The Express.
London, England, 1848-03-14 00:00:00

f lusu.

PHILHARMONIC SOCIETY.—The first Philharmonic
concert of this reason took place last evening, in the Hano-
ver equal* Rooms. It opined with a symphony, performed
for the first time in this country, by Hesse, a composer un-
known to our public, but of high reputation in Germany.
He is kapellmsester at Bre'lau, and is Lne of the greatest
organists now living. His symphony, which is in B miaor,
though not of the very highest class, is a masterly composition. The author appears to have modelled his style chiefly on the
works of Haydn and Mozart, whom he has not only closely
followed in the forms of the various movements, but in their
phraseology and modes of orchestral combination, though he
has made freer use of the brass instruments, which he has
frequently employed with en at effect. A short introduc-
tion, andante, leads into the principal movement, an alle-
gretto, which is clear, elegant, and pleasing. There is then
a vigorous scherzo, followed by a beautiful larghetto, the
gem of the vymphony. The -object, which is exceedingly
graceful, is entirely in the manner of Haydn, but it contains
considerable novelty and many admirable effects. The
finale, also in the manner of Haydn, is somewhat
trivial. The symphony was well received by the
audience and is a reel addition to our stock of
good orchestral music, the mere to be valued as
such additions are very seldom made. Mies A. Will
then wing the scena in Spithr's " Azor and Zensira," con-
taining the re ltative, " Dare I believe my senees ?" and the
air, " Gentle thoughts." She acquitted herself admirably,
especially in the air, and was warmly applauded. Beetho-
ven s Concerto for the pianoforte in E fiat, which was played
by Mrs. Anderson, is well known to the frequenters of these
concerts ; but it is one of those great works which gain upon
repetition, however frequent, and we have never
heard it produce a greater effect than on this oc-
casion. Mademoiselle Alboni sang the beautiful air,
"Vox the sapete," from " Figaro," which was encored.
She showed great judgment in the respect she paid to Mo-
zart's text, which she gave with the utmost simplicity, and
with the slightest change or embellishment. We wish
Italian singers were more generally aware that this is the
true manner of singing Mozart's music. The overture to
" Euryanthe " made a splendid finale to the first part of the
concert —The second part commenced with Mendelssohn's
second symphony in A, composed far the Philharmonic
Society, but not performed for same years. It has, indeed,
been too much neglected, fir it is oneof the greatest worksof
its class. Every movement is marked with the stamp
of Mendelasobesi genius; and it continues to rise
in interest and effect to the very end. The " Andante con
moto " is exquisitely beautiful. Its theme, which is wild
and melancholy, has the character of a Danish or Swedish
melody—a quaint, antique strain, which breathes through
all the changes or a highly-wrought movement. The minuet
and trio are in the comparatively slow time of the older
symphony writers, and are deliciously sweet and flowing.
The trio, however, would reguire nicer execution from some
of the torus instruments. The finale is in the style of a
Neapolitan Tarantella, giving the idea of a company
of revellers whirling in the mazes of a dance,
the impetuous rapidity of which is mingled with the utmost
grace and lightness. NVe believe that the composer himself
was not satisfied with this concluding movement, and ex-
pressed an intention of altering or re-writing it; but we are
glad, we confers, that it Las been allowed to stand as it is,
fig it etOtal4 beak, we think, have been altered See the