GRAND MUSICAL FESTIVAL AT BIRMINGHAM. GREAT OCTOBER, 1820. REAT public exhibitions of the progression of an art now gradually winning its easy way into the amusements, habits, and affections of the English nation, will afford us at intervals very interesting topics for discussion, and we doubt not very splendid examples for illustration as time goes on. The first of these that has presented itself out of the Metropolis since our work commenced, is the meeting which stands at the head of our article, and which deserves record and commemoration, not only on account of its superb concentration of the powers of art, in which it is perhaps unequalled since the Abbey performances, but also for the influence over the public mind, and the general praise inherent in such grand displays, and for the admirable uses to which that influence may be applied. Each and all of these properties afford subjects of agreeable and useful contemplation to the artist, the investigator of moral science and the philanthropist; and we are among those who delight to follow out these causes and consequences to their results upon society, because from them may be deduced the moral happiness as well as the scientific perfection which is communicated to a people and attained by them through the sedulous cultivation of the fine arts. Such appears to us to be the philosophical view which it should be the earnest endeavour of all who, like ourselves, are employed in analysing the principles and settling the pretensions of these pursuits, to inculcate as they proceed. There needs no argument at this time of day to prove the general proposition, that to add to genuine refinement is to humanize the mind and to improve the highest and the best pleasures of our existence; we shall however impart new accessions of strength and the most enduring confirmation to this beneficent principle, if we take care to shew its operation, enforce by instances its direct influence, and to connect the most beautiful of its effects with the causes, wherever opportunity is allowed us in such narrations as that which is about to follow. The inhabitants of Birmingham had long been numbered amongst the most sedulous and tasteful cultivators of music, when a grand festival, held three years ago, attracted a large portion of the national attention to a public enterprize, that could in one week extract from general curiosity and individual liberality a sum of eight thousand pounds. The renewal of the experiment with increased success, has still further excited universal admiration. In laying bare the causes we must first invite attention to the fact, that art is here called in to aid the relief of suffering indigence. The profits are appropriated to the funds of the Birmingham Hospital, an institution and an object of sufficient extent and excellence to command the patronage of all the opulence and all the benevolence of the town and neighbouring country, which are thickly peopled with rank, affluence, and taste. This, together with the general populousness of the place and its vicinage, form the foundation of the well and comprehensively laid design. The gentlemen, however, who conduct this grand conjunction of charity, art, and fashion, appear to be philosophically conversant with the principles of our common nature. To these they make appeal, and they judiciously enlist that love of patronage and that desire of being a party to great designs which are inherent in all men. They have so ordered their beneficial project, that to patronize or to assist becomes a subject of personal satisfaction and of public congratulation. They have roused public spirit, and they have generated an esprit de corps, which takes for its signs of union the honour and prosperity of the town, the love of science, the estimation of the great and the scientific, and all these are bound up in the bond of charity. The wisdom of this course is shewn in its success, and they are virtuous as well as wise administrators who can turn our foibles to the purposes of good. Of their pre-eminent success in securing the good offices of rank and affluence, the following list of persons will prove:— The Right Honourable the EARL of DARTMOUTH Duke of Devonshire Earl of Clonmell Earl Gower Sir Grey Skipwith, Bart. Viscount Dudley & Ward Sir T. E. Winnington, Viscount Curzon Viscount Anson Lord Calthorpe Bart. M. P. Sir E. C. Hartopp, Bart. Music we have said is ardently pursued and highly cultivated at Birmingham. Amongst its permanent establishments (instituted and nourished by public spirit) is a society under the name of "THE ORATORIO CHORAL SOCIETY," which is (we are told) liberally aided by the governors of the charity, to whom in turn they recipro cate their most necessary and useful assistance. Here, therefore, is a band of chorus singers in constant training aad progression, at all times emulous of employing and increasing their powers, and actually advancing daily towards the highest perfection both by practice and occasional intermixture with the finest performers of the metropolis. Thus the materials for a solid fabric of musical excellence are prepared in rich profusion. These arrangements, which could only have been matured by method and perseverance, prove the excellence of the design and execution, for it is the natural tendency of both not alone to ensure the able assistance of the individuals, but to enlarge that circle of interest by all their connections, which it is so important to increase and extend. The plan is indeed as grand and complete as possible, for the conductors in their engagements have shewn a determination. to comprehend all the perfection and all the powers of art. Perhaps there was scarcely a single professor, vocal or instrumental, of acknowledged superiority, (with the exception of MR. BRAHAM,) whose name is not to be found in the list which follows:: PRINCIPAL VOCAL PERFORMERS. Mrs. Salmon, Miss D. Travis, and Madame Vestris. Signora Corri, Miss Symonds, Miss J. Fletcher, and Miss Stephens. Mr. Vaughan, Mr. W. Knyvett, Messrs. Beale, Evans, Whall, and Signor Begrez. Mr. Bellamy, Messrs. King, Goulding, and Signor Ambrogetti. Conductor, Mr. Greatorex, at the Organ and Piano Forte. The festival commenced with the celebration of divine service, at the church of St. Philip, in the manner of the cathedrals. A double choir of sixty-five selected voices, on each side, performed the vocal parts. The principal solos, quartetts, &c. being sustained by Miss STEPHENS, MISS TRAVIS, MISS SYMONDS, MESSRS. KNYVETT, VAUGHAN, and BELLAMY. The service commmenced by ORLANDO GIBBONS's full anthem, Hosannah to the Son of David. It is almost needless to state, that there was no accompanying instrument but the organ. The psalms, chanted by one hundred and thirty such voices, had an uncommonly fine effect. TRAVERS's Te Deum and CROFT'S Jubilate were selected, and the Gloria Patri was by BLOW and CookE. Before the sermon, MISS STEPHENS sung MARTIN LUTHER'S hymn, to which the vast volume and rich purity of her voice gave complete effect, and DR. GREEN's anthem, O God of my righteousness, was also performed. The anthem after the sermon was PURCELL'S O give thanks. DR. BOYCE's hallelujah chorus concluded the service, which has rarely, if ever, been equalled in novelty, grandeur, and sublimity of effect. In the absence of the Bishop of Oxford, the sermon was preached by the Rev. Charles Curtis, rector of St. Martin's, Birmingham, and the discourse was in behalf 1 of the charity. The Rev. Robert Clifton, rector of St. Nicholas, in Worcester, chanted the service, and the collection was made by the Countesses of Dartmouth, Grosvenor, Galloway, and Clonmell, together with other ladies of distinction, on this and the succeeding mornings. We notice these facts to shew with what promptitude and public spirit the objects of the meeting are studied and promoted. In performances so extended, it is alike impossible and unneces sary to carry our description through every part of the music, but it is desirable to perpetuate the ability and variety with which the selections were made. We shall therefore insert the bills at length, and introduce such remarks as seem to be called for by particular excellences or effects. Of the general merit of the principals so much is known, that particular scientific descriptions would be also redundant. This was a scene of competition, where their powers were tasked to the utmost; and, as the judgment of the conductors had allotted to each individual pieces which were best adapted to the proper style and manner of each, the results would of course be of the highest kind. The evening concerts were opened on Tuesday, October 3d, at the Theatre, by the following selection :— аст І. SYMPHONY (No. 7.) SONG, MISS SYMONDS, " Deh! calma." Haydn. Pucitta. GLEE, five voices, " Mark'd you her eye." BALLAD, MISS STEPHENS," By the simplicity," Messrs. KNYVETT, VAUGHAN, and BELLAMY, ... Spofforth. Bochsa. Bishop. ARIA, Signora CORRI, "Della Tromba," Purcell. FINALE (first Act of Figaro), "Signori di fuori," :} }Mozart. DUET, 66 Sull' aria," Mrs. SALMON and Miss STEPHENS, ...... The Vocal Parts by Signora CORRI, Madame VESTRIS, Miss TRAVIS, ACT II. OVERTURE (Zauberflotte), with the Movement from Handel's Lessons, Arranged for a full Band, by MR. GREATOREX. SONG, Mrs. SALMON, "Sweet bird," (Violino obligato), "There is a bloom," Mozart. Handel. ..... W.Knyvett Cimarosa. SONG, Signor BEGREZ, "Pria che spunti," (Il Matrimonio segrete), |