It is always a good sign when an audience is loth to leave, and there was a distinct pause on Friday night when the Iallelujah Chorus came to its close, as though the crowded audience would have encore the performance if it could. No choruses ever written appeal to mankind—at any rate to mankind as produced in the British Istes—as the choruses from the Messiah. There are other grand choruses in other oratorios and by other composers, but they do not roach the hidden chords of our nature as do those from the Messiah.
The note at the back of the programme gave some interesting facts respecting the composition and first production of this grand oratorio, but it did not explain the miracle of the twenty-four days, almost the sheet anchor of some would-be believers in the miraculous. Indeed it is only Intely that the explanation has been forthcoming. Fortunately the new discovery does not abate one whit our admiration of the great n: aster. It merely changes its stand Some of the numbers in the Messiah, it appears, were not written for the masterpiece at all! They were numbers which Handel had composed for another purpose, but which his genius showed him would suit the new purpose admirably. The twenty-four days therefore no longer remain the musical miracle they have ever been held to he.
Of the selection given on Friday there is little to be said but praise. Mrs. Valentine and Mr. Wood sang their respective solos with much feeling and effect. The choruses Incked strength only; at times the entry of the female voices was not quite so decisive as one might hare wished, but that was due more to lack of actual force than to weakness in performance. The tenors were good, the basses better. Altogether the selection was well rendered.
'There was an admirable orchestra and their performance of the Pastoral Symphony, was a rare music treat. A word of praise must be given to the deputy organist, who accompanied throughout with much' skil and effect.
Having begun at the end of the recital, it is fitting that we close at the bet which consisted of some half-dozen tri admirably played by Mr. Crompton his self. They were mostly of the characteristic, French school, which savours somewhat of the piano, and makes but little demand either upon the intelligence of the audience or the pedalling powers of the performer.
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Text read from the printed page and cleaned; old type leaves the occasional error.