MUSIC.

SIXTH PHILHARMONIC CONCERT—MONDAY JUNE 9.

PART I.

Slufbnia in C sharp minor G. A. Macfarren.

Ballade, "Dee Wringers Finch," Herr Pischek, Pianoforte E

Gbligato, Mr. Idoscheles Fantasia, Pianoforte, M. Leopold de Meyer L. de Meyer.

Reclt. "Crudele," 5 Madame Gras Darns. (Don 3tozart. Aria, "Non ml Gioranni,)

First Movement of Concerto Violin, Mademoiselle The-1

remMilani:810 Vieustennps.

Adagio and Rondo, Mademoiselle Maria Idllanollo PART II.

Sinfonia MC, (No. 1) Beethoven. Coneertante, Two Violins, the Demoiselles Milanollo, (on milanwo. airs from Lucia di Lammermoor,)

Scene et Air," Entendez POUR," Madame Gras Dome,

(Le Concert la Coter,) }Auber.

Duetto,"Joist Alter," Herr Pischek and Herr Ober- }

hoffer, (Fidelio,) Beethoven. Overture, Der Beherrseher der Geister C. M. von Weber.

Leader, Mr. T. Cooke—Conductor, Mr. Moseheles.

MR, MACFARBEN'S Symphony would assuredly have been better worth preservation in the privacy of his own archives, as a step to future excel- lence in the mechanism of the art to which he aspires, than for the place it occupied on Monday. It was neither friendly in the Directors to pro- duce it before an audience who pay dearly for and expect high entertain- ment, nor judicious in himself to permit its production. Admitting that many works of the high symphony class have been erroneously prejudged, and only placed in their proper station by the advance of the art and a preponderance of favourable opinion from the artist world collectively, We still believe that the silence and coldness with which Mr. Macfarren's production was received by the audience exhibited at least an instinctive judgment of its merits, and that the verdict thereon pronounced will be little likely to be reversed by posterity. The symphony has in truth many faults or juvenilities; and among these the most glaring is the choice of its key,—which, in the modulation and working of subjects natural to the treatment of a symphony, leads to a remoteness from the keys of orchestral composition, most unfavourable to effect. If it taxes the address of the best orchestra to execute nicely in tune such modulations as occur in the finale to Mozart's G minor Symphony, much more must it do so when in the course of a long composition there is scarcely any moving without a multitude of strange intervals, double sharps, or the enharmonic change. When the movement is quick, this alone may account for a want of effect and a thinness in the combina- tions. It is in fact apposed to the genius of orchestral execution, and, as it regards new impressions, a favourable resource only in composition fo: keyed instruments. In the finale only of his symphony did the composer appear to arrive at some true notions of that style. There were some pedal points here, variously exhibited, which displayed skill and science. TLe first movement was cold and. uninteresting; and the melodious subject, played by the wind-instruments, was accompanied by the stsings in the style of a waltz. The theme of the slow movement smacked strongly of Mozart; and the phrases of the composition hung together loosely. Far better, we repeat, would it have been to have reserved this work as a mere exercise' than to have submitted it to the forced unwilling attention which it received on Monday. The well-known Symphony of the second part was the more enjoyed from the uncommon absence of good music which cha- racterized this concert.

The ballad sung by Herr Pischek is a long Canterbury tale, that might have suited the times of baronial halls and wandering minstrels, but was totally disqualified for its present position, by the superior interest of the words to the music. In such prolix recitations, all the design and con- nexion of musical thought are lost: we hear words delivered to an accom- paniment, more or less characteristic; but the compactness which enables a composition to be viewed as a whole is deficient, and with it the interest which belongs to unity. Mozart's scene was sung with elegance and feel- ing by Madame Gras Dorus; who pleased as much in this composition as she failed to please (though certainly from no want of talent) in that of Auber, introduced in the second part,—a piece all too flimsy and common- place for Philharmonic ears. The extremely odd vocal selection concluded with a Duet of Beethoven; which, if it had an interest apart from the scene, could not raise it on this occasion, being brought forward when every one was tired.

What are we to say of the great M. Leopold de Meyer,—who first emu- lates the fairy tones of the musical snuff box, and then bangs the piano with the power of a Briareus, in a manner which it is equally curious to see and unpleasing to hear,—if not the truth, in defiance of all recorded opinions on this prodigious sorcerer? Never did we attend so low, so me- lancholy an exhibition, as that of Meyer on Monday; the sole object of which from beginning to end was to raise a stare. 'Milberg certainly in- troduced a novelty in his art of playing, accompanying, and ornamenting a melody, which, with the aid of his unquestionable taste, while the interest lasted, did well enough for the concert-room. In his performance at lust music always went hand in Inuid with surprise. Now, however, a complete divorce is effected; all is surprise—all is mountebankery and legerdemain, without a note of music, or anything to gratify the ear beyond the occa- sional tinkling of a delicate run. What Thalberg surprised with in single notes, Meyer surprises with in octaves: the dose is certainly strengthened, and for the present we appear to have reached the acme of mechanical power. But let us not believe it--some Jew boy may be actually practising in one of the blind alleys of Fraukfort or Prague who may get yet further and accomplish more, if in the mean time the corrupt appetite for this kind of excitement does not take a healthier turn. It may be well to have witnessed for once such harlequinade as Meyer's; but the Directors of a classical concert cannot consistently with reputation permit solos of this meretricious character to enter the list of their performances. Genius may make innovations, but the pianoforte must still possess something in com- mon with the instrument of Dussek, Cramer, Hummel, Mozart, add Beethoven.

The violin performance of the young Italian ladies was highly craoeful and interesting; surprise mingling with delight at the musical genius they manifest. The Concerto of Vieuxtemps in E, performed between them, is of no great merit as a composition; being patchy and inconsequential, though-by no means destitute of pleasing effects. Had the Composition been better known to the accompanying orchestra, it would have been for the benefit of the first movement, which is elaborate in structure. In the adagio and rondo, the younger sister had the advantage of the support of the elder; and the cue in the leading points of the accompaniment being given to the band, added greatly to the improvement of the performance. Accordingly, Mademoiselle Maria bore the bell both in point of tone and execution; though, as this preference has never been accorded to her in Ger- many, we may suppose it in this instance to have been influenced by tem- porary causes. This admirable unity of execution in the duet on airs from Lucia di Lammermosr, was combined with the most exquisite taste, and exemplified in one of the most pleasing concert-compositions we ever heard. Next to the performance, the audience seemed to relish tile specti- de: and certainly, to see Paganini's art of the violin accomplished by twso fair children, was an interesting sight.

On the whole, however, this concert was little calculated to serve the true interests of the Philharmonic Society. Novelty and surprise were largely provided, but the voice of the art itself was almost silent.