The Express.
London, England, 1868-02-24 00:00:00

011 Oft.

CRYSTAL PALACE CONCERTS.
The following was tho programme of last Satur-
day's cowed :
1 Overture. "Strueesee" MaSilfaler.
Itetit., "Confounded be all they" I
,—•••••""
A.r, "They shall Detained back' f o
thwola
& Sym phon la B maim.
4. Csvanns,y " Qui la atm" tl Parttesa) Mans. Bald&
(7,r01a ,
5. Concerto for Pianoforte In L flat, Madame Bale.
411abstla Oo4dard
„• ponder song),
314115. taw ..4a.
T. Concert Overture, "Die liabriden" (ringers
Cave)
Haydn's !symphony, on the authority of the programme,
bad never before been performed, and bad therefore all
the interest of a new work. Mille. Caterho made
her third appearance in England, first at
these concerts, was beard on this occasion in secu-
lar music—her two previous performances having been
limited to the sacred style. The success of this young
lady in each of these instances (the recent concerts of
the Sacred Harmonic Society and Mr. Henry Leslie) has ,
been duly recorded in the Exprae Mdlle. Carola's
delivery of the aria from Mr. Costa's oratorio was marked
by all that fervour without exaggeration, purity and
refinement of style, which were observable in her pre-
vious performances ; while the two secular pieces of the
shove programme were given with • bright end facile
vocalization, and a thorough appreciation of their very
opposite styles that evinced • cultivated taste and judg-
ment, as well as • high degree of executive power.
Loth in Bellini's florid air, and in the quaint national
Swiss song Mdlle. Carols again created a decidedly fa-
vourable impression, being loudly applauded in both, and
encored in the litter. Haydn's symphony, apparently
an early work (only recently discovered), although not
comparable in importance and development to his later
productions of that class, bears unmistakable signs of the
master band in each movement, especially in the final
" Presto." The symphony is scored for a small orchestra,
no drum being employed, and the only wind instruments
being oboes and horns. Yet so skilful is the orchestral
writing, and so well are the effects contrasted and amal-
gamated, that there is no impression of any deficiency
either in power or variety. Tho first movement starts with
a short, bold, unisonons passage, leading to a theme of no
very special character—the treatment of the second portion
of the movement, however, displaying a mastery and
vigour that redeem it from any impression of triteness.
The Adagio has much grace:of character, the horns being
copiously and effectively used ; occasionally, in rather an
unusual manner, in reinforcement of the basses. The
minuet is stately, with a rather commonplace trio—and
the finale is one of those pieces of lively and vigorous
writing of which so many admirable specimens exist in
the closing portions of °thereof Haydn's symphonies. The
pasaing touches of contrapuntal treatment surrounding the
principal themes of the movement are such as only • con-
summate master could so happily incorporate with light
and graceful accessories. The symphony, miniature as it
is in comparison with the composer's " twelve grand," is a
welcome addition to those we already possess—little
more than half of the hundred and twenty such works
which the great masterjproduced. Can no more be re.
covered ? Surely not all which are missing were destroyed
by the fire in Haydn's dwelling at Eisenstadt, 'by which
we know some of Ibulyn's manuscripts were lost. It were
much to be wished that some competent, patient, and
laborious inquirer would classify and authenticate the
symphonies of Haydn, by, as far as possible, the same pro-
cess of research that has been so admirably exercised by
von Kethel in reference to Mozart's compositions. Another
interesting feature of Saturday's concert, although not a
novel one, wan the admirable performance of Beet-
hoven's " Emperor" concerto—a piece which, while
calling for the display of the highest powers of the
pianist, contains also the grandest development of musical
thought in the most important symphonic form. We
have on several former occasions spoken of Madame
Arabella Codilard's powerful interpretation of this excep-
tionally vent work, and need now merely say that it was
nev:r more splendidly played by that lady than at Satur-
day's concert, notwithstanding the recent illness which
lima somewhat interrupted bet public performances.
31<yerhter's patchy overture to his brother's tragedy, with
its intermittent passages of power and rich orchestration;
and Mendelsaohn's deeply-conceived and admirably.deve-
loped musical picture, completed an interesting selection,
which, moreover, had the merit of being none too long, and
sot overladen with vocal silos.
Next Saturday's programme will offer one of those
special &Mare@ which, in addition to the general excel-
knee of the orchestral playing, have long rendered these
concerts eminent—a " tragic symphony " (" Tragische
Sinfonie "), by Franz Schubert, will be performed for the
Ent time.