FIRST CONCERT, Monday, February 25, 1833.

ACT I.

ACT II.

The Philharmonic Society celebrated its coming of age this year—the present being its twenty-first season—in a manner not at all unusual with those who attain their majority, namely, by changing its domicile, and has gained many important advantages by removing.

The great defect in the Hanover Square Rooms, as injudiciously altered many years ago, by the directors of the Ancient Concerts, was, the height of the orchestra from the floor, owing to which, sound seemed to be confined in a gallery,—was half lost before it reached the audience; not to mention the ill effect produced on it by striking the roof before sufficient space had been given for its expansion; and it actually passed over the heads of all those who sat near the performers.

The orchestra is now sloped down to within about four feet of the ground, and the front is consequently advanced a considerable distance further into the room, thus admitting a much greater number of performers, and bringing the singers, concerto-players, &c. nearly on a level with the company; that is, only so much elevated as to be seen in all parts of the saloon. The great and beneficial effect of this alteration was universally admitted, and rooms acknowledged to be the worst in London for music, are now confessedly become the best.

The two symphonies in this opening concert were executed in a manner that left no doubt on the minds of the audience as to the continued efficiency of the band. Indeed, we are not aware that any change has taken place in it since the former season; it was, and is, filled by the highest talent which this country can produce. Haydn’s 11th grand, though not of so imposing a nature as most of the twelve composed for Salomon, is full of originality and beauty, and not being so often heard as some of the others, has a freshness which increases its charms. The overture to Oberon was as perfect as its great composer himself could have wished. The Demophon very well answered the purpose of a finale.

The clarinet concerto of Spohr, in E flat, was by all felt to be too long: many bars, both in the first and last movement, which are nothing but unnecessary reiterations, might have been curtailed, much to the advantage of all parties,—composer, performer, and hearers. Had this discretion been shown, the adagio in A flat, a rich and lovely movement, would certainly have met with an encore. This was played in an exquisite manner, though Mr. Willman did not seem at his ease in the other parts; they evidently cost him great labour, but made no adequate return. Beethoven’s quintet, the first in C, op. 29, was executed in a very masterly style by Mori and his coadjutors; the slow movement was played in a remarkably fine manner; but though the whole abounds in genius, it has the defect of much modern music, is somewhat too long; and when before large mixed audiences, performers would act prudently in omitting the repeats.

The vocal pieces in this concert did not show much research or vigour in the selection of them. The two first arie, excellent as they are, have been heard till they pall on the ear; and Donzelli with his mighty voice, is resolved that at all times, and in every kind of music, its utmost power shall be displayed. Piano is a term unknown in his vocabulary; or else softness is despised by him, as an indication of effeminacy or idleness. This is the more to be regretted, because, had he a little light and shade in his singing, he would be the first Italian tenor in Europe. Mrs. Wood, in Spohr’s air, was admirable; and though a cadence to this was not only unnecessary, but ill-judged, yet, as a cadence, it was in exceedingly good keeping. The fine duet of Rossini is, like all his best music, worn to tatters, and, though well sung, was received with icy coldness.

The room was full from the very commencement.

SECOND CONCERT, Monday, March 11, 1833.

ACT I.

ACT II.

Spohr’s symphony in D, dedicated to this society, certainly improves upon acquaintance. Written as it is, and as most of this composer’s works are, after Mozart’s models, it still is not devoid of original traits: while in fulness of harmony, and that kind of finish which well-directed labour produces, it has never been surpassed. We have not heard Beethoven’s symphony in A better executed, hardly ever so well. The second movement[46],—to the merits of which we have often attempted to do justice—was, as usual, encored. The overture to Euryanthe received equal justice from the hands of this matchless band. This is one of those compositions which do not develope their beauties on a first or even a second hearing; but the fine imagination of Weber, his taste and artistic skill, are as fully displayed in this as in any of his better-known orchestral productions. Cherubini’s overture savours of mannerism; it is nearly made up of passages from his other works.

Mr. Cramer’s quintet—to compose which he was recently engaged by the society—aims at nothing grand, makes no attempt to surprise, either by eccentricity of melody or studied and far-fetched modulation; but a well-considered design is conspicuous in each movement, and the whole, particularly the slow movement, is marked by that elegance which is this author’s attribute. The first movement is an allegro in B flat; the second a largo in F; and the last a rondo in six-quaver time. The performance of this was in Cramer’s well-known exquisite and unrivalled style,—for who like him knows how to touch the instrument!—and his efforts were met with that attention and applause which they so richly deserved[47].

Mr. Wolff, first a pupil of Spagnoletti, then of Mayseder, displayed considerable ability in his concerto. If his intonation was not always quite exact—if he sometimes attempted more than he could with great nicety perform, the occasional imperfections may possibly be imputed to the nervousness arising from a dÉbÛt, and before such an audience. Wishing that he had more of his first master than of his second in his style—more of the solid and less of the glittering—we still think that there is great promise in this performer but are not so well convinced that the Philharmonic Concert was exactly the place for his first performance.

The scena and aria of Handel are worthy of the master, and pleased as novelties, for every part of the opera is totally unknown. Rage and revenge are here expressed, according to the fashion of the day, in long divisions; but these very divisions render the air unfit for Miss Masson’s voice, which has but little flexibility, and proved unequal to the many passages requiring quick and distinct articulation. Her shake too, a grace, if grace it must be called, is anything but perfect, and unfortunately was here frequently introduced, greatly to the regret of those who know how to appreciate this lady’s talents, which are of a high order, but in the present air much misemployed. The duet from Jessonda was chosen for her with much more judgment. Mozart’s aria, from the appendix to his CosÌ fan tutte, is a fine composition, abounding in the riches both of melody and accompaniment, but Mad. de Meric had fatigued herself by previously singing at the theatre, and certainly did not make the most of what was now assigned to her. The terzetto—another hacknied piece—was correctly performed; but this wants the stage; in concert-room it ranks as a second-rate composition, whatever the through-thick-and-thin admirers of the author may say to the contrary.