138 THE MUSICIAN ABOUT TOWN. 



down the scale (and the difference in respect of difficulty every ar- 

 tist knows) are singularly accurate. Here, however, our admiration 

 of the singer ceases. Her quality of voice is hard, loud, and unfeel- 

 ing ; for we do not call the sudden suppression of tone, and the 

 yearning forward of the head, a genuine display of feeling and ex- 

 pression. Loudness and softness are, in themselves, no indication 

 of feeling — it is in the tone, which goes at once to "Love's throne," 

 and can no more be described than the " fleeting air." Moreover, 

 Mad. Dorus sings exquisite stuff; and this of itself argues little for 

 her musical feeling. At her first appearance she sang a solo from 

 the " Cheval de Bronze," about the " torment of widowhood," 

 wherein the music and the words are worthy of each other ; and 

 the latter are an epitome of the execrable French morality. The 

 composition, however, contains some very difficult solfeggi passages, 

 and these she undoubtedly executed to the admiration of all who 

 estimate a surprising dexterity. 



The selections at the " Ancient Concerts" this season have ma- 

 manifested a decided improvement. Many unworthily neglected 

 compositions of the old masters have been reproduced, to the satis- 

 faction, as we hear, of all the lovers of sterling ancient music. 

 Much of the merit for these restorations is said to be awarded to the 

 superintending zeal and good taste of Lord Burghersh. 



The activity of the directors of the " Societa Armonica," in en- 

 gaging the most eminent foreign artists, who, with the Swallows, 

 take advantage of our summer season ; together with their zealous 

 endeavours to promote the cause of classical music, entitle them to 

 good report ; and, as a consequence of it, have secured them, as we 

 are informed, a full subscription. 



The last performance at Exeter Hall, which took place on the 7th 

 of June, consisted of the " Dettingen te Deum," a short miscellane- 

 ous selection, and Haydn's First Mass. It was to us an evening of 

 almost unalloyed extacy. The last work has probably never before 

 been performed by so large an orchestra ; and, taken altogether, 

 most probably never with finer precision. The effect of the cho- 

 ruses was transcendently fine, especially of the magnificent fugue 

 at the end of the " Gloria." The trebles and basses are the best of 

 this vocal orchestra ; the altos are rather shrieky, and the tenors 

 apt to be out of tune. Altogether, however, we have no musical 

 entertainment like these performances, and certainly none so calcu- 

 lated to refine and confirm the national taste for the grandest and 

 most perfect of all composition— that of the stupendous choral 

 fugue. 



