Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Great Triennial Handel Festival. Crystal Palace, June, 1865.
One particular feature connected with the more general practice of choral music may he said to have risen with tbe Handel Festivals , viz ., ' the " Gatherings of Church Choirs . " This movement , which is doubtless destined to develop , even in the most retired localities , a taste for choral music , has been immensely extended since the last Festival . It is a matter of
almost weekly occurrence in the season to hear of the meeting of choirs of a thousand or more voices at York , Canterbury , Lichfield , or other cathedrals , for choral service . It may he a question whether the music selected on these occasions is the best for the
purpose , and whether it mi ght not be desirable to admit onl y those choristers who have by previous examination gained certificates of at least moderate musical ability ( a course pursued with advantage by the conductors of the great choral concerts of the Tonic Sol-fa Association at the Crystal Palace ) . But without discussing these questionsit is certain that
, great iuterest attaches to these large gatherings of church choirs . If it could be arranged for deputations from these local associations to witness the effect produced by Handel ' s choral music at the Great Eehearsal of the Handel Festival , a spirit of emulation could not fail to be aroused in the highest degree
beneficial to this important movement . Abroad , as well as at home , the choral movement continues to extend . From our colonial possessions frequent accounts reach this country of the formation of choral societies , the staple of whose practice and performance is derived from Handel . At Bostonin
, America , the "Handel and Haydn Society" are preparing a " Grand Musical Festival" of about COO performers , in celebratiou of their fiftieth auniversai'v . On the Continent the taste for Handel ' s choral works is spreading . " Belshazzar" was performed entire at the Lower Rhine Festival at Ai . i-la-Cliapelle last
"Whitsuntide , by an orchestra of nearly 600 performers , and excited great interest . At the next one " Israel in Egypt" is to be performed . Perhaps more
noticeable still are tbe Sacred Choral Concerts given by M . Pasdeloup , in Paris , during the Lent of the last two years . The male-voiced part-song practice of the French was made familiar to the English public by the visit to the Crystal Palace of the 2 , 500 Orplieonistes , conducted by M . Delaport , in I 860 . Oratorio
music , however , so familiar iu England , has , until quite recently , been utterly unknown in France . The "Hallelujah" of " Ze Messie , " aud "See the Conquering Hero Comes , " under the title of " Symne Triomplialc LTaendcl" were almost the whole choral pieces of Handel ever to be met with in a
French programme .. This ignorance of Handel ' s works is less surprising , when it is remembered that Mendelssohn ' s " Elijah" was heard publicly as a whole , in the French capital , for the first time last Lent . It is to M . Pasdeloup that the Parisian public owes this novelty ; and as he has successfullintroduced some
y of Handel ' s choruses into Ins Lent programmes ( from the " Censer , " and the " Nightingale" chorus from " Solomon" ) , and as it is understood'that in the coming Lent he proposes to pursue the same course still further , it is not beyond the bounds of probability that Handel ' s oratorios as a whole may yet find their
admirers iu the French metropolis , and that the "Messiah , " and "Israel in E gypt , " may in time hecome as much the fashion as the operas of Eossini aud Meyerbeer . Having in view also the Great
International Exhibition to be held in Paris , the year after next , it is to be hoped that the example set by England may not be withoutinfluence , and that choral music may then , for the first time , take its proper position in the French metropolis on such an occasion . If it is thought strange iu this country , that other nationspopularly supposed to he more musical than
, England , should know so little of Handel ' s music , let it be remembered that Meyerbeer ( that illustrious musician removed from us since the last Festival)—who had probably witnessed more great musical celebrations , in all parts of the continent , than any oue else—heard " Israel in Egypt" for the first time in
, bis long life , at the Commemoration Festival at the Crystal Palace in 1 S 59 . His astonishment and delight have been already recorded ; and the subject is again alluded to , as confirmation of the , opiuiou before expressed , that Handel's choral music has acquired such additional majesty by the employment of the
vast means now within reach , that its practice is likely to become universal . That Englishmen should he proud of Handel ' s works—written while he resided in London—is only natural . The increasing appreciation of them in all parts of the world is most gratifying , and must continue to act favourably on such great unique celebrations as the Crystal Palace-Triennial Handel Festivals .
Although iu these remarks so much prominence has been first given to the choral department , it is not to be supposed that the instrumental force will be behindhand in efficieuey . Iu no capital of Europe can such a phalanx of instrumentalists be brought together as are assembled triennially at tbe Handel Festivals at Sydenham . Numbering above five hundreddrawn
, from all parts , they comprise the most talented professors , reinforced by amateurs of great musical ability , and in many cases of high social position . When it is stated that there are above four hundred performers on stringed instruments at the Handel Festival , au idea is given of the enormous total
orchestral force then employed . The leading instrumentalists iu this country are of course the principals at the Handal Festival . Their talents are concentrated in the orchestra of the Italian Opera and of the Birmingham Festivals ; and , ia both , their execution of the most intricate and complex works , in the most varied styles , reflects the
highest renown , not only on themselves , but ou their great chief , Mr . Costa , who will of course couduct the coining Festival . It is only those who , through a long series of years , have closely watched Mr . Costa ' s devotion to his art who are able to realize the artistic advantages which have resulted to music in England
from his lengthened and intimate association with it .. Confessedly without a rival , the musical successes which invariably attend his hdton , whether connected with the harassing detail of Italian Opera , the variety , nicety , and complexity of a Birmingham Festival , or the gigantic development of a Crystal Palace Handel
Festival , are due as much to his coustaut endeavours to promote the welfare and high standing of his profession , as to his rare ability and untiring ability , and untiring habits of industry and regularity . The association of Mr . Costa with the Sacred Harmonic Society , through many years , paved the way for an adequate Handel commemoration . The disinterested devotion to the best interests of choral art of tlie managers and members of this parent institution , gave
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Great Triennial Handel Festival. Crystal Palace, June, 1865.
One particular feature connected with the more general practice of choral music may he said to have risen with tbe Handel Festivals , viz ., ' the " Gatherings of Church Choirs . " This movement , which is doubtless destined to develop , even in the most retired localities , a taste for choral music , has been immensely extended since the last Festival . It is a matter of
almost weekly occurrence in the season to hear of the meeting of choirs of a thousand or more voices at York , Canterbury , Lichfield , or other cathedrals , for choral service . It may he a question whether the music selected on these occasions is the best for the
purpose , and whether it mi ght not be desirable to admit onl y those choristers who have by previous examination gained certificates of at least moderate musical ability ( a course pursued with advantage by the conductors of the great choral concerts of the Tonic Sol-fa Association at the Crystal Palace ) . But without discussing these questionsit is certain that
, great iuterest attaches to these large gatherings of church choirs . If it could be arranged for deputations from these local associations to witness the effect produced by Handel ' s choral music at the Great Eehearsal of the Handel Festival , a spirit of emulation could not fail to be aroused in the highest degree
beneficial to this important movement . Abroad , as well as at home , the choral movement continues to extend . From our colonial possessions frequent accounts reach this country of the formation of choral societies , the staple of whose practice and performance is derived from Handel . At Bostonin
, America , the "Handel and Haydn Society" are preparing a " Grand Musical Festival" of about COO performers , in celebratiou of their fiftieth auniversai'v . On the Continent the taste for Handel ' s choral works is spreading . " Belshazzar" was performed entire at the Lower Rhine Festival at Ai . i-la-Cliapelle last
"Whitsuntide , by an orchestra of nearly 600 performers , and excited great interest . At the next one " Israel in Egypt" is to be performed . Perhaps more
noticeable still are tbe Sacred Choral Concerts given by M . Pasdeloup , in Paris , during the Lent of the last two years . The male-voiced part-song practice of the French was made familiar to the English public by the visit to the Crystal Palace of the 2 , 500 Orplieonistes , conducted by M . Delaport , in I 860 . Oratorio
music , however , so familiar iu England , has , until quite recently , been utterly unknown in France . The "Hallelujah" of " Ze Messie , " aud "See the Conquering Hero Comes , " under the title of " Symne Triomplialc LTaendcl" were almost the whole choral pieces of Handel ever to be met with in a
French programme .. This ignorance of Handel ' s works is less surprising , when it is remembered that Mendelssohn ' s " Elijah" was heard publicly as a whole , in the French capital , for the first time last Lent . It is to M . Pasdeloup that the Parisian public owes this novelty ; and as he has successfullintroduced some
y of Handel ' s choruses into Ins Lent programmes ( from the " Censer , " and the " Nightingale" chorus from " Solomon" ) , and as it is understood'that in the coming Lent he proposes to pursue the same course still further , it is not beyond the bounds of probability that Handel ' s oratorios as a whole may yet find their
admirers iu the French metropolis , and that the "Messiah , " and "Israel in E gypt , " may in time hecome as much the fashion as the operas of Eossini aud Meyerbeer . Having in view also the Great
International Exhibition to be held in Paris , the year after next , it is to be hoped that the example set by England may not be withoutinfluence , and that choral music may then , for the first time , take its proper position in the French metropolis on such an occasion . If it is thought strange iu this country , that other nationspopularly supposed to he more musical than
, England , should know so little of Handel ' s music , let it be remembered that Meyerbeer ( that illustrious musician removed from us since the last Festival)—who had probably witnessed more great musical celebrations , in all parts of the continent , than any oue else—heard " Israel in Egypt" for the first time in
, bis long life , at the Commemoration Festival at the Crystal Palace in 1 S 59 . His astonishment and delight have been already recorded ; and the subject is again alluded to , as confirmation of the , opiuiou before expressed , that Handel's choral music has acquired such additional majesty by the employment of the
vast means now within reach , that its practice is likely to become universal . That Englishmen should he proud of Handel ' s works—written while he resided in London—is only natural . The increasing appreciation of them in all parts of the world is most gratifying , and must continue to act favourably on such great unique celebrations as the Crystal Palace-Triennial Handel Festivals .
Although iu these remarks so much prominence has been first given to the choral department , it is not to be supposed that the instrumental force will be behindhand in efficieuey . Iu no capital of Europe can such a phalanx of instrumentalists be brought together as are assembled triennially at tbe Handel Festivals at Sydenham . Numbering above five hundreddrawn
, from all parts , they comprise the most talented professors , reinforced by amateurs of great musical ability , and in many cases of high social position . When it is stated that there are above four hundred performers on stringed instruments at the Handel Festival , au idea is given of the enormous total
orchestral force then employed . The leading instrumentalists iu this country are of course the principals at the Handal Festival . Their talents are concentrated in the orchestra of the Italian Opera and of the Birmingham Festivals ; and , ia both , their execution of the most intricate and complex works , in the most varied styles , reflects the
highest renown , not only on themselves , but ou their great chief , Mr . Costa , who will of course couduct the coining Festival . It is only those who , through a long series of years , have closely watched Mr . Costa ' s devotion to his art who are able to realize the artistic advantages which have resulted to music in England
from his lengthened and intimate association with it .. Confessedly without a rival , the musical successes which invariably attend his hdton , whether connected with the harassing detail of Italian Opera , the variety , nicety , and complexity of a Birmingham Festival , or the gigantic development of a Crystal Palace Handel
Festival , are due as much to his coustaut endeavours to promote the welfare and high standing of his profession , as to his rare ability and untiring ability , and untiring habits of industry and regularity . The association of Mr . Costa with the Sacred Harmonic Society , through many years , paved the way for an adequate Handel commemoration . The disinterested devotion to the best interests of choral art of tlie managers and members of this parent institution , gave