WeGA, Rezeptionsdokumente, Digitale Edition
author: Anonymus
source date: 1826
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

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But to return to the concerts of the Philharmonic. Of the selections the virtuoso will be enabled to judge, as the bills are appended at foot.* Upon the whole there has been more novelty than usual, and scarcely less excellence in the instrumental compositions. Romberg, Mayseder, Weber, Spohr, Crussell, Kreutzer, Dizi, Fürstenau, Rode, De Beriot, Moscheles, Nicholson, and Potter, are the authors who have contributed to diversify and exalt these performances. Nor ought it to escape observation that most of them are existing writers, and residing at this moment in England–we point out the fact in order to meet the charge that living merit is neglected. [...]

* FIRST CONCERT, Monday, February 27, 1826.

Act I.	

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THIRD CONCERT, Monday, April 3, 1826.

Act I.	
Sinfonia in E flat	A. Romberg.
Duet, "Graceful consort," Madame Caradori Allan and Mr. Phillips. (The Creation)	Haydn
Concerto, Piano-forte, Mr. Schuncke	
Scene, from Der Freischutz, Mr. Sapio	C. M. Von Weber
Overture, Euryanthe	C. M. Von Weber
Act II.	
Sinfonia in A	Beethoven
Scene, Madame Caradori Allan, "La dolce speranza"	C. M. Von Weber
Quartetto, two Violins, Viola, and Violoncello, Messrs. Mori, Oury, Moralt, and Lindley	Haydn
Terzetto, "Ah taci, ingiusto core," Madame Caradori Allan, Mr. Sapio, and Mr. Phillips (Il Don Giovanni)	Mozart
Overture, Der Freischutz	C. M. Von Weber.
Leader, Mr. Kiesewetter–Conductor, Mr. Weber.	

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FIFTH CONCERT, Monday, May 1, 1826.

Act I.	
Sinfonia	Handel.
Quartetto, Madame Pasta, Signor Curioni, Mr. Phillips, and Signor De Begnis	Weigl.
Concerto Flute, Mr. Fürstenau (First Flute to the King of Saxony)	Fürstenau.
Terzetto, "O nume benefico!" Madame Pasta, Mr. Phillips, and Signor De Begnis (La Gazza Ladra)	Rossini.
Overture, (Oberon)	C. M. von Weber.
Act II.	
Sinfonia in C Minor	Beethoven.
Recit. ed Aria, Madame Pasta, "Ombra adorata, aspetta!" (Romeo e Giulietta)	Zingarelli.
Concerto Violin, Mr. De Beriot (Violin de la Chambre de S. M. le Roi de France)	Rode & De Beriot
Duetto, "O Statna gentilissima," Signor Curioni and Signor De Begnis (Il Don Giovanni)	Mozart.
Overture in D.	A. Romberg.
Leader, Mr. Loder.–Conductor, Sir G. Smart.	

SIXTH CONCERT, Monday, May 15, 1826.

Act I.	
Sinfonia in D	Beethoven.
Song, Mr. Sapio, "In native worth," (The Creation)	Haydn.
Grand Concerto (MS.) Harp, Mr. Dizi	Dizi.
Duetto, Miss Paton and Mr. Sapio, "Amor, possente nome!"	Rossini.
Overture, (Der Beherrscher der Geister)	C. M. von Weber.
Act II.	
Sinfonia in E flat	Mozart.
Scena ed Aria, Miss Paton, "Si, Io sento," (Faust)	Spohr.
Quartetto, two Violins, Viola, and Violoncello, Messrs. Bellon, Oury, Moralt, and Lindley	Haydn.
Trio, Miss Paton, Mr. Sapio, and Mr. Phillips, "My soul with rage" (Mount of Olives)	Beethoven.
Overture, (Lodoiska)	Cherubini.
Leader, Mr. F. Cramer.–Conductor, Mr. Cramer.	

SEVENTH CONCERT, Monday, May 29, 1826.

Act I.	
Sinfonia, MS. (never performed).	Potter.
Duetto, Madame Caradori Allan and Signor Curioni, "Sei gia Sposa," (La Donna del Lago).	Rossini.
Concerte Piano-forte, G minor, Mr. Moscheles.	Moscheles.
Terzetto, Madame Caradori Allan, Signor Curioni, and Signor Pellegrini, "Mandina amabile."	Mozart.
Overture, Der Berg-geist.	Spohr.
Act II.	
Sinfonia in F.	Beethoven.
Recit. and Aria, Madame Caradori Allan, "Deh Parlate," (Il Sacrificio d' Abramo.)	Cimarosa.
Quintetto, two Violins, two Violas, and Violoncello, Messrs. Kiesewetter, Oury, Moralt, Ashley, and Lindley.	Beethoven.
Duetto, Signor Curioni and Signor Pellegrini, "Son io desto," (Nina.)	Paisiello.
Overture, Jubilee.	C. M. Von Weber.
Leader, Mr. Spagnoletti.–Conductor, Mr. Potter.	

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The third night introduced Mr. Schuncke, a German pianist. His execution was considered very neat and rapid. At this concert M. Von Weber * * We have the high gratification (as Englishmen) of knowing that M. Von Weber pronounced the Philharmonic to be beyond dispute the finest band in Europe! conducted. Four of his own compositions were performed–two vocal and two instrumental–the overtures to Euryanthe and Der Freischutz.

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The fifth performance was distinguished by concertos from M. Fürstenau and M. De Beriot. Of the former artist we have spoken in our account of the oratorios, where he first appeared. Indisposition diminished his powers on this occasion. M. De Beriot has placed himself, per saltum, by the side of the most eminent violinists ever heard in this country. His taste is as elegant and delicate as his execution is perfect. His tone is round, and smooth, and sweet, and brilliant. His tune accuracy itself. His manner of bowing that of the best schools; and the hearer is never alarmed by the fear of failure, while he is captivated by the exquisite grace and finish of the entire performance. All we have heard of this great player since serves only to confirm the impression we first received from his concerto at the Philharmonic. The best judges appear to concur in opinion respecting him, and to place him amongst the very finest players Europe has produced.

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We are now to speak of a series of subscription concerts, to aid the funds of the Royal Academy of Music, set on foot by the committee of that institution, and governed by the noblemen and gentlemen composing that body, who are as here enumerated. [...] [...]

[...] We have no occasion to enumerate the principal performers–the concert bills furnish their names and succession.*

* FIRST CONCERT, Monday, March 6th.

PART FIRST.	
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SECOND CONCERT, Monday, April 10th.

Part I.	
Symphony in C	Mozart.
Terzetto, Signor Curioni, Signor Pellegrini, and Signor De Begnis, "Giuro alla terra al cielo"	Guglielmi.
Scena e Cavatina, Signor Velluti, "Ah che per me non v' è" (Ginevra di Scozia)	Mayer.
Duet, Two Violins, H. G. Blagrove and T. Mawkes (Pupils of the Royal Academy of Music)	Kreutzer.
Duetto, Madame Bonini and Signor Velluti, "Se tu m' ami" (Aureliano in Palmira)	Rossini.
Finale, Mad. Bonini, Miss Paton, Signor Curioni, Signor Begrez, and Signor Pellegrini, "Dolce figliuol d'Urania"	Mayer.
Part II.	
Overture (Der Beherrscher der Geister)	Weber.
Aria, Miss Paton, (Atalia)	Weber.
Concerto, French Horn, Signor Puzzi	Belolli.
Terzetto, Mad. Bonini, Signor Begrez, and Signor De Begnis (L'Inganno Felice)	Rossini.
Aria, Madame De Vigo (her first appearance in this country), "Di tanti palpiti"	Rossini.
Finale, Mad. Bonini, Miss Paton – Signor Begrez, Signor De Begnis, Signor Pellegrini Miss Bellchambers and Mr. Sapio, jun. (Pupils of the Royal Academy of Music), "Signore! di fuori" (Figaro)	Mozart.
Leader, Mr. F. Cramer–Conductor, Dr. Crotch.	

THIRD CONCERT, Monday, 24th April.

Part I.	
Symphony (C minor)	Beethoven.
Terzetto, Messrs. Sapio, Phillips, and De Begnis, "Dille che questo core"	Fioravanti.
Duetto, Sig. Velluti and Mad. Bonini, "Mille sospiri e lagrime" (Aureliano in Palmira)	Rossini.
Selection from The Creation Recit. Mr. Sapio, "And God created man in his own image." Air, – "In native worth." Chorus, "Accomplished is the glorious work." Recit. and Trio, Mr. Sapio, and Mr. A. Sapio and Miss Bellchambers (Pupils of the Royal Academy of Music), "On Thee each living soul." Grand Chorus, "Accomplished is the glorious work."	Haydn.
Part II.	
Overture, Der Freischutz.	Weber.
Cavatina, Mad. Bonini, "Di piacer" (La Gazza Ladra)	Rossini.
Concerto, Violin, M. de Beriot (his first appearance in this country.)	
Aria, Madame D'Anvers (her first appearance in this country), "Alma invitta" (Sigismondo)	Rossini.
Quintetto, Mad. Bonini, Miss Paton, Messrs. Sapio, Phillips, and De Begnis, "Oh guardate"	Rossini.
Overture (M. S.)	C. Lucas, Pupil of the Royal Academy of Music.
Leader, Mr. Mori–Conductor, Dr. Crotch.	

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SIXTH CONCERT, Monday, 5th of June.

Part I.	
Symphony (in G minor)	Mozart.
Duetto, Signora Bonini and Miss Bacon, "Parto! ti lascio"	Mayer.
Cavatina, Signor Velluti, "La tua diletta"	Pavesi.
Septuor–Violin, Mr. Kiesewetter–Tenor, Mr. Moralt–Violoncello, Mr. Lindley–Double Bass, Mr. Dragonetti–Clarinett, Mr. Willman–Horn, Mr. Puzzi–and Bassoon, Mr. Mackintosh	Beethoven.
Terzetto, Signora Bonini, Signor Velluti, and Signor Pellegrini, Oh ciel del cui	Pacini.
Aria, Madame Pasta, "Ah che forse;" Corno obligato, Signor Puzzi	Pacini.
Part II.	
Overture, (Euryanthe)	Weber.
Duetto, Madame Pasta and Signor Curioni, "E deserto il bosco"	Mayer.
Cavatina, Signora Bonini, e Coro, "Dell' arpe"	Pavesi.
Terzetto, Misses Marinoni and Grant and Mr. A. Sapio (Pupils of the Royal Academy of Music), "In quel Soggiorno" (Tebaldo)	Morlacchi.
Cavatina, Miss Bacon, "Frenar vorrei"	Cimarosa.
Terzetto, Madame Pasta, Signor Pellegrini, and Signor De Begnis, "Ah taci ingiusto core"	Mozart.
Finale, Signora Bonini, Misses Marinoni and Grant, Signori Curioni, De Begnis, Pellegrini, and A. Sapio, "Viva, viva" (L'Italiana in Algieri)	Rossini.
Leader, Mr. Spagnoletti–Conductor, Dr. Crotch.	

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[...] While we are upon this topic, we mention with a feeling allied to shame as well as regret, that the concert of poor Weber, the popular the idolized Weber, though he produced pieces of his own not at all known in England, was amongst the thinnest of the year. He disdained to practice any of the arts by which some concerts are made as the phrase goes–and however unaccountable it may seem–he was deserted. [...]

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Thus much as to the effect upon the public. With respect to the art itself, it is clear that its cultivation is more general and more scientific. We demonstrate this fact by the growing regard to instrumental music and by the facility with which the mere regard to melody, though it is and must be at all times the predominant characteristic of the popular attachment, has given way to the apprehension and relish of fine instrumental combinations in accompaniment. Nothing has gone so far to prove this as the production and sustentation of Weber's compositions. His overtures have been continually encored at the theatres–a circumstance unknown till of late years–and his Oberon depends far more upon the orchestra than the singer. Again we may cite the perpetual introduction of concertos upon all instruments. There is no surer criterion of public approbation than frequency of performance. It results necessarily that such demonstrations of skill must tend to correct the general taste and to diffuse the justest notions of perfect execution. They operate essentially to polish the judgment.

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