Beethoven’s first symphony was that in C, which at once, without the usual gradatim rise, placed him on a level with Haydn and Mozart. It is now nearly forty years since it was written, but, owing to the state of the continent, did not reach this country till about fifteen years after its appearance at Vienna, and was then only attempted by bold instrumentalists. This Society, however, from its very commencement took it up,—it was the first symphony ever performed by the Philharmonic band, and then was heard everywhere in some shape or other; till at length—such is the fate of all that is good in music—by too frequent repetition, it began to ‘pall upon the sense,’ and was laid aside. It now came out, after many years’ repose, in much of its pristine freshness,—it was actually new to some of the audience, and was welcomed by all.
Mr. Potter’s symphony is not only the best composition that has yet proceeded from his pen, but a work that will give him an honourable place in the temple of fame,—a work, that the oftener it is heard the better it will be understood, and the more it will be liked; for not only the experienced master, but the man of genius, is evinced in every movement. It consists of an allegro con fuoco, in G minor, strikingly original; a very melodious and effective andante in D minor; a bold scherzo in G minor, and trio in E flat; and a finale in G minor. The only point in this symphony that seems to us liable to objection, is, that all the movements, except a short trio, are in the minor key, and this three times the same; thus a want of contrast is felt at the beginning and ending of each, though in the modulations the major third is sufficiently often introduced to afford the necessary relief.
The Fantasia Drammatica, for the full orchestra, is a descriptive piece; but M. Neukomm has had the good sense to attempt only to describe generally, never particularly. The last four books of Paradise Lost have supplied him with subjects, as his printed argument will show. The numbers distinguish the movements:—
| No. 1. | Adam’s and Eve’s happiness in Paradise.—Their Morning Hymn.—(Books IX. and X.) |
| No. 2. | Adam and Eve go forth to their labours.—Temptation.—Transgression.—Satan’s Triumph.—(Books IX. and X.) |
| No. 3. | Judgment of the transgressors.—Book X. |
| No. 4. | Their lamentation.—Only consolation in the promise of the coming Redeemer.[69]—Submission.—Michael leads them out of Paradise.—(Books XI. and XII.) |
The phrase alluded to by the composer is the first few bars of ‘I know that my Redeemer liveth,’ which he has introduced in a most felicitous manner. That the whole of this is well written, we hardly need say. There is some imagination in the various movements, but not of that vigorous kind which will put the indelible stamp of genius on the work.
M. Hummel’s concerto—the same that he produced at his recent benefit—is a very masterly composition, and, with a far superior band, went off much better now than at his own concert. The duet between Lindley and Dragonetti fixed the attention of the whole room, and pleased all. The last movement was loudly encored, for the wonderful command obtained over so intractable an instrument as the double-base naturally enough excites a desire to witness more of it than the single hearing of so brief a piece affords an opportunity of doing. The soft, low tones also, after the brass band had been very active, operated as a great relief to the auricular nerves.
Though the vocal portion of this concert furnished nothing new, the manner in which it was executed by Madame Pasta and Signor Tamburini gave a charm to it that was most sensibly felt by all present, who testified their pleasure by the warmest applause; and applause is not here lavishly or indiscriminately bestowed.
Madame Puzzi and her smaller half took more pains with the aria of Rossini than, as a composition, it deserved, but not more than that respect which they always feel for their audience taught them was required.
EIGHTH CONCERT, MONDAY, JUNE 10, 1833.
ACT I.