Eighth Philharmonic Society Concert Concert
London: New Argyll Rooms—Time: Evening, Eight o’Clock
Subscription Concert: 4 Guineas
|Symphony No.7 in A major||Beethoven|
|From Bianca e Falliero|
Quartet, ‘Cielo, il mio labbro ispira’
|Mme Caradori-Allan, Signora Garcia, |
§Signors de Begnis, Garcia
|Piano Concerto||Mr. Moscheles||Moscheles|
|Aria, ‘Gran’ dio’||Mme Caradori-Allan||Guglielmi|
|Overture, Der Freischütz||Weber|
|Symphony No.41 in C major, Jupiter||Mozart|
|From Bianca e Falliero |
Aria, ‘Alma invitta’
|Concertante for Flute, Oboe, Horn, and Bassoon||Messrs. Nicholson, Vogt, Platt, Mackintosh||Tulou|
|Aria, ‘Suoni la tromba’||Signora Garcia||Garcia|
|Overture, Die Zauberflöte||Mozart|
|Principal Vocalists: Mme Caradori-Allan, Signora Garcia; Signors de Begnis, Garcia|
|Principal Instrumentalists: Messrs. Mackintosh, Moscheles, Nicholson, Platt, Vogt|
|Leader: Mr. Nicolas Mori; Conductor: Mr. Thomas Attwood|
 In the programme, it was advertised as Symphony in C (No. 6), “Jupiter”.
Salary: £15.15 for one performance.
[GB-Lbl RPS MS 299, f13 v.]
Philharmonic Society Programme
UNDER THE IMMEDIATE PATRONAGE OF
EIGHTH CONCERT, MONDAY, JUNE 6, 1825.
|Sinfonia in A. – – – – – – –||Beethoven|
|Quartetto, “Cielo il mio labbro ispera,” Madame CARADORI ALLAN,|
|Signora GARCIA, Signor GARCIA, and Signor DE BEGNIS (Bianca|
|e Falliero) – – – – – – –||Rossini|
|Concerto Piano-forte, Mr. MOSCHELLES – – – –||Moscheles|
|Aria, “Gran’ Dio,” Madame CARADORI –ALLAN – – –||Guglielmi|
|Overture Der Freyschütz – – – – – –||Weber|
|Sinfonia No. 6 – – – – – – –||Mozart|
|Aria, “Alma invitta,” Signora GARCIA – – – –||Rossini.|
|Concertante Flute, Oboe, Horn, and Basson, Messrs. NICHOLSON,|
|Vogt, Platt, and MACKINTOSH – – – – –||Tulou|
|Aria, Signor GARCIA, “Suoni la tromba” – – – –||Garcia|
|Overture Zaubeflöte – – – – – –||Mozart|
|Leader, Mr. MORI.—Conductor, Mr. ATTWOOD.|
To commence at Eight o’Clock precisely.
The subscribers are most earnestly entreated to observe, that the Tickers are not transferable,and that any violation of this rule will incur a total forfeiture of the subscription.
It is requested that the Coachmen may be directed to set down and take up with their horses’ heads towards Piccadilly.
The door in Little Argyll-street will be open after the Concert for the egress of the Company.
The Literary Gazette; and Journal of Belles Lettres, Arts, Sciences, &c. (June 11, 1825): 380.
WITH the Eighth Concert on Monday last, the Philharmonic Society concluded this year’s series of performances, to the regret of the numerous subscribers, who have, perhaps, seldom been better pleased with the entertainments than they have been this season. So long as the directors shall act from impartial motives, and have only the very best music, performed by the best players, their concerts will flourish, notwithstanding the opposition which they have to encounter from the concerts of the Royal Academy of Music, which are considerably advanced in preparation for next year, under the name of Modern Concerts, and as we understand under the principal direction of Monsieur C. Bochsa:—and which to judge from the name we should think were intended to rival both the Philharmonic and the Ancient Concerts. It is generally expected that the winding-up concert will be the best; and though we cannot say this was altogether the case with that on Monday evening, still it was not inferior to any preceding one. The great attraction was a Pianoforte Concerto of Mr. Moscheles, played by himself. Mr. M. had evidently taken more than ordinary pains to show to so discerning a musical audience, that his performances on former occasions during the season had been mere preludes to this; he played therefore what he calls himself his most difficult composition, the Grand Concerto in E flat. We say nothing of his brilliancy of tone and powers of execution, as he is known to stand in this respect unrivalled; but what struck us most was the nice accentuation with which he expressed, in the greatest clearness, every individual idea. This high finish as to expression seemed, indeed, to be his principal aim, considering execution merely a subservient accomplishment The other pieces were comparatively of less interest, except, perhaps, an aria of Rossini’s, ‘Alma Invitta,’ sung in a very superior manner by Signora Garcia, who appeared here for the first time. With a voice naturally so beautiful, and under so excellent a tuition as that of Garcia, her father, she cannot fail to become a first-rate vocalist. Madame Caradori did in every way justice to her former reputation as a most chaste and classical singer: she has been a great ornament to these concerts. The Concertante for the Flute, Oboe, Horn, and Bassoon, by Messrs. Nicholson, Vogt, Platt, and Mackintosh, gave us an opportunity of hearing four first-rate performers in perfection.
The Harmonicon, vol. III (July 1825): 118.
|EIGHTH CONCERT, Monday, June 6, 1825.|
|Sinfonia in A – – – – –||Beethoven.|
|Quartetto, “Cielo il mio labbro ispira,” Madame Caradori|
|Allan, Signora Garcia, Signor Garcia, and Signor De|
|Begnis (Bianca e Faliero) – – –||Rossini.|
|Concerto, Piano-forte, Mr. Moscheles – –||Moscheles.|
|Aria, “Gran’ Dio,” Madame Caradori Allan –||Guglielmi.|
|Overture Der Freischütz – – – –||Weber.|
|ACT III. [sic]|
|Sinfonia, No. 6 – – – – –||Mozart.|
|Aria, “Alma invitta,” Signora Farcia – –||Rossini.|
|Concertante, Flute, Oboe, Horn, and Basson, Messrs.|
|Nicholson, Vogt, Platt, and Mackintosh – –||Tolou.|
|Aria, Signor Garcia, “Suoni la tromba” – –||Garcia.|
|Overture, Zauberflöte – – –||Mozart.|
|Leader, Mr. Mori.—Conductor Mr. Attwood.|
The merits of Beethoven’s symphony in A we have before discussed in this work, and we repeat, that, except the movement from it published in a former number of the Harmonicon, it is a composition in which the author has indulged a great deal of disagreeable eccentricity. Often as we now have heard it performed, we cannot yet discover any design in it, neither can we trace any connexion in its parts. Altogether it seems to have been intended as a kind of enigma—we had almost said a hoax. Mozart’s symphony in C, the sixth in the edition of Sperati and Cianchittini, is full of fire, and was written in the vigour of his health and genius. We know none of his instrumental compositions that show such a continued flow of animation as this: its beauties are all of the sparkling kind, and the hearer is as much exhilarated by it, as if he had swallowed copious draughts of champagne.
The Overtures to the Freischütz and the Zauberflöte have been too often eulogized here to require any further mention. The concerto by M. Moscheles was a surprising and most charming performance. The music, and the execution of it, were of the highest character, and equal to each other. The applause he received was great, but by no means unearned. The concertante by Tolou, much in the manner, but not possessing a tithe of the genius of Pleyel, was admirably executed, and this is all we can venture to say of it. The directors of these concerts are not now very scrupulous in their choice of pieces; witness the aria by M. Garcia, sung by him. The beautiful quartett by Rossini was half spoiled by giving the fourth part to Signor De Begnis, for whose voice it is altogether unfit. Madame Caradori sang an aria by Guglielmi most agreeably, and pleased every body by her performance. The composition of this air forms a remarkable contrast to the vocal productions of the present age; its comparative gentleness and tranquillity afford a great relief, and its reception at this concert convinces us that, in a few years, the rage for the “trumpet’s loud clangor” will be abated, and a taste for the music of the olden times be revived: or rather that new composers will start up, who will seek to produce the effect of novelty, by imitating that which is nearly forgotten. Madlle. Garcia made, we believe, her first public appearance at this Concert. She has a rich contr’alto voice, and is apparently a good musician; but her manner, like her father’s, is too ornamental, and is not calculated to give her any lasting fame. Her aria was very unskilfully selected for the occasion.
This performance terminated the season—a season in which there has been much to censure and much to commend. With attention, this Concert may continue, as it has long been, a fine school of music, a counterbalance to the influence of feverish and fluctuating fashion, and a standard by which the taste of those who really desire to cultivate the art may be regulated. But if the managers of the society are carelessly chosen, and persons are elected to fill the office of directors who are likely to be influenced by their own personal views, then the Philharmonic Concerts will degenerate—as they have once or twice threatened to do—the lovers of good music will be left without any resource, and the art will, for a time, be under the guidance of the weakest of that part of the community which has leisure to affect the characters of cognoscenti and patrons.