PHILHARMONIC CONCERTS.

Timm concerts, as they approach their termination, discover not only indolence, but palpable haste in the selection of their emnponent parts. Three pieces by one composer, (two of them from the same Opera,) two by another, and two by a third, form the scheme.

FIFTH CONCERT—MONDAY, AIRY 6.

ACC I.

Sinftmia in F, No. 8 Song, Mr. Putman, "Tears of sorr,:v.• " (TI Ow !anon)

Concerto, in F minor, Pianonnte. Mr. lioNNErr Scene, Madame STOCKBAUbEN, " Cruel tyran (Fide/iu) Overture, Euryanthe

ACT If.

Sinfonia, in E flat, No, 1 Duetto, Madame STOCKITAINEEt and MAIM. liti.o.rnm " Schein, halt fest " (Der Freischutz). Capriccio, with Swedish Airs, violoncello. m.nverA Terzetto, Mad:OUO STOCKBAOSEX, BILSTEIX. and Mr. PHILIAPS, Coragiio or on " (Fidclio)

Overture, Culypsu

*toter, Mr. Mont-Conductor, Sir O. SMART.

The Sinfonias of BEETHOVEN and SPOHR are among the annually- repeated instrumental compositions. The smaller fry of Sinfonia writers have, this year, been completely forgotten, and the four great writers have remained in complete possession of the field, We have no complaint against the Directors on this score. Let us have only the

best; but enough of excellence exists to admit of more variety than the annual recurrence of the same pieces.

The Concertos, insignificant in themselves, must not be dismissed without a remark. This is the third night (out ofjive) that Mr. BEN- RE:rr has been allowed to thrust his juvenile efforts among the compo- sitions of the great German masters. Some paltry and unworthy mo- tive, some hack-door influence, must be the cause of this. There must be some private purpose to serve, or, out of the number of clever writers with which London now abounds, one alone, having no pretensions superior to those which many of his contemporaries possess, would not

be thus, we must say, invidiously and impudently pushed ahead of them all, The Philharmonic Concert is not an arena for young musical competitors to display their "rising talents." Well-earned and esta- blished fame ought to he the only passport to admittance there. We

have no desire to underrate BENNETT'S real position. We think highly of his acquirements. He is a writer of promise, but not yet (and probably never will be) a writer fit for the Philharmonic Concerts. The folly of his (so-called) friends has rendered these remarks necessary : it is they who plot and contrive for him a nightly encounter to which lie IS utterly unequal, and of which the effect will be, not to increase his EIVR reputation, but to hasten the downward career of the Society. M. BATTA is another violoncello-player of the same pretensions as several who have year by year flitted across this orchestra, who coming Herr lovEN.

SPoll R.

W. S. BENNETT.

BEErilov EN.

C. M. vex WEBER.

SCOUR.

C. M. TON WEBER. B. ROMBERG.

TiEETROVER.

Wirrult.

like shadows have so departed, and have been allowed, for some in- scrutable reason, successively to appear in this hemisphere.

Madame STOCKHAUSEN'S return was greeted with rapturous applause. She sang the difficult scena from Fidelio admirably, but, most inju- diciously, to the worst of all European languages for vocal utterance. Why the French version (a very bad one) of this song should be allotted to a German in preference to the original, it would be difficult to say. The Duet from Der Freischutz was executed with perfect " con- sent of voices." PHILLIPS was very successful in the beautiful song from SPOHR'S Crucifixion.