WeGA, Rezeptionsdokumente, Digitale Edition
author: Anonymus
source date: 1827
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) (http://creativecommons.org/licenses/by/4.0/)

[...]

We might indeed insert their schemes* and dismiss them without comment, and yet seem to fulfil all the purposes of their general outline. But we are unwilling that bodies of professors and amateurs, who certainly assemble as much knowledge, taste, and enthusiasm for the art as can be found in the same number of persons in any country, should have the smallest ground for supposing that we can suffer the transactions of such a society (for the Philharmonic is in point of fact the academy for the display of the practical advances made in science and in art) to pass by us without attracting our especial regard. Though then nothing remains for us beyond bringing into a little more prominent notice the general features of the season, we shall execute this pleasing labour in the spirit of plain demonstration, conscious that all who were present will have felt the various excellences we point out with no less gratification.

[...]

* FIRST CONCERT, Monday, February 19, 1827.

Act I.
[...]	
Overture, Der Freischütz.	C. M. v. Weber.
Act II.
[...]	
Scena, Mr. Braham, "Yes! even love," (Oberon.)	C. M. v. Weber.
[...]	

SECOND CONCERT, Monday, March 5, 1827.

Act I.
[...]	
Overture, Oberon.	C. M. von Weber.
[...]	

THIRD CONCERT, Monday, March 19, 1827.

Act I.
[...]	
Overture, Euryanthe.	C. M. von Weber.
[...]	

[...]

FIFTH CONCERT, Monday, April 23, 1827.

Act I.
[...]	
Act II.
[...]	
[...]	
Jubilee Overture.	C. M. Von Weber.
[...]	

SIXTH CONCERT, Monday, May 7, 1827.

Act I.
[...]	
Scena, Mr. Sapio, "Through the forests," (Der Freischutz.)	C. M. v. Weber.
[...]	

[...]

EIGHTH CONCERT, Monday, June 4, 1827.

Act I.
[...]	
[...]	
Overture, "Der Beherrscher der Geister."	C. M. von Weber.
[...]	

[...]

The instrumental piece which was most enjoyed in the eighth and last night, was Weber's overture to The Ruler of the Spirits, a composition of an extraordinary cast, and indicating the romantic vein of its lamented author. The same wild sublimity reigns in this that gave the attraction to Der Freischutz and Oberon, but it has more of the magic of fiery and imaginative combination than either of its predecessors, though not so various or so captivating, or so full of contrivance as the former. We have however heard no instrumental piece since Der Freischutz that awoke so new and strange an interest.

[...]

This season it appears to us the selections have been superior of former years, yet they have embraced both the old and the new. Signor Zuchelli was placed before the audience both as an Italian and English singer-more than one of the beauties of Mozart, Beethoven, and Weber have been brought forward. Old Handel has appeared in his might, while the moderns have been represented by Zingarelli, principally by Rossini by Spohr, Gomis, and in the last resort by Frederici, Sapineza, and Pacini.

[...]

In our last volume * we gave such an account of the rise of the Royal Academy Concerts as may spare us the necessity of going further into their origin.

[...]

Upon inspection of the schemes* it will be directly perceptible, that in respect to composition, the series has comprehended solid excellence with great diversity of manner, and in the performers the greatest variety of personal talent, while those who have attended, know that no other concert has ever approached so nearly the supremacy of the Philharmonic in the performance of instrumental pieces. [...] [...]

* FIRST CONCERT, Monday, March 12, 1827.

Part I.
[...]	
[...]	

SECOND CONCERT, March 26, 1827.

Part I.
[...]	
Part II.
Overture to Euryanthe.	C. M. von Weber.
[...]	

THIRD CONCERT, Monday, April 30, 1827.

Part I.
[...]	
[...]	
Part II.
Overture to Der Freischutz.	C. M. von Weber.
[...]	

[...] [...]

SIXTH CONCERT, Monday, June 11th.

Part I.
[...]	
[...]	
Part II.
[...]	
Jubilee Overture.	C. M. von Weber.
[...]	