SECOND CONCERT, Monday, March 11, 1833.
ACT I.
| Sinfonia, No. I. | SPOHR. |
| Recit. ed Aria, Miss Masson, ‘Morirò! ma vendicata.’ (Teseo) | HANDEL. |
| Quintetto, MS. (composed expressly for these Concerts, and first time of performance) Piano-forte, Violin, Viola, Violoncello, and Contra Basso, Messrs. Cramer, F. Cramer, Moralt, Lindley, and Dragonetti | CRAMER. |
| Duetto, Miss Masson and Mr. Horncastle, ‘Bella Ninfa.’ (Jessonda) | SPOHR. |
| Overture, Euryanthe | C. M. von WEBER. |
ACT II.
| Sinfonia, No. VII. | BEETHOVEN. |
| Aria, Madame de Meric, ‘Per pietà.’ (Così fan tutte). | MOZART. |
| Concertino, Violin, Mr. Henry Wolff | WOLFF. |
| Terzetto, Madame de Meric, Mr. Horncastle, and Mr. E. Taylor, ‘Tremate, empi, tremate.’ (Fidelio) | BEETHOVEN. |
| Overture, L’Hotellerie Portugaise | CHERUBINI. |
Leader, Mr. F. Cramer.—Conductor, Sir George Smart. | |
Spohr’s symphony in D, dedicated to this society, certainly improves upon acquaintance. Written as it is, and as most of this composer’s works are, after Mozart’s models, it still is not devoid of original traits: while in fulness of harmony, and that kind of finish which well-directed labour produces, it has never been surpassed. We have not heard Beethoven’s symphony in A better executed, hardly ever so well. The second movement[46],—to the merits of which we have often attempted to do justice—was, as usual, encored. The overture to Euryanthe received equal justice from the hands of this matchless band. This is one of those compositions which do not develope their beauties on a first or even a second hearing; but the fine imagination of Weber, his taste and artistic skill, are as fully displayed in this as in any of his better-known orchestral productions. Cherubini’s overture savours of mannerism; it is nearly made up of passages from his other works.
Mr. Cramer’s quintet—to compose which he was recently engaged by the society—aims at nothing grand, makes no attempt to surprise, either by eccentricity of melody or studied and far-fetched modulation; but a well-considered design is conspicuous in each movement, and the whole, particularly the slow movement, is marked by that elegance which is this author’s attribute. The first movement is an allegro in B flat; the second a largo in F; and the last a rondo in six-quaver time. The performance of this was in Cramer’s well-known exquisite and unrivalled style,—for who like him knows how to touch the instrument!—and his efforts were met with that attention and applause which they so richly deserved[47].
Mr. Wolff, first a pupil of Spagnoletti, then of Mayseder, displayed considerable ability in his concerto. If his intonation was not always quite exact—if he sometimes attempted more than he could with great nicety perform, the occasional imperfections may possibly be imputed to the nervousness arising from a débût, and before such an audience. Wishing that he had more of his first master than of his second in his style—more of the solid and less of the glittering—we still think that there is great promise in this performer but are not so well convinced that the Philharmonic Concert was exactly the place for his first performance.
The scena and aria of Handel are worthy of the master, and pleased as novelties, for every part of the opera is totally unknown. Rage and revenge are here expressed, according to the fashion of the day, in long divisions; but these very divisions render the air unfit for Miss Masson’s voice, which has but little flexibility, and proved unequal to the many passages requiring quick and distinct articulation. Her shake too, a grace, if grace it must be called, is anything but perfect, and unfortunately was here frequently introduced, greatly to the regret of those who know how to appreciate this lady’s talents, which are of a high order, but in the present air much misemployed. The duet from Jessonda was chosen for her with much more judgment. Mozart’s aria, from the appendix to his Così fan tutte, is a fine composition, abounding in the riches both of melody and accompaniment, but Mad. de Meric had fatigued herself by previously singing at the theatre, and certainly did not make the most of what was now assigned to her. The terzetto—another hacknied piece—was correctly performed; but this wants the stage; in concert-room it ranks as a second-rate composition, whatever the through-thick-and-thin admirers of the author may say to the contrary.