PHILHARMONIC CONCERTS.
MoNnav night's Philharmonic was not one of the best of the present season. The seventh and eighth concerts rarely are so in any season. The Directors usually expend the most favourite Sinfonias during tbe earlier nights ; and the wear and tear of May, which has this year been "most musical, most melancholy," indisposes all parties for any extra exertion of research or rehearsal. Nothing is got up at the close of the season, but the best pieces that remain of the stock list are usually taken.
SEVENTH CONCERT.
HAYDN.
Ross;NI. Sintonia, Erolc
Aria. Mrs. SRAM'. '•Alt. ell io alluto " Trio, Mrssrs.l.ircom,r, Cltot'Clr, SO141 DRAM/NETT!
Scene, Madame Vans, " Summo Ciel" (Rum° e Ointiettn) Overture, MS. 'The Naiades"
BE ET IloVEN. NI EY SABLES. PORELLI.
ZINOARELLL W BENNETT.
Sinfonia in C
Duette, Madame PASTA nun Mrs. SHAW, " VOITOI "
(Otelle) '
mouse.
Quartet, No, I from the set dedicated to Haydn, Messrs. ELIAEON, DANDO. TOLBEQUE, and LINDLEY Aria, Mr. HALVE, "Oh qual di pene" (Jessonda) SPOOR. Overture, "Ulysses and Circe" H. RO/ABIRO,
Leacter, Mr. Warcasst.—Conductor, Mr. Humor.
The Eroica Sinfonia of BEETHOVEN justly ranks among his best compositions of that class, albeit somewhat of the longest. That of HAYDN was, doubtless, selected by way of contrast to it ; for no two Sinfonias could stand in more complete opposition to each other theta those which began the first and second acts. So far the choice was a judicious one; but it may be questioned whether the latter was worth revival in preference to many others by the same author. This Sin. fonia was one of HAYDN'S early compositions, written after the model of VANUA', and very little, if at all superior to some which he pro. duced. HAYDN had not then felt his own power to create a new style, and was content to copy that of others. PLEYEL, we suppose, is erased from the list of performable writers ; but several of his Sinfonias have a more onginal and pleasing character than this of HAYDN. It was the composer, doubtless, not the composition, that was expected to justify the selection. BENNETT'S Overture had been played at one of the British Concerts—a fitter place for such a compo. sition than the Philharmonic orchestra. The degrees of merit are comparative, and this Overture, which among other juvenile produc- tions was justly entitled to a high rank, sunk to a very inferior one in its present collocation. The Trio of CORELLI is always a welcome addition to any concert. By way of change, if for no other reason), it might now and then as well be played by the instruments for which it was written ; or, if this Trio must be regarded as the exclusive pro. perty of the three individuals who played it, others of equal beauty will present themselves to the notice of the Directors. The Quartet of MOZART deserved more attention than many of the audience seemed disposed to give it ; and the last Overture played the sub. scribers (auditors they could not be called) out of the room. PASTA sung in better tune than we have heard her during her pre- sent visit ; but the first motivo of her song, which has sufficient in- trinsic beauty to recommend itself to any audience, was smothered under an overwhelming load of roulades, and broken into fragments by pauses without end. The Duet was insipid enough. BALM'S Song was a novelty, and one of his own introducing, lie has familiarizea himself with SPOIIR'S style since his return to England, and sung this beautiful ,air (" Der Kriegeslust ergeben " of the original opera) with ability and success.
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