Here, then, we would stop, leaving the grave strewed with flowers, and the eye of faith fixed on that better land, where "the wicked cease to trouble, and the weary are at rest." But it was not so. “Let the bright seraphim," was finely sung. We are sorry to add, that it was greatly injured by a long cadenza, foreign and unmeaning. The final chorus, Let their celestial concerts all unite, was sung in a very spirited manner; and this was the conclusion of the whole matter.

The cast of Samson was a most powerful one; and we subjoin the programme, for the gratification of the members of Sacred Music Societies, and others interested in oratorial performances.

PART I.

RECITATIVE, Mr. Sims Reeves, "This day a solemn feast."

AIR, Madame Clara Novello, " Ye men of Gaza."

RECITATIVE, Mr. Sims Reeves, Why by an angel."

RECITATIVE, Miss Dolby and Mr. Sims Reeves, "Matchless in might."

AIR, Mr. Sims Reeves, "Total eclipse."

RECITATIVE, Mr. Weiss and Miss Dolby, "Brethren and men of Dan."
AIR, Mr. Weiss, "Thy glorious deeds."

RECITATIVE and AIR, Mr. Sims Reeves, "Why does the God of Israel sleep."

RECITATIVE, Mr. Weiss and Mr. Sims Reeves, "For thee, my dearest son."

PART II.

RECITATIVE, Mr. Sims Reeves and Miss Dolby, "My evils hopeless are." AIR, Miss Dolby, "Return, O God of Hosts."

RECITATIVE, Miss Dolby, Mr. Sims Reeves, and Mad. Clara Novello, "But who is this."

RECITATIVE, AIR, and CHORUS, Madame Clara Novello, and Chorus of Female Voices, "My faith and truth."

RECITATIVE, Mr. Sims Reeves, "Ne'er think of that."

DUET, Madame Clara Novello and Mr. Sims Reeves, "Traitor to love." RECITATIVE, Miss Dolby and Mr. Sims Reeves, "She's gone-a serpent manifest."

RECITATIVE, Miss Dolby, Herr Formes, and Mr. Sims Reeves, "No words .

of peace."

AIR, Herr Formes, "Honor and arms."

RECITATIVE and DUET, Mr. Sims Reeves and Herr Formes, "Go, baffled

coward, go."

RECITATIVE, MISS Dolby, "Here lies the proof."

RECITATIVE, Herr Formes, " Dagon, arise."

PART III.

RECITATIVE, Miss H. Williams, Mr. Sims Reeves, and Herr Formes, "More trouble is behind."

AIR, Herr Formes, "Presuming slave."

RECITATIVE, Miss M. Williams and Mr. Sims Reeves, "Consider, Samson." RECITATIVE, Mr. Sims Reeves, Miss M. Williams, and Herr Formes, "Be of good courage."

AIR, Mr. Sims Reeves, "Thus when the sun."

RECITATIVE and AIR, Miss M. Williams, "The Holy One of Israel."
RECITATIVE, Miss M. Williams and Mr. Weiss, "Old Manoah."

66

RECITATIVE, Mr. Weiss and Miss M. Williams, What noise of joy was

that."

AIR, Mr. Weiss, "How willing my paternal love."

RECITATIVE, Madame Viardot Garcia and Mr. Weiss, "Your hopes of his delivery."

RECITATIVE, Mr. Weiss, "Heaven, what noise."

RECITATIVE, Mad. Viardot Garcia, Mr. Weiss, and Mr. Williams, "Where shall I run."

AIR, Madame Viardot Garcia, "Ye sons of Israel."

CHORUS, the Solos by Mr. Weiss and Madame Clara Novello, "Glorious hero."

RECITATIVE, Mr. Weiss, "Come, no time for lamentation."

AIR, Madame Clara Novello, "Let the bright seraphim."
TRUMPET OBLIGATO, Mr. Harper, jr.

The amount received on this last day was upwards of EIGHT

THOUSAND FIVE HUNDRED DOLLARS.

We have given the amounts received in round numbers; we

suppose some hundreds of dollars, perhaps a thousand, might

We were not able to learn what were the expenses, and therefore know not how much went to the charity.

There were several things which we intended to say, when listening to the music, but which we find we have inadvertently omitted. It was a glorious performance, from beginning to end; the world has never seen a better; and in no place on earth can such a band and chorus be brought together, except in Birmingham. It is understood that arrangements are already in progress for the next Festival, in September, 1855.

LETTER XLIV.

Funeral Musical Performances-Messiah-Elijah-Smaller Musical Associations-The Oratorio Societies in London--Exeter Hall-Organ Performance.

LONDON, 1852.

On the week of the great funeral,* the "Sacred Harmonic Society" gave two public performances, appropriate, on the successive evenings of Wednesday and Thursday. The selection was the same on both evenings, as follows:

*Of the Duke of Wellington,

Dead March in Saul...
QUARTET His Body is buried in peace.
CHORUS-But his name liveth evermore.
AIR-Oh, rest in the Lord (Elijah)..
CHORALE To thee, O Lord! (St. Paul)..
AIR-Then shall the righteous (Elijah)..
CHORUS-Happy and Blessed (St. Paul)..

QUARTET and CHORUS-Blest are the Departed.....

Handel.

.Handel.

...Hundel.

Mendelssohn.

.Mendelssohn.

Mendelssohn.

Mendelssohn. ...Spohr.

Part Two embraced the recitatives and choruses composed for the unfinished oratorio, Christus, by Mendelssohn. And Part Three consisted of the entire third part of Handel's Messiah.

These performances were intended as a "tribute to the memory of the late Duke of Wellington," and the performers appeared in appropriate mourning.

Handel's Messiah was performed three or four times by different societies at about Christmas time, and it is shortly to be repeated. Nothing is so popular as this. The societies are obliged to perform this oratorio, to enable them to perform others, and to bring out new music. It is said to be the only paying oratorio, and never fails to draw a full house. All the singers know it by heart, so that a rehearsal for it is not needed. Elijah, too, is so well known as not to need rehearsal. It is often done. We heard it recently by the "London Sacred Harmonic Society;" but the orchestra of this society was on this occasion much inferior to that of either the other societies, and then the whole performance contrasted much to its disadvantage with the grand representation of this oratorio at Birmingham.

In addition to the three great societies, there are freqnent performances of oratorios by smaller associations in some part of London. We often see them advertised, but have not been able to attend them.

There are now three large societies here for the performance of oratorios and the other smaller works of the great Masters. They are, "The Sacred Harmonic Society," under the direction of Mr. Costa; "The London Sacred Harmonic Society," under the direction of Mr. Surman; and "The Harmonic Union," under the direction of Mr. Benedict. The "Sacred Harmonic Society" is the original or oldest, and dates back to 1832. Mr. Surman, the present conductor of the "London Sacred Harmonic," was a leading man in its establishment, and was for many years its conductor. Some three or four years since, on the choice of Mr. Costa as conductor, Mr. Surman withdrew, and, in connection with others, formed a new society, which they called the "London Sacred Harmonic Society." Each of these societies commands a large chorus of from six to eight hundred performers; they each employ the best professional singers for the solo parts, and also a professional orchestra. They each have a weekly meeting for rehearsal of such music as they are about to perform in public. These rehearsals are sometimes under the direction of the conductor, and at others under that of a chorus-master. The "Sacred Harmonic Society" usually depend upon an organ accompaniment at their private meetings; the "London Sacred Harmonic Society" have an amateur orchestra, which plays badly enough on these occasions; and the "Harmonic Union" employs the grand piano-forte, sometimes under the hands of Mr. Benedict, while at others he directs to the playing of an assistant. I hardly need say that the piano-forte accompaniment is vastly the best for all the drilling or training purposes of such meetings. The orchestras employed by the "Sacred Harmonic Society" and by the "Harmonic Union" are much the most powerful and efficient, usually numbering say sixteen double basses, and other instruments in proportion. These societies all give their public performances in Exeter