PRIVATE CONCERTS. TERZETTO-E la fede delle femine. ARIA-Non siati ritrosi. ARIA-Un aura amorosa. FINALE-Ah che tutta. SECOND PART. DUETTO-Prendero quel brunettino. RECIT. ED ARIA-Barbara, perche fuggi? RECIT. ED ARIA-In qual fiero contrasto. CAVATINA-Tutti accusan le donne. All the Singers were Amateurs, except Miss Goodall. Most of the Band were Amateurs. JAMES CAZENOVE, Jun. Esq.-Wednesday, May 4, 1825. PART FIRST. SYMPHONY, C Minor-Beethoven. Miss Goodall and Mr. Horncastle. The other Singers were Amateurs. J. H. HEATH, Esq.-Saturday, January 29, 1825. ACT FIRST. OVERTURE. INTRODUCTION and QUARTETT-" Notte e giorno." ARIA " Madamina, il catalogo e questo." ACT SECOND. OVERTURE, to Der Freyschutz. Weber. RECIT. and ARIA-" Non mi dir bel idol mio." PERFORMERS. Miss Goodall, Miss Carew, Signor Begrez. Mr. Mori was leader, many in the band (which was complete with drums) were amateurs. Sir George Smart conducted. MRS. HOLMES (Lady of the Sub-Dean of the Chapel Royal) PART FIRST. GLEE " To love I wake." (Double Choir.) Webbe. DUETTO "Fuggi crudel." (Il Don Giovánni.) Mozart. 66 CHORUS "Oh the pleasures of the plains." (Acis and Galatea.) Handel. PART SECOND. GLEE " In peace love tunes." Attwood. GLEE" The red rose." W. Knyvett. DUETTO " Dunque il mio ben." (Romeo e Giulietta.) Zingarelli. ROUND "Come buy my cherries." Sir J. Stevenson. CORONATION ANTHEM. PERFORMERS. Handel. Miss Goodall, two Misses Cawse. two King's Chapel Boys, Messrs. W. Mr. Schultz and two Sons on the Physharmonica and two Spanish Guitars. MR. ALEWYN.-Monday, May 2, 1825. PART FIRST. SINFONIA. Romberg. DUET-The Misses Cawse. "Fraught with Melodies Elysian." (From the cantata, Natur und Liebe.) Weber. ARIA (M.S.)-Signor De Begnis. "Per esempio voi vedete," first time of performance in this country. (La Dama Soldata.) Órlandi. DUETTO-Madame Ronzi De Begnis and Signor De Begnis. "Non temer mio bel cadetto." (Il Posto abbandonato.) Mercadante. NEW RONDO BRILLIANT (M.S.) for the Piano Forte-Mr. Schlesinger. Schlesinger. TERZETTO-Madame Ronzi De Begnis, Miss H. Cawse, and Mr. Horn"Cruda sorte." (Ricciardo e Zoraide.) Rossini. castle. Overture to Il Barbiere di Seviglia. Rossini. PART SECOND. AIR, with Variations, for the Violin-Mr. Mori. Moyseder. AIR-Miss H. Cawse. "Then Nature does her stores unfold." (From the cantata, Natur und Liebe.) Weber. DUETTO-Madame Ronzi De Begnis and Signor De Begnis. "Nella casa." (La Pietra di Paragone.) Generali. QUARTETTO-The Misses Cawse, Mr. Horncastle, and Signor De Begnis. "Ave verum." Mozart. QUINTETTO "Oh guardate che accidente." (Il Turco in Italia.) Rossini. Overture to Der Freyschutz. Weber. Leader, Mr. Mori.-At the Piano Forte, Sir George Smart. A considerable mass of composition is here presented to the observation, and if there can be any complaint of the want of variety in the Private Concerts of London, it must rest upon the repetition of the same Italian pieces. These bills embrace almost every species of secular writing. The performers indeed are very much the same, and principally foreigners. But it is no less evident that the English have a share of patronage and employment, though it so happens that at the King's Concert on this occasion the party were Italians.-His Majesty has the English vocalists, particularly those belonging to the Chapel Royal, in turn. The Duke of Devonshire had divided his two concerts equally, intending to make the first English, the second Italian. But Signor Velluti arrived two days only before the first, and his talents, exerted for the first time in England, were too important an acquisition to be passed over. This accounts for the Barcarole and the Romanza which stand in the English scheme. The Duke of Wellington rarely, if ever we believe, engages an English singer. Sir George Warrender has the good taste and the good feeling to use his best endeavours to promote and support the art in England, and through the agency of Englishmen, though without the slightest exclusion of foreign ability. In the concerts given by those gentlemen, who are amongst the most active directors of the city amateur concerts, we see the genuine love of music stimulating them to the practice as well as the mere enjoyment, and it is no slight praise to amateurs to be able to go through such things as Cosi fan tutte and Il Don Giovanni with professional accuracy, and with a near approximation to professional excellence. Yet we may very safely pronounce such to have been the case at Mr. W. Bell's and Mr. Heath's. The concert of Mr. Cazenove was not less excellent, though a miscellaneous selection. Mr. Alewyn's was professional, so far as the singers were concerned, but the band was principally made up of amateurs.. Lord Macdonald's affords a curious instance, the concert forming a part of the festivities on the marriage of his daughter. This accounts for the turn of the selection, which must be admitted to be extremely appropriate. The bills we have printed present a fair specimen of the nature of the performances at such parties; but they form a very small proportion of the numbers of them. Mrs. Coutts has given more than one musical party, and the splendour of this lady's arrangeVOL. VII. NO. XXVII.-SEPT. 1825. Rr ments are no where exceeded. She equally supports the foreign and English professor. But we must stop-for were our enumeration to proceed, it would greatly exceed our limits, without further elucidating the subject. We may conclude then by saying, that when the expence, the frequency, and the excellence of private concerts, and the admixture of distinguished amateur with professional performance, are contemplated, no stronger proof can be given of the hold which music has taken on fashion as well as on the estimation of the titled, opulent, and educated classes; and if it be denied that our countrymen feel the art with the enthusiasm of Italians, who postpone more sacred duties to its enjoyment, it must be admitted that it takes its place amongst the most elegant, the most costly, the most preferred, and the most interesting of English amusements. ASSEMBLAGE OF PIANO-FORTE PLAYERS IN PARIS IN THE SPRING OF 1825. (FROM A GERMAN PERIODICAL WORK.) PARIS, W HATEVER vanity the French may betray by styling Paris the Capital of the World and of the Fine Arts, it was at least on the present occasion the Capital of Musicians. Scarcely any distinguished German pianist was at this epoch absent from the French metropolis. There were often seen in the same saloon Hummel, Moscheles, Kalkbrenner, Pixis, Schunke, Felix Mendelsohn Bartholdy, and little Liszt, without mentioning the brothers Hertz (who have chosen Paris for their residence), and a great number of French and foreign pianists who wanted little, in respect to facility of execution, to make them`rank with these great masters. Such an assemblage of talent naturally occasioned many concerts, where the curiosity of the Parisians was readily gratified, without prejudice to the honour or the profit of the artist. The professors, as anxious as the public to hear and to admire these |