The Sun.
London, England, 1844-07-15 00:00:00

QUEEN'S CONCERT ROOM,
HANOVER-SQUARE.
On Friday evening a concert, equally novel and
splendid, was given by Don J. M. de Ciebra. Several
duetti (guitar) were performed in a style of exquisite
perfection by the accomplished professor and his talented
relative, Don R. A. Ciebra. They were heard with de-
light, and applauded with rapture by as crowded and as
scientific a company as ever graced the fashionable
reunions of cultivated taste, for which these rooms are
distinguished. Those who think little of the guitar as
an instrument of expression would do well to hear these
gentlemen, who prove that in the bands of educated
Spaniards, the guitar, unpretentious as it is, becomes an
instrument of great power, and capable of expressing the
most tender sentiment and the deepest emotion. A7solo
on the flute, by Ribas, was deservedly and enthusiasti-
cally encored. He convinced us that the professor was
mistaken who "disliked nothing more than a flute,
except two flutes." The Bolero, on the concertina, by Re-
gondi, was executed in a style which proved what intui-
tive melody in the performer may effect with the most
imperfect means. The Morossini family, Miss Galbraith,
Miss Florence Messum, Miss Badger, and Miss S.
Flower, received their full share of the applause which
this grand display of art elicited from a must judicious
audience. The great work of the evening was a grand
martial fantasia on the pianoforte, by Mr. Cohan.
So well constructed a piece seems to be misnamed as a
" fantasia." The unity is so pure and perfect, that the
whole work gives the impression of a single melody, the
effect being in no degr, e impaired by its length, and
never interrupted by the variety of subject, to the ex-
pression of which the well-sustained theme is adapted.
'1 he subject is the late "Revolution of the Greeks at
Athens." The theme is found in the third passage—
the aria expressive of hope. There is true poetry
in the mind of that man who could conceive the idea of
making a melody expressive of hope the base and the
prevailing sentiment of his " Areios Paimn" upon
a tumultuary revolution. In the introduction we
had an intimation of the melody, delicately varied.
In the second passage, " The murmurings of the people,"
the phrases occur again, and are admirably modified and
subdued. In the third, we have the aria itself, in ten-
slerness, earnestness, and simplicity, quite as original as
the oldest work of the Celtic bards. The tumults, the
rejoicings are all admirably described ; but there is one
passage to which no general criticism can do justice—the
" Prayer." It is wonderful that even in this glorious
passage the theme is still preserved, although the gentle
expression of hope is swelled into a magnificent anthem.
Mr. Cohan's performance of this piece was listened to
with breathless attention, and was followed with such
applause as might be expected from so refined a com-
pany. It is not easy to say whether his construction or
his execution is the better. He is, at all events, a
worthy pupil of his great master, Beethoven. Yet, Mr.
Cohan (lid not carry away the honours of the night ; for
Marras was applauded most vehemently in Mercadante's
" Fra membi crudeli."