11 May 1830

Johann Nepomuk Hummel’s Second Concert

London: Concert Room, King’s Theatre—Time: Evening, Two o’Clock

Tickets: 10s. 6d.; Boxes available

 Programme

Part I  
Overture, Don Giovanni Mozart
From Pirata: AriaSignor DonzelliBellini
Piano Concerto No.5 in A flat major (new)(by particular desire)Mr. HummelHummel
From Don Giovanni: DuetMme Stockhausen, Signor DonzelliMozart
Sonata for Two Pianos in [D major]Messrs. Hummel, MoschelesMozart
Duettino (MS)Mr. Phillips, Signor DonzelliHummel
Part II  
Swiss AirMme Stockhausen; Harp: Mr. Stockhausen 
Grand Septet No.2 in C major, Military for Piano, Violin,
Flute, Clarionet, Trumpet, Violoncello, Double Bass (MS)		Messrs. Hummel, Mori, Nicholson,Willman,
Harper, Lindley, Wilson 		Hummel
Duettino (MS)Mr. Phillips, Signor DonzelliHummel
Tyrolean Air with Variations (MS)Mme Malibran-GarciaHummel
Free Piano FantasiaMr. Hummel 
Principal Vocalists: Mesdames Malibran-Garcia, Stockhausen; Mr. Phillips, Signor Donzelli
Principal Instrumentalists: Messrs. Harper, Hummel, Lindley, Mori, Moscheles, Nicholson, Stockhausen, Willman, Wilson
Leaders: Mr. Nicolas Mori and Signor Paolo Spagnoletti; Conductor: Sir George SmartConductor, Sir GEORGE SMART. 

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Programme Notes: The two pianos used by Moscheles and Hummel for Mozart’s Duet were by Érard. 

Advertisements

Playbill

GREAT CONCERT ROOM,

KING’S THEATRE,

Mr. HUMMEL,

(Maitre de Chapelle de la Cour de Saxe-Weimar)

Has the honor to announce to the Nobility, Gentry, and the Public, that his

SECOND AND LAST

CONCERT

WILL TAKE PLACE IN THE ABOVE ROOM ON

Tuesday Morning, May 11, 1830,

TO COMMENCE AT TWO O’CLOCK PRECISELY.

VOCAL PERFORMERS.

Madame MALIBRAN GARCIA,

Madame STOCKHAUSEN,

Signor DONZELLI,

AND

Mr. PHILLIPS.

—————————

PRINCIPAL INSTRUMENTAL PERFORMERS.

Messrs. MORI, LINDLEY, NICHOLSON,

WILLMAN, HARPER and WILSON.

—————————

IN THE COURSE OF THE CONCERT

Mr. HUMMEL

WILL INTRODUCE (BY PRTICULAR DESIRE)

THE NEW MS. CONCERTO IN A FLAT,

A NEW MS. SEPTETTO MILITAIRE,

COMPOSED EXPRESSLY FOR THIS OCCASION,

A Grand Sonata by Mozart for Two Pianofortes,

WITH 

Mr. MOSCHELES,

Who has kindly promised his assistant;

AND

AN EXTEMPORANEOUS PERFORMANCE ON THE PIANOFORTE,

On which occasion Mr. HUMMEL requests any of the company to give him a written theme to perform on.

—————————

Leaders, Mr. MORI and Mr. SPAGNOLETTI.

Conductor, Sir GEORGE SMART.

—————————

Tickets, 10s. 6d. each, to be had of Mr. HUMMEL, No. 18, Great Marlborough Street; of Messrs. Lonsdale, and Mills, Mr. Chappell, Messrs. Mori and Lavenu, and Mr. Ebers, New Bond Street; Messrs. Cramer, Addison, and Beale, Regent Street; Mr. Welsh, Royal Harmonic Institution, 240, Regent Street; Mr. Willis, and Mr. Sams, St. James’s and Co. Cheapside; Mr. Betts, Royal Exchange; and of Mr. Seguin, Box Office, Opera House.

Boxes can be secured only by an early application to Mr. HUMMEL.

[GB-Lbl Playbills 320 r.]

Playbill

SCHEME 

OF MR. HUMMEL’S

CONCERT,

TUESDAY MORNING, MAY 11, 1830.

PART I.

Overture………………………………..(Don Juan.)…………………………………….Mozart.
Aria, Signor DONZELLI……………………(Pirata)…………………………………Bellini.
(By particular desire) New Pianoforte Concerto in A flat, Mr. HUMMEL…………..Hummel.
Duetto, Madame STOCKHAUSEN and Signor DONZELLI………..(Don Juan.)……Mozart.
Grand Sonata for two Pianofortes, Mr. HUMMEL and Mr. MOSCHELES……………Mozart.
New Duettino, (MS.) Signor DONZELLI and Mr. PHILLIPS………………………Hummel.

PART II.

Swiss Air, Madame STOCKHAUSEN, accompanied on the Harp by Mr. STOCKHAUSEN.
New Grand MS. Pianoforte Septetto Militaire, Mr. HUMMEL, Messrs. MORI, LINDLEY, 
     WILSON, NICHOLSON, WILLMAN, and HARPER…………………………… Hummel.
NEW DUETTINO, (MS.) Signor DONZELLI and Mr. PHILLIPS………………….Hummel.
A new MS. Tyrolean Air, with Variations, Madame MALIBRAN GARCIA………. Hummel.
Extemporaneous Performance on the Pianoforte, Mr. HUMMEL; on which occasion
     Mr. HUMMEL requests any of the Company to give him a written Theme to perform on.

—————————

To commence at Two o’Clock precisely.

[GB-Lbl Playbills 320 v.]

The Court Journal: Gazette of the Fashionable World, vol. 2 (May 1, 1830): 288.

 MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in General, that his Second and last CONCERT will take place on TUESDAY MONRING, the 11th May, at the Concert Room, King’s Theatre. Full particulars will be duly announced.

John Bull (May 2, 1830): 137.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his Second and LAST CONCERT will take place on TUESDAY MONRING, the 11th May, at the Concert Room, King’s Theatre. Full particulars will be duly announced.

The Atlas (May 2, 1830): 288.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his second and last Concert will take place on Tuesday Morning, the 11th May, at the Concert Room, King’s Theatre. Full particulars will be duly announced.

The Morning Post (May 4, 1830): 1.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his SECOND and LAST CONCERT will take place on TUESDAY MONRING, May 11, 1830, at the Concert Room, King’s Theatre. The most distinguished Vocal and Instrumental Talent have kindly promised their assistance. In the course of the Concert Mr. Hummel will introduce a new MS. Septetto Militaire, composed expressly for this occasion—Full particulars will be dully announced.

The Morning Post (May 7, 1830): 1.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his SECOND and LAST CONCERT will take place on TUESDAY MONRING, May 11, 1830, in the Concert Room, King’s Theatre. Madame Malibran Garcia, Madame Stockhausen, Signor Donzelli, and the most distinguished Vocal and Instrumental Performers have kindly promised their assistance. In the course of the Concert Mr. Hummel will introduce a new MS. Septetto Militaire, composed expressly for this occasion; a grand Sonata, by Mozart, for two Pianofortes, with Mr. Moscheles, who has kindly promised his assistance; and an Extemporaneous Performance on the Pianoforte, on which occasion Mr. Hummel requests any of the company to give him a written theme to perform on. Full particulars will be duly announced. Tickets, 10s 6d. each, to be had of Mr. Hummel, 18, Great Marlborough-street; and at all the principal Music Shops.—Applications for Boxes to be made to Mr. Hummel

The Morning Chronicle (May 8, 1830): 1.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his SECOND and LAST CONCERT will take place on Tuesday Morning next, May 11, in the Concert Room, King’s Theatre.—Madame Malibran Garcia, Madame Stockhausen, Signor Donzelli, and the most distinguished Vocal and Instrumental Performers have kindly promised their assistance. In the course of the Concert Mr. Hummel will introduce a new MS. Septetto Militaire, composed expressly for this occasion. A grand Sonata, by Mozart, for two pianofortes, with Mr. Moscheles, who has kindly promised his assistance; and an extemporaneous performance on the pianoforte, on which occasion Mr. Hummel requests any of the company to give him a written theme to perform on. Full particulars will be duly announced.—Tickets, 10s 6d. each, to be had of Mr. Hummel, 18, Great Marlborough-street; and at all the principal Music Shops. Applications for Boxes to be made to Mr. Hummel

John Bull (May 9, 1830): 144.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his Second and LAST CONCERT will take place on TUESDAY MONRING, May 11, 1830, at Two o’clock in the CONCERT ROOM, King’s Theatre. Vocal Performers—Madame Malibran Garcia, Madame Stockhausen, Signor Donzelli, and Mr. Phillips.—Principal Instrumental Performers—Messrs. Mori, Lindley, Dragonetti, Nicholson, Willman, and Harper. Madame Malibran will sing a new MS. Tyrolean Air with variations, expressly composed for her by Mr. Hummel, who will introduce, in the course of the Concert, a new MS. Septetto Militaire, composed for this occasion; a Grand Sonata by Mozart, for two Piano-fortes, with Mr. Moscheles, who has kindly promised his assistance; and an Extemporaneous Performance on the Piano forte, on which occasion Mr. Hummel requests any of the Company to give him a written theme to perform on.—Tickets, 10s 6d. each, to be had of Mr. Hummel, 18, Great Marlborough-street; and at all the principal Music Shops.

The Morning Chronicle (May 10, 1830): 1.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his SECOND and LAST CONCERT will take place TOMORROW MONRING, 11th May, at Two o’clock, in the Concert Room, King’s Theatre.—Vocal Performers:Madame Malibran Garcia, Madame Stockhausen, Signor Donzelli, and Mr. Phillips. Principal Instrumental Performers: Messrs. Mori, Lindley, Dragonetti, Nicholson, Willman, and Harper. Madame Malibran will sing a new MS. Tyrolean Air with Variations, expressly composed for her by Mr. Hummel, who will introduce in the course of the Concert, a new MS. Septetto Militaire, composed for this occasion; a Grand Sonata by Mozart, for two pianofortes, with Mr. Moschelles, who has kindly promised his assistance; and an extemporaneous performance on the pianoforte, on which occasion Mr. Hummel requests any of the Company to give him a written theme to perform on.—Tickets, 10s 6d. each, to be had of Mr. Hummel, 18, Great Marlborough-street; and at all the principal Music Shops.

The Morning Post (May 10, 1830): 2.

MR. HUMMEL has the honour to inform the Nobility, Gentry, and Public in general, that his SECOND and LAST CONCERT will take place TO-MORROW MONRING, 11th May, at Two o’clock, in the Concert Room, King’s Theatre. Vocal Performers:—Madame Malibran Garcia, Madame Stockhausen, Signor Donzelli, and Mr. Phillips. Principal Instrumental Performers:—Messrs. Mori, Lindley, Dragonetti, Nicholson, Willman, and Harper. Madame Malibran will sing a new MS. Tyrolean Air with Variations, expressly composed for her by Mr. Hummel, who will introduce, in the course of the Concert, a new MS. Septetto Militaire, composed for this occasion; a grand Sonata by Mozart, for two Pianofortes, with Mr. Moscheles, who has kindly promised his assistance; and an Extemporaneous Performance on the Pianoforte, on which occasion Mr. Hummel requests any of the company to give him a written theme to perform on.Tickets, 10s 6d. each, to be had of Mr. Hummel, 18, Great Marlborough-street; and at all the principal Music Shops.

Reviews

Evening Mail (May 10 to 12, 1830): 6.

MORNING CONCERT.

This day the celebrated Hummel gave his second morning concert at the great room in the King’s Theatre. The programme, may be supposed, announced an interesting entertainment to the lovers of pianoforte playing. Hummel performed his grand concerto in A flat, an elegant composition, well calculated to display the peculiar excellencies of his style of playing. To convey an idea of Hummel’s beautiful touch to those who have not had the happiness of hearing him would perhaps impossible, but may observe that it resembles that of J. B. Cramer. He possesses in an eminent degree that of finger which distinguishes our own great master, and which is totally the reverse of that hammering style into which even great pianists are apt to fall, in their efforts to produce effect. Hummel is singularly happy in the art of blending the one with another, so as to obviate the principal deficiency of the pianoforte, viz.—that staccato effect which is peculiarly unsuitable to slow movements. A sonata by Mozart was performed as a duet for two pianofortes Messrs. Moscheles and Hummel. This was an extraordinary trial of skill, and it would difficult to decide to which of the two great performers the palm of superiority should be awarded. But the chief attraction of the concert was Hummel’s extemporaneous performance, for which he requested any of the company to furnish him with written theme. This request was repeated from the orchestra by Sir G. Smart, and two written papers were handed up to Mr. Hummel. The first was an air, which alter playing over the modulated in chords in a variety of keys, and then launched into some brilliant and fanciful variations; after which he suddenly introduced the well-known air of the Flaxen-headed Cow-Boy, which we presume was the second theme presented to him. Upon this latter subject he also performed some exceedingly pretty variations, the whole forming elegant fantasia, which would have reflected no trifling degree of credit on the composer, had it been the result of deliberate study, instead of the mere off-hand effusion of the moment. Among the instrumental performances of the morning was military septetto, a manuscript composition of Hummel, played by Messrs. Hummel, Mori, Lindley, Wilson, Nicholson, Willman, and Harper. It was admirable composition, and need scarcely add that it was admirably performed. The vocal part of concert, which on this occasion was but of secondary interest, was executed by Mesdames Malibran and Stockhausen, Messrs. Donzelli and Phillips.

The Morning Post (May 12, 1830): 3.

HUMMEL’S SECOND CONCERT.

Notwithstanding the rehearsal of the music for the benefit of the Sons of the Clergy at St. Paul’s, M. HUMMEL’S Concert was numerously attended yesterday morning. The arrangements were such as to display his eminent abilities both as a performer and a composer in a very advantageous light. He repeated his beautiful Concerto in A flat, and gave it all the variety of light and shade which so fine a composition requires. A military septetto, by HUMMEL, for the pianoforte, violin, flute, clarionet, trumpet, violoncello, and double bass was performed for the first time by HUMMEL, MORI, NICHOLSON, WILLMAN, HARPER, LINDLEY, and WILSON, in a most masterly style. It is a composition of the highest order, consisting of four movements; the Adagio, Minuetto, and Finale, truly beautiful. Due prominence was given to each instrument; a Solo of a few notes on the trumpet was exceedingly effective, and excellently played by HARPER, though very difficult to execute piano. Great interest was manifested to hear the conjoint performance of HUMMEL and MOSCHELES; they played a Duet of MOZART’S (not much known in this country) on two of ERARD’S magnificent pianofortes, each performing his part in the finest imaginable style. Pianoforte playing in a large concert room usually loses much in effect, but this performance left nothing to be desired. It would be invidious to draw any comparison between these two great artists; each excels in his peculiar style; if one is distinguished by the soave, the other is equally so by the brillante, and the combination of their talents on this occasion produced every thing that is great and beautiful in piano-forte playing. As a finale to the Concert, Sir G. SMART requested that any person in the company would favour M. HUMMEL with a Theme on which he might extemporize. Two were handed up; one not very effective, and the other the glee of Drink Boys,” from The Vampyr; both of which he treated in the most ingenious manner. But as neither afforded him sufficient scope to display his capabilities to the best advantage, MORI (we believe) reminded him, after he had extemporized for some time, of SHIELD’S beautiful air “The Ploughboy,” which he immediately introduced, and caused the company to regret that he had not commenced with it, by the admirable style in which he managed it. The whole he worked up with the coda toMOZART’S finale to the first Act of Figaro, and concluded amidst hearty and lengthened applause from the audience, and from his brother artists in the orchestra. 

Two graceful duettinos of HUMMEL’S were sung [sic] by DONZELLI and PHILLIPS, than whom no vocalists could have rendered them fuller justice. STOCKHAUSEN warbled a pretty Swiss air delightfully, and MALIBRAN executed a most difficult fantasia, as we may with truth designate it, though announced in the hills as a “Tyrolean air with variations,” in a style of which she alone is capable; the compass is very great, and some of the variations far beyond the reach of most vocalists. This piece was also composed by HUMMEL. 

In his instrumentation, HUMMEL is second to none, and that he knows the power and capabilities of every one in the Orchestra, from the violin to the drums, he gave ample proof yesterday. A highly respectable Professor who was present, observed, that it was too much for any one man to be so great a Composer and so masterly a Performer too.” Certain it is, that the union of the theoretical and practical never displayed itself to greater advantage in any man, than it does in HUMMEL.

The Standard (May 12, 1830): 2.

Yesterday the celebrated Hummel gave his second morning concert at the great room in the King’s Theatre. [the rest is the same as advertised in the Evening Mail on May 10 to 12]

The Athenæum (May 15, 1830): 301.

HUMMEL’S SECOND CONCERT.

A more numerous assemblage of beauty and elegance never honoured the performance of any professor, than that which graced the Opera-room, on Tuesday morning. It was quite full, with a majority, we should suppose, of at least, ten to one of ladies. We shall confine our notice to the instrumental performances at this Concert, as being the most interesting from their novelty as well as excellence. We gave an account of the new Concerto, in A flat, by Mr. Hummel, in one of our previous numbers, and have no reason to alter our opinion of its various beauties. It was repeated on this occasion, by desire, and was performed if possible, with increased effect. We had afterwards the gratification of hearing a sonata of Mozart, for two pianofortes, performed by Hummel and Moschelles. As Mozart is one of the very few composers whose rare and unquestioned genius commands unanimous suffrage, we shall merely say, that the sonata was equally, as regarded the execution of both performers, and perfectly well played. It was quite delightful to see the two greatest Pianists of the present, or, perhaps, any period, disdaining the petty jealousies and rivalries that so frequently degrade the musical profession, and each supporting and honouring the talent of the other: it was an example of liberal feeling well worthy imitation. 

Hummel’s Grand MS. Septuor,☨ in the second  act, was the most perfect performance of its kind that we have ever heard; there is a beautiful combination of science and melody—an harmonious distribution of the parts, each being admirably adapted to the powers of the instrument it is written for, and an equality of arrangement, by which all are alternately distinguished and brought forward according to their respective capabilities. There are four movements: the first, a brilliant and effective allegro; the second, an adagio, or rather andante, exhibits a succession of beautiful and original motivi for all instruments. It is a musical conversation of the highest intellectual order, of which every sentence is sensible, elegant and appropriate. The Scherzo which followed is all light and life, gay, sparkling, enchanting—such, perhaps, as only Hummel can write—only Hummel can play. This observation will equally apply to the last movement which (if further proof were requisite,) would alone confirm his reputation as a practical musician; for we have no hesitation in saying, that nothing of greater difficulty was ever written for, or played on the pianoforte; at the same time both composition and performance were pure, classical and intelligible. Looking to the names of the performers, it is scarcely requisite to observe, that all the parts were played delightfully, not only with a true feeling of the author’s intentions, but also in the best manner of the distinguished artists who performed them.

The conclusion of the Concert was extemporaneous; and, in compliance with the request in the bill, which was read by Sir George Smart, and seconded, in very tolerable English, by Mr. Hummel, two-themes were offered by some of the audience;—the first, a ranz des Vaches, or Swiss air, (which, by the way, we are rather tired of); —the second, a few bars of something, we could not exactly understand of what description, but certainly not melody—an extract, we suspect, from some very inferior German production. Mr. Hummel appeared somewhat discouraged by the unprofitableness of the materials presented to him, but, of course, did not reject them. We wish he had done so. He commenced with an introductory adagio, followed by some light and playful variations on the Swiss air; he then modulated through a variety of keys into an elaborate fugue, in the progress of which he displayed all the enthusiasm of powerful genius, with the consummate art and refinement of the most profound musical science. Having submitted to the temporary restraint of the second theme, which he dismissed as soon as possible, he gave the reins to his imagination, and revelled in the mazes of melody and harmony, to the exquisite delight of his audience, and, we should suppose, his own entire satisfaction. During this most happy inspiration of talent and genius, he occasionally introduced a few bars of an old English song, “the flaxen-headed cow-boy,” which he played and sported with in a manner at once so masterly and so fascinating, that it might have been listened to for hours without a feeling of satiety. But enough of this. If Hummel plays again, we are determined to hear him; and if this Concert should be (as advertised) a “last performance,” its recollection will retain its place in the musical department of our memories when time shall have rendered us insensible to new sounds—incapable of receiving new impressions of melody. “Then will the harp of other days bring music to our souls,” and renovate us with the remembrance of its beauty and sweetness.

☨Instruments:–Pianoforte, Violin, Violoncello, Contrabrasso, Flute, Clarionet, and Trumpet. Performers:—Hummel, Mori, Lindley, Anfossi, Nicholson, Willman, Harper.

The Spectator (May 15, 1830): 309-310.

MR. HUMMEL’S SECOND CONCERT.

THE highly-gifted musician gave his second concert on Tuesday last. There was little variety in his second performance, as compared with the first; and indeed, if there had been, it must have been variety without improvement. HUMMEL is not a man to produce new sleight-of-hand tricks, or to excite gaping wonder by mere feats of manual dexterity. His playing is precisely what we expected to find it, the result of a genius alive to all the powers of his art, trained in the best of all possible schools—the school in which mind and thought are brought to bear upon every passage, and in which the heart is appealed to through the medium of the senses. He repeated his concerto in A♭, and we heard it with increased delight, as we should continue to hear it to the twentieth repetition. He then played, with MOSCHELES, a duet of MOZART for two pianofortes. Nothing could be more perfect than the concert with which this piece was executed; the unity of spirit, of expression, of colouring, was complete. A military septett for pianoforte, violin, violoncello, double bass, clarionet, flute, and trumpet, followed, in which every part was sustained with equal excellence. Any thing more perfect of its kind we have yet to hear. The concert closed with an extemporaneous performance. It had been announced in the bills that Mr. HUMMEL would descant on any theme which might be given him on the spot; and Sir GEORGE SMART having repeated his request to be so supplied, two themes were handed to him. The first was a trifling air of no notoriety, capability, or distinctive feature: the second was the drinking-chorus from MARSCHNER’S Vampyr. On the former he played some pleasing variations, treating it as it deserved; and not making a display of learning upon a theme of such slender materials. The second furnished a more ample scope for his talents; and here, with equal good taste, he poured forth of his abundance, enriching, inverting, replying, and addressing himself to the musicians rather than the fashionables of his auditory. For his concluding rondo he selected the well-known air of “the Plough-boy,”— an air which, at the time of his former visit to England, forty years ago, was at the height of its popularity; and which furnished him, as it had furnished DUSSEK, with an excellent theme for florid execution. His conclusion was more dazzling than any thing we had previously heard from him. 

Of the rest of the performance we are constrained to say something in our own defence. We advised Mr. HUMMEL to produce, at his next concert, some of his vocal music; but we certainly little expected to be treated with two duets about equal in merit to the easy Notturni of BLANGINI or SOLA, such as are put into young ladies’ hands when they first adventure part-singing—guiltless of modulation, and destitute of originality. We must say, in vindication of our own character as well as his, that these duets are wholly unworthy the author of Matilda; and that if his auditors were, from them, to judge of HUMMEL’S talents for vocal composition, their estimate would he as accurate as if they were to hear “Venus laughing,” or “Like the shadow,” as specimens of HANDEL’S powers as a choral writer.

The Harmonicon, vol. 8 (June 1830): 264.

In his second concert M. Hummel repeated his concerto, which we heard with increased pleasure. He afterwards played, with M. Moscheles, a duet for two piano-fortes, by Mozart, the execution of which was as perfect as was to be expected from two such masters. But we must add, heretical as the opinion may sound, that, though we should have guessed the author of the composition, yet it is not superior to many of his earliest and least striking works.

After this M. Hummel gave his new military septet, for piano-forte, violin, violoncello, contra-basso, flute, clarinet, and trumpet, which is full of masterly writing; and, what is of more importance, the effects are frequently original, and throughout pleasing. The present concert, as the last, terminated with an extemporaneous performance. He had previously invited the company to furnish him with a theme. This request was repeated by Sir George Smart, and produced two subjects, neither of which M. Hummel appeared much to relish, but at length introduced them, with some brilliant and learned descant; and finished with the very air, The Plough-boy, which he performed here when a boy, though he now treated it in a very different manner. The conclusion of this was one of the most splendid displays of piano-forte playing we ever heard, and left an impression on his auditory which will not easily be effaced.

M. Hummel, as a performer, is master of all styles, but excels rather more in the brilliant than the pathetic; though he never carries the former to excess. His touch is the true one, and more resembles Cramer’s than any we ever heard. The strength, and still more the equality, of his fingers, are among the distinguishing features of his playing; and the pendulum-like accuracy of his time is too remarkable not to be noticed by all who hear him; though he occasionally makes this yield to expression. Not, however, quite so often, or in so great a degree, as those, who have a strong predilection for that manner, which denotes much sensibility, would wish. His execution is perfect, but we believe that he does not consider great rapidity as an essential quality. We observed, and with infinite satisfaction, that his allegro movements were considerably slower than most of the pianists of the present day would have taken them. His good sense teaches him that great velocity renders it next to impossible to discern the delicacy of an air, or the beauty of a modulation; that racing and leaping on the piano-forte are generally resorted to by those who are conscious of possessing none of the higher powers, and feel obliged to supply the want of pure taste and deep feeling, by mechanical dexterity.We shall close this account by saying, that M. Hummel  has every reason to be satisfied with his reception here, and that we may congratulate ourselves on his having included this country in the tour he is making through Europe, previously to his finally settling in his native country, and devoting the rest of his life to the enjoyment, with his family, of that handsome independence which his talents and industry have acquired.