The Sun.
London, England, 1835-03-11 00:00:00

DIVIDENDS.

J. Cooper, tailor, SaA;ill;:strect, Piccadilly, March 16, at
eleven, at the Court of Bankruptcy—W. T. Mitchell, builder,
Woolwich, April 2, at half-past eleven, at the Court of Bankruptcy
—T. Jones, trimming seller, Little Newport-street, Leicester-
square, April 2, at eleven, at the Court of Bankruptcy—J. Nichol-
son, mercer, Presthury, Gloucestershire, April 2, at eleven, at the
George Hotel, Cheltenham—J. Wrather, jun., innkeeper, Green-
hammerton, Yorkshire, March 31, at twelve, at Vaile's Sale Rooms,
York—T. Sharpies, ironmonger, Liverpool, April 15, at one, at
the Clarendon Rooms, Liverpool,—W. Stockwell, jun., basket
mater, April 8, at one, at the Commercial Rooms, Bristol—H. P.
Curtis, scrivener, Romsey, Southampton, April 1, at one, at the
Georcre Inn, Winchester.
CER'fIrIC.ATES—MAacIt 31.
'f. Matthew, coach-maker, Margaret-street, Cavendish-square--
J. Lawless, commission agent, Manchester—D. Douglas, baker,
Whitechapel-road—J. Winch, eoachmaker, Stratford, Essex—J.
Laws, linen draper, Great Yarmouth—S. Ashworth, hat manufac-
turer, Denton, Lancashire—J. A. Barron, merchant, Cadishead,
Lancashire—J. Simpson, linen draper, Bishopsgate-street—W.
Pope and A. Cambridge, shipbuilders. Liverpool.

PARTNESHIPS DISSOLVED.
M. Jones and 11. Powell, mercers, Oswestry—W. F. Spackman
and A. M'Math, spermaceti refiners, Bunhill-row—W. Boys and
R. Anstice, attorneys, Bridgewater, Somersetshire—R. and W.
Smith builders, Whitchurch, Shropshire—E. Weatherby and W.
Cripps Kitchener, attorneys, Newmarket—S. and J. Broadbent,
vitriol manufacturers, Bradford, Yorkshire—E. Connell and J.
Wright, calico printers, Manchester—J. Silvers and Co., flint-glass
manufacturers, Brierley-hill, Staffordshire—J. Moore and W. A.
Wanton, merchants, Liverpool—J. Hargreaves and Co., brass-
founders, Shipley, Yorkshire, (so far as regards J. Hargreaves)---
J. Morrison and J. Jenks, lace manufacturers, Nottingham--W.
H. Sholl and D. Stoiworthy, surgeons, East-place, Lambeth,
Surrey—J. Williamson and J. H. Colborne, woollen-drapers,
Poole—B. Boyas and C. Marsden, coal-merchants, Falcon-wharf,
Bankside, Surrey—J. Kenyon and H. Battye, woollen cloth manu-
facturers, Hinchcliffe Mill, Anstonleys, Yorkshire—J. Calvert and
T. Knowlson, small ware manufacturers, Manchester--T. Colling-
ridge and Co., coachmakers, Liquorpond-street, (so far as regards
T. Collingridge and W. Mansell)—E. W. Drury and Co., joiners,
Sheffield—T. and J Chawner, grocers, Leicester—E. Wragg and
Co., coachsmiths, Wednesbury, Staffordshire—F. Blyth and J.
Winkfield, ironmongers, College-hill, Upper Thames-street.

PHILHARMONIC SOCIETY.

FIRST CONCERT.
(Omitted last week for want of room. )
The object of this Association, which was established in the year
813, is the encouragement of a taste for the highest productions
of musical genius, by a performance, in the best possible style, of
the most approved instrumental compositions. The Society (the
meetings of which are held in the Hanover-square Rooms) con-
sists of about thirty members, to whom is entrusted the sole
management of the concerts ; fifty associates, to whom is granted
the privilege of entree at a reduced price of admission, and upwards
of five hundre# subscribers. The orchestra comprises the elite of
the profession; and their performance of the writings of the great
Continental musicians is unrivalled in this, perhaps in any other,
country. The vocal selections at these concerts would, however,
be " snore honoured in the breach than the observance," and
shine, by contrast, with disastrous lustre. Guglielmi, Donizetti,
Parini, and such like deformed and monstrous idols, of iron
mixed with clay, unhappily find worshippers where one would least
expect to meet them. The compositions brought forward this
season at the trial nights, which precede the public performances,
are a symphony of Spohr, another by Potter, an overture by
Moscheles, another by Vogler, and a concerto by Hatton. Of
these the leading features is Spohr's symphony, included in the
scheme of yesterday's concert, at which were also performed Mo-
zart's symphony, No. 7, in D., Beethoven's overture to " Eg-
mont," Mendelsohn's overture to the " Isles of Fingal," and two
concertos, respectively written by Molique and Cramer. The
vocal portion of the entertainment was, in this instance, principally
drawn from Mozart, and also contained a song of Neukomm, and
a motett by Horsley. Spohr's symphony had been twice re-
hearsed, but the orchestra are not quite at home in its performance;
and of course it was caviare to the great mass of subscribers. On this
composer has unquestionably descended the mantle of Beethoven ;
and he must not hope to receive better treatment than that which
usually falls to the lot of those who write for posterity. Handel
could not gain a favourable hearing for his " Theodore" and
" Israel in Egypt ;" Mozart's scores were, in his days, said to be
" too full of notes ;" Beethoven was told his harmonies were
wrong, a remark to which he was accustomed to reply " I thought
,you'd say so ;"—and Spohr, in his own country, endured the mor-
tification of seeing the compositions of inferior writers preferred to
his own. His countrymen begin to see their error ; and if this
accomplished author should again visit the English metropolis, we
t in a few prefatory remarks, addressed
dide feel
from assured h
thee
membersao' u l dpe eexf therine
Philharmonic
a i
lh
ar less
m equivocalenie
Society
receptionety si than
sixteen
n ye a
re
h s
ago. Sir George Smar
by him to the audience at the introduction of the new sym-
feelinthge insenti-
ments his
favour
phony, on the trial night, characterised the composer as the
‘
ageßfeier ''as
and an unanimous
ose neeheevi never
.This composition
doubtedis called by Spohr " Die weihe der Tone," being a sinfonia de-
scriptive of the origin and progress of music, or an attempt to tinlnas r
t of may
r sysupnehinr‘ivmemberstbe e f
looked he
as
de-
velope the varied poetry of sound, with its effects on the imagina-
tion and passions. The author's programme is simple and intelli-
gible ; but in the edition of the symphony, published on the
Continent, there is a lengthened introduction by C. Pfeiffer, which
Mr. E. Taylor has attempted to render into English verse, of the
merit of which the first stanza is a tolerable specimen ;
When the Spring, with gayest c dours,
Decks the fields in splendour bright,
Man—in silent meditation,
Wanders 'mid the shades of night," &c.
The symphony consists of four movements, the first in F minor. The
opening bars in largo time are descriptive of the solemn stillness of
the material world before the creation of any of the causes which
produce sound. The passage bore a strong resemblance to the in-
troductory movement in the Opera of " Azor and Zemira," the
transitions from A flat to C natural, the disposition of the celli,
and the subdued roll of the tympani, were repetitions of the same
idea. The largo is succeded by an allegro, designed to represent
the creation of animated nature, and all the infinite varieties of
sound which followed. In the words of Southey—
" Then came the soothing and incessant sound,
The flow of many waters—blending oft
With shriller tones, and deep low murmurings,
In mingled melody. *
The single nightingale, so richly toned,
That never from that most melodious bird
Singing a love song to his brooding mate,
Did Thracian shepherd by the grave
Of Orpheus, hear a sweeter melody."
The movement is evidently formed after t'he " Scene by a Brook,"
in Beethoven's Pastoral Symphony; but in the aggregation of his
ideas, unlimited command of harmony, and extraordinary skill in
instrumentation, Spohr has surpassed his predecessor. There is the
same busy accompaniment of the strings (in seconds, and not in
thirds, as in Beethoven) to indicate the murmuring of the waters
—the same constant re-appearance of the motivos from the dif-
ferent wind instruments to pourtray the warbling of the feathered
tribe, and the same terrific use of the trombone, in depicting the
rising of the storm, and the war of the elements which follow; It
is, in our opinion, the best movement of the symphony, and af-
fords ample evidence of the powers of the great magician of the
present day. The second movement opens in B flat, with the In-
fant's (or Cradle) Song, the motivo of which is assigned to the
clarionet. It then modulates into I) major, and proceeds with an
elegant dance, reminding us of the lovely gipsey chorus with which
the author's Opera of " Der Alchymist' commences. To this
follows the " Serenade of the Lover," given to the celli
and clarionet. The score of this movement, it may be
remarked in passing, is novel, from the various modes
of time in which the instruments are placed. The third move-
silent opens with the " March to Battle," proceeds with the up-
roar of the fight, the shouts of conquest, and the wail of the van-
quished ; and concludes with the return of the victors, and their
Ihnen ofa march or thanksgiving
hanekn in
sgivinthge ktoethy of D
eDisp;ostehre of human events.
The
ee
nb
es tcoenei se s
ahr- e
e prodigious.
motivo, which is assigned to the tromba, are ingeniously varied at
a c l u
introduction. The part The effinecGts
mprionielurc,evidhbeyrettitheesessu,epnetrh-
structure is carried on by the strings, and the motivo by the corni and
wood band, is very clever, and not dissimilar to a section of the overture
to " Jessonda." The choral " Hymn of Thanksgiving" was per-
haps the most astonishing and affecting feature in the symphony.
The corale is led off and continued by the trombm, while the
strings carry on the subject. The fourth and last move-
! ment expresses the notes of death ; is succeeded by a fune-
' ral dirge ; and concludes with an imaginative attempt to de-
scribe the harmonies which are reserved to heighten the en-
joyment of the blest above. This movement opens in F minor,
with a corale well known in the Lutheran Church, and ascribed'
to Sebastian Bach. It is rendered most effective by the use of the
first string of the celli with the chalenwau of the clarionets in uni-
son. The return to the major of the key, and subsequent finale,
are but indifferently managed; while the pedale on the tonic is
rather hackneyed, and the retarding of the time was badly ma-
naged. The peculiar character of Spohr's genius is the great vo-
lume of sound which he produces from the orchestra, arising from
his perfect knowledge of the instruments, and consummate skill in
balancing the weight of his harmonies. With him the orchestra
is, as it were, one instrument. Sir George Smart, we understand,
had received the composer's written instructions for conducting the
symphony, and we hope to hear it again performed, in such a man-
ner as would satisfy its talented author. We must reserve Men-
delsohn and the other writers whose works were performed, until
the morrow.

NCERT.
The second meeting SECOND
of this soCOciety, for the present season, was
held on Monday evening at the Hanover-square Rooms. The in-
strumental compositions were symphonies, from Beethoven and
Haydn, and a concerto for the fagatto, by Baumann. The concert
opened with Beethoven's symphony in A, No. 7. That of Haydn
was No. 5, in C, composed by him for the celebrated Salo-
mon. They were both charmingly performed, and were evidently
appreciated by the audience. Beethoven's quartet in A, executed
by Mori, Tolbecque, Moralt, and Lindley is a highly finished com-
position, and was exquisitely petformed. The subscribers were
indebted to Dlr. Cipriani Potter for its introduction in the