MUSIC.
QUARTET CONCERTS, THRONE-ROOM., CROSBY HALL.
OW Monday, Mr. Dando commenced his Quartet season with a banquet of classical music of the most recherche kind, and most exquisitely served. After proceeding from one delicacy to another, the audience retired satis- fied, not satiated, and with renewed delight in their favourite art. The stringed quartets were by Haydn in G, No. 81, and Beethoven in F, No. 1. Then we had Hummel's Pianoforte Quintet in E flat minor, played by Madame Dulcken; who also performed a Sonata (solo) in E, by Mendels- sohn; and, not entirely to omit the old school, Dando executed the beauti- ful Second Sonata of Corelli, accompanied by Lucas on the violoncello. Interspersed were airs by Mozart and Weber, sung by Miss Sara Flower. Dando was in his very finest playing-condition on this occasion. The gradations of tone which he exhibited, as the varied features of the quartets drew than forth, extended from the extreme of brillianey and power to the utmost delicacy. His violin, too, must come in for its share of praise. We thought that we had never heard a fine instrument more completely under Cetttrol—so ready in answering; so complete in fulfilling the intentions of the player. Dando has certainly obtained the tone of hfori in his best days, with infinitely more of sentiment and musical instinct. Ills playing the olassical quartets is full of geniality, auction:mind° honour to English
art were he to travel- It vrould be impossible, in any region from Berlin to Paris in which art is cultivated, to resist the impressions of a talent se, identified with the true pronunciation of this phrases and language of the greatest masters.
There has been within a few years altogether a great advance in the general style of quartet-playing in England. Practice, public performance, and the reaction of criticism on the players, have done much to promote this improvement. The proportions borne towards the general effect by the secondary instruments have been more accurately studied; and a combination is the result, of which, some twenty years ago, the public had little notion. The manner in which the accompanying, passions and solos for the second violin and tenor were delivered by Gattie and
passages senior was highly accurate both in point of tone and style. Lucas has also much advanced as a quartet-player on the violoncello.
Madame Dulcken exhibited herself both in the Quintet of Hummel and in the solo Sonata to the highest advantage, and excited ge- neral admiration. In the former composition, which has been rarely heard in public, she exemplified with great power and experience of effect the true art of performing a pianoforte piece concerted with instruments. She made every point tell; and this pied.% which has been so often ill rendered in private, now stood forth" in its true colours. The crescendo leading to the finale was of magnificent ef- fect. It is a rare and very interesting thing to hear a fine pianoforte Res mita so satisfactorily executed in public as was that of Mendelesohn. No'- thing more, thoroughly demonstrates the courage and the attainments cst the true artist than a feat of this kind, in which the slightest flaw is open to instant detection. Madame Dulcken had not only perfected the execu - don of the composition in every mechanical requisite, but showed a com- plete conception of its style. And a noble composition it is—original aird quaint in the character of its movements, and abounding in wildness and fancy. It has more the air of one connected effusion than any sonata et modern date: and the gradual progress of its effect, from the quiet opening to the torrent of the finale which combines fulness and rapidity in an un- precedented degree, astonished and delighted every hearer. The fair pia- nista received the unanimous plaudits which her courage and enthusiasm merited.
The Sonata of Corelli would perhaps have lost nothing if the figured" bass had been judiciously represented on the pianoforte. The har- monies of this music should not be entirely left to the imagination: it NM' never intended to be so by the author•, and the great aim of a classical per- formance should be as-nearly as possible too approach the original.
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