Fourth Philharmonic Society Concert
London: Hanover Square Rooms—Time: Evening, Eight o’Clock
Subscription Concert: 4 Guineas
|Symphony No.5 in C minor||Beethoven|
|Grand Septet for Piano, Violin, Viola, Clarinet, Horn, |
Violoncello, Cello, Double Bass (first time performance) (composed expressly for this occasion)
|Messrs. Moscheles, Mori, Moralt, Willman, Platt, Lindley, Dragonetti||Moscheles|
|Aria, ‘Ah! non son io che parlo’||Mrs. Bishop||Mozart|
|Symphony No.93 in D major||Mozart|
|From La clemenza di Tito: Aria, ‘Deh! se piacer mi vuoi’||Miss Shirreff||Mozart|
|Concertante for Four Principal Violins||Messrs. Griesbach, Mori, Patey, Sheymour||Maurer|
|From Orazi e Curiazi: Trio, ‘O dolce e caro istante’||Miss Shirreff, Mrs. Bishop, Mr. Bennett||Cimarosa|
|Overture, La clemenza di Tito||Mozart|
|Principal Vocalists: Miss Shirreff, Mrs. Bishop; Mr. Bennett|
|Principal Instrumentalists: Messrs. Dragonetti, Griesbach, Lindley, Moralt, Mori, Moscheles, Patey, Platt, Seymour, Willman|
|Leader: Mr. Nicolas Mori; Conductor: Mr. Ignaz Moscheles|
Salary: £10.10 for one performance.
[GB-Lbl RPS MS 299, f15 v.]
Programme Notes: Madame de Meric was indisposed. Miss Shirreff sang in her place.— The Symphony in Part II was advertised as No.2. As observed from the reviews, it is No.93 in D major.
Moscheles: ‚April spielte ich mein, für die Gesellschaft geschriebenes Septett mit Dragonetti, Lindley: Mori—genug, mit den ersten Kräften und herzlicher Anerkennung, die ihr Echo in der Presse fand‘.AML I, 264.
Philharmonic Society Programme
UNDER THE IMMEDIATE PATRONAGE OF
FOURTH CONCERT, MONDAY, APRIL 15, 1833.
|Sinfonia in C minor – – – – –||Beethoven.|
|Aria, Mr BENNETT, “Il mio Tesoro” (Il Don Giovanni) – –||Mozart.|
|Grand Septetto, MS. Composed expressly for these Concerts, and|
|first time of Performance, Piano Forte, Violin, Viola, Clarinet,|
|Horn, Violoncello, and Contra Basso, Messrs MOSCHELES,|
|MORI, MORALT, WILLMAN, PLATT, LINDLEY, and DRAGONETTI||Moscheles.|
|Scena, Mrs H. R. BISHOP, “Ah non so”||Mozart.|
|Overture, Preciosa||C. M. von Weber.|
|Sinfonia, No. 2 – – – – –||Haydn.|
|Aria, Madame DE MERIC, “Tutto un concento” (Euryanthe) –||C. M. von Weber.|
|Concertante, four Violins principal, Messrs MORI, SEYMOUR,|
|PATEY, and GRIESBACH – – – – –||Beethoven.|
|Terzetto, Madame DE MERIC, Mrs H. R. BISHOP, and Mr|
|BENNET, “Qual canna al suol” (Jessonda) – –||Spohr.|
|Overture, La Clemenza di Tito – – – –||Mozart.|
Leader, Mr MORI.—Conductor, Mr MOSCHELES.
*** TO COMMENCE AT EIGHT O’CLOCK PRECISELY.
The Subscribers are most earnestly entreated to observe, that the Tickets are not transferable,
and that any violation of this rule will incur a total forfeiture of the subscription.
THE NEXT CONCERT WILL BE ON THE TWENTY-NINTH OF APRIL.
APRIL 15th, 1833.
THE DIRECTORS beg leave to acquaint the Subscribers, that in consequence of the indisposition of MADAME DE MERIC, of which they only late in the day were informed, Miss SHIRREFF has obligingly consented to sing the Aria “Deh! se piacer mi vuoi,” Mozart.
‘O dolce e caro istante,’ Cimarosa, will be substituted for the Terzetto from Jessonda.
The Morning Post (April 17, 1833): 3.
The Fourth Philharmonic Concert took place on Monday last, but in consequence of the prevalence of the influenza in the families of several of the subscribers the audience was less numerous than usual. A printed circular distributed throughout the room announced that in the unavoidable absence of Madame de MERIC from sudden illness Miss SHIRREFF would sing the pieces allotted her in the following programme:—
|Sinfonia in C minor…………………………………||BEETHOVEN.|
|Aria, Mr. Bennett, “Il mio tesoro” (Il Don Giovanni)||MOZART.|
|Grand Septetto, MS., composed expressly for these|
|Concerts, and first time of performance, Piano-|
|forte, Violin, Viola, Clarinet, Horn, Violoncello,|
|and Contra Basso—Messrs. Moscheles, Mori,|
|Moralt, Willman, Platti, Lindley, and Dragonetti||MOSCHELES.|
|Scena, Mrs. H. R. Bishop, “Ah non so,”…………….||MOZART.|
|Overture, Preciosa…………………………………..||VON WEBER.|
|Sinfonia, No. 2………………………………………||HAYDN|
|Aria, Miss Shirreff (Clemenza di Tito)……………..||MOZART.|
|Concertante, four Violins principal—Messrs. Mori,|
|Seymour, Patey, and Griesbach…………………||MAURER.|
|Terzetto, Miss Shirreff, Mrs. H. R. Bishop, and|
|Mr. Bennett (Orazzi e Curazzi)………………….||CIMAROSA.|
|Overture, La Clemenza di Tito……………………..||MOZART.|
Leader, Mr. Mori; Conductor, Mr. Moscheles.
We were better satisfied with the execution of BEETHOVEN sinfonia in C minor in this Concert than on any former occasion. The attack of the first allegro, tutti on the second quaver was simultaneous and powerful; the rallentando in the minuet was not troppo; the entré of brass instruments was throughout firm and decisive; the changes in the last allegro (which are seldom made with confidence) were most satisfactory; there were also other improvements in the finesse of the band which did not escape us; and altogether the execution was a noble triumph of the practical advantage of the use of a baton in the hands of an able and energetic conductor.
Mr. BENNETT’S singing was applauded. His style is somewhat monotonous, but never vulgar; in the chamber his voice is particularly sweet and agreeable, but in a large concert-room it is sometimes scarcely powerful enough.
The MS. septetto is worthy of the reputation of MOSCHELES. With the exception of the motivo of the last movement, which we consider too trivial in its character for so noble a composition, all his others are finely conceived, skilfully worked, and effectively relieved by a variety of canto of an opposite colouring. His treatment of the accompaniments exhibits a correct knowledge of instrumental effects. Some transitions of harmony, by a succession of dominant sevenths, are happily effected, particularly by the horn sustaining alternately the 3d and 7th of the sequence, quite à la SPOHR. The passages for the pianoforte are neither too numerous nor too intricate; and every part is of sufficient interest to keep alive the attention of each performer, with ample occasions for a display of taste and feeling. Its performance was as near perfection as could well be imagined, and the composer received the universal applause of artists and amateurs at the conclusion.
Mrs. BISHOP would do well to study more attentively the language of her recitatives, and give more distinctly energy and tenderness when each is duly required. In her sostenuto, her portamento, and general embellishment her style approaches nearer to the good Italian school than any other English vocalist; and she has now become a valuable addition to the native stock of singers.
The introduction of Preciosa and the march are characteristic and original. The remainder of the overture we do not much admire. The sinfonia of HAYDN, though so old an acquaintance, was welcomed by the audience for the grace, simplicity, and beauty of its counterpoint.
Miss SHIRREFF offended us by doing more than was required. Screaming out D in alt, and introducing a sudden flight of the gamut, are poor substitutes for the real feelings and good taste requisite in singing MOZART. This young vocalist is endowed with powers to become a first-rate artiste, and it is with pity we witness her perversion of them by a mistaken or perhaps misguided judgment.
The concertante was played last, season by nearly the same parties; the andante is most elegant and expressive; the remainder of it brilliant and effective. It was extremely well executed, and much applauded.
The terzetto was sung by the Ladies rather above and below what Madame PASTA was wont to designate “le juste milieu” of a true intonation. The overture could not go otherwise than well.
The Athenæum (April 20, 1833): 252.
Fourth Philharmonic Concert.—Beethoven’s Sinfonia in C minor, Haydn’s No. 2 in D, Weber’s overture to ‘Preciosa,’ and Mozart’s to ‘Clemenza di Tito,’ were the four principal orchestral pieces of this concert. A MS. Septetto of Moscheles, performed by the author and six others, on the piano-forte, violin, viola, violoncello, clarinet, horn, and contra-basso, although rather lengthy, was well received, and there was much to admire in the composition throughout; the second movement, a scherzo, full of ingenious and effective contrivance, pleased us most. Maurer’s concertante for four violins, played by Mori, Griesbach, Patcy, and Seymour, obtained great applause. Mrs. Bishop, Miss Shirreff, and Mr. Bennett, sang a variety of pieces, not requiring particular notice.
The Literary Gazette; and Journal of Belles Lettres, Arts, Sciences, &c. (April 20, 1833): 253.
THE fourth concert, on Monday night, was altogether so paramount in its instrumental portion, that the latter might be said to have been the concert, the vocal being given in to boot. Beethoven’s Sinfonia in C minor has, perhaps, never been played by the same band so entirely in the spirit of that stupendous work. A MS. Septetto of Mr. Moscheles, one of the new prize compositions for the Society, was played by him, accompanied by Messrs. Mori, Moralt, Willman, Platt, Lindley, and Dragonetti, on their respective instruments, in a style quite worthy of so excellent a composition. Miss Sherriff took Mad. Meric’s place in the “Tutto un concento” (Euryanthe), with credit both to her voice and the use she made of it. A melodious and cleverly harmonized concertante, for four principal violins, of Maurer, by Mori, Seymour, Patey, and Griesbach, had a novel and delightful effect. Spohr’s Terzetto, “Qual canna al suol” (Jessonda), by Miss Sherriff, Mrs. Bishop, and Mr. Bennett, passed off somewhat feebly; and it seemed as if that kind of composition did not suit the singers. The concert, which, from a cause but too well known, was thinly attended, finished with Mozart’s overture to “La Clemenza di Tito.”
The Spectator (April 20, 1833): 354.
MANAGERS and Directors have been driven to their wits’ end by the epidemic which is now visiting the Metropolis with such severity. The Italian Opera-house on Saturday displayed the most ludicrous scene of confusion and distress that ever was witnessed within the walls of a theatre. Not even the skeleton of a connected drama could be exhibited. The audience were the only persons in the theatre in full possession of their vocal powers; and they exerted them most unmercifully, and rather ill-humouredly. Many wanton deviations from managerial propriety have been passed over in this house in silence; and it was rather preposterous in the audience to call LAPORTE to a severe account because most of his performers had been attacked by the influenza.
The following scheme of the Philharmonic Concert will show that more activity and good taste had been employed upon it than usual; and it was rather tantalizing, after having been presented with it at the foot of the stairs, to find announcements of Madame DE MERIC’S indisposition distributed throughout the room.
|Sinfonia in C minor……………………………………………||BEETHOVEN.|
|Aria, Mr. BENNETT, “Il mio tesoro” (Il Don Giovanni)||MOZART.|
|Grand Septetto, MS. composed expressly for these|
|Concerts, and first time of Performance, Pianoforte|
|Violin, Viola, Clarinet, Horn, Violoncello, and|
|Contra Basso, Messrs. MOSCHELES, MORI, MORALT,|
|WILLMAN, PLATT, LINDLEY, and DRAGONETTI….||MOSCHELES.|
|Scena, Mrs. H. R. BISHOP, “Ah non so”…………………….||MOZART.|
|Overture, Preciosa……………………………………………||C. M. VON WEBER.|
|Sinfonia, No. 2…………………………………………………..||HAYDN|
|Aria, Madame DE MERIC, “Tutto un concento”|
|(Euryanthe)……………………………………………….||C. M. VON WEBER.|
|Concertante, four Violins principal. Messrs. MORI,|
|SEYMOUR, PATEY, and GRIESBACH………………..||MAURER.|
|Terzetto, Madame DE MERIC, Mrs. H. R. BISHOP|
|and Mr. BENNET, “Qual canna al suol” (Jessonda)||SPOHR.|
|Overture, La Clemenza di Tito………………………………||MOZART.|
Leader, Mr. MORI. Conductor, Mr. MOSCHELES.
Miss SHIRREFF supplied DE MERIC’S place; but the beautiful air from Euryanthe, and the elaborate Terzetto from Jessonda (both new pieces), were necessarily abandoned, and their places supplied by the aria “Deh! se piacer mi vuoi,” from La Clemenza di Tito, and CIMAROSA’S “O dolce e caro istante.”
BENNETT’S song is the never-failing resource of all tenor-singers; and we must again protest against such an act of injustice towards MOZART, as the constant repetition of this air to the exclusion of all his other songs for the same voice. It would be well for the orchestra to bear in mind, when they are accompanying, the power or weakness of a singer. But this they never do. In fact, the stringed instruments of this band do not shine in accompaniment. They seem to delight in showing that vocal music is the addendum to their playing, and (as in the present instance) the singer is often buried beneath the accumulated fortissimi of twenty violins. DONZELLI may be able to make head against such a torrent, but BENNETT’S powers are overwhelmed by the attack.
Mrs. BISHOP’S song we had heard before, at the Vocal Concerts; and its repetition gave us increased pleasure. The accompaniments appeared to have been enriched by her husband’s masterly hand. Few men have the power to alter a score of MOZART’S, and at the same time to improve it: the present attempt was decidedly a successful one.
The orchestra as well as the audience was thinned by the epidemic. Not more than two thirds of the subscribers were present; and we missed SPAGNOLETTI, F. CRAMER, and WATTS from the front rank violins. The consequence was, a want of that perfect correctness with which BEETHOVEN’S Sinfonia is usually set forth. HAYDN’S No. 2 was a sort of revival—a most welcome one. The Septetto by MOSCHELES is the second of the pieces for which the Society has awarded premiums. Strictly speaking, it is scarcely a septette, but rather a pianoforte concerto accompanied by six instruments. MENDELSSOHN’S Concerto last year partook much more of the character of a concertante than this composition of MOSCHELES. We don’t mention this in order to disparage the latter, but simply to state the distinction. Every composer has a right to lay out his plan by which we are bound to judge of it, and not by our own. is a composition for the pianoforte, this piece is full of power and brilliancy, evidencing at the same time more of learning and labour than of genius. We should recommend its being performed, in future, without repetitions. The attention of an audience can scarcely be sustained through four movements, if they are played twice over.
The Concertante of MAURER has at length found its way into the orchestra where it ought first to have been heard. It was very delightfully executed. We question the policy of giving MORI a concerted piece to play when he has also to lead. As leader, he did not put forth his accustomed strength on Monday night, although (bereft of his three best right-hand men) more than usual power was required.
The Atlas (April 21, 1833): 244.
Philharmonic Society.—Fourth Concert. Monday, April 15.
ACT I.—Sinfonia in C minor—BEETHOVEN. Aria, Mr. BENNETT, “Il mio Tesoro,” (Il Don Giovanni)—MOZART. Grand septetto, MS., composed expressly for these concerts, and first time of performance, piano-forte, violin, viola, clarinet, horn, violoncello, and contra basso, Messrs. MOSCHELES, MORI, MORALT, WILLMAN, PLATT, LINDLEY, and DRAGONETTI—MOSCHELES, Scena, Mrs. H. R. BISHOP, “Ah non so”—MOZART. Overture, (Preciosa)—C. M. von WEBER.
ACT II.—Sinfonia, No. 2—HAYDN, Aria, Miss SHIRREFF, “Deh! piacer mi vuoi”—MOZART. Concertante, four violins principal, Messrs. MORI, SEYMOUR, PATEY, and GRIESBACH—MAURER. Terzetto, Miss SHIRREFF, Mrs. H. R. BISHOP, and Mr. BENNETT, “O dolce e caro istante—CIMAROSA. Overture, (La Clemenza di Tito)—MOZART.
Leader, Mr. MORI—Conductor, Mr. MOSCHELES.
ACCORDING to custom, Monday proved a true Philharmonic evening— and St. Swithin, who has taken the society under his especial patronage, bestowed his benediction in the shape of a thick and steady rain, cooled with snow, and enlivened by gusts of wind. Arrived at the room, we found portentous gaps between the sitters; the work, doubtless, of the busy epidemic. Physicians, with their rhubarb and saline draughts, were to triumph for that evening over HAYDN and MOZART. We fully concurred in opinion with the absentees; and all who shun music while their sensations are dimmed and overcast by indisposition are, in our estimation, wise. It is not so much that travelling in wet weather is dangerous to the sick—though it is truly stated in some ludicrous Latin-English verse—
Such times denote
Morbs to the same, and obits to th’ ergate,
And alterate the suarest pulchritude
The main consideration is, that it is in vain to tune fiddles, if we ourselves be out of tune. If we are in Hamlet’s case, and see nothing in the firmament but a “pestilent congregation of vapours,” it is probable that we shall find nothing but what is as insipid as a thrice-told tale in the best things of MOZART and BEETHOVEN. The philosophical amateur, who knows how much depends upon the circumstances under which he hears a work of art, will carefully avoid music, if his organs are not in exact order for it. We have no faith in people who are devoted to it at all seasons alike—who voluntarily play an adagio on the pianoforte with a swinging tooth-ache, or a fantasia on the pedal harp with a fit of the gout. Let us be first sound in wind and limb, and then to music.
Notwithstanding the melancholy appearance of the room, many of the performances, and, in particular, the orchestral performance, were excellent. As a conductor of BEETHOVEN’S compositions, the reputation of Mr. MOSCHELES has been long fully established; and for the discharge of this office his intimacy with the author has given him unquestionable advantages over every other musician. The C minor symphony of BEETHOVEN seemed to us to receive (especially the finale) more justice than it ever yet received from this orchestra; the time of the last movement was slower than usual, and the simple majesty which forms its characteristic was, in consequence, far more forcibly impressed. The three trombones, which were introduced in the finale, for the first time in the course of the symphony, were particularly well played; and we have not yet forgotten the pompous and sublime effect of their thrilling peals. In the accelerations of the time, the conductor exhibited a decision which seemed to inspire the band with confidence, and they played the whole movement much better together than we ever yet heard it. We have equal applause to give to the style in which Mr. MOSCHELES conducted both the symphonies and overtures; the repeats were not forgotten—nothing was hurried, and yet there was no want of spirit. We cannot pay the singer of “Il mio tesoro” any compliment upon his performance; he chose a much abused song, and improved little, if any thing, on his predecessors. MOSCHELES’ new septet is a very fine work indeed; it is evidently the fruit of the author’s highest invention and taste, and every note in it is destined for the ears of real judges. A composition so long, and so deeply scientific, we certainly do not affect to estimate fully at a single hearing, but we do not fear to be obliged to retract the opinion, when we assert that the allegro and the slow movement will bear comparison with any thing of modern production. The composition consists of an allegro in D major, a scherzo in the minor, an adagio in B flat, and a finale in D. Originality pervades the whole, but this high quality is particularly remarkable in the first movement, where it is associated with a great deal of melody—fine combination of the instruments, artist-like modulation, and some exceedingly striking cadences. We were charmed by the rhythmus of one, in which the upper part is prolonged, while the bass strikes some three or four crotchets—a passage which DRAGONETTI’S bow rendered so impressive, that we are tempted to think there may be some who will recall it even in our poor description. Difficulties, and not slight ones, are found in the pianoforte part—they display the player, and in the best possible way—through the medium of delightful music. The whole composition was played by Mr. MOSCHELES with smooth, even, and finished execution—and the applause which he received was well merited. The accompanists also did their work with great care, and showed that they appreciated the music. We hope that more of these kind of compositions will be brought forward; they are far more defined in style, far more interesting to hear, and far newer than concertos. Mrs. BISHOP’S scena from MOZART was an interesting novelty to most of the audience, who, if they had not heard the singer since her last appearance at the Philharmonic concerts, certainly found great improvement in her. The overture to Preciosa pretty, but scarcely dignified enough for admission at these concerts. HAYDN’S second symphony (in D) is one seldom heard in the orchestra. Young COOKE’S oboe solo in the andante was excellent. We think this performer has profited much by being with BARRET in the opera band; the fine intonation and admirable manner of that artists cannot fail of being beneficial to the young professor of the oboe, who plays near him. The London orchestras are now better supplied with these instruments than they have been for many years.
Miss SHIRREFF’S song from Tito was a deplorable affair—stuffed full of gratuitous impertinences and wanton alterations of MOZART’S simple and noble melody. At every close of the allegro, came some stale Italian flourish, which was overlooked, because it appeared consistent with the singer’s notion of style;—but when Miss SHIRREFF began to scream up to D, we felt certain that she did not know this audience. We wish she may profit by her experience, and sing better another time. MAURER’S Concertante should have been played by four more equal players;—if TOLBEQUE and WATTS had been in the places of SEYMOUR and PATEY, the composition would probably have gone on as it ought. The execution was frequently coarse; scraping and rasping by turns, and not very well in tune. MOZART’S overture to La Clemenza, which is one of the old things that become new, about once a month or so, for ever—was admirably played. Nothing in this concert gave us equal pleasure to the new Septet, and where such are the fruits of offering encouragement to write, the Philharmonic Society have good reason to hope that their measures may not only be a stimulus to the art in England, but throughout Europe.
The Harmonicon, vol.11, (May 1833): 107-108.
FOURTH CONCERT, Monday, April 15, 1833.
|Sinfonia in C minor . . . .||BEETHOVEN.|
|Aria, Mr. Bennet, ‘Il mio tesoro’ (Il Don Giovanni)||MOZART.|
|Grand Septetto, MS. composed expressly for these Con-|
|certs, and first time of performance, Piano-forte,|
|Violin, Viola, Clarinet, Horn, Violoncello, and Con-|
|tra Basso, Messrs. Moscheles, Mori, Moralt, Will-|
|man, Platt, Lindley, and Dragonetti . .||MOSCHELES.|
|Scena, Mrs. H. R. Bishop, ‘Ah ! non so’ . .||MOZART.|
|Overture, Preciosa . . . . C. M.||VON WEBER.|
|Sinfonia, No. 2 . . . . .||HAYDN|
|Aria, Miss Shirreff, ‘Deh ! se piace mi vuoi’ (Tito)||MOZART.|
|Concertante, four Violins principal. Messrs. Mori, Sey-|
|mour, Patey and Griesbach . . .||MAURER.|
|Terzetto, Mrs. H. R. Bishop, Miss Shirreff, and Mr.|
|Bennett, ‘O dolce e caro istante.’ (Gli Orazi) .||CIMAROSA|
|Overture, La Clemenza di Tito . . .||MOZART.|
Leader, Mr. Mori.—Conductor, Mr. Moscheles.
The extent to which the epidemic, the Influenza, prevails, was visible enough in the thinned benches of the room this evening. Some few of the hand, sufferers from the general malady, were also absent, but the others made up by their exertions for deficiency in numbers, for never did the C minor of Beethoven go better; and Haydn’s lovely Symphony, in D, which, we hardly know why has been less used than most of the twelve grand, or Salomon’s, was performed with all the delicacy and spirit required to give due effect to it. And here we will observe en passant, that the last movement was rather too quick: the composer, it is true, marks it Presto, but moderates this by the caution ‘manon troppo.’ His finales are now almost invariably hurried—an evil that was growing even in Salomon’s time, who in the last year of his life mentioned this to us in strong terms of reprobation. Unfortunately, when Haydn wrote nothing of the pendulum kind was in use, he therefore was only able to give his directions in the vague and often mistaken terms then and still employed in music.
The light and exceedingly pleasing overture to Preciosa abounds in original traits, and shows the versatility of the composer’s genius, as well as his great sense of fitness. Whoever hears this, will, without any previous information, conclude that it was written for a pastoral or a simple opera. The overture to the Freischütz at once announces the preternatural scenes, the magic, the diablerie, that are to follow. Thus he discriminated in his dramatic productions, which all, without a single exception that we are aware of, proved how much he thought, and how invariably to the purpose. The overture to Tito went off with splendid effect.
The novelty of the evening was the Septet of Mr. Moscheles, one of the pieces composed for the society, and an incontrovertible evidence of the wisdom as well as liberality of the members in engaging this gentleman, among others, to exercise his talents in their service. It consists of an allegro in D; a scherzo and trio in D minor; an adagio in B flat; and a finale in the major key. Clear as is the first movement, it made less impression on us than any of what followed. The scherzo is strikingly original; the adagio, full of feeling and exquisite taste; and the finale bounding with vivacity and joy. A work like this ought to be seen, or to be heard more than once, to enter fairly into all its merits, but we may venture to say, that this alone would be sufficient to establish the author’s reputation as a composer of the highest order, had he produced nothing else. It is long, certainly, and we should recommend that either the first movement be abridged, or that it be played without the repeat.
The concertante went off remarkably well. It is an able work, but lengthy, the nature of the composition being considered. Mori, in this, exerted himself very kindly in support of his young coadjutors: indeed his labours during the evening—as leader, and taking the violin part in the septet—were of no ordinary kind, and required as much corporeal strength as professional ability.The aria, ‘II mio tesoro,’ was passable. The scena of Mozart, ‘Misera! dove son?’ and following aria in E flat, ‘Ah! non so ion,’ the seventh of his operngesaenge, possess, at least, the recommendation of not having been often heard, and Mrs. Bishop was not sparing in exertion to do them every passible justice. Of the remaining vocal pieces, the less said the better; though it is fair to state, that Miss Shirreff was called upon at a late hour to supply the place of Mad. de Méric, and sang without rehearsing.