The Express.
London, England, 1868-01-14 00:00:00

jrlu%U.

MONDAY POPULAR CONCERTS.
The following 'election was performed at the
eassart of last night :
rent 1.
otteNtal;l,op. tea for
Doabis two Vlogns,
ass, Cleriost. kViola,
Burs. sod isoonon rench
fiebebeet.
itearet.'
•• Dev..tion"
Besuita. B hat, for Pianoforte alone
rawt rig
Quartet, to B minor. for Pianoforte, Violin,
vi,11!,, And Vli ollOceilo Mendelosolua
funs, Adelaide"
lA°, I. Y eat, for Pianoforte, Clarinet, sad
Mozart Vila
The ottet of Schubert, which has been several times
given here, was notice 1 by us on its first performance at
these concerts, nearly twelve months since. It is one of
the many instrumental works of this composer which have
only become known in recent years, a
have added to
his
previous fame as a song writer, a 'claim to high consider:L.
Lion as one possessed those varied and universal powers
which excel in all form.. This ottet is es aniple in its
construction and the Lumber of its movements as the
celebrated septet of Beethoven, having, like it, a minuet
as well as a scherzo, an 1 a theme with variations, besides
another distinct andante mcvement. The minuet and the
varied andante have not been procurable for per-
formance here, and the ottet has on each occasion been
given without them, being still;however, of full symphonic
length. We need not again particularise the many
beauties of this work, its rich discursive fancy, and
the verity and towns: of its instrumentation. The
scherzo and trio, by no means the beet movements, pleased
so much last night at to be encored. The ottet on this
occasion was led by Herr Straus, as principal violin ; Mr.
L. Ries being second violin ; Mr. H. Blagrove, viola; Signor
I'iatti, violoucallo ; Mr. Reynolds, double bassi— Mr.
Lazarus, clarinet ; Mr. C. Harper, horn; and Mr. Winter
bottom. basso .o—as on its first production here. Such
names are suffic:ent guarantee of excellent performance.
The sonata o- Moz art, although not one of the most im-
portant of his solo pi-aces, bearing the comparatively early
date of 1777, is full of melodious grace, and abounds in
passages which, if not of great difficulty, require extreme
neatness in articulation to make any effect, especially
on so large au audienca as that which filled St. James's-
hall last ni ;ht. The admirable execution of Madame
Arabella Co Idard drew forth warm expressions of ap-
plause at the close of each movement ; the final rondo,
given with untl igging vivacity and admirable crispness of
touch in the ni.recato and octave passages, producing two
recalls of the performer. Mendelssohn'a pianoforte
quartet, op.:; (his two previous works being also piano-
forte quartets), is one tf those marvellous productions
which are among the wonders of art history. Composed in
1821, when Mendelssohn was but fifteen, it has not only
the brightness and impulse of • fresh and youth-
ful imagination, but also a grandeur of style
anal constructive power belouging to mature thought and
training. It is a worthy precursor of his still greater
ottet for cringed instruments which followed •
year later. In these works we have the earliest
specimens of that exquisite form of the scherzo
which belongs peculiarly to Mendelssohn. The perform-
ance of the many intricate difficulties of the pianoforte '
part of this quartet exhibited Madame Goddard's facile
and finished mechanism to the best advantage. Equally
in the beaut,ful and expressive slow movement, and the
bravura passages of the fiery and impetuous scherzo and
the fitful and restless finale, this lady's performance was
an admirable display of brilliant and finished pianoforte
playia,t. Although the pianoforte part in this quartet
Las more than usual predominance, we must not
forget a word of praise for the other artists concerned—
If err Straus, Mr. H. Maguire, and Signor Piatti. In
strong coetrast to the grand and elaborate quartet of Men-
delssohn is the placidly beautiful and gracefully melodious
trio of ll,Jart, dated in his own catalogue " August 5,
1746," bat a few months after his Figaro. This trio has
several times before been given at these concerto—never
more finely than last night; Mr. Lazarus's admirable
clarinet playing and Mr. H. Blagrove's excellent co-opera-
tion as viola being worthy accessories to the pianoforte
playing of Madame Goddard. Of the first two songs
in the programme, that by Schumann woo an im-
mediate encore. Both were sung by Mr. Sims
Reeves with intense yet unaffected expression, and of
thorough perception of the sentiment of each. In Schu-
mann's song an important feature was Mr. Benedict's
capital playing of the characteristic pianoforte accompa-
11ilUtti. Mr. Sims Beeves' refined singing of Hoetkoven's
inoon.parabls " Adelaida," with Madame Goddard's accom-
pini•nent, is too well-known to need fresh comment. It
pi educed the nasal strong impression, and au apparent
wish for its repetition, the singer appearing twice in
response to the prolouged applause.
On Januaty 27, Madame Schumann is to appear ; and
a string q • :arta by Schubert is to be performed for the first
time here.

erama.

HOLBORN.

Mr. Se' t m Perry has revived Mr. Bolide:WV'
PoPuhar and suea,93ful drama of Fl!sing Scud, with Mr.
Atkins in the part of the old jockey, originally represented
by Mr. G. Delmore. The pantomime has been condensed,
and is now performed as an after•piece. The house was
well attended, and Mr. Atkins was very well received.
The scenery has been partly renewed, and the (=mu
Derby se,ms was wove emlective than ever.