MR. C. POTTER'S CONCERT.
WE went to this concert principally to hear as much as was performed of a Sinfonia by POTTER. It is clever—very eleven This is one good effect of the Philharmonic. It has induced our own composers to enter the lists with their German brethren ; and the result is, that we no longer labour under the reproach of not being able to produce anything instrumental better than a Drury Lane overture. Goss wrote a very beautiful sinfonia for the Philharmonic ; and, as far as we could judge of POTTER'S (for the introduction and first allegro only were played) we should pronounce it worthy of performance by that band. Its chief deficiency is the want of a subject sufficiently melo- dious to arrest the attention, and capable of imparting its tone and character to the whole movement. In the Sinfonias of MOZART and HAYDN, how completely does the subject tinge the whole of the move- ment with its original hue, and thus give a unity of colouring to the picture ! Mr. POTTER played the first movement of MOZART'S Con- certo, No. 7, in C minor. It is well adapted to display his powerful and rapid finger ; and his cadenza seized and embodied very happily the prominent points of the allegro. There was nothing new or striking in the vocal music. We exhort Miss CHILDE (and we do so because sire is a clever and promising singer) to cast PACINI'S music to the bats and the moles. An artist whose taste has been perfected upon good models, may sing this sort of trash with impunity ; but if one whose style has yet to be formed takes PACINI for her standard of excellence, she is lost--irrecoverably lost. The room, we were glad to see, was well filled. It shows that talent and character are yet worth something. Among the auditors were an unusual number of the cognoscenti.
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