LETTER XLIII.

The Birmingham Festival-Continued.

September, 1852. THE Birmingham Musical Festival for 1852 is past, and its success has been most triumphant. The highest anticipations of its warmest friends have been fully realized, and they are satisfied both with the musical and pecuniary results. This Festival is triennial. We well remember the gratification an attendance in 1837 afforded us. At that time Mendelssohn's St. Paul was performed under the direction of the talented composer himself. He also gave, during an evening performance, an example of his wonderful power in extemporaneous organplaying, which we can never forget. At the same Festival, the Chevalier Neukomm brought out an oratorio, The Ascension.

The Birmingham Festival has existed for almost a century. It had but a small beginning, but has been gradually increasing until now its occurrence may be said to move the whole musical kingdom. Its profits are devoted to the support of the Bir mingham Hospital; and, notwithstanding the great expenses, it never fails to pay over a large sum to the charity. It brings together the very best musical talent that can be found, and the works of the greatest masters are performed under circumstances more advantageous than are elsewhere afforded in the world. In looking over the list of performers, we find the names of Catalina, Malibran, Grisi, Sontag, Jenny Lind, Lablache, Tamburini, Mario, Staudigl, and all the first vocalists that have lived within the last fifty years. Several oratorios have been written expressly for this occasion, the greatest of which is, undoubtedly, Elijah. This masterly production of Mendelssohn was first produced here in 1846. "I feel," said

Mendelssohn," much more interest in this work than for my others, and I only wish it may last so with me." It was his last great work, and it will carry down the name of the gifted author to many succeeding generations. It is remarkable that, in making alterations in this oratorio after the first copy had been given out, Mendelssohn gave directions to omit the very popular song " O rest in the Lord." To this Mr. Bartholomew, the English translator, so strongly objected that it was allowed to remain. After the first performance of the oratorio in 1846, Mendelssohn made many alterations, and yet more when the German copy was finally published at Leipzig.

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Great preparations were made for the Festival this year, and it is believed that a better band and chorus were brought together than on any previous occasion. The instrumental department was as follows:

In all, one hundred and forty instruments; to which must be added the great organ, one of the most powerful in the world. The vocal chorus consisted of eighty to ninety voices on each part, as soprano, alto, tenor, and bass; in all, about three hundred and thirty or forty voices. It must be understood that these were all real (not merely nominal) singers, capable of sustaining their respective parts. The parts were well balanced, and the chorus blending was admirable, no individual voices being heard. The alto consisted of both female and male voices; yet the men's voices were kept in good subjection,

and only once or twice during the four days' performance, did they appear severe or hard. The solo singers were the best that could be obtained in Europe; they did not include some of the best artists, because they could not be obtained; for example, great efforts were made to procure the assistance of Henriette Sontag, but the Americans had drawn her away, and no inducement that was held out, could prevail upon her to remain. Madame Goldschmidt was also applied to in vain; nor could Lablache or Mario be obtained. But still, such an amount of vocal talent as was procured is not often brought together, as will appear by the following catalogue of names, all of whom were present:

Besides the above, there were solo instrumentalists as fol

lows:

Violin, M. SAINTON,

Violoncello, Sig. PIATTI,

Organist, Mr. STIMPSON,

Double Bass, Sig. BOTTESINI,

Pianoforte, Herr KUHE,

Conductor, Mr. COSTA.

The general rehearsal was on the day previous to the commencement of the Festival, at which the band, the chorus, and the solo singers were brought together. The former took their places in the orchestra, but the solo singers came into the body of the Hall. This gave us a fine opportunity of seeing them all, and of shaking hands with some of them. Belletti seemed

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glad to meet an American, and his countenance brightened as he spoke of Castle Garden and other concert places. He remembers his tour and his American friends with gratitude, and expressed a hope yet again to sing in the United States. Madame Clara Novello looks almost as young as in 1837, and is as social and pleasant as before she became a countess. Herr Formes is a noble specimen of a man; he is full of pleasantry and good humor; his voice in conversation is rich, full, sonorous, and, as a gentleman near us observed, seems to come from a thirty-two foot diapason." Madame Viardot Garcia is a most interesting person; perhaps she appeared the more so to us, since we knew her to be one of the greatest singers living. She seems to be perfectly easy and unaffected in her deportment, and simple as a little child. Frankness, honesty, and firmness of purpose are strongly indicated by her open and intelligent countenance. She is not handsome: she may be called plain in her personal appearance; but, nevertheless, one cannot look at her with indifference, or hear her voice without a drawing out of the heart towards her. Miss Dolby, the greatest of English alto singers, has a noble countenance; generous, open, honest, and intelligent." Madame Castellan is always smiling and apparently happy; she turns her head one side, and looks as if nothing troubled her, save, perhaps, Time; who is evidently making inroads upon a fair and blooming countenance, and a brilliant, sparkling eye. It was interesting to study the physiognomy of the fine company of artists, and to mark their cordial greetings as they first met. The rehearsal commenced at 11 o'clock, and (with the exception of the necessary intermission for refreshments) continued until nearly 12 at night. Such pieces only were taken up as were new, or not generally known. A part of Samson, a new posthumous motette by Mendelssohn, his fragment of an oratorio, Christus, and also of

Lorelie. Beethoven's great 9th, and various other pieces belonging to the evening performances, were more or less rehearsed. Beethoven's Choral Symphony occupied about two hours. It was evidently the piece for the success of which Mr. Costa felt the greatest anxiety-since it is the most difficult composition on the programme; and he spared no effort to make its performance perfect. It was originally written for the London Philharmonic Society; but it was not performed with any success until long after its production.

This rehearsal-day was full of interest and instruction, and afforded us an opportunity of standing a little behind the curtain, and of seeing something more of the principal vocalists than we otherwise could have done. Though tedious, the result was satisfactory; and when it was nearly 12 o'clock, and the company parted, there seemed to be a general assurance of a successful performance on the morrow.

FIRST DAY-TUESDAY. “ELIJAH."--The morning was inauspicious. The clouds, dark and heavy, at once shut out the cheerful light of the sun, and poured out a cold, continuous rain, which was anything but musical in its appearance and influence. We left our lodgings about an hour before the time appointed for the commencement of the performance, and as we came to the street leading directly to the Hall, we found the sidewalks filled with people of all ages and descriptions, who, notwithstanding the mud and wet, had taken their stand to look into the carriages as they passed. The row of carriages at this time extended full a quarter of a mile from the Hall. The police regulations were excellent, and officers were stationed all around to see that they were observed. As the carriages were not permitted to break the line, and moved very slowly, a fine opportunity was afforded to those on the sidewalks to get