The Express.
London, England, 1847-06-08 00:00:00

PROVINCIAL.

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'manic for relieving the commercial interests from a mons-
may pressure, which, if allowed to continue, will infallitly
lead to wide spread calamity and ruin."
CAXBRIDOEIHILL
CORONATION EARNS. -Ws (Cambridge Independent
Press) understand it is the expressed wish of many of our
sporting friends, in compliment to the visit of our gracieus
Queen, to re-establish the coronation races for the present

PHILHARMONIC SOClRri.—The seventh concert,
last evening, was, on the whole, the beat that we have had
this season. In its principal features, the orchestral pieces,
it could not be surpassed, the symphonies being Hadyn's in
C minor (No. 5 of Salomon's set) and Beethoven's " H. roles,"
and the overtures being Weber's " Freyschuts" and Chem-
bini's " Anacreon." Hadyn's symphony, with which the
concert began, was delightful. The charming andante was
encored, and the same compliment was paid to the minuet
and trio, in consequence of the hominid way in
which the solo for the violoncello was executed by Mr.
Lindley. Beethoven'. Sinfonia Hroica " commented the
second part of the-concert. This symphony was intended
b the composer to be a homage to Bonaparte, for whose
ha entertained an enthusiastic admiration. The
score was finished and about to be transmitted to the first con-
sul. whose name was inscribed on it as the title of the peace,
when the news arrived that Napoleon had assumed the
imperial crown. Enraged to find himself deceived in his
imaginary patriot hero, Beethoven, in a transport of wrath,
seized his manuscript, tore it, and trampled it under his
feet. It was rescued from his hands with a few torn leaved,
which were repaired ; and, when published, was called
" Binfonia From," as Beethoven would no longer hear the
name of his former idol. It is a grand and beauti-
ful work; but seem to derive its title solely from
the slow movement, the "Marcia Pundits," which is
described in the score as being intended " per cele-
brate la merle d'un Bro 2 ;" and it is certainly
the most sublime and pathetic funeral march that ever was
written. The principal allegro is in a lofty strain, and is in
=,:itls the title ; but, without the title, is no more
of anything heroic than the Milling movements
et enema et his other symphonies; leas so, indeed, than
the emeigneding movement of the symphony in C minor.
Its mnesstents which follow the funeral march do not
seem hp have the slightest relation to the title. The scherzo
is raga said light ; and the flunk, which is founded on a
them taken frees the authoe's ballet of " Prometheus," is
• delightful piles of brilliant melodramatic music. Did
Beethoven Mb/ theta cheerful movements follow the fu-
neral march astemee the solemn strains, which accompany
the preemies tea soldier's grave, are exchanged, on the re-
turn of the mess, for gay and lively airs ? If this was not
the commit design, we cannot imagine env other.
The petiteness. of this symphony was inagnifioentihrough-
out, sal may Movement was received with loud and pro-
longed eggiasse. The overture to the " Freyschutz," which
elemiths fine port of the concert, was played with amazing
=d i vehemently encored. The vocal performers were
Yale* and Herr Piechek. The lady is an excel-
lent degee, of the pure German school. Her voice is not
renaritible for sweetness or flexibility, nor is it very defi-
cient In these regret', while it has great volume, compass,
and power ; and her style is pure, simple, and expres-
sive. In the scene from " " containing
the beautiful air, " Komm, lioffnung," the was by
no means well accompanied. The instruments were dis-
tressingly loud, and the difficult pestages for the horns were
imperfectly executed. In the mom from the " Frey•chutz,"
which she sang afterwards, she was more fortunate; it was
given with great effect, and received with warm applause.
Pischek showed little judgment in the choice of his air,
which was a long, coarse, boisterous composition by Lind-
paintner, from an opera called "The Sicilian Vespers." We
certainly never heard this great singer to so little ad-
venters : ha was constantly in erremes—alternately lan-
guishing in the pianissimo of his falsetto, and bellowing
with the whole strength of his lungs. The duet from
Mehul's "Joseph," sung by him and Madame Knispel, was
a very pleasing performance. Signior Ciardi played a fan-
tasia on the flute, on an air from " Lucia di Lammermoor."
It was perfect is tone, execution, and expression; and,
having the additional merit of brevity, met with a most
favourable reception.
gbc 'Drama.

- - -
Sr. JAIIES'S.—FRENCH PLATS.—Two vaudevilles,
new to thin country, were produced here with complete
sumer hat 'meninx. One is entitled " Line Femme qui se
Lepar la Fenetre," and the other " L'Article 213; ou,
Le Mari doit Protection." The plot of the latter is too
complicated to admit of easy unravelment. It chiefly turns
upon the fact'of Clara, in the refinement of her simplicity,
confessing to her husband, Durireau, her love fora certain
"Ast•," whose personal attractions the describes with
wonderful naivete, claiming from her husband the protection !
provided by Particle 213 of the code. At the moment
that she tells the Christian name of her lover, the servant
announces Auguste de Valkville , whom Thrrireau
imme-
diately concludes to be his rival in the affections of hie
wife; Valleville, however, is the lover, not of Clara, but of
her friend Lucie, the wife of Chant6ellaa and out of this
mistake and its leading Felleviik to suppose ihat Chambellan
knows of the intrigue he is carrying on with his wife. arises
the !pith of the argument. The frequenters of the French
playa will doubter be able to imagine in a greet measure
the smart dialogue which a French writer would evolve out
of such politicise Mdlle. Duverger, as Clara, wan most be-
witchingly simple, and looked charminely ; and 11.T/timer!".
an her husband on whom rests all the fun of the piece, was
all that weld be wished, and both were well supported by
the Mau character'.