30 MARCH 1844, Page 9

THE PHILHARMONIC CONCERTS.

FIRST CONCERT—MONDAY, MARCH 25. Sinfonia in P. No.8 BEETHOVEN. Air. " Pro peecatis." Mr. H. Pen.r.rea (Stabat Mater) .... Rossier. CODCOTIO, Harp. MS. Mr. PARISH ALVARS P. ALVARS. Arnie.. •• Non paventar,' Mts. RAINFORTH.

MOZART.

Aria," Infelice sconsolata." I Flauto Magicu) Overture, Der Beherrscher der Oeister C. M. VON WEBER. ACT rt. Sinfonia in E flat, No. 1 SPOHR. Becit., " Bella mia fiamma," miss ',may

MOZART.

Aria. "Recta, o care," Romance et Rondeau. Pianoforte, M. Bonney', Piauiste to his Highness the Grand Duke of Saxe Coburg Gotha,

(from 1st Concerto) CHOPIN. Terzetto, Coraggio or ea." Miss RAINFORTIL Miss Doter, and Mr. H. PHILLIP3. . BEETHOVEN. Overture, Medea • CHERUBIM. Leader. Mr. Loogn—Conductor. Sir GEORGE swan.

THE season commenced propitiously with this selection ; a series of movements to which the most classical amateur might listen arrectis auribus. Musicians who felt little sympathy with the Philharmonic Society during its long course of prosperity and apathetic management, have latterly, since its existence has been in jeopardy, begun to contem- plate it at the true point of vie w=as the English school for great orches- tral composition, and the nucleus of fine taste in that department of execu- tion ; and, agreeing on all hands that this is a great and tangible benefit to art—a vantage-ground not to be lightly yielded—their old interest in it revives. Reduced to struggle for patronage like a young institution, the Philharmonic Society has discovered the elements of a new ex- istence and the remedy for its former plethora and indolence. It begins with a well-chosen and well-rehearsed concert, which is performed with spirit and correctness; and, to maintain a corresponding interest in the concerts to come, takes MENDELSSOHN to its councils, abolishes its train of various conductors, and insures unity of performance as well as good music by placing that celebrated master at the head of its orchestra. Many of its present measures shoald have been adopted long ago ; but a sound and judicious reform is not the less welcome for being long deferred. MENDELSSOHN was expected in the room on this occasion ; and he will conduct at least six of the concerts.

The Symphony in F—the lady symphony amidst the great mus- cular and masculine family of BEETHOVEN'S Symphonies—was beauti- fully played. LINDLEY'S violoncello solo in the Trio, which has been wont on many occasions to be covered by horns and clarionets, came out very distinctly on this. The wind instruments might even now have been more subdued with good effect, but they blew loud rather than blow flit. We believe that the orchestra is indebted to the suggestion of Mr. MOSCHELES for making the performance of this piece, which had long been spoiled, thoroughly understood. The air from the Stabat Mater was in part well sung by Mr. PHILLIPS ; but the low notes were wanting, and, consequently, in a great measure, the grandeur and effect of? the original. There is a great charm in the smoothness and purity of the intervals taken by this singer ; but he is a barytone, not a bass, and his low notes are consequently deficient in body and quality. Mr. ALVARS played a Concerto on the Harp in G minor ; which in each of its three movements was the best written production of the kind that we ever encountered. The music had much of the charm of one of HUMMEL'S Concertos for the Pianoforte ; the solos were of the same construction, founded on the most classical progressions of harmony and modulation, and beautifully involved with the orchestra. Mr. ALVARS played on a fine instrument ; on which his rich full tone was universally admired, and not less so his neatly-rounded and expressive execution. The skill and effect with which he played with the orches- tra is obviously the fruit of rare experience—it exhibited the concerto style in perfection. Miss RAINFORTEL though in fine voice, found the arduous seena of the Queen of Night somewhat trying in the high notes. It is to be wished that singers did not hold these notes sacred and indispensable, for they are not : they were written for a par- ticular singer, but are susceptible of alteration and adaptability to the ordinary compass of the soprano, without detriment to the effect. We should thus gain a more frequent hearing of the charming instrumenta- tion of MOZART'S songs : and what bassoon parts—what accents of melancholy there are in this ! WEBER'S powerful Overture was encored by acclamation.

The opening Symphony of the second act seems to have gained strength in the number of its partisans ; whose admiration, if based on the beauty of its details and the scientific working of its subjects, is certainly founded on the ground of just criticism. To what extent counterpoint is available in the symphony, is a large consideration, and one on which the question of the merit of SPOHR'S creations in this kind chiefly hangs. Miss DOLBY rendered the fine scena " Bella mia fiamma" as a piece of vocal display ; in which, though we missed Mo- ZART, she herself was not very successful. It is a pity that this young lady, who would please if she gave vent to the impulses of her natural taste, attempts to electrify. Her " vaulting ambition" overleaps itself : instead of being paralyzed by stupendous low notes a la MALIBRAN, the audience perceive only guttural failure, and meanwhile good music is spoiled. We wish she would take advice, and resume her earlier style, which was very pleasing. Two movements from the Concerto in E minor of CHOPIN, admirably played as they were by M. Bunning, were scarcely fair to the author or composition as materials for forming a true judgment upon either. The first movement is the great movement of this composition ; the fol- lowing pieces in their several styles are graceful contrasts. They were, however, very well received. The aplomb of M. Bounius in perform- ing with the orchestra was remarkable: he brought the ornamental passages of the slow movement into time with delightful precision, and discovered in the rondo a firmness and variety of touch and an inde- pendence of the hands that were generally applauded. He is quite young, and must become eminent in his profession. At the rehearsal his playing was suspected to be weak, but it proved quite the reverse at the performance. The working-up or coda of the rondo, consisting of a long passage in octaves for both hands, was brilliant in the last de- gree: it was interesting to notice the exact degree of distinctness and force given to the passage in each hand. The Terzetto from Fidelio wanted the effect of dramatic situation.

After the Overture to Medic, Sir GEORGE SMART made his last public 'bow, and retired into private life, amidst a considerable tapping of fiddlesticks.