The Sun.
London, England, 1844-05-29 00:00:00

PHILHARMONIC SOCIETY.

The fifth concert took place on Monday night. The follow-
ing was the programme :
PART I.

Sinfonia in B flat (No. 4)—Beethoven.
Duet, " Stung by horror," Miss Rainforth and Herr
Staudigl (Pascal Bruno)—J. L. Hatton.
Concerto, violin, Herr Joachim—Beethoven.
Overture ( Faust)—Spohr.
Duetto, " Pazzarello, 0 qual ardir," Mr. Machin and Herr
Staudigl (Faust)—Spohr.
Quintetto e Coro, " Ah ! godan for felicitade," the principal
parts by Miss Rainforth, Miss A. Williams, Mr. Manvers,
Mr. Machin, and Herr Staudigl (Faust)—Spohr.
PART

Overture (A Midsummerlirigitt's Dream)—Mendelssohn
Bartholdy.
Scherzo (A Midsummer Night's Dream)--Mendelssohn
Bartholdy. _ _

Song, with chorus, " You spotted snakes," Miss Rainforth
and Miss A. Williams (A Midsummer Night's Dream)—Men-
delssohn Bartholdy.
Notturno, march, and finale chorus (A Midsummer Night's
Dream)—Mendelssohn Bartholdy.
Song, with chorus, "Joy, 'tis a glorious thought," Herr
Staudigl ( Fidelio)—Beethoven.
Hunting chorus ( The Seasons)—Haydn.
Leader, Mr. Loader ; conductor, Dr. F. Mendelsson Bar-
tholdy.
The novelties introduced by Mendelssohn into the plan of
the concert excited great interest in the musical world, and
produced a more crowded audience than we have seen at the
concerts for several years. " Everybody," in common par-
lance, was there; and the room had that animated appear-
ance which it used to have in the old palmy days of the So-
ciety—days which, we trust, are returning.
There was only one symphony, but it was a chef d'ecuvre—
Beethoven's in B flat. In the performance of this magnifi-
cent work the effects of Mendelssohn's training were appa-
rent. We have frequently heard it very finely played at
these concerts—with satisfactory precision and great vigour.
But there was last night an attention to the chiar 'oscuro of
musical sound in which this orchestra, with all its excellence,
has hitherto been deficient; a softness and delicacy in the
piano passages, a sharpness in taking up the points, a simul-
taneousness in those sudden bursts with which Beethoven
startles his auditory, a unity in the whole movement of the
band, as if all its members were animated by a single mind,
and a fire and animation which we never before observed in
an equal degree. The symphony was followed by a duet
from Mr. Hatton's opera of Pascal Bruno, sung by Miss
Rainforth and Staudigl. This opera was lately produced at
Vienna with some success, Staudigl being one of the per-
formers. Such an occurrence, of course, has given occasion
to many remarks on the hard case of our native composers,
who, finding it impossible to have their pieces performed at
home, are compelled to try foreign lands, where they are
better received than in their own country. Look (it has
been said) at this case of Mr. Hatton--we should never
have heard a note of his music, either on the stage or in the
concert, if it had not gained some eclat at Vienna. Now,
supposing this to be the case, the fault does not lie with
the public, but with the musical profession themselves. We
have said again and agaie, that we have never yet seen a
piece by a native musician, when fairly brought before the
public, that did not meet at least as favourable a reception
as it was entitled to ; and we have not the smallest doubt
that, had Pascal Bruno been brought out in London, and
performed as well as in Vienna, it would have been as well
received as in Vienna. Whether it deserved a favourable
reception is a question upon which the duet performed last
evening threw little light. It was an impassioned dialogue,
demanding much theatrical action, between two characters
of whom the audience knew nothing ; and it is impossible to
sympathise with feelings of which we do not know the sub-
ject. Such a scene, to produce its effect, must be represented
on the stage, as part of the piece to which it belongs, and
not torn out of its place, and sung by persons standing up in
the front of an orchestra. It would be unfair to give a judg-
ment of a piece heard under such circumstances. We can
only remark that it is evidently the work of an able musi-
cianpthat its ideas did not strike us as remarkable for ori-
ginality; and that, whether owing to the overfulness of the
author's score, or to the overplaying of the orchestra, the
voices were buried beneath the ponderous load of instrumen-
tal accompaniment. Miss Rainforth, in particular, whose
vocal organ is by no means feeble, could scarcely make her-
self audible.

The next piece was Beethoven's violin concerto, played
by young Joachim, who, though he has several times played
in public since his arrival in London, may be said to have
appeared last night for the first time before a great
musical
audience. His appearance in the orchestra was very inte-
resting. He is qiiite a little boy, and does not look above
twelve or thirteen, with a pleasing and ingenuous counte-
nance. He acknowledged the welcome he received, and the
enthusiastic plaudits bestowed on his performance, with much
modesty, and his unaffected simplicity was very engaging.
Child as he is in years, and small in stature, he is, in art, a
grown man and a giant. He has every quality of a great
performer ; a full, rich, vocal tone ; a rapidity of bow and
finger which no difficulties can embarrass ; great force and
vigour, united to the utmost delicacy of taste ; and much
feeling and expression. He does not belong to the Paanini
school, and executes the utmost difficulties, in the highest
regions of the scale, without even having recourse (or at
least very rarely) to the use of harmonics. Wonderful and
delightful as Joachim is now, it seems impossible even to
imagine what he may be when he arrives at the age of the
passions, before which time the genius of an artist can never
be fully developed.
There was then a selection from Spohr's Faust, preceded
by the overture to that opera. It proved, comparatively
speaking, a failure. The music selected, though very effec-
tive on the stage, is too theatrical in a concert-room. There
cannot be a greater mistake, prevalent as it is, than the
practice of taking these complicated concerted pieces, full of
bustling incident, which, however clear and effective they
may be rendered by dramatic action, are nothing but un-
intelligible confusion in a concert. The whole of this part
of the performance, accordingly, made no impression on the
audience. .

Blendelssohn's music in the Midsummer Night's Dream had
a very different effect. It consisted, in the first place of the
'charming overture which everybody knows, followed by a
little instrumental scherzo movement, quick, magical in its
fairy lightness. It was loudly called for a second time.
Then came " Ye spetted snakes, with double tongue," as a
duet and chorus ; the solo parts were sung by Miss Rainforth
and Miss Williams, and the chorus consisted entirely of
female voices. Though the verses are indelibly associated
in our mind with Stevens's beautiful glee, yet we listened
with delight to Mendelssohn's elegant and imaginative treat-
ment of the subject. There were then two instrumental
movements, a notturno and a march. The latter (a gorge-
ous composition) was encored. And, lastly, there was the
final chorus, " Through the house give glimmering light,"
for female voices, and having for its accompaniment several
of the most remarkable passages of the overture. Nothing
more exquisite can be imagined than the whole of these mu-
sical illustrations as they may be called) of the Midsummer
Night's Dream. They are full of the genius and fancy of
Shakspeare himself. The reception given to this beautiful
music was rapturous ; and we heard all round us the most
eager desire to hear it again. We can inform our readers
that this opportunity will present itself next Friday, at Mrs.
Anderson's concert, where it is to be performed in precisely
the same manner—by:the same solo singers and chorus—as last
night ; and, by the way, we may add, that, at the same con-
cert, Beethoven's grand choral fantasia is to be performed,
Mrs. Anderson taking the pianoforte.
On the whole, the concert of last night was singularly in-
teresting, and appeared to give the utmost delight to the
audience.

MR. C. KEMBLE'S SHAKSPEREAN

READINGS.
Mr. Kemble gave a reading of the tragedy of Othello on
Monday—a drama with which some of his greatest triumphs
were connected in the character of Cassio, a part in which he
stood alone, and in which he leaves no successor. On Monday
despite his advanced years, the speeches of Cassio were
spoken with all that remained (with much more than could
have been expected) of the admired actor's former elastic
vigour and animation. The scenes generally retained for
full delivery were selected with the same sound judgment
which has characterised Mr.Ketnble's arrangement throughout,
and were given with tasteful and still impressive elocution.
It is a remarkable fact, that Mr. Kemble always obtains the
greatest applause whilst he is depicting Shakspeare's female
characters. As the gentle Desdemona—the most artless, in-
nocent, and beautiful of Shakspeare's creations—he excelled
himself, as if his energy increased in proportion to the beauty
of the character which he represents. The rooms were more
crowded on this evening than on any of the previous occasions.
The Earl and Countess of Harrington, and several persons of
rank and distinction, were present.

WHEAT, &c.—Accounts of wheat delivered from
the warehouse or vessel, duty free, under the Act 5 and 6
Victoria, cap. 92 ; of flour, Sc., substituted for wheat ; of
the delivery of flour and biscuit so substituted; and of for-
feitures under the Act, showing the disposal of the articles
forfeited, have been laid on the table of the Commons' House
of Parliament, on the motion of Mr. John Trotter, the Con-
servative Member for West Surrey. We take the opportu-
nity of presenting our readers with a summary of these very
detailed accounts, which may serve in some degree to show
the operation of the new Corn Act from the 10th of August,
1842 (the period of its receiving the Royal Assent), up to the
sth of April, 1844 (Good Friday last). It appears, then,
that the total quantity of wheat delivered from the ware-
house or vessel, duty free, during that period amounted t
71,048 quarters; that the quantities of fine wheat flour de-
posited in the warehouses amounted to 81,171 cwt., of which
7,059 cwt. were afterwards delivered for home consumption,
69,176 cwt. were taken out for exportation either as mer-
chandise or as stores, and 4,935 cwt. remained in warehouse
on Good Friday last; that the quantities of captain's biscuit
so deposited between August, 1842, and April, 1844,
amounted to 12,625 cwt., of which 11,815 cwt. were taken
out for exportation as merchandise or as stores ; that the
quantities of standard biscuit (of the standard of that sup-
plied to the navy) so deposited in the warehouses amounted to
53,316 cwt., of which 50,993 cwt. were afterwards taken out
for exportation; that the quantities of common ship's bis-
i cuit deposited amounted to 164,821 cwt., of which 159,224
cwt. were taken out for exportation ; and that the quantity
of fancy biscuit deposited amounted to 10 cwt., all of which
were afterwards exported as merchandise or as stores. The
forfeitures under the Act appear to have been but few, and
the return of the fines levied is nil.

Sir Fowell Buxton is at present on a visit to this
city, for the benefit of his health, and is undergoing a
course of treatment at Sydney Gardens establishment. The
celebrated Mrs. Fry is also staying with us for the purpose of
recruiting her health, which has been for some time past in a
very precarious state. We understand that both Sir Fowell
Buxton and the venerable Mrs. Fry are taking the mineral
watvr. at the pump-ma—Bath Zeraw,

LIT ERATURE.

THE TRIUMPHS OF TIME.
Bentley, London, 1844.
The " Triumphs of Time" consists of three tales,
all of which are written with a certain degree of
spirit and intelligence, though the longest, entitled
"The Previsions of Lady Evelyn" is, in some of its
leading incidents so improbable, that much of the in-
terest, which would otherwise attach to it, is de-
stroyed. We allude, more especially, to not a few of
the scenes which take place in the household of
Lord Glenmore, where the young hero, Gerald James,
is domesticated as a tutor, and which, though highly
wrought up, have certainly little in common with
real life. The most entertaining story in the collec-
tion is " Sealed Orders," which is a translation from
the French of Count Alfred de Vigny,' and turns
upon the melancholy fact of a blunt but kind-hearted
captain of a French vessel, having been ordered to sail
with two young people, just married, and greatly
attached to each other, who are to be treated accord-
ing to certain sealed orders transmitted to the captain
by order of the French Directory, and which he is
not to open till the vessel has passed the line. On
opening these orders at the appointed locality, he finds
that he must instantly execute the young bridegroom
as a traitor—a task which he accomplishes, notwith-
standing the deep interest which the manners of the
young couple have excited in his mind. The account
of hia subsequent remorse, and of the madness of the
bereaved girl, is exceedingly affecting, indeed quite
painfully so.