Meeting of the Classical Harmonist Society
London: The Crown and Anchor Tavern
Programme
| Oratorio, Das Gesetz des alten Bundes | Neukomm |
| Requiem in D minor | Neukomm |
| Principal Vocalists: Miss Masson, Miss Novello, Mme Stockhausen; Messrs. E. Taylor, Horncastle, Parry, Vaughan; Choruses: By the Ladies and Gentlemen of the Society, Mr. Moscheles, Sir G. Smart |
| Leader: Mr. Murray; Conductor: Chevalier Sigismund Neukomm |
———————————
Encore: From Das Gesetz des alten Bundes: Fugue in C minor—Neukomm
Reviews
The Spectator (May 7, 1831): 448-9.
THE CHEVALIER NEUKOMM’S ORATORIO, “THE TEN COMMANDMENTS.”
ANOTHER performance of this oratorio took place at the meeting of the Classical Harmonists Society, on Thursday evening, to a crowded audience of the members and their friends. The principal performers were Madame, STOCKHAUSEN, Miss MASSON, Miss NOVELLO, and Messrs. VAUGHAN, HORNCASTLE E. TAYLOR, and PARRY; and the choruses were sustained by the ladies and gentlemen of the Society. The accompaniments were played by a very efficient band of stringed instruments (Mr. MURRAY being the principal violin), and the whole was conducted by the composer. This performance was much more perfect and effective than the former; and we derived from it a knowledge of the Music, which enables us to add some particulars to our previous notice of a work, which, if we are not much deceived, will soon be listened to with delight at every music meeting in England.
The subject of this oratorio is treated with great judgment; and affords a variety and interest which could hardly be anticipated from the apparent barrenness of the title. It forms a very noble sacred poem, composed entirely of passages from Holy Writ. After an introduction, descriptive of the power of the Almighty, and his love for the human race, a grand piece of recitative narrates his descent upon Mount Sinai, amid thunders and lightnings, thick clouds and darkness, “and the voice of the trumpet exceeding loud, so that all the people trembled.” The musical painting of the orchestra, while these words are pronounced, is sublime. After the words, “Moses spake, and God answered him by a voice, and spake all these words, saying”—the First Commandment is heard, pronounced by that awful voice; and the manner in which this is effected is worthy of the boldness of the conception. The Divine words are spoken in a solemn ecclesiastical chant, and in full harmony, by the chorus, accompanied only by trombones; each word thus appearing to be uttered by one celestial voice, containing in itself the richest harmony,—an idea equally sublime and original. In this manner, all the Commandments are successively pronounced; but at large intervals, which are filled up with airs, concerted movements, and choruses, the subjects of which are appropriate to each commandment. The announcement of the First Commandment is followed by an air for the tenor voice, expressive of adoration of the power and majesty of the one God. The Second Commandment is followed by a recitative for the soprano—“To whom will you liken God, or what likeness will you compare unto him?” and a chorus on the same subject. The first four commandments, containing our duties towards our Creator, occupy the first act of the oratorio; the second act consists of the remaining commandments, which comprise our duties to each other: and thus the work is divided into two great parts, the solemnity of the first being beautifully relieved by the variety of human feelings and affections which enter into the subject of the second. The Fifth Commandment—“Honour thy father and thy mother,” which opens the second part, is followed by an air for the soprano voice, the words of which are so finely compiled, that we shall quote them as a specimen of the whole. —“Whoso honoureth his father, shall have joy of his children; and when he prayeth, he shall be heard. Honour thy father, honour thy mother, both in word and in deed, that, a blessing may descend on thee: for the father’s blessing buildeth the house of the children; but the curse of the mother rooteth out their foundation. Help thy father in his age, and grieve him not as long as he liveth; for the relieving of thy father shall not be forgotten, and in the day of thine affliction it shall be remembered; and all thy sins shall melt away as the ice before the sun.” Equally beautiful are the words of a duet between the tenor and bass, “Happy is the man who hath found a virtuous woman!” In this manner a poem is constructed which affords room for every variety of expression of which music is capable.
The music is in every respect worthy of the greatness and beauty of the subject. The choruses have the colossal grandeur of HANDEL; and the airs and concerted movements for the solo voices have the grace and tenderness of MOZART, combined with the clearness of HAYDN, the friend and preceptor of the composer. Its performance, on this occasion, considering its limited scale, left nothing to be desired. It was done con amore, and there was a warmth and spirit about it which we rarely witness at public concerts. Madame STOCKHAUSEN, as usual, was exquisitely graceful and finished; Miss MASSON; sang with much expression and energy; and Miss NOVELLO, by the purity of her style, showed that she was worthy of the distinguished name she bears. Mr. E. TAYLOR’S performance, particularly in some noble pieces of recitative, was dignified and impressive; the duet between him and Mr. HORNCASTLE, “Happy is the man that bath found a, virtuous woman,” was charmingly sung by both. Mr. VAUGHAN showed himself, as he always does, to be a great master in this description of music; and Mr. PARRY with his sweet and flexible voice, and great feeling, is rising rapidly to distinction as a bass singer. A Requiem, composed also by M. NEUKOMM, was afterwards performed. It was at once grand and pathetic; but suffered more than the oratorio did, from the small scale on which it was produced. In a large church, and with a great power of voices and instruments, its effect must be immense.
We observed that the composer was assisted by some of the most distinguished members of the profession; among others, Sir G. SMART and Mr. MOSCHELES, both of whom were singing in the choruses. The members of the Society are entitled to the highest praise for the taste and spirit with which this performance was got up, and for the admirable steadiness and correctness with which they bore their part in the choruses. The Society of Classical Harmonists well deserves its name.
The Atlas (May 8, 1831): 316.
MUSIC AND MUSICIANS.
Classical Harmonists’ Society.
On Thursday we hail the pleasure of hearing an oratorio, composed by the Chevalier NEUKOM, performed by this society, in a manner which reflected much credit upon amateurs; and though the orchestra consisted but of a few stringed instruments, the effect of the whole, as directed by the composer himself, who sat at the piano, was such as to convey a most favourable anticipation of the work, when aided by the relief of wind instruments, and studied in its minutest details. The oratorio is entitled Des Gesetz des alten Gebundes (the Law of the God Covenant.) The Commandments delivered on Mount Sinai form the principal feature of this work: they are delivered in choral chaunts [sic] of a severe and awful gravity—the harmonies in the old German style, and accompanied, we understand, in the original, by trombones and horns. After each commandment of the decalogue, there follows either a song, duet, or something of that kind, still referring to the subject, in the florid and elegant style of modern music. And occasionally, to vary the canto fermo and simple counterpoint which distinguish much of the chorus, the author gives admirably well-wrought and masterly fugues. Indeed, M. NEUKOM’S Oratorio is most happily varied in its construction; and that the author has employed touch ingenuity and thought on this subject is evident. The combinations are continually new, and support the interest or the listener. Three several styles are to be recognized, yet not so as to be opposed glaringly to one another; they harmonize and tend towards the unity of the whole. We may perceive the Gothic harmony of the chaunts, the suspensions of the church school of Italy, and the melodious style of HAYDN. The airs of the Chevalier NEUKOM are distinguished by great purity and nature; he displays no straining after novelty, nor passion for chromatic harmonies. The lighter pieces have an ease and flow that find they way to the heart; and in the vocal masses, there are often effects which strike the hearer with a sense of the deep religious feeling and grandeur of HANDEL. M. NEUKOM well seconded by the profession; Madame STOCKHAUSEN, Mr. VAUGHAN, and Mr. E. TAYLOR lent their assistance. We were particularly struck by a fugue in C minor, which was encored, a quartett in F, and a solo and chorus in A flat. After the Oratorio, a Requiem, by the same author, in D minor, in three parts, and for a full band, was performed. This was performed at the cathedral of Notre Dame, with three hundred voices. It contains fine passages, but we could not sufficiently distinguish the words to point them out. We hope the author will give both these compositions to the musical public, which, from the specimen we have at this society, is now far enough advanced to understand them.
Derby Mercury (May 25, 1831): 2.
(From the Spectator, May 7.)
Another performance of this oratorio [The Ten Commandments by Chevalier Neukomm] took place at the meeting of the Classical Harmonists Society, on Thursday evening, to a crowded audience of the members and their friends. The principal performers were Madame STOCKHAUSEN, Miss MASSON, Miss NOVELLO, and Messrs. VAUGHAN, HORNCASTLE, E. TAYLOR, and PARRY; and the choruses were sustained by the ladies and gentlemen of the Society. The accompaniments were played by a very efficient band of stringed instruments (Mr. MURRAY being the principal violin), and the whole was conducted by the composer. This performance was much more perfect and effective than the former, and we derived from it a knowledge of the music, which enables us to add some particulars to our previous notice of a work, which, if we are not much deceived, will soon be listened to with delight at every music-meeting in England.
The subject of this oratorio is treated with great judgment; and affords a variety and interest which could hardly be anticipated from the apparent barrenness of the title. It forms a very noble sacred poem, composed entirely of passages from Holy Writ. After an introduction, descriptive of the power of the Almighty, and his love for the human race, a grand piece of recitative narrates his descent upon Mount Sinai, amid thunders and lightenings, thick clouds and darkness, “and the voice of the trumpet exceeding loud so that all the people trembled.” The musical painting of the orchestra, while these words are pronouned [sic], is sublime. After the words, “Moses spake, and God answered him by a voice, and spake all these words saying”—the First Commandment is heard, pronounced by that awful voice; and the manner in which this is effected is worthy of the boldness of the conception. The Divine words are spoken in a solemn ecclesiastical chant, and in full harmony, by the chorus, accompanied only by trombones; each word thus appearing to be uttered by one celestial voice, containing in itself the richest harmony,—an idea equally sublime and original. In this manner, all the Commandments are successively pronounced; but at large intervals, which are a filled up with airs, concerted movements, and choruses, the subjects of which are appropriate to each commandment. The announcement of the First Commandment is followed by an air for the tenor voice, expressive of adoration of the power and Majesty of the one God. The Second Commandment is followed by a recitative for the soprano—“To whom will you liken God, or what likeness will you compare unto him?” and a chorus on the same subject. The first four commandments, containing our duties towards our Creator, occupy the first act of the oratorio; the second act consists of the remaining commandments, which comprise our duties to each other: and thus the work is divided into two great parts, the solemnity of the first being beautifully relieved by the variety of human feelings and affections which enter into the subject of the second. The Fifth Commandment “Honour thy father and thy mother,” which opens the second part, is followed by an air for the soprano voice, the words of which are so finely compiled, that we shall quote them as a specimen of the whole—“Whoso honoureth his father, shall have joy of his children; and when he prayeth, he shall be heard. Honour thy father, honour thy mother, both in word and in deed, that a blessing may descend on thee: for the father’s blessing buildeth the houses of the children; but the curse of the mother rooteth out their foundation. Help thy father in his age, and grieve him not as long as he liveth, for the relieving of thy father shall no: be forgotten, and in the day of thine affliction it shall be remembered; and all thy sins shall melt away as the Ice before the sun.” Equally beautiful are the words of a duet between the tenor and bass, “Happy is the man who hath found a virtuous woman!” In this manner a poem is constructed which affords room for every variety of expression of which music is capable.
The music is in every respect worthy of the greatness and beauty of the subject. The choruses have the colossal grandeur of Handel; and the airs and concerted movements for the solo voices have the grace and tenderness of MOZART combined with the clearness of HAYDN, the friend and preceptor of the composer. Its performance, on this occasion, considering its limited scale, left nothing to be desired. It was done con amore, and there was a warmth and spirit about it which we rarely witness at public concerts. Madame STOCKHAUSEN, as usual, was exquisitely graceful and finished; Miss MASSON sang with much expression and energy; and Miss NOVELLO, by the purity of her style, showed that she was worthy of the distinguished name she bears. MA. E. TAYLOR’S performance, particularly in some noble pieces of recitative, was dignified and impressive, the duet between him and Mr. HORNCASTLE, “Happy is the man that hath found a virtuous woman,” was charmingly sung by both. Mr. VAUGHAN showed himself, as he always does, to be a great master in this description of music; and Mr. PARRY, with his sweet and flexible voice, and great feeling, is rising rapidly to distinction as a bass singer.
A Requiem composed also M. NEUKOMM, was afterwards performed. It was at once grand and pathetic; but suffered more than the oratorio did, from the small scale on which it was produced. In a large church, and with a great power of voices and instruments, its effect must be immense.
We observed that the composer was assisted by some of the most distinguished members of the profession; among others Sir G. SMART and Mr. MOSCHELES, both of whom were singing in the choruses. The members of the Society are entitled to the highest praise for the taste and spirit with which this performance was got up, and for the admirable steadiness and correctness with which they bore their part in the choruses. The Society of Classical Harmonists well deserves its name.
La Belle Assemblée, or Court and Fashionable Magazine (October 1831): 177
….another part of an oratorio was performed a short time ago at the concert of Classical Harmonists, which exemplified the greatest talent in sacred composition. The station in society which the composer enjoys as attaché to an embassy, would bestow a species of fashion on his compositions, but the extreme popularity which these songs have attained can only be the result of real merit.
Ignaz Moscheles' Concert Life 