The Express.
London, England, 1863-08-28 00:00:00

MR. ALFRED MELLON'S CONCERTS.

Last evening was a "Beethoven" night, the first
part of the concert having been eschuively devoted to a
selection from the works of that greatest of musical classics,
chosen from different periods of his career loss to exemplify
his earlier and later styles. Of course, in the short space of
barely an hour and a half, but slight notion can be given of
the development of the most progressive genius th►t over
appeared in music. Between the first and last works of
Beethoven were many intermediate phases, each pomades
its marked characteristics, and exereisiog the moat Wpm•

tent results on the art. Foreign Critics may anus
themselves by classifying Beethoven's works wider three
or four styles or periods, bet the fact is that almost
everyone of his productions is a step in that gradual and
endless development which is characteristie only of the
very highest order of genius. Mr. Melloo's selection, how.
ever, was calculated to afford as good a popular notion of
the progress of Beethoven's genius u could well be pined
within the limited time appropriated.
The following was the programme :
FtretSyrophony In C major.
Sur; The Savoyard Soap and The Stolen Kim"—
Conc osh
erto violin ;Bret movement,. Lotto.
Aria, In mums tombs." Male. Georg',
Adagio, from the Math Symphony.
Overture, Leonora ;So. X).

The interval is wide between Beethoven's First Symphony,
with its clearness of form and outline (in the Haydn
and Monist school), and the abstract idealism of
his last great orchestral work, which has no antetype,
and has therefore been so little comprehended by those
who have judged it by reference to any other standard
than itself alone. The noble overture to Leonora, the
gnarled of all orchestral preludes, formed a fitting climax
to the selection. It is scarcely neceseary to say that the
performance of these works by the magnificent Royal
Italian Opera band was characterised by the utmost
firs, brilliancy, and refinement The "repeats" in the first
symphony might have been observed, as indicated in the
mom, without unduly prolonging the performance ; and
the work would then have been given literally entire.
M. Lotto has enhanced his already high reputa-
tion by hie skilful performance of Beethoven's

Concerto—the difficulties of which are much greater than
those of many mere show pieces. Beethoven's Concerto,
like Mendelmohn's (each being its oompoeer's sole work of
the kind), is rather a symphony with violin obbligato than •
mere solo of display in which the orchestra is but a support.
leg adjunct. The passages of execution are so interlaced
and interwoven with the general structure of the work that
the solo player, while preserving his own individuality, has
also to study that fusion with the rich and elabor►te orches-
tration which is necessary to produce a harmonious whole.
M. Lotto is evidently well aware of the difference between
music of this high character and the flimsy staff of which
violin solos are frequently made ; and his performance was
that not only of a skilful violinist but also of • conscientious
musician. In the "Cadenza" (his own, we presume) he
introduced some great mechanical difficulties, particularly
a sustained shake accompanying the principal theme of the
opening tutti, his execution of which drew forth a perfect
storm of applause. The Toed specimens (not perhaps the
happiest selection fora popular audience) were expressively
sung by Mr. Swift and ldadlle. Georgi, and formed an
agreeable contrast to the instrumental performances. The
second part of the evening's entertainments consisted of the
usual miscellaneous selection. It the audiences continue to
increases& they have done, Mr. Mellon will have to omit
the word "promenade" from his announcements—the

crowd bat night wee so dense that but little room was left
for change of position, and certainly none for promenading.

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