| Sinfonia in E flat | MOZART. |
| Aria, Mr. Phillips, ‘Lascia Amor.’ (Orlando) | HANDEL. |
| Concerto, Clarinet, Mr. Willman | SPOHR. |
| Aria, Signor Donzelli, ‘Pria che spunti.’ (Il Matrimonio Segreto) | CIMAROSA. |
| Overture, Oberon | C. M. von WEBER. |
ACT II.
| Sinfonia, No. XI. | HAYDN. |
| Aria, Mrs. Wood, ‘Ah che i giorni.’ (Der Alchymist) | SPOHR. |
| Quintetto, two Violins, two Violas, and Violoncello, Messrs. Mori, Watts, Moralt, Seymour, and Lindley | BEETHOVEN. |
| Duetto, Mrs. Wood and Mr. Phillips, ‘Come frenar.’ (La Gazza Ladra) | ROSSINI. |
| Overture, Demophon | VOGEL. |
Leader, Mr. Spagnoletti.—Conductor, Mr. Cramer. | |
The Philharmonic Society celebrated its coming of age this year—the present being its twenty-first season—in a manner not at all unusual with those who attain their majority, namely, by changing its domicile, and has gained many important advantages by removing.
The great defect in the Hanover Square Rooms, as injudiciously altered many years ago, by the directors of the Ancient Concerts, was, the height of the orchestra from the floor, owing to which, sound seemed to be confined in a gallery,—was half lost before it reached the audience; not to mention the ill effect produced on it by striking the roof before sufficient space had been given for its expansion; and it actually passed over the heads of all those who sat near the performers.
The orchestra is now sloped down to within about four feet of the ground, and the front is consequently advanced a considerable distance further into the room, thus admitting a much greater number of performers, and bringing the singers, concerto-players, &c. nearly on a level with the company; that is, only so much elevated as to be seen in all parts of the saloon. The great and beneficial effect of this alteration was universally admitted, and rooms acknowledged to be the worst in London for music, are now confessedly become the best.
The two symphonies in this opening concert were executed in a manner that left no doubt on the minds of the audience as to the continued efficiency of the band. Indeed, we are not aware that any change has taken place in it since the former season; it was, and is, filled by the highest talent which this country can produce. Haydn’s 11th grand, though not of so imposing a nature as most of the twelve composed for Salomon, is full of originality and beauty, and not being so often heard as some of the others, has a freshness which increases its charms. The overture to Oberon was as perfect as its great composer himself could have wished. The Demophon very well answered the purpose of a finale.
The clarinet concerto of Spohr, in E flat, was by all felt to be too long: many bars, both in the first and last movement, which are nothing but unnecessary reiterations, might have been curtailed, much to the advantage of all parties,—composer, performer, and hearers. Had this discretion been shown, the adagio in A flat, a rich and lovely movement, would certainly have met with an encore. This was played in an exquisite manner, though Mr. Willman did not seem at his ease in the other parts; they evidently cost him great labour, but made no adequate return. Beethoven’s quintet, the first in C, op. 29, was executed in a very masterly style by Mori and his coadjutors; the slow movement was played in a remarkably fine manner; but though the whole abounds in genius, it has the defect of much modern music, is somewhat too long; and when before large mixed audiences, performers would act prudently in omitting the repeats.
The vocal pieces in this concert did not show much research or vigour in the selection of them. The two first arie, excellent as they are, have been heard till they pall on the ear; and Donzelli with his mighty voice, is resolved that at all times, and in every kind of music, its utmost power shall be displayed. Piano is a term unknown in his vocabulary; or else softness is despised by him, as an indication of effeminacy or idleness. This is the more to be regretted, because, had he a little light and shade in his singing, he would be the first Italian tenor in Europe. Mrs. Wood, in Spohr’s air, was admirable; and though a cadence to this was not only unnecessary, but ill-judged, yet, as a cadence, it was in exceedingly good keeping. The fine duet of Rossini is, like all his best music, worn to tatters, and, though well sung, was received with icy coldness.
The room was full from the very commencement.