MUSI C.
SMITH PHILHARMONIC CONCERT.
PART I. Sinfonia in C minor, (No. 5). Extrreovis.
Aria. 0 cars imrnagine," Signor Srosz. F‘auto Mayico). Messer, Concertante 11,r four Viulius. Signor CAMILLO &PURL Mr. BLAOROVR. Mr. WILLY. and Mr. SAMOS, Marna,. Aria," COverture, Tire Naiades W. S. BENNETT. h BeLtrur. Col Boras° " Madame CAATELLAN. (II Pirata) PART tr.
Overture
Scherzo Sung. with Chorus." You spotted snakes,"
Miss RAIWINSITH and Miss A. WILLIAMS
Notturno. Mdreli. and Pluale-Chorus Overture Fierrabras Senuerwr.
Leader. Mr. T. Omani—Conductor. Dr. F. MENDELSSOHII BARTHOLDY.
THE Queen's visit to this concert on the 10th, in company with Princes ALBERT and the King of Saxony, drew such an influx of foreign visiters,. attracted by the occasion, as destroyed the whole economy of the rooms,. and in most cases rendered the usual positions unattainable. The throng, was thickest towards the orchestra, near which the Royal party were seated ; but it extended to the extreme doors under the gallery, where' every space, though interlined with seats, still left numbers standing. We congratulate the Society on the benefit they will derive from the light of the Royal countenance thus for a second season extended to them; and if the effect of music is somewhat sacrificed in over-crowded' assemblies, the selection in this instance, presenting nothing remarkably new, might under the peculiar circumstances well excuse it, and spare' the pains of criticism. It is with the familiar music only that the re- mote place we occupied on Monday will enable us to deal. The Symphony of BEETHOVEN went in many respects as usual: its peculiarities under MENDELSSOEIN were, a shorter time than usual giveu to the pauses in the first allegro, a piquant staccato of the bassoons, &c. in the scherzo, and a quicker movement than wont to the fivale. This improvement in the execution of the scherzo was manifest; but we hold with traditions respecting longer pauses in the colossal debut of the symphony, and have heard the finale " created vastest" with its solemn pealing trombones rendered hi a larger and more magnificent style, but slower. In this manner it has been given with uncommon gusto by Fins at Brussels, and by some of our English conductors. BENNErr's Overture is unquestionably the best native work that has appeared in the school of WEBER and BEETHOVEN-; but whether as effectively instrumented as the character of the thoughts deserves, is a question which will be better resolved when it is played less as a novelty by the orchestra. The brilliant violin passages which accompany the cantilena of the violoncellos were somewhat covered in the execution of Monday ; though the work was in other respects satisfactorily rendered. MAURER'S Concertante was never so well played at these concerts. The defection of ERNST and JOACHIM, who were originally intended to play in it, was amply compensated by the able preparations of Messrs RLACIROVIS and Wu.i.y. The piece has Hulett} recommend it beyond the whim of the design of a quadruple concerto ; and though the difficulties are quite within the command of such players, the performance is occasionally rendered critical by the necessity for un- common finesse and exactitude in the execution. Fortunately, everything had been well studied; BLAOROVE paired off with &PORI, SAINTON with WILLY, and scarcely a blemish could be detected in their double nuts. The bass of the quartet fell almost entirely to the French violinist, M. SAINTON ; who is a fine strong player, and whose tone on the fourth string was much admired. The singing of SALVI in the air from the Zauberfltite was not re- markable. His first ascent to G was flat, and his cadences savoured more of the Italian school of the day than that of MOZART. We take him for an artist better-instructed in the principles of song than con- versant with music in its varied styles and aspects. Such an air is a sufficing test of the nature of a singer's education—of his tact and dis- crimination. Madame CASTELLAN was admired only in her tone and mechanism ; the air selected by her being destitute of interest. We heard the scherzo and the vocal part of the Midsummer Night's Dream with renewed pleasure. The fine contralto phrase, "So, good night," makes an impression that it is difficult to forget ; and it is due to R. S. STEEPENS and MENDELSSOHN to say, that their treatment of this fairy theme, different as it is, adds a new charm to SHAKSPERE. (A Midsummer NI aansaasinta Night a Dream) listrrnucor.
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