‘In order to carry on the Concerts on the same scale as heretofore, and with the same vocal and instrumental power and excellence, it is necessary that the number of Subscribers should not be less than 500. The Directors therefore give notice, that if, on the 1st of February, 1834, the Subscribers reported to Messrs. LONSDALE and MILLS, of 140, New Bond Street, do not amount to that number, the Concerts will be discontinued.’
Let us hope that what is here proposed will be successful in upholding an institution on which the preservation of good music in this country no much depends. To the study of the ancient masters the great modern composers confessedly owed their knowledge; these introduced a new style in instrumental music, undoubtedly, and extended the limits of modulation, but the foundation was prepared for them, and no one has established a permanent reputation who has not built on this. In the words, therefore, of Fra Paoli, I pray for its continuation and prosperity:—Esto perpetua!
FOREIGN MUSICAL REPORT.
VIENNA.
Hofoperntheater.—The opera Ferdinand Cortez has been reproduced, with M. Wild as Telasco, Madame Ernst as Amazily, and M. Breiting as Cortez; the minor characters were also well sustained. Donizetti’s Anna Bolena has also been given, and with even greater success than at the Josephstadttheater.
At the Hofburgtheater a new oratorio by the organist Assmayr has been performed; it displays great ability, and the music is eminently expressive of the words; it was well received.
At the first and second of the Concerts Spirituels have been given a symphony of Mozart composed for the Concerts Spirituels in Paris in the year 1778, Vogler’s overture to Castor and Pollux, a mass by Cherubini, symphony in C minor by Beethoven, chorus from Jephtha by Handel, a new Te Deum, a sterling composition, by Tomascheck, &c. &c. For the third and fourth concerts were announced Beethoven’s symphony in B, the ninth psalm of Fesca, Weber’s Jubilee overture, the Abbé Vogler’s Litany, Mozart’s symphony in E
, chorus and fugue from the oratorio Der Tod Jesu by Graun, Beethoven’s festival overture, and the Gloria from the second mass of Cherubini.
The annual concert at the Conservatory of Music, to display the progress of the pupils, took place a short time since, when their performance of Mozart’s symphony in D, and the meritorious efforts of the vocalists, gave great satisfaction.