7 MAY 1831, Page 17


THE announcement of Fitaxcom CRAMER'S concert is a signal to all the first instrumentalists of London to meet their respected leader in the orchestra ; and it ought similarly to operate upon those noble indivi- duals (we mean noble only by rank) who have so long enjoyed the ad- vantage of his eminent services at the concerts which they attempt to direct. That it did not so operate, is only one proof among a hundred, that mere respectability of character, eminence of talent, and length of service, command but little of the patronage of the fashionable world. Highly as we estimate Mr. F. CRAMER, we must be allowed to say, that in the scheme of his concert on Monday night, there appeared to be too confident a reliance on his personal claims to public support ; for it con- tained a mere series of commonplace airs, neither judiciously selected nor well arranged. "Honour and arms" is excellent in its place ; but after the excitement of one of BEETILOYEN'S Sinfonias, it is like a draught of very small beer. Miss Massoa's " Cite faro seuza Euridice " was the best vocal effort of the evening ; .7vIadame Fuzzes "Se amore sol tante (PACINJ, of course), the worst. In addition to other defects, there was not a bar, from one end to the other of the song, sung in tune. " Lascia amor," " Crudel perche," and such like, made up the vocal part of the scheme. We have some reason also to complain, at Mr. CRAMER'S concert, that this tiresome succession of songs was not relieved by some glee or other concerted piece. Where were the KNIVETTS and VAUGHAN ? They were not wont to be absent on this night. We had to regret also the want of a pianoforte concerto from Jour. CRAIIHR. Be was in the orchestra, and Mrs. ANDERSON played. Now, with all possible respect for her talent, we cannot regard the substitution of the lady for the gentleman as an improvement. The concertos of the latter are like angels' visits, few and far between, and we cannot afford to lose one of them. The Sinfonias and Overtures were admirably played : the Overture to Der Freischilts was encored, and it was the only piece, vocal or instrumental, that seemed to excite the least enthusiasm in the audience.