# A Dictionary of Music and Musicians/Philharmonic Society

From volume 2 of the work.
​PHILHARMONIC SOCIETY. This society was founded in London in 1813 for the encouragement of orchestral and instrumental music. Messrs. J. B. Cramer, P. A. Corri, and W. Dance invited various professional friends to meet them on Sunday, Jan. 24, 1813, when a plan was formed which resulted in the establishment of a society with thirty members, afterwards increased to forty—seven of whom were made directors for the management of the concert—and an unlimited number of associates. The subscription for members was three guineas, and for associates two guineas each. Subscribers were admitted on the introduction of a member on paying four guineas, and resident families of any subscriber two guineas each.
The principal musicians in London readily joined, and gave their gratuitous services in the orchestra. The first series of eight concerts on Mondays, at irregular intervals, commenced on March 8, 1813, at the Argyll Rooms, Regent Street—'Leader, Mr. Salomon; at the pianoforte (in lieu of the conductor as at present), Mr. Clementi'—and was both financially and artistically successful.
The following is a list of the members during the first season: J. B. Cramer, P. A. Corri, W. Dance, M. Clementi, W. Ayrton, W. Shield, J. J. Graeff, H. R. Bishop, W. Blake, J. B. Salomon, C. Neate, R. Potter, Sir Geo. T. Smart, F. Cramer, T. Attwood, J. B. Viotti, — Hill, — Moralt, G. E. Griffin, J. Bartleman, W. Knyvett, Louis Berger, C. Ashley, R. Cooke, F. Yaniewicz, S. Webbe, jun., V. Novello, W. Horsley, W. Sherrington, A. Ashe. Among the associates, of whom at the outset there were 38, are found the names of Bridgetower, Mori, Naldi, Cipriani Potter, Spagnoletti, Samuel Wesley, and other eminent musicians.
The following have been the Treasurers of the society:—W. Ayrton (1813–14); W. Dance (1815); M. Clementi (1816–17); R. H. Potter (1818–19); T. Attwood (1820); W. Dance (1821–32); W. Sherrington (1833–35); W. Dance (1836–39); G. F. Anderson (1840–76); W. C. Macfarren (1877–80) [App. p.746 "to the list of treasurers add the name of Charles E. Stephens, who was elected on the secession of Walter C. Macfarren after the season of 1880. The office of treasurer has been honorary since the foundation of the Society, except in seasons 1836 to 1840, inclusive"]. The Secretaries have been H. Dance (1813); C. J. Ashley (1813–15); W. Watts (1815–47); G. W. Budd(1847–50); G. Hogarth (1850–64); Campbell Clarke (1864–66); Stanley Lucas (1866–80). [App. p.746 "Complete the list of secretaries as follows: Henry Hersee (1881–1884); Francesco Berger (1885). The office of secretary became honorary in 1883. The office of conductor was originally honorary, except in the case of some special engagements, and was performed by one or other of the directors. After the first three concerts in 1844, Mendelssohn was engaged for the remaining five, and, in 1845, Sir Henry Bishop for the whole series, but at the third concert he withdrew on the plea of illness, and Charles Lucas officiated in his stead; Moscheles was engaged for the remaining five concerts of the season."]
In the early days of the society two symphonies, two concertos, two quartets or quintets for string or wind instruments, with two or more vocal concerted pieces, constituted the evening's programme. Chamber instrumental music is now excluded, and other arrangements are made conforming to the exigencies of the age and the comfort of the subscribers.
In addition to the claims of our own countrymen, foreign non-resident musicians have from time to time been invited to direct the performances, often of works composed at the express request of the society, as Cherubino (March 13, 1815), Spohr (1820, 1843), Weber (1826), Mendelssohn (1829, 42, 44, 47), Hiller (1852), Wagner (1855), Gounod (1871). The intimate association of the Society with these great composers, as well as with Onslow and Beethoven, etc. etc., need only be mentioned to show the artistic recognition which this institution has received from music's greatest professors. A good idea of the popularity of the Society in 1820 may be formed from Spohr's account in his Autobiography. 'Notwithstanding the high price of admission, says he, the number of subscribers was so great that many hundreds who had inscribed their names could not obtain seats.'
The following summary of the principal new events of each season will be the best epitome of the earnest artistic work done by the Philharmonic Society. It will show how far the Society since its establishment may claim to have kept pace with the progress of music; how many masterpieces of the most different schools, since become classic, were first heard in England at a Philharmonic concert, and how many great players have there made their débût before an English audience. These claims to distinction are due to the discretion and energy of the Directors of the Society. Their post is an honorary one, involving much time and labour, and it is through their exertions that the Society has for so long maintained its position against continually increasing competition, and has on more than one occasion been rescued from pecuniary difficulty and placed again in a state of prosperity.
The list shows, with a few exceptions, only the fresh works brought forward and the first appearances of artists; the stock pieces of the répertoire, and the re-appearances of favourite players and singers being but rarely named.
In the programmes of the first season the works are but rarely specified.
​NB. * denotes that a work was composed for the Society; † that it was first performed in England in the year named.
1813. Symphonies—Haydn (4), Mozart (3), Beethoven (3), Pleyel (1), Woelfl (1), Clementi (2), Romberg (1). Overtures—Cherubini (4), Haydn (1), Mozart (1), Paer (1). Septet—Beethoven. Quartets and Quintets—Haydn, Mozart, Beethoven, J. C. Bach, Romberg, Viotti, etc.
1814. †Sinfonia Eroica. *†2 MS. Symphonies, F. Ries. *†Quartet, Griffin. MS. Symphonies, Haydn, †Crotch, and †Asioli. *†New Overture, Cherubini. †Overture, Berger. Selection from 'Mount of Olives.' B. Romberg plays. N.B. Cherubini accepts 200l. for a new symphony, overture, and vocal piece.
1815. †Overture, 'Anacreon,' conducted by Cherubini. *†MS. Symphony and MS. Overture by Cherubini. †MS. Symphonies by Ries and Woelfl; †MS. Sestet, Kalkbrenner. Kalkbrenner and Lafont play. 200l. voted for trial of new works. 3 MS. Overtures bought from Beethoven.
1816. †Symphony in C minor, Beethoven. †MS. Symphony, Ries. †MS. Overture, Beethoven. †MS. Bardic Overture, Ries. *†MS. Overture and Sestet, Potter. †MS. Symphony, Fémy. †MS. Overture, Burrowes. Baillot plays at 1st, and leads at 6th and 7th concerts.
1817. †Overtures, Fidelio and Coriolan. †Symphony in A, Beethoven. †MS. Symphony, Burghersh. Anfossi plays. Invitation to Beethoven.
1818. †Hummel's Septet. †MS. Symphony, Ries.
1819. †MS. Symphony, Clementi. MS. Trio, Lindley. *†MS. Quintet, Ries.
1820. Spohr's first visit; plays his Dramatic Concerto, and conducts his MS. *†Symphony(No. 2) and †Nonet. Neate plays a †Concerto by Beethoven. Further commissions to Beethoven.
1821. Overtures, *†in F, Spohr, †in D, Romberg. Moscheles plays his †MS. Concerto. Potter plays Mozart's †Concerto in D.
1822. †Overture, Leonora. †Concerto for P.F. and Chorus, Steibelt (Neate); Mrs. Anderson's first appearance—†Hummel's B minor Concerto. H. Field (Bath) plays †Concerto, Hummel. MS. Symphony, Bochsa. †MS. Concerto, Moscheles. 1st app. Caradori.
1823. †MS. Symphony, Clementi. †MS. Overture (op. 124), Beethoven.
1824. Beethoven's †C minor Concerto (Potter). †MS. Overture, Clementi. Kalkbrenner plays †MS. Concerto. Szymanowska plays. 1st app. Miss Paton, Mme. Pasta.
1825. *†Choral Symphony (Mar. 21). Overtures—†Euryanthe, †Olimpia, Spontini; †Alcalde, Onslow. Concertos—†Beethoven, in G (Potter), †Weber's Concertstück (Neate). Pasta and Caradori sing. Female Associates first elected.
1826. Weber conducts, April 3. †MS. Symphony, Potter. †Overture, Jessonda. De Beriot plays a Concerto by Rode.
1827. †MS. Overtures by Schloesser and Goss. Liszt's first appearance (May 21) in Concerto by Hummel. 1st app. Mme. Stockhausen.
1828. †Symphony in E♭, Spohr. Last appearance of Clementi. Pixis plays.
1829. Mendelssohn conducts his †C minor Symphony (May 25). †Spohr's double Quartet. Sontag and Malibran sing.
1830. Argyll Booms burnt (Feb. 6); library saved; concert-room of Opera House engaged. Mendelssohn's Overture to M. N. Dream. †Overture, William Tell. Notturno for wind, Mozart. 1st app. Mme. Dulcken, De Beriot, Lablache.
1831. Selection from Spohr's Last Judgment. †Overture, Alchymist, Spohr. 1st app. Hummel, H. Blagrove, Rubini, Miss Inverarity.
1832. Symphonies—†Moscheles in C, *†MS., Onslow in †Beethoven's Violin Concerto (Eliason). †Mendelssohn's, Isles of Fingal (MS.). Mendelssohn plays †G minor Concerto twice. John Field (Russia) plays his Concerto in E♭. Schröder-Devrient, Cinti-Damoreau, Tamburini, sing. Mendelssohn commissioned to write symphony, overture, and vocal piece. Commissions given to J. B. Cramer, Bishop, Potter, Griesbach, Neukomm, Moscheles, Griffin, Attwood, Horsley, Novello, Gross, and T. Cooke. N.B. Clementi's funeral, in Westminster Abbey, conducted by the Society.
1833. *†Mendelssohn's Italian Symphony and *†Trumpet Overture. *†MS. Symphony (A minor) by Potter. Mendelssohn plays Mozart's D minor Concerto. 1st app. Herz, Clara Novello, Miss Masson. N.B. Concerts transferred to Hanover Square. Hon. members first elected—Auber, Hummel, Le Sueur, Mendelssohn, Meyerbeer, Onslow.
1834. *†Bishop's Cantata, 'The Seventh Day'; Novello's do. 'Rosalba'; *†Horsley's motet 'Exaltabo.' *†Overture, Griesbach. Mendelssohn's †'Melusina' and *†'Infelice.' Beethoven's E♭ Concerto, Mrs. Anderson. Moscheles plays his †Concerto Fantastique (MS.). 1st app. of Vieuxtemps, Grisi, Ivanoff.
1835. †Spohr's 'Weihe der Töne.' †MS. Symphony, Maurer. *†Concerto in D Minor, Herz. 1st app. of W. S. Bennett, H. Blagrove, Servais, Brambilla, Miss Postans.
1836. †Mendelssohn's 'Calm Sea.' †Lachner's Symphony in E♭. *†Bishop's Cantata 'Departure from Paradise' (Malibran). Bennett plays his †Concerto, C minor. 1st app. of Thalberg, Ole Bull, Lipinski, Balfe.
1837. †Symphony in A, Onslow. Overtures—†Ries; †'Cymbeline,' Potter; †'Naiades' (MS.), W. S. Bennett. †Introd. and Fugue, Mozart. Choral Symphony. 1st app. of Rosenhain, Miss Birch, Ronconi.
1838. †Mendelssohn's D minor Concerto, MS. (Mrs. Anderson). †Bennett's F minor do., MS. (Bennett). †MS. Concerto, Hummel (Dulcken). Choral Symphony. 1st app. of Hausmann, Heinemeyer, Pott, Döhler.
1839. Bennett's MS. Overtures †'Wood Nymphs' and 'Parisina.' †Concerto Pastorale, Moscheles. †Overture, 'Yelva,' Reissiger. 1st app. of Mario (in England), Dorus Gras, Rainforth.
1840. †Symphonies No. 5 and 'Historical,' Spohr. †MS. Symphony, Jos. Strauss. 1st app. of Nau, Molique. Liszt, Ole Bull, and Henry Field (Bath), play.
1841. Lobegesang. Overtures, †'Benv. Cellini,' Berlioz; 'Vampyr,' Lindpaintner; 'Regicide,' Lucas. Choral Symphony. Bennett's C minor Concerto. Liszt, Vieuxtemps, David, play. 1st app. of Dolby, Lowe, Misses Williams.
1842. †MS. Symphony and †MS. Concerto, Molique. †MS. Symphony, (Virtue and Vice), Spohr. Mendelssohn conducts †Scotch Symphony and Hebrides, and plays his D minor Concerto. 1st app. of Miss Bassano, Adelaide Kemble, Parish-Alvars. Bennett and Thalberg play; Mario sings.
1843. †Overture, 'Macbeth,' Spohr. †Chopin's F minor Concerto (Dulcken). Choral Fantasia (Mrs. Anderson). †MS. Concert-piece in A minor, Bennett. Choral Symphony (twice), Lobgesang. Weihe der Töne. 1st app. of Albertazzi, Staudigl, Sivori, Mme. Oury, Dreyschock. Spohr plays and conducts. N.B. Nine concerts.
1844. †Overture, Leonora, No. 1. †Ruins of Athens. †Overture and Suite, Bach, †Walpurgisnight. Beethoven's Concerto in G, and Violin do. Midsummer N. D. music. 1st app. of Ernst, Sainton, Joachim, Piatti, Buddens. Mendelssohn conducts last 5 concerts. Sivori, Bennett, play. 1st app. of Castellan, A. Thillon.
1845. Macfarren's Symphony in C♯ minor. Overture, 'Cantemire,' Fesca. †Concerto, D minor, Bach (Moscheles). Walpurgisnight. 1st app. of L. de Meyer, Milanollos, Pischek, Cavallini; Sainton, Oury, Vieuxtemps, Bennett, play.
1846. Mr. Costa conducts (till 1854). †Beethoven's Mass in D. †Mendelssohn's Violin Concerto (Sivori). †MS. Concerto, P. Alvars (Mme. Dulcken). †Spohr's Concerto in G (Sainton). †Bennett's Caprice in E (Bennett). †Spohr's Concertante, MS. 1st app. Mme. Pleyel, Lockey, Lavigne. H. Field, Vieuxtemps, P. Alvars, play.
1847. Mass in C, Beethoven. †Symphony in D (3 movements), Mozart. Beethoven's Choral Symphony, Concerto in G (Mendelssohn), Violin Concerto (Joachim). Midsummer N. D. music. Scotch Symphony. Mendelssohn conducted and played at the 4th concert—his last visit. 1st app. of Kate Loder, Hellmesberger, Persiani. Bennett, Vieuxtemps, play: H. Phillips sings 'On Lena's gloomy heath,' Mendelssohn (MS.).
1848. †Mendelssohn's 'To the sons of Art.' †Overture, 'Struensee.' †Symphony, B minor, A. Hesse. Overture, 'Siege of Corinth,' Rossini. †Overture, 'Titania,' Griesbach, 'Parisina,' Bennett. 1st app. of Viardot Garcia, Alboni, H. C. Cooper, Prudent.
1849. Mendelssohn's †Athalie (twice), †Buy Bias (MS.), and Serenade and Allo giojoso. Choral Symphony. 1st app. of Mlle. Neruda, L. Sloper, Hancock (cello), J. B. Chatterton, Sims Reeves, Miss Lucombe Jetty Treffz, Wartel.
1850. Griesbach's †MS. Overture, 'Tempest.' Concertstück, C minor, Benedict. Walpurgisnight. 1st app. of Charton, Hayes, Pyne, Formes, Alard, Benedict, Salaman. Thalberg plays Mozart's D minor Concerto.
1851. †MS. Overture, Schlösser. †Concertos—†violin—E♭, Mozart (Sainton); †Spohr, No. 2 (Blagrove); PF, ​Hummel. A minor (Pauer). Choral Symphony. Trumpet Overture. 1st app. of Reichardt, J. Stockhausen, Bottesini, W. H. Holmes, Pauer.
1852. †Hiller's Symphony 'Im Freien.' †Scotch fantasia, Joachim. Overture, 'Don Quixote,' Macfarren. 1st app. Clauss, Halle, John Thomas, Gardoni. Hiller conducts (June 28).
1853. †'Praise of Music,' Beethoven. †A minor Symphony, Gade. †Overture, Scherzo, and Finale, Schumann. †Loreley finale, Mendelssohn (Pyne). †'Harold in Italy' (Sainton); 'Repose' (Gardoni); Overture, 'Carnaval Romain'—all by Berlioz. †Hiller's Concerto (Hiller) †Overture, 'Genneserin,' Lindpaintner. *MS. Symphony, Cherubini. Midsummer N.D. music (twice). 1st app. F. Hiller, Winterbottom.
1854. †Symphony, B flat, Schumann. †MS. Symphony, Rosenhain. 1st app. Belletti.
1855. Wagner conducts. †Selection, 'Lohengrin.' MS. Symphony in B♭, Lucas. †Overture, 'Chevy Chase,' Macfarren. †Overture, 'Tannhäuser' (twice). †Concerto, E minor, Chopin (Halle). 1st app. Jenny Ney, Rudersdorff.
1856. Sterndale Bennett conducts (till 1866). Schumann's †'Paradise and Peri.' Overtures, †'Don Carlos,' Macfarren; †'Antony and Cleopatra,' Potter. †13 Vars. sérieuses, Mendelssohn. 1st app. Arabella Goddard, Mme. Schumann, Mme. Lind. N.B. Six concerts.
1857. †PF. Concerto in G, Rubinstein. 1st app. Remenyi, A. Rubinstein. Six concerts.
1858. †Concerto No. 4, David. 1st app. W. G. Cusins, Bott.
1859. †Joachim's Hungarian Concerto (Joachim). Bennett's 'May Queen.' 1st app. Caillag, Artot. Six concerts.
1860. †Symphony, 'The Seasons,' Spohr. †Concerto, Dussek, G minor (Goddard). 1st app. Becker, Lübeck, Kömpel, Paque, Parepa, Santley. Six concerts.
1861. 1st app. Lemmens Sherrington, Delle Sedie. J. F. Barnett, Straus, O. Goldschmidt. Moscheles's last appearance. Eight concerts again.
1862. Jubilee year. Symphony, Gade. Overtures, *†'Paradise and Peri,' Bennett; 'Genoveva,' Schumann. Concertos—†Triple, Beethoven (Joachim, Piatti, Cusins); †A minor, Viotti (Joachim); †Cello, Davidoff (Davidoff), †Cello, Piatti (Piatti), Violin, David (Becker). 'Hear my Prayer,' Mendelssohn (Mme. Lind). 1st app. Titiens, Mlles. Marchisio, Davidoff, Lavigne. N.B. Nine concerts.
1863. †Music to Egmont, Beethoven. Overture, 'Ossian,' Gade. March in Tannhäuser. †Fantasia appassionato, Rietz (Piatti). 1st app. Buzian.
1864. Symphonies—*†Bennett, MS., G minor; Schumann in C. Overtures—'Fernan Cortez,' Spontini; 'Merry Wives,' Nicolai. Concertos—†Bennett, No. 1 (H. Thomas); †Joachim, No. 2, in G (Joachim). Serenade and Allo giojoso, Mendelssohn (Hartvigson). 1st app Bettelheim, Gunz, Trebelli, Crozier.
1865. Overtures—'Le Philtre,' Auber; †'Rienzi,' Wagner. Concertos—†Flute, Molique (Svendsen); PF. Schumann (Mme. Schumann). Finale to Loreley (Titiens). 1st app. Murska, Harriers-Wippern, Sinico, Agnesi. Lauterbach, Svendsen.
1866. Schumann's 'Paradise and Peri' (Parepa). Gounod's Symphony in E♭. 1st app. Ubrich, Cummings, Auer, Jaell, Mehlig, Wieniawsky. N.B. Sterndale Bennett resigns.
1867. W. G. Cusins appointed conductor. *†Overture, 'Marmion,' Sullivan. Symphonies—Beethoven, Choral; Schubert, B minor; Schumann, D minor. 1st app. Nilsson, Mme. Patey, Grützmacher.
1868. Reformation Symphony, Mendelssohn. Overtures—'Elise,' Cherubini; †'Rosenwald,' Lucas: †Symphonique. J. F. Barnett; 'Nonne Sanglante,' Gounod; †'Selva incantata,' Benedict. †Concertstück (op. 92.) Schumann (Mme. Schumann). Concertos—†Max Bruch (Straus); †Besekirsky; Reinecke (Jaell). 1st app. Foli, Kellogg, V. Rigby, E. Wynne, Besekirsky, Carrodus, Rendano.
1869. N.B. Concerts removed to St. James's Hall. Programmes annotated by Prof. Macfarren. †Symphonies—Woelfl, G minor. Overtures—'Camacho,' Mendelssohn; 'King Manfred,' Reinecke; 'Rosamunde,' Schubert. 1st app. H. Holmes, Neruda, Reinecke, Zimmermann, Regan, Monbelli.
1870. Symphony, E♭, Schumann. Overture. 'In Memoriam,' Sullivan. Concerto, B♭, Piatti. Beethoven's 9 Symphonies. 1st. app. Orgenyi.
1871. Symphonies—†Gounod in D; Schubert in C. Overtures—'Mireille,' Gounod: 'Wood Nymph,' Bennett; 'Rienzi,' Wagner. †Saltarello, Gounod. †Concerto grosso, G minor, Handel. †Concertino, Bottesini. 1st app. Brandes, Capoul, Faure. N.B. Bust of Beethoven presented by Frau Linzbauer. Gold medal struck by Wyon for presentation to artists.
1872. Brahms's Serenade in D. Overtures—Bennett, †'Ajax'; Benedict, 'Tempest.' Concertos—†Bach in G; †Handel, oboe, G minor; Liszt, E♭; Cusins, A minor. 1st app. Delaborde; Hartvigson, Carlotta Patti, Peschka-Leutner, Marimon, M. Roze.
1873. Symphony, †C. P. E. Bach in D; †'Tasso,' Liszt. †Requiem, Brahms. Bach's Chromatic Fantasia. Overtures—'Faust,' Spohr; 'Alfonso and Estrella,' Schubert; 'Medecin,' Gounod; 'Holländer,' Wagner; 'St. John the Baptist' (MS.), Macfarren. Concertos—Rubinstein, G; Brahms, D minor; Macfarren, G minor (Straus). 1st app. Alvsleben, Lloyd, Colyns, Von Bülow.
1874. †Concerto grosso in A, Handel. Serenade in A, Brahms. Overture, 'Genoveva,' Schumann; †'Taming of the Shrew,' Rheinberger. †Concerto, Lalo in F (Sarasate). 1st app. Sterling, Essipoff, Krebs, Saint-Saëns, Sarasate.
1875. Concert in memory of Bennett; his Prelude and †Funeral march, 'Ajax'; and 'Woman of Samaria.' Symphony, 'Im Walde,' Raff. Fest-Overture, Benedict. Concertos—Vieuxtemps in A minor (Wieniawski); Raff, P.F., C minor (Jaell). Variations on theme by Haydn, Brahms. Music in the 'Tempest,' Sullivan. *†Idyll on Bennett, Macfarren. Choral Symphony. 1st app. Breitner, Papini, Wilhelmj, Thekla Friedlander, S. Löwe, Shakespeare. N.B. Bennett's funeral, at Westminster Abbey, conducted by Philharmonic Society, R. Acad. of Music, and R. Soc. of Musicians.
1876. †Dramatic Symphony, Rubinstein. Suite, B minor, Bach (flute). Overtures—'Merry Wives,' Bennett, †'Wallenstein's Camp,' 'Rheinberger; †'Love's Labour's Lost,' Cusins; 'Meistersinger,' Wagner. Concertos—Henselt, F minor (Barth); Rubinstein, E♭ (Rubinstein); Goltermann (Laserre). Brahms's Requiem (2nd time). 1st app. Barth, Osgood, Rodeker. N.B. Ten concerts.
1877. Symphonies—†Silas in C; Brahms in C minor. Overtures—Elegiac, Joachim; 'Lay of Last Minstrel,' J. F. Barnett: 'Parisina,' Bennett. Concertos—Mozart, harp and flute; Grieg, A minor; Raff, cello. Schumann's Faust, Pt. 3. 1st app. Dannreuther, R. Hausmann, Henschel, McGuckin. P. Viardot. N.B. Ten concerts.
1878. Overture, 'Don Quixote,' Macfarren. Huldignngsmarsch, Wagner. Concerto, Violin, MS., Wieniawski. †Violin Suite, Raff (Sarasate). 1st app. Brüll, Planté, Thursby, Schou. N.B. Eight concerts.
1879. Symphonies—Ocean, Rubinstein; E minor, MS., Macfarren. Overture, Italian, Schubert. Concertos—Brahms, Violin, MS. (Joachim, twice); Saint-Saens, G minor; Fantaisie Norvégienne, Lalo (Sarasate). †Bach's Organ Prelude and Fugue, A minor (Saint-Saëns). 1st app. Janotha, Saint-Saëns, Maas.
1880. Symphonies—in D, Brahms; in E minor, Sullivan. Overtures—†'Twelfth Night,' MS., Benedict; †'Mountain, Lake, and Moorland,' MS., H. Thomas; †'Frühlings,' Goetz; †'Phédre,' Massenet; 'Hero and Leander,' MS., W. C. Macfarren; 'Recollections of the Past,' MS., C. E. Stephens; 'Gustave,' Auber. Concertos—Mozart, 2 PF.s. (Mehlig, Bache); †Jackson, PF., D minor, MS. (Zimmermann); Rubinstein, PF., in G (Timanoff); Scharwenka, PF.; Piatti, D minor. Variations for Violin, Joachim. 1st app. Montigny Rémaury, Sauret, Scharwenka, Timanoff.
The following remarks, which appeared in the 'Times' on the occasion of the Jubilee Concert of 1862, give an excellent résumé of the proceedings of the Society up to that date:—
   The 'Jubilee Concert' was worthy to commemorate the event in honour of which it was projected—viz. the successful completion of the 50th year ot the Philharmonic Society, its 'golden wedding' with the sympathies of our musical public. Since its institution in 1813 the Philharmonic Society has, to use a homely phrase, seen its 'ups and downs.' Nevertheless, even in its darkest and most threatening periods, it has never once departed from the high standard which it set itself from the beginning, never once by lowering the standard endeavoured pusillanimously to minister to a taste less scrupulous and refined than that to which it made its first appeal, and to which it is indebted for a world-wide celebrity. Thus it has never forfeited the good opinion of those who actually constitute the tribunal which in this country adjudges the real position of the musical art. and who have invariably rallied round the ​'Philharmonic in its moments of temporary trial. Amid all kinds of well-intended, however bigoted, opposition, the Society has submitted to reform after reform, and preserved its moral equilibrium—a sign that its constitution is of the strongest and the healthiest. The late Sir H. B. Bishop, our national English composer, the illustrious German, Felix Mendelssohn, and Herr Ignatz Moscheles, the renowned pianist, were alternately appointed conductors of series of concerts; and at one time the idea was entertained that Mendelssohn himself would consent to undertake the sole direction. Mendelssohn, however, was too deeply absorbed in other pursuits, and the hope of his becoming 'perpetual conductor' was inevitably abandoned. Ultimately, in 1846, the post was offered to and accepted by Mr. Costa. That gentleman continued In office, with manifest advantage to the performances, until 1854, when, after a brilliant reign of nine years, he abdicated. The year 1855, during which Herr Richard Wagner wielded the baton, was one of the most disastrous on record … It was then remembered there was such an English musician as Mr. Sterndale Bennett—an old member of the 'Philharmonic,' who had frequently served as director, and in bygone years as often conducted the performances. To Mr. Bennett was tendered the conductor's baton, which he has wielded ever since with honour to himself and profit to his employers. From the first season during which this eminent musician officiated as conductor, the star of the 'Philharmonic' has shone with undiminished lustre, and its fortunes have steadily risen; this too in spite of the involuntary secession of no fewer than forty-seven of the most distinguished members of his orchestra, whose duties at the Italian Opera were in 1861 found incompatible with those which called them to the Hanover Square Booms. There was no alternative for the 'Philharmonic' but to change its nights or give up its concerts. To give up the concerts was out of the question. To change the nights of performance was difficult for more reasons than one; in addition to which there was a sort of superstitious dislike to any such innovation on the custom of nearly half a century. The involuntary seceders were promptly replaced, and the forty-ninth series of the Philharmonic Concerts commenced as usual, with a noble orchestra of nearly eighty performers; and the directors, who had reduced the number of concerts to six, resolved in the interim to revive the old system (dating from 1813), and wisely and boldly returned to the time-honoured 'eight.' The incidents of the two seasons, 1861 and 1862, are tolerably familiar to our musical readers. The new (or almost new) band has been brought more and more under the control of the conductor and the first eight symphonies of Beethoven (to speak of nothing else) have been twice performed in such a manner as to sustain the well-earned reputation of the 'Philharmonic.' In short, the Society was never in a more flourishing condition; and, instead of dissolving at the end of this, their fiftieth season, as was anticipated, they celebrated it the other night in St. James's Hall (the Hanover Square Rooms not being big enough for the occasion) with a 'Jubilee' concert of varied and splendid attraction. Thus, in the year of expected dissolution, the patrons of the 'Philharmonic' have had nine performances instead of eight, the profits of the extra concert amounting to little short of 500l.
At the close of the season of 1866 Professor Bennett resigned the conductorship, and his place at the Philharmonic was filled by Mr. W. G. Cusins, then a prominent member of Her Majesty's band, and now 'Master of the Music to the Queen,' who has held the baton, season by season, up to that which has just concluded. In 1868 it became evident that the Hanover Square Rooms were too small for the concerts, and they were therefore in the next season removed to the more spacious accommodation of St. James's Hall, Piccadilly, thus deserting a building which had, through 36 years' occupation, become identified with the Society, and breaking, though inevitably, an important link with the past. At the same time the programmes were furnished with analyses and comments by Professor G. A. Macfarren, illustrated by quotations in music type, a practice that has been maintained to the present time.
Music has now become more democratic than it was, and the Philharmonic Society, instead of being the sole and acknowledged queen of the musical world of England, is only one out of several concert-giving institutions, each striving its hardest to attract the favour of the public. How far the Society may be able to maintain itself in these new conditions against so severe and increasing a competition, it is not for the Dictionary of Music to predict. We hope for the best from the zeal and caution which in the past have carried the directors of the Philharmonic over so many shoals safe to land. The happy sagacity which in 1844 saved the Society by the engagement of Mendelssohn, may again prove sufficient for the present need. But whatever may be the result in the future, there can be but one feeling as regards the past of the Philharmonic Society. The consideration of the list above given can only excite a warm sense of gratitude towards an institution which for more than half a century stood at the head of English concerts, and enabled the lovers and students of music in this country to become acquainted with the works, and the persons of the greatest composers and executants of modern days.
For further details of the Society's transactions, including copies of seven letters from Mendelssohn to Sterndale Bennett, the reader is referred to 'The Philharmonic Society of London from its foundation 1813 to its fiftieth year 1862. By George Hogarth' (8vo. London, 1862). The society itself has published the 'Documents, Letters etc., relating to the bust of Beethoven presented to the society by Frau Fanny Linzbauer, translated and arranged by Doyne C. Bell' (4to. London, 1871); and, in the Programme book of Feb. 5, 1880, five hitherto unprinted letters from Mendelssohn to the Society.
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App. pp 746–7:
​The list on pp. 699 and 700 is continued as follows:—
NB. * denotes that a work was composed for the Society; † that it was first performed in England in the year named. 1st app. signifies first appearance at the Philharmonic.
1881. (Six concerts). Dr. Francis Hueffer appointed annotator of programmes, in succession to Sir G. A. Macfarren. Dramatic Symphony, 'Roméo et Juliette,' Berlioz (given twice during the season). *Sinfonietta in A (MS.), F. H. Cowen. Overtures—'Waverley,' Op. 1, Berlioz: 'Sigurd Slembe.' J. Svendsen. †P.F. Concerto, No. 2, in C minor (MS.) Xaver Scharwenka. Liederkreis, Op. 98, Beethoven. 1st app. Sofie Menter, Eugéne d'Albert, Ovide Musin, Hope Glenn, Sembrich, Albani, F. Boyle, Herbert Reeves, King, and Ghilberti.
1882. (Six concerts), †Poème Symphonique, 'Hungaria,' Liszt. Overtures—†'Ossian' (MS.) F. Corder; †'The Veiled Prophet,' Stanford. †PF. Concerto in G minor, Sgambati. Violin Concerto in A minor, Molique. Scena, 'Che vuoi, mio cor' (MS.) Mendelssohn. The Centurion's Song (Boadicea), Dr. J. F. Bridge. Chorus of Reapers (Prometheus), Liszt. Choral Symphony, Beethoven; †Choral Ode, 'Nänie,' Brahms, †Chorus for female voices, 'Die Nixe,' Rubinstein. Selection from 'Preciosa,' Weber. †'Paradise Lost,' Rubinstein. 1st. app. Sgambati, Kufferath, Annie Marriott, Edith Santley. Marion Fenna, Eleanor Farnol, Ellen Orridge, Sophie Hudson, F. Barrington Foote, Ludwig. First season of a voluntary choir (trained by the Society's Conductor, Mr. W. G. Cusins).
1883. (Six concerts.) Prize of ten guineas offered for the best Overture. Forty-six submitted, anonymously. Adjudicator, Sir Michael Costa, assisted, in his serious illness, by Sir Julius Benedict and Mr. Otto Goldschmidt. *Ballade for Orchestra, 'La Belle Dame sans Merci,' Mackenzie, †Fantaisie Ecossaise, Violin, Max Bruch. †Scena, 'Marie Stuart's Farewell,' Benedict, †Prize Overture, 'Among the Pines.' Oliver A. King. †Motet, 'Adjutator in opportunitatibus,' Cherubini; †Pastorale and 'Angel's Message' (Christus) Liszt. The Choral Fantasia, the Chorus of Dervishes, and the March and Chorus in 'The Ruins of Athens,' Beethoven. 1st app. Pachmann, Teresina Tua, Minnie Gwynne, Mierzwinsky, Ernest Laris. At the close of this season Mr. W. G. Cusins resigned the office of conductor, which he had held for 17 years.
1884. (Six concerts.) Conductors (honorary for this season), George Mount, Dr. C. V. Stanford, J. Francis Bamett, F. H. Cowen. Symphonies—†No. 4, in B♭ minor, Cowen; in D Op. 60; †Overture. 'Husitska,' and Rhapsodie (Sclavische). No. 2, Op. 45, Dvořák; Symphony, No. 2, in D, Op. 73, Brahms. Saltarello, Gounod. PF. Concerto in C minor, Op. 185, Raff. Double bass Concertino in F ♯ minor, Bottesini. †Scene religieuse, 'O déplorable Sion!' (Racine's Esther), A. G. Thomas. 1st app. Clara Asher, Gertrude Griswold and W. J. Winch. Herr Dvořák made his first appearance in England this season, at the invitation of the directors.
1885. (Six concerts.) Sir Arthur Sullivan appointed conductor. Annotator of the first and part of the second programmes, Dr. Francis Hueffer; of part of the second and the third, Mr. Charles E. Stephens (ad interim), after which Mr. Joseph Bennett was appointed. Prize of twenty guineas offered for the ​best Overture. Eighty-eight submitted, anonymously. Adjudicators, Messrs. W. H. Cummings, George Mount, and Charles E. Stephens. *Symphony, No. 2, in D minor (MS.) and PF. Concerto in G minor, Op. 23, Dvořák. †Symphonic Poem, 'Johanna d'Arc,' Moszkowski. *Orchestral Serenade, T. Wingham. †Dramatic Overture (Prize Composition), Gustav Ernest. Symphony, No. 3, in F, Brahms. 1st app. Clotilde Kleeberg, Oscar Beringer, Franz Rummel, Elly Warnots, Minnie Hauk, Marie Etherington, Carlotta Elliot. Mary Beare, Florence Major, Iver M'Kay, Arthur Thompson, A. C. Oswald, and W. H. Brereton. Herr Moszkowski made his first appearance in England this season, at the invitation of the directors.
1886. (Six concerts). Symphonies—No. 3, in F, Prout; *in C minor, St. Saëns. Orchestral Scene, 'The Forest of Arden,' Gadsby. *Suite in F, and †Violin Concerto in C, Moszkowski. Pastoral Introduction, and Overture to second part of 'The Light of the World,' Sullivan. Overture, 'Graziella,' Bottesini. †Violin Concerto in A minor, Op. 53, Dvořák. Ingeborg's Lament (Frithjof), Max Bruch. 1st app. Frickenhaus, Fanny Davies, Tivadar Nachez, Ondrĭčěk, Antoinette Trebelli, Agnes Larkcom.
1887. (Eight concerts.) Symphonies—No. 3, in C minor, 'The Scandinavian,' Cowen; No. 4, in E minor, Brahms; in F, Hermann Goetz. *Suite 'Roumanian,' Corder. Overtures—†'Kenilworth,' Macfarren; 'Di ballo,' Sullivan. 'Loreley,' Max Bruch. Quatuor Concertant, Oboe, Clarinet, Horn, and Bassoon, with Orchestra, Mozart, †Concerto for Piano-Pedalier (MS.) Gounod, †Vocal duet, 'Hark, her step' (MS., a revised setting for the Opera, 'The Canterbury Pilgrims'), Stanford. †Aria, 'Per questa bella mano,' with Contrabasso obbligato, Mozart. *Prayer of Nature (Byron), MS., Randegger. 1st app. Schönberger, Josef Hofmann, Lucie Palicot, Marianne Eissler, Nettie Carpenter, Marie de Lido, Ella Russell, Lillian Nordica, Nevada. At the close of the season Sir Arthur Sullivan resigned the conductorship, which he had held for 3 years.
1888. (Seven concerts.) Mr. F. H. Cowen appointed Conductor. Symphonies—in G (from an early set of six), Haydn; in D, and Norwegian Rhapsody, No. 2, Svendsen. Overtures—'Romeo and Juliet,' Macfarren; 'Œdipus,' Stanford; 'Siegfried Idyll,' Wagner, †Music to a 'Walpurgis Night,' Widor. †Serenade for strings, and †Tema con Variazioni from third Orchestral Suite, Tschaikowsky. Suite, selected by F. A. Gevaert from works by Rameau. Petite Suite, 'Jeux d'enfants,' Bizet. Pastoral Suite, J. F. Barnett. Two elegiac Melodies for strings, Grieg. *Three mythological pieces, 'Aphrodite,' 'Vulcan' and 'Pan,' Silas. Scotch Rhapsody, No. 1, Mackenzie. Song of Judith, Prout. 1st app. Fräulein Soldat, Otto Hegner, E. Grieg, A. Hollins, Liza Lehmann, Eleanor Rees, Mme. Fursch-Madi, Mrs. Hutchinson, Hilda Wilson, Carl Mayer. Herren Tschaikowski, Grieg and Svendsen, and M. Widor made their first appearance in England this season, at the invitation of the directors. After the fifth concert, Mr. Cowen, having been appointed Musical Conductor at the Melbourne Exhibition, was released from completing his engagement at the Philharmonic, and Herr Johan Svendsen, of Copenhagen, conducted the last two concerts of the season.
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