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 band, 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 ‘ma non 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, ‘Il 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 possible 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.

ROYAL ACADEMY OF MUSIC.

THE pupils of this institution had their first public concert for the season at the Hanover Square Rooms, on Saturday morning, March 30th, when the following pieces were performed by them exclusively:—

PART I.

Symphony, in D No. 4 MOZART.
Introduction to Zauberflöte, ‘Oh Stelle!’ MOZART.
Recit. ‘For behold;’ Song, ‘The People that walked in Darkness,’ Mr. Stretton. (Messiah) HANDEL.
Concerto, Grand Piano-Forte, First Movement only, Master Johnson, [Pupil of Mr. J. B. Cramer] HUMMEL.
Madrigal, ‘Sweet honey-sucking Bee.’ WILBYE.
Song, ‘If guiltless Blood,’ Miss Turner. (Susanna) HANDEL.
Motet, ‘O Lord who dwellest;’ composed for, and performed at, St. George’s Chapel, Windsor LUCAS.

PART II.