extent of late years, so much so that at the last Festival nearly the whole of the chorus of voices was composed of members of our local Musical Societies, and a fair sprinkling of the instrumentalists also. A big book would be required for a full history of the Birmingham Triennial Festivals, descriptive of their rise and progress, the hundreds of musical novelties introduced, the many scores of talented artistes who have taken parts, the lords and ladies who have attended, and the thousand odd notes appertaining to them all. In the following notes are briefly chronicled the "first appearances," &c., with the results and other items for reference.
1768, Sept. 7 to 9. The oratorios of "Il Penseroso" and "Alexander's Feast" were performed at the Theatre in King Street; Handel's "Te Deum" and "Jubilate" with the "Messiah," at St. Philip's Church. The principal singers were Mrs. Pinto, first soprano, and Mr. Charles Norris, tenor; the orchestra numbered about 70, the conductor being Mr. Capel Bond of Coventry, with Mr. Pinto as leader of the baud. The tickets of admission were 5s. each, the receipts (with donations) amounting to about £800, and the profits to £299.
1778, Sept. 2 to 4. The performances this time (and for fifteen festivals after), were at St. Philip's Church, and at the newly-built theatre in New Street, the oratorios, &c., including "Judas Maccabaeus," the "Messiah," Handel's "Te Deum," "Jubilate," "Acis and Galatea," &c. Principal performers: Miss Mahon, Miss Salmon, Mr. C. Norris, and Cervttto, a celebrated violoncellist, the leader of the band being Mr. William Cramer, a popular violinist. The choir had the assistance of "the celebrated women chorus singers from Lancashire." The receipts were again about £800, and the profits £340, which sum was divided between the Hospital and the building fund for St. Paul's.
1784, Sept. 22 to 24. President: Lord Dudley and Ward. Following after the celebrated Handel Commemoration the programme was filled almost solely with selections from Handel's works, the only novelty being the oratorio of "Goliath," composed by Mr. Atterbury, which according to one modem musical critic, has never been heard of since. Master Bartleman, who afterwards became the leading bass singer of the day, was the novelty among the performers. Receipts, £1,325; profits, £703.
1787, Aug. 22 to 24. President, the Earl of Aylesford. In addition to the miscellaneous (mostly Handelian) pieces, the oratories performed were "Israel in Egypt" and the "Messiah," the latter being so remarkably successful that an extra performance of it was given on the Saturday following. Among the performers were Mrs. Billington (first soprano), Mr. Samuel Harrison (one of the finest tenor singers ever heard in England), and Mr. John Sale (a rich-toned bass), and the "women chorus." Receipts about £2,000; profits, £964.
1790, Aug. 25 to 27. President, Lord Dudley and Ward. The "Messiah," with miscellaneous selections, the principal performers being Madame Mara, Mr. Reinhold, and Mr. Charles Knyvett, with Jean Mara (violoncellist) and John Christian Fischer (oboeist). The prices of admission were raised at this Festival to 10s. 6d. and 7s.; Theatre boxes 7s. 6 1, pit 5s., gallery 3s. 6d. Receipts £1,965 15s.; profits £958 14s.
1796, Aug. 31 to Sept. 2, President, the Earl of Alyesford. The Performances were like those of 1790, of a general character, besides the "Messiah;" while the two principal sopranos were the Misses Fletcher, daughters of a local musician. The trombone was introduced at this Festival for the first time. Receipts £2,043 18s.; profits £897.
1792, September 18 to 20. President, the Earl oi Warwick. The "Messiah," with vocal and instrumental selections
