19 May 1834

Sixth Philharmonic Society Concert

London: Hanover Square Rooms—Time: Evening, Eight o’Clock 

Subscription Concert: 4 Guineas

Programme

Part I   
Symphony in G minor Potter
From Jessonda: Duet, ‘Bella Ninfa’Mme Caradori-Allan, Monsieur de VrugtSpohr
Piano ConcertoMrs. AndersonBeethoven
Piano Concerto No.5 in C major Mr. Moscheles Moscheles
From Le nozze di Figaro: Aria, ‘La vendetta’Signor ZuchelliMozart
Overture, Faust Spohr
Part II   
Symphony No.2 in D major Beethoven
Aria, ‘Ah, ritorna, età dell’oro’ (MS)Mme Caradori-AllanMendelssohn
Septet for Flute, Oboe, Clarinet, Bassoon,  Horn, Trumpet and Double bass      [in E flat major] Messrs. Nicholson, G. Cooke, Willman, Mackintosh, Platt, Harper, DragonettiNeukomm
From Achille: Scene ‘Languirò vicino a quelle’ Monsieur de Vrugt Paër
Overture, Anacreon Cherubini
Principal Vocalists: Miss Cramer, Mme Stockhausen; Messrs. Phillips, Sapio
Principal Instrumentalists: Messrs. Brooks, Dragonetti, Lindley, Moscheles
Leader: Mr. John Loder; Conductor: Mr. Thomas Cooke

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Programme Notes: Due to the indisposition of Mrs. Anderson, Moscheles played instead.

Minutes: May 19: Resolved that in consequence of Mrs. Anderson sudden illness M. Moscheles be requested to play a concerto to night and that a printed notice to that effect be circulated in the Room to the Subscribers….Resolved that M. Moscheles have 2 Tickets for either of the new future Concerts.

[GB-Lbl RPS MS 280, f133 v.]

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Philharmonic Society Programme

UNDER THE IMMEDIATE PATRONAGE OF

Their Majesties.

PHILHARMONIC SOCIETY.

SIXTH CONCERT, MONDAY, MAY 19, 1834.

ACT I.

Sinfonia in G minor                  –                 –                 –                 –    C. Potter
Duetto, Madame CARADORI ALLAN and M. VRUGT,
     “Bella Ninfa,” (Jessonda)              –                  –                 –      –     Spohr.
Concerto, Pianoforte, Mrs ANDERSON    –                 –                 –Beethoven.
Aria, Signor ZUCHELLI, “La vendetta,” (Le Nozze di Figaro)Mozart.
Overture, (Faust)             –                  –                  –                 –      –    Spohr.

ACT II.

Sinfonia in D            –                –                 –                 –                 –     Beethoven. 
Scena, Madame CARADORI ALLAN, (M.S.) “Ah ritorna età 
      dell’ oro.”F. Mendelssohn Bartholdy. 
Concertante, Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, 
     and Double Bass, Messrs NICHOLSON. G. COOKE, WILLMAN    
     MACKINTOSH, PLATT, HARPER, and DRAGONETTIThe Chevalier Neukomm. 
Scena, M. VRUGT, “Languirò vicino a quelle,” (Achille)Paer. 
Overture, Anacreon            –         –Cherubini, 
 Leader, Mr LODER—Conductor, Mr T. COOKE.

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*** TO COMMENCE AT EIGHT O’CLOCK PRECISELY.

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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 SECOND OF JUNE.

Reviews

The Morning Post (May 22, 1834): 3.

The Sixth Philharmonic Concert took place on Monday last:— 

PROGRAMME.

ACT I. 

Sinfonia in G minor…………………………………….C. POTTER.
Duetto, Madame CARADORI ALLAN and M. 
     VRUGT, “Bella Ninfa” (Jessonda)…………………SPOHR.
Concerto, Pianoforte, Mr. MOSCHELES………………MOSCHELES.
Aria, Signor ZUCHELLI, “La vendetta” (Le 
     Nozze di Figaro)…………………………………….MOZART.
Overture (Faust)…………………………………………SPOHR.

ACT II. 

Sinfonia in D……………………………………………BEETHOVEN.
Scena, Madame CARADORI ALLAN (M.S.),     “Ah ritorna età dell’oro,” Violin Obligato,     Mr. LODER……………………………………….. F. MENDELSSOHN  BARTHOLDY.
Concertante, Flute, Oboe, Clarinet, Bassoon,     Horn, Trumpet, and Double Bass, Messrs.     NICHOLSON, G. COOKE, WILLMAN, MACKIN-     TOSH, PLATT, HARPER, and DRAGONETTIThe Chevalier    NEUKOMM.
Scena, M. Vrugt, “Languirò vicino a quelle” 
     (Achille)…………………………………………….PAER.
Overture, Anacreon…………………………………….CHERUBINI
Leader, Mr. LODER; Conductor, Mr. T. COOKE.

After HAYDN, MOZART, BEETHOVEN, and SPOHR a composer has no ordinary task to produce a sinfonia that would have so flattering a reception as the one of Mr. POTTER’S performed at this Concert. There are parts of the first and a secondary motivo in the last allegro which gave us a more favourable opinion of the imaginative powers of Mr. POTTER than his other numerous efforts had induced us to entertain. We hope he will take the example of MENDELSSOHN to eschew the orthodox coupe of sinfonia writing, and strike out something new, more dramatic, and less rigid in treatment. The duetto from Jessonda, a lovely composition, is most luxurious in its harmonies, but were the motivi less often repeated it would be more effective. Owing to the sudden indisposition of Mrs. ANDERSON, in lieu of BEETHOVEN’S concerto in E flat, announced to be performed by that Lady, MOSCHELES, at a short notice, substituted one of his own in C major, which he played à merveille. The last allegro of this concerto we consider too long and laboured, and advise some degree of curtailment. The overture to Faust was never so faultlessly executed as at this Concert by the Philharmonic band, yet its reception was by no means very flattering. The coda of the first allegro of BEETHOVEN’S sinfonia, with semibreves in long succession, most aptly supplies us with a splendid contrast to the defects of the above overture. SPOHR’S scoring will bear microscopal examination, so exquisitely beautiful are the minutiæ of its chromatic harmony and figurative counterpoint treated; but for want of more breadth of colouring his overtures especially seldom produce grandeur of effect. We were much satisfied with the execution of all the movements in BEETHOVEN’S sinfonia; we never grudge our half-guinea to hear any one of the eight sinfonias of BEETHOVEN well performed at these Concerts. The last movement of the scena contains some traits of genius, not so the first; perhaps a second hearing would give us a more favourable opinion of its merits. The violin obligato was executed with much purity of taste, which elicited applause. The concertante, when played by the artists for whom it was expressly composed, is always an effective composition. We have noticed it before; on this occasion it was admirably well executed. The scena by PAER is best adapted for the stage. The voice of M. VRUGHT is a tenor of considerable compass, but rather guttural in quality; his portamento is sometimes excessive, otherwise there is much to admire in his style. The overture to Anacreon terminated the Concert with eclat. The band throughout the evening executed the sinfonias and overtures unusually well. The vocal music should partake of a lighter style; the massive compositions for the orchestra ill prepare the auditor for such compositions as were chosen at this Concert. We much regret to learn that the venerable and highly-respected SPAGNOLETTI has not recovered from an attack of illness, accelerated by fatigue and excessive heat of the rooms at the Fifth Concert. His absence from the Opera must always be a matter of regret, since his great popularity gives him that moral influence over his coadjutors, which is mainly conducive to the good discipline of the whole. We shall remark on a subsequent opportunity on the improved discipline of the Opera band, under the system of the baton. Costa merits our approbation by its adoption.

The Athenæum (May 24, 1834): 396.

Neither the fifth nor sixth of the Philharmonic Concerts has offered any novelty of surpassing excellence either in composition or execution; and the band was by no means in its best order on both evenings.

The Spectator (May 24): 490.

PHILHARMONIC CONCERTS.

SOME improvement on the last concert might have been foretold without endangering any reputation for foresight. Almost any change must have been for the better. The Directors of this establishment, like his Majesty’s Ministers, require the whip and the goad now and then, and a little wholesome castigation is sometimes eminently serviceable to both. It cannot be too often repeated, that the disgrace attendant on a bad concert rests solely with Directors. Their hands are wholly unfettered, even by the silken chains of fashion: their course is a very easy one—let them only choose such music as will really please themselves, and it will certainly please us. The downcast looks of some of the body at the last concert, bespoke their dissatisfaction at what was going on; and the shame they must have felt at being the recognized selectors of such a scheme, has probably operated to produce the following one by way of atonement.

SIXTH CONCERT—MONDAY MAY 19.

ACT I. 

Sinfonia in G minor…………………………………………………..C. POTTER.
Duetto, Madame CARADORI ALLAN and M. VRUGT, “Bella 
     Ninfa,” Jessonda…………………………………………………..SPOHR.
Concerto, Pianoforte, Mr. MOSCHELES……………………………MOSCHELES.
Aria, Signor ZUCHELLI, “La vendetta” Le Nozze di Fi- 
     garo………………………………………………………………..MOZART.
Overture, Faust……………………………………………………….SPOHR.

ACT II. 

Sinfonia in D…………………………………………………….……BEETHOVEN.
Scena, Madame CARADORI ALLAN (MS.) “Ah ritorna età  
     dell’oro,”………………………………………..F. MENDELSSOHN BARTHOLDY.
Concertante, Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet     and Double Bass, Messrs. NICHOLSON, G. COOKE, WILL-     MAN, MACKINTOSH, PLATT, HARPER, and DRAGONETTI  
Chevalier NEUKOMM.
Scena, M. Vrugt, “Languirò vicino a quelle,” Achille………………..PAER.
Overture, Anacreon…………………………………….…………….CHERUBINI
Leader, Mr. LODER; Conductor, Mr. T. COOKE.

Mr. POTTER’S Sinfonia deserves that we should echo the cordial approbation with which it was received. The opinion we gave of its merits when first performed, is strengthened by another hearing. The author has discovered the secret, that music, to be interesting, must he melodious; and that an accumulation of all the learning of a BACH, without this charm diffused over it, is but a display of pedantry. His present Sinfonia adds this charm to the elaboration of his former productions, and hence its success. It well deserves to be known throughout Europe.

The Overture to Faust will not rank among the greatest efforts of SPOHR; and, measured against that to Der Freischutz, is little less than a failure. An overture ought to prepare the minds of its auditors for the story of the opera. It is impossible to hear a dozen bars of that to Der Freischutz without feeling that you are removed from every thing corporeal and earthly, and carried into a world of enchantment: the magician’s spell is upon us, and

“qui tosto adombra

Notte nube ealigine ed orrore,

Che rassembra infernal, che gli occhii ingombra

Di cecità, ch’ empie di tema il core.”

This feeling the Overture to Faust ought to inspire; but it does not. We listen to a composition in which the genius of the author is, unquestionably, conspicuous; but still it is “of the earth, earthy.” In the Opera, SPOHR has evidenced his possession of the enchanter’s talisman—he calls “spirits from the vasty deep,” and they come: but his power is unheard and unfelt in the Overture. The Vocal music of this concert was all of the good school. The specimens were not uniformly of the choicest kind, but there was a total absence of trash, and this is all that we ought to expect from the present managers. Perhaps they esteem one song of MOZART’S as good as another, and therefore deliberately chase out from Le Nozze di Figaro poor Don Bartolo’s “La vendetta;” an air adapted for the DE ANGELI of any company, and written expressly to fit the powers of such a singer. The Duet “Bella Ninfa;” one of SPOHR’S loveliest efforts, was exceedingly well sung; with one exception. Two bars of the last movement, the two singers

deliberately, maliciously, and barbarously deformed, by doubling the time of every note, where the author did not design, for he did not indicate, even a rallentando. These monkey tricks ought not to be played with such a composition; and the pure and beautiful style in which all the rest of the duet was executed, rendered such a violation of good taste the more extraordinary and the more conspicuous.

MENDELSSOHN is little known as a vocal writer. A few short airs with pianoforte accompaniment, and three Lutheran hymns, after the style of BACH’S Chorales, are all his compositions for voices that have fallen under our notice. His bent seems to be for instrumental writing: he revels in all the combinations and changes of a large orchestra, and loves to ride in the whirlwind and direct the storm of violins and double basses. In this, his premier Cantata, the attention of the audience is not concentrated on the singer; for the accompaniment is so rich, so full, so sinfonia-like, as to absorb much of the interest of the piece. It will not, for this reason, be popular with singers; and also for another —it affords no capabilities, as a modern Italian master would say, for the voice,—that is, the singer must produce her effects by the notes of the author, and not by her own. These effects were well brought out by Madame CARADORI in the first movement, where graceful expression and correct intonation were the requisites; but not in the concluding presto, which demanded greater physical power and more energy than she has at command. The song was not received with enthusiasm by all its auditors, although cordially welcomed by many: for our concert-hearers seldom venture on applause unless they are assured it may be given with safety. A song of MENDELSSOHN’S was a novelty, and they had not received their cue.

M. VRUGT’S singing confirmed our first opinion of his powers. After the miserable tenor song of the last concert, it was an immense stride to attain any thing as good as the air from Achille, which, if it does not reach grandeur of style, is far removed from insipidity.

Mrs. ANDERSON was announced to perform a Concerto of BEETHOVEN; but was prevented, by sudden indisposition (in thiscase, we know such to have been the simple truth), from attending the concert. Mr. MOSCHELES, very kindly, appeared as her substitute; and the audience eagerly showed their preference of his admirable Concerto in C to Mr. HERZ’S Quadrille exhibition.

The concert was led by Mr. LODER with his usual precision and attention; and it would be unjust to conclude our present remarks without noticing his delightful accompaniment of a part of MENDELSSOHN’S Cantata.

The Atlas (May 25, 1834): 332.

Philharmonic Society—Sixth Concert, Monday, May 19.

ACT I.—Sinfonia in G Minor—C. POTTER. Duetto, Madame CARADORI ALLAN and M. VRUGT, “Bella Ninfa” (Jessonda)—SPOHR. Concerto, Pianoforte, Mr. MOSCHELES—MOSCHELES. Aria, Signor ZUCHELLI, “La vendetta” (Le Nozze di Figaro)—MOZART. Overture (Faust)—SPOHR.

ACT II.—Sinfonia in D—BEETHOVEN. Scene, Madame CARADORI ALLAN (MS.) “Ah ritorna età dell’ Oro”—F. MENDELSSOHN BARTHOLDY. Concertante, Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, and Double Bass, Messrs. NICHOLSON, G. COOKE, WILLMAN, MACKINTOSH, PLATT, HARPER, and DRAGONETTI—The Chevalier NEUKOMM. Scene, M. VRUGT, “Languirò vicino a quelle” (Achille)—PAER. Overture (Anacreon)—CHERUBINI. 

Leader, Mr. LODER—Conductor, Mr. T. COOKE. 

THE remonstrance of subscribers has had due effect in improving the character of the selections, and the present concert may, we hope, be taken as an earliest of amended bills of fare. POTTER’S symphony, performed on this occasion, is not the same which we found reason to applaud in a late notice of a concert of the Societa Armonica, nor is it nearly so good. The only movement of this work which possesses remarkable merit is the finale, which is well conceived, and has a consistent and well connected design. In the first allegro the principal subject is very short, and as it is in technical phrase well worked, the incessant repetition of two or three notes becomes the more remarkable, and at the same time the more fatiguing to the ear, from the want of episodes. The abundant solos for various instruments in the slow movement in D minor (for the violin among the rest) tend, in our opinion, to injure the true character of the symphony style, and bring to mind the construction of a fantasia for the orchestra. Altogether, though the work has no claims to distinction as a production of genius, it yet displays the authorship of a good musician; and we have little doubt but that Mr. POTTER, if he will give more scope to his fancy, and restrict himself less to the treatment of a single phrase, may yet have that success in the symphony style for which lie has laboured so hard. The duet “Bella Ninfa” was performed by singers fully competent to the music, which has not been the case in every instance that we have heard it during the musical season. Both Madame CARADORI and M. VRUGT are well educated musicians, and, as the phrase is, know what they are about. The vocalization of Madame CARADORI is perfect; M. VRUGT discriminates well between styles, and is thoroughly at home in the music which he executes; it is no wonder, then, that SPOHR received full justice. 

We regretted to find that Mrs. ANDERSON was, from sudden indisposition, unable to perform the concerto of BEETHOVEN, announced for her in the bill. In lieu of the renewed gratification which this composition promised to all who had the good fortune to hear it at Mrs. ANDERSON’S concert, we had a concerto from Mr. MOSCHELES in C major; very elegant and melodious music, and deliciously performed. This composition, though long, maintained the uninterrupted attention of the room, as well from the intrinsic excellence of the idea, and variety and science manifested in the employment of the orchestra, as from the execution, which exemplified the last refinement of pianoforte playing. Especially delightful was the slow movement in E minor, both for its originality of style and design, and for its sombre and deeply expressive character. ZUCHELLI wanted vigour in “La Vendetta,” but, making allowance for a heaviness which appears to be a defect inherent in his constitution, he did well. The overture to Faust was better played than it ever has yet been by this orchestra—the slow part, however, wants, for entire precision and certainty, to be a little more familiar to the performers. There are some difficulties of the time in this spot which nothing but habit and obstinate rehearsing can overcome.

It appeared to us rather surprising that an andante, which speaks its own time so completely as that to BEETHOVEN’S symphony in D, should have been so much misconceived, and so unusually hurried, by Mr. T. COOKE. Thus the very movement, for the sake of which the whole work is placed among the more treasured recollections of amateurs, was robbed of its due effect. In other respects the execution of the symphony was good. MENDELSSOHN’S new scena, with a violin obligato, has, on the whole, a little disappointed us; it does not quite answer those high expectations which, having heretofore raised, the composer is now bound to gratify. The recitative and the last aria in G minor, contain good things, and much spirit and expression; but there is a long cantabilemovement in the middle which wants novelty and sustained beauty in the phrases. The melody here appeared to us trite, and as if doled out somewhat too niggardly by little bits. Madame CARADORI sang like the excellent musician she is, and Mr. LODER accompanied her with all the firmness of the steam engine. The violin does not at any time exhibit to its greatest advantage in the accompaniment of the voice, and though new designs and models of compositions are to be recommended, it is desirable in all cases that the event of the experiment should be calculated with certainty.

In some instances, composers of reputation have been applauded for their failures; we think, however, this should not be a motive with any good and conscientious author to let that go forth which does not (as far as can be expected) satisfy his own judgement. Doubtless, there is sufficient in this music to make it well worth hearing—but yet too little for the reputation of a MNDELSSOHN. NEUKOMM’S Concertante is still attractive in the concert room from the novelty of its form and combination. M. VRUGT advanced himself in a good opinion by his execution of the delightful music in PAER’S scena. There is something in the quality of this singer’s tone to which, perhaps, an English amateur, with the experience upon him the finest tenors of Europe, will be with difficulty reconciled; to make amends, however, for some defects in this respect, there exist in M. VRUGT feeling, cultivation, a finished style, and familiarity with the good authors; in short, the best qualities of the singer; and one more classically educated it has seldom been our lot to meet. The overture to Anacreon was played with brilliancy and much attention to the lights and shades of the composer.

Supplement to the Musical Library (June 1834): 32-33.

SIXTH CONCERT, MONDAY, May 19th.

ACT I.

Sinfonia in G minor    .         .         .         .         .         .        .         .         C. POTTER
Duetto, Madame Caradori Allan and M.Vrugt, ‘Bella Ninfa,’ 
     (Jessonda)   .         .         .         .         .         .         .        .          . SPOHR.
Concerto, Pianoforte  .         .         .         .         .         .        .          .MOSCHELES.
Aria, signor Zuchelli, ‘La vendetta’ (Le Nozze di Figaro)              .MOZART.
Overture.      (Faust)   .         .         .         .         .         .        .         . SPOHR.

ACT II.

Sinfonia in D             .         .         .         .         .         .         .         .         .            .BEETHOVEN.
Scena, Madame Caradori Allan, (MS.) ‘Ah ritorna età dell’ 
     oro’         .         .         .         .         .        .    F. MENDELSSOHN BARTHOLDY.     BARTHOLDY.
Concertante, Flute, Oboe, Clarinet, Bassoon, Horn. Trumpet, and 
     Double Bass, Messrs. Nicholson, G. Cooke, Willman, Mack- 
     intosh, Platt, Harper, and Dragonetti     .         .      THE CHEVALIER NEUKOMM.
Scena, M. Vrugt, ‘Languirò vicino a quelle,’       (Achille)  .          .PAER.
Overture, Anacreon             .         .         .         .         .         .         .          CHERUBINI.
Leader, Mr. LODER.—Conductor, Mr. T. COOKE.

Compared with the last, this selection is entitled to great praise. M. Potter’s symphony is one of those works which the more they are heard the more they are admired; every movement evinces invention, taste, and a complete knowledge of the capabilities of a grand orchestra. Clearness in design, pleasing melody, and a rich harmony, are the attributes of this symphony, which deserves to be ranked among the greatest works of the kind. Its moderate length, too, is much in its favour, and shows the judgment as well as modesty of the composer. The audience were not insensible to the merits of this; it was received with the most unequivocal proofs of warm approbation. The symphony of Beethoven abounds in beauties; and the attempt to encore the larghetto, in A, would certainly have succeeded, but for its great length. Spohr’s Overture has some new and charming passages, and perhaps more unfold themselves to those who are intimately acquainted with the work. The Scena, by Mendelssohn, composed for this Society, proved as unsuccessful as the other pieces written to order, and brought forward this season. A long recitative, and an aria in two movements, in neither of which could be traced the hand of that genius who has already done so much, produced evidence of a failure, which neither the ability of Madame Caradori, nor that of Mr. Loder, who accompanied her, could prevent or conceal. However, something else from the author’s pen will soon efface our recollection of what was evidently composed when his muse was reluctant to yield to his wishes.

M. Vrught, principal tenor to the King of Holland, was introduced in a long scena, partly good, partly made up of those barbarous divisions which it is to be presumed our forefathers exceedingly enjoyed. This new candidate for British patronage has a strong voice, of considerable compass, and of a quality which we should deem good, were it not somewhat guttural. His style is florid, which the applause won by Rubini, whom as a singer he rather resembles, most likely has led him to adopt. His choice of music was certainly not fortunate, and he did not make any deep impression on the audience. But in the excellent duet from Spohr’s Jessonda, and under the protection of Madame Caradori, who sang it very charmingly, he was more successful; a Dutch singer, however, and a respectable one, was a novelty, and so far gratifying.

Mrs. Anderson was to have played Beethoven’s Concerto in E flat, but illness forbade her appearance. Mr. Moscheles therefore obligingly performed his admirable Concerto in C.

We had nearly overlooked the Concertante of Neukomm. Written in some measure on the principle of works of this sort which were in high favour half a century ago, it displays each instrument separately,  but it excels in every respect all those forgotten productions, save and except one by Pleyel, a composition which we think of with pleasure, and ere long shall, most probably, see revived, for its merits are of an intrinsic kind, and will ultimately save it from that fate to which most of his works—certainly not all—are justly and irrevocably condemned.