TIIE PHILHARMONIC CONCERTS.

EVERY thing moves in the Philharmonic Society by fits and starts —by impulse and whim, and not according to any well-matured arrangement. Last year pianoforte concertos and fantasias were all the rage ; this season the violin is the favourite instrument; last year we had five concertos or fantasias for the former, and we have already reached to four of the latter. This shows a total absence of plan. It is just as it may happen; for no reason ap- pears, or can be assigned, for this alternation. And as to singing

but more of this anon. Here is the scheme.

FIFTH CONCEUT—SIONDA Y, MAY 5.

ACT I.

Sinfonia in G Minor MOZART.

Song. Mr. 1'1111.1.1PS, " Now Ileaveu in fullest glory," ((reation) HAYDN. Variations awl Rondo. Pianoforte, M. IIERZ 11 £57.

Aria, Signora " Di pincer." (La Gazza Ladra) Ross's!.

Oweiture et Marche Triomphale Ries.

acr it: Sittfonia in D A. Rosman°.

Aria, M. h•ANTIOFF, tin gad di," (Anna &Plena) MONIZETTI.

Concerto Violin, Mr. Most BE ernoveN.

DurDo. Signor-i G. Glust and M. IVA:1110PP. " Fume on di," (La (itzza Ladra) flossrNI.

Overture, Der Freischatz C. M. VON WEBER.

Leader. Mr. SPAGNOLETTI—COIldlICIOf. Mr. CIPRIANI POTTER.

Suppose we begin with the novelty, RIES'S Overture; for it is a novelty—a true, undoubted original, and warranted no copy. It is something like a letter written in cipher; which at first ap- pears a strange and chaotic scrawl—by degrees a gleam of light darts on the sheet—letter after letter assumes its true form, word after word moulds itself into shape, and at length the meaning stands before you palpable and plain. Even thus it was with this Overture : at the first hearing it was almost darkness, at the se- cond we caught a glimpse of the author's meaning, at the third it was manifest. It intends (so we read it) to describe the Lord Mayor going to proclaim Bartlemy Fair : a happy thought, sug- gested, probably, during the author's last visit to London. Nor let thy lip, reader, curl up a contemptuous smile : JONSON, the learned .1oNsoN, found a theme for his muse in this ancient and civic festivity ; and why should it not give a musical impulse to the mind of Rms.? Thus, then, we read it. The Lord Mayor descends the 14Iansionhouse stairs—a flourish of trumpets and the shouts of the people announce him seated in the state carriage— it moves—the bells of Bow mingle with the roll of stages, carts, and wagons—the roar of Cheapside increases—the stage-coach encounters an omnibus at the corner of the Old Bailey, and over- turns it—shrieks of the passengers—confusion in the street—the noise subsides—the Lord Mayor approaches Newgate—partakes the cool tankard with the worthy Governor—respectful silence reigns, interrupted only by the distant thump of the drum, and echo of trump and horn : the procession moves on, tile precise notes of the civic trumpeters being introduced *—the crowd, driven onwards by the City Police, rush through Giltspur Street—the noise increases—the Lord Mayor enters Smithfield, and the fair is proclaimed : the rival bands of WOMBWELL and RICHARDSON are heard—salt-boxes rattle, cymbals clash, whistles shriek, penny trumpets squeal—" What dye buy ? what d'ye lack? rattles, drums, horses, dolls, gingerbread 1" To this din of voice, wood,

• The rcal Lord Mayor's trumpeters were employed ou this occasion.

and metal, the roar of lions, tigers, and hytenas, forms a fine ap- propriate bass ; and thus the Overture concludes.

We have ventured to describe this unique and graphic compo- sition, but modesty forbids our offering an opinion on its merits.

The audience, for the want of our programme, listened in igno- rant amazement ; and the Overture received about three plaudits and five hisses. We respectfully tender our description to the J. rectors for insertion in the concert-bills at the next time of per- formance.

There was another novelty in the evening's entertainment: HERZ was hissed. Start not, frown not, fair and fashionable reader! Our simple duty is to relate the truth, melancholy though it be. We have cudgelled our brains to account for this catas- trophe, and this appears the most probable solution. We ima- gine that the eminent pianist had two engagements on Monday evening—one to play at a quadrille party, and the other to ex hibit at the Philharmonic. Men of genius are proverbially ab sent ; and we conjecture that his imagination metamorphosed the sober and classical audience of the Hanover Square Room into the gay votaries of the dance. Certain it is, that, instead of a pianoforte concerto, we heard a set of quadrilles. It is possible that the disapprobation was levelled at the Directors ; who, if they really had been aware of what had been provided for the audience, ought to have caused the removal of the benches, that themselves and the company might have profited by the oppor- tunity. Then, indeed, the scene would have been complete. Think of JOHN CRAMER, MOSCHELES, HORSLEY, POTTER, No- VELLO, BISHOP, and Sir GEORGE SMART dancingIo HERZ'S play- ing--what an apt tribute to his genius l—instead of remaining, as they all (lid, quiet and motionless auditors. And thus much for the " unprecedented novelty" (to adopt the Drury Lane phrase) of the evening.

The vocal pieces—with the exception of an oratorio song, not very appropriately placed man evening concert—were stale enough, and one of them " weary and flat." It is hopeless to preach any longer upon this subject. The question may be considered as de cided—the Philharmonic concert is, for the future, to be made up with the leavings of the preceding Saturday's opera. And this arrangement saves trouble, spares the necessity of rehearsals, and shortens the fatigue of thinking and preparing.

But was there not one bright spot in the scheme ? Yes – MORI'S Concerto, even though the fourth of the season. A cons position by BEETHOVEN, played by Moat in his best style, is suf- ficient to counterbalance a good deal of trash. For a general audience, the first movement is somewhat long; but on this occa- sion our appetite for good music was keen, and we enjoyed every bar of it.