13 October 1828

First Subscription Concert by William Gutteridge

Brighton: Assembly Rooms, Ship Hotel

Time: Evening, Eight o’Clock

Tickets: £1. 8s. for four Concerts;

Family Tickets to admit 3 £3. 16s. for four Concerts [Non-Subscribers]: 10s. 6d., Gallery, 3s.

Programme

Part I
Overture, Semiramide		Rossini
From Otello Duet, ‘Non m’inganno, al mio rivale’	Signor Curioni, Mr. Schütz	Rossini
From La donna del lago Aria, ‘Oh! quante lagrime’	Mme Schütz	Rossini
Harp Concertino Reminiscences of Scotland, incl. ‘Scots wha hae wi’ Wallace bled’, ‘A Highland lad my love was born’, ‘Robin Adair’	Mr. Bochsa	Bochsa
From Mosè in Egitto Duet, ‘Ah! Se puoi cosi lasciarmi’	Mme Schütz, Signor Curioni	Rossini
Grand Piano Variations on a Military March with Orch. Accomp. (Alexander Variations)	Mr. Moscheles (first performance in Brighton)	Moscheles
Variations	Mme Schütz	Rode
Trio, ‘Dopo due lustri’	Mme Schütz, Mr. Schütz, Signor Curioni	Paër
Part II
Quartet, for Voice, Piano, Flute, Violin, incl. an Air by Blangini	Mme Schütz, Messrs. Moscheles, Bochsa, Gutteridge	Moscheles
Cavatina, ‘Ella il mio cor feri’	Signor Curioni	Pacini
From Don Giovanni Duet, ‘Mädchen wie ich dich liebe’ (from the Italian ‘Là ci darem la mano’)	Mme Schütz, Mr. Schütz	Mozart
Free Piano Fantasia	Mr. Moscheles
‘La Tyrolliene’	Mme Schütz; Harp Obbligato: Mr. Bochsa	J. Payer
Symphony Fragment		Haydn

Principal Vocalists: Mme Schütz; Mr. Schütz, Signor Curioni

Principal Instrumentalists: Messrs. Bochsa, Gutteridge, Moscheles

Leader: Mr. William Gutteridge; Conductor: Mr. Robert Bochsa

———————————

Programme Notes: In the review by the Brighton Gazette the cavatina was referred to as ‘Essa il mio cor feri’ whereas it was advertised as ‘Ella il mio cor feri’. The Brighton Guardian and the Brighton Herald advertised the cavatina Margeritta D’Anjou by Bochsa and Meyerbeer instead, however according to the reviews it was Pacini’s cavatina that was performed.

Moscheles: Auch eine kleine Excursion nach Brighton und sein dortiges Spielen im Subscriptions-Concert, fällt in diesem Herbst.
Meine Stücke —Alexander-Variationen—Abschied des Troubadours und Phantasie über „Last rose of Summer” und „God save the King”—waren der dort versammelten fashionablen Gesellschaft eben recht, und sehr recht; das circa halbe Orchester mir aber ganz unrecht. [AML I, 201-202.]

The Brighton Guardian, Lewes Free Press, and Sussex, Surrey, Kent, and Hampshire Journal (October 1, 1828): 1.

ASSEMBLY ROOMS, OLD SHIP.

——

MR. GUTTERDIGE has the honor to inform the Nobility, Gentry, the Visitors at Brighton, and the Public, that his FIRST SUBSCRIPTION CONCERT will take place on MONDAY, the 13th of October next, at the above Rooms, on the great scale of former years.

Principal Performers—MADAME SCHUTZ, Prima Donna at the Opera Italian, Paris, and King’s Theatre, London, her first appearance in Brighton; SIGNOR CURIONI, and MR. SCHUTZ. Grand Piano Forte, MR. MOSCHELES, his first and only appearance at Brighton. Harp, MR. BOCHSA. Leader, MR. GUTTERIDGE. Conductor, MR. BOCHSA.

In the course of this Concert, will be Sung a Selection from the most admired works of Mozart, Beethoven, Weber, Rossini, Blangini, &c. &c. &c., in German, Italian and French.

Full particulars will be dully announced.

The principal performers who will appear in the course of the series are—Madame CARADORI, Miss PATON, Miss STEPHENS, Madame STOCKHAUSEN, Madame De VIGO, Mr. BRAHAM, Mr. PHILLIPS, Mr. SEGUIN, Messrs. SPAGNOLETTI, NICHOLSON, LINDLEY, BROOKS, DRAGONETTI, SPAGNOLETTI, and STOCKHAUSEN.

Subscribers’ names received at the Music Warehouse, 16, Castle-square. Single Admission Ticket for four Concerts, £1 8s. Family Ticket, admitting three persons to four Concerts, £3 16s. Single Admission Ticket for one concert, 10s. 6d.

Brighton Herald; or Sussex, Surrey, Hampshire, and Kent Advertiser (October 4, 1828): 2.

ASSEMBLY ROOMS, OLD SHIP.

——

MR. GUTTERDIGE has the honor to inform the Nobility, Gentry, the Visitors at Brighton, and the Public, that his

FIRST SUBSCRIPTION CONCERT

Will take place on MONDAY, the 13th of OCTOBER NEXT, at the above Rooms, on the great scale of former years.

PRINCIPAL PERFORMERS:—

MADAME SCHUTZ,

Prima Donna at the Opera Italian, Paris, and King’s Theatre,

London, her first appearance in Brighton;

SIGNOR CURIONI, AND MR. SCHUTZ.

Grand Piano-Forte………………..MR. MOSCHELES,

his first and only appearance at Brighton.

Harp—MR. BOCHSA.

Leader—MR. GUTTERIDGE. Conductor—MR. BOCHSA.

In the course of this Concert, will be Sung a Selection from the most admired works of Mozart, Beethoven, Weber, Rossini, Blangini, &c. &c. &c., in German, Italian and French.

☞Full particulars will be dully announced.

The principal Performers who will appear in the course of the series are—

Madame CARADORI, Miss PATON, Miss STEPHENS,

Madame STOCKHAUSEN, Mad. de VIGO,

Mr. BRAHAM,

Mr. PHILLIPS, Mr. SEGUIN,

Messrs. SPAGNOLETTI, NICHOLSON, LINDLEY,

BROOKS, DRAGONETTI, , and STOCKHAUSEN.

Subscribers’ names received at the Music Warehouse, 16, Castle-square. Single Admission Ticket for four Concerts, 1l 8s. Family Ticket, admitting three persons to four Concerts, 3l 16s. Single Admission Ticket for one concert, 10s. 6d.

The Brighton Guardian, Lewes Free Press, and Sussex, Surrey, Kent, and Hampshire Journal (October 8, 1828): 1.

ASSEMBLY ROOMS, OLD SHIP.

——

PROGRAMME.

PART I.

Overture—(first time in Brighton)—SEMIRAMIDE . .	Rossini.
Duetto—Signor CURIONI and Mr. SCHUTZ—Non
m’inganno—OTTELO . . . . . . . . . . . . . . . . . . . . . . . .	Rossini.
Aria—Madame SCHUTZ—Oh quante lagrime—LA
LA DONNA DEL LAGO . . . . . . . . . . . . . . . . . . . .	Rossini.
Concertino—Harp—Mr. BOCHSA—“The Reminisc-
cences of Scotland,”—(as performed by him
at his last Concert in London) . . . . . . . . . . . . . . . . . . . .	Bochsa.
Duetto—Madame SCHUTZ & Signor CURIONI,—
Ah se puoi—MOSE IN EGITTO	Rossini.
Fantasia—Grand Piano Forte—Mr. MOSCHELES,
(his first and only performance in Brighton)	Moscheles.
Rode’s celebrated Variations—Madame SCHUTZ
Trio—Madame SCHUTZ, Signor CURIONI, & Mr.
SCHUTZ—Dopo due lustri . . . . . . . . . . . . . . . . . . . .	Paer.

PART II.

Quartetto—For Voice, Piano Forte, Harp, & Violin,
Madame SCHUTZ, Mr. MOSCHELES, Mr.
BOCHSA, & Mr. GUTTERIDGE—(in which will be intro-
will be introduced a favourite air by Blangini.)	Moscheles.
Cavatina—Signor CURIONI—MARGHERITTA
D’ANJOU. . . . . . . . . . . . . . . . . . . . . . . Bochsa &	Meyerbeer.
Duetto—Madame SCHUTZ and Mr. SCHUTZ—DON
GIOVANNI (in German) as composed ori-
ginally by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	Mozart.
Extemporaneous Performance—Grand Piano Forte
—Mr. MOSCHELES . . . . . . . . . . . . . . . . . . . . . . .
LA TYROLIENNE—Madame SCHUTZ—Harp
Obligato—Mr. BOCHSA . . . . . . . . . . . . . . . . . . .	J. Payer.
Fragment of Sinfonia . . . . . . . . . . . . . . . . . . . . . . . . .	Haydn.
The Concert to commence at Eight o’Clock

Brighton Gazette (October 9, 1828): 2.

ASSEMBLY ROOMS, OLD SHIP.

SCHEME OF MR. GUTTERIDGE’S FIRST SUBSCRIPTION CONCERT, on MONDAY Evening, OTOBER 13, 1828.

Principal Performers—MADAME SCHUTZ, Prima Donna at the Opera Italien, Paris, and King’s Theatre, London, her first appearance in Brighton; SIGNOR CURIONI, and MR. SCHUTZ. Grand Piano Forte, MR. MOSCHELES, his first and only appearance at Brighton. Harp, MR. BOCHSA.

Leader, MR. GUTTERIDGE. Conductor, MR. BOCHSA.

PART I.

OVERTURE—(First time in Brighton)—SEMI-
RAMIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	Rossini.
DUETTO—Signor CURIONI and Mr. SCHUTZ
—Non m’inganno—OTTELO . . . . . . . . . . . . . .	Rossini.
ARIA—Madame SCHUTZ—Oh quante lagrime
—LA DONNA DEL LAGO . . . . . . . . . . . . . .	Rossini.
CONCERTINO—HARP—Mr. BOCHSA—“The
Reminiscences of Scotland,” (as performed by
him at his last Concert in London). . . . . . . . . .	Bochsa.
DUETTO—Madame SCHUTZ and Signor CU-
RIONI—Ah se puoi—MOSE IN EGITTO	Rossini.
FANTASIA—Grand Piano Forte—Mr. MO-
SCHELES—“Fall of Paris,” by particular
desire, (his first and only performance in
Brighton) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	Moschelles.
RODE’S CELEBRATED VARIATIONS—Madame
SCHUTZ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TRIO—Madame SCHUTZ, Signor CURIONI,
And Mr. SCHUTZ—Dopo due lustr! . . . . . . . .	Paer.

PART II.

QUARTETTO—For Voice, Piano Forte, Harp,
and Violin—Madame SCHUTZ, Mr. MO-
SCHELES, Mr. BOCHSA, and Mr.
GUTTERIDGE—(in which will be intro-
duced a favourite air by Blangini) . . . . . . . . . .	Moscheles.
CAVATINA—Sig. CURIONI—Ella il mio cor feri	Paccini.
DUETTO—Madame SCHUTZ and Mr. SCHUTZ
—DON GIOVANNI (in German) as com-
posed originally by . . . . . . . . . . . . . . . . . . . . . . .	Mozart.
EXTEMPORANEOUS PERFORMANCE——Grand
Piano Forte—Mr. MOSCHELES . . . . . . . . . .
LA TYROLIENNE——Madame SCHUTZ—
Harp Obligato, Mr. BOCHSA . . . . . . . . . . . . .	J. Payer.
Fragment of SINFONIA . . . . . . . . . . . . . . . . . . .	Haydn.

Doors will be opened at half-past Seven, and the Concert to commence at Eight o’Clock.

Subscribers’ names received at the Music Warehouse, 16, Castle-square, where books of the words may be had. Single Admission Ticket for four concerts, £1 8s. Family Ticket, admitting three persons to four concerts, £3 16s. Single Admission Tickets for once concert, 10s. 6d. Admission to the Gallery 3s.

Brighton Herald; or Sussex, Surrey, Hampshire, and Kent Advertiser (October 11, 1828): 2.

Assembly Rooms, Old Ship.

MR. GUTTERDIGE has the honor to inform the Nobility, Gentry, the Visitors at Brighton, and the Public, that his

FIRST SUBSCRIPTION CONCERT

Will take place on MONDAY, the 13th of OCTOBER NEXT, at the above Rooms, on the great scale of former years.

PRINCIPAL PERFORMERS:—

MADAME SCHUTZ,

Prima Donna at the Opera Italian, Paris, and King’s Theatre,

London, her first appearance in Brighton;

SIGNOR CURIONI, AND MR. SCHUTZ.

Grand Piano-Forte………………..MR. MOSCHELES,

his first and only appearance at Brighton.

Harp—Mr. BOCHSA.

Leader—Mr. GUTTERIDGE. Conductor—Mr. BOCHSA.

PROGRAMME.

PART I.

OVERTURE—First time in Brighton)—SEMIRA-
MIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	Rossini.
DUETTO—Signor CURIONI and Mr. SCHUTZ
—Non m’inganno—OTTELO . . . . . . . . . . . . . .	Rossini.
ARIA—Madame SCHUTZ—Oh quante lagrime—
—LA DONNA DEL LAGO . . . . . . . . . . . . . . . .	Rossini.
CONCERTINO—Harp—Mr. BOCHSA—“The
Reminiscences of Scotland”—(as performed
By him at his last Concert in London). . . . . . . . . .	Bochsa.
DUETTO—Madame SCHUTZ and Signor CU-
RIONI—Ah se puoi—MOSE IN EGITTO. . . . . .	Rossini.
FANTASIA—Grand Piano Forte—Mr. MOSCHE-
LES—“Fall of Paris,” by particular desire,
(his first and only performance in Brighton)	Moscheles.
RODE’S CELEBRATED VARIATIONS—Madame
SCHUTZ.
TRIO—Madame SCHUTZ, Signor CURIONI,
And Mr. SCHUTZ—Dopo due lustri . . . . . . . . . . .	Paer.

PART II.

QUARTETTO—For Voice, Piano Forte, Harp,
and Violin—Madame SCHUTZ, Mr. MOS-
CHELES, Mr. BOCHSA, and Mr. GUTTE-
RIDGE—(in which will be introduced a
favourite Air by Blangini) . . . . . . . . . . . . . . . . . .	Moscheles.
CAVATINA—Signor CURIONI—MARGERITTA
D’ANJOU. . . . . . . . . . . . . . . . . . . . . . . Bochsa &	Meyerbeer.
DUETTO—Madame SCHUTZ & Mr. SCHUTZ
—DON GIOVANNI (in German) as composed
originally by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	Mozart.
EXTEMPORANEOUS PERFORMANCE—Grand Pi-
ano Forte—Mr. MOSCHELES
LA TYROLIENNE—Madame SCHUTZ—Harp
Obligato—Mr. BOCHSA . . . . . . . . . . . . . . . . . . . .	J. Payer.
FRAGMENT OF SINFONIA . . . . . . . . . . . . . . . . . . .	Haydn.

Doors will be opened at half-past seven, and the Concert to commence at Eight o’Clock.

Subscribers’ names received at the Music Warehouse, 16, Castle-square, where books of the words may be had. Single Admission Ticket for four Concerts, 1l. 8s. Family Ticket, admitting three persons to four Concerts, 3l. 16s. Single Admission Ticket for one Concert, 10s. 6d.

☞It is respectfully announced that no person can be admitted into the Concert Room during the Rehearsal.

Reviews

The Brighton Guardian, Lewes Free Press, and Sussex, Surrey, Kent, and Hampshire Journal (October 15, 1828): 3.

Mr. Gutteridge’s first Concert.—Gutteridge opened the campaign for the winter, on Monday evening last, with a degree of spirit and energy, which cannot fail to insure him success, and which we hail as a happy omen of the approaching gay and festive season. His bill, which was stronger in the instrumental than in the vocal department, was ample and attractive, and exhibited the names of Moscheles, of M. and Mdme. Schutz, who were all new to a Brighton audience. Moscheles is too well known and admired to require any eulogium from our pen: the lady has not been long in England, and is not so generally known. Her qualifications are of a very superior order and will render her a general favorite. Her voice, though not possessing any extraordinary powers or very extensive compass, is extremely melodious; her general style as a singer is highly pleasing, and her face and person prepossessing in the extreme. The chief drawback to the pleasure we derived from her performance consisted in the inequality of enunciation; while some of the higher notes were unnecessarily prominent and loud, the lower tones went frequently inaudible or indistinct to those at the lower end of the room. M. Schutz has a good bass voice and is considered a skilful musician. The orchestra (especially when we reflect that the p resent was the first concert this season) was extremely well disciplined, and the beautiful Overture to Semiramide has executed in a style which did ample justice to the exquisite music of Rossini. The effect suffered a little from the loud stamping of the conductor, interrupting unnecessarily the fine commencement of this beautiful composition. Curioni, in a duet with M. Schutz, from Rossini’s Otello, displayed (especially in the concluding couplet) more energy than we ever witnessed in this able, but occasionally, apathetic singer. Mdme. Schutz next sang an air from the same pieces “Oh! quante lagrime,” in which she was admirably supported by the Orchestra, who played the accompaniment, in a transposed key, with correctness and tack which did them infinite honour. Bochsa then gave on the Harp his “Reminiscences of Scotland” in which he introduced with great effect, some of the most popular Scotch airs, as “Scots wha hae wi’ Wallace bled;” “A Highland lad my love was born,” and “Robin Adair;” many of his cadences in the latter melody were eminently beautiful subdued the auditory to almost breathless silence. Curioni and Madame Schutz then sang most sweetly a duet from Rossini’s Mose in Egitto; which was followed by Moscheles, splendid performance on the piano “The Fall of Paris,” the power and brilliancy of which were unrivalled, and excited the unmingled admiration of all present. Madame Schutz then sang the well known air with variations, by Rode, and acquitted herself with great eclat, though, we are of opinion, that the song is not exactly adapted to her powers of voice. A Trio by Paer, closed the first portion of the evening’s performance, which we must observe, en passant, was somewhat too long, especially in comparison with the second part which was considerably shorter. The second part commenced with a quartet, in which Madame Schutz sang with accompaniments on Piano, Harp, and Violin, Moscheles, Bochsa, and Gutteridge. Curioni followed in a cavatini by Pacini, with much feeling and force; and M. and Madame Schutz sang, in an exquisite style, to the original German words, the beautiful air in Mozart’s Don Giovanni, “La ci darem.” Moscheles followed with an Extemporaneous Performance on the Grand Piano, to describe the various excellences of which is impossible, since such an effort must be witnessed in order duly to be appreciated. We can only say, in general terms, such was the finished effect of the whole, that this improvisatore attempt might have passed for a studied performance. The snatches of melody in the form of airs, &c., which he introduced were so beautifully, that we are convinced, if copied and published, they could not fail to become general favorites; while the fine national anthem, God save the King, (with impromptu variations of the most brilliant and fanciful kind) formed a splendid climax to this truly wonderful production of science. Such an effort is, in fact, the perfection of art, and we can neither conceive nor desire any thing beyond it. Madame Schutz sang one of the wild Tyrolese airs with all its native sweetness, yet (probably from exhaustion, for this was her seventh song) we noticed that indistinctness to which we have before alluded, and which we think she would do well to guard against in general. A fragment of Haydn’s composition closed the performance of the evening. The room was very well attended, though (doubtless from the early period of the season) it was not quite so crowded as we have seen it before. We know not how to conclude without adverting to the arduous efforts of Mr. Gutteridge, and without claiming for him that support which his liberality and spirit deserve. Those who are aware of the difficulty, toil, and expence of getting up an entertainment of this nature, will appreciate his efforts the more, when we remind them, that he was the first to establish these concerts, at a time when such undertakings were considered hopeless and calculated to overwhelm their projector with failure and loss. He has, however, persevered until he has succeeded in establishing a series of these delightful amusements; he has increased the attractions of the place, and enlarged our sphere or refined gratifications, thus encouraging an elegant and refined taste among us. The brilliant soirée of Monday last affords fresh pledge of his zeal in the public caused and we sincerely wish him all success in his ensuing career.

We are happy to hear that Madame Schütz remains in Brighton for a few weeks, and intends giving lessons in singing. Madame S. is at the old Ship.

Brighton Gazette (October 16, 1828): 3.

SUBSCRIPTION CONCERTS.

The first the concerts for the present season took place on Monday the Old Ship, and was numerously attended. The evening’s performances were far more attractive than at the first concert last year, proof of which we need only mention that Moscheles and Madame Schulz both appeared for the first time in Brighton, and that the latter sang with her husband some of the original German words from Don Giovanni. With Moscheles, the principal feature and charm of the concert, we shall begin. He played in three pieces,—his own celebrated “Fall of Paris”, an extemporaneous piece, and in quartett for piano, harp, violin and voice, with Bochsa, Gutteridge, and Madame Schutz. His touch is perfectly astonishing, and his execution unequalled; his harmony is peculiarly distinct and the melody is not for a single moment lost. With the right hand keeps up rapid and brilliant passage, while the left continues the melody and bass the same time; he then dexterously continues the air with his right hand, his execution being equally brilliant as with the left. This was particularly observable in the “Fall of Paris”, and again in the variations on “God Save the King”, which never remember to have heard so deliciously opened. To those who have never listened this incomparable pianist, no description will suffice paint the full beauty of performance; many passages were like the exquisite warbling the sweetest birde [sic], and we are convinced the audience could have sat for hours untired. It was amusing to notice the effect which he produced the orchestra; the musicians involuntarily applauded, and one stood motionless with his eyes fixed upon Moscheles during the whole time he played. The voice of Madame Schutz is sweet, full, rich and well in tune; the lower tones very soft and sweet, but not powerful. She sings with much feeling and great taste, modulates her tones with evident care, and succeeds rendering them exceedingly effective: their volume falls on the ear like the sostenuto of an organ stop. Madame Schutz sang several pieces, but did not produce much impression until she gave Rode’s celebrated variations, which she executed in a brilliant style. The duet from Don Giovanni, “Madchen wie ich dich liebe,” (the La ci darem of the Italian Opera) which she sang with her husband, who has a fine voice and is a very good singer, was very effective, and some parts were exquisitely sweet; but the Tyrolienne (Was ist a madel?) on which much dependence had been placed, and in which she was always encored at Paris, went off flatly. The neglect which this accomplished singer has experienced in London (at the hands least of the managers of the King’s Theatre, for most certainly the public have had nothing to with it) is difficult be accounted for; it can only be explained on the ground that Pasta and Sontag left no room for others to display their talent. Her debut in Sesto was most brilliant, and the encores on that occasion unusually numerous. It has been said that she shines more in the concert room than upon the stage, but this is an opinion from which we differ entirely; for when her splendid acting is lost, a great portion of the charm is lost with it, as is the case with Pasta. We shall be much surprised Madame Schutz is not more heard during the next season. Curioni, who great favourite here, was in excellent voice, and we never heard any thing more exquisite than his cavatina from Pacini (Essa il mio cor feri) at the commencement of the second part. That it was not encored surprised us greatly; but the audience seemed cold to all but Moscheles, and (an unprecedented occurrence) there was not a single encore during the evening. The band, which was reinforced by some the Tenth, and two or three of Bochsa’s pupils, played remarkably well, and performed the overture (Semiramide) in a masterly style. We were never more charmed by Bochsa’s harp than on this occasion; the “Reminiscences of Scotland,” (his own composition) was most delightful, the various snatches of the airs of Caledonia being introduced in an exquisite manner. Altogether the concert went off extremely well, and has given gratifying earnest of the entertainment that may be expected from those which are to succeed.

Brighton Herald; or Sussex, Surrey, Hampshire, and Kent Advertiser (October 18, 1828): 3.

GUTTERDIGE’S FIRST SUBSCRIPTION CONCERT.—We augur well for our musical gratification this season from the. Excellent style in which the usual series of subscription concerts, established in this town by the exertions of Mr. Gutteridge, has begun. At the same time we feel authorized the immediate and sole control of that gentleman; and we cannot refrain from repeating the hope which we expressed in the Herald last year, that the leaders of the fashionable world, will not bestow their interest on strangers, in preference to the equally, if not more deserving inhabitants, who sustain much labour, considerable expense, and, we fear, sometimes considerable losses for their amusement. We hope that the latter was not the case on Monday evening, though the company did not appear to us so numerous as we have before witnessed it, notwithstanding the great attractions presented in the persons of a new female singer of considerable eminence and talent, Madame Schütz; and, especially, of that admirable pianist, Moscheles, who proved the great wonder and delight of the evening. Madame Schütz is of a good school, but rather an interesting than a brilliant singer, and we think we should like her better on a second hearing; her voice is soft and sweet, and not quite calculated for some of the airs, such as Rode’s, which she undertook, but we attribute the want of an encore, for there was not one the whole evening, not to the singer’s. deficiency in merit, but to the customary apathy of a fashionable audience, with whom it is contrary to etiquette to seem very much pleased at any thing; yet we must do them justice to say that Moscheles surprised them into most. Exuberant demonstrations of applause, which, proceeding from such an assembly, are the greatest testimony of a performer’s deserts. His “Fall of Paris” was brilliant, as usual, but is too well known to require any observations of ours on his manner of performing it; but the exquisiteness of his extemporaneous Fantasia, for tone, fingering, brilliancy of execution, and tenderness of expression, is beyond praise; and the manner in which he introduced and played “God Save the King,” might have made a Radical loyal for once in his life. We had, at the conclusion of this piece, almost forgotten ourselves, as The Honest Hibernians once did, when they encored an extempore of this great performer. Bochsa, we thought, played with more than even his usual spirit, a most beautiful concertino of his own composition, called the “Reminiscences of Scotland;” and no small praise is due to a musician who, like him will undergo the fatigue and anxiety of performing a solo, and directing an orchestra, on the same evening. Our old favourite, Curioni, was in beautiful voice: and there is a modesty about Mr. Schütz which, added to the artist-like manner in which he sings, renders him particularly pleasing. Indeed, one of the most effective things of the evening was the beautiful duet from Don Giovanni, with the original German words, by Mr. and Madame Schütz, who, we understand, are no staying in Brighton with the intention of giving lessons We cannot conclude without complimenting the orchestra generally on. Their performance: and they deserve great credit. For the accuracy with which they transposed into another key, to accommodate the singers, the accompaniment to the beautiful duet of “Ah se puoi.” The band was ably led by Mr. Gutteridge. We understand that the next concert will take place in about three weeks.

First Subscription Concert by William Gutteridge

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