrail, Master Longhurst, Mr. Nelson, and Mr. Kellner.

Conductor, Sir George Smart. Leader, Mr. H. Smart.

The Theatrical Observer (March 5, 1823): 2-4.

New Theatre Royal, Drury Lane.

Oratorios.

In the Selection which Mr. BOCHSA presents us with this evening, dr. CROTCH’s Oratorio of Palestine, forms the chief attraction. The words of this Oratorio of Palestine, forms the chief attraction. The words of this Oratorio were written by the Rev. R. HEBER, and formed a prize Poem at Oxford. The Music, which has only been performed twice, (some years ago, in the Opera Concert Room) is said to be very fine. An opportunity of comparing an almost new English Composition, with that of the celebrated Italian Master, ROSSINI, whose music has of late occupied so much attention, is thus afforded us. Another splendid audience is expected.

———

This evening will be performed, a Grand Selection of

Antient and Modern Music,

Under the Direction of Mr. BOCHSA,

A New and Splendid ORCHESTRA has been designed and decorated

By Mr. MARINARI, for these Performances.

PART I.

A Grand Selection.

Chorus—When his loud voice . . . . . . . . (Jephthah) . . . . . . . . Handel

Air, Miss Stephens—Pious orgies……(Judas Maccabaeus)… Handel.

Recit. ed Aria, Mr Sapio—Softly Sweet in Lydian measures—Violon- cello, Obligato, Mr. Brooks,……..(Alexander’s Feast)……Handel

Recit. and Air, Mrs. Salmon—So shall the lute and harp awake— Accompanied on the Harp and Organ by Mr Bochsa and Sir George Smart…………………………………….(Judas Macc.)……Handel

Scena ed Aria, Mr Braham—Superbo di metesco, (Composed ex- pressly for these Performances)……………………Pio Cianchettini.

Air, Miss Goodall, and Trio with Mr Terrail and Mr Nelson, and Chorus—Sound the loud timbrel (From Moore’s sacred Songs, newly arranged with orchestral accompaniment)

Air, Miss M. Tree—What though I trace…(Solomon). . . . . . . Handel

Luther’s Hymn, (by express desire)—Mr Braham

Between the First and Second Parts,

Scena ed Aria, Miss Paton—‘Tu ch’ accendi’—Rossini

The Emperor Alexander’s favourite March, with Va-

riations for the Grand Piano Forte,

Mr. MOSCHELES.

(His last appearance here)

PART II AND III

(First Time at these Performances)

PALESTINE

A SACRED ORATORIO,

In Two Parts,

The Words from a Prize Poem by the Rev. R. HEBER—set to Music

By WILLIAM CROTCH, Mus. Doc.

PART FIRST

OVERTURE.

Solo, Mr Terrail, and Chorus—Reft of thy sons.

Recit. Mr Kellner—Is this thy place

Air—Ye guardian saints.—Harp Obligato, Mr Bochsa.

Chorus –O happy once

Air, Mr Sapio, and Chorus—But now thy sons

Air, Miss Paton—O thou their guide

Chorus—O feeble boast

Chorus—Let Sinai tell

Recit. Mr Nelson—But who shall dare.

Air, Awe struck I cease

Recit. Miss M. Tree—Such were the cares

Air, Triumphant race

Recit. Mr Braham—And he the Royal Sage

Air—To him were known

Chorus—Hence all his might

Air, Miss Goodall—Yet e’en the works

Air, and Semi-Chorus—In frantic converse

Duet, Miss Paton and Mr Braham—Such the faint echo

Air, Mr Kellner—For thee his iv’ry load

Recit. accompanied, Mr Nelson—No workman steel

Air and Chorus—Then the harp awoke

PART SECOND.

Air, Mr Sapio—Did Israel shrink?

Air, Miss Povey—E’en they who dragged—Harp Obligato, Mr. Bochsa

Chorus—Nor vain their hope

Quartet. Miss Goodall, Miss M. Tree, Mr Braham, and Mr Kellner—

Lo ! stan-led Chiefs

Chorus—Daughter of Sion

Chorus—He comes.

Quartet, Miss Povey, Mr Terrail, Mr Sapio, and Mr Nelson—Be

peace on earth.

Recit. Mr Kellner—Thou palsied earth

Air and Chorus—Are these his limbs?

Air, Miss M. Tree—Ye faithful few

Air, Mr Braham—Vengeance, thy fiery wing

Recit. acc. Mr Kellner—Yet heavier far

Air—Ah ! fruitful now no more.

Quartet, Miss Goodall, Mr Terrail, Mr Braham, and Mr Nelson,

and Chorus—Then on your tops

Air, Mrs Salmon—No more your thirsty rocks

Air, Mr Nelson—But who is he?

Sestet, Mrs Salmon, Miss Paton, Mr Terrail, Mr Braham, Mr Sapio,

And Mr Kellner—Lo ! Cherub Bands.

Recit. accompanied, Mrs Salmon—And Shall not Israel’s sons

Solo, Mrs Salmon, and Chorus—Hark! white-robed crowds

Chorus—Worthy the Lamb. Hallelujah. Amen.

—————————

Principal Vocal Performers.

Mrs SALMON, Miss GOODALL,

Miss M. TREE,

Miss STEPHENS, Miss POVEY, and Miss PATON,

Mr. BRAHAM,

Mr. SAPIO, Mr. NELSON,

Mr. TERRAIL, Master LONGHURST, and

Mr. KELLNER,

Grand Piano Forte, Mr. MOSCHELLES,

Harp, Mr. BOCHSA.

————

The Band will be numerous, and Complete in every Department.

Leader, Mr. Smart.

SIR GEORGE SMART.

Will conduct the Performance, and preside at the Organ, built by

Mr.GRAY

The Performers in the Chorusses [sic], under the Superintendance [sic] of Mr WATSON, will be numerous, and assisted by the Young Gentlemen of His Majesty’s Chapel Royal, St. Paul’s Cathedral, and Westminster Abbey.

The Morning Chronicle (March 5, 1823): 1.

NEW THEATRE ROYAL, DRURY-LANE.

—THIS EVENING, a GRAND PERFORMANCE of ANTIENT and MODERN MUSIC, under the Direction of Mr. BOCHSA.—Part I. A SELECTION from the Works of eminent Composers. Between the First and Second Parts, Scena and Aria, Miss Paton, “Tu ch’ accendi;” Fantasia and grand Variations on the Piano-forte, Mr. Moscheles, his last appearance at these Performances.—Parts II and III. (first time at these Performances) PALESTINE, a Sacred Oratorio in Two Parts; the Words selected from a Prize Poem, by the Rev. R. Heber; set to Music by W. Crotch, Mus. Doc. (by whose Permission this Work will be performed).—Full particulars are given in the small bills.—Principal Vocal Performers: Mrs. Salmon, Miss Goodall and Miss M. Tree; Miss Stephens, Miss Povey, and Miss Paton; Mr. Braham, Mr. Sapio, Mr. Terrail, Master Longhurst, Mr. Nelson, and Mr. Kellner. Conductor, Sir George Smart; Leader, Mr. H. Smart.—

It is respectfully announced, that the whole of Handel’s Sacred Oratorio, THE MESSIAH, with the additional Accompaniments by Mozart, will be performed, by particular desire, on Friday next, being the only time this Oratorio can be performed during the present Season.

The Morning Post (March 5, 1823): 1.

NEW THEATRE ROYAL, DRURY-LANE, THIS EVENING, March 5, a GRAND PERFORMANCE of ANCIENT and MODERN MUSIC, under the Direction of Mr. BOCHSA. Part I. A SELECTION from the Works of eminent Composers. Between the first and second Parts, Scena ed Aria, Miss Paton—Tu ch’ accendi; Fantasia and grand Variations on the Piano-forte, Mr. Moscheles, his last appearance at these Performances.—Parts II and III. (first time at these Performances), PALESTINE. a Sacred Oratorio in Two Parts; the Words selected from a Prize Poem, by the Rev. R. Heber, set to Music by W. Crotch, Mus. Doc. (by whose permission this Work will be performed.) Full Particulars are given in the small Bills.—Principal Vocal Performers—Mrs. Salmon, Miss Goodall and Miss M. Tree; Miss Stephens, Miss Povey, and Miss Paton; Mr. Braham, Mr. Sapio, Mr. Terrail, Master Longhurst, Mr. Nelson, and Mr. Kellner. Conductor, Sir George Smart; Leader, Mr. H. Smart.—It is respectfully announced, that the whole of Handel’s Sacred Oratorio, THE MESSIAH, with the additional Accompaniments by Mozart, will be performed, by particular desire, on Friday next, the 7th Instant. being the only time this Oratorio can be performed during the present Season.

The Times (March 5, 1823): 4.

NEW THEATRE ROYAL DRURY-LANE.

THIS EVENING, March 5, a grand PERFORMANCE of ANCIENT and MODERN MUSIC, under the direction of Mr. BOCHSA. Part I. A Selection from the Works of eminent Composers. Between the first and second parts, Scena ed Aria, Miss Paton; “Tu ch’ accendi”; Fantasia and. Grand Variations on the Pianoforte, Mr. Moscheles, his last appearance at these performances. Part II and III. (first time at these performances), PALESTINE, a Sacred Oratorio, in two parts; Words selected from a Prize Poem, by the Rev. R. Heber; set to Music by W. Crotch, Mus. Doc. (by whose permission this work will be performed). Full particulars are given in the small bills. Principal Vocal Performers—Mrs. Salmon, Miss Goodall, and Miss M. Tree; Miss Stephens, Miss Povey, and Miss Paton; Mr. Braham, Mr. Sapio, Mr. Terrail, Master Longhurst, Mr. Nelson, and Mr. Kellner. Conductor, Sir George Smart. Leader, Mr. Smart. It is respectfully. Announced, that the whole of Handel’s Sacred Oratorio, The Messiah, with the additional Accompaniments by Mozart, will be performed, by particular desire, on Friday next, the 7th instant, being the. Only time this Oratorio can be performed during the present season.

The Literary Gazette; and Journal of Belles Lettres, Arts, Sciences, &c. (March 8): 157.

ORATORIOS.—On Wednesday, after an admirable Miscellaneous Selection, principally from Handel, and a beautiful original Scena ed Aria (for Braham) by Cianchettini, Dr. Crotch’s grand sacred Oratorio of Palestine was performed. This learned and able composition was produced eight or ten years ago, and was generally considered to be one of the most elaborate and skilful works of the English School of Music; and still does it merit that character, though we are compelled to say it appeared too long and too complicated (if not, towards the close, too feeble,) for a popular anditory [sic]. Many of the parts are delightful, and the whole is in a high style of art; but after all, the English are essentially not a musica. Nation, and we observed that time began to hang heavy on many heads before this fine Oratorio could be brought to a close, indeed as a punning friend of ours, whose tongue is more apt than his ear, replied to an amateur’s assertion, that Palestine was both elevating and moving—:It proves to be so, for it raises people from their seats, and moves them off.” In despite of so witless a jest, however, the piece was greatly applauded, and its merits will no doubt draw another bumper House next Wednesday.

Reviews

The Morning Post (March 6, 1823): 3.

ORATORIO.—The performances at Drury Lane last night afforded a high treat to a very numerous audience; but we have at present no room for particulars.

The Theatrical Observer (March 6, 1823): 1-2.

DRURY-LANE.

THIS Theatre was last night attended by a crowded and fashionable audience, and, perhaps, as discerning as any that ever graced a Theatre. Although there was an excellent and well chosen selection for the first act, supported by the eminent talents of Mrs. SALMON, Miss STEPHENS, Miss M. TREE, Madame CAMPORESE, Mr. BRAHAM, Mr. SAPIO, and Mr. MOSCHELLES’ performance on the Grand Piano-Forte, the chief attraction was Dr. CROTCH’S Oratorio of Palestine, which was performed by his permission, for the third time in London. It very naturally brought the majority of musical professors, and the admirers of English composition to the theatre. Persons connected with the musical world, may be aware, but the public, generally, cannot form an idea of the interest which its announcement created; the worthy doctor having treasured it up with great tare, and refused to have it performed during the last twelve years, until this occasion. As a composition, Palestine ranks high many of the airs and choruses [sic] are of the finest description, and were admirably performed, with some slight exceptions in the First Part; indeed, we think the Second Part was the most uniformly striking both in composition and execution. The quartet of Lo! star-led Chiefs, and chorus, was very beautiful. Mr. KELLNER’s two pieces of Thou palsied earth, and Yet heavier far, were much admired. Mrs. SALMON’S air of No more your thirsty rocks, was loudly encored. Mr. BOCHSA accompanied two of the airs on the Harp, with fine taste and execution, and they met with deserved applause. The concluding chorus was extremely grand. The whole of the Oratorio went off well, and not without deserving the applause bestowed upon it. If we offer an opinion upon it as a whole, we should say that it was sufficient to have given one delightful act. The performers exerted themselves to the utmost, and were much cheered.

We are sorry iq say that Miss PATON could not appear in consequence of indisposition. This was particularly unfortunate, as she was to have taken a considerable share in Palestine.

We are, however, rather astonished, that with so numerous a company of female singers, Mr. BOCHSA could not have found a substitute for Miss PATON, without giving the music to Miss TREE and Miss GOODALL, who had already parts in the piece. Where was Miss FORDE ?—who was, be it remembered, announced as one of the company at the beginning of the season. Mr. BOCHSA deserves much praise, but be must listen a little to the public. No singer has been more applauded than Miss FORDE, although hitherto put in the bills at the end of the third act, when all were tired—perhaps Mr. B. will favour us with a reason.

The Harmonicon, vol. I (April 1823): 59.

….On the succeeding Friday, The Lady of the Lake was produced, but without Miss Tree. The parts were given to Mrs. Salmon, Miss Paton, Messrs. Braham, Sapio, and Kellner, who did their utmost to give them effect. But these adaptations are mongrel things, which rarely convey the composer’s meaning with any truth, and in the present instance, the words are so extremely ill-fitted to the music, that it seems in a perpetual struggle to throw its companion off. The whole had been very insufficiently rehearsed, particularly the choruses [sic], so that altogether it was coldly received by the judging part of the audience. In the course of this same evening, Μadame Camporese, in “Tu che accendi,” and Mr. Braham in “He was eyes unto the blind,” shewed the perfection of the Italian and English schools of singing. M. Moschelles also exhibited his great powers, in a concerto on the piano-forte; and Miss Stephens sung enchantingly the beautiful Irish melody, “Savourna delish.” The length of this performance has been, with great reason, complained of ; [sic] for beginning at seven, it was not over till between twelve and one o’clock.

The New Monthly Magazine and Literary Journal, vol. 9, (April 1, 1823): 153-154.

ORATORIOS.—These musical performances have been continued twice a-week, in regular succession, at Drury Lane during the whole of the past month, under the direction of Mr. Bochsa, whose exertions have been strenuous, and praiseworthy, both in producing a very great variety of new music, mixed with older compositions of established merit, and in engaging nearly the whole of the first-rate vocal talent in the metropolis, and appointing a complete and competent instrumental orchestra. Besides “Cyrus in Babylon,” noticed in our account of last month, the principal pieces of extent were,— “The Lady of the Lake”—Dr. Crotch’s Oratorio of “Palestine”—“The Creation”—“The Redemption”—Mozart’s “Requiem”—“Acis and Galatea”—“The Messiah;”—and there were a number of classic compositions, of minor extent, by a variety of great masters. As we have given our opinion of Rossini’s “Donna del Lago” in the preceding article, it is unnecessary to enter into a particular account of “The Lady of the Lake,” as performed at the Oratorios. The English text of Sir W. Scott forced under Rossini’s music, and the English singers, by whom the latter was executed, gave but a faint glimpse of the nature of the work. Proper emphasis and accentuation were wanting. Some individuals, whom we will not name, caring little for Rossini’s time, dragged on the notes ad libitum, made gratuitous pauses, cadences, &c., as if they were singing English ballads, and altogether seemed quite out of their element. One lady, in particular, appeared quite abroad, and under constant suffering, from the correct time in the accompaniments. The choruses, however, told, upon the whole, much better than at the King’s Theatre, because the singers were not only more numerous, but decidedly superior. Dr. Crotch’s “Palestine” would be infinitely more interesting if it were only half as long. Its duration wearies the ear and spirits. A selection from it would have been preferable at the Oratorios. It is a scientific, skilful, and meritorious com position; a mixture of old and modern style. Two or three of the melodies are particularly good; but, upon the whole, the Oratorio is not so much distinguished by novelty and sweetness of musical ideas, as by the richness of its harmony. Many of the harmonic combinations are of the first order, others produce a grand and striking effect; the accompaniments possess the utmost variety, and some are peculiarly elegant. The singers and orchestra exerted themselves laudably to do justice to the composition. Among the numerous solo-players on various instruments, the performances of Mr. Moscheles on the piano-forte created the greatest interest. His execution certainly baffles all description: it is beyond what we conceived the piano-forte capable of, until we heard him the winter before last. His play, no doubt, will give a new impulse to our own artists. As a composer, too, we consider Mr. M. to hold an eminent rank. His ideas are as original, vivid, and tasteful, as his play. The Oratorios have invariably been crowded at every performance, by audiences the most respectable; so that Mr. Bochsa is likely to be amply rewarded for his unremitting efforts to satisfy the expectations of the musical public.

The Quarterly Musical Magazine and Review, vol.V, (1823): 260-261.

….

With respect to performers and selections, there was an obvious conciliation of national esteem, by the predominance of English singers and English music. As M. BOCHSA is situated, and in the state of opinion, this was certainly no less judicious. There was also a more marked attention to propriety in the arrangement of the pieces than was observable in the incongruous admixture of sacred and profane, upon which we some time since thought it right to remark with the asperity it deserved. The great novelties of the Season were—

Cyrus in Babylon,

The Lady of the Lake—both by Rossini, but translated into English,

And Palestine, by Dr. Crotch.

The list of singers included almost all the native names of eminence, with the exception of MR. VAUGHAN—MADAME CAMPORESE, MADAME BULGAR1, and SIGNOR CURIONI, being almost the only Italians engaged. MR. MOSCHELES, the great pianist, played concertos. MADAME BULGARI failed, and as a singer has indeed but slight claims to notice in the present state of the art. Thus then the principal fact appears to be, the effect of opinion in bringing about the partial restoration of English music and English performers, together with the care displayed in the separation of the grave and lighter parts of the performances. These improvements argue a conviction not only of the moral necessity, but that such a deference was actually demanded by the state of public sentiment. Still however the proprietor is no gainer. To what is this attributable: We reply, without hesitation, to the enormous expences [sic] entailed by the extravagant engagements of singers, and by the variety and numbers employed. This comes of the rage for excess. The public have been taught to believe that they must not only hear the finest talent, but all the talent in the country at once. Hence concerts protracted to such a length that the audience departs supersaturated with music, and fatigued to the extremity of wearisomeness by long sitting and overworn attention. Hence too the indisposition to repeat an amusement so richly but at the same time so irksomely excessive. These objections are the acknowledged ruin of public music, but still they are not corrected, because any bill of fare, which promises a degree of enjoyment so moderate that the mind could easily entertain and luxuriate in all the contents, would now be thought bare and meagre, excite no wonderment, and therefore little attendance. But some new means must be devised, for the present plan, it is clear by the results, is exhausted. We are inclined to think absolute cessation for a time would be most likely to restore the palled and languid appetite of the public.