The Press.
London, England, 1853-06-04 00:00:00

THE PRESS.

ments, the vocal part is a very poor and sorry
affair. It is, in fact, nothing but a species of mea-
sured recitative, and the applause which enforced its
repetition was neither hearty nor genuine. We were
informed by the programme that this composition
was written in the ancient style, but we were unable
to discover in it the distinguishing characteristics of
any school or age. The overture, "Le Carnaval
Remain," from the opera Benrenuto Cellini (shortly
to Le produced at Cogent Garden), commences with a
very pleasing solo for the come Inglese (well ren-
dered by Mr. Nicholson), supported by an accompani
ment of effect and ingenuity. All interest, however,
ceased with the slow movement, and what follows
seemed nothing hut noise and confusion. We
may safely report that on the whole M. Berlioz did
not find favour in the sight of the Philharmonic
audience, and that the directors will not be justified
in according a second time to his works the same
prominent position in the programme.
Beethoven's greatest symphony was very finely
performed. Let not, however, even the Philharmonic
baud be over-confident in their powers. The exces-
sive heat of the room may be an excuse for a few
slight imperfections in the brass department, but
nothing but inattention can account for the slip made
by the second violins in the very first bar of the
symphony. Signor Bottesini was deservedly received
with much favour. His performance was very tine,
but hardly so pleasing or so interesting, we thought,
as on the last occasion when he appeared at these
concerts. M. Pischek's delivery of the lovely song of
Spolir was to a certain degree effective, though his voice
and style are hardly suited to the concert-room. We
think Signor t l ardoni might have made a better selec -
tion than that of the poor and hacknied song of
Donizetti, which, moreover, from some inexplicable
reason, he chose to sing in the French language.
NEW VIII LIIAIIMONIC SOCIETY.
FROM the press of matter we are compelled to
postpone our notice of the fourth concert until next
I week.

MUSICAL UNION.
THE programme of the fifth concert was as follows :
D Minor (No. 2), Movot; Sestet, Op. 30, Putno,
Flute. Clarinet, Bassoon, Ilium and C.-ItaAso, Onalow ; Quartet,
I': flat (So. to). Ileatltin en ; (latent ow (I) minim) and Variations
for Violin, Melt.
These two quartets are so well known that they
hardly require, at this day, any critical or explana-
tory remarks. With 31. Vieuxtemps as leader,
Mr. li. Illagrove (one of the first violinists in
Europe) sustaining the tenor part, we had a right
to expect a most satisfactory result. Any dis-
coverable shortcomings must be attributed to the
inequality of merit and power of the tour performers,
which in the last movement of Mozart's quartet, as
well as throughout the quartet of Beethoven, wu
sufficiently apparent. The sestet of Onslow, ren-
dered by Messrs. litollc, It. Pratten, Lazarus, Jarrett,
Baumann, and F. Pratten, is a charming compo-
sition, alike remarkable for graceful and expressive
melody and vigorous writing. The execution, too,
was, on the whole, very good. Though it perhaps
seems invidious to single out any one of the per-
formers for especial commendation, we cannot avoid
mentioning the name of M. Hank. To this gentle-
man we accord the preference above all the piano-
forte-players now in London. Powerful in tone,
clear and rapid in execution, and imbued in the
highest degree with musical feeling and expression,
he seems to fulfil all the requisites and conditions of
a great player. Backs chaconne and variations
served to exhibit M. Vieuxtemps' abilities to great
advantage. The largeness and volume of his tone,
and his power over the instrument, are perfectly
surprising.
The peculiarities (to use a mild expression) of the
publication which Mr. Ella terms his "synoptical
analysis" (sic), and distributes for the amusement,
we presume, of his subscribers, are often highly
diverting ; hut, we cannot refrain from expressing our
strong disapprobation of the indirect attack upon Mr.
Lindley contained in the paper circulated at the con-
cert on Tuesday Inst. Although 31r. Lindley's
European reputation will effectually protect him
against a host of such assailants as 'l r. Ella, it is our
duty, for the information of those who are not prac-
tically acquainted with Mr. Lindley's artistic career,
to deny most emphatically the position that lie was a
mere mechanical performer. Lindley had not only
a special genius for the violoncello, and a command
over the instrument which has never been acquired
by any other person within the memory of man, hut
he imparted a peculiar and most felicitous expression
to the classical works most in vogue during his day,
a species of music which, in the hands of some of
the most popular violoncellists of the present time,
seems to possess neither meaning nor individuality.
It may be said, without fear of contradiction, that no
one capable of giving an opinion can call to mind
Lindley's obligate playing and accompaniments in
the Opera-house, the concert-room, and the oratorio,
and especially his reading and execution of Corelli's
musk, and designate him nothing more than a mu-
sket automaton. Does Mr. Ella really think that