28 JUNE 1845, Page 17




SInfonla In C minor, (No. 5 ) SPORr. Duetto, ." CAI ml regge," Madame Hennelle and Herr Piaehek. (Belisarioi Dordzettl. Adagio and Rondo, Violin, Mr. J. Day, (from Concerto B mInor,) De Berlot.

Fantasia, Sax Horns, Menu. Distin. (on themes from Robert le Diable,) DisUn.

Cantata, " Adelaide," Herr Pischek Beethoven.

Overture In C Beethoven.


StolenLa In E flat, (No. 10.) Haydn.

Beck. " Merck. dllettl," / mon, Bertrand, (safft,,) { Facial. Aria, " Ah ! con lui,"

Fantasia, Ciarionet, Signor CavaRini CavaRini. Bach. "Signer Perdona," Sj Madame Hennelle, (La Scrotal.

Aria, "Nacqn1 all %Homo," Z Ce' nerentola,)

Overture, Preciosa C. M. von Weber.

Leader, Mr. Leder—Conductor, Mr. Moscheles.

A Paestum's= little calculated to reverse the downward march of Phil- harmonic affairs; as the abundant accommodation which remained a few minutes before the beginning of the concert but too plainly evinced. And yet the evening on the whole—like some concerts which promise little but perform beyond expectation—left a smack of satisfaction on the musical pa- late. The solos were of undoubted merit: they were piquant—to Phil- harmonic audiences strange and unaccustomed; they provoked the desire to be pleased ; and the welcome revival of Haydn's Tenth Symphony, one of the most pleasing emanations of his graceful and natural turn of thought, came opportunely to satisfy it. Spohr's Symphony in C minor made, it must be confessed, a very indifferent beginning. The first movement is cold, and abundant in mannerism: for Spohr, it is as completely a thing of course in composition—as little characterized by the metro divinior—its the daily scribbling of a clerk in a counting-house or of the mechanical journalist. The larghetto in A flat, and more particularly the presto, are the only parts in which the sacred flame of true composition is discernible. To this operose production the bright and spirited style of Haydn formed a strong contrast. The wind-instruments in the adagio were pretty well played; though the combinations in this department, from the want of an effective oboe, are greatly inferior to those we hear at the Italian Opera. Of the vocal music, Adelaide claims the first notice, because encored, though after strong opposition. Pischek sang it a note lower, namely in A fiat, to suit his voice; and this transposition, together with some new graces and alterations of the singer's own, did not contribute to the improvement of the original. The performance, both voice and accompaniment, was superfine and affected—a true example of overcharged expression. Beethoven surely never contemplated so tawdry an exhibition. Madame Hennelle and Mademoiselle Bertrand will neither leave any very favour- able impression on the recollection of their hearers. The former, though of moderate talents, found a disposition in many to repair the injustice which, it was said, she had sustained from the audience admitted to the rehearsal on Saturday: the facts of which, if true, should exclude all hearers on those occasions. She really succeeded better than might have been expected under her disadvantages. Mademoiselle Bertrand's fault is a defect of ear; in her cadences she rarely rejoined the orchestra in the same key.

The solos were more satisfactory. The movements of De Beriot's Violin Concerto showed much talent in the youthful performer, Master Day; who has, we hear, bee:n studying for two years under that celebrated violinist.. Great strength of tone is rarely to be expected at fifteen or sixteen years of age; nor was it found in this instance: but in the technical branches of the violin—in intonation, style, and bowing—Master Day exhibited the most promising acquirements. He has the certainty and coolness in the attack of difficulties, on which the happiest augury of future success may be founded.

The Distins exhibited the grand combination of their Sax-horns in a short piece, which ceased before the monotony of the brass tone had become perceptible. We have heard them play in greater perfection; though those hearers to whom their harmony was new may find it somewhat difficult to credit the assertion. Cavallini's Fantasia on the Clarionet was a surprising and beautiful performance, which places the artist among the first in his own department in Europe. The equal manner in which he blows all the notes of an immense scale, reaching to G in altissimo, without harshness— the alternate power and softness of his tones, his correct taste in cantabile passages, and his volubility and neat articulation—are truly remarkable. The piece he played, which commenced well in C minor, was expressly adapted to exhibit these qualities to an audience less strictly critical than that of the Philharmonic. He had better, however, have played one of Spohr's or Weber's Concertos.

The Overture, we had forgotten to say, which concluded the first act, was pleasant, though not in the greatest manner of Beethoven.