WeGA, Rezeptionsdokumente, Digitale Edition
author: Anonymus
source date: 1. April 1825
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

REPORT OF MUSIC.

The campaign is now fairly opened. The Ancient and Philharmonic Concerts – the Opera – and the Oratorios – and last, not least, a weekly series of P. P. C. Concerts, given by Madame Catalani, just previous to her departure from this country, have occupied the evenings oft he last month.

[...]

The Philharmonic proceeds with the same exalted eminence in its selection and execution. The first night was marked by the production of Weber’s overture to Euryanthe, a fine work, but inverior to that of Der Freischütz. The singers were, Signor and Madame de Begnis and Mr. Sapio, who was summoned in consequence of the indisposition of Signor Garcia[^1]. The De Begnis brought out a new Comic Duo of Mosca’s composition, Far calzette, which is one of his best. Madame Ronzi De Begnis was exceedingly great in the pathetic scena Il Sacrifizia d’ Abraam.

[^1: Manuel del Pópulo Vicente García (1775–1832), 1824 bis 1826 in London engagiert.]

The second night, two instrumentalists new to this country, Mr. Vogt, a hautboy, and Mr. Schunke, a horn player, gave, the one a concerto, and the other an obligato part, in an introduction and variations. They are both performers of ability, but Mr. Vogt has the continental tone which is inferior to that of our lamented Griesbach[^2]. Neither is Mr. Schunke so great as Puzzi, whose taste and delicacy can hardly be equalled. Mr. Cipriani Potter produced a piano-forte concerto, by Beethoven, new to England. Weber’s overture to Preciosa was the concluding piece: – The singers were Mr. Phillips, Mr. Sapio, and Miss Stephens.

[^2: Der Oboist und Geiger Johann Friedrich Alexander (1769–1825, genannt Frederick).]

The oratorios have been restored on alternate nights at Covent-garden and at Drury-lane. The one at the theatre first named is at the risk and under the management of Mr. Hawes – that of the letter under the conduct of Mr. Bishop, it is presumed for the honour and interest of the Greak lessee. [...] In the selections, Carl Maria Von Weber occupies the vantage ground. His cantata, and his operas, and his overtures, are the novelties, and thus he triumphs over Rossini. He is, without doubt, a man of genius, but we question whether his boisterous harmonies will stand against the delicate melody and animation of the lively Italian. The English conductors are certainly doing their utmost to bring his works into fashion: but in the mean while what becomes of the pious oratorio in the penitential season of Lent?

Drury-lane goes openly to work, and announces “ a great selection of music from the works of popular and classical composers, interspersed with some sacred pieces.” This is a capital arrangement; – one popular, two classical, and last and least, sacred. Some sacred pieces when the theatres are shut, in order to afford the penitents of London an opportunity of refreshing their languid souls with the comfortable strains of devout music! Then look to the items of the bill. First, Carl Maria Von Weber’s overture to Euryanthe; Second, Carl Maria Von Webers’s Kampf und Sieg, or a cantata, in commemoration of the battles of La Belle Alliance, and of Waterloo; this, we suppose, is for the repentant; – for the pious there is an act of the Messiah; and then Carl again with Abu Hassan and his Preciosa. To say the truth, Mr. Hawes has rather more grace than Mr. Bishop, but then he is master of the boys at St. Paul’s, and belongs, as it were, to the church. He has not, however, crucified the Messiah between the Duke of Wllington and Abu Hassan. But Carl Von Weber is still as great and universal at Covent-garden as he is at Drury-lane.

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